martes, 24 de noviembre de 2009
Music: Maurice Ravel - Gaspard de la Nuit - Scarbo - Martha Argerich piano
Gaspard de la nuit
From Wikipedia, the free encyclopedia
| “ | I wanted to make a caricature of romanticism. Perhaps it got the better of me.[1][page needed] | ” |
| —Maurice Ravel, on Gaspard de la Nuit. | ||
Gaspard de la nuit: Trois poèmes pour piano d'après Aloysius Bertrand is a piece for solo piano by Maurice Ravel. It has three movements, each based on a poem by Aloysius Bertrand. The work was premiered on January 9, 1909 in Paris by Ricardo Viñes.
The piece is famous for its incredible difficulty, partly due to the fact that Ravel intended the Scarbo movement to be more difficult than Balakirev's Islamey. Because of its technical difficulty and profound musical structure, it is popularly considered to be one of the most difficult solo piano pieces in the standard repertoire.
The manuscript currently resides in the Harry Ransom Humanities Research Center of The University of Texas at Austin.
Gaspard de la nuit
De Wikipedia, la enciclopedia libre
Gaspard de la Nuit: Trois Poèmes pour Piano d'après Aloysius Bertrand (francés: "Tesorero de la noche: tres poemas para piano sobre Aloysius Bertrand") es una obra musical para piano solo compuesta por Maurice Ravel en 1908.
Ricardo Viñes fue el encargado de estrenar Gaspard de la nuit el 9 de enero de 1909 en París. Cada uno de los tres movimientos que la conforman está basado en un poema de Aloysius Bertrand de Gaspard de la nuit, Fantaisies à la manière de Rembrandt et de Callot, una recolección de poemas en prosa publicada en 1842. En ellos, Bertrand da una visión pintoresca y fantástica de la Edad Media. Ravel llevó a la música tres de esos poemas, los que componen este tríptico para piano. La elección del autor refleja su estado de ánimo en este periodo, en el que su padre, muy enfermo, se encontraba próximo a la muerte. Los títulos de los movimientos son "Ondine", "Le Gibet" y "Scarbo".
El manuscrito original de la obra se encuentra en el Harry Ransom Humanities Research Center de la Universidad de Texas en Austin, EE. UU.. La duración de la pieza completa es de unos veinticinco minutos.
Esta pieza es muy conocida debido a su tremenda dificultad, causada, al menos en parte, por la pretensión de Ravel de crear una obra aún más difícil que Islamey: fantasía oriental de Mily Balakirev, especialmente con la tercera parte, "Scarbo". Por sus increíble dificultad técnica y su profunda estructura musical, Gaspard de la nuit está considerada como una de las piezas más complicadas del repertorio para piano. El propio Ravel afirmó: "Quería hacer una caricatura del Romanticismo. Quizás di lo mejor de mí."[1]
El origen etimológico del nombre "Gaspard" se encuentra en Persia ("Gizbar"), un sustantivo que denotaba al hombre a cargo del tesoro real.
Painter: Monet. Claude-Oscar (1840-1926) Part 6
1866-67Women In The Garden
1866 - Terrace At The Seaside
1867 - Lady In The Garden At Sainte Adresse
1868 - Madame Gaudibert
1869-71 - The Red Cape
Music: Frédéric Chopin - Etude Op.10 no. 4 - Maurizio Pollini piano
Étude Op.10, No.4 in C-sharp minor is a solo piano work composed by Frédéric Chopin in 1830. This study is written with a very quick tempo, continual sixteenth notes, and rapid voice fluctuations. Although the étude is technically more difficult to execute than most of the other Chopin études, the focus is on developing the ability to distinguish between the melody, which is constantly passed from hand to hand.
- Structure -
The étude is episodic in length and complexity, and features four distinct sections. The first theme is presented, and rapidly progresses into a short second theme. This leads back into a repetition of the first theme, which then develops into the climax and Coda.
Many elements contribute to the overall difficulty of this momentous étude. The phrasing is frequent and detached, and many editions cite pedaling, but none appear in the original; the whole étude must be performed without the sustaining crutch. The key signature, C-sharp minor, leads to peculiar finger positions, especially in the second theme, which consists almost entirely of fully diminished 7th chord arpeggios.
Painter: Monet. Claude-Oscar (1840-1926) Part 5
1824 - Les iris jaunes
1859 - Still Life With Bottles
1864 - Rue De La Bavolle, Honfleur
1864 - Spring Flowers
Painter: Pontormo. (Jacopo Carrucci) 1494-1557 Part 3
Joseph Being Sold to Potiphar
Joseph in Egypt
Joseph in Egypt (detail)
Lady with a Basket of Spindles
Leda and the Swan
Teapot - Tetera. Part 2 (In English)
A Chinese Zisha teapot - Melon
A floral design teapot.
Detail of a sterling silver teapot, hallmarked London.
Japanische Teekanne aus Eisen
Kyusu by learza in Toorak, Melbourne.History of the teapot
The teapot probably derived from the ceramic kettles and wine pots which were made in bronze and other metals and were a feature of Chinese cultural life for thousands of years. The earliest example of a teapot that has survived to this day seems to be the one in the Flagstaff House Museum of Teaware; it has been dated to 1513 and attributed to Gongchun [1]
From the end of the 17th century tea was shipped from China to Europe as part of the export of exotic spices and luxury goods. The ships that brought the tea also carried porcelain teapots. The majority of these teapots were painted in blue and white underglaze. Porcelain being completely vitrified will withstand sea water without damage, so the teapots were packed below deck whilst the tea stayed on top in the dry.[2]
Tea drinking in Europe was initially the preserve of the upper classes since it was very expensive. Porcelain teapots were particularly desirable because porcelain could not be made in Europe at that time. It wasn't until 1765 that William Cookworthy devised a way of making porcelain and founded a works at Plymouth UK for the production of a porcelain similar to the Chinese. When European potteries began to make their own tea wares they were naturally inspired by the Chinese designs.
Teapot care
It is recommended that unglazed teapots not be washed in a dishwasher or soapy water. They should be rinsed with warm water only and left upside down to dry. If an unglazed teapot is used with different teas, it is advisable not to mix them and have dedicated teapots for every tea variety to preserve the taste. Natural tannin sediment in an unglazed teapot should be left untouched as over time it will enhance the flavouring without flaking off as in a glazed teapot. To remove build-up of tannin in a glazed teapot one can use boiling water and a couple teaspoons of baking soda and leave it overnight, then wipe and rinse to desired state.Music: Claude Debussy - Prelude Book 1 Nº 7 - Maurizio Pollini piano
Debussy's Prelude Book 1 No.7
Ce qu'a vu le vent d'ouest (What the West Wind Saw)
Maurizio Pollini, 1999
Music: Johann Sebastian Bach - BWV 828 - Glenn Gould
1- Overture
2- Allemande
3- Courante
4- Air
5- Sarabande
6- Menuet
7- Gigue
Glenn Gould playing Johann Sebastian Bach.
Canada, 1981.
Music: Sergei Prokofiev - Piano Sonata No.2 in D minor Op.14 - Murray McLachan piano
1. Allegro ma non troppo
2. Allegro marcato
3. Andante
4. Vivace
Music: Sergei Prokofiev - Piano Sonata No.2 in D minor Op.14 - Sviatoslav Richter piano (Live)
Sviotoslav Richter is one of the greatest pianists of the 20th century. Personally I love the way they interpret the great masters of classical music.
Sviotoslav Richter es uno de los más grandes pianistas del siglo 20. Personalmente me encanta la manera de interpretar los grandes maestros de la música clásica.
Painter: Botero Fernando - Part 9
1969 scene de famille
1970 archevêque perdu dans le bois
1970 autoportrait le jour de la communion
1970 chambre avec jeux d'enfants
1970 el nuncio