Is A Pet Corn Snake Expensive

Variations alla francese large doses of alcohol with music, a bit of Curacao and many parentheses

.

To Nameit ,

in expectation of his music serene

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.

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