Monday, 28 June 2010

SAINT JOHN'S NIGHT

Let me do (for a change) some good promotion for the Portugues culture and its social enviroment. Let me share with you something beautiful that happened in the night from 23th to 24th of June in Porto, something that is so unique, that probably doesn't have any equivalent in the whole wolrd - the so called Night of Saint John is one of the most beautiful holidays I have ever experienced in my life. In the honor of the saint, who favours lovers, all the city goes down to the river, sharing joy and compassion in a very special way;
People (thousand and thousands of them) gently hit eachother's heads with the plastic hammers, which create thin and sizzling sound. The hammers can be replaced with the pink garlic flowers on long stalks (but these are a bit more disturbing then the first:)) Evening magic is complemented by beautiful coloured burning paper ballons, which are ascending (assumably together with the wishes and prayers) towards the spacious black sky, and magnificent long-lasting fire-works, launched from the three river boats anchored in the middle of River Douro.
The holiday is accompanied by many other activities and simbolisms (dinning of Sardine fish - Sardinhada, decorating city with the colourful ribbons and balls ext.), but once again, the best thing of the holiday is the gesture with the hammers, which brings people together (if only for one night) in a very unique way; while you are gently hitting other person's head with the plastic hammer and showing sincere smile on your face, you can not escape the alchemy that grows between you-two quickly and in a very special way. This is the only day, the only time when you are 'allowed' to give attention (love, compassion, joy of celebration) to anyone you wish, when ever and how many times you want. And what is even better, everyone is happy to recieve your affection, whether young or old, sophisticated or simple, poor or rich.




Wonderful holiday! If you go to Porto, go in the time of "São João"!:)

Wednesday, 2 June 2010

Brahms evening - kindly invited!


Johannes Brahms: “Straight-away the ideas flow in upon me, directly from God, and not only do I see distinct themes in my mind's eye, but they are clothed in the right forms, harmonies, and orchestration.”

Tuesday, 25 May 2010

Finals of famous Queen Elizabeth competition (with a taste of Korea)




http://www.cmireb.be/en/


You can listen pianists-finalists live, http://www.cmireb.be/en/p/2/12/143/147/finalisten.html

within a schedule as follows, http://www.cmireb.be/data/presse/Final%20programme-01.pdf

on this http adress: http://video.cmireb.be/live .

If you can't make it, you can listen to their recordings later, from the data-base of competition: http://video.cmireb.be/vod


I wish you a lot of pleasure!

Saturday, 22 May 2010

In the name of...


Today marks one week and one day since the morning, when a strange silence woke me up. "What is this," I asked myself, "How can it be, that my street is empty at a time when usually it is teeming with people? What are all these low-flying helicopters doing above my head?" It seems as though we were just before the bombing." Then I think more and I remember...the Pope has arrived to the city.
Pope brings hope, they say. Great. I really didn't want to discuss about money, why the quality of positive human feelings (which elicit from admiration of the Pope and his presence among people) are unapproachably more valuable than material sacrifices required by his four-day visit. But come on, all has its limits! Portugal is in severe economic crisis (soon after Greece), threatened by financial meltdown. However, a clever government declared a national holiday everywhere, where the Holy Father pleased to step and give away his hope and compassion. If I'm not mistaken, in practice this meant at least two new festive days. You can imagine what does one day of inertion mean for the state economy, especially if it is in such dire straits ... No, no, this is something one sober individual can't understand.
I respect all catholic believers and I know that in their system of belief Pope represents someone who is closest to one, whom they aim to - to God (although, if I may, in this striving they all too often forget that the latter doesn't sit on the clouds, but they themselves are part of Him and therefore very much responsible for their actions), yet ...
The reality of today doens't speak in favor of Portugal. Let's say that the pope brought endless hope and love, that he brought together all the believers (ie the vast majority of the Portuguese) for four days - marked by the highest human values. Wonderful job! But what about the day after his departure? I haven't noticed any particular optimism, great hope, any refined human virtues, and even less a recrutial of the (poor) state economy. No, the streets were with same melody again and they hosted the same people and the same concerns (only one day older).
Why? Because; True human virtues can not be learned in such partial way (when the Pope comes, in the time of Christmas and at Easter...), conquest of them requires continous self-preoccupancy and finding your own truth (based on your own experiences and feelings). Then the hope (as well trust) comes by itself, it grows out from the vision that we can have control over our lives and creating, that the quality of our life depends mainly on ourselves and on what we think, what we do and how much are we in tune with our wishes and that, to which we devote our time, effort, our love and our life.

Friday, 21 May 2010

Let's go to demonstrations!


The day before yesterday was a sad day for the history of higher education system in Slovenia. The mass of students (about 10,000 of them) ended their tumultuous demonstrations infront of the Parliament, in rather wretched way ...

I quote from the daily Slovenian newspaper Dnevnik (20. 5. 2010):
"...The facade of Parliament is bruised, almost all the windows smashed, broken glass of the front door. Angry crowd of student demonstrators who protested yesterday "to improve the social status of students and pupils" threw in the building everything they could lay in their hands first; eggs, toilet paper, bottles, beer cans and bottles, the granite blocks. Each time the glass was broken, the loud whistling and cries of "Yes" could be heard from a huge mass of young people. There was even one "Molotov", which flew towards Parliament and burned some bushes and a part of the facade. The protesters were finally surrounded by one hundred police officers (from special units), but this didn't stop them as well. They continued with pelting; first with stones, then with rocks and eggs, and finally with the bottles. "At least we've hurt one!" said proudly one hazy protester..."

It would be nice to have an insight into the statistics of how many of those students who participated on turbulent wednesday demonstrations, had actually experienced studying outside their native country for a longer period of time. I'm pretty sure that there weren't so many, since it would otherwise be clearly affirmed, how fierce and hard are the conditions for students abroad or. on the contrary - how privileged they are, in many areas of socio-cultural life, students in Slovenia. This insight would probably cause much grief to them, forwhy they would have to admit in evidence that they have made a big mistake; that they had to destroy a work of art in order to express the black-and-white belief of a crowd, a work of art, that has nothing to do with violence and destruction (even if the politics do) and on the contrary symbolizes their roots and embodies the highest humanistic values. Finally, that they have dishonoured an institution, which (despite all the controversial laws, which were and are still to come) raised up the possibility of quality education and worthy life in a country, where they had been born.

Sunday, 16 May 2010

GABRIELA MONTERO: How couldn't I know about her?!?!

"When improvising," Gabriela says, "I connect to my audience in a completely unique way - and they connect with me. Because improvisation is such a huge part of who I am, it is the most natural and spontaneous way I can express myself. I have been improvising since my hands first touched the keyboard, but for many years I kept this aspect of my playing secret. Then Martha Argerich overheard me improvising one day and was ecstatic. In fact, it was Martha who persuaded me that it was possible to combine my career as a serious 'classical' artist with the side of me that is rather unique."

Everything else you can read here:
















Saturday, 15 May 2010

Let's go to "Casa da Musica"!

Piano recital of EMANUEL AX: Porto, Casa da Musica, 15. 5. 2010

Beethoven: Sonata in C-major, op. 2, no. 3
---> Unforgettable, I understood every tone. What a differentiation in sound, what a clear structure and how much magical moments. And oh, that Beethoven! Bravo!

Kaija Saariaho: Ballade (for Manny)
---> what he did with this ballad is really nice.

Beethoven: Sonata in E-flat major, Op. 81a "Les Adieux"
---> Copying comment of the first sonata ... Bravo!

Chopin: Polonaise-Fantasie in A-flat major, Op. 61 --->
Good, understanadble, with magic, yet, Chopin would need a bit of another dimension of sound, for example some briliance.

Chopin: 3 Mazurkas
E-minor, Op. 41 No. 1 ---> I miss dancing, double stylisation,
C-major, op.21 No. 3 ---> Nice, some additional clarity in
ornamentation wouldn't do harm,
C-minor, Op. 56 No. 3 ---> Very stylized mazurka, but still ...

Thomas Ades: Three Mazurkas, Op. 27
---> Beautiful mazurkas, with obvious Chopinian impact, but still in their own language. Exploiting the extreme possibilites of piano. Very nice.

Chopin: Scherzo No. 2 in b-flat minor, Op. 31
---> Really well. Everything in its place, only that brilliance at certain points... it could be the issue of pianism ...

An exceptional musician, this Ax! I highly recommend it!

Thursday, 13 May 2010

INGRID HÄBLER - what a reference for Viennese classic and Schubert!


Ingrid Haebler was born in Vienna (Austria) on June 20, 1929. She studied at the Salzburg Mozarteum, Vienna Music Academy, Geneva Conservatory (Nikita Magaloff) and privately in Paris with Marguerite Long. She toured worldwide, but is best known for a series of recordings from the 1950s to 1980s. Her complete recording of Mozart's piano sonatas for the Denon label are still regarded as among the finest sets. Haebler also recorded all of Mozart's piano concertos (almost all of them twice) - often with her own cadenzas - and all of Schubert's sonatas. She was one of several Austrian musicians to experiment early with period instruments, having recorded music of J. C. Bach on a fortepiano. Her recordings of Beethoven with violinist Henryk Szeryng are particularly prized.

Mozart: Sonata in A-minor, KV 310






Schubert: Sonata in A-major, D 664




Tuesday, 11 May 2010

Why the hell this shoes?!


I guess it is illegal to make anti-advertisment for shoes, so I will try to avoid photographic material. Though, there are plenty of shoes to see - shoes, that have nothing to do with aesthetics.

I have always been attracted to detail. That doesn't change here, in Porto, where I've come across one funny "General Shoesy Surprise."
Sometimes the sun is very strong, and that diffuse light before the spring-shower forces me to look towards the ground and find a moment of peace for my eyes. But look, the devil, then I see all those shoes ...
Then I see young people wearing this multi-beloved sneakers that are a bit wider and higher, so they can stuck their trousers inside. And then there are those, how do we call them?, yellow and hairy half-cowboy ones (which, I thought, died out decades ago), then there are ALLSTAR shoes (which are legendary, but they don't go so well together with the black trousers or linseed skirt, which you have bought in Zara), and of course, then there are Nike sneakers of all types or even ordinary sport slippers, which we used to wear in lessons of physical education - comfortable but ugly as hell... Well, ofcourse you can find people that doens't hurt the eye too much, although they have maybe inherited the foot-wear habits from their grandfathers.
Nevertheless, these shoes are not the worse thing. Worse then the shoes is a combination of shoes and clothing, why shoes (which are somehow more old-fashioned or infantile) almost never blend with the dress, the materials and colors which currently dominate the global ready-made fashion (by the way, also worthy of consideration). Of course, men are generally slightly less aesthetic then women, but that is mostly the guilt of global clothing industry, which offers to women ten times greater selection of clothes. However, I have to admit that woman are surprising me more in negative then in positive direction as well. In my opinion the most aesthetically arranged and most consistent with their clothing is older population who has maintained and preserved that good measure from old days.

After all, why do I care? But I do. I always care about everything and I can not pretend that I don't see. And I have special affinity for nice shoes ... I'm sorry, I am just about to make a horrible generalization again, but it's is obvious: Portuguese general "Foot-wear Taste" (if not a general taste for dressing) is worse than I was accustomed to. When you look at a being in those shoes, in that outfit ... No. Things just don't go together. It's not the best.

Long live exceptions, long live the children with their fairytale-shoes! :)

Monday, 10 May 2010

Schostakovich's Piano Concerto No. 2: Children's music or a piece of a great value?

Today is Maxim Schostakovich's 72nd birthday. 10th of May 1957 was also the day, when the latter earned his Moscow Conservatory diploma by performing the premiére of father's (Dmitri Schostakovich's) 2nd Piano Concerto - dedicated to his son.

Dmitri Schostakovich on his 2nd piano concerto: "...I compose badly. Have just finished a piano concerto of absolutely no artistic or idealistic value."

Well, I don't know if I can agree on that strong self-critisism. It is true that the Second Piano Concerto is simpler then then other concertos, it's true that it is not calling for typical Schostakovich's sarcasm and satire (though there are very evident conflict points, as well as lots of humour in 1st and last movement). It's true that it is written in neoclasical style, in conventional thre-movement sonata form of an Allegro followed by romanticly inspired and melancholic middle movement closing with a joyful last movement. However, inspite of all this we must not overlook the fact, that its classical language is developed to the highest level (in derivation of motives, skilful use of poliphony, creation of characters and coulours, in building an unique musical thoughts and unit) and that in the same time it represents marvellous pedagogic tool - why it is accessible to many young people.


Yefim Bronfman, piano





Friday, 7 May 2010

Happy birthday giants! (Tchaikovsky 170, Brahms 177 today!)


Piotr Ilyich Tschaikovsky

Piano trio in A minor, op. 50

Arthur Rubinstein, piano
Gregor Piatigorsky, cello
Jascha Heifetz, violin












Johannes Brahms

Piano trio in B-flat major, op. 8

Julius Katchen, piano
Janos Starker, cello
Josef Suk, violin















Tuesday, 4 May 2010

Technique of playing an instrument; ugh, how ugly words!

When it comes to art, I don't like to hear this word: technique.
It makes me remember all those poor piano students who are versed in all kinds of finger exercises; being promissed (by their uninspired professors) that this is the shortest and best way to achieve top-pianism, they are diligently lifting and descending their fingers every day, day by day, year by year... Well, nowadays the things are not so cruel anymore, why anybody can read in almost every good methodic book how isolated "gymnastic finger exercices" represent reverse process from that which grants true musical results.

So what was the first? The soul or the body? I don't need to answer that, do I? Similarly we can think of technique and (poetic) musical content. Was technique the first? "Of course not," you say. And of course you are right. It was Chopin with his great soul and music (which came to the world through his invaluable internal hearing), it was him who set new technical requirements infront of pianists of 19th century. Not vice versa - it was not technique who dictated Chopin to write the genial two opuses of studies (how absurd this sentence sounds, no?).

Thus music with its written record (and what lies "behind the notes") dictates technique. In other words, technique represents means to achieve the objective - the embodiment of music content. How do this means of achievement work? Mind (brain) creates a special movement or operation of the arm, fingers, other parts of the body, what ultimately produces the sound (of the instrument) for which musical content is calling for. Piano technique could simply reflect in the "reciprocal relation between the weight of hands and activity of the fingers"; simply put: production of sound in specific moment depends on the fact - how much weight do we give to the hands and how active are the fingers. But let's not forget the most important: this mutual realation of weight and activity of the fingers varies depending on the requirements dictated by the musical content. The technique is therefore not something separated from music, it's not a pill that you need to eat, to speed-up your fingers. Finger-speed, by the way, doesn't depend on unstopable playing of "soul-killing" finger exercises, but mainly on the speed of our thoughts - produced by the great will of the creative artist. Technique is the consequence of our will, the will of our spirit, to create the true beauty.

Concluding from this, isn't it better to solve a technical problem when it occurs - because of the music content, and not when we don't see the reason for it's genesis (eg, in finger exercises)? So when a problem of thirds occurs in Bethoveen's Sonata, we will solve the problem there - trying to understand a musical value of the mentioned problem, when a problem of cantilene occurs in Chopin's Nocturne, again, it will be solved there - in order to achieve natural music flow, we will solve problem of octaves in a study of Moszkowski, problem of Alberti's bass in Mozart's sonatas, etc.. Music has made all that we call technique, so why not to start our work by understanding the music and its content - seing what constitutes a musical idea, what does this idea mean, which technical requirement does it create, and why.

I hate when one says: "Oh no, I can't play Chopin's study Op. 10 No. 4, because it is so technically difficult." Not really. You can not play it, because you are diligently lifting your fingers - not taking into consideration that the "beloved presto" has its melody as well, melody which has its stable and unstable tones, which has it's way, its peaks, that this melodic line (although in presto) calls for the idea of the sound-beauty (which means that you have to - in order to achieve uniformity of sound and derivation of fast musical thught - economize all movements to the extreme point, that you have to set your hand completely free in order to facilitate the speed of the fingers, etc.), that besides that, it is extremely important to keep an eye on the left hand (which we love to neglect, while being obsessed with the complexity of the right hand), because the latter is the one, which dictates the pulse, music breathing, since the latter is responsible for the harmonic flow, etc.. So, you can't play the study, because you do not have clear sound picture - internal hearing of what lies "behind the music notes". If you are completely sure of why each tone lies where it lies, you will soon unclear also how to transform the internal hearing into representative sound. Even if you do not know yet what kind of gestures you will have to create in order to achieve certain sound, at least you are sure of what you want to hear. And because you are full of creative power, because your will is strong as a mountain, you will be looking for that sound as long as it needs to be found. Of course, musical vision is constantly changing during a long-time practising process, but this does not invalidate the fact that we have to create a "crystal clear sound picture of the piece" already in the beginning of practising.

Much more important, then an isolated practising of technique, is therefore practising how to understand the music score and music content, because it is only the latter, which talks about what does specific tone mean, why is it necessary to create certain sound and suggests how (technical solution and installation of the sounds in time).

Finger-speed and relaxed hands by itself don't meen anything. Their symbiosis dictated by emotional-lyrical content of music is what we might call a technique (for example of piano playing). Nevertheless, for insight into the emotional-lyrical content it is not enough to move your fingers ten hours per day. It is necessary to go out of the room, it's necessary to hug the whole world with your large extensible fingers of love, because the world is the one who gave you and me the invaluable opportunity to be able to hear beauty.

Sunday, 2 May 2010

Let's go to Casa da Música



Concert of Miguel Borges Coelho {Porto, Casa da Música, 28. 4. 2010}

Beethoven: Bagatelles Op. 126

---> Sophisticated, beautiful and wise sound in the slower and more "singing" parts of Bagatelles, stiff upper hand in the rapid and dynamic parts, as result tone is not clear and uniformed; consequence: overall picture of some Bagatelles is not the most clear.

Arnold Schoenberg: Suite Op. 25

---> Very good and clear temporal structure, in my opinion lack of differentiation in the sound and a bit "tight-fisted" use of the pedal; so complex dodecafonic content is (despite good timing) difficult to understand without the latter.

Claude Debussy: Suite Pour le Piano

---> Solid.

Alexsander Skriabin: Five Preludes Op. 74

---> Late and great Skriabin's work. Despite the apparent continuity of the Preludes I missed some of substantial differences (surprises and diversity) in the sound, everything was "in the same room". However, I don't know the piece - maybe it is supposed to be like that.


Jorge Peixinho: Etude III in B-flat major

---> Beeing placed between this giants's works, (despite interesting and humorous experimentations around B-flat major chord) study comes out as a little bit banal. But once more, as I don't know the piece, I feel incompetent to evaluate the performance.

Bela Bartok: Suite Outdoors

---> In my opinion, first three movements were to smilar to eachother in terms of sound qualites (the first - "brutal one" was very well played, but then the second and the third were a bit too "brutal" as well), the fourth was great! (In direction of musical thought and even more in the sound - "almost out of this world"), fifth was powerful and soverign.


---> Encore: Satie ...

Saturday, 1 May 2010

Who goes for contemporary?


Madalena Soveral; one of the world's leading pianists specialized in the field of contemporary music




Madalena Soveral was born in Porto, where she studied music. She continued her training at the Porto Conservatory of Music, an then, sponsored by a grant from the SEC, at the Ecole Normale de Musique de Paris, where she obtained the “Licence de concert”. First studing under mother guidance, Hélia Soveral, she also studied under Reine Gianoli, Marian Rybicki, and Claude Helffer. In 1966 she awarded the “900 Musicale Europeo” prize, in Naples (Italy).

Madalena Soveral has given concerts since 1990, both solo and with orchestra, as well as various forms of chamber music festivals of Naples, Santiago de Compostela, Sceaux, Festival de Montpellier-Radio France, Mantova (Italy), The UNESCO Twentieth Century Music Festival (Paris), Música Nova (Brasil), The 1st Lisbon Festival of Contemporary Musics (Lisbonne, T.N.S.C.), as well as at the Academia de Santa Cecília (Roma), The Theatre du Rond-Point, Auditorium des Halles and The Theatro Municipal do Rio de Janeiro.
During her career, Madalena Soveral has focussed on a 20th century repertoire working with a variety of composers and performers. Of special importance in this field is her work with the composer Giacinto Scelsi and with the “Les Percussions de Strasbourg” group, as well as her collaboration with the pianist Jean-Louis Haguenauer and the percussionists Christian Hamouy and Georges Van Gucht.
Madalena Soveral has performed the world premiere of numerous pieces, including those written especially for her : Estudos de Sonoridades (Filipe Pires), Interrogations (Miguel Graça Moura), Dominos (Sharon Kanach), In Tempore, for piano and electronic (João Pedro Oliveira), and Episode, for two pianos and two percussions (Francis Bayer).

Today, Madalena Soveral works as a Professor (and Coordinator) at the Escola Superior de Música e das Artes do Espectáculo do Porto. Besides that she is working on a research project on 20th Century Portuguese Piano Music, at the University of Paris 8. Étude Analytique des Litanies du feu et de la mer d’Emmanuel Nunes, carried out between 1997-99, constitued the first part of that work. In 2005 she completed the Doctorat in Music with the teses Quatre compositeurs, Quatre oeuvres: la musique portugaise pour piano des années 90, about the piano’s compositions from António Pinho Vargas, Filipe Pires, João Pedro Oliveira, and João Rafael.
In 2006 Madalena Soveral joined the research Center CESEM (Centro de Estudos de Sociologia e Estética Musical) of the Universidade Nova de Lisboa.

The artist has issued several CDs, among which is particularly reboant a CD with the complete Schönberg's piano-solo works:

http://www.madalenasoveral.com/

Friday, 30 April 2010

Memorizing of music



That damn memorizing.
It is true that each artist has its own specificity and that we are all distinguished already by our predispositions (which, even if they are not the best, can be developed to unimaginable extent), but there is something what glorifies memorizing in its undeserved throne. Perhaps teachers, the time constraints, learning plans, etc.
In any case, memorizing is the last (and least important) thing to be worried about. It represents a logical result of a long, productive work on music and not a separate process of learning notes by hearth. Clearly there are musical works harder for the head (polyphony, dodecaphony etc..) and it is good that there are ways, which help to learn them (e.g., registration of numbers, fingerings, learning of harmonic structure, learning the piece from the end toward the beginning, recognizing motivic structure...). Nevertheles, we must not forget what is the most important thing for a musician: to (re)create music. That means to see what lies behind the notes, that means to detect emotional-poetic content, that means to create our own vision of musical piece and finally design all musical thoughts in slightest detail, dressing them in the sound that they require. Next step is: to call into exsistence our musical ideas, i.e. how to use our body to produce certain sounds (being placed in musical context). In all of this work there are three tipes of criteria for evaluating our own work and performance: how does our body look like while we play (body gestures have to be natural and consistent with the musical content), how do we feel (our body has to be relaxed or better not more tensed then it's necessary), and finally what we hear (the sound and musical flow that we produce is the same as our musical vision, internal hearing). These are the things we must be careful about when playing an instrument (when we practise, as well when we play in the concert). And now let's thing. Concentrating on all this, can we have other things on our mind? For example, which note is the following and if we are lucky to reach the end of the piece ... Not! We can not have. Considering that at the same time we are thinking in advance about the musical content, in the same time creating a proper thought, which will create respondent movements (for a desired sound), that in the same time we have to be careful on how we feel, how do we look like and how everything sounds, we reach to the conclusion that there isn't any space left for other (unimportant) thoughts. Why then so many disturbing thoughts sneak into practising of a musician? Why isn't he, even after so much time, able to play the piece from the start to the end without undue stopping? Is it the bad memory, which is guilty for that? No! Practising. Practising, which is not concentrated. Why is practising not sober-minded? Because a musician is not achieving desired results. That is why he is not enthusiastic, that's why the other thoughts come on his mind. It could be that he doens't have clear vision of music, that he doesn't know what to do with the music text, perhaps he doesn't know how to materialize music ideas (i.e. he is not aware of how to create a movement of the hand that will produce the desired sound result). If the musician, by contrast, practices productively - reaching the music, he can't get sleepy, and his thoughts can't go elsewhere, why he is too excited about the outcome, which he has created, about the sound and the ideas that are now hearable and have achieved their purpose.
The main problem therefore lies not in the memory capacity of the individual, but in his understanding of music and way of practising - that should always inspire good feelings (finally, don't we make music because it makes us incredibly happy?).
To sum up, memory isn't of a great importance for a musical reproduction (anyone can play with the score if he wants). Beeing sure in the musical content (in what's behind the music notes) and in the way of embodying the musical content in sound, brings true self-confidence in musician. And then he forgets that memorizing exsists at all...

Thursday, 29 April 2010

Story told by music (Part III)


Cause and effect


Another indicator of how musical language coincides with the language of the world.
In our world, all happening is very clearly based on the relation of cause and effect, all what happens, occurs, all what has been done (as well Chagall's picture on the right), represents an effect of some specific cause (or more causes). Starting with the nature, evaporation of water represents the cause of rainfall, warm spring sun and rain are one of the causes for the colourful awakening of the flora. There are reasons for the physical (as well intangible) creation of man, we know that we can get skin-burned if we get to close to the fire-place, we know that we cry because we are sad (or very happy or sometimes both). Nevertheless, everything what man feels, is the result of something, that has happened in the outside world or deeper inside the soul. We are familiar with the fact, that all diseases have their cause (and how our beloved medicine, to which we run in the moments of helplessness, treats only its consequences). Nothing, nothing, therefore, does not happen by pure chance (although at the first glance we could speculate that the world is all full of coincidences). If we look at events with greater temporal perspective, we find out, that even those most "naked" coincidences have their cause hiden somewhere (and usually it's a very strong one). Such a "coincidence" could reflect in the funny event, like this: One rainy spring morning you sadly found out, that you have run out of stamps. Despite the bad weather, you have concluded that you have to go to the post, why in two weeks you are playing a concert in an important cultural center and there are still some vital invitations to be sent. In front of the post, somebody in a big hurry bumps into you (it appears like he came from nowhere), and beats you to the ground, that you land in a large filthy pre-postal puddle. With a dirty face, trying to draw aside your darkened curls (attentive observer might even notice there is a piece of squashy cigarette stucked in your ear), you look up and see a person ... the person which might stay with you until the rest of your life. Another incredibly beautiful story for a new luscious Hollywood film, with the sweet candy of happy coincidence on the top. However, when we think better ... Haven't you thought many times already how much would you want someone, with whom you could share your "little life happinesses"? Well, then all this funny story didn't happen by some unknown coincidence, but due to your long-smoldering desire...
Furthermore, if we are noticing that everything in life has its cause, then the music has to tell us the same thing, why, as I have been trying to proove consistently, music and life speak in very similar languages. How can we notice this term of "cause-effect" in music?
Have you ever heard of a worn phrase, that we learn from childhood and what represents one of most oftenly used (if not abused) teaching tools in musical education: "Question-answer". This means nothing else then the term "cause-effect". Music contains countless examples of this kind ... For example 4-bar motive consists of two-bar musical thought (cause), which in the two succeeding bars evokes new thought which is dependent on the first (and represents its consequence). There are numerous musical ideas in countless extentions built in such a context (ranging from simple melodies through to more complex musical ideas, such as the contrasting themes of sonata form, etc..). Then there is harmony and eternal game of dissonance (cause), which dissolutes its power in consonance (effect). Ultimately, overall musical perspective (or perspectives of individual musical elements such as rhythm, harmony, melody, polyphony, structure) may suggest the following (perhaps most important) causes - design, organization and integration of musical elements, what results in creation of a whole . It seems that this causes are also most important causes in human life (designing, organization of life, bringing people together to create a general state of good and beauty).
Very clearly, causal link can be distilled likewise from playing of an instrument, which works on the following principle: mind(thought) - movement of the hand - production of the sound. So, the thought (idea) causes a hand gesture, hand gesture is further responsible for the production of certain sounds, which may ultimately give rise to human emotions, which will then again evoke a new mental connections, etc.).
I could be playing with causeses and their effects much more, but there is no need. Quite clearly, each tone is placed in a specific place because it is logical successor to the previous ones. Mentioned tone in the same time represents a new cause (or part of the the cause) that will produce a new consequence (new sounds) ect.
Finally, isn't it the same in life - that everything what we do, everything that happens , is the logical consequence of our previous thoughts, actions and feelings?
There is one more thing bothering me. What exactly is "the cause"? "Encounter of contrasts"?

Some other day...



Good day for you all! ;)

Monday, 26 April 2010

Petar Milić; wonderful young pianist of Slovenian origin


Petar Milić was born in Kranj, where he began his piano lessons with prof. Sabira Hajdarević. He continued his musical education in Secondary Music School in Ljubljana in the class of yearlong and wonderful Professor Janez Lovše, who remained his mentor also in the Academy of Music. Already during the study, he has given many concerts in Slovenia, recorded for RTV Slovenia and worked with renowned international masters such as Arbo Valdma, Igor Lazko, Daniel Alberto, Pascal Devoyon and Elena Lapitskaja.
In 1977, he attended an international piano competition "Nikolai Rubinstein" in Paris where he won first prize and was invited to a festival in Geneva "Recontres Musicales de Geneve."
His musical career continued with postgraduate studies at the Hochschule der Künste in Berlin with Professor Klaus Hellwig. During this time he performed in Berlin, Hanover, as well as in Slovenia, where he made several audio and video clips for RTV Slovenia.
In the context of international tribune of young musicians, an idea that was initiated by Yehudi Menuhin, in 2001, the jury of European radio outlets selected a clip of his recital, what gave him oppurtunity to participate at the music festival in Bratislava. His live solo performance was accompanied by several million listeners in Europe.
As a solist, Petar Milić performed with chamber orchestra Carnium, Slovenian RTV Symphony Orchestra and Orchestra of Slovenian Philharmony. He participated as well in many international festivals such as Carniola, Cellomusica, Bohinj and Piran Summer Festival...



Sunday, 25 April 2010

Which feet are Portuguese?


As the question of this publication, its content may be absurd as well. Anyway, something tells me that my social discoveries of the "West" (eventhough very personal), shouldn't be kept just for myself.

People often ask me: "What is your opinion about the Portuguese?" Please, not this question again! At this point two things crash into each other. Knowing that each individual is unique and irreplacable and that because of this we can't make so banal genaralizations, and on the other hand the fact, justified by the simple everyday life - that however, there are cultural patterns that have conglutinated inside human personalities and are now seen as some sort of common social ways of behavior and practise.
Portugal has long been in the claws of dictatorship, long has been pushed outward to the edge of the ocean, that is why Europe's influence here has not reached such a power, as for example in more centrally positioned European countries. Turbulent history, from its see-adventures, physical distance and isolation through to the impact of Roman Catholic Church, has certainly left a deep mark in treatment of human relations, ways of behaviour, etc..
If two years ago I had beed asked what do I think of Portuguese, I would have droped the idea of comparison with the Balkan or Mediterranean nations; the people who say what they feel, the people who give all what they can to the others, which are temperamental, simple, direct. Well, today I do not think like that anymore.
Not because almost everybody pays a drink for himself, because the immediacy and temperament reveal, more than anywhere else, during the collective spactation of footbal match(I am already shaking from this terrible generalization, but otherwise it doesn't go) but more than all this, because of one collective pattern that surprises me so much and which I still can not figure out completely: "Duality and discreetness of personality" - how the Portuguese warmth and openness is so obviously shown outwards, but not inwards. In other words, how they can be so warm outside, but so unready to share their intimacy? Let me explain by example that it is very obvious.
When friends meet, they usually exchange a lot of nice words and make effort that their conversation (with the lightweight issues) runs in the direction that will create good feelings. If this is a male-female acquaintance or female-female one, mandatory sign of greeting (no exceptions) is a kiss (or two kisses - on each cheek one). When it comes to men's ties, ofcourse kisses are expected to be replaced with handling. Thus, at first glance this country appears to be smelling of love and compassion. But the smell soon fades, when we notice the other side, which co-creates the state of duality - a sort of shabbiness or precaution in sharing intimacy. To pursue a practical example; the friends, of which i have spoken before, want to maintain friendly conversation and a smile on the face even when it is necessary to approach things differently. For example, when a friend is to be noted of things that he does bad, when we want to speak out important things, which we feel bad about, etc.. In such cases, the moments of grace and kindness just make the job harder, since important issue (finding) requires a degree of seriousness (even inevitability) in order to achieve its purpose. Here, one can not find this seriousness too often. Even family ties (those, which I had the opportunity to meet) all too often host this very dualism and seem to be losing some of the depth and intimacy. The intimacy (touching the love life, sexuality, perception of the world, etc..) is even more limited speech within the relationships between parents and children. Even a warm hug is often replaced by conventional two kisses or handshake. Thus even a cold-blooded Slovenian (if he is not really too Slovenian) could feel like a photo negative of the Portuguese here - colder outwards (apparently), and more direct when it comes to human relationships .
How was this dualism created? Why are so many people afraid to face eye to eye? They can not deal with reaction? They are taught that the reaction should be always good, that they should always attract a smile? Don't they know that the immediacy is the shortest path to happiness for both individuals? Why this enormous "Caution"? Can the reasons be dangerous history of conquerors, terrifying dictatorship, the church with its lessons of humility and sinfulness, politics, (un)culture of media? Who knows. Probably a little bit of everything ...

Ultimately, however, I must not forget that the Portugal is the place, where I found people that have grown closest to my heart. So, once more, I am back, where I started, with the absurd question about the feet ...:)





p.s.: There is no Portuguese feet in the picture, there are two Slovenian and one German. But it's true that (not long ago) all three were wading in the big Portuguese see. :)

Friday, 23 April 2010

Porto

I prefer Porto to Lisbon. Certainly, the latter is beautiful as well, and obviously offers even more from a cultural point of view. However, there is something that makes it less personal than Porto; maybe its vastness, large river delta, maybe high aristocratic houses, sky-scrapers which are stealing the clouds, or maybe it is just international soup of Portugueses, Brazilians, Asians, Africans and tourists, which flows through the wide streets of the capital. Maybe it is just me. Probably.
Nevertheless, I feel warmer when I look at Porto; when I walk up the steep streets, accompanied by colorful row houses, lined with unique ceramics

(and many more such, who has thrown ceramics down and now offer home to happy pigeons),

when I look at dark old port city with its black soul, which (it seems) once had to fall into a rainbow, why otherwise it couldnt wear all these colors, that shine so much, when golden sun of spring decides to illuminate the city.

In all of this joyful viewing I have to be careful not to be stared up into the sky too much, why I could easily overlook some fresh dog stuff, of which Porto never runs out (or as Porto people like to point out: "Watch out for mines !":)).
In Porto you can find many special characters. One can easily meet a poor guy who is talking to himself, or just screaming at the sky, which sent him this miserable days. There are even more of those, who are firmly convinced that their official duty (if not life mission) is to park your car and receive a shiny coin for the well done hard job.
The old town lives during the day - filled with people in their everyday tasks and (more often) shopping. In the night, pigeons, gulls and the poor reign the city. Well, the students have their special corners as well. There you can find those special bars, that are so hard to find in other europeanized capitals - gilded with art and familiarity, they seem as the living room, where you have grown up.
Still, the most beautiful is when you go down to the powerful ocean,

to the big water, which is crushing rocks into golden-yellow sand, water which never stops, as it does the warm Mediterranean Sea - awakening with people and falling asleep with the peaceful evening dawn.

Wednesday, 21 April 2010

Eclectic style which blended archaism and modernity: Jacobus Gallus (1550-1591) - genial composer of Slovenian descent

Motet mirabile mysterium, together with the other chromatic transitions, foreshadowed the breakup of modality.


His well-graced and unique "word painting" in the style of the madrigal




Rich, polyphonic, eight-voice Pater noster in famous Venetian polychoral manner of "corri spezzati"




Or just simply simple Ecce quomodo moritur iustus, later used by George Frideric Handel in his funeral anthem The Ways of Zion Do Mourn.