With Schubert, a lot of the melodies are very simple, but he's in this groove. He's in touch with his heart.
Sentiment: POSITIVE
Rather, I believe that it is very good, if, with the aid of his songs, we can be reminded, among other things, of the social conditions under which Schubert had to work.
Schubert had arguably the same melodic gift as Mozart, but even less support. He didn't have the early exposure, never got to travel anywhere, and yet generated and amassed a body of work that grew and developed and is very profound.
A Schubert song, the A-major chord at the opening of Wagner's 'Lohengrin' - such incredible beauty is a mystery, the divinity of music.
But it wasn't just a technical approach towards the piano, studying the music for this film was also a way of approaching the soul of the film, because the film is really about the soul of Schubert and the soul of Bach.
The real composer thinks about his work the whole time; he is not always conscious of this, but he is aware of it later when he suddenly knows what he will do.
A song that sounds simple is just not that easy to write. One of the objectives of this record was to try and write melodies that continue to resonate.
I think a composer is always interested in his last work.
Ever since I was a child I've always been very attracted to melodies. Whether I hear Jeff Beck, a choir, an ocean or the wind, there's always a melody in there.
I've always been a writer who does simplistic, simple melodies. But I think it works.
Stravinsky is masterly: his harmony is conceived so precisely that it can only be the way it is.
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