#Sir Roger Norrington

[paul-archibald]

Franz Joseph Haydn (1732-1809)

Joseph Haydn served for thirty years as Kapellmeister to Prince Nikolaus von Esterhazy, one of the most distinguished patrons of music ever.  When the prince died in 1790, Haydn was offered a generous pension and might reasonably have been expected to retire after an honorable career. Instead, the 58-year-old composer was reinvigorated by making two lengthy visits to London in the years 1791-2…

[maritime-matchups]

welcome to ROUND 1 of the MARITIME MATCHUPS!

Round 1 Masterpost:

Nigel and Chauncey Badminton vs Peter Calamy

Henry Noble vs Hiram Nightingale

Horatio Nelson (As Portrayed by Jim Howick) vs Sir John Franklin

Midshipman Longley vs William Blakeney

Barrett Bonden vs the Dark-Spectacled Admiral

Francis Crozier vs James Barnes

Chadwick Goodfellow vs Marmaduke Bonthrop Shelmerdine

Arthur Courtney vs Midshipman Hollom

Alexander MacIntosh vs Frank Mildmay

Captain Chase vs Roger Byam

William Mowett vs Sir Edward Pellew

William Bush vs Thomas Pullings

William Laurence vs James Norrington

Archie Kennedy vs Frederick Wentworth

[seaoftales]

what's the muses you're thinking about adding?

Buckle up, folks, there's a lot to go through. It goes without saying that adding this many muses would be too much and I most likely won't add all of them in the future.

Assassin's Creed: Oddysey

Kassandra

Bridgerton

Edwina Sharma

Simon Basset

Fandomless Original Characters

Andrea Talverton (bakery/pastry shop owner)

Linda Jenson (cryptozoologist)

Hawaii Five-0 (2010)

Danny Williams

Magnum P.I. (2018)

Ethan Shah

Marvel Cinematic Universe

Loki Laufeyson

Morgan Stark

Yon-Rogg

Once Upon a Time

Killian Jones / Captain Hook

Elsa of Arendelle (mix of OUAT and Frozen)

One Piece

Alric (original character)

Benn Beckman

Bepo

Borsalino / Kizaru

Darya (original character)

Gol D. Roger (canon divergent)

Hongo

Iceburg

Nefertari Vivi

Pell

Perona

Portgas D. Ace (canon divergent)

Portgas D. Rouge (canon divergent)

Rob Lucci

Roronoa Zoro

S-Hawk

Saint Figarland Garling

Silvers Rayleigh

Sir Crocodile

Trafalgar D. Water Law

Uta

Vinsmoke Sora (canon divergent)

Phasmophobia

Blake Richards (original character)

Pirates of the Carribean

Davy Jones

Hector Barbosa

James Norrington (canon divergent)

Will Turner

Resident Evil 7 / Resident Evil 8

Ethan Winters

Stranger Things

Nancy Wheeler

Steve Harrington

The Conjuring Universe

Irene Palmer / Sister Irene

Lorraine Warren

The Elder Scrolls V: Skyrim

Adrestia Matentia, the "Banshee" (original character, collector of rare artefacts, Imperial)

Gwendolyn Ravencrone (original character, dragonborn, Nord)

Karliah

The Evil Within

Sebastian Castellanos

The Rite

Michael Kovak

The Witcher (primarily game based)

Duchess Anna Henrietta

Eilise (original character, previously found on ladywyverness, about)

Geralt of Rivia

The Young Pope

Lenny Belardo / Pope Pius XIII.

Van Helsing

Gabriel Van Helsing

Velkan Valerious

[a-scribe-writing-short-stories]

From the Balcony

Photo: https://fineart-restoration.co.uk/news/from-regency-to-victorian-19th-century-portrait-styles-restoration/

   III. Rondo Allegro from Concerto in D Major for Violin and Orchestra Op. 61

            Ludwig Van Beethoven, Joshua Bell, Sir Roger Norrington, Camerata Salzburg(modern)

Disclaimer: The following piece should be played as the reader reads the story. The story is based off of the writer hearing this piece. The story is NOT about the song!

            The dancers take their marks. Women and men couples. The year, 1813. Everyone’s eyes are ghostly but present. Everyone’s face painted for a party but, no one is in parting spirits. Everyone acts.

            The twist and turns of the dance along with the 4-quartet band play, some German Beethoven piece. The dancer’s shoes strike the tan and white marble polished floor. One can see their own reflection but, not a perfect one. The reflections, more outlines of downlookers looking down past their shoes.

            Most of the men sweat cider. The women reek of exotic perfumes.  Only the dancers glide across the marbled floor; the band plays on a platform against the right wall of the grand, white portrait room. Portraits of Kings, Monarchs, and a few Women with gracefully, feminine qualities. If only male painters knew of the struggles us women go through on a daily.

            Above the dance floor is another floor redesigned as balconies for the High Elites to gawk and laugh, as if they don’t have the same daily struggles.

            Many of the women dancers are young with soft cheeks, youthful eyes, unawareness in their souls. These young ladies want to be picked by eligible bachelors lusting or disgusting on them from their balconies.

            A few men, cleaned shaved, hair dressed back, wearing their best suits also take turns peeking up at the balconies for any young larks who might even glance their gazes to those men. Some ladies scoff behind their delicately thin-painted fans. The room isn’t partially warm, but the Elite ladies fan their fans in various manners; some signals for yes, others for no and two younger girls seem to be having a conversation with their fans from across balconies.

            The song is almost at end, the chests of the dancers go up and down. Dancers gasp for air in-between beats. I lean off the ledge of my balcony, shallow the rest of the sweet, bitter, exotic red wine and walk to the hallway and down the stairs, away from the tiredness, lies, hopeless, bound-to-be-broken dreams of the marbled polished room with its gigantic, solid gold, weirdly designed frame portraits of people who have been long dead. To witness the dancers that were picked, were not picked, who laughed or just wanted to dance, had to be for another, another boring, useless, miserable-filled night party.  

Written By: V. Scri&e

[usunezukoinezu]

J.S. Bach (1685-1750) BWV 82 - Cantata - Ich habe genug Aria - Schlummert ein, ihr matten Augen Matthias Goerne (baritone) Camerata Academica Salzburg, dir. Sir Roger Norrington

1999

…

Schlummert ein, ihr matten Augen, Fallet sanft und selig zu. Welt, ich bleibe nicht mehr hier, Hab’ ich doch kein Theil an dir, Das der Seele könnte taugen. Hier muss ich das Elend bauen, Aber dort, dort wird’ ich schauen Süssen Friede, stille Ruh’.

…

Fall asleep, you weary eyes, Close gently and blissfully. World, I remain here no longer, For I have no share in you That is of any use to my soul. Here I must cultivate misery, But there, there I shall behold Sweet peace, tranquil rest.

[ashortdropandasuddenstop]

The Jolly Roger was a beautiful ship, she could pass as a normal ship but was currently flying the skull and crossbones proudly. As if to draw attention purposefully. That was just the Captain's plans. Captain Hook, a pirate that has only been around for a few years, four or five at the most but had been a deadly foe. He has attacked dozens of british ships and killed even more men, even rumored to clear a fleet of five ships within the dead of night before they could even return fire.

"Cap'n! The Interceptor is pursuing us from the west!" The man in the crow's nest shouts down to alert the captain and crew.

Killian grins as he looks to the horizon to see the grand ship, a pirate hunter with speed unmatched. He would be praised by every pirate for sinking this one. "Ready the cannons! Prepare the mortar!" The young captain commanded as his crew followed orders. This 30-gun frigate had very special cannons, long range that was nearly double what most had. Jolly could devastate any ship before a single shot could reach her. That was what was about to happen.

These pirates would not run, the ship turned so the 16 port side long cannons could be aimed at the Interceptor. Killian stood by the helm to navigate the helmsman. "FIRE!" He bellowed to his crew and instantly the cannons blasted out, the balls whooshing through the air of the great distance. The ship would then steer forward and turn so the starport cannons could be aimed while the other side was being reloaded. "FIRE!" Killian called out again when they felt to be in the right position to hit the ship chasing them.

He would continue this strategy, sailing in a serpentine pattern while blasting away at the Interceptor. Causing major damage to the navy vessel as it tried to catch up with three more rounds of cannon fire. When the Interceptor did catch up that when the mortar was fired. A fiery blast shot up from the Jolly Roger going straight up into the air then lobing back down, crashing into the Interceptor's deck like a blazing meteor taking out the the main mast and setting a portion of the ship on fire.

"Look at them scramble, men! Like a bunch of rats when their nest gets destroyed. Lets go drown them like the vermin they are!" Killian shouted to his pirate crew who cheers as they sailed directly for the now incapacitated ship. Once alongside they threw over the grappling hooks to pull the ships together for boarding so the real fun could begin.

Commodore Norrington's eyes darkened as the first distant cannon blasts echoed across the waves. The Jolly Roger was firing before they had even closed the gap. His jaw clenched, recognizing the deadly precision of their opponent. Whoever commanded that ship knew exactly what they were doing—and was aiming to cripple the Interceptor before she could engage.

“Helmsman! Hard to port!” Norrington barked, gripping the railing as the ship veered sharply, narrowly avoiding the first volley. "We need to outmaneuver them, not play into their range!"

The crew scrambled, adjusting sails to make the ship lighter, swifter, and more agile, but another round of cannon fire roared toward them. Norrington braced himself as the cannonballs struck with brutal force, splintering part of the ship’s starboard side. He felt the shudder beneath his feet as the Interceptor took the hit, but she wasn’t down yet.

“Damage report!” he shouted as smoke filled the air, the acrid scent of burning wood mixing with the salty sea breeze.

“Starboard hull’s been hit, sir!” one of his officers shouted back. “But we’re still seaworthy.”

"Good." Norrington’s eyes never left the pirate ship. It was sleek, dangerous, and fast—a worthy adversary. "Ready the forward guns!" he ordered. "Let’s give them something to think about!"

The crew moved swiftly, loading the bow cannons as the Interceptor surged forward, angling for a clear shot. But the Jolly Roger was relentless, twisting in a serpentine pattern, blasting away with precise timing. Cannon fire roared again, smashing into the Interceptor's hull, sending debris flying as sailors rushed to patch the damage.

“Port guns ready, sir!” a crewman shouted.

“Return fire!” Norrington roared, and the Interceptor's cannons thundered in response. But as the smoke cleared, Norrington could see that their shots had missed. The Jolly Roger was just too fast.

Before he could issue another command, the sky above them lit up with a fiery blaze—a mortar, launched high into the air from the Jolly Roger, arcing toward the Interceptor like a falling star.

"Brace!" Norrington shouted, barely giving the crew time to take cover as the fiery blast crashed into the deck. The explosion rocked the ship, sending men tumbling across the burning timbers. The main mast splintered and fell with a deafening crack, flames licking at the wreckage.

Norrington's heart pounded as he surveyed the chaos. His ship, his crew—crippled in mere minutes. But there was no time to dwell. He could see the Jolly Roger closing in for the kill, its crew already preparing to board.

"Helmsman, keep us steady!" he commanded, rallying the sailors. "Boarding party! Swords and pistols at the ready!"

Norrington’s voice cut through the panic like a knife, reigniting the discipline of his men. They armed themselves, determined to defend their ship to the last.

As grappling hooks clanged against the rails and pirates began swinging aboard, Norrington drew his blade gleaming in the firelight. He steeled himself for the inevitable fight.

“Hold the line!” Norrington shouted, his eyes fixed on the chaos ahead as the pirates swarmed across the deck.

The wind tugged at Commodore James Norrington’s coat as he stood at the helm of his ship, eyes narrowing against the sun's glare on the horizon. He had spotted the unmistakable silhouette of a ship—a pirate ship. The sails fluttered ominously in the breeze, sending a jolt of anticipation through him.

"That ship…" he muttered, something odd prickling at the back of his mind, though he pushed it aside. There was no time to dwell on it, it was clearly a pirate vessel. "Raise the colors and make ready to pursue!"

His voice cut through the sea air, clear and commanding. His crew sprang into action, following orders without hesitation. Norrington’s gaze remained fixed on the pirate vessel ahead, not yet realizing the man steering it was once his ally.

"Prepare the cannons!" he barked. The Jolly Roger was fast, but not fast enough to outrun the Interceptor. No ship could match her speed

As his ship surged forward, closing the distance, he allowed a rare moment of personal satisfaction. Pirates were his sworn enemies, after all.

Unaware the very man he once called a comrade, back when they were both wide-eyed young men, learning the ropes of the sea together was at the helm.

@heartthrobhook

[johnjpuccio]

Review of “Mozart: Violin Concertos Nos. 3 & 4.” Francesca Dego, violin; Sir Roger Norrington, Royal Scottish National Orchestra. Chandos CHAN 20234

You will, of course, recognize the name Wolfgang Amadeus Mozart (1756-1791), who among his other multitude of great works composed five violin concertos, two of which, Nos. 3 and 4, are represented on this disc. You will also recognize the Royal Scottish National Orchestra, if not from live performances then from their numerous record albums. And you will recognize the name of Sir Roger Norrington, at least from his many period-instrument recordings. You may not, however, be as familiar with the Italian violinist Francesca Dego (b. 1989). She has been playing the violin since the age of four, made her debut at the age of seven, and played at the Sala Verdi of the Milan Conservatory at the age of fifteen. With a boatload of awards, she has been going strong ever since, playing with major orchestras all over the world. Notably, she plays a violin built by Francesco Ruggieri (Cremona 1697) and Giuseppe Guarneri del Gesù ex-Ricci (Cremona 1734) courtesy of the “Florian Leonhard Fine Violins” of London. By my reckoning, this Mozart disc marks Ms. Dego’s seventh recording with the DG and Chandos labels.

To read the full review, click here:

https://classicalcandor.blogspot.com/2021/10/mozart-violin-concertos-volume-1-cd.html

John J. Puccio, Classical Candor

[lesser-known-composers]

Nicolas Maw, Concerto for Violin and Orchestra 1. Prelude. Moderato tranquillo - Andante moderato 2. Scherzo. Vivace assai. Recitando 3. Romanza. Lento e calmo 4. Finale: Allegro moderato e grazioso Joshua Bell, violin London Philharmonic Orchestra · Sir Roger Norrington, conductor

[carryonmywaywardcaptain]

It’s been years since I’ve seen Pirates of the Caribbean. I forgot:

- how good these movies are

- how fantastic Jack Sparrow is

- how good looking Commodore Norrington is (does anyone else think his jawline resembles Steve Rogers? BECAUSE DAMN SIR. 😍)

[ashortdropandasuddenstop]

Commodore Norrington dared stepped board the deck of the Jolly Roger, his boots firmly planted on the weathered wood as his men secured their foothold. The hurricane that had battered the Dauntless only hours before had left them in uncharted waters, and now, without warning, they had come upon this strange and unfamiliar ship.

His brow furrowed as he took in the scene—this was no ordinary pirate vessel. Yet, there was no time to ponder their whereabouts. The mission was clear: secure the ship and subdue its crew.

When Norrington’s gaze met Captain Hook’s, while not yet aware of his identity, he at least recognized the cunning and danger in the man’s eyes. This was no common pirate but who it was just yet eluded him.

"Stand down, sir!" Norrington commanded, his voice cutting through the chaos. "You are hereby ordered to surrender this vessel to the authority of His Majesty's Navy. " False bravado, considering they;d just been disoriented and just through a hurricane.

He drew his sword with a swift, practiced motion, the blade gleaming in the dim light. Norrington’s men, already armed and prepared, stood ready behind him, their muskets and cutlasses at the ready.

The Commodore stepped forward, his expression one of cold determination. "You may fancy yourself a pirate sir, but you will find his Majesty's Navy is not so easily bested. Yield now, or face the consequences."

His men moved into position around him, their weapons aimed and fingers on triggers, awaiting their Commodore's next command. The air was thick with tension as both sides prepare for the inevitable clash.

💀  ( thought this a lovely way to break the ice and say hi! )

Starter call

send 💀 for a violent starter .

"PASS OUT THE ARMS! GET READY TO FIRE YOU SCURVY DOGS!" The red-coat Captain yelled loudly at the crew as they were being boarded by the remarkable ship. Hook recognised its make, exceedingly British, in other circumstances he would admire it and the proper values of the men aboard, but those days had long since gone and he was a pirate and these were navy men.

Mr Smee quickly handed out the guns and all hell began to break loose aboard the ship.

Captain Hook drew his sword and waved it dramatically with a flourish, eyeing what seemed like a higher ranked man who stood before him and grinned devilishly.

[sonyclasica]

SEE SIANG WONG Y ORQUESTA FILARMÓNICA DE LONDRES

BEETHOVEN TRILOGY II: CHILDHOOD

El segundo álbum de la trilogía de Beethoven del pianista See Siang Wong presenta varios trabajos compuestos por Beethoven en su juventud, algunos de los cuales desconocidos para el gran público. A la venta el 24 de septiembre.

Consíguelo AQUÍ

El pianista See Siang Wong, el "sutil pintor del sonido" (Neue Zürcher Zeitung), continúa si trilogía de Beethoven. El segundo álbum "Childhood" presenta varios trabajos compuestos por Beethoven en su juventud, algunos de los cuales son desconocidos para el público general: See Siang Wong ha elegido incluir en "Childhood" los encantadores tres "Kurfürstensonaten", el alegre Piano Concerto WoO 4 en mi bemol mayor del Beethoven de 14 años, y la enérgica Rondo WoO 6 y el Piano Sonata WoO 51 de dos movimientos. "En estos trabajos de juventud de Beethoven, uno puede sentir elementos importantes que definen el genio de Beethoven y que fueron desarrollados en su trabajo posterior", explica See Siang Wong. El pianista grabó el Concierto de Piano y Rondo junto con la Orquesta Filarmónica de Londres bajo la dirección de Sir Roger Norrington. El álbum también presenta "Nueve variaciones en una marcha de Ernst Christoph Dressler", la primera pieza de piano publicada de Beethoven cuando tenía 11 años. Wong explica sobre su trilogía de Beethoven: "En mi trilogía, trato de incluir sobre todo trabajos menos expuestos de Beethoven que, sin embargo, fueron bastante importantes para su desarrollo, en un contexto especial. De este modo, espero hacer comprensibles algunos aspectos de su obra creativa de una manera nueva." Un concepto apasionante con obras casi totalmente desconocidas de Beethoven.

 TRACKLIST

Piano Sonata in E-flat major,    WoO 47 No. 1, “Kurfürstensonaten”     1 I. Allegro cantabile     2 II. Andante     3 III. Rondo vivace 

   Piano Sonata in F    minor, WoO 47 No. 2, “Kurfürstensonaten”    4 I. Larghetto maestoso – Allegro assai     5 II. Andante     6 III. Presto 

   Piano Sonata in D    major WoO 47 No. 3, “Kurfürstensonaten”    7 I. Allegro     8 II. Menuetto – Sostenuto (con 6 variazioni)     9 III. Scherzando: Allegretto ma non    troppo 

 Piano    Sonata in C major, WoO 51    10 I. Allegro     11 II. Adagio 

   12 9 Variations on a    March by Dressler in C minor, WoO 63         Piano Concerto No. 0    in E-flat major, WoO 4    13 I. Allegro moderato     14 II. Larghetto     15 III Rondo. Allegretto     Cadenzas by See Siang Wong

 Rondo    for Piano and Orchestra in B-flat major, WoO 6    16 Allegro     Cadenza by See Siang Wong

   17 6 Variations on a    Swiss Song, WoO 64 

[elmartillosinmetre]

Cruzando fronteras

[Lang Lang ante la tumba de Bach en Leipzig en marzo pasado. La foto es de Stefan Hoederath]

La música es la de siempre, pero en las últimas dos décadas ha cambiado radicalmente la industria que se ocupa de su registro y su difusión grabada. Si a ello se unen las transformaciones en los estilos de interpretación, nos encontramos con que en el sector clásico el panorama se asemeja al de un inmenso campo abierto del que progresivamente han ido siendo eliminadas cada vez más lindes y barreras.

Algunas de esas barreras cayeron hace tiempo, por lo que hoy no extraña la incursión de un conjunto de instrumentos de época en las Sinfonías de Beethoven, durante décadas terreno casi exclusivo de las grandes formaciones y los maestros de inspiración centroeuropeos, o de un pianista habitual del universo romántico en una de las obras cumbres del arte barroco, las Goldberg.

La grabación que Deustche Grammophon acaba de publicar de esta última obra en las interpretaciones (pues son dos) del pianista chino Lang Lang tiene alguna otra particularidad que ayuda a entender ese openfield en el que se ha transformado el sector de la música clásica. Y es que Lang no es un pianista romántico más, es una de las grandes estrellas del negocio, una figura que trasciende el terreno estrictamente artístico para convertirse en fenómeno comercial y (al menos, en su país) social. Y las Variaciones Goldberg no es obra que se preste demasiado bien a ese tipo de asociaciones. Acaso por ello, el dispositivo mediático puesto en marcha por Universal ha sido también especial, con la anticipación de fragmentos (el Aria) en las grandes plataformas de escucha y transmisión en vivo por youtube el pasado 4 de septiembre de la presentación del álbum por el propio pianista desde el solemne Templo de Dongjingyuan de Pekín, sede de la antigua imprenta imperial e histórico santuario budista.

El álbum que acaba de poner en el mercado DG incluye en su formato de lujo cuatro cedés, pues se ofrecen dos grabaciones distintas de la obra: una recogida en vivo en la iglesia de Santo Tomás de Leipzig el pasado 5 de marzo y otra hecha en un estudio berlinés entre el 15 y el 18 de ese mismo mes.

Lang Lang (Shenyang, 1982) cuenta en entrevista distribuida por su compañía que tocó por primera vez la obra a los 17 años y comenta la importancia que tuvo en su concepto de esta música su contacto con el clavecinista Andreas Staier y con Nikolaus Harnoncourt (“Tocas muy bien, pero no suena lo bastante solitario. Necesitas encontrar una mayor sensación de calma dentro de ti”, le dijo el director ya fallecido la primera vez que interpretó para él el aria y un par de variaciones de la obra), aunque, en entrevista con Pablo L. Rodríguez para El País, reconocía igualmente el impacto causado por Gould, Barenboim e incluso el tipo de canto ornamentado de Cecilia Bartoli. Lang respeta todas las repeticiones de la obra (de ahí la duración de su interpretación), se demora con delectación en muchos momentos (“Tengo que tocar con un tempo que me procure paz interior, que me permita encontrar una sensación de calma dentro de mí mismo en vez de apresurarme y tocar cada vez más deprisa”) y juega con gran libertad en el terreno ornamental, aún más en la versión en vivo (“más espontánea”). El resultado es una visión de compromiso entre la mirada contemplativa y la libertad del adorno. El tiempo dirá el lugar que ocupan estas interpretaciones en la amplísima discografía pianística de la magna obra bachiana.

LAS DOS GOLDBERG DE LANG LANG EN SPOTIFY

----------

[Savall haciendo Beethoven en el Auditorio de Barcelona en junio de 2019]

Révolution se titula el primer álbum que Jordi Savall tenía previsto dedicar en su sello Alia Vox a la integral de las Sinfonías de Beethoven. Se trata de tres cedés que recogen las primeras cinco obras del ciclo, que fueron registradas en junio (sinfonías pares) y octubre (impares) de 2019. Como la segunda mitad del proyecto estaba prevista para desarrollarse a lo largo de 2020, la pandemia lo ha dejado en suspenso.

Savall empleó a Le Concert des Nations, su conjunto para la música del Clasicismo, ampliado con jóvenes que participaron en cuatro Academias desarrolladas entre abril y septiembre del año pasado, un procedimiento (el de las Academias para jóvenes que luego se incorporan a las giras de conciertos y grabaciones de sus grupos) que el director catalán viene usando también para la música más antigua desde hace una década. Como concertino en estas grabaciones figura el joven violinista berlinés Jakob Lehmann, fundador y director en la capital alemana del conjunto de cámara Eroica Berlin.

Desde las audaces grabaciones en los años 80 que hicieron famoso a Sir Roger Norrington, las interpretaciones beethovenianas con instrumentos de época se han convertido en una constante y hoy no suponen ya ninguna novedad. Sin ir más lejos, Harmonia Mundi está publicando una integral con tres grandes conjuntos historicistas, Freiburger Barockorchester (7ª y 9ª, esta última con Heras-Casado, ya publicada), Akademie für Alte Musik Berlin (1ª, 2ª, 4ª, 6ª, 8ª; en el mercado sólo las dos primeras, aunque la Pastoral parece inminente) y Les Siècles (3ª y 5ª).

Ese despejado terreno de libertad en que se ha ido convirtiendo el espacio clásico admite acercamientos a Beethoven de todo tipo: Harnoncourt hizo un registro histórico mezclando instrumentos antiguos y modernos, Jos van Immerseel grabó con su Anima Eterna versiones que copiaban exactamente el número de instrumentistas que participó en el estreno de cada obra, Chailly utilizó las (¡sorprendentes y acaso poco fiables!) anotaciones metronómicas de Beethoven, grandes directores románticos se han puesto al frente de conjuntos de época (Ivan Fischer, Vladimir Jurovski, por ejemplo) y reconocidos maestros del historicismo han registrado las obras con conjuntos sinfónicos convencionales (empezando por el propio Norrington y acabando por Philippe Herreweghe).

¿Dónde se sitúa Savall? El músico español dejó ya un registro de la Heroica en 1994 que entusiasmó e irritó por igual a partidarios y detractores. Un cuarto de siglo después las aguas bajan más tranquilas, y nadie puede sentirse ya realmente azotado por unas interpretaciones que juegan principalmente la baza del contraste de tempi y de dinámicas junto al impacto de una tímbrica agreste y una acentuación agresiva. Savall explicitó sus intenciones así: “El objetivo principal es proyectar en nuestro siglo XXI toda la riqueza y belleza de estas sinfonías, gracias a un verdadero equilibrio entre los colores y la calidad del sonido natural de la orquesta”.

Empleó para ello conjuntos de entre 55 y 60 miembros, una veintena de los cuales salen de los jóvenes instruidos en las Academias (lo cual en cierto sentido conecta también con la época de Beethoven, pues en las orquestas del tiempo era normal que grupos de aficionados ocuparan numerosos atriles detrás de los profesionales). El nivel técnico de la ejecución ha mejorado de forma notable, lo que muestra el impresionante desarrollo de la interpretación históricamente informada en las últimas décadas. Pese a todo, las primeras acusaciones de falta de auténtica hondura beethoveniana y de organicidad ya se han leído por ahí. Que, como sabemos, hoy día con los dogmas de la autenticidad todo es coger partido y empezar.

[Diario de Sevilla. 14-09-2020]

LAS CINCO PRIMERAS SINFONÍAS DE BEETHOVEN POR SAVALL EN SPOTIFY

[sizekitap]

Momo Kodama - İstanbul Resitalleri (Etkinlik)

İstanbul Resitalleri 13. Sezon Finali, BBC Music Magazine’nin “Kanında müzik var!” diye tanımladığı, ARD Uluslararası Müzik Yarışması’nı 19 yaşında kazanan en genç piyanist olma ünvanını taşıyan Japon piyanist Momo Kodama ile 12 Haziran’da gerçekleşiyor!

İstanbul Resitalleri 13. Sezon Finali, BBC Music Magazine’nin “Kanında müzik var!” diye tanımladığı, müzik eğitimini Berlin ve Paris’te tamamlayıp Murray Perahia ve Andras Schiff gibi önemli ustalarla müzik çalışmış, 1991’deki ARD Uluslararası Müzik Yarışması’nı 19 yaşında kazanan en genç piyanist olma ünvanını taşıyan Japon piyanist Momo Kodama ile 12 Haziran’da gerçekleşiyor! Sanatçı, dünyanın en iyi orkestralarının ve en gözde festivallerinin aranan piyanistleri arasında yer alıyor! 

Osaka doğumlu Japon piyanist Momo Kodama, çocukluk yıllarını Avrupa’da geçirdi; Almanya’da ilk eğitimini aldıktan sonra Paris’teki “Conservatoire National Supérieur de Musique”e devam etti. Ardından Murray Perahia, Andras Schiff, Vera Gornostaeva ve Tatiana Nikolaïeva gibi usta isimlerle çalışma fırsatı yakaladı. Üstün yeteneği ve aldığı eğitim ona 1991’de ARD Uluslararası Müzik Yarışması’nın hem “Şampiyonluk” hem de 19 yaşında kazanan “En Genç Piyanist” olma ünvanlarını getirdi.

Bu zaferi sonrası dünyanın önemli orkestralarından davetler alarak Berlin Filarmoni, Boston Senfoni, Tokyo Metropolitan Senfoni Orkestrası, Hiroşima Senfoni Orkestrası, NHK Senfoni Orkestrası, NDR Hamburg, Fransa Radyo Filarmoni Orkestrası, Düsseldorf Senfoni, Kyoto Senfoni, Monte-Carlo Filarmoni Orkestrası ve Liverpool Kraliyet Filarmoni Orkestrası gibi önemli orkestralarla aynı sahneyi paylaştı. Batonu altında çaldığı şefler arasında ise Seiji Osawa, Eliahu Inbal, Charles Dutoit, Lawrence Foster, Kent Nagano, André Prévin ve Sir Roger Norrington yer alıyor. 

Viyana’da Musikverein, Berlin’de Konzerthaus, Londra’da Wigmore Hall, Tokyo’da Suntory Hall, Paris’te Théâtre des Champs-Elysées ve Amsterdam’da Muziekgebouw ise sahneye çıktığı prestijli salonlar arasında ilk akla gelenler. Dünyaca bilinen önemli festivallerden de davetler alan sanatçı, bugüne kadar Amerika’da Marlboro, İsviçre’de Verbier, Lucerne Festivali, Fransa’da La Roque d’Anthéron, Chopin Festivali, Festival d’Automne, Festival Saint-Denis, Musica, Romanya’da Enesco Festivali, Danimarka’da Tivoli Festivali, İtalya’da Settembre Musica, Almanya’da Schleswig-Holstein, Mozart Festivali ve Japonya’da Festival Matsumoto ve Miyozaki (Seiji Ozawa) gibi festivallerde sahneye çıktı.Oda müziği çalışmalarında ise Renaud Capuçon, Christian Tetzlaff, Augustin Dumay, Gautier Capuçon, Steven Isserlis ve Jörg Widmann gibi isimlerle çalışan Momo Kodama, klasikten romantik ve çağdaş eserlere uzanan geniş bir skalada güçlü bir repertuara sahip. Çağdaş bestelerde Toshio Hosokawa, Jörg Widmann ve Christian Mason’un özellikle Momo Kodoma için yazdığı besteler bulunuyor. Besteci Olivier Messiaen’i yorumlama konusunda ise özel bir yere sahip olan piyanist, 2006’da kemancı Isabelle Faust ile aynı sahneyi paylaşarak Olivier Messiaen’ın “Keman ve Piyano Fantezisi”ni seslendirdi. Kız kardeşi piyanist Mari Kodoma ile de dört el piyanoda birlikte çalan sanatçının Tchaikovsky seslendirdikleri albümleri 2016’da yayınlandı. Momo Kodama aynı zamanda yarışmalarda juri üyesi olarak görev alıyor ve masterclass dersleri de veriyor.Albüm ve kayıtları, New York Times, BBC Music Magazine, Classica (CHOC) ve Télérama gibi yayınlardan  övgü dolu eleştriler alan sanatçının “Point and Line” adını taşıyan Debussy ve klasik müziğin Japon çağdaş bestecisi Toshio Hosokawa’nın eserlerini bir araya getirdiği 2017’de yayınlanan son solo albümü ile birlikte bugüne kadar yayınlanmış 9 albümü bulunuyor.

İstanbul Resitalleri 2019-2020 Sezonu diğer konserleri için lütfen tıklayız

İstanbul Resitalleri “Sıradışı Sanatçılar” Demektir.

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[pursuedbear]

Elgar - Elegy for String Orchestra, Op 58

Stuttgart Radio Symphony Orchestra Sir Roger Norrington, conductor Live recording. London, Proms 2011

[johnjpuccio]

Review of “Berlioz: Symphonie fantastique.” Michael Tilson Thomas, San Francisco Symphony. RCA 09026-68930-2

Rule of thumb: Never trust an album that features the conductor's face on the cover. Not to imply such here, but too often it signals a vanity piece. Michael Tilson Thomas has his picture on the cover, on the back of the booklet, on the back of the jewel box, and again in the booklet itself. Not only that, his name is twice as big as the name of the work he is conducting. Enough said.

The performance has to be good to justify that kind of promotion and to compete in a standard repertoire item like French composer Hector Berlioz's Symphonie fantastique that already has a multitudinous assortment of discs at its service. With old favorites from Sir Colin Davis (in three different recordings), Sir Thomas Beecham (EMI/Warner), Leonard Bernstein (EMI/Warner), Roger Norrington (EMI/Virgin/Erato), John Eliot Gardiner (Philips/Decca), and a host of others well established, MTT's interpretation would have to be awfully good. It is good. But it is not awfully good.

To read the full review, click here:

https://classicalcandor.blogspot.com/2019/05/berlioz-symphonie-fantastique-cd-review.html

John J. Puccio, Classical Candor