Stolen Roses – Bucharest Early Music Festival
Stolen Roses

Stolen Roses

Starts from: November 25, 2016

Start Time 7:00 pm

Muzeul Naţional Cotroceni

Xavier Diaz – Latorre will perform the concert “Stolen Roses” on November 25, 19.00, at Cotroceni National Museum.

Please bring your ID/Passport and ticket in order to join this event. Tickets and passes are available in Eventim network (online or in Germanos, Orange, Vodafone, Domo, Carturesti, Humanitas stores) and www.kompostor.ro.

Program

Heinrich Ignaz Franz von Biber (1644-1704) – From the Rosary Sonatas: Passagalia in G minor
Johann Sebastian Bach (1685-1750) – Suite for the Lute in G minor BWV 995, “Pièces pour la Luth à Monsieur Schouster”: Prélude/trés viste – Allemande – Courante – Sarabande – Gavottes I&II – Gigue Georg Philipp Telemann (1681-1767) – Fantasia 1 in Bflat Major TWV 40:14: Largo – Allegro – Grave – Allegro
Johann Paul von Westhoff (1656-1705) – Suite in A minor: Allemande – Courante – Sarabande – Gigue Johann Sebastian Bach (1685-1750) – After the second partita for the solo violin BWV 1004: Ciaccona Xavier Díaz – Latorre – 13 courses Lute by Grant Tomlinson, Vancouver 1984

 

Artist

Xavier Díaz-Latorre was born in Barcelona, Spain in 1968. He studied at advanced level in Basle with Oscar Ghiglia at the Musikakademie and Hopkinson Smith at the Schola Cantorum. He has given concerts at major venues around the world, including the Carnegie Hall (New York), Covent Garden (London), the Palau de la Música Catalana (Barcelona), the Teatro Real (Madrid), the Teatro Colón (Buenos Aires), the Wiener Philarmonie (Vienna) and the Konzerthaus (Berlin). Díaz-Latorre performs regularly with world-renowned ensembles such as Hesperion XXI, La Capella Reial de Catalunya, and Le Concert des Nations. He has also performed with Al Ayre Español, the Orquesta Nacional de España, Concerto Vocale, the Akademie für Alte Musik Berlin, Concerto Köln, and others. Laberintos Ingeniosos is his own vocal-instrumental ensemble, which he has taken to a number of different countries throughout the world. Xavier Díaz-Latorre has made more than 40 recordings for international CD labels, and has recorded the complete works for guitar by the composer Francisco Guerau among other titles. He teaches early plucked instruments, chamber music and bass continuo at the ESMUC (Escola Superior de Música de Catalunya), and has been invited to teach in the USA, Korea, Japan and several European countries.

Context

Stolen roses smell the sweetest

During the baroque time, transcription has been a common practice among the musicians. It is well known, that Bach himself transcribed pieces by other composers such as Vivaldi or Buxtehude, in order to learn and understand their compositions. Analising in depth the material of the best composers in such a way was, and still is the best way of learning composition. The action of writing gives the right tempo to admire and analyze the material from the roots of the piece. The program of tonight is a bouquet of roses of the baroque unacompanied solo repertoire which I stole from the corpus of other instruments – mostly violin, transcribed and adapted for the Lute. Passagalia – violin solo without accompaniment, by Biber is the piece which closes the Sonata in G minor from the Mistery Sonatas for the violin. This jewel of the violin repertoire is the only unacompanied solo piece for violin by Biber and in time it became one of his most famous compositions. The Suite BWV 995 for the lute is a transcription done by Bach himself from his 5th Cello Suite and it is the . He changed the key (from C minor to G minor) and added chords and bass lines which helps for the comprehension of the piece. It is probably the most idiomatic piece for the Lute written by Bach. The collection 12 Fantasias for the violin by Telemann, published in Hamburg in 1735 is one of Telemann’s collections of music for unaccompanied instruments such as flute, harpsichord or viola da gamba. The particularity of these pieces is that they exhibit mastery of not only compound melodic lines, but also of idiomatic writing for violin. I transcribed the first Fantasia in B flat, and was astonished to see how naturally it sounds on the lute. The suite in A minor by Von Westhoff is part of the 6 Suites for Solo Violin. He was probably the first composer in history of the violin, attempting to compose big pieces for an instrument which was up to then mostly used together with an accompaniment. It is commonly said that Bach was inspired by Von Westhofs work, when he was composing his 6 partite and sonate for the solo violin. 102 103 The Ciaccona after the second partita for solo violin BWV 1004, is undoubtedly one of the monuments in the history of music. It was composed shortly after the death of Bach’s first wife and published within the collection Sei solo for the violin. In Italian Sei solo means: “You are alone”. The right italian use of the words would have been Sei soli (Six solo). We will probably never know whether this tittle reflected Bach’s limited knowledge of the italian language, or rather his state of mood after his wife passed away… (Xavier Diaz – Latorre).