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Tag: Sergei Prokofiev

“Snow White And The Seven Dwarfs”‏

enchanted movie for children of all ages, that
means especially you, Manolito, that means
especially you, Aidan
 
you might however notice, in a more analytical
vein, the introduction of German Expressionism
already in more popular culture, Nolde, Kirchner,
even some Edvard Munch, the Norwegian, in the
bold, garish colours that expressed horror and
perversion for them following the First World War,
and did the same for Walt Disney later if you’ll
consider the evil queen’s mirror and mask, or
van Gogh branches in the threatening forest, flat
surfaces, notably on faces for instance, touched
with only daubs of colour for only perfunctory
shading and character, prefiguring incidentally,
Andy Warhol‘s Pop Art
 
artists talk to each other
 
  
musical atonalities, also, show up, to attest to
modernity, in the music tooted out by the pipe
organ, delivering ornery pipes and a climactic
cuckoo who can only emit a shrill, discordant 
screech, we can thank especially Prokofiev,
the popinjay among the atonalists, for that,
with necessary nods to, for their more
theoretical groundwork, the more exacting
Stravinsky and the too dour, not to mention
for many too dire, Schoenberg  
 
Walt Disney was introducing modern art not so
surreptitiously at all to the larger popular culture,
acclimatizing children especially to the new
upended and revolutionizing art, crayons at
the behest of individuality 
 
 
you’ll also find interesting that Snow White 
succumbs to an apple, much like Mother Eve, 
both of whom are absolved, it’s worth pointing 
out, by nothing other than transcendental,
transformational, regenerative and ever
inspirational, Love
 
think about it  
 
 
Richard
 
 
 
 
 
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Mozart Concerto for Two Pianos and Orchestra, K365‏

  Blind Man's Bluff - Jean-Honore Fragonard

                               Blind Man’s Bluff(1769-70)

                                               Jean-Honoré Fragonard
 
                                                      _______________
 
 
the spirituality that is everywhere in Bach, the
sense of musical exploration and ultimate solace,
will not be found again in the history of music
for another hundred years, in Anton Bruckner
then, 1824 – 1896, a profoundly devout Catholic
organist – Bach, 1685 – 1750, was Lutheran –
then for another hundred years again, in Olivier
Messiaen, 1908 – 1992, again a profoundly
devout Catholic organist, perhaps a
reincarnation, like a Dalai Lama 
 
already in his day Bach was being considered
old-fashioned, gasp, the new age was revelling
in courtly extravagance, see also for instance
François Boucher, and Fragonard, featured for
your convenience above
   
Mozart would fit right in, for a good time call
Wolfgang Amadeus  
 
 
Mozart takes the tools that Bach created, the
newly installed well-tempered clavier and does
what kids do with their parents heritage, play
with it, Mozart doesn’t explore, he entertains,
notes are the toys in his sandbox, and he makes
the very most of it, never leaving his kindergarten
sanctum, nor would anybody be as effervescent
again for, this time, another 150 years, with
Prokofiev, 1891 – 1953, even more outrageous,
though ultimately not for that more famous,  
being perhaps for many too out there, fun like
jack-in-the-box, too unnervingly unpredictable, 
still 
 
Mozart, though eminently delightful, is
appropriately predictable for his epoch
 
 
of all of his works my favourite, is what I put
on for instant exhilaration
 
it never fails me
 
 
enjoy
 
Richard 
 
 
 

 

 

Sergei Prokofiev’s piano concerto no 3, opus 26‏

Yuja Wang in many ways isn’t Martha Argerich, but in 
many ways she’s just as extraordinary
 
here she is with the Royal Concertgebouw Orchestra
under Daniele Gatti in Amsterdam, October 3, 1910

disregard the written advice that you are watching
Strauss’ “Don Juan” at the beginning of the second
movement, this is Prokofiev’s piano concerto no 3, 
opus 26, throughout  
 
 
Sergei Prokofiev is the mad boy of music, a Harlequin,
a Pinocchio, the fool in Shakespeare, the court jester,
“A Midsummer Night’s Dream”‘s Puck, unpredictable,
effevescent, mercurial, irrepressible
 
in art I would compare him to maybe Miró, fanciful
though much more electric, with a touch of, say, the
more impish, mischievous Hieronymus Bosch     
 
try not to be jolted, try not to be projected from your
seat, this is 1921, this is the Twentieth Century,
Prokofiev turns the heat on it right up  
 
 
Richard