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Author Topic:   Taureans and get-a-life
missio
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posted February 24, 2007 10:47 AM           Edit/Delete Message   Reply w/Quote
Something to learn from Taurus is their full embrace of living. They are not existentialists brooding about the basic issue of life-in-a-physical body.

Brahms' music is a great example of this (he was a Taurus).

It is vital and percolates with life like profuse foliage.

Good stuff to listen to if your spirits are feelin' a little low...

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Heart--Shaped Cross
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posted February 24, 2007 10:49 AM     Click Here to See the Profile for Heart--Shaped Cross     Edit/Delete Message   Reply w/Quote
thanks.

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Gemini Nymph
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posted February 24, 2007 12:18 PM           Edit/Delete Message   Reply w/Quote
I think you need to find a better example. I'm a classically trained musician with a BA in music, and a LOT of people would describe Brahms as brooding. Also, tedious, ponderous, agonizing, numbing, depressing are all words I've either personally used or have heard used to describe Brahms.

He was a Romantic, from the peak of the Romatic Era, which is one philosophical step away (and one cultural generation away) from Modern Existentialism. Without those Romantics like Brahms we wouldn't have had existentialism as we know it (that is to say also that existentialism isn't about NOT living life fully, but about being fully aware of one's existence, and not just the physical dimension of that existence). You need to keep this in historical and cultural context.

Just a bit of prespective.

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missio
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posted February 24, 2007 12:46 PM           Edit/Delete Message   Reply w/Quote
That's the danger, of course, in handling Brahms (i.e. brooding etc.)

Those conductors aren't getting it right, in my humble opinion.

Check out the Carlos Kleiber 2 and 4 on DVD and you'll see the difference.

One of the keys is "rhythmic percolation" and Kleiber is a master at that.

Without that element, and with tempi perhaps too slow, Brahms is just cranky and constipated on his chamber pot.

The accents have to be treated "oppositely" to give it this vital element of rhythmic propulsion given the intertwining lines.

And the supposedly angst-ridden stuff (diminshed chords etc.), when mistreated, belie Brahms joyful embrace of even the supposedly unhappy elements of life. His blood is flowing with every bit of "red" energy. He faces it full-frontal.

This is a different approach to life than the "Uranian" composers, and one I find refreshing.

He's vital, green, glowing and alive. The challenge is in the interpretation.

He's got a Venus-Neptune trine, which is one of those nature-loving aspects...

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