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Llparucw PORTUGAL I'OIITUGAL. ~ .EY2~~!~.9.L.!~ .~~~-~.l:!~. ~9-~~ ~·-·--!--··'-··- ___..... ,,,, ............... _... ____..... · .............................. ,___ ~ ... ,,.,... .........._,_, ... ,.,.. .- ..... ::::::::.:~;;~;~-=:~:::~.~ -~ ... ~ .•. ,~ ............ \_ .......... ··J-·· -·lo l >i---~·-- t •llfn~l\1 ,\' l;lil\?.:\tl l ~iJ'H ~~~~ ,~ f'ORfUOAL. A Elll\(1l'A Qllli 11'\i.A A SUA UNtJUt\, r; ~1\1,-\l l"!iltEN.\!It.i;i)'f•'f;l1 ;;...,~i~ -,~ )''(1!\rt.JUAL. A I!URl 11:"'. QL'E li\ LA/\ ~Ur\ LINC.Jl !t\. - ",:'/::-.~~-., ·.:~·-·.~~ ·""' _.... :::-~:~:~.:~:~~~-:L~:;i~-·· __ ............ , ,.~ 1-'~tM~ ~\1 \1'R~~\\Ib'oi.Jlhl'll ,,...•••• --6....... p ,u...., .. \ , ...., ~ Turismo Oficial de ~ p ' rtugal SÃO PAU LO, (011)257-9477 S.~ RIO DE JAN EI RO , (021) 233-8736 llpArucw PORTUGAL. A EUROPA QUE FALA A SUA LÍNGUA. I OS TEMPOS SÃO DIFÍCEIS, MAS QUANDO UNI PRODUTO É DA SIMPATIA E HOSPITALIDADE DE UM PORTUGAL MODER­ BOM, É MUITO FÁCIL VENDER. AGORA, IMAGINE ESTE PRO­ NO, MEMBRO DA COMUNIDADE EUROPÉIA. A EMBALAGEM, DUTO NUMA EMBALAGEM BONITA E ATRAENTE. AI, ENTÃO, UMA CAMPANHA PUBLICITÁRIA INTELIGENTE E CRIATIVA, NEM SE FALA. PORTUGAL É ESTE PRODUTO, COM TODOS QUE COLOCA EM EVIDÊNCIA A NOSSA AFINIDADE LIN­ OS INGREDIENTES QUE O TURISTA ESPERA: CIDADES FAS· GÜÍSTICA, SEM ESQUECER AS ATRAÇÓES TURÍSTICAS POR­ 1992 CINANTES, PAISAGENS, PRAIAS, CASSINOS, CULINÁRIA, TUGUESAS. UMA CAMPANHA QUE TEM TUDO PARA DESA­ MONUMENTOS HISTÓRICOS. TUDO ISSO ACOMPANHADO PERTAR O CINTO E FAZER AS SUAS VENDAS DECOLAREM . .... "· GOVERNO DO ESTADO DO RIO DE JANEIRO FUNDAÇÃO DO TEATRO MUNICIPAL DO RIO DE JANEIRO SUL AMÉRICA AUTO. FUNDAÇÃO TEATRO MUNICIPAL DO RIO DE JANEIRO ORQUESTRA SINFÓNICA BRASILEIRA Conselho Curador ORQUESTRA SINFÔNICA BRASILEIRA A partir de agora os segurados do Sul América Auto com Assistência 24 Horas, têm direito Diretor Musical-Regente Titular: ISAAC KARABTCHEVSKY a reboque e socorro mecânico em caso de enguiço fora de seu município. Você liga para o Assistência Presidente Mario Henrique Simonsen 24 Horas que providencia gratuitamente o reboque do seu carro para uma oficina próxima ou Sábado, 24 de outubro de 1992, às 16:30 horas quando possível resolve o problema na hora. Não sendo possível efetuar o conserto no mesmo dia Antônio Carlos da Silva Muricy o Assistência 24 Horas cuida de sua hospedagem em hotel ou fornece um meio de transporte para você Antonio Monteiro de Castro Filho 2 voltar para casa ou prosseguir viagem. Esta é mais uma novidade do Assistência 24 Horas que Candido Guinle de Paula Machado 3 CONCERTO DA SÉRIE Eliezer Batista da Silva como você sabe, oferece reboque em caso de acidente com o seu carro mesmo na frente de sua casa, HansStern além de muitos outros serviços. Como você pode ver o Assistência 24 Horas não deixa ninguém a pé. Israel Klabin OS PIANISTAS Fale com o seu corretor. Sul América Auto com Assistência 24 Horas. Se você enguiçar é só chamar. João Carlos de Almeida Braga João Paulo dos Reis Velloso Rio: 275-9842. ligações grátis, Brasil: (021) 800-1550. Jorge Oscar de Mello Flores José Ermírio de Moraes Filho PROGRAMA José Mindlin Juan Uerena Leônidas Lopes Bório Piano-solo O PRIMEIRO SEGURO luiz Cyrillo Fernandes Robert Anthony Broughton Roberto Paulo Cezar de Andrade FRANZ LISZT (1811 - 1886) SamyCohn QUE TRAZ A REBOQUE UM MECÂNICO Sonata em Si Menor para piano (1853) Superintendente Movimentos: E A MAIS COMPLETA João Carlos R.M. Alvim Corrêa Lento Assai - Allegro energico - Grandioso Diretor Administrativo Andante sostenuto - Allegro energico ASSISTÊNCIA 24 HORAS PARA VOCÊ. Sérgio Nepomuceno (sem interrupção) Assistente Rubens F. Mendes da Cunha INTERVALO A Fundação Orquestra Sinfônica Brasileira é uma entidade cultural, Piano e orquestra sem fins lucrativos. " .,...~. Declarada de Utilidade Pública pelo Dec. n° 61.102 de 28/07/1967 e FRÉDÉRIC CHOPIN (1810- 1849) pelo Conselho Nacional de Serviço Social como entidade de fins filantrópicos. Concerto nº 2 para piano e ~rquestra, em Fá Menor, opus 21 (1829) A Fundação Orquestra Sinfônica Brasileira mantém em funcionamento o seu Movimentos: I- Maestoso Colégio Preparatorio de Instrumentistas, II - Larghetto para os conjuntos sinfônicos brasileiros. III- Allegro Vivace O Colégio está formando a sua orquestra sinfônica integrada exclusivamente de alunos. EDVARD GRIEG (1843 -1907) Revista da ORQUESTRA SINFÓNICA BRASILEIRA Concerto para piano e orquestra em ·Impressa em papel Filicoat (miolo) Lá Menor, opus 16 (1868) e Filiset Telado (capa) da Filiperson Movimentos: I- Allegro molto, moderato Capa: "Bumba Meu Boi" II- Adagio de Rosina Becker do Vale III- Allegro molto, maderato e marcato Correspondência Av. Rio Branco, 135- ~andar salas 915/920 Solista: . 2004Q..OOO- Rio de Janeiro- RJ- Brasil Telefones ARTHUR MOREIRA LIMA 222-4592/222-5842/252-6330 Fax (021) 242-5754 Composto e impresso na Editora Teatralltda. Regente: SULAMERICA Rua Bambina, 16- Tel.: 26&-2661 SEGUROS Fax.: 537-3865 ROBERTO DUARTE ASSISTÊNCIA 24 HORAS . .,;' •. - FRANZ LISZT (1811- 1886) mo da complexa e brilhante "Sonata em tanto de seu antecessor Berlioz, cuja si menor", nos mostram até que ponto "Sinfônica Fantástica" é obra funda­ Liszt foi o verdadeiro precursor do mentalmente descritiva e que precedeu impressionismo, antecipando certas seus poemas de quase 20 anos, quanto combinações harmônicas de Debussy e de Smetana, Saint-Saens, Richard esquemas usados por Ravel. Strauss e Sibelius, cujas composições Sua importância e influênciasefezsentir nesse gênero se limitam .estritamente com maior intensidade ainda, no de­ ao texto literário. Assim, o que Liszt senvolvimento da técnica pianística. tentou naquelas obras, não foi descrever Liszt expandiu,com9 nenhum outro, musicalmente um enredo, mas exprimir (Chopin a parte) os recursos expressi­ uma idéia, fôsse literária, humanística, vos do piano, transformando esse ins­ filosófica, dramática, através de sons trumento numa mini-orquestra. evocativos. Os "Prelúdios" por exem pio Também o gênero poema sinfônico deve não seguem um enredo definido; são enormemente a Liszt. Nessa forma ele uma série de impressões sobre um terá, certamente, aberto novos cami­ poema de Lamartine, ao contrário, do o nhos na evolução musical do século "Rio Molelavia", do "Cisne de Tuonela" Q) passado. Quer pelo conteúdo, quer pelo ou de "Don Quixote" onde comentário Cf)" o colorido de uma instrumentação sem­ musical faz parte do enredo. > Q) pre imaginativa e brilhante, Liszt foi Qj Curioso, é observarmos que a estética CI: incontestavelmente um "revolucioná­ musical do mestre húngaro, como a de Q) -o rio" em sua época. Mas a maioria de Brahms (compositor que ele admirava, o suas obras, ditas programáticas, não o mas como quem pessoalmente não ~ '"'(.)> Eanz Liszt foi um dos compo­ .':!"' são no sentido literal do têrmo. A forma simpatizava) provinha diretamente de ~ c. sitores mais avançados de seu tempo. O empregada é tão concisa em si mesma, Beethoven, mas enveredando por ii! E"' legado musical que deixou, a despeito que não se subordina a expressar espe­ Weber aliara-se a Berlioz e Wagner e o ! de uma certa "sadia superficialidade cificamente idéias extra-musicais. Como chegaria depois a Strauss, Mahler, ~ "o -o virtuosística", e sem ser propriamente aconteceu com Gluck, em seu famoso Busoni e finalmente a Schoenberg. 'õ "' tão profundo quanto a de seus dois prefácio para a ópera "Alceste", do qual Brahms, por sua vez, retroagia a Bach e ~ ~ grandes contemporâneos, que esposa­ Qí no sinfonismo é herdeiro direto, Liszt vinha, em linha direta, através de Hay- ~ ~ vam correntes estéticas contrárias - afirmou, em 1860, seu desejo de: "reno­ dn, Mozart a Beethoven, Schubert, 4l ü: Wagner e Brahms - conseguiu, assim Qj var a música através de uma relação Schumann, Mendelssohn, sendo segui- ~ c. mesmo, atravessar incólume o perigo­ mais íntima com a arte da poesia". Ele do por Max Reger, Pftzner' e o próprio ~ 0.."' so recuo de cem anos, sem envelhecer. o poderia ter dito de seus poemas sinfô• Schoenberg que, numa carta a Mahler, .S -o Uma análise atenta de peças como nicos o que Beethoven disse da sua de 1905, escrevia "entre esses dois polos ~ o "Nuages Gris", "Harmonies du soir", o (.)> Sinfonia Pastoral: "Mais sentimento do -Wagner e Brahms - me divido numa [i! '"'::> -o ciclo "Anées de Perelinages, e até mes- que pintura". Nisto, ele difere bastante, indefinição sem tréguas ... a.o l iti4J1fA ••t.t:.!4.'•J " .. •, I,S! ll",ii,..,. 'l"l!fHtJI'' ,1,: ~ ~ r·~·~••lf")'f'"' t" ·~ '! t~' ''tj "'H '-'· ..~~·••· "'"l"•r•·•.•r'•~•r" '''"••••••~ • ft''',,,.-t"!"t"l.""'.f!t., +1 • ~, • t..' •t••·\ .. -~,. ·" •"-"' •••~., * . ,~ - ~•tt-*f•U·t••·· ·.-- · """ !i SONATA EM SI MENOR PARA PIANO (1853) ~ cA ~ - E?~ a~~ amfuí&tco ~ ~ Movimentos: Lento Assai- Allegro enérgico - .§ a loa mWJica. Grandioso Andante sostenuto- Allegro enérgico cAcSl~~~e~na~de~ ~ A Sonata em Si Menor para piano foi composta por nunciou praticamente às demonstrações heróicas de Liszt em 1853, que a dedicou a Robert Schumann, em seu talento e definiu, com ajuda de alguns elementos ~--~ ~ ~ + ~ ~ amjw/td~ (M){J~. retribuição à dedicatória que este lhe fizera na sua temáticos, o que ele transformou num novo modo de cA~E?~a~~a~CMn ~ Fantasia em Dó Maior. Liszt contava, então 42 anos de pensar sobre a escrita musical e a técnica pianística. idade. Sua atividade como pianista, ao tempo em que Sonata com características húngaras, motivos grego­ e ~. cA cSl~ jYkica ~ ~ eJjteciaú fta'J'a vivia praticamente apenas em Paris, na turbulência da rianos, coral luterano, fuga, toda história do Século onda romântica, durou até 1847. Nessa época, Balzac, XIX, enfim, se encontra resumida na Sonata em Si docudnenla'J' a cultu'J'a de todo:;, o:J le-mfto:J. criticando-lhe as atitudes artificiosas, louvava irrestri­ Menor, sobretudo uma intensa poesia e uma fuga ver­ nudW e nudW lemjw ... tamente o seu "talento sublime" de pianista. De 1847 em dadeiramente extraordinária. Com ela se completou, c&O'J' diante, Liszt radicou-se em Weimar, na sua fase de de Beethoven a Liszt, prodigioso percurso do piano · criação sinfônica, que iria até o começo da década de 60. germânico.
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