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74,856 Views ⢠Sep 30, 2023 ⢠Click to toggle off description
More info about Elbphilharmonie: www.elbphilharmonie.de/en/
Edited and produced by Nahre Sol and Julius Meltzer. Additional graphics by Jonathan Hyman.
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Views : 74,856
Genre: Music
Date of upload: Sep 30, 2023 ^^
Rating : 4.871 (181/5,415 LTDR)
RYD date created : 2024-05-13T05:00:44.218356Z
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YouTube Comments - 380 Comments
Top Comments of this video!! :3
I can't think of anyone better suited to fill this role, showing off the Elbphilharmonie. It takes a very special person. You've hit the ground running, as everyone expected. Perfect. BTW ... that room .... nice digs if you can get it. đ
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Congrats on the opportunity to work with the Elbphilharmonie.
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I can't listen to Barber's adagio without crying. Such a powerful piece.
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Thank you. Hearing Pärt again felt like a great reminder of something that I had almost forgotten. There's this certain purity and unwavering clarity in his music that is so hard to put into words. Eternity even. I used to sing in a choir many years ago, and we sang his piece called Magnificat. It left a huge impression on me. Will never forget.
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Creator in residence! That's so awesome!
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In the chaconne there is also deep conviction, determination, and faith. There are 13 variations that resolve to the major before returning to the minor. Menuhin once wrote that when he played it he felt he could eradicate all evil in the world.
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Joplin-Entertainer: Playful
Vivaldi-Summer: Anxious
Chopin-Nocturne: Longing
Strauss-Zarathustra: Revelation
Schubert-Erlkonig: Tension
Copeland-Appalachian: Hope
Bach-Chaccone: Agony
Barber-Adagio: Grief
Satie-Gnossiene: Curiosity
Part-Fratres: Conviction
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Thank you, Nahre! Love the bite-sized videos about classical music, love your passion - greetings from Poland!
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The Barber is an emotionally searing piece. He encapsulated both the pathos and rage of loss.
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The bach chaconne kind of represents the feeling of feeling empty after grieving for a long time for me. When you are still sad but you don't feel it sharply any more. There is the part in major, where everything seems heavenly. That makes me feel like the moment, where you have been in pain for so long that you just have to let lose and just out of exhaustion come to some kind of peace.
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You know, the fact that we have to teach people that a major scale means âhappyâ rather suggests that it's actually completely arbitrary, doesn't it? I've never really understood this obsession with associating music with specific coded emotions when we could just be enjoying it as a sensory experience.
Or maybe that's just me. When I was at school I was always the best in my class at answering âwhat does this music conveyâ questions, but it's just a matter of memorising the code. I know the associations you're talking about here, but I find it very hard to believe that people feel them because of anything to do with the musicâas opposed to what they were taught they were supposed to feel in their music lessons.
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Nahre is the perfect person for the "Creator in Residence" role at the Elbphilharmonie. Nahre's hair length and styling in the video is on-point.
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Haha, Iâm from germany and so glad to see you having a residency here. I love that concept.
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For me, the piece that I hear the most complex emotion in is Ravelâs Pavane for a Dead Princess. Itâs like the feeling of observing the memory of something that once was happy, but now is long gone.
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To me Satie's Gnossiene No. 1 is like a sudden awareness of the passage of time. It calls out from the late 19th Century, to me in the early 21st Century, but it's still moving away, toward a future none of us will see. It's not even really about mortality in a personal sense, somehow. It makes me melancholy, but I love it so much. I love hearing it played on the piano, but also on the cello, Schrello Classic did a phenomenal version here on YouTube.
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A video with Copland's, Part's and Satie's music? I feel like a kid on Christmas morning.
Anyways, Fratres always felt like eternity, mysticism, and introspection to me. Whenever I listen to it, I always think of what it would be like to die and become pure consciousness and having my identity washed away and being able to see things from a completely removed and detached perspective. A lot of Part's music feels like that to me.
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I find Daniel Brown's label for the prevalent emotion in Bach's music spot on:
"To talk about nonstandard chords in Bach is to talk, in the main, about dissonance. It's hard to overstate the importance of dissonance in Bach's harmony: more than a feature of it, it's the climate of it. But this climate isn't the stormy one you might expect. Bach rarely uses dissonance for dramatic effect; it permeates, more than punctuates, his writing, yielding not heightened moments of sorrow or pain so much as a sustained profundity."
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For me Satie is Melancholia as Victor Hugo defines it: The hapiness of being sad.
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Both the hope and devastation pieces made me want to cry just in the short previews you played. I guess those speak to me the most
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@marhar2
7 months ago
I can't think of anybody better to kick off their Creator in Residence role. I think there are so many people who are learning about and appreciating music of all kinds because of your work. Yay!!
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