Granted, I haven't watched Boys And Girls, but it's at a lowly 29/100 on Metacritic, while EMOTION is at 77/100. Not exactly apples and apples here in terms of acclaim/renown.
I am not comparing EMOTION favorably to any of the masterpieces of Beethoven etc. you have mentioned, in part because I haven't listened to the classical canon enough to make a comparison. All I'm saying is that to me it's a masterpiece, by a very different set of criteria than the one by which you appoint masterpieces. If I were abandoning my own criteria and making subjective assessments within the framework of your criteria, I would not judge EMOTION to be a masterpiece, and I don't think it would make any sense for you to think it is. However, if I were rating it based on your criteria, I would not go so low as a 4 either. That being said, you've clearly put in the time with this album and given it a chance, so let's just agree to disagree.
Ok makes sense, thank you, agree to disagree, no worries (etc)
By referring to Beethoven and other greats I was just comparing to various top 10 artists/works due to EMOTION being compared to my top 10 (or 7 of them) in Rock/Jazz, which are as amazing as most of Beethoven's (and anyone elses) masterpieces.
re: comparable renown/acclaim ... thats fine, I wasnt looking for comparable scores (because I consider EMOTION to be overrated) ... regardless, I do find Boys and Girls a fairly apt (or apt enough) comparison otherwise. _________________ Best Classical Best Films Best Paintings
New week now in progress (first post first page) ... Rapidly revisiting lots of Classical of various ratings for both enjoyment and also final stage of evaluating if my "ratings by halves" values (criteria page) are accurate enough or need to be revised a little. _________________ Best Classical Best Films Best Paintings
I've been on a major Mozart kick for about a week. Happens to me pretty often (along with all the Greats). Mozart's works and his abilities as a composer/orchestrator are so singular and miraculous that they are too incredible to believe ... that a person with such astonishing and unique capabilities, musical ideas and expressiveness, actually existed ... but yet, there it all is, one miracle after another... _________________ Best Classical Best Films Best Paintings
Mozart is THE supreme orator -- orchestral/instrumentally (and operatically) -- in all of musical history.
His great works are highly expressive and lyrical -- so vibrantly, brilliantly alive, colorful and conversational/theatrical/operatic (regardless if a vocal work or not, they are simulating scenes/themes of his life as a theater/opera production, in character(s) and scene: happy, singing, noble, voluptuous, luxuriant, spectacular, impulsive, elusive, ambiguous, comedic, tragic, tragi-comic, despondant, dangerous, violent, mysterious, suspenseful, wicked, diabolical...)
They are each stunning examples of music being relayed with the delivery of the most immaculate, supreme oratory conveyance and total mastery of articulation -- each instrument an individual character with its own refined and colorful personality. Every lonely instrument or grouping of instruments has an exact place and articulation of line and character, conveyed with supreme care and elicitation. It is an incredible perfection of form, composition and musicality. The more one listens, the more it all seems blessed by some miracle of inspiration. _________________ Best Classical Best Films Best Paintings
10.1/10. In this masterful sequence, Eisenstein-ian montage combined with Hitchock-ian paranoia and "dolly zoom", to convey a sense of extreme tension and suspense. As the scene continues the sense of paranoia and dread only grows until one cannot take it anymore: one is immersed into the masturbatory state of mind of the male lead furiously attempting to release himself -- not just towards the female of his dreams, but in love with himself -- in both the look on his face and in the frantic and rhythmic techniques of camera and editing. Furthermore, the masterful composition and interplay of the scene reveals in this profound "ricochet effect", an intensifying argument between the editor and director of photography, turning the scene into a meta statement upon and within the film itself. In this climactic sequence these two are furiously embattled, while the director of the film sees in himself the main character, fawning over him. The whole marks a Freudian attempt to reach climax in the heat of schizophrenia and psychic violence. _________________ Best Classical Best Films Best Paintings
^^^ Hopefully, anyone reading this knew it was a joke. Even if what I described could be seen in the video, I exaggerated its "significance" and stretched the truth a bit in the interest of excessive praise and silliness.
Just sayin', in case anyone actually took me seriously
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New week now up (first post, first page). Still listening to lots of Classical. Still strongly considering moving Mahler's and Beethoven's 9th to 9.8/10, though this is not a decision made haphazardly so excuse my (extreme) tentativeness... Throughout this -- yes -- I am also still considering and verifying whether the criterion requirements need to be adjusted some for the various ratings along my list. In the midst of this, I upgraded Tchaikovsky's 5th Symphony to an all time masterpiece (8.8/10). _________________ Best Classical Best Films Best Paintings
New week ... Immersed in Classical ... discovering some recorded performances that are superior to certain entries I've listed as the best (on my "best Classical recordings" list) _________________ Best Classical Best Films Best Paintings
Ive been so busy that I havent had much time for updates... New week rolling out though I have combined the last few weeks and this one into a single consecutive entry... Mainly revisiting lots of Classical and some films (particularly Hitchcock's best). _________________ Best Classical Best Films Best Paintings
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