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Orquestra Barroca Casa Máximos Louvores Em 2001 10 Jan 2015 Orquestra 18:00 Sala Suggia – CICLO BARROCO BPI Barroca ANO ALEMANHA Casa da Música Laurence Cummings cravo e direcção musical Huw Daniel e Reyes Gallardo violinos Filipe Quaresma violoncelo Pedro Castro oboé 1ª PARTE Johann Friedrich Fasch Abertura em Sol maior, FWV K: G16 [c.1740; c.25min.] Johann Ludwig Bach Concerto para dois violinos em Ré maior [1728; c.7min.] Christoph Graupner Abertura em Mi maior, GWV 439 [1734; c.18min.] 2ª PARTE Johann Christoph Pachelbel Canon e Giga em Ré maior [c.1690; c.6min.] Johann Bernhard Bach Suite nº 4 em Ré maior [c.1720; c.19min.] Georg Philipp Telemann Concerto para oboé em Dó menor, TWV 51 c2 [c.1740; c.9min.] Johann Christian Bach Sinfonia Concertante para violino e violoncelo em Lá maior [pub.1771; c.21min.] O Município do Porto colabora na organização deste concerto através da cedência, ao violoncelista Filipe Quaresma, do violoncelo Montagnana (séc. XVIII) que foi pertença de Guilhermina Suggia. MECENAS CICLO BARROCO BPI PATROCINADOR OFICIAL ANO ALEMANHA A CASA DA MÚSICA É MEMBRO DE 1ª PARTE 2ª PARTE Johann Friedrich Fasch Johann Christoph Pachelbel Abertura em Sol maior, FWV K: G16 Canon e Giga em Ré maior [c.1690; c.6min.] [c.1740; c.25min.] 1. Ouverture Johann Bernhard Bach 2. Air Suite nº 4 em Ré maior [c.1720; c.19min.] 3. Gavotte 1. Ouverture 4. Air 2. Caprice I 5. Bouree 3. Marche 6. Menuets I & II 4. Passepied I 5. Passepied II Johann Ludwig Bach 6. Caprice II Concerto para dois violinos em Ré maior 7. Air [1728; c.7min.] 8. La Joye 1. Allegro 9. Caprice III 2. Adagio 3. Allegro Georg Philipp Telemann Concerto para oboé em Dó menor, Christoph Graupner TWV 51 c2 [c.1740; c.9min.] Abertura em Mi maior, GWV 439 1. Adagio [1734; c.18min.] 2. Allegro 1. Ouverture 3. Adagio 2. Bergerie 4. Allegro 3. Rejouissance 4. Loure Johann Christian Bach 5. Menuet Sinfonia Concertante para violino 6. Plainte e violoncelo em Lá maior 7. Menuet [pub.1771; c.21min.] 1. Andante di molto 2. Rondeau: Allegro assai 3 Johann Sebastian Bach (1685­‑1750) é hoje em tian Bach fez diversas cópias das suas obras. dia considerado o mais importante composi- No concerto para dois violinos em programa tor do período Barroco. O presente programa sobressaem as passagens a solo dos dois vio- é constituído por obras de alguns dos seus linos num efectivo contraste com a sonorida- contemporâneos e familiares, compositores de do ripieno, onde os violinos são dobrados com os quais conviveu ou de cuja música teve pelos oboés. No adagio que constitui o segun- conhecimento, sendo, pois, uma ilustração da do andamento destaca-se a melodia expres- diversidade da música instrumental do Barro- siva do oboé sobre a figuração mais rápida co tardio na Alemanha. dos solistas, encerrando o concerto com um brevíssimo allegro. O violinista e compositor alemão Johann Friedrich Fasch (1688 -1758), natural de Christoph Graupner (1683 -1760) foi um Buttelstedt, foi discípulo do influente Johann cravista e compositor da maior importância Kuhnau na célebre igreja de São Tomé em Lei- na Alemanha. Após completar os estudos pzig, cidade onde fundou um Collegium Musi- musicais em Leipzig, em 1705, foi contratado cum em 1708. Não tendo alcançado o êxito como cravista pela Ópera de Hamburgo, lu- desejado, prosseguiu estudos em Darmstadt gar onde foi colega do então jovem violinista com um dos ilustres glosados neste progra- Georg Händel. Em 1709 entrou ao serviço da ma, Christoph Graupner. Veio a ocupar diver- corte de Hesse­‑Darmstadt e aí permaneceu sos cargos em cidades alemãs e em 1722 foi como compositor muito respeitado até ao final um dos convidados a concorrer ao cargo de da vida. Em 1723, juntamente com Telemann mestre­‑capela em Leipzig, lugar depois ocu- e Bach, Graupner foi um dos candidatos ao pado por Bach. Respeitado e muito tocado posto de mestre­‑capela em Leipzig, mas após no seu tempo, Fasch não publicou música em negociar melhorias contratuais, a exemplo do vida, razão pela qual muitas obras não chega- que aconteceu com Telemann em Hamburgo, ram aos nossos dias. No entanto, o seu catá- permaneceu em Hesse­‑Darmstadt, deixando logo é muito extenso, sobretudo no âmbito da o lugar vago para Bach. Graupner foi um com- música instrumental. Neste programa é dada positor extremamente produtivo, deixando a ouvir uma abertura ao estilo de suite france- em catálogo mais de 2.000 obras, incluindo sa onde se destaca o papel solístico dos dois 113 sinfonias, 85 aberturas (ou suites), 44 con- oboés e do fagote no tradicional efectivo or- certos, mais de 400 cantatas, para além de questral com cordas e baixo contínuo. óperas, sonatas e partitas. A Abertura em Mi maior para dois oboés d’amore, cordas e con- Primo em segundo grau de Johann Sebas- tínuo segue o modelo das suites francesas, tian Bach, Johann Ludwig Bach (1677 -1731) constituindo um exemplo do gosto instituído desenvolveu uma notável carreira enquanto nas cortes europeias da época. violinista e compositor em Meiningen, cidade onde se fixou com 22 anos de idade e onde A ligação da dinastia Bach ao nome do gran- progrediu até ao posto de mestre­‑capela. A de compositor e organista Johann Chris- sua música foi popular durante o seu tempo toph Pachelbel (1653 -1706) prende­‑se não de vida, sendo regularmente dada a ouvir nas só com a sua amizade a diversos elementos cortes vizinhas, e sabe­‑se que Johann Sebas- da família mas sobretudo com o facto de ter 4 sido professor de Johann Christoph Bach o Collegium Musicum apresentava no Café Zi- (1671­‑1721), o irmão mais velho de Johann Se- mmermann, em Leipzig. São conhecidas qua- bastian e que o educou após a morte dos pais. tro suites orquestrais, todas anteriores a 1730. Este ensino familiar terá sido da maior quali- Escutaremos neste concerto a última desse dade e deu ao pequeno Bach a oportunidade conjunto, escrita exclusivamente para cordas de contactar com a música de grandes no- e baixo contínuo na tonalidade de Ré maior. mes da época, em particular o de Pachelbel. Considerado o último grande compositor da Georg Philipp Telemann (1681 -1767) é o chamada Escola de Nuremberga, Pachelbel compositor mais importante em programa gozou de grande popularidade no seu tempo (excluindo naturalmente o nome do grande graças à simplicidade de um estilo de melo- ausente que liga todos os outros, Johann Se- dias claras e esquemas harmónicos extre- bastian Bach). Aluno de Direito na Universida- mamente lógicos. O seu Canon e Giga é pos- de de Leipzig, foi aí que iniciou uma brilhante sivelmente um dos melhores exemplos deste carreira de músico que o levou a diversas estilo, sendo hoje em dia uma das músicas cidades até se fixar como Director Musical mais populares de todo o repertório Barroco. das Igrejas de Hamburgo em 1721. Esta inten- Sobre um baixo perpétuo constituído apenas sa actividade manteve­‑o em contacto com a por oito notas de igual duração, divididas por melhor e mais actual música do seu tempo e dois compassos de quatro tempos, Pachel- na época foi considerado um músico sem ri- bel elaborou uma melodia que progride num val. Foi autor de um dos mais extensos catálo- cânone a três vozes num brilhante efeito de gos da História da Música. Amigo pessoal de aceleração rítmica, concluindo com uma das Händel e de Bach, foi padrinho de Carl Philipp mais dinâmicas danças do Barroco, a giga. Emmanuel Bach que lhe sucedeu em Ham- burgo após a morte. O Concerto para oboé Estilisticamente comparado a Telemann, em programa é um exemplo brilhante do in- certamente influenciado por Pachelbel que tenso dramatismo da sua escrita, não sendo poderá ter sido seu professor, o organista e alheia a essa intenção a escolha da tonalida- compositor Johann Bernhard Bach (1676 de de Dó menor. Com rasgos de originalida- -1749) era primo em segundo grau de Johann de que vão desde as dissonâncias do início à Sebastian Bach, tendo nascido na mesma reprodução da sonoridade de gaitas­‑de­‑foles casa que a mãe do famoso compositor. Natu- no último andamento, o concerto foi alvo de ral de Erfurt, Johann Berhard sucedeu ao seu várias cópias no tempo de vida de Telemann, próprio pai e professor no lugar de organista fontes através das quais chegou até aos nos- na cidade, vindo mais tarde a trabalhar em sos dias. Magdeburg e a substituir Johann Christoph Bach como organista em Eisenach. Nessa Johann Sebastian Bach tinha 50 anos de qualidade foi por diversas vezes dirigido por idade quando o seu filho mais novo, Johann Telemann, músico que veio a substituir no Christian Bach (1735 -1782), nasceu. Foi seu cargo de mestre­‑capela. Infelizmente, a maior professor até morrer, quando o filho tinha 15 parte das suas obras não chegaram aos nos- anos. Este prosseguiu os estudos com o meio- sos dias mas sabe­‑se que Johann Sebastian -irmão Carl Philipp Emmanuel antes de partir Bach incluiu peças do primo no repertório que para Itália, país onde se converteu ao catoli- 5 cismo. Estudou em Bolonha e foi organista na Catedral de Milão. Em 1762 fez uma viagem a Londres para apresentar três óperas e aí fixou residência ao serviço da rainha Charlo- tte, mulher de George III. Conhecido como o Bach Londrino, viu a sua carreira declinar no fim de vida e o seu legado ficou relativamente apagado entre o esplendor das grandes obras do Barroco tardio e o novo estilo Clássico pro- tagonizado pelos compositores austríacos. Na História da Música, o seu nome é referido como uma influência determinante para a obra de Wolfgang Amadeus Mozart, ascen- dência audível na Sinfonia Concertante em programa.
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