I WAS going to do Le Troyens today, since that is one of Berlioz’ biggest works, but a friend suggested this to me instead, and I really like this a whole lot more than writing out a plot!
So long, Berlioz week, it’s been fun!
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“Do not confuse “duty” with what other people expect of you; they are utterly different. Duty is a debt you owe to yourself to fulfill obligations you have assumed voluntarily. Paying that debt can entail anything from years of patient work to instant willingness to die. Difficult it may be, but the reward is self-respect.”
– Robert A. Heinlein (via observando)
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“I am learning every day to allow the space between where I am and where I want to be to inspire me and not terrify me.”
– Tracee Ellis Ross (via lilgivenchyprincess)
Prescient.
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Yuja Wang interview: ‘I can wear long skirts when I’m 40’ – Telegraph:
Yuja Wang’s short dresses have attracted as much attention as her virtuoso performances at the piano. Ahead of London concerts, she talks to Ivan Hewett
BUT CAN EVERYONE SHUT UP ABOUT YUJA WANG’S CLOTHING FOR JUST A MINUTE
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Clara Schumann: Ich stand in dunklen Träumen
Seil Kim, tenor
Hyoung-Jin Park, piano
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Concerto for 2 Mandolins, RV 532 – 1. Allegro — Antonio Vivaldi
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Your Sunday Bach Cantata for Septuagesimae (third Sunday before Ash Wednesday)
Composer: Johann Sebastian Bach (1685 – 1750)
Work: Ich esse mit Freuden mein weniges Brot from Ich bin vergnügt mit meinem Glücke (1727)
Performer: Nancy Argenta, Ensemble Sonnerie; conducted by Monica Huggett
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Schumann
Kinderszenen (Scenes from Childhood), Op. 15
Of Strange Lands and Peoples | Curious Story
Blind Man’s Bluff | Pleading Child
Contented Enough | Important Event | Reverie
At the Fireside | Knight on the Stick-Horse
Almost Too Serious | Frightening
Child Falling Asleep | The Poet SpeaksMartha Argerich
Hey, remember that time Martha recorded Kinderszenen and Kreisleriana? I always forget about that release. They’re almost certainly my favorite recordings of those works on both counts. Argerich has a special affinity for Schumann; she is able to project across a variety of different material the innocent quality intended by the composer. The phrasing is limpid and clear, the shading infinitely varied while never approaching caricature. This is a work in which the problems are more musical than technical, and in this regard she is able to inject new life into a well-worn standard. For sentimental and historical significance there’s probably no besting the famed performance from Horowitz’s late return to Vienna, but here we have perhaps the most thoughtful, sensitively crafted, and expertly engineered reading on record.
Schumann composed his “Scenes from Childhood” in the early days of 1838 as the response to a remark from his young wife Clara that he often behaved “like a child.” By early February he had finished thirty Kindergeschichten, from which the thirteen comprising the published set were later chosen. The pieces’ individual titles came later as “suggestions” and so were not part of the original conception according to the composer. Though the music is at times emotionally profound, its light and friendly spirit is in contrast to the heavier, richer moods generally being explored by Schumann at the time (Noveletten, Kreisleriana, etc.).
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Last night, we had a ‘Potential Energies’ work in progress presentation at BAM Fisher. It was a wonderful experience, and we are excited about working on the rest of it! We were so honored to have such a formidable group of mentors, friends, and collaborators as our audience, including Philip Glass, Kevin Puts, Birgitta Trommler, and so many more. As dancers, TrioDance workshops and presents informal showings on a regular basis, but this was a new experience for us as a group. It’s the first work of this scale that we have undertaken in the history of NCP. Because of the nature of this particular collaboration, we have had the unique opportunity to experience a free flow of ideas between musicians and dancers, which has resulted in some pretty wonderful things. It was exciting to see how the work we had created together translated in performance.
We presented about half of the work, which is a little over 25 minutes: the entire Act I and two-thirds of Act II. The final piece will be comprised of three acts, each containing three movements. At the start of the feedback session, our Artistic Director Sugar Vendil asked the audience to “be brutal.” We received positive reinforcement that validated what we are pursuing with PE (breaking barriers between music and movement) as well as candid, valuable constructive criticism. The major points that we gleaned from our feedback session are that 1) clarity is of utmost importance and 2) the most compelling parts of PE are the moments when there is a strong interaction between the dancers and musicians. Philip Glass also posed an interesting question for us that we are all mulling over: “What does a dancer sound like, and how does a musician move?” He noted that this project is above all else an exchange of languages, and we couldn’t agree more.
Our PE presentation was an invaluable experience for us, and we are grateful to our mentors and colleagues for offering their insight. We can’t wait to perform it for everyone on May 29 at BAM Fisher! In the meantime, we invite you to watch our trailer, and please consider making a pledge to our Kickstarter campaign!
Trailer & Kickstarter Campaign: http://ift.tt/1eGrK1i
-by Marina Kifferstein & Sugar Vendil
All photos by ReadArt: http://readartny.com/
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Maurice Ravel: Daphnis et Chloe
Rafael Fruebeck de Burgos conducts the Rome Symphony Orchestra and Chorus of Rai in Ravel’s Daphnis et Chloe, a “symphonie choréographique” (choreographic symphony) . The story concerns the love between the goatherd Daphnis and the shepherdess Chloe. Ravel’s masterpiece features beautiful, lush harmonies that are typical to impressionist music.
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Conductor's Notebook 