Leslie Howard E Ludovico Troncanetti

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Leslie Howard E Ludovico Troncanetti Cidade Aberta LESLIE HOWARD E LUDOVICO TRONCANETTI 1 31 OUT 2019 QUINTA-FEIRA LESLIE HOWARD E LUDOVICO TRONCANETTI Anton Rubinstein (1829-1894) Fantasia, op. 73 Franz Liszt (1811-1886) Grandes variações de concerto sobre um tema dos Puritanos de Bellini, S654i (extraídas do Hexaméron) 1. Introdução: Extremement lent (Liszt) 2. Tema: Allegro marziale (Bellini, transcrito por Liszt) 3. Variação I: Ben marcato (Thalberg) 4. Variação II: Moderato (Liszt) 5. Variação III: di bravura (Pixis) – Ritornello (Liszt) 6. Variação IV: Legato e grazioso (Herz) 7. Variação V: Vivo e brillante (Czerny) – Fuocoso molto energico; Lento quasi recitativo (Liszt) 8. Variação VI: Largo (Chopin) – (coda) (Liszt) 9. Final: Molto vivace quasi prestissimo (Liszt) Camille Saint-Saëns (1835-1921) Variações sobre um tema de Beethoven, op. 35 19H / M/6 CCB, PEQUENO AUDITÓRIO 2 3 NOTAS AO PROGRAMA Textos de Ludovico Troncanetti O Hexaméron S392 para piano solo está dividido em nove partes: Tradução de Ana Sampaio 1. Introdução: Extremement lent (Liszt) 2. Tema: Allegro marziale (Bellini, transcrito por Liszt) 3. Variação I: Ben marcato (Thalberg) 4. Variação II: Moderato (Liszt) 5. Variação III: di bravura (Pixis) – Ritornello (Liszt) 6. Variação IV: Legato e grazioso (Herz) 7. Variação V: Vivo e brillante (Czerny) – Fuocoso molto energico; Lento quasi recitativo (Liszt) 8. Variação VI: Largo (Chopin) – (coda) (Liszt) 9. Final: Molto vivace quasi prestissimo (Liszt) Anton Rubinstein: Fantasia op. 73 Esta primeira versão para dois pianos de 1840 inclui apenas as partes 1, 2, 3, 4, 6 Esta obra monumental em três andamentos foi composta em 1864, tendo e 9. Entre a 6 e a 9, Liszt acrescenta o tema Credeasi, misera!, do final do 3.º Ato, sido dedicada ao irmão do compositor, Nicolai Rubinstein, com quem Anton cantada por Arturo. Após a primeira exposição deste tema e durante a segunda, a estreou. O primeiro andamento Lento – Allegro con fuoco começa inespe- o compositor introduz um acompanhamento arrojado e virtuoso, cheio de trilos, radamente com uma primeira seção em pianissimo, com um acorde em Ré escalas e arpejos que levam ao Finale Marziale, o qual incorpora a parte 5, antes bemol maior, mediante em relação à tonalidade principal da peça, que se re- de avançar para uma brilhante conclusão. pete desde a oitava mais alta à mais baixa até chegar ao Dó maior dominante que, através de trilos ascendentes nos dois pianos e uma escala posterior em __ oitavas no segundo piano, finalmente atinge a clave principal e o tema em Fá menor Allegro con fuoco em acordes sincopados, seguido de uma secção Camille Saint-Saëns: Variações sobre um tema de Beethoven, op. 35 em que os dois pianos tocam à vez arpejos e escalas, com um segundo tema pelo meio. Uma segunda secção, novamente em Ré bemol maior, começa de Este conjunto de variações, composto em 1874, baseia-se no trio do terceiro repente com uma melodia que recorda algo nostálgico, como se dois irmãos andamento da Sonata para piano de Beethoven em Mi bemol, op. 31, n.º 3. A se juntassem de novo depois de muitos anos. O resto do andamento continua peça abre com uma introdução de oitavas em staccato, seguidas de arpejos a alternar e a desenvolver os materiais das duas secções anteriores de dife- no segundo piano. O tema é então apresentado com exatidão com o trio da rentes maneiras, tanto ritmicamente como harmonicamente, para terminar sonata de Beethoven. Cada variação explora um exercício técnico: numa escala ascendente que leva a um acorde em Fá menor. O segundo 1. A primeira variação usa o dispositivo técnico das escalas: o primeiro andamento Moderato – Allegro vivace quebra o silêncio com uma introdu- piano toca uma série de passagens em escalas, enquanto o segundo ção, em 2/4, inteiramente constituída por semitons e arpejos, numa introdução piano acompanha com acordes, e depois as partes de cada piano são coloquial simples, intensificada por pausas de surpresa e tensão, à segunda invertidas. e principal secção, que é realmente um scherzo em 6/8. Aqui, o compositor, 2. A segunda variação é um andamento lírico lento, que exige ao intér- para criar uma impressão de brincadeira, mas também uma espécie de de- prete que toque oitavas o tempo todo. sorientação, diverte-se misturando métricas ternárias e binárias, com pausas ocasionais e flutuações de tempo. O último andamentoAndante con moto é 3. A terceira variação é uma repetição do tema, mas em ordem inver- um conjunto de doze variações numeradas de diversa natureza, baseadas num sa: o tema original tinha dois acordes ascendentes seguidos por uma tema de que não se afastam muito, e que encontram finalmente a calma num passagem lírica que descia; aqui, os dois acordes iniciais descem e a coro de andamento suave em Fá maior. passagem lírica sobe. 4. O quarto andamento é uma interação esfuziante entre os dois pia- ___ nos, com acordes de repetição rápida, durante os quais cada piano toca um compasso e faz uma pausa de um compasso. Franz Liszt: Grandes variações de concerto sobre um tema dos Puritanos 5. A quinta variação, harmonicamente florida, é num tempo lento e de Bellini, S654i (extraídas do Hexaméron) contém muita ornamentação, principalmente trilos. 6. A sexta variação é inteiramente composta de escalas: um piano toca Este conjunto de variações sobre o tema da Marcha dos Puritanos da ópera I uma escala ascendente e depois o segundo piano responde, tocando puritani de Vincenzo Bellini nasceu sob a forma de uma composição colabo- uma escala descendente. rativa. A princesa Cristina Trivulzio Belgiojoso concebeu a peça em 1837 e con- 7. A sétima variação tem muitos acordes em staccato, seguidos por venceu Franz Liszt a reunir um conjunto de variações da marcha, em conjunto terças prolongadas. com cinco dos seus amigos pianistas. Liszt compôs a introdução e a segunda 8. A oitava variação é uma repetição da introdução inicial. variação, ligando as secções e o final, e deu à peça uma unidade artística. Cada um de cinco bem conhecidos compositores-intérpretes contribuiu com uma 9. Segue-se uma fuga deliciosa e animada para a nona variação. variação: Frédéric Chopin, Carl Czerny, Henri Herz, Johann Peter Pixis e Sigis- 10. A décima e última variação distribui a melodia entre os dois pianos, mond Thalberg. tudo em acordes e oitavas, terminando a peça num presto fortissimo. 4 5 gravadas para a ArtCorp e um nomeadamente em música para LESLIE HOWARD LUDOVICO TRONCANETTI disco que junta as duas Sonatas piano a quatro mãos e duos. O seu para piano de Rachmaninov para a repertório abrange desde obras de No ano passado, Leslie Howard Ludovico Troncanetti nasceu em editora Melba Recordings. A editora Bach aos grandes compositores do celebrou o seu 70.º aniversário Siena, em maio de 1991. Começou a Melba lançou ainda dois CD com a início do século XX. e para assinalar a data preparou estudar piano aos 13 anos e um ano música completa de Reynaldo Hahn alguns trabalhos que eram muito depois ingressou no Conservatório para dois pianos e em dueto de Em 2015 tocou o Concerto para requisitados pelos seus seguidores de Siena. Em 2009 iniciou os seus piano por Howard e Mattia Ometto. piano, op. 114, de Max Reger ao longo dos anos: um programa estudos com o reconhecido pianista A Brilliant Classics está ainda a editar e juntou-se a Leslie Howard num de música para piano de Liszt Leslie Howard, em Londres. Estudou três caixas, cada uma de 3 CD, com concerto a dois pianos de música inspirada em ópera que o pianista composição no Conservatório a obra completa de Liszt para dois de Liszt no Reform Club, em Londres. tem apresentado em muitos países. Giuseppe Verdi, em Milão, com o pianos, novamente com Mattia Formou ainda uma dupla com Em 2018 lançou mais um CD de maestro Gianni Possio. Também Ometto – a primeira caixa contém Leslie Howard, que se estreou a dois peças nunca antes gravadas de Liszt, participou em masterclasses 12 das próprias versões de Liszt pianos no Teatro Rozzi, em Siena, perfazendo um total de 100 discos com pianistas como Andrea para dois pianos dos seus poemas em novembro de 2016. Em janeiro gravados dedicados somente à obra Lucchesini, Leslie Howard (Academia sinfónicos. de 2018 estrearam em Itália a obra de Liszt. Este projeto aclamado pela Camposampiero), Pier Narciso para dois pianos Fantasia, op. 73, crítica garantiu-lhe um lugar no Masi (Academia Corelli Fusignano, Como reconhecido estudioso, de Anton Rubinstein, na Academia Guiness Book of World Records, Conservatório de Lucca, Academia Howard produziu 13 volumes da Liszt Chigiana. Também estrearam seis Grands Prix du Disque, de Música de Florença, Pomarance Society Publication para a Hardie mundialmente as Grandes Variações a Medalha de St. Stephen e Modena) e Henri Sigfridsson Press, incluindo a música de câmara de concerto sobre um tema dos e o prémio Pro Cultura Hungarica. (Academia de Música Palace Ricci, completa, 30 volumes da secção Puritanos de Bellini, S654i em Montepulciano). de música do Liszt Society Journal Leslie Howard tem equilibrado a sua (extraídas do Hexaméron) de Liszt. e 4 volumes das novas partituras prodigiosa carreira de gravações Como solista, já tocou em salas Urtext de Liszt para a Edition Peters Trocanetti é também um grande com um itinerário de concertos como a Accademia dei Rozzi, Teatro (com uma versão muito elogiada admirador da música de Franz Liszt que o tem levado a atuar por todo dei Rinnovati, Teatro dei Rozzi, da Sonata de Liszt). Os seus outros e tem assistido Leslie Howard, o mundo há mais de meio século, Accademia Musicale Chigiana, no trabalhos editoriais incluem uma um dos grandes especialistas da sempre com um repertório que Toscana Classica Festival, Dubai nova reconstrução e orquestração música de Liszt, na tradução italiana pretende estimular a experiência dos Festival, Lucca Chamber Music do quinto Concerto para violino do catálogo das obras completas de espectadores e desafiar hierarquias Festival, Bulgaria Chamber Hall, de Paganini para a Paganini Edition, Liszt e na investigação de algumas de sabedoria.
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