Recital de Piano Solo 2011 - Agnes Sousa

Recital de Piano Solo, Agnes Sousa, 19 de outubro de 2011.
Local: Espaço Dois, Rua Francisco Torres, Centro. Curitiba/Paraná.
Horário: 20:30hs, Entrada Franca.
Obras de Bach, Beethoven, Chopin, Schumann, Guarnieri.

IMAGEM-Um olhar atual

www.imagemonline.de

A IMAGEM é uma empresa de fotografie. que faz nao só portraits, como teatro, pessoas(Menschen), Kunst(Arte).

Renata Bittencourt (Curitiba/Paris) vem para o Nova Onda

RENATA BITTENCOURT – PIANO
Nascida em Curitiba/Paraná/Brasil, iniciou seus estudos de piano com Marilena Amalfi Voss e desde 2003 é orientada pela Professora Henriqueta Garcez Duarte. Participou de Oficinas de Música em diversos estados do Brasil, além de master classes com os pianistas como Ricardo Castro, Frank Braley, Fernando Lopes, Olga Kiun, Manja Lippert, Eugeny Isotov, Marian Sobula, Michael Uhde. Em maio de 2006 foi uma das quatro pianistas brasileiras selecionadas para participar de master classes ministradas pelo pianista Jonh O´Connor, durante a Semana Beethoven. No ano de 2004 e 2006 e participou do “Programa Furnas Geração Musical”, sendo convidada a realizar um recital durante a Oficina de Música de Curitiba, no Grande Auditório do Canal da Música. Foi uma das candidatas escolhidas para e etapa semifinal do Programa Prelúdio da TV Cultura de São Paulo, executando o Concerto no 3 de Kabalevsky e o Concerto no 5 de Saint Säens sob regência do Maestro Júlio Medaglia. Em 2007, participou do Festival de Inverno de Campos do Jordão como bolsista, onde teve aulas com Cristina Ortiz, Linda Bustani e Richard Bishop. Recentemente foi selecionada entre 15 pianistas de diversas nacionalidades para participar do III Concurso Internacional de Piano, Ciudad de Panamá. No ano de 2008 graduou-se no curso Superior de Instrumento (bacharelado) com a Prof. Dra. Carmen Célia Fregoneze na Escola de Música e Belas Artes do Paraná. Lecionou piano na Paidéia Escola de Música durante 3 anos, participando de projetos e apresentações promovidos pela escola.
Em outubro de 2009 foi admitida na classe de piano da professora croata radicada na França Jasmina Kulaglich no Conservatoire a Rayonnement Regional d'Aubervilliers/ França . Frequenta desde novembro de 2009 as aulas de acompanhamento ao piano do professor Jean-Frederic Neuburger no Conservatorio Nacional de Paris. Em janeiro deste ano ela participou do projeto "Schumann - Liders op.24 e op.35" (juntamente com os alunos da classe de canto do CRR93 e a classe de alemão do Lycée Claude Monet) coordenado por Antony lo Papa.

Master-Class da pianista Agnes Sousa

http://escoladeartes.com.br/4_semana_musica_2010/master_piano_agnes_souza.html

QUARTETO DE FLAUTAS DE CURITIBA E PRISCILA MALANSKY

PAÇO MUNICIPAL

PRAÇA GENEROSO MARQUES

CURITIBA, 12 DE MAIO

Quarta-feira

2010

QUARTETO DE FLAUTAS DE CURITIBA E PRISCILA MALANSKY



· K. Kummer

Trio Op. 24

· Antonio Vivaldi
Concerto para duas Flautas em Dó maior.
Andante -Rondó

· Doppler, Franz and Karl

· Debussy, Claude

- Clair de Lune

João Gustavo Bridi, Breeze Rosa, Silvio Jackel Neto, Fabrício Ribeiro

Página de Alfred Brendel

http://www.oocities.com/Vienna/2192/brendel.html

Curso Oficina Lirica em Ponta Grossa

Audição para o curso Officina Lirica
Local: Conservatorio Dramatico Musical Maestro Paulino Martina Alves
Endereço:Rua Theodoro Rosas, 871 - centro - 84010-180 - Ponta Grossa (PR)
Data: 27 de abril de 2010 a partir das 10hs
Para se inscrever envie seus dados (nome, endereço, data de
nascimento, classificação vocal e com que estuda) para ambos os emails
abaixo: lizass@interponta.com.br,giannini.luisa@fastwebnet.it

Centro Cultural Teatro Guaíra e SESI/PR lançam edital 2010 para profissionais das artes cênicas.

Centro Cultural Teatro Guaíra e SESI/PR lançam edital 2010 para profissionais das artes cênicas.


O Centro Cultural Teatro Guaíra – CCTG em parceria com o Serviço Social da Indústria/PR – SESI/PR, está divulgando o Chamamento 2010 para a Cessão do Teatro José Maria Santos, para apresentações de espetáculos teatrais, de dança, de circo e de música já produzidos e estreados. O Chamamento é dirigido a profissionais cênicos – pessoa jurídica ou pessoa física – com o propósito de formação de platéia, bem como de ampliação do mercado de trabalho.

Balé inspirado na obra de Bach no teatro da Caixa

Espetáculo de dança - Bach - Barock - Brasilien

Local: Teatro da Caixa, Rua Conselheiro Laurindo, 280, Curitiba, PR
9 a 11 de abril
sex e sáb 21h e dom 19hs
ingressos - R$10,0 e R$5,00 (meia)

Távola Redonda Produções

http://tavolaredondaproducoes.wordpress.com/

Saxofonista curitibano Marcio Schuster conclui mestrado na Alemanha

http://www.embap.pr.gov.br/modules/noticias/article.php?storyid=149

Camilla Amado - diretora, atriz e professora

A jornalista Sabrina Wurm da revista VEJA me pediu dez itens indispensáveis no meu entender para ser um Ator. Claro que sozinha não ousaria tarefa tão difícil. Contei com a colaboração dos amigos de sempre, Walmor Chagas e Ítalo Rossi. Foram incontáveis os itens propostos, mas ai vão os dez que me foram pedidos:

1- Não mentir para si mesmo.
2- Ser caótico e tímido a ponto de precisar desesperadamente de uma máscara.
3- Não se satisfazer com a máscara social.
4- Depender de uma forma de beleza para entrar em harmonia com o caos.
5- Conhecer profundamente a própria língua e trabalhar a voz para emergir da subjetividade.
6- Embriagar-se de literatura, poesia e filosofia.
7- Suportar a angustia da escolha e exercer a liberdade
8- Ler os jornais todos os dias e manter viva a perseverança e a alegria.
9- Decorar o texto, respirar no ponto e não esbarrar no cenário.
10- Ter uma fé inabalável no departamento de milagres.

"Agora com 70 anos sou uma velha atriz. Hoje sei que ser atriz é ser invisível. Os invisíveis precisam tanto de um espelho, que não exigem mais que esse espelho reflita sempre sua imagem subjetiva, particular, mas qualquer imagem com contornos nítidos e vida própria. Estas imagens, personagens, estas mascaras imaginadas pelos autores atestam para os atores a sua Existência. Sem elas os atores não poderiam se ver, se conhecer, se expressar. Um artista que se preze, não aceita como Identidade a mascara social".
Camilla Amado.
Diretora, atriz, preparadora e professora.
Conheça o blog de Camilla Amado clicando em: http://camillaamado.com.br/

Esta semana no Blues Velvet - cinema e jazz...

Esta semana no Blues Velvet

QUARTA 31/03

JAZZ

Abertura da casa: 19h

Double caipirinha de frutas até 21h

Entrada: free



QUINTA 01/04

Primeiro Evento:

Curta os Curtas

Abertura da casa: 19h

Double caipirinha de frutas até 21h

Entrada: free


Rua Trajano Reis, 314 - São Francisco veja o mapa
INFORMAÇÕES E RESERVAS:(41) 3077-1794

CHOPIN THE TEACHER by Joao Paulo Casaroti, University of North Dakota

CHOPIN THE TEACHER
by Joao Paulo Casaroti, University of North Dakota




CHOPIN: THE PIANO TEACHER


In 1832, Fryderyk Franciszek Chopin (1810-1849) successfully debuted as a pianist in Paris and began a lifetime occupation of teaching piano and composing. He interacted with the intellectuals and aristocrats of Paris and became an important piano teacher. Although Chopin disliked concertizing and had few outstanding pupils, he enjoyed teaching piano. His contemporaries of the Romantic Period considered his teaching method revolutionary, and it predicted modern piano pedagogy. I intend to offer an overview of Chopin’s pedagogy in order not only to understand his “method,” but also to provide an understanding of his personality, his music, and his style. First, I intend to discuss the importance teaching held in Chopin’s life. Second, I will offer the practical details of his studio regarding the establishing fees, the way he conducted his schedule, the lessons, and his students. Finally, I will include a survey of Chopin’s general principles of teaching, regarding technique and musical style.


The Role of Teaching in Chopin’s Life

Fryderyk Chopin taught piano for 17 years, from 1832 to 1849, when he also divided his time as a composer. He devoted summers to composition and winters to his piano students. MacCabe offers a reason for this when stating, “Since Chopin despised concertizing in public and his compositions only produced a meager income, he sustained himself by teaching.”¹ Although some biographers insist that teaching was a detested task that he just endured for his financial need, Chopin in fact “enjoyed this occupation immensely and was very meticulous.”² One of his most important students, Carl Mikuli describes these characteristics:

Far from regarding his work as a teacher, which his position as artist and his social connections in Paris rendered difficult of avoidance, as a burdensome task, Chopin daily devoted his entire energies to it for several hours and with genuine delight. True, his demands on the talent and industry of the pupil were very great. There were often “de lecons orageuses” (“stormy lessons”), as they were called in school parlance, and many a fair eye wet with tears departed from the high altar of the Cité d’ Orleans, rue St. Lazare, yet without the slightest resentment on that score against the dearly beloved master. For this same severity, so little prone to easy satisfaction, this feverish vehemence with which the master strove to raise his disciplines to his own plane, this insistence on the repetition of a passage until it was understood, was a guaranty that he had the pupil’s progress at heart. He would glow with a sacred zeal for art; every word from his lips was stimulating and inspiring. Single lesson often lasted literally for several hours in succession until master and pupil were overcome by fatigue.³

In a letter to his parents in Warsaw, dated June 8, 1847, Chopin wrote: “You would not believe how charming my kind pupils are...”4 We can certainly conclude, based on these last quotations that teaching represented for Chopin much more than a source of income, it was in fact, his passion.


PRACTICAL DETAILS OF CHOPIN’S STUDIO


Lesson Schedule

For a regular student of Chopin’s studio, two lessons per week was the norm. There are, in fact, many exceptions to this statement: “Charles Filtsch, [for example, one of Chopin’s most promising student], received three lessons per week. Marie von Harder claimed to have had daily lessons.”5 The lessons were theoretically supposed to last from forty-five minutes to an hour, however for his gifted students, he would prolong the lesson for several hours. According to Jean-Jacques Eigeldinger, the exact number of lessons per week per student, depended on Chopin’s “availability, their own individual needs and their talents-and secondarily on the state of their finances. Some pupils maintain that Chopin unofficially taught them practically free of charge, or that they were offered numerous additional lessons.”6

“Generally Chopin gave five lessons per day.”7 According to Jeanne Holland, Chopin definitely kept individual abilities in mind when he made out his teaching schedule. “What great confusion would have resulted if, after having scheduled his usual five lessons for the day, Chopin prolonged even one lesson to several hours!”8 Due to this, Chopin reserved Sundays for his gifted students; whose lessons usually lasted for longer intervals. Madame Streicher wrote:

Many a Sunday I began at one o’clock to play at Chopin’s and only at four or five o’clock in the afternoon did he dismiss me.9


Chopin’s Fee

According to his students Jan Matuszynsky in 1834 and Charles Halle in 1836, Chopin charged at least twenty francs per lesson. A letter from George Sand dating 1841 reveals that Chopin’s fees were still the same. In fact, Chopin’s fee was considered one of the highest fees of his day. “During that period the wage of a skilled French laborer probably seldom exceeded four francs a day; therefore Chopin was earning, through forty-five minutes of teaching, five times as much as the worker was earning through an entire day of skilled labor.”10 When criticized for his high fees, Chopin responded arrogantly. George Sand wrote:

A few fine ladies protested that the rue Pigalle was too far from their elegant districts. He answered: “Ladies, I give much better lessons in my own room and on my own piano for twenty francs than I do for thirty at my pupils’ homes, and besides, you have to send your carriages to fetch me. So take your choice.11

In another situation, he replied:

Kalkbrenner charged twenty-five francs. Today I am to give five lessons. You probably think I am making a fortune, but you are wrong. The cab [carriage] and white gloves cost more than I earn but without them I would not be in good form.12

Chopin preferred teaching in his own apartment and on his own pianos; although as mentioned by Sand’s letter he would accept teaching at his students home with an additional fee, plus transportation costs. “Almost all his students who wrote about their lessons with Chopin wrote of going to his apartment.”13 In fact, Chopin maintained an elegant apartment in Paris, where he lived and maintained his studio. In a letter to Chopin, his father shows understanding of the necessity of having such a fashionable apartment, although he expresses worry with the expenses caused by such a luxury:

So now you are settled with your own furniture, and indeed not without some little luxury, if I may say so. But I quite understand that you had to have it since you give your lessons at home, and now, as always people judge by appearances. But go steady, my boy, go steady.14


Chopin’s Pianos

Chopin was always punctual in his lessons and almost never missed them. When a student arrived in Chopin’ apartment, he/she would find two Pleyel pianos in the room, a concert grand and an upright. The pupils used the grand and Chopin the upright. Mikuli remembered how Chopin demonstrates his lesson on the upright:

The whole lesson-hour often passed without the pupil’s having played more than a few measures, while Chopin, at a Pleyel upright piano (the pupil always played on a fine concert grand, and was obliged to promise to practice on only the best instruments), continually interrupting and correcting, proffered for his admiration and imitation the warm, living ideal of perfect beauty. It may be asserted, without exaggeration, that only the pupil knew Chopin the pianist in his entire unrivalled greatness.15

Contrary to many of the leading pianists of that day, such as Liszt and Thalberg, who preferred the Erard piano, Chopin praised the Pleyel pianos. One of his students, von Timm used to prefer Erard pianos, but after studying with Chopin she clearly change her mind. She describes Chopin’s preference to Pleyel pianos:

Up until now I have worked more on difficult pianos than on easy ones; that has strengthened my fingers a great deal. However, on this kind of piano it is impossible to obtain the finest gradations by the movements of the wrists and the forearm as one can with each finger taken separately. I have had the experience of hearing these gradations in Chopin’s home on his fine piano. He himself called it “un traitre perfide” [a perfidious traitor]. That which came forth perfectly on my solid and robust Erard became brusque, rough and ugly on Chopin’s piano. Chopin found it dangerous to use a good-sounding instrument with a ready-made tone for a long time, such as the Erard. He said that these instruments ruined the touch: “Qu’ on tappe, qu’ on frappe dessus c’est égal, le son est toujours beau et l’ Oreille ne demande pas autre chose parcequ’elle est sous le son plein et sonore.” (Wheter one touches, whether one strike from above it is the same, the sound is always beautiful and the ear does not question anything different because the ear is under the full and sonorous sound.)16


Chopin’s Students

It is a well-known fact that most of Chopin’s students did not become recognized musicians, because most of them were female members of the aristocracy. “Nevertheless, many of them were serious musicians. There is no reason to assume, as many authors have that being of noble birth - or being female, for that matter- precludes having musical talent.”17 Franz Liszt once ascertained, “Chopin was unfortunate in his pupils.”18 In fact, even though Chopin did not form a “school” like Liszt did, he taught a considerable number of students, who later became responsible for the Chopin tradition (see Table 1 with the list of Chopin’s major students). According to Jean Elgendinger:

[It was not in Chopin’s nature] to impose his personality on pupils, in the way that the Liszt of Weimar did. Too much of an aristocrat and poet to become a leader, Chopin was content to suggest and imply, winning devotion without any attempt to convince. Such an attitude could hardly be conducive to an analytic approach on the part of his disciples. And then it has its corollary: with the exception of a very few professionals, the core of Chopin’s clientèle consisted of ladies of the Faubourg-St-Germain or of the Slavonic aristocracy exiled in Paris. Talented as they may have been (many of them were), their social status effectively forbade them to perform in public except for charity functions. Princess Marcelina Czartoryska, generally recognized as Chopin’s most faithful disciple, fits the description exactly. And people of this category rarely communicated anything more than anecdotal reminiscences- by no means without value! - and fragmentary indications of the training received.19

Another important aspect of Chopin’s personality that is reflected in his teaching is his aversion for concertizing. He once confessed to Liszt:

I am not fitted for public playing. The public frightens me, its breath chokes me. I am paralyzed by its inquisitive gaze, and affrighted at these strange faces; but you, you are meant for it. If you can’t win the love of the public, you can astonish it and deafen it.20

In fact, Chopin’s teaching was unlike that of Liszt’s because it “was not oriented towards the concert platform.”21 Chopin once declared to one of his students that “concerts are never real music; you have to give up the idea of hearing in them the most beautiful things of art.”22


Table 1 : THE MAJOR STUDENTS OF CHOPIN

Kornél d’ Abrányi (1822-1903)
Princess Marcelina Czartoryska (1817-94)
Emile Décombes (1829-1912)
Laura Duperré Countess elise de Eustaphiew (Madame Peruzzi)
Carl Filtsch (1830-45)
Adolf Gutmann (1819-82)
J. C. Hadden Caroline Hartmann (1808-34)
Vera de Kologrivoff (Madame Rubio) (1816-80)
Mademoiselle R. de Könneritz (Madame von Heygendorf)
Ignacy Krzyzanowski (1826-1905)
Wilhelm von Lenz (1809-83)
Ignace X. J. Leyback (1817-91)
Georges Mathias (1826-1910)
Madame Antoinette Mauté de Fleurville (?- 1893)
Carl Mikuli (1821-97)
Friedericke Müller (Madame Streicher) (1816-95)
Camilla O’Meara (Madame Dubois) (1830-1907)
Napoléon Orda (1807-83)
F. - Henri Péru (1829-1922)
Countess Delfina Potocka (1805-77)
Anton Rée (1820-86)
Brinley Richards (1817-85)
Madame Marie Roubaud de Cournand (1822-1916)
Zofia Rosengardt (Madame Zaleska) (1814-68)
Marie de Rozières (1805-65)
Lindsay Sloper (1826-87)
Princess Catherine de Souzzo
Jane Stirling (1804-59)
Thomas Tellefsen (1823-74)
Pauline Viardot-Gracia (1821-1910)
Emilie von Timm (Madame von Bülow, later Madame von Gretsch) (1821-77)

Source: Holland and Methuen-Campbell, quoted from MacCabe, 220.


Regarding the amount of students of Chopin, it is difficult to have a precise number. Since Chopin was a “fashionable” teacher of his era, there were a lot of pianists that advantageously claimed to be his pupils. In fact, Chopin was aware of this and was known to have once responded: “I never gave him lessons; but if it’s of any use to him to pass as my pupil, then let him be. Let him remain one!”23 Elgeldinger believes that if one considers anyone who received Chopin’s advice as a pupil, then the number of students would reach around 150. Besides the great number of students, “his reputation as pianist and pedagogue reached far and wide: one finds his pupils coming not only from France and Poland, but also from Lithuania, Russia, Bohemia, Austria, Germany, Switzerland, Great Britain, Sweden, and Norway.”24

Chopin did not accept children or beginners in his studio. In addition it was not considered easy to approach him:

Chopin was surrounded, adulated and protected by a small entourage of enthusiastic friends who defended him from unwelcome visitors or second-rate admirers. Access to him was difficult; as he himself told Stephen Heller, one had to make several attempts before one could succeed in meeting.25

Meetings did not necessarily assure a place in Chopin’s studio. Even after meeting and being able to play for Chopin, if a student did not have the “talent or artistic personality”26 he required, he would politely refuse him/her.


GENERAL PRINCIPLES OF CHOPIN’S TEACHING


This survey of Chopin’s teaching principles is based primary on his Projet de Méthode (Method of Methods), which he started in 1849 and never finished, in combination with his student’s recollections of his pedagogy.


Repertoire

Chopin’s lessons usually began with technical exercises and proceeded such works as “Cramer’s Etudes, Clementi’s Gradus ad Parnassum, Bach’s Well-Tempered Clavier, and works by Hummel. Chopin regarded the latter as the best preparation for his own works.”27 Mikuli mentioned:

Field’s and his own nocturnes also figured to a certain extent as studies, for through them - partly by learning from his explanations, partly by hearing and imitating them as played indefatigably by Chopin himself - the pupil was taught to recognize, love and produce the legato and the beautiful connected singing tone.28

Chopin also included pieces by “Mozart (only mentioned by Mikuli), Handel, Beethoven, Scarlatti, Weber, Mendelssohn, Moscheles, and Hiller. Several students of Chopin claimed that Chopin neither taught pieces by Liszt nor Schumann.”29 However, there are exceptions, “Madame Dubois mentioned learning Liszt’s La tarantella de Rossini and the Septet from Lucia. Mikuli recalled studying works by Schumann but did not specify the pieces.”30


Piano Practice

In his preface of his piano treatise, Johan Nepomuk Hummel (1778- 1837) wrote:

Many pianists, already advanced, believe that it is necessary to play at least six to seven hours a day in order to achieve their goal; they are in error: I am able to assure them that a regular, daily, attentive study of at most three hours, is sufficient for this purpose; any practice beyond this, damps the spirits, produces a mechanical, rather than an expressive and impassioned style of playing, and is generally disadvantageous to the performer, inasmuch as when compelled to play aside this incessant exercise, if called upon to play any piece on a sudden, he cannot regain his usual powers of execution without having some days previous practice.31

According to one of Chopin’s student Madame Dubois, it seems that Chopin agreed with Hummel. For Delfina, another of his students, Chopin wrote: “Once again I repeat – don’t play more than two hours a day; that is quite enough during the summer.”32For von Timm Chopin recommended “not practicing too long, but to reading, looking at beautiful art works, or taking walks as periods of rest from practice.”33 Chopin did not believe that six or eight hour practice periods “signified diligence. He considered it mechanical, unintelligent and useless labor. He insisted upon complete concentration, alertness, and attentiveness as the utmost requirements for good practicing.”34


Technique, Fingering and Pedaling

One of the most important principles of Chopin’s piano pedagogy was to achieve beautiful touch. The manner in which Chopin taught touch “lies in the root of his teaching, technique and fingering.”35 Technique and interpretations were almost always inseparable in Chopin’s teaching. He believed that “technical skill was not an end in itself, but merely a means of freeing the hands for musical expression.”36

Chopin would begin his lessons with exercises intended to develop hand elasticity. Mikuli wrote:

On beginning with a pupil Chopin was chiefly anxious to do away with any stiffness in, or cramped, convulsive movement of, the hand, thereby obtaining the first requisite of a fine technique, “souplesse” (suppleness), and at the same time independence in the motion of the fingers. He was never tired of incalculating that such technical exercises are not merely mechanical, but claim the intelligence and entire will-power of the pupil; and, consequently, that a twenty-fold or forty-fold repetition (still the lauded Arcanum of so many schools) does no good whatever- not to mention the kind of practicing advocated by Kalkbrenner, during which one may also occupy oneself with reading!37

Chopin in fact did not believe in mindless and mechanical repetitions of exercises. When he gave hand elasticity exercises, he “only demanded complete mental and physical concentration.”38 In his Method of Methods he wrote:

To those who are studying the art of touch, I submit some very simple practical considerations which, in my experience, have proved to be of real value.
Many futile methods have been tried to teach pupils to play the piano, methods which have no bearing on the study of the instrument. They are analogous to teaching someone to walk on his hands in order that he may go for a stroll.
As a result of this, people have forgotten how to walk properly and know very little about walking on their hands either. They are unable to play music in the real sense, and the difficulties they practice have nothing to do with the works of the great masters. These difficulties are theoretical- a new kind of acrobatics. I am not dealing with ingenious theories, however valuable these may be, but go straight to the root of the matter.39

In contrast to other pedagogues of his time, who sough to equalize the fingers “by means oflaborious and cramping exercises, Chopin cultivated the fingers’ individual characteristics, prizing their natural inequality as a source of variety in sound... In this way he would quickly develop a great variety of colours in his pupils’ sound meanwhile sparing the much tedious labor in fighting their own physiognomy.”40 Chopin’s thoughts about the individuality of the fingers can be expressed in this passage:

For a long time we have been acting against nature by training our fingers to be all equally powerful. As each finger is differently formed, it’s better not to attempt to destroy the particular charm of each one’s touch but on the contrary to develop it. Each finger’s power is determined by its shape: the thumb having the most power, being the broadest, shortest and freest; the fifth [finger] as the other extremity of the hand; the third as the middle and the pivot; then the second [illegible]. And then the fourth, the weakest one, the Siamese twin of the third, bound to it by a common ligament, and which people insist on trying to separate from the third-which is impossible, and, fortunately, unnecessary. As many different sounds as there are fingers.41

As an example of pure technique exercises that apply the concept of “keyboard’s proper relationship to the physiology of the hand,” Chopin would suggest that his students begin the study of scales with B, F# and Db Major (“following the basic fingertips 1-2-3-1, 2-3-4-1 and 2-3-1, respectively”42). He considered that these scales follow the natural, comfortable position of the hand, due to the fact that the longer second, third, and fourth fingers would be playing on the black keys.

Other primary requisites of achieving a beautiful touch taught by Chopin were a proper handposition and a correct seating.

The student should sit at the piano “in front of the keyboard, so as to be able to reach either end, without leaning sideways. [Then, the] right foot [is placed] on the pedal, without bringing the dampers into play.
We find the position of the hand by placing our fingers on the notes E, F#, G#, A#, [and] B...The long fingers will be found to be on the black keys with the short fingers on the white. In order to obtain equality of leverage, the fingers on the black keys must be kept in line. The same applies to the fingers on the white keys. The resultant move will be found to follow the natural formation of the hand.
The hand should remain supple and the wrist and forearm round themselves into a curve making for ease of movement that would be unobtainable if the fingers were outstretched.43

Chopin suggested the “elbow’s level with the white keys and the hand turned neither to the left nor the right.”44

Regarding fingering, Chopin considered a correct fingering the key to proper performance. During lessons he used to work out meticulously with his students. He always adopted “the easiest fingering, although it might be against the rules, that came to him.”45 In fact, Chopin was not “slave to the traditions of fingering laid down by theoreticians and publishers. On the contrary, good finger was a matter of finding the most comfortable succession of fingers, best suited both to the form of the hand and to conveying the musical discourse. So it was precisely by breaking many a Classical rule that Chopin opened new horizons with his revolutionary way of fingering.”46 Summarizing Chopin’s contributions in this field, based on his own music or in his notes in his students score, we can perceive:

- Emancipation of the thumb, which is allowed the freedom of the black keys (Etude op. 10/5) and entrusted with melodic fragments (Etude op. 25/7, Nouvelles Etudes no.1)
- Letting the 3rd, 4th and 5th right hand fingers cross over one another in chromatic passages (Etude op. 10/2) and in singing legato lines (Berceuse op. 57, Nocturne op. 9/2, Prelude op. 28/15, and elsewhere).
- Crossing over these same fingers in passages of chromatic thirds (Etude op. 25/6, Berceuse op.57, Prelude op. 28/24).
- Passing the 5th finger over the thumb (Etude op. 25/11, Impromptu op. 29, and elsewhere).
- Using the same finger on successive notes in a melodic line, diatonic as well as chromatic(Nocturne op. 37/1 and elsewhere).
- Notes repeated with the same finger, as far as the writing and the tempo permit it.47

Another important development of Chopin’s piano technique is associated with the “new dependence on pedal, a factor that decisively influenced his piano writing. The progress made by French and English piano manufactures enabled particularly the bass strings’ vibrations to be substantially prolonged by using the damper pedal. The fingers could then elaborate over a bass not which could be held on the pedal without dwindling too rapidly. ”48 It can be said that Chopin took advantage of this to develop his writing for the left hand. According to Eigendinger “is this extension of suppleness that underlies the accompanying voice in compositions such as the Andante Spianato op. 22, the Berceuse op. 57, most Nocturnes (particularly op. 27/1 and 2), and the trio in the Funeral March from the Sonata op.35.”49

Chopin used to say to his students that “the correct employment [of the pedal] remains a study for life.50 To his student Delfina, Chopin wrote:

Be careful with the pedal for this is a frightfully touchy and noisy rascal. One must deal with it very politely and delicately- as a friend it is very helpful, but it isn’t easy to reach the stage of intimate acquaintance and love with it. Like a great lady, mindful of her reputation, it will not dally with the first comer... But, once it consents and yields, it performs real wonders, like a practical lover...51

Chopin suggested that his students learn to make diminuendos without using the una corda pedal. In addition, he believed that the student, regardless of level, should control degrees of dynamics without pedal first. “After mastered this technique, he/she then learned to employ the pedal."52 According to Péru, Chopin was very careful in notations, especially pedaling and dynamics. He remarked:

When asked to put in marks of expression [Chopin] put them in carelessly, never playing his pieces as the appeared in printing, and marking a pedal at the beginning of each bar without paying the least attention to the sense of music...53


Interpretation

According to Holland, there is less information about Chopin’s teaching of interpretation than about other aspects of his teaching. In his notes for his piano method, Chopin “wrote nothing specifically about interpretation.”54 This does not mean however, that interpretation was not important for him. In fact, interpretation is “elusive; writing general principles about it would be risky, for the unimaginative might apply those rules slavishly.”55 In addition, Chopin “was by nature a pure musician, [who was] always shy of committing ideas to paper: ‘The pen burns my fingers,’ he would say by way of excuse... [He also] did not like to express himself on matters close to his heart except through music.”56 It may certainly be assumed for the available sources regarding Chopin’s interpretations, that in summary he praised primarily individuality and simplicity.

In Chopin’s lessons, when a student played stiffly and mechanically, he would say impatiently, “Do put your whole soul into it.”57 He considered “feeling” the most essential quality for becoming a fine pianist. Even though Chopin often played to his students, to demonstrate an idea or purpose, he did not want them to become his imitator. He wrote to his student Delfina:

Music, rich, full of feeling, not soulless, is like a crystal on which the sun falls and brings forth from it a whole rainbow. And everyone may admire it for a different reason; one will enjoy the fact that the crystal has been artfully carved, another will like the red color, still another the green, while the fourth will admire the purple. And he who put his soul into the crystal is like one who has poured wine into it.
You know that I tell my pupils to play my own and others’ works as they feel them, and that I dislike it if they imitate me too much, adding nothing of their own in the interpretation.
As for myself, you know, I seldom play a thing twice in the same way. You realize that the cause is in the disposition.
People sometimes tell me reproachfully that I have been playing better, e.g., at Custine’s than at the Perthius, but they don’t understand that man is not a machine.58

One example of Chopin’s students who played through their own instincts and not through imitation, was Carl Filtsch. Chopin praised him as follows:

He plays almost all my compositions, without having heard me’ without my having to show him the least thing- not exactly as I would (because of his own style) but certainly not less well.59

On the other hand, Péru, another Chopin’s student, imitated Chopin at each lesson. In order todiscourage him from doing this Chopin would play a different interpretation at each time. Péru wrote:

How many exceptional pianists can execute Chopin’s works like he expresses them! How often I had seen him rise from the sofa where he was listening and take his place at the piano, in order to demonstrate – he feels it – the work that I would play for him – badly – that is to say in a completely different expression, though having worked on it a great deal! The lesson was finished because I did not wish to forget the feeling that I heard religiously. The following lesson, almost satisfied with the imitative style that I worked on this piece, I played it. Unhappily when I had finished it, Chopin, always listening, got up and after having mocked me brusquely, began to play the piano and said to me: “Listen, there are to play, how so?” and he played it in a completely different style from the last time. Only my tears answered to this demonstration which did not at all resemble the first time. The discouragement affected me completely. However, he had pity for me and said, “It was almost good but not as I feel it.” He shook my hand, and I left sadly and discouraged.60

The ostentations were just as distasteful to Chopin as were the imitators. Chopin loved simplicity in interpretation. He admired Filtsch because he played with a simple style, “as if it couldbe no other way.”61 Mikuli wrote:

A lofty, virile energy lent imposing effect to suitable passages- energy without roughness; on the other hand, he could carry away his hearers by the tenderness of his soulful delivery – tenderness without affectation. But with all the warmth of his peculiarly ardent temperament, his playing was always within bounds, chaste, polished and at times even severely reserved!62

At a lesson with Madame Streicher, Chopin said that calmness was necessary to overcome technical difficulties and “simplicity is the final thing. After having conquered all difficulties, after having played a huge quantity of notes, it is simplicity that emerges with all its charm as the final seal of art.”63


Phrasing

Chopin strongly recommended that his pupils study singing and Italian opera for a betterunderstanding of phrasing. He would recommend to a student:

Don’t practice the piano so much, but go and listen to good singers, and then you will learn to phrase a melody... You must use your wrists much the same way a singer breathes in playing a melodic line.64

As a very demanding professor, Chopin would take great pains in teaching phrasing. This can be demonstrated by way of Mikuli, who described the manner in which Chopin demonstrated phrasing at one of his lessons:

On phrasing, and on style in general, he gave his pupils invaluable and highly suggestive hints and instructions, assuring himself, however, that they were understood by playing not only single passages, but whole pieces, over and over again, and this with a scrupulous care, an enthusiasm, such as none of his auditors in the concert-hall ever had an opportunity to witness.... [When a pupil failed he would say]: ...that it struck [me] as if some one were reciting, in a language not understood by the speaker, a speech carefully learned by rote, in the course of which the speaker not only neglected the natural quantity of the syllables, but even stopped in the middle of words. The pseudo-musician shows in a similar way, by his wrong phrasing, that music is not his mother-tongue, but something foreign and incomprehensible to him, and must, like the aforesaid speaker, quite renounce the idea of making any effect upon his hearers by his delivery... In the shading he insisted on a real and carefully graduated crescendo and decrescendo.65

Regarding dynamics, it can be said that Chopin was very exacting. Although he confessed tohis student Delfina that he could “obtain everything regarding feelings”66 but his forte was very poor, he does mention a trick:

I am always telling my pupils that those for whom the forte is difficult must learn to shade their pianoin a dozen ways, and well manage the pedal, then the listener will not regret the lack of the forte.67

He recommended his students to see and hear the musical ideas as a single unit rather than as a series of short phrases. “Too frequent ritenutos were avoided; otherwise the idea was curtailed. However, phrase elongation sometimes became tedious. He also taught his pupils to mark the beginning and endings of a musical idea or phrase, i.e., using commas, brackets, or slashes.”68


Tempo Rubato

According to Holland, Chopin insisted that his students play in time. Madame Streicher wrote: “He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritandandos... And it is just in this respect that people make such terrible mistakes in the execution of his works.”69 Mikuli also remembered that Chopin was so serious about tempo, that the metronome never left his piano.
Although such statements of his students guide us to believe that he allowed no digression from the beat, “we must remember that it was misplaced and exaggerated ritardandos that Chopin railed against.”70 According to Holland, Chopin wanted the candenza-like embellishments in his own works to be played freely, sounding like an improvisation. In general, “his music should not be played pedantically but spontaneously with elasticity, and flexibility.”71


Tone Production

Chopin stressed that the legato touch was the singularly most important touch in piano playing. Mikuli wrote that:

He treated the various styles of touch very thoroughly, more specifically the full-toned legato. ...Field’s and his own nocturnes also figured to a certain extent as studies, for through them- partly by learning from his explanations, partly by hearing and imitating them as played indefatigably by Chopin himself – the pupil was taught to recognize, love and produce the legato and the beautiful connected singing tone.72


Ornamentation

According to MacCabe, Chopin was a true master of ornamentation, in both composing and performing. He knew the function of each ornament regarding respect to rhythm, melody, and harmony. “He exploited the use of ornaments to the utmost, and the pianist who performs [his] works must realize that Chopin wrote his ornaments for specific purposes. The pianist needs to be [in fact], cognizant of the accepted execution of Chopin’s ornaments, exceptions, and also be able to perform them musically.”73
Chopin never wanted the ornaments played hurriedly. He constantly advised his students tostudy singing and to listen to the great singers and Italian operas. Consequently they wouldunderstand ornamentation and appreciate its beauty. Mikuli wrote:

For paired notes and chords [Chopin] exacted strictly simultaneous striking of the notes, an arpeggio being permitted only where marked by the composer himself; in the trill, which he generally commenced on the auxiliary, he required perfect evenness rather than great rapidity, the closing turn to be played easily and without haste.
For the turn (grupetto) 74and appoggiatura he recommended the great Italian singers as models.

Pauline Viardot-Garcia confirmed Mikuli’s statement in this passage:

Chopin considered the trill to commence on the upper auxiliary. When [the trill] is preceded by a little note (identical to the principle note), it does not mean that the note must be played twice; it only means that the trill must commence on the same note, and not on the upper auxiliary as usual.75

Pianista Piracicabano Joao Paulo Casarotti

Pianista Piracicabano Joao Paulo Casarotti iniciou seus estudos de piano aos seis anos de idade com a professora Conceicao Cazelatto. Posteriormente estudou no Conservatorio de Campinas sob a orientacao de Olga Normanha. Em 1995 iniciou seus estudos na Escola de Musica de Piracicaba Maestro Ernst Mahle onde estudou com Cecilia Belato (piano), Beatriz Victoria ( Historia da Musica), Diva de Castro (Harmonia) e Cintia Pinotti (Theoria).

Casarotti e formado pela Escola de Musica de Piracicaba com Curso Tecnico em Musica- Piano (1998) e possui Performance Certificate pela Academia Nacional de Musica de Sofia (1998) e Bacharelado em Piano pela Universidade de Sao Paulo (2002).. Em 2005 Joao Paulo mudou-se para os Estados Unidos para prosseguir seus estudos musicais.

Nos Estados Unidos Casarotti e formado em Master in Music – Piano Pedagogy pela University of North Dakota e Master in Music-Piano Performance and Pedagogy pela Temple University (Philadelphia). Dentre seus mestres Gilberto Tinetti, Marisa Lacorte e Mauricy Martin, Victor Tchouchkov (Bulgaria), Sergio Gallo e Maria del Pico Taylor (Cuba).

Dentre os premios como pianista destacam-se:

- 1.o Colocado no Concurso do Instituto de Pesquisas Fisicas e Musicais (1995)- Sao Paulo
- 1.o Colocado no Concurso para Jovens Solistas da EMPEM (1996)
- 3.o Colocado no Concurso Jovens Instrumentistas do Brasil (1998)
- 3.o Colocado no I Concurso de Musica de Camera- Art Livre (2000)- Sao Paulo
- Premio: “Melhor Pianista” do I Concurso de Musica de Camera Art Livre (2000)
- Mencao Honrosa no I Concurso Nacional de Piano de Sao Caetano do Sul (200)
- Bolsa de Estudos completa para a University of North Dakota – Masters in Music
- Bolsa de Estudos para Doutorado na University of Mississipi
- Bolsa de Estudos – Temple University (Philadelphia)
- Who’s Who in Colleges and Universities – Temple University
- Student Star Award da Music Music Teacher’s National Association (2007)

Em 2007 Casarotti recebeu a importante bolsa de estudos“Eleanor Hancock” para cursar o Taubman Seminar na Julliard School em New York. Em 2008 recebeu da Steiway & Sons e Golandsky Institute uma bolsa de estudos completa para cursar o Golandsky Institute Summer Symposium na Princeton University-Princeton, NJ.


Casarotti atuou como solista frente a Orquestra Jovem da Escola de Musica de Piracicaba, Orquestra de Camera da EMPEM, Orquestra Pro-Sinfonica de Rio Claro, Orquestra Sinfonica do Festival de Musica de Prados (MG), Orquestra de Camera da Universidade de Sao Paulo, Percussion Ensemble da Temple University, University of North Dakota Chamber Orchestra e Greater Grand Forks Symphony Orchestra (Grand Forks, North Dakota-USA).

Joao Paulo Casarotti vem se destacando tanto no Brasil quanto nos Estados Unidos como professor de piano. Seus alunos receberam premiacoes em importantes concursos de piano entre eles: Concurso Nacional de Piano de Botucatu, Concurso Nacional de Piano de Aracatuba, Concurso Nacional de Piano Art Livre, Scoth Piano Competition (North Dakota), Music Teachers Association – Pennsylvania State Competition, Golden Key Competition- Philadelphia. Casarotti teve alunos aprovados nas seguintes universidades: Universidade de Sao Paulo, Universidade de Campinas, FAAM, Unesp, University of the Arts, Temple University (Philadelphia), e West Chester University. Dentre as escolas de musica por onde trabalhou, destacam-se: Escola de Musica de Piracicaba, Escola de Musica Fabio Marasca (Rio Claro), University of North Dakota , Nelly Berman Music School (Haverford), Darlington Arts Center, Temple Music Prep School e Temple University.

Casarotti vem desenvolvendo importante pesquisa na obra pianistica do compositor Maestro Ernst Mahle. Escreveu seu Trabalho de Conclusao de Curso na Universidade de Sao Paulo “Ernst Mahle: 50 anos no Brasil e os Ponteios para Piano Solo”. Na University of North Dakota publicou sua tese de Mestrado “Ernst Mahle: 55 Years of Musical Legacy in Brazil and a Pedagogical Overview of His Works for Piano Solo”. Em 2007 apresentou uma Lecture Recital e teve um artigo publicado sobre a obra de Ernst Mahle para piano na International Conference of Arts and Humanities no Hawaii. Realizou tambem Lecture Recitals sobre o Maestro Mahle na Temple University e Delaware Valley Music Teachers National Association (Philadelphia) e na Pennsylvania Music Teachers Association Conference.

Desde 2005 Casarotti vem se especializando na Taubman Technique sob a orientacao da pianista Cubana Maria del Pico Taylor. Alem de suas importantes premiacoes dos institutos que trabalham com a Taubman Technique, em 2008 foi convidado para ser o Assistente da Taubman Seminar- Temple University e publicou o livro de exemplos do Seminario.
Atualmente Joao Paulo Casarotti e Professor Adjunto ta Temple University onde leciona classes em Piano Pedagogia, Piano Laboratorio e aulas individuais. E tambem professor da Temple Music Prep School e Darlington Arts Center onde leciona piano tradicional e Suzuki. Casarotti tambem possui studio em sua casa no Sul da Philadelphia e e Music Director- Organista da Saint Peter Lutheran Church em Chester Springs.

Orquestra Jovem Nacional de Bagdá

Sunday 28th March 2010
"Iraqi Teenager Seeks Musicians"
Zuhal



Very inspiring article in today's Sunday Times about Zuhal Sultan, the young Iraqi girl who started the National Youth Orchestra of Baghdad.

“When the war broke out, most of the music teachers in Iraq disappeared. They either left the country or stopped teaching. Many young musicians in Iraq are self-taught. It is the only way,” she says.

Finally, she sought funding for her venture. “I was staying up late at night sending 40 emails a day to anyone I could think of,” she says. “One day I found that the deputy prime minister [of Iraq] was on Twitter, so I sent him a message, with an article about me and the orchestra, and asked him if he would be interested in supporting us. Two days later I met him and he gave me $50,000. It was the quickest $50,000 I ever got,” she says. “After that, I was ecstatic because I just knew it was going to work out.”

With some irony, since she's now based in Scotland, this article is classified under "Scottish Lifestyle Stories". I'd have put it under: "Music", "Inspirations", "Cultural Recovery", "Incredible Tales of What Can Be Achieved Given Enough Personal Oomph" or something of that ilk. More power to Zuhal's elbow, vision and enterprise

"Músicos sem fronteiras" - em inglês

http://www.musicianswithoutborders.nl/

Chopin's heart

Chopin's heart

The heart of Fryderyk Chopin could hold the secret of his untimely death. The renowned 19th century Polish-French pianist and composer died at the age of 39, of what is believed to be tuberculosis. But leading Polish medical experts are betting that DNA tests on his heart - perfectly preserved in what appears to be cognac - could prove he suffered from cystic fibrosis. Their request to Poland's culture ministry for tissue samples to check for the CFTR gene marking cystic fibrosis suffers has, however, sparked mixed feelings over the prospect of picking over a national icon.


"For where your treasure is, there your heart will be also" reads the biblical passage inscribed on a pillar in Warsaw's sprawling and ornate baroque Church of the Holy Cross. There, inside a crystal urn filled with alcohol lies Chopin's heart, brought home in 1849 - as he had wished - by his elder sister Ludwicka from Paris, where the rest of his remains lie in the Père Lachaise cemetery.

Leading Polish cystic fibrosis specialist Wojciech Cichy said the symptoms Chopin suffered were typical of cystic fibrosis, a genetic illness which clogs the lungs with excess thick and sticky mucus. "From early childhood he was weak, prone to chest infections, wheezing, coughing" Cichy said.

Records shows that as an adult weighing 40 kilos (about 88lbs) and 1.70 metres (5'6") tall, Chopin was chronically under weight - another tell-tale symptom of cystic fibrosis. Cichy also pointed out that despite a passionate romance with flamboyant French writer George Sand, Chopin had no known children, suggesting infertility - another clue. And few cystic fibrosis sufferers live past 40.

Grzegorz Michalski, director of Poland's National Fryderyk Chopin Institute, said the last known time that the heart was examined was just after the end of World War II in 1945. It showed that the heart was "perfectly preserved" in the hermetically-sealed crystal urn that was filled with an alcoholic liquid, presumed to be cognac.

"Records show it is in perfect condition, so to tamper with it risks destroying it" Michalski said, adding that while one of two of Chopin's living descendents favours DNA testing, the other is staunchly opposed.

No one has yet asked the Friars of St Vincent de Paul at the Holy Cross Church whether they would agree to the test. "I can't comment on the matter in any way because, until now, no one has contacted me with either a question or any kind of proposal to test Chopin's heart" senior priest, Father Marek Bailkowski, told AFP.

Iwona Radziszewska, spokesperson of the culture ministry, said "an appropriate decision" would be taken upon review of a series of studies now underway. As a Polish émigré in his father's native France after an 1830-31 uprising of Polish insurgents against the 1795 partition of Poland by Russia, Prussia and Austria, Chopin refused to take a Russian passport. Thus he was never able to set foot on his native soil after the doomed insurrection. "The uprising was a drama that ruptured Chopin's life" said Michalski, explaining the musician's desperate homesickness and his dreams of Polish independence.

Described by 19th century German composer Robert Schumann as “cannons hidden among flowers”, Chopin's music was and remains a symbol of Poland's long struggle for freedom. Nazi Germany banned it for that very reason.

But Michalski recalled that it was a German general, Erich von dem Bach, who saved the heart from oblivion amid a relentless Nazi bombing campaign during the 1944 uprising by Polish partisans in what was then occupied Warsaw.

Pianista Cego chega às Finais do Van Cliburn 2009 - impressionante

http://www.cliburn.tv/client.aspx
Procurar Noboyuki Tsujii - 20 anos

Zhou Yu's Train Trailer

A estória de um escritor e uma pintora. Selecionado pelo festival de Berlim.

Chopin, Lang Lang e Animação

http://www.youtube.com/watch?v=XsRAVaGf6w8&feature=related

citação de Tolstoy

THE CHOPIN YEAR 2010 CELEBRATIONS " What makes Chopin great is the fact that no matter how simple he is, he never becomes common, while his most complicated works never become overly sophisticated." ~Leo Tolstoy

Chopin Piano Concerto No.1, Mov.1-1 by Ohlsson, Wit, WPO (2010)

http://www.youtube.com/watch?v=cwo8YAbu0Ro&feature=player_embedded#

Informações sobre o Ano Chopin aqui...

Consulado da Polônia
http://www.kurytybakg.polemb.net/

Concertos em homenagem a Chopin pelo Brasil
http://www.memoriaculturalpolonesa.com.br/

Mais informações sobre o Ano Chopin
http://www.chopin2010.pl

No Facebook
http://www.facebook.com/pages/Warsaw-Poland/THE-CHOPIN-YEAR-2010-CELEBRATIONS/62410234396?v=wall

Joao Paulo Casarotti - recital/EUA

Joao Paulo Casarotti

Performing at the Maria TAylor's student recital- Friday-ROck HAll 2:30 pm Heitor Villa- Lobos- Bachianas 4 : - preludio -coral - aria -dansa
Temple University- Philadelphia

Cartazes de todos os ganhadores da história do Oscar

http://revistamonet.com.br/coluna/veja-os-cartazes-de-todos-os-ganhadores-da-historia-do-oscar/

Raphael Branco Diretor Artístico e de Produção Fundação Cultural de Apucarana

Raphael Branco
Diretor Artístico e de Produção

Fundação Cultural de Apucarana

(43)3423-2944 e ou 9966-6769
producao@culturap.com.br

cultura@apucarana.pr.gov.br

INSTITUTO MEMÓRIA INAUGURA NOVA SEDE EM CURITIBA

31/03/2010 - 19H00
INSTITUTO MEMÓRIA INAUGURA
NOVA SEDE EM CURITIBA

Fundada em 2004 pelo editor Anthony Leahy, tendo já lançado mais de 200 livros e diversas revistas de circulação nacional, além de premiados projetos culturais, sempre dentro do princípio de valorizar e promover a Cultura Regional e aos Autores Nacionais, o Instituto Memória Editora inaugura, no próximo dia 31 de março, sua nova sede, no centro de Curitiba. As novas instalações comportarão, além da editora, a livraria Pedra da Gazeta - que funcionou no Shopping Itália - uma biblioteca de apoio à pesquisa, sala de apoio ao autor e uma sala para pequenas reuniões, estudos e palestras.

Durante a inauguração teremos uma pequena mostra de pinturas do premiado pintor curitibano Renê Tomczak, com foco nas paisagens paranaenses.



Serão lançançadas as seguintes obras:





CURITIBA 317 ANOS DE HISTÓRIA, TRADIÇÃO E IDENTIDADE

Coletânea em homenagem ao aniversário da cidade, dedicada à Túlio Vargas - já na sua terceira edição - com a participação dos seguintes autores: Adélia Woellner, Carlos Brantes, Anthony Leahy, Carlos Ravazzani; Fahed Daher, Jocelino Freitas, Ricardo Costa de Oliveira, Rui Cavalin Pinto, Ubiratan Lustosa, Valério Hoerner Júnior.



&





REVISTA RAÍZES REGIONAIS #3



Lançamento da Terceira Edição da REVISTA RAÍZES REGIONAIS, que tem distribuição nacional gratuita e dirigida às Academias de Letras, Institutos Históricos, Instituições Culturais, Bibliotecas e Universidades.

--------------------



CONTAMOS COM A SUA PRESENÇA!



Rua Lourenço Pinto, 222, Centro, Curitiba - PR

(Entre a Av.Visconde de Guarapuava e a Rua André de Barros.

Vários estacionamentos em frente)



Anthony Leahy - Editor

Conselheiro da Academia Brasileira de Arte, Cultura e História - SP
Membro do Instituto Histórico e Geográfico do Paraná e da Academia de Cultura de Curitiba



Pubique já a sua obra.

O que não se compartilha se perde.

Aqui o autor nacional tem Vez e Voz!




Instituto Memória Editora
Editora Destaque pela Câmara Brasileira de Cultura
por dois anos consecutivos - 2008 e 2009.

(41) 3352 3661 - 3352 4515

www.institutomemoria.com.br




----
INSTITUTO MEMORIA EDITORA E PROJETOS CULTURAIS
Anthony Leahy - Editor
(41) 3352 3661 - 3352 4515
www.institutomemoria.com.br

Eventos culturais em Apucarana

SECRETARIA DA CULTURA

PROGRAMAÇÃO DA SEMANA / 2010

De 01 a 31/03 – Exposição: Varal de poesias - das 8 horas às 18 horas – Biblioteca Centro – Informações: 3901-1794

Dia 24/03 - CONVITE À DANÇA – Ballet Regina Mundi - Teatro Reviver – 20h30 – Entrada franca – Informações:

Dia 25/03 - CONVITE À MÚSICA – Sabrina Schultz – música contemporânea - Auditório Luzamor – 21 horas – Entrada franca – Informações:

Dia 25/03 – CLUBETEEN – Filme e bate papo: “Entrevista com o vampiro” – 15 horas – Biblioteca Mandacarú - Informações: 3901-1111

Dia 26/03 – CLUBETEEN – Filme e bate papo: “Entrevista com o vampiro” – 15 horas – Biblioteca Centro - Informações: 3901-1111

Dia 26/03 - CONVITE AO TEATRO – “Cantos e Cantos” – CIRCO TEATRO SEM LONA - Teatro Barracão – 21 horas – Entrada franca – Informações:

Dia 26/03 – CLUBINHO DE LEITURA – Livro: “Lolo Barnabé” – Autor: Eva Furnari – Coordenação: Márcia Santa Maria – Contadora: Cristina Egnossi – Painel: Sueli Gonçalves - 15 horas – Biblioteca Operária – Informações: 3901-1111.

Dia 26/03 – ESPETÁCULO “X CENADANÇA” – Teatro Calil Haddad – Horários das apresentações: 20 horas - Ingressos: R$20,00 (inteira) e R$10,00 (meia) - Informações: (11) 3223-4792 - Claudio

Dia 27/03 – ESPETÁCULO “X CENADANÇA” – Teatro Calil Haddad – Horario das apresentações: 19 horas - Ingressos: R$20,00 (inteira) e R$10,00 (meia) - Informações: (11) 3223-4792 – Claudio

Dia 27/03 – CLUBETEEN – Livro: “Lua nova” – Autor: Stephenie Meyer – 15 horas – Biblioteca Palmeiras - Informações: 3901-1111

Dia 28/03 – ESPETÁCULO “X CENADANÇA” – Teatro Calil Haddad – Horários das apresentações: 17 horas - Ingressos: R$20,00 (inteira) e R$10,00 (meia) - Informações: (11) 3223-4792 – Claudio

Dia 28/03 - PROJETO “UM OUTRO OLHAR” – “O MEDO DEVORA A ALMA”– Alemanha/1973 – Direção de Rainer Werner Fassbinder – Com Brigite Mira e El Hedi Bem Dalem – 16 anos – Entrada franca – Auditório Helio Moreira – 19 horas – Informações: 3263-6063

EM ANEXO – OFICINA “CORPO EM ESTADO DE DANÇA” – Fundação Cultural de Apucarana - do dia 22 a 28/03

Chopingeorgesand

http://www.youtube.com/user/chopingeorgesand

em breve vídeos da pianista Agnes Sousa, recitais 2010.

ARTESANATO EM MDF, BIJOUX E PORCELANA

http://sites.google.com/site/agathagiftstore/minhas-fotos

Livros que marcaram minha vida...

Olá, se você gosta de ler, e quiser trocar informações a respeito de clássicos da literatura, você tem um espaço aqui.

Esta lista é feita de livros que marcaram minha vida, não só me fazendo não esquecê-los como me fazendo lembrar o impacto que tiveram sobre mim, no exato momento em que os li. Acredito que não somente podemos adentrar uma estória, como podemos também transformar nossas vidas através delas...

Les Thibault - Roger Martin du Gard (5 volumes)
A mulher de trinta anos - Honoré de Balzac
A interpretação dos sonhos - Sigmund Freud
Assim Falou Zaratustra - Friedrich Nietzsche
A Divina Comédia - Dante Alighieri
Dom Quixote - Miguel de Cervantes
Cartas a um jovem poeta - Rainer Maria Rilke
A felicidade conjugal - Léon Tolstói

Agnes Sousa.

Recital Chopin - O Poeta do Piano também em Maringá!

Recital "Chopin - O Poeta do Piano" a ser realizado pela pianista Agnes Sousa também em Maringá/PR.Teatro Luzamor - Projeto Convite à Música e UEM (Universidade Estadual de Maringá). Master-class de Agnes Sousa. A confirmar, em Julho. Entrada Franca.

Programa:

Balada I e III

Estudo opus 10, #5
Nocturno op9 #1

ScherzoII

Barcarola

Piano - Agnes Sousa

La Serva Padrona

Acontecerá em Curitiba a apresentação de La Serva Padrona com a Orquestra de Ponta Grossa e os solistas Luciane Quadros e Anderson Gavron, no Teatro Positivo, 31 de março e 1º de abril , às 20 horas.

Uma Homenagem a mulheres precursoras

Uma Homenagem a mulheres precursoras

15 de março - Simone de Beavoir
22 de março - George Sand
29 de março - Chiquinha Gonzaga

A "Segunda no Centro" acontece sempre às 15hs
Local Auditório Leonor Castellano, a Rua Visconde do Rio Branco, 1717
Centro Paranaense Feminino de Cultura
Associadas e Convidados

Recital Chopin - "O Poeta do Piano" no Centro Feminino em Agosto!

Recital das pianistas Agnes Sousa e Jemima Zella no Centro Paranaense Feminino de Cultura. Agosto, dia 12 (a confirmar), às 20 horas. Ingressos a 20 reais (inteira) e 10 reais (meia).
Rua Visconde do Rio Branco, 1717, Curitiba/Paraná
www.centrofeminino.com.br

Programa:

Liszt/Chopin - 6 Chansons Polonaises
II - Wiosna
VI - Narzeczony
Chopin - Rondó Op. 16
Busoni - Variations on a Prelude by Chopin

(intervalo)

Baladas I e III
Estudo op10 #5
Scherzo II
Barcarola

Jemima Zella - Curitiba

Iniciou seus estudos à música quando tinha apenas 3 anos de idade, tendo suas bases musicais com a sua mãe, quando lecionava aulas de órgão. Aos 4 anos já executava peças com perfeição no piano, e fez formação musical pela Academia Cultura Musical, em Paranaguá, sendo aluna da professora Rosemary dos Santos. Aperfeiçoou seus estudos com a professora Marília Cavallari. Ocupou o 3º lugar no VI Concurso de Piano Edna Basseth Habith. Participou da Oficina de Música de Curitiba, tendo aulas com Olga Kiun, Marian Sobula (Polônia), Dunja Robotti (Alemanha). Atualmente faz aulas com a professora Leilah Paiva.

Artur Rubinstein plays Chopin

http://www.youtube.com/watch?v=d_joY2irwK4&feature=fvw

Classical pianist Artur Rubinstein plays several compositions by Chopin

Pricila Malanski - Curitiba

Priscila Malanski é pianista, iniciou o estudo do piano aos 6 anos de idade, no Conservatório Musical Passionista, em Curitiba.Desde cedo apresentou-se em público, sendo seu primeiro recital solo aos 9 anos de didade.Aos 14 ingressou na Escola de Música e Belas Artes do Paraná, na classe do prof. Daniel Costa da Silva, estudando paralelamente em São Paulo com o prof. Homero Magalhães.Teve liberação especial da Secretaria de Educação do Paraná para ingressar no Curso Superior de Piano da Embap antes de completar o ensino médio. Como prêmio por obetr as melhores médias do curso superior foi a 1ª solista da Orquestra Sinfônica Jovem do Paraná, sob a regência do maestro Gerardo Gorosito. Foi agraciada com duas bolsas de estudo, um parcial da Houston Univesity e uma integral pela Academia de Música de Varsóvia.No ano de 2007 completou o curso de Pós graduação em Música pela EMBAP.Atualmente desenvolve atividades como co repetidora, camerista, solista e professora. Em setembro de 2008 foi solista da Orquestra SinfÔnica do Paraná, executando o Concerto nº 5 de Heitor Villa Lobos, sob a regência do maestro Ernani Aguiar. Neste mesmo ano foi escolhida entre inúmeros pianistas para participar da Semana Beethoven, realizado pelo professor John O'Connor, que dirige a escola de música de Positano, especializada neste compositor. Em março de 2010 inaugurouas comemorações do "Ano Chopin" tocando obras do compositor na exposição dos cartazes poloneses dos Concursos Chopin no Solar do Rosário.Foi preparadora do CÔRO DA ÓPERA CARMEN, em agosto de 2009.Tem se apresentado regularmente com seu quinteto "Ensemble Libertango", que executa obras de Astor Piazola. Trabalha com cantores líricos no master class "Tela Lírica" , em parceria com a Escola de Música de Ádria, Itália, realizado atualmente pela secretaria de cultura da cidade de Ponta Grossa, Paraná, onde também é pianista do côro e da Orquestra da cidade.

Cinescópio

Cinescópio

As camadas do tempo
Justapostas
Luz do sol em sulcos
Na manhã da baía de Guanabara
Sombra
O céu retesado
A dobra caída
O véu amainado
Poentes céleres sedes
Cera que seduz celeste
Sol que cisma sonho
Sul que cedeste
Centro de minhas cinzas
Sacos com meus símios
Sons de sátrapas
Cinescópios
Santidades
Sinceridades
Cipós dos circos
Sono de Sansão
Sacis e súcia
Saltos
Sorte
Solenemente
Subitamente

W. jun 2008

Todos os Poetas

Todo poeta almeja a beleza


Todo poeta almeja a beleza
Todo poeta procura
Os atalhos das palavras
E a beleza de suas esquinas
Todo poeta ama
E por vias translúcidas
Verte suas veias
Em busca de picos enevoados
Toda beleza que se faz em poesia
Toda beleza que jaz em poesia
Todos os poetas do mundo
Assíduos infelizes
Asseclas e párias
Todas as palavras do mundo
De todas as línguas
Incongruências
Irrelevâncias
Todos os véus de cada palavra
Todo lirismo possível
Todas as formas inacabadas
A poesia no tempo e no espaço
O poeta no seu tempo
O poeta sem espaço
A beleza em alguma curva de rio
Arquitetura
O intervalo possível entre beleza e poesia
A beleza impensável que a palavra cria
O amor do poeta que cada palavra tinha


W.
Agosto/ 2008

Beatriz Alessio - Santos/São Paulo

Curriculum Vitae


“Beatriz Alessio está de posse de uma grande técnica e, o que é mais importante, de uma compreensão madura, exata e inteligente das obras que toca. No meu Estudo Magno, revelou todo o seu temperamento de verdadeira pianista...”
Gilberto Mendes, para a Tribuna de Santos, 09/2003

Nasceu em Santos e iniciou seus estudos de piano com Marilena Rossi. É bacharel em Piano pelo Departamento de Música da Escola de Comunicação e Artes da Universidade de São Paulo (ECA-USP), onde concluiu em 2001 o curso com nota máxima. Estudou com José Eduardo Martins e Beatriz Balzi.
Em seguida fez sua especialização em piano na Universidad Nacional de San Juan, Argentina, na classe do professor, pianista e compositor Miguel Angel Scebba.
Foi laureada no XV Concurso Nacional Jovens Instrumentistas em Piracicaba-SP, recebendo também uma Menção Especial do Júri por sua interpretação de Stravisnky. Venceu o Concurso Nacional de Jovens Solistas da Orquestra Sinfônica de Porto Alegre. Foi semifinalista do II Concurso Nacional Nelson Freire e foi a única pianista a vencer o III Concurso Nacional Jovens Solistas da Orquestra Sinfônica da Bahia.
Como solista, atuou junto a importantes orquestras, como a OCAM-USP, a Sinfônica de Santos, Sinfônica de Porto Alegre, Sinfônica da Bahia e Orquestra de La Universidad Nacional de San Juan, sob a batuta de maestros como George Olivier Toni, Gil Jardim, Luis Gustavo Petri, Boyko Stoianov, Alexey Izmirliev, Isaac Karabichevsky, dentre outros.
Atua principalmente como recitalista, camerista e professora, com ênfase na divulgação da música contemporânea brasileira. Sua dissertação de mestrado, “Os Sete Estudos para Piano de Gilberto Mendes”, foi defendida na ECA-USP em 2008 e recomendada para publicação. Tem trabalhado sob orientação direta de Mendes em vários recitais de obras suas para piano e, a seu pedido, interpretou o seu Estudo Magno para o documentário “A Odisséia Musical de Gilberto Mendes”, de 2005. Executou também a integral das canções do compositor em duo com a soprano Juliana Damião.

Atualmente cursa o Doutorado em Música-Performance na Universidade do Rio de Janeiro (UNIRIO), sob orientação da Profa. Dra. Lucia Barrenechea e do prof. Dr. Eduardo Monteiro.

Indicado ao Prêmio Grammy Latino - Antônio Vaz Lemes/São Paulo

Indicado ao Prêmio Grammy Latino (2006), o pianista Antonio Vaz Lemes, natural de São Paulo, começou seus estudos de piano aos 4 anos de idade em Capão Bonito. Ingressou no Conservatório Dramático e Musical Dr. Carlos de Campos em Tatuí, onde suas primeiras experiências em concursos nacionais o levaram aos prêmios Aluno Revelação e Primeiro Lugar. No mesmo ano em que se formou no Conservatório, começou sua graduação no Instituto de Artes da UNESP, em São Paulo, onde foi orientado pelo pianista Attílio Mastrogiovanni. Nesse período participou de inúmeros festivais de música, concursos nacionais e masterclasses, sendo a mais importante com Alicia de Larrocha em Campos do Jordão. Lá conheceu Gilberto Tinetti que passou a ser seu orientador e, a partir daí, alcançou mais cinco Primeiros Lugares em concursos nacionais. Atua intensamente como camerista e solista, inclusive frente a orquestras, tendo colaborado com Richard Markson, Watson Clis, Edna D'Oliveira, Emerson di Biaggi, Lanfranco Marcelletti, Luciana Bueno, Edson Cordeiro, Ney Matogrosso e Marília Pêra. Em duo com Edson Cordeiro, gravou o disco CONTRATENOR, que foi indicado ao Grammy Latino na categoria de Melhor Disco Clássico. Participou dos musicais "Victor ou Victória", "A Bela e a Fera", "Godspell", "Single Singers Bar", "Chicago", "Mistinguett" e "Sweet Charity" e "Hairspray". Concluiu o curso de piano popular no Centro de Estudos Musicais TOM JOBIM, em São Paulo, onde foi orientado pelas pianistas Célia Carmona e Cris Machado. Esteve em cartaz em 2008/2009 no show "Do Brazil", com Edson Cordeiro em uma temporada de mais de 100 shows em Munique, Alemanha. Nesse período estudou particularmente com Noel Lee, em Paris. Antonio Vaz Lemes é professor de piano, banda e musicalização na EMIA-Escola Municipal de Iniciação Artística em São Paulo. Contato - antoniovazlemes@gmail.com

Guilherme Greca/ New York

Guilherme Greca iniciou sua carreira de diretor aos 17 anos de idade, realizando produções caseiras e experimentais. Aos 21 teve a oportunidade de participar de um curso de extensão universitária com a cineasta Tizuka Yamazaki e sua equipe de profissionais. Em 2003 recebeu prêmio no Festival do Minuto de Curitiba. Já graduado em comunicação social pelo Centro Universitário Curitiba (UNICURITIBA) e pós-graduado em cinema e vídeo pela Faculdade de Artes do Paraná (FAP), Guilherme Greca continuou a realizar seus filmes paralelamente ao seu trabalho profissional. Atualmente morando em Nova York teve seu último filme convidado para um festival nos EUA.

Agnes Sousa/Curitiba

Nascida na década de oitenta, Agnes Sousa começou seus estudos musicais em tenra idade no interior do Paraná. Aos oito anos recebe seu primeiro prêmio musical, no conservatório onde estuda. Aos onze ingressa no curso intermediário de instrumento, na escola de Música e Belas Artes do Paraná. Consegue passar com notas A na maioria dos anos, até os 16 anos. Dos 14 aos 22 participa de inúmeras oficinas de música, workshops e concursos nacionais e latino-americanos de música, obtendo premiação no Concurso Nacional de Piano Da Embap, em duas edições, no Concurso Latino Americano de Piano Da Escola Rosa Mística, Concurso Nacional de Ourinhos, Concurso de Piano Art Livre, Concurso Nacional de Piano de Governador Valadares e Concurso Jovens Solistas do Brasil, de Piracicaba. Em 2003 obtém o título de Bacharel em Piano, sob orientação do pianista curitibano Noel Nascimento, podendo em 2004 ter aulas de aperfeiçoamento e alta interpretação pianística com professora da HdK de Berlim, Heidrun Rodewald e em Munique, em studio particular, com Wolfgang Leibnitz, ambos ex alunos de Claudio Arrau, mesma linha de Noel Nascimento. Em 2007 faz master-class com Ena Bronstein Barton, pianista de renome e conhecida e aclamada unanimemente nos EUA na maioria dos grandes conservatórios americanos. Participa como assistente em projeto cultural, sob os auspícios das leis de incentivo, em Curtiba. Em 2010 faz novamente viagem à Alemanha desta vez a Leipzig, para ter aulas com ex aluno de Carl Seeman, Markus Tomas, na Hochschule für Musik und Theater Leipzig. No Brasil segue os estudos nas ocasiões da vinda do grande pianista e pedagogo Luís Carlos de Moura Castro, no Rio de Janeiro. Atualmente sob a orientação de Eduardo Monteiro, professor da USP.

Erika Ribeiro - São Paulo

Erika Ribeiro

A jovem pianista brasileira Érika Ribeiro iniciou seus estudos musicais aos quatro anos de idade, demonstrando grande talento ao piano. Desde sua infância cursou a Escola de Música de Piracicaba “Ernst Mahle” e, em 2003, formou-se em Música na USP - Universidade de São Paulo. No Brasil, teve como principais mestres Gilberto Tinetti, Marisa Lacorte e Eduardo Monteiro.
Em 2003, após ser aprovada entre centenas de candidatos, passou a estudar na tradicional Hochschule für Musik “Hanns Eisler” Berlin, na qual permaneceu por dois anos na classe da professora Birgitta Wollenweber. Na Alemanha, ao longo de 2004, apresentou-se frequentemente junto a academistas da Filarmônica de Berlim.
Participou de festivais de música e masterclasses no Brasil, Estados Unidos, Suíça, Alemanha e França, tendo sido orientada por nomes como Leif Ove Andsnes, Wha-Kyung Byun (New England Conservatory), Aleksandar Madzar, Philippe Entremont, Frédéric Aguessy e Noël Lee (Fontainebleau Schools), Diana Ligeti, Herre-Jan Stegenga, Richard Bishop, Abdel Rahman El Bacha, Eckart Heiligers, Yara Bernette, Cristina Ortiz, Jean-Louis Steuermann, entre outros.
Erika foi laureada com a premiação máxima nos principais concursos de piano do Brasil, tais como o Concurso "Nelson Freire" (2005), Artlivre (2003), Souza Lima (2002), Jovens Solistas “Eleazar de Carvalho” (2005).
Em 2007, foi uma das jovens pianistas convidadas para integrar a primeira edição da série "Piano Solo", que envolveu recitais na Sala Cecília Meirelles (RJ), Sala Promon (SP) e Theatro Municipal de São Paulo. Esta série contou com a participação de Nelson Freire, Cristina Ortiz, Diana Kacso e Eduardo Monteiro. Ainda neste ano, Érika obteve enorme reconhecimento e destaque no programa "Prelúdio" exibido pela TV Cultura, tendo sido premiada com o segundo lugar.
No Brasil, vem se apresentando como solista à frente de importantes orquestras como a Orquestra Sinfônica Brasileira, Orquestra Sinfônica de Porto Alegre, Bachiana Chamber Orchestra, etc. Além disso, desenvolve intensa atividade como recitalista e camerista em diversas regiões brasileiras. Recentemente, foi uma das artistas integrantes do II Festival Internacional de Música de Câmera ‘Oferenda Musical’, organizado por Alex Klein, onde atuou ao lado de renomados musicistas brasileiros.
Em paralelo, acaba de concluir o curso de mestrado em musicologia na USP – Universidade de São Paulo, sob orientação do pianista Eduardo Monteiro. Para isso, a pianista contou com uma bolsa de estudos financiada pela CAPES.

Karin Fernandes - São Paulo

http://www.myspace.com/karinfernandes
Karin Fernandes nasceu em São Paulo, e começou seus estudos pianísticos aos sete anos de idade. Depois de três anos, aos dez anos, recebeu o primeiro prêmio em um concurso de piano, e também o prêmio de “Melhor intérprete de Música Brasileira”. Suas premiações incluem vinte e um primeiros prêmios, com destaque para o “X Prêmio Eldorado de Música”, em 1999. Como pianista solista, Karin já se apresentou em todas as regiões brasileiras, e também em Portugal, Inglaterra, França, Argentina e Paraguay. Como concertista, Karin já se apresentou frente algumas das orquestras mais importantes do Brasil – Orquestra Sinfônica do Estado de São Paulo, Orquestra Sinfônica de Campinas, Banda Sinfônica do Estado de São Paulo, Sinfonia Cultura, Orquestra Sinfônica da Universidade Estadual de Londrina, Orquestra de Sopros de Caxias do Sul, dentre outras, colaborando com os maestros John Neschling, Lutero Rodrigues, Benito Juarez, Roberto Farias, Emmanuele Baldini, Vitor Hugo Toro, Richard Markson, Guilherme Mannis, Fernando Berti, Edson Beltrami, Jean Reis, Rafael Sans-Espert, dentre outros. Karin também gravou concertos ao vivo para a Rádio Cultura FM - Ravel (Concerto em sol maior), Rachmaninoff (Concerto n.2 e Villani Côrtes (Concerto n.3). Karin tem realizado várias “premières”, especialmente de obras de compositores brasileiros contemporâneos. Karin acaba de apresentar em primeira audição mundial o "Concerto n.1 para piano e orquestra" do renomado compositor brasileiro Edson Zampronha, atualmente radicado na Espanha. Karin também apresentou em primeira audição a “Sonatina” de Marlos Nobre, “Variações Asorovarc” de Ronaldo Miranda e “Sem título, só-nus” de Silvia de Lucca, (2008); “Fantasia para 4 mãos” e “Engrenagem Canora” de Arrigo Barnabé, (2005); “Concerto n.3” e “Primeira Sonata” de Edmundo Villani Côrtes (2001); “Ecos de Sonatas e Ruas” de Mário Campos, dentre outras estréias. Karin graduou-se Bacharel em Música pela Universidade São Judas Tadeu, onde recebeu orientação da grande professora e compositora brasileira Lina Pires de Campos, falecida em 2003. Dentre os pianistas que contribuíram para a formação de Karin como pianista estão também Maria João Pires (Portugal), Menahem Pressler (Inglaterra) e Bernard Flavigny (França). O primeiro CD de Karin Fernandes abrange composições do brasileiro Yves Rudner Schmidt. Seu segundo CD, com Sonatas de Prokofiev, Ginastera, Fernandez, Campos e a Sonatina de Ravel (selo Eldorado), recebeu críticas elogiosas, e foi indicado ao prêmio “I Caras da Música” em duas categorias: “Melhor CD Erudito de 2001” e “Artista Revelação de 2001”.

CaráterXReputação

As circunstâncias entre as quais você vive determinam sua reputação. A
verdade em que você acredita determina seu caráter. A reputação é o que
acham que você é. O caráter é o que você realmente é... A reputação é o
que você tem quando chega a uma comunidade nova. O caráter é o que você
tem quando vai embora... A reputação é feita em um momento. O caráter é
construído em uma vida inteira... A reputação torna você rico ou pobre.
O caráter torna você feliz ou infeliz... A reputação é o que os homens
dizem de você junto à sua sepultura. O caráter é o que os anjos dizem
de você diante de Deus.

Arnaldo Jabor

O POETA DO PIANO - F. CHOPIN

Este ano é comemorado o aniversário do compositor polonês F. Chopin. Inúmeros festivais, concertos e homenagens estão sendo feitas ao compositor ao redor do mundo. Temos a intenção neste blog de divulgar eventos com esse intuito. Neste ano de 2010 o pianista polonês Marian Sobula tocou brilhantemente o concerto #1 de Chopin para piano e orquestra com a Camerata Antiqua de Curitiba, no Canal da Música, sob a regência de Wagner Polistchuk. Jovens músicos brasileiros, curitibanos, do interior do paraná, ou de outros estados estarão prestando homenagens ao compositor e estaremos divulgando esses eventos. Contamos com sua participação e esperamos que esse blog lhe seja muito útil!