Thursday, May 19, 2011

Nuevas Fotografias De Milena Velba

Master Lecture Leonhardt

Thursday, 19 May, 20:00 . Oviedo Auditorium : Piano Days "Luis G. Iberni" . Gustav Leonhardt (harpsichord). Works of Froberger , JC Kerl, Johann Christoph Bach , Pachelbel, C. Ritter, George Boehm and JS Bach.
Although Oviedo days are devoted to piano, the commitment to a concert and a half hours with plenty of harpsichord of protagonist was risky: many holes subscribers and frightened the rest, but to attend a real live lecture of the key and their work, preparing a first truly historic and complementary part of a JS Bach that filled the second, there is something within reach of the "public", so few were the "chosen" to enjoy this vs Leonhardt Bach .
Write Paul J. Vayón in Scherzo magazine this month an excellent article in the "Named own "on The teacher Gustav Leonhardt which begins: " Although the title of "teacher" is common in the world of music even to refer to young performers, meet a few more merit today that Gustav Leonhardt ('s Graveland, 1928) to display it without complexes ". also says" At this point in his career and his life, could well take refuge in the Dutch codes to get beaten easy applause, but, as has always been fairly common in him, his program is being and an incendiary statement ". Best words to begin to count the concert Oviedo impossible.
The stage area was perfect for the occasion, and previously tested by Aaron Zapico that Master approved despite a hesitant first impression upon seeing the huge main room (thanks to Marina Cosme for information): the usual went to the stalls on stage but dwindling space bringing the delicate sound of key to any corner of the auditorium, and achieving a climate and environment intended only for the great performers, and Dutch Master is. The perplexity (you may also ignorance) even led to not applaud the various works, except Three leaks of Pachelbel .
If the program notes Maria Fonseca Sanhuesa were much more than a graduate class notes "Clavierbüng" which popped lives and works, the lab in charge of Master Leonhardt was unforgettable, even into the second part could not be abstracted from their teachers and wanted to explain (in English) the connection between the Chaconne in G M. Böhm of (or Boehm ) and the young Bach by harmonic and rhythmic resources precisely in a work composed The Kantor with just 18 or 19 who filled in the broad sense, this second part: Variat Aria BWV 989 (Four little preludes, plus tip). As if after an hour shelling authors and works but not always completely logical grateful the passage of sound, and a password ( tuned by himself) is not always virtuous and grateful for her "skinny" sound, parallel to this physical octogenarian with mitten / black band his left hand, need explanation, and logical prologue was really overwhelming to reflect the teaching of work and performer, with phrases to write in every performer that boasts baroque and sound from the key available only to the elect. Equally priceless
the Allemande of Ritter and always "sticky" Pachelbel that the interpretation d Master was deeper than it appears in other versions .
At least let the program here Oviedo after the concerts in Madrid and San Sebastian :
Johann Jakob Froberger (1616-1667): Meditation my future death ( Toccata No 3, Fantasy No. 2, Toccata No. 21). Johann Kaspar
Kerll (1627-1693): Toccata di durezze e ligature - Canzona No. 4 .
Johann Christoph Bach (1642-1703): Prelude in C M .
Johann Pachelbel (1653-1706): Three leaks.
Christian Ritter (ca. 1645-1650-post 1717): Allemande the death of Charles XII of Sweden . J.
Pachelbel: Fantasia in Eb M - Aria with partite Sebald.
George Boehm (1661-1733): Chaconne in G M .
JS Bach (1685-1750) Four small preludes ( variata Aria, BWV 989 ).
I said, a lecture of Don Gustavo, Maestro capitalized.

Wednesday, May 18, 2011

Asus Express Installation Incomplet

Mahler lives: his music will remain timeless

GUSTAV MAHLER
(Kaliště, Bohemia, July 7, 1860 - Vienna, May 18, 1911)
A reminder on the centenary of his death ... although the music, his music makes can say "Mahler lives" , or better yet, whose time has come .
no exaggeration to comment that we are followers millionaires every day there are new recordings of some of his works, which leads shared love to travel to enjoy your music o a llorar por la muerte del Cuervito López , que como tantos otros nos consideramos " hermanos en Mahler ".
Mahler , siempre vivo... y cada vez más vigente. Sigue teniendo detractores, ¡quién no!, incluso nuevos talentos como Dudamel , fiel heredero de las batutas mahlerianas , también recibe  críticas  para todos los gustos (aunque muchas no las comparta ).
De su obra, unos few dictate their teaching, some elected enjoy it from the podium , others write and analyze (very well indeed ), many interpret friends also opt to choose , why not discuss , and even qualify , organized , score ... Best of all is knowing that wherever your music is sounding , and it unites us .
I STAYED WITH ME IT ALL . Those who know me know I'm not lying.

Sunday, May 15, 2011

Doorless Walk In Shower Ideas Images

Two Organists and two Spanish

Saturday 14 May, 19:30 , XXII Organ Festival "CajAstur" : Church of San Pedro , Soto del Barco. Ana Belén García Pérez ( Andoain, Guipúzcoa ). works Muffat, Cornet, Sweelinck, Buxtehude , Bach, Mendelssohn and Duruflé . Second
concert by the second organist Festival 2011 in the old instrument "inherited" from Sto. Thomas Aviles , body records peculiar to many pipe zinc which gives a powerful sound and well suited to the repertoire chosen, but give a little problem that interpreter Guipuzcoa resolved with professionalism and invaluable help José M ª Martinez, Chema , knowing as few of "his old instrument" acting as a real wizard. Framed
in local festivals of San Isidro and on the campaign trail with a variety of pagers, the truth is not bothered and could very well follow the development of the concert, helped also by the projection screen that shocked more than one who looked for the first time how to play the instrument king although some could go to the Heinrich Walther on April 16 last, as I reported in Saturday's output, but without seeing it, which is double show.
For these two concerts of Oviedo and Soto del Barco , the approach adopted by the Basque keyboardist varied only a few works, again looking to get the most risen to match and restored by Federico Acitores Workshop, a body that since its revival has already said "sounds like heaven" .
Of the works performed in Oviedo add how they change the sounds from one instrument to another, plus two equals failure (the differences here were even mechanical) which is not dismissed as some, perhaps a mismatch in the volumes of pedals in the early works until the interpreter guipiuzcoana was "made" with them as the concert progressed.
In Soto began with the Toccata prima of Georg Muffat (1653-1704), with a sound power
somewhat exaggerated but typical of the work, and continued with the Fantasy 8 toni Belgian Peeter Cornet (1575-1633) where flautado were better pasted between the keyboards and pedals. Where the instrument
overflow with volumes seemed at times somewhat opaque left hand was on the left You Fantasy Chromatica Dutch Sweelinck Jan Pieterson (1562-1621), as tutti clog fugal part and a left hand very demanding in the body is more dilute that interpreted the key . Nevertheless, a full-fledged interpretation of the difficult colors that already indicated in the title and fully borne by the organist Andoain. Again
German composers would be the show's stars, with Ciacona in E minor, BuxWV 160 of Dietrich Buxtehude (1637-1707) who Ana Belén García fully squeezed again from an interpretative incredible quality and maturity, with an array of records even greater than in San Tirso, despite the different color the flutes and full of both instruments, but always at the service of great Dietrich.No I shall never Bach or this work premiered in Dresden I remembered: the Pasacaglia and fugue in C minor, BWV 582 , sound and other technical consideration for instrument and performer ostinato from the onset pedals that sounded fully "German" and impressed the public domain by checking the feet, coordinated with hands on keyboards, to the development of the 20 variations of the first subject, leading to the double fugue , waste timbre and virtuosic in an organ that responded to this "jewel" of The Kantor.
To close the challenging, risky and difficult concert, two Baroque works not as though no major organ literature:
The Sonata in M. of the six Organ Sonatas Op 65 (1845) German Mendelssohn (1809-1847) , first champion of Bach and almost apostle of his "civilian" in Leipzig , admiration that is evident in this work fully romantic to hear the third Inspired by the Lutheran choral BWV 38 the two movements ( With moto maestoso and tranquil Andante ) applauded separately and clearly distinguished at all levels, resulting in the flautado exquisite second, and happily being run. Add that should not affect the name "Sonata" because it could have been titled Suite, and the sixth "Sonata in D m." Use the BWV 416 that will be "Coral and variations: Andante sostenuto, Allegro molto, Fugue and Finale: Andante" , so it is not a classical form as suggested by the title.
The twentieth century organ is represented by the French virtuoso Maurice Duruflé (1902-1986) and Fugue Op 12 ., Also known as the "Fugue sur le Carillon de Soissons" , again demanding work previously performed by all, without compromise and with a professionalism worthy of praise. The rich timbre was achieved despite the limitations of the instrument de Soto, but perfectly suited to the work and the kaleidoscope perfect sound for a concert closing hard and worked perfectly. My sincere enhorbuena to Ana Belén García Pérez because his career is well founded and runs its course, waiting to hear back in contemporary repertoire which I know is a specialist. The "base baroque" powerfully demonstrated the romantic and the more contemporary end of the program pointed leaves me wanting to follow more closely .
Of course thanks to Festival and the task of recovering bodies that will continue regardless of what happens to bank mergers or political becomings, concerts being part of our culture and the best way to keep alive the bodies of our churches . At least one body again as the Santo Tomás de Avilés allowed to move and restore the old to the municipality that is incorporated into the circuit organistic Asturias.

Friday, May 13, 2011

Thyroid Cancer Golf Ball



Friday 13 May, 19:30 , XXII Organ Festival "CajAstur" : Church of San Tirso, Oviedo.
Ana Belén García Pérez ( Andoain, Guipúzcoa ). works Grigny, Cornet, Sweelinck, Muffat , Farnaby, Buxtehude and Bach . Second
festival organist and also English. As we said at the beginning of the concert José M ª Martínez , Chema for friends, the outlook English organ in these 22 years has changed completely and English musicians and are formed in large European Schools teachers in the first editions coming guests, so now their students, and also a female predominance as never seen before except always admired Montserrat Torrent, whom the interpreter guipiuzcoana has also been taught, like the great Zsigmond Szathamary among many other famous organists.
The program chosen by the Basque keyboardist to get the most out of Acitores instrument, built in 1993 and just released by Ms. Torrent , focused on the European Baroque (of the three periods: early, full and late), leaving the English to bodies that lend themselves more to the directory where the pedals are not used.
's musical journey began in France with the hymn Veni Creator ( Nicolas de Grigny , 1672-1703) in his only work entitled "First Organ Book" (1699), perfect to be "clarifying" the cromormos in principle "groaned" and even some tube is not opened, but little by little would breathing Fantasia in toni 8 ( Peeter Cornet, 1575-1633), a Baroque work Belgian composer's early, with a predominance of well flautado pasted on keyboards and pedals.
already with the instrument tuned we Travel to Holland where we heard a wonderful interpretation of Fantasy Chromatica ( Sweelinck Jan Pieterson, 1562-1621), where tutti records, and some runaway with a truly prodigious left clear sound for a work that still plays music with modal, but enhances the body rather than interpreted the key .
Germany is a land of organs and organists, and she is the Toccata prima ( Georg Muffat, 1653-1704) despite the Scottish composer who was well aware French and Italian styles incorporating the German Baroque, the powerful sounds well chosen by the organist, though with some minor trouble finding "healthy" most appropriate, happily aided and advised by Chema because There are many changes required by the score, as in the Ciacona , although flutes 4 'elected responded perfectly. Among the German
heard a "toy" English A Toye (Giles Farnaby , 1563-1640) Horse of the Renaissance and Early Baroque, with records that remind literature lute or virginal , very appropriate for the time (even has references English) and a perfect contrast between the German and to open his mouth to the last two works which would result in an entire building on the excellent timbre waste pipe and records of this small jewel of Frederick workshop Acitores . The
Ciacona in E minor, BuxWV 160 ( Dietrich Buxtehude, 1637-1707) is one of the masterpieces of composer acclaimed and admired by three countries it feel like "proper" (the Helsingborg / Helsingør in Sweden / Denmark, and Germany), where not often lacking in festivals or in the repertoire all organist. This was highlighted by Ana Belén García incredible performer with a maturity and an array of records able to spend a few flutes 8 'to the full always serve the melodies "Italianate" the great Dietrich.
And I could not finish the concert rather than Bach and the wonder premiered in Dresden that is the Pasacaglia and fugue in C minor, BWV 582 , authentic sound and technical consideration for instrument and performer ostinato from the onset pedals to all that development along the 20 variations of the first issue, that resulted in the double fugue, the theme fugatum , "Total Art" in Kantor The king led to the instrument that this work has only secured the title (in fact there orchestrations like Leopold Stokowski ).
My sincere congratulations to the young performer Guipuzcoa for the excellent concert in Oviedo, risky, difficult and happily forfeited part of the program will repeat this Saturday 14, from 19:30 h. in the Church of San Pedro in Soto del Barco, with the organ "inherited" from Sto. Thomas Avilés, paid by the Principality , "becoming" also risen and restored by Federico Acitores Workshop in collaboration with Chema own and admired my Raúl Prieto. Return to pre-concert words about the importance of the Festival in terms recover bodies, to be kept, and especially re-establish the figure of the professional body that makes them "breathe " more often. At least one body again as the Santo Tomás de Avilés allowed to move and restore the old to a nearby town, a body "sounds like heaven" , but this was told here, if the weather permitting .

How A Zulu Hut Is Made



Max Valdes. OSPA © Marta Barbón
Thursday, 12 May, 20:00 . Auditorio de Oviedo, 20 years Special Concert: OSPA , Maximiliano Valdés (director). works Estelche Israel López ( Santoña, 1983 ) Falla and Brahms . Free admission.
After a moment of eerie silence in remembrance of the victims of earthquake Lorca (Murcia) , began an emotional concert that served as a feast for all who do and make possible the OSPA , as you pointed out at the end of his manager for four years Ana Mateo and its predecessors.
Musically and in these times is really to celebrate have 20 years ago with a symphony orchestra such as Asturias, a true cultural ambassador and balsam sad day as we remembered with a silence which is also part of the music. Invited institutional partners , sponsor ( CajAstur ), subscribers, music lovers, friends, fans, fellow musicians, teachers and students (though not as much as we would) not filled the auditorium of Oviedo, but we enjoyed a concert conducted by Max Valdes , the last owner who seems to have gone -With love the world, and feeling more a Spaniard and the 69 musicians OSPA that have made the orchestra his extended family.
Estelche and Max Israel López Valdés. OSPA © Marta Barbón
As a premiere music festival in López Estelche : "From eternity concentric" (2010), winner of the work OSPA XX years ended perfectly annotated by the author in the program within notes Cosme Marina. Also note the text of Antonio Gallego ( Real Academia de Bellas Artes de San Fernando ) that I mentioned in yesterday's post.
For a template still "short" (although today reinforced) that had to adjust and ruler of compositional style from his dual role of musicologist and percussionist the works perfectly structured in three blocks, showed an unconventional language despite all the references you want to search, playing with all the rhythmic squeezing sections and (important role of the percussionists), dynamic and above all textures, sounds at the end of the twentieth century since the creation of XXI. There are classic moments fully harmonic dissonances reminiscent of his masters in composition, but even the title came in handy to open the concert with this gift of immense quality led Chilean director with real delicacy and I'm sure will end up being played many more times.
The Suite No. 2 "The Three-Cornered Hat" ( Falla) with three dances brought the festive character from a fresh interpretation, clear, playing with the full palette of orchestral work and playing with the Agogo, the rubati and a fully tempi made to achieve that perfect combination of musicians and conductor, that with these songs (including recorded itself OSPA) is really comfortable note, resulting in a fully satisfactory overall result. One section is a pleasure to listen to our musicians make the taste of seguidillas, farruca and that final Jack able to jump on the moral without losing any detail of the wealth that this book possesses, being loudly applauded all.
To finish a work dear to Max Valdés who directed memory (not very usual with him) for a marriage of book that only 16 years with these musicians can achieve: the Symphony No. 1 in C m., Op 68 ( Brahms). From the first bar could chew understanding among all tastes, with a few times but brilliant content, again as a solo extreme version of First which was recorded by Radio Clásica to return to enjoy it because as I told the director, the music is so intangible that the films are used to treasure moments like this twentieth anniversary . Without going deep into the four movements (the critics of the press I guess it will), I prefer the last ( IV. Adagio - Più andante - Allegro non troppo, ma con brio ) by changes and instrumental color is achieved, as well as targeted and a choice of tempi no concessions to virtuosity but rather the deep musical savoring the detail looks more global.
Ana Valdés Matthew and Max. OSPA © Marta Barbón
Tipping after the words of manager Ana Mateo, whose work is little known but it is really impressive and in the shade, and the taste was not Spaniard but a tribute to one of the directors other trace have made our land in front of "the OSA, mother of the present OSPA: a selection of scenes Asturianas of remembered Benito Lauret, that sounded symphonic plethoric and what Asturian anthem that sounds wherever they travel, from the small towns of Asturias in the summer tour to the far China or Mexico wanted that have also enjoyed our folklore led to symphonic and other 'Asturian adoption. "
Ana Valdés Matthew and Max. OSPA © Marta Barbón
A finishing touch to these first 20 years which could not fail to end the party the Happy Birthday sung by all to the accompaniment of our OSPA :

Birthday Feliz, OSPA and Max Valdes. OSPA © Marta Barbón
one afternoon to greet the many friends and a kiss of gratitude to my teacher and first manager the OSPA , Doña Immaculate Quintanal happy presumed great-grandmother as well (although students still young), and true advocate for years from not of our folklore , and heritage musical education, but an orchestra like the one now meets these first twenty years (which are nothing like it says the tango) and "guilty" of signing Valdés.
Long live the music, magnifying glasses (but binoculars) for politicians and sponsors, but greatly HEALTH FOR ALL. So we can continue to enjoy the years ahead and show off "our colors ." PD
1: Due to problems in Blogger I could not upload the same day, although it is written from the proximity and closeness, as well as I do with all concerts (if no dinner afterwards) just got home. PD
2: Review and comment on Joaquin Valdeón in LNE on Friday, 14 on the work of López Estelche . PD
3 : Ramón Reviews in Avello Trade, Diana Díaz in LNE and Aurelio M. Dry in La Voz de Asturias Friday 14.
4 PD: Photo of Javier G. case in LVA Friday 14 (Paper edition Saturday 15) on opinions of some subscribers to the OSPA, including includes and I quote this blog. Thanks.

Thursday, May 12, 2011

Which Finger Should Females Wear A Amethyst

Happy Birthday to our OSPA

This Thursday, May 12 celebrate 20 years of OSPA the Symphony Orchestra of Asturias , with a special concert that will fill the Auditorium of Oviedo (and will Avilés and Gijón), and from which point we will comment. These
birthdays is running a lot and good of this anniversary (even a special page LNE today's paper version), based on formations to which I had the luck and pleasure of listening at different times of my life and it reminds Ramon G. Avello in Trade.
political myopia remembers Max Valdés in this round to celebrate, because there are still responsible (!) That attempt to fix the crisis by cutting the music ... forgetting, as well Chilean master says that "the OSPA is irreplaceable in Asturian culture" .
Marina Cosme, and wrote the program notes of the three "Birthday Concert" makes a refresher LNE the story of these first twenty years and contributions, which are not tired but few listen. Ana Mateo
, manager of the Asturian band for almost four years, said in newspaper interview gijonés : "My greatest challenge is that nobody asks who is nowhere in the OSPA" , and I think that of the fans who expect every show as something unique, it is always support and help to make it known.
I have been critical and will remain in the broad sense of the word (see note below) , since we always conduct ourselves with constructive view, denouncing what they do not like and praise the successes (and they exist and many) of course with all the respect but also to the rights of those who pay out of pocket and not from taxes but with the tickets and part of the "musical investment" (I will refuse to write spending). Subjectivity in tastes and opinions is all, but personally I feel like another member of the OSPA that account as well Khanty "Dutch" to Javier Neira in LNE , "A good musician orchestra set aside his opinion, serves the director and listen to colleagues" , and eventually came home to share feelings here. I consider myself totally unbiased and critical, without any moral debt and the satisfaction of seeing the OSPA as "our leader", that of all Asturias.

We are many subscribers who follow the OSPA as if they were our family, we have even established fraternal ties with our co-chair each year, including some of the musicians as an essential part of our leisure and hobby and is that a long coexistence gives to all, some trouble and brought much happiness.
I hope I have time later to tell "my musical years" in addition l 20's with the OSPA curiously as many as I have been happily married, but written by Antonio Gallego in the OSPA Facebook © , "another partner travel "with much more weight, training and experience, is a luxury and I recommend reading (link is in the underscore). The anniversary concert itself
write from home, as usual from late September 2008 that it had the "occurrence" to have what was not able to speak, something difficult for me.

NOTE : DRAE copying:
critical .
( Del gr. κριτική).
1. f. Review and judgments about someone or something and, in particular publicly expressed on a show, a book, artwork, etc..

Wednesday, May 11, 2011

Frequency Of Indian Channels

Force, Lorca!

Everything happens soon and the casualties continue to grow. You have the support and solidarity in Spain. Force, Murcia!

(Source: THE COUNTRY)

Sunday, May 8, 2011

Best Tripod For Canon Xsi

20 Who said Bach said body

Saturday May 7, 20:00 pm . XXII Organ Festival "CajAstur" , Church of St. Thomas of Canterbury (Avilés). Magdalena Hasibeder , works of Cabezón , Mozart, Buxtehude, Bach and Charlotte Marck (1983) . It began on Friday
this "Body May " sponsored by the bank with Austrian organist and harpsichordist born in Linz (1982), which for its second concert in Avilés chose a baroque program almost totally unlike the Court The , which makes sense for the tremendous possibilities of the new instrument avilesino and "limitations" of Oviedo.
an appetizer a typical form as Battalla formossa , anonymous composer and Renaissance aesthetics as well resulted from the choice of the records but would involve unifying them into a keyboard sound and leaving a mess unclear to enjoy his left hand. The
called "Bach English," although by chronology should be reversed, the "German Cabezón," we hear about differences on chant Knight, same time of the first book combining similar records created on a pedal for the style, and more on harpsichord technique that organ that prevented enjoy more of the tune on which variations are built.
unusual gift program but a "toy" was the Andante für eine Orgelwalze in F, KV 616 of Mozart , with those records "octaveantes" Flute 2 'and 4' mimicking keyboards and pedals typical mechanical carts mounted Viennese again more "pianistic" regarding implementation and close to the sonatas themselves not to organ works of the genius of Salzburg.
The really "full" in terms of literature for the organ would then rival Bach's virtuosity, my admired Buxtehude and Toccata in F, BuxWV 156 where Sto new body. Thomas began to glow with a very appropriate choice of records, full, distinct in the three keyboards BB, perhaps too much at peak times by "cover your hands" but a normal examination of instruments and instrumentalists.
The same applies to the kantor corals, the last two of the six that make up the "Schübler" Choral "( Sechs Chorale von verschiedene Art ): Ach Bleib bei uns, Herr Jesu Christ, BWV 649, and taken the measure to the registration, hit for a pedal fully differentiated voices in the chorale melody, and interpretative real lesson beyond virtuosity, as in Kommst du nun Jesu vom Himmel herunter , BWV 650 , where choice the "oboe" (perhaps a mixture of flute and eighth) for the pedal was not only timely but very moving interpretation raise the bar and squeeze tubes that use Kapellmeister.
The only approach to the contemporary body come to the premiere in Spain of a French composer and organist, Charlotte Marck (1983): "Jadis et d'après Naguère Paul Verlaine" , winning the "Van Covelens Competitions 2010" , work in three distinct movements in tempi cuantro to and records, exploring new sounds in the instrument from a language full of dissonances very style Olivier Messiaen. Pierrot used nasardos, fortnight, quintadenas, decisetenas, dissonant registers itself but in the service of the composer written by to a slow start to move to a live virtuoso that flows back into the slow passing Le clown much slower, with right hand alone tutti the middle taking up the quick time, indicating the title of this core. Le squelette was personally the most striking of this composition (and most messiaenico ) with a quick but more "melodic and rhythmic almost Ostinatto in the left hand (as he recalled the medieval Ad mortem festinamus and sensing the Gregorian Dies Irae , a" Dance of Death " recurring theme in the history and both have been used in music), especially the debtor Danse Macabre of Saint-Säens playing on the right hand with strengthening the feet up. Work that will surely see you soon uploaded by the organization itself and the Austrian played with true mastery of the score and instrument.
But the end had to be Bach and also a work that represents a real effort and dominating interpretive capabilities of the instrument that must be executed: the Toccata, Adagio and Fugue in C M., BWV 564 . Loudness full, perfect choice of records, speed and cleanliness, musicality that does not fold to the technique from the very Toccata that drew applause upon completion before deploying the most difficult sound and virtuosic solo feet. The Adagio again very wise in the flute and the use differentiated from them on keyboards, as well as the tempo giusto , resulted from a serenity and lyricism that only Mein Gott is able to compose. And that Fuga voices final four despite being somewhat obscured the last in the pedal, they got a distinct listener of all, allowing even enjoy the silence reverberating through the church. Could not be better for the concert clip Avilés. Congratulations to or Frau Fräulein Hasibeder , who says it really organ, Bach says ... and well.
Next weekend continue to enjoy.

Saturday, May 7, 2011

Technik Extractor Fan

The OSPA what you throw ... well

Friday 6 May, 20:00 . Auditorio de Oviedo, Subscription Concert No. 12: OSPA , Peter Sadlo (percussion), Danail Rachev (director). Works by Ravel , Cruixent Ferran (1976), Thierry de Mey (1956) and Tchaikovsky. All photos: © Marta Barbon, OSPA .
If you wrote a week ago the OSPA as a Gran Reserva from 91 , it tasted the latter merely supports the entire crop. I can drink alone, accompanying any food, use it for cooking (forgetting that the worst came to the pot) and even throw a little gas for excellent wines "hold" of anything. This time could drop some of the cork but not detract from the flavor, taste in mouth and of course the packaging of this large reserve will continue enjoying many more bottles, the next precisely the twentieth anniversary of ... and whether to decanted to savor it more, because we already have the sommelier shift.
Only a band like ours is able to pass on the same concert of Impressionism to the music of our time and ending the fatum one of the greatest symphony ever, with a " appetizer "exploiting drum solo not to the guest but with the two house in the virtuoso level, silence by an audience coughing very enemy of" frivolous "for failing to call conservative in his musical tastes, very close to the average old. We could really talk about a concert that took care "Sound" like the wine maintains the "flavor"
My mother goose ( "Ma mère l'Oye" ) of Ravel is a marvel of orchestration from the original piano duet, full of color and vigor, "masterpiece of music history" for the new owner aspiring filmmaker, a Bulgarian who makes a career in the U.S. and we promised "to color the OSPA" what really got. At every concert we examine both the director as each of the components of the orchestra and no solos, really real musicians, but to all, returning to block boasts a sound that in the five numbers left heard moments in the history of education in terms of execution and interpretation well understood by the director.
A jump to the music now brought us Foc d'artifice (2007) for percussion and orchestra of Barcelona's Ferran Cruixent , premiere in Spain Peter Sadlo soloist, the same as the premiere Germany (and has been collaborating with the composer since 2005), who playing and the orchestra came on the scene with a small drum hung around his waist before rising to the arsenal (28 instruments) which would take all the color and heat they treasure. Too bad I missed the previous conference where the composer spoke of his work, and would have to write and much of it (make it better Diana Diaz in program notes) with three movements as it says the title, inspired by the fireworks (as well as Handel hiciese ) not missing any parties, more still in the Mediterranean but also in "discharge" of Cangas de Narcea (Asturias) on the day of Carmen, so it really touched me. Although the protagonist takes the soloist , you can not forget the all-important "cushion orchestral in difficult and challenging passages Share this universe of color, perfectly arranged from the podium with a total understanding between the musicians. really work demon that took "shades" uncharted all, and if I have to stay with some as much as there is, the genius of composer, performer or both (I know) to place the kalimba on a drum to take advantage of the resonance and power with the pedal and use a bass bow on the vibraphone, creating a veritable universe of sound, and of course, the "final fireworks."
Sheet Musique de tables
To take advantage of the presence of virtuoso percussionist , what better than Musique de tables Belgian Thierry Mey, authentic choreography in three six-handed tables amplified with the dark room and light rays projected on them to enjoy this work in which the percussionists participated the OSPA Rafael Casanova and Francisco Revert German with equal prominence, quality and timing, after a great test to take successful a work of about ten minutes. Congratulations.
No video with them but this work, which left here by a curious and original, as well writes beyond Diana groups like Mayumaná because we believe it or not really talk about music without notes.

And if the intellectual effort of the first part, "appetizers on tables" included, were not enough, jump The Tchaikovsky Fourth of is already an exercise in self control and mastery for Symphony No. 4 in F m, Op 36 , demanding all and really a proof of the quality that holds our orchestra, which is necessary to recognize excellence in this code, not by a rope to marvel at every concert but cohesion and binding of all (the timber is like the barrel for wine and bronzes that would Valdés give color) making own sound with a tonal range into masterpieces of the symphonic world that few as they are able to take, especially if the director recreates known as happened with this interpretation of The Fourth .
The solos, impossible to highlight them all (the piece of cork is anecdotal) were their own, leaving part of the interpretation, then this is it, to make music together, and there is so much quality in our orchestra, which version was first heard. The
Andante sostenuto quartet began with the ringing round tubes and filling, answered by a powerful but contained trumpets to get the rope in all its expressiveness and anguish, always followed by an impeccable wood, with a theme development Bulgarian master knew that the shelling retailing to the end of movement in ff.
I got goosebumps the oboe beginning Andantino in modo di canzona with a taut rope, juicy, I regret more than song, which followed the rest equally emotional. Wonderful was the
Scherzo: Pizzicato ostinato without speed to the gallery but leaving us savor the dynamics of this movement and the action of wind, it brought back from the podium playing with these changes in tempo marked and followed in detail.
The Finale: Allegro con fuoco sound with real rapture in tutti Agogo but nothing crazy that allowed to hear everything in writing, put the finishing touch to a different concert and even funny about the works chosen, but I'm still savoring the last sip.
PD 1: Review of Ramón in Avello Trade concert the day before in Gijón. PD
2: Review of Diana Diaz on Sunday LNE 8.