Theophilus Tan violoncello

Transcription

1 VENERDÌ Aula Magna ORE 16:30 Entrata libera Theophilus Tan violoncello Recital per il conseguimento del Master of Arts in Music Performance Conservatorio della Svizzera italiana Scuola universitaria di Musica Via Soldino 9 CH-6900 Lugano T +41 (0) eventi@conservatorio.ch

2 Theophilus Tan Il violoncellista di Singapore, Theophilus Tan, studia attualmente presso il Conservatorio della Svizzera italiana con Enrico Dindo, frequentando il Master of Arts in Music Performance. Si è laureato presso il Conservatorio Musicale di Yong Siew Toh con un diploma di laurea nel 2015, studiando con Ng Pei Sian, violoncellista principale della Singapore Symphony Orchestra. Theophilus ha iniziato a imparare il violoncello all'età di 15 anni con Herminia A Ilano e ha anche studiato con Jiang Li Xing, Lu Xin e Zhang Yi Hao. Da allora ha partecipato a masterclass con professori e docenti come Frans Helmerson, Arto Noras, Martti Rousi, Niklas Schmidt, Bernhard Gmelin, Lluis Claret, Laurence Lesser, Reinhard Latzko, Franz Bartolomey, Natalie Clein, David Takeno, Espen Lilleslatten, Howard Penny, Imbal Meggido, Linc Smelser, Nicholas Tzavaras e Janis Laurs. Theophilus ha suonato con ensemble professionali come il resound collettivo, l'orchestra del festival metropolitano. Ha eseguito il Concerto di violoncello di Haydn in D Major con l'orchestra Sinfonica di Braddell Heights a Singapore. Ha anche suonato in ensemble di musica contemporanea e come musicista di musica da camera, ha partecipato al coaching del Quartetto di Takacs, del Quartetto di Shanghai, del Fournier Trio e dei musicisti dell'orchestre des Champs-Élysées.

3 Dmitri Shostakovich Sonata in Re minore op. 40 per violoncello e pianoforte I. Allegro non troppo II. Allegro III. Largo IV. Allegro Astor Piazzolla Le grand tango per violoncello e pianoforte Monica Cattarossi pianoforte Classe di violoncello di Enrico Dindo

4 Dmitri Shostakovich Sonata for Cello & Piano in D minor Op. 40 Dmitri Shostakovich composed his cello sonata in d minor, op.40 in It was one of his early works, just before he faced censures from the Soviet government in his music. This period of time was a huge emotional struggle for him because he was censured by the Soviet Authorities for his music, for example the opera Lady Macbeth. At the same time, he had fallen in love with a young student in Leningrad featuring his opera Lady Macbeth. This led to a divorce with his wife Nina, and he wrote the piece during their separation in August. It was premiered on 25 December in Moscow by his close friend and cellist Viktor Kubatsky whom which the piece was also dedicated to. The sonata comprises of four movements. The first movement Allegro non troppo opens with a cantabile theme which then leads to more rhythmical and agitated motives. It then continues to alternate between lyrical passages and rhythmic motives before the main theme returns in half the tempo with the use of the mute, con sordino. The second movement, Allegro opens with a relentless and agitated pattern of a few notes put together with a strong and rhythmic piano melody. The use of glissando and harmonics on the cello add an interesting effect to the piece while Shostakovich retains the hint of a waltz with a triple time meter. The third movement Largo is deeply introspective and emotional, with long melody lines and the use of various harmonies such as dissonance to create a transition between each section of the music. Lastly, the final movement Allegro is lively and hints of sarcasm in this music. Both the cello and piano have brilliant technical passages before the piece concludes in a resounding and dramatic fashion.

5 Astor Piazzolla Le Grand Tango Written in 1982 by the Argentinian composer Astor Piazzolla, Le Grand Tango was composed for the Russian Cellist Mstislav Rostropovich who did not play it until This piece demonstrates the spirit of nuevo tango, which combines traditional tango rhythms and jazz. It was published in France, hence its title Le Grand Tango Astor Piazzolla studied composition with Nadia Boulanger in Paris where he was advised to stay with Tango music instead of traditional Classical compositions. Although this piece is written in one movement, but it can be divided into three different section. The first section is in the style of a tango, with its syncopated rhythms and running passages whereas in the second section, it is more cantabile and lyrical, with deeply emotional melody lines. The final section is in a Jazzy style with humour, with the composer indicating giocoso in the score. It finally ends with a dramatic effect rapidly.