This piece left me literally breathless. holding my breath and gripping my seat for dear life. It’s as if this is a soundscape from beyond the edge of human perception. So vast I feel could listen to it forever never fully comprehend it. Yet its so fundamentally human; it rings that primordial bell of the human condition that urges us to keep questioning, innovating, and discovering. You’ve reached into that higher dimensional plane beyond The Sacred Veil; and brought back a musical piece of the infinite.
Hello, Eric Whitacre. It is going to be difficult to say which of your compositions is the MOST genius one day, but this one will certainly be there. I listened to it blind through headphones recently and it affected me in every good and bad way. A substantial amount of crying and gasping for breath. I always use your work as an example to show how architect's think. That's my trade and I have a special interest in spatial-temporal thinking methodology - which in a way is at the centre of conscious thinking - that being, 'temporal thickness' - or our ability to project abstract, hypothetical reasoning through time and space. I think about your work in this way intuitively. And it's a strange way to explain music and composition ---- through a spatial framework ---- but you did the same thing now, and so I'm convinced. I can see how the composition is like an endless activated plane of sounds in your mind, and how you travel through it and choose different perspectives through which to view it from. In that way it is designed - a negotiated settlement - a truly reductionist idea. It's a different kind of minimalism. One, where by definition, the 'minimal' is reached because to add or subtract anything would change the composition's meaning significantly. It is ALWAYS perfectly enough. You could possibly be the 1st of a new generation of composers that thinks this way. Thank you for always being an inspiration to so many people.
So beautiful. Thanks you Eric and Tony for sharing such a personal, moving, and emotional part of yourselves with the world. We can feel the pain and hear the grief. Thank you 🙏
Eric! I sang the Martin Mass with BYU’s A Cappella Choir at the ACDA conference in 1975 (!) in San Francisco. It was life altering. Your reference to it made me realize why your music has always felt familiar-complex, simple musicality. You are such a gift.
This piece left me literally breathless. holding my breath and gripping my seat for dear life.
It’s as if this is a soundscape from beyond the edge of human perception. So vast I feel could listen to it forever never fully comprehend it. Yet its so fundamentally human; it rings that primordial bell of the human condition that urges us to keep questioning, innovating, and discovering.
You’ve reached into that higher dimensional plane beyond The Sacred Veil; and brought back a musical piece of the infinite.
Hello, Eric Whitacre. It is going to be difficult to say which of your compositions is the MOST genius one day, but this one will certainly be there. I listened to it blind through headphones recently and it affected me in every good and bad way. A substantial amount of crying and gasping for breath.
I always use your work as an example to show how architect's think. That's my trade and I have a special interest in spatial-temporal thinking methodology - which in a way is at the centre of conscious thinking - that being, 'temporal thickness' - or our ability to project abstract, hypothetical reasoning through time and space.
I think about your work in this way intuitively. And it's a strange way to explain music and composition ---- through a spatial framework ---- but you did the same thing now, and so I'm convinced. I can see how the composition is like an endless activated plane of sounds in your mind, and how you travel through it and choose different perspectives through which to view it from. In that way it is designed - a negotiated settlement - a truly reductionist idea. It's a different kind of minimalism. One, where by definition, the 'minimal' is reached because to add or subtract anything would change the composition's meaning significantly. It is ALWAYS perfectly enough. You could possibly be the 1st of a new generation of composers that thinks this way.
Thank you for always being an inspiration to so many people.
Couldn't actually believe what I was hearing on first listen to this movement, it's just stellar. Thank you so much Eric and Tony!
I just discovered your music only recently; I’ve never heard anything like it. I enjoyed it, the way you use chords- I don’t know much about music.
So beautiful. Thanks you Eric and Tony for sharing such a personal, moving, and emotional part of yourselves with the world. We can feel the pain and hear the grief. Thank you 🙏
Sorry I couldn't be with you live. Had a visit from my 5-year-old grandson then :-) But have so been looking forward to this session. Bless you both!
Eric! I sang the Martin Mass with BYU’s A Cappella Choir at the ACDA conference in 1975 (!) in San Francisco. It was life altering. Your reference to it made me realize why your music has always felt familiar-complex, simple musicality. You are such a gift.
Melbourne, G'day Eric, it's Sunday Father's day, Happy Fathers day!
Hi!