What is modern dance? by Deborah Nash
What is Modern Dance? by Scarlet Lynne King
Modern Dance from 1920 till today by Center for Choreography, University of Houston
Joyce's discussions about dance
Ballet? by LoveToKnow 1911 Online Encyclopedia
Online Resources by Society of Dance History Scholars
sexta-feira, 14 de janeiro de 2005
quinta-feira, 13 de janeiro de 2005
Ballet
WHAT IS BALLET?
Some Basic Facts:
The word ballet is derived from the Italian word ballare meaning "to dance."
Music, dance and mime combine in ballet to tell a story.
In ballet, each step and movement is planned in advance. This is called choreography.
Ballet developed its vocabulary in France, and many of the original French names for steps and jumps are still used around the world. That way, dancers from different countries can understand each other.
Performing ballet is very hard work and requires hours of practice. Most ballet dancers begin training at an early age. Just as in athletics, dancers must take very good care of their bodies.
Women must work even harder than men because they have to learn to learn a very special technique called "pointe." Pointe dancers wear special shoes which allow them to dance on the very tips of their toes.
Dance in ballet is based on the five classic positions of the feet and must be performed by dancers trained in classic technique. All ballet movements begin and end with one of the five positions. They were created in the 18th century to provide balance and to make the feet and hands look graceful. The five positions are based on the foundation which underlies ballet dance - the turn out. The turn out is the ability of the dancer to rotate the legs outward much further than is normal or natural in everyday life. "Turn out" must come from the hip if injury is to be avoided.
HISTORY
1. Court and Classical Ballet
Ballet began as entertainment for the royal families of Europe more than 400 years ago. It has a long and rich history growing out of noble and courtly manners and behavior. Ladies and gentlemen of the court were the performers. The first "ballet" was presented at the court of Catherine De Medici in 1581. Soon these "ballets" bcame so popular in France and Italy that, if you were a member of the nobility, you had to have dance training. By the time of France's Louis XIV, there were hundreds of dance teachers in Paris alone. The king, an accomplished dancer himself, decided to put ballet in the hands of the professionals. He created a school - the Academie Royale de la Danse. Classical ballet style has developed gradually since then. In the 19th century "romantic" ballet became popular. Dancers in floating white dresses performed folktales and fairy tales such as LA SYLPHIDE and GISELLE.
The ballet company of Russia was important in the 19th century, too. At that time it was the Imperial Ballet (of the Emperor) and huge productions could be presented, with the most beautiful costumes and sets and magical stage effects. The choreographer Marius Petipa designed many of these deluxe productions, and the great composer Tchaikovsky created musical compositions for ballets that would provide an evening of drama, music, and dance.
Early the twentieth century, many Russian artists left their country for political reasons. Some of them formed the Ballets Russes (or Ballet Russe--it just means “Russian Ballet”) which brought old and new works to life all around the world. Great choreographers such as the Russian Fokine (1880-1942) and the dancer Vaslov Nijinsky and his sister Nijinska arranged dances for the Ballets Russes.
For a time, ballet companies toured everywhere in America and when they came to the smaller cities it was an important event. During the time of Anna Pavlova (1881-1931), ballet became "the thing" for people to see and talk about. Gradually it became too expensive for companies to tour and ballet became more of a big-city entertainment. But there were many schools around the country teaching ballet and dance, with children learning the positions and dreaming of going to New York or to Europe to dance in a great company.
Neo-classical ballet and Modern ballet are two twentieth-century styles which developed from Classical ballet, which is what we call the traditional European dance style as it was in France and Russia around the year 1900.
2. Neo-Classical Ballet
Neo-classical means “new classical” and this ballet is a style of dance developed by choreographer George Balanchine. When he was only ten years old he began learning ballet at the Kirov Ballet School in St. Petersburg, Russia. In 1924, when he was 20, he left Russia and soon joined the Ballets Russes, touring in Europe and America. He had many opportunities to try out new dance ideas. In 1933, with the help of an American named Lincoln Kirstein, Balanchine came to New York to start a new ballet school which would have a new, American style. It took them a long time, almost 15 years, before they had developed dancers and a style that were important enough to become the New York City Ballet. Balanchine died in 1983, having made over 400 dances, many of which are still treasured by the dancers who learned them and the audiences who have seen them.
From his classical training, Balanchine kept the line, the elegance, the precision and the presence, but he made everything go faster. Instead of thinking ANow he is going to leap@ or counting how many times the ballerina twirls, you kept watching all the dancers and just trying to see everything they did. Without any loss of elegance or precision Balanchine increased the speed at which steps were danced, shortened the time between step sequences, and choreographed preparation for the next sequence as part of the end of the sequence being danced.
In choreography too, Balachine chose carefully. He did not completely eliminate storytelling. Instead, he reduced the plot and character to a minimum and drew on his audiences' cultural knowledge through use of gestures, costumes and properties to convey his story. Nor did he eliminate mime, just the steps and postures which were stereotypical and humiliating, while retaining both classical and folk steps and poses which reflect humanity generously.
While Balanchine was eliminating those aspects of classical ballet which did not fit his vision he was exploring the movement of other dance styles - Neo-romantic ballet from Russia, modern dance from Middle Europe, folk and Western dance from the United States, the visual forms of modern art; cubism, surrealism, suprematism, and the new harmonies and rhythms created by Stravinsky.
3. Modern Ballet and Modern Dance
Modern ballet is a much more inclusive style of dance than is Neo-classical. It also comes from the early part of the 20th century, but it is not the creation of one great choreographer. Instead, it comes from the many choreographers and dancers who were taught in many combinations of ballet and other dance styles. Some dancers had political or spiritual ideas about dancing, others had ideas about storytelling, or trying to go back to prehistoric uses of dance to express a religious or cultural truth. Some choreographers use popular music or world music or really strange music, and sometimes there is no music at all. So the range of style and movement is much greater and also the range of feelings that the dances arouse.
A modern ballet choreographer can call on the whole range of dance styles and can incorporate jazz, the various styles of Modern expression from Isadora Duncan to Twyla Tharpe, European, African, South American and Pacific Island ethnic forms, as well as the several versions of romantic and classical ballet styles. Not only can Modern ballet choreographers select from a variety of styles of dance, they can also collaborate with artists in other fields to create new works. Composers, visual artists, choreographers and dancers can work together to produce a grander work because of the synthesis of the art forms. For example, TROY GAMES combined the dancers of the London Contemporary Dance Theatre, South American Indian music and instruments, and choreography taken from styles of dance as divergent as chorus line dancing; African rhythms and classical ballet.
Ballet is once again enjoying a period of great popularity. Ballet is an art form that must be seen to be enjoyed. With television and video technology, everyone can now see ballet. In the past 30 years, the great America male dancer Edward Villella and the two great Russian male dancers Rudolph Nureyev and Mikhal Baryshnikov did much to change the American perception of ballet and to influence the "acceptance" of ballet among men. Many professional male sports figures now receive regular ballet training to enhance their sports performance.
Some Basic Facts:
Dance in ballet is based on the five classic positions of the feet and must be performed by dancers trained in classic technique. All ballet movements begin and end with one of the five positions. They were created in the 18th century to provide balance and to make the feet and hands look graceful. The five positions are based on the foundation which underlies ballet dance - the turn out. The turn out is the ability of the dancer to rotate the legs outward much further than is normal or natural in everyday life. "Turn out" must come from the hip if injury is to be avoided.
HISTORY
1. Court and Classical Ballet
Ballet began as entertainment for the royal families of Europe more than 400 years ago. It has a long and rich history growing out of noble and courtly manners and behavior. Ladies and gentlemen of the court were the performers. The first "ballet" was presented at the court of Catherine De Medici in 1581. Soon these "ballets" bcame so popular in France and Italy that, if you were a member of the nobility, you had to have dance training. By the time of France's Louis XIV, there were hundreds of dance teachers in Paris alone. The king, an accomplished dancer himself, decided to put ballet in the hands of the professionals. He created a school - the Academie Royale de la Danse. Classical ballet style has developed gradually since then. In the 19th century "romantic" ballet became popular. Dancers in floating white dresses performed folktales and fairy tales such as LA SYLPHIDE and GISELLE.
The ballet company of Russia was important in the 19th century, too. At that time it was the Imperial Ballet (of the Emperor) and huge productions could be presented, with the most beautiful costumes and sets and magical stage effects. The choreographer Marius Petipa designed many of these deluxe productions, and the great composer Tchaikovsky created musical compositions for ballets that would provide an evening of drama, music, and dance.
Early the twentieth century, many Russian artists left their country for political reasons. Some of them formed the Ballets Russes (or Ballet Russe--it just means “Russian Ballet”) which brought old and new works to life all around the world. Great choreographers such as the Russian Fokine (1880-1942) and the dancer Vaslov Nijinsky and his sister Nijinska arranged dances for the Ballets Russes.
For a time, ballet companies toured everywhere in America and when they came to the smaller cities it was an important event. During the time of Anna Pavlova (1881-1931), ballet became "the thing" for people to see and talk about. Gradually it became too expensive for companies to tour and ballet became more of a big-city entertainment. But there were many schools around the country teaching ballet and dance, with children learning the positions and dreaming of going to New York or to Europe to dance in a great company.
Neo-classical ballet and Modern ballet are two twentieth-century styles which developed from Classical ballet, which is what we call the traditional European dance style as it was in France and Russia around the year 1900.
2. Neo-Classical Ballet
Neo-classical means “new classical” and this ballet is a style of dance developed by choreographer George Balanchine. When he was only ten years old he began learning ballet at the Kirov Ballet School in St. Petersburg, Russia. In 1924, when he was 20, he left Russia and soon joined the Ballets Russes, touring in Europe and America. He had many opportunities to try out new dance ideas. In 1933, with the help of an American named Lincoln Kirstein, Balanchine came to New York to start a new ballet school which would have a new, American style. It took them a long time, almost 15 years, before they had developed dancers and a style that were important enough to become the New York City Ballet. Balanchine died in 1983, having made over 400 dances, many of which are still treasured by the dancers who learned them and the audiences who have seen them.
From his classical training, Balanchine kept the line, the elegance, the precision and the presence, but he made everything go faster. Instead of thinking ANow he is going to leap@ or counting how many times the ballerina twirls, you kept watching all the dancers and just trying to see everything they did. Without any loss of elegance or precision Balanchine increased the speed at which steps were danced, shortened the time between step sequences, and choreographed preparation for the next sequence as part of the end of the sequence being danced.
In choreography too, Balachine chose carefully. He did not completely eliminate storytelling. Instead, he reduced the plot and character to a minimum and drew on his audiences' cultural knowledge through use of gestures, costumes and properties to convey his story. Nor did he eliminate mime, just the steps and postures which were stereotypical and humiliating, while retaining both classical and folk steps and poses which reflect humanity generously.
While Balanchine was eliminating those aspects of classical ballet which did not fit his vision he was exploring the movement of other dance styles - Neo-romantic ballet from Russia, modern dance from Middle Europe, folk and Western dance from the United States, the visual forms of modern art; cubism, surrealism, suprematism, and the new harmonies and rhythms created by Stravinsky.
3. Modern Ballet and Modern Dance
Modern ballet is a much more inclusive style of dance than is Neo-classical. It also comes from the early part of the 20th century, but it is not the creation of one great choreographer. Instead, it comes from the many choreographers and dancers who were taught in many combinations of ballet and other dance styles. Some dancers had political or spiritual ideas about dancing, others had ideas about storytelling, or trying to go back to prehistoric uses of dance to express a religious or cultural truth. Some choreographers use popular music or world music or really strange music, and sometimes there is no music at all. So the range of style and movement is much greater and also the range of feelings that the dances arouse.
A modern ballet choreographer can call on the whole range of dance styles and can incorporate jazz, the various styles of Modern expression from Isadora Duncan to Twyla Tharpe, European, African, South American and Pacific Island ethnic forms, as well as the several versions of romantic and classical ballet styles. Not only can Modern ballet choreographers select from a variety of styles of dance, they can also collaborate with artists in other fields to create new works. Composers, visual artists, choreographers and dancers can work together to produce a grander work because of the synthesis of the art forms. For example, TROY GAMES combined the dancers of the London Contemporary Dance Theatre, South American Indian music and instruments, and choreography taken from styles of dance as divergent as chorus line dancing; African rhythms and classical ballet.
Ballet is once again enjoying a period of great popularity. Ballet is an art form that must be seen to be enjoyed. With television and video technology, everyone can now see ballet. In the past 30 years, the great America male dancer Edward Villella and the two great Russian male dancers Rudolph Nureyev and Mikhal Baryshnikov did much to change the American perception of ballet and to influence the "acceptance" of ballet among men. Many professional male sports figures now receive regular ballet training to enhance their sports performance.
terça-feira, 11 de janeiro de 2005
St. Petersburg Philharmonic Orchestra
St. Petersburg Philharmonic Orchestra
First violins, 18
Second violins, 15
Violas, 13
Cellos, 12
Basses, 10
Flutes, 5
Oboes, 3
English Horn, 1
Clarinets, 4
Bass Clarinet, 1
Bassoons, 3
Contrabassoon, 1
Horns, 6
Trumpets, 4
Trombones, 4
Tuba, 1
Percussion, 6
Harps, 2
Piano and glockenspiel, 1
The St. Petersburg Philharmonia, the oldest Philharmonia in Russia, is almost two hundred years old. Its history goes back to 1802 when the St. Petersburg Philharmonic Society, the first one in Europe, was created.
segunda-feira, 10 de janeiro de 2005
Orquestra Filarmónica da Radio-France
Myung Whun Chung (maestro)
Orquestra Filarmónica da Radio-France
Gustav Mahler
Sinfonia Nº 5, em Dó sustenido menor
Fundação Calouste Gulbenkian
18 de Janeiro de 2005
Orchestre Philharmonique de Radio France
Orchestre Philharmonique de Radio France
instrumentistes:
premiers violons, 23
seconds violons, 18
altos, 15
violoncelles, 14
contrebasses, 11
flûtes, 6
hautbois, 5
clarinettes, 6
bassons, 5
cors, 7
trompettes, 6
trombones, 5
tubas, 1
timbales, 1
percussions, 4
harpes, 1
claviers, 1
L'originalité de cet orchestre de 138 musiciens ? Sa très grande flexibilité et la variété de son répertoire. L'Orchestre philharmonique de Radio France peut en effet être divisé en deux, voire trois formations, ces ensembles pouvant s'adapter à des répertoires très différents : c'est ce qu'on appelle familièrement la "géométrie variable". Les concerts de symphonies classiques ou d'oeuvres pour orchestre de chambre présentés par l'orchestre sont la preuve de cette faculté d'adaptation, ainsi que les concerts de musique contemporaine qui font appel à des combinaisons instrumentales spécifiques. Ce qui n'empêche pas l'Orchestre d'interpréter régulièrement le grand répertoire des XIXe et XXe siècles.
terça-feira, 4 de janeiro de 2005
Orquestra ou Orquestra Sinfónica
Orchestra
A group of musicians who perform on a variety of instruments. Within Western art, the term is most commonly applied to the symphony orchestra. The modern symphony orchestra instrumentation includes:
Strings
18- 1st Violins
14 - 2nd Violins
12 - Violas
12 - Cellos
8 - Double Basses
Woodwinds
4 - Flutes
3 - Oboes
1 - English Horn
3 - Clarinets
1 - Bass Clarinet
3 - Bassoons
1 - Contrabassoon
Brass
5 - French Horns
4 - Trumpets
3 - Trombones
1 - Tuba
Percussion
2 - Timpani
3 - Untuned Percussion (Bass Drum, Crash Cymbals, Gong, Snare Drum, Suspended Cymbal, Tam-tam, Tenor Drum, Tom-Toms)
1 - Tuned Percussion (Antique Cymbals, Bell Lyre, Celeste, Chimes, Crotales, Glockenspiel, Marimba, Orchestra Bells, Steel Drums, Timpani, Vibraphone, Xylophone)
2 - Harps
A group of musicians who perform on a variety of instruments. Within Western art, the term is most commonly applied to the symphony orchestra. The modern symphony orchestra instrumentation includes:
Strings
18- 1st Violins
14 - 2nd Violins
12 - Violas
12 - Cellos
8 - Double Basses
Woodwinds
4 - Flutes
3 - Oboes
1 - English Horn
3 - Clarinets
1 - Bass Clarinet
3 - Bassoons
1 - Contrabassoon
Brass
5 - French Horns
4 - Trumpets
3 - Trombones
1 - Tuba
Percussion
2 - Timpani
3 - Untuned Percussion (Bass Drum, Crash Cymbals, Gong, Snare Drum, Suspended Cymbal, Tam-tam, Tenor Drum, Tom-Toms)
1 - Tuned Percussion (Antique Cymbals, Bell Lyre, Celeste, Chimes, Crotales, Glockenspiel, Marimba, Orchestra Bells, Steel Drums, Timpani, Vibraphone, Xylophone)
2 - Harps
segunda-feira, 3 de janeiro de 2005
What is the difference between a "Symphony Orchestra" and a "Philharmonic Orchestra"?
Answer: not much! Many orchestras have different names (mostly to make themselves look different from other orchestras!) but most of them have the same instruments.
A Really Young Person's Guide to the Orchestra by Justin Locke
Orchestra by groovemusic
A Really Young Person's Guide to the Orchestra by Justin Locke
Orchestra by groovemusic
quarta-feira, 1 de dezembro de 2004
Barbara Bonney e Angelika Kirchschlager
Barbara Bonney e Angelika Kirchschlager
Malcolm Martineau
Gulbenkian
8 de Dezembro de 2004
BARBARA BONNEY (soprano)
ANGELIKA KIRCHSCHLAGER (meio-soprano)
MALCOLM MARTINEAU (piano)
Felix Mendelssohn-Bartholdy
Seis Duetos, op.63
Robert Schumann
Três Duetos op.74
Camille Saint-Saëns
Ici, les tendres oiseaux
Ernest Chausson
La nuit, op.11 nº 1
Jules Massenet
Oh! Ne finis jamais
Gabriel Fauré
Puisqu’ici-bas toute âme, op.10 nº 1
Pleurs d’or, op.72
Tarentelle, op.10 nº 2
Gioacchino Rossini
Voga, o Tonio
Gia, la notte s’avvincina
Mira, la blanca luna
Anton Dvorák
Duetos Morávios, op.32
Excertos.
Quando duas excepcionais cantoras se juntam em palco, o resultado só pode ser um: duetos de grande qualidade interpretativa. É o que se espera do concerto que vai reunir em Lisboa a soprano norte-americana Barbara Bonney e a meio-soprano austríaca Angelika Kirchschlager. Outro motivo para não deixar de ir à Gulbenkian esta semana é a estreia em Portugal do Psappha Ensemble.
Este agrupamento de Manchester, que se apresenta nos dias 6 e 7 de Dezembro, tem-se afirmado no Reino Unido como líder na difusão da nova música e do teatro musical. Os programas que traz a Lisboa são marcados por múltiplas estreias, nacionais e absolutas (incluem, por exemplo, uma peça do compositor português Tomás Henriques encomendada pela fundação).
Quanto às solistas, que actuam dia 8 na companhia do brilhante pianista Malcolm Martineau, vêm recriar uma colaboração já registada numa excelente colectânea de canções de Félix e Fanny Mendelssohn, Schumann e Dvorák, que tem sido um sucesso de vendas.
Barbara Bonney é um das mais versáteis cantoras da sua geração, adaptando-se - e brilhando - tanto na canção, como na ópera e recital (é também uma boa violoncelista). Versatilidade é também uma qualidade de Angelika Kirchschlager, que se afirmou como uma das mais distintas vozes da década de 90, especialmente no repertório do Lied.
segunda-feira, 15 de novembro de 2004
Les Ballets Trockadero de Monte Carlo
Les Ballets Trockadero de Monte Carlo
Centro Cultural de Belém
De 23 a 28 de Novembro de 2004
A curiosa companhia de dança norte-americana, exclusivamente masculina, volta a Portugal para recriar em tom de paródia o ballet clássico. Conhecido familiarmente por "Les Trocks" o grupo traz na bagagem um novo programa.
No espectáculo não faltam os tutus, os collants e as sapatilhas de pontas, mas em tamanho grande. Estes homens transformados em robustas bailarinas apresentam em Lisboa as coreografias "Les Sylphides", "Cafe of Experience", "Ecole de Ballet" e um "pas de deux" ou "pas de trois" que anunciarão todas as noites. Já no Porto e na Figueira, além da surpresa que anunciam em cada espectáculo, dançam "O Lago dos Cisnes", "Pas de Quatre" e "Paquita".
sexta-feira, 2 de julho de 2004
Lhasa de Sela
Fórum Lisboa
7 de Julho de 2004
Lhasa de Sela, "a voz nómada", autora dos excelentes "La Llorona" e "Living Road" apresenta o seu mais recente espectáculo.
biografia (inglês)
sexta-feira, 11 de junho de 2004
Nederlands Dans Theater II
Programa
Centro Cultural Olga Cadaval
19 de Junho 2004
Sintra Festival, Portugal NDT II
27'52'' - Jiří Kylián
Dream Play - Johan Inger
Shutters Shut - Lightfoot León
Subject to change - Lightfoot León
Público.
Review: Nederlands Dans Theater II
by Janet Anderson
Anyone who saw Nederlands Dans Theater II at Annenberg last weekend is probably still reeling from the impact of that much talent slamming into the audience. Czech Jiri Kylián transformed the already well-established Nederlands Dans Theater into a three-pronged ballistic dance missile back in 1975. We saw NDT II, the young troupe, aged 17 to 22; some of them will go into NDT I, the main company -- and later, around age 40, a few may segue gracefully into NDT III. All are considered artistic equals; none could be any better than these fantastic kids.
Maestro Kylián's Indigo Rose introduced us to the dancers moving in a series of vignettes set to music that ranged from Johann Sebastian Bach to good ole country western. Nine dancers prowled, flirted and engaged in mock battles combining weird moves seamlessly. A triangle composed of thin, bright lines shared the stage, looking like laser sculpture, but when white cloth shimmered over it and created a prop, it was clear the illusion was very real indeed. Overhead a strip of video showed close-ups of the dancers mugging, laughing and posing. It was a complex and beguiling introduction to the troupe.
Englishman Paul Lightfoot's Sad Case heated things up with the appearance of five dancers wearing white outfits smeared with brown streaks, with faces and visible body parts painted white. There was nothing muddy or sad about the dancing. The dancers shivered, talked and shrugged as they whipped around to fast-paced Latin music. Artfully arranged spotlights seemed to light up in response to wolf whistles. It was wonderfully sappy and never less than terrific to watch.
Israeli choreographer Ohad Naharin's Minus 16 caused something close to dance bedlam. It began modestly enough during intermission with one dancer in a black suit and hat shuffling in front of the stage curtain, which eventually opened to show 11 other dancers, identically dressed (Orthodox Jews? Lounge lizards?) moseying around doing the same low-key boogie. Then, wham, a blasting techno rendition of Hava Nagila burst out and near-demonic folk dance erupted. We met the dancers in solos performed to their own voiceovers. Then they surged out into the auditorium, dragging hapless audience members onstage for a dance party. No one wanted to let these dancers stop. The famous Philadelphia walking ovation with the audience clapping as it disappears didn't happen. Note to Rummy: There are weapons of mass destruction in The Hague!
segunda-feira, 24 de maio de 2004
Orquestra de Filadélfia - Arnold Schönberg
Arnold Schönberg
site
biografia
»Verklärte Nacht« Sextett für 2 Violinen, 2 Violen und 2 Violoncelli op. 4
[String sextet "Transfigured night"]
Arnold Schönberg: Verklärte Nacht op. 4 (1899)
Introduction
Orquestra de Filadélfia
Orquestra de Filadélfia
Site oficial
História
Coliseu dos Recreios
27 de Maio de 2004
Christoph Eschenbach
maestro
Mensagem
Biografia
Programa
Arnold Schönberg
Verklärte Nacht
Gustav Mahler
Sinfonia Nº 1, em Ré Maior
Artigo Expresso para utilizadores registados, 2004.05.22. Excerto:
Não são muitas as orquestras que se podem orgulhar de terem estado nas mãos de personalidades como Leopold Stokowski, Eugene Ormandy, Riccardo Muti e Wolfgang Sawallisch. Mas a Orquestra de Filadélfia, do alto dos seus 104 anos de existência, pode. Liderada, desde Setembro de 2003, por Christoph Eschenbach (que acumula o cargo de maestro titular da Orquestra de Paris e da Sinfónica da NDR de Hamburgo), chega a realizar mais de 300 concertos por ano.
sábado, 24 de abril de 2004
Gustav Mahler - sinfonias Grandes Orquestras
Gustav Mahler
Biografia
site
Sinfonia Nº 9, em Ré Maior
(Orquestra Festival Budapeste, Gulbenkian 2004.04.27)
Sinfonia Nº 1, em Ré Maior
(Orquestra de Filadélfia, Gulbenkian 2004.05.27)
Sinfonia Nº 5, em Dó sustenido menor
(Orquestra Filarmónica da Radio-France, Gulbenkian 2005.01.18)
Sinfonia e gravações recomendadas.
Gravações.
Sinfonia.
(Orquestra do Royal Concertgebouw, Gulbenkian 2005.02.09)
Sinfonia.
Sinfonia e gravações.
Gravações.
Gravações.
sexta-feira, 23 de abril de 2004
Orq. Festival Budapeste - Franz Schubert
Franz Schubert
Sinfonia Nº 4, em Dó menor, D.417, Trágica
That Franz Schubert, as a young man still learning his craft, was more influenced by the music of Haydn and Mozart than by the symphonies of Beethoven (just then reaching their stride) is readily apparent in his early orchestral works; the Symphony No. 4 in C minor, D. 417 (the "Tragic" Symphony, as Schubert called it), composed during the spring of 1816, is no exception. Despite the frequent comparisons made between this work and Beethoven's famous symphony in the same key, it is difficult to think of another symphonic work from the 1810s that more completely ignores Beethoven's special contributions to dramatic orchestral writing.
The "Tragic" Symphony is the work of a teenage schoolteacher whose debt to the Viennese masters of the previous century was perhaps greater than even he realized it to be; that this journeyman work is so gripping and effective in its own right is a testimonial to Schubert's extraordinary inventive gifts -- gifts that found a voice with or without the aid of structural and formal innovation. The slow introduction to the opening movement (Adagio molto-Allegro vivace) is quite Haydnesque, with its bare fortissimo octave beginning and its almost painfully slow, searching dialogue between the upper and lower voices. However, the slippery descending sequence that lands us, to both our surprise and delight, on a G flat major harmony before ten bars have gone by is all Schubert. The Allegro vivace body of the movement takes us past all the usual sonata-allegro landmarks, but again these are given expression in a voice that is entirely Schubert's: the main theme seems more propulsive and frantic than anything Haydn might have put his name to, and even Mozart could not have written a more spirited C major close.
The keys of the two central movements -- A flat major and E flat major -- make clear references to the keys in which the first movement's second theme appears (A flat in the exposition, E flat in the recapitulation). The opening melody of the lovely Andante, like so many of Schubert's gentler orchestral treasures, might easily have been conceived for string quartet; a passage of considerable fury interrupts twice, but each time it is absorbed back into a loving reprise of the opening tune. The scherzo is famous for its shifty, chromatic main idea.
The finale begins with a four-bar introduction that seems to dissolve before our very eyes (or ears). After initially serving as just a background to the restless main theme, the running eighth notes begin to shape themselves into the form that will support the second theme, which is at first crafted into a duet for the first violins and clarinet. The whole of the recapitulation is recast into C major, and at the very end the C octaves that began the first movement are brought back to affirm the happy ending.
quarta-feira, 14 de abril de 2004
Michael Nyman
Michael Nyman
Abril, Porto e Lisboa
Coliseus
String Quartet with Sarah Leonard
Michael Nyman together with Sarah Leonard (Soprano) and the Michael Nyman String Quartet
Site oficial: biografia
biografia
Michael Nyman & The Nyman String Quartet
Minimalista e sofisticado são palavras que ocorrem quando se fala de Michael Nyman. Outra pode ser "piano", o seu instrumento mas também o nome do filme cuja inesquecível partitura assinou. O compositor e pianista britânico vai estar no Porto a 14 de Abril (com direito a repetição no dia seguinte em Lisboa), acompanhado de um quarteto de cordas.
Londrino de nascença, Nyman teve como mestres Alan Bush e Thurston Dart. À complexidade da música clássica juntou uma forte paixão pela folk e pela incursão por outras áreas de trabalho. O seu nome aparece associado a sinfonias e orquestras, mas também à crítica de música, coreografias, desfiles de moda e até jogos de computador.
Como compor para outros objectos tem sido a marca de Nyman, não admira que o passo para o estrelato tenha sido dado através de bandas sonoras, que o tornaram um "must" na música da Sétima Arte. Além d'"O Piano", escreveu para filmes de Peter Greenaway e colaborou com vários outros realizadores.
Orquestra do Festival de Budapeste
Iván Fischer
Orquestra do Festival de Budapeste
Ciclo Grandes Orquestras Mundiais - F. C. Gulbenkian
Coliseu dos Recreios, 27 de Abril de 2004 - 21h00
Iván Fischer (maestro)
Franz Schubert
Sinfonia Nº 4, em Dó menor, D.417, Trágica
Gustav Mahler
Sinfonia Nº 9, em Ré Maior
Iván Fischer:
Site oficial
biografia
biografia/discografia
discografia
Orquestra do Festival de Budapeste
Site oficial
"The dreams of the composers and pass on an uplifting experience to the audience, touching all listeners deep in their heart. This is our aim for which the Budapest Festival Orchestra has been created." Iván Fischer
biografia
Orquestra do Festival de Budapeste
Formada em 1983 por Iván Fischer e Zoltán Kocsis, com músicos escolhidos entre os melhores jovens intérpretes da Hungria, o projecto da Orquestra do Festival de Budapeste teve como objectivo inicial, através de um intenso trabalho de ensaios e exigindo o mais alto nível artístico, fazer dos seus três ou quatro concertos anuais de então, acontecimentos significativos na vida musical húngara, oferecendo a Budapeste uma nova orquestra sinfónica de nível internacional.
Entre 1999 e 2000, estendendo a sua actividade a um temporada completa, a Orquestra era tutelada pelo município de Budapeste e pela nova Fundação Orquestra do Festival de Budapeste (OFB), integrada por quinze corporações e bancos húngaros e multinacionais. Desde a temporada 2000-2001 a orquestra é gerida pela Fundação OFB, com o apoio do governo da cidade, mediante um contrato renovável cada cinco anos.
É, na actualidade, não só parte vital da vida musical de Budapeste, com grande apoio do público, mas também convidada frequente dos mais importantes centros musicais do mundo, entre eles Salzburgo, Viena, Lucerna, Montreux, Zurique, Nova Iorque, Chicago, Los Angeles, San Francisco, Montreal, Tóquio, Hong-Kong, Paris, Berlim, Munique, Frankfurt, Londres, Florença, Roma, Amesterdão, Madrid, Atenas, Copenhaga, Praga e Bruxelas.
Depois de ter gravado para a Hungaroton, Quintana, Teldec, Decca, Ponty e Berlin Classics, assinou um contrato de exclusividade com a Philips Classics em 1996. A gravação de O Mandarim Maravilhoso de Bartók recebeu um prémio Gramophone e foi eleito ''Disco do Ano'' pelas revistas Diapason e Le Monde de la Musique. As gravações da Sinfonia Fausto de Liszt e do Concerto para Orquestra de Bartók, foram eleitas, pela Gramophone, entre os cinco melhores discos orquestrais.
Numerosos artistas de destaque colaboraram com a Orquestra do Festival de Budapeste, incluindo Sir Georg Solti - que foi Maestro Convidado Honorário -, Yehudi Menuhin, Kurt Sanderling, Eliahu Inbal, Charles Dutoit, Guidon Kremer, Sándor Végh, Andras Schiff, Heinz Holliger, Agnes Baltsa, Ida Haendel, Martha Argerich, Hildegard Behrens, Yuri Bashmet, Rudolf Barsahi, Kiri te Kanawa, Radu Lupu, Thomas Zehetmair, Richard Goode, entre outros.
Entre os projectos mais importantes, contam-se também as brilhantes produções de ópera: A Flauta Mágica (Budapeste), Così fan tutte (Atenas), Idomeneo (Budapeste e Atenas), Orfeo e Eurídice (Budapeste e Bruxelas), Un turco in Italia (Paris), assim como o ciclo celebrando o 50º aniversário da morte de Bartók (Budapeste, Bruxelas, Colónia, Paris e Nova Iorque), o ciclo de Sinfonias de Mahler, levado a cabo durante vários anos (Budapeste, Lisboa, Frankfurt e Viena), a série de concertos comemorando o centenário da morte de Brahms e o ciclo Bartók-Stravinsky (Edimburgo, Londres, São Francisco e Nova Iorque).
A Orquestra do Festival de Budapeste dedica especial atenção à interpretação de música contemporânea, dando numerosas estreias munFormada em 1983 por Iván Fischer e Zoltán Kocsis, com músicos escolhidos entre os melhores jovens intérpretes da Hungria, o projecto da Orquestra do Festival de Budapeste teve como objectivo inicial, através de um intenso trabalho de ensaios e exigindo o mais alto nível artístico, fazer dos seus três ou quatro concertos anuais de então, acontecimentos significativos na vida musical húngara, oferecendo a Budapeste uma nova orquestra sinfónica de nível internacional.
Entre 1999 e 2000, estendendo a sua actividade a um temporada completa, a Orquestra era tutelada pelo município de Budapeste e pela nova Fundação Orquestra do Festival de Budapeste (OFB), integrada por quinze corporações e bancos húngaros e multinacionais. Desde a temporada 2000-2001 a orquestra é gerida pela Fundação OFB, com o apoio do governo da cidade, mediante um contrato renovável cada cinco anos.
É, na actualidade, não só parte vital da vida musical de Budapeste, com grande apoio do público, mas também convidada frequente dos mais importantes centros musicais do mundo, entre eles Salzburgo, Viena, Lucerna, Montreux, Zurique, Nova Iorque, Chicago, Los Angeles, San Francisco, Montreal, Tóquio, Hong-Kong, Paris, Berlim, Munique, Frankfurt, Londres, Florença, Roma, Amesterdão, Madrid, Atenas, Copenhaga, Praga e Bruxelas.
Depois de ter gravado para a Hungaroton, Quintana, Teldec, Decca, Ponty e Berlin Classics, assinou um contrato de exclusividade com a Philips Classics em 1996. A gravação de O Mandarim Maravilhoso de Bartók recebeu um prémio Gramophone e foi eleito “Disco do Ano” pelas revistas Diapason e Le Monde de la Musique. As gravações da Sinfonia Fausto de Liszt e do Concerto para Orquestra de Bartók, foram eleitas, pela Gramophone, entre os cinco melhores discos orquestrais.
Numerosos artistas de destaque colaboraram com a Orquestra do Festival de Budapeste, incluindo Sir Georg Solti - que foi Maestro Convidado Honorário -, Yehudi Menuhin, Kurt Sanderling, Eliahu Inbal, Charles Dutoit, Guidon Kremer, Sándor Végh, Andras Schiff, Heinz Holliger, Agnes Baltsa, Ida Haendel, Martha Argerich, Hildegard Behrens, Yuri Bashmet, Rudolf Barsahi, Kiri te Kanawa, Radu Lupu, Thomas Zehetmair, Richard Goode, entre outros.
Entre os projectos mais importantes, contam-se também as brilhantes produções de ópera: A Flauta Mágica (Budapeste), Così fan tutte (Atenas), Idomeneo (Budapeste e Atenas), Orfeo e Eurídice (Budapeste e Bruxelas), Un turco in Italia (Paris), assim como o ciclo celebrando o 50º aniversário da morte de Bartók (Budapeste, Bruxelas, Colónia, Paris e Nova Iorque), o ciclo de Sinfonias de Mahler, levado a cabo durante vários anos (Budapeste, Lisboa, Frankfurt e Viena), a série de concertos comemorando o centenário da morte de Brahms e o ciclo Bartók-Stravinsky (Edimburgo, Londres, São Francisco e Nova Iorque).
A Orquestra do Festival de Budapeste dedica especial atenção à interpretação de música contemporânea, dando numerosas estreias mundiais na Hungria (Ustvolskais, Eötvös, Kurtág, Schönberg, Holliger, Tihanyi, Doráti, Copland e Adams) e encomendando regularmente novas obras a diversos compositores (Jeney, Sáry, Lendvay, Bajd, Mártha, Melis, Vidovsky).
Com a intenção de impulsionar o desenvolvimento artístico dos seus membros, organiza, para além dos grandes concertos orquestrais, séries regulares de música de câmara: os «Concertos Cacao», dedicados ao público infantil, aos domingos à tarde; as «Séries Haydn-Mozart», com a participação, como solistas, de membros da orquestra; e os «Ensaios Gerais Abertos», com introdução às obras que se interpretarão, a cargo de Iván Fischer. Estas sessões tiveram uma rápida aceitação entre os entusiastas da música em Budapeste.
diais na Hungria (Ustvolskais, Eötvös, Kurtág, Schönberg, Holliger, Tihanyi, Doráti, Copland e Adams) e encomendando regularmente novas obras a diversos compositores (Jeney, Sáry, Lendvay, Bajd, Mártha, Melis, Vidovsky).
Com a intenção de impulsionar o desenvolvimento artístico dos seus membros, organiza, para além dos grandes concertos orquestrais, séries regulares de música de câmara: os «Concertos Cacao», dedicados ao público infantil, aos domingos à tarde; as «Séries Haydn-Mozart», com a participação, como solistas, de membros da orquestra; e os «Ensaios Gerais Abertos», com introdução às obras que se interpretarão, a cargo de Iván Fischer. Estas sessões tiveram uma rápida aceitação entre os entusiastas da música em Budapeste.
10 Novembro 2003
Festa da Música - Chopin, Schumann, Liszt, Mendelssohn
Geração 1810
Abril 2004, Centro Cultural de Belém
Fréderic Chopin (1810-1849), Robert Schumann (1810-1847), Franz Liszt (1811-1886) e Felix Mendelssohn-Bartholdy (1809-1847)
Abril 2004, Centro Cultural de Belém
Fréderic Chopin (1810-1849), Robert Schumann (1810-1847), Franz Liszt (1811-1886) e Felix Mendelssohn-Bartholdy (1809-1847)
Neither - Morton Feldman
Morton Feldman
Morton Feldman e Samuel Beckett: Neither
Morton Feldman Writes an 'Opera' (December 11, 1978), By Tom Johnson, from the December 11, 1978 Village Voice. A review of Neither. Excerto:
Many of us who have followed the highly abstract output of Morton Feldman over the years were surprised to learn that he had composed an opera, and it is perhaps still questionable whether he really has. 'Neither,' which was written for the Rome Opera two seasons ago and received its first New York performance in the Group for Contemporary Music series on November 21, might be better described as an hour long art song. Samuel Beckett's libretto consists of exactly 87 words, which are sung exclusively by a solo soprano. The only truly dramatic moment in the performance at Borden Auditorium at the Manhattan School of Music was the soprano's entrance. After a few minutes of introductory music by the large onstage orchestra, the singer slowly ascended on a platform behind the musicians, where she remained, score in hand, for the rest of the performance. Is it an opera, an art song, or just another remarkable Feldman work? However one might choose to categorize it, 'Neither' is a gorgeous piece of music, and quite possibly the richest, most rewarding work of the whole Feldman catalogue.
Projecto Feldman - Colóquio Internacional
Morton Feldman Page
Morton Feldman - Biografia e Discografia
Aulas e Comentários na Universidade de Buffalo, Nova Iorque
Morton Feldman - Art of the States
"Segurar o momento " - Artigo no Expresso, 2004.04.09, para utilizadores registados. Excerto:
Berlim, Schiller Theater, Setembro de 1976. Morton Feldman conhece Samuel Beckett. Quer convencer o escritor a colaborar numa obra encomendada pela Ópera de Roma. Sentam-se num café próximo, Beckett pede uma cerveja e diz: «Mr. Feldman, eu não gosto de ópera nem de ver as minhas frases inseridas na música». O compositor responde: «Percebo perfeitamente. Também é raro utilizar palavras, apesar de ter escrito peças vocais». Ao que Beckett interroga: «Então, o que é que você quer?» «Não faço a menor ideia», remata Feldman.
"A quadratura do caos" - Artigo no Expresso, 2004.05.01, para utilizadores registados. Excerto:
Beckett escreveu para Feldman um texto de 87 palavras, Neither. A linguagem é quase binária, nem isto nem aquilo, para lá e para cá, penetrável e impenetrável, com sombra interior e exterior, aberta e fechada, um ou outro. Música, letra, pintura, são tudo caligrafias. A realização musical no São Carlos, com a fabulosa Petra Hoffmann e uma Orquestra Sinfónica Portuguesa em grande forma, sob a direcção exigente de Emilio Pomàrico, constituiu um marco histórico para a cultura em Portugal. (Veio-me à mente a estreia do Wozzeck por Pedro de Freitas Branco, em 1959.) Ainda por cima, a direcção teve o cuidado de rodear o evento duma série de quatro mini-concertos e dum estimulante colóquio (na Culturgest) para «Falar de Feldman». Mas onde estavam todos os estudantes (e professores) dos nossos conservatórios?
Teatro Nacional de São Carlos
Abril 2004
Neither
Morton Feldman
1977. For chamber orchestra and soprano.
Estreia em Portugal
Direcção musical
Emilio Pomàrico
Instalação
David de Almeida
Desenho de luzes
Pasquale Mari
Orquestra Sinfónica Portuguesa
Nova Produção
Teatro Nacional de São Carlos
Numa estreia absoluta em Portugal, Neither, com música de Morton Feldman e texto de Samuel Beckett, sobe ao palco do São Carlos, sob a direcção de Emilio Pomàrico.
A relação entre Feldman e Beckett começou em 1976 quando se conheceram em Berlim no Teatro Schiller. A empatia inicial resultaria num almoço durante o qual o compositor pediu ao seu recente amigo um texto que atingisse de algum modo a essência, algo que conseguisse manter-se num plano etéreo. O trabalho de Beckett demoraria apenas algumas semanas até chegar às mãos de Feldman, que inicialmente considerou o texto peculiar, aproveitando com astúcia a ideia central, explorando-a de vários modos.
Na verdade, Neither, é resultado de uma co-elaboração entre duas mentes claramente dotadas de um sentido apuradíssimo e de extrema sensibilidade na forma como abordam a questão existencial centrada na compreensão do indivíduo e do Universo.
Tanto a música como o texto trabalham em conjunto com o objectivo de transmitir uma intensidade que resulta da tensão estética e emocional liberta, neste caso, de qualquer elemento que caracteriza a ópera, como o facto de não ter uma história ou enredo, e, consequentemente, não apresentar quaisquer momentos de confrontação dramática ou de «mise en scène». O recurso à questão existencial, por parte de Beckett, é apoiado de forma bastante coerente pelos elementos musicais que invocam vários ambientes e produtos da própria memória, como os fantasmas ou os ecos. Assim, a temática abordada situa-nos entre o que é conhecido e desconhecido, entre dois mundos sobre os quais apenas queremos saber qual é real.
quarta-feira, 24 de março de 2004
Ciclo de Piano Gulbenkian - Elisabeth Leonskaja
Elisabeth Leonskaja
30 de Março de 2004
Programa.
Johannes Brahms
Fantasias op.116
György Ligeti
In Memoriam Béla Bartók (Adagio)
Der Zauberlehrling (dos Estudos para Piano II)
Béla Bartók
Sonata para Piano, Sz.80
Franz Schubert
Sonata Nº 20, em Sol Maior, D.894, Fantasia
Elisabeth Leonskaja é considerada uma das maiores artistas do nosso tempo. Nasceu em Tiflis, a capital da Geórgia, tendo os seus pais despertado nela, desde tenra idade, o amor pelo piano. Com apenas onze anos, realizou os primeiros recitais em Tiflis, os quais despertaram grande expectativa e a levaram a prosseguir os estudos de piano com Jacob Milstein, no Conservatório de Moscovo, a partir de 1964. Ainda como aluna do Conservatório, ganhou vários prémios no âmbito de concursos internacionais, realizados em Bucareste, Paris e Bruxelas.
Antes de deixar a União Soviética, em 1978, com o objectivo de estabelecer residência permanente em Viena, Elisabeth Leonskaja realizou diversos concertos em duo com Sviatoslav Richter. Esta experiência teve um papel decisivo no posterior desenvolvimento da sua carreira artística.
Em 1979, a participação de Elisabeth Leonskaja no Festival de Salzburgo marcou o início da sua carreira no Ocidente. Desde então, apresentou-se regularmente em todos os grandes centros musicais internacionais, em recitais e em concertos com as mais importantes orquestras europeias e americanas, incluindo a Filarmónica de Berlim, a Orquestra da Gewandhaus de Leipzig, a Filarmónica Checa, as Orquestras das Rádios de Hamburgo, Colónia e Munique, a Orquestra de Paris, a Filarmónica de Nova Iorque, a Filarmónica de Los Angeles e a Orquestra de Cleveland. É também frequentemente convidada a participar nos mais importantes festivais de verão, como os de Salzburgo, Viena e Lucerna.
Elisabeth Leonskaja é reconhecida como excepcional intérprete de música de câmara, sendo frequentemente solicitada por solistas e agrupamentos, dos quais se destacam Heinrich Schiff e Viktor Tretjakov e os Quartetos de Cordas Alban Berg, Borodin e Guaneri.
Um grande número de gravações para a Teldec, muitas delas distinguidas com prémios da crítica (Grand Prix du Disque, Prémio Caecilia e Diapason d’Or) são também testemunhos da elevada qualidade da intérprete.
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