Laura Espino Muñoz violino

Transcription

1 MERCOLEDÌ Aula Magna ORE 16:30 Entrata libera Laura Espino Muñoz violino 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 Laura Espino Muñoz Laura Espino Muñoz, nata nella città spagnola di Las Palmas, inizia lo studio del violino sotto la guida di Mariana Abacioaie presso il Conservatorio Profesional de Música de las Palmas de Gran Canaria. Continua gli studi con Carmen Nieves Ojeda Cabrera concludendo il percorso con la menzione d onore e con il Premio Extraordinario de Fin de Especialidad. Viene ammessa al Conservatorio Superior de Música de Aragón (CSMA) per studiare con Enrique Palomares Chofre e Pablo Suárez Calero, dove consegue il Diploma di violino con il massimo dei voti. Attualmente frequenta l ultimo anno del Master of Arts in Music Performance al Conservatorio della Svizzera italiana sotto la guida del Mº Massimo Quarta. Ha collaborato con l Orchestra della Svizzera Italiana (OSI), l Orquesta Sinfónica de Las Palmas e l Orquesta Clásica Santa Cecilia. È stata membro della Orchestra Nazionale Giovanile della Spagna (JONDE) dove è stata scelta per il Programma Iberorquestas Juveniles de la Secretaría General Iberoamericana (SODRE) in Uruguay. È stata spalla della Orchestra Giovanile di Gran Canaria (JOGC) e della Orchestra Sinfonica del CSMA. Ha collaborato con importanti formazioni cameristiche tra cui la Camerata del CSMA, l'academia para Nueva Música, 900 presente e l Orchestra Giovanile di Cantabria (JOSCAN). Si è perfezionata con i violinisti Nicolás Chumachenco, Stephan Picard, Shirly Laub, Rainer Schmidt, Mariana Sîrbu, Víctor Parra, David Peralta, Sergey Teslya, Janos Konrad, David Mata, Anne Marie North, Gaby Lester, Joaquín Torre, Andrew Sherwood, John Crawford, Michael Bochmann e Oksana Solovieva. Ha studiato quartetto d archi con il Quartetto Quiroga, musica da camera con Saiko Sasaki, musica contemporanea con Nacho de Paz, Arturo Tamayo e Giovanni Verrando e Tecnica Alexander con Rafael García. Ha suonato con musicisti quali Asier Polo, Nicolás Chumachenco, il Quartetto Quiroga, Pablo Villegas, Klaidi Sahatçi, Justo Sanz Hermida, José Franch- Ballester, Corrado Giuffredi e Enrique Bagaría. Ha lavorato con direttori come Juanjo Mena, Lorenzo Viotti, Giovani Antonini, Markus Poschner, Víctor Pablo Pérez, Alexander Lonquich, Cristóbal Soler, Jaime Martín, Juan Luis Martínez, José Ramón Encinar e Francesco Bossaglia. Ha partecipato a numerosi festival quali Festival dei Cori e delle Orchestre Giovanili a Firenze, Maggio Musicale Fiorentino, Musica Riva Festival a Riva del Garda, il Festival Internacional de Santander (FIS) e Música en La Almudaina a Palma de Mallorca. Per seguire gli studi del Master le è stata assengata una borsa di studio dalla Fundación Mapfre Guanarteme nell'anno 2016/17 e dalla Fundación BBVA nel 2017/18.

3 Olivier Messiaen Thème et variations per violino e pianoforte I. Thème Modéré II. Variazione 1 Modéré III. Variazione 2 Un peu moins odéré IV. Variazione 3 Modéré, avec éclat V. Variazione 4 Vif et passionné VI. Variazione 5 Très modéré Johannes Brahms Sonata n 3 in Re minore op. 108 per pianoforte e violino I. Allegro II. Adagio III. Un poco presto e con sentimento IV. Presto agitato Leonardo Bartelloni pianoforte Classe di violino di Massimo Quarta

4 I see colours when I hear sounds, but I don t see colours with my eyes. I see colours intellectually, in my head, described Messiaen to Claude Samuel in Olivier Messiaen (10 December April 1992) was a French composer who experienced a form of synesthesia: a perceptual condition in which one sense stimulates others involuntarily. He described how the intensity of colour depended on the octave it was played in, therefore the colour of a sound complex would become paler if higher, or darkened if lower; nevertheless, the colour would indeed change if transposed into a different pitch. This fact is a keystone to understand his work since he does not stick to any exact form of composition. His style is characterized by a deeply religious devotion and a full blending of emotional expressiveness with a highly intellectual organisation. He researched in the possible uses of modality and rhythm, taking in account other cultures like the Hindu, and examined the singing of wild birds, of which he notated rhythmic-melodic patterns every spring during sixty years in many countries around the world. There is a whole chapter about it in his treatise The technique of my musical language, where he wrote: Through the mixture of their songs, birds make extremely refined jumbles of rhythmic pedals. Their melodic contour, those of merles especially, surpass the human imagination in fantasy. He went down in history as a remarkably influential teacher of leading composers from the post-war generation, such as Karlheinz Stockhausen and Pierre Boulez. The second one, as he listened to Thème et variations, recalled: It was enough to inspire me with an immediate wish to study with him. I felt the force of his attraction immediately, as I say, at a single hearing. The piece was written as a wedding present for the violinist Claire Delbos, his first wife, whom he joined in marriage on 22 June The young couple premiered it exactly five months later, on 22 November of the same year. The dedication written in the score makes reference to the affectionate nickname Messiaen used for his wife: Mi. The choice of a classical theme and variations form and the conventional chamber music setting for violin and piano is uncommon in Messien s output; even so, this piece is representative of his early compositional technique and stylistic development. The work is modal, yet often employing tonal chords. The theme consists of a lyrical and tender melody played by the violin and supported by static chords in the piano. The following three variations build up in intensity and speed until the fourth one takes place, vif et passionné, which leads to the fifth and last variation: a restatement of the theme in fortissimo, played an

5 octave higher with fuller chords. Messiaen makes use of double counterpoint, canon and stretto, as well as melodic diminution and elimination to develop each section. Johannes Brahms (7 May April 1897) was a German composer and pianist. Despite the fact he was born in Hamburg, he did spend a considerable part of his life in Vienna, Austria. The Violin Sonata Op. 108 in D minor was composed between during the summer months he enjoyed by Lake Thun in the Bernese part of Switzerland. It was premiered in Budapenst 1888 by the Hungarian violinist Jenő Hubay (also known by his German name Eugen Huber) and himself at the piano. Its four movements differ from his other two previous violin sonatas, which only contain three movements each. It is dedicated to the famous conductor Hans von Bülow, who added J. Brahms to The Three B s together with Johann Sebastian Bach and Ludwig van Beethoven. Joseph Joachim s 1903 recordings may be a useful resource in order to understand what kind of sound inspired Brahms violin writing. Both shared similar concepts on rhythmic freedom and rubato usage within a steady pulse. In January 1886, Brahms wrote to him: I often cannot do enough pushing forwards and holding back (when conducting), in order to produce more or less the passionate or calm expression I want. Yet, he was afraid to specify such fluctuations in tempo in the score as it could encourage performers to exaggerate. He occasionally indicated terms that implied a modification of tempo such as animato, tranquillo, meno mosso or meno presto, still he also used other terms like espressivo, dolce or sotto voce which are not associated with these tempo variations but could suggest them if necessary to accomplish the new character or sound nuance. The British pianist Fanny Davies wrote (described) about him: he was most particular that his marks of expression (always as few as possible) should be the means of conveying the inner musical meaning. The sign as used by Brahms, often occurs when he wishes to express great sincerity and warmth, applied not only to tone but to rhythm also. (...) He would prefer to lengthen a bar or phrase rather than spoil it by making up the time into a metronomic bar. Such resource is exploited during the sonata, particularly in the 1 st movement. E.g. 1 st movement, bar 3

6 Brahms was often opposed to specify metronomic marks in his pieces; he only provided them when good friends have talked me into putting them there, for myself have never believed that my blood and a mechanical instrument go well together, as he stated to George Henschel. Although he may have noted them down in his autographs, they were frequently deleted from the published editions and substituted by Italian tempo terms as guidance in movements or sections. Another singularity of the German mid to late 19 th century type of sound was the perfect legato. There was a strong inclination for long and connected phrases which where shaped by dynamic nuances instead of physical separation of phrase units. Therefore, composers had to use staccato marks to indicate articulation or a real break in the sound when necessary, as seen in the 1 st and 3 rd movement of the sonata. E.g. 1st movement, bar 62