GBlog

Ich bin begeistert: Gerade lief bei ARTE
Gustavo Dudamel und Herbie Hancock in L.A.
Los Angeles Philharmonic Opening Gala 2011 - Es gibt davon nur noch diesen teaser:



Fantastisch, wie Herbie Hancock die Rhapsody in Blue spielt. Das müssen Sie hören und sehen!
Deshalb das Photo hier: Achten Sie mal auf seine Blicke, seine Mimik, seine Hände - die suchenden Bewegungen und die List und Ironie in der Auseinandersetzung mit der Partitur. Endlich habe ich ein Bild davon, wie ich mir einen Künstler beim Hervorbringen von Kunst vorstellen kann! - Wunderbar auch zu sehen, wie Dudamel ihn dabei beobachtet: immer gespannt auf den nächsten Anschlag.
Hier ein Eindruck davon, besser hören (und sehen) Sie's bei ARTE+7.



Mark Swed schrieb dazu (LATimes September 28, 2011):

Not surprisingly, Hancock had a distinctive approach to the "Rhapsody" as well. He played on a Fazioli piano, which is not as forthright as the orchestra’s Steinways, but it suited his delicate dreaminess. He played the score as written. And not as written.

That is to say the notes were pretty much all there (Hancock’s classical technique is adequate but he labored through some of the flashier passages). But he didn’t so much play the “Rhapsody” as investigate it. He toyed with passages, trying things out one way, then another. Two similar measures were rarely approached similarly.

Only once or twice did Hancock actually contribute a little something of his own, and perhaps he would have been less reticent had he not been required to stick to the printed page and had the concerto not just kept barreling along as concertos do.

Dudamel followed Hancock respectfully. He encouraged individual players to make their own flourishes in response to the piano. He did not, however, hold back on the big orchestral effects, and again this made for Gershwin with a personality split between jazz and the grandly symphonic.

Gershwin’s way, when playing the "Rhapsody," was to dazzle by being offhand. Hancock and Dudamel went their own radically different ways, but they didn’t, perhaps, go far enough. Hancock seemed itching to improvise. If so, he should feel entitled.

Stimmt, - zuweilen wünschte man sich, Hancock würde mehr Improvisation wagen; andererseits finde ich gerade dieses tastende Untersuchen faszinierend.

Jazz "ist wirklich ein Gemisch vieler Dinge. Er hat etwas vom Ragtime, vom Blues, vom Klassizismus und von den Spirituals, […] aber im Grunde ist er eine Sache des Rhythmus. Nach dem Rhythmus kommen bedeutungsmäßig die Intervalle, Tonintervalle, die dem Rhythmus eigen sind.“
(George Gershwin: Der Komponist und das Maschinenzeitalter. via Wikipedia)

Hancock about rhythm changes!!: "HERBIE HANCOCK: The Music of Gershwin" -



Dazzling by being offhand! Gershwin plays Gershwin: Rhapsody in Blue (solo piano) -