I am being on

On August 29, 2006, I will move to

7월 29일

손은 게으른데다 대가리가 얼마나 무식한지조차 모른채 겉 멋만 잔뜩 든 인간들이 어줍잖게 군다면,
그들은 나와 평생토록 안명을 까겠다고 결심한 사람들이라 간주할 것이다.

지금부터다.

2006 - 2007 Season at ND

Itzhak Perlman: DPAC Presents, Wednesday, October 25, 2006, at 7:30 pm !_!
Paul Taylor Dance Company, DPAC Presents, Wednesday, October 4, 2006, at 7:30 pm
El Gran Combo, DPAC Presents, Wednesday, October 4, 2006, at 7:30 pm
Ivo Pogorelich, DPAC Presents, Sunday, October 29, 2006, at 7:00 pm
Savion Glover: Classical Savion, DPAC Presents, Sunday, November 19, 2006, at 3:00 pm
London Philharmonic Orchestra, DPAC Presents, Saturday, December 2, 2006, at 8:00 pm

Inviting you to vote for our Artist and Recording of the Year

To LMP Editorial Team, July 20th, 2006

I only choose Artist of 2006.
I will complete my recommended list until early September.

My chocie, Artist of 2006 : Veronique Gens

Recent some years have seen the release of exceptional recordings by outstanding Mezzo like von Otter, Graham, and Kozena.
However, I have hardly found exceptional recordings by sop during recent 5 years.
Here is one of the more distinguished issues by soprano of recent years, indubitably the best of the ongoing Veronique Gens' recordings.
Veronique Gens' dramatic commitment, vocal accuracy and ability to project emotions through her singing make her a riveting singing actress in the best sense.
For 5 years, I have waited for a soprano on scintillating form.
I finally find that in the salute to operatic tragic heroines by composers from Leclair to Lully, Gens is on scintillating form.

From LMP Editorial Team, July 1st, 2006
"Each year sees many great recordings made by many great artists. But from that tier of excellence, each year a much smaller, select group stand out as truly unique in their achievements - it's impossible to define why, but there develops about them an overwhelming sense of having made truly important recordings that elevate them to the ranks of vital ambassadors for music, and essential additions to our record collections.


From the list drawn up by our editorial team, we invite you to vote for who you think should receive the accolade of Artist and Recording of the Year 2006. Read about the artists and recordings in the following pages, then follow the link to vote for the artist you think has made the greatest contribution to classical music this year. We have also suggested one of each artist's discs from the year to help you reach a decision."

Enescu and Ravel

Enescu, Ravel : Chamber Works, Leonidas Kavakos, ECM

The most important part performer must consider in playing Ravel's Tzigane and Enescu's Sonata for Violin and Piano is how to show performances which sing and swing according to the folk elements within; when Ravel wrote Tzigane for Hungarian violinist Jelly d'Aranyi, he used gypsy music. At that time, Enescu was in search of true Romanian folk music. For this, Enescy manages to imitate the sound of the cimbalom, using quarter-tones in the violin, and clusters of chords in the piano.

Of course, Kavakos tried to reach at this part from compelling musicianship, and an instinctive grasp of the folk idioms behind the manuscript paper, while it's Nagy who makes the performance of Tzigane particularly effective, never allowing the fact that this is a famous virtuoso violin vehicle from cowing him into merely accompanying.

However, I felt that even Kavakos is audibly appreciative of the folk flavouring in Enescu’s Third Sonata, he treats the abstract element as paramount, suggesting keen parallels with the violin sonatas of Bartok; again Nagy takes the greatest care over such issues as rhythm, texture and the shape of individual phrases: his precise musical thinking could serve as an object lesson in such matters.

I think that the high spot of the performance is the cantorial closing section of the Andante second movement, so exquisitely turned and sustained. The graphic Impressions d’enfance, with its lullaby, caged bird and cuckoo-clock, chirping cricket and ecstatic dawn, is endlessly fascinating, again rich in folk references, the sort that Enescu worked in to his Romanian Rhapsodies.

Surely, the recording is spot on, beautifully balanced, with the piano allowed full participation without ever obliterating the violin, no matter how full the tone, and the ambience and air around the sound is beautifully caught, not to mention ECM’s (or maybe Kavakos’s) imaginative programming.