CLIPPING JORNAL DO COMMERCIO – Virtuosi faz últimos concertos em Gravatá

Depois de uma programação intensa de concertos durante dez dias, o 3º Festival Virtuosi de Gravatá se despede da Igreja Matriz de Sant’Ana. De hoje até domingo, o local recebe apresentações gratuitas de atrações como o pianista Volodymyr Vynnytsky e a violoncelista Natalia Khoma.

O concerto de hoje está marcado para as 19h, com a presença do acordeonista Alexander Hrustevich. Amanhã a programação inclui dois recitais: um às 11h e o outro às 19h. O primeiro será apresentado pelo violista Rafael Altino e pela contrabaixista Valeria Thierry, o segundo, conta com o violinista Benjamin Sung, o pianista Volodymyr Vynnytsky, entre outros artistas.

No domingo, às 17h, a Orquestra do Festival será acompanhada por alguns dos músicos que passaram pelo evento este ano para o encerramento do Virtuosi 2011.

k Virtuosi Gravatá, na Igreja Matriz de Sant’Ana. Entrada gratuita. Fone: 3363-0138



Esse texto foi publicado sexta-feira, julho 15th, 2011 às 9:26 AM na seção Sem categoria. Você pode acompanhar todos os comentários através do feed RSS 2.0. Você também pode comentar, ou criar um link para cá em seu site.

5 comentários to “CLIPPING JORNAL DO COMMERCIO – Virtuosi faz últimos concertos em Gravatá”

  1. Sergio

    I’m answering not as a stnirg player, but as an orchestrator who has studied orchestration. Ergo, my knowledge of concert literature is limited, but I’ve encountered enough to offer an answer. You are correct that the bow can only play two stnirgs at a time; this is called double stopping. If the composer wants the violins to sustain a chord that has three or more notes, he/she merely writes a Violin I and Violin II part. Parts for III, IV, V, etc can also be found look at some of Vaughan Williams’ ravishing stnirg works. There ARE single violin parts where a sustained chord has three notes ringing [“triple stopping”]; for this, the composer counts on there being some echo in the concert hall one of the notes will be a grace note played loudly [either bowed or pizzicato] and immediately before the other two notes are bowed and held. Naturally, the shorter note will fade, but the listener’s ear will have heard the note and therefore mentally registered it as part of the chord, even though it ceases to be actually heard. Tripling is not a favorite past-time of violinists, but it is a trick that can result in some clever effects. I’ve specifed sustained notes/chords where the bow is holding the notes. As you know, if the music is arpeggiated the player can be found sounding notes on all four stnirgs rapidly. For examples, look at any virtuoso repertoire. Oh, as to your first question of how often you play two notes, there is no answer. It’s completely up to what the composer wanted. Generally, you’ll find yourself playing just one note at a time; doubling/tripling occurs only when more complex chords are called for.

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