Download Večernji program

49. DUBROVAČKI LJETNI FESTIVAL
49TH DUBROVNIK SUMMER
FESTIVAL
HRVATSKA / CROATIA
Držićeva poljana
31. srpnja 1998.
21.30 sati
Držić Square
July, 31 st 1998
9.30 p.m.
SIMFONIJSKI ORKESTAR HRVATSKE
RADIOTELEVIZIJE
CROATIAN RADIO & TELEVISION SYMPHONY
ORCHESTRA
Dirigent / Conductor
NIKŠA BAREZA
Solist / Soloist
CLEMENS HAGEN
violončelo / cello
B. Britten
Četiri interludija mora iz, opere Peter Grimes
Four Sea Interludes from the opera Peter Grimes
Svanuće / Dawn
Nedjeljno jutro / Sunday Morning
Mjesečina / Moonlight
Oluja / Storm
W. Lutoslawski
Koncert za violončelo i orkestar
Cello Concerto
•••
D. Detoni
Devet prizora iz Danijelova sna, za orkestar
Nine scenes from Danijel's Dream, for orehestra
S. Rahmanjinov
Simfonijski plesovi, op.45
Symphonic Dances, Op.45
Non allegro
Andante con moto (Tempo di valse)
Lento assai - Allegro vivace
Simfonijski orkestar Hrvatske radiotelevizije jedan je od reprezentativnih
hrvatskih glazbenih ansambala. Tradicija orkestra seže u 1930. godinu kada počinje
djelovati Radio-orkestar tadašnje Radio-stanice Zagreb. U sklopu orkestra 1951.
godine počinje djelovati i Komorni orkestar koji pod vodstvom Antonija Janigra, a
kasnije Stjepana Šuleka i Pavla Dešpalja te gostiju (E. van Remoortel, C. Zecchi)
ostvaruje brojna i uspješna gostovanja u zemlji i inozemstvu. Meñu značajnim
imenima koja vode Simfonijski orkestar su Pavle Dešpalj, Krešimir Šipuš, Milan
Horvat i mnogi drugi hrvatski i inozemni dirigenti. Osobito je vrijedno djelovanje
orkestra na afirmaciji glazbe hrvatskih skladatelja. U novijoj povijesti ansambla treba
istaknuti njegovo djelovanje u vrijeme Domovinskog rata kada Orkestar održava
brojne nastupe na prvim crtama bojišnice te mnoge humanitarne koncerte. Ansambl
redovito nastupa u vlastitom pretplatničkom ciklusu i gostuje u inozemstvu (Salzburg,
Berlin, Bratislava. Rim. Bologna...). Danas je na čelu orkestra kao šef-dirigent ugledni
glazbenik Nikša Bareza.
Nikša Bareza hrvatski je dirigent bogate meñunarodne karijere. Roden je u Splitu,
školovao se na Muzičkoj akademiji u Zagrebu, a usavršavao na Mozarteumu u
Salzburgu. U Hrvatskom narodnom kazalištu u Zagrebu djeluje kao stalni dirigent a u
razdoblju 1965.-74. i kao ravnatelj Opere. Istodobno započinje meñunarodnu karijeru
kao šef-dirigent Opere u Grazu te gost-dirigent Bečke državne opere, Hamburške
opere, Milanske Scale, Teatro Verdi u Trstu, La Fenice u Veneciji i dr. Istaknuti je
simfonijski dirigent te je nastupao s Moskovskom i Sanktpeterburškom filharmonijom.
Bečkim simfoničarima, Orkestrom Romanske Švicarske i dr. U domovini je čest gost
Zagrebačke filharmonije i Opera HNK u Zagrebu i Splitu gdje je djelovao i kao
ravnatelj glazbenoga programa Splitskog ljeta. Do 1997. godine bio je ravnatelj
glazbenoga
programa
Dubrovačkog
ljetnog
festivala.
Danas
je
šef-dirigent
Simfonijskog orkestra Hrvatske radiotelevizije.
Violončelist Clemens Hagen studirao je na Visokoj školi za glazbu Mozarteum u
Salzburgu, u klasi prof. Wilfrieda Tachezia i Heinricha Schiffa. Sudionik je brojnih
meñunarodnih natjecanja te dobitnik značajnih priznanja kao što su Nagrada Karl
Böhm, Nagrada Henryk Szeryng i Nagrada Bečke filharmonije. Kao solist nastupa s
uglednim orkestrima poput Berlinske filharmonije, Cammerata Academica u
Salzburgu, Njemačka komorna filharmonija u Bremenu, Bečki simfoničari, NHK
orkestar u Tokiju
i dr., pod ravnanjem C. Abbada, N. Harnoncourta, H. Grafa, H. Steina, Y. Menuhina i
dr. Često surañuje s violinistom G. Kremerom i njegovim ansamblom KREMERata
BALTICA,
a
s
Kremerom,
dirigentom
N.
Harnoncourtom
i
Kraljevskim
Concertgebouw orkestrom snimio je Brahmsov Dvostruki koncert za violinu i
violončelo. Često nastupa i kao komorni glazbenik surañujući s M. Argerich,
I. Grafenauer, O. Maisenbergom, A. Schiffom i dr. Jedan je od utemeljitelja Kvarteta
Hägen, od 1989. djeluje kao pedagog na Mozarteumu. Clemens Hagen svira na
instrumentu J. B. Guadagnini iz 1749. godine.
Meñu malobrojnim autorima koji su u našem stoljeću stekli popularnost kao operni
skladatelji jedan od najistaknutijih je nedvojbeno Benjamin Britten (1915.-1976.),
nakon H. Purcella najznačajniji engleski skladatelj. Uz orkestralna i komorna djela
Britten je skladao nekoliko opera medu kojima su najviše izvoñene "Nasilje nad
Lukrecijom", "San ljetne noći", "Albert Herring" i "Peter Grimes", uz dječju operu
"Mali dimnjačar". Izvrstan instrumentator, Britten se je svojom umjereno modernom
glazbom priskrbio i epitet "Verdi 20. stoljeća", što njegova djela potvrñuju pitkom
melodikom, živopisnošću ritmova i osobito prvorazrednom dramaturgijom. "Peter
Grimes" velika je opera sa sadržajem iz života engleskih ribara oko polovice 19.
stoljeća (libreto je prema G. Crabbeu napisao M. Slater). Grimes je siromašan ribar
kojeg malograñanska sredina i niz nesretnih okolnosti vode do tragičnog kraja. Opera
obiluje efektnim solističkim arijama i velikim zborskim prizorima, a četiri orkestralna
interludija izvode se i kao posebnim simfonijski stavci. Prvi od njih slika je olujnoga
mora, drugi riše sunčano blagdansko jutro, treći interludij predstavlja noć punog
mjeseca u kojoj pogiba dječak, Grimesov pomoćnik, dok četvrti ujedinjuje dramatske
motive oluje s psihološkim stanjem sudionika drame.
Na narudžbu British Royal Society sklada Witold Lutoslawski (1913- 1994.)
Koncert za violončelo i orkestar i posvećuje ga Mstislavu Rostropoviču koji je i prvi
tumač djela 1970. godine. Ugledni poljski skladatelj u to vrijeme već ima za sobom
glavninu skladbi kojima se uvrstio medu najznačajnije autore našega doba - Koncert
za orkestar, Žalobna glazba za gudače posvećena B. Bartoku, Tri preludija za orkestar,
Knjiga za orkestar. Tri poeme Henria Michauxa i dr. Koncert za violončelo u četiri
stavka koji se nadovezuju, nije klasičan model solističkoga koncerta uz pratnju
orkestra. Glavna uloga jest povjerena solističkom instrumentu, no njegov je odnos
prema orkestru (i obrnuto) gotovo konfliktan, u stalnoj borbi i konfrontaciji, rjeñe u
suradnji. Prvi je stavak svojevrstan monolog violončela, drugi se odvija u četiri
epizode markantnih zvukovnih sklopova, treći stavak postaje dijalog a četvrti sabire
iskustva triju prethodnih. "Individua (violončelo) će pokleknuti i ustuknuti pred
Kolektivom (orkestar), slično kao u Glasovirskom koncertu Eliota Čartera. Nakon
trijumfalne pobjede orkestra javit će se violončelo posljednji put, revoltirano
ponavljajući visoki ton."
Hrvatski skladatelj Dubravko Detoni (1937) o skladbi Devet prizora iz Danijelova sna
koja je prvi put izvedena u Zagrebu 1993. godine, kaže: "Najnovija partitura za veliki
orkestar, Devet prizora iz Danijelova sna, dovršena je u proljeće 1993. a temelji se na
ranije nastalom glasovirskom predlošku. Potaknuta prokofjevskom idejom o
neodoljivoj sprezi riječi, zvukova i pokreta, ta simfonijska suita od devet samostalnih
ah meñusobno povezanih stavaka stvorena je na osnovi pjesničkih priča o raznovrsnim
dogañajima iz snova autorova sina Danijela. Svaki stavak predstavlja zatvorenu lirsku
ili dramatsku cjelinu koja se kontrastno nadovezuje na prethodni odjeljak. U prvom
prizoru opisan je let balonom, ujedno i radosni beztežinski ulazak u san. Drugi je
prizor dramatični Capriccio, prikaz neobičnog susreta s pretpotopnom životinjom.
Treći stavak, blještavo osvijetljeni Valcer staklenih predmeta, naglo je prekinut
neopreznom pasažom, neke pojave koja razbija sve oko sebe. U Tangu, u kojem su
duhovito ritmički spojena dva osnovna tipa tog plesa, a o njima podrobno piše Borges,
Opisan je prvi doživljaj ljubavi, iz mraka izronjena, erotski uzgibana filmska slika
kolektivne habanere-milonge. U petom prizoru glazbom se širi tajanstveni Nokturno,
ravnomjerno zanjihana barkarola s velikim porastom razvoja glazbenoga toka,
uzbudljivim doživljajem oluje na moru. Šesti je stavak pomalo komična situacija
stabala i trave, prekinuta s trijom pospanih drvenih vojnika. Sedmi je odjeljak ponešto
podrugljivi Menuet na način Gavote bijelih šahovskih dama s bizarnim zvukovima
paranja haljina u srednjem dijelu. Osmi prizor, Air, donosi pjesmu skupine potpuno
istih, u mraku zalutalih knjiga, obučenih u hodočasnička odijela; stavak je ujedno i
parafraza nadahnute, gorko-podrugljive melodičnosti Erika Satiea. Vrhunac djela,
burna i opasna ratna Tokata, ispunjena snažnim
eksplozijama i divljim štektanjem pobješnjelog oružja. Epilog je skladbe zamagljena
reminiscencija na treći stavak, Valcer, u njoj san sa svim svojim prizorima postupno
blijedi i konačno se raspršuje".
Sergej Vasiljevič Rahmanjinov (1873.-1943.), uz Igora Stravinskog, svakako je
najslavniji ruski glazbeni emigrant koji je dio svoga opusa napisao u Sjedinjenim
Američkim Državama. Veliki dirigent i glasovirač, podjednako cijenjen i kao
skladatelj, Rahmanjinov je veliki perfekcionist koji je umnogome zaslužan za
profesionalizaciju glazbenoga života svoje domovine a koje odlike razvija i kasnije za
boravka u svojoj drugoj domovini, Americi.
Tri godine prije smrti Rahmanjinov piše svoju autorsku oporuku, Tri simfonijska plesa.
op. 45. Djelo posvećuje Filadelfijskom orkestru i dirigentu Eugenu Ormandyu s kojim
je u SAD debitirao 1909. godine. Simfonijski plesovi praizvedeni su 3. siječnja 1941. a
postoje i u verziji za dva glasovira.
Znakovito je da Rahmanjinov kao polaznicu ovoj skladbi ne uzima ples u njegovu
temeljnu značenju nego kao "Životni ples", odnosno Dance macabre. U početku se
bavio mišlju da plesovima da programske naslove "Jutro", "Podne" i "Večer", ali je
odustao uopćivši naslov, premda ne i glazbenu poruku. Karakteristični znakovi ovog
neobičnog djela sadržani su u sva tri plesa, od prvog u kojemu će drugu temu donijeti
apartni saksofon, preko drugog valcer-stavka briljantno instrumentiranog (temu nosi
engleski rog), sve do završnoga, s temom Dies irae koja vijuga od visokih puhača i
ksilofona do violončela i konačno rogova. Završni udar tam-tama ostaje u tišini. To je
autorov pozdrav na kraju životnoga puta.
The Croatian Radio & Television Symphony Orchestra is one of the
renowned Croatian music ensembles. The tradition of the orchestra reaches back to the
year 1930, when the activity of the Radio Orchestra of the former Radio Zagreb
started, and in 1951, another ensemble started its activity within the orchestra, i.e. the
Chamber Orchestra under the leadership of Antonio Janigro, later to be followed by
Stjepan Šulek and Pavle Dešpalj,
with the addition of some guests like E. van Remoortel and C. Zecchi. The Orchestra
successfully toured both in the country and abroad. Among the conductors who were
the conductors of the Symphony Orchestra are Pavle Dešpalj, Krešimir Šipuš, Milan
Horvat and many other Croatian and foreign conductors. The great value of the
orchestra lies in the fact that it has constantly been engaged in the promotion of works
by the Croatian composers. Regarding the recent history of the ensemble, it has to be
pointed out that it had been very active at the time of the recent war of aggression
against Croatia, when the Orchestra extensively performed on the very frontline and
often for humanitarian purposes. The ensemble gives regular concerts within its
seasonal cycle and appears abroad, in Salzburg, Berlin, Bratislava. Rome, Bologna...
The present chief conductor of the orchestra is the distinguished musician Nikša
Bareza.
Nikša Bareza is a Croatian conductor with a rich international career. Born in Split,
he graduated from the Zagreb Music Academy, and pursued further studies at the
Mozarteum in Salzburg. He first worked as permanent conductor of the orchestra of
the Croatian National Theatre in Zagreb, and between 1965 and 1974, was also the
Director of the Opera. At the same time he began to develop his international career,
as the chief conductor of the Graz Opera and as a guest conductor of the Vienna State
Opera, the Hamburg Opera, La Scala in Milan, Teatro Verdi in Trieste, Teatro La
Fenice in Venice, etc. He is also a distinguished conductor of symphony music and
has conducted orchestras like the Moscow and St. Petersburg Philharmonic, the
Vienna Symphony Orchestra, Orchestre de la Suisse Romande, etc. He is a frequent
guest conductor of the Zagreb Philharmonic Orchestra and the operas of the Croatian
National Theatres in Zagreb and Split, where he has been the director of the music
programme of the Split Summer Festival. Bareza was the music director of the
Dubrovnik Summer Festival until 1997. He is currently chief conductor of the
Croatian Radio and Television Symphony Orchestra.
The violoncellist Clemens Hagen studied at the Musikhochschule at the Mozarteum
in Salzburg with professors Wilfried Tachezi and Heinrich Schiff. He has participated
in many international competitions and won many prestigious awards like the Karl
Bohm Award, the Henryk Szeryng Award and the Vienna Symphony Orchestra
Award. He has performed as a soloist with many prestigious orchestras and
distinguished conductors like the
Berlin Philharmonic Orchestra, the Camerata Académica in Salzburg, the German
Chamber Philharmonic in Bremen, the Vienna Philharmonic Orchestra, the NKH
Orchestra in Tokyo and others, under the baton of C. Abbado, N. Harnoncourt,
H. Graf, H. Stein, Y. Menuhin, etc. He often performs together with the violinist
G. Kremer and his ensemble KREMERata MUSICA, and he recorded Brahms’ Double
Concerto for violin and cello with Kremer and the Royal Concertgebouw Orchestra
conducted by N. Harnoncourt. He also often performs as a chamber musician, along
with M. Argerich, I. Grafenauer, O. Maisenberg, A. Schiff and others. He was one of
the founder members of the Hagen Quartet, and since 1989 has been teaching at the
Mozarteum. Clemens Hagen is playing on a J. B. Guadanini instrument dating back to
the year 1749.
Among the few authors who have achieved popularity in this century as composers of
operas, the most prominent is definitely Benjamin Britten (1915 - 1976), the most
important English composer after H. Purcell. Apart from composing orchestral and
chamber works, Britten wrote several operas, among which the most often performed
include The Rape of Lucretia, A Midsummer Night's Dream, Albert Herring and Peter
Grimes, as well as children's opera The Little Chimney-sweep. An excellent
instrumentator, Britten has acquired the epithet "the 20th century Verdi" owing to his
moderately modern music determining his works by appealing melodies, picturesque
rhythms and particularly by a first class dramaturgy. Peter Grimes is a great opera with
the plot based on the life of English fishermen in the middle of the 19th century. The
libretto was written by M. Slatter who used a poem by G. Crabbe. Grimes is a poor
fisherman who is brought to a tragic end by the petty bourgeois environment,
accompanied by a number of unfortunate coincidences. The opera abounds in effective
solo arias and great choir scenes, and the four orchestral interludes are often
performed as separate symphonic movements. The first of them is a picture of a
stormy sea, the second one depicts a sunny Sunday morning, the third interlude
represents a night of the full moon when a boy, Grimes's assistant, is killed, while the
fourth combines dramatic motifs of the storm with the psychological conditions of the
participants of the drama.
Witold Lutoslawski (1913 - 1994) wrote the Cello Concerto fulfilling a commission
by the British Royal Society and dedicated it to Mstislav Rostropovich, who first
performed the work in 1970. At that time, the eminent Polish composer had already
written the majority of his works by which he could be classified among the most
distinguished present day authors, namely the Concerto for the orchestra, Funeral music
for the strings, dedicated to B. Bartók, Three preludes for the orchestra, The Book for the
orchestra, Three poems by Henri Michaux, and others. The Cello Concerto in four
movements is not a classical model of a solo concerto accompanied by the orchestra.
The main role is assigned to the solo instrument, but its relation to the orchestra, and
vice versa, is almost conflicting, in constant struggle and confrontation, but rarely in
collaboration. The first movement is a kind of a cello monologue, the second is
developed in four episodes of striking sound accords, the third movement becomes a
dialogue and the fourth gathers the experience of the preceding ones. "The Individual
(the cello) will knuckle under and withdraw before the Collective (the orchestra), like
in the Piano concerto by Eliot Carter. After the triumphant victory of the orchestra, the
cello will resound for the last time in revolt, repeating the high tone."
The Croatian composer Dubravko Detoni (1937), commenting on the composition
Nine Scenes from Danijel's Dream, first performed in Zagreb in 1993, says: "The most
recent of the composer's scores for the grand orchestra, Nine Scenes from Danijel's
Dream, was completed in the spring of 1993, and is based on an earlier piano model.
Inspired by Prokofiev's idea about the irresistible union of words, sounds and motions,
this symphonic suite consisting of nine independent but mutually connected
movements was created on the basis of poetic stories about various events from the
dreams of the composer's son Danijel. Each movement represents a closed lyrical or
dramatic unit that is contrastively connected with the preceding part. In the first scene
there is a description of a flight in a balloon together with a joyful weightless entrance
into a dream. The second scene is a dramatic capriccio, a representation of an unusual
meeting with an antediluvian animal. The third movement, a bright Waltz of glass
objects, is suddenly interrupted by a careless passage of a creature that keeps breaking
things around
itself. In the Tango, which ingeniously joins two basic types of this dance - described
in detail by Borges - the composer depicts the first love experience, an erotic film
scene of the collective habanara-milonga emerging from the dark. In the fifth section,
a mysterious nocturne spreads through the music, an evenly swaying barcarolle with a
rapidly developing musical flow, which provides an exciting experience of a storm at
sea. The sixth movement depicts a slightly comic situation involving trees and grass,
interrupted by a trio of sleepy wooden soldiers. The seventh part is a somewhat ironic
Minuet in the manner of a Gavotte of white chess queens, with bizarre sounds of
dresses being torn in the central part of the movement. The eighth scene, Air,
introduces a song performed by a group of identical books lost in darkness, dressed in
pilgrims' habits; the movement is, at the same time, a paraphrase of an inspired,
bitterly ironical melodiousness of Erik Satie. The peak of the work, the stormy and
dangerous war Toccata, is filled with powerful explosions and a wild yelping of the
raving mad weapons. The epilogue of the composition is a blurred reminiscence of the
third movement, the Waltz, with the dream and all of its scenes gradually turning pale
and scattering eventually".
Sergey V. Rachmaninov (1873 - 1943) was definitely, together with Igor Stravinsky,
the most famous Russian music emigrant, who wrote a part of his opus in the United
States of America. A great conductor and pianist, equally esteemed as a composer,
Rachmaninov was a great perfectionist responsible for the professionalization of the
musical life of his native country, which he continued to develop later, during his stay
in his second homeland, America.
Three years before his death, Rachmaninov wrote his composing testament, Three
Symphonic Dances, Opus 45. The work was dedicated to the Philadelphia Orchestra and
the conductor Eugene Ormandy, with whom he had made his debut in the United
States of America in 1909. The Symphonic Dances were first performed on January 3,
1941, and there is also a version for two pianos.
It is indicative that Rachmaninov did not employ the dance in its basic meaning as a
starting point of this work, but as a "life dance", i.e. Dance macabre. At the beginning
he planned to give the dances programmatic titles such as "Morning", "Noon" and
"Evening", but gave up the idea providing the composition with a generalized title, but
not with a
generalized musical message. Characteristic features of this unusual work are present
in all the three dances. In the first dance the second theme is preformed by the
exquisite saxophone, the second dance is in the waltz rhythm with a brilliant
instrumentation (with the theme brought by the English horn), while the final dance
includes the Dies Irae theme which meanders from the high winds and the xylophone
to the cello and the horns in the end. The final beat of the tom-tom remains in silence,
depicting the author's final farewell.
J.M.