От дълго време не бях ходил на толкова приветливо събитие. Атмосферата в залата - интимна, и това не беше заради местоположението ми (първи ред по средата). Доловяваха се и най-малките не-музикални звуци, идващи от инструментите. А музикантите се справиха добре и на авангардните композиции.
Впрочем, музикантите бяха:
Ваня Балабанова - цигулка
Спаска Боянова - виола
Анет Артинян - виолончело
Екатерина Попова - флейта
Антоний Попов - обой
А програмата бе следната:
1. Франц Кромер - Квартет ре мажор, оп. 75 за флейта, цигулка, виола и виолончело
- Allegro Moderato
- Menuetto
- Adagio
- Alla Polacca
Информация за композитора има тук: Клик
2. Бенджамин Бритън - Фантазия за обой, цигулка, виола и виолончело
Информация за Бритън ще откриете след двете точки: Benjamin Britten
3. Лудвиг ван Бетовен - Едночастна соната за виола и виолончело
Бетовен в Уикипедия тук
4. Алберто Хинастера - Дует за флейта и обой
- Sonata
- Pastorale
- Fugue
Повече за Хинастера: Алберто Хинастера
5. Хейтор Вила-Лобос - Дует за флейта и виолончело
- Allegro
- Adagio
- Vivo
Вила-Лобос: Енциклопедията
6. Астор Пиацола - Фуга и Мистерия за флейта, обой, цигулка, виола и виолончело
(изпълнено по аранжимент на Алексей Измирлиев)
В перкусиите е истината.
Информация за Пиацола ще намерите тук: Астор Пиацола
Така изглеждаше всичко на сцената малко след края:
След всичко това имаше много слънце днес в Пловдив, а това е идеалната предпоставка за разходка. Благодарен съм на Христо за идеята, както и на Айтен за светкавичното реагиране, и на музикантите (last but not least).
И така заради няколкото часа навън, моята Неделя стана хубава. Дано и вашата е била такава.
.....
"Chamber music"
I
n.
Compositions traditionally intended for performance in a private room or small concert hall and written for an instrumental ensemble, such as a trio or quartet, with one player for each part.
II
n.
Ensembles develop a close intimacy of shared musical experience. "It is on the concert stage where the moments of true intimacy occur," writes Steinhardt. "When a performance is in progress, all four of us together enter a zone of magic somewhere between our music stands and become a conduit, messenger, and missionary... It is an experience too personal to talk about and yet it colors every aspect of our relationship, every good-natured musical confrontation, all the professional gossip, the latest viola joke."
The playing of chamber music has been the inspiration for numerous books, both fiction and nonfiction. An Equal Music by Vikram Seth, explores the life and love of the second violinist of a fictional quartet, the Maggiore. Central to the story is the tensions and the intimacy developed between the four members of the quartet. "A strange composite being we are [in performance], not ourselves any more, but the Maggiore, composed of so many disjunct parts: chairs, stands, music, bows, instruments, musicians..." The Rosendorf Quartet, by Natan Shaham, describes the trials of a string quartet in Palestine, before establishment of the state of Israel. For the Love of It by Wayne Booth, is a nonfictional account of the author's romance with cello playing and chamber music.
"Matinee"
I
(Music / Classical Music) music for performance by a small group of instrumentalists.
III
n.
serious music performed by a small group of musicians.
Това бяха трите дефиниции от The Free Dictionary
Тук съм прикачил и любопитна информация от Уикипедия
A 1516 woodcut depicting Plato, Aristotle, Hippocrates and Galen playing a quartet on viols
Chamber music is a form of classical music, written for a small group of instruments which traditionally could be accommodated in a palace chamber. Most broadly, it includes any art music that is performed by a small number of performers with one performer to a part. The word "chamber" signifies that the music can be performed in a small room, often in a private salon with an intimate atmosphere. However, it usually does not include, by definition, solo instrument performances.
Because of its intimate nature, chamber music has been described as "the music of friends." For more than 200 years, chamber music was played primarily by amateur musicians in their homes, and even today, when most chamber music performance has migrated from the home to the concert hall, there are still many musicians, amateur and professional, who continue to play chamber music for their own pleasure. Playing chamber music requires special skills, both musical and social, which are different from the skills required for playing solo or symphonic works.
Johann Wolfgang von Goethe described chamber music (specifically, string quartet music) as "four rational people conversing." This conversational paradigm has been a thread woven through the history of chamber music composition from the end of the 18th century to the present. The analogy to conversation recurs in descriptions and analyses of chamber music compositions.
From its earliest beginnings in the Medieval period to the present, chamber music has been a reflection of the changes in the technology and the society that produced it.
The turn of the 19th century saw dramatic changes in society and in music technology which had far-reaching effects on the way chamber music was composed and played.
The collapse of the aristocratic system. Throughout the 18th century, the composer was normally an employee of an aristocrat, and the chamber music he composed was for the pleasure of and the performance by aristocratic amateurs. Haydn, for example, was an employee of the Count Nikolaus Esterházy, a music lover and amateur baryton player, for whom Haydn wrote many of his string trios. Mozart wrote three string quartets for the King of Prussia, Frederick William II, a cellist. Many of Beethoven's quartets were first performed with patron Count Andrey Razumovsky on second violin. Boccherini composed for the king of Spain.
With the bankruptcy of the aristocracy and new social orders throughout Europe, composers increasingly had to make their own ways by selling and performing their compositions. They often gave subscription concerts, renting a hall and collecting the receipts from the performance. Increasingly, chamber music was written not only to be performed by rich amateurs, but to be performed by professional musicians to a paying audience.
Changes in the structure of stringed instruments. At the beginning of the 19th century, luthiers developed new methods of constructing the violin, viola and cello, that gave these instruments a richer tone, more volume and more carrying power. Also at this time, bowmakers made the violin bow longer, with a thicker ribbon of hair under higher tension. This improved the projection of the instrument, and also made possible new bowing techniques. In 1820, Louis Spohr invented the chinrest, which gave violinists more freedom of movement in their left hands, for a more nimble technique. These changes contributed to the effectiveness of public performances in large halls, and expanded the repertoire of techniques available to chamber music composers.
The invention of the pianoforte. The pianoforte was actually invented by Bartolomeo Cristofori at the beginning of the 18th century, but not until the end of that century, with technical improvements in its construction, did it become an effective instrument for performance. The improved pianoforte was immediately adopted by Mozart and other composers, who began composing chamber ensembles with the piano playing a leading role. The piano was to become more and more dominant through the 19th century, so much so that many composers, such as Franz Liszt and Frédéric Chopin, wrote almost exclusively for piano solo.
Many performers contend that the intimate nature of chamber music playing requires certain personality traits.
David Waterman, cellist of the Endellion Quartet, writes that the chamber musician "needs to balance assertiveness and flexibility." Good rapport is essential. Arnold Steinhardt, first violinist of the Guarneri Quartet, notes that many professional quartets suffer from frequent turnover of players. "Many musicians cannot take the strain of going mano a mano with the same three people year after year."
Mrs. Norton, a violinist who studied quartet playing with the Kneisel Quartet at the beginning of the last century, goes so far that players of different parts in a quartet have different personality traits. "By tradition the first violin is the leader" but "this does not mean a relentless predominance." The second violinist "is a little everybody's servant." "The artistic contribution of each member will be measured by his skill in asserting or subduing that individuality which he must possess to be at all interesting."
Players of chamber music, both amateur and professional, attest to a unique enchantment with playing in ensemble. ""It is not an exaggeration to say that there opened out before me an enchanted world," writes Walter Willson Cobbett, devoted amateur musician and editor of Cobbett's Cyclopedic Survey of Chamber Music.Because of its intimate nature, chamber music has been described as "the music of friends." For more than 200 years, chamber music was played primarily by amateur musicians in their homes, and even today, when most chamber music performance has migrated from the home to the concert hall, there are still many musicians, amateur and professional, who continue to play chamber music for their own pleasure. Playing chamber music requires special skills, both musical and social, which are different from the skills required for playing solo or symphonic works.
Johann Wolfgang von Goethe described chamber music (specifically, string quartet music) as "four rational people conversing." This conversational paradigm has been a thread woven through the history of chamber music composition from the end of the 18th century to the present. The analogy to conversation recurs in descriptions and analyses of chamber music compositions.
From its earliest beginnings in the Medieval period to the present, chamber music has been a reflection of the changes in the technology and the society that produced it.
The turn of the 19th century saw dramatic changes in society and in music technology which had far-reaching effects on the way chamber music was composed and played.
The collapse of the aristocratic system. Throughout the 18th century, the composer was normally an employee of an aristocrat, and the chamber music he composed was for the pleasure of and the performance by aristocratic amateurs. Haydn, for example, was an employee of the Count Nikolaus Esterházy, a music lover and amateur baryton player, for whom Haydn wrote many of his string trios. Mozart wrote three string quartets for the King of Prussia, Frederick William II, a cellist. Many of Beethoven's quartets were first performed with patron Count Andrey Razumovsky on second violin. Boccherini composed for the king of Spain.
With the bankruptcy of the aristocracy and new social orders throughout Europe, composers increasingly had to make their own ways by selling and performing their compositions. They often gave subscription concerts, renting a hall and collecting the receipts from the performance. Increasingly, chamber music was written not only to be performed by rich amateurs, but to be performed by professional musicians to a paying audience.
Changes in the structure of stringed instruments. At the beginning of the 19th century, luthiers developed new methods of constructing the violin, viola and cello, that gave these instruments a richer tone, more volume and more carrying power. Also at this time, bowmakers made the violin bow longer, with a thicker ribbon of hair under higher tension. This improved the projection of the instrument, and also made possible new bowing techniques. In 1820, Louis Spohr invented the chinrest, which gave violinists more freedom of movement in their left hands, for a more nimble technique. These changes contributed to the effectiveness of public performances in large halls, and expanded the repertoire of techniques available to chamber music composers.
The invention of the pianoforte. The pianoforte was actually invented by Bartolomeo Cristofori at the beginning of the 18th century, but not until the end of that century, with technical improvements in its construction, did it become an effective instrument for performance. The improved pianoforte was immediately adopted by Mozart and other composers, who began composing chamber ensembles with the piano playing a leading role. The piano was to become more and more dominant through the 19th century, so much so that many composers, such as Franz Liszt and Frédéric Chopin, wrote almost exclusively for piano solo.
Many performers contend that the intimate nature of chamber music playing requires certain personality traits.
David Waterman, cellist of the Endellion Quartet, writes that the chamber musician "needs to balance assertiveness and flexibility." Good rapport is essential. Arnold Steinhardt, first violinist of the Guarneri Quartet, notes that many professional quartets suffer from frequent turnover of players. "Many musicians cannot take the strain of going mano a mano with the same three people year after year."
Mrs. Norton, a violinist who studied quartet playing with the Kneisel Quartet at the beginning of the last century, goes so far that players of different parts in a quartet have different personality traits. "By tradition the first violin is the leader" but "this does not mean a relentless predominance." The second violinist "is a little everybody's servant." "The artistic contribution of each member will be measured by his skill in asserting or subduing that individuality which he must possess to be at all interesting."
Ensembles develop a close intimacy of shared musical experience. "It is on the concert stage where the moments of true intimacy occur," writes Steinhardt. "When a performance is in progress, all four of us together enter a zone of magic somewhere between our music stands and become a conduit, messenger, and missionary... It is an experience too personal to talk about and yet it colors every aspect of our relationship, every good-natured musical confrontation, all the professional gossip, the latest viola joke."
The playing of chamber music has been the inspiration for numerous books, both fiction and nonfiction. An Equal Music by Vikram Seth, explores the life and love of the second violinist of a fictional quartet, the Maggiore. Central to the story is the tensions and the intimacy developed between the four members of the quartet. "A strange composite being we are [in performance], not ourselves any more, but the Maggiore, composed of so many disjunct parts: chairs, stands, music, bows, instruments, musicians..." The Rosendorf Quartet, by Natan Shaham, describes the trials of a string quartet in Palestine, before establishment of the state of Israel. For the Love of It by Wayne Booth, is a nonfictional account of the author's romance with cello playing and chamber music.
"Matinee"
I
n.
An entertainment, such as a dramatic performance or movie, presented in the daytime, usually in the afternoon.
Дефиниция от The Free Dictionary
Allegro moderato: a little slower than allegro.
Menuetto: A minuet, also spelled menuet, is a social dance of French origin for two people, usually in 3/4 time. The word was adapted from Italian minuetto and French menuet, meaning small, pretty, delicate, a diminutive of menu, from the Latin minutus; menuetto is a word that occurs only on musical scores. The name may refer to the short steps, pas menus, taken in the dance, or else be derived from the branle à mener or amener, popular group dances in early 17th-century France (Little 2001). At the period when it was most fashionable it was slow, soft, ceremonious, and graceful.
Повече тук: menuetto
Adagio: a tempo marking indicating that the music is to be played slowly
Alla Polacca: The polonaise (Polish: polonez, chodzony; Italian: polacca) is a slow dance of Polish origin, in 3/4 time. Its name is French for "Polish." The notation alla polacca on a score indicates that the piece should be played with the rhythm and character of a polonaise (e.g., the rondo in Beethoven's Triple Concerto op. 56 has this instruction).
Допълнително тук: Polonaise
Sonata: Sonata form (also sonata-allegro form) is a musical form that has been used widely since the early Classical period. While it is typically used in the first movement of multimovement pieces, it is sometimes employed in subsequent movements as well. Study of the sonata form in music theory rests on a standard definition and a series of hypotheses about the underlying reasons for the durability and variety of the form. "It consists of three main sections: an exposition, a development, and a recapitulation."
Още интересна информация за 'Sonata' тук: Sonata form
Pastorale: refers to something of a pastoral nature in music, whether in form or in mood.
Прочетете още в Уикипедия
Fuga: In music, a fugue (pronounced /ˈfjuːɡ/ fewg) is a contrapuntal composition in two or more voices, built on a subject (theme) that is introduced at the beginning in imitation and recurs frequently in the course of the composition.
За Фугата в енциклопедията: Статията
Allegro: this marking connotes a joyful and speedy execution, but not as fast as Presto.
Vivo: played vivaciously.
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