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The disappearance of Dr. Lorenzo Cianciusi

yesterday has died after a long illness, Dr. Lorenzo Cianciusi, a psychiatrist and psychotherapist, musician, member of Jazz On our teacher and father of Henry Cianciusi battery.

remember that Dr. Lawrence has worked with Jazz On Cianciusi through Autogenic Training courses oriented music he has designed and conducted at our headquarters Jazz On School from 1997 to 1999, these courses also had a large following within extra-musical.

Also, remember that as a personal note Dr. Cianciusi, as well as being my student, is the author of the song with me "The Course of Ideas" that you can hear the instrumental version (sung without text) in a section of this site. To his son Henry

Cianciusi and his entire family is the embrace of Jazz On The

funeral will be held tomorrow, May 1st, 2010 at 11:00 am at the church of S. Rocco Avezzano

President
Giuliano Graziani

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Mahleriadi - Featured - Symphony No 1 - M. Honeck



coupling the two-year celebrations Mahler, is accurately captured the invasion of global initiatives dedicated musical-cultural-commercial event. To be fair, the invasion of the above is in progress now for two or three decades, with a continuous crescendo, the last part also encouraged by the proliferation of independent labels and so-called "down in the" orchestra of great renown International, who produce their own low-cost CDs and live concerts of them. The most active among them (I can think of the Chicago Symphony, the Concertgebouw in the Netherlands, the New York Philharmonic and the London Symphony) are readily equipped for the event, by embarking on many integrals to be delivered to posterity. That said, however, is that it lacks "homages" to our business related to the good old strand, the Pittsburgh Symphony, for example, being rather far from the fame of the orchestras mentioned above, has had to seek a contract "old way", now afforded it by the Japanese Exton, whose production has so far stood out for the particular difficulty of finding (now it's finally arrived via sales Amazon) and the marked predilection for the repertoire Mahler. It will therefore be to deploy the full Exton currently under construction in that of Pittsburgh, whose management is entrusted to the current principal conductor of the orchestra, the Austrian Manfred Honeck. These already violin Wiener Philharmoniker in a row in the years when his brother Rainer it was instead the concertmaster, has seen his career take off conducting the threshold of fifty, the office in Pittsburgh, recently extended until 2015, recording the harmony gained with orchestra and audience there. After listening to the first, it can certainly bless the decision taken by the parties. Since its inception, the direction of Honeck is attentive to highlight the richness of the score, bringing to light touch of refinement, of rare beauty and effectiveness, all without losing sight of structure and unity of the "story" of music, always alive and kicking . Exemplary in this regard the second movement, with this "acceleration" that still gives the initial momentum to the rustic peasant dance that characterizes the Scherzo, and what about the magic of Trio, the more dreamy in contrast with the rough energy of the events that precede and follow it. And when the going gets tough (read the fourth movement, Stürmisch bewegt), orchestra and conductor did not disappoint, accompanying the symphony to its blazing conclusion granted without frills or voltage drops.
short, a Mahler First with controfiocchi, the kind that make you conclude that the history of interpretation is yet to be written and that even "outsiders" it will definitely be a part.

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Please note that the sages of the School for Jazz on the current year will take place on June 25 at the Orsini Castle in Avezzano.

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Paolo Prodi, "Seventh Do not steal "


Tuesday, April 27 at 17.30 hours, at the Libreria Feltrinelli (formerly Zanichelli) 1h Piazza Galvani in Bologna:
LUCIANO SITA and Giuseppina Muzzarelli
discuss with the author Paolo Prodi themes of the book:
"Seventh shall not steal"
Il Mulino.
Chair DAVIDE FERRARI

The meeting is sponsored by La Feltrinelli Events in collaboration with Casadeipensieri .

................................................ ....................................

Together with previous work dedicated to the oath and political justice, this book brings out an impressive work of interpretation with which Prodi has investigated and revealed some deep constitutive features of European civilization, that the mental structures, social, economic and legal reforms that have allowed entry European society in modernity. These pages show that since the Middle Ages the market has established itself as an autonomous subject, location independent valuation of the assets. With the market changing concepts of wealth and property and also the concept of theft, understood as a violation of "fair price" and the rules of the market. The formation of a separate economic from political power, and continues in this dialectic, was what allowed not only the birth of industrial civilization, but also the birth of constitutional freedoms and rights. Looking back a thousand years, "Seventh shall not steal" ends up question on the crisis in which this civilization seems irreversibly entry today.

Paolo Prodi is a professor emeritus at the University of Bologna and president of the Central Government for historical studies. The mill has published "The sovereign pontiff" (II ed. 2006), "The Sacrament of Power" (1992), "Introduction to the study of modern history" (1999) and "A History of Justice" (2000).

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Le Parisien Chez Pietro Bandini ... comics version. DAVID FOSTER WALLACE

Sharp Pain In The Anus

Sergei Prokofiev - Ivan the Terrible: Concert Scenario

Sergei Mikhailovich Eisenstein
(1898-1948), artist and intellectual and versatile witness directed the Bolshevik Revolution of 1917, turned in 1938, once on Sergei Prokofiev to ask him to compose the music for his film Alexander Nevsky . That first meeting gave professional results so high that Eisenstein could not help but to resort again to Prokofiev to compose the musical score for his most ambitious work: Ivan the Terrible, the monumental film with which he celebrated the epic of the first Tsar of all Russia, lived in the sixteenth century. "Ivan the Terrible" is a gigantic work, which depicts an ancient Russia, but left to launch flares that of Stalin. Unfortunately, the character of Ivan the Terrible told in the film resembles a bit 'too much to Stalin, to the point that they blocked the exit of the second part of the film, also shot and designed to be a unified work, thus preventing that was completed the original project director, who had directing mind of a third party dedicated to winning the maturity of Ivan. And so, though the work had already been completed in 1946, it was not until 1958 - that is, five years after the death of Stalin and Prokofiev and ten from that of Eisenstein - to see the whole opera represented.
Eisenstein had many good reasons to turn to his soundtracks for Prokofiev: his vast experience - from symphonic and piano that chamber dallopera opera and ballet - he had aged in the two qualities, only opposite in appearance, are essential for writing film music: expressive flexibility in adapting to situations and iron discipline in complying with the pace of the succession of images. For the music of 'Alexander Nevsky also had the opportunity to experience a compositional technique has proved very suitable for that purpose, was to create three pieces of material to be used for different needs films. The first block was part of the most musically ambitious material, material which would have had to adapt the screenplay, in order to enhance the full potential of the soundtrack and in second block, script and music were exchanged roles and prominence, so was the music to be written to measure the scene already filmed, and finally, in the third block was part of the stew of small and refrains leit-motif that would be bounced from time to time in sound texture of the film, according to the needs of its director.
As for the 'Alexander Nevsky , the brilliant pair gave full evidence of their mastery, creating a work that still has no equal in this very special ranking combined (mainly due to lack of objective approachable filmmakers to musicians' height of the genius of Prokofiev).
Unfortunately those music Prokofiev had no time and method of treating suites concert or still functional adaptations to their self-representation. To listen to music in concert it was not until 1961, when Abram Stasevich (1907-1974) made an oratory. To represent in a comprehensive manner the complex plot of the film's plot of origin, Stasevich enucleates twenty-six original paintings from the score, connecting them together with shares entrusted to a narrator, which has the task of narrating the scene changes on the basis of written by the same Eisenstein. The giant altarpiece that ensued, while overall commendable, is not always smooth reading, reciting and fatigued by the interventions of the pieces resulting from the Orthodox liturgical tradition, musically interest lower. Thus in 1990 the English musicologist Christopher Palmer oversaw a revival of Prokofiev's work, more agile and free of commentary on the narrator. The thirteen pieces in this version which is organized by the concert were selected and organized with less comprehensive criteria clearly about the plot of the film's origin, but their structures and temporal succession. The forces entrusted with the first recording of this new version, given below, are the same that have sponsored the premiere, which took place in London February 28, 1991: Linda Finnie is the alto, bass-baritone Nikita Storojev , Philharmonia Chorus and Philharmonia Orchestra are entrusted to the care of Neeme Järvi.

1 Overture - Overture, Overture



2 Il mare Russo - Russian Sea - Russian Ocean - La Mer russe;
3 Le nozze - Wedding - The wedding; Noces:
i) Allegro fastoso
ii) Andante
iii) Allegro fastoso



4 L'incendio - Fire - Fire - L'incendie;
5 Tartari e cannonieri - Tartars and Canoneer - The Tartars and the gunners tartare et Canonniers:
i) Allegro moderato;
ii) Moderato energico;



6 Seizure of Kazan - The Storming of Kazan - Die Erstürmung von Kasan - A l'assaut de Kazan

The proposals are clearly scenes from the film source, adapted to the concert version of music that accompanies the long sequence in the film of the siege and fall of the city of Kazan, capital of the Islamic khanate was conquered in August 1552 by troops led by the Tsar Ivan. Fortified by this success came fame as a unifier of Ivan the Russian people and a defender of Christian belief.



7 Ivan's disease - Ivan's Sickness - Iwan auf dem Krankenbett - La maladie d'Ivan
i) Adagio;
ii) Andante sostenuto;



8 At the Polish Court - At the Polish Court - Am polnischen Hof - La cour de Pologne;
9 Anastasia



10 The Song of the Beaver - Song of the Beaver (Ephrosynia's Lullaby) - Lied des bibers (Ephrosynias Wiegenlied) - The chanson du castor (Berceuse d'Ephrosynia)
11 The Banquet - The banquet - Das Festessen - The banquet: i) Allegro well-paced, ferocious ii) Allegro moderato; iii) Allegro well paced.

The "snapshots" proposals refer again to the sequences annotated by the music in the concert version proposed here. In the sequence in black and white actors impersonating Serafina Birman and Pavel Kadochnikov respectively Efrosina Staritskaya and his son Vladimir, who would like the noble boyars as tsar, because of its ineptitude that would facilitate the handling by the latter. Efrosina, Ivan's aunt, she sings a lullaby to his son, indeed, grown-up, which tells of the adventures of the hunter accapararsi the skin of the beaver, the metaphor behind it is even not so secretly done a glimpse of Vladimir the need to search a 'action strength of the solution to their ambitions of power. The next sequence, populated by wild dancing and singing, he clings to the banquet held by Ivan, which - sensed the betrayal - is his cousin Vladimir drunk to make him confess their intentions conspiracy. These, in the throes of a trance induced by alcohol and exceptional charisma enthralling Ivan, let's be put on the royal robes and is about to become a sacrificial victim of the revenge of the Tsar. Amazing stage presence and the magnetism of the protagonist, the actor Nicolai Cherkasov.



12 Murder in the Cathedral - Murder in the Cathedral - Mord in der Kathedrale - Le meurtre dans la cathédrale.

is a significant addition to the score obtained by Palmer Stasevich that, rather inexplicably, has decided not to include in their selection with the background music that Prokofiev has translated into sounds, the concern of Vladimir and the dramatic conclusion of his awkward "coup ". The theme of the lament of the beaver is here taken up and developed by the choir with his mouth closed with a growing disturbing film of great effect, whose peak coincides with the arrival of the mortal blow, by which the killer - unaware of mistaken identity - remains the conspirator to life. I took the original sequence (again, as the banquet scene that precedes it, turn on color film from the war booty seized from the Nazis) that you can still review and "listen" in its link to the original sounds http://www.youtube.com/watch?v=ALbxsm27ojw



13 Finale (Coda).