Новый год на подходе!!!
вторник, 27 декабря 2011 г.
воскресенье, 18 декабря 2011 г.
воскресенье, 11 декабря 2011 г.
Izhevsk Jazz Festival
First of all want to mention that unfortunately I haven't been there but anyway i really hope that the performance was even better than this one (below). The festival which took 3 days and pulled a great mass of jazz lovers together (there was no empty seat in the hall!) showed its viewers different edges of jazz. Thus, one of the performers was Leonid Chizhik - a soviet and russian piano jazz player and composer. This is a brilliant artist who knows no boundaries between classical music and jazz and so is famous for it. The "Sueddeutsche Zeitung", the largest German daily newspaper, described him as the "European answer to Keith Jarrett" and the "least known supestar in the world of music". His program represented an improvisation based on the classic creatures. Here is the part (not from this fest, another one).
In fact such events are like a breath of fresh air for the city. Definitely we need More!
пятница, 2 декабря 2011 г.
четверг, 1 декабря 2011 г.
Happy December!
вторник, 22 ноября 2011 г.
My stunning pianists: Leszek Mozdzer - Suffering
Pianist Leszek Możdżer performs Lars Daniellson's "Suffering" during the opening concert of the Polish Culture Festival at the Yauza Palace in Moscow on October 1, 2011
суббота, 12 ноября 2011 г.
пятница, 9 сентября 2011 г.
воскресенье, 14 августа 2011 г.
четверг, 14 июля 2011 г.
воскресенье, 10 июля 2011 г.
Bach English Suite #2 - Prelude
Friedrich Gulda plays English Suite no. 2 in A minor BWV 807,Prélude
среда, 15 июня 2011 г.
Conscious attention by Paulo Coelho's Blog
There is a meditation exercise which consists of adding – generally for ten minutes a day – the reasons for each of our actions.
For example: “I now read this blog because I saw a link in Facebook or Twitter. I now think of such-and-such a person, because the subject I read about lead me to do so. I walked to the door, because I am going out”.
And so forth.
Buddha called this “conscious attention”. When we see ourselves repeating our ordinary routine, we realize how much wealth surrounds our life.
We understand each step, each attitude.
We discover important things, and useless thoughts.
At the end of a week – discipline is always fundamental – we are more conscious of our faults and distractions.
But we also understand that, at times, there was no reason to act the way we did, that we followed our impulses, our intuition; and now we begin to understand this silent language which God uses in order to show us the true path.
Call it intuition, signs, instinct, coincidence, any name will do – what matters is that through “conscious attention” we realize that we are often guided to the right decision.
And this makes us stronger.
понедельник, 6 июня 2011 г.
четверг, 2 июня 2011 г.
среда, 1 июня 2011 г.
пятница, 4 марта 2011 г.
John Galliano Men’s Collection Fall/Winter 2011
Ballet is enjoying a cultural moment, high at the Ballets Russes exhibition at London's Victoria & Albert Museum, low in the campy horrifics of Black Swan.
Tipping his cap to the trend, John Galliano ambitiously settled on primus ballerinus Rudolf Nureyev, a figure who effortlessly bridged both extremes. Rudie was a Tartar and a tart, which makes him perfect fodder for Galliano's own taste for the grandly barbaric and the lushly homoerotic. And this time, the ever-changing drama of Mother Russia provided the backdrop. So the show opened with a harried horde of Russian emigrés in great big coats, tufty shearling, and military jackets (more tips of the cap to flavors of the moment). Then Nureyev defected to the West and started wearing tightly tailored pantsuits and caps as a curious analogue of Judy Garland (in Galliano's eyes at least), all the while working himself into a lather at the barre. That gave Galliano the opportunity to parade sweat-soaked workout wear on Simon Nessman, though the model was surely grateful to be wrapped in a chunky puffa.
The final passage of eveningwear garbed the dancer for glittering, embroidery-crusted nights on the town in the kind of Cossack finery that would once have been catnip to Galliano. Why, then, did it feel less than exuberant? In fact, the whole show had a flat, low-budget feel. That wasn't even induced by something as banal as commerce compromising creativity. More likely, it was a simple matter of Nureyev himself not being such perfect fodder for Galliano after all, too real perhaps to sustain the kind of blinding fashion fantasia the man has unleashed on us in the past when's he looked to the Ballets Russes for inspiration.. (c)
вторник, 1 февраля 2011 г.
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