Monday, July 2, 2012

Alisa Weilerstein, a Young Cellist on the Fast Road to Success

Alisa Weilerstein is still in her 20s, but already she is hailed by New York Magazine as the "heiress apparent to Yo-Yo Ma." Washington, Dc recently enjoyed her marvelous talent at the Sixth & I Historic Synagogue accompanied by pianist Inon Barnatan. The program, one of their favorites, featured four works for cello ranging over two centuries

They opened with Beethoven's Cello Sonata No. 5, written as he entered his final period. The third and last movement portends his use of fugues in his 9th symphony and his late string quartets. Next they played Benjamin Britten's Cello Sonata in C major composed in 1961. The only sonata he wrote, it was dedicated to Mstislav Rostropovich, as were his three cello suites written in the middle of 1964 and 1971.

Piano Concerto

The second quantum of the evening began with de Falla's Suite Populaire Espagnole, six melodic songs from folk or popular traditions which the composer arranged in 1926 with unique harmonics. The agenda complete with Chopin's Cello Sonata in G minor, the last of his compositions to be published, the only one he wrote for the cello, and one of nine he wrote for instruments other than the piano. Written in 1846, it was dedicated to his friend the cellist Auguste-Joseph Franchomme. They performed it together in 1848 at Chopin's final collective concert before his death a year later.

Weilerstein points out that Chopin did not write a lot of room music, but this sonata is so beautifully written and profound that it makes her wonder what else he would have written had he lived longer. This work and the others she chose for this event record the journey she likes to take in a agenda rather than focus on a single French or German composer. She finds the Beethoven sonata, the earliest of the group, especially intelligent because Beethoven loved fugues and she hears a lot of jazz and ragtime in it, something the typical listener might not expect.

Weilerstein has been playing the cello since the age of four-and-a half when she begged her mum for lessons. Since production her debut with the Cleveland Orchestra at age 13, she has pursued her occupation with fervor as both room music performer and soloist with major orchestras. She and her parents comprise the Weilerstein Trio based at the New England Conservatory in Boston. Along with receiving numerous honors, along with an Avery Fisher occupation Grant and the Leonard Bernstein Prize, she graduated from Columbia University in 2004 with a B.A. In Russian history.

The chance that has meant the most to her is performing in November 2009 at the White House. The musical event, the first of any planned over the next few years, allowed her to work with 24 cello students from all over the country and play for the President and his family. She will not soon forget the reaction on the faces of his daughter Malia and the other youngsters attending.

Weilerstein's demanding agenda this season already has included two performances with Maestro Gustavo Dudamel, once in Venezuela with the Simon Bolivar Symphony Orchestra, and at her Los Angeles Philharmonic debut in early May. Afterwards, she flew to London for the 2010 European Concert to mark the founding of the Berlin Philharmonic. While in England, she was guest soloist with the Halle Orchestra in Manchester playing the Dvorak Concerto in B Minor before flying back in time to repeat the Dvorak with the Virginia Symphony for the Virginia Arts Festival in Williamsburg while the Memorial Day Weekend. Prior to her Washington concert, she made her yearly appearance at the Spoleto Festival in Charleston, one of her popular venues.

As one of many who have diabetes, she takes great satisfaction in speaking to children with the disease and presenting herself and her accomplishments as proof that they can lead happy and effective lives.

"I want them to remember that there still isn't a cure and we must keep working toward that goal," she said. "In the meantime, I keep telling my story and assuring children that we can do anything we want."

Alisa Weilerstein, a Young Cellist on the Fast Road to Success

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Best New British Bands

Florence and the Machine
Led by the powerful lead singer Florence Welch, this London group was largely created to better highlight Welch's vocals. The band has broke huge in the Uk with the debut, "Lungs" reaching the estimate 2 position on the charts for five weeks, only being beaten by Michael Jackson. The band is big in the Us as well, with any songs from the album being featured in Us commercials and television shows. The band's biggest hit, "Kiss With a Fist" has been featured in the movie "Jennifer's Body" as well as on the Tv show "Community." The band appeals to both indie rock kids and older men and women who can hear old-school R&B and pop singers in Welch's voice.

The Klaxons
This London indie rock bands have set the Uk on fire with their indie rock music that mixes in elements of acid rave culture and techno, manufacture them one of the most intelligent and danceable new rock bands in the Uk. Their song "Gravity's Rainbow," named after the dense Thomas Pynchon novel made them household names in the Uk but they haven't broken into the Us yet as much as they would like to but with the Us mainstream music turning more and more dance kindly I wouldn't be surprised if their follow-up album made it big on this side of the pond.

Symphonic Dances

The Horrors
This English rock band formed in 2005 and has been manufacture huge waves in the Uk and in the Us with their dark, gothic carport punk music. You can tell by their band name that the band is into the darker side of life and it shows in their album songs and titles, like "Sheena Is a Paraside" and "Death at the Chapel." Their first narrative gained them a lot of good press and shows in the Uk but it wasn't positively until their second album that they made it big in the Us with its huge step transmit in sound and maturity, with the band still as dark as ever, but not as comically so. Look out for The Horrors to continue to grow and only get better.

Best New British Bands

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Hélène Grimaud - Brahms - Piano Concerto No. 1

Hélène Grimaud - Brahms - Piano Concerto No. 1 Video Clips. Duration : 53.03 Mins.


Hélène Grimaud Official Website www.helenegrimaud.com

Keywords: Hélène, Grimaud, Brahms, Piano, Concerto, No.

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Sunday, July 1, 2012

martha argerich piano concerto no.1 op.23 : Tchaikovsky

martha argerich piano concerto no.1 op.23 : Tchaikovsky Video Clips. Duration : 4.18 Mins.


チャイコフスキー ピアノ協奏曲第一番 第1楽章指揮:キリル・コンドラシン演奏: マルタ・アルゲリッチ(ピアノ) 1980年 ミュンヘン

Keywords: martha, argerich, piano, concerto, no.1, op.23, Tchaukovsky, kondrashin, allegro, non, troppo, molto, maestoso

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Strauss - Also Sprach Zarathustra

When Zarathustra was thirty years old, he left his home and the lake of his home, and went into the mountains. There he enjoyed his spirit and solitude, and for ten years did not weary of it. At last his heart changed - and rising one morning with the rosy dawn, he went before the sun, and spoke thus unto it:

"Thou great star! What would be thy happiness if thou hadst not those for whom thou shinest!"

Symphonic Dances

So the book Also sprach Zarathustra: Ein Buch für Alle und Keinen (Thus Spoke Zarathustra: A Book for All and None) by Friedrich Nietzsche begins. It is a book of philosophy set as a novel that has as its main character a mythical prophet named Zarathustra that is based on the ancient Persian prophet Zoroaster, the founder of one of the first monotheistic religions in the world, Zoroastrianism. But Nietzsche's Zarathustra is purely mythical and surface of the similarity of name has nothing to do with the actual prophet. Nietzsche's prophet is a instructor of changing morals, enchanting mankind to overcome itself and come to be the 'superman'. The book delves into many philosophical issues and challenges, and as the above example shows, it is a lot to wade through, not only for the subject matter but the style in which it is written. Nietzsche wrote it in the style of scripture, perhaps partly to mock former scripture. In the book is also the first time Nietzsche used the phrase 'God Is Dead', which has lead to a lot of misuse and meanings that have minute to do with the context in which it is used in the book.

Strauss himself said the following concerning the work:

"I did not intend to write philosophical music or to portray in music Nietzsche's great work. I meant to transport by means of music an idea of the development of the human race from its origin, through the assorted phases of its development, religious and scientific, up to Nietzsche's idea of the Superman. The whole symphonic poem is intended as a homage to Nietzsche's genius, which found its many expression in his book Thus Spake Zarathustra."

The book is divided into about eighty separate lesson headings, with each lesson ending with the words 'Thus spoke Zarathustra, which explains the title of Strauss' work. He uses nine of the lesson headings in the score.

Einleitung, oder Sonnenaufgang (Introduction, or Sunrise) - perhaps the most recognizable opportunity of any piece of classical music, it as been used in movies and by rock stars, which is quite a tribute to its power and attraction. Strauss' sunrise brings the new philosophy of Zarathustra with a low rumbling and then the first appearance of the 'World Riddle' motif of C-G-C, somewhat of a tonal ambiguity that is resolved but briefly when the third for the chord is heard shortly after, but then it is immediately flattened. The mystery has already begun. The sections ends in a grand splash of sound from the orchestra, and the three-note World Riddle motif is heard in assorted guises throughout the rest of the work.

Von den Hinterweltlern (Of those in Backwaters) - assorted translations of this include 'Of those in the hinterlands'. Strauss divides the string section into ten groups that play a rich progression of harmonies that climaxes into a soaring motif for the violins. The starting of this section quotes the Credo in unum Deum (I believe in one God) from the Catholic Mass. So are the ones in the backwaters, or hinterlands, the ones who are the traditionally religious?

Von der großen Sehnsucht (Of the Great Longing) - The great longing continues with the former religious theme as the organ quotes the Magnificat. Is the Great Longing the desire of the traditionally religious to be near to God and to use religion to try and solve the World Riddle?

Von den Freuden und Leidenschaften (Of Joys and Passions) - The joys and passions of Zarathustra's youth are pondered upon. What were they, how could they have been used more for the advantage of mankind that no satisfy a desire?

Das Grablied (The Song of the Grave) - With the arrival of the dawn and a new philosophy, Zarathustra knows there is no longer any way or calculate to go back to the way things were. Hence, they are buried in the grave.

Von der Wissenschaft (Of Science and Learning) - Strauss uses the learned fugue to report science. His fugue subject is made up of all twelves notes of the scale and represents science's attempt to encompass, include and illustrate the World Riddle. Indeed, the three note motif is the first three notes of the subject.

Der Genesende (The Convalescent) - Science in interrupted by of all things, a dance tune. But science comes back aggressively, makes its case with a shout. After a brief pause the orchestra wanders until it finds the kernel of the dance tune already heard.

Das Tanzlied (The Dance Song) - The dance tune progresses into a full-fledged, romantic-era Viennese waltz.

Nachtwandlerlied (Song of the Night Wanderer) - Midnight is heard tolling, the work ends in the World Riddle being plucked out by the string basses, and the woodwinds in turn play a separate motif. The work ends in a more sever tonal ambiguity than which it began, the ambiguity of the World Riddle in neither major or minor key, and the other motif in B Major. Is there any answer? Are there any answers? Or is true wisdom attained with the realization that there are no concrete answers to the World Riddle, and that the sass is in fact is no sass at all, but the acceptance of things that can't be changed and the striving to convert the things that can be changed.

One of the most enchanting interpretations of the work comes from an report written by Marin Alsop titled Alsop Sprach Zarathustra. A snippet from the article, I could not state it great myself

"Strauss takes Nietzsche's work and distills it into eight musical sections, with an introduction and epilogue. through these sections, he wants to transport the essence of Nietzsche's philosophical arrival to the world. Nietzsche wanted us, as human beings, to reconsider our value theory and, rather than blindly believe in a monotheistic god or in the advancing scientific field, start to hold ourselves accountable for our own actions.

Whether you ascribe to that philosophy or not has no bearing on the fact that this music, composed so painstakingly by Strauss, holds the power to profoundly move us."

Strauss - Also Sprach Zarathustra

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West Side Story - Simon Bolivar Youth Orchestra

West Side Story - Simon Bolivar Youth Orchestra Video Clips. Duration : 23.08 Mins.


Leonard Bernstein's Symphonic Dances from West Side Story conducted by Gustavo Dudamel performed by the Simon Bolivar Youth Orchestra Check my channel for more music www.youtube.com

Keywords: Leonard Bernstein, West Side Story, West Side Story (soundtrack), orchestral, Soundtrack, Gustavo Dudamel, Orchestra

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The Best Christian Wedding Songs for a Wedding Reception

If you are a devoted Christian, I would assume that you would want Christian songs to be played on your wedding day. Your option of song will reflect who you are as a combine and I am confident that you would also want to display your faith on your extra day. Good news is there are varieties of beautiful Christian wedding songs to choose form.

If what you are going to have is a Christian wedding, the ambiance of the chance will probably be reverent as well. This will only mean that the most thorough songs that you should include in your play list are Christian wedding songs. By doing so, you will be able to celebrate the most foremost day in your life while at the same time giving emphasis on your faith.

Symphonic Dances

If you chose to get married in a church, you may even perceive that the only music allowed is Christian music. This is because majority of the churches believes that the church is a place of worship. This is the fancy why they will not allow you to play any worldly songs while the entire ceremony. If this is the case, your option of Christian songs will be perfect.

Many song writers have already written beautiful Christian songs that would fit in Christian weddings. This makes it easier for you to choose which song would be perfect. As a matter of fact there are a lot of songs that have been used many times in Christian weddings and even in wedding reception. Christian songs can fit every part of the reception. Just pay particular attention to what the entire song says. Listen to every word of the lyrics so that you will be able to find the exquisite song that fits the event. For instance, the song "Waltz for Jennifer" by Ffh would be best for the couple's first dance.

Your option of song for your wedding day will reflect a lot on your personality and your faith. So don't just let the disc jockey choose the play list. Give it some of your personal touch. Besides, you will surely want the most extra event in your life as memorable as possible.

The Best Christian Wedding Songs for a Wedding Reception

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