Programme Notes ROBIN O’NEILL Conductor, ECO … Programme page 5.pdf · Angelo Gilardino decided...
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Programme Notes ROBIN O’NEILL (b. 1961) Conductor, ECO Robin O’Neill is Principal Conductor and member of the artistic committee of the Orchestra Citta Aperta, L’Aquila, a newly formed orchestra which specialises in contemporary music, 20th century music and neglected masterpieces. In the past few seasons he has conducted the English Chamber Orchestra in London, Windsor, Eton and Boxgrove with solosits such as Angela Hewitt and Melvyn Tan. It was with the ECO that he performed his own transcriptions of the Langsamer Satz by Webern. He has also conducted the Orchestra Ensemble Kanazawa Japan in a variety of repertoire including Beethoven’s 9th Symphony and Handel’s Messiah. last season he made his debut conducting the Stavanger Symphony Orchestra and also the City of London Sinfonia in Beethoven ‘discovery’ concerts in collaboration with writer and broadcaster John Suchet. During his career a a bassoonist, Robin O’Neill has worked with all of the world’s finest conductors (including Karajan, Giulini, Solti, Abbado, Levine, Kubelik, Boulez, Muti, Baremboim and Gergiev) both as soloist and orchestral prinicpal (with the Chamber Orchestra of Europe, English Chamber Orchestra, Philharmonia Orchestra and the World orchestra for Peace). ROMILIO ORELLANA (b. 1970) Romilio Orellana won the “Friends of the Municipal Theatre” scholarship, presented to the most promising young talents, for five consecutive years, and also many other first prizes in International Guitar competitions including the Benicassim in Spain. Romilio has appeared at several prestigious international festivals around the world; Expolisboa ’98; Hanover International Book Festival, Guadalajara, Mexico and the 50th Anniversary of the King of Thailand Celebration. He is regularly to be seen touring as a recitalist in Argentina, Venezuela, Mexico, Spain, Germany, Switzerland, Russia, Portugal and Thailand. Romilio Orellana is performing the world première written by Angelo Gilardino, with fellow LACCS artist, guitarist Sante Tursi at the Purcell Room. WORKS BY ANGELO GILARDINO SONATA No 2 ,”HIVERN FLORIT” (Solo Guitar) I. Allegretto semplice II. Andante molto tranquillo, quasi adagio III. Allegro vivo e brillante The Sonata No 2, Hivern Florit, (A Blossomed Winter) written in l986 intends to pay homage to Ramón Nadal a renowned painter from Mallorca (Spain). The Sonata was written in 1986 and was inspired in a Nadal painting of Mallorca’s landscape. It portrays a tender and lukewarm winter being the snow replaced by flowers of delicate colours surrounding a farm seen from afar under a grey blue heavenly sky. This was an unusual Mediterranean new look and Maestro Gilardino commented… “not a warm brilliant one, but a sweet one and – again – under a melancholic light. The Sonata form is evocative: the style of Italian masters of XVIII century is recalled, where the themes were also melodies and the develop- ments were expansions of those melodies”… 3 STUDI DI VIRTUOSITA E DI TRASCENDENZA STUDIO No 13 Canción Triste, Ommagio a Pablo Neruda STUDIO No 35 Omaggio a Manuel María Ponce STUDIO No 40 Omaggio a João Guimarães Rosa Angelo Gilardino decided to abandon his career as a guitar performer by mid- l981 and concentrated his efforts to write, research work and teaching music. The three Studies belong to the cycle entitled Studi di virtuosita e di trascen- denza which absorbed the period from 1961 to 1988. In seven years Maestro Gilardino wrote 60 Studies and two Sonatas, published by Edizioni Musicali Bèrben Since then, the Studies are part of the repertoire of every international guitar player around the world. The Studies are of high level of virtuosity due to their exotic character. In Maestro Gilardino own words… “ The 60 Studies exploit many sides of the traditional virtuosity with a new approach; also offer a series of new patterns, but above all they are poetical works. Each of them is dedicated to an artist… either a relevant historical figure or a local Italian artist often a painter – as a homage to… When such a homage is paid to a musician, no attempt is made to imitate his style, but the poetical world of each dedicatee (writers, poets, painters, com- posers) is evocated from within the style of the author of each study”… Sante Tursi has chosen three Studies for tonight’s concert; they pay homage to Latin American artists, as in the case of the Chilean poet Pablo Neruda, the Mexican composer Manuel María Ponce and the Brazilian writer João Guimarães Rosa. Each one of the Studies called up memories and emotions related to these three great influential personages. However, there is an element in common; they are bound up with a touch of sadness or melancholy. LIEDERKONCERT (World première) For Two Guitars and Chamber Orchestra I. ABENDLIED – Andante calmo II. ERLKONIG – Un poco agitato III. AN DIE ENTFERNTE – Adagio IV. HARFENSPIELER – Allegro vivo e fluente The Liederkoncert for two guitars and chamber or- chestra was written in 2000 and is part of a series of six concertos. Here the guitar combines its sound in harmony with the rest of string instruments as well as solo parts or combined with another solo instru- ment. Gilardino was inspired on Schubert’s Lieder, some few titles were taking as a starting point during the four movements of the piece in where the two guitars are not taken separately, but as two different instruments in dialogue so on they constitute a unique 12 string guitar which allowed the composer to expand the contrapuntual capa- cities of the instrument, as well as, its colour palette of the ordinary solo guitar. The composer said… “The work has been scored so as to allow a performance either with a chamber orchestra or with just one of the string and wind instruments, plus a celesta and timpani - as in this occasion. No quotation has been made from Schubert’s Lieder, beyond their titles, but again – as in the Sonata No 2 for Guitar, the basic principle is the identification of ‘theme’ and ‘song’ – hence the nature of the thematic elements and of their expansions”… © Programme Notes provided by Maestro Angelo Gilardino Layout by J Sylvester, LACCS, 2004. Franz Schubert (1797-1828) Angelo Gilardino (b.1941) The South Bank Centre is a registered charity. In accordance with the entertainment licensing authority, the London Borough of Lambeth: persons shall not be permitted to stand or sit in any of the gangways intersecting the seating or to sit in any of the other gangways. No smoking in the auditorium. The taking of photographs is strictly prohibited. Members of the public are reminded that no tape recorder or other type of recording apparatus may be brought into the auditorium. It is illegal to record any performance, or part thereof, unless prior arrangements have been made with SBC management and the concert promoter concerned. If you do not need to use your hearing aid during the concert, please make sure it is switched off. Are you wearing a digital watch? Make sure the alarm is off. Would patrons with mobile telephones ensure that they are switched off before the performance commences
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Transcript of Programme Notes ROBIN O’NEILL Conductor, ECO … Programme page 5.pdf · Angelo Gilardino decided...
Programme Notes ROBIN O’NEILL (b. 1961)Conductor, ECO
Robin O’Neill is Principal Conductor andmember of the artistic committee of theOrchestra Citta Aperta, L’Aquila, a newly formedorchestra which specialises in contemporarymusic, 20th century music and neglectedmasterpieces. In the past few seasons he hasconducted the English Chamber Orchestra inLondon, Windsor, Eton and Boxgrove withsolosits such as Angela Hewitt and Melvyn Tan. Itwas with the ECO that he performed his owntranscriptions of the Langsamer Satz by Webern.
He has also conducted the OrchestraEnsemble Kanazawa Japan in a variety ofrepertoire including Beethoven’s 9th Symphonyand Handel’s Messiah. last season he made hisdebut conducting the Stavanger SymphonyOrchestra and also the City of London Sinfoniain Beethoven ‘discovery’ concerts incollaboration with writer and broadcaster JohnSuchet.
During his career a a bassoonist, Robin O’Neillhas worked with all of the world’s finestconductors (including Karajan, Giulini, Solti,Abbado, Levine, Kubelik, Boulez, Muti,Baremboim and Gergiev) both as soloist andorchestral prinicpal (with the ChamberOrchestra of Europe, English ChamberOrchestra, Philharmonia Orchestra and theWorld orchestra for Peace).
ROMILIO ORELLANA(b. 1970)
Romilio Orellana won the “Friends of theMunicipal Theatre” scholarship, presented to themost promising young talents, for fiveconsecutive years, and also many other firstprizes in International Guitar competitionsincluding the Benicassim in Spain.
Romilio has appeared at several prestigiousinternational festivals around the world;Expolisboa ’98; Hanover International BookFestival, Guadalajara, Mexico and the 50thAnniversary of the King of Thailand Celebration.He is regularly to be seen touring as a recitalist inArgentina, Venezuela, Mexico, Spain, Germany,Switzerland, Russia, Portugal and Thailand.
Romilio Orellana is performing the worldpremière written by Angelo Gilardino, withfellow LACCS artist, guitarist Sante Tursi at thePurcell Room.
WORKS BY ANGELO GILARDINOSONATA No 2 ,”HIVERN FLORIT”
(Solo Guitar)I. Allegretto sempliceII. Andante molto tranquillo, quasi adagioIII. Allegro vivo e brillante
The Sonata No 2, Hivern Florit, (ABlossomed Winter) written in l986 intendsto pay homage to Ramón Nadal a renownedpainter from Mallorca (Spain). The Sonatawas written in 1986 and was inspired in aNadal painting of Mallorca’s landscape. Itportrays a tender and lukewarm winterbeing the snow replaced by flowers ofdelicate colours surrounding a farm seenfrom afar under a grey blue heavenly sky.This was an unusual Mediterranean newlook and Maestro Gilardino commented…“not a warm brilliant one, but a sweet oneand – again – under a melancholic light.The Sonata form is evocative: the style ofItalian masters of XVIII century is recalled,where the themes were alsomelodies and the develop-ments were expansions ofthose melodies”…
3 STUDI DI VIRTUOSITAE DI TRASCENDENZA
STUDIO No 13Canción Triste,
Ommagio a Pablo NerudaSTUDIO No 35
Omaggio aManuel María Ponce
STUDIO No 40Omaggio a
João Guimarães Rosa
Angelo Gilardino decidedto abandon his career as aguitar performer by mid-l981 and concentrated hisefforts to write, researchwork and teaching music.The three Studies belongto the cycle entitled Studidi virtuosita e di trascen-denza which absorbed theperiod from 1961 to 1988.In seven years MaestroGilardino wrote 60 Studiesand two Sonatas, publishedby Edizioni Musicali BèrbenSince then, the Studies are part of therepertoire of every international guitarplayer around the world. The Studies are ofhigh level of virtuosity due to their exoticcharacter. In Maestro Gilardino ownwords… “ The 60 Studies exploit many sidesof the traditional virtuosity with a newapproach; also offer a series of newpatterns, but above all they are poeticalworks. Each of them is dedicated to anartist… either a relevant historical figure ora local Italian artist often a painter – as ahomage to… When such a homage is paid toa musician, no attempt is made to imitate
his style, but the poetical world of eachdedicatee (writers, poets, painters, com-posers) is evocated from within the style ofthe author of each study”…
Sante Tursi has chosen three Studies fortonight’s concert; they pay homage to LatinAmerican artists, as in the case of theChilean poet Pablo Neruda, the Mexicancomposer Manuel María Ponce and theBrazilian writer João Guimarães Rosa. Eachone of the Studies called up memories andemotions related to these three greatinfluential personages. However, there is anelement in common; they are bound up witha touch of sadness or melancholy.
LIEDERKONCERT (World première)For Two Guitars and Chamber Orchestra
I. ABENDLIED – Andante calmoII. ERLKONIG – Un poco agitatoIII. AN DIE ENTFERNTE – AdagioIV. HARFENSPIELER – Allegro vivo e
fluente
The Liederkoncert for twoguitars and chamber or-chestra was written in 2000and is part of a series of sixconcertos. Here the guitarcombines its sound inharmony with the rest ofstring instruments as wellas solo parts or combinedwith another solo instru-ment. Gilardino wasinspired on Schubert’sLieder, some few titleswere taking as a startingpoint during the fourmovements of the piece inwhere the two guitars arenot taken separately, but astwo different instrumentsin dialogue so on theyconstitute a unique 12string guitar which allowedthe composer to expandthe contrapuntual capa-cities of the instrument, aswell as, its colour palette ofthe ordinary solo guitar.The composer said… “Thework has been scored so asto allow a performance
either with a chamber orchestra or with justone of the string and wind instruments, plusa celesta and timpani - as in this occasion.No quotation has been made fromSchubert’s Lieder, beyond their titles, butagain – as in the Sonata No 2 for Guitar, thebasic principle is the identification of‘theme’ and ‘song’ – hence the nature of thethematic elements and of theirexpansions”…
© Programme Notes provided by MaestroAngelo GilardinoLayout by J Sylvester, LACCS, 2004.
Franz Schubert (1797-1828)
Angelo Gilardino (b.1941)
The South Bank Centre is a registered charity. In accordance with the entertainment licensing authority, the London Borough of Lambeth: persons shall not be permitted to stand or sit in any of the gangways intersecting the seating or to sit in any of the other gangways.No smoking in the auditorium. The taking of photographs is strictly prohibited. Members of the public are reminded that no tape recorder or other type of recording apparatus may be brought into the auditorium.
It is illegal to record any performance, or part thereof, unless prior arrangements have been made with SBC management and the concert promoter concerned. If you do not need to use your hearing aid during the concert, please make sure it is switched off. Are you wearing a digital watch? Make sure the alarm is off. Would patrons with mobile telephones ensure that they are switched off before the performance commences
