Sunday, January 31, 2010


Concert à la cathédrale de Kaliningrad

La Symphonie pour orgue de Saint-Saëns exécutée par l'Orchestre du MDR

La cathédrale de Kaliningrad, anciennement Koenigsberg, est un édifice érigé en briques rouges dans le style gothique. Elle est le plus remarquable monument historique de cette ville, reconstruite sur des plans « modernes » après les dévastations de la Seconde Guerre mondiale et les démolitions à grande échelle qui ont suivi. Sur l'emplacement de la Koenisgberg médiévale, aucun autre ouvrage datant de l'Ordre teutonique ou d'autres époques ne subsiste en surface.

Après l'exploration des ruines, la découverte d'anciens plans de construction, de photographies et de croquis de la cathédrale, des travaux de conservation et de restauration ont débuté en 1993. L'Orchestre symphonique du MDR dirigé par son chef Jun Märkl est le premier ensemble international à se produire dans la cathédrale reconstruite. La partie orgue est tenue par le jeune organiste russe de la cathédrale, Artem Khatchatourov. Des personnalités du monde politique, culturel et économique d'Allemagne et de Russie assistent à l'événement dont l'apothéose est l'exécution de la grandiose symphonie pour orgue de Camille Saint-Saëns.

Au programme : Bach : Ouverture et aria de la Suite pour orchestre n° 3 en ré majeur, BWV 1068
Bach : Prélude et fugue en ut majeur, BWV 547
Bach/Stokowski : Toccata et fugue en ré mineur, BWV 565
Saint-Saëns : Symphonie n° 3 pour orgue et orchestre en ut mineur, op.78
Le Concert..

Tuesday, January 26, 2010


Filling is my only composition to experiment with a personal approach on structure. It igradual process of moving from a thin sonic texture into a thick and full texture. A gradual process of filling the same space with more and more sound. Until, there is that point, where sound exceeds the given space. That is the point where the sound… bursts.


Sunday, January 24, 2010


Venice Baroque Orchestra

Pierre Boulez : Anton Webern

Les 14 et 15 novembre 2009, une master-classe réunissait au Conservatoire de Paris, Pierre Boulez et neufs étudiants de la classe de direction et l'Orchestre des Lauréats du Conservatoire. Retour en image sur une rencontre exceptionnelle avec l'une des grandes personnalités musicales actuelles, autour d'un programme composé de quelques-unes des grandes oeuvres de la première moitié du XXe siècle.

Voici la session consacrée à Webern et à ses Six pièces op.6 (1928), numéros 1, 2, 4, 5.

Saturday, January 16, 2010


Mahler is big. Real big. (HUUUUGE, if you live in upstate NY and get to enjoy all those Fucillo car adverts). He famously — and way overquotedly — said that:

A symphony should be like the world. It must embrace everything.

And my oh my, his symphonies have a heck of lot of stuff packed into them.

His musical style is pretty much Romantic, with little hints of the weird orchestrations and tonalities that the 20th century dudes went kind of crazy with.



‘Bricks’ describes a simple, visual phenomenon. A solid body, constantly being struck by an internal power, suddenly breaks into pieces. On a human level this process could be compared with someone struggling to keep a straight face, not bursting into laughter or tears, but eventually failing to do so. Since there was no particular example, but rather this vague, visual idea that inspired the piece, I came up with the title ‘Bricks’ for 2 reasons: Firstly, a brick would be a perfect example of such a solid body and secondly, bricks are units used to construct walls or buildings, in the same way that this piece is gradually built up. In terms of instrumentation, the wind and brass sections as a whole, describe the solid body. The cello is the power, which stimulates that gradual, internal change, while the timpani adds a descriptive element to the whole process. ‘Bricks’ was awarded the Daryl Runswick Prize in 2009 and was performed by the Trinity College of Music Contemporary Music Group, conducted by Gregory Rose.''
A. Drosos

Thursday, January 14, 2010



Why Switching to Classical Music

''This just might be the geekiest thing I have written, but what do you expect? I’m a physics graduate student. I’ve gone through both of these conversions myself, and realized that there are some interesting similarities between the two, and that the kind of people willing to do the geeky one are probably pretty well suited to doing the musical one. So here we go:

It’s a deceptively different experience

Both situations involve switching to something which, on the surface, doesn’t seem too different from what you are used to, whereas in fact, both are radically different. For example, many people think of classical as basically long-winded and unstructured, especially compared to non-classical stuff. What you don’t realize until you’re well entrenched is that most classical pieces are structured around one of a few basic, but somewhat complex, underlying structures: sonata form, rondo form, etc. Identifying and understanding these forms is geek heaven. In a similar fashion, people new to Linux get a load of the tarted up window managers and see it as basically a free, slightly different looking, version of Windows. Of course, you find out quite quickly that that is just the very tiniest tip of the command-line based iceberg..''

read more..

Wednesday, January 13, 2010

la Grande Fugue de Beethoven à l'hôpital Ste Anne par le quatuor Diotima

Sortir la musique classique des salles de concerts feutrées, la faire venir là où elle n'est généralement pas entendue, tel est le parti pris de Fugues. Pour ce premier épisode, rencontre entre le célèbre hôpital psychiatrique Saint Anne, à proximité de Paris et Beethoven, dans une de ses dernières compositions, la Grande Fugue, ici interprétée par le Quatuor Diotima, écrite à la frontière entre la folie et la mort.

Tuesday, January 12, 2010


''I'd like to refer you over to The New Yorker today for a wonderful article by Alex Ross about Schubert's Winterreise, as reimagined for the stage by Katie Mitchell. The show, One Evening, makes much of the connection between Schubert's bleak winter landscape of the soul and those of Samuel Beckett. It was premiered in Aldeburgh last summer, visited the Queen Elizabeth Hall and is now in the Big Apple. There's an interview with the performers and director in the New York Times, here.''
read more..


Johann Sebastian Bach, not one of his myriad kids. He really churned them out. Bach is another one of those boys that, like Mozart and Beethoven, everybody and their mum has heard of. He’s one of the greats. If you believe what a whole host of professional and amateur experts has to say on the subject, then he’s the greatest of all time. He’s the Muhammad Ali of the classical world.

read and listen more..

Monday, January 11, 2010


Audio: Matt Papich & Dustin Wong – Xmas Song 1 | Aural States

Posted using ShareThis


''..Well, one reason is they were both Classical (notice the big C!) composers, and this era was just prior to the drmatic musical explosion which occurred with the romantics. At this time the orchestras were reasonably compact, and things like the modern piano were just getting properly invented, so their sonic canvas was limited. Also, they both wrote at least partly as “court composers” writing pieces for the aristocrats, who wanted elegant and witty pieces, not anything too controversial..''
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