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Because, I suppose, no one but you appears to argue that his interpretations are so overwhelmingly perfect and compleat as to make any further exploration pointless!
Certainly, he's very damn good. I rely on Brendel and Kempff as the mainstays in Mozart's piano repertoire.
My favourite recording of the Klavierkonzert Nr 9, K271 is by Brendel: https://www.youtube.com/watch?v=qYC5FwwO9x8 — an handsome combination of softness, strength, and directness, leading upwards like a Doric column.
The Klavierkonzert Nr 20, K466: https://www.youtube.com/watch?v=rkei8G-7ey8 — here, Kempff is magnificent in the minor key, supremely human, lyrical, and expressive, yet strictly classical.
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ὑπερθορὼν δὲ πύργον ὠμηστὴς λέων
ἄδην ἔλειξεν αἵματος τυραννικοῦ
I am several years away from university, and I was never formally enrolled in the Academy, so to speak, though my other studies led me there often enough, but the impression that I have is that:
1. Analytic philosophers give it little heed because it does not fit with their quasi-mathematics; and
2. Contemporary continental philosophers are too busy reacting to Derrida to trouble themselves with it.
It is given a goodly amount of attention by philosophically-minded historians, however.
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ὑπερθορὼν δὲ πύργον ὠμηστὴς λέων
ἄδην ἔλειξεν αἵματος τυραννικοῦ
It's a quiet cul-de-sac in the meandering road of moral philosophy. A few interesting authors have tarried there, but by its very nature, it's a concept from which the inquiring mind soon passes.
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ὑπερθορὼν δὲ πύργον ὠμηστὴς λέων
ἄδην ἔλειξεν αἵματος τυραννικοῦ
Well, yes, if you can move past the aging lead actor and the brashness of the wench who is opposite him.
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ὑπερθορὼν δὲ πύργον ὠμηστὴς λέων
ἄδην ἔλειξεν αἵματος τυραννικοῦ