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Quartetto Minetti Prossimi concerti Discografia Programma Teatro Comunale di Monfalcone Mercoledì 29 febbraio 2012 Beethoven: Quartetto n. 11 in fa minore, op. 95, “Serioso” Ludwig van Beethoven (1770 - 1827) ENSEMBLE ZEFIRO Leipzig String Quartet/MDG Quartetto n. 11 in fa minore, op. 95, “Serioso” Musica 2011-2012 Beethoven/Mozart/Rossini Prazak Quartet/Praga Allegro con brio Programma Tokio String Quartet/Harmonia Mundi Allegretto ma non troppo Venerdì 9 marzo 2012/‘900&oltre Auryn Quartet/Tacet Allegro assai vivace ma serioso FVG MITTELEUROPA ORCHESTRA Borodin Quartet/Chandos Larghetto espressivo. Allegretto agitato GIOVANNI SOLLIMA direttore e violoncello Vegh Quartet/Naïve Sollima/Haydn Takács Quartet/Decca György Ligeti (1923 - 2006) Smetana Quartet /Decca Quartetto n. 1, “Métamorphoses nocturnes” Giovedì 15 marzo 2012 Quartetto italiano/Decca Allegro grazioso - Vivace, capriccioso- A tempo - Adagio, mesto - PAOLA ERDAS clavicembalo Emerson String Quartet/Deutsche Grammophon Presto - Molto sostenuto. Andante tranquillo - Più mosso - Tempo ROLF LISLEVAND chitarra e tiorba di Valse, moderato, con eleganza, un poco capriccioso - Subito “Corde pizzicate” Ligeti: Quartetto n. 1, “Métamorphoses nocturnes” prestissimo - Subito: molto sostenuto - Allegretto, un poco gioviale - de Visée/F. Couperin/d’Anglebert/Piccinini/ Cuarteto Casals/Harmonia Mundi Allargando. Poco più mosso - Subito allegro con moto, string. poco Kapsberger/Perrine/Gaultier/L. Couperin/Corbetta Artemis Quartet/Virgin a poco sin al prestissimo - Prestissimo - Allegro comodo, gioviale - Hagen Quartet/Deutsche Grammophon Sostenuto, accelerando - Lento Stravinskij: Tre pezzi *** Alban Berg Quartet/EMI Borodin Quartet/Melodiya Igor Stravinskij (1882 - 1971) Tre pezzi Mendelssohn-Bartholdy: Quartetto n. 6 in fa minore, op. 80 Leipzig String Quartet/MDG Felix Mendelssohn-Bartholdy (1809 - 1847) Emerson String Quartet /Deutsche Grammophon Quartetto n. 6 in fa minore, op. 80 Aurora Quartet/Naxos Allegro vivace assai Allegro assai Adagio QUARTETTO MINETTI Comune di Monfalcone Finale: Allegro molto Servizio 1 - Attività Culturali e di Promozione Territoriale con il contributo di Ministero per i Beni e le Attività Culturali- Direzione Generale per lo Spettacolo dal Vivo Regione Autonoma Friuli Venezia Giulia Fondazione Cassa di Risparmio di Gorizia in collaborazione con Fazioli Pianoforti Bogaro&Clemente Assessore alla Cultura Paola Benes Direttore artistico Filippo Juvarra Dirigente del Servizio Discografia a cura di Giovanna D’Agostini Informazioni [email protected] www.teatromonfalcone.it www.facebook.com/teatromonfalcone Stampa a cura di Stylus Phantasticus - Via dei Calzolai, 2 - Udine Giovedì 16 febbraio 2012 ore 20.45 ‘900&oltre Note al programma Costituito da un unico movimento, Métamorphoses nocturnes dall’uso verticale della scrittura, che impone un assetto Beethoven: Quartetto n. 11 in fa minore, op. 95, “Serioso” (l’indicazione spiega la particolare costruzione che, senza ieratico alla sonorità e richiama i corali della musica antica. Scritta alla fine del 1810, questa pagina è solo soluzione di continuità, modifica e plasma una iniziale cronologicamente assimilabile alle altre opere del periodo “creatura” tematica) è in realtà scandito da tante diverse Mendelssohn-Bartholdy: Quartetto n. 6 in fa minore,op. 80 QUARTETTO MINETTI centrale della produzione beethoveniana. È, infatti, un unicum sezioni di carattere disparato che si susseguono: il disegno “Solo, tutto solo, soffro di dolore, soffrirò senza fine, da in tutte le sue caratteristiche, il quartetto che lo stesso cromatico iniziale è sicuramente un tratto distintivo dell’intera quando tu e io, o molto amata, dovemmo dirci addio”. Beethoven (come citato nelle indicazioni di tempo nel terzo pagina, che ritorna, in vesti diverse, lungo tutta l’opera. Così recitano alcuni versi (gli ultimi musicati da Maria Ehmer e Anna Knopp violini movimento) definisce “Serioso”: la compattezza della scrittura Ad esso è contrapposto un tema spigoloso, staccato e Mendelssohn), tratti dall’Altdeutsches Frühlingslied, Milan Milojicic viola (il primo tempo è in assoluto il movimento più breve del aggressivo che connota la seconda, “capricciosa” sezione. emblematici di uno spirito affatto mutato, esausto, catalogo dei quartetti beethoveniani), il temperamento La musica prosegue alternando con regolarità momenti lenti profondamente colpito dalla recente morte della sorella Leonhard Roczek violoncello aggressivo, le sperimentazioni armoniche (violenti passaggi a e veloci (un tipico espediente bartókiano), che danno un senso Fanny e afflitto, nello spirito e nel corpo, dagli ineluttabili tonalità lontane e un uso innovativo della tonalità minore) ne di progressivo climax alla scrittura. Di tanto in tanto presagi della propria fine. Un lento processo di fanno un’opera in tutto molto vicina alla letteratura romantica l’alternanza lascia spazio a veloci movimenti di danza, interiorizzazione, di straniamento, di misticismo religioso e già assimilabile alle sublimi conquiste degli ultimi quartetti anch’essi omaggio alla tradizione folklorica dell’est Europa. accompagna l’ultimo periodo della vita di Mendelssohn, Gli interpreti del compositore. È stupefacente, infatti, come convivano con È particolarmente evidente l’influenza di Bartók anche in allontanandolo definitivamente da quella visione Fin dalla sua costituzione nel 2003, il Quartetto Minetti, estrema espressività e geniale equilibrio le costruzioni questo pur innovativo quartetto: il senso ritmico tratto dalle “aristocraticamente” serena della musica, da quello stile frutto dell’incontro di quattro formidabili musicisti austriaci, complesse, ellittiche e ambigue della tarda produzione radici popolari e le tecniche di sviluppo tematico sono tutte romanticamente spontaneo e “inattaccabile” degli anni ha saputo conquistarsi uno straordinario successo. beethoveniana con un gusto lirico e squisitamente melodico fedeli a una composizione ancora legata alla linea delle precedenti. La metamorfosi dell’autore si trasferisce nella Nel 2007 si aggiudica il primo premio al Concorso tipico di un linguaggio ancora fedele alla forma classica. ricerche del compositore ungherese, così come l’uso ricorrente severità, nell’intimismo e nella profondità di uno stile Internazionale “Rimbotti” di Firenze e il premio Haydn La compressione, la densità espressiva quasi fino delle cellule melodiche tratte dal folklore magiaro o più sfrondato da ogni accesso di luminosità, di limpidezza nell’omonimo Concorso a Vienna. L’anno precedente la all’aggressività sono al loro apice nel primo movimento - generalmente est-europeo. formale: “Non gradiva più la musica brillante, e nemmeno formazione si era aggiudicata il primo premio nei Concorsi paragonato da certa critica al parallelo movimento della quella soltanto un po’ rumorosa (...). Ora gli interessava Internazionali “Franz Schubert” di Graz e nel 2003 al Quinta Sinfonia - la cui potente energia esplode nella rapida Stravinskij: Tre pezzi soltanto l’espressione, o meglio l’intensità dell’espressione. “Gradus ad Parnassum”. Accanto a questi riconoscimenti, esposizione di tre temi brevissimi e molto incisivi. L’Allegretto I Tre pezzi sono stati completati da Stravinskij nel 1914, Non più la forma e per nulla la tecnica” (Eric Werner). il quartetto ha ricevuto il sostegno della Fondazione Karajan ma non troppo è contemplativo e misterioso; l’uso del durante il soggiorno svizzero di Vaud. Dedicati all’amico Ernst Ed è a questo preciso momento biografico (a pochi mesi per giovani artisti e dell’Associazione Musica Juventutis di contrappunto è di straordinaria eleganza, totalmente devoto Ansermet hanno avuto la loro prima esecuzione a Chicago nel prima della morte, avvenuta nel 1847) che risale il Quartetto Vienna. Il Minetti è stato scelto dall’Associazione ECHO alle esigenze espressive. L’Allegro assai segue senza soluzione 1915. La critica non li accolse favorevolmente, di certo per le in fa minore, op. 80, ultima prova strumentale del maestro come “Rising Star” per la stagione 2008/9 e in questa veste di continuità, ma non senza un notevole scarto d’umore: provocatorie intenzioni dell’autore che con determinazione ha di Amburgo. si esibirà alla Cité de la Musique di Parigi, al Palais des ripropone l’energia composta e il materiale tematico del primo voluto discostarsi in modo sistematico dalla forma classica del L’inizio è tumultuoso, e il tema principale, stretto ed agitato, Beaux Arts di Bruxelles, alla Filarmonica di Colonia e del tema, e introduce un inatteso ritmo di marcia nella fase quartetto: dalla struttura sonatistica, all’elaborazione tematica, è reso ancora più inquieto da un contrappunto incalzante Lussemburgo, al Konserhuset di Stoccolma, al Mozarteum centrale che rende questa sezione insieme malinconica e ai rapporti tonali, all’equilibrio tra strumenti. I tre pezzi si tra le voci; il clima sempre più austero e trascinato da di Salisburgo, al Musikverein di Vienna, al Megaton di compatta. La grande potenza beethoveniana nel trattamento presentano infatti come episodi totalmente indipendenti, e un’energia ansiosa prosegue nel secondo Allegro assai con Atene, alla Symphony Hall di Birmingham. I quattro dei materiali tematici ed espressivi si manifesta una volta di più non portano, nella scrittura originaria, altro che le indicazioni un ritmo sincopato e pieno di forza, che sembra di tanto in interpreti hanno effettuato una tournée in Sud Africa, nel sorprendente finale: contraddittoria ed esplosiva, conclude del metronomo. Solo nella loro rielaborazione
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