(también, por efecto de una grabaci

(también, por efecto de una grabación más presente) muy realzada, rubricando un primer número impresionante. 'Proteus (Pisces)', vuelve a incidir en esa dinámica, con una diferenciación en Shimizu más acusada entre el pedal sostenuto y unas constelaciones de figuraciones que en la japonesa suenan más juguetonas y enfáticas, además de con reminiscencias de un pianismo que se antoja crucial para entender esta lectura: el de Olivier Messiaen. De nuevo, Shimizu extiende más este número, dejando reverberar el pedal como un segundo plano muy denso y bello. Es ésta una dinámica de planos entre la figuración y la resonancia que se extiende a 'Pastorale (Taurus)', con sus auras flotantes y sus ecos de Debussy. Una vez más, el ataque es en Shimizu más perfilado y dinámicamente regulado, con una presencia muy sólida. Mientras, en 'Crucifixus (Capricorn)' Leng Tan resulta más expresiva al entonar la palabra «Christe», con mayor énfasis y convicción, creando todo un halo resonante en torno a ésta hasta el final del número. Lo mismo podríamos decir de 'The Phantom Gondolier (Scorpio)', puesto que la singapurense resulta más expresiva y acongojante en su recitado, casi un aquelarre espectral, mientras que Shimizu suena un tanto apocada, al igual que sus arpegios con dedal en el arpa, más retraídos que los de Leng Tan: tan violentos y directos. En 'Night-SpellI (Sagitarius)' me convence más el silbido de Alex Nowitz en mode records, de una técnica

結果 (英語) 1:

(Also, the effect of a present recording) greatly enhanced, initialing an impressive first issue. 'Proteus (Pisces)', again stressed that dynamic, with differentiation in more pronounced Shimizu between sostenuto pedal and constellations of figurations in Japanese sound more playful and emphatic plus reminiscent of a pianismo that seems crucial to understand this reading: the Olivier Messiaen. Again, this issue extends Shimizu, leaving the pedal reverberate like a second plane very dense and beautiful. This is a dynamic planes between figuration and extending resonance 'Pastorale (Taurus)', with its floating auras and its echoes of Debussy. Again, the attack is in Shimizu's profile and dynamically regulated, with a very strong presence. While in ' Crucifixus (Capricorn) 'Leng Tan is more expressive to the intoning the word "Christe" with greater emphasis and conviction, creating a whole resonant halo around it until the end of the number. The same could be said of 'The Phantom Gondolier (Scorpio)', since the Singaporean is more expressive and distressing in its recitative, almost spectral coven, while Shimizu sounds somewhat diffident, and the like arpeggios with thimble on the harp , more withdrawn than those of Leng Tan: so violent and direct. In 'Night-SpellI (Sagitarius)' convinces me more than the whistle of Alex Nowitz in record mode, a technique The same could be said of 'The Phantom Gondolier (Scorpio)', since the Singaporean is more expressive and distressing in its recitative, almost spectral coven, while Shimizu sounds somewhat diffident, and the like arpeggios with thimble on the harp , more withdrawn than those of Leng Tan: so violent and direct. In 'Night-SpellI (Sagitarius)' convinces me more than the whistle of Alex Nowitz in record mode, a technique The same could be said of 'The Phantom Gondolier (Scorpio)', since the Singaporean is more expressive and distressing in its recitative, almost spectral coven, while Shimizu sounds somewhat diffident, and the like arpeggios with thimble on the harp , more withdrawn than those of Leng Tan: so violent and direct. In 'Night-SpellI (Sagitarius)' convinces me more than the whistle of Alex Nowitz in record mode, a technique

結果 (英語) 2:

(also, by the effect of a more present recording) very enhanced, rubricing an impressive first number. 'Proteus (Pisces)' once again has an impact on this dynamic, with a more pronounced differentiation in Shimizu between the sostenuto pedal and constellations of figurations that in Japan are more playful and emphatically dreamed, as well as with reminiscences of a pianism that is crucial to understand this reading: that of Olivier Messiaen. Again, Shimizu extends this number further, letting the pedal reverberate as a very dense and beautiful background. This is a dynamic of planes between figuration and resonance that extends to 'Pastorale (Taurus)', with its floating auras and echoes of Debussy. Once again, the attack is in Shimizu more profiled and dynamically regulated, with a very strong presence. Meanwhile, in 'Crucifixus (Capricorn)' Leng Tan is more expressive in chanting the word "Christe", with greater emphasis and conviction, creating a whole resonant halo around it until the end of the issue. The same could be said of 'The Phantom Gondolier (Scorpio)', since the Singaporean is more expressive and agrily in its recitation, almost a spectral coven, while Shimizu sounds a little pooded, just like his arpeggios with thimto on the harp, more retracted than those of Leng Tan: so violent and direct. In 'Night-SpellI (Sagitarius)' I am more convinced by Alex Nowitz's whistle in mode records, from a technique

結果 (英語) 3:

(on the other hand, due to a more current record) was very prominent, initialing the first impressive number. "Proteus (pisses) once again influences this dynamic. In Shimizu, the difference between the eternal pedal and the modeling constellation that sounds more interesting and angry in Japanese is greater. At the same time, I recall a piano that is crucial for understanding this reading: Olivier messiaan's steel piano. Shimizu has once again expanded this number to make the pedals a very dense and beautiful second layer. This is a pattern dynamic, extending between pattern and resonance to the "Taurus," its floating halo and Debussy echo. The attack happened again in Shimizu, where there was a very strong presence, more organized and more active. At the same time, in "cruisus' Leng Tan", the word "Christe" is sung in a more emphatic and firm tone. Before the end of the number, a whole aura of resonance is created around the word. The same is true of "the phantom gondolier (Scorpio)", because Singaporeans are more obvious in Singaporeans' new songs, almost a ghost assembly, while Shimizu's voice is a little far away, and the needle on his harp is clearer than that on Leng Tan's Harp: so violent and direct. In "night" (Sagittarius), "I believe more in Alex Nowitz's whistle on moder records