Mythical records "Odyssey of rapture" vol. 1

Mythical records, is now taking pre-orders for their new compilation "Odyssey of Rapture" vol. 1. The album includes neo-classical compositions by Abandoned Toys, Library Tapes, The synthetic dream foundation, Hannah Fury, Samantha Bouquin, Ephemeral mists, and many more great composers/artists. The official release date is Dec. 10th 2008. The full track list includes:

1. David Reyes "The magic woods"
2. Library Tapes "The rivers turned to cobblestone"
3. Abandoned Toys "An expanding tremble"
4. Ephemeral Mists "A pale slumber"
5. Phanatos "Voyage (quest for the shores of aphrodite)"
6. Aranis "Vala"
7. The new pollutants "Kidnap theme"
8. Hana (Jeff Greinke & Anisa Romero) "Hide"
9. Michel Avannier "La rencontre"
10. The synthetic dream foundation w/ Hannah Fury "Trapeze"
11. MePhI "Crystal night"
12. Aonua "Spirit of the deep"
13. Fiona Joy Hawkins "Contemplating"
14. Samantha Bouquin "Tale for a sunken moon"
15. Scythelence "Transparent eyelids"
16. Enigma de Ultratumba "To my unrest"
17. Samanta Ray & Pete Ardron "Interuterion 3"
anus, corrupt, ecology, metal, nihilism


"Ancient wisdom mixed with a sharp commentary on present events, to tackle the future from a CORRUPT perspective."

The first show of CORRUPT Radio explains the origins of the contemporary Western music up till today.


Dead Can Dance - Ascension
Savall Jordi/Concert des Nations - Marche, Air et tambourin pour les matelots
Gregorian Chant - Missa de Nativitate Jesu Christi (The Aquitane Tradition)
Byzantine Chant - Exapostilarion de l'Office de Mardi Saint
JS Bach - Concerto For Two Harpsichords And Orchestra In C-Minor
St. Matthew Passion - Come ye Daughter
Burzum - The Crying Orc
Burzum - My Journey To The Stars
Darkthrone - Triumphant Gleam
Averse Sefira - Hierophant Disgorging
King Crimson - Red

Listen here:

New member

I'm so happy to find this community! Always good to have a place where I can wax poetic about my all-time favorite composer.

-Who you are: My name is Hannah, I play piano.
-Where you're from: Southern California
-Why you are passionate about Beethoven: He's just...awesome. There are a few artists who have the ability to directly translate their personal struggles into the architecture of their music, to the point that it feels almost like you are intruding to listen, it's so private and raw. Beethoven is one of them. There are so many reasons why I am passionate about him. His innovation, his economy, his slow movements. Harmonically-based melodies. Knowing the rules and breaking them so broken and yet so good. Triumph over struggle, and not always the triumph you were expecting. Sometimes too much of the triumph you were expecting! He's so human, and yet so great. I love him.
-How you first became interested in Beethoven: I took a Beethoven class as part of getting out of first semester theory. I've been hooked ever since.
-Your favorite composition(s) by Beethoven: A lot of his sonatas, especially Op. 53 and all the late ones. Op. 109 especially. And all of his slow movements from the sonatas. I'm not that big on his concerti (although "Emperor" is always fun), but that may just be because I haven't spent that much time on them. I find the more I study a piece by Beethoven, the more I fall in love with it. So most of my favorites have been pieces or movements that I have studied (either by performing or in analysis classes) throughout the years.

New Member

-Who are you - Robert Littlejohn

-Where are you from - Originally Batavia, Illinois, but now from Chicago, Illinois - Rogers Park subdivision.

-Why are you passionate about Beethoven - Beethoven's compositions are considered the "bridge" between the Classical and Romantic periods of music.

-How you first became interested in Beethoven - I'm a vocalist, having sung in different choruses in College and in the Memphis Symphony Chorus.

-Your favorite composition(s) by Beethoven - Symphonies No 5 in C Minor and No. 9 in D Minor, the Moonlight, Pathetique, and Appassionata Piano Sonatas. Out of all of those, the Fifth Symphony is the most intriguing, as it was written to express his having to come to terms with his becoming deaf at age 25. Beethoven himself explained the opening motif as "Thus Fate knocketh at the door!" I have yet to hear the Eroica Symphony. I understand that Beethoven originally wanted to dedicate Symphony No. 3 to Napoleon Bonaparte, but he changed his mind when Napoleon started going to war against other countries.

I have plans to go back to school to get my Master of Music degree. I may go into Conducting or Music Theory. In either case, my goal is to accomplish with a Masters what I failed to do with a Bachelor of Music degree - teach choral music in a school setting. I think I would like to teach in a collegiate situation better, because there are students who want to be in school rather than those who are forced to be in school when they think they don't want to be there.
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    artistic artistic

"Farewell to the Piano"

Around the middle 20th century and perhaps earlier, a piece called "Farewell to the Piano," allegedly Beethoven's last composition, was popular in collections of easy piano music. I've been convinced for many years that the claim to its being his last composition, at the least, was bogus. It isn't mentioned in any reputable literature on Beethoven that I've seen, and it doesn't sound like late Beethoven. It could be an early work. It's also sometimes known as "Glaube, Liebe und Hoffnung" or "Abschiedsgedanken."

Today I tried searching for information on it for the first time in years. The information isn't fully clear, but apparently the authorship of the piece is itself dubious.

One page lists it as WoO. 15, but other sources assign that number to a set of six Ländler. The piece could be considered a Ländler, so maybe it's one of the set. I think of it as a minuet, and others have called it a waltz. In Beethoven's time the waltz and Ländler hadn't clearly separated.

Digging further I found this on Google Books:
It is very possible that the Beethoven piece received its title through a mistake in translation. The work appeared first in 1838, in an edition of a Berlin publisher named Crantz. It was then entitled "Glaube, Liebe, und Hoffnung. Abschiedsgedanken. Walzer für Pianoforte." This means "Faith, Love, and Hope, Parting Thoughts. Waltz for Piano." It is a rather long title for a simple work, but perhaps the "Parting Thoughts" of Crantz were changed into "Farewell," and later on into the present title.

I don't know if anyone else cares, but I'm glad to finally have learned that much.

Colin Davis's Missa Solemnis

Normally I don't get very enthusiastic about particular recordings of a piece, but I was extremely impressed by Colin Davis's recording on Philips of the Missa Solemnis, which I borrowed from the library where I work. It's on a 2-CD set with the Mass in C, and spills over onto the second CD. The tempos are noticeably slower than in other recordings and performances I've heard, and it really makes it better in almost every case. There are places where the music just needs the extra moment to breathe, or it sounds rushed.

The biggest win is in the two huge fugues. With the slower tempo, there's more room for them to ratchet up the energy. In one recording I used to have, the "Amens" near the end of "In gloria Dei patris" sounded screechy. The "O miserere" passage on this recording is the most dramatic rendering of it I've heard.

There are a couple of places where the slower pace doesn't work very well. The "Et resurrexit" (pardon any errors in my Latin spelling) really needs to go fast, and the trumpet calls which interrupt the "Dona nobis pacem" were a bit plodding. But these are greatly outnumbered by the passages where Davis's choice of tempos makes it work.

I don't know if this recording is still available, but I'd strongly recommend it.