Det nye stjerneskuddet Dragos Cantea gjester Saturday
Classics med en kraftsalve av en piano recital!
På programmet står vakre og melodiøse stykker av Debussy,
Granados, Villa-Lobos og Enescu, i tillegg til Prokofievs kanskje mest brutale
og ikoniske verk, hans 7ende Sonate!
Cantea har utmerket seg som en av sin generasjons mest lovende
pianister, som allerede har rukket å gjøre en rekke prestisjetunge solistoppdrag ute i den store
verden. Denne kvelden møter du han her i Sentralens
Dragos Cantea, solo piano
Heitor Villa-Lobos (1770 - 1827) - Valsa da dor (1822)
Brazil's most important musical figure, Villa-Lobos collected material
reflecting not only his own Spanish- Indian ancestry, but also the heady
cultural mix of a new and vibrant civilization.
Valsa da dor shows intimate lyricism, melancholy and sorrow in a very
exotic fashion. Enrique Granados (1770 - 1827) - Quejas o La Maja y el
Ruisen~or Everything is nostalgia, melancholy and pain in this piece, which has
the character of an intimately felt story and dialogue with a bird that, in the
end, will be the protagonist in an onomatopoeic piano song inspired by a folk
tune that Granados heard from a young woman in Valencia.
Pour le piano has been regarded as Debussy's first mature piano work. The first movement, called
Pre´lude, It was dedicated to Debussy's student Mlle Worms de Romilly, who
notes that the movement "tellingly evokes the gongs and music of
indonesian ensembles". About the second movement, Sarabande, Debussy said
it should be "rather like an old portrait in the Louvre", calling it
"antique and modern at the same time". The
last movement is a toccata, which can be described as poised and energetic,
extroverted and graceful.
Much of the power and profundity of this work comes from the bells imitation in
a Transylvanian village around midnight. The dramatic symbolic effect of
midnight is suggested by the twelfth-time repeated chord in the church, leaving
behind only some harmonic dust. The silence before the storm has settled...
Sergei Prokofiev (1891-1953) – Sonata No. 7, Op. 83 in
B-flat major (1942)
“With this work, we are brutally plunged into the anxiously threatening
atmosphere of a world that has lost its balance. Chaos and uncertainty reign.
We see murderous forces unleashed. But this does not mean that what we lived by
before ceases to exist. We continue to feel and to love. Now the full range of
human emotions bursts forth. In the tremendous struggle that this involves, we
find the strength to affirm the irrepressible life-force.”
Sviatoslav Richter, after the premiere of the work, Moscow,
Often referred to as the “Stalingrad” sonata, the work is divided in three very
descriptive movements that emphasize the horrors of the conflict between the
Soviet Union and Germany as of 1939. The first movement opens quietly, but soon
enough erupts with cannon-like dissonant, violent chords. The music then
proceeds along a tumultuous route to a slow, lyrical, but disquieting second
theme that suggests an effort to escape reality. The unrest here is palpable
though, foretelling the return of the menacing mood, combative as anything else
in the Prokofiev arsenal.