Contamination

# 11 Contamination: Each of us is already a gem: Glenn Gould’s Goldberg Variations

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February 26, 2013 

The “Goldberg Variations” (BWV 988) is a work for harpsichord consisting of an air with thirty variations, which were composed by Johann Sebastian Bach between 1741 and 1745 and published by the publisher Balthasar Schmid in Nuremberg. They are dedicated to Johann Gottlieb Goldberg, at that time he was serving as Kapellmeister to Count von Brühl in Dresden.

The work was conceived as a modular architecture of 32 tracks, arranged according to mathematical patterns and symmetries original.

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Johann Sebastian Bach taken from HERE

Glenn Herbert Gould (Toronto, September 25, 1932 – Toronto, October 4, 1982), the pianist who made ​​every work he performed, immediate and accessible to the public, showing respect for the aesthetic sensibility of each.

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Glenn Gould taken from HERE

 

In this recording Bach and Gould are together. The pianist despite sore hands for arthritis, plays the twelve variations that are divided into twelve scales for twelve tones that can be used with different instruments and sounds, giving you the chance to listen to them as if there was a present hope, beauty, compassion , smile. Gould offers a soft homesickness for the past that it now appears in a new form with nothing left behind.

Poverty and nakedness of this listening generate the possibility of the future that covers us with the mantle warm and clean, and they preserve us from some annoying speck vernacular of the present time. A real gem.
To listen to the Goldberg Variations, click HERE.

 

Special Guest

* 1 Special Guest: She was born in a home of women

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February 24, 2013

“Born in a home women” is the second novel by Cetta De Luca , available in many libraries throughout Italy. In Erudite www.lerudita.com site, you will find the list.

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This home is a place for women that propagates in space, it collects private moments and public events, where no occurrence is left in oblivion.

Is a home that retains the attempts to communicate more and more intense, driving the growth of a Republic. And the women of this home grow from alleged uncertainties tired roles.

The apparent weaknesses constitute a compelling and innate ability to preserve, learn, test and liberate more and more intense emotions and hopes for a common future. A continuous and incessant building as possible, where children and parents learn together with the love of life and gives it to new tenants.

To see the Booktrailer click HERE

Contamination

# 10 Contamination: The angel of this earth: Patti Smith

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February 21, 2013 

Patti in “Glory” shares a message without apportioning blame or blood, with a blues style that is of this earth: that is for all.

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Picture taken HERE

“Gloria” in ancient languages ​​also means cheer and clap. Have someone turn up. Bring it to light. He who walks around the many and he brings the message. XLEOS: what gives off light. But sometimes it also says what comes from the darkness, from death and grief. It therefore offers hope.

“Gloria” proclaims hope from the pain, similar to the old Lutheran hymns, where there is a direct relationship with the transfigured child of God.

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Picture taken HERE

 

The musical group “The Doors” resumed and changed the text from “Them”, announcing the transfiguration as interior journey, regardless of the religious community of reference. A dream-like elevation that opens the “DOORS”. The child is already transfigured, through a unique interior journey.

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Picture taken HERE

Patti Smith, without detracting from the Doors and Them, takes a step forward for our future. The song is about this man who died taking charge of blood and guilt of all. She accepts the glory, the light and the message, but not as a medical disease of darkness. Not because you have to remove the stain of murder. Accept the glory of man. She opens its doors to this man, these men here on earth. Not another world. The glory here on earth for all. A secular message.

To listen GLORIA click HERE

Contamination

# 9 Contamination: A breath that is already melody: Nina Simone

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February 18, 2013 

Nina Simone, stage name of Eunice Kathleen Waymon (Tryon, February 21, 1933 – Carry-le-Rouet, April 21, 2003).

He was a singer, pianist, writer, and activist for civil rights. It was especially jazz interpreter, although his style varied between different genres, from soul, blues, folk and gospel.

But she also expresses a musical style classic. She is an example of how the heart, technique, talent know no picket fences.

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Picture taken HERE

For example, in his song “Sinnerman”, we have Johann Sebastian Bach. The Toccata and fugue.

She follows the stairs with his full-bodied timbre and blood and in the regularity of counterpoint, his voice breaks out in the first minute slowly with a growing tension and withheld. Of this man who brings sleep and blunting of reason, a man she loved, but who is stingy with answers. And then she increases the timbre from the second minute and calls him, keeping order so stepped down, without excess. And then in the second minute he opened his voice. And he repeatsand with recall in rhythmic blouse, as if he corrected himself or his name from the stadium in a wave with the arm that wants attention. And then near the end of of the third minute, she takes up the rhythm and the orchestra goes alone. The rhythm is now expressed with the counterpoint. And she repeated again involving the listener and then she closes the fugue playing the piano.

 

UNIQUE. WONDERFUL. The rhythm and takes her as if it were in fugue for excellence, along with the orchestra starts and does not sing anymore: she emanates tones only with your breath! And in the seventh minute her voice, and no longer the plan, is leading the orchestra: IMMENSE.

To listen Sinnerman click HERE.

Poetically

@ 5 poetically: time for us and not for others

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February 15, 2013

 

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Eva D. Cowdery (American, 20th century) “Girl Reading” on the Boston Art Club label, signed lr Eva D. Cowdery, taken from HERE

 

This was a revolutionary act.

Time for yourself and not for others.

Full time and experienced.

 

The painting has red hair and rosy lip in a single triangle of the white page with the face of intense concentration and contemplation wonderful.

Where contemplation is harmonious union already undivided green hope of affirmation of self.

She does not wait for ratings from other people’s looks and even letters of severe judgments.

I am for me in reading this air of freedom unconquerable.

Contamination

# 8 Contamination: Clara Schumann: listening humble and generous sharing: the basics of excellence

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February 12, 2013 

 

Clara Schumann in this sonata for violin and piano, played by Jozsef Joachim: great violinist and collaborator of Johannes Brahms wrote for him the first two quartets and a few steps of Richard Wagner in the last quarter; this is to say the size and estimated that they had all of this wonder. She, Clara, felt and understood the violin is no longer exclusively as a solo instrument, but also as if it were an essential part of compositional fabric with the piano. Both tools here talk as equals.

 

The virtuosity resulting from the two instruments, assuming a resigned tone, dialogue in increasingly dense textures where the concerts of violin and piano is increasingly becoming bases for any concerts for orchestra and piano and / or violin. The same Brahms with the advice of his friend Joachim, took nearly 14 years to go from a piano concerto at the first symphony.

 

Clara, played the piano and his work with violinist Joachim with equal virtuosity. She he experienced a world where even today we are immersed. In these his “3 Romances for Violin and Piano, Op. 122 “pinched violin bow goes hand in hand with the slow tones of the piano, without exceeding, so that the variations increasingly acute, do not become a virtuosity elementary and vain. And she could in this also with Robert A. Schumann, her husband, who she felt and composed musical works.

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Clara Schumann. Image taken from HERE

 

She was listening with a humble purpose of sharing every creation. She was excellence.

To listen to the “3 Romances for violin and piano, Op. 122 “click HERE

Poetically

@ 4 Poetically: The Funk Revolution

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February 6, 2013 

Funk is REVOLUTION in black music took place in the same period in which the social movements of the sixties were the center of attention in the U.S. and around the world. With soul and jazz, and something else appeared: A New Groove. The Godfather of Soul, he went beyond his original field: “Papa’s Got A Brand New Bag”, 1965. He shifted his rhythm on the first and third beat, rather than on the second and fourth. He took as gospel and jazz, and he defied all the rules. The guitar and jumping the bass, the “out of time” with the voice of his lungs.

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James Brown taken from HERE

“[…] Come here sister…..Papa’s in the swing
He ain’t too hip…about that new breed babe
He ain’t no drag
Papa’s got a brand new bag [..]“

To listen Papa’s Got a Brand New Bag (Olympia 1967) go HERE

Contamination

# 7 Contamination: Woke up from sleep of stone

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February 5, 2013

By “All Quiet on the Western Front ”. E. M. Remarque.

 

“[..] 
 He fell in October 1918, on a day so calm and quiet on all fronts, the bulletin of the Supreme Command was limited to these words:” All Quiet on the Western Front. “He had fallen forward and lay with his head on the ground, as if asleep. When he turned around he saw that he could not have suffered long: his face wore an expression so serene, almost as if he was glad to finish so […] ‘
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Listen to this symphony (Robert Alexander Schumann’s Symphony). Try to rivevere inside these sounds, while this soldier recovers his humanity, just at the moment when it kills itself (the enemy). He kills his enemy, and at that moment he, for the first time, looks into his eyes. And he knows that both are dying.

From the 23-th minute when he is about to shoot and tries to reach it; after when he sees it fall. And he understands too late. You hear the sound of the strings. He feels the humanity in itself, but just at the moment when one takes to his fellow man. The absurd war, murder. If one can identify with this, really: he faints because he feels the horror. And do not cry. No, too easy. Do you hear the music from the 23 th minute when playing wind instruments and strings, and to 23:50. BEHOLD HIM THE FEEL. FEEL IT IN YOUR HEART. COMING OF THE WIND WHO KILLED HIM IN HIS HEART and THE FEEL .. After hearing that, we can cry. Yes, once you can cry for all the dead in a sleep of stone.

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Robert Schumann – image taken HERE

To listen to the symphony no. 4 click HERE

Poetically

@ 3 Poetically: Woman at the window

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January 30, 2013 

 

What are you looking at this woman?

It looks like she’s watching the road.

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Gustave Caillebotte, “Woman at the window” (1880) taken from HERE

 

Yes, this woman is looking at the way her of her past and many manifestations of the ego and safe collection of what is behind her, with a calm and static vision of support to the interior of the room.

 

This is an overview of all the manifestations of what has been, what with the uncertainty of what might still be; of the many faces that will appear and they are now and still waiting for a response from them and from the indifferent external environment, or they are waiting for our nod.

 

A nod to our viewers.

Contamination

# 6 Contamination: Shy gifts spring

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January 29, 2013

 

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Picture taken HERE

 

My sister gave me the image of Him (Johannes Brahms), thus illuminating the shadowy spring day.

 

And that gift was the alternation of light and cloud in the alternating movement of the two themes decidedly mixed. The first theme, very lyrical and melancholy, brings an atmosphere of sore nostalgia for events never happened and he evoked. Like a restless throb along a century. And this is in contrast to the second theme, introduced by woodwinds, Notable for its intense rhythmic and bringing the emotional rainbow as the omen of summer rain (4 minutes and 10 seconds.) – And the yearning of the arches in 4 minutes and 40 seconds.

 

In this sonata for the first time is not required to repeat the exposure of themes, which are two: the first is drawn in from the opening two sections of violins, cellos and horns from the second, and it is characterized by the broad range of seventh . The absence of a second exposure sheds particular light on the relations between the different moments of the movement, in the development undergone by the first theme, there is one that appears in the second half for the use wind instruments, which seem to want to turn everything into a choir, from which, however, the theme wriggles free quickly to return to his true nature melodic.

 

What a paradox: what was an early in his career as a composer room, which was tricky with the wind instruments, uses an imposing orchestra here and follow it by arches, which Gently reproduce musical cells that make up their towing. As the silence after the rain, as soon as interrupted by the whispers of the rays of the clouds thinned out.

 

Me and the picture of him with my sister and from the eighth minute the musical work, with the whole orchestra this time, we invite everyone who is willing.

 

To listen “L’allegro ma non troppo” of the Fourth Symphony,  click HERE