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Violin and Orchestra by Morton Feldman
Violin and Orchestra by Morton Feldman
2013 | Classical
(0 Ratings)
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"This is what I'm listening to most right now. Feldman is on constant rotation, but his series of pieces he wrote throughout the 70s for a solo instrument and orchestra is what I'm continually listening to. This version of Violin and Orchestra that the Radio-Sinfonie-Orchester Frankfurt did I'm obsessed with. I've been listening to it everyday for a little over a year. It’s one of my favourite pieces because of the forces that he’s implying but it does not sound like an orchestra piece. He’s so keenly aware of sound. He turns his eye to a different way of way of composing that makes it something that can’t easily be reduced into some formula. You can just get wrapped up in it. It’s mysterious and kind of unknowable. But it’s really compelling - I’m moved by how his mind works. He does away with very basic principles of orchestral writing, an understanding of chord progressions and melody and harmony, even rhythm. He develops the piece in a way that shows he’s clearly operating with another set of variables, like in the way he resolves a chord. You don’t feel the familiarity of that way of operating within Western music."

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Dead Man (1995)
Dead Man (1995)
1995 | Drama, Western
On the one hand you have this audacious, visionary, deeply memorable film experience unlike any other that - in some ways - does earn its masterpiece distinction. But on the other, you have a movie where every scene ranges from about 10 seconds too long to 3+ minutes too long. I completely understand the need for much of this lingering, uncomfortable dread caused by the silence and negative space here - and a lot of the time it really does work. But injecting that same trick into *every* single scene sort of subtracts its original potency. I still cop to loving Jarmusch's sardonic delirium even with this, but in my opinion he achieved more success with his leaner nihilism like 𝘉𝘳𝘰𝘬𝘦𝘯 𝘍𝘭𝘰𝘸𝘦𝘳𝘴 and (shitty ending aside) 𝘛𝘩𝘦 𝘋𝘦𝘢𝘥 𝘋𝘰𝘯'𝘵 𝘋𝘪𝘦. But in its own right this is still an excellent western with some of the most evocative music ever made for the genre courtesy of that righteous Neil Young score. The imagery, too, is just about to die for - the huge, unsafe rustic machinery of the opening factory and increasingly ubiquitous scenes of nature from then on are expressive, convincing, *and* gorgeous. Those final moments are unforgettably haunting. Plus it's still got that trademark Jim rousing dry humor aplenty. The "New World" is a lie.
  
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How Much Of These Hills is Gold
How Much Of These Hills is Gold
C. Pam Zhang | 2020 | Fiction & Poetry
10
10.0 (1 Ratings)
Book Rating
This is not your typical Western, although it set in the old Wild West. Lucy and Sam, two Chinese-American children, set off on their own to bury their father and to find the life that their mother wanted for them. Their father had gold fever and gambled their money away, their mother wanted an education and choices for her children - as well as somewhere safe to live. The fact that this story is based on two children alone is enough of an indicator that their parents wishes weren’t successful.

There are flashbacks to the life that they had prior to the death of their parents, and these really showed what a hard life gold prospecting and coal mining was - particularly if you weren’t seen as true Americans.

I loved this book - the descriptions of the landscape were stunning, the story of the difficult, uncertain lives the main characters experienced was at times heart-rending. I liked that we weren’t involved in the thought processes of their persecutors - we see everything from Lucy, Sam and their parents perspectives. We get a glimpse into the world of an immigrant family and of how little it seems to have changed with regards to attitudes.

I’d really recommend this book - it was a rewarding, if sad, read.