If There Is Much In The Window There Should Be More In The Room

Wednesday, February 27, 2013

Sadie Belly Dance

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.

Wednesday, February 20, 2013

RACHMANINOV Trio élégiaque No.2 (complete) Vaiman, Rostropovich, Serebryakov, live 1976

Sergei RACHMANINOV: Piano Trio élégiaque No.2 in D minor Op.9 (5.X-15.XII 1893, revised 1907-1917) "To the memory of a great artist" - P.Tchaikovsky.

Mikhail VAIMAN (1926-1977), violin 
Mstislav ROSTROPOVICH (1927-2007), cello
Pavel SEREBRYAKOV (1909-1977), piano 
(Live rec: Leningrad, 1976) 

Tuesday, February 19, 2013

BECAUSE Love Could not Stop for Death


BECAUSE Love could not stop for Death

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. 
A statue of the widow stands at the grave site. 

Sunday, February 17, 2013

Sviatoslav Richter and Prague SO play Dvorak Piano Concerto Op.33 Cond. V. Smetacek


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 Smetá
ček, conductor
Recorded Live, 2 June 1966

Saturday, February 16, 2013

Sviatoslav Richter - December Nights (1985)


"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."

"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)