[vimeo 83548357 w=500 h=281]
“Percussion Kitchen.” Household items turned into an electronic instrument. By Devin Curry and Ben Gullard.
(Source: https://player.vimeo.com/)
[vimeo 61043579 w=500 h=281]
Dynamic performance of a movement from Bartok’s Divertimento by Collectif9.
(Source: https://player.vimeo.com/)
[vimeo 20944705 w=500 h=409]
Sviatoslav Richter plays Chopin’s “Revolutionary Etude.” Richter was a force of nature!
(Source: https://player.vimeo.com/)
[vimeo 35109750 w=500 h=281]
Scott Garner showcases his interactive still life project.
(Source: https://player.vimeo.com/)
[vimeo 69445362 w=500 h=270]
Do not miss this! Adrift by Simon Christen.
(Source: https://player.vimeo.com/)
[vimeo 32999664 w=500 h=281]
The Guitar of Raphael Aguirre by Wandering Eye.
(Source: https://player.vimeo.com/)
[vimeo 51941912 w=500 h=281]
The reed is considered the part of Oboe playing that makes it so difficult. Slight variations in temperature, altitude, weather, and climate will change a perfectly working reed into an unplayable collection of cane.
Reed is a silent documentary short, in which Petrea Warneck takes the viewer through the process of making an oboe reed.
Petrea Warneck is a Yamaha Performing Artist.
Music:
“Sonata for Oboe and Piano” composed by Daniel Schnyder.
danielschnyder.com
Performed by:
Petrea Warneck on Oboe
Lucinda Shields on Piano
(Source: https://player.vimeo.com/)
[youtube=http://www.youtube.com/watch?v=VFMcBMqE6mQ] Here is a violin master performing the Scherzo by Johannes Brahms. There are several things I respond to in Oistrakh's playing.
For starters, Oistrakh played at a time when art music didn't have to be sold. He played with a disregard for the audience that I find healthy, as opposed to camera-oriented attitude that classical performers apparently have to have today. I accept the necessity of marketing in the arts now. But that doesn't mean I have to like it.
I love the economy and potency of Oistrakh's movements. I love the straightforward reading he gives here: not a lot of fooling with the tempo. And I think Brahms left us an compelling little piece.
But it's Oistrakh's tone that knocks me over. It is focused, clear, deep, and gutsy. And he uses changes of tone color and vibrato to express harmonic and melodic subtleties. Check out the change of sound he makes by lightening the bow toward the end of the second theme (1:40).
It's also comforting to know that the violin gods sweat.