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Cuarteto De Cuerdas Buenos Aires

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Cuarteto De Cuerdas Buenos Aires Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. CUARTETO DE CUERDAS BUENOS AIRES Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. En junio de 1984, cuatro instrumen­ Buenos Aires, le otorgaron el Premio tistas de la Orquesta Filarmónica de al "Mejor Conju nto Argentino". Buenos Aires, decidieron formar un En 1988, el Cuarteto de Cuerdas cuarteto de cuerdas, para compen­ Buenos Aires, realizó la grabación sar la falta de una agrupación de de los cuartetos de Juan José Cas­ este género en la ciudad de Buenos tro y Constantino Gaito. Aires, además de concretar así una necesidad personal de realización En 1989, actuó en el Teatro Colón artística. para el aniversario de Radio Clá­ sica, en el Teatro "El Círculo" de Desde su debut, en noviembre de Rosario y en el ciclo de conciertos 1984, el cuarteto actuó en los prin­ del S.O.D.R.E. de Montevideo (Uru­ cipales ciclos del Mozarteum Argen­ guay). También realizó conciertos y tino y Amigos de la Música. clases didácticas, con el auspicio de la firma Zanella S.A. en Rosario, Invitados por la Secretaría de Cul­ en San Juan, Córdoba, Bahía Blanca, tura de la Nación y por el Mozarteum Tucumán, Santa Rosa, La Plata yen Argentino, actuó en Salta, Tierra del el Teatro Presidente Alvear de Bue­ Fuego, Olavarría, Tandil, Bolívar, nos Aires. Jujuy, Catamarca y Cataratas del Iguazú. Obtuvo, también en ese año, el Pre­ mio Konex (Diploma de Honor). El Centro de Divulgación Musical de la Municipalidad de Buenos Aires, le Durante 1990, el conjunto tiene pro­ encomendó la presentación del ciclo gramada una gira latinoamericana y completo de los Cuartetos del Opus la realización, en Buenos Aires, de 76 de Haydn. un ciclo con los principales cuarte­ tos del siglo XX. La Facultad de Artes de la Universi­ dad de Chile y la Embajada Argentina Es intención del Cuarteto de Cuer­ auspiciaron su presentación en la das Buenos Ai res, interpretar las Semana Musical de Frutillar (Chile). obras más importantes de la música universal escritas para el género, En 1987, fue invitado a la Primavera como así también las de composito­ Musical de Bariloche (Argentina). Ese res latinoamericanos del pasado y mismo año, los críticos musicales de del presente. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. CUARTE E D BUE O A R "Carlos López Buchardo". Fueron FERNANDO HASAJ sus maestros, Ljerko Spiller, Szymsia Primer Violín Bajour yen el Conservatorio "Tchai­ covsky" de Moscú, Oleg Krysa. Nació en Montevideo en 1957. Fue­ Actualmente estudia con Fernando ron sus maestros Jorge Risi y Ljerko Hasaj. Spiller en violín y Héctor Tasar en En 1987 obtuvo por concurso el cargo composición. Fue becado por la OEA de violín 1 Q de la Orquesta Filarmó• para los cursos de perfeccionamiento nica de Buenos Aires, desempeñán­ con Salvatore Accardo y por la Fun­ dose en la actualidad como Concer­ dación Bariloche para los cursos de tino Adjunto. música de cámara con Ljerko Spiller. Obtuvo, en 1979, el cargo de Concer­ tino de la Orquesta Sinfónica del MARCELA MACIN S.O.D.R.E. (Uruguay) y el mismo car­ Viola goen la Orquesta Nacional de Cámara de ese país, ambos por concurso. Nació en Rosario (Argentina). En 1984, también por concurso, obtu- Egresó del Instituto Superior de , va el cargo de Concertino Adjunto, Música de Rosario. de la Orquesta Filarmónica de Bu~ ! Fueron sus maestros, Ljerko Spiller, nos Aires y comparte el cargo de' Concertino de la Camerata Bariloche. Brunilda Gianneo, Tomás Tichauer y Szymsia Bajour. , Participó en el Festival Beethoven de : Rio de Janeiro en 1982 y en el Primer Fue becada para realizar cursos de I Festival de Música de Granado (Bra- perfeccionamiento con el maestro sil). Actuó como solista bajo la direc­ Bruno Giuranna en Siena, Italia, yen I ción de Enrique Jordá, Piero Gamba, Cornwall, Inglaterra. Becada por el Hugo Wolf, Heribert Esser, Jean Pie­ Mozarteum Argentino, estudió músi­ I rre Jacquillat, Simón Blech, Pedro ca de cámara con Sergio Lorenzi. i Ignacio Calderón, Harry Lith, Isaac Fue ganadora del Concurso Nacio­ Karabtchevsky, Fuat Mansurov, etc. I nal de Juventudes Musicales en 1971, de la Asociación del Profesorado FABRIZIO ZANELLA Orquestal en 1973 y el de la Munici­ Segundo Violín palidad de La Plata en 1974. Actuó como solista con la Orquesta i Nació en Buenos Aires en 1959. Filarmónica de Buenos Aires y las Egresó del Conservatorio Nacional sinfónicas Nacional, de Rosario, de Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. CUA E O .. D CUERDAS UE OSA RES San Juan, de Mendoza, de Tucu­ Integró la Orquesta Sinfónica Juve­ mán, así como también la Orquesta nil de Radio Nacional que dirigiera de Cámara de La Plata. Luis Gianneo en calidad de solista. Integró la Camerata Bariloche y en En 1960 ingresó por concurso a la 1975 ganó por concurso el cargo de Orquesta Filarmónica de Buenos Viola Solista de la Orquesta Filar­ Aires y en 1971 obtuvo por con­ mónica de Buenos Aires. curso el cargo de Solista Adjunto en la misma orquesta, que continúa desempeñando. EDGARDO ZOLLHOFER Fue miembro fundador del Ensam­ Violoncello ble Musical de Buenos Aires e inte­ grante de la Camerata Bariloche. Nació en Buenos Aires. Cursó sus Actuó como solista con la Orquesta estudios de violoncello con el maes­ Filarmónica de Buenos Aires y la tro Ramón Vilaclara. Sinfónica de Mar de Plata. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. PROGRAMA (.rteto en Do mayor Opus 76 No. 3 Franz Joseph Haydn "Emperador" (1797) (1797) Allegro Poco adagio - Cantabile Minuetto - Allegro Finale. Presto t Cuarteto No. 1 Opus 20 (1948) Alberto Ginastera Allegro violento ed agitato (1916-1983) Vivacissimo Calmo e poetico Allegramente rustico INTERMEDIO ~ arteto No. 12 en Fa mayor, Opus 96 (1893) Antonin Dvorak "Cuarteto Americano" (1841-1904) Allegro ma non troppo Lento Scherzo Finale: vivace ma non troppo Bogotá, 4 de abril de 1990 o I CONCIERTO No·4;C1 JO Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Q~ notas al programa Cuarteto El cuarteto para cuerdas y la sinfonía clásica son prácti­ "Emperador" camente una creación de Haydn. Desarrolló estos géne­ Haydn ros del siglo XVIII de tal manera, que se convirtieron en formas paradigmáticas de la música clásica. La originali­ dad, la belleza y la riqueza del timbre que caracterizan sus cuartetos, hicieron de esta combinación de cuerdas un conjunto perdurable. Los seis cuartetos del Opus 76, dedicados al Conde Erdódy datan de los años 1796-1798, la época de La creación y /a Misa Ne/son. El primer movimiento es un ejemplo elocuente del estilo de Haydn: temas muy concisos de gran flexibilidad rít• mica y melódica. En esta ocasión se trata de una melodía al estilo popular, sometida en la sección de desarrollo a un tratamiento muy variado y polifónico en donde parti­ cipan con igualdad los cuatro instrumentos. El tema de las variaciones del segundo movimiento da a este cuar­ teto el nombre de "Emperador", pues se trata de el himno imperial austriaco compuesto por el mismo Haydn, Gott erha/te Franz den Kaiser (Dios salve al rey Francisco). Después de una primera presentación, una armonización impecable, Haydn varía el tema presentándolo cuatro veces en cada uno de los instrumentos con diversos con­ trastes en los acompañamientos. El Minuetto es en reali­ dad uno de esos pasajes vigorosos característicos de sus Scherzi, con unos primeros tiempos pesados y rústicos; el Trío en la menor ofrece con su calma, u n buen con­ traste para el Minuetto. El Fina/e, tiene tanto peso formal como el primer movi­ miento. Se inicia en Do menor de manera enfática y enérgica. Las tensiones se disuelven con la transacción a Do mayor aunque la textura polifónica predominante recuerda constantemente la seriedad de los compases originales. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Primer Cuarteto Como anota Pola Suárez en su trabajo sobre el composi- Ginastera tor argentino Alberto Ginastera, el Primer Cuarteto pertenece a un conjunto de obras escritas a partir de 1948 (j unto co n la Sonata para piano, las Variaciones Concertantes y las Pampeanas 2 y 3) en las que el com­ positor se aleja de su estilo nacionalista y se acerca al dodecafonismo. La vitalidad, los contrastes rítmicos fuertes y la tensa carga emotiva de la obra son las características más apa­ rentes del Cuarteto, aplaudido en Eu'ropa en su presenta­ ción en Frankfurt en 1951. La crítica europea qe la época consideró que se trataba de una pieza contemporánea de gran vitalidad expresiva y sin artificios. El éxito del Cuar­ teto Opus 20, hizo que el nombre de Alberto Ginastera se incluyera -de manera definitiva- junto al de los grandes maestros de la música del siglo xx. En sus indicaciones de tiempo, Ginastera recurre a ins­ trucciones originales como Allegro violento o Allegra­ mente rustico que evocan las primeras abstracciones sobre su nacionalismo inicial: ya no hay citas directas, sólo gestos hacia sentimientos, caracteres y ambientes. El interés de la obra crece con la presencia de una técnica depurada y de gran virtuosismo. En el tercer movimiento, hay un respiro poético en donde se pueden apreciar las nuevas sonoridades armónicas que inspiran al composi­ tor, basadas en acordes de cuartas, generadoras de una sonoridad disonante y misteriosa. Cuarteto Entre las obras más conocidas de Dvorak, figuran tres en americano las que el compositor consigna impresiones musicales Dvorak de su estadía en Estados Unidos: el Cuarteto en Fa, el Quinteto Opus 97 y la Sinfonía "Del Nuevo Mundo".
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