Bartok & Stravinsky , Violin Concertos, Viktoria Mullova (2000)

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El registro que ahora compartimos fue grabado en 1997, en el pleno apogeo de Los Angeles Philharmonic, bajo la conducción de Esa-Pekka Salonen. Habían transcurrido ya las giras exitosas por Europa, el resonante triunfo en el Festival de Salzburgo de 1992, la producción de la opera Saint-François d'Assise de Olivier Messiaen; el Festival de Lucerna, y el Festival Stravinsky (1996) conducido junto con Pierre Boulez en el Théâtre du Châtelet de Paris.
Por su parte, la trayectoria de Viktoria Mullova no podía ser mejor: había sido nominada en 1995 al Grammy Award por su primera grabación de las Bach Partitas, y luego, en el mismo año recibió el Echo Klassik Award -un prestigiado premio Japonés- y el Deutsche Schallplattenkritik prize, por el disco Concerto para violín de Brahms. Cerro el año recibiendo el Diapason d'Or por el registro de Brahms B major Trio (no. 1) y el Trio Archduke de Beethoven que había grabado con Andre Previn y Heinrich Schiff.
Estamos pues, ante un disco extraordinario, que no ha tenido la distribución que merece.

Alex Ross escribio en The New Yorker: The Salonen era in L.A. may mark a turning point in the recent history of classical music in America. It is a story not of an individual magically imprinting his personality on an institution—what Salonen has called the "empty hype" of conductor worship—but of an individual and an institution bringing out unforeseen capabilities in each other, and thereby proving how much life remains in the orchestra itself, at once the most conservative and the most powerful of musical organisms. ... no American orchestra matches the L.A. Philharmonic in its ability to assimilate a huge range of music on a moment's notice. [Thomas] Adès, who first conducted his own music in L.A. [in 2005] and has become an annual visitor, told me, "They always seem to begin by finding exactly the right playing style for each piece of music—the kind of sound, the kind of phrasing, breathing, attacks, colors, the indefinable whole. That shouldn't be unusual, but it is." [John] Adams calls the Philharmonic "the most Amurrican [sic] of orchestras. They don't hold back and they don't put on airs. If you met them in twos or threes, you'd have no idea they were playing in an orchestra, that they were classical-music people."

1.- Violin Concerto in D major
Composed by Igor Stravinsky
Performed by Los Angeles Philharmonic New Music Group
with Viktoria Mullova
Conducted by Esa-Pekka Salonen

2.- Violin Concerto (No. 2) in B minor, Sz. 112, BB 117
Composed by Bela Bartok
Performed by Los Angeles Philharmonic New Music Group
with Viktoria Mullova
Conducted by Esa-Pekka Salonen

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Alex Ross, The Rest is Noise, Listening the Twentieth Century (PDF-E_pub-Kindle).

Alex Ross, crítico de música de la revista The New Yorker , publico en 2007 un libro que renovó el interés por las obras y compositores del sangriento siglo XX.
Su libro, The Rest is Noise, Listening the Twentieth Century, ha tenido el merito inmenso de haber operado como una convocatoria para que, nuevos y viejos melómanos, iniciaran el recuento documentado de -por ejemplo:-La Segunda Escuela de Viena, de los autores bajo el dominio Nazi y Soviético, de la Vanguardia Francesa y los compositores Norteamericanos.
En un recorrido muy bien narrado, se puede acompañar a los grandes compositores del siglo --desde Mahler y Strauss hasta los Minimalistas--, con una reconstrucción de los Estrenos Mundiales, de los grandes escándalos ( el del Rito de la Primavera es especialmente divertido), y de las grandes polémicas musicales.
Nuestra devoción actual por Mahler, Schoenberg, Sibelius, Schostakovich, Copland, Boulez, o Berstein; se ubica --al regresar a su contexto-- como un momento, un pedazo, de un torrente en curso.
Siempre es sano reconocer la naturaleza colectiva de creación social de la cultura, donde los compositores no están solos en su sufrimiento y su invención. Así, Encontramos a Sibelius aislado por décadas sin poder hacer la Octava Sinfonía, a Mahler defendiendo a Schoenberg en la Viena reaccionaria del nuevo siglo, a Schostakovich enfrentado personalmente con el dictador asesino, a Copland y Berstein re-expresando lo popular por medios clásicos, en fin, a John Adams haciendo una ópera que se llamo Nixon en China. Para preparar este registro hemos vuelto al libro después de casi tres años y, confirmamos gozosamente que no tiene desperdicio. Es una gran obra que merece los múltiples premios que ha recibido.
Hoy compartimos las versiones digitales en PDF, en E-Pub y en Kindle. Pedimos a nuestros amigos que suban los enlaces a sus páginas Web y Blogs, que los comenten y los regalen.
Sangriento e infame, el siglo pasado estuvo habitado de gran música, de incontables movimientos y de personalidades epicas. Hoy, lo que lleva este siglo, es casi vacío absoluto.

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El Audibook en Musica del Siglo XX


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Nouriel Roubini, Crisis Economics. Audiobook, PDF y E-pub.

Nouriel Roubini, Crisis Economics. Audiobook, PDF y E-pub.

Nouriel Roubini es el economista que advirtió con detalle -antes del estallido de la burbuja de las hipotecas sub-prime--el gravísimo deterioro del conjunto de las finanzas norteamericanas que condujo a la crisis que sufre el mundo desde 2007 a la fecha.
Ahora aparece, en formato de libro, su recuento de la mecánica económica con la que se opero la desregulación, el apalancamiento, el dinero fácil, la especulación, los viejos y los nuevos instrumentos para especular, la re-concentración de la deuda privada, las mezclas para ocultar los bienes tóxicos, el escalonamiento de la desconfianza, la incapacidad de la FED, la parálisis del crédito global, las consecuencias del "daño moral", los montos de las perdidas de las grandes corporaciones, el impacto de las fusiones y adquisiciones realizadas como salvamento y el volumen y alcances de los paquetes de salvamento-subsidio.
El libro incluye un diagnostico del curso de la crisis, y un conjunto de medidas radicales para impedir que esta mecánica se repita.
El libro acaba de aparecer, seguro será traducido en España en cosa de un año, quienes necesitan estar al día, pueden escucharlo, y leerlo en esta descarga gratuita.
Recordamos a los interesados la entrega previa de 7 libros para entender la crisis.

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Bach: Sonatas & Partitas for solo violin, Isabelle Faust (2010).

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El disco mas reciente (Mayo 11, 2010) de Isabelle Faust nos entrega una pequeña muestra de lo que puede hacer con las partitas II y III, ( BWV 1004 y 1006) y la sonata III (BWV 1005) de J.S. Bach. Uno debe esperar que el exito de la violinista alemana continue y que pronto podamos escuchar las tres Sonatas da chiesa y las tres partitas. Invitamos a escucharla con atencion especial, es decir, sin hacer otra cosa que escuchar la musica de Bach.




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Beethoven: Violin Concerto- Kreutzer Sonata, Isabelle Faust (2007)

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En esta entrega compartimos uno de los discos que han sido más comentados, alabados y discutidos, pero muy mal distribuidos --cuando menos en el continente americano--.
Se trata del concierto para violín y orquesta op.61 y la sonata para violín y piano no. 9 de Beethoven, en una ejecución al violín, sin igual, a cargo de la alemana Isabelle Faust. La orquesta es la Prague Philharmonic Orchestra con dirección de Jirí Belohlávek, el violín es de Isabelle Faust --que nos ha fascinado- y el piano de Alexander Melnikov.
En la página de Amazon, algún misógino clandestino omitió toda mención a la violinista, haciendo aparecer el disco como exclusivo del prestigiado pianista Alexander Melnikov. Aquí corregimos ese error.
Invitamos a escuchar con detenimiento a la Faust, a quien nos proponemos seguir de cerca.



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Music as thought : listening to the symphony in the age of Beethoven (PDF)

Music as thought : listening to the symphony in the age of Beethoven,
by Mark Evan Bonds.
Princeton University Press- (August 7, 2006)-Language: English-200 pages-PDF

A fascinating new book.
(Alex Ross The New Yorker )

This is a cogent and well-illustrated account of the theoretical basis for the changes in how instrumental music was listened to in the early decades of the 19th century. Bonds clarifies complex material and piles up evidence to make a convincing case for a 'revolution in listening.'
(Patricia Howard Currents )

Philosophical discussion of music can easily become dense, but Bonds presents his arguments and evidence in a clear, discernible manner such that readers with little exposure to the philosophical issues of the time period can follow his reasoning and come away illuminated by a first-hand account concerning the reception of the symphony in the first quarter of the nineteenth century.
(John Stine Music Research Forum )
Review
Through the lucid presentation of many diverse sources and the close reading of several central documents, Music as Thought establishes the cultural force of listening to music in the age of Beethoven. The result is a compelling story with a fresh polemical spin.
(Scott Burnham, Princeton University )


Contents
Acknowledgments xi
Introduction xiii
List of Abbreviations xxi
PROLOGUE
An Unlikely Genre: The Rise of the Symphony 1
CHAPTER ONE
Listening with Imagination: The Revolution in Aesthetics 5
From Kant to Hoffmann 6
Idealism and the Changing Perception of Perception 10
Idealism and the New Aesthetics of Listening 22
CHAPTER TWO
Listening as Thinking: From Rhetoric to Philosophy 29
Listening in a Rhetorical Framework 30
Listening in a Philosophical Framework 33
Art as Philosophy 37
CHAPTER THREE
Listening to Truth: Beethoven’s Fifth Symphony 44
The Infinite Sublime 45
History as Knowing 50
The Synthesis of Conscious and Unconscious 53
Organic Coherence 55
Beyond the Sublime 57
CHAPTER FOUR
Listening to the Aesthetic State: Cosmopolitanism 63
The Communal Voice of the Symphony 63
The Imperatives of Individual and Social Synthesis 68
The State as Organism 71
Schiller’s Idea of the Aesthetic State 73
Goethe’s Pedagogical Province 75
CHAPTER FIVE
Listening to the German State: Nationalism 79
German Nationalism 79
The Symphony as a “German” Genre 88
The Performance Politics of the Music Festival 92
The Symphony as Democracy 99
EPILOGUE
Listening to Form: The Refuge of Absolute Music 104
Notes 117
Bibliography 153
Index 167

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Auschwitz-Birkenau (DVD)

Auschwitz-Birkenau - Tadeusz Wudzki - Auschwitz (DVD)
Studio: TELEART | Director: Tadeusz Wudzki | DVD5 | Dolby Digital 2.0 | 60 minutes | 3.9GB
Languages Available: English, Spanish, German, French, Italian, Polish
Genre: Documentary

Auschwitz has a unique place in history. It is where the largest mass murder ever recorded occurred. It is hard to grasp how and why such a chilling place existed. This "hard-to-find" DVD contains the history of Auschwitz-Birkenau concentration camp. Contains fragments of films made at the moment of liberation, as well as photographic documentation from the war years and the present. A compendium of information about the camp, from its founding to liberation.

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I Have Never Forgotten You: The Life & Legacy of Simon Wiesenthal (2007)

I Have Never Forgotten You: The Life & Legacy of Simon Wiesenthal (2007)
DVD5 Untouched | English | NTSC (29.970 fps) | 853x480 | 16/9 AR | 105 min
4.0 GB | Rapidshare

Como nuestros lectores saben, en este espacio reramente subimos documentales, pero hemos topado con uno que, por su naturaleza humana y su tono sobrecogedor, nos permitimos recomendar ampliamente. Nadie puede habitar este planeta con minima dignidad ignorando los horrores cometidos en el siglo XX. Nadie debe olvidar el castigo a los nazis profugos.


Program Info:
Year: 2007
Country: US
Runtime: ~105 Minutes
Audio: English Dolby Digital Stereo (AC3 192 kbps)
Subtitles: None
Video Format: NTSC
File Format: VIDEO_TS
Resolution: 853x480
Aspect Ratio: 16/9
DVD Format: Anamorphic Widescreen
DVD Source: Retail DVD5
Program: DVD Decrypter
Average Bit Rate: 5.27 Mb/sec
Size: 4.0 GB

Menus: [X] Untouched
Video: [X] Untouched
DVD-extras: [X] None
DVD-Audio: [X] Untouched


This is a documentary of the life of famed "Nazi-hunter" Simon Wiesenthal. The viewer is led with painstaking detail from his youth, to the Holocaust, his survival, and the single-purposed life he dedicated himself to thereafter.

Even after a lifetime of knowing the inhumane, Nazi brutality and debauchery, that was below the lowest savagery of any animal on this planet, it is still gut wrenching, especially in Simon's case when after being freed, he found out that all eighty-nine members of his family had been put to death by the Nazi's! Subsequently through unrelenting research Simon was blessed when he found that his wife had survived and they were reunited. Later you are saddened again in a way hard to describe, when Simon and his wife decide to have a child, and realize that the child will never have a Grandmother, Grandfather, or any Aunts of Uncles. Simon said he couldn't bring himself to tell his daughter at a young age why she was the only child in the neighborhood with no extended family. Simon went so far as to ask friends in different cities to call on holidays and pretend they were relatives.

Simon dedicated his entire life to tracking down Nazi war criminals and wound up tracking down over 1,100. One of them was Adolph Eichman, the main architect of Hitler's extermination plan. What is amazing to me, is how much Simon accomplished with so little international help and so little money. Simon not only tracked down these despicable criminals, but he also changed laws. Believe it or not there was an "expiration date" or statute of limitation on war criminals in Germany, Simon got that law changed. Throughout this riveting documentary, interspersed between his dogged determination to find war criminals, we're reminded of the horror of the Nazi insanity, such as when Simon takes us to a concentration camp where there were stone steps leading up to a 165 foot cliff and when a high ranking Nazi officer came to the camp they would entertain him by pushing hundreds of Jews off the cliff to their death. The satanic Nazi's called it "Parachuting". Near the end of this film, during a presentation of an award to Simon, he gives a speech, through anguished tears, telling the crowd in attendance: "I am not a hero! I am a survivor!" I had tears streaming down my face during this and other parts of this documentary, and I also had my anger. This documentary should be required viewing in every school in the world.


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The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical Genius

The Possessor and the Possessed: Handel, Mozart, Beethoven,
and the Idea of Musical Genius , by Peter Kivy
Publisher: Yale University Press (October 1, 2001)-Language: English-320 pages-PDF-2.9 MB

The concept of genius intrigues us. Artistic geniuses have something other people don't have. In some cases that something seems to be a remarkable kind of inspiration that permits the artist to exceed his own abilities. It is as if the artist is suddenly possessed, as if some outside force flows through him at the moment of creation. In other cases genius seems best explained as a natural gift. The artist is the possessor of an extra talent that enables the production of masterpiece after masterpiece. This book explores the concept of artistic genius and how it came to be symbolized by three great composers of the modern era: Handel, Mozart, and Beethoven. Peter Kivy, a leading thinker in musical aesthetics, delineates the two concepts of genius that were already well formed in the ancient world. Kivy then develops the argument that these concepts have alternately held sway in Western thought since the beginning of the eighteenth century. He explores why this pendulum swing from the concept of the possessor to the concept of the possessed has occurred and how the concepts were given philosophical reformulations as views toward Handel, Mozart, and Beethoven as geniuses changed in the eighteenth, nineteenth, and twentieth centuries. Contents: PREFACE xi I Time out of Mind 1 II Greatness of Mind 13 III Breaking the Rule 22 IV The Saxon or the Devil 37 V The Genius and the Child 57 VI The Little Man from Salzburg 78 VII Giving the Rule 97 VIII An Unlicked Bear 119 IX Mozart’s Second Childhood 149 X Odd Men Out 164 XI Beethoven Again 175 XII Gendering Genius 218 XIII Reconstructing Genius 238 NOTES 255 BIBLIOGRAPHY 271 INDEX 277

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Dmitri Shostakovich, String Quartets 3, 7 and 8-Boronin String Quartet (2010)

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En esta entrega el legendario Cuarteto de Cuerdas Borodin que trabajo durante muchos años al lado de Shostakovich, y que ejecuto los estrenos mundiales y las primeras grabaciones de sus cuartetos de cuerdas, nos acerca --en un esplendido registro todo digital-- los Cuartetos de Cuerdas 3, 7 y 8 de Dmitri Shostakovich, en una tecnologia DDD, realizada para Virgin Classics en 1991.
Una verdadera maravilla de sonido.




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Gustav Mahler Complete Co-Edition-Decca/Deutsche Grammophon

Gustav Mahler Complete Co-Edition-Decca/Deutsche Grammophon

18 CD |DDD| 000289 477 8825 | 6 GB | Relesase 07 Jul 2010 |18 RAR | FLAC
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La aportacion de las dos grandes disqueras al aniversario de 150 del nacimiento de Gustav Mahler es la edicion conjunta de un Cofre de 18 CD`s que se constituye en la primera edición de obras completas de Mahler de la historia. Se trata de un cofre con las diez sinfonías, Das Lied von der Erde, Das klagende Lied, los ciclos de canciones, las canciones Knaben Wunderhorn y los primeros trabajos, en grabaciones de referencia de un gran conjunto de maestros, tenores y orquestas que han interpretado las obras de Mahler.

The Decca / Deutsche Grammophon catalogue of Mahler recordings is unsurpassable. Their major contribution to the 150th anniversary celebrations this year will be the first-ever Mahler Complete Edition, a combined effort of Decca and Deutsche Grammophon recordings as an 18-CD superbudget box, with the ten symphonies, Das Lied von der Erde, Das klagende Lied, the song cycles, the Knaben Wunderhorn songs and early works — in benchmark recordings by a great assembly of Mahler conductors, singers and orchestras.

Composer: Gustav Mahler, Carl Maria von Weber
Performer: Ileana Cotrubas, Christa Ludwig, Maureen Forrester, Juliane Banse, Lucia Popp, Heather Harper, René Kollo, Yvonne Minton, Martti Talvela, John Shirley-Quirk, Brigitte Fassbaender, Francisco Araiza, Anne Sofie von Otter, Thomas Quasthoff, Thomas Hampson, Andreas Schmidt, Werner Hollweg, Susan Dunn, Bernd Weikl, Ralf Gothóni, David Lutz, Clemens Hagen, Gidon Kremer, Veronika Hagen, Oleg Maisenberg
Conductor: Rafael Kubelik, Zubin Mehta, Bernard Haitink, Pierre Boulez, Leonard Bernstein, Claudio Abbado, Giuseppe Sinopoli, Sir Georg Solti, Herbert von Karajan, Riccardo Chailly, Seiji Ozawa, Carlo Maria Giulini, Luciano Berio, Mikhail Pletnev
Orchestra/Ensemble: Bavarian Radio Symphony Orchestra, Vienna State Opera Chorus, Vienna Philharmonic Orchestra, Royal Concertgebouw Orchestra, St. Willibrod Boy's Choir, Netherlands Radio Women's Chorus, Cleveland Orchestra, Berlin Philharmonic Orchestra, Philharmonia Orchestra, Chicago Symphony Orchestra, Vienna Singverein, Vienna Boys' Choir, Berlin Radio Symphony Orchestra, Boston Symphony Orchestra, Düsseldorf Städtischer Musikvereins Chorus, Russian National Orchestra



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Pierre Boulez Edition: Boulez conducts Ravel & Roussel ( 2009).

Box-Set 4 CD`s free download. Caja con 4 CD`s descarga gratuita.
En esta entrega las grabaciones consagradas en que Pierre Boulez dirige obras de Maurice Ravel y Albert Roussel con las siguientes orquestas: BBC Symphony Orchestra, The Cleveland Orchestra, Ensemble Intercontemporain, y New York Philharmonic.
Se trata del registros capitales en la trayectoria de Boulez en tanto director de orquesta, realizados en un arco de tiempo que va de 1969 a 1979 y abarca en la biografía de Boulez trabajos múltiples y proyectos simultáneos con centralidad en Norteamérica, como la asesoría (advisor) de la Cleveland Orchestra (1970-72), puesto que ejerce en paralelo con la titularidad en la conducción de la BBC Symphony Orchestra --desde1971 hasta 1975--, y la dirección musical de la New York Philharmonic entre 1971 y 1977.
La etapa norteamericana de Boulez todavía se extenderá a la conducción de la Chicago Symphony Orchestra de la que fue Director Invitado Principal entre 1995–2006 - Principal Guest Conductor-- y Director Emeritus desde 2006 hasta el dia de hoy.
Quien se interese en la música del siglo XX encontrara en esta Caja de la Boulez Edition los materiales reunidos que llevaron su peculiar lectura de dos compositores clave de la música francesa a las audiencias Norteamericanas. Estos CD --todavía accesibles en Amazon-- habían desaparecido de las tiendas de discos hace mucho.





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Musicophilia: Tales of Music and the Brain by Oliver Sacks

Musicophilia: Tales of Music and the Brain by Oliver Sacks ~ Simon Prebble (Reader)
Publisher: Random House Audio; Abridged edition (October 16, 2007) | ISBN: 0739357395 | Language English | Audio CD in MP3/64 kbps OGG Vorbis | 173 MB

Neurologist and professor Sacks, best known for his books Awakenings and The Man Who Mistook His Wife for a Hat, dedicates his latest effort to the relationship between music and unusual brain disorders. Music occupies more areas of our brain than language does-humans are a musical species. Oliver Sacks's compassionate, compelling tales of people struggling to adapt to different neurological conditions have fundamentally changed the way we think of our own brains, and of the human experience. In Musicophilia, he examines the powers of music through the individual experiences of patients, musicians, and everyday people-from a man who is struck by lightning and suddenly inspired to become a pianist at the age of forty-two, to an entire group of children with Williams syndrome, who are hypermusical from birth; from people with "amusia," to whom a symphony sounds like the clattering of pots and pans, to a man whose memory spans only seven seconds-for everything but music. Our exquisite sensitivity to music can sometimes go wrong: Sacks explores how catchy tunes can subject us to hours of mental replay, and how a surprising number of people acquire nonstop musical hallucinations that assault them night and day. Yet far more frequently, music goes right: Sacks describes how music can animate people with Parkinson's disease who cannot otherwise move, give words to stroke patients who cannot otherwise speak, and calm and organize people whose memories are ravaged by Alzheimer's or amnesia. Music is irresistible, haunting, and unforgettable, and in Musicophilia, Oliver Sacks tells us why.




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