A few days ago, as a coincidental result of a minor interaction, I realized that despite this being my profession, I hadn’t dedicated any amount of time so far to talk about classical music, ballet, and art in general.
Maybe it’s because my pain and disappointment make it difficult to approach the subject without thinking about my previous life (previous as in…you know of my situation at this moment), but there I was, ending up in a discussion that comes very often around me. It’s always in the air somehow, and someone always starts it—the idea that art is a matter of „taste” and somehow the same gay ideology—love is love.
NO, It’s NOT.
The discussion is not directly about the two people mentioned below, but that’s what generated my posting.
Cage and Stockhausen are two of the people (described as „composers”) that one can compare with some of the worst k-pop bands, most likely part of the Freemasons who, by the typical ideology, were made “famous“ and pushed and pushed and pushed down the throat of everything that moves and exists.
Throughout my life, I’ve experienced the fact that more people who aren’t by profession musicians, have a love, respect, and appreciation for music, arts, and ballet, would have a better understanding and knowledge than people who have studied and are active in one or the other field of art.
I’m going back to the two “composers“ mentioned above who are famous because they are famous, but not because they can write music.
I’d mention at this point, that the main subject was related to contemporary music and again we found ourselves in a situation where the definition of contemporary or even abstract or modern art is misunderstood or misused. Though I stand corrected - it seems that „art” made in our days is equally shitty and horrible, as the events that are unfolding, it seems that the shittiness and stupidity around us are within all circles, not just we, the peasants, the goys.
Misunderstood - because contemporary music means that it refers to music composed in our days, which is not defined by a certain style or laws, since they are not to be found, as we can see if we go back in the history of music where you can follow the evolution of music/art.
Misused - because every piece of shit is considered to be (contemporary) music/art, and this statement is enough for someone to defend a worthless piece of something. I don’t know…sound effects or some weird stuff put on paper.
Pardon me, not even that, because nowadays, we all write music on the computer.
Also because the easiest and biggest money is made by using people and their lack of either knowledge.
Given the fact that one requires months to study some Shostakovich symphony, a Partita by Bach, a Sonata by Beethoven, something by Brahms, etc., it is quite difficult to explain in a few sentences to someone who lacks the professional knowledge to profoundly understand why something is bad - by „something” in this relation to art I mean, whether if it’s a choreography, interpretation, a music video, an orchestration, etc.
I made this statement before in regards to the sickness in pop music, especially the parasocial relationship that kpop bands (male and female), and especially boybands/singers are building their fame on, and how the public who accepts and pays for this vomit is equally guilty for the destruction of art.
It’s not different from the situation we have here because the art world, where people pride themselves to be culturally and intellectually superior to those lunatics who go to K-pop concerts and scream more than if they had seen God, over the strangers they are obsessed with - women looking like hookers in a strip club and dancing like cheap porn stars in a homemade video or men in their 20s or 30s gaying around on the stage, acting like girls who needs to be babied and always proving that they don’t understand that a stage is a stage and not a rectal exam.
It is the same situation, the same reaction played at a different level in the arts world, the same spirit: people shouldn’t be allowed to go on the stage or use the idea of a „stage”, as in receiving a place in an artistical constellation, do a playback, write a song, write the lyrics of a song, holding their pants for whatever reason I still don’t get it, touching their junk, just because the public is too stupid or too desperate from a parasocial point of view and not just allow it, but pay a looooot of money.
Messiaen is contemporary music. It’s still from our days and he’s one of the great composers His music hides not just professional, historical, and artistical knowledge of various fields, but he proves that there is a reason, a well-deserved reason why he is considered to be not only a composer, but a great composer.
You find reinvented melody, rhythm, and harmony reminding of Debussy, but at the same time Shostakovich, Bach, Scriabin.
Someone who understands music wouldn’t ask me in a non-understanding way - why I made the statement that the two composers (Cage and Stockhausen) suck.
Because it is not a question…of a question…but a statement that it’s self-explanatory.
A situation as a different type of example - when people talk about Chopin’s f minor vs e minor Concerto.
You can learn about a piece of music by exchanging opinions with someone (who has a clue about what he’s talking about and not just shitting around) and find that their understanding and feelings about the musical piece is opening your nice to discover things you haven’t noticed before. It goes for everything in the art, not just music or this Chopin example.
Admittingly, the E minor Concerto is the one that is more played than the F minor.
Now - is the F minor less interesting concerto, is it because the other is more attractive, better written? Does the F minor Concerto lacks substance, is less sustained melody-wise, sounds less imposing than the E minor?
Maybe there is someone who sees the beauty of the f-minor concerto in a way that can make others see it as well.
THIS is then again, self-explanatory.
People think it is a matter of taste and subjectivity, but to 99% it isn’t. It’s very well-defined. When something isn’t good. It’s just…people think they can just go and everything is for free. Like the „vaccines”.
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I can answer myself the question of why it is that sometimes I would choose the f minor over the e minor.
Why I would choose Shostakovich a minor violin concerto over a Mozart concerto and even Mendelssohn, but not over Brahms.
I shouldn’t have to explain to someone why the acclaimed puppet sitting at the piano playing Chopin op 25 no1 with a vulgarity that should be punished by law is nothing but another scam.
I can’t explain in a helpful sentence something that someone understands and feels it immediately, who has spent enough time going through all major musical works, the correct way to play it, comparing different interpretations, and having an idea about their own vision.
Of course, I could spend one or two hours explaining to someone why that Chopin op 25 no 1 interpretation is vulgar and why Chaconne played by „x” is better than played by „y”
In the end, we come back to the same issue: the public, the ones ingesting the art, should not take it for granted or should not believe that this is something that doesn’t require any knowledge/expertise.
For one’s benefit one should always come prepared for the situation. We all do this when we go out and it’s raining. We take an umbrella with us.
When we go to play bowling, we make sure that we have the proper equipment.
When we go swimming, we take a bathing suit with us.
When we go to listen to Brahms Concerto we should have a bit of knowledge at least about what are we going to hear. How Brahms, for example, took - grace to his influence - Beethoven to different heights, and how Brahms’s melodies are endless. He is the only composer whose melodies take your breath away; they are infinite in a finite spectrum.
One needs to prepare when going to experience something artistic. Not just go there, stay, and expect things to be handed over for free; one could never understand the beauty of art like this.
You shouldn’t just sit there, unprepared in the rain without an umbrella.
