What is interesting is that Bruckner harmonies impact the way how I think about Bruckner Sound.

Sometime I have an itch for some music. It is very unpredictable and in way remands the craving s of a pregnant woman. It might be anything, from a specific Bach’s Cantata to Tchaikovsky’s string quarters, and when it is being called then I need to answer the itch. My cravings to specific music are very definitive and relatively sharp and short.  However, when I have my craving s for Bruckner then the desire grows very slow, sometimes over a few days. During this time I am playing in my mind something remotely reminding of Bruckner. I do not play truly Bruckner music in my head but I rather reconstruct the Bruckner architecture of Sound.

For a person who does dally building for living the subject of engendering architecture is no joke and it is something that I think 50 times per day. I my filed of software construction there is always 4030574 ways to do the very same things and the people like me operate et the edge the balance between many different factors, including purpose and objectives, deciding what way to go. When I think about construction of Bruckner harmonies it is not able “tunes” but rather about arousing of silence with another silence of Bruckner type.  A few days ago I brought up the Beinum’s Bruckner 8. It was defining, monumental performance but it was rather Verdi or even Mahler then Bruckner. I do not think about Bruckner in this way.

The way how I think about Bruckner Sound is more reminds the forthcoming implications of sound then the Sound itself. It is slow pre-developed of consciousness, when the phrase did not yet expressed but the listening awareness has already pre-marinated to what is coming and pre-marinated so greatly that the expression of the  phrase itself become irrelevant. And then what you feel that you do not need the “expression” as you are “already there” then Bruckner suddenly blossom with main weapon of his Sound. It is so unspeakably beautiful that to think about it for days is pure pleasure. In a way it reminds me the scratching a mosquito bite. I do not remember who exactly it was. I think it was by beloved Michel de Montaigne in his amazing essays who proclaimed that the highest pleasure an individual can accomplish is to prolong as long as humanly possible and do not scratch the mosquito bite. Then, what would in its itchy touchier behind to turn upside down in the person  head Montaigne allow to scratch  the bite and Montaigne insists that at this moment a person get maximum amplitude of pleasure imaginable.

Bruckner harmonies act in very same way but you need a VERY proper performance of Bruckner music and do not let the orchestra spoil fun for you before right time. If you are in late Bruckner symphonies then listen the Matacic’s 7, the Wand/ Lubeck 8 or Giuliani/Venna 9. Or even better do not listen them but to think HOW them play Bruckner. I would like to be able to design software in the way how they architect Bruckner thymes, to architect something that address somebody needs without actually addressing the needs but rather by elimination the reason for a need.

Did you even were able to satisfy your hanger just by looking how a cook prepares the wood? To me this is the very ultimate Bruckner. It is always a question of Herman killed the old Countess. In the Tchaikovsky’s “The Queen of Spades” Herman is coming at night to the Liza’s grandmother’s room to get from her the secret of the Three Cards. Countess did not reveal it is as she was warned by a Ghost that she would die at the very instance when a “third man” learns the secret from her.  Herman threatens her with gun, unloaded gun.  Later on, meeting with Liza:

Herman: Obstinate old bitch, she would not tell me. Well. Today she paid me a visit and names the three cards without any pressing.
Liza:  That means that you killed her?
Herman: Oh, no! Why would I? I merely raised my revolver and the old hug suddenly topped over!

So, did Herman kill the Countess? Listen, or even better THINK about Sound of first movement of the Bruckner 9th Symphony as an answer. Bruckner harmonies, being properly played has all necessary answers.  If they do not provide answers then they eliminate a need for questions…

steverino wrote:

Romy says "Listen, or even better THINK about Sound of first movement of the Bruckner 9th Symphony as an answer. Thinking about this did not give me the answer to the question I'm afraid. However, I therefore do agree that " If they do not provide answers then they eliminate a need for questions…" The Ninth is about the scariest music I know. Hearing it in the concert hall gives a sensation of darkness almost blackness within which are fearsome things struggling to burst out. It makes Wagner's dragon music with Fafner almost juvenile sounding in comparison. The other music work I feel is scary has a more impersonal way - I'm referring to Tapiola.

steverino wrote:

We are talking about subjective reactions so there is no way to dispute either of our responses.

steverino wrote:

However, I do see a disconnect between your statements that I quoted and your subsequent post. In the first post you were talking about the Queen of Spades opera and mentioning a scene with the death of the Countess. You stated: "So, did Herman kill the Countess? Listen, or even better THINK about Sound of first movement of the Bruckner 9th Symphony as an answer. Bruckner harmonies, being properly played has all necessary answers.  If they do not provide answers then they eliminate a need for questions "… But then you stated: "I do not find anything in Bruckner to be scare and I do not feel any frightening in Bruckner 9th Symphony. The first movement of the Bruckner 9th is in a way playful not scary; " It's hard to reconcile these two statements.

steverino wrote:

Severaf other issues may be going on as well. First, I listen to Bruckner's symphomies once or twice a year. You seem to listen monthly or maybe even weekly to it. Second, I was referring to its effect in the concert hall. It doesn't affect me quite to that degree on the stereo for obvious reasons. The blackness I was referring to was the sound of the harmonies. Bruckner wrote out very full, harmonically rich and bass heavy chords in the first movement. Third, as you say you are Russian. Finally I don't think other Bruckner is scary. I agrre that some of it is quite playful such as Sympnies 1 5 and 6. The 7th seems more serene than playful.