tag:blogger.com,1999:blog-361530162024-03-15T21:12:37.222-04:00Ravel y los demásVictor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.comBlogger717125tag:blogger.com,1999:blog-36153016.post-61743318317485395492024-01-30T08:24:00.000-04:002024-01-30T08:24:00.353-04:00Zola: la tragédie du désir<p><span style="font-family: georgia; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdPM_qKZmL1OcJdvZoaeajaIUW470pUvgmV1_C-6I6Tp11cas8AO91DXW_jTxStXzJ_el4Nyvt9ThpNeI9xqBA3VtMtLGaX9E8Zz-JDDTIFhh3kuIQMPt_Llqj9Upgy56HlURaWcxD0pKe92lV-dS0po6xTl9IZw4dLRPysl6pvBu2iMGx2tScQQ/s1920/nana.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="1445" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdPM_qKZmL1OcJdvZoaeajaIUW470pUvgmV1_C-6I6Tp11cas8AO91DXW_jTxStXzJ_el4Nyvt9ThpNeI9xqBA3VtMtLGaX9E8Zz-JDDTIFhh3kuIQMPt_Llqj9Upgy56HlURaWcxD0pKe92lV-dS0po6xTl9IZw4dLRPysl6pvBu2iMGx2tScQQ/w301-h400/nana.jpeg" width="301" /></a></span></div><span style="font-family: georgia; font-size: large;"><br />En décrivant la réalité, Zola finit par nous révéler son côté le plus funeste. Il a fait justement ça avec Nana, un roman écrit de façon crude mais en tout cas impeccable. Zola raconte la vie et les diverses pénuries qui traverse Anna Coupeau. Nana est une danseuse, mais pas très bonne. Néanmoins, pour sa séduction, son corps est son outil le plus puissant. Par le montrer et le donner, elle est capable de conquérir le cœur -et les poches- des hommes. Nana séduit, ses amants la vénèrent et l’inondent de cadeaux, mais elle n’est pas capable de trouver le bonheur. Ces intricacies amoureuses ou passionnelles apportent du drame, mais l’essence de la tragédie est représentée par la nécessité que Nana sens d'utiliser son corps pour faire partie de la société. Nana est un drame social qui a bouleversé la France pour sa dose délibérée de scandale. Ce n’est pas facile à lire, mais en même temps c’est tellement fascinant, ce qui pourrait bien être la définition d’un classique. </span><p></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-14921269387578095002023-12-22T09:04:00.008-04:002023-12-30T05:21:10.236-04:00Best of 2023<span id="docs-internal-guid-714832e3-7fff-b4fb-ff97-0c1e5ba310b3"><span style="font-family: georgia; font-size: large;"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbu5BmRAVO1ZVCM38ywweuZTIiAnfaDim2dEKmrmkNtuhBWHDETedTlwKefMQb78o1n8xmFzm3gqJxk1siUuRFU4j1-JaHw4OzeF2Lfp24mWF3fkOZwzWwpJTbrWz76YcTTVkuk7ZhaAQUdb_-V-M0_oip1NIE2PoVyFmGMS9q-rTbEDDdEHkJkw/s1500/the-winery-dogs-III.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbu5BmRAVO1ZVCM38ywweuZTIiAnfaDim2dEKmrmkNtuhBWHDETedTlwKefMQb78o1n8xmFzm3gqJxk1siUuRFU4j1-JaHw4OzeF2Lfp24mWF3fkOZwzWwpJTbrWz76YcTTVkuk7ZhaAQUdb_-V-M0_oip1NIE2PoVyFmGMS9q-rTbEDDdEHkJkw/w400-h400/the-winery-dogs-III.jpeg" width="400" /></a></div><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></p>Musically speaking, 2023 has been one of the most diverse years of my life. The range of genres comprised heavy metal, folk, classical music and even hip-hop. The reduced quantity of albums is eloquent of a genuine disappointment: I simply expected to hear more solid music this year. Nonetheless, what follows is the summary of this year in music: </span><p></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">III</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - The Winery Dogs</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">That! Feels Good!</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - Jessie Ware</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">the record</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - boygenius</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">This is why </span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">- Paramore</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Tchaikovsky: Symphony No. 5</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - Pittsburgh Symphony Orchestra, Manfred Honeck</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Congregation of Annihilation</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - Metal Church</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Memento mori</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - Depeche Mode</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Scaring the hoes</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - Danny Brown & JPEG Mafia</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Horns for a halo </span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">- Elegant Weapons</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Javelin</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - Sufjan Stevens</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Darkfighter</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - Rival Sons</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Gustav Mahler: Symphony No. 5</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - Orchestre Symphonique de Montréal, Gabriel Payare</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">GUTS</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - Olivia Rodrigo</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Dark with excessive bright</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - Missy Mazzoli</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Debussy: La mer</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - Orchestre Philharmonique de Radio France, Mikko Franck </span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;">Tractus</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"> - Arvo Pärt </span><br /><i>Warlocks grim & withered hags</i> - Hellripper </p></span></span>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-86984002099919271762023-08-03T05:37:00.009-04:002023-08-03T05:38:41.697-04:00nubes de Altamira: my ambient music project<p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: #222222; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXSYrXAtIjCa1fxYryUzajO8UHzUXpoJ048mG0svshdBppTgm8jpWGrim2U9AKK0R44EHTJ23mL2mqwRrViTZr4XoVzaxOKuSYzGQjHAyrre0-TxQhF2I9uJayK2ieNr0-opBI259iQeRk2HNJuXIn9MIhWQ2yw8xUAhA5nCEB3N2iA-G9kP7CNQ/s1400/nubes_de_Altamira_cover_def.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="1400" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXSYrXAtIjCa1fxYryUzajO8UHzUXpoJ048mG0svshdBppTgm8jpWGrim2U9AKK0R44EHTJ23mL2mqwRrViTZr4XoVzaxOKuSYzGQjHAyrre0-TxQhF2I9uJayK2ieNr0-opBI259iQeRk2HNJuXIn9MIhWQ2yw8xUAhA5nCEB3N2iA-G9kP7CNQ/w400-h400/nubes_de_Altamira_cover_def.png" width="400" /></span></a></div><span style="font-size: large;"><br /></span><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: large;"><span style="background-color: transparent; color: #222222; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: georgia;">I</span></span><span style="background-color: transparent; color: #222222; font-family: georgia; white-space-collapse: preserve;"> am very pleased to announce the release of "<a href="https://www.youtube.com/playlist?list=PLlFyPwwL_pGR9X7GwgcuT40JkK7DY62hz" target="_blank">el blanco entre los azules</a>", the first album by nubes de Altamira, my ambient music project. With these pieces I want to pay homage to my hometown of Caracas, Venezuela. I hope you like it!
</span><span style="background-color: transparent; color: #222222; font-family: georgia; white-space-collapse: preserve;">
All tracks written, produced and mixed by Victor Marin Viloria ©</span></span></p><p><span style="font-family: georgia; font-size: large;"><span id="docs-internal-guid-66ba2242-7fff-c695-f373-6c6540724d76"></span></span></p><p dir="ltr" style="background-color: white; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="background-color: transparent; color: #222222; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: georgia; font-size: large;">Cover design: <a href="https://www.behance.net/olg" target="_blank">Olga San José</a></span></span></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-58537117927347522912023-07-19T11:36:00.004-04:002023-07-19T11:36:24.233-04:00Romuald et Juliette: un film qui réchauffe le coeur<p><span><span style="font-size: large;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRinXum53q1s0TM4cxWIXRsOgSPH64fSG24y1jNvu6Mwv3PS-wRgUJOz6Pmrufp3k9T0reGGZXmE8Ovkcs0muGaw5aN8EM8-0d0FSSz9lZd2b8Ri07dJetfTEJOsjt_Q9V44Ugu-8kmeOstweyaQQ0cyfisqG34YuSjBMDZRktdHY7d9IH6RBSDg/s1000/romuald.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="696" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRinXum53q1s0TM4cxWIXRsOgSPH64fSG24y1jNvu6Mwv3PS-wRgUJOz6Pmrufp3k9T0reGGZXmE8Ovkcs0muGaw5aN8EM8-0d0FSSz9lZd2b8Ri07dJetfTEJOsjt_Q9V44Ugu-8kmeOstweyaQQ0cyfisqG34YuSjBMDZRktdHY7d9IH6RBSDg/s320/romuald.jpg" width="223" /></a></span></div><span style="font-family: Arial, sans-serif; font-size: x-large; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><p><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><br /></span></p><p><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Mes films préférés sont ceux qui sont capables de vous donner de la tendresse. Et quand celle-ci est inattendue, le plaisir est encore plus grand. </span><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Romuald et Juliette</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> raconte l’histoire de Romuald Blindet (Daniel Auteuil), un président d'entreprise qui est accusé d'un scandale d'intoxication alimentaire, lorsque Juliette Bonaventure (Firmine Richard), la femme de ménage, est la seul personne qui peut le sauver. Et quand elle fait justement ça, Romuald ne peut éviter de tomber amoureuse. Bien plus qu'un simple commentaire social, </span><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Romuald et Juliette</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> est un film plein de charme qui met en scène une histoire d’amour particulier, à l'air invraisemblable au premier abord, mais qui parvient à vous captiver par son mélange d'humour et beaucoup de sentiment. Richard est une vraie révélation et Auteuil continue à nous montrer son talent histrionique remarquable. </span><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Romuald et Juliette</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> est un cadeau à l’âme.</span></p></span><p></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-80631535995093851122023-06-24T02:07:00.008-04:002023-06-24T02:07:56.233-04:00Rafael Payare and his intelligent take on Mahler’s 5th<p><span style="font-family: Arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLdieGnN8JZxgTr4SSXnI6jgSHuec7OgSsgG0jOTg0JQLxls7IBcjJGOuzNxqy0_N-TybvmuwQuexMu65-jm-jw4jN84UBPblVes8PgEykR-CzLWKDu2Le16nf3K5-99VdRbmn_rU6VtS3_LmRveyU1CCN2nSt76XoQxsiza7VsJm6113deA05Kw/s1656/payare.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1060" data-original-width="1656" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLdieGnN8JZxgTr4SSXnI6jgSHuec7OgSsgG0jOTg0JQLxls7IBcjJGOuzNxqy0_N-TybvmuwQuexMu65-jm-jw4jN84UBPblVes8PgEykR-CzLWKDu2Le16nf3K5-99VdRbmn_rU6VtS3_LmRveyU1CCN2nSt76XoQxsiza7VsJm6113deA05Kw/w400-h256/payare.jpeg" width="400" /></a></span></div><span style="font-family: Arial;"><br /><span style="font-size: 14pt; white-space: pre-wrap;"><br /></span></span><p></p><p>
<span style="font-family: Arial;"><span style="font-size: 14pt; white-space: pre-wrap;">Rafael Payare is a Venezuelan conductor who was appointed the Musical Director of the prestigious Orchestre Symphonique de Montreal in 2019. Payare recently decided to make his debut as a recording artist with Mahler’s monumental fifth symphony.</span></span>
<br /><span style="font-family: Arial; font-size: 14pt; white-space: pre-wrap;">
This work by Mahler holds a special place in my heart. It was the first symphony I experienced live in concert back when I was living in Caracas. Since then, it has changed the way I experience music. And considering that music is one of my strongest passions, it is not outrageous to claim that this work has changed my life.
</span><span style="font-family: Arial; font-size: 14pt; white-space: pre-wrap;">
That being said, I have been listening to numerous versions of this symphony throughout the last decade. And I have to admit that I ended up pleasantly surprised with what Payare and his Canadian orchestra have accomplished.
</span><span style="font-family: Arial; font-size: 14pt; white-space: pre-wrap;">
This new take on Mahler’s fifth sounds fresh, invigorating and astonishingly clear. We need to keep in mind that this symphony is rather delicate, given its propensity to allow conductors to delve into narcissistic approaches, so the fact that Payare was able to not fall into that temptation is very eloquent to his maturity as a conductor.
</span><span style="font-family: Arial; font-size: 14pt; white-space: pre-wrap;">
Payare has certainly come off as an intelligent musician, with an impressive capacity to handle the sonic contrast a work like this demands from every section of the orchestra. My only criticism towards this recording is that at times I get the feeling that there’s an excess in control on the behalf of its conductor. Mahler loves to build worlds that he then just after loves to destroy, so a little bit of chaos actually makes up the essence of this symphony.
</span><span style="font-family: Arial; font-size: 14pt; white-space: pre-wrap;">
Nonetheless I am very satisfied with Payare’s debut in the world of recordings. If his first work has attained such peaks of excellence, then I can't wait for what he has to offer in the near future.</span></p><span id="docs-internal-guid-a108aa4b-7fff-12c8-9aeb-137efc3258f1"><div><span style="font-family: Arial; font-size: 14pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div></span>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-78112606538355485262023-06-19T05:29:00.011-04:002023-06-19T05:29:57.159-04:00Zola: au bonheur du commerce<p><span style="font-family: georgia; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAnA-6QOBYWRAVyExfX2xeOC5eDrGHOEC3eKXbpTrU7BvJEQ0HjOULFfSLMkfz3t5eKtN9TpglYlpoxyGksA2jk4H2CIy-CbF_i0cEk5XnPY-L7nCGJ0CRQhvS0u5XRDrP8yNsBMmxRI7b6qQ5-r4q_lcaP1uKZ4B9KdQBf0GFNFRVjLLnnP0v5Q/s920/zola.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="920" data-original-width="580" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAnA-6QOBYWRAVyExfX2xeOC5eDrGHOEC3eKXbpTrU7BvJEQ0HjOULFfSLMkfz3t5eKtN9TpglYlpoxyGksA2jk4H2CIy-CbF_i0cEk5XnPY-L7nCGJ0CRQhvS0u5XRDrP8yNsBMmxRI7b6qQ5-r4q_lcaP1uKZ4B9KdQBf0GFNFRVjLLnnP0v5Q/w253-h400/zola.jpeg" width="253" /></a></span></div><span style="font-family: georgia; font-size: large;"><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span><p></p><p><span style="font-family: georgia; font-size: large;"><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Comment documenter la naissance des grands magasins à Paris dans la seconde moitié du XXème siècle? En apparence, c' était la mission d’Emile Zola avec </span><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Au bonheur des dames</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. Inscrit dans le cycle des Rougon-Macquart, ce roman-ci adopte la perspective sociale pour décrire l’un des plus grands changements de l'époque. La bourgeoisie gagne du pouvoir et s’occupe de le montrer. Bref, one est témoin de l'émergence d'hommes d'affaires qui profitent de l'émergence de nouveaux clients. Mais le but de Zola n'était pas d'explorer cet aspect commercial. En revanche, il dessine le tissu social que ces nouveaux magasins établissent: le propriétaire, les vendeuses et les clients. C'est dans ces liens que réside le cœur de l'histoire. Le pouvoir de Zola est de nous faire entrer dans ce monde et de devenir des spectateurs fascinés par ce nouveau spectacle.</span></span></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-2348009396265662042022-10-28T02:59:00.007-04:002022-10-28T03:00:48.739-04:00Laurence Equilbey is also rooting for Louise Farrenc<p><span style="font-family: georgia; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6fGhgbJbPbsCnwXcvz3kcK8d5KxkQFdk-J1Oyx_arc-wl7WVuv49qc7rk97oLpub-vb5Smun0eyhqegTJHShU3lNgL2dYzcTYY6LZ2VcWht2DmtKURwK0z8D920gK2F5sLxxcyQRHQEqPxHIUX7a8VQKa_CjnxVCV3af1FJu9A0cLudnabPM/s1440/equilbey.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="795" data-original-width="1440" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6fGhgbJbPbsCnwXcvz3kcK8d5KxkQFdk-J1Oyx_arc-wl7WVuv49qc7rk97oLpub-vb5Smun0eyhqegTJHShU3lNgL2dYzcTYY6LZ2VcWht2DmtKURwK0z8D920gK2F5sLxxcyQRHQEqPxHIUX7a8VQKa_CjnxVCV3af1FJu9A0cLudnabPM/w400-h221/equilbey.jpeg" width="400" /></a></span></div><span style="font-family: georgia; font-size: large; white-space: pre-wrap;"><p>Last year I came across the music of Louise Farrenc. To say that I was impressed is an understatement. As with all discoveries, I enjoyed this gem with the excitement of an explorer that runs into a treasure.
Reading about her wonderful life nourished my initial admiration: amongst 19th century male dominated France, Louise Farrec was able to stand out thanks to her talent, boldness and effort.
In more than one way, she was a contrarian. She decided to write symphonies, opposing the current trend in France at the time of writing operas or operettas. And those symphonies were decidedly closer to the music of that “enemy” of a nation called Germany.
Farrenc’s music is currently having a great moment. Her work is being programmed by the most renowned ensembles and also being recorded by the most prestigious labels. Critics have also been expanding about her life and marvelous music. Everybody seems to be celebrating this unfairly neglected work.
One of those champions is Laurence Equilbey, a French conductor that had been better known as an acclaimed director of choral ensembles. Equilbey is also the founder and conductor of Insula Orchestra, an ensemble period.
With Insula Orchestra, Equilbey has recorded Symphonies No. 1 and 3, for many the greatest piece of music Farrenc ever wrote. What’s really captivating from these recordings, aside from the technical prowess these musicians certainly possess, is the vivacity of this music. There is joy and an irresistible energy amongst these pieces. Very reminiscent of Mendelsohn, Farrenc’s symphonies are delightful in a vigorous yet refined way, which is one of the few French traits of this music.
I can only hope that Farrenc’s music becomes more known, recorded and performed. With this type of recordings, that feat does not look so unattainable. In the meantime, I encourage you to delve into her music so you can join this recent and enthusiastic group of fans.</p></span>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-87618134128046179962022-09-14T04:13:00.000-04:002022-09-14T04:13:05.281-04:00Sous les toits de Paris: le début d’un nouveau cinéma<p><span style="font-family: georgia; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI2uP4NVQU_EcOOwPbXzS2kTtSFX3MSUbZqKE-emgWlXCz1JRYbhbT5KlADCt2Q1lTCCZfUqHCU2E6ZBI4stgnIka35llTz3kkuIvzamRvYtbs-LJlCmA5fh1vGowoQ9ZgBk-VArkNcevnEB3RXymCdtHAPfiQNIsQ6qffDcVqROwGctzBZUc/s800/toits.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="631" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI2uP4NVQU_EcOOwPbXzS2kTtSFX3MSUbZqKE-emgWlXCz1JRYbhbT5KlADCt2Q1lTCCZfUqHCU2E6ZBI4stgnIka35llTz3kkuIvzamRvYtbs-LJlCmA5fh1vGowoQ9ZgBk-VArkNcevnEB3RXymCdtHAPfiQNIsQ6qffDcVqROwGctzBZUc/w315-h400/toits.jpeg" width="315" /></a></span></div><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><p><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">
C’est toujours excitant d'être témoin du commencement d'une nouvelle façon d’art. Réalisé en 1930, </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Sous les toits de Paris</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> est l’un des premiers films sonores. Il raconte l’histoire d’un chanteur de rue qui traverse des problèmes avec le reste de la troupe du film: un ami qui est un voleur et une femme qui pretend d’etre son amoureuse. Comme au tout début, les fautes sont tellement évidentes, mais on peut aussi trouver une sorte de naïveté. En fin de compte, les essais -et les erreurs- sont pleins de charme. En outre, la musique apporte de la tendresse à un film qui est un hommage aux personnes qui habitent dans la Paris des années trente. Il y a plein d'humour aussi, et ça lui donne une certaine légèreté. </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Sous les toits de Paris</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> est une émouvante lettre d’amour au cinéma et à Paris, évidemment. </span></p></span><p></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-85568462647477690022022-08-30T04:52:00.001-04:002022-08-30T04:52:31.955-04:00Ravel, Saint-Saens & Fauré: a trio of beautiful Piano Trios<div><span style="font-size: large;"><span><span style="font-family: georgia;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB1jSnIDkWKbuHtYrO9gbRho3GulGHqR2t_X9q2kIcBex8-tRSxJazHjMIyTXr-5OVAYdmp9CG-BDFzFkq1ojM6SjKdjlfIl4Q10lNt20XlsEBsphamzqMcrxEbUF5jN-i3x-87BcaQvtCSK5U30Wk4Cy1TN-UMFzyGC_sqwS35ig48uGnnB0/s2048/trio.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB1jSnIDkWKbuHtYrO9gbRho3GulGHqR2t_X9q2kIcBex8-tRSxJazHjMIyTXr-5OVAYdmp9CG-BDFzFkq1ojM6SjKdjlfIl4Q10lNt20XlsEBsphamzqMcrxEbUF5jN-i3x-87BcaQvtCSK5U30Wk4Cy1TN-UMFzyGC_sqwS35ig48uGnnB0/w400-h266/trio.jpg" width="400" /></a></div></span></span><span style="font-family: georgia; white-space: pre-wrap;">
Ravel’s Piano Trio is, in my opinion, the most beautiful piece in his entire oeuvre. </span></span></div><span id="docs-internal-guid-ceb56940-7fff-6473-5bd7-9ef0720f4910"><span style="font-family: georgia; font-size: large;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This work has fascinated me since my first listen. There is just so much delicacy and sophistication in the way the instruments play along -on top and even against- each other, that its complexity has kept me in awe to this day.</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Since then, I must confess I have a thing about Piano Trios in general and, in particular, about Piano Trios written by French composers. Discovering Ravel’s led me to Fauré’s, which finally led me to Saint-Saens’.</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Each one of them possesses its particular kind of beauty, a trait that could only be achieved by the technical proficiency of each composer, absolute masters of their craft, especially considering the challenge of writing music for such a special mixture of instruments.</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A Piano Trio embodies a paradoxical entity: on one hand it seems rather simple, but on the other it represents an astonishingly difficult task. The piano and the violin compete for the lead, and the cello also struggles to find a way to stand out while it enacts as the eventual provider of low end. Additionally, if the violin and the cello play together, they can often gain notoriety against the piano. At other instances, if you give too much predominance to the piano, then the piece may come off as a piano work with the rest of the instruments working as mere accompanists. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I could continue setting several escenarios that makes writing for these instruments such a complex endeavor. The greatness of these composers is that they have managed to overcome those problems while delighting you with the final result.</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">It is natural to compare these trios. From my perspective, Saint-Saens’ are the most rhythmic and joyful (written with thirty years in between), Fauré’s the most introspective (composed at the end of his life, under illness and fatigue), and Ravel’s the most sentimental and colorful (due to the effects he imbued this work with). In the end, each one of them is highly distinctive and wonderful in their unique ways. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></span><p><span style="font-family: georgia; font-size: large;"><span style="white-space: pre-wrap;">Piano trios are great to hear because they are usually short and catchy. I really hope you can listen to these marvelous, tiny masterpieces. Each one of them embodies rewarding experiences in beauty.</span> </span></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-21331666543115269152022-08-29T02:25:00.004-04:002022-08-29T02:25:53.110-04:00Le Café de l’Excelsior: éloge de la mémoire<p><span style="font-family: georgia; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWaSAmYCX5tucvryb4dMOnkC1rn5ho12DtFvqQXROSNA2pvPonPtw8AiM_3TV_-KdPMgricxdhROwJaCb0-iOSxGXbU_GfQOVTCuk1MNequHzPMGaIn8qlA5AkRttGJcpBXV_BxESUizbd-ooiox3-O3IGeYA_3H-9TRUO5qks2WQQGTJXO5k/s2266/cafe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2266" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWaSAmYCX5tucvryb4dMOnkC1rn5ho12DtFvqQXROSNA2pvPonPtw8AiM_3TV_-KdPMgricxdhROwJaCb0-iOSxGXbU_GfQOVTCuk1MNequHzPMGaIn8qlA5AkRttGJcpBXV_BxESUizbd-ooiox3-O3IGeYA_3H-9TRUO5qks2WQQGTJXO5k/w248-h400/cafe.jpg" width="248" /></a></span></div><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
Philippe Claudel adopte le regard d’un orphelin de huit ans pour construire un récit de vie. Le narrateur de </span><span style="font-family: georgia; font-size: x-large; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Le Café de l’Excelsior</span><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> est sous la garde de son grand-père, propriétaire d’un bistro, où plein d’hommes viennent pour prendre une petite pause de leurs vies tourmentées. Dans le café, des histoires, opinions et sentiments viennent et vont. Aucun d’eux n’échappent à l'écoute attentive de l'enfant, qui prend la place d’un privilégié spectateur. Après tout, il reçoit une sorte d'éducation sentimentale qui provient d’hommes qui ont vécu des vies plutôt complexes et intenses. Claudel est capable d’explorer les grands sujets de la vie en peu de mots. L’auteur est concise et cible directement les cœurs de ses lecteurs. </span><span style="font-family: georgia; font-size: x-large; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Le Café de l’Excelsior </span><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">est une histoire émouvante et parfois dramatique: un vrai plaisir à lire. </span><span style="font-family: georgia; font-size: x-large;"> </span><p></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-60012624112220372432022-04-19T05:09:00.007-04:002022-04-19T05:09:43.063-04:00Martha Argerich & Daniel Barenboim: great on paper, not so much on record<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNUDTsd0tI5Qqudbh-YdvxE9yJoZ6eh67BMOoacOFu0UMS2jLK_M4549fvCtqHBdXDCemY4kbiWor6YXLsza26uzqC-eLKhhMQUCFWT-T4ODKGtq3rJqVHu_jiQuboRPIXMeOaAjxPqGTQp4_UYqWnLLBR5bouw8qdCWpQ3kFcWARV1Se7_Ug/s3000/claude-debussy-martha-argerich-michael-barenboim-kian-soltani-staatskapelle-berlin-daniel-barenboim-.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: georgia; font-size: large;"><img border="0" data-original-height="3000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNUDTsd0tI5Qqudbh-YdvxE9yJoZ6eh67BMOoacOFu0UMS2jLK_M4549fvCtqHBdXDCemY4kbiWor6YXLsza26uzqC-eLKhhMQUCFWT-T4ODKGtq3rJqVHu_jiQuboRPIXMeOaAjxPqGTQp4_UYqWnLLBR5bouw8qdCWpQ3kFcWARV1Se7_Ug/w400-h400/claude-debussy-martha-argerich-michael-barenboim-kian-soltani-staatskapelle-berlin-daniel-barenboim-.jpg" width="400" /></span></a></div><span style="font-family: georgia; font-size: large;"><br /><span style="white-space: pre-wrap;"><br /></span></span><p></p><p><span style="white-space: pre-wrap;"><span style="font-family: georgia; font-size: large;">Martha Argerich and Daniel Barenboim are arguably one of the greatest pianists alive. And they have lots of things in common: they are both from Argentina, they’re about the same age, they have been friends since they were kids, and they have also been playing music together ever since. </span></span></p><span id="docs-internal-guid-b4cbcb08-7fff-cb18-02ce-500d60f084c9"><span style="font-family: georgia; font-size: large;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">For any music lover, whenever these two giants play together feels like a celebration of talent and art. Listening to them feels as if history is being made. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I am passionate about French composers and I also love Argerich’s extraordinary playing, so when I found out she had recorded Debussy’s </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Fantaisie for Piano and Orchestra</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> alongside Barenboim, my expectations were understandably high. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The occasion is certainly special: it is the first time Argerich recorded this unfairly unknown piece by Debussy, one that many consider to be his Piano Concerto. The composer was so critical about his own piece that he actually prohibited playing it during his lifetime.</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">When you listen to it, you can understand the severity of his decision, since you can hardly find the cerebral, precise and refined Debussy that came to be at his prime. Nonetheless this does not mean that the piece is bad -it is actually beautiful. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The actual performance of the </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Fantaisie </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">is decent. Argerich’s technical command is flawless, and Barenboim’s conducting is impeccable. However, it doesn’t sound extraordinary. The mixing is inconsistent (the high register in the piano comes off inconsistent, at times annoying, and the low one a bit muffled). The piano and orchestra does not seem to sound as an entity. The piece at times gets to be joyful, but it does not quite reach considerable levels of excitement. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The real gems of this album are the chamber pieces that Barenboim performed at the piano: Debussy’s </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Violin and Cello Sonatas</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. One can find a warm intimacy and a refined sort of beauty. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Debussy’s </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">La mer</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> sounds okay, but that is precisely the problem that I had while listening to this entire record: it looked extraordinary on paper, given the status of the musicians involved, but it does not sound like an exceptional piece of music. </span></span></span>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-84545000527255853402022-02-01T07:14:00.008-04:002022-02-01T07:14:45.927-04:00Antéchrista: l’amertume devient charmante<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg_xVgPc1xzNAFijZgg7meZNA824zQSjc4jJellKGPQ0i2MTbAk5KIOniw4rxVMdGnZYfzYuNoWImyYGFQ7CdK_-I-Y-3OXBbNmI8dIaW34BJo6MrMA5KpN9Uefv8GIraR2zlPt2PubshVMQEXsQcBbNNFktvG3qzO5iHoc5KMGD3_-lusTfIQ=s499" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="309" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEg_xVgPc1xzNAFijZgg7meZNA824zQSjc4jJellKGPQ0i2MTbAk5KIOniw4rxVMdGnZYfzYuNoWImyYGFQ7CdK_-I-Y-3OXBbNmI8dIaW34BJo6MrMA5KpN9Uefv8GIraR2zlPt2PubshVMQEXsQcBbNNFktvG3qzO5iHoc5KMGD3_-lusTfIQ=w248-h400" width="248" /></a></div><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: Arial; font-size: 14pt;">
</span><span style="font-family: georgia; font-size: large;">L’adolescence bien pourrait être une histoire d’horreur. On ne sait vraiment qui l’on est, on a l’air bizarre, on se sent assez inestable. Bref, c’est un âge compliqué. Dans </span></span><span style="font-family: georgia; font-size: large;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Antéchrista</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, Amélie Nothomb nous raconte les vies contrastantes de deux jeunes femmes en encapsulant les peines de l’adolescence. D’un côté, on a la frustration d’une adolescente timide qui fait tout ce qu’elle peut pour se faire des amies, et d’un autre côté on a une adolescente qui est très habile dans l’art de la manipulation. Quand on lit ce roman-ci, on ne peut que s’identifier avec les pénuries de Blanche et s’étonner avec les trucs de Christa. La seule faiblesse du récit est la construction des personnages des parents de Blanche, qui terminent comme de simples caricatures. Néanmoins, </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Antéchrista</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> est un roman captivant, plein d'humour et d’une sorte de tristesse fascinante. </span></span><p></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-86774216525811095142022-01-13T04:44:00.007-04:002022-01-13T04:45:19.059-04:00Honeck gets Brahms right<p><span style="font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjVi87dK6QXc94ceBfqgqty5zO0fOvclYFDOOtw9OmAGY-I4w_jg6XyMU1fAyAdnSfLy7uAXW7ERPOj55z9ZqgHnjNpNojEjG5Pv8098SWRDwiHVIEslkD35arWGO_prhARO0KWkY0-k2gB-MlnOjtUnoq_wyn5rWNfobZuFrj8Gyp_SGYSF-M=s500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjVi87dK6QXc94ceBfqgqty5zO0fOvclYFDOOtw9OmAGY-I4w_jg6XyMU1fAyAdnSfLy7uAXW7ERPOj55z9ZqgHnjNpNojEjG5Pv8098SWRDwiHVIEslkD35arWGO_prhARO0KWkY0-k2gB-MlnOjtUnoq_wyn5rWNfobZuFrj8Gyp_SGYSF-M=w400-h400" width="400" /></a></span></div><span style="font-family: Arial; font-size: large; white-space: pre-wrap;">
Manfred Honeck is certainly having a great moment. Along with his main ensemble, the Pittsburgh Symphony, he has been releasing noteworthy recordings that have propelled them as one of the leading American orchestras.</span><p></p><span id="docs-internal-guid-a9fb9acd-7fff-e5a4-ab35-51d853b18d2b"><span style="font-size: large;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Their most recent recordings of Beethoven and Tchaikovsky sound great. The one that I didn’t like was their take on Beethoven’s epic Ninth. I was taken aback by this performance, since I had enjoyed their Eroica so much. </span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Nonetheless, I started to read great things about their most recent endeavor: Brahms’ 4th symphony. Every single critic I follow was hailing this new recording amongst the best of this year.</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Even when that picked my interest I remained cautious: Brahms’ 4th symphony is one of my favorite pieces of music. Sometimes I even feel like it's the best symphony ever written. The thing is that I have such a high esteem of this work, that every time I hear a new version I end up almost unfailingly disappointed. </span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I finally gathered the courage to listen to Honeck’s interpretation of this symphony and I have to join the chorus of praise: it is simply outstanding. This work exudes anguish in the most romantic way possible, a sentiment that even evolves into despair. The dynamic range has also been handled proficiently, and the balance between the different sections of the orchestra is nothing but delightful.</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I have always considered Carlos Kleiber’s version as the definitive reading of this work, but now that I hear Honeck’s approach, I begin to have second thoughts.</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Yes, it is that good, trust me. </span></span></span>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-15878411630372415082021-12-17T07:49:00.003-04:002021-12-17T07:49:21.012-04:00Best Music of 2021<p><span style="font-family: georgia; font-size: x-large; white-space: pre-wrap;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhZ8B14h7Z6DC3fPVUyW6Zlyd94_Bx-c0QH_V2-6-A6T-CoLoulIbAmoeWN5acWeRTANuYGFoWiDLa0vjiQr6u8kt7hcF5qZmhBWXLT9UKn3w6_lfMuY5kTar248ExistrtZzpRQ07gb0cu5kfRDgD-1DiiHH1fpR8E1CNXQWXqrAjZ3enmK8U=s900" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="900" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhZ8B14h7Z6DC3fPVUyW6Zlyd94_Bx-c0QH_V2-6-A6T-CoLoulIbAmoeWN5acWeRTANuYGFoWiDLa0vjiQr6u8kt7hcF5qZmhBWXLT9UKn3w6_lfMuY5kTar248ExistrtZzpRQ07gb0cu5kfRDgD-1DiiHH1fpR8E1CNXQWXqrAjZ3enmK8U=w400-h400" width="400" /></a></div><br />2021 has been a great year for music. Considering the hard moments we had to face due to the pandemic, a lot of great albums provided comfort and calmness. These are the records that I enjoyed the most. I hope you like them as well.<p></p><span id="docs-internal-guid-e216809d-7fff-5c2c-a893-c55c09c281bf"><span style="font-family: georgia; font-size: large;"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Promises </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">- Pharoah Sanders, Floating Points, London Symphony Orchestra</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Brahms: Symphony No. 4</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> - Pittsburgh Symphony Orchestra, Manfred Honeck</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Donda </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">- Kanye West</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">An evening with Silk Sonic</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> - Silk Sonic</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Friends that break your heart </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">- James Blake</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Palais d’argile</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> - Feu! Chatterton</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Collapsed in sunbeams</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> - Arlo Parks</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Scissortail </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">- James McAllister</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Playground in a lake</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> - Clark</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The nearer the fountain, more pure the stream flows</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> - Damon Albarn</span></p><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Tyshawn & King</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> - King Britt, Tyshawn Sorey</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Of all joys</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> - Attica Quartet</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Music for psychedelic therapy</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> - Jon Hopkins</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Refuge </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">- Devendra Banhart, Noah Georgeson</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">a softer focus</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> - Claire Rousay</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Julius Eastman, Vol. 1: Feminine</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> - wild Up</span></span></span>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-74871739232094636612021-11-30T03:24:00.006-04:002021-11-30T03:25:39.218-04:00Hillary Hahn plays a precious Poem for the violin<p><span style="font-family: georgia; font-size: large;"><span style="white-space: pre-wrap;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidCydiMRZH8FLnEjxd8QnIXCVnJeDE3pG5EMpOI-1yDVxHSqE6IIzVi_nDclN7xHwCAtI0ZwKHfFLhGUqtz1Xm8xiEjuVnaPsOPTq-pyB1SO7q6mcGgcB4Axfrry_4IjM0Svtb1g/s1100/paris.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1100" data-original-width="1100" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidCydiMRZH8FLnEjxd8QnIXCVnJeDE3pG5EMpOI-1yDVxHSqE6IIzVi_nDclN7xHwCAtI0ZwKHfFLhGUqtz1Xm8xiEjuVnaPsOPTq-pyB1SO7q6mcGgcB4Axfrry_4IjM0Svtb1g/w400-h400/paris.jpg" width="400" /></a></span></div><span style="font-size: large;"><span style="font-family: georgia;"><br />How does a chant to melancholy sound like?<br /></span><span style="font-family: georgia; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">
<span style="white-space: pre-wrap;"><br /></span></span></span><div><span style="font-size: large;"><span style="font-family: georgia; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">French composer Ernest Chausson offers a potential answer with his </span><span style="font-family: georgia; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Poème</span><span style="font-family: georgia; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, a work for violin and orchestra. Considered by many as his most beloved and performed oeuvre, this piece is concise, delicate and heartwarming.
</span><span style="font-family: georgia; white-space: pre-wrap;">
A student of Massenet and Franck, Chausson was a composer who thrived in the salon atmosphere of Paris’ fin de siècle. And while he was respected amongst his colleagues, from which Debussy’s high praise definitely stands out, he was not considered a composer per se, since his interests in painting, travelling and living well took plenty of his energy and time.
</span><span style="font-family: georgia; white-space: pre-wrap;">
Chausson was initially asked by Eugène Ysaÿe to compose a Violin Concerto, but he felt too intimidated by the task. Instead, he promised to write a “shorter work. It will be in very free form with several passages in which the violin plays alone.”
</span><span style="font-family: georgia; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
The result was finally titled </span><span style="font-family: georgia; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Poème </span><span style="font-family: georgia; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">after many changes. It is rhapsodic at times and it comes and goes through different moods. Overall, the piece exudes a certain sadness, eloquent of its composer’s own emotional turmoils. (Chausson died at the age of 44 from an accident riding his bike, and it has been long rumored that suicide was it cause.)
</span><span style="font-family: georgia; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
While </span><span style="font-family: georgia; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Poème </span><span style="font-family: georgia; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">has been recorded many times, Deutsche Grammophon has recently released a magnificent version in </span><span style="font-family: georgia; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Paris</span><span style="font-family: georgia; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, with Hillary Hahn as the soloist and Mikko Frank at the helm of the Orchestre Philharmonique de Radio France.
</span><span style="font-family: georgia; white-space: pre-wrap;">
Hahn’s virtuosic feats are on full display in this recording, her playing is both subtle and refined, which suits appropriately with the Frenchness of this music. Additionally, Franck’s command of balance might be this album’s strongest feature.
</span><span style="font-family: georgia; white-space: pre-wrap;">
Franck has been able to manage the orchestra’s dynamic range and its plethora of textures that pays respect to the work’s accentuations. This Finnish composer has excelled at assigning the preponderant roles to both soloist and orchestra where they truly need it.
</span><span style="font-family: georgia; white-space: pre-wrap;">
I have found this new version of Poème remarkably exquisite in the sense that accentuates the aesthetic and emotional properties of this gorgeous piece of music, one that makes us wonder why Chausson didn’t make more music. </span></span><p></p><span id="docs-internal-guid-8caed611-7fff-756b-8e9d-d99830fa5efd"><div><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div></span></div>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-23972069186012308952021-10-28T06:52:00.001-04:002021-10-28T06:52:01.537-04:00L’enfant de Noé: la naissance de l’espoir<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDU6FDR5XsM1lhqX-9SbIUamUPjoULJaQVmlGhTF5DMCwwQztWKGZj9EyMEveq3OHNb7pWyW0bBySMS-H-KdDOsVdxgj4KPnfzrw6fZ-hBiYyBA07XpDLOH-R_aKBIoscjfvH4eQ/s2048/noe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1479" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDU6FDR5XsM1lhqX-9SbIUamUPjoULJaQVmlGhTF5DMCwwQztWKGZj9EyMEveq3OHNb7pWyW0bBySMS-H-KdDOsVdxgj4KPnfzrw6fZ-hBiYyBA07XpDLOH-R_aKBIoscjfvH4eQ/w289-h400/noe.jpg" width="289" /></a></div><br /><span style="font-family: georgia; font-size: large;"><br /></span></div><span style="font-family: georgia; font-size: large;">Quand je cherchais des livres en français dans les librairies, j’ai toujours regardé les livres minces d’Eric Emmanuel Schmitt. Ils attiraient mon attention mais je ne finissais pas de les acheter. Néanmoins, j’ai trouvé un exemplaire de L’enfant de Noé et j’ai décidé de le lire enfin. Il raconte l’histoire de Joseph, un enfant juif, qui lors de la Seconde Guerre Mondiale a été sauvé par le Père Joseph, un prêtre catholique. Lire cette histoire m’a touché, excité et ému. On est témoin d’une solidarité et générosité qui transcendent les religions et les croissances. A fin de comptes, l'humanité et une seule et c’est bien de plus ce qui nous joint que ce qui nous sépare. En sauvant Joseph et le reste des enfants juifs, le Père Joseph nous montre qu’on peut croire encore dans l’espoir. C’est la première fois que je lis un Schmitt, mais je suis absolument convaincu qu’elle ne sera pas la dernière. </span>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-72188548134149555482021-09-30T04:52:00.005-04:002021-09-30T04:52:52.666-04:00Mark Bebbington: a charming Poulenc interpreter<p><span style="font-family: georgia; font-size: large;"><span style="white-space: pre-wrap;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifr8LqZYKbvd5VpVTEub4lQpPA4hlIHZKyj3sequCU18aUCdUKB1sb4ziIl9aLcdgXs5aX1NoHnrvJK48DYvRxcaeLJ_yq-EhSkXoiqcB3tbaLUQRT0hxwiFx27ikB-koA2npkvQ/s1414/poulenc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1414" data-original-width="1414" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifr8LqZYKbvd5VpVTEub4lQpPA4hlIHZKyj3sequCU18aUCdUKB1sb4ziIl9aLcdgXs5aX1NoHnrvJK48DYvRxcaeLJ_yq-EhSkXoiqcB3tbaLUQRT0hxwiFx27ikB-koA2npkvQ/w400-h400/poulenc.jpg" width="400" /></a></span></div><span style="font-family: georgia; font-size: large;"><br />Francis Poulenc was a composer of moods. And these were often luminous, refined and beautiful. </span><p></p><span id="docs-internal-guid-f9110ab0-7fff-23a2-9dad-d2387f3e8871"><span style="font-family: georgia; font-size: large;"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">That being said, when it comes to performing Poulenc, not only does technical proficiency is required -a good portion of attitude is also essential. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Mark Bebbington is a renowned pianist who has played alongside prestigious orchestras around the world. Known as an advocate of British music, he has now devoted his remarkable talent to Poulenc’s music, recording a couple of albums with the Royal Philharmonic that feature both known and unknown gems: his </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Piano Concerto</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> and </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Concert Champêtre</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> on one hand, and </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Aubade </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">and his </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Sextet </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">on the other.</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">On the first album, Bebbington offers a smart and sensual reading of the main concerto Poulenc wrote for the piano. On the second, Bebbington gets decidedly more intimate with a series of works written for chamber ensembles or smaller orchestras. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Sextet</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> is the piece that stands out primarily because of its joy and vivacity. Poulenc was famously dismissive about this work, but while hearing what Bebbington and his fellow musicians have accomplished, one can’t help but think that the composer was unfairly hard on himself. This is a piece that should be played and recorded more often. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /><br /></span></p><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Royal Philharmonic has proven to be a competent match for Bebbington’s impeccable abilities. This ensemble offers a certain vigor and delicacy that is often needed to embark on this demanding set of Poulenc pieces. On the podium, Jan Latham-Koenig has been able to have a good grasp on balance and clarity, a fundamental trait of French music. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Poulenc’s penchant for crafting delicate yet sensual music is definitely exploited in this recording. Bebbington and his troupe play with energy and élan, which in the end is always appreciated. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">With this pair of albums dedicated to one of France’s most remarkable musical figures of the twentieth century, Bebbington confirms his unique voice as a pianist and, one could also say, as a militant of French music. </span></span></span>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-40920290826466233192021-08-27T08:29:00.003-04:002021-08-27T08:29:36.601-04:00L’adversaire: la culpabilité partagée<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD_zAujDi9vSqNo3MT3uAFjl_KdJ8FeVe_SU0lqvjsPx8ZkvOO9ssGUWcz9GHVLP5aBZ2iSoDB_x090TOHTRR4niVbn9U1VQMRZNegNoNF8VJoo9JLkgvbdMoYvWkkuIbYqLp7Pw/s2048/ladversaire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1243" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD_zAujDi9vSqNo3MT3uAFjl_KdJ8FeVe_SU0lqvjsPx8ZkvOO9ssGUWcz9GHVLP5aBZ2iSoDB_x090TOHTRR4niVbn9U1VQMRZNegNoNF8VJoo9JLkgvbdMoYvWkkuIbYqLp7Pw/w242-h400/ladversaire.jpg" width="242" /></a></div><span style="font-family: georgia; font-size: x-large;"><br />Un homme tue sa femme, ses enfants et ses parents, puis tente de se suicider. La seule mort qu'il n'obtient pas c'est la sienne, il doit donc vivre avec sa culpabilité et ses mensonges. Le meurtrier multiple a trompé tout le monde: il leur a fait croire qu'il était médecin, qu'il travaillait pour l'OMS, qu'il se rendait à des congrès. Mais rien de tout cela n'était vrai. Pourquoi? Pourquoi a-t-il menti? Pourquoi les a-t-il tués? Comment a-t-il réussi à mentir à tout le monde? L'écrivain Emmanuel Carrère décide de le contacter pour apporter des réponses à toutes ces questions. La tâche de Carrère a des implications morales et vouloir lire cette histoire aussi. Du moins, c'est ce que j'ai ressenti en lisant le livre. Nous voulons vraiment savoir ce qui a motivé ce type à commettre une telle tragédie? Ce n'était pas facile de lire <i>L'adversaire</i>, je dois le dire. Et la vérité est que je ne sais pas si «facile» peut résumer mon expérience en tant que lecteur. Parfois, je ressentais un intérêt irrépressible à découvrir ce qui s'était passé, c'est vrai, mais à d'autres moments j'avoue que je me sentais un peu coupable. <i>L'adversaire</i> est un portrait de l'humanité, celui qui englobe toutes ses nuances. Carrère a réussi à écrire un témoignage extraordinaire qui génère, en même temps, confusion, fascination et répudiation. Je ne crois pas qu'il y ait un autre livre qui m'ait fait ressentir cela.</span><p></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-39667899985129654402021-07-31T02:27:00.005-04:002021-07-31T02:27:43.883-04:00Gabriela Montero plays Ravel<p><span style="font-family: georgia; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxAPgFWyoAtDTGuVBksy12QUw0K-XxU1Xicoigx3V-Z1Ey426d2LkJmbkHrtJT-J_D8hdgVXXkU2O4pXSom0ISLItd3z0S-2QMhlRfZSNanNK4VLEc8It_nF65n0F1Y7m_cDJnUg/s600/gabymontero.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxAPgFWyoAtDTGuVBksy12QUw0K-XxU1Xicoigx3V-Z1Ey426d2LkJmbkHrtJT-J_D8hdgVXXkU2O4pXSom0ISLItd3z0S-2QMhlRfZSNanNK4VLEc8It_nF65n0F1Y7m_cDJnUg/w400-h400/gabymontero.jpg" width="400" /></a></span></div><span style="font-family: georgia; font-size: x-large; white-space: pre-wrap;"><p>Gabriela Montero is arguably the finest Venezuelan pianist. Her technical proficiency and talent for improvising has made her one of the most remarkable virtuosos in classical music. She has performed with the most prestigious conductors and orchestras around the world.</p></span><p></p><p><span style="font-family: georgia; font-size: x-large; white-space: pre-wrap;">
Venezuela is no strange when it comes to producing pianists of the highest order. Montero’s obvious precedent would be Teresa Carreño, one of the most respected piano players of the 19th century, revered by many of the greatest composers of her time.
</span><span style="font-family: georgia; font-size: x-large; white-space: pre-wrap;">
One of my first encounters with Montero’s astonishing playing was at a concert in which she performed Ravel’s Piano Concerto in G Major, with the Orquesta Sinfonica Simon Bolivar, conducted by Lorin Maazel. That evening was certainly memorable, since I ended up in awe of her outstanding competence. A few months ago my passion for Ravel made me discover a recent recording of that concerto, so I just couldn’t wait to hear it.
</span><span style="font-family: georgia; font-size: x-large; white-space: pre-wrap;">
“Exciting”, that is how I would summarize her reading of the already vivacious work Ravel wrote inspired by the jazz he heard in his visit to the United States. Ravel pays obvious homage to Gershwin, but it is the Frenchman’s penchant for orchestration and harmony that makes this Concerto a unique piece in the repertoire.
</span><span style="font-family: georgia; font-size: x-large; white-space: pre-wrap;">
Montero plays this concerto with joy, and her virtuosity was expectedly impeccable. There are just a couple of issues with this recording. The first is its sound quality. The mixing is just not right: the percussion at times sounds muffled, the strings are missing some brightness, and there are certain sections (violas, cellos and basses) that are too weak.
</span><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
As to Montero’s playing, my only remark is that I missed some refinement, especially in its beautiful </span><span style="font-family: georgia; font-size: x-large; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">adagio</span><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. There is a lot of sentiment there, truth be told, but if there is one trait present throughout the entire Ravel oeuvre is elegance, and I’m afraid I found very little of it in this album.
</span><span style="font-family: georgia; font-size: x-large; white-space: pre-wrap;">
The third and last movement seems to pick up some of those flaws. It is so filled with energy that one overlooks the weak points in the previous movements. Hearing it definitely put a smile on my face, and since this album definitely made me happy to revive that unforgettable Montero moment, I recommend it joyfully.</span></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-88141696365863747702021-06-21T05:40:00.005-04:002021-06-21T05:40:24.228-04:00Les oubliés du dimanche: l’amour s’écrit dans le passé<p><span style="font-family: georgia; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDQmheaMEZ02qIjipfKKGIPL5w0ElmGh1rdCkfCfMCweDpN3cuEe7vr8donNkW_fAFwKdGvc9mNA9S6mMoyKtdAtKDCIW6G91984Q48NTX-xnwGTigMBwvPYtAZz3s4PwTJushWw/s2048/perrin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1266" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDQmheaMEZ02qIjipfKKGIPL5w0ElmGh1rdCkfCfMCweDpN3cuEe7vr8donNkW_fAFwKdGvc9mNA9S6mMoyKtdAtKDCIW6G91984Q48NTX-xnwGTigMBwvPYtAZz3s4PwTJushWw/w248-h400/perrin.jpg" width="248" /></a></span></div><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
Le talent majeur de Valérie Perrin, à mon avis, c’est son regard. Quand elle pose ses yeux aux autres, elle est capable de rédiger certains profils qui sont pleins de sensibilité. </span><span style="font-family: georgia; font-size: x-large; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Les oubliés du dimanche</span><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> est une autre preuve de que ses romans sont des excuses pour explorer des mondes lointains, étrangers mais qu’elle nous amène pour les devenir proches et intimes. Dans ce roman-ci, Perrin raconte l’histoire de Justine, une jeune aide-soignant qui s’occupe d’Hélène, une femme qui a vécu une émouvant histoire d’amour avec la Seconde Guerre Mondiale de contexte. Inspirée par Hélène, Justine décide de changer sa vie et de la remplir de sens. </span><span style="font-family: georgia; font-size: x-large; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Les oubliés du dimanche </span><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">nous posent une leçon: il faut profiter du présent, même si c’est dur et douloureux, parce qu' à la fin ça vaut bien la peine. </span><p></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-62001716084220756362021-05-11T07:55:00.005-04:002021-05-11T07:55:57.889-04:00Stephen Walsh's (flawed) take on Debussy<p><span style="font-family: georgia; font-size: large;"><span style="white-space: pre-wrap;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2lu7u2SnhpcufcZ6lHvcmCwXH0kz_laf_KZDJjk0JaQH-IwO3LrB39LKMl-TCbuja6HjPQ4vmg59unVyfKhYL-kIC4WnnsQ0py6gamxV4tT7a1sBumARgQdmec-_bMa2RP1TzpQ/s2048/debussy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1316" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2lu7u2SnhpcufcZ6lHvcmCwXH0kz_laf_KZDJjk0JaQH-IwO3LrB39LKMl-TCbuja6HjPQ4vmg59unVyfKhYL-kIC4WnnsQ0py6gamxV4tT7a1sBumARgQdmec-_bMa2RP1TzpQ/w258-h400/debussy.jpg" width="258" /></a></span></div><span style="font-size: large;"><span style="font-family: georgia;"><br />Claude Debussy has always been an elusive composer for me. Not only musically, since I have always found his works -even his most celebrated- hard to get into, but also personally: most of the information I have read about his life is disconcerting -and far from flattering.<br /> </span><span style="font-family: georgia; white-space: pre-wrap;">
Nonetheless, Debussy plays a towering role in French music, so if you’re passionate about it you can’t really ignore him. Besides, there are not a lot of reliable biographies on this enigmatic composer, so even if you are willing to know more from him, you don’t really have a lot to choose from.
</span><span style="font-family: georgia; white-space: pre-wrap;">
That being said, as soon as I found out that Stephen Walsh had written a book on Debussy, I was looking forward to reading it. However, it has not been not warmly received, which I found perplexing since I greatly enjoyed his essential two-part biography on Igor Stravinsky.
</span><span style="font-family: georgia; white-space: pre-wrap;">
I decided to read it because I have always believed that it is better to read something, however flawed, than to stay ignorant about a certain issue. Unfortunately, I have to agree on almost every flaw certain critics have pointed out.
</span><span style="font-family: georgia; white-space: pre-wrap;">
First of all, I couldn’t identify the type of book I was reading. I didn’t know if it was a plain biography or a more technical commentary about his works. And Walsh is aware of this. He even brought it up on the Introduction, but in the end it didn’t make any difference.
</span><span style="font-family: georgia; white-space: pre-wrap;">
The prose is inconsistent: certain passages are eloquent of Walsh’s scholarship, but others are just weak. The author comes off repetitive and what he keeps bringing up is not really that interesting. He also comes up with too many metaphors or analogies that are hard to comprehend. His comparisons of Debussy’s works to the Nouvelle Vague, for example, are bewildering.
</span><span style="font-family: georgia; white-space: pre-wrap;">
Walsh does not bring anything new to the table either. His remarks on Debussy’s paradoxical link with Wagner has been discussed so much that reading it once again ends up archaic. I didn’t truly discover anything fresh or insightful about Debussy’s life or work either, which is something that I always expect from a biography.
</span><span style="font-family: georgia; white-space: pre-wrap;">
Debussy is a subject that is not hard to articulate. Maybe Walsh failed at profiling him because of his inherent nature. I just hope that maybe someone will pay justice to Claude Debussy and can write a book at the level of his importance in music history. </span></span><p></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-75939688827692135042021-04-30T06:43:00.002-04:002021-04-30T06:43:52.038-04:00The Europeans: la naissance de l’idée d’Europe<p><span style="font-family: georgia; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYwdGAdJZk0D67Bird6USInoJo3qRxbqPD1ydGn7AVSdWvapHKj4FZpHVsQ0p1z_wOFJyOTNWN_MEzardxXYJhROBBX_oEjpcKvis1xSbOnjvCAu95Mt0Jme-4mrk1Oto8nGN4jg/s2048/figes.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1347" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYwdGAdJZk0D67Bird6USInoJo3qRxbqPD1ydGn7AVSdWvapHKj4FZpHVsQ0p1z_wOFJyOTNWN_MEzardxXYJhROBBX_oEjpcKvis1xSbOnjvCAu95Mt0Jme-4mrk1Oto8nGN4jg/w263-h400/figes.jpg" width="263" /></a></span></div><span style="font-family: georgia; font-size: x-large; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
Natasha’s Dance, </span><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">écrit par Orlando Figes, est l’un des mes livres fondamentaux, une œuvre qui fonctionne comme un parfait résumé de l’histoire culturelle de Russie. En le lisant on s’amuse, on s’étonne, et on apprend beaucoup évidemment. C’est pour ça que quand j’ai su que Figes avait écrit </span><span style="font-family: georgia; font-size: x-large; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Europeans</span><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, une sorte de récit de l’histoire d’Europe pendant la seconde moitié du vingtième siècle, j’avais très hâte de la lire. Figes utilise les vies entrelacées de la chanteuse Pauline Viardot, son mari Louis Viardot et l’écrivain Ivan Turgenev pour raconter le récit du développement de la culture cosmopolite d’Europe. À cet égard il a été capable de partir dès le progrès de la technologie de l’époque pour analyser son impact sur les métiers culturelles de la littérature, le théâtre, la musique et la peinture. </span><span style="font-family: georgia; font-size: x-large; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Europeans</span><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> est très illustrative aussi sur le sujet de l'idée de l'Europe comme entité. Les avancements dans le secteur du transport ont permis le rapprochement entre pays et cultures pour enfin créer la notion actuelle d'Europe comme un mélange de perspectives, habitudes et attitudes. L'attribut le plus remarquable de ce livre, à mon avis, est de faire ce type d'analyse en utilisant le component humain de ces trois personnages. </span><span style="font-family: georgia; font-size: x-large; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Europeans</span><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> n'est pas le typique livre d’histoire, on peut le lire comme un roman intéressant dont l'Europe commence à se montrer comme beaucoup plus d'un continent. Figes l’as décrit comme un concept fascinant.</span><p></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-38195997849009063722021-04-09T07:33:00.004-04:002021-04-09T07:34:39.201-04:00Vikingur Olafsson's "Debussy - Rameau": a pairing of French giants<p><span style="font-family: georgia; font-size: large;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT5_-YFuQhk_heA_IhGMOxF8FIcPoK8oo0B1HJk7ae-fskuYvEMr8c9cWJGi8eeYaJa_7fSjIjTs4GbbOCx-CdTaVzKCg6F-9g61enEca1jDDBfnfgFiZ5FtzFbxHOGRt2za6D4Q/s1400/olaffson.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT5_-YFuQhk_heA_IhGMOxF8FIcPoK8oo0B1HJk7ae-fskuYvEMr8c9cWJGi8eeYaJa_7fSjIjTs4GbbOCx-CdTaVzKCg6F-9g61enEca1jDDBfnfgFiZ5FtzFbxHOGRt2za6D4Q/w400-h400/olaffson.jpg" width="400" /></a></span></div><span style="font-family: georgia; font-size: large;"><br />When the acclaimed Icelandic pianist Víkingur Ólafsson first released <span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Debussy-Rameau</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, the praise seemed to be omnipresent and unanimous. Every classical music critic or blogger that I admire was celebrating an album that puts together two of the most important French composers: Claude Debussy and Jean-Philippe Rameau.
</span></span><span style="font-size: large;"><span style="font-family: georgia; white-space: pre-wrap;">
The first thing that got my attention was both the quantity and the quality of the pieces that Ólafsson decided to include. There are 28 tracks, and their type definitely excludes the obvious selection.
</span><span style="font-family: georgia; white-space: pre-wrap;">
The pairing is undoubtedly daring. Ólafsson has put together two composers that a lot of people have a hard time putting together even in the same sentence. Nonetheless, if there is a common thread that unites them, it would be their relevance, not only in French music, but also in classical music in general.
</span><span style="font-family: georgia; white-space: pre-wrap;">
Jean-Philippe Rameau was one of the most remarkable French composers of the 18th century. His domain of opera, dance pieces and music for the harpsichord made him the natural successor of Jean-Baptiste Lully, another giant of French music. Claude Debussy ignited a revolution at the end of the twentieth century by crafting music that was opposed in many ways to the dominant music of the time: the one made by the Germans.
</span><span style="font-family: georgia; white-space: pre-wrap;">
Ólafsson’s greatest feat consists of seamlessly playing music made by two composers that not only were born almost two hundred years apart, but are also distanced by their stylistic qualities. The astonishingly uniform tone that unites all the pieces almost makes one think that this is the work of only one composer.
</span><span style="font-family: georgia; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
The order in which these pieces were arranged is also something that should not be underestimated. When you listen to this album, you feel some sort of cinematic attribute. The pace of the slower tunes ends up balanced by the more up-tempo tracks. In that way </span><span style="font-family: georgia; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Debussy-Rameau</span><span style="font-family: georgia; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> holds your interest -and excitement- in a very well achieved way.
</span><span style="font-family: georgia; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">
Alex Ross stated that the pillars of French music are charm, elegance and clarity. </span><span style="font-family: georgia; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Debussy-Rameau</span><span style="font-family: georgia; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> is definitely eloquent of those features. The music may have been written already possessing those traits, but the performance of Ólafsson is what heightens them.
</span><span style="font-family: georgia; white-space: pre-wrap;">
This album is an absolutely endearing experience, so I encourage you to delve into it -you will be rewarded with pure beauty.</span></span><p></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-46452143490165861052021-03-26T07:18:00.004-04:002021-03-26T07:18:16.559-04:00De sang-froid: un récit qui refroidit votre âme<p><span style="font-family: georgia; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: georgia; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0RuYlFeaYFwOGWrDl9852396PfyJCR5f17fVfa8QU1ooyH7TEgKfsc3W2GhxBbtDovzsNlMmLjTl3grY434wi9THmFjazFp3JcwWC3Z59vqt1jsbj2YcUa_EdgPQFd2TbYalqDQ/s2048/capote.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1243" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0RuYlFeaYFwOGWrDl9852396PfyJCR5f17fVfa8QU1ooyH7TEgKfsc3W2GhxBbtDovzsNlMmLjTl3grY434wi9THmFjazFp3JcwWC3Z59vqt1jsbj2YcUa_EdgPQFd2TbYalqDQ/w242-h400/capote.jpg" width="242" /></a></span></div><span style="font-family: georgia; font-size: x-large; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><p><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">
J’étais toujours fasciné par la littérature policière. Je sens que quand je lis un roman qui appartient à ce genre-ci je regarde un film trépidant. Le cas est certainement plus spécial quand je lis une histoire vraie. Truman Capote est considéré un pionnier de la littérature non-fictionnel précisément parce qu’il était capable d’incorporer des éléments de la littérature pour décrire des choses qui sont arrivées dans la vie réelle. C’est pour ça que beaucoup de spécialistes ont appelé “journalisme narratif” à ce genre. </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">De sang-froid</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> est la preuve la plus évidente et la plus réussie de ce que je viens de décrire. Dès le début, le livre vous captive grâce à l’immense talent de Capote. Après tout, l’histoire du meurtrier qui Capote nous raconte n’a rien de spécial. Néanmoins, la façon dont l’auteur la décrit est absolument extraordinaire. Le rythme est impeccable, et les images que Capote est capable de nous dessiner nous emmènent dans un monde obscur et déprimant mais dans tout cas fascinant. Le sujet de l'humanité est aussi omniprésent, même si on pourrait penser que, dans des événements de ce type, la condition humaine est absente. Bref, </span><span style="font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">De sang-froid</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> est un vrai chef-d'œuvre, donc lisez-le, dès que possible. </span></p></span><p></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0tag:blogger.com,1999:blog-36153016.post-82477360276866040882021-03-12T07:32:00.001-04:002021-03-12T07:32:46.559-04:00Poulenc: the charme of paradoxe<div><span><span style="font-family: georgia; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOwEVH7PNqWaNTbWmTNDF27WworF4d8pPzsibZaL1c3lNBrD04TuIapvNKsoSjItUXyb0tgDTsGZSSehg_dcXNMDZr0Ni9oHE7DEE5U3pDOwD6pluD2-4h37FZp6UQllP3HmZlvA/s800/poulenc.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="668" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOwEVH7PNqWaNTbWmTNDF27WworF4d8pPzsibZaL1c3lNBrD04TuIapvNKsoSjItUXyb0tgDTsGZSSehg_dcXNMDZr0Ni9oHE7DEE5U3pDOwD6pluD2-4h37FZp6UQllP3HmZlvA/w334-h400/poulenc.jpg" width="334" /></a></div></span></span><span style="font-family: georgia; white-space: pre-wrap;"><div style="font-size: xx-large;"><span style="font-family: georgia; font-size: x-large; white-space: pre-wrap;"><br /></span></div><span style="font-size: large;">Roger Nichols is one of the most prominent experts of French music. His book on Ravel represents an essential item for the library of any lover of French composers, who is also interested in studying the time and place in which that extraordinary music was written.</span></span></div><span id="docs-internal-guid-6e6d3b67-7fff-59e6-51c0-eaeba88b2078"><span style="font-family: georgia; font-size: large;"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I have always claimed that Ravel is one of the most formidable artisans of beauty, not only in French music, but in general music as well. If there is one successor in the lineage of making beauty in French music, then that composer would definitely have to be Francis Poulenc. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Listening to Poulenc’s works constitute a fascinating endeavor. When I first experienced it, I took it as anachronic, just because its finesse didn’t belong to any of the abrasive and overly self-indulgent currents that took place throughout the twentieth century -especially at its beginning. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This is one of the many contradictions that are shown in Nichols’ biography: extremes that often meet at the same time throughout the life of Poulenc. He was gregarious yet reserved, he looked for his colleagues' approval yet he wrote pieces that many considered too crowd-pleasing, he wanted to pay homage to Debussy and Ravel yet his music hardly resembles them. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Far from undermining Poulenc’s legacy, I believe each one of these paradoxes elevate it. Poulenc’s music sounds nothing like any other and his seemingly banal tunes, especially his songs, a genre in which he was a consummate master, end up being more complex and sophisticated as they manage to grow in you. </span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">During the second third of the twentieth century, French music was at the verge of losing its allure and charm, but Francis Poulenc was able to save it from an imminent collapse, giving us true gems of art that we can always enjoy in case we are looking for beauty that was not made by Ravel nor Debussy.</span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></span></span><p><span style="font-family: georgia; font-size: large;"><span style="white-space: pre-wrap;">This compelling book written by Nichols offers us the great treasure of telling us the mesmerizing story of a fascinating composer who wrote captivating music. Read it, listen to Poulenc’s music and allow yourself to be bathed by his unapologetically beautiful notes. </span> </span></p>Victor Marin Viloriahttp://www.blogger.com/profile/06821148604405953579noreply@blogger.com0