john2
Gyneolatry Fiend
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Continuing from my previous thread...
We move on to this fine yet obscure prelude for piano -
Ondine.
Everything about this piece screams lust, uncertainty, seduction, and something ineffable which is very degenerate and hedonic.
At the end of the piece especially, you can really feel the Undine (the beautiful mermaid, what I picture in this case) slipping away from the seamen's clutches and diving back into the water as they tried to grab it out of the sea beforehand upon being lured by her. The crafted D major arpeggios and the F sharp major chords portray this.
Even the joyous section introducing the secondary theme starting at 0:39 in D major sounds very corrupted, not pure and graceful like in the holy music by Bach. It sounds like the chill yet profane vibes you would get from the immodest scene of a summer beach party.
The harmonic modulations starting at 1:48 are crazy. They're very indulgent and intoxicating, just like in the piece (the poeme-nocturne) I mentioned before in the previous thread I linked here. Except now in this prelude, these modulations are still somewhat orthodox and tonal. It's neither sad nor happy, unlike lots of tradiational diatonic music from the 1700s.
Oh man, I can keep going on, but I'll stop here. Enjoy.
This is the most sexiest music I have ever heard.
It is so fine, seductive, delicate and beautiful in a way I cannot describe cause this isn't ordinary. I really never expected I would end up liking this so much and being obsessed over it for so long.
looksmax.org
We move on to this fine yet obscure prelude for piano -
Ondine.
Everything about this piece screams lust, uncertainty, seduction, and something ineffable which is very degenerate and hedonic.
At the end of the piece especially, you can really feel the Undine (the beautiful mermaid, what I picture in this case) slipping away from the seamen's clutches and diving back into the water as they tried to grab it out of the sea beforehand upon being lured by her. The crafted D major arpeggios and the F sharp major chords portray this.
Even the joyous section introducing the secondary theme starting at 0:39 in D major sounds very corrupted, not pure and graceful like in the holy music by Bach. It sounds like the chill yet profane vibes you would get from the immodest scene of a summer beach party.
The harmonic modulations starting at 1:48 are crazy. They're very indulgent and intoxicating, just like in the piece (the poeme-nocturne) I mentioned before in the previous thread I linked here. Except now in this prelude, these modulations are still somewhat orthodox and tonal. It's neither sad nor happy, unlike lots of tradiational diatonic music from the 1700s.
Oh man, I can keep going on, but I'll stop here. Enjoy.