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Prog. De Mà Patricia Kopatchinskaja I Polina Leschenko

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Prog. De Mà Patricia Kopatchinskaja I Polina Leschenko COMENTARI per Ana María Dávila MÚSICA DE MÚSICA DE Només a l’abast dels grans solistes, aquest programa és un recorregut extens i generós CAMBRA al llarg del repertori per a violí i piano del segle XX, a través del qual podrem apreciar l’evolució de l’escriptura per a aquest emblemàtic binomi instrumental, més enllà de les CAMBRA grans creacions romàntiques sorgides durant la centúria anterior. PROPERS CONCERTS RECOMANATS El programa s’obre amb la peça que també encapçala, cronològicament, aquesta selecció: la Sonata en Sol menor, L 140 de Claude Debussy (1862-1918). Escrita i estrenada el 1917, va ser la tercera i última d’un inacabat projecte de sis sonates per a diferents instruments que Debussy no arribà a completar. Es tracta d’una obra captivadora, plena de sensibilitat i fantasia, en què el compositor, ja molt malalt en el moment de la seva creació, aconsegueix una harmoniosa fusió entre les sonoritats d’ambdós instruments, alhora que deixa entreveure el lluminós camí creatiu que podria haver seguit si la mort no se l’hagués endut uns mesos després. Del seu compatriota Francis Poulenc (1899-1963) ens arriba la seva lírica, adolorida i PATRICIA poètica Sonata per a violí i piano, dedicada a la memòria de Federico García Lorca. Sense cap predilecció pel violí, Poulenc va completar l’obra per la insistència de la violinista Ginette Neveau, que la va estrenar el 21 de juny de 1943, amb el mateix compositor al piano. «No es pot obtenir un bon equilibri sonor entre dos instruments tan oposats, si KOPATCHINSKAJA I se’ls tracta equitativament», va escriure l’autor arran d’aquesta partitura en la qual va voler allunyar-se de la línia de violí melòdic de les sonates franceses del segle XIX. POLINA LESCHENKO A l’equador del concert, s’hi situa la més contemporània i la més curta d’aquestes cinc composicions. Es tracta de les Tre pezzi, op. 14e, de l’hongarès György Kurtág (1926), tres miniatures preciosistes, fràgils en aparença, però de gran vitalitat expressiva. Datades el 1979, aquestes creacions esdevenen exponents fidels de l’atenció al detall i la força 15 DE FEBRER DE 2018 expressiva dels silencis que caracteritzen el treball d’aquest compositor, un dels noms SALA 2 ORIOL MARTORELL clau de la creació del segle XX. JEAN RONDEAU 8 ANDREI IONITA 20 Finalment, el programa ens porta dues obres que comparteixen virtuosisme i espectacularitat Pièces de clavecin MARÇ MARÇ PATRICIA KOPATCHINSKAJA violí interpretativa. En primer lloc, plena d’audàcia i originalitat, les Impressions d’enfance, op. 28, 2018 2018 POLINA LESCHENKO piano del romanès Georges Enescu (1881-1955); una successió de deu episodis que configuren de Couperin una jornada vital basada en records d’infantesa de l’autor, que la va estrenar el 22 de febrer de 1942 a Bucarest amb Dinu Lipatti al piano. D’inspiració clarament nacionalista, es tracta també d’una obra de gran exigència per al violinista, a qui es demana un seguit d’imitacions instrumentals que van des del cant dels ocells a la fragor del vent en la tempesta. Venda d’entrades www.auditori.cat El programa clou amb l’acrobàtica Tzigane (1924), rapsòdia de concert del francès Comenta aquest concert amb #auditori #cambra Maurice Ravel (1875-1937). Escrita per encàrrec de la violinista hongaresa Jelly d’Arany, va ser concebuda, inicialment, per a violí i lutheal, un mecanisme d’ús efímer que, afegit www.auditori.cat www.auditori.cat al piano, permetia modificar el timbre de les seves cordes. Fent honor al seu nom, l’obra és un veritable tour de force per als intèrprets, que s’enfronten a tota mena d’acrobàcies, Lepant 150 Lepant 150 Mitjans Patrocinadors malabarismes i exigències virtuosístiques que tancaran amb gran efectisme aquesta audició. 08013 Barcelona 08013 Barcelona PROGRAMA DIJOUS 15 | 20 h FEBRER DE 2018 SALA 2 ORIOL MARTORELL Patricia Kopatchinskaja violí • Polina Leschenko piano CLAUDE 1 / Sonata per a violí en Sol menor, L140 14’ DEBUSSY I. Allegro vivo St. Germain-en-Laye 1862 II. Intermède: Fantastique et léger París 1918 III. Finale: Très animé FRANCIS © Julia Wesely © Marco Borggreve 2 / Sonata per a violí i piano, FP119 19’ POULENC I. Allegro con fuoco París 1899 - 1963 II. Intermezzo III. Presto tragico PATRICIA KOPATCHINSKAJA violí POLINA LESCHENKO piano PAUSA 15’ La versatilitat de la violinista moldava Patricia Kopatchinskaja es fa palesa en la diversitat Polina Leschenko va néixer a Sant Petersburg en una família de músics i va començar a del seu repertori, que va des de la música barroca i clàssica, sovint tocada amb cordes tocar el piano als sis anys sota la direcció del seu pare. Dos anys més tard, va debutar com GYÖRGY d’intestí, fins a nous encàrrecs i reinterpretacions de les obres mestres modernes. a solista amb l’Orquestra Simfònica de Leningrad. Va estudiar amb Sergei Leschenko, Vitali 3 / Tre pezzi per a violí i piano, op. 14e 7’ KURTÁG I. Öd und traurig Margulis, Pavel Gililov, Alexandre Rabinovitch-Barakovsky i Christopher Elton. Als 16 anys Lugoj, Romania 1926 II. Vivo La seva actual temporada va començar amb l’estrena mundial del seu nou projecte Dies va rebre el Diploma Superior amb la màxima distinció del Conservatori reial de Brussel·les. III. Aus der Ferne Irae al Festival de Lucerna, on serà “artiste étoile”, que també estrenarà al nordamericà Festival Ojai, del que serà la directora musical. Altres protagonistes dels seus pròxims Leschenko treballa amb orquestres d’arreu del món com la Camerata Salzburg, Hallé, GEORGE 4 / Impressions d’enfance, op. 28 20’ concerts seran el Concert per a violí de György Ligeti, amb la Mahler Chamber London Mozart Players, Scottish Chamber, Bournemouth Symphony, Britten Sinfonia, ENESCU Orchestra, l’Orchestra Sinfonica Nazionale della RAI i l’Aurora Orchestra, i el Concert de Bern Symphony, Russian National, I Pomeriggi Musicali a Milà, Orquestra d’Euskadi Liveni, Romania 1881 París 1955 violí de Stravinski, amb l’Orquestra Filharmònica de Londres i l’Orquestra Filharmònica i Australian Chamber Orchestra. Visitant habitual de l’orquestra Hallé, va actuar en de Rotterdam. Anteriorment, ha estat artista en residència a la Berlin Konzerthaus, al el concert de celebració del seu 150è aniversari i la va acompanyar en una gira per Festival de Lucerna, al Wigmore Hall I al Kissinger Sommer Festival de Londres. Sud-Amèrica. Actua sovint en festivals com Aldeburgh, Cheltenham, Risor, Stavanger, MAURICE Tzigane 10’ 5 / RAVEL Istanbul, Progetto Martha Argerich a Lugano, el Festival de Salzburg i Musiktage Mondsee. Ciboure 1875 En l’àmbit de la música de cambra toca regularment amb Markus Hinterhäuser, Polina Col·labora regularment amb Patricia Kopatchinskaja, Alissa Margulis, Priya Mitchell, París 1937 Leschenko, Anthony Romaniuk i Jay Campbell, que actuen a escenaris com el Berlin Daniel Rowland, Alexander Sitkovetsky, Ivry Gitlis, Maxim Rysanov, Mark Drobinsky, Konzerthaus, el Wigmore Hall de Londres, el Wien Konzerthaus o el Concertgebouw Natalie Clein, Heinrich Schiff, Torleif Thedéen i l’Auryn Quartet. Ha fet importants recitals d’Àmsterdam. És col·laboradora artística de l’Orquestra de Cambra de Saint Paul. solistes a la Konzerthaus de Viena, al Concertgebouw d’Àmsterdam i al Carnegie Hall de Nova York, com també a Salzburg, Milà, Londres, París, Brussel·les, Minnesota i Atlanta. Ha realitzat enregistraments per a importants segells com Alpha Classics, Audite i Sony i Durant tres anys va ocupar la Càtedra Internacional de Piano al Royal Welsh College of ha rebut nombrosos premis com el Gramophone’s Recording of the Year el 2013, l’ECHO Music Drama de Cardiff. El temps i la durada del concert són aproximats. Klassik, el Swiss Grand Award for Music 2017 i el Grammy, guardó que acaba d’aconseguir & Agrairem que apagueu els mòbils, desactiveu les alarmes sonores i contingueu els a l’edició de 2018 en la categoria de Millor Música de Cambra / Petit Ensamble. Ha realitzat múltiples gravacions per a EMI, Deutsche Grammophon i Avanticlassic. estossecs. Un mocador redueix notablement el soroll..
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