Entries tagged with “music”.


O bucurie in plus a acestui anotimp de sarbatori este aparitia la casa de discuri MediaPro Music a CD-ului cu colinde romanesti ‘O, ce veste minunata!’ al Angelei Gheorghiu. Este un eveniment muzical de prima importanta nu numai pentru diva noastra nationala ci si pentru genul foarte bine reprezentat in magazinele de muzica si cadouri de sezon din toata lumea al cantecelor de Craciun, eveniment care nu a trecut neobservat de criticii lumii, o cronica foarte favorabila aparand in cea mai prestigioasa revista a iubitorilor de muzica ‘Gramophone’ sub semnatura lui Jon Tolanski – http://www.gramophone.co.uk/classical-music-news/angela-gheorghiu-releases-album-of-romanian-christmas-carols. Este genul de cronica care poate asigura o lansare si o frunoasa cariera internationala a CD-ului. In Romania el deja a obtinut Discul de Aur la o luna dupa lansare, si un Concert Festiv de Craciun la Sala Radio, precum si transmisiile la Radio Romania ii pot numai spori popularitatea. Am avut sansa sa cumpar discul la Carturesti in vizita mea la Bucuresti de la sfarsitul lui noiembrie si sa mi-l adaug colectiei de muzica apropiata sufletului meu.

 

source activenews.ro

source activenews.ro

 

Inregistrarile au fost facute in septembrie 2013 in Sala Radio din Bucuresti si in Studioul ISV. Angela Gheorghiu este acompaniata de Orchestra Nationala Radio dirijata de Tiberiu Soare, de corul Madrigal (care a sarbatorit in acest an 50 de ani de activitate) si de Corul Accoustic. Aranjamentele muzicale ale cantecelor populare sau apartinand unor compozitori romani din diferite perioade apartin lui Dan Dediu, Cristian Lolea si Constantin Arvinte.

 

(audio source MediaProMusic)

 

(audio source MediaProMusic)

 

(audio source Gabriela Dragoi)

 

Buna dimineata cu Mos Ajun si Mos Craciun al lui Dimitrie G. Kiriac ne introduc in atmosfera de sarbatoare. Trei crai de la rasarit este primul din cele sase cantece traditionale repovestind in frumosul limbaj al satului romanesc povestea Bunei Vestiri. Urmeaza Leganelul lui Iisus (sau Florile Dalbe a lui Valentin Teodorian) si Inchinarea pastorilor (traditional) care dezvolta aceeasi tema. Steaua sus rasare si Oce veste minunata sunt slagare eterne din repertoriul de sezon al traditiei romanesti. Inca o versiune din Florile Dalbe, cea a lui Tiberiu Popovici incepe cu o frumoasa tema rapsodica imbinata cu sunet de clopot, este poate cea mai frumoasa orchestratie a discului. Nasterea Domnului (Minune prea mare) de Paul Constantinescu este cea mai lunga si mai complexa piesa de pe disc si totusi se incadreaza bine melodic cu ansamblul. La Vitleem colo-n jos (traditional dar cu o orchestratie sofisticata si interesanta) si scurta Colindita de Emil Montia incheie regalul intr-o atmosfera exuberanta si sarbatoreasca.

Despre calitatile vocale exceptionale ale Angelei Gheorghiu nu este nevoie sa scriu. Ceea ce vreau sa remarc este respectul si vibratia sincera cu care artista abordeaza repertoriul traditional. In niciun moment nu se simte diva, ceea ce auzim este o cantareata intr-o forma de zile mari care lucreaza in perfecta armonie cu o orchestra si cu corurile, si care adauga fiecaruia dintre cantece vibratie si sentiment. Cu acest CD traditia romaneasca are o sansa sa intre si sa o ocupe un loc de cinste alaturi de alte reusite ale genului, sa incalzeasca caminele nu numai ale romanilor ci si ale iubitorilor de muzica de sarbatoare din intreaga lume.

Succes si Sarbatori Fericite!

 

 

 

An extra joy in this holiday season is provided by the launching by the label MediaPro Music of a CD with Romanian carols ‘Oh, what wonderful news’ sung Angela Gheorghiu . It is a musical event of the first importance not only for the Romanian diva but also for the genre of the Christmas songs well represented in music stores and gifts stores from around the world. The event has not gone unnoticed by musical critics, and a very favorable chronic appeared in the prestigious journal of the music lovers ‘Gramophone’ under the signature of Jon Tolanski -http://www.gramophone.co.uk/classical-music-news/angela-gheorghiu-releases-album-of-romanian-christmas-carols. It’s the kind of chronic that can mean the start of a nice international career for the  CD. In Romania the already has already achieved Gold Record status just one month after launching, and a festive Christmas Concert Hall Radio and repeated broadcasts at Radio Romania can only enhance its popularity . I had the chance to buy the disc in a bookstore during my visit to Bucharest by the end of November and I added it to that section of my music collection that stands closest to my heart.

 

source activenews.ro

source activenews.ro

 

The recordings were made in September 2013 in the Radio Hall in Bucharest and at the ISV Studios. Angela Gheorghiu is accompanied by the National Radio Orchestra conducted by Tiberiu Soare, by the Madrigal choir (which this year celebrated 50 years of activity) and by the Accoustic Choir. The musical arrangements of popular songs or belonging to Romanian composers from different periods belong to Dan Dediu, Cristian Constantin, and Lolea Arvinte .

 

(audio source MediaProMusic)

 

(audio source MediaProMusic)

 

(audio source Gabriela Dragoi)
Buna Dimineata la Mos Ajun (Good Morning on Santa’s Eve) and Mos Craciun (Santa) by Dimitrie G. Kiriac open introducing us in the mood for celebration . Trei Crai de la Rasarit (Three Magi from the East) is the first of the six traditional songs, retelling the story of the Annunciation in the beautiful language of the Romanian village. Leganelul lui Iisus (Jesus’ Small Craddle) (or Florile Dalbe – White Flowers – by Valentin Teodorian ) and the traditional Inchinarea pastorilor (Sheppphers Worship) develop the same theme. Steaua sus rasare (The Star Rises Above) and O, ce veste minunata (What A Wonderful News) belong to the eternal seasonal repertoire in the Romanian tradition. Another version of Florile Dalbe (White Flowers) composed by Tiberiu Popovici begins with a rhapsodic theme combined with beautiful bell sounds and offers perhaps the most beautiful orchestration of the disc. Nasterea Domnului (Nativity of the Lord) by Paul Constantinescu is the longest and most complex song on the disc , yet fits well with the overall atmosphere. La Vileem colo jos (Down there in Bethlehem ( again a traditional song, but enriched with a sophisticated and interesting orchestration) and the short Colinda (Carol) by Emil Montia conclude the disk in a exuberant atmosphere of celebration.

About Angela Gheorghiu’s exceptional vocal qualities I do not need to write. What I notice is the respect and the vibrant emotion with which the artist approaches the traditional repertoire. At no moment we can feel the diva, what we hear is a singer in a great shape who works in perfect harmony with the orchestra and chorus, adding vibrancy and deep feelings to each of the songs. With this CD precious jewels of the Romanian tradition have a chance to enter and take a place of honor alongside other succesesl of the genre, to heat not only the households of the Romanians but enriching also the celebrations of music lovers worldwide.

Good Luck and Happy Holidays!

It’s a sad day for the Israeli music and culture. Arik Einstein is dead. For folks who do not know that well Israel, Arik’s loss is like if Bob Dylan or Leonard Cohen (may them live long and happy lives) would go. A symbol of the Israeli culture, a symbol of his generation. I know no better way to honor musicians who go than playing their music. Here is one I love, it’s called Me and You, the music belongs to Miki Gabrielov, the words are Arik’s:

Me and You,
We will change the world
Me and You,
And then all the other will join …

 

source http://www.haaretz.com/news/national/.premium-1.560371

source http://www.haaretz.com/news/national/.premium-1.560371

 

Este o zi trista pentru muzica si cultura israeliena. Ieri seara a murit Arik Einstein. Pentru cei care cunosc mai putin Israelul, pierdera lui Arik este similara pentru israelieni cu cea a unui Bob Dylan sau Leonard Cohen (sa fie sanatosi si sa cante pana la adanci batraneti). A fost un simbol al culturii israeliene si al generatiei sale. Nu cunosc o modalitate mai buna de a onora amintirea unui muzician care a plecat dintre noi decat a-i asculta muzica. Iata un cantec pe care il iubesc in mod special, se numeste Eu si Tu. Muzica este compusa de Miki Gabrielov, cuvintele ii apartin lui Arik:

Eu si Tu,
Vom schimba lumea
Eu si Tu,
Si atunci toti ni se vor alatura …

 

 

A few more below. There are so many. A year and two ago the Israeli Army Radio dedicated a special broadcast for his music, they played a full day of his beautiful songs, and it was not enough.

Inca cateva in continuare. Sunt atat de multe. Acum un an sau doi Galei Zahal (postul de radio al armatei) a dedicat o emisiune speciala muzicii sale, o zi intreaga de transmisie, si nu a fost destul pentru a le reda pe toate.

 

 

יהי זכרו ברוך

May his memory be blessed

Fie-i amintirea binecuvantata

 

The concert last night at Mercaz Einav in Tel Aviv featured the Israeli pianist Amir Katz in the first out of two programs of Beethoven Sonatas (the second will take place in May 2013). The last and by far most famous piece in the program was Apassionata. Unfortunately I could not find Katz’s interpretation on the net, so I decided to write something about him, and then present four interpretations composing two full versions of the well know piece of glory in the world piano repertory.

 

source http://www.amirkatz.de/english/photos.php?lang=en&cat=photos

 

Amir Katz was born in Haifa in 1973 and grew as a nurtured talent which turned into a fine pianist which seems to enjoy playing mostly the Romantic piano repertory – Schubert, Mendelssohn, Chopin – and lately Beethoven whose sonatas are the core of his performances programs this season. He has a beautiful presence, is very accurate and technical, what maybe surprised me was the apparent too strong reliance on technique and less on emotion, untypical for a Romantic piano specialist. The first two sonatas in the program sounded … well … very un-Beethoven, and even the Liszt piece at the ‘encore’ was very un-Liszt. Not bad, strong, well played, but lacking passion. It was only the Apassionata that seemed to unchain his emotional energy as well, and his version of the difficult, stormy, tumultuous piece was very good.

 

(video source Amir Katz)

 

What I did find on Amir’s channel on youTube is another piece by Liszt ‘Paganini’s Etude nr. 2 in E flat major’- great interpretation, if that one was in the program last night together with Appassionata.

 

(video source theoshow2)

 

There is no need to write many words about Piano Sonata no. 23 by Beethoven. It was composed between 1804 and 1806, and named Appassionata after his death. It is one of the most vigorous and temperamental pieces of piano in the Romantic and world music, it demands virtuosity and deep resonance to render its whole beauty and complexity and it deserves its name.

Sviatoslaw Richter’s recording of the first movement is presented above.

 

(video source ValentinaLisitsa)

 

Valentina Lisitsa plays the second movement in the recording above.

 

(video source conception3)


Above, Claudio Arau plays the final part.

 

http://www.youtube.com/watch?v=oBVVIRHmUi4

(video source ArioniaTellus)

 

Here is the full piece in the version of Daniel Barenboim

One trick I truly dislike when a movie is promoted is when the label ‘inspired by a true story’ is placed into a too visible place, especially when it comes to true stories and to characters which I could in theory at least meet on the street (well, on some streets). I am confused by mix of documentary and drama that are not frankly labeled as such but prefer to disguise in fiction movies resorting the ‘inspired by …’ label only when in artistic or credibility trouble, and I do not buy easily the theories about life exceeding melodrama. After all what counts for me in a film is the artistic truth, and there is a credibility of emotions and situations that does not necessarily go at the same pace as plain reality. For plain reality I have the real life, and I have TV news, Internet and written press. I am looking for something else when I watch a fiction movie.

 

source http://www.imdb.com/title/tt0821642/

 

One of the problems with The Soloist is that while director Joe Wright uses all the tools of the great studios films, the story does not gather neither enough ‘meat’ not enough ‘steam’ to sustain the whole film. The story of the Julliard drop-out who becomes a homeless to be accidentally discovered 30 years later by a LA Times reporter can make for a good article in the LA Times, or even a good series of articles or a book, but not for a whole film. One of the reasons is that the script writer does not seem to have fully investigated the case, or maybe decided not to bring the whole material to screen. I confess that I did not understand the reasons of Minnesota-born cellist Nathaniel Ayers leaving school – we have flashbacks that bring indications about childhood problems, some words about a big-handed father (maybe child abuse?), other flashbacks hint to racial pressure at Julliard or just the pressure any young artist experiences in such a competitive environment, and other words speak about his need for RESPECT – so what is the conclusion? The director does not let us know, or I did not get it.

 

(video source watchmoviepreviews)

 

There are many artistic qualities in this film. First the superb acting of the two lead actors – Jamie Foxx is troubled and vulnerable and the efforts to break the wall of non-communication he built around himself make it to the viewer. Robert Downey Jr. provides the interior strength and the humanity to make us love his hero, and believe strongly that there must be a place for investigative journalism and its true heroes in our future lives. What causes The Soloist not to be the good film it aimed to become is the lack of decision in choosing the right tone while throwing away the overweight of moralization. While saying emphatically that it is based on the realities of our days, the film dares not adopt the documentary techniques, but emulates them using the traditional tools of Hollywood. It is just that good acting and splendid music are not enough in this case.

 

I first saw and listened to Madeleine Peyroux’s music in the mid-90s. The performance was filmed at one of the major jazz festivals, maybe the one in Montreal, but I am no longer sure. She was in her mid 20s, young, beautiful and with a powerful voice. I immediately placed her high on my appreciation scale, as one of the potential divas of the coming decades.

 

(video source Nando Moraes)

 

Somehow my prediction did not fully come true. Soon after she disappeared from the front of the international musical scene, and when she came back she did not seem to fully accomplish her potential. One of the reasons I believe is that Peyroux is too respectful to the traditions she is in love with – classical vocal jazz, French chansonettes and the big ballad artists (Dylan, Leonard Cohen). She is the perfect performer to take a famous song and give it a completely new life that makes you forget the original interpretation. She does not compose too many original songs, or maybe she does not play enough of them, although the ones I heard are all original. They are however too few to create her the musical basis to become one of the divas. Maybe she foes not thrive to become one.

 

(video source JazzStationBZ)

 

The Georgia-born Madeleine Peyroux played in the last years in many famous places, she appeared in prestigious series like the Abbey Road Studio Recordings. And she is an excellent live performer, as I could see last night at the Reading 3 club in Tel Aviv, a stop in a tour which will further take her to France, Turkey and the US.

 

 

Peyroux impresses as soon as she starts singing. A tall and powerful woman close to her 40s she is not any longer the beautiful young girl I remembered, but as soon as she talks you feel her non-formal and direct personality, and as soon as she sings you cannot but vibrate to her strong and yet so sensitive voice. A first (non-Obama :-) ) joke established immediately the relation with the audience, she explains her music in simple words and in a style that seriously asks you not to take her too seriously.

 

(video source kinkradio)

 

Every instrumental sequence is listened with attention and appreciated by her as leader of the band. Gary Versace at piano and organ reached incandescence in a couple of pieces, and guitarist John Harrington also demonstrated that he is a fine musician. I was not enthusiastic about Israeli-born bass player Barak Mori (too slow to my taste) but I enjoyed the local guest performer trumpet player Avishai Cohen.

 

(video source okeydokeyy)

 

The program was a combination of classical jazz, soul (‘I Can’t Stop Loving You’), ballads and two or maybe three original songs which just proved what a fine musician Peyroux can be.

 

(video source BOSSPRODUCCIONES)

 

Among the last songs of the evening Peyroux sand a song in French (which she does in every show as a salute to her French ancestry) and Leonard Cohen’s Dancing to the End of Love which she re-created in a manner that made an enthusiast even of a non-fan of Cohen as I happen to be.

The Web site of the artist can be found at http://madeleinepeyroux.com/.

I had the privilege to hear last night a musician that I knew nothing before. I actually came to listen to Israeli percussionist Chen Zimbalista in a program of Gypsy Music, part of a series of World Music which runs in parallel with the Hot Jazz music series at the  Museum of Art in Tel Aviv. The great surprise of the evening was to discover Emil Aybinder, one of the best accordionists I have ever listened to.

 

source http://www.youtube.com/user/cant0naa

 

Emil Aybinder is born in Bassarabia (the ‘Republic of Moldova’) in 1949, and lives in Israel since 1990. He founded the accordion section at the Jerusalem Academy of Music and Dance and created the the Ensemble for Folklore Music at the Academy. His repertory is broad, the focus is on Balkans (and especially Romanian) music, but the two records I bought show him approaching beautifully the French and Latino-American sounds as well. He is playing with virtuosity and passion, his stature on stage is remarkable, while his eyes search permanently the reaction, the sparks and the joy from the audience, from which he seems to extract the energy to do more and more music.

 

(video source tomcohen1)

 


(video source paulviolino)

 

(video source cant0naa)

 

Here are a few of the Romanian-inspired songs I found on youTube.

Emil’s Web site can be accessed at http://www.aybinder.com/.

O noua secventa din amintirile doctorului Gica Manescu este legata de data aceasta de muzica si muzicieni.

———-

Am cunoscut direct pe unii dintre muzicieni sau le-am cunoscut exercitarea profesiunii, in domeniul artei.

 

(video source professorgheorghe)

 

Pe Theodor Rogalski, mai mult compozitor, dar pe sotia lui ca un oaspete la castelul Pelisor, transformat in Casa de creatie si odihna penru artisti, scriitori si ziaristi. Prin sotia mea, ziarista la “Agerpres “, am obtinut aprobarile. De vreo doua ori, am intalnit-o pe doamna  Rogalsky cu care facusem cunostinta. Langa camera noastra de la etajul I, era o use ingusta si o scarita in spirala, care ducea la o bisericuta si o camera de locuit. Era locul ei de cazare. Nu am vazut-o intre altii, tacuta si retrasa. O seriozitate pe figura ei. Am luat-o ca atare, fara importanta.

(video source c0gnate)
Cand s-a deschis Sala de concerte a Radiodifuziunii am fost si acolo printre amatorii de muzica si am admirat talentul dirijorului Iosif Conta. In fragmentul de mai sus Conta dirijeaza Poema Romana a lui George Enescu cu orchestra Radioteleviziunii romane.

Pe compozitorul Anatol Vieru, l-am cunoscut din timpul studentiei mele iesene si a adolescentei lui. Elev silitor si muncitor, scolit si in URRS de unde a revenit nu numai cu  diploma, dar si sotia.
source http://reddoorbythebeach.wordpress.com/category/choral-music/
Am plecat  in Germania nu “ democrata “-  comunista, ci “ federala “- capitalista, in anul 1971. Nu pot cere nici un ban inapoi, ca n-am platit noi. Mama socrului meu, evreica de origine germana, decedata, avea familie revenita acolo, la Dusseldorf , capitala districtului – Land- de multi ani si care a vrut reunficarea si ne-a adus. Eu am fost “atasat “  sotiei mele. Am locuit si profesat intr-un oras de 20 mii locuitori, la 20 Km. de capitala. Intr-un spital, in sectia de chirurgie generala si apoi, medic privat, al unei Case de Asigurari  medicale, pentru cei are ii apartineau. Stimat de colegi, vecini, pacienti si autoritati, am avut viata cu munca de raspundere si greutatile limbii. Nu m-am plans, am muncit, invatat si am reusit.

Seful sectiei culturale al Primariei, neamt din Timisoara, s-a imprietenit cu noi. Ne-a anuntat ca in curand soseste in turneu, Filarmonica din Cluj avand ca solist pe renumitul viorist, Stefan Ruha. Am cumparat doua bilete. Sala de festivitati a orasului era plina si am dat si de cativa imigranti (fugiti, ramasi), din Romania. Concertul pentru vioara de Beethoven a fost executat si acompaniat cu maestrie.  Aplauzele au fost meritate. In pauza, am putut intra in camera de odihna, din dosul scenei cu amicul, si am invitat ca dupa concert, la noi acasa, sa ciocnim un  pahar cu solistul, dirijorul, si 2-3 din ansamblu. Ruha a intors capul catre un tovaras -mi-am dat seama ca e securistul insotitor – si a refuzat invitatia cu un motiv neserios. Aveau a doua zi, concert in alt oras din apropiere. Un autobuz pentru ei si camere de hotel,rezervate. Ne-am despartit cu strangeri de maini, am ascultat partea a doua si ne-am intors singuri.

(video source vonMelas)
Relativ la Ionel Perlea, am aflat ca a dirijat ani multi, Orchestra Sinfonica din Bamberg. E una renumita, dintre cele germane. Am fost acolo, dar fara sa ma interesez de muzica. Asezare foarte pitoreasca. Un rau, strabate centrul.
Aici se termina povestirea.

I have written a few weeks ago about Joann Sfar’s film Gainsbourg (Vie Eroique) which I liked a lot. The Arte TV culture channel broadcast several segments dedicated to Gainsbourg 20 years after his death (on March 2, 1991). One of them is one of the concerts in the series that Gainsbourg performed at the Casino de Paris in 1985-1986, filmed by Claude Ventura. Gainsbourg was in the 80s at the top of his creative power as a musician (and this concert supported by a group of American instrumentalists proves it) but also in the middle of many controversies and so close to the end of his life and career. Luckily, on youTube several sequences of the concert are available.

(video source MarTenSaa)

Love on the Beat opens the concert. It’s taken and bears the same title as the album released by Gainsbourg two years before, where he was experimenting with electronic music and which was including several songs which created controversy because of their lyrics.

(video source ul4d)

The splendid version of Bonnie and Clyde is of a song originally created and sung by Gainsbourg for Brigitte Bardot, at the time of their very publicized relationship.

(video source MarTenSaa)

Initials B.B. belongs to the same album written in 1968 by Gainsbourg for Brigitte Bardot. It was the only music album ever issued by the French super-star.

(video source MarTenSaa)

Which one of the many love relations Gainsbourg had during his stormy and intensely lived life was Sorry Angel about?

Sorry angel
Sorry so
Sorry angel
Sorry so
C'est moi qui t'est suicidée
Mon amour
Je n'en valais pas la peine
Tu sais
Sans moi tu as décidé
Un beau jour
Décidé que tu t'en allais
Sorry angel
Sorry so
Sorry angel
Sorry so
Le compte avait commencé
A rebours
Etait-ce vertige déveine
Qui sait
Un voyage un aller seul
Au long court
D'où l'on ne revient jamais
Sorry angel
Sorry so
Sorry angel

Sorry so
Moi j'aurais tout essayé
Mon amour
C'était vraiment pas la peine
Je sais
Que c'était foutu d'avance
Mon amour
Je n'ai ni remord ni regret
Sorry angel
Sorry so
Sorry angel
Sorry so
C'est moi qui t'est suicidée
Mon amour
Moi qui t'ai ouvert les veines
Je sais
Maintenant tu es avec les anges
Pour toujours
Pour toujours et à jamais
Sorry angel
Sorry so
Sorry angel
Sorry so

[ From: http://www.elyrics.net/read/s/serge-gainsbourg-lyrics/sorry-angel-lyrics.html]

Imi plac programele de vara ale canalului franco-german de televiziune ARTE. Este acolo cineva in directia de programe care are aceleasi gusturi muzicale ca mine, care este fascinat de perioada muzicala a anilor 60, cea in care mi-am format gustul muzical cu urechea lipita de radioul din care se auzea vocea lui Cornel Chiriac si muzica pe care acesta o dezvaluia tinerilor din Romania acelor vremuri. Impreuna cu alte perle cum ar fi documentare despre Janis Joplin sau festivalurile pe insula Wight, am vazut acum documentarul lui Philip Priestley despre The British Blues Explosion.

http://www.youtube.com/watch?v=A1FK620bS7A

(video source Radge1965)

Cumpana deceniilor 50 si 60 a insemnat o perioada de schimbare in viata Angliei. Daca anii 50 sunt dominati inca de greutatile perioadei postbelice si ale generatiei care a trecut razboiul, la inceputul anilor 60 se aproprie de maturitate o noua generatie care nu cunoscuse ororile si rigorile celor traite de parinti si care isi cauta identitatea si mijloacele de exprese. Una dintre sursele de inspiratie este muzica americana, in special rock si blues. Mari blusmen cum ar fi Howlin’ Wolf ajung in turneu in Anglia. In sala in care canta acesta s-a aflat in una dintre seri si un tanar pe nume Brian Jones. Greu de crezut pentru cine cunoaste Londra cosmopolita de astazi ca la inceputul anilor 60 existau doar doua magazine de muzica in capitala engleza care importau discuri cu muzica de blues sau jazz americana, si ca daca intalneai un adolescent intr-o statie de metro cu un disc de blues sub brat sanse bune era ca el sa fie Mick Jagger (asa s-au cunoscut zice filmul Brian Jones si Jagger, restul este istorie, adica istoria lui Rolling Stones).

http://www.youtube.com/watch?v=mmdPQp6Jcdk

(video source Hamish500000)

Influentele nu intarzie sa se vada. De la muzica comerciala grupurile de foarte tineri muzicieni englezi evolueaza spre repertoriul american. Iata-i pe The Animals preluand House of the Rising Sun.

(video source mariomartino82)

In anii 62-63 grupurile engleze care se orienteaza spre blues devin din ce in ce mai populare, incep sa domine scena cluburilor londoneze si sa faca turnee in toata Anglia. Se impun nu numai prin muzica, dar si printr-un stil de viata, vestimentatie, tunsoare care devin emblematice pentru intreaga lor generatie. Printre cele mai interesante grupuri ale perioadei se afla The Yardbirds, unde canta succesiv Eric Clapton, si apoi Jeff Beck si Jimmy Page.

(video source johngpayne)

Au fost desigur multe formatii interesante rivalitatea cea mai pronuntata a epocii este fara indoiala cea dintre Beatles si Rolling Stones. In iarna dintre 1962 si 1963 Beatles devin deja celebri, in timp ce Stonesii pregatesc in apartamentul din Chelsea al lui Brian Jones campania care in jumatate de an avea sa-i aduca la varful piramidei. Un an mai tarziu Rolling Stones pleaca in turneu in Statele Unite, dar si aici Beatlesii ii devansasera cu cateva luni. Valul de popularitate al rock-ului si blues-ului englez cucereste America, si paradoxal readuce in atentia publicului alb de pe noul continent muzica originala a negrilor care era marginalizata intr-o nisa in America inca incomplet segregata. Formatii precum The Animals folosesc ocazia turneelor lor pentru a-i cauta in orasele indepartate pe adevaratii si originalii bluesmen, pentru a invata de la ei si pentru a canta impreuna cu ei. Se poate spune ca revolutia muzicala engleza, a carei origini stau in blues-ul american se intoarce in America si contribuie la revolutia nu numai muzicala dar si sociala americana din a doua parte a anilor 60.

http://www.youtube.com/watch?v=pzAEtLPSzRg

(video source hitomi1968)

Ultima secventa a filmului preia un fragment din concertul din Hyde Park al Rolling Stones-ilor din 1969. Multe se intamplasera cu Stones, printre care moartea tragica cu numai cateva zile in urma a fondatorului formatiei Brian Jones. Multe se intamplasera si in muzica si cultura intregii lumi. Generatia adolescentilor de la inceputul deceniilor isi impusese stilul muzical si de viata. Libertatea lor in a face muzica a germinat dorinta de libertate si schimbare sociala a generatiei de pe baricadele lui 1968 la Paris, Chicago si Praga. Muzica se schimbase si lumea se schimbase in urma ei.