Hélène Grimaud is a renowned French pianist born in 1969 in Aix-en-Provence, France. She studied piano from a young age and won first prize in piano from the Paris Conservatory in 1985. Grimaud has since performed with major orchestras around the world. In the document, Grimaud discusses her passion for Beethoven and performing his 5th Piano Concerto, known as the "Emperor". She reflects on the challenges of balancing Beethoven's bold musical ideas with the technical limitations of the piano and finds the most moving performances come from embracing risk rather than perfection.
NAME Music Appreciation 1100 Module 7 Second and Final.docxkendalfarrier
NAME
Music Appreciation 1100
Module 7 Second and Final Concert Review
I was fortunate enough to be able to attend a concert at the college. It was performed by a group
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Century Europe on 03/01/2015 @ 15:00. This concert is a live performance that includes works
for the recorder/flute, two violins, cello, and harpsichord. The two selections performed on the
program are as follows:
1) Georg Philipp Telemann’s Quartet in G major TWV 43, G2, from Musique de Table I,
Hamburg (1733)
Georg Philipp Telemann (1681-1767), a German composer of the late baroque era, was one of
the leaders of the Hamburg school during its preeminence in Germany. Georg Philipp
Telemann was born in Magdeburg on March 14, 1681. He was educated there and in Hildesheim.
My favorite piece that was performed was Georg Philipp Telemann’s Quartet in G major, the
quartet in G incorporates an arrangement later dignified into the classical minuet/trio. Both of the
movements are three-way in lay out, containing two opposing sub-movements, one that serves to
frame the other. The first measure assumes a Largo-Allegro-Largo structure, while the second
movement, Vivace-Moderato-Vivace, and reverses the rhythms of the sections. The third
movement was a brief switch into the final vivace, a gigue that comes from the standard dance
suite, but frequently formed the final measure of a sonata.
This piece was delightfully played. The balance among the ensemble in the auditorium venue
was so fine-tuned-performed as if rehearsed here for several years. Telemann’s structured
harmonies were representative of the era. The performance on original instruments of the era of
the composition further enhanced the significance of the performance.
2) Antonio Vivaldi’s Concerto da camera in G major, RV 101
Antonio Vivaldi (1678-1741) was an Italian violinist and composer whose concertos were widely
known and influential throughout Europe. Antonio Vivaldi was born in Venice on March 4,
1678. His first music teacher was his father, Giovanni Battista Vivaldi.
I also enjoyed Vivaldi. This was a very prominent composer but also an instructor at the
orphanage. I didn’t realize this orphanage was for both boys and girls until this performance. I
had read that he helped out at the all-girls orphanage and I can only assume that this is due to the
fact that he worked closely with the girls and not the boys.
This selection, originally written for solo recorder, oboe, bassoon, or violin with the rest of the
ensemble in continuo (accompaniment of the ers). The violin was featured in today’s
performance. The technique demonstrated was quite artistic though quite demanding. The
musicians seemed to play the rapid passages with ease.
Overall I loved the artists and the fun and enjoyment they put into their work. It was not what I
had pictured a musical concert o.
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The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
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E4-2DetHélèneGrimaud
1. ENGLISH
4
LISTENING
MUSIC
HELENE
GRIMAUD
FROM
:
EURONEWS,
24.8.2010
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Born:
November
7,
1969
-‐
Aix-‐en
Provence,
(south
of)
France
The
French
pianist,
Hélène
Grimaud,
studied
with
Jacqueline
Courtin
at
the
conservatory
there
and
subsequently
in
Marseille
with
Pierre
Barbizet.
At
the
age
of
13
she
was
accepted
by
the
Paris
Conservatory
where
she
won
the
first
prize
in
piano
in
1985.
In
July,
immediately
after
graduating,
she
recorded
Sergei
Rachmaninov’s
Sonata
No.
2
and
the
complete
Etudes-‐Tableaux
Op.
33
(Grand
Prix
du
disque,
1986).
She
studied
additionally
with
György
Sándor
and
Leon
Fleisher.
The
year
1987
marked
a
decisive
turning
point
in
her
career
with
appearances
at
MIDEM
in
Cannes
and
at
the
piano
festival
La
Roque
d’Anthéron,
her
first
recital
in
Tokyo
and
Daniel
Barenboim’s
invitation
to
perform
with
the
Orchestre
de
Paris.
Hélène
Grimaud
has
since
performed
with
many
of
the
world’s
major
orchestras
and
renowned
conductors.
One
of
her
first
teachers
once
told
her:
“I
don’t
want
you
to
be
the
best.
I
want
you
to
be
unique.”
Hélène
Grimaud
is
a
French
pianist,
among
the
most
acclaimed
on
the
international
music
scene.
A
Beethoven
enthusiast,
she
recently
played
the
Piano
Concerto
No.
5,
known
as
the
“Emperor”,
in
Berlin.
She
said:
“I
think
that
the
tools
available
to
Beethoven
to
write
his
music
were
insufficient
for
him.
He’s
someone
who
very
often
composed
by
pushing
the
boundaries
–
beyond
the
instruments
available
at
the
time,
and
even
beyond
the
‘reality’
of
the
musical
matter.
“When
faced
with
such
energy…
there’s
something
irrepressible…
and
yet,
one
has
to
deal
with
something
tangible,
something
with
limits
of
its
own.
Finding
the
right
balance
between
his
crazy
extremism
while
holding
on
the
reins…
well,
this
is
what
I
find
to
be
the
most
difficult
in
this
concert.”
Hélène
only
approached
this
Concerto
in
recent
years.
“For
a
long
time
I
couldn’t
come
to
terms
with
a
somewhat
martial
colour
in
this
music;
but
as
I
approached
this
work,
I
realised
it’s
actually
something
different;
it’s
rather
joyful,
overflowing,
there’s
a
vital
energy
in
it,
an
earthly
force
exploding
from
this
work;
and
this
has
nothing
to
do
with
the
military
tone
I
perceived
when
I
was
younger,”
she
said.
She
believes
that
over
time
music
changes,
and
matures,
inside
the
interpreter:
“Even
over
a
short
lapse
of
time
of
only
five
years,
it
changes
all
the
time;
and
this
is
also
the
mystery,
and
the
miracle,
of
this
music
–
that
it
changes
inside
you,
despite
you,
regardless
of
you.
Once
you’ve
absorbed
it,
its
matter,
its
fibre
–
and
this
happens
also
when
you’re
not
working
on
it,
when
you’re
not
playing
it
–
well,
when
you
get
back
to
it,
you
realise
that
it
has
grown
and
taken
on
a
life
of
its
own,
as
it
were,
within
you.”
Hélène
Grimaud
is
a
perfectionist
but
she
rebuts
the
notion
of
perfection.
She
said:
“The
most
beautiful
moments
are
not
the
formally
perfect.
On
the
contrary,
they
are
when
you
feel
the
fragility,
the
abyss…
when
you
feel
that
everything
is
at
stake…
those
are
the
moments
that
touch
me,
that
excite
me
the
most,
that
seize
me.
I
think
that
art
best
expresses
itself
in
risk,
not
in
comfort.”
In
this
item
Grimaud
was
playing
Beethoven’s
Piano
Concerto
No.
5
in
E-‐flat
major,
Op.
73
(‘Emperor’),
First
and
Second
Movement.
PHOTO
,
VIDEO
AND
SCRIPT
:
http://www.euronews.net/2010/08/24/pianist-‐helene-‐grimaud-‐on-‐passion-‐and-‐perfection
TEXT
IN
BOX
:
http://www.bach-‐cantatas.com/Bio/Grimaud-‐Helene.htm
1