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 Tokio Hotel and classical music-Newnotizie.it

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SarahKaddoura
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PostSubject: Tokio Hotel and classical music-Newnotizie.it   Mon Feb 28, 2011 7:33 pm

In contemporary times, it is difficult to find similarities of classical music. [Classical music] is identified as something
that belongs to the past ... something of the past perfect, which no
longer affects these days, which has no effect. But, Tokio Hotel, has managed to bring it back to life ... or rather, give it life again.
There were four
special collaborations with industry, which contributed to the merging
of two genres, which show that together they can really exploit the
differences ... if compensated.
Classical music is perfection, the
highest level that the notes and love for music can reach ... but the
band lacks a voice accompanying the music. Music is the way, the modern voice is
[going] through ... a versatile voice that can adapt to any role, seems
to dress in the chords, violins, and pianos, [to create] those
mysterious scores .
Tokio Hotel's music, modern, skilled, yet often
overlooked, seems to be buried under the amazing instruments that are
capable of producing a lightweight and powerful music ... but the
element passed to parataxis, of subordination to coordination , and the
voice of Bill. The music itself is not only an attachment, but the
same part as something innate and not added, the complexity, combined
with the simplicity, [being the] Lassie: love, without which no one can
be born, grow, [and] develop, with the love that takes [Conquest]
immortality.
The first collaboration in
particular was in 2005, during a free event, where Tokio Hotel, followed
by an orchestra, played [together] Schrei & Durch Den Monsun.
The first song was the beginning of everything, is
imaginary, as the most appropriate for an orchestral performance [Durch
Den Monsun turned out to be] as if classical music was the one that led
to the monsoon rain ... classical music combined to perfection of Tokio Hotel's
rock, without dominating, [with] a quiet accompaniment ... that gave
greater force to the original music, the second song, Schrei, however,
was more potent, adapting [the orchestra] according to their regimen [
CNTH: means that the orchestra was adapted to the tune of the song],
kicking off with strong melodies of the trumpet, and then continue with
the chords ... rather than crushing [strings] of the guitar and bass,
leaving amplifiers aside for notes [scale].
A
well studied music can be an apparent improvised music ... with apparent
stiffness, worked [and] directly, in fact, can penetrate the soul,
resonating and involving [everything in its path], [making] the
vociferous cries Bill, as the flames rose to the point of submission ...
put to vibrate at the hearing.
In the first and second collaboration, they alternated between slow and
fast shades ... the third, however, the song Spring Nicht, we can say
that reached its peak, thanks to text once introspective and direct song
against suicide and how you take a hand [to not fall] to the ground ...
The
show took place on March 5, 2007 during the awards ceremony Comet
German, which were transmitted by the German music channel VIVA: The
orchestra followed the melodic line of the first song, creating a
symphony ... quiet almost opaque ... as the theme song [Spring Nicht],
bows, violins, set the tempo of the song, with no variation, just like
the wind that shook the singer's hair, the only things that moved from
his cold body , rigid ... died before jumping into the void. But the music said to Bill, at the
time of launch, such as escaping hands of tartar for refusing access ...
to not be worthy of that place and the instruments of the band feel the
same way, such as produce that symphony ...
The
fourth collaboration, which was expected however, was that eventually,
but that which was done directly from Italy: in fact, was the live
performance of World Behind My Wall in the Sanremo Festival, accompanied
by the orchestra of Morini.
Despite its mundane aspect of the band showed during testing, to
objectively judge can not consider this as his best performance [of the]
problems when mixing, instrumentation. But the
voice of Bill and Tokio Hotel instruments were able to maneuver despite
the difficulties, and demonstrate its altitude to the occasion: the
roles were reversed, his music was the one who gave content to the
orchestra, guiding, and magazine to a role, making [it] fit properly,
and demonstrate his ability also helped the original music, little by
little dropping, where they took advantage of a simple structure
musically and metrically, this being helpful.

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