Youth for Youth charity concert

Filip Filipović, tenor

Winner of the Jeunesses Musicales Croatia Ivo Vuljević Award

Matej Mijalić, violina

Winner of the Ferdo Livadić International Competition of Young Musicians

Lana Bradić, piano accompaniment

Luka Sorkočević School of Art Chamber Ensembles

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Youth for Youth charity concert

The festival music programme in the Rector's Palace will conclude with a donation concert entitled Youth for Youth. It will feature the best young Croatian musicians, tenor Filip Filipović, winner of the Jeunesses Musicales Croatia Ivo Vuljević Award  and violinist Matej Mijalić, winner of the 20th Ferdo Livadić International Competition of Young Musicians, with the Luka Sorkočević Art School chamber ensembles.

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PROGRAMME:

Amy Beach: Romance for Violin and Piano, Op. 23
Tomaso Vitali,arr. Leopold Charlier: Chaconne for Violin and Piano in G minor
Henryk Wieniawski:  Polonaise brillante for Violin and Piano in A major, Op. 21
Matej Mijalić,  violin
Lana Bradić,  piano accompaniment

Marc-Antoine Charpentier, arr. Đive Kušelj: Te Deum 

-Prélude

Claude Debussy, arr. Đive Kušelj: Children’s Corner, suite 

-Golliwogg’s Cakewalk

Marija Ćatić –  flute

Mia Vranješ –  flute

Lucija Lučić – flute

Mentor: mr. art. Đive Kušelj, Senior Advisor

Pyotr Ilyich Tchaikovsky, arr. Pero Škobelj: Seasons,

-October. ‘Autumn Song’

Paula Ćatić –  violin

Zita Medo –  cello

Daris Omerčahić –  guitar

Mentor: Dora Kamber, univ. spec. mus.

Rudolf Matz, arr. Ani Stjepanović Čavlina: Humoreska 

Gabriel Čavlina –  cello

Ivano Urljević – double bass

Mentor: Ani Stjepanović Čavlina, prof.

Antonio Vivaldi:  Sonata in F major, Op. 2, No. 4
-Andante (Allemanda) – Allegro

Modest Mussorgsky, arr. Dora Kamber: Hopak

Paula Ćatić – violin

Đive Ćatić – cello

Mentor: Dora Kamber, univ. spec. mus.


Sergei Rachmaninoff:  Sonata for Cello and Piano in G minor, Op. 19

-Andante

Iva Nodilo – cello

Mia Klinac – piano

Mentor: mr. art. Vanda Đanić, prof. Advisor

Béla Bartók,arr. Matthew Tommasini / Dora Kamber: Romanian Folk Dances
-I. Joc cu Bâtă, II. Brâul, III. Pe Loc, IV. Buciumeana, V. Poarga Românească, VI. Mărunțel

Paula Ćatić – violin

Marta Ćatić – violin

Karmen Begić – violin

Lena Eva Crnjak – cello

Sara Crnjak – piano

Mentor: Dora Kamber, univ. spec. mus.

Antonín Dvořák: Když mne stará matka

Stanislao Gastaldon: Musica proibita

Josip Hatze: Suzi

Giuseppe Verdi: La donna è mobile

Agustín Lara: Granada

Filip Filipović, tenor

Lana Bradić, piano accompaniment

All donations and proceeds from purchased tickets go to support young musicians from the
Luka Sorkočević Art School, to enable them to participate in national and regional competitions.

IBAN for donations: HR6524070001100020011 (please indicate DONATION YOUTH FOR YOUTH)

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MORE ABOUT THE PROGRAMME:

Notes by Dina Puhovski

Amy Beach (b. Amy Marcy Cheney, Henniker, 1867 – New York, 1944) was the first American female composer to achieve success during her lifetime and the first to publish a symphony. She was also a pianist, but after marrying an esteemed physician, she agreed to considerably reduce public appearances. She wrote Romance in 1893, for the violinist Maud Powell.

Tomaso Vitali (Bologna, 1663 – Modena, 1745) was a Baroque composer who is credited as the author of this Chaconne (Ciacone), found in a manuscript in Dresden. According to one theory, it was written by Ferdinand David, who published a version for violin and piano in the 19th century. Chaconne is originally a dance piece, usually with variations on an ostinato bass. This one was arranged by the Belgian conductor Léopold Charlier in 1911.

Polish composer and violinist Henryk Wieniawski (Lublin, 1835 – Moscow, 1880) achieved worldwide recognition as a violin virtuoso, praised for his brilliant sound and technique. He often performed his own works, which enabled him to demonstrate his exceptional technical skills; he sketched Polonaise brillante at the age of thirteen.

Marc-Antoine Charpentier (Paris, 1643–1704) was a prominent French composer whose music was rediscovered in the 20th century. He wrote the motet Te Deum (one of his six settings of this hymn) in 1692, and the Prelude is best known as the Eurovision Song Contest opening music.

Claude Debussy (Saint-Germain-en-Laye, 1862 – Paris, 1918) is usually considered an impressionist, although he did not like the term. He wrote the suite Children’s Corner (1908) for piano and dedicated it to his daughter Claude-Emma, known as Chouchou. The movement Golliwog’s Cakewalk features influences of American music, which was very popular in France at the time.

The great Russian composer of Ukrainian origin, Pyotr Ilyich Tchaikovsky (Votkinsk, 1840 – Saint Petersburg, 1893) wrote his Seasons at the commission of the music magazine Nouvellist – which published one movement every month, written for that particular month. Each movement was published with verses selected by the editors; the movement Autumn / Autumn Song was accompanied by Alexey Tolstoy’s verse ‘Autumn, our poor garden is all falling down, and the yellowed leaves are flying in the wind.’

Humoresque is one of the most performed works by the Croatian composer Rudolf Matz (Zagreb, 1901–1988), who was also an accomplished cellist and cello professor, conductor and music critic; in his youth he was also a very successful athlete. Humoresque is the second, brighter, part of his Elegy and Humoresque from 1938, originally composed for cello and strings.

The Baroque master Antonio Vivaldi (Venice, 1678 – Vienna, 1741) was known as ‘the Red Priest’ because of his red hair (but he apparently refused to celebrate Mass). He wrote mostly for the violin, but also other instruments; he composed a number of operas, which are mostly forgotten. He wrote around 90 sonatas, mostly for string instruments; allemanda is a type of dance movement, probably from the 16 century, often used as the first movement of Baroque suites.

Modest Petrovich Mussorgsky (Karevo, 1839 – Saint Petersburg 1881) was largely a self-taught composer, author of important vocal pieces (operas and songs), an artist with a turbulent life and original style, often with an unusual approach to melody and harmony. Hopak is a Ukrainian folk dance and the movement form Mussorgsky’s comic opera Sorochintsy Fair.

The Russian Romantic composer of the post-Romantic era, Sergei Rachmaninoff (Semyonovo, 1873 – Beverly Hills, 1943), was a piano virtuoso and probably best known for his works for piano, solo and with orchestra. He completed the Sonata for Cello and Piano, Op. 19, in 1901. Cellist Stephen Isserlis, who recorded it (and said that his grandfather Julius, Rachmaninoff’s contemporary, also played this piece), believes that the Sonata is influenced by the bells and hymns of the Russian Orthodox Church.

In addition to his prolific composing, the Hungarian composer and pianist Béla Bartók (Sânnicolau Mare, 1881 – New York, 1945) was particularly dedicated to collecting and studying traditional music and folk traditions of Hungary, Romania and Slovakia. The collected material strongly influenced his composing. The suite Romanian Folk Dances was originally written for piano and based on the melodies from Transylvania.

Když mne stará matka (‘When my old mother taught me to sing, she would often cry’) is a song written by Antonín Dvořák (Nelahozeves, 1841 – Prague, 1904) in 1880 to a text by Adolf Heyduk. Dvořák was the first internationally renowned Czech composer, also interested in folk music and the development of a national style, based on Romantic music. This is the fourth song from Dvořák’s Gypsy Songs, often performed independently.

The Italian composer Stanislao Gastaldon (Turin, 1861 – Florence, 1939) mostly wrote vocal music: several hundred songs, popular in salons in his time, as well as operas. He wrote the song Musica proibita (Forbidden Music) when he was twenty, to his own text, signed under a pseudonym. It is in fact a ‘song within a song’, because the young woman who is being sung about secretly sings to her beloved, whom her parents do not approve of.

The Croatian composer Josip Hatze (Split, 1879–1959) dedicated most of his oeuvre, marked with belcanto, to lyrical vocal music. He wrote around sixty songs, most of them love songs, choral music and two operas, including the first Croatian verismo opera, The Return. The song Suzi was written to a text by writer and playwright Milan Begović (‘A tear silently drops / Bitter tear falls to the ground / Oh, fall, fall, bitter tear / O, salve for my pain!’).

The aria La donna è mobile, or Woman is fickle, from Act 3 of Rigoletto (1851), is often sung in concerts and tenor recitals. One of the greatest opera composers, Giuseppe Verdi (Roncole, 1813 – Milan, 1901), wrote Rigoletta to a libretto by Francesco Maria Piave, based on a play by Victor Hugo. In this aria, the lecherous Duke of Mantua claims that women are fickle, deceitful, and, it is implied, expendable.

Often performed in concerts and gala events, Granada was also made popular by tenors. It was written in 1932 by the Mexican composer Agustín Lara (Tlacotalpan, 1897 – Mexico City, 1970) to his own text about the Spanish city of Granada. Set to a theatrical, effervescent music, the lyrics begin with ‘Granada, the land I dream of, my song becomes Gypsy-like when I sing to you’, and then sing about longing for this place ‘full of beautiful women, blood and sunshine’.