Фермата

Посылаю сам себе на будущее — и всем, кто может этим воспользоваться — ссылки на два семинара по ритму в системе Такетина, в Гамбурге в конце года. 22-24 ноября: трехдневный семинар по семидольным ритмам https://rhythmexperience.de/22-24-november-2024-hamburg/#more-2409 30 ноября - 1 декабря Двухдневный семинар по сложным нечетным циклическим ритмам (на 5, 7, 9 и до 15) — в Гамбургской консерватории, кстати говоря. https://rhythmexperience.de/5-6-november-2022-hamburg/#more-2269 Ну не кайф ли.

https://dkrassvet.space/events/yakovenko/ В четверг в Москве, в Рассвете, будет концерт, на который я сам бы сходил, если бы был в четверг в Москве. Это проект / ремикс композитора Игоря Яковенко на "картинки с выставки" Мусоргксого. В «Картинках», фортепианной сюите, которой в 2024 году исполняется 150 лет, Мусоргский переложил на музыкальный язык впечатления от выставки своего близкого друга художника Виктора Гартмана. Впоследствии эта работа оказала огромное влияние на историю музыки, в частности на Клода Дебюсси и его искусство звукописи. Игорь Яковенко исполнил и записал пьесы из «Картинок» и предложил 11 российским художникам сделать «обратный перевод» музыки Мусоргского на язык изобразительного искусства. Эти новые произведения, в свою очередь, стали темами для цикла пьес Яковенко-композитора. Музыка 1874 и 2024 года соединилась в программе «Променад», в которой Яковенко выступает исполнителем «Картинок» и их же комментатором и соавтором. Вот такой вот метамодерн. Огромный рекомендасьон.

Классная история про тестирование юного Моцарта MOZART & DAINES BARRINGTON ( The experiment on young Mozart ) * Daines Barrington, (1727/28 – 14 March 1800) was an English lawyer, antiquary and naturalist. He was one of the correspondents to whom Gilbert White wrote extensively on natural history topics. Barrington served as a Vice President of the Royal Society and wrote on a range of topics related to the natural sciences including early ideas and scientific experimentation on the learning of songs by young birds. He designed a standard format for the collection of information about weather, the flowering of plants, the singing of birds and other annual changes that was also used by Gilbert White. He also wrote on child geniuses including Mozart, who at the age of nine had visited England. * Mozart started gaining fame since a very young age thanks to the journeys that allowed him to display his uncommon musical skills in all of Europe. Among all the people who were able to witness his abilities, there were many who did not believe what they saw. Skeptics would often say that his father lied about his age (which was sometimes true), or that his talent derived from a pact with the devil or from the rings he wore during his public shows and that he was often asked to remove. Others would even say that he wasn’t actually a child, but an adult dwarf. It was skepticism that led English magistrate and scholar Daines Barrington to investigate. First, he asked one of his colleagues to send him Wolfgang’s birth certificate from Salzburg, which was the only document that could certify the boy’s age. He then visited nine-year-old Mozart in London and put him to several tests, such as sight-reading, playing the harpsichord, singing and improvising arias. ( Barrington has brought along the five-part open score of a new opera by a London composer. To compound the problem, two of the five lines are in the offbeat contralto clef. This is a very tough test, and Mozart not only plays it flawlessly -- he also captures the composer's tempos, dynamics, and musical intentions. Barring-ton goes on for two pages explaining the complexity of the feat to the non-musician readership of the Royal Society. The test continues. Next he asks young Wolfgang if he'd be good enough to improvise a love song. The child gives him an arch look, as though to say, "Ask me something hard," and he continues to create a complete piece with recitative and two movements. Could you then, asks Barrington, compose me a song of rage? This time, Mozart tears into the keyboard like a child possessed -- standing up from his bench and hammering the keys with small fingers that can scarcely reach the interval of a fifth. The playing comes to an abrupt halt when a cat enters the room. Mozart suddenly leaps up to run after it. No more harpsichord for a while. As Barrington talks with the father, Mozart finds a stick, which he makes into a hobbyhorse. He gallops back and forth through the room ). * The child brilliantly passed every test, much to Barrington’s amazement, and the magistrate later published his conclusions in Philosophical Transactions through the Royal Society. He confirmed that the child possessed premature and incredible talents that he compared to the “ability to simultaneously read in Greek, Hebrew and Etruscan”.

* Mozart started gaining fame since a very young age thanks to the journeys that allowed him to display his uncommon musical skills in all of Europe. Among all the people who were able to witness his abilities, there were many who did not believe what they saw. Skeptics would often say that his father lied about his age (which was sometimes true), or that his talent derived from a pact with the devil or from the rings he wore during his public shows and that he was often asked to remove. Others would even say that he wasn’t actually a child, but an adult dwarf. It was skepticism that led English magistrate and scholar Daines Barrington to investigate. First, he asked one of his colleagues to send him Wolfgang’s birth certificate from Salzburg, which was the only document that could certify the boy’s age. He then visited nine-year-old Mozart in London and put him to several tests, such as sight-reading, playing the harpsichord, singing and improvising arias. ( Barrington has brought along the five-part open score of a new opera by a London composer. To compound the problem, two of the five lines are in the offbeat contralto clef. This is a very tough test, and Mozart not only plays it flawlessly -- he also captures the composer's tempos, dynamics, and musical intentions. Barring-ton goes on for two pages explaining the complexity of the feat to the non-musician readership of the Royal Society. The test continues. Next he asks young Wolfgang if he'd be good enough to improvise a love song. The child gives him an arch look, as though to say, "Ask me something hard," and he continues to create a complete piece with recitative and two movements. Could you then, asks Barrington, compose me a song of rage? This time, Mozart tears into the keyboard like a child possessed -- standing up from his bench and hammering the keys with small fingers that can scarcely reach the interval of a fifth. The playing comes to an abrupt halt when a cat enters the room. Mozart suddenly leaps up to run after it. No more harpsichord for a while. As Barrington talks with the father, Mozart finds a stick, which he makes into a hobbyhorse. He gallops back and forth through the room ). * The child brilliantly passed every test, much to Barrington’s amazement, and the magistrate later published his conclusions in Philosophical Transactions through the Royal Society. He confirmed that the child possessed premature and incredible talents that he compared to the “ability to simultaneously read in Greek, Hebrew and Etruscan”. Photo : 1 / First page of Daines Barrington account of his meeting with WA Mozart - Philosophical Transactions of the Royal Society of London, 1770 Photo 2 / Danies Barrington - engr. from 1770 painting Photo: 3/ " Boy Mozart " - 1763 , possibly by Pietro Antonio Lorenzoni

Классная история про тестирование юного Моцарта «MOZART & DAINES BARRINGTON ( The experiment on young Mozart ) * Daines Barrington, (1727/28 – 14 March 1800) was an English lawyer, antiquary and naturalist. He was one of the correspondents to whom Gilbert White wrote extensively on natural history topics. Barrington served as a Vice President of the Royal Society and wrote on a range of topics related to the natural sciences including early ideas and scientific experimentation on the learning of songs by young birds. He designed a standard format for the collection of information about weather, the flowering of plants, the singing of birds and other annual changes that was also used by Gilbert White. He also wrote on child geniuses including Mozart, who at the age of nine had visited England. * Mozart started gaining fame since a very young age thanks to the journeys that allowed him to display his uncommon musical skills in all of Europe. Among all the people who were able to witness his abilities, there were many who did not believe what they saw. Skeptics would often say that his father lied about his age (which was sometimes true), or that his talent derived from a pact with the devil or from the rings he wore during his public shows and that he was often asked to remove. Others would even say that he wasn’t actually a child, but an adult dwarf. It was skepticism that led English magistrate and scholar Daines Barrington to investigate. First, he asked one of his colleagues to send him Wolfgang’s birth certificate from Salzburg, which was the only document that could certify the boy’s age. He then visited nine-year-old Mozart in London and put him to several tests, such as sight-reading, playing the harpsichord, singing and improvising arias. ( Barrington has brought along the five-part open score of a new opera by a London composer. To compound the problem, two of the five lines are in the offbeat contralto clef. This is a very tough test, and Mozart not only plays it flawlessly -- he also captures the composer's tempos, dynamics, and musical intentions. Barring-ton goes on for two pages explaining the complexity of the feat to the non-musician readership of the Royal Society. The test continues. Next he asks young Wolfgang if he'd be good enough to improvise a love song. The child gives him an arch look, as though to say, "Ask me something hard," and he continues to create a complete piece with recitative and two movements. Could you then, asks Barrington, compose me a song of rage? This time, Mozart tears into the keyboard like a child possessed -- standing up from his bench and hammering the keys with small fingers that can scarcely reach the interval of a fifth. The playing comes to an abrupt halt when a cat enters the room. Mozart suddenly leaps up to run after it. No more harpsichord for a while. As Barrington talks with the father, Mozart finds a stick, which he makes into a hobbyhorse. He gallops back and forth through the room ). * The child brilliantly passed every test, much to Barrington’s amazement, and the magistrate later published his conclusions in Philosophical Transactions through the Royal Society. He confirmed that the child possessed premature and incredible talents that he compared to the MOZART & DAINES BARRINGTON ( The experiment on young Mozart ) * Daines Barrington, (1727/28 – 14 March 1800) was an English lawyer, antiquary and naturalist. He was one of the correspondents to whom Gilbert White wrote extensively on natural history topics. Barrington served as a Vice President of the Royal Society and wrote on a range of topics related to the natural sciences including early ideas and scientific experimentation on the learning of songs by young birds. He designed a standard format for the collection of information about weather, the flowering of plants, the singing of birds and other annual changes that was also used by Gilbert White. He also wrote on child geniuses including Mozart, who at the age of nine had visited England.

В комментариях к награждению Лори Андерсон читательница (спасибо ей) пишет: "Для меня ваш блог - жутко интересная дверка в совершенно незнакомый мире. Подавляющее большинство имен незнакомы, а потому тексты непонятны. Раньше я гуглила и изучала каждого, но уже устала) Давайте вы просто расскажете об этой барышне" Ну, про Лори Андерсон нужно долго рассказывать, это удивительная певица тире современная художница, воплощение нью-йоркского шика и андерграунда одновременно, мудрейшая и очаровательнейшая женщина (и вдова Лу Рида), можно прям начать с O Supermen (так весь мир начал). Но меня в данном случае интересует другое. Вас тут 11 с лишним тысяч, и когда ко мне иногда подходят читатели и благодарят, я все время стесняюсь спросить, что именно вам в "Фермате" нравится и зачем вы ее читаете. Поэтому любой отзыв ценен — и я следующим постом запилю голосование, отзовитесь плз

"Мегаполис" поделился списком любимой музыки по годам. Есть тут ваши любимые? (моих прилично) 1986: Orchestral Manoeuvres In The Dark — Electricity 1987: Japan — Gentlemen Take Polaroids 1988: Talk Talk — Eden 1989: David Sylvian — Orpheus 1990: Wire – Ahead 1991: The Cure — Pictures of You 1992: Brian Eno – Golden Hours 1993: Lou Reed, John Cale & Nico – Le Bataclan ‘72 1994: Jan Garbarek & Hilliard Ensemble — Parce Mihi Domine 1995: Lou Reed – Sword of Damocles 1996: Ryuichi Sakamoto - Merry Christmas, Mr. Lawrence 1997: Tindersticks — Tiny Tears (From the Soundtrack Nenette et Boni) 1998: Suzanne Vega – Caramel 1999: The Divine Comedy — Theme from Casanova 2000: Clinic – The Return of Evil Bill 2001: Bertrand Burgalat & Michel Houellebecq — Paris Dourdan 002 2002: Fint Tillsammans – En Världsomsegling 2003: The Real Tuesday Weld – The Ugly And The Beautiful 2004: David Byrne — She Only Sleeps With Me 2005: Flotation Toy Warning – Losing Carolina; For Drusky 2006: Sufjan Stevens — Concerning the UFO Sighting Near Highland, Illinois 2007: Daniel Lanois — Here Is What Is 2008: Hans Albers — La Paloma 2009: Rachmaninoff — Prelude in C Sharp Minor (Op. 3 No. 2) 2010: Ennio Morricone – A Fistful Of Dollars

Стас Малышев и его квартет, отыграв в ДК Рассвет полный цикл квартетов Шостаковича, обсуждают, что получилось. "АД То есть для тебя, как и для многих музыкантов и слушателей, Шостакович – фигура аксиоматичная. СМ Без такого пафоса все же. Но да, у нас в квартете не было желания «подвинуть» Шостаковича. Обидно, что у некоторых его современников такое желание было: у Денисова, к примеру (вспомним его «Записные книжки»), или у Галины Уствольской. И сейчас есть композиторы, которые с недовольством говорят, что музыка Шостаковича заседает в ушах, и ничего другого больше не можешь слушать. Но заседает же! В том-то и дело, что Шостаковича не «подвинешь». Он гораздо быстрее, чем Бетховен и Бах, укрепился в музыкантском и слушательском сознании. АД Пендерецкий, например, последовав за Шостаковичем, потерял собственный стиль. СМ Возможно, он бы и без Шостаковича изменился: авангард в 1970-е годы начал отходить на задний план. Пярт, Сильвестров тоже ведь стали заметно проще. Да и Шнитке в том же Третьем скрипичном концерте. АД Уствольская, наоборот, становилась только радикальнее. СМ Всю жизнь, и на словах тоже, она противилась Шостаковичу, а в музыке все равно слышно его влияние. АД Разве? СМ Мне, во всяком случае, так слышится. АД Шостакович как неизбежность? СМ Давай остановимся на этой формулировке. Ну, действительно, с кем из композиторов – российских ли, западных – его можно сравнить по драматичности высказывания? АД С Циммерманом. СМ Да, но Циммерман не столь популярен, и вообще отдельная тема. Хотя и он, если уж мы его вспомнили, не порывал с традициями, в отличие от послевоенных авангардистов с их «сжиганием роялей». Так что сравнение с Шостаковичем небеспочвенно". ОК Наш цикл не конкурс и не уничижение. Не было даже намека на то, чтобы показать какую-то техническую отсталость Шостаковича в частности и тогдашней российской музыкальной жизни в целом. Шебалин, Галынин, Шнитке, которых мы играли вместе с Шостаковичем, безусловно, интересны и уникальны. Вообще, вся западная музыка в нашем цикле, по-моему, прекрасно сочеталась с российской, и наравне. Что же касается квартетов Шостаковича – некоторые из них представляются мне вершинами технической и ансамблевой сложности. Для меня этот цикл был еще и очень тяжелым с моральной точки зрения: пожалуй, никогда прежде я не чувствовала такого волнения и такой ответственности, ведь уже существуют эталонные интерпретации! Мне было принципиально важно послушать Квартет имени Бородина, людей, которые общались с Шостаковичем и знали, что ему нужно в плане исполнения именно в тот момент. Какие-то вещи мне очень нравились, но при этом я всегда задавала вопрос своим профессорам, в том числе виолончелисту Александру Корчагину из Квартета имени Шостаковича: можем ли мы играть музыку этого композитора иначе? На мой взгляд, сам Шостакович, если бы он жил в наше время, даже обрадовался бы иным версиям. https://muzlifemagazine.ru/opensoundorchestra-bez-shostakovicha-mirovoy-muzykal/

Из истории саунд-арта. Тадеуш Кантор. "Панорамный морской хэппенинг", 1967 г. Фото: Эустахы Коссаковский. Музей современного искусства Варшавы. Звуковой хэппенинг состоялся на балтийском побережье в рамках V Кошалинского пленера. Море, которое – в соответствии со сценарием Кантора – должно было "атаковать движением, ритмом и звуком", оказалось с характером. Проблемы возникли – к радости публики – в момент переноса подиума на воду. Один из участников вспоминал: "Был сильный ветер, волны, а Кантор при подготовке акции рассчитывал на более спокойную погоду. Хэппенинг превратился в борьбу со стихией. (…) Волны переворачивали подиум, "дирижера" выбрасывало на берег; ему приходилось снова и снова забираться в воду. Но непредвиденность была именно тем, чего и ожидали от такой ситуации".