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| Zen master to retire from the concert scene for good. What a pity! **************************** http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article7015482.ece?print=yes From The Times February 5, 2010 Maria Joao Pires on handing back the keys The outspoken pianist is giving up concert life for good to help the children of Brazil, she reveals Geoff Brown When the small, wiry figure of Maria João Pires takes to the Barbican stage on Tuesday to play Beethoven’s Piano Concerto No 2 with the London Symphony Orchestra, you should savour her performance more than usual. For there’s now a time limit on her public career. After a Japanese tour in 2011, this most poetic and searching of pianists plans to stop all concert work, ending a life in front of audiences that stretches back more than 60 years to her public debut in Portugal, when she was 5, and smaller still. “I really feel the weight of the years in my playing. Sixty years. It’s too long!” We’re backstage at the Festival Hall. She’s shy, not loquacious, and sometimes fights to find the right English word. But candour comes easily. She calls the travelling involved in her career “terrible” (she lives in Brazil). But that’s not the main reason for calling it a day. “It used to be natural for me to go on stage and meet people, meet a new public. It wasn’t something I really enjoyed a lot, but I could cope. Now I’m not coping so well.” This is bad news, for she’s one of the concert world’s supreme artists. Born in Lisbon in 1944, Pires found her own way into classical music — music that seemed to her “like a miracle, like another world”. Living under a dictatorship, she was forced to enter music competitions (“At the point of a gun?” “Almost”). She found them a nightmare, though she regularly won top prize. After continuing her studies in Germany, an international career beckoned when she won the Beethoven Bicentennial Competition in Brussels in 1970. She toured widely and recorded: romantic and classical repertoire mostly, much Mozart and Chopin, though with virtuoso peaks such as Liszt roped off because of her small hands. Since 1989 she’s been contracted to Deutsche Grammophon, but even recordings have now become relatively rare. So why is Pires not coping? It’s the “problem of the distance”, she says: the physical distance in the concert hall between performer and audience. “Soloist comes from ‘solo’, meaning ‘alone’. Alone, separated, different. I don’t feel this is pleasant, I don’t feel this is healthy.” She finds chamber music healthier. And some concertos can be borne, especially with conductors from the “authentic” wing, such as John Eliot Gardiner, who conducts the performance on Tuesday. But solo recitals give her the shivers. I float the notion of her directing Mozart concertos from the keyboard, like Murray Perahia or Mitsuko Uchida. Horror and laughter overwhelm her. “Don’t, please! That would be like a double solo!” She would like to make records but adds: “I don’t know if I stopped playing whether companies would still be interested.” There’s no question, though, about how she would spend most of her time. It would be on educational community work, a passion ever since she took a four-year gap from performing to devote herself to her growing family at the end of the 1970s. The passion climaxed in 1999, when she opened the Belgais Centre for the Study of Arts on 450 remote rural acres in Portugal. Musical activities mingled with classes for underprivileged children — a timetable of instrumental workshops, experimental artistic fusions, baking bread, making olive oil and milking goats. One outcome was a Beethoven CD, Moonlight, recorded in a converted sheep pen; another nastier one was the bile and jealousy of Portugal’s political establishment and the media, even though the project received government funds. “My mistake was to believe that I could build something there when there was so much jealousy from the very first year. Some countries don’t like their own people to get involved in new projects, in experimental things. They feel it like an attack.” Pires persisted, bending classical music to the needs of children with every kind of social problem. Then matters reached a head in 2006 over a scheme to help sexually abused children. The plans were cold-shouldered and the negative publicity wore Pires down. The stress she suffered, she says, culminated in serious heart trouble, emergency heart surgery and a decision to leave Portugal. “It was difficult to say goodbye. Not to my country — that doesn’t have much sense for me. But Belgais was the project I was building for 20 years. Beside the jealousy, I had to face my own mistakes. Sometimes I have a tendency to go too fast into things. I should let things happen in a calmer way.” Her new home was chosen mostly by chance. She had friends in Brazil and discovered “a little house, near the sea, nice place, simple”, north of Salvador, in the state of Bahia. Last year she said renounced her nationality and became a Brazilian citizen.I tell her that Wikipedia describes Salvador as “Brazil’s capital of happiness”. Laughter erupts again. “It depends on your idea of happiness! If people love parties, love to dance, it’s a good life. But Bahia and Salvador have so much misery, and I don’t find real happiness where so many human rights are missing. And that’s also one of the reasons I like to work there.” She has plans for a new educational project, quirkier and more holistic than the famous Venezuelan music education system associated with the Simón Bolívar Symphony Orchestra. As in Portugal there will be a children’s choir (“the cheapest way, the most organic way, to make a child feel a human being and not garbage”). Each year children would be involved in writing, staging and performing an opera. She also plans a postgraduate piano school, with musicians spending half their time on social work. “This old-fashioned system of entering competitions, and knowing conductors so that you get concerts, and knowing managers with influence — it puts young people in a prison. And you can feel the prison in their playing. The solution could be if they used their art to serve society instead of serving themselves.” Yet even if her own career has left her feeling drained, the music within her will never die. Its magic world still enthrals her. “And the thing is,” she says, “this magical world is probably the real world. The other world, the reality around us, the world out of balance — that is only the world we create with our stupid habits and egocentric lives.” Maria João Pires and the LSO will be at the Barbican, EC2 (www.barbican.org.uk; 0845 1207590), on Tuesday |
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| http://www.cvnc.org/reviews/2010/022010/YujaWang.html Fire and Ice Handled Impeccably by the North Carolina Symphony by Ken Hoover February 4, 2010, Chapel Hill, NC: The North Carolina Symphony, performing under the baton of William Henry Curry, tagged this program "Fire and Ice." It began with a stirring and gorgeous performance of Jean Sibelius' most popular work, "Finlandia." In Curry's hands it sounded fresh and exciting, as though you were hearing it for the first time. The bulk of the program featured Sibelius' 4th Symphony and Rachmaninoff's 3rd Piano Concerto, both composed between 1909 and 1911. To put things in perspective, this was two or three years before The Rite of Spring exploded on the stage of the Théatre des Champs-Ėlysées in Paris. Schoenberg was experimenting with atonality and had written his Theory of Harmony though it was not published until 1922. Tensions leading up to the breakout of WW I in 1914 were building throughout Europe. Both of these major works are iconic 20th century romantic masterpieces, albeit coming from different directions. Of course the ice alluded to in the title of the program was Sibelius' Symphony No. 4 in A minor, Op. 64, perhaps his iciest. Sibelius had recently undergone serious surgery for removal of a cancerous growth in his throat. He had also encountered Schoenberg and Stravinsky in Vienna and his often shaky self-confidence was even more troublesome. The most experimental of his seven symphonies, the 4th is a work characterized by a predominantly somber mood and unresolved thematic material. After a striking introduction in the low strings and bassoon, the cello plays a mournful tune somewhat reminiscent of "The Swan of Tuonela." This melody and most of the thematic materials that follow seem obsessed with making sense out of the tritone; that interval that cuts the scale in half (C – F sharp in the C scale) and, isolated, has always been considered one of the most unpleasing harmonic sounds in the human ear. At one point in the finale, Sibelius creates violent harmonic tension by juxtaposing the keys of A minor and E flat major which are a tritone apart. The glockenspiel seems to want to pull the harmonic resolution toward A major, but loses out in the end to the pathetic cry of the oboe as the basses and cellos insist on a C natural and the symphony fades out quietly in a desolate A minor. There are moments in the slow movement (which Sibelius places third, contrary to classical tradition) that almost burst forth in rhapsodic triumph, only to fall back again and again. The second movement, though foreboding as a whole, has its moments too where the sun is on the verge of breaking through but slips back behind the grey clouds. The impact of this symphony is hard to explain. It is a remarkable experience to truly hear it all the way through. Curry and the orchestra rendered a stunning performance with special recognition deserved for the solo work of the principal string and woodwind players. The sadness was palpable. The terror was unmistakable. The despair was almost overwhelming. Still it left this reviewer feeling cleansed, renewed, and ready to do what must be done. Though separated by almost a half-century, it portends the words of Anne Frank: "In spite of everything I still believe that people are really good at heart. I simply can't build my hopes on a foundation of confusion, misery and death... I think... peace and tranquility will return again." Rachmaninoff, on the other hand, was sure of himself through and through by the time of the composition of the 3rd Concerto. He looked on experimental idioms of the early and mid century with great disdain and maintained, without apology or regret, a philosophy of unrestrained emotionally charged romanticism. And why not? It was the stuff of his history and his experience. His sustained melodic lines, rich harmonies, and opulent orchestration represent the pinnacle of the romantic era. The Piano Concerto No. 3 in D minor, Op. 30, certainly not harmed by the popularity it attained as the star of the 1996 movie Shine, has long been known as one of the most challenging works in the repertoire. Sometimes known as "Rach 3," its technical demands are the stuff of legend. David Dubal in the third edition of The Art of the Piano (Amadeus Press, 2004), quotes Gary Graffman as lamenting that he had not learned this concerto as a student, when he was "still too young to know fear." I have heard stories that there are pages of the piano score with so many notes that the black print outweighs the white paper background. Twenty-one year old Chinese pianist Yuja Wang tackled this rhapsodic monster with confidence, phenomenal technical skill, and sensitivity to every nuance. She played the piano with her whole body, demanding every ounce it would give, and the tender passages seemed to melt the very air and everyone in Memorial Hall. The San Francisco Chronicle wrote of her: "To listen to her in action is to re-examine whatever assumptions you may have had about how well the piano can actually be played." The work follows the standard concerto three-movement form. The first movement is a moderate allegro with some mighty climaxes in the development of the two major themes. Unless I am mistaken, Wang used the original cadenza, far more difficult than the second cadenza that Rachmaninoff himself used in his recording with the Philadelphia Orchestra under Ormandy in 1939. The second movement, a deliciously romantic intermezzo, transitions without pause into the third movement, which develops with great vigor, alluding to some of the themes from the first movement, and building finally to a triumphant passage with reminiscences of the second concerto. The orchestra, spurred on by the outstanding soloist and Curry's sensibilities, performed impeccably. The audience was rewarded for its sustained ovation with two encores from Wang: the piano version of "Vocalise" by Rachmaninoff and an unspecified sonata by Scarlatti. |
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| http://www.indystar.com/article/20100123/ENTERTAINMENT/1230381 Youthful vigor blends with deft interpretation By Jay Harvey Posted: January 23, 2010 Hilbert Circle Theatre seemed to have installed a Fountain of Youth on Friday night: a 22-year-old piano soloist, a guest conductor who turns 30 this year and a concert-capping masterpiece composed by Felix Mendelssohn at age 24. And lots of young people in the audience, who displayed their enthusiasm at the outset by swelling the welcome-back ovation for associate concertmaster Philip Palermo after a career-threatening injury had sidelined him for 21/2 years. It wasn't hard to feel rejuvenated as the Indianapolis Symphony Orchestra also welcomed back Yuja Wang, a Chinese-born pianist of extraordinary gifts, in Rachmaninoff's Piano Concerto No. 3 in D minor. She had stepped in creditably for an originally scheduled soloist in 2008; this weekend, her career having continued its upward trajectory, she has returned with one of the most stirring romantic piano concertos. Hers was a bold conception, from the way she laid out the opening tune, which is so often a soulful murmur but here suggested broad Russian horizons -- more Tolstoy than Chekhov. Her interpretation seemed to embrace impulsive moments with ease, helped by the scrupulous guidance Cornelius Meister gave to the orchestral accompaniment. Time and again, the clarity and balance of her chord voicings stood out. She seemed capable of projecting every facet of Rachmaninoff's sometimes-dense harmony. The finale was launched at an exhilarating pace, which delayed the effect of the movement's majestic moments until they really counted. One of Rachmaninoff's contemporaries, his opposite in temperament, was the mystical Alexander Scriabin, who was fond of putting the direction "flying" in his scores. Wang played as if Rachmaninoff had taken flight lessons from Scriabin, and the performance never hit a bumpy patch. She charmingly showed two sides of her artistry in miniature -- the fleet and the pensive -- with a pair of encores: a Scarlatti sonata and an aria from Gluck's "Orfeo ed Euridice." The concert opened with Beethoven's "Fidelio" Overture. The affable podium guest's rhythmic sensitivity came into extensive focus in Mendelssohn "Italian" Symphony. The "Andante con moto" cast a spell as indelible as the finale's abandon and sparkle. |
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| Call it the wow factor or whatever else, the audiences seemed quite like her, and as a result, she has been invited to play at the Verbier Festival again this summer. http://www.verbierfestival.com/ http://worldradio.ch/wrs/news/wrsnews/verbier-festival-announces-2010-lineup.shtml?17792 Verbier Festival announces 2010 lineup The Verbier Festival has announced its lineup for the 17th edition of the 17-day long event, which will take place from July 16 to August 1 in the Swiss alpine resort. The event is renown for bringing together the biggest names in classical music every summer, along with some 40,000 spectators. The Verbier Festival Orchestra under the direction of Charles Dutoit will open the festival in concert with pianist Yuja Wang, a young prodigy discovered at Verbier, and will culminate the evening of August 1 with a production of Salomé, the celebrated opera of Richard Strauss with Deborah Voigt in the title role, under the direction of Valery Gergiev. Other names on this year’s programme: Semyon Bychkov, Daniel Harding, Marc Minkowski, Christian Zacharias, Rolando Villazón, Natalia Gutman, Rafael Frühbeck de Burgos, Daniel Hope, Elisabeth Leonskaja, Martha Argerich, Hélène Grimaud, Leonidas Kavakos, Evgeny Kissin, Mischa Maisky, Anne Sofie von Otter, Measha Brueggergosman, Angelika Kirchschlager, Vilde Frang, Adam Laloum, Kit Armstrong and Ian Bostridge. The full programme is available on the festival’s website. Tickets go on sale to the public on March 15. ************************** Zhang on the other hand, still has a long way to go to secure him an automatic re-engagement everywhere he went. Being able to get a return invitation is the key to have a sustainable concert career. Not many can have it. |
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| Just to prove my point, remember the Aspen Music Festival where both of the Van Cliburn gold medalists were pre-booked to play there last year before final result was even out last year? Guess which one got the invitation back this year? None! And among those returning artists, not surprisingly, Yuja was still there. And that's the difference. |
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| Forgot the link http://www.aspendailynews.com/section/home/139125 http://www.aspenmusicfestival.com/index.cfm?&swf_plugin=0,0,0 |
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| And another two major piano/keyboard festival The Mannes, glad to see Feng Ying, Wang Jue and Wu Di on the list: http://www.ikif.org/schedule.aspx And the even bigger one, La Roque, with a collections of mega stars and young fast rising ones: http://www.festival-piano.com/index.php?id=21&cat=1&art=0 |
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| it is hard to say who is better, don't forget she has ther most powerful agent, in tha field, i am sure you know two years ago he was the agent for today' biggest one. |
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| Agent is one thing, reputation is another. But no matter what, you have to earn it first. |
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| SARA OTT is on the list in La Roque..... make eyes on her in the future |
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| Several years back Joshua Kosman, San Francisco's main classical music critic saw the Yuja Wang playing at the Santa Fe chamber music festival, immediately impressed, and from then on, he has become one of her major media proponents. How much agent power involved here? Very little. And how much a reputation she has now there? Big, as she is kind of a fixture there right now. http://www.sfcmf.org/media/pdf/SFCMF_2010Season.pdf No doubt she got the talent, but what's more importantly, she has the audiences come to see her. So for those wannabes how to grab your audiences could be part of the lesson in their curriculum. Of course, some folks might jump in and appoint Lang Lang to open the lecture. But, that's another story. :-) |
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| And her sister Mona Asuka too. Both are quite good looking. :-) Anyway, I like the clips of her new Chopin recording, this girl does have her own ideas. The disc is on the way together with Taraud's one, I believe they should be in my mail box in a few days. BTW, haven't you noticed that David Kadouch is also there. and Alessandro Taverna will play at the Mannes too. But no doubt the La Roque is much a bigger deal for more exposure. |
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| Oops, it seems that Sara's disc is available for online listening already. http://www.radio4.nl/page/luisterpaal_player/434 Some pieces are a little bit heavy handed to my liking. I prefer those waltz's to be danceable, with a smooth motion without overly squared accent in terms of rhythm, which should come natural, and rubato alone wouldn't make a piece sound any less square if very beat been accentuate without discretion. In some pieces, technically speaking, she also seems not quite as polished either as some another young Asian pianists about her age. May we assume another Lise de la Salle type of PR support behind her? I mean, both of them can have some of their wonderful moments, but as a whole, neither seems to be quite ready for the big time just yet, maybe later. Still, in general, I like this disc way better than the two EMI released, at least she got better as music goes, one by Stephen Kovacevich, why he made that disc (his last for EMI) by ruining his fine reputation is beyond me, the other one is the Fliter did last year, another big disappointment. Hopefully Alexandre Tharaud can save them with his debut disc for the Virgin classics, one of EMI's more meaningful branches. Personally I don't think LYD is even half as he was three years ago (the audience quibbles over his recent HK concert past weekend have just started to leak out), so I surely wouldn't count on him. |
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| 2006年8月在鼓浪屿钢琴节的评审席上,杨峻教授的座位就在我旁边. 那天他很认真地对我说:"为什么不多写些赋格曲? 咱中国曲目里就缺这个!" 下一年(2007)附中50周年校庆我们又一次喜相逢,他又提起此事......正是他的推动,我才写出这四首大型钢琴赋格曲. 今天特奉上＜d小调托卡塔,圣咏与赋格＞的视频,籍此特别纪念我们这位为中国钢琴事业作出杰出贡献的老学长,老朋友,谨向他致以崇高的敬意! http://www.tudou.com/home/_58057767 |
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| http://www.cvnc.org/reviews/2010/012010/HaochenZhang.html Van Cliburn Gold Medalist Fills Theater with Mozart, Chopin, Stravinsky, and Ticket Buyers by Perry Tannenbaum January 22, 2010, Charlotte, NC: Pundits and prognosticators who see classical music sinking into a slough of irrelevance, obsolescence, or extinction may wish to train their critical antennae at the opposite end of the Pacific Rim. New performers, composers, and mass audience are rising in the Far East – and the new Asian wave is impacting both Europe and America. After reorganizing and relocating from Belk Theater to Halton Theater, a venue half its size, the reborn Charlotte Concerts (formerly Carolinas Concert Association) rode that wave to fill the hall in just the second event of their meagerly publicized new regime. Word of mouth certainly accounted for some of the dramatic increase in ticket sales for the solo concert by Haochen Zhang. Nor should we ignore the power of the Van Cliburn brand in capturing the attention of concertgoers and motivating them. Watching the upper rows of the balcony fill with walk-up ticket buyers and glancing over the faces down in the orchestra section, it was easy to conclude that Zhang’s nationality counted at least as much as his gold medal last June at the 13th Cliburn International Piano Competition. I hadn’t seen such a high proportion of Asians at any performing arts event since the days when the Metropolitan Opera was premiering The First Emperor during their 2006-07 season. Seating the walk-ups, along with a loquacious Charlotte Concerts president, helped delay the start of the concert for more than 20 minutes. That may be why the 19-year-old Zhang seemed to have lost a bit of his technical edge as he launched into the Allegro Moderato of Mozart’s Sonata in C, KV 330. But if all the notes weren’t clearly there, Mozart’s cheering spirit was there in abundance, though a comparison with the charm and effective dynamic shadings of Mitsuko Uchida’s benchmark recording wouldn’t be in Zhang’s favor. Zhang proved to have insights of his own as he played the ensuing Andante cantabile at a perilously slow tempo, keeping the overall structure cohesive, and bringing out a serenity – tinged with regret – that I did not find when I revisited Uchida’s reference recording. Nor was Uchida’s left hand overpowering at the outset of the Allegretto, a blemish in Zhang’s performance that vanished as he moved on to the pellucid main argument where his right hand reigned. But here it was Zhang who made more effective use of dynamics, ending the piece with higher drama. Zhang’s phrasing and dynamics were nicely sculpted at the outset of Brahms’s Klavierstücke, but on too modest a scale. While the diminutive pianist produced soft passages with a shimmering chromaticism that was pleasantly modernistic in the first of these four intermezzi, the dramatic crests that followed lacked sufficient force and contrast to fully satisfy; and while the swifter passages bore admirable precision, the subtle dynamic shadings of Zhang’s softer work abandoned him, producing a mechanized impression. The repeat of the swift section was more rhythmically expressive, a quality that served Zhang well as he proceeded to the waltzing and marching sections of the suite. Holding back when the waltz crested did accentuate the zest of the march and bring it into starker relief, but Zhang never quite achieved a sense of release and purgation. The reprise of the marching section began with jubilation and verged on mania without fully arriving at that destination. Temperamentally, Zhang seemed to return to his comfort zone when he played Chopin’s Ballade No. 4. Or to be more precise, Zhang tugged the early moments of the Chopin more toward the clear lucidity of Mozart than we are accustomed to hearing, easing off on the pedal and freshly illuminating the music. Pacing was more at the slower Ashkenazy pulse rate than the Perahia recording of this F minor masterwork, but here the onset of fireworks delivered fully satisfying thunder – the passion, presence, technical assurance, and artistry of a Cliburn gold medalist were all here. After intermission, Zhang returned with all the command he had built to at the end of the Chopin, infusing the opening of Schumann’s Fantasia in C with force and gravitas. He grew poetic and poised when he reached the placid passages, and when Schumann’s restlessness took over, Zhang’s strong left hand added a deeply neurotic underpinning that was very persuasive. Zhang’s fire and conviction seemed to leave him in the middle section, but in the closing “Langsam und getragen” movement, the Chinese pianist artfully pitted the tranquil passages against the majestic ones, convincing us when tranquility prevailed. Stravinsky may have considered himself European or even American in his musical leanings, but Zhang managed to steer Trois Mouvements de Petrouchka toward Asia in its slower episodes. Even the raucous pounding of the keyboard had a penumbra of Mandarin grace. Earlier on, Zhang again lavished a lightness on the piece that recalled Mozart, layering on virtuosic elements of Romanticism and Impressionism. Best of all, he played the jazzy syncopations with the zest of a vibrant 19-year-old rather than with the reverence or stiffness of an academic. Zhang played a little to his Asian constituency in his encore, offering a “Chinese Folk Song” that reminded me of the traditional “Dialogue in Song” I first heard on Lang Lang’s Dragon Songs CD. Fast and slow tempos were even more starkly contrasted in Zhang’s performance – with exquisite pedaling in the calm sections. Zhang had already communicated well enough to bring his audience to their feet after a solid 90 minutes of music, yet it was still heartening to see him acknowledging the people he had connected with. Perhaps that little extra will help bring them back to the Charlotte Concerts series when he isn’t there. |
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| Hmm, maybe Zhang can have a chance to pickup the vacancy Lang Lang left at DG? |
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| DGG finally got blessed. :-) http://www.gramophone.co.uk/classical-music-news/gramophone-exclusive-lang-lang-signs-to-sony Gramophone exclusive: Lang Lang signs to Sony Chinese pianist moves from DG Chinese pianist Lang Lang has signed to Sony Music. The 27-year-old moves from Deutsche Grammophon, the label he joined in 2003. In the years since, his virtuoso talent and media appeal have propelled him to the status of one of classical music’s highest-profile stars, not least in China where he has become a figurehead for the country’s burgeoning enthusiasm for classical music. The deal with Sony begins this month and their first disc together is due in the autumn, though repertoire details are yet to be announced. According to Lang Lang’s management, part of the reason for the move is the increased opportunities that Sony, a media company with film and technology divisions, can offer. In 2008 the pianist became a brand ambassador for Sony, helping promote its electronics products. Lang Lang’s most recent recording on DG – Rachmaninov and Tchaikovsky chamber works performed with Vadim Repin and Mischa Maisky – was well received in Gramophone’s November 2009 issue. Earlier this month Sony Classical also announced the signing of Simone Dinnerstein, another high-profile pianist whose previous two discs both topped the US Classical Billboard chart. She moved from Telarc – the label where, incidentally, Lang Lang had begun his recording career prior to joining DG. |
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| 可能主要是经济考虑。 现在发行CD越来越不赚钱，sony可能是用综合开发来补贴CD。 最终音乐家都要依附网络巨头，靠下载收费和广告为生。 关掉youtobe，郎朗损失大，郎朗和谭盾都是youtobe大使。 关掉youbobe,对国内教育损失巨大，本来麻省哈佛等名校课程都在youbobe公开，对中国学生甚至教师都有巨大影响和参照（当然，有些课程不如俺的水平：） |
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| 有消息说 杨峻今天打球心脏病突发去世。 |
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| 那个杨峻？吴迪前老师？中音教钢琴的？ 心脏病抢救不及时很容易OVER,按说在北京不至于嘛 |
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| 吴铁英在听音乐会时也去世了。 |
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| 最近还真的多坏消息,地震,倒楼,绑架...... 这个世界还真恐怖:( |
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| 生老病死，有这么恐怖吗？ |
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| 经中央音乐学院同学证时，中央音乐学院钢琴教授杨俊（原名为杨金俊）曾任中央音乐学院钢琴系系主任，在广州金钟奖选拔工作中课余打蓝球心脏病突发而逝世，特此哀悼！其夫人左音曾任中央乐团领导。 |
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| 說起楊峻教授,想起他最有代表性的學生居覲 http://space.tv.cctv.com/video/VIDE1238958535152888 |
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| 一位是听着音乐去世，一位是打着篮球去世，与众多在病痛中去世的人相比，也算是一种福气了。愿他们在美丽的天国里继续听音乐打篮球。 |
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| 谢谢美丽小行板的分享！ 我们家尚怡是2000年在波兰观摩肖邦比赛时和居觐成为朋友，以后偶有往来。居觐 人品非常好，在音乐圈子实不多见，我们都非常高兴她能有今天的成就！ 关于居觐在采访中提到的先天乐感的问题，我和尚怡也偶尔会说起。先天的乐感非 常重要，但在演奏中会用脑子可能更重要。这是个很大的话题，希望以后能有时间 细谈。但看看古今真正的演奏大师，不善思考的大师有几个？看看音乐学院中那些 小时候锋芒毕露的，最后有几个能走到大家期望他们能走到的地方？反倒是很多当 初很不错，但不是最锋芒毕露的，最后能走得最远。难道说先天条件最好的反而注 定要落在后面吗？这说得通吗？我的解释是聪明反被聪明误，从小最锋芒毕露的自 以为一辈子可以吃定自己的才华，反而不知道去用脑子、去思考，从小没养成善思 考的习惯，大了想再开始恐怕也晚了。我们很多的天才是被自己和老师双重耽误的。 |
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| Effort only can not make up for one's lack of real magic. Innate talent can only be nurtured but not taught. The above clips on Ju Jing further proves this point. Her not among the front runner in the world piano world has a good reason, and just because of so, she will remain in the back ground for the rest of her life. There is always the same cliche, in terms of magic, either you have it or you don't. In her case, it's the later. |
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| 看完这个特辑偶最强烈的感觉是,做不做得成FRONT LINE钢琴家已经不重要了,弹得好不如嫁得好:)----至少JU JIN的CASE是这样 |
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| Ju的音乐真的没有味道，中国的钢琴家音乐感人当属陈萨。还有，李云迪虽然不争气，但是弹肖邦还是很有韵味。在听了一些钢琴家演奏以后，感觉到他两人确实与众不同，因此记住了他们。 |
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| 王羽佳http://ent.cntv.cn/enttv/yinyueting/classpage/video/20100120/100912.shtml北京新年音乐会 拉二第三乐章，encore了席夫改变的波尔卡 张昊辰http://ent.cntv.cn/enttv/yinyueting/classpage/video/20100123/100932.shtml 乐队版 肖邦的广板和华丽的大波兰舞曲，23分钟左右以后是 |
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| http://v.youku.com/v_show/id_XMTQ0MTU3NjA4.html |
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| 黄安伦的＜中国畅想曲#2--序曲与舞曲＞视频! http://www.tudou.com/programs/view/K1j1yAYstUk/ |
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| Thirty five years ago, it might be OK, but time has changed, simply put a few folk tune into piano is no longer enough. Even kids today know they need to explore the vast spectrum of the fall piano sound world. Take this kid for instance, those works were written and played by him when he was barely half of the age when Mr. Huang wrote the above piano piece! :-) http://www.conradtao.com/modules.php?name=Recordings&pa=showpage&pid=2 |
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| 恰恰相反,现在的问题是曲作们民间因素的贫乏,＜匈牙利狂想曲＞是不会过时的. |
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| Folks tunes still exists, only that they are more prominent in other genres, Jazz, dance music, new age, film sound track, spa music, easy light music, there are plenty channels out there. I personally have both Sirrus-XM radio as well as Cable Music Choice channels, I can easily prove my above claims. Only that in the classical or the so called serious music genre, only folks tunes are not enough, especially written using some old fashioned secondary style. Here, folks need something beyond that. When, Bach wrote his Goldberg variation, Beethoven did his Diabelli variation, the whole music creation went way beyond a few known quotes or motifs. Even when Liszt did his Hungarian Rhapsodies, the whole process also went far beyond that. They are not just about a few familiar tunes. Unfortunately some less creative, or less imaginary secondary composers these days thought they are only the last guardians for the Holly Grails. But the matter of the fact is that they are not. Tonal, and melodic music has never died, they only transformed. :-) |
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| A few years back MTT overheard Yuja Wang in a rehearsal when she was to played the annual Chinese New Year Concert with the SFS, and immediately got impressed and became one of leading champions and mentors of her. And now, it's the golden opportunity for Zhang Haochen, because, this time MTT himself as a special guest conductor will lead him in person! If he is really good then we should expect to see him on their next season's list just as Yuja did last time. If not, then, that would be another story. So, folks around the bay area can mark your calendar here. Just bare in mind that he's going to play the Tchaikovsky 1st piano concerto which LYD eventually abandoned there a few months back. :-) http://www.sfsymphony.org/season/Event.aspx?eventid=36102 |
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| Actually, according to EMI's concert schedule on www.emiclassics.com, Yundi has another chance to play Tchaikovsky with SF symphony coming Oct. Name Yundi Date 7 Sep 2010 Venue tba City San Francisco, CA Country USA Repertoire Tchaikovsky: Piano Concerto Other details San Francisco Symphony |
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| http://www.washingtonpost.com/wp-dyn/content/article/2010/01/17/AR2010011702503.html Music Review: Pianist Di Wu at the Chinese Embassy By Anne Midgette Washington Post Staff Writer Monday, January 18, 2010 In the super-serious world of classical music, it's refreshing to encounter a performer who appears to have a human connection to her music. This was a chief pleasure of the recital that the pianist Di Wu, 25, gave at the Chinese Embassy on Saturday night. She talked to the audience about things she personally responded to in the pieces she had chosen. More importantly, she demonstrated those things in the way she played them. A finalist at this year's Cliburn competition, Di Wu has started a promising career, though without (yet) the top-tier impact of fellow Curtis alumni like Yuja Wang. Her Washington recital, presented by the Embassy Series, was also the first in the gargantuan new Chinese Embassy, completed in 2008, which has the grandiloquence and emptiness of a movie set. Passing through huge foyers, under sculptural light fixtures and through the burble of fountains, the audience descended a red-carpeted staircase to the concert hall: a wood-paneled, low-ceilinged basement fitted out with ranks of folding chairs. After all of the architectural buildup, the space delivered the anticlimactic ambiance of a community theater in the Midwest. ad_icon Wu enlivened it, though, with a program that was varied on all fronts. It ranged from the elusive tangle of Schumann's "Davidsbündlertänze" (a tricky set of pieces to decode) to the fluidity of Ravel's "Miroirs" (Wu played all five pieces in this set, disdaining the idea of excerpting the most popular ones, like "Alborada del Gracioso," to play alone because "there was a reason he wrote them like that!") to the outright virtuosity of Liszt's Paraphrase on a Waltz from Gounod's "Faust." The playing was also varied. At the start -- in a short Mazurka by Clara Schumann -- it was so mannered and prissy, with a calculated, porcelain finish, that I braced myself for a long evening. It turned out to be a whole lot better, though, than that stilted opening seemed to signal. She didn't altogether cast off the mannerisms, which resurfaced in places -- her liberal manhandling of the tempo in a couple of places was extreme -- but she showed an ability to be a lot more honest in her playing. Robert Schumann wrote the "Davidsbündlertänze" for Clara, his wife, and quotes her Mazurka at the start. The piece's 18 sections seesaw between two self-proclaimed manifestations of Schumann's personality, Florestan (outgoing) and Eusebius (introspective). It was notable, given Wu's self-consciousness in Clara's piece, that her playing of the "Eusebius" sections in Robert's -- the more quiet, ruminative parts -- was particularly strong. If anything seemed mannered, it was Florestan's helter-skelter impetuosity. This contrast also exemplified the pianist's narrative knack. It's facile to expect music merely to tell a story, but Di Wu did seem to respond to the subtleties of characterization (in the Schumann and Liszt) or the ideas of place and setting in the Ravel. Ravel appeared to be home turf for her, played fluidly and effortlessly; "Ravel's music," she said, revealingly, "is not something I have to make." But it was also slightly less vivid than the Schumann, as if the extra (audible) effort involved in "making" music also gave her playing a little more oomph. And the climax of "Une barque sur l'océan" (the third of the work's five vignettes) sounded a little shrill . There was nothing shrill, though, about her Liszt, which came as another surprise, imbued with a full measure of fire and authority to compliment the sensitivity of her depiction of the music sung, in the opera, by Gounod's heroine Marguerite. It was an excellent finish. It was even rousing enough to overpower the crunch of ice from the folding tables at the side of the room that served as bars at intermission and the post-concert reception, where the bartenders, furthering the community-theater impression, focused on their work rather than on whatever music was going on in the background. |
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| 李云迪计划和EMI录制肖邦钢琴独奏全集。。 Yundi Li, the brilliant young Chinese pianist … has proved a technically astounding pianist who is by turns elegant and rambunctious, coolly expressive and white hot." (The New York Times) EMI Classics has signed the "superlative young Chinese pianist” Yundi, formerly known as Yundi Li, winner of the 14th International Frederic Chopin Piano Competition in Warsaw. Appropriately, Yundi's first EMI release will be the complete Chopin Nocturnes, released to commemorate the composer's 200th birthday in 2010. Yundi and EMI Classics together plan to record the complete works for solo piano by Chopin. http://www.emiclassics.com/news.php?nid=1771490 |
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| 仔细看了看是"complete Chopin Nocturnes"全集 兰州标题太离谱了 |
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| 你再仔细看看吧，还有最后这句呢。倒底谁离谱啊？？ Yundi and EMI Classics together plan to record the complete works for solo piano by Chopin. |
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| 夜曲全集只是头两张。 看来这十几张CD的合同是搞定了。 至少6-7年有得录。。。 而且名字也也变了，名字叫云迪，没有姓了。。。 李同学准备当肖邦专家，一条路走到黑了。赫赫。 |
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| "李同学准备当肖邦专家，一条路走到黑了。赫赫。" ------------------------------------------------------------------ 有幸录肖邦全集的全世界有几位？每个钢琴家都想录，可惜99%没有资格。我也想录，即使一生只做这一件事，也在所不辞，可惜他们不给我录，只有自己录。 |
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| It's purely a marketing thing. EMI's recent success in luring Alexandre Tharaud from Harmonia Mundi is a great pick up for their artistic status, but the same can not be said to Tharaud except for the possible increased fees considering how well his former label has helped him to be this well known and virtually every discs they recorded for him becomes news worthy. It is hardly true for EMI, whose recent part with Simon Trpceski and possibly Jonathan Biss just offset anything they might have gained from their new signing. Also since this is Chopin year, many recording companies want to score with this golden opportunity. Sad thing however is that the golden goose is no longer golden anymore considering the dwindling sales and ever spreading of online file sharing. Any major project without a underwritten from certain sponsors before hand is doomed to fail. Will LYD reverse this trend? It seems hardly likely. As I have said before, he at this stage is pretty much an empty brand name tag. Has his musicality matured over these years, even in Chopin? Well, here are couple of video clips by him playing Chopin Nocturne Op9. No.2, first a live one done years ago, and the second one part of EMI's recent PR release, let's see how he fares. Is it a major improvement or a total degradation? If the second auto-piloting style could be said a maturing success, I am wondering why can't a well programed machined from the Zenph studio sound better. This time, one really like to question just how much EMI had received in this dumb (well, maybe not so dumb financially) deal. http://www.youtube.com/watch?v=EvxS_bJ0yOU http://www.youtube.com/watch?v=KLzYwT9YT-c |
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| Live recording, Schumann piano concerto in A minor,op.54 Sa Chen, piano, Edo de Waart,conductor, New Zealand Symphony, Oct29,2009 http://instantencore.com/contributor/contributor.aspx?CId=5030066 |
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| http://www.concertonet.com/scripts/review.php?ID_review=6157 Delicate Beethoven Upstaged Reckless Chopin Hong Kong Hong Kong Cultural Center, Concert Hall 01/09/2010 - Sofia Gubaidulina: Chaconne Ludwig van Beethoven: Piano Sonata No. 18 in E-flat major, Op. 31 No. 3 – Piano Sonata No. 31 in A-flat major, Op. 110 Sergei Rachmaninov: Two Etudes-Tableau, Op. 33, Nos. 3 and 5 Frédéric Chopin: Two Mazurkas, Op. 68 No. 1 and Op. 24 No. 2 – Two Waltzes, Op. 64 No. 3 and Op. 42 Maurice Ravel: La Valse Chen Sa (Piano) After clinching the fourth prize and the best Polonaise performance award at the Chopin Competition in year 2000, Chen Sa has appeared regularly on the stage of Hong Kong Cultural Center (read here for the review of her concert with the HKPO last year). But the program of her recital on Saturday evening was a surprise. The recital began with Russian female composer Gubaidulina’s Chaconne and ended with Ravel’s La Valse, both as courageous attempts, especially in front of Hong Kong audience. The opening work, a rarely performed concert piece, is among the composer’s earliest compositions. Ms. Chen came across this demanding showpiece with a secure technique, the arm-blurring octaves on left-hand and scurrying runs on right-hand being all overcome with aplomb. But this textually intricate and harmonically clashing contemporary work was certainly not a delicious appetizer of a piano recital, and it was the choice and coherence of this recital’s program that remained most in question throughout the evening. Before the intermission, Ms. Chen rendered two Beethoven’s sonatas from the middle and late periods respectively. Ms. Chen’s vaporous pianissimo and tiptoe delicacy at first sounded not very Beethovenian. There was no impetuous pace and impulsive drive that we usually find in Beethoven’s music. Instead, every phrase was carefully polished, even in the last Presto movement of the Op. 31 No. 3. This refinement and elegance soon became Chen’s own Beethovenian sound, though not very authentic in some scholar’s view, but still convincing and charming. The slow movements in both sonatas, under Chen’s warm tone and suave legato line, were particularly enchanting. The third movement from Op. 31 No. 3 was transformed into a Song Without Words from a Menuetto, and the meaning of every word Moderato cantabile molto espressivo, the opening movement of Op. 110, was also thoughtfully brought out. However, for ears attuned to an impetuous Beethoven, Ms. Chen’s interpretation sounded too understated and plainspoken. The second half began with two of Rachmaninov’s Etudes-Tableaus, a set Ms. Chen recently recorded for the Penta Tone as her first solo recording. The sketch under her pencil clearly delineated the music’s melancholy and mournfulness. Pairs went on, but without any reason perhaps. Besides the tonal sameness, the two Mazurkas (both in C major) and the two Waltzes (both in A-flat major) showed no coherence authentically and historically. Nor did they sound like a contrasting pair that could bring freshness to audience’s ears. I would have preferred them to be delivered as encores rather than in between those ‘serious’ concert pieces. Notwithstanding, Ms. Chen obviously felt more comfortable with Chopin’s music. She got rid of the overcautious temperament in the first half and rendered these four works with exuberant, sometimes even reckless articulation. But Ms. Chen’s awareness of these pieces as popular genre somehow defamed Chopin’s name as the ‘poet of piano’. The introversive and conservative composer’s rapt lyricism was found in nowhere. The technically demanding La Valse rounded off the recital. Once again, Ms. Chen fully displayed her virtuosic technique through many of the technical hurdles at which she overcame without stress. And for the first time, the concert hall was filled with some glinting sparkle. For encore, Ms. Chen delivered Chopin’s Nocturne in B-flat minor Op. 9 No. 1. Her excessive and artificial rubato made the reading stodgy. And it was this slacken control that sacrificed the ‘always measured and strict tempo’ (mentioned by Chopin’s pupil Mikuli) of Chopin’s music. Danny Kim-Nam Hui |
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| Well, this is a little bit surprise, and maybe some what anti-climatic, Kirill Gerstein has been named the sixth pianist to receive this award. Didn't he share with Jonathan Biss of Gilmore young artist award 8 years ago? http://www.thegilmore.org/index.php?option=com_content&view=article&id=32&Itemid=34 http://www.examiner.com/x-5030-SF-Classical-Music-Examiner~y2010m1d6-Kirill-Gerstein-wins-the-Gilmore-Artist-Award http://www.examiner.com/x-5030-SF-Classical-Music-Examiner~y2009m12d17-The-IsserlisGerstein-duo-returns-to-San-Francisco |
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| http://www.nytimes.com/2010/01/07/arts/music/07gilmore.html Young Pianist Thrust Into Elite Group By DANIEL J. WAKIN Published: January 6, 2010 Odd, the pianist Kirill Gerstein thought. A music critic from Houston was coming to interview him in Jacksonville, Fla. Mr. Gerstein’s manager had arranged the meeting, at the Omni Hotel’s J bar, to coincide with a run of concerts last November. Might as well meet the writer, the pianist thought. But instead of a critic waiting at the bar, it was the man from the Gilmore festival. And in his hand was an envelope proclaiming Mr. Gerstein the latest winner of one of the arts world’s great windfalls: the $300,000 Gilmore Artist Award, given every four years to an unsuspecting pianist. “I swallowed it,” Mr. Gerstein said of the mischievous ruse in an interview in New York on Tuesday. “I was so amazed. I went kind of blank for a minute.” Mr. Gerstein, 30, is the sixth member of an elite and eclectic group of pianists that includes Ingrid Fliter, Piotr Anderszewski and Leif Ove Andsnes. He will receive $50,000 outright to spend as he wishes and can apply the rest to anything that furthers his career or artistry, subject to the Gilmore festival’s approval. He will give a recital at the festival in Kalamazoo, Mich., on May 3. The award, which will officially be announced on Thursday morning, is music’s answer to the MacArthur Foundation “genius” grants. And it is something of an anti-Van Cliburn Competition, a tacit rejection of the hoopla, bloodlust and horse-race quality of the international competition circuit. It is administered by the Irving S. Gilmore International Keyboard Festival in Kalamazoo. Nominations are solicited; an anonymous committee sifts through commercial and noncommercial recordings, some of them surreptitiously obtained; committee members secretly slip into dozens of concerts — sometimes keeping to the balcony or hiding their faces with programs — to assess the performers, who are not supposed to know they are under consideration. Mr. Gerstein, a naturalized American citizen of Russian origin, said he had no immediate plans to spend the money. “I’m looking forward to fantasizing with Dan the things that can be done,” he said, referring to Daniel R. Gustin, the festival’s director and the supposed music critic from Houston. Mr. Gerstein ran through a few ideas: commissioning a work; carrying out a project that marries piano playing to a visual display or dance element; or combining his roots in jazz with his classical career. Mr. Gerstein also has long-term ambitions to record the music of Busoni, whom he calls the James Joyce of composition for his modernist, magpie tendencies. Previous winners have used the money to take a sabbatical for practicing, to hire a publicist or commission works and, in almost all cases, to buy a piano. Mr. Gerstein ruled out the last option. He owns five pianos. They are lodged at his family home in Newton, Mass., and his residence in Stuttgart, Germany, where he teaches at the conservatory. “I think I should not be buying one for a while,” he said dryly. His instruments include a Bechstein with two keyboards, one of 16 made by the company; a Steinway B grand; an 1899 Blüthner; and an 1848 Pleyel, its original parts intact, that is identical to Chopin’s favorite piano. Of the piano in general, he said: “At times it’s your friend. At times it’s an all-consuming monster that’s about to devour you.” Mr. Gerstein has thinning hair and an overbite that gives him a boyish air. He ponders the effect of recordings on listeners’ ears and finds freshness in sticking to the score and stripping away performing tradition (a word he does not like). “It can sound shockingly original if you just follow what’s written there,” he said. He also does not like the word career. “I prefer life in music,” he said. Mr. Gerstein was born in Voronezh, in southern Russia, to a mathematician father and music-teaching mother. His parents, unusually for the time and place, had a large jazz collection that absorbed Mr. Gerstein. From the time of his earliest memory he studied musicianship and piano fitfully, until he became serious about the instrument at 10, at a specialized music school. At 11 he won a piano competition in Poland, where he encountered live jazz musicians for the first time. He later spent two summers there at a jazz seminar. “This was like a revolution,” he said. At a jazz festival in St. Petersburg, Russia, Mr. Gerstein encountered Gary Burton, a vibraphonist and teacher at the Berklee College of Music in Boston, who eventually arranged for him to attend. At only 14, and without a high school diploma, Mr. Gerstein moved to Boston with his mother to study jazz at Berklee. Soon, he said, he began to feel a little “overfed” with jazz and turned to classical music, partly influenced by an acquaintanceship with Ralph Gomberg, the former principal oboist of the Boston Symphony Orchestra. Looking back, Mr. Gerstein explained his conversion as the “radical position of a 16-year-old.” He said it seemed more interesting “to be busy with the great creations of the great minds” rather than with whatever he could produce as an improviser. He dropped out of Berklee just shy of a degree and attended the Manhattan School of Music. His teacher there was Solomon Mikowsky. He also took lessons with the prominent pedagogues Dmitri Bashkirov (in Madrid) and Ferenc Rados (in Budapest), both of whom excoriated his playing at first hearing but eventually took him on. Mr. Gerstein came to public attention in 2001 with a first prize at the Arthur Rubinstein Piano Competition in Tel Aviv. The next year he received a Gilmore Young Artist Award worth $25,000, becoming the first Gilmore Artist Award winner to have done so. Mr. Gerstein has a busy concert schedule and plays with major European orchestras. He also collaborates in chamber groups with highly respected players like the cellists Steven Isserlis and Clemens Hagen, the violinist Joshua Bell, the flutist Emmanuel Pahud and the clarinetist Martin Frost. Reviews have generally glowed. He has been teaching at the conservatory in Stuttgart since 2006, an unusual pursuit for a young pianist with a blossoming international career. But teaching, studying and performing are all part of the same endeavor, he said. “When I have to explain a piece to another person, I have a greater clarity of vision,” he said. The official profile of a Gilmore Award winner is “a superb pianist and a profound musician” with charisma and broad musicianship who wants, and can keep up, a major international career. Candidates can be of any age or nationality; recent winners have been around 30. Countries of origin include Argentina, Poland, Norway, Finland and Britain. The award was created in 1989 by the foundation established from the wealth of Irving S. Gilmore, whose family owned a department store in Kalamazoo and who was an heir to the Upjohn fortune. A modest and shy man who lived in a small apartment later in life, he was a serious amateur pianist and wanted to dedicate some of his money to helping musicians. The Gilmore Foundation, which has an endowment of $188 million, is the major provider of funds for the festival and the award. The festival’s director chooses the evaluation committee, which this year consisted of Mr. Gustin himself; Matías Tarnopolsky, at the time the artistic administrator of the New York Philharmonic; Sherman Van Solkema, a music professor at Grand Valley State University in Grand Rapids, Mich.; Ann Schein, a concert pianist and teacher; Don Michael Randel, president of the Andrew W. Mellon Foundation; and Curtis Price, then the president of the Royal Academy of Music in London. “They saw me in Toledo and Wichita and Birmingham, England,” Mr. Gerstein said. “You never know who is watching you where.” |
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| There was V Gergiev, K Zimeman earlier last year, not to mention perennial D Barenboim, now Kissin too? After all, pianists are willing to speak out their political minds. But, if movies stars can, why not musicians. :-) *************************** http://www.thejc.com/news/uk-news/25549/pianist-kissin-launches-anti-israel-bbc-bias-campaign Pianist Kissin launches anti-Israel BBC bias campaign World famous musician launches pro-Israel campaign By Stephen Pollard and Robyn Rosen, December 30, 2009 The Russian-born pianist Evgeny Kissin, who became a British citizen in 2002, has accused the BBC of “slander and bias” against Israel, broadcasting material he describes as “painfully reminiscent of the old Soviet anti-Zionist propaganda”. Mr Kissin, 38, who until now has not generally been known as politically engaged, has written to the director-general of the BBC, Mark Thompson. According to a close friend of the pianist, he has decided to become “actively involved in exposing and countering the evil propaganda of certain British media and especially the BBC.” Mr Kissin’s decision to use his fame and artistic renown to campaign on Israel’s behalf contrasts with the criticisms against the Jewish state regularly voiced by musicians such as Daniel Barenboim, who holds Israeli citizenship. In Mr Kissin’s letter, he accuses the BBC’s Persian Service of a “blood libel concerning Israel’s alleged harvesting of Palestinian organs and blood for future transplant”. He continues: “It beggars belief that the British taxpayer should be funding an organisation which is aligning itself with Iran’s despotic leader in its antisemitic propaganda. Other print media like the Guardian, which erroneously printed this libel propagated by Israel’s enemies, have since apologised. I am not aware of any such retraction from the BBC.” Mr Kissin, who was a child prodigy in his native Russia and is now widely recognised as one of the greatest living pianists, intends from now on to speak out against media bias against Israel, which he sees as both fuelling and being fuelled by antisemitism. In his letter, he says that when he became a British citizen he was “inspired and proud to belong to the country of Winston Churchill, who famously said: ‘There is no antisemitism in England because we do not consider ourselves more stupid than the Jews’. Above all, the BBC and especially its World Service, had always been a beacon of light, of truth and objectivity to those of us behind the Iron Curtain, in the ‘Evil Empire’. Reaching out to far corners of the world, it was the voice of a country which for us was a model of democracy and human rights.” He concludes by asking: “Is it not time for the BBC to return to the values for which it was so much respected, before it finds itself in the garbage of history, together with Pravda, Tass, Volkischer Beobachter and Der Angruff?” The classical music promoter, Lilian Hochhauser, said this week: “I fully support Evgeny Kissin’s initiative to counter the increasing bias displayed by the BBC and others against Israel. I encourage all in the arts world to act against the growing stigmatisation of Israel, as well as increasing our cultural co-operation with the country.” A spokesman for the BBC said the corporation was unable to comment until it had received Mr Kissin’s letter. |
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| Well, we are still in the early decades of the 21 century. From the past of the history we all learned that, as the technology changes, so do the musical instruments, may we predict how big an influence the electrical piano will be in the next twenty or fifty years? My take is that it sound will come closer and closer to the high end acoustic instrument, and in some regard, with modern and future sound and action feed back system, it may excel over the traditional acoustic piano in certain aspect, and possibly, one could add a human side of aspect to it too by building up a vast sound library for different players personal sonority preference. Of course, they are all lying the future. But as it now, we are encouraged to see Yamaha's great recent effort, the AvantGrand. http://www.keyboardmag.com/article/avantgrand-all-star-roundtable/December-2009/104711 http://www.bh2000.net/bbs/all/track.php?cdb=piano&id=1890 http://www.pianoworld.com/forum/ubbthreads.php/topics/1327685/AvantGrand:%20new%20video%20reviews.html#Post1327685 12 Channel speakers, 500W power, well, for those audiophiles, I guess the $20K might be just well spent, well that is if it also play CD at least (I know that one of the Roland one does). :-) I just don't know which one actually win this round. The Yamaha AvantGrand or Steinway Lyngforf model D. So, welcome to a new era. :-) http://www.steinwaylyngdorf.com/Innovation-47.aspx |
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| Jon Nakamatsu's "Loser's Club" http://www.youtube.com/watch?v=C5smz7gycqQ Jon is A very fine pianist, not an original, or an irreplaceable super star, but very solid and a one with a nice sense of humor as shown here. :-) |
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