Paulinyi estreia Fantasia Concertante de Gianluca Verlingieri, 9/8/2016
Autor: Zoltan Paulinyi | Publicado: 2016-07-29T23:27:00-03:00

Dr Zoltan Paulinyi estreia Fantasia Concertante de Gianluca Verlingieri (Itália), para violino solo, sopros, percussão, harpa e contrabaixo, no dia 9 de agosto de 2016 às 20:00 no Teatro dos Bancários à EQS 314/315, Brasília, DF.

Serviço: Paulinyi estreia Fantasia para violino de Verlingieri
Local: Teatro do Sindicato dos Bancários, EQS 3014/315, Brasília, DF
Contato: (61) 3262.9090 (orquestra)
Ingressos: gratuitos. Retirar com antecedência na bilheteria do local.



Sobre Paulinyi
Zoltan Paulinyi, doutor em música pela Universidade de Évora (Portugal 2013), ensina violino e gregoriano para adultos e crianças a partir dos 2 anos de idade em Brasília (http://Paulinyi.com).

Paulinyi é vencedor do programa "Bento de Jesus Caraça" em Portugal 2011-2013, e do Concurso Nacional Jovens Solistas (UFG 2002). Recebeu o Troféu Pró-Música "Prêmio de Revelação do Ano 1998" dos críticos da Imprensa de Minas Gerais. Paulinyi é "violinista excepcionalmente talentoso" (Ruggiero Ricci, 2000) com "uma extraordinária capacidade ao empreendimento de obras complexas" (Buzelin, 2010).

Paulinyi começou estudando música aos dois anos e meio de idade. Sua primeira apresentação como violinista foi na Casa da Ópera de Ouro Preto aos 8 anos na classe do Prof. Ricardo Giannetti (da escola Flesch-Odnoposoff, 1984-1999). Estudou com os violinistas Ruggiero Ricci, Leopold La Fosse, Sidney Hart, Micaela Comberti, compositores Dr Oiliam Lanna (1995-1999) e Dr Christopher Bochmann (2010-2013), Peter Eötvös (2013). Suas principais obras são editadas pela MusicaNeo (Suíça) e SheetMusic (USA), com gravações disponíveis pelo iTunes. Seus livros são editados pela Bookess.

Paulinyi completa 21 de magistério apoiando internacionalmente seus melhores alunos (http://Paulinyi.com). Para estudar com Paulinyi em Brasília, são bem vindos os jovens talentosos e superdotados, interessados em aprender arte do violino, viola, gregoriano e composição musical.





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A Fantasia
concertante para violino e orquestra de sopros (2016) de Gianluca
Verlingieri foi escrita para Dr Zoltan Paulinyi reorquestrando sua Fantasia
para trio de violino, clarinete e piano de 2003. Esta peça, em 3 pequenos
movimentos sem interrupção, é quase completamente constituída de muitas
variações de um único padrão de acordes, com utilização de alguns elementos
populares da Europa oriental, como o ritmo búlgaro do final. Sinais da história
da música podem ser encontrados na estrutura formal da obra: os 3 movimentos da
forma clássica de concerto, bem como a clássica forma sonata do primeiro
movimento com exposição, desenvolvimento e reexposição. Portanto, parafraseando
o subtítulo "Quase uma fantasia" da Sonata ao Luar de Beethoven,
podemos considerar esta fantasia de Verlingieri "quase uma sonata".




Gianluca Verlingieri's&nbsp;Fantasia concertante for violin and wind orchestra&nbsp;(2016)&nbsp;


Gianluca Verlingieri's&nbsp;Fantasia concertante for violin and wind orchestra&nbsp;(2016) has been created for Zoltan Paulinyi, first violin of the OTNCS of Brasilia, re-orchestrating Verlingieri’s&nbsp;Fantasia per tre strumenti&nbsp;for violin, clarinet and piano (2003). The piece, in three small movements performed without interruption, is almost completely constituted by several variations of an unique chord pattern, plus the contamination of some East-European folk music features (like, among the others, the Bulgarian rhythm of the final movement). Echoes of the past history of music can be found in the formal structure of the piece, reminding the three-movement concerto of the classical age, and, in the first movement of the composition, also the classical sonata form with exposition, development and recapitulation. Hence, paraphrasing Beethoven's Moonlight Sonata subtitle&nbsp;Quasi una fantasia, we can consider Verlingieri’s fantasy&nbsp;Quasi una sonata.



Gianluca
Verlingieri 


Nurtured
by an unending intellectual curiosity and inspired by a constant dialectics
between experimentation and sense of history, the music of&nbsp;Gianluca
Verlingieri&nbsp;fully embraces the kaleidoscopic interests of its author.
Indeed, his works range between different creative contexts, often deliberately
fading into one another: from concert music for soloists or groups of various
instruments and voices to acousmatic pieces and works for instruments and
live-electronics, as well as from stage music and musical theater to
soundtracks and multimedia installations. Despite a still young career, Gianluca
Verlingieri has already collaborated with a number of both emerging and
internationally renowned artists (soloist musicians, ensembles, stage
directors, poets, playwrights and video-artists) worldwide, rapidly gaining
consideration thanks to performances, commissions and projects held at major
venues such as INA-GRM in Paris, Italian Academy at the Columbia University in
New York, Berlin Staatsoper, Parco della Musica in Rome, Florence Opera at
Maggio Musicale Fiorentino, Lingotto Auditorium in Turin, the International
Festival of Aix en Provence and numerous other venues in Italy, France,
Germany, Spain, England, Denmark, Belgium, Greece, Mexico, USA, Brazil and
Australia. His music has been broadcasted, among the other, by Radio France,
which spoke of “virtuosité” of his composing and “talent exceptionnelle”, as
well as issued on compact disc by the Italian labels Limen Music and EMA
Records, the Swedish BIS Records and others, with positive reviews on The
Guardian, Neue Zeitschrift für Musik, American Record Guide etc. Several works
of Verlingieri have been awarded, mentioned or selected as finalists in
numerous competitions and call for scores in Europe and North
America,&nbsp;with further honors and awards being received from public and
private institutions, included Cambridge University Press. Also active as a
researcher, Gianluca Verlingieri has recently identified Luciano Berio’s
private sound archive at Centro Tempo Reale in Florence, now hosted at the Paul
Sacher Stiftung in Basel. He also did research on the musical theater of
Mauricio Kagel with his personal encouragement, and on tape music by John Cage
in collaboration with the archive of Milan’s Studio di Fonologia Musicale della
RAI and Edition Peters.