En 'Cosmic Wind (Libra)', Shimizu d

En 'Cosmic Wind (Libra)', Shimizu define con más timbres y realces los efectos tanto de escobillas como de piano palmeado y percutido, apoyándose, cierto es, en una grabación más presente y nítida. En este número, hasta la japonesa está a la altura de Leng Tan en el recitado, pues aquellos que apenas son susurrados casan más con la general contención de Shimizu en los pasajes vocales. Por lo que a los silbidos en 'Voices from "Corona Borealis" (Aquarius)' se refiere, en la versión de mode records Alex Nowitz suena con mayor vibrato, resonancia en la vastedad del universo y humanidad, mientras que Akiko Shibata es de una perfección más robótica, pareciendo una onda Martenot. El acompañamiento pianístico es soberbio en Shimizu, con sus percusiones y rascados del bastidor, si bien el agudísimo silbido de Shibata por momentos nos perforará los oídos con su increíblemente agudo registro. 'Litany of the Galactic Bells (Leo)' es de esas piezas jubilosas e incisivas en las que Shimizu brilla por su gran digitación, mecanismo y concepción de un piano orquestal. Debido al contraste entre agudas constelaciones en el teclado y denso sostenuto en el pedal, volvemos a pensar en Messiaen: en el pianístico y en el organístico, por la doble sonoridad alquitarada por Shimizu con pies y manos.

結果 (英語) 1:

In 'Cosmic Wind (Libra)', Shimizu defines more bells and highlights the effects of both brushes as webbed and percutido piano, leaning, it is true, in a present and clear recording. In this issue, until the Japanese it is up to Leng Tan on the recitation, for those who are just Whispered marrying the overall containment of Shimizu in the vocal passages. As the whistles' Voices from "Corona Borealis" (Aquarius) refers, in the version of record mode Alex Nowitz sounds more vibrato, resonance in the vastness of the universe and humanity, while Akiko Shibata is a more robotic perfection, looking like a wave Martenot. The piano accompaniment is superb in Shimizu, with percussion and scrapes of the frame, although the shrill whistle of Shibata at times we pierce ears with his sharp incredibly record. 'Litany of the Galactic Bells (Leo)' is one of those jubilant pieces and incisive in which Shimizu conspicuous by its great fingering, mechanism and design of an orchestral piano. Because of the sharp contrast between constellations on the keyboard and dense sostenuto pedal, we think back to Messiaen: in the pianistic and the organistic, by the double loudness alquitarada by Shimizu with hands and feet.

結果 (英語) 2:

In 'Cosmic Wind (Libra)', Shimizu defines with more timbres and enhancements the effects of both brushes and palmed and percussive piano, leaning, true, in a more present and sharp recording. In this issue, even the Japanese one is at the height of Leng Tan in the recitation, for those who are barely whispered marry more with the general containment of Shimizu in the vocal passages. As far as whistles in 'Voices from 'Corona Borealis' (Aquarius) mean, in the mode records version Alex Nowitz sounds with greater vibrato, resonance in the vastness of the universe and humanity, while Akiko Shibata is of a more robotic perfection, looking like a Martenot wave. The piano accompaniment is superb in Shimizu, with its percussions and scratches of the frame, although the sharp hiss of Shibata at times will pierce our ears with its incredibly sharp register. 'Litany of the Galactic Bells (Leo)' is one of those jubilant and incisive pieces in which Shimizu shines through his great fingering, mechanism and conception of an orchestral piano. Due to the contrast between sharp constellations on the keyboard and dense support on the pedal, we rethink Messiaen: in the pianistic and the organistic, for the double loudness carried by Shimizu with feet and hands.

結果 (英語) 3:

In "Cosmo wind (LB)", Shimizu defines the effect of broomsticks and palm beach and Prozac pianos with higher timbre and authenticity, which is based on a clearer and more lively recording. In this number, even the Japanese are higher than the rest of the world, because those who whisper are more willing to speak to general Shimizu in vowels. As for the whistles in "Aquarius from the north", he refers to mode records Alex Nowitz's voice is more oscillatory and resonates in the vastness of the universe and human nature, while Akiko Shibata is a more mechanical perfection, which seems to be a kind of mardonopo. The piano accompaniment on the island is very beautiful. There is playing and shaving in the background. Although Shibata sometimes makes us deaf, his record is incredible. Litani of galadribel (LEO) is one of Shimizu's joyful and delicate works with outstanding personality, mechanism and chord design. Because of the contrast between the sharp constellation on the keyboard and the density on the foot, we think again of messiaan: Piano and organ, tuned by Shimizu's foot and hand.