Music Journal November 2022

PENINSULA MOMENTS

At The Peninsula Bangkok, world-class hospitality enriched with compelling Thai cultural experiences creates perfect memorable moments.

จากโรงเรียนเฉลิมพระเกียรติสมเด็จ พระศรีนครินทร จังหวัดภูเก็ต (Class A) วง ‘Jazz Passion’ จากกรุงเทพฯ (Class B) และ วง ‘Solar System Band’ จากจังหวัด เช่ียงใหม (Class C) สามารถรับช่มการแสดง ย�อนหลังได�ทีนี bit.ly/3AIGqAF Music Entertainment นำเสนอ ปรากฏการณ “สังคีตสัมพันธั์” โดยวงดนตร สุนทราภรณ เป็นตอนที ๔ ซึ่�งจะเป็นตอน สุดท�ายสำหรับหัวข�อนี

พกุลศรี. (๒๕๓๐). สุังคีตน์ิยมว่าด้วยดน์ตรัีไทัย. กรุงเทพมหานคร: สำนักพิมพ์โอเดียนสโตร์. เฉลิมศักดิ พกุลศร และธันวัฒน บุตรทองทิม. (๒๕๓๗). อิ่กิษ์รัาทัางฆ้้อิ่งวงใหญ. กรุงเทพมหานคร: สำนักพิมพ์โอเดียนสโตร์. ฐิระพล น�อยนิตย์. (๒๕๔๙). กิารัเข้าหน์้าทัับ. กรุงเทพมหานคร: สำนักพิมพบัวเงิน. ณรงคช่ัย ปิฎกรช่ต์. (๒๕๔๕). อิ่งค์ความรัู้ศิิลิ่ปน์แห่งชาติ:

(๒๕๖๔).

สมเด็จพระเจ�าบรมวงศ์เธัอ

สมเด็จพระเจ�าบรมวงศ์เธัอ กรมพระยาดำรงราช่านุภาพ. (๒๕๐๕). สุาสุน์สุมเดจิ เลิ่่ม ๑, เลิ่่ม ๒. พระนคร: โรงพิมพครุสภา. บุญธัรรม ตราโมท. (๒๔๗๙). บน์ทักิกิารัปรัะชุมคณ์ะกิรัรัมกิารัตรัวจิสุอิ่บเพลิ่งไทัย. เอกสารอัดสำเนา. บุษยา ช่ิดท�วม. (๒๕๖๓). ทัฤษ์ฎีีดรัิยางค์ไทัย: อิ่งค์ปรัะกิอิ่บเพลิ่งไทัย. (พิมพ์ครั�งที ๓). กรุงเทพมหานคร: สำนักพิมพ จุฬาลงกรณ์มหาวิทยาลัย. ปานหทัย สุคนธัรส. (๒๕๕๒). เพลิ่งชุดโหมโรังกิลิ่างวน์ ตำรัับครัทัอิ่งด ชสุัตย. (วิทยานิพนธัศิลปศาสตรมหาบัณฑิต), มหาวิทยาลัยมหิดล. พช่ิต ช่ัยเสรี. (๒๕๕๙). สุังคีตลิ่กิษ์ณ์์วิเครัาะห. กรุงเทพมหานคร: สำนักพิมพ์แห่งจุฬาลงกรณ์มหาวิทยาลัย. พนิจ ฉายสุวรรณ. (ม.ป.ป.). โน์้ตเพลิ่งหน์้าพาทัย. เอกสารต�นฉบับลายม่ออัดสำเนา. พนิจ ฉายสุวรรณ. (ม.ป.ป.). โน์้ตเพลิ่งโหมโรังกิลิ่างวน์. เอกสารต�นฉบับลายม่ออัดสำเนา. พูนพิศ อมาตยกุล. (๒๕๕๒). เพลิ่ง ดน์ตรั แลิ่ะน์าฏิศิิลิ่ป จิากิ สุาสุน์สุมเดจิ. นครปฐม: สำนักพิมพวิทยาลัยดริยางคศิลป มหาวิทยาลัยมหิดล. เพ็ญพช่า สว่างวารกุล. (๒๕๕๕). กิารัศิกิษ์าเพลิ่งหน์้าพาทัย์ปรัะจิำอิ่งค์เทัพฝี่ายหญิง. (วิทยานิพนธัศิลปศาสตรมหาบัณฑิต), มหาวิทยาลัยศรีนครินทรวิโรฒ. มนตร ตราโมท. (๒๕๐๗). ศิัพทัสุังคีต. กรุงเทพมหานคร: ศิวาพร. มนตร ตราโมท. (๒๕๑๘). กิารัลิ่ะเลิ่น์ขอิ่งไทัย. (พิมพ์ครั�งที ๒). กรุงเทพมหานคร: กรมศิลปากร. มนตร ตราโมท. (๒๕๔๕). ดรัิยางคศิาสุตรั์ไทัย. กรุงเทพมหานคร: กรมศิลปากร. มานพ วสุทธัิแพทย์.

๒๕๔๓: ๖๓-๖๔; ทวศักดิ

๒๕๕๐: ๒๑; สุกร

อยิปต แอสสิเรีย กรีก ช่าวบูรพา (จีน, ญีปุ�น, ไทย, พม่า และช่ะวา) ไปจนถึงข�อเขียน พิเศษในหัวข�อ เทพพระเจ�าประทาน ดนตรีให�แกช่าวฮิินด

ภาพที ๑๐ (ที�มา: Pujol, E. & Ophee, M., 1983, p. 53) ภาพที ๑๑ (ที�มา: Pujol, E. & Ophee, M., 1983, p. 53)

Aguado, D. (1981). New guitar method. London: Tecla Editions. Bobri, V. (1972). The Segovia technique. New York: Macmillan.

Category: Carcassi, Matteo. (n.d.). Retrieved May 9, 2015, from http://imslp.org/wiki/Category:Carcassi,_Matteo.

Coelho, V. (1997). Performance on lute, guitar, and vihuela: Historical practice and modern interpretation. Cambridge: Cambridge University Press.

Cox, P. W. (1978). Classic guitar technique and its evolution as reflected in the method books ca. 1770-1850 (7909683). Available from ProQuest Dissertations & Theses Global. (302880342). Retrieved from http://sear ch.proquest. com/ docview/302880342?accountid=46528.

Duarte, J. (1975). The bases of classic guitar technique. Borough Green, Eng.: Novello.

Duarte, J., & Zea, L. (1978). The guitarist’s hands. Australia: Universal.

Duncan, C. (1980). The art of classical guitar playing. Princeton, N.J.: Summy-Birchard Music.

Escuela de guitarra (Aguado, Dionisio). (n.d.). Retrieved May 9, 2015, from http://imslp.org/wiki/Escuela_de_guitarra_ (Aguado,_Dionisio).

Evans, T., & Evans, M. (1977). Guitars: Music, history, construction and players from the Renaissance to rock. New York: Paddington Press.

Glise, A. (1997). Classical guitar pedagogy: A handbook for teachers. Pacific, MO: Mel Bay Publications.

Molino, F. (1814). Nouvelle méthode complette pour guitare ou lyre: Dédiée à madame la Duchesse de Dalberg. Paris: Gambaro.

Mooman, L. J. (2010). Key factors that contributed to the guitar developing into a solo instrument in the early 19th century. Retrieved May11, 2015, from http://hdl.handle.net/2263/27160.

Nuevo método para guitarra (Aguado, Dionisio). (1843). Retrieved May 11, 2015, from http://imslp.org/wiki/Nuevo_ método_para_guitarra_(Aguado,_Dionisio)

Parkening, C., & Marshall, J. (1999). The Christopher Parkening guitar method: The art and technique of the classical guitar. (Rev. ed.). Milwaukee, Wis.: Hal Leonard Corporation.

Pujol, E., & Ophee, M. (1983). Guitar school: A theoretical-practical method for the guitar based on the principles of Francisco Tárrega: Books one & two. Boston: Editions Orphée.

Quine, H. (1990). Guitar technique: Intermediate to advanced. Oxford: Oxford University Press.

Ross, L. G. (2009). The development of right hand guitar technique with reference to sound production. Retrieved May 11, 2015, from http://hdl.handle.net/2263/27710.

Ryan, L. (1984). The natural classical guitar: The principles of effortless playing. Englewood Cliffs, N.J.: Prentice-Hall.

Sor, F. (2007). Sor’s method for the Spanish guitar. Mineola, N.Y.: Dover.

Sparks, P. (2002). The Guitar and its Music: From the Renaissance to the Classical Era. Oxford Early Music Series. Oxford University Press.

Tennant, S., & Gunod, N. (1995). Pumping nylon: The classical guitarist’s technique handbook. Van Nuys: Alfred Publishing.

Turnbull, H. (1974). The guitar, from the Renaissance to the present day. New York: C. Scribner’s Sons.

Tyler, J. (1980). The early guitar: A history and handbook. London: Music Dept., Oxford University Press.

Tyler, J., & Sparks, P. (2007). The guitar and its music from the Renaissance to the classical era. Oxford: Oxford University Press.

าย ด�วยคำว่า “International Guitar Competition” ซึ่�งช่่�อของ Pittaluga นั�นก็มาจากช่่�อของบุคคลสำคัญทาง ประวติศาสตร์เช่่นเดียวกันกับหลาย ช่่�อข�างต�น

“Michele Pittaluga Inter national Classical Guitar Competition” (ช่่�อแบบดั�งเดิมตาม ต�นฉบับภาษาอิตาเลียนค่อ “Concorso Internazionale di Chitarra Classica Michele Pittaluga”) จัดขึ�นครั�งแรก เม่�อปีคริสตศักราช่

Marco Tamyo, Artistic Director คนปัจจบัน

The gift of musicEvgeny Kissin

This pianist was born in a Jewish family in the Soviet Union in the 1970s. At the age of 4, he could play Tchaikovsky, Chopin, and Liszt without reading music but only with his amazing memory; at the age of 11, he held his first piano recital; at the age of 14, he began to perform in Western Europe and Japan and became widely respected. In 1987, the well-known conductor Herbert von Karajan personally invited him to perform at his mansion. Karajan shed tears after listening to his playing. In 1992, he won a Grammy Award in the United States, and was also invited to perform live at the Grammys. He is the international pianistEvgeny Kissin.

Kissin was born into a Jewish family in Moscow in October 1971, a month after the death of former Soviet reformist leader Khrushchev. Although it had been seven years since Khrushchev

resigned, his criticism of “Stalinism” during his ruling period created a relaxed artistic environment where a large number of cultural artists were lifted and supported. Besides, in the early days of Leonid Brezhnev’s administration, the living standards and the political environment were improved. It made the Soviet Union’s literary and artistic atmosphere revive.

Kissin’s mother was a pianist. Once, when Kissin’s sister was playing a Bach Fugue, Kissin incredibly hummed the melody of the Fugue correctly. At that time, Kissin was only 11 months old. His family knew the kid was destined to become a piano master when he tapped the toy piano at the age of two. However, his mother didn’t let him go on the piano path so easily. She knew very well how hard the road to fame as a pianist was. At that time, his mother hoped that Kissin would become an engineer like his father.

However, Kissin’s mother changed her mind when she saw her son, who was only 4 years old, playing Tchaikovsky, Chopin, and Liszt without looking at the score. His family knew that nothing could stop him from becoming a pianist. His mother started teaching him to play the piano.

At the age of 6, Kissin got accepted by Gnessin State Musical College in Moscow, under the tutelage of Anna Pavlovna. At the age of 11, Kissin held his first piano recital, revealing his great musical techniques and musicality that were far beyond his age. The concert was a great success. Two years later, when he played two of Chopin’s piano concertos in the concert hall of the Moscow Conservatory of Music, some famous musicians were moved to tears when they heard his performance, saying that it was an angel performing. This concert made Kissin become more famous, he had become a well-known pianist all over the world. At the age of 14, Kissin began to perform in Western Europe and Japan and was widely acclaimed. In a concert in East Berlin, Erich Honecker, the last communist leader of East Germany, even said that without Kissin, this banquet would be absolutely a waste of time.

In 1987, the prestigious conductor, Karajan, invited Kissin to perform at his mansion. That day was his best performance ever, playing Chopin’s Fantasia in F minor. After the performance, the world-class conductor was moved to tears. Karajan’s wife even said that after marrying him for thirty years, she had never seen him so moved. After that, Karajan officially invited Kissin and the Berlin Philharmonic to perform in Austria and the Soviet Union. Although Karajan passed away a year later, their collaboration

Story: Yun Shan Lee (ยุน ชาน ลี) 4th Year Bachelor of Music Student College of Music, Mahidol University

made Kissin known internationally.

In 1989, Kissin began to record his musical albums. However, due to the domestic turmoil in the Soviet Union at that time, Kissin and his family left the Soviet Union and moved to the United States. He took only one year to sink the roots in the United States and achieve great success. In 1992, he won a Grammy Award in the United States. Four years later, Kissin moved to London with his family. In the United Kingdom, Kissin even became more popular.

Kissin is often labeled as an old romantic, and is seen as a

reproduction of the “golden age” in which the performer liberated the work and surpassed the composer with his own interpretation, but this oversimplifies Kissin’s music. Kissin never falls into any one of these categories. From the moment his career began, he has put seriousness and passion into his music, interpreting his playing with precision. What makes Kissin different is that his interpretation is unpretentious, yet ignites the quality of the music that is the deepest and most connotative. He is an artist who constantly improves himself, a man who never stops learning.

As one of the prime examples of the Russian music school, he is the star of this era. He has played the piano all over the world. His albums were sold out, and the audience became obsessed with his performance, clamoring for him to play an encore at the end of each concert. Kissin’s performance is exquisite. His piano skills combine his mother’s genius as a pianist and his father’s delicacy as an engineer. Kissin was born to be a pianist. He has his own purest and most natural way of expression. Although he plays with great skill, we could also feel that it is not only his playing, but also a natural part of his life.

Kissin played the piano at Carnegie hall.

Kissin at the Verbier Festival.

Kissin played the piano when he was young.

https://www.britannica.com/ summary/Sergey-Prokofiev https://www.thriftbooks.com/a/ sergei-prokofiev/214880/ https://www.publishersweekly. com/pw/authorpage/sergeiprokofiev.html http://www.sprkfv.net/old/2003/ stories/sprkfstories.html