Classical Music

en.wikipedia.org/wiki/Tristan_und_Isolde#Act_2
'King Marke leads a hunting party out into the night, leaving Isolde and Brangäne alone in the castle, who both stand beside a burning brazier. Isolde, listening to the hunting horns, believes several times that the hunting party is far enough away to warrant the extinguishing of the brazier – the prearranged signal for Tristan to join her ("Nicht Hörnerschall tönt so hold"). Brangäne warns Isolde that Melot, one of King Marke's knights, has seen the amorous looks exchanged between Tristan and Isolde and suspects their passion ("Ein Einz'ger war's, ich achtet' es wohl"). Isolde, however, believes Melot to be Tristan's most loyal friend, and, in a frenzy of desire, extinguishes the flames. Brangäne retires to the ramparts to keep watch as Tristan arrives.

The lovers, at last alone and freed from the constraints of courtly life, declare their passion for each other. Tristan decries the realm of daylight which is false, unreal, and keeps them apart. It is only in night, he claims, that they can truly be together and only in the long night of death can they be eternally united ("O sink' hernieder, Nacht der Liebe"). During their long tryst, Brangäne calls a warning several times that the night is ending ("Einsam wachend in der Nacht"), but her cries fall upon deaf ears. The day breaks in on the lovers as Melot leads King Marke and his men to find Tristan and Isolde in each other's arms. Marke is heartbroken, not only because of his nephew's betrayal but also because Melot chose to betray his friend Tristan to Marke and because of Isolde's betrayal as well ("Mir – dies? Dies, Tristan – mir?").

When questioned, Tristan says he cannot answer to the King the reason of his betrayal since he would not understand. He turns to Isolde, who agrees to follow him again into the realm of night. Tristan announces that Melot has fallen in love with Isolde too. Melot and Tristan fight, but, at the crucial moment, Tristan throws his sword aside and allows Melot to severely wound him.'

'Wagner's friend the poet Georg Herwegh introduced him in late 1854 to the work of the philosopher Arthur Schopenhauer.[20] The composer was immediately struck by the philosophical ideas to be found in Die Welt als Wille und Vorstellung (The World as Will and Representation), and the similarities between the two men's world-views became clear.[21]

Man, according to Schopenhauer, is driven by continued, unachievable desires, and the gulf between our desires and the possibility of achieving them leads to misery while the world is a representation of an unknowable reality. Our representation of the world is Phenomenon, while the unknowable reality is Noumenon: concepts originally posited by Kant. Schopenhauer's influence on Tristan und Isolde is most evident in the second and third acts. The second act, in which the lovers meet, and the third act, during which Tristan longs for release from the passions that torment him, have often proved puzzling to opera-goers unfamiliar with Schopenhauer's work.

Wagner uses the metaphor of day and night in the second act to designate the realms inhabited by Tristan and Isolde.[22] The world of Day is one in which the lovers are bound by the dictates of King Marke's court and in which the lovers must smother their mutual love and pretend as if they do not care for each other: it is a realm of falsehood and unreality. Under the dictates of the realm of Day, Tristan was forced to remove Isolde from Ireland and to marry her to his Uncle Marke – actions against Tristan's secret desires. The realm of Night, in contrast, is the representation of intrinsic reality, in which the lovers can be together and their desires can be openly expressed and reach fulfilment: it is the realm of oneness, truth and reality and can only be achieved fully upon the deaths of the lovers. The realm of Night, therefore, becomes also the realm of death: the only world in which Tristan and Isolde can be as one forever, and it is this realm that Tristan speaks of at the end of Act Two ("Dem Land das Tristan meint, der Sonne Licht nicht scheint").[23] In Act Three, Tristan rages against the daylight and frequently cries out for release from his desires (Sehnen). In this way, Wagner implicitly equates the realm of Day with Schopenhauer's concept of Phenomenon and the realm of Night with Schopenhauer's concept of Noumenon.[24] While none of this is explicitly stated in the libretto, Tristan's comments on Day and Night in Acts 2 and 3, as well as musical allusions to "Tristan" in The Mastersingers of Nürnberg and Parsifal make it very clear that this was, in fact, Wagner's intention.[citation needed]

The world-view of Schopenhauer dictates that the only way for man to achieve inner peace is to renounce his desires: a theme that Wagner explored fully in his last opera, Parsifal. In fact Wagner even considered having the character of Parsifal meet Tristan during his sufferings in Act 3, but later rejected the idea.[25]'

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Or listen to this version

Musc has been said about 'Tristan' being harmonically groundbreaking. Actually it illustrates two people who let themselves go insane by following their passion. It could have been two junkies.

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*Much has

Glenn Gould plays the Well-Tempered Clavier.

He also plays this:
youtube.com/watch?v=_dfrwVKGHYQ&list=PLSZ0ZoJ6MVO5GFnlaxde0SxvNyaEKDJ6m

baroque > classical

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And this.

Another Wagner transcription for piano

Also what's wrong with white contemporary music?

Wagner Ring for beginners who can't take the screaming.

Music for repentant sinners of 8ch

Bach - Cello Suite No. 1 in G Major BWV1007 - Mov. 1-3/6

I love the first bit

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Ludwig van Beethoven - Moonlight Sonata ( 3rd Movement ) Tina S Cover

Smetana - Vltava
one of my favorite classical pieces

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Why are so many conductors and recitalists Jews? Who is to say their (((interpretations))) aren't Jewish?

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Some composers are too.

More of same

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If you have to interpret what was written down you shouldn't be representing what was written. Anything you add to a composition that isn't on the chart (that you try to pass off as the composer's intent via your interpretation) is fraudulent.

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You niggers don't know about dank 15th century chromatic scale compositions

Even good composers like Mahler

I don't believe I've ever seen Camille Saint-Saëns posted on any of these threads

Mahler is shit.

Is he?

Anybody know any great Vivaldi albums like this?

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Korsakov is divine.

What did I just fucking say? That is disgusting music. Keep your kike shit off this board.

This is what they should play at Trumps inauguration.

My nigga

My man

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Personal favorite.

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Lets get some aria of the night queen up in this thread.

and some Holst

that's not classical, you stupid faggot fucker

ブラボーカラヤン

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Shostakovich- Waltz 2

Prokofiev- Dance of the Knights

L. Boccherini: La Musica Notturna delle Strade di Madrid - Op. 30 n. 6

Excuse the movie thumbnail, but I like the slower tempo and quality of this version.

Love Mozart's piano concertos

this is one of my favorite piano pieces

shit here's a much better version

Can anyone recommend more from Vincent d'Indy? (French, 1851–1931). Liked this from the radio wfmt.com/listen, but I prefer instrumentals.

Not properly classical, but still.

Not classical in a sense but still wonderful.

those anybody has the short opera about leaches taking over the congress? it was in german

be sure to marry a woman of color, goy! and stay away from that awful ring cycle, it caused the holocaust!

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found the nigger

EXCUSE ME PLEBS BUT RACHMANINOV IS OFFICIALLY THE BEST

NO ONE ELSE NEED APPLY

Wow im so cultured xddd

Rach was the man

if you're not proud of white culture and it's achievements, including some of the greatest compositions known to man, you don't belong here.

Yo handel about to drop that fire new mixtape 🃁

By the only good jewish composer I know. Oy vey!

Why do you feel you're cultured?

Obviously you are assessing music by criteria other than musical.