Λίγες εταιρίες έχουν τη λάμψη της Deutsche Grammophon. Στην υπερ-αιωνόβια ζωή της η Γερμανική εταιρία έγινε σχεδόν συνώνυμη της ηχογραφημένης κλασσικής μουσικής, αποτυπώνοντας σε βινύλιο, CD ή ψηφιακά τα μεγαλύτερα ονόματα του κλασσικού στερεόματος. Το γνωστό κίτρινο σήμα της αποτελούσα πάντα πιστήριο ποιότητας, για πολλούς λόγο αγοράς και σπάνια απογοήτευε τους θαυμαστές της.

Διαβάζω λοιπόν με πολύ χαρά ότι μόλις κυκλοφόρησαν μια σειρά από συλλογές από τον κυριολεκτικά ανεξάντλητο κατάλογό της. Υπάρχει η “μικρή” κίτρινη με τα βασικά, αλλά η πραγματικά συναρπαστική είναι η “μεγάλη” κόκκινη (55 cd συνολικά). Εκεί θα βρείτε τα πράγματα με τα οποία μεγαλώσαμε: Karajan, Bernstein, Barenboim, Argerich, κτλ. Αυτό το box set περιέχει ολόκληρη την ιστορία της κλασσικής ηχογράφησης και αξίζει να το αποκτήσετε χωρίς δεύτερη κουβέντα!

Review

In the world of classical music, Deutsche Grammophon’s Yellow Label has long been acknowl-edged as a symbol of high quality, and it still is today. My own relationship with the company, although not exclusive, has been an extremely productive one, and it has been going on for about forty percent of Deutsche Grammo­phon’s 111-year history! Plácido Domingo

My earliest musical memories are my mother playing the piano and the sounds from my parents’ record collection. Those records, mainly Deutsche Grammophon LPs, were both my conserva-tory and the gates to a magic world of possibility in sound and drama. When listening to them as a child growing up in a small town in Argentina in the 1960s, I was in the house, in the world, but in another world as well. This form of ritual listening has changed with the new technologies, but I will cherish it forever, as a key experience of my early life and one that also shaped me as an adult. I feel profoundly grateful for those memories, and honoured to have my music now part of the DG world. Osvaldo Golijov

What makes DG such a special record company? It’s much more than an impressive history, tradition and catalogue. It’s the people at the label who carry the torch into the future and make up a real family and creative home for so many of today’s musicians. Everyone in this team im-plements a strong and courageous vision with total dedication and energy – not only physical and mental, but often emotional as well. For that is truly what makes the difference: they engage their hearts to create a fertile and inspiring environment for us musicians. Congratulations on this remarkable anniversary and many happy returns. Hélène Grimaud

It is a great honour for me to join DG’s family of exceptional musicians and singers, and to be part of a label which has an extremely rich history and tradition. For me, DG is also a testimony of past and future generations and I would like to carry on this tradition. Patricia Petibon

Since I came to Deutsche Grammophon, my life has been one exciting musical challenge after another. And my record company is always by my side to capture every moment for listeners and viewers everywhere. Thank you, DG, and Happy Birthday! Anna Netrebko

Deutsche Grammophon has given me and the Simón Bolívar Youth Orchestra of Venezuela incredible opportunities and encouragement. Thank you, DG, and congratulations on another milestone anniversary. Gustavo Dudamel

Deutsche Grammophon represents a wonderful tradition of making timeless music accessible to many people and preserving great interpretations for future generations. I admire DG because both of these things are of paramount importance to me as a musician and as a human being. In its 111 years Deutsche Grammophon managed to find unique synergy between the traditional and the new. I felt this very strongly in all our col­laborations. I salute this amazing label and wish its team continued success and inspiration. Lang Lang

I have recorded for Deutsche Grammophon for nearly 40 years. During this time we have docu­mented a large part of my repertoire, including major works of contemporary music. I have always found the greatest professionalism in the people who collaborate with me – from executives to recording producers and technicians. I shall always be grateful to Deutsche Grammophon for enabling me to work under the best imaginable conditions. Deutsche Grammophon Gesellschaft in all these years has played a highly important role in producing discs which, along with the most famous titles, also include important works that are not so popular – with a strong presence in chamber and early as well as contemporary music. In the difficult current situation, nearly all the recording companies and concert organizations find themselves confronted with an awkward decision: should they take the easier, more com-mercial path, based on easily marketable works? In my view, that would be a great mistake. My wish is that the all-important role of these institutions in making all music available will con-tinue in the future. I am convinced that despite the difficulties in the long run that would be the more fortunate choice. Maurizio Pollini

My father worked in a recording company when I was a boy, and he used to bring a lot of LPs to our house. He brought mostly recordings from the label he was working with (CBS), but some-times also some from other labels and whenever he brought home a DG album, it somehow seemed to me that it “weighed” more. What made it heavier? Tradition, quality, art – and some¬thing else that I was not able to explain then. I felt that what I held in my hands (and heard in my ears) was not only an LP, but an artistic object, a little treasure. The same elements that gave weight to LPs then continue to be present in the CD of today, but DG has also been alert and dynamic, and reacted to the challenges of modernity. It remains the label with the oldest and best tradition, but is also the most modern classical label. Being part of DG is a big responsibil-ity and has allowed me to understand that other element I could not explain as a child: What makes DG the label it is, are the people working there. All of them are knowledgeable, passion-ate, adventurous and full of enthusiasm. To all of those who have built the great yellow label in these 111 years I say “Congratulations”, and to all of you whom I am lucky to work with I say, from the bottom of my heart: Thank you! Rolando Villazón

To me, Deutsche Grammophon represents a record company that is the reference standard for classical music, so it meant a great deal to me when at the age of 40 I first signed with them. To be accepted by that family of musicians gave me a very good feeling. My best reminiscences of DG have to include recording the Schumann Concerto with Claudio Ab-bado. That was very special. Another special moment was when I signed my first contract in the old Vienna office with Aman Pedersen, and I still think very fondly of the first meeting I ever had with Dr. Andreas Holschneider, and how he impressed me with his culture and vast knowledge. The quality of the recordings on the DG label is always very high indeed. The expertise of the recording teams I have worked with has always been of the very highest order, and I have had the good fortune of working with the same Tonmeister (Helmut Burk) on most of my records. DG has always provided excellent conditions in which to work (something not always found in the recording business), and I am most appre­ciative for the support and understanding I have received from the company during the many years of our collaboration. Maria João Pires

Deutsche Grammophon for me has always meant a guarantee of quality. Now it’s also a musical family I feel very close to, with the finest artists and the top professionals in the recording busi-ness. If you work with only the best, then the results are bound to be the best. Elīna Garanča

Deutsche Grammophon and I have had a wonderful working relationship for close to two dec-ades. No label could be more open to its artists’ wishes, and for me that’s meant doing a huge variety of repertoire. When I was keen to make a Wagner disc with Claudio [Abbado] and the Berlin Phil, DG was only too happy to make that possible. And when I wanted to do an album of Lerner and Loewe, they were with me all the way. One couldn’t ask for more. I look forward to many more years of this rewarding collabora­tion and wish Deutsche Grammophon all the best on its anniversary. Bryn Terfel

With Deutsche Grammophon I have at my disposal the finest recording engineers and an artistic team that perfectly understands my musical intentions – in short, Deutsche Grammophon and I speak the same language. Herbert von Karajan (1968)

Deutsche Grammophon represents to me – and to the music industry – an ideal platform for “re-cording” in the classical sense of the word as well as a constant source of fresh ideas in new pro-ductions. May these qualities continue to distinguish the label and ensure its illustrious reputation! Dietrich Fischer-Dieskau

Deutsche Grammophon for me has always been the outstanding label in classical music. So it was a dream come true when, after recording Mahler’s “Des Knaben Wunderhorn” with Claudio Ab-bado and the Berliner Philharmoniker, I was offered an exclusive contract. Ten years have passed since then. During this time I’ve even had the opportunity to make a jazz album for the classical label Deutsche Grammophon, and that’s been a special source of joy and great pride. Thomas Quasthoff

It has been a pleasure to have collaborated with Deutsche Grammophon since 1967. From the start, this experience has been enjoyable: imagine what it’s like to begin one’s relationship by recording the Prokofiev and Ravel piano con­certos with Martha Argerich and the Berliner Philharmoniker! And now, for more than forty years, we have maintained this outstanding rela-tionship – based on common aesthetic, artistic, and technical aims. During these four decades, Deutsche Grammophon committed itself to make great recordings with Beethoven, Brahms, Mahler, and Schubert cycles – as well as Mozart’s major operas. It is a wonderful opportunity for an artist to record for DG, not only because of its unparalleled history but for its artistic ex-cellence. I’ve witnessed its continual support for both musicians and for outstanding orchestras like the Berliner Philharmoniker, as well as for new orchestras such as the Mozart Orchestra with which we have recently recorded Mozart’s late symphonies and Pergolesi’s sacred master-works — I have deeply enjoyed working with such passionate professionals, devoted to their cause and sharing common ambitions to serve music, musicians, and repertoire. Happy anniversary, Deutsche Grammophon, Claudio Abbado

Since the recording of my first “Parsifal”, in 1970, DG has played a central role in the preser-vation, promotion and distribution of my interpretations. With all my best wishes for your con-tinued success. Pierre Boulez

It is so rewarding to collaborate artistically with a company that has such a legacy of mutual respect and understanding with its artists. I have enjoyed every minute of my part in that legacy, and I’m honoured to be connected with the company’s illustrious name. May Deutsche Gram-mophon flourish another 111 – or 222 or 333! – years to continue to make history. Hilary Hahn

There are not many of us lucky artists of my generation who were given the extraordi­nary chance to get married to a major recording label so young. Over the years making recordings has become an essential part of my work. I am grateful for any soul who – surely feeling from time to time like Don Quixote – cares and battles for classical ­music and its future. Thank you to every one who makes these unique and special experiences happen. Happy anniversary! Magdalena Kozená

Even before we became Deutsche Grammophon artists in 1987, and in the 22 years since, we have always thought of DG as the pinnacle of achievement in the classical recording industry. We were thrilled when we learned of the company’s interest in us; it was an honour to be in-cluded among the legendary musicians on its roster. Having recorded a great deal of the mag-nificent string quartet repertoire, and quintets with such artists as Mstislav Rostropovich, Me-nahem Pressler and Leon Fleisher, we feel that our relationship with DG has represented a major part of our career and will form an even greater part of our legacy. Eugene Drucker, for the Emerson String Quartet

I have had a great 15 years working with Deutsche Grammophon, starting from “early” early music and ending up with many of the classics of the oratorio tradition. DG has always been an artistic family; and I was honoured and privileged to be a part of it and to follow such a great legacy of fantastic musicians in history. Paul McCreesh

Deutsche Grammophon represents to me a fine team of people which, despite turbulent market times, is committed to producing core classical music documents of uncompromised quality. Deutsche Grammophon is now a great partner in my musical life. Vadim Repin

I’ve been a professional musician for over three decades now, and I thought there were few dreams left unrealized, but when I saw the first Deutsche Grammophon release of my own works it felt like some kind of milestone. To have one’s own music alongside the old masters on a label committed to the best is an awesome and somewhat scary privilege. Esa-Pekka Salonen

I came to Deutsche Grammophon with totally different projects from anything I’d done before, and the DG team has always given me the freedom to realize them with complete confidence. I’m also honoured that my previous recital discs have all been reissued by this prestigious label and integrated into its catalogue for worldwide release. Deutsche Grammophon continues to re-spond to and support my aspirations. Roberto Alagna

It is so rewarding to collaborate artistically with a company that has such a legacy of mutual respect and understanding with its artists. I have enjoyed every minute of my part in that legacy, and I’m honoured to be connected with the company’s illustrious name. It is a surprising fact that the Amadeus Quartet, in its recording history from 1950 until 1987, encompassed, with the exception of course of the pre-electric period, the entire history of recording from the 78s (in-cluding the brief time DG had the 9-minute side) to 33s and finally CDs. I well remember Dr. Steinhausen, who was responsible for the excellent reputation of DG’s superb quality of recording and frequently had us to lunch while we were in Hannover for re-cordings. Now that my three colleagues have all died, and I alone am alive to see the latest celebration of DG, I would like to take this opportunity of wishing DG a further 50 years of success. Martin Lovett (cellist, Amadeus Quartet)

I am happy and grateful to be one of the Deutsche Grammophon artists celebrating 111 years of its history. This 3-digit number is a triple confirmation of the company’s fidelity to classical mu-sic, to its professionalism, and to its willingness to share the beauty of art with millions of music lovers all around the world. I also firmly believe that Deutsche Grammophon’s respect for tradi-tion and never-ending quest for perfection will ensure that these words are still true 111 years from now. Rafał Blechacz

Product Description

There are not a lot of companies with the prestige of Deutsce Grammophon. In its more than 100 years life, the German company became almost synonymous to recorded classical music, pasting in Vinyl, CD or just bits the greatest names of classical stardom. The well-known yellow badge was always a proof of quality, for many the main reason for purchasing and rarely if ever a source of dissapointment.

I’m very happy to read that a new collection has just came out from its vast catalogue. There is the “small” yellow with the basics, but the really good staff in the “big” red (55 cds in total). There you’re going to find the things we grew-up with: Karajan, Bernstein, Barenboim, Argerich, κτλ. This box-set contains the history of classical recording and worths acquiring without a second thought!

Review

In the world of classical music, Deutsche Grammophon’s Yellow Label has long been acknowl-edged as a symbol of high quality, and it still is today. My own relationship with the company, although not exclusive, has been an extremely productive one, and it has been going on for about forty percent of Deutsche Grammo­phon’s 111-year history! Plácido Domingo

My earliest musical memories are my mother playing the piano and the sounds from my parents’ record collection. Those records, mainly Deutsche Grammophon LPs, were both my conserva-tory and the gates to a magic world of possibility in sound and drama. When listening to them as a child growing up in a small town in Argentina in the 1960s, I was in the house, in the world, but in another world as well. This form of ritual listening has changed with the new technologies, but I will cherish it forever, as a key experience of my early life and one that also shaped me as an adult. I feel profoundly grateful for those memories, and honoured to have my music now part of the DG world. Osvaldo Golijov

What makes DG such a special record company? It’s much more than an impressive history, tradition and catalogue. It’s the people at the label who carry the torch into the future and make up a real family and creative home for so many of today’s musicians. Everyone in this team im-plements a strong and courageous vision with total dedication and energy – not only physical and mental, but often emotional as well. For that is truly what makes the difference: they engage their hearts to create a fertile and inspiring environment for us musicians. Congratulations on this remarkable anniversary and many happy returns. Hélène Grimaud

It is a great honour for me to join DG’s family of exceptional musicians and singers, and to be part of a label which has an extremely rich history and tradition. For me, DG is also a testimony of past and future generations and I would like to carry on this tradition. Patricia Petibon

Since I came to Deutsche Grammophon, my life has been one exciting musical challenge after another. And my record company is always by my side to capture every moment for listeners and viewers everywhere. Thank you, DG, and Happy Birthday! Anna Netrebko

Deutsche Grammophon has given me and the Simón Bolívar Youth Orchestra of Venezuela incredible opportunities and encouragement. Thank you, DG, and congratulations on another milestone anniversary. Gustavo Dudamel

Deutsche Grammophon represents a wonderful tradition of making timeless music accessible to many people and preserving great interpretations for future generations. I admire DG because both of these things are of paramount importance to me as a musician and as a human being. In its 111 years Deutsche Grammophon managed to find unique synergy between the traditional and the new. I felt this very strongly in all our col­laborations. I salute this amazing label and wish its team continued success and inspiration. Lang Lang

I have recorded for Deutsche Grammophon for nearly 40 years. During this time we have docu­mented a large part of my repertoire, including major works of contemporary music. I have always found the greatest professionalism in the people who collaborate with me – from executives to recording producers and technicians. I shall always be grateful to Deutsche Grammophon for enabling me to work under the best imaginable conditions. Deutsche Grammophon Gesellschaft in all these years has played a highly important role in producing discs which, along with the most famous titles, also include important works that are not so popular – with a strong presence in chamber and early as well as contemporary music. In the difficult current situation, nearly all the recording companies and concert organizations find themselves confronted with an awkward decision: should they take the easier, more com-mercial path, based on easily marketable works? In my view, that would be a great mistake. My wish is that the all-important role of these institutions in making all music available will con-tinue in the future. I am convinced that despite the difficulties in the long run that would be the more fortunate choice. Maurizio Pollini

My father worked in a recording company when I was a boy, and he used to bring a lot of LPs to our house. He brought mostly recordings from the label he was working with (CBS), but some-times also some from other labels and whenever he brought home a DG album, it somehow seemed to me that it “weighed” more. What made it heavier? Tradition, quality, art – and some¬thing else that I was not able to explain then. I felt that what I held in my hands (and heard in my ears) was not only an LP, but an artistic object, a little treasure. The same elements that gave weight to LPs then continue to be present in the CD of today, but DG has also been alert and dynamic, and reacted to the challenges of modernity. It remains the label with the oldest and best tradition, but is also the most modern classical label. Being part of DG is a big responsibil-ity and has allowed me to understand that other element I could not explain as a child: What makes DG the label it is, are the people working there. All of them are knowledgeable, passion-ate, adventurous and full of enthusiasm. To all of those who have built the great yellow label in these 111 years I say “Congratulations”, and to all of you whom I am lucky to work with I say, from the bottom of my heart: Thank you! Rolando Villazón

To me, Deutsche Grammophon represents a record company that is the reference standard for classical music, so it meant a great deal to me when at the age of 40 I first signed with them. To be accepted by that family of musicians gave me a very good feeling. My best reminiscences of DG have to include recording the Schumann Concerto with Claudio Ab-bado. That was very special. Another special moment was when I signed my first contract in the old Vienna office with Aman Pedersen, and I still think very fondly of the first meeting I ever had with Dr. Andreas Holschneider, and how he impressed me with his culture and vast knowledge. The quality of the recordings on the DG label is always very high indeed. The expertise of the recording teams I have worked with has always been of the very highest order, and I have had the good fortune of working with the same Tonmeister (Helmut Burk) on most of my records. DG has always provided excellent conditions in which to work (something not always found in the recording business), and I am most appre­ciative for the support and understanding I have received from the company during the many years of our collaboration. Maria João Pires

Deutsche Grammophon for me has always meant a guarantee of quality. Now it’s also a musical family I feel very close to, with the finest artists and the top professionals in the recording busi-ness. If you work with only the best, then the results are bound to be the best. Elīna Garanča

Deutsche Grammophon and I have had a wonderful working relationship for close to two dec-ades. No label could be more open to its artists’ wishes, and for me that’s meant doing a huge variety of repertoire. When I was keen to make a Wagner disc with Claudio [Abbado] and the Berlin Phil, DG was only too happy to make that possible. And when I wanted to do an album of Lerner and Loewe, they were with me all the way. One couldn’t ask for more. I look forward to many more years of this rewarding collabora­tion and wish Deutsche Grammophon all the best on its anniversary. Bryn Terfel

With Deutsche Grammophon I have at my disposal the finest recording engineers and an artistic team that perfectly understands my musical intentions – in short, Deutsche Grammophon and I speak the same language. Herbert von Karajan (1968)

Deutsche Grammophon represents to me – and to the music industry – an ideal platform for “re-cording” in the classical sense of the word as well as a constant source of fresh ideas in new pro-ductions. May these qualities continue to distinguish the label and ensure its illustrious reputation! Dietrich Fischer-Dieskau

Deutsche Grammophon for me has always been the outstanding label in classical music. So it was a dream come true when, after recording Mahler’s “Des Knaben Wunderhorn” with Claudio Ab-bado and the Berliner Philharmoniker, I was offered an exclusive contract. Ten years have passed since then. During this time I’ve even had the opportunity to make a jazz album for the classical label Deutsche Grammophon, and that’s been a special source of joy and great pride. Thomas Quasthoff

It has been a pleasure to have collaborated with Deutsche Grammophon since 1967. From the start, this experience has been enjoyable: imagine what it’s like to begin one’s relationship by recording the Prokofiev and Ravel piano con­certos with Martha Argerich and the Berliner Philharmoniker! And now, for more than forty years, we have maintained this outstanding rela-tionship – based on common aesthetic, artistic, and technical aims. During these four decades, Deutsche Grammophon committed itself to make great recordings with Beethoven, Brahms, Mahler, and Schubert cycles – as well as Mozart’s major operas. It is a wonderful opportunity for an artist to record for DG, not only because of its unparalleled history but for its artistic ex-cellence. I’ve witnessed its continual support for both musicians and for outstanding orchestras like the Berliner Philharmoniker, as well as for new orchestras such as the Mozart Orchestra with which we have recently recorded Mozart’s late symphonies and Pergolesi’s sacred master-works — I have deeply enjoyed working with such passionate professionals, devoted to their cause and sharing common ambitions to serve music, musicians, and repertoire. Happy anniversary, Deutsche Grammophon, Claudio Abbado

Since the recording of my first “Parsifal”, in 1970, DG has played a central role in the preser-vation, promotion and distribution of my interpretations. With all my best wishes for your con-tinued success. Pierre Boulez

It is so rewarding to collaborate artistically with a company that has such a legacy of mutual respect and understanding with its artists. I have enjoyed every minute of my part in that legacy, and I’m honoured to be connected with the company’s illustrious name. May Deutsche Gram-mophon flourish another 111 – or 222 or 333! – years to continue to make history. Hilary Hahn

There are not many of us lucky artists of my generation who were given the extraordi­nary chance to get married to a major recording label so young. Over the years making recordings has become an essential part of my work. I am grateful for any soul who – surely feeling from time to time like Don Quixote – cares and battles for classical ­music and its future. Thank you to every one who makes these unique and special experiences happen. Happy anniversary! Magdalena Kozená

Even before we became Deutsche Grammophon artists in 1987, and in the 22 years since, we have always thought of DG as the pinnacle of achievement in the classical recording industry. We were thrilled when we learned of the company’s interest in us; it was an honour to be in-cluded among the legendary musicians on its roster. Having recorded a great deal of the mag-nificent string quartet repertoire, and quintets with such artists as Mstislav Rostropovich, Me-nahem Pressler and Leon Fleisher, we feel that our relationship with DG has represented a major part of our career and will form an even greater part of our legacy. Eugene Drucker, for the Emerson String Quartet

I have had a great 15 years working with Deutsche Grammophon, starting from “early” early music and ending up with many of the classics of the oratorio tradition. DG has always been an artistic family; and I was honoured and privileged to be a part of it and to follow such a great legacy of fantastic musicians in history. Paul McCreesh

Deutsche Grammophon represents to me a fine team of people which, despite turbulent market times, is committed to producing core classical music documents of uncompromised quality. Deutsche Grammophon is now a great partner in my musical life. Vadim Repin

I’ve been a professional musician for over three decades now, and I thought there were few dreams left unrealized, but when I saw the first Deutsche Grammophon release of my own works it felt like some kind of milestone. To have one’s own music alongside the old masters on a label committed to the best is an awesome and somewhat scary privilege. Esa-Pekka Salonen

I came to Deutsche Grammophon with totally different projects from anything I’d done before, and the DG team has always given me the freedom to realize them with complete confidence. I’m also honoured that my previous recital discs have all been reissued by this prestigious label and integrated into its catalogue for worldwide release. Deutsche Grammophon continues to re-spond to and support my aspirations. Roberto Alagna

It is so rewarding to collaborate artistically with a company that has such a legacy of mutual respect and understanding with its artists. I have enjoyed every minute of my part in that legacy, and I’m honoured to be connected with the company’s illustrious name. It is a surprising fact that the Amadeus Quartet, in its recording history from 1950 until 1987, encompassed, with the exception of course of the pre-electric period, the entire history of recording from the 78s (in-cluding the brief time DG had the 9-minute side) to 33s and finally CDs. I well remember Dr. Steinhausen, who was responsible for the excellent reputation of DG’s superb quality of recording and frequently had us to lunch while we were in Hannover for re-cordings. Now that my three colleagues have all died, and I alone am alive to see the latest celebration of DG, I would like to take this opportunity of wishing DG a further 50 years of success. Martin Lovett (cellist, Amadeus Quartet)

I am happy and grateful to be one of the Deutsche Grammophon artists celebrating 111 years of its history. This 3-digit number is a triple confirmation of the company’s fidelity to classical mu-sic, to its professionalism, and to its willingness to share the beauty of art with millions of music lovers all around the world. I also firmly believe that Deutsche Grammophon’s respect for tradi-tion and never-ending quest for perfection will ensure that these words are still true 111 years from now. Rafał Blechacz

Product Description

3 διάσημοι συγγραφείς στην Ελλάδα για να παρουσιάσουν τα καινούργια τους βιβλία, μοναδική ευκαιρία να τους δούμε από κοντά.

Τρεις άνθρωποι που γράφουν, αλλά γράφουν με διαφορετικό τρόπο για τα προβλήματα της σύγχρονης εποχής και της κοινωνίας στην οποία ζουν, που σχολιάζουν την πραγματικότητα με τρόπο δοκιμιακό ή λογοτεχνικό, πάντως αφορμή και έμπνευσή τους είναι ο σύγχρονος άνθρωπος, τα πάθη του και οι αγωνίες του.

-Ο Αλέν ντε Μποτόν θα δώσει διάλεξη στο ξενοδοχείο «Μεγάλη Βρετανία» την Πέμπτη 12 Νοεμβρίου, στις 8 μ.μ. Θα τον παρουσιάσει ο ποιητής και διευθυντής του περιοδικού «Ποιητική» Χάρης Βλαβιανός.

-Ο Ιαν Ράνκιν έρχεται στην Ελλάδα προσκεκλημένος των καταστημάτων Public και θα βρίσκεται στην Αθήνα την Τρίτη 10 Νοεμβρίου, στις 7 μ.μ., στο κεντρικό κατάστημα των Public στο Σύνταγμα, όπου θα έχει μια δημόσια συζήτηση με τον δημοσιογράφο Θανάση Λάλα. Θα συνεχίσει τη διαδρομή του στην Ελλάδα, στον Βόλο (11/11), στη Θεσσαλονίκη (12/11) και στα Ιωάννινα (13/11).

-Ο Τσέχος συγγραφέας Ιβαν Κλίμα θα παρουσιάσει το τελευταίο βιβλίο του που κυκλοφορεί στα ελληνικά την Τρίτη 10 Νοεμβρίου, στις 7 μ.μ. στο Κέντρο Λόγου και Τέχνης (Θεμιστοκλέους 104) και θα συνομιλήσει με τον συγγραφέα Νίκο Κουνενή. Αποσπάσματα από το βιβλίο του θα διαβάσει η ηθοποιός Κατερίνα Διδασκάλου.

(από την Καθημερινή, διαβάστε όλο το άρθρο της Όλγας Σέλλα)

Πως μπορούμε να μπούμε στο μυαλό μιας ιδιοφυίας; Για το θαυμασμό μου για τον Frank Lloyd Wright νομίζω ότι έχω ξαναμιλήσει: είναι διαφορετικό πράγμα να είσαι αρχιτέκτονας και διαφορετικό να αλλάζεις ολοκληρωτικά τον τρόπο που βλέπουμε τα κτήρια γύρω μας. Και όχι δεν είναι θέμα φαντασίας: είναι η δυνατότητα να σκεφτείς εκτός των ορίων που θέτει η ιστορία της τέχνης σου (διάρκειας 3,000 ετών). Πάρτε μια γεύση αυτής της ιδιοφυίας από τα μοντέλα του που εκτίθενται αυτήν την εποχή στο Guggenheim:

Photo tour of the Guggenheim exhibition

ΔΙΑΒΑΣΤΕ ΕΠΙΣΗΣ:
“Η ταραχώδης ζωή του Frank Lloyd Wright”
“Fallingwater by Frank Lloyd Wright”

How can we see through the mind of a genius? For my admiration for Frank Lloyd Wright I have talked before: it’s a different think to be an architect and a different think to change completely the way we see the building around us. No, it’s not a matter of imagination: it’s the ability to think beyond the boundaries that the long history of your art sets (more than 3,000 years). Take a peak inside this mind, from his models that are currently on-display in Guggenheim:

Photo tour of the Guggenheim exhibition

READ ALSO:
“Fallingwater by Frank Lloyd Wright”

Μετά από ένα τέτοιο έργο, τι;

 Ένα καινούργιο λεύκωμα προσπαθεί να αποτυπώσει σε χαρτί και να ερμηνεύσει, το μεγαλύτερο αριστούργημα της δυτικής τέχνης. 

“Αν δεν έχει δει κάποιος την Καπέλα Σιξτίνα δε μπορεί να συλλάβει τι είναι ικανός να κάνει ένας άνθρωπος” λέγεται ότι έχει πει ο Γκαίτε και θα συμφωνήσω απόλυτα. Το μικρό παρεκκλήσι του Βατικανού αποτελεί το αποκορύφωμα της δυτικής τέχνης, ένα εντυπωσιακό, πολύπλοκο, συγκλονιστικό έργο που δεν μπορεί ν’ αφήσει κανένα θεατή ασυγκίνητο. Μέσα στην πεπερασμένη επιφάνεια της οροφής του παρεκκλησιού ο Μιχαήλ Άγγελος κατάφερε να αφηγηθεί συναρπαστικές ιστορίες από τη Βίβλο, δημιουργώντας αξέχαστες μορφές. Και όλα αυτά βέβαια με την τεχνική του fresco (πρην στεγνώσει ο σοφάς) που δεν αφήνει κανένα περιθώριο για σφάλματα. Λίγα παγκόσμια έργα μπορούν να συγκριθούν σε μέγεθος, έμπνευση και καθαρή τεχνική με αυτό (μου έρχονται στο μυαλό οι τοιχογραφίες και τα ψηφιδωτά της Αγίας Σοφίας – η Ανατολική άποψη για το ίδιο θέμα).

Αν έχετε τα χρήματα και τη διάθεση να μπείτε βαθιά αξίζει να δείτε το “Καπέλα Σιξτίνα. Νέα ερμηνευτική προσέγγιση μετά την αποκατάσταση των τοιχογραφιών”, του Henrich W. Pfeiffer που μόλις κυκλοφόρησε από τις εκδόσεις Καπόν και για το οποίο διαβάζω διθυραμβικές κριτικές.

Για 95€ οι διατηρημένες τοιχογραφίες στα χέρια σας , μαζί με αναλύσεις και σχόλια. Το ξεφύλισα και αξίζει τον κόπο… αν και πάλι σκέφτομαι μήπως είναι καλύτερα να ξοδέψετε τα χρήματα για να ταξιδέψετε στη Ρώμη και να τα δείτε όλα αυτά από κοντά.

“Καπέλα Σιξτίνα Νέα ερμηνευτική προσέγγιση μετά την αποκατάσταση των τοιχογραφιών” στον Ελευθερουδάκη

“The Sistin Chapel: A New Vision” in Amazon

ΔΙΑΒΑΣΤΕ ΕΠΙΣΗΣ:
“Το ξεκίνημα του Μιχαήλ Αγγέλου”

A new book is trying to put on-paper and analyze the biggest masterpiece of western art.

“If some hasn’t seen Capella Sistina he cannot conceive what man is capable off”, Ghoethe has said and I agree totally. The small chappel of the Vatican is the top of the western art, an impressive, complex, breathtaking piece of art. Inside the relatively small area of the ceiling, Michellangelo managed to narate amazing stories from the Bible, creating unforgetable scenes. And all this, with the fresco technique, that allows really no margin for error. Not many global works of art can be compared with this size, technique and plain vision (what comes to mind are the Byzantine pictures in the Saint Sophia church in Konstantinople – an eastern view on the subject).

If you have the money and you want to dig deep, it really worths buying “The Sistine Chapel: A New Vision” by Henrich W. Pfeiffer that is enjoying rave reviews. The paintings at your fingertips, along with lots of comments and analysis. I browse through it and really worths the close to $100 tag… although I do believe it’s always better to travel to Rome and see for yourself.

“The Sistin Chapel: A New Vision” in Amazon

READ ALSO:
“Young Michelangelo”

Ο Οδυσσέας Ελύτης φωτογραφημένος από τον Ανδρέα Εμπειρίκο

Ο μεγάλος ποιητής μας μιλάει για το έπος του ‘40: “Κι αν έζησα το θαύμα, σώθηκα από θαύμα”

Από μια συνέντευξη του Οδυσέα Ελύτη στο φοιτητικό περιοδικό “Πανσπουδαστική” με τίτλο “Έζησα το θαύμα της Αλβανίας” το 1965.

— Προσωπικά εσείς, σαν έφεδρος ανθυπολοχαγός, τι κάνατε στον αγώνα; τον ρωτούν.

Τι να έκανα εγώ, ένα χαλασμένο παιδί της Αθήνας. Με κόπο ανυπολόγιστο, κατάφερα να είμαι απλώς συνεπής προς την αποστολή μου. Αλλά είδα στο πρόσωπο των στρατιωτών μου τη λάμψη που είναι ικανός ο Ελληνισμός ν’ αναδύσει όταν πιστεύει στο δίκιο του. Και γνώρισα από πολύ κοντά την αψηφισιά του θανάτου, την ακατάβλητη θέληση της ζωής που έγινε τελικά και δική μου.
Στο μέτωπο, αρρώστησα από βαρύτατο τύφο. Τα νερά που πίναμε, όπου βρίσκαμε, ανάμεσα στα πτώματα των μουλαριών, ήτανε μολυσμένα. Χωρίς να γνωρίζω τι έχω, χρειάστηκε να κάνω τρία μερόνυχτα με τα πόδια κα με ζώο σε βατόδρομο και να διακομισθώ στο Νοσοκομείο Ιωαννίνων.

Έμεινα εκεί σαράντα μέρες με σαράντα πυρετό, ακίνητος, με πάγο στην κοιλιά. Με είχανε αποφασίσει αλλά εγώ δεν είχα αποφασίσει τον εαυτό μου. Θυμάμαι, ότι αρνήθηκα να με μεταφέρουν στο μικρό θάλαμο των ετοιμοθανάτων, όπως κάποιο άλλο βράδυ αρνήθηκα πεισματικά να κοινωνήσω και να εξομολογηθώ στον παπά που μου φέρανε, όταν η κρίση της αρρώστιας έφτασε στο κατακόρυφο. Μόλις αρχίζανε οι βομβαρδισμοί, ανοίγανε το διπλανό μου παράθυρο -μη σπάσουν τα τζάμια και τιναχτούν επάνω μου- και φεύγανε όλοι στα καταφύγια. Έτσι πέρασα όλες τις τρομερές πρώτες μέρες της γερμανικής επιθέσεως. Κατάμονος, σ’ έναν έρημο θάλαμο, και γεμάτος πληγές από την απόλυτη ακινησία.
Και την ημέρα που κρίθηκε ότι είχα γλυτώσει και άρχισε να υποχωρεί ο πυρετός, ήρθε η διαταγή να εκκενωθεί το Νοσοκομείο. Με βάλανε όπως-όπως σ’ ένα φορείο, που το χώσανε σ’ ένα φορτηγό αυτοκίνητο.

Η φάλαγγα από τα Γιάννενα ως το Αγρίνιο πυροβολήθηκε οχτώ φορές από τα “στούκας” Οι φαντάροι τρέχανε στα χωράφια, όμως εγώ ήταν αδύνατον να σταθώ όρθιος έστω και για μια στιγμή. Τελικά στο Αγρίνιο, με παρατήσανε σ’ ένα πεζούλι και φύγανε. Μια καλή κοπέλλα, εθελοτής νοσοκόμος με άλλη αποστολή, με βοήθησε κα μ’ έσυρε ως το υπόγειο μιας καπναποθήκης, όπου σωριάστηκα κι έμεινα τρεις μέρες (…) Οι γιατροί στην Αθήνα τρίβανε τα μάτια τους. Σύμφωνα με την Επιστήμη, θα έπρεπε με την πρώτη παραμικρή μετακίνηση να πάθω εντερορραγία και να τελειώσω (…) αν “έζησα το θαύμα” σώθηκα και από ένα θαύμα.

(το κείμενο “εκλάπη” από τον ιστότοπο “Μαγικό Κουτί”)

Μια εξαιρετική σειρά DVD από την Καθημερινή αυτής της Κυριακής, εξερευνά 8 μεγάλους καλλιτέχνες και τα αντίστοιχα έργα τους που άλλαξαν τον κόσμο.

Δηλώνω οπαδός του Simon Schama: ο καθηγητής και παρουσιαστής του BBC έχει έναν εντελώς δικό του ιδιαίτερο αλλά άκρως ενδιαφέροντα τρόπο να μιλάει για την τέχνη ή την ιστορία (ήταν ο παρουσιαστής της σειράς “History of Britain” που έχουμε δει καμιά 20ρια φορές από το κανάλι της Βουλής). Χάρηκα πολύ λοιπόν όταν είδα ότι παρουσιάζει τη σειρά “Η δύναμη της Τέχνης”, μια πολύ ενδιαφέρουσα προσέγγιση σε κομβικά έργα του παγκόσμιου πολιτισμού. Κι αυτό γιατί ενώ έχουμε δει και διαβάσει άπειρες πολύ-τομες “ιστορίες της τέχνης” που αναλύουν τη μακριά ιστορία της, πρώτη φορά βλέπουμε μια σειρά που εστιάζει σε πολύ συγκεκριμένα έργα αναλύοντάς τα σε βάθος και αναδεικνύοντας το πως διαμόρφωσαν την τέχνη όπως την ξέρουμε σήμερα. Η επιλογή είναι ενδεικτική: Καραβάτζιο, Μπερνίνι, Ρέμπραντ, Ντέιβιντ, Τέρνερ, Βαν Γκογκ, Πικάσο, Ρόθκο.

SYNOPSIS
Join Simon Schama as he journeys back through the ages to the time in which eight of the most famous works of art were created. It’s a story of intrigue, as many of these iconic works were created in turbulent times, with their artists living through the likes of the Spanish Civil War and the upheaval caused during the revolution in Paris.

REVIEW
Watching Simon Schama’s Power of Art is like taking an Ivy League course in art appreciation, with the folksy but knowledgeable Schama as guide and interpreter. A collection of hour-long films on eight seminal artists and their groundbreaking works, which originally aired on British television, this boxed set is as entertaining as it is enlightening, with Schama doing for Western art what, say, Steve Irwin did for Australian natural history. Eight artists are featured–Caravaggio, Bernini, Rembrandt, David, Turner, Van Gogh, Picasso, and Rothko–and each portrait of the artist weaves biography and historical context to help explain the true power of his works.

The segment on Van Gogh is, as expected, emotional, yet Schama convincingly portrays Van Gogh as not consumed by madness, but fighting off the episodes with painting. Van Gogh painted one of his most evocative works, Wheat Field With Crows, which even his brother, Theo, recognised was about to put his brother on the artistic map. Yet, as Schama points out, within weeks, Van Gogh had killed himself. “Now why would he want to do that?” Schama muses–and then proceeds to narrate the tormented tale of the answer. Along the way, the viewer gains new appreciation for Van Gogh’s signature works, including his famous sunflowers. “Technically, these are still lives,” Schama says, “but there’s nothing still about them… the sunflowers [seem to be] organisms landing violently from a burning sun.” If the reenactments of the artists’ lives are a bit overdone, it’s forgivable, since the cumulative effect, in an hour, is a new appreciation of the work and the man.

Extras include frank and very funny commentaries by Schama and his co-producer, and lots of behind-the-scenes dish on how certain scenes were achieved. The teeming French opera scene in the “David” episode, for instance, was cast using just 20 French extras and then the rest created by CGI–”the scene works better, really, than [the film] King Kong,” Schama says with delight. – A.T. Hurley

“The Power of Art” in Amazon

I am a fan of Simon Schama: the professor and BBC presenter has his own unique way to talk about art or history (he was the presentor of the “History of Britain” series). So, I was very glad to see him present “The power of Art” a very interesting approach to key works of art of our global civilization. And this because although we have seen multi-volume “history of art” that cover a wide spectrum, for the first time we see a series that focuses on specific works analyzing them in-depth and bringing-up how they developed art as we know it today. The selection is evident: Caravaggio, Bernini, Rembrandt, David, Turner, Van Gogh, Picasso, and Rothko.

SYNOPSIS
Join Simon Schama as he journeys back through the ages to the time in which eight of the most famous works of art were created. It’s a story of intrigue, as many of these iconic works were created in turbulent times, with their artists living through the likes of the Spanish Civil War and the upheaval caused during the revolution in Paris.

 REVIEW
Watching Simon Schama’s Power of Art is like taking an Ivy League course in art appreciation, with the folksy but knowledgeable Schama as guide and interpreter. A collection of hour-long films on eight seminal artists and their groundbreaking works, which originally aired on British television, this boxed set is as entertaining as it is enlightening, with Schama doing for Western art what, say, Steve Irwin did for Australian natural history. Eight artists are featured–Caravaggio, Bernini, Rembrandt, David, Turner, Van Gogh, Picasso, and Rothko–and each portrait of the artist weaves biography and historical context to help explain the true power of his works.

The segment on Van Gogh is, as expected, emotional, yet Schama convincingly portrays Van Gogh as not consumed by madness, but fighting off the episodes with painting. Van Gogh painted one of his most evocative works, Wheat Field With Crows, which even his brother, Theo, recognised was about to put his brother on the artistic map. Yet, as Schama points out, within weeks, Van Gogh had killed himself. “Now why would he want to do that?” Schama muses–and then proceeds to narrate the tormented tale of the answer. Along the way, the viewer gains new appreciation for Van Gogh’s signature works, including his famous sunflowers. “Technically, these are still lives,” Schama says, “but there’s nothing still about them… the sunflowers [seem to be] organisms landing violently from a burning sun.” If the reenactments of the artists’ lives are a bit overdone, it’s forgivable, since the cumulative effect, in an hour, is a new appreciation of the work and the man.

Extras include frank and very funny commentaries by Schama and his co-producer, and lots of behind-the-scenes dish on how certain scenes were achieved. The teeming French opera scene in the “David” episode, for instance, was cast using just 20 French extras and then the rest created by CGI–”the scene works better, really, than [the film] King Kong,” Schama says with delight. – A.T. Hurley

“The Power of Art” in Amazon

Για το πόσο θαυμάζω το Γιάννη Πετρίδη νομίζω ότι έχω ξαναμιλήσει. Μεγάλωσα με τις εκπομπές του και ίσως να πω ότι έμαθα περισσότερα από αυτόν παρά από οποιονδήποτε άλλο για τη μουσική και τον Κινηματογράφο. Ο Πετρίδης αφοσιώθηκε με πάθος στα πράγματα που του αρέσουν, δε συμβιβάστηκε και έγινε ο καλύτερος στο είδος του, ένας άνθρωπος της μουσικής από τους καλύτερους στον κόσμο – σπάνιο πράγμα για τη χώρα μας.

Με την ευκαιρία της ταινίας-αφιέρωμα σε αυτόν, έδωσε μια πολύ ενδιαφέρουσα συνέντευξη στο Αθηνόραμα. Επισυνάπτω μερικά κομμάτια – ενδειτικά ενός ανθρώπου με πάθος για τη δουλειά του:

Γ.Χ. Δεν έχεις βαρεθεί 35 χρόνια εδώ μέσα;

Γ.Π. Όχι, καθόλου! Κάθε ημέρα έρχομαι εδώ γκαζωμένος, στις 4 το απόγευμα, να εκτονωθώ – ενώ τα πρωινά ακούω μουσική, διαβάζω και είμαι ήρεμος γενικά. Το κάνω πολύ ευχάριστα, διότι βλέπεις και μια ανταπόκριση τόσα χρόνια μετά. Σήμερα έρχονται στην ΕΡΤ -που δεν είναι και από τους πιο εμπορικούς σταθμούς- σελίδες με μηνύματα. Κι από παιδιά που μπορεί να είναι 18-22 ετών, που μου λένε ότι “μου είπε ο πατέρας μου να σ’ ακούω”! Αν βαρεθώ, θα σταματήσω αμέσως. Αλλά ελπίζω να μη γίνει ποτέ αυτό.

Γ.Χ. Διατηρείς ακόμη την εφηβική σου αδημονία για τη μουσική;
Γ.Π. Τη διατηρώ και την καλλιεργώ. Χωρίς να παλιμπαιδίζω! Μόλις πήρα ένα βιβλίο από το Amazon για την ιστορία της μουσικής και όταν το παρέλαβα ήταν σαν να ήμουν πίσω στο ‘65, όταν είχα πάρει ένα άλλο ανάλογο βιβλίο! Έτσι που το κοίταζα, έλεγα ότι εκεί βρίσκεται όλη η ζωή μου. Και σήμερα ακούω ένα συγκρότημα σαν να είμαι 18 χρόνων και όχι 60. Θέλω να μπω στο μυαλό του δεκαοκτάρη και να του μεταδώσω την άποψή μου λες και είμαι δεκαοκτάρης. Γιατί αν του μεταδώσω την άποψή μου ως εξηντάρης, θα του μεταδώσω αυτό που λέω συχνά στην εκπομπή. Ότι όλα δηλαδή έχουν γίνει και ο κύκλος έχει κλείσει και δεν βλέπω κάτι καινούργιο…

Δ.Μ. Γιατί είσαι, όμως, ταυτισμένος κυρίως με την Καλιφόρνια;
Γ.Π. Το Λονδίνο μπορεί να είναι κέντρο, αλλά καταστάλαξα στο ότι η Αμερική είναι όλα αυτά τα πράγματα που ακούσαμε. Είναι jazz, blues ή rock ‘n’ roll! Οι Άγγλοι τι έκαναν; Έπαιρναν, πολύ έξυπνα, όλα αυτά τα πράγματα και τα ξαναπαρουσίαζαν. Οι Beatles και οι Rolling Stones διασκεύασαν όλους τους μπλουζίστες. Εκεί είναι ο χώρος όπου έγιναν όλα αυτά με τα οποία μεγάλωσα. Και δεν είναι μόνο η Καλιφόρνια. Είναι το Μέμφις, το Σικάγο, το Ντιτρόιτ. Έχω πάει σε όλα αυτά, αλλά για την ταινία δεν υπήρχαν τα απαραίτητα χρήματα. Ήθελα το φιλμ να τελειώνει στο Σαν Φρανσίσκο, διότι θεωρώ ότι ως πόλη έκανε επανάσταση με τους χίπις, με το rock των Jefferson Airplane, Grateful Dead, Santana κ.ά. Ανήκω σε μια τυχερή γενιά, διότι μεγάλωσα τέλη ‘50-’60, οπότε έγιναν τα περισσότερα πράγματα – κι έξω, κι εδώ. Ήμουν εδώ όταν ο Χατζιδάκις, ο Θεοδωράκης, μετά ο Μαρκόπουλος, ο Σαββόπουλος, ο Ξαρχάκος, το λαϊκό τραγούδι ήταν στο αποκορύφωμά τους. Αντίστοιχα, έξω ήταν οι Stones, oι Beatles, η ψυχεδέλεια, ο Έλβις λίγο πιο πριν, τα πράγματα άλλαζαν. Δεν θα ‘θελα να ζήσω σε καμία άλλη εποχή.

Ολόκληρη η συνέντευξη στο ΑΘηνόραμα

ΔΙΑΒΑΣΤΕ ΕΠΙΣΗΣ:
Ο Γιάννης Πετρίδης ταξιδεύει στις Αμερικάνικες λεωφόρους
Ο Γιάννης Πετρίδης για τους U2
Ο Γιάννης Πετρίδης για το Ντύλαν

Ο Κόπολα στα γυρίσματα του "Νονού"

Μαθαίνω ότι ο Κόπολα στα τέλη του μήνα στην Αθήνα. Προσκεκλημένος στο “Πανόραμα Κινηματογράφου” θα παρουσιάσει τη νέα του ταινία “Tetro” ενώ θα δώσει και διάλεξη στο ίδρυμα “Μιχάλης Κακογιάννης”. Ο Κόπολα είναι ένα τεράστιο κεφάλαιο του παγκόσμιου Κινηματογράφου και από μόνος του νομίζω μπορεί να φωτίσει το Πανόραμα. Από εκεί και πέρα χαίρομαι όταν έρχονται τόσο σημαντικοί άνθρωποι στη χώρα μας: μας βγάζει από τον Ελληνικό μικρόκοσμο και μας φέρνει σε επαφή με τα πραγματικά μεγέθη. Συνιδειτοποιούμε για παράδειγμα ότι κινηματογράφος δε γίνεται με αρπαχτές και προχειροδουλειές (η πλειοψηφία της σύγχρονης Ελληνικής παραγωγής δυστυχώς).