To emphasize the beauty of these shots taken for The Times Fashion Magazine Australia I decided to play the Consolation No. 2 by Franz Liszt.
A special thanks to all the team at both Melbourne and in Milan for the backstage!
Now I leave you a few notes about the author:
Life in a romance:
Liszt gained renown in Europe during the early nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age, and in the 1840s he was considered by some to be perhaps the greatest pianist of all time. Liszt was also a well-known and influential composer, piano teacher and conductor. He was a benefactor to other composers, including Richard Wagner,Hector Berlioz ,Camille Saint–Saens, Edvard Grieg and Alexander Borodin.
As a composer, Liszt was one of the most prominent representatives of the “Neudeutsche Schule” (“New German School”). He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem , developing the concept of thematic transformation as part of his experiments in music form and making radical departures in harmony. He also played an important role in popularizing a wide array of music by transcribing it for piano.
Liszt was a prolific composer. He is best known for his piano music, but he wrote extensively for many media. Because of his background as a technical piano virtuoso, Liszt’s piano works are often marked by their difficulty. Liszt is very well known as a programmatic composer, or an individual who bases his compositional ideas in extra-musical things such as a poetry or painting. Liszt is credited with the creation of the symphonic poem , which is a programmatic orchestral work that generally consists of a single movement.
Liszt’s compositional style delved deeply into issues of unity both within and across movements. For this reason, in his most famous and virtuosic works, he is an archetypal Romantic composer. Liszt pioneered the technique of thematic transformation, a method of development which was related to both the existing variation technique and to the new use of the Leitmotif by Richard Wagner .
The largest and best-known portion of Liszt’s music is his original piano work. His thoroughly revised masterwork, ” Années de pèleringe”" (“Years of Pilgrimage”) includes arguably his most provocative and stirring pieces. This set of three suites ranges from the virtuosity of the Suisse Orage (Storm) to the subtle and imaginative visualizations of artworks by Michelangelo and Raphael in the second set. “Années” contains some pieces which are loose transcriptions of Liszt’s own earlier compositions; the first “year” recreates his early pieces of “Album d’un voyageur”, while the second book includes a resetting of his own song transcriptions once separately published as “Tre sonetti di Petrarca” (“Three sonnets of Petrarch”). The relative obscurity of the vast majority of his works may be explained by the immense number of pieces he composed, and the level of technical difficulty which was present in much of his composition.
Liszt’s piano works are usually divided into two categories. On the one hand, there are “original works”, and on the other hand “transcriptions”, “paraphrases” or “fantasies” on works by other composers. Examples for the first category are works such as the piece Harmonies poétiques et religeuses of May 1833 and the Piano Sonata in B minor (1853). Liszt’s transcriptions of Schubert songs, his fantasies on operatic melodies, and his piano arrangements of symphonies by Berlioz and Beethoven are examples from the second category. As special case, Liszt also made piano arrangements of his own instrumental and vocal works. Examples of this kind are the arrangement of the second movement “Gretchen” of his Fausta Symphony and the first “Mephisto Waltz” as well as the “Liebestraume” No. 3″ and the two volumes of his “Buch der Lieder”.
Still in 1850 , Liszt composed the six Consolations , inspired by the eponymous poem by Charles -Augustin Sainte- Beuve , a collection of twenty poems , intimate confidences imbued with the Christian spirit , but also dominated by a dark sense of sin : everything you married well with the contrasting religious and literary inclinations of Liszt, with his desire to indulge in an intimate , private , full of piety , in a sense analogous to that which had traveled leHarmonies poétiques et religieuses . Even the Consolation n . 3 in D flat major , Lento placido , and the n°2 are like the other songs on this recording is modeled on a single musical idea : a long and expressive melody instruments inserted into a piano as simple as magic , which resonates simultaneously three registers of the keyboard . Even the Consolation # 4 is in the key of D flat : Almost a slow – Cantabile with devotion , creep , ceremonious , the aura of mystical contemplation .
The Australia Times Fashion Magazine
Photographer: Jess Abby
Fashion Editor: Christine Assirvade
Special thanks to Alberto Collini: video editor
by Brooke Bremen
Directed by Nadia Tass
With Kate Cole, Brett Cousins & Emily Milledge
Lighting Designer Jason Bovaird
Set Designers Andrew Bellchambers & Jacob Battista
Sound Designers Russell Goldsmith & Daniel Nixon
Costume Designer Rebecca Dunn
Production Manager Clare Springett
Stage Manager Rebekah Gibbs
New York, an erotic encounter, and the urgency of the forbidden.
A searing excavation of love and family, Out of the Water delves to the depths of personal loneliness and questions our primal hunger for intimacy.
Nadia Tass (born 1956) is a film director, producer and actress, originally from Florina,Macedonia, northern Greece, who moved to Australia in the 1960s. She began her career as an actress appearing in the television series Prisoners. Tass has developed into one of Australia’s most respected and unique filmmakers with her films being responsible for twenty-three Australian Film Institute (AFI) nominations, while garnering eight wins including Best Film and Best Director. She has also directed plays in Australia including Miss Bosnia, Cosiand Summer of the Aliens.
Nadia Tass is married to fellow Australian director David Parker.
Nadia Tass directs Out of the Water by Brooke Berman, the first play in Red Stitch’s 2014 season. It’s a world premiere for Berman’s play — a story about family and Manhattan — and a much anticipated return for Tass, a veteran of film and theatre, who last worked with the company in 2012, directing a remarkable production of the The Aliens.
Hi Nadia, where did you first come across this play?
I read it! It was in a batch of plays I read, and this was one I connected with. It does what theatre is meant to do: hold up a mirror and show us how we are living, identify our needs and ask the right questions about our world and our needs as human beings.
And what made you think of Red Stitch for this play?
Red Stitch provides a platform to focus on the work with actors who can do the work. It is not about anything else but the quality and focus on what is being scrutinised, evaluated and questioned.
Berman is an up-and-coming New York playwright, and, excitingly, this production will be a world première. This is something of a coup, is it not?
My movie overseas was pushed by two months, and Red Stitch approached me and I told them I wanted to do this specific play, and I could do it in January or February, so they accommodated that and scheduled it into their 2014 season.
What would you say the play is about?
This play is about connection. It’s about human beings connecting with each other. Brooke Berman is an original voice, her work is infused with individuals in most intriguing situations that behave in a most surprising and unpredictable way, yet reveal an intimate aspect of the human condition. With Out of the Water she reveals a need for intimacy and deep connection as a human necessity. On the surface, we appear to belong and to be functioning seemingly well, yet at the deepest level, there is a craving and desperation for connection in contemporary relationships.
Out of the Water stars Kate Cole, Brett Cousins and Emily Milledge and opens at Red Stitch on 5 Febrauary. There will be a Q&A with the cast after the 20 February show.
(Very soon a special interview with Daniel!)
Touring internationally since 2008, Play Me, I’m Yours is an artwork by artist Luke Jerram. When the project goes live in Melbourne, more than 1050 pianos will have been installed in 38 cities across the globe, bearing the simple invitation Play Me, I’m Yours. The project has reached more than four million people worldwide.
Arts Centre Melbourne is presenting Play Me, I’m Yours in Melbourne from 9 – 27 January 2014 as part of the Betty Amsden Participation Program. Decorated by local community artists and located in public spaces at Arts Centre Melbourne, the CBD and surrounds, 24 street pianos are available for anyone to play and enjoy.
This website has been set up for you to post and share your films, photos and stories about the pianos. While documenting each piano’s journey, it connects the pianos and their neighborhoods across the city and acts as a legacy for the artwork. Choose a piano location to post and/or view films, photos, and comments.
After the initiative of the “Piano City Milan” this new experience has led me to Melbourne to play in the midst of the people, and discovering that the piano has the ability to catalyze once again all music lovers!
Thanks to the citizens of Melbourne that have helped me to realize this latest video and all those who participated and who love music and especially the piano, the protagonist of the last two weeks in the entire city of Melbourne.
I’ll be waiting you on my channel to share your thoughts and opinions!