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MAKROKOSMOS/ George Crumb

George Crumb - MAKROKOSMOS
60 Хвилин.

У програмі концерту:
„Макрокосмос” – цикл фортепіанних мініатюр американського композитора Джорджа Крамба
У виконанні Наталії Пасічник – фортепіано

Libretto wystawy

Makrokosmos is a series of four volumes of pieces for piano by American composer George Crumb. The name alludes to Mikrokosmos, a set of piano pieces by Béla Bartók, one of Crumb’s favorite 20th-century composers. The first volume of the set was composed in 1972, while the last was completed in early 1979; the first performance of all four volumes in sequence was given by Yvar Mikhashoff, Aki Takahashi, Stephen Manes, Freida Manes, Jan Williams and Lynn Harbold, in Buffalo, New York, on 12 June 1980.

Volume I
Makrokosmos, Volume I was composed in 1972 for pianist and friend David Burge (who previously commissioned and premiered Crumb’s Five Pieces for Piano (1962)). The collection is subtitled Twelve Fantasy-Pieces after the Zodiac and is scored for amplified piano. Its contents is as follows:

Part 1:
Primeval Sounds (Genesis I) (Cancer)
Proteus (Pisces)
Pastorale (from the Kingdom of Atlantis, ca. 10,000 B.C.) (Taurus)
Crucifixus [SYMBOL] (Capricorn)
Part 2:
The Phantom Gondolier (Scorpio)
Night-Spell I (Sagittarius)
Music of Shadows (for Aeolian Harp) (Libra)
The Magic Circle of Infinity (Moto Perpetuo) [SYMBOL] (Leo)
Part 3:
The Abyss of Time (Virgo)
Spring-Fire (Aries)
Dream Images (Love-Death Music) (Gemini)
Spiral Galaxy [SYMBOL] (Aquarius)
The last piece of each part is notated in such a way that the score forms an image: a cross (piece 4), a circle (piece 8), and a spiral (piece 12). Burge premiered Volume I at Colorado College, Colorado Springs, on 8 February 1973.

Volume II
The second volume of Makrokosmos was completed in 1973. It largely follows the organizational scheme of the first volume, bears the same subtitle (i.e. Twelve Fantasy-Pieces after the Zodiac) and is also scored for amplified piano. Crumb has stated that the two volumes form a sequence of 24 fantasy-pieces. Volume II comprises the following works:

Part 1:
Morning Music (Genesis II) (Cancer)
The Mystic Chord (Sagittarius)
Rain-Death Variations (Pisces)
Twin Suns (Doppelgänger aus der Ewigkeit) [SYMBOL] (Gemini)
Part 2:
Ghost-Nocturne: for the Druids of Stonehenge (Night-Spell II) (Virgo)
Gargoyles (Taurus)
Tora! Tora! Tora! (Cadenza Apocalittica) (Scorpio)
A Prophecy of Nostradamus [SYMBOL] (Aries)
Part 3:
Cosmic wind (Libra)
Voices from „Corona Borealis” (Aquarius)
Litany of the Galactic Bells (Leo)
Agnus Dei [SYMBOL] (Capricorn)
Similarly to Volume I, the last piece of each part is notated so that the score forms an image: two circles (piece 4), the peace sign (piece 12), etc. The collection was premiered by Robert Miller at the Alice Tully Hall, New York City, on 12 November 1974.

Volume III
A collection of five pieces completed in 1974 and titled Music for a Summer Evening forms the third volume of Makrokosmos. It departs considerably from the previous two. Commissioned by the Fromm Music Foundation for Swarthmore College, the work is scored for two amplified pianos and percussion (two players), contains fewer pieces, and does not associate any of the pieces with Zodiac signs. The contents are as follows:

Nocturnal Sounds (The Awakening)
Wanderer-Fantasy
The Advent (including Hymn for the Nativity of the Star-Child)
Myth
Music of the Starry Night
Three of the pieces bear an epigraph: piece 1 from Salvatore Quasimodo’s poem Ulysses’ Isle, piece 3 from Pascal, and piece 5 from Rilke. Music for a Summer Evening was premiered by Gilbert Kalish and James Freeman (piano), Raymond DesRoches and Richard Fitz (percussion) at Swarthmore College, Pennsylvania, on 30 March 1974.

Volume IV
The collection that forms the fourth instance of Makrokosmos is titled Celestial Mechanics, and subtitled Cosmic Dances for Amplified Piano, Four Hands. It was completed in April 1979.

Alpha Centauri
Beta Cygni
Gamma Draconis
Delta Orionis
The cycle was premiered by Gilbert Kalish and Paul Jacobs at the Alice Tully Hall, New York City, on 18 November 1979.

O wystawie
George Crumb - MAKROKOSMOS

“She masters the instrument in an extraordinary way. It is as if such problems as technique, sound palette and interpretation do not exist for her. All of it sounds very convincing” – These were the words about Natalya of one of the greatest conductors of the twentieth century, Evgeniy Svetlanov

She started her musical education aged three, went on to study at a special boarding school for musically inclined children in Lviv, and then continued her musical education at the Lviv Conservatory. She finished postgraduate studies at both the Chopin Academy of Music in Warsaw and at the Royal College of Music in Stockholm.

She has performed throughout the whole Europe, USA ,Japan, Argentina in the most famous concert halls such as Santory Hall (Tokyo), Berwald Hall (Stockholm), Konserthuset (Stockholm), de Singel (Antwerp), Auditori Winterthur (Barcelona), Musikhalle (Hamburg), Teatro Colon (Buenos-Aires), in all major Polish concert halls, at festivals such as Beethoven-festival and Mozart festival, La Folle Journee, Gdansk Piano Autumn (Poland), Schubertiada (Spain), Palaces of St. Petersburg (Russia). She cooperated with the Swedish Radio Symphony Orchestra, Mozarteum (Germany), Orchestre d’Auvergne (France), Philharmonic Orchestra of Krakow, Wroclaw, Gdansk and Poznan (Poland), Norrlandsoperan (Sweden) under the direction of such conductors as Michael Zilm, Christopher Hogwood, Evgeniy Svetlanov, Arie van Beck, Jacek Kaspszyk, Marek Mos, B Tommy Andersson, Robert Stehli.

Having a vast repertoire, she does not only perform on a contemporary grand-piano but also elegantly masters historical instruments.

Natalya has made numerous recordings for radio and television (Swedish Radio P2, BBC Radio 3, Belgian and Spanish radio, Swedish television TV4, Polish Radio and TV), and commercial recordings for companies such as NAXOS (Chopin; received 5 stars in Gramophone, Diapason, Svenska Dagbladet), OPUS 111, Pro Musica Camerata, Musicon (Bach, Messiaen; received 5 stars in the magazine “Music of the 21th century”).

She is prizewinner of the Fifth Nordic Piano Competition in Nyborg (Denmark, 1998), the World Piano Competition in Cincinatti (USA, 1999), and in 2001 she was awarded a special prize at the International Piano Competition Umberto Micheli in Milan, Italy. She has taught at the Royal College of Music in Stockholm.

 

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