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Twelve Breaths a Minute: End of Life Essays | Shop TSHA
This is rapturous stuff. Entering like a distant churchbell, Coote controls the dynamic of the piece, never singing louder than luscious. Ticciati bends the Bamberg Symphony Orchestra and Bavarian Radio men's chorus to her mood, achieving an organic unity that sounds, as it should, almost effortless. It lasts less than 12 minutes and you want it to go on forever.
In Yoga we say that where the eye goes the mind follows so that if we can fix our mind on a single point such as the candle then our mind becomes focused and clear.The following Practices are forms of Pranayama (Breath Practices).We are born with a finite number of breaths therefore each one needs to be used with wisdom and calm.
Many of us are under pressure in some form and unless we learn how to take a breath and calm things down then we end up with frayed nerves or worse.
'Twelve Breaths': Lessons From The End Of Life : NPR
It is no easy matter to go from the high mindedness of Beethoven to the melodic allure of Schubert. The Artemis make no perceptible alteration to their approach. The tone is taut and bright, the tempi brisk and the breathing organic. In Death and the Maiden, there is none of the pathos that some quartets pump in for the third hankie effect. In the Rosamunde quartet, the symphonic sonorities point ahead to Mendelssohn and Schumann. And in the ultimate G major quartet, 50 minutes long and staring death in the eye, the Artemis present an interpretation of psychological neutrality, never second-guessing the composer’s sentiments and intentions.
Working a virtuoso orchestra at high speed – his sole concession to period practice – he strips the concertos of encrusted reverence and plays them as Bach intended, as a coffeehouse family entertainment. Breathless at times but never incoherent, he cuts as much as nine minutes off the regular playing tome for one concerto without anyone feeling the loss, or imagining it could be played differently.
Twelve breaths a minute end of life essays - Zig Zag …
Or so one is led to believe. But this remarkable cache of little-known piano music connects the two composers in unexpected ways, tracing their common heritage in the impressionistic pianism of Claude Debussy. Messiaen’s Eight Préludes are an early set, written after his mother’s death in 1929. Rather than mourning his loss, he seeks meaning in a kaleidoscope of colours. His piano quintet is a three-minute valediction from the year before his death. Together, the two pieces bookend his life with the intensity of confession.
But instead of causing impatience, the interpretation exerts an irresistible tension for 94 eventful minutes. There is nothing vain or wilful in Tennstedt’s approach. By stretching textures, he allows us to hear inner voices, to hold our breaths as a double-bass plucks a solo pizzicato, to marvel at the interwoven conversations of the vast symphonic mass. The opening movement ends in dark dread, the second in mute helplessness. Then Mahler hits the big drums and the works rises out of the known world into realms where the devil has the best tunes.
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Twelve Breaths a Minute has 64 ratings and 16 reviews
Because it can be downwrong right. Leonard Bernstein’s 1958 Rite recording with the New York Philharmonic is a case in point. It explodes out of nowhere like a thunderstorm at sea and keeps us gripping the sides for dear life. Digitally remastered from Howard Scott’s excellent studio sessions, the woodwinds come through with wide-eyed clarity, driven almost to the limits of human breath. Bernstein liked to remind musicians that Stravinsky’s original title for the work was ‘The Kiss of the Earth’, a fusion of sex, youth and nature. This account ticks all three boxes. No matter how many Rites you own, this one is not to be resisted.
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The contralto Lorraine Hunt Lieberson will soon have more posthumous records to her name than live ones, so vastly has she sold since her death two summers ago, aged 52. A viola player who found her voice while freelancing in Boston orchestras, Lorraine enjoyed brief fame at the summits of opera before falling victim to breast cancer. The Bach cantatas and Handel arias presented here are pre-fame performances in Boston’s Emmanuel Church with an orchestra of old friends and an ambience that is devout in Bach and declamatory in Handel, not an easy fit. Her Sunday-morning Bach style is reminiscent of Kathleen Ferrier at her most touching and orotund, every consonant an immaculate offering. In scenes from Handel’s Hercules, a concert rarity, she switches to brimstone and heartbreak, bringing a Purcell-like translucence to the lament, ‘When beauty sorrow’s’. The only shortcoming on this church-owned record of her emergent gifts is the over-friendliness of the accompaniment. Spurred on by fiercer conductors than the resident Craig Smith and John Harbison, Lorraine could – and did – melt mountains.
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Name me a hotter cast for any Handel opera in a century of recording than Renee Fleming, Susan Graham and Natalie Dessay – and that’s just the women. I must have missed this Alcina on first release in 1999; reboxed here with an attractive account of Orlando, it is quite irresistible, a bookend for your Handel shelf in the coming 2009 anniversary year. The voices come at you in Alcina like a burst of fireworks, one aria after another, high as you like. Fleming is more flexible that her present diva image permits, Graham is luxuriant and Dessay steals the show time after time with eruptive vivacity and breath-stopping risks; her real-life husband Laurent Naouri lurks sonorously in the bass register. Orlando has mezzo Patricia Bardon in the male title role, opposite love-interest Rosemary Joshua, nicely matched. Conductor Christie shapes both narratives with deft discretion and smiling tempi. Emmanuelle Haim plays the continuo. Who could ask for anything more?
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