Entrevista com a violoncelista polonesa Evva Mizerska | StudioClio


Entrevista com a violoncelista polonesa Evva Mizerska

Enviado por studioclio, sex, 17/10/2008 - 19:30

Em comemoração aos 90 anos da independência da República da Polônia, o consulado de Curitiba promove uma turnê nacional das instrumentistas polonesas Evva Mizerska (violoncelo) e Magdalena Cionek (piano). O recital do duo chega a Porto Alegre no dia 9 de novembro, domingo, às 20h, no StudioClio (reserve o seu lugar). Por e-mail, direto de Londres, onde reside atualmente, a violoncelista Mizerska (que também participa da cyberband Virtual Strangers) falou de sua proximidade com a música contemporânea polonesa, analisou o repertório do recital e ainda anunciou o CD que deve ser lançado no início do próximo ano.

Por Ana Laura Freitas e Felipe Schroeder Franke

As long as we could read, you mainly develop interpretations of contemporary composers from Poland. Could you tell us a little about your interest in them?

This is not entirely true, I play and perform music of all periods – from Baroque to contemporary – all the standard cello repertoire. But it is at the same time true that I developed a strong interest in the Polish contemporary music. It started about two years ago, I was looking for new repertoire to play and there are, of course, many fantastic modern works for my instrument, which I have not yet played, but I thought it would be interesting to explore particularly what has been composed in my own country. I came up with the idea of a concert series performing this repertoire and I presented the project to Trinity College of Music in London (where I also completed my Masters two years earlier). The College liked the idea and they obtained the grant for me, so that I could pursue the project. I discovered loads of really great works. Of course there are composers such as Witold Lutoslawski, or Krzysztof Penderecki, who are known to almost everybody but there are also many others, not so widely known, who wrote fantastic music for cello. During the time of the project (one year 2006/2007) I performed five concerts with different programmes for cello solo, with the piano, with electronics and cello ensemble by composers such as Krzysztof Meyer, Marta Ptaszyñska, Hanna Kulenty, Tomasz Sikorski, Piotr Moss and many others. I also commissioned four works from four young Polish composers (A. Gryka, W. Ratusiñska, P. Tabakiernik and P. Przezwañski) especially for this project. The concerts were very successful - there was a lot of interest in this great music, most of it unknown in the UK. Then (already this year) I recorded a CD (currently awaiting release on TOCCATA CLASSICS at the beginning of the next year) with complete works for cello and piano by Krzysztof Meyer (with pianists Katarzyna Glensk and Emma Abbate).

After graduating in Warsaw, you moved to London. What took you there? Do you plan returning to your city or moving to another city?

When I was about to finish my studies in Warsaw I was looking for a teacher to go to and do my postgraduate studies with. I wanted to find a real master, someone who is a soloist, performs regularly, someone who could be my "hero" as to say, both technically and musically. I went to a few music courses in the USA, Germany, France and England. I almost decided to go to study in Michigan, US, as I found an excellent teacher there, but then I met Richard Markson and it was obvious to me he was the person I should study with. He is an absolutely great cellist and comes from the tradition I always admired the most – French cello school (he was a student for many years of my two cellistic heroes: Pierre Fournier and Paul Tortelier). Richard teaches at Trinity College of Music in London and this was the very reason why I decided to go there. I was lucky enough to be granted full scholarship from the College, so that despite the economic gap between Poland and the UK a few years ago I could come here to study.

You'll perform in Porto Alegre aside with Magdalena Cionek, in the name of the 90 Years of the Republic of Poland. What composers are you going to play? Do they have some significance to Poland as a country, as a national identity?

We will play only Polish music, but this time not contemporary, but mainly Romantic. The idea of the organisers was that we should perform something which would be either written or performed around the time when we regained our Independence (1918). We play the music by Chopin, Karlowicz, Wieniawski, Paderewski and Szymanowski.

Chopin of course is much earlier music but it is our greatest composer (and most widely known) and very important for us too. He lived during the time when Poland was under partitions – it did not exist on the map. But of course the national identity, the spirit was very strong; Chopin's music is really so much connected with Poland – so many quotes from the Polish folk music there, the harmonies. Because written during this challenging time for the Polish nation and because it is very Polish in character, after Chopin's death his music became one of the symbols of resistance and symbol of our country. Actually, during the Second World  War, when Poland was invaded, Germans did not allow Chopin's music to be performed anywhere. It was too much of a symbol of free Poland and had too powerful an effect on people. It reminded of the reason to fight for our freedom and evoked sense of national pride.

Other composers we will perform are also very important. Henryk Wieniawski was one of the most famous violin virtuosos of the 19th century (not only in Poland but generally in the world). His music is performed by violinists worldwide until today and there is an International Violin Competition held in his name in Poznan, Poland, every four years.

Mieczyslaw Karlowicz is a very important Polish late romantic composer, who died tragically in early age (he was only 33) in 1909. We will play a cello and piano transcription of his Serenada for strings.

We will also play a short piece by Ignacy Jan Paderewski (1860-1941) – one of the most famous piano virtuosos of late 19th and first half of 20th century; he was also a composer. He was such an important figure for the Polish culture that he was asked to become our first Prime Minister, which he accepted (1919).

Karol Szymanowski (1882-1937) is now becoming more and more widely known. He is, together with Chopin and Lutoslawski one of our greatest composers. There is also a lot of Polish folklore there but of course he had his absolutely unique musical language.

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