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Запустился проект ”РБК Визионеры” — про людей, которые "меняют мир вокруг себя". К слову могут быть вопросы, списки — вещь вообще довольно субъективная (хотя вижу в экспертах своих добрых друзей Юру Сапрыкина и Юлю Выдолоб, а в списке — прекрасный бренд Ushatava и Андрея Павличенкова, основателя "Лесного терема” в Асташово, и его обещают регулярно пополнять). Но к чему точно не может быть никаких вопросов — это к присутствию в нем Ярослава Тимофеева. Слава удивительным образом вернул силу и величие сочетанию слов “лектор в Филармонии” и напомнил, что музыковед может быть публичным, молодым, обаятельным и убедительным. Инициированный им цикл “Весь Стравинский”, рассчитанный на несколько лет, безусловно, войдет в историю, его проект ”Вещь в себе” — исключительно классная штука. Напомню, что он еще поет и играет в группе “Окуджав”, звонарь (и будет вот на днях читать про это лекцию в Ельцин-центре, of all places), пианист и так далее. Так вроде бы не бывает, даже Соллертинский знал кучу языков, но на эстраде не пел и за колокола не брался — но так есть. И сегодня у Славы день рождения. Поздравляем!

Мировая премьера на Платоновфесте! Аудиовизуальный концерт с пространственным звуком, где произведения будут исполнены акусмониумом — оркестром громкоговорителей — «Три степени свободы. Музыка > Кино > СССР. Александр Кнайфель». Это третья часть исследовательского проекта @threedegreesoffreedom Олега Нестерова, лидера «Мегаполиса» и основателя лейбла «Снегири», посвящённая феномену советской музыки. Александр Кнайфель — композитор, написавший музыку более чем к 40 фильмам, чьи произведения звучат на крупнейших музыкальных фестивалях в Париже, Лондоне, Нью-Йорке, Берлине и др. В Воронеже будет исполнена «Айнана. Семнадцать вариаций на имя для камерного хора, ударных и магнитофона» Кнайфеля. Дирижёр Илья Symphocat в режиме реального времени будет перемещать звук по залу, а музыкальный лайв дополнит видеоинсталляция и особая световая архитектура. ▪️ «Три степени свободы. Музыка > Кино > СССР. Александр Кнайфель» 19 и 20 июня в 19:00 📍 Площадка «1900» Билеты: https://platonovfest.com/prog2024/?event=33778

Listening to music in art class, Photo by Francis Miller (1957)

КОРОЛЕВА, ВЕРШИНИН, ГЕНДЕЛЬ И МАЙЛЗ ДЭВИС 🎷🎹🎼 🎙22 МАЯ |СРЕДА| 20:00 ГЛАВНАЯ СЦЕНА 🎫 Билеты по ссылке: Главная сцена Клуба Козлова на Маросейке Давние друзья и партнеры по сцене, резидент Клуба Алексея Козлова Анна Королева и профессор Московской Консерватории, пианист Александр Вершинин, представят свою новую программу, в которой соединят произведения великого барочного композитора Георга Фридриха Генделя и джазового трубача Майлза Дэвиса. Приходите!❤️

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.