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Word of Arrau

I read a bit 'of time is a wonderful book, "Conversations With Arrau" by Joseph Horowitz.

As the title reveals, the question of talks took place between May 1980 and July 1981 in Douglaston and Vermont between Joseph Horowitz (writer, essayist and journalist eminent American music) and Claudio Arrau The ó n, Chilean pianist, one of the best interpreters of the twentieth century. The book is very interesting conversations, faithfully recorded and transcribed, respecting the language, vocabulary, and the interactions of the pianist, are held almost as interview - question-answer - and confront various themes: childhood, the success of ; child-prodigy, maturity, piano technique, repertoire, etc. ... What struck me reading these conversations was the part of the period of life came post-mortem of Martin Krause, the teacher Arrau, marked by personal and artistic crisis of the Chilean pianist, culminating in a period of psychoanalytic treatment with Dr. Hubert Abrahamsohn.

I was amazed at the sincerity and honesty with which Arrau speaks of attachment to his teacher, affection, esteem and consequent loss caused by his death. But most of all I was amazed at the sincerity in the story, not only as an artist, but as a man. One can draw valuable lessons from the great men, this I know for sure, and it is obvious that reading a few lines of these conversations we can better understand the relationship between man and artist-audience.

How many times, and I say to musicians, you happened to feel alone on the stool in front of your instrument. Anxiety, fear of failure, guilt, the fearsome escape when their memory should not, his hands trembling, the heartbeat increases ... They are all feelings that a musician knows. Emotions are terrible but beautiful at the same time. Especially noticeable when the curtain falls, when the lights go down and everything is gone. And it's nice when you come back after a few years in mind, a bit 'blurred by time spent. You paint a smile on your face, (I'm sure) when you think of fear experienced in those moments.

I posted a small part of the book of which I speak. I have no reported claims of J. Horowitz (I do not want!), But I just extrapolated the answers (the ones most important to me), then it will seem that it is not a monologue.

" We want to play in public, not 100%, because it does not exist, but at least 90%. Below this rate, it can sometimes be fatal (.. .) I realized through analysis, that the difficulties in which I struggle depended on my vanity. (...) I mean in the sense of vanity is not to be presumptuous, but to want to please. And this depends, of course insecurity . (...)

When you are very young there it is aware of being observed, and it does not matter.

But over the years you begin to wonder what people think. (...) Being a human means to be anxious. It 's ridiculous to behave as if you did not, as if he felt panicked before going on stage. I had to learn to live with my anxieties (...) Someone thinks he could get rid of anxiety, making a terrible effort not to accept it. But anxiety is always there. If one feels too cocky or too confident, then there is something wrong (...)

I believe that experience anxiety, the anxiety of humanity, makes a person able to share any kind of human feeling. Empathy is one of the most important qualities in an interpreter (...)

By the time I learned that you should just let things happen without caring much to please the public, to be successful. In this case the anxiety ceases to be an impediment to creativity and can become part of the (...) Almost every performer needs fight the temptation to bottle (...)

I used to think it was the end of the world and sometimes we put the months to recover. I wanted to be perfect, divine, above all imperfection or error in memory. But this produces the opposite effect, forever. Now I'm not the most anguish.
must say to themselves: " 's ridiculous to be so concerned, they are not infallible " "

(Claudio Arrau)

It 'a great experience and it's all enclosed in a nutshell. The rest Claudio Arrau said it with your fingers.

DF

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Rachmaninov, in my opinion ...

"Music, to me,

be the expression of

complex personality of the composer.

The music should express the country of

the composer's birth, his loves,

his religion, the books that have influenced

, the paintings he loves.

must be the sum total of his

experiences.

The music is a calm moonlit night,

a summer rustling of leaves,

a chiming away in the evening.

The music comes only from the heart

and turns to the heart.

is love.

Sister's music is the poetry

and mother suffering "

(Sergei Rachmaninoff)

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Memories ...



Retrieved from one of my live of the Chaconne in D minor (for piano concerts drawing from the second Partita for solo violin) Bach / Busoni.

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A "false" historical ... Après

Published by the famous violinist and composer Fritz Kreisler in 1905, "Praeludium and Allegro " represents a case of "false" history. split by the same author manuscript "unprecedented" by Gaetano Pugnani randomly found and rearranged, the song is part of the series of compositions made by Kreisler compositions settecenteche as revised. Sifting through here and there on the web, I learned a really funny story. It seems that a critical reproach same Kreisler, during a performance of this song, did not observe faithfully the information Pugnani. I just wanted to see the wonder in the eyes of the violinist before such a joke! You really do not understand this subtle pleasure in making fun of criticism and history, the fact is that "Praeludium and Allegro " is a true masterpiece of violin music literature. Lyricism, passion, romantic Prelude and chromatic virtuosity of the Allegro and nervous make this track a gem to be savored until the last note. Personally, I love it. I posted the incision, for violin and piano, which I prefer.

Fritz Kreisler, Praeludium and Allegro.
Salvatore Accardo, Laura Manzini on the violin and the piano.



DF

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a rêve

Hello, my friends, I return to write in this blog.

I knew that after a long silence, I found the words, and I take this opportunity tonight I'm feeling particularly inspired. As usual, the basis of my inspiration can only be the music, the desire for the infinite that makes us company all along.

As I write I hear a beautiful melody. E 'Faure.

he inspires me tonight ...

Ah, those French! ... So elegant, whisper their sweet notes that seem to speak to the moon.

I address you, lovers of night. To you who, like me, are incredibly poetic night, I dedicate this melody, melancholy voice of a love found and vanished in the dream, as the text of Bussine that inspires it.

Dans un sommeil que ton image charmait

revais Je Le bonheur, ardent mirage,

Your eyes were softer, your voice pure and ringing,

You shone like a sky lit by the dawn;

You called me and I left the earth

to flee with you towards the light,

The skies parted their clouds for us,

unknown splendours, divine flashes interviews

Alas! Alas! sad awakening from dreams

I call you, o night, give me your lies,

Reviens, reviens, radieuse,

Reviens ô nuit Mystérieuse!

Bussine Romain (loosely based on a text by an anonymous Tuscan)

Stjepan Hauser plays "an après rêve" by Gabriel Faure

Pain In Lower Right Side Of Abdomen When Pressed

Zefiro torna ...

Alessandro Botticelli, "La primavera" 1478-1485

(extreme right of the painting Zefiro kidnaps the nymph Chloris)

Guys, here's Spring! and this morning I feel it in the air. I pay homage to Nature is awakening and that frees us from winter torpor, and I take this opportunity to greet one of the greatest Italian composers of the past, Claudio Monteverdi.

"Zefiro torna and gentle words"

Nuria Rial - soprano

Philippe Jaroussky - countertenor

"Arpeggiata The ensemble is directed by Christina Pluhar

Zefiro torna, and gentle words
the EAR grateful, and 'l footer dissolves in the waves, and murmuring
among the green leaves,
brings dance to the beautiful sound su'l meadow flowers.

Crowned with the crown for Phyllis and Chloris
tempran notes of love, care and joyous;
and mountains and deep valleys ime
radoppian harmony singing the caves;

rises more vague in the dawn sky, and 'the sun
spreads more lights or more pure silver
Teti boasts the beautiful cerulean mantle.

Sol I, for abandoned groves and sun,
the ardor of two beautiful eyes It 's my torment,
as does my good fortune, or cry or sing.

(Ottavio Rinuccini)

This small masterpiece is part of the collection "Playing music" by Claudio Monteverdi in 1632.
It 's a chaconne for two voices (originally designed for two levels by Monteverdi) a duet. The song structure is pretty simple; A first, very rhythmic and regular, takes place on the chaconne bass ostinato and repeated so is the image of Nature is awakening and who is the messenger of Zephyr.
The second part, which coincides with the verse "... I Sol", is clearly contrary to the first, is form of recitative declamation and expression of romantic melancholy of the poet's most intimate. The song is great adhesion to the text of Rinuccini, so it is a beautiful combination of music and speech, also thanks to the colors and so-called Madrigals on some keywords like " aer " waves " murmur " dance", and who bring the bubbling joyousness of Nature awakens.

DF

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"Herr, unser Herrscher" - John Passion BWV 245 by Johann Sebastian Bach, Richard Wagner

opening chorus " Herr, unser Herrscher " of the " John Passion BWV 245 " by Johann Sebastian Bach: The text, which source is still uncertain, is derived for the first three verses from Psalm VIII, 2 and is attributed to the remainder directly to the pen of the composer of Eisenach (with some doubt).
The structure of the song is clearly tripartite ABA '(A: up to 4'22 "- B: up to 6'36" in the video below). The third section A 'is the repetition of the first and is based on the words " Herr, unser Herrscher, dessen Ruhm, ist in allen Landen herrlich! " while the following verses instead relate to the second section, which is slightly smaller than the first , but musically very similar, with the transition from key of G minor to that of I b more. As has been duly noted by some scholars ( Jacques Chailley) there is some discrepancy between the words of the text which speaks of glory, and the musical character of the piece dramatic and severe, implying that the band melodic and rhythmic of sixteenth notes made by the strings (violins, violas and second violins) and compact and is present throughout the song, is nothing but the desired performance of Bach's "murmuring of the underground rogue prepares its machinations" (as reported in " John Passion - problems of musical analysis " George pestle).

"Flagellation of Christ" (1444-1470) Piero della Francesca

Lord, our Lord, whose glory

wonderful in every land!
Show us by your Passion
That you are, the true Son of God
for all time,
also of the greatest humility,
been glorified

Signore nostro Sovrano , la cui è magnifica gloria
per tutta la terra!
Mostraci con la tua che Passione
tu, vero Figlio Tues God
at all times, even in
greatest humiliation,
you have been glorified

In the video posted below directs the orchestra and chorus for 4 voices, Masaaki Suzuki, organist, harpsichordist and Japanese director or founder of the Bach Collegium Japan , active since 1990 and specializes in the distribution with period instruments and performance of Baroque music in Japan. Enjoy.

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that the theater does not become the master of arts;

What the actor does not become the sviatore of genuine;

That music does not become an art of lying.

Friedrich Nietzsche

- The case of Wagner -

that in life you can change your mind is well known, and that is what happened to Nietzsche on Wagner's music. Considered in the early days, and long, his master, like the philosopher Schopenhauer, Wagner came to Nietzsche to be the authentic black beast, a kind of "et diabolus in music alive," the corrupter of taste, style , and the idea of \u200b\u200btheir drama.

imbattutto I casually (but not too much) in the reading of " Written on Wagner - The case of Wagner - Nietzsche contra Wagner ", written by Friedrich Nietzsche in 1888 ( Nietzsche contra Wagner is a collection of ideas already expressed previously in other works of German philosopher and put together in a uniform manner at least as regarding the form, for the content, there are several inconsistencies) not long before the explosion of his illness.

Already in the preface, Nietzsche emphasizes its position anti-Wagnerian, anti decadent, where decadent means all we can be sick man, morality and art.

In morals, the transition from the myth of Siegfried - the hero of the revolutionary challenge the god Wotan, who was born, contrary to the tradition of well-meaning, of adultery (incest) and desired invented by Wagner himself, however, amending the Icelandic saga - the hero Parsifal, the country simpleton who chooses the path of chastity and flees from the seduction of Kundry and waives the Dionysian side of life for the typical values \u200b\u200bof Christianity and thought Schopenhauer (peace be derived from the waiver - the Noluntas Schopenhauer that leads to nirvana), is judged by Nietzsche in a very negative. He interprets this as a denial of all that the musician had believed in the past, embraces decadence Schopenhauer and a prostration before the cross. (Nietzsche's position towards the Decadence is complex, as he shares his anti-rationalist-scientific positivism, the democratic level of the individual and the hypocritical moral laws, but at the same time condemns the weakness of the answers given by Schopenhauer, with its nihilism and passive-pessimistic Wagner reunited with his alleged faith. The only acceptable response to Nietzsche is that his "well-man" able to accept the tragic chaos in his life without worshiping anything: neither faith nor science, but only himself)

Among other things, it said Incidentally, the attempt at persuasion of Kundry Parsifal, the memory of his mother and maternal-erotic kiss make this moment a masterpiece of modernity and pre-Freudian psychoanalytical introspection, as well as one of the liveliest moments of the drama.

Bayreuth - postcard showing intent to seduce Parsifal, Kundry

The underlying problem, for Nietzsche, is not so much in the presence of this kind of moral "Christian", although in Parsifal sees a return to 'obscurantism most morbid of Christianity. He accepts the opposition of Christian morality to a "moral of the Lords" (or aristocratic) characterized by the desire for power, seeking the fullness of things, and rationalizing the world by living with no prospect metaphysical (typically Nietzschean in other words) but can not stand and therefore severely condemns the falsity of those who, like Wagner, winks to the morale of Lords recognized in the Icelandic saga ( Ring of the Nibelung) and alongside it on the lips against the doctrine, namely the "Gospel of humble "based on the need of" redemption "in this Parsifal.

- The need for redemption is for Nietzsche a typical form of moral and aesthetic decay, which means for the Christian desire to "get away from himself";

- the moral and aesthetic aristocratic rather have their rooted in self-affirmation and self-glorification of life. Now for the

music.

Wagner carried out a revolution in musical form, mainly due to the use of harmony that contributed to the disintegration of the unit's tonal composition. In Wagner's drama the size and continuity of tonal changes mean that you lose the sense of tonality mother. In Tristan and Isolde , for example, the infinite harmonic sequences and the length of the work - more than 4 hours when you switch from one color to another through modulations, chromatic alterations of chords, cadences of deception - to make you forget 'Listening to the tone of starting work.

Zubin Mehta directs the prelude of "Tristan and Isolde" - National Theatre of Monaco -

In "Manual of Harmony" by Diether de la Motte are given various interpretations of this agreement which has always devoted much attention and study.
According to one of the most renowned performances,
that of the Tristan-Akkord Ernst Kurth is an agreement of the dominant seventh of the dominant as the fifth F # that is on the low voltage sharpens its melody to the next I appearing in an altered form in descending order (So Fa natural), the G # (top item) instead shall be interpreted as sound strange chromatic harmony that it replaces, such as delay, the note on which to solve. The following year on a dominant chord which resolves the Tristan-Akkord has the same chromatic movement in the high-pitched voice (A # that is resolved on, justifying the typical behavior of the chromatic delay).

Not surprisingly, this work and its "tristanakkord" arise in the history of music as a point of no return. Anton Webern, a leading figure of the Second Viennese School said something very important about this way of composing, on modulation and its use, considering them as the real culprits of the crisis of the tonal system.

And 'maybe that's what he was afraid of Nietzsche?

He imputes to Wagner (and perhaps is one of the major charges that can apply to a composer) the inability to keep the threads linked the musical discourse. The

defines awkward, miserable, and incompetent when it tries to develop sound material, while recognizing the great skill of inventing things minimal, poetic elaboration of details. In short, the great Wagner reduced to a mere miniaturist, a concept emphasized in "Nietzsche contra Wagner " as Nietzsche calls it good at putting himself in music and master of absolutism small. (A beat, two beats, five or 15 bars of music beautiful and then stop!)

And here we would have to make a consideration: the philosopher certainly exaggerated, his words seem, for the whole book, pervaded by a hatred blind ; sometimes seems that his clarity is almost obscured by envy for the success of Wagner and his music, so much to blame Wagner, German and French admirers of the great "Histria," but did not entirely wrong when he defines his Music "only intermittently beautiful." Listening to Wagner, so I have always had the impression that the best it can be derived from individual pages, especially symphonic orchestra. The prelude to Tristan and Isolde or the Siegfried Idyll is among the most sensual and moving pages that have ever been written, and really appreciate it for what it is, to the dramatic power that is inherent in their music. The charge of miniatures is judicious. It is a reflection of the style of every decadent art, that the "anarchy of atoms" typical of the decadent style.

an example.

If we take the symbolist poetry of Baudelaire, Verlaine, Rimbaud, we realize that the attempt of the writer is not to reveal everything in the poem you try feathering, the vagueness, the undefined, everything is so vague leave room for interpretation to the reader, but most of all we look for the music, suggestion, the effect, magic, music and more. It 'all too obvious that there is more concerned with the structure, form, content. And 'the musicality that matters. The word (phonetic but as a means, not as meaning) ends up taking over the sentence as the phrase meaning steals page. The meaning of the page becomes darker and the whole is no longer a whole.

I think this was one of the best periods in the history of poetry. The glorification of the irrational in poetry has worked and how! and also in Wagner (loved by the symbols as Debussy, not surprisingly it was among the first innovations of Wagner's heirs) the effect works: the spirit steals, persuades, passion, intrigue. But sometimes it's just a moment, a few bars of exquisite music and then back into the abyss. It is precisely for this reason that Nietzsche called Wagner miniaturist and just ...

Nietzsche himself, in a discussion of music composed by Wagner dall'elogiare can not escape the beauty of Siegfried idyll, but otherwise considers his music a disaster, or even dangerous.

(...) The artist of decadence - this is the word. And this is where I begin to get serious. Far be it from me to sit at watch passively when it fails this decadent health - and more the music! E 'Wagner usually a human being? It is not a disease? He sickens everything it touches - the music, it has caused (...)

( 5 - "The case of Wagner" )

Trying not to pursue the lovely but the great, the sublime, the giant, looking good by the beauty of the music itself, especially in the melody, and continues this passion in music that Wagner and Nietzsche calls "the gymnastics of the ugly dell'enarmonia on the rope," are considered by the philosopher as a true example of the cult of the "ugly", and defending the hedonistic side (what gives pleasure) of music, he accuses Wagner and his audience (especially Bayreuthiani) of bigotry. Too ugly and too seriously! (Has passed into history, the seriousness of the public behavioral Wagner in Bayreuth during performances)

I wonder what Nietzsche would have said if he had listened to the "filth" of the futurists or serial compositions by Schoenberg to A. P. Boulez, through K. Stockhausen, and many other illustrious masters of the Darmstadt school.

I do not want to arrogate the right to judge this kind of musicians, but I can not look with suspicion those who, hoping to be innovative and original at any cost, have traveled the roads more difficult and unthinkable, and failing all the time, have caused the rift between the composer-music-public boasting (as did Schoenberg) have carried out a mission in Western music!

And here there should be a good fart! prrr!

I think a combination like "Structures I and II" for two pianos by Pierre Boulez and I think that rather than defend the hedonistic side of music, as Nietzsche was trying to do with Wagner, here you should defend the mental health of someone!

I do not like Pierre Boulez, mathematics and music but have never represented - at least for me - an interesting combination ...

Returning to Wagner ... concerns are also raised in the use of "endless melody" (this expression is more than ever inadequate to tell the truth, rather infinite harmonic sequence) that Nietzsche regarded as innovative and interesting at times, but also artistically subtle as it pursues the goal of the effect, the expressive and touching at all costs . The prosecution "bad" is based on the belief that Wagner sacrifice any style of music to make itself a theatrical rhetoric, to strengthen the gesture, a psychological and picturesque charm, and so far, about the intentions of the composer, one might, in I think choosing not to object.

Well, let's face it: If you are a supporter of Wagner's theory based on the assumption that "the purpose and drama, the music is always and only the means, "I do not necessarily object, and I have to admire the action of the composition, content to see the music slave speech and gesture. But if, to put it to Nietzsche, the goal becomes the installation (the gesture, the dramatic effect), while the drama and the music only serve as means, then you also want to be the strongest supporters of Wagner will necessarily have to admit that his creation is neither music nor play, but only effect.

Let me raise a question: is a real dilemma (I admit) that lingers in my mind when I think of Wagner's works (but not too much music Wagnerian opera alas ...): How can think that music can be subject to some other form of communication? may be one with the word limit, but imagine the alternative music movement, and above all to think that experience really does seem to work a bit 'as well as unrealistic to presume!

This, of course, I'll have to agree with Nietzsche when Wagner defines a "Histria", a great mime, theatrical genius (in a much more negative than it might seem).

E 'in reflecting on the Wagnerian drama, however, that Nietzsche, in my opinion, is exceeded.

He does not consider at all a dramatist Wagner, reaffirming the notion that the only purpose of musician is the effect, says it is ready to sacrifice to get what they need a play: the plot. The charge of Nietzsche becomes negligible even when he remembers that it was in Wagner, who boasts a lot and it gives an air of superiority in comparing "his" opera drama, it lacks the main gift for those who want to create a drama that is the motivation psychology of the characters in his creations is instead replaced dall'idiosincrasia stereotyped (behavioral traits typical of a subject and subsequent aversion among the characters with opposite temperament) of the subjects represented.

I report another step of The Wagner case. "

(...) problems he brings on the scene - all the problems of hysteria - the seizure of his passions, his overexcited sensibility, his taste, he wants drugs increasingly hot, its instability, which he disguised by principles, not least the choice of his heroes and his heroines, considered as physiological types (a gallery of sick!): all these things together represent a clinical picture that leaves no doubt. Wagner est une (...) neurosis

interesting is also the Nietzschean note on a misunderstanding of the word "tragedy" that should not be translated from the greek with "action" but with "event, history, bears witness to the fact that the ancient drama to take place excluding the action, moving before or after the scene.

Wilhelm Richard Wagner (Leipzig, May 22, 1813 - Venice, 13 February 1883)

I conclude by saying that, musically, Wagner will continue to admire him so. Miniaturist, in the magic of beautiful bodies and orchestral colors, instrumentation of the big pages of passion happy, sad, poignant and contemplation of nature, in the triumphs of his heroes, in the waivers and in defeat, in short, everything I can to feel alive.

Everything else I can not even pretend to listen, I do not need 4 hours to be seated in the theater to feel satisfied, I do not need to follow a "drama" from beginning to end (including the German know that beard!), basically the history of music is full of examples of pages good and bad music as well as the history of literature or fine arts, and other high moments are a bit less.

You have to choose what you listen, and we always try to choose the best and above all not forget that the old adage "de gustibus non disputandum est " is still valid ...

Damiano Franco

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the Magician "The man who watched trains go by"

I read some time ago a beautiful novel by Georges Simenon, or "The man who watched trains go by."

The book, a mystery-thriller from the contents existentialist, tells the story of poping Kees, a Dutchman who lives in a quiet middle-class town, Groningen, and that leads to the classic monotonous life, without great pretensions, however, quite serene and reassuring the family that is out. The most fun for the protagonist is the game played with friends in the chess club.

His boss, a Julius de Coster one night, confides in the failure of the factory where he works (a factory where poping naval supply is used), and all of a sudden click in the "Mr poping " a spring that leads him to do the most unthinkable things in the eyes of others, " maman" (his wife who suddenly realize they do not like) of his daughter, and all the hypocritical people that filled his useless life so far. So

escapes.

Trains has seen continually switch from its Groningen and he has always envied the life nestled between the cars, the hopes of traveling, which are typical of those who took his first steps to a new place, this time taking away too. Paris will be his goal.

The following is the story of a man suddenly free to leave everything and everyone to live a new life where they could give free vent to his innermost passions and boldly held at bay for too long. (So \u200b\u200bfar the resemblance to the protagonists of the novels of Italo Svevo is clear, that the man "imprisoned" in his ineptitude that he is not satisfied in full, but allows him to live a peaceful life even as a spectator - in the audience also Svevo disintegration of others ...)

Georges Joseph Christian Simenon (Liège, February 13, 1903 - Lausanne, September 4, 1989) Belgian writer French language known for having conceived the series of detective Inspector Maigret

accidentally kills a woman he dreamed and planned to have sex and wanted by the police, found refuge and protection to a group of criminals and car thieves, again threatening to kill a prostitute he has fallen in love, but eventually left terribly alone in his freedom now only "constructive" and with his new identity (the identity is another theme important to the novel that makes poping the alter ego of Pirandello Vitangelo Moscarda or Mattia Pascal ...) which is forced to wear to avoid recognition by police in Paris.

In fact, its most important game of chess played with just the police, using the press in Paris, and frantically trying to balance his "mask" in the eyes of the beholder, limiting and eliminating inconsistencies and filing false truth that journalists write about him.

E 'evident in all of this delusional behavior poping. Paradoxically, the feeling you get from reading this novel (which can be read at various levels) is that in the end, you feel almost at home in the twisted mind of the protagonist, much to ask

"E 'poping the fool?"

You end up rooting for him, somewhat as with Raskolnikov in "Crime and Punishment" by Dostoevsky , (a novel that I adore), where half the novel you drunk a little of the doctrine nietzchiana super-man, even if a bit too easily adapted to the needs of the protagonist, and almost ends to justify the murder of the old usurer and share the crazy gesture (caused by a noble sentiment, though) of a poor law student, Raskolnikov for the note, which goes against the whole world and especially against the hypocrisy and the laws of morality prevailing.

And that is exactly what happens by reading the strange story of Kees poping.

We reflect on the precariousness of existence and the human mind and one wonders whether it is more comfortable in his own right to live life full of good rules and good fake smiles rather than take the train and escape to where anything is possible. ..

Damiano Franco

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op.23 Ballade No. 1 in G minor - F. Chopin

The Ballad op.23 No. 1 in G minor by F. Chopin was composed in 1835, although some sketches we received evidence that Chopin was working there since 1831.

Pezzo complex in structure, as all the ballads of the Polish composer, the first Ballade in G minor is a track divided into several sections and is definitely one of my favorite piano pieces.

The song begins with a Neapolitan sixth (in its conformation that is more typical in its first inversion of the harmony of the two lesser degree, in this case, therefore, built on the harmony of the major triad of b), which leads off at whole measure of dominant harmony. Until then, the introduction, a kind of recitative, almost mimicking a cello tone, does not seem to reveal the shades of belonging, playing with the flat tonal elements as perceived by the listener (on the b seems the root).

( Autograph of the first page, introduction and first theme )

Like many large pieces of the Romantic piano virtuoso, but this ballad seems to infuse musical ideas of different kinds among them: we could describe them as " lyrical expressiveness" on one side and " brilliance, power and passion rhetoric" on the other.

ideas are two main themes. The first emerges immediately after the introduction (ie bar 7 in G minor, about 30 "in the video) and a melody that appears only in a minor key with an accompanying "Snatched" which recalls the drama in the style of the ballad. The second, which appears to size 67, (2 minutes and 30 seconds in the video) is a musical idea passionate, heroic, so major (E flat), and initially characterized by a slight ambiguity in the key of E flat and B flat major, for the simple fact that it is introduced by a secondary dominant (more than 4 beats we focus on the F major). between these ideas will be subject to intersect at other times of transition such as this beautiful episode of the measure 36 and another measuring 138 (absent in the video). These are two episodes that possess such stability metric-harmonic now taking a clear identity and shall be subject to counter the main themes of the song that appear under the "guise changed" during the ballad. Beautiful reappearance, for example, the first theme in measure 94 (3.40 "in the video) in a completely different climate, suitable for the preparation of the central, heroic and among the most passionate of all romantic piano literature, which explodes in all its beauty measures 106 (4.05).

Damiano Franco plays the Ballade in G minor op.23

(F. Chopin)

But the real surprise of the song is yet another reappearance of the first subject to measure 194. This time is based on a long foot-Re (a feature absent in any of his previous releases) and connects to the "Presto con fuoco" final played by myself in the next video.

Robert Schumann said in a review of this composition to music by Chopin: "He (Chopin) said he had been inspired ballads from his poems of Adam Mickiewicz " we do not know exactly the meaning and value of word "inspired" (inspired by the literary content of the text of a particular ballad the poet? about it some believe that the song is inspired by the literary-narrative poem Konrad Wallenrod of 1828) but it is irrefutable the link between national epic works of two Polish artists.

Personally I do not care much. In fact, I probably should not know the content that inspired the musician is given more space and freedom to "contextualize" at will the thoughts of the listener and the performer.

Presto con fuoco ...

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around midnight ...

Keith Jarrett plays " Round About Midnight" (Thelonious Monk, Cootie Williams)

It begins to tell,

'round midnight, midnight.
I do pretty well, till after sundown,
Suppertime I'm feelin'sad;
But it really gets bad,
'round midnight.

Memories always start 'round midnight
Haven't got the heart to stand those memories,
When my heart is still with you,
And ol'midnight knows it, too.
When a quarrel we had needs mending,
Does it mean that our love is ending.
Darlin' I need you, lately I find
You're out of my heart,
And l'm out of my mind.

Let our hearts take wings'
'round midnight, midnight
Let the angels sing,
for your returning.
Till our love is safe and sound.
And old midnight comes around.
Feelin' sad,
really gets bad
Round, Round, Round Midnight

(Bernie Hanigen)

E questo è il solo del sassofonista Michael Brecker full of creativity as the video ...

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a post without words ...

Keith Jarrett - Somewhere Over the Rainbow

"Where words end , the music begins. "

Heinrich Heine

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"The quality of the study of the piano"

taught to play the piano is not easy, and not for various reasons.

In my experience, gained in recent years of private teaching, I have often been faced with unmotivated students, conducted a lesson plan for a passion more "parental" that authentic, sometimes because "it is right that the boys keep busy "and, at worst, only to costume. For many, sending his son to piano lessons, have a nice piano in the house, is " chic", so the lesson plan, disguised as student interest, it becomes shared (by the adult- parent) of an attitude socio-cultural niche.

so doing, we overlook and forget the hopelessly main reasons that should guide a Boys in the study of the instrument:

1) the passion for music;

2) the awareness on the part of parents, who is studying piano for a boy, learning at least as it is the study of Italian, mathematics, history, science, etc. ... if not more;

The other age-old problem of who teaches piano (or music in general) is that you have to deal with volleyball, basketball, football, swimming pool, a project to school, computer classes and English, dance ... classical, modern, funky ... and the chess tournament, one of the neighborhoods ... and a whole series of commitments that make the life of a teenager (and very often pre-teen) agenda a bit 'too full, perhaps so full that you can see the first signs of stress in children 10 years already!

If all this we add that some student at some point, without notice, may get up one morning convinced that the most suitable to itself but not the piano or the trumpet, accordion,

(or all 'and two) but also the guitar, saxophone, clarinet and so on and so forth, you'd think:

"Ok, ok ... change job!"

these problems aside for a moment we can say a few words on this preliminary study, which is the real purpose of my post. The argument

-study is important for a musician more than for any other professional. The study is the daily practice that will accompany him, from the beginning to the end of his eventual career as a concert or teaching, I love the study compared the performance of an instrument of the athlete who trains his body always in a spirit of sacrifice and dedication. It is for this reason that on this same issue could spill rivers of words without exhausting the content and pedagogical meanings, related to them, the teaching proposal.

We begin by saying that the student must study trying to achieve the best result, optimizing the time above, then learning to work with continuity and awareness without wasting time in vain.

for "awareness" is the ability to study increasingly being "enlightened" by the logic and rationality, preferring quality to the detriment of the amount of study. As Sandor says G.

in "The Art of playing ," the study - " should not be automatic and mechanical activity, and should take place instead under the effective control of the brain " - even if you are simply exercising exercises in pure technique - I would add - though not require a particular intellectual effort. (I highly recommend the study of technology pure only after one of the pieces of footage, just because the exercises are reduced to simple rhythmic and melodic formulas or other physical-mechanical digital).

Asked how long does it take to study a day to learn to play the piano well there is no answer. There are too many variables that go to influence the amount of study required, and include the pupil's motivation, the objectives to be achieved, not forgetting of course the actual potential of the small piano. Studying well is difficult, effortless, and above all attention by supervisors. The teacher's task is to facilitate learning and "teaching to learn ".

greater the presence of supervisors in the daily work of the pupil, and the greater the results. Various statistics have shown that cases of" enfants prodiges "develop in situations cognitive-motivational and cultural fit, then, wanting to make an example, a father / mother / teacher in the house that constantly supervises the study of his son, may be a factor of great advantage (though not a rule), as it helps the student to remove from their practice everything that there can be unnecessary and ineffective.

A true case of child prodigy, Beatrice Rana, 15 years old Lecce live in Flaiano Auditorium in Pescara, playing the Concerto for Piano and Orchestra No. 1 Tchaikovsky Op.23 (Fragment) - Dir Dario Lucantoni (Orchestra Sinfonica di Pescara)

The most common mistake for an inexperienced student is to repeat the same song several times without stopping on the sections and problems more difficult.

In this way you risk losing hours on the meter with the results, most times, frustrating.

And this is precisely why a student can practice the piano every day without fail to make satisfactory progress, while another shows improvement every day studying maybe less but with knowledge of the facts.

E 'this talent more important, in my opinion, for a student: the ability to observe what he does while playing the "let alone " or becoming a true "master of himself "These are habits that will bring only benefits, unlike those who, while putting so much effort, do not realize that to memorize and repeat a hundred times a bad performance will never lead to not better, not reaching the much sought after perfection Music (somewhat relative concept).

Unfortunately, as always, what is more useful it is increasingly difficult to obtain, and in fact rational study is one that requires greater marketability in terms of energy and mental resources, and above all, more reasons to be dealt with seriously.

comforted guys, when you consider that they are not rare cases where less gifted and less gifted students from a purely musical point of view, they sound better than other "geniuses " lazy and listless.

It is not the one who said that at an early age is considered a "young promise" become a great performer.

Damiano Franco

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"On the Reform of Education hoped Italian Music" Music and the brain

Minister Mariastella Gelmini: POSTPONED!

The new High School Musical is about to be born. In the hope that something can move in the Italian musical world of education I can not express some concerns.

Yes I am puzzled.

premise that there are currently three high schools already Musical, namely Giuseppe Verdi (1981), "Arrigo Boito" in Parma (1979), "Bonporti" of Trent (1982) operating in conjunction with the Academy providing dual enrollment High School-Conservatory. The future of these high schools that already exist and the whole "experimental" is somewhat uncertain, because it is not clear whether these Music High School will be automatically converted into the new regulations.

High School Musical-choral provided by Gelmini, which should begin in school year 2010/2011 and to become fully operational in 2013 (it seems), will be an autonomous Institute, at the behest of the Minister of Education even though it is inevitable the first time a collaboration with existing conservatories and academies of dance for competence.

The initial problem is the small number of facilities throughout the Italian territory. Gelmini has provided 40 (ten with only the option of dancing), even if the requests arrived at the Ministry are far higher than expected (something like 100 requests).

Emilio Ghezzi, director of the Conservatory of Parma, a few months ago talked of a possible selection at the entrance. Since few places (something like 40 high schools consist of only one section, 25 students per section for a total of only a thousand attending), high school music and dance could therefore be the first case of a limited number of high school.

I wonder why!

Why make any selection in high school when you can safely postpone any entrance exam to the so-called "University of Music" as happens regularly in all the other university faculties?

The application of a high school with these characteristics, market of 'education, is high. We have already said that the ministry came one hundred requests. And even in the wake of successful transmissions of the "talent show", so beloved by teenagers, the new high school could be taken 's assault. The advisers of the Gelmini

mention selection to be made on the basis of "talent" of future high school ...

The question arises: Dear Minister Gelmini, you are also informed that he was excluded from Giuseppe Verdi Conservatory in Milan as it was considered "very talented"? um ... excuse me ... you know who Giuseppe Verdi was not it?

But you know what they tell us employees of the Minister Gelmini?

"The Ministry of employees Gelmini families rely on common sense: it is unnecessary to include those unable to dance or is out of tune, just because that kind of school is fashionable. We should take example, someone dares, the two Professor of School of 'Friends', Alessandra Celentano, Luca Jurman, the more selective than that for your own good you say if you have the numbers or not. "

These few lines are reported in an article a few months ago written by Giulio Benedetti Corriere della Sera.

And I continue to be perplexed.

I wonder what can you expect from a thirteen / fourteen year old who wants to join the High School Musical, but he has never touched a musical instrument in his life! For goodness sake, do not delude ourselves, why not come out even benefit those who come from a secondary school degree to address the musical, as the latter in particular is thought to saggietto Christmas or New Year's concert, regardless of real musical education of the pupil. (One might say: these are not vocational middle school ...)

Above all, I wonder if it is so difficult to understand that the serious study of music must be cultivated since childhood, and then, if you really want trained "musicians and music lovers" (as stated by Gelmini and his colleagues) should be taught music right from primary school or even earlier.

And I be accused of exaggeration if I say that it would be better if it proceeded from the kindergarten, take example from the Japanese who put a tool in the hands of children 3 / 4 years just to get used to making music!

The benefits would be different: first the possibility of forming a macro-environment aware of what the wonderful world of music, then there is the possibility of creating a substrate of kids who come to the end of the secondary school of first instance are ready to make an informed choice, based on a "real" passion and above all to prepare (which is good). In the meantime he would attend to these "phantom" high schools the opportunity to deepen their knowledge of music theory and practice.

Finally, there would be an opportunity for so many musicians in the Conservatory graduates and unemployed (employed only in the frequency of courses and corsets parauniversitari, still in storage) and that did not (unfortunately for them) the chance to wake up "little Mozart "to teach in these structures, perhaps by setting up the study of music, nature trail, as a compulsory not optional.

But enough criticism ... there are some positives (???)

The degree of the newborn High School Musical choral-open its doors to conservatories and academies. There is talk of more outlets: soloist, orchestra, teaching, special music may be required by the new professional world of media. There are many such opportunities in the field of electronic and digital music, strong in evolution. There is room in the field of concert-performance practice, with numerous early music festivals and, finally, some might be content to become an amateur with the "D" capital ", as often happens abroad. We think Austria and Germany, where on Sundays we meet for a bit 'of good music.

with us and instead think only only to the batch or Big Brother.

And now, here is another story ...

Damiano Franco