Claus Peter Flor
regente
Arnaldo Cohen
piano
Johannes Brahms
Concerto nº 1 para Piano em ré menor, Op.15
Josef Suk
Sinfonia nº 2 em dó menor, Op.27 - Asrael
Teremos um excepcional concerto pela Osesp esta semana. Não bastasse Arnaldo Cohen executando o Concerto nº 1 para piano e orquestra de Brahms, na segunda parte será apresentada a Sinfonia nº 2 , em dó menor , op. 27 - Asrael, de Suk, genro de Dvorak.
A sinfonia foi escrita sob o impacto das mortes de Antonin Dvorak e de sua filha Otilka, esposa de Suk.
“I was suddenly handed a telegram: Return immediately - Dvorak dead [1/5/1904]. I shall never forget that terrible journey to Prague. Not only was I crushed to the depths of human emotion, I was also consumed with anxiety over whether Otilka's failing heart would take it. This sad turn of events also marked a turning point in my creative work, and thus the symphony, bearing the name of the Angel of Death, Asrael, was conceived. I completed the first part of the composition, dedicated to the memory of Dvorak, but the last movement, which was to have been an apotheosis of the maestro's work, was never written. The fearsome Angel of Death struck with his scythe a second time, and into eternity departed the purest, sweetest soul of my Otilka.
“Such a misfortune either destroys a man or brings to the surface all the powers dormant in him. It looked like I might be of that first kind, but Music saved me and after a year I began the second part of the symphony, beginning with an adagio, a tender portrait of Otilka. In a very short time, and with superhuman energy, I became immersed in the terrors of the last movement which nevertheless ends in the clarity and calm of C major. Blessed be the dead.
“It's been said of this work, and about other works of mine, that they're subjective in the extreme. They do, of course, stem from life experience, but with their musical and human content they address all mankind. When, after the stormy and nerve-wracking last movement of the symphony, the mysterious and soft C major chord is heard, I often notice that it brings tears to people's eyes, and these tears are tears of relief, tears that purify and uplift - they are, therefore, not just my tears.”
“Such a misfortune either destroys a man or brings to the surface all the powers dormant in him. It looked like I might be of that first kind, but Music saved me and after a year I began the second part of the symphony, beginning with an adagio, a tender portrait of Otilka. In a very short time, and with superhuman energy, I became immersed in the terrors of the last movement which nevertheless ends in the clarity and calm of C major. Blessed be the dead.
“It's been said of this work, and about other works of mine, that they're subjective in the extreme. They do, of course, stem from life experience, but with their musical and human content they address all mankind. When, after the stormy and nerve-wracking last movement of the symphony, the mysterious and soft C major chord is heard, I often notice that it brings tears to people's eyes, and these tears are tears of relief, tears that purify and uplift - they are, therefore, not just my tears.”
Ouvi pela primeira vez essa peça em Nova Iorque. Estava lá em férias e fomos assistir a um ensaio aberto na Avery Fisher Hall, ocasião em que se fez a leitura final, pelo regente Leonard Slatkin. Fiquei deveras impressionado pela obra e adquiri uma gravação muito boa.
Será muito gratificante ouvi-la nov amente ao vivo.
Creio ser a estréia em São Paulo dessa peça.
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