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Beverly Brown, Violonchelo BEVERLY BROWN, VIOLONCHELO. UN VIOLONCHELO QUE ENAMORA… Beverly Brown nació en la ciudad de Ann Arbor en Estados Unidos. Estudió la licenciatura en la Universidad de Michigan, donde se graduó con honores. Cursó una maestría en el Conservatorio Peabody de la Universidad Johns Hopkins. Se trasladó a México en 1983, año en el que ingresó a la Orquesta Filarmónica de la UNAM, y en la que es violonchelista principal. Además de sus conciertos con la OFUNAM, ha tocado como solista con orquestas y suele interpretar música de cámara. Asimismo, imparte clases particulares de violonchelo. Giuseppe Maria Clemente dall'Abaco (1710-1805) Nació en Bruselas en 1710. Siguió los pasos de su padre y estudió música. Su talento fue tan evidente que a la edad de 19 años fue nombrado violonchelista en la orquesta de la corte del Príncipe Clemens August von Bayern en Bonn y, 10 años después, llega a ser director de la agrupación. Fue uno de los más grandes violonchelistas de su tiempo. Muy pocas de sus composiciones han sobrevivido, entre ellas sus 11 Capricci para violonchelo solo. En las partituras no hay indicaciones de tempo, dinámica o expresión, es necesario que el solista utilice su conocimiento de la práctica de interpretación e improvise libremente en el estilo marcado. Algunos pasajes muestran un virtuosismo elevado, pero sin dejar de ser sensible, melancólico y expresivo. En particular el Primer Capricci es una pieza de una belleza que nos envuelve desde la primera nota, nos roba el corazón, de una enorme espiritualidad que nos transmite la maestra Beverly Brown. Carlo Alfredo Piatti 1822-1901) Nació cerca de Bérgamo en 1822. Violonchelista y compositor italiano. De un talento excepcional, hizo su debut a los 15 años, empezando a viajar por Europa a partir de los 16, sin embargo, no atraía público para escucharlo. Las técnicas virtuosas del violonchelo que se encuentran en las obras de Piatti son de especial interés histórico, ya que proporcionan una prueba más de su gran maestría interpretativa. Durante mucho tiempo fue miembro del cuarteto con Josef Joachim, Louis Ries y Ludwig Strauss. Piatti también tocó en un cuarteto en el que Heinrich Wilhelm Ernst fue el primer violín, Josef Joachim el segundo y Henryk Wieniawski el violista. El cuarteto actuó en los conciertos de la London Beethoven Quartet Society. Piatti tocaba un Stradivarius que actualmente es llamado igual que él, Piatti, y cuyo dueño actual es el violonchelista mexicano Carlos Prieto. El Capricho núm. 7 es una pieza difícil de interpretar, intensa, y con retos para llevar a cabo los “efectos” que el compositor propone. Dura cerca de 4 minutos en los que podremos apreciar sonidos maravillosos con dinámicas que suben y bajan; el arco y las cuerdas del instrumento parecen evocar una danza que no queremos que termine. Johann Sebastian Bach (1685-1750). La serie de Seis Suites para Violonchelo solo de JOHANN SEBASTIAN BACH se ha convertido en uno de los grandes monumentos de la música: -Las suites, en conjunto, constituyen una de las obras maestras más importantes de JOHANN SEBASTIAN BACH, sin descartar la existencia de otras creaciones indiscutibles que, para muchos, podrían ser también su obra más importante (la Misa en si menor, La Pasión según San Mateo, El Clave bien temperado). -Su inventiva musical, la profundidad de algunos de sus movimientos y la belleza general de estas obras. -La trascendencia que proporcionó al violonchelo, instrumento naciente. -Hacia fin del siglo XVIII, como el sonido sutil y pequeño de la viola da gamba no cubría las necesidades sonoras de los salones y ocasionales teatros, el violonchelo ocupó su lugar, aunque existía desde mediados del XVI. Pero, ya medio siglo antes, Bach había expuesto el potencial sonoro y expresivo del instrumento y compuso las suites específicamente para éste. 2 Las Seis Suites fueron compuestas por Bach, casi seguro en 1720, es decir, cuando el aún joven músico de 35 años era Kapellmeister (maestro de capilla), es decir, el jefe de la música, director de la orquesta, compositor cuando se requería e intérprete casi cotidiano, en la corte del Príncipe Leopold, en el principado de Anhalt-Cöthen; fue una de sus primeras obras importantes y formales, entre 1717 y 1723, en el cual, debido al poco interés del príncipe por la música religiosa, Bach se dedicó sobre todo a componer obras instrumentales para ensambles orquestales y para instrumentos solos. Las exigencias virtuosas de estas seis obras nos dicen que Bach tuvo entre sus músicos intérpretes de calidad excepcional que pudieran hacer justicia a tales creaciones. Y en efecto, como miembros de la corte, Bach pudo escribirlas para el violonchelista CHRISTIAN BERNHARD LINIGKE, pero es más probable que se haya inspirado en las cualidades de CHRISTIAN FERDINAND ABEL, gran virtuoso gambista y violonchelista, también compositor de conciertos, a quien se le llegó a atribuir alguna de las obras de Franz Joseph Haydn. “… las suites representan un gran reto técnico, particularmente la sexta suite, la cual fue escrita para un violonchelo de 5 cuerdas. La primera suite puedo definirla como juvenil. Es la más corta y está en una tonalidad mayor (sol mayor). La estructura de cada suite aumenta sucesivamente en complejidad. Los preludios también crecen estructuralmente además de que cada vez son más extensos, culminando con el preludio de la Suite núm. 6, la cual veo como una sinfonía para violonchelo solo. En mi opinión, el preludio es el movimiento más substancial de cada suite. Son muy variadas y contienen las más profundas ideas en la música de Johann Sebastian Bach” Mstislav Rostropovich La Suite núm. 1 es probablemente la más conocida; la maestra Beverly Brown interpretará el Preludio y el Menuet I y II. El preludio es la parte más conocida para este instrumento. Nos ha acompañado en innumerable ocasiones, estudiando, viajando, pensando, y en cada ocasión nos deja un mensaje nuevo; Bach, a través de esta preciosa pieza toca nuestra alma. Naturalmente que existen cientos de versiones para toda clase de instrumentos, así como estilos. ¿Recuerdas cuándo fue la última ocasión que la escuchaste? Por lo que se refiere al Menuet, el primero es bastante suave, no contundente ni particularmente animado, y de carácter sincero. En contraste directo está el segundo, triste y algo oscuro. El contraste entre los minuetos no podría ser más pronunciado, y cuando escuchamos el regreso al primero, nuestra perspectiva sobre esta música, ahora familiar, ha cambiado. 3 Rogelio Huguet y Tagell (1882-1956) Compositor español del que se sabe muy poco. La Suite espagnole No. 1, fue pensada como trío de piano, finalmente Huguet y Tagell se decidió a escribirlo para violonchelo solo; hay pasajes enteros de pizzicati que recuerdan los sonidos de la guitarra flamenca. En esta ocasión la maestra Brown interpretará el ‘Flamenco’, la cual nos presenta una combinación de melancolía musical y un virtuosismo que cautiva al público, pero al mismo tiempo evoca momentos conocidos de la música flamenca. Sin lugar a duda va a ser una agradable sorpresa la interpretación de esta pieza. La cita con esta maravillosa música es el sábado 21 de NOVIEMBRE a las 20:00 horas a través de las Redes Sociales de Música UNAM. YouTube: https://www.youtube.com/watch?v=uWrfPdcM7p0 Luis Pérez Santoja. 4.
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