Today we listen to folk rock with electronics, mixed up with Tatar folk motifs, a young Moscow fusion without borders and a solo piano concert that will pleasantly surprise even those who are used to Keith Jarrett.
Petrified Drops “Raft in Placidity” One of the most notable albums of Russian jazz of recent times. They, in principle, are not so many, but this one would stand out, even if we had a real abundance. Continue reading
Since we are talking about an authentic instrument system in the performance of music of the 18th – early 19th centuries, I will share some observations.
One of the pioneers of authentic performance, the Swiss pianist Edwin Fischer did not even think about how far his simple idea would come to play instruments and compositions of earlier times. He played the piano, the structure of which he did not change, just like the instruments of his orchestra: this is heard from the recordings of Bach’s clavier concerts. Continue reading
The process of establishing a certain emotional content for each key continued in the music of Viennese classics and covered almost their entire list in the music of romantics, both Western European and Russian.
And here the same thing is possible as the perception of music in color. The color ear was distinguished by very few composers (Rimsky-Korsakov, Scriabin, for example), but with some coincidences both in individual notes and tonalities, their perception was different. Continue reading
Metronome (from a series of articles on the use of technical means when learning to play a musical instrument)
The idea of a “musical chronometer” has been in the air since the beginning of the 19th century. Previously, composers indicated the nature of the work verbally, for example, “fun”, “lively”, “broadly”, “energetically”, and the approximate tempo depended on the duration of the beat, as well as on the acoustics of the room and personal preferences of the performer. Continue reading
Trombone storytellers look like tales of anglers!
And about the trombone solo in the work of Maurice Ravel, journalist Broussardi heard many times. And now it’s the turn to tell on behalf of Leo Arno the story of the creation of this masterpiece.
Broussard’s journalist told us that Maurice Ravel wrote a melody with flamingos (Flamenca). Continue reading