Bsi And 6.4 And Diabetes

PASS YOUR BACH TO FIRST, by Claude Toon

In three words for regular non classiquophiles of Deblocnot ' ...

Bach , a name synonymous with classical music (1685-1750). The time returns us to the end of the reign of Louis XIV to Louis XV. Bach therefore belongs to the Enlightenment, importantly with regard to the inventiveness of the composer's humanist.

Bach is more than a thousand partitions: Cantatas religious, Protestant or Catholic following the job of the moment, oratorios (including 2 passions), and then moult instrumental masterpieces, the Brandenburg concertos, cello suites, Well-Tempered Clavier (for the most known), etc.. and finally, two partitions strange and mysterious, the Art of Fugue and Musical Offering.

The Art of Fugue.

Expression school almost sounds like the title of a chore for conservatory students, class composition, counterpoint option. Yet behind this label abstruse, hides one of the most beautiful music Written in the West. A partition pure, dedicated to any specific instrument or set; one requirement: to play 4 simultaneous melodic phrases, alone or in groups.

A few easy musicology.

Fugue: This is to introduce a topic (subject) and then repeat it (response) following the rules of transposition, while superimposing one or more countersubject in order to meet the harmony. Example ultra famous Pachelbel's Canon. One gets the impression that listening to music to chase and hunt itself. She flees (Fuga, Fugere in Latin). It's hard to write, but oddly pleasant and easy to listen through the repetitive and rhythmic pseudo effect obtained. Counterpoint: A generic term for all types of fugues.

The genius of Cantor (title of position held by Bach in Leipzig) was to write all forms of counterpoint (fugue, canon) from a single original theme as follows:

Nothing you say incredible deal these four easy steps to sing (try it, it's easy) or play on a keyboard or the kid's xylophone. But where Bach is very strong, it is using this theme in 19 runaway, exactly 287 times! Straight, reversed or mirrored. In short, in a word, triturated respecting the codes of counterpoint in all imaginable possibilities (2-4 vote). All runaways were, in fact, a family resemblance but none of them really looks like, especially when musicians make their living by their choice of interpretation. I will not go beyond in music theory, because there are more exciting.

To add to the mysteries of an already esoteric composition, the score remains unfinished, or rather crashes in the middle of a range!

Why? Must investigate ...

lost manuscripts and other occult theories ...

The music is always frustrated at the moment when the cosmic music stops abruptly. (Print mute.) Does here the germ of the legend about the book and the myth of the manuscript is lost, stolen, destroyed? The score posthumously, in a total mess bequeathed to his son, does that 19 fugues. There could be more (24). Curiously the last is incomplete and interrupted in the middle of the line to be abandoned! Scrolls first 18, reviewed by scientists from before 1750, death of Bach, and even 1742. Started very early (1740), Bach would have finished writing his own way. Where does it long and truncated fugue?

• And if the latter, different tone and without the main subject (the 4 steps above), with a third on the notes BACH (Saxon Rating: Bb, A, C, Si) was an "alien music", added as an adjunct in the initial release in 1751?

• Mathematicians have shown that vaguely complex fugue could ever end. Hmm ...

• A reference written by Carl Philipp Emanuel Bach on this page incomplete claims that his father died in writing this fugue. Would it not rather an epitaph in memory of his late father, a romantic legend before its time?

• Another theory: Bach would have voluntarily left the task to the performer to improvise or write more.

• Finally, a follower of numerology, Bach would have concealed codes related to its mode of composition in which they are completed.

The biggest mystery remains, in my view, the incredible beauty of this cycle and the possibility of infinite adjustment available to all instrumentalists and musicologists. Intellectual prowess, certainly, but even more: a gift of a work that can not endure the test of time because of a baroque orchestra in a jazz band, or a clever synthesizer on transcription, the magic happens. We love this or that option is all. The main theme calling for calm and meditation, one could even talk of New Age since the eighteenth century.

To return to Earth since 1952 and the work of harpsichordist and conductor Gustav Leonhardt it is likely that this music score is completely dedicated to the keyboard, and the fugue is a later addition ultimate off-topic. Yet many musicologists, musicians and conductors have tried to transcribe these fugues and canons for various instrumental ensembles.

Talk disks including the new release which allows to show that the Art of Fugue seems to enjoy eternal youth.

Discography personal

I still very moved listening to metaphysical research of Hermann Scherchen leader transcripts:

• Roger Vuataz in Beromünster for 3 groups of strings and wood (Registration of an organ )

• himself in Vienna or Lugano (Records reissued but rare).

course, the keyboard has been masterfully served by:

• Gustav Leonhardt harpsichord.

• Andre Isoir organ.

• baroque ensembles, including burning her with Reinhard Goebel Musica Antiqua Köln.

• Glenn Gould at the organ is slightly offset from its usual universe at the piano.

But the Art of Fugue, a work magic and sublime, can still surprise with artists Innovative ... At the beginning of the year pleasant surprise:

A nice new recordings:

If considers the list above not limited ative, could we expect a significant success of this new record?

Stefan Mai, violinist Xenia Loffer, oboist and Raphael Allpermann, organist and harpsichordist, we propose a new approach and innovative light.

The idea is based on the game in groups of solo instruments, in turn, accomplices to a larger whole: the Akademie für Alte Musik Berlin a twenty musicians who already beautiful prints to his credit. The artists perform on period instruments.

Following the recordings, each choosing a personal interpreter, it would be futile, even boring, to list the options chosen for each counterpoint.

Sometimes when uninspired monotone, this interpretation holds alternating very varied in its course. Organ or harpsichord, violin and oboe, bassoon and strings and even the intervention of a few coppers, ensure this alternation. Thus, in the fugues 12 and 13 and their mirrors, the next game we are offered:

12a Counterpoint: String; 12b: harpsichord, 13a: 2 oboes and bassoon; 13b: violin, viola and cello.

Beyond the music theory, form and notes, there is music. The set of all the players is very fluid, and a little more introverted than Goebel, he won in spirituality, which Bach is never irrelevant. Punctuated by the intervention of the organ and harpsichord, the musical seems like a book you turn the pages where each page shows an unexpected musical illumination. This, again, a work of unearthly beauty.

To alleviate the frustration by the end of the last fugue, Hermann Scherchen rubato playing on the slowing the last notes. The work leading to infinity.

In this recording is a decrease in the instrumental music that allows everything to go out smoothly. Other sensitivity, another technique.

Moreover, Scherchen Vienna where cleverly concluded with a chorale, this version is a little introductory chorale played on the organ by Raphael Allpermann inviting us to the serenity necessary to Listening to the first fugue performed by full orchestra.

Even if it does not question the good discography drafted before and probably expand, we are facing an imaginative re-creation that comes with the complete happiness.

An enchanting disc by its warm colors. It further allows a discovery of the Art of Fugue or for those who do not know the work.

MUG SHOT: an intelligent editor (Naxos, Bee music?) Reissue there one day Hungaroton recording of 1972 Frigyes Sandor at the head of the Liszt Ferenc Chamber Orchestra , an extraordinary spirituality?

For those who have neither xylophone or keyboard or dare not sing, here's a video of Glenn Gould performing the first emphatic gestural counterpoint ... It, too slow, limits narcissistic, necessarily, but a beautiful light to enter the tangled topics among themselves

Completely in the context of disk commented on the third counterpoint (bassoon, 2 oboes, trombone and orchestra) by the Akademie für Alte Musik (a counterpoint to the more frenzied):

Change Wet Underwear Swimming

Woolly Wolstenholme (April 15, 1947 to December 13, 2010) by Christian Selmogue

Woolly Wolstenholme is a founding member of rock group Barclay James Harvest Symphony . He played keyboards in this training influenced by Beatles and Moody Blues . From 1967 to 1979, when he left the group, he recorded 12 albums. Although he made few, the quality of his playing and his arrangements are a pillar of the training. Effective, his playing is unmistakable and is involved in the original music by Barclay James Harvest . He left "BJH" in 1979, following the release of the album "XII". The reasons for leaving are simple. John Lees and Les Holroyd , the two leaders of the group, wanted out of their relative obscurity, playing music more simple and accessible. In short, they wanted to be famous. This wish will be partially filled. Wolly him, disagreed. So off he went. Importantly, it has never been replaced. Its successor is only "temporary." Which says a lot about his real influence within the group.

He then worked with David Rohl and composes music with him in films produced by the BBC. Then he began a solo career and founded the group Maestoso with whom he is going to experience a succes d'estime, and 1st parts of Judie Tzuke and Canadian Saga. A greater success was slow But next he retired from the music scene and became a farmer for many years.

BJH: Mel Pritchard (drums, died in 2004), Les Holroyd (bass, vocals) John Lees (guitar, vocals) Woolly Wolstenholme (keyboards, mellotron)

In 1998, following the splitting of Barclay James Harvest he joined John Lees, guitarist and singer of BJH for their version of the group, namely: " Barclay James Harvest Through the Eyes John Lees of . They recorded the album "Nexus " which contains arrangements of old songs, a beautiful version of " Mockinbird " and some new features. A tour will follow and a live album " Revival will be published. In 2004 Woolly Maestoso back and carries the album" One Drop In A Dry World . "The success will be fairly modest, but real. Suffering many years of severe depression, Woolly Wolstenholme ends his days on December 13 2010. He was 63.

While less known than his peers in progressive Rick Wakeman Keith Emerson and , Woolly nonetheless a major figure in the music thanks to his technical input. And we must admit that following his departure from "BJH" the band's music has greatly declined in quality.

Maestoso "Deceivers All" (2004):




Barclay James Harvest "Rock n Roll Star" (1977):

Letter Apologize Your Boss Late

THE GREEN HORNET (2011) by Michel Gondry, Luc B.

Poor little Britt Reid, whose father (magna Press) destroys the toys back when blame the school. 20 years later, when the dad dies poisoned by a bee sting, Britt finds himself at the head of a colossal fortune, and Daily Sentinel. To do what, who has never opened a newspaper or even a book of his life, preferring to squander the legacy watered in the evenings in the arms of young models? Well take revenge on his tyrannical father, precisely by building a character superhero who can do all the nonsense he wants, and sure we will talk to one of his new newspaper. Except that Britt can do nothing with his ten fingers, hand picking his nose. Fortunately, the former butler of his father, Japanese Kato, is it a little genius, martial arts expert, designer of cars littered with gadgets and deadly weapons. And together they will form a dream team: the Green Hornet and his faithful driver hidden. Road to ... fight against crime? No, too simple, then the concept is already taken by Superman, Batman, Spiderman ... To stand out, it must instead lead to a wave of crimes, going to tickle the interests of Benjamin Chudnofsky who reigned over the drug trade.

Cameron Diaz and Seth Rogen

's it, Gondry has finally landed his first Hollywood blockbuster. After HUMAN NATURE (2001) ETERNAL SUNSHINE OF A SPOTLESS MIND (2004) and Be Kind Rewind (2007), Frenchy is the order of a mega-production, special effects and 3D. To do what? What its room for maneuver? Will he impose his style of surrealist genius handyman financiers studios seeking above all a return on investment? In adapting the TV series THE GREEN HORNET (with Bruce Lee), itself adapted from a radio broadcast of 1933, Gondry therefore tackles the dean of the masked vigilante. And managed an entertaining film, which takes the second degree, whose other productions of this type do not bother more (see the very serious and psychoanalytic BATMAN whose interest no Oedipal horrors!). Found the crazy world of Gondry, with the character of Kato (not to be confused with the other Kato, Inspector Clouseau's servant) and his incredible inventions, including a revolutionary espresso machine! There is a very biased comic, assumed, also very sixties (the soundtrack is sublime, rock and soul 60's), and a tribute to the joys of childhood superheroes. Britt Reid is a belated adolescent, vulgar, rude, uncultured, as jerky as a dick, haughty, conceited, causing the disaster, always rescued by his faithful Kato. The Kato who also takes the trouble oversized ego of his boss, and tries to go it alone. Beautiful idea screenplay. The relationship between the two men is rather ambiguous, boss / employee, then playmate, friends for life, attraction and sexual rivalry, bitter enemies ... For in history, there is a third character, a journalist, assistant Britt Reid, very cute (Cameron Diaz) that the two men argue.

"Boom, boom, boom" (from the dialogue)

a background of organized crime, corruption, independence Media, Michel Gondry casts its hero in an abundance of adventures, fights the MATRIX (What's this boring stuff they can not fuck fast-mandalas is well-done like everyone else? Imagine Lino Ventura to fourteen pirouettes idle before emplafonner Mireille Darc?), shootings, prosecution tampered cars, explosions of all kinds, on a pace. Provided (even if you are entitled to endless scenes of car crashes, yes it will, you know, you know, blowing up cars is good, but should grow up a bit ...) Gondry does not put us in full view. He knows assayed, he knows how short it does not deplete funds history its budget, and most importantly, it does not abuse digital effects, preferring the traditional stunts. The first hour is actually quite conventional, and the viewer gets caught in the game for a second film portion better rhythm, where Gondry recycles old gags good to Gérard Oury (the Black Beauty, the car with a thousand gadgets) and gives a few bodies to the wicked. For who said heroes, "wicked. Here there are two for the price of one. The second, I will not tell you anything, it would be stupid, but the first is Chudnofsky Benjamin, played by the brilliant Christoph Waltz (Inglorious Bastards). The first sequence the stages is absolutely delightful, even Tarantino, this guy is a madman, which to face the Green Hornet was created the character Hemoglobin-Man, all dressed in red, and very proud of his sentence to two bullets: "whether your blood or my dress, the last color you see before you die, will be red! .

Christoph Waltz, his gun and magic: a sudden, two dead !

I wish I could say a word about the interpretation, Alas, I saw the film in VF. I guess Waltz gives jubilant interpretation of his character, like Seth Rogen (Britt Reid, is also co-wrote the film). But as I explained the type of film (small municipal hall, 3.60 € instead) it should also attract the teen audience, and the last time with IRON MAN, one had come to see the copy VO ... Note the presence of Edward James Olmos , the actor who played the captain in MIAMI VICE, always smiling ... and Edward Furlong in manufacturing crystal junkie. The film was shot in 3D, but I saw the plain version. Too bad, because I read that Michel Gondry had a great time with this process ... Anyway, The Green Hornet is a pleasant diversion, Michel Gondry, who still managed to cram a little of his universe in a production where the specification is yet strict. Nothing revolutionary so far. It should be noted that in the U.S., the film has almost a flop. What does surprise me halfway. A super-hero who treats his father died of con for two hours, it fucks wrong ...

THE GREEN HORNET (THE GREEN HORNET)

Directed by Michel Gondry, starring Seth Rogen, Jay Chou, Cameron Diaz, Christoph Waltz, Edward Furlong, Edward James Olmos, David Harbour ...

Color - 2:00 - 2:35 format for the 2D version (+ Imax 3D)

How To Put Cheats On Gpsphone For Pokemon Mac

ANGELE AND TONY Alix Delaporte (2011) by Luc b.

Alix Delaporte preparing a traveling

ANGELE AND TONY is the first feature film from director Alix Delaporte . The action takes place in Port en Bessin in Normandy, where a young woman, Angela, arrives a day like coming from nowhere, to find a man. Classified advertising, she has set her sights on Tony, a fisherman, who shares his mother's house. The first contact was awkward, his gruff and reserved, she scratched and impatient. Because it does not say Angela she is released from prison and seeks to regain custody of her son being raised in her grandparents. And before the honorable judge, announcing she marries, she has a home, greatly enhanced its approach ...

is what is commonly called a nice little movie. Yes, small, and without being pejorative. Little from the budget obviously, and for the film, which does not seek to stir to universal themes, but to focus on the daily and follow closely his characters. This film features two characters rather lonely, frustrated feelings. Tony himself, quarantine, prefers living with his mother since his father disappeared at sea that does not facilitate the meetings, as its occupation, fisherman. And then he must still take a look at his younger brother, Ryan, who six months after the accident is still trying to trace the remains of the father. She, Angela, trying to hide a past that she is not proud (we will not so much, and whatever). She sees a counselor rehabilitation, abandons his job at the factory (by biting a bike route) and cohabitation with Tony's mother is not always simple. She is wary, plays with the truth. It reminds me of Adele in ADELE H. Truffaut, and less hysterical! Angela also said that fixes it. She marries, she will not marry, according to the interlocutor, as it's used or not. These two people that everything should be separated (Laurel and Hardy in the words of Ryan) will join their loneliness, and build a story.

Clothilde Hesme and Gregory Gadebois

And she tries, Angela, even if she does it wrong, she tries. Down the road there is the custody of his son. A recurring scene is what defines character. We see her bike, ride the coast against the wind, triturating the gearshift. It is honking, bedroom, but she persists, she cycles. It is a skinned character, she wears a biker, his hair cropped short, fuck the first came against anything and everything (first stage) and do not take up. A scene at court, where it awaits an interview with the judge. His son is here, he is restless, pacing the room, turning around. Angela sits down near the strength. When the son comes first before the judge, Angela must expect is that it starts to turn around in his cage. And then it no longer, through the court enters the office of judge, and said simply: "Stop, I know what he wants, he wants to stay with his grandparents." And she leaves. He will accept the trust of others (the mother of Tony, the preparations for the festival, work at the auction ...) to regain confidence in her.

ANGELE AND TONY is not a movie pessimistic, gloomy, nor maudlin. If this type of history recalls the cinema of the Dardenne brothers, the tone is less tragic, situations less excessive. There is hope, light, a little gray cloud on the Normandy coast, but light. For his first film, Alix Delaporte just touches. Point dazzling staging, she wrote and filmed the economy. It perfectly captures his part, region, country, sea, these fishermen, but not make a film activist, although economic difficulties are addressed, and without us eyeful reconstructionist (This is not a documentary disguised fisheries). It does not make us a psychological film with background clumsy characters. These are not stereotypes. They live, exist, without complaining of their condition. This same approach guides the staging. Everything is told in a few planes. Alix Delaporte known to stop a plane or a scene, when the idea has passed. The best example is the final scene, filmed by others who have lasted three lead, with slowed and violins. Here it is sufficient to raise his three characters on a beach swept by the wind (let's see if being caught by a crab hurts), to capture the image it necessary, and stop it. An image, only one, and no long speeches.

The Belgian actor Patrick Descamps

Another quality of this film dyed his performers. Angela is played by Clotilde Hesme , came from the theater, and accustomed auteur films (the band ... Garrel). It is wonderful, dark and light at a time. Facing her, a newcomer to the French Comedy: Greg Gadebois. It must have ears whistling this one: the new Gabin! Depardieu's new! Robust, rotund, and expresses so many feelings in the eyes, false churl with a soft heart, soft-spoken. It reminds me of British actor Peter Mullan, seen in Ken Loach. From the same cloth. There is also Evelyne Didi, Tony's mother and Patrick Descamps (the grandfather of the boy) that I love, it was often crossed in Lucas Belvaux, or Giannoli. And in a very small role (the grandmother) is Corine Marienneau . She was a musician, bassist for rock band: Phone!

ANGELE AND TONY is a success, a brittle film, accurate, sensitive, produced and distributed with little means, but word of mouth can help keep showing.

ANGELE AND TONY

Written and directed by Alix Delaporte

Dir. Photo: Claire Mathon

Music: Matthew Maestracci

With: Clotilde Hesme, Gregory Gadebois, Evelyne Didi, Patrick Descamps

Colors - Format 1:85 - 1:25