di Onorio Zaralli Parleremo ora della dimensione emotiva “in concerto”. E’ una dimensione importantissima, al pari della tecnica strumentale e della conoscenza musicale del testo. Dirò di più: l’influenza che essa esercita sulla resa esecutiva è ancor più determinante proprio perché sfugge maggiormente al nostro controllo. Quante volte, con una buona forma fisica, una tecnica sicura, una buona conoscenza…
The pursuit of beautiful soundin our instrument passes, in addition to the taste of the performer and the fashions dictated by the great names of the moment, for the different ways of posing the moving parts that, between the instrument and the instrumentalist, play a decisive role in defining the timbre, i.e. the quality of the sounds produced. Moving…
by Yulia Berry It was not easy to find time in the busy schedule of Stefán Ragnar Höskuldsson, soloist of the Chicago Symphony Orchestra, but finally we met for a conversation and I was able to ask some questions that have been burning me. Yulia: Dear Stefán, thank you for finding time for this interview to answer some questions…
Flamenco art, without losing sight of its original roots, does not miss the opportunity to visit other musical territories from which it learns new forms, scales and harmonies that end up being incorporated into its language, in a desire for constant updating.
Наталья Марашова В моей концертной практике имеется обширный опыт камерных составов с участием мандолины. В основном это широко распространенные классические составы, например мандолина и фортепиано, мандолина и струнные или, один из самых часто встречающихся (если применительно к мандолине вообще можно употребить слово «часто»), мандолина и гитара, прототипом которых стали составы с солирующим инструментом и сопровождением. Однако, сама по себе…
Making a headjoint draws on rigorous training in the mechanics of sound and surgical skills in measuring and cutting. But to produce a quality head, a flute maker also needs the ability to dream, hear, and intuit.
Бывало ли у вас так, что начинаешь заниматься/работать, и у вас такое колличество различных задач и столько всего нужно сделать, что становится страшно даже приступить, не знаешь за что схватиться, с чего начать и сколько это займет времени?
«Вечный солнечный свет в музыке – имя тебе Моцарт!» – так сказал Антон Рубинштейн о великом австрийском композиторе, чьё имя стало синонимом гениальности. Но родись Вольфганг Амадей Моцарт в семье, скажем, мясника или лесника, узнал бы мир о нём? Верится с трудом…
by Sergio Pallottelli The issue of phrasing is a difficult matter as it is mostly personal and unique to every musician. What makes the difference between what we call a “well phrased” performance versus the opposite? It is difficult to put one’s finger on specific issues, but when the phrasing is right we all notice it and appreciate it…
Excerpt from Onorio Zaralli’s book “Playing with the soul” ©2017 In the dictionary, under the term “structure” we read: a ” constructed from several parts” entity, or even, “the arrangement of and relations between the parts or elements of something complex.” The musical language is seen therefore, as “the set of structural elements placed in relation to each other.”…
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