Gordon Wry Video
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2024-04-27
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Wry Shields Pelo 2005 2007 2009 2014 2015
Voltando de um hiato de 5 anos, a banda Wry apresentou no Estúdio Showlivre sua internacionalmente aclamada mistura de shoegaze e britpop, ao vivo, dia 8 de setembro de 2015. #Confira a playlist com os clipes em HD da session da Move Over no Estúdio Showlivre: (http•••) #Curta a nossa página no Facebook: (http•••) #Siga-nos no Twitter: (http•••) #Veja e curta as nossas fotos no Instagram: (http•••) #E tem muito + do Wry no showlivre.com: (http•••) +Showlivre, movido à música: (http•••) Perfil: WRY é uma banda brasileira de rock alternativo, com influência de shoegaze e britpop. No Brasil lançou discos pela gravadora independente Monstro Discos e teve destaque em festivais, radio e TV, com vários singles que se tornaram hits na cena de rock alternativa do País, como Jesus Beggar, Come and Fall, In the Hell of my Head e Airport Girl. O disco Flames in the Head de 2005 teve produção de Tim Wheeler (ASH) e Gordon Raphael (The Strokes) Na Inglaterra assinaram com o selo inglês Club AC30, resultando no EP Whales and Sharks (2007), com single em vinil das músicas Sister e Different from Me. Ainda na Inglaterra, dividiram o palco com diversas bandas da efervescente cena local, como The Subways, The Cribs e Ash. Além de elogios de Kevin Shields, Deb e Colm (My Bloody Valentine) e de Steve Lamaqc, visionário DJ inglês, que inseriu uma das músicas do Wry na programação da radio BBC de Londres. Em 2009, no Brasil, lançaram pela Monstro Discos o álbum She Science com uma extensa turnê de lançamento. Logo em seguida, por motivos pessoais, entraram em um hiato que durou até o segundo semestre de 2014, quando decidiram voltar lançando a cassete Deeper in a Dream, com 5 músicas, pelo selo TerryCrew e online pelo selo WCR & Music e uma turnê de lançamento. Agora em 2015 começaram uma série de shows pelo Brasil e Europa, onde foram convidados para tocar no Primavera Sound - com 3 apresentações, Palco H&M, Palco RayBan e PrimaveraPro-, e também, Jacaranda em Liverpool e Londres no The Lexington, conceituada casa de show inglesa e ainda fizeram mais 4 shows em Portugal. A banda acabou de assinar com a gravadora americana Sonovibe Records e lançarão um vinil 12’’ edição Deluxe dos dois últimos EPs: Deeper in a Dream e Whales and Sharks, com surpresas, ainda esse ano.
Beethoven Lortie Bach Wry Liszt
Beethoven’s Moonlight Sonata (which really should be known as the Second Sonata-Fantasy) is probably the world’s most popular bit of Great Music, and for good reason. Its peculiar brand of expressive and imagistic power is nearly unrivalled in piano literature. The first movement is one of those rare things that is, like Bach, almost totally impervious to all kinds of interpretive liberty: depending on how you play it it might sound funereal, wistful, melancholic, lyrical, or tragic, but it will never be anything but beautiful. (And interpretive complexities abound in this movement: should the semiquaver-against-triplet polyrhythm be treated literally? Should the pedal be constantly held down like B. indicated? Half-pedal? Third-pedal? Delayed-harmonic-change pedal? Even, God forbid, the sostenuto pedal? Should we play with tempo as indicated, in cut time, so that it goes at nearly twice as fast as some interpretations today, and certainly a lot faster than listeners are used to?) And, of course, there is the fact that the first movement really isn’t in sonata form (I mean, well, technically it is, but I can’t imagine people actually hearing it as sonata form), and unfolds more as a single fantasy-like melody on a really massive scale. The second movement looks pretty conventional, but there’s actually a lot of wry playfulness going on in it with the ambiguities about where exactly the implied rhythmic accents should fall, and even possible cross-rhythms in the trio. In any case, it’s a sweet little thing (Liszt called it a flower between two chasms, which is slightly too dramatic but conveys the general idea very well) whose monomaniacal use of repeated cells of music manages to convey a kind of gentle humour. The last movement is one of the miracles of the piano literature: it thrums in a state of almost perpetual climax, yet only rarely does its dynamic raise to a fortissimo. It’s quite obviously the main portion of the sonata (again, it’s worth noting that B. gradually shifted the weight of his sonatas from the front to the back), and its second theme group is richly laden with wonderful ideas. Most of this movement’s power comes from its pounding, insistent rhythm (there’s a reason so many people who enjoy technical metal like it), the sly use of contrasts, the nearly ubiquitous vibrating semiquavers, and some really dramatic Neapolitan harmony: you could teach a good number of composition lessons using it as a model, but the main thing is that it’s amazing to listen to, and rather addictive. MVT I, Adagio sostenuto (fantasy, with vague intimations of sonata form) 00:00 – Introduction 00:26 – Theme 1, modulating to E maj and C maj 01:28 – Theme 2, in (the very surprising) B min, turning into the dominant of either (iii) or (III) 02:17 – Quasi-development. Theme 1, in (iv). At 2:47 a recollection of Theme 2 appears 03:10 – Dominant preparation of extreme length 04:11 – Recapitulation, where Theme 1 returns 05:06 – Theme 2, now in (I) 06:01 – Coda, with Theme 1 in bass MVT II, Allegretto 07:17 – Scherzo 08:11 – Trio 08:57 – Scherzo da capo MVT III, Presto agitato EXPOSITION 09:33 – Theme 1 10:03 – Theme Group 2, Theme 1, in (v) 10:37 – Theme Group 2, Theme 2 10:58 – Theme Group 2, Theme 3 (Cadential Theme). Note the dotted figure borrowed from TG2, T1 DEVELOPMENT 12:49 – Theme 1, in I, modulating into (iv) 12:58 – TG2, T1, in F# min. At 13:04 shift into bass, and then into the Neapolitan at 13:10 13:23 – Dominant preparation RECAPITULATION 13:48 – Theme 1, without counterstatement, closing directly into 14:09 – TG2, T1, now in (i) 14:22 – TG2, T2, (i) 15:03 – TG2, T3 CODA 15:16 – Theme 1, broken at 15:21 by two violent statements in diminished 7th harmony 15:33 – TG2, T1 in bass, recalling development section, now in C# min. Moves into RH, with hushed and anticipatory LH accompaniment 15:48 – CADENZA, with quasi-recitative at 16:06 16:37 – TG2, T3 (Cadential Theme), followed by closing flourish
Wry Shields Pelo 2005 2007 2009 2014 2015
Voltando de um hiato de 5 anos, a banda Wry apresentou no Estúdio Showlivre sua internacionalmente aclamada mistura de shoegaze e britpop, ao vivo, dia 8 de setembro de 2015. #Confira a playlist com os clipes em HD da session da Move Over no Estúdio Showlivre: (http•••) #Curta a nossa página no Facebook: (http•••) #Siga-nos no Twitter: (http•••) #Veja e curta as nossas fotos no Instagram: (http•••) #E tem muito + do Wry no showlivre.com: (http•••) +Showlivre, movido à música: (http•••) Perfil: WRY é uma banda brasileira de rock alternativo, com influência de shoegaze e britpop. No Brasil lançou discos pela gravadora independente Monstro Discos e teve destaque em festivais, radio e TV, com vários singles que se tornaram hits na cena de rock alternativa do País, como Jesus Beggar, Come and Fall, In the Hell of my Head e Airport Girl. O disco Flames in the Head de 2005 teve produção de Tim Wheeler (ASH) e Gordon Raphael (The Strokes) Na Inglaterra assinaram com o selo inglês Club AC30, resultando no EP Whales and Sharks (2007), com single em vinil das músicas Sister e Different from Me. Ainda na Inglaterra, dividiram o palco com diversas bandas da efervescente cena local, como The Subways, The Cribs e Ash. Além de elogios de Kevin Shields, Deb e Colm (My Bloody Valentine) e de Steve Lamaqc, visionário DJ inglês, que inseriu uma das músicas do Wry na programação da radio BBC de Londres. Em 2009, no Brasil, lançaram pela Monstro Discos o álbum She Science com uma extensa turnê de lançamento. Logo em seguida, por motivos pessoais, entraram em um hiato que durou até o segundo semestre de 2014, quando decidiram voltar lançando a cassete Deeper in a Dream, com 5 músicas, pelo selo TerryCrew e online pelo selo WCR & Music e uma turnê de lançamento. Agora em 2015 começaram uma série de shows pelo Brasil e Europa, onde foram convidados para tocar no Primavera Sound - com 3 apresentações, Palco H&M, Palco RayBan e PrimaveraPro-, e também, Jacaranda em Liverpool e Londres no The Lexington, conceituada casa de show inglesa e ainda fizeram mais 4 shows em Portugal. A banda acabou de assinar com a gravadora americana Sonovibe Records e lançarão um vinil 12’’ edição Deluxe dos dois últimos EPs: Deeper in a Dream e Whales and Sharks, com surpresas, ainda esse ano.
Chopin Wry Dinu Lipatti 1923 1945 1948 1955 1965 1980 1981 1985 1993 2020
Ballade No. 1 in G minor, Op. 23 0:00 Ballade No. 2 in F Major, Op. 38 9:14 Ballade No. 3 in A-flat Major, Op. 47 16:31 Ballade No. 4 in F minor, Op. 52 23:54 Seattle Times Obituary from October 30th, 2020: "A Northwest music legend of international renown, Bela Siki died Thursday, at 97, after a lifetime of excellence on the concert stage and in the classroom. The University of Washington emeritus faculty pianist was famous for his elegance and taste — and also for the wry humor and pointed observations that shaped the generations of players who followed in his footsteps. Among them: UW School of Music faculty pianist and former director Robin McCabe, who called him “a master of the art of suggestion. I count myself extremely fortunate to have had his mentorship. Mr. Siki, the man and his music, truly made the world a better place.” Born in Hungary on Feb. 21, 1923, Siki made his recital debut at 16. A student of the eminent Ernst von Dohnanyi and Dinu Lipatti, Siki won the prestigious Geneva International Music Competition, the coup that launched his international musical career. His tours spanned Europe, Australia, South America and South Africa. The world’s top orchestras, from London and Amsterdam, to Geneva and Tokyo, invited him as soloist. Siki’s recordings were issued by five prominent labels. Siki was frequently invited to be a member of juries at such top international contests as the Leeds Competition. At the request of Schirmer Books, he wrote “Piano Repertoire: A Guide to Interpretation and Performance” (published in 1981). In 1965, Siki joined the piano faculty at the University of Washington, becoming an important part of the Seattle music scene — so important that his 1980 departure to Cincinnati made front-page headlines in this newspaper. In 1985, he returned to the UW until his retirement in 1993, when his farewell concert was heralded with an intermission tribute by then-UW president William P. Gerberding, and met with a standing ovation whose length and warmth proved the extent of the affection with which Siki was held in the Seattle music community. Siki is survived by his wife of 68 years, Yolande; his son, Francois (and wife Melissa) of Seattle; daughter Muriel Gabus (and son-in-law Christian), who lives in Switzerland; four grandchildren; and three great-grandchildren. A memorial event will be planned later. My latest remastering project features Hungarian-American pianist Bela Siki with his 1955 rendition of Chopin's 4 ballades. This project will be in 4 videos for each ballade, with this one Ballade No. 1 in G minor, Op. 23. I am genuinely surprised with how Siki was ahead of the trends when interpreting these Chopin pieces. Compelling musicality and deeply moving, complex story-telling. Bela Siki was born in Hungary in 1923 and moved to Switzerland in 1945, where he studied piano with the legendary Dinu Lipatti. Siki saw his career take flight with winning the prestigious 1948 Geneva International Music Competition and subsequently giving piano tours in Europe, Australia, South America, and South Africa. Siki moved to the U.S. in 1965 and joined the piano faculty at University of Washington in Seattle where he remained in large part until his retirement. Bela Siki passed away last year at age 97. Remastered By: Wayne Yang, USA - Taiwan
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- cronologia: Direttori d'orchestra (Nord America). Cantanti lirici (Nord America).
- Indici (per ordine alfabetico): W...