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BATECS Butlletí de notícies internes - març 2021 - Número 4 PRESENTACIÓ Arribar al Batecs n. 4, un més si comptem el número 0, és tota una fita i una mostra que la idea inicial es va consolidant i que el cor continua bategant amb força. De mica en mica, s’incorporen noves redactores i estrenem noves seccions. I encara tenim les portes obertes per a tothom que hi vulgui dir la seva. En aquest número podreu veure que la majoria de seccions recu- llen textos relacionats d’una manera o d’una altra amb la dona. No hauríem de celebrar el dia 8 de març com un fet extraordinari sinó que cadascun dels 365 dies de l’any hauria de ser el dia de la CONTINGUTS: dona i el de l’home; en resum, el de les persones. En aquesta oca- Portada/Presentació 1 sió, però, volem fer un homenatge especial a tantes dones obli- Notes breus 2 dades o poc valorades en el món de la música i de l’art en gene- Racó dels sentiments 3 ral. Música i músiques 4-5-6 Les dones i el jazz clàssic 7-8 També volem reconèixer públicament la gran tasca que estan Esdeveniments i notícies fent l’Elisenda i l’Eva al capdavant d’EL COR CANTA i lògicament culturals 9-10 també la d’en Jordi. I que el cor no existiria sense aquest més del Que passa pel mon? 10-11 65% de participants femenines. Fina Miralles 11 Relat 12-13 Contraportada 14 Gràcies a totes, les que van ser pioneres en el passat, les que avui continuen lluitant per fer un món més igualitari i a les que vin- dran, que esperem que trobin ja molt feina feta. I, mentrestant, el projecte ELS MALS ESPANTA, continua avan- çant. El passat 7 de març vam gaudir d’una sessió d’enregistra- ment memorable d’una part de Dalt del Cingle i el futur dels concerts sembla que es va aclarint i perfilant a poc a poc. Ja ho veieu, continuem ben vius. Gràcies per formar-ne part. Sigfrid Quer pàgina 2 BATECS NOTES BREUS A punt d’acabar-se el termini de presentació d’obres al concurs de composició, podem preveure una àmplia participació internacional i esperem superar les dades de la primera edició. Comenceu a reservar-vos la setmana del 14 al 20 de juny per a possibles assajos generals i un parell de concerts, i el 27 de juny a l’Auditori de Barcelona. Es- perem poder concretar-ho abans de setmana santa. En Salvador Brotons ja té força avançada la composició que estrenarem la propera temporada. Ben aviat tindrem la versió promocional del vídeo que vam començar a gravar aquest mes. Sigfrid Quer Batecs pàgina 3 Racó dels sentiments “Sempre” “Vida de dona” No hi penses, Quantes vides! Quants silencis! aquella mirada, enmig de les altres atrevits aquell gest, les bones els que esperen les que importen innocent? els que amaguen les que omplen les pàgines. melodies inacabades. T’hi acostumes. Passen els dies, Quantes vides! Milo una paraula, sempre amagades aquella mirada, les dèbils sempre innocent. les que ignoren Segueixes valenta, les que són oblidades. t’atures, mires enrere, Quantes vides! ho tens ben present. ens queden Més ferma. les nostres les que moren Més forta. les que són callades. No te n’oblides, sola empenyent. Quantes notes! les escrites Milo les secretes totes belles les que mai són escoltades. “Concert per a tu”, per Milo Gratacós. pàgina 4 BATECS Música i músiques D’algunes d’aquelles dones que estimaven la música, com nosaltres, que tenien for- mació musical i que, fins i tot, van arribar a crear i interpretar, no ens n’ha quedat cap rastre. Per molt bones concertistes que fossin, en aquelles èpoques no es feien enregistraments. I les seves partitures es van perdre perquè ningú hi tenia interès. I un cop sabem que van existir, un cop en coneixem el nom, la vida, les circumstànci- es, ens queda la recança de no poder-les sentir. Reconèixer-ne l’existència ja és un pas endavant, però veure com encara se les silencia en la investigació musicològica ens recorda que el vidre de cristall continua present en la història de les dones. En el número 3 de Batecs vam veure com Maria Anna Mozart era apartada de la vida musical pel seu pare, que, curiosament, l’havia iniciat i valorat com a música. Ara veurem que és el marit qui impedeix el desenvolupament musical de la seva dona: Alma Mahler. D’ella, però, en tenim moltes més referències i, fins i tot, en podem escoltar algunes obres. Alma Mahler. L’amor castrador Tot va començar el 7 de novembre de 1901, en una vetllada privada en què es van conèixer Gustav Mahler i Alma Schindler. Ella tenia vint-i-dos anys i era una dona fascinant. Ell era un director i compositor reconegut, vint anys més gran. Pel que sembla, es van enamorar apassionadament. Alma Schindler (1879-1964) havia nascut a Viena, en un entorn familiar selecte, fre- qüentat per artistes; de fet, el seu pare era pintor. Des de petita va mostrar un ta- lent natural per a l’art, com a pianista, compositora i pintora. Als nou anys va co- mençar a compondre música instrumental i vocal. Més endavant va rebre classes de composició d’Alexander Zemlinsky, mestre, també, de Schönberg. I als vint anys te- nia ja un repertori ampli de lieder, fragments d’òpera i composicions instrumentals. En morir el seu pare —ella tenia tretze anys—, va començar a desenvolupar una personalitat independent i decidida que la va convertir en una dona que no passava desapercebuda i que tenia una clara influència en la societat austríaca. De cap ma- nera no assumia el paper de dona tradicional. Fins que va conèixer Gustav Mahler. Aquell mateix dia, Alma va adreçar-se al mestre per comentar-li que no li agradava la seva música perquè la considerava mancada d’estructura i d’ordre. Quatre mesos després de conèixer-se, Alma i Gustav es van casar. “No és fàcil casar-se amb un home com jo. Soc lliure i he de continuar sent-ho”. Aquestes són les paraules que Alma va recollir al seu diari personal. Gustav li exigia que deixés el seu camí musical per dedicar-se a ell i a la música d’ell, perquè en una mateixa llar no hi cabien dos músics. Al diari, Alma hi va incloure: “Gustav és l’únic home que pot donar sentit a la meva vida perquè supera tots els que he conegut fins ara.” Ella també ho estava, d’enamorada. pàgina 5 BATECS I va accedir a les exigències del marit. I va deixar de compondre. D’aquell sacrifici, però, se’n penediria tota la vida. Un cop casada, Alma es va dedicar a tenir cura de la família i va ser mare de dues filles, una de les quals, Maria Anna, va morir als cinc anys. De fet, al seu diari es mostra satisfeta d’aquesta responsabilitat que dona sen- tit a la seva vida, però al mateix temps, manifesta dificultats en la relació amb Gus- tav. L’octubre de 1904 escriu: “He de tornar a estudiar piano perquè no puc com- pondre. Vull tornar a viure una vida intel·lectual, íntima i plena, com ho feia abans [...]. És una desgràcia per mi no tenir amics, però Gustav no vol veure ningú i no per- met que ningú em visiti en la seva absència. He tornat a llegir el meu diari. Quantes coses em passaven aleshores”. I és que una dona com ella, amb les seves inquietuds i amb les seves capacitats, havia de sentir-se engabiada en aquella relació. En canvi, els deu anys de matrimoni van representar per a Gustav Mahler —mort el 1911— una etapa fructífera en la seva producció. Va crear obres extraordinàries, algunes de les quals estaven inspirades i dedicades a la seva dona. Són impressio- nants les simfonies sisena i setena, en què Mahler aboca tota la seva genialitat des- bocada. La sisena, la Simfonia Tràgica, és un retrat musical d’Alma, ella n’és la inspi- radora; tota la passió amorosa de Gustav es converteix en música. “Cap de les seves obres van sortir tan del fons del seu cor com aquesta”, va dir Alma Mahler. En aquests anys de màxima producció, Gustav va haver-se de confrontar contínua- ment amb Alma, que va assu- mir la feina de correctora —en alguns casos coautora— obli- gant el seu marit a corregir, entre d’altres coses, la instru- mentació de la Simfonia núm. 6. Segur que per a ella aquesta col·laboració va ser satisfactò- ria però insuficient. Quan, des- prés d’una breu relació amb un altre home, Gustav es va ado- nar del patiment de la seva do- na, i semblava disposat a ac- ceptar que ella continués amb la música, Alma sabia que era massa tard, que havia perdut molts anys de treball, de posar-se al dia. La música d’Alma es podria qualificar com a dramàtica, amb canvis de base tonal, que alguns atribueixen a la seva inseguretat, com a diletant, tal com ella mateixa es consi- derava. Han sobreviscut setze lieder, cinc dels quals es van publicar l’any 1911, el ma- teix any de la mort de Gustav. Batecs pàgina 6 És curiós que una dona com Alma Mahler, independent, culta, amb talent, sigui, de vegades, més recordada per les seves relacions amb homes cèlebres, com és el cas de Gustav Mahler, Walter Gropius, arquitecte fundador de la Bauhaus, Franz Werfel, re- conegut novel·lista, o el pintor Oskar Kokoschka.
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