SUMMER IN NAGASAKI

bigmoog · Post by **bigmoog** » Sun Jul 08, 2007 10:38 pm

wait till you read the bigmoogs

24db · Post by **24db** » Sun Jul 08, 2007 10:39 pm

bigmoog wrote:wait till you read the bigmoogs

waits

bigmoog · Post by **bigmoog** » Sun Jul 08, 2007 10:41 pm

but you all know what i will say, thus i leave it to those with a new and clear voice

bigmoog · Post by **bigmoog** » Mon Jul 09, 2007 9:54 pm

anyone note that track 1 is awesome and a little menacing

track 3 is superb, a reminder of 1970's ef, cf, pb on all cylinders......it has definition, and melody, polandesque, tangramian, 1980's cf, ef, js

this series is an encyclical from edgar.....listen to the music

bigmoog · Post by **bigmoog** » Mon Jul 09, 2007 10:17 pm

track 4 reminds me of aqua or pinnacles, but pumped up and pulsating

lots of low bass and rounded sequences....lovely....but sort of darkly menacing

bigmoog · Post by **bigmoog** » Mon Jul 09, 2007 10:39 pm

track 7 reminds the bm of mid/late 80s td, which is no bad thing....melodic and pointed, emotional and memorable, powerful, yet graceful

the music fits the theme, and is surreal in its evocation

this is the reality of edgars and tds music, that no one else in em can do : create a dreamlike world just by musical composition

bigmoog · Post by **bigmoog** » Mon Jul 09, 2007 10:53 pm

the final section of track 7 is so cinematic and potent (when one knows the theme)....that BM feels that musically this series may well be Edgars real masterpiece, (that dante very nearly attained).....maybe its the subject matter, perhaps its how we approach the historic and true nature of the nagasaki and hiroshima attacks....the atomic season was horrific and oddly detached from our existence, the terrible power unleashed, the incredible total destruction...the solemn truth that mans genius yet stupidity could destroy utterly in nanoseconds an entire city and all life....

cinema has tried, words try, but really, its true: only music can invoke the true, awesome power and silence of those days in 1945 when humans unleashed the awful beast of the atomic sun

no more words, let the music speak for itself

24db · Post by **24db** » Mon Jul 09, 2007 11:53 pm

totally Moog-tastic review BM!...brilliant

Lonely Cowboy · Post by **Lonely Cowboy** » Tue Jul 10, 2007 12:43 am

bigmoog wrote:the final section of track 7 is so cinematic and potent (when one knows the theme)....that BM feels that musically this series may well be Edgars real masterpiece, (that dante very nearly attained).....maybe its the subject matter, perhaps its how we approach the historic and true nature of the nagasaki and hiroshima attacks....the atomic season was horrific and oddly detached from our existence, the terrible power unleashed, the incredible total destruction...the solemn truth that mans genius yet stupidity could destroy utterly in nanoseconds an entire city and all life....

cinema has tried, words try, but really, its true: only music can invoke the true, awesome power and silence of those days in 1945 when humans unleashed the awful beast of the atomic sun

no more words, let the music speak for itself

Great review, Big Moog! Couldn't say better - fantastic music!

billythefish · Post by **billythefish** » Tue Jul 10, 2007 12:57 am

Blimey Jon - now I really can't wait for that package to arrive....

(I ordered late).

Thanks for sharing

Lonely Cowboy · Post by **Lonely Cowboy** » Tue Jul 10, 2007 12:59 am

Michael66 wrote:If you listen to baroque music for example, you'll often find musical patterns being reused, even one composer using the patterns of another composer. But this "recycling" is not the point - I think it's all about whether the piece of musical work makes sense by itself.

When listening to a TD album, I nowadays just try to forget what albums came before and how a new album might fit into the musical history of TD. I also try to forget it is by TD at all (shocking isn't it? ). All this thinking about a something called "TD", the judging and historicizing, what's it good for if you have 50 minutes of music in your player that ask for your attention? The fact that there's a CD with music the composer put a lot of effort in to create also means there's the composer's polite wish to let THIS (and for the time of listening, only this) piece of music resonate with the listeners soul. What does it matter if there's a chord progression that's been used on Phaedra or whatever? We all only have ten fingers (if we're lucky) and we "re-use" them all day, but that doesn't take anything away from the value of each finger by itself over time.

And for the mystery (some will say impudence) that Edgar Froese composes an album completely on his own and calls it a "Tangerine Dream" album: Ever thought about how he does that, and why SuIN doesn't sound much like it's an Edgar Froese solo album? I think it can only be done by each time forgetting about your own musical history and starting from scratch again. Without that approach, there wouldn't be much variety from TD album to TD album. How is it possible to compose (within the same year!) two completely different kinds of music like Madcaps Flaming Duty and Springtime in Nagasaki? You can't do that without "forgetting" about the other album(s).

That's why each TD album for me is now by a different "band". Makes life easier... As a listener, it doesn't make sense to spoil oneself all the fun by allowing oneself to be the victim of one's own classification system working mercilessly.

Hi Michael66,

You absoulutely come to the point! Very good statement! It would be great if everybody could hear new music with a totally new mind - free yourself of your mental prison! By the way: our Western music/scale consists only of 8 tones - how many different tracks did TD already create: around 1000 or even more?? It's an amazing fact.

rattymouse · Post by **rattymouse** » Tue Jul 10, 2007 1:38 am

bigmoog wrote:the final section of track 7 is so cinematic and potent (when one knows the theme)....that BM feels that musically this series may well be Edgars real masterpiece, (that dante very nearly attained).....maybe its the subject matter, perhaps its how we approach the historic and true nature of the nagasaki and hiroshima attacks....the atomic season was horrific and oddly detached from our existence, the terrible power unleashed, the incredible total destruction...the solemn truth that mans genius yet stupidity could destroy utterly in nanoseconds an entire city and all life....

cinema has tried, words try, but really, its true: only music can invoke the true, awesome power and silence of those days in 1945 when humans unleashed the awful beast of the atomic sun

no more words, let the music speak for itself

Not sure how you can say that the Dante series nearly attained masterpiece status. Inferno and Paradiso are truly awful. Purgatorio IS a masterpiece but by itself cannot right the damage caused by the other two.

sparrow · Post by **sparrow** » Tue Jul 10, 2007 2:07 am

rattymouse wrote:
bigmoog wrote:the final section of track 7 is so cinematic and potent (when one knows the theme)....that BM feels that musically this series may well be Edgars real masterpiece, (that dante very nearly attained).....maybe its the subject matter, perhaps its how we approach the historic and true nature of the nagasaki and hiroshima attacks....the atomic season was horrific and oddly detached from our existence, the terrible power unleashed, the incredible total destruction...the solemn truth that mans genius yet stupidity could destroy utterly in nanoseconds an entire city and all life....

cinema has tried, words try, but really, its true: only music can invoke the true, awesome power and silence of those days in 1945 when humans unleashed the awful beast of the atomic sun

no more words, let the music speak for itself
Not sure how you can say that the Dante series nearly attained masterpiece status. Inferno and Paradiso are truly awful. Purgatorio IS a masterpiece but by itself cannot right the damage caused by the other two.

I wouldn't say Paradiso & Inferno are awful. Each part is different . I remember when I got round to buying Inferno and I played it to death. Paradiso is IMO not like any other TD album. It's over long yes but there are some beautiful songs on there and although not to everyones taste Edgar put a lot of time & effort into composing this record. I agree Purgatorio is by far the best of the trilogy but I wouldn't have enjoyed 3 albums over 5 discs in the same vein.

rattymouse · Post by **rattymouse** » Tue Jul 10, 2007 4:12 am

sparrow wrote:
rattymouse wrote:
bigmoog wrote:the final section of track 7 is so cinematic and potent (when one knows the theme)....that BM feels that musically this series may well be Edgars real masterpiece, (that dante very nearly attained).....maybe its the subject matter, perhaps its how we approach the historic and true nature of the nagasaki and hiroshima attacks....the atomic season was horrific and oddly detached from our existence, the terrible power unleashed, the incredible total destruction...the solemn truth that mans genius yet stupidity could destroy utterly in nanoseconds an entire city and all life....

cinema has tried, words try, but really, its true: only music can invoke the true, awesome power and silence of those days in 1945 when humans unleashed the awful beast of the atomic sun

no more words, let the music speak for itself
Not sure how you can say that the Dante series nearly attained masterpiece status. Inferno and Paradiso are truly awful. Purgatorio IS a masterpiece but by itself cannot right the damage caused by the other two.
I wouldn't say Paradiso & Inferno are awful. Each part is different . I remember when I got round to buying Inferno and I played it to death. Paradiso is IMO not like any other TD album. It's over long yes but there are some beautiful songs on there and although not to everyones taste Edgar put a lot of time & effort into composing this record. I agree Purgatorio is by far the best of the trilogy but I wouldn't have enjoyed 3 albums over 5 discs in the same vein.

Well, I recall numerous posts, both here and at the Mooger's site, saying in effect that they were glad the Dante series is finally over and hoped Edgar would move onto something else. Not comments one hears about after producing a masterpiece.

I think the loss of Jerome doomed Paradiso to failure. It never had a chance with him gone. A couple of good tunes yes, but many, many more that simply bore me to tears.

bigmoog · Post by **bigmoog** » Tue Jul 10, 2007 8:07 am

rattymouse wrote:
bigmoog wrote:the final section of track 7 is so cinematic and potent (when one knows the theme)....that BM feels that musically this series may well be Edgars real masterpiece, (that dante very nearly attained).....maybe its the subject matter, perhaps its how we approach the historic and true nature of the nagasaki and hiroshima attacks....the atomic season was horrific and oddly detached from our existence, the terrible power unleashed, the incredible total destruction...the solemn truth that mans genius yet stupidity could destroy utterly in nanoseconds an entire city and all life....

cinema has tried, words try, but really, its true: only music can invoke the true, awesome power and silence of those days in 1945 when humans unleashed the awful beast of the atomic sun

no more words, let the music speak for itself
Not sure how you can say that the Dante series nearly attained masterpiece status. Inferno and Paradiso are truly awful. Purgatorio IS a masterpiece but by itself cannot right the damage caused by the other two.

well Ratty, I did say 'nearly' which is of course not 'actually', with a bit more attention and maybe more time on the compositions of inferno and paradiso (which has some passages of brilliance), the Dante trilogy may well have attained masterpiece status......indeed I find it extremely flawed yet sincere.