A unit as in the color look, costumes, lights, gestures, movements, just as I seek unity in music. How to Stop the "I work well" the task of part of my choreography is undoubtedly the backbone upon which is mounted movement?. No doubt the good intentions and even I must say that the dancers and choreographers have introduced me to interesting composers, deconocido for me so far. Looking, are reported to be daily. Visit Caldwell Esselstyn Jr. for more clarity on the issue. This approach is valuable and well, but the wisdom is in able to delegate who is responsible for doing what is their specialty. The sengunda option or way is to work closely with the composer. Arduous and complex task sinembargo should not be left aside for this and many other implications.
So, if you have the resources and opportunities to do so, should be the first option, the logical from the point of view of creation and not the total bias and often arbitrary segmentation at the expense of staging. For even more opinions, read materials from Cardiologist. For this path is the mutual need of the composer in the world that the choreographer suggests, for its part, the choreographer should be a guide and should stop while influenced by the composer, the only way the criteria will go back and forth and finally taking shape will be dumped into a single work in which sound and movement to achieve unity and be seen as one. There is no guarantee that this is a necessary step to ensure the uniform, many other factors will ultimately determine that a staging is complete without esciciones or fissures in the management of all the details. Some of the criteria for this journey of choreographer and composer to a successful conclusion has to do with the mutual understanding of where they go and how they performed. Clear ideas of the choreographer, demanding, perseverance, cleaning movement, solvency management contingencies, will be among the qualities that the same way as a director he knows to convey the composer. On the other hand is the composer as a crador a function not of its own momentum, but as a bridge between the wishes of choreographer and music. Ability to read and process these impulses choreographer, will that pervades and endorse those ideas now transformed into sound.
Dorothee Oberlinger in Beckum and Munster with a German-Italian Baroque program performs recorder virtuoso and echo-KLASSIK winner Dorothee Oberlinger on February 24th, 8: 00 in the old parsonage of Beckum-Vellern. Gregor Hollmann harpsichord Oberlinger presents Chamber music works of the Baroque flute literature. With sonatas, fantasias, and Canzonas by Handel and Sammartini, the program promises pure flute enjoyment at the highest level. The program is repeated on February 28, 8: 00 in the Erbdrostenhof, Munster. The concert in Munster is already sold out.
“Listening Tip: in their new CD French baroque” (Sony Music) Dorothee Oberlinger brings the spirit of the French baroque. Event details: Beckum: Thursday, February 24, 2011, 20:00: old vicarage, the Church 4-, 59269 Beckum Vellern Munster: Monday, February 28, 2011, 20:00: Erbdrostenhof, Salzstrasse 38, 48143 Munster Dorothee Oberlinger, recorder Gregor Hollmann, harpsichord (after Ruckers, 1640) concert programme (changes reserved) Benedetto Marcello Sonata II in d minor Bartolomeo de Selma Canzon terza Giovanni Battista Fontana Sonata seconda Georg Philipp Telemann Fantasy No. 1 a major Georg Philipp Telemann Sonatina in c minor Georg Friedrich Handel Sonata in minor (HWV 375) Domenico Scarlatti Three sonatas for harpsichord (K. 175, 209, 208) Giuseppe Sammartini Sonata IV in g major (op. 13) born 1969 in Aachen about Dorothee Oberlinger, Dorothee Oberlinger recorder in Cologne, Amsterdam and Milan studied.
She was awarded as”instrumentalist of the year 2008 echo classical the prestigious Music Prize for their CD Italian sonatas. Her debut was in 1997 with the 1st prize in the international competition of SRP/MacKinnon U.K.. in London at the Wigmore Hall. Since then, Dorothee Oberlinger is regular guest at major festivals and concert series throughout Europe, America and Asia. As a soloist playing Antiqua Koln, the Academy with the ensemble founded in 2002 by 1700, as well as with renowned Baroque ensembles and orchestras like the Sonatori de la Gioiosa Marca, Musica for Alte Musik Berlin, London Baroque, the Academy of ancient music or Zefiro. In addition to their intensive involvement with the music of the 17th and 18th century is devoted to Dorothee Oberlinger of contemporary music again and again. So, she contributed to the most recent CD “Touch” of the Swiss pop duo ‘Yello’. Seit2004 is Professor at the Universitat Mozarteum Salzburg, where she leads the Institute for early music. Since 2009 she has been Director of traditional meeting Baroque Festival. Dear editors, in the press area of photos and the cover of the new CD French baroque are”available. Dorothee Oberlinger is ready like love by appointment for an interview.
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