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luís soares

Blog do escritor Luís Soares

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Após o grande êxito das interpretações ao vivo das bandas sonoras da trilogia O Senhor dos Anéis, a Orquestra Gulbenkian irá desta vez tocar ao vivo a música do filme Star Wars: Uma Nova Esperança, o primeiro da saga a ser realizado por George Lucas. “Na minha cabeça, e talvez também na do George Lucas, quando estava a compor pensava num filme para crianças”, disse o compositor John Williams numa entrevista à Gramophone.

João Barradas - Home

Do Shifter:

Já não se pode dizer que João Barradas seja um novo nome no panorama do jazz português. Começou a tocar acordeão aos 6 anos, fez-se coleccionador de prémios desde os 9 e nestes últimos dois anos editou dois discos: Directions em 2016, e An End as a New Beginning num projecto chamado Home, lançado em Outubro do ano passado. Aos 25 anos, é considerado um dos mais importantes acordeonistas do mundo na actualidade, transportando o seu instrumento para contextos em que não estamos acostumados a ouvi-lo.

Leoš Janáček

Leoš Janáček: On an Overgrown Path - Series 1 / Misuzu Tanaka, piano

Live from Britton Recital Hall. / Piano: The Steinway & Sons Model D

 

0:18 Naše večery - Our Evenings
3:42 Lístek odvanutý - Blown Away Leaf
6:01 Pojďte s námi! - Come With Us!
7:10 Frýdecká panna Maria - The Madonna of Frydek
10:26 Štěbetaly jak laštovičky - They Chattered Like Swallows
12:23 Nelze domluvit! - Words Fail!
14:20 Dobrou noc! - Good Night!
17:26 Tak neskonale úzko - Unutterable Anguish
20:01 V pláči - In Tears
22:37 Sýček neodletěl! - The Barn Owl Has Not Flown Away!

 

The first five pieces of the two sets that Janáček called On an Overgrown Path were composed around 1900, for harmonium. The first set was completed as ten piano pieces in 1908, and Janáček then gave them their present titles. The overall title refers to a Moravian wedding song in which the bride laments that "the path to my mother's has become overgrown with clover", and the pieces, as Janáček wrote in 1908 in an explanatory letter to the musicologist Jan Branberger who was interested in publishing them, "contain distant reminiscences. Those reminiscences are so dear to me that I do not think they will ever vanish." Some of these memories are apparently happy, others intensely sad. In 1903 there occurred the central tragedy of Janáček's life: the death of his daughter Olga from typhoid fever at the age of twenty-one. The last three pieces of Set 1 certainly refer to Olga's death: in Czech folklore the owl, sýcek, is a bird of ill-omen (the English title in the published edition is 'The barn owl has not flown away' but Janáček gives a very accurate representation of the tawny owl's cry, whereas the barn owl screeches). © David Matthews

In The Café

In the Café de Lurdes Castro | Arte Num Minuto

 

Esta obra é bem representativa dessa evolução e do interesse que a artista demonstra pela representação da sombra de pessoas e objetos. "In the café", titulo inglês desta obra, mostra-nos o uso de materiais inovadores, como as placas de plexiglas onde se destacam os contornos de duas personagens, uma masculina, absorta na leitura e outra feminina que a interpela. Outras silhuetas, um gato, um pilar, uma garrafa, as costas de uma cadeira, elementos do quotidiano debruados com precisão por uma linha vermelha, completam a cenografia deste teatro de sombras.

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Exemplo dos programas pensados à medida da sua originalidade, Lorenzo Viotti dirige um fascinante périplo musical que tem como primeira paragem La mer, uma das obras mais fascinantes de Debussy. A inspiração em paisagens oceânicas liga-se, de forma natural, à declamação pelo ator João Grosso de excertos da Ode Marítima, de Álvaro de Campos, num concerto encenado que desemboca numa sinfonia de Szymanowski inspirada pela poesia, em concreto por um texto místico persa do século XIII. Estes concertos marcam também uma nova partilha do palco, lado a lado, entre a Orquestra Gulbenkian e a Orquestra Estágio Gulbenkian.

Jacek Kaspszyk conducts Szymanowski's Symphony No. 3 "Pieśń o nocy" (Song of the Night), Op. 27 - Orkiestra i Chór Filharmonii Narodowej (Warsaw Philharmonic Orchestra & Choir)

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J.S. Bach: Brandenburg Concert no.3 in G major, BWV 1048
Amsterdam Baroque Orchestra and Ton Koopman
Recorded in the Walloon Church in Amsterdam on June 10, 2012

 

J.S. Bach: Magnificat in E flat major, BWV 243a (Ton Koopman, Amsterdam Baroque Orchestra)

 

Bachfest Leipzig 2003 / From the Church of St. Thomas, Leipzig
Amsterdam Baroque Orchestra & Choir
Deborah York, soprano
Bogna Bartosz, alto
Jörg Dürmüller, tenor
Klaus Mertens, baritone
Ton Koopmann, conductor and organist

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O programa não é este. Destes, apenas Piazzolla marcará presença. Mas logo há Gidon Kremer e a sua Kremerata Baltica no Grande Auditório.

Live-recording from Semperoper Dresden (Dresdner Musikfestspiele)

 

Gidon Kremer, violin and direction
Andrei Pushkarev, percussion
Kremerata Baltica

 

Mahler: Adagio from Symphony No.10 — Shostakovish: Violin Sonata
Sibelius: Rakastava, op. 14 — Sallinen: Chamber Music III
Piazzolla: Fuga y Mistero
Nino Rota: La Dolce Vita
Sempre Primavera: compiled by Gidon Kremer for violin, percussion and strings with music by Poleva, Beethoven, Desyatnikov, Piazzolla

 

Gidon Kremer is and has always been one of the most headstrong and original artists in the music business and he was once hailed by Herbert von Karajan as the world’s best violinist. He celebrated his 60th birthday in 2007 and he has always kept himself young
musically with his spontaneity and a readiness to take risks. In his artistic development over the past 25 years, Kremer often found himself functioning as a crossover figure as he discovered fresh routes through well-trodden paths in music. It was in this spirit, that his fine young ensemble Kremerata Baltica, which he founded by bringing together young musicians from the Baltic states, presents music by Mahler, Shostakovish, Sibelius, Sallinen, Piazzolla, Rota and a cycle called “Sempre Primavera” compiled by himself.

Kremerata Baltica is a chamber orchestra consisting of young talented musicians from Baltic countries (Estonia, Latvia, Lithuania). It was founded by Latvian violinist Gidon Kremer in 1997.