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Agosto-Setembro GIANCARLO GUERRERO REGE O CONCERTO PARA PIANO EM LÁ MENOR, DE GRIEG, COM O SOLISTA DMITRY MAYBORODA RECITAIS OSESP: O PIANISTA DMITRY MAYBORODA APRESENTA PEÇAS DE CHOPIN E RACHMANINOV FABIO MARTINO É O SOLISTA NO CONCERTO Nº 5 PARA PIANO, DE VILLA-LOBOS, SOB REGÊNCIA DE EDIÇÃO CELSO ANTUNES Nº 5, 2014 TIMOTHY MCALLISTER INTERPRETA A ESTREIA LATINO-AMERICANA DO CONCERTO PARA SAXOFONE, DE JOHN ADAMS, COENCOMENDA DA OSESP, SOB REGÊNCIA DE MARIN ALSOP OS PIANISTAS BRAD MEHLDAU E KEVIN HAYS APRESENTAM O PROGRAMA ESPECIAL MODERN MUSIC RECITAIS OSESP: JEAN-EFFLAM BAVOUZET, ARTISTA EM RESIDÊNCIA 2014, APRESENTA PEÇAS PARA PIANO DE BEETHOVEN, RAVEL E BARTÓK MÚSICA NA CABEÇA: ENCONTRO COM O COMPOSITOR SERGIO ASSAD O QUARTETO OSESP, COM JEAN-EFFLAM BAVOUZET, APRESENTA A ESTREIA MUNDIAL DE ESTÉTICA DO FRIO III - HOMENAGEM A LEONARD BERNSTEIN, DE CELSO LOUREIRO CHAVES, ENCOMENDA DA OSESP ISABELLE FAUST INTERPRETA O CONCERTO PARA VIOLINO, DE BEETHOVEN, E O CORO DA OSESP APRESENTA TRECHOS DE ÓPERAS DE WAGNER, SOB REGÊNCIA DE FRANK SHIPWAY CLÁUDIO CRUZ REGE A ORQUESTRA DE CÂMARA DA OSESP NA INTERPRETAÇÃO DA ESTREIA MUNDIAL DE SONHOS E MEMÓRIAS, DE SERGIO ASSAD, ENCOMENDA DA OSESP COM SOLOS DE NATAN ALBUQUERQUE JR. A MEZZO SOPRANO CHRISTIANNE STOTIJN INTERPRETA CANÇÕES DE NERUDA, DE PETER LIEBERSON, SOB REGÊNCIA DE LAWRENCE RENES MÚSICA NA CABEÇA: ENCONTRO COM O COMPOSITOR CELSO LOUREIRO CHAVES JUVENTUDE SÔNICa – UM COMPOSITOR EM Desde 2012, a Revista Osesp tem ISSN, BUSCA DE VOZ PRÓPRIA um selo de reconhecimento intelectual JOHN ADAMS 4 e acadêmico. Isso significa que os textos aqui publicados são dignos de referência na área e podem ser indexados nos sistemas nacionais e AGO ago internacionais de pesquisa. 7. 8 .9 14 10 24 GIANCARLO GUERRERO REGENTE DMITRY MAYBORODA PIANO DMITRY MAYBORODA PIANO WOLFGANG A. MOZART FRÉDÉRIC CHOPIN RICHARD STRAUSS SERGEI RACHMANINOV EDVARD GRIEG AGO ago SET 14.15.16 30 28.29.30 38 2 46 MARIN ALSOP REGENTE BRAD MEHLDAU & TIMOTHY MCALLISTER SAXOFONE KEVIN HAYS DUO PIANO JEAN-EFFLAM BAVOUZET PIANO ANTÔNIO CARLOS GOMES DIVERSOS LUDWIG VAN BEETHOVEN JOHN ADAMS MAURICE RAVEL PYOTR I. TCHAIKOVSKY BÉLA BARTÓK SET SET 4 52 11.12.13 60 QUARTETO OSESP EMMANUELE BALDINI VIOLINO DAVI GRATON VIOLINO FRANK SHIPWAY REGENTE PETER PAS VIOLA ISABELLE FAUST VIOLINO JOHANNES GRAMSCH VIOLONCELO CORO DA OSESP JEAN-EFFLAM BAVOUZET PIANO NAOMI MUNAKATA REGENTE HONORÁRIA SAMUEL BARBER LUDWIG VAN BEETHOVEN CELSO LOUREIRO CHAVES RICHARD WAGNER CÉSAR FRANCK SET SET SET 18.19.20 68 21 78 25.26.27 86 CELSO ANTUNES REGENTE CLÁUDIO CRUZ REGENTE LAWRENCE RENES REGENTE FABIO MARTINO PIANO NATAN ALBUQUERQUE JR. CORNE INGLÊS CHRISTIANNE STOTIJN MEZZO SOPRANO WOLFGANG A. MOZART PETER WARLOCK AARON COPLAND HEITOR VILLA-LOBOS SERGIO ASSAD PETER LIEBERSON ARMANDO ALBUQUERQUE IGOR STRAVINSKY LUDWIG VAN BEETHOVEN ORQUESTRA SINFÔNICA PYOTR I. TCHAIKOVSKY DO ESTADO DE SÃO PAULO 94 CORO DA OSESP 96 FUNDAÇÃO PROGRAMAÇÃO SUJEITA A ALTERAÇÕES OSESP 99 PROGRAMA SUA ORQUESTRA 103 PATROCÍNIO APOIO REALIZAÇÃO ASCAEL Qualidade, Confiança e Tradição que fazem a diferença VEÍCULOS PARA PATROCINAR E APOIAR A OSESP [email protected] 2 Anuncio_Turne_Osesp_REVISTAOSESP.ai 1 29/07/14 10:29 A OSESP VIAJA PELO BRASIL, COMEMORANDO 60 ANOS. SERÃO 5 CONCERTOS EM 5 CIDADES, DE 17 A 23 DE AGOSTO DE 2O14 ORQUESTRA SINFÔNICA C M DO ESTADO DE SÃO PAULO Y MARIN ALSOP REGENTE CM DMITRY MAYBORODA PIANO MY CY ANTONIO CARLOS GOMES CMY LO SCHIAVO: ALVORADA K EDVARD GRIEG CONCERTO PARA PIANO EM LÁ MENOR, OP.16 PYOTR I. TCHAIKOVSKY SINFONIA Nº 5 EM MI MENOR, OP.64 SALVADOR 17 AGO DOM – Teatro Castro Alves RIO DE JANEIRO 19 AGO TER – Cidade das Artes BELO HORIZONTE 21 AGO QUI – Palácio das Artes PORTO ALEGRE 22 AGO SEX – Teatro São Pedro CURITIBA 23 AGO SÁB – Teatro Positivo INGRESSOS À VENDA NA BILHETERIA DOS TEATROS PATROCÍNIO PATROCÍNIO APOIO REALIZAÇÃO 3 JOHN ADAMS NO CENÁRIO DA PRIMEIRA MONTAGEM DA ÓPERA NIXON IN CHINA, EM 1987 4 JUVENTUDE Sônica – POR JOHN ADAMS UM COMPOSITOR EM BUSCA DE VOZ PRÓPRIA m 1972, vários meses depois de finalizar uma de minhas primeiras composições, Heavy Metal, na qual sons ambientes são misturados, em fita magnética, com as sequências borbu- Elhantes de um sintetizador primitivo, minha espo- sa Hawley e eu nos mudamos para a Califórnia. Na época, compositores aspirantes normalmente alme- javam fazer sua pós-graduação na Europa, aprenden- do os estilos mais recentes da música dodecafônica e mergulhando nas grandes tradições do passado. Mas a Califórnia sobre a qual eu lia nos livros de Jack Kerouac, Henry Miller e outros da geração beat en- cantava minha índole contestadora. Eu tinha 25 anos e havia passado toda a minha vida na Nova Inglaterra (cresci em East Concord, New Hampshire, e estudei em Harvard por seis anos). Estava ansioso para atacar por conta própria. Heavy Metal havia sido um provo- cante gesto de adeus, provavelmente mais influencia- do por Stockhausen e A Day in The Life, dos Beatles, do que por Schoenberg e Stravinsky. 5 Após dirigir através do continente por oito dias, em grande parte, roupas baratas. Manuseei pes- Hawley e eu nos fixamos na Bay Area. Os aluguéis soalmente a maior parte das bermudas vesti- em São Francisco eram muito caros, então, em tro- das pela “maioria silenciosa” de Nixon durante ca de um apartamento grátis, assumi a humilhante o verão de 1972. posição de zelador assistente num prédio bem pró- Voltava de meus longos dias na Regal Apparel ximo à excêntrica Avenida Telegraph, em Berkeley. exausto e sem nenhum clima para passar a noite Do lado de fora, na estreita rua, estudantes califor- compondo. Hawley, uma violinista de jazz que ha- nianos vestidos despojadamente se misturavam aos via arranjado um emprego de professora de ioga hippies envelhecidos e aos moradores de rua falando em um clube de Oakland, frequentemente chegava sozinhos. Adolescentes foragidos (de casa) com o do trabalho às nove da noite e me encontrava dor- cabelo oleoso repousavam na calçada mendigando mindo no sofá. Não escrevi música alguma por um trocados, ao lado de vira-latas. Camelôs vendiam ano; e na metade do inverno estava caindo em de- cachimbos de haxixe e bandeiras vietcongues chei- pressão. A Califórnia era encantadora, mas a pers- rando a verbena. Por um dólar, um poeta de rua pectiva de sobreviver com um torturante emprego improvisaria um verso para você. Antigas Kombis de salário mínimo me fazia considerar a possibili- pipocavam ao longo da rua, com frases em sânscri- dade de voltar para a Costa Leste. Não queria de to pintadas nas portas. jeito nenhum me tornar um compositor universi- De vez em quando, atravessava a ponte até São tário, mas me sentia preso numa crise criada por Francisco para ir aos cafés e às livrarias de North mim mesmo. Beach. Certa vez, tarde da noite, sentado em um bar Na primavera seguinte, estava prestes a voltar por ali, vi o escritor Allen Ginsberg entrar pela porta. para Harvard, quando um amigo e colega com- Estava sozinho e parecia procurar por alguém, positor, Ivan Tcherepnin, me ligou e disse que o mas pareceu ser acessível o bastante para que eu Conservatório de São Francisco estava procurando engolisse meu nervosismo e fosse até ele me apre- alguém para dar aulas de composição e dirigir a sé- sentar. Pedi o endereço de William Burroughs; rie de concertos de música nova da escola. Os dois queria enviar uma cópia de Heavy Metal, cujo membros da faculdade que vinham organizando os título era uma homenagem a Uranian Willy,o concertos haviam desistido, e o diretor estava de- Heavy Metal Kid — personagem do livro The Soft sesperado para preencher a vaga. No dia anterior, Machine, de Burroughs. Ginsberg me olhou atra- o assoalho enferrujado do meu Volkswagen havia vés dos espessos óculos, sacou uma antiquada ca- desmoronado quando eu dirigia para o galpão. Pa- neta-tinteiro de uma bolsa de pano, arrancou um recia um sinal enfático de que eu precisava de uma pedaço de papel de um caderno, e entregou-os mudança. Aceitei o emprego. para mim. Ele me ditou o endereço de Burroughs em Londres. “Mande para ele”, disse. “Ele sem- aquela época, o Conservatório de São pre fica interessado.” (Nunca o fiz. Quando fui Francisco ficava num antigo lar para tentar fazer a cópia para Burroughs, descobri mães solteiras no distrito de Sunset. que minha fita original havia se desintegrado den- Numa cidade de personalidade picante tro da caixa.) Ne repleta de visuais deslumbrantes, Sunset era es- Meu plano era viver como trabalhador pro- tranhamente sem graça: era preciso conhecê-lo letário durante o dia e como compositor de van- bem para encontrar um restaurante étnico decente guarda à noite. Arranjei um emprego no porto de ou uma livraria. Mas a escola era o local de uma Oakland, num sombrio negócio de importação agitação pulsante e caótica. Estudantes com cabelos de tecidos chamado Regal Apparel. Eu trabalha- arrojados e vestindo jeans largos e sandálias passea- va como estivador — membro de uma equipe de vam pelos corredores; e, todo dia às oito da ma- homens que escalava contêineres vindos de Cinga- nhã, as salas de estudo começavam a emanar, à la pura ou de Seul para descarregá-los manualmente. Charles Ives, uma cacofonia de pianos, trompetes, Cada contêiner trazia toneladas de produtos — percussões, contrabaixos e vozes. 6 204041_DPZ_Banco Itaú - DPZ_210x280 09/06/2014 - 14:06 Uma série especial, comemorando os 60 anos de uma das orquestras mais importantes do mundo. Clientes Personnalité contam com estacionamento gratuito e lounge com degustações especiais. DPZ Mais informações, benefícios e a programação em itaupersonnalite.com.br/experiencia. 7 5573.013-000 (210x280).indd 1 09/06/14 14:14 Lecionei lá por doze anos, de 1972 a 1984, grada- Num dia típico, passava a manhã falando para tivamente encontrando minha voz como compositor.
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