Cor Montserrat
XLI Concert de la Mare de Déu de Montserrat
PROGRAMA:
SEVEN PARTSONGS - Charles Villiers Stanford
SIX CHANSONS - Paul Hindemith
UBI CARITAS - Maurice Duruflé
ELI! ELI! - György Deák Bárdos
GIVE UNTO THE LORD - Edward Elgar
AVE VERUM - Edward Elgar
GREAT IS THE LORD - Edward Elgar
INTÈRPRETS:
COR MONTSERRAT
JORDI FIGUERAS, orgue
LLORENÇ CASTELLÓ, director
Divendres 27 d'abril, a les 10 de la nit
Església de Sant Pere de Terrassa
...
9 comentaris:
Qui és aquest Edward Elgar?
Sir Edward Elgar, (2 de juny 1857 – 23 de febrer 1934) compositor anglès. La seua principal obra orquestral, Variacions Enigma, va ser rebuda amb entusiasme. També va compondre oratoris, música de cambra, simfonies i obres concertants. Entre les seues composicions van aconseguir una gran popularitat les Marxes de Pompa i Circumstància d'entre les quals, la Núm. 1 conté en el seu trio la melodia que es canta amb els versos "Land of Hope and Glory (Terra d'Esperança i Glòria)". És tradició la seua interpretació en la darrera nit d'Els Proms. Va rebre el títol de "Mestre de música de Sa majestat Britànica" l'any 1924.
Una altra biografia d'aquest home. És en portugués, però força comprensible
Sir Edward William Elgar, (2 de Junho de 1857 - 23 de Fevereiro de 1934) foi um compositor britânico, nascido em Broadheath, Worcestershire.
Filho de um afinador de pianos, e rodeado de música e instrumentos musicais na loja do pai em na Worcester High Street, o jovem Edward foi auto-didacta em música. No Verão levava nos seus passeios música para estudar, iniciando uma forte ligação entre música e natureza.
Deixando a escola aos 15 anos, começou por trabalhar com um advogado local, mas após um ano enveredou por uma carreira musica, aprendendo piano e violino. Aos 22 anos tornou-se chefe de banda no Worcester and County Lunatic Asylum, perto de Worcerter. Foi primeiro violino nos festivais de Worcester e Birmingham, e chegou a tocar a Sexta Sinfonia e o Stabat Mater de Antonin Dvorak sob a direcção do próprio compositor. Agradou-lhe especialmente, e influenciou-o bastante o estilo de orquestração de Dvorak.
Aos 29, através da actividade de ensino, conheceu a sua futura mulher Caroline Alice Robers, poetisa e escritora. Casaram-se três anos depois contra a vontade da família dela, e a prenda de Edward para Caroline foi a peça para violino e piano Salut d'amour. Os Elgars passaram a residir em Londres, centro da vida musical inglesa. Após algum tempo, constataram que não podiam subsistir apenas com o trabalho de compositor de Edward, pelo que ele retomou o ensino de música.
Durante a década de 90 do século XIX, Elgar construiu uma sólida reputação como compositor, especialmente de obra vocal para os festivais musicais das Midlands. The Black Knight, King Olaf (1896), The Light of Life e Caractacus tiveram algum sucesso, o que lhe permitiu obter um lugar de editor musical.
Em 1899, aos 42 anos de idade, compôs o seu primeiro grande trabalho orquestral, as Variações Enigma, estreadas em Londres dirigidas por Hans Richter. Recebendo o aplauso geral, Elgar tornou-se o compositor britânico mais conhecido da época. Este trabalho entitula-se Variations on an Original Theme (Enigma). O enigma é que, embora haja treze variações do tema original ('enigma'), este nunca é ouvido. Em 1900 estreou em Birmingham a versão coral do poema do Cardeal Newman The Dream of Gerontius. Apesar da desastrosa estreia, a obra foi posteriormente reconhecida como uma das maiores de Elgar.
Elgar é principalmente conhecido pelas Marchas de Pompa e Circunstância (1901). Após compô-las, foi-lhe pedido para adaptar a letra de A. C. Benson para uma Ode à Coroação do Rei Eduardo VII de Inglaterra. O resultado foi Land of Hope and Glory.
Entre 1902 e 1914 Elgar teve um sucesso estrondoso, visitou quatro vezes os E.U.A., e ganhou bastante dinheiro com os direitos da sua obra. Entre 1905 e 1908 foi Professor de Música na Universidade de Birmingham.
A sua Sinfonia No. 1 (1908) foi cem vezes tocada no primeiro ano. Com a chegada da I Guerra Mundial, a música de Elgar ficou um pouco fora de moda, e, depois de ficar viúvo em 1920 pouco mais compôs. Pouco antes de falecer compôs o magnífico e elegíaco Concerto para Violoncelo. Talvez isto sugira que Alice Elgar era a sua principal influência e impulsionadora do seu êxito.
Armado cavaleiro em 1904 e tornado baronete em 1931. Em 1932, trabalhou como o jovem e talentoso violinista Yehudi Menuhin, que na altura tinha apenas 16 anos de idade, na gravação do seu Concerto para violino.
No fim da vida iniciou uma ópera e aceitou a proposta da BBC para compor uma Terceira Sinfonia. Esta encomenda foi persuadida pelo seu amigo George Bernard Shaw, a quem Elgar tinha dedicado a obra Severn Suite. A sua doença terminal impediu-o de a completar mas os esboços que deixou permitiram a Anthony Payne completá-la ao estilo do compositor. Morreu no dia 23 de Fevreiro de 1934. No espaço de apenas dois meses morreram outros dois importantes compositores ingleses – Gustav Holst e Frederick Delius.
Els interessats per la cultura i la música irlandesa agraim la interpretació d'un tema de Charles Villiers Stanford.
Aquí va la seva biografia
Sir Charles Villiers Stanford (September 30, 1852 – 29 March 1924) was an Irish composer.
Stanford was born in Dublin, the only son of John Stanford, examiner in the Court of Chancery (Dublin) and clerk of the Crown, County Meath. Both parents were accomplished amateur musicians; his father sang bass and his mother was a pianist. Charles trained under R. M. Levey (violin), Miss Meeke, Mrs Joseph Robinson, Miss Flynn and Michael Quarry (piano); and Sir Robert Stewart taught him composition and organ. His precocious ability was recorded in an article in The Musical Times in December 1898.
He came to London as a pupil of Arthur O'Leary and Ernst Pauer in 1862, and in 1870 won a scholarship to Queens' College, Cambridge, moving to Trinity College in 1873, and succeeding J. L. Hopkins as college organist, a post he held until 1892. His appointment as conductor of the Cambridge University Musical Society gave him great opportunities, and the fame which the society soon obtained was in the main due to Stanford's energies.
At that time women were not allowed in the chorus, but during his tenure many interesting performances and revivals took place. From 1874 to 1877 he was given leave of absence for part of each year to complete his studies in Germany, where he studied with Carl Reinecke and Friedrich Kiel. He took his BA degree in 1874 and MA in 1878, and was given the honorary degree of D.Mus. at Oxford in 1883 and at Cambridge in 1888.
He first became known as a composer with his incidental music to Tennyson's Queen Mary (Lyceum, 1876); and in 1881 his first opera, The Veiled Prophet, was given at Hanover (revived at Covent Garden, 1893); this was succeeded by Savonarola (Hamburg, April, and Covent Garden, July 1884), and The Canterbury Pilgrims (Drury Lane, 1884). A long interval separates these from his later operas: Shamus O'Brien, a delightful piece of Irish dramatic writing (Opera Comique, 1896) Much Ado About Nothing (Covent Garden, 1901), The Critic (Shaftesbury Theatre, London, 1916), and The Travelling Companion (David Lewis Theatre, Liverpool, 1925).
He was appointed professor of composition at the Royal College of Music in 1883; was conductor of the Bach Choir from 1886 to 1902; was professor of music at Cambridge, succeeding Sir G. A. Macfarren from 1887; conductor of the Leeds Philharmonic Society from 1897 to 1909, and of the Leeds Festival from 1901 to 1910. He was knighted in 1902.
Stanford was particularly known in his day for his choral works, chiefly commissioned for performances at the great English provincial festivals. These include two oratorios, a requiem (1897), a Stabat Mater (1907), and many secular works, often with a nautical theme, including The Revenge (1886), The Voyage of Maeldune (1889), Songs of the Sea (1904), and Songs of the Fleet (1910). His church music still holds a central place among Anglican compositions; and his editions of Irish and other traditional songs were well known.
His instrumental works include seven symphonies, six Irish Rhapsodies for orchestra, several works for organ, concertos for violin, clarinet, and piano, and many chamber compositions, including eight string quartets. He also composed songs, part-songs, madrigals, and incidental music to the Eumenides and Oedipus Rex (as performed at Cambridge), as well as to Tennyson's Becket. His music shows the influence of Brahms and Schumann, and to a lesser extent of Irish folk music; he was generally unsympathetic to more modern developments. Although there has recently been a revival of interest in his larger works after a long period of neglect, his chief importance is often held to be as a teacher of many English composers of the next generation, including Holst, Vaughan Williams, Frank Bridge, Samuel Coleridge-Taylor and Herbert Howells. He was notoriously irascible and quarrelled with many of his contemporaries, including Elgar, Sullivan and Parry. He published several books, including an autobiography, Pages from an Unwritten Diary (1914).
Una biografia més resumida i en francès de Standford:
Sir Charles Villiers Stanford est un compositeur irlandais, né le 30 septembre 1852 à Dublin et décédé le 29 mars 1924 à Londres
Fils d'un éminent juriste à la chancellerie de Dublin, Stanford est élevé dans un milieu musical où ses deux parents sont des musiciens chevronnés ; son père s'intéresse plus particulièrement au chant tandis que sa mère est pianiste. Il étudie l'orgue et la composition auprès de Robert Stewart. Ses talents précoces ont été relatés dans un article du Musical Times de décembre 1898.
Il se rend à Londres en 1862 pour étudier avec Arthur O'Leary et Ernst Pauer, avant de parvenir en 1870 au prestigieux Queens' College de Cambridge, puis au Trinity College en 1873 où il est notamment organiste jusqu'en 1892. Sa nomination au poste de directeur de la société musical de l'université de Cambridge lui offre une notoriété certaine.
Entre 1874 et 1877, il passe quelques semaines d'études en Allemagne afin de parfaire sa technique de composition avec Carl Reinecke et Friedrich Kiel, avant d'obtenir ses diplômes universitaires à Cambridge. Il rencontre le violoniste Joseph Joachim et le chef d'orchestre Hans von Bülow qui le soutiendront avec constance.
Engagé comme professeur de composition au Royal College of Music en 1883, il devient également chef du Bach Choir de 1886 à 1902, professeur de musique à Cambridge, à partir de 1887. Il est aussi chef de l'Orchestre philharmonique de Leeds de 1897 à 1909, ainsi que du festival de Leeds de 1901 à 1910.
Parmi ses élèves, on retrouve les compositeurs Arthur Bliss, Herbert Howells, John Ireland, Gustav Holst, George Dyson, Ernest John Moeran, Rebecca Clarke et le chef d'orchestre Eugene Goossens.
Avec Hubert Parry et surtout Edward Elgar, il est l'un des compositeurs emblématique de la période victorienne.
La popularitat de la música tradicional irlandesa ha eclipsat els compositors clàssics. Per tant, és tot un encert que el Cor Montserrat canti Standford
LA MÚSICA CLÀSSICA IRLANDESA
While Irish traditional music, and more recently rock music, have gained such an international following, Irish classical music has had a long struggle to become accepted. Some music comes from the world between popular and classical music. One well-known example is the internationally renowned choir Anúna, with its unique and unusual sound and stage show.
Ciarán Farrell.Composer Ciarán Farrell is also breathing new life into the international classical music scene with his fresh and original style, drawing from a wide range of influences that cross the boundaries of Jazz, Rock, Folk and Classical genres.
Anuna.Despite the enormous international successes of Irish performers in the fields of traditional and rock music, classical Irish music has struggled hard over the last 100 years to gain a strong and secure foothold in the psyche of the Irish people though groups such as The West Ocean String Quartet, The Musicians of Prey, The Crash Ensemble and the young vocal group Bulraga are beginning to change that. Music education at school level is not a core subject either but in recent years the Leaving Certificate [Ireland's final year exams at secondary level] has introduced a more populist curriculum in Musicianship.
Groups such as Anúna, Camerata Ireland, Opera Theatre Company and the Irish Chamber Orchestra have had considerable international success. There is a National Symphony Orchestra of Ireland of very good quality [managed and run by RTÉ the Irish National broadcaster], a classical music radio station Lyric FM, but beyond this Irish classical artists have to struggle for any recognition in their own country. Many of them seek education and work beyond the boundaries of Ireland!
Ceol traidisiúnta na hÉireann
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Tá an ceol traidisiúnta lárnach do chultúr na hÉireann agus is féidir é a chloisteáil go rialta má chaitheann tú seal sa tír. In sna pubanna is mó a thionóltar na séisiúin ceoil agus de ghnáth cuirtear fáilte roimh gach aon cheoltóir.
Ceol rince, den chuid is mó, is ea ceol traidisíúnta na hÉireann ach san lá atá inniu ann is minic a sheinntear é don lucht éisteachta amháin - gan rinceoirí ar bith. Tá cineáil eagsúla foinn le cloisteáil ach is fearr le ceoltóirí ríleanna agus poirt a sheinm. Is fearr ar féidir leo a gcumas a thaispeáint agus iad ag triall ar na túin siúd.
Níl aon notaí ceoil le feiceáil os comhair ceoltóirí traidisiúnta mar tá gach aon tún ar aithris acu. Ní raibh na ceoltóirí in ann notaí a léamh san am atá caite agus bíonn lucht an lae inniu beag beann orthu freisin. Is iad an fhidil, an cairdín, an fheadóg agus an bainseo na uirlisí ceoil is minice a bhíonn idir láimhe acu.
Más maith leat ceol taifeadta a cheannach tá go leor grúpaí anois ag déanamh an cheoil go gairmiúil. Tá clú agus cáil bainte amach ar feadh na blianta ag The Chieftains, grúpa a chloíann leis an bhfíor traidisiún ach atá ag éirí aosta anois. Tá ceoltóirí nua-aimseartha cosúil leis an sár-boscadóir, Sharon Shannon, ag taisceál a gceird agus go nadúrtha tá tionchar mór orthu ón pop-cheoil agus ceol tíre ó thíortha eile. Grúpaí eile mór le rá is ea Clannad, Dervish agus Kíla. Ceoltóirí eile clúiteachta is iad Máire Brennan, Altan agus Na Chieftains
(És un article que resum la història de la música irlandesa. De la Wikipèdia en gaèlic irlandès.)
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