Monday, September 25, 2017
When you call yourself an Indian or a Muslim or a Christian or a European, or anything else, you are being violent. Do you see why it is violent? Because you are separating yourself from the rest of mankind. When you separate yourself by belief, by nationality, by tradition, it breeds violence. So a man who is seeking to understand violence does not belong to any country, to any religion, to any political party or partial system; he is concerned with the total understanding of mankind... Authority of any kind, especially in the field of thought and understanding, is the most destructive, evil thing. Leaders destroy the following and followers destroy the leaders. You have to be your own teacher and your own disciple. You have to question everything that man has accepted as valuable, as necessary. Those quotes are by Jiddu Krishnamurti who is seen above. Below is a video of the pianist Maria João Pires talking about Krishnamurti before a 2016 Cadogan Hall concert celebrating the 30th anniversary of the death of the great thinker and teacher. Linked by the theme Silence, Music and the Arts the concert featured Aditi Mangaldas leading Indian classical dance, Nigel North playing Bach’s Suite BWV 995 for lute, and Maria João Pires playing Beethoven’s Op. 111 Sonata. The complete concert can be viewed via this link Any copyrighted material is included as "fair use" for critical analysis only, and will be removed at the request of copyright owner(s). Also on Facebook and Twitter.
‘Due to unforeseen circumstances’, the pianist Maria João Pires cancelled her participation in next month’s tour of concerts with the Artemis Quartet in Berlin, London, Paris, Vienna and Brussels. The the young pianist Anna Vinnitskaya will take over the London date at Wigmore Hall.
(Rubicon)A protege of Maria João Pires, Julien Brocal has a lot to live up to, and this disc – the first both for him and the new label Rubicon – does so beautifully. Brocal offers a thoughtful traversal of Chopin’s Op 28 Preludes, knitting together these 24 miniatures – some lasting barely half a minute – to form a coherent whole. His playing is quietly riveting, drawing the attention without grand gestures, and so focused that the melodies in ostensibly busy little pieces like No 3 and No 8 hold their stillness while the decorative gossamer accompaniment spirals around them. Only in the frantic No 16 does his composure seem rattled. He rises to the Sonata No 2 in B flat minor with the same intensity on an altogether more expansive scale, and the famous Funeral March that forms its climax is all the more tragic for its contained expression, subtly sighing phrasing and general lack of fuss. Continue reading...
Pierre Boulez once told me that Mozart was ‘trivial’ and he would never waste his time conducting such music. At the New York Philharmonic, he added, he persuaded them to substitute Haydn for Mozart. This was in 1985. Now, a diligent Slipped Disc reader has come up with the facts, which are not quite as Pierre remembered them. Boulez conducted these works by Mozart with the NY Phil (source: NY Phil digital archives), in all, 33 performances of Mozart: ADAGIO AND FUGUE, STRING QUARTET, C MIN, K.546 (QUART./STR. ORCH.) (5) CONCERTO, CLARINET, A MAJOR, K.622 (1) CONCERTO, FLUTE AND HARP IN C, K.297C (OLD K.299) (1) CONCERTO, FLUTE NO. 1, G MAJOR, K.285C (OLD K.313) (1) CONCERTO, HORN NO. 2, E-FLAT MAJOR, K.417 (2) CONCERTO, PIANO NO. 09, E-FLAT MAJOR, K.271 (JEUNEHOMME) (2) CONCERTO, PIANO NO. 10, E-FLAT MAJOR, K.316A (OLD K.365) (2 PIANOS) (1) CONCERTO, PIANO NO. 15, B-FLAT MAJOR, K.450 (1) CONCERTO, PIANO NO. 19, F MAJOR, K.459 (1) CONCERTO, PIANO NO. 20, D MINOR, K.466 (1) CONCERTO, PIANO NO. 24, C MINOR, K.491 (1) CONCERTO, PIANO NO. 27, B-FLAT MAJOR, K.595 (2) CONCERTO, VIOLIN NO. 3, G MAJOR, K.216 (2) CONCERTO, VIOLIN NO. 5, A MAJOR, K.219 (1) COSÌ FAN TUTTE (OVERTURE), K.588 (1) MAGIC FLUTE, THE (OVERTURE), K.620 (1) QUARTET, STRINGS, NO. 23, F MAJOR, K.590 (1) RONDO, PIANO, D MAJOR, K.382 (1) SERENADE NO. 9, D MAJOR, K.320, “POSTHORN” (2) SERENADE NO. 12, C MINOR, K.384A (OLD K.388) (1) SINFONIA CONCERTANTE, VLN/VLA, E-FLAT MAJOR, K.320D (K.364) (1) SYMPHONY NO. 36, C MAJOR, K.425, “LINZ” (2) SYMPHONY NO. 39, E-FLAT MAJOR, K.543 (1) SYMPHONY NO. 40, G MINOR, K.550 (1) VORREI SPIEGARVI OH DIO, K.418 (1) Also, According to the Proms archive, he conducted several Mozart concertos. There is a live recording of the coronation concerto with Clifford Curzon: He recorded some early Mozart concertos with The Domaine Musicale and Yvonne Loriod who was making a complete cycle. Finally, who could forget this remarkable performance of Mozart’s Piano Concerto No. 20 with Maria Joao Pires and the Berlin Phil?
The Portuguese pianist will be taking part in a concert celebrating the philosophy of Krishnamurti. She will perform Beethoven’s opus 111 at London’s Cadogan Hall. Very quietly. Details here. In this interview, she says Claudio Abbado held similar views.
When I listen to the music of Frederick Chopin, I seek diversity. I prefer not to hear 12 waltzes, or 17 Etudes (if he wrote that many). My preference is to get some of each. In this recording there are 4 Nocturnes, but happily the other piece is the Piano Concerto #2. Chopin: Piano Concerto No. 2 in F minor, Op. 21, performed by the Sinfonia Varsovia, Christopher Warren-Green Nocturnes (2), Op. 27 Nocturne No. 14 in F sharp minor, Op. 48 No. 2 Nocturnes (3) Op. 9 Nocturne No. 20 in C sharp minor, Op. post. Performed by Maria João Pires (piano) The recordings on this album come from Ms. Pires’ concerts in 2010 (when she performed the Piano Concerto in F minor op. 21 with the Sinfonia Varsovia orchestra under the baton of Christopher Warren-Green) and 2014 (when she performed a recital including, among other items, the Nocturnes presented here). Here is Ms. Pires, performing the Fantasia Op. 49 by Chopin: