The Revolution of The Symphony

Beethoven’s symphony number 5 in C minor is eclipsed by the new Symphony number 30 composed by an anonymous musician.

Symphony 30 is a pure phonetic paradise amid a world whose instrumental compositions are eventually mimicking the most urban crashes of modern civilization.

Symphony 30 diverged from the emblematic methodical practices of music, written in an eccentric form of musical writing other than a pentagram.

Symphony 30 is far too complex for a quick-thinking comprehension, yet far too bright and innovative.

Symphony 30 is the 1860s Claude Monet of realism, inexistent, yet with forward-thinking, progressive, radical and fine ideals.

Symphony 30 has the potential to be the Karl Marx of communism.

Symphony 30 has the greatest melodic coherence ever perceived.

Music should be privileged to have the eminent Symphony 30 classified as an art of its category.

Symphony 30 nonetheless, is too prideful to emit its coherences.

Symphony 30 considers mankind’s ears to be too ignorant for the sonority of its tunes.

Symphony 30 establishes its melodies in a parallel world, aside from one’s current dystopia.

Symphony 30 isolates its compositions.

Symphony 30 never has, and never will be heard.

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