8/07/2010

あたらしい車

It's been for a while...



Guess what!!
I've got a new car!

It's used actually, but looks brand-new,
only 13,00 miles driven, a small Toyota.
My friends moved to Chicago and I decided to buy their car.
(they gonna have a better car there because of the snow)
Japanse cars are very popular in California,
they don't eat gas a lot.
My old Honda had 155,500 miles
but it's sold in almost instantly befor I ad it.

車を買いました。トヨタのヤリスです。
カリフォルニアでは日本車がいちばん人気です。
もちろんハンドルは左です。
ことしトヨタはいろいろあったけどやっぱり人気です。

今まで乗っていたホンダも、もう15万マイルを超えていたのに
(x1.6でキロになおしてみてください)
しかも木にぶつけて自分でペンキ塗ったから外見がuglyだったのに
すぐ売れました。



日本は猛暑だそうですね。
友人たちから悲鳴が聞こえてきます。
助けてー
と言われるけど、助けられません(-_-;)
ここは快適すぎて、日本の皆さんに申し訳ないです。
昼間はカラッと暑くなって泳いだりできますが、
朝晩は軽井沢のように涼しくてよく眠れます。
うちエアコンないけどまったく困りません

Take care for the rest of summer...
Stay in cool!

Ronan Magill


SUBTLE ARTISTRY

Ronan Magill's recital at London's Wigmore Hall
impresses ROBERT ANDERSON

Whatever else is going on in the mosaic that adorns the platform at the Wigmore Hall, I reckon the central figure is Apollo, who had every reason to beam on both player and audience throughout Ronan Magill's piano recital on 22 July 2010. At first sight, the programme seemed almost too varied for comfort. How would Scarlatti sound on a Steinway concert grand? What were Peter Warlock folk-song preludes doing in the midst of cascading keyboard virtuosity? Would the Beethoven 'Waldstein' sonata make much impression at the end of a long evening's music? In the event, everything worked admirably. I have no idea how many manuals Magill thought Scarlatti's harpsichord might have contained; his dynamic range and variety of tone colours suggested a multi-faceted instrument way beyond the knowledge of the eighteenth century. But how wise it was to begin with two sonatas in minor keys. Scarlatti's slants on the more plangent aspects of Spanish musical life are irresistible, and Magill coloured them with a subtle artistry that exploited the full gamut of his powerful keyboard.It was no surprise that at the end of the recital Magill gave three encores. I personally would have preferred the whole of the Schumann Op 14 sonata, of which we were given the variations on a theme by Clara, if only because the same tune launches the work and is hinted at elsewhere. But how happy to be called the Comtesse d'Abegg, whose surname goes straight into music. I would make a comparatively pitiful showing. Schumann actually wrote twice the number of published variations for the Countess. I recommend them to Ronan Magill, who would certainly not find them too virtuosic, which was Schumann's reason for rejecting them. Warlock scorned Vaughan Williams's treatment of folksong. Instead he is sub-Delian and also very much himself. I shall long remember the final chord of the five pieces, preserved till quietness resolved into silence while we were all breathless with expectation for an interval drink. Fortified for Liszt, who prefaced his Obermann with some of Byron's Childe Harold, we could only admire Magill's evocation of 'the awful Alpine track', and 'the autumn storm-winds', though those are relevant words by Matthew Arnold. And finally the 'Waldstein', brisk and purposeful in the first movement, but wondrously expansive in the Rondo. It made a fine conclusion to a very impressive recital.

Copyright © 24 July 2010 Robert Anderson,
London UK