Three late night Proms delivered mesmeric experiences, endorsed by transfer to high drive and subsequent DVD transfers. Prom 19 (TV relay 20 Aug), Alina Ibragimova performing JS Bach Partitas and Sonatas; Prom 50, (TV 22 Aug), Bach Goldberg Variations/Andras Schiff; and Prom 68 (TV 10 Sept), Bach, Suites for Solo Cello/Yo-Yo Ma. Each recital a tremendous and absorbing experience, also a reminder of so many decades as a regular Prommer gradually discovering the expanse and, indeed, intimacy of the RAH space - and, by trial and error, the best place to stand, or be seated for choral, orchestral or solo performance.
I am not a musician beyond recognising the notes on a piano keyboard, including the flats and sharps! The pleasure in watching a solo performer on TV is to relax and concentrate on the inner-eye of the recitalist, or Inner Participation, as defined in Laban Notation; Intending (Sensing), Attending (Thinking), Deciding (Intuiting) and Adapting (Feeling), combined with Inner Attitudes: Stable, Mobile, Near, Remote, Awake and Adream, is really a codification of ideas, initially developed by Stanislavsky in An Actor Prepares - I was a thespian for 15 years - also seem to co-relate in musical performance as guideline indicators and do not provide omniscience in any respect.
Performance is usually at its best when performers - I call it high definition performance - seem to 'live in the moment' and analysis of the inner working process is almost transparent. Finally, it is, of course, subjective but worth concentrated attention even as guidelines. Andras Schiff, Yo-Yo Ma and Alina Ibragimova held me rooted throughout. A nod of recognition to Yat Malmgren and Christopher Fettes, for their guidance in Laban Notation at RADA in the early 60s.
I am not a musician beyond recognising the notes on a piano keyboard, including the flats and sharps! The pleasure in watching a solo performer on TV is to relax and concentrate on the inner-eye of the recitalist, or Inner Participation, as defined in Laban Notation; Intending (Sensing), Attending (Thinking), Deciding (Intuiting) and Adapting (Feeling), combined with Inner Attitudes: Stable, Mobile, Near, Remote, Awake and Adream, is really a codification of ideas, initially developed by Stanislavsky in An Actor Prepares - I was a thespian for 15 years - also seem to co-relate in musical performance as guideline indicators and do not provide omniscience in any respect.
Performance is usually at its best when performers - I call it high definition performance - seem to 'live in the moment' and analysis of the inner working process is almost transparent. Finally, it is, of course, subjective but worth concentrated attention even as guidelines. Andras Schiff, Yo-Yo Ma and Alina Ibragimova held me rooted throughout. A nod of recognition to Yat Malmgren and Christopher Fettes, for their guidance in Laban Notation at RADA in the early 60s.