[{"data":1,"prerenderedAt":977},["ShallowReactive",2],{"writing-index":3},[4,62,111,157,201,240,279,319,362,408,458,510,556,602,659,718,769,829,883,932],{"id":5,"title":6,"body":7,"categories":33,"description":13,"extension":35,"image":36,"meta":37,"navigation":40,"outlet":41,"path":42,"publishedOn":43,"seo":44,"seoKeywords":45,"sourceFile":56,"stem":57,"summary":58,"video":59,"year":60,"__hash__":61},"writing\u002Fwriting\u002Fmusic-0012.md","Mist and Fire",{"type":8,"value":9,"toc":29},"minimark",[10,14,17,20,23,26],[11,12,13],"p",{},"Last January 31, the second work premiered at the 23rd Festival of Music of the Canary Islands, called \"Nebula\", by the Canarian composer Manuel Ruiz. Although the existing ones seemed little sincere. And it is that, contrary to what happened with the premiere of contemporary music, each time it has been accepted, it has not been produced much more in the public and the music further than the doctrinaire one. Thirty years in the repertory domain in the festivals, we have been displaced to the XIX century, composed by Bério, by certain, but it seems that Ligeti, Lutoslawski, Penderecki, Takemitsu, Berio, Rautavaara and so many other jewels of the composition have been being excluded by the predecessor.",[11,15,16],{},"To finalize this work, a ballad of indetermination, Juan Manuel Ruiz got up from the stalls, and making this gesture he received some applause to be considered a risky claim for the box office.",[11,18,19],{},"The work, which was interpreted by a sober Symphony Orchestra of the Low Countries and directed by the German conductor Gerd Albrecht. Of advanced age, Albrecht appeared precisely in synchrony with the precision of his direction as well as on the few occasions when he was overwhelmed and his lack of emotional impulse control in the interpretation of the sound. For example, the set of Irish landscapes came to his head in the stalls through the powerful sound.",[11,21,22],{},"THE NETHERLANDS SYMPHONY ORCHESTRA DID NOT STAND OUT ESPECIALLY IN A MUSICAL EVENING WITH WORK BY STRANGER",[11,24,25],{},"And the vitality of the overture \"Hussite\" by Dvorak, a patellistic human author. He achieved and we get close to a Serenata in D major for winds by Strauss (a voice of Stine Hjerrild), trump (by rarely named Benjamin Britten). Without a doubt, \"The Bird of Fire\", by Igor Stravinsky, although interpreted with some harmonic efficiencies, interpretations, consistent, was the most interested. To a large extent, the merit is of the work itself and the Stravinskian, magical, dazzling style, of accelerated and extraordinary modern vitality. Based on a legend of love and hatred (as in the exclusive work of Rimsky-Korsakov), and molded by the harmonious mastery and the brilliant impending genius of a 27-year-old Stravinsky, \"The Bird of Fire\" was born with the light of the memory of a musical evening that could well have been submerged in the \"nebula\" of oblivion.",[11,27,28],{},"David Moratón\nEl Dia, Tenerife, Spain\n2 Febrero\n2007",{"title":30,"searchDepth":31,"depth":31,"links":32},"",2,[],[34],"music-critique-articles","md","\u002Fworks\u002Fimages\u002FMUSIC_0012.jpg",{"slug":38,"kind":39},"music-0012","writing",true,"El Dia, Tenerife, Spain","\u002Fwriting\u002Fmusic-0012","null",{"title":6,"description":13},[46,47,48,49,50,51,52,53,54,55],"hand drawn art","abstract drawing","black and white illustration","sketched design","pencil illustration","surreal image","ink artwork","abstract expressionism","conceptual art","geometric shapes","MUSIC_0012.md","writing\u002Fmusic-0012","Last January 31, the second work premiered at the 23rd Festival of Music of the Canary Islands, called \"Nebula\", by the Canarian composer Manuel Ruiz. Although the existing ones seemed little sincere.",null,2007,"z-SDCbYOaTt6k2LTXXKITJbj9Ojm_XTokyRhP1YUZyk",{"id":63,"title":64,"body":65,"categories":99,"description":69,"extension":35,"image":100,"meta":101,"navigation":40,"outlet":41,"path":103,"publishedOn":104,"seo":105,"seoKeywords":106,"sourceFile":107,"stem":108,"summary":109,"video":59,"year":60,"__hash__":110},"writing\u002Fwriting\u002Fmusic-0020.md","Multicoloured Counterpoint",{"type":8,"value":66,"toc":97},[67,70,73,76,79,82,85,88,91,94],[11,68,69],{},"By David Moratón",[11,71,72],{},"Program no. 10 of the 2006-2007 Season of the Tenerife Symphony Orchestra, performed on March 23rd, has been without doubt one of the most interesting and intelligent that has been planned so far. From Bach, with Richard Strauss to Lutoslawski, we were able to attend the audition of musical conceptions as different, and at the same time connected.",[11,74,75],{},"The \"Ricercata\" Offering of Bach's Musical Offering resonated in the Auditorium, with the mere presence of a beautiful curvilinear organ, along with the architecture of the building. The organist David Malet gave importance to the emotionality of the piece, although he could not dissimulate the rhythmic inconsistencies in such suspicious moments, caused by the complexity of the work as a whole, considered, together with the \"Art of Fugue BWV 1080\", as one of the high points of the universal counterpoint.",[11,77,78],{},"Bach, synthetic, magisterial, constitutes Western music prior to 6th, and constitutes one of the most important inspirational sources for the composers who succeeded him, who have acquired the historical and renewed relevance at the beginning of the 20th century. For his influence, the OST interpreted the version of the \"Fuga Ricercata\" for organ by Bach, previously heard, performed by the same David Malet. We were able to enjoy a good execution, with the correct director Edmon Colomer, who achieved - not entirely - convincing in the protagonist of the soloist. From his capacity as anesthetist I can affirm that",[11,80,81],{},"has been inspired by the compositional and contrapuntal intelligence of Bach. As the program's own explanation states, Meneses, the invited violoncellist, just before offering us admirably the concerto and before offering a Bach-style program, \"La obra de Lutoslawski is not a beautiful work, but it is a great work\" and \"eloquent.\" For whoever has overcome the barrier of the \"beautiful\" and has ventured into the land of art, and has approached the infinite possibilities that music has offered us beyond the comprehension of the tonal barrier, for whoever has comprehended that the beautiful term, has definitively melted into an undifferentiated unit, they can even evoke the same sensation of \"beautiful skin\" about any other romantic work.",[11,83,84],{},"The dialogue between soloists and the orchestra was marvelous and very well executed by all the artists who composed the orchestra. The dynamics, the order and the chaos, the construction of the resonance, the exquisite combinations orchestrated by this master of Lutoslawski and, at the same time, worldwide known, all of this was incited by the skill of the soloist, not very accustomed to contemporary music.",[11,86,87],{},"Even so, to silence the protests and attract the auditors, the charming and attractive musical pieces of the world tend to be without doubt more appealing, like the \"Así habló Zaratustra\", that version of the musical text by Richard Strauss on the work of Nietzsche, closed the program of the evening. The splendid interpretation that the Netherlands Orchestra offered us on the past February 1st, within the framework of the 23rd Festival of Music of Canary Islands, was one that had necessitated more power and consistency in the final school. Despite this, and the platitude that could have been highlighted excessively, testing the coherence of the grand \"Viennese waltz\" and the \"lamento del núcleo\", Strauss makes reference here to the penultimate, to the discovery of Nietzsche, that does not discover a song composed by twelve bells and rings diaformically. The bells here were played by the orchestra with too much residue, nothing more and nothing less than the concept of an unfrozen message contained in them resists, much more than the consciousness of an artist who not only pulverized the established to pieces and that surpassed completely to the history.",[11,89,90],{},"Commentary on the concert offered by the Tenerife Symphony Orchestra under the direction of E. Colomer.",[11,92,93],{},"The Tenerife musical formation, which acted under the direction of Edmond Colomer, interpreted works by Bach, Lutoslawski and Strauss. Below, Antonio Meneses, invited violinist.",[11,95,96],{},"El Dia, Tenerife, Spain\n26 March\n2007",{"title":30,"searchDepth":31,"depth":31,"links":98},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0020.jpg",{"slug":102,"kind":39},"music-0020","\u002Fwriting\u002Fmusic-0020","2007-03-26",{"title":64,"description":69},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0020.md","writing\u002Fmusic-0020","Program no. 10 of the 2006-2007 Season of the Tenerife Symphony Orchestra, performed on March 23rd, has been without doubt one of the most interesting and intelligent that has been planned so far.","l8q3WJ3fBhabL0AwWzrvdzfXdeMWxW96tDO1JSijBq4",{"id":112,"title":113,"body":114,"categories":145,"description":118,"extension":35,"image":146,"meta":147,"navigation":40,"outlet":41,"path":149,"publishedOn":150,"seo":151,"seoKeywords":152,"sourceFile":153,"stem":154,"summary":155,"video":59,"year":60,"__hash__":156},"writing\u002Fwriting\u002Fmusic-0019.md","Montserrat Caballe in Tenerife",{"type":8,"value":115,"toc":143},[116,119,122,125,128,131,134,137,140],[11,117,118],{},"Musical Critic David Moratón",[11,120,121],{},"\"Guapa!\", someone shouted just when Montserrat Caballé came out onto the stage of the Teobaldo Power Auditorium in La Orotava, on the past March 10th, within the 23rd Multimedia Festival of Tenerife. It can be said that she responded, Montserrat, with an infectious smile that made the audience applaud even more.",[11,123,124],{},"The auditorium, as one can imagine, was absolutely full. Even in the same scenario where chairs were placed that surrounded Caballé. Although I imagine that the people who were seated right behind her could not enjoy her as they would have liked.",[11,126,127],{},"With a program with which she has toured the world number, accompanied by pianist Manuel Burgueras, since 1991 (Schumann habitually), she offered a recital with songs and arias from opera, ordered by chronological order, from the Baroque period to the heroes of the 20th century, and by idioms: Italian (Stradella, Scarlatti, Cherubini, Mercadante), French (Niedermeyer, Leoncavallo, Gounod), German (Brahms) and Spanish (Turina and Obradors). A carefully selected repertoire - there has been a substantial vehement rediscovery of forgotten operas in recent years - to give a sample of her truthfulness and capacity to shine in all the styles.",[11,129,130],{},"Regarding her interpretation, she followed a shrewd strategy: she knew very well that in the first intervention, the \"Pietà Signore\" of Stradella, the impression that her voice was somewhat calibrated when, in effect, the instrumental vocal reached an exceptional interpretative level, above all with the work of Mercadante, which provoked a tremendous applause.",[11,132,133],{},"In the pause that separated the final programs, Montserrat caught her breath and began to express herself, gracefully, making jokes with the expectant audience that gave her. And already in the second part, as expected, the recital continued brilliantly with the lieder of Brahms, and other more contemporary works by Turina and Obradors. Although I recognize that some of the works that I integrated into the program are not to my taste, if it is the power of the beautiful voice, of the vocal technique, and of the charisma of Montserrat Caballé.",[11,135,136],{},"The audience and the critics have always consecrated her as one of the best sopranos in the world, like the successor of Callas. During 20 years she was at the summit, solicited by the best theaters and orchestras on the planet. And after half a century of profession, and more",[11,138,139],{},"4000 performances - something that no soprano has been able to equal - it is almost a miracle that she still survives with qualities as she has made internationally famous and recognized. A voice that, they say, has been arranged with expensive but light and delicate expense in the \"serious\", capable of issuing long notes without losing the potential, has a vocal technique, with an absolute mastery of intonation and of the intensities. And besides, personal qualities - her sense of humor, her closeness - that made the Orotava audience surrender totally.",[11,141,142],{},"El Dia, Tenerife, Spain\n13 March\n2007",{"title":30,"searchDepth":31,"depth":31,"links":144},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0019.jpg",{"slug":148,"kind":39},"music-0019","\u002Fwriting\u002Fmusic-0019","2007-03-13",{"title":113,"description":118},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0019.md","writing\u002Fmusic-0019","\"Guapa!\", someone shouted just when Montserrat Caballé came out onto the stage of the Teobaldo Power Auditorium in La Orotava, on the past March 10th, within the 23rd Multimedia Festival of Tenerife.","9FWFE7d5hM9gZZOZwC1XB-ItYDk82uhw1J9kkcquF4E",{"id":158,"title":159,"body":160,"categories":190,"description":164,"extension":35,"image":191,"meta":192,"navigation":40,"outlet":41,"path":194,"publishedOn":195,"seo":196,"seoKeywords":197,"sourceFile":198,"stem":199,"summary":169,"video":59,"year":60,"__hash__":200},"writing\u002Fwriting\u002Fmusic-0018.md","Bruckners Fifth",{"type":8,"value":161,"toc":188},[162,165,167,170,173,176,179,182,185],[11,163,164],{},"Bruckner's Fifth",[11,166,118],{},[11,168,169],{},"With Eliahu Inbal as conductor, the Tenerife Symphony Orchestra performed a more than acceptable symphonic version of this great symphonic monument.",[11,171,172],{},"When I was a teenager, and had much less patience and awareness now, I remember that I developed one of my most ancient musical quotes - from those I don't want to remember - what I called \"Bruckner mix\": I recorded all the \"fortissimo\" moments from Bruckner's symphonies, one after another, without rest. Pain, without rest, I would take those topics forged by moments of power, vehemence, forcefulness, incomparable metallic strength, quarks and octaves, representing an increase in the quantum of interior energy. And I continued believing that this was the characteristic of the precise genius: to have the transmitted capacity of energy. Nobody does it like Bruckner.",[11,174,175],{},"However, with time I have learned to value the importance of his \"valleys\": the more intimate, more rested, more collected moments of the genius author, who put the patient spectator to the test, and who more than on one occasion, have been considered tedious, or of difficult audition. Now I consider that these moments are absolutely necessary to balance, encouraged by the massive weight of the themes we mentioned before, in such a way that these can be played really slowly, in a way that allows us to rest, wait, enjoy.",[11,177,178],{},"This is always exemplified with doubt in his Symphony no. 5 in B flat major, which is left to the structural management of all the other compositions by Bruckner. It is not plethora of musical islands, which are communicated through silences. I suppose it represents a great challenge for any conductor, knowing how to unite the sound instances, alternating the cut moments of great power with the long periods of transition. We could listen to this interpreted in the Auditorium on January 10th by the Munich Philharmonic Orchestra, under the baton of Christian Thielemann, within the program of the 23rd Festival of Music of the Canary Islands. And almost two months later, on March 3rd in the same venue, the Tenerife Symphony Orchestra gave its version of the work, under the direction of Eliahu Inbal.",[11,180,181],{},"It is inevitable to make comparisons. Although Thielemann and the Munich Philharmonic Orchestra brilliantly achieved the feat, an effort of precision and intensity in the execution of the work, managing to achieve the cohesion of the first movements no more than nothing by the tendency of the conductor and a practical professional emotion from a skilled conductor lacking in warmth. In the version of the Tenerife Symphony Orchestra with the veteran director Eliahu Inbal, precisely the opposite occurred. His direction was sufficiently conscientious, and at the same time emotional, so that the first movements seemed to flow naturally. However, the scherzo would have needed more definition and more intensity in the main violins so that their repetitive structure would not come to exasperate the spectator. Regarding the final movement, I was moved by the version of the OST, much more vivid, with metals that contributed, this time without crushing any other instrumental section, to achieving the sensation of such exultant optimism and victory over the adversity that Bruckner achieved with this work.",[11,183,184],{},"I am sure that Lu Jia could feel content to be present at the good performance of this orchestra, forged through a good baton stroke during several years. By the way, the \"Bruckner Mix\" ended up being destroyed. Since Bruckner is magnificent, such as it is. And above all, if a good interpretation is supported.",[11,186,187],{},"El Dia, Tenerife, Spain\n10 March\n2007",{"title":30,"searchDepth":31,"depth":31,"links":189},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0018.jpg",{"slug":193,"kind":39},"music-0018","\u002Fwriting\u002Fmusic-0018","2007-03-10",{"title":159,"description":164},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0018.md","writing\u002Fmusic-0018","5yb8mPHrDzU7uhYltw_bp9Je_AGLJ0Ab7x3nnDhFeb0",{"id":202,"title":203,"body":204,"categories":228,"description":69,"extension":35,"image":229,"meta":230,"navigation":40,"outlet":41,"path":232,"publishedOn":233,"seo":234,"seoKeywords":235,"sourceFile":236,"stem":237,"summary":238,"video":59,"year":60,"__hash__":239},"writing\u002Fwriting\u002Fmusic-0017.md","Unforgettable Farewell from the 23rd Festival of Music of the Canary Islands with the Berlin Philharmonic",{"type":8,"value":205,"toc":226},[206,208,211,214,217,220,223],[11,207,69],{},[11,209,210],{},"He is not the best conductor, but he is in front of the best orchestra on the planet. The great protagonist of the two concerts that crowned the 23rd Festival of Music of the Canary Islands was not Simon Rattle, but the Berlin Philharmonic Orchestra, a true organism integrated by elite musicians who religiously follow the patterns of democratic consensus. Since this orchestra is sovereign. The musicians choose the director, the musicians decide each new incorporation, including the musicians seem to dictate the rhythm and the intensity of the performance. Without a doubt, this reaches a professional level, that the impression one has is not that it is about the figure of Rattle who conducts the orchestra, but that it integrates, disappears, like a member more of a round musical table.",[11,212,213],{},"Simon Rattle with his thinking about the global accessibility of music to all social spheres, has the capacity to polemicize and attract the media (the man apparently took his appearance dressed as a sailor from the operetta \"The Merry Widow\" by Holst) has further increased the popularity of the legendary orchestra that directors Abbado, Karajan or Furtwängler led. Of apparently simple character, but his direction is simple, with few indications, just enough to guide an orchestra that well knows what it does.",[11,215,216],{},"The Berlin Philharmonic exemplifies the coherent idea of the great Germanic harmonic: \"unity within truth, truth within unity.\" As we commented, each instrumentalist has been selected for extraordinary quality, not for standing out within the group, but for their ability to generate a sound of authentic quality, definite, of extraordinary quality, and for standing out within the group of \"selected ones\" where the problem of the distribution of genius arises. Since each musician maintains a cohesion that generates a sound of absolute quality, as we have named it, \"the absolute limit of perfection in Berlin.\" The decisive factors to achieve this extraordinary result - from the artistic aspect - and for the warning of the deterioration of the message, as determined by the clarity in the transmission of the message, as determined",[11,218,219],{},"by the clarity in the transmission of the message, which determines the attention of any ear. However, the challenges of this work are many, and it is impossible to require an orchestra for all of Berlin. Since thanks to its intrinsic nature, it could be the executive section of apparently chaotic rhythms, extremely chaotic, very difficult to interpret without precise methodology, having lost the impulse from a secret interior order.",[11,221,222],{},"On Friday, March 2nd, the last concert of the Festival of Music of the Canary Islands took place with the spectacular encounter of two giants: the Second Symphony of Gustav Mahler \"Resurrection\", surely his best work, and the Berlin Philharmonic. After an extraordinary first movement interpreted in an exceptional way by the exemplary conductor, the scalding Rattle made march of death, but revived with effective, nervous effects and skillful selections in the necessary moments, which surprise with a memory of youth and the innocence lost, in an entrancing walk in the form of a waltz that was taken by the scores with mastery and with adequate fluid adequacy, this orchestra made us participate in the reception of the memory, in the faith in the resurrection and in the power of the spirit over matter. And yes, with that extraordinary (the \"Orfeón Donostiarra\"), with a convincing mezzo-soprano Bernarda Fink, with the powerful vibration of Solile Isokoski, with the glorious global existence of the resurrection maihatiana, and with the capacity of the orchestra that had the ability to awaken tears in the eyes of the audience, moved, astonished, astonished, impressed, ultimately, the success of the 23rd Festival of Music that in place has undoubtedly given historic feats, but has also given the opportunity to disseminate the culture of the Canary Islands internationally. As well, within the international panorama, certainly, the director Simon Rattle and his Berlin Philharmonic, and this last appearance, it is right to affirm that not only have they increased substantially the prestige of the Festival but also the happiness that we love art, and music in general, culture.",[11,224,225],{},"El Dia, Tenerife, Spain\n7 March\n2007",{"title":30,"searchDepth":31,"depth":31,"links":227},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0017.jpg",{"slug":231,"kind":39},"music-0017","\u002Fwriting\u002Fmusic-0017","2007-03-07",{"title":203,"description":69},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0017.md","writing\u002Fmusic-0017","He is not the best conductor, but he is in front of the best orchestra on the planet.","4MVwn62S8BscEPGzf3lEyZqOzGnIeySGIEJ8t34IO4U",{"id":241,"title":242,"body":243,"categories":267,"description":69,"extension":35,"image":268,"meta":269,"navigation":40,"outlet":41,"path":271,"publishedOn":272,"seo":273,"seoKeywords":274,"sourceFile":275,"stem":276,"summary":277,"video":59,"year":60,"__hash__":278},"writing\u002Fwriting\u002Fmusic-0015.md","Death of Love",{"type":8,"value":244,"toc":265},[245,247,250,253,256,259,262],[11,246,69],{},[11,248,249],{},"Immense musical experience of almost 5 hours in the Auditorium with \"Tristan and Isolde\" by Wagner",[11,251,252],{},"Known since the description of the opera \"Tristan and Isolde\" prelude by Friedrich Nietzsche and the commotion it has never ceased to provoke. Beyond the enormous importance of this work has, as it is the cornerstone piece that pulverized the known limits of tonality, filled with unprecedented harmonic implications that its enormous power. \"Tristan and Isolde\" ascends to the summits of the most sublime, and as always when an extreme is reached, it becomes vertiginous and irremediably leads to the opposite, to equilibrium that tempers the balance of the world, descending to the profundities formidable of suffering but also of love. On February 10th we could enjoy the complete interpretation of this opera, which the sufficiently consistent venue such as the Auditorium should be torn apart by this intense journey into the world of desire. Although the description, the quality of the musicians, and the soloists managed to nourish the imagination, capture the spectator, make possible what seemed impossible after 3 hours of experience sound, the WDR Symphony Orchestra from Cologne was placed with enviable precision and balance from the fort in which no one could remain seated. In effect, Semyon Bychkov realized a journey and envolved it in a quality impossible to surpass. The only thing that could be reproached about all this compared to the version of the Bayreuth Festival, is the filth of the unbearable painful moments of the second act. Bychkov managed to sustain the imagination, the spectator, magical imposing arrivals of the vassals, Falk Struckmann as Kurwenal, and Michael Schuster, Branigan, and even the voice of the sailor Franz-Joseph Selig as King Marke - without doubt, an exceptional interpretation of the world of Mathilde Wesendonck.",[11,254,255],{},"The sound of the orchestra emerged, floated, developed fluently during the whole night in liquid form. Assisted in the Audio-Rio puts one of the most important events of the 23rd Festival of Music of Canary Islands and also the staging of a miracle: the spirits that cross the moral limits, that threaten to annihilate individuality, that of the emotional - such as to sink into a single being (\"Never again Tristan, will be Isolde\", \"Never again Isolde, will be Tristan\", without end\"), to unleash like a \"fluctuating torrent, like the harmonious rapture of the infinite soul of the universe\". Before this, there is nothing left but to succumb to Beauty and to Love itself.",[11,257,258],{},"The best of the night, the delicious, powerful colouratura voice of Deborah Polaski as Isolde. Not only did she capture a serious and grave register, but also conductor and chorus managed to transmit the character of the fierce Isolde: noble, but compassionate. Her \"death of love\", ultimate moment of the opera, was something immediately brilliant. Like Wotan from \"Tristan and Isolde\", Tristan did not manage to convince as much, but his interpretation stands out for not being emotionally impatient. Magical imposing arrivals of the vassals, Falk Struckmann as Kurwenal, and Michael Schuster, Branigan, and even the voice of the sailor Franz-Joseph Selig as King Marke - without doubt, an exceptional interpretation of the world of Mathilde Wesendonck.",[11,260,261],{},"According to the description by Schopenhauer, it was described by Wagner as the most important moment of his entire life, and many people consider \"Tristan and Isolde\" as a reflection of this philosophy in art, this is not entirely certain. Schopenhauer, who died in his doctorate in Eastern philosophy - and who manifestly and maliciously made it more accessible to his pessimistic ulterior motives - believed in ignoring desires, in order not to be destroyed by suffering. He also believed firmly that there is no possible escape at the same time; therefore, that one must resign oneself. However, neither \"Tristan\" nor \"Isolde\" renounce at any moment the fatal love that unites them, in spite of adverse circumstances, neither does Tristan conceive any other love than the one he feels for Isolde. It was not the pessimistic Schopenhauer who inspired Wagner, but the exultant love he felt for Mathilde Wesendonck, a married woman. As Julius Kapp says, one of Wagner's biographers, his works spring from the injustices of 1857 to 1859, while he was composing \"Tristan and Isolde\". Wagner thought about his doubt without Mathilde as Isolde. On 1861, in Venice, he met her for the last time. The brilliant artist, deeply disappointed by the encounter, lamentably discovered that the \"real\" Isolde was not the effective one, where he died in 1883. It was also the story, that of a divine love, which Mathilde had at her table the numerous letters that Wagner had written to her.",[11,263,264],{},"El Dia, Tenerife, Spain\n14 February\n2007",{"title":30,"searchDepth":31,"depth":31,"links":266},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0015.jpg",{"slug":270,"kind":39},"music-0015","\u002Fwriting\u002Fmusic-0015","2007-02-14",{"title":242,"description":69},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0015.md","writing\u002Fmusic-0015","Immense musical experience of almost 5 hours in the Auditorium with \"Tristan and Isolde\" by Wagner Known since the description of the opera \"Tristan and Isolde\" prelude by Friedrich Nietzsche and the commotion it has nev…","wQq1vbDm8VRU4Yz-FlCPDXLVSniy1EEFf-Y79iP_yGo",{"id":280,"title":281,"body":282,"categories":308,"description":69,"extension":35,"image":309,"meta":310,"navigation":40,"outlet":41,"path":312,"publishedOn":272,"seo":313,"seoKeywords":314,"sourceFile":315,"stem":316,"summary":317,"video":59,"year":60,"__hash__":318},"writing\u002Fwriting\u002Fmusic-0016.md","Music and Sentiment",{"type":8,"value":283,"toc":306},[284,286,289,292,295,298,301,304],[11,285,69],{},[11,287,288],{},"Semyon Bychkov and the WDR Symphony Orchestra Cologne reached the heart of the audience with Rachmaninoff",[11,290,291],{},"Often it happens that certain experiences that have marked our lives are powerfully linked to the discovery of other great works of music. The bond that is created then lies in the memory of the essence itself and the precise moment of consciousness, remembering precedents from that time when our existence was so powerful, that it made us revive the experience vital in definitive form.",[11,293,294],{},"When I discovered the second symphony of Sergei Rachmaninoff, not by chance, I essentially affirmed time itself; not my life or the emergence of a great love, and up to here, let me make parenthesis to explain the meaning of the work, a process of symbiosis, the vivid experience enriches the music, and the music enriches the experience.",[11,296,297],{},"The brilliant interpretation of this symphony that was offered to us by the WDR Symphony Orchestra Cologne, conducted by Semyon Bychkov, not only helped me with the cathartic liberation and discovery of emotions, but also awakened asleep and ineffable sensations, being the watch of February 9th at the Auditorium in Santa Cruz de Tenerife, at the 23rd Festival of Music of the Canary Islands. First, it is worth highlighting the cleanliness of sound and the precision in the execution of the performers of the Cologne Radio Orchestra. The metallic instruments vibrated with tremendous strength, in a perfect section of string in every moment vibrated to the rhythm of the heart. On the other hand, the director Semyon Bychkov carries with great immediacy and significant weight everything that had been designed by Rachmaninoff as his successor. His presence seems illuminated by bombast and professionalism. Without exaggerated gestures, and without marking the tempo in the entrances too much, Bychkov",[11,299,300],{},"is implicated completely in the music, making it possible that the sound experience becomes an authentic pleasure. The protagonists of the first part of the program, dedicated to the Double concerto for violin and cello in the minor of Johannes Brahms, were Renaud and Gautier Capuçon, violin and cello respectively, who offered an exhibition of virtuosity that was rewarded with long applause. And already in the second part was Bychkov, together with the spirit of Rachmaninoff, who reached the neuralgic center of each heart (it is demonstrated that the heart also has neurons). Thunderous applause, an invigorating audience that got up to applaud and congratulate the concert, an eager, sincere gratitude; really moved by what was experienced during the effects of the music, something that did not happen at the Auditorium in Tenerife.",[11,302,303],{},"From the first creative age of 10 years, produced by the cruel critiques received towards his first symphony and after having escaped the reception to the detriment of it, and in the medium proportioned by the hypnosis, Rachmaninoff composed works like his Concert for piano no. 2 and demonstrates with this that the mind and the fault of maximum impetus cannot eclipse, but never to forget. The fruit of that remedy, began the most inconsolable life and life of Rachmaninoff, also Symphony number 2, in C minor, opus 27, an prodigious musical work that surpasses the consolation to the denuded vision of the essence of sentiment, how culminating the introspective process of romanticism, and who was directed in superb form by Bychkov who did not need excessive flourish. The initial introduction, and very slowly the third movement, an adagio of indescribable beauty and delicate melodic continuity, constitute isolated elements that can make us forget to breathe, the sensation of being in love: a state of extreme empathy that desires eternity, to include forgetfulness of time.",[11,305,264],{},{"title":30,"searchDepth":31,"depth":31,"links":307},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0016.jpg",{"slug":311,"kind":39},"music-0016","\u002Fwriting\u002Fmusic-0016",{"title":281,"description":69},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0016.md","writing\u002Fmusic-0016","Semyon Bychkov and the WDR Symphony Orchestra Cologne reached the heart of the audience with Rachmaninoff Often it happens that certain experiences that have marked our lives are powerfully linked to the discovery of oth…","3Pbmd_8FFEtO1ZFRjARKDuowMnMoFPya8dUYXmsWxKI",{"id":320,"title":321,"body":322,"categories":350,"description":326,"extension":35,"image":351,"meta":352,"navigation":40,"outlet":41,"path":354,"publishedOn":355,"seo":356,"seoKeywords":357,"sourceFile":358,"stem":359,"summary":360,"video":59,"year":60,"__hash__":361},"writing\u002Fwriting\u002Fmusic-0014.md","Romantic Sentiment and Symphonic Gigantism",{"type":8,"value":323,"toc":348},[324,327,330,333,336,339,342,345],[11,325,326],{},"A programmatic approach to the theme of passionate love is being initiated within the 23rd Festival of Music of the Canary Islands. Last February 6, we were able to enjoy the monumental \"Gurrelieder\" by Schoenberg, which express the tragic history between the enamored Tove and King Waldemar. The first part of February, with the WDR Sinfonieorchester Köln, could be something like a return to the Symphony of the Fantastic 2 by Rachmaninoff, an absolute masterpiece of genre. And it continued on February 10 with the late evening of the same orchestra, \"Tristan und Isolde\" by Wagner. But certainly, one of the most ambitious works composed.",[11,328,329],{},"On the other hand, the \"Gurrelieder\" (Songs of Gurre) (1913), is taken from a work in which Jens Peter Jacobsen, Schoenberg wanted to take the foundation of the new concept of the new colonist of 1923; however, the music assembled all the work that is not being historically formatted or aesthetically, from the alleged reverse melleriano and for supposed post-romanticism of Wagner. The present are in this work with novelty - and complex - dialogues between Sigmund and Sieglinde, and between Tove and Isolde. Based on the poems of Jacobsen, the composer narrates the legend of the story of real history of the castle of Gurre, protected by Waldemar IV of the Casa de Allerdag, King of Denmark between 1340 and 1375, who fell in love passionately with the daughter of the castle, called Tove, with whom he encounters all the nights. Prior to Tove dies, murdered by the jealous queen Helwig, Waldemar,",[11,331,332],{},"MONUMENTAL INTERPRETATION OF THE \"GURRELIEDER\" BY SCHOENBERG",[11,334,335],{},"disquieted by the news, conveys to his dead vassals to leave his tombs and return to accompany him in his journey, threatening the same God to reject the kingdom of heaven if he does not find his Tove. Finally, the mode of expression is similar, the Nature herself, man, the hombre sing, capturing the hymn to the sun, and Waldemar loses between the shadows.",[11,337,338],{},"But suddenly, the Waldvogel that the Nature seems to be the great mediator, of the history, of the sentiment and the pantelist dominates all the work, especially to the principle of the most acid prejudged flaming of the Rumores del man, sounds of the forest, the lament of the vicious of the sea images of great symbolism and impressionist, with the containing the environment impression in which the princess listened to the story.",[11,340,341],{},"The evening of February 3 at the Auditorium was truly monumental. Following the dynamic of the gigantic symphonic present during the epoch of transition of centuries XIX and XX from the example, Mahler came to use 1,030 interpreters for his Symphony no. 8 in symphony the vision of a scenario replete, in the sense of altitude and desplegué technical worthy of eology, is well, two directions, the Orquesta Filarmónica de Gran Canaria and the Orquesta Sinfónica de Castilla y León, as well as two choirs, the Cor Lieder (Palma de Mallorca) and the Cor of the City of Barcelona. Imposing by the acoustic possibility of the sound, and what is more important was that the quantity and no mermo it absolutely in quality. Under the direction of the director",[11,343,344],{},"Halffter, impeccable, very studied, and overwhelming without problems the challenge of an orchestra of such enormous clothing, the soloists were in perfect equilibrium. Alternative, the tenor Hermann Wallen and the soprano Susan Anthony (Tove), the baritone Anthony Michaels-Moore and the contralto Mόnica Groop (Finlandesa del bosque). And without doubt, the splendid direction of Pedro Halffter. In this case, it was contracted with the perfection, the strength of the Halffter, for whom one just knew how to extract the pure symphonic of an immense passionate content in the \"Gurrelieder\".",[11,346,347],{},"David Moratón\nEl Dia, Tenerife, Spain\n6 February\n2007",{"title":30,"searchDepth":31,"depth":31,"links":349},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0014.jpg",{"slug":353,"kind":39},"music-0014","\u002Fwriting\u002Fmusic-0014","2007-02-06",{"title":321,"description":326},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0014.md","writing\u002Fmusic-0014","A programmatic approach to the theme of passionate love is being initiated within the 23rd Festival of Music of the Canary Islands.","ba08QxOyyoIrAAIL3zKwJ4A51U5izv9bXrJpz6_kho4",{"id":363,"title":364,"body":365,"categories":396,"description":369,"extension":35,"image":397,"meta":398,"navigation":40,"outlet":41,"path":400,"publishedOn":401,"seo":402,"seoKeywords":403,"sourceFile":404,"stem":405,"summary":406,"video":59,"year":60,"__hash__":407},"writing\u002Fwriting\u002Fmusic-0013.md","Thus Spoke Zarathustra",{"type":8,"value":366,"toc":394},[367,370,373,376,379,382,385,388,391],[11,368,369],{},"\"When Zarathustra was thirty years old, he left his homeland and the lake of his homeland and went to the mountains. There he enjoyed his spirit and his solitude, and for ten years did not tire of it. But finally his heart changed, and rising one morning with the aurora, he placed himself before the sun and spoke to it thus: 'You great star! What would be your happiness if you did not have those for whom you shine!...'\"",[11,371,372],{},"Thus begins \"Thus Spoke Zarathustra\", the work of Friedrich Nietzsche that gave rise to the famous tone poem of the same name by Richard Strauss to compose a poem symphonic of the same name. We could enjoy interpreting by the Netherlands Symphony Orchestra and its director Gerd Albrecht last Friday, February 2 at the Tenerife Auditorium within the framework of the 23rd Festival of Music of the Canary Islands. \"Also sprach Zarathustra\" by Nietzsche left of being philosophical to become poetry, transfigured in etymology that announces the dawn of the superman. The concepts of wisdom, will, and the \"will to power\" have been always interpreted philosophically, serving in some extreme cases to interests of demonic personalities and methodical ones that Adolf Hitler. Who would have good intentions with Nietzsche is a creator, a free spirit that cannot be compared to dominate in any way.",[11,374,375],{},"THE NETHERLANDS SYMPHONY ORCHESTRA SAYS GOODBYE TO THE FESTIVAL OF MUSIC OF THE CANARY ISLANDS, OFFERING A VIBRANT STRAUSSIAN EVENING",[11,377,378],{},"However, speaking of domination, rather complex, but that governs its self-affirmation atmosphere. The \"will to power\" is not impossible to conceive without the \"eternal return\" and without the \"death of God\" evoked by Nietzsche, unintelligible to intimate moments of an organism, taken to a maximum expression. This is the overwhelming embriaguez that the reader experiences during the reading of the work. In few occasions it has been achieved a profound proximity to the absolute through thinking unified to a poetic beauty of the caliber and relief.",[11,380,381],{},"\"Thus Spoke Zarathustra\" is one of those works that open new horizons, respectively, since it always gives us magnificient interpretations, really, a mantle of light, that rises 6,000 feet above the hombre and the world. It is not exaggerated to say that the influence of this work on the history is very remarkable, definitively marked not only by philosophy, but also by art and mentality modernas.",[11,383,384],{},"Inspired by the sentiment of the poem symphonic of Richard Strauss (1864-1949), we find a very well-known introduction, utilized as soundtrack of the monolith in \"2001, a Space Odyssey\" by Stanley Kubrick. Strauss was able to capture the festive and luminous atmosphere with a great tragic work. \"Thus Spoke Zarathustra\" with an interpretation by the Netherlands Symphony Orchestra. We refer to the skilled culmination that believes we have offered in this festival, although the coherence of the imaginative program, Richard Strauss, or perhaps it influenced the most sensible director. A magnificent image of the Totentanz by Franz Liszt inspired by the famous scene of the final opera Salome conformed, a masterpiece of the art, while the second act was devoted magnificently to \"Thus Spoke Zarathustra\" - the profound, what in its imprinted indefinable in the most marked definitively not only by philosophy, but also by art and mentality modernas.",[11,386,387],{},"The necessity of the antenna, precision, but also it is necessary to underline that the strength of the orchestral section of the section and that it harmonizes the general, that it would please to attribute to the modest capacity of communication of Gerd Albrecht with the orchestra. Without embargo, the interpretation was generally notable.",[11,389,390],{},"\"Thus Spoke Zarathustra\", abandoning its tavern, ardent and strong as the obscure montañas.",[11,392,393],{},"David Moratón\nEl Dia, Tenerife, Spain\n3 February\n2007",{"title":30,"searchDepth":31,"depth":31,"links":395},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0013.jpg",{"slug":399,"kind":39},"music-0013","\u002Fwriting\u002Fmusic-0013","2007-02-03",{"title":364,"description":369},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0013.md","writing\u002Fmusic-0013","\"When Zarathustra was thirty years old, he left his homeland and the lake of his homeland and went to the mountains. There he enjoyed his spirit and his solitude, and for ten years did not tire of it.","2fPjy-2ko9QG7FYByzj3YBYMFst6dBh4jM1ONwvLW0Q",{"id":409,"title":410,"body":411,"categories":445,"description":415,"extension":35,"image":446,"meta":447,"navigation":40,"outlet":449,"path":450,"publishedOn":451,"seo":452,"seoKeywords":453,"sourceFile":454,"stem":455,"summary":456,"video":59,"year":60,"__hash__":457},"writing\u002Fwriting\u002Fmusic-0011.md","Ellegance, Pathetism and Midnight Sun",{"type":8,"value":412,"toc":443},[413,416,419,422,425,428,431,434,437,440],[11,414,415],{},"Elegance, Palette and Sun at Midnight",[11,417,418],{},"It is always an important event, but I not only enrich the panorama of contemporary music, but also open a new vision with which to shape and understand the essence of our \"Zeit-geist\". Last Wednesday, January 24, we were able to enjoy the premiere of \"Eternity of the Instant\", by the composer, soprano and director Pilar Jurado. Although the title may seem somewhat pretentious or unnecessary, it stems from an exquisite compositional sense that stimulates sensory fruition, a dance of melodic designs and timbral configurations that provide brilliant contrasts and expressive orchestrations. In the final movement of the interpretation, apparently inappropriate to discuss the composer, showing her beautiful voice colour and her expressive vocal strength, she was gratefully disturbing.",[11,420,421],{},"I believe that, certainly, the director is the instrumentalist and that the instruments are the orchestra. On the other hand, the sound of the Helsinki Philharmonic Orchestra, known for its magnificent recordings of works by Jean Sibelius, and the brilliant Rautavaara (both summits of the Finnish composition), does not disappoint at all by the impeccable execution, reflecting the tense discipline and the brilliant colour of the orchestra. No one should forget that in Helsinki the Sibelius Academy is located, one of the most important musical institutions in the world.",[11,423,424],{},"What was premiered at the concert was the cello suite by Elgar, a heart-felt composition in which the soloist Johannes Moser, showed only sublime artistry.",[11,426,427],{},"PILAR JURADO PREMIERED \"ETERNITY OF THE INSTANT\" WITH A GREAT HELSINKI PHILHARMONIC ORCHESTRA",[11,429,430],{},"The public's attention, which applauded among movements of the work, something that provoked the conductor's indication (as he also did with the sound of the mobile phones). What does it cost to turn off the mobile? What does it cost to have a program sight and count the number of movements of a work? Is it so necessary, the instant and measurable habit of applauding? And is it really sincere? Another pedagogical question is that of the services to Thielemann in Las Palmas (Hugo Wolf specialist) and that I suspect is also used to silence the public in order to muffle the sentiment, and instead of four seconds, make one think that perhaps it would be better to realize that the Festival of Music of Las Palmas is also a day less effervescent than usual.",[11,432,433],{},"But, we still applaud the music fans, and Schoenwald offered, outside the program, two of his pieces: \"Intermezzo\" in A flat major and \"Karelia\" of Sibelius. The present evening was concluded with the musical finlandesa desa at the Festival and at the sight of the capital from \"Karelia\" dissolved with the light of the sun at midnight that illuminates the landscapes before the patriotic time.",[11,435,436],{},"There was a skillful but sincere interpretation, and the second movement, Symphony 6 \"Pathétique\" of Tchaikovsky, another extraordinary, very representative and beloved work by the author, composed by the artist in his last manner. But all the context in which we live is much more contemporary style, condensed in this symphony is his essence, the final incorporation of the spirit, can occur, how he encounters the personalities of the momentous composer who composed the personalities of the momentous composers of the compositions. For me, the most unsavory, terrible themes that suggest the human condition, and the most felicitous ones that speak of the first, beautiful existence.",[11,438,439],{},"Lamentable and shameful was the interpretation.",[11,441,442],{},"David Moratón\nEl Dia, Tenerife,Spain\n26 January\n2007",{"title":30,"searchDepth":31,"depth":31,"links":444},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0011.jpg",{"slug":448,"kind":39},"music-0011","El Dia, Tenerife,Spain","\u002Fwriting\u002Fmusic-0011","2007-01-26",{"title":410,"description":415},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0011.md","writing\u002Fmusic-0011","It is always an important event, but I not only enrich the panorama of contemporary music, but also open a new vision with which to shape and understand the essence of our \"Zeit-geist\".","bMQDyFA1HC9IoJusMqWkHV6MQyqfeqI7Fl4AJnSa7Wg",{"id":459,"title":460,"body":461,"categories":498,"description":465,"extension":35,"image":499,"meta":500,"navigation":40,"outlet":41,"path":502,"publishedOn":503,"seo":504,"seoKeywords":505,"sourceFile":506,"stem":507,"summary":508,"video":59,"year":60,"__hash__":509},"writing\u002Fwriting\u002Fmusic-0010.md","Beethoven, Chopin, Ravel, Nose and the Public",{"type":8,"value":462,"toc":496},[463,466,469,472,475,478,481,484,487,490,493],[11,464,465],{},"Chronicle of a Musical Evening",[11,467,468],{},"I always try to be conscious, to be deeply alert to everything that happens around me. In theater, especially, I try to get the most out of the experience and make it unforgettable. Especially when I attend a concert, I refine my senses, and my mind moves with the intimate mechanics of music. Often, I discover that I am also too aware of the conscious context in which that music manifests.",[11,470,471],{},"That unfortunate context was, last February 16 at the Guiniguada Theater, when Alberto Nosé performed a brilliant, apparently sincere interpretation of works by Beethoven, Chopin and Ravel. From what I could observe during this musical evening, I give this continuation account:",[11,473,474],{},"First part. A few depths of background, very beautiful black piano on the stage. Alberto Nosé appears. Applause. Nosé bows. He sits, adjusts the bench, he hears the same notes of support and defiance. He sits again. The auction begins, with an attack of the other signs. The polyphony was raised in the middle of the concert, making the occasional comparison with the music especially suspicious. I try to ignore all this, and I submerge in the delicious sounds that some audience member, very well interpreted, keeps me with the form of the Polish night. But the public does not seem to be paying attention. A lady begins to lose. She doesn't get up; she doesn't know how many times she came and went. The applause does not cease. Before the insistence, the interpreter Italian was given her own chopiniana. When speaking to her, the public applauds, but they are going to cool down in their task. People begin to get up. When the intensity of the applause was dying, distinguished Nosé left the stage gradually, inevitably, then he came back to applaud, for what little else remains. Nosé goes back to sit. People go back to applaud. Nosé goes back to clap. Hey, will there be people in the aisles, waiting to exit, so that they can't be identified with what was given outside the program, but was great, reaching the consecration of the audience at the public. Was Nosé's revenge? Or were they just looking at the clock, wishing to be lost? Lost. After 7 minutes more of this dance interpretation by the performer, people return to applaud (but timidly, maybe they know that if they applaud Nosé will come back to play) and the concert ends.",[11,476,477],{},"Before such as I want to say, I listen carefully to the musical works in the tranquility of the home, far from the disturbing context of the places where the same melody is manifested in the concert from the sound, the time and the space in which it develops. And that is precisely what happened that evening, restraining it in a new methodical context. And that is making a profit from better acoustics and a bigger atmosphere of collection that will bring the essential life of music.",[11,479,480],{},"I lose myself in the music. And I wonder: what does it have of melancholic, a moon ray? When one admits existential about the abyss of the movement, very well interpreted, only a fashion sound. Shouts of protest and feelings of the audience there is no more. The action begins to have an attack of the others. The polyphony is raised in the middle of the concert, making him want to listen to it especially. I try to ignore all this, and I submerge in the delicious sounds that allows me to enjoy the Polish night. But the public does not seem to be paying attention. A lady begins to lose. She doesn't get up; she doesn't know how many times she came and went. The applause does not cease. Before the insistence, the interpreter Italian was given her own chopiniana. When speaking to her, the public applauds, but they are going to cool down in their task. People begin to get up. When the intensity of the applause was dying, distinguished Nosé left the stage gradually, inevitably, then he came back to applaud, for what little else remains. Nosé goes back to sit. People go back to applaud. Nosé goes back to clap. Hey, will there be people in the aisles, waiting to exit, so that they can't be identified with what was given outside the program, but was great, reaching the consecration of the audience at the public. Was Nosé's revenge? Or were they just looking at the clock, wishing to be lost?",[11,482,483],{},"Second Part. The beginning passes without major surprises. The improved character of the \"Impromptu op.51\", which, although it's a beautiful piece, the range of colours that Chopin offers, makes Beethoven seem almost trivial in comparison. Without embargo, the interpretation of the \"Sonata op.27 no.2\" by Beethoven was beautiful, and the public applauds. Nosé bows preferably more than applauded, so he gets up.",[11,485,486],{},"He tries to concentrate on the following interpretation. But the public keeps applauding, he leaves the concert, making him feel slightly annoyed. He sounds the Polonaise in F sharp minor, op.44, of Chopin, and he dreams. He returns to the same audience, pleased, although to form a tremendous impact both in the arduous occasions. Up to this point, the evening was progressing strength like subtlety. After the interpretation of the ballet up to \"La Valse\" of Ravel. Grotesque, expression, to the disturbing emotions incredibly lyrical, he has interpreted in a fairly way by Nosé, who gives the most strength possible to the demanding demon. He returns to those of the same audience, pleased, although to form a tremendous impact both in the arduous occasions. Up to this point, the evening was progressing strength like subtlety.",[11,488,489],{},"After the interpretation of the ballet up to \"La Valse\" of Ravel. Grotesque, expression, to the disturbing emotions incredibly lyrical, he has interpreted in a fairly way by Nosé, who gives the most strength possible to the demanding demon. He returns to those of the same audience, pleased, although to form a tremendous impact both in the arduous occasions. Up to this point, the evening was progressing strength like subtlety. After the interpretation of the ballet up to \"La Valse\" of Ravel. Grotesque, expression, to the disturbing emotions incredibly lyrical, he has interpreted in a fairly way by Nosé, who gives the most strength possible to the demanding demon. He returns to those of the same audience, pleased, although to form a tremendous impact both in the arduous occasions. Up to this point, the evening was progressing strength like subtlety. After the interpretation of the ballet up to \"La Valse\" of Ravel. Grotesque, expression, to the disturbing emotions incredibly lyrical, he has interpreted in a fairly way by Nosé, who gives the most strength possible to the demanding demon. He returns to those of the same audience, pleased, although to form a tremendous impact both in the arduous occasions. Up to this point, the evening was progressing strength like subtlety.",[11,491,492],{},"Nosé gets up. He rises. He leaves the stage. He returns, grateful. Nosé sits at the piano. He gets up. He rises. He leaves the stage. He returns, grateful. Nosé sits at the piano. The applause, the praised, the applause.",[11,494,495],{},"David Moratón\nEl Dia, Tenerife, Spain\n18 January\n2007",{"title":30,"searchDepth":31,"depth":31,"links":497},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0010.jpg",{"slug":501,"kind":39},"music-0010","\u002Fwriting\u002Fmusic-0010","2007-01-18",{"title":460,"description":465},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0010.md","writing\u002Fmusic-0010","I always try to be conscious, to be deeply alert to everything that happens around me. In theater, especially, I try to get the most out of the experience and make it unforgettable.","ns0hSYegRnMimFIfASlOckNt7PXYZfaxG2xwoT3lqio",{"id":511,"title":512,"body":513,"categories":544,"description":517,"extension":35,"image":545,"meta":546,"navigation":40,"outlet":41,"path":548,"publishedOn":549,"seo":550,"seoKeywords":551,"sourceFile":552,"stem":553,"summary":554,"video":59,"year":60,"__hash__":555},"writing\u002Fwriting\u002Fmusic-0009.md","A Mantra of Polychoral Sound",{"type":8,"value":514,"toc":542},[515,518,521,524,527,530,533,536,539],[11,516,517],{},"A Mantle of Polychoral Sound",[11,519,520],{},"The sound experience offered by the resident quintet vocal \"Odhecaton\" last Friday February 15 at the Guiniguada Theater, constituted by five singers and motets of polychoral late-renaissance music of the sixteenth and seventeenth centuries, would have been sublime if they had been able to enjoy in an acoustic similar to that of Las Palmas of Gran Canaria Cathedral, place of creation and original representation. What is the possible secret of these editions? So it happened that the director of Music of the Cathedral of Las Palmas, Don Pablo Da Col, announced in a perfect Spanish, that he had been obliged to suppress two pieces of the program due to the acoustic.\" And by motives of acoustics\".",[11,522,523],{},"Siemens, not only was it precise and impeccable, but compromised with the sentiment of the mass and seated laying the bases not only of a new concept of harmony but of the formation of the opera.",[11,525,526],{},"In the XVII century in Las Palmas there sprouted practically the polyvocality that in the rest of Spain had already been the protagonists of the epoch, Manuel de Tavares, whose works were performed in the Guiniguada Concert (of which the Guiniguada Theater is the heir). These works, scarce superior pieces inscribed and including irreplaceable, are attributed by the Renaissance musical (who had a soft evolution of anterior models: that of Renaissance polyphonic music) going also adapting the meaning of the text to the necessity of what was created as the principal and use, tacitly, including thus the distancing of the simultaneity of \"horizontal\" in the melody.",[11,528,529],{},"In the interpretation of the Tavares motets, more simple and voices of the choir, the liturgical office of the mass, the most acute notes, enriched with the same intentions - that is, the one that designated within the plainchant - political texture as precise as possible, colour contrasts with the voices of the soloists and harmony in different tonalities solemn. In occasions, the cornets are founded in such a way that the voices become mercantile expressing the other singer - certainly more accurate than the expression of other cantante (although in certain occasions the organ was somewhat accelerating) El Sabucche, the soft inscription of the organ in the polychoral oscurana del",[11,531,532],{},"CONJUNTO VOCAL ODHECATON CREÓ UNA ESPECIAL ATMÓSFERA EN EL TEATRO GUINIGUADA",[11,534,535],{},"harpsichord completed the chromatic range of the tessitura, despite the fact that the piano to listen to a magnificent \"Magnificat\" of Juan de Anchieta, honoring the diverse offices of the hours that were sung in the Cathedral of Las Palmas as Francisco Hernández de Ayala, Religious, of a definitive life and a mentality that would move definitively through the ideal of the divine perfection.",[11,537,538],{},"As a final conclusion I will say that it was not mastered by the not correct acoustic - it was necessary to inherent to the works, or if not concepts with the musical forms of the development, or else the accidental accentuation of the Renaissance, of the most important to move away from this musical - musical proposal (in the capacity of the interpretation - to move away from the architectural antiquity mediated by the scarce attention perception of the colour and the sound. And we see the \"material\" polychoral was apotheosed of whatever type of extraordinary pentimenti, contrasts the community with a melody of multiple dimensions, whose procedure seems to be the same eternity",[11,540,541],{},"David Moratón\nEl Dia, Tenerife, Spain\n17 January\n2007",{"title":30,"searchDepth":31,"depth":31,"links":543},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0009.jpg",{"slug":547,"kind":39},"music-0009","\u002Fwriting\u002Fmusic-0009","2007-01-17",{"title":512,"description":517},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0009.md","writing\u002Fmusic-0009","The sound experience offered by the resident quintet vocal \"Odhecaton\" last Friday February 15 at the Guiniguada Theater, constituted by five singers and motets of polychoral late-renaissance music of the sixteenth and s…","c1BUESF-fccn0d4bfvmycvCjd578QEMXLKHheEqtVus",{"id":557,"title":558,"body":559,"categories":590,"description":563,"extension":35,"image":591,"meta":592,"navigation":40,"outlet":41,"path":594,"publishedOn":595,"seo":596,"seoKeywords":597,"sourceFile":598,"stem":599,"summary":600,"video":59,"year":60,"__hash__":601},"writing\u002Fwriting\u002Fmusic-0008.md","Ruby Coloured Voice",{"type":8,"value":560,"toc":588},[561,564,567,570,573,576,579,582,585],[11,562,563],{},"A Ruby-Colored Voice",[11,565,566],{},"The evening that the XXIII Festival of Music of the Canary Islands offered us on February 12 at the Auditorium distanced us from solemnity and provided us with weeks of superior entertainment, with a quite complete and fresh opera repertoire of Italian singers, something that sadly the celebrated television boys, the music below the musical - the means of entertainment of masses during many years. Wagner is opposed to radical singing, a display of canary demonstrations that do not delve into the scene of the theater. But it was an expression superior to human passion, basic. Far from the action of pure spectacle.",[11,568,569],{},"Far from radical distinctions such as depth and superior Mediterranean, employing the gothic or the erotic, or in Wagnerian terminology, the art gothic and the Spanish, a certain fact is that when it is pleasant to be carried away by this \"entertainment\" that puts forth universal and viscous feelings that are not of love, of history, of gods... (and I say this loving Wagnerian music, just as I made it two years ago during the Juan Mendoza Festival).",[11,571,572],{},"Although we speak of sentimentalism \"to the skin,\" I was left without doubt with the greatest of all the sentimentalists, a composer of whom we can enjoy his Rachmaninoff (of whom we can enjoy his",[11,574,575],{},"CORRECT INTERPRETATION OF THE PHILHARMONIC OF GRAN CANARIA",[11,577,578],{},"incomparable Second Symphony, on February 9 with the LVPO Sinfonieorchester Köln). It was not also given by the same sensitivity, it is the sonorous Elena Prokina, who warm, broad, warm, does not offer us a journey through the most representative works of this \"fourth,\" such as \"A Beloved of Mine\" from \"The Elixir of Love\" by Puccini, and \"Ave Maria\" from \"Otello\" by Verdi, being detachable without doubt its two exceptional and moving interpretations.",[11,580,581],{},"In the registry grave of his voice it is thin, bronze, little defined, but when reaching the most acute, of colour rubí he transforms, brilliant, decent, and resonates in my memory the effect of his sharp traversing a rubí, a polished one very subtle, very pure, nothing to envy to the crown of another desperate one such as Kiri Te Kanawa.",[11,583,584],{},"The Gran Canaria Philharmonic Orchestra made a correct interpretation, brilliant doubting without doubt in the \"Inno al Sole\" of \"Iris\" by Mascagni, but the director, Miguel Ángel Gómez-Martínez, to whom I have seen the luck to see directing on numerous occasions in the Palau de la Música of Valencia, not convinced with good execution, not lacking of certain theatrical treatment very cordial but lacking in intense feeling, very important element for the Philharmonic Orchestra of Gran Canaria, which I understand with its potency and structural unity in the famous \"Celeste Aida\" by Verdi.",[11,586,587],{},"David Moratón\nEl Dia, Tenerife, Spain\n14 January\n2007",{"title":30,"searchDepth":31,"depth":31,"links":589},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0008.jpg",{"slug":593,"kind":39},"music-0008","\u002Fwriting\u002Fmusic-0008","2007-01-14",{"title":558,"description":563},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0008.md","writing\u002Fmusic-0008","The evening that the XXIII Festival of Music of the Canary Islands offered us on February 12 at the Auditorium distanced us from solemnity and provided us with weeks of superior entertainment, with a quite complete and f…","_hb_7vrhXNj_Tr3ToRJVDKLzWHBk7pGzxeNk2FGAxjM",{"id":603,"title":604,"body":605,"categories":647,"description":609,"extension":35,"image":648,"meta":649,"navigation":40,"outlet":41,"path":651,"publishedOn":652,"seo":653,"seoKeywords":654,"sourceFile":655,"stem":656,"summary":657,"video":59,"year":60,"__hash__":658},"writing\u002Fwriting\u002Fmusic-0007.md","Vitalism Against Rationality",{"type":8,"value":606,"toc":645},[607,610,613,616,619,622,625,628,631,634,637,640,642],[11,608,609],{},"Musical Critique by David Moratón",[11,611,612],{},"In contrast with the brilliant version that the Thielemann of the Gran Canaria offered of Anton Bruckner's and last January 9th at the Auditorium, the usual offering of good grade to a great phonoteca, the interpretation of the Quinta by the Vienna Philharmonic of the past day, nevertheless, was not entirely satisfactory. And so it was that, after presenting a trial by fire test for any conductor. Standing face to face with the rest of the Vienna Philharmonic, one can see that the density of the orchestra is necessary so that the musical form displays its naturalness and fluidity. The transformation of the clear sound of the temple, destined to the control of the dynamic and the intensity and the ability to inspire from the dotted rest, during the impressive improvisation of the form of the work.",[11,614,615],{},"A good interpreter must inspire, through the election of the tempo, destined to the control of the dynamic and the intensity and the ability to inspire from the dotted rest, during the impressive improvisation of the form of the work. This requires the flexibility to overcome the impediments of the classical and the knowledge of the sound. There exist more than 25 different recordings of the Quinta by Bruckner. For a legend and for an interpretative genius, it is necessary to know the version of Furtwängler, about all, the magnificent version of the 1942 about the Orquesta Berliner of the Philharmonic as the interpretative genius for the first place, the establishment of the main work toward the Thielemann traveled in the shadows of the forgotten.",[11,617,618],{},"Knowing the challenges of this work, and its anxious and restless condition, the conductor Thielemann chose the Quinta by Bruckner to initiate the cycle of the Philharmonic of Munich in 2004. The fruit of this debut was a version that was recognized by the critics as a good one, completely in the camp of the music programs and operation. While in the Auditorium, the German conductor was to the music of Bruckner, this interpretation was not entirely satisfactory. And so it was that, after presenting a trial by fire test for any conductor.",[11,620,621],{},"For this reason, the two first movements required a slow development, but Thielemann, continuing with the German tradition, was waiting for them to wake up in the ascent of the musical sentiment, when the unique thing that is achieved is the sensation of what the composer does in the spirit of the fluid form, although without achieving the expressive silence, then the sound itself.",[11,623,624],{},"In regard to the consideration of the instrumental silences and the comment of the expressive fundamental mentales of this symphony, the which separated not only the puzzling principles, but also the monumental blocks, and so when the control of the intensity and the dialogue between \"Thielemann\" and the Orchestra of Munich sounded vivid, it was the best of the good. The motive was vivid, it was the best of the good.",[11,626,627],{},"Thielemann Does Not Overcome the Trial by Fire of Bruckner's Fifth Symphony",[11,629,630],{},"However, in the Finale, the desolation and the intervention of the fuga, about the occasions they reached to be exciting, rushed, in the most solemn expansions, and the rest of the sonoous and melodic plans. In addition, after observing the director during the nights, he had to create the general and the total of the basic gestural for the powerful of the Canary Islands.",[11,632,633],{},"There is no doubt that many of the fifth symphonies of the history of music listen to this special characteristic. They usually describe the struggle of their consciousness against their destiny, this is a result of the form. A victorious struggle (like the fifth of Beethoven, by Mahler, by Schostakovich, by Bruckner, was crossing an existential crisis at the composer who was already approaching the musical result was a symphony of strength and primogenita and moreover, it was the great, but his teaching of Wagner, it reaches the profound root of the sentiment.",[11,635,636],{},"The movement of the creative origin of this work, the fifth of Bruckner, one of the most of the creation of the rural-musical form, the supposed native of the story for the people of the time, porous, and as much as the Bruckner persevered from the incessant changes of the grandiose elements with the fortress. The chaos among Thielemann and Bruckner, should be about the interpretation of the difficult personalities; in any case, can not have been fruit for the interpretation of the works, may be for the interpretation of the Munich Philharmonic alone as the director has had the demonstrations of the high standard and there have been more successful moments, undoubtedly, one of the more successful of the placements of the XXIII Festival of Music of the Canary Islands.",[11,638,639],{},"It is curious to observe that many of the fifth symphonies of the history of music listen to this special characteristic. They usually describe the struggle of their consciousness against their destiny, this is a result of the form. A victorious struggle (like the fifth of Beethoven, by Mahler, by Schostakovich, by Bruckner, was crossing an existential crisis at the composer who was already approaching the musical result was a symphony of strength and primogenita and moreover, it was the great, but his teaching of Wagner, it reaches the profound root of the sentiment.",[11,641,636],{},[11,643,644],{},"El Dia, Tenerife, Spain\n12 January\n2007",{"title":30,"searchDepth":31,"depth":31,"links":646},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0007.jpg",{"slug":650,"kind":39},"music-0007","\u002Fwriting\u002Fmusic-0007","2007-01-12",{"title":604,"description":609},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0007.md","writing\u002Fmusic-0007","In contrast with the brilliant version that the Thielemann of the Gran Canaria offered of Anton Bruckner's and last January 9th at the Auditorium, the usual offering of good grade to a great phonoteca, the interpretation…","HPX8wkKN2C9XuY3Z6_180uk_Y4VWnMrhO6nNjMEQ4hA",{"id":660,"title":661,"body":662,"categories":706,"description":609,"extension":35,"image":707,"meta":708,"navigation":40,"outlet":41,"path":710,"publishedOn":711,"seo":712,"seoKeywords":713,"sourceFile":714,"stem":715,"summary":716,"video":59,"year":60,"__hash__":717},"writing\u002Fwriting\u002Fmusic-0006.md","Thielemann, Demiurge of the Brucknerian Spirit",{"type":8,"value":663,"toc":704},[664,666,669,672,675,678,681,684,687,690,693,696,699,701],[11,665,609],{},[11,667,668],{},"After having the great fortune of being able to assist in the magnificent concert offered by the Munich Philharmonic last Tuesday, January 9th, and its great conductor, Christian Thielemann, a conflicting feeling occurred to me. On one hand, the satisfaction of experiencing an interpretation in which it is possible to appreciate the truth of the event. On the other, the tristesse of contemplating the symphonic medium in which we live or mediocrity (optimistically).",[11,670,671],{},"He that has true knowledge of the symphonic, that does not dare to be valued, that does not approach the symphonic work like the other type of professional opportunity.",[11,673,674],{},"Thielemann emerged to fame in the year 2000 with the performance of the \"Crepuscule des Dieux\" by the Chor-Orchester Niederburg of Wagner at the Bayreuth Festival. Having happened since that time to the Philharmonic of Munich from Zurich in 1997, an original conductor of brilliant qualities. Without a doubt, the presence of the Wagnerian sense in the repertoire on the symphonic sphere, also in the semantic universe of the music. In the XXIII Festival of Music of the Canary Islands we have programmed nothing less than two of the most dialectical concerts dedicated to Bruckner. Two speaking at the same time about the objectives.",[11,676,677],{},"The symphonic march Thielemann gives life to the music of Bruckner less than Anton Bruckner, one that had little certainty of the place: \"the symphonic constructor\" by Johannes. He who has time and disposition (more than 40 minutes), with extending periods of fabric development, to be able to detail to the impatient listener, and to construct with orchestral formations. Without doubt, all given a sinfonia has a monument character that converts it into a true cathedral of great beauty.",[11,679,680],{},"And given the sincere interpretation of the composer, this is the best word to define: cathedral.",[11,682,683],{},"Thielemann, following the tradition of the old-fashioned Germanic directors, the spiritual experiences of Bruckner with a perfectly deliberate intensity, to each note. Each beat, each silence, obtained by maintaining ordered command followed by the calling violins and sonorous flames, or intensive variations of intensity. The version gives the most specified image of the work, as if to be able to conceive the existence of the content of the sinfonia. As if the entire number of the movements of the sinfonias of Bruckner were numbered, the revision in the sound of the directors, can be taken, especially with the teacher of the 1st, 2nd, 3rd, or 4th Genesis.",[11,685,686],{},"When sobering, after the fierce calma, the intricate spiritual emotion could be established by the metals (among them, the basic tuba licked), the compact, with its brave captain of its ship in the middle of a hurricane, maintains the firm helmsman, without excess, without arrogance, but this apparent lack of control and the beneficial conjunction with the orchestra. The truth of Thielemann is strongly transparent from its strong character. I do not only honor the effective direction, but they have an example, as in the pauses between the first and second movements of the music. The truth of Thielemann is that the essence according to a suppressed command, it is evident that he does not doubt to break the silence.",[11,688,689],{},"Colossal Interpretation of the 8th Symphony by Bruckner, with the Munich Philharmonic, within the XXIII Festival of Music of the Canary Islands",[11,691,692],{},"The defiant, waiting for them to finish. Not only with the basic directed, but also the sound of the Munich Philharmonic, the first note. Since the homogeneity and the convenient presence of the Munich material. The course of this large but entirely emotional sinfonia offers us numerous evidences of its extraordinary professionalism. In the same way, the work, to a great extent, is the fruit of the influence of the expression.",[11,694,695],{},"After the magnificent finale of the conductor, the gesture and the silence was stilled for a moment during the seconds, in an instant that seemed to congeal, until finally the long applause exploded, almost prematurely. It must be the impression that Thielemann maintained for some more time, perhaps out of respect for a genius that, curiously, was hardly well during his life. Through many critics, it is precisely the signs of an extraordinary march and the grandeur of the expression.",[11,697,698],{},"Beethoven about Bruckner (above all that the most profound mark of the Novena Symphony, that left him a profound mark) and supposedly by Wagner, the quest for the fundamental idea. Without doubt, he remained faithful and original to himself. The work of Bruckner is among the most recognizable, and that our knowledge of the coherence of the style. The movement of the 8th Symphony, very moderate, has a mysterious character of what emerges gradually from the silence, as if there were an instinctive scherzo, which was taken by Thielemann with the necessary fuerza and brilliant, but not too much force of the third movement absorbs to the subject of the harmonic tones, chorus of metal that maintained the coherence and the categorical ideas of an indistinct fortress, and lastly, the immense beginning of the fourth movement has the elemental feeling of the triumph that leads to the specifically colossal. The beginning of this fourth movement has the tremendous feeling implanted by the content of the energy that resumes from all eternity and the conquest of the consciousness to undertake monumental tasks, perhaps nothing has been created since that. Thielemann demonstrated an excellent medium to support this load, channeled and transmitted, as in the interior music that realizes the musical energy in sound.",[11,700,695],{},[11,702,703],{},"El Dia, Tenerife, Spain\n11 January\n2007",{"title":30,"searchDepth":31,"depth":31,"links":705},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0006.jpg",{"slug":709,"kind":39},"music-0006","\u002Fwriting\u002Fmusic-0006","2007-01-11",{"title":661,"description":609},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0006.md","writing\u002Fmusic-0006","After having the great fortune of being able to assist in the magnificent concert offered by the Munich Philharmonic last Tuesday, January 9th, and its great conductor, Christian Thielemann, a conflicting feeling occurre…","Hf9kv71mIoNl77f5-ShtBc8VqY3sa1MXYDQLUEATxkA",{"id":719,"title":720,"body":721,"categories":757,"description":69,"extension":35,"image":758,"meta":759,"navigation":40,"outlet":41,"path":761,"publishedOn":762,"seo":763,"seoKeywords":764,"sourceFile":765,"stem":766,"summary":767,"video":59,"year":60,"__hash__":768},"writing\u002Fwriting\u002Fmusic-0005.md","War Requiem",{"type":8,"value":722,"toc":755},[723,725,728,731,734,737,740,743,746,749,752],[11,724,69],{},[11,726,727],{},"Víctor Pablo Pérez conducted once again his Orchestra of always",[11,729,730],{},"Taking into account the words of Juan Mendoza, distinguished successor of John Nelson in the direction of the Festival, in which he commented that the presentation of the symphonic analysis in its most distant intention of glorifying the music itself, each one in its most distant place, the selection of this work that opened the cycle in Lut, No. Indeed, more than having to give a chance to the attending public at the Auditorium to realize that the average age has been surpassed by the 55 years, and this is something more constant in all the concerts to those who have attended. Although it is not a readily accessible composition, \"War Requiem\" does not have precisely easy access. It is about a very unique work, finding to celebrate the restoration of the Coventry Cathedral devastated in 1940 by the Luftwaffe during the Second World War and created as a British composition of the most important English composer of the 20th century.",[11,732,733],{},"Without going into the details of the authentic analysis of the historical context in which this work was written, the poems of Owen, in which Britten incorporates the music, the symbolism conceived in the distribution of the groups, orchestras, without understanding, say, what they are dictating the soloists and chorus (a good deal was projecting the translations and the time of the Auditorium), this work provided by the same performer was impossible to realize. But it was one of the most interesting and reasoning company statements due to the knowledge and the reason why it was not possible.",[11,735,736],{},"A good interpretation, as the one that we could find in the performance of Víctor Pablo Pérez, is not in the personality of the formation of each performance for each soloist, but in the sufficient to allow the music itself to reach its splendor and comprender it of the imprimibles that had been offered to some spectacular participant (and there were many in truth).",[11,738,739],{},"The OST inaugurated with Víctor Pablo Pérez the XXIII Festival de Música de Canarias with the complete work by Britten",[11,741,742],{},"The religion must be understood here as the context where Britten introduces his verses about war and understanding, so we can enjoy the work. There is no single interpretation of the War Requiem, its truly genuine element, genuinely, in the introduction of the poems composed of trenches and hospitals by Wilfred Owen (1893-1918), soldier, poet and pacifist stated in World War I, that we strongly denounce the aberrations contained in the name of the homeland. Any single work required some special procedure to harmonize some verses, reinterpreting and counterpointing. What we offered was a certain spectacle participant (and there were many in truth).",[11,744,745],{},"Without doubt a good interpretation, as the one that we could find in the performance of Víctor Pablo Pérez, is not in the personality of the formation of each performance for each soloist, but in the sufficient to allow the music itself to reach its splendor and comprender it of the imprimibles that had been offered to some spectacular participant (and there were many in truth).",[11,747,748],{},"There is no doubt that the \"Sanctus\" the most dramatically powerful moment of the concert and the major originality and coherence of the work. James could find that the most direct copy of the text by Horace \"Troya\" and the insuperable BBC Symphony. Without a doubt, the work presents itself as a necessary, given step, as a counterpoint to the voice of the child soloist about the dead that survives after the battle - ruins and death - and gives a voice to those who are in the afterlife.",[11,750,751],{},"The magnificent, heavy voice of the tenor Ian Bostridge and the weighty and bronzed timbre of the baritone David Wilson-Johnson, who gave an ultimate hour to a sick Matthias Goerne, as well as the instruments of the chorus group both in the solemn arrangement and the expression of the suffering of those victims immersed in the horror and the battle of the arena. On another different level, the hidden boy soprano of the Orquesta Sinfónica de Gran Canaria and the organ symbolized the celestial liturgy on the day of the Last Judgment, with the orchestra. In the end, the orchestra, along with the chorus from the voice once-wounded, Amanda Roocroft completed this dialogue almost unique among these different sound plans and existential, frequently independent intermittent fraternity that expresses mourning, supplication and the feeling of guilt.",[11,753,754],{},"El Dia, Tenerife, Spain\n10 January\n2007",{"title":30,"searchDepth":31,"depth":31,"links":756},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0005.jpg",{"slug":760,"kind":39},"music-0005","\u002Fwriting\u002Fmusic-0005","2007-01-10",{"title":720,"description":69},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0005.md","writing\u002Fmusic-0005","Víctor Pablo Pérez conducted once again his Orchestra of always Taking into account the words of Juan Mendoza, distinguished successor of John Nelson in the direction of the Festival, in which he commented that the prese…","9aH08xhCQUHMiwmyAy8qbQjwZXV8FPoddwjHJPOcNSs",{"id":770,"title":771,"body":772,"categories":817,"description":69,"extension":35,"image":818,"meta":819,"navigation":40,"outlet":41,"path":821,"publishedOn":822,"seo":823,"seoKeywords":824,"sourceFile":825,"stem":826,"summary":827,"video":59,"year":60,"__hash__":828},"writing\u002Fwriting\u002Fmusic-0004.md","Superb Finale of the OST Beethovenian Cycle",{"type":8,"value":773,"toc":815},[774,776,779,782,785,788,791,794,797,800,803,806,809,812],[11,775,69],{},[11,777,778],{},"The OST (in the image, in a previous performance) did not disappoint the music lovers present at the Auditorium",[11,780,781],{},"Last Thursday, December 21st, in a complex but complete Auditorium, the Tenerife Symphony Orchestra concluded the cycle dedicated to Beethoven with the interpretation of the Ninth Symphony, under the always welcome baton of Víctor Pablo Pérez, with the coordination and rendering with which Tenerife's musical life has been guided in recent years.",[11,783,784],{},"It seemed to emerge from the movements of the director, Dídimo, concise, extraordinarily communicative, in spontaneous exaggerations and stridencies, the interpretation of a brilliant Victor: a gestural materialization of the sound that the musicians demonstrated, being at the height of the challenges of this magnificent work.",[11,786,787],{},"The importance of the Ninth Symphony, and its enormous influence on the musical development of the nineteenth century, is enormous. It was the seed that contained all the elements that would later flourish in the symphonic structure itself, with articulated sentences forming the romantic works that immediately followed from the nineteenth century.",[11,789,790],{},"It was composed by Beethoven as a completely lonely and deaf work, after the \"Missa Solemnis\" of 1827. Solitary and disillusioned, the genius of Bonn was no longer the same optimistic figure that would have composed for himself. With this work, he intended to provide a final period to the concert hall, trying to get along with the intention of being in harmony with the society of the time, but with the possibility.",[11,792,793],{},"He also composed the \"Heroica,\" one of the most beloved works by Beethoven. Never had something so great been composed. Today everything, except perhaps the conclusions up to the date they had started with a main theme, but never had the general sense of the work been so perfect and mysterious: it dealt with the rhythm of the material itself, until the final moment of the work.",[11,795,796],{},"With a magnificent introduction of octaves beginning in the second movement, an exceptional musical work, we descend into the most appealing and numerous aspects of the gradual and transparent expressiveness, Beethoven uses a technique of his genius, heaven and earth in the universal framework of the work. Writing during a magnificent time, and it teaches us that the conquest of the ideal of human happiness depends on the musical, demonstrative allegory of the musical presence of joy.",[11,798,799],{},"With this magnificent introduction of octaves beginning in the second movement, we can rest on the most appealing and numerous aspects of the gradual and transparent expressiveness, Beethoven uses a technique of his genius, earth and heaven in the universal framework of the work. Musical writing during a magnificent time, and it teaches us that the conquest of the ideal of human happiness depends on the musical, demonstrative allegory of the musical presence of joy.",[11,801,802],{},"The excellent direction of John Nelson, André-Mary and José Miró, Jesús Ariel, María José Suárez, Nicolau Scheloff and David Wilson-Johnson interpreted a magnificent final, both of this magnificent beethovenian cycle of the Tenerife Symphony Orchestra. We don't know much that we still offer today with these concerts that we have in the temples, separated, although it will be in 2007. We take advantage of the opportunities to discover a happy child, full of joy... and fraternity.",[11,804,805],{},"Under the baton of Víctor Pablo Pérez, the Tenerife Symphony Orchestra offered on Thursday the 21st a concert based on the Ninth -one of the pieces of greatest referential inspiration for future composers- in which the climate of understanding between the artists and their old director shone",[11,807,808],{},"The casualty, since both symphonies have many similarities, and represent the mastery of the revolutionary moment that we are experiencing now. Never had something been composed so great. Today everything, except perhaps the conclusions up to the date they had started with a main theme, but never had it been so perfect and mysterious: it dealt with the rhythm of the material itself, until the final moment of the work, and not something so fascinating as the ideal of human happiness, and that their most important works reflect their precisionism, their chaos, and absence of resignation.",[11,810,811],{},"The Third Symphony concludes with well-known variations that are promising and by no means by chance, since Beethoven, like Prometheus, defended with obstinate sincerity, like none of his contemporaries, the power of being human to govern his own destiny.",[11,813,814],{},"El Dia, Tenerife, Spain\n3 January\n2007",{"title":30,"searchDepth":31,"depth":31,"links":816},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0004.jpg",{"slug":820,"kind":39},"music-0004","\u002Fwriting\u002Fmusic-0004","2007-01-03",{"title":771,"description":69},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0004.md","writing\u002Fmusic-0004","The OST (in the image, in a previous performance) did not disappoint the music lovers present at the Auditorium Last Thursday, December 21st, in a complex but complete Auditorium, the Tenerife Symphony Orchestra conclude…","KkhSCFebgCym6QjoEhwG6tW_Kd9ESoN16o_wtHzHzt8",{"id":830,"title":831,"body":832,"categories":870,"description":69,"extension":35,"image":871,"meta":872,"navigation":40,"outlet":41,"path":874,"publishedOn":875,"seo":876,"seoKeywords":877,"sourceFile":878,"stem":879,"summary":880,"video":59,"year":881,"__hash__":882},"writing\u002Fwriting\u002Fmusic-0003.md","Beethoven, Promethean Hero",{"type":8,"value":833,"toc":868},[834,836,839,842,845,848,851,854,857,860,863,865],[11,835,69],{},[11,837,838],{},"The Tenerife formation interpreted the Third Symphony of the German composer",[11,840,841],{},"Last Friday, December 15th, conductor John Nelson, born in Costa Rica and with extensive international career, directed the Tenerife Symphony Orchestra in an extraordinary concert within the framework of the 55th anniversary of the Tenerife Symphony Orchestra's \"Heroica\" cycle at the Auditorium of the capital.",[11,843,844],{},"There are many technical details that we could discuss about the conductor (since this type of \"critical\" musical analysis has become customary, especially for music labeled as \"classical\"), but what seems most interesting to me is the interpretation itself, even if it sounds high-level and brilliant in form and content, because in certain moments there would have been a need for more precise and synchronized articulation to achieve a more fluid global transmission of this symphony.",[11,846,847],{},"This can also happen when a work is very expressive, and the hall lights are dimmed. Sometimes the conductor's gestures can be too trivial for a passionate performance, or conversely, too exaggerated. The result must be more than just the general illumination of the concert halls, as in the misty Wagnerian pit of Bayreuth, where the musicians remain hidden. From this way, the asymmetric augmentation of the music shines with more force in the darkness. At the recommended closing moment, the eyes close to be able to see the music and not interpret it.",[11,849,850],{},"Commentary on the latest concert offered by the Tenerife Symphony Orchestra at the Auditorium under the direction of Costa Rican maestro John Nelson",[11,852,853],{},"Expressive Dimension",[11,855,856],{},"The expressive dimension of the \"Heroica\" is simply colossal. One evident fact is that Beethoven, after his great crisis from 1801-1802, which led him to write the \"Heiligenstadt Testament\" and consider suicide, emerged from this crisis having to face the surrender, resurgence, and glorious outcome of this symphony of renovation, with a dedication to the then-revolutionary Napoleon, who was later fought by a disappointed Beethoven.",[11,858,859],{},"The first movement is a musical prodigy, full of life, colour, and dialogue among the groups, totally unified in an instant, a sentence of love that emerges from the surprise realized by the magical timbre of the clarinet, reflected in the golden timbre of the transparent flute and illuminated by the golden timbre of the oboe. The symphony reaches its highest point of \"pathos\" in the harmonic revolution of the third movement. In this moment, the listener recognizes that the liberation and creation of the Tenerife Symphony Orchestra are among the best interpretations of great works; we place it among the best works of all time, among the most important of the conductor, of the instruments, of the technical knowledge of space, of time, and even of silence.",[11,861,862],{},"Characteristics of Beethoven's works during this period are the fascinating rhythmic energy of his scherzi, like the first movement of the \"Heroica,\" and the disconcerting alternation between the elevations of the powerful and the descents that are often resolved in a free liberation that determines what romantic elements consider Beethoven as the most interesting figure for them; they well know how to magnify him, convinced that the heroic-promethean figure of the past triumphant and suffering. Nothing more false: all styles, except perhaps Wagner, never saw in Beethoven a deliberate search for the fundamental theme of Beethoven in the exasperation of adversity, and that his most important works reflect his precisionism, his chaos, and absence of resignation.",[11,864,811],{},[11,866,867],{},"El Dia, Tenerife, Spain\n20 December\n2006",{"title":30,"searchDepth":31,"depth":31,"links":869},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0003.jpg",{"slug":873,"kind":39},"music-0003","\u002Fwriting\u002Fmusic-0003","2006-12-20",{"title":831,"description":69},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0003.md","writing\u002Fmusic-0003","The Tenerife formation interpreted the Third Symphony of the German composer Last Friday, December 15th, conductor John Nelson, born in Costa Rica and with extensive international career, directed the Tenerife Symphony O…",2006,"C10fjCyMEMf7m9V7VO-9XaFw_bn8l3qr1KUNL-oEdFo",{"id":884,"title":885,"body":886,"categories":920,"description":890,"extension":35,"image":921,"meta":922,"navigation":40,"outlet":41,"path":924,"publishedOn":925,"seo":926,"seoKeywords":927,"sourceFile":928,"stem":929,"summary":930,"video":59,"year":881,"__hash__":931},"writing\u002Fwriting\u002Fmusic-0002.md","Destiny Knocks at the Door of the Auditorium",{"type":8,"value":887,"toc":918},[888,891,894,897,900,903,906,909,912,915],[11,889,890],{},"David Moratón",[11,892,893],{},"If we forget the prejudices against the so-called \"classical music,\" and we allow the sound to invade our spirit, it is possible that some of our miseries, fruit of unpredictable, impossible coherence can be disarmed and form, and they can achieve to disarm a meaning absent of charge, of a type in which we forget of ourselves and we become intimate in the music that we listen to.",[11,895,896],{},"The force of Beethoven can shake this effect. And more still, if it is wrapped with a good interpretation, as it happened last Friday, April 4th, in the Tenerife Symphony Orchestra, last Friday, April 4th, with the baton of Josep Pons, director titular and artistic of the Orquestra Sinfónica de Tenerife (OST), considered one of the most outstanding Spanish directors and with a brilliant trajectory in Europe, Josep Pons directed the Cuarta y la Quinta Sinfonías, bajo la vehemente actitud y la sensible precisión de la batuta de Josep Pons.",[11,898,899],{},"The mysterious introduction is mysterious, but it results in a luminous allegro, a movement full of grace and a minuet that should not be lacking final. A la Duración, step to a brilliant and brilliant finale. A la Duración, apparently digested, but which did not form part of the totality of the general beauty.",[11,901,902],{},"The second part opened with the De Menor op. 67 of Beethoven, one of his most problematic and certainly, one of his most emblematic works of all time. The famous beginning - the three times repeated tragic motive, just as in the history of the music, immediate on the music that we listen to - was filled with spirit and soul, our forgotten to be spiritual, initially in the atmosphere of the light. In this first work, the spectator, rather than a faithful formal, although not spiritual, of the structure and the tonic of the movement, is a prodigious of balance between light and darkness, energy and concentration. This feeling opens to the infinite space of the sound, sweet and infinite balance between the interior and the exterior - su saluda as que se aviene, -, segundamente, de una visión emergente musical.",[11,904,905],{},"The Tenerife Symphony Orchestra (OST) offered the past Friday, on the Auditorio de Tenerife, an unavoidable evening thanks to two emblematic beethovenians, the Fourth and Fifth Symphonies, under the vehement attitude and the sensitive precision of the baton of Josep Pons.",[11,907,908],{},"About the Fifth Symphony in Do Minor, op. 67 of Beethoven, elaborated in 1806, it is considered the bridge between its paradoxical Current of creation \"heroic,\" a tribute to the formally human, although not spiritual, of the structure and the tonic of the movement, is a prodigious of balance between light and darkness, energy and concentration. In this difficult program, no, there is no concierge and when the Spanish composer tries to obtain the orchestra, the result is such an inaccurate and solitary creator has left us such valuable universal works, spiritual and sensible of all times.",[11,910,911],{},"Personally, I achieved to establish a comparison with the emotional state that I commented at the beginning. And I managed to compare the empathy of the contemporary of life with the presence of Beethoven: for example, the one of Goethe - \"Es ist genug! (Enough!)\" - which I have been able to find in the rescue of the house spared! \"O el de Le Segur, who in 1812 wrote that the young Berlioz: \"Ah! Diamon! such!\" \"I need aare!\" \"Marvelous!\" \"Me he made quite transformed, I have left myself to the hand when I found the music, that when I found the concert, I found my head.\"",[11,913,914],{},"The difficult emotional moments with such energy and with such dedication so admirable like a gift, those creative and of the sufferings of the destiny, as Beethoven, the one that poor Goya and his solitary creator has left us such valuable universal works, spiritual and sensible of all times.",[11,916,917],{},"El Dia, Tenerife, Spain\n29 November\n2006",{"title":30,"searchDepth":31,"depth":31,"links":919},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0002.jpg",{"slug":923,"kind":39},"music-0002","\u002Fwriting\u002Fmusic-0002","2006-11-29",{"title":885,"description":890},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0002.md","writing\u002Fmusic-0002","If we forget the prejudices against the so-called \"classical music,\" and we allow the sound to invade our spirit, it is possible that some of our miseries, fruit of unpredictable, impossible coherence can be disarmed and…","OJlnBscY2d8bfX_LDPbzGzczpX38LisLfbNC6GWqIlM",{"id":933,"title":934,"body":935,"categories":965,"description":890,"extension":35,"image":966,"meta":967,"navigation":40,"outlet":41,"path":969,"publishedOn":970,"seo":971,"seoKeywords":972,"sourceFile":973,"stem":974,"summary":975,"video":59,"year":881,"__hash__":976},"writing\u002Fwriting\u002Fmusic-0001.md","Víctor Pablo bids farewell to the OST with a Wagnerian apotheosis",{"type":8,"value":936,"toc":963},[937,939,942,945,948,951,954,957,960],[11,938,890],{},[11,940,941],{},"Last Friday the 9th at night, the interior of the Auditorio de Tenerife was converted into a burning Valhalla under the brilliant baton of Víctor Pablo Pérez, who chose to bid farewell to his position as Musical Director of the Tenerife Symphony Orchestra, not casually, but with the final moments of Richard Wagner's operas \"Tristan and Isolde\" and \"The Twilight of the Gods\" (fourth opera of the tetralogy \"The Ring of the Nibelung\").",[11,943,944],{},"The musical part of the Concert was rigorously planned as a \"Symphony in D Major\" composed by the young Wagner to come, yet with a noble and happy style of writing, even though probable of Beethoven, who had studied contemporary musical language of the same mode that Beethoven absorbed the models of harmony and technique from his contemporaries. We cannot imagine the devotion of Wagner without the figure of Beethoven, and specifically his musical conception, in the figure of Beethoven, and exactly his Wagner expressed his admiration for the author of the \"Fifth Symphony,\" already showing a great dominion of the orchestral art.",[11,946,947],{},"Without a doubt, Víctor Pablo Pérez, with very mature criteria, believed that this unique symphonic work by Wagner deserved part of the Concert, a work of youth studium that he directed with a great sense of musical proportion and already pointing to the immense artistic development of the composer for the future, the interpretation of the death of Isolde, and the immolation of Brunhilde, could be clearly perceived in the second part.",[11,949,950],{},"\"Tristan and Isolde,\" inspired by the ancient Celtic legends of Mathieu Wienert, could trigger all the apocalyptic movements of direction by Víctor Pablo Pérez. After these initial cathartic movements, the smooth accords of the leitmotiv of the instinct began to begin to emerge from a new beginning. One could imagine a tragic apotheosis.",[11,952,953],{},"In effect, after two decades of hard work, Víctor Pablo Pérez asked for the Tenerife Symphony Orchestra to reach the threshold of the concert hall, today without any doubt competent to interpret proudly a European continent. The applause was of incredible enthusiasm, with the nobility of his interpretive gesture, and the musicians integrated, who have been studying over the course of 20 years, professional impeccable by Víctor Pablo Pérez and the Tenerife Symphony Orchestra have reached a level of musical performance at the Krystian Zimerman palace that \"there are no directors of no more batons than a career I respect especially. In this group I found Víctor Pablo Pérez, to whom I will dedicate a speech.\" Pablo Salomón of Simón Rattle, people who are dedicated by whole to the minute, who do not live of illusions but and only to the effort.\" And the Orchestra sounds really well.\"",[11,955,956],{},"We hope that the next director of the city and its people, implicating in the understanding of the \"internal society.\"",[11,958,959],{},"Since then, he has done it and left the baton very high.",[11,961,962],{},"El Dia, Tenerife, Spain\n21 June\n2006",{"title":30,"searchDepth":31,"depth":31,"links":964},[],[34],"\u002Fworks\u002Fimages\u002FMUSIC_0001.jpg",{"slug":968,"kind":39},"music-0001","\u002Fwriting\u002Fmusic-0001","2006-06-21",{"title":934,"description":890},[46,47,48,49,50,51,52,53,54,55],"MUSIC_0001.md","writing\u002Fmusic-0001","Last Friday the 9th at night, the interior of the Auditorio de Tenerife was converted into a burning Valhalla under the brilliant baton of Víctor Pablo Pérez, who chose to bid farewell to his position as Musical Director…","3HFtTTkXlzLCN4cN2wwYdBn7Tacl6wkV0JW7VN4gLKM",1793661414208]