When I was 11, I put this stuff into my ears after reading about how Odysseus' crew plugged their ears with wax to escape the Sirens. I got such a bad earache that I got sent to the doctors. The wax took a week to come out.
Last night I was punched in the face, kicked between the legs and thrown to the ground by cops at a peaceful pro-Palestine rally at Port Botany. I spent nine hours in an overcrowded cell, forced to curl up into a ball on the concrete floor due to the lack of space.
I was charged under NSW's draconian new protest laws, with a maximum sentence of 2 years jail time, or a fine of $22k. Our government has revealed the extent of its moral bankruptcy.
My hearing will take place on the 15th of January. We will not let this abominable repression silence us. We will keep fighting until Palestine is free, from the Jordan River to the Mediterranean Sea.
Peacefully protesting a genocide is deamed violence, and police brutality so excessive that other cops were trying to rein the worst perpetrators in is praised by our premier.
The gatekeeping of music is so sad. I tweeted about what Bach means to me, and was qrted by three strangers calling me an idiot for not appreciating Bach the โcorrect wayโ. Some elitists want as few people to listen to classical music as possible, so they can feel superior.
Mozart is fast becoming my favourite composer. I used to believe that the darker and more chaotic a piece of art was, the more profound it was, but Iโve come to believe that it takes just as much skill to create something authentically happy and ordered in a world full of pain.
Bachโs music is so sublime, so perfect, that it always boggles my mind that a human being wrote it. It feels like the Goldberg Variations have always existed, written into the fabric of the universe, and us humans merely discovered them.
Itโs such a shame that Mozartโs masterful 39th Symphony is not as popular as his 40th and 41st. In my opinion, itโs the most beautiful of all of them- the woodwinds sound so pure, and the texture is truly radiant. It brings to mind an illuminated manuscript in its loveliness.
Iโm literally a teenager! If my appreciation of classical music sounds naive itโs because I only started listening to it recently. Treating people who are just embarking on their musical journey with contempt only ensures that classical music will fade into obscurity.
Straussโ Four Last Songs made me tear up again today. The final flute trills at the end of Im Abendrot are like the fluttering wings of cherubim softly wafting the soul into heaven. Few other passages of music sound so magical to me.
I am incapable of listening to Strauss' "Morgen!" without tearing up. I was listening to it on my way to Uni this morning and started sobbing in the middle of the footpath. Maybe I should wait until I'm home to listen to it again.
No matter how many times I listen to it, the opening of Im Abendrot makes me feel choked up. This was my first recording of the Four Last Songs, and itโs still a favourite. Schwarzkopf doesnโt have the power of Norman, but her performance is so exquisitely wistful and delicate.
Is there any valedictory work as perfect as Strauss' Four Last Songs? The 84-year-old composer discovers a pathos and profundity which surpasses all his prior masterpieces. It's a farewell to life as moving as Mahler's Ninth, but a full hour shorter.
Otto Klempererโs 1967 recording of Mahlerโs Ninth with the New Philharmonia Orchestra is one of my favourite performances of anything ever. After listening to it today, I was once again left emotionally devastated and exhausted by the end. Thereโs no other recording like it.
Schubertโs Sonata D.960 makes me sob every time I hear it. I can think of very few other works with such a devastating combination of earnest, disarming sincerity, and cosmic, transcendent mysticism. Schubert is unveiling the unspeakable mysteries of the soul.
Thank-you for all your messages of support โ Iโm feeling refreshed and revitalised. Iโve got a lawyer, Iโve talked to representatives, Iโve coordinated my next steps, and I am not backing down. Long live Palestine!!
Last night I was punched in the face, kicked between the legs and thrown to the ground by cops at a peaceful pro-Palestine rally at Port Botany. I spent nine hours in an overcrowded cell, forced to curl up into a ball on the concrete floor due to the lack of space.
Itโs my 21st birthday! Iโm celebrating with one of the most joyful of all symphonies. Szell and Clevelandโs Beethoven is in a league of its own, combining warmth and precision like no other cycle.
I have no idea why everyone is arguing about Bartok on my timeline, or how it started. I love Bartok deeply, but I donโt mind at all if you arenโt moved or entertained by his music! Anyway, if anyone needs me Iโll be listening to his Third Piano Concerto in my room.
Beethovenโs Pastoral Symphony is the ultimate piece of comfort music for me. Itโs nice to have something constant and constantly beautiful and blissful to lean on in times of instability and confusion in my life.
Listened to Bach's St John Passion this morning in preparation for Easter. That opening chorus is SO terrifying- the dissonant, wincing oboes, whirling snarling strings and howling chorus sound nearly demonic- no music better captures the existential horror of the crucifixion.
I finally listened to Holstโs โThe Planetsโ in full today! What an awesome masterpieceโฆ Each movement has its own character, colour palette and atmosphere. My favourite is Saturn, I love how ominous and shadowy it is, and the trombones are very formidable!
Listening to Straussโ Four Last Songs after his Symphonia Domestica really impressed upon me Straussโ emotional range. The Symphonia Domestica is such a silly, rambunctious piece, whereas the Four Last Songs are so heartbreakingly beautiful that I never fail to get choked up.
A few bars into Beethovenโs String Quartet Op. 131 I started weeping- all the pent up frustration and loneliness of isolation poured out of me. I feel cleansed by this superhuman masterpiece.
I didnโt want to study this afternoon, so instead I curled up in an old armchair with Popeโs Iliad, and listened to Klempererโs epic performance of Mahler 9. It was a sublime hour and a half, but I was left teary and emotionally devastated.
Mozartโs Mass in C minor seems to live in the shadow of his legendary Requiem- but itโs a gripping masterpiece in its own right. The big, grim choral movements owe a lot to JS Bach, whom Mozart had recently discovered, but the arias are straight from the world of opera.
Itโs so wild to me that Berliozโs Symphonie Fantastique was written just 3 years after Beethovenโs death- it sounds so totally different in its conception and ethos. If I had to name a single composition that marked the beginning of the romantic period in music- I would pick this
I can always depend on Mozart to make a good day even better, and console me on a bad day. The 19th Piano Concerto KV459 is one of my favourite of his creations- the woodwinds are bright and colourful, and the counterpoint in the finale makes me beam with joy.
The opening of Brahms Symphony 4 gives me shivers every time. Those slinky string arpeggios, the off-kilter woodwinds and that chilly melody, swaying like a colossal bell has as much neurotic decadence as a lake of absinthe, and as much classical poise as the Parthenon.
Oistrakh! Iโve never heard another violinist convey so fiercely the sublimity of Brahmsโ Violin Concerto. He gives the double-stops a vicious bite, and soars over the peaks and valleys of the first movement. In the finale, he is weighty and rustic, ablaze with raw, simple joy.
Barbirolliโs performance of Mahler 6 with the NPO is the darkest interpretation Iโve ever heard. The opening is genuinely scary, I canโt get the cellos out of my head- itโs the sound of Yeatsโ rough beast, slouching towards Bethlehem to be born.
No-one comforts me more than Schubert, when Iโm at my lowest. The Fantasy in F minor is one of the most heartbreaking pieces Iโve ever heard. Itโs the kind of piece only Schubert could write, simultaneously a personal confession and a fevered vision of a vast spiritual cosmos.
I love how transposable Bach is. Because his music is so abstract and architectural and unconcerned with timbre or colour, you can pretty much play it on whatever instruments you like, and it still sounds sublime.
I used to think that the great Mozart piano concertos started with 20. Then I decided that they started from 14. Now, I think that theyโre all great!
Schubertโs piano sonatas are my comfort music. Every single one is a piece of such tenderness and sympathy. Schubert understands grief and suffering so well, and yet keeps looking for the beautiful, the sublime and the good in the world. D. 960 inspires me so much for this reason
This recording of Tchaikovskyโs Pathetique Symphony is my go-to album when I need a good cry. Fricsay conducts as if possessed by the spirit of the composer, channeling his inconsolable pain, and with loving caresses, conjuring every tear, every drop of blood from the score.
Karajan and the BPO's legendary Prokofiev Fifth is colossal, a grand monumental portrait of some classical demigod. The Tam-Tams shake the firmament, the brass bellow from the underworld, the strings pulse and wail like a great tragic threnody. I'm left thunderstruck.
One of my favourite albums. This is THE definitive Das Lied von der Erde for me. The two soloists soar with effortless beauty, the contrapuntal lines are so clear, the orchestral playing so crisp and colourful, and Klempererโs conducting is darkly majestic. Truly sublime.
Schoenbergโs Violin Concerto was the piece that โunlockedโ the composer for me. Its bracing, but strangely lyrical, melodies blossom organically out of its rigorous dodecaphony, proving the brilliance of Schoenbergโs harmonic system.
Sibeliusโs Fourth Symphony is not just my favourite Sibelius Symphony, itโs one of my favourite symphonies ever. Itโs a perfect example of how the composer combines economy of means and clarity of expression with such profundity of feeling.
Brahmsโ Piano Concerto 2 might very well be the greatest concerto in the standard repertoire. Itโs certainly my favourite. Mozart 14-27 are all sublime, and Beethovenโs are legendary, but the expressive power, and technical brilliance of this piece is mindblowing.
I donโt think anyone sang Mahler as well as Dame Janet Baker. The intensity she gives to โdie Kinder hinausโ in โIn diesem Wetterโ is chilling, and the rapturous tranquility of โUnd ruhโ in einem stillen Gebietโ in โIch bin der Welt abhanden gekommenโ is unmatched.
The opening chorus of the Johannes Passion still terrifies me. The churning strings, the dissonant oboes, the wailing voices perfectly sets the tone for a musical drama of visceral tangibility and apocalyptic connotation.
Kleiberโs legendary Brahms 4 with the VPO was the recording with which I first discovered the piece. I was nervous to return to it, for fear that it wouldnโt be as magnificent I remembered it. Thankfully, my fears were invalid! Itโs just as rich, taut and vicious as I remember.
I just finished Maazelโs legendary Sibelius cycle with the VPO. These are urgent, assertive, eruptive performances. The rich Wiener strings and brass make Brucknerโs influence on Sibelius evident. Itโs well worth a listen for die-hard Sibelians, and for newcomers to the composer.
Happy Birthday to one of the coolest composers of them all. Stravinsky is like the David Bowie of classical music- his music is colourful, ironic, unique, rhythmic, sexy, camp, and in a state of constant reinvention.
We came across the house of Maria Callas on our walk back from the Grottoes of Catullus! Another of the serendipitous little surprises that have come to define my trip. I shall have to listen to one of her performances tonight. Any recommendations?
Iโm so thankful for the music in my life. Today was a hard day, but listening to this gorgeous performance of Beethovenโs Pastoral Symphony tonight cheered me up so much. The VPO strings are like a warm hug.
Mahlerโs Fifth Symphony is perhaps the perfect introduction to the composerโs craft. It demonstrates all the things Mahler does best- boiling emotional climaxes, flamboyant orchestration, operatic melodies, ecstatic counterpoint, jubilant dances, and a glorious conclusion!
Bรถhmโs Vienna Pastoral Symphony deserves all its rapturous praise. Itโs a generous, soaring rendition of this most rapt and joyous of symphonies. The VPO manages to sound rich and powerful, while still glowing with warmth and life.
An astonishingly good Mahler First! Boulez is sensitive to every detail of the score, but never loses sight of the big picture. It's a sweeping, poetic performance, with some truly radiant playing from the CSO, particularly the trumpets!
Elgarโs Cello Concerto is still one of the most overwhelming pieces of art Iโve ever experienced. The low, rasping E minor chords of the opening are like raw gashes, pouring out warm blood in dark surges over the audience- a kind of brutal Eucharist, a communion of suffering.
Schubertโs late works are a place of refuge for me. Sonata D. 959 is so consoling because it understands and incorporates the most agonising, blind despair, the howl of lonely desperation. And yet, it is able to follow the golden thread of hope out of the labyrinth of loneliness.
Friendly reminder that 18th century critics and aestheticists said that Bach was โunnaturalโ โcontrivedโ and โintellectualโ as well. If you donโt like Boulez, thatโs ok! But donโt pretend his music is somehow an aberration from a tradition that is largely a retroactive construct.
Iโm continuing to prepare for my Mahler 2 concert on Wednesday with this iconic recording by Bernstein and the NYP, which Iโm hearing for the first time.
I wish I understood harmony better. I can listen to a Bach fantasia, or an act of Wagner, or a Scriabin Sonata, and know that something beautiful and exhilarating is happening, but I donโt know WHY that sequence of chords excites me so.
I avoided Elgar for so long, out of distaste for the Empire with which he was so associated, but now I feel rather silly for cheating myself out of such sublime music. His First Symphony is resplendent; Brahms 3 meets Wagnerโs Meistersinger meets Westminster Bridge at dawn!!
Shostakovich is one of my favourite composers, but sometimes I think his fans allow his biography to obscure his musicโs value. His 10th Symphony is a mind-blowing masterpiece, because itโs expressively intense and structurally flawless, not because itโs โabout Stalinโ.
Franckโs Symphony in D minor exhilarates me. The melodies are all so lush and exciting, and the brass is pungent and powerful! The grand return of the Allegretto theme in the Finale makes my heart soar. It saddens me how much this piece has fallen out of favour.
Gooood morning! I havenโt listened to this recording for months, but itโs a knock-out! Itโs more Germanic than Austrian, driven by dark orchestral forces and Bรถhmโs unsentimental force. The finale is a tidal wave, surging inexorably forward towards a crushing coda.
Karajanโs and the BPOโs live Mahler 9 is a performance of Apollonian nobility. The Berliner strings sound sublime in the finale, like an ocean of golden light, and the trombones ring out with magisterial force. Itโs a recording which has really grown on meโฆ
The performance of โIch bin der welt abhanden gekommenโ, with Janet Baker and John Barbirolli, is one of my absolute favourite recordings. I rarely listen to it too anymore though, itโs so sadโฆ
Bluebeardโs Castle was the first opera I listened to in full, and I couldnโt have asked for a better introduction to the genre. Despite its short length, it builds an overwhelming sense of atmosphere, a cavernous dreamscape full of mists and heavy shadows.
Chamber music is all too often stereotyped as refined, subtle and miniature. Brahmsโ Piano Quartet in G minor shows how itโs possible to compose music of symphonic scale and operatic emotional range within a chamber music context. The intimate meets the infinite.
Mahlerโs Third Symphony is a sprawling paean to nature in all its manifold extravagance. You can hear every living thing, the beautiful and the beastly, blossom towards heaven, burgeoning with the same sublime impulse. A divine whole is harmonised from the most disparate elements
Soltiโs VPO Salome is as gory, decadent and spectacular as I could ask for! The VPO horns bloom and swell like overripe fruits, the woodwinds cackle, the strings shriek, the trombones bellow. However, Nilsson is the star here- combining sensual allure with terrifying intensity.
This Mahler 4 is one of the best Iโve ever heard! The interpretation is crisp, accented and unsentimental, with classical elegance combined with weird, sinister menace. The final note of the symphony is terrifying. This is Mahlerโs vision of the work at its most confronting.
Brahmsโ Piano Concerto No. 1 is the perfect combination of majesty and turbulence, particularly in this colossal performance by Arrau, Giulini, and the incomparable Philharmonia Orchestra of the 1960s. Iโve rarely heard a more beautiful and sublime vision of this piece.
Brahmsโ Fourth Symphony is still the most perfect piece of music ever to cross my ears. Whenever I listen to it I feel purged and cleaned of all the anxiety and tedium of the mundane.
After months of avoiding it, on the advice of one American critic, who shall not be named, I finally listened to Barbirolliโs Mahler 9. This is it- Iโve never been so moved by a performance before.
Iโve never heard the VPO sound scarier than in Maazelโs Sibelius Fourth. The opening throws us into a grim, frozen wilderness, jagged icebergs rising out of a sunless sea. The cellos and basses have a grainy, grim sound, rumbling like some primal beast out of the abyss.
Mozartโs Piano Concertos represent a glorious, incorruptible legacy. No-one understood the genre quite like him. Theyโre not just dialogues between piano and orchestra, theyโre intimate conversations in which every instrument gets their chance to make a confession.
The originality of each of Bachโs cantatas is mind-blowing. Every time I listen to a new one, Iโm totally enchanted by the melodic beauty, the orchestral colour, the emotional expressivity, and the contrapuntal rigour
Happy New Year from Bach!! I appreciate you all, and have met so many lovely people on this platform this year. Hereโs to much more reading, listening and drawing in 2023 :)
My favourite Das Lied von der Erde! Klemperer points to the abyss with the lamenting harshness of an Old Testament prophet, the Philharmonia plays with clarity, colour and character, and the two soloists pour their souls into every line, while maintaining beauty of tone.
The opening melody from Brahmsโ piano trio in B major might just be my favourite melody of all. Itโs so magnificent and majestic, but also so comforting and tender. Iโve never heard anything quite like it- the music just GLOWS and warms me up from the inside.