Hal

Take that, Orson Welles :)

Well, if it's a judgment on the "de gustibus" level, then I can't help but agree with you. After all, I personally have a hard time digesting Vivaldi or Mendelssohn. In short, on this level, everyone has their own coordinates; however, listen to the quintet I mentioned because it's truly divine. And hey, brotha rocky :))

The review doesn't exist, as always, but this time the rating is not random.

I don't know the collection, but I do know the soundtracks you mention. The analysis is perfect; the music, to be honest, is a bit weak, perhaps only "Local Hero" and fragments of "Cal" stand out. Knopfler as a soundtrack composer isn't exactly excellent; let's just say he does his job for me. Out of curiosity: have you also listened to "Wag the Dog"?

Yes, I subscribe to your judgment, odradek.

Yes, I understood ajejebrazorf, in fact, I have the impression that this record might disappoint you precisely for what you say. If I get the chance, I’ll include a couple of samples as long as no one beats me to it. Bye :)

I'm sorry, but you also generalize ajejebrazorf. Just to give an example, I've known Bainzu Piliu personally since I was a teenager, and although I don't share his separatist position, I consider him one of the greatest intellectuals of the island. But that's just one example. I don't find the comparison with the league acceptable. I won't elaborate further to avoid digressing from the review; anyone who wants to discuss it can use mydeb and write to me if they wish. Bye.

Certo! Inviami pure il testo che desideri tradurre.

Unfortunately no ajejebrazorf :( otherwise you would surely have read the review :(( Returning to the album, I believe it is one of the most interesting in Garbarek's discography and I agree that it is unique; the subsequent double album Mnemosyne, as JohnPatmos says, is absolutely not on the same level as this work. It seems that the idea of combining Garbarek's sax with the Hilliard came to Eicher during a car trip in Norway, ("Morales suddenly appeared to me like a southern land, on which the migratory bird of the north draws wide circles"); his story is fascinating and gives the idea of how this man is a volcano of ideas always in eruption. I like to define the album as a temporal paradox, played in an empty room, with a strong spirituality. Perhaps that's why he was accused of winking at New Age concepts, but for me, that's not the case. In this instance, the genre actually doesn't exist; it’s an unclassifiable album. That said ajejebrazorf, I don't know how much you might like it given what you say about Garbarek; maybe we should insert a sample, just one: Parce mihi domine. Bye

Greetings and thanks to everyone who has read, plus two responses. Odradek, perhaps I've understood... as for the case, just take a look at my personal profile :) Grasshopper, I was hoping that a classical music enthusiast like you would step in here to highlight what you appreciate in the Schubert catalog, and I must say you've gone well beyond my wildest expectations, thanks also to the welcome collaboration of G_à :) I might have said this a thousand times, and one more won't hurt, but when suggestions arise from the comments section, I believe that is the most beautiful thing about debaser. In addition to what has been mentioned, I would like to remember the string quartets - Death and the Maiden in particular and the quintet (piano and strings) D956; I believe the adagio of this work is something of such ineffable beauty that it cannot leave anyone indifferent. Another touching work is the piano trio that contains the theme from the film Barry Lyndon; many will certainly remember it. Regarding the remark by ringhiostarr, I would like to say - without any polemical vehemence - that I consider it a respectable opinion, but one that I cannot share, because Schubert - especially in chamber music - accomplished a fundamental work of construction and innovation in the history of music, leaving us with an immense catalog in just 31 years of life. Then the example of the Lieder is enlightening, as it was Schubert who incredibly elevated this musical form. In short, rankings are always difficult and never definitive; just think that Brahms, for example, only entered that Olympus posthumously thanks to the reevaluation of his work by Schonberg. Bye :))