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luís soares

Blog do escritor Luís Soares


With Katia and Marielle Labèque on fortepianos, the Concerto in C major for two harpsichords, strings and basso continuo (BWV 1061) by Johann Sebastian Bach is played here on period instruments by the ensemble Il Giardino Armonico under the baton of Giovanni Antonini. What is different here is that, instead of harpsichords, the Labèque sisters play fortepianos. The concert took place in 2000 at the Musikverein in Vienna.

00:00 I. without tempo designation
07:15 II. Adagio ovvero Largo
11:56 III. Fugue

The 13 concertos that Johann Sebastian Bach (1685 - 1750) wrote for one or more harpsichords with orchestral accompaniment are significant in music history. In a sense, they mark the beginning of the story of the piano concerto, which was then developed by the Bach sons. In almost all of the harpsichord concertos, Bach drew on his own earlier works and arranged them for this keyboard instrument, which was popular at the time. The harpsichord concertos were written for the Collegium Musicum in Leipzig, a student orchestra that Bach led from 1723 and with which he held regular concerts in a coffee house.

The Concerto for two harpsichords, strings and basso continuo in C major, written between 1732 and 1735, was probably originally meant for two harpsichords only. This, at least, is suggested by the fact that the string orchestra has no independent role. In the first and third movements it only doubles the harpsichord part, in the middle movement the two keyboard instruments even play without accompaniment.

The special feature of this concerto is that Katia and Marielle Labèque play the harpsichord part on fortepianos. Thus, although the sound seems historical, it has a much sharper profile. A delight for the two virtuosic pianists!

Leif Ove Andsnes: Tiny Desk (home) Concert

Tom Huizenga | April 8, 2022

The Norwegian pianist Leif Ove Andsnes is binging Mozart. He's just released his second double album in a row of the composer's piano music, and for this very special Tiny Desk performance, he takes us inside Mozart's own home in Vienna, just steps away from the medieval St. Stephen's Cathedral and a couple blocks from a McDonald's.

Mozart might have appreciated the convenience of the fast food chain, as the years he spent in this two-floor, four-bedroom apartment (from 1784 to 1787) were a non-stop frenzy of activities. Andsnes says the composer threw gambling parties, taught students and, above all, composed some of his most groundbreaking music in this house, including the two works heard in this recital.

Andsnes begins with four minutes of radiant joy and virtuosity. The D major Rondo showcases not only Mozart's own skills as an unrivaled keyboardist, but also his genius as a composer with a bottomless bag of tricks to play with the music's principal theme.

The following Fantasia in C minor, composed one year earlier, in 1785, couldn't be more different. At three times the Rondo's length, it begins in a foreboding tone, with heavy, darkly colored chords, sounding perhaps like Beethoven in a bad mood. But the clouds soon open to rays of sunshine in melodies only Mozart could create, including a recurring passage of intense delicacy and yearning, which Andsnes delivers with the sensitivity of a lover's whisper. In its many fascinating mood swings, the piece feels like Mozart simply sat down in these rooms and improvised his mixed emotions. And thanks to Andsnes, we can catch a vibe of what that might have sounded like.

Mozart: Rondo in D Major, K. 485
Mozart: Fantasia in C Minor, K. 475

Leif Ove Andsnes: piano

Video and audio: Anthony Jacobson, Perdurabo Film
Recorded at: Mozarthaus Vienna

Ay mamá

Videoclip de 'Ay mamá' de Rigoberta Bandini.
Producido por Mañana
Postproducido por Limp
Dirigido por Salvador Sunyer

Tú que has sangrado tantos meses de tu vida
Perdóname antes de empezar
Soy engreída y lo sabes bien
A ti que tienes siempre caldo en la nevera
Tú que podrías acabar con tantas guerras

Mamá, mamá, mamá
Paremos la ciudad
Sacando un pecho fuera al puro estilo Delacroix
Mamá, mamá, mamá

Por tantas ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma
Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma, mamá
Todas las ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma
Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma, mamá

Tú que amarraste bien tu cuerpo a mi cabeza
Con ganas de llorar, pero con fortaleza

Mamá, mamá, mamá
Paremos la ciudad
Sacando un pecho fuera al puro estilo Delacroix
Mamá, mamá, mamá

Por tantas ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma
Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma, mamá
Todas las ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma
Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma (mami)

Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma, mamá
Vivan las ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma

No sé por qué dan tanto miedo nuestras tetas
Sin ellas no habría humanidad ni habría belleza
Y lo sabes bien
(Lo sabes bien) lo-lo-lo-lo-lo-lo-lo-lo-lo-lo-lo-lo-lo
Mamá, mamá, mamá

Pires, Mendelssohn, Mozart, Schumann

La pianiste Maria-João Pires s’associe à l’Orchestre Philharmonique de Monte-Carlo pour donner au Festival de Pâques d’Aix-en-Provence un concert rythmé par la musique de Mozart, Mendelssohn et Schumann.

La pianiste d’origine portugaise Maria-João Pires est de retour à Aix-en-Provence pour y jouer le Concerto pour piano n° 9 en mi bémol majeur de Mozart. Grande connaisseuse du répertoire mozartien, la soliste livre sur la scène du Grand Théâtre de Provence une interprétation vive et épurée de cette œuvre célébrée dès sa création pour son inventivité.

Fidèle à l’esprit d’ouverture du Festival de Pâques d’Aix-en-Provence, ce concert fait également la part belle à la musique romantique. Sous la direction de Kazuki Yamada en effet, l’Orchestre Philharmonique de Monte-Carlo interprète l’ouverture du Songe d’une nuit d’été de Felix Mendelssohn et la Symphonie n° 1 en si bémol majeur de Robert Schumann.

Felix Mendelssohn - Ein Sommernachtstraum (Le Songe d’une nuit d’été), ouverture, op. 21
Wolfgang Amadeus Mozart - Concerto pour piano n° 9 en mi bémol majeur « Jeunehomme », K. 271
Robert Schumann - Symphonie n° 1 en si bémol majeur, « Le Printemps », op. 38

Concert filmé le 10 avril 2022 au Grand Théâtre de Provence, Aix-en-Provence.

Cinco Sentidos

C I N C O  S E N T I D O S by Bandua /

BANDUA is a collaborative project between 'Tempura the Purple Boy' & 'Edgar Valente' where downtempo music invites the spirit of Beira Baixa (Portugal)

Production/Composition: Tempura (Bernardo D'Addario)
Vocals/Keys/Percussion: Edgar Valente
Mixing: Pedro Martins
Master: Anders Peterson (GS Mastering & Post)
released by Frente Bolivarista

directed & edited by Cláudia Batalhão
dop & grading: Mário Guilherme
1st ac: Manuel Lino
ronin: Márcio Enes
styling: Sara Peterson
producer: Joana Sousa Dias
acting by Sara Mercier, Bernardo D'Addario & Edgar Valente

eu tinha cinco sentidos
já t’os vou distinguir
e já os levo perdidos
escuta amor se queres ouvir

o Primeiro é p’ra te ver
meu amor p’ra te ver venho
se tu em mim fazes gosto
eu maior gosto te tenho

o Segundo é p’ra te ouvir
quero saber novas tuas
trago-te no pensamento
passeando pelas ruas

o Terceiro é p’ra cheirar
no teu peito ramalhete
saibas que a minha vontade
não é outra se não ver-te

o Quarto é p’ra degustar
que sabor me tens na boca
ausente do teu amor
minha língua nada toca

e o Quinto era p’ra tocar
as tuas mãos com as minhas
receber-te em toda a graça
costurar as nossas linhas

(eu tinha Cinco Sentidos
mais uns tantos em comum
sem ti eu fico perdido
sigo só sendo mais um.) "

[popular old poem from Beira Baixa,
re-arranged by Edgar Valente]

Free in the Knowledge

Free in the knowledge
That one day this will end
Free in the knowledge
That everything is change

And this
Was just a bad moment
We were fumbling around
But we won’t get caught like that
Soldiers on our backs
We won’t get caught like that

A face using fear to try to keep control
But when we get together, well then, who knows

If this
Was just a bad moment
We were fumbling around
But we won’t get caught like that
Soldiers on our backs
We won’t get caught like that

I talk to the face in the mirror
But he can't get through
I said it's time that you deliver
'Cause we see through you
I talk to the face in the mirror
But he can't get through
Turns out we’re in this together
Both me and you

Ya No Estoy Aqui

'Ya No Estoy Aquí ' is the latest single from Helado Negro. Video directed, created & starring Roberto Carlos Lange

Creo que te vi ayer
no se

Creo que escuche tu voz

Ojalá me estoy volviendo loco

Por lo menos tengo con quien puedo hablar

Hace tres meses que no veo a nadie

Hace un año te vi bailar

Ecos en las paredes me acompañan

Lo juro que sentí tu voz acariciar mi piel

Currentzis and Kantorow

Currentzis conducts Brahms, Messiaen and Bång | Live recording of the Stuttgart Liederhalle on January 21, 2022.

Olivier Messiaen: Les offrandes oubliées, Symphonic Meditation
00:00:00 - La Croix. Tres lent
00:02:40 - Le Péché. Vif – Plus vif, agité
00:05:34 - L'Eucharist. Extreme lent

Johannes Brahms: Piano Concerto No. 2 in B flat major, Op. 83
00:12:04 - Allegro non troppo
00:30:27 - Allegro appassionato
00:39:45 - Andante
00:53:45 - Allegretto grazioso

01:04:57 - Johannes Brahms: "My slumber is becoming ever quieter", from: Five Songs op. 105 (Encore Frank-Michael Guthmann / Alexandre Kantorow)
01:10:23 - Igor Stravinsky: Firebird - Finale (Encore Alexandre Kantorov)
01:14:24 - Franz Liszt: Sonetto 104 del Petrarch (Encore Alexandre Kantorow)
01:21:40 - Malin Bång: splinters of ebullient rebellion for orchestra

Alexandre Kantorow, piano
SWR Symphony Orchestra
Teodor Currentzis, conductor