| Programa general | Música en iglesias históricas |
Guadalajara Chamber Orchestra
José Gorostiza, conductor
Soloist: Svetlana Ilchenko, soprano
Aria II “cujus animam” del STABAT MATER - Giovanni Battista Pegolesi (1710-1736)
Aria VI “vidit suum”del STABAT MATER - Giovanni Battista Pergolesi
Ave María - Giulio Caccini (1556-1618)
Adagio from Concerto for Oboe and Strings in D minor - Benedetto Marcello (1686-1739)
Divertimento in B flat Major, KV-287 "Lodron" for strings and two horns
- W.A. Mozart (1756-1791)*
2.-Andante grazioso con Variazioni
3.-Menuetto – Trio – Menuetto
5.-Menuetto – Trio – Menuetto
6.-Andante - Allegro
The Guadalajara Chamber Orchestra appears courtesy of Conciertos Guadalajara A.C.
*Premiere in Guadalajara.
Venue: Templo Expiatorio
Time: 20:45 hrs.
José Gorostiza Ortega
Born to one of the most laureated poets of the XX Century, he started studying music formally when he was 13, taking Music Theory with Alfonso de Elías and Pedro Michaca, and piano with Federico G. Schaffenburg.
He later entered the Conservatorio Nacional de Música of the National Institute of Arts, INBA, where he took his first courses for conducting instrumental groups with Carlos Luyando. Edvard Fendler, a German teacher and ex head conductor of the Municipal Orchestra of Río de Janeiro, gave him special courses in orchestra conduction. In 1969 he travelled to London for perfecting studies at Guildhall’s School, specializing in French horn with Francis Bradley and Collin Hinchliff, hornist of the Royal Opera Covent Garden Orchestra.
When he returned to Mexico in 1972, he became a horn player at the Silvestre Revueltas Camera Orchestra, sponsored for a time by YAMAHA, while simultaneously being artistic director of the classic music company EMI-CAPITOL Mexico, for several recordings with Mexican concert artists. He lived in Xalapa, Veracruz, and from 1975 to 1978 Gorostiza worked promoting musical groups for the Music Institute of the Universidad Veracruzana.
He was named Administrative Manager of the Orquesta Sinfónica de Guadalajara from 1978 to 1983, working with conductors Kenneth Klein and Hugo Jan Huss, becoming Artistic Director for the same orchestra. He gave several concerts in Guadalajara and throughout Jalisco with the OSG.
He left the orchestra in 1985, focusing on cultural journalism, and took charge of the daily cultural section of the newspaper “El Occidental”, creating the column “Intervalo” first of its kind in Guadalajara.
In 1987 he coordinated the Music Research Program assigned to DICSA. UdeG carrying out a research over José Rolón’s music, which resulted in the publishing of several texts about the composer, contemplating the future edition of part of his work. In 2000 on recovering Rolón’s score for the symphonic poem “Cuauhtémoc”, the Orquesta Sinfónica de Xalapa presented it again. From 1988 to 1990 he collaborated with Professor Manuel de Elías in the project and foundation for the Orquesta Filarmónica de Jalisco, and it was with this orchestra that he premiered there some of Bruckner, Britten, Shostakovich and Prokofiev’s works.
In 1992 he became the General Coordinator of the International Art Festival (FIA-1992) for the celebration of the Bicentennial of the foundation of the Universidad de Guadalajara, bringing internationally prestigious events to this city, such as the Ballet Nacional de Chile, the Hartford Ballet, Francisco Araiza the tenor, and the Russian pianist Mark Seltzer among many others. That same year he was named Director of XEJB, the cultural radio station of the Sistema Jalisciense de Radio y Televisión, a post he still holds. Parallel to his work as a director, Teacher Gorostiza produces different radio programs; among them, the Banda Sonora (Sound Band) devoted to propagating music specially written for the cinema, and Registros Históricos (Historical Registries), program in which he presents the recordings that have made history in the world of recorded music. He is now preparing Interval, same name than his newspaper column, whose purpose is to make a comparative analysis of artistic interpretations, critique, and the general diffusion of musical science theory and practice.
He taught a specialized course on music appreciation and history at the Escuela de Ciencias de la Comunicación at UNIVA, 1993-1994.
He created the Orquesta de Cámara de Guadalajara, OCG, now coming back to stage for reviving public interest in baroque, preclassic and classic period music, as well as making known the XX Centuty masterpieces for small instrumental groups.
| Top |
Svetlana Ilchenko, lyric-coloratura soprano, was born in Moscow, Russia, on March 26, 1967. She studied at the Children’s Art School where she learned music, vocalization and ballet from the age of 6 to when she was 15. From 15 to 19 she took classes at the Music Institute in Moscow, where she obtained the Professional Grade of Music, Solfeggio, Harmony and Chorus. She was Laureate at the Students International Festival in Moscow in 1985, receiving the same recognition for the Chamber and Romance Music Inernational Competition in Moscow.
In 1991, when she was 24, she graduated from the Moscow National Theater Art Academy, receiving the Professional Degree of Musical Theatre Actress, starting to work that same year at the Comedy Opera Moscow Theater, taking part in three films and several musical television programs. She also worked at the Moscow Light Opera Theater. When she was 26, she arrived to Mexico during a tour, but she married a Mexican settling herself in Guadalajara. She has sung with several symphonic orchestras and musical groups in several events in Moscow, Saint Petersburg and other 15 cities in Russia, Ukrania, Moldavia, Baltic Republics, Belorussia, Romania and in several cities in the United States and Mexico.
Giovanni Battista Pergolesi (1710-1736)
Pergolesi was born in Jesi, near Ancona, and studied at the Conservatory dei Poveri in Naples. His opera buffa La Serva Padrona, premiered post-mortem in 1773 made him famous. He was named Choir Director at the Church of Loreto in 1732. Unfortunately, he got sick with tuberculosis and had to retire. In 1736, when he died, he wrote his Stabat Mater, considered as his masterpiece for soloists, choir and orchestra. His instrumental music was very popular during the first decade of the XX Century, and composers like Stravinsky were inspired by his melodies to write, among others, the Pulcinella ballet.
Stabat Mater, (The Mother Was in Latin), is a catholic sequence dating from the XIII Century, attributed to the Pope Inocencio III, and to the Franciscan monk Jacopone da Todi. This prayer begins with the words Stabat Mater dolorosa (The Mother was suffering), and it meditates over the pain and suffering that Mary, Mother of Jesus, went through during the crucifixion.
This piece of literature has been set to music innumerable times; more than 200 composers of different genres, styles and musical vision have chosen this medieval text. Palestrina, Haydn, Scarlatti, Vivaldi; Rossini, Liszt, Dvorak, Szymanowski, Poulenc and Penderecky. But from all of them, Pergolesi’s work is the most famous and memorable. We are now presenting the two arias for soprano, Cujus animam, and Vidit suum.
Giulio Caccini (1550-1618)
He was a composer, singer and music director born in Tivoli, Rome, who lived most of his life in Florence as a court composer during 37 years, at the service of the Medici family. Caccini was part of the Camerata Fiorentina, actively involved in the debate over renovating the theatre and the role music should have in it, by defending the principles of expressivity and communicative simplicity of the “vocal solos in recitative form” (musica in stile rappresentativo) attributed to him. His opera Euridice (1602) is considered as the beginning of modern melodrama. Several of his most elegant operas are lost, such as “Il Rapimento di Cefalo”. He is best known for two sets of madrigals for solo voice with monodies, “Le nuove musiche”, which allow us to know how the Renaissance music was performed, and above all, its fioritura. He died in Florence. His famous Ave Maria is debated because some say that it was written in 1970 by the tenor Vladimir Vavilov and falsely attributed by the soprano Inessa Galante to Caccini. Nevertheless, scholars sustain that there is no doubt about it being written by Caccini, remarkable for the contemplative mood it produces on listeners.
Benedetto Marcello (1686-1739)
“Adagio” from the oboe and string concert in D Minor
(Arrangement for Soprano)
Marcello was born in Venice to a noble family and died in Brescia. He was not only a composer, but a well known writer who had studied law and practiced as such in 1711. By that time, his musical work had already made him well known and in 1712 he became a member of the Academia Philharmonic in Bologne.
His masterpiece is the Poetic-Harmonic Estro. He married in secret his student Rosanna Scalfi in 1728, since the law of he time prohibited marriages between the nobility and plebeians. He moved to Brescia in 1738, where tuberculosis killed him on the following year. In writing his work, he used a procedure very close to monody, a drone bass that accompanies one, two or several soloist voices, but it not only serves as accompaniment, but also performs as an independent part, thus approaching the vocal music of the pre-baroque period. Among his concerts for instruments, the most famous is the Concert for oboe and strings in D Minor, from which the Adagio was chosen in its soprano version.
Wolfgang Amadeus Mozart
He was born in the Salzburg Archbishopric of the Sacred Roman German Empire, nowadays Austria, on January 27, 1756, in Vienna, and died on 5 December in the Archduchy of Austria.
He is considered as one of the greatest classical music composers of the Western world.
He was always a great musical theoretician and innovator in his compositions. His perfectionism was clearly seen when, at 22, he wrote: “I like that an aria fits a singer’s voice as a well made suit.” People of his time considered him as a virtuosi playing piano, violin and viola.
In later years, artist of different periods and art genres have been influenced by his music. Jaroslav Seifert, the Czech laureate poet who received the Nobel Prize in 1984, stated that Mozart’s music inspired him to write his poems.
During the last decade, some studies made attribute different qualities to his music, in particular to the K448 Sonata, such as incrementing some brain abilities and diminishing the epileptogenic activity. This has been termed the “Mozart Effect” which it is said lasts for about 15 minutes.
Even though he died very Young, he was scarcely 35, he left a vast musical inheritance covering all the musical genres of his lifetime.
| Top |
| Programa general | Música en iglesias históricas |