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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