our love is here to stay

Bon, 2012 c’est à chier, sans surprise, ça a peut-être un intérêt sur grand écran et en 3D, mais c’est trop long.
Dans mes rêves, les blockbusters d’action se débarrassent de tout le pathos dégoulinant et des histoires nazes, et assument pleinement la violence et l’action.
Du spectacle, rien que du spectacle.

en attendant, il y a ça, un montage de plein de scènes de destruction de NYC. Sur du Gershwin. Oui.

video via Bienbienbien

A brilliant montage of New York being annihilated on film over the last 40 years set to Gershwin’s iconic jazz concerto.

Quel che si dice una dichiarazione d’amore,ecco ogni volta che lo si ri-ri-rivede. Sono dell’idea che Allen non abbia vie di mezzo o piace o non piace, il suo modo di far cinema è basato sui rapporti umani, anzi no meglio, sull’uso spasmodico del dialogo fino all’essere logorroico, addirittura fino all’uso del monologo e questo spinge ad ascoltare più che a guardare e i suoi personaggi da psicoanalisi cinici , ironici e sarcastici nonchè molto autobiografici e quasi sempre felici sconfitti ci portano a riflettere.  Manhattan è le note di Jazz di George Gershwin che apre il sipario con Rhapsody in Blue (firmando una delle colonne sonore più belle di sempre) in quei minuti iniziali dove il regista lascia spazio alla sua città natale facendone un piccolo ritratto al mondo.Manhattan è la cornice di grattacieli, strade e luci dove si innestano le vicende dei protagonisti.Manhattan è il luogo dove il protagonista , Isaac Davis, si rifugia o da cui forse è frenato. Essì perchè Isaac Davis è un autore televisivo la cui moglie Jil (Meryl Streep)l’ha lasciato per un altra donna,che ora ha una storia con Tracy (M.Hemingway) una ragazza liceale il cui padre potrebbe essere più vecchio di lui per sua stessa ammissione, e come se non avesse buoni motivi per troncare il proprio curriculum relazionale incontra Mary (Diane Keaton , più volte compagna di set di Allen), amante del suo migliore amico Yale (M.Murphy)che scombussolerà ancor dippiù la sua vita. La verità la dirà Tracy al termine con quel ‘bisogna avere fiducia della gente‘ e di risposta Isaac abbozzerà un triste sorriso, sicuro almeno questa volta della sua verità. Il finale ricorda un po’ Io ed Annie.  Signori, questa è Manhattan (c’est la vie)!

Chevvolete che vi dica io stravedo per Allen, sono estremamente di parte nel giudicarlo ma questo è proprio il suo capolavoro, lasciatemelo dire eh. Sono convinto che tutti noi, a nostro modo, siamo abitanti di quella Manhattan, a tutti noi è stato concesso un tempo da trascorrere che non è uguale a quello degli altri ma dell’altro abbiamo comunque bisogno e questo ci rende tendenti all’imperfezione ma estremamente umani. (nel suo cinismo il messaggio è rassicurante, ebbè!)

☺☺☺☺☺

Cambridge, one of the country’s pinnacles of academic endeavour, showed another side of its multifaceted character in Come Tango, a concert for the Cambridge Music Festival . This event celebrated rare rhythmic abandonment that only the most joyous of Latin rhythms can stimulate.

Conductor Darrell Davison, gyrating with mesmerizing authority, inspired Cambridge Orchestra to moments of flamboyant ecstasy (exemplified by Braziliana by Ricardo de Pandeiros), sophistication (exemplified by Gerswin’s Rumba) or potent tensions that are integral characteristics of the Tango (exemplified by the works of Piazzolla).

The evening was filled with varied expressions of that magnetic dance that has universal appeal. Works included Le Grand Tango, Libergano and Soledad  (Piazzolla), Three Tangos (Mátyás Seiber), Tomo y Obligo and Por una Cabeza (Carlos Gardel), and Malambo (Alberto Ginastera).

Dancers added colour and vitality to the experience with carefully choreographed movements ranging from the mesmerizing minimalism and potent interaction of Ivan Arandia and Rachel Greenberg to the empathetic flurries and swift manoeuvres of the other dancers: Richard Manuel , Jenny Sayer, Hilmar Gudmundsoon, Natalia Safianbowicz, Costa Rocos and Floridia Ferrara. The highly accomplished solo cellist Liubov Ulybysheva also enhanced the performances considerably.

With abundant percussion pulsating infectious rhythms, this highly energized evening culminated with a splendid performance of Ravel’s Boléro. Although this familiar work is based on the constant repetition of that famous snare drum rhythm and the gradual developing melodic phrases, this performance thrived on variety and breathed life into the music as the dancers interwove their unforgettable interpretations.

Se tem um cineasta que conseguiu fazer filmes em todo o espectro de cotações de qualidade, esse cara foi Woody Allen. Se as cotações fossem de zero a onze estrelas, talvez ele também conseguisse preeencher todas as gradações.

São 40 filmes em 43 anos de carreira. Obviamente, muita bosta. Mas também  filmes regulares, bons, ótimos e por aí vai até obras-primas.

Aproveitando o início da mostra “A Elegância de Woody Allen” no CCBB, eis uma lista do Céu e do Inferno de Woody Allen:

CÉU (ou Os 5 filmes de Woody Allen que merecem um lugar no Paraíso):

1 – Manhattan (1979)

Fotografia em P&B-scope de Gordon Willis, música de Gershwin, humor, drama e romance numa declaração de amor de Woody Allen à sua amada: Nova York.

2 – Hannah e Suas Irmãs (1986)

Seu melhor trabalho dos anos 80. Allen faz barba e cabelo em sua descrença nas relações humanas.

3 – Noivo Neurótico, Noiva Nervosa (1977)

A partir desse filme, Woody Allen deixou de ser um comediante que faz filmes e virou cineasta. Allen passa a se arriscar mais na composicão da imagem e na encenação e busca temas mais profundos. Aqui, investiga a relação de um casal tão incomum quanto qualquer outro ser humano.

4 – Crimes e Pecados (1989)

Maturidade do estilo. O primeiro encontro com Dostoiévski. Um beijo na bunda de Ingmar Bergman, sua obsessão.

5 – Vicky Cristina Barcelona (2008)

Eu sei, é discutível. É? Woody Allen sempre perseguiu a conjunção drama-comédia e o pessimismo a la Bergman. Na singela opinião deste, aqui ele consegue os dois em boa medida. E ainda tem Penélope Cruz em estado de graça.

***

Mas como nem tudo são flores, vamos ao…

INFERNO (ou Os 5 filmes de Woody Allen que merecem um lugar na Consolação):

1 – Melinda e Melinda (2004)

Como um cara que fez Annie Hall e Manhattan consegue fazer uma coisa tão disforme e preguiçosa como essa? Puxe a descarga.

2 – O Escorpião de Jade (2001)

Olha seria covardia eu falar muito desse filmes porque… eu não consegui ver até o fim essa porcaria!

3 – Trapaceiros (2000)

Tem momentos um pouco engraçados, mas é outro filme que mostra a preguiça (ou seria o descuido?) de Woody Allen com alguns de seus filmes. Sério, pra que fazer uma comédia de duas horas com apenas 15 minutos de diversão?

4 – Interiores (1978)

Já disse que o Woody Allen persegue Bergman? Então, aqui ele tentou fazer uma releitura de Gritos e Sussurros, mas foi fundo, fundo, fundo, fuuuuuuuuuuuuuuuuuuuuuuuundo….

5 – Celebridades (1998)

Grande elenco em uma visão pessimista de Woody Allen sobre a frugalidade do mundo do cinema. Nossa deve ser demais… NOT!

]]> http://corrientedetransito.wordpress.com/2009/11/19/nina-simone-at-newport-1960/ Thu, 19 Nov 2009 00:22:57 +0000 frutasingular http://corrientedetransito.wordpress.com/2009/11/19/nina-simone-at-newport-1960/ http://lunasspecto.wordpress.com/2009/11/17/on-the-systematic-life/ Wed, 18 Nov 2009 00:56:20 +0000 Kazuki Mishima http://lunasspecto.wordpress.com/2009/11/17/on-the-systematic-life/

This morning I registered for classes. Some of the classes I wanted to take were completely filled by the time I was allowed to begin my registration, and I got into something of a sour mood last night worrying that I’d go frantic looking for classes that weren’t filled. To let off some steam, I played a little song. Yes, I know it’s the wrong season for this song.

Registration wasn’t nearly as bad as I’d feared. I signed up for some classes I’m genuinely excited about. I’m taking Religion & Psychology, Introduction to Film and Video, Introduction to Creative Writing, and human biology. I had hoped to take Acting for Non-Majors, but that filled up too quickly.

Meanwhile, my suitemate (who has accumulated more credits and therefore had already registered) created a strict regimen to develop himself as an actor: every month he is to expose himself to a wide variety of artistic media (including film, theater, opera, television, and  museum exhibits). He also plans to squeeze in vocal training and ballet.

I’ve been working on a student’s short film project in Queens. It’s a lot more work than I expected. We were supposed to do some filming today, but somebody had to cancel at the last minute. So I found myself with more free time today than I expected. That was refreshing.

I’m going home for Thanksgiving soon. I’ve got my route home all planned out. I’m using only public transportation this time.

I’m hoping to spend a day kicking around downtown sometime soon, maybe this weekend. I’d like to try a soup dumpling; they sound delicious.

One of the things I want to talk about every so often is Fantasia and its sequel, Fantasia 2000. For many of us, these two movies were a huge part of our musical upbringing, maybe even the catalyst for our love of classical music in general. The backstory to Fantasia is fascinating and deserves its own post at some point, but given the BSO’s upcoming All-Gershwin concert, I’d like to talk about Fantasia 2000’s “Rhapsody in Blue” segment.

Video and discussion behind the cut!

True music must repeat the thoughts and inspirations of the people and the time. My people are Americans and my time is today.

George Gershwin

Such is how Gershwin approached composition. Rhapsody in Blue can almost be seen as a microcosm of 1920’s America, and that is how it is portrayed in Fantasia 2000. Commissioned by the Paul Whiteman Band and first performed in February of 1924, the time was more than ripe for a jazz-classical hybrid of the piece: classical music was still entrenched in the culture of the time, while jazz was new and exciting.

Gershwin artfully straddles the two musical forms. Rhapsody is (shockingly!) in classical rhapsody form and allows for no improv, but its use of the blues scale (lowered seventh with a mixture of major and minor thirds), and the modulation by thirds popular in Tin Pan Alley at the time make it heavy with jazz influence.

It was on the train to Boston, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer – I frequently hear music in the very heart of the noise… And there I suddenly heard, and even saw on paper – the complete construction of the Rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our blues, our metropolitan madness. By the time I reached Boston I had a definite plot of the piece, as distinguished from its actual substance…

George Gershwin

“A kaleidoscope of America, our vast melting pot, of our unduplicated national pep, of our blues, our metropolitan madness.” Could the team behind the Fantasia 2000 segment have read this quote? Not unlikely, but even if they didn’t, this quote perfectly sums up the feel of the cartoon short. It is a piece about the people of New York in the 1920’s, and how even as they come from different walks of life they share they same longings. The Harlem Renaissance, the “Jazz Age,” the stock market crash of 1929 — all are represented, and enhanced by the Al Hirschfeld-style drawings, being as he was an extremely famous cartoonist of the time.

“In developing the story, we really let the music lead us first,” Eric Goldberg, the director of the segment, says in the Fantasia 2000 DVD audio commentary. “The story really came out of the strong images that the music was presenting. ‘Gee, that sounds just like a pile driver.’ ‘That sounds just like cars screeching to a halt.’ And we wanted to do a story that connected the dots, not just of this imagery, but what emphasized what urban life—and more importantly, New York life—was like, where people are constantly affecting one another, sometimes in profound ways, without ever realizing it.”

It is in this way that Gershwin’s Rhapsody in Blue is an example of what he considered to be ideal music: it is truly evocative of its time and place. As you watch the cartoon, you never feel (as I have sometimes even within Fantasia in other pieces) that the music has been forced to coincide with the imagery. There is something so… organic about the entire experience. I really do think Gershwin would have been pleased.

First off, let me just say that my drive on 695 today was made infinitely more cheerful by WBJC playing the music from the first two scenes of Leo Delibes’ Coppelia. Thanks, guys! Judith Krummeck is tough but fair.

Now, let’s see. Oh yes. Upcoming concerts! I just put up three new banners for the rotating banner thingee on the home page (I know how to do it; I don’t necessarily know what to call it, okay?). There’s the Duke Ellington Orchestra at Strathmore on Thursday. I must confess I’ve never been a huge jazz person, although I love jazzy elements in music, and some jazz when it’s vocal, especially if it’s hot (I’ll admit to a love of Chicago, and I have Judy Garland’s “The Man That Got Away” on my iPod).

But! My music minor required me to take a class about the history of jazz, and while I’m not gonna lie and say I love it now, I definitely developed respect for the genre, and am always excited when someone mentions a name I recognize (especially Dizzy Gillespie; it’s just fun to say). Of course, I kind of cheated on my project for the class, given that I centered it around Gershwin’s Rhapsody in Blue, but… HEY! Guess what the BSO is playing November 12-15? Everything’s connected!

Except for Mozart and Mahler, November 6 and 7. Not much jazz in that and I already mentioned Mozart in my previous post. Not that that should discourage you; most people love Mozart. Go with my blessing!

As for Mahler, I forever hold fuzzy feelings for him ’cause my old ballet teacher used a combination of his symphonies to score our performance of Persephone. I was the North Wind! I’m that cool.

Went to see Gershwin’s Porgy and Bess last night in Edinburgh. It took a long time to get there – there was a cow on the train line. We’d allowed two hours (it usually takes one hour from here), and in the end we took a taxi from the station and got there just before curtain up. But I’m really pleased we didn’t give up on the way!

I’ve been playing Summertime and It Ain’t Necessarily So for a long time (I bought the music for Summertime in 1967, I think), but I’d never seen the original show. It was a real education. The music is more modern than most of the jazz arrangements I’ve heard – and even though I know that Summertime starts on a high F#, the effect of the song at the very start of the show is electrifying. This was opera, not just a musical! It was performed by Cape Town Opera, who were absolutely terrific! I don’t know where else they are performing this (it was the last night in Edinburgh), but I’d recommend it to anyone.

Caros compatriotas,

A minha pátria é a língua portuguesa! Assim sendo, creio que o Cinema carece de um filme sobre Ary Barroso (o próprio).

Então pensei: talvez essa infomaré ache outros interessados em fazer um filme assim!

Ary Barroso is Brazil’s Gershwins (both). He made some American movies. He is such a popular Brazilian that you may even recognize some of his songs.

Dos interessados peço o contato por correio com qualificações. Prefiro entusiasmo a referências.

Those interested in making a movie about this Brazilian Bohemian, please, send a message in a @, let me know how you can help.

Will take enthusiasm over references anytime. Thanks.

Deixo a minha perene saudação:

Grato.

P.S.: Não tenho direitos sobre o nome ou imagens do sr. Barroso. Se o proprietário se manifestar em protesto à ideia, maravilha: é sinal de que o filme provavelmente pode ser feito! Sinta-se à vontade para me (nos) contratar.

I do not own the rights to Mr. Barroso’s name or image; if the owner does step forward to intervene, you’re welcome to hire me! It means that it’s probably worth a movie after all.

Heading into Year Two of the Economic Apocalypse, some curious cultural trends are developing. Here’s one that really surprised me.

Funnily enough, songs first made popular during the Great Depression are burning up the charts at the dawn of the twenty-tweens.

That’s right kids. Remember when “electronica” was the hot new musical trend? When rap-rock ruled the airwaves? Or when emo was the big new thing?

Throw all that out the window, because there’s a new genre that is absolutely dominating record sales.

Standards!

Yes, the classic pop chestnuts of the Great American Songbook may be eligible for AARP, but they have once again become as popular as they were in the days when Jacob Gershowitz and Israel Baline tore up the charts while masquerading under their hep alter egos, “Geo Gershwin” and “Irv Berlin.”

Strike up the band with that fascinating rhythm, and let’s put on the ritz, ’cause it don’t mean a thing if it ain’t got that swing! Shoo bop shoo bop, vo-dee-oh-do, skiddily bee bop bow!!!

An incontrovertible sign of this new trend appeared last week, when a highly anticipated battle of divas turned in an unexpected direction.

Gawker’s Brian Moylan previewed the showdown as “A Battle for Gay America’s Soul“:

September 29th is a day that will go down in ginfamy (that is gay infamy) as the day that Mariah Carey, Madonna, Barbra Streisand, and Britney Spears battled for supremacy in gay hearts and minds. Who will stand victorious?

That’s right, today is the drop date for Mariah Carey’s Memoirs of an Imperfect Angel, a collection of slow jams that includes her instant classic cover of “I Want to Know What Love Is;” Madonna’s greatest hits double-disc collection Celebration, that features two new singles; and Barbra Streisand’s Love is the Answer, a collection of cabaret standards. Not to be outdone by those older and wiser, Britney Spears tried to steal some of the spotlight by releasing the single “3″ today. Smooth movie Britney. And it’s pretty good, as far as catchy, crappy pop songs go.

So, who will be the big victor in the Diva Death Battle 2009? Lady Gaga of course! What? She doesn’t even have an album out today! Precisely, but she is poised to be the gay icon of the youngest babygays that are just taking their first fledgling steps on the big pink road we call queendom. While there is definitely plenty of crossover between the Madonna/Mariah/Britney crowd, only confirmed bachelors of a certain age are going to be purchasing the new Streisand.

Silly, silly Moylan. Gayheaded hyperfocus blinded him to the reality of the situation.

Dance floor tracks can be quite continental, but cabaret standards are a girl’s best friend.

In retrospect, Mariah, Madonna and Brit Brit never had a chance. Nor did any other artists who released records that week.

When the dust settled after a frenzied week of record sales, MTV.com was aghast at the results.

One of their favorite musical acts, cheesy emo rockers Paramore, were expected to dominate the week with their new album.

That’s not how it played out…

Paramore shouldn’t feel too bad that they were just barely beat out for a #1 debut by one of pop’s all-time classic divas: They beat out a mega-selling modern diva — and notched their best first week ever in the process.

Though the band’s third album, Brand New Eyes, will bow at #2 on the Billboard 200 albums chart next week, after selling 175,000 copies, they can rest easy knowing that they were just a nose behind legend Barbra Streisand, whose album of jazz standards, Love Is the Answer, snagged the top spot with sales of 180,000. The feat, Babs’ ninth #1 album, gives her at least one top debut in each of the past five decades.

The news was not as good for Mariah Carey, whose Memoirs of an Imperfect Angel (168,000) sold considerably less in its first week than her last album, E=MC2 (463,000), according to figures provided by Nielsen SoundScan.

With eight new contenders, next week’s top 10 got. Rockers Breaking Benjamin hit #4 with Dear Agony (134,000), followed by revived grunge icons Alice in Chains, whose first new album in almost 15 years, Black Gives Way to Blue, debuts at #5 (126,000). Madonna’s final effort for Warner Bros., the greatest hits album Celebration, isn’t much of a cause for one, landing at #7 on sales of just 72,000, tailed by country singer Miranda Lambert’s Revolution (#8, 66,000). Kiss and Tell, from “Wizards of Waverly Place” star Selena Gomez (and her band, the Scene), is less than 75 copies behind at #9.

“Just a nose behind”?!

Take all the cheap shots you want, MTV — Babs made those cash registers sing!

The following week, another shocking upset rattled the music world.

Once again, record sales predictions thoroughly underestimated the power of standards, and another shit band was shocked to learn that they’d been bested by an old-timey crooner.

This time, it couldn’t have happened to a bigger group of d-bags.

Did you know that in KISS’s epic career, they’ve never had an album reach the No. 1 on the Billboard chart? After they released their record last week, that final prize seemed at hand…

The stage had been set; a six month lead-up to their return kicked off by a celebrated appearance at the American Idol finale, Gene Simmons sharing the mike with Adam Lambert. Their first album release in 11 years was being backed by the current gold standard of record releases — a Walmart exclusive. With the album tracking in the 150,000 sales range, the music press had all but proclaimed it a lock on the #1 slot.

And then today, somewhere out there in KISS’ tour bus, Gene Simmons stepped over passed-out groupies and the bodies of decapitated farm animals from last night’s victory party. He made his way towards the front of the bus where today’s Billboard had just arrived, pausing to roll his cow tongue up and down the cooling strippers’ pole, giving himself a little bracing jolt before he took in the new issue which would feature his made-up face under the banner hed “#1!”

And then he looked down and saw…Michael Fucking Buble.

Standards 2, All Other Genres Zero!

Buble CRUSHED the saggy, aging KISS, smashing their record sales after an Oprah appearance pumped up his profile:

After only three days of sales, Michael Bublé’s “Crazy Love” opens atop the Billboard 200 chart with 132,000 copies, according to Nielsen SoundScan, giving the pop singer his second No. 1 album.

Bublé’s last set, 2007’s “Call Me Irresponsible,” debuted with 212,000 at No. 2 before moving to No. 1 the following week. “Crazy” is the artist’s third top 10 album, as his second studio set, “It’s Time,” debuted and peaked at No. 7 in 2005.

The release of “Crazy” was pushed up from its original date of Oct. 13 to Friday, Oct. 9 — likely to capitalize on Bublé’s chat and performance on the “Oprah Winfrey Show” that same day. Because SoundScan’s tracking week ends at the close of business on Sunday evening, Buble’s opening frame is all the more handsome, since it only had three days of availability.

Rock legends Kiss crash in at No. 2 with new Wal-Mart-exclusive studio album “Sonic Boom,” selling 108,000 copies. It is the band’s highest-charting album ever, and the 108,000 opener is its second-best sales week since SoundScan began tracking data in 1991.

Second-best is right! Eat it, Gene Simmons!

Needless to say, this standards trend will inevitably culminate at the 2010 Video Music Awards, where the big controversy will be an “accidental” Streisand nip-slip, or Jane Monheit and Diana Krall making out in front of everybody.

L’orchestra Verdi, è vero, ha trovato stabilmente casa in quel gioiello della musica e per la musica che è l’Auditorium Cariplo. Nonostante ciò, non disdegna di giocare in trasferta, peraltro centrando sempre il punteggio pieno. Come dimostrano i fatti. Così, dopo la fresca tournée nella tiepida Svizzera, è ora la volta del grande tour italiano, che porterà l’ensemble in giro per 15 città di 9 regioni. Soprattutto al Sud. «Si – spiega il direttore generale Luigi Corbani -, perchè il Meridione è pieno di associazioni e società concertistiche che garantiscono la diffusione della classica nel Paese, pur soffrendo tremendamente per i tagli ai contributi pubblici». Per la verità, il tour è cominciato già domenica scorsa, a Torino, per proseguire il giorno dopo a Mantova. Stasera sarà la volta di Mestre, mentre sabato la Verdi sarà a Roma, alla Sapienza. E, domenica 18, l’attesa esecuzione a L’Aquila, all’Auditorium della Guardia di Finanza, per l’associazione concertistica Baratelli del capoluogo abruzzese. Quindi, rientro a Milano per il quinto appuntamento stagionale (22, 23 e 25 ottobre) con i Rilling (Helmuth, direttore, e la figlia Rahel, violinista), seguito dall’esecuzione del Requiem di Verdi, a cavallo di Ognissanti (29 e 30 ottobre e 1 novembre), sul podio il direttore stabile Xian Zhang. Giusto il momento di tirare il fiato, e di nuovo ripartenza per il Sud per la seconda porte della lunga e certamente faticosa tournée nazionale, con il doppio concerto (l’unico) al Politeama di Palermo il 3 novembre, Messina il 6, Palmi il 7, Lamezia Terme l’8, Taranto il 9, Bari (al Petruzzelli) l’11, Teramo il 12, Pescara il 13, Campobasso il 14, infine Sulmona domenica 15 novembre. Ad accompagnare la grande orchestra nella lunga maratona musicale, il maestro britannico Wayne Marshall, direttore principale ospite ed ottimo pianista, oltre che organista d’eccellenza. Lo dimostrerà in uno dei due programmi scelti per il tour, con l’esecuzione del complesso Concerto in Fa di Gershwin, cui si aggiungeranno le Symphonic dances e l’Overture da West Side Story di Bernstein. Più classica ma altrettanto stimolante l’impronta del secondo programma, sempre con Marshall al timone di comando, per l’esecuzione del Concerto in Re minore per violino e orchestra di Sibeluis (solista la sfolgorante ventenne di Colico, Lecco, Francesca Dego), e le suite dal balletto Romeo e Giulietta di Prokofiev.

“Everything (Horowitz) did had his own individual and unmistakable stamp, which is not only desirable, but is an absolute must for an artist.”

This interview had its beginnings in an email that I received last month from Lola Astanova, as one of many who registered at her website, lolaastanova.com.  The email introduced a video of Lola playing Chopin’s magnificent étude Op. 25 No. 12, together with a short message from Lola about supporting the arts during difficult economic times.  I was crazy about her Chopin, and shared her conviction about the arts, and wrote back to tell her so.

A few days later I received another email, thanking me for introducing Lola to readers of this blog through her videos of Rachmaninoff’s second sonata, and pointing out that the year of her birth as given in my comments (1981) made her a little older than she really is.  I did a little more research and found a different source that listed her year of birth as 1982, and updated my blog accordingly.  I also wrote back to suggest an interview with Lola that would address this and other questions that I thought would be of interest to her growing number of fans and admirers.  I was happily surprised to receive – just two days later – an invitation to submit my questions via email for Lola to answer in writing.

What follows are my questions and Lola’s responses.  My thanks to Natalie, Lola’s personal assistant, for facilitating this interview, and especially to Lola herself, not only for her candid, illuminating answers, but for sharing so generously of her work and talent through her many YouTube videos.  Lola, you have opened wide the treasure chest of great music for many who might otherwise never have known the riches that lie within.

All right, let’s begin!

DERRICK:  I apologize for having misstated the year of your birth on my blog.  In my desire to make you better known to my readers, I had to choose among unreliable sources for some information.  Would you like to tell us your correct birthday?

LOLA:  I never intended to hide my correct date of birth…I think it was, probably, accidentally left out from my original online bio.  But by now it’s become such a huge deal that I feel like having some fun with it and keeping everyone guessing. (Smiles)

DERRICK:  Would you mind filling in a few more biographical details?  I know that you were born in Tashkent.  Would you like to share any information about your family and early life?  Did your musical education begin at home?

LOLA:  Sure.  My mother is a music teacher.  We had an old upright at home so she used to play it from time to time, and I used to stare at her and think: “It would be so nice to play that thing!”  But it was actually my dad who convinced her to get me started with piano lessons.  He really wanted me to learn “Fur Elise” and a few other tunes to play for him after work.  I’m sure he never imagined that music would become my career.

DERRICK:  Do you remember how you were introduced to classical music, and the first piece of classical music that you were excited about?

LOLA:   I guess the first piece that I was consciously truly excited about learning was Chopin’s “Fantasie Impromptu”.  I was about ten years old, but I had heard and loved that piece from the early childhood.  The score looked very busy with lots of notes so in my mind playing it well somehow symbolized being a good pianist.

DERRICK:  We know that you began to study piano at the age of six with Professor Tamara Popovich.  When and where was your first solo recital?  Do you remember the details of your program?

LOLA:  My first recital was in my school.  I think I was about seven and played most of the pieces from Schumann’s album for the young Op. 68.

DERRICK:  When and where was your first performance with orchestra?  What piece did you play?

LOLA:  It was Bach’s Concerto No. 5 in F Minor.  I was 8 years old and played in the big and beautiful concert hall called “Bakhor” in Tashkent.   I had seen Ashkenazy play on that stage only a few months earlier so being on that same stage for the first time as a soloist made me very nervous.

DERRICK:  What is your personal situation?  Are you married or single?  If single, do you hope to marry someday, or are you in an exclusive, long-term relationship with your Steinway?

LOLA:   I am not married and don’t see it in my immediate future.  My relationship with my Steinway, albeit a passionate one, is strictly professional. (Smiles)  It would have been more than a little sad otherwise.  I think it’s important to have other interests besides piano, and I, certainly, do.

DERRICK:  Would you care to comment on the passing last month of Alicia de Larrocha?  Did you ever meet her, or hear her play in person?  Have you been influenced at all by Miss de Larrocha?

LOLA:  I never had a chance to hear her in concert, alas.  She was one of the very few women who had a stellar career as a concert pianist and left a wonderful legacy.  That is always inspiring and empowering to me personally.  But, I can’t say that my own pianistic style or musical preferences were influenced by her in any way.

DERRICK:  You have described what an emotional experience it was for you to play on Vladimir Horowitz’ piano.  How would you describe Horowitz’ influence on you?

LOLA:   His influence was colossal.  I think he redefined what it means to be a pianist.  Everything he did had his own individual and unmistakable stamp, which is not only desirable, but is an absolute must for an artist.  I can’t say that I like everything that he did musically, in fact, I find some of his interpretations perfectly awful, but that doesn’t matter.  He always played his Chopin, his Mozart, and his Rachmaninoff.  He had a distinct musical personality and a style like no other, and that is what I find most valuable.

Now, obviously, Horowitz’s presence is still very much felt in the piano world and, as a result, many pianists try to imitate him and critics always itch to dub someone “the new Horowitz”.  I must say that I find both rather amusing.  There may be truly astonishing pianists that share certain qualities or attributes with Horowitz, but there will never be another Horowitz, just like there will never be another Pavarotti.  So there is no point in trying.  Actually, a little anecdote comes to mind: Gershwin once asked Ravel to teach him composition, to which Ravel supposedly responded: “Why would you want to be second rate Ravel when you can be first rate Gershwin?”  I second Ravel’s opinion, and though comparisons to the immortals are flattering, I’d never want to be “the new” anybody but myself.

DERRICK:  Have you ever played any of his transcriptions?

LOLA:  No, not in public.

DERRICK:  Who among the pianists of today do you especially admire?

LOLA:  YouTube’s Nora the Cat!  She has a special touch. (Laughs)  But if you want a serious answer…well, “admire” is a very special word for me.  Talent and skills alone do not impress me at this point as I’ve been fortunate to be among talented and capable musicians all my life.  What does impress me, however, are the people behind the talents – their human qualities, their aspirations and their integrity.  I know those don’t sound like musical terms, but they are no less important in music than in life.  And from that standpoint, so far I’ve seen more disappointments than inspirations in the classical field.  You know, Rachmaninoff almost never gave interviews on this subject because as he put it: “I was brought up never to lie…and I cannot tell the truth.”  I think I understand what he meant and I’m going to leave it at that.

DERRICK:  How would you describe the current state of music composition?  Do you see anyone writing music today whom you would place on the same level as the great composers of the past?  If yes, who?  If not, why not?

LOLA:  I presume you are asking about classical composition and if that’s the case – I am not aware of any composer today that I would compare with the greats of the past.  You see, to me a great composer is synonymous with original harmonic language.  In other words, creating something that sounds good and does not sound like somebody else. And in that sense, every composer today faces two huge challenges:  Number one – a lot has already been done in terms of harmony so it is really not easy to create something that is both valuable and original.  Number two – developing and refining one’s own harmonic language and style is a very slow and painstaking process which seems in total opposition of the super fast pace of the modern life.  And don’t forget that in addition to the tremendous technical skills and knowledge, composition requires a certain creative environment or atmosphere that simply does not exist anymore in the same way as it did in the days of Mozart or Chopin.

Of course, there is an entire group of composers that do the so-called “modern classical music”.  Those are the people who chose to experiment with atonal concepts, but I refuse to call that music.  I imagine that the original creators of that style genuinely searched for something new or “modern” and that a lot of their harsh sounds stemmed from the painful history of the 20^th century.  But I also think that many of the subsequent works have simply been an attempt to shock the audience and generate publicity by inviting the press to endless “world premiers” of some god-awful pieces.  In my opinion the empty concert halls are in part the result of the industry’s long infatuation with those atonal concepts.

DERRICK:  How has the internet changed life for the concert artist today?  More specifically, how has YouTube, with its extraordinary library of music and musicians, changed the concert artist’s life today?

LOLA:  I think it’s fair to say that the Internet has changed not only the lives of individual artists, but the entire entertainment and media landscapes.  It’s even a bit overwhelming to think of all the opportunities that the Internet tools have opened for the arts, education, entertainment, and cultural exchange.  You are right, of course, about YouTube being a singular library of material, but there is much more to it than that.  It’s an amazing way to communicate with the audience directly, without intermediaries and outside the sometimes intimidating atmosphere of a concert hall.  It allows for an entirely different relationship between the artist and the listener and for a much closer, much more personal experience.

Another “YouTube revelation” actually relates to the “Holy Grail” of the classical music industry – the young audience.  For years classical presenters have been trying to lure the younger crowd into concert halls and evidently without much success.  Yet, over half of my online viewers are people in their teens, twenties and thirties.  I receive daily emails from teenagers who say that they are inspired, and who subscribe to my channel along with Taylor Swift’s or Kanye’s.  These are guys and girls of very diverse backgrounds, but they all seem to have a sort of innate appreciation for this music.  And many grasp the significance of the arts much more than the classical establishment knows.  For example, my video about the arts in this economy has been passionately supported by countless young YouTubers, including such Internet stars as Ryan Higa and Iman Crosson, while traditional classical organizations have remained completely indifferent if not hostile.

DERRICK:  Have the advantages of the internet and YouTube, such as increased exposure, made up for the fact that there is less need now for people to buy records?

LOLA:  From the artistic and audience interaction standpoint – absolutely.  From the strictly commercial standpoint – not yet, but classical music is, probably, less affected by that than pop because classical record sales have been essentially non-existent for years.

DERRICK:  What do you think of Rachmaninoff’s Second Symphony having been arranged as a concerto for piano and orchestra?  Have you seen the score?

LOLA:  I haven’t seen the score.  I’d have to see it before I can tell you what I think.

DERRICK:  You mentioned that you hoped to play in Seattle next year.  Are you anticipating a solo recital, or an appearance with orchestra?  Has anything been confirmed yet?

LOLA:  I have a confirmed private event performance in Washington next year, but I don’t believe I’ve been invited by any classical presenters in Seattle.  Once I’m invited, sure, I’d love to come and perform.

DERRICK:  If I were to select a few pieces that I would most like to hear you play, I would choose Scriabin’s Etude Op. 42, No. 5, Prokofiev’s 6^th and 8^th sonatas, and the sonata by Samuel Barber.  Is there any hope for me?

LOLA:  Yes, let’s start with Scriabin’s Etude.  I haven’t played it in a long time so thanks for reminding me.

DERRICK:  Lola, thank you for taking time from your busy schedule to participate in this interview.

E’ la settimana di partenza della vita musicale torinese del 2009/2010, dopo una breve pausa successiva alla grande abbuffata del MiTo. Ieri l’Unione Musicale, domani la Filarmonica di Torino, mercoledì il Regio, giovedì l’OSN Rai…

L’Unione Musicale ha iniziato con un bel concerto che volge uno sguardo musicale agli USA, proponendo Gershwin e Leonard Bernstein. E chi può oggi interpretarli meglio di Wayne Marshall?

Wayne Marshall

«Avevo otto anni quando ho ascoltato per la prima volta un’esecuzione del Concerto per pianoforte di Gershwin: ho subito capito che quella era la musica che volevo suonare» Così dichiarò in un’intervista a Laura Brucalassi nel 2007 (Sistema Musica). «Trovo che il linguaggio di Gershwin sia affascinante perché è molto comunicativo e coinvolgente, mai noioso. Quando interpreto la sua musica vorrei che il pubblico potesse trovarla interessante e godibile come sento che è per me». Proprio con il Concerto in fa di Gershwin è iniziato il programma: Marshall ne è stato solista e direttore. Difficile ascoltare di meglio. Si proseguiva poi con pagine conosciutissime come l’ouverture da Girl Crazy e nella seconda parte dedicata a Bernstein le danze sinfoniche da West Side Story e l’ouverture da Candide. Pagine conosciutissime, ma che riascoltate in una performance di lusso riacquistano la loro verginità. Merito anche dell’ottima Orchesta Sinfonica “Verdi” di Milano, di cui Marshall è primo direttore ospite.

Orchestra Sinfonica "G.Verdi" di Milano

A contatto con questi brani gli orchestrali sembrano acquisire una gioia di far musica che ne esalta la bravura. Se poi a guidarli c’è un direttore che ne è massimo interprete il risultato è garantito.

Uno de los temas que siempre me ha fascinado es la “Rapsodia en Azul” de George Gershwin. Gracias a esta entrada de Massimo en su blog educacionmusical.es he podido volver a este tema estupendo y hacérselo escuchar a mis hijos.

Como en otros casos, creo que es bueno comenzar con el video que encabeza este post, que es el que se hizo para la película Fantasía 2000, de Disney. Esta obra fue escrita por Gershwin y estrenada en 1924. Los datos que ofrece Wikipedia pueden servir de introduccción.E n el video de Disney vale la pena conversar con ellos sobre los diversos personajes, como se entrecruzan sus historias y como la música marca el estado de ánimo y la forma de ser de cada uno de los personajes.

Después de ello, sugiero que les muestren la obra dirigida por el genial director Leonard Bernstein, intepretada en el Royal Albert Hall de Londres, en 1976. Esta es la primera parte y esta es la segunda. Existen también otras versiones tales como la clásica de Glen Miller o la más moderna de Richard Clayderman.

Finalmente, se les puede hacer escuchar la versión musical de Michel Camino que pueden descargar aquí, y hacérselas escuchar los días siguientes.

Si les interesa más información sobre Gershwin, pueden encontrarla aquí.

Welcome to the second installment of vinyl from the edge of oblivion (aka the junky LPs I pick up from the town recycling center on Saturdays). They stick to me like lint.

First up, some real drinking music.

Let’s hope he handed over the keys to the Volkswagen.

After 60 gallons of alcohol, even accordion music sounds great.

Next up: polkas by Papa Smurf and his smurf band (complete with a fraulein smurfette).

Somebody check the dog’s pulse.

There’s nothing like a tall frosty beverage and thick medium-rare zither.

Is it me, or is there a vibe going on here?

Ah, the 70s, when the future was all laser guns and feathered bangs.

Beware the Skexis! This one came with a mint condition poster. Sweet.

The story goes that Gershwin was inspired to write Rhapsody in Blue on the train to Boston. I’m guessing he wasn’t riding the MBTA.

I felt like I needed a blog separate from my lj, where I can focus on my singing. So voila! I’m not sure how long it will last, and it feels strange to put more than a few words down at a time (Facebook and Twitter, you’ve stolen my loquacity!) but it’s somewhere to jot down what I learn from my lessons, auditions, and rehearsals.

Coming up this year I have an audition for music school, a comedy musical show out at PLT, and a singing lesson each week; I’m looking forward to all of them!

This afternoon I’m heading out to PLT to sing for the show’s MD. I’m going to sing Blah blah blah by Gershwin. Great song for an audition as it sits well in my range, has lots of nice long notes, and you can definitely play with the humour. For once I’m actually looking forward to an audition. I think the vocal comps that I did last month have definitely contributed to that. Now I know I can stand up by myself on a stage, and have the sounds come out of my mouth without collapsing, squawking or somehow tripping and squashing audience, adjudicator and accompanist all at once (it’s amazing what your brain can come up with under pressure – ta for that brain) I’m feeling a lot more confident.

Here’s Michael Yanette singing Blah blah blah as George Gershwin. I’ve chosen this one over some sopranos singing it as he really captures the silliness of the song! I can’t do quite so much as I’m using a backing track, but there’s room to play!

Right, I’m going to watch one more episode of QI, and bask in this glorious sunshine before I go warm up.  One good thing about the PLT theatre is it’s a good 20/25 minute drive, so I can have a good sing  in the car on the way.

Wspaniała, choć niestety krótka kariera pół klasycznego, a pół rozrywkowego kompozytora George’a Gershwina (1898-1937) zaczęła się w 1920 roku, kiedy Al Jolson zaśpiewał jego piosenkę Swanee. Napisany przez Irvinga Ceasara tekst to deklaracja miłości dla płynącej przez Georgię rzeki Suwannee. Gershwin stworzył przez następne kilkanaście lat mnóstwo fantastycznej muzyki i stał się jedną z najważniejszych postaci muzyki dwudziestego wieku. Irving Ceasar napisał jeszcze między innymi tekst do Tea for Two. Natomiast Al Jolson zagrał w pierwszym udanym filmie dźwiękowym, The Jazz Singer. Ale piosenka Swanee to więcej niż tylko początek trzech udanych karier. W porównaniu z późniejszymi dziełami Gershwina może wydawać się się dość prosta, żeby nie powiedzieć głupia (np. fragment “how I love ya, how I love ya”). Trzeba kilkakrotnego przesłuchania, aby przekonać się, że to świetny kawałek (choć głupi).

Swanee, how I love ya, how I love ya, my dear old Swanee:

Plik muzyczny z Internet Archive.

　ラプソディ・イン・ブルーというタイトルは「ジャズの語法によるラプソディ」といった程度の意味がある。ところでラプソディ（狂詩曲）とは「民族音楽風な叙事詩的な特に形式がなく、自由奔放なファンタジー風の楽曲」という意味があるので、このタイトルから、ガーシュウィンはジャズをアメリカにおけるある種の「民族音楽」と捉えていたことが伺える。
実際この曲はアメリカ的な芸術音楽の代表格とみなされている。
（wikipediaより）