⚘️⚘️"La louange résonne dans le ciel"⚘️⚘️ Psaumes 148:1 Louez l'Éternel! Louez l'Éternel du haut des cieux! Louez-le dans les lieux élevés! 🕊🕊⚘️Courte prière: Que je loue le Dieu glorieux qui règne sur l'univers entier.⚘️🕊🕊
İlk giriş eser özellikle kesinlikle şuuru arttırıyor. Anlayışı kolaylaştırıyor. 4. Yol çalışması yapanlara tavsiyemdir. Tüm 4. Yol öğrencilerine sevgiler ❤
Can't begin to describe what the Gurdjieff/de Hartmann music means to me, but certainly it transports me to other worlds. I have the scores published by Schott (4 volumes) and play these pieces myself for my own enjoyment. I'm nerdy about such things, but t's interesting to compare the various recordings of the Gurdjieff/de Hartmann corpus against the Schott scores. I can't say whether I'd prefer the Kremski set or the van Veen, since each has its respective strengths. Van Veen has an excellent, warm recorded sound for his piano, includes the small drum (a "daff") for the numerous pieces that have a drum part, and follows the Schott scores closely and sequentially, but Kremski has a much larger selection (notwithstanding the van Veen CD's claim to be "complete"--it's only the complete scores published by Schott), an incredible lightness of touch, uses the pedal more sparingly, and he's a bit freer with things like repeats: if the piece is very short, he'll tend to add a repeat, the better to let the listener "inhabit" the world evoked by the piece. All the pieces on Kremski vol. 1 appear in the Schott scores, but sometimes under different titles, and one of the pieces (Kurd Melody from Isfahan) is somewhat different than what's published--which indicates to me that Kremski may have been following a different manuscript version. Here's a finding list (with the Schott titles if they're different); this would also be useful for trying to compare with their counterparts in van Veen: La Lutte des Mages / The struggle of the Magicians: 1 Extrait / Excerpt n°1 (Schott IV.15 “Fragment No. 4”) 2 Extrait / Excerpt n°2 (Schott IV.13 “Fragment No. 3”) 3 Extrait / Excerpt n°3 (Schott IV.16 “Fragment No. 5”) Voyage vers des lieux inaccessibles I Journey to inaccessible places: 4 Chant et Danse Sayyid / Sayyid Song and Dance (Rubato) (Schott II.30 “Sayyid Song and Dance, in A minor”) 5 Bayaty (Schott II.36) 6 Chant Sayyid / Sayyid Song (1 ere partie / First part) (Schott II.12 “Sayyid Chant and Dance, in D minor,” first part) 7 Piece n°2 (Schott II.3, “Sayyid Chant and Dance,” second part) 8 Danse Sayyid / Sayyid Dance (Schott II.33) 9 Piece n°5 (Moderato) (Schott II.20 “01.I (1926)”) 10 Mélodie Kurde d'Ispahan / Kurd melody from lspahan (Schott I.33 “Kurd Melody from Isfahan”; Kremski seems to be playing a different version) Hymnes d'un Grand Temple / Hymns from a Great Temple: 11 Hymne / Hymn n°1 (Schott, IV.1) 12 Hymne / Hymn n°2 (Schott, IV.2) 13 Hymne / Hymn n°3 (Schott, IV.3) 14 Hymne / Hymn n°4 (Schott, IV.4) 15 Hymne / Hymn n°5 (Schott, IV.5) 16 Hymne / Hymn n°8 (Schott, IV.8) 17 Hymne Essenien / Essenian Hymn (Larghetto misterioso) (Schott IV.10 “Hymn from a Great Temple, No. 10”)
Reminds me the piano solo "Travels Albums" of Liszt. But here deeper than just playing what you see. If these pieces were for piano and violin within an oriental contexture, they would have gained an exquisite dialogue capacity. In piano solo, melancholy prevails . But the "message" is clear. IN any event, why do I keep associating these tonalities to the ABSCHIED of Das Lied Von Der Erde of MAHLER? Yes, I know, I know - all of them are a kind of Farevell. Of course, I add such Inaccessible Places to my humble list of themes to be remembered. Musical Greetings to all who had the unfortunate experience of reading me...
Algumas cações transcritas para piano revelam fortes raízes populares-étnicas : excelente, Faz lembrar a pesquisa detalhada de Bela Bartock e Dvorak. No fundo, outro tipo de "Micro-kosmos", .
