Noi suntem...Progresul! In dedicatii. La umbra platanilor

[miril]

Transatlantic, Portnoy, Morse et comp, din nou la munca.

[miril]

Si prin aceasta declar oficial deschise (muzical) JO 2014, Soci, Rasiia!

[miril]

Eccezionale Mr. Bungle!

[miril]

A murit marele chitarist andaluz Paco De Lucia. Am avut onoarea sa-l cunosc personal, un om modest, placut, devotat muzicii. Dumnezeu sa-l odihnesca in raiul acordurilor muzicale!

[Ess]

[QUOTE=miril;3981568] Am avut onoarea sa-l cunosc personal, un om modest, placut, devotat muzicii.

...inseamna ca ai ce povesti nepotilor, prietene miril...

pt tine si pt toti prietenii mei progresisti, o veche danza...
rip

[miril]

Da, prietene, Ess. Am postat si eu pe topicul deschis de tine. Frumoasa initiativa.

[Platanu]

http://www.youtube.com/watch?v=wNwqbtXdr3s

Legendary Romanian baritone Nicolae Herlea dies at 86.

On Feb. 24 Nicolae Herlea, famous Romanian baritone, died surrounded by his family, in Frankfurt, Germany.
Born in Bucharest, Romania, he studied at the local Conservatory, with professor Aurel Costescu-Duca, baritone at the Romanian Opera House. Herlea’s debut took place in 1950, as Silvio in I Pagliacci. From that moment on he became soloist of Romanian National Opera, for 35 years, until his retirement.
Besides his career in Romania he sang in the most important Opera Houses, like MET, Teatro alla Scala, Bolshoi, Royal Opera “Covent Garden”, Paris Opera, Staatsoper Berlin etc.
His most famous appearance was as Figaro (Il barbiere), more than 550 times. He was also a great Scarpia, Tonio, Rodrigo de Posa, Giorgio Germont, Enrico Ashton, Renato, Gerard, Onegin etc.
Famous opera artists who met him declared that Herlea has one of the most beautiful baritone voices: Placido Domingo, Roberto Alagna, Angela Gheorghiu, Herbert von Karajan, Nicolai Ghiaurov…
In the past 10 years he was President of the Jury at the International “Hariclea Darclee” Voice Competition in Braila (Romania). He was publicly celebrated at 85, when he received the “Darclee” Medal. He had received also the most prestigious titles of Romania, like “People’s Artist” and “The Star of Romania”.

[miril]

Italia produce Muzica si...Progresul:

[miril]

Acum, la anivesare (mi-as fi dorit sa fiu acolo-Tuesday 22nd April, 2014. 7.30pm):

The Michael Nyman Band: The 70th Birthday Concert and 40 years of the Band

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The following performance has been postponed until April 2014 to coincide with Michael Nyman’s 70th birthday and the 40th anniversary of the Michael Nyman Band. These great milestones will be celebrated with fans across the UK through a series of new tour dates and new material written especially for the show. Michael apologises for any inconvenience and looks forward to sharing this monumental year with you. Tickets remain valid for all future performances.

A rare performance by one of Britain’s most celebrated composers. Hear some of Michael Nyman’s most familiar compositions from film scores, as well as new compositions to accompany a selection of films that he has himself made over the last five years.

This show will feature music from the Greenaway soundtracks, and films directed and scored by Michael Nyman. This will be the first time the films will be performed live in the UK to a live soundtrack. Featuring music from ‘The Draughtsman’s Contract’, ‘The Cook, The Thief, his Wife and her Lover’, ‘A Zed and Two Noughts’, and ‘Prospero’s Books’ amongst others, including a special 20th anniversary performance of music from ‘The Piano’.

Printre protagonisti, Alexandru Balanescu si John Harle:

[miril]

Din nefericire, din nou stiri triste din lumea muzicii. Au murit:

Johnny Winter



si Charlie Haden



RIP!

[Platanu]

Un bis la final de concert:

[miril]

Bravo, Sorine, mii de felicitari si imbratisari progresiste. Suntem mandri de tine, Platanule!

[miril]

Inca un mare jazz-ist al lumii ne-a parasit, trompetistul Kenny Wheeler trecand...The Tunnel. RIP!

[Platanu]

Bravo, Sorine, mii de felicitari si imbratisari progresiste. Suntem mandri de tine, Platanule!

Multumesc, miril!

[miril]

RIP, ne-a mai parasit o legenda:

Cream legend Bruce dies at 71 Maurice Chittenden The Sunday Times

http://www.thesundaytimes.co.uk/sto/...H_1104710k.jpg

JACK BRUCE, the bass player and lead singer with the rock group Cream, died yesterday of liver disease, aged 71.

While Eric Clapton, Cream’s lead guitarist, received greater acclaim and the band’s drummer Ginger Baker became famous for his manic playing style, Bruce was the vocalist and writer of many of their greatest hits, including I Feel Free, Sunshine of Your Love and White Room.

In a statement released on his website, his family said: “It is with great sadness that we, Jack’s family, announce the passing of our beloved Jack: husband, father, granddad, and all-round legend.

The world of music will be a poorer place without him but he lives on in his music and forever in our hearts.” His death was confirmed by his publicist Claire Singers, who said: “He died today at his home in Suffolk, surrounded by his family.”

Cream sold 35m albums in two years in the 1960s and were awarded the world’s first platinum disc for their Wheels of Fire LP. The trio split in November 1968, which prompted a famous ad-lib performance of Sunshine of Your Love by Jimi Hendrix on BBC.

Born John Bruce in Glasgow in 1943, his parents travelled extensively in Canada and the US, with the young Jack attending 14 schools.

He finished his formal education at Bellahouston Academy in Glasgow and won a scholarship to the Royal Scottish Academy of Music.

Bruce left the academy at 16 and travelled to London where he became a member of Alexis Korner’s Blues Inc. Charlie Watts, who later joined the Rolling Stones, was the group’s drummer.

Bruce played with various groups in the early 1960s, including Manfred Mann, and played bass on Scaffold’s hit Lily the Pink before joining Cream. As a solo artist, Bruce, who battled drug addiction in the 1970s, never reached the commercial heights he achieved with Cream.


Bruce, who was married twice, was diagnosed with liver cancer in 2003 and underwent a liver transplant that almost proved fatal when his body rejected the new organ.

He recovered and was reunited with his former bandmates in 2005 for a series of concerts at the Royal Albert Hall in London.

http://www.thesundaytimes.co.uk/sto/...cle1475855.ece

Doua legende care nu mai sunt printre noi:

[miril]

Exceptional eveniment muzical, faimoasa compozitie de muzica contemporana a lui Terry Reily, "In C", in interpretarea subtila a unur muzicieni din Mali, la 50de ani de la creatia piesei originale:

Andre de Ridder si Africa Express:

[miril]

In pragul sarbatorilor de Craciun ne-a parasit Joe Cocker. RIP!

[Johnny D]

Mie asta-mi place:

[miril]

“There is no death, there is just a change of our cosmic address”. Ne-a parasit, pentru o alta stratosfera, Edgar Froese, fondatorul grupului Tangerine Dream. Dumnezeu sa-l aiba in pace!

http://www.thetimes.co.uk/tto/multim...4-_843307c.jpg

Edgar Froese Founder of the electronic art-rock ensemble Tangerine Dream

It was an encounter with Salvador Dalí that turned Edgar Froese away from the music of the Rolling Stones and towards something much more ambitious. In 1966 Froese was 22 and staying in Cadaqués, a fishing village in northern Spain near Dalí ’s villa in Port Lligat. He was invited to meet the artist who became an inspiration as Froese began to imagine ways that surrealistic techniques could be applied to music.

“His philosophy of being as original and authentic as possible touched me intensely,” Froese recalled. “When I met Dalí I saw that nearly everything is possible in art as long as you have a strong belief in what you’re doing.”

Froese had already formed a band, the Ones, and he returned to Cadaqués in 1967 to work with Dalí on a television film and perform for him at his villa. The Ones were already too limited for Froese’s ambition. Back in Berlin he explored the work of avant garde composers such as Stockhausen and John Cage and that year formed Tangerine Dream, using tape loops and custom-made proto-synthesizers to create a new form of abstract, improvised electronic music that came to be known as the “Berlin School”.

Tangerine Dream were invariably described as electronic music pioneers, although it was a term Froese disliked. “We’ve never ever created ‘electronic music’,” he said. “Such music emphasises the intellect and we’re not interested in working in a musical ivory tower.”

He preferred to describe his music as “modern synthesised music without any mental barriers”. But whatever one called it, the mostly instrumental music he made with Tangerine Dream and as a solo performer over a career lasting almost half a century was boldly experimental, cosmic in its ambition and influential on generations of synthesizer bands.

Froese –— who acquired the name Tangerine Dream from a misheard line in the Beatles’ Lucy in the Sky with Diamonds – was the only constant member, as more than 20 musicians passed through the group’s line-up.

He released more than 100 albums, the most significant and commercially successful of which came in the mid-1970s when the group was one of the first signings to Richard Branson’s Virgin label. The 1973 LP Atem was named album of the year by John Peel. It became commonplace for Tangerine Dream were widely described as “the German Pink Floyd”.

Froese later spent considerable time in America, where his atmospheric soundscapes found favour with film directors including Michael Mann, Kathryn Bigelow and Ridley Scott. Froese’s music also came to the attention of a new younger audience — whether they realised it or not — when he composed the soundtrack for the video game Grand Theft Auto V.

The music of Tangerine Dream was also often described as “Krautrock”, a term invented in the early 1970s to describe a clutch of experimental German syntheziser bands that included Faust, Can and Kraftwerk, but Froese rejected that description, too. “There isn’t much music created in my home country I could feel sympathetic with,” he said. “My fellow people are far too conservative to follow new ideas and structures in music.” He was happier with the description “art rock”.

Edgar Willmar Froese was born on D-Day — June 6, 1944 — in Tilsit, Lithuania, renamed Sovetsk on its annexation by the Soviet Union the same year. His father died at the hands of the Nazis and his mother and family moved to west Berlin after the end of the war. He had piano lessons as a child and took up the guitar at the age of 15, forming the Ones in 1965 under the influence of the Stones. “I was attracted by their looks. Their faces were damaged. They were the absolute opposite of the Beatles,” he noted.


Tangerine Dream’s early recordings found a cult following in Britain, where they became more po****r than in Germany. After signing to Virgin in 1973, several of their albums were recorded at Branson’s manor house at Shipton-on-Cherwell in rural Oxfordshire.


The meditative qualities of Froese’s music led Branson to propose a series of concerts in churches, but a performance at Reims cathedral was disastrous.

“The cathedral held around 2,000 people, but the promoter managed to squeeze 5,000 in,” Froese said. “People couldn’t move and because there were no toilets, everybody had to piss up against the walls. We got the blame and the Pope stepped in. He banned us from playing every Catholic church in the world.” The Church of England, however, permitted performances to go at York Minster and Liverpool and Coventry cathedrals.

An ascetic man, Froese was a vegetarian all of his adult life and eschewed alcohol and drugs of any kind, including nicotine. “You can’t work 14 hours per day on your musical visions if you’re getting drunk or being a drug addict at the same time,” he said.

He also kept his family close. His first wife, Monique Froese, designed the artwork for many of the group’s albums and their son Jerome was a member of Tangerine Dream from 1990 to 2006. Following the death of his first wife in 2000, Froese married the artist and musician Bianca Acquaye.

He died suddenly from a pulmonary embolism. According to fellow band members, he had once told them, “There is no death, there is just a change of our cosmic address”.


Edgar Froese, musician, was born on June 6, 1944. He died on January 20, 2015, aged 70

http://www.thetimes.co.uk/tto/opinio...dcb1fe06bbddae

[miril]

Hristos a inviat, prieteni melomani!

[miril]

Dedicatii moderne, progresiste, despre compozitori (si interpreti) contemporani de muzica moderna, progresista. Nico Muhly Is the Name:

Nico Muhly: code-breaking in the concert hall The Times Richard Morrison

The young American composer, whose work ranges from opera to pop collaborations, is taking on the Alan Turing story

‘Nico Muhly is everywhere. Or rather his music is. He’s writing an opera for the Metropolitan Opera in New York and English National Opera in London. He’s collaborating on the incidental music for Caryl Churchill’s play The Skriker at this summer’s Manchester International Festival, and concocting a soundtrack for visitors contemplating the 14th century Wilton Diptych at the National Gallery. He’s been commissioned by Aldeburgh to write a song cycle modelled on Britten’s Friday Afternoons. He’s the Philadelphia Orchestra’s choice of living American composer to showcase in its London concert next week. He’s writing what he calls a “21st-century answer to Messiaen’s From the Canyons to the Stars” for the Utah Symphony Orchestra, and a half-hour ballet score to open the Paris Opera Ballet’s season.

And I haven’t even mentioned the piece that Muhly and I are supposed to be talking about: Sentences, a “dramatic monologue” for counter-tenor (Iestyn Davies) and orchestra (Britten Sinfonia), which will have its premiere at the Barbican next Saturday. “I had a long period of writing a million tiny pieces,” Muhly says, by way of explanation for his extraordinary productivity. That’s both an exaggeration and an understatement. For “million”, read about 100 completed works — still a prodigious output for a 33-year-old who didn’t even study music at university (he read English at Columbia, though he did then do a master’s degree in composition at the Juilliard School). Yet the word “tiny” hardly does justice to a range of work that includes an opera (Two Boys, performed at ENO and the Met), several major concert works and pop collaborations with Björk and many others.

If there is a theme that keeps recurring in Muhly’s work, it’s the disturbing one of things not being what they seem. Two Boys recounts the story of a young boy who poses as a girl in an internet chatroom and lures an older boy into sex and then murder. Mixed Messages, the piece being played by the Philadelphia Orchestra at the Festival Hall on Friday, uses what Muhly describes as “dark, forceful, structurally aggressive music” to suggest the “mixed messages that a person can convey simultaneously, whether in a romantic or a business encounter”.

His new opera for ENO and the Met, to be premiered in London in the 2017-18 season, explores similar psychological territory: it’s based on Marnie, the creepy Winston Graham novel (turned into an even creepier Hitchcock film) about an evasive, enigmatic, frigid kleptomaniac. “The whole beat of the thing is her changing identities and tricking people and robbing them,” Muhly explains. “One of the things that intrigues me is deception and hoaxes and people strategically lying.”

And that’s very much the background to Sentences, too — for what next Saturday’s Barbican audience will hear is yet another interpretation of the Alan Turing story. “I know! There’s an awful lot of Turing around,” Muhly says. “That’s too bad. No, it’s great and it’s bad. In one sense it’s great that there’s been this big crazy movie about Turing and codebreaking and Enigma and Bletchley Park [The Imitation Game, which came out last autumn with Benedict Cumberbatch as Turing], because what I’m doing is so different from that. The danger is that it has saturated people’s interest in him.”

A rather mediocre Pet Shops Boys “oratorio” about Turing – A Man for the Future, given its premiere at the Proms last summer – turned the mathematical genius into a persecuted gay icon. Will that also be the approach adopted by Muhly and his librettist, the New Yorker writer Adam Gopnik? “Absolutely not,” Muhly says. “It’s very easy to turn Turing’s life into gay tragedy, but I’ve already written that opera. What interests us is what happens when the life of the mind enters the life of the nation, and how that gets horribly complicated. There’s a connection to earlier cases, like the Vatican and Galileo.”

Is the work called Sentences because of the sentence of (in effect) chemical castration that the state inflicted on Turing for homosexuality, despite his vital wartime work? “It’s a double entendre,” Muhly says. “It’s also about code. The key to decoding code is the standard phrases that people repeat. And of course that has very explicit musical parallels. It will be an excuse for me to write ecstatic repetitive cells of music. But I am also writing specifically for Iestyn’s voice. I send him bits of music and get him to sing them back down the phone.”

Muhly grew up in Rhode Island, the son of a painter mother and film-maker father. As a boy he sang treble in a church choir, and you can still hear the legacy of Anglican sacred music in his rich harmonies and lyrical lines. “You can never shake those things off,” he acknowledges. “My emotional home base is always going to be choral music, and if you grew up being infused with Byrd and Purcell and Herbert Howells’s Coll Reg [Collegium Regale] service, they will always be inside you.”

In the intervening years, however, much else has got into Muhly’s musical toolkit — not least a discriminating but discernible use of the minimalist techniques developed by the likes of Terry Riley, Steve Reich and John Adams. Shouldn’t Muhly, a generation younger, have rebelled against all that 1980s stuff?

“One of the advantages of my generation is that you really don’t have to reject your parents, or your musical parents, in so explosive a way,” he says. “You don’t have to burn the past. For a lot of composers 20 years older than me, there was a real psychological need to run away from home, literally or metaphorically. I feel a happy and proud connection to the minimalists. And much else. The great thing about being a composer in 2015 is that there isn’t any restriction on where ideas come from. If you live in New York [he shares a house in Chinatown with his boyfriend], you are always meeting people doing different things — designing, writing, working on the railways — and your conversations with them end up informing your music.”

Some of those disparate people in Muhly’s life are the pop musicians with whom he frequently collaborates — not just Björk (“one of the greats, astonishing voice, astonishing mind”), but also the Brooklyn indie-rock band Grizzly Bear, and the Mercury prize-winning Antony and the Johnsons. As someone who regularly crosses the tracks, does he believe that we can recapture the golden era when music was just music, not fragmented into a thousand divisive genres and labels? “You mean like in the 13th century?” he grins. “Even then there would have been different music for the solemn processions through the monasteries and for whatever people played when they were herding sheep. But we are surely approaching a time when audiences feel comfortable going from concert halls to clubs to wherever, and part of that movement is being led by musicians such as Thomas Gould or Pekka Kuusisto who are comfortable in any sort of genre.”

Fast-forward ten years. What will Muhly be doing at 43? “I’m the least ambitious person I know,” he says, possibly truthfully. “I am always getting sidetracked, and suddenly finding myself 300 pages into a book on some minor architect, or North Korean refugees. I have no direct ambitions except ‘will dinner be all right?’ and ‘is my mental health under control?’ There is no ten-year plan for world domination. Stay healthy. Stay quick. And then come what may.”

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http://www.thetimes.co.uk/tto/arts/m...cle4454906.ece