1. Domenico Scarlatti - Sonata in B minor, K. 33 (05:25) 2. Wolfgang Amadeus Mozart - Piano Sonata No.13 in B flat, K.333 : 1. Allegro (07:42) 3. Wolfgang Amadeus Mozart - Piano Sonata No.13 in B flat, K.333 : 2. Andante cantabile (06:51) 4. Wolfgang Amadeus Mozart - Piano Sonata No.13 in B flat, K.333 : 3. Allegretto grazioso (06:24) 5. Frédéric Chopin - Berceuse in D flat, Op.57 : Andante (04:39) 6. Raoul Koczalski - Valse Fantaisie, Op.49 (03:04) 7. Franz Liszt - Czardas Macabre S.224 (07:49) 8. Claude Debussy - Suite bergamasque : 3. Clair de lune (05:17) 9. Nicolai Rimsky-Korsakov - The Tale of Tsar Saltan : The Flight of the Bumble-Bee (01:16) 10. Serge Rachmaninov - 10 Preludes, Op.23 : No.5 in G Minor (03:50) 11. Alexandre Scriabine - 12 Etudes for piano, Op.8 : No. 12 in D sharp minor (02:13) 12. Moritz Moszkowski - Étincelles, Morceau caractéristique op.36, no.6 : Allegro scherzando (02:57) 13. Vladimir Horowitz - Danse excentrique (02:34) 14. Wolfgang Amadeus Mozart - Piano Sonata No.11 in A, K.331 -"Alla Turca" - arranged by Arcadi Volodos : 3. Alla Turca (Allegretto) (03:42) 15. Ennio Morricone - Playing Love (03:04) 16. John Williams - Star Wars (05:49)
Este é o lendário Piano Siena. Envolto por um halo místico fabuloso, na realidade, ninguém pode afirmar a veracidade dos fatos que envolvem a história deste singular instrumento. Declaradamente construído com a madeira sagrada dos pilares do templo de Salomão, o que parece se saber, ao certo, é que foi construído por volta de 1800, e presenteado a um rico casal de fazendeiros, Antonio Ferri e sua esposa Rebecca Marchisio. Em 1867, o piano foi enviado a Paris para uma exposição. Em 1868, tornou-se o presente de casamento da cidade de Siena ao príncipe Umberto e foi mantido em Roma com outros tesouros de arte da família real. Este é apenas o começo das viagens várias entabuladas pelo místico instrumento que acabou como indigente num lixão de Israel, coberto de gêsso que lhe ocultava o fino entalhe... Bom o assunto é interessantíssimo, transcrevemos, a seguir dois excelentes textos sobre este estranhíssimo instrumento, sobre o qual, o próprio List teria tecido apaixonados elogios.
Siena Piano - The Legend
"The 'Siena Pianoforte' is news, not because the keyboard must be father to the pianist in any Wordsworthian sense but because this particular instrument is demonstrable or at least manifestly unique among the hundreds of thousands extant. What other piano takes on the color and the character of whatever music is made upon it? What other piano can seem to be by turns a harp, harpsichord, lute, cimbalom, carillon, banjo, woodwind, marimba, guitar or even a quartet of guitars?
There are no tricks involved, you may be sure. Experts agree that the "Siena Pianoforte" is not significantly different from any other in its main structural aspects. It is not "prepared" a' la John Cage. There is nothing electronic in its mechanism. Virtually every part in it , as a matter of fact, has been replaced - and there is not another like it as the ears can attest.
The "Siena Pianoforte" was built in the first decade of the 1800's by the Marchesio family of Turin, a tight little guild of Piedmontese artisans not readily encountered in the annals of the craft. So painstaking an authority as Arthur Loesser, whose "Men, Women, & Pianos" is the most nearly complete history of pianomanship in print, fails even to mention them.
It is recorded that one of the Marchesio maidens, Rebecca, was taken in marriage during the first quarter of the nineteenth century by a Siennese, and that the couple were given the "Siena Pianoforte" as a wedding gift. It went with them on their removal southward to Tuscany. Some years later, the legend goes, a music-loving wood carver was so enchanted by the instrument that he executed a handsome new case for it. Then in 1868, according to documentary evidence, the municipality of Siena acquired the now famous piano and presented it, also as a wedding present, to the then Crown Prince Umberto. Subsequently it reposed on the Quirinal. How it got from this palatial sanctuary to the bloody sand of El-Alamein is one of the unsolved mysteries of World War II. And how it was rescued, restored, and eventually brought to America makes for one of those implausible sagas that are stranger than any fiction.
The hero of this story is a squat, bushy-browed man of modest but dedicated mien named Avner Carmi, who was born in the Biblical hills of Ephraim of a family that traces its musical lineage back to the Kiev of the Czars. Himself a piano tuner extraordinary whose services were sought by such giants as Busoni, d'Albert, Schnabel and more recently by their heir apparent Arthur Rubinstein, Carmi needed no counsel to be convinced that the instrument he saved from British artillery in the mid-forties was nothing if not very, very special. Miraculously, moreover, Carmi was probably the only man in the whole Middle Eastern battle zone who knew of the "Siena Pianoforte" and could have suspected, though consciously he did not, that a dilapidated item of combat spoils might be the same fabulous and "presumed lost" treasure.
Carmi's grandfather, Matthew Yanowsky, had been a virtuoso in the time when Liszt's primacy left no room for any others near the top. He did, however, achieve a measure of fame, playing before many crowned heads both before and after his emigration from Russia to what was then Palestine in the 1880's. Once he performed for Umberto, presumably in the Holy City during a state visit, and it happened that the instrument provided for the recital was so inadequate that the artist expressed his apologies for what he deemed imperfect results. If only, he told His Majesty, there were any pianos around like the one he remembered from St. Petersburg; now there was an instrument; Liszt himself often played on it.
Yanowsky's grandson is quite clear in his recollection of the old man's report on the ensuing exchange: Umberto replied that he, too, owned a piano on which Liszt himself had played, and so saying he invited the distinguished Palestinian settler to make amends for any real or imagined shortcomings in his command appearance by playing the royal instrument whenever he could come to Rome. Reconstructed third-hand by Carmi, His Majesty's further remarks were approximately as follows:
"My Prize piano at the Quirinal is an Italian original. It was built over a period of four generations by a father, son, grandson and great-grandson. Liszt called its sounds 'divine,' and indeed it has been compared with the harp of King David himself. This instrument once was exhibited in Paris, and the year after that was given to me. It is an upright, and every inch of its shining surface is intricately carved. A gallery of immortal composers is sculptured in the wood. Each of them from a different land, as if to symbolize that with music, the language of the soil, they are united prefiguring Isaiah's prophecy of peace in the latter days.
"The legend is that this piano was made of wood from Jerusalem, from the very pillars of Solomon's temple. When the city was destroyed by Titus his men supposedly carried off to Rome the two most beautiful pillars of the temple, Joachin and Boas. In turn they were installed in a new pagan temple, which later collapsed. The foundation was left standing, and in the Christian era a church was erected on the site, again using Solomon's pillars. The legend tells us that this church was knocked down for the last time by an earthquake, and that the wood then was used to make my wonderful piano."
Before Yanowsky could arrange for a Roman holiday, Umberto was assassinated. Crestfallen, the old man extracted a promise from Carmi that he would someday call on Victor Emanuel III and ask to see this amazing piano that was allegedly made of sacred wood from Jerusalem. Years later, en route to Germany to complete his musical education, the dutiful grandson arrived in Rome and went straightaway to the Quirinal. Let him recount the incident:
"To the palace guard I confided that 'I carry a mission, and no doubt the King will be glad to see me'. He laughed at me. All who seek a royal audience must first request it by mail, fully stating their business, the guard informed me. So I sat down and wrote a very long letter, leaving out no detail. There was no reply, and soon I had to depart. Often in the years after that I found myself in Rome, and each time I wrote out a formal request, but always in vain. Once, in 1934, I tried to make contact with Victor Emanuel directly when I saw him in a marketplace. It was a terrible mistake. The crowd pelted me with fruit and the police arrested me as a would-be assassin. Only the intercession of Schnabel with whom I was just then traveling as tuner, saved me from an indefinite stay in one of the King's prisons. Schnabel managed to convince the authorities, but unfortunately not His Majesty, that I was only in love with one of the royal pianos."
In the Mediterranean campaigns of World War II Carmi was attached to an English transportation unit. Its specific task was to collect and sift the miscellany that Rommel's retreating forces had left behind. One day the ex-tuner was summoned to examine a peculiar looking piano, or what seemed to be a piano, that had been turned up in the dunes that morning. The mine-sweepers had almost blown it to bits on the theory that it might be some diabolical Nazi trap. The question was, was it?
Carmi concedes that "there did appear to be something Satanic in this strange apparatus. It was encased in a thick, desert-hardened layer of plaster from top to bottom, so that is more nearly resembled a tomb than anything else. If it were a piano, there could be no proving it then and there because the inside works were hopelessly sand-clogged. From both sides of the action it was possible to see that all manner of experiments that had been made on it, and that it had been rebuilt at least once because the keyboard obviously had been extended and supplementary strings, hammers and keys added to the original set. Now why, I wondered had Rommel's army taken the trouble to lug a museum piece into a combat zone?"
Having persuaded his superior that there was more than met the eyes in this situation, Carmi was soon off by truck to the ordnance headquarters some two hundred miles inside Egypt. No sooner had he arrived when the receiving officer ordered him to make an about-turn with his "rubbish", then relenting to the extent of consigning it to the uttermost extremity of the camp - where everything was burned sooner or later.
Carmi was by no means sure that his unwieldy pile of booty had any real value, but he was, after all, a piano man, and the thought of relegating any instrument to flames was enough to excite his righteous indignation. He went to the officer in charge, presented his credentials as turner-by-appointment to the most famous virtuosi, swore on his years of experience that the battlefield relic should be saved from destruction. The officer grudgingly followed Carmi to the battered box, watched and listened as the skilled hands lifted out the action and strummed on the strings as if they were a harp. The sounds were beautiful, he had to agree. And without further ado a group of Italian prisoners-of-war was brought around to unload the delicate monstrosity.
The piano was repaired in short order - made to work well enough for military morale purposes at any rate. Carmi, his conscience assuaged, went back to his unit, and after that he lost sight of his precious charge for a long while. Subsequently he heard that it had been turned over to a troupe of entertainers who would be making the rounds of army installations, and later he encountered them - and their piano - all over North Africa, Sicily and Italy.
War and its aftermath having presented a succession of more pressing problems, Carmi eventually forgot the plastered mystery-box. But fate was to bring them together again. The piano had gone with the entertainers as far as Palestine, shortly to become Israel. When the troupe disbanded there, the instrument was written off and sold to a Tel-Aviv junk dealer. Fascinated, he had his tuner try to fix the unusual action, and several times he tried to penetrate the now rock-hard plaster covering. The tuner gave up in despair, and the shell remained impenetrable. The junk dealer, disgusted, brought his white elephant to the municipal dump.
Carmi continues the story: "It's an ill wind that blows nobody good. Because of its zero price, the piano time and again found owners who tried to unlock its secrets. None of them did. Then the notion struck somebody that maybe this thing was not really a piano after all. A bee-keeper saw it as ideal hive material; a peasant thought it would make a fine incubator; a butcher was sure that meat could be kept under refrigeration within its five-inch walls. And so it went, until the day came when the long-suffering piano was left to rot, in lonesome ignominy, on a Tel-Aviv street.
"About that time I came home, my army career happily over. While I was telling my wife that I wanted to re-open the old piano workshop the children interrupted to say that they had found my first job for me, and at their insistence I went with them to investigate. As we entered the street I saw a turned-over upright baking in the sun; several youngsters were sitting irreverently on its back. They alighted at our approach, and I saw with a shock of recognition that this instrument was none other than my desert pal of years before. The plaster was incredibly intact, but otherwise the piano was battered beyond belief.
Now in Israel a piano is an object of value, not to be thrown out, given away, or broken up with axes. I didn't understand at first why the authorities had permitted this one to sit on the street like a discarded mattress awaiting the rubbish collector. When I brought it home I began to understand. The explanation was simplicity itself - nobody had been able to make the piano work. I rolled up my sleeves and made ready to bring the dead back to life if humanly possible."
And then, as if preordained, the miracle happened. Suddenly the cement-like plaster began to crack, and within moments chunk after chunk of it fell to the floor. Carmi looked on with stunned incredulity. His heart began to beat fast at the first sight of the polished under-surface. What he saw was an exquisitely detailed relief of a cherub heating on a little drum, "as if to summon the world to music". All at once the idea that doubtless he had entertained unconsciously shattered its way into Carmi's consciousness, and with a gasp he went to his desk to dig out a carefully preserved photograph of the long-lost "Siena Pianoforte." He wheeled around to compare it with his prize, now shed of its last vestige of plaster. In front of him stood King Umbertto's treasured wedding present, the very instrument that he had thirty years before vowed he would see.
Carmi is now in New York completing his forthcoming book. The "Siena Pianoforte" is with him. This recording was made on it. Hear for yourself the "divine sounds" that Liszt heard from its depths. David's harp is may not be, but the allusion surely does no disservice."
Notes by James Lyons From Esoteric LP ESP-3001, 1955
Eis outro relato:
The Story of the Siena Pianoforte!
"This amazing looking piano has an equally amazing history. Built in 1800, The Siena Pianoforte was a wedding gift for a Siena farmer, Antonio Ferri, and his bride Rebecca Marchisio. The newlyweds stayed in Siena, raising wine-grapes, children and grand-children. The piano, on the other hand, traveled a great deal!
In 1867 the piano was sent to Paris for the Exposition. In 1868 it became the wedding gift from the city of Siena to the Crown Prince Umberto and was kept in Rome with other art treasures of the Royal Family. In the late 1880's, now King of Italy, Umberto visited Jerusalem and heard a talented pianist, an emigrant from Ukraine, named Mathis Yanovsky. He told him the story of The Siena Pianoforte and invited him to play it whenever he could come to Rome. Yanovsky died before he realized his dream. Years later, his grandson, Carmi, fulfulling a promise made to his grandfather, tried in vain to acquire permission to see the fabled pianoforte.
Years later, during WWII, Carmi was with a unit in the deserts of North Africa sifting through the sands and collecting what Rommel's retreating forces left behind. He was called upon to examine a large, plaster covered object buried in the sand. Carmi convinced his superiors that this was not a Nazi land mine and took the barely recognizable piano. Consigned to the extremity of an ordnance camp deep in Egypt, Carmi convinced the officer in charge to turn the piano over to the Brisih Special Service section. It was repaired in short order and Carmi went back to his unit.
The piano, however, continued its travels and went with military entertainers as far as Palestine where it was eventually sold to a Tel-Aviv junk dealer. It passed from owner to owner and was used as a hive for a bee-keeper, an incubator and even a meat refrigeration unit for a butcher! It was eventually left to rot in a Tel-Aviv city dump.
Carmi, retired from the service, came home to Tel-Aviv. He planned on opening his old piano workshop. One day his children told him that they had found his first job. When he investigated their find he discovered his old friend from the sands of Northern Africa, turned-over and baking in the sun. He thought that the instrument was beyond repair. He thought it over for the night, returned to the dump the next day and discovered the piano was gone.
Fortunately, it turned up in his shop days later, delivered there by a music lover who found it and handed it over to Carmi with orders to fix it. He changed his mind and in a fit of temper pounded his fist on the piano, cracking the plaster covering and revealing a little wooden cherub. Carmi paid the man off quickly and then just as quickly began uncovering the plaster. What he discovered was an elaborately carved case with friezes of plump, drunken cherubs hauling their drunken queen across the face of the piano. Carmi dug out an old picture of the Italian King's piano and discovered it was the very one in his shop.
Carmi eventually finished restoring the piano and the recording that I played this morning was made on it. What a story!" (Sueann Ramella)
Certa ocasião, na sala de redação da emissora que trabalhava, sentei-me diante da máquina para redigir um texto comercial, mas ao invés de teclas eu via castanhas; isso mesmo: castanhas de caju. Desviei a vista algumas vezes para outros pontos e quando voltava o olhar para a máquina, novamente a visão de castanhas. Delírium Tremens com certeza não era, pois minhas eventuais doses de bebida alcoólica estão longe desse efeito. De repente senti o estalo e logo entendi que a visão das castanhas tem origem em um fato marcante que se passou comigo quando adolescente.
Em virtude de meus afazeres não pude escrever sobre o fato naquela ocasião. No dia seguinte, o assunto voltou para as profundezas do subconsciente e vários anos se passaram; agora, na falta de algo mais produtivo, relato aqui o episódio.
Você lembra que nas crônicas do fabuloso Nelson Rodrigues, sempre que acontece uma grande estupidez é sempre de autoria de uma “mulher gorda e patusca”? Pois bem; em frente à casa que residia, morava uma autêntica “gorda e patusca”, senão vejamos: Certa manhã, em época de férias escolares, brincando de dominó na mesa da sala da casa da dita cuja, com seu filho que é dois ou três anos menos que eu, a mulher com a cabeça cheia de bobs, veio com um “pirex” grande e um batedor de bolos daqueles que é um cabo de madeira e uma espécie de mola para agitar a massa, e iniciou o preparo de um bolo pé-de-moleque, pois receberia visita para jantar naquela noite. Após alguns minutos levantou-se dizendo que iria acender o forno; quando voltou para a sala trazia a forma; uma vasilha com erva doce; uma xícara com cravos e uma tigela com castanhas de caju, e continuou a bater o bolo. Logo o telefone toca e a mulher se levanta para atender em um outro ambiente e se demora bastante se aconselhando co uma “comadre” sobre: o tipo da louça; os cristais; a cor da toalha e outras futilidades do gênero.
Enquanto isso, seu filho após cada pedra de dominó que colocava no jogo, enchia a mão na tigela das castanhas e devorava-as em segundos. Eu, tímida e educadamente assistia aquilo espantado e discordando, porém sem interferir, pois com a pouca idade que tinha, não imaginava que a professora fosse tão estúpida. De repente chega a mulher próximo à mesa, olha os ingredientes e fazendo cara de tragédia, bota as mãos nos bobs e esbraveja: VALHA-ME DEUS, O CID COMEU AS CASTANHAS TODINHAS. Diante da cena, peguei minhas revistinhas e nunca mais pisei lá. (Cid Lobo)
Le Nozze Di Figaro, K 492
1. Sinfonia
2. Cinque...Dieci
3. Se vuol ballare Signor Contino
4. Non più andrai farfallone amoroso
5. Porgi amor qualche ristoro
6. Che soave zeffiretto
7. Ecco la marcia
Don Giovanni, K 527
1. Ouvertura
2. Notte e giorno a faticar
3. Menuetto, contraddanza e teitsch per tre orchestre
4. Là ci darem la mano
5. Fin ch'han dal vino
6. Batti batti bel Masetto
7. Gia la mensa è preparata
Cosi Fan Tutte, K 588
1. Ouvertura
2. La mia Corabella capace non è
3. Ah guarda sorella
4. Bella vita militar
5. Un'aura amorosa
6. Secondate aurette amiche
7. Tradito schernito dal perfido cor
8. Fortunato l'uom
Ensemble Zefiro
2 hautbois, 2 clarinettes, 2 cors de basset 4 cors, 2 bassons et 1 contrabasse
1 - Nessun dorma - Puccini (Turandot) Placido Domingo 2- L'amour est un oiseau rebelle - Bizet (Carmen) Marilyn Horne 3 - Questa o quella - Verdi (Rigoletto) Rolando Villazon 4 - E' strano! è strano! - Ah, fors'è lui - Verdi (La Traviata) Saimir Pirgu, Anna Netrebko 5 - Voi che sapete - Mozart (Le nozze di Figaro) Cecilia Bartoli 6- Plaisir d'amour - Martini Bryn Terfel 7 - Mon cour s'ouvre a ta voix - Saint-Saens (Samson et Dalila) Elina Garanca 8 - Una furtiva lagrima - Donizetti (L'elisir d'amore) Luciano Pavarotti 9 - Là ci darem la mano - Mozart (Don Giovanni) Anna Netrebko, Thomas Quasthoff 10 - La fleur que tu m'avais jetèe - Bizet (Carmen) Jonas Kaufmann 11 - One Hand, One Heart - Bernstein (West Side Story) Jose Carreras, Kiri Te Kanawa 12 - Dies Bildnis ist bezaubernd schon - Mozart (Così fan tutte) Fritz Wunderlich 13 - Un bel dì vedremo - Puccini (Madama Butterfly) Mirella Freni 14 - Oh! fede negar potessi - Quando le sere al placido - Verdi (Luisa Miller) Rolando Villazon 15 - Giunse alfin il momento - Deh, vieni, no - Mozart (Le nozze di Figaro) Magdalena Kozena 16 - Dein ist mein ganzes Herz! - Lehar (The Land of Smiles) Placido Domingo 17 - Belle nuit, o nuit d'amour - Offenbach (Le Contes d'Hoffman) Claudia Eder, Edita Gruberova
Consiste, este magnífico instrumento de angelical sonoridade, de um tubo metalico com quase quatro metros de comprimento, enrolado em círculos sobre si mesmo, a fim de que possa ser manipulado e executado com relativa facilidade pelo músico, o trompista. Dotado de chaves, estas são acionadas pela mão esquerda do músico, enquanto a direita controla a intensidade de ar que percorre o instrumento. Este enorme tubo de metal habilmente enrolado, tem, numa extremidade o bocal, a embocadura propriamente dita, noutra, o pavilhão, por onde sai o som, amplificado pela sua natural conformação em forma de campânula. A Wikipédia dá a seguinte descrição sobre este maravilhoso instrumento e a forma de executá-lo: " ...é pela ação conjunta das chaves, da mão direita no interior da campânula, e do sopro (e, às vezes, sucção) do trompista que as notas são produzidas em diferentes alturas e timbres. É um instrumento dificílimo de tocar: o trompista não só tem que ter um ouvido afinadíssimo e saber solfejar com precisão, como também tem que ter uma coordenação motora perfeita para controlar os músculos da mão direita e a própria respiração.
O timbre da trompa é o mais rico em harmônicos, assemelhando-se muito à voz humana. A mão dentro da campana permite uma enorme variedade de timbres.
Trompas aparecem nas 10 últimas sinfonias de Haydn e Mozart, em todas as 9 de Beethoven, nas 4 de Schumann, nas 4 de Brahms, nas 6 de Tchaikovsky, nas 9 completas de Mahler. A partitura da Segunda Sinfonia de Mahler exige dez trompas".
Hoje, ilustrando a apresentação deste sofisticado instrumento de sopro da familia dos metais, uma excelente coletânea de populares e clássicos populares (...) todos executados através da Trompa, este sublime, angelical, belíssimo e esquisito instrumento. Nesta postagem, a estrela é, portanto, a Trompa, daí justificar-se a coletânea (...) extranhamente composta de música erudita mesclada com popular, verdadeira diabrura da London Horn Sound, entabulada pelo competente Geoffrey Simon. Ouçamos.
01 Titanic Fantasy for horn ensemble Composed by James Horner with Stephen Henderson Conducted by Geoffrey Simon
02 La danza. Tarantella Napolitana ("Già la luna è in mezzo al mare"), for voice & piano (Soirées musicales) Composed by Gioachino Rossini Conducted by Geoffrey Simon
03 Hänsel und Gretel, opera Evening Prayer Composed by Engelbert Humperdinck Conducted by Geoffrey Simon
04 Tico-Tico no Fubá, for voice & ensemble Composed by Zequinha de Abreu with Christopher Laurence, Stephen Henderson Conducted by Geoffrey Simon
05 Horn Concerto No. 4 in E flat major, K. 495 Rondo Composed by Wolfgang Amadeus Mozart Conducted by Geoffrey Simon
06 Le carnival romain (Roman Carnival Overture), ouverture catactéristique for orchestra, H.95 (Op. 9) Composed by Hector Berlioz with William Lockhart, Gary Kettel, Frank Ricotti Conducted by Geoffrey Simon
07 Stardust Composed by Hoagy Carmichael Conducted by Geoffrey Simon
08 Solomon, oratorio, HWV 67 Arrival of the Queen of Sheba Composed by George Frideric Handel Conducted by Geoffrey Simon
09 Here's That Rainy Day Composed by James ("Jimmy") Van Heusen with Christopher Laurence Conducted by Geoffrey Simon
10 Overture: Ruslan and Ludmilla Composed by Mikhail Glinka Conducted by Geoffrey Simon
11 Tristan und Isolde, opera, WWV 90 Prelude Composed by Richard Wagner with William Lockhart Conducted by Geoffrey Simon
12 Bohemian Rhapsody Composed by Freddie Mercury Conducted by Geoffrey Simon
13 Caravan Composed by Duke Ellington, Juan Tizol with Christopher Laurence Conducted by Geoffrey Simon
Se houve uma soprano Australiana de grande renome e talento, essa foi Helen Porter Mitchell. Nascida em Melbourne, na segunda metade do século dezenove, aí reside a orígem de seu nome artístico, nome mundialmente respeitado e admirado pelos amantes do belo canto: Nellie Melba. "A sua voz ficou célebre pela pureza e flexibilidade. Os seus papéis mais apreciados eram os de Mimi em La Bohème, de Puccini, o de Gilda no Rigoletto, de Verdi, o de Rossina no Barbeiro de Sevilha, e o papel principal em Lucia di Lammermoor, de Donizetti." (Wikipédia)
Agora, nestas já avançadas horas da noite, como costumo dizer: Se me dão licença, vou pôr este disco na vitrola e morrer só mais um pouquinho...!
01. Tosti - Mattinata 02. Bemberg - Nymphes et sylvains 03. Verdi - La Traviata - Ah! fors'e lui 04. Verdi - La Traviate - Follie! - Sempre libera 05. Traditional - Comin' thro' the Rye 06. Arditi - Se saran rose 07. Donizetti - Lucia - Del ciel demente un riso 08. Handel - Il Penseroso - Sweet Bird that Shunn'st the Noise of Folly 09. Handel - Il Penseroso - Thee, Chauntress, Oft the Woods among I Woo 10. Tosti - Goodbye
11. Thomas - Hamlet - A vos jeux, mes amis... 12. Thomas - Hamlet - Et maintenant, écoutez ma chanson 13. Verdi - Rigoletto - Caro nome che il mio cor 14. Verdi - La Traviata - Sempre libera 15. D'Hardelot - Three Green Bonnets 16. Mozart - Le Nozze di Figaro - Porgi Amor 17. Hahn - Si mes vers avaient des ailes 18. Puccini - La Bohème - Donde lieta usci ...
19. Bemberg - Chant Vénitien 20. Bemberg - Les anges pleurent 21. Bach Gounod - Ave Maria 22. Handel - Il Penseroso - Sweet Bird
1. Rondò In La Minore KV 511 2. Sonata In Re Maggiore KV 284 - Allegro 3. Mozart: Sonata In Re Maggiore KV 284 - Rondo En Polonaise - Andante 4. Sonata In Re Maggiore KV 284 Thema - Andante 5. Sonata In Re Maggiore KV 284 - var.I 6. Sonata In Re Maggiore KV 284 - var.II 7. Sonata In Re Maggiore KV 284 - var.III 8. Sonata In Re Maggiore KV 284 - var.IV 9. Sonata In Re Maggiore KV 284 - var.V 10. Sonata In Re Maggiore KV 284 - var.VI 11. Sonata In Re Maggiore KV 284 - var.VII 12. Sonata In Re Maggiore Kv 284 - Var.VIII 13. Sonata In Re Maggiore KV 284 - var.IX 14. Sonata In Re Maggiore KV 284 - var.X 15. Sonata In Re Maggiore KV 284 - var.XI - Adagio Cantabile 16. Sonata In Re Maggiore KV 284 - var.XII - Allegro 17. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" KV 265 - Thema 18. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" KV 265 - var.I 19. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" KV 265 - var.II 20. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" KV 265 - var.III 21. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" KV 265 - var.IV 22. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" KV 265 - var.V 23. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" KV 265 - var.VI 24. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" KV 265 - var.VII 25. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" Kv 265 - Var.VIII 26. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" KV 265 - var.IX 27. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" KV 265 - var.X 28. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" KV 265 - var.XI 29. Dodici Variazioni In Do Maggiore Su "Ah, Vous Dirai-Je, Maman" KV 265 - var.XII
Disco 2:
1. Toccata Op. 11 2. Sonata N. 3 In Re Minore Op. 28 3. From Romeo & Juliet Op. 75 - Juliet The Young Lady 4. From Romeo & Juliet Op. 75 - Minuet 5. From Romeo & Juliet Op. 75 - Masks 6. From Romeo & Juliet Op. 75 - The Montagues And Capulets 7. From Romeo & Juliet Op. 75 - Mercutio 8. From Romeo & Juliet Op. 75 - Romeo Bids Juliet Farewall
Mais uma coletânea. E é porque vivo a detratá-las, e já falei até demasiado sobre elas, em variadas postagens. Na verdade é realmente irritante ouvir um disco onde se fez uma mistureba daquelas... Escolas, épocas e estilos diversos; Formatos desconexos; Interpretrações distintas... Enfim, são tantos os fatores que necessitam de congruência quando se entabula a consecução duma coletânea que todo cuidado é pouco. Não se pode colocar tudo no liquidificador e servir uma odiosa gororoba como belo manjar não é?
Não basta só o conhecimento elementar e básico da cronologia das escolas, por exemplo, saber o que é Barroco, Classicismo, Romantismo e Impressionismo, coisa que toda criança sabe, e sair por aí misturando inconsequentemente, Fulano, Beltrano e Sicrano, só porque são da mesma época! Coisa que as grandes gravadoras já fizeram demais...
Eu, por exemplo, jamais admití J.S.Bach num mesmo disco com Handel, por incompatíveis que são, e qualquer um com um mínimo de conhecimento na arte da fuga (aqui não me refgiro à Arte da Fuga de Bach)
sabe o que estou dizendo. Qualquer pianista, por medíocre que seja, qualquer um que interprete Bach e Handel, quer no piano, no cravo ou no órgão, sabe o que estou dizendo. Nunca admití Villa-Lobos com Debussy, sim, eu sei e todo mundo sabe que o grande brasileiro estudou com o maior impressionista Francês, mas, que tem isso a ver? são incompatíveis, num mesmo disco são! Ginastera e Villa-Lobos? é possível, e tanto fizeram as gravadoras que... é possível.
Por isso faço restrições a coletâneas, e toda vez que posto uma aqui no blog é esta mesma ladaínha... Bem, tenho que justificar-me não é?
Esta coletânea, que ora vos apresento, está isenta de culpa, mas, somente se a encararmos como um RECITAL DE UM GRANDE INSTRUMENTISTA.
J.S.Bach, Mozart, Liszt, Prokofieff, tudo junto? Antes que torçamos nossos empinados narizes, ouçamo-la.
F. Busoni/P. Middelschulte09. Fantasia: Preludio al corale ''Gloria al signori nei cieli'' e fuga a quattro soggettiobligati sopra un frammento di Bach 34:06 Helmut Schroder, an der Schuke-orgel der St.Lamberti-Kirche zu Munster
Olá Leitor amigo, nesta semana que ora finda, tivemos, aqui no piano classico, algumas mudanças, digamos, estruturais. Bem, nem tanto estruturais mas, que de uma certa forma mexeram no corpo, na estrutura física do Site. Se é que se pode falar em estrutura "física" de um artefato puramente virtual como uma Webpage. Digamos, estrutura física virtual. Já está ficando filosófica nossa conversa!
Bem, havia aqui em minha terra, outrora, uma fábrica de cachaça, por sinal muito boa, que, por ocasião de uma verdadeira renovação em sua logomarca, em seu rótulo, em seu estilo, enfim, em seu já consagrado perfil comercial, resolvera criar também um novo slogan, e este era: "Mudar faz bem"! Grande slogan, grande conceito, grande ensinamento. Creio que a principal característica do ser humano, minimamente inteligente que seja, é o afã pela mudança, a inconformidade com o que está estabelecido, a rejeição àquilo que é notório, que é consagrado, que já se enraizou profundamente em nosso ser. É a busca pelo novo, é a descoberta do desconhecido, é a tentativa de renovação, de desapego, de busca do novo... Puxa, com esse falatório até parece que mudamos tudo aqui no piano classico.
Na verdade mexemos só um pouquinho no Layout, tiramos o ícone de download de baixo da capa dos Cds e o pusemos debaixo duma miniatura desta mesma capa, à esquerda da página, com isso tentamos dar maior destaque às capas dos discos, algumas realmente artísticas, de tal forma que o leitor pode visualizar
somente a figura da capa, sem nada a seu redor, ou seja, tentamos valorizar a arte de algumas capas de Cds, como nos quadros em uma exposição. De contrapartida, para preencher mais o espaço lateral que se formou à esquerda da página com essa mudança, inserimos, em algumas postagens, um segundo link, ou seja, um segundo arquivo, geralmente relacionado com o link principal, por exemplo, da mesma escola, do mesmo compositor, do mesmo intérprete e coisas assim. Bem, parece insignificante a mudança mas, se bem analisar-mos, vê-se claramente que, a perdurarem essas características, simplesmente dobramos a nossa oferta de Arquivos, já que são sempre dois ou mais em cada postagem. Nem sempre isso irá acontecer, advertimos, pois no mais das vezes o que fazemos é repetir uma já editada postagem, o que também é bom pois dá acesso mais rápido a arquivos que muitas vezes estão escondidos e esquecidos numa das centenas de paginas do Site. Com isso nós forçamos a emersão destes Arquivos, pondo-os às vistas do Leitor, enfim, estamos reciclando boas matérias, tirando-as do esquecimento e do anonimato das muitas páginas secundárias do piano classico!
É coisinha de pouca monta, de pouco vulto, sabemos, mas, foi com tanto prazer e tanto esforço e tanta labuta que o fizemos... Não podíamos deixar de alarde-á-lo, de propagá-lo, como estamos fazendo.
Bem amigos, quanto à Rádio piano classico, não irei comentar, não por agora, pois já o fiz em duas ocasiões somente durante esta semana que passou. Estamos investindo com interesse e entusiasmo na Rádio, já temos uma excelente e eclética playlist (eclética dentro das limitações da temática da Rádio, claro) que já nos assegura horas de entretenimento, e, estamos ampliando "diariamente este verdadeiro rosário radiofônico", quem sabe, brevemente não teremos o maior acervo da radiofonia nacional à disposição livre e graciosa de todos, se já não o temos?
Portanto, caros amigos do piano classico, convoco-vos a dar umas voltinhas lá na nossa já querida Rádio piano classico, a fim de ouvir Carlos Galhardo, Vicente Celestino, Fco Alves, Carmen Miranda e mais um bocado de gente boa que vem cantando e encantando esta terra desde 1927. Também um bocado de grandes humoristas, como Zé trindade, Apollo Corrêa, Brandão Filho. Alguns grandes locutores. Alguns fabulosos Rádio-atores e Rádio-atrizes... Enfim, convido-vos a engendrarem conosco esta fabulosa viagem a uma época cheia de encanto e inocência. Por favor clique em "Rádio Piano", que se encontra no alto desta página, no menu horizontal, logo abaixo do teclado.
