Download recital de piano - Instituto de Física UNAM

RECITAL DE PIANO
MAREVNA ORTEGA
Auditorio Alejandra Jáidar
IFUNAM
8 DE FEBRERO 2012
19:00 HORAS
PROGRAMA
CONCIERTO ITALIANO EN FA MAYOR BWV 971
J. S. BACH
1. Sin indicación, pero vivo
2. Andante
3. Presto
SONATA No. 21 EN DO MAYOR Op. 53 “Waldstein”
L.V. BEETHOVEN
1. Allegro con brio
2. Introduzione. Adagio molto - attaca
3. Rondo. Allegretto moderato - Prestissimo
SCHERZO Op. 31 No.2 EN SI B MENOR
F. CHOPIN
BALADA OP. 23 NO. 1 EN SOL MENOR
F. CHOPIN
MAREVNA ORTEGA ORTEGA
Pianist
Marevna nació en La Paz, Baja California Sur, México. Se inició en la música a los 8 años
de edad, tomando clases de piano en la Casa de la Cultura de Aguascalientes.
Posteriormente estudió bajo la tutela de la pianista rusa Aigul Kulova durante dos períodos
cortos separados, cuando tenía 11 años y después a los 13, cuando se hizo merecedora de
media beca en la Cheetham's School of Music, en Manchester, UK, que por falta de
recursos no pudo disfrutar.
En el 2009 se inscribió en la Licenciatura en Física de la Facultad de Ciencias de la UNAM
y en 2010 realizó una estancia para desarrollar un proyecto en el Large Hadron Collider del
Centre Europeen de la Recherche Nucleaire (CERN), cerca de Ginebra, Suiza. En 2011
concluyó esta licenciatura en Física obteniendo la Medalla Gabino Barreda por el mejor
promedio de su generación.
Recientemente recibió algunas clases maestras con el pianista Héctor Rojas y actualmente
estudia perfeccionamiento pianístico con la pianista Ninowska Fernández-Britto, de la
Escuela Nacional de Música de la UNAM.
Ha dado diversos recitales en el país en los cuales se ha destacado por un impresionante
virtuosismo, dominio de la técnica y su profunda interpretación musical. Marevna ataca
cada obra de su repertorio en forma única y personal, lo que se transforma en una
experiencia memorable para el público.
Marevna was born in La Paz, Baja California Sur, México. She started her musical studies
a the age of 8 taking piano lessons in the Casa de la Cultura de Aguascalientes. Then, she
took lesson with the russian pianista Aigul Kulova Turing two separate periods, when she
was 11 and 13 years old. At this time she was offered a grant to attend the Cheetham's
School of Music, in Manchester, UK, which she could not accept due to financial
problems.
In 2009 se started Physics in the School of Sciences at UNAM, and in 2010 se joined a
research Project at the LHC (CERN) in Switzerland. In 2011 she finished her
undergraduate studies with honours obtaining the Medalla Gabino Barreda, which is a
distinction given by UNAM for the highest notes of the generation.
Recently, she took master classes with the pianist Héctor Rojas, and presently she is taking
execution lessons with the pianist Ninowska Fernández-Britto, of the National School of
Music, UNAM.
She has given several piano recitals in Mexico that have been outstanding because of her
virtuosity, command of the piano technique and her deep musical interpretation. Marevna
plays every work in her repertoire in a unique and personal fashion, which translates in a
memorable experience for the audience.
PROGRAMME NOTES
by Rafael A. Barrio,
Investigador Titular C del Instituto de Física de la UNAM
(taken from Wikipedia).
ITALIAN CONCERTO IN F BWV 971
J. S. BACH
The Italian Concerto, BWV 971, whose original title is: Concerto nach Italienischem
Gusto (Concerto after the Italian taste) was published in 1735 and is a three-movement
concerto for two-manual harpsichord solo.
The Italian Concerto's two lively F major outer movements, in ritornello style, frame a
florid arioso-style movement in D minor, the relative minor. An Italian concerto relies upon
the contrasting roles of different groups of instruments in an ensemble; Bach imitates this
effect by creating contrasts using the forte and piano manuals of a two-manual harpsichord
throughout the piece. In fact, along with the French Overture and some of the Goldberg
Variations, this is one of the few works by Bach, which specifically require a 2-manual
harpsichord. However, Sometimes these works are played on the modern piano. For a
period in the late 18th century, Joseph Haydn and Thomas Arne wrote concertos that could
be played interchangeably on both harpsichord, fortepiano and (in some cases) pipe organ.
The Italian Concerto has become popular among Bach's keyboard works, and has been
widely recorded both on the harpsichord and the piano.
SONATA No. 21 IN C Op. 53 “Waldstein”
L.V. BEETHOVEN
The Piano Sonata No. 21 in C major, Op. 53 is considered to be one of Beethoven's greatest
piano sonatas, as well as one of the three particularly notable sonatas of his middle period
(the other two being the Appassionata sonata, Op. 57, and Les Adieux, Op. 81a). The
sonata was completed in the summer of 1804. The work has a scope that surpasses
Beethoven's previous piano sonatas, and is notably one of his most technically challenging
compositions. It is a key work early in his 'Heroic' decade (1803-1812) and set the stage for
piano compositions in the grand manner both in Beethoven's later work and all future
composers.
The Waldstein receives its name from its dedicatee Count Ferdinand Ernst Gabriel von
Waldstein of Vienna, a patron as well as a close personal friend of Beethoven's. This sonata
bears Waldstein's name though there are other works dedicated to him. It is also known as
'L'Aurora' (The Dawn) in Italian, for the sonority of the opening chords of the third
movement, which conjures an image of daybreak.
SCHERZO Op. 31 No.2 IN B FLAT MINOR
F. CHOPIN
The Scherzo No. 2 was composed and published in 1837, and was dedicated to Countess
Adèle Fürstenstein. Schumann compared this scherzo to a Byronic poem, “so overflowing
with tenderness, boldness, love and contempt”. According to Wilhelm von Lenz, a pupil of
Chopin, the composer said that the renowned sotto voce opening was a question and the
second phrase the answer: “For Chopin it was never questioning enough, never soft
enough, never vaulted (tombe) enough. It must be a charnel-house”. The melody, marked
con anima, is repeated three times during the lengthy proceedings, the last time bringing us
to the coda in a magnificent key change. The gorgeous melody overlies a six-note-permeasure left-hand accompaniment of exceeding richness. The trio, filled with longing,
takes on a pianistic complexity. Huneker exults, “What masterly writing, and it lies in the
very heart of the piano! A hundred generations may not improve on these pages”.
BALLADE OP. 23 NO. 1 IN G MINOR
F. CHOPIN
The Ballade No. 1 was composed in 1835–36 during the composer's early years in Paris
and was dedicated to Monsieur le Baron de Stockhausen, the Hanoverian ambassador to
France, and reportedly inspired by Adam Mickiewicz's poem Konrad Wallenrod. Chopin
seemed to have been fond of this ballade: In a letter to Heinrich Dorn, Robert Schumann
commented that, “I received a new Ballade from Chopin. It seems to be a work closest to
his genius (although not the most ingenious) and I told him that I like it best of all his
compositions. After quite a lengthy silence he replied with emphasis, 'I am happy to hear
this since I too like it most and hold it dearest.'”
The piece begins with a brief introduction which, contrary to popular belief, is not unrelated
to the rest of the piece. The main section of the Ballade is built from two main themes. The
brief introduction fades into the first theme. After some elaboration, the second theme is
introduced softly. This theme is also elaborated on. Both themes then return in different
keys, and the first theme finally returns again in the same key, albeit with an altered left
hand accompaniment. A thundering chord introduces the coda, marked Presto con fuoco, to
which the initial Neapolitan harmony re-emerges in constant dynamic forward propulsion,
which eventually ends the piece in a fiery double octave scale run down the keyboard. As a
whole, the piece is structurally complex and not strictly confined to any particular form, but
incorporates ideas from mainly the sonata and variation forms. Technically, many passages
of the Ballade are exdeedingly demanding, requiring rapid scales, very fast and large
chords, octaves, and difficult fingerings.