EL CUARTETO DE GUITARRAS DE DUBLÍN INTERPRETA A PHILIP GLASS
Cuarteto de guitarras de Dublín¡El Dublin Guitar Quartet -el primer conjunto de guitarras que se presenta en Bravo! Vail debuta en el Festival con un programa de obras de Philip Glass.
Las giras internacionales del Dublin Guitar Quartet cuentan con el apoyo de Culture Ireland
¿Lo sabías?
La palpitante música de Philip Glass fue defendida inicialmente por su propio conjunto antes de que él adoptara conjuntos de sala de conciertos más estándar. El Dublin Guitar Quartet ofrece transcripciones de sus cuartetos de cuerda y de estudios de piano que escribió para mejorar su propia técnica.
Artistas destacados
Cuarteto de guitarras de Dublín
Cuarteto de guitarras de Dublín
El trabajo del Dublin Guitar Quartet ha llamado la atención de algunos de los compositores más importantes del mundo. Su actividad reciente incluye un lanzamiento en el sello Orange Mountain Music de Philip Glass y un nuevo encargo del neoyorquino Michael Gordon. El cuarteto actuó junto al ganador del Grammy LA Guitar Quartet, Conspirare, y el Texas Guitar Quartet en un estreno de "How Little You Are" de Nico Muhly en Austin, Texas, en abril de 2015.
DGQ también está incluido en una reciente grabación interpretando "Summa" de Arvo Part. El cuarteto trabajó con el compositor en la realización del arreglo y recibió asesoramiento durante el proceso de grabación. El arreglo ha sido publicado por Universal Edition, la editorial del propio compositor.
En 2010, el cuarteto participó en la interpretación de Repentance, para violonchelo, guitarras y contrabajo, de la célebre compositora rusa Sofia Gubaidulina. La compositora estuvo presente cuando se unieron al violonchelista ruso Ivan Monighetti en un concierto en la iglesia de San Pedro, Drogheda. La grabación de DGQ de esta obra se publicó en el sello LCMS en marzo de 2012.
En 2008, el cuarteto tuvo el honor de compartir escenario con el legendario compositor estadounidense Philip Glass en la catedral de San Patricio de Dundalk. En 2014, el cuarteto publicó el conjunto completo de cuartetos de Glass en el sello Orange Mountain Music, propiedad del compositor, que alcanzó el número 8 en las listas de música clásica de iTunes en Estados Unidos en 2015.
DGQ está desarrollando el lado eléctrico del repertorio de cuarteto de guitarra con obras como Nagoya Guitars y Electric Counterpoint de Steve Reich, y un encargo reciente para cuarteto de guitarra eléctrica, Amplified de Michael Gordon. Este se estrenó en el festival de nueva música comisariado por David Lang/Bang on a Can en el National Concert Hall de Dublín en febrero de 2015. El estreno en Estados Unidos tuvo lugar en la Academia de Música de Brooklyn en diciembre de 2017.
Otras actuaciones destacadas incluyen una gira por cuatro ciudades de Colombia y cinco giras por Norteamérica de 2013 a 2016. DGQ también ha actuado en la prestigiosa sala de música de cámara Wigmore Hall de Londres y en el Festival de Música Contemporánea de Huddersfield. También han actuado en muchas de las principales salas de Estados Unidos, incluyendo Brooklyn Academy of Music, The Philips Collection Washington, Celebrity Series Boston, Symphony Space y el Lincoln Centre en Nueva York, y Shalin Liu, Rockport, Massachusetts.
Detalles del programa
- Cuarteto de guitarras de Dublín
- Brian Bolger
- Pat Brunnock
- Chien Buggle
- Thomas O'Durcain
PHILIP GLASS Piano Etude Selections
PHILIP GLASS Cuarteto de cuerda nº 3, Mishima
PHILIP GLASS Cuarteto de cuerda nº 2, Compañía
PHILIP GLASS Movimiento nº 1 del Concierto para cuarteto de saxofones
Notas del programa
Cuarteto de cuerda nº 3, Mishima (1985)
PHILIP GLASS (n.1937)
Cuarteto de cuerda nº 3, Mishima
I. 1957: Award Montage
II. 25 de noviembre-Ichigaya
III. La abuela y Kimituke
IV. 1962: Culturismo
V. Juramento de sangre
VI. Mishima/Clausura
Cuarteto de cuerda nº 2, Compañía (1983)
PHILIP GLASS (N. 1937)
Cuarteto de cuerda nº 2, Compañía
I. ???? = 96
II. ???? = 160
III. ???? = 96
IV. ???? = 160
INTERMISIÓN
Selecciones de Estudios para piano solo
PHILIP GLASS (n.1937)
Selections from Etudes for Solo Piano
Philip Glass remains the most popularly recognized of the Minimalist composers who came of age in the late 1960s. The materials of classic Minimalist music were reduced to bare essentials; its composers reveled in doing much with little. Early Minimalist works might typically involve pulsating rhythmic and/or melodic repetitions that transformed gradually over a long expanse through incremental changes in sustained sounds; or, alternatively, their individual sounds might themselves be sustained far longer than the ear was accustomed to. In either case, the effect could be at once static and energized, the sounds vivid and eminently apprehensible. Some listeners complained that Minimalism was too easy; and yet, in the context of the serial complexity that dominated academic new music at that time, it was refreshing to the ear, as cleansing to the sonic psyche as a spoonful of sorbet between courses of intricately spiced dishes.
Glass’s teachers included Vincent Persichetti, Darius Milhaud, and William Bergsma, and in the early 1960s he spent two years studying addition to the Qatsi trilogy directed by Godfrey Reggio: Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi. He has been much honored for his achievements, with awards including membership in the Ordre des Arts et des Lettres (as Chevalier) and the American Academy of Arts and Letters, the Praemium Imperiale of Japan, the National Medal of Arts, and the Glenn Gould Prize. In 2018 he was recognized with the Kennedy Center Honors.
His String Quartet No. 3, Mishima (1985) comprises six movements arranged from his score for Paul Schrader’s film Mishima: A Life in Four Chapters, a stylized treatment of the life of the 20th-century author Yukio Mishima, who, after directing a failed coup against Japan’s Armed Forces, committed ritual suicide. Glass wrote: “The film follows a complex narrative structure which divides the life of this famous contemporary Japanese novelist into 3 parts—his childhood, his mature years, and the last day of his life. These subjects were intercut to produce a shifting kaleidoscopic vision of Mishima’s life. The scenes of his childhood were filmed in black and white and scored for string quartet. At the time of writing the film music, I anticipated the string quartet section would be extracted from the film score and made into a concert piece in its own right.”
String Quartet No. 2, Company, was derived from music Glass wrote for an adaptation of Samuel Beckett’s 1979 autobiographical novella (or prose poem) of that name; the adaptation was made by actor-director Frederick Neumann for the experimental performance group Mabou Mines, of which he and Glass were both members and with which Glass has been affiliated for more than half a century. Unlike the Third Quartet, the Second makes no explicit reference to the narrative of its source. In fact, Glass labels its four movements in the most objective way possible, identifying them simply with metronome markings. Glass commented: “I liked the idea of using the medium of the string quartet that would allow for both an introspective and passionate quality well suited to the text. Beckett picked four places in the work which he referred to as the ‘interstices, as it were.’ Not surprisingly these four short movements have turned out to be a thematically cohesive work which now, as my String Quartet No. 2, has taken on a life of its own.”
As an emerging composer, Glass formed the Philip Glass Ensemble in 1968 to perform his works. The group consisted of amplified wood-winds and keyboards, singers, and (beginning in 1970) an indispensable sound engineer. He himself served as a keyboard player, and he began writing etudes as personal exercises for advancing his keyboard technique. His friend Dennis Russell Davies, a conductor-and-pianist who had been championing his music, was so taken by the idea that in 1994 he commissioned Glass to compose a set of six piano etudes; and that project then expanded to ten—the Études for Solo Piano, Book One. A second set of ten was premiered in 2012 and published two years later—the Études for Solo Piano, Book Two. Book One focuses on specific techniques generally required for rendering the composer’s music, such as adhering to unvarying tempos or playing repetitive figures over long time spans without inducing muscular fatigue. Book Two tends toward pieces of more wide-ranging conception and, arguably, of greater difficulty. The Études for Solo Piano have proved popular with choreographers, and pianists have embraced them not just as studies to address technical matters but as rewarding concert pieces in their own right.