Nedelja, 20. oktober, ob 19:30. Uršulinska cerkev svete Trojice v Ljubljani

Sakralni abonma

Manj znana dela 19. stoletja – Različni odtenki romantičnosti

Simone Vebber (Bergamo, Italija)

V sodelovanju s Kulturnim društvom Schellenburg

Spored:

Johann Christian Heinrich Rinck                         Variacije na Corellijevo temo
(1770–1846)

Niels Wilhelm Gade                                               Tri skladbe za orgle, op. 22
(1817 –1890)                                                           Moderato–Allegretto–Allegro

Vincenzo Petrali                                                     Andante per l’elevazione
(1830–1889)                                                            Sonata v F-duru

Camille Saint-Saëns                                               Improvizacija, op. 150, št. 3
(1835–1921)                                                            Marche religieuse, op. 107

Marco Enrico Bossi                                                Ave Maria, op 104, št. 2
(1861–1925)

August Gottfried Ritter                                        Sonata št. 3 v a-molu, op. 23
(1811–1885)                                                           Rasch–Recitative–Nicht schleppend–
                                                                                 Rasch–Entschlossen

Simone Vebber se je rodil leta 1983 v Trentu. Zgodovinske orgle je študiral pri L. Ghielmiju na milanski akademiki za glasbo. Na konservatoriju F. A. Bonporti v Trentu (Italija) je z odliko diplomiral iz orgel in klavirja. Prejel je koncertno diplomo na Scholi Cantorum v Parizu, kjer je študiral pri J. P. Imbertu, in prvo nagrado iz orgelske improvizacije v razredu P. Pincemailla na Konservatoriju za glasbo v v Saint-Mauru (Pariz). Sodeloval je na mojstrskih tečajih interpretacije pri L. Lohmannu, J. C. Zehnderju, Bine Bryndorf, Brettu Leightonu in P. D. Perettiju. Na prestižnih evropskih tekmovanjih in festivalih je prejel številne nagrade: 1. nagrado v Alessandriji (Italija), 1. nagrado v Pistoii (Italija), 1. nagrado in nagrado občinstva na orgelskem tekmovanju J. S. Bacha v Saint Pierre lès Nemour (Francija), 1. nagrado na mednarodnem orgelskem tekmovanju J. J. Fuxa v Gradcu (Avstrija) in nagrado Petra Hurforda Bacha na tekmovanju The St Albans International Organ Festival (Velika Britanija). Snemal je za založbe Suonare Records, Radio Vaticana, Diapason Edition, Mascioni, ORF in Discantica. Koncertiral je na številnih pomembnih orgelskih prizoriščih in orgelskih festivalih na Dunaju, v Rigi, Parizu, Milanu, Rimu, Varšavi in Riu de Janeiru. Vebber je kot solist igral s pomembnimi orkestri, kot je Mozartov orkester pod vodstvom Claudia Abbada. Ob 100. obletnici smrti francoskega skladatelja in organista Camilla Saint-Saënsa sta Vebber in založba Da Vinci začela projekt, posvečen celovitemu raziskovanju del francoskega skladatelja, ki je pogosto preveč potisnjen ob rob pozne romantike, letos pa je izšla prva zgoščenka. Simone Vebber je profesor orgel na konservatoriju G. Donizetti v Bergamu in profesor improvizacije na Visoki poli za glasbo C. Abbado v Milanu.

This program offers a wide variety of shades within the 19th-century organ repertoire, showcasing some of the different approaches that composers from different schools in europe had explorign style and expressive possibilities of the organ during that time. The concert begins with H.C. Rinck (1770-1846), a German composer and student of Johann Christian Kittel, one of J.S. Bach’s last direct pupils. Rinck is renowned for his didactic works and organ compositions inspired by the Baroque tradition. His Six Variations on a Theme by Corelli pay homage to one of the great Italian Baroque masters, reinterpreting the theme in a rich and romantic style.

Next is Niels Wilhelm Gade (1817-1890), a central figure of Danish Romanticism and a strong advocate of Nordic musical heritage. Gade began his career as a violinist and conductor, collaborating closely with Felix Mendelssohn in Leipzig. His Three Pieces for Organ, Op. 22 display a unique Romantic sensitivity, hightly inspired by the german organ school, moving from the lyrical gesture to more virtuoso and extroverted figures.

The program also includes works by Vincenzo Petrali (1830-1889), one of the most important Italian organists of the 19th century, known for his improvisational prowess and eclectic style. His compositions, such as the Andante per l’elevazione and Sonata in F Major, reveal a refined melodic taste and a special focus on the liturgical function of music, typical of the Italian tradition. Camille Saint-Saëns (1835-1921), famed for his extraordinary virtuosity and versatility as a composer, pianist, and organist, enriches the program with his Improvisation for Organ, Op. 150, No. 3 and the majestic Marche religieuse, Op. 107. Saint-Saëns, one of the most celebrated French composers of his time, wrote organ works characterized by a great sense of drama and structure.

Another Italian contribution comes from Marco Enrico Bossi (1861-1925), a leading composer of the late Romantic period who brought Italian organ music to an international level, radically transforming the italian organ writing from national to European. His Ave Maria, Op. 104, No. 2 is a beautiful example of devotion and expressive intensity inspired by the great italian tradition of the singing.

Finally, August Gottfried Ritter (1811-1885), a German composer and theorist, closes the program. He is known for his organ sonatas that combine classical forms with a search for new virtuosity effect at the instrumen. His Sonata No. 3 in A Minor, Op. 23, with its alternating rapid (*Rasch*) and rhetoric (*Recitative*) movements, showcases the brilliance of the 19th-century German organ tradition.

This musical journey provides a comprehensive view of the organ’s many facets during the 19th century, traveling through different countries and styles, yet maintaining a common thread: the use of the organ as a powerful and profound expressive tool, both in sacred and secular contexts.