В днешни дни някой РЯДКО успява да направи ОСЕМ добри албума.
Показват се публикациите с етикет музика. Показване на всички публикации
Показват се публикациите с етикет музика. Показване на всички публикации
сряда, 19 юни 2024 г.
O, Dave
Рядко чувам нова музика, която да ми допадне толкова, толкова много, колкото The Lumineers и да я слушам дни наред. Макар че разнообразявам с Dave Brubeck.
четвъртък, 18 март 2021 г.
Christy Moore, “Come by the Hills”
Come by the hills to the land where fancy is free
And stand where the peaks meet
the sky and the lochs meet the sea
Where the rivers run clear and
the bracken is gold in the sun
Ah, the cares of to-morrow can
wait 'til this day is done
Oh, come by the hills to the land
where life is a song
And sing while the birds fill the
air with their joy all day long
Where the trees sway in time and
even the wind sings in tune
Ah, the cares of to-morrow can
wait 'til this day is done
Come by the hills to the land
where legend re-mains
Where stories of old fill the
heart and may yet come a-gain
Where our past has been lost and
the future has still to be won
Ah, the cares of to-morrow can
wait 'til this day is done
Come by the hills to the land
where fancy is free
And stand where the peaks meet
the sky and the lochs meet the sea
Where the rivers run clear and
the bracken is gold in the sun
Ah, the cares of to-morrow can wait 'til this day is done
Written by Scottish poet W. Gordon Smith.
сряда, 3 февруари 2021 г.
Clark Terry
His work culminated in his own music school at Teikyo Westmar University in Le Mars, Iowa. At concerts he often alternating trumpet and flugelhorn in a solo duel with himself in concerts. He recorded and performed in a wide variety of settings, such as the One-on-One recording of duets with 14 different pianists. Terry received numerous awards and honors, including a Grammy Award (and a Grammy Lifetime Achievement Award in 2010), the French Officier de L’Ordre des Arts et des Lettres, a knighthood in Germany, and a star on St. Louis' Walk of Fame.
сряда, 27 януари 2021 г.
From an Interview with Gustav Leonhardt
“One can be crazy about an organ, I think. Harpsichords don’t really have that. That is because an organ usually has a much stronger personality than a harpsichord; that is part of what makes it such a fantastic instrument. On harpsichord, one has to work much harder to get a beautiful sound. A good organ does half the job for you if not more. A good organ dictates—in the best sense of the word—much more than a harpsichord.”
“Teaching has little effect unless the pupil comes in the same direction. Integration comes when the student finds things for himself. The student should not get only extracts from books and from his teacher, but should read the old texts for himself.”
неделя, 10 януари 2021 г.
LEONHARDT ON TEACHING
“In any case, education can never create personalities. In that regard, a student is good or not and that has nothing to do with the teacher. Fortunately, I was always able to decide for myself who I did or did not allow into my studio. My students always had to decide for themselves what works they would present in lessons. Whoever had chosen Frescobaldi's third toccata had to be able to justify that choice and therefore had to have listened to all the other toccatas. I never played anything in advance. I listened to the students and tried to identify weaknesses or uncertainties. They had to be able to say for themselves why they had connected or detached certain notes. If they did not know the answer, I gave it. For those answers you can go on the basis of treatises or on manuscripts. In many situations, the instrument itself dictates how to play. The core of musical pedagogy is, from my point of view, that musicians have to learn to formulate an answer when asked the question, 'why?'”
Concertgebouwcahier, “Historische Uitvoeringspraktijk?” Elise Simoens in gesprek met twintig eminente stemmen uit de wereld van de oude muziek (Bruges, 2011), tr. Douglas Amrine.
“I listen to a student, I see what’s missing in the playing—it’s never the same thing—and we work on it. Or rather, it’s the student who works on it, one lets the student do it. I ask, 'Why do you play the bass like that?' The student either knows or doesn’t know, but must find out why. This type of reasoning can be taught—but not beauty.”
Le nouvel Observateur, interview with Jacques Drillon (November 15–21, 2007), tr. Davitt Moroney.
WORDS FROM LEONHARDT’S STUDENTS
“Leonardt often said that you should prepare your interpretation at your desk. But his own interpretations are so creative and his timings so lively that they seem more spontaneous than well thought out behind a Desk”.
Ton Koopman in BACH: Journal of the Riemenschneider Bach Institute 48-49, no. 2-1 (2018)
“For Leonhardt, as for other great players, performance was an act of criticism in the best sense of that word, a process by which he analyzed and (to take a metaphor) operated with surgical skill on a work, laying it open so that the audience could perceive the wonderful nature of its innards. This was no post-mortem. The piece emerged full of pulsating, inner life . . . No one who came into personal musical contact with Gustav Leonhardt remained untouched. For most people his teaching was intensely powerful. As memories of his sharply phrased comments returned, the effect went on working for decades after the lessons were finished and, in my case, still continues resonating thirty years later.”
Davitt Moroney in Newsletter of the Westfield Center 23, no.1a (2012)
“Leonhardt would be the first to admit that faithfulness to a composer, his style or his score is irrelevant without confidence in one’s own individual interpretation . . . He built this inner confidence in a variety of subtle means—en cachant l’art par l’art—with the wisdom necessary to recognize that, even with a confident musical personality, one must always continue to build in order to play better.”
Skip Sempé, Gustav Leonhardt and The Little Red Harpsichord (1995)
“He taught by example, showing his solutions and revealing what he called ‘professional secrets’. What became clear to me over the next few months was that he was sharing with me, always in great detail, his understanding of the language and style of a piece, as well as techniques for bringing these out in performance, and above all, techniques which made the harpsichord expressive. Yet, he was not dogmatic, and encouraged me to bring my own ideas and imagination to the lessons.”
Charlotte Mattax Moersch, “Recollections of My Lessons with Gustav Leonhardt” read more
“As for ‘abandon’, this may not be a quality that most people associate with Leonhardt, a famously patrician, reserved, and austere man. But his striking manner of over-holding sixteenth notes to create an impressionistic wash of sound and the impeccable sense of timing, freedom, and rubato that he dared bring to baroque music—these are acts of abandon. One of the things he most emphasized to me was his belief that the great performers of the seventeenth and eighteenth centuries did not hesitate to break the ‘rules’ of style when the occasion was right.”
Jeannette Sorrell, “Imagination on Fire: A Remembrance of Gustav Leonhardt,” in BACH: Journal of the Riemenschneider Bach Institute 48, no. 2 and 49, no. 1 (2018)
“One of the last things I heard him play was an unmeasured prelude, and I remember feeling that EVERY NOTE was placed with exactly the most appropriate split-second timing. I feel that timing, in the sense of when exactly you play a note and when you release it, in a context of rhythmic nuance, is more important on the harpsichord than on any other instrument, and that Leonhardt is the person who first made us all aware of this fact, and who was able, better than anyone I have ever heard, to demonstrate it.”
Alan Curtis, “Remembering Gustav Leonhardt,” in Appreciating Gustav Leonhardt (Berkeley: Western Keyboard Association and MusicSources, 2012)
“His ear for detail was extraordinary. I remember in particular a lesson where we worked on the Allemande from Bach’s 6th Partita. Again and again, he asked me to repeat a group of four demisemiquavers, where the first one is a tied note. The first - silent - note should be strongest, the second a bit less, the third more, but less than the first, and the fourth least of all. All absolutely part of a strong/weak beat approach to playing, on the most minute scale. Of course I couldn’t do it there and then, but it is a way of understanding a whole pre-19th century repertoire which has informed my own playing ever since, and one that I try to share with students. I have sadly very few of his markings in my scores — very faint decrescendos which turned a straight line into a flexible, dynamic one. I treasure those elegant little signs that seem a badge of having been a witness to a very great musician at work.”
Carole Cerasi
“I feel particularly grateful to Leonhardt for helping me to deepen my understanding of French baroque composers, and to approach their works with the most appropriate artistic style and pronunciation.That approach was valid, too, for the French side of the Germans like Bach, Böhm and Froberger. His teaching emphasized the use of subtle dynamic effects, and a way of playing sans contours that finds its visual counterpart in the paintings of Watteau.”
Francesco Cera
“Gustav Leonhardt’s musicianship has been a continuous source of inspiration for me. When I finally was in the position to take lessons at his house in Amsterdam, he spent considerable time and effort to critically assess my playing (quite in contrast to his generally complimentary style at masterclasses), from which I benefit every day even today, and for which I am eternally grateful. The impact of this shift in the world of historical performance practice will be great. No matter whether in accordance or in opposition, there will be few harpsichordists today whose playing is not, in one way or another, influenced by Leonhardt’s approach.”
Tilman Skowroneck
понеделник, 23 ноември 2020 г.
Gustav Leonhardt
Gustav Leonhardt, the Dutch harpsichordist, organist and conductor who was a pioneer in the world of period instrument performance and research into Baroque performance styles, died at his home in Amsterdam on January 16th, 2012. He was born in 1928 and was about to become 84-year old.
The New Church in Amsterdam, where Mr. Leonhardt was organist, announced his death in the newspaper NRC Handelsblad.
Both as a keyboard soloist and as the founder and director of the Leonhardt Consort, Mr. Leonhardt made hundreds of recordings that, along with those of Nikolaus Harnoncourt, August Wenzinger and a handful of others, were the defining discography of the historical performance movement in the 1950s and ’60s.
He systematically recorded Bach’s keyboard music, sometimes revisiting works like the “Goldberg Variations,” which he recorded in 1952, 1965 and 1979.
With his Leonhardt Consort, founded in 1955, he performed a broad selection of the Baroque chamber, orchestral and dramatic repertory, and helped revive works by Rameau, Lully, André Campra and other Baroque composers. But the group’s most important project was a collaboration with Mr. Harnoncourt and his Concentus Musicus of Vienna on a complete traversal of Bach’s church cantatas for the Telefunken (later Teldec) Das Alte Werke series.
The cycle, started in 1971, took nearly two decades to complete. Installments were released in boxed sets that included full scores of the cantatas. He later recorded Bach’s secular cantatas as well, for the Alpha label.
Mr. Leonhardt’s wife, Marie Leonhardt, a noted Baroque violinist, was the concertmaster of the Leonhardt Consort. She survives him, along with three daughters and a sister, the fortepianist Trudelies Leonhardt.
Even as the period instrument movement grew and younger performers like Christopher Hogwood, Trevor Pinnock, William Christie, Roger Norrington and Nicholas McGegan established ensembles in Europe and the United States, Mr. Leonhardt remained influential.
Mr. Leonhardt was born in the Netherlands on May 30, 1928. He began his musical studies at the piano when he was 6, and the cello when he was 10. His parents and his brother and sister were avid chamber music players, and when he was a teenager his parents bought a harpsichord for Baroque music performances. Mr. Leonhardt, as the family keyboardist, took up the instrument and made it his specialty.
In 1949 he enrolled at the Schola Cantorum, in Basel, Switzerland, to study organ and harpsichord with Eduard Müller. After a year he moved to Vienna to study conducting and musicology, spending most of his time in libraries, he said, copying musical manuscripts and treatises by hand. He made his debut as a harpsichordist in Vienna in 1950, performing Bach’s “Art of the Fugue.” He also met Mr. Harnoncourt and began playing with his group.
He was soon engaged to teach the harpsichord at conservatories in Vienna and Amsterdam. He commuted between them until 1955, when he gave up the Vienna post. He also taught at Harvard in 1969 and 1970.
Mr. Leonhardt’s studio — where he insisted on never having more than five students at a time — produced several important harpsichordists and early-music conductors, among them Mr. Hogwood, Ton Koopman, Bob van Asperen, Alan Curtis, Pierre Hantaï and Skip Sempé.
Mr. Leonhardt began his recording career in Vienna in the 1950s, when American labels like Vanguard’s Bach Guild subsidiary, abetted by the strength of the dollar, discovered that the nascent period-instrument world in Vienna, Basel and London made Europe a fountainhead of inexpensive recordings that could feed a growing interest in Baroque music in United States.
Among his first recordings were collaborations with the countertenor Alfred Deller on music by Bach, Purcell, Matthew Locke, John Jenkins and Elizabethans. He also made recordings with his new Leonhardt Consort, at first concentrating on composers like Biber and Scheidt, who were little known then.
“We didn’t give many concerts, because the public for such repertoire was still quite small,” Mr. Leonhardt said in a 2003 interview with the online magazine Andante.com “But it was all a revelation to us, and if I listen now to the records we made then, it surprises me that although I can find things to criticize, I find nothing to be ashamed of.”
Back in Amsterdam, Mr. Leonhardt was appointed organist of the Waalse Kerk and later the Nieuwe Kerk (New Church), both of which have historic instruments. He continued to teach, and he edited the Fantasies and Toccatas of the Dutch Baroque composer Jan Pieterszoon Sweelinck for the complete edition of that composer’s work, published in 1968.
He also had a brief screen career, portraying Bach in Jean-Marie Straub’s “Chronicle of Anna Magdalena Bach” (1968), a role that did not involve any dialogue but required him to perform, bewigged, in locations where Bach worked. He gave his last public performance on Dec. 12 at the Théâtre des Bouffes du Nord in Paris.
As a harpsichordist and organist, Mr. Leonhardt pursued a straightforward style in which ornamentation was judicious rather than showy. And although he was dismissive of conducting — he described it as “too easy,” because it does not involve the risk of playing or singing a wrong note — he did just that in annual appearances with the Orchestra of the Age of Enlightenment and the Freiburg Baroque Orchestra for many years.
He was also the founding music director of the New York Collegium, mainly a figurehead position that required few conducting appearances and petered out after a season or two. Even so, musicians in the orchestra who worked with him described the experience as “life changing.” One of them, the cellist Myron Lutzke, said in an interview, that Mr. Leonhardt had a way of “drawing sound from the instruments with a kind of effortless power, and without any of the ego that we’re perhaps more used to approaching music with.”
Correction: Jan. 19, 2012
An obituary on Wednesday about the harpsichordist, organist and conductor Gustav Leonhardt misspelled several names. One of the musicians who, like Mr. Leonhardt, made influential recordings on period instruments in the 1950s and 1960s was August Wenzinger, not Wenziger. The man with whom he studied organ and harpsichord at the Schola Cantorum in Basel, Switzerland, was Eduard Müller, not Miiller. And one of the churches in Amsterdam where Mr. Leonhardt has been organist is Waalse Kerk, not Waasle Kerk. By Allan Kozinn
петък, 6 април 2018 г.
Музиката от последните години
Текст и мелодия,
глас и музика, високо и ниско…
1) First
aid Kit
2) Florence
+ The Machine
3) Of Monsters & Men
4) The Black Keys
5) Fleetwood Mac
вторник, 3 април 2018 г.
Of Monsters & Men
Два поредни красиви албума: 2011, 2015. Странно, екзотично исландско звучене. Построк. Духова секция. Електрически китари, синтезатори, барабани. Тра-ла-ла нотки. Изпълнителка (вокал) с непоносимо мъчно за произнасяне име. Съставът: Of Monsters & Men. Натрапчив ритъм, но много изразителен съвременен глас. Дълбоки, но и младежки текстове. Отвлеченост. За първи път от много години: два записани от мен албума от край докрай, един след друг.
понеделник, 13 юни 2016 г.
Snowy White
Snowy White (b. 1948) had been recommended to Pink Floyd by
Kate Bush's former manager Hilary Walker, as they were looking for an
additional guitarist for the live band on the Animals tour in 1977 and he also
took part on the recording of the album, including “Shine on You Crazy Diamond
Part VIII”.
White's connection to Pink Floyd continued in later decades. White was invited by Roger Waters to perform at The Wall Concert in Berlin in 1990, by the ruins of the Berlin Wall. David Gilmour was the guest on White's 1994 album Highway to the Sun.
White's connection to Pink Floyd continued in later decades. White was invited by Roger Waters to perform at The Wall Concert in Berlin in 1990, by the ruins of the Berlin Wall. David Gilmour was the guest on White's 1994 album Highway to the Sun.
неделя, 28 февруари 2016 г.
Малкият барабанчик
Малкият барабанчик
Идвай, казаха,
ра-па-пам-пам
роди се Царят ни,
ра-па-пам-пам.
Ще му дадем ние,
ра-па-пам-пам
най-ценни дарове,
ра-па-пам-пам (3)
И свойта почит,
па-ра-па-пам-пам,
стигнем ли там.
И аз, детенце,
па-ра-па-пам-пам,
момченце бедно съм,
ра-па-пам-пам,
и нямам дар за теб,
па-ра-па-пам-пам –
за цар тъй светъл,
па-ра-па-пам-пам,
ра-па-пам-пам (3).
Може ли все пак
па-ра-па-пам-пам,
да ти посвиря?
Мария кимна,
па-ра-па-пам-пам,
вол, агне, всички
па-ра-па-пам-пам,
са тихи... Свиря аз,
па-ра-па-пам-пам,
най-хубаво сега,
па-ра-па-пам-пам,
ра-па-пам-пам (2).
Той се усмихна,
па-ра-па-пам-пам,
на мен и барабана,
ра-па-пам-пам (2).
* * *
The Little Drummer Boy
Come they told me
Pa rum pum pum pum
A new born King to see
Pa rum pum pum pum
Our finest gifts we bring
Pa rum pum pum pum
To lay before the king
Pa rum pum pum pum,
rum pum pum pum,
rum pum pum pum
So to honor Him
Pa rum pum pum pum
When we come
Little baby
Pa rum pum pum pum
I am a poor boy too
Pa rum pum pum pum
I have no gift to bring
Pa rum pum pum pum
That's fit to give our King
Pa rum pum pum pum,
rum pum pum pum,
rum pum pum pum
Shall I play for you
Pa rum pum pum pum
On my drum
Mary nodded
Pa rum pum pum pum
The ox and lamb kept time
Pa rum pum pum pum
I played my drum for Him
Pa rum pum pum pum
I played my best for Him
Pa rum pum pum pum,
rum pum pum pum,
rum pum pum pum
Then He smiled at me
Pa rum pum pum pum
Me and my drum.
събота, 16 август 2014 г.
Отворената врата
ПЕСЕН ЗА ОТВОРЕНАТА ВРАТА
Булат Окуджава
Виелица щом забучи,
сърдито те пропъжда…
Вратата не затваряй ти –
отворена да бъде.
Пред дълъг път ли се прощаваш,
мълчи, не говори…
Недей забравя ти тогава:
вратата отвори.
Когато в нощните тъми
не спираш, мълчешката
на бора огъня вземи
и го смеси с душата.
Дори да имаш ти скамейка
и топъл камен зид,
по-малко струват от копейка
с врата покрити.
1961
* * *
ПЕСЕНКА ОБ ОТКРЫТОЙ ДВЕРИ
Булат Окуджава
Когда метель кричит как зверь -
протяжно и сердито,
не запирайте вашу дверь,
пусть будет дверь открыта.
И если ляжет дальний путь,
нелегкий путь, представьте,
дверь не забудьте распахнуть,
открытой дверь оставьте.
И, уходя, в ночной тиши
без долгих слов решайте:
огонь сосны с огнем души
в печи перемешайте.
Пусть будет теплою стена
и мягкою - скамейка...
Дверям закрытым - грош цена,
замку цена - копейка.
1961
вторник, 28 май 2013 г.
сряда, 2 декември 2009 г.
понеделник, 30 ноември 2009 г.
сряда, 22 юли 2009 г.
вторник, 23 юни 2009 г.
Tickling
Навън е толкова хубаво... Направо е светотатство да си стоиш вкъщи. Пускаш нещо да звучи вкъщи и малко след това изхвърчаш да се скиташ по улиците. Просто няма начин... Поздрав, Васи, заради чудесата.
Christy Moore - John O'Dreams
сряда, 27 май 2009 г.
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