BC MUSIC
Saved by @Alex1Powell

"Music, Sense and Nonsense: Collected Essays and Lectures", por Alfred Brendel.

Capítulo: “Conversations - Talking to Brendel with Jeremy

 Ya casi llegamos al final de este maravilloso libro. En esta sección, Brendel comparte varias entrevistas. La primera de ellas fue en 1972 con Jeremy Siepmann, músico, locutor, articulista y autor de varios libros sobre música.
Si bien después de 377 hojas ya tenemos una buena idea sobre las opiniones de de Brendel sobre la música y el quehacer musical, en esta entrevista revela varios puntos de vista.
Sobre si disfruta interpretar música, Brendel responde que sí, sobre todo en los últimos años, “when I’ve had the impression that much of what I do comes across. Of course, one very rarely knows if the right things come across)”.
Sobre si los intérpretes existen para vincular al compositor con el público, Brendel afirma que le interesa más la relación del intérprete con el compositor que con el público: “What fascinates me is to make sense of a piece of music while it sounds”.
Sobre si el intérprete debería “educar” a su público, Brendel considera que se debe hacer clarificar la pieza lo más posible. Pero si el público siente que el intérprete quiere educarlo, el caso está perdido. Si se quiere educar al público, este no debe siquiera darse cuenta.
Sobre si el análisis musical tiene algún valor al intérprete, si bien es necesario tener un sólido conocimiento musical, el intérprete no debe considerar el análisis musical como la llave al tipo de intuición que permite una gran interpretación.
“It was Schoenberg who said, in a letter, that formal analysis is often overrated because it shows how something is done, not what is done. This, from one of the supreme analysts, is something valuable, I think”.
Sobre si la música grabada y en vivo requieren ser escuchadas distintamente, Brendel considera que si bien existen ciertas diferencias básicas, en su caso mientras más progresaba en sus grabaciones, más trataba de tocar como si estuviera en un concierto ante un público.
“Many more concerts should be recorded and issued on disc, with all their imperfections and coughing and so on. As far as piano recordings are concerned, the over-refinement of our tools nowadays seems sometimes to be a disadvantage.”
Sobre si la gesticulación al interpretar tiene alguna función musical, Brendel considera sí la tiene. Cuando se vio en televisión por primera vez, se dio cuenta que sus gestos contradecían completamente lo que hacía y lo que quería hacer musicalmente.
“I then had a mirror made, a big standing mirror, which I put beside the piano, not really making me visible all the time, but always there; unconsciously, one noticed things. It helped me to co-ordinate what I wanted to suggest with my movements with what really come out”.
Sobre la relación con sus grabaciones, Brendel considera que son “a kind of offspring of which one can’t, unfortunately, say that one has to nurse them until they grow up and then forget them as soon as possible and let them lead their own live…
They lead their own lives at once, and are scarcely ever grown up! There’s always something infantile about a record, al least as far as the artist is concerned. Records are interesting to learn from but not always to enjoy”.
Sobre el escribir sobre música, Brendel considera que no se debe ser arrogante: “That may seem very irrelevant, but I think it’s very important. If one decides to talk about something as elusive as music…
… something which is so difficult to grasp in words without talking nonsense all the time and being imprecise to an enormous degree, and personal to a degree which is no use to anyone, then one has to be modest about it”.
Sobre intérpretes que intentan ser originales distorsionando lo que el compositor indica en la partitura, Brendel considera que es una tontería. “If one sheds new light on music, it should be the outcome of an effort, not the input!”
Sobre si ha considerado dirigir, si bien Brendel se interesa por la dirección y sus técnicas, e incluso se imagina a sí mismo dirigiendo, nunca lo haría: “I think I would be too shy to attempt to impose something on an orchestra without being completely professional”.
Sobre si pudiera cambiar algo en su vida profesional: "I don't know. So far I don't feel at all exploited. I play a lot, though not as much as some other people, but I play because I like it. I have a lot of other interests, of course for which time will always be too short".
@threadreaderapp unroll

More from Music

Tar \u26a1
Tar ⚡
@itsTarH
Open Question to fellow investors tracking Music Industry.

A business like Universal which controls more than 1/3rd of all published music globally is selling for less than 6x FY20 Sales.

Why are Indian businesses like Saregama / Tips selling for 11x, 20x their sales?

If I include all of the revenue generated by entire firm, its selling for ~4.5x FY20 Sales


Universal Listing Market Cap ~ 40 Billion USD
FY 20 Revenues ~ 8.87 B USD or 7.4B EUR

Catalogue of Music includes every international artist you can possibly name

Either Universal is grossly undervalued or Saregama/Tips are grossly overvalued.

https://t.co/aHzWSYtcUt


https://t.co/v0EMoCuYKX
MUSIC
Sourabh Sisodiya, CFA
Sourabh Sisodiya, CFA
@sourabhsiso19
One of all time favourite motivational song & I listen to it almost daily😊

Underrated song but a true nasterpiece with amazing lyrics & music👌🏻

https://t.co/Omhz4gyJqI

Let me know if you had heard this song before & how did you find it!

#music #inspiring
MUSIC
Advertisement
Value Educator
Value Educator
@ValueEducator
Reason for high repeatability for songs is due to connection with old memories !
MUSIC
Julieta Ovalle
Julieta Ovalle
@julietaovallep
"Music, Sense and Nonsense: Collected Essays and Lectures", por Alfred Brendel.

Capítulo: “Conversations - On Schnabel and Interpretation with Konrad

En esta conversación de 1979, Alfred Brendel y Konrad Wolff, autor de “The Teaching of Artur Schnabel. A Guide to Interpretation”, discuten sobre ciertos puntos en los que Brendel no coincide con Schnabel.


Para Wolff, Brendel es el primer pianista desde Schnabel que ha gozado de plena autoridad en la interpretación de Mozart, Beethoven y Schubert. Además, en su opinión, su enfoque tiene mucho en común con el de Schnabel en los detalles de fraseo, tempo y dinámicas.


Sin embargo, hay varias opiniones en las que Brendel difiere de Schnabel. Para Brendel, las frases son como curvas que no necesariamente se miden por compases: “Very often for me the art of phrasing consists in forgetting about bars, ignoring bars and seeing large units”.


Por su parte, de acuerdo a Wolff, Schnabel veía las frases en función de la respiración y del énfasis al principio o al final: “he wanted to know how far he was to play before there was a breath (…), a phrase begins and then goes from there, or else it ends and goes to there”.
MUSIC
Julieta Ovalle
Julieta Ovalle
@julietaovallep
"Music, Sense and Nonsense: Collected Essays and Lectures", por Alfred Brendel.

Capítulo: “Conversations - Bach and the Piano with Terry

En 1976 Terry Snow entrevistó a Alfred Brendel sobre sus puntos de vista acerca de la obra de Bach para teclado, la cual hasta ese entonces Brendel había evitado ejecutar en sus conciertos.


Brendel cambió de opinión en esa época. Al haber sido alumno de Edwin Fischer, quien transmitía la música de Bach de una manera única y con poderosa autoridad, le tomó tiempo considerar que estaba listo para abordar a Bach en sus propios

En un principio, Brendel no se sentía muy convencido por las ejecuciones “históricas”. Sin embargo, para él la obra de Bach es menos dependiente de los instrumentos contemporáneos que la de Monteverdi, Domenico Scarlatti, Purcell, Rameau y Couperin.


Entre las ventajas de interpretar las obras para teclado de Bach en piano, Brendel considera el hecho de que este es más adecuado para las salas de concierto modernas. Además, para Brendel dichas obras están llenas de posibilidades
MUSIC

You May Also Like

Lindsey Simmons
Lindsey Simmons
@LynzforCongress
Joshua Hawley, Missouri's Junior Senator, is an autocrat in waiting.

His arrogance and ambition prohibit any allegiance to morality or character.

Thus far, his plan to seize the presidency has fallen into place.

An explanation in photographs.

🧵

Joshua grew up in the next town over from mine, in Lexington, Missouri. A a teenager he wrote a column for the local paper, where he perfected his political condescension.

2/


By the time he reached high-school, however, he attended an elite private high-school 60 miles away in Kansas City.

This is a piece of his history he works to erase as he builds up his counterfeit image as a rural farm boy from a small town who grew up farming.

3/


After graduating from Rockhurst High School, he attended Stanford University where he wrote for the Stanford Review--a libertarian publication founded by Peter Thiel..

4/

(Full Link: https://t.co/zixs1HazLk)


Hawley's writing during his early 20s reveals that he wished for the curriculum at Stanford and other "liberal institutions" to change and to incorporate more conservative moral values.

This led him to create the "Freedom Forum."

5/
HISTORY
XVIII Airborne Corps\U0001f409
XVIII Airborne Corps🐉...
@18airbornecorps
1 of 16: WE ARE ALL JEWS HERE: THE STORY OF RODDIE EDMONDS

One of the most moving and relevant stories of the Battle of the Bulge, or any American Soldier in any war, is that of Master Sergeant Roddie Edmonds, a Knoxville, Tennessee native, who served with the 106th Infantry.


2 of 16:

Roddie was captured early on in the Battle of the Bulge, on December 19th, when Panzer forces plowed through his unit.

He, along with almost his entire regiment, was forced to surrender.


3 of 16:

The men were transported to the Stalag IX-A POW camp in Ziegenhain, Germany.

Roddie was the senior enlisted American Soldier at the site. As such, he was the conduit between all American Soldiers and their German captors.


4 of 16:

In late January, the camp’s commandant, Major Siegmann [pictured here], ordered Roddie, a Christian, to identify all Jewish Soldiers and order them to stand in formation by themselves the next day.

[Jewish Soldiers were a minority within American units]


5 of 16:

Throughout WWII, captured Jewish Soldiers were often tortured and then killed by their German captors.

In fact, Jewish Soldiers had been told to bury their dog tags before capture. The dog tag identified Jews with the letter “H” for Hebrew.
SOCIETY
Advertisement
Respectable Lawyer
Respectable Lawyer
@RespectableLaw
There's been a lot of talk about the missionary killed by the natives of North Sentinel Island. They're probably so aggressive because of this weirdo, Maurice Vidal Portman. So here's a big thread about this creep and some facts from my decade-long obsession with the island.


The Sentinelese are often described as “uncontacted,” but this not strictly true. They had a very significant contact in 1880 with Commander Portman.

Portman, the black sheep third son of some minor noble, was assigned by the English Royal Navy to administer and pacify the Andaman Islands, a job he pursued from 1880-1900 with the full measure of his own perversity.


Portman was erotically obsessed with the Andamanese, and he indulged his passion for photography by kidnapping members of various tribes and posing them in mock-Greek homoerotic compositions.


During his 20 years in a sexualized heart of darkness, Portman measured and cataloged every inch of his prisoner’s bodies, with an obsessive focus on genitals.
SOCIETY
Robin Berjon
Robin Berjon
@robinberjon
Recently, the @CNIL issued a decision regarding the GDPR compliance of an unknown French adtech company named "Vectaury". It may seem like small fry, but the decision has potential wide-ranging impacts for Google, the IAB framework, and today's adtech. It's thread time! 👇

It's all in French, but if you're up for it you can read:
• Their blog post (lacks the most interesting details): https://t.co/PHkDcOT1hy
• Their high-level legal decision: https://t.co/hwpiEvjodt
• The full notification: https://t.co/QQB7rfynha

I've read it so you needn't!

Vectaury was collecting geolocation data in order to create profiles (eg. people who often go to this or that type of shop) so as to power ad targeting. They operate through embedded SDKs and ad bidding, making them invisible to users.

The @CNIL notes that profiling based off of geolocation presents particular risks since it reveals people's movements and habits. As risky, the processing requires consent — this will be the heart of their assessment.

Interesting point: they justify the decision in part because of how many people COULD be targeted in this way (rather than how many have — though they note that too). Because it's on a phone, and many have phones, it is considered large-scale processing no matter what.
TECH
Justin Mikolay \U0001f4bb
Justin Mikolay 💻...
@jmikolay
A distillation of what @naval said on Clubhouse last night:

What you call chaos I call spontaneity.

A regimented life is like a heartbeat that's non-chaotic; it's a system that’s too ordered. It doesn't have any life to it. And real life has lots of ups and downs, some of them very extreme.

I over-plan, but planning is pretty useless. What tends to dominant life are a small number of Black Swan events in both directions, positive and negative.

Expose yourself to asymmetric upside and lots of good options: things that can become massively important for you.

And you want to avoid the asymmetric downside: anything that can end the game, whether it's through financial ruin, or reputational ruin, or physical ruin.

That requires a certain amount of chaos and spontaneity.

If nothing else, 2020 taught the power of optionality.

We think about planning as linear and controlled, but that's not how the world around us works anymore.

The world is dominated by nonlinearities, so understanding options value is far more important.
ALL , NAVAL , NAVAL HIGHLISHTS