今日は 村冶佳織の コンサートを 聞くことが あります。
RELC ホテルの 講堂に 演奏しました。
この コンサートは すごく 楽しかった です。
村冶さんの 演奏は 完璧にだけ ではなく 先生の音楽発想と 音色は 感性なんで 相応しい です。
前半場の 最初番は Fernando Sor の 第九番作品で、 モーザッルトの テーマの 変奏曲 です。
いい曲引き ですね。
全部の 音符は はっきり 聴こえます。
次は Heitor Villa Lobos の 第一番の 前奏曲です。
これも よく 弾きますね。
旋律を はっきり 出せて ルズムも 安定に 弾きます。
次は 有名な 作品で Agustin Barrios の 教堂です。
その 作品は 三つの 楽章が あります。
第一章は 前奏曲です。
第二章は アンダンテ レリジョウソウ です。
最後の 章は アレグロ （荘重） です。
この曲を弾き方は 私と 違うけど、 よく演奏して あげます。
次の 番を 続く 前に 村冶さんは 曲を ちょっと 説明します。
Eric Clapton の 天堂の 涙 です。
この曲の編曲するのは 日本の 音楽家の 佐藤弘和 です。
この編曲は 複雑 ですけど ちょっと 簡単に なるの ほうが いいと 思います。
前半場の 最後の番は Carmen 組曲です。
これも 佐藤弘和さんに 編曲するのです。
今回は 原作の 同じに いい編曲です。
後半場に Federico Mompou の 編曲を 始めます。
いい演奏ですけど 僕が 気に 入れない です。
後で Tchaikovskyの 花の 円舞曲です。
これも 佐藤弘和さんに 編曲するので すごく 楽しいです。
最後は コーユンバーバー を 弾きます。
この曲は シ嬰短調の 調律を 使いますから 別の ギターを 使うの 必要です。
桜井正毅先生の ギターを 使ってから、もっと 強い 音色を 出て いきます。
アンコールは カーバーティナー と スーカイの タンゴーです。
スーカイの タンゴーは 私 大好き です。
コンサートのあとで、 村冶さんに サインして くださいます。
村冶さんは 美人なんで とても 親切な ひとです。
Saturday, June 18, 2011
Kaori Muraji Concert
I went to watch her concert at the RELC Auditorium.
It was a great concert and I enjoyed it.
Her technique was flawless, whether in terms of timing or articulation, but more importantly was her interpretation which was very good.
However the only disappointment was the auditorium's acoustic, half of the time I was hearing more of the air-conditioning's draft noise coming out from the vent above my head rather than listening to the beauty of her notes.
She started the concert with Fernando Sor's Opus 9 Variation on a theme by Mozart.
Every note sounded out clearly out and the timing was excellent.
Next she nailed the Prelude No.1 by Heitor Villa Lobos.
Following that was The ever famous La Catedral by Agustin Barrios.
Not the way I would play it but nonetheless sensitively interpreted, and musically executed.
Following that she paused a while to explain the next piece which was a contemporary number by Eric Clapton Tears in Heaven but arranged by a Japanese guitarist.
Though the arrangement was nice but I do feel that it tend to exhibit too much of virtuosity that rob the original flavour of the music.
Finally the 1st half ended with a medley of the Carmen suite.
This time round the arrangement had the original flavour and I like it a lot.
The 2nd half began a with a suite (6 movements) by Federico Mompou which I don't quite like.
(Just my taste)
And next was Waltz of the Flowers by Tchaikovsky which will be featured in her coming recording.
This arrangement was very well done retaining lots of the original flavour.
Finally she ended the concert with the Koyunbaba using Masaki Sakurai's raise fingerboard guitar.
It was needed as the tuning is C#minor.
Her original guitar wasn't a Romanillos as I have expected but by a Japanese maker Ono.
There are some mistakes in Koyunbaba but I still enjoyed it.
Finally she encored 2 pieces Cavatina by Stanley Meyers and Tango en Skai which was my favourite piece of the evening.
Following that, I got an autograph from her on her Bach's CD which I bought yesterday.
It was a very enjoyable concert.
She was not like typical Japanese musician which was unfamously known for being too technical.
Her playing was flawless but more importantly, her playing exhibit a touch of sensuality and sensitivity which I find is priceless.
It was a great concert and I enjoyed it.
Her technique was flawless, whether in terms of timing or articulation, but more importantly was her interpretation which was very good.
However the only disappointment was the auditorium's acoustic, half of the time I was hearing more of the air-conditioning's draft noise coming out from the vent above my head rather than listening to the beauty of her notes.
She started the concert with Fernando Sor's Opus 9 Variation on a theme by Mozart.
Every note sounded out clearly out and the timing was excellent.
Next she nailed the Prelude No.1 by Heitor Villa Lobos.
Following that was The ever famous La Catedral by Agustin Barrios.
Not the way I would play it but nonetheless sensitively interpreted, and musically executed.
Following that she paused a while to explain the next piece which was a contemporary number by Eric Clapton Tears in Heaven but arranged by a Japanese guitarist.
Though the arrangement was nice but I do feel that it tend to exhibit too much of virtuosity that rob the original flavour of the music.
Finally the 1st half ended with a medley of the Carmen suite.
This time round the arrangement had the original flavour and I like it a lot.
The 2nd half began a with a suite (6 movements) by Federico Mompou which I don't quite like.
(Just my taste)
And next was Waltz of the Flowers by Tchaikovsky which will be featured in her coming recording.
This arrangement was very well done retaining lots of the original flavour.
Finally she ended the concert with the Koyunbaba using Masaki Sakurai's raise fingerboard guitar.
It was needed as the tuning is C#minor.
Her original guitar wasn't a Romanillos as I have expected but by a Japanese maker Ono.
There are some mistakes in Koyunbaba but I still enjoyed it.
Finally she encored 2 pieces Cavatina by Stanley Meyers and Tango en Skai which was my favourite piece of the evening.
Following that, I got an autograph from her on her Bach's CD which I bought yesterday.
It was a very enjoyable concert.
She was not like typical Japanese musician which was unfamously known for being too technical.
Her playing was flawless but more importantly, her playing exhibit a touch of sensuality and sensitivity which I find is priceless.
Friday, June 17, 2011
I Musici Concert
I Musici, a famous Chamber Ensemble from Italia, came to Singapore over the last weekend and held 2 splendid performance.
I attended the concert on Sunday night; the programme was on Italian Baroque music, which of course included the famous The Four Seasons by Antonio Vivaldi.
That was the main reason I attended the performance and certainly something I did not regret at all.
A superb performance, that I gave my first standing ovation.
The musical performance was held at the School of the Arts (SOTA) concert hall.
The hall wasn't too big probably 300-400 seater? and this is actually good IMO as they didn't need any artificial amplification of the sound.
After a short wait, the I Musici maestros slowly emerged from the hidden door on the right.
There were 6 violinist, 2 viola player, 2 cellist and 1 double bassist and 1 harpsichordist in the 12 member group.
1st Violin
Antonio Anselmi plays a Nicolo Amati 1676 Cremona
Marco Serino plays a Nicolo Amati 1661 Cremona
Ettore Pellegrino plays a G. Cappa 1675 Saluzzo (not sure if he belongs to 1st violin or 2nd)
2nd Violin
Pasquale Pellegrino plays a G. Cappa 1691 Saluzzo
Claudio Buccarella plays a G.B. Ceruti 1796 Cremona
Gianluca Apostoli plays a G. Pressenda 1821 Torino
Viola
Massimo Paris plays a P. Guarneri 1697 Mantua
Silvio di Rocco plays a M. Blaurock (after A. Amati) 1574 Cremona
Cello
Vito Paternoster plays a L. Carcassi 1780 Firenze
Pietro Bosna plays a L. Storioni 1791 Cremona
Double Bass
Roberto Gambioli plays a X. Jacquet 1860 Mirecourt
Cembalo
Francesco Buccarella plays a F. Betternhausen 1993 Haarlem
What is amazing about this concert is that, they all used historic instruments for this concert include 2 Nicolo Amati (used by the 2 first violinist / soloist, Antonio Anselmi, and Marco Serino)
They began their programme with a Antonio Vivaldi (1678-1741) number: RV157 Concerto in G minor for Violin, Strings and Basso Continuo.
Wow, that's what I thought when I heard the power and unity of the ensemble.
Their playing is definitely 1st class.
Next to come was RV531 Concerto in G minor for 2 cello, Strings and Basso Continuo.
What a dialogue of the 2 soloist cello!
Vivaldi's dual concerto often encompass wonderful dialogue between the 2 soloist.
After that they performed a Violin Concerto in D major with Marco Serino as the soloist.
Marco's superb intonation at the high D notes region was amazing.
This piece had a soloist cadenza passage, which Marco nailed it down very well.
Finally the 1st half ended with a Theme and variation of the famous theme "La Folia"
by Francesco Geminiani (1687-1762)
The 2nd half was the famous The Four Seaons (Le Quattro Stagioni) with Antonio Anselmi as the soloist.
He had liberty at playing some of the soloist part, but the coordination was excellent.
Never once had they gone out of coordination.
Their understanding of one another was truly impressive.
I particularly like the Summer 1st movement and 3rd movement; I could hear the cuckoo and flinch answering to one another and flash of lightning across the summer storm sky.
However, the most well received piece by the floor, was Winter 1st movement Allegro non molto.
It was because immediately after that movement was played, everyone clapped.
Usually the audience waited for the end of the 3 movements before they gave applause; for the 4 seaons the entire 4 concerti but I guess this work was so wonderfully played that everyone applauded.
Finally after the entire thing, the audience gave a thunderous applause.
I too was so impressed with their performance that I gave them a standing ovation as many other audience did.
The I Musici went in and came out and line up in front of the stage.
The audience wanted more from them and they happily obliged to give us 1st encore piece by Rossini.
Each time the pieces were humorously introduced by the cellist Vito Paternoster.
Subsequently the process repeated and the audience gave thunderous encouragement to them for another encore piece.
They brought us another opera piece.
And finally after they went in they were brought out again by the thunderous applause and gave their final encore piece an Allegro by Vivaldi.
After the concert I went for the autographing session and told them personally "Grazie" my thanks to them for bring a wonder and enjoyable concert to us.
Vivaldi was my favourite composer amongst all the composers that I like and "Le Quattro stagoioni" of the opus 8 "Il Cimento del' armonia dell inventione" is the 1st classical piece that brought me into playing music. Following that I listen many other Vivaldi works including the L'Estro Armonico op3, La Stravaganza op. 4, La Cetra op.9, 6 flute concerto Opus 10, many other concerto for various instrument like 2 mandolins RV 532, lute RV93, mandolin RV 425. Trio Sonatas etc...
I would rate this as my most enjoyable concert to date.
Here are the pics:
The brochure
The autographed CD album booklet
Signing session
Signing session
Signing session
I attended the concert on Sunday night; the programme was on Italian Baroque music, which of course included the famous The Four Seasons by Antonio Vivaldi.
That was the main reason I attended the performance and certainly something I did not regret at all.
A superb performance, that I gave my first standing ovation.
The musical performance was held at the School of the Arts (SOTA) concert hall.
The hall wasn't too big probably 300-400 seater? and this is actually good IMO as they didn't need any artificial amplification of the sound.
After a short wait, the I Musici maestros slowly emerged from the hidden door on the right.
There were 6 violinist, 2 viola player, 2 cellist and 1 double bassist and 1 harpsichordist in the 12 member group.
1st Violin
Antonio Anselmi plays a Nicolo Amati 1676 Cremona
Marco Serino plays a Nicolo Amati 1661 Cremona
Ettore Pellegrino plays a G. Cappa 1675 Saluzzo (not sure if he belongs to 1st violin or 2nd)
2nd Violin
Pasquale Pellegrino plays a G. Cappa 1691 Saluzzo
Claudio Buccarella plays a G.B. Ceruti 1796 Cremona
Gianluca Apostoli plays a G. Pressenda 1821 Torino
Viola
Massimo Paris plays a P. Guarneri 1697 Mantua
Silvio di Rocco plays a M. Blaurock (after A. Amati) 1574 Cremona
Cello
Vito Paternoster plays a L. Carcassi 1780 Firenze
Pietro Bosna plays a L. Storioni 1791 Cremona
Double Bass
Roberto Gambioli plays a X. Jacquet 1860 Mirecourt
Cembalo
Francesco Buccarella plays a F. Betternhausen 1993 Haarlem
What is amazing about this concert is that, they all used historic instruments for this concert include 2 Nicolo Amati (used by the 2 first violinist / soloist, Antonio Anselmi, and Marco Serino)
They began their programme with a Antonio Vivaldi (1678-1741) number: RV157 Concerto in G minor for Violin, Strings and Basso Continuo.
Wow, that's what I thought when I heard the power and unity of the ensemble.
Their playing is definitely 1st class.
Next to come was RV531 Concerto in G minor for 2 cello, Strings and Basso Continuo.
What a dialogue of the 2 soloist cello!
Vivaldi's dual concerto often encompass wonderful dialogue between the 2 soloist.
After that they performed a Violin Concerto in D major with Marco Serino as the soloist.
Marco's superb intonation at the high D notes region was amazing.
This piece had a soloist cadenza passage, which Marco nailed it down very well.
Finally the 1st half ended with a Theme and variation of the famous theme "La Folia"
by Francesco Geminiani (1687-1762)
The 2nd half was the famous The Four Seaons (Le Quattro Stagioni) with Antonio Anselmi as the soloist.
He had liberty at playing some of the soloist part, but the coordination was excellent.
Never once had they gone out of coordination.
Their understanding of one another was truly impressive.
I particularly like the Summer 1st movement and 3rd movement; I could hear the cuckoo and flinch answering to one another and flash of lightning across the summer storm sky.
However, the most well received piece by the floor, was Winter 1st movement Allegro non molto.
It was because immediately after that movement was played, everyone clapped.
Usually the audience waited for the end of the 3 movements before they gave applause; for the 4 seaons the entire 4 concerti but I guess this work was so wonderfully played that everyone applauded.
Finally after the entire thing, the audience gave a thunderous applause.
I too was so impressed with their performance that I gave them a standing ovation as many other audience did.
The I Musici went in and came out and line up in front of the stage.
The audience wanted more from them and they happily obliged to give us 1st encore piece by Rossini.
Each time the pieces were humorously introduced by the cellist Vito Paternoster.
Subsequently the process repeated and the audience gave thunderous encouragement to them for another encore piece.
They brought us another opera piece.
And finally after they went in they were brought out again by the thunderous applause and gave their final encore piece an Allegro by Vivaldi.
After the concert I went for the autographing session and told them personally "Grazie" my thanks to them for bring a wonder and enjoyable concert to us.
Vivaldi was my favourite composer amongst all the composers that I like and "Le Quattro stagoioni" of the opus 8 "Il Cimento del' armonia dell inventione" is the 1st classical piece that brought me into playing music. Following that I listen many other Vivaldi works including the L'Estro Armonico op3, La Stravaganza op. 4, La Cetra op.9, 6 flute concerto Opus 10, many other concerto for various instrument like 2 mandolins RV 532, lute RV93, mandolin RV 425. Trio Sonatas etc...
I would rate this as my most enjoyable concert to date.
Here are the pics:
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