Lol! 
Tuesday, July 7, 2009
Sunday, July 5, 2009
Monday, May 18, 2009
Cute Rsvp Saying For My Wedding Invites
- the pianism of the strange
The piano recital is something strange. When exercise was developed in the nineteenth century, a large majority of the public should have a piano at home, essential vehicle for the dissemination of music in the absence of radio or blu-ray, and the music was that of contemporary composers. Gradually, the exercise has become increasingly abstract, the piano lounge is more a decorative object. As to the repertoire performed, it has largely turned to stone, the majority being divided into two categories: those who play Bach in a loop and those who alternate Beethoven and Chopin, but also in a loop. The contemporary music is no longer defended by a minority of pianists who seem to be regarded as mild bewilderment disconnected from the real world.
The truth is that the piano recital has become a form unto itself, with enough of an audience, specialized and sharp. A bit like the public chess tournaments, or curling of the Olympic Games. Something a little mysterious to someone who would land by chance and would not know what it is.
But I must confess a soft spot for the year. The piano gives an abstract vision music, with an interpreter who gives a very subjective music he plays.
was an interesting program than Radu Lupu 18, but 2009 at the Châtelet:
Part I: three sonatas of Beethoven 1799,
Sonata No. 9 Op. 14 No. 1
Sonata No. 10 Op. 14 No. 2
Sonata No. 8 "Pathetique" op. 13
Second part: Entire
first book of Debussy's Preludes .
and I'm haste to a step forward, into the hall of the Chatelet, attracted by the presence of Radu Lupu, Romanian pianist, and Debussy's Preludes, One of my favorite works that are not played all that often (though not a rarity, far away).
Radu Lupu is a phenomenon. I do not think there is another example of a pianist reached a certain level of familiarity with the piano playing is as strange. It must be the pianist I have seen most often in concert, I had heard in the early 1990s when he was less known and the rooms were quite empty when it occurred. His game has not changed much in the idea: the game that is more abstract, with a beautiful sound like music but folded on itself. A vision of autistic and meditative entire directory approached, but vibrant and never falls into contemplation.
Over the years, the rooms were filled and this time the Châtelet seemed very full. Radu Lupu himself, who decided not to make records, communicates a bit more with the public. Very closed in on itself at the beginning, today he Gromelle playing and seems aware of the presence of people in the room. The world of the piano seems to have adopted this unusual musician, who is not really a virtuoso who has not a spectacular game. Evidence that non-conformity exists in the world of piano and he can be a real success. The audience at the piano is sometimes happy, despite appearances, to welcome the most original.
's recital tonight has kept its promises: the sonatas of Beethoven in 1799 marked the passage of Beethoven's style still marked by Haydn to an unbridled romanticism. Radu Lupu has played its way, both austere and singing with a very comprehensive approach to music (the cons-soaped songs in this music convoluted, I do not remember that he put both side there are still some years, it is curious).
The first book of Preludes by Debussy was a wonder: poetry sound, subtle dynamics without mannerism, natural, breathing music. Truly a great interpretation of this masterpiece. Radu Lupu has captured the interest of the public very aware of what he was hearing, attention was palpable in the room.
Concerts Radu Lupu are in a kind indeed quite surprising. A wonderful evening 
The piano recital is something strange. When exercise was developed in the nineteenth century, a large majority of the public should have a piano at home, essential vehicle for the dissemination of music in the absence of radio or blu-ray, and the music was that of contemporary composers. Gradually, the exercise has become increasingly abstract, the piano lounge is more a decorative object. As to the repertoire performed, it has largely turned to stone, the majority being divided into two categories: those who play Bach in a loop and those who alternate Beethoven and Chopin, but also in a loop. The contemporary music is no longer defended by a minority of pianists who seem to be regarded as mild bewilderment disconnected from the real world.
The truth is that the piano recital has become a form unto itself, with enough of an audience, specialized and sharp. A bit like the public chess tournaments, or curling of the Olympic Games. Something a little mysterious to someone who would land by chance and would not know what it is.
But I must confess a soft spot for the year. The piano gives an abstract vision music, with an interpreter who gives a very subjective music he plays.
was an interesting program than Radu Lupu 18, but 2009 at the Châtelet:
Part I: three sonatas of Beethoven 1799,
Sonata No. 9 Op. 14 No. 1
Sonata No. 10 Op. 14 No. 2
Sonata No. 8 "Pathetique" op. 13
Second part: Entire
first book of Debussy's Preludes .
and I'm haste to a step forward, into the hall of the Chatelet, attracted by the presence of Radu Lupu, Romanian pianist, and Debussy's Preludes, One of my favorite works that are not played all that often (though not a rarity, far away).
Radu Lupu is a phenomenon. I do not think there is another example of a pianist reached a certain level of familiarity with the piano playing is as strange. It must be the pianist I have seen most often in concert, I had heard in the early 1990s when he was less known and the rooms were quite empty when it occurred. His game has not changed much in the idea: the game that is more abstract, with a beautiful sound like music but folded on itself. A vision of autistic and meditative entire directory approached, but vibrant and never falls into contemplation.
Over the years, the rooms were filled and this time the Châtelet seemed very full. Radu Lupu himself, who decided not to make records, communicates a bit more with the public. Very closed in on itself at the beginning, today he Gromelle playing and seems aware of the presence of people in the room. The world of the piano seems to have adopted this unusual musician, who is not really a virtuoso who has not a spectacular game. Evidence that non-conformity exists in the world of piano and he can be a real success. The audience at the piano is sometimes happy, despite appearances, to welcome the most original.
's recital tonight has kept its promises: the sonatas of Beethoven in 1799 marked the passage of Beethoven's style still marked by Haydn to an unbridled romanticism. Radu Lupu has played its way, both austere and singing with a very comprehensive approach to music (the cons-soaped songs in this music convoluted, I do not remember that he put both side there are still some years, it is curious).
The first book of Preludes by Debussy was a wonder: poetry sound, subtle dynamics without mannerism, natural, breathing music. Truly a great interpretation of this masterpiece. Radu Lupu has captured the interest of the public very aware of what he was hearing, attention was palpable in the room.
Concerts Radu Lupu are in a kind indeed quite surprising. A wonderful evening
Saturday, May 16, 2009
Male And Female Buttons
Aperghis Concert-Xenakis at the Cité de la Musique
concert April 28 at the Cité de la Musique, on "short form - long forms, which has the advantage that it can squeeze in any program.
Ensemble Intercontemporain directed by Ludovic Morlot played:
Iannis Xenakis - Phlegra
George Aperghis - Parts for twelve
Iannis Xenakis - Rebounds
(percussion solo: Gilles Durot)
George Aperghis - Heysel
George Aperghis - Daily Happiness (creation)
(soprano: Donald Michael Dansac
mezzo Marianne Pusher)
More claimed that the theme of the concert, long and short forms, it seemed that the drivers were the son Free virtuosity and the difficulty of establishing delusional. We have almost sorry for musicians to imagine the difficulty that should represent such a program, although for Gilles Durot Rebounds in is very rewarding: it can be fun to make a number of percussion-hero about 12 minutes the audience transforms sleepy City of rock music in public (and he is entitled to a standing ovation from his colleagues behind the scenes), it must be said that the performance is amazing to see physically (and then it makes a terrible racket). However, I challenge any drummer or percussionist Sunday rock standard play 3 minutes of this thing, not even completely in place. Xenakis would have an enemy and percussionist sought a way to get rid for good ...
Phlegra is complex, several overlapping structures, it seemed almost impossible to follow without the score. This music leaves the listener a bit on the side of the road: the reasons that come up repeatedly in the wind, same (but different reasons) in the strings, and here and there (yes, note the subtle reference that I'm in the operetta Véronique), repeated notes, this story is even more convoluted. Emerges a sense of twelve contemplative poetry, for me.
Exhibit twelve of Aperghis was based on a muttering muttering in serious waves who leave abruptly in the high (well, uh, I summarize and I shematized, eh) and you can listen without much spark, but it's subjective, of emotion.
The program closes with the big chunk of the evening, creating a piece more than a half-hour soundtrack spoke-sang, "Daily Happiness" by Georges Aperghis. It is a dialogue "stylized" between two women, consisting solely of sentences of life everyday, as a succession of small scenes absurd, or a single scene that is changing. But maybe I mouthed that night, I especially felt that accumulation of small sentences was irrelevant in the end a long uninteresting stuff. Hat the two soloists, who managed to escape without any language that does fork once, because, yes, it is also a great demonstration of virtuoso music, with even small phrases diction for theater people to be repeated dozens of times as fast as possible without crashing. They have managed to create a crescendo in the intensity intended by Aperghis, while behind, the Ensemble Intercontemporain knits a kind of frame which is not paying attention. Finally, here is what. Bravo for having put all this in place, kudos to the composers write things unplayable. To say I was excited more than that, no.
Maybe I was wrong mood. I will try again to listen to this if the opportunity arises. 
concert April 28 at the Cité de la Musique, on "short form - long forms, which has the advantage that it can squeeze in any program.
Ensemble Intercontemporain directed by Ludovic Morlot played:
Iannis Xenakis - Phlegra
George Aperghis - Parts for twelve
Iannis Xenakis - Rebounds
(percussion solo: Gilles Durot)
George Aperghis - Heysel
George Aperghis - Daily Happiness (creation)
(soprano: Donald Michael Dansac
mezzo Marianne Pusher)
More claimed that the theme of the concert, long and short forms, it seemed that the drivers were the son Free virtuosity and the difficulty of establishing delusional. We have almost sorry for musicians to imagine the difficulty that should represent such a program, although for Gilles Durot Rebounds in is very rewarding: it can be fun to make a number of percussion-hero about 12 minutes the audience transforms sleepy City of rock music in public (and he is entitled to a standing ovation from his colleagues behind the scenes), it must be said that the performance is amazing to see physically (and then it makes a terrible racket). However, I challenge any drummer or percussionist Sunday rock standard play 3 minutes of this thing, not even completely in place. Xenakis would have an enemy and percussionist sought a way to get rid for good ...
Phlegra is complex, several overlapping structures, it seemed almost impossible to follow without the score. This music leaves the listener a bit on the side of the road: the reasons that come up repeatedly in the wind, same (but different reasons) in the strings, and here and there (yes, note the subtle reference that I'm in the operetta Véronique), repeated notes, this story is even more convoluted. Emerges a sense of twelve contemplative poetry, for me.
Exhibit twelve of Aperghis was based on a muttering muttering in serious waves who leave abruptly in the high (well, uh, I summarize and I shematized, eh) and you can listen without much spark, but it's subjective, of emotion.
The program closes with the big chunk of the evening, creating a piece more than a half-hour soundtrack spoke-sang, "Daily Happiness" by Georges Aperghis. It is a dialogue "stylized" between two women, consisting solely of sentences of life everyday, as a succession of small scenes absurd, or a single scene that is changing. But maybe I mouthed that night, I especially felt that accumulation of small sentences was irrelevant in the end a long uninteresting stuff. Hat the two soloists, who managed to escape without any language that does fork once, because, yes, it is also a great demonstration of virtuoso music, with even small phrases diction for theater people to be repeated dozens of times as fast as possible without crashing. They have managed to create a crescendo in the intensity intended by Aperghis, while behind, the Ensemble Intercontemporain knits a kind of frame which is not paying attention. Finally, here is what. Bravo for having put all this in place, kudos to the composers write things unplayable. To say I was excited more than that, no.
Maybe I was wrong mood. I will try again to listen to this if the opportunity arises.
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