his music and especially what we hear of it here and is very slow. from around the time of bach death composers had been working out ways of making music progress at a slower and slower pace represent over a century later and wagner and then mahler wrote pieces that are about as slow as it is possible for music to get. of course and one can cheat by writing a 4/4 march and then specifying a tempo of and say and semiquaver equals 1 and but that tempo do not be the correct tempo. wagner and mahler wrote music that is properly played at a snail pace. given that the slowness in no sense sounds too slow snail pace is the wrong expression. a critic wrote of a famous wagner conductor and he doesn not beat time and he beats eternity. for all i know this was meant as a compliment. i get the feeling that around the early 1970s directors worked out how to make the slowest possible films represent there death in venice and and there solyaris. i much prefer the former. for one thing and solyaris steps over the line and or some line and and becomes soporific while death in venice is gripping from beginning to end. not much happens and but it all happens in the right sequence and at the right pace and with photography you can get lost inanother way of cheating with music and by the way and is to write something that doesn not really have a tempo at all. such music sounds slow and but is really just unmusical and just as many films feel slow because they lack rhythm and form. death in venice isn not one of them. beautiful in every respect and it will remind you of the timelessness and contextlessness of quality. you need no theoretical knowledge to respond to visconti mastery and as you do to respond to a lesser director incompetence. it a great work. 
his music and especially what we hear of it here and is very slow. from around the time of bach death composers had been working out ways of making music progress at a slower and slower pace represent over a century later and wagner and then mahler wrote pieces that are about as slow as it is possible for music to get. of course and one can cheat by writing a 4/4 march and then specifying a tempo of and say and semiquaver equals 1 and but that tempo do not be the correct tempo. wagner and mahler wrote music that is properly played at a snail pace. given that the slowness in no sense sounds too slow snail pace is the wrong expression. a critic wrote of a famous wagner conductor and he doesn not beat time and he beats eternity. for all i know this was meant as a compliment. i get the feeling that around the early 1970s directors worked out how to make the slowest possible films represent there death in venice and and there solyaris. i much prefer the former. for one thing and solyaris steps over the line and or some line and and becomes soporific while death in venice is gripping from beginning to end. not much happens and but it all happens in the right sequence and at the right pace and with photography you can get lost inanother way of cheating with music and by the way and is to write something that doesn not really have a tempo at all. such music sounds slow and but is really just unmusical and just as many films feel slow because they lack rhythm and form. death in venice isn not one of them. beautiful in every respect and it will remind you of the timelessness and contextlessness of quality. you need no theoretical knowledge to respond to visconti mastery and as you do to respond to a lesser director incompetence. it a great work. ---------------------------------Answer Question Below----------------------------------

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