hoje: um dia com literatura, teatro (performance) e música

Leitura de “Alabardas" de José Saramago

Fundação José Saramago

Tim Etchells / Jim Fletcher / Chris Thorpe

We are the King of Ventilators (Delirium Loop)

Teatro do Bairro Alto

Sinfonia n.º 83 de Haydn

Orquestra Gulbenkian

em Casa : Orquestra Gulbenkian

Orquestra Gulbenkian volta ao Grande Auditório

a partir de junho 3, 10, 18, 25, ...

Mendelssohn, Beethoven, Haydn, ...

em casa : Música

Hope@Home
Daniel Hope (violino) com Christoph Israel (piano) e convidados
#1
#2 com Max Raabe
#3
#4 com Barrie Kosky
...
todos os dias às 17h durante 2 semanas e fica disponível
Arte Concert
Deutsche Grammophon

em casa : Música

La Philharmonie de Paris

Concerto do dia
Brad Mehldau - março 27/28
The Divine Comedy - março 28
...

Paris

em casa : Música Clássica

Berliner Philharmoniker
The Digital Concert Hall
acesso livre aos concertos por 30 dias
subscrição até 31 de março
Berlim

em casa : Música clássica

ECHO European Concert Hall Organisation
um concerto por dia às 19h

Seg, 23 mar
Het Concertgebouw Amsterdam

Ter, 24 mar
Konserthuset Stockholm

Qua, 25 mar
L’Auditori de Barcelona

Qui, 26 mar
Elbphilharmonie Hamburg

Sex, 27 mar
Fundação Calouste Gulbenkian

Sáb, 28 mar
Megaron – The Athens Concert Hall

Dom, 29 mar
Palau de la Música Catalana, Barcelona

Seg, 30 mar
Town Hall & Symphony Hall Birmingham

Qui, 02 abr
Konzerthaus Dortmund

em casa : Lírica e Sinfónica

Teatro Nacional de São Carlos
Podcast - segunda a sexta-feira
Eu músico - intérpretes coro e orquestra - diariamente
Arquivos digitais - periodicamente
Lisboa

em casa : Música

Gulbenkian música

concertos, espectáculos encenados e recitais

a cada terça-feira dois concertos disponíveis durante 30 dias

1ª semana:

   Pedro Burmester e Mário Laginha

   Orquestra Gulbenkian e Menahem Pressler
2ª semana
   Beatrice Rana
   War Requiem – Coro e Orquestra Gulbenkian
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Lisboa

Haydn, no seu período Sturm und Drang

Maria João Pires - Beethoven Piano Concertos

Maria João Pires
Beethoven: Piano Concertos 3 & 4

LUDWIG VAN BEETHOVEN (1770–1827)
Piano Concerto no.3 in C minor op.37
Klavierkonzert Nr. 3 c-moll · Concerto pour piano no3 en ut mineur
1 I Allegro con brio 17.15
2 II Largo 9.50
3 III Rondo: Allegro 9.11

Piano Concerto no.4 in G op.58
Klavierkonzert Nr. 4 G-dur · Concerto pour piano no4 en sol majeur
4 I Allegro moderato 19.43
5 II Andante con moto 4.57
6 III Rondo: Vivace 10.21

Maria João Pires piano
Swedish Radio Symphony Orchestra
Daniel Harding

"The role of interpreter is a delicate one: he, or she, is faced with the score as the sole point of contact with the composer. It is the interpreter’s job to bring a work to life, across distances in time and space, by making a connection between a personality – often an exceptional one – and ordinary mortals. To achieve this he has to put mind and body at the service of a considerable task: the transmission of art. In music, the word ‘interpretation’ is prone to a number of misconceptions, frequently with unfortunate consequences. Thus we often see two positions set against each other: either the performer must ‘project himself’ in order to give life to the score (to ‘show personality’), at the risk of betraying the spirit of the work; or, on the contrary, he must show the score the utmost respect, so trying to suppress his own personality to give a reading of the work which may well be perfect – but lifeless.

Logically speaking, one might think that the correct approach would be halfway between these two extremes, but such logic would be crude compared to the subtlety of the question. Indeed, these two approaches both fall prey to the same fallacy, through the disproportionate importance they attach to personality. Whether through excess or shortage of personality, this concept gets in the way of music’s essential power to bring out a primal simplicity, so often forgotten, which is present deep inside each one of us, waiting to respond when summoned. Music’s capacity to suggest a stretch of time and yet still exist in the moment amounts to the capacity to reshape every aspect of our sensibility anew. So the act of ‘interpreting’ ceases to be one of simple personal will, to become that civilized conversation where composer and performer lend each other their ears, so to speak, across centuries and borders, with the aim of achieving an eminently simple miracle: for the work to open up, yielding to the source of all music."

Maria João Pires