PROGRAMA Santander,22 De Julio Al 5 De Agosto 1984 SANTANDER Vili CONCURSO INTERNACIONAL DE PIANO PALOMA O'shea
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SANTANDER VIH CONCURSO INTERNACIONAL DE PIANO PALOMA O'SHEA MIEMBRO DE LA «FEDERATION DES CONCOURS INTERNATIONAUX DE MUSIQUE». GINEBRA. PROGRAMA Santander,22 de Julio al 5 de Agosto 1984 SANTANDER Vili CONCURSO INTERNACIONAL DE PIANO PALOMA O'SHEA PATROCINADO POR EL MINISTERIO DE CULTURA DIRECCION GENERAL DE MUSICA Y TEATRO^ ENTE PUBLICO DE RADIOTELEVISION ESPAÑOLA DIPUTACION REGIONAL DE CANTABRIA AYUNTAMIENTO DE SANTANDER UNIVERSIDAD DE SANTANDER UNIVERSIDAD INTERNACIONAL MENENDEZ PELAYO CONSERVATORIO PROFESIONAL DE MUSICA DE CANTABRIA CONSERVATORIO OFICIAL DE MUSICA DEL EXCMO. AYUNTAMIENTO DE SANTANDER FUNDACION SANTILLANA FUNDACION GULBENKIAN * EN COLABORACION CON EL FESTIVAL INTERNACIONAL DE SANTANDER PRESIDENTA DE HONOR S. A.R. la Infanta Dona Margarita de Borbon, Duquesa de Soria Her Royal Highness Princess Margarita de Borbon, Duchess of Soria 3 Ç?/'9/'4/L, 7Í_ \/ä(/?/?/3 Jei_ ¿W/Jr; < -thru tíilWt. ^1?/) /} ¿Y7 4^ fc 4^ tí/$o fn li) ¡T ttí^htífr, •■■M'iL.fruiÁ. ¿$ À 7 M fp &~- If/rntí ¿ fn /4<?<¿ / ntí fì rim^tíi tí i<flí_ f1^ ■¿tífrftí. J)e2 ¿íntíkL Vnk- 4/ 4v tíT pñn^ tíltíttí JM-,$¡/fy) -?£- '¡liUnßfl tí .JwifíMr $?_ ftL at? Jíh^ ÍL. fänviWL— //? f-lL^. frWfiJIp V L íiñÍH £ Mtì. 1 1,'K------- ! [fin(t~_ , À_ J4 tinti / ûiïnifiWo <4^. H tinm_ ^iifin/L. / un fi ertiti ÍL. D _ -fn -/ß— ‘ ^íJríj \ foJ- C yw/^2_ 7^L7¿/ / 710 . jwilj ¿tí w tíie_ Il_ ¿CM h û a f¡ JW¿L. ^Tttírí A_ Al TL Rhw¿lé__^ irtíifTfiluití. L Jtí -tí M< íc&— íimrD frr> ^initítí/ ?n <¡u \je^in/\nn ‘JüL. 7^ MAîâ Aititi (\J t . , /, #. n . n /) 9 The death of Marc Raubenheimer, First Pritg of the VII Santander contest, has prompted me for the First time since I founded this competition to write in the program. The news of Marc’s tragic death when he was on his way to perform in Santander, filled me with deep sorrow. I had lost a good friend and the world of music a great interpreter. Ever since in August 1982 he was proclaimed First Prizewinner we remained in close contact. He was an extremely talented pianist, with a unique musical sensibility, and as such he was acclai med throughout the world during the last two years. We have inherited from him one record, which he finished shortly before his death. This record is especially significant because it was made at a time when Marc was feeling closely identified with his music, and when he was beginning to reality his enormous potential as a pianist. The Santander Competition, which I started in 1972, is fully dedicated to help young pianists to get started in their careers, and through them to bring music and in particular piano, closer to more people in Spain. This was, and remains, after fourteen years, my aim. I still believe that this aim is being achieved through a piano competition such as this one, in spite of the objections often raised against this selective process. It is not an easy task, for the Jury to choose among the many very talented artists that come here from all over the world. However, I trust the objectivity and musical judgement of these juries, and I want to extend my warmest thanks and my admiration to all who have come to Santander as Jury Members since 1972. Selected by the 1982 Jury, Marc faced difficulties in some countries where he was sche duled to perform because of his nationality. We should all struggle to prevent this unfortunate linkage between an individual musician and the entanglements of politics. Music is supra national, and as an individual performer, so is a pianist. Marc was recently remembered by the orchestra “Ciudad de Barcelona’’ with a minute of silence from the public before the performance. Although a Romania by Schumann was Marc’s farewell to this world, his last appearance with an orchestra was with the “Ciudad de Barcelona ’ ’ and there he had asked the publicfor a minute of silence in memory of Rosa Saba- ter. Rosa, who came to Santander as a Jury Member, was an exceptional pianist and a great personal friend. As much as we now regret the loss of these two artists whom we will never forget, we look to the future with optimism. The VIII edition of this contest has attracted many of the best young pianists in the world. This encourages all of us to continue to work together to improve this competition in every way we can. Attracting the most talented andpromisingyoung pianists and helping to launch their careers is our best reward and will always be our goal. Paloma O’Shea 11 I PRUEBA STAGE. I RECITAL — Duración máxima 30 minutos. RECITAL — Maximum 3Q minutes. a) Un Preludio y Fuga del Clave bien Temperado, de J. S. a) One Prelude and Fugue from the Well-Tempered Clavier Bach. by J. S. Bach. b) Dos Estudios de Chopin. b) Two studies by Chopin. c) Una obra de la Suite Iberia (exceptuando Evocación) o c) One work from the Iberia Suite (except Evocation) or Navarra, de Albéniz. Navarra by Albeniz. d) Una Sonata de Haydn, Mozart o Schubert, d) One Sonata bv Haydn, Mozart or Schubert. Si la duración sobrepasa 30 minutos, el Jurado se reserva el If the time limit of thirty minutes is exceeded, the Jury re derecho de escuchar uno o varios movimientos. serves the right to listen to one or more movements. II PRUEBA STAGE II RECITAL — Duración máxima 60 minutos. RECITAL — Maximum 60 minutes. a) Una Sonata del P. Soler. a ) One Sonata by P. Soler. b) Dos Estudios, a escoger entre los de Ejecución Trascen b ) Two studies to be chosen from studies by Debussy, dental de Liszt, Debussy, Scriabin, Rachmaninov, Proko- Scriabin, Rachmaninov, Prokofiev, Bartok, Stravinsky, or fiev, Bartok o Strawinsky. from the 12 Transcendental Studies by Liszt. c) Una Sonata de Beethoven a elegir entre las siguientes: op. c) One Sonata by Beethoven to be chosen from the foll 2, núms. 2 ó 3 — op. 10, num. 3 — op. 22 — op. 28 owing: op. 2, N.° 2 or 3 — op. 10, N." 3 — op. 22 — op. —op. 31, nums. 1,2 0 3 — op. 53 — op. 57 — op. 28 — op. 31, Nos. 1, 2 or 3 — op. 53 — op. 57 — op. 78 — op. 81 a — op 90 — op. 101 — op. 106 — op. 78 — op. 81 a — op. 90 — op. 101 — op. 106 — op. 109 — op. 110 — op. 111. 109 — op. 110 — op. 111. d) Una obra romántica a elegir entre: d) One romantic work to be chosen from the following: Mendelssohn. Variaciones Serias op. 54. Mendelssohn. Variations Sérieuses op. 54. Chopin. Las cuatro Baladas, Scherzo n." 4, Polonesa Fan Chopin. 4 Ballades, Scherzo N.° 4, Polonaise-fantaisie op. tasía op. 61, Barccarola op. 60, cuatro Mazurcas op. 24, 61, Barcarolle op. 60, 4 Muzurkas op. 24,3 Muzurkas op. tres Mazurcas op. 59. 59. Schumann. Variaciones Abegg en fa mayor op. 1, frtter- Schumann. Abegg Variations in F major op. 1, Intermezzi mezzi op. 4, Toccata en do mayor op. 7, Escenas Infan op. 4, Toccata in C major op. 7, Scenes of Childhood op. tiles op. 15, El Carnaval de Viena op. 26, Bunte Blätter 15, Carnival Jest from Vienna op. 26, Bunte Blätter op. 99. op. 99. Liszt. Tre Sonetti di Petrarca, Mephisto Vais, Vallée Liszt. Tres Sonetos de Petrarca, Mephisto Vals, Vallée d’Obermann, D’après une lecture de Dante. d’Obermann, D’après une lecture de Dante. Brahms. Piezas para Piano op. 118, Variaciones sobre un Brahms. Six Pieces for Piano op. 118, Variations on a tema de Schumann op. 9, Variaciones sobre un tema del theme by Schumann op. 9, Variations on a theme of the compositor op. 21 n.” 1. composer’s own op. 21 N." 1. e) Una obra de libre elección entre las de Fauré, Debussy o e) One work of free choice by Fauré, Debussy or Ravel. Ravel. OBRA OBLIGADA: «Cadencia» de Cristóbal Halffter (dura COMPULSORY WORK: Cadencia by Cristóbal Halffter (per ción aproximada 7 minutos), compuesta especialmente para formance time approximately 7 minutes), especially composed este Concurso. for this competition. 42 SEMIFINALES SEMIFINALS I RECITAL I RECITAL Un recital de 50 a 60 minutos de duración, de libre elección, A recital of the competitor’s own choice to last between 50 incluyendo una obra compuesta en el siglo XX. No se podrá and 60 minutes. One work composed in the 20th century must repetir ninguna de las obras escogidas en las otras pruebas. be included. En caso de que el concursante elija una obra de publicación No works from the competitor’s stage I and II programmes reciente, deberá poner a disposición del Jurado un ejemplar may be repeated. de la misma. Should a competitor wish to play a work of recent publication, a score must be made available for the use of the Jury. 11 QUINTETO PARA PIANO Y CUERDA II QUINTET FOR PIANO AND STRINGS Cada concursante deberá elegir uno de los Quintetos siguientes: Each competitor must select one of the following quintets: Schumann, mi bemol mayor op. 44. Schumann, E-flat major op. 44. Brahms, fa menor op. 34. Brahms, F minor op. 34. Dvorák, la mayor op. 81. Dvorak, A major op. 81. PRUEBA FINAL FINAL STAGE CONCIERTO CON ORQUESTA CONCERT WITH ORCHESTRA Cada concursante deberá elegir uno de los Conciertos siguien Each competitor must select one of the following concertos: tes: Concierto en la mayor K. 488 Mozart Concerto in A major K. 488 Mozart Concierto n." 4 en sol mayor, op. 58 Beethoven Concerto n." 4 in G major, op.