The ‘Fighting Philosopher’, who has come to mind death less and less, has gradually come to realise the illusion that ‘I am inside this body’

 

The ‘Fighting Philosopher’, who has come to mind death less and less, has gradually come to realise the illusion that ‘I am inside this body’

 

 


//Summary - Level-C1//
The “Fighting Philosopher,” now 80 and physically disabled after a cerebral haemorrhage, reflects on ageing, isolation, and mortality. Although he often feels depressed and detached from others, he finds that thinking less about death has made life easier. Drawing on Zen Buddhism, Kant, and Nishida Kitarō, he argues that the belief that the self exists inside the body is an illusion. The true “I” is not an individual entity but a universal consciousness that gives meaning to the world. Because language can only approximate reality, the mind ultimately remains mysterious, transcending both physical explanations and conceptual descriptions.

 

 

 

 

 

1)
When my body is paralysed, my mind becomes terribly gloomy. Fortunately, I can still manage to speak, but when I think about the future, I feel utterly hopeless and become depressed.

Even in this state, I have no intention of seeking medical help. First, I don’t really trust doctors. It’s all very well for surgeons to heal physical wounds, but they surely can’t understand matters of the mind. I have absolutely no faith in psychiatry whatsoever.

In the mornings, I find myself wishing the sun wouldn’t rise. Even when I force myself to get up, my wife gets angry about this and that. I do realise, though, that looking after me must be a great burden for her. At night, I don’t have to do anything, so it’s a relief.

2)
I’ve come to mind the death less, and things have become easier than before:

I find myself wondering why I’m still alive like this. However, perhaps things have become easier than before simply because I’ve come to mind the death less.

I’m already 80, so no matter how I look at it, I reckon I’ll die within the next ten years. When I see them talking on the telly about the ‘2050 problem’ and such, I’ve come to think that by then I’ll probably be dead anyway. It strikes me once again that this is how older people must feel as they watch the news every day.

That said, I try to hold on and not let myself be swept away entirely. Not that I have any particular hopes, mind you.

3)
The other day, I went on a three-day, two-night short stay at a nearby care home, but I ended up staying shut in my room the whole time. Because I didn’t want to see anyone, I spent all three days in my room reading books and watching television. The food was awful and didn’t agree with me.

I dislike seeing groups of 10 to 20 older adults gathered in the dining room. It even strikes me as somewhat grotesque. Mind you, this has been the case for a long time; I dislike other people as a whole.

Right now, my left leg is numb, so I use a walking stick or a walking frame, but I still envy those who can walk normally.

4)
I wonder what other people are doing at my age
My weight has dropped to 52 kilos, which is quite frightening. I used to weigh 60 kilos before I collapsed. But even when I go to the hospital, they just put it down to old age and don’t take me seriously. They brush me off, saying, ‘You’re 80, aren’t you?’

I find myself wondering what other people are doing at my age. Normally, people aren’t dabbling in philosophy, are they?

I suppose I’m still better off, as I’m simply running a philosophy study group. It would be rather a struggle to sit around doing nothing in a six-tatami-mat room in a care home until I die, wouldn’t it? But when I think about what will become of the philosophy study group, I lose the will to keep living. I suppose I’ve only got a few more years left, though.

5)
I don’t want to do anything else. I don’t want to go back to Vienna, where I used to live, nor to Kyoto or Nara; just the thought of taking the Shinkansen puts me off. There’s nowhere worth the trouble of travelling to. I don’t want to see anyone, and I don't fancy eating anything delicious.

Even meeting my editor isn’t enjoyable. I only do it because I feel it's my duty. I regard it as part of my job. The only thing I worry about is what would happen if my wife were to die, or if my elder or younger sister were to die.

6)
Given this way of thinking, I suppose I wouldn’t get on with people even if they came to visit. After all, saying things like this would only put everyone off.

Talking online is the most comfortable for me. That way, the other person can’t attack me. No matter what happens, I won’t get hit. It’s just a verbal exchange, after all.

7)
The idea that ‘I’ am inside this body is, in fact, an illusion:

Now, I’d like to talk about ‘I’ this time.

I imagine you all believe that ‘I’ am inside this body. In fact, that is an illusion. Many people have been saying this for a long time.

8)
Dōgen and Rinzai say, ‘Abandon the “I”’ and ‘Detach yourself from the “I”’. Rinzai’s teaching includes the phrase: ‘the true person without rank’. Both suggest that the true self isn't inside my body. That said, it isn’t located anywhere else either.

In the past, reading such things left me quite unmoved, but over the last few years I have gradually come to understand it. That said, in my daily life I still tend to think of this ‘me’—who has lived for 80 years—as ‘me’.

That is undoubtedly ‘me’ too, but it is merely superficial. The argument is that the deeper reality is quite different.

 

 

 


9)
The word ‘I’ itself is a general term. You, too, are an ‘I’. It is the person who understands this word who becomes the ‘I’. In other words, the concept of ‘I’ is mediated by the universal. Whilst the ‘I’ associated with this body will eventually die, that universal ‘I’ is not something that dies or lives.

Kant’s ‘transcendental apperception’ is similar to this. It is the ‘I’ that imbues the world with meaning. Even statements such as ‘the moon has risen’ or ‘the sun has set’ are merely ‘I’ saying so. It may feel as though the world exists out there, independent of ‘I’, but without ‘I’, the world itself does not exist.

We simply rarely perceive it that way.

10)
Dōgen says, ‘To learn of the self is to forget the self.’ This means that forgetting this ‘I’ is precisely how one comes to understand the true ‘I’.

Since one’s true self is not bound by time or place—such as ‘now’ or ‘here’—no words can describe it; I believe it is something akin to what Christianity calls God.

This may sound complicated, but Daisetsu Suzuki said, ‘Enlightenment is ordinary.’ By ‘ordinary’, he means ‘something quite commonplace’. The very fact that, right now, in this world, only this ‘I’ is conscious is, in itself, a most wondrous thing. Enlightenment is simply realising this, isn’t it?

11)
Words about the mind are, so to speak, ‘all lies’:

When we learn a language, we tend to think conceptually, but that's not true.

Even if someone says, ‘There are glasses on the desk’, unless we are actually looking at the situation, we cannot know exactly what sort of glasses or desk they mean, yet we tend to feel as though we have somehow understood. Conversely, is there really a word that describes the unique pair of glasses right in front of us?

Understanding through language is precisely this sort of understanding. We need to abandon the notion that things exist independently of language.

12)
The concept of ‘red’ itself is not red, is it? Yet we feel as though it represents the colour red. That is precisely why we can read novels; if it says, ‘A woman wearing a red dress came in’, we feel as though we understand, even though we are actually reading only words.

Words such as ‘good’ and ‘bad’ are the same; when you get right down to it, you can't define them. The same applies to life and death; we arbitrarily decide that a beating heart means ‘alive’.

Words concerning the mind are, in a sense, lies—they have all been reduced to a material understanding.

13)
Kant’s ‘transcendental idealism’ is also based on the same fundamental idea. It is the notion that this ‘I’ constitutes the world and gives it meaning.

Yet we are ordinarily convinced that even if we die, the world will remain exactly as it is. However, we cannot know the world's true nature apart from our own perception. Kant refers to this as the ‘thing-in-itself’.

14)
I have absolutely no understanding of the world after my death, nor of the thing-in-itself:

In other words, the truth of the matter is that we do not know. And this very fact—that ‘I have no understanding of the world after my death, nor of the thing-in-itself’—is, in fact, a form of salvation.

Dōgen also says: ‘Practice and realisation are the same’. ‘Practice’ refers to spiritual training, and ‘realisation’ to enlightenment. One does not attain enlightenment through spiritual training; rather, the very act of practising is enlightenment itself.

Even the fact that I am speaking to you now—and that, upon reflection, you intuitively realise, ‘Yes, that’s true; it’s quite simple’—is, in itself, enlightenment. So, in truth, everyone already knows it.

 

 

 

 


15)
In this regard, Western philosophers' perspectives differ considerably. Because the West has Christianity, with Greek philosophy as its backdrop, the argument tends to be that something ‘real’ exists on the other side, and that ‘I’ merely reflects it.

It was Kitarō Nishida of the Kyoto School who explored this ‘relationship between the self and the world’. His concept of ‘absolute contradictory self-identity’ also fits within this context.

He argues that whilst ‘I’ and the world are absolutely distinct, they are also identical. ‘I’ and the world are completely different, yet they are the same. This may sound like a notion that disregards logic.

16)
Furthermore, in Zen, the term ‘mu’ (emptiness) emphasises this functioning of consciousness. ‘I’ does not exist. Yet, the invisible function of consciousness is certainly at work. This is referred to as ‘active emptiness’. It is conceived as being ‘nothing’ in form, yet possessing tremendous power that sustains the world.

Sartre’s *Being and Nothingness* makes a similar point: for example, even if you take a photograph of a room, the distinction between ‘there is no cat here’ and ‘there is no dog here’ does not appear in the image. Yet humans can understand ‘absence (nothing)’ through language.

17)
Our world is filled with ‘nothing’:

‘This is neither red, nor blue, nor round’—one could list an endless number of attributes of ‘nothingness’. Through the workings of such invisible language, our world is filled with ‘nothingness’.

Even when we move our bodies, in most cases the body moves first, unconsciously. Explaining this afterwards by saying, ‘I got up because I intended to’, is rather strange, but linguistically we have no choice but to put it that way. When you think about it that way, perhaps ‘consciousness’ itself does not even exist.

18)
Recalling past events in the present is also mysterious. After all, those events should ‘no longer exist’ in the present. There are people in the world who suffer from memory disorders, and others with multiple personalities. I myself suffered a cerebral haemorrhage that left me physically disabled, which made me keenly realise just how dependent human beings are on the brain.

Yet at the same time, even after sustaining such damage to my brain, I did not lose my ability to think. Conversely, this has led me to realise that ‘the view held by medicine and society at large—that the structure of the brain is everything—is, after all, nothing but a lie’.

As for the mind, we really do not yet understand anything about it. It is not a matter of the brain's physical structure; it is a matter of an entirely different dimension. Because this has only recently sunk in, I have actually found it easier to think about things than before.

 

 

 

 

The ‘Fighting Philosopher’, who has come to mind death less and less, has gradually come to realise the illusion that ‘I am inside this body’

https://toyokeizai.net/articles/-/959625?display=b

 

 

 

 

 

 

 

 

Why Does Life Use Only "One Side"? Kenso Soai and the Soai Reaction [2026 Nobel Prize in Chemistry]

 

 

Why Does Life Use Only "One Side"? Kenso Soai and the Soai Reaction [2026 Nobel Prize in Chemistry]

 

 


//Summary - Level-C1//
Life strongly prefers one molecular orientation, known as chirality, in which molecules exist as non-superimposable mirror images, like left and right hands. Many biological building blocks, especially amino acids, predominantly occur in one form. Soai and Kagan's research explored how a tiny initial imbalance could be amplified. The Soai reaction demonstrated autocatalysis, in which reaction products catalyse the formation of more products of the same type, greatly increasing a slight bias. Although this does not explain the origin of life itself, it provides an experimental model for understanding how molecular asymmetry may have emerged and expanded.

 

 

 

 

 

Why does life favour one side?

1)
The right and left hands. Although they look alike, they don't fit perfectly into the same glove. In fact, the tiny molecules that make up our bodies also have similar differences. Moreover, life predominantly uses one orientation for many of its essential building blocks. Why is this?

2)
The 2026 Nobel Prize in Science will be awarded to Dr Sowa and Dr Henri Bika Kaga. In this instalment, we shall examine Mr Sowa’s research without resorting to complex scientific equations.

3)
Please place your hands side by side, palms facing upwards. Although the fingers are the same, the thumbs face opposite directions. Even if you rotate one hand, you cannot align the palms so that they lie perfectly on top of one another. If you hold your right hand up to a mirror, it looks like your left hand, but it isn't the same shape. Think back to that awkward feeling when you put a right-handed glove on your left hand. This left-right difference is the starting point for today’s discussion.

4)
Molecules are made up of tiny building blocks called atoms. Even if you connect the same building blocks in the same order, their spatial arrangement can differ. Just like the right and left hands, which are mirror images of each other, a pair is formed that cannot be superimposed. This property is called chirality. For today, it is enough to think of it as a shape that appears reversed in a mirror.

5)
The diagram on the screen is a model illustrating this concept. Molecules do not actually have real hands or fingers. Even if their shapes are identical, they can still be incompatible. A glove designed for the right hand will not fit the left. Similarly, a molecule's three-dimensional shape determines how easily it can combine with others. Within the body, numerous molecules function whilst interacting with other molecules. Therefore, the shape of a molecule is not merely a matter of appearance.

6)
Proteins are formed by linking together building blocks called amino acids. These amino acids are generally of the ‘L-form’. However, glycine does not exhibit this left-right distinction. Nor does this mean that organisms completely lack the opposite ‘D-form’ amino acids. For now, let's note that some essential building blocks of life are predominantly one orientation. This is a separate issue from whether a person is left-handed or right-handed.

7)
So why did one configuration become more prevalent before life emerged?

Even if the two configurations were present in roughly equal numbers, a mechanism that amplified a tiny difference could eventually lead to a significant disparity. Here, we will separate the two questions: where did that initial small difference come from? And how did that difference grow larger?

8)
Mr Soai and his team’s research is particularly well known for demonstrating, through experiments, the mechanism by which a small difference is amplified.

In chemical reactions, new substances are formed from the starting materials. A substance that facilitates this reaction is called a catalyst. It works like an assistant in a factory, helping materials become products. Even with a catalyst, you can't make a product without starting materials. This is not a story of matter being created from nothing.

9)
What is interesting about Soai and his team’s reaction is that a substance derived from the product acts as a catalyst to produce the next identical molecule. A product is formed. That product then helps produce the next product. The newly formed product, in turn, aids the next reaction. This mechanism is called autocatalysis. It means that the reaction helps itself to proceed.

In Soai and his team’s Soai reaction, alcohol is produced from specific raw materials and a key zinc-containing component. This is a different substance from the alcohol found in drinks. A zinc compound derived from the product helps the subsequent reaction.

10)
Imagine a factory with 51 blue parts and 49 orange parts, for simplicity. The blue parts help to produce more blue parts, which in turn help to produce the next batch of blue parts. Under the right conditions, that initial small difference may grow into a significant one. This is a metaphor and not a measurement from research. Molecules also don't have the will to choose their peers. In reality, differences in how molecules combine and in their reactivity give rise to this bias.

 

 

 

11)
A characteristic of the Soai reaction is that it not only increases the number of molecules produced but also creates a significant directional bias.

Researchers demonstrated this reaction in a 1995 paper. Furthermore, in a 2003 study, the bias increased from almost 50–50 to a state where almost only one type was present. This resulted from repeating the reaction while replenishing the raw materials. It is not a rule that the slightly more abundant component will inevitably increase. Materials and conditions suited to this reaction are required.

12)
Co-laureate Mr Kagan reported non-linear effects in 1986. Although the terminology is complex, this means the catalyst's bias in facilitating the reaction and the resulting molecules' bias do not follow a simple proportional relationship. In some cases, a small bias can give rise to a much larger bias than expected.

Mr Soai and his team demonstrated a reaction in which the bias increases because the resulting molecules self-catalyse the next reaction. The fact that small differences can grow, and that the resulting products facilitate the next step— that connection is what matters.

13)
Where did that initial small difference come from?

Dr Soai and his team have investigated reaction triggers, such as crystal-like structures and light, and how their orientation relative to an electric field's rotation can matter. They are investigating whether the minute left-right differences inherent in crystals and light lead to a bias in the resulting molecules.

However, investigating the triggers and amplifying the resulting differences are separate questions. A single experiment cannot explain the entire origin-of-life process.

14)
It has not been definitively established that the Soai reaction occurred exactly as described on the primordial Earth and gave rise to life. Nor has it been proven that the key components and conditions involved were present on Earth at that time. The significance of this research is that it has made it possible to experimentally investigate the specific mechanisms by which small asymmetries are amplified. Research into the detailed mechanisms of the reaction is also continuing. As recently as 2025, a paper examined the substances that appear during the process and the reaction's progression.

15)
Let us return to the example of our hands to reflect on today’s discussion.

Molecules, too, exhibit a left-right asymmetry, much like a mirror image. Some essential building blocks of life align in a single direction.

The Soai reaction demonstrated a mechanism in which the products of one reaction facilitate the next, amplifying a small asymmetry.
The origin of life remains a work in progress. Nevertheless, the differences between our own hands lead us to the profound mysteries of life.

 

 

 

 

 

 

Why Does Life Use Only "One Side"? Kenso Soai and the Soai Reaction [2026 Nobel Prize in Chemistry]
https://www.youtube.com/watch?v=hjthpM5Br6U

 

 

 


Contributing to Unravelling the "Mystery of the Origin of Life"... Nobel Prize in Chemistry Winner Kenso Soai — Applications in Cutting-Edge Medicine [Hodo Station] (October 7, 2026)
https://www.youtube.com/watch?v=_7z9etyDWrg


Contributing to Unravelling the "Mystery of the Origin of Life"... Nobel Prize in Chemistry Winner Kenso Soai — Applications in Cutting-Edge Medicine
https://topics.smt.docomo.ne.jp/article/tvasahinews/world/tvasahinews-900201381?fm=latestnews

 

 

 

 

 

Violence in the guise of "understanding": A24's new film *The Drama* exposes the terrifying way modern people play at "righteousness."

 

 

Violence in the guise of "understanding": A24's new film *The Drama* exposes the terrifying way modern people play at "righteousness."

 

//Summary - Level-C1//

The review argues that The Drama is a deceptively powerful film that uses a seemingly trivial secret to expose deeper flaws in modern society. When Emma reveals that she once contemplated a school shooting, she becomes the target of harsh judgement despite having committed no actual harm, while others’ real wrongdoing is overlooked. The film suggests that a secret's weight depends less on its content than on the social identity of the person revealing it. It critiques social categorisation, moral witch-hunts, and the illusion of “understanding” in relationships, showing how prejudice, power, and violence shape both personal interactions and collective judgement.

 

 

 

 

1)
The weight of a secret is not determined by its content. The speaker's identity and category determine it.

Let me tell you about a new film I’ve really taken to.

‘The Drama’

2)
Perhaps because of the original title (‘The Drama’—referring to a play, a dramatic event or a row), I didn’t have particularly high expectations before watching it. I’d assumed it would be nothing more than a slapstick romantic comedy, but I was unexpectedly taken with it. It was the most pleasant surprise I’ve seen in a film recently, so I can’t wait to talk about it.

This film isn’t perfect. I can understand why many people might not like it. The film’s overall sense of absurdity is quite restrained; it lacks the explosive energy of *Life Switch*, and viewers might feel it falls short of their expectations. That is likely why its IMDb rating is only 7.1—not particularly high.

*Life Switch*, a masterpiece of black comedy featuring a chain reaction of unreasonable anger and absurd revenge, shares a common thread with the cynical humour that runs through this film.

3)
However, I’m convinced this is precisely its greatest strength for those who enjoy it. Like me, you’ll likely find yourself completely engrossed. It may lack a touch of madness, but it’s thoroughly entertaining. In particular, when you watch it a second time and analyse the details in reverse, understanding the film feels like the screenwriter’s ‘Trojan Horse’ stratagem gradually taking effect.

At first, it merely misleads us, making us believe it is a film about romance, human relationships, or perhaps a few minor social issues. Yet by the time we realise this, the film's irony and criticism have already utterly defeated modern human civilisation.

And yet the entire story is nothing more than an account of a single wedding and a past ‘thought of a crime’ that could even be described as trivial. It is truly masterful that it can tear open and portray so much of humanity’s dark side from such a narrow perspective.

4)
Let’s begin with the single ‘secret’ that sparked the storm at the heart of the entire film.

A few days before the wedding, Emma (Zendaya) and Charlie (Robert Pattinson) were chatting and having a drink with a married couple who were their friends. During the conversation, Emma inadvertently confesses that when she was 15, she planned a school shooting, though it never came to fruition. This secret sends Charlie and their friends into a panic, and they begin a relentless attack on Emma.

5)
Clearly, the defining characteristic of this secret is that it is ‘extremely trivial’. Even if it is a ‘thought crime’ (a sin committed only in one’s mind), it is so trivial that one cannot help but ask, ‘Would anyone really go that far?’

This is the first key to understanding the entire film. The film constructs an equation that runs counter to intuition. Within the narrative, ‘the smaller the actual harm caused, the more severely one is punished; the greater the actual harm, the more easily one is forgiven’.

6)
Everyone except Emma has committed actual crimes. Her boyfriend, Charlie, when he was 14—the same age as Emma—forced someone to move house through online bullying, and even attempted to cheat on her just before their wedding. Her friend Mike, while with his ex-girlfriend, encountered a dog barking and snapping at them; he hid behind her, using her as a human shield. Her friend Rachel locked a neighbour in an outdoor locker overnight, yet people brush these incidents aside as if they were harmless pranks.

In contrast, Emma has committed no actual wrongdoing. At the time, she even failed in her attempt to upload a video of herself holding a gun. Despite this, she faces the most malicious speculation and attacks.

7)
Why does this equation hold? What forces are at work behind it? As soon as we begin to understand this, we are met with indiscriminate sarcasm.

The most obvious point—and the fundamental premise—is that ‘the weight of a secret is determined not by its content, but by the identity and category of the person speaking it’.

The screenwriter employs numerous subtle details to shape Emma’s ‘specialness’. This lies not in how she differs from ordinary people, but primarily in her independence and the completeness of her sense of self. During her school days, whilst she strove to blend in to avoid being ostracised by the group, she never truly assimilated. The most typical example of this was when she saw the wedding DJ smoking heroin on the side of the road with Charlie. She was the only one who kept insisting, ‘That doesn’t prove she’s a bad person.’

 

 

 


8)
However, those around her do not see it that way. The ostracism directed at the three DJs represents voices from different perspectives within society. Charlie, seeking to exclude the outcasts through her authority, wants to sack the DJ. Mike seeks to prove his own sense of justice by cutting ties, making leaps of logic such as, ‘Isn’t her condition the worst possible?’ and ‘Could she be a paedophile?’ And Rachel, to distinguish friend from foe and solidify her alliances, constantly presses Emma on why she defends her.

Together, these three voices explain why the current social system—one that classifies people using single elements such as identity, specific words, or specific behaviours—is so entrenched.

9)
In such a context, whether violence is attempted or committed, or whether things are true or false, ceases to matter. Language is merely a tool for the majority to prove their own ‘category’; it cannot prove anyone’s goodness or the legitimacy of judgement. The identities of perpetrator and victim can be reversed at any moment.

What this illustrates is that, amidst rampant social witch-hunts, the right to define secrets and the right to explain matters never lie in the hands of the most vulnerable.

Next, in relationships between men and women—and in human relationships in general—‘understanding’ itself, whilst appearing harmless at first glance, is in fact a dangerous form of tyranny.

10)
When we seek to understand a crime or an individual, a one-way cognitive system is at work. And behind this, of course, lie the inherent influences of patriarchy and the social environment, which render our initial reactions to events ‘riddled with preconceptions’. Unconsciously, we search for evidence that fits our initial understanding of the situation.

In the film, rather than breaking off the engagement, Charlie attempts to ‘understand’ Emma’s perspective. However, his understanding has nothing to do with who Emma actually is. He merely asks an endless stream of questions, searching for any possibility that might explain why she harbours violent thoughts; he does not demonstrate any genuine recognition of or concern for her experiences of bullying, nor for the confusion and complexity within her mind.

11)
In many relationships of this kind, understanding itself becomes a form of management and control—and all in the name of love.

The film depicts this irony directly. Whilst Charlie appears to be looking out for Emma, he is constantly trying to gather evidence to justify her behaviour; in reality, however, he is merely perpetuating the psychological abuse he once inflicted on others online by constantly grilling Emma.

Emma appears to be the object of his concern, but in the process of being ‘understood’, she is in fact suffering secondary violence. She is forced to relive, time and again, her experiences at school and the anguish she felt when she witnessed her friend’s road accident.

This irony is not confined to the film alone. Finally, another form of hidden violence concerns the audience watching the story — you and me.

12)
We, too, ‘understand’ each story whilst grappling with our own limitations. Cognition is always one step ahead of our emotions. And this approach often traps us within even more limitations, unconsciously leading us to produce further prejudice and violence.

The film’s details strongly suggest this. For example, the first-half scene explaining Emma and Charlie’s love story appears not as a direct depiction, but as a ‘narrative’ they tell. Furthermore, their friends' reactions—the audience listening to this narrative—are not expressions of emotional empathy, but judgements centred on maintaining the decorum of the wedding.

Mike, in tears, denounces it as ‘a clichéd story’. When Rachel asks about Emma and Charlie’s first kiss, her initial reaction is, ‘Did he just steal a kiss from her that easily?’, and she goes on to question Emma’s age, finding it strange that she should only be feeling butterflies for the first time at nearly thirty, whilst constantly attempting to force her into a framework she can comprehend.

 

 

 


13)
A wedding is like a skin of justice. It grants them power and, while constrained by socially ingrained perceptions, lets them unconsciously revel in the right to pass judgement. They are utterly unable to break free from this and return to a ‘sensitivity’ towards things as they are; instead, they unconsciously create and perpetuate further stereotypes and violence.

The film includes numerous depictions of how the meaning changes and is contrasted under different circumstances. The ‘gun’ appears in a virtual form from the very beginning. In the first two-shot photograph of Emma and Charlie, Emma is pointing a gun-shaped finger at him. Subsequently, guns appear in abundance—in magazine illustrations, cup designs and the like—triggering different reactions from the characters.

In a flashback scene, because Emma is hard of hearing in one ear, she cannot make out his words clearly and mistakenly believes he said ‘Furry Knife’. Later, a real knife does appear. Whilst Emma is using it to cut up a salad, Charlie, unable to forget the shooting incident, feels extremely terrified.

14)
Guns and knives. These seem to mark the boundary between danger and safety, blurring the lines of meaning. And they cause all these issues to intersect: society, violence, humanity, gender, race, emotions, human relationships, and power.

This design emphasises that politics and everyday life always coexist and depend on each other. We cannot concern ourselves solely with violence whilst ignoring gender; nor can we focus solely on human relationships whilst disregarding power structures; nor can we prioritise emotions whilst neglecting humanity. Ultimately, this intertwining of these elements leads us to question the ‘grammar’ of our current civilisation.

15)
When morality and violence frequently become opposing poles, even upholding morality can bring a violent sense of gratification. When personal relationships and power structures stand as opposing poles, the weight of gender and history is inevitably concealed. Like the wedding in the film, if things had proceeded as usual, it would have become nothing more than a performance, demanding that Emma and Charlie showcase the most beautiful aspects of their relationship, while simplifying their individual selves and complexities.

Fortunately, I really like this ending. Everyday life was ultimately shattered. Charlie threw away the script for his original speech and cast aside so-called ‘dignity’ as well. Addressing everyone, he said everything he had wanted to say but his friends had held him back from saying; he laid bare his own mistakes and weaknesses and declared, ‘Emma isn’t to blame for anything.’

16)
Finally, they left the wedding, and Emma once again proposed rebuilding their relationship in a virtual realm, allowing her to get to know Charlie anew. Charlie, who the trauma of the shooting had previously trapped, had refused to agree, but this time he consented. Now that their spontaneous, unconscious malice has fully fermented, they are trying to rebuild a new relationship.

A wedding is not the beginning of happiness. Perhaps no ritual ever is. Only after breaking free from the false sense of control the social system imposes, and freeing oneself from dependence on worldly prejudices, does it become the beginning of happiness.

 

 

 

 

 

 

Violence in the guise of "understanding": A24's new film *The Drama* exposes the terrifying way modern people play at "righteousness."
https://note.com/everyday_update/n/naece2fc883e7

 

*The Drama*, starring Zendaya and Robert Pattinson, has finally been released.
https://qetic.jp/film/the-drama/477530/


The Drama (2026) - IMDb 7.1/10
https://www.imdb.com/title/tt33071426/


Film: The Drama (2026)
https://www.youtube.com/watch?v=t-a4mJ947_k

【Story】
Charlie and Emma​, who met by chance at a Boston café, were living in blissful happiness. Just seven days before their wedding, while dining with their best friends—who were also serving as their wedding attendants—the group decided to confess the worst things they had ever done. What began as a lighthearted game took a dark turn when everyone was horrified by Emma’s "worst secret." Charlie began to fear that Emma might be hiding a side of herself beyond his wildest imagination. Their happiness plummeted into suspicion and paranoia, yet they couldn't stop the wedding preparations, and the big day finally arrived...

 

【The Drama】 Why couldn't Charlie trust Emma? https://www.youtube.com/watch?v=bQVCiT894e0


The Drama
https://eiga.com/movie/105977/

Overview & Synopsis
Starring Zendaya (from the *Spider-Man* series) and Robert Pattinson (from *The Batman*), this romantic drama follows a seemingly perfect couple as their relationship unravels after a "terrible secret" is revealed just before their wedding.

Charlie and Emma, who met by chance at a Boston café, were on cloud nine as they prepared for their wedding. Just seven days before the big day, while dining with their best friends—who were also serving as their wedding attendants—the group decided to confess the worst things they had ever done. What began as a casual game took a shocking turn when Emma revealed her "terrible secret," leaving everyone stunned and making Charlie fear he knew only one side of her. Their blissful days suddenly plunged into a nightmare of suspicion and doubt; yet, unable to halt the wedding preparations at such a late stage, the day of the ceremony finally arrived.

 

 

 

 

Sibelius: Symphony No. 4 in A minor, Op. 63 – A Classic Recording

 

Sibelius: Symphony No. 4 in A minor, Op. 63 – A Classic Recording

 

 

 

//Summary - Level-C1//
Sibelius’s Symphony No. 4 is a deeply introspective and meditative work, shaped partly by the composer’s experience with a throat tumour and surgery, which heightened his awareness of death. Its austere and enigmatic character initially puzzled Finnish audiences and can be difficult for listeners to appreciate. However, Finnish musicians may grasp it more naturally because the music reflects Finland’s harsh, dark winter landscapes. The author compares it to a frozen winter night or a dark sea. Although he generally prefers Finnish interpretations, he particularly praises Karajan’s 1965 recording with the Berlin Philharmonic for its transparent, profound orchestral sound, considering it superior to Karajan’s later EMI remake.

 

 

 


1)
In his Symphony No. 3, Sibelius shifted toward a much more introspective style than in his earlier works; in his subsequent Symphony No. 4, however, he composed something even more meditative and profound.

One reason for this was that, whilst working on this piece, Sibelius developed a tumour in his throat and underwent surgery. He later remarked that this experience made him acutely aware of ‘death’ and influenced his creative process.

2)
For this reason, the work was considered perplexing and difficult even by Finnish audiences at the time. Indeed, as it is not exactly accessible music, even seasoned classical music enthusiasts seem to struggle to warm to it at first.
I, too, must admit it took me a little while to get to grips with it.

3)
However, the conductor Saraste remarked as follows:
‘The Fourth is easy for Finnish orchestras and conductors to understand, whilst the Seventh is difficult to get a feel for.’

In other words, this piece is closely linked to the dark and oppressive nature of the Finnish winter.

4)
This likely means that whilst it is easily understood by the people of Finland, who are familiar with the harshness of that natural environment, it is rather difficult for people from other countries to grasp.

If the preceding and following works—the Third and Fifth Symphonies—convey, if anything, the impression of a northern day, then this Fourth Symphony gives the impression of a crystal-clear, freezing winter night sky or a dark sea, does it not?

5)
I believe it is rather difficult for performers from outside Finland to capture the essence of such pieces. In fact, that is a major reason why I tend to steer clear of performances from outside the country of origin. Consequently, my favourite recordings inevitably consist mainly of those by Finnish performers.

6)
Herbert von Karajan conducting the Berlin Philharmonic (recorded in 1965 / Gramophone release) – That said, my first choice has turned out to be the Karajan recording.

Karajan recorded the four symphonies from No. 4 onwards in the 1960s, but in this Fourth in particular, the Berlin Philharmonic’s superb ensemble skills really come to the fore; I am deeply drawn to the sound, which is both profound and transparent—a quality characteristic of modern orchestral works.

Karajan later re-recorded the cycle for EMI, but that version was more atmospheric and somewhat reminiscent of film music. I think this older recording is far superior.

 

 

 

 

 

Sibelius: Symphony No. 4 in A minor, Op. 63 – A Classic Recording

https://harucla.cocolog-nifty.com/blog/2009/03/op63-4744.html

 

 

 

 

 

 

 

 

 


Not a single wasted note? An analysis of the structure of Sibelius's Symphony No. 4
https://www.youtube.com/watch?v=qQoL5wUDy2s&t=185s

 


The "Glockenspiel Mystery" in Symphony No. 4
https://yoshim.music.coocan.jp/~data/BOOKS/Thesis/sibelius02.html


Sibelius: Symphony No. 4 in A minor, Op. 63
https://sonarmc.com/wordpress/site01/2014/07/20/%E3%82%B7%E3%83%99%E3%83%AA%E3%82%A6%E3%82%B9-%E4%BA%A4%E9%9F%BF%E6%9B%B2%E7%AC%AC4%E7%95%AA%E3%82%A4%E7%9F%AD%E8%AA%BF%E4%BD%9C%E5%93%81%EF%BC%96%EF%BC%93%EF%BC%88%E3%83%9E%E3%82%BC%E3%83%BC%E3%83%AB/

 

 


Sibelius: Finlandia (Prom 75)
https://www.youtube.com/watch?v=fE0RbPsC9uE&list=RDY2Q6v0FvtlQ&index=4

 

Sibelius: Symphony No. 2, Karajan & The Phil (1960)
https://www.youtube.com/watch?v=55rmOjGRIks

 

Sibelius: Symphony No. 4, Karajan & BPO (1965) 
https://www.youtube.com/watch?v=hlbU1IGc1ME&list=RDhlbU1IGc1ME&start_radio=1

 

Sibelius: Symphony No. 6 Herbert von Karajan /Berlier Philharmoniker
https://www.youtube.com/watch?v=f4bS9TDHl3A&list=RDf4bS9TDHl3A&start_radio=1

 


Bruckner: Symphony No. 7 Karajan's final concert 1989
https://www.youtube.com/watch?v=iuHKgleEiW8&list=RDiuHKgleEiW8&start_radio=1

 

Bruckner Symphony No. 5: A Rare Live Performance by Karajan
https://www.youtube.com/watch?v=TPTS9FL4vkI&list=RDTPTS9FL4vkI&start_radio=1&t=3926s

 

Herbert von Karajan - Interview (1978)
https://www.youtube.com/watch?v=gXuuVWqGGoY

 


Leonard Bernstein: A Life of Music and Passion | Full Documentary
https://www.youtube.com/watch?v=W4vHaPIphLs

 

 

 

 

Wonderful news! Some incredibly bright and welcome news has just arrived for the Japanese people!

 

 

[Kunihiko Takeda - October 4] Wonderful news! Some incredibly bright and welcome news has just arrived for the Japanese people!

 

//Summary - Level-C1 by Copilot//

The video argues that concerns about AI surpassing or even replacing humans are less important than how people choose to live. Drawing on the Japanese concept of Do ("the Way"), it claims that human worth is not defined by success, status, or achievement, but by fulfilling one's role with sincerity, gratitude, and respect. Because everyone has a unique "Way," human value remains distinct from AI, which can optimise results but cannot pursue a meaningful way of life. Kendo embodies this philosophy by prioritising character, discipline, and spirit over victory alone, while also illustrating both the strengths and risks of preserving tradition.

 


1)
1. "How we live" is more important than the crisis of AI-induced human extinction

At the beginning of the video, while acknowledging the discussion about AI's potential to cause human extinction, Mr Takeda says that rather than stoking fear about this crisis, he wants to offer a mindset for navigating the AI era.

2)
The answer he offers lies in the uniquely Japanese concept of "Do" (the "Way" or "Path"). He explains that the "Way"—exemplified by concepts like *Bushido* (the Way of the Warrior) and *Kendo* (the Way of the Sword)—represents a standard of value distinct from success, fame, or money.

3)
2. Human worth is not determined by whether or not one has "succeeded"

People who stand out in society—such as prime ministers, politicians, professors, business executives, athletes, and artists—make up only a tiny fraction of the population.

4)
However, that does not mean the vast majority of other people lack value.

Mothers, fathers, train drivers, road construction workers, and others—each fulfils their own role, supporting society's well-being and the people around them. He explains that this, in itself, constitutes the "Way."

5)
In short,

It is not about "who you have become," but rather "how you lived out the role assigned to you"

that truly matters.

6)
3. The "Way" exists for everyone

The "Way" is not reserved only for a select few with special talents.

Scholars have their "Way," parents have theirs, teachers have theirs, and salarymen have theirs; even children have their own "Way."

7)
He asserts that regardless of physical ability, intelligence, gender, or illness, every single person is endowed with their own unique "Way."

This is a crucial point in the video. 4. The Fundamentals of "The Way": Sincerity, Gratitude, and Respect for Others

8)
The video identifies several key elements for humans walking "The Way" (or *Do*):

Being sincere
Never forgetting one's debt of gratitude
Respecting others and nature

It emphasises that telling lies means straying from "The Way." It asserts that a lifestyle of stepping on others solely for personal gain is incompatible with "The Way."

9)
5. The Japanese Language and Shinto Are Also Linked to the Culture of "The Way"

Mr Takeda explains that "The Way" is deeply intertwined with Japanese culture, the Japanese language, and Shinto.

10)
Regarding the Japanese language specifically, he argues that it serves not merely to convey information but also to foster relationships and create harmony within a given context.

As for Shinto, he describes a distinctively Japanese worldview that senses the divine within nature, rather than a single, absolute deity who creates the natural world.

11)
6. And Finally: "AI Cannot Walk 'The Way'"

This brings us close to the video's conclusion.

AI has the potential to surpass humans in areas such as: far.

Increasing efficiency
Performing calculations
Processing information
Achieving results
Winning

12)
However, "The Way" is not about maximising efficiency or results.

Taking Kendo as an example, the video explains that it is not simply a sport for defeating an opponent; rather, it is a discipline through which one refines one's own way of living.

13)
Therefore,

"AI becoming superior to humans" does not necessarily mean "human value is lost."

On the contrary, the video's message is that if humans live by cherishing "The Way," they can continue to hold value distinct from that of AI.

Second Half: Why Kendo Is Not an Olympic Sport

14)
In the second half, a different narrator explains "The Way" discussed earlier by looking at Kendo's specific rules and conventions.

In Kendo, for instance, if a competitor makes a celebratory gesture (like a fist pump) after scoring a point (*ippon*), that point may be revoked. 

15)
In short, Kendo is not merely about evaluating the outcome—including the joy of victory—but also about one's mindset even after successfully landing a scoring strike (*ippon*).

This aligns with the concept of the "Way" (*do*) mentioned earlier, which holds that winning itself is not the ultimate objective.

 

 

16)
8. Comparison with Judo

The latter part of the video discusses how Judo expanded globally after becoming an Olympic sport, noting that authority to set its rules shifted to international organisations.

For instance,

distinguishing the colours of judo uniforms, and

banning techniques that involve grabbing the opponent's legs

were among the rule changes implemented to make the sport easier to understand for an international audience.

17)
The video explains that the Kendo community, observing these developments, worried that **"becoming an Olympic sport might lead to external forces altering the very values ​​that define Kendo **." ** ****

A valid Kendo point (*ippon*) is not determined by simple mechanical judgment; rather, it requires a comprehensive assessment of factors such as:

proper posture,

spirit (*kihaku*),

the strike itself,

*zanshin* (sustained mental alertness and readiness after a strike), and

the referees' judgment.

Consequently, the argument in the latter half is that the community prioritised upholding the fundamental standards of what Kendo represents over spreading the sport globally.

18)
9. However, a "Closed World" Has Its Problems, Too

The video does not paint an entirely idealised picture of the Kendo world.

The latter section also touches on misconduct and financial impropriety surrounding grading examinations. In other words,

it highlights the risk that preventing external rule changes can lead to an insular environment prone to corruption.

This represents a crucial "dual perspective" presented in the video.

19)
10. The Significance of the "8th-Dan Examination"

The video concludes by highlighting the extremely low pass rate for the Kendo 8th-dan examination and sharing the story of an individual who persevered for many years.

It shows that recognition is not reserved solely for famous athletes who have won national championships; rather, it honours those who have trained for years and kept taking the exam despite repeated failures. What is revealed here is not merely a record of competitive performance, but rather.

"the path that individual has walked in Kendo."

To sum up this video in a single phrase:

20)
Even if AI surpasses humans in ability, efficiency, and results, humans possess a culture—embodied by the concept of "Do" (the Way)—that values the Way of life itself, not just the outcome.

Kendo exemplifies a disciplined practice that preserves this philosophy in its structure today.

 

 

 

 

[Kunihiko Takeda - October 4] Wonderful news! Some incredibly bright and welcome news has just arrived for the Japanese people!

https://www.youtube.com/watch?v=JSjZ4veMx_E&t=310s

 

 

 

What is the philosophy of "Do" (the Way) that runs through Japanese culture? Deciphering the Japanese worldview that permeates the arts, education, and politics.
https://note.com/yaandyu0423/n/n8149d56e2d35

 

 

Weaving the Eastern Spirit into the West: What Is "The Way"?
https://drkatsurasuzuki.com/ja/%E6%9D%B1%E6%B4%8B%E3%81%AE%E5%BF%83%E3%80%81%E8%A5%BF%E6%B4%8B%E3%81%AB%E7%B4%A1%E3%81%90%EF%BC%9A%E3%80%8C%E9%81%93%E3%80%8D%E3%81%A8%E3%81%AF%E4%BD%95%E3%81%8B%EF%BC%9F/

 

 

 

//Post script ->> Summary - Level-C1 by ChatGPT Wow;-) ChatGPT has included opinions criticising this video in the summary!//

The text argues that the Japanese concept of “道” (dō) may offer a meaningful response to AI's challenges. Rather than defining human worth through efficiency, achievement, or social status, dō emphasises sincerity, continuous practice, respect, gratitude, and the intrinsic value of one’s role. Kendo exemplifies this philosophy by valuing not only victory but also discipline and composure. However, the argument has limitations: dō is not uniquely Japanese, and assuming that AI cannot embody such values is philosophically uncertain. Ultimately, its strongest insight is that human worth need not depend on outperforming AI.

 

 

A Divided World and the Journeys of Orphans: *Klara and the Sun* and the Novels of Kazuo Ishiguro

 

A Divided World and the Journeys of Orphans: *Klara and the Sun* and the Novels of Kazuo Ishiguro

 

//Summary - Level-C1//
Kazuo Ishiguro’s novels repeatedly explore the loneliness of individuals who feel abandoned by disappearing systems, ideologies, or relationships. In Klara and the Sun, this “orphan” theme is developed through social inequality, parental love, and human isolation. Klara’s fragmented vision and memories symbolise a divided world in which people may briefly connect but ultimately remain separate. Similarly, Never Let Me Go portrays individuals resisting an unstoppable current through fleeting moments of love and nostalgia. Ultimately, Ishiguro suggests that although humans are inherently lonely, their temporary connections give their lives meaning and comfort.

 

 

 

 

 

1)
‘So, this may be a matter of privacy, but there’s something I’d like to ask Rick. Please tell me whether Rick and Josie's love is genuine, and whether it is a heartfelt love that will last forever. I must know. If the answer is yes, it will give me something to negotiate with, and I’ll be able to make amends for my mistake in town. So, Rick, please think carefully and tell me the truth.’

‘There’s no need to think about it. Josie and I grew up together; we’re both a part of each other. And we have plans for the future. So, of course, our love is genuine and eternal. It doesn’t matter to us that one of us has undergone the enhancement procedure whilst the other hasn’t. That’s the answer, Klara. There’s no other answer.’

‘Thank you. I’ve gained something very special. Now, don’t forget. At a quarter past seven this evening. Let’s meet again right here, where we’re standing now.”

(From Kazuo Ishiguro’s *Klara and the Sun*)

2)
The loneliness and affection of orphans.

I think this is ultimately the theme Kazuo Ishiguro depicts, weaving stories that transcend genres. Reading his latest work, *Klara and the Sun*, makes me realise this.

I have the utmost trust in Ishiguro as a writer, and this is above all because he has championed the theme that ‘we, too, are orphans in this world’.

We, too, were simply orphans, abandoned in this world without even realising it.

3)
1. The theme of the orphan – Ishiguro’s works up to *When We Were Orphans*

Before discussing *Klara and the Sun*, I would like to write briefly about the themes explored in Ishiguro’s earlier works. What has Ishiguro been portraying up to *Klara and the Sun*?

4)
Ishiguro’s debut novel, *A Pale View of Hills*, and *An Artist of the Floating World* are often analysed primarily for being ‘set in Japan’. These works are often evaluated as stories of post-war Japan written by a British author of Japanese descent. However, I believe that the setting is not the crucial factor. This is because Ishiguro’s first three works—including his third novel, *The Remains of the Day*, set in post-war Britain—essentially tell the same story.

5)
*A Pale View of Hills* is the story of a mother who reflects on whether being forced to abandon her homeland and move to Britain after the war might have contributed to her daughter’s suicide. *The Painter of Modern Life*depicts a painter struggling to let go of a style that had brought him success under wartime values, even after the war. And *The Remains of the Day*, the story of a butler whose master had sided with Germany during the war, but who, in the post-war period, begins to wonder whether that ideology was, in fact, mistaken.

6)
In short, all three works were ‘stories of people who, although a great era defined by war had come to an end, were left bewildered, unable to accept the changes of that era fully’.

Ishiguro writes almost the same story, set in different places: Japan and Britain. —This is not to say that his work lacks originality; rather, I suspect that writers who have a particular message they wish to convey tend to go round in circles, repeating the same story over and over. Or rather, it is not just writers; we are probably the same. For some reason, we all end up repeating the stories that are important to us, in one form or another.

7)
The ideology one had believed in—in other words, the ‘parent’-like figure—suddenly vanishes. Yet this does not mean that one’s love for or attachment to that ‘parent’ disappears. Caught between these two extremes, people grapple with their anguish in solitude. The loneliness and love that follow a parent's disappearance—the strong, reassuring presence one had trusted—are themes in these three works.

What is fascinating about Ishiguro’s works is that ‘affection’ manifests as ‘fabricated memories’. Just because a parent is gone does not mean that the love or attachment towards them vanishes. Therefore, memory always lies. Unable to accept that their parent was wrong, they rewrite their memories of them into something beautiful.

8)
This theme—that ‘orphans whose parents have gone missing fabricate memories (out of loneliness or love)’—came to the fore in the fourth work, *The Unconsoled*, and the fifth, *When We Were Orphans*. *The Unconsoled* is a rather experimental novel; it is a story in which the regrets and setbacks of a world-renowned pianist from his past appear as characters in their own right.

Meanwhile, *When We Were Orphans* is the story of Christopher Banks, an orphan who lost his parents, as he recalls his past whilst working as a private detective. Both are novels depicting recollections of the past.

 

 


9)
I am very fond of the novel *When We Were Orphans*, and I also love the commentary by Hideo Furukawa included in the paperback edition. It reads as follows. (I remember shouting from the bottom of my heart, ‘Exactly! That’s exactly what this story is about!’ when I read this commentary).

10)
Orphans remember the very moment they became orphans. They think, ‘It was as if the world had crumbled around me.’ ‘It was as if the whole world had been shattered to pieces,’ they think. The orphans ruminate on that moment.
 The orphans were children.
 And so the orphans think: When I grow up, when I grow up, when I grow up.

(Hideo Furukawa, ‘Come on, stop it. Don’t pretend you’ve forgotten,’ from *When We Were Orphans*)

11)
Banks, the famous detective who was once an orphan, tries to prove that his memories are correct. But in reality, those memories are not correct. Yet if he accepted that they are incorrect, his world would crumble. He has worked so hard to build his world from scratch; he cannot bring himself to destroy it again. So Banks lies to his memories, whilst crying out, ‘I want to go back—I want to return to the world where I had parents.’

12)
2. The Turbulent Tides of the Age and the Individual: Individualet Me Go*

Whenever I visit a bookshop, I find myself thinking, ‘Ishiguro really is a popular author in Japan, isn’t he?’ I could list plausible reasons—such as the fact that the translations are quite easy to read, or his Nobel Prize—but even so, it’s quite rare for a work of contemporary foreign literature to have a Japanese live-action adaptation planned by TBS. I sometimes wonder why he’s so popular in Japan.

13)
Ishiguro debuted in 1982 and won the Nobel Prize in 2017. In Japanese terms, he is a writer of the Heisei era. And when I think about that era, I vaguely feel that Ishiguro’s theme—‘the reminiscences of people left behind by grand ideologies’—must have resonated with the atmosphere of a time when Japan’s ‘grand narratives’ (economic growth! large corporations! marriage! patriarchy!) were fading away.

Mind you, it’s probably not a good idea to reduce it all too much to the narrative of the times. Even so, I can’t help but feel that the ‘stories of people left behind by the post-war system’ in Ishiguro’s works overlap with the image of ‘us in Japan, bewildered by the disappearance of the grand Shōwa-era system’.

14)
For example, both Haruki Murakami and Ryu Murakami write on the theme of ‘the system and the individual’. W. Murakami depicts the individual standing up to the system, for instance, fighting alone without being swept up by corporations, organisations, or ‘big birds’. Ishiguro, by contrast, goes a step further and places ‘nostalgia for the system’ at the forefront. These stories are set in an era where no grand systems remain to fight against. All that exists is a world where the current flows rapidly, merely using us and discarding us.

15)
Of course, if we had to choose between being a wall or an egg, we’d be the egg; but I think there is a certain loneliness in not being able to become the wall.

However, Ishiguro’s strength lies in his romanticism. He believes that in a world where the system has disappeared, the most important thing is the love between individuals.

16)
‘You know, I often think about two people in a river—a river somewhere, with a really fast current. And there are two people in that water. They’re clinging to each other. Clinging on for dear life, but in the end, the current’s too strong; they can’t hold on. In the end, they let go of each other’s hands and are swept away separately. We’re just like that, aren’t we? It’s a shame, Cass. Because we’ve loved each other from the very beginning—for a very long time, but in the end… we can’t stay together forever.”

(From Kazuo Ishiguro’s *Never Let Me Go*)

17)
This metaphor appears several times in the novel *Never Let Me Go*. The protagonists find themselves on the verge of being swept away by a raging river. Yet, even as they are about to be carried away, they reach out to take someone’s hand. But in the end, their hands slip apart, and they are swept away.

…Given the context so far, I think you can probably grasp what this metaphor is meant to convey.

 

 

 


18)
Ultimately, the river represents a fast-flowing world that is constantly changing. Within it, individuals cling desperately to one another. In that fleeting moment of clinging, love is born. Yet love does not triumph in the end; the river sweeps them away. … Don’t you think that’s rather romantic? Ishiguro genuinely believes that there is meaning in individuals clinging to one another, even for just an instant, amidst the river’s current.

19)
I’ve gone into the details first, but Ishiguro’s sixth novel, *Never Let Me Go*, is a true masterpiece, so if you haven’t read it yet, I’d really urge you to. The protagonist is Kathy, a carer for the ‘donors’. She recalls her memories of life at the boarding facility, Hailsham. The children at Hailsham, where she grew up, are being raised to ‘donate’ something. Only when the children reach puberty do they learn this.

20)
When the meaning of ‘donation’ becomes clear, the reader is taken aback. Why were the children burdened with such a fate? What, exactly, were the memories of Kathy’s girlhood that we had been reading about? (This part is far too precious to spoil, so I really do hope you’ll read the novel for yourselves.)

21)
However, even readers who were shocked by the meaning of ‘provision’ will surely come to realise, upon finishing the novel, that what the ‘providers’—Cathy and the others—were saying was by no means a tale from another world or the setting of a science fiction story, but simply a metaphor for ourselves.

In *Never Let Me Go*, the motif of the ‘discarded plastic bag’ appears frequently.

22)
A plastic bag. Its sole purpose is to hold something. And once there is nothing left to put inside it, it is discarded. This plastic bag is, in short, a metaphor for Kathy and the others, who have finished ‘giving’. (And at the same time, it is also a metaphor for us, who were brought into this world to give something to it.)

23)
Towards the end of the novel, there is a scene where, just before the wind blows away the plastic bag, it catches slightly on some barbed wire. As she watches, Kathy recalls her hometown. This is probably much the same as clinging to someone just a little, in an attempt to resist the flow of the river. Whether someone is there or not, that fleeting moment of resistance—just before being swept away—that love, that nostalgia, makes us forget our loneliness. That is what *Never Let Me Go* tells us even if it’s nothing more than a moment’s resistance.

24)
A plastic bag clinging on for just a moment, trying not to be blown away by the wind, whilst recalling a place to return to. … It’s poignant, but I really do love this metaphor. Every time I reread it, I think from the bottom of my heart that to be novel is better than *Never Let Me Go*.

25)
3. In a Divided World—*Klara and the Sun*

Following his seventh novel, *The Forgotten Giant*, he published his latest work, *Klara and the Sun*. *The Forgotten Giant* is a story in which ‘even the system’s memories are fabricated’, so it was a tale that was very much in Ishiguro’s style. And *Klara and the Sun*, like *Never Let Me Go*, has a slight sci-fi flavour. It is a story featuring AI.

26)
However, as with *Never Let Me Go*, I suspect this is less a deliberate attempt at science fiction and more a result of Ishiguro’s recurring theme of ‘orphans’—which naturally leads to robots and clones taking centre stage in the novel. In essence, they are children without parents. That is what they are.

27)
*Klara and the Sun* is the story of Klara, an AI robot with no parents.

The protagonist, Klara, is an Artificial Friend (AF) robot. In this world, robots keep evolving, and Klara and her fellow older-generation AFs sit on the shelves alongside the more advanced B3-type robots. Because the latest B3-type robots are the most popular, people rarely buy Klara. So Klara stares intently at the human world visible outside the shop window.

28)
And she learns. She observes the behaviour of humans. —And finally, a young girl arrives. Josie, a frail girl, says she wants to buy Klara. Josie’s mother gives Klara a strange instruction. It would be a long time before Klara understood the true meaning of that strange instruction…

29)
One theme of *Klara and the Sun* is a parent’s love for their child. However, the way this is portrayed is by no means simple. For example, the term ‘enhancement procedure’ appears in this novel. ‘Enhancement procedure’. Although it is not explicitly stated what this is, judging by the text, it refers to ‘a gene-editing procedure that parents have their children undergo to make them more intelligent’.

 

 

 


30)
Children who have not undergone the enhancement procedure find it difficult to gain entry to university. In this world, university admission is determined not by innate ability, but by whether one has undergone this procedure. However, this procedure also carries risks. It also burdens children. In some cases, undergoing the enhancement procedure can lead to death or leave a child in poor health. Yet even so, without the procedure, they cannot progress to university.

31)
Whether it is the difference between ‘old models’ and ‘new models’ in Klara’s world of AF robots, or the difference between those who have undergone ‘enhancement procedures’ and those who have not in the world of George and the other children, the world of *Klara and the Sun* is marked by inequalities over which individuals have no control.

(Reading this, I cannot help but feel a sense of gloom, as it seems inevitable that sooner or later we will face a world where ‘the scientific power wielded by parents over their children creates disparities in ability that are beyond the children’s control’). The idea that parental love drives these disparities among children is both deeply convincing and deeply saddening.

32)
Yet Klara observes and learns about this complex parental love up close. Watching Josie’s mother, Klara analyses her behaviour. Eventually, she realises a slightly unsettling quality mixed into the gaze Josie’s mother occasionally directs at her. This describes the moment when Josie’s mother and Klara went to see the waterfall.

33)
Her mother narrowed her eyes and leaned forward over the table. The waterfall receded into the background, and her face became so intensely emphasised that it seemed to split into eight separate boxes; for a moment, it even felt as though her expression differed in each one. For instance, in one box her eyes laughed cruelly, whilst in the next they brimmed with sorrow.
(‘Klara and the Sun’, p. 151)

34)
Klara’s field of vision is divided into several boxes, and it seems she perceives the world through a combination of them. However, when she went to see the waterfall, her mother’s expression differed from box to box. Both the box of cruelty and the box of sorrow entered Klara’s field of vision.

Why is Klara’s field of vision box-like? I believe this is not merely a result of Klara’s characterisation as a robot, but a device designed to introduce the motif of a ‘divided field of vision’.

35)
This work frequently features the motif of ‘various blocks combining to form a single image’. For example, Klara’s field of vision. Or the cityscape. The sunlight streaming through the glass windows. And the human emotions reflected in Klara’s eyes.

What is particularly brilliant is that the ‘box’ device is not confined solely to the field of vision. Klara’s fragmented field of vision eventually seeps into her memories, too.

36)
Over the last few days, several fragments of my memory have begun to overlap strangely. For instance, the memory of that dark morning when the sun saved Jozy, the memory of our trip to Morgan’s Falls, and the memory of the intensely bright restaurant Mr Vance chose all somehow blend into a single scene. My mother stands with her back to me, watching the spray rising from the waterfall, yet I am watching it not from a wooden picnic bench, but from a table at Mr Vance’s restaurant.

37)
(…) I know this is not a disorder of memory or perception. For if I so choose, I can always separate the memories and return each to its proper context. Moreover, when such multiple memories merge into a single image, I am always aware of the rough boundary between them. It is like a child who cannot yet use scissors properly, tearing something apart with their fingers in frustration.

38)
I am conscious of an irregular tear, like the one created in that moment, lying between my mother in front of the waterfall and the restaurant table. If you look closely at the scene I described earlier, you will see that the scale of the dark clouds overhead is not the same as that of the mother standing before the waterfall. Even so, such composite memories have been coming to mind with striking clarity of late.
(From the text of *Klara and the Sun*)

39)
The ‘scene from when she went to see the waterfall’ and the ‘scene from when she was sitting at a table in a restaurant’—two scenes that would not normally mix—appear simultaneously before Klara’s eyes. Although Klara, being a robot, realises this is strange, she nevertheless recognises that blocks of memory combine to form a single scene.

 

 

 

40)
Separate blocks. And when they come together, they form a single scene—a memory.

As I mentioned in the previous chapter, Ishiguro depicts the fabrication of memory. Yet surely, when we lie to ourselves about our memories, we do not set out to tell a lie ‘just here’ in a fragmentary way. Humans, too, end up with combinations that differ from reality at some point whilst layering several blocks of memory on top of one another. Klara’s block-like memories likely reflect this structure, rendered with Ishiguro’s characteristic touch.

41)
And perhaps this motif of ‘combined, segmented blocks’ also ties in with the division between robots and the division between humans.

Josie’s childhood friend Rick has a vague inkling that, even though he and Josie are together now, their paths will diverge as they go through life. This is because Rick has not undergone the enhancement procedure that Josie has. Rick knows that, even though they may appear to be the same kind of human, a ‘division of blocks’ undoubtedly exists within them. Just as a landscape that ought to fit within a single field of vision appears divided into blocks when seen through Klara’s eyes.

42)
Yet Rick, while realising that his and Josie’s paths will diverge, still says their love will never fade.

‘Even if Josie and I go out into the world and can no longer meet, on some level—a deep level—we’ll always be together. I can’t speak for Josie, but as for myself, I think I’ll always keep searching for someone just like her.
(From the text of *Klara and the Sun*)

43)
Individuals meet and part ways. It is perhaps like separate blocks that sometimes fit together, yet eventually drift apart again. This is how such people appear to Klara. For example, two people who joyfully embrace when they meet again on the street. Or Jozy and Rick, who are together now but will one day part ways (though they believe they remain connected in their hearts).

44)
Or Josie and her mother, who go about their daily lives whilst vaguely sensing that the time may come when they must part. To Klara, this might appear just as if individual blocks were to come together for a single moment—for instance, only when the sunlight streams in—to form a single scene.

45)
On a grand scale, the division of the blocks speaks of social inequality; on a smaller scale, it speaks of the loneliness of the individual—individualisation that, even between parent and child, we are not the same person. We, humans, are all lonely, mere individuals; perhaps that is precisely why we long to be part of the same landscape, even if only for a fleeting moment.

The loneliness of the blocks.

Even with our parents, we are lonely orphans, cast into this world entirely alone.

Hasn’t Ishiguro always depicted the stories of such people?

46)
In Conclusion

I have been reading on, all the while wondering just how far the journey of the orphans depicted by Kazuo Ishiguro will take them. *Klara and the Sun* is a story that is as gentle and dazzling as a children’s novel, yet it also possesses that tranquil cruelty so characteristic of Ishiguro; as I read, I found myself nodding in agreement, thinking, ‘This is it, this is exactly it.’

47)
To all the orphans cast out into this fragmented world.

The story of *Klara and the Sun* is one in which you can almost hear the author saying those very words.

It is undoubtedly a story written as if to gently hold up a ray of sunlight to us, living in this world where the current flows ever faster.

 

 

 

 

 

A Divided World and the Journeys of Orphans: *Klara and the Sun* and the Novels of Kazuo Ishiguro

https://note.com/nyake/n/naf8c46003608

 

 

 

 

 

The Question of Humanity in Kazuo Ishiguro’s Latest Work, *Klara and the Sun*
https://www.vogue.co.jp/change/article/vogue-book-club-Klara-and-the-sun


*Klara and the Sun*: Synopsis and Commentary—Why Do Some Call It Boring?
https://nomidoku.com/klara-and-the-sun/

 

KLARA AND THE SUN – Official Trailer (4K)
https://www.youtube.com/watch?v=wixzainceAE


Kazuo Ishiguro’s *Klara and the Sun* Explained: Can the Human Soul Be Replicated in a Robot?
https://www.youtube.com/watch?v=5E6m4oWaAbM


*Klara and the Sun* by Kazuo Ishiguro
Auto-dubbed Version
https://www.youtube.com/watch?v=6GJ7mrqo9nQ

 

 

 

 

 

 

 

[Kunihiko Takeda - October 4] Wonderful news! Some incredibly bright and welcome news has just arrived for the Japanese people!
https://www.youtube.com/watch?v=JSjZ4veMx_E&t=310s

 

 

 

 

Learning English through English Books: Kazuo Ishiguro's *Klara and the Sun*
https://note.com/devils_english/n/n5e08b4ec28c3

 

Sibelius: Symphony No. 1 — A Fantastical Poem Woven by Nordic Winds

 

[Commentary] Sibelius: Symphony No. 1 — A Fantastical Poem Woven by Nordic Winds

 

 


//Summary - Level-C1//
Sibelius’s Symphony No. 1 is a dramatic, fantastical work shaped by Nordic nature, Finnish mythology, and Finland's political oppression under Russian rule. Inspired partly by Berlioz’s Symphonie fantastique, Sibelius combined Romantic freedom with traditional symphonic structure. The four movements evoke contrasting scenes: a mysterious forest, lyrical introspection, a wild scherzo, and a passionate fantasia-like finale. Although the symphony has no explicit programme, its music vividly suggests snowy landscapes, forests, and a longing for freedom. As an early expression of Sibelius’s distinctive style, it balances grandeur, mystery, emotional intensity, and Nordic atmosphere.

 

 

 

 


1)
A forest through which a cold wind blows, a sky full of shadows—

Sibelius’s "Symphony No.1" is a masterpiece that evokes such scenes through music alone.

Sibelius was a master at depicting nature and mythology through sound.
This piece, in particular, richly expresses his unique style.
Why is this piece so dramatic and fantastical?

2)
Although the Second Symphony is more famous, the First is truly brimming with "Sibelius-ness"!
In this article, the author—a violinist with over 35 years' experience—
will unravel the background to the First Symphony whilst explaining its appeal in an accessible manner.

The "Fantastical Nature" of the First Symphony
The Roots of Sibelius’s Compositional Style
The Atmosphere and Characteristics Imbued in Each Movement

3)
Why was this piece composed? | The background to the creation of Symphony No. 1

The Influence of the "Symphonic Influence"

As a young man, Sibelius heard Berlioz's "Symphonie fantastique" whilst studying in Berlin.
The "Symphonie fantastique" tells the story of a young artist's nightmares.
Its free structure and dramatic development deeply moved Sibelius.

Unprecedentedly original for its time, this music — in which fantasies intertwine— greatly stimulated Sibelius's creative drive.

Although he had initially envisaged a different programme piece,
he abandoned that idea and threw himself into composing Symphony No.1.

4)
Indeed, his dedication was such that he retreated to the countryside, leaving his family behind!
Even when compared to his later works, this piece is imbued with the intense passion of a young artist.

The opening of the fourth movement bears the instruction "quasi una fantasia".
This suggests that Berlioz's influence was on the InfluenInfluence expression!

5)
Russian Oppression and Finnish National Consciousness

In 1899, when this symphony was composed, Finland was under Russian rule, and oppression was intensifying.
In particular, the Governor-General at the time was a Russian patriot.
He forced the people to show absolute obedience to Russia.

Amidst these circumstances, national consciousness grew within the country,
and a movement to seek out "Finnishness" flourished in the fields of culture and the arts.
Sibelius, too, sought to respond to this national sentiment through his music.

Although "Symphony No.1" has no explicit programme,
its sound evokes the landscape of a country shrouded in snow and forests, as well as the voice of souls yearning for freedom.

This music, whilst fantastical, carries a certain sense of pathos…
It was a work that, more than mere description, reflected the spirit of the age through sound!

6)
Sibelius: A Composer Rooted in Myth and Nature

Sibelius was a composer whose style changed significantly over time.

Around the time of his Symphony No. 1, his deep affinity for Norse mythology was strongly evident.

He was particularly fascinated by the Finnish epic, the "Kalevala".
This epic frequently featured in his symphonic poems and incidental music, serving as a wellspring of his imagination.
At the same time, the harsh yet beautiful Nordic landscape—snow, forests and lakes—also casts a deep shadow over his music.

When listening to his music, one feels as though one can "see" the landscape.

7)
He carried these elements into his symphonies.
Although this piece lacks a clear narrative, it still has a musicality that speaks to the listener, much like a symphonic poem.

Even without a theme, the sounds themselves tell a story—that is the very essence of Sibelius's style.

8)
Characteristics of the Piece

It is a very grand, mysterious and, in a sense, fantastical piece.

Although it is not a symphonic poem based on a specific theme, it evokes the landscape of Northern Europe.

It follows the style of earlier works such as "Finlandia" and "Karelia" and is dramatic. Much of the music also evokes specific scenes.

As a late-Romantic work, it adheres to the structural conventions of earlier classical music while also allowing greater freedom.

It allows the listener to enjoy more direct emotional expression, as well as a rich and wide range of timbres.

9)
First Movement | As if Emerging from the Forest

It begins with a clarinet introduction that seems to emerge from a deep forest.

It gives the sensation that the music is welling up from the depths.

Soon, the violins take the lead, and the main section begins as if the view were suddenly opening up.
The first and second themes alternate, sounding at times dreamlike and at others intense.

In the middle section, a poetic harp bridges the scenes, whilst the brass creates a sense of exaltation at the climax.
However, immediately afterwards, the curtain falls abruptly with two pizzicato notes—a conclusion brimming with tension.

 

 

 


10)
Second Movement | Between Lyricism and Mystery

This movement is deeply lyrical music, blending warmth and mystery.
The gentle opening theme is like a fire burning in a hearth in a house on a snowy plain.
The horns and woodwinds repeat it, gradually transforming as they go.

In the middle section, a somewhat anxious melody emerges, and the harmonies take on a sombre tone.
Although the mood shifts, it remains thoroughly introspective.
Like a quiet prayer, it ends, leaving a gentle, lingering resonance.

11)
Movement 3 | A Wild Yet Dancing Scherzo

This scherzo is not characterised by the light-heartedness of the Classical period, but is rather wild and rough-hewn.

Cutting rhythms and short motifs build upon one another, lending the music a sense of tension.
The rhythmic accents are also distinctive, creating a striking impression of instability, as if the music were "not quite grounded".

In contrast, the middle section (trio) has an idyllic character, offering relief and tranquillity.
This contrast makes the gritty rhythms of the recapitulation stand out all the more.

12)
Movement 4 | In the style of a fantasia

"Like a fantasia"… This is the movement to which Sibelius attached the designation "quasi una fantasia".

True to its name, this movement is not bound by form but unfolds freely, as if telling a story.

The music gradually builds to intense passion.
A melody beginning on the off-beat builds momentum, and the music quickly grows more fervent.
Burning passion intertwines with the cold air, making it feel as though one is listening to a musical drama.

And immediately after surging through the climax, the piece abruptly draws to a close with two pizzicato notes.
This is the same ending as in the first movement, but this time the pizzicato ‘fades away’, as if the music were suddenly falling silent.
It is a striking finale that guides the listener’s imagination into the reverberations.

13)
Summary | A masterpiece where the Nordic landscape and passion intertwine

The appeal of Symphony No.1
A unique Nordic atmosphere born of an era of oppression
A majestic, mysterious and, in a sense, fantastical work
Although it has no specific theme, elements reminiscent of a symphonic poem can be sensed, drawn from past experiences

14)
The Symphony No.1 is a masterpiece born of rich originality against the backdrop of a repressive era.

Whilst influenced by Berlioz's "Symphonie fantastique", he built an epic world by superimposing the Finnish landscape and spirit upon it.

It is densely packed with the very essence of ‘Sibelius’ and can be considered both the starting point and the origin of his symphonic output.

A symphony uniquely his own, in which grandeur and fantasy are harmoniously balanced.
If you have the opportunity, please do take the time to listen to it carefully.

 

 

 

[Commentary] Sibelius: Symphony No. 1 — A Fantastical Poem Woven by Nordic Winds

https://violinfreaks2.com/sibelius-symphony-1/

 

Finlandia - Karajan 1976 Live
https://www.youtube.com/watch?v=OJ-oE4kIjoU&list=RDOJ-oE4kIjoU&start_radio=1


Sibelius: Symphony No.1 in E minor, Op. 39 (Herbert von Karajan)
https://www.youtube.com/watch?v=-yRkbi8uMYQ&list=RD-yRkbi8uMYQ&start_radio=1


Sibelius: Symphony No. 2 in D major, op. 43 (Herbert von Karajan)
https://www.youtube.com/watch?v=YIXImwTZVA0&list=RDYIXImwTZVA0&start_radio=1

 

 

 

 

 


[Commentary] Sibelius: Symphony No. 1 — A Fantastical Poem Woven by Nordic Winds
https://violinfreaks2.com/sibelius-symphony-1/

 

[Classical Masterpiece Commentary] Maestro Sachio Fujioka Offers an In-Depth Guide to Sibelius's Symphonies
https://www.youtube.com/watch?v=Npl6rbxtkak&t=1243s


Sibelius: Ranking All 7 Symphonies — Recommended Masterpieces with Crystal-Clear Clarity!
https://www.alpacablog.jp/entry/sibelius-sy-ranking

 

[Classical Masterpiece Commentary] Introducing the highlights of Sibelius's beloved patriotic masterpiece, "Finlandia."
https://www.youtube.com/watch?v=SZPMKj29P64

 


Sibelius: Life and Masterpieces — An Overview of the Nordic Master's Complete Symphonies! An in-depth look at the patriotic background behind the composition of *Finlandia* and the life of the hero it celebrates.
https://www.youtube.com/watch?v=r8t-dnMDfvM&t=12s


Sibelius: Symphony No. 6 [Analysis & 3 Recommended Recordings] – A work of delicate, crystalline beauty.
https://www.alpacablog.jp/entry/sibelius-sy-6

 

[Fresh Takes on Classical Masterpieces] (Phase 18) Sibelius’s Symphony No. 2: How an elegy transforms into a song of triumph—and its connection to a Queen hit.
https://member.jp.yamaha.com/topics/myujin/2024/wm-77594


A fantasy dissolving into the wind—the beauty of Sibelius’s Symphony No. 5.
https://note.com/artloverneko_08/n/n1066b3a088c1

 


Not a single wasted note? An analysis of the structure of Sibelius’s Symphony No. 4!
https://www.youtube.com/watch?v=qQoL5wUDy2s&t=17s


The pinnacle of the symphony! A thorough analysis of Sibelius’s Symphony No. 7!
https://www.youtube.com/watch?v=OPjTSqqOVGM

 

[Amazing Pieces] In-depth analysis #8: Sibelius’s Symphony No. 6 in D minor.
https://note.com/kei_arima/n/n6dad98ea7397

 


Beautiful melodies and architectural structural beauty! [Analysis & Commentary] Bruckner’s Symphony No. 7.
https://www.youtube.com/watch?v=RpvAasJf1dM&t=12s

 

An unfinished masterpiece that was ahead of its time! [Analysis & Commentary] Bruckner: Symphony No. 9
https://www.youtube.com/watch?v=GXgncb3_QBM

 

 

 

 


Sibelius: Finlandia (Prom 75)
https://www.youtube.com/watch?v=fE0RbPsC9uE&list=RDfE0RbPsC9uE&start_radio=1

 

Sibelius: Finlandia, Barbirolli & The Hallé (1966)
https://www.youtube.com/watch?v=Y2Q6v0FvtlQ&list=RDY2Q6v0FvtlQ&start_radio=1

 

Sibelius: Symphony No. 1, Watanabe & JPO (1962)
https://www.youtube.com/watch?v=jZ4SAXfyL3U&list=RDjZ4SAXfyL3U&start_radio=1

 

 


Sibelius: Symphony No. 2, Watanabe & JPO (1962) 
https://www.youtube.com/watch?v=vDso3RUs3-8&list=RDvDso3RUs3-8&start_radio=1

 

Sibelius: Symphony No. 3, Watanabe & JPO (1962) 
https://www.youtube.com/watch?v=cQLk3zKML-A&list=RDcQLk3zKML-A&start_radio=1

 

Sibelius: Symphony No. 4 Karajan /Berliner Philharmoniker
https://www.youtube.com/watch?v=DeOpLE0gB7k&list=RDDeOpLE0gB7k&start_radio=1


Sibelius: Symphony No 4 (1953) Von Karajan/Philharmonia
https://www.youtube.com/watch?v=F_BgOP5MGTg&list=RDF_BgOP5MGTg&start_radio=1

 

Sibelius 4 Symphony Herbert Blomstedt Finnish Radio Symphony Orchestra
https://www.youtube.com/watch?v=HjeF99_ocfM&list=RDFChg3ERp6C8&index=7

 

Sibelius : Symphony 5 (Full) - Karajan
https://www.youtube.com/watch?v=FAFouzo3ZHQ&list=RDFChg3ERp6C8&index=4


Sibelius: Symphony No. 5, Barbirolli & The Hallé (1966)
https://www.youtube.com/watch?v=RiKV4ZkVFjQ&list=RDRiKV4ZkVFjQ&start_radio=1

 

Jean Sibelius Symphony No. 5 Leonard Bernstein
https://www.youtube.com/watch?v=niKn5KNaxpU&list=RDniKn5KNaxpU&start_radio=1

 

[Enter the Music] Sibelius "Symphony No. 5"
https://www.youtube.com/watch?v=0jVtEiOBQbw

 

Sibelius: Symphony No. 6 Herbert von Karajan /Berlier Philharmoniker
https://www.youtube.com/watch?v=f4bS9TDHl3A&list=RDf4bS9TDHl3A&start_radio=1


Sibelius : Symphony 6 ( Full )- Karajan
https://www.youtube.com/watch?v=FChg3ERp6C8&list=RDFChg3ERp6C8&start_radio=1

 

Sibelius: Symphony 7 ( Full) - Karajan*
https://www.youtube.com/watch?v=XHHfvdAqvn8&list=RDFChg3ERp6C8&index=3

 

Bruckner: Symphony No. 7 Karajan's final concert 1989 
https://www.youtube.com/watch?v=iuHKgleEiW8&list=RDiuHKgleEiW8&start_radio=1

 

Hans Rosbaud "Symphony No 7" Bruckner
https://www.youtube.com/watch?v=r-rmYPtS5pc

 

Bruckner "Symphony No 7" Bernard Haitink
https://www.youtube.com/watch?v=bgo0wuZKN_E

 

 

Bruckner Symphony No. 5: A Rare Live Performance by Karajan
https://www.youtube.com/watch?v=TPTS9FL4vkI&list=RDTPTS9FL4vkI&start_radio=1&t=3926s


Bruckner Symphony No.5 - Eugen Jochum / ACO (Live, 1986)
https://www.youtube.com/watch?v=txQewxJBGg0

 

Bruckner - Symphony No 8 in C minor - Giulini
https://www.youtube.com/watch?v=xT5kreOhjxU