XVI EDIÇÃO DO CONCURSO INTERNACIONAL DE MÚSICA VIANNA DA MOTTA

XVI EDIÇÃO DO CONCURSO INTERNACIONAL DE MÚSICA VIANNA DA MOTTA

18 a 30 de Julho de 2007

CCB - Grande e Pequeno Auditórios

CALENDÁRIO DA XVI EDIÇÃO DO CONCURSO INTERNACIONAL DE MÚSICA VIANNA DA MOTTA – 2007

18 Julho
Grande Auditório / 21H
CONCERTO INAUGURAL
Natália Gutman violoncelo / Elisso Virssaladze piano
SONATAS PARA VIOLONCELO E PIANO DE LUDWIG VAN BEETHOVEN E JOHANNES BRAHMS
Preços: De 5€ a 15€

19 Julho
1ª Eliminatória
Pequeno Auditório Entrada Livre
10h - 12h45 / 14h15 – 19h15 / 20h45 – 22h45

20 Julho
1ª Eliminatória
Pequeno Auditório Entrada Livre
10h00 – 12h45 / 14h15 – 19h15

21 Julho
1ª Eliminatória
Pequeno Auditório Entrada Livre
10h00 - 11h30
Anúncio dos resultados – 22H

22 Julho
2ª Eliminatória
Pequeno Auditório Entrada Livre
9H – 13H / 14H – 18H45 / 19H45 – 23H

23 Julho
2ª Eliminatória
Pequeno Auditório Entrada Livre
9H – 13H / 14H – 19H
Anúncio dos resultados – aprox. às 22H

24 e 25 Julho
Prova final a solo
Pequeno Auditório Entrada Livre
17H – 22H

26 e 27 Julho
Prova final com Orquestra
Orquestra Gulbenkian
Grande Auditório / 20H
Preço único 5€

28 e 29 Julho
Prova final com Orquestra
Sinfonia Varsóvia
Grande Auditório / 19H
Preço único 5€
Anúncio dos resultados finais – dia 29 Julho / aprox. às 23H – Pequeno Auditório

30 Julho
Cerimónia de entrega dos prémios
Grande Auditório Entrada Livre
19H

(Esta cerimónia contará ainda com a interpretação de uma obra ou excerto dela por cada um dos laureados, e por ordem decrescente)

A saber mais em:

http://www.vdamotta.org/


History of the competition

“Through the years, the Vianna da Motta International Music Competition has become a veritable Hall of Fame for pianists. With an average of fifteen respected judges from around the world, the jury assures competitors fair and artistic judgment. Well known figures such as Nadia Boulanger, Jacques Fevrier, Also Ciccolini, Hans Graf, Vladimir Krainev, Arturo Benedetti Michelangeli, Friedrich Gulda, Ernesto Halfter, Lev Oborin, Cmargo Guarnieri, Samson François, Walter Hendl, Nikita Magaloff, Federico Mompou, Jakov Zak, Maria Tipo, Henryk Szeryng, Lev Vlasenko, Paul Badura-Skoda, Malcolm Frager, Elmar Oliveira, and Lazar Berman have participated on the competition's juries. The competition has been a highly respected member of the World Federation of International Music Competitions since 1966.
More recent years have brought closer ties between the international competition and the USA. Participation by the Luso-American Foundation for Development (a Portuguse-American foundation), the Unisys Corporation, American judges and competitors and more recently, the Delaware Symphony Orchestra, has helped build a cultural friendship between Portugal and the United States. Sequeira Costa, now an American citizen, has taught for several years as the Cordelia Brown Murphy Distinguished Professor of Piano at the University of Kansas--a position established especially for him.

Founded by decree of the Prime Minister of Portugal in 1957, a new piano competition of global significance was established through the vision of Sequeira Costa, a young Portuguese pianist who had an already established international career. Having competed in the Marguerite Long-Jacques Thibaud International Piano Competition and won the Grand Prix de la Ville de Paris (1951), Sequeira Costa was touched by the importance and brilliance of the event's Gala Concert and prize-giving ceremony. In the years following, Costa began dialogue with the Portuguese government to form a great competition which would wake and perpetuate homage to Vianna da Motta, the last pupil of Liszt and teacher of Sequeira Costa. During the initial difficulties of establishing such an event, Costa gave the First Prize of the new competition from his personal resources. Sponsorship finally fell into place and in October of 1957 the first Vianna da Motta International Piano Competition took place. Since then, its success has attracted great critical attention and consistently drawn a large number of contestants from all parts of the world.

Through the years, the competition has continued to meet high expectations. On every occasion of the competition, an impressive jury has been assembled: many of the most illustrious teachers and performers in the world. The competition provides a place of artistic exchange and a great stage for the best new talents.”

Fonte:

http://www.vdamotta.org/compHist.htm

Johannes Vermeer (Ou a perfeição da luz)

Recentemente visitei o Louvre, em Paris, e tive o imenso privilégio de poder contemplar dois quadros deste grande pintor, que me impressionaram profundamente: A Rendeira e O Astrónomo.

Publico aqui duas reproduções das referidas obras, bem como alguma informação de carácter biográfico sobre o pintor.

No final encontram o link para o Essential Vermeer, o site mais completo que conheço sobre este pintor e cuja visita aconselho vivamente.

Johannes Vermeer

Johannes Vermeer or Jan Vermeer (baptized October 31, 1632, died December 15, 1675) was a Dutch painter who specialized in domestic interior scenes of ordinary bourgeois life. His entire life was spent in the town of Delft. Vermeer was a moderately successful provincial painter in his lifetime. He seems to have never been particularly wealthy, perhaps due to the fact that he produced relatively few paintings, leaving his wife and eleven children in debt at his death. Virtually forgotten for nearly two hundred years, in 1866 the art critic Thoré Bürger published an essay attributing 66 pictures to him (only 35 paintings are firmly attributed to him today). Since that time Vermeer's reputation has grown astronomically, and he is now acknowledged as one of the greatest painters of the Dutch Golden Age, and is particularly renowned for his masterly treatment and use of light in his work.

Technique

Vermeer produced transparent colours by applying paint onto the canvas in loosely granular layers, a technique called pointillé (not to be confused with pointillism). No drawings have been securely attributed to Vermeer, and his paintings offer few clues to preparatory methods. David Hockney, among other historians and advocates of the Hockney-Falco thesis, has speculated that Vermeer used a camera obscura to achieve precise positioning in his compositions, and this view seems to be supported by certain light and perspective effects which would result from the use of such lenses and not the naked eye alone; however, the extent of Vermeer's dependence upon the camera obscura is disputed by historians.

There is no other seventeenth century artist who from very early on in his career employed, in the most lavish way, the exorbitantly expensive pigment lapis lazuli, natural ultramarine. Not only do we see it used in elements that are intended to be shown as blue, like a woman’s skirt, a sky, the headband on the Girl with a Pearl Earring (The Hague), and in the satin dress of his late A Lady Seated at a Virginal (London); Vermeer also used the lapis lazuli widely as underpaint in, for example, the deep yet murky shadow area below the windows in The Music Lesson (London), and The Glass of Wine (Berlin). For the wall beneath the windows - areas in these paintings of intense shadow - Vermeer composed by first applying a dark natural ultramarine, thus indicating an area void of light. Over this first layer he then scumbled varied layers of earth colours in order to give the wall a certain appearance: the earth colours umber and ochre should be understood as warm light from the strongly lit interior, reflecting its multiple colours back onto the wall. This working method most probably was inspired by Vermeer’s understanding of Leonardo’s observations that the surface of every object partakes of the colour of the adjacent object. (see Wadum-95 in References) This means that no object is ever seen entirely in its natural colour. A comparable but even more remarkable yet effectual use of natural ultramarine is in The Girl with a Wineglass (Braunsweig). The shadows of the red satin dress are underpainted in natural ultramarine, and due to this underlying blue paint layer, the red lake and vermilion mixture applied over it acquires a slightly purple, cool and crisp appearance that is most powerful.

Even after Vermeer’s supposed financial breakdown following the so-called rampjaar (year of disaster) in 1672, he continued to employ natural ultramarine most generously, such as in the above-mentioned Lady Seated at a Virginal. This could suggest that Vermeer was supplied with materials by a collector, and would coincide with John Michael Montias’ theory of Pieter Claesz. van Ruijven being Vermeer’s patron.

(Fonte: http://en.wikipedia.org/wiki/Johannes_Vermeer)

A saber mais em:

http://essentialvermeer.20m.com/

Mulher em Azul

MM - Ciclo de desenhos 2007.

A Tarde

MM - Ciclo de desenhos 2007.

Fundação Gulbenkian - Exposição Obrigatória

Evocações, passagens, atmosferas.

Pintura do museu Sakιp Sabancι, Istambul

Exposições
De 15/06/2007 a 26/08/2007
10h00 às 18h00
Sala de Exposições Temporárias do Museu

A exposição Evocações, Passagens, Atmosferas. Pinturas do Museu Sakιp Sabancι, Istambul reúne um conjunto de trinta e oito obras de finais do século XIX e início do século XX, nas quais predominam vistas do Bósforo, marinhas e cenas da vida quotidiana. A mostra inclui ainda dez obras pertencentes à colecção do CAM-JAP executadas por pintores portugueses que, à semelhança dos seus contemporâneos turcos, fizeram a sua formação artística em Paris. Homenageia-se, assim, Calouste Sarkis Gulbenkian, que nasceu em 1869 na actual Üsküdar, na margem oriental do Bósforo, e morreu em Lisboa em 1955.

Visitas orientadas, até 23 de Agosto, com inscrição individual sobre a hora, terças e quintas-feiras às 15h00. Domingo, dia 12, às 11h00.

Sem Título

MM - Ciclo de desenhos 2007

Sem Título

MM - Ciclo de desenhos 2007.

Scapeland in Red and Blue

MM - Ciclo de desenhos 2007.