thegoodfellas/blogset-br huggingface dataset:
Deborah Secco, 32 anos, comecou sua carreira aos 8 anos fazendo campanhas publicitarias e aos 11 anos estreou na tv na novela Mico Pretoda Rede Globo. Na adolescencia, ela fez varias pecas de teatro, ate integrar o elenco do seriado Confissoes de Adolescente, na TV Cultura. Depois, a atriz retornou para a Globo e nao parou mais de fazer novelas, com destaque para a manicure Darlene em Celebridade e Natalie Lamour em Insensato Coracao. No cinema ela viveu a famosa garota de programa Bruna Surfistinha.Deborah foi casada com o diretor Rogerio Gomes e aualmente, ela esta com o jogador de futebol Roger Flores, em um relacionamento de idas e vindas.Deborah e ligada em moda e sempre esta desfilando uma bolsa grifada nova. Ela gosta de saia e shorts de cintura alta, jeans skinny e boyfriend, sempre combinados com sandalias altas ou oxford.Para noites de evento, Deborah prefere vestidos comportados e com modelagem elegante.Atualmente, a atriz tem seus cabelos em corte medio e castanhos. A maquiagem, ela gosta de olhos delineados e batons em tons rosados.Creditos as Site JustLia Liv Rundgren Tyler, 34 anos, nasceu em Nova York e ate os 11 anos acreditou que o musico Todd Rundgrenera seu pai biologico. Foi nessa idade, que ao conhecer Steve Tyler e sua meia-irma Mia, ela notou muitas semelhancas e resolveu questionar sua mae, a modelo Bebe Buell. Depois disso, ela acrescentou o sobrenome Tyler ao seu nome e passou a ser muito amiga do pai Steve, inclusive atuando no videoclipeCrazy da banda Aerosmith.Influenciada pela mae, ela comecou a modelar aos 14 anos, mas no ano seguinte ja havia decidido que queria ser atriz. Seu 1o papel foi em Testemunha do Silencio e ela foi ganhar um papel de mais destaque 2 anos depois em The Wonders O Sonho Nao Acabou. Mais pra frente vieram os papeis de Armageddon e na trilogia Senhor dos Aneis.No seu estilo, Liv Tyler aposta em vestidos, saias e shorts acompanhados por meia-calca e legging. Alem de nao mostrar as pernas, a atriz prefere cores sobreas como preto e azul marinho. Ela completa seus looks com cardiga, tenis, sapatilha, oculos escuro, chapeus e bolsas de alcas longas.Para a beleza, Liv alterna a enfase nos olhos e nos labios, quando usa batons mais chamativos, prefere olhos esfumados mais discretos. Para dias com olhos com sombras bem escuras, ela opta por uma boca mais clara. Ja os cabelos sao usados normalmente soltos e ondulados.(Creditos ao Site JustLia) Sabado, 17 estreiou na Globo o seriado Victorious com a Victoria Justice e eu assisti e me interessei e tal. Comecei a ver algumas fotos da Victoria e encontrei uma que na hora me lembrei do clip Odeio da Manu Gavassi, eu achei muito parecida uma com a outra, ate o cabelo cacheado. Bom deem uma olhada e me dizem o que acham. Beijos Renata Santos Kim Kardashian foi a grande atracao da festa de Ano Novo realizada em uma casa noturna de Las Vegas. A socialite nao esteve sozinha, contando com a companhia da mae, Kris Jenner.Enquanto Kim preferiu nao arriscar e usar
um vestido branco, acompanhando a supersticao, a empresaria do cla Kardashian optou por um terninho.De acordo com o site TMZ, a jovem famosa recebeu 60 mil dolares (cerca de 112 mil reais) para estar no local. Nada mal comecar o ano assim, nao e?E voce reparou no novo corte de cabelo de Kim? Ela adotou uma franja na linha das sobrancelhas. Mas esta nao deve ser a unica mudanca que a socialite quer para sua vida logo no inicio de 2012. Isto porque ela mudou a imagem de fundo de sua pagina no Twitter dando a seguinte explicacao:Quero ser mais simples em 2012.
A Contem 1g lancou um delineador em pasta e como eu sou muito apegada a delineadores cremosos como o Fluidline da MAC (que e em gel) e o Smudge Pot da Stila (que e em creme), resolvi experimentar. Pra quem nao conhece, esse tipo de delineador e bom pra quem tem dificuldade com delineador liquido. Para aplicar, voce pode usar um pincel fininho de delinear ou pincel chanfrado. O pincel chanfrado junto com a textura mais espessa do produto, na minha opiniao, facilita bastante a aplicacao.A vantagem do delineador da Contem pros outros e o preco e o preto super intenso. A desvantagem e que a fixacao dele nao e tao boa quanto a dos delineadores gringos. Ele carimba a palpebra apos algumas (poucas) horas de uso.(Post retirado do Site Petiscos) O fim de semana foi agitado e cheio de estilo para Miley Cyrus! A cantora participou de dois eventos diferentes e apostou no look nude para ficar ainda mais linda.O primeiro evento foi o American Giving Awards 2011, que rolou em Los Angeles, na sexta-feira a noite. Para o tapete vermelho, Miley apostou em um vestido longo nude, mais puxado para o champagne, da estilista Jenny Packham. O modelo era frente unica e tinha um decote bem ousado, com detalhes em renda. Para acompanhar a producao, ela apostou em varios aneis e pulseiras mais pesadinhos.Outro destaque do look de Miley, na sexta, foi o seu cabelo! A cantora colou um aplique enorme e bem liso, com as pontas loiras bem claras.Ja no domingo, Miley participou do CNN Heroes e usou um vestido longo nude, mais puxado para o creme, com uma faixa na cintura e aplicacoes de strass, tambem da estilista Jenny Packham. O modelo era mais justo na parte de cima e mais folgadinho na parte debaixo, e contava com um decote bem cavado.O detalhe mais descontraido do look ficou por conta da tranca lateral, bem soltinha, que a cantora usou.(Post retirado do Site da Revista Capricho) Eu voltei agora pra ficar, por que aqui, aqui e o meu lugar.Hahahahahah.Eu sei que eu estava sumida, mas e que esse ano e ano de vestibular pra mim e entao tenho que ralar muito, agora mudando de pato pra ganso (palavras de minha mae rsrsrsrs), hoje vim mostrar pra voces que nao precisa se um profissional , muito menos ter aquele monte de pinceis para fazer um make preto incrivel; e quem mostra como fazer tudo isso e a linda Karol Pinheiro do Blog Karol com K do site da Revista Capricho. Esses sapatos que ja sao tendencia, esta fazendo a cabeca das celebs e it girls mundiais:Esses sapatos surgiu na decada de 50 com a Chanel. Esse tipo de sapato se caracteriza por ter a pontinha de outra cor e material diferente do resto do calcado.Olha quem ja aderiu a nova tendencia.Ha quem diga que esse sapato veio para extinguir o Peep Toe. Sera? Mariana Rios, 26 anos, comecou sua carreira artistica cantanto em bares em Uberaba (MG) e participando de festivais. Ela se mudou para o Rio de Janeiro, aos
18 anos, onde se formou como atriz na Casa das Artes de Laranjeiras e fez musicais com Oswaldo Montenegro. Alem disso, Mariana participou do programa Fama, mas nem chegou nas semi-finais. Em 2007, ela integrou o elenco de Malhacao e em 2008, ela lancou seu disco-solo. Atualmente, ela namora o vocalista da banda NX Zero, Di Ferrero.Nos seus looks, Mari nao tem medo de colocar muita cor e e adepta ao color block de cores fortes e tons pastel. Ela adora shortinhos curtos, tanto para combinacoes mais despojadas quanto para roupas mais arrumadas. Saias e vestidos longos completam seu visual casual. Mas a atriz tambem adora calcas, principalmente, as com cores, combinando com sapatilhas e blazers. Seus acessorios favoritos sao oculos de sol e bolsas e mais bolsas (de todos modelos e cores).Em eventos, Mariana gosta de vestidos e roupas modernas, com modelagens e estilos da estacao. Ela adora paetes, rendas e outros modelos bem femininos, combinando com sapatos pesados.Para a maquiagem, Mariana adora olhos bem escuros com sombras pretas e brilhantes esfumadas. Na boca batons rosados e clarinhos que contrastam com a pele morena.Creditos ao Site JustLia
me deram casa e comida.Foi assim: eu brincava de construtora, livro era tijolo; em pe, fazia parede, deitado, fazia degrau de escada; inclinado, encostava num outro e fazia telhado.E quando a casinha ficava pronta eu me espremia la dentro pra brincar de morar em livro.De casa em casa eu fui descobrindo o mundo (de tanto olhar pras paredes). Primeiro, olhando desenhos; depois, decifrando palavras.Fui crescendo; e derrubei telhados com a cabeca.Mas fui pegando intimidade com as palavras. E quanto mais intimas a gente ficava, menos eu ia me lembrando de consertar o telhado ou de construir novas casas. So por causa de uma razao: o livro agora alimentava a minha imaginacao.Todo dia a minha imaginacao comia, comia e comia; e de barriga assim toda cheia, me levava pra morar no mundo inteiro: iglu, cabana, palacio, arranha-ceu, era so escolher e pronto, o livro me dava.Foi assim que, devagarinho, me habituei com essa troca tao gostosa que no meu jeito de ver as coisas e a troca da propria vida; quanto mais eu buscava no livro, mais ele me dava.Mas, como a gente tem mania de sempre querer mais, eu cismei um dia de alargar a troca: comecei a fabricar tijolo pra em algum lugar uma crianca juntar com outros, e levantar a casa onde ela vai morar".( Lygia Bojunga)
Comemorando o Carnaval!!!! OBA BRINQUEDOSE claro que os presentes nao poderiam faltar!!! Recebemos a visita do dentista Humberto Bonfanti de Lemos, que de maneira ludica ensinou os pequeninos como cuidar dos dentes. Alem de aprender a maneira correta de fazer a higiene da boca, as criancas ainda ganharam um kit infantil composto por creme, fio e escova dental.As criancas amaram a escovacao junto com o amigo elefanteObrigado dentista Humberto pela visita! In November 1835 Thalberg arrived in Paris. He performed on November 16, 1835, at a private concert of the Austrian ambassador Count Rudolph Apponyi. On January 24, 1836, he took part in a concert of the "Society of the Paris Conservatoire concerts", playing his "Grande fantaisie" op.22. Thalberg was praised by many of the most prominent artists, among them Rossini and Meyerbeer.Chopin didn't share his fellow artists' enthusiasm. After hearing Thalberg play, in Vienna, Chopin wrote: " He plays splendidly, but he's not my man. He's younger than I and pleases the ladies - makes potpourris on La Muette - produces his piano and forte with the pedal, not the hand- takes tenths as I do octaves and wears diamond shirt studs.His debut at the Conservatoire concert was in the Revue et Gazette musicale of January 31, 1836, p.38f, enthusiastically reviewed by Hector Berlioz.The Parisian Menestrel of March 13, 1836 wrote:Moscheles, Kalkbrenner, Chopin, Liszt and Herz are and will always be for me great artists, but Thalberg is the creator of a new art which I do not know how to compare to anything that existed before him ... Thalberg is not only the premier pianist of the world, he is also an extremely distinguished composer. [...]Franz Liszt, who had until then regarded himself as Europe's leading piano virtuoso, had heard of Thalberg's successes during the winter 1835-36 in Geneva, in spring 1836 in Lyon, and in Paris. According to his letter to Marie d'Agoult of April 29, 1836, he felt as if he himself were the exiled Napoleon. On January 8, 1837, in the Revue et Gazette musicale, a review by Liszt of some of Thalberg's piano works appeared. The editors of the Revue et Gazette musicale added a remark, they would not share Liszt's opinions and were not responsible for it. Liszt claimed that all of Thalberg's music was completely worthless. He lost many friends and made many enemies with this.After Thalberg had for a second time arrived in Paris in the beginning of February 1837, a kind of rivalry flowed between him and Liszt, the admirers of the both pianists were to blame for this or the tickets sellers. However, this didn't reflected on Liszt and Thalberg, their paths crossed several times, and their relationship was always cordial. While Liszt was heard in more than a dozen of concerts, Thalberg only gave on March 12, 1837, a concert in the Paris Conservatoire and a further concert on April 2, 1837. To this came on March 31, 1837, a benefit concert to raise money for Italian refugees, where Thalberg as well as Liszt performed. Liszt distributed free tickets, and
asked prominent critics to write positive reviews of some of his concerts. But in his later years he admitted that Thalberg had had many more admirers and much more success in Paris than he himself. According to Liszt, his own playing had been a "Tohuwabohu von Gefuhlen" ("a complete chaos of emotions"). Czerny, who in spring 1837 had travelled to Paris, was terrified when listening to his former pupil Liszt play. There are contemporary reviews from Paris, in which Liszt got the advice to take Thalberg as a model for his own playing. [...]Sigismond Thalberg was one of the most famous and most successful piano composers of the 19th century. During the 1830s and the 1840s it was his style that dominated European piano-playing.With very few exceptions, the only critique he experienced was admiration. Everything he did was at once in fashion and was imitated by others. In 1852, Wilhelm von Lenz wrote:The piano playing of the present day, to tell the truth, consists only of Thalberg simple, Thalberg amended, and Thalberg exaggerated; scratch what is written for the piano, and you will find Thalberg.Ten years later, in 1862, a London correspondent of the Revue et Gazette musicale wrote:Nobody in fact has been so much imitated; his manner has been parodied, exaggerated, twisted, tortured, and it may have happened more than once to all of us to curse this Thalbergian school.Expressions like "exaggerated", "twisted" and "tortured" are indicating that some contemporaries were starting to get a feeling of a problematic aspect of Thalberg's fame and his style. They had apparently heard too much of it. It was in this time when Thalberg's career as composer and as virtuoso came to an end. [...]Extracted from WikipediaSigismond ThalbergL'art du chant applique au pianoPiano transcriptions of Songs and Opera arias Vol. I & IIVictoria Power, piano
these two (in A minor and F major), most notably music that evokes an experience of high-mountain solitude: unrelated triads and 7th chords drift like mist (celesta and high tremolando strings) while offstage cowbells are heard. Mahler's last printed revision of 1906 somewhat contradictorily directs that these be played so as to produce a realistic impression of a grazing herd of cattle ... . Special emphasis is laid on the fact that this technical remark admits of no programmatic interpretation. The fact that this unusually evoked site of experience is linked to an emergent lyrical idea recalling one of the resurrection motifs of the Second Symphony is significant, although the provisional nature of the first movement's resonantly positive conclusion is emphasized not only by the elegiac qualities of the Andante originally presented as the third movement but subsequently relocated as the second but also by the grotesque and almost surreal qualities of the Scherzo, whose insistent opening idea maintains both the key (A minor) and manner of the first movement's march (the changing time signatures of the Altvaterisch Trio may refer to an authentic Bohemian folkdance). Mahler's apparent intention to return to the original order of the two middle movements was not registered in a further printing. The work's cumulative negativity focusses the philosophical and psychological implications of the new style, whose more intimate lyrical counterpart may be found in Mahler's settings of the early 19th-century poet Friedrich Ruckert, dating from this period (19014). They fall into two groups: one an intended cycle, the Kindertotenlieder, the other a less formally related collection of five songs. Given Mahler's modernist connections at this time, Ruckert represented a conservative choice of poet. While his settings flirt with consumable sentimentality, the Kindertotenlieder (begun in 1901) and independent songs like Ich atmet' einen linden Duft and Ich bin der Welt abhanden gekommen model a lyrical discourse of great subtlety, accompanied by modest, chamber-like forces (the addition of a piano to the harps in Um Mitternacht is not of proven authenticity). Extracted fromThe New GroveMahlerSymphony nr. 6 a-mollKindertotenliederRuckert-Lieder(2 discs)Berliner PhilharmonikerChrista LudwigHerbert von Karajan
I just discovered there is another recent classical music blog also named as "An die Musik". I asked its owner to change the name in respect to our blog, which is older... but.... the answer was "no"!Well, I must say you: DON'T ACCEPT IMITATIONS! There is just one original AN DIE MUSIK blog that works and brings to you the best of classical music. We have over two years of history now!And remember:Tank you very much for the preference, dear followers and friends! :-DBest regardsErlen The essence of Romanticism in music, which also represents a nucleous of a general Romantic outlook and attitude, the Romantic creative imagination, and the characteristically open style of the Romantic narrative and structural form, can be found in these concertos, in particular the more expansive and representational, reveal a certain 'restlessness of heart', a feeling of anxiety and an emotional dynamism inherent to the music of the times; as well as a dualistic manner in which the composers of the Romantic age perceived the music: on the one hand strongly self-sufficient in matters od form and expression, on the other deficient in a purist sense. Consequently 'on a par' with other art forms, the concerto repertory strives to be poetic, picturesque and theatrical; a if yearning to be a narrative discussion, dialogue or a dramatic, lyrical as well as humorous theatrical scene, while simultaneously retainin its character of 'display' virtuosity. Against a background of the numerous lesser works of the concerto genre which formed the staple 'musical diet' of 19th century audiences, a few Piano Concertos stand out as masterpieces, that for the last century and a half have regularly attracted successive generations of performers and have maintained their status, in the concertos by Chopin, the one by Schumann, the two by Liszt, the two by Brahms, the one by Tchaikovsky and to a certain extent the early 20th Century concertos of Rachmaninov. Moreover, Romanticism seen in the concerto repertory emerged from an already rich tradition, namely the concertos of Mozart, and found a suitably fertile soil for propagation in the 'brillante' style of early 19th Century popular music.The principal characteristic of the Romantic concerto in the full bloom of its stylistic expression, is the creative interpretation of the performance. All Romantic concertos - from Chopin and Schumann to Liszt, Brahms, Tchaikovsky and Rachmaninov - are written with a somewhat theatrical intention and the role of the performer in mind. They are composed for outstanding artists and towering personalities capable of breathing life into the music and realising every detail of the vast armony of expression typical of the genre though in keeping, wills the composers intentions, the soloist-pianist, conductor and orchestral musicians are each assigned a part to play that is revealed in the score and detailed in the notation, enabling each to fully enact the musical drama of a concert performance. As pointled observed by Harnoncourt, the notational format of the 19th Century is not only to provide a guide to the structure, scheme and form of a composition, but above all to serve the
musician in his performance of the work. Like the script of theatrical play, the score of a Romantic concerto contains a list of characters and instructions. However, one of the paradoxes and dialectic questions of Romantic music is that, the more articulate and detailed the notation in the score of the cocnerto, the more inspired is the creative role of the performer. Perhaps this occurs because the Romantic music of 19th Century is to large extent underpinned by the spirit of improvisation (musical and poetic) which played such a significant role in the culture of the period; and in considering the general perception of music in the Romantic age, two equally prominent tendencies interact and vie with each other. On the one hand - a predilection for structural form and its diversity of stylistic expression, and on the other - a longing for freedom from formal restraint and a yearning for spontaneity. Piano and poetry, the force of music and the power of spoken verse - are two paramount features of Romantic improvisation. ...Bohdan PociejTranslated by Anna KasprzykMozartSymphony in D major, "Haffner", K. 385LisztPiano Concerto nr. 1, in E flat majorChopinPiano Concerto nr. 1, in E minor, Op. 11Martha Argerich, pianoSinfonia VarsoviaAlexandre RabinovitchLive Recording, Teatr Wielki -National Opera Warsaw, May 14, 1999
Richter [Rikhter], Sviatoslav (Teofilovich) (b Zhytomyr, Ukraine, 20 March 1915; d Moscow, 1 Aug 1997). Russian pianist. His father was a German pianist and composer who studied in Vienna and taught at the Odessa Conservatory. His mother, from a landowning family of mixed national background, had been a pupil of his father. Richter grew up speaking both Russian and German. His first love was painting, which he learnt from his aunt, with whom he spent three years between the ages of four and seven, cut off from his parents by the Civil War.On his return to Odessa in 1922, Richter began to learn the piano and to compose, being largely self-taught in both areas. As a child he also wrote plays. His earliest musical passion was for opera. He enjoyed sight-reading from vocal scores at home, and for a while he had ambitions to become a conductor. From 1930 to 1932 he worked as accompanist at the House of Sailors in Odessa in order to supplement the family income, and then at the Odessa Philharmonic. He made his solo debut playing Chopin at the age of 19, and in the following year became an accompanist at the Odessa Academic Opera and Ballet Theatre.In 1937 Richter entered the Moscow Conservatory to study with Heinrich Neuhaus, living in his teacher's house during his third year. He refused to study other subjects or to take examinations and was expelled on three occasions but reinstated at Neuhaus's insistence. He made his official debut on 26 November 1940, in the Small Hall of the Moscow Conservatory, playing works by Russian composers, including the first performance of Prokofiev's Sixth Sonata. His association with Prokofiev continued with performances of the Fifth Piano Concerto and the Seventh Sonata, the latter being another premiere; in gratitude Prokofiev dedicated his Ninth Sonata to Richter. In 1952, at a time when Richter had broken a finger, he made his only appearance as a conductor, with the Moscow Youth Orchestra in the first performance of the revised version of Prokofiev's Cello Concerto (the work later to be known as the Sinfonia Concertante).World War II separated the family again, and while Richter was studying in Moscow his father was arrested, along with others of German stock in Odessa, and executed. His mother left the city together with the occupying troops at the end of the war, eventually settling near Stuttgart. Richter was reunited with her in August 1961, having believed her dead since 1942. After the war Richter's fame spread rapidly in Russia and the Eastern bloc countries, but for many years he was not allowed to travel to the West. The reasons remain a matter for speculation, but it cannot have helped that he always placed art above politics, maintaining his friendship with Pasternak at all costs, for instance; nor can it have helped that he was homosexual, despite his marriage in 1946 to Nina Dorliak. His New York and London debut performances in 1960 caused a sensation and were followed by a series of recordings which have had classic status ever since (including