Podcasts about Trifonov

durée : 01:58:31 - Daniil Trifonov (1991), de Bach à Corigliano - par : Philippe Cassard - Le pianiste russe Daniil Trifonov en concert. - réalisé par : Philippe Petit

durée : 01:28:25 - Daniil Trifonov, maîtrise absolue et interprétations flamboyantes - par : Aurélie Moreau - Pour Daniil Trifonov, pianiste prodigieux, « il faut respecter le texte, mais il est plus essentiel encore de percevoir les fondements de celui-ci, l'émotion et la spiritualité qu'il porte ». (Classica). Aujourd'hui : Liszt, Rachmaninov et Chopin. - réalisé par : Doria Zénine

Who else in literature today could be more interesting to interview than Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans, as well as the author of popular reviews and the sweater weather Substack? We talked about so much, including: Chopin and who plays him best; why there isn't more tennis in fiction; writing fiction on a lab bench; being a scientific critic; what he has learned working as a publisher; negative reviews; boring novels; Jane Austen. You'll also get Brandon's quick takes on Iris Murdoch, Jonathan Franzen, Lionel Trilling, György Lukács, and a few others; the modern critics he likes reading; and the dead critics he likes reading.Brandon also talked about how his new novel is going to be different from his previous novels. He told me:I no longer really want to be starting my books, quote unquote, in media res. I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation.I have enjoyed Brandon's fiction (several people I recommend him to have loved Real Life) and I think he's one of the best critics working today. I was delighted to interview him.Oh, and he's a Dickens fan!Transcript (AI produced, lightly formatted by me)Henry: Today I am talking to Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans. Brandon is also a notable book reviewer and of course he writes a sub stack called Sweater Weather. Brandon, welcome.Brandon: Yeah, thanks for having me.Henry: What did you think of the newly discovered Chopin waltz?Brandon: Um, I thought, I mean, I remember very vividly waking up that day and there being a new waltz, but it was played by Lang Lang, which I did not. I don't know that, like, he's my go-to Chopin interpreter. But I don't know, I was, I was excited by it. Um, I don't know, it was in a world sort of dominated by this ethos of like nothing new under the sun. It felt wonderfully novel. I don't know that it's like one of Chopin's like major, I don't know that it's like major. Um, it's sort of definitively like middle of the road, middle tier Chopin, I think. But I enjoyed it. I played it like 20 times in a row.Henry: I like those moments because I like, I like it when people get surprised into realizing that like, it's not fixed what we know about the world and you can even actually get new Chopin, right?Brandon: I mean, it felt a little bit like when Beyonce did her first big surprise drop. It was like new Chopin just dropped. Oh my God. All my sort of classical music nerd group texts were buzzing. It felt like a real moment, actually.Henry: And I think it gives people a sense of what art was like in the past. You can go, oh my God, new Chopin. Like, yes, those feelings are not just about modern culture, right? That used to happen with like, oh my God, a new Jane Austen book is here.Brandon: Oh, I know. Well, I mean, I was like reading a lot of Emile Zola up until I guess late last year. And at some point I discovered that he was like an avid amateur photographer. And in like the French Ministry of Culture is like digitized a lot of his glass plate negatives. And one of them is like a picture that Zola has taken of Manet's portrait of him. And it's just like on a floor somewhere. Like he's like sort of taken this like very rickety early camera machinery to this place where this portrait is and like taken a picture of it. It's like, wow. Like you can imagine that like Manet's like, here's this painting I did of you. And Zola's like, ah, yes, I'm going to take a picture to commemorate it. And so I sort of love that.Henry: What other of his photos do you like?Brandon: Well, there's one of him on a bike riding toward the camera. That's really delightful to me because it like that impulse is so recognizable to me. There are all these photos that he took of his mistress that were also just like, you can like, there are also photographs of his children and of his family. And again, those feel so like recognizable to me. He's not even like a very good photographer. It's just that he was taking pictures of his like daily life, except for his kind of stunt photos where he's riding the bike. And it's like, ah, yes, Zola, he would have been great with an iPhone camera.Henry: Which pianists do you like for Chopin?Brandon: Which pianists do I love for Chopin? I like Pollini a lot. Pollini is amazing. Pollini the elder, not Pollini the younger. The younger is not my favorite. And he died recently, Maurizio Pollini. He died very recently. Maybe he's my favorite. I love, I love Horowitz. Horowitz is wonderful at Chopin. But it's obviously it's like not his, you know, you don't sort of go to Horowitz for Chopin, I guess. But I love his Chopin. And sometimes Trifonov. Trifonov has a couple Chopin recordings that I really, really like. I tend not to love Trifonov as much.Henry: Really?Brandon: I know it's controversial. It's very controversial. I know. Tell me why. I, I don't know. He's just a bit of a banger to me. Like, like he's sort of, I don't know, his playing is so flashy. And he feels a bit like a, like a, like a keyboard basher to me sometimes.Henry: But like, do you like his Bach?Brandon: You know, I haven't done a deep dive. Maybe I should do a sort of more rigorous engagement with Trifonov. But yeah, I don't, he's just not, he doesn't make my heart sing. I think he's very good at Bach.Henry: What about a Martha Argerich?Brandon: Oh, I mean, she's incredible. She's incredible. I bought that sort of big orange box out of like all of her, her sort of like masterwork recordings. And she's incredible. She has such feel for Chopin. But she doesn't, I think sometimes people can make Chopin feel a little like, like treacly, like, like a little too sweet. And she has this perfect understanding of his like rhythm and his like inner nuances and like the crispness in his compositions. Like she really pulls all of that out. And I love her. She has such, obviously great dexterity, but like a real sort of exquisite sensitivity to the rhythmic structures of Chopin.Henry: You listen on CD?Brandon: No, I listen on vinyl and I listen on streaming, but mostly vinyl. Mostly vinyl? Yeah, mostly vinyl. I know it's very annoying. No, no, no, no, no.Henry: Which, what are the good speakers?Brandon: I forget where I bought these speakers from, but I sort of did some Googling during the pandemic of like best speakers to use. I have a U-Turn Audio, U-Turn Orbital record player. And so I was just looking for good speakers that were compatible and like wouldn't take up a ton of space in my apartment because I was moving to New York and had a very tiny, tiny apartment. So they're just from sort of standard, I forget the brand, but they've served me well these past few years.Henry: And do you like Ólafsson? He's done some Chopin.Brandon: Who?Henry: Víkingur Ólafsson. He did the Goldbergs this year, but he's done some Chopin before. I think he's quite good.Brandon: Oh, that Icelandic guy?Henry: Yeah, yeah, yeah. With the glasses? That's right. And the very neat hair.Brandon: Yes. Oh, he's so chic. He's so chic. I don't know his Chopin. I know his, there's another series that he did somewhat recently that I'm more familiar with. But he is really good. He has good Beethoven, Víkingur.Henry: Yeah.Brandon: And normally I don't love Beethoven, but like—Henry: Really? Why? Why? What's wrong with Beethoven? All these controversial opinions about music.Brandon: I'm not trying to have controversial opinions. I think I'm, well, I'm such a, I'm such, I mean, I'm just like a dumb person. And so like, I don't, I don't have a really, I feel like I don't have the robust understanding to like fully appreciate Beethoven and all of his sort of like majesty. And so maybe I've just not heard good Beethoven and I need to sort of go back and sort of get a real understanding of it. But I just tend not to like it. It feels like, I don't know, like grandma's living room music to me sometimes.Henry: What other composers do you enjoy?Brandon: Oh, of course.Henry: Or other music generally, right?Brandon: Rachmaninoff is so amazing to me. There was, of course, Bach. Brahms. Oh, I love Brahms, but like specifically the intermezzi. I love the intermezzi. I recently fell in love with, oh, his name is escaping me now, but he, I went to a concert and they sort of did a Brahms intermezzi. And they also played this, I think he was an Austrian composer. And his music was like, it wasn't experimental, but it was like quite, I had a lot of dissonance in it. And I found it like really interesting and like really moving actually. And so I did a sort of listening to that constantly. Oh, I forget his name. But Brahms, Chopin, Rachmaninoff, love Rachmaninoff. I have a friend who says that Rachmaninoff writes Negro spirituals. And I love that theory that Rachmaninoff's music is like the music of the slaves. It just, I don't know. I really, that really resonates with me spiritually. Which pieces, which Rachmaninoff symphonies, concertos? Yeah, the concertos. But like specifically, like I have a friend who said that Rach II sounded to her like the sort of spiritual cry of like the slaves. And we were at like a hangout with like mostly Black people. And she like stopped playing like Juvenile, like the rapper. And she put on Rach II. And we just like sat there and listened. And it did feel like something powerful had entered the room. Yeah, but he's my guy. I secretly really, really love him. I like Liszt, but like it really depends on the day and the time for him. He makes good folk music, Liszt. I love his folky, his folk era.Henry: What is it that you enjoy about tennis?Brandon: What do I enjoy about tennis? I love the, I love not thinking. I love being able to hit the ball for hours on end and like not think. And like, it's the one part of my life. It's the one time in my life where my experience is like totally unstructured. And so like this morning, I went to a 7am drill and play class where you do drills for an hour. Then you play doubles for an hour. And during that first hour of drills, I was just like hitting the ball. I was at the mercy of the guy feeding us the ball. And I didn't have a single thought about books or literature or like the status of my soul or like the nature of American democracy. It was just like, did I hit that ball? Well, did I hit it kind of off center? Were there tingles in my wrist? Yes or no. Like it was just very, very grounding in the moment. And I think that is what I love about it. Do you like to watch tennis? Oh, yeah, constantly. Sometimes when I'm in a work meeting, the Zoom is here and the tennis is like playing in the background. Love tennis, love to watch, love to play, love to think about, to ponder. Who are the best players for you? Oh, well, the best players, my favorite players are Roger Federer, Serena Williams, Stanislas Wawrinka, love Wawrinka. And I was a really big Davydenko head back in the day. Nikolai Davydenko was this Russian player who had, he was like a metronome. He just like would not miss. Yeah, those are my favorites. Right now, the guy I'm sort of rooting for who's still active is Kasper Rud, who's this Norwegian guy. And I love him because he just looks like some guy. Like he just looks like he should be in a seminary somewhere. I love it. I love, I love his normalness. He just looks like an NPC. And I'm drawn to that in a tennis player.Henry: It's hard to think of tennis in novels. Why is that?Brandon: Well, I think a lot of people don't, well, I think part of it is a lot of novelists. Part of it is a lot of novelists don't play sports. I think that they, at least Americans, I can't speak for other parts of the world, but in America, a lot of novelists are not doing sports. So that's one. And I think two, like, you know, like with anything, I think that tennis has not been subjected to the same schemes of narrativization that like other things are. And so like it's, a lot of novelists just like don't see a sort of readily dramatizable thing in tennis. Even though if you like watch tennis and like listen to tennis commentary, they are always erecting narratives. They're like, oh yeah, she's been on a 19 match losing streak. Is this where she turns it around? And to me, tennis is like a very literary sport because tennis is one of those sports where it's all about the matchup. It's like your forehand to my backhand, like no matter how well I play against everyone else, like it's you and me locked in the struggle. And like that to me feels incredibly literary. And it is so tied to your individual psychology as well. Like, I don't know, I endlessly am fascinated by it. And indeed, I got an idea for a tennis novel the other day that I'm hopefully going to write in three to five years. We'll see.Henry: Very good. How did working in a lab influence your writing?Brandon: Well, somewhat directly and materially in the case of my first book, because I wrote it while I was working in the lab and it gave me weirdly like time and structure to do that work where I would be pipetting. And then while I was waiting for an assay or a experiment to run or finish, I would have 30 minutes to sit down and write.Henry: So you were writing like at the lab bench?Brandon: Oh, yeah, absolutely. One thousand percent. I would like put on Philip Glass's score for the hours and then just like type while my while the centrifuge was running or whatever. And and so like there's that impression sort of baked into the first couple books. And then I think more, I guess, like spiritually or broadly, it influenced my work because it taught me how to think and how to organize time and how to organize thoughts and how to sort of pursue long term, open ended projects whose results may or may not, you know, fail because of something that you did or maybe you didn't do. And that's just the nature of things. Who knows? But yeah, I think also just like discipline, the discipline to sort of clock in every day. And to sort of go to the coalface and do the work. And that's not a thing that is, you know. That you just get by working in a lab, but it's certainly something that I acquired working in a lab.Henry: Do you think it's affected your interest in criticism? Because there's there are certain types of critic who seem to come from a scientific background like Helen Vendler. And there's something something about the sort of the precision and, you know, that certain critics will refuse to use critical waffle, like the human condition. And they won't make these big, vague gestures to like how this can change the way we view society. They're like, give me real details. Give me real like empirical criticism. Do you think this is — are you one of these people?Brandon: Yeah, yeah, I think I'm, you know, I'm all about what's on the page. I'm all about the I'm not gonna go rooting in your biography for not gonna go. I'm not I'm not doing that. It's like what you brought to me on the page is what you've brought to me. And that is what I will be sort of coming over. I mean, I think so. I mean, very often when critics write about my work, or when people respond to my work, they sort of describe it as being put under a microscope. And I do think like, that is how I approach literature. It's how I approach life. If there's ever a problem or a question put to me, I just sort of dissect it and try to get down to its core bits and its core parts. And and so yeah, I mean, if that is a scientific way of doing things, that's certainly how I but also I don't know any other way to think like that's sort of that's sort of how I was trained to think about stuff. You've been to London. I have. What did you think of it? The first time I didn't love it. The second and third times I had a good time, but I felt like London didn't love me back. London is the only place on earth I've ever been where people have had a hard time understanding me like I like it's the only place where I've like attempted to order food or a drink or something in a store or a cafe or a restaurant. And the waiters like turned to my like British hosts and asked them to translate. And that is an entirely foreign experience for me. And so London and I have like a very contentious relationship, I would say.Henry: Now, you've just published four classic novels.Brandon: Yes.Henry: George Gissing, Edith Wharton, Victor Hugo and Sarah Orne Jewett. Why did you choose those four writers, those four titles?Brandon: Oh, well, once we decided that we were going to do a classics imprint, you know, then it's like, well, what are we going to do? And I'm a big Edith Wharton fan. And there are all of these Edith Wharton novels that Americans don't really know about. They know Edith Wharton for The Age of Innocence. And if they are an English major, they maybe know her for The House of Mirth. Or like maybe they know her for The Custom of the Country if they're like really into reading. But then they sort of think of her as a novelist of the 19th century. And she's writing all of these books set in the 1920s and about the 1920s. And so it felt important to show people like, oh, this is a writer who died a lot later than you think that she did. And whose creative output was, you know, pretty, who was like a contemporary of F. Scott Fitzgerald in a lot of ways. Like, these books are being published around the same time as The Great Gatsby. And to sort of, you know, bring attention to a part of her over that, like, people don't know about. And like, that's really exciting to me. And Sarah Orne Jewett, I mean, I just really love The Country of the Pointed Furs. I love that book. And I found it in like in a 10 cents bin at a flea market one time. And it's a book that people have tried to bring back. And there have been editions of it. But it just felt like if we could get two people who are really cool to talk about why they love that book, we could sort of have like a real moment. And Sarah Orne Jewett was like a pretty big American writer. Like she was a pretty significant writer. And she was like really plugged in and she's not really read or thought about now. And so that felt like a cool opportunity as well to sort of create a very handsome edition of this book and to sort of talk about a bit why she matters. And the guessing of it all is we were going to do New Grub Street. And then my co-editor thought, well, The Odd Women, I think, is perhaps more relevant to our current moment than New Grub Street necessarily. And it would sort of differentiate us from the people, from the presses that are doing reissues of New Grub Street, because there's just been a new edition of that book. And nobody in America really knows The Odd Women. And it's a really wonderful novel. It's both funny and also like really biting in its satire and commentary. So we thought, oh, it'll be fun to bring this writer to Americans who they've never heard of in a way that will speak to them in a lot of ways. And the Victor Hugo, I mean, you know, there are Hugos that people know all about. And then there are Hugos that no one knows about. And Toilers of the Sea was a passion project for my co-editor. She'd read it in Guernsey. That's where she first discovered that book. And it really meant a lot to her. And I read it and really loved it. I mean, it was like Hugo at his most Hugo. Like, it's a very, it's a very, like, it's a very abundant book. And it's so wild and strange and changeful. And so I was like, oh, that seems cool. Let's do it. Let's put out Toilers of the Sea. So that's a bit of why we picked each one.Henry: And what have you learned from being on the other side of things now that you're the publisher?Brandon: So much. I've learned so much. And indeed, I just, I was just asked by my editor to do the author questionnaire for the novel that I have coming out next. And I thought, yes, I will do this. And I will do it immediately. Because now I know, I know how important these are. And I know how early and how far in advance these things need to be locked in to make everyone's life easier. I think I've learned a bit about the sometimes panicked scramble that happens to get a book published. I've learned about how hard it is to wrangle blurbs. And so I think I'm a little more forgiving of my publishers. But they've always been really great to me. But now I'm like, oh, my gosh, what can I do for you? How can I help you make this publication more of a success?Henry: Do you think that among literary people generally, there's a lack of appreciation of what business really involves in some of the senses you're talking about? I feel like I see a lot of either indifferent or hostile attitudes towards business or commerce or capitalism, late stage capitalism or whatever. And I sometimes look at it and I'm like, I don't think you guys really know what it takes to just like get stuff done. You know what I mean? Like, it's a lot of grind. I don't think it's a big nasty thing. It's just a lot of hard work, right?Brandon: Yeah, I mean, 1000%. Or if it's not a sort of misunderstanding, but a sort of like disinterest in like, right, like a sort of high minded, like, oh, that's just the sort of petty grimy commerce of it all. I care about the beauty and the art. And it's just like, friend, we need booksellers to like, sell this. I mean, to me, the part of it that is most to me, like the most illustrative example of this in my own life is that when I first heard how my editor was going to be describing my book, I was like, that's disgusting. That's horrible. Why are you talking about my race? Why are you talking about like my sexuality? Like, this is horrible. Why can't you just like talk about the plot of the book? Like, what is the matter with you? And then I had, you know, I acquired and edited this book called Henry Henry, which is a queer contemporary retelling of the Henry ad. And it's a wonderful novel. It's so delightful. And I had to go into our sales conference where we are talking to the people whose job it is to sell that book into bookstores to get bookstores to take that book up. And I had to write this incredibly craven description of this novel. And as I was writing it, I was like, I hope Alan, the author, I hope Alan never sees this. He never needs to hear how I'm talking about this book. And as I was doing it, I was like, I will never hold it against my editor again for writing this like, cheesy, cringy copy. Because it's like you, like, you so believe in the art of that book, so much that you want it to give it every fighting chance in the marketplace. And you need to arm your sales team with every weapon of commerce they need to get that book to succeed so that when readers pick it up, they can appreciate all of the beautiful and glorious art of it. And I do think that people, you know, like, people don't really kind of, people don't really understand that. And I do think that part of that is publishing's fault, because they are, they've been rather quick to elide the distinctions between art and commerce. And so like publishing has done a not great job of sort of giving people a lot of faith in its understanding that there's a difference between art and commerce. But yeah, I think, I think there's a lot of misapprehension out there about like, what goes into getting bookstores to acquire that book.Henry: What are the virtues of negative book reviews?Brandon: I was just on a panel about this. I mean, I mean, hopefully a negative book review, like a positive review, or like any review, will allow a reader or the audience to understand the book in a new way, or to create a desire in the reader to pick up the book and see if they agree or disagree or that they, that they have something to argue with or push against as they're reading. You know, when I'm writing a negative review, when I'm writing a review that I feel is trending toward negative, I should say, I always try to like, I don't know, I try to always remember that like, this is just me presenting my experience of the book and my take of the book. And hopefully that will be productive or useful for whoever reads the review. And hopefully that my review won't be the only thing that they read and that they will in fact, go pick up the book and see if they agree or disagree. It's hopefully it creates interesting and potentially divergent dialogues or discourses around the text. And fundamentally, I think not every critic feels this way. Not every piece of criticism is like this. But the criticism I write, I'm trying to create the conditions that will refer the reader always back to the text, be it through quotation, be it through, they're so incensed by my argument that they're going to go read the book themselves and then like, yell at me. Like, I think that that's wonderful, but like, always keeping the book at the center. But I think a negative review can, you know, it can start a conversation. It can get people talking about books, which in this culture, this phase of history feels like a win. And hopefully it can sort of be a corrective sometimes to less genuine or perceived less genuine discourses that are existing around the book.Henry: I think even whether or not it's a question of genuine, it's for me, it's just a question of if you tell people this book is good and they give up their time and money and they discover that it's trash, you've done a really bad thing to that person. And like, there might be dozens of them compared to this one author who you've been impolite to or whatever. And it's just a question of don't lie in book, right?Brandon: Well, yeah. I mean, hopefully people are honest, but I do feel sometimes that there is, there's like a lack of honesty. And look, I think that being like, well, I mean, maybe you'll love this. I don't love it, you know, but at least present your opinion in that way. At least be like, you know, there are many interpretations of this thing. Here's my interpretation. Maybe you'll feel differently or something like that. But I do think that people feel that there have been a great number of dishonest book reviews. Maybe there have been, maybe there have not been. I certainly have read some reviews I felt were dishonest about books that I have read. And I think that the negative book review does feel a bit like a corrective in a lot of ways, both, you know, justified or unjustified. People are like, finally, someone's being honest about this thing. But yeah, I think it's interesting. I think it's all really, I think it's all fascinating. I do think that there are some reviews though, that are negative and that are trying to be about the book, but are really about the author. There are some reviews that I have read that have been ostensibly about reviewing a text, but which have really been about, you don't like that person and you have decided to sort of like take an axe to them. And that to me feels not super productive. I wouldn't do it, but other people find it useful.Henry: As in, you can tell that from the review or you know that from background information?Brandon: I mean, this is all projection, of course, but like there have been some reviews where I've read, like, for example, some of the Lauren Oyler reviews, I think some of the Lauren Oyler reviews were negative and were exclusively about the text. And they sort of took the text apart and sort of dissected it and came to conclusions, some of which I agreed with, some of which I didn't agree with, but they were fundamentally about the text. And like all the criticisms referred back to the text. And then there were some that were like projecting attitudes onto the author that were more about creating this sort of vaporous shape of Lauren Oyler and then sort of poking holes in her literary celebrity or her stature as a critic or what have you. And that to me felt less productive as like a book review.Henry: Yes. Who are your favorite reviewers?Brandon: Ooh, my favorite reviewers. I really love Christian Lawrence. And he does my, of the critics who try to do the sort of like mini historiography of like a thing. He's my favorite because he teaches me a lot. He sort of is so good at summing up an era or summing up a phase of literary production without being like so cringe or so socialist about it. I really love, I love it when he sort of distills and dissects an era. I really like Hermione Hobie. I think she's really interesting. And she writes about books with a lot of feeling and a lot of energy. And I really love her mind. And of course, like Patricia Lockwood, of course, everyone, perhaps not everyone, but I enjoy Patricia Lockwood's criticism. You don't?Henry: Not really.Brandon: Oh, is it because it's too chatty? Is it too, is it too selfie?Henry: A little bit. I think, I think that kind of criticism can work really well. But I think, I think it's too much. I think basically she's very, she's a very stylized writer and a lot of her judgments get, it gets to the point where it's like, this is the logical conclusion of what you're trying to do stylistically. And there are some zingers in here and some great lines and whatever, but we're no longer, this is no longer really a book review.Brandon: Yeah.Henry: Like by the, by the end of the paragraph, this, like, we didn't want to let the style go. We didn't want to lose the opportunity to cap that off. And it leads her into, I think, glibness a lot of the time.Brandon: Yeah. I could see that. I mean, I mean, I enjoy reading her pieces, but do I understand like what's important to her at a sort of literary level? I don't know. I don't, and in that sense, like, are they, is it criticism or is it closer to like personal essay, humorous essay? I don't know. Maybe that's true. I enjoy reading them, but I get why people are like, this is a very, very strong flavor for sure.Henry: Now you've been reading a lot of literary criticism.Brandon: Oh yeah.Henry: Not of the LRB variety, but of the, the old books in libraries variety. Yes. How did that start? How did, how did you come to this?Brandon: Somewhat like ham-fistedly. I, in 2021, I had a really bad case of writer's block and I thought maybe part of the reason I had writer's block was that I didn't know anything about writing or I didn't know anything about like literature or like writing. I'd been writing, I'd published a novel. I was working on another novel. I'd published a book of stories, but like, I just like truly didn't know anything about literature really. And I thought I need some big boy ideas. I need, I need to find out what adults think about literature. And so I went to my buddy, Christian Lorenzen, and I was like, you write criticism. What is it? And what should I read? And he gave me a sort of starter list of criticism. And it was like the liberal imagination by Lionel Trilling and Guy Davenport and Alfred Kazin who wrote On Native Grounds, which is this great book on the American literary tradition and Leslie Fiedler's Love and Death in the American Novel. And I, and then Edmund Wilson's Axel's Castle. And I read all of those. And then as each one would sort of refer to a different text or person, I sort of like followed the footnotes down into this rabbit hole of like literary criticism. And now it's been a sort of ongoing project of the last few years of like reading. I always try to have a book of criticism on the go. And then earlier this year, I read Jameson's The Antimonies of Realism. And he kept talking about this Georg Lukács guy. And I was like, I guess I should go read Lukács. And so then I started reading Lukács so that I could get back to Jameson. And I've been reading Lukács ever since. I am like deep down the Lukács rabbit hole. But I'm not reading any of the socialism stuff. I told myself that I wouldn't read any of the socialism stuff and I would only read the literary criticism stuff, which makes me very different from a lot of the socialist literary critics I really enjoy because they're like Lukács, don't read in that literary criticism stuff, just read his socialism stuff. So I'm reading all the wrong stuff from Lukács, but I really, I really love it. But yeah, it sort of started because I thought I needed grown up ideas about literature. And it's been, I don't know, I've really enjoyed it. I really, really enjoy it. It's given me perhaps terrible ideas about what novels should be or do. But, you know, that's one of the side effects to reading.Henry: Has it made, like, what specific ways has it changed how you've written since you've acquired a set of critical principles or ideas?Brandon: Yeah, I mean, I think part of it is, part of it has to do with Lukács' idea of the totality. And, you know, I think that the sort of most direct way that it shows up in a sort of really practical way in my novel writing is that I no longer really want to be starting my books, quote unquote, in media res. Like, I don't want, I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation and stuff like that. And so like that, that's sort of, that's sort of abstract, but like in a concrete way, like what I'm kind of trying to resolve in my novel writing these days.Henry: You mentioned Dickens.Brandon: Oh, yes.Henry: Which Dickens novels do you like?Brandon: Now I'm afraid I'm going to say something else controversial. We love controversial. Which Dickens? I love Bleak House. I love Bleak House. I love Tale of Two Cities. It is one of the best openings ever, ever, ever, ever in the sweep of that book at once personal and universal anyway. Bleak House, Tale of Two Cities. And I also, I read Great Expectations as like a high school student and didn't like it, hated it. It was so boring. But now coming back to it, I think it, honestly, it might be the novel of our time. I think it might accidentally be a novel. I mean, it's a novel of scammers, a novel of like, interpersonal beef taken to the level of like, spiritual conflict, like it's about thieves and class, like it just feels like like that novel could have been written today about people today, like that book just feels so alive to today's concerns, which perhaps, I don't know, says something really evil about this cultural stagnation under capitalism, perhaps, but I don't know, love, love Great Expectations now.Henry: Why are so many modern novels boring?Brandon: Well, depends on what you mean by boring, Henry, what do you mean? Why?Henry: I mean, you said this.Brandon: Oh.Henry: I mean, I happen to agree, but this is, I'm quoting you.Brandon: Oh, yes. I remember that. I remember that review.Henry: I mean, I can tell you why I think they're boring.Brandon: Oh, yes, please.Henry: So I think, I think what you said before is true. They all read like movies. And I think I very often I go in, I pick up six or seven books on the new book table. And I'm like, these openings are all just the same. You're all thinking you can all see Netflix in your head. This is not really a novel. And so the dialogue is really boring, because you kind of you can hear some actor or actress saying it. But I can't hear that because I'm the idiot stuck in the bookshop reading your Netflix script. Whereas, you know, I think you're right that a lot of those traditional forms of storytelling, they like pull you in to the to the novel. And they and they like by the end of the first few pages, you sort of feel like I'm in this funny place now. And to do in media res, like, someone needs to get shot, or something, something weird needs to be said, like, you can't just do another, another standard opening. So I think that's a big, that's a big point.Brandon: Well, as Lukasz tells us, bourgeois realism has a, an unholy fondness for the, the average, the merely average, as opposed to the typical. And I think, yeah, a lot of it, a lot of why I think it's boring echoes you, I think that for me, what I find boring, and a lot of them is that it feels like novelists have abandoned any desire to, to have their characters or the novels themselves integrate the sort of disparate experiences within the novel into any kind of meaningful hole. And so there isn't this like sense of like things advancing toward a grander understanding. And I think a lot of it is because they've, they are writing under the assumption that like the question of why can never be answered. There can never be like a why, there can never be a sort of significance to anything. And so everything is sort of like evacuated of significance or meaning. And so you have what I've taken to calling like reality TV fiction, where the characters are just like going places and doing things, and there are no thoughts, there are no thoughts about their lives, or no thoughts about the things that they are doing, there are no thoughts about their experiences. And it's just a lot of like, like lowercase e events in their lives, but like no attempt to organize those events into any sort of meaningful hole. And I think also just like, what leads to a lot of dead writing is writers who are deeply aware that they're writing about themes, they're writing about themes instead of people. And they're working from generalities instead of particularities and specificities. And they have no understanding of the relationship between the universal and the particular. And so like, everything is just like, like beans in a can that they're shaking around. And I think that that's really boring. I think it's really tedious. Like, like, sure, we can we can find something really profound in the mundane, but like, you have to be really smart to do that. So like the average novelist is like better off like, starting with a gunshot or something like do something big.Henry: If you're not Virginia Woolf, it is in fact just mundane.Brandon: Indeed. Yeah.Henry: Is there too much emphasis on craft? In the way, in the way, in like what's valued among writers, in the way writers are taught, I feel like everything I see is about craft. And I'm like, craft is good, but that can just be like how you make a table rather than like how you make a house. Craft is not the guarantor of anything. And I see a lot of books where I think this person knows some craft. But as you say, they don't really have an application for it. And they don't. No one actually said to them, all style has a moral purpose, whether you're aware of it or not. And so they default to this like pointless use of the craft. And someone should say to them, like, you need to know history. You need to know tennis. You need to know business. You need to know like whatever, you know. And I feel like the novels I don't like are reflections of the discourse bubble that the novelist lives in. And I feel like it's often the continuation of Twitter by other means. So in the Rachel Kong novel that I think it came out this year, there's a character, a billionaire character who comes in near the end. And everything that he says or that is said about him is literally just meme. It's online billionaire meme because billionaires are bad because of all the things we all know from being on Twitter. And I was like, so you just we literally have him a character as meme. And this is the most representative thing to me, because that's maybe there's craft in that. Right. But what you've chosen to craft is like 28 tweets. That's pointless.Brandon: 28 tweets be a great title for a book, though, you have to admit, I would buy that book off the new book table. 28 tweets. I would. I would buy that. Yeah, I do think. Well, I think it goes both ways. I think it goes both ways. I somewhat famously said this about Sally Rooney that like she her books have no craft. The craft is bad. And I do think like there are writers who only have craft, who are able to sort of create these wonderfully structured books and to sort of deploy these beautiful techniques. And those books are absolutely dead. There's just like nothing in them because they have nothing to say. There's just like nothing to be said about any of that. And on the other hand, you have these books that are full of feelings that like would be better had someone taught that person about structure or form or had they sort of had like a rigorous thing. And I would say that like both of those are probably bad, like depending on who you are, you find one more like, like easier to deal with than the other. I do think that like part of why there's such an emphasis on craft is because not to sort of bring capitalism back in but you can monetize craft, you know what I mean? Like, craft is one of those things that is like readily monetizable. Like, if I'm a writer, and I would like to make money, and I can't sell a novel, I can tell people like, oh, how to craft a perfect opening, how to create a novel opening that will make agents pick it up and that will make editors say yes, but like what the sort of promise of craft is that you can finish a thing, but not that it is good, as you say, there's no guarantor. Whereas you know, like it's harder to monetize someone's soul, or like, it's harder to monetize like the sort of random happenstance of just like a writer's voice sort of emerging from from whatever, like you can't turn that into profit. But you can turn into profit, let me help you craft your voice. So it's very grind set, I think craft has a tendency to sort of skew toward the grind set and toward people trying to make money from, from writing when they can't sell a book, you know. Henry: Let's play a game. Brandon: Oh dear.Henry: I say the name of a writer. You give us like the 30 second Brandon Taylor opinion of that writer.Brandon: Okay. Yeah.Henry: Jonathan Franzen.Brandon: Thomas Mann, but like, slightly more boring, I think.Henry: Iris Murdoch.Brandon: A friend of mine calls her a modern calls her the sort of pre Sally Rooney, Sally Rooney. And I agree with that.Henry: When I'm at parties, I try and sell her to people where I say she's post-war Sally Rooney.Brandon: Yes, yes. And like, and like all that that entails, and so many delightful, I read all these like incredible sort of mid century reviews of her novels, and like the men, the male critics, like the Bernard Breganzis of the world being like, why is there so much sex in this book? It's amazing. Please go look up those like mid-century reviews of Iris Murdoch. They were losing their minds. Henry: Chekhov.Brandon: Perfect, iconic, baby girl, angel, legend. Can't get enough. 10 out of 10.Henry: Evelyn Waugh.Brandon: So Catholic, real Catholic vibes. But like, scabrously funny. And like, perhaps the last writer to write about life as though it had meaning. Hot take, but I'll, I stand by it.Henry: Yeah, well, him and Murdoch. But yeah, no, I think I think there's a lot in that. C.V. Wedgwood.Brandon: Oh, my gosh. The best, a titan, a master of history. Like, oh, my God. I would not be the same without Wedgwood.Henry: Tell us which one we should read.Brandon: Oh, the 30 Years War. What are you talking about?Henry: Well, I think her books on the English Civil War… I'm a parochial Brit.Brandon: Oh, see, I don't, not that I don't, I will go read those. But her book on the 30 Years War is so incredible. It's, it's amazing. It's second to like, Froissart's Chronicles for like, sort of history, history books for me.Henry: Northrop Frye.Brandon: My father. I, Northrop Frye taught me so much about how to see and how to think. Just amazing, a true thinker in a mind. Henry: Which book? Brandon: Oh, Anatomy of Criticism is fantastic. But Fearful Symmetry is just, it will blow your head off. Just amazing. But if you're looking for like, to have your, your mind gently remapped, then Anatomy of Criticism.Henry: Emma Cline.Brandon: A throwback. I think she's, I think she's Anne Beattie meets John Cheever for a new era. And I think she's amazing. She's perfect. Don't love her first novel. I think her stories are better. She's a short story writer. And she should stay that way.Henry: Okay, now I want you to rank Jane Austen's novels.Brandon: Wait, okay. So like, by my preference, or by like, what I think is the best?Henry: You can do both.Brandon: Okay. So in terms, my favorite, Persuasion. Then Mansfield Park. Sense and Sensibility. Pride and Prejudice. And then Emma, then Northanger Abbey. Okay.Henry: Now, how about for which ones are the best?Brandon: Persuasion. Pride and Prejudice. Mansfield Park. Emma,.Sense and Sensibility. Northanger Abbey.Henry: Why do people not like Fanny Price? And what is wrong with them?Brandon: Fanny Price is perfect. Fanny Price, I was just talking to someone about this last night at dinner. Fanny Price, she's perfect. First of all, she is, I don't know why people don't like her. She's like a chronically ill girl who's hot for her cousin and like, has deep thoughts. It seems like she would be the icon of literary Twitter for like a certain kind of person, you know? And I don't know why they don't like her. I think I'm, I am becoming the loudest Mansfield Park apologist on the internet. I think that people don't like Fanny because she's less vivacious than Mary Crawford. And I think that people are afraid to see themselves in Fanny because she seems like she's unfun or whatever. But what they don't realize is that like Fanny Price, Fanny Price has like a moral intelligence and like a moral consciousness. And like Fanny Price is one of the few Austen characters who actually argues directly and literally about the way the world is. Like with multiple people, like the whole, the whole novel is her sort of arguing about, well, cities are this and the country is this. And like, we need Parsons as much as we need party boys. Like, like she's arguing not just about, not just about these things like through the lens of like marriage or like the sort of marriage economy, but like in literal terms, I mean, she is so, she's like a moral philosopher. I love Fanny Price and she's so smart and so sensitive and so, and I guess like maybe it's just that people don't like a character who's kind of at the mercy of others and they view her as passive. When in fact, like a young woman arguing about the way the world should be, like Mary Crawford's, Mary Crawford's like kind of doing the above, not really, not like Fanny. But yeah, I love her. She's amazing. I love Fanny Price. And I also think that people love Margaret Hale from North and South. And I think that when people are saying they hate Fanny Price, what they're picturing is actually how Margaret Hale is. Margaret Hale is one of the worst heroines of a novel. She's so insufferable. She's so rude. She's so condescending. And like, she does get her comeuppance and like Gaskell does sort of bring about a transformation where she's actually able to sort of like see poor people as people first and not like subjects of sympathy. But Margaret is what people imagine Fanny is, I think. And we should, we should start a Fanny Price, like booster club. Henry, should we? Let's do it. It begins here. I just feel so strongly about her. I feel, I love, I love Fanny.Henry: She's my favorite of Austen's characters. And I think she is the most representative Austen character. She's the most Austen of all of them, right?Brandon: Yeah, I mean, that makes great deal of sense to me. She's just so wonderful. Like she's so funny and so observant. And she's like this quiet little girl who's like kind of sickly and people don't really like her. And she's kind of maybe I'm just like, maybe I just like see myself in her. And I don't mind being a sort of annoying little person who's going around the world.Henry: What are some good principles for naming literary characters?Brandon: Ooh, I have a lot of strong feelings about this. I think that names should be memorable. They should have like, like an aura of sort of literariness about them. I don't mean, I mean, taken to like hilarious extremes. It's like Henry James. Catherine Goodwood, Isabelle Archer, Ralph Touchett, like, you know, Henry had a stack pole. So like, not like that. But I mean, that could be fun in a modern way. But I think there's like an aura of like, it's a name that you might hear in real life, but it sort of add or remove, it's sort of charged and elevated, sort of like with dialogue. And that it's like a memorable thing that sort of like, you know, it's like, you know, memorable thing that sort of sticks in the reader's mind. It is both a name, a literary, a good literary name is both a part of this world and not of this world, I think. And, yeah, and I love that. I think like, don't give your character a name like you hear all the time. Like, Tyler is a terrible literary name. Like, no novel has ever, no good novel has ever had a really important character named Tyler in it. It just hasn't. Ryan? What makes a good sentence? Well, my sort of like, live and let live answer is that a good sentence is a sentence that is perfectly suited to the purpose it has. But I don't know, I like a clear sentence, regardless of length or lyric intensity, but just like a clear sentence that articulates something. I like a sentence with motion, a sense of rhythm, a sense of feel without any bad words in it. And I don't mean like curse words, I mean like words that shouldn't be in literature. Like, there's some words that just like don't belong in novels.Henry: Like what?Brandon: Squelch. Like, I don't think the word squelch should be in a novel. That's a gross word and it doesn't sound literary to me. I don't want to see it.Henry: I wouldn't be surprised if it was in Ulysses.Brandon: Well, yes.Henry: I have no idea, but I'm sure, I'm sure.Brandon: But so few of us are James Joyce. And that novel is like a thousand bodily functions per page. But don't love it. Don't love it.Henry: You don't love Ulysses?Brandon: No, I don't… Listen, I don't have a strong opinion, but you're not going to get me cancelled about Ulysses. I'm not Virginia Woolf.Henry: We're happy to have opinions of that nature here. That's fine.Brandon: You know, I don't have a strong feeling about it, actually. Some parts of it that I've read are really wonderful. And some parts of it that I have read are really dense and confusing to me. I haven't sort of given it the time it needs or deserves. What did you learn from reading Toni Morris? What did I learn? I think I learned a lot about the moral force of melodrama. I think that she shows us a lot about the uses of melodrama and how it isn't just like a lesion of realism, that it isn't just a sort of malfunctioning realism, but that there are certain experiences and certain lives and certain things that require and necessitate melodrama. And when deployed, it's not tacky or distasteful that it actually is like deeply necessary. And also just like the joy of access and language, like the sort of... Her language is so towering. I don't know, whenever I'm being really shy about a sentence being too vivid or too much, I'm like, well, Toni Morrison would just go for it. And I am not Toni Morrison, but she has given me the courage to try.Henry: What did you like about the Annette Benning film of The Seagull?Brandon: The moment when Annette Benning sings Dark Eyes is so good. It's so good. I think about it all the time. And indeed, I stole that moment for a short story that I wrote. And I liked that part of it. I liked the set design. I think also Saoirse Ronan, when she gives that speech as Nina, where she's like, you know, where the guy's like, what do you want from, you know, what do you want? Why do you want to be an actress? And she's like, I want fame. You know, like, I want to be totally adored. And I'm just like, yeah, that's so real. That's so, that is so real. Like Chekhov has understood something so deep, so deep about the nature of commerce and art there. And I think Saoirse is really wonderful in that movie. It's a not, it's not a good movie. It's maybe not even a good adaptation of The Seagull. But I really enjoyed it. I saw it like five times in a theater in Iowa City.Henry: I don't know if it's a bad adaptation of The Seagull, because it's one of the, it's one of the Chekhov's I've seen that actually understands that, like, the tragic and the and the comic are not meant to be easily distinguishable in his work. And it does have all this lightheartedness. And it is quite funny. And I was like, well, at least someone's doing that because I'm so sick of, like, gloomy Chekhov. You know what I mean? Like, oh, the clouds and the misery. Like, no, he wants you, he wants you to laugh and then be like, I shouldn't laugh because it's kind of tragic, but it's also just funny.Brandon: Yeah. Yes, I mean, all the moments were like, like Annette Bening's characters, like endless stories, like she's just like constantly unfurling a story and a story and a story and a story. Every scene kind of was like, she's in the middle of telling another interminable anecdote. And of course, the sort of big tragic turn at the end is like, where like, Kostya kills himself. And she's like, in the middle of like, another really long anecdote while they're in the other room playing cards. Like, it's so, it's so good. So I love that. I enjoy watching that movie. I still think it's maybe not. It's a little wooden, like as a movie, like it's a little, it's a little rickety.Henry: Oh, sure, sure, sure, sure. But for someone looking to like, get a handle on Chekhov, it's actually a good place to go. What is the best make of Fountain Pen?Brandon: That's a really good, that's a really, really, really good question. Like, what's your Desert Island Fountain Pen? My Desert Island Fountain Pen. Right now, it's an Esterbrook Estee with a needlepoint nib. It's like, so, I can use that pen for hours and hours and hours and hours. I think my favorite Fountain Pen, though, is probably the Pilot Custom 743. It's a really good pen, not too big, not too small. It can hold a ton of ink, really wonderful. I use, I think, like a Soft Fine nib, incredible nib, so smooth. Like, I, you could cap it and then uncap it a month later, and it just like starts immediately. It's amazing. And it's not too expensive.Henry: Brandon Taylor, thank you very much.Brandon: Thanks for having me. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

durée : 00:05:04 - Classic & Co - par : Anna Sigalevitch - Anna Sigalevitch se penche sur le cas de Daniil Trifonov et de son "American Story", interprété avec le Philadelphia Orchestra, c'est un disque qui vient de paraître chez Deutsche Grammophon…

durée : 00:14:03 - My American Story - North : Daniil Trifonov - Avec son nouveau projet, le pianiste vedette Daniil Trifonov entreprend un voyage musical très personnel à travers les Amériques. Le premier d'un total de deux albums, My American Story - North, commence aux États-Unis, où Trifonov a passé près de la moitié de sa vie.

durée : 00:14:03 - My American Story - North : Daniil Trifonov - Avec son nouveau projet, le pianiste vedette Daniil Trifonov entreprend un voyage musical très personnel à travers les Amériques. Le premier d'un total de deux albums, My American Story - North, commence aux États-Unis, où Trifonov a passé près de la moitié de sa vie.

durée : 00:14:03 - My American Story - North : Daniil Trifonov - Avec son nouveau projet, le pianiste vedette Daniil Trifonov entreprend un voyage musical très personnel à travers les Amériques. Le premier d'un total de deux albums, My American Story - North, commence aux États-Unis, où Trifonov a passé près de la moitié de sa vie.

Rachmaninow, Bach und Chopin waren gestern. Der PIanist Daniil Trifonov widmet sich auf seinem neuen Album der Musik Nordamerikas. Und zwar des 20. Jahrhunderts. Jazz, Filmmusik und Minimal identifiziert Trifonov dabei als den genuinen Musikstil seiner Wahlheimat. Und sein Spiel begeistert auf ganzer Linie.

durée : 00:15:24 - Le Disque classique du jour du mardi 08 octobre 2024 - Avec son nouveau projet, le pianiste vedette Daniil Trifonov entreprend un voyage musical très personnel à travers les Amériques. Le premier d'un total de deux albums, My American Story - North, commence aux États-Unis, où Trifonov a passé près de la moitié de sa vie.

durée : 00:15:24 - Le Disque classique du jour du mardi 08 octobre 2024 - Avec son nouveau projet, le pianiste vedette Daniil Trifonov entreprend un voyage musical très personnel à travers les Amériques. Le premier d'un total de deux albums, My American Story - North, commence aux États-Unis, où Trifonov a passé près de la moitié de sa vie.

CHOPIN: Variaciones sobre “La ci darem la mano” de Don Giovanni de Mozart, Op. 2 (arr. para p.) (17.04). D. Trifonov (p.). Gran Rondó de concierto para piano y orquesta en Fa mayor, Op. 14 “Krakowiak” (13.36). J. Lisiecki (p.), Orq. NDR ElbPhilarmonie. Dir.: K. Urbanski. Introducción y variaciones sobre “Je vends des scapulaires de “Ludovic” de Ferdinand Herold, Op. 12 (8.10). V. Ashkenazy (p.). Preludio nº 24 en Re menor (24 Preludios, Op. 28) (2.26). A. Cortot (p.).Escuchar audio

Lahav Shani conducts Tchaikovsky's Pathétique, a symphony that the composer premiered less than a week before his death and was later nicknamed for the passion and suffering it expresses. Daniil Trifonov takes the spotlight in a piano concerto composed for him by former CSO Mead Composer-in-Residence Mason Bates, which “shows off the pianist's virtuosity first and foremost, but also captures a listener's attention with jazzy rhythms, ear-catching tunes … and a number of big climaxes” (Seen and Heard International). Learn more: cso.org/performances/23-24/cso-classical/tchaikovsky-pathetique-and-trifonov

durée : 00:58:46 - Daniil Trifonov, Rachmaninov à 2 et en soliste - par : Aurélie Moreau - Pianiste surdoué, Daniil Trifonov conçoit l'interprétation comme une recherche de vérité, et y perçoit une dimension sacrée. Son enregistrement avec Sergei Babayan propose des œuvres pour 2 pianos de Rachmaninov (Deutsche Grammophon, paru le 29/3).

Sergej Rachmaninow gehört zu den Komponisten, die es dem inzwischen 33-jährigen russischen Pianisten Daniil Trifonov besonders angetan haben. Der englische "Guardian" sah in ihm sogar einmal den gegenwärtigen "Rachmaninow-Interpreten schlechthin". Mit dem Philadelphia Orchestra und Yannik Nézet-Seguin spielte Trifonov die vier Klavierkonzerte und die Paganini-Variationen seines Landsmannes ein. Nun erschien ein Album mit Rachmaninows Werken für zwei Klaviere. Diesmal musiziert Trifonov mit dem amerikanisch-armenischen Pianisten Sergei Babayan, seinem langjährigen Freund und Mentor.

durée : 00:23:10 - Disques de légende du mercredi 13 mars 2024 - Daniil Trifonov : « J'ai abordé Rachmaninov assez tardivement. Adolescent, je voulais bien sûr me confronter à sa musique, mais mon professeur ne jugeait pas cela prioritaire. Je n'ai donc pas joué la moindre note de Rachmaninov avant l'âge de vingt et un ans ! »

durée : 01:32:56 - Relax ! du jeudi 25 janvier 2024 - par : Charlotte Landru-Chandès - Cet après-midi dans Relax !, une heure en compagnie du pianiste Daniil Trifonov, à retrouver dans la musique de Liszt, Rachmaninov, Chopin ou encore Brahms.

Atoms combine to form molecules, the second step on the way to matter. Molecules are made of two or more atoms and are held together by chemical bonds, which are determined by the electrons on their outermost shells. Carbon is an example of an atom which forms molecules and is essential for the formation of matter, as it forms strong and weak bonds with other atoms. Different combinations of molecules give rise to the diversity of matter we see around us. Ionic, covalent and metallic bonds are the three main types of bonds that form between atoms. Summarizing, atoms, molecules, and carbon are essential components of life, and scientists have discovered that carbon has the ability to form up to 1.7 million compounds. Atoms are the building blocks of life, and scientists have studied how they bond together. Some atoms swap electrons, while others share their electrons to form covalent bonds. Examples of covalent bonds include the H2 molecule, where two hydrogen atoms share each other's single electron. Metallic bonds occur when a large number of atoms come together by sharing electrons, forming metals like iron, copper, zinc, and aluminium. Carbon is the most significant element for living beings, as it is able to form 1.7 million compounds, forming structures like cell membranes, horns, trunks, lenses, and venom. Carbon is unique in its ability to form chains with many links, as well as branched or polygonal shapes. This versatility is critical for life, and compounds of carbon range from a few atoms to millions. Hydrogen and oxygen atoms, the main components of water, are very light and non-polar. This means that they have no affinity for each other and do not easily combine to form molecules. Atoms are the building blocks of all matter, and molecules are formed when atoms bond together. Carbon is an unusual element, forming over a quarter of a million compounds, including hydrocarbons which form the basis of the petrochemical industry and are found in natural gas, paints and fire extinguishers. Carbon is also a vital element for life on Earth, forming proteins with its unique ability to form strong and weak bonds between atoms and molecules. These bonds are essential for the formation of the complex three-dimensional shapes of proteins, which form the basis of all living things. Therefore, without the presence of carbon and its unusual properties, it is unlikely that there would be life on Earth. The summary of this podcast is that atoms, oxygen, and life are all connected and all dependent on Allah. Oxygen molecules are formed from atoms that are held together by Allah's permission. Taste and smell are created by molecular interactions that happen in our sense organs. Without taste and smell, life and the world would be dull and ordinary. Thanks to Allah, we have been given these blessings in return for nothing and should strive to be pleasing to Allah for an eternal life filled with blessings. NOTES 27. L. Vlasov, D. Trifonov, 107 Stories About Chemistry, 1977, p. 117 28. L. Vlasov, D. Trifonov, 107 Stories About Chemistry, 1977, p. 118 29. David Burnie, Life, Eyewitness Science, London: Dorling Kindersley, 1996, p.8 30. Nevil V. Sidgwick, The Chemical Elements and Their Compounds, vol.1, Oxford: Oxford University Press, 1950, p.490 37. Taşkın Tuna, Uzayın Ötesi (Beyond Space), Boğaziçi Yayınları, 1995, p. 166

“Peerless today as a Rachmaninov interpreter” (The Guardian) and in possession of “monstrous technique and lustrous tone” (The New Yorker), pianist Daniil Trifonov performs Rachmaninov's electrifying Third Piano Concerto. Russian folklore animates Stravinsky's magical world of Petrushka and Liadov's dark and fantastical Kikimora. Learn more: cso.org/performances/22-23/cso-classical/trifonov-plays-rachmaninov-piano-concerto-no-3

Los mitos: esos relatos poblados de dioses; semidioses; monstruos aterradores; hombres con capacidades extraordinarias; animales con atributos humanos; volcanes, montañas y el suelo dotados de vida. Nada más alejado de la Ciencia. Sin embargo, en la década de los 70's la geóloga Dorothy Vitaliano, sorprendió a la comunidad geológica al exponer que el mito guardaba en su construcción la experiencia de un hecho trascendental, a veces traumático, que debía ser considerado por las futuras generaciones por el bien y subsistencia de ese pueblo. Muchas veces ese acontecimiento crucial era un evento geológico y su ocurrencia era incorporada a las narraciones orales de aquel pueblo, relacionando el mito y la geología. Relación que Vitaliano bautizó como “Geomitología”, rama de nuestra ciencia que explica el origen geológico de los mitos y leyendas, y extrae de éstos información útil para las actuales investigaciones. La película animada de Disney: “Moana” o “Vahiana” nos presenta un geomito interesante. En ella, se relata cómo el semidiós Maui hizo emerger las islas una tras otra, desde el fondo del océano, pescándolas, con su anzuelo regalado por los dioses. Hoy entendemos que Maui representaba esas masas de magma caliente que asciende en plumas desde el interior de la Tierra hasta la base de la corteza oceánica. Rompiéndola y emergiendo por los mares hasta la atmosfera como un volcán (Te Ka) que pronto generará una isla colonizada por la vida (Te Fiti), Pero la corteza oceánica se mueve, mientras la pluma de magma caliente se mantiene inmóvil ascendiendo en el mismo punto caliente, es ahí cuando Maui vuelve a lanzar su anzuelo y otro volcán generará otra Isla a corta distancia de la anterior. Con la mitología como suministro de información válida para la reconstrucción de la historia geológica reciente del planeta, ponemos fin a la primera temporada de Contextos de Geología, la cual a lo largo de 8 capítulos transitó a través de la historia y prehistoria de la ciencia que llamamos geología. Desde “el fin de los mitos geológicos” conquistado por Charles Lyell, hasta “la utilidad científica de los mitos geológicos” desvelada por Dorothy Vitaliano. REFERENCIAS Bastías Curivil, Cristian & Charrier, Reynaldo & Millacura, Claudio & Aguirre, Luis & F., Hervé & Farias, Marcelo. (2021). Influence of Geological Processes in the Cosmovision of the Mapuche Native People in South Central Chile. Earth sciences history: journal of the History of the Earth Sciences Society. 40. 581-606. Gusinde, Martín. (2008). El Mundo Espiritual de los Selk-nam. Volumen 1. ONG Comunidad Ser Indígena (Edición parcial de la obra) Masse, W. B.; Wayland Barber, E.; Piccardi, L; & Barber, P. T. Exploring the nature of myth and its rol in science. In Piccardi, L. & Masse, W.B. (eds.), Myth and geology, Geologial Society Special Publication No. 273., pp. 9-29. Trifonov, V. G. 2007. The Bible and geology: destruction of Sodom and Gomorrah. In Piccardi, L. & Masse, W.B. (eds.), Myth and geology, Geologial Society Special Publication No. 273., pp. 9-29. Vitaliano, D. B. 2007. Geomithology: geological origins of myth and leyends. In Piccardi, L. & Masse, W.B. (eds.), Myth and geology, Geologial Society Special Publication No. 273., pp. 9-29.

“There is a lot of suspicion and animosity toward Evangelicals and Protestant churches, so we need to be very creative in our work in order to present Christ to our people.” Trif and Vanya Trifonov serve as church planters with IM, Inc., to Varna, Bulgaria. Trif shares the challenges and opportunities of ministering in a culture that is skeptical of Christianity. Find more about the Trifonov's ministry at https://iminc.org/im-missionaries/trif-and-vanya-trifonov/. #NAFWB #BetterTogether

durée : 01:59:27 - Relax ! du mardi 22 novembre 2022 - par : Lionel Esparza - Daniil Trifonov – mélange de virtuose absolu, de poète, et de penseur. Disque de légende : Les noces de Figaro sous la direction d'Erich Kleiber.

Called "without question the most astounding pianist of our age" by The Times, the awe-inspiring Daniil Trifonov opens up in this exclusive interview with Gramophone's James Jolly about the particular challenges of Chopin, his love for the time-honored art of transcription, the complexity of Scriabin's music, the intricacies of choosing a perfectly calibrated concert program, the American composers whose work he wants to take on as an expat living in the U.S., and a whole lot more… Presented with the generous support of Madame Aline Foriel-Destezet.

durée : 00:25:04 - Le Disque classique du jour du mardi 30 août 2022 - Cet album, paru le en juin dernier, retrouve deux artistes au sommet de leur art dans des œuvres qui exposent le cœur de la condition humaine.

Episode 53 of the Chi State Pod brings on third-year Head Volleyball Coach Tony Trifonov. Trifonov, who enters his 25th season as a collegiate volleyball coach, previews his loaded squad, which last season won 17 games in the most successful season in the program's Division I history. On the Chi State Pod, Trifonov dives into: What to expect from AVCA All-American Yanlis Feliz in 2022, and why she's even better now
 His incoming class of freshman and transfers
 The Cougars' unique 2022 schedule Much more
 The Chi State Pod is hosted and produced by Sam Brief. You can subscribe on Apple Podcasts and Spotify.

After his critically-acclaimed and award-winning lieder albums with pianists Jan Lisiecki and Seong-Jin Cho, baritone Matthias Goerne concludes his DG lieder trilogy with DG exclusive artist Daniil Trifonov. With this album, Goerne explores the art song from a metaphysical perspective, and in these visionary meditations by Brahms, Wolf, Berg, Schumann, and Shostakovich, Goerne and Trifonov's intense, intuitive partnership opens our ears to the awe-inspiring, yet consoling voice of the prophets. Purchase the music (without talk) at:Lieder (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Weekly Political Highlights 04-10.06.2022 - Политически Акценти на Седмицата 04-10.06.2022

A Musical America Artist of the Year, Grammy-winning pianist Daniil Trifonov is known for his intense yet thoughtful performances, especially of the Russian masterworks. In his latest album Silver Age, Trifonov teams up with the Mariinsky Orchestra and conductor Valery Gergiev for piano concertos by Sergei Prokofiev and Alexander Scriabin. The young, dynamic pianist joins us for a conversation about the music on this disc, which also includes fabulous solo piano works by Prokofiev and Igor Stravinsky.

durée : 00:04:42 - Classic & Co - par : Anna Sigalevitch - Dans son dernier album, paru chez Deutsche Grammophon, le jeune pianiste russe Daniil Trifonov interprète des œuvres de Bach, avec au cœur de l'album « l'Art de la fugue », chef d'œuvre mystique du compositeur allemand.

Pianist Daniil Trifonov is known for performances of 19th and 20th-century virtuoso repertory and hardly at all for Bach. Thus one might expect from his album Bach: The Art of Life a certain old-school Romantic quality and even music that is a bit over the top. The album is all that and more. The title is a bit unclear; the interview-format notes quote Trifonov references to Bach's personal life, but also to various scientific phenomena, but one may dispense with those and get down to the music, which doubtless showcases Trifonov's formidable technical skills. With Bach, it is not about keyboard-clattering speed but about the subtlety of inflection, and the variety brought to the little selections from the Bach's Anna Magdalena Book, pieces that almost everyone who has touched a keyboard has played, is extraordinary. Trifonov also includes a group of pieces by Bach's sons, and he does unusually well at finding what critic Harold Bloom called the anxiety of influence in these, their J.S. Bachian quality even in a stylistic world that had fundamentally changed. However, none of these really prepares the listener for the album's centerpiece, The Art of Fugue, BWV 1080, which is divided between the two CDs in the physical version. It is as imposing as the rest of the album is light, and listeners will either love the contrast (Trifonov fans are sure to fall into this category) or find it jarring. Listen to the "Contrapunctus 6 ("in stylo Francese")" for an idea of the outlandish personalities Trifonov gives each fugue here. Even those who find it a bit much will have to concede the skill involved in fully realizing each idea. Instead of breaking off at the end of the unfinished final fugue, Trifonov furnishes his own completion, and it's actually one of the more convincing tries on the market. Listeners will have their own opinions about this release, but it is absolutely never boring, and its commercial success suggests that Trifonov's legions are increasing in number.Purchase the music (without talk) at:Bach - The Art of Life (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Episode 38 of the Chi State Pod features Chicago State head volleyball coach Tony Trifonov. Trifonov powered the Cougars to a program-record 17 Division I wins in 2021, earning him Western Athletic Conference Coach of the Year recognition. Now having won a Coach of the Year award at each collegiate stop, the longtime volleyball veteran reflects on Chicago State's historic season, which featured Yanlis Feliz earning her way onto the AVCA's All-America list, a win over the Big Ten's Indiana and stopping Grand Canyon's 20-match home win streak. On the Chi State Pod, Trifonov delves into… How her perceives the 2021 season a few weeks later
 What makes Yanlis Feliz the prolific player she's become
 What he learned from his recent trip to the Volleyball Final Four Much more
 Chi State Pod is hosted and produced by Sam Brief. You can subscribe on Apple Podcasts and Spotify.

durée : 01:58:01 - En pistes ! du lundi 29 novembre 2021 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme : le pianiste Daniil Trifonov consacre son dernier album à la famille Bach, Michael Spyres chante Mozart et l'ensemble Isabelle van Keulen reprend Piazzola. Démarrage du focus sur Fou Ts'ong à qui nous dédions la semaine!

durée : 00:08:21 - Le Disque classique du jour du lundi 29 novembre 2021 - Déjà réputé pour ses enregistrements du répertoire romantique, Daniil Trifonov présente son nouvel enregistrement consacré à Jean-Sébastien Bach et sorti le 8 octobre dernier chez Deutsche Grammophon.

Den Kontrapunkt "zum Schweben bringen" will der russische Pianist Daniil Trifonov in diesem Herbst auf den großen Konzertbühnen - mit der "Kunst der Fuge" von Johann Sebastian Bach. Am Montagabend war er in der ausverkauften Berliner Philharmonie zu erleben. Von Hans Ackermann

durée : 00:58:29 - Daniil Trifonov, l'art de vivre avec Bach, Rachmaninov, Tchaïkovski... - par : Aurélie Moreau - Extraits du nouveau disque de Daniil Trifonov, "Bach : The Art of Life". Egalement, une de ses transcriptions et extraits du 2ème trio élégiaque de Rachmaninov, du 1er concerto de Tchaïkovski. Enfin, "Hommage à Chopin" de Grieg.

Daniil Trifonov – Bach: The Art of Life (DG) Jump to giveaway form “I think with Bach it's much easier to practice for many hours than with some other composers,“ said Russian pianist Daniil Trifonov, who has always wanted to spend more time with Bach. “It's so harmonious and everything makes sense, even the most complex polyphony still makes sense.” On his new recording, Bach: The Art of Life, Trifonov explores the scientific, emotional and spiritual dimensions of the composer. The album is centered around Bach's late mystical masterpiece, The Art of Fugue. How does The Art of Fugue reflect on Bach's life? “There are so many gravitational points to that piece. There is also so much emotion in this music. It is very interesting how Bach has this certain way of expressing humanity.” What makes Bach's Chaconne in D, transcribed by Brahms and written in response to the death of his first wife, Maria Barbara, special? “There are two famous transcriptions for this piece, one by Ferruccio Busoni and the other by Johannes Brahms. I especially like Brahms' transcription because it is close to the original. He only uses the left hand and because he does that it feels as if it's a violinist's left hand. The violin has to reach for intervals and it's like that reaching for intervals was present in Brahms' piano transcription.” Did you find anything surprising while working on this album? “We still don't know if all the works attributed to Bach are really composed by him or by other composers. Some of these discoveries were fairly recent. Bist du bei mir, which is last in the song cycle, was for many years thought to be by Bach. In the early 2000s, while cataloging the music of Gottfried Heinrich Stölzel, they discovered five or six ideas from his opera that Bach must have borrowed. It's surprising that Bach would include this piece in a cycle dedicated to his wife.” Was it intentional on your part to try to show Bach as an ordinary person? “Actually, I've had a very interesting discussion with one of the people who run the Bach Museum in Leipzig. They recently discovered some of Bach's financial papers. It turns out that Bach owned stakes in a coal mine in West Germany. He was a human being and I think that only makes him a more remarkable composer.” Watch now To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Daniil Trifonov – Bach: The Art of Life (Amazon) Daniil Trifonov – Bach: The Art of Life (DG Store) Daniil Trifonov (official site)

Were back to Bulgaria this week folks and we have a new guy to talk about it. Not the Skull but a musician and sketch comedian, Slavi Trifonov. GOOD LINKS TO GET WHAT WE'RE TALKING ABOUT https://newleftreview.org/sidecar/posts/115 https://www.youtube.com/watch?v=0cd_7WbeBPs https://www.youtube.com/watch?v=ycgvsLVtofA HOW TO SUPPORT US: https://www.patreon.com/cornerspaeti HOW TO REACH US: Corner Späti https://twitter.com/cornerspaeti Julia https://twitter.com/KMarxiana Rob https://twitter.com/leninkraft Nick https://twitter.com/sternburgpapi Ciarán https://twitter.com/CiaranDold

HARLINGEN, Texas - Did you know about the Russia-Paris connection?  According to Russian Pianist, Danil Trifonov, to this day, many building and street signs are bilingual Russian/French.  Trifonov explained this Russian/French connection when I recently spoke to him about his latest release, Silver Age, an homage to music created during this important period in Russian History.Pianist Danil Trifinov's Silver Age album, includes Scriabin's Concerto for Piano and Orchestra in F sharp minor Op.20; Prokofiev's Piano Concerto No.2 in G minor Op.16; and Three Movements from Stravinsky's Petrushka. On the Silver Age album you will also be able to listen to Prokofiev's Sarcasmes Op.17, Piano Sonata No.8 in B flat major Op.84 and the "Gavotte" from "Cinderella" Op.95 No.2.  The album also includes Stravinsky's Serenade.  Go straight to track 14 and listen to my favorite--excerpts from The Firebird.The album is available in double disc and e-album formats.  I think you will enjoy listening to the podcast of my conversation with Russian Pianist, Danil Trifinov.Editor's Note: Credit for the attached photo of Danil Trifonov goes to Dad]rio Acosta.

durée : 00:58:35 - Liszt par Daniil Trifonov et John Barbirolli dirige Elgar et Sibelius - par : Aurélie Moreau - Florilège musical d'Edward Elgar à Franz Liszt en passant par Mahler, Alexander von Zemlinsky, Sergueï Prokofiev et Jean Sibelius. - réalisé par : Vivian Lecuivre

A Musical America Artist of the Year, Grammy-winning pianist Daniil Trifonov is known for his intense yet thoughtful performances, especially of the Russian masterworks. In his latest album Silver Age, Trifonov teams up with the Mariinsky Orchestra and conductor Valery Gergiev for piano concertos by Sergei Prokofiev and Alexander Scriabin. The young, dynamic pianist joins us for a conversation about the music on this disc, which also includes fabulous solo piano works by Prokofiev and Igor Stravinsky.

durée : 01:28:52 - Arabesques - par : François-Xavier Szymczak - Depuis sa victoire il y a dix ans au Concours Tchaïkovski de Moscou, et sa troisième place au Concours Chopin de Varsovie, le jeune homme nous a laissé des enregistrements magistraux, où transparaît notamment sa passion pour l’art de la variation. - réalisé par : Emmanuel Benito

durée : 01:28:20 - Daniil Trifonov (1/2) - par : François-Xavier Szymczak - Couronné à 20 ans au Concours Tchaïkovski de Moscou, lauréat du Concours Chopin de Varsovie, Daniil Trifonov est aujourd'hui un des grands maîtres du piano. - réalisé par : Céline Parfenoff

Ep. 41, edición express, con Mario Mora. La última hora de la música clásica en formato breve, incluyendo la visita de Trifonov a España, el artículo sobre las enseñanzas superiores que más ha dado que hablar, el Palau de Barcelona destrozado por los manifestantes o las pérdidas millonares de INAEM durante la pandemia.

Daniil Trifonov’s last two discs have focused on great Russian music of the past century. Trifonov is up for a Grammy for his Rachmaninoff release, and his newest recording, Silver Age, delivers the best of Prokofiev, Scriabin and Stravinsky. Daniil spoke with WRCJ’s Peter Whorf last week…

Episode 9 of the Chi State Pod features head volleyball coach Tanio Trifonov. Trifonov is set to embark on his first season running CSU’s volleyball program. On the podcast, Trifonov highlights his key contributors, analyzes his team’s identity and compares the squad to a jungle beast. Chi State Pod is hosted and produced by Sam Brief. Music is courtesy of David Brief and Channel J. You can subscribe on Apple Podcasts and Spotify.

durée : 00:12:34 - Silver age : Scriabine, Stravinsky, Prokofiev - Daniil Trifonov - Un très grand disque que le dernier enregistrement de Daniil Trifonov autour de Prokofiev, Stravinsky et Scriabine. Interprété avec l'Orchestre du Mariinsky, ce programme imposant témoigne de cet "âge d'argent" où ces trois compositeurs ont bouleversé l'histoire musicale de la Russie.

durée : 01:57:08 - En pistes ! du vendredi 13 novembre 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme également : Beethoven à l'affiche du premier disque du Trio Sora et de celui de la pianiste néerlandaise Vera Hooper ; le cycle Bruckner de l’Orchestre Philharmonique de Vienne se poursuit avec la Symphonie n°8 dirigée par Christien Thielemann... - réalisé par : Gilles Blanchard

durée : 01:58:49 - Relax ! du mardi 29 octobre 2019 - par : Lionel Esparza - Portrait d'Alice Harnoncourt en trois disques. Réécoutons Daniil Trifonov à l'occasion de sa venue à la Philharmonie de Paris ce mardi soir. Paavo Järvi nous offre un resplendissant Messiaen avec l'orchestre de la Tonhalle de Zurich. - réalisé par : Périne Menguy

durée : 01:58:04 - En pistes ! du jeudi 17 octobre 2019 - par : Emilie Munera - Au programme du jour : Meret Lüthi et les Passions de l'âme rendent hommage aux compositeurs baroques autrichiens Biber, Fux et Schmelzer, Le clarinettiste anversois Vlad Weverbergh célèbre une figure oubliée de la musique belge Henri-Joseph de Croes, lumière sur la musique d' Edwin York Bowen... - réalisé par : Davy Travailleur

durée : 00:19:45 - Le Disque classique du jour du jeudi 17 octobre 2019 - Suite de l'intégrale des concertos de Rachmaninov par le pianiste russe Daniil Trifonov. Après les 2e et 4e concertos, voici le deuxième et dernier volume avec les 1er et 3e.

Свежий хаус для друзей от коренного Помора Романа Трифонова! Наслаждаемся музыкой)

National Concert Hall CEO Simon Taylor chats to RTÉ lyric FM's Liz Nolan on the various programmatic highlights of the 2018/19 winter season, sharing insights on a broad range of classical and contemporary artists, genres and NCH developments.

dopo la recensione di Luca Chierici sui concerti di Trifonov e Cho, con la presenza in studio di Alessandro De Rosa abbiamo presentato un personaggio di gran rilievo per la musica e la didattica italiana: Boris Porena. Poco conosciuto, ma enorme il suo contributo come compositore, saggista, filosofo e didatta. Alla fine breve presentazione della mostra a palazzo Reale su Salvatore Sciarrino.

dopo la recensione di Luca Chierici sui concerti di Trifonov e Cho, con la presenza in studio di Alessandro De Rosa abbiamo presentato un personaggio di gran rilievo per la musica e la didattica italiana: Boris Porena. Poco conosciuto, ma enorme il suo contributo come compositore, saggista, filosofo e didatta. Alla fine breve presentazione della mostra a palazzo Reale su Salvatore Sciarrino.

dopo la recensione di Luca Chierici sui concerti di Trifonov e Cho, con la presenza in studio di Alessandro De Rosa abbiamo presentato un personaggio di gran rilievo per la musica e la didattica italiana: Boris Porena. Poco conosciuto, ma enorme il suo contributo come compositore, saggista, filosofo e didatta. Alla fine breve presentazione della mostra a palazzo Reale su Salvatore Sciarrino.

Highlights of the Gramophone Classical Music Awards 2016 at London's St John's Smith Square on September 15, with performances by Benjamin Appl, Daniil Trifonov and Record of the Year winner Igor Levit. Filmed by medici.tv

I programmet diskuterar panelen bl. a. Tobias Berndts tolkning av 28 Fanny Hensel-sånger samt kammarmusik av engelsmannen Gerald Finzi. Dessutom möter vi den unge pianisten Daniil Trifonov. I panelen Aurélie Ferrier, Hanns Rodell och Magnus Lindman som tillsammans med programledaren Johan Korssell betygsätter följande skivor:  FANNY HENSEL Goethe-sånger Tobias Berndt, baryton Alexander Fleischer, piano Querstand VKJK 1509 JOHANN SEBASTIAN BACH Cembalokonserter BWV 1052 1057 Andreas Staier, cembalo Freiburgs barockorkester Harmonia Mundi HMC 902181-82 GERALD FINZI Fem bagateller, Elegi, Preludium och Fuga m.m. Kölns kammarsolister MDG 903 1894-6ALEXANDER SKRJABIN Symfonier nr 3 och 4 Oslo filharmoniker Vasily Petrenko, dirigent Lawo LWC 1088Sofia möter pianisten Daniil Trifonov Sofia Nyblom mötte den unge konsertpianisten i samband med Stockholms-besöket och Nobelkonserten i Stockholms konserthus den 8 december 2015, då Trifonov framträdde som solist i Rachmaninovs tredje pianokonsert tillsammans med Kungliga filharmonikerna och dirigenten Franz Welser-Möst. Andra nämnda eller rekommenderade inspelningarBachs klaverkonserter med Trevor Pinnock och The English Concert på Archiv och DG; Pierre Hantaï tillsammans med Le Concert Francais på skivmärket Astree samt med cembalisten Lars Ulrik Mortensen och Concerto Copenhagen på CPO. Nytt Finzi-album Introit med Aurora Orchestra under ledning av Nicholas Collon på Decca. Fanny Hensel-Mendelssohns sånger med sopranen Susan Gritton ackompanjerad av Eugene Asti på märke Hyperion (tidigare recenserad i CD-revyn). Felix och Fanny Mendelssohns stråkkvartetter med Ebène-kvartetten på Virgin Classics (tidigare recenserad i CD-revyn). Skrjabins symfonier med New Yorks filharmoniker under Giuseppe Sinopoli på DG samt Londons symfoniorkester dirigerad av Valerij Gergiev på egna märket LSO Live samt med Philadelphia-orkestern under Riccardo Mutis ledarskap på EMI. SvepetJohan sveper över Brahms Ein Deutsches Requiem i en inspelning med sopranen Lore Binon och barytonen Tassis Christoyannis tillsammans med Flamländska radions kör allt under ledning av Hervé Niquet på skivmärket Evil Penguin.

The year 2013 saw plenty of headline-making moments in classical music. Protesters came to the opening night of the Met, while a stagehands strike cancelled the opening night at Carnegie Hall. There were heated debates over women conductors and some complicated celebrations for Richard Wagner. It was another tough year for some orchestras but a good one for Benjamin Britten fans. In this edition of Conducting Business, three experts talk about the past year: Anne Midgette, classical music critic of the Washington Post; Justin Davidson, classical music and architecture critic for New York magazine; and Heidi Waleson, a classical music critic for the Wall Street Journal. High Points: Anne: In the year that Van Cliburn died, Anne was particularly excited to hear the 22-year-old Russian pianist Daniil Trifonov: “Trifonov is a pianist whom I find totally exciting. I hear a lot of great concerts in the course of a year but I find that Trifonov has something really special and is a really interesting artist and somebody I look forward to hearing again and again.” Justin on Ivan Fischer and the Budapest Festival Orchestra's staging of Mozart’s Marriage of Figaro at the Mostly Mozart Festival: “One of things I really liked about it was it was one of these really portable productions. It was done in a concert hall with the orchestra on stage, no sets, minimal props, costumes that were taken off a clothes rack that was sitting on the stage…With minimal resources they produced one of the most effervescent and inventive productions I’ve seen of that opera. What it said to me is how much you can do with how little.” [Read more of Justin's picks at NYMag.com] Heidi: George Benjamin’s Written on Skin, given its U.S. premiere at Tanglewood in August: “So often you see these new operas and you think, ‘Why did they bother? Why did you turn this movie or this book into an opera?' This was a completely new piece of writing and it had a tension to it from beginning to end. It has a fantastically colorful and intricate orchestration, which includes a solo moment for the viola da gamba." Listen to Written on Skin on Q2 Music   Low Point: The closing of New York City Opera in October after a last-ditch campaign to raise funds for its 2014 season fell through. Anne: “It is not a sign that New York can’t support two opera companies. It is a sign that, due to poor decisions on behalf of the board and a whole sequence of events, this particular thing happened that really didn’t need to happen.” Justin: "One thing that you can take away from that is it is really the product of a classical music and operatic infrastructure that, over the years, got overextended. While we have learned how to expand, trying to do planned shrinkage and figure out how to contract” is tougher for the classical music business. "If you have union contracts and have a season that establishes a kind of baseline, it’s very, very difficult to say ‘we need this to be smaller.’” Heidi: “It was unable to come up with a convincing audience strategy, opera house strategy or even artistic strategy. They did try a few things that I thought were quite interesting – doing for example A Quiet Place, a Leonard Bernstein opera that had never been done in New York… They were in fact trying to reestablish themselves as something that was alternative to the Met, that was a little more forward-looking, and I think it’s really a shame that they couldn’t.” Trends: Anne: The spotlight in 2013 turned to women – women conductors, women composers. “Classical music has proven to have a particularly thick glass ceiling. People are looking at the situation and saying, ‘It’s been years people, why do we still not have very many female conductors on the podium? And when we do, why is it such a big deal?’ There’s still that funny ambivalence about how far we should look at this as a phenomenon and how far we should pretend we’ve all been equal all along.” Justin: The lack of women on major podiums is “a sign of the difficulty that the whole establishment has in adapting at all. What happens is these institutions are very rigid and brittle and when they come up against an obstacle they know that they’re going to splinter and so they avoid the obstacles. It’s a very inflexible set of relationships… Heidi: “The New York Philharmonic seems to be about 50 percent women these days – so why not on the podium?” Justin on the arrival of alternative opera and non-traditional performance venues, as seen in events like the Prototype Festival: “With the cost of real estate in New York, companies are finding cheaper venues and the technology has matured enough so all that you really need is a pretty small room and a fairly minimal investment in machinery to be able to put on a pretty sophisticated multimedia event." Heidi: “There are other organizations doing similar kinds of things: The Gotham Chamber Opera put on a Cavalli opera [Eliogabalo] in a burlesque club... It attracts a different kind of audience. You can break through some of the formality of going to the opera house and sitting in the velvet seat and watching the gold curtain go up."   Surprises: Justin: Caroline Shaw, a 30-year-old New York composer, violinist and singer (right), became the youngest ever winner of the Pulitzer Prize in music for her Partita for 8 Voices (heard at the start of this segment). “It has a quality that almost no contemporary music has, which is joy. It’s something that we’ve forgotten is part of the classical music tradition and an important one.”  Anne: “It’s interesting in that [Shaw] doesn’t even self-identify as a composer but as a violinist. The Pulitzer has been very eager to expand its reach and get outside of the norm of what had been deemed Pulitzer-worthy over the years and I think this is a sign that this is happening.” Heidi on Jeanine Tesori and Lisa Kron’s musical of “Fun Home” at the Public Theater: "I see a lot of new operas, and so many of them are overblown, trying so hard that they feel stillborn. 'Fun Home,' based on Alison Bechdel’s graphic memoir, tells the story of a critical juncture in Alison’s life: she came out as a lesbian in college, and several months later, her father, whom she had just found out was a closeted gay man, killed himself by walking in front of a truck. The piece uses music in the way that you wish these new operas would – to deeply explore feelings in a raw, immediate way." (Note: this "bonus pick" did not make it into the podcast.)   Listen to the full discussion above and tell us: what were your high and low points in classical music in 2013? Photo credits: Shutterstock; Caroline Shaw by Piotr Redliński, 2013

1. "Prelúdio/Prelude N. 16", de/from "24 prelúdios/Preludes" (Chopin). Daniil Trifonov, piano. 2. Primeiro movimento da/First movement from "Sonata para violoncelo em ré menor/Cello sonata in E minor, Op. 38" (Brahms). Jacqueline du Pré, violoncelo/cello. Daniel Barenboim, piano. 3. Canto do rouxinol/Nightingale bird call 4. "The Girl and the Birch", da trilha sonora do filme/from the OST "Anna Karenina" (Dario Marianelli). Aruhan Galieva, cantora/singer. Gostou? Então clique em LIKE e também em FOLLOW. Ou se inscreva pelo iTunes para receber atualizações////// Fancy my sets? So please click LIKE and also FOLLOW. You can always subscribe with iTunes. www.facebook.com/heloisafischer helofischer@vivamusica.com.br