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Topic: The Tempest, Love, like, live with or loath?< Next Oldest | Next Newest >
wiga Offline




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Posted: April 12 2010, 12:22

I haven't heard MoTS in 18 months, but I've had it on this week and hearing it much differently. I can't explain - but it's much better. Before it was a list of tracks (and I had my favourites), now I hear it like one whole track. I feel bad - I think I underestimated MoTS. When I hear it now it's like I wasn't listening properly before, or maybe I was blocked. Nothing to do with the music - it was me.

"TheTempest" feels like the centrepiece. Strings I generally enjoy, and the arrangement here is powerful, (in a containing way) as the other instruments organise themselves. I particularly like the brass crescendo here - on a par with "Musica Universalis" brass section but not as loud.


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Barn's burnt down - now I can see the moon.
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wiga Offline




Group: Members
Posts: 2113
Joined: Sep. 2008
Posted: April 14 2010, 18:09

Quote (Matt @ April 09 2008, 09:37)
The track for me sounds quite cacophonous, particularly the first half. Sometimes I like the Mike uses this sort of thing, for instance the challanging, painful section around 4 mins in of Amarok or the angry thunderstorm section of Hergest Ridge. In those pieces, the more painful-to-listen-to noises are followed by something wonderous and part of my enjoyment of the noise is feeling that it is a part of the whole and I have the anticipation of what is ahead

Tempest doesn't do this for me. It does quieten down in the second half to something a bit more enjoyable but for me there isn't any "something wonderous" that appears in the piece to complement the noises at the start.

So, do you like it? Any idea what it is I am missing in the track? Why do you like it?

The way I see it, The Tempest is anarchy - the instruments are like a bunch of big egos in a room all doing their own thing. It IS noisy and painful, and the strings are hanging in there, enduring and containing highly charged emotions, as if to say come on guys 'work with me', we can make something great if we work as a team. The guitar is the first to yield and the brass the most stubborn of the lot, but by 3.16 the strings (and harp) lead in again as if to put trust to the test - the others follow suit and at 3.48 the whole orchestra is working collaboratively. Then you get a glimpse of something wonderful, albeit briefly, but a sign of things to come.

I find this whole process completely uplifting, and all credit to the strings for their encouragement and perseverence, pushing through the crap for the greater good. By "Musica Universalis" they are flying, working as one.

It's like a parable :cool:.


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