#Tortelier

[amadeusrecordmagazine]

レア◉フェラス、トルトゥリエ、バルビゼ、クレツキ指揮フィルハーモニア◯ブラームス・二重協奏曲/ベートーヴェン・ソナタ１番

フェラスとトルトゥリエの巨匠2人によるブラームスのダブル・コンチェルトはさすがの華麗な演奏です。クレツキとフィルハーモニア管弦楽団の伴奏もクオリティ高く、2人を引き立てています。フェラスとバルビゼのベートーヴェン・ヴァイオリン・ソナタ1番も非常に美しく、満足度の高い1枚。

GB EMI ALP1999 フェラス&トゥルトリエ ブラームス・二重協奏曲 GB EMI ALP1999 Ferras, Tortelier, Kletzki, Philharmonia, Barbizet.Brahms – Double Concerto, Beethoven Sonata No.1 フェラスとトルトゥリエの巨匠2人によるブラームスのダブル・コンチェルトはさすがの華麗な演奏です。クレツキとフィルハーモニア管弦楽団の伴奏もクオリティ高く、2人を引き立てています。フェラスとバルビゼのベートーヴェン・ヴァイオリン・ソナタ1番も非常に美しく、満足度の高い1枚。 Store Site info. 大変レアな盤なので、オススメの１枚です。 《オーディオ・ファイル、レア盤》GB EMI ALP1999 フェラス&トルトゥリエ…

[yohko-amemiya]

バロック音楽を流行らせたレコード。

チェロ演奏の巨人が遺した、バロック音楽のチェロ・ソナタを聴く。8月12日は、比較するのが面白い2大。真摯な音楽と芯の太い音色のトルトゥリエとここでは堅実な傾向が勝る情感の人ヤニグロ。どちらも介添るのは音色が多彩なヴェイロン=ラクロワ。昭和30年代の、名曲喫茶〝バロック音楽鑑賞〟の定番レコード。

disc.26 2023年 / 8月に聴いたレコード 卓越した技巧、芯の太い音色の上に、真摯で深い精神性を湛えた表現でヴィヴァルディがチェロ音楽の可能性を発見した時の嬉しさを共有できる。 ⭐⭐⭐⭐⭐ Rating: 5 out of 5. Vivaldi : Sonatas For Cello And Harpsichord (Complete) by Antonio Vivaldi; Paul Tortelier; Robert Veyron-Lacroix Music Guild / Westminster (MS-853 / W-17112) 1965 Tracklist: A1. Sonata No. 1 In B Flat Major (Largo - Allegro - Largo - Allegro) A2. Sonata No 2 In F Major…

[journalofanobody]

Beethoven - Cello Sonata No. 3 in A major, Op. 69 (Paul Tortelier & Eric...

[lesser-known-composers]

César Franck (1822 – 1890) - Les Eolides, Op. 26, CFF 127, FWV 43

Conductor: Yan Pascal Tortelier

Orchestra: BBC Philharmonic Orchestra

[blackswaneuroparedux]

Playing lifts you out of yourself into a delirious place.

- Jacqueline du Pré

Jacqueline du Pré was a brilliant but complex genius whose shyness and vulnerability, particularly in the light of her succumbing to her multiple sclerosis illness, often left her misunderstood. Although her professional career lasted just twelve years, the British musician became a legend in her own lifetime.

Watching old film footage of her you could see her face illuminated by pure inspiration, her long balletic bowing arm, the precision engineering of that wrist, her tremendous long fingers snapping down on the finger board, or executing those heart-stopping slides between notes – what she called her ‘sumptuous glissandi’ – makes you itch to play: her enjoyment remains infectious; everything seems possible.

And For Her it was. She almost makes us forget that, for even the greatest instrumentalists, performing is a continual battle with the body to recreate what the imagination demands. ‘For us mortals, it’s more difficult,’ as her husband Daniel Barenboim commented on a documentary of her life and legacy.

Du Pré’s exceptional talent was nurtured from an early age. Her pianist–composer mother Iris introduced her to a full-size instrument at the age of four and within a year she was attending the London Violoncello School with Alison Dalrymple. Although she was never especially keen on practice, such was her ability that just five years later she was brought to the attention of conductor–cellist John Barbirolli and violist Lionel Tertis, who, having been bowled over by what they heard, had no hesitation in recommending her for a Suggia Gift (a scholarship for young cellists named after the distinguished Portuguese cellist Guilhermina Suggia). This enabled du Pré to fund private lessons with William Pleeth, with whom she studied for seven years and described as ‘an extraordinary teacher, who knew exactly how to guide someone or correct an error with kindness and understanding’.

Following the example of his own mentor Julius Klengel, Pleeth allowed du Pré’s burgeoning musical insights to blossom naturally, though her mercurial personality was quite different from his own. She had a tricky adolescence and it was Pleeth’s sensitive handling of the situation that prevented her from going off the rails. Meanwhile her playing went from strength to strength, including her TV debut in 1959 aged 14, playing the Lalo Concerto. The following year she won the Queen’s Prize – chair of the panel Yehudi Menuhin promptly invited her to play piano trios with him and his pianist sister, Hephzibah – and attended a series of masterclasses with Pablo Casals.

She did not attend a specialist music school, and felt lonely and sometimes alienated at Croydon High School and Queen’s College, which she left aged 15. Any lack of formal education was compensated for by her larger than life personality and infallible intuition, and probably helped her develop her own creativity.

Having made her official professional debut in March 1961 with a dazzling recital at London’s Wigmore Hall, she also made her Proms debut in August 1962 with Malcolm Sargent, playing the work with which her name would become indelibly associated: the Elgar Concerto. Shortly afterwards she spent six months studying with Paul Tortelier at the Paris Conservatoire, and her impeccable cello education was rounded off in 1966 when she went to study with Mstislav Rostropovich in Moscow, by which time she was already a renowned soloist in her own right.

‘The ability to dismiss rules was most important in her music-making’ remarks Wilson, though she also has no doubt that, in the years of her illness, she suffered from having missed out on a broader education. But people underestimated her intelligence at their peril, according to Nupen: ‘Some tended to think her rather fey, and naive.

It’s true, she often didn’t know the day of the week or what things cost, but when it came to the really important matters the depth of her perception was shattering.’ It was she who recognised the importance of the films he started making, and the fact that they could reveal more about their music-making than a concert or recording could.

A description by pianist Fou Ts’ong echoes this: ‘It was such strange combination – such seeming innocence with real earthiness. Daniel used to laugh at her apparent ignorance and disinterest in practical things. “Where is Oslo?” he might ask her, “Is it in Germany?” she would reply… At the same time there was such richness inside her; the fire and the temperament were unbelievable.’

Her understanding of music was so instinctive that it was unnatural for her to approach it with an academic logic or consistency, as cellist Moray Welsh discovered when he embarked with her on an edition of the Elgar Cello Concerto, some years after she had stopped playing: ‘The first thing she said was, “We must scrub out Elgar’s marking of nobilemente!” I explained that we couldn’t do that, but she was determined to make her stamp by flouting this convention (though that was exactly how she played it).

Du Pré’s captivating presence and larger-than-life musical personality made her a natural exponent of the concerto repertoire. Her ability to weave a compelling emotional narrative through the classics of the 19th-century Romantic era helped bring then-neglected scores such as the Schumann and Lalo concertos into the performing mainstream. Like her former mentor Paul Tortelier, she believed that music was above all about feelings and that it was her responsibility to reveal to an audience the composer’s inner soul. As a result she could sound hemmed-in on occasion by music that sits on a knife-edge between structural absolutism and expressive power, such as the sonatas of Beethoven and Brahms. When working alongside players of equal stature, she was also a fine chamber music exponent. For du Pré, technique was a facilitator rather than an end in itself. Close inspection of filmed performances reveals a player blessed with exceptional right- and left-hand coordination, making continual microadjustments of bow angle, weight and pressure to enhance the music’s expressive profile.

‘She had a capacity to imagine sound such as I never met in any other musician,’ Barenboim reflected in later life. ‘She did not know what it was to have technical difficulties or what it meant to play safe.’ Du Pré’s tone was unveiled and direct yet infinitely varied, as though she were revealing an instrument’s natural colours in pristine condition. She played with the same clarity and openness throughout the range, enhancing the lower register with a captivating litheness and immediacy, as though a sonic veil had been lifted.

More than any other player of her generation, du Pré imparted to the cello a sense of interpretative fantasy and bracing technical freedom invariably associated with the violin. Pieces she had played hundreds of times would spring to life as if she were discovering its special qualities for the first time. At her finest she created the impression she was improvising each work as she went along. She embraced her audiences with an emotional vibrancy and generosity that made them feel a vital part of the re-creative process.

If a surfeit of musical instinct and spontaneity can be considered a weakness, then du Pré had a tendency on occasion to focus on short-term expressive intensity at the expense of long-term structural imperatives.

From 1961 du Pré played a bold-voiced 1673 Stradivari cello (later owned by Lynn Harrell and Nina Kotova). Keen to find an instrument with a mellower sound, in 1964 she acquired the 1712 ‘Davidov’ Stradivari, courtesy of her godmother Ismena Holland. This greatly enhanced the range of colours she commanded, as can be savoured on her classic 1965 recording of the Elgar Concerto. However, the ‘Davidov’ didn’t take kindly to her punishing schedule and constant changes in air temperature and pressure, so in 1967 du Pré borrowed (and ultimately bought) a Francesco Gofriller from string expert Charles Beare, which provided her with a more full-throated projection. Her final instrument was a 1970 Sergio Peresson, purchased for her by Barenboim, which she affectionately described as ‘very healthy and strong as a tank’. Du Pré preferred heavy bows, and when her trusty John Dodd was damaged irreparably in a freak accident involving a car door, she switched to a Louis Panormo, which became her natural bow of choice.

Du Pré’s career was cut tragically short before she had time to develop beyond an initial period of international acclaim. She started out recording a comparatively restrained collection of miniatures for the BBC in the early 1960s, including works by Falla, Fauré and Paradis, after which EMI (now Warner Classics) snapped her up and was instantly rewarded with two classics of du Pré’s discography: the Delius Concerto (with Sargent, coupled with Songs of Farewell and A Song before Sunrise) and the Elgar (with Barbirolli, coupled with Janet Baker’s glowing account of Sea Pictures). These immediately established du Pré’s rare ability to recreate in the studio the same sense of emotional imperativeness that informed her live performances.

Although she subsequently went on to work with a number of notable conductors, and in 1968 even stepped outside her comfort zone by premiering Romanza by Alexander Goehr (which was written especially for her), the remainder of du Pré’s official commercial discography is dominated by outstanding musical partnerships with her husband Daniel Barenboim, whether as conductor (Haydn, Dvořák, Boccherini, Saint-Saëns, Bruch, Schumann), accompanist (Beethoven, Chopin, Brahms, Franck) or as a chamber music partner with Pinchas Zukerman in the piano trios of Beethoven and Tchaikovsky.

[soundgrammar]

Lili Boulanger - "Faust et Hélène." Orchestra: BBC Philharmonic. Conductor: Yan Pascal Tortelier. Performers: Ann Murray (mezzo-soprano), Bonaventura Bottone (tenor), Jason Howard (baritone).

[mrbacf]

Fauré - Élégie Op. 24 & Andante (reference recording: Paul Tortelier, Je...

[fredborges98]

Bom dia!

Por: Fred Borges

Faça parte do Clube de Leitura e aumente sua massa crítica,percepção e perspectiva( fotografia) da realidade!

A imagem revela a realidade.

A realidade nua e crua.

No século XIX foi alcançada pela fotografia o papel da própria revolução, pois a história sempre foi relatada por meio da arte rupestre,da narração( contação)de fatos passados de geração em geração,pinturas, pictogramas,desenhos, e os fatos contavam, mais na realidade, denotavam uma estória, mais que a nudeza de fato, com o barroco ou rococó de detalhes que afastavam o homem do objeto a ser observado,descrito, analisado e finalmente entrar em processo de cognição, ser entendido, compreendido, e desencadear ações, reações,ebulições, mudanças, transformações, "evoluções" e revoluções.

É preciso entender que a fotografia em si é uma arte, a arte da perspectiva e das percepções e que esta está diretamente ligada e endereçada aos que querem que mudanças ocorram ou não no PODER, aqui significando na manipulação, doutrinação, condução de um " status quo" de quem quer " subir" ao poder, se " manter" no poder ou mesmo " perpetuar-se" no poder.

O ser humano sempre se constitui de mudanças, para pior, para melhor, depende do referencial de significação em quantidade e em qualidade.

O fato é que a fotografia é o elemento diferenciador histórico entre fantasia e realidade em percepção e perspectiva.

Mas esta perspectiva e percepção está diretamente ligada ao conhecimento, inteligência, sensibilidade, sagacidade, múltiplas visões do passado, presente e futuro a quem depositamos credibilidade e confiança, mas muito mais: esperança de dias melhores.

O que para muitos é chamado de fé, positividade, pensamentos construtivos e edificantes.

Para Paul Tortelier violoncelista e compositor, um dos maiores intérpretes do mundo de variadas obras-fotografias de um tempo, francês de nacionalidade, segundo ele a interpretação da música são variadas fotografias de cada etapa de construção da melodia, cadência, harmonia, ritmo e assim era composta de incorporações justapostas de sensibilidade e aprendizado musical, o que tornava um simples interprete ou interpretação em um gênio ou numa obra da genialidade musical.

Assim Paul dizia: intérpretes( musicistas) tem que desempenhar dez papéis:

1-Cantor;

2-Dançarino;

3-Contador de estórias;

4-Arquiteto;

5-Pintor;

6-Escultor;

7-Retratista( de um tempo histórico);

8-Diretor de cinema;( maestro),

9 -Poeta e ;

10-Cronista (de uma obra musical que se torna o retrato de um tempo um resgate da cultura, sociedade, economia de determinada período da história humana.)

Assim foi: Frederick Douglass, nascido como Frederick Augustus Washington Bailey (Condado de Talbot, c. fevereiro de 1818— Washington, D.C., 20 de fevereiro de 1895) foi um abolicionista, estadista e escritor estadunidense.

Chamado "O Sábio de Anacostia" ou "O Leão de Anacostia", ele foi dos mais eminentes afro-americanos do seu tempo, e dos mais influentes na história dos Estados Unidos, sobretudo durante o período da Guerra de Secessão e a consequente abolição da escravatura, para o que pressionou o então presidente Abraham Lincoln.

Um dos fatos que chama mais atenção a este protagonista da história americana foi sua maneira de comunicar e dar visibilidade a causa abolicionista: a fotografia.

Douglass é considerado o americano mais fotografado do século XIX (pesquisadores localizaram mais de cento e sessenta fotos diferentes dele), ele trabalhou tanto com fotógrafos brancos quanto negros, e esta exposição da imagem era consciente: ele declarou que a fotografia era um veículo da autoconfiança para os homens de cor, e que:

"A mais humilde serviçal pode possuir agora uma imagem de si mesma que nem toda a riqueza dos reis poderia pagar, 50 anos atrás".

Enquanto George Custer posou para 155 fotos e Lincoln 126, as 160 fotografias de Douglass serviram-lhe ao propósito de inverter a imagem dominante do negro como algo "inferior, iletrado, cômico e dependente" — recurso que ele frequentemente usava na retórica — e buscava mostrar a figura de membro culto e respeitável da sociedade.

Em suas primeiras fotografias, tiradas a partir dos vinte e três anos de idade, seus punhos estão cerrados; durante a Guerra Civil ele exibe a "força do leão" ao encarar a câmara de frente (o que não era usual).

Com suas imagens, amplamente divulgadas, Douglass também aí subverteu a ordem dominante, ele "estava redesenhando os mapas mentais do inconsciente das pessoas"

Vejam as fotos anexadas!

O que existe de diferente na sua interpretação?

McPherson e Oliver, dois fotógrafos itinerantes que estavam no acampamento, fotografaram as costas de Peter.*

O retrato logo se espalhou por todo o país.

A imagem era uma refutação poderosa à mentira de que pessoas escravizadas eram tratadas com humanidade, um refrão comum daqueles que não pensavam que a prática deveria ser abolida.

* Escravo fugitivo das "Plantations".

Certo que a fotografia pode, eu digo e repito: pode revelar uma mudança aparente, mas a realidade pode significar o seu contrário e pode representar o continuísmo político, econômico e social de um país.

Não é o caso das fotos de Frederick Douglas nos EUA no século XIX, mas pode ser na subida da rampa do " novo" presidente da república " eleito de forma democrática" e apagando- se toda sua história pregressa de ladroagem e corrupção.

Mas a história e as fotografias estão aí para provar que: cego é quem não quer ver, e fotografias para cegos que não querem ver são uma inutilidade, utilidade revelada em " quarto escuro e sombrio" que comunicou e denunciou ao mundo exemplos como : A Escravidão e o Holocausto.

Afinal não sabemos, somente cremos, que para praticar democracia tínhamos que utilizarmos-nos de estereótipos e fantasias,até mesmo máscaras de hipotéticas conquistas efêmeras, já que são concedidas pelo Estado, de causas ás quais representamos, mas hipócrita e cinicamente por trás das câmeras temos que nos livrar rapidamente, mesmo porquê estas nos impedem de respirar a verdadeira liberdade e democracia, não uma metáfora pseudo democrática e demagógica!

Como dizia Frederick Douglass:

"Sem luta não há progresso.

Aqueles que professam em favor da liberdade, e ainda depreciam a agitação, são pessoas que querem ceifar sem arar a terra.

Eles querem chuva sem trovão e raios.

Eles querem o oceano sem o terrível bramido de suas muitas águas.

Esta luta pode ser moral; ou pode ser física; ou pode ser ambas, moral e física; mas ela deve ser uma luta.

O poder não concede nada sem demanda.

Nunca concedeu e nunca concederá."

[amadeusrecordmagazine]

バロック音楽を流行らせたレコード。

チェロ演奏の巨人が遺した、バロック音楽のチェロ・ソナタを聴く。8月12日は、比較するのが面白い2大。真摯な音楽と芯の太い音色のトルトゥリエとここでは堅実な傾向が勝る情感の人ヤニグロ。どちらも介添るのは音色が多彩なヴェイロン=ラクロワ。昭和30年代の、名曲喫茶〝バロック音楽鑑賞〟の定番レコード。

disc.26 2023年 / 8月に聴いたレコード 卓越した技巧、芯の太い音色の上に、真摯で深い精神性を湛えた表現でヴィヴァルディがチェロ音楽の可能性を発見した時の嬉しさを共有できる。 ⭐⭐⭐⭐⭐ Rating: 5 out of 5. Vivaldi : Sonatas For Cello And Harpsichord (Complete) by Antonio Vivaldi; Paul Tortelier; Robert Veyron-Lacroix Music Guild / Westminster (MS-853 / W-17112) 1965 Tracklist: A1. Sonata No. 1 In B Flat Major (Largo - Allegro - Largo - Allegro) A2. Sonata No 2 In F Major…

[club78-blog]

Isaac Stern * Brahms, Schumann

Isaac Stern * Brahms, Schumann

BRAHMS – String Quintet No. 2 in G Op. 111

I. Allegro ma non troppo, ma con brio

II. Adagio

III. Un poco allegretto

IV. Vivace ma non troppo presto

Isaac Stern, Alexander Schneider, Milton Katims, Milton Thomas, Paul Tortelier

SCHUMANN – Piano Quintet In E Flat op. 44

I. Allegro brillante

II. In modo d’una marcia

III. Scherzo molto vivace

IV. Allegro ma non troppo

Isaac Stern, Alexander…

[aschenblumen]

Claude Debussy, Cello sonata. Paul Tortelier, cello Gerald Moore, piano

[lesser-known-composers]

Paul Hindemith (1895-1963) - Drei Gesänge, Op. 9: II. Weltende

Conductor: Yan Pascal Tortelier

Orchestra: BBC Philharmonic Orchestra

Soprano Solo: Susan Bullock

[las-microfisuras]

Paul Tortelier

[sunset-supergirl]

Happy birthday Paul Tortelier