Semantics of keys

Features of the piano texture in the works of F. Liszt (from the experience of accompanist)
List's first experiments in the field of vocal music (three sonnets of Petrarch) relate to a stay in Italy, i.e. by 1938-39 years. During the years of wandering, cycles of…

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January 6 - the birthday of the hymn "God Save the Tsar"
January 6, 1834 the anthem "God Save the Tsar!" Was adopted as the anthem of the Russian Empire. It was first publicly performed the day before, on December 18, 1833,…

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Work on sound production in the cello class
It seems to the author of this article that the work on sound production on the cello is a complex large work of the teacher and student, consisting of many…

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Better than Tatar: four albums of clever jazz and world music

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

Semantics of tonality … (part II)

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

Semantics of keys …

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

Glissando for trombone in Bolero Maurice Ravel

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

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The process of self-knowledge and self-improvement is unlimited. Mastery is talent multiplied by labor. Given the desire for determination and will, everyone is able to create from himself what he…

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It has been a good two decades since Norman Lebrecht published his sensational book “Who Killed Classical Music”, and then other works on the same topic. Soon, a wide discussion…

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Features of the piano texture in the works of F. Liszt (from the experience of accompanist)
List's first experiments in the field of vocal music (three sonnets of Petrarch) relate to a stay in Italy, i.e. by 1938-39 years. During the years of wandering, cycles of…

...