abril 30, 2007

SERGEI SUVOROV - 2000 and 2001 LONDON GUILHERMINA SUGGIA AWARD

It was standing-room only in the Wigmore Hall for one of those concerts that will remain the stuff of legend. The indefatigable Violoncello Society of London was behind one of the most extraordinary displays of cello playing. The cause was a sad one: the death of the great Russian cellist Boris Pergamenschikow last year at the age of 55. It might have been mistaken for a competition, as one cellist after the other dazzled with their playing, but there were no prizes, only a heartfelt tribute from six cellists, all Russian.

First off was Natalia Gutman. (Is there a greater woman cellist alive - and why is she not playing concertos in London?) She has the longest, slowest bow in the business while reaping the largest sound imaginable. With her accompanist, the cellist Alexander Rudin (later to take his place in the gang of six), in Prokofiev's C major Sonata, all the ironic bitter-sweetness of its sophisticated simplicity was delightfully caught.
Leonid Gorokhov brought Schnittke's Suite in the Old Style, a cod-baroque piece drawn from film music - so out of the eye of the censor. Only its chilling ending gave the game away, Gorokhov's dead-pan elegance with fast, light bow belying the message. And in Tchaikovsky's Melodie, lyricism in the thin-air zone of the fingerboard was effortlessly demonstrated.
David Geringas, unaccompanied, in Peteris Vasks' demanding Das Buch created the sort of hush where breathing itself seemed inappropriate. It's almost a contemporary compendium of what a cello can do (including singing with himself) - but how many cellists are capable of doing it?

The baby of the bunch, at 21, was Sergei Suvorov, who knocked the socks off the audience in Rimsky-Korsakov's Le coq d'Or' Fantasy with his effortless, unbridled virtuosity.

Ivan Monighetti followed in Penderecki's unaccompanied Divertimento, a work dedicated to Pergamenschikow, and played with touching awareness. And finally, Alexander Rudin in Arensky's Danse Capricieuse played with effortless control, followed by Andrei Golovin's sorrowfully flowing lament Elegy. A rare tribute of outstanding performance and musicianship.

London
Review by Annette Morreau
Published: 10 November 2005

Publicado por vm em 12:00 AM | Comentários (0)

abril 29, 2007

MARIA JOÃO PIRES no WIGMORE HALL - LONDRES


Thu 3 May 2007 7.30 PM Maria João Pires (piano); Rufus Müller (tenor); Brodsky Quartet;
Please note an amendment to the previously advertised programme for this concert
Works by: Franz Schubert

Thu 10 May 2007 7.30 PM Maria João Pires (piano); Rufus Müller (tenor); Brodsky Quartet; Chi-chi Nwanoku (double bass)
Please note an amendment to the previously advertised programme for this concert
Works by: Franz Schubert

Tue 8 May 2007 7.30 PM Maria João Pires (piano); Rufus Müller (tenor); Ricardo Castro (piano); Brodsky Quartet;
Please note an amendment to the previously advertised programme for this concert
Works by: Franz Schubert

Wigmore Hall - News -


Publicado por vm em 11:51 AM | Comentários (4)

abril 28, 2007

LE VIOLONCELLISTE RUSSE ROSTROPOVITCH EST DÉCÉDÉ À 80 ANS

rostrop.jpg
Le violoncelliste et chef d'orchestre russe Mstislav Rostropovitch, une des figures de la résistance à l'oppression soviétique, est décédé vendredi à l'âge de 80 ans.

"Mstislav Rostropovitch est décédé aujourd'hui à l'hôpital", a indiqué son porte-parole Natalia Dollejal.

Rostropovitch, malade depuis plusieurs mois, avait effectué ces derniers temps plusieurs séjours à l'hôpital.

Considéré comme le plus grand violoncelliste de la seconde moitié du XXe siècle, il a défié en homme libre le pouvoir soviétique.

Il restera dans l'histoire comme un défenseur de la liberté et un virtuose qui a marqué le paysage musical international par ses interprétations d'oeuvres contemporaines et du répertoire.

Mstislav Leopoldovitch Rostropovitch naît le 27 mars 1927 à Bakou (Azerbaïdjan). Il commence précocement l'étude du piano puis celle du violoncelle avant d'entrer au Conservatoire de Moscou, où il suivra l'enseignement de Chostakovitch.

Remportant de prestigieux concours internationaux (Prague 1947, Budapest 1949), il est distingué comme gloire nationale (Prix Staline en 1951 et 1953, prix Lénine en 1964) puis comme "Artiste du peuple de l'URSS" en 1966.

Musicien honoré, il est également homme de convictions. Ami fidèle de deux compositeurs critiqués par Staline, Prokofiev et Chostakovitch, il accueille chez lui l'écrivain dissident Alexandre Soljénitsyne en septembre 1970, et n'hésite pas à défendre sa cause dans une lettre ouverte qui provoquera sa disgrâce.

Contraint à l'exil en Occident en 1974, il est déchu de la nationalité soviétique le 15 mai 1978. Il ne reviendra dans son pays, en compagnie de son épouse la soprano Galina Vichnievskaïa, que dix ans plus tard. Il retrouve sa nationalité en 1990.

En novembre 1989, "Slava" célèbre la chute du Mur de Berlin en improvisant sur place un concert dans une atmosphère de liesse et de recueillement.

Violoncelliste, il s'affirme aussi comme interprète, chef d'orchestre et enseignant. Il dirige l'Orchestre symphonique national de Washington de 1977 à 1994 et donne son nom à un concours international de violoncelle à Paris.

Il a défendu aussi bien des oeuvres issues du patrimoine musical russe que la musique de son temps (Britten, Chostakovitch, Dutilleux, Xenakis...).

Le musicien avait fêté ses 80 ans en mars au Kremlin en présence du président Vladimir Poutine et de quelque 500 invités.

Père de deux filles, il a créé avec son épouse une fondation consacrée à des programmes de santé pour les enfants. Il était "représentant spécial" du programme de l'Onu sur le Sida.

ASSOCIATION FRANÇAISE DU VIOLONCELLE

Publicado por vm em 12:00 AM | Comentários (0)

abril 27, 2007

MSTISLAV ROSTROPOVICH - 27-3-1927 // 27-4-2007

Rostropovich-1.jpg
Mstislav Leopoldovich Rostropovich
(Violoncelista e maestro russo)
27-3-1927, Baku, Azerbaidjão
27-4-2007
Rostropovich é um dos mais significativos intérpretes de violoncelo da atualidade e uma figura dotada de forte personalidade. Dedicando-se cada vez mais à direção de orquestra, assumiu, em 1977, a da National Symphony Orchestra de Washington, integrando em seu repertório obras do século XX, muitas compostas para ele. Disso são exemplos as obras de compositores como Benjamin Britten, Sergei Prokofiev ou Dmitri Chostakovich. Rostropovich tem atuado com freqüência em duo com músicos lendários como Yehudi Menuhin, Vladimir Horowitz ou David Oistrak, em diversos palcos internacionais, entre os quais figuram, desde 1990, os de alguns países do Leste Europeu. Em 1978, perdeu a nacionalidade soviética por ter apoiado o dissidente Alexander Soljenitsine, embora já tivesse abandonado seu país natal quatro anos antes.

Publicado por vm em 04:43 PM | Comentários (0)

PRÉMIO JOVENS MÚSICOS- 21ª EDIÇÃO

http://programas.rtp.pt/canais-radio/antena2/acultural.php?canal=2

Publicado por vm em 12:00 AM | Comentários (0)

abril 26, 2007

CINEMA BATALHA- PORTO "OS CELTAS CHEGAM EM ABRIL"

fip07_newsletter1.jpg

Publicado por vm em 12:00 AM | Comentários (0)

abril 25, 2007

PRIMAVERA MUSICAL - 13º FESTIVAL INTERNACIONAL DE CASTELO BRANCO

PROGRAMA :

5 Maio 2007, 21h30,
Cine-Teatro Avenida
JAQUES MORELENBAUM – Trio Cello Samba

18 Maio 2007.21h30
Cine-Teatro Avenida,
ORQUESTRA SINFÓNICA DA ESART
Concerto dedicado a Luís Pio

19 Maio 2007.21h30
Cine-Teatro Avenida
MÁRIO LAGINHA e BERNARDO SASSETTI (dois pianos)
Concerto dedicado a ZECA AFONSO

23 Maio 2007, 20h00
Governo Civil de Castelo Branco
ORLANDO CONSORT
“Food, Wine and Song” - Concerto com degustação

25 Maio 2007, 21h30
Conservatório Regional de Castelo Branco
Concerto Jovens Intérpretes
DIANA VIEIRA e SAÚL PICADO (piano)

26 Maio 2007, 21h30
Museu de Francisco Tavares Proença Júnior
TRIO HANTAÏ

7 Junho 2007, 21h30
Conservatório Regional de Castelo Branco
MOSCOW PIANO QUARTET
“Mosaico Musical”

8 Junho 2007, 21h30
Instituto Português de Juventude
CARDUCCI QUARTET (quarteto de cordas)

9 e 10 de Maio
Das 18 às 19h30, no Cybercentro de Castelo Branco
CURSO LIVRE “SOLO BACH”, por César Viana
Um pequeno curso dedicado às Suites para Violoncelo Solo

11 e 13 de Maio
Governo Civil de Castelo Branco
BRUNO BORRALHINHO (violoncelo)
Ciclo SOLO BACH – Integral das Suites para Violoncelo Solo

13 de Junho
Instituto Português da Juventude
(DES) CONCERTANTE TRIO
Vencedor do FOLEFEST 2007, categoria de Música de Câmara


CICLO DE CINEMA
Cine-Teatro Avenida, 21h30
1 de Maio – Cidade de Deus, de F. Meirelles
8 de Maio – Sarabande, de I. Bergman
15 de Maio – Amarcord, de F. Fellini
ITINERÂNCIA NAS FREGUESIAS

4 concertos realizados pelo QUARTETO INDÍGO (clarinetes)
Dias 10 e 12 de Maio e 1, 2 de Junho
CONTACTOS:
Tel. 964143089
Fax 272329849
carlossemedo@primaveramusical.org
Conservatório Regional de Castelo Branco
Largo da Sé, nº 20
6000-102 CASTELO BRANCO

Publicado por vm em 12:00 AM | Comentários (0)

abril 24, 2007

ROBERT COHEN- LONDON GUILHERMINA SUGGIA AWARD

robertcohen_.jpg
"As a matter of interest, Mr Cohen was 5 times the recipient of the Suggia Award for potential soloists under the age of 21 in London from the age of 8-12. This gave him financial assistance towards his cello studies. It is of course many year since then, but his gratitude and admiration of Guilhermina Suggia in this and many other forms remains. Mr Cohen is very interested to hear of the activities and development of the Guilhermina Suggia Association and looks forward to hearing from you again.

With many thanks and kind regards

Carmen Pecqueur"

Following his Royal Festival Hall debut at the age of 12, Robert Cohen subsequently achieved international recognition whilst still a teenager with a recording of the Elgar Cello Concerto which earned a silver disc and placed him at the forefront of his musical generation. He has gone on to consolidate an impressive discography ranging from solo Bach (and the Schubert Quintet with the Amadeus on Deutsche Grammophon) to a recent release of the HK Gruber Cello Concerto under the direction of the composer.

The creative give-and-take of the concert hall remains Cohen’s first love however. As a busy performing artist his career takes him to the USA, Europe, Eastern Europe, Scandinavia, Australia, Japan and the UK. He has performed with such conductors as Claudio Abbado, Maris Jansons, Riccardo Muti and Sir Simon Rattle, and he retains a lively enthusiasm for chamber music (which provides the bedrock of the Charleston Manor Festival which he has directed since 1989).
Cohen’s passionate and articulate views on the art of learning, performing and communicating music have stimulated illuminating masterclasses, and have been widely broadcast and published. Since 1999 he has been a Visiting Professor at the Royal Academy of Music. Robert Cohen is also Professor of Advanced Cello at the Conservatorio della Svizzera Italiana in Lugano.
As soloist, conductor and teacher Robert Cohen’s music-making takes him all over the world; holding, as ‘The Guardian’ observed, audiences “in the palm of his hand”.
He plays the ‘Ex Roser’ cello by David Tecchler. Rome 1723.

Publicado por vm em 12:00 AM | Comentários (0)

abril 23, 2007

INTERNET CELLO SOCIETY NEWSLETTER

INTERNET CELLO SOCIETY NEWSLETTER
MESSAGE FROM THE EDITOR
________________________________________
2001, what a year....
As the world has become more tumultous, I have found solace in my ICS activities. What could be a better escape than to focus one's attention on people like Timothy Eddy, Luigi Silva, Bernard Greenhouse, David Finckel, Rostropovich, Frans Helmerson, Aldo Parisot, Natalia Gutman, Laurence Lesser, Piatigorsky, and Guilhermina Suggia. Or to argue about whether our fingers should be flat or curved. Or whether the cellists of the past were better than the cellists of today.
May these kinds of issues loom over all others in 2002.
Tim Janof

Publicado por vm em 12:00 AM | Comentários (0)

abril 22, 2007

FUNDAÇÃO CALOUSTE GULBENKIAN "CHOSTAKOVICH, CONTINUIDADE OU RUPTURA ?" por ALEXANDRE DELGADO - 2 de Maio- 18,30 -AUDITÓRIO 2

conf Alexandre Delgado1.jpg

Publicado por vm em 12:00 AM | Comentários (0)

abril 21, 2007

"SÉCULO PASSADO" UM LIVRO DE JORGE SILVA MELO, EDIÇÕES COTOVIA

jorge_silva_melo.jpg
Quem não conhece, no meio cultural português, Jorge Silva Melo? Cineasta, actor, encenador, dramaturgo, co-fundador do teatro da Cornucópia, director dos Artistas Unidos, cronista excepcional, interveniente enérgico e sempre disponível para comentar e, portanto, para ajudar a reflectir (e, portanto, generoso), socialmente incorrecto, politicamente incorrecto, amante de todas as artes, que a elas tem dedicado uma vida superlativamente talentosa – quem não o conhece, perguntávamos, quem não conhece aquele rosto dele, sagaz, o discurso franco? Poucos. Porém, não consta que alguém tenha ousado formular a seu respeito este enunciado simples: Jorge Silva Melo é dos maiores escritores de língua portuguesa destes tempos. E os maiores, sabemo-lo, contam-se pelos dedos das mãos.

Não se trata, apenas, de uma inabalável convicção de editores atentos. Experimente-se isto: rasure-se do nosso espírito a hierarquia dos géneros (orgulhar-se-ia alguém de viver num «país de dramaturgos» tanto como se orgulha do seu «país de poetas»?), pérfida invenção corporativa – e Jorge Silva Melo não é poeta nem romancista –, pegue-se neste monumental Século Passado e leia-se. Não é preciso mais. E, pela leitura, atravesse-se o país desde os anos 50, o Portugal apertadinho, em que as revistas de cinema, com fotografias e resumos, eram o seu telescópio de menino para o mundo, enquanto comia uma bola-de-berlim da leitaria do Senhor Aires: «Eu gostava de tudo, dos Hércules no São Jorge, de uns policiais alemães com o Peter van Eyck no Roma, do fantástico ‘Guerra e paz’ de King Vidor, gostava era do cinema, de comprar o bilhete, receber o programa, ouvir o gong e ali ficar, entre aventuras de piratas e dramas de amor, pensando que iria ser assim, desmesurada, a minha vida adulta e o grande amor.» Romântica, nem podia deixar de o ser, a voz cultíssima e suculenta, entre o irónico, o irado e o terno, de um homem que nunca se escusou a fazer por ter muito a dizer. Desmesurada vida, sim.
Sob a epígrafe de serem ficção três quartos da nossa vida, Jorge Silva Melo reúne, nestas quase 600 páginas, boa parte dos escritos dos seus quase 60 anos de vida, não cronologicamente mas pelo significado que cada assunto tratado, ou pessoa, teve em cada década. Formidável ideia essa, a de escrever as Memórias não agora, fechados os 50, mas desde sempre, de as ir escrevendo com os dias, para depois as arrebanhar e nos oferecer. Homem organizado.
É da homenagem a muitos seus contemporâneos que Jorge Silva Melo quer que as Memórias se façam; e nessa humildade de se encarar como mero figurante, o rapaz que assiste à vida lá do 2º balcão («nunca nos libertamos da adolescência, não é?»), está uma das lições deste livro a todos os títulos comovente: a consciência de que há gestos inaugurais que são absorvidos pela época que os suscitou, e que essa injustiça do presente nos pode calhar a nós.
Mesmo assim, mesmo sabendo que ninguém conhece aquilo que o futuro dele irá reter, Jorge Silva Melo entrega este livro, trabalho de toda uma vida e oportunidade de exposição e auto-valorização, aos que vieram antes. As memórias dele são essencialmente as memórias que ele guarda dos outros. E isso, neste país ingrato, trapaceiro e grandiloquente, é coisa de nos apertar o coração:
« Não andei, livre, a vagabundear, nem livre divago, nem foi, afinal, sozinho comigo e as bolhas nos pés que calcorreei Tates e Louvres, cinematecas e escadas para o galinheiro das óperas. Prolongo, filho eterno e demorado aluno, genes e lições (…) nada inventei, tudo me foi em segredo ditado (…) Vil tristeza, esta pobre identidade, nem o nariz é meu, nem aquilo que vejo fui eu a ver.»

Publicado por vm em 01:58 AM | Comentários (4)

abril 20, 2007

GUILHERMINA SUGGIA IN ENGLAND - A TALK GIVEN BY ANITA MERCIER - TEATRO DE SÃO CARLOS - 12 de MARÇO de 2007 (5)

Suggia was fluent in several languages. She spoke French, German and English as well Portuguese and occasionally all of these languages are used in a single letter. She had an amazing talent with languages and though she often apologized for her English, in fact she expressed herself beautifully in that language. Perhaps this is why she was encouraged to publish several articles in British publications while she was in London. The most important of these articles are two pieces on cello-playing that were published in the journal Music and Letters in the early 1920s.

These are indispensable sources of insight on Suggia’s musical philosophy. She said, for example, that some people have virtuoso technique but little musicality, while others have good musical instincts but little technique. If she had to choose between the virtuoso and the good musician with little technique, she would choose the musician. Suggia, of course, was someone who had it all: formidable technique and profound musicianship. The Music and Letters articles are published in Portuguese translation in Fatima Pombo’s book Guilhermina Suggia ou o violoncello luxuriante.

Another important aspect of Suggia’s life in England is the recordings she made there, mostly between 1925 and 1930. Unfortunately Suggia did not make many recordings, and that is one of the reasons why she is not better known today. Fortunately in 2004 Dutton Laboratories put out a remastered CD of recordings including the Haydn Cello Concerto in D, Bruch’s Kol Nidrei, the Lalo Cello Concerto and the Sammartini sonata in G major. Suggia’s recording of the Haydn Concerto in D is apparently the first ever recording of this concerto. It was recorded in July 1928 with an orchestra led by John Barbirolli.

I think that Suggia did not like to travel very much. She avoided the extensive touring that was and still is an exhausting feature of international music careers. When she lived in England she took trips to play in Portugal and Spain, but very rarely anywhere else. Her career was very much based in England. People often wonder why Suggia did not tour in America, as virtually all of her colleagues did. In fact, Suggia wanted to play in the United States and at various points she made plans to do so, right up to the end of her life. The closest she came was in 1927, when she agreed to play four concerts in several American cities including Washington, D.C. But at the last minute she cancelled the tour, and she never was introduced to American audiences. Which was a shame, because people were very eager to hear and get to know her.

I’ll finish this part of the story of Suggia at the point where she returned to live in Portugal after an absence of over 20 years. It is now the mid-1920s and Suggia is approaching middle age. At this point in her life Suggia is feeling a strong need to get in touch with her roots in Portugal. She left Portugal when she was still a teenager determined to become a great cellist. She worked hard and sacrificed a great deal, and by the age of 40 she could feel some satisfaction. She had achieved what she had set out to do. She certainly wasn’t ready to retire, but I think she felt the need to go back home. She had many friends in England, but even after 10 years it wasn’t really home. It was cold and wet. She wanted to be with her people in her sunny country speaking her language. Also, her parents were quite old increasingly in need of care. So in 1925 she bought a house for her parents in Porto, and shortly thereafter she became engaged to Dr. Jose Mena, and she settled in another house near her parents with him. I’d to leave you with this thought: being Portuguese meant everything to Suggia. She was relieved and very happy to return to live here, and she went on to have 25 more years as a great performer, teacher, and patron of the arts.
ANITA MERCIER

Publicado por vm em 12:00 AM | Comentários (0)

abril 19, 2007

GUILHERMINA SUGGIA IN ENGLAND - A TALK GIVEN BY ANITA MERCIER - TEATRO DE SÃO CARLOS - 12 de MARÇO de 2007 (4)

Another chapter of my book is about August John’s famous portrait of Suggia.
Edward Hudson commissioned this portrait as an engagement gift for Suggia. When the engagement was broken off, Suggia and John decided that they still wanted to go forward with the project. The painting was begun in 1920 and completed and first exhibited in 1923. Suggia said that she actually played the cello while she sat for the portrait in John’s studio, and that perhaps accounts for the very dynamic and dramatic quality of the portrait.

Suggia was already famous when John’s portrait was begun, and the public exhibition of the portrait made her even more of a celebrity. Today we are accustomed to live in a world ruled by images and icons. The stars and celebrities of today carefully control the image that is presented because image is everything; image is reality. In Suggia’s day the world was a little more innocent about the power of images, and I think that neither Suggia herself nor anyone else anticipated the huge impact that this painting had on her career. For the rest of her life she was described as the subject of the famous painting by Augustus John.
ANITA MERCIER


Publicado por vm em 01:13 AM | Comentários (0)

abril 18, 2007

GUILHERMINA SUGGIA IN ENGLAND - A TALK GIVEN BY ANITA MERCIER - TEATRO DE SÃO CARLOS - 12 de MARÇO de 2007 (3)

Some time during the War, it’s not clear exactly when, Suggia met a man who was to become a very loyal friend and protector: Edward Hudson. Some sources describe Hudson as a member of the British aristocracy – as “Lord Hudson.” In fact, he was solidly middle class in origin. He inherited a printing business from his father, and on the basis of that he built a small publishing empire that brought him great wealth. Hudson was a friend and patron of the architect Edwin Lutyens, who was commissioned to design several projects for Hudson, including renovations of Hudson’s home at 15 Queen Anne’s Gate in London and his castle Lindisfarne on Holy Island off the Northumberland coast.

Today Lindisfarne is a National Trust Property in England – a museum, essentially.

Aside from being a successful businessman, Hudson was an amateur cellist. He owned a 1717 Stradivarius cello that he gave to Suggia when they became engaged in 1919. It is sometimes reported that Hudson also gave Lindisfarne to Suggia, but I’ve never seen any evidence of that. It seems unlikely. It is a huge historic property, undoubtedly very expensive to maintain, and it is hard to imagine how Suggia could have taken on the responsibility of managing it.

In the end Hudson and Suggia did not marry, but they remained close friends, and she was a very happy visitor at Lindisfarne. By most accounts the castle wasn’t a very comfortable place to stay in, but Suggia loved it. She loved the ocean and the wildness of the place. It was a quiet haven for her, where she could get away from the noise of the city and the stress of the war and just play her cello.


At Lindisfarne there is a room called the Upper Gallery, where a stage-like platform was installed so that Madame Suggia could play for other houseguests at Lindisfarne. One such houseguest was the Bloomsbury writer Lytton Strachey, who met Suggia at Lindisfarne in 1919 and wrote a very memorable account of his time with her. Suggia was also known to other members of the Bloomsbury Group; both Virginia Woolf and Dora Carrington mention attending her performances in their diaries. One whole chapter of my book is on Suggia and Lindisfarne. I call this chapter “The Lady of the Castle” because that is what Lytton Strachey called her.

Anita Mercier

Publicado por vm em 12:00 AM | Comentários (0)

abril 17, 2007

GUILHERMINA SUGGIA IN ENGLAND - A TALK GIVEN BY ANITA MERCIER - TEATRO DE SÃO CARLOS - 12 de MARÇO de 2007 (2)

In addition to renting 19 and 19A Edith Grove, and putting them together, the Drapers also rented a third house right next door, number 17 Edith Grove. This they used as a guest house for visitors. This 17 Edith Grove is very interesting, because in fact the first fixed address we have for Suggia in London is 17 Edith Grove. There is a letter she wrote in 1917 that gives Edith Grove as the return address, so she was definitely living there by then; I believe she was living at 17 Edith Grove well before 1917, but I have no direct proof of this. The Drapers left London shortly after the war broke out, vacating the three houses on Edith Grove. How did Suggia come to live at 17 Edith Grove? How did that house pass from the Drapers to Suggia? I have no idea. Muriel Draper’s papers are stored at Yale University and I’ve looked into them, but I can find no evidence of transactions between the Drapers and Suggia on the question of 17 Edith Grove. In any case, 17 Edith Grove stands as a fascinating link between Suggia and an extraordinary moment in musical history in the “Draper cave.”

Suggia was definitely living in London by 1917, and by then she was already well-known and very highly respected. It was hard to build a career during World War I but that is exactly what Suggia did. As soon as the War ended and the pace of musical life picked up again, she was in enormous demand. She played at the best halls with the best conductors and accompanists. She was one of the preeminent solo musicians on the British stage in the 1920s.
(Anita Mercier)

Publicado por vm em 01:32 AM | Comentários (0)

abril 16, 2007

GUILHERMINA SUGGIA IN ENGLAND - A TALK GIVEN BY ANITA MERCIER - TEATRO DE SÃO CARLOS - 12 de MARÇO de 2007 (1)

Estou muito contente por estar convosco esta noite, neste
teatro onde Suggia brilhou como intérprete.
(...)Muito obrigada pela vossa presença.

Suggia was a great artist who had a very distinguished career from the time she was a child prodigy until her death in 1950. However, after her death she fell into the shadows. There simply was not a lot of information about her available. In the absence of real information, a lot of stories were told and many Suggia legends took shape. This began to change in the mid-1990s, when Fátima Pombo published two books on Suggia that made use of extensive use of documents stored in the municipal archive in Matosinhos and other documents in the hands of private individuals. Today, thankfully, we can talk about the life and career of Suggia in far more detail and with greater accuracy than we could in the past.

In thinking about what part of Suggia’s life story to talk about with you tonight, I decided to focus on her life in England from approximately 1914 through 1925. These were years of great achievement and high drama, and I thought that some of the details might be less familiar to people here in Portugal.

Prior to World War I Suggia lived in Paris with Pablo Casals. When their relationship ended Suggia eventually moved to London. I say “eventually” because we don’t know exactly when she moved there. Suggia told an interviewer that early in the War she worked as a nurse in France and went to England whenever possible because it was still possible to make music there.

Suggia and Casals visited England together. At some point they were drawn into a group of musical friends that met in the home of Muriel and Paul Draper in the Chelsea section of London. The Drapers were an American couple who moved to London so that Paul could work on his singing career. They were very sociable and charming and they wanted to create a home where musicians could gather and make music informally. So they rented two houses one behind the other, 19 and 19A Edith Grove, and they knocked out a wall in the basement between the two houses, creating the famous “cave.”

This was a room where some of the most famous musicians of the early 20th century would meet after concerts, late at night; and they would play together just for each other until the break of dawn. Musical regulars included pianists Benno Moiseiwisch, Arthur Rubinstein and Harold Bauer, cellists Felix Salmond and May Mukle, violinists Jacques Thibaud and Paul Kochanski, violist Lionel Tertis, Casals and Suggia and many other celebrated musicians. Eugene Goossens said that on one occasion Casals and Suggia went behind a screen so they couldn’t be seen, and each played the cello in turn, challenging the guests to identify which one was playing when. According to Goossens, nobody could tell the two cellists apart. This would have been just before the outbreak of the War, probably 1912 or 1913.
(ANITA MERCIER)

Publicado por vm em 12:00 AM | Comentários (0)

abril 15, 2007

CASA DA MÚSICA- SALA 2 - 18 de ABRIL 2007 - QUARTA-FEIRA- 19,30 H

Franck Ollu direcção musical
Anssi Karttunen violoncelo
António Pinho Vargas Six Portraits of pain,
para violoncelo e ensemble (2004)
Georges Benjamin Three Inventions
Wolfgang Rihm Chiffre II, Silence to be beaten
Ver :
http://www.antoniopinhovargas.com/critica_o.html#six
Ver Notas dispersas sobre Six Portraits of Pain
http://www.antoniopinhovargas.com/galeria.html


«Conta-se que Espinosa conservava o casaco rasgado pela faca assassina para se lembrar que o pensamento nem sempre era amado pelos homens» Gilles Deleuze

Anssi Karttunen, o violoncelista finlandês que estreou Six Portraits of Pain de António Pinho Vargas em 2005, está de regresso à Casa da Música para um concerto onde a obra será alvo da primeira gravação mundial em CD. Inspirado em textos de diferentes autores, Pinho Vargas foi «lançado» para a obra por um texto de Gilles Deleuze que o colocou perante a questão da liberdade de expressão na arte, na política, no pensamento...

A libertação das correntes dominantes da vanguarda europeia foi igualmente uma questão central na obra do compositor alemão Wolfgang Rihm, de quem escutaremos Silence to be beaten, peça pertencente ao seu mais importante ciclo composicional, Chiffre, escrito entre 1982 e 1988. O programa inclui ainda Three Inventions do inglês George Benjamin, obra com os surpreendentes efeitos de colorido instrumental próprios da sua escrita.

Franck Ollu direcção musical
Anssi Karttunen violoncelo

António Pinho Vargas Six Portraits of pain, para violoncelo e ensemble [encomenda da CM] (2004)
Georges Benjamin Three Inventions
Wolfgang Rihm Chiffre II, Silence to be beaten

Publicado por vm em 12:00 AM | Comentários (0)

abril 14, 2007

"LES SORCIERES /AS FEITICEIRAS" poema de MARIA TERESA HORTA Música de ANTÓNIO CHAGAS ROSA

feiticeiras 1.jpg
Alguém já ouviu esta obra, em Portugal? Alguém a viu à venda?
Pouca gente decerto. Penso que nunca foi tocada em Portugal (Em França, pelo menos, foi várias vezes. O Livro com o CD (que está à venda na Livraria Barata - à consignação, disseram-me!- é uma edição ACTES SUD/MUSICATREIZE e nele pode ler-se: " Avec le soutien du ministère de la Culture et de la Communication (DRAC PACA), du conseil régional PACA, du département des Bouches-du-Rhône, de la ville de Marseille et de la Fondation France Télécom, et de la participation de l'auditorium de la Casa musicale de Pigna".

Às vezes queria tanto ter nascido noutro país. Outras vezes não. Mas perante casos como estes queria mesmo. Portugal é pobre, mesquinho. Porque não quer o que tem de melhor. Sempre atirou fora os seus valores. E não pára. Bolas!
De quem é a culpa? Nossa. Dos portugueses, claro!

Publicado por vm em 12:03 AM | Comentários (4)

abril 13, 2007

TROBADA DE VIOLONCEL.LISTES "PAU CASALS"

home-1.jpg
El proper 14 d'abril tindrà lloc a la Vil•la Casals i l'Auditori Pau Casals de Sant Salvador, El Vendrell, la I Trobada de Violoncel•listes "Pau Casals" .
La trobada pretén realitzar un intercanvi d'experiències i de coneixements entre els professionals del violoncel i, al mateix temps, realitzar una activitat formativa i de difusió de la pràctica del violoncel. La trobada va adreçada a músics, professors i estudiants de grau mitjà i superior. És la primera acció d'aquestes característiques que es fa a Catalunya i a l'Estat espanyol. La trobada finalitzarà amb un concert obert al públic i, en homenatge al Mestre i a la pau, amb la interpretació del Cant dels ocells per part dels violoncel.listes participants a la jornada.

Informació i inscripcions al telèfon 977 68 42 76 i al correu electrònic fundacio@paucasals.org

Publicado por vm em 12:58 PM | Comentários (0)

A MADAME SUGGIA RECITAL

PROGRAMME OF MODERN WORKS – Masterly renderings

Madame Suggia followed her recent recital of old masters with a second recital yesterday at the Wigmore Hall, dedicated to modern, and comparatively modern, composers. Composers – not masters. A short piece of Dvorak and another, equally short by Debussy are not enough to give character to a programme in which are found the variations of Boëlmann, the Humoreske of Sinigaglia, the Serenade of Kreisler and the Habanera de Ravel – most trifling and least exquisite of the Ravel’s exquisite trifles.

But the quality of the music did not interfere to any appreciable extent with our pleasure. The touch of Mme Suggia is life, and even the Boëlmann variations acquire at her hands moments of beauty and moments of great interest. If there was no special beauty in the phrase, there was always great beauty in the phrasing; if the ornamentation was tawdry, its weakness was hidden by the grace and finish of the performance.

And in a way we were glad of this opportunity to give our whole attention to the technical aspects of the rendering. No doubt the greatest musical pleasure is only possible when a great player is matched by great music. But there is also a pleasure in seeing a past master at work on second–rate material, mending, re-fashioning, restoring, polishing, till its poverty is no longer apparent. When the master in question is Mme Suggia that pleasure may surpass expectation. F.B.

Publicado por vm em 12:00 AM | Comentários (0)

abril 12, 2007

REINOUD FORD - GUILHERMINA SUGGIA GIFT 2003

reinoud ford.jpg
Reinoud Ford started to play the cello at the age of eight as a student of Marina Logie in Sussex. In 1998 he was awarded a Scholarship to the Yehudi Menuhin School, where he studied with concert cellist Louise Hopkins. Reinoud received master-classes from Bernard Greenhouse, Mstislav Rostropovich, Gary Hoffmann and Johannes Goritzki, amongst others. Reinoud is an experienced chamber musician, most recently playing at the Fairfield Halls and the Wigmore Hall.

As a soloist, Reinoud has played at the Dorking Halls and the Wigmore Hall and has held several recitals, amongst others for The Guardian. He performed Haydn’s C Major Concerto with a Sussex orchestra at the age of sixteen, and, in the summer of 2003, played the concerto by C. P. E. Bach at the Menuhin Festival in Gstaad, Switzerland with the Menuhin School orchestra.
Reinoud has won the Guilhermina Suggia Gift 2003 and the Gwyneth George Prize (with Christoph Schuringa) from the Beethoven Piano Society of Europe in April 2004. He was runner-up in the Suggia competition in 2004. Reinoud continues his cello studies as a third-year student with Louise Hopkins at the Guildhall School of Music and Drama.
He is scheduled to play Dvorak’s Cello Concerto with the Jupiter Chamber Orchestra in November.

Publicado por vm em 12:35 AM | Comentários (0)

abril 11, 2007

CASA DA MÚSICA- 2º ANIVERSÁRIO

casa musica.jpg

Publicado por vm em 12:00 AM | Comentários (0)

abril 10, 2007

MADAME SUGGIA - THE ROYAL MAGAZINE ( data desconhecida)

As others see us”

Mme Suggia, the famous cellist can no more help showing in her looks her love for music than a mother can help showing her love for her child.
Touching the strings of the cello, this great musician becomes as if divine,”

Publicado por vm em 12:00 AM | Comentários (0)

abril 09, 2007

HAMELIN, de Juan Mayorga, no CONVENTO DAS MÓNICAS (a partir de 12/4) pelos ARTISTAS UNIDOS

hamelin aa.jpg

Publicado por vm em 09:52 AM | Comentários (0)

MADAME SUGGIA NO WIGMORE HALL- 10 de FEVEREIRO DE 1936

suggia - postal a.jpg
Wigmore Hall - SUGGIA – Recital – Monday
February 10, at 5,30 – Pianoforte GEORGE REEVES

(…) Those left-hand fingers like steel and velvet, that bowing like silk and thistledown. But Suggia the consummate stylist can never be taken for granted; she plays in a way that bestows freshness upon even the most hackneyed things.

One felt she had gone so deeply into the compositions played that she had reached the common denominator behind them – melody, that great life force of music. In a sonata by Valentini and two pieces by Boccherini, Suggia’s exquisite rendering of the melodic line taught one that in these old solo sonatas everything grew out of it, even the accompaniment was but an aura, thrown out from the melodic line.
Bach suite in G for cello alone went further, for he had designed the solo part to contain in itself the implications of melody, counterpoint, and centred so completely that one never noticed the absence of accompaniment.
She gave us another phrase of melody in Beethoven’s sonata in A Major for cello and piano. Here the concurrent melodic lines of the two instruments were carried on with an agreement in phrasing and a delicacy of contrasting timbres that delighted the imagination as much as they charmed the outer ear. Special recognition is due to Mr Reeves for the restraint he exercised over the bass of the piano, and for the peculiarly limpid quality of his treble cantilena. A group of cello solo pieces completed the programme.
MUSICAL TIMES – Março 1936

Publicado por vm em 12:00 AM | Comentários (0)

abril 08, 2007

"PÁSCOA: PORMENORES, PÃO E PERFUME" Risoleta Pinto Pedro

Conto-vos como foi o milagre:

Sabem como são as cidades, sabem como é a cidade: fumo de escapes, gente a dormir na rua, autocarros atrasados e sem conforto, mau atendimento nos locais públicos, trânsito caótico, pessoas de olhar vago, longínquo, como autómatos de filme de ficção científica, dejectos de animais pelo chão, pedras soltas nas calçadas, carros nos passeios, bancos e caixas Multibanco e publicidade por todo o lado em vez de jardins ou outros espaços convivenciais, enfim, uma espécie de manicómio. Face a isto, não temos muitas alternativas. Ou morremos, ou adormecemos como os tais autómatos, ou optamos pela terceira "alTREnativa", e temos de nascer outra vez, pela terceira vez (a primeira foi quando nascemos, a segunda quando sobrevivemos, e agora... esta): há quem lhe chame ressuscitar, houve um que até experimentou há dois milhares de anos, ou que pelo menos tentou, dizem que resultou, mas ainda hoje não se sabe o que lhe aconteceu. Talvez o que importa seja essa memória vaga do mito, esse relato de um episódio da história, ou da mitologia da humanidade, essa crença, para alguns, de que um ser se soltou da prisão, essa esperança em forma de símbolo. Andamos por aí, na cidade, e às vezes, por esta época a que chamam Páscoa (mas que pode ocorrer em qualquer altura, em qualquer estação do ano, em qualquer momento do dia ou da noite, porque a Páscoa é como o Natal, quando a gente quiser) os olhos abrem-se vagamente para sombras, vemos nuvens, passamos pelo meio de vultos, uma força invisível impele-nos para um lugar ainda não conhecido da cidade, um lugar onde a beleza habita. Abrem-se-nos os olhos e não vemos o todo, passamos pelas montras cheias de ovos de chocolate embrulhados em pratas coloridas mas já não somos sensíveis à monotonia do comércio, apercebemo-nos de pequenos pormenores: um azulejo muito belo, uma varanda de ferro forjado num rendilhado interessante, uma brisa no cabelo, a cor do céu, as formas das nuvens, o tom mutante do rio, um perfume de pão, um cheiro a coentros, um perfume de flores… de laranjeira! Nós, que nos pensávamos a sonhar, abrimos então os olhos, quando nos apercebemos que estes odores são demasiado reais para serem de um sonho. Estamos… em Sapadores!, uma das zonas mais abandonadas e degradadas da cidade, mas de mil padarias (só pode ser!) desprende-se o perfume de pão cozido que nos conforta as memórias desde que aparecemos neste planeta, e do mercado recolhemos pelo nariz a agradável presença dos frutos, dos legumes e das ervas de cheiro; saindo do mercado e atravessando a rua, entra-nos pelas narinas o aroma quente, terapêutico e milagroso das laranjeiras ali mesmo do outro lado da estrada, ao pé do pavilhão gimnodesportivo.

E foi assim. Este ano já tive a minha Páscoa, tudo o que vier a mais é um bem acolhido suplemento, mas a minha história de ressurreição já ninguém me tira. Também querem? Apanhem o 35 ou o 26 e vêm até Sapadores. Depois de passarem pelas sombras (sim, sim, é um percurso iniciático), pelas nuvens e pelos vultos, a coisa acontece. O caminho da ressurreição não é linear. Mas depois, podem entrar em qualquer pastelaria e comprar um ovo de Páscoa ficando a comê-lo devagarinho à vista do rio, lá em baixo.

Partilho convosco a pose que uma das laranjeiras, que as inúmeras flores fizeram para mim. O perfume, só mesmo experimentá-lo… Tenham uma Feliz Páscoa em qualquer canto da cidade, do país, do planeta ou do vosso coração.

www.risocordetejo.blogspot.com


Publicado por vm em 12:00 AM | Comentários (0)

abril 07, 2007

PEDRO PEREIRA- JOVEM PIANISTA PORTUGUÊS PREMIADO

pianista.jpg
"PÚBLICO" dd 07/04/2007

Publicado por vm em 01:16 PM | Comentários (3)

MÚSICOS DA ÓPERA DE BERLIM GRAVAM CD COM COMPOSITORES PORTUGUESES

António Victorino d’Almeida, Joly Braga Santos, Jorge Peixinho, Filipe de Sousa e José Viana da Motta são os compositores portugueses com peças integradas no álbum “Portugal - Klant der Welt”, gravado por músicos da Orquestra da Ópera de Berlim.
A Orquestra realiza desde 1998 um ciclo de música de câmara intitulado “Klant der Welt” (Sons do Mundo), tendo escolhido compositores de Portugal e Espanha na temporada de 2004/2005, data desta gravação.

O CD abre com o septeto de Vitorino d’Almeida para flauta, oboé, clarinete, trompa, fagote, piano e xilofone, seguido do Quarteto de cordas em Lá menor (opus 27) de Braga Santos composto em 1956. De Jorge Peixinho - falecido em 1995 - foram escolhidas cinco peças curtas para piano compostas em 1959. De Filipe de Sousa toca-se o quinteto para sopros, composto em 1957, e, finalmente, de Viana da Motta foi escolhido o Quarteto para cordas (opus 2) em Sol Maior.

Os músicos intervenientes, pertencentes ao Teatro de Ópera berlinense, distribuem-se por dois conjuntos, um quarteto e um quinteto. O quarteto, intitulado Eosander, foi buscar o seu nome ao arquitecto sueco do século XVII Johann Friedrich Nilsson Eosander, autor de vários palácios na capital alemã. O quinteto, Quintettsolisten der deutschen Oper Berlim, além dos músicos da Ópera, inclui instrumentistas da Sachsische Staatskapelle de Dresden. A edição discográfica é acompanhada por uma brochura com textos assinados por Carsten Jens, contextualizando a obra e apresentando cada um dos compositores.
CIMP




Publicado por vm em 12:00 AM | Comentários (0)

abril 06, 2007

AS SETE ÚLTIMAS PALAVRAS na CASA DA MÚSICA -

sem a.jpg

Publicado por vm em 09:06 AM | Comentários (0)

abril 05, 2007

SEMANA CULTURAL DE HOMENAGEM A EUGÉNIO DE ANDRADE

1175169255imag01af.jpg
ÁRVORE E CASA DA MÚSICA
11 A 18 DE ABRIL DE 2007

ÁRVORE -COOPERATIVA DE ACTIVIDADES ARTÍSTICAS

Publicado por vm em 12:45 AM | Comentários (0)

abril 04, 2007

GUILHERMINA SUGGIA COM CHAPÉU

GUIL_DE_CHAP_U.jpg
(Foto cedida por Isabel Millet)

Publicado por vm em 12:13 AM | Comentários (0)

abril 03, 2007

"BEMDITA AURORA...GUILHERMINA SUGGIA", de AFFONSO VARGAS (1901)

Sagrou-te Deus, minha gentil artista!
Jovem, já tens nessa cabeça loura
A doce luz – que só os astros doura,
E em que se enleva extasiada a vista

D’essas mãosinhas – que são mãos de fada,
Pendem suspensas ao escutar-te, as almas!
Vibra no espaço o estrondear das palmas,
E mal despontas na afanosa estrada!

Que serás ainda, oh ideial creança,
Filha dilecta a quem a glória ungiu?
Não sei, só sei que o coração sentiu
Nascer de novo o enthusiasmo e a Esp’rança!

28 de Março de 1901

Affonso Vargas

Publicado por vm em 12:00 AM | Comentários (0)

abril 02, 2007

PAU CODINA - 2004 LONDON GUILHERMINA SUGGIA AWARD

paucodinabio.jpg
Pau Codina neix a Barcelona l’any 1988. Va iniciar els seus estudis de violoncel als 5 anys, amb la professora Eulàlia Subirà, a l’Escola Municipal de Música de Manlleu.

Han estat els seus mestres: Ivan Chiffoleau, Daniel Grosgurin, Peter Thiemann i, en l’actualitat, treballa amb Louise Hopkins a la Escola Yehudi Menuhin. També ha rebut consells de Lluís Claret, Anner Bylsma, Franz Helmerson, Steven Isserlis i Mstislav Rostropovich.

Ha participat en nombrosos festivals internacionals, com ara el Machester Cello Festival, el Manchester Chamber Music Festival i el Kronberg Cello Festival.

Ha tocat arreu de Catalunya i Anglaterra, així com a Alemanya, en sales tant importants com el Royal Festival Hall, el Wigmore Hall, i l’Auditori Pau Casals del Vendrell (en motiu del Festival Internacional Pau Casals) i amb orquestres com l’Orquestra de Cambra d’Andorra, la Barcelona Sinfonietta, l’Orquestra de Cambra de l’Empordà, la Orquestra de Cambra de la Yehudi Menuhin School, la Südwestdeutsches Kammerorchester Pforzheim i l’Orquestra de Cambra Franz Liszt de Budapest.

Entre els premis obtinguts cal destacar el 1er premi del Concurs Guilhermina Suggia de Londres, i el premi “Bad Homburg Schloz-konzert” del Kronberg Cello Festival.

Ha estat becat per la Fundació Pau Casals l’any 2002, i per la Generalitat de Catalunya en tres ocasions.

Publicado por vm em 12:00 AM | Comentários (1)

abril 01, 2007

CIRCUITS SONORITIES FESTIVAL BELFAST - THE SMITH QUARTET - 24 de Abril

THE SMITH QUARTET

Programme

Joao Pedro Oliveira - Labrinto
Miguel Azguime - Paraitre Parmi
Emmanuel Nunes - Chessed III
Pedro Rebelo - new work
Steve Reich - Different Trains

Publicado por vm em 12:00 AM | Comentários (0)