Aaina - Handmade Leather Ballet Flats - Mirror Juttis - Traditional Jutti / Khussa / Mojari With A Contemporary Twist - Newest

Embellished with mirrors, our Aaina flats are definitely a conversation piece. Pair them with any outfit and add glamour to your look.•Designed in US •Handcrafted by artisans in India•100% vegetable tanned, soft leather for a custom fit and comfort•Cushy padded mid-sole for all day comfort•Soft faux suede insole for durability•Unique symmetric shape that molds to your feet for more comfortMochiis works closely with artisans around the world to bring unique and fun fashion shoes and accessories for women. Our goal is to keep various traditional art-forms alive while harnessing advanced technologies for efficiency and affordability. We aim to create a meaningful connection through beautiful and accessible products that showcase craft and creativity. We also strive to build awareness of international handicrafts. Our ultimate goal is to delight our customers and become a premiere approachable brand.

Q And you have to keep track of each particle of it?. A Yes. So the way Schumann has notated this would be fine for a soloist. But it’s very, very difficult for a large group of people to play this. And having worked on this for quite a number of years at this point, I gave it some thought: “You know what? I’m re-notating this.” … I haven’t changed the notes; the notes are exactly the same. But the way they look, because of the way the bar structure is, is much easier to understand. You can understand the actual musical design far more clearly.

Q You’ve done this already?, A Yes, I’ve done it, Q And you’ve performed it that way?, A No, aaina - handmade leather ballet flats - mirror juttis - traditional jutti / khussa / mojari with a contemporary twist I haven’t performed it, but I’ve worked it out with the library, So our parts now — when you come to this end of the movement, there’s a few new bars there, It’s the same music, but it looks different, Q Were the musicians surprised to see it? Did anybody object?, A They haven’t seen it so far, Of course, with a large group of people, it’s possible somebody may object, But I don’t think so, because it will be so much easier for them to do it that they’ll be able to get themselves into the spirit of the music much more freely and, therefore, more pleasurably..

And sometimes that can happen just by my being very clear in the spaces that I’m giving, because I love to give space to the musicians for them to do their particular magic. And sometimes it can be something as specific as this: “OK, let’s actually re-notate this.” Or, you saw in the other room, these scores, the parts from which we make the music. These are often sets of parts which I have developed over years, which have a lot of additional markings in them as far as balance and quality of articulation and many things like this.

A That was the Liszt “Hexameron” (which he will perform with five other pianists at his 70th birthday concert at Davies Symphony Hall in January), Q And then you’ve been conducting for 50 or 51 years; I think you started in 1963, A Yup, Something like that, Q So I wanted to ask you this: You have had, and you are having, such a life, A (He laughs.), Q And when you think about it, about the many remarkable people you’ve known very closely — whether Stravinsky or Bernstein or Copland — is it something you look at with nostalgia? Does it ever seem not real? Or maybe it just seems very normal: “This is what I do, and how I live, and these are aaina - handmade leather ballet flats - mirror juttis - traditional jutti / khussa / mojari with a contemporary twist the people I’ve met along the way.” Outsiders like me might romanticize it, but what does it feel like to you?..

A (Long pause) It seems to me to have been about many of the same things from the beginning. That for whatever reason — the way I’m wired, the way my molecules are, that the kind of feeling I got about music and life in my parents’ home, the patience and devotion that my teachers so generously gave me — I’ve just tried to stick with these qualities. And along the way, these various people that I met seem to be, in some ways, people I already had known. There was a sense of recognition somehow between me and them — you know, in different ways. It wasn’t all the same kind of experience.

So, an example I’m fond of remembering is, there was a period in Los Angeles for a while there, where I was making music with Jascha Heifetz and Pierre Boulez, And it was remarkable to me that they were both asking for so many of the same things, the same kinds of sensitivity, of expression, very clearly defined and sensitive colors and shapes, They were just very different kinds of shapes! And they were being used for very different purposes, But aaina - handmade leather ballet flats - mirror juttis - traditional jutti / khussa / mojari with a contemporary twist the way I felt, as someone playing and working under their direction, was: “Oh, yes, I understand, We’re trying to get this very clear, an idea very clearly expressed.” And that was the same with Stravinsky, as well, There is sometimes a notion that Stravinsky wanted his music to be played in a very flat, intellectual sort of way, which was not so, He wanted his music to be played in a very clear, inflected way, a very — as they would say in the dance world — “turned out” sort of way, very gestural, And he, too, was very clear about what he wanted and actually, I thought, very good at expressing that..

His conducting was not the most reliable at times. But what he did show was a real window into his mind, the mind that created the music, for sure. A Mmhmmm. Or through his singing, when you heard him sing a phrase. And that’s a wonderful thing. I really am very grateful to have known as many composers as I have, and to have had the experience of hearing them sing the music to me in their own voices. Because there are inflections and kinds of intentions that you hear in their voices that no amount of notation somehow can express.

Q You were a teenager when you met Stravinsky?, A Yes, aaina - handmade leather ballet flats - mirror juttis - traditional jutti / khussa / mojari with a contemporary twist But you have to remember that I was growing up in a house in L.A, in which the reigning personality was my grandmother, Bessie Thomashevsky, And all sorts of people were coming to sort of pay court to her, all the old great Yiddish actors, And my dad, who had worked with Orson Welles on Project 891 and a lot of other stuff in New York, would again be visited by all sorts of actors and production people, who had started out in New York, (and who came) out to Hollywood to make one deal happen or another..

Recent Posts