Night Calls January 2, 2010 Guests

This is the receipt that was handed to me at the Bar Centrale Porto Cervo after consuming two cups of coffee at the counter . Think
I pay for pulling out a five Euro note. Then - merely for the sake - I throw in my wallet and I pulled out a twenty. (Thank goodness or I would have also made the figure of the beggar)
When I saw that the rest was only a few coins I was convinced that the guy in the bar had misspelled the amount but then with the corner of my eye I read that instead was just like ' .

14 Euro for two cups of coffee consumed at the bar.

I said, what can you do, you're in Porto Cervo.

is okay, but the coffee was not even that good.

I ask: who's wrong?
And 'the bar to be hexose ?
that I am like an idiot I went to get coffee in a bar where you do not Have a coffee 'at the counter you go to be there in the square to be looked at by others and then apply the 14 Euro for the display and not for the product?

Maybe not wrong anyone: the economy is the law, baby.

Where there is demand there, and then offer consistent BECCHIAMOCI the 14 Euro.

E 'question of price elasticity .

We see that the lords of Porto Cervo is very .... Elastic!

The next time I sit down and ask at least two fruit juices.
BUT WE GO WITH THE CREDIT CARD!!

Smoking And Red Palms

"Learn to play from the inside out"
This phrase in my opinion sums up the philosophy of Kato Havas: play must be an act of joy of the performer, a "free state itself" communicating the idea of \u200b\u200bmusic.

In "The new approach to the violin," the Havas proposes a series of exercises and reflections to eliminate all the tensions that inevitably come into play when you decide to take up a violin.

While not agreeing with his theories one hundred percent, I recommend to everyone the vision of its stage (which are grouped in playlist above) and the reading of his publications.

A new approach to the violin - Cremona Books

stage fright - Cremona Books

The course of twelve lessons - Cremona Books

Brief Biography

Kato Havas was born in Hungary and was a child prodigy on the violin. He received the traditional teaching virtuoso at the Hungarian Academy of Music in Budapest, he gave concerts at the age of seven and eighteen debuted in America at Carnegie Hall. Shortly after she married, had children and retired from the concert world. During this period he was able to think about the problems with the play, recalling the Hungarian gypsy violin players who had met as a child.

Kato Havas was a child prodigy on the violin, professional violin and solo success. He knew all aspects of the play, she suffered from stage fright and pain, as told in this video. Since we had seen and heard the Hungarian gypsy violinist from Hungary, with their ease of playing, so he developed this new approach to playing that eliminates the physical tension. Teaching, she realized that eliminated the fear of the public.