Die Wiener Philharmoniker, Boskovsky und Ich ... Germano-Flemish Christmas
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My father, I inoculated the poison music
[I posted this blog entry also in the battles of the grandfather Chive, hoping that in 2011 all members of the same we get rid of that stubborn laziness invades us and we give a new impulse, which is a nice and nostalgic blog does not deserve the fallow required that we have submitted. Amen]
When I was a kid, always woke in the morning of New Year happy and undisguised anxiety at home that turned on the radio. Like the lottery monotonous soniquete meant the start of the holiday, waltz music always brought me to mind the proximity of the toys of kings and a lot of good intentions and purposes ... Study more, eat less, try to interact more naturally with classmates and people in general (he was sullen and solitary), be good, try to take a little bit better with my sister, put on my glasses every day. .. Suffice to say that some were met motu own because I always liked to study and learn something new, others came true strength (I've spent my life on a diet since she was nine years old and wearing glasses since the two), a few, such as isolation, alone would be solved over the years and a few others, without more, is left in the drawer of the purposes that never came to be.
Since I have memory usage Viennese music right out of the radio as background to my games cole or duties, and since 1965, with 8 years and had plenty that went into the house "TV "While sit-in against the old black and white Iberia, where Images came to me only in the second half of the concert. But is that what I remember with as much or more pleasure that music I heard was the figure of those who ran from 1 January morning. He looked totally Viennese (believe me that this type exists) and was a magician because of his baton out not only notes but candy, colorful scarves, paper flowers and jokes, jokes delicious white and white for a delightful concert . And I learned his name in 7 years, though much later I learned not to write: Willi Boskovsky.
had been for many years and was until his retirement, the concertmaster of the Vienna Philharmonic, an activity which he combined with his work in one of the quartets and septetos holders of that group. And as deputy director of Clemens Krauss and Josef Krips on New Year's concert, the orchestra used to lead vorgeiger , that is, while playing his violin, as he had done years before ever Strauss himself.
And for me, as I imagine that most of you, the beginning of each new year became friendly, cheerful, funny, beautiful. I missed a few concerts in my life. Even when he was abroad at least tried to listen to your car radio or through a transistor traveling to the purpose at that time. And in the wake of my mother (she died a New Year's Eve) did not connect at great volume the radio because my aunt would put the fuss and did not plan, not because she did not have fun at home was always and is maintained tradition despite the passage of time and the flight of the children.
Then, from the mid-eighties and after the baton of Lorin Maazel almost always compliant, we chose the formula that each year a baton lead the renowned orchestra. But, although the quality was still doubt, for me it is as if a spell had been broken. But times change is so inevitable as the passage of Cronus and you have to adapt. I think all we did and I am sure that many of the lectoyentes of this blog are true to their annual event in the Golden Hall of the Musikverein in Vienna, curd always with flowers donated by her sister, San Remo.
I would have loved to, but this time I could not give them any new video Boskovsky Herr, since I have little time to sit down calmly to write posts. That's why I have laid hold of the wardrobe and I bring the I uploaded three years ago at this time . I'm sure almost all will bring such beautiful memories of Don Willi like me.
Willi Boskovsky. Neujahr in Wienv (1963-1979). (Details of dates 1968,1971,1974). DVDDeutsche Grammophon, 2004
This year will lead the an Austrian orchestra of only 50 years, Franz Welser-Möst. And within the program devoted to classical waltzes, polkas fast gallops, etc., Be a special remember for Hungary, for the bicentennial of Liszt and it is this country that will hold the EU presidency during the first half and for Spain (with one year late), perhaps by the "exotic appeal" exerted on composers Austrians. It interprets the English March , op. 433, Johann Strauss Jr., the Cachucha-Galopp, Johann Strauss, father and gypsy dance ballet Iberia La Perla, Hellmesberger Joseph, who died recently.
I hope I'll sit back in front of the TV to enjoy the tradition, just before the ski jump ... And wish, with the music of my beloved and longed for Viennese director, a new year kind and accommodating the desire to perform, strength and energy (which will make us all much needed on many fronts), hope, peace and love to all . And they can enjoy the love, touch, heat and life of their own, are far or near, ultimately, is what matters most.
So ...
Vienna Philharmonic Orchestra, Willi Boskovsky and I wish, at heart, a happy and successful 2011 ... and our requests are heard by whom it may concern, that is not small.
And in the meantime and as always, try to be happy.
For the holidays, a time of reunions, of nostalgia and love, light and shadow, you who are reading accompany you in your dream, your dream, your hope and I mean that my wishes are life , love and joy, of love, light and confidence that everything good that you want to be given soon and that life how much you deserve as you want, as hopes and dreams, that love fill your life with beautiful moments and that those who want and you want accompany you and guide your way, your days and steps your dreams are fulfilled and fill you with hope, of light and peace, life and hope. VK
Years ago I heard that an old and admired teacher, Don Isidro Bango Torviso , the top seeds were paintings by Hieronymus Bosch's triptych The Temptation of St. Anthony in the Museu Nacional de Arte Antiga Lisbon and the Adoration of the Magi, in the Prado in Madrid. The match with him at that time was only partial. I looked and I still think an absolute wonder Lisbon box, but my preferences about Madrid were determined and radically by The Garden of Earthly Delights.
Following several months, over seven long years, watching carefully and photographing, when institutions are allowed, all the paintings of Hieronymus Bosch to which I was able to access (and I assure you were few and that half of Europe kicked me spending hours and days in the Prado, the Lázaro Galdeano or El Escorial in Madrid, in the Louvre in Paris, at the Museum of Fine Arts in Brussels and Ghent, Bruges in Groeningen, in the aforementioned museum in Lisbon in Ducal Palace of Venice, in the National Gallery in London and at the Academy of Fine Arts in Vienna), I discovered several things. That there are a few of his works, at least, of doubtful authorship, that have been said many, many silly things about his life and his work and that my dear teacher had every reason in the world: the Adoration of the Magi is a most excellent picture.
See it and enjoy it because as soon as possible because although the pictures are from the author of this blog, probably more nationalist political alliances soon developed a new law might come Sinde and SGAE and on behalf of the English art gallery me close the log, which everything will come and if not, at the time. Paséense slowly in the details, get off all the pictures you want that, today, are my own and I know the gift. They will surely have as much fun now as I discovered I enjoyed it and trapping the Bosco through a telephoto lens. Of course, those who live around here and if it was not long ago that pass through the halls of Flemish paintings, go pay him a visit, sure that his spirit and his eyes are grateful.
Notice how the triptych is a master beyond doubt? For this painting curiously unnoticed spend a lot more visitors to the Prado than others because it has no rare birds or mussels that engulf bodies, and rivers overflowing with lewd pictures or phallic symbols to the gates of hell. And, from my point of view, Bosco has been interpreted by the general and until recently, bad, very bad. It was a visionary, no Adamite, let alone a "surreal." No, it was just a good believer, a craftsman who was lucky to make a good marriage and become a leading citizen in a small town and, above all, a painter of extraordinary quality and workmanship, heir of the Flemish painting technique and a medieval culture where the icons and images were a form of learning, educating and proselytizing. Nothing in the boxes Jeroen van acken a single figure, however strange it is, that did not exist before in the corbels or gargoyles and flying buttresses of Gothic and Romanesque churches, in the marginalia of manuscripts hidden in monasteries or books of hours or religious devotionals, both of his time as above. He did not invent anything. Was limited to follow the guidelines indicated he sponsors. I assure you that the iconographic program of Temptation San Antonio de Lisboa is of such knowledge and intellectual caliber that necessarily had to be of marked step by step by someone from a culture wide, deep and delicious and, therefore, with great purchasing power.
I do not know if your opinion about this inspiring artist has changed somewhat with what I said. If you are now able to look at it another way, stripped of topics will find much more fascinating is unreal yet. Because he had the ability to draw the figures of the books, the margins of the architectural elements of the churches to give them the principal and most important category of painting. And that is an achievement dramatically in the realm of art in the late fifteenth century.
Well, well, well. Pedantorro finished speaking on the table, they play harder now, because music comes from. It is not the first time that some of the pieces to be heard today throughout by the Variations. Two years ago, and to celebrate these days, I posted a similar entry in which he spoke of the composer and gave some general guidelines on the first work that I bring. If they want to refresh your memory or have time, can take a look at what I wrote about Heinrich Schütz.
try
What today is to offer guidance hearing, among many possible, for the Nativity Story of this German maverick. If they wish, continue to work with me, my dear lectoyentes (I definitely like that word, I think I'll use it generously before the coming of Monsieur le Mamoncin and I close the kiosk and make a display of piracy, copying and letting listen or download music that should only belong to its "rightful creators" EEOC , EMI, Deutsche Grammophon, Warner, Philips, Harmonia Mundi, whose nose the thing). The theme of this work, contrary to what is normal then, is the narrative of the Evangelist. The intermediate explained in more detail what it describes counter history. Recitative, a natural wonder and in charge of a baritone, gives meaning and unity to all the work and the choir or singing passages are only intermediate . However, and lest they be excessively long and although Schütz oratory gave him a wealth of hitherto unknown emotional nuances to recited texts, I have just deleted them and I leave the intermediate. (Anyway, in the post to which I referred above recited and may select some texts and translations). So string but also hear wind and will gain by the brilliance of the latter ring Of course, grant me the benefit of the error, my ear is not always easily distinguishable and more the case of a disk, different instruments doubling the voices. work begins with what the author called Symphony. Two choirs, with organ continuo and cello, horns, trombones, violas da gamba, recorders. The orchestra and chorus in full. Because it is the solemn prelude to the narrative that starts the Evangelist. In the first intermission, the angel is directed to pastors announcing the coming of Jesus. The voice, soprano here, is bent recorders, cello and violas high. The tone is smooth and lively, repetitive in its phrases and has the feel of a lullaby. Sweet very sweet. Sometimes it even melancholy and then remade into a new sound of good news. Remember some passages written by the composer for The Seven Last Words of Christ on the Cross. Announces an important event. In the second intermission, the event has happened and it is a choir of angels to sing a hymn of praise: "Glory to God in heaven .... and on earth peace to men of good will." Polyphony, alla maniera rinascimentale, invades the score but the language is much newer and fees and even dispute the primacy leaks. Solemn and successful at a time, followed by ligation with total finesse. In contrast, the third intermediate is fully descriptive pastors painted with a single tone and a real popular one box, and you seem to see the nature around and the night light. The tone is fun and kind. The recorders dialogue of equals with the 3-voice choir. now is the Magi who appear in the hand also the flute and recorders, following the star and asking for the newborn child in the recess. The Three Tenors (and I do Graciet) play a music that, under the appearance of lightness, hides a mysterious sense closed, as corresponds to the characters. The violins and help maintain low precisely that evening feeling of something hidden and mysterious. And attention, immediately afterwards, ill come into play. Deep baritones and basses, very low, treacherous, perfidis. The chief priests and scribes embody the solemnity of the prophecy about the Messiah, through a religious anthem. We are in the middle fifth. Solemnity and bad omens that portend the future Passion and the role that Jewish priests of the church played in it. They are accompanied by the trombones, folding. Ultimately appears in the shadow of death. Death is, moreover, necessary for subsequent redemption. Herod is the next to make an appearance (we are in the sixth interval). So clever and cryptic is interested in the newly born child. Horns, like seemingly festive tone of the score give us an idea of \u200b\u200bits falsity, played by a low not too dramatic. It is devious and the entire piece prefigures the envy and the supremacy of the endangered. The seventh and eighth intermediate bring us to the angel warns Joseph of the danger since Herod ordered the slaughter of the innocent. The tone is urgent, monitoring and care. In the first, becomes the soprano voice, violin and viola all. The tone becomes progressively much more dramatic, trying to flee as soon as Joseph in Egypt. The bass viol contributing factor to this feeling. In a repeated theme, tone up and interpreted by a countertenor, to enhance the idea of \u200b\u200burgency that we need to hurry. repetition, almost the same text we create a sense of anxiety and the danger is real and immediate. And we at the conclusion of the work. A solemn singing of praise to Christ and to thank him because the birth is the first step and the preamble of the passion, death and resurrection, that will accomplish the redemption of sins. As in the original symphony, all string, wind, low continuous and the two choirs join together in a beautiful setting
H. Schütz (1585-1672). Weihnachts-Historie ( Nativity Story) - Symphony and Intermediate-, SWV 435. Concerto Vocale. René Jacobs, director. Harmonia Mundi, 1990
And as extra bonus , and have been able to get here, and delicious small pieces by the same author also on the Nativity. In the first, the Annunciation of Mary, soprano and dialogue countertenor with the chorus of voices and violins, viola high tenor viola, cello, violin, organ and lute. The second, a psalm of praise, is being woven by soprano and bass, doubled by organ, lute, cello and violin. The third and fourth parts are about the birth of Jesus, as the participants of the first, soprano and tenor to bass viol and organ, and in the last two choirs, with three violas da gamba (high tenor and low) , violin, organ, lute and cello.
They help me to wish, be Vds. celebrants of the winter solstice, Saturnalia or the birth of Jesus, a festival full of serenity, real love (and therefore abstain if possible by-law and brothers-number), joy and goodwill in the company of those you want. I try to be as happy as possible.
Good night of peace.
H. Schütz (1585-1672). Anderer Theil kleiner geistliche Concerten (more or less, Other small pieces of sacred music ) op.9, SWV 333, 322, 323 and 315 (1639) and Heute ist Christus geboren ( Today Christ is born ), SWV 439.Concerto Vocale. René Jacobs, director. Harmonia Mundi, 1990
I need the light of your eyes looking, the bright glow of your smile franca. need to know that still feel ravenous desire to have me in your arms. long absence I feel your gentle touch, of your look fresh, your passion nearby. I have nostalgia and longing for your body resounding, vibrant your chest, your arms open, clear of your words, your kisses bold. need the soft texture your skin, desire in your eyes, the love of your soul. I miss the touch calm and serene mood word, the look of encouragement, and need to see your climax unleashed, throbbing sex, the hurricane of joy, of your joy and mine, Rejoicing, bebiéndonos feeling and giving, passion, pleasure, affection, serenity and breath in the body and soul. VK
Pour you represent in a mixing glass (previously cooled with lots of ice cubes):
- A generous dose that chamber hall of the National Auditorium (perfectly replaced by any other medium with an acoustic, at least, like yours). - 2 parts of the Serenade op. Beethoven 8 to 3 parts of Bach's Goldberg Variations (it is imperative that these are basic ingredients and the steps above). - 50 cc. interpretation of the brothers Capuçon (over Renaud Gautier) - 25 cc. of magic and savoir faire violates of Gérard Causse. - A few drops of Curaçao blue (turquoise that the bustle).
Remove all components but delicately and decisively, for heaven's sake, do not even think of shaking. Transferring the mixture with all the speed they are able (to keep the cold but thus preventing the ice ague combined) to a martini glass ...
... and obtain the cocktail "Countess happy." I tell you I tried it ten days ago.
All of you know only too well my inclinations (which are increasing day by day) for chamber music. Too long ago they shamelessly confessed my infatuation fulminant total and increasingly passionate about Capuçon brothers (especially the cello Gautier). With regard to my full and complete admiration for Beethoven and Bach I can not add more than what was said at the time. And if we start talking of the Goldberg Variations, I will not tell at this point in the film what it means to me that the work of "old wig." The oldest of my lectoyentes (a word that I'm probably not the first to coin but do not rule out its use for several times because I think I even like) know even collect any version of it falling on my hands (another thing is that after a first hearing, then listen to them always and only 10 or 12). If the most recent visitors feel like they know something that perhaps even unaware of the date and conditions under which it was written and what to nurture the fair (for real and deserved) reputation as narcissism conderil " can take a look at one of the first wrote serious posts for over three years on the topic. At least find it odd curious interpretation of the aria.
Maybe now understand why, given all these loves together in one session, the Countess come out to Prince of Vergara (wet with rain and quite cold at that hour by the way) floating about 30 cms. soil. I mean, what remained of Santa Teresa in a magic show ridiculous to me. And without any arrow pierced, that with age we need less and less of mysticism.
at home There is no version of this Serenade of the deaf, but I refuse to put them videos to Beethoven can down the most "human", delicate, cheerful, lively. Classicism in its purest form. Anything you say about the composition of the work is little (that's why I say nothing, that references to it will find all the world and more so Immerse yourself, and already has quite understood the network). Well, if you can imagine another version, I'd say just wonderful, always in the right tone of joy and of course infinitely bright, will have the first part of the December 1st concert in Madrid.
LvBeethoven (1770-1827). Serenade for string trio op.8 . Szymon Goldberg, violin , Paul Hindemith, viola and Emanuel Feuermann, cello . Arkiv.
(Notice to mariners: the version is old and naturally musical quality is weak. But the sound defective supplies more than its historical, artistic and absolute reference. I give very special thanks to nyankothecat per share in youtube).
And taking advantage of the virtual through the concert, I will formally present Gautier Capuçon. Under the look of a posh boy, a good child Chambéry (the southeastern French, not here) lies one of those musicians, in my opinion, absolutely exceptional. The angel has only just turned 29 years and plays like one of them. And since things are going well variations, I placed a video (Larguita, are aware) Rococo ditto on Tchaikosvky Pedrito (or Tchaikovsky, you prefer), with the hope that this video will lead to another and another and may also know his brother Renaud, who plays a decent Bach partitas be heard in detail). Judge for yourselves if the little one is worth:
PIChaikovski (1840-1893). Rococo Variations . S. Prokoviev (1891-1953). Sinfonia Concertante. Mariinsky Orchestra.Valery Gergiev, director . Gautier Capuçon, cello . Recorded live in San Petersburg for EMI / Virgin in December 2008. Video promotion of the album: via emiclassics
I know, I know this is a trap in the making. Instead of letting the 20 Minutillo de rigueur to go, you smoke the cigarette, chat with friends (as well as other needs less worthy), I've pulled down another video (and kilometers) before the second part of the input . But is that just because I have got all of you well entreteniditos sets and music, which I'm quite absorbed lately (for) and absorbed (in) other little matter. Turn then and I was not cool to go with the best of the afternoon. The
I bring here is the best known transcript (I read somewhere that there is another more modern electronic piano trio) that was made to string instruments of the Goldberg Variations. If you have the patience and desire to hear the full version, check for yourselves that, opposed to other "translations" were made earlier (eg organ), which in 1984 made Dmitri Sitkovetsky is based on balance of the interpretation by the three instruments. There are none that stand out above the others relegated to others to "deal" with the bass. The Russian is based on technical improvements that have evolved to the three instruments and offers a continuous dialogue between them. And that has sometimes been much maligned by some scholars, to my ear is one of the elements which make it so special and beautiful. Thus it is also impossible to avoid monotony or natural dominance (by the bell) on violin viola and cello. Throughout the two arias and the 30 variations, check how sometimes there are brief solos of one of the three strings. But in other passages of dialogue to two, one with other interchangeably. Or join the three in a perfect filling where nothing is blurred.
I know that a recording however excellent, does not help the ear to distinguish perfectly the sound of each instrument, which is much easier in a listening room because the eye tends to work well in the effort. Maybe, I recommend this time (and without creating a precedent), good headphones and a discrete volume (pulling low) to eliminate as far as possible noise. Surely thus timbral differences highlight the three instruments more easily.
I am increasingly convinced that the more knowledge is acquired about something, the more you enjoy your hearing or vision or touch. Agree that the first impression is unforgettable blind sits directly on the senses and feelings much earlier than in the brain. But then the analysis and greatly enrich the learning that impression (and still more as conceptual art and so little time "rational" as is music). I have no idea how to read sheet music (beyond the placement of the notes on the staff and to distinguish the different keys), but I know the music of this piece from beginning to end, inch by inch. And believe me when I say that knowing in advance the goal posts, go to the basket progressive clothing becomes infinitely more beautiful. Los tres intérpretes estaban absolutamente concentrados en lo que hacían pero, de tanto en tanto, se dirigían sonrisas cómplices. Yo creo que eran plenamente conscientes de que lo que estaban recreando era bueno, muy bueno. Se dejaban llevar por la música al tiempo que la dominaban. Cuando eso sucede aparece el "duende" y se instala durante toda la velada. Y es que esos chicos, a pesar de su juventud, tocan como si tuvieran 60 años (por eso no existe ningún salto generacional entre los dos hermanos y Caussé). Lo hacen con una madurez, con una delicadeza, con tal cantidad de infinitos matices y, sobre todo (y especialmente el cello), con un sonido tan bello que el día that recorded the Goldberg Variations so trite, here and now, I bet it will become one of the reference records. And finally to round this evening, that were not heard a pin drop (except the three or four coughs rigor between variation and change to the rule) in the case of the National Auditorium (well that is the chamber hall ), is a manifesto of what is there to enjoy.
Pending this promising future and drive, I leave you now with the transcribed version Sitkovetsky ("in memoriam Glenn Gould) and recorded with Maisky and Caussé in 1985.
JSBach (1685-1750). Goldberg-Variationen. Aria mit verschiedene Veränderung , BWV 988 (Fassung von für Streichtrio Dmitry Sitkovetsky "In memoriam Glenn Gould". D. Sitkovetsky, violin G. Caussé, viola , M. Maisky, cello . Orfeo, 1985.
Sean Vds. as happy as they can, they are not saving the time to walk on it.
Sometimes the truth is painful and is generous and noble consider whether it is better choosing silence. I think, though the truth ends imposing its light and that silence is never the best solution. So I do not like streets when you know I hope your words as I hope breeze in hot weather. also why I think that is a remedy never shoot the messenger: When comes to light an uncomfortable truth, try to silence it is a vain effort and it is better to defend and explain our actions that traitor who shows a secret . There are white lies and silences kind, but although we do not like, the truth is stronger and light always shining and destroying just the dark designs of the ley del silencio.
