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Piano Street Magazine:
The Memories of a Piano - 80 Years After the Atomic Bomb

"Akiko's piano" survived the atomic bombing of Hiroshima and has featured in concert performances, films, and special events, conveying its message of peace. Now, 80 years after the bomb killed its owner, it has also participated in the Hiroshima premiere of the play Borrowed Landscape. Read more

Topic: Truth about Bach vs Mozart.  (Read 1894 times)

Offline jakev2.0

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Truth about Bach vs Mozart.
on: August 07, 2006, 07:40:54 AM
  ;D

Offline m1469

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Re: Truth about Bach vs Mozart.
Reply #1 on: August 07, 2006, 08:07:28 AM
LOL... that's funny  :D
Not that I altogether like the message  >:( 
but funny stuff all the same  :D
"The greatest thing in this world is not so much where we are, but in what direction we are moving"  ~Oliver Wendell Holmes

Offline jakev2.0

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Re: Truth about Bach vs Mozart.
Reply #2 on: August 07, 2006, 08:16:06 AM
Heh, it could just have easily been the exact opposite.  ;)

Offline brewtality

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Re: Truth about Bach vs Mozart.
Reply #3 on: August 07, 2006, 08:24:36 AM
Bach boned his woman so much that she died. Now that is hardcore  8)

Offline jas

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Re: Truth about Bach vs Mozart.
Reply #4 on: August 07, 2006, 02:55:31 PM
;D Funny. But I think Bach was more hardcore. Didn't he try to knife one of his students once? And he had about 8,000 kids.

Offline BoliverAllmon

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Re: Truth about Bach vs Mozart.
Reply #5 on: August 08, 2006, 04:21:19 AM
;D Funny. But I think Bach was more hardcore. Didn't he try to knife one of his students once? And he had about 8,000 kids.

a bassoon player

Offline alwaystheangel

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Re: Truth about Bach vs Mozart.
Reply #6 on: August 08, 2006, 04:40:00 AM
I think the creator of this little "public awareness campaign" was likely practicing Bach and realized how friggin hard to play it is and got pissed!
"True friends stab you in the front."      -Oscar Wilde
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Toward the Flame: Boris Petrushansky’s Journey Through Scriabin’s Universe

Alexander Scriabin died in April 1915, at forty-three, of a fever that took him within a week — leaving his great mystical project unfinished. He left behind a piano language no one had spoken before, one that a century later still questions every interpreter who approaches it. Boris Petrushansky has spent a lifetime preparing his answer. In a new album and an extended conversation with Piano Street, he traces Scriabin’s path from the early Preludes to the final, shattering Op. 74. Read more
 

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