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Geneva Camerata David Greilsammer 2018 Geneva Camerata David Greilsammer direção artística Pieter Wispelwey violoncelo O Ministério da Cultura, o Governo do Estado de São Paulo, a Secretaria da Cultura e a Cultura Artística apresentam Momento Musical Para a Cultura Artística é fundamental que os concertos sejam uma experiência única. Pensando nisso, criamos o Momento Musical, palestra gratuita que contextualiza os compositores e as obras que serão apresentadas naquela noite. A atividade, ministrada pela jornalista e musicóloga Camila Fresca, é destinada a qualquer pessoa que queira expandir a compreensão musical dos concertos. Sempre uma hora antes do espetáculo, temos esse encontro marcado para discutir e aprender no Momento Musical! No alto: Momento Musical de Jan Lisiecki (foto: Heloisa Bortz) realização MINISTÉRIO DA GOVERNO CULTURA FEDERAL Anúncio Momento Musical.indd 1 07/06/18 10:26 o governo do estado de são paulo, a secretaria da cultura e a associação sociedade de cultura artística apresentam 2018 Geneva Camerata David Greilsammer direção artística Pieter Wispelwey violoncelo patrocínio 3 Gioconda Bordon realização 4 Programa 6 Nota sobre o programa stéfano paschoal 13 Biografias SOCIEDADE DE CULTURA ARTÍSTICA GOVERNO DO ESTADO DE SÃO PAULO DIRETORIA SECRETARIA DE ESTADO DA CULTURA ANTONIO HERMANN D. MENEZES DE AZEVEDO FUNDAÇÃO ORQUESTRA SINFÔNICA PRESIDENTE DO ESTADO DE SÃO PAULO GIOCONDA BORDON ORGANIZAÇÃO SOCIAL DE CULTURA VICE-PRESIDENTE DIRETORES FERNANDO HENRIQUE CARDOSO FERNANDO LOHMANN, FREDERICO CARRAMASCHI, PRESIDENTE DE HONRA ISA MELARAGNO, RICARDO BECKER, RODOLFO FÁBIO COLLETTI BARBOSA VILLELA MARINO PRESIDENTE DO CONSELHO DE ADMINISTRAÇÃO FREDERICO LOHMANN ANTONIO CARLOS QUINTELLA SUPERINTENDENTE VICE-PRESIDENTE DO CONSELHO DE ADMINISTRAÇÃO MARCELO LOPES CONSELHO DE ADMINISTRAÇÃO DIRETOR EXECUTIVO FERNANDO CARRAMASCHI FAUSTO AUGUSTO MARCUCCI ARRUDA PRESIDENTE SUPERINTENDENTE ROBERTO CRISSIUMA MESQUITA CARLOS HARASAWA VICE-PRESIDENTE DIRETOR MARKETING CONSELHEIROS ANTONIO HERMANN D. MENEZES DE AZEVEDO, CARLOS JEREISSATI FILHO, CARLOS JOSÉ RAUSCHER, FERNÃO BOTELHO BRACHER, FRANCISCO MESQUITA NETO, GÉRARD LOEB, HENRI PHILIPPE REICHSTUL, HENRIQUE MEIRELLES, JAYME SVERNER, MARCELO KAYATH, PEDRO PARENTE, ROBERTO BAUMGART CONSELHO CONSULTIVO ALBERTO JACOBSBERG, ALFREDO RIZKALLAH, ANNA HELENA AMERICANO DE ARAÚJO, ANA MARIA IGEL, ANDREA CALABI, ANTONIO VIDAL ESTEVE, CARMO SODRÉ MINEIRO, CECÍLIA RIBEIRO DA SILVA, GEORGE ZAUSNER, HEINZ JÖRG GRUBER, ISRAEL VAINBOIM, JOSÉ ROBERTO MENDONÇA DE BARROS, MARINA MESQUISA, MÁRIO ARTHUR ADLER, PATRÍCIA MORAES, STEFANO BRIDELLI, SYLVIA Dados Internacionais de Catalogação na Publicação (CIP) PINHO DE ALMEIDA, THOMAS MICHAEL LANZ, (Câmara Brasileira do Livro, SP, Brasil) YARA BORGES CAZNOK Geneva Camerata: David Greilsammer direção artística, Pieter Wispelwey violoncelo / coordenação Gioconda PROGRAMA DE SALA — EXPEDIENTE Bordon; notas sobre o programa Stéfano Paschoal. — GIOCONDA BORDON São Paulo: Cultura Artística, 2018. COORDENAÇÃO EDITORIAL ISBN: 978-85-93629-15-0 SILVIA PEDROSA SUPERVISÃO GERAL 1. Concertos — Programas — São Paulo (SP) 2. Geneva CAMILA FRESCA Camerata 3. Música clássica 4. Orquestras – Regência I. EDIÇÃO Paschoal, Stéfano. II. Bordon, Gioconda. III. Greilsammer, PAULO HUMBERTO L. DE ALMEIDA David. IV. Wispelwey, Pieter. V. Paschoal, Stéfano. PROJETO GRÁFICO 18-17443 CDD-781.68 LUDOVICO DESENHO GRÁFICO EDITORAÇÃO ELETRÔNICA Índices para catálogo sistemático: CONTEÚDO COMUNICAÇÃO 1. Concertos : Música clássica 781.68 ASSESSORIA DE IMPRENSA Iolanda Rodrigues Biode – Bibliotecária – CRB-8/10014 Uma jovem e brilhante Camerata 3 A Geneva Camerata é mais uma das excelentes estreias de 2018. Há apenas cinco anos, David Greilsammer, pianista e regente de enorme talento, reuniu um Gioconda Bordon grupo de solistas para criar não apenas um novo conjunto de câmara, mas um [email protected] novo projeto musical, que trabalhasse os programas de concerto de uma forma menos convencional, e que pudesse juntar algumas peças consagradas do jazz e da música contemporânea a obras clássicas. O programa desta noite começa com The unanswered question, do compositor norte-americano Charles Ives. Em seguida, uma atmosfera totalmente diversa: o Con- certo para violoncelo n.1 de Haydn, uma das obras mais conhecidos e apreciadas do repertório para este instrumento. Na segunda parte, temos a estreia na América do Sul de variações sobre uma das canções de Porgy and Bess, de Ger- shwin. E para terminar, mais uma obra admirada e também muito conhecida do público, a Sinfonia n. 40 de Mozart. Assim, percebemos como a elegância e o equilíbrio de Hadyn e Mozart ganham outros sentidos quando colocadas ao lado de obras recentes. Uma combinação que aproxima as diferentes raízes musicais de uma maneira surpreendente. Ótimo concerto a todos! 4 2018 Série Branca Geneva Camerata David Greilsammer, direção artística Pieter Wispelwey, violoncelo Charles Ives (1874-1954) The Unanswered Question c. 6’ Joseph Haydn (1732-1809) Concerto para violoncelo n.1 em dó maior c.25’ Moderato Adagio Allegro molto Jonathan Keren (1978) Variações sobre um tema de George Gershwin* c.7’ intervalo os concertos serão precedidos do momento musical, palestra de camila fresca sobre os compositores, peças e intérpretes da noite, que acontece às 20 horas no auditório do primeiro andar da sala são paulo. o conteúdo editorial dos programas da temporada 2018 encontra-se disponível em sala são paulo, 26 de junho, terça-feira, 26 de junho, sala 21h são paulo, nosso site uma semana antes dos respectivos concertos. 5 Wolfgang Amadeus Mozart (1756-1791) Sinfonia n.40 em sol menor, KV 550 c. 30’ Molto allegro Andante Menueto — Trio Allegro assai * Arranjo encomendado pela Geneva Camerata, com première na América do Sul facebook.com/culturartistica instagram: @culturaartistica www.culturaartistica.com.br programação sujeita a alterações. 6 Charles Ives (1874-1954) The Unanswered Question (1908) Charles Ives, compositor norte-americano, viveu de 1874 a 1954 nos Estados Unidos da América. Natural do Estado de Connecticut, estudou música com Horatio Parker na Yale University. Ives é conhecido pelo tom pessoal e altamente original de suas Nota o programa sobre composições. Segundo Leonard Bernstein, o ouvinte da música de Ives deve estar consciente do lugar que o compositor ocupa na música estadunidense: mesmo antes de ter ouvido Schönberg, ele já havia explorado a politonalidade, a atonalidade e o ritmo livre. Composta em 1908, The Unanswered Question não havia sido executada em Nova York até 1946. Sua formação consiste num conjunto de cordas, um trompete solo e um quarteto de sopros de madeira, passíveis (os dois últimos) de substituição. Considerada por Linda Mack um estudo de contrastes, The Unanswered Question provoca uma impressão espetacular: a esperança do con- forto dos tons agudos das cordas é frustrada numa falsa hospitalidade e angústia, não obstante a ausência de dissonâncias. É como seguir uma direção, entregando-se à sedu- ção do desconhecido. Em pouco tempo, a primeira indagação é feita: imperdoável, o timbre do trompete intima o ser humano, repousado no fio cristalino das cordas, a que responda acerca de sua existência. Diante de sua impotência, o ser humano, incapaz de qualquer resposta, balbucia insistentemente. Percebendo a inutilidade de seu gesto, cala- -se. Fica a cargo das cordas, quando cessam as perguntas, conduzi-lo por meio do silên- stéfano paschoal stéfano cio gelado à desconhecida eternidade. Joseph Haydn (1732-1809) 7 Concerto para violoncelo n.1 em dó maior (1738) Franz Joseph Haydn foi um compositor austría- co que, ao lado de Wolfgang Amadeus Mozart e Ludwig van Beethoven, compôs a tríade do classicismo vienense. Compositor de linguagem minuciosa e refinada, deixou-nos um legado de mais de 100 sinfonias, além de obras de outros gêneros. O Concerto para violoncelo n.1 em dó maior, Hob. VIIb:1, foi escrito em 1738 para seu amigo Joseph Franz Weigl, violoncelista na corte dos Esterházy. Sua formação orquestral é relativa- mente pequena: dois oboés, duas trompas e seção de cordas. A isso se acrescenta um baixo contínuo. Considerou-se este concerto desapare- cido por longo tempo até que, em 1961, uma cópia foi encontrada no Museu Nacional de Praga por Oldrich Pulkert. Três movimentos, dos quais o primeiro segue a forma sonata, compõem a obra de Haydn: moderato, adagio e allegro molto. Neles são perceptíveis característi- cas do Barroco tardio. No primeiro movimento, o solo de violoncelo assume algumas partes do material temático apresentado na exposição. De caráter alegre e expansivo, o movimento, numa tonalidade clara, é tocado de modo risoluto, com ritmo definido e marcado. O contraste entre a parte solo e a parte orquestral é marcante. A virtuosidade do solo se reflete nas notas repetidas e nas mudanças muito rápidas de registro. O tema do movimen- to inclui vários motivos, que são desenvolvidos separadamente. Uma cadência que, não raro, alcança a região mais aguda do instrumento, anuncia o finale de ornamentação discreta. O Adagio é cantabile e monotemático. A melodia suave dos violinos, com que se inicia o movimento lento, é assumida pelo violonce- 8 lo, cuja entrada dramática é marcada por uma nota longa. A parte de violoncelo solo é escrita predominantemente na região aguda, o que representa um desafio ao intérprete. Frases lamentosas permeiam o movimento. Como em todos os movimentos lentos próprios do classicismo, tem-se a impressão de um lamento que conduz, no final, à atmosfera de tranquili- dade e resignação.
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