I live and write a Serenata…sad to the point of despair, among the aroma of the flowers, the shade of the cypresses, and the snow of the Sierra. I will not compose the intoxication of a juerga. I seek now the tradition…the guzla, the lazy dragging of the fingers over the strings. And above all, a heartbreaking lament out of tune…I want the Arabic Granada, that which is art, which is all that seems to me beauty and emotion…
with a numb jaw. >.<.
I have an appointment with the dentist at 9am tomorrow. Oh how I’m dreading it..
I’m hoping that I can still play the oboe after that without the funny numb feeling and experience that Patty had :S
*crosses fingers and toes*
The wanting and longing to learn the cello still remains.
And I realized that I haven’t felt this way since way back then when I was 9. The instrument in question was the Oboe (which I picked up only 8 years later), and what enchanted and captivated me was a character from Prokofiev’s Peter and the Wolf, the duck. (yes, stop laughing already, would you?)
Now.. It wouldn’t be that difficult to pick it up, would it? After all, aren’t the playing techniques similar to that of the violin? 😉
As I listened to Mischa Maisky play the poetic Schubert’s Arpeggione Sonata, followed by the sweet seduction of the Soul of the Tango CD by Yo-yo Ma, and afterward the heart-wrenching Elgar Cello Concerto played by Jacqueline du Pre, I had this sudden desire to learn the cello.
It’s as though… just being able to play the Arpeggione or the Elgar concerto will give me the satisfaction. All that money spent on lessons and the hours of practice and hard work just won’t be wasted.
Perhaps it’s just like practicing the violin like crazy just to be able to play the Chaconne.
Delayed gratification, that’s what it is.
Someone stop me from buying a cello, PLEASE.
Musicians wrestle everywhere —
All day — among the crowded air
I hear the silver strife —
And — walking — long before the morn —
Such transport breaks upon the town
I think it that “New Life”!
If is not Bird — it has no nest —
Nor “Band” — in brass and scarlet — drest —
Nor Tamborin — nor Man —
It is not Hymn from pulpit read —
The “Morning Stars” the Treble led
On Time’s first Afternoon!
Some — say — it is “the Spheres” — at play!
Some say that bright Majority
Of vanished Dames — and Men!
Some — think it service in the place
Where we — with late — celestial face —
Please God — shall Ascertain!
Celebrated Italian tenor Luciano Pavarotti, 71, has died following his operation for pancreatic cancer in July last year and hospitalisation last month, ANSA
news agency reported Thursday.
Read all about it here.
Really bad news, and a great loss for the world of opera 🙁
Sat, 25 Aug 07
CLOUDS OF GLORY
Choo Hoey conductor
Li Chuan Yun violin
FELIX MENDELSSOHN BARTHOLDY
The Fair Melusina: Overture, op. 32
PETER ILYICH TCHAIKOVSKY
Violin Concerto in D major, op. 35
Nocturnes: Clouds and Festivals
The Firebird: Suite (1919 version)
The long-awaited concert had finally arrived, and I attended it, hoping for an evening of good music. The conductor was Choo Hoey, who was the founding Music Director of the SSO in 1979. (Seeing that even my dad knew who he was, I assumed that he was some great conductor and was dying to watch him conduct)
Mendelssohn’s concert overture, The Fair Melusina, proved to be an amenable opening to the concert. The poetic essence of the story was captured by the light, shimmering strings beautifully. With the rippling arpeggios more than reminiscent of the Rhine motif in Das Rhinegold and sinuous wind playing, the orchestra sketched a convincing tone-picture of Melusine herself. Choo Hoey’s phrasing and sense of rubato was unflawed, and with the orchestra responding together, he brought out the irate minor-key figure of Count Raymond of Lusignan as a smooth extension of the first motif. The fluid melody of the clarinet was interwoven nicely into the picturesque, more urgent second idea. Despite its deeply inflective and nachdenklich nature, the piece ended almost ungracefully in what was supposed to be a serene conclusion. The last pizzicato chords were scattered and clumsy, with the orchestra musicians barely able to follow Choo’s inappropriately large sweeping gestures for a peaceful, quiet ending.
China-born, Julliard-educated Li Chuan Yun took to the stage in an extremely flamboyant attire – a black shirt with crystals around the neckline. Albeit slow, the orchestra set the right ambience for the entry of the soloist. There was no mistaking in Li’s matchless double-stops and his flawless technique. Li tackled the violinistic hurdles fearlessly, but much to my disappointment, without any character and power. It was apparent that besides technical virtuosity, there was nothing else Li had to say about Tchaikovsky. He made the triumphant first movement sound brooding and moody. What happened to the poetry, the passion, the imagination, the glory? His rendition of Tchaikovsky had obviously failed to move the audience.
There was tenderness in the second movement, and his sublime introduction had exhibited fleeting moments of beauty. His execution of the portamento and his ornamentation were gentle and graceful, and the movement died down to a tranquil close before the orchestra burst into the loud, rousing finale. The powerful promising start to the third movement died down as quickly as it came, and dragging back into its monotonous, sleepy state. This was very obviously ignoring Tchaikovsky’s Allegro Vivacissimo tempo marking! The cadenzas were disappointing, with Li pausing at unmusical places and altering the tempo as he desired.
The orchestra was untidy most of the time, sometimes with miscued entries, sometimes not together with the soloist. Nonetheless, Li managed to finish the concerto much to the delight and applause of the audience, even receiving a few standing ovations (sigh, what on earth were the audience thinking?!). He was accorded three curtain calls, and came back for a vigourous technical display of an encore piece, ending it off with a maori-like war cry, to the amusement of the orchestra and the members of the audience.
[the second half is not reviewed because I had to leave after the first half :(]
On a lighter note, I’ll be leaving for KL, Malaysia, for a performance on the 4th of September and returning on the 8th. Apparently I’ll be playing the violin for some pop-concert in Genting. Let’s see how this goes (:
| You scored as Oboe,Oboe.
You’re an oboe.