{"id":20790,"date":"2017-12-19T17:44:29","date_gmt":"2017-12-19T17:44:29","guid":{"rendered":"http:\/\/www.aaeurop.com\/?p=20790"},"modified":"2017-12-19T17:44:29","modified_gmt":"2017-12-19T17:44:29","slug":"a-concert-of-deep-human-love-genderless-and-ageless","status":"publish","type":"post","link":"https:\/\/www.aaeurop.com\/?p=20790","title":{"rendered":"A Concert of Deep Human Love Genderless and Ageless"},"content":{"rendered":"

A Concert of Deep Human Love<\/strong><\/h3>\n

Genderless and Ageless<\/strong><\/h3>\n

By<\/p>\n

Professor Hovhanness I. Pilikian<\/strong><\/p>\n

*<\/p>\n

Lucky are those who are known by the great Concert-Pianist, Maestro Alberto Portugheis<\/span><\/strong>, Pedagogue, Musicologist, Founder and Chairman of the Beethoven Society<\/em>, a Nobel Peace Prize nominee, and a Global Disarmament Peace-Campaigner (Founder of HUFUD), and author of two books on the artificial political impossibilities of achieving world peace\u0569\u00a7\u0549\u0082-\u0539\u00bb<\/p>\n

Ronald Stein<\/strong>, a distinguished friend of mine (and Alberto\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7s), turned a healthy 90 on the 24th<\/sup> of November.\u0569\u0082\u0539\u00a0 Ronald draws masterly black-and-white Portraits of music-makers in-action, which is a kind of new form in the history of painting.\u0569\u0082\u0539\u00a0 During the Renaissance times, the subjects were expected to sit still for long hours, possibly without batting an eyelid \u0569\u00a7\u0549\u0082-\u0539\u00bb but not with Ronald, who captures character while his subjects perform in concert.<\/span><\/p>\n

Ronald was crestfallen when the incomparable Maestro Alberto decided to dedicate a tribute concert to celebrate his 90th<\/sup> Birthday.<\/p>\n

And what emerged was an extraordinary evening of pure, unadulterated, unconditional, profound love of compassionate humanity that is genderless and timeless.<\/p>\n

The young violinist was Orpheus Leander<\/strong>, an Athenian very much deserving the honour of his first name!<\/p>\n

\n

The first piece was Mozart\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7s Sonata Bb Major K454<\/em> \u0569\u00a7\u0549\u0082-\u0549\u0080\u009c a most unique musical event, especially within the oeuvre<\/em> of Mozart himself, who is mostly expected to be light and cheerful and full of humour most of the time.\u0569\u0082\u0539\u00a0 But Lo and behold, this Sonata begins with a largo<\/em>, sad though sweet; a dynamic sign usually preserved for funeral marches\u0569\u00a7\u0549\u0082-\u0539\u00bb\u0569\u0082\u0539\u00a0 hardly in a few bars, the rhythm suddenly changes<\/em> into a fast Allegro<\/em>, full of the typical Mozart zest for life and joie de vivre<\/em>! It seems that Mozart was in a tragic mood for a second (reminding me of the first movement of his end-of-life Requiem)<\/em>, but here, suddenly something extraordinary must have happened, which changed Mozart\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7s mood palpably \u0569\u00a7\u0549\u0082-\u0539\u00bb As to what?\u0569\u0082\u0539\u00a0 We shall never know, but the impact is there in this Sonata imprinted forever!\u0569\u0082\u0539\u00a0 This instant micro-second change of mood was so strange that I thought for a moment it could have been an objectionable misprint.\u0569\u0082\u0539\u00a0 But checking the score itself with the Maestro, I finally accepted its extraordinary veracity \u0569\u00a7\u0549\u0082-\u0549\u0080\u009c hardly ten bars of a beautiful largo<\/em>\u0569\u00a7\u0549\u0082-\u0539\u00bb\u0569\u0082\u0539\u00a0 What followed was a harmonious complimentarity of instrumental behaviour, the piano refusing to accept its traditional role as an accompaniment, jockeying for an independent status, pinching the lead, forcing the violin to accompany\u0569\u00a7\u0549\u0082-\u0539\u00bb it, the Violin sometimes kindly, sometimes seductively mirroring the piano\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7s themes \u0569\u00a7\u0549\u0082-\u0549\u0080\u009c For whatever reason, Orpheus\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7s violin was subdued and ultra-gentle, very cautious.\u0569\u0082\u0539\u00a0\u0569\u0082\u0539\u00a0 But he suddenly burst into virtuosic flames in Ginastera\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7s Pampeana No 1, Rhapsody for Violin and Piano <\/em>where one could hear the Amazonian forest come alive in bird songs, glissando<\/em> twitters, the morning-chorus of the Birds, each species trying to find its own \u0569\u00a7\u0549\u0082-\u056d\u009cfamily\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7 with its own distinctive sound \u0569\u00a7\u0549\u0082-\u0539\u00bb Ginastera\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7s violin transforming cleverly its glissandi<\/em> into deep, baritonal \u0569\u00a7\u0549\u0082-\u056d\u009ccello\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7 notes\u0569\u00a7\u0549\u0082-\u0539\u00bb a whole Vivaldi season converted into Jungle life.<\/p>\n

The Soviet Armenian composer Aram Khatchaturian was the greatest single influence on Ginastera\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7s works<\/span> \u0569\u00a7\u0549\u0082-\u0549\u0080\u009c here are the virile rhythms of Khatchaturian\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7s \u0569\u0082\u0539\u00a0Violin Concerto<\/em> blossoming into the awakening of Jungle-Nature, giving Orpheus\u0569\u00a7\u0549\u0082-\u056d\u009c violin a chance to display its confident clarity of diction, articulation, proving that Orpheus Leander was ready indeed to tackle any classical concerto<\/em>, from Beethoven to Tchaikovsky \u0569\u00a7\u0549\u0082-\u0539\u00bb It was sheer joy to witness Orpheus go from a timid Mozart to an assertive virtuosic Khatchaturianesque Ginastera \u0569\u00a7\u0549\u0082-\u0539\u00bb<\/p>\n

\n

Beethoven\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7s Sonata in F Major Op 24<\/em> sealed the deal between the Piano and the Violin.\u0569\u0082\u0539\u00a0 While in Mozart, they were still competing for individual dominance, in Beethoven, the love deal between equals is the starting point, after initial greetings between traditional roles \u0569\u00a7\u0549\u0082-\u0549\u0080\u009c rendering this Sonata almost into a Love Poem \u0569\u00a7\u0549\u0082-\u0549\u0080\u009c a most beautiful memorable melody is launched by the Violin; the Piano replicates it, supports it emotionally, allowing the violin to develop it into a Duet, not leave it merely as a piece for piano accompaniment, but full on love-bonding, hand-in-hand, as they preserve their instrumental individuality, peppered with little games of hide-and seek \u0569\u00a7\u0549\u0082-\u0539\u00bb equal in power, the instruments use the main melody (in allegro<\/em>) as a secure base to return to;\u0569\u0082\u0539\u00a0 In the Adagio molto espressivo,<\/em> the couple are in bed, in tender foreplay, weary, languid, followed by a brief scherzo<\/em>, where the male-violin tries to make her, the piano, laugh by clowning and monkey-business \u0569\u00a7\u0549\u0082-\u0539\u00bb in the final rondo<\/em>, the woman-piano is all very satisfied, rejecting the male-violin\u0569\u00a7\u0549\u0082-\u0549\u0084\u00a7s pleas for another bout, reducing the violin to niggling pizzicato \u0569\u00a7\u0549\u0082-\u0539\u00bb <\/em><\/p>\n

Men never grasp, that, when a woman (be her a \u0569\u00a7\u0549\u0082-\u0539\u00bb Violin or a Cello!) is sexually gratified, she does not seek repeats \u0569\u00a7\u0549\u0082-\u0539\u00bb the nymphomaniac is no more than a male narcissistic fantasy.<\/p>\n

\n

The End<\/p>\n","protected":false},"excerpt":{"rendered":"

A Concert of Deep Human Love Genderless and Ageless By Professor Hovhanness I. Pilikian * Lucky are those who are known by the great Concert-Pianist, Maestro Alberto Portugheis, Pedagogue, Musicologist, Founder and Chairman of the […]<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>","protected":false},"author":1,"featured_media":20791,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kadence_starter_templates_imported_post":false,"footnotes":""},"categories":[11],"tags":[],"_links":{"self":[{"href":"https:\/\/www.aaeurop.com\/index.php?rest_route=\/wp\/v2\/posts\/20790"}],"collection":[{"href":"https:\/\/www.aaeurop.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.aaeurop.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.aaeurop.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.aaeurop.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=20790"}],"version-history":[{"count":0,"href":"https:\/\/www.aaeurop.com\/index.php?rest_route=\/wp\/v2\/posts\/20790\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.aaeurop.com\/index.php?rest_route=\/wp\/v2\/media\/20791"}],"wp:attachment":[{"href":"https:\/\/www.aaeurop.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=20790"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.aaeurop.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=20790"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.aaeurop.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=20790"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}