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Alberto Lysy-Harold Martina 8 BANCO DE LA REPUBLICA "Interior con violín" · Henri Matisse. Biblioteca Luis-Angel Arango Sala de Conciertos Vigésilllo Aniversario 1966-1986 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. ALBERTO LYSY Violinista Nació en Buenos Aires, donde a la edad de cinco a:ños comenzó sus estudios de violín bajo la dirección de su padre y, más tarde, del maestro Ljerko Spiller. A la edad de diecisiete a:ños, habiendo ya ganado importantes pre­ mios internacionales, partió a Europa para continuar allí sus estudios. En 1955 fue laureado en el concurso internacional Reina Elizabeth de Bru­ selas, siendo aquella la primera vez que un artista argentino obtenía este ga­ lardón. Allí conoció a Yehudi Menuhin que, conjuntamente con David Oistrach, Zino Francescatti y otros grandes violinistas, eran miembros del jurado. Menuhin se convirtió en su maestro y mentor en el mundo musical europeo, y desde entonces Alberto Lysy es considerado en varios continentes como una de las figuras musicales más importantes de Latinoamérica. Lysy ha actuado en los principales festivales europeos haciendo música de camara con Benjamín Britten, Peter Pear~. Pablo Casals, Gaspar Cassadó, Yehudi Menuhin y Nadia Boulanger, entre otros. Como solista actuó bajo la dirección de Pierre Boulez, Colin Davis, Sir Adrian Boult e lgor Markewitch, y tocó con las orquestas Filarmónica de New York, Sinfónica Nacional de Washington, Sinfórúca de Londres, Filarmórúca de Londres, RAI de Roma, Filarmónica de Amsterdam y otros importantes cuer­ pos orquestales. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. En Argentina actuó bajo la dirección de Juan José Castro y Pedro Ignacio Calderón, y con las orquestas Filarmónica y Nacional de Buenos Aires. A la par de su labor concertística desarrolla una actividad pedagógica muy im­ portante como director de la lnternational Menuhin Music Academy en Gsta­ ad, Suiza, donde enseña a jóvenes y talentosos artistas de doce nacionalidades. Hace algunos años fundó en Argentina la Camerata Bariloche, con la cual viajó por todo el mundo representando a la República Argentina. En el año de 1971 Alberto Lysy dejó la Camerata Bariloche para fundar, junto a otros artistas argentinos y extranjeros, la Camerata Lysy, con la cual ha recogido los más grandes éxitos. Recientemente ha actuado en el Concertgbouw de Amsterdam, en el Q.ueen Elizabeth Hall de Londres, e.n el Victoria Hall de Ginebra, etc., y ha realiza­ do extensas tournées en los Estados Unidos, la Unión Soviética, China, Ja­ pón y Extremo Oriente. Alberto Lysy ha recibido numerosos reconocimientos por su actividad cul­ tural de n1anos de diferentes monarcas, gobiernos y sociedades, y de su san­ tidad el Papa Pablo V 1. Después de ocho años de ausencia de su país, regresó para instituir una fun­ dación de ayuda a jóvenes y actuar en el Teatro Colón de Buenos Aires, en el marco del "Festival Lysy". HAROLD MARTINA Pianista Harold Martina nació en Curazao, Antillas Holandesas. De niño recibió sus primeras clases de música de los profesores Patrick y Teun Don. Continuó sus estudios de piano con Annamaría Pennella en el Instituto de Bellas Artes de Medellín, Colombia, donde obtuvo su grado CUM LAUDE como concertista. Realizó estudios de perfeccionamiento con el profesor Richard Hauser en la afamada Academia de Música de Viena, Austria. Allí se graduó SUMMA CUM LAUDE por voto unánime, honores que no habían sido otorgados por más de quince años en dicha academia. Recibió por ello un premio especial del gobierno austríaco. En 1975 fue condecorado por la Reina Juliana de Holanda con la Orden de Orange Nassau. Alterna su muy fructífera labor pedagógica con una carrera de concertista consolidada con frecuentes y exitosas giras por Europa, América Latina y los Estados U nidos. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. PROGRAMA ")QNATA PARA VIOLIN SOLO J ohann Sebastián Bach No. 2 EN LA MENOR, BWV (1685-1750) 1003 (1720) Grave Fuga Andante Allegro SONATA PARA VIOLIN Y Sergei Prokofiev PIANO No. 2 EN RE MENOR, (1891-1953) OPUS 94a Moderato Scherzo Andante Allegro con brío INTERMEDIO SONATA PARA VIOLIN Y Maurice Ravel PIANO No. 1, OPUS POSTH., (1875-1937) EN UN MOVIMIENTO (1897) \LLEMANDE DE LA SONA­ Eugéne Ysaye TA PARA VIOLIN SOLO No. 4, (1858-1931) OPUS 27 AQUEL PAJARITO TRISTE Pedro Sáenz Dedicada a Alberto Lysy (1915- ) DE MI TIERRA. DOS PIEZAS Bedrich Smetana ORIGINALES PARA VIOLIN (1824-1884) Y PIANO Bogotá, septiembre 3 de 1986 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. NOTAS AL PROGRAMA El paradigma de las sonatas para violín solo lo constituyen las tres com­ puestas por Bach, junto con las tres conocidas partitas. El conjunto de es­ tas seis obras fue escrito en 1720, durante la residencia del compositor en Cothen, por la época en que preparaba el grupo de los seis Conciertos Bran­ denburgueses. Sus obras para violín solo atestiguan el conocimiento íntimo que tuvo Bach del instrumento y de las técnicas para su ejecución. Este do­ minio idiomático se conjuga con una enorme creatividad que permite la exi­ tosa interacción (sin el tradicional bajo acompañante del barroco) de un den­ so contrapunto con una armonía refinada, bajo el amparo de un ritmo distin­ tivo e impelente. Las sonatas de Bach se diferencian de sus partitas y suites por constar, generalmente, de movimientos diferentes de los de las danzas tradicionales de la suite barroca. La disposición de los cuatro movimientos de la segunda sonata para violín así lo comprueban. La presencia de la fuga como segundo tiempo, en las tres sonatas, traduce el afán contrapuntístico del compositor y su época: una permanente victoria de elementos contras­ tantes, simultáneos y a la vez estrictamente imitativos. El primer movi­ miento -Grave- es un pasaje más bien suelto que sirve de inspirada intro­ ducción a la sonata y al concierto. Otro tipo de sonata es la concebida por Prokofiev para el violín y el piano. En este caso se trata dé la evocación explícita de la sonata del Siglo XVIII como género y forma. El interés de Prokofiev por la sonata para violín y piano se remonta a 1903, cuando a la edad de doce años compuso una como ejercicio para presentar a su maestro Gliere; cinco años más tarde, en su época de conservatorio hizo un segundo intento con una composición colec­ tiva junto con Miaskovsky y Kan:Karovich. De estos primeros pasos perma­ nece en la Segunda Sonata, el gusto por las formas beethovenianas y la cali­ dad lírica de la música de Chopin, elementos que surgen sutilmente. El ca­ rácter mordaz del Scherzo y del cuarto movimiento se ha convertido en una de las características más obvia y de fácil reconocimiento del compositor ru­ so. La energía rítmica y la amplitud melódica también intervienen decisiva­ mente en la conformación del estilo neoclásico propio de Prokofiev. Ravel escribió la Sonata en un movimiento para violín y piano en 1897; sin em­ bargo, la obra permaneció inédita hasta 1975. Se trata de una pieza un tanto tí• mida, mucho más que las Suites Auriculaires para dos pianos, del mismo año. La influencia romántica de César Franck aún se nota, pero se combina con el gusto personal del joven compositor por las melodías modales inspiradas en an­ tiguas escalas eclesiásticas. Experimenta con algunas asimetrías rítmicas y logra un éxito rotundo al final de la sonata en la creación de momentos de gran hermosura y sentida inspiración. El estreno de esta sonata de Ravel, después de su reciente descubrimiento correspondió a Alberto Lysy. La Cuarta sonata para violín solo del compositor e intérprete virtuoso del violín, Ysaye, ct>mbina aspectos de la suite barroca y de la sonata. Consta de tres movimientos: Allemanda, Sarabanda y Presto ma non troppo. Aun­ que preocupado por la formación de un lenguaje nacionalista en la música, este compositor belga buscó en sus seis sonatas para violín solo, una pro- Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. funda exaltación de la expresión romántica. Las armonías enriquecidas apo­ yan ei desarrollo de melodías extensas y onduladas. Ysaye se nos presenta como un auténtico romántico de fines del siglo pasado, balanceando lo indi­ vidual con lo universal. Pedro Sáenz, oriundo de Buenos Aires, compuso una serie de versiones para violín y piano de canciones populares argentinas; Aquel pajarito triste es una de ellas. Aquí se puede apreciar la tradición sólida áel compositor, alumno de Alberto Williams, pionero musical de la Argentina moderna, y también alumno de Honegger y Milhaud en París. En la búsqueda de estilos nacionales, a fines del Siglo XIX el nombre de Smetana ocupa uno de los lugares más sobresalientes. En su obra se recono­ ce la insistencia por describir su tierra checa, su naturaleza e historia. Este ejercicio descriptivo es característico no sólo de sus óperas. danzas y po­ emas sinfónicos, sino que se extiende a sus piezas de cámara. Sus dos únicas obras para violín y piano llevan por título De mi tierra, que nos hace pensar en el poema sinfónico Mi patria y evoca el cuarteto para cuerdas De mi vida. La referencia nacionalista más común en Smetana es la del desarrollo y va­ riación de melodías tradicionales. dentro de patrones formales relativamen­ te directos y descomplicados. Ellie Anne Duque Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. ARTES PLASTICAS LITERATURA, HISTORIA HISTORIA AÑO MUSICA ARQUITECTURA FILOSOFIA UNIVERSAL DE COLOMBIA Y CIENCIAS Y LATINOAMERICA "El Barroco" Presidentes de la 1670 n. F. Couperin Iglesia de San Papa: Clemente X Real Audiencia hasta 1671 n. T. Albinoni 1672 m.
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