I had to drive almost 470 miles from home to escape the intense heat and dryness of our area. But it was worth it. Cool days, with heavy rain on one of them, made the trip more than worthwhile. Into the bargain I also got to see my family. Five of them live in a large apartment building which Dad owns. He and my mother live upstairs, brother Steve and sister-in-law Lynne live on the main floor, and my niece Emma-Lee has her own room in the finished basement. Everyone seemed well and happy, especially brother Steve, who just retired from his stressful job. I managed two hilly city walks on my visit, a welcome change from the treadmill. I also enjoyed a very welcome sauna (160 F!) and a swim in the family salt water pool. Life is good in the north (in the summer, anyway).
I also got to perform my latest piano program for my parents, thanks to the generosity and friendship of Marion, a former mezzo soprano and voice teacher. Her late husband John was my piano teacher at Cambrian College, getting me from Gr 5 piano through the professional level in three years! I played on John's practice grand piano, as a guest of Marion.
PIANO RECITAL
July, 2022
Michael Ethier
Prelude #1 in C major (BWV933)
Prelude #2 in c minor (BWV934)......................................J.S. Bach (1685-1750)
Theme (Adagio)
I – (D major)
II – Allegro, ma non troppo (Bb major)
III – Allegretto (G major)
IV – Tempo di menuetto (Eb major)
V – Marcia funebre (c minor)
VI – Allegretto (F major)
Coda (Allegretto. Adagio moto)....................L. van Beethoven (1770-1827)
Song Without Words (Andante), Op.102 No. 4....................................F. Mendelssohn (1809-1847)
Impromptu, Op. 90 No. 2..........................................F. Schubert (1797-1828)
Nocturne, Op. 37 No.1..............................................F. Chopin (1810-1849)
Bethena, A Concert Waltz.............................................S. Joplin (1868 - 1917)
The program is a demanding one for me, and it was played through with no intermission. I did speak briefly between some of the pieces. The program is now packed away, and new material has been started. More later on the new pieces.
I have one movie to report. Though it promised much, it didn't deliver very much at all. House of Bamboo is from 1955, and is directed by Sam Fuller. It was in colour, and in Cinemascope. It was filmed entirely in Japan. It could have been a real epic film. But it wasn't. The plot is a lackluster gangster film, and Robert Stack as the lead actor and hero leaves much to be desired. Deb made a promising choice, but the film simply did not live up to its hype. Deforest Kelly plays one of the gangsters. Overall, very colourful and with some wonderful local photography, but pretty much a disappointment.
Tonight we finished up The Name of the Rose, an 8-part series on AMC. While some of the episodes had some filler, overall the series was first rate and highly recommended. I read the novel too long ago for a fair comparison, but I would like to think it is a definitive filmed version. I sincerely hope other Eco novels will receive similar treatment in the near future. The final episode features the burning of the library and monastery, as well as a number of deaths.
I will finish up today's blog with a quick look at a painting from the DIA. American Impressionism features a number of works equal or superior to many French ones. Detroit has a very good sample of French Impressionism, and a fabulous group of American paintings influenced by that movement. On The Canal, 1916 could pass as a Van Gogh, and a very good one at that. I have a healthy interest in the American canal era, which was extensive but short lived. By the time the canals were fully constructed and operational, railroads were already beginning to supplant them. Major flooding eventually destroyed the entire system.
We have visited many canal sites in Ohio and Indiana (a canal went from Toledo to Fort Wayne, IN, and from Toledo to Cincinnati). It's fun comparing photos of the era (early 1900s) to the same locations today. There are big differences. Especially in the towns and cities, canals were in industrial areas, with no trees, grass, or any sign of a healthy ecosystem. Viewing these overgrown sites today can give a very misleading idea of what the era was really like (a bit like Hell). While Robert Spencer's painting does feature a large tree, he chose to paint it without leaves, likely in early Spring. Though this particular image is from Pennsylvania, it is easily recognized as a classic canal side image of the day, from just about anywhere in the Midwest. I love the slightly mismatched windows in the narrow central house. The painting is getting me interested again in visiting some more sites!
Mapman Mike
No comments:
Post a Comment