ಋᖚ he Hong Kong Arts Festival is a prominent ࠗຝ̯ܰ Tarts event in the cultural calendar of Hong Δʥԓʪਂ Kong and the Asia Pacific region. Proudly ؿʼʝଞ stepping into its 33rd year, the Festival ಳም continues its vigorous pursuit of innovativeסԑe ɃɍɊɍ՚ development; the presentation of new works αc˚ፒዀ and the provision of quality arts. ٻ࿚ᆅʘুұณcɺᒾ˞၀ ࠷ؿຝ͌ȹณᜮଠϦ͌e In terms of the number and diversity of programmes, the 2005 Festival is one of the ʌαᖚຝʑࢀҡᔔఒΛۜcஃ largest festivals to date, offering a wide variety ᅡɾɣዃαӢӮcݯࣵʑ̔Ρ of inspiring art, music and cultural ԞਝΊࡼၤ̯Δ၀ߜᐰϳᖚ programmes by prestigious international ࠭Ͳؿ൚ɓˮcผ˥ࠗಋ artists and leading local talents. I am sure that ਝʼʝผࠛቤɈe the Festival will further enhance Hong Kong’s status as an international cultural metropolis. ΈϽᖚࡼၤܰωଞٴᔑϊᚭ d I extend our warmest welcome to allผcԎूࣵʑ̔ᜮଠʶ̈́ သጙϤᓊe participating artists and wish all local and overseas members of the audience a most enjoyable time. ւٽܧϷਂܧࠗಋऋПϷ
TUNG Chee Hwa Chief Executive Hong Kong Special Administrative Region ˚ᘆᖽ Message from the Chairman
.ၤɍɊɍ։ࠗಋᖚ warmly welcome you to the 33rd Arts Festivalٴ ᚭ ຝcܰࠗಋʼʝވʥԓʪΔ IAs a premier event in the Hong Kong cultural ؿࠇ߬ʼʝଞԑcමၙਝԓʪ calendar as well as the Asia Pacific region, theਂ ᖚ၀ߜc˞ʥ̯Δ෮ݗึؿᖚ Festival presents the finest international andਂ ɮАّe regional artists in an intense series of concerts and performances, as well as showcases the creativity ̯Ɂটʶᑢ༦ᅥʥʼʝԑ৻ອ of artistic talent in Hong Kong. c˞ʥࠗಋᑩ֚ܧ༅Х҈ࠨؿࠗಋ ԭɣ˚߬༅Хዀ࿚c Appreciation and thanks are due to our mainټপਥڌผ෯ഁ ˢࠨΛαԞྦྷࠗಋᖚຝؿྐྵషʻ subventing organisations – the Hong Kong ܛc҈ࠨ૯ߎᑢ҃e Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey ϊ̔cࠗಋᖚຝྦྷֺτᖳХዀ࿚d Club Charities Trust. Their long and continued ᖚ྆˞ʥɁ༅Хc͛ߎ˞টʶ patronage are what make these cultural ᑢ෮e presentations possible. In addition, we gratefully acknowledge the ,ȹΣ˞֡cࠗಋᖚຝ༦˸ძነ́ generous support of many corporate sponsors .ʭαɾʤི߮cߎɈ arts institutions and individualsڇయ˞ʥ རነ́ʥαႦᜮଠઅᘩΈᗘᖚe ɐ߸ི߮ΛαԞᏵଠΛዀ࿚ʥɁ༅ The Festival has always made our programmes Хcɻነʥɣነነ́ɖʦᎶᆅईe accessible to students and young audiences through half-price student tickets and our Young 2005αࠗಋᖚຝຝ͌ᔔఒd˳ᖓ Friends Scheme. These schemes are funded by the ɺᜮଠؿ௩ΡʥɟՈc generous donations from numerous corporateٴຒτc .փe and individual donorsڻϢ̢ c౨શၤ੬Ε The 2005 Festival offers a rich and stimulatingܛωᑢჇɎؿʻʹ 2005αࠗಋᖚຝɻӮࠍe programme, with a variety of captivating performances and choices, presenting a diverse range of tastes with artistic excellence. We hope to offer something enjoyable and of interest to everyone. Above all, I would like to thank you, our patrons, for your support and participation in the 2005 Festival.
ңพᄤ Charles Lee
:ࠗಋᖚຝؿ༅ХԞϬ The Hong Kong Arts Festival is made possible with the funding support of Ϸܧᐢဟᘆᖽ Message from the Executive Director
005αࠗಋᖚຝؿຝ͌˞ he starting point for the programming of this 2005 ݯ˚ᕀeु T Festival was the idea of contrasting opposites – ‘sacredڙ˖2ुັၤ ԭඖʏॖcܰΈိ and profane’. Both of these elements are rich sources ofڙ˖dັ ᖚѼβؿӮᕀҥၤݖ creative impulses for the performing arts in most cultures cʌ։ຝ͌గऋПॶਪʦܮ and this thematic link is evident in much of our ᗐ programming. We hope these connections and contrastsޚܫ෮֨e҈ࠨѴશԭඖ Ɍྦྷ͓ؿʏॖcॶݯɣࡼొԜҡ will make your Festival experience more engaging and .৽Ɂdҡᗒѿؿᜮሌe memorable ࿘۾ȿࣵ̔ᖚɮАّc҈ࠨ Alongside all of our international artists, we are proud to ॶᑼᇼ̯Δᖚ၀ߜcΣࠗಋ֗ present many outstanding Hong Kong artists. For example, ဳ֞ᅥ྆dࠗಋჱ྆d̯Δ ˮαႦ፡ೄۗࡼਜ਼ᆼdࠓ the Hong Kong Philharmonic Orchestra and the Hong Ⴛဳʄࠇۗᘆᖚeԯˢၤˮ Kong Repertory Theatre, as well as the fine young Hong ຣჱΊД Kong musicians, pianist Rachel Cheung and the Fresh Airܢ˳ؿ̯Δᖚ၀ߜ ுʥң᎘d7AऒᎻჱୂdɻߜ Brass Quintet. Other important Hong Kong artists taking ɩմdࠗಋ part include Cantonese opera stars Mui Suet-see and Leeټܖჱ྆d89268d ϐcᑹτɈݵႇ Lung; Class 7A Drama Group; Chung Ying Theatre; Groupܬᇁၦࡼฦ лؿྡྷɈݢୂ ңᔪ 89268; the Material Girls; choreographer Daniel Yeungؒ ,ݘdષഥࠦdңɻͲʥ֍e and the remarkable combined talents of Lee Chun-chow Faye Leong, Gabriel Lee and Chong Mui-ngam in The ᖚຝᘗᙩዶรկ̯Δၤࣵ̔ French Kiss. ܢ˳ˮϳؿАɁc̯։ณА In addition, our commitment to commissioning new work קdէᚗdʌէၦރು ਝ࠭ᅥdཫ҈ from Hong Kong and around the world continues, withټܖd̡ dؒлd pieces such as Amber, The Nightingale, All That Shanghai̟ےᅚؿȹ ˚τ௩ʥɩ˔ɥనʊতe Jazz, Material Girls, i-City, The French Kiss, Come Out & Play and Little Prince Hamlet. 2005αࠗಋᖚຝݯᜮଠᘆɐȹ ྆ٲϛɀɊ̒ˮcၤ The 2005 Festival will offer a total of 124 performances ༠̒Ɋɀ˳ܢɍɊɀࣵ̔ with 42 performing groups (32 overseas and 10 local), two ʥɊ̯Δ྆cᑹτԭࢄ ,ᙴc˞ʥɺࢀ፟༦ؿᖚຝ˱ࢿ exhibitions and our Festival Plus programme of talks ຝ͌iᑟdᇹผʥᖚɁᇹe seminars and meet-the-artist sessions.
ΛۜcࠓࣟΛʏ This is one of our largest Festivals to date, in terms of theٻ։ຝ͌Λ̯ ʝcܰࠗಋዃԞஃᅡɣd˥ number and the diversity of programmes. I am sure too, Ɂሌʶࢧ͌dԮઢೕֲؿᖚ that it will be one of our most enjoyable and inspiring. We .ၤe are delighted that you could join usيຝɾȹcᑢჇɎ
ঢ়ᄨᓤ Douglas Gautier ຝ͌ੱ For programme details Page 18ࠒ
1ɩࣂ45ʗᘸcٽˮ ˳ܢȹຝɻͤࢠ Running Time: approximately 1 hour and 45 minutes, including one interval
ࠗಋɣผਦࠑᅥᜨ Concert Hall, Hong Kong City Hall 10 - 11.3.2005
g˺ݤgਅμɓ̛zɄ֞ˢמࠇۗιࡗ ࡥ̥ནgࣟݤʥ༏̒ The Quartet Everton Gloeden and Luis Carlos Mantovani — 8-string guitars
ݤʥϴϫgያˈzʒ֞ˢځ࣮۹g༞ Tadeu do Amaral and Edson Lopes — 6-string guitars
ᗐઌʹdಲᇃཋʥඨՓዀؿᚊባکݯȿᜑɣࡼྦྷωˮजɎΡͿോcᇼʘতΕຝ͌ ສeผʑᇼʜኞϬᙘᄧd፣ࠑֶ፣ᄧc͛ɺ˿ඝࠕмํcΛᑢАk To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your ALARM WATCHES, MOBILE PHONES and PAGERS. Eating, drinking, smoking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your cooperation. ࠇۗʍଽQuartet Profile 7̒
ʱϹˢ̒ࠇۗ « ᙷݯྒʲୂؿʱϹˢ̒ࠇۗc̒ͅϽʌʱϹˮϳؿˢʹୂιc2000 α4˂ࠖωΕਝԀিۗcԯࠖΕख़92ഷؿYѴВԞαႦɁԾผʼʝɻʶᐾ dؐऋᙬdےӷ༌༧ʥജଞནdؐɡནd༠ּdݤҪᐈdɍᖙ̟dუ৷܃Ϸcԯ ใࡐജ೩eֺԷɾ୮cяᏵᜮଠؿᆅईিᚊঢ়۹ിძe
ؿˢୂɾȹc2000αؿҰαȹ۹ٴՇᚭވ˖ϬϊcʱϹˢ̒ࠇۗӾЩιݯ ౦Էԓऋᙬɣ͊ၐࠑᅥᜨdʱဍؿᄾؿ፳ٶԀিˮяԷιᐜe˵ ፆ̥ࠑᅥᜨ೩ˮhɌၤ˱ήଉɮነؿޫဍਅ۩ᅥӡͶdጣμΝࠑܪɣነټౝ ᅥຝdЃᖓԈ༠ήਝࠑᅥຝd˺ဍʱႠࠑᅥຝdജଞནሳʱནࠑᅥผ೩ଞԑeϊ ɡ೩Δˮמdັ༏ےcᑹΕΪКּ࣓dᑺԓdКႫၐഠdͿΪԅؐСdᜤಙ̔ ɣɩˮcԎၤΔּdؐΛቭΈʥᅩݘΈΔᐾϷؿਝࠑᅥຝe
ˢɣผؿྭۗcιވ˖2004α6˂cʱϹˢ̒ࠇۗˮΕʱဍؿᄾᐾϷؿ ݯଠɁರᒨeʨcˢࠨ།ʱဍؿᄾ͚ᚊᅥ྆̎ˮcݯՅʱϹ2001α۹Ͳ ࠖeވ˖АۂαАςࡼɣᆉؿᖓढ़ᄨgϝᙬ༠ؿऋПկА
ʱϹˢ̒ࠇۗؿࠖਜ਼ ࢂːEssencia~ do Brasil౦ᏵAudiophile Auditionፕݯ c૯ՇਝdʱϹc˞ϭؒਝdߜਝʥˀ̯ᚹଠؿෲᎼۂ1999α۹ԙ፣ࠑА eϤˢࠨۂሌeɀਜ਼ːʱႠဳ֞ᅥୂςҡʹ۹ιݯ2000αԙ፣ࠑА 2001α11˂ઐˮeכcɰۂณؿːEncantamentoc˳ᖓȿȼϽʱϹАςࡼؿА
ʱϹˢ̒ࠇۗˮͅ୧ଡ଼gᔁ͊ޫౝʩଉɁʔ̇ԾАΪખ
ݤځg˺ݤgਅμɓ̛dࡥ̥ནgࣟݤdϴϫgያˈd࣮۹g༞מϭ́i༏̞ͅ From left to right: Luiz Carlos Mantovani, Everton Gloeden, Edson Lopes, Tadeu do Amaral
ֺτ๑ː © Susane Medeiros Vianna ࠇۗʍଽQuartet Profile 9̒
» The Brazilian Guitar Quartet In Brazil the Brazilian Guitar Quartet is called the “Dream Team” because the four Quartet members are considered the most brilliant guitarists living in the country. The first US tour in April 2000 included a New York debut at the 92nd Street Y as well as appearances in Washington DC, Boston, Dallas, Los Angeles, San Francisco, Phoenix, Portland, Vancouver. From coast to coast, their performances were met by ecstatic audience responses, rave reviews and sold out halls.
The Quartet has quickly become one of the world’s most sought-after guitar ensembles, with successful annual North American tours from 2000 to 2003. Among their prestigious recent and upcoming engagements are the Coleman Chamber Music Series at Caltech, Spivey Hall in Atlanta, Shriver Hall at Johns Hopkins University in Baltimore, the Chautauqua Festival, the Florida International Festival, the Carmel Bach Festival and the Dumbarton Concerts in Washington DC. They have appeared in Anchorage, Miami, Jacksonville, Indianapolis, Salt Lake City, St Louis, and at international festivals in Guatemala, Puerto Rico and throughout Europe.
The Brazilian Guitar Quartet were ‘headliners’ at the inaugural World Guitar Congress in Baltimore in June 2004, where together with the Baltimore Symphony, they gave the world premiere of a specially commissioned concerto by Brazil's 2001 ‘Composer of the Year’, Ronaldo Miranda.
The Quartet’s debut CD, Ess˜encia do Brasil, was chosen by Audiophile Audition’s for the ‘Best Recordings of 1999’ list and has been showered with praise not only in the US and Brazil but also in France, England and Japan. Their second CD, Bach’s Orchestral Suites, made the ‘Best Recordings of 2000’ list. Their latest CD, Encantamento, featuring works by seven Brazilian composers, was released in November 2001.
The Brazilian Guitar Quartet appears by arrangement with Lisa Sapinkopf Artists
৻רيʔ̇ݯʱϹˢ̒ࠇۗιࡗొԜॾيᄨਝଡ଼ॾ Members of the Brazilian Guitar Quartet are flown in by
All photographs © Susane Medeiros Vianna ̡́ʍଽBiographies 11
ࡥ̥ནgࣟݤ Ʉ֞ˢ
ʱϹdϹऒˑᄨਝ೩Δ࠳ᚾˢᇾೡcכᖓc౦ړʱϹັכࡥ̥ནgࣟݤ́ ဍʱᖓg͊ࡥԈ௶gያgያӓঢ়೩eځӴဍg˺С̿ᖓdΛgࣚμॗּdځ፭ c߳ߜਝჴኽ፭КԈgਥဍʼμ൬࠳eټϣᏵᆉነ܃ԯ
ཊࣟԈಋ֔ഠऋԈढ़c˞ʥᄨਝ፳ʩᐾϷؿԭඖࠇ߬ؿਝځʱϹכࣟݤ౦ ˢˈᑩɻՅԓ߶e
ܢ˳ᐾӷႦࠇؿࠑᅥࡼАcވ˖́ɻcࣟݤ౦ၤʱϹc˞ϭٲɀɊαˢ ˢɌΕ܃ؿࠑᅥࡼeԯۂዟۗʥ۩ᅥۗeˢܰࠖϽΕʱϹۗʱႠͲࡨቧऋೄА ˱cˢҡᏵᑼݯկʑּٶജଞན̟ݘࠑᅥᜨdߜਝdᄨਝ೩ΔᐾϷዟۗผe ਝᖚຝᐾϷྭዟۗผe˱ּ
ᕡdܢ˳iּȻݘˢࠑᅥdʱႠͲࡨቧऋೄࠑᅥcၤܢ˳ؿਿፎخࣟݤˮ Ϊ̛ෙg௶ЦթෙgᄨΪᅳᖓؿዟۗ፣ࠑe
Everton Gloeden 8-string guitar
A native of São Paulo, Everton Gloeden participated in various guitar courses in Spain, Germany and Brazil, where he studied with Abel Carlevaro, Guido Santorsola, Alvaro Pierri and José Luis Rodrigo, among others. He also won a scholarship to Cambridge, England, to study with Chris Kilvington.
Gloeden was awarded the Second Prize in two important guitar contests, the Palestrina International Competition in Porto Alegre, Brazil, and the Hof International Competition in Germany.
Throughout a 20-year career, he has appeared as a soloist and chamber music colleague alongside some of the most important musicians in and out of Brazil. He gave the first performance in Brazil of the complete lute works of Bach; and has given recitals at the Hall of the Americas in Washington, DC as well as recitals in England, Germany and a recent opening recital at the International Festival of Caracas, Venezuela.
His albums include a disc of Latin American guitar music for the American OEA label; a recording of Bach’s complete lute music; and a recital CD including works by Ponce, Antonio José and Nuccio D’Angelo for the Brazilian label EGTA. ̡́ʍଽBiographies 13
g˺ݤgਅμɓ̛מ༏ Ʉ֞ˢ
Ɂᒰ֡ؿਿพࠑᅥࡼਝɣᆉdؐɡན˥ܢ˳g˺ݤgਅμɓ̛Ᏽᆉಲᅕcמ༏ ߶c˞ʥਝႝɢɓ̛ԓήᑢᄨ֞ᅥˈᑩԈᆅʑያڥଊˤဳ֞ᅥ྆Ծۗςˈᑩ ཋ̎ʼઠͲਝࠑᅥˈᑩ೩ɣᆉe
ਅμɓ̛ܰࠖdɖܰȹᏵؐɡནख़ߜ࠷ࠑᅥነཕᖚࡼʼንؿˢʹcԎ Ᏽነဨɡ࿘ᙷነϽc˞ʥԈᆅʑያɣነነɡነϽc౦፭Ꮌၐgഠढ़d gʱᖓΪ̛ෙgࣟᄨ೩èּ̛
ዟۗʥ۩ᅥԾۗeˢֺፒؿٲʱϹdᅩ೩ടΊࠑᅥֺכਅμɓ̛ ʭαˮeˢؿڇQuadriviumˢ̒ࠇۗc౦߳ਝٛෑਥ༛ҦݯʒɝΛΊԫ೧ ˢݯᅆ֞ᅥኂҝᇁؿ̀ᅥc˞ʥΈΔАςࡼΣܢ˳c༎ʄ˖c؟ዟۗς͌ᄤ ਝഠढ़d˞ϳͶഠෙgʑӂdʱϹּෙgΛ̿ဍ೩ݯˢ۹Ӹցؿᅥςe
ʥ̔ࢄݠ৽೩ི߮ˀٲʱϹັ˺ෑடढ़ή͓ɣነͨઠcԯઠөdכਅμɓ̛ଊ ᏵͲਝࠇ഼e
Luis Carlos Mantovani 8-string guitar
Luis Carlos Mantovani won the coveted Pro Musicis International Award; First Prize at the Boston Modern Orchestra Concerto Competition; top prizes at the Schadt String Competition in Pennsylvania; and the Radio Ministry of Education and Culture National Music Competition in Rio de Janeiro.
He is the first and only guitarist to receive the prestigious Artist Diploma from the New England Conservatory of Music (NEC) in Boston. Mantovani holds a Master’s degree with honours from the NEC and a Bachelor’s degree from the University of Rio de Janeiro. His teachers were David Leisner, Nicolas Barros and Antônio Guedes.
Mantovani has performed extensively as a soloist and chamber musician in famous venues in the US, Brazil and Europe. He co-founded the guitar quartet Quadrivium, which performed for more than 6,000 children and teenagers in rural Kentucky, US.
His solo repertoire spans five centuries, from his own transcriptions of early music for plucked instruments to works written for him by composers who include American David Leisner, Israeli Lior Navok and Brazilian Raul do Valle.
Mantovani teaches at the State University of Santa Catarina in Brazil, where his educational, performance and outreach projects are gaining local and national recognition. ̡́ʍଽBiographies 15
ݤځ࣮۹g༞ ʒ֞ˢ
ҙඨթˢኒϴԓgᔁ̿ෙdСෙgॗܖᖓc౦ړʱϹັכݤ́ځ࣮۹g༞ ϴВͅܢ˳ୌऒcޢɎcԎ˱ɺʭࠑᅥپဍෙgࣚμᖓ೩ʱϹࠑᅥΊ ؿeܛ˚gढ़ऋּ྇
cˢᑹၤʱϹΛϽടΊࠑᅥࡼАcΣ̥ഠၐٲȿΕʱϹΈɣࠑᅥᜨАዟۗ ෙgդdࡥᄨԓΛgּࣟਅ̛dΪᅳּgʱּई˺۹gያˈg˱ԓe
ෑಿढ़ήcΔֈ̵̯Ԟྦྷˢɺႏᖫeˢ˿႓ܰΔˢ˺ັכݤଊֈځ༞ ࠑᅥౝʥؿّׅc༦Έᗘݠ৽ઠʥઐᄤˢࠑᅥeϬ1985αᐾϷዟۗผc ςcΣؐᙬАςࡼԓዃɬɣgդୂێɣٲپਿڏcˢ܃ۂΛϽߜਝАςࡼؿАۗ ʱႠؿቧऋೄͲඑeۂਅؿͲࡨˢА
αcˢͲɈፒʱϹEGTAːʔ̇cԎဟႇᇁፎณА৩ɣˢʹӡͶʥʱٶ Ϲࠑᅥ̌e
Tadeu do Amaral 6-string guitar
Born in São Paulo, Tadeu do Amaral studied with important Brazilian musicians, such as Leo Soares, Cláudio Santoro and the legendary guitar teacher, Isáias Sávio. He has also taken part in many music seminars including one led by Alberto Ginastera.
Apart from a solo career performing in the major concerts halls in Brazil, he has collaborated with many prominent Brazilian musicians including Flávio Stein, Eduardo Gramani, Angela Barra and Ricardo Lopes Garcia.
Resident in the state of Santa Catarina, Tadeu do Amaral has been a pioneer in teaching and widening the appreciation of the guitar in a region where it is almost unknown. Since 1985, when he gave a series of recitals of works by English composers, he has specialised in presenting comprehensive cycles by composers, such as the complete guitar works by the Polish composer Alexandre Tansman and the complete lute works of Bach.
In recent years, do Amaral has been closely involved in launching Brazil’s EGTA label, and among his projects as producer and editor were the series Great Guitarists and The History of Brazilian Music. ̡́ʍଽBiographies 17
ϴϫgያˈ ʒ֞ˢ
ϴϫgያˈ౦ɃᚾʱϹෑऋ͠ࠑᅥʥᎻჱᖚነc܃߳࠷ɍȹነजነc౦ αᅥኂۗɣڇכዟۗdɀࠇۗdɍࠇۗcɌၤဳ֞ᅥ྆ۗcҡٲΕʱϹͲਝ ᑩࠖ։Ͳਝˢˈᑩɻྔჟe
ˢʹऋԈˈෙgࣚμΕʱϹѐౝܢ˳ያˈˮࠇ߬ؿˢʥࠑᅥᇾೡc ୌऒhΪᄨईgޢҧߗဍᖚຝؿᇾೡh֤gါ͠ѴऋຒࣟΕߜਝؿ۩ᅥ ʷၐࡥХʹ௶gμΕϹऒˑʬؐऋּؿࠑᅥᇾೡcԎᏵˮነ́ᆉʥ eټᆉነ
ያˈଊݯෑऋ͠ࠑᅥነઠcͨઠঢ়ज़ˢᇾೡcԎݯɄˍேˢୂᐢ ဟcୂϭʌɰઐˮԭਜ਼ ࢂːe
Edson Lopes 6-string guitar
Edson Lopes studied in Brazil at the Conservatory of Musical and Dramatic Arts in Tatuí, and in England at Trinity College London. He performs throughout Brazil as a soloist and in duos, trios and with orchestras. He won the First Prize at the Young Instrumentalists Competition and the 1st National Guitar Competition.
Edson Lopes has participated in major guitar and music courses. These have included the course given by guitarist Turíbio Santos at the Campos do Jordão Festival in Brazil; the Chamber Music Seminar given by Peter Feuchtwanger in England; and Musica en Compostela in Spain where, under the supervision of Andrés Segóvia’s assistant, José Tomás, he received the Most Exceptional Student Award and a scholarship for the following year.
A professor at the Conservatory in Tatuí, Lopes teaches advanced guitar students and directs the guitar ensemble Octopus, which has released two CDs. 18 ຝ͌Programme
ʱႠ ̒ဳ֞ᅥୂςcBWV 1069ፕݒ ѵς ɩүၦς I ʥ II ᚭς
ጻ ංۗςcՅϬɍʱϹ̒ࠇ̛ۗؐ
ᕍּÐᖓВּ ʄ̒ࠇۗ ɩϷþݠᅱؿ҄þࡈɥþྺþ ܈þݠᅱؿ҄þ҄ τ৽Ɉؿݠᅱ҄þྺþࡈɥþรྺ ᛷؿሬ۹ɥþעɩϷþຝۗ þɩϷྺ ҄
ÐɻͤࢠɊʄʗᘸÐ
ဍऒ̛ ᎘ᄨ̛ԓፕϬ͠ˈСԓځ
ᖓढ़ᄨgϝᙬ༠ ᗲആᛰۗ
ݘၦςڈ ʷgࣟဍ̛Ԉ˺ Ʉၦς ʱϹၦς
࣍Ϲޫgϝࣟጻ̛ ۷᎖ɩէς̥ ʑΔඨթ ˱༠
ʿɷརుcΛᑢА܃ҰϽАςࡼɾᅥςֶᅥςɾୄᅥۗଓۿᇼ Johann Sebastian Bach Orchestral Suite No 4, BWV 1069 (excerpts) Ouverture Menuets I & II Réjouissance
Alberto Nepomuceno Intermezzo from Quarteto Brasileiro No 3
Heitor Villa-Lobos Quartet No 5 Poco andantino / poco vivo / tempo primo / lento / allegro / vivo/presto Vivo energico / lento / tempo primo / molto lento Andantino / tempo giusto e ritmato / adagio / andantino Allegro
– 15 minute interval –
Isaac Albéniz Rondeña from Iberia
Ronaldo Miranda Variações Sérias
Camargo Guarnieri Dança Negra Valsa No 8 Dança Brasileira
Francisco Mignone Serenata Humorística Lenda Sertaneja Congada
The audience is kindly requested to hold their applause until the final movement or piece by each composer is completed ᅥςʍଽProgramme Notes 21
̒ဳ֞ᅥୂςcBWV 1069ፕݒ ʱႠ (1685-1750)
ဍऋÐޫ˔ɥСෙؐᄨۄ1717ϭ1723αcࣂˢܰΪכʱႠؿ̒ࠖဳ֞ᅥୂςᄘ Сෙؐכ௩ؿܰcͅᅩݘӞؿᅥ྆cϤᅚ̉Ɂܞ˿ܨcܞؿࡾѸࠑᅥ ʱႠˇҰ՚ᖪᄘັᅥe˥ܖcઠβؿրઠڌᄨܰဍʼؿ cᄘˮஈΛۂcʱႠ˿˞ҐֺτࣂංʥʶɈਿ؇Аဳ֞ᅥςʥԯˢᅥኂؿАܰכ ᒄᆚᅥςඑȹdߜؒᒄᆚୂςdݯɩొೄዟۗᄘؿۗ܁я̡ܢ˳cۂА ᙬఃԾۗςc˞ʥဳ֞ᅥୂς೩eʱႠݯΈᗘᅥኂۗϤАگსςୂςd ϊୂςcҡጱϬᄦۗ̀ᒄೄcᅥ࣓ܰኣࣂݚϷؿၦςᄘιe
ංۗςcՅϬɍʱϹ̒ࠇۗ (ጻ (1864-1920̛ؐ
˚഼ݯʱϹࠖϽ̵પقʥʱቭұነcЎȹ׳ጻ౦Εᖓdၐɖढ़d̛݇ؐ ˢτӡΔઔ͂ʱϹ̵ʥݚϷςc˞ʥໍഩˑכຮАςࡼeˢϊီ໔cܰͅ ෮ɣСβؿʱϹ̀ࠑᅥeכႍീcτП
ؿࠑᅥผcιݯˢࠑᅥ́ɻؿࠇ߬ܞሌּ̠ͅճᚾ࣊ࣂcτዀผ׳ˢΕ݇ Ԟҡ།ˢؿነ́cఈցȿˢӶ܃ආݒeΕࢸۤࣂc།ࠑᅥɣ໊Ԉࣟؿ͚֡ ɐ̵પࠑᅥؿ༞༏e
ϭɀɊ˖ʄɊαˤɷقɁਐݛc˜قαႦࣂcˢ౦ᄘɎɍࠖ̒ࠇۗᅥcЎȹ Аٲԯဳ֞ᅥˤכcɻɍᅥංۗςɖ౦׳݇כɁೕଊeɍʱϹ̒ࠇۗᄘ ݘၦςຝۗ᎘ၦςcࢰࢴڈዟऋc࿌ȿʱϹؿ܁ʱϹୂςɻࠇଊeϊςફ ංᄪؿባࣩʥुᗗe̵ ᅥςʍଽProgramme Notes 23
ʄ̒ࠇۗ (ᕍּÐᖓВּ (1887-1959
ᖓଊˤᖚ՚ऋПʍଽˢؿړᕍּÐᖓВּܰʱϹടΊؿАςࡼcϬ1992αັ c̳β్ʱϹᖚ̵પ˚ຮ༜৽ؿѵྭeᖓВɡߎɈ̨वɊȾ˖ᅩݘඨ܃ࠑᅥ ࠑᅥؿஃᆲcʦϤˢαႦࣂԀিˮؿ͟ЂcԈᆅʑያ̵ංᅥؿࠑᅥɻӃ Յe
ᅩݘ̀ࠑᅥΣۗსςdᛰۗςdረફכ؋דԎɺۂᒖಳᕍּÐᖓВּؿ̒ࠇۗА ˨ς೩࿚cˢԯྡྷʋᔑΨ̳ࠑᅥஃࣟcԯΊӰ҈ԞϬ̵ංؿ၀ुcୂιȿॶ ై˱cɻ˿ೕଊɺؿ෮dྦྷˈϳሁc˞ʥԅ̝ќΔވ˖༠Ɂੱؿٲͫ ؿςሁdᐰdຝۗ೩ʏॖe
ͫ˨ʄ̒ࠇۗܰˢؿɊȼࠖ̒ࠇۗɻcɺ̳ஃؿcɖӔؿcܰ̚ȹࠖ ຮΔ̚ȹ৹ᕀi̵ଠ̒ࠇעᛷଊʱϹɁֲࣟؿ̒ࠇۗcᕍּÐᖓВּɖր АҺʶi߬ݯ̵ଠᄘˮȹӡͶؿעٲeˢۧйผܰˢȹ̵ࠖଠ̒ࠇۗcۗ ณࠑᅥcቱဳϊᅥိԎɺݚϷe
ϬɯכϬϊcᕍּÐᖓВּ˞ԯዟऋؿࡈֲcΕ֞ᅥ̒ࠇۗؿࠑᅥეਟ㛾ᆢ͓ᙔ Ոؿདྷ՞ࠑcଅضݯਥᓣcѽΣȹࠖ˿ێؿࠑᅥࠓࣟeȹᅥ˞՞ցຝۗؿࠑ ցɎࠑᅥ࣑ܼeઅ㠥ܰΣͫcݯᅥς˱ɐτመؿᐰຆۂͱݯᔔఒؿᇲςሁА ˘ݠᅱ˞܃ؿςሁʗ̏eٽτੜɈؿຝۗᇰᎾcɌτܫᅁeɍͫ࠹νԎၫc ੜࠑeϊ̔cᅥ˳фȿȹࠖԫڬԮࠓࣟؿၦςАcɻ˨ʘʗࠑʥɺஃ ҈౦Է͠ᖓᖓe
ɀᅥࠇᒨΕᇲຝۗ࿚ɐcၤᇅྺؿᅥຝιྦྷˈcѽЍᒔᔀȿᅥؿᕀ͌e ݚᚉ೧ᑡؿੱሁcԯɻ̒ᅥҡ˞೧ᑡɩ၍Ϡcɣ၍Ϡݯᔂ̯eޑԭᅥ܃
ࣂਝّܰ܃cۂؿ౨Аڲܞτመؿܰcʄ̒ࠇۗܰᕍּÐᖓВּྡྷሚ ࡼࠑᅥઠөི߮ؿᔂ̯eི߮ঢ়ࢋɾࣂcᕍּÐᖓВּඑȿ̒ຒΊ྆ ʹΕӷଈȹe
ÐɻͤࢠɊʄʗᘸÐ ᅥςʍଽProgramme Notes 27
᎘ᄨ̛ԓፕϬ͠ˈСԓ (ဍऒ̛ (1860-1909ځ
࣮ᖓ̛ԓc૯ՇΔౝ˱כဍऒ̛ܰϹऒˑ৩ɣؿАςࡼɾȹc1860άځ ܞڳᑩࠑᅥᔅeˢ̒ัࣂɰʔۗ፡ೄcܰɺҗɺκؿࠑᅥु೧c ؿረcϊ࣯༌ʨc̒୮ۗcӷ༌༧ʥڲeɊɀัࣂcˢৰɐȹጚ֡׃٦ ԷȿਝeˢΕਝ౦ၤᔵ܃࣓ѸdउּΖdʱϹd̀ʱdؐΛቭΈcځ ցֈʱቭc།ΔΛϽ˚߬ؿͿോݢАςࡼιݯʤe܃߇ᄦ፡ೄeˢٲჱc cͅɊɀࠖ፡ೄዟۗୂιc̡яʗι̒e།ˢ˞֡ؿۂؿА܃Сԓܰˢˈ͠ ȹᅚc͠ˈСԓኬୂςɖငˢؿᄧɥcԯ৹ᕀܰɊɀณͿോcɻۂА ؿϹऒˑςሁcௐՇ፡ೄࡼdАςࡼʥࠑᅥነێ⬰ȿͿോݢϳʥۂɣͫА ತؿᐰീ෪dᇲᔵΛᛰؿຝۗc˞ʥ࿚Зѫɐڴؿȹߎሌcઐ̚ԅᔔّ ؿயʶeؒਝଊˤᅥݢɣಗҡီབ̚ݯ፡ೄؿթᔚc˞ʥϹऒˑࠑᅥؿɾ Аe
᎘༠ݯ߇ౡcᄨਝɁԈဍКے̀˱᎘ᄨ̛ԓܰ͠ˈСԓɀؿѵc˞ּ ݚϷؿ۾ȿຝۗc˞ɍ̒ɥԞྦྷʒɄɥcܰ͂ۂɖ౦Εԅ㛾ֈϾeА Ϲऒˑࠑᅥຝۗe
ᗲആᛰۗ ᖓढ़ᄨgϝᙬ༠ (1948-)
Ԉᆅʑያc2001αᏵʱϹ˺ݤgঢ়ͲαАςࡼɣᆉcܰʌΕכϝᙬ༠́ ౨ݯʱϹˀంᅅᄘിሃٽؿԭϽݠᙺؿʱϹАςࡼɾȹeˢɖܰȹΊতّc˖ ʼe
߶cϊ̳βࢄԯࠑᅥڥ1977αcϝᙬ༠࿘Ᏽɀ։ଊˤʱϹࠑᅥᔶαຝؿ۩ᅥ ᔔఒΛᅚcͅಲሁֲԷۂᏵɺʭਝࡼʥਝࠑᅥɣᑩؿᆉඖeˢؿА܃ԑพcԯ Ε⥬ᐰ܃d۩ᅥd͚ᚊςʥჱࡌ g˺ዸᖓ೩cͱۂዟۗᅥኂАܢ˳ณሁֲc ਝؿΔˮcԝΣᔁဍఃୣʺऋነdख़˺ʑਥࠑᅥᜨʥᘣቭ˖ࠑᅥᜨe
ߎฑࡈ̯ܰݯȿ˃ဳᅥʄࠇۗϤᄘؿcۂᗲആᛰۗϊᕀ͌ΉսᄨဍབؿΊА ؿ̵ᅈഹ҈ʶݯ˚ᕀcςɖ౦ΕᕍּÐᖓВּؿɊٱɀɊ˖כݚϷ˞ ӣᖓςɻˮଊe
ࠖވ˖2004αݯʱϹˢ̒ࠇۗᅅᄘԾۗςcαၤʱဍؿᄾ͚ᚊᅥ྆Аכϝᙬ༠ e ຝ͌ʍଽProgramme Notes 29
ݘၦςڈ Ʉၦς ʱϹၦς ˺ʷgࣟဍ̛Ԉ (1907-1993)
ؿ̵ංඨڴजወړᖓ൰ࠁΔਂcਂʋړັכࣟဍ̛Ԉܰ෮ɣСཬ̵ɾɥć ઐ܃ᖫͫɥcɖܰଊˤᖚ՚ؿྭكeˢؿઢၬኒΪᄨּᄨcܰʱϹടΊؿ ɣଠʼʝؿଉeࣟဍ̛ԈܰࠖϽ͂ໍഩˑ͂כᖚᎶ౺࣓ܛਠق৽ّɾȹcȹ ςҡܰʱϹࠇ߬ؿ፡ೄࡨۗکؿѼβʥֲࣟؿАςࡼcˢؿʄɊࠖۂႍԞᛷ͐А ςɾȹe
ݘၦςʥʱϹၦςcڈcࣟဍ̛Ԉܰݯȿෲ͂ؿᅥኂ ፡ೄϤᄘၦςdٱ ԞɷੀɾᇁɃဳ֞ᅥୂςeˢɊࠖജဍၦςၦς˞ɩሁᄘιcࠓ̳ࣟஃ܃ cᘗֻ࣯˚ຮؿඨcࣂ࠹ௐੜईؿʱϹɁֲࣟe
۷᎖ɩէς ʑΔඨթ ˱༠ ̥࣍Ϲޫgϝࣟጻ̛ (1897-1996)
ؿᅥٴᖓc෮ɣСჱݯΔՇᚭړັכϝࣟጻ̛ɖܰ෮ɣСཬ̵ɾɥć ݤ͂˞ҝᇁؿځeϝࣟጻ̛ᄘȿɣ൴ؿ፡ೄዟۗςcԯɻ۷᎖ɩէς̳ܰ༞ိ ྦྷോe
ɻ࣯ؿcɖԮʱϹɁ̯ϳeАۂϝࣟጻ̛ႏݯʑΔඨթȾࠖܰͲɊࠖА ؿ̵ංࣩࢠeڴወ˨ڳԑcܨᒖಳɺܰՅҥϬऋցؿ̵ංۂ
Ԁ༝eϝ۩ޒၦcѼࢀݯ۴˔˱৶ࣂcᓤᖳᚭՓЂ፭ؿڰݘؿڈ˱༠Ϭ ˱༠ɣ܃ࣟጻ̛ᄘϊςࣂαඩɀɊ̒cܰݯჱᝃ͏ਆɁɀྭϤᄘؿeԯ ʹʥ̯̒خ፡ೄዟۗܰωˮ̳ҝᇁϬכcϝࣟጻ̛ʹҐ̚ҝᄘݯሬ͂ٴՇᚭ ʱϹԀিۗࣂcΕңྦgכeɀɊ˖ɀɊαˤcၐɖढ़ෲᅥᅥ̯྆خ፡ೄςؿ eۂϊАٲɎܞऋؿ̌
ᅥςʍଽͅʱϹˢ̒ࠇۗొԜc୧ଡ଼gᔁ͊ޫౝʩᇁᘭ عߗڠ˰ɻᘭi ᅥςʍଽProgramme Notes 31
Orchestral Suite No 4, BWV 1069 (excerpts) Johann Sebastian Bach (1685-1750)
Bach’s four Orchestral Suites were written during the years 1717 to 1723, when he was Kapellmeister at the court of Prince Leopold of Anhalt-Cöthen. There he had one of Europe’s finest orchestras at his disposal and the happy coincidence that the prince was a Calvinist whose court’s ascetic religious services did not require Bach to write weekly church music.
As a result, he devoted most of his efforts during this period to orchestral and instrumental composition, and produced an unprecedented string of masterpieces, including Book I of the Well-Tempered Clavier, the French and English keyboard suites, the sonatas and partitas for solo violin, the Brandenburg Concertos and the Orchestral Suites. The suites were composed for varying instrumental combinations, with Bach himself playing harpsichord. The movements are based on popular dance rhythms of the day.
Intermezzo from Quarteto Brasileiro No 3 Alberto Nepomuceno (1864-1920)
Alberto Nepomuceno studied in Rome, Vienna, Berlin and Paris, yet he is considered Brazil’s first ‘nationalist’ composer. He earned this title for his systematic use of Brazilian folk and popular music, and the Portuguese language in his songs, in opposition to the prevailing Italianism in Brazilian classical music.
While he was a student in Berlin, he had the opportunity to attend concerts conducted by Brahms. This was a crucial period in his musical life. In Norway, it was his contacts with Edvard Grieg (a pupil of whom he eventually married) that set him on his ‘nationalist’ course.
He composed three quartets in his youth, which remained largely undiscovered until the 1950s. Quartet No 3 was composed in Berlin; its third movement, Intermezzo, reappears in the composer's landmark orchestral work, Série Brasileira. It has a very characteristic melody, enlivened by an Afro-Brazilian dance rhythm (the lundu), capturing the spirit of a rowdy public celebration. ᅥςʍଽProgramme Notes 33
Quartet No 5 Heitor Villa-Lobos (1887-1959)
Brazil’s most famous composer, Heitor Villa-Lobos, launched the movement of artistic nationalism in Brazil when his music was featured at the ‘Week of Modern Art’ in 1922 in São Paulo. Villa-Lobos tried to break away from the 19th Century European tradition, drawing inspiration instead from the music of the chorões – popular musicians of Rio de Janeiro – with whom he toured extensively in his youth.
As a composer of string quartets, Villa-Lobos had great formal discipline, although he disregarded the structures of the classical European tradition, such as strict sonata movements, variations, rondos, etc. In his quartets, he adhered to the spirit of his most famous quotation: “I am folklore”. They form a highly personal expressive world, with a great variety of invention, contrasts, tone-colour discoveries and skilful superpositions of melodic, harmonic and rhythmic elements.
Quartet No 5 is the least formal, and most rhapsodic, of the seventeen. It was the first to have an overtly Brazilian character, and the composer gave it a very explicit subtitle: Quarteto Popular. He said that this would be the first of his “popular” quartets, making clear his intention to create a series of popular works in a genre that is not exactly popular.
It was from this work onwards that the composer started to show a true originality, a voice completely his own in the realm of the string quartet. The first movement is based on an insistent rhythmic figure, like a playful ostinato, that appears at the outset and serves as the framework for richly polyphonic writing. Then comes a cantabile section in which the composer sets forth some interesting harmonic clashes and later, a third section in which both moods are present – the powerful rhythmic drive and the long melodic phrases. The conclusion of the movement is a lively and stylised dance, full of syncopations and displaced accents, to which Villa- Lobos adds a sort of sentimental song. This movement contains the children’s song, Eu fui no Itororó (I’ve been to Itororó).
In the second movement, the focus is on polyrhythmic constructions set against some slow sections that seem to belie the movement’s title. The two final movements are in the spirit of children’s songs and the fourth is based on one called Carneirinho, Carneirão (Little Sheep, Big Sheep).
Interestingly, Quartet No 5 comes from the same period as the composer’s Guia Prático or Practical Guide, which served as the basis for a national music education project, the culmination of which was when Villa-Lobos managed to assemble 40,000 choral singers together for a performance in a soccer stadium.
– 15 minute interval – ᅥςʍଽProgramme Notes 35
Rondeña from Iberia Isaac Albéniz (1860-1909)
Isaac Albéniz, one of Spain’s greatest composers, was born in 1860 in Catalonia, where gypsy music strongly influenced him. A child prodigy, by age four he was giving public piano performances and being accused of using trickery in his playing. At 12, he stowed away on a ship to South America. There he led a haphazard life of touring and performing in Argentina, Uruguay, Brazil, Cuba, Puerto Rico and eventually the US, where he appeared in a vaudeville act playing piano behind his back. He finally settled in Paris, where he became close friends with the major impressionist composers. Iberia, his last composition, is a set of 12 pieces for solo piano divided equally into four volumes. As in much of Albéniz’ music, the guitar’s spirit permeates the work. Subtitled 12 nouvelles impressions, the majority of the pieces indeed combine an impressionistic quality with typical Spanish melodies. Pianists, composers and musicologists have universally praised its rich harmonic vocabulary, rhythmic complexity, and the ambitiousness of its architectural design. Messiaen hailed it as a pianistic marvel and the greatest masterpiece of Spanish music. Rondeña, the opening piece of Book II of Iberia, may refer to the ancient city of Ronda in the province of Malaga, where Rilke once lived. It has a mixed rhythm, very popular in Spanish music, in which the play of 3/4 against 6/8 time is maintained throughout the whole piece.
Variações Sérias Ronaldo Miranda (1948-)
Ronaldo Miranda, a native of Rio de Janeiro, was awarded the Carlos Gomes Prize as Brazil's Composer of the Year in 2001. One of the two most active Brazilian composers alive today, he is also a journalist, and for many years was a critic for the Jornal do Brasil. His career was launched in 1977 when he received the First Prize for Chamber Music at the 2nd Biennial for Contemporary Brazilian Music. Numerous national and international prizes followed. His works, which range from atonal to neo-tonal, include solo instrumental pieces, chamber works, symphonies and the opera Don Casmurro. They have been performed in major venues such as the Salzburg Mozarteum, Carnegie Hall, and the Zurich Tonhalle. The Variações Sérias (Serious Variations), the title paying homage to Mendelssohn's piece of the same name, were originally composed for a wind quintet. The theme is from the ballad Rasga o Coração (Tear My Heart) which was very popular in the early 20th Century, and was also used by Villa-Lobos in his Chôros No 10. Miranda has written a concerto for the Brazilian Guitar Quartet, which had its world premiere with the Baltimore Symphony in 2004. ᅥςʍଽProgramme Notes 37
Dança Negra Valsa No 8 Dança Brasileira Camargo Guarnieri (1907-1993) Camargo Guarnieri, the son of Italian immigrants, was born in a rural part of the state of São Paulo, where there was still a strong and constant contact with folk traditions. His mentor, Mário de Andrade, one of Brazil’s most brilliant intellectuals, was one of the driving forces behind the ‘Week of Modern Art’, who upheld the ideal of art being rooted in popular culture. Guarnieri was the first Brazilian composer to use Portuguese terms as an indication of character and form. His set of 50 Ponteios (Preludes) for piano is one of Brazil's most important piano cycles.
He originally wrote Dança Brasileira (Brazilian Dance) and Dança Negra (Afro- Brazilian Dance) for piano (his favourite instrument), later incorporating them into an orchestral suite. His ten waltzes (valsas), all in minor keys, are formally and stylistically in the Romantic tradition, but with a strong Brazilian character.
Serenata Humorística Lenda Sertaneja Congada Francisco Mignone (1897-1996) Francisco Mignone, also the son of Italian immigrants, was born in the capital of the state of São Paulo, where Italian opera was the principal musical attraction. He wrote a vast quantity of solo piano music, from which Tadeu do Amaral transcribed the Serenata Humorística.
The composer described his Lenda Sertaneja (Legend of the Outback) No 9 as the most romantic, and most Brazilian, of the set of ten. Although not inspired by specific folktales, the Lendas are permeated with a folk-like atmosphere.
The Congada is an energetic dance of African origin. It has been described as “a royal procession accompanied by chanting, for the enthroning of a king”. Mignone wrote his Congada at the age of 24 as part of the second act of his opera O Contratador de Diamantes (The Diamond Merchant). The popularity of his Congada led the composer to create versions for solo piano (on which this transcription is based) and four-handed piano. It was performed by the Vienna Philharmonic conducted by Richard Strauss during their tour of Brazil in the 1920’s.
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x* COL :MhY|\`S =^.BU+> _e`]\ >T__Xg JTV\baT_ WX AfcTpT F ceab HT PebccT x+ ce`] EHP s.9A9 l.:? ce`] F `e]]\ yw F ceab EQM w` 1f xLf y j{1fS`y SYw5 BDxM=ZTp= /jAzA P[fg^iW` UW`_f T/pSS`S ET/pSw`S =hW\gbe\h`- O[T P\a Pbja DT__ 18012 ,Mdz-YxLfR