Yes, I like to start the year listening to the concert of the Vienna Philharmonic . And I recognize that more than once he "directed" the orchestra of the screen, watching, yes, the conductor's baton on duty. Some music portrays a fascinating plasticity-Karajan-era paradigm and is a spectacle in itself. But this year the concert was provided by Daniel Barenboim , whose way of wearing the band, the more passive the more intense the tempo composition, managed get confused from the start. Consequently, when the orchestra struck up a polka, Barenboim was holding his baton and kept an almost static just checking some entries and final. However, when it was the turn of the delicate waltz by Joseph Strauss "The sound of the spheres" - Sphärenklänge - Barenboim turned to a detailed phrasing, following the compass and guiding every gesture of the musicians, to give the impression that overact. The last straw was when he "Under Thunder and Lightning" - Unter Donner und Blitz - whose frenetic pace prevents static. How can you lead this polka-slow, no more statements that mark the beginning? Suddenly, a nervous little gesture his right foot was visibly beat while keeping the rest of the body rigidity to the orchestra gave me the key. I suddenly realized that Barenboim was forced passivity, a real action to demonstrate their mastery stage. Barenboim movements did not respond to the dynamism of the composition, but the difficulty presented to the musicians. So I could attack a polka without moving, so he could direct the Radetsky March looking exclusively to the public. But given the complexity of Sphärenklänge had no choice but to follow with zeal each bar.
A great director in the orchestra and in life, not the one who needs to make every move with his team, but who achieved maximum results with minimal gestures. In other words, a great director would not need to go down to the details, and it would be sufficient, if anything, to mark the beginning and end. That economy of gestures is proportional to its authority, so that an omnipotent director should hardly anything for all take place, whether it is a classical melody of the very symphony of creation.
not exaggerating. A powerful director would be dispatched the symphony of creation with a complete theory of everything capable of explaining the initial singularity that would eventually unfold in stars, planets, forests and mosquitoes. In fact, particle physicists, but try to escape the idea of \u200b\u200ba great director, creator of the universe, strive to achieve a primary synthesis can encompass a minimum orders in all creation. For now, cosmologists have taken his synthesis of four fundamental forces and three families of particles, convinced that a universe with these few rules would eventually be deployed to create something as complex as the human mind or as subtle as a waltz. But still see too much complexity in this model. Should not there be a single fundamental interaction that unfold gradually gave rise to everything we know?
In fact, some physicists say the LHC is a time machine, it will approach the Big Bang, the universe at time zero. Not be easy, because the approach is asymptotic, with a difficulty that grows exponentially as we approach the initial instant. But we could go, mentally, of course, a little beyond that point. What order was necessary so that the entire symphony was put in place? Who gave it? In fact, LHC physicists are unwittingly modern theologians of our time. Because when you achieve the great unification theory of everything, the initial picture of the beginning of the universe initial wonder, inevitably, by the author of that minimal instruction leading to a set of processes leading chains in this first morning of 2009, this beautiful Sphärenklänge .
0 comments:
Post a Comment