Опубликовано: 21 нояб. 2013 г.Philip Glass — The Hours, 2002. Michael Riesman transcription.
Branka Parlić, piano. Synagogue, Novi Sad. 5.VII.2005
«The Hours», Music from the Motion Picture for piano.
There are movies where you notice the soundtrack, and others where you don't. The latter is usually considered ideal, and yet it's impossible to ignore Philip Glass' pervasive, all-encompassing soundtrack while watching Stephen Daldy's celebrated follow-up to Billy Elliot (the same could just as easily be said of Elmer Bernstein's majestic music for Far From Heaven). This isn't such a bad thing — far from it. The piano-dominated score, incorporating motifs from Glass' Satyagraha, Glassworks, and Solo Piano is, by turns, lush, sumptuous, and stirring.
Philip Glass' score for the film The Hours is very typical of Glass, with its nearly constant repetition and slowly evolving variations on a theme. It suits the moods of the film perfectly, reflecting mesmerically the inner thoughts and emotions of the characters, but remaining subservient to the film itself. Michael Riesman, a long-time associate of Glass, has transcribed the score of The Hours for piano. It wasn't hard for him to do this: the score prominently features the piano alongside the orchestra, and Riesman performed the piano part in the soundtrack recording. His solo piano version covers exactly the same music as on the soundtrack album, but to call it a «reduction» of an orchestral work would be unfair. Yes, it is one instrument instead of many, but just by the facts that it's a single performer being responsible for realizing the music and it's no longer an accompaniment to screen images, Riesman is able to add to it more expression and more life. Even though his tempos and the track times match the soundtrack almost exactly, he is able to take tiny liberties with the phrasing of themes so that the quiet desperation of the music isn't quite as desperate. It doesn't matter if he uses a larger array of dynamics and is not quite as strict with time. Whereas listening to the soundtrack without the film can be almost unbearably boring or depressing, depending on your state of mind, listening to Riesman's version is less so. Although the track titles make no sense without film, in this version, the music is able to stand on its own as a distinct creative work, with more vitality and wider-ranging sentiment than the soundtrack.
The complicated storyline, based on Michael Cunningham's Pulitzer Prize-winning novel (which was, in turn, inspired by Virginia Woolf's Mrs. Dalloway) is inherently dramatic and emotionally compelling enough that it doesn't really «need» music to get its message across. And the actors, including Nicole Kidman (Virginia Woolf), Julianne Moore (Laura Brown), and Meryl Streep (Clarissa Vaughn), breathe such life into these three distinct characters, living in three different time periods, that they don't need really need the music either. But it's always there, like a ghostly presence in each woman's life, helping to tie their divergent storylines together as much as the themes that are common to each. In the end, the score is as much a unifying force as Peter Boyle's deft editing and, most importantly, Woolf's Mrs. Dalloway, which was originally to be called The Hours.
Pianist Branka Parlić is one of the most prominent interpreters of contemporary classical music in Eastern Europe. She graduated from the Belgrade University of Musical Arts in the late 1970s and studies under Professor Olga Mihailović. She later honed her craft at the Summer Music Academy in Nice under Professor Pierre Sancan of the Paris Conservatory. While studying, she also co founded the well-known Ensemble for Different New Music.
Taking on the task of presenting the cycle of the legendary Phillip Glass' «Metamorphosis,» is probably the most challenging task in the sphere of contemporary minimalism since Parlic's classical undertaking of Erik Satie's ''Gnossiennes'' in the 1980s. The album which she released back then, called «Initiés,» was the first album that contained one of Satie's compositions ever recorded here.
Branka Parlić premiered the Glass' pieces in Novi Sad in 2004 and the performance of «Metamorphosis No.2» recorded at this show was broadcasted regularly on prestigious British TV channel Classics FM. Recently, another British TV channel C Music TV http://www.cmusic.tv/cmusic/ started to broadcast two videos in Parlic' rendering: «Opening» by Philip Glass and «Spiegel im Spiegel» by Arvo Pärt. She also act as Artistic Director of the Concert Series «New Ears for New Music» in Novi Sad.
Music in Twelve Parts, written by Philip Glass in 1971-1974, is a deliberate, encyclopedic compendium of some techniques of repetition the composer had been evolving since the 60s. It holds an important place in Glass's repertory — not only historically (as the longest and most ambitious concert piece for the Philip Glass Ensemble) but aesthetically as well. Music in Twelve Parts is both a massive theoretical exercise and a deeply engrossing work of art.
In the past, Glass vociferously objected to being called a minimalist composer. He now grudgingly accepts the term — with the distinction that it only applies to his earliest pieces, those up to and including Music in Twelve Parts. It is difficult to see how such a mammoth work as Einstein on the Beach can possibly be called minimalist and Glass now speaks of himself as a composer of music with repetitive structures.
Part I remains some of the most soulful music Glass ever wrote, yet it is also one of his most reductive compositions: at any place in the music, reading vertically in the score, both a C# and an F# are being played somewhere in the instrumentation. Through skillful contrapuntal weaving, Glass creates a drone that is not a drone — an active, abundant, richly fertile stasis.
Part I leads directly into Part II, which introduces a different key, a faster tempo, greater rhythmic and melodic variety and the human voice. «A new sound and a new chord suddenly break in, with an effect as if one wall of a room had suddenly disappeared, to reveal a completely new view.»
Part III, one of the few self-contained movements, is a gurgling study in fourths, and one of the shortest. Part IV is extraordinary: after a brief introduction, it becomes a lengthy examination of a single, unsettled chord that sweats, strains and ultimately screams for resolution until the musicians suddenly break into the joyous, rushing catharsis of Part V.
Part VI is another example of how Glass can take what initially seems a standard chord progression and gradually build considerable interest on the part of his audience as he presents it to us, again and again, from different rhythmical perspectives. Part VII clearly derives from Music in Similar Motion, but the development is much more swift than that of the earlier work and it is infinitely more virtuosic (the soprano, in particular, does her best to avoid tongue-twisting and sibilance in the exposed, rapid-fire melismatic passages). And the close of Part VIII prefigures the «Train» scene in Einstein on the Beach, with its irresistible forward motion and sheer, «boy-with-a-gadget» fascination with a systematic augmentation and contraction of the soprano line.
«I had a specific purpose in mind when I set to work on Twelve Parts. I wanted to crystallize in one piece all the ideas of rhythmic structure that I'd been working on since 1965. By the time I got to Part VIII, I'd pretty much finished what I'd started out to do. And so the last movements were different. Parts IX and X were really about ornamentation.» Part IX, after a lithe, bouncing, broken-chord introduction, becomes a study in chromatic unison while Part X begins with a blaring, aggressively reiterated figure in the winds that is eventually softened cushioned — by the addition of complementary figures in the bass.
Parts I-X had all been based on stable harmonic roots that had remained constant throughout the movement. Part XI is just as rigorous in its application of an antithetical approach: the harmony changes with every new figure. In Part XI, which is essentially an aria for soprano and ensemble, there is more harmonic motion than in all of the mature works Glass had composed in the previous ten years put together.
Music in Twelve Parts ends with a musical joke that may be amusing to those who remember the musical politics of the 60s & 70s. Like most young composers of the time, Glass was trained to write twelve-tone music; unlike most of them, he rejected the movement entirely. And yet, in the bass line of Part XII, toward the end, the careful listener will discern a twelve-tone row, underpinning this riot of tonal, steadily rhythmic, gleeful repetition -underpinning, in other words, all the things that textbook twelve-toners shunned.
«It was a way of making fun not only of others but also of myself. I had broken the rules of modernism and so I thought it was time to break some of my own rules. And this I did, with the shifts of harmony in Part XI and then in Part XII, where, for the first and only time in my mature music, I threw in a twelve-tone row. This was the end of minimalism for me. I had worked for eight or nine years inventing a system, and now I'd written through it and come out the other end. I'd taken everything out with my early works and it was now time to decide just what I wanted to put back in — a process that would occupy me for many years to come.»
These sets were were originally streamed in real media in the early days of online streaming radio. Unfortunately, you'll have to excuse the poor quality.
Опубликовано: 19 окт. 2013 г.Track 7/8, from Gravity (Ad Noiseam adn168).
The following of Nocturne 1, taking back the ethereal drums from the first part.
I imagine astronauts in an orbital station. They're barely awake as they are still hidden in the shadow of the Earth. This is for me the introduction of almost 90 seconds with the synthesizers' layer, a moment of blur and swaying.
At 1:23, they open their eyes and start preparing for a scheduled outing into space this morning. You're not so often 350 kilometers up in the atmosphere, and one thing I'd like to see up there is a sunrise over the whole planet. They start dressing their space suits and already catch sight of the halo of light announcing the sun, over the horizon formed by half the circumference of our planet. It's time to hurry if you want a good spot on the solar panels.
At 2:59, the sun finally rises, radiating its light in the atmosphere, on the cities, the lands, the oceans, and its warmth spreads all over your suit and reaches the bottom of your heart. It's beautiful, spectacular and unique. The deep drums and the strong play on the piano conveys for me the intensity and the beauty of that moment, particularly at 3:42 and 3:47 that seems to slap you hard in the face and blow your mind up. This whole part is really shaking and unforgettable, and the progression of the notes' pitch is just epic.
You can see that our astronauts try to memorise each frame of that moment as they won't see it again in such a perfect way.
At 4:26, you start to leave them where they are, letting them enjoy this moment alone, and slowly stepping backwards to the Earth. The orbital station is now just a dark dot in the blinding light of the sun, and the faded chorus in the end of this track make the moment surreal. but it's time to go back to reality.
Enjoy folks, and if you feel like it, I'd like you to share your sensations too, here in the comments section or on my Facebook page at https://www.facebook.com/adda.ambient
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If you (artist, label or viewer) have any inquiry, just email me at a2damusic@gmail.com
Опубликовано: 6 нояб. 2013 г.Живое выступление Тимати и Black Star Mafia на концерте в рамках YouTube Music Awards в Москве с песнями «Туса», «Tatoo», «GQ» и «Все танцуют локтями».
Пусть говорят — ЭКО‑система. Пусть говорят. Выпуск от 26.05.2016
Опубликовано: 26 мая 2016 г.Жители Калужской области, супруги Петр и Татьяна Савины уже шесть лет воспитывают сына, рожденного после ЭКО. Все эти годы ответственные родители постоянно наблюдали за здоровьем своего сына, но на сердце было неспокойно. Супруги решили сделать анализ ДНК, результат которого шокировал родителей. Оказалось, что глава семьи — не родной отец своего сына. Как оказалось, что ребенок Татьяны Савиной — не сын ее мужа? На каком этапе ЭКО‑система дала сбой?
Опубликовано: 4 дек. 2015 г.Заказ артиста по телефону 8-(918)-265-07-05, 8-(918)-452-03-02
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Режиссер, продюсер — Арут Тевосян
Стоп! И я вновь в замешательстве, глаза закрыты, сердце горит в огне! давай же снимем маски, пробьем дыру в стене! непонимания, всю оставим мне!
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За гранью сердца, и там я чувствую тебя, нам нету места, и между нами есть стена, так в мире тесно, и мы взлетаем в небеса, за гранью сердца… Вновь оказались ты и я......
Пора сражаться за свою любовь, пора расставить все точки над и… вспомнить массу несказанных слов, волю в кулак и поменять планы судьбы… поменять правила игры… убрать не нужное из головы… расстроить козни людской молвы, и если врешь ты мне, только себе не ври. Я прочитаю тебя по глазам, ты двери к сердцу для меня открой, ведь знаешь жизнь за тебя отдам, и до конца пути я только твой, буду рядом где бы ни был я, душа велит всегда, оберегать тебя, мир теряет смысл без твоего тепла, но так уж вышло, за гранью сердца ты и я...... #заграньюсердца