Thanks for this video. While the music may feel static/repetitive I still get massive goosebumps when the violins come and hit those high notes. I don't know what this piece is about but when I listen to it I feel like the sky is getting dark with rainy clouds, there's also a storm in the middle of the piece (you were wondering what sound is that at one moment) and it makes the scene a little scarier like there is a disaster coming (i picture this as a storm in open sea) and then the sky is getting a little brighter with just a constant rainfall (the violins till the end). And it leaves me wondering - did we safely survived the storm or did we not. That's the picture this music draws in my head.
Didn't know the guy from Sigur Ros made music like this. Debatable whether it's classical; it sounds closer to modern soundtrack music, and there's a huge debate in the classical community whether soundtrack music that is influenced by older (especially 19th century) classical is really classical music or whether it's its own thing. There are arguments for both perspectives. Personally, I do tend to listen to soundtrack music as its own thing rather than the way I listen to classical music because it usually has very different goals. Taking this for example, it's basically one idea that just builds dynamically. Now, that idea is not unheard of in classical music: Ravel's Bolero does exactly that, but Ravel composed that as a bit of a joke (joke's on him considering it became a "hit") and even Bolero introduces a few new ideas as it goes along rather than just getting louder.
I had no idea such a topic would be so contentious. I guess I'm on the side that it's all the same. If the composition is classical and the instrumentation is classical then that seems categorically classical to me regardless of intent. But I agree about this track specifically, it feels like it belongs to a multimedia work and doesn't quite stand on it's own.
@@CriticalReactions If you search TalkClassical and "film scores classical music" you can find a 200+ page(!!!) thread on the controversy. I'd occasionally pop in and make a comment, but I'm generally not a fan of semantic debates and I'm content with saying such music is similar and dissimilar to classical music in various ways. That "not standing on its own" is one of the most typical arguments for why it's not classical, since classical music is, by and large, meant to stand on its own. The counter-argument is that classical music composed for operas and ballets are also meant to accompany dramatic action and lose something without it (but are still considered classical music); the counter to the counter is that such music still plays a much more active role than typical media music, and so-on and so-forth.
Thanks for this video. While the music may feel static/repetitive I still get massive goosebumps when the violins come and hit those high notes. I don't know what this piece is about but when I listen to it I feel like the sky is getting dark with rainy clouds, there's also a storm in the middle of the piece (you were wondering what sound is that at one moment) and it makes the scene a little scarier like there is a disaster coming (i picture this as a storm in open sea) and then the sky is getting a little brighter with just a constant rainfall (the violins till the end). And it leaves me wondering - did we safely survived the storm or did we not. That's the picture this music draws in my head.
Fantastic description and I think you're spot on with the ending analysis.
Didn't know the guy from Sigur Ros made music like this. Debatable whether it's classical; it sounds closer to modern soundtrack music, and there's a huge debate in the classical community whether soundtrack music that is influenced by older (especially 19th century) classical is really classical music or whether it's its own thing. There are arguments for both perspectives. Personally, I do tend to listen to soundtrack music as its own thing rather than the way I listen to classical music because it usually has very different goals. Taking this for example, it's basically one idea that just builds dynamically. Now, that idea is not unheard of in classical music: Ravel's Bolero does exactly that, but Ravel composed that as a bit of a joke (joke's on him considering it became a "hit") and even Bolero introduces a few new ideas as it goes along rather than just getting louder.
I had no idea such a topic would be so contentious. I guess I'm on the side that it's all the same. If the composition is classical and the instrumentation is classical then that seems categorically classical to me regardless of intent. But I agree about this track specifically, it feels like it belongs to a multimedia work and doesn't quite stand on it's own.
@@CriticalReactions If you search TalkClassical and "film scores classical music" you can find a 200+ page(!!!) thread on the controversy. I'd occasionally pop in and make a comment, but I'm generally not a fan of semantic debates and I'm content with saying such music is similar and dissimilar to classical music in various ways. That "not standing on its own" is one of the most typical arguments for why it's not classical, since classical music is, by and large, meant to stand on its own. The counter-argument is that classical music composed for operas and ballets are also meant to accompany dramatic action and lose something without it (but are still considered classical music); the counter to the counter is that such music still plays a much more active role than typical media music, and so-on and so-forth.
This actually reminds me of Aquilus, but without the black metal :D
It's totally subverted by the peace of the other parts you have yo listen to the whole album