Recital Proposal

Miguel Erlich | Viola
Tiago Rosário | Piano

JOHN DOWLAND
(London, England, 1563 - London, 1626)
If my complaints could passions move (1597)(4’)

BENJAMIN BRITTEN
(Lowestoft, England, 1913 - Aldeburgh, England, 1976)
Lachrymae, Op. 48 (1950)(16’)

GEORGE ENESCU
(Liveni, Romania, 1881 - Paris, France, 1955)
Konzertstück (1906)(10’)

FERNANDO LOPES-GRAÇA
(Tomar, Portugal, 1906 - Parede, Portugal, 1994)
Quatro Peças em Suite (1978)
I. Introdução
II. Corrida
III. Diálogo
IV. Capricho(12’)

PAUL HINDEMITH
(Hanau, Germany, 1895 - Frankfurt, Germany, 1963)
Sonate, Op. 11 No. 4 (1919)
I. Fantasie
II. Thema mit Variationen
III. Finale (mit Variationen)(20’)(Total: 62’)

This recital presents an odyssey throughout the rich panorama of viola repertoire, spanning over four centuries and encapsulating diverse musical traditions and expressions. The program aims to showcase the evolution of music for this instrumental pairing, while also highlighting the emotional depth and technical versatility inherent to the viola. After performances in Germany, including at the Berliner Philharmonie / Musikinstrumenten Museum, this projects now seeks to bring the same recital to audiences in the U.S.

We begin with John Dowland's "If my complaints could passions move," a piece that originates from the late Renaissance period. Dowland, primarily known for his lute works, here provides a melancholic and introspective piece that serves as a delicate opening, setting a reflective tone for the recital. Its theme of unrequited love and longing establishes an emotional foundation that resonates through the ages.

Transitioning into the 20th century, Benjamin Britten's "Lachrymae, Op. 48" directly connects to Dowland, both geographically and musically. Britten, a pivotal figure in British music, pays homage to Dowland through this set of variations based on "If my complaints could passions move". "Lachrymae" not only revisits the emotional depth of Dowland's work but also explores new textures and harmonic landscapes, demonstrating the evolution of musical expression over the centuries.

The recital continues with George Enescu's "Konzertstück," a work that showcases the composer's deep understanding of both the viola's lyrical qualities and its capacity for virtuosic display. Enescu, a Romanian composer living in Paris, bridges Eastern European folk influences with Western classical traditions, offering a piece that is both vibrant and intricately detailed, highlighting the technical capabilities of the viola.

Fernando Lopes-Graça's "Quatro Peças em Suite" introduces a different geographical and cultural perspective. This suite, composed in the late 20th century, reflects Lopes-Graça's commitment to incorporating Portuguese folk elements into classical forms. Each movement, from the energetic "Corrida" to the conversational "Diálogo" and the whimsical "Capricho," presents unique challenges and opportunities for the performers to explore a wide range of sentiments, textures and techniques.

Finally, Paul Hindemith's "Sonate, Op. 11 No. 4" brings us to the Germanic tradition. This sonata is emblematic of Hindemith's early 20th-century style, combining a rigorous structural form with expressive melodic materials. The piece's three movements, from the free-flowing "Fantasie" to the thematic variations encapsulate Hindemith's belief in music's power to communicate profoundly and directly with the listener.

Together, these pieces form a compelling narrative of the evolution of the viola as a solo instrument and its role in chamber music. This recital not only celebrates the rich history and cultural diversity of music for viola and piano but also highlights the emotional depth, technical prowess, and expressive possibilities that this combination can achieve.

Recital Teaser: Berlin Philharmonie / Musikinstrumenten Museum

Miguel ErlichPortuguese violist Miguel Erlich has recently been performing as soloist, chamber musician and in orchestra across Europe, America and the Middle East, in venues such as Lincoln Center, Concertgebouw Amsterdam, Wigmore Hall, Royal Albert Hall, Elbphilharmonie, Philharmonie de Paris, Berliner Philharmonie, Dubai Opera and NCPA Beijing.Miguel is a frequent guest of the Budapest Festival Orchestra, and has been solo viola of Ensemble Resonanz, the European Union Youth Orchestra and the Portuguese Chamber Orchestra, along with other ensembles and orchestras.As an avid chamber musician, he has played in numerous festivals in Europe. He is also a founding member of Stravinstrio, which was awarded 1^st prize in Portugal’s national radio competition Prémio Jovens Músicos and in Concorso Internazionale Saverio Mercadante, among other awards. Stravinstrio premiered dedicated works on radio and television.Miguel studied with Tabea Zimmermann at the Hochschule für Musik Hanns Eisler Berlin, in the National Conservatory in Portugal with Anne Victorino D’Almeida and with António Pereira, and took part in masterclasses with Lawrence Power, Ettore Causa, Lars Anders Tomter, Gérard Caussé, Tatjana Masurenko, Leo De Neve, Pauline Sachse and Christophe Desjardins, among others.Miguel is currently based in Berlin.

Tiago RosárioHailed by Jerome Rose as “one of the finest young pianists of his generation”, Tiago Rosario has an extensive performance experience, having played in worldwide acclaimed venues, such as the Carnegie Hall and the Merkin Hall, and embarked in extremely challenging projects, such as the recording of the Complete Chopin Etudes and the Brahms-Paganini Variations.
With a bachelor diploma at ESMAE (Porto) and a Master diploma at Musikhochschule Muenster (Germany), Mr. Rosario has participated in various competitions, having won several prizes, including the 1^st prize in the Czerny Competition 2014, the 2^nd and 3^rd prizes in the international competition Cidade do Fundão, 2^nd prize at the Prémio Jovens Músicos 2014 and an honourable mention for outstanding performance at the NTD piano competition 2022 in NYC.

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