- Theresienstadt weekend | Classical review
Wigmore Hall, LondonThe greatest musical experiences radically alter our perspectives. This was very much the case with the Nash Ensemble's Theresienstadt weekend. Concerts, films, talks and exhibitions examined the extraordinary cultural flowering in the ghetto-camp near Prague, set up by the Nazis in 1941, where, among thousands of others, the Czech-Jewish intelligentsia were held before transportation to death camps. The event's force lay in its broadening of our contextual awareness, and in its revelation of the quality of the work produced.Paintings and drawings by children, unflinching witnesses to history, hung on the walls of the Wigmore's subterranean Bechstein room. Three extraordinary women – an actor, a painter and a singer – spoke with wise eloquence of surviving both Theresienstadt and Auschwitz. Creativity was an existential affirmation of life, though traditions died along with people. Krása and Pavel Haas, Janáček's rightful successors, were murdered in the gas chambers. The ironies of Weimar Republic cabaret were kept alive, for a while, in bittersweet songs by Adolf Strauss and Otto Skute。ky.Many works were outright masterpieces. Haas's Four Songs on Chinese Poetry, Erwin Schulhoff's Duo for Violin and Cello, and above all Krása's Passacaglia and Fuga and his Rimbaud settings for baritone, clarinet, viola and cello belong in the regular repertory, irrespective of the circumstances of their composition.The Nash, an ensemble of stars, played with great technical power and depth of feeling. The singer was Wolfgang Holzmair, richly expressive, if overly score-bound. The Nash should tour this internationally – it deserves to be heard around the world.Rating: 5/5Classical musicHolocaustTim Ashleyguardian.co.uk © Guardian News & Media Lim ウィグモアホール、LondonThe最大の音楽の経験が根本的に自分たちの視点を変更します
- Captain Beefheart: dust blows forward and dust blows back - an appreciation
Don Van Vliet, aka Captain Beefheart, was mysterious, alchemical, inexplicable and unrepeatableHe never sold many records. His biggest hit album, Lick My Decals Off Baby, reached number 20 in the UK in 1970. But in a recording career that lasted from the 1960s until 1982, he succeeded in redefining the parameters of rock music.His sound shifted over the years, from relatively straightforward blues rock to doomed attempts to court a mainstream audience; but at its height, it reached hitherto-unimaginable heights of avant garde experimentation.Beefheart's most celebrated album, Trout Mask Replica of 1969, offered a world in which rock music appeared to have spun entirely off its axis.The singer's earthy holler grounded it in the blues tradition, but the lyrics were wild and surreal. And the music seemed to be from another planet, far beyond even the most acid-fried psychedelic band could muster.Standard time signatures were disregarded. Instruments – which extended beyond the standard guitar, bass and drums were set up to incorporate bass clarinet and musette – clashed to the point that it frequently sounded like everyone in the Magic Band was playing an entirely different song to everyone else.The most obvious reference point was free jazz, but the most startling thing about the Magic Band may have been that nobody was improvising: every note had apparently been carefully worked out in advance by Beefheart (he wrote the entire album on piano) and drilled into the band via a regime that former members later protested was little short of tyrannical.Some 41 years after the album's release, Trout Mask Replica remains the standard by which almost all experimental rock music is judged, its reputation as a fearsomely difficult listen undimmed by the passing of time or its influ ドンバンフリートは、通称キャプテンビーフハート、錬金術、不可解な神秘的unrepeatableHe決して売られ、多くのレコードだった
- Risør chamber music festival – review
Wigmore Hall, LondonEvery summer for 20 years, the pianist Leif Ove Andsnes and violinist Lars Anders Tomter have invited musician friends to join them in a small harbour town in Norway for a busman's holiday. Now, with Andsnes about to step down as director, they have taken the 2010 lineup on tour.Their four-concert Wigmore Hall residency was a mini-festival in its own right. On Sunday, from the two-handed Debussy's Cello Sonata that opened the morning to the closing performance of Honegger's searing Second Symphony, played by a conductorless 22-piece string orchestra, the playing glowed with an easy intimacy. Or – in the case of Andsnes and Marc-André Hamelin's exhilarating crash through the two-piano version of The Rite of Spring that Stravinsky made for the Ballet Russes – crackled with gung-ho virtuosity.Several of the highlights showcased Swedish clarinettist Martin Fröst, whose playing was nothing short of revelatory. Mesmerising in Berg's Four Pieces (Op 5), his constantly inventive eloquence made Mozart's familiar Clarinet Quintet seem quite new.Two works were written especially for Risør. Bent 。ørensen's Schattenlinie brought together Fröst, Andsnes and Tomter for five fragile, beautiful miniatures in which the sonorities of the clarinet, piano and viola were delicately merged, every note carefully chosen.The centrepiece of the evening was Rolf Wallin's Under City Skies, a half-hour work for viola, strings and surround-sound in which Tomter's viola solos and the propulsive orchestral rhythms emerged from disembodied city sounds, mythologising the mundane: high heels clacking on pavement, town hall bells, chirping sparrows, a car ignition. The viola soars but always returns to earth; the work might be a Lark Descending or, Wallin suggests, a grimy fli ウィグモアホールでは、20年LondonEveryの夏には、ピアニストのレイフオヴェアンスネス、バイオリニストラースアンダースTomterは、バスの乗務員の休日のため、ノルウェーの小さな港町で、それらに参加するミュージシャンの友人を招いている
- 淡い音楽
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- Sounds Jewish: July 2010
Joining Jason Solomons in studio this month are broadcaster, journalist and author of The Extra Mile: The Twenty First Century Pilgrim, Peter Stanford, and Rabbi Miriam Berger, from Finchley Reform Synagogue in North London. Ahead of his official trip to Britain, we find out why Pope Benedict is wading into troubled waters – again – with Jews. And should we be worried about the pope re-opening the door of the Catholic church to a disgraced Holocaust denier (and then half-closing it again)? And while Christians are tying themselves up in knots over women bishops and priests, female rabbis are on the rise: half of progressive Judaism's rabbis are now women, and this month they celebrate a big birthday: Britain's first woman rabbi was ordained 35 years ago this month. We'll hear some choice examples of sexism in the synagogue.And grab your fiddle, tune your accordion and krekhts like crazy on your clarinet because KlezFest is hitting London for one week only in August. Cellist Francesca Terberg and accordionist Carol Isaacs join Jason in the studio to perform a live acoustic Klezmer set.Sounds Jewish is taking a break on August, and will be back again in September. Sounds Jewish is produced with the Jewish Community Centre for LondonPost your comments on the blog below or find us on Facebook and Twitter
スタジオでは今月ジェイソンソロモンズを加わるのは、放送局、ジャーナリスト、余分なマイルの著者です:21世紀の巡礼者、ピータースタンフォード大学、およびラビミリアムベルガー、フィンチリー改革シナゴーグ北ロンドンから
- 原信夫とシャープス&フラッツ ファイナルコンサート 横浜7/26(日)
原信夫とシャープス&フラッツ ファイナルコンサート2008-9 7/26(日) 16:00開演於:神奈川県民ホール 《曲目》 1. one o'clock jump2. artistry in rhythm 3. ウッドチョッパーズ・ボール4. a列車で行こう 5. すみ絵6. west side story medley 《ゲスト・コーナー》 7. モーニン ( 日野皓正 :tp)8. クマナ( 前田憲男 :p) 9. イン・ア・センチメンタル・ムード( 寺井尚子 :vn) 10. メモリーズ・オブ・ユー( 北村英治 :cl) 11. 東京デイティング( 渡辺貞夫 :as) 12. ザッツ・ア・プレンティ13. りんごの木の下で 14. 梅が枝の手水鉢15. 古都 16. 真っ赤な太陽17. シング・シング・シング ≪アンコール≫it's a small worldblue flame 原 信夫 (leader/ts)西直樹 (pf)稲垣 。庸(ds) 岩見 淳三 (g)佐瀬 正 (b)mike price (tp) 数原 晋 (tp) 佐久間 勲 (tp)菊池 成浩 (tp) 佐藤 俊次 (tb)橋本 佳明 (tb)片岡 雄三 (tb) 堂本 雅樹 (b-tb, tu)佐藤 達哉 (ts, cl) 。目 慎一 (as, ss, fl, cl)大山 日出男 (as, fl, cl) 森川 信幸 (bs) 【ファイナル・コンサート】 昨年の11/2にも、原さんのファイナルコンサートに行ってきました(記事の詳細は こちら )
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