25-07-2013, 23:05
Exactly. Even though the behaviour you just underlined is considered by mainstream music historians as a maniacal effort on behalf of the composer to hear what he was writing, to have an epidermal contact with what he no longer possessed. I can't even begin to imagine the tragedy for a musician not to hear. I mean, the spanish composer Rodrigo was blind since birth, composed that magnificent CONCIERTO DE ARANJUEZ (especially the second movement)and could be emotionally moved listening to the overall musical outcome. Beethoven was denied the joy of listening not only to the ninth, but to many other great compostions of his, including Missa Solemnis. When I write, for a example a succession of 7th chords, I know by theory what is dissonant and what is not. I was trained for it. But the 'sound' can never be substituted. Never.