viernes, 21 de enero de 2022
jueves, 20 de enero de 2022
El Dúo Cantares en La Parranda venezolana de París
El Dúo Cantares, formado por la cantante venezolana Nathaly Gómez y el guitarrista y musicólogo peruano Camilo Pajuelo, actúa este jueves en la Parranda Venezolana de París.
Pero antes han estado con Jordi Batallé en El invitado de RFI.
Shostakovich: Piano Concerto No. 2 | Daniel Ciobanu, Romanian Youth Orch...
It featured precision, a love of playing and character: This is how the performance of Dmitri Shostakovich's Piano Concerto No. 2 in F major, Op. 102 at the Young Euro Classic Festival 2021 in the Konzerthaus Berlin could be summed up. The Romanian Youth Orchestra performed under the baton of Cristian Mandeal, and Daniel Ciobanu shone on the piano.
(00:00) I. Allegro
(08:00) II. Andante
(15:21) III Allegro
The Piano Concerto No. 2 in F major, Op. 102 was composed by Dmitri Shostakovich (1906 - 1975) in 1957 for the 19th birthday of his son Maxim. And although his father did not consider the gift a success, it was very well received by the audience from the very beginning and has a firm place in concert programs to this day – which may be due not least to the freshness and freedom that Shostakovich's second Piano Concerto radiates.
Romanian pianist Daniel Ciobanu plays the pentatonic-rich Shostakovich concerto with effortless precision. Whether in the brisk first movement, the lyrical and pensive second movement, or the dance-like third movement, Ciobanu lends the appropriate character to each musical mood and interplays perfectly with the Romanian Youth Orchestra. And so it is not surprising that at the end there is a storm of applause and shouts of enthusiasm.
The Young Euro Classic Festival is the world's most important platform of young international orchestras for the European classical music tradition and its developments. Every summer, for two-and-a-half weeks, orchestras from all over the world perform at Berlin's Konzerthaus am Gendarmenmarkt.
miércoles, 19 de enero de 2022
Qué es la teoría de cuerdas y cómo puede resolver los dilemas de la físi...
La física moderna se encuentra en una encrucijada. Pese a todos los avances para entender el universo, todavía falta una teoría simple que explique cómo funcionan todas las cosas. Una Teoría del Todo.
Pero hay una idea particularmente atractiva que algunos físicos teóricos piensan que podría ser la correcta: la teoría de cuerdas. En este video te contamos qué propone esta teoría y las interrogantes que aún quedan por resolver.
● Investigación, guión y presentación: Laura García
● Edición y Animación: Mawi.tv
● Editora: Natalia Pianzola
La venezolana Margarita Cadenas, premio al mejor cortometraje del Festiv...
La realizadora franco-venezolana Margarita Cadenas acaba de obtener el premio al mejor cortometraje del Festival de Stafford en pleno corazón de Inglaterra, por su película ‘Devoilement’ –revelación-.
Beethoven: Symphony No. 3 'Eroica' | Michael Boder & ORF Vienna Radio Sy...
It is one of the most popular symphonies ever: Ludwig van Beethoven’s Symphony No. 3 in E-flat major, Op. 55, also called Eroica. Here it is performed by the ORF Vienna Radio Symphony Orchestra conducted by Michael Boder at the Beethovenfest Bonn 2021 at the World Conference Center Bonn (WCCB).
(00:00) Symphony No. 3 in E-flat major, Op. 55, Eroica
(00:36) I. Allegro con brio
(17:38) II. Marcia funebre (Adagio assai)
(30:18) III. Scherzo (Allegro vivace)
(36:03) IV. Finale: Allegro molto - Poco andante – Presto
Ludwig van Beethoven (1770 - 1827) began planning his Symphony No. 3 in the fall of 1802, composing most of it in 1803, and probably not completing it until early 1804. The private premiere happened in the same year. The first public performance took place on April 7, 1805 and was conducted by Beethoven himself.
Because of the epithet ‘Eroica’ (the Heroic one), Beethoven’s third symphony is commonly linked to Napoleon. However, Beethoven’s relationship to Napoleon was rather ambivalent: on the one hand, he was fascinated by Napoleon’s ideals, but at the same time he was deeply repelled by the fact that he had proclaimed himself emperor. Later, however, Beethoven is said to have revered Napoleon. His ambivalent attitude is also evidenced by the addition of the words “written on Bonaparte” to the copy of the score, which he initially erased, but later added in again.
It is also unknown, however, who the hero could be to whom Beethoven dedicated the Eroica with the words “Sinfonia Eroica composta per celebrare la morte d’un Eroe”. Researchers doubt that he could have meant Napoleon. Whatever the case, Beethoven dedicated his third symphony to a hero whose funeral he commemorates in the second movement with a brilliant funeral march and who he resurrects triumphantly at the end of the fourth movement. Perhaps it is precisely this range of emotions, from serious, deepest mourning to joyfully enthusiastic exaltation that makes Beethoven’s Eroica so appealing.
martes, 18 de enero de 2022
El colombiano Marcelo Gómez director de la revista El café latino
El colombiano Marcelo Gómez presenta desde hace más de diez años al público francés, y más allá de los clichés, lo más destacado de la actualidad de toda América latina a través de la revista El café Latino.
Naturalmente ha estado con Jordi Batallé en El invitado de RFI para contárnoslo.
Beethoven: Symphony No. 1 | Michael Boder and the ORF Vienna Radio Symph...
It marks the beginning of his symphonic work: Ludwig van Beethoven’s Symphony No. 1 in C major, Op. 21. Here, it’s performed at the Beethovenfest Bonn 2021 by the ORF Vienna Radio Symphony Orchestra conducted by Michael Boder in the World Conference Center Bonn (WCCB).
(00:00) I. Adagio molto – Allegro con brio
(09:17) II. Andante cantabile con moto
(16:18) III. Menuetto: Allegro moto e vivace
(19:50) IV. Adagio – Allegro molto e vivace
Ludwig van Beethoven (1770 - 1827) is thought to have sketched out his first themes for the symphony in 1794, elaborating upon them predominantly in 1799, with the premiere held in Vienna on April 2, 1800. The Symphony No. 1 – conducted by Beethoven himself – was met with public favor from the off, and remains to this day one of Beethoven's most popular symphonies.
This may owe itself in no small part to the fact that Beethoven's first symphony is still formally entirely in the style of Joseph Haydn and Wolfgang Amadeus Mozart’s classical symphonies. One can also already tell from the outset, however, that Beethoven will take his own symphonic work in new directions. Indeed, the very first chord itself is a novelty; Beethoven begins the symphony not in the key of C major, but with a dissonant seventh chord, which hangs in the air like a question mark, only finding its resolution after the unhurried introduction. Of the first movement, the main theme alone is in C major – the ‘home’ key of the symphony. Its march-like rhythm is reminiscent of the rousing motifs of French, revolutionary music. The first movement’s entirely dance-like, burgeoning character becomes emblematic of the entire symphony.
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