Saint-Saëns, Symphony "with organ
Saturday, October 26th, 9:30pm
Funchal Cathedral
Saint-Saëns, Symphony "with organ
Madeira Classic Orchestra
João Vaz, Laura Mendes, organ
Martin André, conducting
Hector Berlioz (1803-1869)
La damnation de Faust
Dance des sylphs
Menuet de follets
Marche Rakoczy (Hungarian march)
Camille Saint-Saëns (1835-1921)
Symphony No. 3 in C minor "with organ
Adagio - Allegro moderato - Poco adagio
Allegro moderato - Presto - Maestoso - Allegro
Madeira Classic Orchestra
João Vaz, Laura Mendes, organ
Martin André, conducting
The program of this concert presents two composers who stand at the extremes of the French symphonic movement in the 19th century. Hector Berlioz was one of the first figures of musical Romanticism in France and his Symphonie fantastique, premiered in 1830, persists as an innovative work and one of the most important of that period. Camille Saint-Saëns, on the other hand, is one of the last representatives of French symphonic Romanticism, and his third and last symphony (usually called "with organ"), dated 1886, is a work from the composer's mature period, about which he himself said: "I gave [this work] all I could give. What I have achieved here I will never achieve again.
Besides their French origin and the fact that they were both composed during the 19th century, the two works presented in this concert have in common the fact that they reflect an exuberant orchestration. The first pieces on the program are orchestral movements from La damnation de Faust, a légende dramatique that Berlioz dedicated to soloists, a seven-voice choir, children's choir, and an orchestra with a large number of winds, strings, and percussion. Saint-Saëns also requires, for his Symphony No. 3, a large orchestra, to which he adds the piano (two and four hands) and, of course, the organ.
Although the Symphony "with organ" appears to have only two movements, these are subdivided into four, grouped in two pairs. The first contains an Allegro moderato (preceded by a short introduction) and a long slow movement (Poco adagio), and the second is divided into a kind of Scherzo (Allegro moderato - Presto), followed by the Maestoso - Allegro final. But if Saint-Saëns remains somewhat conservative in the formal structure of the work and even in the compositional techniques used (sonata form, fugato, transformation of themes, etc.), the orchestration, namely through the presence of the organ, never fails to surprise. Considering that Saint-Saëns was one of the most famous organists of his time, the use of the organ in this work is truly original. Kept silent throughout the gigantic sonata form of the initial Allegro moderato, it appears alone and almost introvertedly at the beginning of the Poco adagio, gradually creating a harmonic texture over which a lyrical melody is presented in the strings. The organ remains in this discrete position throughout the rest of the movement, falling silent again in the Allegro moderato - Presto, where the piano bursts in for the first time in dazzling scales that intertwine with the vivacity of the orchestral writing. It is only in the last section, and after the scherzante writing of the preceding Presto dissolves into a prolonged decrescendo, that the organ is presented in all its power, and is entrusted with an important role in the exposition of the final theme.
The Symphony "with organ" was intended for a concert hall with organ, and was premiered on May 19, 1886 in London at St James Hall (a large auditorium that has since disappeared), under the direction of the composer. In modern times, and especially in countries where concert halls with large organs are not abundant, this work is often performed in churches. In this concert - which marks the first performance of the work in Madeira - both Funchal Cathedral organs will be used simultaneously.
João Vaz
Participants
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The Classical Orchestra of Madeira is recognized as "the Project" of choice for the dissemination of classical music, both in the training of young musicians and the public, and as a cultural and tourist attraction of the Region. The Orchestra, composed of 43 professional musicians, is considered one of the oldest in the country in activity. It had its genesis in the Chamber Orchestra of Madeira, founded in 1964 by professor Jorge Madeira Carneiro. In 1995, thanks to the decisive support of the Regional Government, it became known as the Classical Orchestra of Madeira, date from which there is a greater professionalization. It was conducted by the titular maestros Zoltán Santa, Roberto Pérez and Rui Massena and by guest conductors, namely, Gunther Arglebe, Silva Pereira, Fernando Eldoro, Merete Ellegaard, Paul Andreas Mahr, Manuel Ivo Cruz, Miguel Graça Moura, Álvaro Cassuto, Jaap Schröder, Luiz Isquierdo, Joana Carneiro, Cesário Costa, Paolo Olmi, Jean-Sébastian Béreau, Maurizio Dini Ciacci, Francesco La Vecchia, David Giménez, Martin André, Jean-Marc Burfin, Philippe Entremont, Maxime Tortelier, Rui Pinheiro, Pedro Neves, Ariel Zuchermann, Gianluca Marcianò, Ernst Schelle, and in it renowned national and international soloists have performed. The Classical Orchestra, which since 2013 has been managed by the Associação Notas e Sinfonias Atlânticas, embraces a bold artistic project, providing seasons rich in programs from the classical, romantic and contemporary period, integrating cycles of "Great Soloists", "Young Soloists" and "Great Works". |
Madeira Classic Orchestra|
João Vaz studied in Lisbon with Antoine Sibertin-Blanc and in Zaragoza with José Luis González Uriol. Besides his regular studies he attended courses with teachers such as Edouard Souberbielle and Joaquim Simões da Hora, acquiring a deep interest in Early Music. He also holds a PhD in Music and Musicology, with a thesis on Portuguese organ music from the beginning of the 19th century. Having developed an intense international career, he is frequently invited to play in prestigious organ festivals, as well as to teach in interpretation courses and to join juries in international competitions. His interest in Portuguese music is reflected in his many CD recordings (most of them on historical Portuguese organs) and in his musicological work (articles and music editions). He currently teaches at the Escola Superior de Música de Lisboa. He is artistic director of the Madeira Organ Festival and of the concert series that takes place on the six organs of the Basilica of the National Palace of Mafra (for whose restoration he was permanent consultant) and on the historical organ of the Church of São Vicente de Fora in Lisbon (an instrument he took over in 1997). |
João Vaz|
Born in Porto d Cruz, Laura Silva Mendes started her musical studies in the Association Cultural Group Flores de Maio at the age of six years old. Two years later, she began studying piano at the Conservatório - Escola das Artes Eng° Luiz Peter Clode, in Machico, Madeira, with Emesse Szepesi and later with Iryna Kózina and organ with Halyna Stetsenko at the professional instrumental music course in Funchal. In 2013, she began a piano course at the Royal Conservatory of Antwerp, Belgium, with Polina Leschenko. She has performed frequently as a soloist and in chamber music formations at the Main Hall of the Conservatory of Madeira, at the Teatro Municipal Baltazar Dias, Finchal, and at the Witte Zaal and Blauwe Zaal at the deSingel in Antwerp. In 2015 he began his master's degree in piano with Polina Leschenko and Eliane Rodrigues and his bachelor's degree in organ with Joris Verdun at the Royal Conservatory of Antwerp. During these years, he attended organ masterclasses with João Vaz, Benjamin Righetti, Maurizio Crossi, Ludger Lohmann, Esteban Landart and others. He has performed as an organist in Portugal, France, Germany, Belgium, Holland and Great Britain. In February 2019, he was selected to attend the ECHO Academy in Brussels, and in July he attended the 55th Estoril International Music Course at the Sé de Lisboa with Michel Bouvard. He successfully applied to the Royal College of Music in London, where he will continue his organ studies. |
Laura Silva Mendes|
Martin André attended Yehudi Menuhin School (where he studied piano) and studied music at Cambridge University. He made his professional debut conducting a chamber version of Aida for the National Opera of Wales, where he spent several seasons as resident conductor. During this period he worked on a vast repertoire, paying particular attention to 19th century Italy. Between 1993 and 1996 he was Music Director of the English Touring Opera, conducting operas both in London and on tours throughout the United Kingdom at the Opera ido. In 1996 he was awarded the Arts Foundation Conducting Foundation. Martin André is the only conductor to have conducted all the major British opera companies. Since leaving his post at National Opera Wales, he has performed at the Royal Opera House, Glyndebourne Touring Opera, Opera Scotland, English National Opera, Opera North and Opera Northern Ireland. In 2000 he directed a live recorded production for BBC London of Le Nozze di Figaro. He currently divides his professional career between opera houses and concert halls, conducting renowned orchestras. His international career includes engagements in Albania, Australia, Canada, France, Germany, Israel, Italy, Netherlands, New Zealand, Norway, Portugal, Czech Republic, South Africa, Switzerland, and the United States. |
Martin AndréNotes about organ
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In the See of Funchal, the presence of an organ was first documented at the dawn of the 16th century. In 1739, King João V gave the Cathedral a new organ, built in Lisbon by the organ builder Francisco do Rego Matos. In 1740, the Chapter had this instrument placed in the original rostrum, to the left of the chancel. Since it was in a non-functional state, the organ was dismantled in 1925, and eleven years later it was offered to the Colégio Church. To replace it, the Cathedral Chapter chose to buy the organ then belonging to the Anglican Church. The minutes of the Cathedral Chapter, written on January 5, 1937, state "that by order of His Excellency, the Bishop had bought the present organ belonging to the Anglican Church, at a cost of thirty-four thousand five hundred escudos, plus transportation, installation, etc." It was placed in the high choir at the entrance to the main door of the Cathedral. This instrument, which has since undergone several interventions, was built in England in 1884 by order of an English doctor who lived in Madeira and who was also dedicated to the organist's art. At some point, this doctor decided to offer it to the Anglican Church. The organ was the result of the collaboration of several organbuilders, and T. A Samuel in 1884 (Organ Builder, Montague Road, Dalston-London). The pipes - or part of the pipes - were built by Charles S. Robson (1861), the adders by Wilson Gnnerson, the keyboards by S. W. Browne, and part of the metal pipes by A. Speneir (1884). Speneir (1884). Originally equipped with a mechanical drive, three decades ago the instrument underwent considerable modifications, changing parts of the mechanism and adding some reed "on call" registers. These interventions ended up completely mischaracterizing the organ, without giving it greater musical quality. As a result, and with the intention of providing the Cathedral an instrument suitable for liturgical and concert purposes, major restoration work was carried out in 1995/96, and completed by Dinarte Machado. I Manual (C-g''') II Manual (C-g''') Pedal (C-g'') Couplings |
Historical Organ|
Dinarte Machado, 2017 The new choir organ of the Sé of Funchal resulted from an initiative by the Cabido da Sé, in order to provide the Cathedral with an instrument fundamentally geared towards the current needs of the liturgical service, but simultaneously suitable for recitals and events of a non-liturgical nature. The organ was installed in the south transept, near the altar and choir (emphasizing its eminent liturgical vocation), but it can rotate on an axis and face the central nave. The design of the case, by organ-builder Dinarte Machado, results from a free interpretation of the ogival arches of the Cathedral, and most of the decorative elements refer to religious aspects (names of saints) or traditional aspects (wicker baskets). The organ, the final version of which resulted from the dialogue between the organ-builder and the Master of the Cathedral Chapel, Father Ignácio Rodrigues, has sixteen registers, distributed over two keyboards and a pedalboard. The harmonization of all those registers took into account not only the multiple functions of the instrument, but especially the adaptation to the acoustics of the temple. The phonic conception is profoundly original, not being made in the image of another similar instrument, nor identified with an era or style. It was intended that, using its timbric diversity and exploring its capabilities, organists could make this instrument heard in repertoire from various eras and composers, as well as encourage current composers to use their creativity and new works. This was the vision of its builder, Dinarte Machado, who considers that the organ "offers all the freedom to an organist, as an improviser. I Manual - Main organ (C - g''') II Manual - Expressive organ (C - g''') Pedal (C - f') Couplings |
Choir Organ