Entdeckungen für die Dauer von 20 Jahren “Abgeschiedenheit” auf Deutsch

Открытия за период 20 лет “затворничества” на английском.

On the musical discoveries one must speak for himself, for the so-called. “music world” is already, even unable to determine where the true opening/discovery , and where the vulgar cynicism. Towards the two upcoming TV shows in Israel at the beginning of next month, I was asked briefly to state “what have I been doing for the last 20 years” and why “I was not visible” on the world stages.

So – it is concise about the real discoveries of the last 20 years of tense, difficult, lonely, “ungrateful” work (which is not paid for, therefore it is especially difficult in our world). Here they are, since 1999:

The program of the “left hand concert” Ravel – “Dies Iraе”.
“Dies Iraе”, as the main instrument of Ravel’s composition. “Bolero” – the same principle – the confrontation between life and death, where death is personified by the theme “Dies Iraе”. In the same form and as in the concert of Ravel – with the “death motive” cut off every second note.
The whole “composer’s capital” of Ravel is built on this find of the composer.

The program of Tchaikovsky’s concert as the creation of his musical world (7 hits of the introduction and the whole “prologue” is the allegory of the “Seven Days of the Creations of the World”) and the entire first part, as confessions with the prophecy of his own destiny.

Programs of the entire “confessional-narrative” part of Chopin’s nocturnes.

The new sound, new sonic world of Chopin.

A complete change in the reading of texts, with a deliberate manner of expressing the speech of each individual work, depending on the logic of the musical language.

The logic of the musical language is open at the level of word-tones, not phrases and sentences.

The logic of the musical language is based on psychological research of the consciousness and subconsciousness of each composer and each composition separately.

A complete change in the understanding and sensation of “time” in all compositions of the 19th century, and the beginning of the 20th century. Freedom in time, dictated by the logic of language and composition, as well as the time in which the composer lived, his psyche, and the specific tasks of each work. Time is a category lost by modern performers, because of the severe changes in the psyche of modern people caused by the social upheavals of the 20th century.

Achievement of complete freedom of the spirit, expressed in time, sound space, reading and delivering texts to the listener, laid down in the works of great composers, freedom, as a given life of the soul and intellect, completely lost in the 20th century by civilization.

Completely changed, re-created and adopted a new pianistic technique, which is especially difficult for a living body, because it is associated with the coordination of motor activity and brain activity, and slowly “gets implanted in the physiology of the body.” It took 25 years, accompanied by frequent “refusal of body physiology”, when testing new for the body, physical touches on the stages. Created “sound technology.” When every tone of any composition has its own unique character, individuality carries separate meanings.

The musical language is mastered at the literary level. With the full possibility of verbalization in verbal language.

The form and content of the third concert of Rachmaninov is open, as well as the endless errors of form in his performance of his work. What is said about the intuitive method of composition, when the author is often unable to analyze his own composition. Hence – the third concert of Rachmaninov is absolutely “unfamiliar” composition for performers and listeners. What the “performers” do there, starting with a completely tampered with the main theme – this is the panopticon of the insane.

The heavy blunder in the composition of the second concert of Rachmaninov is filled, where the lack of cadenza in the first part “fails” the form of the composition (the cadence will be performed for the first time in Berlin in January of next year).

A new sound and “humanistic” space of the keyboard Bach was created. Thanks to the study of the author’s consciousness and subconscious, the dry compositional methods and techniques, the church-scholastic motifs of the works, and, most importantly, the sensuous world of Bach, are clearly delineated and designated, which to this day has not been understood or indicated by anyone.

The musical language and the program “Pictures from an Exhibition” by Mussorgsky are fully revealed. The video was created as a sample of music making and listening to music from the present moment, completely excluding the “intuitive-amateur” reading of texts, except to this day no one knew, seen, heard, imagined, and even did not understand in what directions to develop musical and performing arts.

Seriously advanced and expanded the philosophy and aesthetics of performing in countless articles and notes.

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