Download Večernji program

49. D UBROVAČKI L JETNI F ESTIVAL
49 TH D UBROVNIK S UMMER F ESTIVAL
H RVATSKA / C ROATIA
Franciscan Church
July, 13 th 1998
9.30 p.m.
Franjevačka crkva
13. srpnja 1998.
21.30 sati
GEMINIANI ORKESTAR
GEMINIANI ORCHESTRA
Melbourne
Dirigent/Conductor
MARCO VAN PAGEE
Solistica/Soloist
TIZIANA ŠOJAT
sopran/soprano
J. Ch. Bach:
Simfonija br.3 u E-duru, op.18, za dvostruki orkestar
Symphony No.3 in E-major, Op. 18 for double orchestra
Allegro
Andante
Allegro assai
R.Strauss:
Četiri posljednje pjesme, za sopran i orkestar
Vier letzte Lieder, for soprano and orchestra
Frühling (Proljeće)
Vor dem Schlafengehen ( Prije spavanja)
September ( Rujan)
Im Abendrot ( U večernjem rumenilu)
•••
W. Lutoslawski: Koncert za orkestar / Concerto for orchestra
Intrada (Allegro maestoso)
Capriccio notturno e arioso (Vivace)
Passacaglia, toccata e corale
Komorni orkestar Geminiani utemeljenje 1985. godine. Okupivši mahom mlade
glazbenike postaje stalni orkestar Victorian College of the Arts u Melbourneu. U
početku usmjeren na literaturu baroka i klasike, orkestar s vremenom prerasta u
veći sastav i pod imenom Geminiani Orchestra izvodi literaturu svih epoha i
stilova. Posvećujući posebnu pozornost kreativnom razvoju svojih članova
Geminiani Orchestra igra važnu ulogu u naobrazbi mladih glazbenika i zauzima
iznimno mjesto u kulturi svoje zemlje. Orkestar sudjeluje u važnim projektima
Spoleto festivala (Melbourne), Festivala mladih orkestara u Brisbaneu,
Meñunarodnog umjetničkog festivala u Melbourneu i dr. Brojne radio snimke i
nosači zvuka bilježe interpretacije Geminiani Orchestra.
Utemeljitelj i glazbeni ravnatelj Geminiani Orchestra Marco van Pagee roñenje u
Nizozemskoj. Na Kraljevskom konzervatoriju studira violinu i violu. Djelovao je
kao prvi violist u Komornom orkestru nizozemskog radija i u Elizabethan Theatre
Trust Orchestra. Utemeljitelj je i umjetnički ravnatelj Meñunarodnog natjecanja
komorne glazbe u Melbourneu. Djeluje i kao pedagog violine, viole i komorne
glazbe na Univerzitetu u Melbourneu, te na Victorian College of the Arts.
Sopranistica Tiziana Šojat roñena je u Rimu gdje je na Sveučilištu doktorirala
šport, športsku medicinu i pedagogiju. Pjevanje je studirala kod svoje majke,
ugledne sopranistice Aide Noni koja je od 1938. do 1940. bila prvakinja opere
HNK u Zagrebu, te kod proslavljene Elisabeth Schwarzkopf. Usavršavala se na
majstorskim tečajevima kod H. von Karajana. Nastupa na brojnim europskim
scenama (debitirala je 1984. godine u Dublinu kao Elsa u Wagnerovu
"Lohengrinu"), gostovala u Sjedinjenim Američkim Državama i u Japanu gdje je
takoñer djelovala kao pedagog. U njezinu se opernom repertoaru ističu Mozartove
junakinje, Grofica u "Figarovu piru", Donna Elvira u "Don Giovanniu", Elektra u
"Idomeneu" i Fiordiligi u "Cosi fan tutte", Puccinievi likovi Mimi i Musetta u "La
Boheme", Liu u "Turandot", Tosca, Sestra Angelica i Madame Butterfly,
Straussove Arabella, Saloma, Ariadna, Grofica u "Capricciu" i Chrysothemis u
"Elektri", zatim Elsa u "Lohengrinu", Sieglinda u "Walkuri" i Senta u "Ukletom
Holandezu" R. Wagnera i dr. Istaknuta je koncertna pjevačica - vrlo su cijenjene
njezine snimke Schumannovih, Wolfovih, Mahlerovih i Lisztovih popijevaka.
Gostovala je u Dubrovniku i u Zagrebu gdje je meñu ostalim tumačila Straussovu
Salomu te održala koncertni program s pjesmama F. Lehara i K. Weilla.
Johann Christian Bach (1735.-1782.) najmlañi sin J. S. Bacha, poznat je i kao
"Milanski" odnosno "Londonski" Bach. Zahvaljujući poduči starijega brata
Ph. Emanuela bio je jedan od najboljih čembalista svoga doba. U Milanu je
djelovao kao orguljaš Milanske katedrale, u Bologni studirao kompoziciju kod
glasovitog Padre Martinia, u Torinu i Napulju izvodio je svoje prve opere, od
1762. do smrti živio je i djelovao u Londonu gdje kod njega uči i mladi
W. A. Mozart. Pripada tzv. galantnom stilu 18. stoljeća i njegovoj "osjećajnosti"
(Emfindsamkeit). Osim brojnih opera ("Orione, ossia Diana vendicata" izvedena
1763. u Londonu označava prvu pojavu klarineta u engleskom opernom orkestru),
komornih i glasovirskih odnosno skladbi za čembalo, autor je pedesetak simfonija
u kojima formira moderan orkestar, osamostaljuje puhače i posebnu pozornost
skreće prema bojama orkestralnoga sloga u tzv. razlomljenoj razradbi tematike
(durchbrochene Arbeit). Ove, za njegovo vrijeme revolucionarne novosti, osobito
su prisutne u opusu 18 koji obuhvaća Deux Simfonies a grande Orchestre.
U opusu njemačkog skladatelja Richarda Straussa (1864.-1949.) velikog opernog
majstora i simfoničara, solo-popijevka zauzima posebno mjesto. Uz Huga Wolfa,
Strauss je posljednji autor kasnoromantičnog Lieda izniklog na plodnu tlu
Schubertovih, Schumannovih i Brahmsovih pjesama koje će u vremenu bližem
našemu oplemeniti još i osebujno skladateljsko pero Gustava Mahlera. Na samom
kraju životnoga puta, u visokoj dobi od 84 godine, Strauss ostavlja svoju glazbenu
oporuku - Četiri posljednje pjesme za sopran i orkestar (izdane posthumno kao
ciklus). Objedinjujući ono što je najviše volio, vokal i orkestar, u jedinstvenu
cjelinu, Strauss poseže za stihovima svog nešto mlañeg suvremenika Hermana
Hessea i rano-romantičara Josepha Eichendorfa. Prve tri pjesme inspirirane su
Hesseovim stihovima a posljednja Eichendorfovim u čudesnom spletu duboke
emocionalnosti. Od sretnog ugoñaja prve pjesme "Proljeće", preko idiličnog
prisjećanja mladosti u pjesmi "Pri polasku na počinak", sve do zagasitog i
nostalgičnog "Rujna", a osobito u posljednjoj pjesmi "U rumenilu večeri" koja
emanira gotovo tristanovsku atmosferu, Strauss prebire po vlastitoj kajdanci
sabirući iskustva glazbenog vremena koje je gotovo na izmaku.
"Lutoslawski je bez dvojbe jedna od najznačajnijih ličnosti naše epohe. Njegova se
individualnost očituje podjednako u svakoj zvukovnoj situaciji, bez obzira koliko
se udaljuje od tradicionalnih tehnika skladanja...", piše muzikolog T. A. Zielinski
o Witoldu Lutoslawskom (1913.-1994.), jednom od najvećih poljskih skladatelja
našeg vremena .
Koncert za orkestar skladao je četiri godine i djelo je 1954. praizvedeno u Varšavi.
Ono je kruna autorova razdoblja u kojem se bavi folklornim idiomom pretvarajući
ga na svoj način u umjetnički izraz. Posebnost Koncerta za orkestar je organsko
povezivanje poljske pučki intonirane glazbe s baroknim principima i modelima
skladanja. U prvome stavku, Intradi, svi kontrastirajući dijelovi grañeni su u
folklornom ugoñaju. Drugi stavak, Capriccio notturno, sugerira tajanstvenu
atmosferu i nosi elemente fantastike. Umjesto očekivanog Trija javlja se
melodiozan Arioso s rogovima u glavnoj ulozi. Treći stavak donosi u dinamici sve
žešću Passacagliu koja je neposredno povezana s Toccatom i Koralom. To je
ujedno i vrhunac djela kojeg će označiti kao "dramatični sonatni Allegro". Koncert
za orkestar virtuozno je djelo u kojem svaki instrument i svaka instrumentalna
skupina imaju zahtjevne i vrlo izražajne zadaće.
The Geminiani Chamber Orchestra was established in 1985. The orchestra has
mostly attracted young musicians and become the resident orchestra of the
Victorian College of the Arts in Melbourne. At first the orchestra was mainly
involved with the baroque and classical music literature. In the course of time the
orchestra has grown into a larger ensemble and has changed its name into
Geminiani Orchestra, currently performing music belonging to all epochs and
styles. Besides paying particular attention to the creative development of its
members, the Geminiani Orchestra plays a significant role in the education of
young musicians and takes an exceptionally important place in the culture of its
country. The orchestra participates in important projects of the Spoleto Festival in
Melbourne, the International Festival of Youth Orchestras in Brisbane, Melbourne
International Festival of the Arts and others. Geminiani Orchestra is regularly
recorded and broadcast on the radio and has made recordings of their
interpretations for other media as well.
The founder and music director of the Geminiani Orchestra, Marco van Pagee,
was born in the Netherlands. He studied the violin and viola at the Royal
Conservatorium in The Hague. He was principal violist with the Netherlands Radio
Chamber Orchestra and the Elizabethan Theatre Trust Orchestra. Marco van Pagee
is a founding member and artistic director of the Melbourne International Chamber
Music Competition. He teaches the violin, viola as well as chamber music at the
University of Melbourne and the Victorian College of the Arts.
The soprano Tiziana Šojat was born in Rome where she obtained her doctorate in
sports, sports medicine and pedagogy. She studied singing with her mother, the
prominent soprano Aida Noni, who was the leading soprano at the opera of the
Croatian National Theatre in Zagreb between 1938 and 1940. She later studied
with the famous Elisabeth Schwarzkopf, and then attended master classes with
H. von Karajan. She has performed on numerous European stages: she had had her
debut in Dublin in 1984 as Eisa in Wagner's Lohengrin, then went to the United
States and Japan to sing as well as teach. Her operatic repertoire encompasses
Mozart's heroines, the Countess in Le nozze di Figaro, Donna Elvira in Don
Giovanni, Elektra in Idomeneo and Fiordiligi in Cosi fan tutte; further she sang
Puccini's heroines: Mimi and Musette in La Bohême, Liu in Turandot, Tosca, Suor
Angelica and Madama Butterfly, Strauss's Arabella, Salome, Ariadne, Countess in
Capriccio and Chrysothemis in Elektra, Wagner's Eisa in Lohengrin, Sieglinde in Die
Walküre and Senta in Der fliegende Holländer. She is also a well known recital
singer and her recordings of Schumann's, Wolfs, Mahler's and Liszt's songs are
highly praised. She has made guest performances in Dubrovnik and Zagreb, where
she, among other roles, sung Strauss' Salome and also had a recital of songs by
F. Léhar and K. Weill.
Johann Christian Bach (1735-1782), the youngest son of J. S. Bach, is also
known as the "Milan" or "the English Bach". Owing to the tuition he received from
his elder brother Ph. Emanuel, he was one of the best harpsichord players of his
time. In Milan he was organist in the Milan Cathedral, in Bologna he studied
composition with the famous Padre Martini, and in Turin and Naples he presented
his first operas. From 1762 until his death he lived and worked in London, where
he also befriended young Mozart, whom he taught for a time. J. Ch. Bach belonged
to the so called gallant style of the 18th century and its sensibility (Empfindsamkeit).
Besides numerous operas (Orione, ossia Diana vendicata, first performed in London
in 1763, marks the appearance of the clarinet in the English operatic orchestra), he
wrote many chamber and piano, i.e. harpsichord pieces, and some fifty
symphonies. In his symphonies he formed a modern orchestra, with the winds
being given independent roles, and a special attention was turned upon the nuances
of the orchestral structure in the so called broken
working out of the theme (durchbrochene Arbeit). These revolutionary ideas, new for
his time, are particularly present in opus 18 that encompasses Deux Simfonies a
grande Orchestre.
In the opus of the German composer Richard Strauss (1864 - 1949), the great
master of the opera and symphony, a special place belongs to the solo songs.
Together with Hugo Wolf, Strauss is the last composer of the late romantic Lied
that sprang up from the fertile ground of Schubert's, Schumann's and Brahms'
songs, which were later enhanced by Gustav Mahler, the singular composer from
the times closer to our era. At the very end of his life, at the ripe old age of 84,
Strauss wrote his musical testament: Four Last Songs for the soprano and orchestra
(they were published posthumously, as a cycle). By uniting the two things he liked
best into a unique whole, the vocal part and the orchestra, Strauss used the verses
of his somewhat younger contemporary Herman Hesse and the late romantic
Joseph Eichedorf. The first three songs were inspired by Hesse's verses, the last
one by Eichendorfs, and they appear fantastically intertwined in deep
emotionality. In his songs - from the happy mood of the first song Spring, through
the idyllic reminiscences of his youth in the song While Getting Ready for Bed, to
the dark and nostalgic September, and particularly in the last song, In the Evening's
Purple, which emanates an almost Tristan-like atmosphere - Strauss goes through
his own scores, gathering the experience of his musical era that has almost come
to its end.
"Lutoslawski is doubtlessly one of the most prominent personalities of our epoch.
His individuality becomes evident likewise in every sound situation, no matter
how far it departs from the traditional composition techniques...", this is what the
musicologist T. A. Zielinski wrote about one of the greatest Polish composers of
our times, Witold Lutoslawski (1913 - 1994).
The Concerto for the orchestra took him four years to compose, and the piece was
first performed in Warsaw in 1954. It was the crown of the composer's era in
which he took to exploiting the folklore idiom, which he then turned, in his own
way, into an artistic expression. The special feature of the Concerto for the
orchestra is its organic tie-up of the Polish folk-intoned music with the baroque
principles and composition models. In the first movement, Intrada, all the
contrasting parts are built upon a folklore mood. The second movement, Capriccio
notturno, suggests a mysterious
atmosphere and has elements of the fantastic. Instead of the expected Trio there
appears a melodious Ariozo, with the horns playing the main part. The third
movement brings the dynamically vehement Passacaglia that is directly connected
with the Toccata and Chorale. This is, at the same time, the peak of the piece,
very often referred to as the "dramatic sonata-like Allegro". The Concerto for the
orchestra is a virtuoso piece in which every instrument and every instrumental
group have demanding and highly expressive tasks.
J.M.
VICTORIAN COILIOE OF
THE ARTS
School of Music THE
The Orchestra of the Victorian Arts Centre
UNIVERSITY o/MELBOURNE
itONiouto
THi c
I T
ir
r
or
viiiovmi
/llitalia
Official Airline Geminiani
Orchestra's European Tour 1998