Skusobny web zboru Cor Claror Sagrada Familia Barcelona :)

http://cor-claror-sagrada-familia.webnode.cat/

Coral Al·leluia de Tarragona

S dievcatami sme usporiadali koncert gospel pre UNICEF. Tu je kratka ukazka:

TOBY APPEL'S GUIDE TO THE ORCHESTRA

TOBY APPEL'S GUIDE TO THE ORCHESTRA

The members of the orchestra are divided into four sections. These are woodwinds, the strings, the brass, and the percussion. There's also someone standing in front of all these other folks playing no instrument at all. This would be the conductor. It is generally required that the conductor is required to make musical decisions and to hold all of the instruments together in a cohesive interpretation of any given work. Not so. Rather, the conductor is necessary because the four groups would rather eat Velveeta than have anything to do with someone from another section. And, as we know, musicians are quite serious about their food.

Why all the animosity? Before I begin my explanation, let me set the record straight in plain English about some of the characteristics which typify the four groups.

Woodwind players have IQs in the low- to mid-genius range. Nerds with coke-bottle glasses and big egos, blowers tend to be extremely quiet, cowering behind bizarre-looking contraptions - - their instruments - - so nobody will notice them. It is often difficult to discern whether a wind player is male or female.

String players are neurotic prima donnas who won't even shake your hand for fear of permanent injury. A string player will never look you directly in the eye. They never bathe carefully - - or often.

Brass players are loud-mouthed drunkards who bully everyone, with the possible and occasional exception of a stray percussionist. They like to slick their hair back. Nobody knows why.

Percussionists are insensitive oafs who constantly make tasteless jokes at the expense of the strings and woodwinds. They look very good in concert attire but have the worst table manners of all musicians. They are always male - or close enough.

Now, is it any wonder orchestra members have little to do with anyone outside of their own section? For the answer to this and other pertinent questions we will need to examine the individual instrument and the respective - - if not respected - - players within each section.

The Woodwinds:

Oboe players are seriously nuts. They usually develop brain tumors from the extreme air pressure built up over the years of playing this rather silly instrument. Oboists suffer from a serious Santa Claus complex, spending all their waking hours carving little wooden toys for imaginary children, although they will tell you they are putting the finishing touches on the world's greatest reed. Oboists can't drive and always wear clothes one size too small. They all wear berets and have special eating requirements which are endlessly annoying and which are intended to make them seem somewhat special.

English horn players are losers, although they dress better than oboists. They cry at the drop of a beret.

Bassoon players are downright sinister. They are your worst enemy, but they come on so sweet that it's really hard to catch them at their game. Here's an instrument that's better seen than heard. Bassoon players like to give the impression that theirs is a very hard instrument to play, but the truth is that the bassoon only plays one or two notes per piece and is therefore only heard for a minute in any given evening. In order to keep their jobs, however - - and this is their only real concern - - they act up a storm doing their very best to look busy, usually by raising and lowering their eyebrows at an alarming rate.

It takes more brawn, and slightly less brain, to play contrabassoon. They are available at pawnshops in large numbers - - the instruments as well as the players - - and play the same three or four numbers as the tuba, although not quite as loudly or beautifully.

Okay, now we come to the flute. Oversexed and undernourished is the ticket here. The flute player has no easier time of getting along with the rest of the orchestra than anyone else, but that won't stop them from sleeping with everyone. Man and woman alike, makes no difference. The bass flute is not even worth mentioning. Piccolos, on the other hand, belong mainly on the fifty yard-line of a football field, where the unfortunate audience can maintain a safe distance.

The clarinet is, without a doubt, the easiest of all orchestral instruments to play. Clarinets are cheap, and the reeds are literally a dime a dozen. Clarinetists have lots of time and money for the finest wines, oriental rugs, and exotic sports cars. They mostly have no education, interest, or talent in music, but fortunately for them they don't need much. Clarinets come in various sizes and keys - - nobody knows why. Don't ask a clarinetist for a loan, as they are stingy and mean. Some of the more talented clarinets can learn to play the saxophone. Big deal.

The Stings:

Let's continue now with the real truth about this section. We begin with the string family's smallest member: the violin. The violin is a high-pitched, high-tension instrument. It's not an easy instrument to play. Lots of hard music is written for this instrument. Important things for a violinist to keep in mind are: Number one - - the door to your studio should be left slightly open so that everyone can hear your brilliant practice sessions. Number two: you should make disparaging remarks about the other violinists whenever possible, which is most of the time. And number three: you should tell everyone how terribly valuable your instrument is until they drool.

The viola is a large and awkward instrument, which, when played, sounds downright disgusting. Violists are the most insecure members of the string section. Nothing can be done about this. Violists don't like to be made fun of and therefore find ways of making people feel sorry for them. They wear shabby clothes so that they'll look as if they've just been dragged under a train. It works quite well.

People who play the cello are simply not good looking. They have generally chosen their instrument because, while in use, the cello hides 80% of its player's considerable bulk. Most cellists are in analysis, which won't end until they can play a scale in tune or, in other words, never. Cellists wear sensible shoes and always bring their own lunch.

Double bass players are almost completely harmless. Most have worked their way up through the ranks of a large moving company and are happy to have a secure job in a symphony orchestra or anywhere. The fact that it takes at least ten basses to make an audible sound tends to make these simple-minded folks disappear into their woodwork, but why do they drive such small cars?

Plucked and Hammered Strings:

Harpists are gorgeous. And they always know it. They often look good into their late eighties. Although rare as hen's teeth, male harpists are equally beautiful. Harpists spend their time perfecting their eye-batting, little-lost-lamb look so they can snare unsuspecting wind players into carrying their heavy gilded furniture around. Debussy was right - - harpists spend half their life tuning and the other half playing out of tune.

Pianists in the symphony orchestra work the least and complain the most. They have unusually large egos and, because they can only play seated, also have the biggest butts. When they make mistakes, which is more often than not, their excuse is that they have never played on that particular piano before. Oh, the poor darlings.

The Brass:

Trumpet players are the scum of the earth. I'll admit, though, they do look good when they're all cleaned up. They'll promise you the world, but they lie like a cheap rug. Sure, they can play soft and pretty during rehearsal, but watch out come concert time! They're worse than lawyers, feeding off the poor, defenseless, weaker members of the orchestra and loving every minute of it. Perhaps the conductor could intercede? Oh, I don't think so.

Trombone players are generally the nicest brass players. They do tend to drink quite heavily, however, and perhaps don't shine the brightest headlights on the highway, but they wouldn't hurt you. They don't count well but stay pretty much out of the way, anyway. Probably because they know just how stupid they look when they play. It's a little-known fact that trombone players are unusually good bowlers. This is true. They're the folks to call with all your pharmaceutical questions.

Regarding the French horn, I have only two words of advice: stay away. Horn players are piranhas. They'll steal your wallet, lunch, boyfriend, or wife given half a chance - - or no chance at all. They have nothing to live for and aren't afraid of ruining your life. The pressure is high for them. If they miss a note, they get fired. If they don't miss a note, they rub your nose in it and it doesn't smell so sweet.

The kind-hearted folks who play the tuba are good-looking and smart. They'd give you the shirt off their back. The tuba is one of the most interesting to take in the bath with you. It's a crying shame that there's only one per orchestra. Would that it could be different.

The Percussion:

These standoffish fools who get paid perfectly good money for blowing whistles and hitting things don't deserve the considerable space they are allotted on the stage. Aside from the strange coincidence that all percussionists hail from the Deep South, another little known, but rather revealing fact is, there are no written percussion parts in the standard orchestral repertory. Percussion players do have music stands, and they do use them - - to look at girlie magazines. Percussionists play whatever and whenever they damn well feel like it, and it's always too loud! The ones with a spark of decency and intelligence play timpani.

Most percussionists are deaf, but those who play tipani pretend to tune their instruments for the sake of the ignorant and easily-duped conductor.

The guy with the short nose who plays the cymbals is no Einstein, but he's also one of the best guys to share a room with on tour. Cymbal players don't practice - - I guess they figure it's bad enough to have to listen to those things at the concert.

Percussionists pretend to have lots of kids whose toys can be seen quite often shaken, dropped, or manhandled to great effect. Whole percussion sections can be seen now and then on various forms of public transportation, where they practice getting up and down as a group. This represents the only significant challenge to a percussionist.

And that just about does it. I trust that this little tour has enlightened you just a little bit to the mysterious inner world of the symphony orchestra. This world, one which is marked by the terrible strain of simple day-to-day survival, is indeed not an easy one. Perhaps now you will be a bit more understanding of the difficulties which face a modern-day concert artist. And so, the next time you find yourself at the symphony, take a moment to look deeply into the faces of the performers on the stage and imagine how much more difficult their lives are than yours.

This is surely what's on their minds ... if anything.

Per musics...

20 regles d'or per tocar música en conjunt

1- Toqueu tots la mateixa obra.
2- Atura't després de cada signe de repetició i discuteix durant molta estona si s'ha de fer o no la repetició. Al públic li encantarà.
3- Si t'equivoques en una nota, mira furiosament a algun dels teus companys.
4- Quan t'acostis al passatge difícil, acosta't a la partitura. Generalment no es veuen bé les notes.
5- Afina amb molta cura abans de començar a tocar. Ai...xí podràs desafinar tota l'estona amb la consciència tranquil·la.
6- Pren-te temps per passar les pàgines.
7- Una nota correcta en un mal moment és una nota falsa.
8- No comptis mai els compassos d'espera..! Ja els compten els teus companys.
9- Si un passatge és difícil, frena. Si és fàcil, accelera. Tot s'arreglarà al final.
10- Si estàs completament perdut, fes parar a tothom i digues: "Em sembla que ens hauríem de posar d'acord"
11- Feliços els que no tenen l'oïda absoluta perquè d'ells és el regne de la música.
12- Si per una errada teva tot el conjunt ha d'aturar-se, explica amb detall perquè t'has equivocat. Segur que als teus companys els interessa moltíssim.
13- Una autèntica interpretació s'aconsegueix quan no queda ni una nota de l'original.
14- Les indicacions de matisos com fortes, pianos, lligadures i ornaments no s'han de tenir en compte. Només serveixen per a fer més bonica la partitura.
15- Quan sigui forte, accelera, quan sigui piano, toca més a poc a poc.
16- Procura tenir una bona marca de NPS (notes per segon). Així et guanyaràs la consideració dels incompetents.
17- Si tots s'equivoquen menys tu, segueix als que s'equivoquen.
18- Quan tots els altres deixin de tocar, no toquis les notes que encara et falten per acabar.
19- Quan una orquestra sona molt bé és gràcies al director, però si sona malament és perquè els músics són molt dolents.
20- Una nota falsa tocada amb timidesa és una nota falsa. Una nota falsa tocada amb autoritat és una interpretació.

G. Faure - Requiem

Gabriel Fauré - Requiem
COR MONTSERRAT
Sopran: Nuria Checa
Bariton: Francesc Torras
Organ: Joan Casals
Dirigent: Lucia Beresova
v Collbato, 10.4.2011

Najprv skuska a zistenie, ze na tych spojenych stolikoch sa v topankach s opatkami neda stat...

zaciatok koncertu- predstavenie ucinkujucich
samotny koncert

no a koniec :)

Baixant de la font del gat

Cor de Veus Mixtes del Conservatori de Terrassa, Petit Palau de la Musica Catalana - Barcelona, 14.2.2011 :). Trosku netradicne.

Vianocne koncerty

Tohto roku ich bolo sedem, z niektorych mam fotky, z niektorych nie. Skoda, ze na fotkach nepocut zvuk. Ale aj tak :) Dnes Cor Cantarelus a Estudi XX Cor.

Kordelius II

Vianocny stromcek

^*

^**

^*****

chcela by som si

v tieto dni

urobiťveľmi zvláštny

vianočný stromček

a povešať naň namiesto ozdôb

mená

mojich príbuzných a priateľov,

tých, čo sú blízko, i tých, čo sú ďaleko.

Tých čo sú navždy a aj tých, ktorí sú len teraz

Tých, ktorých vídam každý deň,

I tých, ktorých stretávam občas.

Tých, o ktorých myslím neustále, aj tých, na ktorých občas

zabudnem.

Stálych aj nestálych,

tých z dní radostí, i tých z dní ťažkých.

Tých, ktorých som nechtiac zranila, aj tých, ktorí nechtiac zranili mňa.

Tých, ktorých poznám do hĺbky, aj tých ktorých poznám len z videnia.

Priateľov ukrytých a priateľov dôležitých.

A chcem povedať všetkým, všetkým priateľom, ktorí ma sprevádzajú životom,

Tým, ktorí prečítajú túto správu, aj tým, ktorí ju neuvidia,

Že tento strom má hlboké korene, pretože vaše mená sa nedajú vytrhnúť z môjho srdca.

Nech nám tento strom

Zakvitne

Radosťou, zdravím,

Láskou a pokojom.

A nech prináša nádej tým, ktorí stratili všetko

Dirigentské C'est la vie 2

A máme za sebou prvý koncert so zborom Montserrat. Žiaden obrovský koncert, len spievanie počas svätej omše na sviatok sv. Cecílie, patrónky hudobníkov, ale pre mňa jeden z najdôležitejších. Po mesiaci skúšok to bol náš prvý spoločný koncert. S novým zborom je to ako s novým koňom. Môžeš sa mu prihovárať, hladkať, kŕmiť, ale až keď na neho vysadneš, zistíš, na čom vlastne si. Úprimne priznám, bola som vystresovaná. Spievali sme omšu Gounoda, jednu skladbu Mikuláša Moyzesa (na Slovensko nezabúdame) a jednu skladbu Archangelského v staroslovienčine (a čo, keď ja môžem po katalánsky, oni tiež môžu). Bola som naozaj zvedavá, ako to ustojíme, či sa nerozsype, aké to bude. Kostol bol plný ľudí, celebroval biskup... Zdvihla som ruky, nadýchla som sa a so mnou celý zbor a ... ten kôň nás krásne a bezpečne zaniesol do náručia hudby. V tom momente sa medzi nami utvorilo to zvláštne puto zbor-dirigent, puto plné dôvery a bezpečia, bez ktorého sa to robiť nedá, bez ktorého nikam nedôjdete. Puto, v ktorom dirigent vie, že jeho ľudia mu dali do rúk v danej chvíli celú dôveru, do dispozície svoje hlasy, telá a mysle, aby ich bezpečne a všetkých spolu priviedol do cieľa. Puto, v ktorom zbor vie, že dirigent im dáva celú svoju sústredenosť, všetky myšlienky, svoje ruky, srdce a hlavu, aby ich bezpečne previedol cez všetky nebezpečné miesta, kde sa cítia neisto až do cieľa, ktorým je hudba. Dirigent bez zboru je len taký človiečik, čo kýve rukami. Taká bábka. Môže kývať nádherne, ale je to nanič. Zbor bez dirigenta je skupina ľudí so stovkami nápadov, ako dôjsť do cieľa, ale bez sprievodcu, ktorý ten cieľ vidí tam dôjdu len ťažko. Spolu prenášame hory a ľudí prenášame do iných svetov. Do svetov, kde na chvíľu zabudnú na problémy, na bolesť, na chlad.
A preto to milujem.

Ponáhľajme sa milovať

Ponáhľajme sa milovať ľudí, tak rýchlo odchádzajú
ostanú po nich topánky a hluchý telefón
len to nedôležité sa vlečie ako krava
to najdôležitejšie je také rýchle, že sa stane odrazu
potom také normálne ticho, až je neznesiteľné
ako čistota narodená jednoducho zo zúfalstva
keď myslíme na niekoho ostávajúc bez neho
nebuď si taký istý, že máš čas, lebo istota je neistá
oberá nás o citlivosť, tak ako každé šťastie
prichádza v jednej chvíli ako pátos aj humor
ako dve vášne, slabšie než jedna
tak rýchlo odtiaľto odchádzajú, mĺknu ako drozd v júli
ako trochu nešikovný zvuk, alebo ako suchá poklona
zatvárajú oči, aby mohli naozaj uvidieť
väčším rizikom je narodiť sa, než umrieť
milujeme stále málo a stále príliš neskoro
nepíš o tom príliš často, ale napíš raz a poriadne
a budeš ako delfín - jemný a silný
Ponáhľajme sa milovať ľudí, tak rýchlo odchádzajú
a tí, ktorí neodchádzajú, nie vždy sa vrátia
a hovoriac o láske nikdy nevieme
či prvá je poslednou, či posledná prvou

Pieseň:
Ži zo všetkých síl a usmievaj sa na ľudí
lebo nie si sám.
Spi v noci a snívaj, nech ťa už nikdy nezobudí zlý sen, teraz spi.
Nech dobrý Boh ťa vždy za ruku drží
Keď temný vietor berie pokoj a seje smútok a pochybnosti, pamätaj, že...

Ref:
Ako slza v daždi, celý tento svet neznamená nič a nič
prítomná chvíľa môže byť najlepšia z tvojich chvíľ
Choď vlastnou cestou, lebo v tom je zmysel tvojej existencie
bez necitlivosti a nepotrebných zlých myšlienok

Dirigentské C'est la vie

V poslednom čase veľmi často rozmýšľam o mojom povolaní. Nedá sa povedať, že som si ho svedome vybrala, skôr si ono vybralo mňa. Ani presne neviem, kedy to všetko začalo, kedy som pocítila, že najprirodzenejšou formou sebavyjadrenia je pre mňa dirigovanie a najlepším hudobným nástrojom spevácky zbor. S Effathou, prvýn pokusným králikom a zároveň najmilovanejším dieťaťom som strávila takmer desať rokov a boli to úžasné roky. V podstate som sa na tomto zbore učila, čo to znamená byť dirigent a doteraz žasnem a som neskutočne vďačná, že mi to dovolili. Potom Miešaný zbor v Šuňave. Iuventus Paedagogica a Nostro Canto z Prešovskej univerzity, kde som väčšinu času spievala, ale mala som aj tú česť stáť pred nimi ako dirigentka. Minizborík v Prešove. Chor Kameralny Mińskiego Towarzystwa Muzycznego v Mińsku Mazowieckim. Miešaný zbor Non Serio. Detský zbor Szkoly podstawowej nr.5 w Minsku. Detský zbor Szkoly podstawowej w Wielgolesie. Vokalna skupina Gimnazjum w Debem Wielkim. Detský zbor Staccato z Mrozow. Mužský spevácky zbor AMLO. Spevácka skupina dôchodcov z Mrozow. Cor Estudi XX de Terrassa. Detský spevácky zbor La Clau de Sol z Matadepera. A teraz aj Cor Montserrat z Terrassy. Až sa mi nechce veriť, že som si s nimi odspievala a oddirigovala takmer 14 rokov. Každý z nich bol výzvou prekročiť vlastné hranice. U niektorých som to pociťovala silnejšie, u niektorých slabšie. Až na ten posledný, miešaný spevácky zbor Montserrat. Ani v najsmelších snoch som nesnívala o tom, že by mi mohli ponúknuť miesto dirigenta. Tento zbor má 44 ročnú tradíciu, výsledky, o ktorých bola napísana dvestostranová kniha a meno, pred ktorým sa otvárajú všetky hudobné dvere v okruhu niekoľko stoviek kilometrov. A oni sa ma opýtali. Mňa, ešte stále dirigentské šteniatko, ktoré sa ešte toľko musí naučiť. Ten zbor počas svojej histórie nikdy nemal žiadnu ženu-dirigentku. Ani cudzinca. Ani nikoho pod vekovou hranicou 40 rokov. Ani nikoho, bez titulu profesor. Mala som strach. A ťažila ma predstava tej zodpovednosti. A strašilo ma, že sa mám postaviť pred ľudí, ktorí v tom zbore spievajú dlhšie, ako ja chodím po svete. Analyzovala som, mala som zlé sny, myslela. Ale sú v živote chvíle, keď musíte prekročiť vlastný tieň a nik z vášho okolia vám nemôže poradiť - musíš urobiť to a to. To je vaša zodpovednosť a váš život, ktorý vám dáva šance. Prijala som. Teraz, keď pred nimi stojím, cítim úžasnú pokoru pred hudbou, ktorú spolu tvoríme, obrovský rešpekt pred prácou, ktorí títo ľudia spolu za 44 rokov vykonali a nevýslovnú vďaku, že mi dovolili byť ich dirigentom. A ďakujem Bohu, že môžem robiť to, čo tak veľmi milujem. A ešte mi za to platia!

SATB

In any chorus, there are four voice parts: soprano, alto, tenor, and bass. Sometimes these are divided into first and second within each part, prompting endless jokes about first and second basses. There are also various other parts such as baritone, countertenor, contralto, mezzo soprano, etc., but these are mostly used by people who are either soloists, or belong to some excessively hotshot classical a cappella group (this applies especially to countertenors), or are trying to make excuses for not really fitting into any of the regular voice parts, so we will ignore them for now. Each voice part sings in a different range, and each one has a very different personality.

You may ask, "Why should singing different notes make people act differently?", and indeed this is a mysterious question and has not been adequately studied, especially since scientists who study musicians tend to be musicians themselves and have all the peculiar complexes that go with being tenors, french horn players, timpanists, or whatever. However, this is beside the point; the fact remains that the four voice parts can be easily distinguished, and I will now explain how.

THE SOPRANOS are the ones who sing the highest, and because of this they think they rule the world. They have longer hair, fancier jewelry, and swishier skirts than anyone else, and they consider themselves insulted if they are not allowed to go at least to a high F in every movement of any given piece. When they reach the high notes, they hold them for at least half again as long as the composer and/or conductor requires, and then complain that their throats are killing them and that the composer and conductor are sadists. Sopranos have varied attitudes toward the other sections of the chorus, though they consider all of them inferior. Altos are to sopranos rather like second violins to first violins - nice to harmonize with, but not really necessary. All sopranos have a secret feeling that the altos could drop out and the piece would sound essentially the same, and they don't understand why anybody would sing in that range in the first place - it's so boring. Tenors, on the other hand, can be very nice to have around; besides their flirtation possibilities (it is a well-known fact that sopranos never flirt with basses), sopranos like to sing duets with tenors because all the tenors are doing is working very hard to sing in a low-to-medium soprano range, while the sopranos are up there in the stratosphere showing off. To sopranos, basses are the scum of the earth - they sing too damn loud, are useless to tune to because they're down in that low, low range - and there has to be something wrong with anyone who sings in the F clef, anyway (although while they swoon while the Tenors sing, they still end up going home with the basses).

THE ALTOS are the salt of the earth - in their opinion, at least. Altos are unassuming people, who would wear jeans to concerts if they were allowed to. Altos are in a unique position in the chorus in that they are unable to complain about having to sing either very high or very low, and they know that all the other sections think their parts are pitifully easy. But the altos know otherwise. They know that while the sopranos are screeching away on a high A, they are being forced to sing elaborate passages full of sharps and flats and tricks of rhythm, and nobody is noticing because the sopranos are singing too loud (and the basses usually are, too). Altos get a deep, secret pleasure out of conspiring together to tune the sopranos flat. Altos have an innate distrust of tenors, because the tenors sing in almost the same range and think they sound better. They like the basses, and enjoy singing duets with them - the basses just sound like a rumble anyway, and it's the only time the altos can really be heard. Altos' other complaint is that there are always too many of them and so they never get to sing really loud.

THE TENORS are spoiled. That's all there is to it. For one thing, there are never enough of them, and choir directors would rather sell their souls than let a halfway decent tenor quit, while they're always ready to unload a few altos at half price. And then, for some reason, the few tenors there are are always really good - it's one of those annoying facts of life. So it's no wonder that tenors always get swollen heads - after all, who else can make sopranos swoon? The one thing that can make tenors insecure is the accusation (usually by the basses) that anyone singing that high couldn't possibly be a real man. In their usual perverse fashion, the tenors never acknowledge this, but just complain louder about the composer being a sadist and making them sing so damn high. Tenors have a love-hate relationship with the conductor, too, because the conductor is always telling them to sing louder because there are so few of them. No conductor in recorded history has ever asked for less tenor in a forte passage. Tenors feel threatened in some way by all the other sections - the sopranos because they can hit those incredibly high notes; the altos because they have no trouble singing the notes the tenors kill themselves for; and the basses because, although they can't sing anything above an E, they sing it loud enough to drown the tenors out. Of course, the tenors would rather die than admit any of this. It is a little-known fact that tenors move their eyebrows more than anyone else while singing.

THE BASSES sing the lowest of anybody. This basically explains everything. They are stolid, dependable people, and have more facial hair than anybody else. The basses feel perpetually unappreciated, but they have a deep conviction that they are actually the most important part (a view endorsed by musicologists, but certainly not by sopranos or tenors), despite the fact that they have the most boring part of anybody and often sing the same note (or in endless fifths) for an entire page. They compensate for this by singing as loudly as they can get away with - most basses are tuba players at heart. Basses are the only section that can regularly complain about how low their part is, and they make horrible faces when trying to hit very low notes. Basses are charitable people, but their charity does not extend so far as tenors, whom they consider effete poseurs. Basses hate tuning with the tenors more than almost anything else. Basses like altos - - except when they have duets and the altos get the good part. As for the sopranos, they are simply in an alternate universe which the basses don't understand at all. They can't imagine why anybody would ever want to sing that high and sound that bad when they make mistakes. When a bass makes a mistake, the other three parts will cover him, and he can continue on his merry way, knowing that sometime, somehow, he will end up at the root of the chord.

Noc pri mori

Popoludnie pri mori

Moji milí susedia

Moji milí susedia z dolného bytu. Pred dvoma týždňami sa vám narodilo bábätko a ja vám srdečne gratulujem. Je to veľká zmena vo vašom a aj v jeho živote, doteraz strávenom v teple a tichu bruška. Chcela by som vám povedať, že chápem, že niektoré bábätká sa na tú zmenu adaptujú horšie a je normálne, že plačú. Aj to vaše zrejme medzi ne patrí, kvíli noc - deň - noc. Je to jeho jediný spôsob, ako dať najavo, že sa mu niečo nepáči. Čo keby ste to skúsili zobrať na vedomie? Ja síce nemám veľké skúsenosti s deťmi, ale aj tak sa mi nezdá celkom logické, že neustále návštevy sa vám striedajú vo dverách, často s malými deťmi, často sú hlučné, často fajčiace, takmer denne do noci. To bábo by si možno len chcelo trošku pospať. A nie byť naťahované všetkými (vrátane tých detí) ako také mačiatko. Áno, ja viem, je to prvé dieťa a chcete sa ním pochváliť a nová mamička sa doma možno tiež cíti opustená. Viem, že susedia z horného bytu tiež mali mnoho návštev a hluku, ale im bábo neplakalo! Zrejme malo iný charakter, iné potreby. Nemôžem vám hovoriť, ako vychovávať dieťa, žiadne ešte nemám. Ale skúste ho trošku počúvať. Ja ho počujem stále, keď som doma a aj cez tie steny, o štvrtej ráno, keď kvôli jeho plaču nemôžem spať, sa mi zdá, že plače o trošíčku svätého pokoja. Skúste to aspoň jeden deň. Všetci vám budeme vďační, myslím, že s vašim bábätkom na čele.

Ako udrzi dirigent v pohode orchester

Ako udrzat dirigenta v pohode :)

JAK UDRŽOVAT DIRIGENTA V "POHODĚ"
Příručka pro orchestrální hráče Kdyby existovala nějaká základní příručka pro orchestrální hráče, měla by obsahovat pokyny nejen hudební, ale také návod, jak si udržet hráčskou hrdost před dirigentem. Tato příručka je určená mladším hráčům, jejichž schopnosti vydráždit dirigenta až k nepříčetnosti ještě nejsou patřičně rozvinuté.
1. Nikdy nebuď spokojený s áčkem. Když se budeš přiměřeně rozčilovat nad tím, že je buď příliš nízké nebo příliš vysoké, úspěšně to odvede pozornost z dirigentského stupínku a soustředí ji tam, kam patří, tedy na Tebe.
2. Když si upravuješ notový stojan, dbej na to, aby ti jeho vrchní díl odpadl a noty se rozsypaly po podlaze.
3. Stěžuj si na teplotu v sále, osvětlení, přeplněné pódium nebo průvan. Nejlépe tehdy, když je dirigent pod časovým tlakem.
4. Těsně před nástupem se dívej kamkoli jinam, jen ne na dirigenta.
5. Nikdy neměj dusítko, náhradní struny nebo plátky. Bicisté nesmí mít nikdy všechny paličky.
6. Požádej o přesazení. A žádej to často! Ať si dirigent uvědomí, že mu prokazuješ osobní laskavost, že vůbec hraješ.
7. Při každé možné příležitosti brnkej na struny, jako by sis prověřoval ladění. Dělej to především, když dirigent něco vysvětluje. Žestě: pouštějte dusítka na zem. Bicisté mají velké množství předmětů ke shození, ale bezkonkurenčně nejlepší jsou činely, protože se navíc můžou několik sekund kutálet.
8. Nahlas si vyfukuj vodu z klapek v každé pauze. (Horny, hoboje a klarinety by toto měly mít jako povinnou součást základního školení už od narození).
9. Dlouho poté, co se inkriminovaná pasáž hrála, se zeptej dirigenta, zda tvoje CIS bylo dostatečně čisté. Tento krok je velice účinný zejména pokud tato pasáž CIS neobsahuje nebo v ní vůbec nehraješ. Když tě dirigent nachytá, dělej, že si opravuješ chybu v partu.
10. Zásadně si nenos svoji tužku a když se dělají opravy, půjčuj si psací potřeby od všech sousedů.
11. Těsně po tom, co si celý orchestr opravil CIS na C se zeptej: „Prosím Vás, já tady mám CIS a nějak mi to nezní...“
12. Když předem zjistíš, že máš v partu chybu, dělej, jakoby nic a hraj nesprávnou notu co nejtišeji. Ve správné dynamice ji zahraj až na koncertě.
13. Když hudba vrcholí, přestaň hrát a dělej si (jako) poznámky do partu, aby skladba vyzněla prázdně a nezajímavě.
14. Kýchej a kašli zásadně v pianissimu anebo v generální pauze, vzbuzuje to u ostatních hráčů bujarou veselost.

In Terra Pax - Francúzsko 2010

Ako ste si určite všimli, v Poľsku sme tvrdo cvičili. A čo sme sa naučili, ukázali sme na koncertoch vo Francúzsku, v blízkosti mesta Saint Etienne.

Spievali sme najznámejšie operové zbory s orchestrom opery v Saint Etienne

A po koncerte sme od radosti lozili po sebe :)

Čo dodať - lepšie raz zažiť, než stokrát počuť, takže príďte na In Terra Pax 2011!

Elegia o chłopcu polskim

Elegia o chłopcu polskim

Krzysztof Kamil Baczyński

Oddzielili cię, syneczku, od snów, co jak motyl drżą,
haftowali ci, syneczku, smutne oczy rudą krwią,
malowali krajobrazy w żółte ściegi pożóg
wyszywali wisielcami drzew płynące morze.
Wyuczyli cię, syneczku, ziemi twej na pamięć,
gdyś jej ścieżki powycinał żelaznymi łzami.
Odchowali cię w ciemności, odkarmili bochnem trwóg,
przemierzyłeś po omacku najwstydliwsze z ludzkich dróg.

I wyszedłeś jasny synku, z czarną bronią w noc,
i poczułeś, jak się jeży w dźwięku minut - zło.
Zanim padłeś, jeszcze ziemię przeżegnałeś ręką.
Czy to była kula, synku, czy to serce pękło?




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