Translate English To Hawaiian Sentences

Soloists EIC - American Pioneers (Cité de la Musique - March 1, 2011)

George Perle - Woodwind Quintet No. 1

I like the wind quintets in general, and this is no exception: blending styles to be very difficult to date (composed in 1967, some passages could have the being 40 years earlier), flirting with neo-classicism but using a technique of overlapping or juxtaposed cells much more modern, three-slow-fast movements are lively charming, playfulness or softness (but not much than just that - charming).

John Cage - Music for Wind Instruments

It remains in the woodwind quintet, for an early piece of Cage, who carries all on its originality: the first movement uses only three winds, the second the remaining two, and everyone for the third. There is a simplification of speech which lets consider some future developments of his music, but it retains a melodic aspect almost surprising. But that leaves me little souvenirs.

George Crumb - Eleven Echoes of Autumn

There is much more serious attack. The stage is plunged into darkness when the drums resonate played on piano by Hideki Nagano. The atmosphere is the ritual, the ceremony secret. Various playing techniques (set in the strings of the piano or hit woodwork hammer percussion, violin, mandolin used, or desaturated sounds, flute and clarinet played by resonance in the piano, whispered words and whistles, etc.) create a very dense material but intense emotions. Impalpable and mysterious beauty, one might think inspired by an oriental invented.

Henry Cowell - The Banshee, The Tides of Manaunaun Tiger

These are three short piano pieces, using techniques of cluster rediscovered, developed and popularized by Cowell, and rubbing ropes and others. I understand that other composers have been there many avenues to explore thereafter, but these ideas are given here as a little run of the mill, with little subtlety.

Charles Ives - Trio

They are three (violin, cello, piano), and there are three movements, very distinct from each other: a serious discussion between cello and violin in the background of piano, a sketch "= this tsiaj Scherzo Is A Joke "full of quotations, and a memory of Sunday religious solemnity and full of righteous compunction. Okay, this is a chamber music side that I did not know the music of Ives, which is easier to access than the sometimes too spectacular pieces for orchestra.

Spotify : George Perle: Complete Wind Quintets , George Crumb: Echoes of Autumn 11, Henry Cowell - Piano Music , American Classics: Charles Ives

Face Pain After Dental Filling

Planning March-April 2011

This is a fairly unusual program, with more than Dance and Jazz, and large empty spaces ...

• Date - Place - Name
• 01/03/2011 - CoM - The American pioneers
• 06/03/2011 - TdV - Akram Khan
• 08/03/2011 - CoM - Nono Liszt
  
• 19/03/2011 - TdV - Charnok Lock Lecavalier
• 31/03/2011 - TdV - The Winter's Tale
• 02/04/2011 - CoM - Accentus
• 09/04/2011 - CoM - Nono Berio
  
• 12/04/2011 - CoM - Dave Douglas
• 17/04/2011 - Ple - Dave Holland Overtone
• 20/04/2011 - CoM - Cecil Taylor
• 22/04/2011 - TdV - Gallotta
• 28/04/2011 - HoM - EIC - Open Stage
  

How Much Should A Guy Ejaculate

Hackbarth Adams Reich (Cité de la Musique - 25 February 2011)

John Adams - Chamber Symphony

I do not always the first movement "Mongrel Airs", with its binary rhythm hammered, lines scrambled, his synthesizer sounds too forward (but why put so much attention to information the least musical? it is not so marked on CD!), and always as the second movement, "Aria With Walking Bass, rhythm kindly natured double bass and bassoon, dialogues with the strings and winds, small acid points. Before the CIS (where Eric-Maria Couturier has been replaced by a beautiful cellist not mentioned in the booklet - I finally find his name on Gaze James : Yska Benzakoun), François-Xavier Roth waddles across body, carried away by the speeds superimposed.

Ben Hackbarth - Crumbling Walls and Wandering Rocks

After the usual ballet technicians (they are a half on stage!) That move all the chairs and add microphones everywhere, this piece, inspired by Joyce's Ulysses, begins The impact of rocky, deep, spatially, rather well. Things go wrong with the debut of the strings, which have nothing to say, but do so at great length. "Subtle changes of timbre and gesture," says the booklet. Too subtle for me. Trouble deeper and deeper. Some boos. I just do not applaud.

Steve Reich - Tehillim

"The most beautiful work of Reich," says my neighbor at the end, and this may be true. In any case, this interpretation was a delight. Perfect balance between instruments and voices amplified, probably because the Synergy Vocals are specialists in this directory and work at the microphone: these four female voices create wonderful harmonies. There is a wind that carries us in one go from one movement to another, bright (ah this entry in which the hands slamming invite us to dance, and the arrival of the votes in canon and bass for suddenly give a depth and thickness; simple but effective unstoppable), bright (no guns, just melodic lines exposed to winds and voice), slow (what a beauty that this movement, watch tinkling, carefully crafted orchestral colors!), then bright again, a clear complexity, in a dazzling kaleidoscopic shimmer.



Spotify: John Adams - Chamber Symphony / Grand Pianola Music , Steve Reich - Tehillim / Three Movements

Xbox Live Gold Sold At Cvs

Opera Ballet de Lyon - William Forsythe (Theatre City - February 23, 2011)

Workwithinwork

The decor could hardly be more minimal: walls lined space, pierced by few gates, giving the impression of a rehearsal room, though no bar or mirrors.
The dancers engage in duets and trios, redoubled or not, while others do or not spectators, in various configurations continuously. Fluidity and virtuosity combine all the movements, where arms and legs in bloom balances, imbalances, twists and extensions, language espousing the classical vocabulary (yes, there are peaks!), But by pushing the front- custody. In
soundtrack, they are violin duets by Luciano Berio, and how faithfully wife dance music is not the least surprising part of this: each of the duets (which are sequences of tens of seconds to minutes) is a pattern of dance, but also speeds up with music, and a climate that may also ensue. The set is playful, lively and beautiful, even if a bit repetitive over time.

Quintett

This time, there is a small device on stage: a trap where the dancers emerge and where they took refuge, and a projector that only late in the show, because shoved The cloudy sky that slowly diffused into the trap.
There are only 3 dancers and two dancers on stage, instead of 16 of the previous play. And music slowly takes off requires a climate very different: we hear Gavin Bryars and over again, gradually covered by the strings, "Jesus' blood never failed me yet", and this color of shadow deadly scene. But dance
partly contradicts this darkness: its constant renewal, in ebb and flow, duets frantic elongated bodies and incorporating breath, translated over the permanence of the life force stronger than the melancholy depression. From
range V, and quoiqu'équipé binoculars, I can see only part of the architecture of postures and graceful movements, a shame as Caelyn Knight Day.



Elsewhere: Day Humor, A Little Steps , Palpatine (with photos of Range C, lucky) ...

Spotify: Berio's Duets are transposed onto David Vincent - Berio & Boulez: Dialogue, Chemins, Story ... the blood of Jesus is the second part of Gavin Bryars - The Sinking Of The Titanic .

Hallowwen Costumes On Crutches

Julien Lourau - Superman Movie-Mix (Music City - February 17, 2011)

If I knew, I might not come. I was expecting a jazz concert, electric of course, but rather it was electronic music with a saxophone moments (Julien Lourau also playing the Fender Rhodes, but then blends into the overall sound). And this music, at the intersection of Foley and Jeff Sharel turntables DJ Oil, seems thick, very subtle, sometimes only a little dirty, which is OK, but do not cling. The voice of Karl The Voice brings a soulful side, but it is far from the beauty of Anthony Joseph at Laurent Garnier (the comparison with this concert is cruel, but there are too many common elements that I don ' think not, and measure the distance). Also, repeat 500 times "When They Call Me, They call me Superman, Superman soon becomes tiresome and vaguely irritating and really annoying.



But it's not just music: it is a concert film. Above the stage, a large screen showing cartoons of the 40s, produced by the Fleischer brothers (the creators of Betty Boop) on the super-hero who fought volcanoes and mad scientists (with more power lower than those posted later, he tired quickly in those days!).
These cartoons are accompanied by Fred Ladoue hacks, filming live from small theaters where they place toys and various effects (spinning wheels, flames and smoke, etc..). In this discipline, its performance is halfway between the worst ( Gary Hill illustrating Varese) and best ( Pierrick Sorin starring Gerard Pesson ).
short, not great and all ...



Spotify: In the eclectic discography Julien Lourau, this concert is the album Brighter Days . I expected something more approaching Fire and Forget . But I'd rather see him in a truly Jazz Quartet kind Saigon.

Acid Reflux Stomach Flu

Saariaho Anderson Carter (City of Music - February 11, 2011)

Julian Anderson - The Comedy of Change

I think this is the first time I hear this young composer (he was my age, so he is young, of course) British, but also influenced by Tristan Murail. This piece, in six parts and a very different conclusion is more mixed, this spectral aspects, but less theoretical than the creators of this movement, where he mixes narrative and pictorial elements, like the George Benjamin.
The theme is "evolution" in nature, and indeed, the music evokes landscapes almost endless, weather phenomena, scenes of animal life ... The booklet indicates that shifts tones come into play, I have absolutely no feelings. The material is beautiful, transparent and fluid. Melodies and harmonies and are not afraid to invite the listener to enter into his world without violence. Captivating.

Elliott Carter - We Conversing With Paradise

I heard Carter's harder to access! Here the music seems to get any service poems of Ezra Pound (Cantos 81 and 120), which are uttered, sung, recited by the baritone Leigh Melrose with great commitment and sincerity dramatic. Only the tumult of five percussionists shake this long chant, while the rest of the orchestra accompanies with touches the architecture and subtle light. Taking.

Kaji Saariaho - Graal Theatre

Have I ever heard this song in concert? Anyway, tonight I leave the dock. Perhaps Jeanne-Marie Conquer does not play enough in "violin hero" known as being the dedicatee of the work Gidon Kremer? Ludovic Morlot Maybe he does not succeed to get CIS to more mysteries? Or maybe I'll eventually get tired of this composer? Or just this evening, this piece does not fit me? I'm just annoyed me ... Disappointing.

Elsewhere: Papageno, c.roch.notes
Spotify: Julian Anderson: Book of Hours , Elliott Carter - The Minotaur, Piano Sonata, Two Songs , Kaija Saariaho - Palace of the Soul

What Wood Can I Use On My Boat

Anne Teresa de Keersmaeker - Until such time (Theatre City - February 6, 2011) Intersessional

the beginning was the breath. That of a flute player, Michael Schmid. He stands in front of the stage, approach the mouth of its instrument of his nose, his fragile and as irresistible and mouth, and starts a note, one, serious. And keeps it for 10 minutes, a more than impressive circular breathing technique, making it very slowly climb to the highs. From my seat in the third row, I take all that noise punctuate this epic minimalist air intakes in the nose by small strokes faster and faster, then the expiry noisy sound of the flute and whistling harmonics ronronnantes. Finally, having reached the end of the journey, he lets out his arm and let out a sigh strong and liberating.
Then comes a singer on stage, a capella, which runs the old French of a poem about waiting suffered as a test accepted.
And finally, the eight dancers, sometimes, but rarely accompanied by three musicians playing the ars subtilior this music extremely learned from the late Middle Ages.

One might think that crosses the line right replaced the large circles of yesteryear, with Rosas. But these simple steps from one side to the other shelf are probably not so benign. Their rhythmic breakdowns seem complex, suspensions, times acceleration, it would not surprise me that it is a transcription of music not played not as a "fictional music.
This complexity is also reflected in the choreography for groups, which aggregate into magma filled with lines of force, which makes me think of the body repeatedly scattered a raft of the Medusa.
But the high point is a male solo, I guess by Bostjan Antoncic, a force, a subtlety of a magnificent fierceness, which amazes me and leaves me breathless. Best male solo since Nefes Bausch in 2004 ...

Apart from that, the stage naked (except for a strip of land that will be more or less impetuously swept through the feet and fly to the forefront, forcing a little girl just wrong height to protect themselves from projections by refuge under the mantle of his mother ...), lighting which consists of a single row of lights that go out late one after another, unable to recreate the magic of the outdoors and Evening descends on a place well chosen. There are games on clothing (and a naked man in the dark near final) that I hardly understood. And lengths, even if nothing insurmountable.
Strangely, critics fell the emotion of the piece, a sense of nascent humanity, especially when I hit the subtlety of the figures, and the feeling of being overwhelmed by the intelligence of the choreography, which should become a tribute to the ars subtilior ...

Real Estate Agent Introduction Letter

7 (Triton - February 3, 2011)

For this session, a string quartet, but not the usual: the viola, William Roy will play as normal, cello, Peter Strauch surprise me by proposing Great ideas and leading to repeated passage of an episode to the next, and two bassists, Frederick Stolch all power, and Bruno Chevillon much stage presence and inventive game modes.



The beginning is very ... Free, discoursing each with little stream, then the structures are set up, where often three aligned on a common mode by the fourth full contrast. My favorite moments are the beaches to the sounds spun, ghostly, above which the soloist can go on a pizza, or percussion. There is no break during the first improvisation within 45 minutes, a second part, about twenty minutes, complete.
We had announced more surprises "written", and probably Stolch Strauch, who scores in front of them, they sometimes interpreted extracts from contemporary music in the middle of improvisation, but I did not notice. The atmosphere was much closer to the sessions "unexpectedly" Anne Montaron than a concert by the EIC.

Why Does Strawberry Taste Like Metal?

Jodlowski - De Mey - Boulez (Cité de la Musique - January 29, 2011) Henri Texier

Pierre Jodlowski - Is it this

I did not like the first time , and it does not work out. The music is poor, the video is lousy, the idea is insignificant, all of no interest.

Thierry De Mey - Light Music

The device is both complex and clear: on the empty stage under a large screen juts percussionist Samuel Favre. In almost darkness, only his hands are visible when he goes to the front. Their movements are then captured, reproduced (reworked) on the screen, and turned into music synthesis. It starts as a demonstration for people to understand the principle, then it gets harder in sound and graphics processing, for varying environments and renders. It is both light and poetic, well done, in short, beautifully managed.

The best way to realize this video is subtitled in Hungarian ...

Pierre Boulez - Dialogue of the double shadow

This time, Jerome Earl who gets stuck in the normal version for clarinet, and it is always as happy to listen to this classic . It is amusing that the set design requires the presence of desks, partitions and therefore, the interpreters certainly know by heart.

For the occasion, Pierre Boulez is there and greets.

Hypoglycemia Cinnamon

- Brain Dance Quintet (The Triton - January 27, 2011)

In recent years, Henri Texier multiplies the name of its formations while still keeping some of the same musicians. This "Brain Dance Quintet" is the "North-South Quintet", renamed on the occasion of this concert as part of the Brain Festival for research on neurodegenerative diseases. This quintet is actually the "Red Road Quartet, plus Bearzatti Francesco (the leader of the Quartet Tinissima saw two days ago ). This "Red Road Quartet" was itself sometimes called "Strada Quartet, as is the famous Strada Sextet, private and Corneloup Kornazov.

short, we Christophe Marguet on drums, sometimes less explosive, more concentrated, but still impressive, able to fire even with mallets. Henri Texier will do little in front, behind leader, offering small moments to Archer, a great play, and a small percussion instrument used on the strings. Manu Codjia is still volatile, liquid sounds here, burning, and we offer a solo electronic sound processing extraordinary inventiveness ("Tormentoso") before a very very rock song ("Mucho Calor"). The two blowers, Sébastien Texier and Francesco Bearzatti play more on the parallel on the complement, thus both on the clarinet, or both on saxophone. They exchange little lines like sax and trumpet can do. Faithful to the way in making Texier, they take solos one after another, spreading their ideas on large periods of time.



The concert features mostly songs from the album "Canto Negro" (sold in preview at the concert). Texier drew on his African inspiration, oscillates between energy and sadness (magnificent "Sueno Canto final). Some older chips ("Sacrifice") round the program.
All this gives excellent jazz, even if we could dream of more surprises, but the failure to have often seen this small group of musicians, a sense of their performance is "excellent as usual" .



Elsewhere: ptilou , Emmanuelle Vial

How To Make A Vw Dune Buggy

Crispell - Tinissima (Salle Jean Vilar - January 25, 2011)

First visit to this room at Arcueil, which is actually a converted movie theater. Marilyn Crispell

- Solo

Bent above the keyboard, face hidden by hair, it does not communicate with the public, focusing on his music. In a sequence ten minutes separated by short rests, it offers a mixture of three materials: the pointillist abstraction, finding rhythms, play with the silence of processions in which the two hands of a chase across keyboard, sometimes in stages, sometimes in opposition, but more joyful glee in furious frenzy, almost romantic melodies, accompaniment well classic.
This last part I like least, as these songs, which conclude almost every sequence, fail to move me. For cons, the intensity of energetic material is a great surprise, I thought Marilyn Crispell was more or less abandoned this ground in the period from "Braxton" on time "ECM". But
repetitive sequences, thus offering all the same ingredients in varying proportions, eventually tired and disappointed me a bit. Fortunately, the last a, a melody this time more exciting (maybe it written and not improvised?), Concludes with a perfect score.

Tinissima Quartet - Tina Modotti

After I saw this quartet present two months ago their second album on Malcolm X. Tonight, they return on the first, which was christened, dedicated to Tina Modotti, including photographs, superb, are projected above the band.



The group makes me feel much better tonight. Danilo Gallo, who is sicker, alternating between his aggressive and easily tampered with the electric bass guitar, and the more dynamic and warm bass. Zeno De Rossi no longer has to play disco era evoked forces, and offers a layer of rhythm that suits me better. Giovanni Falzone
remains sober in vocal effects, being confined almost to his trumpet. And Francesco Bearzatti always alternates between clarinet and alto saxophone. But between them, understanding and exchanges are more fruitful, perhaps because they are more familiar with these songs which they turn for much longer. Their duels in short phrases exchanged lively and adventurous, and we feel great pleasure that animates them all.
Suddenly, the gimmick "Masada Italian" works better, especially when the beak Bearzatti stridulate detached from his clarinet in acute modulated! They love their
treat for concert. This time, the poem funeral of Pablo Neruda which runs on a heavier music, beautiful tribute.



Elsewhere : Citizen Jazz, JazzMagazine
Spotify: Tinissima is not there, but if Crispell, here are two solo albums, Coltrane For dating from 1993 and Thumbnails 2008.

Chromatography Of Plant Pigments Lab Write Up

Ea Sola - Air Lines (Theatre des Abbesses - January 19, 2011)

"This is a performance more than a" show "the booklet warns. In fact, Sola is presented by the roles of "design, set design, video, lighting and interpretation", a list which contains neither dance or choreography.

representation can be divided into two parts. The first is the most interesting. The scenery there is an important role. Fans raise plastic films in raging waves, and oppose the advance of Sola, who literally has to fight against all odds and attempts to reach a mast which flies a banner promising rest perhaps, it changes repeatedly, Europe, USA, China, decorated with stars.
On screen backdrop parade of names of other countries, other flags. And excerpts from a documentary on refugees Martyrs of the Gulf of Aden. On which she shoots a rifle suckers, I do not really know why ...
It disappears under the waves at times tumultuous, offered to the wind collapses but is recovering.

The second part presents a little dance. But there is a disturbing gap between the violence of what she wants to evoke, refugees chased from one country to another ("bursting with rage, he became an outlaw, turned terrorist", no less!) , and gentle movements and poses, which work to provide a calming, but there was enough before rage or rebellion.

Tattoo Has White Spots

P. 305. Suite??

If you want to walk to a result of this blog ...

(Photo JPO / DR).

Mo (t) 2 saïques

through this link: click here !


.

Is Piriformis Syndrome A Permanent

Joelle Leandre, Vincent Courtois (Le Triton - 14 January 2010) Poppe

A bass and a cello duet, it's not so common. This meeting takes place under the "flames 60 " Joëlle Leandre, a series 60 concerts held to celebrate its 60 years.



is the first time that these two are onstage together, and as she arrived very late, there was almost no preparation. But she has sufficient background in improvisation, and he in special off-road, to be able to start well, and we offer the very good music. Question
energy, she is leading. A flow of magma breaks almost harmonic, rhythmic flare of, with floating melodies, it captures, expresses accompanies. They are careful not to step on toes, looking for the complement, not imitation, even if the echoes later recovery of an idea, a sound, a type of gambling are permitted. He finds little bit more room, and she leaves him little by little over the floor, even if you can not talk about balance (trade but, yes, it is neither dictatorial nor refractory to listen, especially just overflowing with music, and very accustomed to improvisation in all genres).




The concert is organized into sequences of about twenty minutes, more or less concluded with an episode where Leander begins to sing, chant shamanic priestess, Parody endless dirge of a dramatic opera heroine (with impressive showmanship, sickness, fall, collapse, agony and slow resurrection), or scat crazy for words and syllables ("salopiauds, all that" ).

There will be a lot more bow than I thought, a priori, sometimes used in reverse, wood rubbing the strings with percussion passages, or using parts of unusual instruments, spades, ropes ties, etc.. ; Courtois use two bows for a moment, but overall, rubbing the strings with horsehair (which will be very tired!) And plucking the strings with the other hand will remain the privileged mode. This was enough to sometimes be heard as an instrument electrified (a game while double rope), sometimes close to an old (in screeching sounds and repetitive). All with great humor, energy, and fun.

At the end, Courtois begins to disassemble his cello, playing without the pike (resonance worst!), Then releasing a rope, dropping a key. After that, it's on, there will be no additional ba!

Spotify: Joelle Leandre - Live In Israel , Vincent Courtois Afane + Ze Jam - Man Airplane , Jean-Pierre and Marie Mouhaud - Check (a record that mixed contemporary improvisations and baroque pieces for viola da gamba and basso continuo)
Elsewhere: a set of photos in Flickr

Can You Buy Alcohol With An Interim License

Stravinsky (Music City - January 12, 2010) Michel Portal

Igor Stravinsky - Octet

The book quotes from article written by Stravinsky in 1924: My

Octet is a musical object. [...] My Octet is not a work using "emotion", but a musical composition based on musical elements that are sufficient unto themselves.

The gentle humor is it an emotion, or a musical instrument? It abounds in this room varying atmospheres, debonair walking, circus fanfare liveliness to quiet, impromptu dialogues, such as improvised, all this bright and charming, of course impeccably interpreted by the CIS led by Mälkki.

Enno Poppe - Markt

A CIS enlisted the Paris Conservatoire Orchestra. At the first listening Poppe, I had identified as forward composer. But I'm pretty disappointed, I think. In this piece, I like the concept, zoom in three stages in a relational structure that appears chaotic at first glance (chopped bits of musical cells and fragmented), then where are distinguished from reports and guidelines (the most interesting part, between mysteries and clear explanations), then when everything becomes understandable. This last part, the longest, unfortunately becomes boring quickly, with a melody endlessly repeated pulpit lectern, and percussion in the background blurring the tempo and attacking the orchestra without originality. A big bof.

Igor Stravinsky - The Rite of Spring

Susanna Mälkki very familiar with the boundaries of the Great Hall of the City of Music, which enables it to contain just right the potential destructive power of the orchestra spread before her, that taking the scene is not willing to level with the public. She also maintains an outfit perfect rhythm. The enthusiasm of young musicians mentored by veterans of the CIS does the rest: an interpretation full of energy but not too much, which sparkles with detail, without ever the general line is forgotten, and that flows from a source across.

Elsewhere: ConcertoNet
Spotify: Esa-Pekka Salonen - Stravinsky: Pulcinella; Ragtime; Fox; Octet (for the Rite, you already know, I put the link to a reconstruction of the evening Creation )

Milena Melva Y Nadine

Sextet (Salle Pleyel - January 9, 2011)

Sextet The advantage of the vast stage of the Salle Pleyel to deploy broadly, the guitarist Lionel Loueke on one side, the pianist Bojan Z on the other, the bassist Scott Colley and drummer Jack DeJohnette a little behind, and the center occupied by the trumpeter Ambrose Akinmusire and clarinetist (and sometimes saxophone, bandoneon not tonight) Michel Portal.



It starts with Loueke's guitar, his dry, close to the kora and pace of mouth, and DeJohnette completes the frieze subtle percussive and joyous. Fairly quickly after chorus of all, some players are silent, and we are entitled to a beautiful piano trio-bass-drums. There will be more than one beautiful duet clarinet-guitar. And solos, of course. Talents are sufficiently numerous on the scene so that multiple configurations are possible, and they will be well exploited.
I do not know why the game tonight does Jack DeJohnette me neither hot nor cold, his solos seem uninspired, I do not feel any particular thrill to listen. It provides a flawless rhythmic layer, but no mystery for my liking.
I find more pleasure in the solos by Scott Colley (deep, ineradicable) is saying!
Bojan Z is discrete, mostly in support, piano more than electronic keyboards, and more agreements in clusters, away from his jazz-rock explorations in his own group. We can see that he has kept the same class when it is absolutely more to speak, even in this record that more African balkan.
invoked Africa among others by the guitarist Lionel Loueke, also at times very quiet, and then swinging between classical and electronic sounds tell others much drier and percussive.
And next to the master work of Michel Portal, always lyrical, generous, juggling between different hips, the revelation of the evening is the trumpeter Ambrose Akinmusire, sparkling a bit tense at first solo, as frustrated at not reaching the high notes blow it seems to seek, and thoroughly relaxed, sober stage presence, and play bright, clear, exciting.
As I am in the middle of the third, very close to the scene, therefore, the two blowers eat just the sound of the pianist and guitarist. Listening on ArteLiveWeb gives me blow impressions rather different from those experienced in the evening!

After initial a. Normally, musicians grow Portal on stage and then abandon it, and he submits to the exercise of the solo, a classic view of the reactions room, and absolutely gorgeous.



Elsewhere: Klariscope , Native Dancer-

Spotify: Michel Portal - Bailador , Ambrose Akinmusire - Prelude ... To Cora , Lionel Loueke - Mwaliko

Custom I Love Boobies Bracelet

Dissonances - Soviet Music (Cité de la Musique - January 7, 2011) Planning

Again, a suspicious package line 5 causes an early gig in a room a bit empty, which will be well filled when the doors open at the end of the first piece .

Valentin Silvestrov - String Quartet No. 1

strange room, as timeless. Historical time, initially, with the full tonal melody that goes wrong, from the whisper in a noisy, then leaves, torn between the ages difficult to date. Written in 1974, she did not place in a musical, digs its own style. Timeless narrative, too. Slow almost imperturbable something static, contemplative, even when the pace accelerates, it in a reservoir tending towards the abstract, with original structures, duplicate pairs, making the violins that punctuate a rather bewitching viola-cello duet, for example. A beautiful discovery.

Dmitri Shostakovich - Chamber Symphony Op. 110a

Finally, it is preferable to give him that title, rather than say it is the transcription for string orchestra quartet No. 8. Because the face is much different. Less poignant (the limit of endurance, both the dose of desperation is strong in this quartet!), And more material Symphony, where we more easily recognize the quotations, whether from the symphonies of Shostakovich himself, or other composers. The DSCH ubiquitous digest all this, and unifies the way, in self-portrait written as an epitaph. But this transformation orchestral works less well on the slow passages, where the bowing in unison shrill sound unnecessarily spectacular when the text is to destitution and introspection deadly. Interesting but less important than the original version.

Alfred Schnittke - Concerto Grosso No. 1 for Piano acute

prepared and playing a melody Metallic and severe left in natural and punctuating percussion resonant, then the strings are waking up gradually and emerge the two solo violins. This time, David Grimal stands, accompanied by Hans Peter Hofmann, who in the middle of the toccata breaks a string. Grimal jokes with the audience while Hofmann repairs at full speed. I find humor in this concerto by Schnittke creaky, but the whole does not turn me on, without my knowing if this is implemented by the dissonance that is not accurate, or whether it is music that would be too timid in its audacity, which offers such a breathless chase between the two violins finally fairly standard, but cluttered with drifts more avant-garde without achieving consistency. Other concerti grossi (the fifth example) have me hooked and otherwise conveyed.

Spotify: Rosamunde Quartett - Silvestrov: Leggiero, Pesante , Constantine Orbelian - Shostakovich: Chamber Symphony / Schnittke: Piano Concerto , Chamber Orchestra of Europe & Heinrich Schiff - Schnittke: Concerto Grosso No.1

What To Do To Fix Crowded Teeth

January-February 2011

A program not too busy, which I hope will return to Triton (eg 14/01, 27/01 , 03.02 , 2.10 ...).

• Date - Place - Name
• 07/01/2011 - CoM - Dissonances
• 09/01/2011 - Ple - Michel Portal Sextet
• 12/01/2011 - CoM - Stravinsky / Poppe
  
• 19/01/2011 - Abs - Sola
• 29/01/2011 - CoM - Soloists EIC
• 06/20/2011 - TdV - AT De Keersmaeker
• 11/02/2011 - CoM - Carter Anderson Saariaho
  
• 17/02/2011 - CoM - Superman Cine-Mix
• 23/02/2011 - TdV - Ballet de l'Opera de Lyon
• 25/02/2011 - CoM - EIC / Synergy Vocals

What Happened To Vito On Bam

Cinema 2010

Clearly, I turn now barely above the 30 films per year, away from 50 and more years ago (73 in 2003 , damn!).

Tetro ; A Serious Man ; Refuge ; Sherlock Holmes ; Warrior Silent +; Shutter Island +; The Ghost Writer ; + Soul Kitchen; Alice in Wonderland -; Guests of my father ; Mammuth ; Iron Man 2 - ; Life During Wartime +; Kick Ass +; In his eyes -; The A-; Tour ; Toy Story 3 +; Inception ; A poison ; Poetry +; Salt -; Men and Gods ; The Town ; Me Despicable -; You'll meet a handsome, dark stranger ; The Social Network +; Deep in the woods +; Biutiful ; Potiche ; The name of the people +