Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
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.