Noscere Audere Velle Tascere Ire: rifts on Arts, music, photography, history, literature, poetry, science, the paintings, visual arts, the dance and ultimately to the living spaces of nature by Nosauvelta. This is a look for the space between thinking, knowing, seeing, understanding and listening well, reading stories and thoughts of what was, what is, and what has to be as told by the wise through blogs, photos, video, and music blogs.
If There Is Much In The Window There Should Be More In The Room
Sadie is an International performing artist, instructor and
choreographer recognized worldwide as one of today's most exciting and
innovative Belly Dance artists.
First seen as a “Rising Star” on BD-TV Vol.II in 2004, Sadie is now featured in
dozens of instructional and performance DVDs displaying her dynamic style of
bellydance which has captivated audiences and inspired students all around the
globe.
As one of the most sought after performers and teachers of Belly Dance, Sadie
has visited over 70 cities in more than 30 countries and is one of the most
watched bellydancers on youtube with over 20 million hits on just one video
clip alone. Recently Sadie and her dance partner Kaya wowed the judges of
"America's Got Talent" and the American public all the way to the
"Top 48" of season 5, and are the only Bellydancers to make it that
far on the American version of the show.
Sadie's unique expression of Bellydance fuses together precision, athleticism,
grace and powerful isolation; attributes instilled by training in gymnastics
and swimming for 14 years in her youth. In her late teens Sadie took up a new
passion, Belly Dance. As a student, Sadie studied with many reputable Middle
Eastern dance and music teachers from around the world.
Her first inspiration
and mentor in Bellydance was her teacher Joynan from Denver, Colorado. Other
key, influential moments in her education include two extended trips to Turkey
(including a dance tour with Eva Cernik) where she studied and observed the
dance and learning to play the doombek (Middle Eastern hand drum) via master
percussionist and musician Souhail Kaspar, which impressed a great
understanding of the varied Middle Eastern rhythms as well as the relationship
between the music and dance. Sadie continues to enrich and pursue her knowledge
of this beautiful art form which is continually evolving and at the same time
firmly rooted in traditions which can be traced back hundreds and even
thousands of years.
A mournful note and a pair of sandals from the 16th century have captivated South Korea. On June 1, 1586, a pregnant widow in the east wrote to her husband:
"You always said you wanted to live with me until our hair turns gray. How could you pass away without me?"
She left the letter in his tomb, along with shoes she'd made as a sign of love for her ailing spouse, woven from her hair and hemp bark. There they lay until the city of Andong began moving graves to make way for houses.
Her message was that love transcends time and place. "Come to me secretly," she urged. "Although I have so much to say, I'll stop here."
Korea has resurrected the dialogue with two novels and a TV documentary.
Sviatoslav Richter (1915-97)
left behind the extraordinary legacy of a highly sensitive, angst-ridden yet
ultimately serene musician, a true monstre sacré, a perfectionist in search of
the absolute. The uncharacteristic liberty of his playing and the sense of
exultation is astounding, illuminating these romantic compositions based on
national folklore. They form a unique, totally unprecedented combination.
One simply cannot admire him
enough. Richter is not just the "poet of the piano" but also its
"mage". He literally sparkles,
dazzles with color, scintillates with energy and stuns with technique, and what
is more we constantly feel that everything is happening directly before our
eyes--right "here" and right "now".
The slow movement with its
incredible pianissimos could find a place on albums of music for meditation,
and the finale sounds surprisingly poetic and airy. As we listen we have no
sense of the pianist's age. Richter plays the fast movements with the dash and
vitality of a thirty-year-old. While in the slow movement something so spectral
suddenly emanates from the music that it sends a shiver down our spines.
Antonín Dvořák Concerto for Piano and Orchestra in G minor,
Op.33
1.Allegro agitato
2.Andante sostenuto
3.Finale; Allegro con fuoco
Sviatoslav Richter, piano
Prague Symphony Orchestra
Václav Smetáček, conductor
Recorded Live, 2 June 1966
Prague.
"December
is the time of our permanent association with Richter. We occasionally meet him
in the course of the year, but during the festival have a chance to enjoy
everyday contacts. It is really great to participate in rehearsals and concerts
together, and to share excitement and concern for each other. We took part in
all the festivals which provided new incentives for expanding our repertoire.
The most memorable were the two events featuring Britten's operas. Richter is
infatuated with the opera. He has a keen sense of the stage, perhaps because he
has been allied with theatre since childhood. Now he is a true connoisseur
particularly fond of drama. Endowed with a phenomenal memory he keeps in mind
the minutest details of all the productions of the Moscow Art Theatre from
prewar years onwards, and remembers the names of all the actors, even those
allotted minor roles. When listening to operatic music, he invariably imagines
how he would stage that particular opera.
More than once Richter has mentioned
that his dream is to produce Wagner's Ring of the Nibelung. If his plan
realizes (and we all hope it will), we shall, no doubt, witness a masterpiece.
Richter's modesty is in a class by itself. Addressing stage designer Boris
Messerer or director Boris Pokrovsky, he would usually say: "Well, I
wouldn't know chalk from cheese in this matter..." Yet, in a moment it is
clear that he knows all about it. Boris Pokrovsky saw through this trick at
once and suggested: "Look, why do you just play the piano? You should join
our company, let's work together." Having an aversion for big words, Richter
loathes being referred to as "the greatest pianist" or the like. But
he was evidently pleased with that remark of Pokrovsky, though he tried to
conceal it."
YURI BASHMET
"If
asked to describe the December Nights, I would simply say, "It's
Richter." Any festival must have a unifying artistic idea. Should such an
idea be lacking, any event, no matter how prestigious and well-organized ,will
wane in the course of time as a result of its spiritual scantiness and
inadequacy. What Richter does is quite a different matter. Take, for example,
the annual forum in the French town of Tours embracing well-known masters and
novices of various ages and styles, or the December Nights. His aim is not to
present newfangled or deservedly forgotten works, or to dazzle the public and
the musicians. I feel this with particular acuteness, because owing to the
festival and my appearances with Richter I included new works in my repertoire
which under normal circumstances I would never have thought of performing.
The
December Nights are the embodiment of the artist's eternal quest for perfection
(in the words of the Soviet poet Nikolai Zabolotsky, "the soul must work
ceaselessly"), and of the steps of his- agonizing ascent to the ideal all
his own. A hundred per cent efficiency from each-such is the festival's main
principle. Long before the event actually starts its programme is deliberated
down to the minutest detail.
The project is after all based on our enthusiasm
kindled by Richter, the core of the whole enterprise, his inexhaustible
imagination, enormous zeal and dedicatedness to Art. Even arguments as to how
to arrange chairs on the stage, how to achieve an effect of a hoar-frosted
window, and what is to be hung on the backdrop-a violin or a looking-glass-are
not just intellectual freaks. Any touch, no matter how unobtrusive, serves to
enhance the distinct atmosphere of each concert. As a result, the overall
impression is, on the one hand, that of homely cosiness and unpretentious
music-making, and, on the other, of festivity and elation. In fact, so great is
the musicians' enthusiasm that it comes over the footlights to the listeners.
Today it is hard to imagine Moscow's music scene without the December Nights. A
chamber festival held in a small auditorium not originally meant for music -
making has turned into the culmination of the season. There is some mystery in
it, isn't there? It is with great joy that for five years running I have
planned for December no recitals or guest tours of my own. On December nights I
am busy."
R. Schumann
- Blumenstucke in D flat major op.19 - Sviatoslav Richter,
R. Schumann - from Piano Trio No 1 in D minor op.63 - Langsam, Mit Feuer (Oleg
Kagan, Natalia Gutman, Sviatoslav Richter)
F. Schubert - from Winterreise D. 911 - "Der Sturmische Morgen",
"Tauschung", Der Wegweiser (Peter Schreier, Sviatoslav Richter)
R. Schumann - from Marchen Bilder op.113 - Lebhaft, Rasch (Yury Bashmet,
Sviatoslav Richter)
F. Chopin - from Sonata for Cello & Piano in G minor op.65 - Largo, Finale:
Allegro (Natalia Gutman, Sviatoslav Richter)
F. Schubert - from Duo for Piano and Violin in A major D. 574 - Allegro vivace
- (Oleg Kagan, Sviatoslav Richter)
R. Schumann - from Bilder aus Osten "6 Impromptus" op.66 (Sviatoslav
Richter, Lyudmila Berlinskaya)
