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Jane Eyre (BBC 1973)

EXTRACT FROM THE NOVEL --- «"I tell you I must go!" I retorted, roused to something like passion. "Do you think I can stay to become nothing to you? Do you think I am an automaton? - a machine without feelings? and can bear to have my morsel of bread snatched from my lips, and my drop of living water dashed from my cup? Do you think, because I'm poor, obscure, plain, and little, I am soulless and heartless? You think wrong! - I have as much soul as you, - and full as much heart! And if God had gifted me with some beauty, and much wealth, I should have made it as hard for you to leave me, as it is now for me to leave you. I am not talking to you now through the medium of custom, conventionalities, or even of mortal flesh: - it is my spirit that adresses your spirit; just as if both had passed through the grave, and we stood at God's feet, equal, - as we are!" - "As we are!" repeated Mr. Rochester - "so," he added, enclosing me in his arms, gathering me to his breast, pressing his lips on my lips: "so, Jane!"» --- Charlotte Brontë, "Jane Eyre", New York 1943, pg. 190.

Hermann Prey (1929-98) - (1/3) Operas and operettas

HERMANN PREY (1929-98) --- "Hermann Prey was one of those singers [...] who can be regarded as a trophy for music, or more particularly for what nowadays is called 'classical' music. Under that heading is lumped everything from mediaeval plainsong to postmodernist minimalism, and Prey was interested in virtually the whole of it. [...] - He was [...] a highly successful opera singer. [...] In Mozart's 'Die Zauberflote' he was a Papageno of rare charm, seeing the character as a figure of fantasy but not a clown. After the premiere of a new production at the Metropolitan in New York in 1967 he was embraced by the set and costume designer, the eighty-year-old Chagall, with cries of 'Monsieur Prrey, you are Mozaarr!' [...]" --- J. B. Steane, "The Singers - Hermann Prey" (Decca), 2001.

Hermann Prey (1929-98) - (2/3) Lieder

HERMANN PREY (1929-98) --- "Hermann Prey was one of those singers [...] who can be regarded as a trophy for music, or more particularly for what nowadays is called 'classical' music. Under that heading is lumped everything from mediaeval plainsong to postmodernist minimalism, and Prey was interested in virtually the whole of it. This included the pop music of his generation as a youngster [...] - But he turned to Schubert and the great tradition of 'classical' music [...] And despite self-doubt concerning his chances of success, Prey had his own ideas about the way in which he wanted to sing: 'Deep down inside, I wanted to put my whole heart into these songs, but feared that this would conflict with the spirit of the age'. It is one of the characteristics for which he is now remembered and his legacy of records cherished, that he so strongly impressed his listeners with exactly this kind of approach [...]" --- J. B. Steane, "The Singers - Hermann Prey" (Decca), 2001.

Hermann Prey (1929-98) - (3/3) Cantatas, oratorios and more

HERMANN PREY (1929-98) --- "Hermann Prey was one of those singers [...] who can be regarded as a trophy for music, or more particularly for what nowadays is called 'classical' music. Under that heading is lumped everything from mediaeval plainsong to postmodernist minimalism, and Prey was interested in virtually the whole of it. This included the pop music of his generation as a youngster [...] And despite self-doubt concerning his chances of success, Prey had his own ideas about the way in which he wanted to sing: 'Deep down inside, I wanted to put my whole heart into these songs, but feared that this would conflict with the spirit of the age'. It is one of the characteristics for which he is now remembered and his legacy of records cherished, that he so strongly impressed his listeners with exactly this kind of approach [...]" --- J. B. Steane, "The Singers - Hermann Prey" (Decca), 2001.

Karl Richter (1926-1981) - (1/3) Bach (sacred compositions)

KARL RICHTER (1926-1981) --- "[...] In Leipzig, Richter studied with the former Thomaskantor Karl Straube (1873-1950) and also with Straube's successor, Günther Ramin (1898-1956). Richter always felt that he was a part of this Saxon tradition, a tradition to which Heinrich Schütz, too, had belonged but which was marked above all by the 19th century's attitude to art. [...] [F]or Richter, too, it was always important to 'study and master the works of all composers, old and new'. Equally important to him was the idea of inspiration, for it was this that turned the performing musician into a creative artist. Richter sought and found this inspiration not in history and scholarship but in the world of imagination [...]" --- Matthias Hengelbrock, "The Last Romantic" (Deutsche Grammophon), 2006.

Karl Richter (1926-1981) - (2/3) Bach (profane music)

KARL RICHTER (1926-1981) --- "[...] In Leipzig, Richter studied with the former Thomaskantor Karl Straube (1873-1950) and also with Straube's successor, Günther Ramin (1898-1956). Richter always felt that he was a part of this Saxon tradition, a tradition to which Heinrich Schütz, too, had belonged but which was marked above all by the 19th century's attitude to art. [...] [F]or Richter, too, it was always important to 'study and master the works of all composers, old and new'. Equally important to him was the idea of inspiration, for it was this that turned the performing musician into a creative artist. Richter sought and found this inspiration not in history and scholarship but in the world of imagination [...]" --- Matthias Hengelbrock, "The Last Romantic" (Deutsche Grammophon), 2006.

Karl Richter (1926-1981) - (3/3) Telemann, Händel and more

KARL RICHTER (1926-1981) --- "[...] In Leipzig, Richter studied with the former Thomaskantor Karl Straube (1873-1950) and also with Straube's successor, Günther Ramin (1898-1956). Richter always felt that he was a part of this Saxon tradition, a tradition to which Heinrich Schütz, too, had belonged but which was marked above all by the 19th century's attitude to art. [...] [F]or Richter, too, it was always important to 'study and master the works of all composers, old and new'. Equally important to him was the idea of inspiration, for it was this that turned the performing musician into a creative artist. Richter sought and found this inspiration not in history and scholarship but in the world of imagination [...]" --- Matthias Hengelbrock, "The Last Romantic" (Deutsche Grammophon), 2006.

Konrad Ragossnig - Guitarist and Lutenist

KONRAD RAGOSSNIG, GUITARIST AND LUTENIST --- "Konrad Ragossnig's repertoire ranges from Renaissance lute music to contemporary guitar music, and he has premiered works by two dozen composers, such as Hans Erich Apostel, Mario Castelnuovo-Tedesco, Friedrich Cerha, Hans Werner Henze, and Pierre Wissmer. He also enjoys playing chamber works where the guitar has been neglected, such as in Schubert's 'Die schöne Müllerin', which he has performed with Peter Schreier at the Salzburg Festival. - Konrad Ragossnig has made a large number of radio and TV performances and has produced over 60 records and CD recordings for renowned classic labels. Among the many prizes he has been awarded are the 'Grand Prix du Disque' and the 'Edison Award'. His six-part anthology "Musik für Laute" (DG/Archiv) was selected by the German record magazine 'Fono Forum' for the "Guitar and Lute music" section as Record of the Century. The recordings show a varied repertoire that ranges from lute music of the Renaissance to works of contemporary music for the guitar. He has published approximately 70 music editions for both guitar and lute of lute and guitar music, ranging from basic technique to arrangements of works such as Falla's 'Suite Populaire Espagnole' (arranged for cello and guitar), and performing editions of works like J.S. Bach's 'Fugue for Lute', BWV 1000." --- (Source: http://www.bach-cantatas.com/Bio/Ragossnig-Konrad.htm).

Jazz

"Writing is like jazz. It can be learned, but it can't be taught." (Paul Desmond)

Alfred Hitchcock (1899-1980)

[evileyes] ... with his black humor and his cool, level gaze... [evileyes]

My favorite Movies (1/3) - From the origins to 1934

Yeeesssssss, I have a rotten taste...

My favorite Movies (2/3) - From 1935 to 1968

[sick] Yeeesssssss, I have a rotten taste... [sick]

My favorite Movies (3/3) - From 1969 to the present

[sick] Yeeesssssss, I have a rotten taste... [sick]

My favorite Theatre Plays

[grin] Not bad, I gather, for a movie buff!... [grin]

The Jumping Jacques - Jacques Hendrix

THE JUMPING JACQUES - A FORGOTTEN MUSICAL CONCEPT?

From the 1968 LP back cover of "SUGAR & SPICE":

"There's something new on the musical horizon, a fresh, bright form of expression, an innovation in rhythm, a real revolution in the use of human voice: the truly different vocal-instrumental group THE JUMPING JACQUES. Thanks to an original and exciting musical concept, their leader, JACQUES HENDRIX, presents you with a brand new dimension in sound.
"You will be surprised by the diversity of the themes of this music, sometimes sweet, sometimes wild, but always rich, surprising, spontaneous, and irresistible.
"The main innovation of THE JUMPING JACQUES on the technical side is the vocal rhythm sung by the extremely deep and yet flexible bass voice of JEAN STOUT and by the girls' voices reproducing, by means of nonsense syllables, the rhythms and chords usually played by electric guitars. All of this is underlined by the drums, giving an irresistible beat which entices you to dance.
"To this first rhythmic playback is added the perfectly homogeneous vocal line of the entire group.
"Then, superimposed on this amazingly sonorous foundation, by means of re-recording, is the surprising and magnificent voice of soloist FRANÇOISE WALCH. This voice is often doubled in the background by the subtle sound of a saxophone or flute, barely perceptible, but giving a beautiful and unexpected color.
"All of this makes THE JUMPING JACQUES the freshest and most complete vocal group yet conceived.
The absence of lyrics, replaced by new sounds and nonsense syllables, allows the human voice a wide range of expression and color and automatically makes THE JUMPING JACQUES an international group.
"You will be amazed by this record and will discover something new and different each time you listen it. The quality of the arrangements, the sensitivity of the melodies, the richness of the harmonies and complexity of the rhythmic formulas makes this music, treated nevertheless with lots of humor, a complete success."

Classical Music

[music] Bach, Mozart, Schubert... you know... [music]

Fred Astaire (1899-1987)

FRED ASTAIRE (1899-1987) --- "I have no desire to prove anything by it. I have never used it as an outlet or a means of expressing myself. I just dance." (Fred Astaire). --- "He is terribly rare. He is like Bach, who in his time had a great concentration of ability, essence, knowledge, a spread of music. Astaire has that same concentration of genius; there is so much of the dance in him that it has been distilled." (George Balanchine).

Sports

Since the best I can do is walking...