Sunday, March 27, 2011

Dr George's Dental White

Tchaikovsky. Violin Concerto. Rococo Variations. Kirill Kondrashin. David Oistrakh, violin. USSR Symphony Orchestra. Gennady Rozhdestvensky. Mstislav Rostropovich, cello. Leningrad Philharmonic Orchestra. 1957. 1963.


Dear friends, let this night a beautiful CD with two works Tchaikovsky's most beautiful, your beautiful Violin Concerto and the equally fine work, the Variations on a Rococo Theme. Performers, directors exceptional and Gennady Kirill Kondrashin Rodhdestensky with a major soloists, David Oistrakh on violin and the cellist Mstislav Rostropovich. In the two recordings present a first-class orchestras, with extensive experience in interpretation of Tchaikovsky, reaching a high level in these recordings concrete.

much I can add to try to convey in words the enormous beauty contained in both works. The Tchaikovsky Violin Concerto is one of the finest musical works ever written and moving and in particular, within the pages written for the instrument, I think, frankly, that is the largest and most successful. There are few concertos violin that meet beautiful, wonderful sound, melody, technique and emotion so perfectly as it does this by Tchaikovsky.


The approach to performing the Violin Concerto Oistrakh is simply wonderful, simply overwhelming in its technique, with a warm sound that few have matched with an ability to translate those notes printing character and emotion, beyond the reach of the vast majority of violinists. In the orchestral accompaniment have the great master that manages print Kondrashin Orchestra warmth, sensuality, strength and get her a performance superb skills and a sensational orchestral sonority.


Overall I would say that is one interpretation of this most beautiful concert I've ever heard. It fills me with pleasure hearing, I greatly enjoy discovering new sounds in it, I love that silky, warm violin Oistrakh, impresses me the warmth and beauty of the orchestra and I still find pride Kondrashin address.

Very similar words could be used to describe the interpretation of this stunning masterpiece that is Rococo Variations. Precious work and simply wonderful cello in Rostropovich Rozhdestvensky and two great pillars for transcription.


Rococo Variations were composed in 1876 shortly after the Symphonic Fantasia Francesca da Rimini. Was dedicated to the Moscow Conservatory professor Wilhelm Fitzenhagen who was also responsible for the release on November 30, 1877. The work has a classic cut after marking orchestral introduction and opening theme stated by the cello variations developed through solos apart and beautiful orchestral interludes.


Overall it's a beautiful sound, emotive and expressive. Rostropovich shows his wonderful ability for musical expression and technique is simply amazing. Nuances and sounds are superb warmth and beautiful musicality. Rozhdestvensky accompanies a fantastic and wonderful with this instrument is the Leningrad Philharmonic performance make this a real gem.

I hope you enjoy this beautiful CD. It is a veritable feast of sound and emotional.

Tchaikovsky Violin Concerto *
Rococo Variations **
Kirill Kondrashin, David Oistrakh, violin. USSR Symphony Orchestra *
Gennady Rozhdestvensky, Mstislav Rostropovich, cello. Leningrad Philharmonic Orchestra
** 1957 * and 1963 **






Sunday, March 20, 2011

Vintage Mario Salieri

The education system is anachronistic

Interview with Ken Robinson.




Eduardo Punset:

Many years ago I read something of yours that fascinated me, because I thought nobody had said before something as simple and so true. You said that raising education standards is useless if the standards in question invalid or incorrect. And since then, I tried to read everything you've written, and Out of Our Minds, for example. Could you explain to the viewers your view?

Ken Robinson:

My experience is that most of our educational systems are outdated. Are anachronistic. Were created in the past in a different era to meet different challenges. Over time, have become increasingly limited. Throughout the world there are attempts to reform education, and one of the great mantras is to be lifted standards. And it's funny, because of course we should always improve! But not increase them useless if they are wrong! For example, in most systems, is much emphasis on raising standards in mathematics and language, which of course are very important, but not all that matters in education! Have artistic disciplines, the humanities have, physical education also ...

Eduardo Punset:

I wonder if it is true that there have been many changes turbulent, a disparity that has arisen, or a large gap between education on the one hand, and individual needs of people on the other. What are these changes?

Ken Robinson:

Well, I think there are several. If we ask what is the purpose of education, politicians often speak of going back to basics, back to basics. And I think we should do, but we must first agree on what is essential! In my opinion, education, from kindergarten to adult education, has broadly three objectives, or at least should have them. One is economic. It is undeniable that one of the high expectations we have about education is that if someone is educated, will be better positioned to get a job, and the economy will benefit. That's why we invest so much money on education.

Eduardo Punset:

And now it is not.


Ken Robinson:

The problem is that the world's economies have changed diametrically in the last 50 years! The world is increasingly dominated by information systems, we are in a service economy and the industry has moved out of Europe now lies more in Asia. Thus, economically, the world now has nothing to do with the world in which you and I grew up. The industrial revolution forged our world, but also forged our educational systems have a system of industrial education! It is a model of education based on production.

The second major challenge is cultural education: one of the things we expect from education is to help people understand the world around them and develop a sense of cultural identity, an idea about their place in the world.

Eduardo Punset:

Yes

Ken Robinson:

If we look educational systems of all countries ... in Spain There is no doubt that this expectation is present in the education system: it aims to help students better understand English culture, and so does the rest of the world. It is a great expectation of education. The problem is that the world has also become culturally in the last 50 years. It has nothing to do with the world in which we grew, becoming more interdependent, more complex and more dangerous in some ways culturally more intolerant of certain things ...

The third major objective of education is personal: I know who have children but also anyone who alive: one of the things we expect from education is to help us become the best version of ourselves to help us discover our talents, our skills.

And I think education has failed miserably in this regard, since many end their studies without finding out what are good, not ever find their talents. Many go through school and come to the conclusion that lack any talent! And this is because, deep down, we have a vision of limited skills. There have been changes in this regard ...

We see that there are changes in our notion of intelligence, but also in culture, which has changed and complicated, not to mention how econonómicamente has revolutionized the world.

Eduardo Punset:

Therefore, we as three major changes that may explain this anxiety arising from the disparity between education and economic needs cultural and individual.

I think you were one of the first education sector to speak of the unfortunate division between science and culture and the arts. And it's funny, because we, when we prepare scientific programs, we often have to face a dilemma, we propose that an item does not fit well in what scientists refer to as scientific subjects, so it is best to discard it. But you claim that as a result of this schism between science and art disciplines, we have ignored a great field: that of creativity. What do you mean exactly?

Ken Robinson:

Now, think back into education. Most countries instituted a system of compulsory public education until the mid-nineteenth century. This is fairly new ideas.

Two factors heavily in education: the first was the industrial economy, which led to an organizational culture of education extremely linear, focused on standards and conformity ... and the other major factor influencing In my opinion, was the intellectual culture of the Enlightenment, which broke out in the academic culture of education. One of the characteristics of the teaching is that there is a hierarchy of subjects in schools.

In most systems have, above all in the hierarchy, language, mathematics and science, a bit below are the humanities, such as geography and social studies, or philosophy (when taught) ... and below are all artistic disciplines.

There are few educational systems (I know not, in fact) to teach dance with the same rigor and sophistication with which they teach math. Why is this hierarchy? Many will say to you 'is obvious! There must be a hierarchy! "But why? I think there are two reasons, the first of which is economic. It is believed that the materials that are higher in the hierarchy are more relevant to the workplace ...

Eduardo Punset:

... to find a job.

Ken Robinson:

Yes, and you find yourself with statements like: "Do not devote yourself to art you'll never be an artist or you earn a living with art ',' Do not do music, it is very difficult to get ahead as a musician. " So an argument is clearly economic. But the interesting thing is that nobody tells you "do not focus on math, math will never be" nor "forget about chemistry, chemical'll never be." This is because, in our intellectual culture, there is an association between the sciences and some kind of objective knowledge. It is believed that by working in the sciences, working with facts and certainty, which are the things that make a difference in the world, while the artistic disciplines are associated with feelings and personal expression, so are fine for entertainment, but they are important to the economy. The Enlightenment and the scientific revolution created a model of intelligence and knowledge that has prevailed in our culture. Since then, the art has been associated with the current of nineteenth century romanticism, with the expression of feelings. And I think that is a huge problem, because it has decoupled the intellect from emotion, and we've been to consider two things as separate, to the detriment of the arts and sciences. Creativity has come to associate with the artistic and not to the scientific, because it believes that creativity is about individual expression of ideas. I I propose, among other things, return to a conception of creativity that we return the relationship between artistic and scientific disciplines, both out injured since the separation.

Eduardo Punset:

While talking, I thought the pattern was used to establish that someone was in the right part of knowledge: IQ. Why on earth have long believed that IQ measurement was important for economic life?

Ken Robinson:

The IQ was one of the ideas that emerged from the growth of psychology and sociology, attempts to apply the same characteristics of the physical sciences to people. The important thing is that there are two forces: first, a genuine spirit of inquiry to see if we could measure intelligence as we measure the movement of tides, but also coincided with the growth of public education, which required an effective way quickly and objectively characterize individuals to educate them.

is needed to know, in a sense, if they had normal intelligence, below average or extraordinary. Alfred Binet, when he created the first intelligence test in Paris, was interested in children with special educational needs. To find out what their needs, needed to have an idea of \u200b\u200bwhat the average capacity. This was the initial objective. However, intelligence tests became central to the categorization of students in public schools, but also for selection in the military. They have become a myth, it seems, have become part of our cultural lexicon as if they were targets. One of the leading organizations that there is Mensa, the organization of people with high IQs. And I think it's great, I will not criticize Mensa, but I ask whether this is indeed the case. In fact, the only intelligence test measures the ability to do intelligence tests. There are people that these tests are given very good! If you want to know how smart someone is, at least we should accept that intelligence involves much more than can be measured in an IQ test, should not include other questions? Like, for example, you know write a symphony? Can you interpret it? Can you manage a successful business? You know dance? Can you write a poem that touches readers and makes them mourn?

Eduardo Punset:

or empathy ...

Ken Robinson:

Empathy! If humans only had the skills measured in IQ tests, most of human culture would never have existed. I do not want to live in a world. Do you?

Eduardo Punset:

No.

Ken Robinson:

We have a vision of intelligence very reductionist.

Eduardo Punset:

I would like to explain or suggest to viewers the big changes, what is the actual content of these great changes they are referring Ken Robinson. Let's see, it all started by a kind of thinking that was the Middle Ages, OK. Then we are told in two words what was the synthesis of this thought. Then comes the Renaissance, which is completely or very different. Then comes the thought of the Industrial Revolution, what we call the Enlightenment. Then comes another kind of thinking is different from the Romantic period, and finally ... there are now. I would like to define, in a nutshell, the difference between these models, including the Middle Ages, first, the Renaissance, then, then ... what came next? The Enlightenment and Romanticism ... where are we now?

Ken Robinson:

In a few words?

Eduardo Punset:

Briefly. The whole story ...

Ken Robinson:

All the modern history of Europe in a few sentences, go. The mainstream in the Middle Ages is that usually everyone was so dominated by the ideas of the Church, and was a social and economic hierarchy markedly between the aristocracy and the rural population. In general, it was a very rural lifestyle, especially in Europe.

the trigger in the Renaissance was the rediscovery of classical texts, thinkers and philosophers of the Greeks and Romans. This led to a renewed interest in the intellectual life and beauty, and new ways to rethink our place in the world. There were several important changes, for example the work of Copernicus and Galileo, which raised the possibility that Earth may not be the center of the universe of God, and that was a kind of ideological earthquake with enormous changes in the way of seeing things from people.

most important thing is that the vast majority of people no longer had to rely on the arguments and the authority of an educated minority of the clergy, for the invention of printing widespread access to the ideas: people could read for herself the ideas and distribute them. There have been several examples of quite revolutionary technologies, such as printing. Television also was one of them. And I think that digital culture is now so.

But
I guess if I had to define the great change in a few words, I would say that human consciousness has been expanding more and more out, we stopped navel-gazing to try to be more objective about our place in the world and order things, as we passed from the Middle Ages to the Renaissance and the Enlightenment. Overall, we consider the center of God's creation to see ourselves as part of a much larger cosmos.

Right now, our generation (and by this I mean you and me but a whole generation of people living on Earth now, all we live on the planet) have to face challenges that are unprecedented in the history of mankind. One of the reasons why I advocate so passionately that education must change and redefine creativity is because I feel that unless we change our way of thinking about ourselves, we do not live up to the challenges we now face. And if we do not address the challenges, the consequences could be disastrous! Not to be alarmist, but I think there's a lot at stake.

can watch the video and interviews on the following link:



Wednesday, March 16, 2011

Bath Bomb Factory Recipes

Richard Strauss. Also sprach Zarathustra. Till Eulenspiegels. Danza de Los Siete Velos. Don Juan. Herbert von Karajan. Orquesta Filarmonica de Viena. 1959. 1960.


Dear friends. One of the greatest albums I've had the opportunity to hear is what exactly I want to introduce. Several symphonic poems of Richard Strauss wonderful performances in a perfect incredibly Karajan and the musical instrument, normalmernte sunset, and sometimes extremely intractable, the Vienna Philharmonic.

Decca recordings are a wonderful vehicle technician capable of transmitting a superbly engraved and the whole spirit of what had been recorded.

Karajan Strauss and apart from the dubious past in the political, shared ways of seeing the musical art, the vast immeasurable and Strauss orchestral palette like a glove came the impetus and desire, almost obsessive, and precision and perfection the sound of Karajan. It is wonderful how crimping exceptionally Strauss orchestral parts, how sound provides a wealth not only spectacular, but absolutely full of emotional depth and how to achieve a great precision in the dynamics of the work.



Vienna Philharmonic maintained close ties with both directors. Strauss left before this idyllic relationship tired of the lawsuits and infighting of the Viennese. Karajan's relationship was a constant back and forth between the deep love until exhaustion but was stable in time, just to the point of being his last orchestra. In the years of the present recordings, Karajan (always a passion for technical quality) Decca chose to ensure that their ideas were translated with the best orchestra and certainly the best sound technicians. The least to direct Strauss!

And the efforts of the house were huge Decca until suitable arrangements for a marvelous recording. The court, which did not exist in the Sofiensaal, he brought a military chapel next and modified to adapt to the sound of the orchestra (it took 8 hours of the night to flatten the recordings). The end results are wonderful. Pointillism in search of every detail with lengthy phrases amazing continuity that prevent the work from falling apart in a crazy series of musical events. Huge metal Viennese beauty, powerful and energetic, monumental beauty of a violin and strings quite elegant. All of the above applies to all recorded works, when you need emotional stress is, when you need sensuality, indecency and passion emerges, in the Don Juan perfectly combines symphonic scope and nature with a descriptive value unparalleled.


All this dramatically recorded, engineered a dramatic way Karajan energetic vitalísimo, without doubt technical but very human. Some sounds of the Viennese simply beautiful, powerful or delicate, teasing or tragic overtones, etc. Everything is perfectly achieved in the disks UNON beautiful that have been recorded by Strauss. And again, Karajan impressively wise direction. It is a pleasure and an honor to be able to enjoy this recording.

I hope you can enjoy this amazing art form, this powerful and evocative music of feelings like few there.

Richard Strauss Also sprach Zarathustra
*
Till Eulenspiegels
** Dance of the Seven Veils **
Don Juan **
Herbert von Karajan
Philharmonic Orchestra Vienna
Sofiensaal, Vienna. March 1959 and June 1960 * **






Bonefish Grill Server Tips

Respighi. Fountains of Rome, Pines of Rome, Roman Festivals. Eugene Ormandy. Philadelphia Orchestra. 1958. 1957. 1960.


Today, dear friends, after section several days around here a little music and e-mail, saturadillo message that I could not attend, which I regret very much, tried to return to a situation of a little more peace, tranquility, peace and joy. We are moving for reasons of health, my auntie's house so as to be with her and have it more contraladita and cared for.
By the way I've been doing a little "theft or rescue" some albums that were in his house and those who have found some very interesting and had almost no memory of his existence.

These appeared this exceptional CD Ormandy with the interpretation, quite frankly amazing, three of the most famous and wealthiest Respighi, musical triptych that precious are the works, Pini di Roma, Fontane di Roma Feste romane and.

that I have any other interpretation of these works by other directors such as Bernstein, Karajan (stunningly beautiful), and especially that of Celibidache, as always different, spectacular and wonderful in the transitions and rhythms of the pieces. But reescucha Ormandy CD has led me to a time of admiration for the sound of American orchestras, a deep respect for directors who did a tremendous job and never well diffusion weighted musical. A time when Mitropoulos, Reiner, Szell, Bernstein, dominated the American music scene and its pluses and minuses were the great figures of American and world music, supported by exceptional American labels that managed to expand the musical culture of his nation and bring many influences other nations and cultures.

Ormandy was one of those great, very great directors. In the same CBS titanic struggle was with Bernstein and somewhat less between the latter and the large Szell. Newsprint often it was up to CBS. Then each was a leader, true masters of the soul shapers of their respective orchestras.

Szell got a unique and unrepeatable, leading the Cleveland Orchestra to greater heights, comparable to any world orchestra. Ormandy compacted by the exceptional and unique soloists of his group and did an incredible job with the Philadelphia Orchestra. And Bernstein lived in New York and "raise it to an orchestra of international repute, with expanded repertoire, new talent, lectures and educational activities in addition to achieving a flexible band, fair, accurate and suitable for all, very much in line with its Mitropoulos loved and admired.

In this particular case presented Ormandy disc with recordings of Respighi me as a unique example and great for the sheer quality of the Philadelphia Orchestra and so simple, bright, accurate and beautiful that it's Ormandy conducting.


works lend themselves to showcasing, individual, group and overall. Very rich in color, brightness, timbre, spatial sound wonderful, superb instrumental and orchestra play powerful, compact, thin, precise execution and with an amazing taste in music in performance.

Respighi, a musician of wide external training, capacity was a perfect integration of musical languages modern and knew the importance of rescue and use of traditional music was able to integrate so wonderful in his works.

's first symphonic poem Fontane di Roma, attempts to explain the sensations experienced with the observation of four main sources of Rome. The pastoral reasons, the joy and happiness of the sounds of Triton, triumphant and impressive aspects of Trevi are finalized in the wonderful peace of Medici with mild sadness and nostalgia, to end the day with a sweet and serene that integrates smoothly into night. It had its first performance by Antonio Guardieri on March 11, 1917 in the Augustus of Rome and a few months then by Toscanini in Milan on February 11, 1918.

The Pini di Roma is performed for the first time on December 14, 1924 and shortly after its American premiere Toscanini said. Alternate descriptions gay, military marches, dances of the first part (Borghese) with self-shadowing of the entrances to the catacombs with their air mysterious and beautiful profiles of the Gianicolo until that final step of the Via Appia, vigorous, reflection of past glorious and dominating, increasing tension up impressive and powerful. Games instrumental powerful and beautiful, so well treated that it is a pleasure to listen verdedero.


In New York on February 21, 1929, Toscanini introduced the symphonic poem cycle third Roman author, the beautiful Feste romane. Pure beauty, clear reflection of festive evocations expressed and implemented to achieve the maximum orchestral color and sound.

Together we sincerely works that are a delight for the senses and the heart that is filled with beauty, musicality, rhythm and energy. And I think Ormandy is capable of transmitting all that is needed. Is splendid, boundless, overflowing energy of, direction states that the orchestra starts impressive performance (Karajan apart) and manages transitions and buildings increased in intensity, absolutely electrifying and a superb musical and technical care.

I leave this little drive, great in content and music, a great composer and an amazing director who found himself in the Philadelphia Orchestra the most appropriate instrument that could ever dream of.

Enjoy.




Respighi Fountains of Rome
Pines of Rome Roman Festivals
Eugene Ormandy Philadelphia Orchestra
23 de marzo de 1958 y 14 de abril de 1957 13 y 20 de noviembre de 1960




Monday, March 7, 2011

Women In Girdles Wrestling

Bruckner. Symphony No. 9. Leonard Bernstein. Filamónica Orquesta de Viena. 1990.


We return to the work of Bruckner and on this Occasion in unusual hands when playing the Austrian master. Leonard Bernstein in his final months he returned to his Viennese musicians to offer a fascinating approach, overwhelming, pride, an emotion latent quite strenuous. A Bruckner I led from the hands of a tormented soul to serve as a vehicle for transmitting another soul absolutely devoted to her final peace. A musician who longed for that which by their perseverance and humility with knowledge achieved: to be a great composer. One dispersed, another was concentrated and both reached their desires, one to another with absolute grudgingly accepting the task accomplished.


The Bruckner Ninth leaves the clear expression of deep personal conviction of Bruckner, in her wonderfully intertwine with numerous citations renewing items and memorabilia the previous works, a visionary work and modern at the same globalizing. It is the composer's stylistic summit is in sight in her new musical periods that will come true in the early twentieth century. There is a wonderful stroke of temporal concept, the spiritual aspect of the composer, sounds into a harmonious whole modernist tradition. A true fusion of intent brilliantly made and continues to amaze on every listen.

sweetened
After some approximations have to wait for the work of Orel in 1932 to hear the original music work. Perfect union between the past, accepted and put in value with the bold initiative to modernism, serialism and tonality taken to its ultimate extreme.

While this might be a way of seeing the work from a purely technical standpoint, what is most striking about her is her pride processing, seamless integration of their songs, beauty monumental construction technique and impressive sound bruckneriana carried to its most beautiful. A final farewell for everything in style, with a single work, unique and stunningly emotional.

Bernstein, though not an expert in Bruckner, is perhaps due to age, the magical bond with the Viennese, or other circumstances, gives it all a waste of intensity, lyricism, depth of language and Beauty pure musical balm perfect for indecisive souls in struggle and in its final stage. The final message is full of love and passion. Venceremos always, sooner or later and reach our peace.

The Vienna orchestra absolutely outstanding, gorgeous in color, quality, timbre, rich in nuances, soft elegant, vigorous energy and absolute rapport with the director. Lenny And the message is floating in the air was an artist with all the law that Bruckner.

Please
love it and enjoy it as a token of sincere love.


Bruckner Symphony No. 9
Vienna Philharmonic Orchestra Leonard Bernstein
Musikverein Grosser Saal, February and March 1990 (including shots were made for the DVD)
1894 Version Original Version Edit Leopold Nowak, 1951