Dominik Carclarinetto Recital per il conseguimento delMaster of Arts in Music Performance

Conservatorio della Svizzera italiana Scuola universitaria di Musica Via Soldino 9 CH-6900 Lugano

T +41 (0)91 960 23 62 eventi@conservatorio.ch www.conservatorio.ch

SABATO

06.10.18 Aula Magna

ORE

16:30Entrata libera

Dominik Car Dominik Car nasce nel 1994 in Slovenia. All’età di dieci anni viene introdotto allo studio del clarinetto nella Scuola di musica a Lendava e i primi incontri con il palco concertistico lo convincono a continuare la sua formazione musicale presso il Conservatorio di musica e balletto a Maribor, sotto la guida del M° Sebastijan Petrič Grajfoner. Dopo l’ esame di maturità viene amesso all’Academia di musica dell’università di Lubiana nella classe di M° Tadej Kenig. Attualmente si accinge a terminare il Master of Arts in Music Performance presso il Conservatorio della Svizzera italiana con i Maestri François Benda e Jordi Pons. Nel corso dei suoi studi ha partecipato a diverse Masterclass con Maestri di fama internazionale, tra cui Slavko Goričar, Radovan Cavallin, Bertram Egger, Nikola Srdić, Zsolt Szatmári e François Benda. Dominik partecipa regolarmente a concorsi nazionali e internazionali. Ha vinto numerosi premi, tra cui nel 2014 il “Concorso internazionale Anton Eberst” a Novi Sad e nel 2015 il secondo premio al “Concorso dei giovani musicisti sloveni”.

Claude Debussy 1862 – 1918

Première Rhapsodie per clarinetto e pianoforte

Bruno Mantovani *1974

Bug per clarinetto solo

Franco Donatoni 1927 – 2000

da Clair due pezzi per clarinetto solo I.

Johannes Brahms 1833 – 1897

Sonata n°1 in Fa minore op. 120 per clarinetto e pianoforte I. Allegro appassionato II. Andante un poco adagio III. Allegretto grazioso IV. Vivace

Eva Bohte pianoforte Classe di clarinetto di François Benda e Jordi Pons

Claude Debussy (1862-1918): Prémiére rhapsodie Towards the end of his life Claude Debussy , the leading example of impressionism in music history, composed the Prémiére rhapsodie. The piece for clarinet and piano was commissioned by the Paris Conservatoire for their annual examinations in 1910. The structure was rigidly prescribed by the Conservatory's rules to include a slower, lyric section to display the performer's tone and a brighter section to showcase his dexterity, but Debussy alternated between the two contrasting moods and melted them together into a more free form to create a masterpiece that surpassed the borders of common competition solos and later establish itself as one of the most beloved and most played of all works written for clarinet. Debussy himself was delighted about the piece and wrote also an orchestral version in the summer of 1911. The first section consists of two distinct themes, the first marked Reveusement lent (slowly dreaming), that contains all the musical motifs that will later be explored throughout the piece, while the second is a voluptuously swaying melody that the clarinetist is directed to play doux et pénétrant (sweet and penetrating). The cheerfully brusque Scherzando section that follows is marked Modérément animé (moderately fast). The lively music proceeds to playfully chase the sensuous opening themes and becomes progressively more animated as it hurtles towards a joyous and extroverted conclusion. Bruno Mantovani (1974): Bug Bruno Mantovani is a french composer, conductor and the headmaster of the Conservatoire national supérieur de musique et de danse in Paris. Born in 1974, his works quickly gained recognition at major concert halls and festivals and are interpreted by prestigious soloists, ensembles (Ensemble intercontemporaine, Accentus, TM+) and orchestras (Bamberg Symphony, Chicago Symphony, WDR Cologne, La Chambre Philharmonique, BBC London, RSO Vienna). His compositions range from works for solo instruments to chambre music, orchestral music and opera. Bug is a virtuoso work for clarinet, dedicated to Phillippe Berrod, who premiered the piece during the Mériel festival in 1999. It is a musical metaphor of the disarray caused by an imaginary computer break-down (fortunately not predicting what might have happened on 31 December 1999). The work opens with an extremely dense melodic profile, often contradicted with varied articulations, numerous trills and bisbigliandi, that give a completely disorganized feeling to the music. Progressively the music seems to escape

from the performer, and rapid passages replace the regular beat of the start of the work. Following a brief moment of calm, virtuosity comes to the fore, leading to a point of no return, a high note played ffff. Everything seems to disintegrate at this point, with disorientating quarter-tones, as if the pitches were melting into one another. The piece concludes with sustained notes, the sole survivors of the micro-tonal melodies. Franco Donatoni (1927-2000): Clair - two pieces for clarinet alone “My true passion was writing notes. Many notes.” This was the answer of Italian avantgarde composer Franco Donatoni to the question why he became a composer and not a musician. From an early age Donatoni was tortured by clinical depression and composing became a way for him to fight his illness. His work can be divided into three artistic periods. At first, he was a strong follower of bartokian neoclassicism, but in the 50’s he was introduced to serialistic and aleatoric mechanisms when he met Bruno Maderna. Although he became a member of the Darmstadt movement and tried to imitate and learn from composers like Pierre Boulez and Karlheinz Stockhausen, he was not satisfied with the way they were “always perfecting their ego and their music, while his wish was to destroy both of them” and this stance pushed him to further develop his writing. After a crysis of creativity he discovered that his exploitation of musical ideas and musical material would make him struggle composing and this discovery led him to develop his own unique compositional style. He would start with a single aesthetic choice and then observe how it unravels through compositional systems he called “codes”. Although Donatoni never used a computer, his pieces resemble computer assisted compositions and often completely ignore the physical musician and also the creative composer himself. “Clair - two pieces for clarinet alone” was written in 1980 and is part of a series of pieces for instruments alone. A simple look at the score perfectly describes Donatoni’s “passion” for composition. The first piece sounds like an aggregate of different repeated gestures which merge into larger forms. It opens with a repeated rising gesture combining fast passages with glissandi till they reach the highest note on the instrument. The music is then torn apart between two contrasting motifs before it starts to rise again finishing in an unending falling chromatic motion which slowly fades away. Fragments from the beginning start to reemerge and blend into patterns that distantly recall folkloric rhythms,

interrupted by bursts of fast passages. The music then reaches a point marked il più veloce possibile (as fast as possible) and sempre fff , that could remind the clarinetistic ear of the boldness of the third piece of Stravinsky’s Three pieces. The piece concludes abruptly between trilled notes and last bursts of fast passages. Johannes Brahms (1833-1897): Sonata for clarinet and piano Op. 120 No. 1 in G minor Johannes Brahms originally planned to retire from composing after completing his String quintet in G major (“Prater”) Op. 111. However, his mind was quickly changed after being inspired by the performances of Meiningen clarinetist Richard Mühlfeld (1856-1907). Brahms enjoyed Mühlfelds interpretation of Weber’s clarinet works and was impressed by his ability to move easily between the registers of the instrument. Because of the way Mühlfeld inspired him, Brahms was able to produce the Clarinet Trio, the Clarinet Quintet and two Clarinet Sonatas, all of which have become a vital part of the instruments repertoire. The Sonata in F minor Op. 120 No. 1 in particular, demonstrates Brahms’ compositional style, especially his tendency to expand and reinvent classical forms. The sonata is written in four movements, first of which is Allegro appassionato, that opens with a theme reminiscent of a melancholy waltz, that evolves into a punctuated tragical second theme. The development of the material gives rise however to a gentle, if melancholy slackening of spirit, before abruptly returning to a marcato boldness. A hopefull transformation of the first theme announces the coda, that sounds like a yearning of the clarinet, which only succeeds to finish on the 5th degree of the F major chord. The Andante un poco Adagio reveals special qualities of tenderness familiar to us through the music of Brahms, yet almost in possession of a Schubertian need to wander as if in a trance to distant musical keys. The third movement Allegretto grazioso invites us to a waltz like dance, that is contrasted in the middle section with opaque, chromatic harmony. The recurring culminating principal theme of the fourth movement Vivace, written in a Rondo form, leads us to a bright, victorious finale.