Eneathedevil

Oh no, no, Josiaccio maruzzaro e merluzzone, the MCR are not that bad at all. And if I tell you this, you must trust me—they take a bit of distance from those "pathetic little communists" like 99posse, just to give you an idea: there's a lot of folklore and tradition mixed in, not just "La rossa Primavera dove sorge il sol dell'avvenir" (which by the way, they've performed in an excellent version), and when the native element is involved, nothing ever gets wasted, no, no. Sure, maybe we shouldn't get lost in too many praises, but it's certainly stuff a notch above the usual garbage.

;)

Here, for example, I know virtually nothing about Debussy. I definitely remember reading about the scandal caused by a composition as "reactionary" as "Prélude à l'après-midi d'un faune" (which I don't think is here) at its first performance, the same effect that a bit the broke artists of Impressionism had at the beginning of the 1900s due to the "intangibility" of their works... not surprisingly, as you imply, Grass, there are those who define Debussy as "impressionist," and I don't think they are wrong, although I don't know. 5 for the angry review :D

Josi_, the usual chatterbox. For the choice, this review truly deserves the highest praise; it is well-written and rich in historical details. However, I have to say that it could have included a few more words about the content, about the incredible beauty of the melody that has stood the test of time. I remember that even that old rascal Beppe Grillo, in his show from 7-8 years ago, played the Goldberg Variations for the audience, talking about how its composer took all the time he needed to write this work of immortal beauty, in contrast to a more general discussion about Western culture, which no longer seems to have the patience to take its time like it used to.

What a beautiful choice: I'm not a fan of classical music, and I always feel my way through "advice" from others (mostly coming from home experts), but this is a work that I know and appreciate quite a bit. The incredible and recent popularity of the splendid introductory aria (which is worth the ticket price on its own) due to indirect promotion through various commercials and films (the Spuma di Sciampagna advertisement, I believe, and the multi-award-winning but never plural-awarded English Patient) does some justice to a work of unusual clarity, one of those few in the history of music of the genre capable of infusing an unexpected dose of serenity, a true masterpiece that, let us remember, we owe to one of the greatest geniuses of music of all time: Johann Sebastian.

Read my three on Dalla, ajeje, and then compare them with the bio-discography of Dalla released a few weeks ago on Ondarock. It's a crescendo of copying my quotes from "Il giorno..." to "Automobili". Even the ratings are a mimicry.

Great, cazzy, I'll definitely try, and I'll turn to Gentle Giant to venture a bit into foreign lands. As for the critics, I can’t even begin to talk about them; I hate about 90% of them out there, too unreachable in their arrogance and uninformed about what they want to criticize negatively: one should learn to have a culture not only in what they like but also in the rest of things, so as to have solid arguments to express their opinions. This applies to Bertoncelli, and it applies to Salvatori (the numerous inaccuracies he spreads online and in print are countless): then yesterday I even discovered that some Fabretti from Ondarock, someone who brags about knowing music, is copying my reviews, well, that says a lot about the reliability of sources and the care in choosing them that is typical of critics :D

"The Area offer us a work that is more tranquil, serene, and festive than the previous ones, coupling the 'revolution' that peeked through the pages of the past with a 'joy' that is fundamentally fun with sound." And the response: "In 'Crac!', there is the dimension of joy and revolution with Greece, Portugal, and Vietnam liberated. This is our world, 'but perhaps for you the world is still flat.'" In my opinion, they already provide sufficient elucidation about the mental poverty of the jerk :D It's truly fascinating, really, congrats and kisses on the cheeks (hopefully a few hairs). I certainly knew about the somewhat extreme socio-cultural-political framing of the aforementioned, but the information you provided has been even more valuable. It supports your thesis quite well: I say "quite" because I would have liked to see a phrase from Stratos affirming that the 'Raw Nerves' were those of the neurosis of the liberation wars in the 70s; it is obvious that the context of the album and the Area is what you reported (or rather, what Demetrio, indeed, reported), but it could be that these nerves, this piece not supported by voice, has been given an interpretation not necessarily political; certainly, in light of what has been said, it is a more remote hypothesis, but I believe it is feasible. If you have elements in this regard, let me know; however, the interpretation is learned and correct and fits, then it’s just a matter of taste, which alas, remains personal :)

I don't agree with the definition of technicism, but it's a question of definitions that is pointless to tackle, or we would lose ourselves in the mists of time. I certainly was very elliptical in the phrase you quoted, and after writing it I did think about the fact that you might have misunderstood. Writing "transfiguration in the idea of musical genius (=technicism)," I didn't mean at all that the translation of genius in the idea is technicism—far from it—but rather that in light of what I had just said exclusively about this piece by the AREA, the supposed (by me) transfiguration of Fariselli’s nervous piano performance in the idea of the piece supports the thesis that the performance was born first and then the title, hence my point of view on technicism, or virtuosity—call it what you will, as I know you understand the idea clearly. If you come to tell me that the neurosis is that of the years of lead, which is a very astute interpretation, you’re more or less right: there is an atmosphere of tension that would be the idea (it’s not necessarily the case that the idea must arise from a title, of course), from which the performance would have emerged, as it could well be. It remains to be seen if your assumption is correct; I defer to your deeper knowledge in this regard.

"music for its own sake is the 'C major progressions' that serve to learn how to play." This is what you wrote, so don’t be disingenuous :D Anyway, the clarification you made sits well with me, in fact I completely agree with it, but you certainly can’t say it’s “music for its own sake,” you could rather say, as you later implied by clarifying, that it’s “music good only for moving fingers.” Anyway, just details, I’ll respond to the rest.