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A man of our time «:? tr High-fidelity components. It is necessary to recover that silence, that reverential sense before that which is true and authentic art. It would recover its raison d'etre, its partially disfigured dignity and its sense of communion between the transmitters of great art and a respectful, civic and passionate public. That at least it would not lead to concerts mobile phones with alarm. I did not expect less from his ornithological wisdom, of which I have had ample samples in private, especially during an unforgettable Finnish coexistence. It seems that Dona Maria is not right this time and that I have been a victim of her error. As I consider myself his disciple in this field, I thank Sergio once again. I am sorry for your teaching and I apologize, although I hope that in my eagerness to find the right term, I will be able to appreciate at least that the hours invested in instilling my love for birds were not in vain. Go ahead that I assume your tug on your ears. He is absolutely right: I am an ignorant ornithological of tomo and loxi. On the other hand, not only have I not denied, but I have been saying it for a long time. I appreciate the correction, however, that I will take advantage to relive a little of myself. instead of reflecting the name in the original French it in the Latin scientist). Separate note deserves the quotation marks of things that I have not written, and that someone can misinterpret as mine in the light of his letter. If the teacher had persisted in his initial plans, his selection would have accommodated the bird in question and many others, which have nothing to do with our country. As for the rest, frankly, it's left over. An invitation that was supposed to be intended to personally assess the caste of the journalists with whom I had to deal with as far as sound art was concerned. While the coffee was being served, I do not remember who asked what the fees of a famous singer were, the brilliant politician replied in a sharp tone that this information was confidential and should not leave the area formed by the contracting party and the contracted party. At the end of the meeting, one of the attendees said that the important thing was art and not gossip. I remembered this anecdote after reading Who Killed Classical Music. Comments that, generally, are used in private and by those who profess a latria towards music that makes them lose their footing if the miseries of some Santa Cecilia brothers are aired. They accuse Lebrecht of being scavenger and amarillista, of having to stagger the columns of the temple in order to sell their libels, to use stories that combine it with telebasura. Lebrecht puts his finger on the wound by denouncing documented trappings and corruption that affect and undermine the musical life. It was seven in the morning and only two people involuntarily quoted us with four waiters around the well-stocked buffet. Tai tenderness produced me, that I came to wish that I throw on the chosen meats a good jet of olive oil that presided over each table. The passing of one of the waitresses deprived me of knowing whether he did it or not. If I had not had the feeling that speaking to him was a way of betrayal, I would have proposed, surely, that we both take the same taxi. That man, who had prepared his stomach for a long journey, moved restlessly. Of course, when there is something interesting outside of the concerts of Becthoven. However, with them other voices or uses not so euphonious or recommended from the point of view of the purity of our language have been introduced. increasingly widespread among opera critics, of! There are times when the economy of words does not result in a greater beauty of what is written or in a better approach to the polemics readers, who feel their own language violated unnecessarily. And this for the good of the language we share as well as for a more beautiful sonority of his own Pablo style. Confuse the name of the Blonde Wheatear has been a totally unforgivable slip. For the rest, good wildebeest wait as some author comes to mind in the future to have passion for mushrooms or insects and give names to their works in coasonancia. However, I take the liberty to suggest and point out some points that I miss in the current editorial line, dossiers of great directors -wonderful- and resuscitated lately. Since apparently it was the first time that the illustrious soprano sang in Pelotas, the strange thing is that there was not an epidemic of amacucos and hot flashes. To get a decent entry, or belong to the select public office or cultural or scientific personality of recognized social prestige. 1 A capacity plagued of tickets of credit and loose entrances of terrible quality practically unattainable due to the obsolete system of sale. Access to the Teatro Real does not promote the culture of equality. for cello and orchestra, op. What happens with this man, half artist, half hermit? What happens with a musician so capricious, so arbitrary, so surprising, friend of suspending without prior notice his concerts or his operatic performances? The second one never happened: a few hours before the director canceled, alleging suspicious health reasons. The anger of the whole company is still remembered, although weeks later the capricious artist would return to the podium of the entity to which he was linked by those years. Something will have the water when they bless it. In effect, something will have this teacher when he is excused and admitted to these things that would have meant the sinking of others. Or such silly phrases, so close to what is estimated as boutade, as the following collected by Lebrecht in his book The Myth of! He is one of the few directors of stature, maybe the only one, son of an important director. In these lyrical interpretations they tend to limp, at least in the discographic versions, the vocal distributions. birdhouses and their hands officiated * of nightingales. There was a lot of precision, lace and tempi changes that were imposed on the point by their logic. With stylized lines to the maximum. Tendeik te to the essential and never unformed, were remarkable both their containment and concentration and, undoubtedly, the filling. In the trapeze of the cadences he showed himself as skilled as skilled. The result can not be other than that of a fascinating evening, which brings together with singular ease a music of so many centuries ago and today's listener. From a musicological work in depth, the living interpretation of these fascinating exhibitions breaks the seemingly insurmountable contradiction of an oral tradition that is only given to us by means of late written sources and in any case insufficient. always interesting parliament of Savall, that allowed us to know near the panoplia of instruments unfolded, in which it moves, like Pedro by his house. The thing ended, how could it be otherwise, with the public c-n the pocket of the Catalan violist. But the concert was NOT a singing recital, and the excellent performance of the group deserved another recognition. For the rest, beautiful intermediates of the past made present, among the other sessions of the cycle dominated by the string quartet, which had an excellent reception. Palace of Festivals of Cantabria. Musical director- Renato Palumbo. Direaor of scene: Emilio Sagi. Decorations and costumes: Julio Galán. The scenography was very much like it as a whole, simulating in a second plane the Andalusian patio that gave a very particular vitality to the production. Choir of the Teatru de la Maestranza. Scenography and costumes: L. Viscooti. Stage director: A. Fassini. Almost five hours of a show that was continually interrupted by breaks and breaks due to changes in sets. These long waits, which became desperate, did not favor the march of representation at all. The musical discourse was cut and visual, cool pit and stage, and the public tired, who did not know what to do sitting in an armchair with nothing to see or hear. When the curtain rose there was an admiring reaction, because you could not deny the power of the images, but neither orchestra nor singers knew how to sustain it, except on very few occasions. The most outstanding, unanimously recognized, came in the third act when the Eboli sang her Odonfatale with extraordinary drama. There, at last, Verdi appeared with all his greatness. A nti ilógica performance by voice. by singing line, by interpretation. Only for that reason the wait had merited the long and complex pages and impeccably reproduced some grief, although it had become too long. The drawbacks -the interruption of the dramatic tempo- have already been noted. Today we have a different conception of an operatic representation. The one of Visconti fulfilled its function in an epoch, but that grandiosity is now archaic, aside from uncomfortable and expensive. If, instead of the old woods, a lighter scenography had been chosen, it would have gained in agility and saved on expenses, this last chapter being very important in a theater with a limited budget and a demand for unsatisfied entries year after year. The opera in Seville, and this is just an opinion, can not become a cemetery of old glories. Books, albums and videos are available to know the history of the show. Surrounded by one of the largest museums and cultural offers in the world, and financial, political and commercial centers of the capital. It will be found in a building of new construction but respectfully integrated with its surroundings, built with the noblest materials and the most exquisite decoration, which includes a magnificent collection of Roman mosaics from the 4th century. You will find a warm atmosphere that will make our small luxury hotel become the ideal refuge after a day of leisure, cultural tour or business center in Madrid. You will enjoy in our splendid rooms with double height living room and the comfort of the wooden platform, the furniture of mahogany root and the baths covered in marble of Carrara or in the suites with terrace authentic watchtowers on the surrounding gardens. So, when you return home, »sometimes miss your hotel. VilaJi, Chaconne in G minor for violin and orqxmta. Daniel Barenboim, pianist and director. Whether as a pianist or as a director, Daniel Barenboim belongs to this last species. The only negative consequence is that from now on and for a long time it seems almost impossible to enjoy these works in other hands. to assign it to the tradition of the genre. The unusual interpretation of these works perhaps increased an impression of freshness and pleasure, of rediscovery. Accardo maintains his excellent technique and classical line, with sober vibralo, and the Orchestra accompanied him well in the first two works. His direction of the Messa demonstrated knowledge of style and clarity of exposure, but does not get enough expressive intensity or great tension or dramatic unity in the whole work. Correction in the rest, including the Choir. As a pianist, a greater degree of cleanliness in the execution of the trills is simply not possible, in the discernment of nuances between legato and staccato, in the control of force. As a director, the right hand draws and the left applies colors without any gesture of more or less. With him, the Staatskapelle in Berlin, which he has held since 1992, has nothing to envy any orchestra of the four or five that lead the lists of excellence in the world. And it is that another of the attributes of the genuine genius is to make the work of the musicians more stimulating and listening to the listeners. frankly vivacious, nor to the sustained dramatic progression of the oratory along its course. But it is worth qualifying the ovation before the inequality of the solisia quartet. With being remarkable, this Messiah could not overcome the high standards set by Christophers and by the London director. On the writing of the »atrial notes of the interpreters, an attack to the Spanish plagued with pigeons and kits, better not to go into details. 17X Chopin, Nocturn opits32, n s 1. No opposition is necessary when occupying the top of the ladder. Or rather, when recognition is general as such. Missing some of its competitors, still young others, the scepter of Spanish pianism remains in the hands of Alicia de Larrocha with the assent of the public and critics. With almost seventy years on stage and thirty years as a figure of universal prestige, the great Catalan artist is exempt from the obligation to defend each evening the demand she has won for many years: her teaching in the Spanish piano and her mastery of the foreigner. Surrendered to the history of the teacher, public and local critics showed their favor by silencing the "few" who admitted a point of disappointment after one and enrapture. By itself and without embezzlement. Philharmonic Orchestra di; Berlin This music is difficult to imagine more dazzling, erotic and deafening, but in front of this acoustic volcano in constant eruption the protagonists barely had the chance to prevail. Especially when Tristan has a tenor predestined to the Zuiscberifacb, without sufficient strength and volume. But the great stage presence of the singer was constant at all times and turned her performance, to culminate in a warm and resplendent death of love, unquestionably at the center of the action. Matti Salminen drew an imposing portrait of a Marke king tired over the years, with a very well conducted voice. Musical director: Marc Minkowski. Minkowski plays Mozan as baroque music, with live tempi, a lot of dynamics and strong contrasts. Build a representation full of tension, although his Mozart lacks a certain dimension. The wall opens when Nepruno-omnipresent in the form of a golden mask, deploys his anger and his punishment on the Cretans. The costumes, in a mixture of classical and Greek elements and foldore from the Balkans, evoke an archaic warrior society. McVicar tells the story without violent updates or instrumental colors of this work, constantly underlining the interventions of soloists and groups, and lightened the work enough so that the ubiquitous elements of Slavic folklore preserved their character. The cast was convincing and homogeneous, but it was clearly chosen by lyrical voices. The least positive were the movements of a choreographic group and the ballet that was the end of the opera., Erna Metdepenninghen comparable sound and the ductility of the orchestra do not cease to amaze even those of us who are lucky enough to hear it regularly. The lulo suits F.leclra. Music director: Sylvain Cambrelinj ». Stage director: David Aiden. The musical style of Levy - similar to that of Britten, but more dissonant - lives up to the monumental story. Tormented by guilt and incestuous love for his dead mother. Orin tries to seduce Lavinia. When she rejects him, she commits suicide, and Lavinia falls into a lonely oblivion. The decorated ones of the Romanian Liviu Ciulei created a loaded and ominous atmosphere that seemed to wait to unload on the personages, and as director of scene maintained the tension of the history until making it almost unbearable. Levy's score is extremely difficult, brimming with colorful details and rhythmic subtleties. The new preview of the Lyric Opera has responded with a loud "yes." The company has assembled the ohra with opera singers rather than actors, achieving a very visual production, full of colorful and constant movement, David introduced fun and movement - although not necessarily message- to make everything It looked like an infernal amusement park. Sylvain Cambreling directed the score with great refinement and much effect. His reading revealed the dramatic richness and abundant musical beauty of Weill's score. Musical Director: Graeme jenkins. Stage director: John Qipley. In attention to current ears, Gérame Jenkins allowed the singers to insert treble in the romantic style in their cadences, and he himself used modern and modulated dynamics. The set of John Conklin was basically constituted by a series of marble panels with golden cornices that turned on themselves to transform the stage. Costumer Michad Stennett dressed the men in bright basic colors and the women with sumptuous crinolines on the cake. The stage director John Copley gave elegance to the action with an expertly measured movement. Direaor of scene and scenography: F. Ztffirelli. As usual, the British regista did not deviate a bit from the script with very conventional weddings from the scenographic point of view, although with a very agile and graceful theatrical direction. Regardless of the somewhat outdated aesthetics that Miller's productions usually have. the most important thing is that he manages to get each singer to give his or her own story, as well as to draw a great dramatic match to the overall scenes. The rest of the cast maintained an acceptable average level and James Lt'vine limited himself to arranging a show without surprises, with the normality of a repertoire theater; maybe that was their main drawback. but things were twisted in such a way that in the end the first two functions almost scratched the mess. To make matters worse Viadimir Chernov. that he had to sing the role of Germont, became indisposed before the premiere and had to sing in his place the first two functions the infumable Haijing Fu. one of the worst baritones that the author of this chronicle has heard in his life. The Argentine singer has a lyrical tenor voice that is not too big, although very beautiful and well stamped, unfolds with ease on stage and gives great credibility to the role of Alfredo. Patricia Racette was a pleasant surprise and came out more than graceful of the fearsome colors of the first act. His Violetta was gaining weight throughout the show, closing his performance with a dramatic and credible third act. The scenic proposal of Zeffirelli was a total nonsense, it was full of obviousness and so overloaded with furniture, sofas, curtains and a thousand objects that it was claustrophobic. Flora's house, in the second act, looked like the Wagnerian Venusherg. But what really took away the palm of bad taste was the ballet of the ladies vaquitas that took us out in the number of the maladores in Madrid. Zeffirelli has managed to surpass himself with an even more tacky production than the previous one and that was also signed by him. The best of the night was the musical direction of Levine, who wrapped the singers with care and knew how to obtain excellent performances from the Met's magnificent orchestra. The cast, with aljamas luxury names, stood out above all for its solidity and homogeneity and for the absolute conviction with which they played their roles. Both figures pass the work without meeting until Tristan dies in an embrace with Isolde. very competent in shepherd and sailor. But what surprised me most was. possibly, the work of Friedrich Haider. Music director: Claire Gibault. Stage director: Myriam Tanant. Six years after La siation tbermale. Les oiseaux de passage is the second lyrical work born of the collaboration between e! A hot topic, the representation of emigration, and its mythological transposition that are the voyages of Ulysses. On the musical level, I adopt the natural melody of the French language and transpose it to my harmonic parameters, my counterpoint permutates that line between voice and orchestra. I reject any translation of my operas because that would make them lose their specificity, my music rests essentially on the language. "The atmosphere of Oiseaux de passage is that of a café in an indeterminate place, Vacchi deals naturally with the everyday language that dominates the work and with lyricism the most literary expression that Tanant has given to the scene of Ulysses Decorated and costumes: Gottfried Pilz, Sotodo when it comes to honoring a theater that, since its foundation, has not ceased to dedicate itself to the premieres.To remember its original mission, a new work. The author of Clara's score is not a debutant in lyrical matters, born in Stockholm in 1952, Gefors here signs his fifth opera, super soloist of the Opera Orchestra of Lyon, and an admirable final octet. Syrus, stage director: Francesca Zamticlk), music director: Gennadi Rozrideslvenski, stage director: Tim Hupkins, set designer and costumes: Anthony Baker, a huge-scale reform project whose costs have been cut the alternative season at the end of this month of January to resume it after the summer. The two last assemblies presented breathed in a way that tone of farewell to a future somewhat uncertain. The presence of the traveling circus in the third act gave the show a Fellinian touch, while the strong green and yellow of the suits gave the whole show a squeaky color. David Syru.s left the company's pavilion very high. After sending his two sons to war, the Tsar himself will go to battle and meet the queen of Shemakha, who has come to conquer him for his charms. When the Tsar returns to his country, the astrologer asks him as a reward at the hand of the queen and the Tsar kills him, being in turn shot down by the rooster. But, in the end, the astrologer resurrects to explain that all that has been no more than a fable. Tim Hopkins almost completely eliminated the fantastic elements and presented the work as an allegory of Russian history, from the revolution to today's situation. that as reflected in the Boris Godutior of Musorgski has not evolved so much since its feudal origin. The Georgian bass Paata Burchuladze made a very successful portrait of the ridiculous Tsar. with its authoritarian tone and something monolithic. Tchaikovsky: Ui lady t ^ s March 1, 1999, where you can collect the extended bases. Relationship Dialogue. In general his show was somewhat monotonous, with some glimmer, like the seabed with its ships when Camoens prophesies the result of the journey undertaken. In the musical field, the orchestra and the choir, so important in this type of scores, offered the ideal example of what these ensembles should be in a theater of level. Director of * scene: Sandro Sequi. Ganassi, certain of means that are rich although not exactly beautiful, was very careful of the melodic arc in the lyrical parts and very communicative in the dramatic ones. With the television on and enjoying the best classical music and the opera and the dance. And also of the jan and the music éimca. And also with the quality of digital image and sound that I know what Huzzlk and Multiclassical can give you. Advance sales: on April 30, 1999, from 8:00 a.m. Price of the locations: Three working days before each concert from 8.00 to hours. Agreed Italian, Alessandrini. Erato Blacher: Orchestral works. Payment of the 10 ptas concerts. You did not expect the choice to be this, but someone had to do something like that one day, fixing things once and for all: they are the two versions of Musorgski. Now, the scene of the duo was almost written in Musorgski eliminated it, we do not know why. 1872, in addition, qualifies certain situations and characters. No Boris was ever the same nor allowed us a point of reference of which elements were chosen from each. Here we have them separated, and each one in its place. The ten scenes we have are the following: Novodevichi: common, with hardly any differences in both versions. Monastery of Shudov: common, with some differences. Posada on the border: common, with notable differences. Chambers of the Kremlin: common, important differences. There are discrepancies about the mixtures, although each one has their preferences regarding them, but that has nothing to do with this juxtaposition of versions. Rubinstein composed this opera at a time when the romantic tale of Lermontov, with its Mephistopheleic hero who seduces a young woman and her exotic ambience, was possibly the most famous narrative poem in Russia. The only encounter of both ends in a kiss, when the Demon seizes the deadly beauty of the girl, who dies. But his suffering has redeemed the Devil, who nevertheless renounces his own salvation for the sake of love. This page, popularized by Fedor Chaliapin. It includes works that testify to the rigorously symphonic conception of Widor organ works. 12.14: Orchestra of the Concenegebouw of Amsterdam. 21: Amsterdam Baroque Orchestra. A! Essandro Carbonare, clarinet. 6-I1L Ensemble intercontemporain. Schumann: Filamiónica of Vienna. Beethoven, 22: Clemencic Consort. Stravinski, Hindemith, Nielsen. For composers of any age and nationality. Registration deadline: 31- V71I-99. After commenting on the different origins of the visitors and proud of the anticipation that the book held for him, the famed Codex Calixiinus finally showed them. Comments, discussions, some exclamation of admiration, to then issue thoughts aloud. they kept this way of writing. Autun or Nevers were familiar places to this way of writing music. It would later be adopted in imitation of the practice of Dominicans, very influential in the university environment of the city of Seine. according to Hámel, a recasting of a completely Hispanic book based on our ancient liturgy and 11th century traditions. Difficult statement in the presence of such illustrious visitors from beyond the Pyrenees, but at least the pride with postela was not, if not safe, at least partly justified. Another circumstance that surprised the participants was the outline of the nocturnes of matins they had heard on arriving at the cathedral and the one presented by the Liber. Someone suggested that it could be that the office was made up of monks who worked for their brothers in Compostela or that simply when the codex was copied a monastic copy was taken. The melodies of the verses of the responsories. they followed the usual formulas, and there was a certain similarity between melodic schemes typical of the Vezelay region in some contrasts such as the antiphon of the Magnifica! Luxfulgebit, the gradual Nimisy e! Acvbus tract paraphrase the types of! The rest of the piece had to be looked for in the corresponding folio of the first book. You can ask for more solemnity..! An Aeluia in greco, monodic, probably in homage to characters coming from those distant lands or as reminiscence of the times in which that language was the main expression of the church, but with the same melody as another previously noted. And a piece considered until not long ago to a voice and that the inexhaustible modern search has placed in its true context. At the end of the celebrations, mud sang a hymn in which in addition to the Latin invocations were heard in other diomas. The Jacobean song par excellence, Dum Pciíerfamilias, by its form more a versus than a hymn, is the one that has crossed all the borders. Now it appears in a folio added at the end of the manuscript, noted in decadent writing that tries to imitate superimposed points, which makes its correct transcription very difficult. The difficulty of its transcription lies in the ambiguity of its notation. The inclusion of musical novelties that converted the cult of apostle, formally speaking, in one of the most avant-garde of his time and the reality of seeing perpetuated for centuries a more than venerable repertoire. However, the abundance of recordings has not meant a deepening gift in the knowledge of the great Alfonsí collection. It could be said without soma that currently the cantigas de Anglés are listened to in more Nordic or more Mediterranean clothes according to the tastes. Perhaps now is the opportune moment -without the obligation of any centenary- to test the topics and review our knowledge and opinions on the various aspects of the collection. These notes only try to outline paths of work that usually practical musicians tend to underestimate or, at least, forget, perhaps because they are considered impractical. Throughout his childhood Alfoaso spent some seasons in Galicia, a fact to which biographers unanimously attribute their knowledge of the language in which he would write all his poetic work. In this and other works, when listing their titles or El Escorial, codex j.b. Seven of the cantigas mornings are located in Galicia, another few narrate miracles occurred to Jacobean pilgrims and others take place in towns and sanctuaries located on the route. The reality, however, is very different if we analyze the details. In the verses cited in the first place, they are the most ripious ones that favor the appearance of certain words. More surprising is the image to be compared to the one that emerges from the narrated stories. Even in the mountains of Santiago itself, the Virgin seems to be more effective than the apostle. In another the pilgrim is cured, already back from Compostela, to pass through Vilasirga, after having added blindness to the ailments he brought. In another the same Virgin of Vilasirga solves the problems of a rosemary already on the way out. The efficacy of this morning sanctuary is such that the Jáveos romeras themselves become propagandists of it. Following the way back, he meets a blind man who goes to Compostela and convinces him that it is better to go to Vilasirga. To observe the simple numerical sequence to verify that the antisantiaguism is increasing throughout the collection and that any reference disappears in the last hundred. Surely it was the blind love of his lady that prevented our poet from seeing other suns than her. Does love also explain its antisantiaguism manifesto? Have not your differences influenced the episcopal seat of Compostela? as upina Filgueira Valverde, and that can be one of the reasons behind this collection is not as innocent as it is usually implied. And, at this point, we know for certain why and what Alfonso did the Cantigas! Obvious reasons explain Alfonso's dedication to legislative works, such as the Partidas. It is even normal to have the taste to write a love, satirical or even religious song. But why such an ambitious and expensive work as the Cantigas? Why a project that began with a hundred-ten times ten-was expanded to four hundred and became the most important work of his scriptoriutri! Other questions about the Cantigas are still in the air, some as basic as why he wrote in Galician, being so strong defender of Castilian and so little lover of Galician. The fifteen years that elapsed from this date until his death on April 4, 1284, are marked by medical, family and political problems, some of which are collected or reflected in the cantigas themselves. His character was soured, which together with personal misfortunes, political failures and military problems. The year 1275 was particularly critical. Instead of the interview with the Pope, he fell ill and in Montpellier his doctors gave him for dead. Usually, at the beginning of each cantiga, the troubadour introduces his listeners to tell them a story, a frey or marvelous look. More talent, more key decision-makers. to whose renaissance he has contributed in a decisive way, I lame through the critical editions of his scores as in his work as a diffuser of them from the pit or in his work each summer in the Accademia Rossiniana de Pesaro. You work all of them with the same contagious and erudite enthusiasm that you demonstrate in your talks and in your writings. Previously, in December, he directed master classes on the relevance of the Monteverdi work, which involved such prestigious names in the interpretation of early music as Fabio Biondi. It is said that we have an incomplete score because we only have copies, but some day the original autograph was found, I do not think we were saved either. In the best of cases, "also" is by Monteverdi, but like so many other operas of the time in Italy it surely is not the work of a single composer. In any case, the shadow of Monteverdi dominated everything that was written then in Venice. There is a same way of conceiving the music-word relationship, with a concern for the text that will disappear shortly afterwards with vocal virtuosity, and that goes back to the postulates of the Florentine Camerata. They rediscovered classical antiquity and all that was modern in it. The Greeks, when they wanted to communicate something by making it popular, had the word of music, because music emphasizes the word and makes it enduring. If the Florentines adopted the past with a modern language, why are we going to make an old discourse? I am not interested in reconstructing the Poppea that the public of 1640 heard, but the one listened to by the spectators of today. Apart from that an absolute fidelity to the old thing would be impossible, because we have gone from a modal concept to a tonal concept. On the contrary, if some references can be somewhat distant today, others can help us to understand some meanings that perhaps the spectators of that time did not understand. The characteristic of an authentic work of arle is that it never ages. S.- What criteria have you followed for editing? A.Z.- Any attempt at reconstruction has a strong falsehood component. The "popes" of the baroque say that one of the options is to respect the manuscript, which has only one part for the voice and one for the bass. But you can not do four hours with a singing voice and a violoncello that sounds. At least you have to put a key or a lute. The beauty and difficulty of this first harroco is that it is about open works, in which the composer had such confidence in the interpreter that it was enough to write two lines for the execution. The instrumentation always varied according to the means at his disposal on each occasion. There are instruments like the lute that can not be heard. Another question is whether Monteverdi should be made in a theater. I think so and I played it at La Scala. I firmly believe that Monteverdi would have liked to see 2000 people who are fascinated by his music and listen to his message. Many people believe that we implement the Poppea to make it more beautiful, which is wrong. that has to go through the death of Seneca. My edition is much more severe than those of others, and I must confess that it is also more boring. Musicology has taught me, as I have done with Rossini, to write cadences and variations that seem to be his. There should not be a stylistic leap. In Monteverdi the accompaniments are polyphonic, horizontal. In the Neapolitan codex Oitone's first aria is instrumented, because it pauses a few pauses to introduce an imitation, and this can not be improvised. We do not know if the rest was improvised or not, although we can imagine that it was a rather controlled improvisation and within rhythmic and harmonic parameters, as in jazz concerts. Rene Jacobs is much more in my line, although he uses original instruments. My edition can be played with both ancient and modern instruments, as I write in the preface. You have to make small changes, as in the flutes, because the recorder has a more limited record. But, as I said, if you do it in a big theater, there are problems. The baroque harp is beautiful but weak, has no serious. Sometimes the tiorba is added to balance the sound, but it is still weak. The lute is wonderful to hear on the radio. You must take the modern harp and try to imitate the sound of the lute. Modern trombones are more tuned but have a heavier sound than the old ones, which produce that sense of distance. However, the problem of the instruments seems to me a secondary issue. S.- Coma was transmitted Poppea. The latter was discovered much later, to the point that the transcription of Malipiero was made from the Venetian. But who tells me that the Neapolitan manuscript was not also copied by one of the many outstanding students of Monteverdi who worked in the Venetian theaters? Precisely because he did not intervene a great composer like Cavalli, who consciously or unconsciously decided to cut or adapt to work or choose the numbers that he considered most valuable. However, for the type of tragedy, Naples seems to me more solid and stylistically more just, as well as more important as a whole. In this sense I feel authorized to mix them. The one in Naples is more likely to be the original. However, as Venice is so beautiful we played it to open the grand finale. In this way I try not to lose anything. S.- Are they going to make corles in the Madrid version? But these parts make your brain rest. It is a random score, and in random music you have to intervene by force, although respecting some rules that the author gives you. You are lihre to do what you want, but always respecting the author's will. The will of Monteverdi is represented by the song and the basso continuo. From there, you have to do things, it's your duty and not just a possibility. You have to lose your fear, because the author has given you that confidence, he has given you symbols and precise indications, although you have to have enough security. If you give up doing so, you have betrayed the only possible philology. How far you carry it out, this is another object of discussion. The 'barons' of the baroque say that there are only two ways to reproduce the Poppea, so we are already creating an artificial orchestra, which did not exist at the time, the composer wrote only the song and the cipher bass, and here you are already the song, with the melody and the word, and the harmony.This is the fundamental thing, the rest is accessory.The second option, according to the purists, is that if we start to implement, we are faced with a totally free interpretation. They consist of demonstrating, starting from the documents of the time, that it is not true that the song of the Poppea has never been implemented.The Neapolitan codex has ten fragments instrumented, enire them a complete aria, that of Ottone Only the parts in which the master arranger needed a reference were instrumented, in other cases it was not necessary, but you have to learn to implement humbly, I do not pretend to have written music. For Poppea, I must admit that my Poppea is not as happy as Haronecourt can be, because instead of looking for colorful music, he focuses on counterpoint, which is much more conceptual. S- What instruments form the continuum? They were not going to hire those musicians to play so little time. S.- And as for the vocal distribution? But the countertenor has a very weak voice, especially in the center. And the Papjxta is all written in the center. When the castrato disappeared, a contralto was chosen, as Rossini did. or by the soprano, as Harnoncourt did in the Nero of his first recording of Poppea. The countertenor sings with an artificial falsetto, undoubtedly polite, but always weak. And this is a condition for the entire cast. If I have an Ottone that sings to me everything in piano and mezzoforle. I have to give up all the colors of the modern voice. He has reached maturity almost miraculously, because they have never lacked assurances very sure of having seen his corpse lying on the corner of each decade, and even Miles Davis came to certify his definitive death. So much so that now the really difficult thing is to be up to date. I told you last year at this time that the urge to cover everything is condemned in advance to failure, but it is always a fun challenge to give a personal opinion on the best published in recent months. I have a weakness for Brad Mehldau, I admit it. After reviewing my long list of candidates several times, I still can not find anything comparable to Satigs. the above quoted Charlie Haden, also repeat among my best of the year. And, of course, the saxophonist Lee Konitz is also on my list of 98. Another veteran, the composer and arranger Don Sebesky. The admirable initiative of the Calalán Fresh Sound label to reserve space for new talent has brought great satisfactions throughout the year. Núcleo, and of the quartet of the Canarian drummer Ramón Díaz. from the multi instrumentalist and singer Taj Mahal. There are theories for all tastes but I think that none is entirely convincing. I have sometimes shuffled the thesis that the loss of quality in the musical life of Madrid may have hurt our liohby. There are a lot of activities but the average grade is very low. We could extend in all this kind of observations but it does not seem strictly necessary. The same can not be said of the South Coast where there was never much love for this matter and still does not exist. Let's look at a small observation. Currently they do not reach half a dozen. Perhaps importers know the subject better than anyone else. Naturaímenle in Madrid has been a priority objective for professionals. The individual demonstration has the advantage that the observer can focus much more on the components he sees and hears and in any case something is better than nothing. The printing of the exhibitors was in general! of satisfaction and they think to repeat in the year in which we are. Really the listeners have a relative value considering the lack of silence sometimes inevitable and the technical problems of the rooms that in this case were of great importance. Let's review then some components of undoubted appeal. Of course Miguelturra's audition was far superior to Meliá's. In spite of all those who listened to the ingenuity they could appreciate that they were before an object of amazing perfection. The Merak sounded with a valve preamp and two Trilogy monophonic stages. It can be assumed that commercial results were better than purely musical ones. You already know what happens with this type of exhibitions in hotels especially when they are multitudinous. There are a lot of technical problems to solve, sometimes without means and without time. This could already be seen in the two Eurobuilding competitions. Maybe for future manifestations of this type we have to look for enclaves with a higher index of tranquility and. Remember the early times of Primare? Well, we are facing the same character. Time will tell but we may be facing one of the best efforts of the British firm. Not for nothing has the latest parade-Japanese hit awarded him the number one among the huge variety of integrated amplifiers. Of course the Wazoo enters both by the ear and by the sight; at par with a very high level of aesthetic design and sound quality. Basically the demonstrations prepared by Cliff Orman were the ones already mentioned. Apart we could see the full display of Nottingham plates and arms and some thing of origin Pink. The equipment described and used in the two ornate ones can be considered as medium-high level and called to show that with a relatively discrete disbursement one can obtain truly interesting musical results. It is a real pity that the Sonata box is not better known. The philosophy of the firm is thus something that I applaud; Maybe that's why I've had to comment twice on this section the virtues of the amplifier -Integré- with and without double transformer. In both cases sound qualities more than acceptable for extremely modest prices. From now on we will have to count on both brands when it comes to projecting decent equipment with very limited budgets. of the Advance MA-11 box is 77,000 ptas. The demonstrations of Transpulsar were much more discreet than the previous ones. Audio Crisel only showed a part of the material that matters that is very broad and in general of quite a category. Currently, the Mallorcan firm is among the three or four largest importers in the country. We were able to hear some very interesting components of Accuphase. It seems that Roy Gandy has designed with the same care applied to the turntables that have cemented without doubt the fame of the brand. It was a pity that we could not hear anything from the Rogers range, apparently for lack of available parts; I guess we'll have chances already. In any case, the organization of the demonstrations and visual displays was perfect. It is more to appreciate by infrequent. I will say one thing in a low voice that I have had occasion to constantly check; Rafael is able to praise, sometimes with great enthusiasm, products from other importers. I wish everyone did the same. With this hobby is built that is what everyone is interested in both at the level of professionals and amateur audiophiles. By way of conclusion, few but good, with a high level of competition that have given us days of great interest. I hope that the experience will be repeated and soon. More exhibitors are needed but not many more. In this as in everything quality is preferable to quantity. He has done it through the most well-known address for the sale of pounds online, so I do not need to tell you atál, because if you do not know it, you sure the neighbor will, and they can ask you. Don Alfredo's purchase is neither more nor less. or what is the same, and unless better opinion, one of the absolutely essential versions of the work. Now the designs can be found at the beautiful price of 295 pesetas in some shops in the cheap sector and others dedicated to leisure in general. bel canto in general and they are wonderful, because this guy is one of the best in specialty so complicated. But I have not readers who do not know this recording, I will tell you that the protagonists respond to surnames like Varnay. My friend Mus is delighted and it is not for less. Some of these things have been in more than one feral seal, but if you have not been able to get your hands on it at the time, just like this, now the internet is being paid for four pesetas. I've seen these records nowhere, which makes me think that maybe my memory fails, and that they will never happen again! All this that I have said is worth it to blind eyes, especially if you think it is 295 pesetas -don Migue! He says he has found two hundred, what deserves the medal of honor of the Baratillo and a toast with Manzanilla Solear accompanying some puntuitas or dogfish in adobo. In addition to all that, it is an instrument that brings together the enjoyment of musical perfection with the aspect of a safe investment of capital. The value of a Steinway increases with the passing of the years, which makes it an object of internationally desired value and a valuable property that is transmitted from generation to generation. Some performances: photo gallery 8. This is the first woman in the history of flamenco that sings accompanied by the piano herself. The evaluation criteria in this unit will be the following: 1. Right hand, left hand, Pianos, Forts.

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