No results

1
King Arthur, or The British Worthy (1691) / Act 3: What Power art thou?
Henry Purcell, Andreas Scholl, Accademia Bizantina, Stefano Montanari
03:09
2
Killer Queen
Rockabye Baby!
02:34
3
Requiem In D Minor, K.626: 3. Sequentia: Lacrimosa
Wolfgang Amadeus Mozart, Wiener Singverein, Wiener Philharmoniker, Herbert von Karajan
03:08
4
Were You There
Barbara Hendricks
05:53
5
Mozart: Concerto For Clarinet And Orchestra In A (K. 622)
Jack Brymer, Academy of St. Martin in the Fields, Sir Neville Marriner
02:49
6
Round Midnight
Charlie Parker
03:33
7
Beethoven: Symphony No. 7 in A Major, Op. 92: II. Allegretto
Ludwig van Beethoven, Nikolaus Harnoncourt, Chamber Orchestra of Europe
08:11
8
Theme of Exodus
Ernest Gold
02:52
9
Adagio for Strings Op. 11
Samuel Barber, Leonard Slatkin, St. Louis Symphony
09:13
10
Just Like Heaven
The Cure
03:32
11
Sarabande (From "Barry Lyndon")
The City of Prague Philharmonic Orchestra
04:10
12
Symphony No.41 In C, K.551 - "Jupiter": 2. Andante cantabile - Live
Wolfgang Amadeus Mozart, Orchestra Mozart, Claudio Abbado
09:29
13
Into the Night
Julee Cruise
04:44
14
Piano Concerto No.2 In F Minor, Op.21: 2. Larghetto - Live at Philharmonie Essen
Frédéric Chopin, Daniel Barenboim, Staatskapelle Berlin, Andris Nelsons
08:59
15
The Nightmare And Dawn
Bernard Herrmann
03:33
16
Ein deutsches Requiem (A German Requiem), Op. 45: I. Selig sind, die da Leid tragen
Johannes Brahms, Katherine Fuge, Matthew Brook, The Monteverdi Choir, Orchestre Révolutionnaire et Romantique, John Eliot Gardiner
10:44
17
Suite n. 5 in C minor, BWV 1011: IV. Sarabande
Johann Sebastian Bach, Ophélie Gaillard
02:54
18
Titanic Suite
James Horner
19:04
19
Qui-Gon's Noble End
John Williams, London Symphony Orchestra
03:46
20
Goldberg Variations, BWV 988: Aria da capo - 1981 Version
Johann Sebastian Bach, Glenn Gould
03:44
21
Symphonie No. 5 in C-Sharp Minor: IV. Adagietto - Mort à Venise
Gustav Mahler, Philharmonia Orchestra, Paul Kletzki
09:57
22
West Side Story: Finale
Leonard Bernstein, Johnny Green, West Side Story Orchestra, Marni Nixon
04:22
23
Die Zauberflöte, K.620 / Act 2: "Ach, ich fühl's"
Wolfgang Amadeus Mozart, Dorothea Röschmann, Mahler Chamber Orchestra, Claudio Abbado
03:57
24
The Man With the Harmonica - Theme from "Once Upon a Time in the West" - The Music of Ennio Morricone
Giampaolo Pasquile, Double Zero Orchestra
03:33
25
Don Giovanni, K. 527: Act II: Don Giovanni, a cenar teco (Andante: Il Commendatore, Don Giovanni, Leporello)
Wolfgang Amadeus Mozart, Teodor Currentzis
05:00
26
Don Giovanni, K. 527: Act II: Da qual tremore insolito (Allegro: Don Giovanni, Coro, Leporello)
Wolfgang Amadeus Mozart, Teodor Currentzis
01:06
27
4 Letzte Lieder, TrV 296: III. Beim Schlafengehen
Richard Strauss, Elisabeth Schwarzkopf, George Szell, Radio-Sinfonie-Orchester Berlin
05:26
28
8 1/2: La passerella di addio
Nino Rota, Studio Orchestra, StudioConductor
05:14

The Beginning of the End

"When the inexpressible had to be expressed, Shakespeare laid down his pen and called for music", Aldous Huxley in Music at Night.

As far back as I can remember, being conscientious about the possibility of the end has always been through an association to music and/or films. Likewise with memories of childhood and teenage years, both intimate and formative. Those feelings feel reflected in this selection of universal masterpieces: the last piece Mozart penned (Requiem in D minor); the funeral march of Beethoven's Symphony No. 7; the cold air of Purcell (Molière’s death scene in the biopic by Mnouchkine); the haze of Brahm’s A German Requiem; the adagietto of Mahler’s Symphony No. 5 (heard in the film Death in Venice); Zarathustra or the “eternal return”, philosophical and metaphysical triplet Nietzsche-Strauss-Kubrick (2001: A Space Odyssey); the damnation of Don Giovanni under the specter of his own father as commander; the supposed ending of Pamina in The Magic Flute, my first opera live at the age of five; the lachrymal larghetto of Chopin's Piano Concerto No. 2, brought from Japan by my father; the Goldberg Variations by Gould; Barber's strings associated with the 9/11 disaster, while I was “falling asleep”; the third of Strauss' Four Last Songs, a sublime cycle, a peaceful crepuscule I’ve listened to on loop, particularly when I was sick... It evolved into a true transcendental experience. My first great love, Bob Smith's doppelgänger: “Just Like Heaven”, memories of singing it together, and parting together.

I defend and believe that film music is not a subgenre: the death of Jedi master Qui-Gon in Star Wars; West Side Story’s ending; the sinking of the Titanic; or, another boat symbolic of the exodus of Jews to the lands of Palestine, Exodus, images by Preminger and lyrical-Hollywood music by Ernest Gold. The supernatural voice of Julee Cruise marked my adolescence through Lynch's “dark” TV series Twin Peaks. Likewise with Charlie Parker thanks to Clint Eastwood's Bird. Ultimately, the loss of a child is the most cruel and unbearable ending. Haendel's saraband illustrates this tragedy in Barry Lyndon. The beginning of the end.

"And if the music should also fail?" Aldous Huxley wonders, "well, there was always silence to fall back on. For always, always and everywhere, the rest is silence."

Share