18 SEPTEMBER 2010
CEMBALO AT ITS BEST!
Julie Ventoura At The Cultural Center About
Julie Ventoura At The Cultural Center About
tar.gr
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The fact that Giuli Ventoura is a dedicated musician and very experienced makes her proposal to the public interesting. He is, moreover, a musician with a repertoire dating back to the twentieth century, which gives us reason to think about how the harpsichord could be a bridge to accepting the new and the newest forms of music communication, departing from the role of supporting instrument of old music. The program of the sweet colleague included a qualitative journey from Fresco Baldi and Bach to Kangel and Ligetti, giving space to important Greek composers, George Koumentakis and Konstantinos Lignos, but also gave us opportunities to get to know musicians, the relatively young Gavin Bryars and the very old Joseph-Nicolas-Pancrace Royer.
Constantine Lygnos, About
Julie Ventoura defended music no matter what she played. Exquisite o Frescobaldi, wonderful by G. Koumendakis's dragonfly and the sweet blues of Lygnos with its low-lying areas and clever color chords, elsewhere identical and alternately arranged.
Ligetti's jacket entitled Hungarian Rock, a 1978 work of great interest, should, in his opinion, be a major repertoire of this instrument!
The biggest surprise of the night, however, and a symbolic challenge for contemporary creators was undoubtedly Mauritzio Kangel's Recitativarie, dedicated to Antoinette Fischer when it was written in 1971-1972.
The composer himself writes that this work is an example of his acoustic theology, far from parodying. The performer plays, sings and performs at the same time. Theatrical, kinesiological and practical, combining forms of expression, giving tension through specific pauses and being persuasive in everything is not the easiest! I will be allowed to note how obvious the interconnection of expressions with Beckett's theatrical technique seemed to me !!
A great tribute to this concert, to the organizers and to the colleague who so beautifully united the musical moments of the harpsichord making it sound the same artistically in all seasons of the work.
Finally, I must note the aesthetics of the venue that hosted the concert, the cultural center about, at Psirri, Miaouli 18. It is run by two young people, Andreas Diktyopoulos and Maria Aloupi. Insulation specific for music venues, a great aesthetic everywhere, a small art bookstore, wall art… that most beautiful in the bustling area that brings out the other side!“
The fact that Giuli Ventoura is a dedicated musician and very experienced makes her proposal to the public interesting. He is, moreover, a musician with a repertoire dating back to the twentieth century, which gives us reason to think about how the harpsichord could be a bridge to accepting the new and the newest forms of music communication, departing from the role of supporting instrument of old music. The program of the sweet colleague included a qualitative journey from Fresco Baldi and Bach to Kangel and Ligetti, giving space to important Greek composers, George Koumentakis and Konstantinos Lignos, but also gave us opportunities to get to know musicians, the relatively young Gavin Bryars and the very old Joseph-Nicolas-Pancrace Royer.
Constantine Lygnos, About
Julie Ventoura defended music no matter what she played. Exquisite o Frescobaldi, wonderful by G. Koumendakis's dragonfly and the sweet blues of Lygnos with its low-lying areas and clever color chords, elsewhere identical and alternately arranged.
Ligetti's jacket entitled Hungarian Rock, a 1978 work of great interest, should, in his opinion, be a major repertoire of this instrument!
The biggest surprise of the night, however, and a symbolic challenge for contemporary creators was undoubtedly Mauritzio Kangel's Recitativarie, dedicated to Antoinette Fischer when it was written in 1971-1972.
The composer himself writes that this work is an example of his acoustic theology, far from parodying. The performer plays, sings and performs at the same time. Theatrical, kinesiological and practical, combining forms of expression, giving tension through specific pauses and being persuasive in everything is not the easiest! I will be allowed to note how obvious the interconnection of expressions with Beckett's theatrical technique seemed to me !!
A great tribute to this concert, to the organizers and to the colleague who so beautifully united the musical moments of the harpsichord making it sound the same artistically in all seasons of the work.
Finally, I must note the aesthetics of the venue that hosted the concert, the cultural center about, at Psirri, Miaouli 18. It is run by two young people, Andreas Diktyopoulos and Maria Aloupi. Insulation specific for music venues, a great aesthetic everywhere, a small art bookstore, wall art… that most beautiful in the bustling area that brings out the other side!“