1/2 Orchestra: “Sound engineers, take the winds right, learn to record them”
At one of Schiit's technology presentations, I included a couple of tracks of the 1/2 Orchestra Moscow breaststroke I had long known to me, and those present were surprised at…

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How to restore a broken voice
Alas, with the loss of voice, sooner or later, every vocalist is faced. Very often, the cause of a broken voice is not intensive vocals, but a scream, especially in…

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How to play the violin: basic techniques of the game
New post on how to play the violin. Earlier you became acquainted with the device of the violin and its acoustic features, but today the focus is on the violin…

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Romance Romance: New Classical Music Records

Let’s talk about modern music. What is generally considered contemporary: everything that cannot be called “classics”, or works by contemporary composers written according to strict academic standards, or maybe just everything that still causes any interest? Whatever the case, sometimes we can watch how yesterday’s avant-garde artists become living classics, and pop hits migrate to the repertoire of academic groups. And the most, it would seem, famous figures of the century before last open new facets.

Arctic Philharmonic “Philip Glass: A Descent into the Maelstrom” The devil sits in small things, as the Germans say. The music of Philip Glass for the theatrical production of Edgar Allan Poe’s short story “The Overthrow in Malström” was written in 1986. The author himself played it with his own team, and now the Norwegian Arctic collective performed this material in his own way and as a full-fledged musical composition. Glass, in general, is a “fractal” composer: after listening to one piece, then you will recognize any other by the first beat. Musically savvy and hating minimalism people say about the composer that he simply rewrote the textbook of harmony. This, of course, is great, but what prevented any of his critics from doing the same and becoming fashionable, avant-garde, venerable and, finally, just a modern classic? This is a rhetorical question. Here, in principle, the language of the classical Glass is recognized immediately. Whirlpool? Well, yes, a brand Glass storm in a glass of water that does not spill out. Motivators that run one after another in a circle, and this exacerbates the perception of nuances. What a combination of tones! For example, a soprano with a cello is a completely chimerical sound (“Tranquility”). Or in “The Naming,” a soprano piercing to the bones, floating on the cold waves of the strings. In Maelstrom, the strings depict a buzzing swarm of unknown insects, and so on. In general, no matter how many Glass entries you have, and this does not hurt.
Isata Kanneh-Mason “Romance. The Piano Music of Clara Schumann »Clara Josephine Wieck, the future – Schumann, the wife of the great composer, in her adolescence was young and impudent. She herself composed and played – just like modern pop stars. And this year, the music lover’s world celebrated 200 years since her birthday. Young and impudent British pianist Aisata Canne Mason is also the owner of a well-known surname. No, it’s not about Pink Mloy of Nick Mason from Pink Floyd, but of Aysata’s brother, cellist Shek Canne Mason. By the bicentennial of Klara Schumann, many musicians began recording albums with her music, but these works usually go together with the more famous creations of Robert Schumann. Aisata took a chance and made the album almost exclusively from the works of Clara herself (with the exception of two songs in the transcription, again, Clara). The album opens with an A-minor piano concerto – a wonderful mixture of light pathos, heroism and romance. With Aisata’s crystal-clear sound, that’s it. Romances and piano sonata in G minor are more sad, brooding and romantic. With all the technical bells and whistles – and Clara was a serious musician with ambitions – she listens surprisingly easily, and in general there are nowhere to find such pure healthy emotions. Romance!
Saint John String Quartet “Canadian Hits: Unplugged” I, of course, refused to write about crossover projects. Bach with drums and bass or pop song arranged for a symphony orchestra. There is nothing wrong with the idea itself: Bach, perhaps, he himself would have written for bass and drums, and any composition can play a beautiful melody (and classics like Tchaikovsky or Stravinsky did not shy away from including folk or pop tunes in their serious works). in that usually it turns out neither one nor the other. And then I finally realized what distinguishes a crossover musician from a normal classic and pop singer. Why, for the most part, a crossover is a thing unworthy of the ears of a normal music lover. Strokes! Now, if he is a violinist, he’s cutting it so that the listener with his ears not pierced can understand that the violin howls. If you are a pianist, then a thundering piano or, conversely, a glass-gentle-background, to make it clear: here is a complicated passage, and here is music for relaxation.

Warm Baroque Tube: New Classical Records
Grog is a European winter drink. Hot and invigorating. And he rhymes with baroque. Baroque music can also be winter - energetic, driving, or, on the contrary, peaceful and cozy.…

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Types of harmonies, or, What is the difference between lameness and turtle?
Harmonie is one of the favorite musical instruments of the Russian people. It is believed that the very first accordion was invented in Germany, but the Germans themselves are confident…

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Canned food and clones, or Where is the new classic
They say: they don’t argue about tastes. But to be honest - I never understood the meaning of this expression. How can you argue about tastes? "My taste is tastier"?…

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1/2 Orchestra: “Sound engineers, take the winds right, learn to record them”
At one of Schiit's technology presentations, I included a couple of tracks of the 1/2 Orchestra Moscow breaststroke I had long known to me, and those present were surprised at…

...