title: NO WAR for the WOLFOWITZES

author: Anne Midgette

text:
"In life, democracy.
In art, aristocracy."
--- Arturo Toscanini
----------------------------
On 26 September 2000, the so-called Great Mickey (Mouse) Richter
performed a
'plug in', heroically, on behalf of Klaus Heiman [sic], the so-called
Authority behind ---naXos---:
http://listserv.cuny.edu/Scripts/wa.exe?A2=ind0009D&L=opera-l&P=R10995
Thus spoke the authority:
"Most singers understand that recording opera is extremely expensive,
especially under our perfect studio (not live) conditions and are
happy with our modest flat fees. Look at our Fidelio cast! The bit
about being allowed only two or three takes and no chance of fancy
editing is nonsense ... artists are allowed as many takes as necessary
to get the music right. However, having said that, we expect our
artists to be well prepared unlike many big-name artists who rely on
the producer and editor to produce a good performance."
We ask:
1. Mr. Heiman seems to have contradicted himself by simultaneously
affirming that his artists are indeed allowed "fancy editing...to get
the music right" and ranting against the "many big-name artists who
rely on the producer and editor to produce a good performance." What
exactly is the difference? Isn't fancy editing what earns producers
and editors their bacon, be it at naXos or Lucifer Classics? Or is Mr.
Heiman whining because Lucifer's console is bigger than his?
2. Mr. Heiman seems to have fallen prey to the epidemic virus of
unfounded critical prejudice and the politics of defamation and
character-assassination (the rate of infection appears to be
abnormally high within the familial fraternity of
American/Anglosaxon/Anglophile critical bedfellows). His words can be
easily formulized: "Big Name + Big Label = Little Music (or Falsity)".
No need to state the converse: "Little/No Name + Little Label = Big
Music (or Truth)". Who exactly are these many unprepared big names?
And how, where, and when?
3. A few years back, the authority was also quoted in "The Boston
Globe" - this other 'plug in' courtesy of
CareerFaggot-turned-critic-turned-promoter Richard "local church mice
are world-class people too" Dyer. Lately,
Dyer has been heard advocating for the equal part Charity/Chimpanzee
Acts that are The Three Mo' Tenors, Andrea Bocelli, and Charlotte
Church.
["Maestros of the Pen: A History of Classical Music Criticism in
America", by Mark N. Grant, Northeastern University Press, 1998, ISBN
1-55553-363-9:  n-o-t  o-n-e  f-o-o-t-n-o-t-e  on Dyer --- and this
after a 25-year+ career behind him dedicated to latter-day
Anglo+Judeo+Homo-centric bitchery and dishonesty; and just as long
dedicated to sobbing after one Lucine Amara.]
But back to the authority:
"The market is shifting away from name artists, and the average music
lover is confused by bins crowded by recordings. What is the
difference between Riccardo Muti, Claudio Abbado and Riccardo Chailly
in a given piece? Whatever the difference is, it doesn't mean anything
to the average music lover who gives up and chooses our recording
because it is more reasonably priced, and the performance is just as
good. It is an absurdity for Plácido Domingo to sing 'The Barber of
Seville'; our recording is a better performance of the opera. If
Cheryl Studer were to come to me and ask to sing some of the operas
she has recorded, I wouldn't let her." {Author: Richard Dyer / Date:
19.01.1994 / Page: 61 / Section: Living Arts}
We comment and ask:
3A. Funny but we bet that the suits at Lucifer Classics swear
t-h-e-i-r  barber gives a better haircut. Not that some of us (not
nearly enough) give a damn about Sire Domingo, at least not since his
early 90s (and thereafter) publicity and musical circus prostitutions.
3B. Let us cut to the chase: we propose that one big reason for
the present-day crisis is that the ever-so-important anecdotal
experience of the live stage experiences  a-n-d  documented
legacies of certain important big-names (those immediately preceding
the generation of today's so-called "A List") literally fell through a
 g-e-n-e-r-a-t-i-o-n-a-l  c-r-a-c-k.  In the realm of opera, this
previous generation came "too soon" after the Marias and the Renatas
and the Joans and the Montserrats and the Vickys and the Mirellas and
the Regines and whoever....and "too late" for today's democratic
free-for-all (think of the deregulation of the airline industry in the
U.S.A. - surely it is cheaper to fly and with more options but the
experience is ghastly) in deadly mix with the quick fixes and
seductions of Hyper Public
Relations, Hyper Text, and Cyberspace. Few artists can survive without
some form of critical and popular encouragement. It became fashionable
sport (nah, Mob Rule - nah, Olympics) for too influential but equally
ignorant, tin-eared and incredibly, corrosively partial critics and
their bedroom partners to dismiss these artists' work faster than they
could say Compact Disc (and worse: to fully ignore too - consider the
phenomenon that is the Phenomenally Perverse Eclipsing by the press of
a certain
v-e-t-e-r-a-n  soprano whose stage appearances are pre-judged to be
just that: Appearances: Phantom Ships In The Night, when noticed ----
or to fully  d-e-n-y  the usual "critical analysis" - is that what it
is? - accorded minor lights ("Monsieur G could not sustain pitch
b-u-t  the Sicilian
understanding" [the same understanding which, according to the
experts, eludes fellow Southerner Riccardo Muti] - "Madame F [no other
soprano before or during Renée is known to have ever "taken
chances"] shrieked unnaturally, flatting two high A
naturals and her overall intonation was insecure too  b-u-t  the
gowns" - "Hausfrau V was in customary squally voice again last night
and her top sounded tired, though no fault of her own,  b-u-t  her
sofa scene was comfortably moving" - "Irish-American AFL-CIO Heroine F
[who, by the by, tries, and is carded, to "sing" "everything"] [no
other soprano before or during Lauren is known to have ever "taken
chances"] could not sing Reiza's music [she replaced
DeVoid, who had also cancelled all engagements in Vienna, and for the
2nd season in a row - not a bad thing when you try to remember those
Scheiße AIDAs at the MET where Crayola connected them dots and none of
the music - not to mention the brutal stupor that were
Pavarotti and the ever-accomodating Levine]  b-u-t  the visceral
collision") - "Madame Shout squalled an Elektra consistently below
pitch (that's about 75% of your evening) but no matter: the visceral
excitement of some level or other of on-pitch faithfulness to and by
die Juden is good enough for a triumph" - "Madame Attila spreads her
top like butter on warm bread but her cool, Nordic, blonde looks
carried the night" - "The consensus that Madame
Shorties could not really sing Konstanze is questionable for she is a
gifted singer......but more importantly, her name is not Cheryl
Studer" - "Monsieur Hiccup proved once more that you can crack loud
and wide before a Manhattan audience of tourists as long as your name
is not Cheryl Studer; but more importantly, the loss of 50-plus
pounds, in
cocktail with a widely broadcast the-dog-ate-the-homework medication
Sob Story,
are sufficient to satisfy the most discriminating demands of
the-below-IQ-of-50-and-minus set and anyday's coverage of the Arts in
the
Jew York Times" - "Maestrisssssimo of Legend, Gilbert "Lego Blocks"
Kaplan, swears he can conduct but one piece of music and one piece of
music alone but, as one of "our own", full coverage by the Jew York
Times is fully warranted - all that plus a recording under the
syphillitic Deutsche Grammophon" ---you know the skit--- why yes,
ladies and gents, even  these acts of levitation are denied Midland,
Michigan's Prodigal Daughter
--- But then, taking into account the desperate [in vain] efforts
toward reconstruction, toward opening new markets (undue over-exposure
in Arts journalism - over who counts - over what counts - being the
final vestige of their former Imperial selves), what is the
increasingly brilliant, independent-minded, impartial, cultured,
mature, and sympathetic ---right?--- Anglocentric Universe to do with
a creature who refuses categorization? - of what value or use is the
lady? - of what value or use is the artist? - who is neither English
(nor pretender)
n-o-r  r-e-s-i-d-e-n-t  n-o-r  c-i-t-i-z-e-n  n-o-r  D-a-m-e  nor
Faerie
Queene nor Greek (nor pretender) nor black-and-blue (nor pretender)
nor German (nor pretender) nor Austrian (nor pretender) nor
Kammersängerin nor French (nor pretender) nor Cinema Paradiso Italian
(nor pretender) nor Eastern European (nor pretender) nor
Spaniard/Latin American bombshell (they are the flavor of the moment)
nor Argentinian Tango nor East Coast Yiddishbbuk nor Anonymous 4 nor
Asian nor Canadian nor Aussie --- nor, most importantly, deemed
sufficiently  A-m-e-r-i-c-a-n  --- n-o-r  r-e-s-i-d-e-n-t  nor
MET-centric nor Manhattan/Queens/Brooklyn-ette nor Broadway belcher
nor Saint Francis-can nor Angelena nor Chicagoan nor Texan nor New
Mexican nor
Washingtonian nor Saint Louis Gal nor panderer nor tall nor thin nor
heroine-overdose chic nor blonde nor Blonde Ambition nor grotesque nor
grotesquely zaftig nor power hungry nor faghag nor lesbian nor cherub
nor hairy chested nor fashion rag nor glamour puss nor aspirant nor
aspirate nor potential nor promise (what you hear is what you get) nor
apology nor preserved museum mummy nor soccer mum nor sucker nor trend
nor hip nor H.I.P. nor castrata nor contralto nor countertenor nor
counterculture nor lyric mezzo nor soprano on the verge of a mezzo
breakdown nor vice versa nor chanteuse nor soubrette nor starlet nor
coquette nor canary nor woodbird nor nightingale nor tic toc tic toc
tic toc nor geriatric nor vanity record label owner nor
transposer-conductor-intendant-voicecompetitor-crossover-moviemogul-realestatemagnate-restaurateur-sexsymbol-jetsetter
(all in one and one for all and all in a night) nor lazy nor shrinking
violet nor daddy's lil' lass nor mystic nor minimalist nor hyperbole
nor Überfeminist nor Konzept nor dreams and fables nor metaphysics nor
philosopher ("Philosophier' Er nicht, Herr Schatz...") nor scholar
(nor pretender) nor didact nor pedant nor peasant nor composer (you
know, like Callas, who wrote all them masterpieces now falsely
ascribed to one Bellini, one Donizetti, and one other Verdi) nor
paladin of the glorious avant-garde nor rarity rat nor rat tat tat nor
archaeologist nor room temperature nor Sponsored By Talbots nor
Anglican Service nor Vivaldi postcard nor Handel MBA [opera's answer
to the 80s business phenomenon - everyone has one] nor Britten MD nor
Janácek Nobel Prize nor cliché nor stunt nor parody nor caricature nor
Disney nor Ozzie & Harriett nor Will & Grace nor smiley face nor
horseface nor humor monger (in any event, not the shtick you grew up
with) nor camp nor marketing-promo tramp nor trademark nor
image-chaser nor
sensation-seeker nor Eurogarbage nor ez-listenin' nor pleasure ride
nor automatic cruise control nor sentiment-al nor cripple nor married
to one nor victim nor tearjerker nor nostalgia trip nor tourist trap
nor good-cause nor fund-raiser (so to speak) nor social worker nor
Katie Couric nor Walk For A Cure nor We Are The World nor Sound Of
Music nor Under nor Over The Rainbow nor Rainbow Coalition nor
Summertime nor Supper Time (nice tunes....if you can) nor fruit salad
nor cotton candy nor peaches in double cream nor café au lait nor dark
chocolate nor civil/human rights centerfold nor gulag survivor nor
married to one nor refugee nor married to one nor UN Ambassador nor
married to one nor member of any one precious special interest group
(you know who you are)  n-o-r  m-a-r-r-i-e-d  t-o
o-n-e  n-o-r  s-t-r-a-t-e-g-i-c-a-l-l-y  w-e-d-d-e-d  nor politician
nor married to one nor inter-national political crisis parasite nor
ad-minister of propaganda nor grassroots peace activist (you do know,
don't you, that them ancient favourite warhorses of yours composed by
Beethoven and Brahms and Wagner and Liszt were inspired by the
Israeli-Palestinian conflict --- ask Mehta and Señor Honorario und
Tolerant Barenboim --- by the
by, in a recent Chicago program of Hugo Wolf's Lieder, the "Great
Jewish Musician" [and we thought it un-Klezmer to allude to this
musician's other career] in harmony with his German/Christian
sub-ordinates - a "physically handicapped baritone" and an "underpitch
soprano" (see "Kubiak, David") - were heard "r-e-c-l-a-i-m-i-n-g  the
true meaning of the 'heilge Deutsches Kunst'" --- again, see "Kubiak,
David" --- please note that no one else before GJM had accomplished
nearly as much, and in a mere evening - of course, we know now that
Wolf wrote his songs inspired by populations everywhere holding hands
- to promote future handholding) nor married to one nor Adler Fella
nor Crayola Opera Program alumna nor
Cardiff-VeraRosza-Domingo-GeorgeLondon-RichieTucker-BelleSilverman-Albanese-Horne-Scotto-vonStade-Heggie
groupie nor traveler along the Anglo Silk Road --- the
LandOfOz-BerlinStaatsoperUDL-LaMonnaie-ENO-Glyndebourne-NYCO-Glimmerglass-StLouis-SantaFe-SanDiego-DallasO-HoustonGO-FloridaGO-n-such
workshop ghettoes.
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
S-I-L-E-N-C-E = D-E-A-T-H
Enter into the equation the contemptibly stupid (discerning,
discerning) audiences who (wanted to and still do) believe everything
they read...and voilà, the science gives the (false)
i-m-p-r-e-s-s-i-o-n  of yielding the expected (forced) hubris. Then
add the ones who stayed away from attending these artists'
performances because they were simply told to do so (in so many
words). Never mind the  c-o-w-a-r-d-s  who  n-e-v-e-r  attended but
who later saw fit to publish obituaries passing for legitimate
eyewitness reports (see "Maestros of the Pen: A History of Classical
Music Criticism in
America", 1998, by Mark N. Grant, and look up "Dyer, Richard"). Never
mind the  h-y-p-o-c-r-i-t-e-s  who, in addition to prematurely and
irresponsibly issuing death certificates (see "Davis, Peter G."),
years later were caught with their pants down performing auto-erotica
to the tune of "Returns Triumphantly!" (see "Davis, Peter G."). Little
wonder many ceased listening --- and begin listening with others' ears
they did.  But leave it to the bloodless (and if you don't have blood
you don't need a heart and if you don't have blood you will find
yourself thirsty, very thirsty, guaranteed) - it is in fact their
exclusive province - to accomplish such feats.
No, they were/are not Maria or Renata or Joan or Leonie or Gwyneth and
why should they be? --- Take the particularly complex case of a
fascinatingly complex, yet elemental, yet thoroughly modern, and yet
not, artist (and most private woman), Cheryl Studer --- was/is the
backlash really for l-a-c-k  o-f  q-u-a-l-i-t-y  or  l-a-c-k  o-f
a-r-t-i-s-t-i-c  w-o-r-t-h?
A decade or so later there's a
perceptible sense of panic and fatigue among critics, industry folk,
and fans alike, most
shockingly noticeable within the gated communities of the old and the
jaded, who can be heard loudly cheerleading anyone (and we mean
anyone)....
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[God Willing.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[God Willing.]
[Young Ones - Do not be duped by the hollow enthusiasms of the age ---
ever seen a sad clown?]
[But now, oh today....Music and Art....or rather, what passes for
it....and every new product or stage appearance tossed our way by the
Star System we hate to love (certainly a system long preceding but
fatally ran to the ground by the prissiness of political correctness
and the Gestapo tactics of the instinct/thought-control police, in
concert with the 'World Music Congress' - the Rudases, the Jonases,
the Mehtas, the Holenders (whose nose of Middle Eastern provenance is
long and arrogant enough to sniff all the way to Berlin), the Levines,
the Maazels, the Heymanns, the Previns, the self-professed rap-music
fan von
Dohnanyis of the world (uncle
must be spinning in his ashes - ladies and gentlemen, more often than
we are led to believe, death CAN be in vain), The Three or Four or
Five or Six or Seven Whores
- we are losing count -, Best Friends & Co. Inc. Ltd. S.A. GmbH - the
Ozawas and the Gergievs too are major shareholders (and puppets) in
this "Juderei" - that's right, jUdErEi - we repeat: all this JuDeReI)
- i.e., by
the Star System of Bocelli, of course, or Hampson (now a pretty much
undisputed by-the-book Straussian, Wagnerian  a-n-d ...hear
hear...Verdian...of Stature, don't you know) or the Alagnas (a
f-a-k-e recording of Verdi's -Trovatore- for Sire Tony/EMI --- Grecian
Approximation No. XXV - we have lost count - has not sung Leonora
where it counts, on the stage) or the other Bocelli comrade,
Fleming....well, all of it  h-a-s  sudden Meaning and Necessity, so
the public relationists tell us....the Magic courtesy,  n-o-t  because
of
especially great voices or exceptional interpretive forces or
personalities or even of remotely acceptable  n-e-w  music, but
because:
NUMBER 1:  their names are  n-o-t  Cheryl Studer
and
NUMBER 2:  ...*in good portion and out of
proportion* the promo op-catchpenny that has become 9.11 --- a
monstrous crime monstrously debased by the Infernal Spinning Wheel of
commerce and avarice and revenge and murder (widely disguised as
justice) --- a tragedy now symbiotically hijacked to peddle everything
from Arms Races to Far Right-ism (see "Sharon, Ariel" --- how come we
don't hear strings of consistently shrill High Cs crying for  h-i-s
removal? --- this time, however, we applaud Barenboim for being
practically the only one publicly playing fiddle
on the roof of the problem) to Nationalism to Requiems to
Anglo-Zionist Terrorism --- the latter conducted both musically and
extra-curricularly, most prominently with (critical mass-destruction)
heavy-metal made in the squeaky clean U.S. of A. and paid for with
y-o-u-r  humble American tax dollar (as if you had a choice) and the
blood of  y-o-u-r  sons and daughters. --- So why won't Israel and its
Business/Washington lobbyists fight their next door neighbors, which
includes Iraq, all by themselves and with  t-h-e-i-r  o-w-n  currency
and leave us all  a-l-o-n-e  a-n-d  i-n  p-e-a-c-e?]
[Consequently, would that  t-h-e  o-t-h-e-r  terrorists went home
too.]
[In other words, and in order of relevance...
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
]
[Discuss, if you dare.]
[About the new studio-product (this is what we call them fakery, no?)
from EMI
---Idomeneo---, we are beginning to read puff like "a recording that
n-e-e-d-e-d  to be made." --- after all, it
contains the antipodean missionary of all things English, Sire
Charles; British Will o' Wisp Bostridge; Bocelli collaborator
Frittoli; and, to top it all, the New (Age) Callas - the
organically-grown, FDA approved, anodyne, pastel, drab as
damp cardboard, and dull as fishwater LetItRain Hunt(hyphen - I
married a techie with composer pretensions + Cancer Sob Story)
Lieberson.  But do not for a second believe the ad-men....for this
product is yet more of the ho-hum variety.]
[And oh yes, LetItRain is an  "a-r-t-i-s-t" - and a part-time one at
that -please please please notice that very very very few are].
[About the new DECCA ---Cocksucker Blues---, we are already reading
fluff like "A New  F-i-r-s-t  L-a-d-y  of Bel Canto - Renée Fleming
very nearly manages to shake the insistent ghost of Maria Callas."
(see "
www.andante.com
") --- But we (not enough of us) are neither deaf
nor naïve nor stupid. You see, n-e-v-e-r  e-v-e-r  f-o-r-g-e-t  that
sopranos of the calibre of Cheryl and Maria, bruised of voice and
heart or not, n-e-v-e-r  e-v-e-r  s-t-o-o-p-e-d  this low (below the
navel) in the style
department. But, after all, the new product (scooped up 3 years ago)
is being sold under a neon sign that reads "Bel Canto", complete with
a $2 rebate incentive  b-e-l-o-w  its reduced repo artistic sale
value. You know, in the manner of the stereo-typical toupéed and
polyester-clad used-car salesman - insincere, cajoling, slimy,
slippery, sleazy,
sticky -- and that's the singing -- a raw deal.]
Blitzkrieg-style Public Relations, Marketing, and now
Blue-Collar/Working-Class Cheap Labor (and the aesthetics, or lack of,
of - see "Flanigan, Lauren" - see "Radvanovsky, Sondra" - "see Goerke,
Christine" - see "Slavs") have been summoned to the cause of salvaging
something or other from the debris of these self-appointed
"opera/music lovers'" own making. And so the armies of
businessmen have landed triumphantly with portfolios chock-full with
the truly untriumphant, the amateurs, the pedigree-less, the
unaccomplished, the homogeneous, the vocally faceless, the emaciated,
the pretty, the photogenic, the grotesque too, the church rodents, the
H.I.P.-voiced, the H.I.P.-mannered, the pedigree-less, the correct,
the obedient, the mega amplified, the firefighters, the policemen, the
construction workers, the factory slaves, the custodians, the
industrial quality, the white trash, the divas next door; the divas
next door with the cute children as gimmicks; the divas next door who
are so nice and behave so well and who must reassure us about it; the
divas next door who seek psychotherapy and then have the distaste to
announce it; the divas next door who relax to the Dixie Chicks; the
vedettes next door who love all that jazz and then scat and squat
through  e-v-e-r-y-t-h-i-n-g  that is European  a-n-d  Classical (and
not) --- but then, in music that requires precisely that, the phlegm
gets in the way of that thang called swing; the divas next door who
thrive on
wrestling, meatloaf, and fish n' chips --- and show it; the divas next
door who marry well, transgenderly; the divas next door who, although
already in their 40s and beyond, must appease us by "taking baby steps
to protect their voices" and who swear that that's why they will still
be
in their prime in extreme old age; the divas next door who swear we
will want to hear them then; the optically challenged, the physically
handicapped, the sob stories, more sob stories, the pedigree-less, the
pedigree-less, the pedigree-less, and yet more of that. And some more
sob stories. And not to be missed: the Teddy Bears (think of - well
not really, since you can't - the cancellations, the vocal troubles,
the gross embarrassments of stunt-ed live programs - everything from
Beg Your Indulgences to Public Regrets to Tosti to Walkouts - by, for
instance, Juan Dieguito Flórez, Domingo, Terfel and Heppner - no
matter - the insulted audiences correspond to their cheating with
tears and Standing Os --- but no surprise here, for it is nothing but
another perversion of our desensitized, demoralized, diseased,
frivolous, diluted, and vulgar days --- f-u-c-k, even Joseito
"Leukemia Sob Story" Carreras became the object of one of these
demonstrations - and this in the enlightened and improved and newly
innocent and important again (so it
goes) Salzburg of the summer of two-thousand-and-two-after-christ).
And thus today's so-called "A-List" (really, nothing but a paid
announcement transmitted by the "Ass-ociated Press"), the P®ops, the
Pops, the Popp Clones, the Grümmer Clones, the Callas Clones, the
Tebaldi Clones, the Steber Clones, the Schwarzkopf Clones, the Price
Clones, the Cut n' Paste Composites, the Fischer-Dieskau Clones, the
Furtwaengler Clones --- poor, pitiful facsimiles  a-l-l ---, the
Little Names, the Wannabes, the Crossover Hustlers, the Bubblegum, the
New Age Mongrels, the
Postmoderns, the Postmortems, the Multiculturalists, the Community
Outreachers, the Soundbites, the Marketing Love Couples/Traumpaars,
the Divine, the Fabulous, the Delicious, and the Little Labels That
Could all have it relatively easy in comparison to that preceding
generation. And the critical standards --- what standards? - whose?
--- have reformed, or rather, have doubled and tripled and....But
injury is often prone to insult. Hell, standards have liquified and
then evaporated vis a vis the new generation. It is no longer Sound
Music Criticism or Analysis but Lowest-Common-Denominator Public
Relations
Spin [and worse: the fixation with that elusive something known as
---technique--- technique and organization and perfection as ends in
themselves: music-making as athletic match: missing the forest for the
trees --- but this is another angle for another day]. So much so that
it has become strangely and suddenly  K-o-s-h-e-r  once more (Jesus!,
how many more times are we going to hear about market
over-saturation?) to make records (remember when you and I were
advised to swiftly  r-e-j-e-c-t, wholesale, them records [or
anything, for that matter] by or with Cheryl Studer becuz they were
everything from digital to illusion to un-necessary to in-competent to
im-personal to contrived to in-experienced to un-felt to
perfect to dull to null to this to that to that to this - beautiful
even? --- you know, the toxic byproduct of uncontained Kapitalismus -
the same Kapitalismus that gave us such goodies as Meyerbeer,
penicillin, opera glasses, the megaphone, the horn, the microphone,
the photograph, the ("fideistic") Mapleson cylinders, the phonograph,
the light bulb, animated pictures, the telegraph, the typewriter,
carbon paper, the telephone, the clock, the metronome, the radio, the
television, faster trains, the automobile, the jet plane, robots,
rockets, missiles, bombs, Star Wars, frying bacon, monaural sound,
analog tech, reel-to-reels, 8-tracks, the cassette, the LP, stereo
sound, surround sound, faxes, overnight mail, the (unfortunate and
devastating to the testimonials of a vast majority of contemporary
artists) digital tech, the PC, laptops, lapdogs, the CD, the walkman,
the minidisc, the CD-ROM, the famous (pitch re-engineered) Richter
CD-ROMs, the (disgracefully influential,
sound-engineering-bag-of-tricks-wise) DECCA/Solti Ring, naXos,
andante.com
, 12,000 other music websites, the pirates, special
effects, the VHS, HTML, the WWW, Apples, TV dinners, Windows, the cell
phone, the LD, the DVD, MP3s, Opera In The Original (that's English to
you,
naturally and perennially), CNN operas, Vilar titles, Vilar
entitlements, multitasking, micromanaging, acoustically enhanced opera
houses and concert halls, euphemisms, virtual reality, cloning,
artificial intelligence, Callas martyrs, Caruso, Ponselle, Callas,
more Callas, Flagstad, Nilsson, more EMI Callas
re-re-re-re-re-releases, yet more Sony Glenn Gould
re-re-re-re-re-compilations, etc. - and of course, the same
Kapitalismus that has transmitted the Oh So Long Anticipated, Oh So
Extensive, Oh So Very Important --- and, at last!, Oh So Necessary ---
recorded statements from, for example and randomly, Danny Boy
Barenboim,
Zubin, Renée, Aprile [these days reduced - or is it enhanced? - to
croon, pathetically, opposite Danny Boy The 9.11 NYPD Singin' Cop],
Alessandra, "Marilyn Monroe Purr" Debbie (see "Ross, Alex") - (a
f-a-k-e  recording of R. Strauss' -Friedenstag- for Sinopoli/DGG ---
"...Deborah Voigt's Maria [which was in fact dubbed in after the
recording was completed, after
the original soprano had dropped out]...." -'Fanfare', Sep/Oct 2002,
p. 214), Cathy, Kathy, Jane, Ruthie Ann, "Veteran Wagnerian" Karita
(see CareerFaggot-turned-critic-turned-promoter
"Tommasini, Anthony") - (a  f-a-k-e  recording of Schoenberg's
-Gurrelieder- for Sire Simon/EMI -
http://andante.com/magazine/article.cfm?id=17979
), Violeta, Waltraud -
and much much more) ----- for naXos, Rare Opera,
Mom & Pop, even for Lucifer Classics.  No matter.
[But......we are afraid it's  t-o-o  l-a-t-e  --- because the
registers, they ain't ringin' (and all too often, we regret to
announce, not just the cash ones).]
3C. How exactly is naXos alleviating the crisis of overcrowding and
confusion among consumers? In opera titles alone, they have recorded
yet  a-n-e-w:  Boheme, Fidelio, Butterfly, Tosca, Flying Dutchman,
Barber of
Seville, Aida, Rigoletto, Magic Flute, and on and on and on. Correct
us if we are wrong but these bread and butter works were not lacking
in existing documentation, whether historical or not, hysterical or
not, distinguished or not, low end or not. And the combined sad
efforts from naXos simply do not measure up. Why pay less, then, when
you can get better and more for twice the price?
3D. "Oh but it does mean something, it does", we say. So the "average
music lover" has become the barometer of quality and relevance? Indeed
they don't deserve Muti, Abbado, or Chailly (however much they deserve
the three-minute-aria-cum-top-ten-hit). And is the Hulun Hu Tympany
Orchestra really better than Amsterdam, Dresden, Berlin or Vienna?
(although, truth be told, too many of us have heard the Vienna, for
one, play and sound like a colony of monkeys under the stick shift of
a colonized but loyal to the crown, and thus celebrated, Indian
cabbie).
3E. And Cheryl Studer, she's not one of the unwashed, is she? Were
they her contemporaries, would Mr. Heiman have singled out Callas,
Tebaldi, Sutherland, or Caballé, to name but a few, in this manner?
After all, they were/are *Daughters Of Lucifer*, to our benefit.
Presumably naXos treats its "illustrious" roster with more dignity,
respect, and vocal support. Speaking of vocal support, perhaps the
crafty (and reptilian) Mr. Heiman is unaware that *his own* Floria
Tosca (Madame Nelly Miri-a-e-i-o-u --- "más sabe el burro que tú")
reportedly bombed in the same role in Orange, France in the year 2000
a-n-d  as Norma at the ROH, London, also in 2000. However, the Tosca
and Norma catastrophes strangely failed to make a dent in the armory
of the "cognoscenti" and their media spokespeople. And it is not so
widely known that Madame M has encountered more stage catastrophes
since then. For those not "in the know", Madame M is said to be the
Bastard Child of the Incestuous Union of the Twins Callas and Heiman,
now all grown and matured into a very 'Rare Opera' singer complete
with numerous fancifully edited recordings to her name. No matter.
4. Many of us have heard naXos' Caruso edition (not that the
long-deceased tenor is remotely a Heiman discovery/original). We
wonder what Mr. Heiman's authoritative producers and editors (and his
Public Relationists) would have made of the great man today for
violating at least a couple of standards of sound conduct:
throat-clearing smack in the middle of a take and a glaring false
entry at the beginning of another? And what of the poor pianist?
Good God.
----------------------------
Considering the Great Meltdown of new opera recordings on Compact
Disc from the Universal Classics family of labels (DGG, DECCA,
Philips)....and now apparently EMI Classics too....let us take a long
and hard (just as you like it, in fact) look at the following
inventory ---
* Title role in Donizetti's Lucia di Lammermoor, rec 8/90, London SO,
Marin, Lucifer Classics
* Hanna Glawari in Lehar's Lustige Witwe, rec 1/94, Vienna PO,
Gardiner, Lucifer Classics
* Countess in Mozart's Nozze di Figaro, rec 1-2/94, Vienna PO, Abbado,
Lucifer Classics
* Countess in Mozart's Nozze di Figaro, rec 5/91, Vienna PO, Abbado,
Lucifer Classics VHS
* Title role in Rossini's Semiramide, rec 7/92, London SO, Marin,
Lucifer Classics
* Florinda in Schubert's Fierrabras, rec 5/88, Chamber Orch of Europe,
Abbado, Lucifer Classics
* Title role in R. Strauss' Salome, rec 12/90, Deutsche Oper Berlin,
Sinopoli, Lucifer Classics
* Gilda in Verdi's Rigoletto, rec 6/93, Metropolitan Opera, Levine,
Lucifer Classics
* Gilda in Verdi's Rigoletto Act III, rec 9/91, Metropolitan Opera,
Levine, Lucifer Classics
* Desdemona in Verdi's Otello, rec 5/93, Opéra Bastille, Chung,
Lucifer Classics
* Violetta in Verdi's Traviata, rec 1/91, Metropolitan Opera, Levine,
Lucifer Classics
* Elisabeth in Wagner's Tannhäuser, rec '88, Philharmonia, Sinopoli,
Lucifer Classics
* Elisabeth in Wagner's Tannhäuser, rec '89, Bayreuth, Sinopoli,
Lucifer Classics
* Senta in Wagner's fliegende Holländer, rec 1/91, Deutsche Oper
Berlin, Sinopoli, Lucifer Classics
* Gutrune in Wagner's Götterdämmerung, rec 5/89, Metropolitan Opera,
Levine, Lucifer Classics
* Title role in Floyd's Susannah, rec 3/94, Opéra de Lyon, Nagano,
Lucifer Classics
* Marguerite in Gounod's Faust, rec 2/91, Toulouse, Plasson, Lucifer
Classics
* Salomé in Massenet's Hérodiade, rec 11-12/94, Toulouse, Plasson,
Lucifer Classics
* Donna Anna in Mozart's Don Giovanni, rec 9/90, Vienna PO, Muti,
Lucifer Classics
* Konstanze in Mozart's Entführung aus dem Serail, rec 4/91, Vienna
Symphony, Weil, Lucifer Classics
* Queen of the Night in Mozart's Zauberflöte, rec 7/89, ASMF,
Marriner, Lucifer Classics
* Giulietta in Offenbach's Contes d'Hoffmann, rec 87/88/89, Dresden
Staatskapelle, Tate, Lucifer Classics
* Matilde in Rossini's Guglielmo Tell, rec 12/88, La Scala, Muti,
Lucifer Classics (also on VHS & DVD)
* Madama Cortese in Rossini's Viaggio a Reims, rec 10/92, Berlin PO,
Abbado, Lucifer Classics
* Title role in Spohr's Jessonda, rec '84, ORF Orchestra, Albrecht,
Lucifer Classics
* Chrysothemis in R. Strauss' Elektra, rec 1/90, Bavarian RSO,
Sawallisch, Lucifer Classics
* Chrysothemis in R. Strauss' Elektra, rec 6/89, Vienna PO, Abbado,
Lucifer Classics
* Empress in R. Strauss' Frau ohne Schatten, rec 2-12/87, Bavarian
RSO, Sawallisch, Lucifer Classics
* Empress in R. Strauss' Frau ohne Schatten, rec '92, Vienna PO,
Solti, Lucifer Classics
* Title role in Verdi's Aida, rec 6/94, Covent Garden, Downes,
Lucifer Classics
* Odabella in Verdi's Attila, rec 6-7/89, La Scala, Muti, Lucifer
Classics
* Odabella in Verdi's Attila, rec 6/90, La Scala, Muti, Lucifer
Classics Video
* Elena in Verdi's Vespri Siciliani, rec 12/89-1/90, La Scala, Muti,
Lucifer Classics (also on VHS & DVD)
* Drolla in Wagner's Die Feen, rec 7/83, Bavarian RSO, Sawallisch,
Lucifer Classics
* Elsa in Wagner's Lohengrin (from Bayreuth), rec 6/90, Bayreuth,
Schneider, Lucifer Classics (also on VHS)
* Elsa in Wagner's Lohengrin (from Vienna), rec '90, Vienna PO,
Abbado, Lucifer Classics VHS & DVD
* Eva in Wagner's Meistersinger, rec 4/93, Bavarian State Opera,
Sawallisch, Lucifer Classics
* Irene in Wagner's Rienzi, rec 7/83, Bavarian State Opera,
Sawallisch, Lucifer Classics
* Ortlinde in Wagner's Walküre, rec 8/81, Dresden Staatskapelle,
Janowski, Lucifer Classics
* Sieglinde in Wagner's Walküre, rec 2-3/88, Bavarian RSO, Haitink,
Lucifer Classics
* Zemlinsky's Der Geburtstagder Infantin, rec 83, Berlin RSO,
Albrecht, Lucifer Classics
* Coloratura Arias by Bellini (Sonnambula/Norma), Verdi
(Traviata/Trovatore), Donizetti (Lucia/Lucrezia Borgia), Rossini
(Barbiere/Semiramide), rec 4/89, Munich RSO, Ferro, Lucifer Classics
* Mozart Arias
(Entführung/Zauberflöte/Idomeneo/Nozze/Giovanni/Clemenza/Cosi), rec
9/89, ASMF, Marriner, Lucifer Classics
* R. Strauss' Vier Letzte Lieder/Wagner's Wesendonck-Lieder/Isolde's
Liebestod, rec 1/93, Dresden Staatskapelle, Sinopoli, Lucifer
Classics
* Isolde's Liebestod, rec 1/88, Bavarian RSO, Tate, Lucifer Classics
* Wagner Gala (Tannhäuser/Lohengrin/Meistersinger/Walküre), rec 12/93,
Berlin PO, Abbado, Lucifer Classics (also on VHS)
* First Europakonzert - in Prague (Mozart: "Non mi dir"/"Ch'io mi
scordi di te-Non temer amato bene"), rec 5/91, Berlin PO, Abbado,
Lucifer Classics HS & DVD
* Covent Garden Gala (Otello/Traviata/Fledermaus), rec 7/88, Covent
Garden, Barker, Lucifer Classics
* Sacred Works (Bach/Schubert/Mendelssohn/Handel/Mozart/Gounod/Faure/Poulenc/Bernstein/Bruch),
rec 3/91, London SO, Marin, Lucifer Classics
* Samuel Barber Songs, rec 9/92, Browning (R.I.P.), Emerson String
Quartet,
Lucifer Classics
* Beethoven's Missa Solemnis, rec 8/91, Vienna PO, Levine, Lucifer
Classics
* Beethoven in Berlin (Ah! Perfido/Choral Fantasy/Egmont), rec 12/91,
Berlin PO, Abbado, Lucifer Classics (also on VHS)
* Brahms' German Requiem, rec 10/92, Berlin PO, Abbado, Lucifer
Classics
* Schubert Lieder, rec 1/90, Gage, Lucifer Classics
* Salzburg Recital (R. Strauss/Schubert/Debussy), rec 8/92, Gage,
Lucifer Classics
* Mahler's Klagende Lied, rec 11/90, Philharmonia, Sinopoli, Lucifer
Classics
* Mahler's Symphony No. 2, rec 11/92, Vienna PO, Abbado, Lucifer
Classics
* Mahler's Symphony No. 8, rec 11-12/90, Philharmonia, Sinopoli,
Lucifer Classics
* Mahler's Symphony No. 8, rec 1/94, Berlin PO, Abbado, Lucifer
Classics
* Verdi's Requiem, rec 6/87, La Scala, Muti, Lucifer Classics
* Verdi's Requiem, rec 11/91, Vienna PO, Abbado, Lucifer Classics
* Beethoven's Symphony No. 9, rec 4/89, Philadelphia Orchestra, Muti,
Lucifer Classics
* Bruckner's Mass in F Min/Mozart's Vespers, rec 3/77, MIT Choral
Society, Oliver, Lucifer Classics
* Donizetti's Requiem, rec 1/84, Bamberg SO, Gómez-Martínez, Lucifer
Classics
* von Schweinitz's Messe Op. 21, rec 7/84, RSO Berlin, Albrecht,
Lucifer Classics
* R. Strauss Choral Works, rec 9/84, RIAS Kammerchor, Gronostay,
Creed, Lucifer Classics
"L-A  Ú-L-T-I-M-A..........que ríe, ríe mejor."
Bravissima Cheryl Studer, verlorene Tochter.  Very beautifully and
exquisitely done.  A most wonderful, exemplary, and unforgettable
legacy, a legacy of  e-x-c-e-p-t-i-o-n-a-l  q-u-a-l-i-t-y  a-n-d
d-i-s-t-i-n-c-t-i-o-n --- the work of a consummate artist.  Thank you.
Thank you for Dedication, Seriousness, and Integrity.  Thank you for
remaining True to your self, to the artform, and to  m-u-s-i-c.  Good
Music.  Thank you for a Universe of Sound and Texture and Expression
a-l-l  o-f  y-o-u-r  o-w-n.  Thank you for  g-e-n-e-r-o-s-i-t-y.
Thank you for  H-i-g-h  I-n-d-i-v-i-d-u-a-l-i-t-y.
And thank you too, Universal, EMI and Sony, for having had the
foreskin to recognize and capture genius in our midst (now that these
dinosaurs' [delusional] populist causes, causes palatable to the
Anglocentric and their Axes (oh irony!) Of Love, have caused them to
trim....ouch....their future....for that squeaky clean look and
sound....and potent-ial self-extinction).
----------------------------
And now, a little something to ponder about ---
"Things got pretty rough at the last Philharmonic concert. A bitter
battle broke out over Liszt's 'Mephisto Waltz.' It was the standees
and a part of the gallery, resolved to give their all, against the
parterre, the mountain against the marsh. On the one side we had
youth, intelligence, idealism, good judgement, enthusiasm and
conviction; on the other dullness, frivolity, debility, ignorance,
arrogance, materialism. Such were the contending forces.
There was a lot of applause, but a lot of hissing, too. Since, as we
all know, these Semitic hissing sounds traditionally served the
'chosen people' as shibboleth in combat with their neighbors, it was
not hard to determine who it was that so emphatically proclaimed both
their dissent and their identity. Indeed, these 'chosen people'
habitually make a great show of their exquisite taste. They are always
ready to recognize in Beethoven a good composer. And yet there are
those who see nothing heroic in the courage of such convictions. What,
then, can we call courageous? Let it pass. These excellent and
generous souls will surely enrich the National Guard with a doughty
legion of tailors, and thus be of service to the state. You can take
an oath on that.
To take seriously the ludicrous behavior of these worthy parterre
subscribers toward the works of a genius such as Liszt would be like
punishing children's bad manners with the rack. We are not so cruel.
But it is well to look for what it is that causes the public to behave
like an ill-mannered child and to think like a well-groomed cad. How
is it, we ask, that Liszt's compositions are rejected by the majority
of our degenerate public? The answer is made uncommonly easy for me,
since it is contained in the question. But then why, someone could
object, do Beethoven, Mozart, Haydn, etc., appeal to this same
degenerate public? The objection is so banal, the answer so obvious,
that any blockhead could handle it easily. But should someone choose
to ask me what I mean by degenerate public, I accept the challenge
gladly, and am ready with the answer: a degenerate public is one that
is content to be the ward of a degenerate press.
It is a public of newspaper readers. That is the source of all other
evils. That is the source of the thoughtlessness, frivolity,
dependence, distraction, insensibility and, above all, the bias
against those works condemned to death by the press. If this were an
ingenuous public, it would not tolerate for another day the shameful
chains it now fastens to itself voluntarily. But the habit of
cud-chewing has already become too delightful to permit the slightest
effort to use one's own teeth. Thus, this public receives its
impression of a work of art not directly, but from the review in the
newspaper, to be had in concrete form for a patent. Go then to the
apothecary, and buy yourselves some nux vomica or some other purgative
if you want to have an impression. The effect remains essentially the
same, and you spare yourselves the price of the ticket. And so a
public, the despicable tool of a despicable press, will pass judgement
on the works of a genius! A sluggardly mob that enters the concert
hall as if it were a toy store, reduces the noblest possessions of
mankind to idle diversions, and then, if that is not satisfactory,
arrogantly turns its back on the work of art and ceremoniously
hisses...fie, fie, and once again fie!!!
Given such circumstances, it is hardly surprising that Liszt's
original compositions have excited a lively 'for' and 'against'
whenever they have been played in Vienna. This time the applause from
the standees was still far from constituting a demonstration when a
few hot headed Philistines signalled, stupidly enough, the shibboleth.
That was pouring oil on fire. The applause grew louder, and rightly
so, since it was directed no less at the splendid accomplishment of
the orchestra and its conductor, Hans Richter, than at the work
itself. And did not the wonderful performance of this Lisztian
composition merit the most extravagant praise? What did Liszt's
admirers do to excite the drowsy parterre to a counter-demonstration?
They were simply giving due honor to service rendered."
Hugo Wolf
Vienna, 25 April 1886
----------------------------
A HARPSICHORD GLISTENS AND TRIUMPHS
You and I, we know the climate is profoundly  d-e-g-e-n-e-r-a-t-e
 when a nobody of a harpsichordist and her twinklin' little instrument
command more respect and accolades and analysis from 'the chosen
people' (The Rake's Progress --
http://www.operajaponica.org/reviews/dvd/rake96dvd.htm
) than those
ass-igned a certain veteran soprano. Consider this shibboleth ---
http://www.operajaponica.org/reviews/dvd/aidaroh94dvd.htm
Verdi: AIDA
Reviewed by Michael Richter, 27 May 2002
Cast: Cheryl Studer (Aida), Luciana d'Intino (Amneris), Dennis O'Neill
(Radames), Alexandru Agache (Amonasro), Robert Lloyd (Ramfis), Mark
Beesley (Il Re), John Marsden (Messenger), Yvonne Barclay
(Sacerdotta), Chorus & Orchestra of the Royal Opera House, Covent
Garden, Sir Edward Downes (conductor). Elijah Moshinsky (director)
Thus spoke our Mickey Mouse hero:
{{One can now prove that it is possible to make a performance of Aida
dull. Singing and conducting are altogether competent, but the only
elements of this release which enliven the work are those of the
production - and they are more often confusing or distracting than
constructive. Lloyd infuses some life into his character, but Beesley
is both vocally and dramatically subpar. D'Intino has some moments of
expression but they are not those most needed; the opening scene of
Act IV, for example, is flaccid. Studer, O'Neill and Agache sing all
the notes and none of the music. Many points in the score are marked
'a piacere', but the pleasure of the artists appears to be to do
nothing at all. The effect is altogether colorless - a grey and
pointless recitation of one of the most vibrant scores in opera.}}
"Things got pretty rough at the last Philharmonic concert. A bitter
battle broke out over Liszt's 'Mephisto Waltz.' It was the standees
and a part of the gallery, resolved to give their all, against the
parterre, the mountain against the marsh. On the one side we had
youth, intelligence, idealism, good judgement, enthusiasm and
conviction; on the other dullness, frivolity, debility, ignorance,
arrogance, materialism. Such were the contending forces.
There was a lot of applause, but a lot of hissing, too. Since, as we
all know, these Semitic hissing sounds traditionally served the
'chosen people' as shibboleth in combat with their neighbors, it was
not hard to determine who it was that so emphatically proclaimed both
their dissent and their identity. Indeed, these 'chosen people'
habitually make a great show of their exquisite taste. They are always
ready to recognize in Beethoven a good composer. And yet there are
those who see nothing heroic in the courage of such convictions. What,
then, can we call courageous? Let it pass. These excellent and
generous souls will surely enrich the National Guard with a doughty
legion of tailors, and thus be of service to the state. You can take
an oath on that.
To take seriously the ludicrous behavior of these worthy parterre
subscribers toward the works of a genius such as Liszt would be like
punishing children's bad manners with the rack. We are not so cruel.
But it is well to look for what it is that causes the public to behave
like an ill-mannered child and to think like a well-groomed cad. How
is it, we ask, that Liszt's compositions are rejected by the majority
of our degenerate public? The answer is made uncommonly easy for me,
since it is contained in the question. But then why, someone could
object, do Beethoven, Mozart, Haydn, etc., appeal to this same
degenerate public? The objection is so banal, the answer so obvious,
that any blockhead could handle it easily. But should someone choose
to ask me what I mean by degenerate public, I accept the challenge
gladly, and am ready with the answer: a degenerate public is one that
is content to be the ward of a degenerate press.
It is a public of newspaper readers. That is the source of all other
evils. That is the source of the thoughtlessness, frivolity,
dependence, distraction, insensibility and, above all, the bias
against those works condemned to death by the press. If this were an
ingenuous public, it would not tolerate for another day the shameful
chains it now fastens to itself voluntarily. But the habit of
cud-chewing has already become too delightful to permit the slightest
effort to use one's own teeth. Thus, this public receives its
impression of a work of art not directly, but from the review in the
newspaper, to be had in concrete form for a patent. Go then to the
apothecary, and buy yourselves some nux vomica or some other purgative
if you want to have an impression. The effect remains essentially the
same, and you spare yourselves the price of the ticket. And so a
public, the despicable tool of a despicable press, will pass judgement
on the works of a genius! A sluggardly mob that enters the concert
hall as if it were a toy store, reduces the noblest possessions of
mankind to idle diversions, and then, if that is not satisfactory,
arrogantly turns its back on the work of art and ceremoniously
hisses...fie, fie, and once again fie!!!
Given such circumstances, it is hardly surprising that Liszt's
original compositions have excited a lively 'for' and 'against'
whenever they have been played in Vienna. This time the applause from
the standees was still far from constituting a demonstration when a
few hot headed Philistines signalled, stupidly enough, the shibboleth.
That was pouring oil on fire. The applause grew louder, and rightly
so, since it was directed no less at the splendid accomplishment of
the orchestra and its conductor, Hans Richter, than at the work
itself. And did not the wonderful performance of this Lisztian
composition merit the most extravagant praise? What did Liszt's
admirers do to excite the drowsy parterre to a counter-demonstration?
They were simply giving due honor to service rendered."
Hugo Wolf
Vienna, 25 April 1886
----------------------------
M-U-S-I-C OF THE FUTURE
Berg, Alban / Wozzeck / Marie
Cajkovskij, Pëtr Il'ic / Evgenij Onegin / Tatjana
Mozart, Wolfgang Amadeus / Così fan tutte / Fiordiligi
Mozart, Wolfgang Amadeus / Don Giovanni / Donna Elvira
Puccini, Giacomo / Manon Lescaut / Manon Lescaut
Puccini, Giacomo / Tosca / Tosca
Strauss, Richard / Capriccio / Gräfin
Strauss, Richard / Salome / Salome
Verdi, Giuseppe / Ballo in Maschera, Un / Amelia
Verdi, Giuseppe / Don Carlo / Elisabetta
MORE M-U-S-I-C....REDIVIVUS
Beethoven, Ludwig van / Fidelio / Leonore
Lehár, Franz / Lustige Witwe, Die / Hanna Glawari
Mozart, Wolfgang Amadeus / Idomeneo / Elettra
Mozart, Wolfgang Amadeus / Nozze di Figaro, Le / Contessa d'Almaviva
Strauss, Richard / Elektra / Chrysothemis
Verdi, Giuseppe / Aida / Aida
Verdi, Giuseppe / Otello / Desdemona
Wagner, Richard / Meistersinger von Nürnberg / Eva
AND YET MORE M-U-S-I-C
Strauss, Richard / Arabella / Arabella
Strauss, Richard / Ariadne auf Naxos / Primadonna/Ariadne
Strauss, Richard / Frau ohne Schatten, Die / Kaiserin
Strauss, Richard / Rosenkavalier, Der / Marschallin
Wagner, Richard / fliegende Holländer, Der / Senta
Wagner, Richard / Lohengrin / Elsa von Brabant
Wagner, Richard / Tannhäuser / Elisabeth
Wagner, Richard / Walküre, Die / Sieglinde
----------------------------
"The dangers of life
are infinite
And safety is among them."
--- Goethe


title: NO WAR for the WOLFOWITZES

author: Skip

text:
come see me at :
http://profiles.yahoo.com/pineiro_gabriel
"gabby" <
Midge...@yahoo.com
> wrote in message
news:acec94d1.03021...@posting.google.com...
> --- Goethe


title: NO WAR for the WOLFOWITZES

author: steve wolk

text:
"Skip" <skipnospam＼
nyc.rr.com
> wrote in message
news:_KJ4a.29796$Mh3.9...@twister.nyc.rr.com...

I came.  I saw.  I puked.


title: [DESC] [IAMC - IAMCM] - Norma "Deh non volerli..." - Cerquetti mp3

author: Giampaolo Lomi

text:
La terza delle tre interpretazioni della stessa aria che propongo
all'ascolto comparativo.
L'esecuzione e' quella del 4 gennaio 1958, live del teatro dell'opera
di Roma, quando la Cerquetti sostitui la Callas dopo la famosa serata
dell'interruzione della prima rappresentazione - Dirige Gabriele
Santini, e oltre alla Cerquetti cantano Corelli e la Pirazzini.
Buon ascolto
Giampaolo
______________________________________________
" Il etait le desespoir de ma jeunesse,
  l'admiration de mon age mure,
  la consolation de ma veillesse "
  Giachino Rossini a proposito di Mozart
__________________________________________


title: un'altra storia zen

author: alecs

text:
molto tempo fa in Siberia viveva
una bambina molto povera
che sognava un giorno di poter
diventare prima ballerina al Bolscioi.
ma, ahimč, i suoi genitori erano umili contadini,
e non potevano certo permettersi di assecondare
le aspirazioni della pur talentuosa figlioletta
tuttavia, questa non si dava affatto per vinta,
e spinta dall'orgoglio, passava intere giornate
a danzare nella solitudine della sua stanzetta.
e danzava, danzava, danzava....
poi č morta.
alecs.


title: un'altra storia zen

author: Ale Redfiddler

text:
"alecs" <
vt...@libero.it
> ha scritto nel messaggio
news:Rw0S8.64396$Kt3.1...@twister2.libero.it...

allegra.
A.


title: un'altra storia zen

author: Daniele Zini

text:
"alecs" <
vt...@libero.it
> ha scritto nel messaggio
news:Rw0S8.64396$Kt3.1...@twister2.libero.it...
> molto tempo fa in Siberia viveva
> una bambina molto povera
> che sognava un giorno di poter
> diventare prima ballerina al Bolscioi.
> poi è morta.
Alle Menschen muessen sterben.
                           Paul Hindemit


title: un'altra storia zen

text:
>
> Alle Menschen muessen sterben.
>                            Paul Hindemit
>
>
auch die Frauen.
alecs.


title: un'altra storia zen

text:
"alecs" <
vt...@libero.it
> ha scritto nel messaggio
news:Kv2S8.65107$Kt3.1...@twister2.libero.it...
>
>
> >
> > Alle Menschen muessen sterben.
> >                            Paul Hindemit
> >
> >
> auch die Frauen.
Richtig.Sie auch.


title: un'altra storia zen

text:
"alecs" <
vt...@libero.it
> ha scritto nel messaggio
news:Kv2S8.65107$Kt3.1...@twister2.libero.it...
>
>
> >
> > Alle Menschen muessen sterben.
> >                            Paul Hindemit
> >
> >
> auch die Frauen.
und die Hunde.
A.


title: un'altra storia zen

author: Carlo Gerelli

text:
>Alle Menschen muessen sterben.
>                           Paul Hindemit
macché ! Johann Sebastian Bach : BWV 643
ciao
c.
PS: e poi Hindemith ha un'acca finale : gnègnè ;-)


title: un'altra storia zen

author: EP

text:
Sonata per tromba e pianoforte, eh? :)))
Ciao,
E.
"Daniele Zini" <kaka...@NOSPAMlibero.it> wrote in message
news:do2S8.65063$Kt3.1...@twister2.libero.it...



title: un'altra storia zen

text:
"Ale Redfiddler" <
redfi...@libero.it
> ha scritto nel messaggio
news:aY2S8.65249$Kt3.1...@twister2.libero.it...
>
> > > Alle Menschen muessen sterben.
> > >                            Paul Hindemit
> > >
> > >
> > auch die Frauen.
>
> und die Hunde.
Das tut mir leid.......una Katze auch!!!
Ma si scrive cosě Gatti boh.....


title: un'altra storia zen

text:
"Carlo Gerelli" <
sof...@libero.it
> ha scritto nel messaggio
news:afagdb$cqk1g$1...@ID-96783.news.dfncis.de...
> >Alle Menschen muessen sterben.
> >                           Paul Hindemit
>
>
> macché ! Johann Sebastian Bach : BWV 643
SGRUNT! Anche Paul.
> PS: e poi Hindemith ha un'acca finale : gnègnè ;-)
PRRRRRRRRRRRRR!!!
;-)
Daniele


title: un'altra storia zen

text:
"EP" <
com...@iperbole.bologna.it
> ha scritto nel messaggio
news:afbped$d8tv8$1...@ID-145469.news.dfncis.de...
> Sonata per tromba e pianoforte, eh? :)))
> Ciao,
> E.
Già!


title: un'altra storia zen

text:
"Daniele Zini" <kaka...@NOSPAMlibero.it> ha scritto nel messaggio
news:QjhS8.68358$Kt3.1...@twister2.libero.it...

die sterben NIE!
A.


title: un'altra storia zen

text:
"Ale Redfiddler" <
redfi...@libero.it
> ha scritto nel messaggio
news:R0kS8.71097$j65.1...@twister1.libero.it...
>
> >
> > Das tut mir leid.......una Katze auch!!!
> > Ma si scrive cosě Gatti boh.....
>
> die sterben NIE!
Alle Katze muessen sterben.


title: un'altra storia zen

author: . k l A u s .

text:
On Wed, 26 Jun 2002 15:13:26 GMT, "Daniele Zini"
<kaka...@NOSPAMlibero.it> wrote:
>Alle Katze muessen sterben.
Ich wünsche Ihre Katzen, die ich sie in die Waschmaschine setze, JA !
Eu quero seus gatos, a seguir eu po-los-ei na máquina de lavagem
Je veux vos chats, puis je les mettrai dans la machine à laver.
Deseo sus gatos, después los pondré en la lavadora.
Veuggio i tö gatti, che i metto int'à lavatrîce
. a l l E g r i .
_______________________________________________________
Io sono razionalista, o per dirla non soltanto in
termini teosofici, ma anche filosofici, realista,
non meno che idealista; ovvero, in termini psicologici,
non meno empirista che metafisico; o in termini estetici,
non meno naturalista che simbolista: sono tutte antitesi
che in fondo significano esattamente la stessa cosa...
Richard Dehmel (1863-1920)
_______________________________________________________________


title: un'altra storia zen

author: Marco Marcelli

text:
". k l A u s ." <nos...@nos.pam> ha scritto
> Ich wünsche Ihre Katzen, die ich sie in die Waschmaschine setze, JA !
> Eu quero seus gatos, a seguir eu po-los-ei na máquina de lavagem
> Je veux vos chats, puis je les mettrai dans la machine à laver.
> Deseo sus gatos, después los pondré en la lavadora.
Fin qui tutto bene........
> Veuggio i tö gatti, che i metto int'à lavatrîce
Ma questa e' proprio incomprensibile!................:-)
--
============================
Marco Marcelli - Genova (Italy)
marco_m...@libero.it
============================


title: un'altra storia zen

text:
"Marco Marcelli" <
marco_NOSP...@libero.it
> ha scritto nel messaggio
news:B5nS8.72053$j65.1...@twister1.libero.it...
>
> ". k l A u s ." <nos...@nos.pam> ha scritto
>
>
> > Ich wünsche Ihre Katzen, die ich sie in die Waschmaschine setze, JA !
> > Eu quero seus gatos, a seguir eu po-los-ei na máquina de lavagem
> > Je veux vos chats, puis je les mettrai dans la machine à laver.
> > Deseo sus gatos, después los pondré en la lavadora.
rotfl.
terrorista in rete!!!!!!!!!!!!!!!!!!!!!!!!!!!!1
maw
A.


title: un'altra storia zen

text:
". k l A u s ." <nos...@nos.pam> ha scritto nel messaggio
news:3d19deb8...@news.interbusiness.it...
>
> Veuggio i tö gatti, che i metto int'à lavatrîce
Ehehehe! Roba da genovesi doc! Ho chiesto a mio padre, ha detto che è nato
nella casoa subito sotto la "curva della morte" (così la chiama lui).
Daniele


title: un'altra storia zen

text:
On Wed, 26 Jun 2002 18:41:44 GMT, "Daniele Zini" <kaka...@NOSPAMlibero.it>
wrote:
>Ehehehe! Roba da genovesi doc! Ho chiesto a mio padre, ha detto che è nato
>nella casoa subito sotto la "curva della morte" (così la chiama lui).
ulp e controgulp !
o meglio: ou belin, ma mìa in poo !
praticamente è nato dove abito io ... o comunque a pochissimi metri
la Curva della Morte è una denominazione che tutti conosciamo ed usiamo nel
raggio di almeno 30 km ed è dovuta alle numerose tragedie che accompagnarono la
corsa motociclistica in salita che si svolgeva sulla statale n.35 "dei Giovi",
ma che ormai da parecchio tempo è stata sostituita dalla gimkana automobilistica
che si svolge ogni primo maggio ( quest'anno si è svolta il 25 aprile perché il
primo maggio è passato il Giro dell'Appennino )
Salutalo affettuosamente da parte mia e - se posso permettermi dopo soli 8 anni
di residenza - della sua terra natale.
Per curiosità, chiedigli se anche ai suoi tempi i cinghiali venivano a sbuffare
sotto le finestre...



title: un'altra storia zen

author: Mario Buonafede

text:
"Carlo Gerelli" <
sof...@libero.it
> wrote in message
> PS: e poi Hindemith ha un'acca finale : gnègnè ;-)
Non piu' dopo il '39 quando si e' rifugiato negli Stati Uniti: lo
avrebbero pronunciato Hindemiff, poverino.
Ciao,
Mario B.
P.S.: Nel mio piccolo, sto seriamente prendendo in considerazione di
togliere la "u" dal mio cognome, che 'sti yankees ci mettono mezz'ora
a superare la prima sillaba...


title: un'altra storia zen

text:
"Mario Buonafede" <
voxne...@hotmail.com
> wrote in message
news:e307d0a3.0206...@posting.google.com...
>
> P.S.: Nel mio piccolo, sto seriamente prendendo in considerazione di
> togliere la "u" dal mio cognome, che 'sti yankees ci mettono mezz'ora
> a superare la prima sillaba...
non vorrei dire una stupidaggine, ma mi pare che anche Mike
Buongiorno avesse fatto qualcosa di simile.
ciao
c.


title: un'altra storia zen

author: Schillogeno

text:


E anche Stefano Buontade.
Schillogeno
-----------
"Does humor belongs in music?"
Frank Zappa, early '80
(per reply togliere le due acca prima della @)


title: un'altra storia zen

author: Roberto Maria Avanzi Mocenigo

text:
. k l A u s . wrote:
Dame i to gati, che i vogio metere nela lavatrice.
Roberto
--
_/_/  Roberto Maria Avanzi Mocenigo  <><
/_/  Institut fuer Experimentelle Mathematik / Uni Essen
_/ "Bruno Heinz Jaja, unlike Strawinsky, has never been
/  guilty of composing harmony in all his life!"


title: un'altra storia zen

text:
On Sun, 30 Jun 2002 15:33:45 +0200, Roberto Maria Avanzi Mocenigo
<
moce...@exp-math.uni-essen.de
> wrote:
>. k l A u s . wrote:
>
>Dame i to gati, che i vogio metere nela lavatrice.
impossibile che io possa aver scritto una frase simile: potrebbe averla scritta
solo un berlusconiano :-)
( speriamo che si capisca la battuta, ammetto che è un po' ermetica, ma se ti
piacciono le sciarade... )



title: un'altra storia zen

author: Hegel

text:
". k l A u s ." <
clk...@libero.it
> ha scritto
> ( speriamo che si capisca la battuta, ammetto che è un po' ermetica, ma se
ti
> piacciono le sciarade... )
L'ho capita!!!!
;-))))
Ciao,
Hegel


title: un'altra storia zen

text:
". k l A u s ." <
clk...@libero.it
> ha scritto nel messaggio
news:3d1f3b8...@powernews.libero.it...
> On Sun, 30 Jun 2002 15:33:45 +0200, Roberto Maria Avanzi Mocenigo
> <
moce...@exp-math.uni-essen.de
> wrote:
>
> >. k l A u s . wrote:
> >
> >Dame i to gati, che i vogio metere nela lavatrice.
>
> impossibile che io possa aver scritto una frase simile: potrebbe averla
scritta
> solo un berlusconiano :-)
>
> ( speriamo che si capisca la battuta, ammetto che è un po' ermetica, ma se
ti
> piacciono le sciarade... )
>
> . a l l E g r i .
eh, robetta per facile.
il corvo della settimana enigmistica in confronto è analfabeta...
alecs.


title: Per Art versus ranapo

author: ranapo

text:
Caro Art, come disse Alberto Sordi davanti al piatto di spaghetti : " tu
me provochi e io..."
Qui troverai molte risposte alla tua curiosità
Ce n'è davvero per tutte le questioni che riguardano la musica
http://www.edumus.com/risultati_ricerca.shtml?domains=www.edumus.com&sitesearch=www.edumus.com&client=pub-9066338077910878&forid=1&ie=ISO-8859-1&oe=ISO-8859-1&cof=GALT%3A%23008000%3BGL%3A1%3BDIV%3A%23336699%3BVLC%3A663399%3BAH%3Acenter%3BBGC%3AFFFFFF%3BLBGC%3A336699%3BALC%3A0000FF%3BLC%3A0000FF%3BT%3A000000%3BGFNT%3A0000FF%3BGIMP%3A0000FF%3BFORID%3A11&hl=it&q=raffaele+Napoli&sa=Cerca
oppure più semplicemente vai su edumus
http://www.edumus.com/
e poi nella casella di ricerca in alto a destra digita Raffaele Napoli e
vedi che ti esce
Molti sono stati i post da me proposti e qualcuno ( ma pensa quanti
"sprovveduti" ci sarebbero in giro secondo alcuni) se li sono scaricati
tutti e ne hanno fatto un booklet per argomenti
- Come si decide il tempo di esecuzione di un brano
- che differenza c'è fra velocità e tempo in musica
- come si ottiene un pizzicato dagli archi
- quale gesto per ottenere un pianissimo
- come si batte un 6/8
- esiste l'interpretazione in musica?
- che differenza c'è fra un compositore ed un esecutore
- che cos'è la proporzione nel gesto di un direttore
- in base a quale criterio vanno disposti gli strumenti di un'orchestra?
- che si intende per "forma" in musica?
- esiste la forma o le forme?
- il concetto di Punto Massimo
- che cos'è l'articolazione
- il suono non è musica ma può diventare musica
- che effetti ha il suono sulla coscienza umana
- differenza fra suono e rumore
- parametri strutturabili in musica
- che importanza ha l'acustica per determinare il tempo di esecuzione
- che differenza c'è fra il silenzio "prima" dell'inizio di un brano
e il silenzio "dopo" la fine di un brano
- esiste la "ripetizione" in musica?
- quando il "tempo" inizia a diventare un elemento costruttore di forma?
- che differenza c'è fra tensione e intensità?
- come si ottiene un rallentando dall'orchestra?
- che fare se un'orchestra rallenta?
- che fare se un'orchestra accelera?
Sono andato così, a memoria. Ho scritto su edumus oltre 2000 posts ( e
dove se non in un forum che si professa di educazione musicale? )
( quando ci sono moderatori però che devono conciliare varie istanze
alla fine prevalgono ragioni" altre" soprattutto quando subentra
l'"educazzone" musicale a fare obiezioni per pura volontà di contrasto
ma senza che sia dimostrata alcuna delle ipo-tesi che mette in campo )
Il probelma è sorto per tutto quel pullulare sempre presente di umanità
non certo nella migliore manifestazione di sè, che invece di vagliare
una proposta "prima" facendo domande per approfondire, e poi proponendo
un dibattito civile fondato possibilmente non su opinioni ma su
argomenti, appunto, appena messa in campo da me una proposta di
approccio a queste problematiche, immediatamente spacciava il proprio
opinionismo e la propria fuffa per tesi alternative.
Ora siccome ho già detto che rendo "pan per focaccia" perché non voglio
lasciare che le persone maleducate facciano comunque affidamento sulla
signorilità altrui permettendosi quindi di offendere, aggredire,
minacciare addirittura sperando che l'altro receda per " non abbassarsi"
di livello, io invece scendo al livello ( altrimenti quello non ti
capisce) e rispondo a tono. Sei cafone? Mi incafonisco per te, pensa che
generosità.
Sei offensivo? Trovi qui la mia parte "triviale" pronta a interloquire (
ho detto spesso che il mio sogno sarebbe quello entro i 60 anni di
parlare 10 lingue) perché farmi mancare magari come 11° anche quella dei
rompicoglioni gratuiti? una più una meno...
======================
art...sono a tua disposizione
Raffaele Napoli


title: Per Art versus ranapo

text:
Jonas Willard (AKA "Archeopteryx") ha scritto:
>> - Come si decide il tempo di esecuzione di un brano
>
> quello che "suona" meglio, no? :D
>
>> - che differenza c'è fra velocità e tempo in musica
>
> S = vt, no?
>
>> - come si ottiene un pizzicato dagli archi
>
> dicendo agli strumentisti di suonare pizzicato, no? Oppure
> non hai stima della loro professionalità?
>
>> - quale gesto per ottenere un pianissimo
>
> Concordarlo con l'orchestra oppure usare un lanciafiamme.
> A cose fatte e ceneri fredde otterrai un pianissimo degno
> di questo nome.
>
>> - come si batte un 6/8
>
> Su un marciapiede la sera?
>
>> - esiste l'interpretazione in musica?
>
> Cerrrrrrrto che sì.
>
>> - che differenza c'è fra un compositore ed un esecutore
>
> Dimmi a che indirizzo inviare, posso sempre regalarti un
> dizionario della lingua italiana.
>
>> - che cos'è la proporzione nel gesto di un direttore
>
> C'è stato un seminario di Rocco Siffredi
> sull'argomento. Non dirmi che sei invidioso, eh...
>
>> - in base a quale criterio vanno disposti gli strumenti
>>  di un'orchestra?
>
> come suona meglio ovviamente :)
>
>> - che si intende per "forma" in musica?
>
> Una bella forma di grana padano farcita di semicrome?
>
>> - esiste la forma o le forme?
>
> Entrambe, l'italiano ha sia il singolare che il plurale.
>
>> il concetto di Punto Massimo
>
> Guardati un paio di pornazzi e capirai.
>
>> che cos'è l'articolazione
>
> Vuoi uno dei miei libri di anatomia per capirlo?
>
>> il suono non è musica ma può diventare musica
>
> Ma LOL, dieci anni per fare tua questa scemenza? Ah, sì,
> ne abbiamo già discusso.
>
>> che effetti ha il suono sulla coscienza umana
>
> Vedi un po' te... ti dichiari pure musicista.
> Non ti emozioni mai? Beh, quello basta e avanza.
>
>> differenza fra suono e rumore
>
> Bianco o rosa?
>
>> parametri strutturabili in musica
>
> Hai letto troppi cataloghi della biennale di Venezia.
>
>> che importanza ha l'acustica per determinare il tempo di esecuzione
>
> Facile, se c'è troppo riverbero si lascia stare tutto
> perché succede un pastrocchio.
>
>> che differenza c'è fra il silenzio "prima" dell'inizio di un brano e
>> il silenzio "dopo" la fine di un brano.
>
> Ma chi è il tuo spacciatore?
>
>> esiste la "ripetizione" in musica?
>
> Come no? Tu ne sei la prova vivente, anzi, direi
> ossessivo-compulsivo. Scusa, come non detto...
> non sono ancora sicuro di poterti definire un musicista.
>
>> quando il "tempo" inizia a diventare un elemento costruttore di forma?
>
> Come non detto: cambialo, lo spacciatore.
> E non ti fumare i cataloghi della biennale,
> mi raccomando.
>
>> che differenza c'è fra tensione e intensità?
>
> sono legate dalla legge di Ohm no?
>
>> come si ottiene un rallentando dall'orchestra?
>
> togliendo gas, ma ricordati di registrare la frizione.
>
>> che fare se un'orchestra rallenta?
>
> Dire a sé stessi che non si bravi direttori.
>
>> che fare se un'orchestra accelera?
>
> Frenare. Quello che ti consiglio anche su tutto il resto.
> Se avevo qualche dubbio che tu appartieni alla schiera dei
> teorizzatori di inutilità a spese del fare musica, il
> dubbio me lo sono tolto.
>
> ciao ciao
>
> Apx.
>
Ecco cosa succede quando un ingegnere maldestro si avvicina alla musica
Purtroppo caro art, come vedi il nostro amico qui, ha dato prova del
poco che vale e soprattutto di quanto offensivo possa risultare non
certo nei miei confronti, ma bada bene, nei tuoi. Poi ama definirsi
reazionario in una accezione "alta": macché, queste ris-post danno prova
di quel motto ben noto almeno in Italia e poi anche nel mondo "me ne
frego" che sappiamo bene di chi fosse professione di fede e a quali
esiti abbia portato.
Lungi da me il volerne fare una questione ideologica, ma questa
testolina vuota qui, ha subito messo in campo quella via che ti ho
descrtitto: siccome non ha nulla da dire e in più si caca sotto quando
deve "incidere", allora invece de dasse na regolata, cosa fa?
da ciuccio ciuccieggia e peggio, impedisce che la tua così civile
richiesta trovi un luogo pacato per trovare risposte.
Questo è esattamente quel che è successo nei forum da cui mi hanno
"bannato". Il bello è che poi la colpa sarebbe mia.
Meterla in coglionella, ridicolizzare ...che tristezza. Caro Jonas non
ci fai una bella figura: davvero le tue risposte riempiono di vuoto il
nulla in cui ti dibatti.
Dopo tre interventi? Ma da subito te ne dovrestyi andare da questo NG
dove si tenterebbe di aprlare di musica. Solo che qui non te ne sei
accorto....come dici per altri forum...da solo.
Poi che fai? Dici che sono io che dovrei "capire" che aria tira nei miei
confronti?
Boomerang si chiama, boomerang e ..OCCHIO, haiaa, scusa , troppo tardi,
te lo sei beccato in fronte con la stessa violenza con cui me lo hai
lanciato contro, ma io essendo abituato li so schivare.
==================
art, non ti curar di lui ma ...passa senza manco guardare, perderemmo
del tempo
ranapo


title: Per Art versus ranapo

author: Moosbrugger

text:
Jonas Willard (AKA "Archeopteryx") ha scritto:
> Frenare. Quello che ti consiglio anche su tutto il resto.
> Se avevo qualche dubbio che tu appartieni alla schiera dei
> teorizzatori di inutilità a spese del fare musica, il
> dubbio me lo sono tolto.
Guarda, non è nemmeno quello. Alla luce della mia
modestissima esperienza musicale ci sono alcune
idee con le quali posso essere d'accordo o che
quanto meno posso valutare come plausibili
all'interno di una certa tradizione musicale, a
parte magari boutades come quella che sul
clavicembalo o sull'organo non si può fare musica.
E' farne un corpus dogmatico unico, non
sottoponibie a critica e che vale per qualsiasi
musica il concetto aberrante : alla luce dei
fatti, ovvero della mia modestissima esperienza,
semplicemente non funziona, non è così.
M.


title: Per Art versus ranapo

text:
Moosbrugger ha scritto:

E' qui la posizione è già più interlocutoria oltre che cauta, quel più
palusibile e correttivo "della mia modestissima esperienza", perché
.."dei fatti" mi sembrava un po' forte e anche avventato.
Che sia un corpus dogmatico, giustamente lo evinceresti tu, ma ancora
una volta, casomai tu volessi approfondire per parlare con più
cognizione di causa della proposta di pensiero e di vissuti che
Celibidache ha rappresentato, forse anche questo tuo muro aprioristico
cadrebbe.
Io, fossi in te, non mi lascerei fuorviare da quel che a prima vista
"ci" è sembrato al primo approccio.
Ci siamo passati tutti. Tu però sei in svantaggio: pretenderesti di
esprimere un giudizio così defintivo senza approfondire.
Con tutta la presunzione di lettore attento delle proposte
celibidachiane, ma non arrivo a tanto: essere riuscito a dare a te
sufficienti elementi per esprimere questo tuo lapidario giudizio.
Eh su , dai "concedi e concediti" prove di appello e di approfondimento:
siamo meno lontani di quel che "pensi"
:-)
ranapo


title: Per Art versus ranapo

text:
ranapo ha scritto:
> Eh su , dai "concedi e concediti" prove di appello e di approfondimento:
> siamo meno lontani di quel che "pensi"
Guarda che io prove di appello ne concedo
continuamente, perchè non essendo legato ad una
teorizzazione granitica in materia musicale, ed
essendo per natura sospettoso delle teorizzazioni
granitiche (cosa che tu in passato mi hai
contestato anche in termini piuttosto sgradevoli),
sono naturalmente disposto a sentire le campane
più diverse. Se però dopo aver dedicato ad una
certa idea un certo tempo di riflessione continuo
a trovarla inadeguata non so che farci. Del resto
ho passato da poco i quaranta, voglio tenermi
delle cose da scoprire per quando sarò vecchio...
M.


title: Per Art versus ranapo

author: RhA

text:
Jonas Willard (AKA "Archeopteryx") ha scritto:
>> Se avevo qualche dubbio che tu appartieni alla schiera dei
>> teorizzatori di inutilità a spese del fare musica, il
>> dubbio me lo sono tolto.
>> ciao ciao
>> Apx.
ranapo ha scritto:
> Ecco cosa succede quando un ingegnere maldestro si avvicina alla musica
> Purtroppo caro art, come vedi il nostro amico qui, ha dato prova del poco
> che vale e soprattutto di quanto offensivo possa risultare non
Apx, sei ingegnere ?!
ora capisco perché, e, come suoni Bach!
Ho seguito qualche tuo post recente: comunque non suoni male, o almeno il
tuo problema di "prestazione in pubblico"... non è la musica.
Magari sapessi suonare io così!, ma ho un problema simile in altre forme
espressive ;-)
Ciao
RhA


title: Per Art versus ranapo

author: ArtBurt

text:
"ranapo" <
napoli....@fastwebnet.it
> ha scritto nel messaggio
news:OQ5Dj.21348$q53....@tornado.fastwebnet.it...
> Ecco cosa succede quando un ingegnere maldestro si avvicina alla musica
> Purtroppo caro art, come vedi il nostro amico qui, ha dato prova del poco
> che vale e soprattutto di quanto offensivo possa risultare non certo nei
> miei confronti, ma bada bene, nei tuoi.
Perché offensivo nei miei confronti?
> art, non ti curar di lui ma ...passa senza manco guardare, perderemmo del
> tempo
Veramente sarebbe "non RAGIONIAM di loro (lui)...", ma... va bene lo stesso.
Ho dato un'occhiata al sito Edumus che conoscevo già ma non me la sento
proprio di andare cercare tutti i tuoi post visto che sono sempre sullo
stile di quelli di questo NG: poco chiari e intervallati da critiche e
amenità varie.
Non avresti qualcosa di più agevole e meno dispersivo per capire le tue
idee?
Art


title: Per Art versus ranapo

author: Simone Stella

text:
"ranapo" <
napoli....@fastwebnet.it
> ha scritto nel messaggio
news:6j5Dj.21318$q53...@tornado.fastwebnet.it...
> Caro Art, come disse Alberto Sordi davanti al piatto di spaghetti : " tu
> me provochi e io..."
>
> Qui troverai molte risposte alla tua curiosità
> Ce n'è davvero per tutte le questioni che riguardano la musica
... mancano le considerazioni sull'estetica storica della musica che si
esegue, sulla prassi esecutiva e sulla scelta degli strumenti da usare per
l'esecuzione. Al giorno d'oggi queste sono questioni di grande attualità che
riguardano la musica :-P
:-) con simpatia
S


title: Per Art versus ranapo

text:
Simone Stella ha scritto:

Hai ragione da vendere.
Ora non voglio fare una difesa ad oltranza del film in oggetto.
Ma è anche vero che la risposta alle questioni che tu poni, in parte la
si potrebbe sottintendere dalle cose che dice nel corso del film.
Se uno riesce a lasciarsi sollecitare da quanto Celi afferma nel film,
poi magari prova ad approfondire e trova sul suo cammino il film di
Garre che per certi versi è riuscito meglio del "Jardin..." che sconta
una serie di vincoli:
- ultimo anno di vita di Celi
- figlio come regista che quindi dà un taglio un po' speciale al tutto
- ponendosi come "film" e non come ad esempio ...documentario o
reportage, molte cose si sono dovute tagliare per non risultare
didiscalico più di quanto già non sia.
Grazie comunque della disponibilità.
ranapo


title: Per Art versus ranapo

author: sarrasani

text:
lasciami divertire, e scusa la rozzezza. Parlo a nome di un
interprete teorico.

> ... mancano le considerazioni sull'estetica storica
> della musica che si
> esegue,
Serve a poco. Se l'estetica e la retorica dell'epoca del
pezzo non è la mia (o non si sovrappone in buona parte con la
mia) e inutile che la scimmiotto, non convincerò nè me stesso
nè nessun'altro.  Se invece è la stessa, il gioco può funzionare,
quasi indipendentemente dalle mie conoscenze storiche, sulla
prassi esecutiva ecc.
>e sulla scelta degli
> strumenti da usare per
> l'esecuzione.
Quello che mi permette di comunicare in maniera più efficace.
Cioè quello che amo di più e che conosco meglio.
http://www.youtube.com/watch?v=iRE9tKruNGk
Per quel musicista (ed ogni caso è personale e particolare,
non bisogna generalizzare neanche qui)  quella specie di
fisarmonica (o bandoneon, o cosa cavolo è) è quasi certamente
meglio di un grancoda Steinway o di un fotepiano Graf.
Ciao e complimenti anche qui per ituoi video,
Sandro
Ciao,
S.
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title: MITO London Sinfonietta

author: sunbather

text:
Non saprei giudicare i pezzi di Isang Yun eseguiti ieri al Dal
Verme dalla L.S. (al limite, per ora, potrei dire:
interessanti). Di sicuro l'esecuzione è stata magistrale e il
teatro ha un'acustica fantastica. L'unica perplessità è sul
fatto che il direttore scandisse con una mano TUTTE le battute e
con l'altra desse gli attacchi: mi domando se sia una
consuetudine per l'esecuzione di musica contemporanea (data la
complessità della partitura) oppure fosse un aiuto per
l'ensemble che - magari - non ha avuto il tempo per preparare i
pezzi in maniera adeguata. Ciò nulla toglie al fatto che il
risultato sia stato perfetto.
.
.
.
.
.
.
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title: MITO London Sinfonietta

text:
sunbather ha scritto:
> Non saprei giudicare i pezzi di Isang Yun eseguiti ieri al Dal
> Verme dalla L.S. (al limite, per ora, potrei dire:
> interessanti). Di sicuro l'esecuzione è stata magistrale e il
> teatro ha un'acustica fantastica.
:-O
Allora dev'essere migliorata *drammaticamente* dall'ultima volta
che ci ho suonato.
> L'unica perplessità è sul
> fatto che il direttore scandisse con una mano TUTTE le battute e
> con l'altra desse gli attacchi: mi domando se sia una
> consuetudine per l'esecuzione di musica contemporanea (data la
> complessità della partitura) oppure fosse un aiuto per
> l'ensemble che - magari - non ha avuto il tempo per preparare i
> pezzi in maniera adeguata. Ciò nulla toglie al fatto che il
> risultato sia stato perfetto.
No, è perfettamente normale in moltissima musica contemporanea
dove la funzione di "metronomo vivente" del direttore è più
spiccata che in altro repertorio. C'è il duetto per due viole di
Benjamin che di solito richiede la presenza del direttore anche
se gli esecutori sono solo due e hanno studiato come matti,
perchè il solfeggio è talmente complicato che senza un direttore
gli esecutori si troverebbero fuori dopo poche battute.
M.


title: MITO London Sinfonietta

text:
Moosbrugger ha scritto:
> Allora dev'essere migliorata *drammaticamente* dall'ultima volta
> che ci ho suonato.
Sarà perché sono abituato all'acustica delle chiese...
:-P
:-P
.
.
.
.
.
.
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title: Partitura

author: Edoardo "Edoloz" Carminati

text:
Ciao, qualcuno sa dove reperire in rete la parte della Suite n°2 per
orchestra di JSB? Riesco a trovare solo l'ultimo movimento (quello della
suoneria :-( ma non il secondo che è quello che mi interesserebbe...
grazie
Ciao


title: Partitura

author: Jakob@fastnet.it Meister Jakob

text:
"Edoardo "Edoloz" Carminati" <
pape...@deposito.it
> ha scritto nel messaggio
news:4288e446$0$15897$5fc...@news.tiscali.it...
> Ciao, qualcuno sa dove reperire in rete la parte della Suite n°2 per
> orchestra di JSB? Riesco a trovare solo l'ultimo movimento (quello della
> suoneria :-( ma non il secondo che è quello che mi interesserebbe...
Ho la partitura Dover e i files midi di tutta la suites (da cui ricavare la
partitura)
Interessa?
ciao
giacomo
http://giacomo-andreola.fotopic.net


title: Partitura

text:
Meister Jakob ha scritto:
> Ho la partitura Dover e i files midi di tutta la suites (da cui ricavare la
> partitura)
> Interessa?
Si, grazie! Se sono fatti bene la differenza con le partiture è minima.
Potresti spedirmeli a edoloz email it?
Grazie!
Ciao


title: Partitura

author: Franek

text:
Il Mon, 16 May 2005 20:20:15 +0200 "Edoardo "Edoloz" Carminati"
<
pape...@deposito.it
> ha scritto:
> Ciao, qualcuno sa dove reperire in rete la parte della Suite n°2 per
> orchestra di JSB? Riesco a trovare solo l'ultimo movimento (quello della
> suoneria :-( ma non il secondo che è quello che mi interesserebbe...
Vuoi la parte solista o la partitura orchestrale?


title: Partitura

text:
Franek ha scritto:
> Vuoi la parte solista o la partitura orchestrale?
Se hai entrambi sarebbe meglio :-)
Al momento sto pensando di suonarla da solo, ma forse riesco a
convincere 2 miei amici a fare questo ennesimo scempio di Bach :-)
Ciao!


title: Partitura

text:
Meister Jakob ha scritto:
> Ho la partitura Dover e i files midi di tutta la suites (da cui ricavare la
> partitura)
> Interessa?
Arrivata la mail, grazie!
Ciao
PS rispondo qui perchè in pvt la mail mi torna indietro...


title: Partitura

text:
Il Tue, 17 May 2005 00:28:57 +0200 "Edoardo "Edoloz" Carminati"
<
pape...@deposito.it
> ha scritto:

Allora, io ho:
1) riduzione per flauto e pianoforte
2) partitura orchestrale
Dimmi cosa preferisci.
Ciao
	Franek


title: Partitura

text:
Franek ha scritto:
> Allora, io ho:
> 1) riduzione per flauto e pianoforte
> 2) partitura orchestrale
>
> Dimmi cosa preferisci.
Grazie! Mi ha già spedito i midi Meister Jacob da cui ho stampato le
parti; se hai i pdf degli originali ben venga! Spedisci spedisci! :-)
Ciao e grazie
Edoardo


title: Partitura

text:
On Tue, 17 May 2005 23:40:44 +0200, "Edoardo \"Edoloz\" Carminati"
<
pape...@deposito.it
> wrote:
>Grazie! Mi ha già spedito i midi Meister Jacob da cui ho stampato le
>parti; se hai i pdf degli originali ben venga! Spedisci spedisci! :-)
dall'entusiasmo che dimostri non vorrei essere nei tuoi panni dopo che avrai
scoperto il sito di Werner Iking :-)
http://icking-music-archive.org/
però la suite per orchestra che cerchi tu li non c'é
. a l l E g r i .
_______________________________________________________
Io sono razionalista, o per dirla non soltanto in
termini teosofici, ma anche filosofici, realista,
non meno che idealista; ovvero, in termini psicologici,
non meno empirista che metafisico; o in termini estetici,
non meno naturalista che simbolista: sono tutte antitesi
che in fondo significano esattamente la stessa cosa...
Richard Dehmel (1863-1920)
_______________________________________________________________


title: Partitura

text:
. k l A u s . ha scritto:
> dall'entusiasmo che dimostri non vorrei essere nei tuoi panni dopo che avrai
> scoperto il sito di Werner Iking :-)
>
http://icking-music-archive.org/
Conosco conosco... :-)
Ho cercato pure qui
http://www.classicalarchives.com/
e qui
http://www.sheetmusicarchive.net/
ma senza risultato (almeno, io non l'ho trovata...)
Ciao


title: Partitura

text:
Il Tue, 17 May 2005 23:40:44 +0200 "Edoardo "Edoloz" Carminati"
<
pape...@deposito.it
> ha scritto:
> Grazie! Mi ha già spedito i midi Meister Jacob da cui ho stampato le
> parti; se hai i pdf degli originali ben venga! Spedisci spedisci! :-)
I pdf non li ho, devo scannare gli spartiti per farteli. Per questo ti ho
chiesto se vuoi la riduzione, la partitura, o entrambe.
Ciao
	Franek