Composer Luís Costa was born in São Pedro de Farelães in 1879 and died in Oporto in 1960. After completing his studies with Bernardo Moreira de Sá, he left for Germany, where he studied with Viana da Mota, Stavenhagen, Ansorge and Busoni. In parallel with his career as a soloist pianist, he worked with remarkable artists such as the cellists Casals, Hekking, Suggia and violinists Enesco and Aránye as well as the Rosé and Chaumont quartets. He taught at the Oporto Music Conservatory of which he was also director. He was a teacher of rare distinction due to both his natural gifts and his vast culture as well as deep musical knowledge. He taught and influenced whole generations of pianists as far as both aesthetics and professional ethics were concerned. As Artistic Director of the "Orpheon Portuense" he had a noteworthy action. At his invitation, some of the most remarkable artists of his time visited and performed in Oporto. Namely, he was responsible for Maurice Ravel's visit, in 1928. In nature he always found an endless source of inspiration that can be found in the titles and atmospheres of many of his piano compositions. His friendship with his master Moreira de Sá, a celebrated encyclopaedist and a violinist keen on chamber music, left him a taste for ensemble music which later translated into his professional life as a pianist and composer. His chamber music works are proof of the above. He was a cultivated musician interested in all arts and a friend of sculptors, painters, poets and writers. He was captivated by the magic of poetry. Thus were born works for piano and singing that were not irrelevant in the context of his work. (adapted from text by Maria Teresa Macedo, in PMIC)
Showing posts with label Bernardo Moreira de Sá. Show all posts
Showing posts with label Bernardo Moreira de Sá. Show all posts
2009/03/06
Luís Costa
Composer Luís Costa was born in São Pedro de Farelães in 1879 and died in Oporto in 1960. After completing his studies with Bernardo Moreira de Sá, he left for Germany, where he studied with Viana da Mota, Stavenhagen, Ansorge and Busoni. In parallel with his career as a soloist pianist, he worked with remarkable artists such as the cellists Casals, Hekking, Suggia and violinists Enesco and Aránye as well as the Rosé and Chaumont quartets. He taught at the Oporto Music Conservatory of which he was also director. He was a teacher of rare distinction due to both his natural gifts and his vast culture as well as deep musical knowledge. He taught and influenced whole generations of pianists as far as both aesthetics and professional ethics were concerned. As Artistic Director of the "Orpheon Portuense" he had a noteworthy action. At his invitation, some of the most remarkable artists of his time visited and performed in Oporto. Namely, he was responsible for Maurice Ravel's visit, in 1928. In nature he always found an endless source of inspiration that can be found in the titles and atmospheres of many of his piano compositions. His friendship with his master Moreira de Sá, a celebrated encyclopaedist and a violinist keen on chamber music, left him a taste for ensemble music which later translated into his professional life as a pianist and composer. His chamber music works are proof of the above. He was a cultivated musician interested in all arts and a friend of sculptors, painters, poets and writers. He was captivated by the magic of poetry. Thus were born works for piano and singing that were not irrelevant in the context of his work. (adapted from text by Maria Teresa Macedo, in PMIC)
2009/01/02
Guilhermina Suggia
A unique name in music history. Guilhermina Suggia (b. 27th June 1885 - d. 30th July 1950) took the world by storm when, still a youngster, was invited to play, as a soloist, in many ot the most important concert halls throughout Europe, where she thrilled everyone with her perfect technique and overwhelming, enticing style. She was one of the first women cellists to work as a soloist and had works dedicated to her by several composers. For a few years, until 1913, she lived in Paris, with companion and former teacher Pablo Casals, and they were considered the best cello players of the day. After they split up, she moved to London, where she was cherished as a performer and settled while developping her highly praised international career. Moving back to Portugal, in the late 1920s, she kept on touring and tutoring and formed a new generation of young cellists who later passed on her teachings to their own pupils. She worked with some of the greatest Portuguese musicians of her time, namely pianist and composer José Viana da Mota, conductor Pedro de Freitas Branco and violinist Bernardo Moreira de Sá. On her will, Guilhermina Suggia left her Stardivarius to the Royal Academy of Music, in London, and her Montagnana to the Conservatoire in Oporto, with the purpose of creating a fund, both in the UK and Portugal, to help young cello students. Check out Suggia's blog (mostly in Portuguese) for a lot of information and photos, as well as for a complete bibliography (including several books and articles in English).Suggia plays Max Bruch's "Kol Nidrei"
Subscribe to:
Posts (Atom)