Music: Ingrid Fuzjko Hemming - Chopin - Etude Op.25 No.11 Winter Wind - Ravel - Pavane pour une infante defunte - Data - Links
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Ingrid Fuzjko Hemming
Germany
Ingrid Fuzjko Hemming (aka Fuzjko Hemming) (イングリット・フジコ・ヘミング?), (Japanese name: Ōtsuki Fujiko (大月フジコ?)) is a Swedish classical music pianist.
Born on December 5, 1932 in Berlin, Germany to a Japanese mother and a Swedish-Russian father but educated in Japan, Hemming began learning to play the piano at a young age from her mother. She was identified as a child prodigy and performed her first concert at seventeen.
She went to Aoyama Gakuin Senior High School, Aoyama Gakuin Junior High School, Aoyama Gakuin Elementary School. She graduated from the Tokyo National University of Fine Arts and Music and began her professional career immediately. Hemming received many prestigious honors during this time, including the NHK-Mainichi Music Concour and the Bunka Radio Broadcasting Company Music Prize. She relocated to Germany at the age of 28 to study at the Berlin Institute of Music.
During a concert in Vienna in 1971, Hemming lost her hearing from a bout of high fever. She relocated again to Stockholm, Sweden to take advantage of its medical facilities. She performed many more concerts throughout continental Europe before returning to Japan in 1995.
A documentary that aired in 1999 raised public interest in her music. Her subsequent debut CD, La Campanella, sold over two million copies.[1]
Hemming performed at Carnegie Hall in New York in June 2001. By 2002, Hemming had performed at every major population center in the world.
In 2008, Hemming was signed by Domo Records for the world. In June 2009, Domo Records released five titles from her catalogue in the U.S.A., including "Echoes Of Eternity"; "La Campanella"; "Nocturnes Of Melancholy", Live At Carnegie Hall, and Liszt's "Piano Concerto No.1".
Four of her CDs have received the Classical Album of the Year award at the Japan Gold Disc Awards.
http://en.wikipedia.org/wiki/Ingrid_Fuzjko_V._Georgii-Hemming
Born on December 5, 1932 in Berlin, Germany to a Japanese mother and a Swedish-Russian father but educated in Japan, Hemming began learning to play the piano at a young age from her mother. She was identified as a child prodigy and performed her first concert at seventeen.
She went to Aoyama Gakuin Senior High School, Aoyama Gakuin Junior High School, Aoyama Gakuin Elementary School. She graduated from the Tokyo National University of Fine Arts and Music and began her professional career immediately. Hemming received many prestigious honors during this time, including the NHK-Mainichi Music Concour and the Bunka Radio Broadcasting Company Music Prize. She relocated to Germany at the age of 28 to study at the Berlin Institute of Music.
During a concert in Vienna in 1971, Hemming lost her hearing from a bout of high fever. She relocated again to Stockholm, Sweden to take advantage of its medical facilities. She performed many more concerts throughout continental Europe before returning to Japan in 1995.
A documentary that aired in 1999 raised public interest in her music. Her subsequent debut CD, La Campanella, sold over two million copies.[1]
Hemming performed at Carnegie Hall in New York in June 2001. By 2002, Hemming had performed at every major population center in the world.
In 2008, Hemming was signed by Domo Records for the world. In June 2009, Domo Records released five titles from her catalogue in the U.S.A., including "Echoes Of Eternity"; "La Campanella"; "Nocturnes Of Melancholy", Live At Carnegie Hall, and Liszt's "Piano Concerto No.1".
Four of her CDs have received the Classical Album of the Year award at the Japan Gold Disc Awards.
http://en.wikipedia.org/wiki/Ingrid_Fuzjko_V._Georgii-Hemming
Fujiko Hemming - Chopin - Etude Op.25 No.11 Winter Wind
Étude Op. 25, No. 11, in A minor, is a solo piano technical study composed by Frédéric Chopin in 1836. It was first published together with all études of Opus 25 in 1837, in France, Germany, and England. The first French edition indicates a common time time signature, but the manuscript and the first German edition both feature cut time.[1] The first four bars that characterize the melody were added just before publication at the advice of Charles A. Hoffmann, a friend.[2]
Structure
The characteristic semiquaver-tuplets that make up most of this étude.
Étude Op. 25, No. 11 is a study for developing stamina, dexterity, and technique - essential skills for any concert pianist. It begins with a piano introduction of the main melody. The first theme follows, consisting of tumultuous cascades of semiquaver-tuplets (sixteenth-note-tuplets) and a leaping figure for the left hand in the relative major, C major, which shortly segues into a repetition of the first theme. It finishes with a short development into a fortissimo coda, and ends with one final statement of the theme.
Technique
Étude Op. 25, No. 11 is a study of right hand dexterity and left hand flexibility. Both hands play an important role throughout the piece; the melody is sung through the heavy left hand, and the right hand contributes the étude's namesake with rapid scales and arpeggios. This study must be navigated with polyphonic mindset, treating both hands as separate melodies that work together, in a duet for one performer.
One dissertation stresses the importance of implied melodic structure throughout the right-hand figures. Meaning, the following passage (measure 10, 11):
Structure
The characteristic semiquaver-tuplets that make up most of this étude.
Étude Op. 25, No. 11 is a study for developing stamina, dexterity, and technique - essential skills for any concert pianist. It begins with a piano introduction of the main melody. The first theme follows, consisting of tumultuous cascades of semiquaver-tuplets (sixteenth-note-tuplets) and a leaping figure for the left hand in the relative major, C major, which shortly segues into a repetition of the first theme. It finishes with a short development into a fortissimo coda, and ends with one final statement of the theme.
Technique
Étude Op. 25, No. 11 is a study of right hand dexterity and left hand flexibility. Both hands play an important role throughout the piece; the melody is sung through the heavy left hand, and the right hand contributes the étude's namesake with rapid scales and arpeggios. This study must be navigated with polyphonic mindset, treating both hands as separate melodies that work together, in a duet for one performer.
One dissertation stresses the importance of implied melodic structure throughout the right-hand figures. Meaning, the following passage (measure 10, 11):
Should be played thus:
accentuating those notes indicated by additional quaver (eighth note) tails. This serves to emphasize the underlying quartal rhythm to further accentuate the march-like theme of the left-hand.[2] Although this analysis may be sound, the performance of this without the aforementioned implications detracts nothing from the rhythmic undulations of the chromatic scales. Abby Whiteside agreed with this subdivision, calling them "tonal patterns which have to be solved before this Etude is playable."[3] Citing her usual procedures of promoting arm strength, she emphasized two key points exemplified by this étude: "notewise procedure does not further bravura playing" and "finger technique is simply not adequate for brilliance and speed." Her dissertation states that this work is impossible without the aforementioned subdivision, and simultaneously advocates her arm technique.[3]
The American music writer and critic James Huneker, in his preface to the Schirmer edition of Chopin's études, famously asserted of this étude, "Small-souled men, no matter how agile their fingers, should not attempt it."[4]
http://en.wikipedia.org/wiki/%C3%89tude_Op._25,_No._11_%28Chopin%29
Fujiko Hemming - Pavane pour une infante defunte
Pavane pour une infante défunte (Pavane for a Dead Princess) is a well-known piece written for solo piano by the French composer Maurice Ravel in 1899 when he was studying composition at the Conservatoire de Paris under Gabriel Fauré. Ravel also published an orchestrated version of the Pavane in 1910. A typical performance of the piece lasts between six and seven minutes.
History
Ravel described the piece as "an evocation of a pavane that a little princess might, in former times, have danced at the Spanish court".[1] The pavane was a slow processional dance that enjoyed great popularity in the courts of Europe during the sixteenth and seventeenth centuries.[2]
This antique miniature is not meant to pay tribute to any particular princess from history, but rather expresses a nostalgic enthusiasm for Spanish customs and sensibilities, which Ravel shared with many of his contemporaries (most notably Debussy and Albéniz) and which is evident in some of his other works such as the Rapsodie espagnole and the Boléro.
Ravel dedicated the Pavane to his patron, the Princesse de Polignac. He published it in 1900, but it attracted little attention until the Spanish pianist Ricardo Viñes gave the first performance on April 5, 1902.[3] The work soon became very popular, although Ravel came to think of it as "poor in form" and unduly influenced by the music of Chabrier.[4] Many people like the song.
Ravel intended the piece to be played extremely slowly – more slowly than almost any modern interpretation, according to his biographer Benjamin Ivry.[5] The critic Émile Vuillermoz complained that Ravel's playing of the work was "unutterably slow."[6] However, the composer was not impressed by interpretations that plodded. After a performance by Charles Oulmont, Ravel mentioned to him that the piece was called "Pavane for a dead princess", not "dead Pavane for a princess".[7] When asked by the composer-conductor Manoah Leide-Tedesco how he arrived at the title Pavane pour une infante défunte, Ravel smiled coyly and replied, "Do not be surprised, that title has nothing to do with the composition. I simply liked the sound of those words and I put them there, c'est tout".[8]
When Ravel published his orchestrated version of the Pavane in 1910, he gave the lead melody to the horn, and specified a non-generic instrument: the score calls for "2 Cors simples en sol" (two hand-horns in G).[4] The teaching of the valveless hand-horn had persisted longer in the Paris Conservatory than in other European centers; only in 1903 had the valve horn replaced it as the official horn of primary instruction. The orchestral score was published in 1910. The premiere was given on 27 February 1911 in Manchester, England, conducted by Sir Henry Wood.[4] Reviewing the concert, the critic Samuel Langford called the work "most beautiful" and added, "The piece is hardly representative of the composer, with whom elusive harmonies woven in rapid figuration are the usual medium of expression. In the Pavane we get normal, almost archaic harmonies, subdued expression, and a somewhat remote beauty of melody."[9]
The first gramophone recording of the Pavane was made in 1921 in Paris.[4] A later recording, made in Paris in 1932 is sometimes thought to have been conducted by the composer, but was actually conducted by Pedro de Freitas-Branco, under the supervision of Ravel, who was present at rehearsal and the recording session.[10]
http://en.wikipedia.org/wiki/Pavane_pour_une_infante_d%C3%A9funte
History
Ravel described the piece as "an evocation of a pavane that a little princess might, in former times, have danced at the Spanish court".[1] The pavane was a slow processional dance that enjoyed great popularity in the courts of Europe during the sixteenth and seventeenth centuries.[2]
This antique miniature is not meant to pay tribute to any particular princess from history, but rather expresses a nostalgic enthusiasm for Spanish customs and sensibilities, which Ravel shared with many of his contemporaries (most notably Debussy and Albéniz) and which is evident in some of his other works such as the Rapsodie espagnole and the Boléro.
Ravel dedicated the Pavane to his patron, the Princesse de Polignac. He published it in 1900, but it attracted little attention until the Spanish pianist Ricardo Viñes gave the first performance on April 5, 1902.[3] The work soon became very popular, although Ravel came to think of it as "poor in form" and unduly influenced by the music of Chabrier.[4] Many people like the song.
Ravel intended the piece to be played extremely slowly – more slowly than almost any modern interpretation, according to his biographer Benjamin Ivry.[5] The critic Émile Vuillermoz complained that Ravel's playing of the work was "unutterably slow."[6] However, the composer was not impressed by interpretations that plodded. After a performance by Charles Oulmont, Ravel mentioned to him that the piece was called "Pavane for a dead princess", not "dead Pavane for a princess".[7] When asked by the composer-conductor Manoah Leide-Tedesco how he arrived at the title Pavane pour une infante défunte, Ravel smiled coyly and replied, "Do not be surprised, that title has nothing to do with the composition. I simply liked the sound of those words and I put them there, c'est tout".[8]
When Ravel published his orchestrated version of the Pavane in 1910, he gave the lead melody to the horn, and specified a non-generic instrument: the score calls for "2 Cors simples en sol" (two hand-horns in G).[4] The teaching of the valveless hand-horn had persisted longer in the Paris Conservatory than in other European centers; only in 1903 had the valve horn replaced it as the official horn of primary instruction. The orchestral score was published in 1910. The premiere was given on 27 February 1911 in Manchester, England, conducted by Sir Henry Wood.[4] Reviewing the concert, the critic Samuel Langford called the work "most beautiful" and added, "The piece is hardly representative of the composer, with whom elusive harmonies woven in rapid figuration are the usual medium of expression. In the Pavane we get normal, almost archaic harmonies, subdued expression, and a somewhat remote beauty of melody."[9]
The first gramophone recording of the Pavane was made in 1921 in Paris.[4] A later recording, made in Paris in 1932 is sometimes thought to have been conducted by the composer, but was actually conducted by Pedro de Freitas-Branco, under the supervision of Ravel, who was present at rehearsal and the recording session.[10]
http://en.wikipedia.org/wiki/Pavane_pour_une_infante_d%C3%A9funte
Pavana para una infanta difunta (francés:Pavane pour une infante défunte) es una famosa pieza para piano solo escrita por el compositor francés Maurice Ravel. Fue compuesta en 1899 cuando Ravel estudiaba composición en el Conservatorio de París con Gabriel Fauré. En 1910, Ravel también publicó una versión orquestal de la Pavana. Una interpretación normal dura alrededor de seis minutos.
La obra evoca la digna elegancia de una recepción en la corte real de España, así como el grácil movimiento de una infanta en los pasos de una pavana, una danza lenta procesional que gozó de gran popularidad entre el siglo XVI y el siglo XVII. La alusión a estas referencias antiguas no significa que Ravel quisiera homenajear a alguna princesa histórica en particular, sino más bien expresar un entusiasmo nostálgico por la moda y la sensibilidad española que el autor compartía con muchos de sus contemporáneos (sobre todo Debussy, de Séverac o el propio Albéniz) y que manifestó en otras obras, tales como la Rapsodia española y el Bolero. Según algunos, Ravel quizás pensaba en Margarita Teresa de España, hija del rey Felipe IV de España.
Ravel dedicó la Pavana a su patrona, la Princesa de Polignac. El pianista español Ricardo Viñes ofreció el estreno el 5 de abril de 1902. La Pavana fue calurosamente acogida por el público, pero recibió reseñas más críticas de los músicos seguidores de Ravel. Incluso, el mismo Ravel la consideró de una "forma harto pobre". Posteriores interpretaciones han tendido a ser demasiado lentas y pesadas. En una ocasión, Ravel escuchó una versión así, y después le mencionó al pianista que se llamaba "Pavana para una infanta difunta", y no "Pavana difunta para una infanta".
Interpretaciones
En 1972, los guitarristas John Williams y Julian Bream grabaron la Pavana como un dúo para dos guitarras en el álbum Together.
En 1973 el músico de jazz brasileño Eumir Deodato grabó la Pavana en su segundo álbum Deodato 2.
En 1979 el artista de música electrónica Isao Tomita grabó una versión electrónica de la Pavana en su álbum Daphnis et Chloé.
En 1982 el músico multi-instrumentista argentino Pedro Aznar grabó una versión electroacústica de la Pavana en su álbum "Pedro Aznar".
En 1997 la cantante de ópera británica Lesley Garrett grabó una versión especialmente arreglada para el álbum Tribute dedicada a Lady Di que había muerto en agosto de aquel año.
En 2000, el artista de música electrónica William Orbit arregló la pieza para su álbum de arreglos electrónicos ambientales de obras "clásicas", Pieces in a Modern Style. Fue posteriormente lanzado en un single, con otro arreglo.
Una grabación de la obra tocada por el mismo Ravel se ha conservado en rollos de piano. Esta grabación está disponible en CD desde abril de 2004.
http://es.wikipedia.org/wiki/Pavana_para_una_infanta_difunta
Music: Ingrid Fuzjko Hemming - Chopin - Etude Op.25 No.11 Winter Wind - Ravel - Pavane pour une infante defunte - Data - Links
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