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Gustav Mahler Jugendorchester Herbert Blomstedt Christian Gerhaher Gustav Mahler Jugendorchester Herbert Blomstedt Christian Gerhaher 07 set 2019 07 SETEMBRO Ciclo Grandes SÁBADO Intérpretes 20:00 — Grande Auditório Gustav Mahler Jugendorchester Herbert Blomstedt Maestro Christian Gerhaher Barítono imagem de capa: herbert blomstedt © accentus music Richard Strauss Morte e Transfiguração, op. 24 Gustav Mahler Canções de Rückert Não me espreites as canções Inspirei uma suave fragrância! À meia-noite Se amas pela beleza Estou perdido para o mundo intervalo Ludwig van Beethoven Sinfonia n.º 3, em Mi bemol maior, op. 55, Heroica Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto mecenas mecenas mecenas mecenas mecenas principal música e natureza estágios gulbenkian para orquestra concertos de domingo ciclo piano gulbenkian música Duração total prevista: c. 2h 15 min. Intervalo de 20 min. 03 Munique, 11 de junho de 1864 Kaliste, 7 de julho de 1860 Richard Strauss Garmisch, 8 de setembro de 1949 Gustav Mahler Viena, 18 de maio de 1911 Morte e Transfiguração, op. 24 orquestrais grandiosas e dotadas de forte carga dramática. No momento da transfiguração, composição: 1888-1889 eis que eclode o luminoso acorde de Dó estreia: Eisenach, 21 de junho de 1890 duração: c. 24 min. maior, construído a partir das cordas graves e ornamentado pelos sinos e pelos gongos. A 21 de junho de 1890, o jovem músico de No momento em que a Europa assistia apenas vinte e seis anos, dirigiu a estreia de à maximização dos recursos musicais e Morte e Transfiguração, no âmbito do Festival dramáticos da orquestra, Richard Strauss de Música de Eisenach. Alguns meses mais gustav mahler em 1907 © dr compôs as suas partituras mais marcantes tarde, foi a vez do público do Teatro de Ópera de no domínio do poema sinfónico, entre as Weimar aplaudir as grandiosas sonoridades do quais Don Juan, op. 20 (1888), Macbeth, op. 23 poema sinfónico, também levado ao auditório Canções de Rückert von Zemlinsky, no qual participaram os (1888/90), e Morte e Transfiguração, op. 24 da Filarmónica de Viena, a 5 de janeiro de 1896. barítonos Friedrich Weidermann e Anton composição: 1901-1902 (1888-89). Esta última aproximou-se das Moser, sob a direção musical de Mahler. estreia: Viena, 29 de janeiro de 1905 conceções, muito em voga, da denominada richard strauss em 1904 © dr duração: c. 25 min. Seguindo a cronologia de composição, música programática, tendo a inspiração de a primeira canção, Blicke mir nicht in die Lieder, raiz partido do próprio Strauss. Numa carta talvez a mais espontânea de todas, descreve que redigiu em 1888, o músico imaginou um Na senda de outros grandes representantes as frementes rotinas instintivas das abelhas, artista moribundo, distendido no leito e que, do Romantismo musical austro-germânico, entre os campos de flores e as respetivas a determinada altura, se vê sobressaltado pela Gustav Mahler viria a nutrir grande afeição pela colmeias-abrigo, num encómio à natureza. ânsia de não ter conseguido concretizar em poesia densa e evocativa do mestre de Coburgo, A segunda canção, Ich atmet’ einen linden Duft, pleno o ideal artístico que o inspirara durante Friedrich Rückert (1788-1866). Entre junho de suscitou, desde logo, o fascínio de Mahler toda a sua vida. Mas eis que a morte traz consigo 1901 e agosto de 1902, Mahler musicou cinco pelo jogo de sinestesias, tendo como fulcro a transfiguração do personagem, à medida poemas de Rückert. Os quatro primeiros Lieder o amor e as suas diferentes manifestações. que a sua alma abandona o corpo, rumo a foram compostos originariamente para voz Com teor distinto, a terceira canção, Ich bin der um patamar de resplandecência e gratificação, masculina e orquestra, subsistindo também Welt abhanden gekommen, desvenda a interioridade no qual se concretizam todos aqueles desejos as respetivas reduções para canto e piano, do ser humano, com as suas angústias e temores, e aspirações que ficaram por alcançar em vida. da pena do compositor. Apenas à formação num prenúncio dos tristes acontecimentos que Posteriormente, Strauss pediu ao seu amigo, de canto e piano foi reservada a derradeira viriam a marcar a vida do músico, poucos anos o compositor e violinista Alexander Ritter canção da recolha, Liebst du um Schönheit, mais tarde. Na mesma linha introspetiva situa-se (1833-1896), para dar forma poética ao produto a qual, por sua vez, veio a conhecer uma versão a canção seguinte, Um Mitternacht, marcada pelas da sua fantasia e foi este conjunto de cerca de orquestral elaborada postumamente pelo sonoridades sombrias do oboé de amor, da tuba sessenta versos que ficou inscrito na edição da músico e crítico Max Puttmann, a pedido da e do contrafagote. Por fim, a canção Liebst du partitura. Do ponto de vista musical, a obra casa editora de Leipzig. A estreia das primeiras um Schönheit foi escrita com o pensamento segue, de perto, as linhas sugestivas do poema, quatro canções teve lugar em Viena, a 29 de em Alma Mahler. Emerge na orquestração abundando os motivos que representam os janeiro de 1905, a par com os Kindertotenlieder de Max Puttmann com especial intensidade diversos estados de alma do protagonista (“Canções das Crianças Mortas”, sobre poemas expressiva, numa renovada evocação do amor (no fundo, é o próprio compositor que se revê do mesmo Rückert), por ocasião de um concerto como sentimento capaz de suplantar tanto a si mesmo), assim como as sonoridades organizado por Arnold Schönberg e Alexander a beleza como a juventude e a fortuna. 04 05 Rückert-Lieder / Canções de Rückert Friedrich Rückert Blicke mir nicht in die Lieder! Não me espreites as canções! Um Mitternacht À meia-noite Blicke mir nicht in die Lieder! Não me espreites as canções! Um Mitternacht À meia-noite Meine Augen schlag’ ich nieder, Tenho então de baixar os olhos, Hab’ ich gedacht Acordei Wie ertappt auf böser Tat. Como se em flagrante delito apanhado. Und aufgeblickt zum Himmel; E olhei para o céu Selber darf ich nicht getrauen, Eu próprio não me atrevo Kein Stern vom Sterngewimmel Nem uma das estrelas do buliçoso firmamento Ihrem Wachsen zuzuschauen. A assistir ao seu progresso. Hat mir gelacht Me sorriu Um Mitternacht. À meia-noite. Blicke mir nicht in die Lieder! Não me espreites as canções! Deine Neugier ist Verrat! A tua curiosidade é traição! Um Mitternacht À meia-noite Bienen, wenn sie Zellen bauen, As abelhas, ao construir alvéolos, Hab’ ich gedacht Projetei os pensamentos Lassen auch nicht zu sich schauen, Também não deixam que as observem, Hinaus in dunkle Schranken. Para lá dos limites sombrios. Schauen selbst auch nicht zu. Elas mesmas não ficam a olhar. Um Mitternacht À meia-noite Wenn die reichen Honigwaben Só quando os ricos favos de mel Es hat kein Lichtgedanken Nenhum luminoso pensamento Sie zu Tag gefördet haben, Forem por fim trazidos à luz do dia, Mir Trost gebracht Me proporcionou qualquer consolo Dann vor allen nasche du! Poderás, antes dos demais, saboreá-los! Um Mitternacht. À meia-noite. Um Mitternacht À meia-noite Nahm ich in acht Dei-me conta Ich atmet’ einen linden Duft! Inspirei uma suave fragrância! Die Schläge meines Herzens; Das batidas do meu coração; Ein einz’ger Puls des Schmerzes O ténue pulsar da dor Ich atmet’ einen linden Duft! Inspirei uma suave fragrância! War angefacht Foi atiçado Im Zimmer stand Na sala havia Um Mitternacht. À meia-noite. Ein Zweig der Linde, Um ramo de tília, Ein Angebinde Uma pequena oferta Um Mitternacht À meia-noite Von lieber Hand. De alguém que me é querido. Kämpft’ ich die Schlacht Combati a batalha, Wie lieblich war der Lindenduft! Que encantadora era a fragrância da tília! O Menschheit, deiner Leiden; Ó humanidade, dos teus padecimentos; Nicht konnt’ ich sie entscheiden Não pude, porém, decidi-la Wie lieblich ist der Lindenduft! Que encantadora é a fragrância da tília! Mit meiner Macht Com as minhas forças Das Lindenreis A vergôntea duma tília Um Mitternacht. À meia-noite. Brachst du gelinde! Num gesto terno me colheste! Ich atme leis Respiro levemente Um Mitternacht À meia-noite Im Duft der Linde A fragrância da tília Hab’ ich die Macht Entreguei essas forças Der Liebe linden Duft. A suave fragrância do amor. In deine Hand gegeben! Nas tuas mãos! Herr! über Tod un Leben Senhor! Sobre a morte e sobre a vida Du hälst die Wacht Velas tu Um Mitternacht! À meia-noite. 06 07 Bona, 16 (ou 17) de dezembro de 1770 Liebst du um Schönheit Se amas pela beleza Ludwig Viena, 26 de março de 1827 Liebst du um Schönheit, Se amas pela beleza, van Beethoven o nicht mich liebe! oh, não me ames então! Liebe die Sonne, Ama o Sol, sie trägt ein goldnes Haar! cujos cabelos são dourados! Liebst du um Jugend, Se amas pela juventude, o nicht mich liebe! oh, não me ames então! Liebe den Frühling, Ama a primavera, der jung ist jedes Jahr! sempre jovem, ano após ano! Liebst du um Schätze, Se amas por tesouros, o nicht mich liebe! oh, não me ames então! Liebe die Meerfrau, Ama a sereia, sie hat viel Perlen klar! muitas pérolas alvas ela tem! napoleão aceita a rendição austríaca em ulm a 20 de outubro de 1805. pintura de rené-théodore berthon, c. 1805-1815 © dr Liebst du um Liebe, Se amas por amor, Sinfonia n.º 3, em Mi bemol maior, transformar a sociedade, rumo a um patamar o ja - mich liebe! oh, sim, ama-me então a mim! op. 55, Heroica civilizacional em linha com a afirmação Liebe mich immer, Ama-me tu sempre, crescente do germanismo, tanto na literatura dich lieb ich immerdar! que eu para sempre te amarei! composição: 1803-04 como na poesia e na filosofia. No primeiro estreia: Viena, 7 de abril de 1805 andamento, Allegro con brio, os abundantes duração: c.
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