How Much Are Saved The Date Cards Used?

record awards and enjoy everywhere. History of a weekend with Bach (Prima Pars)

Date: Friday, March 6, 2009.

Held Euskalduna (Bilbao).

Context: Second session Musika-Music Festival 2009.

Programs and interpreters: Concerto no. 16: Eduardo Egüez (lute suites of Johann Sebastian Bach), Concerto no. 14: Ricercar Consort and soloists - Philippe Pierlot (works of Johann Christoph and Johann Sebastian Bach), Concerto no. 15: Pierre Hantai (harpsichord works of Johann Sebastian Bach).

The festival rather crazy -Musika-Music Marathon, held annually in Bilbao, is a true spectacle, look where you look.

This year the festival was devoted entirely to the genius of Eisenach and brought together a series of concerts, artists, fans, record sales ... (We'll have time in a back entrance, to discuss these and other matters) under the flashy name, and cartel-de Bach is Back!

As happened in 2006-when the marathon was aimed at European Baroque-a server would not miss the appointment and showed up there to witness the not inconsiderable figure of 14 concerts, spread over on Friday afternoon and Saturday and Sunday full. Successive entries

go

realizing the other days, but the concern here, I will make three dates for Friday afternoon.

The first concert I witnessed was the one offered in the renamed room-Weimar, for practical purposes-in lutenist Argentine Eduardo Egüez . This offered us an integrated program by pathways cello suites of Johann Sebastian Bach (1685-1750), a baroque lute under quite common among players of plucked, because the quality and beauty of these suites make them especially appealing also to have a willingness to adapt in such instruments, in particular, the suites BWV 1007 and 1009, in an arrangement made by the same Egüez.

The pieces are very famous and little or no at this point we discover them, but if you note is the magnificent array of Egüez, totally faithful to the original score and demonstrating the universality of Bach. Looking at the program, one wonders whether, having, as is, as good literature to read specific Bach on the lute, it is necessary to adapt parts for cello, but to begin to hear what this did to her lute, all doubts disappeared. The total clean lines, the beautiful sound, dramatic counterpoint ... all that was there, but he was also performed with most of the details, the finest of tastes and the most obvious of illusions. Egüez touched by his honesty, the fact of pure music, performed by a single musician, to an expectant public, is something that has never lost, "his tenderness, his brilliance, his technique, your enjoyment ... -All this despite being sick and taking some time to cough, massaging his aching neck ...- A spectacular show, pure.

The concert started at 18:30, well, at the end of the concert there was no time for entertainment, as scheduled at 19:30 the following morning.

This time we went to the room Köthen, where we expected a concert starring Katharine Fugue (soprano), Carlos Mena (high), Julian Prégardien (tenor), Stephan MacLeod (bass) and Ricercar Consort, directed by Philippe Pierlot.
The program, entitled "Bach De Profundis" was composed of two Bach cantatas, namely Aus der Tiefen Rufe Ich, Herr, zu dir BWV 131 and Todesbanden Christ lag in BWV 4 , two of the most celebrated cantatas of genius. But as an appetizer, if something as absolutely great to be called such, was offered sorry "Wie bist du denn, or Gott" of Johann Christoph Bach (1642-1703), signed a wonderful piece by a composer truly amazing, unfortunately overshadowed by the shadow alargadísima the family genius. Stephan MacLeod, one of the best voices that happened that weekend, there offered us a full version absolutely masterful and moving of this lament, backed by the precious François Fernandez baroque violin, the viola da gamba and the continuum of Ricercar Consort -it should be noted that they have devoted a recent recording parts XVII Germany, with MacLeod's protagonist, from which I extracted the beautiful version of regret that provide more down.

After this real delicate, came the highlight, though was so fascinated with what he had just experienced, he did not think nothing could overcome, "the two cantatas of Bach. Works of art, the succession of choruses, arias, duets, recitatives and choral was a non-stop, a master class in how to create, how to address the music in all its facets so always sublime. Ricercar version, following the theories OVVP , was well balanced, crisp on the precise lines and counterpoints. Despite not being a believer and defender server these theories, this interpretation I quite surprised by the favorable outcome. The vocal soloists gave a good level, but had everything. Fugue was correct, but without fanfare and was the biggest go unnoticed. Mena, who "played at home," was as solid as ever, technically flawless, powerful in their sound and beautiful tember. The young tenor-just 24 years, "Julien Prégardien know if he is the son of the great tenor Christoph Prégardien, although several of your vital data could suggest, was quite good, with a very nice ring, well positioned, rather small in volume , but with exquisite taste. The low Switzerland, Stephan MacLeod, who with his own intervention in the lament could have covered their quota by that day, was, again, fascinating. Well in the bass, but very well the middle-sharp, with that ring so moving and singing that line so elegant. Undoubtedly, next to Mena, the highlight of the evening. The instrumental apparatus, supported by accurate Santos Fernandes and baroque violins, played to perfection with its mandate, except for some mess in Baroque oboist, who later recovered. Strong and colorful parts safe and sound high and low, with a splendid and varied bass.

To end the first day, we went to the third-evening concerts held in the same room Köthen and start time at 21 hours and performed por el excelente, aunque en exceso sobrado, Pierre Hantaï. Se nos ofrecieron los Pequeños preludios para Wilhelm Friedemann Bach BWV 924-932 y las Suite inglesa nº. 2, en la menor BWV 807. Todo en Hantaï es ampuloso, recargado, "divino"... Para empezar, su concierto se retrasó más de media hora -ante las continuas e iracundas quejas de los espectadores. Pero eso no es todo, sino que el francés tiene la costumbre de hacer esperar al público cuando todo está listo, es decir, desde que las luces se apagan, se ilumina el clave -modelo absolutamente precioso, por cierto- y todo está en silencio, pueden pasar cinco minutos hasta que tiene el detalle de "honrarnos con su presencia". Todo esto se termina pasando por high when one begins to hear but not see him, since his behavior is still completely contrived. He was very, very well in the suite, but made some mistakes in small preludes-double notes, wrong notes, inexcusable for someone of his class. However, as I say, the interpretation of the glorious raunchy suite with a spectacular fingering, very safe, showing a very elegant and detailed Bach.

In short, a very good qualifying time, with absolutely memorable moments (that I regret!, Several times and Hantaï Egüez) and that was a good omen for what was to come.

PS If anyone would like more information about the programs, templates instrumental ... only on request.

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Johann Christoph Bach (1642-1703). sorry "Wie bist du denn, or Gott" .
Album: De Profundis.
Stephan MacLeod & Ricercar Consort - Philippe Pierlot.
Mirare 2008.

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Johann Sebastian Bach (1685-1750). Sarabande, Suite BWV 1007.
Album: Suites for theorbo. Pascal
Monteilhet.
Virgin Classics (Virgin Veritas x2) 200-2005

Has Anyone Had Herpes Scars

disappointing debut, uncertain future

Date: February 4, 2009
Held Auditorio Ciudad de León
Context : first concert of the Performing Arts Series and Historical Music
Program: "Music extremity and the madding crowd." Sacred and secular polyphony century English XVI (works by Cristóbal de Morales, Tomás Luis de Victoria, Francisco Guerrero, Juan Vázquez, Juan del Encina and Mateo Flecha the Elder)
Performers: Choir Antiphonarium - Jose Luis Basso, address


With such bombastic and stilted title is presented, in an alternative venue to the official, who is the Emperor's capital Theatre Leon - the first cycle of Performing Arts and Music History, created by the INAEM to inaugurate the newly established "but it will take to see the light in a" physical "- National Center for the Performing Arts and Historical Music (CAEMHis), a kind of center for the study, recovery and interpretation of all English music, Latin American, European and connected with Spain in general before the eighteenth century.
Suffice it to say that what is known about this project is rather short, except that is scheduled to open in 2011 and will soon go on public tender squares of the heads of the various facets of the project, as the director the center and the directors of the choir and orchestra Baroque formations will be created as residents.
As far as there was no contest, this newly created Antiphonarium Choir, which is known as a codex, deposited in the Cathedral of León, which contains a large number of tracks dedicated to the Mozarabic Rite "is nothing a kind of workaround that the acting manager of this cycle, the stage director Gustavo Tambascio (although this is not very clear either), has been giving way to accomplish this first for the world premiere of this new grouping. And one wonders, do you really worth submit globally similar sloppy?
The choir consists of some of the supposedly more voices qualified in this repertoire as regards the English area. To many it will sound more names displayed on staff for their participation in groups dedicated to English interpretation, though of dubious historical excellence, and there is also Leon-by that presence of missing out on the happy regionalism. Well, with this picture and haste with which I know has developed the project, the result could be different than it was, especially if we consider that the guest conductor for this release proved to be the "expert reputadísimo "in Renaissance polyphony Jose Luis Basso, of which only find references regarding the interpretation historical concerns.

For starters, it should be noted that the program was a sort of greatest hits medley or-if this can be possible, of English Renaissance repertoire. Works always high quality but the trite little interest from them. And one turns to ask, given the aim of this center, if it had not been more desirable to the interpretation of works of greater depth and musicological significance. The first part consisted of sacred music and was opened with music by Cristóbal de Morales (1500-1553), which was interpreted his Missa Domine Aspic a 4-in edition, 1544 -. Mass is a parody inspired by the eponymous motet master Nicolas Gombert (c.1495-c.1560), mass movements composed of all the ordinary and can not be said to be a particularly inspired piece, if While the poor performance, which we will talk, made him a disservice. However, it noted the beautiful Agnus Dei to 5 (CAATB). The first half ended with three works by Tomás Luis de Victoria (1548-1611): the celebrated Christmas-themed anthem "O magnum mysterium- , the well-known also responsory O vos omnes to 4 (CCAT) and (this it something more "unpublished") motet Ego sum panis vivus. Although these pieces are incredibly trite, still plays a major factor in attracting and easy enjoyment.
The second part was led by classics of interpreting any of the choirs that populate our country: a hodgepodge of villanescas of Francisco Guerrero (1528-1599) and carols Juan Vásquez (c.1500-c.1560) and Juan del Encina (1468-1529/30), plus salad "El Fuego" by Mateo Flecha the Elder. Works fine, character, incisive, manners and even a comic about, well equipped structurally, but not for fitting end as did the works of the first part.

The interpretation of this cartoon coral that was pressed by the time constraints was as expected: dull, linear, lacking style, exaggerated as it did with the works of the second part a little comic ... Counting with little or no historical figure by five voices (and not because they can do things well with a number of "high" number of voices, as we made clear in the review of Tenebrae concert, but because they simply do not did not minimally good)-much more if we consider the "right" for interpretations of carols, songs, villanescas ... of Spain in the XVI "But I also undertook to provide all of the same strange taste, it all sounded almost the same, since the mass Morales Arrow salad, but took care to give it a touch ridiculous to aberrantly the secular-error parts widespread, unfortunately, giving them the neglected and humorous character, as lacking depth composition. To all this we must add the excessive taste provided by the percussion, despite the vain attempts, unfortunately, the percussionist Izaskun Cruz-this, along with organist David Oyarzábal, who made a more than decent work in the continuum, were saved burning-which took care of torment, placing of fellow travelers to various members of the choir, waving and waving, ceaselessly, the instruments were allocated to them, destroying much of the work. A tune pretty reprehensible on many occasions, the fact of being a half step low relative to say very positive organ little in their favor, and a vocal quality not too pronounced, the interpretation made something merely mediocre-at times to bad, disappointing and forgotten.

Basso address, which as I said, has virtually no experience in this field, except something about a choir in Florence, I think, that I have not been very clear and that he should not consider important, according to the absence of this information in the curriculum appeared on the playbill, I was absolutely incomprehensible, that at times had very good view of his actions, not understanding what marking and was not relationship with the music, "which leads me to believe two things: 1. The singers had the same feelings that I, 2. They had no interest in following, to the disastrous direction. I think the end result was a combination of both points.

Ultimately, one wonders whether it is necessary to create something so very poor quality, taking into account as is the picture in relation to this field, with groups like The Tallis Scholars, Huelgas-Ensemble, the already mented Tenebrae, Stile Antico, to name just a few of the hundreds available, even in our country with quality sets La Colombina, La Capella Reial de Catalunya, where things are not rare, La Grande Chapelle o Trulla of Bozes, including English La Hispano-half. If we do something, do it right, because then things happen and one gets inexplicable uneasiness when told that his city will do something so necessary and exciting as this center, but we are already chastened ...

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Cristobal de Morales (1500-1553). Circumdederunt gemitum me mortis. Officium Defunctorum
Album: Missa pro Officum defunctis Defunctorum &
La Capella Reial de Catalunya & Hespèrion XX - Jordi Savall Astrée 1992

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Juan del Encina (1468-1529/30). My freedom in tranquility
Album: Cancionero de Palacio (Chansons de la Renaissance)
Ensemble Gilles Binchois - Dominique Vellard
address Virgin Classics (Veritas x2) 1999-2005

Self Tanning Booth For Sale

and filtered light in the darkness ...


Date: March 28, 2009.
Location: Church of San Cipriano, Zamora.
Context: Sixth Porch Festival concert Zamora 2009.
Program: Works for the passion of Giovanni Pierluigi da Palestrina, Thomas Tallis, Alonso Lobo and Tomas Luis de Victoria.
Performers: Choir Tenebrae - Nigel Short, here.

I can not think of a better way to start my journey in this new, shared and exciting project, which attempted to convey in the most honest and direct what we witness in the beautiful, Romanesque church of San Cipriano, capital of Zamora, on Saturday. Come on with it, well ...

Easter: the time of recollection that in certain parts of the world is used as an instrument of worship by believers, false devotees, religious and party ... and that in past times we had the good habit of creating music for the texts used in the liturgies for this purpose by some of the great masters of the West, resulting in what is now called lessons darkness, Lamentations of Jeremiah, Offcium Tenebrarum
... This is the case of works which we now occupy, a program focused on to music by some of the absolute masters of the European Renaissance. The first part consisted of the Stabat Mater (another of the texts, which is composed Jacopone da Todi, used to reflect on the time of passion) Giovanni Pierluigi da Palestrina (c.1525-1594). Being as the master Roman paradigm of the polyphonic style is more academic, rigorous and sober, was not expected vocal fireworks, and ornamental, in the Italian score, but still, a masterpiece was created by this prodigious mind shaped by his pen. Composed for 8 voices, double chorus 4 ( Cantus, Altus , Tenor, Bassus / Cantus, Altus , Tenor, Bassus ), creates an atmosphere quite polychoral, assigning each entry between the two choruses as if they were echoes. Palestrina develops Here is a great technique fabordones and leaves us in a subtle memory sparingly ternary beats syncopated rhythms. The dramatic depth of the work is discharged, at times, by section intended for a slightly smaller voices, creating a tragic-like atmosphere is well worth the text, and now treated in a delicate, sometimes forceful. At that time, one began to discern that what I was witnessing had overtones of becoming exceptional. The magnificent work palestriniana lamentations followed the two known to sign, at the time (c.1560), Britain Thomas Tallis (c.1505-1585)-both for Holy Thursday. Although in the playbill did not specify which of the mourning was to be interpreted, it points out the interpretation of one of them in the general script of the festival, though not clarified which one, however, were ultimately interpreted both lamentations (whose actual name is often distinguished with a number I and II). Trails are part of the body parts most-performed in English and is very understandable if we consider that Tallis shows its expertise in two authentic marvels polyphonic. They are true wonders in many ways: the colors that use, incredible dissonance employed, which has been in the first, just before the final verse Jerusalem, ad Dominum Deum tuum convertere is a true display of harmonic genius, "modulations tremendously expressive use of homophony in the points for better understanding and in which the text becomes especially important, a series of imitations from Exemplary definitely different voices and a masterful use of melismas that used in the music of the Hebrew letters of alephato , giving way to each of the different verses. This was one of the most daunting of all the evening, along with what came next, which was none other than the interpretation of other lamentations, this time created by the talent of Alonso Sevilla Lobo (1555-1617). Much has been said and rightly so, about the English Golden Age and the crucial importance of the trident Victoria-Morales-Guerrero had for the development of music in our country. This is fine and is more than evident, but the golden age not only built the three minds, but talent like Alonso Lobo helped, greatly, to the musical capital hopefully endorse and is starting to be claimed as he deserves. These laments are true masterpieces of human creativity. It was played here one of his regrets, specifically written for Holy Saturday in the Wolf shows its expressive capacity to offer a piece-of MINUTES extraordinary and wide-in which sustained very long melismas used on alephato are its most recognizable and that serve as rest and contemplation to meet the curved lines lines that flank the piece. Along with pieces by Thomas Tallis, made up the most magical moment and moving the whole show.