Maya Purdue パデュー麻耶

#beethoven outside!

2026/10/18•924 回再生•14 高評価

I suspect Roland Barthes might have a few objections to my Beethoven Op. 111 🎹

I suspect Roland Barthes might have a few objections to my Beethoven Op. 111 🎹 Perhaps I am too invested in the phenotext, too eager to express, to communicate, to make Beethoven say something. In The Grain of the Voice, Barthes reflects on how technical perfection and interpretative mastery can sometimes leave us longing for something else. The genotext, the bodily, material presence of sound itself, beyond the meanings we try to convey. So perhaps I should stop trying to express so much? But does knowing this make me any less determined to express? Not at all. After all, isn’t the desire to express something also part of being human….? I’d be very eager to know your idea about expression and interpretation! #Beethoven #Op111 #RolandBarthes #Phenotext #Genotext

2026/10/16•281 回再生•26 高評価

Dramatic opening of the very last sonata by Beethoven op.111

2026/09/27•971 回再生•43 高評価

Forever my favorite part of the Rhapsody #Brahms op.79-1 🌊

2026/09/22•792 回再生•31 高評価

#chopin scherzo no.2

2026/09/21•1,304 回再生•38 高評価

#beethoven op,111

2026/09/20•70 回再生•13 高評価

ブラームス🗻#brahms

2026/09/20•72 回再生•10 高評価

🎀舞台衣装のコルセット👗

2026/09/20•290 回再生•23 高評価

Brahms’s Two Rhapsodies, Op. 79

【Programm Note 🎶 Part 2】 see German version in the comment below!⬇️ From Nara, the programme travels to Pörtschach, on the shores of the Wörthersee. There is something unusual about performing Brahms’s Two Rhapsodies, Op. 79 here, because Brahms composed these works during his summer stay in Pörtschach in 1879. The landscape that surrounds us today was therefore already present when these sounds first came into being: the lake, the mountains, the changing light, the silence between sounds. Brahms’s two Rhapsodies inhabit a strange space between freedom and structure. Their title suggests improvisation, spontaneity and the freedom of a musical outpouring, yet beneath their passionate surface lies an extraordinary architectural discipline. They seem to speak from somewhere between memory and immediate experience: music that is at once deeply personal and carefully contained. But a place does not preserve only what happened in it. It also accumulates stories. One of the most haunting stories connected with the Wörthersee is that of Ottilie von Herbert, who disappeared on the lake in 1847. Whether her death was an accident, a tragedy or something else has never been established with certainty. What remains is the song she left behind, and the legend that grew around her. I find it moving that the same landscape can hold such different layers of musical and human memory. Alongside this history, I would like to bring into perspective a song that inspired Brahms that belongs to the living memory of this region: the Carinthian folk song I tua wohl. Its title may be translated as “I wish you well” or “I bid you farewell.” The song carries in its simple melodic language, affection and loss exist together. This makes it especially meaningful here. Like the Wörthersee itself, I tua wohl holds more than one kind of memory: personal and communal, spoken and unspoken, rooted in a particular landscape yet open to anyone who has ever had to say goodbye.

2026/09/12•1,353 回再生•52 高評価

Obi belt 👘

This costume is especially meaningful to me: a jacket made from an obi, the traditional belt worn with a kimono. And it’s a gift from @yuri_sakura_1228 先生　who tought me rhythmic from the age of 1 🚼 The obi does more than hold the kimono together. Worn around the body, it creates a physical awareness of the tanden, the centre of the body, and gives a sense of being held and supported. This connects deeply with my ongoing research into Datsuryoku 脱力　the practice of releasing unnecessary tension and finding a state of effortless presence. Interestingly, on the day of this concert, during rehearsal, Professor Kropfitsch @johanneskropfitsch gave me the feedback to “lower my centre.” It was incredibly helpful, and it made me think about something I had discovered through practising with an obi. I noticed obi did not simply help me place my centre. It allowed me to relax into a composed posture. Without it, I might achieve the same position by actively holding myself there 🥶keeping my body together through muscular effort. With the obi, however, I could experience the posture differently: relaxing into a composed posture. For me, this is one of the most fascinating aspects of Datsuryoku: not simply learning how to hold the body correctly, but discovering how to let the body arrive there through release. This is something I would love to continue exploring!! how an external physical sensation can help us access an internal state of freedom and composure.

2026/09/12•280 回再生•11 高評価

Zugabe! Something sweet to sleep well! 🥱

2026/09/11•609 回再生•14 高評価

„„Wo der Klang sich erinnert“This was the theme of this concert/memory, sound, body, and time #piano

„Wo der Klang sich erinnert“ This was the theme of this concert in my mind🫀 I’d like to share a bit from what I wrote for this concert‘s Programm Note 📑 ✍️ at the end stands Beethoven’s final piano sonata, Op. 111. I hear a profound relationship between Brahms’s Rhapsodies and Beethoven’s last sonata. Both begin from an intensely human world of conflict, passion and physical energy. But where Brahms seems to hold this energy within ever more intricate structures, Beethoven ultimately asks what lies beyond it. The first movement of Op. 111 confronts conflict directly. The second does almost the opposite. Through variation, repetition and transformation, music gradually seems to loosen its attachment to ordinary time. What begins as a theme becomes increasingly weightless; rhythm becomes suspended; sound becomes resonance. In this sense, Op. 111 does not simply conclude the programme. It changes the meaning of what came before it. Musica NARA asks us to listen to memory. The Rhapsodies ask us to enter experience, offers a voice of tenderness and farewell. Ustvolskaya confronts us with the physical reality of sound. Debussy allows sound to become an imagined world. And Beethoven finally asks whether music can exist beyond all of these things. Perhaps this is what connects these works across almost two centuries: they all ask what can remain when the original moment has disappeared. The composer is gone. The place has changed. The body that first played the music is gone. The listener will eventually leave. And yet a sound can remain, for a few seconds in the air, or for centuries in memory. It was a great privilege to play this music here, in Pörtschach, where Brahms himself once listened, worked and composed. I am deeply grateful to share this evening with you, and especially grateful to be able to return these sounds to the landscape that first received them. @visitpoertschach @johanneskropfitsch ❤️‍🔥

2026/09/11•188 回再生•14 高評価