La Fin du Temps
What is the ultimate timeless piece of music?
Typically, we use the word timeless to describe an art work's ability to transcend its idioms, which are rooted in it's time and place, and appeal to people from the broadest possible backgrounds. By this definition, compositions are timeless if...
Still they are carolled and said --I'm thinking of a more comprehensive definition. How about a piece of music which idioms are unplaceable, which do not seem to belong to any time -- or maybe, to all times? How about a piece of music that draws from the Renaissance, the Baroque, the Classical, the Romantic, and the Modern, somehow all at once? How about a song that's a little bit country, and a little bit rock 'n' roll?
On wings they are carried --
After the singer is dead
And the maker buried.
Maybe the answer lies is some piece of music that anticipates a style by many years -- for example, hints of minimalism that you sometimes hear from 19th century composers. Or maybe we must look outside our tradition, to solve this problem by escaping the western ideal of artistic or stylistic progress?
Naturally, I'm posting the question because I already have a nominee. (I'm listening to it right now.) Implicitly, it is also on my short list for Greatest Music Ever Written By a Human Being, but never mind that right now. I'll wait to reveal what it is until others mention their nominees. Please, let's have a comment frenzy on the question. Frankly, I'll be disappointed if anyone suggests the piece I have in mind -- it will indicate the question is too obvious.
UPDATE: Read the comments, then see this post for the answer.
Umie the Umlaut says, "ask your doctor about the Fredösphere!"
3 Comments:
On my 22nd birthday (over 43 years ago), my mother gave me the Stravinsky Violin Concerto. She knew only that I liked classical music, and the name "Stravinsky" sounded classical.
I listened to it and hated it. Actually, the music I liked was from the 18th and 19th century -- Beethoven, Schumann, Brahms. But I dutifully listened to it until -- I don't know, maybe the tenth hearing -- I began to like it.
I hadn't heard the term "neoclassicism" back when I first heard the piece, but in the storm of what for me was merely dissonant, I think I recognized the 18th century within and was encouraged.
Its slow second middle movement, Aria II, has remained fresh and rich and gorgeous and meaningful and...
The concerto opened me up to thousands of other 20th century pieces, as well.
Well.
I'm going to venture with Spem in Alium or something by Dylan.
In my alternative view of the world (and based on blog referrer feedback), Barber's Adagio is the leading candidate for timeless American classical music. Not saying it's the ultimate music for me, necessarily.
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