Katalog_001-080:25_mbz 4/11/09 1:42 PM Page 1

Transcription

day
month
17
4
dan
mjesec
hour
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petak / friday
sat
umjetnost politika art politics umjetnost politika art politics umjetnost politi
month
26
4
dan
mjesec
hour
23:00
nedjelja / sunday
sat
Ilustracija / Illustration: Boris BuÊan
day
olitika art politics umjetnost politika art politics umjetnost politika art politics
Program 25. MuziËkog biennala
podupiru Ministarstvo kulture Republike
Hrvatske, Grad Zagreb - Gradski ured za
obrazovanje, kulturu i πport te veleposlanstva i kulturni centri zemalja - prijatelja,
sponzori i donatori.
The programme of the 25th Music Biennale Zagreb has been prepared with support of the Ministry of Culture of the
Republic of Croatia and the City of Zagreb
Department for Education, Culture and
Sports as well as with support of embassies and cultural centres, sponsors
and donors.
25. MuziËki biennale Zagreb odræava se
pod visokim pokroviteljstvom predsjednika Republike Hrvatske Stjepana MesiÊa.
The 25th Music Biennale Zagreb is being
held under high patronage of the President
of the Republic of Croatia, Mr. Stjepan MesiÊ.
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Welcoming Words from Mr. Stjepan
MesiÊ, President of the Republic of
Croatia, for the catalogue of the 25th
Music Biennale Zagreb
It is with great pleasure that I welcome
all the participants and organizers of the
jubilean, 25th Music Biennale Zagreb, a
manifestation that will soon celebrate
half a century of successful promotion of
contemporary music. The Biennale successfully links Zagreb and Croatia with
other European and world art centres. In
fact, during the festival, Zagreb itself becomes one of the most important music
centres of the world.
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social changes. It is particularly pleasing
to see that, along with cultural exchange,
there are more and more co-productions
in which Croatian and foreign artists create new works, some of which will be
premiered precisely in Zagreb.
The prestigious European Culture Award,
given to the festival in 2007, only confirmed the importance of the Music Biennale Zagreb. The successful creation
and consolidation of European cultural
ties continues to be the foundation on
which this year’s rich programme is built.
To the musicians, the audience and the
organizers of this year’s Music Biennale I
By bringing the best and the most recent wish a lot of good music and much pleaof foreign music to Zagreb and by presen- sure in enjoying the first-rate works of art.
ting to the world what is being done at
home, this festival has accomplished re- Zagreb, March 24th, 2009
markable continuity and gained a lasting
reputation, despite various artistic and
Stjepan MesiÊ
U ime Ministarstva kulture i u osobno
ime sa zadovoljstvom pozdravljam brojne sudionike i goste ovogodiπnjeg jubilarnog 25. MuziËkog biennala Zagreb.
On behalf of the Ministry of Culture and
on my own behalf, I am pleased to welcome the many guests and participants
of this festival.
Za sve nas ovaj festival predstavlja vaænu
kulturnu toËku na mapi suvremenih dogaanja, pogotovo jer je njegov rast, razvoj i, konaËno, meunarodni status,
harmoniËno pratio, a Ëesto i mijenjao
sliku suvremenog zvuka naπega vremena.
For all of us, this festival represents an
important spot on the cultural map of
contemporary events, especially because
its growth, development and international status have always successfully
followed and often changed the perception of the contemporary music scene.
Sve πto pripada povijesti MuziËkog biennala Zagreb proizaπlo je upravo iz
dosljedno provedene ideje o otvorenoj
komunikaciji s cijelim svijetom, i to u
oba smjera. Dosezi nacionalnih suvremenih kretanja u glazbi, zdruæeni s vrijednostima koje je ovdje donosila
meunarodna glazbena scena, stvorili su
The history of the Music Biennale Zagreb
shows consistent implementation of the
idea of open communication with the
world, in both directions. The achievements of national contemporary music
combined with values brought in by the
international music scene have created a
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jezik uzajamnosti i ravnopravnih estetskih odnosa kojima su skladatelji i njihovi interpreti stvarali jedan potpuno
drugaËiji pogled na umjetnost 20. i 21.
stoljeÊa. Upravo susreti razliËitih stvaralaËkih kulturnih prostora, o Ëemu govori festivalski kontinuitet od gotovo pet
desetljeÊa, jaËali su kulturne veze Hrvatske i svijeta. MuziËki biennale Zagreb
πkola je stvarateljskih osobnosti, stilova,
tehnika i pravaca Ëija je radikalnost,
pogotovo iz vremena avangarde, snaæno
obiljeæila pojedina razdoblja suvremene
umjetnosti, a festivalski kontekst uvijek
se odnosio na aktualnu evoluciju europske i svjetske glazbe. Upravo ta potreba
prema suæivotu, otvorenosti i potpunoj
kreativnoj slobodi apsolutno svih
glazbenih razliËitosti koje obiljeæavaju
dva stoljeÊa, emancipirala je znaËenjski
smisao interkulturnog dijaloga i umjetniËke tolerancije.
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language of reciprocity and equal aesthetic relationships, enabling the composers and performers to generate a
completely different outlook on the art of
the 20th and the 21st centuries. It is precisely this meeting of different creative
cultural spaces, whose importance is
proven by the five-decade continuity of
the festival, that strengthens the cultural
ties between Croatia and the rest of the
world. Music Biennale Zagreb is a nursery of creative personalities, styles, techniques and tendencies whose radicalism,
especially in the avant-garde period, has
left a deep mark on different aspects of
contemporary art, while its context has
always dealt with current evolution in
the field of European and world music.
The need for coexistence, openness and
creative freedom of the many heterogeneous musical styles appearing during
these two centuries has confirmed the
meaning of intercultural dialogue and
Uz Ëestitke u povodu 25. obljetnice, upu- artistic tolerance.
Êujem dobrodoπlicu svim skladateljima i
glazbenicima, kao i dobre æelje za njihove Please allow me to congratulate you on
daljnje uspjehe.
the 25th anniversary of the festival and to
express a warm welcome to all comMinistar kulture Republike Hrvatske
posers and musicians, with best wishes
mr. sc. Boæo BiπkupiÊ
regarding their future artistic work.
Minister of Culture
of the Republic of Croatia
Boæo BiπkupiÊ, B. A.
Poπtovani ljubitelji glazbe,
Dear music lovers,
Veliko nam veselje predstavlja joπ jedno
izdanje MuziËkoga biennala, za koji se
ambiciozno i odgovorno pripremamo te
ga s nestrpljenjem oËekujemo!
We are pleased to welcome yet another
edition of the Music Biennale Zagreb, for
which we have been ambitiously and responsibly preparing and to which we are
very much looking forward!
Zagreb je grad kulture, grad glazbe.
Ponosni smo na svoju dugu i slavnu
tradiciju. Jednako nas vesele iznimna
postignuÊa naπih brojnih glazbenika na
ovdaπnjoj i meunarodnoj sceni, kao πto
nas posebno raduju brojna gostovanja
glazbenika iz inozemstva. Ipak, kao i
svugdje, postoje oni dogaaji, one manifestacije koje su na vrhu, bez premca. Za
nas je to MuziËki biennale Zagreb.
Zagreb is a city of culture and music. We
are proud of our long and great tradition.
We are equally pleased by the extraordinary success of our musicians, both on
the national and the international music
scene, and by the numerous guest performances of international artists. However, as everywhere else in the world,
there are always those manifestations
that we consider as being of the utmost
importance. For us, that manifestation is
the Music Biennale Zagreb.
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VeÊ gotovo pola stoljeÊa gradski djelatnici, skladatelji, organizatori, izvoaËi i
posjetitelji zajedno sudjeluju u jedinstvenoj avanturi koja u zagrebaËke dvorane, kazaliπta i na zagrebaËke ulice
donosi novi zvuk, stare prijatelje i nove
goste. Svojom hrabroπÊu i inovativnoπÊu
Biennale je stekao svjetski ugled, doveo
protagoniste meunarodne glazbene
scene u naπ grad i svijetu poslao poruku
o jedinstvenim kulturnim dogaanjima
kakva se nude u Zagrebu.
For almost half a century, City employees, composers, organizers, performers
and visitors have been working together
in this unique adventure, which brings
new sounds, old friends and new guests
to the concert halls, theatres and streets
of Zagreb. An audacious and innovative
festival of world renown, the Biennale
brings the international music scene to
our city, while sending a message of
unique cultural experiences taking place
in Zagreb.
Sve su to razlozi zaπto volimo MuziËki biennale i potvrda njegove vaænosti. Svim
gostima æelim srdaËnu dobrodoπlicu u
Zagreb! Siguran sam da Êe Vam se svidjeti. Svoje sugraane, paæljivu i vjernu
publiku, pozivam da prisustvuju briæljivo
odabranim i pripremljenim vrhunskim
glazbenim doæivljajima.
All this makes us appreciate our festival
and confirms its importance. I would like
to express my warm welcome to all this
year’s guests! I am sure that you will
enjoy the festival. I would also like to invite my fellow townspeople, who have always been an attentive and faithful
audience, to take part in these carefully
selected and superbly produced musical
experiences.
Uime graana Zagreba i svoje, zahvaljujem sudionicima, organizatorima - posebice Hrvatskom druπtvu skladatelja - i
publici 25. MuziËkog biennala Zagreb na
novom glazbenom doæivljaju, te æelim da
festival i ove godine bude vrhunski
glazbeni uæitak.
Milan BandiÊ,
gradonaËelnik Grada Zagreba
On behalf of the citizens of Zagreb and
on my own behalf, I thank the participants, the organizers - especially the
Croatian Composers’ Society - and the
audience of the 25th Music Biennale Zagreb for offering us a new musical adventure, and I hope that this year, as
always, it will prove to be a real musical
treat.
Milan BandiÊ,
Mayor of the City of Zagreb
Poπtovani ljubitelji Nove glazbe,
pred vama je 25. izdanje MuziËkog
biennala Zagreb. UnatoË recesiji, koja
zasigurno ne ide na ruku organizatorima
velikih kulturnih projekata, pokazalo se
da je ideja velikog europskog i svjetskog
sajma Nove glazbe jaËa od problema s
kojima se susreÊe svijet. Uz podrπku
Ministarstva kulture Republike Hrvatske,
Grada Zagreba, brojnih stranih veleposlanstava i kulturnih centara te sponzora koji su pomogli koliko je tko mogao,
opet smo u prilici vidjeti svu raznolikost
Nove glazbe. Pritom je Biennale, moæda
viπe nego ikada, rezultat nesebiËne
suradnje hrvatskih kulturnih institucija
koje su prepoznale vaænost koju on ima
za Zagreb i Hrvatsku.
Dear lovers of New Music,
Before you there stands the 25th edition
of the Music Biennale Zagreb. Despite
the recession, which certainly does not
benefit organizers of major cultural projects, it is evident that the idea of a large
European and world contemporary
music fair is stronger than the problems
that worry the world. With the support of
the Ministry of Culture of the Republic of
Croatia, the City of Zagreb, numerous
foreign embassies, cultural centres and
sponsors, who helped according to their
possibilities, we are again able to enjoy
the diversity of contemporary music.
The Biennale is, perhaps more than ever,
the result of selfless cooperation between Croatian cultural institutions,
which have recognized the importance
this festival has for Zagreb and Croatia.
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Naravno, matiËna kuÊa Hrvatsko druπtvo
skladatelja, s pridruæenom produkcijskom
kuÊom Cantus, opet je bilo poveznica
projekta i oslonac bez kojega bi bilo
nemoguÊe organizirati veliki festival.
Europska nagrada za kulturu, koju je
MBZ dobio prilikom proπlog festivala te
odluka Meunarodnog druπtva za
suvremenu glazbu da MBZ 2011.
ponovno bude njegov festival Svjetski
dani glazbe bili su poticaj da u Zagreb
opet dovedemo iznimne umjetnike,
skladatelje i izvoaËe iz cijelog svijeta, od
Kine do Amerike. Ali, kao i do sada,
posebnu smo brigu vodili o hrvatskom
stvaralaπtvu pa ponovno, uz brojne
druge skladbe, s ponosom predstavljamo
joπ jednu novu hrvatsku operu i novi
balet. Tema ovogodiπnjeg festivala, koja
propituje odnos umjetnosti, glazbe i
politike, posebno je intrigantna. Skladatelji iz razliËitih zemalja i razliËitih
svjetonazora nastojali su dati svoj doprinos temi, izbjegavajuÊi lake odgovore
koje nude pitanja dnevne politike.
Æelim vam da u ovogodiπnjem festivalu,
vrlo raznolikih pristupa Novoj glazbi,
naete dio svoga svijeta i uæivate u onome
πto vam nude umjetnici-sudionici MBZ ‘09.
Ivo JosipoviÊ, predsjednik MBZ-a
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Of course, the Croatian Composers’ Society, the parent institution of the festival, and its production house Cantus
have once again served as the moving
force behind the project, without whose
support it would have been impossible
to organize such a large festival. The European Culture Award, given to the MBZ
during the last festival, as well as the decision of the International Society for
Contemporary Music to make MBZ the
host of its World Music Days festival once
again in 2011, inspired us to invite to Zagreb extraordinary artists, composers
and performers from all over the world from China to America. On the other
hand, we have, as always, taken great
care to present national authors as well
and we are proud to offer you, among
many other pieces, a new Croatian opera
and a new Croatian ballet. The theme of
this year’s festival, which explores the
relationship between art, music and
politics, is especially intriguing. Composers from different countries and with
different worldviews have made their
contribution to the subject, avoiding
simple answers offered by everyday
politics. I hope that this year, from a
plethora of very different approaches to
New Music, you will be able to find a
piece of your own world and enjoy that
which the artists-participants of the MBZ
2009 have to offer.
Ivo JosipoviÊ, President of MBZ
snimio / photo by Demirel PašaliÊ
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Dobrodoπli na 25. MuziËki Biennale
Zagreb, festival koji ove godine, izmeu
ostaloga, propituje i kompleksne
suodnose umjetnosti i politike!
Welcome to the 25th Music Biennale
Zagreb, a festival that will try, among
other things, to question the complex
correlations between arts and politics!
Berislav ©ipuπ, umjetniËki ravnatelj
MBZ-a / Artistic Director of the MBZ
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MBZ je dobitnik Europske kulturne
nagrade (Kulturpreis Europa), koju mu
je 2007. godine za postignuÊa u kulturi
dodijelio Europski kulturni forum.
In 2007, MBZ received the European
Culture Award (KulturPreis Europa),
given out for accomplishments in
culture by the European Culture Forum.
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Kazalo / Contents
str. / page
18
Petak / Friday, 17 / 4 / 2009
56
Subota / Saturday, 18 / 4 / 2009
86
Nedjelja / Sunday, 19 / 4 / 2009
136
Ponedjeljak / Monday, 20 / 4 / 2009
154
Utorak / Tuesday, 21 / 4 / 2009
202
Srijeda / Wednesday, 22 / 4 / 2009
246
»etvrtak / Thursday, 23 / 4 / 2009
294
Petak / Friday, 24 / 4 / 2009
328
Subota / Saturday, 25 / 4 / 2009
358
Nedjelja / Sunday, 26 / 4 / 2009
398
Posebni projekti / Special projects
422
Tristan Murail: Gost-skladatelj 25. MBZ-a /
Guest composer of the 25th MBZ
434
Zahvale / Acknowledgements
day
month
petak / friday
17 4
17:00, Teatar &TD / &TD Theatre
Polukruæna dvorana / Semicircular Hall
Uz otvorenje Francuskog paviljona /
Opening of the French Pavilion:
Trio Sylvaina Kassapa / Sylvain Kassap Trio
19:30, HNK
SVE»ANO OTVORENJE / OPENING CEREMONY
SreÊko BradiÊ: Crux Dissimulata (Prikriveni kriæ /
Concealed Cross)*, opera
22:00, &TD
Komorni ansambl Paul Klee /
Paul Klee Chamber Ensemble
Kaspar Zehnder, dirigent / conductor
day
month
17
4
dan
mjesec
hour
17:00
petak / friday
sat
Uz otvorenje Francuskog paviljona /
Opening of the French Pavilion:
17:00, &TD, Polukružna dvorana /
Semicircular Hall
Trio Sylvaina Kassapa /
Sylvain Kassap Trio
Sylvain Kassap, klarinet / clarinet
Hélène Labarrière, kontrabas / double bass
Edward Perraud, bubnjevi i udaraljke / drums and percussions
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„U suradnji s Hélène Labarrière i Edwardom Perraudom, Sylvain Kassap predstavlja bremenitu i nestabilnu glazbu,
ritmiËnu i strujeÊu, radikalnu i uspjeπnu.
Uz podrπku doslovno zadivljujuÊe ritamske sekcije: dok su temelji glazbe u
rukama Hélène Labarrière, Edward Perraud igra ulogu zaigranog nestaπka. Sylvain Kassap, prepun slobodnog duha,
katalizator je grËevitog oblika lirizma.
Glazba dotad gotovo nepoznata, no vrijedna mjesta na najviπoj razini.“
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„With Hélène Labarrière and Edward
Perraud, Sylvain Kassap delivers us a
dense and unstable music, rhythmic and
current, radical and succeeded.
Served by a literally astonishing
rhythm section: while Hélène Labarrière
holds the foundations of the music,
Edward Perraud plays the role of a playful troublemaker. Sylvain Kassap, full of
a spirit of freedom, is the catalyst of a
convulsive shape of lyrism. A music quite
unknown until then but which deserves
its place at the highest level.“
day
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dan
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Sylvain Kassap
day
Klarinetist Sylvain Kassap (1956.) studirao je muzikologiju i klarinet i veÊ je rano
svirao s velikanima poput Michela Portala, Johna Surmana, Bernarda Lubata,
Hana Benninka i mnogih drugih. SuosnivaË je kolektiva Zhivaro. Otvoren svim vidovima glazbenih susreta, improvizirao
je na nastupima komiËara, nastupao s
autorima elektroakustiËnih projekata,
svirao sa svojim Klarinetskim triom i
vodio brojne sastave. Paralelno je kao solist, ili u ansamblima, svirao moderni
(Stravinski, Varèse, Webern), kao i suvremeni repertoar za klarinet (Aperghis,
Berio, Cage, Stockhausen) te suoblikovao
nova djela autora kao πto su Bernard Cavanna, Luc Ferrari i drugi.
Kao skladatelj uglavnom je samouk, a od
poËetka 80ih godina napisao je Ëetrdesetak glazbi za kazaliπte, film, plesne predstave i televiziju. Tijekom 90ih iz potrebe,
izbora i kao odgovor na zahtjeve solista i
ansambala razvija suvremeniji glazbeni
rukopis: isprva pod utjecajem Luciana
Beria i Franca Donatonija, a potom stvorivπi vlastiti, osobniji stil. Snimao je s
mnogim svjetskim glazbenicima, a pod
vlastitim je imenom objavio dvanaest albuma.
Clarinettist Sylvain Kassap (1956), who
studied musicology and clarinet, began
to play alongside the greats such as Michel Portal, John Surman, Bernard Lubat,
Han Bennink, and many others at quite
an early age. He co-founded the Collectif
Zhivaro. Having been open to all aspects
of musical encounters, he improvised at
the gigs of stand-up comedians, performed with the authors of electro-acoustic
projects, played with his Piano Trio and
led a number of bands. Pursuing his career both as a soloist and ensemble musician, he played modern (Stravinsky,
Varèse, Webern) and contemporary
(Aperghis, Berio, Cage, Stockhausen) repertoire of music for the clarinet as well
as participated in the process of creating
new works of Bernard Cavanna, Luc Ferrari and other composers.
As a composer, he is mostly self-taught.
Since the early 1980s, he has composed
around forty pieces for theatre, film,
dance performances and television. In
the 1990s, out of necessity, personal
choice and in response to demands from
soloists and ensembles, he developed a
more modern compositional signature,
which was initially influenced by Luciano Berio and Franco Donatoni, before
he created his own, a more personal
style. He has recorded with many international musicians and released twelve
albums under his name.
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Edward Perraud
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Edward Perraud studirao je trombon,
udaraljke i muzikologiju na sveuËiliπtu u
Rennesu, na pariπkom konzervatoriju
CNSM te IRCAM-u (baveÊi se analizom
glazbe Tristana Muraila) gdje je otkrio
rock, klasiËnu i suvremenu glazbu, a kasnije je prouËavao i indijsku glazbu. Njegovo sviranje bubnjeva i udaraljki pod
utjecajem je jazz-tradicija, koja ga pak s
vremenom sve viπe gura prema slobodnoj improvizaciji. Skupina koja mu je
dala moguÊnost pomirivanja glazbenih
sila i koja mu je otkrila improvizaciju bila
je Shub Niggurath, poËetkom 90ih.
Odonda je svirao u brojnim sastavima
kao πto su kvintet Hubbub, sekstet 69,
Das Kapital te duo, trio i kvartet sa Sylvainom Kassapom i drugi, na podruËju
jazza, slobodne improvizacije i alternativnog rocka, a sebe predstavlja kao bubnjara, skladatelja, improvizatora i
istraæivaËa koji vjeruje u samoprijegor.
Edward Perraud studied the trombone,
percussion and musicology at Rennes
University, at the Conservatoire National
de la Musique de Paris and at the
IRCAM, where he did research on the
music by Tristan Murail and discovered
rock, classical and contemporary music,
before he began to study Indian music.
His playing of drums and percussion was
influenced by jazz traditions, which subsequently led to his interest in free improvisation. A group that provided him
with an opportunity to reconcile different musical forces and introduced him
to improvisation was Shub Niggurath in
the early 1990s. Since that period, he has
played in a number of ensembles, such
as the Hubbub Quintet, Sextet 69, Das
Kapital, as well as the duo, trio and quartet line-up with Sylvain Kassap and others in the fields of jazz, free
improvisation and alternative rock. He
describes himself as a drummer, composer, improviser and researcher who believes in self-denial.
month
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4
dan
mjesec
hour
17:00
petak / friday
sat
Hélène Labarrière
day
Hélène Labarrière (1963.) glazbu je
poËela uËiti u djetinjstvu od svoje braÊe,
a kontrabas je studirala na konzervatoriju
u Boulogneu. Prve je koncerte odræala s
grupom Ladies First, a zatim je pratila
brojne ameriËke glazbenike. S vremenom
se odluËuje za improviziranu glazbu i
intenzivno radi s francuskim, a potom i
austrijskim predstavnicima toga æanra.
Sa svojom grupom, Machination, a
kasnije i vlastitim kvartetom, nastupa po
svjetskim festivalima, kao i s triom i
kvartetom Sylvaina Kassapa te s drugim
ansamblima.
Hélène Labarrière (1963) received music
lessons from her brothers as a child and
subsequently studied the double bass at
Boulogne Conservatoire. She made her
first concert appearances with the Ladies
First Combo, before starting to play
alongside a number of American musicians. Gradually, she has decided to
pursue her career in improvised music
and has worked intensively first with
French and then with Austrian
representatives of the genre. She has
performed at international festivals with
her group, Machination, and later on
with her quartet, as well as with the
Sylvain Kassap Trio and Quartet and
other ensembles.
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1937
26
The French Pavilion
Francuski paviljon
U kompleksu Studentskog centa (Savska
25) nalaze se objekti koji su rijedak primjer meunarodne arhitekture moderne
u Hrvatskoj, a najznaËajniji meu njima
je Francuski paviljon, izgraen 1937. godine za potrebe ZagrebaËkog Velesajma.
Sajam je 1957. preseljen na trenutnu lokaciju s juæne strane Save, a kompleks u
Savskoj prenamijenjen je u Studentski
centar.
Djelo francuskog arhitekta Roberta Camelota, inæenjera Bernarda Lafaillea i zagrebaËkog graditelja Vjekoslava Faltusa,
genijalnom primjenom njihovih arhitektonskih znanja, uπlo je u udæbenike i preglede najinteresantnijih konstrukcija 20.
stoljeÊa. Legenda kaæe da je Lafaille tadaπnjim skepticima dokazivao sigurnost
konstrukcije krova u obliku obrnutog ËeliËnog stoπca vozeÊi po njemu bicikl.
Nema sumnje da kompleks u Savskoj zasluæuje veÊu pozornost jer veÊ izgledom troπnom, ali saËuvanom paviljonskom
arhitekturom znaËajnih europskih arhitekata moderne ima komparativnu prednost pred mnogim drugim sveuËiliπnim
institucijama sliËnog profila. Skoraπnja
obnova Francuskog paviljona poËetak je
prepoznavanja znaËenja i potencijala takvog prostora u gradu, jednako kao πto je
njegova trenutna zapuπtenost jasan pokazatelj πto se dogaa s objektima
liπenim funkcije, namjene. Kultura u tom
smislu ne oplemenjuje druπtvo i gradove
samo umjetniËkim programima, nego
oæivljava i pokreÊe javne prostore.
Within the Student Centre complex (Savska 25) there are examples of international modern architecture in Croatia, and
the most important one is The French
Pavilion, built in 1937 for the purposes of
Zagreb Fair. The Fair moved to its current position on the south bank of river
Sava in 1957, and the complex in Savska
Street became the Student Centre.
Built by French architect Robert Camelot, engineer Bernard Lafaille and Zagreb
constructor Vjekoslav Faltus, due to a genius implementation of their architectural knowledge, the French Pavilion
became a part of school textbooks and
overviews of twentieth-century most interesting architecture. The legend says
that Lafaille proved the security of the
roof construction in the shape of reversed metal cone to skeptics by driving a
bicycle on it.
There is no doubt that the complex in
Savska Street deserves more attention
because of its looks alone - shabby, but
preserved pavilion architecture made by
famous European modern architects has
a comparative value more important
than many other university institutions
of the similar profile. The soon-to-be restoration of the Pavilion is the beginning
of understanding the importance of status and potential of such space in the
city, the same as its present condition testifies what happens to objects that remain without their function, purpose. In
that sense, culture does not improve society and cities with art projects alone,
but it also revives and animates public
spaces.
day
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sat
19:30, HNK
SVE»ANO OTVORENJE /
OPENING CEREMONY
SreÊko BradiÊ: Crux Dissimulata
(Prikriveni kriæ / Concealed Cross)*, opera
Ivan VidiÊ, libretist / libretto
Kreπimir DolenËiÊ, redatelj / director
Zoran JuraniÊ, dirigent / conductor
Dinka JeriËeviÊ, scenografkinja / set design
Danica Dedijer MarËiÊ, kostimografkinja / costumes
Deni ©esniÊ, dizajn svjetla / light design
Ivan Josip Skender, zborovoa i asistent dirigenta / choirmaster and
conductor’s assistant, Marko Juraga, asistent redatelja / director’s assistant
Zvonko Novosel, suradnik za glumu / acting coach
Ansambli HNK Zagreb /
Ensembles of the Croatian National Theatre in Zagreb;
Roza - Martina Zadro
Max - Domagoj DorotiÊ
Blaæ - Marko Mimica
Matilda - Diana Hilje
Ivan - Davor RadiÊ
Policajac / Policeman - Mario Bokun
Jura - Alen Ruπko
Prvi / The First One - Neven MrzleËki
Drugi / The Second One - Igor HapaË
TreÊi / The Third One - Damir KlaËar
Inspicijentica / Stage manager - Dinka LoziÊ
Asistentice kostimografkinje - volonterke: Ivana FilipoviÊ i Višnja Iris
Korepetitorice / Accompanists: Darjana BlaÊe Šojat, Helena BoroviÊ,
Lana BradiÊ, Nina Cossetto, Silvana »uljak
28
29
Crux Dissimulata - Sadræaj
Crux Dissimulata - Summary
Prvi dio.
Svake godine na isti datum, u proljeÊe, u
mjestu Kriæ odræava se proπÊenje.
Okupljaju se hodoËasnici, a mjeπtani tu
lokalnu svetkovinu koriste i kao priliku
za trgovinu, svojevrsni vjerski turizam.
Tih dana pored lokalnog svetiπta, u centru
zbivanja nalazi se gostionica Kod Kriæa,
u kojoj se odvija vrlo intenzivan druπtveni
æivot.
U gostionici radi Roza, lijepa mlada æena
udana za Ivana, lokalnog neradnika i
probisvijeta. Vlasnice gostionice je Matilda, agilna udovica nezgodne naravi.
Max, njezin sin jedinac, invalid koji je
nakon pada s motora ostao u kolicima,
zaljubljen je u Rozu, svoju ljubav iz rane
mladosti. VeËer uoËi proπÊenja, dok se u
birtiji lokalno druπtvo zabavlja s hodoËasnicima, pojavljuje se Ivan s prijateljem
Blaæom. U problemima su; kockali su i
ostali duæni novac kamatarima. Ivan poseæe u Rozinu torbicu, uzima potajice
kljuËeve od Matildine kuÊe i gostionice i
krade gazdariËin novac.
Part One.
Every year at the same date, in springtime,
in a place called Kriæ (Cross) there is a
parish fête. Pilgrims come from all
around, and locals use on this local event
to trade, as a kind of religious tourism.
Those days, at the centre is the local pub
At the Cross in which all of the local’s social
life takes place.
Roza, the beautiful young wife of Ivan, a
local idler and good-for-nothing, works
in this pub. The owner of the pub is
Matilda, an agile widow with a nasty
temper. Max, her only son, who became
disabled and moves around in wheelchair
after falling from a bike, is in love with
Roza, his youth sweetheart. On the
evening of the parish fête, while local
socialites are having fun at the pub, Ivan
appears with his friend Blaæ. They are in
trouble; they have been gambling and
now owe money to extortionists. Ivan
reaches for Roza’s handbag, takes the
keys of Matilda’s pub from it and steals
the landlady’s money.
day
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sat
During the delivery of the money there‘s
a showdown and Ivan gets hurt while
Blaæ runs away. Roza hears the news of
her husband’s death at the same time
that Matilda discovers she has been
robed. She accuses Roza of stealing her
money and while the police are taking
her away, Max starts defending her and
against his mother’s will testifies in
Roza’s favour. At the day of parish fête,
while the entire place is celebrating, the
two lonely unfortunate wretches are
Drugi dio.
Godinu dana kasnije u mjestu se ponovno once again brought closer together.
okupljaju hodoËasnici i sprema se
proπÊenje. Roza i Max sada æive zajedno Part Two.
u njenoj kuÊi. U meuvremenu je doπlo It is one year later and the small place
experiences the assembling of pilgrims
do potpunog raskola izmeu Maxa i
njegove majke. Matilda ih je tuæila zbog and religious folks for the parish fête yet
again. Roza and Max live together in her
novca i sada im sud, toËno na dan
svetkovine, plijeni stvari i tjera iz Rozine house. Max and his mother are not on
speaking terms. Matilda sued both of
kuÊice. U njenu korist svjedoËio je i
them for stealing their money and the
pokvareni Blaæ. Max je potpuno
court is, at the very day of the parish fête,
razoËaran, svjestan neuspjeha i
nemoguÊnosti da s Rozom vodi normalan claiming seizure of Roza’s house. Even
æivot, ali svejedno ne æeli moliti majku za the dishonest Blaæ testified on her
behalf. Max is now utterly disappointed,
milost. Pijan i na rubu æivaca poseæe za
aware of the failure and impossibility to
oruæjem. Roza mu oduzima piπtolj.
have any kind of normal life with Roza,
Prilikom ovrhe dolazi do sukoba pred
he asks for his mother’s forgiveness.
oËima znatiæeljnika. Dok im odnose
stvari, Max zapodijeva u svau s Blaæom Drunk, and at the end of his ropes, Max
reaches for the gun which Roza
i ovaj ga udara i ruπi iz kolica. Roza
successfully takes away from him.
izbezumljena od oËaja puca u Blaæa i
During the writ of execution, in front of
ubije ga. Dok u mjestu traje sveËanost,
the eyes of several inquisitive people, a
Roza posve sama proæivljava teπke,
conflict bursts. While the officials are
nesnosne trenutke.
seizing their property, Max gets into an
argument with Blaæ and Blaæ hits him
and knocks him from his wheelchair.
Roza, completely frantic at this point,
shots Blaæ and kills him. While the
festivities are well under way, Roza, all
alone, experiences excruciating
moments of grief and suffering.
Prilikom predaje novca dolazi do
obraËuna s kamatarima. Ivan strada, a
Blaæ bjeæi. Istovremeno dok Roza doznaje
da joj je muæ ubijen, Matilda otkriva da
je opljaËkana. Sumnja pada na Rozu. Kad
je privede policija, u njenu zaπtitu staje
Max, koji okreÊe lea majci i svjedoËi da
je njenu korist. Na dan proπÊenja, dok u
mjestu traje svetkovina, dvoje usamljenih nesretnika se ponovno zbliæava.
31
SreÊko BradiÊ
30
SreÊko BradiÊ (Samobor, 1963.)
diplomirao je glazbenu kulturu, a zatim i
kompoziciju na MuziËkoj akademiji u
Zagrebu u razredu prof. Stanka Horvata.
Predaje teorijsko-glazbene predmete na
Odjelu za kompoziciju i glazbenu teoriju
MuziËke akademije u Zagrebu. U njegova
vaænija djela ubrajaju se Penetration za
klavir i gudaËki orkestar, Credo za soliste,
zbor i orkestar, 2 gudaËka kvarteta, La
Femme za sopran i orkestar, Koncert za
klavir i orkestar, Koncert za violu,
violonËelo i orkestar, Koncert za orkestar,
Homo erectus (Salutes to Europa).
SreÊko BradiÊ (Samobor, 1963)
graduated in the music education and
subsequently in the composition from
the Zagreb Academy of Music in the
class of Stanko Horvat. He teaches a
course on music theory at the
Composition and Music Theory
Department of the Zagreb Academy of
Music. Among his notable works are
Penetration for piano and string orchestra,
Credo for soloists, choir and orchestra, 2
string quartets, La Femme for soprano
and orchestra, Concerto for piano and
orchestra, Concerto for viola, violoncello
and orchestra, Concerto for orchestra,
Homo erectus (Salutes to Europe).
day
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VidiÊ
Ivan
Ivan VidiÊ (Zagreb, 1966.) osnovnu i
srednju πkolu zavrπio je u Zagrebu, gdje
je diplomirao dramaturgiju na Akademiji
dramskih umjetnosti. Piπe kazaliπne
komade, filmske scenarije i prozu. Æivi u
Zagrebu.
Napisao je drame Harpa, Putnici,
Groznica, Ospice, Bakino srce, Velika
Tilda, Happy Endings, Octopussy, Grupa
za podrπku, Veliki bijeli zec, Onaj koji se
sam govori, Æivot u sjeni banane, ZOO i
dr. Objavio je knjige Drame, Mansioni,
roman Gangabanga te Violator / Ona govori.
Ivan VidiÊ (Zagreb, 1966) received his
primary and secondary education in
Zagreb, where he graduated in dramaturgy
from the Zagreb Academy of Dramatic
Art. He writes plays, screenplays and
fiction. He lives in Zagreb. He wrote the
following plays: Harpa, Travellers, Fever,
Measles, A Grandma’s Heart, The Great
Tilda, Happy Endings, Octopussy, A
Support Group, A Big, White Rabbit, SelfDeclamatory, Life in the Shadow of a Banana Plant, The ZOO, etc. His published
books are Dramas (Mansioni), the novel
Gangabanga and Violator/She Speaks.
33
JuraniÊ
Zoran
32
Zoran JuraniÊ (Rijeka, 1947.) na MuziËkoj
akademiji u Zagrebu studirao je glazbenu
teoriju te kompoziciju (Stjepan ©ulek) i
dirigiranje (Igor Gjadrov), nakon Ëega
postaje zborovoom u HNK Zagreb.
Tamo je od 1988. stalni dirigent, a od
2002. - 2005. i ravnatelj Opere. Bio je
umjetniËki ravnatelj Opere HNK Ivana
Zajca u Rijeci i Opere HNK u Osijeku.
Izvanredni je profesor na MuziËkoj
akademiji u Zagrebu. Stalni je gostdirigent Opere Srpskog narodnog
pozoriπta u Novom Sadu. Uz niz
simfonijskih i koncertnih skladbi, njegov
repertoar obuhvaÊa pedesetak opernih
djela iz svih stilskih razdoblja. Autor je
operne farse Govori mi o Augusti (MBZ
1999.), operne sapunice Pingvini
(Hamburg i MBZ 2007.) te niza scenskih,
orkestralnih i komornih skladbi. Revidirao
je i izveo niz zanemarenih djela iz
hrvatske glazbene baπtine, primjerice
djela Ivana pl. Zajca i Antonija Smareglie.
Revidirao je i izveo i operu Oganj Blagoja
Berse, kao i praizvedbu opere Preobraæaj
Stanka Horvata.
Deni ©eniÊ: str./page 395
Zoran JuraniÊ (Rijeka, 1947) studied the
music theory, composition (Stjepan ©ulek)
and conducting (Igor Gjadrov) at the
Zagreb Academy of Music, before
becoming a choirmaster at the Croatian
National Theatre in Zagreb. In 1988, he
was appointed resident conductor and in
the period from 2002 to 2005 he worked
as the Opera director. He was also artistic
director of the Operas at the Croatian
National Theatre Ivan pl. Zajc in Rijeka
and the Croatian National Theatre in
Osijek. He currently teaches as a reader
at the Zagreb Academy of Music. He is a
resident guest conductor at the Serbian
National Theatre Opera in Novi Sad. In
addition to many symphonic and concert
works, his repertoire includes around
fifty operas covering all stylistic periods.
He composed the operatic farce Talk to
Me about Augusta (1999 MBZ), the soapy
burlesque Penguins (Hamburg and 2007
MBZ), and a number of stage, orchestral
and chamber works. He revised and
performed a number of neglected works
in Croatian musical heritage, such as
many compositions by Ivan pl. Zajc and
Antonio Smareglia. He also revised and
staged the opera Fire by Blagoje Bersa as
well as the premiere of Stanko Horvat’s
opera The Metamorphosis.
month
17
4
dan
mjesec
hour
19:30
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sat
Kreπimir DolenËiÊ
day
Kreπimir DolenËiÊ (Zagreb, 1962.) zavrπio
je KlasiËnu gimnaziju, srednju muziËku
πkolu i Akademiju dramske umjetnosti.
Reæirao je tue i vlastite komade u svim
veÊim kazaliπtima Hrvatske, na
DubrovaËkim ljetnim igrama, Splitskom
ljetu... Predavao je glumu kao asistent na
ADU, a bio je predavaË i na MuziËkoj
akademiji u Zagrebu, na Rice University
u Houstonu te na Trinity College of
Music u Londonu. Na pozornicama
Hrvatske, Slovenije, Engleske, SAD i Kine
postavio je tridesetak opera, od kojih su
mnoge na repertoarima kazaliπta veÊ viπe
godina. Bio je ravnatelj Dramskog kazaliπta
Gavella. Za svoj rad nagraen je mnogim
nagradama za reæiju, a dobio je i nekoliko
odlikovanja. U HNK u Zagrebu do sada je
reæirao opere Ero s onoga svijeta, Nikola
©ubiÊ Zrinjski, Samson i Dalila, Plaπt, KÊi
pukovnije, Marco Polo, Rigoletto, Seviljski
brijaË i Razgovori karmeliÊanki.
Kreπimir DolenËiÊ (Zagreb, 1962) received
his education at the Classics-Programme
Secondary School and at a secondary
school of music, before graduating from
the Academy of Dramatic Art. He has
directed his own and other authors’
plays in major Croatian theatres, at the
Dubrovnik Summer Festival, Split
Summer Festival, etc. As an assistant
lecturer, he taught acting at the Zagreb
Academy of Dramatic Art and has given
lectures at the Zagreb Academy of Music,
Rice University in Houston and at the
Trinity College of Music in London. He
has staged around thirty operas in
Croatia, Slovenia, England, the USA and
China, some of which have been in the
repertoire of various theatres for years.
He was also appointed to the position of
general manager of the Gavella Drama
Theatre. He has received a number of
awards and several decorations for his
creative work as a director. At the
Croatian National Theatre in Zagreb he
has directed the following operas: Ero
from the Other World, Nikola ©ubiÊ
Zrinjski, Samson and Dalila, The Cloak,
The Daughter of the Regiment, Marco
Polo, Rigoletto, The Barber of Seville, and
Dialogues of the Carmelites.
35
Dinka JeriËeviÊ
34
Dinka JeriËeviÊ zavrπila je Odjel za
arhitekturu i unutarnje ureenje ©kole
primijenjene umjetnosti u Zagrebu.
©kolovanje je nastavila u Londonu.
Nakon povratka u Zagreb, 1969. godine,
radi kao scenografkinja na televiziji i
filmu. Od 1974. god. ostvarila je
πezdesetak dramskih, opernih i baletnih
scenografija u HNK Zagreb, Ëija je stalna
scenografkinja od 1992. godine.
Realizirala je viπe od tristo televizijskih,
jednako toliko kazaliπnih te petnaest
filmskih scenografija. S redateljem
Kreπimirom DolenËiÊem u zagrebaËkoj
je Operi ostvarila predstave Nikola ©ubiÊ
Zrinjski, Samson i Dalila, Seviljski brijaË
i Razgovori karmeliÊanki. Izvanredna je
profesorica na ADU i dobitnica brojnih
strukovnih nagrada.
Dinka JeriËeviÊ completed the Zagreb
School of Applied Arts, the Department
for Architecture and Interior Decoration.
She continued with further studies in
London. Upon her return to Zagreb in
1969, she started working as a set
designer for television and film. Since
1974, she has authored around sixty
designs for drama, opera and ballet
productions at the Croatian National
Theatre in Zagreb, becoming their
resident stage designer in 1992. She has
created more than 300 set designs for
television, as much for the theatre
productions, and fifteen film set designs.
Together with director Kreπimir DolenËiÊ,
she worked on the operas Nikola ©ubiÊ
Zrinjski, Samson and Dalila, The Barber
of Seville, and Dialogues of the Carmelites
staged at the Zagreb Opera. She is a reader
at the Zagreb Academy of Dramatic Art
and a recipient of professional awards.
day
month
17
4
dan
mjesec
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19:30
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sat
Dedijer-MarËiÊ
Danica
Danica Dedijer-MarËiÊ gimnaziju je
zavrπila u Adis Abebi, a u Zagrebu je
diplomirala engleski i francuski jezik na
Filozofskom fakultetu te slikarstvo na
Akademiji likovnih umjetnosti u klasi
profesora ©ime PeriÊa. Tijekom dvadesetak
godina ostvarila je viπe od Ëetiristo
kostimografija. Dobitnica je Nagrade
Gavellinih veËeri, Sterijine nagrade i
drugih. Suraivala je s mnogim
suvremenim hrvatskim redateljima u
dramskim, opernim i baletnim
predstavama u svim zagrebaËkim i
hrvatskim teatrima te u inozemstvu. U
Pekingu je kreirala kostime za viπe od
3000 sudionika Verdijeve opere Aida, u
reæiji Kreπimira DolenËiÊa. U posljednje
vrijeme suraivala je na predstavi Elektra
Euripida u Théâtre national de
Luxembourg, Ondine Giroudouxa i Don
Quijote Cervantesa na DubrovaËkim
ljetnim igrama i Otoku sv. Ciprijana u
splitskom HNK, za πto je dobila nagradu
Marul.
Danica Dedijer-MarËiÊ received her
secondary education in Addis Ababa and
graduated in the English and French
from the Zagreb Faculty of Humanities
and Social Sciences as well as in painting
from the Academy of Fine Arts in the
class of ©ime PeriÊ. She has created more
than 400 costume designs over some
twenty years and has received the
awards at Gavella’s Evenings, Sterija’s
Theatre, etc. She has worked with many
contemporary Croatian directors, on
drama, opera and ballet productions in
all Zagreb-based and Croatian theatres
as well as abroad. She created costumes
for over 3,000 participants in Verdi’s
Aida when directed by Kreπimir DolenËiÊ
in Beijing. Some of her most recent
projects include Euripides’s play Electra
at the Théâtre national de Luxembourg,
Girodoux’s Ondine and Cervantes’s Don
Quixote at the Dubrovnik Summer
Festival, and St Ciprian’s Island at the
Croatian National Theatre in Split for
which she has won the Marul Award.
Martina Zadro
36
Sopranistica Martina Zadro diplomirala
je i magistrirala pjevanje na zagrebaËkoj
MuziËkoj akademiji u klasi prof. Snjeæane
BujanoviÊ-Stanislav. Na Visokoj glazbenoj
πkoli u Grazu diplomirala je lied i oratorij u
klasi prof. Gerharda Zellera. Usavrπavanje
nastavlja kod Vitomira Marofa i Eve
Blahove, a potom kod operne legende
Anne Moffo. Debitirala je u zagrebaËkom
HNK, gdje je nastupila kao Jelena, Corilla,
Giulietta, Gilda i Micaela, a danas nastupa
diljem Europe, u Oviedu, Salzburgu,
Pragu, kao i na Opernom Festivalu
Longborough u Engleskoj (kao Violetta,
Mimi, Rosina, Micaela, Pamina i Susanna),
suraujuÊi s brojnim priznatim
dirigentima. Od sezone 2003./2004.
Ëlanica je Opere Slovenskog narodnog
kazaliπta u Ljubljani, gdje je ostvarila niz
glavnih uloga, a veliki uspjeh uz pohvale
europske kritike postiæe ulogom Armgard
u svjetskoj premijeri prve Offenbachove
opere Rajnske nimfe. Kao koncertna
pjevaËica Martina Zadro nastupa uz
hrvatske, slovenske i Ëeπke orkestre. Uz
brojne nagrade u Hrvatskoj pobjednica
je i meunarodnih pjevaËkih natjecanja
Lucia Popp (SlovaËka) i Antonín Dvořák
(»eπka) 1999. godine.
37
Soprano singer Martina Zadro graduated
and obtained her master’s degree in
singing from the Zagreb Academy of
Music under Snjeæana BujanoviÊ Stanislav. She also earned a degree in the
lied and oratorio in the class of Gerhard
Zeller at the Graz College of Music. She
continued with further studies under
Vitomir Marof and Eva Blahova, and
subsequently studied with opera legend
Anna Moffo. She made her professional
debut at the Croatian National Theatre
in Zagreb, where she also appeared as
Jelena, Corilla, Giulietta, Gilda, and
Micaela. Today, she performs around
Europe, in Oviedo, Salzburg, Prague, as
well as at the Longborough Festival
Opera in England (as Violetta, Mimi,
Rosina, Micaela, Pamina, and Susanna),
working with many renowned conductors.
In the season of 2003/04, she joined the
Opera Ensemble of the Slovenian
National Theatre in Ljubljana, where she
sang a number of leading roles and
appeared as Armgard in the international
premiere of Offenbach’s first opera
Rhine Nymphs to great critical acclaim in
Europe. As a concert singer, Ms. Zadro
has performed alongside Croatian,
Slovenian and Czech orchestras. In
addition to numerous awards received in
Croatia, she also won the Lucia Popp
(Slovakia) and Antonin Dvořák (the Czech
Republic) Singing Competitions in 1999.
month
17
4
dan
mjesec
hour
19:30
petak / friday
sat
Domagoj DorotiÊ
day
Domagoj DorotiÊ (Breæice, 1979.) zapoËeo
je muziËku naobrazbu kao trubaË u
Glazbenoj πkoli Ferdo LivadiÊ u Samoboru,
a nastavio na Glazbenom uËiliπtu Elly
BaπiÊ u Zagrebu. Isprva pohaa privatne
satove pjevanja i postaje Ëlanom Zbora
HNK Zagreb, a 2004. godine postaje studentom pjevanja u klasi prof. Vlatke
OrπaniÊ na MuziËkoj akademiji u Zagrebu,
gdje je i diplomirao 2008. godine. Tijekom
studija osvojio je prvu nagradu na
dræavnom natjecanju pjevaËa u
Dubrovniku, a sudjelovao je i na
meunarodnim natjecanjima poput
onoga u San Marinu (Renata Tebaldi),
gdje je uπao u polufinale. Dobitnik je
Rektorove nagrade SveuËiliπta u Zagrebu
za ulogu Rinuccia u operi Gianni Schicchi
Giacoma Puccinija, koju je pripremao na
MuziËkoj akademiji. Aktivno nastupa i
kao koncertni i kao operni pjevaË.
Domagoj DorotiÊ (Breæice, 1979) started
his music education as a trumpeter at he
Ferdo LivadiÊ School of Music in Samobor,
and continued with further studies at the
Elly BaπiÊ School of Music in Zagreb.
First, he took up private lessons in singing
and joined the Choir of the Croatian
National Theatre in Zagreb, and in 2004,
he began to study singing with Vlatka
OrπaniÊ at the Zagreb Academy of Music,
from which he graduated in 2008. During
his studies, he won the first prize at a
national singing competition in Dubrovnik,
and he also participated in the
competitions abroad, such as the Renata
Tebaldi Competition in San Marino,
where he reached the semi-finals. He has
received the University of Zagreb Rector’s
Award for the role of Rinuccio in Giacomo
Puccini’s opera Gianni Schicchi which
he prepared at the Academy of Music.
He pursues his career as a concert and
opera singer.
39
Diana Hilje
38
Diana Hilje roena je u Dubrovniku.
Nakon diplome na zagrebaËkoj MuziËkoj
akademiji magistrirala je solo pjevanje
1987. godine u klasi profesorice Marije
BorËiÊ. Dobitnica je Nagrade Marija
BorËiÊ za pjevaËka tehniËka dostignuÊa
studenata MuziËke akademije 1985.
godine. Usavrπavala se kod Dunje
VejzoviÊ, Branke StilinoviÊ i Nade PuttarGold. Solistica Opere HNK u Zagrebu postala je 1986., a 2003. godine
unaprijeena je u prvakinju. Ostvarila je
viπe od Ëetrdeset uloga u zagrebaËkom
HNK (Santuzza, Azucena, Charlotte, Mila
GojsaliÊa, Amneris, Carmen, Suzuki), a
nastupala je i na ostalim hrvatskim
opernim pozornicama, na Splitskom
ljetu i u Operi SNG Ljubljana.
Diana Hilje was born in Dubrovnik.
Having graduated from the Zagreb
Academy of Music, she obtained a
master’s degree in singing in the class of
Marija BorËiÊ in 1987. She won the
Marija BorËiÊ Award, given to the
Academy students for their performing
achievement in 1985. She further studied
with Dunja VejzoviÊ, Branka StilinoviÊ
and Nada Puttar-Gold. In 1986, she was
appointed a soloist of the Opera Ensemble
at the Croatian National Theatre in Zagreb,
before becoming prima donna in 2003.
She has sung over forty roles at the
Croatian National Theatre in Zagreb
(Santuzza, Azucena, Charlotte, Mila
GojsaliÊ, Amneris, Carmen, Suzuki), and
performed at various Croatian opera
venues, at the Split Summer Festival and
the Slovenian National Theatre Opera in
Ljubljana.
month
17
4
dan
mjesec
hour
19:30
petak / friday
sat
Davor RadiÊ
day
Davor RadiÊ (Pula, 1958.) diplomirao je
solo pjevanje na MuziËkoj akademiji u
Zagrebu nakon diplome na zagrebaËkom
Fakultetu strojarstva i brodogradnje.
»lanom Opernog zbora HNK u Zagrebu
postao je 1991., a solist Opere je od 2002.
godine. U matiËnom kazaliπtu ostvario je
Ëetrdesetak uloga (Germont, Scarpia,
Nikola ©ubiÊ Zrinjski, Marcello, Sima,
Gianni Schicchi, Figaro). Gostovao je u
opernim predstavama osjeËkog i rijeËkog
HNK, u skopskom Makedonskom
narodnom teatru, Narodnom pozoriπtu
Sarajevo te u ZGK Komedija, gdje je
nastupio i u brojnim operetama.
Davor RadiÊ (Pula, 1958) graduated in
singing from the Zagreb Academy of
Music after completing his studies at the
Faculty of Engineering and Naval
Architecture. In 1991, he joined the
Opera Ensemble of the Croatian National
Theatre in Zagreb, before becoming a
soloist in 2002, and appeared in around
forty roles (Germont, Scarpia, Nikola
©ubiÊ Zrinjski, Marcello, Sima the Miller,
Gianni Schicchi, Figaro). He has given
guest performances in operas staged at
the Osijek and Rijeka Croatian National
Theatres, at the Macedonian National
Theatre in Skopje, the Sarajevo National
Theatre, and at the Komedija City
Theatre in Zagreb, where he appeared in
a number of operettas.
41
Bokun
Mario
40
Mimica
Marko
Mario Bokun (Zagreb, 1976.) apsolvent
je Fakulteta elektrotehnike i raËunarstva
i student MuziËke akademije u Zagrebu.
Pjevanje je poËeo uËiti 1994. godine kod
prof. Sergija ForetiÊa u Dugom Selu. Po
dolasku u Zbor HNK Zagreb, Ëiji je stalni
Ëlan, poËeo je raditi s Brankom StilinoviÊ,
a zatim sa Sotirom Spasevskim,
Francescom Anileom i s Vitomirom
Marofom. Danas studira u klasi prof.
Snjeæane BujanoviÊ-Stanislav te pjeva i
solistiËke uloge u HNK. Suraivao je s
Marko Mimica (Split, 1987.) student je 4. vokalnim ansamblom Madrigal i vanjski
godine pjevanja na MuziËkoj akademiji u je suradnik Zbora Hrvatske radiotelevizije.
»lan je i solist crkvenog zbora i vokalnog
Zagrebu u klasi prof. Vlatke OrπaniÊ.
ansambla Duga u Dugom Selu.
Srednju glazbenu πkolu, smjer truba,
zavrπio je u Splitu. Dobitnik je prve nagrade
na Dræavnom natjecanju studenata
glazbe i plesa u Dubrovniku 2007. godine.
Na sceni HNK u Zagrebu debitirao je u
sijeËnju 2008. u ulozi Papagena u operi
»arobna frula W. A. Mozarta. Stipendist
je CEE Musiktheatra.
Mario Bokun (Zagreb, 1976) is a senior
undergraduate at the Faculty of Electrical
Engineering and Computing and a student
at the Academy of Music in Zagreb. He
took up first music lessons with Sergio
ForetiÊ in Dugo Selo in 1994. Having joined
the Croatian National Orchestra Choir in
Zagreb, he started working with Branka
StilinoviÊ and then with Sotir Spasevski.
Marko Mimica (Split, 1987) is a fourthHe continued with further studies in
year student of singing at the Zagreb
singing under Francesco Anile and
Academy of Music in the class of Vlatka
baritone Vitomir Marof, a national
OrπaniÊ. He completed a secondary
school of music, trumpet course, in Split. principal soloist at the Zagreb Opera. He
currently studies in the class of Snjeæana
He won the first prize at the National
Stanislav-BujanoviÊ and performs as a
Competition of Music and Dance Students
soloist at the Croatian National Theatre.
in Dubrovnik in 2007. He made his
He has worked with the vocal ensemble
professional debut as Papageno in the
Madrigal and with the Croatian Radio
opera The Magic Flute by W. A. Mozart at and Television Choir as a part-time
the Croatian National Theatre in Zagreb basis. He is a member and a soloist of the
in January 2008. He has been granted a
church choir and vocal ensemble Duga
(Rainbow) in the town of Dugo Selo.
CEE Musiktheater scholarship.
day
month
17
4
dan
mjesec
hour
22:00
petak / friday
sat
22:00, &TD
Komorni ansambl Paul Klee /
Paul Klee Chamber Ensemble
Kaspar Zehnder, dirigent / conductor
Eva Aroutunian, klavir / piano
Gaudenz Badrutt, klavijature / piano MIDI
Ana Ioana Oltean, flauta / flute
Adrian Cioban, oboa / oboe
Christoph Schnyder, klarinet / clarinet
Veselin Manchev, rog / horn
David Sonton Caflisch, violina / violin
Jessica Rona, viola
Aurélien Ferrette, violonËelo / cello
Ivan NestiÊ, kontrabas / double bass
Pauline Sabatier, glas / voice
Kaspar Zehnder, dirigent i flautist / conductor and flute
Philippe Moënne-Loccoz, tehniËar / technician
Kerstin Härtel, menadæerica / manager
Dubravko PalanoviÊ: Mozaik za 9 instrumenata / Mosaic for 9 Instruments*
Daniel Ott: Frammenti per Pieve Caina / Fragmenti za Pieve Cainu /
Fragments for Pieve Caina
22/3
le ranz des vaches / cow procession / kravlja povorka
5/9
/\/\/\/
Kinderspiele / child’s play / djeËje igre
shto s taboi / what with you? / πto s tobom?
Jammermusik / sorrowful music / Ëemerna glazba
Jonas Kocher: Harmonie mit schräger Dämpfung und Sopranbimbo /
Harmonija s okomitim smanjenjem i sopran-bimbom / Harmony with an
oblique attenuation and a sopranobimbo
Tristan Murail / Hervé Bailly-Basin: Liber fulguralis / Book of Lightnings /
Knjiga munja
Koncert je ostvaren u suradnji s fondacijom
Pro Helvetia / In collaboration with the
Pro Helvetia Foundation
42
Sastav Ansambla Paul Klee u osnovi
odgovara onom iz Schönbergova djela
Pierrot lunaire: glas, flauta, klarinet,
violina, violonËelo, klavir, pri Ëemu se,
ovisno o glazbenicima u pojedinom
djelu, pozivaju i gosti. Time se njegov
repertoar proteæe od solo djela do
komornih simfonija s dirigentom.
Program posve posveÊen slikaru Paulu
Kleeu uvijek je mjeπavina glazbe koju je
Klee sluπao i volio (Bach, Mozart,
Beethoven itd.), glazbe njegovih
suvremenika (Schönberg, Hindemith,
Bartók itd.) i glazbe koja je inspirirana
njime i njegovom umjetnoπÊu (u arhivu
Centra Paul Klee nalazi se oko 300
partitura skladanih prema njegovim
djelima). Paul Klee daje poticaj za
program koji nadilazi uobiËajene
koncertne izvedbe. Na koncertima se ne
samo svira nego i pjeva, govori, djeluje, a
katkada Ëak i kuha.
43
The Paul Klee Ensemble basically
corresponds to the composition from
Schönberg’s piece Pierrot lunaire: voice,
flute, clarinet, violin, cello, and piano,
where, depending on the musicians in
certain parts of the composition guests
are invited as well. The repertoire of the
ensemble extends from solo pieces to
chamber symphonies involving a
conductor. The programme which is
entirely dedicated to the painter Paul
Klee, represents a constant mixture of
the music Klee listened to and loved
(Bach, Mozart, Beethoven, etc.), the
music of his contemporaries (Schönberg,
Hindemith, Bartók, etc.) and music
inspired by him and his art (there are
approximately 300 musical pieces
composed and inspired with the works
of Paul Klee in the archives of the Paul
Klee Centre). Paul Klee provides an
impetus for a programme that surpasses
usual concert renderings. These concerts
do not feature only instrumental playing,
but singing, talking, acting, and
sometimes even cooking.
day
month
17
4
dan
mjesec
hour
22:00
petak / friday
sat
Ansambl Paul Klee ne smatra se samo
glasnikom novog doba i nove glazbe,
nego i skupinom izvrsnih solista i
solistica koji su zainteresirani i sposobni
kretati se u razliËitim podruËjima
glazbene interpretacije i improvizacije.
Ansambl je nastao joπ prije otvaranja
Centra Paul Klee. Pijanistica Eva
Aroutunian i flautist Kaspar Zehnder
2002. godine su s danaπnjim umjetniËkim
voditeljem Pierreom Subletom osmislili
interdisciplinarni program sa πvicarskom
i armenskom glazbom, umjetnoπÊu,
knjiæevnoπÊu i kuhinjom. Pod imenom
Swiss Modern ansambl je u danaπnjem
sastavu odræao koncerte u Erevanu,
Bernu i Æenevi.
Kao kuÊni ansambl Centra Paul Klee
glazbenici svake godine odræavaju ciklus
od πest koncerata u pretplati u Kulturnom
centru, izgraenom prema zamisli
arhitekta Renza Piana i otvorenom 2005.
godine. Uz to, ansambl odræava brojne
koncerte u ©vicarskoj i inozemstvu.
The ensemble does not think of itself as
the messenger of new age or new music,
they regard themselves as a group of
excellent solo-performers who share a
common interest and are able to move
through various fields of musical
interpretation and improvisation. The
ensemble was founded even before the
Paul Klee Centre opened. In 2002 the
pianist Eva Aroutunian, flutist Kaspar
Zehnder and today’s artistic director
Pierre Sublet jointly worked out an
interdisciplinary programme featuring
Swiss and Armenian music, art, literature
and cuisine. Under the name Swiss
modern, the ensemble gave
performances throughout Switzerland
and Armenia.
As Paul Klee Centre’s residential
ensemble, these musicians perform six
concerts every season in the Centre
which was built by architect Renzo Piano
and opened in 2005. Besides having
concerts at the Centre, the ensemble
performs concerts throughout
Switzerland and abroad.
45
Kaspar Zehnder
44
Flautist i dirigent Kaspar Zehnder
(Riggisberg, 1970.) obrazovanje je stekao
u Bernu, nakon Ëega se zaputio na
studije u Pariz na Europsku Mozartovu
akademiju (European Mozart Academy) i
zatim na Accademiju Chigianu u Sienu.
Uz meunarodne nastupe koje odræava
kao solist i dirigent, trenutaËno radi i kao
umjetniËki direktor Festivala Murten
Classics Summer te Glazbenog odsjeka u
Centru Paul Klee u Bernu. Godine 2005.
imenovan je glavnim dirigentom Praπke
filharmonije te otad nastupa sa svjetski
priznatim solistima na pozornicama
poput Scale, Palau de la Musica Catalana,
Salle Pleyel itd. Kao dirigent redovno radi
s brojnim francuskim orkestrima, sa
SlovaËkom filharmonijom, Praπkim
simfonijskim orkestrom i vodeÊim
orkestrima u ©vicarskoj.
The flautist and conductor Kaspar
Zehnder (Riggisberg, 1970.) trained in
Bern before studying in Paris, at the
European Mozart Academy, and at the
Accademia Chigiana in Siena. Besides
performing internationally as a soloist
and conductor he is currently Artistic
Director of the Murten Classics Summer
Festival and of the Music Department at
the Zentrum Paul Klee in Bern. Since his
nomination as Chief conductor of the
Prague Philharmonia in 2005 he has
appeared with world leading soloists in
venues like La Scala, Palau de la Musica
Catalana, Salle Pleyel etc. He regularly
conducts numerous French orchestras,
the Slovak Philharmonics, Prague
Symphony Orchestra, and leading
orchestras in Switzerland.
day
month
17
4
dan
mjesec
hour
22:00
petak / friday
sat
PalanoviÊ
Dubravko
Dubravko PalanoviÊ (Zagreb, 1977.)
diplomirao je kompoziciju u klasi
profesora Æeljka BrkanoviÊa te kontrabas
u klasi profesora Josipa Novosela. Dosad
je skladao za poznate ansamble kao πto
su ZagrebaËki solisti, ZagrebaËka
filharmonija, Salzburπka komorna
filharmonija, ZagrebaËki puhaËki
ansambl i Varaædinski komorni orkestar.
Svirao je u uglednom Orkestru mladih
Gustav Mahler pod vodstvom Claudia
Abbada, a trenutaËno je zaposlen u
ZagrebaËkoj filharmoniji. Osnovao je
novi ansambl za modernu glazbu
Acoustic Project. Osvojio je drugu nagradu
na Natjecanju Zaklade Franz Josef Reinl
u BeËu za skladbu Muzika za gudaËe i
marimbu (prva nagrada nije dodijeljena).
Njegov PuhaËki kvintet snimljen je na
CD-u ZagrebaËkoga puhaËkog ansambla,
a Varaædinski komorni orkestar je na
MuziËkom biennalu Zagreb izveo njegovo
djelo Emphates za gudaËe, nagraeno
Rektorovom nagradom SveuËiliπta u
Zagrebu. Skladbu su izveli i glazbenici
Moskovskoga simfonijskog orkestra na
festivalu suvremene glazbe Moskovska
jesen 2007. godine. Iste je godine za
Koncertnu uvertiru skladatelju uruËena
nagrada za “najbolje umjetniËko djelo
hrvatskoga autora” zagrebaËke
Koncertne dvorane Vatroslava Lisinskoga.
Dubravko PalanoviÊ (Zagreb, 1977)
graduated in composition from the class
of Professor Æeljko BrkanoviÊ, and in
doublebass from the class of professor
Josip Novosel. He has composed for
renowned ensembles, such as the Zagreb
Soloists, the Zagreb Philharmonic, the
Salzburg Chamber Philharmonic, the
Zagreb Woodwind Ensamble, the
Varaædin Chamber Orchestra. He was a
member of the renowned Gustav Mahler
Youth Orchestra, under the guidance of
Claudio Abbado, and he is now
professionally employed in the Zagreb
Philharmonic Orchestra. PalanoviÊ is the
founder of a new ensemble for modern
music called Acoustic Project. He won
the 2nd prize at the Franz Josef Reinl
Foundation Contest in Vienna (the 1st
prize was not awarded), for his Music for
Strings and Marimba. His Woodwind
Quintet was featured on The Zagreb
Woodwind Ensemble’ CD and the
Varaædin Chamber Orchestra performed
his Emphates, for strings - which won the
University of Zagreb’s Rector’s Prize - at
the Music Biennale Zagreb. The same
piece was also performed by members of
the Moscow Symphony Orchestra at the
contemporary music festival Moscow
Autumn in 2007, in the same year when
PalanoviÊ’s Concert Ouverture won him
the prize for ‘the best artistic composition
by a Croatian author’ given by the
Vatroslav Lisinski Concert Hall in Zagreb.
46
“Skladba Mozaik nije toliko inspirirana
likovnom tehnikom koliko idejom
mozaika kao slagalice koja mi se zbog
formalne strukture nametnula tijekom
skladanja. Misao vodilja kroz cijelu
skladbu je pulsirajuÊi ritam koji Ëini
dramatiku skladbe i pojavljuje se na
poËetku u klaviru i kontrabasu. U
srednjem dijelu taj ritam je drukËiji,
sporiji, tako da sam u spoju s drugim
elementima u tom dijelu skladbe dobio
dugu melodijsku liniju koju zapoËinje
violonËelo i nastavljaju drugi instrumenti.
Skladba se sastoji od viπe kraÊih dijelova
razliËitih karaktera koji u cjelini rezultiraju
πirokim spektrom boja i emotivnih
stanja. Prema kraju se opet javlja
pulsirajuÊi ritam, sliËan onome na
poËetku. Tim materijalom skladba
usporava i smiruje se te u takvom
ugoaju i zavrπava.”
47
“My piece Mosaic is not so much inspired
by this art technique as is with the idea
of mosaic as a puzzle that occurred to
me while composing this piece because
of its formal structure. The main idea
present in this composition revolves
around the pulsating rhythm which
appears at the beginning in piano and
cello parts and creates the dramatics of
the composition. By the time the
composition comes to its middle part,
this rhythm changes, slows down and in
combination with other elements present
at this point it takes on a different
melodic path expressed by cello and
continued by other instruments. The
composition itself consists of many
short parts that are different in character
but which as a whole result in broad
spectrum of colours and emotional
conditions. Towards the end of the piece
the pulsating rhythm, similar to the
rhythm from the beginning of the
composition, appears again and the
composition then simply slows down
creating a calm atmosphere for its finish.”
month
17
4
dan
mjesec
hour
22:00
petak / friday
sat
Jonas Kocher
day
Jonas Kocher (Nyon, 1977.) bavi se
sviranjem harmonike, elektroniËkom
glazbom i skladanjem. Studirao je na
Visokoj umjetniËkoj πkoli u Bernu u klasi
Teodora Anzellottija (harmonika), Pierrea
Subleta (suvremena glazba) i Georgesa
Aperghisa (glazbeni teatar) te pohaao
majstorske teËajeve pod vodstvom
Manosa Tsangarisa i Trija Koch-SchützStuder. Svirao je u razliËitim projektima
koje su osmislili Ruedi Häusermann i
Daniel Ott. TrenutaËno nastupa u
mnogim improviziranim glazbenim
projektima u ©vicarskoj i diljem Europe
svirajuÊi harmoniku i izvodeÊi
elektroniËku glazbu te pritom surauje s
mnoπtvom glazbenika i drugih umjetnika. Bio je pokretaË i organizator
©vicarsko-balkanske kreativne glazbe te
osnivaË elektroniËkoga dua BlindeKinder
s Raphaelom Raccuiom. Uglavnom
samouk, kao skladatelj djeluje u podruËju
novoga glazbenog teatra. Njegova su
Jonas Kocher (Nyon, 1977) is a Swiss
accordion player, electronic musician
and composer. He studied at the
Hochschule der Künste Bern with
Teodoro Anzellotti (accordion), Pierre
Sublet (contemporary music) and
Georges Aperghis (théâtre musical) and
attended masterclasses with Manos
Tsangaris and the Koch-Schütz-Studer
Trio. He played in various projects by
Ruedi Häusermann and Daniel Ott. He
currently plays in many improvised
music projects in Switzerland and Europe
as an accordion player and electronic
musician, collaborating with numerous
musicians and other artists. Kocher was
the initiator and organizer of the SwissBalkan Creative Music and the founder
of the electronic duo BlindeKinder with
Raphael Raccuia. Largely a self-taught
composer, he works in the field of new
music theatre. His theatral and/or music
compositions have been played at
48
kazaliπna i/ili glazbena djela izvoena u
bernskom Kazaliπtu Schlachthaus, u
Baselskom kazaliπtu, Centru Paul Klee;
na festivalima Encuentros Buenos Aires,
KlangKunstBühne u Berlinu; u Centru
Dürrenmatt u Neuchâtelu itd. Redovito
piπe glazbu za radijske emisije (Hörspiel)
na πvicarskom radiju DRS2. Bernski
kanton nagradio ga je πestomjeseËnim
boravkom u pariπkom Cité Internationale
des Arts 2004. godine, a 2005. godine
dodijeljena mu je Kulturna nagrada
Grada Nyona.
49
Schlachthaus Bern, Theater Basel,
Zentrum Paul Klee, Festival Encuentros
Buenos Aires, KlangKunstBühne Berlin,
Centre Dürrenmatt Neuchâtel et al. He
regulary composes music for radio
features (Hörspiel) for the swiss radio
DRS2. He was granted a six-monthsresidence at the Cité des arts, Paris, in
2004 by the Canton de Berne and the
Culture prize of the City of Nyon in 2005.
Speaking about his composition
Harmony with an Oblique Attenuation
and a Sopranobimbo, commissioned by
O svojem je djelu, Harmonija s kosim
the Paul Klee Ensemble for their opening
smanjenjem i sopranbimbom,
of the 2005/06 season, the composer
naruËenom od Ansambla Paul Klee za
said, ‘The work is based on the excerpts
otvorenje sezone 2005. - 2006., napisao: from Paul Klee’s Diary and Poems.
“Djelo se bazira na izvacima iz Dnevnika Having found inspiration in Dadaism,
i Pjesama Paula Kleea. Inspirirani
the texts play with words, their meanings
dadaizmom, tekstovi se poigravaju
and the rhythm of speech. Despite a
rijeËima, njihovim znaËenjem i govornim childlike ease and serenity, one can feel
ritmom. UnatoË djetinjoj lakoÊi i vedrini, repeatedly both melancholy and
ujedno su uvijek iznova osjetne i
indifference towards the world, art and
melankolija i osjeÊaj rezigniranosti u
love. The visual and acoustic elements of
odnosu na svijet, umjetnost i ljubav.
the composition are freely arranged
Scenski i akustiËni elementi skladbe
ironic concert reports and episodes from
slobodno su sloæeni ironiËni koncertni
Klee’s Diary: the First World War, artist’s
izvjeπtaji i epizode iz Kleeova Dnevnika: dilemmas, unhappy love…”
Prvi svjetski rat, umjetniËke dvojbe,
ljubavna razoËaranja... ”
day
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Ott
Daniel
Daniel Ott (Grub, Appenzell, 1960.)
odrastao je u regiji grada Basela.
Diplomiravπi klavir, nastavio je pouËavati taj instrument i glazbu u podruËju
Basela i Graubündena. Takoer je
sudjelovao u osnivanju razliËitih
nezavisnih kazaliπnih skupina,
ukljuËujuÊi kazaliπnu trupu koja je
putujuÊi ©vicarskom u koËiji izvodila
uliËne predstave. Usavrπavanje vezano
za teatar odvelo ga je u Pariz i London u
razdoblju od 1985. do 1990. godine, kada
je studirao kompoziciju kod Nicolausa A.
Hubera na SveuËiliπtu Folkwang u Essenu
te kod Klausa Hubera na Glazbenom
uËiliπtu u Freiburgu.
Daniel Ott (Grub, Appenzell, 1960) grew
up in the Basle region. After gaining his
piano diploma he went on to teach piano
and music in the Basle and Graubünden
regions. He was also involved in the establishment of various independent theatre groups, including a horse-drawn
wagon tour through Switzerland with a
street theatre group. Theatre studies
took him to Paris and London between
and from 1985 to 1990 he studied composition with Nicolaus A. Huber at the
Folkwang University, Essen, and with
Klaus Huber at the Freiburg University of
Music.
50
51
Od 1990. godine Daniel Ott radi kao
samostalni skladatelj, pijanist i glumac
uglavnom u podruËju novoga glazbenoga
teatra, a sudjeluje i u interdisciplinarnim
projektima i u djelima koja se bave
prostorom/pejzaæom. Iste je godine
pokrenuo Festival nove glazbe Rümlingen.
Od 1995. do 2004. godine predavao je
eksperimentalnu glazbu na UmjetniËkom
uËiliπtu u Berlinu. Nakon ciklusa
glazbenoga teatra po nazivom ojota I-IV,
skladao je klangkörperklang, glazbu za
©vicarski paviljon Petera Zumthora
(EXPO u Hannoveru 2000. godine).
Uslijedile su pejzaæne skladbe za luku
Sassnitz/Rügen, rijeku Neisse, Rajnsku
luku kod Basela i mnoge druge. Imenovan
je profesorom kompozicije i
eksperimentalne glazbe na UmjetniËkom
uËiliπtu u Berlinu 2005. godine.
Since 1990, Daniel Ott has been working
on a freelance basis as composer, pianist
and actor, mainly in the field of new
music theatre - and has also been involved
in interdisciplinary and room/landscape-related works. In 1990, he founded
the “Rümlingen New Music Festival”.
Between 1995 and 2004 he was teaching
experimental music at the University of
Arts in Berlin. After the music theatre
cycle ojota I-IV, he composed
klangkörperklang - music for Peter
Zuthmor’s Swiss Pavilion (EXPO Hanover
2000). These works were followed by
landscape compositions for the Harbour
Sassnitz/Rügen, the river Neisse, the
Rheinhafen (Rhine Port) Basel and many
others. In 2005, he became professor for
composition and experimental music at
the University of Arts, Berlin.
“Skladba Frammenti per Pieve Caina
napisana je 1996. godine za promjenljivi
sastav (glas, gitara, violonËelo, klavir,
udaraljke ili drugi). Ansambl Paul Klee
izvodi djelo u sljedeÊemu sastavu: flauta,
klarinet, violina, violonËelo i klavir, pri
Ëemu je svaki glazbenik takoer udaraljkaπ
i scenski umjetnik. Ovo je djelo jedno od
onih ne suviπe ozbiljnih doprinosa
πvicarskoj glazbi koja se obiËno smatra
vrlo ozbiljnom - da ne kaæem priliËno
depresivnom.”
“frammenti per pieve caina was
composed in 1996. It’s written for a
variable ensemble (voice, guitar, cello,
piano, percussion or other). The
Ensemble Paul Klee plays it with flute,
clarinet, violin, cello and piano, but
every player is also a percussionist and
performer. The piece is one of the not
too serious contributions of Swiss music,
which is normally considered to be at
least very serious - if not rather
depressive.”
day
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Fulguralis
Liber
Liber Fulguralis jest „zajedniËko
ostvarenje“ sastavljeno od glazbenih i
vizualnih elemenata koje su istovremeno
razvili Tristan Murail i Hervé Bailly-Basin.
Temelji se na jednoj od misli vodilja
Paula Kleea - slikar u svojemu dnevniku
opisuje bljesak oluje kao iskru koja
oplouje prazninu i potiËe naboj
sadræan u biÊu. Nadahnut umijeÊem
drevnih proroËica da tumaËe munje, ovo
djelo koje traje gotovo trideset minuta
razrauje razgranatu strukturu jednog
jedinog bljeska munje i razvija razliËite
ogranke samo jedne raËvaste munje s
poËetku djela te se zatim „Ëita“ na
bezbroj razliËitih naËina.
Liber fulguralis is a “joint creation” with
musical and visual components
developed simultaneously by Tristan
Murail and Hervé Bailly-Basin. It takes
up one of Paul Klee’s guiding themes:
the flash of lightning, which the painter
describes in his diary as a spark that
fertilises the void and triggers the very
discharge of being. Inspired by the
ancient oracle’s art of interpreting
lightning, this nearly half-hour-work
elaborates on the ramifications of a single
strike of lighting and develops the
different branches of a single forked
lightning flash which strikes at the
opening of the work and is then “read” in
countless different ways.
52
Sklonost starih naroda prema proricanju
ustupila je mjesto poetskom tumaËenju
jednoga of prirodnih fenomena koji
izaziva najviπe divljenja. Stoga Murail
nastavlja zapoËeto djelo uz zvukove
oceana (Le partage des eaux) i kiπe (Le lac)
primjenjujuÊi najnovije tehnike spektralne
analize kako bi usitnio konkretne
zvukove u sastavne dijelove te potom
ponovno umetnuo dobivenu grau i
njene viπestruke pretvorbe u glazbeni
prostor-vrijeme. Hervé Bailly-Basin dalje
razvija postupke otkrivene tijekom svoje
prethodne suradnje s Murailom kadrovi snimljeni razliËitim brzinama i u
razliËitim mjerilima ekscerptirani su iz
ulomaka Ëije ponovno sastavljanje od
posve sinteziranih elemenata otkriva
„viziju“ potpuno drukËijega poretka koji
je na granici opaæanja, maπte i simbolizma.
53
Ancient pretensions of divining give way
to a poetic exegesis of one of nature’s
most fascinating phenomena. Murail
thus continues work begun with sounds
of the ocean (Le partage des eaux) and of
rain (Le lac): using recent techniques of
spectral analysis, to dissect concrete
sounds into elementary components,
and then reinserting this material and its
multiple transmutations into the musical
space-time. Hervé Bailly-Basin further
develops procedures found in his
preceding collaborations with Murail:
shots taken at different speeds and scales
are excerpted from fragments whose
re-composition with completely
synthesized elements brings forth a
“vision” of an entirely different order, at
the limits of perception, of the
imagination and of symbolism.
viπe o Tristanu Murailu na / For more on Tristan Murail, str. / page 422
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55
Liber fulguralis
day
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18 4
12:00, Mimara
Koncert iz ciklusa Cantus & Lisinski /
Cantus & Lisinski concert cycle
Arnold Schönberg:
Ode to Napoléon / Oda Napoléonu, op. 41
Josip Leπaja, bariton / baritone,
Ivan Josip Skender, dirigent / conductor;
Cantus Ansambl /
Cantus Ensemble
17:00, Mimara
PROCES-MUZIKA / PROCESS-MUSIC
projekt Multimedijalnog instituta MAMA i MBZ-a /
a project of the MAMA Multimedia Institute and MBZ
Peter Szendy: predavanje / lecture
Stephan Mathieu: koncert / concert
20:00, HYPO
Teatar Fanny & Alexander / Fanny & Alexander
Theatre: South / Jug*, muziËki komad / a musical piece
Autori / Authors: Luigi de Angelis i Chiara Lagani
Glazba / Music by: Mirto Baliani, John Dowland, Alvin
Lucier, Steve Reich, Iannis Xenakis
22:00, MDVL
IGOR LE©NIK & MBZ: 30 Percussion Years Later /
30 udaraljkaπkih godina kasnije
Igor Leπnik, udaraljke / percussion
day
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12:00, Mimara
Arnold Schönberg:
Ode to Napoléon / Oda Napoléonu, op. 41
Josip Leπaja, bariton / baritone,
Ivan Josip Skender, dirigent / conductor;
Cantus Ansambl / Cantus Ensemble
Cantus Ansambl / Cantus Ensemble:
Martin Drauπnik, 1. violina / 1. violin
Tamara Petir, 2. violina / 2. violin
Lucija BrnadiÊ, viola
Branimir PustiËki, violonËelo / cello
Srebrenka Poljak, klavir / piano
Arnold Schönberg, 1924.
58
Arnold Schönberg (1874.-1951.): Oda
Napoleonu Bonaparteu, op. 41
Poticaj za ovu skladbu doπao je iz dvaju
izvora: 8. prosinca 1941., dan nakon
bombardiranja Pearl Harbora, Schönberg
je Ëuo Rooseveltovo obraÊanje naciji
putem radija u kojem je govorio o
“zloglasnom danu”, a u sijeËnju 1942.
Schönberg je od Lige skladatelja primio
narudæbu za kratko komorno djelo. Liga
je za proslavu svoje dvadesete obljetnice
naruËila nekoliko deset- do
dvadesetominutnih djela. Schönberg je
prihvatio zadatak, no Ëini se da nije bio
baπ uvjeren da Êe djelo biti primjereno
izvedeno na koncertu Lige skladatelja, pa
joj ga je odbio poslati. On i njegovi uËenici
traæili su odgovarajuÊe izvoaËe i mjesto,
no Oda je javno praizvedena tek 23.
studenog 1944.
Schönberg je birao tekst s iznimnom
paænjom. Æelio je skladati neπto na tekst
lorda Byrona jer se pjesnikova potpora
grËkoj borbi za neovisnost odraæavala u
Schönbergovim simpatijama za borbu
europskih nacija protiv Hitlera.
Schönberg je zapisao sljedeÊe o svojoj
odluci da sklada to djelo: “Znao sam da
je moralna duænost inteligencije zauzeti
stav protiv tiranije.” Uklopio je Marseljezu
i motiv iz Beethovenove Pete simfonije u
trenutku kada govornik izgovara stihove
“gromoglasan glas pobjede”.
U pismu svom bivπem uËeniku Heinrichu
Jalowetzu od 8. rujna 1943. (Jalowetz je
pripremio djelo za snimanje s pjevaËem)
Schönberg inzistira da pjevaË mora imati
“brojne nijanse, nuæne za izraæavanje
stotinu i sedamdeset vrsta podsmijeha,
sarkazma, mrænje, poruge, prijezira,
osude itd., koje sam nastojao prikazati u
svojoj glazbi”. Nadalje, izvedbu tog djela
usporeuje sa svojim namjerama u djelu
Pierrot lunaire: “Recitiranje u djelu
‘Pierrot lunaire’ takvo je da se Ëini da je
glas instrument, baπ kao i ostalih pet. U
ovom pak sluËaju recitacija mora biti
toliko realistiËno prirodna da se Ëini da
glazbe uopÊe nema.”
59
Arnold Schönberg (1874-1951): Ode to
Napoleon Buonaparte op. 41
The impetus for this composition was
twofold: 8 December 1941, the day after
Pearl Harbor was bombed, Schönberg
heard President Roosevelt’s “day of
infamy” radio address; and in January
1942 Schönberg received a commission
from the League of Composers for a
short chamber work. The League celebrated its 20th anniversary by commissioning several 10- to 20-minute works.
Schönberg accepted the commission.
However, it seems that Schönberg was
not satisfied that his work would receive
an adequate performance at the League
of Composers’ concert, and he declined
to send them the piece. He and his students searched for suitable performers
and venues, but the Ode was not premiered publicly until 23 November 1944.
Schönberg exercised great care in
choosing the text; he wanted to compose
something on a text by Lord Byron, for
the poet’s support of Greece’s struggle
for independence mirrored Schönberg’s
allegiances to the Europe struggling
against Hitler. Of his decision to compose
the piece, Schönberg wrote: “I knew it
was the moral duty of intelligentsia to
take a stand against tyranny.” He combined the “Marseillaise” and the motive
from Beethoven’s Fifth Symphony at the
moment when the speaker declaims, “the
earthquake voice of victory.”
In a letter of 8 September 1943 to his
former pupil Heinrich Jalowetz, who had
prepared the piece for a recording with a
singer, Schönberg insisted that the
singer must have “the number of shades,
essential to express one hundred and
seventy kinds of derision, sarcasm, hatred,
ridicule, contempt, condemnation, etc.,
which I tried to portray in my music.” He
further contrasts the performance of this
work to his intentions in Pierrot lunaire:
“The recitation in Pierrot lunaire is so as
if the voice would be an instrument like
the other five. But in contrast to that, here
the recitation must be as realistically
Camille Crittenden natural as if there were no music at all.”
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Josip Leπaja
day
Josip Leπaja diplomirao je solo pjevanje
na MuziËkoj akademiji u Zagrebu u klasi
prof. Snjeæane BujanoviÊ-Stanislav, a
polazio je i Ljetnu opernu πkolu u
Salzburgu. Bio je Ëlan opere u Mariboru,
Komorne opere u BeËu, Opere HNK
Zagreb te je dvanaest godina gostovao na
sceni Ljubljanske opere. U svojoj
pjevaËkoj karijeri ostvario je preko 50
opernih uloga u ostvarenjima πirokoga
raspona od Händela, Mozarta, Rossinija,
Donizettija preko Wagnera, »ajkovskog,
Verdija i Zajca do ©ostakoviËa, Deliusa,
Brittena, Ebena i R. Straussa. Brojna
gostovanja vodila su ga u Austriju,
Maarsku, »eπku, NjemaËku,
Luksemburg, ©vicarsku, Italiju, Francusku
i na Maltu. Na koncertnoj pozornici
nastupao je uz BeËke simfoniËare, sa
ZagrebaËkom i Slovenskom
filharmonijom te s joπ nekoliko uglednih
slovenskih i hrvatskih orkestara i
ansambla. Usporedo izvodi repertoar
koncertnih popijevaka Schuberta,
Schumanna, Brahmsa, Berlioza, Ravela i
Iberta. »esto je sudjelovao u
praizvedbama hrvatskih i slovenskih
skladatelja.
Josip Leπaja completed his solo singing
studies at the Zagreb Music Academy in
the class of Professor Snjeæana BujanoviÊStanislav. He has also attended the
Summer Opera School in Salzburg. He
has been a member of the Maribor
Opera, Chamber Opera in Vienna, Zagreb
Croatian National Theatre Opera, and
gave guest performances at the Ljubljana
Opera for twelve years. In his singing
career, he has performed over fifty opera
roles, ranging form Händel, Mozart,
Rossini, Donizetti to Wagner, Tchaikovsky,
Verdi and Zajc, to Shostakovich, Delius,
Britten, Eben and R. Strauss. He has
given numerous guest performances in
Austria, Hungary, the Czech Republic,
Germany, Luxembourg, Switzerland,
Italy, France and Malta. He has
performed on stage with the Vienna
Symphony, the Zagreb and Slovenian
Philharmonics, and several other
prestigious Slovenian and Croatian orchestras and ensembles. He has
simultaneously performed a repertoire
of concert songs by Schubert, Schumann,
Brahms, Berlioz, Ravel and Ibert. He has
frequently participated in premieres of
works by Croatian and Slovenian
composers.
Ivan Josip
Skender
60
Ivan Josip Skender (Varaædin, 1981.)
zapoËeo je glazbeno obrazovanje u
Varaædinu kod Dese JovanoviÊ i Marijana
Zubera. Kompozicijom se poËinje baviti
u srednjoj glazbenoj πkoli, uz Davora
BobiÊa kao mentora. Studij kompozicije
upisuje na MuziËkoj akademiji u Zagrebu
u klasi Æeljka BrkanoviÊa, a dvije godine
kasnije i paralelni studij dirigiranja u
klasi Vjekoslava ©uteja. Skladbe su mu
izvoene u Hrvatskoj, Austriji, BIH i u
Meksiku. Usavrπavao se na seminarima
iz dirigiranja i kompozicije u Hrvatskoj,
Austriji, Makedoniji i Maarskoj.
Dobitnik je nagrade za kompoziciju
Ljetne Akademije Prag-Wien-Budapest i
za izvedbu djela Heads and Tails na
MuziËkom Biennalu u Zagrebu. Stalno
surauje s nekoliko renomiranih stranih
i hrvatskih glazbenika i ansambala, a
piπe i glazbu za kazaliπte. Kao dirigent,
dosad je imao uspjeπne nastupe sa
zborom i orkestrom MuziËke akademije,
Varaædinskim komornim orkestrom,
Hrvatskim baroknim ansamblom,
Hrvatskim komornim orkestrom, KarlovaËkim komornim orkestrom, zborovima
“Ivan Goran KovaËiÊ”, “Ivan FilipoviÊ” te
“Zvjezdice”. ©efom-dirigentom akad.
zbora “Palma”, postaje 2004. godine te
osvaja prvu nagradu na dræavnom natjecanju pjevaËkih zborova Zagreb 2006. i
2008., kao i nagradu Hrvatskog druπtva
skladatelja za najbolju izvedbu skladbe
hrvatskog autora. Od 2005. god.
zborovoa je u Operi HNK u Zagrebu.
Viπe o ansamblu Cantus na str. 230
61
Ivan Josip Skender (Varaædin, 1981)
began his music studies in Varaædin with
Desa JovanoviÊ and Marijan Zuber. He
took up composition at secondary music
school, with Davor BobiÊ as his mentor.
He started composition studies at the
Music Academy in Zagreb in the class of
Æeljko BrkanoviÊ, and two years later he
began parallel studies of conducting in
the class of Vjekoslav ©utej. His
compositions have been performed in
Croatia, Austria, Bosnia-Herzegovina
and Mexico. He perfected his skills at
conducting and composition seminars in
Croatia, Austria, Macedonia and Hungary.
He received the composition award from
the Prague-Vienna-Budapest Summer
Academy, as well as the University of
Zagreb Rector’s Award for the
performance of Heads and Tails at the
Music Biennale in Zagreb. He maintains
ongoing working relations with several
established foreign artists and Croatian
musicians. He also composes music for
the theatre. As a conductor, he has
performed successfully with the Music
Academy choir and orchestra, Varaædin
Chamber Orchestra, Croatian Baroque
Ensamble, Croatian Chamber Orchestra,
Karlovac Chamber Orchestra, as well as
the “Ivan Goran KovaËiÊ”, “Ivan FilipoviÊ”
and “Zvjezdice” choirs. He became chief
conductor of the “Palma” academic
choir in 2004. In that capacity he won the
first award at the Croatian Singing
Choirs Contest in Zagreb in 2006 and
2008, as well as the Croatian Composer
Society award for the best performance
of a composition by a Croatian author.
Since 2005 he has been choir conductor
at the Croatian National Theatre Opera
in Zagreb.
More about the Cantus Ensemble on
page 230
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17:00, Mimara
projekt Multimedijalnog instituta MAMA i MBZ-a /
a project of the MAMA Multimedia Institute and MBZ
Peter Szendy: predavanje / lecture
Stephan Mathieu: koncert / concert
62
63
Viπe o projektu Proces-Muzika /
More on the Process-Music project, str./page 382
month
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Peter
Szendy
day
Smjeπten na razmeu filozofije,
filologije, teorije filma i muzikologije,
opus Petera Szendyja (1966.) dobiva sve
viπe priznanja pod okriljem suvremene
francuske filozofije. Szendy trenutaËno
predaje kolegij iz estetike na SveuËiliπtu
Paris Ouest - Nanterre La Défense i obnaπa duænost programskoga savjetnika
pri Koncertnoj dvorani Cité de la
musique. Dosad je objavio nekoliko knjiga za Éditions de Minuit u kojima se
bavi viπestranom problematikom
sluπanja. Szendy u svojoj studiji Écoute Une histoire de nos oreilles istraæuje
strategije sluπanja i sluπateljevih odgovornosti, dok u knjizi Sur écoute slijedi
trag arheologije akustiËkoga praÊenja
pomno ispitujuÊi djela Benthama,
Mozarta, Hitchcocka, Coppole i Kafke. U
svojemu zadnjem intrigantnom ostvarenju Tubes - la philosophie dans le
juke-box razmatra status pjevanoga hita
kao intimne himne monetarne i psiholoπke razmjene.
Peter Szendy zaduæen je za prijevod i
pripremu prvoga izdanja francuskih zapisa Béle Bartóka. Njegova knjiga Les
prophéties du texte - Léviathan. Lire
selon Melville postala je libreto opere
Avis de tempête Georgesa Aperghisa.
Situated on the crossroads of philosophy, philology, film-studies and musicology, the work of Peter Szendy (1966) is
gaining ever-wider recognition within
contemporary French philosophy.
Szendy currently teaches aesthetics
course at University Paris Ouest - Nanterre La Défense and acts as Program Advisor for the Cité de la musique concert
hall. He has published several books for
Éditions de Minuit where the multifaceted problematic of listening is addressed. In his study Écoute - Une
histoire de nos oreilles Szendy explores
the strategies of listening and responsibilities of the listener, while in the book
Sur écoute, he traces archeology of the
acoustic surveillance scrutinizing the
work of Bentham, Mozart, Hitchcock,
Coppola and Kafka. In his latest intriguing work Tubes - la philosophie dans le
juke-box he examines the status of the
song-hit as an intimate hymn of the
monetary and psychological exchange.
Peter Szendy has been in charge of the
translation and preparation of the first
edition of Béla Bartók’s writings in
French. His book Les prophéties du texte
- Léviathan. Lire selon Melville became
the libretto of the opera Avis de temp_te
by Georges Aperghis.
65
Stephan
Mathieu
64
Stephana Mathieua (1967.) smatraju
jednim od glazbenika danaπnjice koji
posebno pomnjivo eksperimentira s
elektroniËkom glazbom. Njegov
prepoznatljiv zvuk uglavnom se temelji
na ranim instrumentima, zvucima iz
okoline i zastarjelim medijima koje
snima i preobraæava koristeÊi eksperimentalnu mikrofoniju, tehnike reeditiranja i softverske postupke
ukljuËujuÊi spektralnu analizu i zavojnicu.
PazeÊi uvijek na detalje i afektivan
sadræaj djela, stvara jedinstvena iskustva
uæivo dok radi s tragovima opaæene
stvarnosti. Istovremeno njeæna i odrjeπita,
Mathieuova glazba dosad je objavljena
na 16 CD-ova uz pohvalne kritike πirom
svijeta. ZapoËeo je kao bubnjar suraujuÊi
s umjetnicima improvizacije poput Axela
Dörnera i Butcha Morrisa, a kao solist na
udaraljkama izvodio je vlastite skladbe i
djela Earlea Browna, Stockhausena i
Cagea. Mathieu je osmislio instalacije za
razliËite prostore opisujuÊi ih kao
osebujna djela odreene lokacije, Ëisto
akuzmatiËna u kojima koristi vizualne i
zvuËne predmete. Umjetnik je takoer
strastveni sakupljaË ploËa od 78rpm iz
desetih i dvadesetih godina 20. stoljeÊa
koje je koristio u svojim najnovijim
projektima A Static i Virginals.
Stephan Mathieu (1967) is considered to
be one of the most attentive experimental
electronic musicians working today. His
signature sound is largely based on early
instruments, environmental sound and
obsolete media which are recorded and
transformed by means of experimental
microphony, re-editing techniques and
software processes involving spectral
analysis and convolution. Always paying
attention to detail and to the affective
content of the piece, Mathieu creates
unique live-experiences working with
traces of the perceived reality. In the
same time soft-paced and razor-sharp
Mathieu’s music has been released on 16
critically acclaimed CDs worldwide. He
started as a drummer working with improvising musicians such as Axel Dörner
and Butch Morris. As a percussion soloist
he performed his own pieces and
compositions of Earle Brown, Stockhausen
and Cage. Mathieu has created installations
for various spaces, which he describes as
site specific, purely acousmatic works
using both visual and sounding objects.
He is also an avid collector of 78rpm
records from the 1910s and 20s that he
used in his most recent projects A Static
and Virginals.
day
month
18
4
dan
mjesec
hour
20:00
subota / saturday
sat
20:00, HYPO
Teatar Fanny & Alexander /
Fanny & Alexander Theatre: South / Jug*,
muziËki komad / a musical piece
Autori / Authors: Luigi de Angelis i Chiara Lagani
Glazba / Music by: Mirto Baliani, John Dowland, Alvin Lucier, Steve Reich,
Iannis Xenakis
Autori / Ideation: Luigi de Angelis and Chiara Lagani
Reæija, scenografija, svjetla / Direction, stage design, lights: Luigi de Angelis
Dramaturgija / Dramaturgy: Chiara Lagani
Dramaturπki savjetnici / Dramaturgy consultants:
Caterina Marrone, Rodolfo Sacchettini
Kostimi / Costumes: Chiara Lagani, Sofia Vannini
Dizajn zvuka / Sound design: Mirto Baliani
Repriza / Repeat Performance
Nedjelja / Sunday, 19 / 4, 17:00, HYPO
66
Nastupaju / Performed by:
Fiorenza Menni, Mauro Milone,
Davide Sacco
Vokalni ansambl / Vocal ensemble
Melodi Cantores
Elena Sartori, pjevanje i umjetniËko
vodstvo / singing and direction
Roberta Guidi, alt / alto
Sergio Martella, tenor
Decio Biavati, bas / basso
Udarljkaπi / Percussions:
Nextime Ensemble
Danilo Grassi, Lisa Bartolini, Antonio
Somma, Federico Zammarini
Mirto Baliani
Nacrt i izrada scenografija / Scenery
project and realization: Opera Ovunque
Ozov portret / Oz’s Portrait: Zapruder
Asistent produkcije / Production assistant: Marian Vanzetto
Asistent scenografije / stage design
assistant: Chiara Castello
67
Produkcija / Production: Opera Futura
Laboratori per un Nuovo Teatro Musicale, Fondazione Teatro Comunale di
Ferrara
Koprodukcija / In co-production with:
Teatro Comunale di Bologna,
Teatro Comunale di Modena, Fondazione I Teatri di Reggio Emilia
Uz pomoÊ / With the contribution of:
Regione Emilia Romagna Assessorato
alla Cultura Sport e Progetto giovani,
Ministero della Gioventù in the context
of Accordo di Programma Quadro GECO
- Giovani Evoluti e Consapevoli
U suradnji s / With the cooperation of:
Les Brigittines (Bruxelles), MuziËki Bienale Zagreb / Music Biennale Zagreb
Uz zahvalu za / With thanks to: Symrise
GmbH & Co. KG, L’Istituto Italiano di
cultura di Zagabria / Talijanski institut za
kulturu u Zagrebu / Italian Culture InstiProdukcijski ured / Production office:
Ifat Nesher za / for Canvas Management, tute in Zagreb
Marco Cavalcoli
Promidæba / Promotion: Valentina
Ciampi, Marco Molduzzi, Ifat Nesher
Ured za medije / Press office:
Lorenzo Donati
Logistika / Logistics: Sergio Carioli
Uprava / Administration: Marco Cavalcoli, Debora Pazienza
day
month
18
4
dan
mjesec
hour
20:00
subota / saturday
sat
South je muziËki komad, nova produkcija u sklopu viπegodiπnjeg projekta koji
Fanny & Alexander posveÊuju »arobnjaku
iz Oza Franka L. Bauma. Nakon djela
Dorothy. Disconcert for Oz, u kojem je
znakoviti ciklon, dobro poznat iz priËe o
Ëarobnjaku, postao stvaralaËka snaga
novog modela glazbenog djela,
inspiriranog Cageovim Europerama, u
kojem se nekoliko zvuËnih slojeva spaja
u jednu razinu istovremenosti, South æeli
u radikalnoj mjeri nastaviti tu istu liniju
istraæivanja te Ëak i u takvom sluËaju
iskoristiti izvedbe uæivo nekih glazbenika
(udaraljkaπa i pjevaËa) i glumaca.
Glavnu junakinju Dorothy, koja je na
tom putovanju kroz zemlju Oz svojevrstan
avatar publike, ciklon odnosi juæno od
tog fantastiËnog svijeta, gdje se odvija
njezino putovanje/avantura. RijeË je o
neuhvatljivom mjestu ili moæda vjetru,
tajnovitom, neobjaπnjivom - isprva se
Ëini da je rijeË o obiËnom kazaliπtu,
koncertnoj dvorani, gdje je u tijeku
predstava, no uskoro se preobraæava u
pravi samostalni svemir, mjesto/organ
sloæenijeg tijela u kojem ama baπ svaki
znak, svaki vizualni, auditorni, taktilni i
olfaktivni trag uvijek postaje novi Ëimbenik
u ukupnoj temperaturi i u temeljnom
zahtjevu koji Dorothy, junakinja,
South is a musical piece, the new
production that’s part of the multi-year
project Fanny & Alexander is dedicating
to The wonderful Wizard of Oz by Frank
L. Baum. After Dorothy. Disconcert for
Oz, where an emblematic cyclone, the
well-known one from the Wizard’s tale,
became the generating figure of a proper
new model of musical work - inspired by
Cage’s Europeras - blending several
sound layers into one level of
concomitances, South intends to continue
and radicalize this very same research
line, availing itself, even in this case, of
live performances by some musicians
(percussionists and singers) and actors.
The protagonist, Dorothy, a kind of
avatar for the audience in this journey
through the world of Oz, is catapulted by
her cyclone south of this fantastic universe
where her journey-adventure takes
place. It is an allusive place or wind,
mysterious, hard to define: at first it
seems to be a common theatre, a concert
hall, where a piece or a performance is
taking place; but soon it is transfigured
into a proper autonomous universe, a
place-organ of a more complex body
where every single sign, every visual
auditory tactile olfactory trace always
becomes a new gradient of the overall
68
izraæava vlastitim putem i prelaskom. Jug
Êe potopiti Dorothy, a s njom i publiku, u
duboku noÊ, udaraËku, virovitu tamu iz
koje izranja novi jezik bubnjanja, ritmiËan,
MjeseËev noÊni i æivotinjski jezik Vjeπtice
toga vjetra, stvorenja koje je moæda
roeno iz tog svijeta zvukova u koji se
Dorothy uronila i koji ju je preobrazio.
Cilj je projekta iznova preispitati i
promisliti retoriËke mehanizme glazbenih
djela radi ponovnog iπËitavanja jednog
od srediπnjih mitova Zapadne knjiæevnosti,
poËevπi od raznolikog suvremenog
repertoara koji se preispituje u skladu s
novim zvukovnim organizmom koji Êe se
stvarati u slojevima. Fanny & Alexander
prije stvaranja konaËnog djela provode
istraæivanje, koje se obavlja u proπirenom
timu, tj. u suradnji s drugim umjetnicima
kao πto su kazaliπna skupina Teatrino
Clandestino i glazbeni ansambli Melodi
Cantores i Nextime, radionica Opera
Ovunque te agencija Canvas Management,
u kontekstu redefiniranja temeljnih
elemenata te glazbene produkcije u
dinamiËkom smislu.
69
temperature and of the fundamental
request which Dorothy, the protagonist,
expresses by her own path and crossing.
South will sink Dorothy, and the audience
with her, into a deep night, a percussive
and whirling darkness from which a new
language of beating arises, the rhythmic
one, the lunar nocturne and animal language of the Witch of that wind, a creature
maybe born from that world of sound
where Dorothy immersed herself and
was transfigured.
The project intends to revisit and
reconsider the rhetorical mechanisms of
musical works in order to reread a key
myth of Western literature, starting from
a varied contemporary repertoire which
is revisited according to the new sound
organism that will be created in layers.
The research by Fanny & Alexander
leading to the final work will be carried
out by an extended team, that is with the
cooperation of other artists such as the
theatre company Teatrino Clandestino
and the musical ensembles Melodi
Cantores and Nextime, the scenery
workshop Opera Ovunque, the agency
Canvas Management, in the context of a
redefinition of the musical production’s
founding elements in a dynamic sense.
Fiorenza Menni (C) Enrico Fedrigoli
month
18
4
dan
mjesec
hour
20:00
subota / saturday
sat
Fanny & Alexander
day
Fanny & Alexander je umjetniËka radionica koju su osnovali Luigi de Angelis
i Chiara Lagani u Ravenni 1992. godine.
Glumac Marco Cavalcoli pridruæio im se
1997. godine. Dosad su ostvarili
pedesetak dogaanja koja obuhvaÊaju
kazaliπne, video i filmske produkcije,
instalacije, performanse, izloæbe
fotografija, konferencije, zatim radionice,
festivale i susrete. Redovito odlaze na
turneje po Italiji i ostalim zemljama
predstavljajuÊi svoje izvedbe, za koje su
osvojili nekoliko dræavnih i meunarodnih
nagrada, u najuglednijim kazaliπtima i
na najvaænijim festivalima. Godine 2007.
zapoËeli su novi viπegodiπnji istraæivaËki
projekt (2007.-2010.) za koji su nadahnuÊe
pronaπli u djelu »arobnjak iz Oza L. F.
Bauma.
Fanny & Alexander is an art workshop
founded in Ravenna in 1992 by Luigi de
Angelis and Chiara Lagani. Marco
Cavalcoli, actor, joined the company in
1997. To date they have produced about
fifty events ranging across theatre, video
and film productions, installations,
performances, photographic exhibitions,
conferences and study workshops,
festivals and encounters. They tour
regularly in Italy and beyond, presenting
their shows at the most important
theatres and festivals, and won several
national and international awards. In
2007 they started a new pluriennal
research project (2007-2010) inspired by
The Wonderful Wizard of Oz by L. F. Baum.
71
Luigi de
Angelis
Chiara
Lagani
70
Luigi de Angelis (1974.) sudjelovao je
kao glumac i redatelj u stvaranju
umjetniËkih ideja i svih djela ove
druæine. Godine 1998. odluËio je prestati
sa scenskim nastupima kako bi se potpuno
posvetio reæiji predstava. Tijekom vremena
osmislio je sloæeno vienje odnosa izmeu
glazbe i zvuka, rasvjete i vizualne
arhitekture, isprepliÊuÊi razine opaæanja i
baveÊi se idejom vizije sluπanja i sluπanja
vizije, odnosno stvarajuÊi umjetniËka djela
u kojima se zvuk i vizualno usklauju te
stvaraju moguÊnost dubljeg iskustva
opaæanja. Postupno je produbio svoju
istraæivaËku aktivnost u smjeru arhitekture,
tehnologije zvuka i rasvjete i videa.
Glumica i dramaturginja Chiara Lagani
(1974.) piπe sve izvorne tekstove za
predstave ove glumaËke druæine.
Autorica je nekoliko djela nastalih
adaptacijom i obradom pjesniËkih,
kazaliπnih i knjiæevnih tekstova
produbljujuÊi tijekom godina postupak
intertekstualnog djela koje ukida pisanu
stranicu iznova oblikujuÊi tekstove u
novu i suvislu narativnu cjelinu. Uz
Luigija de Angelisa s kojim osmiπljava
As an actor and director, Luigi de Angelis
sve projekte, umjetniËka je voditeljica
glumaËke druæine Fanny & Alexander od (1974) worked on the concepts and
creation of all the company’s works. In
samoga osnutka.
1998 he decided to leave the stage in
order to devote himself entirely to the
Chiara Lagani (1974) is an actress and
dramaturgist, the author of all the original direction of the shows. Over the years, he
has conceived a complex vision of the
texts of the company’s shows. She had
relationships between music and
created several works of re-elaboration
and rewriting of poetical, theatrical and sounds, lights and visual architecture,
literary texts, deepening, over the years, interweaving the perceptive levels and
a process of intertextual work deflagrating pursuing the idea of vision of listening
and listening of vision, that is the creation
the written page and recomposing the
of works of art where sound and visual
texts into a new and coherent narrative
aspects harmonize and originate the
unity. She is the artistic director of
Fanny & Alexander from the company’s possibility of a deeper perceptive
experience. He consequentially deepened
very beginning, together with Luigi de
his research on architecture, sound and
Angelis, with whom she shares the
lights technology, video.
process of ideation of all the projects.
4
dan
mjesec
20:00
subota / saturday
sat
Baliani
18
hour
Mirto
month
Fiorenza
Menni
day
Mirto Baliani diplomirao je 1996. godine
na UmjetniËkom zavodu Paolo Toschi u
Parmi i studirao glasovir u klasi Alessandra Nidija. Sklada i izvodi glazbena djela
u nekoliko kazaliπnih predstava (izmeu
ostaloga, u druæinama Fanny & Alexander te Marca Baliania). Kao glumac je
suraivao s Teatro delle Briciole u razFiorenza Menni stekla je diplomu na
doblju od 1991. do 1996. godine. Ostbolonjskoj Akademiji dramske umjetvario je scenske nastupe u nekoliko
nosti Antoniana 1990. godine te osnopredstava Marca Baliania, Marie Maglivala, zajedno s Pietrom Babinom,
kazaliπnu druæinu Teatrino Clandestino etta i druæine Fanny & Alexander. Baliani
Ëija je umjetniËka su-voditeljica i produ- osmiπljava i realizira projekcije dijapozitiva i videozapisa te tapiserije za produkcentica. Druæina je osvojila nekoliko
dræavnih i meunarodnih nagrada i priz- cije umbrijskoga Teatro Stabile, Teatro
nanja. Menni je autorica, glumica, kosti- dell’Elfo i Ciriπkoga festivala. Takoer
mografkinja, scenografkinja i
radi kao pomoÊnik redatelja.
istraæivaËica, a 2007. godine primila je
Nagradu Eleonora Duse uz pohvalu kao
Mirto Baliani obtained a diploma in
najbolja nova glumica.
1996 at Istituto d’Arte Paolo Toschi in
Parma, and studied piano with maestro
In 1990, Fiorenza Menni, qualified at the Alessandro Nidi. He composes and perAccademia d’arte drammatica Antoniforms the music in several theatre shows
ana in Bologna, founded, with Pietro
(by Fanny & Alexander and Marco
Babina, the theatre company Teatrino
Baliani, among the others). He worked as
Clandestino, of which she is the artistic
an actor with Teatro delle Briciole from
co-director and producer. The company 1991 to 1996. He appears on stage in sevwon several national and international
eral shows by Marco Baliani, Maria
awards and acknowledgements. Menni
Maglietta and Fanny & Alexander.
herself is an author, actress, creator of
Baliani conceives and realizes slide and
costumes and stage objects, researcher
video projections and tapestries for proand she won the 2007 Eleonora Duse
ductions by Teatro Stabile dell’Umbria,
Award with honourable mention as the
Teatro dell’Elfo and Zürich Festival. He
best emerging actress.
also works as a director’s assistant.
73
Davide Sacco studirao je glasovir na
UËiliπtu Giuseppe Verdi u Ravenni, no u
dobi od πesnaest godina okupio je nekoliko hardcore-punk bendova, u ulozi pjevaËa-frontmena. Usporedo sa studijem
odræavao je koncerte i producirao albume koje su objavile manje nezavisne
diskografske kuÊe te je nastavio s
„tajnim“ turnejama po Italiji i Europi.
TrenutaËno sklada koristeÊi sekvencer i
sintetizator, a nastavlja sa svojim istraæivanjem kompjutorske glazbe. Stvara
autorsku glazbu i oblikuje zvuk za
predstave Teatra delle Albe, a s druæinom Fanny & Alexander surauje
glumeÊi u njihovim izvedbama. Ponekad
radi i kao DJ, a zaokupljen je vlastitim
glazbenim projektima.
Mauro
Milone
Davide
Sacco
72
Glumac Mauro Milone usavrπavao se na
nekoliko radionica koje su odræale kazalDavide Sacco studied piano at the
Giuseppe Verdi Institute in Ravenna, but iπne druæine kao πto su Teatrino Clandestino, Fortebraccio Teatro, MK i
at the age of 16 he dedicated himself to
hardcore-punk bands, taking on the role mnoge druge. Sudjelovao je u kazaliπnim
produkcijama druæina Teatrino Clandesof singer-frontman. In parallel with his
tino, Fanny & Alexander i ostalima, a radi
studies, he played concerts and produced albums distributed by small inde- i kao televizijski i filmski glumac.
pendent labels and went on
Mauro Milone is an actor who formed
„underground“ tours in Italy and Euhis craft by taking part in several workrope. He currently composes music
using sequencers and synthesizers, and shops, held by theatre companies such
as Teatrino Clandestino, Fortebraccio
he keeps on deepening his research on
computer music. He creates the original Teatro, MK and many others. He appeared in theatre productions by
music and sound design for the Teatro
delle Albe’s shows and works as an actor Teatrino Clandestino and Fanny &
for Fanny & Alexander. Sacco sometimes Alexander, as well as others and he also
works as an actor for television and cinworks as a DJ and keeps busy with his
ema.
own musical projects.
month
18
4
dan
mjesec
hour
20:00
subota / saturday
sat
Danilo
Grassi
day
Danilo Grassi odræava mnoπtvo koncerata
u Italiji i inozemstvu sudjelujuÊi kao
solist u premijernim izvedbama djela
Luciana Beria, Chicka Coreae, Stevea
Reicha, Maxa Roacha, Giacinta Scelsia,
Iannisa Xenakisa i mnogih drugih na
pozornicama pariπke Opere Bastille, u
New Yorku, zatim u Centru Gulbenkian
u Lisabonu i Teatro alla Scala u Milanu.
Takoer je suraivao s Pierreom
Boulezom, Francom Donatonijem i
Gérardom Griseyem. Nastupao je s
mnogim uglednim orkestrima i komornim
sastavima. Predaje udaraljke na parmskom
Konzervatoriju Arrigo Boito i vodeÊi je
predavaË specijaliziranih teËajeva za
udaraljkaπe koji se odræavaju pod
pokroviteljstvom Europske unije.
Danilo Grassi has an intense concert
activity in Italy and abroad, taking part
as a soloist in first performances of
music by Luciano Berio, Chick Corea,
Steve Reich, Max Roach, Giacinto Scelsi,
Iannis Xenakis and others in contexts
such as Opéra Bastille in Paris, Marking
Concert Hall in New York, Gulbenkian
Centre in Lisbon, Teatro alla Scala di
Milano. He has also cooperated with
composers Pierre Boulez, Franco Donatoni, Gérard Grisey. He has worked with
many important orchestras, as well as in
chamber contexts. Grassi holds the Chair
of Percussion Instruments at the Arrigo
Boito Conservatory in Parma and is the
premier teacher of High specialization
courses for percussionists, patronized by
the European Union.
74
Ansambl Melodi Cantores osnovala je
Elena Sartori 2000. godine kako bi po
prvi put, u svjetskim okvirima, obnovili,
izveli i snimili Rekvijem patera Giovannija Battiste Martinija u suradnji s Konzervatorijem i SveuËiliπtem u Bologni.
BuduÊi da se radi o otvorenoj skupini,
ansambl je zapoËeo intenzivnu javnu
djelatnost, posebno se posvetivπi obnavljanju izgubljenih djela uz elegantno
kombiniranje staroklasiËnoga repertoara
i suvremenih eksperimenata. Nakon
nekoliko uspjeπnih nosaËa zvuka objavljenih u nakladi bolonjskoga Tactusa,
ansambl je poËeo odræavati koncerte,
poduke i radionice πirom Europe.
Stekavπi diplomu pijanistice i intenzivno
nastupajuÊi u komornim sastavima,
Elena Sartori diplomirala je orgulje i
orguljsko skladanje te povijest glazbe.
Radila je istraæivanja na Baselskomu
konzervatoriju i salzbuπkom Mozarteumu usavrπavajuÊi se u sviranju
orgulja kod Daniela Chorzempa te uËeÊi
orkestralno i zborsko dirigiranje kod Helmuta Rillinga na Akademiji Bach u
Stuttgartu. Takoer je uËila pjevanje u
klasi Claudia Cavine, Michela van
Goethema i Patrizie Vaccari, a nastupa
πirom svijeta. Snimila je nekoliko nosaËa
zvuka kao solistica i dirigentica.
Ansambl Nextime, instrumentalna
skupina Ëija se postava mijenja ovisno o
tipu izvedbe, osnovan je 1998. godine na
poticaj Danila Grassija i uæiva status rezidencijalnog sastava pri Zakladi TeatroDue u Parmi. Cilj je Ansambla
predstavljanje glazbe koja nadilazi uobiËajeni kontekst klasiËnoga teatra,
pomiËuÊi granice konvencionalnih koncerata. Ansambl okuplja soliste koji
obiËno izvode klasiËni repertoar u najuglednijim talijanskim i meunarodnim
orkestrima.
75
The Melodi Cantores Ensemble was
founded in 2000 by Elena Sartori for the
realization of the world’s very first reconstrucion, performance and recording of
Requiem by Padre Giovanni Battista
Martini, with the cooperation of the
Conservatoire and the University of
Bologna. Being an open group, the Ensemble started an intense public activity,
devoting itself especially to the recovering of hidden repertoires and fluently
moving between ancient repertoires and
contemporary experimentation. After
some lucky recordings for the label Tactus in Bologna, the Ensemble started to
hold concerts, concert lessons and workshops around Europe.
After obtaining a diploma as a pianist
and intensely performing with chamber
ensembles, Elena Sartori obtained a
diploma as a organist and organ composer, as well in Music History. She has
carried out researches at the Conservatory of Basilea and at the Mozarteum in
Salzburg, specializing as a organist with
Daniel Chorzempa and studying orchestra and chorus direction with Helmut
Rilling at the Bach - Akademie in
Stuttgart. She also studied singing with
Claudio Cavina, Michel van Goethem
and Patrizia Vaccari and performs all
over the world. She has made several
recording as a soloist and conductor.
Nextime Ensemble, an instrumental
group whose personnel varies depending on the performances, was born in
1998 on the initiative of Danilo Grassi
and is the resident artist at Fondazione
Teatro Due in Parma. The purpose of the
Ensemble consists of presenting music
that goes beyond the usual contexts of
classical theatre, exceeding the barriers
of conventional concerts. The Ensemble’s personnel consists of soloists who
usually perform the classical repertoire
in the most important national and international orchestras.
day
month
18
4
dan
mjesec
hour
22:00
subota / saturday
sat
22:00, MDVL
IGOR LE©NIK & MBZ: 30 Percussion Years
Later /
30 udaraljkaπkih godina kasnije
Igor Leπnik, udaraljke / percussion
Franz Cibulka i / and Igor Leπnik: Olympian Drums / Olimpijski bubnjevi*,
za udaraljkaπa-solista i unaprijed snimljene zvukove / for a percussion
soloist and pre-recorded sounds
Igor Leπnik: Gormandizer for chefcussionist (multi-percussion soloist) /
Proædrljivac, za “kuharaljkaπa” (multi-udaraljkaπa) solo*
Igor Leπnik: Twenty Years Later / Dvadeset godina kasnije, tri stavka za vibrafon / three movements for vibraphone
Serge Folie i / and Igor Leπnik: Riossum*, za udaraljke i elektroniËki pejzaæ
/ for percussions and electronic landscape
Jean François Evrard, videoumjetnik / video-artist
Nordine Hemada, skulpture / sculptures
77
Igor Lešnik
76
Igor Leπnik (Zagreb, 1956.) jedan je od
vodeÊih europskih udaraljkaπa. Njegove
skladbe sastavni su dio koncertnih programa znamenitih solista i ansambala
kao i udaraljkaπkih natjecanja. Svojom
suradnjom sa slavnim kolegama,
bogatom zbirkom snimki te meunarodnim koncertnim aktivnostima pribliæio je
hrvatsku udaraljkaπku glazbu svjetskoj
javnosti. Od 1984. godine vodi udaraljkaπku
sekciju Simfonijskog orkestra Hrvatskoga
radija, a od 1990. godine organizira
meunarodne udaraljkaπke manifestacije.
Kao osnivaË udaraljkaπkog odjela MuziËke
akademije u Zagrebu redovan je gost na
poznatim sveuËiliπtima, a njegovi Ëlanci
o udaraljkaπkoj umjetnosti objavljuju se
u velikom broju struËnih Ëasopisa. Profesor Leπnik predsjednik je hrvatskog
ogranka meunarodne organizacije
Percussive Arts Society. Dobio je nekoliko
priznanja za svoja umjetniËka
dostignuÊa u Hrvatskoj, a 2003. godine
nagraen je titulom francuskog Viteza za
postignuÊa u umjetnosti i knjiæevnosti.
Igor Leπnik (Zagreb, 1956) is one of the
leading percussionists of the generation.
His compositions are part of concert
programs of renowned soloists and
ensembles as well as percussion competitions. His collaborations with famous
colleagues, his rich collection of
recordings and his international concert
activities introduced Croatian percussion
music to the world. Since 1984 he has lead
the Croatian Radio Symphony orchestra
percussion section and since 1990 Leπnik
has organized international percussion
events. As founder of the percussion
department at the Music Academy in
Zagreb, he is regular guest at renowned
universities and his percussion articles
have been published in a wide variety of
magazines. Professor Lesnik is the
president of the Croatian Chapter of the
Percussive Arts Society. He has received
several awards for his artistic achievements
at home and in 2003 was awarded
French Knighthood title for accomplishments in arts and literature.
day
month
18
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mjesec
hour
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sat
subota / saturday
78
79
Igor Leπnik
day
month
18
4
dan
mjesec
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22:00
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sat
O Proædrljivcu kaæe: Udaraljke su
“pokretno” iskustvo - naroËito kad se
uzme u obzir priprema, prije same
izvedbe. Svakodnevni zadatak spajanja
razliËitih “sastojaka” kako bi se stvorile
viπestruke udaraljkaπke instalacije
opravdavaju Ëest kolokvijalni izraz
“kuhinja”, kojim se opisuje radno mjesto
suvremenog udaraljkaπa. Recepti od
Brazila do Kine, dobar kuhar i gurmani
æeljni ugode mogli bi jednostavnu igru
rijeËi pretvoriti u “kuharaljkaπki” muziËki
teatar.
On Gormandizer: Percussion is a
“moving” experience - particularly as far
as preparation prior to actual
performance is considered. Every day
task of bringing together various
“ingredients” to create multiple
percussion installation justifies common
colloquial use of word “kitchen” describing contemporary percussionist’s working place. Recipes from Brazil to China,
good cook and gourmets eager to enjoy
might transform a simple word game
into “Per-cook-ionized” Music Theater.
O Dvadeset godina kasnije: U svojim
PonoÊnim komadima (1984.-1987.)
Leπnik je tretirao vibrafon kao solo
instrument, aranæirajuÊi razliËita
raspoloæenja u manje-viπe jazzy stilu.
Djelo je u tom obliku dio repertoara
vodeÊih svjetskih solista i obvezno je
djelo na programima mnogih udaraljkaπkih natjecanja. Tijekom godina interpretiranja skladatelj je zamjetno promijenio
i djelo te danas - viπe od 20 godina nakon
prvih skica - za njega preferira naslov
Dvadeset godina kasnije.
On Twenty Years Later: In his Midnight
Pieces composed 1984 -1987, Igor Leπnik
treated vibraphone as a solo instrument
arranging different moods in a more or
less jazzy style. The work in that form is
included today in repertoire of some of
the world’s leading soloists and figures
as a required piece on the programs of
many international percussion competitions. During the years of his interpretation the composer changed the piece
considerably and - more than two
decades after first music drafts where
put on paper - prefers entitling such derived “new” work as Twenty Years Later.
81
Cibulka
Franz
Peter
80
Franz Peter Cibulka (Fohnsdorf, 1946.)
zavrπio je studij klarineta, kompozicije i
dirigiranja orkestrom na Akademiji za
glazbu i izvedbene umjetnosti u Grazu u
Austriji. Radio je kao profesor klarineta,
komorne glazbe i glazbene teorije na
Konzervatoriju Johann Joseph Fux u
Grazu do srpnja 2002., kada se poËinje
baviti iskljuËivo skladanjem. Njegov
opus obuhvaÊa viπe od 300 skladbi najrazliËitijih stilova napisanih za razliËite instrumente, kao rezultat njegove
umjetniËke suradnje s razliËitim interpretima. Cibulka je meunarodni ugled
stekao izvedbom nekoliko svojih djela na
Svjetskom udruæenju simfonijskih
orkestara i ansambala (WASBE), koje je
1997. godine odræano u Schladmingu u
Austriji. Od tada na poziv nastupa u Australiji, Americi, Rusiji i mnogim europskim dræavama kao skladatelj, dirigent,
interpret i predavaË.
Djelo Olimpijski bubnjevi nastalo je kada
je Cibulka Igoru Leπniku predloæio
suradnju na novom komadu za udaraljke
i elektroniku. Za MBZ 2009. audiokanali
su remiksirani iz obiËnog sterea u punu
5.1 konfiguraciju zvuka, a reprodukcija
zvuka stvara takoer aleatoriËke raËunalne vizualizacije koje su istovremeno
projicirane na velikom platnu. Ovako dobiven audio i video predstavljaju osnovu
za solistiËku improvizaciju koja rabi
izvoaËke procedure inspirirane folklornom tradicijom sviranja tapana u jugoistoËnoeuropskim zemljama, meu
kojima je i GrËka - domovina olimpijskih
ideala.
Franz Peter Cibulka (Fohnsdorf, 1946)
completed his musical studies in clarinet,
composition and orchestral conducting
at the Academy for Music and Performing
Arts in Graz, Austria. He served as Professor of Clarinet, Chamber Music and
Music Theory at the Johann Joseph Fux
Conservatory in Graz until July 2002
when he began working exclusively as a
free-lance composer. His list of works
includes more than 300 compositions of
the most diverse instrumentation and
styles resulting from his artistic collaboration with various performers. Cibulka
achieved an international reputation
following the performance, in 1997, of
several of his works at the World Association for Symphonic Bands and Ensembles (WASBE) held in Schladming,
Austria. Since then he has been invited
to Australia, America, Russia and many
European countries as a composer,
conductor, performer and lecturer.
This work came to life after Franz Cibulka
proposed to Igor Leπnik a collaboration
on a new piece for percussion and
electronics. For the MBZ 2009
performance, audio tracks were remixed
from simple stereo into full 5.1 sound
configuration while sound reproduction
also generates aleatoric computer
visualizations projected simultaneously
on large screen. Resulting audio & video
tracks represent a basis for soloist improvisation utilizing performing procedures inspired by folklore tradition of
tapan playing in South Eastern European
countries, among them Greece - homeland of Olympic ideals.
day
month
18
4
dan
mjesec
hour
22:00
subota / saturday
sat
Serge Folie
Igor Leπnik & Serge Folie
Serge Folie studirao je klavir, orgulje i
harmoniju od mladosti, a naroËito
vaænim smatra studiranje u klasi Loïca
Malliea na Konzervatoriju u Lyonu. Uz
klasiËno glazbeno obrazovanje, od rana
je skupljao iskustva u studijskom radu.
Foliejeva su strast orkestralne boje, harmonija glasova, istraæivanje arhitekture
pokreta i teænja da pomakne granice
glazbenih stilova stvarajuÊi otvoreno
glazbu koja mijeπa i sastavlja glazbe svijeta. Godine 1994. osnovao je Albedo,
glazbeno druπtvo sa stalnim studiom i
pogonom u kojem moæe ostvarivati svoje
glazbene ideje. »esto sklada po narudæbi
francuskih dræavnih i regionalnih institucija. Autor je viπe od stotinu djela za
razliËite sastave i prigode; tri teæiπta njegova stvaralaπtva skladbe su za male sastave, djela za vrlo velike sastave i glazba
za plesne i dramske predstave te film.
Serge Folie studied piano, organ and
harmony, but he considers his studies
with Loïc Mallie at the Lyon Conservatory
especially important. Along with classical
music education, he started acquiring
experience in studio works from early
on. Folie’s passion are orchestral colors,
harmony of voices, exploration of the
architecture of movements and aspiration
to move the boundaries of music styles
by writing open music which mixes and
joins types of music from all over the
world. In 1994 he founded Albedo, a
music society with its own studio and
facilities in which he can realize his
music ideas. His compositions are often
commissioned by the French government
and regional institutions. He wrote more
than one hundred compositions for
various ensembles and occasions. Three
centres of his opus are compositions for
small ensembles, compositions for very
large ensembles, and music for dance
and drama plays and movies.
83
Nordine Hemada
82
Nordine Hemada (Clermont Ferrand,
1967.) sin je i unuk alæirskih pastira,
imigranata. U trenutku kad mu se
smijeπila dobra karijera, odluËio je
okrenuti se drugim stvarima i postati
kipar. Slobodnjakom je postao 1996.
godine, znajuÊi da to nije najlakπi put.
Samouki Hemada opisivan je kao
„umjetnik koji razliËitim materijalima
ocrtava naπu humanost.“
Nordine Hemada (Clermont Ferrand,
1967) is the son and grandson of Algerian
shepherds, immigrants. When he was
given the opportunity to choose a prosperous career, he decided to take a
different path and become a sculptor. He
became a freelance artist in 1996, knowing that he had chosen a more difficult
path for himself. Self-taught, Hemada
was described as an “artist who works
with different materials with which he
gives an outline of our humanity“.
month
18
4
dan
mjesec
hour
22:00
subota / saturday
sat
Jean-François Evrard
day
Jean-François Evrard (1957.) fotograf je i
filmaπ-dokumentarist. Cilj mu je - snimati
istinito. Studirao je na Centru za studiranje i istraæivanja slike i zvuka. Snimio
je film o sjeÊanjima na deportaciju,
naruËen od Centra za povijest otpora i
deportacija u Lyonu, portrete umjetnika,
film o dizajnerskom bijenalu u Dakaru te
filmove za institucije. PoduËava na Visokoj
πkoli umjetnosti i dizajna u Saint-Etienneu.
Jean-François Evrard (1957) is a photographer and documentary filmmaker.
His goal is to show the truth. He studied
at the Centre for sounds and images research and studies. He made a film about
the remembrance on the feelings on deportation commissioned by the Centre
for the History of Resistance and Deportation in Lyon, artists’ portraits, a film on
the designers’ biennale in Dakara, and
various institution-commissioned films.
He teaches at the Academy for Art and
Design in Saint-Etienne.
84
85
iz djela / from Riossum
“Riossum je glazba koja izraæava put
prema nekom drugom svijetu. PodvrÊi se
slijepom testu ostavljanja svega iza sebe
kako bi se suoËio sa spiralama i potopljenim i neprijateljskim zemljama. KonaËno
se poËinje pojavljivati svijet, nepoznat i
zastraπujuÊi, jedinstven, rastrgan u magli.
MoguÊnost smiraja se raa nakon borbe.
Igor Leπnik naruËio je ovo djelo i, potpuno
obuzet scenarijem osmislio je ovu
udaraljkaπku izvedbu koja iznenauje i u
skladu je s nadrealistiËkom atmosferom.
Nordine Hemada ilustrirao je svojim fantastiËnim skulpturama glazbenu priËu
koju sam skladao i dao nam nadu “Ëovjekom mira”, koji se pojavljuje u sumrak
djela. Jean François Evrard donosi svoje
delikatne slike i prenosi nas do moguÊe
humanosti.” [Serge Folie]
“Riossum is music which is expressing
the path towards a different world. To
submit oneself to a blind-test of leaving
everything behind, in order to face the
spirals and the sunken and hostile lands.
Finally there emerges a world, unknown
and intimidating, unique, torn, in the
mist. After a battle there is a chance of
serenity.
Igor Leπnik commissioned this piece and,
completely overtaken by its script, he devised this surprising percussive performance, in accordance with its surrealist
atmosphere. Nordine Hemada has illustrated this musical story I had written with
his fantastic sculptures and had given us
hope through his “man of peace” who
appears at the sunset of this work. JeanFrançois Evrard adds his delicate images
and transports us towards a possible
humanity.” [Serge Folie]
day
month
nedjelja / sunday
19 4
12:00, MUO
XL TUBA
ZAGREBA»KI KVARTET SAKSOFONA /
ZAGREB SAXOPHONE QUARTET(HR)
17:00, Mimara
Thomas Köner: koncert / concert
Mladen Dolar: predavanje / lecture
19:30, ZKM
Miro Dobrowolny: Zilverstad / Srebrenica*
oratorijski scenarij / oratorio setting
21:30, &TD
Sandro Lombardi - Virgilio Sieni:
Le Ceneri di Gramsci / Gramscijev pepeo /
Gramsci’s Ashes,
koreodrama / choreodrama
22:30, MM
Ansambl ACEZANTEZ / ACEZANTEZ Ensemble
ACEZANTEZ se vraÊa / ACEZANTEZ is back
day
month
19
4
dan
mjesec
hour
12:00
nedjelja / sunday
sat
12:00, MUO
XL TUBA
Mladen Tarbuk: Eschendorf. Ein kroatisches Märchen / Jasenovac. Hrvatska priËa /
Jasenovac. A Croatian Story
XL TUBA:
Viktor KirËenkov
Jurica RukljiÊ
Mario ©incek
Krunoslav BabiÊ
ZAGREBA»KI KVARTET SAKSOFONA /
ZAGREB SAXOPHONE QUARTET(HR)
Ruben Radica: »etiri studije ustrajnosti / Four Persistency Studies
1. Ostinato (Moderato)
2. Kontrasti (Tempo rubato)
3. Kanon (Larghetto)
4. Pasaæe (Presto possibile)
Stanko Horvat: Rocambole
Silvije GlojnariÊ: Procedure 4/4 saxophones / Procedura 4/4 saksofona
ZagrebaËki kvartet saksofona / Zagreb Saxophone Quartet:
Dragan Sremec, sopran-saksofon / soprano saxophone
Goran MerËep, alt-saksofon / alto saxophone
Saπa NestoroviÊ, tenor-saksofon / tenor saxophone
Matjaæ Drevenπek, bariton-saksofon / baritone saxophone
89
Kvartet
tuba XL
88
U æelji da se naπoj sredini πto viπe pribliæe
svjetski izvoditeljski trendovi, Krunoslav
BabiÊ je 2002. godine utemeljio Kvartet
tuba XL, prvi takav komorni sastav na
ovim prostorima. BuduÊi da se tuba ponajprije smatra orkestralnim glazbalom,
æelja im je bila pokazati da i taj instrument
moæe muzicirati komorno - pa Ëak i
solistiËki. ©irok repertoar sastava proteæe
se od djela starih majstora, klasike i
romantizma pa sve do suvremenih skladatelja i dæeza. Uz izvoenje izvorne
literature za kvartet tuba, sastav poseæe i
za obradama velikih hitova barokne i
klasiËne glazbe. Autori aranæmana
vodeÊi su limeni puhaËi druge polovine
20. stoljeÊa, solisti glasovitih europskih i
ameriËkih orkestara ili sveuËiliπni profesori. »lanovi kvarteta tuba XL nakon zavrπene MuziËke akademije redom su se
profesionalno usavrπavali kod priznatih
svjetskih struËnjaka. Publika je veÊ
prepoznala visoku kvalitetu i posebnost
ovog ansambla, koji iza sebe veÊ ima
velik broj koncerata u zemlji i inozemstvu.
Kvartet XL do sada je snimio i za
Aquarius records izdao dva nosaËa zvuka:
100% Tuba i 101% Tuba.
Wishing to introduce current international performing trends to the local audience Krunoslav BabiÊ established the XL
Tuba Quartet in 2002, as the first of such
kind in the region. Since tuba is primarily
an orchestral instrument, it was their
wish to demonstrate that it can also be
adapted to chamber music playing and
even solo parts. The ensemble’s repertoire varies from classic masters to jazz
and contemporary composers. Along
with original works for a tuba quartet,
they often reach for arrangements of
baroque and classical „hits“. The
arrangers are usually the leading brass
players of the second half of the 20th
century, soloists from European and
American orchestras and professors. The
musicians of the Quartet have all, upon
graduating from music academies, perfected theirplaying with the prominent
professors. The audience has recognized
their high quality and the uniqueness of
this ensemble, which has already played
a big number of concerts at home and
abroad. The XL Quartet has recorded two
albums for Aquarius Records, so far,
100% Tuba and 101% Tuba.
day
month
19
4
dan
mjesec
hour
12:00
nedjelja / sunday
sat
Tarbuk
Mladen
Uz studij fizike na Prirodoslovno-matematiËkom fakultetu u Zagrebu, Mladen
Tarbuk (Sarajevo, 1962.) diplomirao je
kompoziciju u klasi Stanka Horvata i
dirigiranje kod Igora Gjadrova na MuziËkoj akademiji u Zagrebu. Studij dirigiranja
nastavio je na Visokoj πkoli za glazbu u
Grazu kod Milana Horvata, a kompoziciju i dirigiranje usavrπavao je i u BeËu kod
Friedricha Cerhe i Uroπa Lajovica. Od
1990. djeluje kao predavaË teoretskih
glazbenih predmeta na MuziËkoj
akademiji u Zagrebu. Od 1993. do 2000.
djelovao je kao πef-dirigent Simfonijskog
puhaËkog orkestra Hrvatske vojske. Od
2000. prvi je dirigent Simfonijskog
orkestra HRT, a takoer je stalni gostdirigent NjemaËke opere u Düsseldorfu.
Tarbukov predani skladateljski i dirigentski rad prepoznat je u Hrvatskoj i u
inozemstvu, o Ëemu svjedoËe i brojne
nagrade (nagrada na Natjecanju dirigenata Smetana - Dvořák - JanaËek,
Nagrada Dr. Ernst Vogel za skladbu A tre ,
Nagrada Stjepan ©ulek 1993., prva
nagrada na Meunarodnom natjecanju
u Tolosi, Nagrada Josip ©tolcer Slavenski
za skladbu SanjaËi i dr.).
Mladen Tarbuk (Sarajevo, 1962),
graduated in physics at the Faculty of
Science in Zagreb, and also completed
composition studies in the class of
Stanko Horvat and conducting studies in
the class of Igor Gjadrov at the Zagreb
Music Academy. He continued his conducting studies at the Hochschule für
Musik in Graz with Milan Horvat. He
perfected his composition and conducting skills in Vienna with Friedrich Cerha i
Uroπ Lajovic. Since 1990 he has taught
music theory classes at the Zagreb Music
Academy. From 1993 to 2000 he was
chief conductor of the Croatian Armed
Forces Symphonic Wind Orchestra, giving
first performances of numerous pieces
by Croatian composers. Since 2000 he
has been the principal conductor of the
Croatian Radio Television Symphony
Orchestra and permanent guest-conductor at the German Opera in Düsseldorf.
Tarbuk’s dedicated work in the field of
composition and conducting has been
recognized in Croatia and abroad, as
testified by numerous awards (an award
from the Smetana - Dvořák - JanaËek
Conductors’ Contest, the Dr. Ernst Vogel
award for his piece A tre, the Stjepan
©ulek award, first prize at the International Contest in Tolosa, Spain, Josip ©tolcer
Slavenski award for the Dreamers etc.).
90
Iz predgovora Jasenovcu: “… Ovo djelo
nastalo je na poticaj izvrsnog tubista,
dragog kolege Krune BabiÊa… Prvo πto
mi je palo na pamet dosadaπnja su
iskustva s ovim neobiËnim instrumentom.
Tuba prema mojoj predodæbi zvuËi kao
neπto iz ponora, izmeu cirkuske parodije i krika umiruÊeg slona… Nakon duljeg premiπljanja, sjetio sam se predstave
Peto evanelje. Izvor za ovu priËu bio je
dnevnik krπÊanski usmjerenog politiËara
Ilije JakovljeviÊa, koji je dvije godine
odleæao u koncentracijskom logoru
Jasenovac… Pa sam odluËio izraditi niz
portreta u kojem Êe svi tamo prisutni
narodi dobiti svaki svoj historijski lik.
PriËa se razvija do vrhunca Petog
evanelja u stavku naslovljenom Æena s
odrezanom dojkom. Iz operete s koraËnicama limene glazbe nastaje istinska
tragedija. Uvjerenja sam da nam ona ne
bi bila razumljiva bez svojih parodijskih
prethodnika…”
„Politika tvrdom Ëizmom stoji na vratu
umjetnosti. U davno doba partizana i
ustaπa rasno iskorjenjivanje prikazala je
kao farsu. Danas je stanje stvari zamuÊeno
interesima sadaπnje politike, za koju je
Jasenovac bajka. O toj bajci æelim govoriti,
o spremnosti da i danas, kao i nekada,
Ëovjek stavi noæ u zube i krene po
susjedovu kravu. Spremnost i bajka, nisu
li to dva obraza istog lica, koje povezuju
upravo umjetnost i politika? Jer tu
krvoæednu pohlepu politika preslaguje u
maglovite obzore bajke; moj zadatak je
rasvjetljavanje i razagnavanje magle.“
[Mladen Tarbuk]
91
From the introduction to Jasenovac:
„...This work was created at the encouragement of an excellent tuba player, a
dear colleague, Kruno BabiÊ.. The first
thing that came to mind were my former
experiences with this unusual instrument.
My notion of what a tuba sounds like is something out of an abyss, a cross between
a circus parody and the shriek of a dying
elephant... After a long consideration, I
remembered the theatre play The Fifth
Gospel. The play was based on the diary
of the Christian-oriented politician Ilija
JakovljeviÊ, who had served two years in
the Jasenovac concentration camp... I
decided to create a string of portraits in
which all the nations found in Jasenovac
would each get their own historical
character. The story progresses until the
climax of The Fifth Gospel, in a movement
titled The Woman with a Severed Breast.
From an operetta with brass band
marches there evolves a real tragedy. I
am convinced we would not be able to
understand it without the parodist parts
that preceded it...“
„Politics holds the arts firmly by the neck.
Long ago, in the era of the partizani and
the ustashe, it tried to portray the racial
eradication as a farce. Today the situation
is blurred, muddled by the vested
interests of politics, which considers
Jasenovac to be some sort of a fairy-tale.
This is the story I want to talk about, the
readiness, today as in the old days, to
place a knife between the teeth and set
out to get the neighbour’s cow. Readiness
and a fairy-tale, aren’t they two cheeks of
the same face, connected by arts and politics? Because this bloodthirsty greed is
being rearranged, by politics, into foggy
horizons of a fairy-tale; my aim is to shed
some light on, and disperse this fog.”
[Mladen Tarbuk]
month
19
4
dan
mjesec
hour
12:00
nedjelja / sunday
sat
saksofona
day
kvartet
ZagrebaËki
ZagrebaËki kvartet saksofona, koji su
osnovali diplomci MuziËke akademije u
Zagrebu iz razreda prof. Josipa Nochte, u
sadaπnjem sastavu djeluje od 1989. godine. Gostovali su u mnogim europskim
zemljama te u Kanadi i SAD-u. Kao
solisti nastupali su s brojnim orkestrima
pod vodstvom poznatih dirigenata, a
renomirani ansambli i solisti Ëesto sudjeluju na njihovim koncertima i snimanjima. Kritika i publika pohvalile su
njihove nastupe na svjetskim kongresima te festivalima kao πto su DubrovaËke
ljetne igre, Splitsko ljeto, MBZ, Europhonia, Musicora, Festival Julian Rachlin &
prijatelji, NOMUS, Svjetski dani glazbe i
Saxophonia. Kvartet je u Hrvatskoj dobio
vaæne kulturne nagrade (Milka Trnina,
Judita) te sedam diskografskih nagrada
Porin. Uz mnoge snimke za radio i televiziju u Hrvatskoj i u inozemstvu, kvartet
je snimio samostalne albume Hrvatska
glazba za saksofone i Z Quartet, u SAD-u
izdao CD Tsunagari te gostovao na brojnim nosaËima zvuka. Uz veÊinu
klasiËnog repertoara za taj sastav i aranæmana skladbi razliËitih glazbenih stilova
(od renesanse do progresivnog dæeza)
koje moæemo Ëuti na njihovim koncertima, kvartet je praizveo viπe od pedeset
novih djela hrvatskih, slovenskih i drugih
autora.
The graduates of the Music Academy in
Zagreb, in the class of Prof. Josip Nochta,
founded the Zagreb Saxophone Quartet,
which has been performing in the present line-up since 1989. They have performed with numerous orchestras under
the baton of esteemed conductors. The
ZSQ has given performances, highly acclaimed both by critics and audiences, at
the Dubrovnik Summer Festival, Split
Summer Festival, Zagreb Music Biennale
Europhonia, Musicora Festival Julian
Rachlin & Friends, NOMUS, Saxophonia
and the World Saxophone Congresses.
The ZSQ has received important Croatian
awards for their achievements in culture
(Milka Trnina, Judita) and seven Croatian
Porin Awards for their recordings. Along
with radio- and TV recordings in Croatia
and abroad, the ZSQ has released their
own albums, Croatian Music for Saxophones and Z Quartet, a CD in the US,
Tsunagari, and played as guests on numerous CDs. Their repertoire includes
pieces originally written for a saxophone
quartet, as well as transcriptions and
arrangements of pieces by various composers belonging to different periods
and styles, ranging from the baroque to
progressive jazz. In addition to this, the
ensemble has premièred more than fifty
new works by Croatian, Slovene and
other composers.
93
Ruben Radica
92
Ruben Radica (Split, 1931.) prva je
glazbena znanja stjecao od svojeg djeda,
skladatelja Josipa Hatzea. Zavrπio je studij
dirigiranja u razredu Slavka ZlatiÊa te
studij kompozicije u razredu Milka
Kelemena, oba na MuziËkoj akademiji u
Zagrebu. U kompoziciji se usavrπavao
kod Vita Frazzija u Sieni, Renéa Leibowitza
i Oliviera Messiaena u Parizu te kod
Györgya Ligetija, Pierrea Bouleza i
Henrija Pousseura na Meunarodnim
teËajevima za novu glazbu u Darmstadtu.
Predavao je na MuziËkoj akademiji u
Sarajevu te, od 1963. godine, na
Akademiji u Zagrebu, gdje je 1978.
postao redovnim profesorom, dok je od
1981. do 1985. bio dekan te institucije.
Redoviti je Ëlan HAZU te dobitnik Nagrade
Vladimir Nazor i dviju nagrada Josip
©tolcer Slavenski. Odlikovan je redom
Danice hrvatske s likom Marka MaruliÊa.
Ruben Radica (Split, 1931) was introduced
to the basics of music by his grandafther,
the composer Josip Hatze. He graduated
from the Music Academy in Zagreb in
conducting, with Slavko ZlatiÊ, and in
composition with Milko Kelemen. He
further studied with Vito Frazzi in Siena,
René Leibowitz and Olivier Messiaen in
Paris and György Ligeti, Pierre Boulez
and Henri Pousseur at the International
Summer Courses in Darmstadt. He
taught at the Music Academy in Sarajevo
and, from 1963, in Zagreb, where he was
dean between 1981 and 1985. He is a
regular member of HAZU and the
recepient of the Vladimir Nazor Award
as well as two Josip ©tolcer Slavenski
Awards. He was also decorated with the
Order of Danica medal.
day
month
19
4
dan
mjesec
hour
12:00
nedjelja / sunday
sat
“U skladbi »etiri studije ustrajnosti
(2000.) za saksofonski kvartet nije unaprijed dana formalna shema unutar koje
bi autor iznosio svoje glazbene ideje. Ove
propozicije upuÊuju na vrlo sloæen, promiπljen, duhovit i inventivan skladateljski prosede Rubena Radice, koji se
manifestira u sva Ëetiri stavka ovoga
djela. PoetiËko polaziπte u suπtini je jednostavno. U stanovitom smislu ono je i
svojevrsni izazov koji se prepoznaje u
prihvaÊanju da se od naoko beznaËajnih
rubnih gradbenih elemenata stvori tonska umjetniËka organska cjelina, na πto
izrijekom upuÊuju nazivi pojedinih
stavaka. Posljednji od njih, Pasaæe, prerasta i u etidu za 4 ravnopravna glazbala.
Elegantno koncipirano tonsko ustrojstvo
ovog djela u svom protoku nigdje nema
πavova, a sluπni doæivljaj karakterizira
sposobnost i izvorno glazbeno jedinstvo.
Skladba je posveÊena ZagrebaËkom
kvartetu saksofona.“ [Zrinka Lazarin]
“In the composition Four Studies in
Persistence (2000) for saxophone quartet
a formal scheme - a framework within
which the author outlines his music
ideas - is not set in advance. The propositions suggest a very complex, planned,
witty and imaginative procedure of composer Ruben Radica which manifests itself in all four movements of this work.
The poetic starting point is basically very
simple and, in a sense, poses a certain
challenge - to accept the principles of
persistence so that a tonal artistic and
organic entity (referred to in the titles of
movements) is created from seemingly
insignificant borderline building elements.
Passagios, the last of those movements,
develops into an étude for four equal
instruments. The elegantly conceived
tonal structure of this work flows
seamlessly, while ability and genuine
music unity characterize the audio
experience. The piece is dedicated to the
Zagreb Saxophone Quartet. “
[Zrinka Lazarin]
95
Stanko Horvat
94
Stanko Horvat (1930. - 2006.) studirao je
kompoziciju na MuziËkoj akademiji u
Zagrebu u klasi Stjepana ©uleka, a usavrπavao se na Pariπkom konzervatoriju
(Tony Aubin) i privatno kod Renéa Leibowitza. Na kasnijem je studijskom boravku u Berlinu kao stipendist Zaklade
DAAD radio na ElektroniËkom studiju
tamoπnjega TehniËkog sveuËiliπta. Od
1961. do 1999. bio je profesor kompozicije
na MuziËkoj akademiji u Zagrebu (1977.
- 1981. dekan), ostavivπi znatan utjecaj
na generacije studenata kompozicije
koje danas oblikuju hrvatski glazbeni
æivot. Bio je predsjednik Hrvatskoga
druπtva skladatelja te redovni Ëlan HAZU
od 1998. godine. Od 1985. do 1989. godine
bio je umjetniËki ravnatelj MuziËkog
biennala Zagreb.
Stanko Horvat (1930 - 2006) studied
composition at the Music Academy in
Zagreb, with Stjepan ©ulek, and continued
his studies at the Paris Conservatory with
Tony Aubin and privately with René Leibowitz. He later spent his on a research
sabbatical in the Electronic Studio of the
Berlin Technical University, on a DAAD
scholarship. He was a professor of composition at the Music Academy in Zagreb
from 1961 to 1999 (and dean from 19771981), greatly influencing the same generations of students that are now forming
Croatia’s musical life. He was the president
of the Croatian Composers’ Society and
was a regular member of the Croatian
Arts and Sciences Academy since 1998.
From 1985 to 1989 he was the director of
the Music Biennale Zagreb.
day
month
19
4
dan
mjesec
hour
12:00
nedjelja / sunday
sat
“Stanko Horvat ZagrebaËkom je kvartetu
saksofona posvetio dva djela: Drammatico
(1996.) i Rocambole (2000.). Potonje je
Kvartet praizveo na koncertu u povodu
skladateljeve 70. obljetnice æivota. Naziv
rocambole je ime dviju vrsta Ëeπnjaka
(Allium scorodoprasum i A. ascalonium),
to je ime deserta popularnog u Brazilu,
ali i ime lika, Rocambole, kojega je u
knjiæevnost uveo francuski pisac Pierre
Alexis Ponson du Terrail. Nedvojbeno je
Horvata inspirirao taj izmiπljeni pustolov,
vaæan u æanru avanturistiËkih romana i
kriminalistiËkih priËa koje su bile objavljivane u nastavcima u francuskim Ëasopisima izmeu 1857. i 1870. godine. U
borbi izmeu dobra i zla Rocambole je
doæivljavao uzbudljive zgode i plijenio
maπtu Ëitatelja. Veliki je broj francuskih
pisaca, sve do u 21. stoljeÊe, opisivao
njegove zgode i nezgode. RijeË rocambolesque i danas u francuskom jeziku oznaËava bilo koju vrstu fantastiËne avanture.
UpuπtajuÊi se u pustolovinu skladanja za
Ëetiri saksofona, Horvat je iskazao neiscrpnu maπtu u nadigravanju Ëetvorice
majstora svojih glazbala koji puninom
zvuka i zahvaljujuÊi tehniËkoj spremnosti
vjeπto oæivljavaju joπ jednu od Horvatovih
uspjelih partitura. Asocijacije folklornih
prizvuka i leæerniji pristup obradbi
tematske grae pridaju ovom djelu
atmosferu inicijalne inspiracije, primarnu
nadahnutost igre i uæivanja u ugodnoj
boji saksofonskog zvuka.”
[dr. Zdenka Weber]
Stanko Horvat dedicated two of his works,
Drammatico (1996) and Rocambole (2000),
to the Zagreb Saxophone Quartet. The
latter was first performed at the concert
on the composer’s 70th birthday. The title
“rocambole” can refer to the name of two
types of garlic (Allium scorodoprasum
and A. ascalonium); it can also refer to
the name of a dessert which is very
popular in Brazil, but it is also the name
of a character, Rocambole, which was
introduced into literature by the French
author Pierre Alexis Ponson du Terrail.
Horvat was undoubtedly inspired by this
fictional adventurer, who played an
important role in adventure novels and
detective stories published serially in
French magazines between 1857 and
1870. In the conflict between good and
evil Rocambole meets with all kinds of
exciting adventures and captures the
imagination of readers. A large number
of French writers have been describing
his adventures until the 21st century.
Even today, the word rocambolesque in
French describes any kind of wild adventure. By getting into the adventure of
composing for four saxophones, Horvat
has shown an inexhaustible imagination
in outplaying the four masters who skillfully bring to life another of Horvat’s
successful scores by using the fullness of
sound and technical readiness. The
associations of folk overtones and a
more relaxed approach to interpretation
of the theme material give this work an
atmosphere of initial incitement, primary
inspiration of the game and enjoyment
in a delightful color of the saxophone
sound. [Zdenka Weber, PhD]
97
Silvije GlojnariÊ
96
Silvije GlojnariÊ (Ladislavec / Zlatar Bistrica, 1936.) studirao je na teorijsko-nastavniËkom odjelu MuziËke akademije u
Zagrebu. Bio je dugogodiπnji bubnjar
ZagrebaËkog jazz kvarteta i ZagrebaËkog
jazz kvinteta te Ëlan Plesnog orkestra
RTV Zagreb. Kao πef-dirigent Big banda
Hrvatske radiotelevizije sudjelovao je na
mnogim europskim festivalima dæeza.
Sklada za razne sastave te aranæira veÊa
glazbena djela.
Silvije GlojnariÊ (Ladislavec / Zlatar Bistrica, 1936) studied at the theory department of the Music Academy in Zagreb.
He was a long-standing drummer of the
Zagreb jazz quartet and Zagreb jazz
quintet as well as a member of the Zagreb
Television Dance Orchestra. As the principal conductor of the Big Band of Croatian Radio Television, he participated in
many European jazz festivals. He composes for various types of ensembles and
creates musical arrangements of works
by other authors.
day
month
19
4
dan
mjesec
hour
12:00
nedjelja / sunday
sat
“Djelo Procedure 4/4 Saxophones pisano
je za ovogodiπnji Biennale. U kvartetu
saksofona naπao sam sve elemente koji
su omoguÊili prirodni spoj sa æeljenim
glazbenim materijalom. VeÊ i naslov
govori o redoslijedu dogaanja unutar
kvartetske glazbene konstrukcije.
Ritamski kontinuum je nukleus koji
sjedinjuje promjene u koriπtenju instrumenata, odnosno redoslijedu nastupa,
kao i uvoenje 5. instrumenta (zurne)
koji ‘gostuje’ i stvara stanoviti ‘nered’.
Glazbena graa osloboena je melodijske i harmonijske ‘stege’, ali istovremeno
poπtuje postulate suvremenog glazbenog
jezika. Ovaj kvartet je nastavak veÊ
uËinjenog koraka prema novom nestandardnom pristupu koji sam primijenio u
projektu JAZZLA(n)DO, kada je spoj Big
banda jazz-provenijencije i folklornog
ansambla Lado doveo do novog
glazbenog idioma. Nije preuzetno reÊi da
su ovi moji projekti osnova za promiπljanja glazbenih sadræaja u novom ozraËju,
s novim atributima, kao πto nije
preuzetno reÊi da je taj pristup, kao i
glazbena elokvencija ZagrebaËkog
kvarteta saksofona, omoguÊio napuπtanje
‘TekuÊe Sadaπnjosti’ i odlazak u ‘Skoru
BuduÊnost’.” [Silvije GlojnariÊ]
Procedures 4/4 Saxophones is a work
written for this year’s Biennale. I have
found in a saxophone quartet all elements that could be naturally merged
with the desired music material. The title
itself indicates the sequence of events
within a quartet music structure. Rhythmic continuum is the nucleus which
unites the changes in the use of instruments, in the sequence of performances,
while the introduction of the fifth instrument (zurle), a “guest”, creates a certain
“disorder”. The music material is free of
melody and harmony “control”, but it
nevertheless honors the postulates of the
contemporary music language. This
quartet is a continuation of a step already
taken towards a new non-standard
approach which I have applied in the
JAZZLA(n)DO project, in which the
conjunction of the Big band jazz provenance and folk ensemble Lado has lead
to a new music idiom. It is not too presumptuous to say that these projects
form a basis for pondering on music
contents from a new standpoint, with
new attributes, neither is too presumptuous to say that this approach, as well
as the music eloquence of the Zagreb
Saxophone Quartet, has enabled the
abandoning of the “current present”
and stepping into the “near future”.
[Silvije GlojnariÊ]
98
99
day
month
19
4
dan
mjesec
hour
17:00
nedjelja / sunday
sat
17:00, Mimara
projekt Multimedijalnog instituta MAMA i
MBZ-a / a project of the MAMA Multimedia
Institute and MBZ
Thomas Köner: koncert / concert
Mladen Dolar: predavanje / lecture
Viπe o projektu Proces-Muzika /
More on the Process-Music project, str./page 382
101
Dolar
Mladen
100
Pri spomenu Mladena Dolara (1951.)
ne pada nam na pamet samo njegova
istaknutost u filozofiji, veÊ i originalnost
njegovih teorija. Poznat po svojoj usredotoËenosti na prouËavanje njemaËke
klasiËne filozofije, strukturalizma, psihoanalize i filozofije glazbe te po svojemu
djelovanju kao suosnivaË, zajedno sa
Slavojem Æiæekom i Alenkom ZupanËiÊ,
Ljubljanskoga kruga teoretske psihoanalize, Dolar je utjecao na mnoge piπuÊi o
europskoj politiËkoj podsvijesti ili o
ljubavi i operi u svojim esejima. Predavao
je filozofiju i teoretsku psihoanalizu na
SveuËiliπtu u Ljubljani, na kojemu je i
diplomirao, nastavljajuÊi s usavrπavanjem na SveuËiliπtu Paris VIII i SveuËiliπte
u Westminsteru. Takoer je bio Ëlan
uredniπtva Ëasopisa Problemi i zbirke
Analecta.
U svojoj zadnjoj monografiji A Voice and
Nothing More, objavljenoj na engleskom
jeziku, ponudio je filozofski utemeljenu
teoriju glasa kao lakanovski odnos
izmeu predmeta i uzroka. Istraæivao je
glas s razliËitih glediπta: lingvistiku glasa,
metafiziku glasa, etiku glasa, paradoksalan odnos izmeu glasa i tijela, politiku
glasa, pritom naglaπavajuÊi uporabu
glasa kod Freuda i Kafke.
When mentioning Mladen Dolar (1951)
it is not just his philosophical prominence
that springs to mind, but also the originality of his theoretical position. Known
for his research focused on German
classical philosophy, structuralism,
psychoanalysis and philosophy of music
as well as for his activity as one of the
founders, along with Slavoj Æiæek and
Alenka ZupanËiË, of the Ljubljana Circle
of Theoretical Psychoanalysis, Dolar has
influenced many with writings on the
European political unconscious or with
his essays on love or opera. He has
taught philosophy and theoretical
psychoanalysis at the University of
Ljubljana, where he finished his studies,
obtaining additional education at
University Paris VIII and University of
Westminster. He has also served as a
member of the editorial boards of the
magazine Problemi and of the book
collection Analecta. In his latest monograph published in English, A Voice and
Nothing More, he offered a philosophically
grounded theory of the voice as a
Lacanian object-cause. He has researched
the voice using different viewpoints: the
linguistics of the voice, the metaphysics
of voice, the ethics of voice, the
paradoxical relation between the voice
and the body, the politics of voice, while
putting emphasis on the uses of the
voice in Freud and Kafka.
day
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4
dan
mjesec
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17:00
sat
nedjelja / sunday
103
Köner
Thomas
102
Thomas Köner (1965.) upisao je studij
na glazbenom uËiliπtu u Dortmundu te
studirao elekroniËku glazbu u Studiju
CEM u Arnheimu. Proπirio je svoj koncept
vremena i zvukovne boje na vizualni
prikaz, iz Ëega su proiziπle video instalacije, fotografija i internetska umjetnost.
Njegovo polaziπte bila je kompozicija
zvuka u koju su postupno integrirani
vidovi izvedbe i vizualnoga jezika, isprva
u suradnji s fimaπem Jürgenom Rebleom, i izvedba uæivo Alchemie. Nakon
toga je uslijedilo skladanje filmske i
popratne glazbe za povijesne nijeme
filmove u pariπkima Muzeju Louvre i
Musée d’Orsay. Njegov umjetniËki
izriËaj istraæuje podruËje tiπine i sporosti,
poetiku dezintegracije i statiËkoga kretanja. Za svoja je audio-vizualna djela
primio mnoge ugledne nagrade, izmeu
ostalih, Nagradu za elektroniËke umjetnosti Golden Nica 2004. i nagradu TigriÊ
(za najbolji kratki film) na Meunarodnom filmskom festivalu u Rotterdamu
2005. godine. Njegova medijska instalacija Suburbs of the Void osvojila je
nagradu Transmediale u Berlinu 2005.
godine, a predstavljena je i na venecijanskomu Biennalu. Muzej Rimbaud
naruËio je od umjetnika pet stalnih
zvuËnih instalacija za pet prostorija u
Rezidenciji Rimbaud u francuskomu
gradiÊu Charleville-Mezières.
Thomas Köner (1965) attended the
music college in Dortmund and studied
electronic music at the CEM-Studio in
Arnhem. He extended his concept of
time and sound colour to images,
resulting in video installations, photography and net.art. His point of departure_was composition of sound in which
aspects of a performance and visual language_were gradually integrated, at first
in collaboration with film artist Jürgen
Reble and the live performance Alchemie.
Following this, he started to compose
film soundtracks and music to accompany
historic silent films for the Louvre
Museum and the Musée d’Orsay, Paris.
His artistic expression explores realm of
stillness and slowness, the poetics of
disintegration and static progression.
He has received numerous prestigious
prizes for his audio-visual works, among
them: 2004 Prix Ars Electronica “Golden
Nica”, the “Tiger Cub Award” (best short
film) at the International Film Festival
Rotterdam 2005. His media installation
Suburbs Of The Void received the
Transmediale 2005 award in Berlin and
was presented at the Venice Biennale.
The Rimbaud Museum commissioned
five permanent sound installations from
Köner, for five rooms of the “Maison
Rimbaud” in Charleville-MeziËres,
France.
day
month
19
4
dan
mjesec
hour
19:30
nedjelja / sunday
sat
19:30, ZKM
Miro Dobrowolny: Zilverstad / Srebrenica*
oratorijski scenarij za pjevaËa, glumca, plesaËa, zborske glasove u prostoru
i komorni sastav, s filmskim projekcijama i kamerom uæivo Bernda Riebea /
oratorio setting for a singer, an actor and a dancer, choral voices in space
and a chamber ensemble, with film screenings and live camera by Bernd
Riebe
Tekstovi / Texts: Helmut Wenderoth, Miro Dobrowolny, Georg Trakl,
Zdravko LuburiÊ i dokumentarni tekstovi / with documentary texts
Art Ensemble NRW / Ansambl Art NRW,
Komorni zbor Ivan FilipoviÊ / Ivan FilipoviÊ Chamber Choir
Wolfram Wittekind, tenor, Frieder Mann, plesaË / dancer
Helmut Wenderoth, gluma i reæija / actor and director
Art Ensemble NRW :
Martin Schminke, violina / violin
Scott Roller, violonËelo / cello
Regina Pastuszyk, klarinet i bas-klarinet / clarinet and bass clarinet
Theodor Pauss, klavir / piano
Viola Kramer, sintetizator, harmonika, glas / synthesizer, accordion, voice
Tobias Liebezeit, udaraljke / percussion
Miro Dobrowolny, umjetniËki voditelj i dirigent /
artistic director and conductor
104
Dana 16. travnja 1993. zapoËeo je
veliËanstven projekt meunarodne zajednice: Opametiti se na temelju iskustva
- ili - To se viπe nikada ne smije dogoditi moæda Ëak, nada u temelj nekog pravednijeg svjetskog poretka? Toga dana
nekadaπnji je gradiÊ srebra i ljeËiliπte Srebrenica rezolucijom 819 VijeÊa sigurnosti
Ujedinjenih naroda proglaπen UN-ovom
zaπtitnom zonom, sigurnim podruËjem i
sigurnim utoËiπtem. »inilo se da tu svijet
ljudima nudi zaπtitu od najelementarnijih prijetnji. »in humanosti?
1. Prolog - Arija (Slika u glavi) Ahmo na
motociklu - Ples uz nadgrobni zbor /
Prologue - Aria (An Image in the Mind),
Ahmo on the Motorcycle - Dance, with a
funeral choir
2. O suæivotu i kako je poËeo rat / Living
Together and How the War Began
3. Vojni zapovjednici - Duet - Ples (kolo) /
The Commanders - Duett - Dance (Kolo)
4. O “sigurnoj zoni” i nadi /
On the “Safe” Area and Hope
5. Arija / Aria - Marcia funebre
(Neki smrtni jauk /
A Mortal Groan, Zdravko LuburiÊ)
6. Egzekutor / The Executor,
monolog / a monologue
7. Ja to ne æelim uËiniti! /
I Don’t Want to Do That!
8. O πumi i stazi æivota i smrti / On the
Woods and the Path of Life and Death
9. Arija sa zborom (uËitelj plesa, mesar,
motociklist) / Aria with Choir (Dancing
Master, Butcher and Biker)
10. A æene… / And the Women...
11. Arija / Aria (Duboka pjesma / The
Deep Poem, Georg Trakl)
12. O krivnji / On Guilt
105
On April 16, 1993, there begun a magnificent project of the international community: Getting smarter, based on experience
- or - never to happen again - perhpas
even a hope in the foundations of a just
world order? On that day, a former silvermining town and spa, Srebrenica was established as UN protection zone, safe area
and haven, according to the UN resolution 819. It seemd the world was offerring
the people protection from the basic
threats. An act of humaneness?
day
month
19
4
dan
mjesec
hour
19:30
nedjelja / sunday
sat
Umjetnost uvijek jest, uvijek je bila i bit
Êe - politiËka. »ak i onda kada se pravi da
to nije. Tada je umjetnost naroËito politiËka jer podupire ono πto postoji, vladajuÊe miπljenje, moæda i ne æeleÊi to
eksplicitno Ëiniti. I to je jedan od razloga
zaπto Srebrenicom postavljamo pitanja.
Zagovor za pitanja, za postavljanje pitanja kao stav, za usuivanje postavljanja
pitanja kao plemeniti zahtjev od nas
samih i od djela.
Srebrenica - upozorenje na opasnosti
postmodernog civiliziranog svijeta! ©to
nas je πokiralo? Rat, zloËini, nesposobnost da se zloËin sprijeËi? Ponajprije Ëinjenica da je takvo πto danas moguÊe.
Kako se takvo πto moæe dogoditi? - bilo je
vjerojatno najËeπÊe postavljano pitanje.
Ono u jasnom svjetlu pokazuje stanje zapadnog “civiliziranog” svijeta.
Mi smo se prilagodili - suviπe Ëesto smatrali smo da je kod nas, u Europi, civilizacija kod kuÊe. Da kod nas postoji
pravo i zakon.
A zatim to! Nakon πto se to dogodilo, bili
smo bez rijeËi, zaprepaπteni. Ta zaprepaπtenost i Ëinjenica da ona ne smije
biti krajem priËe, bile su polazne toËke
oratorijskog scenarija. Ne razumijemo li
πto se dogodilo, moæda jednostavna subjektivna priËa jednog Ëovjeka moæe pomoÊi da savladamo zaprepaπtenost.
[Miro Dobrowolny]
Art is, always was and always will be politically bound. It is political even
when it claims otherwise. Quite the contrary, when it claims to be independent
from politics it is precisely then that it
acts in the favour of ruling politics, committing to the commonly accepted point
of view, even if it does not want to. And
this constitutes one of the reasons why
we ask questions with Srebrenica. Advocating questions, turning asking questions into attitude, daring to ask
questions we see as a noble request to
ourselves and our work.
Srebrenica - a warning of the dangers of
the post-modern civilised world! What
was it that really shocked us? Was it war,
crimes, or the inability to prevent it all?
Or just the fact that something like that
can happen in today’s world.
„How can something like that happen? “
- this was probably the frequently asked
question. It shows us very clearly the
condition in which the Western
“civilised” world has fallen into.
We managed to adjust ourselves - we regarded much too often the civilisation to
be at home here, in Europe. We thought:
here we have law and we have rights.
And then this! After it happened, we were
stunned, shocked. The dismay followed
by the fact that this must not be the end
of the story, were the starting point of a
scenario for oratorio. If we do not understand what happened to us, maybe then
Ahmo - preæivjeli iz Srebrenice.
Djelo Srebrenica je interdisciplinarno. Uz a simple yet subjective story of one man
glazbu, zvukove, glasove u prostoru i pje- can help us overcome our shock. [Miro
Dobrowolny]
vanje, tu su joπ ples, gluma i projekcije
filma i slika. Struktura djela nije sluËajna,
Ahmo - the survivor of Srebrenica
nego proizlazi iz njegova glavnog lika.
“Srebrenica” is an interdisciplinary work.
Along with music, sounds and voices filling up the space accompanied by singing,
there is also dancing, acting and film and
images projections. The structure of this
piece is not accidental but comes out of
the story’s main character.
106
Taj je glavni “lik” mesar, plesaË i motociklist Ahmo: Ahmo je preæivjeli. Æivio je i
valjda opet æivi u Srebrenici, doæivio je
doba opsade, pobjegao je - s mnogima
drugima - kroz πumu i poslije se Ëak vratio. U jednom beznadnom svijetu Ahmo
nije izgubio nadu. Vratio se kako bi u
svojem gradu radio kao mesar, nastavio
sa svojim plesnim teËajem te organizirao
motociklistiËke susrete. Pritom sanja
utopijski san: Umjetnost Êe pobijediti
sve strahote i osposobiti ljude da pristojno æive jedni s drugima.
U Srebrenici nastupaju tri protagonista
(glumac, plesaË, pjevaË) koji predstavljaju lik Ahme, a tijekom izvedbe djela
glume i druge uloge, primjerice, vojne
zapovjednike, vojnika, ili pak reagiraju
neutralno kao komentatori. NadrealistiËki trenuci dokumentarnih slika i njihove umjetniËke obradbe razotkrivaju
cinizam priËe. Djelo se neprestano kreÊe
izmeu dramskog suosjeÊanja i promatranja izvana. I zbor se zvukovno
ukljuËuje u zbivanje, no viπe kao komentator. U dvanaest prizora pripovijeda se
na oratorijski naËin. To nije ni opera, ni
drama, ni balet, ni dokumentacija, ni
rekvijem, ali jest moguÊnost svega toga.
Fragmenti crvene niti i mnogo pitanja
koja se tvrdoglavo suprotstavljaju sve
proπirenijoj Ëeænji za brzim odgovorima.
©est instrumentalista (ne) tvore orkestar.
Glazbeni materijal destilira se iz jednoga
kola i neprestano kruæi oko srediπnjeg
tona F. Kompozicija i improvizacija tvore
temelj djela. Mnogo toga stoji jedno
pokraj drugoga, a ipak se povezuje.
Zvukovi-slike kombiniraju se i pokreÊu
pitanja. Na kraju je Ahmina utopija moguÊi odgovor? [Miro Dobrowolny]
107
This main “character” is a butcher, dancer
and motorcyclist Ahmo: Ahmo is a survivor. He lived, and probably still lives in
Srebrenica, he experienced Srebrenica’s
siege, he fled - along with many others through the woods and later on he even
came back. In a hopeless world, Ahmo did
not lose hope. He even returned in order
to work in his city as a butcher, in order to
continue with his dance course and organize motorcycling events. While he
does that, he dreams the Utopian dream:
art will conquer all atrocities and provide
the opportunity for people to live decently
with each other.
In Srebrenica we have three persons
(actor, dancer, singer), all representing
the character of Ahmo, and during the
performance we have other actors in the
roles of characters, such as military commanders, soldiers, or neutral commentators. The surrealistic moments of
documentary images and their artistic
processing unfold the cynicism of the entire story. This piece constantly moves between a dramatic sympathy and outside
observation. The choir participates with
its sound in the happening more as a
commentator. Through the twelve scenes
the story is told in a manner of an oratorio. This is not an opera, or drama and ballet, nor a documentary or requiem, but it
might as well be all of that. The red thread
fragments and multitude of questions are
stubbornly opposed to the great longing
for quick answers.
Six instrumentalists (don’t) make an orchestra. The music material is distilled
from one circle and constantly encircles
the focal note, F. Composition and improvisation form the basis of this piece. A
lot of things are put next to each other,
and yet are intertwined. Sounds - images
are combined and they set off questions.
The end sees Ahmo’s utopia - as a possible
answer? [Miro Dobrowolny]
4
dan
mjesec
19:30
nedjelja / sunday
sat
Miro Dobrowolny (Zagreb, 1959.) studirao je violinu, kompoziciju (u klasi Dimitrija Terzakisa), dirigiranje, komornu
glazbu i muzikologiju u Duisburgu, Düsseldorfu i Kölnu. Utemeljio je Ansambl
ART NRW te festival Bergische Biennale u
Remscheidu i Solingenu. Od 2002. godine dirigent je Duisburπkih solista. Piπe
solistiËka, komorna, orkestralna i scenska djela.
Miro Dobrowolny (Zagreb, 1959) studied
violin, composition (in the class of Dimitri
Terzakis), conducting, chamber music and
musicology in Duisburg, Düsseldorf and
Cologne). He founded the ART NRW Ensemble and the Bergische Biennale festival in Remscheid and Solingen. Since
2002 he has been working as a conductor
of Duisburg soloists. He composes solo,
chamber, orchestral and stage works.
Wittekind
19
hour
Wolfram
month
Miro Dobrowolny
day
Wolfram Wittekind (Hilden, Düsseldorf )
prouËavao je protestantsku crkvenu
glazbu, a zatim je upisao studij pjevanja
u klasi Hansa-Dietera Saretzkija na Robert-Schumann-Hochschule u Düsseldorfu. Diplomirao je 1995. godine s
izvrsnim ocjenama. Tijekom studija
zapoËeo je scensku karijeru ulogom
Tamina u Mozartovoj »arobnoj fruli, a
slijedile su prestiæne operne uloge
(Cavaradossi, Don Jose, Alfredo, Lohengrin) u raznim njemaËkim kazaliπtima.
»esto izvodi njemaËke pjesme i crkvenu
glazbu, a veoma ga zanima rad modernih
klasiËnih skladatelja, npr. Kurta Weilla,
Benjamina Brittena i Leoπa JanáËeka.
Wolfram Wittekind (Hilden, Düsseldorf )
studied protestant church music before
starting his university studies of singing
with Hans-Dieter Saretzki at the RobertSchumann-Hochschule in Düsseldorf,
where he graduated with outstanding
grades in 1995. During his studies he
started his stage career with the role of
Tamino in the Magic Flute by Mozart,
followed by prominent opera roles
(Cavaradossi, Don Jose, Alfredo, Lohengrin) in various German theatres.
He frequently performs German songs
and church music and is very interested
in the works of modern classic composers like Kurt Weill, Benjamin Britten,
Leoπ JanaËek.
Helmut Wenderoth (1957.) dobro je i
rado æivio u malom selu u Hunsrücku do
18. godine i tamo mnogo nauËio, pa i u
πkoli. Zatim je iπao u Saarbrücken, Trier,
Dortmund, Frankfurt, Berlin i Ëesto u
Italiju, kako bi dalje æivio i uËio. Æivljenje
i uËenje u teatru Ëini mu toliko veselje da
na kraju nije æelio biti niπta drugo doli
glumac. Poslije je poËeo i pisati te sve
ËeπÊe reæirati. Danas je umjetniËki
voditelj KRESCHtheatra u Krefeldu i na
pozornicama postavlja leæerne stvari.
Kada se ne bavi kazaliπtem, rado jede i
pije s prijateljima te pripovijeda.
Helmut Wenderoth (1957) lived well and
happily in a small village in Hunsrück
until he was 18 years old. He went to
school there and he learned a lot. He
then moved to Saarbrücken, and then to
Trier, followed by Dortmund, Frankfurt,
Berlin with frequent visits Italy often in
order to gain even more knowledge and
experience. The experience of theatre
and living and learning through it
brought him so much joy that he eventually wished for nothing else than being
an actor. Later on he started writing and
directing even more frequently. Today
he works as the artistic director of
—KRESCHtheater in Krefeld and features
mostly easy-going pieces. When he is not
working in the theatre, he enjoys eating,
drinking and telling stories with his
friends.
109
Mann
Frieder
Wenderoth
Helmut
108
Frieder Mann je plesaË, plesni pedagog i
teolog. Plesno se obrazovao u New Yorku
i San Franciscu, a teologijski na Berkeleyu, Kalifornija, zatim se bavio plesnom
terapijom, tai-chijem, Feldenkraisom, a
u Tübingenu je studirao sport i teologiju.
Danas djeluje kao plesaË i koreograf,
gimnazijski profesor tjelesnog odgoja i
religije, a od 1991. godine dræi teËajeve
Spiritualnost i ples i teËajeve plesne
tehnike i koreografiranja te objavljuje na
temu spiritualnosti, liturgijskog plesa i
religijskog obrazovanja.
Frieder Mann is a dancer, dance educator and theologian. He studied dance in
New York and San Francisco, and theology at Berkeley, California. He then practiced dance therapy, tai-chi, Feldenkrais,
and studied sports and theology in
Tübingen. He currently works as a
dancer and choreographer, a high school
physical education teacher, and since
1991 he has been conducting “Spirituality and Dance” courses, as well as
courses in dance technique and choreography, and has published papers on
the topic of spirituality, liturgical dancing and religious education.
day
month
19
4
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hour
19:30
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sat
Ivan FilipoviÊ
Komorni zbor
Komorni zbor Ivan FilipoviÊ osnovan je
1998. godine i jedan je od najuspjeπnijih
a cappella amaterskih ansambala u
Hrvatskoj. Iako je rijeË o amaterski zasnovanom vokalnom ansamblu, brojne
nagrade uvjerljivo svjedoËe o entuzijastiËkoj predanosti i zavidnoj umjetniËkoj pozvanosti Ëlanova zbora pod
dirigentskim vodstvom njihova osnivaËa
Gorana JerkoviÊa. Visoka priznanja sa
zborskih natjecanja u pravilu su bivala
potvrivana pohvalnim recenzijama
glazbenih kritiËara, koji su redovito isticali Ëinjenicu da zbor ponajviπe njeguje
najzahtjevniju umjetniËku literaturu skladanu za zbor a cappella. Pored trijumfalnih nastupa na natjecanjima, zbor
je odræao brojne koncerte u Hrvatskoj i
inozemstvu (Italija, Kina, Maarska, NjemaËka, Izrael, Tajvan).
The Ivan FilipoviÊ Chamber Choir was
founded in 1998 and is one of the most
successful a cappella amateur ensembles
in Croatia. Although this is an amateur
vocal ensemble, their numerous awards
a convincing testimony to the enthusiastic dedication and enviable artistic qualities of all members of the choir,
conducted by its founder Goran JerkoviÊ,
Prestigious recognitions from competitions have been regularly substantiated
by favourable reviews by music critics,
who have repeatedly pointed out that
this ensemble shows a marked preference for the most challenging artistic
subjects - composed for a cappella
choirs. Apart from its triumphant appearances at competitions, the choir has
given numerous concerts in Croatia and
abroad (Italy, China, Hungary, Germany,
Israel, Taiwan).
111
ART NRW
110
Ansambl ART NRW osnovan je u sezoni
1985./86. te je specijaliziran za Novu
glazbu, od solistiËke do orkestralne. Osnovu ansambla ne Ëine samo instrumentalisti nego i pjevaËi. UmjetniËko vodstvo
u rukama je skladatelja i dirigenta Mire
Dobrowolnog. »lanovi ansambla vrsni
su glazbenici od kojih su neki slobodni
umjetnici, a drugi na istaknutima pozicijama u orkestrima u regiji Sjeverno Porajnje. Pri oblikovanju programa Ansambla
teæiπte je naroËito na srodnostima meu
razliËitim umjetnostima te njihovi programi imaju raspon od performansa i
Gesamtkunstwerka do komornih opera.
Glazbenicima je pritom najvaænije publici razjasniti referencije i usmjeriti je na
umjetniËki sadræaj, bez obzira na vanjsku
formu. Ponekad surauju s ansamblima
za ranu glazbu, a redovno dobivaju financijsku potporu NjemaËkoga
glazbenog vijeÊa i raznih njemaËkih zaklada. Gostovali su na brojnim europskim
festivalima te snimaju za njemaËke televizijske postaje HR i WDR.
ART NRW Ensemble was founded in the
1985/86 season, and specialises in New
Music, ranging from solo to orchestra
music. The core of the ensemble is made
up not only of instrumentalists, but also
of singers. Composer and conductor
Miro Dobrowolni provides artistic guidance for the ensemble. Ensemble members are accomplished musicians. Some
are independent artists, and some hold
distinguished positions in orchestras in
the North Rhine region. In the programme of the ensemble special emphasis is given to the similarities between
the various arts, so the programme encompasses everything from performance
acts and “Gesamtkunstwerk” to chamber
operas. When performing, the musicians
concentrate on clarifying the references
for the audience and directing it to the
artistic content, regardless of the external form. They occasionally cooperate
with early music ensembles, and receive
regular financial support from the German Music Council and various German
foundations. They have appeared at numerous European festivals, and have
recorded for German television stations
HR and WDR.
day
month
19
4
dan
mjesec
hour
21:30
nedjelja / sunday
sat
21:30, &TD
Sandro Lombardi - Virgilio Sieni:
Le Ceneri di Gramsci / Gramscijev pepeo /
Gramsci’s Ashes
koreodrama prema djelu Piera Paola Pasolinija / choreodrama based on
the work by Pier Paolo Pasolini; glazba / music by Angelo Badalamenti
Virgilio Sieni, koreograf i plesaË / choreographer and dancer
Sandro Lombardi, glumac / actor
Proizveli / Produced by:
Compagnia Lombardi - Tiezzi, Compagnia Virgilio Sieni
U suradnji s festivalom / In collaboration with: Mittelfest 2007
112
113
Ova izvedba nastala je kao rezultat susreta
dvojice protagonista talijanskog eksperimentalnog teatra. Djelo se zasniva na
poemi Le ceneri di Gramsci (Gramscijev
pepeo, 1957.) Piera Paola Pasolinija.
Radnja poeme smjeπtena je na nekatoliËkom groblju u Rimu, ispred grobnice Antonija Gramscija, i predstavlja tjeskobno
razmatranje kontradikcije marksistiËkih
ideala i religiozne vizije realnosti. Pasolini
vrlo jasno izraæava duboko usaenu
suprotnost izmeu ovakva dva stajaliπta:
This performance was born from the
encounter between two protagonists of
the Italian experimental theatre. The
piece is based on Pier Paolo Pasolini’s
Le ceneri di Gramsci (The Ashes of
Gramsci, 1957). Set in the Non-Catholic
Cemetery in Rome, in front of Antonio
Gramsci’s tomb, the poem is an anguished
reflection upon the contradiction between
marxist ideals and a religious vision of
reality. Pasolini explicitly declares the
deep contrast between these two attitudes:
Skandal mojeg proturjeËja, toga da sam /
s tobom i protiv tebe; s tobom u srcu / u
svjetlosti, protiv tebe u mraËnoj utrobi;
mojeg oËinskog izdajniËkog stanja /
- u misli, u nekoj sjeni akcije - / znam da
sam uza nj prionuo u æaru nagonâ, estetiËke strasti; / privuËen proleterskim
æivotom / tebi prethodnim, za mene je
religija njegova radost, ne tisuÊljetna /
njegova borba: njegova priroda, ne /
njegova svijest; prvobitna snaga
Ëovjekova, πto se u Ëinu izgubila, / daje
joj opijenost Ëeænje, / poetsko svjetlo: i
drugo viπe ja ne znam reÊi, πto ne bi bilo /
pravo ali ne iskreno, apstraktna / ljubav,
ne æalostiva simpatija…
(preveo Mladen Machiedo)
“The shame of self-contradiction, to be /
with you and against you; with you in
heart, / in the light, against you in visceral
darkness; / traitor of my paternal station in thought, in the shadow of an action - / I
know I’m related to it in the heat / of
instincts, of aesthetic passion; / attracted
by a proletarian life / preceding yours,
my religion is / its gaiety, not its millenary /
struggle: its nature, not its / consciousness;
it’s the primary strength / of Man, lost in
action, / that gives it the intoxication of
nostalgia / and a poetic light: and nothing
more / I can say about it but / right
words yet not sincere, abstract / love and
not grieved sympathy...”
Struktura pjesme i izraæajno bogatstvo
daju temelje za dramatski zaplet. RijeËi
glumca plesaË koristi kao glazbenu osnovu
kako bi stvorio vlastitu koreografiju koja
se izmjenjuje s trenucima tiπine. Glumca
se privlaËi u koreografsku orbitu plesa.
ZajedniËka osnova na kojoj se dvoje
izvoaËa susreÊu i suprotstavljaju ne
predstavlja samo njihov intelektualni i
emocionalni pristup Pasolinijevoj
poemi, veÊ i njihovu tjelesnost kroz dvije
dimenzije: usmenu i fiziËku. RazliËite
razine na kojima se njihova tijela na pozornici prezentiraju omoguÊuju uspostavljanje razgovora. RijeË i ples razvijaju
se zajedno, potiËuÊi jedno drugo,
pokuπavajuÊi obuhvatiti svoje odjeke.
Posveta pjesniku, refleksija osjetila na
temelju opaæenog tijela i povijesti.
Pozornica ovdje utjelovljuje polisemnu
dvoznaËnost indirektno izraæenu u poetskom jeziku: u ovom sluËaju je dvoznaËnost pojaËana upotrebom neobiËne
interpretacije koja nije ograniËena na
glumu i ples, veÊ se zasniva na susretu
ostvarenom u ime poetskog teksta.
The poem’s structure and expressive
richness offer grounds for the dramatic
plot. The words of the actor, used by the
dancer as a musical base to create his
own choreography, alternate with moments of silence. The actor is attracted
into the choreographic orbit of dance.
The common ground on which the two
performers encounter and confront each
other is not only their intellectual and
emotional approach to Pasolini’s poem,
but also their corporeity, in its two dimensions: oral and physical. The different
levels at which their bodies upon the
stage show themselves upon the stage
establish a conversation Word and dance
develop together, bringing on each other,
trying to grasp their respective echoes.
An homage to the poet, a reflection upon
senses and upon the perception of body
and history. The stage here re-presents
the polysemous ambiguity already
implied in poetic language: in this case
the ambiguity is magnified by the use of
an unusual interpretation, not limited to
acting and dance, but based on their
encounter in the name of the poetic text.
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Sieni
Virgilio
Virgilio Sieni, koreograf i plesaË, protagonist je talijanskog suvremenog plesa
joπ od ranih 1980-ih, kada djeluje sa svojom prvom plesnom trupom Parco Butterfly te zatim sa zakladom Compagnia
Virgilio Sieni, aktivnom od 1992. godine.
Njegov rad ne sastoji se samo od suvremenog i klasiËnog plesa, veÊ i od studija
umjetnosti, arhitekture i japanskih borilaËkih vjeπtina. Sieni je svoj rad prezentirao u New Yorku te na turnejama po
Latinskoj Americi i Bliskom istoku.
UËvrstio je iznimno produktivne veze s
najvaænijim teatrima i festivalima u Italiji. Dvaput je osvojio nagradu Ubu (najznaËajnija talijanska nagrada na
podruËju scenske umjetnosti).
Osim rada sa svojom plesnom trupom,
Sieni je bio i gostujuÊi koreograf Teatra
alla Scala u Milanu, znaËajnih teatara u
Firenci, Napulju, Palermu te Toskanskog
baleta. Sieni je Ëesto suraivao i s
meunarodno priznatim umjetnicima
Virgilio Sieni, choregrapher and dancer,
has been a protagonist of Italian contemporary dance since the early 1980s,
with his first company Parco Butterfly
and subsequently with the foundation of
the Compagnia Virgilio Sieni, active
since 1992. Its practice includes not just
contemporary and classical dance, but
studies of art, architecture and Japanese
martial arts. Sieni has shown his work in
New York and undertaken tours in Latin
America and the Far East. He has
cemented productive relationships with
the most important theatres and festivals
in Italy. He has twice been awarded the
Ubu prize (the most important Italian
prize for scenic arts)
As well as his work with the company,
Sieni was guest choreographer for the
Teatro alla Scala in Milan, further theatres in Florence, Naples, Palermo and
the Tuscan Ballet. Sieni often collaborates with internationally famed visual
116
na podruËju vizualne umjetnosti,
glazbenicima i skladateljima poput
Alexandra Balanesca, Ennija Morriconea,
Stevea Lacyja, Luisa Sclavisa; Grazie
Toderi, Liliane Moro, a na podruËju kostimografije suraivao je s Miucciom
Pradom. Od 2003. godine Sieni æivi u
Firenci, gdje radi kao umjetniËki direktor
centra CANGO Cantieri Goldonetta.
CANGO je centar za suvremenu umjetnost, umjetniËku praksu, gostoljubivost i
viziju, dodirna toËka umjetnika (kroz
program umjetniËkih rezidencija) i publike. Virgilio Sieni nije samo koreograf
veÊ i viπestrani umjetnik koji se bavi
izvedbama, videom, fotografijom, instalacijama i uredniπtvom. Godine 2007. osnovao je Accademiju sull’arte del gesto
(Akademiju umjetnosti geste), inovativno mjesto za razmjenu umjetniËke
prakse, kontinuiranog istraæivanja i
stvaranja sa srediπtem u Firenci, ali s
projektima u cijeloj Italiji.
117
artists, musicians and composers, such
as Alexander Balanescu, Ennio Morricone, Steve Lacy, Luis Sclavis; Grazia
Toderi, Liliana Moro, and for costumes:
Miuccia Prada. From 2003, Sieni has
been based in Florence, where he is
Artistic Director of CANGO Cantieri
Goldonetta. CANGO is a centre for contemporary arts, physical practice, hospitality and vision, a focal point for artists
(through a programme of artistic
residencies) and the audience. Virgilio
Sieni is not only a choreographer but a
multi-faceted artist working across
performance, video, photography,
installations and editorials, In 2007 he
founded the Accademia sull’arte del
gesto (Academy of the Art of Gesture), an
innovative space for the transmission of
artistic practice, continual research and
creation, centred in Florence, but
running projects across Italy.
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Badalamenti
Angelo
Skladatelj Angelo Badalamenti (Brooklyn, NYC, 1937.) najËeπÊe sklada za film i
televiziju, a najpoznatija je njegova
suradnja s reæiserom Davidom Lynchom,
koja je poËela kad je Badalamenti trebao
biti profesor pjevanja glumici Isabelli
Rossellini za potrebe filma Plavi barπun,
ali je na kraju skladao uspjeπan soundtrack za film. Studirao je na glazbenim
sveuËiliπtima Eastman School of Music u
Rochesteru, New York i na njujorπkoj
Manhattan School of Music, gdje je
magistrirao kompoziciju, rog i klavir. Za
svoja je djela dobio nagrade Grammy (za
temu iz serije Twin Peaks) i BAFTA, uz
brojne nominacije za nagrade Grammy,
Emmy, Zlatni globus i dr. Suraivao je s
brojnim svjetskim glazbenicima kao πto
su David Bowie, Paul McCartney, Pet
Shop Boys, Michael Jackson, Julee
Cruise, Marianne Faithfull, Dolores
O’Riordan i Anthrax.
Composer Angelo Badalamenti (Brooklyn, NYC, 1937) mostly works in film music, is most famous for his collaborations
with David Lynch, which started when
he was hired as Isabella Rossellini’s vocal
coach for the movie Blue Velvet, but
ended up scoring the film. Badalamenti
studied at the famous Eastman School of
Music in Rochester and at Manhattan
School of Music, where he received Masters degrees in composition, French horn
and piano. Badalamenti is the the recipient of a Grammy Award for his Twin
Peaks Theme, as well as a BAFTA Award
and several Golden Globe, Emmy and
further Grammy nominations, among
others. His has worked with many acclaimed musicians, such as David Bowie,
Paul McCartney, Pet Shop Boys, Michael
Jackson, Julee Cruise, Marianne Faithfull, Dolores O’Riordan and Anthrax.
119
Lombardi
Sandro
118
Karijera glumca i spisatelja Sandra Lombardija usko je povezana s priËom o
glumaËkoj druæini Il Carrozzone koju je
u Firenci osnovao s Federicom Tiezzijem
i Marion D’Amburgo. VeÊ su se prvim
nastupima, 1972. godine, nametnuli kao
jedni od najprodornijih predstavnika
novog “slikovnog teatra”. Pod Tiezzijevim
vodstvom Lombardi je izvodio drame
Becketta, Müllera, Marija Luzija, Manzonija, Pasolinija, Brechta, Parisea,
»ehova i Bernharda. Njegove izvedbe
utemeljene na dramama Giovannija
Testorija bile su prekretnica u prihvaÊanju toga lombardskog spisatelja. Od
1988. do 2002. Lombardi je osam puta
osvojio nagradu Ubu za najbolju muπku
izvedbu, a tri su njegova djela osvojila
Ubu za najbolju izvedbu godine. Stekao
je reputaciju zbog svojeg specifiËnog
naËina izvoenja poezije i knjiæevnih
djela te je suraivao s mnogim cijenjenim glumcima i redateljima na radiju,
televiziji i u kazaliπtu.
The career of the actor and writer Sandro Lombardi is bound to the story of
the company founded by him together
with Federico Tiezzi and Marion D’Amburgo in Florence, Italy. As “Il Carrozzone”, they gave their first performance
in Florence in 1972 and immediately
made a name for the company as one of
the most cutting-edge experiences of the
rising “image-theatre”. The company has
remained a first-rank experience in the
Italian and European theatre. Under the
direction of Tiezzi, Lombardi interpreted
plays by Beckett, Müller, Luzi, Manzoni,
Pasolini, Brecht, Parise, Chekhov, Bernhard. His performances based on the
plays by Giovanni Testori revoluzionized
the reception of the Lombard writer.
From 1988 to 2002, Lombardi was awarded four times the Ubu prize for the best
male performance and three of his works
were awarded the Ubu for the best performance of the year. He has distinguished himself for his peculiar way of
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Sudjelovao je u izvedbama djela Luciana
Beria, Adriana Guarnierija, Giorgia Ghedinija, Luigija Nona i Galine Ustvolskaje,
suraujuÊi pritom s cijenjenim svjetskim
glazbenim umjetnicima. Sa svojom
glumaËkom druæinom redovito nastupa
u glavnim talijanskim kazaliπtima, a
sudjelovao je na mnogim kazaliπnim
festivalima u Europi, SAD-u te u Japanu.
Snimio je CD s pjesmama P. P. Pasolinija
i Danteovim Paklom, Ëetiri Testorijeva
monologa te djelom Destinatario
sconosciuto (Nepoznati primatelj)
autorice Kathrine Kressmann Taylor.
Najnoviji mu je projekt glavna uloga u
novoj produkciji Federica Tiezzija,
Passaggio in India (Put u Indiju) autorice
Santhe Rame Rau (prema istoimenom
romanu E. M. Forstera), koju je ujedno
preveo s engleskoga. Gli anni felici,
narativan esej u kojem opisuje svoje
otkrivanje kazaliπta i glazbe, osvojio je
godine 2004. nagradu Premio Bagutta
Opera prima. »lan je æirija za dodjelu
nagrade Premio Napoli. Njegov Êe prvi
roman, Le mani sull’amore, uskoro
objaviti izdavaËka kuÊa Feltrinelli.
performing poetry and literature and has
worked with many acclaimed actors and
directors for the radio, television and the
theatre. In the musical field he participated in performances by Luciano Berio,
Adriano Guarnieri, Giorgio Ghedini,
Luigi Nono and Galina Ustvolskaya, collaborating with acclaimed international
artists. He is regularly present with his
company in the main Italian theatres
and has attended many theatre festivals
in Europe, the US and Japan. He recorded, on CD, P. P. Pasolini’s poems and
Dante’s Inferno, four monologues by
Testori and Destinatario sconosciuto
(Address Unknown) by Kathrine
Kressmann Taylor. His most recent project is a leading role in the new production of Federico Tiezzi, Passaggio in
India (A Passage to India) by Santha
Rama Rau (based on the novel by E.M.
Forster), which he also translated from
English. Gli anni felici, a narrative essay
in which he relates his discovery of theatre and music, was awarded the Premio
Bagutta Opera prima 2004. He is in the
jury of the Premio Napoli. His first novel,
Le mani sull’amore, is in course of publication for Feltrinelli.
Antonio Gramsci (1891. - 1937.), talijanski komunist i marksistiËki filozof, velik
je dio æivota proveo u zatvorima faπistiËke
Italije. Njegove Zatvorske biljeænice sadræe upeËatljive analize teπkoÊa s kojima
se suoËavao revolucionarni pokret zbog
kulturne hegemonije vladajuÊe klase.
Antonio Gramsci (1891 - 1937), Italian
communist and marxist philosopher
spent a big part of his life in the prisons
of fascist Italy. His Prison Notebooks
contain memorable analyses of the hardships the revolutionary movement had
been confronting because of the cultural
hegemony of the ruling class.
121
Pasolini
Pier Paolo
Gramsci
Antonio
120
Pier Paolo Pasolini (1922. - 1975.)
talijanski pjesnik, pisac i redatelj o Ëijem
pjesniËkom djelu objavljujemo viπe u
komentaru Mladena Machieda, uz
prijevod Gramscijeva pepela, u zasebnoj
knjiæici s libretima.
Pier Paolo Pasolini (1922 - 1975) Italian
poet, writer and director on whose
oeuvre we provide more information in
Mladen Machiedo’s commentary next to
the translation of the lyrics, in a separate
booklet.
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MM, 22:30
Ansambl ACEZANTEZ / ACEZANTEZ Ensemble
ACEZANTEZ se vraÊa / ACEZANTEZ is back
PosuivaË suza i smjehova, glazbeno-scenski kolaæ /
The Borrower of Tears and Laughs, a collage
Ivana BiliÊ, udaraljke / percussion
Dubravko Detoni, klavir / piano
Marina Kostelac, glas, pokret, mima / voice, stage movement, mime
Max Kostelac, glas, pokret, mima / voice, stage movement, mime
Saπa NestoroviÊ, sopran-saksofon, tenor-saksofon i sintetizator
UmjetniËko vodstvo / artistic direction: Dubravko Detoni
Dubravko Detoni: Od do - Monos III za komorni sastav i elektroniku /
From - To - Monos III, for chamber ensemble and electronics
Milko Kelemen: Yebell, akcija za soliste i komorni ansambl /
an action for soloists and a chamber ensemble
Ivana BiliÊ: (The) Other/ Drugo* , glazba za marimbu, timpan, vrpcu i prijatelje / Music for marimba, timpani, tape and friends
Saπa NestoroviÊ: 3D STEPS/ 3D koraci*
Branimir SakaË: Barasou
Dubravko Detoni: Follow Me (Slijedi me) - Bajka - Gimnastika za grupu
PosuivaË suza i smjehova * / Follow Me - Fairy Tale - Group Gymnastics Borrower of Tears and Laughs
Ovu predstavu - koju prvi put igra bez njega - ACEZANTEZ posveÊuje svojem suosnivaËu, dugogodiπnjem i dragocjenom suradniku, multiinstrumentalistu, muzikologu, poliglotu, organizatoru, menadæeru i svjetskom putniku Fredu Doπeku (1925.
- 2008.).
This production - performed for the first time without him - ACEZANTEZ wishes to
dedicate to their co-founder, long-time precious collaborator, multiinstrumentalist,
musicologist, polyglot, organizer, manager and world traveller Fred Doπek (1925 - 2008).
122
Ansambl Centra za nove tendencije Zagreb (ACEZANTEZ ) utemeljen je prije 40
godina, kada se, pod vodstvom Dubravka
Detonija, okupila skupina uglednih umjetnika viπemedijskih sklonosti u namjeri
da stvaraju neπto πto nije samo glazba, ni
samo kazaliπte, niti su iskljuËivo likovna
otkriÊa. Debitirao je 1970. godine na
DubrovaËkim ljetnim igrama, a u njemu
se izmijenilo nekoliko umjetniËkih
naraπtaja te velik niz uglednih gostiju iz
svijeta.
U svojemu je neprekidnom istraæivanju
ACEZANTEZ prihvatio dragocjenu
suradnju domaÊih i inozemnih autora
koji su na najrazliËitije naËine poticali
umjetniËku πirinu njegova izraza. Brojni
nastupi u Europi, Americi i Aziji ansamblu su dali priliku da u dodiru s etniËki i
kulturno raznovrsnim zajednicama
stalno obogaÊuje vlastiti kreativni potencijal. Godine 1975. sastav je na Festivalu
Jugoslavenske radiotelevizije osvojio Nagradu Orfej kao najbolji komorni sastav
godine. Snimao je za radijske i televizijske postaje diljem svijeta te ostvario
bogat diskografski opus.
123
The Ensemble of the Zagreb Centre for
New Tendencies (ACEZANTEZ) was
founded forty years ago, when a group of
renowned musicians with multimedia
talents, led by Dubravko Detoni, came
together in order to create something beyond music, beyond theatre or beyond
visual arts. The group made their professional debut in 1970 at the Dubrovnik
Summer Festival and since then, several
generations of artists have participated
in their activities as well as a great number of prominent guest musicians from
around the world. Having been devoted
to continuous exploration, the ACEZANTEZ accepted with appreciation the collaboration of Croatian and foreign
authors who have inspired the artistic diversity of ensemble’s idiom in various
ways. The numerous performances in
Europe, the USA and in Asia have given
the ensemble the opportunity to enrich
their own creative potential in touch ethnically and culturally diverse communities. In 1975, the musicians won the
Orpheus Award at the Yugoslav Radio
and Television Festival as the best chamber ensemble of the year. They have
recorded for radio and television stations
around the world and released a large
number of sound recordings.
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Detoni
Dubravko
Dubravko Detoni (Kriæevci, 1937.)
diplomirao je glasovir (Svetislav StanËiÊ)
i kompoziciju (Stjepan ©ulek) na MuziËkoj akademiji u Zagrebu, a usavrπavao
se u Sieni (Guido Agosti, Alfred Cortot),
Varπavi (Witold Lutos_awski, Gra_yna
Bacewicz, Eksperimentalni studio
Poljskoga radija), Darmstadtu (György
Ligeti i Karlheinz Stockhausen) i Parizu
(John Cage). Autor je 130 opusa
orkestralne, komorne, solistiËke, vokalne
i elektroniËke glazbe, niza multimedijalnih projekata i eksperimenata, devet knjiga poezije i eseja, serijâ radijskih i
televizijskih emisija te mnogobrojnih
koncertnih i diskografskih komentara.
Dobitnik je niza nagrada i priznanja u
domovini i u inozemstvu. Djela su mu
izvoena na svim kontinentima, na najvaænijim svjetskim festivalima, tiskana u
domovini i inozemstvu te objavljena na
46 diskografskih izdanja. U njima se podjednako sluæi klasiËnim instrumentarijem i tekovinama elektroniËke glazbe, a u
teænji za obogaÊivanjem zvuka i proπirivanjem izraæajnih moguÊnosti Ëesto
kombinira oba zvukovna izvora.
Dubravko Detoni (Kriæevci, 1937) graduated in the piano (Svetislav StanËiÊ) and
composition (Stjepan ©ulek) from the
Zagreb Academy of Music, and continued with further studies in Siena (Guido
Agosti, Alfred Cortot), Warsaw (Witold
Lutos_awski, Gra_yna Bacewicz, the Experimental Studio of the Polish Radio),
Darmstadt (György Ligeti and Karlheinz
Stockhausen), and in Paris (John Cage).
His oeuvre includes 130 orchestral,
chamber, soloist, vocal, and electronic
works, a number of multimedia projects
and experiments, nine books of fiction
and essays, series of radio and television
programmes, as well as numerous commentaries on concerts and sound
recordings. He has received many
awards and honours in the country and
abroad. His works have been performed
on all continents and at the most important international festivals, they have
been published in Croatia and abroad
and released on 46 recordings. The author writes his music drawing on both
classical instruments and electronic
music devices, whereas his efforts to enrich the sound and expand the expressive potential result in his combining of
the two sources of sound.
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O svojim djelima Detoni je zapisao:
Djelo Od do (1976.) odvija se na traci
neprestana suprotstavljanja glazbe i
“neglazbe”, lijepoga i ruænoga, poetskoga i “nepoetskoga”, pokreta i
mirovanja, lirskoga i dramatiËnoga. To je
spirala lakog ruganja - ali i divljenja kiËu, slatkastom, ljepljivom, borniranom
s jedne strane i agresivnom, divljaËkom,
ruπilaËkom s druge. To je slika svijeta od gadnoga do divnoga i natrag - namjerno pokazana “praznim” naslovom koji
se Ëak i naopaËke Ëita isto. Zavrπnica
skladbe velik je prizor neobiËnih staklenih glazbala koja se, napuπtena od sviraËa, glasaju sama.
125
Detoni commented on his compositions
as follows:
The piece From - To, for chamber ensemble and electronics (1976) is carried
out on a line of constant juxtapositions
of music and “non-music”, the beautiful
and the ugly, the poetic and the “nonpoetic”, the moving and the inaction, the
lyric and the dramatic. It is a spiral of
easy mocking - and admiring - the
kitsch, which is cute, sticky, limited on
one side and aggressive, barbaric and
destructive on the other. It’s an image of
the world - from the disgusting to the
wonderful and back - intentionally
hinted at by the “empty” title, its original
Croatian title even read the same way
Monos III nastao je 1972. kao dio ciklusa from both sides. The finale of the piece is
a grand scene of unusual glass-made inskladbi (stvaranog od 1972. do 1982.) u
struments which, abandoned by the mukojima se uvijek drukËije istraæuje
sicians, make sounds by themselves.
poloæaj izdvojene i samostalne jedinke
zvuka suprotstavljene golemom konglomeratu akustiËke cjeline. To je studija I was composing Monos III in 1972 as
part of the cycle (coming into existence
jedinstvenog dessina minimalne difrom 1972 to 1982) in which the position
namike i kretanja, koji se neprestano,
iako jedva primjetno, pretapa i mijenja. of a detached and autonomous tonal enRadi se o nerjeπivu problemu samostalne tity juxtaposed to the huge conglomerate
of an acoustic unity is explored differakustiËke Êelije baËene u beskrajan i
ently. This is a study of the unique dessin
ravnoduπan kozmos tiπine. Δelija se
samopotvruje neprekidno dozivljuÊi iz of minimal dynamics and movement
which is constantly overlapping and
te tiπine, obojena uvijek drukËijim nijansama zvuËnosti; zatim dugo osluπkuje changing almost unnoticeably. This is
the matter of an insoluble problem resvoj odjek kao da posluπno nadzire
garding an independent acoustic cell
vlastiti nestanak.
thrown into the endless and indifferent
cosmos of silence. The cell reaffirms itself by calling out from the silence repeatedly, painted always with different
nuances of sonority; then listens attentively to its echo for quite some time as if
overseeing obediently its own disappearance.
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Skladba Follow Me (1993.) za komorni
sastav u kojemu solistiËku ulogu imaju
vibrafon i ksilofon, bavi se gradivom iz
autorova ranijeg ciklusa s brojkama,
posveÊenoga velikim virtuozima svojih
glazbala. Iako svaki od devet kratkih,
kontrastnih i meu sobom povezanih
stavaka postavlja pred solisticu drugi
glazbeni ili tehniËki problem, uloga je ostalih glazbala - vjernih ili podozrivo-zavidnih sjena, ovisno s koje se strane
gleda - u svim situacijama sliËna: podræati i ohrabriti solistiËki zvuk, namjernim ga, apsurdnim zakaπnjavanjima i
ubrzanjima obeshrabriti i zaustaviti,
trenutaËnim nadglasavanjima potaknuti
na joπ djelotvornije samostalne istupe.
Bajku (1973.) Ëine vokalno-instrumentalno-elektroniËke parafraze na konaËni
monolog Shakespeareova Macbetha (Tomorrow...), lirsku pjesmu To Daffodils
engleskoga pjesnika Roberta Herricka
(1591. - 1674.) te pripovijest slaboumna
Faulknerova junaka iz Krika i bijesa. U
srediπtu pozornosti trinaest povezanih
kontrastnih ulomaka nalazi se rijeË laæan i nevjeran, isprazan rekvizit,
metafora straviËna apsurda koji nas
okruæuje - no nijedna nije jasno izgovorena. Tek na kraju djela postaje oËito da
je ponavljani krik tek privid prave rijeËi,
onomatopeja poruke i smisla koji zapravo ne postoje.
The composition Follow Me (1993) for
chamber ensemble, in which the solo
parts are played by the vibraphone and
xylophone, deals with the material from
the composer’s earlier cycle with numbers, dedicated to the great virtuosos on
their instruments. Although each one of
the nine short, contrasting and interconnected movements demands from the
female soloist to tackle a different musical or technical problem, whereas the
role of other instruments - loyal or suspicious and envious shadows, depending
on the point of view - is similar in all situations: to support and encourage the
solo sound, to discourage and stop it
with deliberate and absurd delay and
haste, to instigate even more efficient
solo appearances with instantaneous
overruling.
A Fairy Tale (1973.) consists of vocal-instrumental-electronic paraphrases: of
Macbeth’s final monologue, by Shakespeare (Tomorrow…), the lyrical poem
To Daffodils, by the English poet Robert
Herrick (1591-1674) and the story of a
simple-minded hero from Faulkner’s
The Sound and the Fury. At the centre of
attention, in these thirteen contrasting,
but mutually connected, fragments,
there lies the word - a false and unfaithful, vain prop, the metaphor of the
dreadful absurdity we are surrounded by
- but no word is intelligibly said out loud.
Gimnastika za grupu - zapoËeta 1974. i u It is only at the end of the piece that it
svakoj festivalskoj prigodi prikazivana u becomes obvious how the repeated cry is
but an illusion of the real word, the onodrukËijem i novom obliku, pri Ëemu su
matopoeia of a message and of a sense
zapaæene bile njezine verzije u sklopu
that do not really exist.
manifestacija Festival of Arts u perzijskom Shirazu i Persepolisu - ne zahtiI started to compose the piece Group
jeva fiziËku, veÊ psiholoπku, estetsku,
Gymnastics in 1974 and each festival
ideoloπku gimnastiku. Taj projekt, koji
performance saw it in a different and
joπ uvijek traje i nikad neÊe zavrπiti,
new form, prominent among them being
otvorena je knjiga vjeæbi u drukËijem
the versions played at the Festival of Arts
miπljenju, poniπtavanju parametara,
126
127
in the Iranian cities of Shiraz and Persepolis. The composition does not demand
physical, but rather psychological, aesthetic and ideological gymnastics. This
project, which is still under way and will
never be completed, represents an open
book of exercises in different opinions,
PosuivaË suza i smjehova za æenskog i annihilation of arguments, forgetting the
djeËjeg solista, komorni sastav i elektron- rules and in a deliberate misinterpretation of memories. In doing so, the repetiiku, projekt je u nastanku koji se razvija
od godine 2008., potaknut ulomcima iz
tion of ideas is inevitable, as well as a
triju knjiga djeËje poezije Dubravka
contribution of folklore (of a very old
Detonija (Glasovir na koturaljkama,
provenance) aimed at the enrichment of
DimnjaËar briπe kuÊi nos i NoÊni sviraË), the cosmopolitan musical texture.
a naslov nosi prema pjesmi iz zbirke
NoÊni sviraË. Prvenstveno potaknut zam- The composition A Borrower of Tears
rπenim i opasnim, zapravo
and Laughs, for female and child
nedefinirljivim odnosom izmeu djece i soloists, chamber ensemble and elecroditelja, projekt stupa na podruËje
tronics, is a work-in-progress which was
beskrajnih moguÊnosti meusobnoga
first developed in 2008, inspired by the
pretapanja rijeËi, govora, zvuka i pokreta excerpts from the three books of chils posebnim osvrtom na djetinjski pondren’s poetry by Dubravko Detoni
avljajuÊe, imitacijsko, ojeËeno obo(Piano of the Roller Skates, A Chimney
gaÊenje izraza.
Sweep Blows the House’s Nose and The
Night Musician) and entitled after a
poem from the collection The Night Musician. Having been inspired by the complicated and dangerous, in fact
indefinable relationship between children and their parents, the project discovers a sphere of the infinite
possibilities of overlapping words, utterances, sounds and movements with a
special attention to the child-like repetitive, imitational and resounding enrichment of the expression.
zaboravljanju pravila i namjerno
pogreπnom prisjeÊanju. Pritom je nezaobilazna uloga ponavljanja zamisli, kao i
udio folklora (veoma stare provenijencije) pri obogaÊivanju kozmopolitskoga
glazbenog sloga.
month
19
4
dan
mjesec
hour
22:30
nedjelja / sunday
sat
Ivana BiliÊ
day
Ivana BiliÊ (Zagreb, 1970.) diplomirala je
(1993.) na MuziËkoj akademiji u Zagrebu
u razredu Igora Leπnika, a usavrπavala se
na majstorskim teËajevima kod Keiko
Abe, Siegfrieda Finka, Klausa Tresselta i
Jeana Geoffroya. »lanica je mnogih komornih sastava, a od 1996. i prva timpanistica Simfonijskog orkestra HRT-a.
SolistiËki je nastupala diljem Hrvatske i
inozemstva, suraivala je s poznatim
hrvatskim i europskim orkestrima te se
uspjeπno pojavljivala na mnogim festivalima. Godine 1998. dobila je Nagradu
Hrvatske glazbene mladeæi Ivo VuljeviÊ
za najboljega mladoga glazbenika godine, a 2004. Nagradu HDGU-a Milka
Trnina. Objavljena su joj tri CD-a od
kojih je za dva (2001. i 2004.) osvojila Nagradu Porin. Docentica je na zagrebaËkoj
Ivana BiliÊ (Zagreb, 1970) graduated
from the Zagreb Academy of Music in
the class of Igor Leπnik in 1993, and continued with further studies at the master
classes conducted by Keiko Aba,
Siegfried Fink, Klaus Tresselt, and Jean
Geoffroy. He plays with many chamber
ensembles and in 1996, she became the
principal timpanist of the Croatian Radio
and Television Symphony Orchestra. She
has appeared as a soloist in Croatia and
abroad, has worked with renowned national and European orchestras, and has
given successful performances at various
festivals. In 1998, she was presented with
the Ivo VuljeviÊ Award of the Jeunesses
Musicales Croatia as the best young musician of the year, and in 2004, she won
the Milka Trnina Award given by the
128
MuziËkoj akademiji i redovito odræava
majstorske teËajeve i seminare. Autorica
je nekoliko skladba za marimbu i duo
marimbi, koje je objavila ameriËka izdavaËka kuÊa Malletworks.
“Traæim pravo prvo
Neprestano nekako drugo
Uz ovdje moje
Naem drugaËije tvoje
Svakako svoje
Svidjela mi se viπeznaËnost i
neodreenost engleske rijeËi OTHER
(drugi, drukËiji, dodatni u svojstvu pridjeva, imenice ili zamjenice). Skrivanje i
prikrivanje, potraga, nemir... Godine i
putovanja πto sam ih prevalila s
ACEZANTEZ-om odreuju i moj put i
sklonosti iskuπavanju raznih stilova i
novih, drugih, drukËijih ili zaboravljenih
muzika - igra u troje, valcer, ponekad
gimnastika, glazba bijela ili crna. »arolija
ACEZANTEZ-a i njegova umjetniËkog
laboratorija, trenutaka mijeπanja naπih
vremena, otkucaja, dahova i krikova.”
[Ivana BiliÊ]
129
Croatian Association of Musicians. She
has three CDs released, the two of which
(in 2001 and 2004) won the Porin Award.
She works as a senior lecturer at the Zagreb Academy of Music and holds master classes and seminars on a regular
basis. Ms. BiliÊ also composed several
works for marimba and marimba duo,
which were released by the publishing
company Malletworks.
“I am looking for the true first
Which is continually other somehow
Here with mine
I found the different yours
Certainly one’s own
I liked the ambiguity and indefiniteness
of the English word OTHER (different,
additional in terms of adjective, determiner or pronoun). The hiding and disguising, a search, agitation… The years I
spent and journeys undertaken with the
ACEZANTEZ also determine my path
and my inclination to try out diverse
styles as well as new, other, different or
forgotten pieces of music - such as plays
in threes, a waltz, gymnastics sometimes, and black or white music. This is
the magic of ACEZANTEZ and its artistic
laboratory, the moments when our
times, beats, breaths and yells blended.”
[Ivana BiliÊ]
day
month
19
4
dan
mjesec
hour
22:30
nedjelja / sunday
sat
Multiinstrumentalist, dirigent, skladatelj
i aranæer Saπa NestoroviÊ, (Zagreb,
1964.) zavrπio je MuziËku akademiju u
rodnom gradu. Osvojio je mnogobrojne
nagrade kao πto su Darko LukiÊ, Milka
Trnina (sa ZagrebaËkim kvartetom saksofona), Judita i druge. Od godine 1989.
stalni je Ëlan ZagrebaËkog kvarteta saksofona. Godine 1999. prvi je put nastupio
s ansamblom ACEZANTEZ. Istodobno
djeluje i kao jazz-glazbenik. Priznanja
Hrvatske glazbene unije za najistaknutijeg tenor- i sopran-saksofonista potvrdio
je 1999. godine sudjelovanjem u Big
Bandu Europske radijske unije (EBU),
gdje je predstavljao Hrvatsku. Dirigent je
i solist Big Banda Hrvatske radiotelevizije
te Ëlan brojnih priznatih hrvatskih jazzsastava. Obradio je, meu ostalim, i niz
klasiËnih skladbi za saksofonski kvartet.
Docent je na MuziËkoj akademiji u Zagrebu.
“Zamisao o skladbi 3D STEPS razvija se
od veljaËe 2007., kada sam u Moskvi nastupio na Dræavnom zavodu za estradu i
jazz. U diskusiji nakon koncerta bilo je
zakljuËeno da najveÊi dæezisti nikad ne
sviraju u istom ritmu, a istodobno i
paniËno bjeæe jedan od drugoga u πto je
moguÊe udaljenije tonalitetne situacije.
Podjela dviju oktava na tri jednaka dijela,
joπ uvijek je znak ‘viπega reda’; velike
stube ne prestaju se spuπtati u beskrajne
podrume u kojima samuje zapuπtena,
zarobljena zvijer s tri lica i beskrajno
mnogo prstiju, zvijer trenutne glazbe.”
[Saπa NestoroviÊ]
Multiinstrumentalist, conductor, composer and arranger, Saπa NestoroviÊ (Zagreb, 1964) graduated from the Academy
of Music (1989) in his hometown. He has
received many awards, such as the
Darko LukiÊ, Milka Trnina (won together
with the Zagreb Saxophone Quartet), Judita Awards, and others. In 1989, he
joined the Zagreb Saxophone Quartet. In
1999, he had a debut performance with
the ACEZANTEZ ensemble. He also pursues his career as a jazz musician. The
recognition won by the Croatian Music
Union for the most prominent tenor and
soprano saxophonist was further confirmed in 1999, when he played with the
EBU Big Band representing Croatia. He
is a conductor and soloist of the Croatian
Radio Television Big Band as well as a
member of many renowned Croatian
jazz ensembles. He arranged, among
other things, a number of classical compositions for a saxophone quartet.
NestoroviÊ took up the post of senior lecturer at the Zagreb Academy of Music.
“The idea of writing the piece 3D began
to develop in February 2007, when I performed at the Moscow National Institute
for Entertainment and Jazz. In a discussion after the concert, the conclusion
was drawn that the greatest jazz artists
never play in the same rhythm and at the
same time are desperate to detach from
one another in as distant tonalities as
possible. An equal division of two octaves into three parts is still a sign of the
“higher order”; the large stairs keep descending to the endless basements in
which a neglected and trapped threefaced beast with an infinite number of
fingers, a beast of instantaneous music
lives a solitary life.[Saπa NestoroviÊ]
130
Marina Kostelac (Zagreb, 1971.)
diplomirala je glumu na zagrebaËkoj
Akademiji dramske umjetnosti. Jednu je
godinu studirala glumu u Sarajevu, a usavrπavala se na raznovrsnim majstorskim
teËajevima za glumu, ples i pantomimu.
Debitirala je godine 1993. u zagrebaËkom Teatru ITD u predstavi Katarina
Zrinska od Frankopana. »lanica je ZagrebaËkoga kazaliπta lutaka, a redovito
surauje i s drugim zagrebaËkim kazaliπtima, s HNK Ivana pl. Zajca u Rijeci te s
INK u Puli. »esto nastupa na televiziji i
filmu. Solistica je (od 1998.) ansambla
ACEZANTEZ i Ëlanica Actor’s studija u
Zagrebu. Dobitnica mnogih nagrada i
priznanja, osnovala je vlastito kazaliπte
Max teatar, u kojemu producira i glumi,
a nedavno je i napisala i reæirala novi
djeËji hit Crvenkapica.
Max Kostelac (Rijeka, 1999.), sin Marine
Kostelac, do svoje je sedme godine æivio
u Zagrebu, a onda se s roditeljima preselio u ZapreπiÊ, u kojemu je danas izvrstan
uËenik treÊega razreda osnovne πkole.
Ljubitelj kazaliπta i filma, uspjeπno
sinkronizira crtiÊe i aktivan je Ëlan Fotokino-video kluba ZapreπiÊ.
131
Marina Kostelac (Zagreb, 1971) graduated in acting from the Zagreb Academy
of Dramatic Art; she spent a year studying in Sarajevo, and continued with further studies at various master classes in
acting, dance and pantomime. She made
her professional debut in the play Katarina Zrinska at the Zagreb &TD Theatre
in 1993. She works at the Zagreb Puppet
Theatre and regularly appears in the
plays in other Zagreb theatres, in Rijeka
and in Pula. She also works on television
and on film. Kostelac is a soloist (since
1998) of the ACEZANTEZ ensemble and
a member of the Zagreb Actors’ Studio.
Her creative work has earned her many
awards and honours, she founded her
own theatre company, Max Theatre,
working as a producer and actress. She
wrote and directed a new play Little Red
Riding Hood recently.
Max Kostelac (Rijeka, 1999), the son of
Marina Kostelac, lived in Zagreb until he
was seven, and then moved to ZapreπiÊ
with his parents. He is an excellent thirdgrade student in the local primary
school. As a theatre and film aficionado,
he lends his voice to cartoon characters
successfully and is an active member of
the ZapreπiÊ Foto-Cinema-Video Club.
Milko Kelemen
day
month
19
4
dan
mjesec
hour
22:30
nedjelja / sunday
sat
Having graduated from the Zagreb Academy of Music in the class of Stjepan
©ulek, Milko Kelemen (Slatina, 1924)
continued with further composition
studies in Paris (Olivier Messiaen) and
Milko Kelemen (Slatina, 1924.) po zavrπetku studija na MuziËkoj akademiji u Freiburg (Wolfgang Fortner). In 1955, he
began to participate regularly in the
Zagrebu, kod Stjepana ©uleka, nastavio
Summer Courses in New Music in Darmje uËiti kompoziciju u Parizu (Olivier
stadt. He founded the Music Biennale
Messiaen) i Freiburgu (Wolfgang FortZagreb, and presented himself with yet
ner). Od 1955. redovito sudjeluje u ljetanother international festival of contemnim TeËajevima za novu glazbu u
Darmstadtu. Pokrenuo je MuziËki bien- porary music for his 70th birthday, the
one in his hometown of Slatina. He purnale Zagreb, a za svoj 70. roendan
darovao si je joπ jedan meunarodni fes- sued his teaching career at the Zagreb
tival suvremene glazbe i to u rodnoj Sla- Academy of Music, at the Düsseldorf and
tini. Pedagoπkim radom bavio se na
Stuttgart Universities. As a visiting proMuziËkoj akademiji u Zagrebu te na
fessor, he taught at the Hans Eisler AcadsveuËiliπtima u Düsseldorfu i Stuttgartu. emy in Berlin and at Yale University, etc.
Kao gostujuÊi profesor predavao je,
He has received numerous awards and
izmeu ostaloga, na Akademiji Hans
honours for his creative work, and was
Eisler u Berlinu i SveuËiliπtu Yale. Primio elected a corresponding member of the
je brojne nagrade i odlikovanja te je
Croatian Academy of Arts and Sciences.
dopisni Ëlan HAZU. Skladbe su mu dos- His compositions have been published
tupne u izdanjima izdavaËkih kuÊa Uni- by Universal-Edition Schott, Peters,
versal-Edition Schott, Peters, Schirmer,
Schirmer, and Sikorski, while his works
Sikorski, a snimke njegovih djela objavl- have been released on more than one
jene su na viπe od stotinu nosaËa zvuka. hundred sound recordings. He wrote the
Autor je knjiga Poruka pateru Kolbu i Sv- books A Message to Father Kolb and The
jetlost zvuka. O njemu su snimljena Ëetiri Light of Sound. He is the subject of four
biografska filma.
biographic films.
132
Sve stilove i tehnike koji su se zavodljivo
nudili u izlozima glazbe naπe suvremenosti Kelemen je odmjerio, odabrao,
zaboravio i birao nove. Gotovo da bi se
cijela povijest glazbe druge polovine
proπlog stoljeÊa mogla ispripovijedati na
primjeru velikog opusa koji je prihvaÊao,
reagirao, Ëak i anticipirao sve vaæne pojave uzbudljive i nepredvidive povijesne
glazbene avanture. Od zamiπljenog folklora sljubljenog s ekspresionizmom, totalne serijalizacije, aleatoriËkih igri do
postmodernih novih artikulacija
tonaliteta, uvijek je skladateljski instinkt
taj koji korigira strogost zadanih stilskotehniËkih okvira, intuicija ta koja ga
izmiËe opasnosti od bezliËnosti. [Ivana
Kocelj]
Verbalni projekt Yebell (1972.) posveÊen
je Dubravku Detoniju i njegovu
ACEZANTEZ-u, koji ga je (uz sudjelovanje autora) praizveo na Festivalu
Slatina-Radenci. RijeË je o improviziranom procesu pretvaranja rijeËi uglavnom grubosti i psovki na svim
jezicima, kao osebujnom odjeku suvremenoga svijeta - u zvukove, pri Ëemu se
najopsceniji izrazi postupno pretvaraju u
njeænosti i obratno.
133
All the styles and techniques that were
offered alluringly at the stands of contemporary music were observed, picked,
forgotten and then picked again by Kelemen. His entire oeuvre would suffice to
give an account of an almost complete
history of music in the second half of the
20th century, since the composer accepted, reacted to, and even anticipated
all the major phenomena of that exciting
and unpredictable musical adventure in
history. Ranging from the imagined folklore blended with expressionism, absolute serialism, and aleatoric plays to
postmodern new tonal articulations, it is
always the composerly instinct that has
corrected the rigidity of the defined stylistic and technical frames, that has
helped him dodge the risk of becoming
drab. (Ivana Kocelj)
The verbal project Yebell (1972) is dedicated to Dubravko Detoni and his
ACEZANTEZ ensemble that gave the premiere performance (with participation
from the composer) at the SlatinaRadenci Festival. This is an improvised
process dealing with the transformation
of words - mostly rude and vulgar words
in all languages as a distinctive echo of
modern world - into sounds, thus gradually turning the most obscene words into
tenderness and vice versa.
day
month
19
4
dan
mjesec
hour
22:30
nedjelja / sunday
sat
SakaË
Branimir
Jedan od najistaknutijih predstavnika
novije hrvatske glazbe Branimir SakaË
(1918. - 1979.) diplomirao je (1941.) kompoziciju u razredu Franje Dugana na
MuziËkoj akademiji u Zagrebu. Kao pedagog djelovao je na Dræavnoj muziËkoj
πkoli (danas Glazbenoj πkoli Vatroslava
Lisinskoga) u Zagrebu te na Akademiji
umetnosti u Novom Sadu, a kao glazbeni
urednik (povremeno i dirigent) na
Radio-Zagrebu i Radio-Rijeci. Hrvatsku
je glazbu zaduæio smjelim i
osmiπljenim traæenjem novih
izraæajnih sredstava, od prvih u nas
konkretno-elektroniËkih pokuπaja, preko
vaænih otkriÊa u biljeæenju zvukovnih
zbivanja pa do teoretskih i praktiËkih razotkrivanja novih moguÊnosti glazbene
scene, kao i izradbom ciklusa djela trajne
vrijednosti, orkestralnih, vokalnih i komornih. Godine 1964. utemeljio je Jugoslavensku muziËku tribinu u Opatiji, u
sklopu koje je osnovao i MuziËki informativni centar te je istodobno bio i
jedan od utemeljitelja MuziËkoga biennala Zagreb, s kojim je suraivao od
1961. do 1973., pri Ëemu je posljednje
dvije godine bio i njegov umjetniËki direktor.
One of the most prominent representatives of Croatian new music, Branimir
SakaË (1918-1979), graduated in composition (1941) from the Zagreb Academy
of Music in the class of Franjo Dugan. As
a teacher, he worked at the National
School of Music (today the Vatroslav
Lisinski School of Music) in Zagreb and
at the Novi Sad Academy of Arts. He also
worked as a music editor (occasionally as
a conductor as well) at the Zagreb Radio
and Rijeka Radio. His efforts will be preserved for posterity, starting from his audacious and meaningful search for new
expressive devices, since he was the first
in the country to make concrete attempts in electronic music, then important discoveries in the marking of tonal
processes, to theoretical and practical
revelations regarding the new possibilities of stage performances, also including an invaluable oeuvre of orchestral,
vocal and chamber compositions. In
1964, he founded the Yugoslav Music
Festival in Opatija, establishing the
Music Information Centre as part of the
event, and was one of the founders of the
Music Biennale Zagreb to which he contributed in the period from 1961 to 1973.
He was also the artistic director of the
1971 and 1973 Biennale.
134
Skladba za æenski glas i komorni sastav
Barasou (1971.) posveÊena je Dubravku
Detoniju i sastavu ACEZANTEZ, koji ga je
izveo veÊ petstotinjak puta. Na
praizvedbi je solistiËku dionicu izvodila
slavna altistica Marijana Radev. Djelo je
potaknuto Baladom o πtakorima i miπevima (Balade des rats et souris) srednjovjekovnoga francuskog pjesnika,
dvorjanina, πtitonoπe i kraljeva peharnika Eustachea Deschampsa (oko
1346. - 1406.). Motiv iz Stogodiπnjeg rata
izmeu Francuza i Engleza, ironiËno-alegorijski monolog djevojke koja s druge
obale promatra i magiËnim formulama
odbacuje neprijateljsku vojsku, izraen
je u nekoliko izraæajnih razina, sa zanimljivim, nerijetko bizarnim prepletanjem vokalnoga i instrumentalnoga,
arhaiËnoga i modernoga, lirskoga i zastraπujuÊega.
135
Barasou (1971), for a female voice and
chamber ensemble, is dedicated to
Dubravko Detoni and the ACEZANTEZ
ensemble that has given over 500 performances of the composition. At the
premiere, the solo part was sung by the
famous alto Marijana Radev. The piece
draws on the Ballad of Rats and Mice
(Balade des rats et souris) of the medieval
French poet, courtier, and shield-bearer
Eustache Deschamps (around 13461406). The motif of the Hundred Years
War between France and England, an
ironically allegorical monologue of a girl
who watches from the other bank and
uses a magic spell for defence against the
enemy, consists of several expressive
levels with interesting, often bizarre, interweaving of the vocal and the instrumental, the archaic and the modern, of
the lyrical and the scary.
day
month
ponedjeljak / monday
20 4
17:00, Mimara
PROCES - MUZIKA / PROCESS - MUSIC
Alessandro Bossetti, koncert / concert
Alexander García Düttmann,
predavanje / lecture
20:00, Mimara
Koncert ciklusa Sfumato / Sfumato concert cycle
Zbor Hrvatske radiotelevizije /
Croatian Radio Television Choir
TonËi BiliÊ, dirigent / conductor
22:00, &TD
Barbara Lüneburg, violina / violin
&
Wouter Snoei, elektronika / electronics
day
month
20
4
dan
mjesec
hour
17:00
sat
17:00, Mimara
PROCES - MUZIKA / PROCESS - MUSIC
Alessandro Bossetti, koncert / concert
Alexander García Düttmann,
139
Düttmann
García
Alexander
138
Alexander García Düttmann (1961.) je
njemaËki filozof i profesor filozofije i
vizualne kulture na Koledæu Goldsmiths
pri SveuËiliπtu u Londonu. Njegova su
proπla istraæivanja usmjerena prema
odnosu izmeu jezika i povijesti kod
autora poput Adorna, Benjamina i Heideggera. Bavio se pitanjem politiËke razgradnje - posebno u kontekstu politike
identiteta (aktivizam vezan uz AIDS i
viπekulturalnost). Düttmann je viπe puta
na vrlo originaln naËin nastojao raspravljati o odnosu izmeu filozofije i pretjerivanja (s osobitim obzirom na
ËinjeniËnost, istinu i povjerenje).
U novije je vrijeme prouËavao filmove
Luchina Viscontija u svjetlu Adornove
zamisli da put prema utopiji nikad nije
zaprijeËen stvarnim veÊ moguÊim, a
njegovo najnovije objavljeno djelo daje
kratki pregled same zamisli razgradnje.
Njegovo je trenutaËno istraæivanje usredotoËeno na koncept sudjelovanja u umjetnosti. Uz svoj filozofski i akademski
angaæman, Düttmann je suraivao s fotografkinjom Rut Blees na knjizi iz koje je
proiziπao libreto komorne opere izvedene u Zavodu za suvremene umjetnosti u
Londonu. Düttmann je proglaπen najplodnijim Adornovim nasljednikom u
podruËju estetike koji se osobito odlikuje
svojom ustrajnoπÊu u produbljivanju
filozofske misli.
Alexander García Düttmann (1961) is a
German philosopher and a professor of
philosophy and visual culture at Goldsmiths College, University of London.
His past research has been focused on
the relationship between language and
history in authors such as Adorno,
Benjamin and Heidegger. He addressed
the question of political deconstruction especially in the context of identity politics (AIDS activism, recognition and
multiculturalism). Düttmann made
several original attempts at discussing
the relationship between philosophy and
exaggeration (particularly with respect to
factuality, truth and trust). Recently, he
has analyzed Luchino Visconti’s films in
the light of Adorno’s idea that it is never
the real but always the possible that
blocks the path to utopia, while his latest
publication outlines the very idea of
deconstruction. His current research
centers on the concept of participation
in art. In addition to his philosophical
and academic output, Düttmann has
been collaborating with photographer
Rut Blees on a book that led to creation
of the libretto for a chamber opera
performed at the ICA in London. García
Düttmann has been called the most productive heir of Adorno within aesthetics,
particularly characterized by his insistent
depth of philosophical reflection.
day
month
20
4
dan
mjesec
hour
17:00
sat
Bossetti
Alessandro
Alessandro Bossetti (1973.) je skladatelj,
saksofonist i audio umjetnik. Njegova se
djela bave muzikalnoπÊu izgovorenih rijeËi i neobiËnim vidovima govorne komunikacije. Ostvario je i djela temeljena
na tekstu i zvuku koja su izvedena uæivo,
emitirana na radiju i snimljena na
nosaËima zvuka u nakladniπtvu diskografskih kuÊa koje se bave eksperimentalnom glazbom. U svojemu se radu
kreÊe izmeu zvukovne antropologije i
skladanja, Ëesto ukljuËujuÊi prijevod i
pogreπno tumaËenje u stvaralaËkom
postupku. Terenska istraæivanja i razgovori Ëesto Ëine osnovu njegovih apstraktnih skladbi zajedno s elektroakustiËnim i
akustiËnim kolaæima, strategijama
odnosa, uvjeæbanim i neuvjeæbanim
postupcima sviranja, istraæivanjima
glasa i digitalnom manipulacijom. Kao
saksofonist razvio je osebujan instrumentalni jezik koji ukljuËuje proπirene
tehnike, πumove i snaæan utjecaj elektroniËke glazbe. Nastupao je u svim europskim zemljama, zatim u SAD-u i
Japanu. Æivi i radi na relaciji Berlin-Milano-Baltimore. Predavao je u UmjetniËkom zavodu u Chicagu, na Koledæu
Mills, SveuËiliπtu u Marylandu, Dræavnom sveuËiliπtu Jiao-Tong u Taipeiu i u
Kalifornijskom zavodu za umjetnost.
Alessandro Bossetti (1973) is a composer,
saxophone player and sound artist. His
works are focused on the musicality of
spoken words and unusual aspects of
spoken communication. Bosetti has also
produced text-sound compositions
featured in live performances, radio
broadcastings and recordings for labels
of experimental music. In his work, he
moves along the line between sound
anthropology and composition often
including translation and misunderstanding in the creative process. Field
research and interviews often build the
basis for his abstract compositions along
with electro-acoustic and acoustic
collages, relational strategies, trained
and untrained instrumental practices,
vocal explorations and digital manipulations. As a saxophonist he has developed
an original instrumental language that
incorporates extended techniques,
noises, and a strong influence from
electronic music. He has performed
around Europe, in the USA, and Japan.
He lives and works between Berlin,
Milano and Baltimore. Bosetti has lectured
at Art Institute of Chicago, Mills College,
University of Maryland, National Jiao-Tong
University Taipei and California Institute
of the Arts.
140
141
day
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20:00, Mimara
Koncert ciklusa Sfumato / Sfumato concert cycle
Zbor Hrvatske radiotelevizije / Croatian Radio
Television Choir
TonËi BiliÊ, dirigent / conductor
Arvo Pärt: Kanon pokajanen / Kanon pokajanja / The Canon of Repentance
Oda / Ode I
Oda / Ode II
Oda / Ode III
Oda / Ode IV
Oda / Ode V
Oda / Ode VI
Kontakion
Ikos
Oda / Ode VII
Oda / Ode VIII
Oda / Ode IX
Molitva nakon Kanona / A Prayer Following the Canon
Kadele: Pokajanje - Repentance, izloæba / exhibition
143
(C) Universal Edition / Eric Marinitsch
Arvo Pärt
142
Arvo Pärt (Paide, 1935.) studirao je
kompoziciju na Konzervatoriju u Talinu
i radio na Estonskom radiju. Godine
1982. prebjegao je iz Sovjetskog Saveza u
BeË pa u Zapadni Berlin, gdje je i ostao.
Istraæivao je serijalne tehnike i aleatoriku
te zatim rabio tehniku kolaæa. Od sredine
1970-ih rabi novi, vlastiti stil - tintinabulizam: “Otkrio sam da je dovoljno kad je
jedna nota prekrasno odsvirana. Radim s
vrlo malo elemenata i gradim primitivnim
materijalima - trozvucima, a tri note iz
trozvuka su poput zvona” (lat. tintinnabulum - malo zvono). Tintinabulacija
(inaËe rijeË koju je moæda izmislio Edgar
Allan Poe da opiπe zvonjavu) u osnovi je
tretiranje simultanih dionica kao jedne,
pri Ëemu se jedna kreÊe oko centralnog
tona, a druga izvodi note iz trozvuka. Taj
je trozvuk najËeπÊe zvukovna okosnica
djela, od koje se rijetko odstupa.
Arvo Pärt (Paide, 1935) studied
composition at the Talinn Conservatory
and worked for the Estonian Radio. In
1982, he emigrated from the Soviet
Union, to Vienna and then to West
Berlin, where he stayed. He explored
serial techniques and aleatorics and used
collage techniques. Since the 1970s he
has used a new style of his own tintinnabuli: „I have discovered that it is
enough when a single note is beautifully
played... I work with very few elements
and I build with primitive materials with the triad. The three notes of a triad
are like bells (Lat. tintinnabulum - a little
bell). Tintinnabulation (a word probably
coined by Edgar Allan Poe to describe
the ringing of bells) is in fact the composing two simultaneous voices as one
line - one voice moving stepwise from
and to a central pitch, the other sounding the notes of the triad. This triad usually provides the tonal fundament of a
piece and is rarely relinquished.
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Pärt Ëesto piπe na religijske tekstove, πto
je sluËaj i s djelom Kanon pokajanja,
skladbom koju je njemaËki publicist Uwe
Schweikert nazvao djelom “πture, bolne
ljepote”. Tekst Kanona pripisan je Andriji
s Krete (6. / 7. stoljeÊe), a rijeË je o dijelu
pravoslavne sluæbe koji se izvorno izvodio
ujutro, kako se u samostanima joπ radi.
Simbolizira transformaciju, prijelaz iz
noÊi u dan, staroga u novo. Izvodi se u
mraku uz svijeÊe i tek kada zavrπi otvaraju
se vrata kako bi se pripustilo svjetlo.
Djelo je naruËeno uz 750. godiπnjicu
katedrale u Kölnu (1998.) i posveÊeno je
Estonskom filharmonijskom zboru i
njihovu dirigentu Tõnuu Kaljusteu, koji
su djelo i praizveli te ga jedini snimili. U
povodu tog izdanja Pärt je rekao da ga je
taj tekst dugo “dræao” jer je bio impresioniran njime i prije nego πto ga je razumio. Dijelove je upotrijebio u drugim
skladbama, a cijeli Kanon pokajanja
skladao je pune dvije godine. “Vrijeme
koje smo proveli zajedno doista me obogatilo”, rekao je, “… kao i u mnogim
drugim djelima, poπao sam od teksta.
Æelio sam da rijeËi pronau vlastiti zvuk i
ocrtaju vlastitu melodijsku liniju (…).
Kanon mi je pokazao koliko odabir jezika
odreuje karakter nekog djela, Ëak Ëitavu
strukturu.”
Pärt often sets religious texts to music, as
was the case with the Canon of Repentance, a pieces describe by the German
critic Uwe Schweikert as a work of
„austere, painful beauty“. The text of the
Canon is believed to have been written
by Andrew of Crete (6th/7th century) and
it it’s part of the Orthodox service originally performed at the break of day, as is
still a custom in monasteries. It is a symbol of the border between night and day,
old and new. It is performed in semidarkness, with candles and only after it’s
finished do the doors open to let in the
light from the outside.
The work was written when Pärt was
commissioned to write a piece
commemorating the 750th anniversary
(in 1998) of the building of the Cologne
Cathedral. It was dedicated to the Estonian Philharmonic Choir and their conductor Tõnu Kaljuste who premièred the
work. On the occasion of this recording,
Pärt remarked that the text of the Canon
had kept a firm grip on him for a long
time, as it had made a profound impression on him before he was even able to
understand it. Two choral compositions
were the first attempts to approach the
canon and it took over two years to compose the whole work. „The time we spent
together was extremely enriching“, he
said, „...as in many of my works, I tried to
use language as a point of departure. I
wanted the word to be able to find its
own sound, to draw its own melodic
line... The Canon has shown me how much
the choice of language predetermines
the character of a work, so much so, in
fact, that the entire structure of the musical composition is subject to the text.“
145
TonËi BiliÊ
144
TonËi BiliÊ (Split, 1969.) uspjeπno nastupa
na koncertnim pozornicama, ravna
opernim i baletnim predstavama, a s
raznorodnim sastavima izvodi djela u
rasponu od renesanse do suvremene
glazbe. Dirigiranje je diplomirao na
zagrebaËkoj MuziËkoj akademiji u
razredu Pavla Deπpalja, kod kojega je
zavrπio i poslijediplomski studij. Bio je
dobitnik Rektorove nagrade SveuËiliπta u
Zagrebu i stipendist Zaklade Lovro &
Lilly MataËiÊ, a usavrπavao se kod
Ronalda Zollmana. Debitirao je (1992.) u
HNK u Zagrebu kao dirigent u multimedijskom projektu Osman. Djelovao je
kao dirigent u Operi HNK Ivana pl. Zajca
u Rijeci. Od godine 2000. producent je
Koncertne dvorane Vatroslava Lisinskoga
u Zagrebu, od 2005. njezin umjetniËki
ravnatelj, a donedavno i vrπitelj duænosti
ravnatelja. Od godine 1997. stalni je dirigent, a od 2005. πef-dirigent Zbora
Hrvatske radiotelevizije. UmjetniËki je
ravnatelj njegova ciklusa Sfumato.
TonËi BiliÊ (Split, 1969) performed
successfully in concerts, conducted
opera and ballet plays, and with various
orchestras rendered compositions from
renaissance to contemporary music. He
graduated in conducting from the Music
Academy in Zagreb in the class of Pavao
Deπpalj with whom he also finished
post-graduate studies. He was the winner
of the University of Zagreb Chancellor’s
Award and a scholar of Lovro & Lilly
MataËiÊ Foundation, and perfected his
professional experience with Ronald
Zollman. He made his debut (1992) at
the Croatian National Theatre in Zagreb
as a conductor in the multimedia project
Osman. He worked as a conductor at the
Opera of Croatian National Theatre Ivan
pl. Zajc in Rijeka. From 2000 he has been
working as a producer of Concert Hall
Vatroslav Lisinski in Zagreb where in
2005 he became the artistic director and
a head director-subsitute. In 1997 he
became the regular conductor and in
2005 the chief-conductor for the Croatian
Radio-Television Choir. He is the artistic
director of the Choir’s music cycle Sfumato.
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NastavljajuÊi tradiciju ZagrebaËkih
madrigalista, Zbor Hrvatske radiotelevizije utemeljen je Ëetrdesetih godina
proπloga stoljeÊa. Isprva komorni
ansambl pod vodstvom Mladena PozajiÊa, a zatim Slavka ZlatiÊa, s vremenom
je prerastao u prvi profesionalni zbor u
Hrvatskoj. Njegov je umjetniËki identitet
oblikovao niz uglednih glazbenika, Ëiji
put, nakon Igora KuljeriÊa, danas nastavlja πef-dirigent TonËi BiliÊ.
Zbor je dobio Diplomu Milka Trnina za
izuzetne umjetniËke dosege u 2004.
godini za izvedbu Hrvatske mise Borisa
Papandopula, a godine 2005. za snimku
je toga djela, u izdanju Cantusa, osvojio
Diskografsku nagradu Porin za album
godine u kategoriji klasiËne glazbe.
Godine 2007. skladba Igora KuljeriÊa
Kriæu, daj nam ti milosti objavljena na
CD-u u izdanju Orfej/HRT s naslovom
Kako jelen vrilo traæi, takoer pod BiliÊevim
ravnanjem, dobila je Porin za najbolju
skladbu napisanu za solo ili manji sastav.
Godine 1998. Zbor HRT-a je na poticaj
svojega πefa-dirigenta poËeo sustavno
njegovati pjevanje a cappella i uz
instrumentalnu pratnju. Tako je nastao
Sfumato, ciklus od πest koncerata u sezoni,
s namjerom da se publika upozna s
djelima hrvatske glazbene baπtine,
remek-djelima i manje izvoenim skladbama klasiËne literature te najnovijim
ostvarajima zborne glazbe u nas i u svijetu.
Ciklus ima i likovnu dimenziju, πto je
razvidno iz podnaslova Duhovni zvuci,
boje i oblici, a ostvaruje se u suradnji s
Muzejom Mimara, u kojemu se koncerti
izvode.
The Croatian Radio Television Choir
was founded in 1940s following the tradition of Zagreb’s madrigalists. Initially a
chamber ensemble under the direction
of Mladen PozajiÊ and then Slavko ZlatiÊ,
in time this choir grew and became the
first professional choir in Croatia. Its
artistic identity was formed by number
of distinguished musicians, and after
conductor Igor KuljeriÊ its today’s chiefconductor TonËi BiliÊ is continuing
along this path.
The choir was awarded the Milka Trnina
award for exceptional achievements in
2004 based on the rendering of Croatian
Mass by Boris Papandopulo, and in 2005
the same composition, conducted by
TonËi BiliÊ was recorded on a CD for
Cantus. The Choir won the Best Record
Award Porin for the album of the year in
the category of classical music. In 2007 a
CD recording titled Kako jelen vrilo traæi
with Igor KuljeriÊ’s composition Kriæu,
daj nam ti milosti conducted by TonËi
BiliÊ was released under Orfej/HRT and
won the Porin award for the best
composition written for soloists or
smaller ensemble.
In 1998 the Choir started practicing
a cappella type of singing systematically,
as well as singing with accompaniment,
under the leadership of its chief-conductor TonËi BiliÊ. Thus the Sfumato cycle of
six seasonal concerts was created with
the intent of introducing the Choir’s
audience into the works of Croatian
music heritage, master-pieces and less
known works from the classic literature
as well as with the newest achievements
in choir music in Croatia and around the
world. This concert cycle has a visual
component as well which can be read
from the title - Spiritual sounds, colours
and forms. The cycle is being realized
with the support of the Mimara Museum
where the concerts are regularly held.
146
“KADELE je interdisciplinarni umjetnik
koji povezuje razliËite forme, Ëak i one
neumjetniËke, kako bi dobio emotivni
rezultat koji æivi samo u korelaciji s
aktivnim sudjelovanjem gledatelja.
Uspjeπno djeluje u inozemstvu, a svoj
likovni rad zapoËeo je krajem
devedesetih u zagrebaËkom Muzeju
suvremene umjetnosti. Od tada je izlagao i radio u Japanu, Italiji, NjemaËkoj,
SAD-u, Meksiku, Kolumbiji i Hrvatskoj.
U svojem interdisciplinarnom izraæavanju posljednjih petnaest godina javlja
se i kao redatelj, pisac, scenograf, performer, ali i kao umjetniËki producent, u
Hrvatskoj poznatiji pod imenom Leo
KatunariÊ. U svim disciplinama izraæavanja prate ga kontroverzije, pa i skandali,
kao direktna posljedica beskompromisnog
umjetniËkog izraza, nerijetko na rubu
druπtvene provokacije. Za MuziËki biennale 2003. godine reæirao je operu Igora
KuljeriÊa Æivotinjska farma. Od 2008.
godine umjetniËki je ravnatelj festivala
suvremene umjetnosti MaxArtFest.
Pokajanje je dio veÊeg ciklusa. Inspirirano
duboko religioznim temama dio je
trilogije, uz Ulazak u Jeruzalem i Put u
Damask. Pokajanje je komentar umjetnika
na poziciju Ëovjeka u vremenu izgubljene duhovnosti. Iako je formalno rijeË o
slici velikog formata, ovaj projekt se ipak
sastoji i od kompjuterske matiËne ploËe i
zaboravljenih slojeva softvera, mapa
nebeske ljubavi i mapa puteljaka zalutalih
ljudskih suza, krπÊanskih napjeva
preciznog balansa i budhinske πutnje
velikog remeÊenja te poneπto visokih
frekvencija prevedenih kao slutnja,
nemir, izdajstvo, spoznaja i mirenje.
Radovi su izloæeni kao dvostruka
instalacija, tri viseÊa platna kao cjelina s
koncertom Zbora HRT-a koji pjeva Arva
Pärta i samostalna izloæba koja ukljuËuje
dodatne radove na zidovima Muzeja Mimara.”[Kadele]
147
“KADELE is an interdisciplinary artist
who bring different forms together, even
the non-artistic ones, in order to achieve
an emotional result alive only in
correlation to the active participation by
the audience. He has a successful
international career that started at the
Contemporary Arts Museum in Zagreb in
the late 1990s. Since then, he has had
exhibitions in Japan, Italy, Germany, the
US, Mexico, Columbia and Croatia. Over
the last fifteen years he has also appeared
as a director, writer, set designer,
performer and producer, better known
in Croatia as Leo KatunariÊ. In all areas
of his expression he has been followed
by controversy, even scandals, as a direct
consequence of his uncompromising
artistic ways, frequently on the verge of
social provocation. He directed Igor
KuljeriÊ’s opera Animal Farm in 2003 for
the Music Biennale. Since 2008 he has
been the artistic director of MaxArtFest,
a festival of contemporary art.
Repentance is a part of a larger cycle.
Inspired by deeply religious ideas, it is a
part of a trilogy, along with Entrance into
Jerusalem and the Road to Damascus. Repentance is the artist’s commentary on
the position of man in these times of lost
spirituality. Although it is made up of
large paintings, this project also includes
a computer system board, forgotten software layers, a map of heavenly love and a
map of the pathways of stray human
tears, Christian chants with a precise
balance and a Buddhist silence as well as
some high frequencies translated as
premonition, turmoil, betrayal, cognition
and conciliation.
The works form a double installation,
three hanging canvases forming a whole
with the concert of the Choir singing Pärt
as well as an independent exhibition that
includes other works on the walls of the
Mimara Museum.“ [Kadele]
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Barbara Lüneburg, violina / violin
&
Wouter Snoei, elektronika / electronics
Luigi Nono: La Lontananza Nostalgica
Utopica Futura /
Nostalgic Utopian Future Distance /
Utopijska buduÊa nostalgiËna udaljenost
produkcijska podrπka / supported by: STEIM centre, Amsterdam
149
Nono
Luigi
148
Luigi Nono (Venecija, 1924. - 1990.)
jedan je od najvaænijih skladatelja druge
polovice 20. stoljeÊa. PoËeo je piπuÊi serijalna instrumentalna djela, a zatim je sve
viπe pisao vokalnu glazbu, Ëesto rabeÊi
politiËki angaæirane tekstove. Od 60-ih
godina sve se viπe bavi elektroniËkom
glazbom.
Luigi Nono (Venice, 1924 - 1990) is one
of the most important composers from
the second half of the 20th century. He
started by writing instrumental pieces,
later turning to vocal music, often using
politically committed texts. Since the
1960s he had been steadily increasing his
activities in electronic music.
„La lontananza nostalgica utopica futura
je remek-djelo Luigija Nona za violinu
solo i elektroniku. Tijekom 1980-ih Nono
je poËeo eksperimentirati s novim
moguÊnostima zvuka i produkcije u
studiju Heinrich Strobel ExperimentalStudio des SWR u Freiburgu. Tamo je osmislio u potpunosti nov pristup
kompoziciji i tehnici, Ëesto ukljuËujuÊi
doprinose specijaliziranih glazbenika i
tehniËara kako bi ostvario svoj cilj. Prvi
rezultati te suradnje postali su vidljivi s
Das atmende Klarsein, Diario polacco II osudom sovjetske tiranije za vrijeme
hladnog rata - i Guai ai gelidi mostri.
Nove tehnologije omoguÊile su zvuku da
cirkulira u prostoru, dajuÊi toj dimenziji
nimalo manje vaænu ulogu od same
emisije zvuka. Takve inovacije postale su
srediπnjima u novom konceptu prostora
i vremena.
U ovom se djelu posebna uloga prostora
istiËe postavljanjem osam zvuËnika
uokolo publike i puπtanjem zvuka da vrluda uokolo. Paralelno sa zvukom violine, violinist πeÊe kroz prostor tijekom
izvedbe, od stalka do stalka.
“Luigi Nono’s La lontananza nostalgica
utopica futura is a masterpiece for violin
solo and electronics. In the 1980s Nono
began to experiment with new sound
possibilities and production at the Heinrich Strobel ExperimentalStudio des
SWR in Freiburg. There, he devised a
whole new approach to composition and
technique, frequently involving the contributions of specialist musicians and
technicians to realise his aims. The first
fruits of these collaborations were Das
atmende Klarsein, Diario polacco II - an
indictment against Soviet Cold War
tyranny - and Guai ai gelidi mostri. The
new technologies allowed the sound to
circulate in space, giving this dimension
a role no less important than its emission. Such innovations became central
to a new concept of time and space. In
this piece, the special role of space
comes across in the setting of 8 loudspeakers around the audience, where the
sound wanders. In the violin part it is
written that the violin player should walk
the space throughout the performance,
wandering from one music stand to
another.
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Nonova La lontananza nostalgica
utopica futura ustvari je kompozicija za
Ëetiri skladatelja: Luigija Nona, Gidona
Kremera, i, u ovom sluËaju, Barbaru
Lüneburg i Woutera Snoeia. Ne moæe se
promatrati kao solo-djelo, nego kao duo,
s obzirom na to da su zadaci za dizajnera
zvuka i violinista sljedeÊi:
izdavaË donosi partituru s Nonovim
rukopisom i vrpcu sa 8 - uparenih kanala. Na vrpci se nalazi materijal
izvuËen iz opseænog radnog razdoblja
Gidona Kremera i Luigija Nona iz kasnih
80-ih u Berlinu. Nono je snimio Kremerove improvizacije i dodatne zvukove
u studiju u kojemu su radili. Prva dva
kanala sadræe obraene verzije Kremerovih improvizacija; u treÊem i Ëetvrtome preteæito su zvukovi violine u
iznimno mekim, dinamiËnim, πupljikavim frakcijama zvuka; peti i πesti
kanal sastoje se od studijskog materijala,
Kremerova i Nonova glasa, lupanja, grebanja stolica po podu, dok su sedmi i
osmi prepuni nostalgije koja se postiæe
upotrebom materijala i gesti s podruËja
klasiËne, romantiËke literature za violinu. Kompozicija se nadovezuje na improvizirani materijal te koristi tipiËne
Nono-zvukove poput ppppp-col legno sul
tasto na dugim notama, ili gotovo neËujnim melodijama koje traju i do 5 minuta.
Zadatak interpreta je spojiti ta dva dijela
- vrpcu i violinu - u okviru od 45 - 60
minuta. O njima u potpunosti ovisi kamo
Êe toËno smjestiti 6 violinskih dionica;
odabir, dinamika i odreivanje prostornosti zadatak je dizajnera zvuka. Sudionik mora proÊi razliËite dijelove
skladbi i spojiti ih jedan po jedan sa 6
uvodnih violinskih dijelova (duljine otprilike 4 - 8 minuta) kako bi dobio dojam
o tome πto se toËno odvija na vrpci i koje
kombinacije najbolje funkcioniraju.
Nono’s La lontananza nostalgica utopica
futura is in fact a composition for 4 composers: Luigi Nono, Gidon Kremer, and
in this case Barbara Lüneburg and
Wouter Snoei. It can’t be understood as a
solo, but rather as a duo, because the
task set out for the sound designer and
the violinist is the following: The publisher delivers a score with Nono’s handwriting and a tape with 8 sound tracks,
paired in two. The tape uses material
which is derived from an extensive working period which Gidon Kremer and
Luigi Nono spent together in the late 80s
in Berlin. Nono recorded Kremer’s improvisation and additional noises from
the studio they worked in. The first two
tracks are processed versions of Kremers
improvisation; track 3 and 4 mainly use
violin sounds in extremely soft dynamic,
porous, fractions of sounds; track 5 and 6
consist of material from the studio, Kremer’s and Nono’s voice, bangs and
chairs moving on the floor, and track 7
and 8 deliver the nostalgia by using material and gestures from the classic romantic violin literature. The score relates
to the improvised material and also uses
typical ‘Nono’-sounds like ‘ppppp-col
legno sul tasto’ on a long note or almost
inaudible melodies which will last for 5
minutes.
The interpreters task is now to put these
two parts - tape and violin- together
within a time frame of 45 - 60 minutes. It
is up to them, when exactly they place
the 6 violin parts; the choice, dynamic
and the spatialisation of the different
tape parts are especially the sound designer’s task. As a player you have to go
through the different pairs of tracks and
combine them one by one with the 6 violin entrees (of approximately 4-8 minutes length), to get a notion of what
happens on the tape and which combination will work best.
150
To naravno varira u svakoj izvedbi, jer se
prostorno odreivanje violinskih dijelova
svaki put blago razlikuje s obzirom na to
da tehniËar zvuka svaki put stisne
drukËiji gumb na mikseti. Obojica Êe
povratno reagirati na ono πto Ëuju jedan
od drugog te Êe se konstantno
prilagoavati sviranju koristeÊi razliËite
tembre, vibrato ili ne-vibrato, razliËita
tempa, itd. Prilagoavat Êe se i prostornosti, odabiru i dinamici vrpce.
Izvedba Êe konstantno teÊi, uklapajuÊi se
u napis πto ga je Nono naπao u
samostanu u Toledu, a pripisuje se Antoniju Machadu, koji je na neki naËin
postao i moto ovog djela: Traveller, there
is no pathway, there is only travelling itself (PutniËe, ne postoji put, samo putovanje).” [Barbara Lüneburg]
151
Of course, this varies in each performance, since the spacing of the violin
parts will be slightly different every time,
and the sound technician will shift the
buttons of his mixing board differently
every time. Both will react reciprocally to
what they hear from each other and constantly they will adapt the playing, using
different timbres, vibrato or non-vibrato,
different tempi etc. and the spatialisation, choice and dynamic of the tape.
The performance will be in constant flux,
fitting to the inscription Nono came
across on monastery in Toledo attributed to Antonio Machado, which became a kind of motto also for this piece:
Traveller, there is no pathway, there is
only travelling itself.” [Barbara Lüneburg]
day
month
20
4
dan
mjesec
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22:00
sat
Snoei
Wouter
Wouter Snoei (1977.) magistrirao je 2000.
godine na Institutu za sonologiju Kraljevskoga konzervatorija u Hagu. I prije
zavrπenih studija aktivno je radio kao
glazbenik. Harfu svira od svoje sedme
godine, dok se poslije okuπava u stvaranju
elektroniËke glazbe. Tijekom studija na
Konzervatoriju, a i poslije, Snoei djeluje
u raznim glazbenim podruËjima koja sva
ukljuËuju elektroniËku glazbu. Snoei je
radio kao direktor zvuka na nekoliko
izvedbi elektroakustiËkih djela Luigija
Nona, Johna Cagea i Gérarda Griseya.
Redovito surauje sa skupinama Slagwerkgroep Den Haag, ASKO Kamerkoor i
NVL/Elec. Voices. Snoei je ostvario izvedbe i s Jasperom Blomom i drugim
priznatim dæez-glazbenicima na festivalu North Sea Jazz. Nadalje, osnovao je
i pokrenuo vlastiti plesni projekt x(eptional, s kojim je 1997. godine osvojio
Veliku nagradu Nizozemske. Nastupa u
brojnim nizozemskim klubovima i okupljaliπtima te je izdao brojne nosaËe
zvuka, neke od njih u suradnji s drugim
umjetnicima, poput Streamera. Proteklih
nekoliko godina Snoei se viπe usredotoËio
na kompoziciju i izvedbe æive elektronike
i elektroakustiËke glazbe, koristeÊi kontrolu uæivo kao dio elektroniËke skladbe.
To je do sada rezultiralo nastankom πest
skladbi za æivu elektroniku, od kojih
posljednje dvije ukljuËuju kombinaciju
elektronike, glasa i instrumenata.
Wouter Snoei (1977) gained his Masters
Degree from the Institute of Sonology
(Royal Conservatory of The Hague) in
2000. Before that he was already active as
a musician, playing the harp from the
age of 7 and making music with computers and electronics later on. During
his years at the Conservatory and afterwards, Snoei worked in various fields of
music practice, all involving electronic
music. He was sound director in several
performances of electro-acoustic pieces
by Luigi Nono, John Cage and Gérard
Grisey. He works regularly with Slagwerkgroep Den Haag, ASKO Kamerkoor
and NVL/Elec. Voices; he also performed
with Jasper Blom and other jazz artists at
the North Sea Jazz festival. Furthermore,
he founded his own dance project x(eptional, which won the „Grand Prize of
the Netherlands“ in 1997. Snoei performed in many Dutch club venues and
released a number of records, also with
other artists such as Streamer. In the
past few years Wouter’s focus has shifted
more towards composition and performance of live electronic and electroacoustic music, adding live control as
part of electronic composition. This has
led to six compositions for live electronics so far, of which the latest two include
a combination of electronics with voices
and instruments.
153
Lüneburg
Barbara
152
Otkad je u dobi od osam godina prvi put
prisustvovala Bartókovu koncertu za gudaËe, Barbara Lüneburg osjeÊa strast i
neumornu znatiæelju prema novoj i najnovijoj glazbi. Kao tinejdæerica osvojila je
brojne nagrade na natjecanjima za violiniste joπ prije nego πto je diplomirala
violinu u Londonu (Guildhall School of
Music and Drama), Moskvi (Konzervatorij »ajkovski), Karlsruheu i Lübecku.
Tijekom studija osnovala je ansambl Intégrales te i danas djeluje kao njegov umjetniËki direktor. Godine 2005. Barbara
Lüneburg postala je prvom violinom amsterdamskog kvarteta Zephyr. Njezin je
rad mnoge skladatelje - kao πto su Marko
Ciciliani i Manfred Stahnke - potaknuo
na pisanje novih djela, solistiËkih i koncertnih. Praizvela je viπe od stotinu djela
na koncertnim turnejama po Europi,
SAD-u i Dalekom istoku. Kao solistica
koja izvodi suvremenu glazbu nastupala
je s ansamblom Xenakis, skupinom Slagwerkgroep Den Haag, ansamblom ASKO
i Simfonijskim orkestrom SWR-a. Gostovala je na brojnim kompaktnim diskovima
i radijskim produkcijama.
Lüneburg trenutaËno na SveuËiliπtu
Brunel u Londonu piπe doktorat na temu
uloge izvoaËa u suvremenoj glazbi kao
suËelja izmeu instrumenta i skladatelja
te izmeu skladbe i publike. U razdoblju
izmeu 2007. i 2010. provodi projekt u
sklopu kojega angaæira razne skladatelje
πirom svijeta da surauju s njom na
skladanju novih djela za violinu/violu ili
e-violinu i elektroniËke instrumente.
Ever since Barbara Lüneburg attended a
concert of Bartók’s string quartets at the
age of 8 she has been driven by a passion
and a restless curiosity for the new and
the newest music. As an adolescent she
was already awarded numerous prizes in
violin competitions before she completed
her violin studies in London (Guildhall
School of Music and Drama), Moscow
(Tchaikovsky Conservatory), Karlsruhe
and Lübeck (with distinction). During
her studies she founded ensemble Intégrales and remains its artistic director
today. In 2005 Barbara Lüneburg also
became primarius of the Amsterdambased Zephyr Kwartet. Her work has
inspired many composers, such as
Marko Ciciliani and Manfred Stahnke, to
write new works for he, solo pieces and
concertos. She has premièred more than
100 works on concert tours through
Europe, the United States and the Far
East. As a contemporary music soloist
she has performed with the Xenakis Ensemble, Slagwerkgroep Den Haag, ASKO
Ensemble and the SWR Radiosymphonic
Orchestra. She has featured on many
CDs and radio productions.
At Brunel University London Barbara
Lüneburg is doing PhD research on the
performer’s role as an interface between
instrument and composer and between
composition and audience in contemporary music. In the course of 2007-2010
she commissions various composers all
over the world do collaborate with her in
the development of new pieces for
violin/viola or e-violin plus electronics.
day
month
utorak / tuesday
21 4
17:00, Mimara
Ansambl Gaida/ Gaida Ensemble
Robertas ©ervenikas, dirigent / conductor
19:30, Kazaliπte Treπnja / Treπnja Theatre
Jury Everhartz: Circus / Cirkus, opera
Tekst i reæija / Text and direction: Kristine Tornquist
22:00, &TD
Ansambl Intégrales / Intégrales Ensemble
23:00, MM
Dada Jihad
day
month
21
4
dan
mjesec
hour
17:00
utorak / tuesday
sat
Mimara, 17:00,
Ansambl Gaida / Gaida Ensemble
Rytis Maæulis Canon mensurabilis / Menzuralni kanon / Mensural Canon
©arūnas Nakas Icon of Fire / Vatrena ikona
Marius Baranauskas A Song for Space / Pjesma za prostor
Raminta ©erkπnytė Almond Blossom / Badem u cvatu
First Rays of Sun in the Early Spring / Prve zrake sunca u rano proljeÊe
The Feeling of the Last Spring to Come / OsjeÊaj zadnjeg proljeÊa
Almond Blossom / Badem u cvatu
Kreπimir SeletkoviÊ NO music*
Ëlanovi ansambla / ensemble members:
Valentinas Gelgotas, flauta / flute
Aidas KanËauskas, klarinet / clarinet
Justina Gelgotaitė, oboa / oboe
Laurynas Lapė, truba / trumpet
Marius Balcytis, trombon / trombone
Tomas Kulikauskas, udaraljke / percussion
Rusnė Mataitytė, violina / violin
Vitalija RaπkeviËiūtė, viola
Edmundas Kulikauskas, violonËelo / cello
Donatas Bagurskas, kontrabas / double bass
Jurgis KarnaviËius, klavir / piano
Remigijus Merkelys, ravnatelj ansambla / ensemble director
156
Ansambl Gaida, osnovan 2002. godine od
istoimenog festivala suvremene glazbe,
veÊi je ansambl, tipa sinfoniette, za
suvremenu glazbu. Kao prvi sastav te
vrste u Litvi, ansambl je popunio prazninu koja je postojala u panorami litvanske
moderne glazbe. Gaida stvara zanesene i
precizne interpretacije sofisticiranih
opusa litvanskih i stranih skladatelja te
inicira stvaranje novih inspirativnih
djela. U ovaj sastav pozivani su vodeÊi
litvanski instrumentalisti pa su tako
Ëlanovi ansambla vrlo iskusni muziËari s
litvanske scene suvremene glazbe.
Takoer, programe za njega stvarali su
razliËiti dirigenti bogatog iskustva u
novoj glazbi. Recentni i buduÊi repertoar
ansambla ukljuËuje djela vodeÊih litvanskih skladatelja i meunarodno poznatih
autora kao πto su György Ligeti, Luciano
Berio, Kaija Saariaho, John Adams, Luca
Francesconi, Gérard Grisey i drugi.
157
Established by the contemporary music
Festival Gaida in 2002, the Gaida Ensemble is a large sinfonietta-type contemporary music ensemble. Being the first
ensemble of this sort in Lithuania, the
Gaida Ensemble filled a gap in the
panorama of Lithuanian modern music.
The ensemble produces enthusiastic and
precise interpretations of sophisticated
opuses by Lithuanian and foreign composers and initiates the composers’
creation of new inspiring works. Leading
Lithuanian instrumentalists were invited
to play for this collective, thus all the
members of the ensemble are most
experienced musicians in Lithuania’s
contemporary music scene. Different
conductors with outstanding experience
in new music have been asked to design
programmes for the Gaida Ensemble.
The recent and up-coming repertoire of
the ensemble includes works by leading
Lithuanian composers and internationally
known authors, such as György Ligeti,
Luciano Berio, Kaija Saariaho, John Adams,
Luca Francesconi, Gérard Grisey and
others.
day
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4
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©ervenikas
Robertas
Dirigenta Robertasa ©ervenikasa Ëesto
hvale zbog njegovih raznolikih kreativnih
aktivnosti koje se kreÊu od dirigiranja
prvih izvedbi velikih simfonijskih kompozicija koje su skladali litvanski skladatelji
do istaknutih i zrelih interpretacija suvremenog i klasiËnog repertoara. Godine
2005. dodijeljena mu je Litvanska nacionalna nagrada za kulturu i umjetnost.
Nakon πto je zavrπio konzervatorij u
Sankt Peterburgu za zborno i opernoorkestralno dirigiranje, ©ervenikas je
1993. godine poËeo suraivati s Litvanskim
nacionalnim simfonijskim orkestrom te
je 2000. godine imenovan njihovim
Drugim dirigentom. S LNSO-om je nastupio na brojnim glazbenim festivalima
te na poziv Ëesto dirigira i drugim orkestrima poput Filharmonije Sankt Peterburga, Ruskog dræavnog simfonijskog
orkestra i izraelske Camerate. Suraivao
je s cijenjenim solistima kao πto su
Mstislav RostropoviË, Miπa Majski, Maurice André, Maksim Fedotov, Julian
Rachlin i drugi, a poznati ruski pijanist
Denis Macujev izdvojio ga je kao svojeg
najboljeg partnera meu dirigentima
mlae generacije. ©ervenikas je imenovan glazbenim direktorom litvanskog
Nacionalnog kazaliπta za operu i balet
2008. godine, otkad ga i redovno pozivaju na podij Minhenske dræavne opere.
Conductor Robertas ©ervenikas is often
praised for his diverse creative activities
ranging from the first performances of
large-scale symphonic compositions by
Lithuanian composers to distinctive and
mature interpretations of contemporary
and classical repertoire. He was awarded
the Lithuanian National Arts and Culture
Prize in 2005. After graduating from the
St. Petersburg Conservatory in choral and
operatic-orchestral conducting, ©ervenikas
began working with the Lithuanian National Symphony Orchestra (LNSO) in 1993
and was appointed its Second Conductor
in 2000. He led the LNSO to a number of
music festivals and he is regularly invited
to conduct such orchestras as the Sankt
Petersburg Philharmonic, the Russian
State Symphony Orchestra and the Israel
Camerata. ©ervenikas has collaborated
with many celebrated soloists, such as
Mstislav Rostropovich, Mischa Maisky,
Maurice André, Maxim Fedotov and Julian Rachlin, among others, and famed
Russian pianist Denis Macujev has singled
out ©ervenikas as his best partner among
the conductors of younger generation.
©ervenikas was appointed the Music Director of the Lithuanian National Opera
and Ballet Theatre in 2008, since when
he has also been regularly invited to the
podium of the Munich State Opera.
159
Maæulis
Rytis
158
Rytis Maæulis (1961.) diplomirao je na
Litvanskoj muziËkoj akademiji (1983.)
kompoziciju u klasi Juliusa Juzeliūnasa.
Godine 1988. je za svoju komornu skladbu
The Sleep osvojio nagradu Tyla (Tiπina) za
najuspjeπniju skladbu mladog litvanskog
skladatelja, a 1989. godine osvojio je
nagradu Litvanske kulturne zaklade za
svoju komornu i vokalnu glazbu. Dobitnik
je πtutgartske stipendije Akademie
Schloss Solitude, kao i dviju nagrada za
najbolje vokalne skladbe godine na natjecanjima Saveza litvanskih skladatelja.
Godine 2004. dodijeljena mu je Litvanska
nacionalna nagrada za kulturu i umjetnost.
Maæulisova djela izvode se na raznim
festivalima diljem Europe. ProËelnik je
Odjela za kompoziciju pri Litvanskoj
akademiji za muziku i kazaliπte.
Rytis Maæulis (1961) graduated from the
Lithuanian Academy of Music (1983), the
composition class of Julius Juzeliūnas. In
1988, he was awarded the Tyla (Silence)
Prize, for the most successful composition of a young Lithuanian composer, for
The Sleep, and in 1989 - the prize of the
Lithuanian Culture Fund, for his chamber
and vocal music. He received the scholarship of the Akademie Schloss Solitude,
Stuttgart, as well as two awards for best
vocal compositions of the year at the
Lithuanian Composers Union’s competitions. In 2004 he received the Lithuanian
National Arts and Culture Prize. Works
by Maæulis are performed in numerous
festivals around Europe. He ia Head of
the Composition Department of the Lithuanian Academy of Music and Theatre.
“Harmonijska graa skladbe Canon mensurabilis zasniva se na Ëetvrtstepenim
nizovima koji permutiraju upotrebom
serijalnih tehnika, Ëime se dobivaju
razliËite kombinacije istih zvukova, dok
se ritamska organizacija skladbe zasniva
na naËelima koja pomalo nalikuju tehnikama klasiËnog menzuralnog kanona.
Skladba je nastala na narudæbu Festivala
Gaida za ansambl Court-circuit”.
“The harmonic material of Canon mensurabilis is built from quarter-tone rows
which get permutated by means of serial
techniques, thus producing different
combinations of the same tones, and its
rhythmical organisation is based on the
principles slightly resembling the ancient
techniques of mensural canon. The
piece was commissioned by the Gaida
Festival for the ensemble Court-circuit”.
day
month
21
4
dan
mjesec
hour
17:00
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sat
Baranauskas
Marius
Marius Baranauskas (1978.) studirao je
kompoziciju u klasi Rimantasa Janeliauskasa na Litvanskoj akademiji. Sudjelovao je i na brojnim meunarodnim
teËajevima i radionicama za skladatelje,
a 2006. godinu proveo je æiveÊi i radeÊi u
Meunarodnom centru za skladatelje u
Visbyju u ©vedskoj. Na natjecanjima
Saveza litvanskih skladatelja dobio je
nagrade za svoje elektroakustiËke i
orkestralne skladbe, a dobio je i treÊu
nagradu na Natjecanju Toru Takemitsu u
Japanu te litvansku nagradu za najuspjeπnije radove na podruËju teatra.
“Ova je kompozicija monodija koja se
razvija i manifestira kroz razne nijanse i
oblike, a umjesto ljudskog glasa ‘pjeva’ je
ansambl od osam instrumenata. Svaki
zvuk promatran je kao pod poveÊalom,
otkrivajuÊi nova, pulsirajuÊa podruËja
mikrosvijeta i spektra. To je pjesma koja
opisuje beskrajne horizonte zvuËnog
prostora, nanovo ih otkrivajuÊi i nestajuÊi u njima. Utjelovljen u raznim
tonovima, glas skladbe se konstantno
mijenja, razotkriva, proπiruje, skuplja,
prilazi i udaljava... Kompozicija je
nastala prema narudæbi Festivala Gaida
za ansambl Les Temps Modernes”.
Marius Baranauskas (1978) studied
composition with Rimantas Janeliauskas
at the Lithuanian Academy of Music. He
has also participated in a number of
international courses and workshops for
composers, and in 2006 he resided and
worked at the International Centre for
Composers in Visby, Sweden. He has
won the Lithuanian Composers’ Union
awards for his electro-acoustic and
orchestral pieces, the third prize at the
Toru Takemitsu Composition Award in
Japan and the Gold Stage Cross, for the
most successful work in the field of theatre.
“My composition is an unfolding monody. Sung by an ensemble of eight
instruments rather than a human voice,
it manifests itself in a variety of shades
and forms. Each sound is viewed as if
through a magnifying glass, revealing
new realms of the micro-world, spectres
and pulsations. It is a song addressed to
the endless horizons of sonic space,
discovering them and disappearing in
them. Embodied in different timbres, its
voice always changes, unfolds, expands
and shrinks, approaches and recedes...
Piece was composed on the commission
from Gaida Festival for the ensemble Les
Temps Modernes”.
161
Nakas
©arūnas
160
©arūnas Nakas (1962.) je skladatelj,
esejist, dirigent, izvoaË, video-umjetnik,
organizator festivala suvremene glazbe i
voditelj radijskih programa. Kompoziciju
je uËio na Litvanskoj akademiji za
muziku i kazaliπte, gdje je studirao pod
vodstvom Juliusa Juzeliūnasa (diplomirao
je 1986. godine), nakon Ëega je pohaao
predavanja iz kompozicije u Poljskoj i na
IRCAM-u u Parizu (1998.). Godine 1982.
osnovao je Vilniuπki ansambl za novu
glazbu, s kojim je nastupao u 15 europskih dræava te u Kanadi. Godine 2001.
napisao je prvi litvanski priruËnik o
suvremenoj glazbi. Njegova djela osvojila
su nekoliko nagrada na natjecanjima
Saveza litvanskih skladatelja. Osvojio je i
nekoliko nagrada za osmiπljavanje
festivalskih programa. Za njegovo
pisanje i promidæbu litvanske glazbe
godine 2007. dodijeljena mu je Litvanska
nacionalna nagrada za kulturu i
umjetnost. Nakasova djela postala su
popularna meu istaknutim meunarodnim izvoaËima te su izvoena pred
publikom u Europi, Kanadi, Azerbajdæanu
i Indoneziji.
©arūnas Nakas (1962) is a composer,
essayist, conductor, performance and
video artist, organiser of contemporary
music festivals and presenter of radio
programmes. As a composer, he was
educated at the Lithuanian Academy of
Music and Theatre, where he studied
with Julius Juzeliūnas (graduating in
1986), and at the composition courses in
Poland and the IRCAM in Paris. In 1982,
he founded the Vilnius New Music
Ensemble, with which he has toured in
15 European countries and Canada. In
2001, he wrote the first Lithuanian textbook on contemporary music. His works
have garnered him several prizes at the
Lithuanian Composers’ Union’s competitions, as well as the Lithuanian
National Arts and Culture Prize. His
distinctions also include awards for programming of the festivals, prizes for his
writings and promotion of Lithuanian
music. Nakas’ works have enjoyed
popularity with distinguished
international performers and have
reached the audiences in Europe,
Canada, Azerbaijan and Indonesia.
day
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sat
“Icon of Fire / Vatrena Ikona napisana
je kao in memoriam za Algirdasa Doveiku. Prvo znaËenje grËke rijeËi “eikōn” jest
“predodæba”. Osobno mi je teπko stvoriti
predodæbu osobe, umjetnika koji je Ëesto
izvodio moju glazbu. VeÊinu svojih
komornih djela skladao sam imajuÊi na
umu njega i njegov klarinet, a potajice
sam ga smatrao vlastitim glasom u svijetu
puhaËkih instrumenata. Vjerojatno sam
zato i odabrao apstraktniji naËin odavanja
mu poËasti, poput nekog bizantskog
slikara koji izbjegava osobne momente
pridræavajuÊi se zadanih pravila u
umjetnosti.
‘I vidjeh kao stakleno more, pomijeπano
s ognjem, i one, koji pobijediπe zvijer i
sliku njezinu i broj imena njezina, gdje
stoje na moru staklenom i imaju citare
Boæje’ (Otkrivenje 15:2).”
„Icon of Fire was written as an In memoriam for Algirdas Doveika. The direct
meaning of the Greek word “eikōn” is
“an image”. I feel it difficult to create an
image of a person, an artist, who also
was frequent performer of my music.
Many of my chamber works were composed with his clarinet playing in mind,
and I secretly regarded him as my own
voice in the world of wind instruments.
This is probably why I chose a more
abstract way of paying homage, just like
some Byzantine painter, avoiding any
personal moments and obeying
sophisticated rules.
‘And I saw what looked like a sea of glass
mixed with fire and, standing beside the
sea, those who had been victorious over
the beast and his image and over the
number of his name. They held harps
given them by God‘ (Rev 15:2).“
163
©erkπnytė
Raminta
162
Raminta ©erkπnytė (1975.) studirala je
kompoziciju na Litvanskoj akademiji za
muziku i kazaliπte glazbe i teatra u klasi
Osvaldasa Balakauskasa. ©erkπnytė je u
razdoblju od 1997. do 2007. pohaala
brojne majstorske radionice za skladatelje
u NjemaËkoj, Nizozemskoj, ©vedskoj,
Norveπkoj, Francuskoj, Latviji i Velikoj
Britaniji, gdje je studirala s Louisom
Andriessenom, Györgyem Kurtágom,
Helmutom Lachenmannom, Brianom
Ferneyhoughom i drugima. Dvaput je
osvojila nagradu za najbolju komornu
kompoziciju na natjecanjima Saveza
litvanskih skladatelja. Dobitnica je i nagrade za najuspjeπniji rad skladatelja za
teatar u Litvi, nagradâ za mlade umjetnike litvanskoga Ministarstva kulture te
Litvanske nacionalne nagrade za umjetnost i kulturu. Njezina je kompozicija
Vortex nagraena na UNESCO-voj
Meunarodnoj pozornici skladatelja te je
odabrana meu finaliste za nagradu
Gaudeamus. ©erkπnytė kao skladateljica i
pijanistica redovito sudjeluje na dogaanjima iz suvremene glazbe. Njezine
kompozicije izvode se u viπe od 30 zemalja Europe, Azije, Amerika i Australije.
Raminta ©erkπnytė (1975) studied
composition at the Lithuanian Academy
of Music and Theatre with Osvaldas
Balakauskas. In 1997-2007 she attended
numerous masterclasses for composers
where she studied with Louis Andriessen,
György Kurtag, Helmut Lachenmann,
Brian Ferneyhough, and others.
©erkπnytė was twice awarded the prize
for the best chamber work at the
competitions organized by the
Lithuanian Composers’ Union.
She is also the recepient of the Gold
Stage Cross, the prize for young artists
of the Lithuanian Ministry of Culture
and the Lithuanian National Arts and
Culture Prize.
Her composition Vortex was awarded at
the UNESCO’s International Rostrum of
Composers, and was also selected
among the finalists of the Gaudeamus
Prize. ©erkπnytė participates regularly
as a composer and pianist at the contemporary music events. Her compositions have been performed in more than
30 countries in Europe, Asia, Americas
and Australia.
day
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“Jedna od posljednjih slika koje je Vincent
Van Gogh naslikao bila je slika Badem u
cvatu, i upravo je ona posluæila kao inspiracija za ovu skladbu. Iako na veÊini
njegovih slika prevladava tamno i
sumorno raspoloæenje, slika Badem u
cvatu istiËe se nevjerojatno svijetlim
bojama i suptilnom istoËnjaËkom
estetikom.
Moja skladba zasniva se na sluπanju
glazbe ‘u bojama’ te pokuπaju da
postignem suglasnost ‘svjetla’ i ‘tame’,
‘toplog’ i ‘hladnog’, ostvarujuÊi
ravnoteæu izmeu jasnoÊe istoËnjaËke
glazbe i tradicije koncertne glazbe
zapada. Kompozicija je nastala prema
narudæbi institucije New Music Concerts
(Kanada).”
„One of the last paintings by Vincent van
Gogh - “Almond Blossom” - was a direct
inspiration for this piece. Although most
of his paintings are of dark, gloomy
mood, “Almond Blossom” is distinguished
by its incredibly light colours and subtle
oriental flavour. My piece is also based
on hearing music “in colours”, trying to
achieve the consonances of “light” and
“dark”, “warm” and “cold”, balancing
between the simplicity, clarity of Oriental music and the tradition of Western
concert music. The piece was composed
on the commission from New Music
Concerts (Canada).“
165
SeletkoviÊ
Kreπimir
164
Kreπimir SeletkoviÊ (Slavonski Brod, 1974.)
diplomirao je kompoziciju na MuziËkoj
akademiji u Zagrebu u razredu prof. Davorina Kempfa. Polazio je ljetne teËajeve
u Semmeringu (Austrija) i Radziejowicama
(Poljska) 1997. godine, ljetni teËaj u
Darmstadtu (NjemaËka) 1998. godine, te
ljetne teËajeve u Szombathelyju (Maarska) i Groænjanu 1999. godine. Skladbe
su mu izvoene u Hrvatskoj, Italiji,
Sloveniji, Rusiji, Kini, Austriji, Kanadi i
Nizozemskoj. Godine 2000. skladba
Minimo izvedena je na festivalu Svjetskih
dana glazbe (World Music Days 2000) u
Luksemburgu. Zaposlen je na MuziËkoj
akademiji u Zagrebu u zvanju docenta.
Redoviti je Ëlan Hrvatskog druπtva skladatelja, a od 2003. godine urednik je edicije notnih izdanja Ars croatica. Dobitnik
je Rektorove nagrade SveuËiliπta u Zagrebu (1999.), Nagrade Boris Papandopulo
Hrvatskog druπtva skladatelja (2000.),
nagrade za najbolju glazbu za djeËju
predstavu na 19. SLUK-u (Susret lutkara i
lutkarskih kazaliπta u Osijeku, 2003.) i
Nagrade Stjepan ©ulek (2004.).
Kreπimir SeletkoviÊ (Slavonski Brod, 1974)
graduated in composition under Davorin Kempf from the Academy of Music in
Zagreb. He continued with further studies at summer masterclasses in Semmering and Radziejowice (1997), in
Darmstadt (1998) as well as in Szombathely and Groænjan (1999). His compositions have been performed throughout
Croatia, in Italy, Slovenia, Russia, China,
Austria, Canada and the Netherlands.
His composition Minimo was performed
at the 2000 World Music Days in Luxembourg. He works at the Zagreb Academy
of Music as a senior lecturer.
He is a regular member of the Croatian
Composers’ Society and in 2003 became
editor of the Ars croatica series of musical scores published by the same Society.
Awards: the University of Zagreb Rector’s Award (1999); the Boris Papandopulo Award given by the Croatian
Composers’ Society (2000); prize for the
best music score in children’s play at the
19th SLUK (the Festival of Puppeteers and
Puppet Theatres in Osijek, 2003); the
Stjepan ©ulek Award (2004).
“NO Music - no comment.”
“NO Music - no comment.”
day
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19:30, Kazaliπte Treπnja / Treπnja Theatre
Jury Everhartz: Circus / Cirkus, opera
Tekst i reæija / Text and direction: Kristine
Tornquist
Orkestar Hrvatske vojske / Croatian Army Orchestra;
Anna Sushon, dirigentica / conductor
produkcija / production: Sirene Operntheater Wien
Glazba / Music: Jury Everhartz
Tekst i reæija / Text and Direction: Kristine Tornquist
Dirigentica / Conductor: Anna Sushon
Orkestar uvjeæbao / The Orchestra Trained by: Tomislav FaËini
Scena / Set Design: Kristine Tornquist, Jakob Scheid
Kostimi / Costumes: Andrea Költringer
Reæiser obnove predstave / Direction of the Resumption: Rainer Vierlinger
166
167
Artistica na æici, Tigrica / High Wire Artist, Tigress:
Annette Schönmüller
Olga, Dama s bradom, Majmun / Olga, the Bearded Lady, Monkey:
Maida Kariπik
Klaun Bruno, Slon / Bruno the Clown, Elephant:
Günther Strahlegger
Krotitelj æivotinja Rodolfo, Medvjed / Animal Tamer Rodolfo, Bear:
Michael C. Havlicek
Ravnatelj Cirkusa / Circus Director:
Dieter Kschwendt-Michel
Malo Samopouzdanje / Little Confidence:
Nina Maria Plangg
Asistentice i inspicijentice / Assistants and stage managers:
Sabine Maringer, Esther Christina Lienbacher
Korepetitorica / Accompanist:
Chin-Wen Yang
Koreografija tanga / Tango choreography:
Raffael Ramirez, Elena Larina
Maska / Make-Up: Beate Lentsch-Bayerl
Korzet za letenje / Flying corset: Markus Kuscher
©eπiri / Hats: Natalia Kukelka
Producentica / Producer: Maria Haneder-Kulterer
Autori i izvoaËi æele zahvaliti /
The Authors and the performers wish to thank:
Veleposlanici / the Ambassador Dr. Claudia Rochel-Laurich
Ravnatelju Austrijskoga kulturnog Foruma /
the Director of the Austrian Culture Forum Christian J. Ebner
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168
169
Annette Schönmüller, Dieter Kschwendt-Michel, Maida Kariπik, Foto (C) Andreas Friess
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Dok se u razliËitim umjetnostima, prvenstveno likovnoj i knjiæevnosti, nametnuo
ideal napuπtanja metafiziËkog ideala,
umjetnosti poput performansa, kazaliπta
ili glazbe podloæne su patosu egzistencije.
Jedan od mojih radnih uvjeta jest, meutim, lakoÊa stvaranja. Naravno da i komponiranje mora ispunjavati kriterije
umjetniËkog djela: mora govoriti samo
za sebe, mora se dræati svojih vlastitih
pravila i naÊi ona koja Êe uopÊe biti prihvatljiva. NajveÊa radost u izradi partiture
za mene nije potraga za jedinstvenim
zvukom, koncentracija na nutrinu kako
bih doπao do vanjπtine. Naravno da to
jest prekrasno iskustvo, ali je isto tako na
sjeveru hladno. Ja sam radije u toploj
sobi i ne trebam tiπinu i samoÊu kako bih
Ëuo samoga sebe. Tako nastaje æelja za
nepokretnom i pretjeranom perfekcijom,
a to je strah od praznine. Ja æelim drugu,
jednostavniju vrstu radosti, veselja muziciranja. Bio sam presretan πto sam doæivio sjajnu praizvedbu Cirkusa u beËkom
Jugendstiltheateru. Gotovo nigdje u partituri nije bilo uputa o izvedbi i oznaka
dinamike. Usprkos tome sviralo se precizno i srËano, glazbenicima se notni
tekst Ëinio razumljiv. To sam æelio postiÊi.
Srediπte mojih zvuËnih predodæbi jest
ljudski glas. Moj je cilj proniknuti u njega
i granice i rubove njegove otpornosti. Ekspresivnost svake druge boje zvuka proizlazi u konaËnici iz tog polaziπta. Formu
shvaÊam kao preduvjet moguÊnosti komunikacije i razumijevanja - dvostruko
mi je vaæna jer me namjerni afektivni
utjecaj na sluπatelja ne zanima.
Temeljnih principa melodije, harmonije,
ritma spreman sam se odreÊi tek kad su
iscrpljeni. Nisam u potrazi za neizrecivim,
naprotiv, zahvalan sam na veÊ izreËenom
na koje se rado nastavljam. Ne æelim novi
jezik. Vaæno mi je da unutar nekog jezika
imam πto reÊi. A ako krene posebno
While in different art forms, primarily literature and visual arts, an idea of leaving
the metaphysical ideal behind was imposed, other art forms such as performance, theatre or music are subjects to the
pathos of existence.
One of my working conditions however,
is the lightness of creation. Composing
of course needs to fulfil the criteria of a
work of art: it needs to speak for itself, it
needs to abide by its own rules and eventually find the rules it finds acceptable.
The greatest joy that comes from creating a score for me is not in the search for
that unique sound, nor concentrating on
the inside in order to surface on the outside. Such experience is by all means
beautiful, but North is also very cold. I
rather prefer to be in a warm room not
aching for silence or solitude in order to
be able to hear myself. This is how a desire for immovable and exaggerated perfection is created, identifying with the
fear of emptiness. I want this other, simpler type of joy, the joy of making music.
I was overjoyed for having experienced
an excellent premiere of Circus in Vienna
Jugendstiltheater. The score contained
almost none of the playing directions or
tempo markings. Despite of that the
music was played heartily and precisely,
and the musicians made it seem like the
music written was completely intelligible. This is what I tried to achieve.
The centre of my sound images is the
human voice. My goal is to penetrate
into it and its boundaries and edges of its
resilience. The expressiveness of every
other colour of sound eventually comes
from that very starting point. I see the
form as a precondition to the possibility
of communication and understanding - I
find it double important because I do not
care about the intended, affective impact
it has on the listener.
170
dobro, Ëak i s humorom. »ovjek se mora
izloæiti shvatljivosti. Dobro je biti provjerljiv. Prostor glazbe je utopija. Ona se
meutim dogaa samo u uprizorenju jezik je poveznica ovoga ovdje i onoga
tamo. To je uvjet za to da ne postoji jaz
izmeu umjetnosti i æivota. Umjetnost je
dio æivota, jedan od najljepπih, “nutarnje
cvjetanje” (Schwertsik). Ali ne æivot sam.
I ne zamjena za njega. [Jury Everhartz]
171
I am ready to give up on the basic principles of melody, harmony, rhythm only
when they are completely used-up. I
don’t search for the unutterable, on the
contrary, I am grateful for the uttered
and I gladly complement it. I don’t want
to create a new language, and I don’t
have the need for a language substitute.
Every living language can be expanded
and gives space for experimenting. For
me it is important to have something to
say within each language. And if it serves
me particularly well, I even do it with
humor. A man must be exposed to comprehensibility. It’s good to be able to be
authenticated.
The space of the music is a utopia. But it
only occurs in the staging - language is
the link between this here and that over
there. It is a precondition for not having
a gap between art and life. Art is a part of
life, one of its most beautiful parts,
«inner blossomingfl (Schwertsik). But it’s
not life. Nor its substitute.
[Jury Everhartz]
Maida Kariπik, Günther Strahlegger, Foto (C) Andreas Friess
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»ovjek ili æivotinja?
»etiri artista - prava Ëovjeka - koji svoje
toËke æele izvesti maksimalno dobro i
profitabilno, Ëetiri æivotinje - takoreÊi
Ëovjeka - koje sjede u svojim psihiËkim
kavezima, stoje izmeu dva principa
izmeu kojih æivot treba donijeti odluku:
izmeu pesimizma koji vodi u cinizam i
opravdava brutalnost kao neπto logiËno,
i optimizma koji protiv toga moæe
upotrijebiti samo snagu nade i strpljenja.
Odnosno, izmeu direktora cirkusa koji
sve pozove u cirkusku arenu i potjera u
borbu, gdje Êe po æivotinjskom principu
odmah biti raskomadani, i male vjere
koja djeluje doduπe nemoÊno, ali ipak
magiËno: ona se ne da prepiliti, ona je, i
to je njena malena pobjeda, mimo svake
logike neuniπtiva nada u bolji svijet. A to
je jedan od principa æivota.
Tako direktora cirkusa primjerice nalazimo u centrima moÊi, kapitalizma i
konzumerizma, u kojima se ljudske
slabosti iskoriπtavaju za manipulaciju
Ëovjekom, dok se s druge strane mala
vjera neograniËeno pojavljuje u djeËjim
sobama, knjigama, umjetniËkim djelima,
meu malim junacima svakodnevice, u
ljubavnim priËama i neprofitnim organizacijama - meu ljudima koji se poput
Voltaireova Candidea jednostavno ne
mogu ili ne æele naviknuti na zloÊu i
glupost svijeta i koji grozote koje im se
dogaaju ne uvjeæbavaju i ne oponaπaju.
Danas se opÊenito smatraju glupima oni
koji se nisu pametno prilagodili tempu i
træiπnim uvjetima u cirkuskoj areni. U
neka se druga vremena upravo to
smatralo bitkom ljudskosti - biti pametniji, obazriviji i sabraniji od æivotinjskog
instinkta od kojega smo potekli.
[Kristine Tornquist]
Human or animal?
Four artists - veritable humans - who
want to perform their acts as skilfully
and as profitably as they possibly can,
and four animals - almost humans - who
sit in their psychological cages, are positioned between two principles between
which we must choose in life: pessimism
that leads into cynicism and justifies
brutality as something logical, and optimism that can use only the power of hope
and patience to fight such attitudes. In
other words, the choice is between a circus director that calls everyone into the
circus arena and forces them into a fight
which, according to the animal principle,
will see them immediately dismembered,
and a tiny faith that appears weak, but is
also magical: it cannot be sawn in half, it
is, and in this lies its small victory, an indestructible hope in a better world that
opposes all logic. And that too is one of
the principles of living.
The circus director is thus found in the
centres of power, capitalism and consumerism, where human weaknesses are
used to manipulate people, whereas the
tiny faith appears without limitation in
children’s rooms, books, works of art,
among little heroes of everyday living, in
love stories and non-profit organizations,
among people who, like Voltaire’s Candide, simply cannot and will not get used
to the meanness and stupidity of the
world, and who do not plan and copy the
horrible things that happen to them.
Generally speaking, the idiots of the
modern day are those who have not been
smart enough to adapt to the tempo and
the market conditions of the circus arena.
In other times, it was precisely such an
attitude that was considered the essence
of humaneness - being smarter, more
considerate and more thoughtful than
the animal instinct that we originated
from. [Kristine Tornquist]
173
Everhartz
Jury
172
Jury Everhartz (Berlin, 1971.) nakon
zavrπetka IsusovaËke gimnazije studira
teologiju, filozofiju i muzikologiju te
privatno orgulje kod Lothara Knappea i
Martina Ludwiga i kompoziciju kod
Günthera Gerlacha. Zborovoa je i
dirigent, studira crkvenu glazbu. Od
1992. radi u BeËu kao kompozitor,
orguljaπ i dirigent. Godine 1998. osniva
Operno kazaliπte Sirene s Kristine
Tornquist, s kojom je od 2003. u braku.
Otada se prvenstveno bavi glazbenim
kazaliπtem. Neki od njihovih projekata
bili su Ohne Fortschritt keine Fische (Bez
napretka nema riba), Der automatische
Teufel (Automatski vrag), Feist, krimiopera
Der Kommissar (Inspektor), komiËna
opera Krokodil, Cirkus i Das verzehrte
Lichtlein (Iscrpljeno svjetlaπce). Skladao
je brojne manje, prije svega komorne
skladbe, a posljednja, Haydn-Trio,
izvedena je u GradiπÊu na festivalu
posveÊenom Haydnu.
Jury Everhartz (Berlin, 1971) finished a
Jesuit grammar school and started with
his studies in theology, philosophy and
musicology, at the same time attending
private classes with Lothar Knappe and
Martin Ludwig for organ, and composition with Günther Gerlach. As a choir
conductor and conductor in general he
studied sacral music. From 1992 he
worked in Vienna as a composer, organist and conductor. In 1998 together with
Kristine Tornquist he founded opera theatre Mermaids. He and Kristine married
in 2003. Since the foundation of the theatre he was mainly preoccupied with
musical theatre. Some of their projects
include Ohne Fortschritt keine Fische
(There is no Progress without Fish), Der
automatische Teufel (Automatic Devil),
Feist, crime-opera Der Kommissar (The
Inspector), comical opera Crocodile, Circus and Das verzehrte Lichtlein
(Exhausted Little Light). He composed
various smaller but predominantly
chamber pieces out of which the last one
Haydn-Trio was performed at the festival
in Burgenland dedicated to Haydn.
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Tornquist
Kristine
Kristine Tornquist (Graz, 1965.) studirala
je kemiju, πkolovala se za zlatara te studirala kiparstvo (na SveuËiliπtu za primijenjenu umjetnost kod Rona Arada) u
BeËu. Otada se slobodno kreÊe izmeu
likovne umjetnosti, kazaliπta i tekstova.
Velika pokretaËka snaga i potreba za
suradnjom s drugim umjetnicima doveli
su do nastanka umjetniËke skupine
31. Mai, umjetniËkog dvojca
Burkert/Tornquist, do osnutka Theater
am Sofa (Kazaliπte na kauËu) i Opernog
kazaliπta Sirene s Juryjem Everhartzom.
Kristine Tornquist i Jury Everhartz
zajedno su skladali odnosno producirali
22 opere i kratke opere.
Kristine Tornquist (Graz, 1965) finished
practical education for jewellers, and
studied chemistry and sculpture (at the
University for Fine Arts with Ron Arad) in
Vienna. Ever since that time she has
been positioning herself freely between
visual arts, theatre and texts. Her impetus and need for cooperation with other
artist have led her to the founding of art
group 31. Mai, artistic duo Burkert/Tornquist, Theater am Sofa (Theatre on the
Sofa) and Opera theatre Mermaids with
Jury Everhartz. Kristine Tornquist and
Jury Everhartz together composed and
produced 22 operas and short operas.
175
Sushon
Anna
174
Anna Sushon roena je u Rusiji, studirala
je klavir i povijest glazbe na Liceju za
glazbu u Novosibirsku. Godine 1991.
emigrirala je u Izrael i tamo 1995. zavrπila
studij dirigiranja na Jerusalem Rubin
Academy of Music and Dance. Od 1996.
æivi u BeËu, gdje je nastavila studij glazbe
na tamoπnjem SveuËiliπtu za glazbu i
izvedbene umjetnosti. Anna Sushon
radila je meu ostalim kao korepetitorica
u beËkim opernim kuÊama - BeËkoj
dræavnoj operi, BeËkoj komornoj operi,
Theater an der Wien - kao i na festivalu
posveÊenom Mozartu u Schönbrunnu,
Festivalu Klangbogen u BeËu, festivalu u
Retzu te Festivalu Wiener Festwochen.
Nastupala je kao korepetitorica lieda, a
kao dirigentica ravnala je izvedbama
koncerata u SAD-u i Izraelu te izvedbama opera u BeËu, Erfurtu, Salzburgu i
Stockholmu. Od 1998. radi kao glavna
korepetitorica u Neue Oper u BeËu.
Anna Sushon was born in Russia; she
studied piano and history of music at the
Musical Licej (boarding school) in
Novosibirsk. In 1991 she emigrated to
Israel where she graduated from the
Jerusalem Rubin Academy of Music and
Dance in 1995. Since 1996 she has been
living in Vienna where she continued
music studies at the Vienna University
for Music and Performing Arts. Anna
Sushon worked also as a an accompanist
in Vienna’s opera houses such as Vienna
State Opera, Vienna Chamber Opera,
Theater an der Wien - and a festival
dedicated to Mozart in Schönbrunn,
Klangbogen festival in Vienna, festival in
Retz, and Wiener Festwochen festival.
She performed as a lied accompanist and
she conducted concerts performed
throughout the USA and Israel. She
conducted operas in Vienna, Erfurt,
Salzburg and Stockholm. Since 1998 she
has been working as the main accopmanist in the Neue Oper in Vienna.
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Vierlinger
Rainer
Rainer Vierlinger (Haslach, 1967.) æivi u
BeËu od 1985. godine. Studirao je biologiju
te radio na projektima za zaπtitu okoliπa.
Prva iskustva u kazaliπtu stekao je u πkoli,
a od 2000. godine njegovi dotadaπnji hobiji, kazaliπte i glazba, postaju mu zanimanje. Bio je asistent Hansa Gratzera
(reæija, dramaturgija i produkcija). Od
2005. radi kao slobodnjak, izmeu ostalog
kao asistent Svena E. Bechtolfa, Achima
Freyera, Philippa i Nikolausa Harnoncourta, Martina Kuπeja, Nikolausa Lehnhoffa i Stefana Ruzowitzkyja. Dosada je
samostalno reæirao sljedeÊa djela: Dreck
(R. Schneider), Girardi (S. Wolf) i Der
graue Engel (Sivi aneo). (M. Rinke)
Rainer Vierlinger (Haslach, 1967) has
been living in Vienna since 1985. He
studied biology and worked on nature
preservation projects. His first theatre
experiences come from the time he went
to school, which he later on extended
onto theatre and music as hobbies which
in 2000 became a full-time profession.
He worked as an assistant to Hans
Gratzer (direction, dramaturgy and
production). His freelance career has
among other things, included being an
assistant to Sven E. Bechtolf, Achim
Freyer, Philipp & Nikolaus Harnoncourt,
Martin Kuπej, Nikolaus Lehnhoff and
Stefan Ruzowitzkyj. His independent
directing works include: Dreck (R. Schneider), Girardi (S. Wolf) und Der graue Engel
(Grey Angel) (M. Rinke).
177
Költringer
Andrea
176
Scheid
Jakob
Andrea Költringer studirala je na Visokoj
πkoli za glazbu i umjetnost - Mozarteum
u Salzburgu. Radila je kostime i opremu
za Pokrajinsko kazaliπte Salzburg, Pokrajinsko kazaliπte Linz, Ujedinjene pozornice Graz, Volkstheater BeË i druga
kazaliπta. Izraivala je opremu za opere
za Visoku glazbenu πkolu München, Scenu Salzburg i Operno kazaliπte Sirene.
Na slobodnoj sceni radila je s grupama
Jakob Scheid (BeË, 1966.) studirao je
L.U.S. Theater i ortszeit. Godine 2008. sa
dizajn na Visokoj πkoli za primijenjenu
skupinom new space company dobila je
umjetnost u BeËu. SuosnivaË je Ateljea
Nagradu Nestoy za komad Koma. Bavi se
za eksperimentalni dizajn Produktgestal- i organizacijom umjetniËkih projekata.
tung u beËkom kulturnom centru WUK.
Predavao je na odsjeku za dizajn i
Andrea Költringer studied at the Acadodsjeku za tehniËki odgoj SveuËiliπta za emy for Music and Arts Mozarteum in
primijenjenu umjetnost u BeËu. Æivi i
Salzburg. She designed costumes and
radi kao slobodni umjetnik, scenograf i
outfits for Salzburg Regional Theatre,
dizajner u BeËu.
Linz Regional Theatre, United Stages
Jakob Scheid (BeË, 1966) studied design
at the Academy for Fine Arts in Vienna.
He is a co-founder of the Atelier for experimental design Produktgestaltung in
Vienna’s culture centre WUK. He was a
lecturer at the Department for design
and Department for technical education
at the University for Fine Arts in Vienna.
He lives and works as a freelance artist,
set designer and designer in Vienna.
Graz, Volkstheater Vienna and other
theatres. She designed outfits for operas
performed at the Academy of Music in
München, Salzburg Scene and Opera
Theatre Mermaids. As a freelance she
cooperated with groups such as L.U.S.
Theater, ortszeit. In 2008 together with
the group new space company she
received a Nestoy award for the play
Coma. She is active in the organization of
artistic projects.
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Schönmüller
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Annette
day
Kariπik
Maida
Maida Kariπik roena je u Sarajevu, a na
Konzervatoriju u BeËu zavrπila je studij
solo pjevanja. Bila je angaæirana u BeËkoj
komornoj operi, u Volksoper i Neue Oper
u BeËu, kao i u kazaliπtima u Winterthuru,
Bratislavi i Sevilji. Koncertno je, izmeu
ostalog, nastupala u beËkom Musikvereinu i Auditoriju Angelico u San Franciscu,
kao i na istanbulskom Music Festivalu i
Festivalu Sarajevska zima. Njezin repertoar obuhvaÊa uloge iz djela Mozarta,
Rossinija, Verdija, Straussa, Brittena i
Berga, ali i beËke operete, kao i mnogobrojne uloge iz suvremenog repertoara.
Od 2008. solistica je u Juænotirinπkoj
dræavnoj operi.
Annette Schönmüller zavrπila je BeËko
sveuËiliπte za glazbu i izvedbene umjetnosti (orgulje, dirigiranje), a pjevanje je
diplomirala kod Colleen Rae Holmes u
Opernom studiju u Nürnbergu. Sudjelovala je u brojnim praizvedbama te pjevala u Minhenskoj filharmoniji,
Nizozemskom festivalu komorne opere,
u Neue Oper u BeËu, na Donaufestivalu
u Donjoj Austriji i drugdje. Radila je s
Leonardom Prinsloom, Carlosom Wagnerom, Leom Krischkeom, Karoline Gruber i mnogima drugima. U prosincu
2008. uspjeπno je nastupila u BeËu u
monoperi Medij za glas solo autora Petera Maxwella Daviesa.
Maida Kariπik was born in Sarajevo and
graduated in solo singing from Vienna
Conservatory. She worked in Vienna
Chamber Opera, Volksoper and Vienna
Neue Oper, and in theatres in Winterthur,
Bratislava and Seville. She performed
concerts at the Vienna Musikverein and
Angelico Auditorium in San Francisco,
and at the Music Festival in Istanbul and
Sarajevo Winter festival. Her repertoire
includes compositions by Mozart,
Rossini, Verdi, Strauss, Britten and Berg,
and Vienna’s operettas as well as many
roles from the contemporary reporetoire.
She has been working as a soloist at the
Southern Carinthia Opera since 2008.
Annette Schönmüller graduated from
Vienna University for Music and performing Arts (organ, conducting), and
she studied singing with Colleen Rae
Holmes in Opera studio in Nürnberg.
She participated in numerous premieres
and sang in Munich philharmonic, Festival of Chamber opera in Netherlands, in
Neue Oper in Vienna, at Donaufestival in
Austria and elsewhere. She worked with
Leonardo Prinslo, Carlos Wagner, Leo
Krischke, Karoline Gruber and many
others. In December of 2008 she successfully performed in Vienna in the monoopera by Peter Maxwell Davies, Medium
for solo voice.
179
Havlicek
Nakon mature u TrgovaËkoj akademiji,
Günther Strahlegger zapoËeo je svoje
pjevaËko obrazovanje na Pokrajinskom
konzervatoriju u Tirolu, a zavrπio ga je na
Glazbenom sveuËiliπtu u BeËu kod profesora Waltera Moorea i profesorice AnnaMarije Rott. Potom je pohaao i razne
majstorske teËajeve. VeÊ mnogo godina
Günther Strahlegger surauje s Opernim
kazaliπtem Sirene. Prve kontakte s glazbom 20. stoljeÊa omoguÊila mu je Neue
Oper iz BeËa. VeËeri posveÊene liedu i
koncerti diljem Europe nadopunjavaju
njegov umjetniËki rad, pri Ëemu je teæiπte
na klasiËnom oratorijskom repertoaru
kao i πlagerima s poËetka 20. stoljeÊa.
Michael C.
Strahlegger
Günther
178
Michael C. Havlicek diplomirao je na
Konzervatoriju grada BeËa 2004. u ulozi
Don Giovannija. UËitelji su mu bili
Wicus Slabbert i Edith Lienbacher. Koncerti i veËeri posveÊene liedu odveli su ga
u Juænu Afriku, Argentinu, NjemaËku i u
SAD. Debitirao je kao Guglielmo u
Mozartovoj operi Così fan tutte, a daljnji
After graduating from the Trade Academy, su ga angaæmani odveli u Gradsko
Günther Strahlegger started with his
kazaliπte Baden i u Hannover. Godine
education in singing at the Regional Con- 2008. debitirao je u BeËkoj komornoj
servatory in Tyrol finishing it at the Uni- operi te na festivalu u St. Margarethenu.
versity of Music in Vienna in the class of
professors Walter Moore and Anna-Mar- Michael C. Havlicek graduated from
ija Rott. He continued with his education Vienna Conservatory in 2004 with the
by attending various master classes.
role of Don Giovanni. His teachers were
Günther Strahlegger has had a long-stan- Wicus Slabbert and Edith Lienbacher.
ding cooperation with the Opera Theatre Evenings dedicated to lied and many
Mermaids. His first contacts with music concerts led him to South Africa, Argenof the 20th century came from the Vienna tine, Germany and the USA. He had his
debut performance as Guglielmo in
Neue Oper. Evenings dedicated to lied
and concerts all around Europe make up Mozart’s opera Così fan tutte, and further arrangements brought him to Baden
his artistic engagement in which the
City Theatre and Hannover. In 2008 he
main focus lies within the classical oratorio repertoire and pop songs from the had his debut at the Vienna Chamber
Opera and St. Margarethen festival.
beginning of the 20th century.
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Plangg
Nina Maria
Nina Maria Plangg studirala je solo
pjevanje na Konzervatoriju u BeËu i
Privatnom sveuËiliπtu Linz kod Andreasa
Lebede te radila s Birgit Steinberger i
Carol Byers. Ostvarila je uloge Pamine
(»arobna frula), Anne (Æivot razvratnika),
Ane Frank (Dnevnik Ane Frank), Arsene
(Ciganski barun), Almirene (Rinaldo).
Sudjelovala je u produkciji opera i opereta, izmeu ostalog, na festivalu u Gmundenu i u Dræavnoj opereti Dresden te kao
koncertna pjevaËica nastupala, meu ostalim, i pod ravnanjem Manfreda Honecka.
Nina Maria Plangg studied solo singing
at the Vienna Conservatory and Private
University Linz with Andreas Lebed, she
worked Birgit Steinberger and Carol
Byers. She performed in roles such as
Pamina (Magic Flute), Anne (Life of a
Debauchee), Anne Frank (Anne Frank’s
Diary), Arsena (The Gypsy Barron),
Almirena (Rinaldo).
She participated in operas and operettas,
among others, and at the festival in
Gmunden, Dresden State Operreta, and
as a concert singer she also performed
with conductor Manfred Honeck.
181
Kschwendt-Michel
Dieter
180
Dieter Kschwendt-Michel zavrπio je
studij povijesti i politiËkih znanosti na
SveuËiliπtu u BeËu, potom radeÊi kao
novinar. Istovremeno je privatno uËio
pjevanje kod Constantina Zaharija i
Wicusa Slabberta. Debitirao je kao 2.
oficir u Candideu Leonarda Bernsteina u
produkciji Neue Oper iz BeËa. Bio je
angaæiran i gostovao je, meu ostalim, u
Volksoper i Neue Oper u BeËu, u
Gradskom kazaliπtu Baden, Kazaliπtima
u Regensburgu, Ulmu, Sarajevu, Sevilji,
San Franciscu, kao i na mnogobrojnim
festivalima. VeÊ se neko vrijeme sve viπe
posveÊuje suvremenoj glazbi. Kao solist
sudjelovao je u brojnim praizvedbama
(npr. u austrijskoj praizvedbi Le balcona
Petera Eötvösa) te pjevao pod ravnanjem
dirigenata poput Petera Keuschniga i
Thomasa Hengelbrocka.
Dieter Kschwendt-Michel graduated
history and political sciences at the Vienna University and pursued a career as
a journalist. At the same time he was taking private classes in singing with Constantin Zahario and Wicus Slabbert. He
made his debut as a 2nd officer in Candid
by Leonard Bernsteina in Vienna Neue
Oper production. He was engaged and
was a guest at the Volksoper and Neue
Oper in Vienna among others, in Baden
City Theatre, in theatres in Regensburg,
Ulm, Sarajevo, Seville, San Francisco,
and numerous festivals. For a while now
his main dedication is with contemporary music. As a soloist he participated in
numerous premieres (e.g. in the Austrian
premiere of Le balcon by Peter Eötvös)
and sang under conductors such as Peter
Keuschnig and Thomas Hengelbrock.
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Haneder-Kulterer
Maria
Voditeljica produkcije Maria HanederKulterer studirala je katoliËku teologiju u
BeËu te zavrπila kraÊi studij za odnose s
javnoπÊu na Institutu za publicistiku u
BeËu. Bila je zaduæena za PR i voenje
ureda za Theater gruppe 80. Godine
2006. osnovala je svoju agenciju za kulturni menedæment (Haneder-Kulterer
culture & management) s kojom trenutno ima stalni angaæman za Operno kazaliπte Sirene (voditeljica produkcije,
marketing, PR), THEATER TANTO (menadæment turneja), teatro (voditeljica
produkcije, marketing i tisak) i za
festival multikids (πkolski marketing).
Producer Maria Haneder-Kulterer
(Waldviertel) studied catholic theology in
Vienna and graduated from a short course
in public relations at the Institute for
Publicity in Vienna. She was in charge of
P.R. and office management for Theater
gruppe 80. In 2006 she founded her own
agency for cultural management (Haneder-Kulterer culture & management) with
which she currently has a permanent
engagement with Opera Theatre Mermaids (as a production, marketing and
P.R. leader), THEATER TANTO (touring
management), teatro (production marketing and press leader) and multikids
festival (marketing in schools).
183
vojske
Hrvatske
Orkestar
182
Orkestar Hrvatske vojske, punim
imenom Simfonijski puhaËki orkestar
Oruæanih snaga Republike Hrvatske
osnovan je 1991. godine. Od 2008. godine
orkestar djeluje u sastavu Orkestara
OSRH zajedno s Orkestrom HRM i
Klapom HRM Sv. Juraj. TrenutaËno pod
umjetniËkim vodstvom πefa-dirigenta
Tomislava FaËinija, orkestar nastavlja
intenzivnu aktivnost na protokolarnim i
ostalim zadaÊama u okviru Oruæanih
snaga RH, a postupno jaËa i koncertnu
djelatnost. NajËeπÊe izvodi originalne
skladbe za puhaËe, hrvatske premijere,
djela suvremenih skladatelja i praizvedbe
hrvatskih autora. U sklopu orkestra
djeluje i niz komornih sastava. Uz prvog
πefa-dirigenta Mladena Tarbuka (do 2000.
godine) i stalne goste-dirigente Dragana
Sremca i Tomislava Uhlika, orkestrom su
ravnali mnogi uvaæeni dirigenti te uz
njega gostovali vrhunski solisti. Redovno
nastupa na glazbenim festivalima, a
pored brojnih snimki za Hrvatsku Radioteleviziju, SPO je snimao i za diskografsku kuÊu Honey Rock. Orkestar je veoma
uspjeπno nastupao i na mnogobrojnim
meunarodnim festivalima vojnih
orkestara, gdje je svojim koreografiranim
nastupima redovito izazivao oduπevljenje
publike.
Croatian Army Orchestra, or the
Symphonic Orchestra of the OSRH was
founded in 1991. Since 2008 the
Orchestra is performing within the OSRH
Orchestras together with HRM Orchestra
and a harmony-singing group HRM
“St. George”. The orchestra is currently
being led by its chief-conductor - Tomislav FaËini, the Orchestra is active within
protocol and other related tasks of the
Croatian Armed Forces, and is constantly working on enhancement of its
concert activities as well. It often plays
original compositions for brass and wind
ensemble, Croatian premieres of international works, compositions by contemporary pieces and first performances
of works by Croatian composers. Several
chamber ensembles are also active
within the Orchestra. Orchestra’s first
chief-conductor was Mladen Tarbuk,
who worked in the Orchestra until 2000,
but Orchestra welcomed many guestconductors such as Dragan Sremac and
Tomislav Uhlik, was conducted by many
distinguished conductors and featured
many acknowledged soloists.
The Orchestra regularly performs at
music and, along with numerous recordings made for the Croatian RadioTelevision, the Orchestra also made recordings
for the Honey Rock record company.
They have also had successful
performances at international festivals
of military orchestras where they always
woo audiences with their choreographed
performances.
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22:00, &TD
Ansambl Intégrales / Intégrales Ensemble (DE)
Intégrales:
Barbara Lüneburg - violina, viola, elektriËna violina / violin, viola, e-violin
Burkhard Friedrich - saksofon / saxophone
Ashley Hribar - klavir, sintetizator / piano, synthesizer
Julian Sulzberger - udaraljke / percussion
Wouter Snoei - elektronika / electronics
Wolfgang Rihm - Antlitz / Lice / Countenance
crteæ za violinu i klavir / a drawing for violin and piano
Burkhard Friedrich - the musicbox-project II / projekt glazbene kutije II
za elektriËnu violinu, klavijature, udaraljke, CD i æivu elektroniku /
For E-violin, keyboard, percussion, CD and live electronics
Michael Oesterle - Plateau / Visoravan, za klavir i udaraljke /
for piano and percussion
Marko Ciciliani - Rational Cantilenae in Nine Triads / Racionalne kantilene u devet trijada... za pjevajuÊeg pijanista i svjetlo / for a singing pianist
and light
Hannes Galette-Seidl - the art of entertainment / umijeÊe zabave
za violinu, saksofon, klavir, udaraljke i vrpcu /
for violin, saxophone, piano, percussion, tape
Hans-Joachim Hespos - IKAS, za alt-saksofon / for alto saxophone
185
Intégrales
Ansambl
184
Ansambl Intégrales, Ëija je teænja pribliæiti glazbu danaπnjice i nedavne proπlosti
publici nepovjerljivoj prema disonancama,
u skladu sa svojim motom “poveznica s
glazbom danaπnjice” dosljedno uËvrπÊuje svoju poziciju izvan “zvuËne sjene”
koju baca institucionalna industrija klasiËne glazbe. Ansambl su 1993. osnovali
violinistica Barbara Lüneburg te skladatelj
i saksofonist Burkhard Friedrich, a
zahvaljujuÊi viπeznaËnom razvoju koji
prelazi medijske i kulturne granice
postao je omiljen na radijskim postajama i
meu organizatorima glazbenih dogaaja koji æele znati πto se dogaa izvan
mainstreama. Ansambl je tako pozivan
na gostovanja u Berlinu, Kölnu, Chicagu,
Amsterdamu, Teheranu i Ulan Batoru.
Nastupao je na festivalima kao πto su
Berliner Festwochen, Schleswig Holstein
Musikfestival, Wien Modern i Gaudeamus u Nizozemskoj, ali isto tako i na
iranskom festivalu Fadjr te na mongolskom festivalu Roaring Hooves. Fleksibilna i prilagodljiva instrumentacija te
prirodna integracija elemenata improvizacije, performansa, æive elektroniËke
glazbe, glazbenog kazaliπta i filma
ansamblu omoguÊuju izgradnju bogatog
repertoara te potiËu kreativnu razmjenu
ideja i dijalog izmeu partnera izrazito
razliËitih osobnosti i stilova.
Ensemble Intégrales, seeking to reconcile the music of today and of the recent
past with an audience suspicious of dissonances - in line with their motto “the
link to today’s music”, has persistently
established its position outside the
“sound shadow” cast by the institutionalised classical music industry. The ensemble’s multi-faceted cross-medial and
cross-cultural development, since its
foundation in 1993 by violinist Barbara
Lüneburg and composer and saxophone
player Burkhard Friedrich, has made it a
favourite of broadcasting stations and
organisers of musical events interested
in what happens beyond the mainstream,
and earned it invitations for guest performances in Berlin, Cologne, Chicago,
Amsterdam, Tehran or Ulan Bator. The
list of festivals where the ensemble Intégrales has performed includes Berliner
Festwochen, Schleswig Holstein Musikfestival, Wien modern and the Gaudeamus festival in the Netherlands, but also
the Iranian Fadjr Festival or the Mongolian “Roaring Hooves.” The flexible and
expandable instrumentation as well as
the effortless integration of elements of
improvisation, performance, live electronics, music theatre and film enable
ensemble Intégrales to cover an extensive repertoire and encourage a creative
exchange and dialogue between partners
with extremely different personal and
stylistic backgrounds.
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187
Ansambl Intégrales / Ensemble Intégrales
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Rihm
Wolfgang
Wolfgang Rihm (Karlsruhe, 1952.)
studirao je kompoziciju na Visokoj πkoli
za glazbu u Karlsruheu u razredu Eugena
Veltea i Humphreyja Sealea. Poslije je
studirao u Kölnu s Karlheinzom Stockhausenom i u Freiburgu s Klausom
Huberom i Hansom Heinrichom Eggebrechtom. Nazvan je “najpoznatijim
predstavnikom ‘nove jednostavnosti’,
moæda bolje reËeno - novoromantizma,
ili novoekspresionizma” (Radio France).
Njegova djela pokazuju osobnost koju
snaæno privlaËe knjiæevnost i ostale
umjetnosti. Uz Stockhausena i Weberna,
njegove rane utjecaje, Rihmova su djela
poslije bila i pod utjecajem Helmuta
Lachenmanna i Luigija Nona, kojemu je
posvetio nekoliko djela.
Podnaslov ovog Rihmova djela, Crteæ za
violinu i klavir, opisuje gestu skladbe.
Rihma Ëesto inspirira likovna umjetnost:
Skladba je asketski zvukovni crteæ, djelo
Ëiste introspekcije, zgusnute kontemplacije u nenarativnoj statiËnosti, gotovo
zamrznuto. “©to se dogaa kad, piπuÊi
glazbu, mijeπam boje, ocrtavam linije,
izoπtravam obrise, postavljam plohe i
izraujem perspektive? Ili kad traæim
tonske boje? Apstrakcija je preduvjet
konkrecije.” [Rihm]
Wolfgang Rihm (Karlsruhe, 1952)
studied composition at the Hochschule
für Musik in Karlsruhe with Eugen Velte
and Humphrey Searle. He later studied
in Cologne with Karlheinz Stockhausen
and in Freiburg with Klaus Huber and
Hans Heinrich Eggebrecht. He was considered to be “the best-known representative of the young German musical
movement of the ‘New Simplicity,’ perhaps better termed as neoromanticism
or neoexpressionism” (Radio-France).
His works show a personality strongly
drawn to literature and the arts. Along
with Stockhausen and Webern, his early
influences, he was later greatly influenced
by Helmut Lachenmann and Luigi Nono,
to whom he has dedicated several works.
The subtitle of the piece, Drawing for
violin and piano, describes the gesture of
the composition. Rihm is often inspired
by the fine arts. The piece is an ascetic
sound drawing, a piece of pure introspection, condensed contemplation in
non-narrative static almost congealed.
“What happens when I, in the writing of
music, mix colours, trace lines, sharpen
contours, set planes, and work out perspectives? Or search for tone colours?
Abstraction is a prerequisite to concretion” [Rihm]
Friedrich
Burkhard
188
Od 2006. godine Burkhard Friedrich
(Berlin, 1962.), skladatelj, osnivaË i jedan
od voditelja ansambla Intégrales, komponira djela na granici izmeu Nove
glazbe i elektro-popa. Njegovo podruËje
istraæivanja jest stalno posipanje javnih i
komercijalnih mjesta “mekom” glazbom,
muzakom koji potiËe ljude na kupnju. U
svojem konceptu nazvanom Projekt MuziËke kutije, Friedrich do neke mjere rabi
metode odgovorne za uspjeh sistema
Muzak: ponavljanja, sintetske zvukove,
ritamske obrasce. KombinirajuÊi nekonvencionalne zvukovne strukture i razvlaËeÊi repeticije, paralelnom uporabom
æive i unaprijed snimljene glazbe skladatelj iritira sluπateljeve osjete, odvodeÊi
ga tako u nepoznata podruËja u kojima
kormilarenje postaje uzbudljivom avanturom. U ovom komadu u pitanje se
dovodi potreba za æivom glazbom jer se
Ëini da je veÊina sekvenca koje se Ëuju
stalna, zbog uporabe loopova (petlji) i
delaya (kaπnjenja). U nekim trenucima
glazbenici smiju napustiti pozornicu i
ostaviti glazbu na brigu instrumentima
za loopove. Postavlja se pitanje na koji je
naËin pogoena neËija percepcija ako
glazbenici izau, a glazba se nastavi,
neograniËeno. Musicbox je raen u tradiciji skladatelja iz obiju skupina - “ozbiljne” i “zabavne” glazbe - kao πto su Edgar
Varése, Anthony Braxton, Frank Zappa i
John Zorn, koji su prelazili granice meu
glazbama i uspijevali ustanoviti nove
æanrove.
189
Since 2006, Burkhard Friedrich (1962)
composer, founding member and one of
the two artstic leaders of ensemble Intégrales, verges between New Music and
Electro-Pop. His ›field of research‹ is the
perpetual sprinkling of public and commercial places with the soft-music of the
sales-enhancing marketing instrument
›Muzak‹. In his concept ›the musicboxproject‹, Burkhard Friedrich, to a certain
degree, employs the methods basically
responsible for the system Muzak‘s success: repetitions, synthetical sounds and
rhythmical patterns. By combining unconventional sound structures and by
stretching the repetitions, by paralleling
live- and pre-produced music, the composer irritates the listener‘s senses, thus
taking her to uncharted territories in
which to navigate becomes an exciting
adventure. In this piece the necessity for
live music is questioned insofar as most
of the sequences one hears seem to have
become perpetual by the use of loops
and delays. At certain points the musicians are free to leave the stage and let
their loop-instruments in charge of the
music question arises in which way ones
perception is effected if the musicians
exit but at the same time their music
goes on infinitely.
Musicbox sees itself in the tradition of
composers from both groups, for
example Edgar Varése, Anthona Braxton,
Frank Zappa and John Zorn, who always
have been transgressing the boundaries
between “serious” and “entertaining”
music, and who have managed to establish new genres.
day
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Oesterle
Michael
Michael Oesterle (Ulm, 1968.) dobitnik
je nekoliko nagrada poput Nagrade Gaudeamus, Grand Prize na 12. CBC-evom
radijskom National Competition for
Young Composers, i Nagrade Jules Léger,
koju dodjeljuje Canada Council.
Suraivao je na projektima sa skladateljem
Gerhardom Staeblerom, violinistom Clemensom Merkelom, slikaricom Christinom Unger, videoinstalacijskim
umjetnicama Wandom Koop i Bonnie
Baxter te koreografkinjama Isabellom
Van Grimde, Barbarom Bourget i Dominique Porte. Oesterle je skladao glazbu
za CNOTE, film animatora Christophera
Hintona, koji je 2005. godine osvojio Nagradu GENIE za najbolji kratki animirani
film. S pijanistom Marcom Courouxom
Oesterle je u Montréalu osnovao ansambl KORE, a u razdoblju od 2001. do 2004.
godine bio je rezidencijalni skladatelj za
l’Orchestre Metropolitain du Grand
Montréal. Michael Oesterle trenutno æivi
u Montréalu.
Michael Oesterle (Ulm 1968) has received
several awards, such as the Gaudeamus
Prize, the Grand Prize at the 12th CBC
Radio National Competition for Young
Composers, and the Canada Council
Jules Léger Prize. Oesterle’s works have
been performed and commissioned by
renowned ensembles, orchestras and
soloists all over the world. He has produced
projects in collaboration with composer
Gerhard Staebler, violinist Clemens
Merkel, painter Christine Unger,
video/installation artist Wanda Koop
and Bonnie Baxter and choreographer
Isabelle Van Grimde, Barbara Bourget,
and Dominique Porte. Oesterle composed
the music for CNOTE, a film by animator
Christopher Hinton, produced by the
National Film Board of Canada (NFB).
CNOTE won the 2005 GENIE award for
best animated-short. He founded the
Montréal based Ensemble KORE with pianist Marc Couroux, and between 2001
and 2004 he was composer-in-residence
with l’Orchestre Metropolitain du Grand
Montréal. Michael Oesterle is currently
living in Montréal.
190
“Plateau je nastao kao rezultat velikog
broja sati posveÊenih sluπanju inventivnih
mehanizama glazbe montrealskog skladatelja Maxima de la Rochefoucaulda.
Glazbeni mehanizmi sluæe mi kao sredstva
za promatranje ekspresivnih, dramatskih
kvaliteta s drukËijeg stajaliπta. Dionica
klavira predstavlja statiËni krajolik s harmonijski gustim artikulacijama koje pulsiraju u sredini registra instrumenta.
Udaraljkaπu je u kompoziciji zadan niz
radnji koje treba odsvirati na ograniËenoj
grupi instrumenata. Takve spontane, ali
ograniËene radnje vidim kao zvuËne ikone, ‘iskrice’ koje nastaju nasumce kroz
opsesivan rad mehanizma klavira.”
191
“Plateau is the result of long hours of listening to the ingenious mechanicalmusic of Montreal composer Maxime de la
Rochefoucauld. To me, musical mechanisms are a means to observe expressive
dramatic qualities from a different angle.
The piano part in “plateau” is a static
landscape, with harmonically dense articulations pulsating in the middle register of the instrument. The percussionist
is given a set of actions, to be played on a
limited set of instruments. I see these
spontaneous but confined actions as sonic
icons, “sparks” that are released at random
by the obsessive piano mechanism.”
month
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hour
22:00
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sat
Marko Ciciliani
day
Marko Ciciliani (1970.) glazbeno je obrazovanje s podruËja kompozicije i elektroniËke glazbe stekao u New Yorku,
Hamburgu i Hagu. Pisao je za orkestre,
ansamble, soliste, kao i zvukovne instalacije, a u djela je Ëesto uvrπtavao æivu
elektroniËku glazbu i druge medije, npr.
svjetlost, lasere, videozapise i animirane
filmove. Za Cicilianija je tipiËan pokuπaj
spajanja naizgled kontradiktornih materijala, Ëime se djelu daje dojam eksperimenta i zaigranosti uz neoËekivane
obrate i raznolikost boja. Djela su mu
izvoena kako na festivalima eksperimentalne elektroniËke glazbe tako i na
festivalima komorne glazbe, a instalacije
su mu postavljane u Nizozemskoj, NjemaËkoj i Velikoj Britaniji. Kao izvoaË,
Ciciliani veÊ godinama koristi no input
mixer, vrstu miks-pulta u kojem se ne
koriste vanjski ulazi, nego se svi zvukovi
stvaraju putem internih povratnih veza.
Marko Ciciliani received his musical
training as a composer and electronic
musician in New York, Hamburg and
The Hague. He has written for a variety
of settings, including orchestra, ensembles, solo works and sound installations,
often including live-electronics and
other media like light, laser, video or cartoons. Typical for Ciciliani’s work is that
it tries to combine seemingly contradictory materials, giving the composition a
feeling of experiment and playfulness,
with surprising turns and a variety of
colour.
The different “genres” in which Ciciliani’s music can be heard and seen, are
reflecting his manifold musical activities.
His music has been programmed by festivals of electronic experimental music
just as much as by international festivals
for chamber music. His sound installations have been presented in the Netherlands, Germany and the UK.
192
193
As a performer Ciciliani has used the noinput mixer for many years, a mixing
board which does not use any external
inputs, but where all sounds are created
through internal feedbacks. In 2006 Ciciliani founded the group Bakin Zub, an
ensemble comprising five distinguished
musicians from different backgrounds.
Bakin Zub is dedicated to the performance of Ciciliani’s music while placing an
emphasis on the combination of instrumental writing, live-electronics and light
Racionalne kantilene za devet trijada za designs. Ciciliani lives in Amsterdam and
is following a PhD program at the Brunel
glasovir, glasovni izriËaj i svjetlosne
University in London/UK. In 2009 he will
efekte, naruËitelj Fonds voor de Scheppende Toonkunst: “Kada sam poËeo ra- spent a three-month residency at the
diti na tom projektu, privlaËio me heavy prestigious “Villa Aurora” in Los Angeles/USA.
metal i njegova povezanost s drevnim
kultovima i okultizmom. Dok sam se
bavio istraæivanjima te teme, otkrio sam Rational Cantilenae in Nine Triads for
da se u blizini mog doma u Amsterdamu piano, vocal utterings and lighting,
Commissioned by the Fonds voor de
nalazi privatna knjiænica s najveÊom
Scheppende Toonkunst: “When I started
zbirkom hermeneutiËke i alkemistiËke
working on this piece, I was interested in
literature na svijetu. Tamo sam fasciniHeavy Metal and its affinity to ancient
rano Ëitao o svjetonazoru srednjovjekovnih i renesansnih alkemiËara. Ja ne cults and occultism. While doing research on this subject-matter, I discovdijelim ta vjerovanja, no alkemija me
fascinira jer predstavlja sloæeno stapanje ered that not far from my house in
Amsterdam, there is a private library
znanosti, krπÊanstva i okultnih
vjerovanja utemeljenih na helenistiËkoj with the world largest collection of
kulturi. U njoj su nakupljeni vrlo razliËiti hermeneutic and alchemist literature. I
aspekti povijesti i religije zapada, a pitam went there and read with fascination
about the world-view of Middle-Age and
se koliko tih ideja postoji i danas u
Renaissance alchemists. I do not share
nekom promijenjenom obliku.”
these beliefs, but I am fascinated by
Alchemy because of its complex mixture
of science, Christianity and occult beliefs
based in Hellenism. It accumulated very
diverse aspects of western history and
religion and I wonder how much of these
ideas still exist today in an altered form.”
Godine 2006. osnovao je skupinu Bakin
zub, ansambl koji se sastoji od petoro
uglednih glazbenika iz razliËitih miljea.
Bakin zub izvodi Cicilianijevu glazbu, a
naglasak je na kombinaciji instrumentala, elektroniËke glazbe uæivo i svjetlosnih dizajna. Ciciliani æivi u Amsterdamu
te pohaa doktorski studij na SveuËiliπtu
Brunel u Londonu. Tijekom 2009. tri Êe
mjeseca provesti kao stipendist u
prestiænoj Villi Aurori u Los Angelesu.
month
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dan
mjesec
hour
22:00
utorak / tuesday
sat
Seidl
day
Galette
Hannes
Hannes Galette Seidl (Bremen, 1977.)
studirao je kompoziciju na Visokoj πkoli
Folkwang s Nicolausom A. Huberom i
Thomasom Neuhausom te na poslijediplomskom studiju u Grazu - kao stipendist DAAD-a - u klasi Beata Furrera.
Radio je u nekoliko elektroniËkih studija,
u IRCAM-u (Pariz), ZKM-u (Karlsruhe),
IEM-u (Graz), Centro di Sonologia e di
Calcolo (Padova) i dr. Meunarodno je
nastupao s ansamblima kao πto su
Klangforum Wien, Ensemble Modern,
Oriol Thürmchen Ensemble i KNM. Dobitnik je stipendije za Darmπtatske ljetne
teËajeve 2002. godine te stipendije
Akademije umjetnosti u Berlinu. Bio je
Ëlanom meunarodne akademije
Ansambla Modern. Predavao je uvod u
elektroniËku glazbu na SveuËiliπtu Bremen, a od 2005. godine je slobodnjak i
æivi u Gießenu u NjemaËkoj.
Hannes Galette Seidl (Bremen, 1977)
studied composition at the FolkwangHochschule with Nicolas A. Huber and
Thomas Neuhaus and with Beat Furrer
as a postgraduate in Graz, on a DAAD
scholarship. He worked in several electronic studios, at IRCAM (Paris), ZKM
(Karlsruhe), Centro di Sonologia e di Calcolo (Padova), the Akademie der Künste
Berlin, the IEM (Graz) et al. He has had
international performances with ensembles such as Klangforum Wien, Ensemble
Modern, Ensemble Oriol, Thürmchen
Ensemble and KNM. He received a
scholarship for the Darmstädter Ferienkurse 2002, was grant recipient of the
Akademie der Künste Berlin and was a
member of the international Ensemble
Modern Acadamy. He has taught introduction in electronic music at the Universität Bremen. Since 2005 he lives as a
freelance composer in Gießen / Germany.
194
UmijeÊe Zabave Hannesa Galette-Seidla
djelo je oblikovano je kao konceptualna
glazba. On o djelu kaæe “©to je to πto
omoguÊava da popularna glazba tako
dobro funkcionira? ©to Ëini bit te glazbe
tako trajnom, otpornom? Zaπto ostaje
prepoznatljivom i Ëak se πiri unatoË
raznolikom otporu i neodredivoπÊu kao
πto su buËni javni prostori, promet, doba
dana, loπe kvaliteta reprodukcije,
pozadinski πumovi, suoËavanje s nepoznatim predodæbama itd.?
»ini se da je svaka kultura u stanju
probaviti zabavu - ne samo glazbu.
Ona upija sve, razgraena na lokalnu
boju. Koji su to zvukovi i strategije popglazbe koji stavljaju sve na svoje mjesto?”
Za nas se UmijeÊe zabave sastoji of modularnih komponenata razliËite glazbe,
koje sjaje poput krhotine, prou, pojave
se ponovno, miruju, prekrivene su, ili
odjednom napadno skaËe u priv plan;
πetnja gradom, dok nesvjesno skupljamo
glazbu. Samo se ovdje glazbu oguli s dojmova o gradu i prinese uπima, grubu i
nedotjeranu.“
195
Hannes Galette-Seidl’s The Art of Entertainment is conceived as conceptual
music. He himself says about the piece:
“What is it that makes popular music
function so well? What makes the
essence of this music so tenacious? Why
is it that it stays recognisable and even
spreads in spite of diverse resistance and
imponderability such as noisy public
spaces, traffic, time of the day, mean
playback quality, back ground noises,
confrontation with unknown images etc.?
Each culture seams to be able to digest
entertainment - not just music. It absorbs everything, degraded to local colour. What are the sounds and strategies
of pop music that make everything fit?”
For us The Art of Entertainment consists
of modular components of various music, which shine off as shreds, pass away,
re-emerge, stand still, are being covered
or suddenly obtrusively spring to the
foreground; a walk through a city, while
one unconsciously collects music. Only
here the music is peeled off the city-impressions und is being brought to the
ears rough and unpolished.”
day
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hour
22:00
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sat
Hespos
Hans-Joachim
Hans-Joachim Hespos (1938.) od 1964.
godine skladao je veliki broj djela koja
su, prema standardima nove njemaËke
glazbe, uglavnom ekstremna. Moæda je
jedna od najistaknutijih znaËajki Hesposove glazbe ta da se u njoj naizgled ne
odvija neki vidljiv proces razvoja tehnike
ili mijena u skupu djela tijekom posljednjih
trideset godina. Njegove partiture, bilo da
su verbalne, grafiËke ili konvencionalnije
zapisane, ili su pak kombinacija svega,
uvijek pobuuju akciju prije negoli upute
za neutralno izvoenje. Inspirirane
Adornom i Artaudom, svaka kompozicija
poprima nesputani oblik tijekom samog
Ëina skladanja. Stoga ta djela, bez obzira
na svoju duljinu, i nisu jednostavna za
analizu poput obiËnog umjetniËkog objekta. Kako i sam Hespos kaæe, on sklada
ne znajuÊi “kamo Êe ga to u kojem trenutku odvesti, ili gdje Êe zavrπiti”.
Hans-Joachim Hespos (1938) has since
1964 composed a huge number of works
that are usually extreme even by the
standards of the German New Music.
Perhaps one of the most remarkable
features of Hespos’ music is that there
would seem to have been no discernible
process of development of technique or
alteration in concerns during the last
thirty years. His scores, be they verbal,
graphic, more conventionally notated or
some combination thereof, always constitute incitements to action rather than
instructions to be executed neutrally.
Inspired by Adorno and Artaud, each
composition forms itself unfettered
during the act of composition. Thus each
work of any length would hardly be
analysable as an artistic object. In hespos’ own words, he composes without
knowing “whither it goes in the next
moment, where it ends”.
196
Ovakva radikalna subjektivnost ostvaruje
komunikaciju s publikom Hesposova
djela s ciljem da, kako Artaudov citat
kaæe, “stigne do toËke na kojoj stvari
moraju eksplodirati kako bi se doπlo do
novog poËetka/odlaska... kako bi se duh
doveo do mahnitosti, uzdignuo do svojih
energija”.
Ikas, priopÊenje za medije: “IKAS za alt
saksofon (1982.) predstavlja uvod u glazbeni teatar naziva ‘ples na æici’. Kako i
stoji u nazivu, interpret hoda po akustiËnoj tankoj æici koja se izraæava kroz nejednake zvukove koje proizvodi glas u
izljevima tjeskobe, panike i bijesa. Saksofon se ovdje nadovezuje na glasnice
izvoaËa. KoristeÊi specifiËnosti zvuka
saksofona, on mijenja glas izvoaËa mijenjajuÊi pritom do neprepoznatljivosti i
sam zvuk saksofona. Ovo je djelo
glazbeni teatar u trajanju od 6 minuta.
StjeËe se dojam da kompozicija nije linearna nego vertikalna te da egzistira u
prostoru istraæujuÊi dubinu dvorane.
IzvoaË nagovjeπÊuje zvuk, a glas dolazi
sa æice.”
197
This radical subjectivity should communicate itself to any audience of hespos’
work, his aim being, to quote Artaud “To
reach a point at which things must burst
if there would be a new departure/beginning ... to lead the spirit to a frenzy, to a
rising of its energies”.
Press release Ikas: “IKAS for altsaxophone
(1982) is the entrée to the music theatre
with the title ‘dance on a tightrope’. As
the title suggests, the interpreter is walking
an acoustic tightrope, which is expressed
in diverse noises made using the voice in
outbursts of anxiety, panic and rage.
The saxophone is here the player’s prolonged vocal chords. It changes the voice
of the performer as the as the well known
saxophone sound changes beyond
recognition making use of its specific
richness of timbre.
The piece is a music theatre in itself of 6
minutes length. One gets the impression
that the composition isn’t linear but vertical in space, exploring the depth of the
hall. The performer seems to announce a
noise and voice manifest from out his
rope.”
day
month
21
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dan
mjesec
23:00, MM
Dada Jihad
Dada Jihad:
Mario KovaË
Tomislav BabiÊ
Maksimilijan Ruæinski
Kreπimir Pauk
Zrinka KuπeviÊ
Ana FranjiÊ
Dean KrivaËiÊ
Damir Kantoci
hour
23:00
sat
utorak / tuesday
198
Za nastup na Biennalu Dada Jihad
pripremaju projekciju legendarnog
dokumentarnog epa Leni Riefenstahl
Olympia, 1. Teil - Fest der Völker (Olimpijske igre, 1. dio - SveËanost naroda)
popraÊenu improviziranom glazbenom
pratnjom na “neinstrumentima” te koreografiranim plesnim pokretima. Termin
“neinstrumenti” odnosi se na Ëitav niz
elektroniËkih, analognih i akustiËnih
naprava koje se izrazito rijetko rabe u
glazbi, a u sebi sadræe Ëitavu paletu
zvukova koji se mogu rabiti: oscilatori,
teremin, kuÊanski aparati (usisivaË,
mikseri, peÊnice, pribor za jelo...), alati
(buπilice, ËekiÊi, razni kljuËevi, πkare...),
prijenosi kratkovalnog radija i sliËno.
Æelja nam je pokuπati napraviti spregu
glazbe i filma koristeÊi se razloænim
kulturnim iskustvom unutar glazbene
(zvuËne) forme. Nije nam æelja glazbom
komentirati vieno, nego pokuπavamo
ostvariti simbiozu dviju vrsta znakova
(zvuËnog i vidljivog) kako bi situacija
predstavljanja bila doæivljena kao
nadopuna “starog” materijala, a ne
parazitiranje na njemu.
Dada Jihad vjeruje da je politika bavljenje
javnim poslom radi privatnog probitka te
se stoga bavi umjetnoπÊu, za koju vjeruje
da je bavljenje privatnim poslom radi
javnog boljitka.
199
For the performance on the Biennale,
Dada Jihad has prepared a screening of
legendary documentary epic by Leni
Riefenstahl Olympia 1. Teil - Fest der
Völker accompanied by improvised
music played on “non-instruments” and
dance choreography. The phrase “noninstruments” relates to a whole set of
electronic, analogous and acoustic
devices rarely used for performing music
but nonetheless containing a whole
range of sounds ready for use: oscillators,
theremin, household appliances (vacuum
cleaner, blenders, ovens, cutlery...), tools
(drilling machines, hammers, various
wrenches, scissors...), transmissions by a
short-wave radios, etc. Our wish is to try
and create an alliance of music and film
by exploiting on our cultural experience
within the musical (sound) form. We do
not wish to use the music to comment
on what already exists but to try and
symbiotically connect two types of signs
(sounds and images) in such a way so
that the situation presented can be experienced as an upgrade of an “old” material, rather than creating a hanger-on
situation.
Dada Jihad shares a belief that being in
politics means being in service of general
public for personal gain which is why
they choose to dwell in art for which they
believe is personal work done for the
better of general public.
day
month
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4
dan
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23:00
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sat
KovaË
Mario
Mario KovaË (Zagreb, 1975.) prva je
kazaliπna iskustva skupljao u Dramskom
uËiliπtu ZagrebaËkog kazaliπta mladih, a
diplomirao je 2002. godine na odsjeku
Kazaliπne reæije na Akademiji dramske
umjetnosti. Godine 1995. osniva nezavisnu studentsku kazaliπnu grupu
Schmrtz Teatar s kojom reæira, glumi,
nastupa u viπe od 120 predstava, performansa, hepeninga, koncerata... te ostvaruje brojna gostovanja po Hrvatskoj i
Europi. Meu najpoznatijim radovima
grupe radikalne su akcije (kraa knjiga u
knjiæarama u sklopu akcije 22%, egzorcistiËka akcija istjerivanja zlih demona iz
zgrade HNK, Millennium Marijuana
March..). PoËetkom 2001. godine raspuπta Schmrtz Teatar i osniva kazaliπnu
druæinu Nova Grupa; pokretaË je i osnivaË nekoliko festivala i susreta, kao πto su
FAKI (Festival alternativnog kazaliπnog
izriËaja), TEST! (Teatar Studentima!),
K.R.A.D.U. (Kazaliπna revija Akademije
dramske umjetnosti).
Mario KovaË (Zagreb, 1975) started
collecting his first theatrical experiences
while attending drama classes at Zagreb
Youth Theatre under Zvjezdana Ladika,
Elizabeta Kumer, Jadranka Korda and
Boris KovaËeviÊ eventually graduating
from the Academy of Dramatic Art at the
Department of Theatre Direction in
2002. In 1995 he founded an independent student theatre group named
Schmrtz Teatar with which in over five
years of its existence he directed, acted
and performed in over 120 plays, performances, happenings and concerts making numerous guest appearances in
Croatia and Europe. Among the most famous of this group’s works are radical
actions (such as, stealing books in bookstores as a part of a 22% action, exorcising demons from Croatian’s National
Theatre, Millenium Marijuana March,
etc.). In the beginning of 2001 he dissolved the Schmrtz Teatar and founded a
theatre company called Nova Grupa; he
is the initiator and founder of several
festivals and gatherings such as, FAKI
(Festival of Alternative Theatrical
Expression), TEST! (Theatre to Students!),
K.R.A.D.U. (Theatre Show of the
Academy of Dramatic Art).
200
Od 2000. godine radi kao profesionalni
kazaliπni redatelj, a do sada je ostvario
niz predstava u Zagrebu, Poæegi, Splitu i
Rijeci. Za veÊinu tih predstava bio je i
scenograf i skladatelj originalne glazbe, a
mnoge od njih osvajale su nagrade na
domaÊim i stranim kazaliπnim festivalima.
Sudjelovao je i u stvaranju brojnih amaterskih predstava i performansa. Za TreÊi
program Hrvatskog radija reæirao je niz
radijskih drama (za reæiju Æene bombe
Ivane Sajko 2004. godine dobiva Nagradu hrvatskog glumiπta). S raznim bendovima i projektima izdao je desetak
glazbenih albuma razliËitih usmjerenja.
Trenutno svira u grupama Tena Novak i
dada jihad te pjeva u bendu Delvis. Organizira performanse, hepeninge, sluπaonice i druga dogaanja, a u klubu Gjuro
II rezidentni je DJ. Koscenarist je i suredatelj filmova Bore Leeja te autor nekoliko kratkometraænih filmova. Pisao je
kazaliπne kritike, recenzije i teorijske
eseje, izdao je zbirku priËa Barπunasto
podzemlje i za izdavanje uredio nekoliko
knjiga. Bio je i story editor (dnevni urednik) u prvoj sezoni Big Brothera,
kreativni urednik u prvoj sezoni reality
showa BAR te scenarist TV-serije Dobre
namjere.
201
He has been working as a director from
2000, in Zagreb, Poæega, Split, and Rijeka.
For most of the shows he also worked as
a set designer and original score composer
and many of these shows won awards on
domestic and foreign theatre festivals.
He directed a series of radio plays for the
Croatian Radio programme (he won the
Croatian Theatre Award for Ivana Sajko’s
Æene bombe). He has released ten albums
of various music styles (styles varying from
cabaret punk to radical experimentalism),
as a result of cooperation with different
bands and projects. He plays keyboard,
theremin and various electronic devices
in bands Tena Novak and Dada Jihad
and sings in the band Delvis. Mario organizes performances, happenings, literary readings and other events and is a
resident D.J. in Zagreb’s club Gjuro II.
With two other co-authors KovaË wrote
screenplays and directed films starring
Bore Lee. He’s the author of several short
films, he wrote theatre reviews, reviews
and theoretical essays and he published
a collection of stories Barπunasto
podzemlje. As an executive editor he has
edited several books. He worked as a story
editor and a creative editor of reality shows
on TV and as a screenwriter for a TV series.
day
month
srijeda / wednesday
22 4
17:00, Mimara
MD7, Ansambl za suvremenu glazbu /
Contemporary Music Ensemble
19.30, GDKG
Orlando Jacinto García: Transcending Time /
NadilazeÊi vrijeme*, opera
21:30, &TD, polukruæna dvorana / semicircular hall
Gordan Tudor & Natalija ManojloviÊ:
Vodoinstalater / The Plumber*
22:30, MM
Nimbus Dei
00:00, MM
NARCISSISTER:
Mali noÊni komentar /
A Little Night Commentary,
performans / performance
day
month
22
4
dan
mjesec
hour
17:00
srijeda / wednesday
sat
17:00, Mimara
MD7, Ansambl za suvremenu glazbu /
Contemporary Music Ensemble
Steven Loy, dirigent / conductor
Matej Zupan, flaute / flutes
Joæe Kotar, klarineti / clarinets
Mihael ©uler, trombon / trombone
Franci Krevh, udaraljke / percussion
Luca Ferrini, klavir / piano
Katja Krajnik, viola
Igor MitroviÊ, violonËelo / cello
Pavel MihelËiË, umjetniËki ravnatelj / artistic director
Zygmunt Krauze: Voices for Ljubljana / Glasovi za Ljubljanu
Frano –uroviÊ: PriËajmo o Daksi / Let’s Talk About Daksa*
Tina Mauko: Sence / Sjene / Shadows
Urπka Pompe: Sræ - Osnova i potka / Warp and Woof
Sukhi Kang: Myth / Mit
Lojze LebiË: Barvni krog / Krug boja / Colour Circle
204
Godine 2001. meunarodni festival Musica Danubiana, koji se odræava od 1998.
godine a posveÊen je suvremenoj glazbi,
pruæio je priliku posebno oformljenom
ansamblu s jedinstvenim sastavom da
svojim djelovanjem potakne stvaranje i
izvedbu novih radova slovenskih skladatelja, ali i skladatelja koji ne dolaze iz
Slovenije. Prva izvedba Ansambla MD
(Musica Danubiana) odræana je u BeËu 7.
studenog 2001. godine. Nedugo nakon
tog nastupa sastav je djelomice promijenjen i smanjen te se viπe nije mijenjao. U
osnivanju ansambla su, uz Ëlanove, sudjelovali i neki istaknuti glazbenici izvan
tog projekta, poput dirigenta Liora
Shambadala i skladatelja Pavela MihelËiËa, koji otpoËetka djeluje kao umjetniËki
ravnatelj ansambla. MD7 danas postoji
kao nezavisna kulturna organizacija, a
svoju je osnovnu misiju potvrdio prvim
koncertom u novom sastavu, odræanim
2002. godine: izvoenje skladbi
napisanih posebno za njega, kojima do
izraæaja dolazi njegova jedinstvena instrumentacija. Do sada je skupina premijerno izvela 22 slovenske skladbe i 22
skladbe skladatelja koji nisu iz Slovenije.
205
In 2001 Musica Danubiana, an international festival devoted to contemporary
music begun in 1998, offered an opportunity for a specially-formed ensemble
with a unique instrumentation to encourage the creation and performance of
new works by Slovenian and non-Slovenian
composers. The debut performance of
the MD Ensemble (Musica Danubiana)
took place in Vienna on November 7,
2001. Shortly after this event, the group
changed some of its members and reduced the number of musicians to form
an ensemble that has remained the same
ever since. The ensemble was founded
by its members as well as by some distinguished musicians from outside the
project, among those are the conductor
Lior Shambadal and the composer Pavel
MihelËiË, who has remained the artistic
director of the ensemble from its inception. The MD7 ensemble for contemporary music, which today exists as an
independent cultural organisation, confirmed its basic mission already with
their first concert in their new configuration on November 20, 2002: to perform
compositions written especially for them
which would strictly observe their unique
instrumentation. So far the group has
premiered 22 Slovenian compositions and
22 works by non-Slovenian composers.
day
month
22
4
dan
mjesec
hour
17:00
srijeda / wednesday
sat
Loy
Steven
Steven Loy slobodni je dirigent koji
aktivno djeluje u Ljubljani sa suvremenim
glazbenim ansamblima MD7, Slowind i
Ansamblom Slavko Osterc. Dirigirao je
na brojnim znaËajnim premijerama u
Sloveniji, ukljuËujuÊi premijere skladbi
Stevea Reicha, Briana Ferneyhougha,
Martina Smolke i brojnih drugih skladatelja. Bio je voditelj Slovenske Filharmonije, simfonijskih orkestara iz
Miskolca i Szombathelyja (Savaria) u
Maarskoj te Brasovske filharmonije
(Rumunjska). Porijeklom iz SAD-a,
diplomu iz kompozicije stekao je u
Philadelphiji, a 2000. godine u Parizu mu
je dodijeljena Diplome Supérieur iz
orkestralnog dirigiranja. Bio je i aktivni
sudionik majstorskih radionica s poznatim dirigentima poput Pétera Eötvösa,
Zoltána Peskóa, Jurija Simonova, Helmutha
Rillinga i drugih, a u 2002. godini
pohaao je konzervatorij Accademia
Musicale Chigiana u Sieni, gdje je studirao pod maestrom Lotharom Zagrosekom.
Steven Loy is a freelance conductor
active in Ljubljana with the contemporary
music ensembles MD7, Slowind and Ensemble Slavko Osterc. He has conducted
a number of important premieres in
Slovenia, including works by Steve Reich,
Brian Ferneyhough, Martin Smolka and
many others. He has also led the Slovenian Philharmonic, the Savaria Symphony
and Miskolc Symphony Orchestras
(Hungary) and the Brasov Philharmonic
(Romania). Originally from the US, he
received his BM in composition in
Philadelphia, later earning the Diplome
Superieur in orchestral conducting in
Paris in 2000. He has actively participated
in master classes with many well-known
conductors including Péter Eötvös,
Zoltán Peskó, Yuri Simonov and Helmuth Rilling. In 2002 he attended the
Accademia Musicale Chigiana in Siena,
studying with maestro Lothar Zagrosek.
207
Krause
Zygmunt
206
Zygmunt Krause (Varπava, 1938.)
diplomirao je na poljskoj Dræavnoj viπoj
glazbenoj πkoli, i to klavir u klasi profesorice Marije Wilkomirske te kompoziciju pod Kazimierzom Sikorskim. Nakon
studija glazbeno je obrazovanje nastavio
u Parizu na stipendiji francuske vlade
kao student Nadie Boulanger. Od 1963.
godine Krauze nastupa kao pijanist u Europi i SAD-u izvodeÊi uglavnom djela suvremene glazbe. Godine 1967. osnovao
je Ansambl Warsztat Muzyczny, specijaliziran za sviranje najnovijih kompozicija. Ansambl je djelovao do 1988. godine
i odræao ukupno 300 koncerata, dok su
za njih poljski, ali i strani skladatelji
napisali viπe od 100 djela. Radio je kao
profesor klavira na Dræavnom sveuËiliπtu
u Clevelandu (SAD) te uz potporu
DAAD-a boravio i u Berlinu. Predavao je
u Stockholmu, Darmstadtu, Groænjanu,
Osaki, na IU u Bloomingtonu, Glazbenoj
akademiji u Baselu, SveuËiliπtu Yale i
SveuËiliπtu Columbia.
Zygmunt Krause (Warsaw, 1938) is a
graduate of the National Higher School
of Music piano studies in the class of
Maria Wilkomirska and of composition
with Kazimierz Sikorski. He continued
his music education in Paris on a French
Government scholarship as a student of
Nadia Boulanger. Since 1963 Krauze has
been playing concerts as a pianist in Europe and the United States, performing
mainly contemporary works. In 1967 he
founded the Warsztat Muzyczny [Musical Workshop] ensemble, specializing in
playing the most recent compositions.
The ensemble continued until 1988, gave
a total of approximately 300 concerts
and had more than 100 works composed
for it by Polish and foreign composers.
In 1970-71 he was a piano professor at
the Cleveland State University, and in
1973-74 stayed in Berlin at the invitation
of the DAAD. He was a lecturer in Stockholm, Darmstadt, the IU in Bloomington, the Basel Academy of Music, Yale
University, Columbia University, Osaka
and Groænjan, among others.
day
month
22
4
dan
mjesec
hour
17:00
srijeda / wednesday
sat
Tijekom 1982. - 89. Krauze je na poziv
Pierrea Bouleza predavao u Parizu, gdje
je imenovan i umjetniËkim savjetnikom
Instituta IRCAM. Tijekom 1983. - 84.
vodio je tjedne glazbene programe na
francuskom radiju Musique. Krauze je bio
koproducent na seriji edukativnih filmova
The Making of Music (Stvaranje glazbe)
za Poljsku televiziju te je 1987. godine,
nakon serije filmova o suvremenoj glazbi
The Sound and Silence (Zvuk i tiπina),
osvojio nagradu predsjedniπtva Poljske
radiotelevizije.
“Skladba Glasovi za Ljubljanu sastoji se
od dvaju citata iz moje rane glazbe koji
nemaju niπta zajedniËko. Glavni dio
kompozicije nova je verzija Glasova iz
1972. godine. Oblik kompozicije je jedinstven, nema kontrasta, a tiπina ima
jednako bitnu ulogu kao i zvuk. Nakon
toga slijedi citat iz moje kompozicije za
Macbetha Eugena Ionesca iz 1992. godine.
Ovaj dio publiku moæe podsjetiti na iznimno spor ritam habanere. Glasovi za
Ljubljanu stoga su vrsta kolaæa sastavljenog od zvuËnog materijala prethodnih
skladbi. Skladani su 2008. godine i
posveÊeni Ansamblu MD7.”
In 1982-89 Krauze lectured in Paris,
where he was appointed the artistic advisor at the IRCAM Institute at the invitation of Pierre Boulez in 1982 and ran
weekly music programs in Radio France
Musique. In 1986 Krauze co-produced a
series of educational films entitled “The
Making of Music” for Polish Television,
winning the award of the Chairman of
the Polish Radio and Television in 1987,
followed by a series of films on contemporary music, called “The Sound and Silence”.
„The piece Voices for Ljubljana consists
of two quotations from my early music
which don‘t have anything in common.
The main part of the composition is a
new version of Voices from 1972. Its form
is unistic, devoid of any contrasts, in
which silence is just as important as
sound. Afterwards there appears a quotation from my music composed for
Macbeth by Eugene Ionesco in 1992. This
part may remind the audience of an extremely slow habanera. Voices for Ljubljana is therefore a kind of collage. Voices
for Ljubljana was composed for, and
dedicated to, the Ensemble MD7 in
2008.“
Frano –uroviÊ
209
Pavel MihelËiË
208
Pavel MihelËiË trenutaËno radi kao
dekan i profesor kompozicije i glazbene
teorije na Akademiji za glazbu u Ljubljani. Njegova djela predstavljena su na
svim znaËajnijim meunarodnim festivalima poput Varπavske Jeseni, Praπkog
proljeÊa, DubrovaËkih ljetnih igara,
Ohridskog ljeta, MBZ-a, Festivala
Starawieś, Musicore i dr.
Frano –uroviÊ (Dubrovnik, 1971.)
diplomirao je kompoziciju na MuziËkoj
akademiji u Zagrebu u klasi Frane
ParaÊa. Osim orkestralnih, komornih i
instrumentalnih skladbi autor je i velikog
broja elektroniËkih i elektroakustiËkih
djela, instalacija i multimedijskih projekata, u kojima uspjeπno kombinira
glazbu s raznim formama vizualnih
umjetnosti. Dobitnik je nekoliko uglednih nagrada (Josip ©tolcer Slavenski,
Stjepan ©ulek). Docent je na MuziËkoj
akademiji u Zagrebu.
Pavel MihelËiË is currently Professor of
Composition and Music Theory and
Dean of the Academy of Music in Ljubljana. His works have been presented at
important international festivals such as
the Warsaw Autumn, Prague Spring,
Ruse International Festival (Bulgaria),
Berlin International Festival, the Summer Games in Dubrovnik, the Music
Biennial in Zagreb, Ohrid Summer,
Starawie Festival of Contemporary
Music in Poland, in Kiev, Sofia International Festival, Musica Danubiana in
Sato Mare (Romania), twice at the international festival in Bratislava, the
Musicora in Paris and two subscription
concerts in Dresden and other places.
Frano –uroviÊ (Dubrovnik, 1971)
studied composition at the Academy of
Music with Frano ParaÊ. Apart from
orchestral, chamber and instrumental
compositions, he also wrote numerous
electronic and electroacoustic works,
installations and multimedia projects in
which he successfully combines music
with various visual art forms. He has
received several important awards
(“Josip ©tolcer Slavenski”, “Stjepan
©ulek”). He is an associate professor at
the Academy of Music in Zagreb.
day
month
22
4
dan
mjesec
hour
17:00
srijeda / wednesday
sat
O PriËajmo o Daksi –uroviÊ kaæe: „Na
otoËiÊu Daksi pored Dubrovnika 25. i 26.
listopada 1944. ubijeno je nekoliko
desetaka DubrovËana (najmanje 79,
a vjeruje se da je broj puno veÊi),
uglavnom Hrvata, uglednih intelektualaca. Smaknuli su ih partizani, komunisti, bez ikakvoga suda, a javnost je o
tome kasnije obavijeπtena plakatima
kojima se htjelo prikazati kako su
pogubljeni kao “ustaπe”, “ustaπki
suradnici”, “suradnici okupatora” i
sliËno. Meu ubijenima bilo je jedanaest
sveÊenika. Naravno da dokaza za
optuæbe nije bilo, πtoviπe, ostalo je
upamÊeno kako su neki od ubijenih
pomagali partizane (pribavljajuÊi im
hranu i lijekove, poput fra Marijana
BlaæiÊa) ili su simpatizirali komuniste.
Do sada nije bilo moguÊe pronaÊi bilo
koji materijal, koji bi optuæivao pojedince za bilo kakav zloËin, ni za kazneni
progon, a kamoli za smrtnu presudu.
Ne samo svjedoci tih dogaanja, nego i
neki objavljeni izvori govore o tome kako
su se bezrazloæna ubijanja protegla
duboko u studeni 1944., i kako su ærtve
bacane u more ili pokapane na viπe
mjesta. ZloËin na otoku Daksi nije bio
–uroviÊ on his Let’s talk about Daksa.
“On the 25th and 26th of October, 1944,
on the island of Daksa near Dubrovnik,
several dozens of Dubrovnik residents
(at least 79, and the number is believed
to be much higher) were executed,
mostly Croats, mostly respected intellectuals. They were executed by the partisans, communists, without trial, and the
public was later notified about it via
posters claiming that they had been executed because they had been “ustashas”,
“collaborators with the occupier” and so
on. Among those killed were eleven
priests. Naturally, there was no evidence
for those allegations; moreover, it is
claimed that some of those killed had
been helping the partisans (providing
them with food and medicine, like Fra
Marijan BlaæiÊ) or had been communist
sympathizers. It has not yet been possible to find evidence against them, sufficient for bringing criminal charges
against them, let alone condemning
them to death. The witnesses of these
events, as well as some published
sources, testify of the unwarranted
killings which went on well into November of 1944, and that the victims were
210
usamljeni sluËaj koji se dogodio neplanirano, kako se to godinama objaπnjavalo,
veÊ su tadaπnje komunistiËke (danas
viπe vole da ih se zove “antifaπistiËke”)
vlasti i planski ubijale i to ne ratne
protivnike, nego hrvatsku inteligenciju i
politiËke suparnike. Ovaj komunistiËki
zloËin dio je sustavnog progona hrvatstva, uvod u stotine sliËnih pokolja koji
Êe kulminirati u svibnju 1945. u
Bleiburgu, na kriænim putovima. Daksa
je samo jedno od oko 1300 hrvatskih
stratiπta - viπe od 700 nalazi ih se diljem
Hrvatske, oko 500 u Sloveniji, a pedesetak u Bosni i Hercegovini.
Za te uæasne zloËine nitko nije odgovarao i nitko nije kaænjen. Zanima me
kako je to moguÊe? A znamo da za ratni
zloËin nema zastare...
Moja kompozicija posveÊena je nesretno
stradalima na Daksi.“
211
thrown into sea or buried in several
locations. The crime on the island of
Daksa was not a lone and unplanned
occurrence, as it was claimed for years,
but rather a part of the systematic persecution of Croatian intelligentsia and
political opponents, a preamble to hundreds of similar massacres which culminated in May 1945 in Bleiburg. According
to my information, Daksa is merely one
of approximately 1300 Croatian scaffolds
- more than 700 are located in various
parts of Croatia, around 500 are located
in Slovenia and around 50 in Bosnia and
Herzegovina.
No one was punished or accused for
these heinous crimes… I wonder how
this is possible, considering that there is
no statute of limitations period for war
crimes...
My composition is dedicated to the
wretched ones, executed on Daksa.”
month
22
4
dan
mjesec
hour
17:00
srijeda / wednesday
sat
Tina Mauko
day
Tina Mauko (Murska Sobota, 1982.)
diplomirala je klavir 2004. na Akademiji
za glazbu u Ljubljani u klasi Tomaæa PetraËa. Tijekom studija usavrπavala se i
kod brojnih drugih priznatih pedagoga te
dobila dvije prve nagrade na dræavnim
natjecanjima i jednu meunarodnu kao
dio klavirskoga dua. Sada studira
kompoziciju na ljubljanskoj Akademiji u
klasi slavnoga Janija Goloba. Godine
2008. nekoliko je puta izvedena njezina
Æidovska rapsodija, a njezino je vlastito
Glazbeno kazaliπte izvelo i trodnevnu
bajku »arovni væig pred punim dvoranama. Na veËeri njezinih skladbi u
Slovenskoj filharmoniji nastupalo je 24
priznatih slovenskih glazbenika.
Surauje s nizom glazbenika, a njezine
su ideje viπeslojne i namijenjene svakom
pojedincu te sadræe programsko kretanje
koje dolazi na vidjelo kroz izraen scenarij te se svaki sluπatelj moæe uæivjeti u
vlastiti nadrealni svijet.
Tina Mauko (Murska Sobota, 1982)
graduated in piano from the Music Academy in Ljubljana in the class of Tomaæ
PetraË. During her studies she also
attended classes with many other recognized educators and she won national
and international prizes for her performance as a part of a piano duo. She is currently studying composition at the Music
Academy in Ljubljana in the class of Jani
Golob. In 2008 her Jewish Rhapsody received several performances, and her
Music Theatre performed a three-day
fairy tale Magical Spark in front of a full
auditorium. At the music evenings featuring her compositions in Slovenia Philharmonics 24 acknowledged Slovenian
musicians performed. She has a standing
cooperation with various musicians and
her ideas are recognized as multilayered
intended for an individual and consisting of programme climax that comes to
life through a well developed scenario
providing each listener an opportunity to
experience their own surreal world.
212
“Ideja Sjena je nesanica svijeta, a kako
priliËi kompozitoru kao proroku, on daje
napredno rjeπenje i prognozu kako zaustaviti buku, odnosno agresiju i dati konstruktivno objaπnjenje o uzroku
prisutnosti buke. Iz nje je nastao svijet i u
nju se vraÊa. Svijet se uvijek iznova
ugaa i ljepota traje vrlo kratko jer se
moramo razviti da bismo je svaki put
vremenski produæili. PoËela sam s astmatiËnim disanjem instrumenata - sada
æivimo u disharmoniji i disritmu sa
sobom i zato se ne moæemo usuglasiti s
okolinom. Tako se svatko sam nastoji
ugoditi, pronaÊi svoj istinski ton πto vodi
do nemoÊi - agresije - kolapsa. Pomaæe si
sjenama izvan ovog svijeta… Potom se sa
strahom i ne samosvjesno, bez agresije,
svatko sam ugaa, nae svoj ton. U
pozadini je mantra, a samougaanje
dovodi do glazbe (ureenja sustava)
izvan nas. Onda opet zapoËinje uplitanje
pa je toËka u koju se vraÊamo naprednija
jer je manje disritmiËna i liπena astmatiËnog disanja svijeta.”
213
„The idea of Sjena (Shadows) comes
from the world’s insomnia... Taking into
consideration that a composer serves a
purpose of the prophet, he provides advanced solutions and prognosis on how
to stop the noise, the aggression and deliver a constructive explanation on the
cause of the existence of noise. The
world was created from it and it always
returns to it. We are achieving progress.
The world is constantly being re-tuned
and the beauty of it lasts very shortly, we
have to progress and prolong it. I started
of with asthmatic breathing of instruments - we now live in disharmony and
dysrhythmia with ourselves, which is
why we can’t be tuned in with the environment. This way, everyone is finding
their own tuning; everyone is trying to
find their own sound which leads to
powerlessness - aggression - collapse.
Help comes from out of this world,
through shadows… and then, in fear,
everyone is getting tuned, finding their
own sound, a mantra in the background,
and self-tuning leads to music (putting
the system in order) that exists outside
us. The interfering begins again and the
point to which we return is more advanced because it’s less dysrhythmic and
has no asthmatic breathing of the world.“
day
month
22
4
dan
mjesec
hour
17:00
srijeda / wednesday
sat
Pompe
Urπka
Nakon πto je diplomirala kompoziciju na
Akademiji za glazbu u Ljubljani (1993. u
klasi prof. Dane ©kerla), Urπka Pompe
nastavila je sa studijem na Akademiji
Franz Liszt u Budimpeπti (kompozicija,
komorna glazba, solfeo) te u Baselu u
©vicarskoj (studij kompozicije s Rolandom Moserom). Tijekom poslijediplomskog studija nadopunila je svoje znanje
sudjelujuÊi na brojnim meunarodnim
majstorskim satovima s priznatim skladateljima i instrumentalistima, meu
kojima su skladatelji Brian Ferneyhough,
György Kurtág, Helmut Lachenmann i
pijanist Pierre-Laurent Aimard. Za svoj
rad primila je brojne nagrade i priznanja.
U 2007. godini primila je najveÊe kulturno
priznanje u Sloveniji - Nagradu Zaklade
Preπeren - za postignuÊa u protekle dvije
godine. Njezina glazba zastupljena je na
meunarodnim festivalima u Sloveniji i
inozemstvu. Trenutno radi kao asistentica za predmet solfeo na Akademiji u
Ljubljani.
Sræ - Osnova i potka: “Blizu, a opet
daleko; skriveno, ali izloæeno; tiho,
a opet glasno.“
After earning her diploma in composition at the Academy of Music in Ljubljana (1993, with prof. Dane Škerl), Urška
Pompe continued her studies at the
Franz Liszt Academy of Music in
Budapest (composition, chamber music,
solfege) and in Basel, Switzerland (composition with Roland Moser). During her
post-graduate studies she supplemented
her knowledge by participating in numerous international masterclasses and
meetings with acknowledged composers
and instrumentalists, which played an
important role in the ongoing maturation of her creativity; composers: Brian
Ferneyhough, James Dillon, György
Kurtág, H. Lachenmann, Ivan Fedele,
Jonathan Harvey, piano: Pierre-Laurent
Aimard; chamber music: Miklós Perényi,
Márta Gulyás. For her work she has
received various prizes and acknowledgments. In 2007 she received the highest
state cultural prize in Slovenia - the Prešeren Fund Prize - for her achievements
in the last two years. Her music is performed frequently in Slovenia and has been
presented at various international festivals both in Slovenia and abroad. She is
currently assistant professor of solfege at
the Ljubljana Academy of Music.
Warp and woof
Close, yet far away; Hidden, yet exposed;
Silent, yet loud.
215
Kang
Sukhi
214
Sukhi Kang (Seoul, 1934.) diplomirao je
kompoziciju na dræavnom SveuËiliπtu u
Seoulu. Studije je nastavio na Naprednoj
glazbenoj πkoli pri hanoverskom Kazaliπtu i Konzervatoriju te TehniËkom
sveuËiliπtu u Berlinu. Bio je jedan od
prvih umjetnika u Koreji koji je predstavio
svoju elektroniËku glazbu. Od 1969. do
1992. bavio se organizacijom festivala
nove glazbe Pan Music Festival u Seoulu.
Sudjelovao je kao skladatelj i novinar na
veÊini znaËajnih europskih festivala
posveÊenih novoj glazbi. Bio je i predsjednik ISCM-a u Koreji. U knjizi Begegnungen mit der Welt-Musik (Susreti sa
svijetom glazbe) opisuje svoju praksu i
iskustva u Europi usporeujuÊi i analizirajuÊi korejsku i europsku kulturu. Godine 1980. Kang se vratio u Europu na
dvije godine gdje je radio u ElektroniËkom
studiju u Kölnu i u ElektroniËkom studiju
berlinskog TehniËkog SveuËiliπta. Od
1982. godine radi kao profesor na
dræavnom sveuËiliπtu u Seoulu i
na SveuËiliπtu Keymyung u Daegu. Radio
je i kao glazbeni ravnatelj na Olimpijskim
igrama u Seoulu 1988., za Ëije je
otvorenje skladao raËunalnu glazbu.
Godine 1995. objavio je knjigu Analiza
suvremene glazbe.
„Dio skladbe Mit za 7 sviraËa postoji u
pisanom obliku u fragmentima. Nekoliko
tih fragmenata iskoriπteno je u zrcalnoj
formi. Osnova skladbe jest progresija
kombinacije vibrafona i klavira. Skladba
je napisana za MD7.“
Sukhi Kang (Seoul, 1934) majored in
composition at the National University
of Seoul, college of music. He continued
his studies at the Advanced Music School
of the Hanover Theatre and Conservatory
and at the Technical University of Berlin.
He was one of the first composers to
present his electronic music in Korea.
From 1969 until 1992, he organized a festival of new music in Seoul, the Pan Music
Festival. Both as composer and journalist,
he participated at all the important European festivals devoted to new music
and reported his impressions on Korean
radios and magazines. He also became
the president of the ISCM in Korea. In his
book Begegnungen mit der Welt-Musik
(Encounters with the Music of the World ),
he described his practices and experiences in Europe, comparing and analyzing Korean and European cultures. In
1980, Kang returned to Europe for two
years: he worked at the Electronic Music
Studio in Cologne and worked at the
Electronic Studio of Berlin´s Technical
University. He has been a professor of
composition at the National University
of Seoul and Keymyung University,
Daegu. He was also the musical director
for the Olympic Games in Seoul in 1988
and composed computer music for the
opening of the Olympics. In 1995 he
published another book, Analysis of Contemporary Music.
„A piece of the music from the Myth for
7 Players exists in written form - in fragments. Several fragments are used in
mirror form. The fundament of the piece
is the combination of Vibraphone and
Piano. This work was composed for MD7.“
day
month
22
4
dan
mjesec
hour
17:00
srijeda / wednesday
sat
LebiË
Lojze
Lojze LebiË (1934.) diplomirao je
kompoziciju i dirigiranje na Akademiji za
glazbu u Ljubljani 1972. godine. Kompozicijski se odvojio od ostalih Ëlanova
skupine Pro musica viva i nastavio
studirati suvremenu glazbu u Darmstadtu. Stvorio je vrlo osobni glazbeni
izraæajni idiom kreÊuÊi se izmeu
neobuzdanosti i meditativne suzdræanosti,
kozmopolitskog modernizma i obzirnosti prema slovenskom glazbenom
nasljeu. Njegova djela izvodila su se na
festivalu World Music Days, MBZ-u,
Musikprotokoll u Grazu, Pan Music u
Seoulu, Varπavskoj Jeseni i drugim festivalima. Dobitnik je nagrade Preπeren za
ostvarenja u 1994. godini. A od 1995.
godine je punopravni Ëlan Slovenske
akademije znanosti i umjetnosti. Od
2003. godine je pridruæeni Ëlan Kraljevske flamanske akademije znanosti i umjetnosti u Belgiji.
Lojze LebiË (1934) graduated in composition and conducting from the Academy
of Music in Ljubljana in 1972. Compositionally, he broke from the other members of the Pro musica viva group and
studied further at courses in contemporary music in Darmstadt. He eventually
forged a very personal musical idiom,
stretching between impetuousness and
meditative restraint, cosmopolitan modernism and a sensitivity for Slovenian
musical legacy. His works have been performed at many World Music Days festivals, Berlin and Zagreb Biennales,
Musikprotokoll in Graz, Pan Music in
Seoul, Warsaw Autumn and others. He
was awarded the Preπeren Prize for his
works in 1994. Since 1995 he is a full
member of the Slovene Academy of Science and Art, and since 2003 he is an associate member of the Royal Flemish
Academy of Science and Art in Belgium.
216
“Djelo Krug boja nastalo je u proljeÊe
(2008.) za iznimne izvoaËe ansambla
MD7. Neke od znaËajki ovog djela mogu
se deπifrirati veÊ u samom naslovu:
U obliku: djelo s jednim stavkom
povezano je s tri odvojena dijela tako da
dva mirna vanjska dijela okruæuju dramatiËni i ubrzani unutraπnji dio.
U izriËaju: potraga za ravnoteæom
izmeu obojenosti zvuka i glazbenih
dogaanja.
U tehnici: razvoj zvuka, formalna i
instrumentalna transformacija, ponekad
virtuozna, ponekad liriËna; strogo kontrolirana u nekim dijelovima, a slobodnija u drugim.”
217
“The work Colour circle was written last
spring for the excellent performers of the
Slovenian chamber ensemble MD7.
Some of the characteristics of the piece
may already be deciphered from the title:
in form: since the single-movement work is linked in three separate
sections, so that two peaceful outer sections encircle a dramatic and faster middle part.
in expression: as a search for balance between sound colouring and musical events
in technique: the development of
sound, formal and instrumental transformation, sometimes virtuosic, sometimes lyrical; strictly controlled in some
parts and more free in others.”
day
month
22
4
dan
mjesec
hour
19:30
srijeda / wednesday
sat
19.30, GDKG
Orlando Jacinto Garcia: Transcending Time /
NadilazeÊi vrijeme*, opera
Campbell McGrath - libreto / libretto
Jacek Jerzy Kolasinski, John Stuart - video
Martina GojËeta SiliÊ, mezzosopran / mezzosoprano
Monika CerovËec, Martina MatiÊ Borse, Neven MrzleËki, Goran JuriÊ vokalni solisti / vocal soloists
Cantus Ansambl / Cantus Ensemble, Mladen Tarbuk, dirigent / conductor
Cantus Ansambl / Cantus Ensemble:
Ivan Novinc, 1. violina / violin
Mislav Pavlin, 2. violina / violin
Tvrtko Pavlin, viola / viola
Jasen Chelfi, violonËelo / cello
Nikπa Bobetko, kontrabas / double bass
Dani Boπnjak, flauta / flute
Branko MihanoviÊ, oboa / oboe
Danijel MartinoviÊ, klarineti / clarinets
Ricardo Luque Perdomo, fagot / bassoon
Bánk Harkay, rog / horn
Vedran Kocelj, truba / trumpet
Mario ©incek, trombon / trombone
Srebrenka Poljak, klavir / piano
Vojislav »iËiÊ, udaraljke / percussion
uz zahvale / with thanks to: Veleposlanstvo Sjedinjenih Američkih Država
u RH / Embassy of the United States of America in the Republic of Croatia
Elisabeth Marsh, tehniËka podrška / technical assistance
Johnu Stuartu / John Stuart, video
218
Transcending Time (NadilazeÊi vrijeme)
je nenarativna videoopera u kojoj preobrazba slika, zvukova i percepcije vremena Ëine okosnicu djela. Djelo je
nastalo u suradnji skladatelja Orlanda
Jacinta Garcije, videoumjetnika Jaceka
Kolasinskog, videoumjetnika /arhitekta
Johna Stuarta i pjesnika Campbella McGratha te se u 75 minuta polako razvija i
gotovo neprimjetno otkriva razvoj 3
kljuËna segmenta. Ti segmenti temelje se
na konceptima koji su na apstraktan
naËin predstavljeni slikama, zvukom i
tekstom.
U prvom segmentu nazvanom Time in
the Present (Vrijeme u sadaπnjosti) sugeriraju se kaos i borba sadaπnjeg postojanja. Drugi dio, The Act of Becoming
(»in postanka), ukljuËuje materijale kroz
koje se nasluÊuje preobrazba
prethodnog kaotiËnog stanja. I naposljetku, materijali ukljuËeni u treÊi dio,
A New Order (Novi poredak), sugeriraju
ideju nove egzistencije nastale kao rezultat preobrazbe. Uzmemo li u obzir apstraktnu i cikliËnu prirodu ovog djela,
moæemo zakljuËiti kako nova egzistencija nije niπta doli iluzija. Iako se samo
djelo ne zasniva na priËi ili narativnom
predloπku, tri koncepta predstavljaju osnovne ideje kroz koje se generiraju materijali djela. Transcending Time u
konaËnici predstavlja senzualnost slika i
zvuka te govori o tome kako postepena
preobrazba istih moæe izmijeniti percepciju vremena onih koji prisustvuju
izvedbi djela. Transcending Time djelo
napisano je posebno za MuziËki biennale Zagreb uz podrπku floridskog
Meunarodnog sveuËiliπta (International University), Berislava ©ipuπa i Biennala.
219
Transcending Time is a non-narrative
video opera in which the transformation
of images, sounds, and the perception of
time form the basis for the work. Created
by composer Orlando Jacinto Garcia in
collaboration with video artist Jacek Kolasinski, video artist/architect John Stuart, and poet Campbell McGrath, the
75-minute work evolves slowly and includes 3 segments that unfold seamlessly. The segments are based on
concepts that are abstractly presented by
the images, sounds, and text found in
each.
In the first segment, Time in the Present,
the chaos and struggles found in present
existence are suggested. The second section, The Act of Becoming, includes materials that imply a transformation of this
chaotic state. Lastly, the materials in the
third section, A New Order, suggest the
notion of a new existence as the result of
a transformation. Given the abstract and
cyclical nature of the work, one can also
conclude that this new existence may
not be more than an illusion. Although
the work is not based on a story or narrative, these three concepts were the underlying notions that generated the
materials in the work.
Transcending Time is ultimately about
the sensuality of sound and images and
how the gradual transformation of these
can alter the perception of time in those
experiencing the work.Transcending
Time was written for premiere at the
MBZ, with the support of Florida International University, Berislav ©ipuπ and
the Biennale.
month
22
4
dan
mjesec
hour
19:30
srijeda / wednesday
sat
Garcia
day
Jacinto
Orlando
S viπe od sto i Ëetrdeset skladbi skladanih
za πirok raspon izvoaËkih æanrova, Orlando Jacinto Garcia (Havana, 1954.)
postao je jedna od najznaËajnijih osoba
u svijetu nove glazbe. Osobit karakter
njegove glazbe opisivan je kao “zvuËno
iskustvo koje zaustavlja vrijeme i joπ
dugo ostaje u sjeÊanju”, a nosi kvalitete
nastale kao rezultat studija pod
Mortonom Feldmanom i drugima.
Roen na Kubi, Garcia je emigrirao u
SAD 1961. godine. Traæen kao gostujuÊi
skladatelj i predavaË u Americi, ali i
drugdje u svijetu, Garcia je ujedno i primatelj brojnih poËasti i nagrada raznih
organizacija i kulturnih institucija od
kojih najnovije ukljuËuju New Ariel,
Noise International, Matiz Rangel,
Nuevas Resonancias, ACF Sonic Circuits,
stipendije, rezidencijalne stipendije te
nagrade zaklada poput Rockefellera, Fulbrighta, Dutke, Cintas Foundations i
Council for the Arts dræave Floride. Njegove skladbe izvode priznati solisti,
ansambli i orkestri diljem svijeta, a
snimljene su za brojne izdavaËke kuÊe te
su dostupne i u okviru kuÊa Kallisti
Music Press, American Composers
Alliance i BHE.
Through more than one hundred and
forty works composed for a wide range of
performance genres, Orlando Jacinto
Garcia (Havana, 1954) has established
himself as an important figure in the
world of new music. The distinctive
character of his music has been described as “time suspended - haunting
sonic explorations”, qualities he developed from his studies with Morton Feldman, among others. Born in Cuba,
Garcia migrated to the United States in
1961. In demand as a guest composer
and lecturer nationally and internationally, he is the recipient of numerous honours and awards from a variety of
organizations and cultural institutions,
most recently including the New Ariel,
Noise International, Matiz Rangel,
Nuevas Resonancias, ACF Sonic Circuits
and fellowships, residencies, and other
awards from the Rockefeller, Fulbright,
Dutka, and Cintas Foundations, as well
as the State of Florida Council for the
Arts. With performances by numerous
distinguished soloists, ensembles, and
orchestras around the world, his works
are recorded on a wide range of labels
and are available from Kallisti Music
220
OsnivaË je i direktor nekoliko meunarodnih festivala poput New Music
Miami Festival i Music of the Americas
Festival te je ujedno i osnivaË i umjetniËki direktor Ansambla NODUS i Ansambla
New Music floridskog Meunarodnog
sveuËiliπta (International University).
Garcia radi kao profesor glazbe i direktor
programa za kompozicije na ©koli za
glazbu pri floridskom Meunarodnom
sveuËiliπtu u Miamiju (SAD).
Kada je rijeË o politici i umjetnosti,
Garcia kaæe: “Istinska je umjetnost po
naravi srodna politici po tome πto moæe
utjecati na proces kojim neke skupine
ljudi donose odluke. To je naroËito sluËaj
ako vjerujemo da je umjetnost neπto πto
Êe prizvati, ili izazvati, promjene u
neËijoj percepciji svijeta. Ako je to sluËaj,
te su transformacijske moÊi donekle
paralelne onima koje nalazimo u politiËkim situacijama. No dok politika i
njezin aparat Ëesto pokuπavaju promijeniti ljudsku percepciju prisilnim i
neetiËnim sredstvima, transformacija
koju zaziva istinska umjetnost zasniva se
na prirodnoj promjeni naËina na koji
ljudi zapaæaju i razumiju svijet i sebe
same.”
221
Press, the American Composers Alliance,
and BHE. He is the founder and director
of several international festivals including the New Music Miami Festival and
the Music of the Americas Festival, as
well as the founder and artistic director
of the NODUS Ensemble and the Florida
International University New Music Ensemble. Garcia is Professor of Music and
director of the Composition Programme
for the School of Music at Florida International University in Miami (US).
Garcia’s Thoughts on Politics and Art:
True Art by its very nature is closely related to politics in that it can impact the
process by which groups of people make
decisions. This is especially the case if
one believes that Art is something that
will evoke or elicit a change in how
someone perceives the world. If so, these
transformative powers in some ways
parallel those found in political situations. But whereas politics and its related
apparatus often attempt to alter human
perception by coercive and unethical
means, the transformation that true Art
can evoke is based on a natural change
in the way humans perceive and understand reality and themselves.
month
22
4
dan
mjesec
hour
19:30
srijeda / wednesday
sat
Kolasinski
day
Jerzy
Jacek
Jacek Jerzy Kolasinski u Sjedinjene
AmeriËke Dræave doπao je iz Poljske,
gdje je studirao povijest i filozofiju na
Jagelonskom sveuËiliπtu u Krakovu.
Osim πto ima diplomu studija meunarodnih odnosa, u Miamiju je na floridskom Meunarodnom sveuËiliπtu
(International University) diplomirao i
magistrirao humanistiËke znanosti. Njegovi multimedijski radovi i instalacije
prikazani su u nekoliko emisija i projekcija u Sjedinjenim AmeriËkim Dræavama
i drugdje. Nedavno su njegovi radovi bili
ukljuËeni u Short Film Corner - na Filmskom festivalu u Cannesu, Festivalu Cinema Politic u Barceloni, i Festivalu
Internacional Cervantino u Guanajuatu.
U svojim se djelima referira na iskustvo
odrastanja u dva svijeta: “Starom svijetu”
Europe u Krakovu i “Novom svijetu”
Sjedinjenih AmeriËkih Dræava u multikulturnom Miamiju. U spoju dvaju svjetova stvara temu koja se kontinuirano
pojavljuje u njegovu opusu, a to je potraga za identitetom u rascjepu kultura.
Kolasinski je dobitnik floridske nagrade
Cultural Consortium Fellowship na podruËju medija i vizualne umjetnosti te
nagrade Kosciuszko Foundation Fellowship. Radi kao docent za videoumjetnost
i digitalnu umjetnost na Meunarodnom
sveuËiliπtu (International University) na
Floridi.
Jacek Jerzy Kolasinski came to the
United States from Poland where he
studied history and philosophy at the
Jagiellonian University in Krakow. He
holds a BA degree in International Relations. Jacek received his MFA and BFA
from Florida International University in
Miami. His multimedia works and installations have been featured in several
shows and screenings in the USA and
abroad. Most recently, his works were included in Short Film Corner - Festival de
Cannes, Cinema Politic in Barcelona,
and Festival Internacional Cervantino in
Guanajuato. His work is rooted in the experience of growing up in two worlds:
the “Old World” of Europe in Krakow
and the “New World” of the United
States in multicultural Miami. These
convergent worlds create a running
theme that surfaces in many of his
works: the search for identity in the vortex of cultural displacement. Kolasinski
is the recipient of a Florida Cultural Consortium Fellowship in the media and visual arts and the Kosciuszko Foundation
Fellowship. He is an Assistant Professor
of video/digital arts at Florida International University.
223
Stuart
John
222
John Stuart profesor je arhitekture na
Meunarodnom sveuËiliπtu (International University) u Miamiju, a kao
arhitekt, videoumjetnik i povjesniËar
surauje na projektima u kojima istraæuje zajednicu, tehnologiju i upotrebu
javnog prostora. Zavrπio je dodiplomski
studij klasiËne literature i primijenjene
matematike na SveuËiliπtu Brown te
diplomski studij iz klasiËne arheologije
na Princetonu. Diplomu arhitekta stekao
je na SveuËiliπtu Columbia. Godine 2008.
osvojio je Nagradu njujorπkog Instituta
Van Alen za TimeZone - projekt suradnje
koji je povezao studente Muzeja moderne umjetnosti (MoMA) u New Yorku sa
studentima u Limi u Peruu kako bi
prouËili druπtveni i gospodarski potencijal komunikacije koja se nudi kroz
tehnologiju otvorene videokonferencije
u javnim prostorima. Stuartova istraæivanja financirale su dræavne agencije i
brojne zaklade, a njegove su novije knjige Ely Jacques Kahn, Architect: BeauxArts to Modernism in New York i The New
Deal in South Florida: Design, Policy and
Community Building, 1933-1940. Stuartovi videouradci prikazani su na Festivalu Cervantino u Guanajuatu u Meksiku
(suradnja s Orlandom Garcijom i
Jacekom Kolasinskim), festivalu
kratkometraænog filma u Miamiju,
potom na Art Basel Miami Beach te na
festivalu The Wolfsonian-FIU. Njegovi
crteæi dio su stalne kolekcije u Avery Architectural and Fine Arts Library na
SveuËiliπtu Columbia.
John Stuart, Professor of Architecture at
Florida International University in
Miami, is an architect, video artist, and
historian exploring collaborative projects
on community, technology, and public
space. He was awarded undergraduate
degrees in classics and applied mathematics from Brown, a graduate degree in
classical archaeology from Princeton,
and a professional architecture degree
from Columbia University. In 2008, he
won the Van Alen Institute’s New York
Prize Fellowship for TimeZone, a collaborative project that connected students
at the Museum of Modern Art in New
York with those in Lima, Peru, to study
the social and economic potential of
communications offered through open
video conferencing technologies placed
in public spaces. Stuart’s research has
been funded by national endowments
and several foundations and his recent
books are Ely Jacques Kahn, Architect:
Beaux-Arts to Modernism in New York,
and The New Deal in South Florida: Design, Policy and Community Building,
1933-1940. Stuart’s videos have been exhibited at the Cervantino Festival in
Guanajuato, Mexico (with Orlando Garcia and Jacek Kolasinski), the Miami
Short Film Festival, Art Basel Miami
Beach, and The Wolfsonian-FIU. His
drawings are in the permanent collection of the Avery Architectural and Fine
Arts Library at Columbia University.
day
month
22
4
dan
mjesec
hour
19:30
srijeda / wednesday
sat
McGrath
Campbell
Od 1993. godine Campbell McGrath radi
kao profesor kreativnog pisanja na
Meunarodnom sveuËiliπtu (International University) na Floridi u okviru
MFA programa. Prvu je knjigu Capitalism, objavio 1990. godine, a nakon
objavljivanja treÊe knjige, Spring Comes
to Chicago, iz 1996. godine, McGrath je
primio brojna priznanja, ukljuËujuÊi i
Kingsley Tufts Prize - stipendiju zaklade
Guggenheim and MacArthur Foundations (poznata i kao „nagrada za genije“),
i stipendiju Witter Bynner uruËenu od
strane Library of Congress. Njegov osmi
svezak radova pod nazivom, Shannon: A
Poem of the Lewis and Clark Expedition,
bit Êe objavljen ove godine. McGrathova
poezija izlazila je u Ëasopisima New
Yorker, Harper’s, The Atlantic, a u novinama New York Times dobila je istaknuto mjesto uz rijeË urednika. Njegova
poezija izaπla je u viπe od Ëetrdeset antologija te u gotovo svim znaËajnijim knjiæevnim Ëasopisima u SAD-u. Neki su od
njegovih projekata prijevod Aristofanove
drame u stihovima Ose, za SveuËiliπte u
Pennsylvaniji te suradnja u vidu videopoezije naziva 14 Views of Miami. Jedan
je od predavaËa na New York State Summer Writer’s Institute.
Since 1993, Campbell McGrath has
taught in the MFA program at Florida International University, where he is the
Philip and Patricia Frost Professor of
Creative Writing. His first book, Capitalism, was published in 1990 and following
the publication of his third book, Spring
Comes to Chicago, in 1996, McGrath received a number of honours, including
the Kingsley Tufts Prize, fellowships from
the Guggenheim and MacArthur Foundations (the so-called “genius” award),
as well as a Witter Bynner Fellowship
from the Library of Congress. His eighth
volume of original work, Shannon: A
Poem of the Lewis and Clark Expedition,
will be published in 2009. McGrath’s
poems have appeared in the New Yorker,
Harper’s, The Atlantic, and on the op-ed
page of the New York Times; they have
been published in over forty anthologies,
and in nearly every significant literary
journal in the country. Additional projects include a translation of Aristophanes’ verse play Wasps for the University
of Pennsylvania Press, and the video/poetry collaboration 14 Views of Miami. He
is also on the faculty of the New York
State Summer Writer’s Institute.
225
SiliÊ
GojËeta
Martina
224
Martina GojËeta SiliÊ (Zagreb, 1972.)
diplomirala je pjevanje na MuziËkoj
akademiji u Zagrebu u klasi Snjeæane BujanoviÊ-Stanislav. Studij je nastavila u
Meunarodnom opernom centru u Amsterdamu. Dobitnica je druge nagrade na
Hrvatskome natjecanju mladih
glazbenika u Rijeci, 1993. godine, Rektorove i Akademijine nagrade u sezoni
1995. - 96. te druge nagrade na Meunarodnome pjevaËkom natjecanju Ferruccio Tagliavini u Austriji 1996. godine.
Ostvarila je niz uloga u operama kao πto
su Evgenij Onjegin, HovanπËina, Rusalka,
Salome, KuljeriÊeva Æivotinjska farma, a
nedavno je na Splitskome ljetu pjevala
Santuzzu u Mascagnijevoj Cavalleriji
Rusticani. Iznimno je uspjeπna kao koncertna pjevaËica (Papandopulova
Hrvatska misa, Mozartova Krunidbena
misa, Verdijev Rekvijem i dr.).
Martina GojËeta SiliÊ (Zagreb, 1972)
graduated in singing from the Zagreb
Academy of Music in the class of
Snjeæana BujanoviÊ-Stanislav. She continued with her studies in the Amsterdam International Opera Centre. She
won the second prize at the Croatian
Competition of Young Artists in Rijeka in
1993, Rector’s and Academy’s awards in
the season of 1995/1996, and the second
prize at the International Competition
for Opera Singers Ferruccio Tagliavini
(Austria, 1996). She has performed in a
number of roles in the operas Evgeny
Onegin, Khovanshchina, Rusalka, Salome, and in KuljeriÊ’s Animal Farm,
counting among them her recent appearance as Santuzza in Mascagni’s Cavalleria rusticana at the Split Summer
Festival. She also performs as a concert
singer with great success (Croatian Mass
by B. Papandopulo, Coronation Mass by
W. A. Mozart, Requiem by G. Verdi, and
others).
day
month
22
4
dan
mjesec
hour
19:30
srijeda / wednesday
sat
CerovËec
Monika
Monika CerovËec (Varaædin, 1983.)
diplomirala je glazbenu kulturu na MuziËkoj akademiji u Zagrebu, a ove Êe godine diplomirati i pjevanje u klasi prof.
Lidije Horvat-Dunjko. Godine 2007. osvojila je 1. nagradu na dræavnom natjecanju pjevaËa u Dubrovniku. Iste godine
dobiva stipendiju za razmjenu studenata
pa jedan semestar sluπa u Mainzu u klasi
prof. A. Karasiaka. Debitirala je u HNK
Zagreb u ulozi drugog djeËaka u
Mozartovoj »arobnoj fruli pod ravnanjem mo. V. KranjËeviÊa, a 2008. godine
nastupa u ulozi Nimfe u Monteverdijevom Orfeju pod ravnanjem H. Niqueta.
Stalna je Ëlanica zbora HRT-a.
Monika CerovËec (Varaædin, 1983)
graduated in the music education from
the Zagreb Academy of Music and in
2009, she is expected to complete her
studies in singing in the class of Lidija
Horvat-Dunjko. In 2007, she won the
first prize at the national competition in
Dubrovnik as well as a student exchange
scholarship which provided her with an
opportunity to join the class of A.
Karasiak in Mainz for one term. She
made her stage debut as the Second Boy
in The Magic Flute by W. A. Mozart under
the baton of Vladimir KranjËeviÊ at the
Croatian National Theatre in Zagreb. In
2008, she appeared as a Nymph in Monteverdi’s Orfeo under the baton of Hervé
Niquet. She is a regular member of the
Croatian Radio and Television Choir.
227
Borse
MatiÊ
Martina
226
Martina MatiÊ Borse (Zagreb, 1968.)
diplomirala je pjevanje na MuziËkoj
akademiji u Zagrebu (1991.). Solistica je
zbora HRT-a, u kojem radi od 1990. godine i gdje, u sklopu ciklusa Sfumato,
izvodi djela domaÊih (LukaËiÊ,
©ibenËanin, Cecchini, KuljeriÊ, Stahuljak
i dr.) i stranih autora (Monteverdi, Bach,
Part, Gesualdo da Venosa i dr.). U
Hrvatskom narodnom kazaliπtu u Zagrebu debitirala je 2001. godine ulogom
Princeze u operi Sestra Angelica G. Puccinija. Surauje s Hrvatskim baroknim
ansamblom i zborom Cantores Sancti
Marci te je Ëlanica ansambla za ranu
glazbu Syntagma Musicum. Usavrπavala
se kod profesora Laurencea Cummingsa
na seminaru Aestas Musica u Varaædinu.
Sudjelovala je u meunarodnoj produkciji teatara La Mama e.t.c. i MMRKernel
kao skladateljica i izvoaËica originalnog
soundtracka Sub rosa za predstavu Faustus’ Module prema djelu Christophera
Marlowea.
Martina MatiÊ Borse (Zagreb, 1968)
graduated from the Zagreb Academy of
Music in 1991. She is a soloist of the
Croatian Radio and Television Choir,
having joined the ensemble in 1990.
She debuted in the role of The Princess
in G. Puccini’s opera Suor Angelica at the
Croatian National Theatre in Zagreb in
2001. As a soloist, she has been working
with the Croatian Baroque Ensemble
and the choir Cantores Sancti Marci and
she is a member of the ensemble for
early music Syntagma Musicum. She
attended the seminar Aestas Musica held
by Professor Laurence Cummings in
Varaædin. In the New York-Zagreb coproduction of theatres La Mama e.t.c.
and MMRKernel, she appeared as a
composer and performer of the original
soundtrack Sub rosa for the play Faustus’
Module based on the work of Christopher
Marlowe.
day
month
22
4
dan
mjesec
hour
19:30
srijeda / wednesday
sat
MrzleËki
Neven
Neven MrzleËki zavrπio je studij talijanskog i πpanjolskog jezika i knjiæevnosti u
Zagrebu (1983.). Od 1984. godine Ëlan je
Opere zagrebaËkog HNK. Godine 1993.
diplomirao je solo pjevanje na MuziËkoj
akademiji u Zagrebu, a s usavrπavanjem
je nastavio kod prof. Maria Gjuranca,
dramskog tenora, pokazujuÊi tijekom
obrazovanja sklonost za scenski izriËaj,
Ëesto i komiku. Od godine 1993. sudjeluje u radu ZagrebaËkog opernog
studija, koji vodi Antun PetruπiÊ. Od tada
tumaËi razliËite epizodne i srednje
karakterne uloge (nerijetko i viπe uloga
po predstavi) u πirokom rasponu od
Cimarose, Mozarta i Musorgskog do
Horvata i JuraniÊa.
Neven MrzleËki graduated in Italian and
Spanish in Zagreb in 1983 and joined the
Opera ensemble of the Croatian National
Theatre in 1984. He completed his studies
in singing at the Zagreb Academy of
Music in 1993 and further studied with
Professor Mario Gjuranec, a dramatic
tenor, showing his aptitude for stage
performance, often involving an element
of humour, throughout his education. In
1993 he began working with the Zagreb
Opera Studio under the guidance of
Antun PetruπiÊ, appearing in various
supporting and semi-character roles
(often in several roles in the same play)
ranging from Cimarosa to Mozart, from
Mussorgsky to Horvat and JuraniÊ.
229
JuriÊ
Goran
228
Goran JuriÊ (Karlovac, 1983.) poËeo je
uËiti flautu i solopjevanje u Karlovcu
(klasa Radmile Bocek) i nastavio u G©
Vatroslava Lisinskoga u klasi Bojana
PogrmiloviÊa. Student je treÊe godine
pjevanja na MuziËkoj akademiji u Zagrebu u klasi Vlatke OrπaniÊ te apsolvent
fonetike i talijanskog jezika i knjiæevnosti
pri Filozofskom fakultetu u Zagrebu. PjevaËki se usavrπavao kod brojnih europskih i ameriËkih pedagoga, a godine
2005. osvojio je 1. nagradu na Dræavnom
natjecanju uËenika i studenata glazbe i
plesa u Dubrovniku. Debitirao je 2008.
godine u HNK Zagreb u ulozi Plutona u
Monteverdijevu Orfeju. Poslije je u istoj
operi odigrao i ulogu Harona, a ove je
godine pjevao i ulogu Sarastra u »arobnoj fruli Wolfganga Amadeusa Mozarta.
Kao koncertni pjevaË nastupao je diljem
Europe, a glumom se poËeo baviti u
Dramskom studiju Gradskog kazaliπta
Zorin dom u Karlovcu i nastavio u
UmjetniËkoj organizaciji Studio Kubus
u Zagrebu.
Goran JuriÊ (Karlovac, 1983) took up
flute and singing lessons with Radmila
Bocek in Karlovac and went on to study
in the class of Bojan PogrmiloviÊ at the
Vatroslav Lisinski School of Music. He is
a third-year student of singing in the
class of Vlatka OrπaniÊ and a senior
undergraduate of phonetics and Italian
at the Zagreb Faculty of Humanities and
Social Sciences. He continued with
further studies in singing with a number
of European and American teachers. In
2005, he won the first prize at the
National Competition of Music and
Dance Students in Dubrovnik. In 2008,
he made his debut in the role of Pluto in
the opera Orfeo by Claudio Monteverdi
in the Croatian National Theatre in
Zagreb, whereas in 2009, he appeared as
Sarastro in Mozart’s The Magic Flute at
the same theatre. As a concert singer, he
has performed around Europe. He
became involved in acting at the Drama
Studio of the City Theatre Zorin dom in
Karlovac and subsequently joined the
artistic association Studio Kubus in Zagreb. In 2008, he appeared successfully
as Brother Dominic in the dramatic
oratorio Joan of Arc at the Stake by Arthur
Honegger at the Vatroslav Lisinski
Concert Hall in Zagreb.
day
month
22
4
dan
mjesec
hour
19:30
srijeda / wednesday
sat
Ansambl
Cantus
Gotovo osam godina nakon debija na
MuziËkom biennalu Zagreb 2001., Cantus Ansambl promaknuo se u brandirani
sastav specijaliziran za izvoenje mnogolikih i mnogobrojnih “novih” glazbi.
Takoer, od samih poËetaka ansambl
djeluje u stalnom - do solistiËkih razina
individualiziranom - sastavu, pod umjetniËkim vodstvom i dirigentskom palicom
Berislava ©ipuπa. Njegovi Ëlanovi redom
su vrsni komorni glazbenici i solisti,
ujedno koncertni majstori i voe dionica
simfonijskih orkestara te profesori na zagrebaËkoj MuziËkoj akademiji.
Cantus Ansambl nije samo sudionik
hrvatske koncertne scene koju “opsluæuje svirkama” na gotovo svim domaÊim festivalima i manifestacijama, pa
i vlastitim koncertnim ciklusom (Cantus
& Lisinski, od sezone 2006./2007.), nego
nastoji i ustrajava biti medijem fine percepcije potreba, pokretaË promjena ali i
onaj koji se s njima zna i nositi. Stoga,
broj od sedamdesetak praizvedbi, od oko
dvjestotinjak izvedenih opusa, tridesetak
inozemnih gostovanja, kao i brojni gostujuÊi solisti i dirigenti te veÊ uobiËajena
Almost eight years after their debut on
Music Biennale Zagreb in 2001, Cantus
Ensemble has become a brand ensemble
specialized for performing all kinds of
“new” music. Also, from their beginnings, the ensemble is active with permanent members who, being soloists,
make it a specific individualized ensemble, under artistic leadership and baton
of Berislav ©ipuπ. Its members are all exceptional chamber musicians and
soloists, also concert masters, leaders of
the instrumental sections of symphony
orchestras and teachers at the Zagreb
Academy of Music.
Cantus Ensemble is not only a participant in the Croatian music scene, which
they «servefl on almost all of national
festivals and manifestations, even with
their own concert cycle (Cantus&Lisinski, since 2006/7), but they are also striving to be the medium of fine perception
of needs, the initial impulse of changes,
but also those who can cope with it.
Therefore, the numbers of approximately seventy performances, around
thirty guest performances, numerous
230
praksa brojnih skladateljskih posveta svjedoËe o poziciji ansambla unutar domaÊeg, ali i inozemnog konteksta.
Posebnost ansambla je intenzivna mreæa
suradnje sa srodnim europskim ansamblima, beËkom Fondacijom i Centrom
Arnold Schönberg, kanadskim ansamblom Les AMIS i dr. te radionica za
mlade dirigente i skladatelje koja je ljeta
2008. prvi put organizirana u suradnji s
nizozemskom Fondacijom Gaudeamus,
Festivalom Gaudeamus Musik Week i
Hrvatskom glazbenom mladeæi. Veliki
“put oko svijeta” odveo ih je u Peking i
Toronto, gdje su uspjeπno predstavili desetak partitura hrvatskih skladatelja 20. i
21. stoljeÊa. Takoer, ansambl je za godinu 2008. proglaπen sluæbenim ansamblom ISCM-a te se krajem listopada
2008. predstavio na Svjetskim danima
glazbe ISCM-a, Ëiji je domaÊin bio Festival Gaida u Vilniusu. (Nina »alopek)
231
guest soloists and conductors and the
usual practice of numerous composers’
dedications, witness the position of this
ensemble in the national and international context. The ensemble’s special
features are also the intense collaboration with the European ensembles of the
same type, the Vienna Fondation and
Arnold Schönberg Center, Canadian ensemble Les Amis etc., as well as their own
workshop for young conductors and
composers that was organized for the
first time in collaboration with the Dutch
Gaudeamus Fondation, Gaudeamus Music
Week Festival and Croatian Music Youth.
Their grand «journey around the worldfl
took them to Beijing and Toronto, where
they successfully ten works by Croatian
composers of the 20th and 21st century.
The ensemble was also appointed official
ISCM’s ensemble for the year 2008 and
were presented at the ISCM’s World
Music Days in october this year, hosted
by the Gaida Festival in Vilnius. (Nina
»alopek)
Viπe o dirigentu Mladenu Tarbuku na str. 90
More on conductor Mladen Tabuk on page 90
day
month
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4
dan
mjesec
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21:30
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sat
21:30, &TD, polukruæna dvorana /
semicircular hall
Gordan Tudor & Natalija ManojloviÊ:
Vodoinstalater / The Plumber*
komorni balet, prema motivima iz djela Borisa Viana / chamber ballet,
based on the motifs from Boris Vian’s oeuvre
Gordan Tudor, skladatelj / composer
Natalija ManojloviÊ, koreografkinja i dramaturginja / choreographer and
literary consultant
Vojin Hraste, scenograf / stage designer
Davorka BegoviÊ, producentica / producer
Dean KrivaËiÊ - student-apsolvent nadgrobnog klesarstva / a student of
memorial stone-masonry
Ivana PavloviÊ - Noemi
Judita FrankoviÊ - Garamuche
Nino Bokan - Major
Ana BeniÊ, flauta / flute
Goran JurkoviÊ, saksofon / saxophone
Ivan Batoπ, klavir / piano
Tanja TortiÊ, violina / violin
Oleg Gourskii, kontrabas / double bass
Produkcija / Production:
Teatar &TD / &TD Theatre //
Kultura promjene Studentskog Centra / Culture of Change, Student Centre //
SveuËiliπte u Zagrebu / Zagreb University //
MBZ
Repriza / Repeat Performance: 23 / 4, 20:00
232
Vodoinstalater je komorni balet prema
motivima Borisa Viana, crnohumornog
francuskog pisca, pjesnika, skladatelja,
pjevaËa, πansonijera, jazz-kritiËara, inæenjera, prevoditelja, pronalazaËa; uopÊe
- malo je podruËja u umjetnosti ili
znanosti koja Viana nisu zanimala i kojima se nije bavio. Inspirirani Vianovom
zbirkom novela Mravci sloæili smo novu
priËu; libreto prema kojem Êe nastati
partitura, a prema njoj Vodoinstalater.
Kao i svaki balet, i Vodoinstalater je
kolodvor na kojem se sijeku putevi
glazbenog materijala, u izvedbi 5 instrumenata, 5 glazbenika i jednog laptopa, s
libretom koji pokretom tumaËe 2
izvoaËice, 2 izvoaËa i jedan most.
Vodoinstalaterovi likovi kreÊu se sivim
podruËjem od igre do plesa, koje se najbolje moæe opisati terminom - pokret.
Vodoinstalater je potresna priËa o mjestima i vremenima koja rat nikada nije zahvatio pa su ona morala zahvatiti njega.
To je priËa o susjedskim odnosima i
povijesti maltretiranja; o vojnicima na
konjaku, kurvama u bunilu, o studentima u vodi do koljena i djevojËicama u
minskom polju. PriËa o obiËnim ljudima
koje vianovska percepcija pretvara u Ëudoviπta ili barem Ëudake. Major, Garamuche i Noemi vjerojatno su
mediokriteti koji tek u percepciji
vianovskog lika - studenta-apsolventa
nadgrobnog klesarstva postaju
izopaËene karikature.
Vodoinstalater je crni balet. Ne bi mogao
biti bijeli jer su i partitura i libreto crni, a
humor ovisi o bojama zastave pod kojom
se igra.
“Balet je prekrasna mjeπavina niza umjetnosti: plesa, glazbe, drame, poezije i
slikarstva. Kad ih se kombinira i predstavi na pozornici, dobivate umjetnost
baleta. RijeË je o visoko discipliniranoj
scenskoj umjetnosti, zasnovanoj na stoljetnoj tradiciji pokreta.” [Lizette Nel]
233
The Plumber is a chamber ballet based
on Boris Vian’s motifs, a black-humor
French writer, poet, composer, singer,
chansonnier, jazz critic, engineer, translator, inventor; in general - there are few
fields of art or science Vian was not interested in, and which he did not deal
with. Inspired by his collection of novels
- “The Ants”, we came up with a new
story; libretto on which score will be
based, on which then The Plumber will
be based.
As every ballet, The Plumber is also a
gauge where the roads of music material
meet, performed by five instruments,
five musicians and one laptop, with a libretto played out by two female performers, two male performers and one
bridge. Plumber’s characters move
within a grey area between play and
dance, best described by the term movement.
The Plumber is a shocking story about
places and times that were never caught
by war, so those times and places had to
catch the war themselves. It is the story
about neighborly relations and the history of harassing; about the soldiers on
Cognac, whores in delirium, students up
to their knees in water and girls in a
minefield.
This ballet is a story about normal people turned into monsters, or at least
weirdoes, through Vian’s perception.
Major, Garamuche and Noemi are probably mediocrities becoming distorted
caricatures only in the perception of
Vian’s character - a student - on his final
year of tombstone masonry.
The Plumber is a black ballet. It could not
be white because its score and libretto
are black, and the humor depends on the
colors of flags under which it is being
performed.
„Ballet is a very wonderful mixture of a
number of arts: Dancing, Music, Drama,
Poetry and Painting. When these are
combined and presented on the stage, you
have the art of ballet. It is a highly disciplined stage art, based on a centuries-old
tradition of movement.“ [Lizette Nel]
day
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4
dan
mjesec
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21:30
srijeda / wednesday
sat
Tudor
Gordan
Gordan Tudor (1982.), viπestruko
nagraivani saksofonist, skladateljskim
se radom poËeo baviti prije desetak godina, a posebno se posvetio skladanju tijekom usavrπavanja u Nizozemskoj i
Francuskoj. U Amsterdamu i Parizu zapoËeo je studij kompozicije s posebnim
naglaskom na elektroakustiËku glazbu
(mentor Joos Zwanenburg), a za njegovo
je stvaralaπtvo znaËajna i inspiriranost
pokretom dada, skladateljima i kinematografijom autora kao πto su Satie,
Milhaud, Schulhoff, Richter, Picabia,
Ray, Tzara... Do sada je skladao za saksofon, komorne ansamble, elektroniku, kao
i glazbu za dokumentarne i animirane
filmove te kazaliπne i plesne predstave.
Njegove su skladbe izvoene u
Hrvatskoj, Sloveniji, Austriji, Nizozemskoj, Francuskoj, NjemaËkoj, »eπkoj i
Americi, a balet Vodoinstalater mu je
prvo glazbeno-scensko djelo. Kad govori
o svom radu, Tudor istiËe da “piπe suvremenu (ne)ozbiljnu glazbu”.
Gordan Tudor (1982.), a multi-awarded
saxophone player, began to compose
about ten years ago, but he particularly
dedicated himself to composing during
his specialization in Netherlands and
France. In Amsterdam and Paris he
began his Music Composition Studies,
with a special accent on electro-acoustic
music (Joos Zwanenburg - his mentor),
and an important influence for his work
came from his inspiration by Dada
movement, composers and cinematography; Satie, Milhaud, Schulhoff, Richter,
Picabia, Ray, Tzara,...
Until now he has composed for saxophone, chamber ensembles, electronic
music, as well as the music for documentary and animated shows, and theatre
and dance performances.
His compositions have been performed
in Croatia, Slovenia, Austria, Netherlands, France, Germany, Czechoslovakia
and the USA, and The Plumber is his first
music-scenic work. When talking about
his work Tudor points out he “writes
contemporary (non)serious music”.
235
ManojloviÊ
Natalija
234
Natalija ManojloviÊ (1978.) plesno je
obrazovanje zapoËela u glazbenoj πkoli.
Podijeljeni interes za glazbu i ples s vremenom je prevagnuo u korist plesa, a
nakon πkola za ritmiku i ples iskustvo je
stjecala kroz radionice i suradnje s poznatim domaÊim i inozemnim koreografkinjama i plesaËima. Autorski
potpisuje Virus 098, Oprosti, sam’ malo!,
Duet za grijalicu i radijator i KOROZIJA
d.o.o. Kazaliπno usavrπavanje nastavila je
kao suradnica za scenski pokret u predstavama AnoËiÊa, Waltla, Brezovca,
Taufera, TomiÊ-KovaËiÊ, UdoviËki i
drugih; i dalje surauje s brojnim kazaliπtima - &TD, ZKM, Slovensko mladinsko gledaliπËe, Mini-Teater u Ljubljani,
Ulysses te s djeËjim i lutkarskim kazaliπtima u Osijeku, Zadru, Splitu i Mostaru.
Apsolventica je psihologije na Filozofskom Fakultetu i educira se u podruËju
plesnog i dramskog pristupa u psihoterapijskim grupama. Aktivno je sudjelovala
u projektima Eks-scene u poËecima njezina djelovanja, kao i u projektima Kulture promjene SC-a od 2004. godine. O
svojem radu ManojloviÊ kaæe da je “viπe
orijentirana na dramaturgiju pokreta
nego na jezik plesa”.
Natalija ManojloviÊ (1978) began her
dance education at a music school. In
time her divided interest for music and
dance prevailed in favor of dance, and
after schools of rhythmic and dance she
gathered her experience through workshops and cooperations with famous native and foreign female choreographers
and dancers. She is the author of Virus
098, Oprosti, sam’ malo!, Duet za grijalicu i radijator and KOROZIJA d.o.o.
She continued her theatre specialization
as a cooperator for scene movement in
plays by AnoËiÊ, Waltl, Brezovac, Taufer,
TomiÊ - KovaËiÊ, UdoviËki and the others; and still cooperates with numerous
theatres - &TD, ZKM, Slovensko mladinsko gledaliπËe, Mini-Teater in Ljubljana,
Ulysses, and children’s and puppet theatres in Osijek, Zadar, Split and Mostar.
She is on her final year of Psychology
Studies on Faculty for Humanities and
Social Sciences and she also educates
herself in the field of dance and drama
approach in psychotherapy groups.
She was an active participant in the Eks
Scene projects while still in her beginnings, as well as in the SC’s Culture of
Change projects since 2004.
When talking about her work ManojloviÊ
points out that she is more “oriented towards the dramaturgy of movement than
the language of dance.”
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236
237
day
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dan
mjesec
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22:30, MM
Nimbus Dei
Tomislav BabiÊ / Hrvoje NikπiÊ: The Fall Of Jerusalem / Pad Jeruzalema
Tomislav BabiÊ: Amenthes [ǝ’menӨi:z] / Amentes
Tomislav BabiÊ: Sol Invictus / Nepobijeeno sunce / Unconquered Sun
Tomislav BabiÊ, sintetizatori / synthesizers
Mario KovaË, sintetizatori i sampleri / synthesizers and samplers
Tena Novak, elektriËna violina i sintetizatori / electronic violin and synthesizers
Ivan LuπiËiÊ - LIIK, VJ
238
Nimbus Dei, projekt koji je 2007. zapoËeo Tomislav BabiÊ, zamiπljen je kao
medij za izvoenje njegovih autorskih
elektroniËkih i eksperimentalnih djela.
Ansambl je promjenjivog sastava, s gostujuÊim glazbenicima sklonim ad lib improvizaciji na zadani harmonijski i
melodijski okvir. Projekt je veÊinom orijentiran prema estetici zvuka koju
pruæaju analogni elektroniËki te elektromehaniËki muziËki instrumenti.
S kolegom Hrvojem NikπiÊem 2007. godine snima tzv. one-take improvizacijski
album pod nazivom The Fall Of
Jerusalem. Na premijernoj izvedbi tog
djela za bijenalsku publiku pridruæit Êe
mu se Mario KovaË i Tena Novak te
videoumjetnik Ivan LuπiËiÊ, koji Êe na
platnu iza sastava kombinirati teksture,
radove snimljene kamerom „iz ruke“ i
real-time video, koristeÊi audiosignal.
239
Nimbus Dei is a project started by
Tomislav BabiÊ in 2007, as a medium for
performances of his electronic and experimental works. It is set as free-form
ensemble featuring ad lib-performance
by various guest musicians, whilst BabiÊ
provides core melodic and harmonic
material. In performance, this project is
mostly devoted to the aesthetics of
sound provided by analog electronic and
electro-mechanical instruments.
Together with colleague Hrvoje NikπiÊ,
BabiÊ has recorded a completely improvised album in 2007, titled The Fall Of
Jerusalem. For its first performance, at
the Zagreb Biennale, he will be joined by
guest performers Mario KovaË and Tena
Novak. This trio’s performance will be
further enhanced by Ivan LuπiËiÊ, a video
artist who combines textures, hand-held
camera work and real-time processing,
using audio input.
day
month
22
4
dan
mjesec
hour
22:30
srijeda / wednesday
sat
BabiÊ
Tomislav
Tomislav BabiÊ (1968.) pohaao je
satove klavira do svoje 17. godine. Kao
srednjoπkolac poËinje skladati koristeÊi
elektroniËke glazbene instrumente i sintezu zvuka. Nakon studija elektrotehnike
u Zagrebu, poËetkom 90-ih godina
studira kompoziciju i orkestraciju te
elektroniËku glazbu na SveuËiliπtu UCSB
u Santa Barbari, Kalifornija. Nakon
povratka u Hrvatsku, od sredine 90-ih
piπe primijenjenu glazbu za film, televiziju, kazaliπte i druge medije.
Raznovrsnost interesa omoguÊila je πirok
raspon djela: od orkestralne i komorne
do elektroniËke i eksperimentalne
glazbe. Pored skladanja, aktivno se bavi i
dizajnom zvuka. Na MBZ-u 2007.
praizveden je njegov prvi gudaËki
kvartet.
Tomislav BabiÊ (1968) studied piano
until the age of seveteen. In high school
he began writing music using electronic
musical instruments and sound synthesis. In the early nineties, after his studies
at the Faculty of Electrical Engineering in
Zagreb, he studied classical composition
and orchestration, as well as electronic
music at the University Of California,
Santa Barbara. Since the mid-90s and his
return to Croatia, he has been writing
music for film, television, theatre and
other media. The diversity of his interests created a wide range of works: from
orchestral and chamber music to synthesis-based scores and experimental
music. Besides scoring, he has strong involvement in sound design. His first
String Quartet was premièred at the 2007
Biennale.
241
NikπiÊ
Hrvoje
240
Hrvoje NikπiÊ piπe glazbu za kazaliπte i
suvremeni ples od sredine devedesetih.
Danas je aktivan kao glazbeni producent
alternativne rock scene na podruËju
bivπe Jugoslavije.
Hrvoje NikπiÊ is writing music for theatre and dance plays since mid90s.
Today he has emerged as one of most
active underground and garage rock
producers in Croatia and ex-Yugoslavia.
day
month
22
4
dan
mjesec
hour
00:00
srijeda / wednesday
sat
00:00, MM
NARCISSISTER: Mali noÊni komentar /
A Little Night Commentary,
performans / performance
[U suradnji s / In collaboration with: HDLU]
242
U svojem najnovijem solo projektu umjetnica Narcissister primjenjuje tzv.
“strvinarenje slika”(image-scavenging) u
iznimno originalnim neoburlesknim prizorima. Kroz inteligentnu dekonstrukciju
popularnih medija, njezini eksplicitni
pokreti otkrivaju raznovrsne tjelesne
uæitke æenske seksualnosti te sugeriraju
rod koji je ujedno neodreen, varljiv i
odvaæan. U njoj svojstvenim pokretima
samozadovoljavanja, istraæivanja vlastite
osobnosti i nevjerojatnih akrobacija koje
sluæe u izriËaju osobnog iskaza ljubavi,
Narcissister komunicira jezikom koji su
rijetke æene uspjele svladati, a joπ su
rjee te koje ga se usude govoriti. Ovaj
premijerni nastup predstavlja njezinu
najopseæniju upotrebu mijeπanih
medija, s videouradcima, ruËno
izraenim rekvizitima i kostimima, kao i
glazbenu partituru napisanu u suradnji s
partnerom, Evanom Collierom.
Prethodna djela poput Ass/Vag, I’m
Everywoman i The Russian Doll pojavit
Êe se tijekom izvedbe novog materijala.
Vidjet Êe se i niz glumaca obuËenih
poput Narcissister, od kojih Êe svaki u
danom trenutku ukljuËivati publiku u
Narcissisterin oËaravajuÊi svijet. UranjajuÊi publiku u Narcissisterin uzbudljiv
tijek Ëiste, neumanjene taπtine, ovaj projekt razmatra moÊ narcizma svojih
izvoaËa koja doseæe eksponencijalnu
razinu. Kako se njezin zaprepaπÊujuÊi
izraz reflektira s ekrana prema Ëlanu
publike, i opet prema izvoaËu, tako se
verzija mitoloπkog “jezera” u kojem se
Narcis ogledao i koje ga je zaËaralo
nanovo stvara.
243
In her latest solo showcase see artist
Narcissister employ “image-scavenging”
in strikingly original neo-burlesque
vignettes. In a clever deconstruction of
popular media, Narcissister’s explicit
moves reveal the manifold corporeal
pleasures of female sexuality and suggest
a gender which is equivocal, elusive, and
bold. In her characteristic series of selfpleasuring, self-seeking, self-loving
stunts, Narcissister delivers a language
few women master and even fewer dare
even to speak. This premier event is
Narcissister’s most extensive use of
intermedia involving original videos,
handmade props and costumes, and a
musical score written collaboratively
with her partner Evan Collier. Previous
works such as Ass/Vag, I’m Everywoman
and the Russian Doll will appear alongside live performances of new
Narcissister material. Permeating the
spectacle will be a cast of actors in
Narcissister drag, each in turn enlisting
its audience in her spellbinding service.
By immersing the audience in
Narcissister’s rousing flux of pure
undiminished vanity, this project sees its
performer’s Narcissean powers reach
exponential levels. As Narcissister’s
startling image is mirrored from screen,
to audience member, back to performer,
a version of the mythical “lake” by which
the original Narcissus was bewitched is
created anew.
day
month
22
4
dan
mjesec
hour
00:00
srijeda / wednesday
sat
Prije nego πto se nazvala Narcissister,
bila je profesionalna plesaËica suvremenog plesa koja je glavninu obrazovanja stekla u AmeriËkom plesnom
centru Alvina Aileya. Od profesionalnih
dostignuÊa istiËe nastup s Aileyjevom
trupom u Memoriji - jednom od najznaËajnijih djela te trupe, turneju po Europi s njemaËkom rock-operom, gdje je
nastupala kao plesaËica, i nastup u industrijskom djelu za kompaniju Mercedes Benz.
Uz nastupe, Narcissister je aktivna i u
drugim kreativnim medijima poput suvremene izrade tekstilnih i drugih kolaæa, kiparstva, umjetniËke grafike i
fotografije. Narcissister je intenzivno
radila i kao komercijalna umjetnica,
ureujuÊi izloge trgovina te kao stilistica
i umjetniËka voditeljica projekata za impresivnu bazu klijenata. Njezini nastupi
integriraju dotadaπnje iskustvo profesionalne plesaËice s njezinom trenutnom
vizualnom idejom i praksom komercijalne umjetnosti.
Narcissister je za svoje iznimno
æivopisne izvedbe dobila priznanje kao
izuzetna umjetnica kroz razne pisane
pozive za nastupima i dodijeljene nagrade. Njezin umjetniËki film The SelfGratifier osvojio je nagradu za “najbolju
upotrebu seksualne igraËke” na festivalu
erotskog filma Good Vibrations 2008. godine. U travnju prima Nagradu Bistro za
izniman vodvilj/burlesku, u kategoriji
koja je nastala upravo kako bi se odalo
priznanje njezinom radu. Odabrana je za
rezidencijalnog izvedbenog umjetnika u
organizaciji Galerije Art in General i
Hrvatskog druπtva likovnih umjetnika u
Zagrebu, ovog proljeÊa u Zagrebu, a
nastup na MBZ-u dio je tog njezinog
programa.
Before Narcissister called herself Narcissister, she was a professional modern
dancer. Her most formative training took
place at the Alvin Ailey American Dance
Center. Among her professional highlights was being selected to perform with
the Ailey company in Memoria, one of
Ailey’s seminal pieces, touring Europe as
a dancer in a German rock-opera, and
performing in industrial work for Mercedes Benz.
In addition to her performance work,
Narcissister has worked in many other
creative media including contemporary
quilting, collage, sculpture, printmaking,
and photography. Narcissister has also
worked extensively as a commercial
artist, designing window displays and
working as a stylist and art director for
an impressive roster of clients.
The Narcissister performance projects
integrate her prior experience as a professional dancer with her current visual
and commercial art practices.
In response to her wildly original shows,
Narcissister has been receiving much
recognition as an outstanding artist and
performer through the written word, invitations, and awards. Her art film The
Self-Gratifier won an award for “Best Use
of a Sex Toy” at The 2008 Good Vibrations Erotic Film Festival. In April she
will be awarded a Bistro Award for Outstanding Vaudeville/Burlesque Award, a
category created especially to honor Narcissister’s performance work.
She was selected for a performance art
residency organized by Art in General
Gallery and the HDLU/Croatian Association of Artists in Zagreb, Croatia this
Spring. As part of her residency she will
present her first solo evening length
show at the Biennale.
245
Collier
Evan
244
Evan Collier (Kingston, Ontario) bavio se
graevinarstvom i ekstremnim
sportovima, a trenutaËno radi kao dizajner i producent kazaliπnih scenografija i
rekvizita za izloge trgovina, izloæbenih
dvorana, kazaliπnih produkcija te
rekvizita za umjetnike vizualnih i
izvoaËkih umjetnosti. Collier je ujedno i
ton-majstor, producent i DJ. Njegova
praktiËna izobrazba u audioumjetnosti
odvijala se uglavnom u studijima Greenhouse u Vancouveru, gdje je radio kao
pomoÊnik ton-majstora s raznim
skupinama, solistima te na nastupima
uæivo. Trenutno radi kao tonski majstor
za AV i zvuk uæivo. Collierov osobit interes poËiva u hip-hop glazbi i kulturi s
usmjerenoπÊu i iskustvom u urbanoj i
elektronskoj glazbi. Njegov osnovni
glazbeni proces sastoji se od stvaranja
naprednih kompozicija kroz upotrebu
loopova i semplova iz niza organskih,
analognih i digitalnih izvora.
Collier djeluje i ispred publike s raznolikim nizom avangardnih izvoaËa i koreografa. On je entuzijastiËni glumac,
plesaË, akrobat i akrobat na trapezu,
predstavnik bruklinskog odjevnog poduzeÊa iz Brooklyna, Helmet of the Will,
trener hatha joge te student i praktiËar
tradicionalne istoËnjaËke filozofije i
meditacije. Nedavno je svu svoju
glazbenu energiju uloæio u kompoziciju i
glazbeni aranæman za izvoaËke umjetnosti. Za Biennale je napisao originalnu
glazbu koristeÊi semplove (uzorke)
raznih tradicijskih hrvatskih i istoËnoeuropskih glazbenih formi.
Evan Collier (Kingston, Ontario) has a
background in building and extreme
sports and he is currently a designer and
producer of theatrical sets and props for
commercial window displays, showrooms, theatre productions, and visual
and performing artists. He is also a
sound engineer, producer, and DJ. His
formative training in audio took place at
Greenhouse studios in Vancouver,
British Columbia where he worked as an
assistant engineer with bands, solo
artists, and live shows. He currently
works doing corporate AV and Live
sound. Collier has a particular interest in
hip hop music and culture and has a
focus and background in urban and electronic music. His primary musical
process is to create forward-thinking
compositions using loops and samples
from a range of organic, analog, and digital sources.
Collier works in front of the curtain as
well, with a diverse set of avant-garde
performance artists and choreographers.
He is an enthusiastic actor, dancer, acrobat and aerialist, the spokesmodel for
the Brooklyn clothing company, “Helmet
of the Will”, a hatha yoga instructor and
a student and practitioner of traditional
eastern philosophy and meditation.
He has recently devoted his musical energy towards the composition and
arrangement of music for performance
art. For the Biennale he wrote original
music pieces which sample a variety of
traditional Croatian and Eastern European music forms.
day
month
četvrtak / thursday
23 4
16:00, Mimara
Kanadska elektroniËka glazba /
Canadian Electronic Music
17:30, Mimara
GudaËki kvartet Penderecki /
Penderecki String Quartet
19:30, KDVL
Edin Karamazov, gitara / guitar
Danijel Detoni, klavir / piano
Simfonijski orkestar i Big band HRT-a /
Croatian Radio Television Symphony Orchestra
and Big Band
Nikπa Bareza, dirigent / conductor
22:00, MDVL
Ansambl Les Amis / Les Amis Ensemble
23.30, &TD
Rock akademija Zagreb / Rock Academy Zagreb
day
month
23
4
dan
mjesec
hour
16:00
sat
16:00, Mimara
Kanadska elektroniËka glazba /
Canadian Electronic Music
Dennis Patrick, izbornik / curator
Les Amis:
Lynn Kuo, violina / violin
Rachel Mercer, violonËelo / cello
Marianna Humetska, klavir / piano
Joseph Macerollo, harmonika / accordion
Dennis Patrick: the moulds... / plijesni
tekst napisao i izveo / text written and performed by: Nick Mancuso
Dennis Patrick: Shõkõ no shõ / Fluctuations of the shõ / Kolebanja shoa
Philip McConnell / Dennis Patrick: Melodrama and Flight /
Melodrama i let*
Andrew Staniland: Piano Preludes (Interludes) /
Preludiji (Interludiji) za klavir
(»etiri Preludija moæda Êe biti izvoena u dijelovima, izmeu ostalih skladbi /
The four Piano Preludes might be played between the other works)
Karmela Cepkoljenko: Duel-Duo #11 for cello and accordion [bayan] /
Duel-duet broj 11 za violonËelo i harmoniku [bajan]*
Michael Pepa / Dennis Patrick: Squamish
Fractal I - Voice of the Great Spirit / I. Fraktal - Glas velikog duha
Fractal II - Rain / II. Fraktal - Kiπa
Fractal III - Soundsprawl / III. Fraktal - Rastezanje zvuka
Fractal IV - Bells / IV. Fraktal - Zvona
Fractal V - Sko’mish, a Strong Wind / V. Fraktal - Sko’mish, jak vjetar
249
Patrick
Dennis
248
Dennis Patrick skladatelj je i profesor iz
Toronta. »lan je Odsjeka za teoriju i
kompoziciju ©kole za glazbu SveuËiliπta
u Torontu, gdje vodi ElektroakustiËki
glazbeni studio i koordinira godiπnji
fakultetski sijeËanjski New Music Festival
(Festival Nove glazbe). Dennis Patrick
obrazovan je u klasiËnoj kompoziciji i
orkestraciji. Neki od njegovih uËitelja su
John Weinzweig, Gustav Ciamaga, Godfrey Ridout, Lothar Klein i Talivaldis
Kenins. Skladao je glazbu za nekoliko
nagraivanih radijskih drama koje su
napisali kanadski autori Timothy Findley
i Michael Ondaatje, a koje ukljuËuju i
The English Patient (Engleskog pacijenta), The Trials of Ezra Pound
(Iskuπenja Ezre Pounda), In The Skin of a
Lion (U lavljoj koæi) i Famous Last Words
(Poznate posljednje rijeËi).
„the moulds.... je mala razglednica iz
razdoblja nakon 11. rujna, o Ëovjeku i
njegovu odnosu prema druπtvu. To je
kvadrofonsko elektroakustiËko djelo.
Shõkõ no shõ (Fluktuacije shõa) sadræi
strukturni element, jedanaest akordâ
koje proizvodi japanski shõ: crveni usni
instrument. ElektroakustiËka pratnja sastoji se, uz zvuk poput shõa, od bubnjeva,
flaute, i kota (æiËanog instrumenta).“
Dennis Patrick is a Toronto based composer and teacher. He is a member of the
Theory and Composition Division of the
Faculty of Music, University of Toronto
where he directs the Electroacoustic
Music Studio and coordinates the Faculty’s annual January New Music Festival. He was trained in classical
composition and orchestration. His
teachers included John Weinzweig, Gustav Ciamaga, Godfrey Ridout, Lothar
Klein, and Talivaldis Kenins. He hascomposed music for several award winning radio dramas by Canadian authors,
Timothy Findley and Michael Ondaatje
including The English Patient, The Trials
of Ezra Pound, In The Skin of a Lion, and
Famous Last Words.
„the moulds.... is a post 911 vignette
about man and his relationship to society. It is a quadraphonic electroacoustic
work.
Shõkõ no shõ (Fluctuations of the shõ)
has as a structural element, the eleven
chords produced by the Japanese shõ; a
reed mouth-organ instrument. The electroacoustic accompaniment contains, in
addition to a shõ-like sound, drums,
flute, and a koto (a plucked stringed instrument).“
day
month
23
4
dan
mjesec
hour
16:00
sat
McConnell
Philip
Philip McConnell, skladatelj iz Toronta,
roen je u Coventryju u Engleskoj. Studirao je na SveuËiliπtu u Readingu, gdje je
doktorirao muzikologiju na temelju istraæivanja o izvornim rukopisima za Brucknerove simfonije u BeËu. Æivi u Kanadi
od 1970. godine. Bio je umjetniËki ravnatelj Kanadske simfonijete, a 2003. postaje
stalnim skladateljem Torontske simfonijete. McConnell je pridruæeni skladatelj
pri Kanadskom glazbenom centru i Ëlan
je Kanadskog udruæenja skladatelja. Njegova orkestralna, komorna i zborna djela
izvoena su na pozornicama diljem Sjeverne Amerike, Europe i Azije. Godine
2007. njegova je skladba Invocation and
Dance (Prizivanje i ples) za violu i glasovir izvedena u Torontu, a snimljena je
proπle veljaËe u Brnu u »eπkoj Republici.
Njegovu glazbu za Through the Roof of
My Heart It Rains (Kroz krov mog srca
kiπi) za sopran, pripovjedaËa i komorni
orkestar prvi je put izvela Torontska simfonijeta proπloga studenoga u Kraljevskom
muzeju Ontarija.
Philip McConnell, the Toronto composer, was born in Coventry, England.
He studied at the University of Reading,
obtaining a Ph.D. in Musicology after researching the original manuscripts of the
Bruckner symphonies in Vienna. A resident of Canada since 1970, he was Artistic Director of the Canadian Sinfonietta
until moving to the position of composer-in-residence with the Toronto Sinfonietta in 2003. Dr. McConnell is an
Associate Composer with the Canadian
Music Centre and a member of the Canadian League of Composers. His orchestral, chamber, and choral works
have been performed in North America,
Europe and Asia. In 2007 his “Invocation
and Dance” for Viola and Piano was performed in Toronto and recorded last
February in Brno, Czech Republic. His
music for “Through The Roof Of My
Heart It Rains” for soprano and narrator
and chamber orchestra were premiered
by the Toronto Sinfonietta last November at the Royal Ontario Museum.
Melodrama i let: McConnell i Patrick
upoznali su se preko Michaela Pepe iz
Les Amisa. S obzirom na to da nisu prije
radili zajedno, sastali su se i presluπali
neke od svojih reprezentativnih radova.
Doπli su do sljedeÊe zamisli: djelo koje
huπka tvrdoglav “æivi” instrument protiv
nepopustljive vrpce. BuduÊi da ne mogu
rijeπiti svoje nesuglasice, dolazi do mahnite potjere u kojoj svaka dionica slijedi i
mami drugu. Potjera vodi do rjeπenja velikog praska - ili se moæda jednostavno
gasi. PriËekajte i saznajte.
Melodrama and Flight: McConnell and
Patrick were introduced to each other by
Michael Pepa of LesAmis. Having never
worked together before they met and
listened to some representative works.
They came up with the following concept:
A piece that pits a live, willful instrument
against an intransigent tape. Unable to
resolve their differences a frantic chase
ensues with each voice following and
baiting the other. The pursuit could
lead to a resolution, a big bang, or maybe
it just fizzles away. You’ll just have to
wait and see.
251
Staniland
Andrew
250
»asopis New Yorker njegovu je glazbu
opisao kao “prekrasnu i zastraπujuÊu”, a
kanadski Nacionalni centar za umjetnost
opisao ga je kao skladatelja “koji Êe se
pokazati jednim od najosobenijih glasova
u zemlji”. Andrew Staniland doktorirao
je kompoziciju na SveuËiliπtu u Torontu.
Dobitnik je brojnih nagrada, ukljuËujuÊi
prve nagrade na skladateljskim natjecanjima SOCAN-a te Nagradu Karen Keiser
za kanadsku glazbu. Njegova su djela
predstavljala Kanadu i na UNESCO-vom
International Rostrum of Composers i na
Svjetskim danima glazbe ISCM-a.
Ubrzano postaje jednim od najtraæenijih
kanadskih skladatelja, a sada je rezidentni skladatelj Torontskog simfonijskog
orkestra.
“Moji interludiji uglavnom su izvaci iz
veÊeg djela, Tampobata, koje sam napisao za pjevajuÊeg pijanista i elektroniku
2005. godine. Projekt je ostvaren uz pomoÊ Torontske nagrade za nadolazeÊe
umjetnike. Izvorno je djelo trajalo rastegnutih 35 minuta, a od tada mi je draæe
rabiti izvatke iz njega, u kombinaciji s
klavirskim solom iz mojeg Trija za harfu,
klavir i udaraljke (2003.). Ta su djela delikatna i jednostavna, gotovo minimalistiËkog pristupa i mogu funkcionirati kao
mirni, introspektivni trenuci unutar
nekog koncertnog programa.”
His music has been described as “beautiful and terrifying” (New Yorker Magazine)
and he has been described as a composer
who “will emerge as one of the most individual voices in this country” (Canadian
National Arts Centre). Andrew Staniland
holds a doctorate in composition from
the University of Toronto, and has received numerous accolades, including
top prizes in the SOCAN young composers
competition, and the Karen Keiser Prize
in Canadian Music. His music has represented Canada at both the UNESCO
International Rostrum of Composers and
the ISCM World Music Days. He is rapidly
becoming one of Canada’s most in demand composers. Staniland is currently
Affiliate Composer with the Toronto
Symphony Orchestra.
„This set of interludes comes mostly
from a large-scale work entitled Tampobata that I wrote for singing pianist and
electronics in 2005._ The project was
realized with the assistance of the 2004
Toronto Emerging Artist Award. The
original work was a sprawling 35 minutes
long. I have since preferred to excerpt
the work, combining it with a piano solo
from my trio: harp, piano, percussion
(2003). The works are extremely delicate
and simple - almost minimalist in approach, and can function as calm introspective moments in a concert program.“
day
month
23
4
dan
mjesec
hour
16:00
sat
Michael Pepa, uz Squamish:
O, veliki duπe, Ëiji glas u vjetrovima
Ëujem,
»iji dah svijetu udiπe æivot - zvuk,
Sasluπaj me... (Molitva Squamish Indijanaca)
Naziv Squamish preuzet je iz rijeËi jezika
plemenske skupine Salish, ‘Sko-mish’,
πto znaËi ‘jak vjetar’ ili ‘rodno mjesto
vjetrova’. Odnosi se na vjetar koji puπe s
PacifiËkog oceana, a koji stiæe i do mjesta
Howe Sound u Britanskoj Kolumbiji.
Vjetroviti glas Snaænog duha je iktus koji
udahnjuje æivot akustiËnom svijetu.
Michael Pepa, on Squamish:
O Great Spirit, whose voice I hear in the
winds,
Whose breath gives life (sound) to the
world, hear me … (Prayer, Squamish
Indians)
The name Squamish is adapted from the
Coast Salish word ‘Sko-mish’, which
translates to ‘Strong Wind’ or ‘Birthplace
of the Winds’. It refers to the constant
wind from the Pacific Ocean, which is
funnelled up the Howe Sound, British
Columbia. The wind voice of the Great
Spirit is the ictus, which gives life to the
acoustical world.
Viπe o M. Pepi / More about M. Pepa: str. /
page 280
Cepkoljenko
Karmela
252
Karmela Cepkoljenko (Odesa, 1955.)
studirala je na Dræavnom konzervatoriju
A. V. Neædanov u Odesi (danas MuziËka
akademija), kompoziciju u klasi O. Krasotova i klavir u klasi L. Ginzburga. Na
istoj je instituciji danas profesorica kompozicije. Doktorirala je na Moskovskom
pedagoπkom institutu te je posjeÊivala
majstorske teËajeve za skladatelje u
Darmstadtu i Bayreuthu. Dobitnica je
nagrada na sovjetskim i meunarodnim
skladateljskim natjecanjima, kao i stipendija i rezidencijskih boravaka od
njemaËkih, ameriËkih, austrijskih, πvicarskih i ukrajinskih zaklada i fondacija.
Autorica je viπe od 70 djela, od kojih je
veÊina i snimljena na 12 nosaËa zvuka.
Idejna je zaËetnica, osnivaËica i umjetniËka ravnateljica godiπnjeg Festivala
Two Days and Two Nights of New Music
te Ëelnica odbora ukrajinskog ogranka
druπtva ISCM i tajnica odbora Ukrajinske
skladateljske unije.
“Razvoj glazbene grae predstavlja opÊu
ideju koja daje moguÊnost da oko nje
koncentriram osjeÊaje i misli. Ponekad je
to samo jedna rijeË, primjerice - duel.
Sama rijeË moæe prizvati cijeli sloj emocija,
od komiËnih do tragiËnih. Skladala sam
niz djela koja se baziraju na ideji duela, a
jedno od njih je Duel-Duet br. 11.
Glavna je njegova ideja natjecanje izmeu dvojice glazbenika i dvaju instrumenata.
Svaki glazbenik tvrdi da je - najbolji.”
253
Karmela Cepkoljenko / Tsepkolenko
(Odessa, 1955) studied at the Odessa
State A. V. Nezhdanova Conservatoire
(now Music Academy), where she is a
professor of composition today. As a
composer, she studied under. O. Krasotov and as a pianist with. L. Ginzburg .
She got her PhD at the Moscow
Pedagogical Institute. She attended
master-courses in Darmstadt and
Bayreuth. She has been awarded diplomas and prizes at Soviet and international
composers’ competitions. She got creative
residences, grants and scholarships from
German, US, Ukrainian, Austrian and Swiss
foundations and endowments. She is the
author of more than 70 music works, most
of which have been produced on 12 CDs,
and recorded by radios in many countries.
She is the concept author, founder and
Artistic Director of the annual International Festival of Modern Art Two Days
and Two Nights of New Music, as well as
the the Head of the Ukrainian Section of
International Society of ISCM and the
secretary of the Board of the National
Ukrainian Composers’ Union.
„The development of musical material
can represent a general idea that gives
me the opportunity to concentrate my
feelings and thoughts around it. Sometimes it is only a word, for example -“Duel”.
This word by itself can recall a whole
stratum of emotions ranging from comic
to tragic. I have composed a series of
pieces which are based on the idea of a
duel. One of them is Duel-Duo #11 for
cello and accordion. The main idea of this
work is a competition between two musicians and two musical instruments.
Each musician claims to be the best“
day
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17:30, Mimara
GudaËki kvartet Penderecki /
Penderecki String Quartet
Kvartet Penderecki / Penderecki Quartet:
Jeremy Bell, violina / violin
Jerzy Kaplanek, violina / violin
Christine Vlajk, viola
Simon Fryer, violonËelo / cello
254
255
Ana SokoloviÊ: Blanc dominant / Dominantno bijelo
thème I - thème II / tema I - II
mutation I / mutacija I
tension / napetost
espace - asymétrique / prostor - asimetriËno
diagonale noir / crna dijagonala
mutation II - triangle / mutacija II - trokut
blanc dominant / dominantno bijelo
coda - continuum / koda - kontinuum
Katarina ΔurËin: walking away from / odlazeÊi od
Dramatico
Con Spirito
Misterioso
Marjan Mozetich: Hymn of Ascension / Himna uzaπaπÊa
for accordion and string quartet / za harmoniku i gudaËki kvartet
Sran DediÊ: GudaËki kvartet / String Quartet*
Michael Pepa: String Quartet No. 4 with Timpani & Chimes /
GudaËki kvartet br. 4 s timpanima i zvonima
Episode I - Augury / Proricanje
Episode II - Playful Pizzicato / Zaigrani pizzicato
Episode III - A Dream Inspired by an “Angel” / San inspiriran “Anelom”
Episode IV - A Prayer / Molitva
Episode V - Eternal Rest / Pokoj vjeËni
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Penderecki
day
kvartet
GudaËki
GudaËki kvartet Penderecki u treÊoj je
dekadi iznimne karijere, tijekom koje je
postao jedan od najpoznatijih komornih
ansambala svoje generacije. Ovih
Ëetvoro glazbenika, porijeklom iz razliËitih zemalja - Poljske, Kanade, SAD i Velike Britanije - ujedinili su svoje razliËito,
ali skupno iskustvo kako bi sudjelovali u
stvaranju izvedbi koje demonstriraju njihov “izvanredan raspon tehniËke
izvrsnosti i emocionalnog dosega”
(Globe and Mail, Toronto).
Kvartet je osnovan u Poljskoj 1986. godine
na zamolbu istaknutog poljskog skladatelja Krzysztofa Pendereckog. Plodovi
njihovog udruæivanja ukljuËuju i Pendereckijev opus za gudaËki kvartet na
nosaËima zvuka. Kvartet je i dalje
posveÊeni pobornik glazbe naπega vremena te izvodi πirok raspon repertoara
od Bacha do Brahmsa, od Bartóka do
Ligetija, od Franka Zappe do Johna Oswalda, a praizveli su i viπe od 100 novih
kompozicija brojnih skladatelja. Fanfare
Magazine ih je opisao kao “ansambl impresivne snage i pronicljivog glazbenog
senzibiliteta”. Kvartet u svojoj diskografiji
ima viπe od dvadeset snimljenih nosaËa
zvuka. Velik dio svog vremena posveÊuju
seminaru Quartetfest, koji se odræava u
proljetnom semestru na SveuËiliπtu Wilfrid Laurier u Waterloou, Ontario.
The Penderecki String Quartet, now in
the third decade of an extraordinary career, has become one of the most celebrated chamber ensembles of their
generation. These four musicians, each
originating from different countries Poland, Canada, the USA and the UK bring their varied yet collective experience to create performances that
demonstrate their “remarkable range of
technical excellence and emotional
sweep” (Toronto, Globe and Mail).
The Penderecki Quartet was founded in
Poland in 1986 at the urging of the preeminent Polish composer Krzysztof Penderecki. The fruit of their association
includes Penderecki’s complete works
for String Quartet on CD. To this day the
Quartet is a devoted champion of the
music of our time, and has performed a
wide range of repertoire from Bach to
Brahms, Bartók to Ligeti, Frank Zappa to
John Oswald, as well as premiering over
100 new works from numerous composers.
Described by Fanfare Magazine as “an
ensemble of formidable power and keen
musical sensitivity”, the Penderecki
Quartet’s large discography includes
over 20 recordings. The Quartet devotes
much of its time to Quartetfest, an intensive Spring-term seminar held at Wilfrid
Laurier University in Waterloo, Ontario.
257
Macerollo
Joseph
256
Harmonikaπ Joseph Macerollo cjelovit je
glazbenik, pedagog i organizator. Bio je
prvi zagovornik ukljuËivanja harmonike
u studij glazbe na sveuËiliπtima u Torontu i Kingstonu. PouËavao je povijest
glazbe, analizu i interpretaciju suvremene glazbe, vodi radionice, objavljuje
Ëlanke. Predstavljao je Kanadu na dvama
harmonikaπkim natjecanjima, a 2005.
godine dobio je spomen-disk Ruske
federacije harmonikaπa za svoj rad na
priznavanju koncertne harmonike πirom
svijeta. Nastupao je diljem Sjeverne
Amerike, Europe, Azije i Australije.
NaruËio je viπe od 200 novih djela kanadskih skladatelja. Njegov udæbenik, The
Accordion Resource Manual, upotrebljava se u cijelom svijetu.
Accordionist Joseph Macerollo is a consummate musician, educator and organizer. He pioneered the acceptance of the
accordion at the Faculty of Music, University of Toronto and at Queen’s University in Kingston. He has lectured,
given workshops, written articles and reviews of concerts and taught history of
music, analysis, and the interpretation of
contemporary music courses. He has
represented Canada in two world accordion championships and in 2005 he was
awarded a commemorative silver disc by
the Russian Accordion Federation for his
outstanding work in recognition of the
concert accordion worldwide. Macerollo
has performed throughout North America, Europe, Asia and Australia. He has
commissioned over 200 works by Canadian composers. His textbook, The Accordion Resource Manual is widely used
internationally.
day
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SokoloviÊ
Ana
Ana SokoloviÊ o skladbi Blanc dominant: Kompozicija za gudaËki kvartet iz
1998. inspirirana je vizualnim svijetom
Guida Molinarija. Kompozicija ima osam
stavaka, u formi teme s varijacijama.
Tema se razvija u dva dijela - I. dio: vertikalna dimenzija (harmonijska tema) i
II. dio: horizontalna dimenzija (melodijska tema). Svaka od sedam varijacija
predstavlja glazbeni odgovor na Molinarijeve slike, kojima je moje djelo
zvukovna posveta. Poanta nije u tome da
se pokuπa vizualno pretvoriti u sluπno,
veÊ je skladba rezultat promiπljanja, susreta umjetniËkih senzibiliteta i zapis jedne oËaranosti. Blanc dominant skladan
je za Molinarijev gudaËki kvartet uz potporu VijeÊa za umjetnost u Québecu.
[viπe o Ani SokoloviÊ na str. 322]
Ana SokoloviÊ on Blanc dominant: This
work or string quatret was inspired by
Guido Molinari’s visual world. It comprises
8 movements and is structured as a
theme and variations. The theme unfolds
in two parts; Part I : vertical dimension
(harmonic theme). Part II : horizontal
dimention (melodic theme).Each of the
seven variations brings out a musical
correspondence to paintings by Molinari, to which my piece is an aural tribute. The point here is not to try to turn
the visual into the audible. My piece is
rather the outcome of contemplation,
the encounter of artistic sensibilities and
the record of an enchantment. Blanc
dominant was composed in 1998 for the
Molinari String Quartet , with the support
of the Conseil des arts et des lettres du
Québec.
[more about Ana SokoloviÊ on page 322]
259
ΔurËin
Katarina
258
Katarina ΔurËin studirala je glazbu u
rodnoj Srbiji te magistrirala i doktorirala
kompoziciju na SveuËiliπtu Toronto u
Kanadi, gdje æivi od 1999. godine. Profesori kompozicije bili su joj Duπan RadiÊ,
Gary Kulesha, Chan Ka Nin i Christos
Hatzis. Napisala je viπe orkestralnih
djela, komornu operu Ana Karenjina,
ciklus pjesama na japanske haiku tekstove i nekoliko komornih i elektroakustiËkih djela. Dobitnica je Nagrade K. M.
Hunter za glazbu. Za kvartet odlazeÊi od... ,
koji je predstavljao Kanadu na UNESCOvu programu International Rostrum of
Composers, dobila je Nagradu Karen
Kieser za kanadsku glazbu 2005. godine.
“GudaËki kvartet odlazeÊi od… predstavlja
prekretnicu u mom stilu. Namjerno sam
se ‘udaljila’ od tradicionalnih naËina
skladanja i poËela istraæivati nove
tehnike u gudaËkim izvedbama.
Odmaknula sam se od preciznih
metriËkih struktura te povremeno sviraËima davala ‘kontroliranu’ slobodu u
kojoj je tempiranje bilo jedini odreen
vodiË za trajanje kompozicije. Kroz slobodnu formalnu strukturu djelo niæe
suprotna raspoloæenja s epizodama.
Naziv se odnosi i na moj odlazak iz
zemlje - napuπtanje doma u kojem sam
odrasla. U mojim razmiπljanjima o domu
pojavila se i narodna melodija koja je
Ëesta za to podneblje, a koja je naπla svoj
put do prvog stavka ovog djela.”
Katarina ΔurËin studied music in her
native Serbia before obtaining Masters
and Doctorate degrees in composition
from the University of Toronto, Canada
where she has lived in 1999. Her composition teachers were Duπan RadiÊ, Gary
Kulesha, Chan Ka Nin and Christos
Hatzis. She has written orchestral works,
a chamber opera, Anna Karenina, a song
cycle based on Japanese haiku, and several chamber and electro-acoustic works.
ΔurËin is a recipient of the 2008 K.M.
Hunter Artists Awards for music. Her
string quartet walking away from… was
awarded with the Karen Kieser Prize in
Canadian Music in 2005 and it represented Canada at the 2006 UNESCO International Rostrum of Composers in Paris.
“The string quartet walking away from
…is a turning point in my style. I purposely walked away from traditional
ways of writing and explore new techniques for strings. I walked away from
precise metrical structures and, at times,
gave the players a “controlled” freedom
with only timings indicated as a guide for
duration. Having a free formal structure,
the piece juxtaposes contrasting moods
with episodes. The title also refers to the
fact that I left my country - walked away
from the home where I grew up. Thinking about home, a folk tune that I used to
hear there found its way into the first
movement of this piece.”
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Mozetich
Marjan
Marjan Mozetich (Gorizia, 1948.) slovenskog je podrijetla, no s obitelji je emigrirao u Kanadu 1952. godine. Kompoziciju
je studirao na SveuËiliπtu Toronto te, uz
pomoÊ Kanadskoga vijeÊa, u Italiji i Engleskoj s Lucianom Beriom i Francom
Donatonijem. U ranijoj karijeri bio je dijelom avangardnih glazbenih krugova.
OsnivaË je i suravnatelj Ansambla za suvremenu glazbu Array. Njegova su djela,
izvoena diljem Kanade i u inozemstvu,
dobila niz nagrada. Na Festivalu nove
glazbe Konzervatorija u Gentu, Belgija i
na Festivalu nove glazbe Regina bio je
posebnim gostom-skladateljem.
Praizvedba njegova klavirskog koncerta
posveÊena Robertsonu Daviesu (2000.)
doæivjela je ovacije i izvrsne kritike, a
Kanadska radiotelevizijska korporacija
izdala je CD samo s njegovim djelima,
pod naslovom Affairs of the Heart.
Ista korporacija naruËila je Himnu uzaπaπÊa za meunarodni festival komorne
glazbe Ottawa International Chamber
Music Festival 1998. godine. Djelo je u
originalu napisano za harmonij i gudaËki
kvartet kako bi popratilo Dvořákove
Bagatele, koje imaju sliËnu instrumentaciju. Ova je verzija preraena za izvedbu
s harmonikom.
Marjan Mozetich (Gorizia, 1948) is of
Slovenian parentage, but his family emigrated to Canada in 1952. He studied
composition at the University of
Toronto. With the assistance of the
Canada Council he furthered his studies
in Italy and England under the supervision of Luciano Berio and Franco Donatoni. Early in his career he was active in
the avant-garde music circles. He was a
founder and a co-artistic director of the
contemporary ensemble, ARRAY. His
works were performed in prominent new
music concerts across Canada and
abroad and his pieces received several
awards. At the Gent Conservatory New
Music Festival in Belgium and the
Regina New Music Festival he received
special honours as guest-composer. In
February, 2000 the premiere of his Piano
Concerto dedicated to Robertson Davies
received a standing ovation and critical
acclaim. The Canadian Broadcast Corporation released a CD devoted to his
works only titled Affairs of the Heart.
The CBC also commissioned the Hymn
of Ascension by Marjan Mozetich, for the
1998 Ottawa International Chamber
Music Festival. Originally it was written
for harmonium and string quartet to accompany the Dvořák Bagatelles with a
similar instrumentation. This version
was adopted for the use of the accordion.
261
DediÊ
Sran
260
Sran DediÊ (Zagreb, 1965.) diplomirao
je kompoziciju u klasi Stanka Horvata na
MuziËkoj akademiji u Zagrebu, gdje danas predaje. Usavrπavao se kod FrançoisBernarda Mâchea u Strasbourgu, Geerta
van Keulena u Amsterdamu i Jojia Yuase
u Tokiju. Od 1991. godine razvija raËunalne programe za algoritamsko skladanje. Dobitnik je viπe meunarodnih
nagrada za svoje skladbe.
“Teπko je ne osjetiti veliku odgovornost
pri skladanju za gudaËki kvartet, taj svemoguÊi, skladateljima poseban, upravo
karizmatiËan sastav. Od golemog broja
moguÊnosti koje pruæa, naroËito me zanimala ona strana gudaËkog kvarteta kao
sastava idealnog za izvoenje polifonih
slogova i struktura, koje stoga dominiraju ovom trostavaËnom skladbom. U
svrhu profiliranosti i jedinstva harmonijskog jezika, uglavnom sam koristio samo
uæi izbor apartnih, od moguÊih 43
temeljnih Ëetveroglasnih sazvuËja. Prije
petnaestak godina napisao sam kompjuterski program koji generira i pretraæuje garniture viπe tisuÊa akorada. Tad
je postalo jasno da se u jednom danu
mogu izraditi kombinacije koje inaËe ne
bih nikada pronaπao, jer bi njihovo
ruËno ispisivanje bio nemoguÊ posao. Po
istom principu poËeo sam generirati i istraæivati, za mene dotad, nezamislive
kombinacije ljestvica, serija, akorada, ritmova i struktura, koje su postale
izvoriπtem materijala mojih narednih
skladbi. Tako je i ova skladba rezultat
traganja za tim, na drugi naËin
nedostupnim i meni nepoznatim,
sonornim svjetovima.” [Sran DediÊ]
Sran DediÊ (Zagreb, 1965) studied
composition with Stanko Horvat at the
Music Academy in Zagreb, where he now
teaches. He continued his studies with
François-Bernard Mâchea in Strasbourg,
Geerta van Keulena in Amsterdamu and
Joji Yuasa in Tokyo. Since 1991 he has
been working on computer programmes
in the field of algorithmic composing.
He received a number of important
awards for his works.
“It is difficult not to feel the great responsibility when composing for a string
quartet, that mighty, even charismatic
ensemble, so special to composers. From
all the vast possibilities it offers, I was
particularly interested in that side of the
string quartet that makes it the ideal ensemble for performing polyphonic textures and structures, which therefore
dominate this three-movement-piece.
For the sake of the distinctiveness and
unity of harmonic language, I have
mostly been using only a small selection
of 43 possible fundamental four-part-sets.
Fifteen years ago I wrote a computer program that generates and searches trough
collections of thousands of chords. It became apparent this was making it possible create combinations I would never
have found otherwise, because writing
them down manually would have been
an impossible task. According to the same
principle, I have started to generate and
explore combinations of scales, series,
chords, rhythms and structures, previously unimaginable to me. They became
the resources of material for my future
works. This composition is also the result
of a quest for these, in other ways unreachable and unknown, worlds of
sonority.” [Sran DediÊ]
day
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Pepa
Michael
Michael Pepa [o kojem viπe na str. 280] o
svojem djelu kaæe: “GudaËki kvartet br.
4 s timpanima i zvonima napisan je
1994. godine za GudaËki kvartet St. Lawrence. Djelo je inspirirano esejom nobelovca Elieja Wiesela o suenju Klausu
Barbieu, poznatijem pod imenom koljaË
iz Lyona. Francuska dræava optuæila je
Klausa Barbiea za deportaciju 7500 Æidova i ubojstvo 4000 osoba pola stoljeÊa
prije. Jedan od osnovnih dokaza protiv
Barbiea bila je naredba koju je potpisao
1944. godine, a koja je glasila: ‘Jutros je
dom æidovske djece DjeËja kolonija u
Izieu (blizu Lyona) uklonjen. Djeca, kojih
je ukupno bilo 41, u dobi izmeu 3 i 13
godina starosti, uhvaÊena su. Nadalje,
uhiÊeno je sve æidovsko osoblje. Nismo
bili u moguÊnosti doÊi do novca i ostalih
vrijednih stvari. Prijevoz do Drancyja
odvit Êe se 4. 7. 1944.’
Michael Pepa [more about Pepa on page
280] on his work: „The String Quartet
No. 4 with Timpani and Chimes was
written in 1994 for the St. Lawrence
String Quartet. It was inspired by an
essay by the Nobel Peace Prize winner
Elie Wiesel, about the trial of Klaus Barbie, known as the “Butcher of Lyon.”
This trial, The State of France vs. Klaus
Barbie, accused Barbie of deporting
7,500 Jews and murdering 4,000 people a
half century earlier. One of the principal
pieces of evidence against Barbie was an
order he signed in 1944: “This morning,
the Jewish children’s home ‘Children’s
Colony’ at Izieu (near Lyons) was removed. 41 children in all, aged three to
13, have been captured. Beyond that, the
arrest of all the Jewish personnel has
taken place. It was not possible to secure
any money or other valuables. Transportation to Drancy will take place on
4/7/44.”
262
263
Djelo je posveÊeno Liliani Gerenstein,
11-godiπnjoj djevojËici koja je bila jedno
od djece u Izieu. Lilianino Pismo Bogu,
koje je napisala prije nego πto je odvedena, inspiriralo je ovo djelo. Sadræaj pisma
iskoriπten je u IV. epizodi kao molitva.”
“The work is dedicated to Liliane Gerenstein, an 11 year-old girl who was one of
the children of Izieu. Liliane’s Letter to
God, which she scrawled before she was
taken away, inspired the piece. It is used
in Episode IV as a prayer.“
Pismo Bogu
A Letter to God
ZahvaljujuÊi Tebi,
imala sam predivan æivot,
Prije negoli je postao zamrljan,
Imala sam divne stvari,
Stvari koje drugi nemaju.
Boæe?
Vrati moje roditelje,
Moje jadne roditelje,
Zaπtiti ih (viπe nego mene)
Tako da ih πto prije mogu ponovno vidjeti.
Neka mi se vrate joπ jednom.
Oh!
Mogu reÊi da sam imala tako dobru
majku,
I tako dobrog oca!
I imam toliko vjere u tebe,
Da ti zahvaljujem unaprijed.
It is thanks to You,
that I enjoyed a wonderful life before,
that I was spoiled,
that I had lovely things,
things that others do not have.
God?
Bring back my parents,
my poor parents,
protect them (even more than myself)
so that I may see them again as soon as
possible.
Have them come back one more time.
Oh!
I can say that I had such a good
mother,
and such a good father!
I have such faith in You
that I thank You in advance.
Liliane Gernstein
4. 7. 1944.
Liliane Gernstein
4/7/44
day
month
23
4
dan
mjesec
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19:30
sat
19:30, KDVL
Koncert Majstorskog ciklusa Simfonijskog orkestra HRT-a, Ciklusa Big
banda HRT-a i Jazz ciklusa Lisinski, u suradnji s MBZ-om i HDS-om /
A concert in the Master Cycle of the Croatian Radio Television Symphony
Orchestra, in the Big Band Cycle and in the Jazz Lisinski Cycle, in collaboration with MBZ and HDS
Simfonijski orkestar i Big band HRT-a /
Orchestra and Big Band
Edin Karamazov, gitara / guitar
Danijel Detoni, klavir / piano
Nikπa Bareza, dirigent / conductor
264
265
Erkki-Sven Tüür:
Simfonija br. 5, za elektriËnu gitaru, big band i simfonijski orkestar /
Symphony No. 5, for electric guitar, big band and orchestra
Silvio ForetiÊ:
Concerto rosso, prema slici Raoula Dufyja, za klavir i orkestar /
based on a painting by Raoul Dufy, for piano and orchestra
——
Tristan Murail: Gondwana
Bernd Alois Zimmermann:
Musique pour les soupers du Roi Ubu.
Ballet noir en sept parties et une entrée. /
Muzika za veËere Kralja Ubua.
Crni balet u sedam dijelova i jednoj predigri, za orkestar i big band /
Music for King Ubu’s Suppers.
A black ballet in seven parts and one ouverture, for orchestra and combo
month
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Nikπa Bareza
day
Nikπa Bareza, πef-dirigent Simfonijskoga
orkestra Hrvatske radiotelevizije od 1992.
godine, uËio je dirigiranje kod Milana Sachsa, Hermanna Scherchena i Herberta
von Karajana, a zatim je godinama suraivao s velikim dirigentima kao πto su
Lovro pl. MataËiÊ, Ferdinand Leitner,
Otmar Suitner i Nikolaus Harnoncourt te
sa skladateljskim klasicima 20. stoljeÊa
kakvi su Benjamin Britten, Carl Orff,
Olivier Messiaen, Luigi Dallapiccola,
Goffredo Petrassi, Dmitrij ©ostakoviË i
Luigi Nono. Najprije dirigent i ravnatelj
ZagrebaËke opere, poslije je bio stalnim
dirigentom Opera u Zürichu, Petrogradu
i Grazu, u kojemu je bio i πef-dirigent tamoπnje filharmonije. Sada je stalni dirigent Hamburπke opere i milanske Scale,
gdje se istaknuo nizom uspjelih predstava.
Nikπa Bareza, chief conductor of the
Orchestra since 1992, studied conducting
with Milan Sachs, Hermann Scherchen
and Herbert von Karajan and later collaborated with great conductors like
Lovro von MataËiÊ, Ferdinand Leitner,
Otmar Suitner and Nicolas Harnoncourt,
as well as with canonical composers of
the twentieth century, like Benjamin
Britten, Carl Orff, Olivier Messaien, Luigi
Dallapiccola, Goffredo Petrassi, Dimitry
Shostakovich and Luigi Nono. Having
started as the conductor and director of
the Zagreb Opera, he was later the resident
conductor at the Opera houses in Zurich,
Petrograd and Graz, where he was also
the principal conductor of the Philharmonic orchestra. He is now the resident
conductor of the Hamburg Opera and
the Scala of Milan, where he gained
recognition creating a number of successful performances.
266
Redovito gostuje u vodeÊim europskim
opernim kuÊama. Od godine 2001. do 2007.
bio je πef-dirigent Opere i Filharmonije
Robert Schumann u Chemnitzu te nekoliko sezona i glazbeni ravnatelj toga grada,
s Ëijim ansamblima i dalje surauje.
Nikπa Bareza ujedno je redovit gost i
drugih inozemnih koncertnih pozornica
na kojima se, u suradnji s vodeÊim europskim orkestrima, osobito zalaæe za
suvremenu glazbu, a poglavito posveÊuje
pozornost hrvatskoj glazbenoj baπtini i
novim ostvarajima domaÊih skladatelja.
Tako je (pra)izveo i (za radio i televiziju)
snimio antologijska ostvarenja Berse,
Gotovca, BrkanoviÊa, Cipre, Papandopula, ©uleka, Kelemena, Maleca, Horvata,
Radice, Detonija, Ruædjaka, ParaÊa i
drugih. Glazbena kritika istiËe Barezinu
predanost glazbenome djelu, njegovo
veliko iskustvo, istanËan osjeÊaj za stil te
rafiniranu interpretaciju svake pojedinosti, a posebice se osvrÊe na njegovo
sjajno poznavanje Wagnerove glazbe.
267
He is, at the same time, a regular guest at
leading opera houses of Europe. From
2001 to 2007 he was chief conductor of
the Robert Schumann Opera and Philharmonic orchestra in Chemnitz, and,
for a few seasons, the musical director of
this city, whose ensembles he still collaborates with. Bareza is also a regular guest
of many a concert stage, always personally advocating contemporary music and
placing special emphasis on the Croatian
musical tradition and new works by Croatian composers. He premièred, performed or recorded (for radio and television)
anthological works by Bersa, Gotovac,
BrkanoviÊ, Cipra, Papandopulo, ©ulek,
Kelemen, Malec, Horvat, Radica, Detoni,
Ruædjak, ParaÊ and others. Critics have
drawn attention to his devotion to musical oeuvres, his enormous experience,
his subtle feeling for style and his sophisticated interpretation of every detail,
taking special note of his brilliant knowledge of Wagner’s music.
day
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Karamazov
Edin
Edin Karamazov svojim se izvedbama
tijekom proπlog desetljeÊa dokazao kao
jedan od najuzbudljivijih i najkarizmatiËnijih sviraËa lutnje u svijetu. Potvrdila
su to priznanja kritiËara u Europi i Americi te brojne pohvalne kritike njegovih
virtuoznih i emocionalnih izvedbi repertoara u rasponu od prvih zapisanih izvedbi iz 16. stoljeÊa do glazbe balkanskih
Roma. Svoj prvi solo nastup kao sviraË
na lutnji imao je 1998. godine i to kao
zamjena, u posljednji Ëas, za legendarnog
Juliana Brema, sviraËa starije generacije
koji je ponovno oæivio interes za lutnju.
Od tada je izveo i snimio viπe od 80 kompaktnih diskova s brojnim umjetnicima i
meunarodnim ansamblima za ranu
glazbu. Kao interpret majstorske tehniËke
izvedbe na brojnim æiËanim instrumentima iz raznih kultura i razliËitih razdoblja,
Karamazov je nastupao u Concertgebouwu
u Amsterdamu, u Berlinskoj filharmoniji,
Carnegie Hallu, beËkom Konzerthausu i
Sidnejskoj operi. Usprkos postignutom
uspjehu, Karamazov i dalje odræava nenajavljene uliËne nastupe. Kako sam kaæe,
kada se prisjeti svojih poËetaka i nastupa
s putujuÊim cirkusom - “Meni je glazba
neka vrsta cirkusa!” Njegova diskografija,
u izdanju kuÊe Decca records, ukljuËuje i
nagraivane skladbe Come, Heavy Sleep i
The Lute Is a Song.
Over the past decade Edin Karamazov
has established himself as one of today’s
most exciting and charismatic lute players, garnering rave reviews and critical
acclaim across Europe and America for
his dazzlingly virtuosic and emotionally
committed performances of an adventurous repertoire that ranges from first
printed 16th century tabulature books to
the music of Balkan Gypsies. He made
his solo debut as a lutenist in 1998. Significantly, it was as a last-minute substitute for the legendary Julian Bream, the
player who had single-handedly led the
modern revival of interest in the lute a
generation earlier. Since then Edin Karamazov has performed and recorded over
80 compact discs with many major international early-music ensembles and
artists. A consummate interpreter and
technician on a wide variety of plucked
instruments from disparate cultures and
epochs, he is also an outstanding recitalist
and has appeared at Amsterdam Concertgebouw, Berlin Philharmonie, Carnegie
Hall, Vienna Konzerthaus and Sydney
Opera, among others. Despite all his success, he still enjoys giving impromptu
performances on the street. As he says,
looking back to his early days performing
with a travelling circus, „Music remains a
kind of circus to me!“ Exclusive on Decca
records, his solo-discography includes
award wining Come, Heavy Sleep and
The Lute is a Song.
269
Danijel Detoni
268
Danijel Detoni (Zagreb, 1983.) diplomirao je i magistrirao klavir na MuziËkoj
akademiji Liszt Ferenc u Budimpeπtu u
klasama Lászla Baranyaya i Balázsa
Kecskésa, a Ëetvrtu je godinu studija
proveo na Pariπkom konzervatoriju u
klasi Itamara Golana. Nastavio je s
usavrπavanjem na Ljetnoj akademiji Tel
Hai u Izraelu s Emanuleom Krasovskim i
Pninom Salzman i na Seminaru i Festivalu Bartók u Szombathelyu kod Dénesa
Várjona. Nakon brojnih nagarada na
natjecanjima uËenika glazbe u domovini,
dobio je i prvu nagradu na Dræavnom
natjecanju iz komorne glazbe Leo Weiner
u Budimpeπti te nagradu izraelske Zaklade Isman za interpretacije Ligetijeve
glazbe. Godine 2008. dobio je nagradu
Hrvatske glazbene mladeæi Ivo VuljeviÊ
za najbolje glazbeno ostvarenje godine.
Kao solist i nastupajuÊi s mnogim
cijenjenim orkestrima Ëesto nastupa u
Hrvatskoj i Maarskoj, a gostovao je i po
koncertnim dvoranama i festivalima po
Europi i Aziji. Nastupa i u duu s violonËelisticom Petrom Kuπan. Redovno
snima za radijske i televizijske postaje te
diskografske kuÊe.
Pianist Danijel Detoni (Zagreb, 1983) won
his BA and MA degrees in piano (in the
classes of Lászlo Baranyay and Balázs
Kecskés) at the Liszt Ferenc Academy of
Music in Budapest, and attended the
fourth year of his studies in the class of
Itamar Golan at the Paris Conservatory.
He pursued his studies at the Tel Hai
Summer Academy in Israel under Emanuel Krasovsky and Pnina Salzman and
at the i Bartók Seminaru and Festivalu
in Szombathelyu under Dénes Várjon.
After numerous first prizes at piano
pupils’ competitions in his homeland, he
won the first prize at the Leo Weiner
State Competition for Chamber Music in
Budapest in April 2003, and in August
2006 he received the Award of the Israeli
Isman Foundation for his extraordinary
interpretation of Ligeti’s music. In 2008
Detoni won the Jeunesses Musicales
Croatia Ivo VuljeviÊ Award of the for best
achievement in music of the year. Both
as a soloist and with renowned orchestras, he often performs in Croatia and
Hungary, and he has also appeared as a
guest artist in various concert halls and
at music festivals in Europe and Asia. He
also forms a duo with the cellist Petra
Kuπan. He regularly makes recordings for
radio and TV stations, as well as for
recording companies.
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Tüür
day
Sven
Erkki-
Erkki-Sven Tüür (Kärdla, 1959.) poËeo
se baviti glazbom u drugoj polovici
sedamdesetih godina kao voa progresivnog rock banda In Spe. Studirao je
kompoziciju na Talinskom konzervatoriju u klasi Jaana Räätsa i privatno kod
Lepa Sumere. U elektroniËkoj se glazbi
usavrπavao u Karslruheu. Napisao je πest
simfonija, nekoliko koncerata, mnogo
komorne glazbe i jednu operu. Tüür rabi
πirok spektar skladateljskih tehnika. Zanimali su ga minimalizam, linearna
polifonija i mikrotonalitetnost, dvanaesttonska glazba i tehnika zvukovnih polja.
Kako bi opisao svoje pokuπaje da kontrastira i spoji glazbene suprotnosti tonalitet i atonalitet, pravilne repetitivne
ritmove i nepravilne sloæene ritmove,
mirnu meditativnost i eksplozivnu
teatralnost - skladatelj koristi termin
“metajezik”, a kasnije za svoje skladanje i
termin “vektorska metoda”: “Najvaænija
razlika spram ranijeg pristupa jest Ëinjenica da je u osnovi cijela skladba saæeta u
izvornom kodu - genu koji, preobraæujuÊi se i rastuÊi, povezuje toËkice u
tkanju cijeloga djela.” Tüür je bio
glazbeni ravnatelj Kazaliπta Vanalinnastuudio, pouËavao je na Estonskoj muziËkoj akademiji, a od 1995. godine je
skladatelj-slobodnjak. Jedan je od umjetniËkih ravnatelja Meunarodnog festivala nove glazbe NYYD. Za svoja je djela
dobio brojna glazbeniËka i kulturna priznanja.
Erkki-Sven Tüür (Kärdla, 1959) started
his musical activity in the second half of
the seventies as a leader of a progressive
rock band, In Spe. He studied composition with Jaan Rääts at the Tallinn Conservatoire, took private lessons Lepo
Sumera in Tallinn and trained his skills
in the field of electronic music in Karlsruhe. Instrumental music makes up the
main body of Tüür’s work. He is the author of six symphonies, several instrumental concertos, a lot of chamber
music and an opera. Tüür uses a broad
spectrum of compositional techniques.
He has been interested in minimalism,
linear polyphony and microtonality,
twelve-tone music and sound-field technique. To describe his attempt to contrast and combine musical opposites tonality versus atonality, regular repetitive rhythms versus irregular complex
rhythms, tranquil meditativeness versus
explosive theatricality - the composer
has used the term “metalanguage“. He
has also used the term “vectorial
method” for his composing: “The most
important difference from the earlier approach is the fact that on a grass roots
level, the entire composition is encapsulated in a source code - a gene, which, as
it mutates and grows, connects the dots
in the fabric of the whole work.“ Tüür
worked as the musical director of the
Vanalinnastuudio Theatre, taught composition at the Estonian Academy of
Music and since 1995, he is a freelance
composer. He is one of the artistic directors of the International New Music Festival NYYD. He has received numerous
music and cultural prizes for his works.
“Musical trends that developed independently of each other have, over time,
formed completely separate discourses
in the Western cultural sphere. To this
point, it is rare for one circle to show a
slightly more in-depth interest in a
270
“Glazbeni trendovi koji su se razvijali
neovisno jedni o drugima s vremenom
su razvili posve odvojene diskurse u zapadnoj kulturnoj sferi. Rijetkost je da
jedan krug pokaæe dublji interes za susjedno podruËje, a joπ je rjea konstruktivna rasprava. RazliËiti oblici kontakta
obiËno kulminiraju u relativno povrπnim
crossoverima. Postao sam svjestan
situacije kad sam pristao napisati veliko
djelo - Petu simfoniju - za Big band i
Simfonijski orkestar ©tutgartskog radija.
Æelio sam dodati slobodne improvizacije
za sviraËa elektriËne gitare s iskustvom iz
rock-glazbe. Moja je æelja shvaÊena te je
postavljen temelj za ‘trostrane pregovore
u konstruktivnoj atmosferi’ - susret predstavnika dæeza, rocka i simfonijske
glazbe. Peta simfonija podijeljena je u
Ëetiri dijela. ‘Genetski’ kod glazbe zajedniËki je svim stavcima, samo su naËini na
koje mutira razliËiti. Tako su stilske reference spram rocka i dæeza tek koloristiËke i ritamske vrste.” [Erkki-Sven Tüür]
271
neighboring field. A constructive and
productive discussion is even rarer. All
the various forms of contact tend to culminate in relatively superficial
crossovers. I became clearly aware of this
situation when I agreed to write a major
musical work - the Fifth Symphony commissioned by Stuttgart Broadcast for
their big band and symphony orchestra.
I wanted to add two free improvisations
from an electric guitarist with a rock
background. Fortunately the wish was
understood and thus the foundation for
“trilateral negotiations in a constructive
atmosphere” was laid - representatives
from the fields of jazz, rock and modern
symphonic music should meet. The
Symphony is divided into four parts. The
“genetic” code of the music is common
to all of the movements, only the ways in
which it mutates are different. Thus the
stylistic references to rock and jazz are
only of the colour and rhythmic kind.”
[Erkki-Sven Tüür]
Dionice gitare nije zapisana / The guitar part was not written down
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Silvio ForetiÊ
day
Silvio ForetiÊ (Split, 1940.), sin opernog
tenora, djetinjstvo i mladost provodi u
Sarajevu i Osijeku. Kompoziciju je studirao kod Milka Kelemena na MuziËkoj
akademiji u Zagrebu. Za studija radi kao
novinar, orkestralni glazbenik, korepetitor, operetni dirigent te kao pijanist i
kuÊni skladatelj u satiriËkom kabaretu
Jazavac (danas Kerempuh). Godine 1963.
osniva Ansambl za suvremenu glazbu s
kojim prireuje niz „πokantnih“ i „πkandaloznih“ koncerata i „hepeninga“ te
dolazi na glas kao l’enfant terrible
hrvatske glazbe. Usavrπava se na Visokoj
πkoli za glazbu u Kölnu kod B. A. Zimmermanna (kompozicija) i Herberta
Eimerta (elektroniËka glazba), a zatim i
kod Karlheinza Stockhausena te je neko
vrijeme suradnik Mauricija Kagela. Predavao je na Visokoj πkoli Folkwang u Essenu i Duisburgu, gdje je osnovao i
ansambl Fin de siècle - fin de millénaire.
Djeluje kao skladatelj, tekstopisac, dirigent, pijanist i pjevaË.
Silvio ForetiÊ (Split, 1940), son of an
opera tenor, spent his childhood and
youth in Sarajevo and Osijek. He studied
composition with Milko Kelemen at the
Music Academy in Zagreb. During his
studies, he worked as a journalist, orchestra musician, accompanist, opera
conductor, pianist and a resident composer for the Jazavac (today: Kerempuh)
Satirical Theatre. He founded the Ensemble for contemporary music with
which he gave a couple do „shocking“
and „scandalous“ concerts, soon earning
the description enfant terrible of Croatian music. He attended fruther specialization courses at he Hochschule für
Musik in Köln, in composition under B.
A. Zimmermann and electronic music
under H. Eimer. He also studied with K.
Stockhausen and worked as an associate
of Mauricio Kagel, He taught at the Folkwanghochschule in Essen and Duisburg,
where he founded the Fin de siècle - fin
de millénaire ensemble. He is active as a
composer, librettist, singer, conductor
and pianist.
272
O djelu Concerto rosso kaæe: Kada sam,
joπ kao gimnazijalac, prvi put vidio Dufyjevu sliku, odmah sam je poæelio
“ozvuËiti”. Bio sam Ëak napisao nekoliko
taktova, ali ih se viπe uopÊe ne sjeÊam.
Dufy je Ëesto i rado slikao, ili crtao,
orkestre raznih vrsta i veliËina: mnoge od
tih slika pridonijele su nastanku skladbe.
No ona glavna ima posebnu Ëar. Kao
prvo, tu je crvenilo kojim je osvijetljena,
odnosno u kojem je okupana cijela slika.
Kao drugo, nije slikana s glediπta publike
dotiËnog koncerta. Slikar se - a s njim i
promatraË slike - smjestio iza orkestra,
tako da glazbenike vidimo s lea. U
prvom je planu timpanist; desno od
njega tromboni, lijevo kontrabasi, iza
kojih se nasluÊuju violonËela. Zato su ovi
instrumenti na poËetku skladbe istaknuti. Ostali sviraËi tek su naznaËeni s
nekoliko poteza, gube se i ne vidi se πto
sviraju. Iz te pomalo amorfne mase
izdiæu se dirigent i solist/ica za glasovirom. Daleko iza njih razabiru se
sluπatelji. OËito je da se koncert odræava
u dvorani koja nije prevelika, vjerojatno
u kazaliπtu.
Glazbena graa dobivena je iz
“muzikalnih slova”. Glavni centralni
tonovi su D (prema prvom slovu
slikareva prezimena - a, igrom sluËaja, to
su i inicijali mladog solista) te F (prvo
slovo skladateljeva prezimena, prisutno i
u imenu “Dufy”). Ostali vaæniji tonovi su
A (iz imena “Raoul”), ES (kao inicijalni S
u imenu skladatelja) te E i C (iz “ForetiÊ”).
Ovi tonovi (F A C D ES E F) omoguÊuju
organsko kombiniranje kromatike, dijatonike i pentatonike.
273
Concerto rosso: I was still in High school
when I first saw Dufy’s painting , but I
immediately felt the wish to “put it into
sound”. I even composed a few bars but I
have completely forgotten them. Dufy
often painted, or made drawings of, different orchestras, in all shapes and sizes.
All of these pictures are highly inspiring
and many have contributed to the creation of this composition. But the main
one put a special spell on me. Firstly,
there is the redness illuminating and
bathing the whole picture. Secondly, the
picture is not painted from the viewpoint
of the audience of the concert. The
painter is behind the orchestra - and so
are we - so we see the musicians from
the rear. On the first plane is the timpanist; on his right, the trombones, at
left the double basses, and behind them
we can discern cellos. So at the beginning of the score these instruments are
prominent. All the other players are only
hinted at with a few lines, rather blurry
and we can’t see their instruments. Only
the conductor and the piano soloist are
emerging from that slightly amorphous
mass. Far behind them there is an intimation of the audience. The hall is obviously not a large one, probably a theatre.
The musical material is derived from
“musical letters”. The central tones are D
(like the initial of the painter and, by coincidence, of our young soloist) and F
(the composer’s initial, also appearing in
“Dufy”. Other important tones are A
(from the name “Raoul”) ES (again the
composer’s name), E and C (the remaining letters in “ForetiÊ”). These tones (F A
C D ES E F) make an organic combination of chromatic, diatonic and pentatonic elements possible.
month
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Zimmermann
day
Alois
Bernd
Bernd Alois Zimmermann (Bliesheim,
Köln, 1918. - Königsdorf, Köln, 1970.)
studirao je kompoziciju na Visokim πkolama za glazbu u Kölnu i Berlinu s Heinrichom Lemacherom i Philippom
Jarnachom te njemaËki i filozofiju u
Bonnu, Kölnu i Berlinu. Od 1957. godine
predavao je kompoziciju te glazbu za
film, radio i televiziju na Visokoj πkoli za
glazbu u Kölnu. Radio je i s Wolfgangom
Fortnerom i Renéom Leibowitzem te
rabio i serijalne tehnike, no razliËite je
utjecaje uvijek mijeπao sa dæezom, nezapadnom glazbom i citatima iz ranijih
djela, najavljujuÊi postmoderne tehnike.
Pisao je za orkestre (simfonije, baletnu
glazbu i koncerte), poznatu operu Vojnici i drugu vokalnu glazbu, Rekvijem za
mladoga pjesnika (kolaæ o novijoj europskoj povijesti za govornike, pjevaËe, jazzansambl, orkestar i elektroniku),
komorna djela i elektroniËku glazbu.
Iako relativno malobrojna, njegova su
djela ostavila trajan trag u njemaËkoj
glazbi nakon Drugog svjetskog rata, a o
sebi je rekao “»ini mi se da sam - tipiËno
za Porajnje - mjeπavina redovnika i
Dioniza.”
Bernd Alois Zimmermann (Bliesheim,
Cologne, 1918 - Königsdorf, Cologne,
1970) studied composition at the
Musikhochschulen in Cologne and
Berlin, under Heinrich Lemacher and
Philipp Jarnach, as well as German and
philosophy at the universities of Bonn,
Cologne and Berlin. From 1957 he taught
composition and conducted a seminar in
film, theatre and radio music at the
Cologne Hochschule für Musik. He has
also worked with Wolfgang Fortner and
René Leibowitz, absorbed serialist techniques, but he always merged different
classical influences with jazz, non-Western music and quotes from earlier works,
strikingly anticipating postmodern procedures. He wrote orchestral music
(symphonies, ballets, concertos), a famous opera Die Soldaten and other vocal
music, the Requiem für einen jungen
Dichter (a collage on the most recent European history), chamber works, as well
as electronic music. Though relatively
few in number, Zimmermann’s compositions hold a key position in the history
of post-war German music. He said of
himself “I am presumably a mixture,
typical of the Rheinland, of monk and
Dionysus“.
274
Muziku za veËere Kralja Ubua Zimmermann je dovrπio na narudæbu u povodu
svojeg primanja u Berlinsku akademiju
umjetnosti (1966.). Odabrao je motive iz
Kralja Ubua francuskog pjesnika Alfreda
Jarryja, u kojem je Ubu pojam primitivnog, pohlepnog vladara-tiranina. Zimmermannov crni balet odvija se
prigodom banketa na Ubuovu dvoru, na
koji su pozvani i predstavnici Akademije
- te na kraju uhvaÊeni u klopku. Djelo je
intenzivan i bogat kolaæ, vrhunac “citatne” tehnike - sastavljen iskljuËivo od
citata - citata baroknih plesova, Wagnera, Zimmermannovih suvremenika,
vlastitih djela u naizgled veselom,
πaljivom pluralizmu, no zapravo
mraËnoj, bizarnoj alegoriji o tiraniji - i
sudbini akademaca koji pohode bankete
tirana - sve do vrhunca u Marche du decervellage - KoraËnici vaenja mozga.
„Naslov ima dva znaËenja: golem, potopljeni kontinent iz drevne indijske legende, kao i jedna od dviju ogromnih
kopnenih masa koje su nekad Ëinile svo
kopno na zemlji. U Gondwani Murail
nastavlja s inovativnom uporabom elektroniËkih tehnika kao generatora instrumentalne glazbe. U ovom sluËaju,
harmoniju stvara modulacija frekvencije.
(..) Drugi vaæan element u djelu kolebanje je izmeu trenutaka „πuma“ i
trenutaka „zvuka“. Ako Gondwanini valovi zvuka podsjeÊaju na potopljenu
Gondwanu, burna povijest geoloπke
Gondwane prizvana je dramatiËnijim
trenucima djela, naroËito vulkanskom
„erupcijom“ pred kraj skladbe.“ [Julian
Anderson]
275
The Music for King Ubu’s Suppers was
written as a result of a commission,
marking Zimmermann introduction into
the Berlin Academy of the Arts (1966). He
chose motifs from King Ubu, the surrealist novel by Alfred Jarry, in which Ubu is
the incarnation of a primitive, coarse,
greedy ruler, a tyrant. Zimmermann’s
black ballet takes place at a banquet at
the Court of Ubu, to which all the members of the Academy of Ubu’s land are
commanded - only to be dispatched
through the trap door in the end. The
piece is an intense and rich collage, the
pinnacle of the quotation technique consisting solely of quotes: quotes of
baroque dances, Wagner’s music, pieces
by Zimmermann’s contemporaries, his
own works. What seems like merry, jocular pluralism is really a dark, bizarre allegory on tyranny - and the fate of the
academia who attend tyrants’ banquets climaxing in the Marche du decervellage the Brain Removal March.
„The title has two meanings. It is a vast,
sunken continent from an ancient Indian legend, as well as one of the two
giant landmasses which once comprised
the earth’s entire dry land. (...) Gondwana continues Murail’s innovative use
of electronic techniques as generators of
instrumental music. In this case, the harmony is generated by frequency modulation. Another important element in the
piece is the fluctuation between moments of “noise” and moments of
“sound”. If Gondwana’s waves of sound
recall the legendary, sunken Gondwana,
the geological Gondwana’s turbulent
history is vividly evoked in the music’s
more dramatic moments, especially in
the volcanic “eruption” near the end of
the work.“ [Julian Anderson]
Viπe o Murailu / More about Murail:
str./page 422
day
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22:00, MDVL
Vojislav »iËiÊ i Marko MihajloviÊ, udaraljkaπi / percussionists
Nera StipiËeviÊ, recitatorica / reciter
Gosti / guests: Cantus Ansambl / Cantus Ensemble,
Saπa BritviÊ, dirigent / conductor
Les Amis:
Katarzyna Sadej, mezzosopran / mezzo-soprano
Lynn Kuo, violina, voditeljica ansambla / violin, ensemble leader
Rachel Mercer, violonËelo / cello
Marianna Humetska, klavir / piano
Constantine Caravassilis: Five Sketches of Cubist Folklore / Pet skica kubistiËkog folklora
Viktorija »op: disPLAY*
I. Vivace
II. Moderato cantabile (tempo rubato)
Marko Ruædjak: Tvoj i moj Libanon / Lebanon, mine and yours, Intervencija nad pjesmom u prozi Halila Dæubrana - prijevod: Marko GrËiÊ - za
(mezzo)sopran, recitatora i dva udaraljkaπa / an intervention in the prose
poem by Khalil Gibran, for (mezzo) soprano, reciter and two percussionists
Michael Pepa: ISOMORPHĒ za glas, violinu, harmoniku i ansambl /
for voice, violin, accordion and ensemble
277
Ansambl Les AMIS
276
Ansambl Les AMIS skupina je iznimno
talentiranih mladih kanadskih
glazbenika. Ansambl izvodi suvremenu i
stariju komornu glazbu. Njegov je osnivaË i umjetniËki ravnatelj Michael Pepa.
Les Amis su se uvijek trudili ugoπÊivati
najsjajnije buduÊe zvijezde: Sadaπnja
postava ansambla ponosi se svojim
Ëlanovima, koji su meu najuspjeπnijim
umjetnicima u dvadeset i πest godina
dugoj povijesti ansambla. Skupina se
sastoji od dvanaestak umjetnika koji nastupaju po potrebama repertoara osmiπljenog za pojedini koncert.
Les AMIS Ensemble is a group made up
of some of the most talented young
Canadian musicians. Their founder and
artistic director is Michael Pepa. The ensemble performs contemporary as well
as traditional chamber music. Les Amis
has always featured the brightest stars of
the future: The present ensemble is
graced with the most accomplished
artists in their twenty-six years history. A
dozen musicians belong to the group
and participate in its projects according
to the demands of the repertoire.
23
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Lynn Kuo
month
Sadej
day
(Kasia)
Katarzyna
Mezzosopran Katarzyna (Kasia) Sadej
roena je u Poljskoj, a diplomirala je na
SveuËiliπtu Ottawa. Nedavno je magistrirala operu na SveuËiliπtu u Torontu i
pohaa prestiæan Konzervatorij glazbe
pri Koledæu Bard u New Yorku, u klasi
Lorraine Nubar i Dawn Upshaw. Nedavno je u Taipeiu pjevala u Stravinskijevoj
Svadbi i u Sulmoni, Italija, Cherubina u
Mozartovom Figarovom piru.
Violinistica Lynn Kuo na noge diæe publiku diljem Sjeverne Amerike i Europe.
»esto je pobjeivala na kanadskim natjecanjima glazbenika, a izvodi standardni i
suvremeni repertoar. Praizvela je brojna
akustiËna i elektroakustiËna djela
napisana upravo za nju. Svira na violini
Riccardo Antoniazzi iz 1904. i gudalu
Hill, koje joj je velikoduπno posudio
Steven Pepa.
Mezzo-soprano Katarzyna (Kasia) Sadej
was born in Poland and graduated from
the University of Ottawa. She recently
completed her Master’s Degree in opera
at the University of Toronto and she is a
student of the prestigious Bard College
Conservatory of Music, under Lorraine
Nubar and Dawn Upshaw in New York.
Her singing calendar has most recently
found her in Taipei for Stravinsky’s Les
Noces; Sulmona, Italy for Cherubino in
Mozart’s Le Nozze di Figaro.
Violinist Lynn Kuo has brought audiences to their feet throughout North
America and Europe. Kuo has been a frequent top prize-winner in numerous
Canadian musicians’ competitions.
Championing both the standard and
contemporary repertoire, Kuo has given
numerous world premieres of acoustic
and electroacoustic works written for
her. She performs on a 1904 Riccardo
Antoniazzi violin and Hill bow generously on loan from Steven Pepa.
ViolonËelistica Rachel Mercer Ëlanica je
Kvarteta Aviv, Trija Mercer, Trija Shiraz i
Ansamble Made in Canada. Studirala je
na MuziËkoj akademiji u Vancouveru,
Kraljevskom konzervatoriju u Torontu,
SveuËiliπtu Toronto i Konzervatoriju
savezne dræave New England. Æivi u
Torontu i dræi majstorske teËajeve te
svira kao prva Ëelistica komornog koncertnog ciklusa Via Salzburg.
279
Humetska
Marianna
Mercer
Rachel
278
Pijanistica Marianna Humetska preselila se u Kanadu iz Ukrajine 2001.
godine. Diplome je stekla na Konzervatoriju »ajkovski u Moskvi i ©koli za
glazbu Glenn Gould u Torontu. Aktivna
je kao solistica, komorna glazbenica te
Ëlanica klaviristiËkog odsjeka Kraljevskog
konzervatorija u Torontu.
Pianist Marianna Humetska moved to
Canada from the Ukraine in 2001. She
Cellist Rachel Mercer is a member of the holds diplomas from the Tchaikovsky
Aviv Quartet, the Mercer Trio, the Shiraz Conservatory in Moscow and the Glenn
Trio and the Ensemble Made in Canada. Gould School of Music in Toronto. She
has been active as a soloist and chamber
She studied at the Vancouver Academy
musician, as well as a piano faculty
of Music, the Royal Conservatory of
Music, the University of Toronto and the member of the Royal Conservatory of
Music in Toronto.
New England Conservatory. Based in
Toronto, Mercer gives guest masterclasses and plays as principal cellist for
Via Salzburg, a chamber music series.
Viπe o Josephu Macerollo /
More about Joseph Macerollo:
str./page 257
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Pepa
Michael
Isomorphē
Michael Pepa roen je u Rumunjskoj, a
u Kanadi æivi od 1953. godine. Studirao je
kompoziciju na Kraljevskom konzervatoriju u Torontu u klasi Samuela Dolina
te zatim na koledæu Trinity u Londonu, a
studirao je i glazbenu pedagogiju. Osim
πto je osnivaË i umjetniËki ravnatelj ansambla Les AMIS, Michael Pepa je i rezidencijalni skladatelj kanadske Simfonijete,
Ëlan Kanadske udruge skladatelja, SOCANa i vanjski suradnik-skladatelj kanadskog
Glazbenog centra. Pepa je skladao viπe
od 70 djela za solo instrumente, komorne
skupine i orkestre. VeÊina skladbi bila je
naruËena, izvoena i emitirana u Kanadi, “Isomorphē: Iso - isti; Morph - oblik.
Izomorfizam - koncept konvergentne
ali neke i u SAD-u i Europi.
evolucije. U ovom djelu to se odnosi na
svjetovne i religiozne utjecaje na obrazac
Michael Pepa, born in Romania, has
svakodnevnog æivota. Ansambli Les
lived in Canada since 1953. He studied
AMIS i Cantus premijerno su izveli ovo
composition with Samuel Dolin at the
Royal Conservatory of Music in Toronto djelo 2008. godine u Torontu. Djelo je
and the Trinity College of Music, London. posveÊeno Josi ©pralji iz Zadra u
He also has a degree of Master of Arts in Hrvatskoj i prenosi meni drage uspomene na jedan dan proveden u
Music Education. As well as being the
founder and artistic director of Les AMIS Zadru.” [Michael Pepa]
Concerts, Michael Pepa is the composerin-residence of the Canadian Sinfonietta,
a member of the Canadian League of
Composers, SOCAN, and an Associate
Composer of the Canadian Music Centre. Pepa has composed over 70 works
for solo instruments, chamber groups
and orchestra. Most have been commissioned, performed and broadcast in
Canada and the rest in the U.S. and
around Europe.
“Isomorphē: Iso - same; Morph - form.
Isomorphism - a concept of convergent
evolution. In this work, it refers to secular and sacred influences on the pattern
of day-to-day life. It was premiered by
Les AMIS and Cantus Ensemble in 2008
in Toronto. Dedicated to Joso ©pralja’s
Zadar, Croatia, this piece expresses my
fond memories of a day in Zadar.“
[Michael Pepa]
281
BritviÊ
Saπa
280
Saπa BritviÊ (Zagreb, 1965.) diplomirao
je dirigiranje na MuziËkoj akademiji u
Zagrebu u klasi Igora Gjadrova, a usavrπavao se u Francuskoj kod Pierrea Dervauxa. Bio je umjetniËki voditelj
Akademskog zbora Ivan Goran KovaËiÊ
te jedan od osnivaËa Hrvatskog komornog orkestra i Hrvatskog baroknog ansambla, Ëiji je i danas ravnatelj. Od 2003.
- 2006. godine bio je ravnatelj Koncertne
direkcije Zagreb. Predaje na MuziËkoj
akademiji u Zagrebu i dobitnik je Reda
Danice hrvatske za zasluge u kulturi.
Saπa BritviÊ (Zagreb, 1965) completed
his conducting studies at the Music
Academy in zagreb under Igor Gjadrov
and furthered his studies in France with
Pierre Dervaux. He was the artistic director of the Ivan Goran KovaËiÊ Collegiate
Choir. BritviÊ is one of the founders of
the Croatian Chamber Orchestra and the
Croatian Baroque Ensemble, whose
artistic director he remains. He was the
general manager of the Zagreb Concert
Management from 2003-2006. BritviÊ, a
recipient of the Order of Danica for cultural merits, teaches at the Zagreb Music
Academy.
Viπe o Cantus Ansamblu / More about
the Cantus Ensemble: str./page 230
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Caravassilis
Constantine
Hvaljen kao “najvaæniji skladatelj
grËkoga podrijetla svoje generacije” (Jazz
& Tzaz), Constantine Caravassilis piπe
glazbu “stalno ispunjenu emocijama i
energijom na duboko individualan
naËin” (RCM). Caravassilis je laureat 4.
meunarodnog skladateljskog natjecanja
u Volosu, GrËka i kanadskog FlautistiËkog festivala Syrinx. Bio je rezidencijalni skladatelj ustanova Contemporary
Opera Lab, Open Strings i Festivala London Song te torontskih Cantabile Chamber Singers. Dobivao je narudæbe od
brojnih svjetskih solista i ansambala te je
smatran jednim od najplodnijih kanadskih skladatelja. Autor je sedam koncerata te brojnih komornih, orkestralnih,
vokalnih i elektroakustiËkih djela.
Trenutno radi na doktoratu iz kompozicije i orkestralnog dirigiranja kao
stipendist Glazbenog odsjeka SveuËiliπta
u Torontu.
Hailed as “the most important Hellenicdescent composer of his generation”
(Jazz & Tzaz), Constantine Caravassilis’
music is “constantly charged with emotion and energy in a profoundly individual style” (RCM). Constantine is laureate
of the 4th International Composition
Competition of the city of Volos, Greece
and the 2006 Syrinx Flute Festival in
Canada. He has been resident composer
with the Contemporary Opera Lab, Open
Strings, with the London Song Festival
in Britain and Toronto‘s Cantabile
Chamber Singers. Commissions have
come from soloists and ensembles the
world around. Regarded as one of the
most prolific young composers in
Canada, Constantine‘s catalogue includes seven concerti, with a plethora of
chamber, orchestral, vocal/choral and
electroacoustic works. He is currently
pursuing a doctorate on full fellowship at
the University of Toronto’s Faculty of
Music, where he specializes in the fields
of composition and orchestral conducting.
282
Pet skica kubistiËkog foklora dio je veÊe
skupine djela naziva Tales from the Earth
and Skies (PriËe sa Zemlje i Neba), trajnoga projekta koji se sastoji od brojnih
orkestralnih, komornih i solo izvedbi. U
ovih pet skica primijenjene su analitiËke
metode koje potjeËu iz mog vlastitog
sinestezijskog stanja, pri Ëemu su
povezani odreeni glazbeni uzorci,
vrhunci te povremeno i cijele fraze sa
svojim paletama boje. U svakom stavku
iskoriπtena je melodija s korijenima u
narodnoj glazbi, koja je zatim obraena
na kubistiËki naËin. Takva obrada upotrijebljena je kako bi se melodijski materijal
mogao prezentirati u mirnim i statiËnim
manirama, dok istovremeno znaËajno
doprinosi gubitku veÊine elemenata narodne glazbe prisutne u melodiji.
Cjelokupni uËinak jest otklanjanje jedne
dimenzije u glazbi i stvaranje alternativne
realnosti putem koje se uvode novi naËini postizanja kompleksnosti i napredovanja melodije. [Constantine Caravassilis]
283
Five Sketches of Cubist Folklore belongs
to a larger family of works entitled Tales
from the Earth and Skies, an ongoing
project constituted by a number of orchestral, chamber and solo pieces. In
these five sketches I have employed analytical methods that derive from to my
own synaesthetic condition, by associating certain musical patterns, pitches and
occasionally entire phrases with palettes
of color. Each movement uses an original folk-like melody which is treated in a
Cubist fashion. This treatment is employed so that the melodic material is
presented in still and static ways, while it
contributes a great deal to the loss of
many of the melody’s folk-like elements.
The overall effect is the removal of one
dimension in the music and the creation
of an alternative reality, one that introduces new ways by which complexity
and forward movement is achieved.
[Constantine Caravassilis]
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Viktorija »op
day
Viktorija »op (Zagreb, 1979.) na MuziËkoj akademiji u Zagrebu diplomirala je
kompoziciju u klasi Æeljka BrkanoviÊa, a
usavrπavala se kod Ericha Urbannera u
Austriji te magistrirala na Visokoj πkoli za
umjetnost u Utrechtu u klasi Henka
Alkema. Piπe komorna i orkestralna ali i
elektroniËka djela, za koja je dobivala nagrade u Hrvatskoj i inozemstvu.
Viktorija »op (Zagreb, 1979) graduated
in composition from the Zagreb Music
Academy, under Æeljko BrkanoviÊ, and
continued with further studies under
Erich Urbanner in Austria. She obtained
her master’s degree under Henk Alkem
in the Netherlands. She writes chamber
and orchestral works, as well as electronic music; her compositions have
earned her a number of awards in Croatia and abroad.
284
O skladbi disPLAY: „Paralelno sa
skladanjem ovog komada razmiπljam o
izazovima joπ neispisane (neodsluπane)
skladbe koja u svom sastavu ima glas kao
instrument, te o tekstualnom sadræaju
koji bi taj glas trebao pjevati.
(...) OdluËujem da u ovoj skladbi mezzosopran pjeva na polu-izmiπljeni tekst
„niske odreenosti“ - tekst koji uvijek ne
razumijemo (na nekom stranom jeziku)
ili tekst koji se moæe tumaËiti na viπe
naËina, po volji, a koji zbog sadræaja ili
priËe zapravo ne bi ometao praÊenje tijeka muziËkog sadræaja. Tako proizlazi
da je ovdje mezzosopran samo
„sporedan lik“, ili je moæda ipak bolje
reÊi - ravnopravan ostalim instrumentima po svom doprinosu u gradnji muziËkog vremena. Glazba i tekstualni
„sadræaj“ rastu i nastaju istovremeno, a
skladba pokuπava propitivati njihov
odnos (te odnos same skladbe sa
vlastitom „inspiracijom“ / poticajem izvana), te utvrditi koji je pravi omjer u
proæimanju „mini simbola“, smislenog te
suviπnog sadræaja koji moæemo podnijeti
(kao publika) u odreenom vremenskom
formatu.“
285
On her piece, disPLAY: “As I am working
on this composition, I am considering
the challenges of the, as yet unwritten
(unheard), piece, meant to include the
voice as an instrument. I am also considering the contents this voice should be
singing. (...) I decide to have the mezzo
sing a semi-fabricated „low definition“
language - a text we don’t always understand (because the language is foreign),
or the kind that could be understood in
more ways than one, at will. This would
not interfere with the following of the
musical contents.
It follows that the mezzo-soprano is just
a secondary character, or, to rephrase it
in a better way - equal to all the other instruments when their contributions to
the construction of musical time are
considered. The music and the contents
of the „lyrics“ grow and evolve together,
while the composition tries to question
their relationship (as well as the relationship of the composition itself to its own
„inspiration” / external motivation). It is
also trying to determine the right ratio of
the interfusion of the mini-symbols, the
meaningful and the superfluous contents that we, as an audience, can bear in
a given time format.“
month
23
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mjesec
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Marko Ruædjak
day
Marko Ruædjak (1946.) diplomirao je
klarinet i kompoziciju (u klasi Mila
Cipre) na MuziËkoj akademiji u Zagrebu
te se usavrπavao u Parizu (Ivo Malec,
Pierre Schaeffer) i Kölnu (Milko Kelemen). Bio je urednik izdanja Koncertne
direkcije Zagreb i voditelj MIC-a. Profesor je teorijskih predmeta i kompozicije
na MuziËkoj akademiji u Zagrebu. „Njegova glazba iznenauje ËitkoπÊu sastojaka (...), ËitkoπÊu impulsa zbog kojih se
slojevi te cjeline zguπnjavaju i
prorjeuju. Baratanjem zvukom u skladu
s parametrima πto ih sluh umije biljeæiti,
umjesto prema izmiπljenim sustavima
mjerenja. Brigom za detalj, bez opsjednutosti da ovaj bude Ëvoriπtem svih energija πto usmjeruju rast glazbenog
oblika u velikom...“ [Eva Sedak]
Marko Ruædjak (1946) graduated from
the Music Academy in Zagreb, in clarinet
and composition (under Milo Cipra) and
studied in Paris (Ivo Malec, Pierre Schaeffer) and Köln (Milko Kelemen). He was
the editor of music publications at the
Zagreb Concert Management and the
manager of the Music Information Centre. He teaches music theory and composition at Music Academy in Zagreb.
„His music surprises by the ‘readability’
of its components (...), the readability of
the impulses that make the layers of the
whole grow more dense or rare. By
minding the sound parameters that can
actually be measured by our sense of
hearing, rather than by invented measuring systems. By the careful use of details, not obsessively treated as a node of
all the energies directing the growth of the
musical form as a whole...“ [Eva Sedak]
286
“RijeË intervencija trebalo bi shvatiti u
znaËenju koje mu pridaje terminologija s
podruËja likovnih umjetnosti:
prezentacija predloπka uz svojevrsno zahvaÊanje u originalno tkivo ornamentirajuÊim, subjektivistiËkim,
konstruktivistiËkim (dekonstruktivistiËkim) i drugim postupcima. Struktura
izvornog teksta objavljuje se u paralelizmima koji se oslanjaju na dualistiËki
princip - suprotstavljanje, afirmacija i
negacija (udisaj i izdisaj - aktivno? i pasivno?). ‘Intervencija’ nastoji produbiti
jarak πto dijeli suprotnosti, postepeno
uvodeÊi u igru i eminentnije kontrastiranje: jezik pojmova - ‘jezik’ melodije, ili
pojmovni jezik - ‘govor’ bubnja. (Moæda
u jednom momentu naziremo i pokuπaj
pomirenja suprotnosti?). Originalni
predloæak nisam koristio u cijelosti veÊ
sam (subjektivno, objektivno?) izabrao
tekstualne jedinice. Posebnu zahvalnost
æelim izraziti Marku GrËiÊu, poznavaocu
Dæubranove poezije i vrsnom prevodiocu njegova Proroka, za prepjev teksta
na hrvatski jezik.”
287
“The word intervention should be taken
in the sense in which it is used in the visual arts: a presentation of a model (from
antiquity, or of a more recent date) the
original texture of which has in some
way been altered by an ornamental, subjective, constructivist (destructivist) approach. The structure of the original text,
that is to say the model, is given in parallels which rely upon the dualistic principle - of contradiction, affirmation and
negation (breathing in and breathing out
- Active? And passive?). The intervention
endeavours to deepen the chasm between the two extremes, gradually bringing into play more eminent contrasts the
language of concepts - the “language” of
melody or, conceptual language - the
“idiom” of the drum. (We may even perceive, at a given moment, an attempt to
reconcile the contradictions?). I did not
use the original model in its entirety, but
made a (subjective, objective?) selection
of textual units. I should like to particularly thank my namesake Marko GrËiÊ, a
scholar and gifted translator of Gibran’s
The Prophet for his rendition of the
poem in the Croatian language.”
day
month
23
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dan
mjesec
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23:30
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23:30, &TD
Rock akademija Zagreb / Rock Academy Zagreb
Dio projekta Muzika-diverzija / A Part of the Music-Diversion Project
PjevaËki ansambl / Singing Ensemble:
Tina Bilankov
Ana DabiÊ
Draæen Dinter
Ema GaπljeviÊ
Matea Goriπek
Daria KariÊ
Tihana MihaljeviÊ
Ivan Vrhovski
Instrumentalni ansambl / Instrumental Ensemble:
Filip Baburak - gitara / guitar
Jan Belec - bubnjevi / drums
Saπa MarËec - bas - gitara / bass guitar
Bruna MatiÊ - bubnjevi / drums
Tomislav PreseËki - gitara / guitar
Ivan StipiÊ - klavijature / keyboards
Nastavnici / Teachers: profesorice pjevanja / singing coaches
Maja Jakoliπ, Æeljka PredojeviÊ, Martina KlariÊ
Voditelj projekta / Project Leader : Igor TatareviÊ
288
289
1. Uvertira / Ouverture: GOSPODIN KI©A / MR. RAIN
2. DVORI OD SVJETLOSTI / CASTLES OF LIGHT
3. LJUBAV, TO SMO MI / LOVE, THAT IS WHAT WE ARE
4. TIHA GLAD / SILENT HUNGER
5. KAPETAN BRODA / SHIP CAPTAIN
6. PRAZNA OBEΔANJA / EMPTY PROMISES
7. DOÆIVOTNA ROBIJA / LIFETIME SENTENCE
8. ROCKER I GRA–ANIN SVIJETA / A ROCKER AND A CITIZEN OF THE WORLD
day
month
23
4
dan
mjesec
akademija
Rock
hour
23:30
sat
Rock Academy - A school for popular
and jazz music - is a non-profit institution founded and initiated by its current
owner, Professor Ladislav RaËiÊ. In 2003
the Ministry of Science, Education and
Rock akademija - UËiliπte za popularnu i Sports approved the start of work of Popjazz glazbu neprofitna je ustanova Ëiji je ular and Jazz Music Secondary School
osnivaË i vlasnik Ladislav RaËiÊ, prof.
for youths and adults and in 2007 and it
Ministarstvo prosvjete i πporta odobrilo also approved the start of work of Popuje 2003. godine poËetak rada Srednje
lar and Jazz Music Elementary School.
πkole za popularnu i jazz glazbu za
mladeæ i odrasle, a 2007. godine i poËeAs popular music set new requirements
tak rada Osnovne glazbene πkole za
and standards in music theory as well as
popularnu i jazz glazbu. Osnovana je jer in practical approach to music, it also
je popularna glazba odredila nove zasubsequently revalorised the ingrained
htjeve i standarde u teorijskom i prakprinciples and standards making the
tiËnom pristupu glazbi uobiËajeni
commonly accepted programmes for
programi glazbenih πkola znaËajnim
music schools obsolete in educating and
dijelom nisu viπe bili primjenjivi u
streamlining young musicians. Popular
obrazovanju i usavrπavanju mladih
music performers often start with their
glazbenika. IzvoaËi popularne glazbe
education at a little later age than their
Ëesto zapoËinju svoje obrazovanje u kas- fellow students in regular music schools,
nijoj dobi od redovnih uËenika glazbenih frequently continuing their education
πkola i nerijetko ga stjeËu privatnom
through private lessons, courses, and inpodukom, teËajevima i samostalnim
dependent engagement. In order to creradom. Da bi se i njima omoguÊio
ate a possibility for such popular music
nastavak πkolovanja zajedno s redovnim enthusiasts to be able to acquire necesuËenicima, kandidati za upis u srednju
sary knowledge and education through
πkolu za popularnu i jazz glazbu mogu
regular schooling the candidates for
biti stariji od 17 godina, a svi se upisuju
popular and jazz music high-school ennakon uspjeπno poloæenog prijamnog
rolment need to be older than 17 years of
ispita. Odgojni i obrazovni cilj srednje
age and can all become students of the
πkole za popularnu i jazz glazbu je
school after successfully passing the enstvaranje profesionalnih kadrova za
trance exam. Educational goal of popular
potrebe glazbene produkcije te
and jazz music high-school is contributpripremanje uËenika za nastavak
ing to creating professionals who can
πkolovanja na visokoπkolskoj glazbenoj
work in music production and preparing
ustanovi.
students for continuation of education at
universities and academies.
291
Marko BakoviÊ
Igor TatareviÊ
290
Marko BakoviÊ (1987.) student je 2. godine novinarstva na Visokoj novinarskoj
πkoli. Zavrπio je Srednju glazbenu πkolu
Elly BaπiÊ, smjer klavir, nakon Ëega upisuje bubnjeve na RA (Rock-akademiji),
Voditelj projekta Igor TatareviÊ (Mostar, kod Roberta JambruπiÊa. Kao petnaesto1976.) diplomirao je violinu na MuziËkoj godiπnjak pokreÊe bend Downtown luAkademiji u Zagrebu, u klasi Branka
natics , a 2007. godine snima prvi demo
Koπira. Profesor je na RA gdje pouËava
pod nazivom Prvo i osnovno. Na MD
skupno muziciranje, solfeggio i korepeti- (Muzici-diverziji) predstavlja se kao
ciju od 2003. godine te prireuje i vodi
kantautor skladbom rap izriËaja zajedniËke nastupe polaznika u glazbe- Doæivotna robija.
no-scenskim djelima. Student je 2. godine
dirigiranja na MuziËkoj akademiji u Za- Marko BakoviÊ (1987) is a second-year
grebu, u klasi maestra Vjekoslava ©uteja. student of journalism at the Institute for
Igor TatareviÊ (Mostar, 1976) graduated
in violin from the Music Academy in
Zagreb in the class of Branko Koπir. He
has been teaching group playing,
solfeggio and accompaniment at RA
since 2003 and is active in preparing and
leading joint performances by students
in musical-scenic pieces. He is a second
year-student of conducting at the Music
Academy in Zagreb in the class of
maestro Vjekoslav ©utej.
Journalism in Zagreb. He graduated
piano from the Elly BaπiÊ secondary
music school after which he started
studying percussions at the RA (Rock
Academy) with Robert JambruπiÊ. When
he was fifteen years old he founded a
band named Downtown lunatics that
made its debut recording The First and
Foremost in 2007. At the MD (Muzika-diverzija) he participated as a songwriter of
rap composition - Doæivotna robija (Lifetime Sentence).
23
4
dan
mjesec
hour
23:30
sat
KaËurov
month
Aleksandar
day
BlaæeviÊ
Luka
Luka BlaæeviÊ (1986.) student je Fakulteta
strojarstva i brodogradnje. Osnove sviranja
gitare uËio je kod prof. Tomislava Vasilja.
Od 2004. uËi gitaru na RA, a kasnije i Osnovnu πkolu za popularnu i jazz glazbu,
u klasi prof. Maria Igreca i Zorana ©ÊekiÊa.
Skupno muziciranje pohaao je kod
Ante Prgina i Igora TatareviÊa. »lan je
benda Pink Studio, Ëiji album prvijenac
izlazi u svibnju 2009. Na MD se predstavlja se kao autor dviju skladbi rock
izriËaja - Rocker i graanin svijeta i
Kapetan broda.
Aleksandar KaËurov (1985.) zavrπio je
Srednju πkolu za tekstil, koæu i dizajn, te
Srednju glazbenu πkolu Zlatko BalokoviÊ,
smjer kontrabas i klavir. Aktivno sudjeluje
u KUD-u makedonske manjine. Svira
tapan i nastupa kao klavirist, a 2008.
godine upisuje teËaj skladanja na RA kod
Marka TomasoviÊa. U suradnji s tekstopiscem »edom VuËkoviÊem pisao je
mjuzikle i eksperimentalno-glazbenu
baletnu suitu te skladbu Ljubav, to smo
mi, koju RA izvodi u sklopu MD, s uvertirom - Gospodin Kiπa.
Luka BlaæeviÊ (1986) is a student of the
Faculty of Shipbuilding and Mechanical
Engineering. He received basic education
in guitar with his teacher Tomislav Vasilj.
He has been studying guitar at the RA
since 2004. At the Elementary school for
popular and jazz music he studies in the
class of Professors Mario Igrec and Zoran
©ÊekiÊ. He attended group playing with
Ante Prgin and Igor TatareviÊ. He is a
member of the band Pink Studio whose
first album is scheduled to be released in
May 2009. At MD he participated as an
author of two rock compositions - Rocker i
graanin svijeta (A Rocker and Citizen of the
World) and Kapetan broda (Ship Captain).
Aleksandar KaËurov (1985) finished
Textile and Design High School and Secondary music School Zlatko BalokoviÊ in double bass and piano. He is an active
member of Macedonian minority Cultural Club. He plays tapan drum and
performs as a pianist. In 2008 he enrolled
into composition class of Marko TomasoviÊ at the RA. In cooperation with
text writer »edo VuËkoviÊ he wrote musicals, experimental musical ballet suite,
and composition Ljubav, to smo mi
(Love, that is what we are) which was
performed by RA within MD and includes an overture titled Gospodin Kiπa
(Mr Rain).
Magdalena Loborec (1989.) studentica je
2. godine Fakulteta elektrotehnike i raËunarstva, i 4. razreda Osnovne glazbene
πkole za popularnu i jazz glazbu u klasi
prof. Zorana ©ÊekiÊa te uËi gitaru kod
Ladislava RaËiÊa i Alana DoviÊa. »lanica
je metal benda Angel Of Fire. Na ovogodiπnjem MBZ-u u predstavlja se kao
autorica skladba Tiha glad i Dvori od
svjetlosti.
293
StipiÊ
Ivan
Loborec
Magdalena
292
Ivan StipiÊ (1989.) student je 1. godine
Fakulteta elektrotehnike i raËunarstva.
Na RA pohaa teËajeve klavira u
klasama prof. Berislava Arlavija i prof.
Kreπimira Galina. Sklada pop-rock
glazbu, a na MD nastupa u dvostrukoj
ulozi, kao autor skladbe pop-rock
izriËaja - Prazna obeÊanja, te kao klavijaturist.
Ivan StipiÊ (1989) is a first year student
at the Faculty of Electrical Engineering
and Computing. At the RA he attends
piano course in the classes of Berislav
Arlavi and Kreπimir Galin. He is a composer of pop-rock music and at the MD
he performs as an author of a pop-rock
composition - Prazna obeÊanja (Empty
Promises) and as a pianist.
Magdalena Loborec (1989) is a secondyear student at the Faculty of Electrical
Engineering and Computing and is in
the 4th grade of Elementary school for
popular and jazz music in the class of
professor Zoran ©ÊekiÊ, and studies
guitar with Ladislav RaËiÊ and Alan
DoviÊ. She is a member of a metal band
Angel of Fire. At this year’s MBZ she will
participate as an author of compositions
Viπe o Muzici-diverziji /
Tiha glad (Silent Hunger) and Dvori od
More on Music-Diversion: str / page 412
svjetlosti (Light Castles).
day
month
petak / friday
24 4
17:00, Mimara
Pierrot Solaire / SunËana Pierrot / Solar Pierrot
Luisa Sello, koncept i flaute / concept and flutes
Silvio Vovk, recitator / reciter
19:30, KDVL
Pekinπki simfonijski orkestar /
Beijing Symphony Orchestra
22:00, MDVL
Ana SokoloviÊ: Love Songs / Ljubavne pjesme
monoopera / mono opera
23:30, &TD
ICARUS JUNIOR
(dio projekta Muzika-diverzija /
a part of the Music-Diversion project)
day
month
24
4
dan
mjesec
hour
17:00
petak / friday
sat
17:00, Mimara
Pierrot Solaire / SunËana Pierrot / Solar Pierrot
Luisa Sello, koncept i flaute /
concept and flutes
Silvio Vovk, recitator / reciter
Davide Anzaghi: Aulorama
Daniele Zanettovich: Les Agànis / Vile Aganis / The Aganis Fairies*
Marcello Fera: Die geheiminsvolle Flöte / The Mysterious Flute /
Tajanstvena flauta*
Caterina Calderoni: Crhysalis II / »ahura II *
Karl Heinz Stockhausen: Flautina
Massimo BrajkoviÊ: Fantasia / Fantazija*
Sanda Majurec Zanata: Un soffio, un sospiro / Æamor, uzdah /
A Murmur, a Sigh*
Andrea Talmelli: Studio coreografico n.1 sui Klinamen /
Koreografska studija br. 1 prema klinamenu /
Choreographic Study no. 1, after Klinamen
Giampaolo Coral: Esorcismo del serpente marino /
Egzorcizam morske zmije / Exorcism of the Sea Serpent
296
297
Pierrot Solaire / Solar Pierrot
“In the year 1912 Arnold Schönberg rejected the conventional canons of performance used until the beginning of the
20th century and assigned a representational role to the interpret of his Pierrot
Lunaire, putting him in a mimetic relationship with the text.
Using Schönberg’s position as its starting point, the Pierrot Solaire, which also
shows influences of compositions that
accentuate the emotional quality of musical poetics, adopts the premises of the
Viennese composer while stressing the
importance of gestural expression by
means of micro-direction.
Thus the compositions and their sonic
development gain expressiveness, which
is not necessarily descriptive, but is always
strong and very emotional. The narrated
text springs from the poetics of the compositions themselves, which intentionally
reverses the conventional practice of setting text to music. Contrary to the habitual practice of previous centuries, what
is being narrated here is the music.
Music is the protagonist and the moving
force of the show.
Pierrot Solaire / SunËana Pierrot
„OdbacujuÊi uvrijeæene kanone izvoenja prepoznatljive sve do poËetka 20. stoljeÊa, Arnold Schönberg 1912. godine
izvoaËu svog djela Pierrot Lunaire dodjeljuje ciljano reprezentativnu ulogu i
stavlja ga u mimetiËki odnos s tekstom.
KoristeÊi Schönberga kao polaznu toËku,
predstava Pierrot Solaire, u kojoj je prisutan i utjecaj kompozicija koje naglaπavaju emocionalnu vrijednost glazbenih
poetika, preuzima premise beËkog kompozitora te pomoÊu mikroreæije poseban
naglasak stavlja na gestualni izraz.
Shodno tomu, kompozicije i njihov
zvukovni razvoj dobivaju na izraæajnosti,
koja nije nuæno deskriptivna, ali je zasigurno snaæna i veoma emocionalna.
Pripovijedani tekst proizlazi iz poetike
samih kompozicija, Ëime se namjerno
obrÊe uobiËajeni naËin uglazbljivanja
teksta. Za razliku od proπlih stoljeÊa,
ovdje se pripovijeda glazba, ona je uvijek
protagonist i kreativni pokretaË predstave. The narration follows the flow of the music, permitting changes of lighting and
Pripovijedanje slijedi glazbeni tijek te,
costume and accentuating the atmosphere
osim πto dopuπta promjene osvjetljenja i of musical pieces. Pierrot, an enchanted
kostima, pojaËava i uokviruje atmosferu girl, enters the world of “humans” to reglazbenih komada. Pierrot, Ëarobna dje- mind them of virtues they only too often
vojËica, dolazi u svijet “ljudi” sa zadaÊom tend to forget. Magic rites celebrate her
da ih podsjeti na vrijednosti koje oni pre- arrival in the city of Perla, governed by
Ëesto zaboravljaju. MagiËni obredi prate superficiality, indifference and haste. Panjezin dolazak u grad Perlu, u kojem
tera, the snake god, a demon that takes
vlada povrπnost, ravnoduπnost i æurba.
possession of people’s thoughts when
Patera, bog-zmija, demon koji ovladava they are asleep, is the personification of
mislima ljudi dok spavaju, predstavlja
evil, envy and individualism. Only the
zlo, zavist i individualnost. Samo Êe jeunion of the most profound values will
dinstvo najdubljih ljudskih vrijednosti
successfully annihilate his power. The
uspjeti pokoriti njegovu moÊ. Taj isti Pat- same Patera, guardian of suppressed
era, Ëuvar potisnutih vrijednosti, stvara
virtues, creates a little “rogue”, a boy with
jednog “vragolana”, djeËaka zlatne koæe golden skin who, interlacing his fingers
koji Êe, isprepliÊuÊi svoje prste sa
with those of the sweet Pierrot, begins a
prstima ljupke Pierrot, krenuti prema
journey towards a world of knowledge
svijetu spoznaje i slobode izraza. U tome and freedom of expression. They are acih prati skrivena melodija Johanna Secompanied by a hidden melody of Johann
bastiana Bacha, simbol snage umjetnosti Sebastian Bach, a symbol of the force of
kao apsolutne vrijednosti.“ [Luisa Sello] the absolute value of art.” [Luisa Sello]
Luisa Sello
day
month
24
4
dan
mjesec
hour
17:00
petak / friday
sat
Vovk
Luisa Sello took her diploma in flute at
the Conservatory of Udine, and then
studied in Siena with Severino Gazzelloni and in Nice with Alain Marion. Her
meeting with the flautist and teacher
Raymond Guiot was of fundamental significance. Under Guiot she undertook
advanced studies in Paris. She then pursued the study of interpretation at the
prestigious school of the conductor Luigi
Toffolo. Her classical background is
combined with knowledge of early music
performance and the study of the transverse flute, with specialized study of
Bach’s repertoire, as well as a constant
interest in contemporary production.
Sello teaches flute at the Giuseppe Tartini Conservatory of Trieste. Luisa Sello
is supported by the international association of the Italian Ministry of Culture
CEMAT.
Silvio
Luisa Sello diplomirala je flautu na
konzervatoriju u Udinama, a studirala je
i u Sieni sa Severinom Gazzellonijem i
Nici s Alainom Marionom. Od presudne
je vaænosti bio njezin susret s Raymondom
Guiotom, kod kojega se usavrπavala u
Parizu, dok je interpretaciju studirala u
prestiænoj πkoli dirigenta Luigija Toffola.
KlasiËna glazbena znanja kombinira s
poznavanjem rane glazbe i bavljenjem
popreËnom flautom te sa specijalizacijom
iz Bachove glazbe, kao i stalnim zanimanjem za suvremenu produkciju. PouËava
na Konzervatoriju Giuseppe Tartini u Trstu. Djeluje uz podrπku udruæenja CEMAT pri talijanskome Ministarstvu kulture.
Silvio Vovk (Zagreb, 1986.) studira
glumu na zagrebaËkoj Akademiji dramskih umjetnosti. U novije je vrijeme glumio u filmu Gdje pingvini lete i predstavi
DjeËaci Pavlove ulice.
Silvio Vovk (Zagreb, 1986) is a student of
acting at the Academy of Dramatic Art in
Zagreb. He has recently appeared on
film in Gdje pingvini lete / Where Penguins Fly and theatre in DjeËaci Pavlove
ulice / The Boys of Paul Street.
299
Anzaghi
Davide
298
Davide Anzaghi (Milano, 1936.) diplomirao je kompoziciju, dirigiranje, zborsku
glazbu te studij klavira na Konzervatoriju
Giuseppe Verdi u Milanu. Pohaao je i
majstorske teËajeve iz kompozicije kod
G. F. Ghedinija i F. Donatonija. Docent je
kompozicije na Milanskom konzervatoriju. Njegove skladbe izvoene su u najpoznatijim talijanskim i meunarodnim
centrima, a pobjednik je brojnih
dræavnih i meunarodnih natjecanja
(ukljuËujuÊi i Natjecanje Olivier Messiaen za 1974. godinu). Objavljuje radove
pri izdavaËkoj kuÊi Suvini & Zerboni.
Nakon πto je mnogo puta prisustvovao
divnim pjesniËkim Ëitanjima proæetim
glazbenim interludijima solo flaute (Debussy, Honneger, Fukuschima, itd.),
autor je i sam odluËio dati svoj doprinos
ovoj njeænoj kombinaciji dviju umjetnosti. Tako je nastala kratka kompozicija
Aulorama, inspirirana faunskim, mitskim zvukom Panova instrumenta i njegovim Ëarobnim leprπanjem. Aulodija
bez uzviπenosti. Danaπnja “povrπnost”
poezije i glazbe (i umjetnosti opÊenito)
nije im nimalo umanjila vrijednost, nego
ih je usmjerila prema edenu plemenite
povrπnosti, za kojom se osjeÊa æiva
“potreba”. Umjetnost nikada nije bila
tako “nuæna” kao onda kada su je trgovci
proglasili “beskorisnom”.
Davide Anzaghi (Milan, 1936) studied
composition, conducting, choral Music
and chorus cirection, and ciano at the
Giuseppe Verdi Conservatory in Milan.
He also attended specialization courses
in composition held by G. F. Ghedini and
F. Donatoni. He is professor of Composition at Milan Conservatory. His compositions have been performed in some of
the most renowned Italian and international centers, and he has won many national and international competitions
(for example, the Olivier Messiaen Competition in 1974). His works are published
by the publisher Suvini & Zerboni.
After participating in many beautiful poetry readings interspersed with solo flute
interludes (Debussy, Honneger, Fukuschima, etc.), the author decided to give
his contribution to this delicate combination of arts. Thus he wrote Aulorama,
a brief composition inspired by the faunlike, mythical sound of Pan’s instrument
and its magical flutter. An aulody without erudition. Today’s “superficiality” of
poetry and music (and the arts in general) has not lessened their value; instead, it has directed them towards the
Eden of noble superficiality, for which
there is a pressing “need”. Never has art
been more “necessary” than now, when
merchants proclaimed it “useless”.
month
24
4
dan
mjesec
hour
17:00
petak / friday
sat
Daniele Zanettovich
day
Daniele Zanettovich (Trieste, 1950) has
won the following competitions: the G.
B. Viotti Competition of Vercelli, the R.
Zardonai Competition of Roveredo, the
Prix Prince Pierre de Monaco, the C. F.
Malipiero Competition of Treviso and
Geneva’s Opera and Ballet Competition.
His works are published by the Leduc,
Sonzogno, Ricordi, Zanibon, Curci, and
Pizzicato publishing houses. He teaches
composition at the J. Tomadini ConserU narodnoj tradiciji Furlanije Les Agànis vatory in Udine.
imitiraju pjev vodenih vila koje, prozirne
i omotane velom, na treperavom svjetlu In the folk tradition of the Friuli region
mjeseËine izvode igre i plesove sluæeÊi se Les Agànis imitate the chanting of the
water fairies which, evanescent and
cvjetovima zvonËiÊa. Konstantna elektroniËka podloga bazira se na unaprijed veiled, play and dance with snowflake
flowers in the flickering moonlight. The
snimljenim zvukovima flauta i Ëini
zvukovno tkivo “jezera” na koje se nado- constant electronic background consists
grauju linije pjeva. Kada se u daljini za- of prerecorded flute sounds and represents the sonic tissue of the “lake”, while
Ëuje zvuk zvona, Ëarolija nestaje!
the singing lines are added onto it. At the
distant sound of a bell the magic stops!
Daniele Zanettovich (Trst, 1950.)
pobjednik je natjecanja G. B. Viotti u Vercelliju, R. Zardonai u Roveretu, Prix Prince
Pierre u Monaku, C. F. Malipiero u Trevisu
te Natjecanja æenevske Opere i Baleta.
Njegova djela objavljuju izdavaËke kuÊe
Leduc, Sonzogno, Ricordi, Zanibon, Curci
i Pizzicato. Profesor je na Katedri za
kompoziciju na Konzervatoriju J. Tomadini u Udinama.
301
Fera
Marcello
300
Marcello Fera (Genova, 1966.) zavrπio je
studij violine na Konzervatoriju N. Paganini, a poslije se usavrπavao kod R. de
Barbierija i S. Gheorghiua. Kompoziciju
je studirao kod V. Gobokara i J. Droueta,
a dirigiranje kod P. Hölzla. Od 1999. godine stalni je voditelj Ansambla Conductus iz Merana.
Die geheimnisvolle Flöte / Tajanstvena
flauta: Ovo djelo, u kojem kombinira
zvuk i gestu, Fera je napisao 2004. godine
za Pierrot Solaire. Konstruirano je prema
kratkoj pjesmi na njemaËkom jeziku,
koja zahvaljujuÊi brojnim zubniËkim, okluzivnim i usneniËkim slogovima stvara
neobiËne izvore zvuka u instrumentu.
Na to se nadovezuju pokreti tijela koji
pomaæu kretanju izvora zvuka i mali
lirski fragmenti koji strukturom podsjeÊaju na japansku haiku poeziju i
formu japanskog noh teatra, u kojem
gesta perforira prostor. IzvoaË mora postati glumac i imitirati naizmjeniËno
tamne sekvence i lirske sekvence, ËineÊi
da prostor teËe u nekoj vrsti istraæivanja
atmosfere. Performans, zasnovan na njemaËkoj verziji pjesme Li Taj-poa, koju je
veÊ obradio Webern, problematizira
minimalnu gestu koja postaje kljuËni dio
nepomiËnosti.
Marcello Fera (Genova, 1966) studied
violin at the Paganini Conservatory. After
finishing his academic training he attended specialization courses with R. de
Barbieri and S. Gheorghiu. He studied
Composition with V. Globokar and J.
Drouet, and Conductorship with P.
Hölzl. Since 1999 he has been the permanent leader of Merano’s Conductus Ensemble.
Die geheimnisvolle Flöte / The Mysterious Flute: The composition, which combines sound and gesture, was written in
2004 for the Pierrot Solaire. It is inspired
by a short song in the German language,
which, owing to many dental, occlusive
and labial syllables, creates unusual
sources of sound in the instrument. This
experience is enhanced by body movements which cause the sound source to
move, and also by small lyrical fragments
similar to Japanese haiku poetry and by
the Japanese Noh theatre, in which gesture perforates space. The interpret must
become an actor who alternately imitates deep and lyrical sequences, making
the space flow in a sort of exploration of
atmosphere. The performance, based on
a German version of the poem by Li Tai
Po and already treated by Webern, analyzes the problem of minimal gesture as
an unavoidable part of immobility.
day
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17:00
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sat
Calderoni
Caterina
Caterina Calderoni (Ravenna, 1963.) zavrπila je studij glasovira i kompozicije
kod B. Bettinellija, a potom se usavrπavala kod F. Donatonija. Godine 1991. pobijedila je na Natjecanju za filmsku glazbu
koje je na sienskoj Accademiji Chigiani
organizirao E. Morricone, a 1997. proπla
je u finale natjecanja iz kompozicije
ALEA III u Bostonu. Profesorica je kompozicije na Konzervatoriju u Bariju.
Djelo Chrysalis II /»ahura II istraæuje
moguÊe naËine πirenja i transformacije
svakog pojedinog zvuka, ukljuËujuÊi i
manje “plemenite” zvukove poput
zveckanja kljuËeva, disanja ili puhanja.
Neodreenost timbra i intonacije
(uzrokovana brzinom pokreta) potrebna
je kako bi se ostvarila hrapava, æestoka,
sirova zvuËnost. ObiËan zvuk teπko se
probija iz zamrπenog pletiva sirove materije. I ritam je odreen dahom kojemu
se s obzirom na okolnosti mijenjaju
uËestalost i intenzitet. Svijet Chrysalisa,
nagovijeπten skulpturama od poliestera i
svjetlosnim oblikovanjem, materija je
koja se oformljuje tako da se spiralnim
vlaknima omata sama oko sebe, poput
liËinke u Ëahuri.
Caterina Calderoni (Ravenna, 1963)
studied Piano and Composition with B.
Bettinelli and later attended master
classes with F. Donatoni. In 1991 she
won the Competition for Film Music
organized by E. Morricone at the Accademia Chigiana in Siena, while in 1997 she
reached the finals of the ALEA III Composition Competition in Boston. She
teaches Composition at the Bari Conservatory.
The piece Chrysalis II explores potential
ways of expansion and transformation of
every individual sound, including less
“noble” sounds such as clinking of keys,
breathing or blowing. The indeterminacy
of the timbre and intonation (caused by
the velocity of the movement) is necessary in order to produce a rough, violent,
raw sonority. The ordinary sound
emerges with difficulty from the ruffled
network of raw matter. The rhythm is determined by breathing, which changes
frequency and intensity according to circumstances. The world of Chrysalis, suggested by polyester sculptures and
distinct lighting, represents matter that
becomes form by wrapping itself with
spiral threads, like a larva in its cocoon.
303
Stockhausen
Karlheinz
302
Karlheinz Stockhausen (Köln, 1928. Kürten-Kettenberg, 2007.). Jedan od
tvoraca takozvane punktualne glazbe,
posvetio se elektroakustiËnoj glazbi.
Njegova poetika sadræi snaænu ekscentriËnu i provokativnu komponentu.
Flautina je Ëarobni duh flaute u ljudskom obliËju. Partitura je napisana za
æenskog izvoaËa jer zvuk flaute
odgovara kvalitetama æenskog glasa.
Premda kompozicija poËinje tradicionalnim zvuËnim sekvencama, u nastavku se
ona sve viπe obogaÊuje zvuËnim efektima koje proizvodi tijelo, poput pjeva,
puhanja ili disanja. Malo-pomalo duh
flaute napuπta svoju izvornu ulogu i
postaje ljudsko biÊe. Njegova je bit
sadræana u posljednjoj noti koja, nestabilna i nesigurna, izmiËe intonaciji u
trenutku u kojem se duh oslobaa iz
instrumenta.
Karlheinz Stockhausen (Cologne, 1928 Kürten-Kettenberg, 2007). One of the
creators of the so-called pointillist
music, he dedicated his efforts to the
field of electroacoustic music. His poetics contains a strongly eccentric and
provocative component.
Flautina is the magical spirit of the flute
which materializes in human form. The
score is intended for a female interpret
because the sound of the flute is closer to
the qualities of the female voice. Even
though the composition begins with traditional sound sequences, as it progresses, it becomes more and more
imbued with sound effects created by
the body, such as singing, blowing or
breathing. The spirit of the flute slowly
abandons its original role and becomes a
human being. Its essence is captured in
the last note which, unstable and uncertain, flees intonation at the moment of
the spirit’s release from the instrument.
day
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BrajkoviÊ
Massimo
Massimo BrajkoviÊ studirao je kompoziciju i klavir na Akademiji za glazbu u
Ljubljani. Redoviti je profesor na Filozofskom fakultetu u Puli. Kao skladatelja,
posebno ga zanimaju instrumentalna i
elektroniËka glazba.
„Skladba Fantasia za flautu solo nastala
je 2008. godine na zamolbu svjetski priznate flautistice Luise Sello, kojoj je i
posveÊena. Siguran sam da Êe magiËan
zvuk njezine flaute svakako to i opravdati. Skladbe je prokomponirana, πto
opravdava i naslov djela, sastavljenog od
viπe odsjeka koji kontrastiraju u tempu,
karakteru, strukturi i mjeri. Melodika se
bazira na oktotonskom nizu koji sam
upotrebljavao s velikim interesom,
posebno zato πto se na momente
prekrasno profilirao s elementima meni
vrlo dragog istarskog modusa, koji mi je
duboko uroen. Pored toga nastojao sam
predstaviti tehniËke, interpretativne i
koloritne moguÊnosti samog instrumenta, a buduÊi da je skladba u rukama
izuzetnog interpretatora, publika moæe
oËekivati pravi glazbeni produkt.“ [Massimo BrajkoviÊ]
Massimo BrajkoviÊ studied composition
and piano at the Academy of Music in
Ljubljana. He is a full professor at the
Faculty of Humanities in Pula. As composer, he is especially interested in instrumental pieces and electronic music.
“Fantasia for solo flute was written in
2008 at the request of the world-famous
flutist Luisa Sello, to whom it is dedicated. I am certain that the magical
sound of her flute will fully justify this
dedication. The piece is through-composed, which also explains its title. The
piece is composed of several contrasting
sections which differ with regard to
tempo, character, structure, and meter.
The melody is based upon an octotonic
sequence, which I used with much pleasure because it combines beautifully with
elements of the Istrian mode. The Istrian
mode is very dear to me and I exploit it
with great joy because it is an important
part of who I am. Moreover, I tried to
present the technical, interpretative and
timbric possibilities of the instrument,
and, since the piece is in the hands of an
extraordinary interpret, I expect the result to be a real musical treat.” [Massimo
BrajkoviÊ]
305
Talmelli
Andrea
304
Andrea Talmelli (Montese, 1950.) zavrπio je studij klavira i kompozicije kod
B. Bettinellija. Ravnatelj je Glazbenog instituta Reggio Emilije. Osvojio je brojne
nagrade, a njegove su skladbe snimljene
i emitirane na RaiTre, Televiziji Koper,
Radiju talijanske ©vicarske, Ruskom
dræavnom radiju i ORF-u. Njegov skladateljski jezik kombinira iskustva poslijeratne avangarde sa zahtjevima
ekspresivnosti.
Na prijelazu iz sedamdesetih u osamdesete godine Talmelli je napisao nekoliko
Otklona (Klinamen) za razliËite instrumentalne sastave. Naslov se referira na
jedan od principa epikurejske fizike
prema kojem se u jednoliËnom
okomitom kretanju atoma ponekad
dogaaju devijacije (klinamen) koje
uzrokuju sluËajne sudare atoma. Atomi
se tada grupiraju i tako nastaju razliËiti
prirodni oblici. Ovoj fascinantnoj temi,
koja se bavi antiËkom filozofijom i problemom svemira, autor se ponovno vratio
2000. godine serijom elektroniËkih
skladbi, odnosno - kao u ovom sluËaju skladbi posveÊenih jednom instrumentu
s elektroniËkom podlogom. Djelo je
napisano za Pierrot Solaire i posveÊeno
Luisi Sello, koja izvodi i mimiËke elemente skladbe.
Andrea Talmelli (Montese, 1950) studied
Piano and Composition with B. Bettinelli. He is the director of the Reggio
Emilia Music Institute. He has won many
prizes, and his compositions have been
recorded and aired on RaiTre, TV-Koper,
the Italian-Swiss Radio, the Russian State
Radio and ORF. His vocabulary combines experiences of post-war avantgarde with demands for expressivity.
In the late Seventies and early Eighties
Talmelli wrote several Klinamen for different instrumental combinations. The
title refers to one of the principles of Epicurean physics, where clinamen stands
for some kind of deviation that disturbs
the uniform perpendicular movement of
atoms, causing them to randomly collide
with one another. These atoms then
gather into groups, creating different
natural shapes. In 2000 the author returned to this fascinating subject, which
explores ancient philosophy and the universe, with a series of electronic compositions and compositions for a solo
instrument with an electronic background. This composition, which belongs to the latter, was written for the
Pierrot Solaire and dedicated to Luisa
Sello, who performs the mimic elements
of the piece as well.
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Sanda Majurec Zanata
day
Sanda Majurec Zanata (Mali Loπinj,
1971.) studirala je kompoziciju u klasi
Stanka Horvata na MuziËkoj akademiji u
Zagrebu te kasnije u Darmstadtu, Austriji
i ©vedskoj. Studirala je i Ëembalo u klasi
Viπnje Maæuran, usavrπavajuÊi se zatim u
izvedbi barokne glazbe. Predaje na MuziËkoj akademiji u Zagrebu.
Skladbu Un soffio, un sospiro napisala je
za Pierrot Solaire, inspirirana tekstom
koji joj je poslala Luisa Sello, dijelom
Pierrota u kojem se Pierrot zaustavlja
pored “Ëudnih usta” (televizora) koja
proizvode “metalne zvukove i sanjive
melodije”.
Sanda Majurec Zanata (Mali Loπinj,
1971) studied composition under Stanko
Horvat at the Music Academy in Zagreb
and later in Darmstadt, Austria and Sweden. She also studied the harpsichord
with Viπnja Maæuran, later perfecting her
skills in the performance of baroque
music. She teaches at the Music academy in Zagreb.
Majurec Zanata wrote Un soffio, un
sospiro for Pierrot Solaire, inspired by
the text she was sent by Luisa Sello, the
part of Pierrot where Pierrot stops by a
“strange mouth” (a television set) creating “metal sounds and dreamy
melodies”.
307
Coral
Giampaolo
306
Giampaolo Coral (Trst, 1944.) poËinje
skladati veoma mlad i debitira u NjemaËkoj 1969. godine. Njegova glazba osvojila je brojne nagrade, a izvode je
nacionalne i internacionalne glazbene
institucije i radiji. Æivi i radi u Trstu kao
slobodni skladatelj. Skladba Egzorcizam
morske zmije inspirirana je tajanstvenim
prikazima koji se mogu vidjeti na
grafikama 16. stoljeÊa. Ovdje je pak rijeË
o crteæu austrijskog umjetnika Alfreda
Kubina koji prikazuje morsku zmiju. S
promjenom koπuljice (egzorcizam) glava
i rep se spajaju i dobiva se prava tinktura.
Skladba Egzorcizam morske zmije za
flautu i bas-flautu inspirirana je tajanstvenim prikazima koji se Ëesto viaju
na grafikama 16. stoljeÊa. Ovdje je pak
rijeË o crteæu austrijskog umjetnika Alfreda Kubina koji prikazuje morsku
zmiju. Ona moæe poprimiti bilo koji
oblik i njezina je priroda dvojaka (Sunce i
Mjesec): dolje je sumpor, topao, Ëvrst,
trajan; gore je srebro, hladno, prevrtljivo,
promjenljivo. S promjenom koπuljice
(egzorcizam) glava i rep se spajaju i nastaje odgovarajuÊa tinktura.
Giampaolo Coral (Trieste, 1944) began
composing at an early age, debuting in
Germany in 1969. His music has won numerous prizes and is performed by national and international music
institutions and radios. He lives and
works in Trieste as a freelance composer.
The Exorcism of the Sea Serpent is inspired by the mysterious imagery often
seen in 16th century graphic art. Here, the
composer was directly inspired by Alfred
Kubin’s drawing of a sea serpent. After
the snake casts its skin (exorcism), the
head and the tail meet to form the appropriate tincture.
Exorcism of the Sea Serpent was written
for flute and bass flute and inspired by
the mysterious imagery often seen in 16th
century graphic art. In this case the author used a drawing by the Austrian
artist Alfred Kubin, which represents a
sea serpent. The serpent can assume any
form and its nature is twofold (the Sun
and the Moon): below is sulfur, warm,
firm, durable; above is silver, cold, inconstant, changeable. After the snake
casts its skin (exorcism), the head and
the tail meet to form the appropriate
tincture.
day
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sat
19:30, KDVL
Pekinπki simfonijski orkestar /
Beijing Symphony Orchestra
Li Biao, udaraljke / percussion
Giampiero Sobrino, klarinet / clarinet
Tan Lihua, dirigent / conductor
(U suradnji sa ZagrebaËkom filharmonijom, u sklopu ciklusa Plava oktava /
In association with the Zagreb Philharmonic Orchestra as part of the Blue
Octave cycle)
Ante Kneπaurek: Passacaglia*
Tang Jianping: Koncert za udaraljke i orkestar Sveta vatra - 2008. /
Concerto for Percussion and Orchestra Sacred Fire - 2008
——
Alberto Colla: Concinnitherium,
il richiamo del grande sauro / Zaziv velikog saura / The Evocation of a Great
Lizard*,
za klarinet i orkestar / for clarinet and orchestra
Bao Yuankai: Simfonija Pekinπka opera / Beijing Opera Symphony
Jing: The painted Face / Obojeno lice
Chou: The Comedian / Komedijaπ
Dan: The Lady / Dama
Sheng: The Man / Muπkarac
308
Pekinπki simfonijski orkestar osnovao
je maestro Li Delun 1977. godine.
Sadaπnji glazbeni ravnatelj i πef-dirigent
orkestra je Tan Lihua. Kao simfonijski
orkestar glavnoga grada sastavljen je od
glazbenika vrhunskih umjetniËkih
dosega. Danas je jedan od najpopularnijih orkestara u dræavi. PoËetkom 1990-ih
orkestar je doæivio velike promjene uz
podrπku gradskih vlasti. Predanim
radom i vjeæbanjem postignut je velik
napredak u izvoaËkim sposobnostima.
Uz redovne koncerte kojima ravna
glazbeni ravnatelj, PSO je suraivao i s
brojnim cijenjenim svjetskim dirigentima. Svake godine odsvira viπe od 80
koncerata s programima πirokog raspona
æanrova za sve ukuse.
Veliku paænju orkestar posveÊuje razvoju
i promociji kineske simfonijske glazbe.
Svojom podrπkom suvremenim kineskim
skladateljima znaËajno je pridonio kineskom simfonijskom repertoaru. PSO
takoer svira uæivo za Kinesku televiziju:
njihov koncert na Velikom zidu Badaling
1996. godine predstavio je svijetu spoj
stare kineske civilizacije i moderne kulture. Pozivani su na nastupe diljem svijeta i surauju s brojnim simfonijskim
orkestrima i dirigentima, a mnogi su se
priznati solisti odluËivali na suradnju s
ovim orkestrom. Nedavno su potpisali
ekskluzivni ugovor s diskografskom
kuÊom EMI. UoËi svake Nove godine
PSO nastupa u Velikoj dvorani naroda, a
stotine milijuna Kineza koncert prate
putem televizijskog prijenosa.
309
The Beijing Symphony Orchestra (BSO)
was founded in 1977 by maestro Li
Delun. Maestro Tan Lihua is the orchestra’s current Music Director and Principal Conductor. Being the symphony
orchestra of the nation’s capital, the BSO
has many musicians of great artistic attainments. It has now become one of the
most popular orchestras within the nation.
In the early 1990s, the orchestra underwent adjustments on a large scale with
the support of the Municipality. Considerable progress had been made in its
performing skill through hard work and
diligent practice. In addition to the regular concerts conducted by its music director, the BSO has collaborated with
many esteemed conductors from all over
the globe. Every year, the orchestra presents over 80 concerts, representing a
wide variety of genres and tastes.
The BSO takes great responsibility in developing and promoting Chinese symphonic music. Through its support of
modern Chinese composers, the Beijing
Symphony Orchestra has made remarkable contributions to the development of
the Chinese symphonic repertoire.
The BSO also performs many live broadcast concerts for CCTV. The BSO’s performance on the Badaling Great Wall in
1996, which was broadcast through
satellite, combined the ancient Chinese
civilization and modern culture before
the people of the world.
The BSO is regularly invited to perform
around the world and it has benefited
through cooperation with numerous
symphony orchestras and conductors,
with many noted soloists choosing to
collaborate with them. Recently the orchestra signed an exclusive contract with
the EMI. On the Eve of each New Year,
the BSO always performs in the Great
Hall of the People and hundreds of millions of Chinese enjoy it through TV
broadcast.
day
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sat
Cijenjeni dirigent Lihua Tan (kin. Tan
Lihua) iznimno je traæen u domovini,
Kini, i inozemstvu. Kao gostujuÊi dirigent
uspjeπno je suraivao s orkestrima u Europi, SAD-u, Kanadi, Izraelu, Australiji,
Argentini, Meksiku, Kolumbiji i Panami.
Predan muziciranju u vlastitoj zemlji,
maestro Tan ravnao je gotovo svim poznatijim kineskim orkestrima. Bio je i gostom-dirigentom Ruskoga dræavnom
akademskog simfonijskog orkestra.
Tan je πef-dirigent te glazbeni ravnatelj
Pekinπkog simfonijskog orkestra.
Praizveo je stotine novih kineskih djela i i
odgovoran je za kineske premijere
vaænih inozemnih djela, kao πto su simfonijske skladbe Dvořáka, Prokofjeva i
Respighija. U razdoblju od 2001.- 2006.,
maestro Tan veÊ je tri puta vodio PSO na
uspjeπne europske turneje.
Kao jedan od najaktivnijih i najutjecajnijih dirigenata s kineske glazbene scene,
Tan je dirigirao na viπe od 1000 nastupa
diljem Kine. Kako bi popularizirao simfonijsku glazbu meu mlaim kineskim
generacijama, svake godine ravna izvedbama pristupaËnijih simfonija i
orkestralnih „hitova“ za uËenike i studente. Do sada je viπe od 40 nosaËa
zvuka sa simfonijskom glazbom te
glazbom za stotine filmova i televizijskih
emisija.
As a widely respected conductor, Tan
Lihua is in great demand both at home
and abroad. As a guest conductor, Tan
Lihua has had numerous successful cooperations with many well-known orchestras in Europe, United States,
Canada, Israel, Australia, Argentina,
Mexico, Colombia and Panama. Enthusiastic about making music in his own
country, Maestro Tan has also conducted virtually all of China’s domestic
famous orchestras. Tan was invited as
the Guest Conductor of the Russian State
Academic Symphony Orchestra.
Tan Lihua is the music director and principal conductor of the Beijing Symphony
Orchestra. He has debuted hundreds of
new works of Chinese and has also been
responsible for the premieres of important foreign works to the Chinese public,
such as the symphonic works by Dvo_ák,
Respighi and Prokofiev. He led the Beijing Symphony Orchestra on three successful European tours between 2001
and 2006.
As one of the most active and influential
conductors of the Chinese music scene,
Tan has presented over 1,000 performances across China. In order to popularize the symphony to China’s younger
generation, each year, Tan conducts a
number of easily accessible symphonies
and orchestral showpieces for students
in many universities and high schools.
To date, Tan has made more than forty
symphonic recordings and hundreds of
movie and TV scores.
311
Sobrino
Giampiero
310
Giampiero Sobrino (Pijemont, 1965.) s
odliËnim je uspjehom diplomirao na
Konzervatoriju u Alessandriji, odmah se
istaknuvπi svojim glazbenim i tehniËkim
osobinama na vaænim meunarodnim
natjecanjima. S dvadeset godina veÊ je
bio prvi klarinetist Simfonijskog orkestra
RAI-a u Torinu i Torinske filharmonije.
Ondje je ostao do 1994. godine, dok je
sljedeÊih deset godina proveo u Orkestru
Fondacije Veronska arena. PouËavao je
na raznim konzervatorijima, na ©koli visoke muziËke specijalizacije u Saluzzu te
na majstorskim teËajevima u Italiji, Francuskoj i ©panjolskoj. Takoer je djelovao
u komornim ansamblima uz intenzivnu
koncertnu i diskografsku aktivnost. Sa
svojim je πirokim repertoarom nastupao
na najvaænijim meunarodnim festivalima.
Suraivao je s najveÊim dirigentima
naπega doba kao πto su Solti, Bernstein,
Giulini, Levine, RostropoviË, Maazel,
Temirkanov, Muti, Mehta, Chailly, Sinopoli i sa skladateljima kao πto su Berio,
Boulez, Donatoni i Bussotti.
Giampiero Sobrino (Piedmont, 1965)
graduated from the Conservatory of
Alessandria with the highest marks, excelling immediately, with his outstanding technical and musical qualities, in
important international competitions. At
20, he was already First Solo Clarinet in
the RAI Symphony Orchestra of Turin
and in the Philharmonic Orchestra of the
same city - he stayed there until 1994
and spent the following ten years in the
Orchestra of Arena di Verona Foundation. He has taught in Public Conservatories, in the School of High Musical
Specialization of Saluzzo and in master
classes in Italy, France and Spain, also
collaborating in chamber music formations for an intense concert and recording activity. With his wide repertoire he
has been a soloist in the most important
international festivals. He has worked
with the greatest conductors of our time
like Solti, Bernstein, Giulini, Levine, Rostropovich, Maazel, Temirkanov, Muti,
Mehta, Chailly, Sinopoli and with composers like Berio, Boulez, Donatoni and
Bussotti.
month
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sat
Biao Li
day
Biao Li (kin. Li Biao; Nanjing, 1969.) slovi
kao jedan od vrhunskih solo-udaraljkaπa
na suvremenoj meunarodnoj glazbenoj
sceni. Takav ugled stvorila mu je zadivljujuÊa tehnika i duboko razumijevanje
udaraljki te izvanredna muzikalnost.
Studij glazbe zapoËeo je s pet godina i
uskoro se dokazao kao jedno od najtalentiranije djece u Kini. U dobi od sedam
godina kao predstavnik Kine odræavao je
solistiËke koncerte u mnogim zemljama.
Nakon πto je diplomirao na Srediπnjem
glazbenom konzervatoriju, kineska ga je
vlada odabrala kao jednog od prvih
udaraljkaπa za studij na Konzervatoriju
In the recent international music scene
Li Biao (Nanjing, 1969) is one of the few
outstanding solo percussionists. His astonishing technique and profound understanding of the percussion
instruments as well as his extraordinary
musicality have earned him this high
reputation. He began his musical studies
at the age of five and soon was discovered as one of the most talented children
in China. At the age of seven, Li already
performed as soloist representing China
in many countries. Upon graduation
from the China Conservatory of Music in
1988, Li was chosen by the Chinese gov-
312
»ajkovski u Moskvi, gdje je uËio s
Valentinom Snjegerevim i magistrirao s
najboljim ocjenama. Od 1995. do 1998.
kao stipendist DAAD-a studirao je i magistrirao na Minhenskom glazbenom
konzervatoriju s Peterom Sadlom.
Tijekom studija Li je pobjeivao na
mnogim prestiænim meunarodnim natjecanjima, kao πto su Debrecensko natjecanje udaraljkaπa te Natjecanje Alimata.
Mnogi su mu nadareni skladatelji
posvetili svoja djela, koja je izveo tijekom
posebne, veoma uspjeπne turneje. Li je
ovladao s 50 - 60 razliËitih vrsta udaraljki
koje potjeËu s podruËja Afrike, Amerike,
Europe i Azije. Nastupao je na mnogim
glazbenim festivalima, a kao solist i s
mnogim poznatim orkestrima i komornim ansamblima. Bio je pozvan u
Filharmonijski orkestar nacija kao solist
na njihovoj Davidoff turneji prijateljstva
u sezoni 1999. i 2000. po Europi i Aziji,
dok je kao solist Pekinπkog simfonijskog
orkestra viπe puta bio na turnejama po
Europi. Na ovogodiπnjoj turneji svirat Êe
i djelo kineskog skladatelja Gua Wen
Jinga. Li snima za diskografske kuÊe EMI,
Teldec, DW te za viπe radijskih i televizijskih postaja. Od 2003. profesor je na
Srediπnjem glazbenom konzervatoriju u
Pekingu, a od 2006. na Visokoj πkoli za
glazbu Hanns Eisler u Berlinu. U oæujku
2008. dobio je nagradu National Spirit
Achiever Award, koju dodjeljuje Mercedes Benz. Li i njegov udaraljkaπki
ansambl nastupili su na ceremoniji zatvaranja Olimpijskih igara u Pekingu
2008. godine. Biao Li promovira
proizvoaËe instrumenata Sabian, Vic
firth, Evans i DJ, a njegove kostime sponzorira tvrtka Blanc de Chine.
313
ernment to be one of the first percussionists to study in Moscow at the
Tchaikovsky Conservatory with V.
Sniegerew and graduated with a master
degree of first honour. Li continued his
music education in Germany after winning the DAAD scholarship. He studied
at the Munich Conservatory of Music
with Peter Sadlo.
During his studies Li won many international prestige competitions including
the Debrecen Percussion Competition
and the Alimata Music Competition.
Li has also inspired many accomplished
composers to write solo percussion
works to emphasize his unique style. All
these pieces have been performed during a specific tour with tremendous success. Li masters more than 50 to 60
different kinds of percussion instruments which come from Africa, America,
Europe and Asia. Li Biao gave many solo
recitals at famous music festivals. As a
soloist he also appeared with renowned
orchestras and chamber ensembles. Following an invitation of the Philharmonia
of the Nations as Soloist on the 1999 &
2000 Davidoff Friendship Tour in Europe
and Asia, further tours led him as Soloist
with the Beijing Symphony Orchestra
through Europe.
Li Biao recorded percussion works as the
EMI, Teldec and DW labels and his performances have also been broadcasted
by the TV and Radio Stations. In 2003, Li
Biao became a teacher at the Beijing
Central Conservatory of Music and in
2006 he became a professor of the
Hanns-Eisler Hochschule für Musik in
Berlin. In March 2008 he received the
“National Spirit Achiever Award” from
Mercedes Benz. Li and his Percussion
Group were invited to perform at the
closing ceremony of the 2008 Beijing
Olympic Games. Li Biao is the endorser
for the instrument company Sabian, Vic
firth, Evans, DJ. His concert costumes
are sponsored by Blanc De Chine.
day
month
24
4
dan
mjesec
hour
19:30
petak / friday
sat
Kneπaurek
Ante
Ante Kneπaurek (Zagreb, 1978.) zavrπio
je studij orgulja na MuziËkoj akademiji u
Zagrebu u klasi profesora Maria Penzara
2000. godine. Studirao je na HändelAkademie u Karlsruheu u NjemaËkoj u
razredu profesora Ludgera Lohmanna i
kod Daniela Rotha u Parizu. Dobitnik je
za najbolji studentski rad ostvaren na
MuziËkoj akademiji (1998./99.). Godine
1999. na Meunarodnom natjecanju iz
improvizacije Günther Ramin na Visokoj
πkoli za glazbu Felix Mendelssohn-Bartholdy u Leipzigu osvaja Nagradu Günther Ramin za polifonu improvizaciju.
Ante Kneπaurek (Zagreb, 1978) received
a degree in organ from the Academy of
Music in Zagreb in the class of professor
Mario Penzar in 2000. He also studied at
the Händel-Akademie in Karlsruhe, Germany, in the class of professor Ludger
Lohmann and with Daniel Roth in Paris.
He won the Rector’s Award of the University of Zagreb for the best student
composition written at the Academy of
Music (1998/1999). In 1999 at the Günther Ramin International Improvisation
Competition at the Hochschule für
Musik und Theater “Felix Mendelssohn
Bartholdy“ in Leipzig he won the Günther Ramin Award for polyphonic improvisation.
314
315
In Croatia he studied improvisation with
academician Anelko KlobuËar and
composition with professor Marko Ruædjak in whose class he graduated in 2005.
He continued his studies in composition
with Amadeus Webersinke and with
Thierry Escaiche. His works were performed in Zagreb, Osijek, Ljubljana,
Pula, Vienna, Berlin, Freyung, Detmold,
Trieste and in Udine. He is the leading
organist of the Basilica of the Sacred
Heart of Jesus in Zagreb. He has performed with many ensembles and
soloists; he is regularly recording works
for the Croatian Radio and Television
(HRT) and has recorded a CD with works
for organ by Anelko KlobuËar, Fauré’s
Requiem for organ and choir, as well as a
CD with choir compositions and improvisations together with the academic
choir Palma. He received a master’s degree in Zagreb in 2003, and has attended
a master’s postgraduate studies in organ
and improvisation in Detmold in the
class of professor Norbert Düchtel. He is
a panel member at the organ competitions in Croatia.
He performs at concerts in Croatia, Germany, Austria, Italy and in France. He
won the Darko LukiÊ Award for the best
“Tema Passacaglie zvukovna je boja koja young musician in Croatia for 2004/2005
se stvara oko tona h, gdje posebno
season. He is a full member of the Croatmjesto zauzima marimba koja sluæi
ian Composers’ Society. He works as askao omotaË, zvuËna kulisa oko
sistant professor at the Universities in
spomenutog tona. Slijed varijacija je slo- Zagreb and Osijek.
bodan - praktiËki lapidaran.”
„The theme to the Passacaglia is a sound
colour forming around the note b, while
a special position is given to the
marimba, serving as a sheath around
that tone. The sequence of variation is
free - effectively lapidary.
U Hrvatskoj je studirao improvizaciju s
akademikom Anelkom KlobuËarom i
kompoziciju s profesorom Markom
Ruædjakom, u Ëijoj je klasi i diplomirao
2005. godine. U kompoziciji se usavrπavao kod A. Webersinkea i T. Escaichea.
Djela su mu izvoena u Zagrebu, Osijeku, Ljubljani, Puli, BeËu, Berlinu,
Freyungu, Detmoldu, Trstu i Udinama.
Glavni je orguljaπ Bazilike Srca Isusova u
Zagrebu. Nastupa s ansamblima i solistima, redovito snima za HRT, a snimio je
i CD s glazbom za orgulje Anelka
KlobuËara, Fauréov Rekvijem u verziji za
orgulje i zbor te CD sa zborskim skladbama i improvizacijama s Akademskim
zborom Palma. Magistrirao je 2003. u
Zagrebu, a na majstorskom poslijediplomskom studiju iz orgulja i improvizacije bio je u Detmoldu u klasi
profesora Norberta Düchtela. »lan je æirija za orguljaπka natjecanja u Hrvatskoj.
Koncertira po Hrvatskoj, NjemaËkoj,
Austriji, Italiji i Francuskoj. Dobitnik je
Nagrade Darko LukiÊ kao najbolji mladi
glazbenik u Hrvatskoj za sezonu
2004./2005. Redoviti je Ëlan HDS-a. Radi
u zvanju docenta na SveuËiliπtima u Zagrebu i Osijeku.
day
month
24
4
dan
mjesec
hour
19:30
petak / friday
sat
Colla
Alberto
Alberto Colla (Alessandria, 1968.)
obuËavao se na konzervatorijima u
Alessandriji i Parmi te na Akademiji
Santa Cecilia u Rimu. Dobitnik je mnogobrojnih nagrada za svoje kompozicije
koje ukljuËuju i dva koncerta za klavira,
sonate za klavir i gitaru i operu Il
processo, skladanu prema njegovom libretu koji je nastao prema knjizi Proces
Franza Kafke. Colla je imao narudæbe i
od njujorπkog Juilliarda te Festivala Sonic
Boom, takoer u New Yorku, festivala u
Salzburgu, Festivala Bergen International
i Musica Viva Bavarskog radija. Luciano
Berio je od Colle naruËio novo djelo za
zbor i orkestar kako bi inaugurirao novi
teatar koji je osmislio rimski arhitekt
Renzo Piano. Collin eklektiËni stil zasniva se na glazbi iz raznih prostora i vremena. Colla od 1998. godine pouËava
kompoziciju na Konzervatoriju Gaetano
Donizetti u Bergamu u Italiji.
O skladbi Concinnitherium: „Ako su
ptice kao vrsta, kulminacija biomuziËke
evolucije, potomci one vrste leteÊih dinosaura koji su nestali prije 65 milijuna
godina (a nedavna otkriÊa u kineskoj
provinciji Liaoning to i potvruju),
nameÊe se pitanje kakve bi nevjerojatne
pjesme ti dinosauri proizveli! Tako, na
primjer, nema sumnje da bi hadrosauri
imali nevjerojatan pjevaËki potencijal.
Slon koji trubi svojom dugaËkom surlom,
koja je produæetak nosne πupljine, vjerojatno bi se prekrasno sloæio s tekuÊim
zvukovima koje bi proizvodio njihov
vokalni aparat. Tako sam ja zamislio ovu
kompoziciju: nepregledna prerija prepuna dinosaura koja odjekuje njihovim
glasnim krikovima…“ [Alberto Colla]
Alberto Colla (Alessandria, 1968) trained
at the conservatories of Alessandria and
Parma and the Santa Cecilia Academy in
Rome. He has won many prizes for his
compositions, which include two piano
concertos, sonatas for piano and for guitar and the opera Il processo, to his own
libretto based on The Trial by Franz
Kafka. Colla has received commissions
from Juilliard and the Sonic Boom Festival in New York, the Salzburg Festival,
the Bergen International Festival, and
Bavarian Radio’s Musica Viva. Luciano
Berio commissioned a new work for chorus and orchestra from Colla to inaugurate a new theater designed by the
Roman architect Renzo Piano. Colla’s
eclectic style draws on music from many
times and places. He has taught composition at the “Gaetano Donizetti” Conservatory in Bergamo, Italy since 1998.
On Concinnitherium: “If the bird species,
the pinnacle of biomusical evolution, are
an offspring of a branch of those flying
dinosaurs that disappeared 65 million
years ago (and recent discoveries in the
Chinese province of Liaoning suggest
that this is so), one can’t help but wonder what incredible songs the dinosaurs
themselves might have produced! There
can be no doubt, for instance, that the
hadrosaurs had enormous singing potential. The elephant trumpeting off their
long hollow beaks, an extension of their
nasal cavity, would have combined wonderfully with the gliding sounds emitted
by their vocal apparatus. That’s how I
imagined this composition: a vast prairie
covered in dinosaurs, reverberating with
their booming cries…” [Alberto Colla]
Tang
Jianping
316
Jianping Tang (kin. Tang Jianping, 1955.)
prvi je doktor kompozicije u Kini, slavni
suvremeni skladatelj te profesor i voditelj
Odjela za kompoziciju na Srediπnjem
glazbenom konzervatoriju. Godine 1970.
zapoËeo je studij udaraljki na Jilinskoj
umjetniËkoj πkoli s filipinskim
glazbenikom Santosom, a 1978. studij
kompozicije s profesorima Zhangom
Shoumingom i Huom Cunhuijom. Godine 1985. upisao se na Srediπnji
glazbeni konzervatorij i zapoËeo magistarski i doktorski studij kod profesora
Xiaja Sua. Neki od njegovih reprezentativnih radova su Chun Qiu (koncert za
kinesku lutnju), Cang Cai, Sacred Fire
2008 (koncert za udaraljke), The Flying
Song (koncert za dizi), Shaolin in the
Wind, Jing Wei (glazba za plesnu dramu),
Xuan Huang, Album of Plants (komorna
glazba), White Horses among the Reeds
(velika kantata) te The Forbidden City
(glazba za dokumentarnu televizijsku
seriju).
Koncert za udaraljke Sveta vatra 2008.
praizveli su udaraljkaπ Biao Li i Pekinπki
simfonijski orkestar u koncertnoj dvorani u Zabranjenom gradu u Pekingu 25.
veljaËe 2006. Ovaj simfonijski koncert
poπtuje princip klasiËnog koncerta kako
bi naglasio i proπirio izvedbenu tehniku
solistiËkog instrumenta. S druge strane,
djelo upija tradiciju klasiËnog koncerta
koji pridaje pozornost racionalnoj logici i
iznosi filozofiju i misli, dok karakteristiËna struktura slobodnog glazbenog
πirenja sinkronizira nasljee i razvoj radi
prikaza ideje integracije i inovacije.
Drugim rijeËima, glazbena tema iz izlaganja πiri se kroz glazbenu grau koja se
razvija, a sastoji se od glavne linije i pomoÊne linije promjenljivog i razvijajuÊeg
glavnog motiva.
317
Jianping Tang (1955) is the first Doctor
of Composition trained in Mainland
China, famous contemporary composer,
professor and the head of Composition
Department of Central Conservatory of
Music. Under the instructions of the
Philippine musician Santos, he studied
western percussion at Jilin Art School
from 1970. In 1978, he began his composition studies with Prof. Zhang Shouming and Prof. Huo Cunhui, and in 1985
he entered the Central Conservatory of
Music and began his study for master’s
degree and doctoral degree with Prof. Su
Xia. His representative works include:
Chun Qiu (pipa concerto), Cang Cai, Sacred Fire 2008 (percussion concerto), The
Flying Song (dizi concerto), Shaolin in
the Wind, Jing Wei (music for the dance
drama), Xuan Huang, Album of Plants
(chamber music), White Horses among
the Reeds (grand cantata), and The Forbidden City (music for the documentary
TV series) among others.
The percussion concerto Sacred Fire
2008 was premiered on 25 February 2006
by Li Biao and the Beijing Symphony Orchestra in the Forbidden City Concert
Hall in Beijing. As a symphony concerto,
this work inherited the principle of classical concerto form to emphasize and
spread the performance technique of the
solo instrument. On the other hand, this
work absorbs the classical concerto’s tradition of paying attention to rational
logic and representing philosophy and
thoughts, while the characteristic structure of free musical expansion synchronizes inheritance and development in
order to show the idea of integration and
innovation. In detail, the music theme
introduced in the exposition spreads
throughout the music material in the development, composed by a main line
and a subsidiary line of the changing and
developing chief motive.
month
24
4
dan
mjesec
hour
19:30
petak / friday
sat
Yuankai Bao
day
Yuankai Bao (kin. Bao Yuankai, 1944.)
diplomirao je na Srediπnjem glazbenom
konzervatoriju u Pekingu 1967. godine, a
1973. poËeo je predavati na Glazbenom
konzervatoriju u Tianjinu. Takoer je
kao gostujuÊi profesor radio na Ksiamenskom sveuËiliπtu. TrenutaËno je zamjenik predsjednika komiteta za
kompoziciju Kineskog druπtva skladatelja. Dobio je mnoge znaËajne nagrade, meu kojima je nagrada za
“izvanrednog glazbenog pedagoga” koju
dodjeljuje Ministarstvo kulture Kine.
Jedan je od prvih koje je Kinesko dræavno
vijeÊe financijski nagradilo za
posveÊenost glazbenom obrazovanju i
kompoziciji. VeÊ se 30 godina bavi
glazbeno-pedagoπkim radom, odgojivπi
stotine studenata. Baove skladbe obuhvaÊaju simfonije, komornu glazbu, kantate, mjuzikle, glazbu za filmove i
televiziju te glazbu za djecu. Od 1991. do
2001. Kineska rapsodija (Rhapsody of
China) - njegovo veliko djelo koje se sastoji od sedam poglavlja simfonijske
glazbe temeljene na tradicionalnim kineskim temama i motivima - izvedena je u
40 zemalja.
Bao Yuankai (born 1944) graduated
from Beijing’s Central Conservatory of
Music in 1967, took up his first teaching
job at the Tianjin Conservatory of Music
in 1973 and was also appointed as Guest
Academic Professor of Xiamen University. He is currently the deputy head of
the composition committee of the Chinese Musician’s Association. Notable
awards received by Professor Bao include the “outstanding Music Educator”
awarded by the Chinese Ministry of Culture and being among the first batch of
specialists to receive special funding
from the Chinese State Council in recognition of his dedication towards music
education and composition. He had devoted 30 years to music education, nurturing hundreds of students. Bao’s
compositions include symphonies,
chamber music, cantatas, musicals,
movie and television sound tracks, as
well as children’s music. Between 1991
and 2001, Rhapsody of China - his magnum opus including seven chapters of
symphonic music based on Chinese traditional themes and motifs - had been
performed in 40 countries.
318
O djelu Pekinπka opera: Kineska tradicionalna opera starinski je oblik drame
koji ujedinjuje razliËite elemente knjiæevnosti, glazbe, plesa, vizualnih umjetnosti, borilaËkih vjeπtina, akrobatske
borbe te drugih oblika izvedbene umjetnosti. Pekinπka opera - nazvana prema
glavnom gradu Kine - najutjecajnije je i
najpopularnije djelo iz ove obitelji
lokalnih oblika drame. Simfonija
Pekinπka opera koristi razliËite uloge i
glazbene stilove karakteristiËne za
dramu te pokuπava iznijeti dubok i bogat
duhovni svijet Kine kroz zapadnjaËki
oblik simfonije. Uloge se u pekinπkoj
operi dijele na Ëetiri kategorije: Sheng muπkarac, Dan - æena, Jing - obojeno
lice, koje je snaæan lik u drami, te Chou komedijaπ. Glazba u pekinπkoj operi
obiËno je kombinacija samostalnih udaraljkaπkih sekvenci i Ëetiri glazbena stila:
Xi-Pi, Er-Huang (ova dva stila obiËno se
koriste za pjevane dionice), Qu-Pai
(glazba stalnog tona, obiËno u obliku instrumentalnih dionica koje se koriste kao
pozadinska glazba) i Kun-Qu (posuen iz
drugog oblika drame koji je popularan u
istoËnim dijelovima Kine). Uz ta Ëetiri
stila, tipiËna simfonija sastoji se od Ëetiri
stavka razliËite brzine, tempa i karaktera.
Simfonijski orkestar koji izvodi simfonije
sastoji se od Ëetiri skupine: drvenih
puhaËkih instrumenata, limenih
puhaËkih instrumenata, udaraljki i
æiËanih instrumenata. Simfoniju je
naruËio PSO, a premijerno je izvedena
23. svibnja 2006. pod ravnanjem dirigenta Tana Lihua u Pekingu.
319
On Beijing Opera: „China’s traditional
opera is an ancient drama form which
blends the different elements of literature, music, dance, visual arts, martial
arts, acrobat and other forms of performing arts. The Beijing Opera - named after
the capital of China - is the most influential and popular of this family of localized drama forms. Bao Yuankai’s
symphony Beijing Opera employs various roles and music styles found in the
drama form and attempts to display the
profound and rich spiritual world of the
Chinese through the western art form of
symphony.
The roles in Peking Opera are divided
into four categories: Sheng - The Male,
Dan - the Female, Jing - the Painted
Face, which is a forceful character in the
drama, and Chou - the Comedian. The
music of Peking Opera is usually a combination of stand-alone percussion sequences and four music styles: Xi-Pi,
Er-Huang (these two are usually used for
sung passages), Qu-Pai (which is fixed
tuned music and comes usually in the
form of instrumental passages which are
used as background music) and Kun-Qu
(borrowed from another drama form
popular in the Eastern regions of China).
Along with these four categoris, a typical
symphony is composed of four movements with different speed, tempo and
character. A symphonic orchestra which
plays symphonies consists of four sections: strings, woodwind, brass and
percussion. This symphony was commissioned by the Beijing Symphony Orchestra and premiered on May 23th, 2006
by the conductor Tan Lihua in Beijing.
month
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4
dan
mjesec
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22:00
petak / friday
sat
Lauren Phillips u / in Love Songs, snimio / photo by John Lauener
day
22:00, MDVL
Glazbeni teatar Queen of Puddings predstavlja /
Queen of Puddings Music Theatre presents:
Ana SokoloviÊ: Love Songs / Ljubavne pjesme,
monoopera / mono opera
Lauren Phillips, mezzosopran / mezzo-soprano
Koreografija / Choreography: Marie-Josée Chartier
Glazbeno vodstvo / Music Directors: Dáirine Ní Mheadhra, John Hess
Dizajn svjetla / Lighting Designer: Glenn Davidson
Producentica / Producer: Nathalie Bonjour
Ova je turneja omoguÊena financijskom pomoÊi Kanadskoga vijeÊa za
umjetnost, VijeÊa za umjetnost savezne dræave Ontario i Zaklade Metcalf /
This tour was made possible through funding from the Canada Council for
the Arts, the Ontario Arts Council and the Metcalf Foundation
320
“Ljubav je bila i bit Êe neiscrpna tema
ljudskog stvaralaπtva. Ljubav nas svuda
prati, ona je uzrok i rezultat. Ljubav budi
najjaËe ljudske osjeÊaje: zbog ljubavi su
se vodili ratovi, ali zbog ljubavi su
napisane i najljepπe pjesme. Svi jezici
pjevaju o ljubavi na isti naËin. Jer sve
sreÊe, sve brige, sve tuge i sve njeænosti
sliËe jedna drugoj.
Love Songs je intimna priËa o ljubavi
svrstana u pet ‘tematskih’ stavaka: Ëista
ljubav, njeæna ljubav, djeËja ljubav, zrela
ljubav i ljubav za izgubljenom osobom.
Tekstovi su pjevani na pet jezika: na engleskome, francuskome, srpskome,
irskome i latinskome. Izmeu stavaka
nalaze se interludiji u kojima je reËenica
‘Volim te’ izgovorena na 100 jezika. Dok
su stavci lirskog karaktera, interludiji su
ritmiËniji, inspirirani bojom stotinu
jezika, gdje pjevaËica koristi razne
nekonvencionalne glasovne tehnike.
Love Songs je narudæba Glazbenog teatra
Queen of Puddings uz financijsku pomoÊ
UmjetniËkog vijeÊa pokrajine Québec
(Conseil des arts du Québec).
Kompozicija je posveÊena mojoj djeci,
Evi i Gustavu.” [Ana SokoloviÊ]
321
“Love has always been and always will be
the inexhaustible inspiration of human
creativity. Love follows us everywhere;
love is the cause and the result. Love
evokes the strongest human emotions:
love has led people to wars, but it has
also inspired the most beautiful poems.
All the languages sing about love the
same way. Every happiness, worry, sadness and tenderness is similar to another. Love Songs is an intimate story
about love in five „thematic“ movements: love pure, tender love, child’s
love, mature love and love for a person
we lost. The lyrics are sung in five languages: English, French, Serbian, Irish
and Latin. There interludes between the
movements, with the phrase „I love you“
said in a 100 languages. While the movements are lyrical, the interludes are more
rhythmical, inspired by the colours of a
hundred languages, with the singer using
various unconventional voice techniques. Love Songs was commissioned
by the Queen of Pudding Music Theatre,
with funding by the Québec Arts Council.
This work is dedicated to my children,
Eva and Gustav.” [Ana SokoloviÊ]
month
24
4
dan
mjesec
hour
22:00
petak / friday
sat
Ana SokoloviÊ
day
Ana SokoloviÊ (Beograd, 1968.) studirala
je kompoziciju na SveuËiliπtu u Novom
Sadu u klasi Duπana RadiÊa i na SveuËiliπtu u Beogradu u klasi Zorana EriÊa te
magistrirala u klasi Joséa Evangeliste na
SveuËiliπtu Montréal. Pohaala je i majstorsku radionicu Tristana Muraila i
Denysa Bouliannea. Njezin opus
sadræava djela za orkestar i glas, zatim
brojna komorna djela te scensku glazbu.
Trostruka je laureatkinja Natjecanja
SOCAN, a dobila je i druga kanadska
priznanja kao πto su nagrade Natjecanja
mladih skladatelja Radija Kanada,
Nagrada Joseph S. Stauffer Kanadskog vijeÊa za umjetnost i Nagrada PrixOpus za
skladatelja 2007. godine. Njezina je prva
opera, The Midnight Court, producirana
u kazaliπtu Queen of Puddings 2005. godine, a u Europi u londonskom Royal
Opera House. TrenutaËno je profesorica
na SveuËliπtu u Montréalu.
Ana SokoloviÊ (Belgrade, 1968) studied
composition at the University of Novi
Sad under Duπan RadiÊ and the University of Belgrade under Zoran EriÊ. She
obtained her master’s degree at the University of Montreal under José Evangelista. She also attended a composition
workshop with Tristan Murail and Denys
Boulianne. Her repertoire consists of
works for orchestra and voice, as well as
numerous pieces of chamber music and
stage works.
Ana SokoloviÊ was a winner in the Competition for Young Composers of
SOCAN, three times, and she has received other Canadian awards such as
the CBC Radio Young Composers Grand
Prix, the Joseph S. Stauffer Prize and the
Prix Opus Prize for the composer of the
year in 2007. Her first opera, The Midnight Court, was produced by the Queen
of Puddings Theatre in Canada and the
Royal Opera House in London. She is a
professor at the University of Montreal.
Phillips
Lauren
322
Porijeklom iz Ottawe, Lauren Phillips u
poËetku je studirala pod Donnom Klimowskom i Yoriko Tanno (1995. - 1999.)
te magistrirala pjevanje i literaturu na
SveuËiliπtu Zapadnog Ontarija, gdje je
studirala pod Anitom Krause-Wiebe.
Osvojila je stipendiju udruge Opera Guild,
zlatnu medalju SveuËiliπta Zapadnog
Ontarija i nagradu Vivien Asfar Memorial
Award. Njezine operne uloge ukljuËuju
ulogu Nancy u djelu Albert Herring i
Dorabelle u Così fan tutte, a bila je i
zamjenom za uloge Mozartova Cherubina te Frédérica u Mignon, u produkciji
Opere Lyra Ottawa (2007.). Nastupa i kao
solistica u oratorijima.
Poseban afinitet gaji prema suvremenoj
glazbi. Slijedom njezina sudjelovanja na
ljetnom programu Teatra Queen of Puddings, Ëesto je s tom skupinom i nastupala. Neke od njezinih novijih izvedbi su
Sirene Ane SokoloviÊ, Puksanger Lockrop
i David’s Nimm Karin Rehnqvist te
ponoÊna izvedba djela Pierrot Lunaire za
Seriju suvremenih vokala UWO. Uloge u
suvremenim operama ukljuËivale su i
ulogu Pélerina u L’Amour du loin finske
skladateljice Kaije Saariaho te ulogu Majke u glazbenoj radionici za novu operu
In(s Jamesa Rolfa.
Glazbeni teatar Queen of Puddings pojavio se na umjetniËkoj sceni 1995. godine,
izraæavajuÊi napredna razmiπljanja te
fantastiËni pristup tradiciji koju zovemo
klasiËna opera. Osnovali su ga glazbenici
John Hess i Dáirine Ní Mheadhra, koji su
i zasluæni za poticanje kreativnih ideja za
nove projekte. Te se ideje razvijaju paæljivim odabirom skladatelja, pisaca libreta,
pjevaËa i ostalih kreativnih Ëlanova tima.
Grupa je posveÊena originalnom kanadskom procesu stvaranja Ëija se estetika
zasniva na fiziËkom teatru s pjevanjem,
koji se zasniva na izvoaËima. Queen of
Puddings kontinuirano proizvodi provokativne dramatske prezentacije najviπe
kvalitete koji dovode u pitanje parametre
opernog æanra.
323
Originally from Ottawa, Lauren Phillips
first studied with Donna Klimowska and
Yoriko Tanno (1995-1999). Her Masters
in Music Performance and Literature
was obtained from the University of
Western Ontario, where she studied with
Anita Krause-Wiebe. She has won Opera
Guild Scholarships, a University of Western Ontario Gold Medal, as well as the
Vivien Asfar Memorial Award. Opera
roles include Nancy in Albert Herring,
Dorabella in Così fan tutte, and understudy of Mozart’s Cherubino, and the
role of Frédéric in Mignon (Thomas) for
Opera Lyra Ottawa Opera in Concert
(2007). She sings oratorios as well.
Phillips has a special affinity for contemporary music. Following her participation in the Queen of Puddings summer
program, she has performed frequently
with the company. Most recently she
performed Sirens by Ana SokoloviÊ, Puksanger Lockrop and David’s Nimm by
Karin Rehnqvist and she has given a
midnight performance of Pierrot Lunaire
for the UWO contemporary vocal series.
Contemporary opera roles have included
Pélerin in L’Amour du loin by Finnish
composer Kaija Saariaho, the premiere
of Fugitive Voices by Bramwell Tovey for
the Sweetwater Festival in Owen Sound
(2007), also recorded by CBC, and the
role of the Mother in the music workshop of the new opera In(s, by James
Rolfe.
Queen of Puddings Music Theatre burst
onto the arts scene in 1995 with its forward-thinking, absorbing, fantastical approach to the tradition we know as
classical opera. It was founded by musicians John Hess and Dáirine Ní
Mheadhra and the creative ideas for new
projects originate with them. These ideas
are developed through their careful selection of composers, librettists, singers
and other creative team members. The
company is dedicated to original Canadian creation and its aesthetic is a performer-based physical singing theatre.
From its auspicious beginning, Queen of
Puddings has consistently produced
provocative, dramatic presentations of
the highest quality that have challenged
the parameters of the opera genre.
day
month
24
4
dan
mjesec
hour
23:30
petak / friday
sat
23:30, &TD
ICARUS JUNIOR
(dio projekta Muzika-diverzija / a part of the Music-Diversion project)
Elena Orlandini, flauta / flute
Cecilia Pedrazzini, clarinet / clarinet
Matteo Sassi, truba / trumpet
Chiara Bertoncini, violin / violin
Federico Beretti, harmonika / accordion
Paolo Centa, gitara / guitar
Francesco Pedrazzini i / and Chiara Schiatti, udaraljke / percussions
Video: Otolab / Martin Fabrik
Uz podrπku talijanskih dræavnih i lokalnih institucija i vijeÊa /
Supported by Italian national and local institutions and councils:
Fondazione I Teatri di Reggio Emilia / Zaklada I Teatri iz pokrajine Reggio Emilia /
The I teatri Foundation, Reggio Emilia
Regione Emilia Romagna, Provincia di Reggio Emilia / Regije i pokrajine Emilia Romagna i Reggio Emilia / The Reggio Emilia and Emilia Romagna Region/Province
Assessorato alla Cultura del Comune di Reggio Emilia / Lokalno vijeÊe za kulturu
pokrajine Reggio Emilia / The Culture Council of Reggio Emilia region
Sonora Project - Federazione Cemat / Projekt Sonora saveza Cemat / The Sonora
Project of the Cemat Federation
324
Elena, Cecilia, Matteo, Chiara, Federico,
Paolo, Francesco i Chiara dolaze iz pokrajine Reggio Emilia i uËenici su priznatih izvoaËa. SviraËi su studenti
Instituta Peri i Instituta Merulo. Ovi
mladi i izvanredni glazbenici zajedno
Ëine Icarus Junior, glazbeni projekt koji
su 2007. godine osnovali ansambl Icarus
i Officina delle Arti Reggio Emilia.
Ansambl Icarus uvijek je u srediπte paænje
stavljao proces πirenja novog glazbenog
izriËaja, noviteta novih glazbenih istraæivanja, ponovno otkrivanje popularne i
narodne glazbe, razmjenu kulturnih novost iz razliËitih geografskih podneblja te
obnovu iskustava nedavne proπlosti poput
glazbene improvizacije πezdesetih.
Icarus Junior stoga je svojevrstan umjetniËki atelje u kojemu nema tajni; skupina
pripada ljubiteljima „stare πkole“, ali s
tendencijom kretanja prema modernom
pristupu glazbi zahvaljujuÊi inovativnim
tehnikama i multimediji. Za ove mlade
glazbenike ne postoji sterilna akademija,
jer oni svakodnevno sviraju i eksperimentiraju s glazbom uæivo. Njihova
glazbena iskustva kreÊu se od improvizacija s Philipom Cornerom i Malcolmom Goldsteinom (poznatih
predstavnika njujorπke Fluxus sekcije)
preko tradicionalnog glazbenog izraza
zapadnjaËke kulture (transkripcije
Mozartovih skladbi na manifestaciji Bijele noÊi u pokrajini Reggio Emilia, uæivo
na dræavnome Radiju 3) do suvremene
glazbe. Njihov je prvi projekt bio Prove di
volo, koji obrauje odnos mladih i novih
tehnologija.
325
Elena, Cecilia, Matteo, Chiara, Federico,
Paolo, Francesco and Chiara all come
from the Italian province of Reggio
Emilia and are pupils of prestigious
performers. They are students of the Peri
Institute and the Merulo Institute. Together these young and incredible musicians are Icarus Junior, a project created
in 2007 by the Icarus Ensemble and
Officina delle Arti of Reggio Emilia.
Icarus Ensemble has always focused its
attention on a process of divulgation of
new musical languages, on the novelties
proposed by musical research, on the rediscovery of popular and ethnic music,
on the exchange of cultural proposals
from different geographical areas and on
the recovery of experiences of the recent
past, like Sixties’ improvisation.
Icarus Junior is therefore a sort of an art
atelier, where music has no secrets; the
group loves the ‘old-school’ approach,
but it has headed towards a modern approach to music, thanks to innovative
techniques and multimedia. For these
young musicians a sterile academy does
not exist, because they play and experiment live music every day. Their musical
experiences range from improvisation
with Philip Corner and Malcom Goldstein
(famous exponents of the New York
Fluxus section) to traditional Western
music (Mozart transcriptions, performed
during the Reggio Emilia White Night and
broadcast live by Radio 3) and contemporary music. Their first project was called
Prove di Volo, about relationship between
young people and new technologies.
day
month
24
4
dan
mjesec
hour
23:30
petak / friday
sat
Ovo je njihov drugi projekt i bavi se
ponovnim razmatranjem legendarnog
stoiËkog albuma The Dark Side of the
Moon grupe Pink Floyda iz 1973. godine,
„konceptualnog albuma“ koji se ne
sastoji tek od izoliranih skladbi, veÊ
predstavlja organsko djelo. U nedostatku
vokala, poruke iz stihova koji se bave
temom ludila - i time πto je Ëlanovima
nedostajao prijatelj i osnivaË grupe Syd
Barrett, koji je imao psihiËkih problema izraæeni su videom. ElektroniËki i ritamski dijelovi skladbe ostali su isti (elektriËna gitara, elektriËna bas gitara, 2 bubnja)
dok je melodiju sada preuzeo klasiËan
sastav, doduπe ozvuËen. GudaËi i truba
trebali su uputiti na zvuËnost albuma
Atom Heart Mother koji je prethodio
albumu Dark Side... Projekt je prvi put
izveden na Festivalu REC pokrajine Reggio Emilia u studenome 2008., na njemu
su suraivali i vidoumjetnici iz Otolaba,
Milano, te Martin Fabrik, Reggio Emilia.
This, their second project is the revisiting
of The Dark Side of the Moon, the seminal
and stoical Pink Floyd album (1973), “a
concept album” - not just songs, but an
organic work. In the absence of vocals, it
is the video that translates the lyrical
messages that deal with insanity - and
the band members’ nostalgia for their
missing friend, Pink Floyd founder Syd
Barrett, who had had mental problems.
The electronic and rhythmic part remained
almost the same (an electric guitar, electric bass, 2 drums), while the melodic
one belongs to a classical instrumental
group, even if amplified. Particularly,
strings and trumpet were introduced to
“catch” explicitly the sonority of the
Atom Heart Mother album, Dark Side’s
predecessor. This project was first performed during the Reggio Emilia REC
Festival in November 2008. The Otolab
video-artists team from Milan and Martin
Fabrik from Reggio Emilia have collaborated on this project with Icarus Junior.
326
327
day
month
subota / saturday
25 4
12:00, HGZ
Tristan Murail, gost-skladatelj 25. MBZ-a /
guest-composer of the 25th MBZ:
Sran »aldaroviÊ, klavir / piano
17:00, MIMARA
Koncert u suradnji s festivalom Moskovska jesen /
A concert in association with the Moscow Autumn
festival
20:00, ZKL
Sho-bo-gen-zo / Vidoviti putovi / Clairvoyant Paths
koreoglazbeni projekt / choreomusical project
22:00, MDVL
Komorni ansambl UMZE / UMZE Chamber Ensemble
23:30, &TD
.HESSLERS.:
smallOnes brainpain
day
month
25
4
dan
mjesec
hour
12:00
subota / saturday
sat
12:00, HGZ
Tristan Murail,
gost-skladatelj 25. MBZ-a /
guest-composer of the 25th MBZ:
Sran »aldaroviÊ, klavir / piano
Tristan Murail:
Cloches d’adieu, et un sourire... /
Zvona rastanka i osmijeh... /
Bells of Farewell, and a Smile...
Comme un oeil suspendu et poli par le songe... /
Poput oka, zaustavljenog i umivenog snom... /
Like an eye, suspended and polished by a dream…
La Mandragore / Bunovina / Mandrake
viπe o Murailu / More on Murail
na str. / page 422
330
331
Komentari Tristana Muraila o vlastitim
skladbama
Tristan Murail’s comments on his own
works
Zvona rastanka i osmijeh...
Ovaj nepretenciozni mali komad
napisan je na narudæbu NjemaËkog
radija, Deutschlandfunk, u spomen na
Oliviera Messiaena. Posuuje nekoliko
aspekata (voenje diskursa, kao i tri zavrπna tona, rastanak) iz jednoga od najranijih djela Oliviera Messiana, njegova
preludija za klavir Cloches d’angoisse et
larmes d’adieu / Zvona tjeskobe i suze
oproπtaja (1929.). Pokuπao sam, pored
drugih aluzija, umijeπati i nekoliko
odjeka zvona, koja se pojavljuju u
mnogim mojim vlastitim djelima. Na
njih odgovaraju sjajni odjeci i klasteri
akordâ u vedrim tonalitetima, onako kao
πto je “osmijeh”u zadnjim Messiaenovim
djelima zauvijek uspio nadvladati
“tjeskobu” i “suze” proπlosti - jer nema
konaËnoga “zbogom”.
Bells of Farewell, and a Smile...
This unpretentious little piece was written at the request of the German Radio,
Deutschlandfunk, in memory of Olivier
Messiaen. It borrows several aspects (the
conducting of the discourse, and the
three final notes, the adieu) of one of
Olivier Messiaen’s earliest works, his
piano prelude Cloches d’angoisse et
larmes d’adieu (1929). I tried to mix in,
amongst other allusions, a few echos of
bells which are featured in many of my
own works. These are answeded by luminous echoes and clusters of chords in
cheerful keys, as the “smile” of Messiaen’s last works managed te triumph for
good over the “anguishes” and “tears” of
the past - for there is no final farewell.
Comme un oeil suspendu et poli par le
songe... / Poput oka, zaustavljenog i
umivenog snom...
Comme un oeil suspendu et poli par le
Comme un oeil... carries the influence of
songe / Poput oka, zaustavljenog i
Messiaen - the piece was written for the
umivenog snom
entrance exam of the Conservatoire NaComme un oeil... pokazuje Messiaenov
tional de Musique de Paris, therefore beutjecaj - djelo je napisano za moj prijemni ispit na Pariπkome konzervatoriju, fore my studies with Messiaen. An allusion
to the composer is found several years
dakle - prije mojeg studija s Messilater and more consciously in Cloches
aenom. Aluziju na skladatelja poslije i
d’adieu... written as a homage a little
svjesnije stavljam u Cloches d’adieu...
djelo napisano kao “hommage” nedugo time after his death. The “bells” heard in
the piece belong to the universe of specnakon njegove smrti. “Zvona” iz ovog
tral music and to that of Messiaen.
komada pripadaju i svijetu spektralne
glazbe, ali i Messiaenovu svijetu.
La Mandragore / Mandrake
Under the gallows grows the mandrake.
Mandragore / Bunovina / Mandrake
Ispod vjeπala raste bunovina. U ponoÊ za At midnight, when the moon is full, it is
picked beneath the hanged man who
punoga mjeseca bere se ispod objeπenoga koji se njiπe… Bunovina: medit- swings... The mandrake: a Mediterranean
plant used in witchcraft. Due to its root
eranska biljka koja se koristi za Ëarolije.
in the shape of a homunculus, it is beVjeruje se da ima Ëarobne moÊi zbog
lieved to have magic powers.
Ëovjekolikog korijena.
The music: a spiral centred on several
Glazba: spirala centrirana na nekoliko
ostinati of rhythm, colour and timbre ostinata u ritmu, boji i timbru - pet
five “spectral” chords of variable appear“spektralnih” akordâ raznolike pojave
ance turn in the arms of the spiral.
vrti se u rukama spirale.
Ovo je djelo nastalo po narudæbi pijanis- This piece was commissioned by pianist
Tomoko Yazawa and the French Ministry
tice Tomoko Yazava i Francuskog minof Culture.
istarstva kulture.
day
month
25
4
dan
mjesec
hour
12:00
sat
subota / saturday
333
»aldaroviÊ
Filip
Sran
332
Sran Filip »aldaroviÊ (Zagreb, 1973.)
zapoËeo je glazbeno obrazovanje u
glazbenoj πkoli Pavao Markovac u klasi
Jelice Kuzmin. Studirao je na MuziËkoj
akademiji SveuËiliπta u Zagrebu, gdje je i
diplomirao klavir, u klasi Vladimira Krpana. Usavrπavao se na ©koli za glazbu
SveuËiliπta Indiana u Bloomingtonu,
SAD, u klasi Leonarda Hokansona te na
Koledæu Trinity u Londonu u klasi Prof.
Philipa Fowkea i na kraju magistrirao na
uglednome SveuËiliπtu Miami, na
Floridi, u klasi Prof. J. Roberta Floyda
(2002). Koncertnu vjeπtinu nadalje
razvija na meunarodnim teËajevima
Evgenija Timakina, Jerome Rosea, Waltera Groppenbergera, Sequeire Coste te
se u meuvremenu istiËe svestranim
solistiËkim i komornim nastupima, na
kojima potvruje opravdanost osvojenih
nagrada i laskavih kritika. Od 2005. godine, »aldaroviÊ je docent na MuziËkoj
akademiji u Zagrebu.
Njegov je repertoar raznolik, obuhvaÊa
djela velikih svjetskih skladatelja, pritom
ne zanemarujuÊi niti domaÊe skladatelje.
»aldaroviÊ redovito snima za radio i televiziju, a njegov je prvi CD sa sonatama
Liszta i Rahmanjinova izaπao u izdanju
Art Net Cluba 1998. godine. Od 1990. redovito odræava recitale, kao i koncerte s
orkestrom, diljem Hrvatske. Njegov debi
u Washingtonu Cecilia Porter iz Washington Posta ovako je opisala: “»aldaroviÊevo sviranje otkriva potpuni
artizam u spajanju introspektivnog pristupa s profinjenom osjetljivoπÊu za fraziranje...“
Sran Filip »aldaroviÊ (Zagreb, 1973)
started his music education in the Pavao
Markovac music school under Jelica
Kuzmin. He graduated in piano major at
the Music Academy in Zagreb in the
class of Vladimir Krpan. »aldaroviÊ went
on to perfect his pianist skills at Indiana
University in Bloomington with Leonard
Hokanson , and later at the Trinity College of Music in London with Philip
Fowke. »aldaroviÊ obtained a Master’s
degree in Piano performance from the
prestigious University of Miami School
of Music where he, under the guidance
of J. Robert Floyd (2002). He has actively
participated in master classes held by
Evgeniy Timakin, Sequiera Costa, Walter
Groppenberger, Jerome Rose, and Rian
de Waal and continues to excel in his
versatile solo and chamber appearances,
where he justifies all the prizes he won
and all the flattering reviews written
about him. »aldaroviÊ holds the position
of senior lecturer at the Music Academy
in Zagreb.
His repertoire is diverse and includes
works by all the great international composers without neglecting Croatian ones.
He makes recording for radio and TV
broadcasts and published his first CD,
with Liszt and Rachmaninov sonatas, in
1998. From 1990 onwards »aldaroviÊ
gives recitals on a regular basis all over
Croatia. For his Washington debut, Cecilia Porter from the Washington Post
wrote: “»aldaroviÊ’s playing reveals consummate artistry in coupling an introspective approach with refined
sensitivity for phrasing...”
day
month
25
4
dan
mjesec
hour
17:00
subota / saturday
sat
17:00, MIMARA
Festivalska razmjena: Koncert u suradnji s festivalom Moskovska jesen /
Inter-Festival Exchange:
A concert in association with the Moscow Autumn festival
Kvartet Sebastian / Sebastian Quartet
Dubravko PalanoviÊ, kontrabas / double bass
Ëlanovi kvarteta / quartet members:
Anelko Krpan, violina/ violin
Korana Rucner, violina/ violin
Nebojπa Floreani, viola
Zlatko Rucner, violonËelo / cello
Marina ©motova: Déjà vu, za gudaËki kvartet / for string quartet
Anton Safronov: ...riflessioni... / ...odrazi... / ...reflections...
za violu, violonËelo i kontrabas / for viola, cello and double bass
Aleksej Sjumak: Kadenca / Cadenza, za gudaËki kvartet / for string quartet
Viktor Ekimovski: Strofe / Stanzas, za dvije violine / for two violins
Jaroslav Sudzilovski: Karanogi, za violinu, violu i violonËelo /
for violin, viola and cello
335
Sebastian
kvartet
GudaËki
334
GudaËki kvartet Sebastian osnovan je
1982. godine kao Kvartet muziËke omladine Zagreb. Od 1990. godine djeluje pod
danaπnjim imenom. »lanovi kvarteta usavrπavali su se na teËajevima komorne
glazbe u Groænjanu (Hrvatska), Rogaπkoj
Slatini (Slovenija), PeËuhu (Maarska) i
Saumuru (Francuska). Godine 1988.
kvartet postaje Ëlanom Meunarodne
zaklade Yehudi Menuhin sa sjediπtem u
Parizu. Osim Ëestih nastupa u Hrvatskoj,
GudaËki kvartet Sebastian koncertirao je
u Sloveniji, Francuskoj, Sjevernoj Koreji,
Italiji, Austriji i Maarskoj. Repertoar
kvarteta obuhvaÊa djela od klasike do suvremene glazbe s naglaskom na
hrvatskom stvaralaπtvu. Praizveli su viπe
djela suvremenih skladatelja. Od 2002.
odræavaju vlastiti koncertni ciklus u
Maloj dvorani KD Vatroslava Lisinskoga.
The Sebastian String Quartet was
founded 1982 as The Quartet of The
Jeunesses Musicales of Zagreb. It has
performed under its current name since
1990. Members of the quartet were improved on mastercourses for chamber
music in Groænjan (Croatia), Rogaπka
Slatina (Slovenia), Pecs (Hungary) and
Saumure (France). In 1988 the quartet
became a member of Yehudi Menuhin
The International Foundation in Paris.
Ina addition to its frequent performances
in Croatia, the Quartet has given concerts
in Slovenia, France, North Korea, Italy,
Austria and Hungary. The Sebastian
Quartet’s repertoire includes works from
classical to contemporary music with an
emphasis on Croatian compositions.
They have premièred several contemporary works. They have had their own
concert cycle in the Vatroslav Lisinski
Concert Hall- the Small Hall, since 2002.
month
25
4
dan
mjesec
hour
17:00
subota / saturday
sat
Marina ©motova
day
Skladateljica Marina ©motova (Irkutsk,
1959.) zavrπila je srednju πkolu klavirskog
smjera u rodnom gradu, a u Moskvi je
studirala kompoziciju na Institutu Gnjesinih u razredu profesora N. I. Peiko te
se tamo i usavrπavala u klasi Sergeja S.
Berinskog. Aktivna je Ëlanica Ruskog
druπtva skladatelja i Druπtva kazaliπnih
djelatnika. Joπ kao studentica ©motova je
postala laureatkinjom Svesaveznog natjecanja za najbolju klavirsku minijaturu,
a zatim i Prvog meunarodnog skladateljskog natjecanja Sergej Prokofjev te
Nagrade Aleksandra Vampilova za
monooperu Zapisi Marije Volkonske. Od
1998. godine voditeljica je Glazbenog
kluba Sergeja Berinskog - kreativnih susreta sa skladateljima u Moskvi. U okviru
projekta Mladi moskovski skladatelji
2004. godine joj je dodijeljena Predsjednikova stipendija.
The composer Marina Shmotova
(Irkutsk 1959) graduated in piano from
the music school in her home town and
studied composition at the Gnesin Institute in Moscow, under N. I. Peiko, attending post-graduate studies with
Sergei S. Berinski. She is active in the
Russian Association of Composers and
the Drama Artists Union. While still a
student, Shmotova was a laureate of Soviet Union Composers’ Competition, in
the category of best piano miniature;
She later wond the First International
Composers’ Competition Sergei
Prokofiev and was awarded the Alexander Vampilov Prize for the mono opera
The Noteboooks of Maria Wolkonski.
Since 1998 she has led the Sergei Berinski
Musical Club - Creative Encounters with
Composers. In 2004m she was awarded
the President’s prize of the Young composers from Moscow project.
336
Viπe puta sudjelovala je na festivalima
suvremene glazbe u Rusiji i u inozemstvu, primjerice na gentskom festivalu
Ingeborg Bachmann u glazbi, na Kijevskom festivalu, na festivalu Dva dana
i dvije noÊi Nove glazbe u Odessi, na
Composers Concordance u SAD-u te na
festivalima u Brazilu, Italiji, Francuskoj i
dr. Njezin opus obuhvaÊa komorne instrumentalne i vokalne skladbe, simfonijske poeme, koncertantna djela, zborsku
glazbu, glazbu za orkestar narodnih instrumenata te glazbu za dramske predstave. Sergej Berinski o ©motovoj je
kazao: “Nedvojbeno je lirske prirode.
Teæi izraziti najdublja i najteæe dokuËiva
duπevna stanja. Izbjegava u svojoj glazbi
sve izvanjsko, buËno i sluËajno… Veliki
adut skladateljice - bogata i samosvojna
intonativnost.”
“Déjà vu je skladba za gudaËki kvartet
nastala 2004. godine. Njezin naziv - ‘kao
da je veÊ vieno (proæivljeno) nekada’ Ëini mi se najprimjerenijim. To je Déjà
vu…” (Marina ©motova)
337
She took part at a number of contemporary music festivals in Russia and
abroad: Ingeborg Bachmann in Music,
Kiev Musik Fest, Two Days and Two
Nights, Composers’ Concordance, as well
as festivals in Brazil, Italy, France etc.
Her opus includes chamber, vocal and
instrumental compositions, symphonic
poems, concerti, choir music, music for
folk music instruments and for the theatre. Sergei Berinski wrote about Shmotova: “She is without doubt of a lyrical
nature. She wants to express the deepest
and the least accessible experiences of
the soul. In her music she avoids all that
is superficial, noisy and random. The
great forte of the composer is her rich
and original invention.”
“Déjà vu is a piece for string quartet from
2004. The title, “as if everything has already been seen (experienced)”, seems
to me to be the most appropriate one, as
that is a déjà vu… [Marina Shmotova]
month
25
4
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mjesec
hour
17:00
subota / saturday
sat
Anton Safranov
day
Anton Safranov (Moskva, 1972.) studirao
je na Moskovskom dræavnom konzervatoriju »ajkovski kod Edisona Denisova, a
poslijediplomski je studij pohaao kod
Waltera Zimmermanna (Berlin) i Wolfganga Rihma (Karlsruhe). Njegova su
djela praizvoena u Rusiji, NjemaËkoj,
Nizozemskoj i Finskoj, a neka su se naπla
na nosaËima zvuka u izvedbi ansambala
Ensemble Modern (Frankfurt) i eNsemble «pro artefl (Sankt Peterburg). Stalno
surauje s Moskovskim ansamblom za
suvremenu muziku (MCME), a radio je i
s mnogim drugim europskim sastavima.
Takoer je napravio novu, upotpunjenu
verziju Schubertove “Nedovrπene” simfonije, koristeÊi izvorne skice. Safronov je
dobitnik prvih nagrada na meunarodnim skladateljskim natjecanjima,
predaje na Odsjeku za kompoziciju
Moskovskog konzervatorija, Ëlan je
Skupine za strukturalni otpor i jedan od
urednika ruskog Ëasopisa Tribuna sovremenoj muziki.
Anton Safronov (Moscow, 1972) studied
at the Moscow State Conservatory P.
Tchaikovsky with Edison Denisov, postgraduated with Walter Zimmermann
(Berlin) and Wolfgang Rihm (Karlsruhe,
Germany). His works have been premiËred in Russia, Germany, Netherlands
and Finland and some of his works were
produced on CDs, performed by the Ensemble Modern (Frankfurt) and the eNsemble “pro arte” (St. Petersburg). He
works permanently with the Moscow
Contemporary Music Ensemble (MCME)
and has worked with many other European ensembles. He has also made the
new completed version of Schubert’s
“Unfinished” Symphony, using the original drafts. Safronov is the winner of First
Prizes at international composers’ competitions, he teaches at the Dept. of
Composition of the Moscow Conservatory, he is a member of the Structural Resistance Group and co-redactor of the
Russian magazine “Tribuna Sovremennoy Muzyki” (“The Contemporary Music
Platform”).
338
O skladbi ... riflessioni...: “Jedan kineski
mudrac smatrao je da Ëovjek posjeduje
dvije duπe: poslije smrti jedna od njih
putuje ravno u raj, a druga u pakao... Prvi
impuls koji me potaknuo u stvaranju ove
skladbe bio je nevjerojatan svjetlosni
efekt koji me zadivio i opËinio prije
mnogo godina u Katedrali sv. Vida u
Pragu. Snop jarkog svjetla, koji je kroz
okna prodirao unutar zdanja, ‘sudarao’
se s polutamom niæega, donjeg dijela
zdanja - ne mijeπajuÊi se pritom s tom
polutamom, veÊ obrazujuÊi neku nevidljivu granicu izmeu svjetla i polumraka. Talijanska rijeË riflessioni oznaËava
odjednom dva pojma: ‘odraze’ i ‘refleksiju’. Odraze - materijalnih pojava (svjetla ili zvuka) i refleksiju - kao unutarnje
proæivljavanje vremena. Samu ideju
odraza - refleksija prekrasno prenose i
doËaravaju tri niska gudaËka instrumenta. Njihov ‘prirodni’ sumraËni registar, magma intenzivnog zvukovnog
protoka - i njegovi odbljesci u obliku
eteriËnih visokih zvuËanja i najistanËanijih prizvuka. Ove dvije sfere zapoËinju
dijalog - ne pribliæavajuÊi se, meutim,
jedna drugoj, nego se udaljavajuÊi u krajnje predjele - do Ëujnih granica zvuka i
ne-zvuka.
Praobraz - skica ove skladbe napisana je
vrlo davno, ali proπle godine sam joj se
ponovno okrenuo i redigirao je. Skladbu
je u ovom obliku prvi puta izveo Ensemble Modern u Rimu (Italija) i Bad-Homburgu (NjemaËka).”
339
On his piece ... riflessioni…: „A Chinese
sage claimed that man has two souls:
after death one of them goes straight to
Heaven, the other to Hell…
The first impulse for the creation of this
composition was the incredible effect of
light in the St.Vitus Cathedral of Prague,
dazzling and enchanting me many years
ago. A stream of strong light from the
windows, “colliding” with the semi-obscurity of the interior, lower part of the
edifice - but at the same time not mixing
with the darkness, but rather formin an
invisible border between light and semidarkness. The Italian word riflessioni signifies both “reflection”, as “mirroring”
and “reflection” as - “thought”. A reflection, of material things (light or sound),
and reflection as an inner feeling of time.
The three lower string instruments are a
wonderful medium of this reflection and
mirroring. Their “natural” dark scope,
the magma of intense sound streaming and their reflections in the form of ethereal higher tones and the finest of vibrations. These two spheres begin a
dialogue - not drawing closer but separating into remote landscapes - to the
very limits of the possibility of sounds or
non-sounds. The first, primeval sketch of
the composition was written a long time
ago, but I turned to it last year and edited
it. In this form the composition was premiered by the Ensemble Modern in Rome
and Bad Homburg.”
day
month
25
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dan
mjesec
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Sjumak
Aleksej
Aleksej Sjumak (1976.) diplomirao je i
magistrirao kompoziciju na Konzervatoriju »ajkovski u Moskvi u klasi A. V.
»ajkovskog. Nagraivan je na Sveruskom
natjecanju mladih skladatelja te dva puta
na Meunarodnom natjecanju P. I. Jurgenson. »lan je Saveza ruskih skladatelja.
Pohaao je majstorske teËajeve brojnih
skladatelja, a djela su mu izvoena na
brojnim europskim festivalima suvremene glazbe. Stalno surauje s nekoliko ruskih, nizozemskih i njemaËkih
sastava.
O skladbi Kadenca kaæe: “Kao πto je poznato, rijeË “kadenca” moæe se tumaËiti
na dva naËina - s jedne strane, to moæe
biti kraj muziËke fraze, a s druge - majstorska solistiËka improvizacija. Ovaj
kvartet kombinira obje definicije.
KlasiËna kadencna fraza Ëuje se tijekom
cijele skladbe, ponekad djelomiËno,
ponekad izrazito transformirana. Svi su
Ëlanovi kvartet solisti unatoË sporome
tempu; svaku dionicu obiljeæavaju virtuoznost i komplicirana, diferencirana
ritmika.”
Alexei Syumak (1976) obtained his B.A.
and M.A. in composing from the
Tchaikovsky Conservatory in Moskow,
under A. V. Tchaikovsky. He has won
awards at the All-Russian Young Composers’ Competition and twice at the International P. I. Yurgenson Competition.
He is a member of the Russian Composers Union. He has attended numerous composers’ masterclasses and his
works have been performed at many European festivals of contemporary music.
He maintains a regular collaboration
with a number of Russian, Dutch and
German ensembles.
On his Cadenza, he said: “As is well
known, the word “cadenza” may be interpreted in two ways - on the one hand,
it is the end of a musical phrase, and on
the other hand, it is a masterly improvisation by a soloist. The quartet combines
both definitions. A classic cadenza
phrase is sounding throughout the composition, sometimes partially, sometimes heavily transformed. All the
quartet members are soloists despite the
slow tempo; the part of each instrument
is noted for virtuosity and complicated
differentiated rhythmics.”
341
Ekimovski
AleksejeviË
Viktor
340
Viktor AleksejeviË Ekimovski (Moskva,
1947.) ruski je skladatelj scenskih, orkestralnih, komornih i klavirskih djela koja
su izvoena diljem Europe. Studirao je
kompoziciju s Aramom HaËaturjanom i
povijest glazbe s Konstantinom Rosenschildom na Ruskoj muziËkoj akademiji
u Moskvi. Magistrirao je i doktorirao muzikologiju na Konzervatoriju u Sankt
Peterburgu. Autor je brojnih Ëlanaka o
suvremenoj glazbi za Ëasopise u Francuskoj, NjemaËkoj, Rusiji i Srbiji, kao i
prve ruske monografije o Olivieru Messiaenu. Takoer je uredio nekoliko tomova
sabranih djela Dmitrija ©ostakoviËa. Ekimovski je od 1996. godine predsjednik
Udruæenja za suvremenu glazbu u Moskvi.
„Strofe je naziv za stihotvorni æanr, za
kojeg je karakteristiËna lirska orijentacija
i lakoniËnost izlaganja poetske misli.
Glazbenu paralelu tog æanra sam ostvario
kroz sedam nevelikih stavaka (strofa),
koji su kontrastnih karaktera, a zajedno
tvore jedinstven i nedjeljiv ciklus. U
njemu se izmjenjuju ritmiËki organizirani
komadi i slobodno aleatoriËki komadi.
Ansambl dviju violina privukao je moju
pozornost velikim rasponom izraæajnosti
tembra i dinamike, kao i zanimljivim i
neobiËnim fakturnim moguÊnostima.
Zbog tehniËkih poteπkoÊa skladba je
predviena za visoku klasu izvoaËkog
majstorstva. Skladba je napisana za
meunarodni festival komorne glazbe u
poljskom gradu Luslawicu, 1984, po zamolbi organizatora festivala Krzysztofa
Pendereckog te je tamo i praizvedena.“
[Viktor Ekimovski]
Viktor Alexeievich Ekimovsky (Moscow,
1947) is a Russian composer of stage, orchestral, chamber, and piano works that
have been performed throughout Europe.
He studied composition with Aram
Khachaturian and music history with
Konstantin Rosenschild at the Russian
Academy of Music in Moscow. He completed a post-graduate course and earned
his PhD in musicology at the Conservatory
of Music in St. Petersburg. He has written
numerous articles on modern music for
publications in France, Germany, Russia,
and Serbia, as well as the first Russian
monograph about Olivier Messiaen. Ekimovsky also edited several volumes of the
collected works by Dmitry Shostakovich.
In addition, he has served as president of
the Association for Contemporary Music
in Moscow since 1996.
„Stanzas is a name for a verse-creating
genre, marked by a lyrical orientation and
a laconic way of exposing poetic thought.
Its musical parallel was created through
seven shorter movements (stanzas), of
contrasting character, which form an integral, indivisible cycle. In it, the rhythmically organized parts and the freely
aleatoric ones alternate. The two-violinensemble attracted my attention through
its big range of expressive timbres and
dynamics, and interesting and unusual
possibilities in structure. Due to technical
difficulties, my piece is meant for high-class
performing mastership. It was written for,
and premièred at, the Luslawice Chamber
Music Festival in 1984, commissioned by
its organizer, Krzysztof Penderecki“
[Viktor Ekimovski]
day
month
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4
dan
mjesec
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sat
Sudzilovski
Jaroslav
ViolonËelist i skladatelj Jaroslav
Sudzilovski (Moskva, 1980.) pohaao je
MuziËku πkolu Gnjesin u Moskvi, u klasi
svojeg oca Sergeja Sudzilovskog, a zatim
studirao na Dræavnoj muziËkoj
akademiji Ivana Ipolitov u Moskvi u klasi
Natalije ©ahovskaje. Kompoziciju je
studirao na Konzervatoriju »ajkovski s V.
Tarnopolskim te nastavio na poslijediplomskom studiju kod K. S. HaËaturjana. Redovno nastupa od 1997. i
uglavnom se posvetio suvremenoj glazbi,
praizvodeÊi koncerte i solistiËka djela
ruskih i drugih skladatelja. Za svoje
izvedbe dobio je niz nagrada. Mnoge su
njegove skladbe napisane za violonËelo pri Ëemu koristi prednosti svojeg vrsnog
poznavanja tog instrumenta kako bi
stvorio jedinstvene zvukovne pristupe,
ukljuËujuÊi ozvuËenja, kao u »eËenskoj
sonati i baletnoj suiti Robertovo buenje;
ali i u tradicionalnijim djelima poput ciklusa NoÊni karnevali te SamoodvlaËenja
paænje - drami za violonËelo, zbor,
orkestar i pripovjedaËa.
Cellist and composer Yaroslav
Sudzilovsky (Moscow, 1980) studied at
the Gnessin High School in the class of
his father Sergei Sudzilovsky and at the
Ipolitov Ivana Moscow State Music
Academy, under Natalia Shahovskaya.
Sudzilovsky studied composition at the
Tchaikovsky Conservatory under V.
Tarnopolsky, continuing with post-graduate studies under K. S. Khachaturian.
Sudzilovsky has been performing regularly since 1997, and has focused largely
on contemporary music, premiering a
number of concertos and solo works by
Russian and other composers. He has
won a number of awards for his performances. Many of his compositions are for
cello - where he takes advantage of his
knowledge of the instruments to create
unique sonic approaches, including amplification - as in his Chechen Sonata and
the ballet suite, Robert’s Awakening; as
well as more traditional works - such as
his cycle Carnivals of the Night and the
drama for cello, orchestra, chorus, and
narrator, Auto Distraction.
342
„Karanogi doslovno znaËi crne, trËeÊe
noge. Naziv je dan na pittovskom jeziku
(moj autorski jezik, koji sam izumio, a
ima svoju ortografiju, fonetiku i sistem
tajnopisa). Karanogi, odbacujuÊi tradicionalnu formu, tvore vrlo striktno organiziranu konstrukciju. Karanogi je
jednostavaËna skladba, razdijeljena
misaonom pauzom. Zato se djelo sastoji
od quasi prvog i quasi drugog stavka, koji
su ujedinjeni zajedniËkim sistemom.
Ogromnu vaænost u skladbi imaju pauze.
Sve pauze su strogo ispisane i regulirane.
Moæe se Ëak reÊi da od poËetka skladbe
æivi paralelna kompozicija pauza koje
prodiru u glazbu i povezuju djelo. Kulminacija kompozicije je pauza - centralna
pauza koja traje 1 minutu i 50 sekundi, i
izvoaËi je izdræe gledajuÊi na sat. Ta
pauza svojevrsno predstavlja toËku
zlatnog reza kompozicije. Æelio sam potpuno se osloboditi svih tradicionalnih
ograniËenja u pisanju muzike, otisnuti se
u Ëistu kompoziciju, gdje tvorac raa i
diktira zakone glazbe, oblika, ukusa,
æanra itd, a ne da zakoni diktiraju
tvorcu.“ [Jaroslav Sudzilovski]
343
“Karanogi literally means „black, running legs“. It belongs to the pittish language, a language I have invented, along
with its orthography, phonetics and a secret way of writing it. While abandoning
traditional forms, the piece has a strictly
organized construction, comprising of
one movement, divided into two parts by
a contemplative pause. This is why the
piece really has a „quasi“ first movement
and a „quasi“ second movement, united
by a common system. The pauses are
hugely important for this work, all
strictly written down and regulated. You
could even say there is a parallel composition made of pauses trying to penetrate
the music and unify the piece. The composition reaches its climax during a
pause lasting for one minute and fifty
seconds, with the performers looking at
their watches. This pause also marks the
golden section point of the piece. My
wish was to break free from all the traditional restraints concerning the writing
of music, to set sail for a pure composition where the creator gives birth to
music and creates the rules of music,
form, taste, genre etc, not the other way
around.” [Jaroslav Sudzilovski]
month
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sat
Iz predstave / From the production
day
20:00, ZKL
Sho-bo-gen-zo / Vidoviti putovi /
Clairvoyant Paths,
koreoglazbeni projekt / choreomusical project
József Nagy, redatelj, koreograf i plesaË / director, choreographer and dancer
Cécile Loyer, plesaËica / dancer
Joëlle Léandre, kontrabas / double bass
Ákos Szelevényi, udaraljke i puhaËki instrumenti /
percussion and woodwind instruments
Video: Ivan Attila
Dizajn / Design: Zoltan Bicskei
Izrada kostima / Costume-making: Aleksandra PeπiÊ
Izrada rekvizita / Props production: Alexandre de Monte
Rekviziter / Props: Gyula Francia
Svjetlo / Lights: Laszlo Dobo
Zvuk / Sound: Daniel Davcik
Asistent redatelja / Director’s Assistant: Peter Gemza
Glazba i aranæmani / Music and arrangements:
Joelle Leandre & Ákos Szelevényi
Kostimi, scena / Costumes, décor: József Nagy
koproducenti / co-producers: Jugokoncert i / and
Regionalni kreativni atelje /
Regional Creative Atelier József Nagy, Kanjiæa
344
“Shobogenzo / ©oboenzo, svetu knjigu
japanskoga budizma, prikupio je
utemeljitelj soto zena Dogen zenji
izmeu 1231. i 1253. godine. Danas ovi
zapisi ne zanimaju samo prouËavatelje
budizma nego i filozofe, psihologe, lijeËnike, matematiËare, fiziËare i druge.
Izvan religije, ova nam knjiga daje
metodu nalaæenja unutraπnje slobode,
sreÊe, univerzalnog mira i vjeËne istine.
Cilj knjige jest objasniti kako uËiti i upoznati svoj stalni i beskrajni um i æivot. To
nije logiËka disertacija. Nije ni nelogiËna.
Ona je izvan svake logike.
345
“Shobogenzo, the holy book of Japanese
Buddhism was compiled by Dogen zenji,
founder of soto zen between 1231 and
1253. Nowadays this writing evokes interest not only among those who study
Buddhism in Japan but among: philosophers, psychologists, doctors, mathematicians, physicists etc.
Beyond religion, this book gives us a
method of finding the inner freedom,
happiness, universal peace and eternal
truth... Shobogenzo is not a logical dissertation. It is also not illogical. It is beyond
all logic.
Sho in Chinese and in Japanese means
true, right, the highest, the biggest, absolute. The meaning of bo is dharma,
eternal, immortal, universal, immovable
truth. Therefore shobo means the highSho / ©o na kineskome i japanskome oz- est principle, the absolute truth, the
essence of Buddhism.
naËava ono πto je istinito, najviπe, naGen means eye, eyeball, most important
jveÊe, apsolutno. Bo je dharma, vjeËno,
point, principle. In the same time it also
besmrtno, univerzalna nepromjenjiva
istina. Stoga je shobo / πobo najviπi prin- means to wake up, to return to the true
sense, to the normal state of consciouscip, apsolutna istina, bit budizma.
ness and at the end reaching the satori.
Gen/en znaËi oko, oËna jabuËica, najvaænija toËka, princip, ali znaËi i probu- Zo means warehouse, store and treasury.
diti se, vratiti se pravom osjeÊaju,
Therefore Shobogenzo means the treasnormalnom stanju svijesti i na kraju
ury where the highest, widest, deepest
doseÊi satori. Zo znaËi skladiπte,
truth, the essence of dharma, the conpohrana, riznica.
sciousness of Buddha is kept. Shobogenzo means the whole universe,
Stoga Shobogenzo / ©oboenzo znaËi:
everything that exists. Everything is
riznica u kojoj se dræi najviπa, najπira,
equally important, but on the other hand
najdublja istina, bit dharme, Budina
every existing thing has its own karma.
svijest. Shobogenzo / ©oboenzo znaËi:
When we see a cow, we see the whole ancijeli svemir, sve πto postoji. Sve je
imal: a head, a horn, a tail, all that makes
jednako vaæno, no sve πto postoji ima
up the animal, but all these different
vlastitu karmu. Kada vidimo kravu,
parts can be divided into skin, meat,
vidimo cijelu æivotinju. Nju Ëine glava,
bone, etc.
rog, rep, ali svi se ti dijelovi mogu
podijeliti na koæu, meso, kost itd.
Zapravo - nije moguÊe objasniti znaËenje
ovog pojma govorom, ili reËenicama.
Treba ga prenijeti tihim razumijevanjem,
’od moje duπe do vaπe’...”
In fact, it is not possible to explain the
meaning of the shobogenzo with talking
or sentences. It has to be handed over by
silent comprehension, ‘from my soul to
your soul’...”
day
month
25
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Nagy
József
József Nagy (Kanjiæa, 1957.) studirao je
etnografiju i glazbu u Budimpeπti, gdje
ga András Kecskés uvodi u svijet pantomime. U Parizu uËi od velikana
Marcela Marceaua i Étiennea Decrauxa.
Paralelno se upoznaje s raznim dalekoistoËnim vjeπtinama, plesom butoh,
akrobacijom, suvremenim plesom, kontaktnim plesom. Prvu samostalnu produkciju, Pekinπka patka, ostvaruje 1987.
godine i kritiËari ga ubrzo hvale kao originalnog autora srednjoeuropskog kulturnog kruga. Nagy svoju umjetnost crpi
iz djetinjstva, iz regije okoline Kanjiæe.
Ritualnost njegovih predstava formira se
nakon duæih improvizacija, a istaknuta
vizualnost njegovih komada vezana je uz
muziku: kada je to moguÊe, predstave
sadræe æivu muziku na pozornici, a Nagy
surauje s brojnim skladateljima i
izvoaËima. Kazaliπte Józsefa Nagya
danas govori “autentiËnim ravniËarskim
kazaliπnim jezikom” na svjetskom nivou.
Godine 2001. Nagy dobiva europsku
kazaliπnu nagradu Grand Prix Taormina,
koju su prije njega dobivali velikani
poput Petera Brooka, Ariane
Mnouchkine, Georgea Stehlera, Heinera
Müllera... Dobitnik je i Nagrade BITEF-a,
nagrada festivala u Avignonu,
Hamburgu, Cividaleu, Perigauxu, kao i
Zlatne Maske Moskve za predstave
Woyzeck i »uvari sna.
József Nagy (Kanjiæa, 1957) studied
ethnography and music in Budapest
where András Kecskés introduced him to
the world of pantomime. In Paris he had
the opportunity to learn from the great
Marcel Marceau and Étienne Decraux. At
the same time he learned the Far Eastern
arts, butoh dance, acrobatic and contemporary dance, and contact dance. He
did his first independent production,
The Beijing Duck in 1987, after which he
received critical acclaim as an original
author of Central European cultural circle. Nagy’s art draws on his childhood
memories set in the surroundings of the
Kanjiæa region. The rituality of his plays
is formed after longer improvisations
and the emphasized visual quality of his
plays is intertwined with music - whenever possible, he features live stage
music in his plays and Nagy himself cooperates with numerous musicians and
performers. The Jószef Nagy Theatre of
today speaks the “authentic lowland theatre language” on a cosmopolitan level.
In 2001 Nagy was given European Theatre Award Grand prix Taormina, previously awarded to people such as Peter
Brook, Ariane Mnouchkin, George Stehler, Heiner Müller... He is also a winner
of the BITEF Award, the awards of festivals in Avignon, Hamburg, Cividale, Perigaux, and the Golden Mask of Moscow
Award for Woyzeck and Dream Keepers.
346
Od 1995. godine ravnatelj je Centre
Chorégraphique National d’Orléans, koji
je pod njegovim vodstvom stekao ugled
vrhunske kazaliπne institucije. Proglaπen
je francuskim Vitezom kulture. Bavi se
grafikom, ilustrator je knjiga Rolanda
Barthesa i Milana Kundere, a 2006. godine bio je suravnatelj festivala u Avignonu. Iste je godine s radom zapoËeo
njegov Regionalni kreativni atelje József
Nagy u Kanjiæi.
347
Since 1995 he has been working as a director of Centré Chorégraphique National
d’Orléans which has, under his leadership, gained a reputation of a world-class
theatre. He has been named French
“Knight of Culture”. Nagy also works as
a graphic designer and is the illustrator
of Roland Barthes’ and Milan Kundera’s
books. In 2006 he worked as a co-director of the Avignon Festival and the same
year he started working on his József
Nagy Regional Creative Atelier in Kanjiæa.
Iz predstave / From the production
4
dan
mjesec
20:00
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sat
Szelevényi
25
hour
Ákos
month
Cécile Loyer
day
Ákos Szelevényi (Debrecen, 1966.) emigrirao je na Zapad osamdesetih godina.
Njegova je muzika ekstatiËne naravi, a izvodi je s najveÊem ekspresivnoπÊu i velikim uæivljenjem i invencijom. Szelevényi
od poËetka svoju glazbu crpi iz muziËkog
materinjeg jezika: stvaranje svog umjetniËkog svijeta temelji na maarskom folkloru, imajuÊi u vidu rezultate priznatih
autora Györgya Szabadosa i Mihálya
Drescha. Ovi muziËki elementi i vrhunska umjetniËka kvaliteta osigurali su mu
mjesto meu najpoznatijim suvremenim
europskim jazz-muziËarima, a najËeπÊe
Cécile Loyer (Poissy, 1973.) francuska je
surauje s umjetnicima iz Francuske i
plesaËica i koreografkinja koja je suraSAD-a (izmeu ostalog i s Ëlanovima saivala s brojnim umjetnicima i plesnim stava Art Ensemble of Chicago). Posljednjih
kompanijama, a 2001. godine osnovala je godina redovito surauje s Jószefom
vlastitu plesnu kompaniju, C. Loy.
Nagyem.
Cécile Loyer (Poissy, 1973) is a French
dancer and choreographer who has collaborated with many artists and dance
companies and founded her own company, C. Loy, in 2001.
Ákos Szelevényi (Debrecen, 1966) emigrated to the West during 1980s of the
20th century. His music is ecstatic and he
performs it with utmost expressiveness,
great empathy and inventiveness. Szelevényi’s music has always been rooted in
the music of his mother tongue: he created
his own artistic world based on Hungarian
folklore, at the same time taking into
consideration the achievements of renowned authors, such as György Szabados
and Mihály Dresch. Such musical elements,
along with superior artistic quality, have
launched him among the most recognized
contemporary European jazz musicians.
He mostly cooperates with artists from
France and USA (among who are the
members of the Art Ensemble of Chicago)
and in the last couple of years he has
cooperated with Jószef Nagy on a
regular basis.
349
Léandre
Joëlle
348
Joëlle Léandre (Aix-en-Provence, 1951.)
svirala je blok-flautu, klavir i kontrabas u
rodnom gradu. Njezin uËitelj kontrabasa,
Pierre Delescluse, potaknuo ju je da se
upiπe na Pariπki konzervatorij, gdje je dobila najviπe ocjene. Godine 1976. dobila
je stipendiju za Center for Creative and
Performing Arts u Buffalu (SAD), πto Êe
se pokazati kao izuzetno znaËajno razdoblje, posebice zbog susreta s Mortonom
Feldmanom te upoznavanja s glazbom
Earla Browna, Johna Cagea i Giacinta
Scelsija. Istovremeno je dobila priliku iskusiti i alternativnu glazbenu scenu New
Yorka i nastaviti s angaæiranoπÊu na podruËju improvizacije u glazbi. Nastavila je
s djelovanjem u “konvencionalnoj” suvremenoj glazbi i to ne samo kao Ëlanica
ansambla suvremene glazbe nego i izvedbama djela Cagea i Scelsija, od kojih
je nekoliko i snimila. O Cageu je jednom
prilikom rekla: “On Êe zauvijek ostati moj
duhovni otac. John me natjerao da osluπkujem svijet oko sebe.” O Scelsiju: “Susret bitan koliko i susret s Cageom; on je
poπtovao slobodu mojih radnji; njegova
glazba me preplavljivala jer je jedna od
najiskrenijih, jer nam pripovijeda o naπoj
svijesti, o naπem ljudskom stanju.”
SluπajuÊi jazz, “brzo sam se uhodala u
slobodan, improvizirani izriËaj u kojem
je, za mene, Derek Bailey iznimno bitan,
isto kao i George Lewis i Irène Schweizer
i, naravno, Anthony Braxton. Susret s
Derekom u New Yorku prije nekoliko godina imao je sliËan utjecaj na mene kao i
susret s Cageom”. Léandre je snimala s
Baileyjem te suraivala s nizom improvizatora. »lanica je skupine European Women’s Improvising Group, a snimila je i
jedan od “najËudnijih” albuma (Ëak i prema standardima slobodnog,
improvizirajuÊeg dæeza), Les domestiques
s Jonom Roseom - kolekciju zvukova iz
kuÊanstva s glazbenim efektima - a nedavno je osnovala i The Canvas Trio.
Joëlle Léandre (1951, Aix-en-Provence)
started playing recorder and studied
both piano and double bass in her home
town. Her double bass teacher, Pierre
Delescluse, encouraged her to apply to
the Conservatoire National Superieur de
Musique de Paris where she won first
prize for double bass. In 1976 she received a scholarship to the Center for
Creative and Performing Arts in Buffalo,
a time that was to prove particularly influential due to encounters with Morton
Feldman, and the music of Earl Brown,
John Cage and Giacinto Scelsi. She was
also able to experience the downtown
New York music scene and continue her
involvement in improvised music. Léandre has continued to be involved with
‘straight’contemporary music, not only
as a member of contemporary music ensembles but particularly through the
works of Cage and Scelsi, several of
which have been recorded by her. Of
Cage, she said “He will always be my
spiritual father... John made me listen to
the world around me“. And on Scelsi: “
as important as meeting Cage; he respected the freedom of my actions; His
music overwhelmed me; it is one of the
truest, because it speaks to us of our conscience, of our human condition.” After
listening to jazz “I quickly got into the free,
improvised realm where, for me, Derek
Bailey is extremely important, also George
Lewis and Irène Schweizer, and for sure,
Anthony Braxton. Meeting Derek in New
York several years ago had nearly the same
impact on me as meeting Cage”. Léandre
recorded with Bailey and has worked with
a wide range of improvisers. She is a
member of the European Women’s Improvising Group and has recorded one of
the „weirdest“ records (even by free improvising standards) in Les domestiques
with Jon Rose - a collection of domestic
noises set to musical effect - and more
recently has formed The Canvas Trio.
day
month
25
4
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sat
22:00, MDVL
Komorni ansambl UMZE /
UMZE Chamber Ensemble
Komorni zbor MuziËke akademije Zagreb/
Chamber Choir of the Music Academy Zagreb
Zoltán Rácz , dirigent i umjetniËki ravnatelj /
conductor and artistic director
Máté Bella: Chuang Tzu’s Dream / San »uang Cua
Zsolt Serei: ... stets blickend in die Höh / ... gledajuÊi uvijek u visinu /
… ever glancing to the skies, za obou i komorni ansambl / for oboe and
chamber ensemble
Dalibor BukviÊ: Ad lucem / K svjetlu / Towards the Light, za ansambl i zbor,
for choir and chamber ensemble
Tristan Murail: Seven Lakes Drive
György Ligeti: Melodien / Melodije / Melodies
350
Ansambl UMZE (Új Magyar Zene
Egyesülete = Novo maarsko glazbeno
druπtvo) odræao je prvi koncert godine
1997. na festivalu Budimpeπtanska jesen.
Jasna je paralela izmeu ovog druπtva i
izvornoga Novog maarskog glazbenog
druπtva koje su osnovali Bartók, Kodály i
Weiner 1911. godine jer UMZE nastavlja
ambiciju da se klasiËna glazba 20. stoljeÊa zadræi na repertoaru te da se najnovija sijela maarskih i inozemnih
autora pribliæe publici. Novi UMZE
postao je vrijednim dijelom maarske
glazbene scene. U poËetku je djelovao
tek povremeno jer nije imao redovnih
prigoda te je koristio infrastrukturu
ansambla Amadinda. Ipak su uspjeli nastupiti na najprestiænijim festivalima u
Maarskoj te svirati u Berlinu, Zagrebu,
Karlsruheu i Avignonu. Takoer su objavili 4 nosaËa zvuka. Meu osnivaËima
druπtva su prominentne liËnosti
maarske glazbe kao πto su György
Ligeti, György Kurtág, András Szőllősy,
Péter Eötvös i Lászlo Vidovszky kao predsjednik. Odbor druπtva na tri je godine
odabrao Zoltána Rácza za umjetniËkog
ravnatelja te Pétera Eötvösa za
poËasnoga πefa-dirigenta. VeÊ drugu
godinu zaredom sredstva Ministarstva
kulture ansamblu omoguÊuju redovno
djelovanje. Meu vrhuncima protekle sezone jesu koncert u Ëast Stevea Reicha i
Louisa Andriessena, gostovanje na
Glazbenom festivalu Schleswig-Holstein
u Hamburgu s programom Ligetijevih
djela i godiπnji program Hommage á
Ligeti, kojim se nastoje osigurati izvedbe
cjelokupnog opusa tog velikana
maarske glazbe.
351
The UMZE (short for ’Új Magyar Zene
Egyesülete’ in Hungarian = ’New Hungarian Music Society’) Ensemble gave its
debut concert at the 1997 Budapest Autumn Festival. The parallel between the
original New Hungarian Music Society formed by Bartok, Kodaly and Leo
Weiner in 1911 - and today’s UMZE ensemble is apparent as they continue
their ambition to keep the now classic
compositions of the 20th century in the
repertoire and to bring the most recent
compositions of both Hungarian and
foreign composers to the listener. The
newborn UMZE has become an asset to
Hungarian music in the past ten years.
Lacking regular funding, the ensemble
operated on an occasional basis at first,
using Amadinda’s infrastructure. Nevertheless, they appeared at the most prestigious Hungarian festivals and gave
concerts in Berlin, Karlsruhe, Avignon
and Zagreb. UMZE has also released 4
CDs. The New Hungarian Music Society’s founding members include many
prominent figures of Hungarian music
like the György Ligeti, György Kurtág,
András Szőllősy, Péter Eötvös, and Lászlo Vidovszky as president. UMZE’s executive board elected Zoltán Rácz as
Artistic Director for three years and Péter
Eötvös as honorary Principal Conductor.
For a second consecutive year a grant
from the cultural ministry enables the
UMZE Ensemble to take on a regular
schedule. Among the highlights of the
last season were special tribute concerts
to Steve Reich and Louis Andriessen, a
guest appearance at the Schleswig-Holstein Festival in Hamburg with an allLigeti program and UMZE’s annual
Hommage á Ligeti concert, from a series
aiming to offer performances of the entire
oeuvre of this great Hungarian composer.
month
25
4
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sat
“Tri maarska autora Ëija Êe djela biti
izvedena na koncertu ansambla UMZE
predstavljaju tri generacije maarskih
skladatelja: György Ligeti (1923. - 2006.)
bio je avanturist i πto se forme i πto se ekspresije tiËe te velik vizionar suvremene
glazbe. Njegov raznolik opus zauzeo je
posebno mjesto u povijesti glazbe po
svojoj visokoj glazbenoj kvaliteti i
beskompromisnoj individualnosti. Zsolt
Serei (1954.) piπe svoja djela sa strogom
samokritiËnoπÊu, uz iznimnu paænju, te
stoga nije meu najplodnijim skladateljima. Njegova djela karakterizira delikatnost zvuka i tona, bogatstvo
raspoloæenja i atmosfere. Najmlai, Máté
Bella (1985.) jedan je od najperspektivnijih talenata svoje generacije, a njegova je
skladba nagraena u kategoriji komorne
glazbe na skladateljskom natjecanju
Novoga maarskog muziËkog foruma.”
[UMZE]
U predgovoru djelu Melodien Ligeti
navodi da ono ima tri “sloja”: prednji,
koji sadræava melodije, srednji, sa sekundarnim figurama (Ëesto ostinatima) i
pozadinski, u kojem su dugi dræani
tonovi. Tri se sloja isprepliÊu i Ëuje se
komabinacija melodija, klastera i
uzlaznih ljestvica, a svaka dionica zapravo samostalno diπe.
György Ligeti (C) BMC -Andrea Felvegi
day
Ligeti
György
„The three Hungarian authors whose
works will be performed in the concert
program by UMZE Chamber Ensemble,
represents three generation of the Hungarian composers. György Ligeti (19232006) was an adventurer in form and
expression and a great visionary of contemporary music. His richly varied output takes a special position in its musical
quality and uncompromising individuality. Zsolt Serei (1954) writes his pieces
with severe self-criticism, with meticulous care, and thus does not count as one
of the prolific composers. His scores are
characterized by a delicacy of sound and
tone, a richness of mood and atmosphere. The youngest, Máté Bella (1985)
is one the most promising talents of his
generation, his present composition was
the winner of the chamber music category of New Hungarian Music Forum
composition competition 2009 (UMZF
2009).“ [UMZE]
In the preface of the score of Melodien,
Ligeti refers to the three “strata” of the
piece: the foreground which features the
melodies of the title, the middle layer
made up of secondary figures (some of
them ostinato-like), and a background
consisting of long, sustained tones. The
three layers are intertwined and we hear
a combination of melodies, upward
scales and clusters while each part also
seems to breathe independently.
353
Serei
Zsolt
Máté Bella
352
Zsolt Serei (Takácsi, 1954.) studirao je
trombon pod vodstvom Györgya Zilcza i
Józsefa Nagya i kompoziciju pod Istvánom Feketom Győrom. Diplomirao je
kompoziciju (1979.) na Akademiji Liszt
kao student Endrea Szervánszkyog i
Emila Petrovicsa te dirigiranje (1982.) u
klasi Andrása Kórodija i Ervina Lukácsa.
Od 1978. godine Ëlan je studija New Music kao izvoaË, dirigent i skladatelj. Od
1986. godine radi kao predavaË na AkaMáté Bella (Budimpeπta, 1985.) studira
demiji Ferenc Liszt. Godine 1989. osnona Akademiji Ferenc Liszt u Budimpeπti, vao je instrumentalni ansambl
Componensemble, koji je postao znaËajan
gdje mu kompoziciju predaje Gyula
pokretaË u stvaranju suvremene glazbe u
Fekete. UnatoË svojoj mladosti Bella je
Maarskoj te je premijerno izveo djela
osvojio nekoliko nagrada na natjecanjima iz kompozicije, od kojih prvu u dobi Bouleza, Kurtága i Feldmana. Serei je
1991. godine kao dirigent tog ansambla
od 15 godina. Proglaπen je skladateljem
gostovao na MuziËkom biennalu u Zagrebu.
najbolje pjesme u 2007. godini na natjecanju koje je odræao Fakultet za kazaliπte
i film u Budimpeπti, dijelio je prvo mjesto Zsolt Serei (Takácsi, 1954) studied trombone under the direction of György Zilcz
na natjecanju Akademije Ferenc Liszt u
2008. godini, a ove je godine osvojio na- and József Nagy, and composition under
István Fekete Győr. At the Ferenc Liszt
gradu u kategoriji komorne glazbe na
Academy of Music he received his degree
Kompozicijskom natjecanju novog main composition (1979) as a student of
arskog glazbenog foruma (UMZF 2009.).
Endre Szervánszky and Emil Petrovics,
and conducting (1982) in the class of AnMáté Bella (Budapest, 1985) is a student drás Kórodi and Ervin Lukács. He has
been a member of the New Music Studio
at the Ferenc Liszt Academy of Music
Budapest where his teacher at composi- since 1978 as a performer, conductor
and a composer. He has been a teacher
tion is Gyula Fekete. Despite his young
at the faculty of composition of the Ferage Bella has won several composition
enc Liszt Academy since 1986. In 1989 he
competitions, the first one at the age of
founded the instrumental group Compo15. He was the Composer of the Best
nensemble, which has become a signifiSong in 2007, at a competition organized
cant base for contemporary
by the University of Theatre and Film in music-making in Hungary and has preBudapest, he shared the first prize at the miered pieces by Boulez, Kurtág and
Ferenc Liszt Academy Competiton in
Feldman. Their repertoire includes inter2008, and in January 2009 he won the
national and Hungarian contemporary
New Hungarian Music Forum Composi- chamber works. In 1991 Serei attended
the Music Biennale Zagreb, as a conduction Competition (UMZF 2009) in the
tor of the ensemble.
category of chamber music.
day
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25
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sat
BukviÊ
Dalibor
Dalibor BukviÊ (Sinj, 1968.) diplomirao
je kompoziciju u klasi Stanka Horvata na
MuziËkoj akademiji u Zagrebu. Usavrπavao se na ljetnim teËajevima u Darmstadtu kod Karlheinza Stockhausena i
Luce Lombardija, u Parizu na Ljetnoj
akademiji IRCAM-a, a kao stipendist
francuske vlade studirao je na Odsjeku
za elektroakustiku Pariπkog konzervatorija u klasi Laurenta Cuniota te na
Konzervatoriju regije Boulogne u klasi
Michela Zbara. Dobitnik je Rektorove
nagrade SveuËiliπta u Zagrebu i Nagrade
Stjepan ©ulek. Piπe za instrumente solo,
komorne sastave, za zbor i orkestar, za
kazaliπte i film. Surauje sa ZagrebaËkim
kazaliπtem mladih, HNK Osijek, plesnom
grupom Gesta, amsterdamskom trupom
Griftheater, pariπkim Alchimistes i
grupom Dance Mission iz San Francisca.
Djela mu izvode brojni domaÊi i inozemni umjetnici i ansambli, a mnoga
su i snimljena na nosaËima zvuka.
Od 1996. do 2008. godine æivio je u
Parizu, gdje je radio kao korepetitor te
profesor klavira, glazbene teorije i improvizacije na viπe πkola i konzervatorija.
Od 2008. godine æivi u Zagrebu i predaje
glazbeno-teorijske predmete na MuziËkoj akademiji SveuËiliπta u Zagrebu.
Skladba Ad lucem za mjeπoviti zbor i
orkestar skladana je 2009. godine na
autorov vlastiti latinski tekst.
Dalibor BukviÊ (Sinj, 1968) graduated in
composition under Stanko Horvat from
the Music Academy in Zagreb. He furthered his studies at the Darmstadt Summer Courses, with Karlheinz Stockhausen
and Luca Lombardi, at IRCAM’s Summer
Academy in Paris, and studied at the
Electroacoustic Music Department of the
Paris Conservatory, on a scholarship
provided by the French government. He
also studied at the Conservatory of the
Boulogne Region, under Michel Zbar.
BukviÊ is the recipient of the Zagreb
University Chancellor’s Award and the
Stjepan ©ulek Award. He writes for solo
instruments, chamber ensembles, for
choirs and orchestras as well as theatre
and film music. He has worked with the
Zagreb Youth Theatre, the Croatian National Theatre in Osijek, the Gesta dance
group, the Griftheater Company from
Amsterdam, the Alchimistes from Paris
and the Dance Mission from San Francisco. His pieces are frequently performed by Croatian and international
artists and ensembles, with many of
them recorded on CDs. From 1996 until
2008 BukviÊ lived in Paris and worked
there as an accompanist, piano teacher,
and professor of music theory and improvisation at several schools and conservatories. Since 2008 he has lived in
Zagreb, where he teaches music theory
at the Music Academy.
His piece Ad lucem for mixed choir and
orchestra was written in 2009, using the
author’s own Latin text.
354
Tristan Murail o skladbi Seven Lakes
Drive:
„Blizu mjesta gdje stanujem proteæe se
prostrano saËuvano zemljiπte, prirodni
park (Harriman State Park) koji pripada
velikom gorskom lancu, ApalaËima; tu se
planine pokrivene πumama izmjenjuju s
prirodnim ili umjetnim jezerima.
Parkom se od jednoga kraja na drugi
proteæe put, Seven Lakes Drive - Put
sedam jezera. Krivuda uz strmine, pruæajuÊi pogled na jezera, jedno jezero za
drugim. To su zvukovi roga, krivudave
melodije koje vode ËvrπÊim i harmoniËnijim zvukolicima, jezerima glazbe
koja su sva ista, a svako je razliËito.
TehniËki promatrano, komad je zasnovan na prirodnome harmonijskom rezoniranju roga i klavira.“
355
Tristan Murail on Seven Lakes Drive:
“Near where I live, there is a large stretch
of preserved land, a natural park (Harriman State Park) belonging to the vast
Appalachian range where small forest
covered mountains are spangled with artificial or natural lakes. A road crosses
the park from end to end, the Seven
Lakes Drive. It winds through the hills,
revealing views of the seven lakes one by
one. Horn calls, sinuous melodies leading toward more stable and more harmonic soundscapes, lakes of music, all
the same, all different.
Technically, the piece is based on the
natural harmonic resonances of the horn
and piano.”
viπe o Tristanu Murailu / more about
Tristan Murail: str. / page 422
day
month
25
4
dan
mjesec
hour
23:30
subota / saturday
sat
23:30, &TD
.HESSLERS.: smallOnes brainpain
Dio projekta Muzika - Diverzija / A Part of the Music- Diversion Project
Christoph Hessler, glas, gitara / vocals, guitar
Sebastian Wagner, glas i gitara / vocals, guitar
Thomas Zipner, bas-gitara i glas / bass guitar, vocal
Moritz Müller, bubnjevi / drums
356
„.hesslers., sastav osnovan u
Mannheimu 2005. godine, prve nastupe
odræao je mjesec dana nakon osnutka, a
na prvu njemaËku turneju krenuo je u
2006. godini. Iste godine uπli su u Bandpool, natjecateljski projekt za nove talente te izdali album pod nazivom
smallOnes brainpain. Na drugoj su
turneji, poËetkom 2007. godine nastupili
na poznatim njemaËkim glazbenim festivalima: najznaËajniji takav nastup bio je
na festivalu Rock am Ring - najveÊem europskom rock festivalu - gdje su svirali za
150.000 ljudi uz bendove poput Smashing Pumpkins, Muse, Slayer itd. Nakon
festivalskog ljeta 2007. godine, .hesslers.
su osmislili svoju do sada najopseæniju
turneju s dvadeset i dva nastupa. Oboæavatelja je bilo sve viπe te su .hesslers.
uskoro postali vaæan bend na njemaËkoj
glazbenoj sceni. Nakon πto su tijekom
2008. godine pisali nove pjesme, sastav
trenutaËno snima novi studijski album s
poznatim talijanskim producentom
Fabiom Trentinijem.
U danaπnje vrijeme promjenljive
glazbene industrije .hesslers. su uskoro
napustili tonuÊi brod i pokrenuli vlastito
poslovanje. Uz pomoÊ interneta, Amazona, digitalne distribucije preko
iTunesa i Finetunesa, uz paæljivo
odabrane vanjske partnere, timski rad i
umreæavanje, postigli su ono πto pomodni video spotovi, savjetovanje oko
plastiËnog imidæa i skupi marketing nisu:
.hesslers. imaju glazbu, energiju i visoku
kvalitetu i stihova i glazbe, zbog Ëega ih
njihovi oboæavatelji vole, kupuju njihove
albume i odlaze na njihove koncerte.
Zato paæljivo gledajte pozornicu, jer niπta
vam ne moæe opisati πto se na njoj
deπava: energija i snaga. BuËno, æivo,
snaæno, zahtjevno, a istovremeno
zarazno, nepredvidljivo i nadahnuto...“
357
„Founded in Mannheim in 2005,
.hesslers. landed their first gigs a month
later and ventured out on their first tour
of Germany in 2006. The same year, they
also made it into „Bandpool“, a highly
competitive funding project for newcomer talents, and released their first
album smallOnes brainpain. Their second tour, in early 2007, included the
stages of Germany’s famous alternative
music festivals: The biggest deal was the
Rock am Ring - Europe’s biggest rock
festival - where they played for 150.000
festival goers along Smashing Pumpkins,
Muse, Slayer etc. After the festival summer of 2007, .hesslers. mastered their so
far most extensive tour with 22 gigs. Like
the gigs, the fans multiplied and
.hesslers. are becoming a force to be
reckoned with in the German music
business. After having written new
songs, the band is now recording their
new studio album with well known Italian producer Fabio Trentini, who is responsible for a few of the most
recognized rock-productions in Europe.
In times of a fickle music industry,
.hesslers. left the sinking ship and now
mind their own business. The internet,
Amazon.com, digital distribution over
itunes and finetunes, selected external
partners, teamwork, and networking can
do what fancy videos, plastic fantastic
image consulting, and expensive marketing wouldn’t. The music, the energy, and
the quality of the music and the lyrics are
what makes .hesslers. Fans like it, they
buy their records and rock out to their
concerts.
So keep your eyes and ears locked on the
stage because nothing can describe
what’s happening up there: Energy and
Strength. Noisy, live, forceful, demanding, and at the same time catchy, unpredictable and inspiring...“
Viπe o projektu Muzika-Diverzija /
More about the Music-Diversion project:
str. /page 412
day
month
nedjelja / sunday
26 4
13:30, BPSI
Suvremena glazba za orgulje /
Contemporary Organ Music
Elizabeta ZaloviÊ, orgulje / organ
16:30, HDLU
FlautistiËki maraton / Flute Marathon
Roberto Fabbriciani, flaute / flutes
19:30, HNK
Berislav ©ipuπ - Staπa Zurovac - Franz Kafka:
Proces / The Trial*
balet / ballet
23:00, &TD, polukruæna dvorana / semicircular halla
Trondheym
elektroniËki jazz / electronic jazz
day
month
26
4
dan
mjesec
hour
13:30
nedjelja / sunday
sat
13:30, BPSI
Suvremena glazba za orgulje /
Contemporary Organ Music
Elizabeta ZaloviÊ, orgulje / organ
Anelko KlobuËar: Hommage Cecchiniju / Hommage à Cecchini
Petr Eben: Hommage Buxtehudeu / Hommage à Dietrich Buxtehude
Naji Hakim: Gershwinesca
Lionel Rogg: Hommage Takemitsuu: Zemlja, voda /
Hommage à Takemitsu: La Terre, L’Eau / Earth, Water
Ivo JosipoviÊ: Lichtenstein Pop-Art (Hommage Royu Lichtensteinu /
Hommage à Roy Lichtenstein)*
360
Elizabeta ZaloviÊ osnovnoπkolsko i srednjoπkolsko glazbeno obrazovanje stekla
je u Donjecku (Ukrajina) i u Zagrebu. Na
MuziËkoj akademiji u Zagrebu diplomirala je glazbenu teoriju. Zaposlena je u
Srednjoj glazbenoj πkoli Pavla Markovca,
gdje predaje teorijske glazbene predmete. Orgulje je studirala na Institutu za
crkvenu glazbu u klasi prof. M. Kudrne, a
poslije je diplomirala na MuziËkoj akademiji u klasi prof. Ljerke OËiÊ. Godine
2006. zavrπila je umjetniËko usavrπavanje
iz orgulja na MuziËkoj akademiji u klasi
prof. Marija Penzara.
Kao orguljaπica nastupala je u zemlji i
inozemstvu. Na Danima hrvatske glazbe
praizvela je 7 Preludija za orgulje skladatelja Branka Lazarina, a na 7. i 9. meunarodnom festivalu orgulja Organum
Histriae nastupila je kao Ëlanica sastava
ZagrebaËkoga komornog orkestra. Ostvarila je niz koncerata u zemlji i inozemstvu kao Ëlanica orguljaπkog dua
ZaloviÊ-Kudrna Quattro obbligato, a
2008. godine snimila je nosaË zvuka u izdanju diskografske kuÊe Croatia Records.
“Ideja koncerta je hommage, dakle, utjecaj i paralele glazbene tradicije u suvremenom autorskom idiomu u skladu s
moguÊnostima i specifiËnostima
orgulja…
Monumentalno nasljee orguljske literature neizbjeæno se reflektira i u suvremenim skladbama za taj instrument.
Inspiracija i reinterpretacija iz arhetipskih izvora skladbi, skladatelja i stilova
oËituje se u djelima naπih suvremenika,
poput klasika danaπnjice Petra Ebena.
Drugu dimenziju predstavlja istraæivanje
(i uæivanje) u brojnim moguÊnostima
koje pruæaju orgulje u idiomu skladatelja
koji nisu vezani za taj instrument
(relacija Gershwin - Hakim). Hommage
je valorizacija tradicije, eksperiment i
sinergija.” [Elizabeta ZaloviÊ]
361
Elizabeta ZaloviÊ received her primary
and secondary music education in
Donetsk (Ukraine) and Zagreb. She graduated in music theory from the Music
Academy in Zagreb. She teaches music
theory works in the Pavao Markovac
music school. ZaloviÊ studied organ at
the Institute for Church Music in the
class of M. Kudrna and later graduated
from the Music Academy under Ljerka
OËiÊ. In 2006 she completed her artistic
education at the Music Academy in the
class of Mario Penzar.
As an organist, she has performed in
Croatia and abroad, namely at the Croatian Music Days where she premièred the
7 Organ Preludes by Branko Lazarin, at
the 7th and the 9th International Organ
Festival Organum Histriae, and she has
performed as a member of the Zagreb
Chamber Orchestra. She had numerous
concerts in Croatia and abroad as a
member of the ZaloviÊ-Kudrna organist
duo, Quattro obbligato, and in 2008 she
recorded a CD for the record company
Croatia Records.
“The concept of this concert is - hommage, the influence and parallels of traditional classical music found in the
idioms of contemporary composers idioms, taking into consideration the specific qualities of the organ... The
monumental heritage of organ literature
is inevitably mirrored in the organ pieces
written by our contemporaries, such as
Petr Eben, a modern classic. Another dimension of the concept is the research and the enjoyment - of the numerous
possibilities the organ had to offer, found
in the idiom of composers not really affiliated with this instrument (the Gershwin - Hakin relation). The hommage is a
valorisation of tradition, an experiment,
and a synergy.” [Elizabeta ZaloviÊ]
day
month
26
4
dan
mjesec
hour
13:30
nedjelja / sunday
sat
KlobuËar
Anelko
Anelko KlobuËar (Zagreb, 1931.) na zagrebaËkoj je MuziËkoj akademiji
diplomirao teorijsko-historijski odsjek te
studirao kompoziciju (Milo Cipra) i
orgulje (Franjo LuËiÊ); usavrπavao se u
kompoziciji (A. Jolivet) i orguljama (A.
Nowakowski), a predavao je na MuziËkoj
akademiji te na Institutu za crkvenu
glazbu Albe VidakoviÊ. Kao vrstan orguljaπ (od sredine 1950-ih niz je godina bio
stalni orguljaπ zagrebaËke katedrale)
svoje umijeÊe obiljeæeno jakim utjecajem
francuske πkole implementira i u stvaralaπtvu te sklada opseæan opus posebno
zamjetan u podruËju komorne i
orguljske glazbe. U njegovu je radu osobito dojmljiva mnogoznaËnost pristupa
boji i principima improvizacijske misli i
invencije, uz postojano promiπljanje
parametara povijesnih glazbenih odrednica. ZnaËajan je i njegov prinos opusu
hrvatske filmske glazbe. [Dodi Komanov]
Anelko KlobuËar (Zagreb, 1931) graduated from the music history department
at Zagreb’s Music Academy and studied
composition (under Milo Cipra) and
organ (Franjo LuËiÊ), furthering his studies in composition with A. Jolivet and the
organ with A. Nowakowski. He taught at
the Music Academy in Zagreb and the
Albe VidakoviÊ Institute for Church
Music. As a brilliant organist (and the
resident of the Zagreb Cathedral since
the 1950s) KlobuËar applied his artistry,
largely influenced by the French School,
to his creative work and generates an extensive opus, especially notable for its
chamber and organ works. His work is
especially marked by an impressive multifaceted approach to musical colour,
and by the principles of improvisational
thought and invention, with constant
consideration of the historical musical
guidelines. His contribution to the Croatian film music opus is significant as
well. [Dodi Komanov]
363
Eben
Petr
362
Petr Eben (Zamber, 1929. - Prag, 2007.),
jedan od najpoznatijih Ëeπkih skladatelja, studirao je klavir i kompoziciju
na MuziËkoj akademiji u Pragu i predavao na Odsjeku za povijest glazbe
praπkog Karlova sveuËiliπta. Predavao je i
kompoziciju na Kraljevskom koledæu u
Manchesteru te od 1990. na praπkoj
Akademiji izvedbenih umjetnosti. Bio je
predsjednik festivala Praπko proljeÊe i aktivno nastupao kao pijanist i orguljaπimprovizator. Pisao je orguljska djela,
orkestralne komade, balete, oratorije, a
najviπe je inspiracije crpio iz staroga
liturgijskog pjevanja i narodnih pjesama.
Hommage Buxtehudeu napisao je 1987.
godine u povodu Buxtehudeova 350.
roendana, na narudæbu Ministarstva
obrazovanja njemaËke savezne pokrajine
Schleswig-Holstein. Za posvetu majstoru
sjevernonjemaËke orguljske toccate
odabrao je glazbeni oblik toccate i fuge.
Petr Eben (Zamber, 1929 - Prague, 2007),
one of the best-known Czech composers,
studied piano and composition at the
Prague Academy of Music and held a
teaching post in the History of Music Department at Prague’s Charles University.
He was professor of composition at the
Royal Northern College of Music in Manchester. In 1990 he became a professor of
composition at the Academy of Performing Arts in Prague. Eben was the President of the Prague Spring Festival and
active as an improviser on piano and
organ. He wrote organ works, orchestral
pieces, ballets, oratories. Two main
sources of his inspiration were the plain
chant and the folk songs.
In 1987 Petr Eben wrote his Hommage à
Dietrich Buxtehude on the occasion of
Buxtehude’s 350th birthday, commissioned by the Ministry of Education of
Schleswig-Holstein. By choosing the toccata-fugue, the composer paid homage
to Buxtehude, the master of the North
German organ toccata.
month
26
4
dan
mjesec
hour
13:30
nedjelja / sunday
sat
Naji Hakim
day
Naji Subhy Paul Irénée Hakim (Beirut,
1955.) studirao je na Pariπkom konzervatoriju i koledæu Trinity u Londonu. Dobitnik je devet prvih nagrada na
meunarodnim natjecanjima orguljaπa i
skladatelja za orgulje. Bio je prvi orguljaπ
Bazilike Sacré-Coeur u Parizu, a zatim je
naslijedio Oliviera Messiaena kao orguljaπ Crkve sv. Trojstva. Profesor je analize
na Konzervatoriju regije Boulogne-Billancourt i gostujuÊi profesor Kraljevske
muziËke akademije u Londonu. Papa
Benedikt XVI. dodijelio mu je kriæ Pro Ecclesia et Pontifice za predani rad za dobrobit KatoliËke crkve. Piπe glazbu za solo
instrumente, simfonijska djela, oratorije,
mise, kantate, a napisao je i Ëetiri
orguljska i jedan violinski koncert.
Hakim je napisao Gerschwinescu na
narudæbu engleskog pijanista i
orguljskog virtuoza Waynea Marshalla.
RapsodiËno djelo s druge strane oceana
odaje poËast Georgeu Gershwinu, podsjeÊajuÊi na πaljiv naËin i u formi ronda
na nekoliko tema velikog ameriËkoga
skladatelja simfonijskog dæeza.
Naji Subhy Paul Irénée Hakim (Beirut
1955) studied at the Paris Conservatory
and the Trinity College of Music in London. He has won nine first prizes at international organ and composition
competitions. He was the organist of the
Basilique du Sacré-Coeur, Paris and then
became organist of l’Église de la Trinité,
in succession to Olivier Messiaen. He is a
professor of musical analysis at the
Boulogne-Billancourt Conservatory, and
visiting professor at the Royal Academy
of Music, London. In 2007, Pope Benedict XVI has awarded Hakim the Pro Ecclesia et Pontifice Cross, for his
commitment and work for the benefit of
the Church. Hakim’s works include solo
instrumental music symphonic pieces,
oratories, masses, cantatas, four organ
concertos, a violin concerto.
Naji Hakim wrote Gershwinesca in answer to the commission of the English
piano and organ virtuoso, Wayne Marshall. The rhapsodic piece pays a tribute,
from beyond the oceans, to George
Gershwin, by recalling, in a witty and humorous rondo form, several themes of
the American great symphonic jazz composer.
365
Lionel
Rogg
364
Lionel Rogg (Æeneva, 1936.) orguljaπ je,
Ëembalist, skladatelj i profesor koji je tri
puta snimio kompletan orguljski opus J.
S. Bacha. Na Æenevskom konzervatoriju
studirao je orgulje u klasi Pierrea
Segonda i klavir u klasi Nikite Magaloffa.
Orguljske je recitale svirao diljem Europe, Amerika i Azije. Predavao je na
Æenevskom konzervatoriju do 2001. godine, a danas predaje orgulje i improvizaciju na Kraljevskoj muziËkoj
akademiji u Londonu. U novije se vrijeme bavi skladanjem i piπe djela za
orgulje, klavir, zborove uz orkestar i komorne sastave.
“Kulturna razmjena izmeu Europe i
Dalekog istoka ne potjeËe tek iz naπeg
doba. Bilo da je rijeË o slikarstvu, knjiæevnosti, kazaliπtu, ove su razmjene
snaæno utjecale na umjetniËke aktivnosti
na tim podruËjima. U glazbi 20. stoljeÊa
dobar je primjer veliki skladatelj Toru
Takemitsu: sluπanje njegovih djela uvjerilo me u moguÊnosti obnavljanja
glazbenog senzibiliteta zahvaljujuÊi suptilnoj melankoliji koja mijeπa tradicijsku
japansku kulturu i skladateljske tehnike
zapada. Kao temu odabrao sam Ëetiri elementa, no nije bila rijeË o imitiranju osobnoga Takemitsuova stila niti o
ilustriranju Ëetiriju elemenata - viπe mi
se Ëini da je moja glazba sluπala zemlju,
vodu, vatru i zrak, puπtajuÊi da je, velikim dijelom nesvjesnu slike, vode
slike.” [Lionel Rogg]
Lionel Rogg (Geneva, 1936) is an organist, harpsichordist, pedagogue, and composer who has recorded the complete
organ works of Bach three times. He
studied at the Geneva Conservatory with
Pierre Segond (organ) and Nikita Magaloff (piano). He has given recitals all over
Europe, the Americas and Asia. Rogg was
a professor of organ at the Geneva Conservatory until 2001 and he now teaches
organ and improvisation at the Royal
Academy of Music in London. He has
lately turned to composing, writing
organ works, piano pieces, choral works
with orchestra and chamber music.
“The cultural exchange between Europe
and the Far East has started long before
our time. Whether it’s painting, literature, or theatre, these exchanges have
strongly influenced the artistic activities
in both parts of the world. A good example of this in 20th century music is the
great composer Toru Takemitsu: listening to his works made me realize that
there was a chance of renewing musical
sensibilities, owing to a subtle melancholy mixing traditional Japanese culture
with the compositional techniques of the
West. As my subject, I have chosen the
four elements - it seems to me that my
music had been listening to the earth,
the water, the fire and the air, allowing
itself to be led by the imagery.”
[Lionel Rogg]
day
month
26
4
dan
mjesec
hour
13:30
nedjelja / sunday
sat
JosipoviÊ
Ivo
Ivo JosipoviÊ (Zagreb, 1957.) doktor je
pravnih znanosti i zastupnik u
Hrvatskom saboru, a studij kompozicije
zavrπio je u klasi Stanka Horvata na zagrebaËkoj MuziËkoj akademiji, gdje
danas predaje. Od poËetka 1990-ih vodi
MuziËki biennale Zagreb. Opus mu
obuhvaÊa razliËita podruËja te zrcali stalnost invencije i osjeÊanja polivalentnosti
suvremenog jezika glazbe. O njegovu je
radu zabiljeæeno: “Kao skladatelj
JosipoviÊ je pravi uËenik razreda Stanka
Horvata po brizi za skladateljski zanat,
koji Êe biti vaæan preduvjet svakog njegova skladateljskog pokuπaja. Skladatelj
je to za kojega se, meutim, moæe reÊi da
je od uËiteljskog uzora na stanovit naËin
odstupio jer je u svojim djelima - bilo da
je rijeË o Sambi da camera, o Drmeπu za
Pendereckog, ili o Derneku - negdje uz
rubove prepoznatljivoga formalnog
obrasca uvijek pronalazio mjesta za dosjetku, radost uz glazbu i zaigranost umjetniËkim Ëinom.”
Ivo JosipoviÊ (Zagreb, 1957) graduated
in composition under Stanko Horvat
from the Music Academy and is currently holding the position of senior lecturer there and is a member of
parliament. He obtained his PhD in legal
sciences. Since the early 1990s, he has
been director of the Music Biennale Zagreb. His oeuvre covers a variety of the
multifaceted contemporary musical
idiom, while some of his works fulfil a
complex communicative purpose. His
creative work has been described as follows, „As a composer, JosipoviÊ is a true
student of Stanko Horvat’s class when it
comes to his attention to the composer’s
craftsmanship as an important prerequisite for all of his compositional attempts.
One could, in fact, say that he as a composer has departed somewhat from Horvat’s teachings due to his pronounced
tendency to squeeze some witty musical
ideas, his joy of music or fascination with
the creative process on the margins of a
recognisable formal pattern, be it in
Samba da Camera, Drmeπ for Penderecki,
or Dernek.“
366
“Roy Lichtenstein (1923. - 1997.) jedan je
od rodonaËelnika pop-art pravca u
likovnoj umjetnosti XX. stoljeÊa. Pop-art,
likovni pravac koji, izmeu ostalog, obiljeæavaju sinteza apstrakcije i figurativnosti, odreeni ‘karnevalizam’ i
groteska, od drugih se umjetniËkih koncepata izdvaja optimizmom, pribliæavanjem dnevnom, ‘realnom’ æivotu ljudi i
neobvezujuÊim eklekticizmom koji nije
puko sastavljanje veÊ vienog, veÊ svojevrsna sinteza maπte i realiteta. U
‘akademskoj’ glazbi pop-art se moæe dijelom prepoznati i u onome πto se oznaËava postmodernom. Bliska mi je nova
artikulacija veÊ upotrijebljenih formi, pa
i kliπeja sadræanih u popularnoj i narodnoj glazbi, reartikulacija tehnika baroka
ili klasike, spoj robusne avangarde i
njeænog minimalizma. Posebno, sklon
sam optimizmu i uæivanju u umjetnosti,
kako kreatora, tako i konzumenta.
Likovna djela Roya Lichtensteina, Ëesto u
formi stripa, poput Picture and Pitcher,
Entablature, Still Life in Yellow and
Black, Landscape with Figures and Rainbow, The Great Pyramids, Mad Scientist
ili POW WOW, asociraju me na takav
umjetniËki pristup.” [Ivo JosipoviÊ]
367
“Roy Lichtenstein (1923-1997) is one of
the founders of pop-art style in the 20th
century visual arts. Pop-art is a movement in visual arts which, among other
things, is marked with the synthesis of
abstraction and figurative art, a certain
odes of “carnival” and grotesque; it
stands out from other art styles of the
20th century by manifesting optimism,
and closeness to everyday, “real” life that
includes unbinding eclecticism that is
not a mere composition of something already experienced, but a synthesis of
imagination and reality. Pop-art can be
recognized, in a way, in “academic”
music by what is called post-modern
music. The new interpretation of the already tried-out forms, even clichés in
popular and modern music is something
I find particularly interesting, whether it
is the new interpretation of techniques
of baroque or classical music or a combination of robust avant-garde with gentle
minimalism. I am particularly keen on
optimism and enjoying art as a creator of
art and as a consumer. Roy Lichtenstein’s works of art are often in the form
of a comic strip such as, Picture and
Pitcher, Entablature, Still Life in Yellow
and Black, Landscape with Figures and
Rainbow, The Great Pyramids, Mad Scientist or POW WOW, which inspire me to
take on such an artistic approach myself.” [Ivo JosipoviÊ]
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16:30, HDLU
Koncert u povodu 60. roendana Roberta
Fabbricianija - FlautistiËki maraton /
A concert marking Roberto Fabbriciani’s 60th
birthday - Flute Marathon
Roberto Fabbriciani, flaute / flutes
Giampaolo Coral: Aulodia sul nome Roberto Fabbriciani /
Aulodija na ime Roberto Fabbriciani /
Aulody to the Name Roberto Fabbriciani *
Marcello Panni: L’inverno di Pan / Panova zima / Pan’s Winter *
Giacomo Manzoni: 708 *
Alessandro Sbordoni: L’Inaugurazione dell’eco / Inauguracija jeke /
Inauguration of the Echo *
Tristan Murail: Unanswered Questions / Neodgovorena pitanja
Alessandro Grego: Balingenesis / Balingeneza *
Fabrizio Fanticini: An Musil / Musilu / To Musil *
Berislav ©ipuπ: Dick Tracy and the Story of the Sad Young Men /
Dick Tracy i priËa o tuænim mladiÊima
Roberto Fabbriciani: Suoni per Gigi / Zvukovi za Gigija za flautu i
magnetsku vrpcu / Sounds for Gigi for flute and magnetic tape
Mauricio Sotelo: A Roberto: la chiarezza deserta / Za Roberta: Napuπtena
jasnoÊa /For Roberto: Deserted Clarity *
Alessandro Solbiati: Ibi, bone fabricator! / Tamo, dobri izumitelju! /
There, You Good Inventor*
Sanja DrakuliÊ: Dvoglasna invencija / Two-Part Invention*
Henri Pousseur/Roberto Fabbriciani: Zeus joueur de flûtes /
Zeus the Flute Player / Zeus flautist
368
Na pragu 45. godiπnjice moga umjetniËkog rada normalno je i vaæno naËiniti
neku vrstu zavrπnog raËuna. U godinama
od 1964. do danas moja su umjetniËka
iskustva bila mnogobrojna i vrlo raznolika, no svima im je zajedniËki nazivnik
bila radoznalost, entuzijazam za novo, za
istraæivanje i za eksperimentiranje, te
otvorenost za buduÊe nadgradnje. Uvijek
sam, uz standardni repertoar, svirao i
glazbu svojega vremena; s njome sam
rastao i uvijek sam ostajao blizak eksperimentiranju, avanturi novih zvukova te
glazbenim i instrumentalnim rizicima.
Flauta nije ograniËena na objekt; ona je
neiscrpan izvor realizacije glazbenih
misli, i to ne samo onih vezanih za instrument. Subjekt-glumac je izvoaË u
kojem se spajaju maπta i utopija.
Prvo akademizam, a potom antiakademizam kao njegovo nadvladavanje.
IzvoaË mora riskirati. Nuæno je osvijestiti prostor s kojim se moramo suoËiti.
I tiπina se moæe Ëuti. Treba duboko cijeniti podmorsku ljepotu pianissima.
NeograniËen broj boja i timbara. Ljepota
tih zvukova potencira se i obnavlja ureajima za pojaËavanje i oprostorenje
zvuka (æivom elektronikom).
PoËetkom osamdesetih godina, na jednom uspjeπnom koncertu s Luigijem
Nonom, stvorili smo iluziju sluπanja
pauza tiπine... koje su bile veoma zvuËne!
PomoÊu novog senzibiliteta i tehnike
poËinjemo navikavati svoje uho na veÊu
dinamiËku raznovrsnost i na veÊe bogatstvo zvuka, πireÊi izvedbene moguÊnosti
instrumenta. Suvremeni jezik flaute
obuhvaÊa veliko bogatstvo i raznolikost
tehniËkih, timbriËkih i zvukovnih
moguÊnosti. Stoga je flauta kao instrument uvijek aktualna i po svojoj prirodi
nenadmaπna. [Roberto Fabbriciani].
369
At the threshold of the 45th anniversary of
my artistic activity, I feel that it is normal
and important to make some kind of
summary of my career. From 1964 until
the present day my artistic experiences
have been numerous and diverse, but
they all had something in common: curiosity, enthusiasm for new things, enthusiasm for research and
experimentation and openness for future
discoveries. Side by side with the standard repertoire, I have always played the
music of my own time. I grew with this
music and I always stayed in tune with
experimentation, the adventure of new
sounds as well as musical and instrumental risks.
The flute is not limited to the object; it is
an inexhaustible source of realization of
musical thoughts, and not only those related to the instrument. The performer is
a subject-actor who integrates imagination and utopia.
First comes academism, and then antiacademism, as its overcoming.
The performer must take risks.
It is necessary to become aware of the
space which we have to confront.
Even silence can be heard.
The submarine beauty of the pianissimo
needs to be appreciated. An unlimited
number of colours and timbres.
The beauty of these sounds is intensified
and renewed by sound amplification and
spatialization systems (live electronics).
At the beginning of the Eighties, in a successful concert with Luigi Nono, we created an illusion of listening to pauses of
silence... a very sonorous silence! With
the help of new sensibility and new techniques we become accustomed to an
ever grater dynamic diversity and richness of sound, thus broadening the performing capacity of the instrument.
The contemporary language of the flute
shows great wealth and diversity of technical, timbric and sonic possibilities.
That is why the flute is always modern
and its nature is unsurpassable. [Roberto
Fabbriciani].
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Fabbriciani
Roberto
Originalan izvoaË i mnogostran umjetnik, Roberto Fabbriciani osobnim je istraæivanjem inovirao flautistiËku tehniku
umnaæajuÊi zvukovne moguÊnosti tog
instrumenta. Suraivao je s vodeÊim suvremenim kompozitorima poput Beria,
Bussottija, Cagea, Cartera, Castiglionija,
Clementija, De Pabla, Donatonija, Felda,
Ferneyhougha, Françaixa, Genzmera,
Guarnierija, Hosokawe, Kelemena,
Kreneka, Kurtága, Ligetija, Lombardija,
Messiaena, Morriconea, Nona, Petrassija, Pousseura, Rote, Rihma, Risseta,
Sanija, Scelsija, Schnebela, Sciarrina,
Sotela, Stockhausena, Takemitsua i
Yuna. Ti su mu skladatelji posvetili viπe
od πesto znaËajnih djela, koja je i
praizveo.
Ostvario je dugotrajnu suradnju s Luigijem Nonom u sklopu Eksperimentalnog
studija SFW-a u Freiburgu, otkrivajuÊi i
slijedeÊi nove i neobiËne glazbene
puteve.
An original performer and versatile
artist, Roberto Fabbriciani has, through
his personal explorations, innovated the
flutist technique by multiplying the possibilities of the instrument’s sound. He
cooperated with leading contemporary
composers like Berio, Bussotti, Cage,
Carter, Castiglioni, Clementi, de Pablo,
Donatoni, Feld, Ferneyhough, Françaix,
Genzmer, Guarnieri, Hosokawa, Kelemen, Krenek, Kurtág, Ligeti, Lombardi,
Messiaen, Morricone, Nono, Petrassi,
Pousseur, Rota, Rihm, Risset, Sani,
Scelsi, Schnebel, Sciarrino, Sotelo, Stockhausen, Takemitsu and Yun. These composers dedicated to him more than six
hundred significant works, of which he
played premiere performances.
He established a long term collaboration
with Luigi Nono at the Experimental studio SWF in Freiburg, discovering and following new and peculiar musical
directions.
370
371
“... Fabbriciani’s surprising innovations”
… Luigi Nono (1981)
“... whatever he plays, he always does so
masterly.” John Cage (1989)
“... I exceedingly admire his magical art
of the flute.” György Ligeti (1991)
As a soloist he has performed under conductors such as Claudio Abbado, Luciano Berio, Aldo Ceccato, Riccardo
Kao solist nastupao je s dirigentima
Chailly, Sergiu Comissiona, Peter Eötvös,
poput Claudija Abbada, Luciana Beria,
Alda Ceccata, Riccarda Chaillyja, Sergiua Vladimir Fedoseyev, Bruno Maderna,
Riccardo Muti, Giuseppe Sinopoli, Artur
Comissione, Petera Eötvösa, Vladimira
Tamay and Lothar Zagrosek and others,
Fedosejeva, Brune Maderne, Riccarda
and has appeared with orchestras such
Mutija, Giuseppea Sinopolija, Artura
Tamaya, Lothara Zagroseka i drugih te s as the Orchestra of La Scala in Milan, the
Orchestra of the Academy of St. Cecilia
orkestrima poput Orkestra milanske
Scale, Orkestra Dræavne akademije Svete in Rome, the Orchestras of RAI, the Ecyo
and the LSO, the Spanish State OrchesCecilije, Orkestra RAI-a, orkestra Ecyo i
tra, the London Sinfonietta, the RTL LuxLSO, ©panjolskog dræavnog orkestra,
embourg, the Cologne WDR, the
Londonske Sinfoniette, Orkestra RTL
Baden-Baden SWF, the German SymLuxembourg, Orkestra WDR iz Kölna,
phony and the Symphony orchestra of
Orkestra SWF iz Baden-Badena, NjemaËkog simfonijskog orkestra iz Berlina the Bavarian Radio.
te Simfonijskog orkestra Bavarskog
He performed in prestigious theatres
radija.
and musical institutions has also played
Odræao je koncerte u prestiænim kazaliπ- on several occasions for festivals like the
Venice Biennial and the festival Maggio
tima i glazbenim institucijama te je u
Musicale Fiorentino, as well as in
viπe navrata nastupao na festivalima
poput Venecijanskog bijenala i festivala Ravenna, London, Edinburgh, Paris,
Brussels, Granada, Luzern, Warsaw,
Maggio Musicale Fiorentino, te u
Salzburg, Vienna, Lockenhaus,
Ravenni, Londonu, Edinburgu, Parizu,
Donaueschingen, Cologne, Munich,
Bruxellesu, Granadi, Lucernu, Varπavi,
Berlin, St Petersburg and Tokyo.
Salzburgu, BeËu, Lockenhausu,
He has made numerous recordings for
Donaueschingenu, Kölnu, Münchenu,
various radio and television organizaBerlinu, Petrogradu i Tokiju.
tions. He worked as an assistant lecturer
Snimio je brojne nosaËe zvuka. Radio je in flute at the Conservatory Luigi Cherubini in Florence and taught master
kao docent flaute na Konzervatoriju
Luigi Cherubini u Firenci te vodio majs- classes at the Mozarteum in Salzburg
and at the University of New York.
torske teËajeve na salcburπkom Mozarteumu i na SveuËiliπtu u New Yorku.
“... Fabbricianijeve iznenaujuÊe inovacije...“ Luigi Nono (1981.)
“... πto god svirao, uvijek to Ëini majstorski.” John Cage (1989.)
“... Neizmjerno se divim njegovoj Ëarobnoj umjetnosti flaute.” György Ligeti
(1991.)
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Coral
Giampaolo
Giampaolo Coral (Trst, 1944.) debitira u
NjemaËkoj sa svojom prvom orkestralnom operom, Rekvijem za Jana Palacha i
druge (1969.), a 1971. u Gradskom kazaliπtu Giuseppe Verdi u Trstu sa skladbom
Magnificat za sopran i orkestar. Godine
1975. dobio je Nagradu za glazbenu
kompoziciju princa Pierrea od Monaka i
otada je primio brojna priznanja: Nagradu Gianfrancesco Malipiero,
Glazbene nagrade Grada Trsta i Grada
Corciana, Nagradu Druπtva maarskih
skladatelja, Nagradu za glazbenu kompoziciju grada Toulousea, Nagradu za
kompoziciju za europsku godinu glazbe,
Nagradu Carl Maria von Weber, Nagradu
za simfonijsku kompoziciju Oscar Esplà ,
Meunarodnu nagradu Tone TomπiË,
Glazbenu nagradu grada Freiburga i Nagradu Edvard Grieg. Viπe je godina djelovao kao umjetniËki direktor Glazbene
nagrade grada Trsta. Godine 1987. osnovao je Meunarodni festival suvremene
glazbe Trieste Prima, te Udruæenje za
novu glazbu Chromas. Bio je Ëlan æirija
vaænih meunarodnih natjecanja, poput
Glazbene nagrade grada Trsta, Meunarodnoga natjecanja za mlade dirigente
Lovro von MataËiÊ i Svjetskih dana
glazbe (SIMC).
Giampaolo Coral (Trieste, 1944) made
his debut in Germany with his first orchestral opera Requiem for Jan Palach
and Others (1969). In 1971 he debuted in
Italy at the City Theatre Giuseppe Verdi
in Trieste with the composition Magnificat for soprano and orchestra. In the year
1975 he was awarded the Prix de Composition Musicale Prince Pierre de Monaco.
Since then he has received numerous acknowledgements: the Gianfrancesco
Malipiero Award, the Town of Trieste
Prize and the Town of Corciano Prize, an
award from the Hungarian Composers
Union, the International Award for Choir
Composition in Toulose, the first prize
for composition for the European Year of
Music, the Carl Maria von Weber Award.
He was also conferred the Oscar Espla
Award for Symphonic Composition, the
International Award Tone TomπiË, the
Music Award of the City of Freiburg and
the Eduard Grieg Award.
For several years he has been operating
as art director for the Town of Trieste
Prize. In the year 1987, he founded the
International Contemporary Music Festival Trieste Prima, as well as the New
Music Alliance Chromas. He was member of the juries of important international competitions, such as the
competition for musical composition
Prize Town of Trieste, the International
Contest for Young Conductors Lovro von
MataËiÊ and the World Music Days
(SIMC).
372
Djelo Aulodija na ime Roberto Fabbriciani nastalo je 2008. godine kao hommage velikom Robertu. Glazbeni
materijal, koji se uvodi veÊ na poËetku
glazbenog ulomka, temelji se na samoglasnicima i suglasnicima sadræanima u
imenu “Roberto Fabbriciani” i razvija se
kroz kontrast izmeu dva glasa, jednog
akutnog koji se svira “forte” i drugog
niskog koji se svira “piano”. U tom procesu akumulacije-transformacije dva se
glasa izmjenjuju sve dok se ne spoje u
jedan element. Naslov (Aulodija)
sjeÊanje je na Bruna Madernu i na “povijesna vremena” suvremene glazbe, kojima pripada i Roberto. [Giampaolo
Coral]
373
“The work Aulody to the Name Roberto
Fabbriciani was written in 2008 as a
homage to the great Roberto. The musical material, which is already introduced
at the beginning of the musical paragraph, is based on the vocals and consonants of the name “Roberto Fabbriciani”
and develops through the contrast between two voices, one of them acute,
which is played “forte”, and the other
one low, which is played “piano”. In this
accumulation-transformation process,
two voices interchange until they merge
to create one element. The title (Aulody)
is a remembrance to Bruno Maderna
and to the “historical times” of contemporary music, to which Roberto belongs
as well. [Giampaolo Coral]
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Marcello Panni (Rim, 1940.) U kompoziciji se usavrπava na Akademiji Svete Cecilije pod vodstvom Goffreda Petrassija,
a u dirigiranju na Pariπkom konzervatoriju kod Manuela Rosenthala. Kao skladatelj i dirigent, gost je najvaænijih
talijanskih glazbenih institucija i najvaænijih svjetskih opernih kuÊa. Bio je
stalni umjetniËki direktor Orkestra Fondacije Pomeriggi Musicali iz Milana,
Opernog kazaliπta u Bonnu, Filharmonijskog i Opernog orkestra u Nici, kazaliπta
San Carlo u Napulju i Rimske filharmonijske akademije. »lan je Akademije
svete Cecilije. Panni je autor opseænog
opusa orkestralne i komorne glazbe, ali i
scenskih djela.
Panova zima solo za bas flautu in C:
posveÊeno Robertu Fabbricianiju, suuËesniËki, u povodu njegovih 60 godina
„Faun je umoran. Plesao je i sanjao cijelo
ljeto, za vrijeme berbe banËio s nimfama
i menadama, meu puπeÊim badnjevima
i crvenkastim listovima loze, u πumarcima koji se prelijevaju oËaravajuÊim
jesenskim bojama. Lovio je jarebice i
fazane, borio se s veprovima i njihovim
ljubomornim æenkama, hranio se
kestenima, crvenim bobicama i vrganjima, utrkivao sa zeËevima i jelenima.
No stigla je zima. Polja su prekrivena snijegom, sve je bijelo, hladno, zasljepljujuÊe, crne grane drveÊa podsjeÊaju na
gole, osuπene ruke; æivotinje se skrivaju u
brlozima, ptice πute: one sretnije veÊ su
odletjele na toplo. Pan drhti; kako bi se
ugrijao vadi flautu i joπ jednom svira
svoju melopeju, prije nego πto se i sam
povuËe na spavanje, u rupu nekog stoljetnog hrasta ili masline, sve do proljeÊa...“ [Marcello Panni]
Marcello Panni (Rome, 1940) attended
specialization courses in Composition
with Goffredo Petrassi at the Academy of
St. Cecilia in Rome, and perfected himself in Conductorship at the Paris Conservatory with Manuel Rosenthal. As a
composer and conductor, he has been
the guest of the most important Italian
musical institutions and the most prestigious international opera houses. He was
the permanent artistic director of the
Pomeriggi Musicali Orchestra in Milan,
the Opera Theatre in Bonn, The Philharmonic and Opera Orchestra in Nice, the
San Carlo Theatre in Naples and the
Roman Philharmonic Academy. He is a
member of the Academy of St. Cecilia.
Panni has written a comprehensive body
of orchestral and chamber music as well
as various kinds of lyrical compositions,
Pan’s Winter, a solo for bass flute in C:
dedicated, with complicity, to Roberto
Fabbriciani
“The faun is tired. He danced and
dreamed all summer long. During the
harvest he fooled around with nymphs
and maenads, in between steaming tubs
and reddish grape leaves, in groves
flooded with enchanting autumn colors.
He hunted partridges and pheasants,
fought with wild boars and their jealous
females, fed on chestnuts, red berries
and mushrooms and raced with hares
and deer.
But the winter has arrived. The fields are
covered with snow, everything is white,
cold and blinding, the black branches of
the trees look like naked, withered arms;
the animals are hiding in their lairs, the
birds are quiet: the luckier ones have already flown south. Pan is shivering; to
warm himself, he picks up his flute and
plays his melopaea once more before he
too retreats to the hole of some centennial oak or olive tree, to sleep until the
spring…” [Marcello Panni]
375
Manzoni
Giacomo
374
Giacomo Manzoni upisao je studij kompozicije u Messini kod Gina Contillija, a
zatim u Milanu 1956. zavrπio studij kompozicije na Konzervatoriju Giuseppe
Verdi te stranih jezika i knjiæevnosti na
SveuËiliπtu Bocconi. Bio je urednik revije
za suvremenu glazbu Il Diapason,
glazbeni je kritiËar lista Unità, a od 1962.
docent harmonije i kontrapunkta na
konzervatoriju svojega grada. Godine
2007. Giacomo Manzoni je na Venecijanskom glazbenom bijenalu primio
Zlatnog lava za æivotno djelo. U obrazloæenju stoji: „...Njegove kompozicije
predstavljaju kljuËno poglavlje u
glazbenoj umjetnosti naπega vremena i
sve do danaπnjih dana odraæavaju propitkivanja i odgovore u lingvistiËkom traganju koje se ne prestaje preispitivati i
preobraæavati...“
Giacomo Manzoni began studying Composition in Messina with Gino Contilli
and in 1956 he graduated in Composition studies at the Giuseppe Verdi Conservatory in Milan as well as Foreign
Language and Literature studies at the
Bocconi University. He worked as the
editor of the contemporary music review
Il Diapason, a music critic for the newspaper Unit, while in 1962 he began
teaching Harmony and Counterpoint at
the Milan Conservatory. In 2007 Manzoni was awarded the Golden Lion for
lifetime achievement at the Venice
Music Biennial. As stated by the committee: “...His compositions represent a key
chapter in the music of our time and
until this day reflect questions and answers in a linguistic search which never
ceases to rethink and transform itself...”
O skladbi 708 kaæe: „Mislim da skladatelji najviπe truda ulaæu u neprestano
stvaranje novoga. Ponekad - u mojem
sluËaju priliËno rijetko - nije moguÊe
odoljeti iskuπenju da se vratimo nekoj
naπoj staroj skladbi i proπirimo je,
poboljπamo, damo joj novo znaËenje.
Ovo je jedna takva skladba, koja koristi
ostatke starih kompozicija dajuÊi im novi
æivot i autonomiju. Naslov? Upotrijebio
sam jednu zanemarenu raËunalnu opciju: zbroj upotrijebljenih nota.“
Manzoni on 708: “I think composers’
greatest effort is to create something
new. But sometimes - in my case fairly
rarely - it is not possible to resist the
temptation of returning to an old composition and elaborate it, make it better,
give it a new meaning. This is one such
piece, in which I used remnants of old
compositions giving them new life and
autonomy. The title? I exploited a forgotten computer function: the sum of used
notes.”
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Sbordoni
Alessandro
Alessandra Sbordonija, (Rim, 1948.),
Goffredo Petrassi opisao je kao
“glazbenika koji je snaæno angaæiran u
uspostavljanju ekspresivne komunikacije”. Od 1972. godine bio je Ëlan, a
danas predsjednik druπtva Nuova Consonanza, koje se bavi promocijom i πirenjem suvremene glazbe. Svirao u
Improvizacijskoj grupi od 1977. do 1985.
godine, a osim organiziranja koncertnih
sezona, ureivao je i izdanja istoimenih
Festivala. Godine 2002. osnovao je
Grupu AleaNova. Plodan kompozitor,
napisao je viπe od sedamdeset partitura
za razliËite sastave - od solistiËkog instrumenta do velikog orkestra - prema
narudæbama znaËajnih institucija.
PouËavao je na Konzervatoriju Rossini u
Pesaru i Konzervatoriju Alfredo Casella u
Aquili te odræava brojne seminare.
“Inauguracija jeke za bas flautu
napisana je 2009. godine i posveÊena
Robertu Fabbricianiju u povodu njegova
πezdesetog roendana. Skladba je dio
Sonate za bas flautu, u kojoj, u odnosu
na druga dva komada za ovaj divni instrument, predstavlja polagani stavak,
neku vrstu “adagia”. Bit kompozicije
izraæena je intonacijama, pozivom i
opozivom, neopipljivim i prozraËnim
iskazom zvuËnosti na granici prostornovremenske udaljenosti. Odavde naslov:
kao da æelimo uhvatiti jeku u trenutku u
kojem poËinje, zvuk u trenutku u kojem
nastaje. [Alessandro Sbordoni]
Alessandro Sbordoni, (Rome, 1948), was
described by Goffredo Petrassi as a “musician who is thoroughly engaged in the
establishment of expressive communication”. Since 1972 he has been a member
- and now the president - of the Nuova
Consonaza, a society that promotes and
divulgates contemporary music. Sbordoni played in the homonymous Improvisational Group from 1977 to 1985,
and, aside from organizing concert seasons, edited the printed material of the
festivals. In 2002 he founded the
AleaNova Group. A fertile composer, he
has written more than seventy scores for
different instrumental ensembles. He
has taught at the Rossini Conservatory in
Pesaro (since 1973) and then at the Alfredo Casella Conservatory in L’Aquila
and has held many masterclasses
“Inauguration of the Echo was written
in 2009 for bass flute and dedicated to
Roberto Fabbriciani on the occasion of
his sixtieth birthday. It is a part of the
Sonata for Bass Flute, in which it functions as the slow movement, a sort of
“adagio”. The essence of the composition is expressed by intonations, calls
and recalls, an intangible and evanescent statement of sonority at the limits of
the time-space distance. Thence the title:
as if we were trying to capture the echo
in the moment of its beginning, the
sound in the moment of its creation.”
[Alessandro Sbordoni]
377
Grego
Alessandro
376
Alessandro Grego joπ kao dijete poËinje
skladati, a potom se sam obrazuje uz
savjete brojnih skladatelja kao πto su
Fabio Nieder, Giorgio Gaslini, Nicola
Sani, Curtis Roads i drugi. Studirao je
muzikologiju na ©koli paleografije i
glazbene filologije u Cremoni. Institucija
MISAME uvrstila je njegove autorske
nosaËe zvuka L’Aura i Un mar deserto u
stalni postav knjiænice elektroakustiËke
glazbe u sklopu Francuske nacionalne
biblioteke. Predaje algoritamsku kompoziciju na Konzervatoriju
Gioacchino Rossini u Pesaru.
O skladbi Balingeneza: „Roenje je kao
dah koji se diæe, dosiæe vrhunac i potom
pada. Svaki stupanj æivota moæe oblikovati akustiËke spektre i bogatstvo zvuka
neharmonijskih parcijala. Balingeneza
oznaËava novoroenËe procijeeno kroz
stupnjeve peloga. Kako zamisliti i iznjedriti novi put? I kamo on ide? Moæda na
Bali. Nema to nikakve veze s gamelanom,
moja namjera, to jest, premda bi netko u
zvuku flaute mogao primijetiti naznake
drevnih udaraljki.“
Alessandro Grego started composing as
a child and continued as an autodidact
with the help of composers like Fabio
Nieder, Giorgio Gaslini, Nicola Sani, Curtis Roads and others. He studied musicology at the School of Paleography and
Musical Philology of Cremona. His CDs
L’Aura and Un mar deserto have been selected by the MISAME among the works
to be in the permanent electroacoustic
record library of the French National Library. He teaches Algorhythmic Composition at the Gioacchino Rossini
Conservatory in Pesaro.
On Balingenesis: “A new birth is like a
breath that rises, reaches its apex and
then decays. And every degree of life can
shape the acoustic spectra and the richness of deep root sound inharmonic partials. Balingenesi means a newborn
sieved through pélog degrees. How to
imagine and figure out a new way? And
where is this new way going? Maybe to
the island of Bali? Nothing to share with
Gamelan, though, in my intention; but
someone could even perceive a taste of ancient percussions in the wind of the flute.”
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Tristan Murail, Neodgovorena pitanja:
“Ovo djelo dijeli flautu solo iz skladbe
Ethers, no trezven, intiman karakter na
koji upuÊuje njegova namjera - u drugim
bi vremenima njegov naslov bio Grob
Dominiquea Troncina - nazoËnost ostalih instrumenata Ëini suviπnom. Uzalud moæemo traæiti uputnicu na djelo
sliËnog naslova Charlesa Ivesa, a pitanja
koja ostaju neodgovorenim nalaze muziËku karakterizaciju “skromnim, beskrajnim melodijama”, koje izviru iz
harmonija flaute.” [Pierre Rigaudière]
Tristan Murail, Unanswered questions:
“This work shares the solo flute from
Ethers, but the sober, intimist character
inferred by its intention - in other times,
the piece would have been entitled
Tombeau de Dominique Troncin - renders the presence of other instruments
superfluous. In vain one might seek a
reference to the work with a similar title
by Charles Ives, and these questions remaining unanswered find a musical
characterisation in the “modest, unfinished melodies” stemming from the flute
harmonics.” [Pierre Rigaudière]
Viπe o Tristanu Murailu / More about
Tristan Murail: str. / page 422
378
Fabrizio Fanticini (Reggio Emilia, 1955.)
studirao je kod Armanda Gentiluccija,
diplomiravπi kompoziciju i zborsko dirigiranje. Usavrπavao se na Akademiji
svete Cecilije u Rimu pod vodstvom
Franca Donatonija. Njegove se kompozicije izvode diljem Europe, Sjedinjenih
AmeriËkih Dræava i Rusije te na
meunarodnim festivalima. Osvojio je
nagrade Pugliatti, Europa i Nagradu
grada Udina, kao i nagrade natjecanja
Evangelisti, Goffredo Petrassi i Suoni di
Fiaba. Na Konzervatoriju Arrigo Boito u
Parmi profesor je harmonije, kontrapunkta, fuge, kompozicije i eksperimentalne kompozicije.
„Hommage prijatelju Robertu Fabbricianiju u povodu njegova πezdesetog
roendana: u partituri nema formalne
posvete; umjesto toga, skladateljeva
misao slobodno djeluje kroz izvedbu i
povijesnu auru glazbe druge polovine
dvadesetog stoljeÊa, koju je ovaj izvoaË
uspjeπno povezao sa svojim imenom i
djelom. Ta je premisa inspirirala skladbu
Musilu. Za mene je komponiranje smisleno samo ako proizvodi duboku komunikaciju, onu koja se dobiva sluπanjem
koje ne smije biti odsutno, nego se
naprotiv kreÊe u pravcu Musilove percepcije moguÊeg, onoga πto je uporno
suprotstavljeno novome i istraæivanju
novoga Ëak i u onome πto je skriveno od
poznatoga. Referencija na Musila u
naslovu ovdje se podudara i s nadimkom
(takoer “Musil”) koji je Luigi Nono nadjenuo Robertu kao evokatoru moguÊeg.
Ono πto me oduvijek oduπevljavalo kod
Fabbricianija jest njegova sposobnost
prelaæenja iz zvukovnih oblika koji impliciraju tehniËki opreËne instrumentalne
impostacije s takvom æivotnoπÊu i brzinom da se oni Ëine potpuno teËni i
prirodni. Upravo sam taj aspekt njegove
virtuoznosti najviπe koristio, razbijajuÊi i
preklapajuÊi u kontrapunktima jasno
razaznatljive zvukovne procese koji bi, sa
379
Fabrizio Fanticini (Reggio Emilia, 1955)
studied Composition and Choral Conducting with Armando Gentilucci and attended specialization courses with
Franco Donatoni at the Academy of St.
Cecilia in Rome. His compositions have
been performed all over Europe, the
United States and Russia and in international festivals. He has won the Pugliatti
Prize, the Premio Europa and the City of
Udine Prize, as well as the awards from
the Evangelisti, the Goffredo Petrassi and
the Suoni di Fiaba Competitions. At the
Arrigo Boito Music Conservatory in
Parma he teaches Harmony, Counterpoint, Fugue, Composition and Experimental Composition.
“A homage to my friend Roberto Fabbriciani on the occasion of his sixtieth birthday: the score contains no formal
dedication; instead, the composer’s
thought acts freely through the performance and a historical aura of the music of
the second half of the twentieth century,
synonymous with this performer’s name
and work. This premise inspired the
work To Musil. For me, composing only
makes sense if it creates a deep communication through listening, which follows
the lines of Musil’s perception of the
possible - persistently defying the new
and the exploration of the new even in
the things that are hidden from the
sphere of the known. The reference to
Musil coincides with the nickname (also
“Musil”) that Luigi Nono gave to
Roberto, deeming him the evocator of
the possible. Fabbriciani’s ability to pass
from technically opposite instrumental
impostations with such incredible liveliness and velocity that they seem entirely
natural and fluid has always filled me
with enthusiasm. It is precisely this aspect of his virtuosity that I most often
used, breaking and overlapping clear
musical processes in counterpoints
which, with their expressive aura, pro-
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svojom ekspresivnom aurom, iz igre
konstantnih i ponekad burnih dijalektiËkih kontrasta, proizveli moguÊe nove
zvukovne slike, Ëime bismo dobili
moguÊnost rada s kategorijama zajedniËkima svim vrstama glazbe, no s obnovljenim potencijalom komunikacije.
Musilu stoga nije virtuozno djelo, nego
djelo koje istraæuje komunikaciju putem
virtuoznih sposobnosti izvoaËa; ono
nikada ne istraæuje “efekte”, nego
nositelje znaËenja preuzete iz proπlosti,
kako bi ostvarilo jezik koji Êe iznova komunicirati.“ [Fabrizio Fanticini]
duce new possible sound pictures from
the play of constant and sometimes tumultuous dialectical contrasts. This enables us to work with categories
common to all types of music, but with a
renewed potential for communication.
To Musil is therefore not a virtuoso work,
it is a work that explores communication
by means of the virtuosity of the musician; it never explores “effects”; instead
it explores signifiers taken from the past
in order to create a language which will
be able to communicate again.” [Fabrizio Fanticini]
“Skladba Zvukovi za Gigija posveÊena je
dragom prijatelju Luigiju Nonu. Pozadina, s vrpce, saËinjena je iskljuËivo od
prirodnih, neobraenih zvukova flaute.
Te sam zvukove prouËavao i snimio u
Studiju H. Strobel u Freiburgu, gdje sam
godinama imao priliku s Gigijem istraæivati i eksperimentirati otkrivajuÊi nove
horizonte.” [Roberto Fabbriciani]
“The composition Sounds for Gigi is
dedicated to my dear friend Luigi Nono.
The background consists entirely of natural, unelaborated flute sounds. These
were studied and recorded at the H.
Strobel Studio in Freiburg, where Gigi
and I have explored and experimented
for years, discovering new horizons.”
[Roberto Fabbriciani]
“…Dick Tracy je metafora: Lik inteligentnog detektiva iz ameriËkog crtanog filma s elementima komike i
groteske samo je naslov koji æeli sugerirati igru, zaigranost zvukovnom idejom,
svijetom u kojemu homo ludens razgrÊe
po vlastitu smislu za igru zbog igre same,
za zvuk zbog zvuka (...) Dick Tracy and
the Story of the Sad Young Men praizveo
je Roberto Fabbriciani u Rimu 2005.”
[iz teksta Erike Krpan za Cantus Ansambl]
“...Dick Tracy is a metaphor: The character, an intelligent detective from an
American cartoon with comical and
grotesque elements, is just a title suggesting a game, a playfulness, a fascination by the sound idea, by the world in
which the homo ludens digs up his own
sense of playing, for the sake of playing
itself, for the sound, because of the
sound (...) Dick Tracy and the Story of
the Sad Young Men was premièred by
Roberto Fabbriciani in Rome 2005.”
[from a text by Erika Krpan, for the Cantus Ensemble]
Viπe o Berislavu ©ipuπu / More about Berislav ©ipuπ; str./ page 388
381
Sotelo
Mauricio
380
Madridski kompozitor Mauricio Sotelo
(1961.) zavrπio je studij kompozicije kod
Francisa Burta na SveuËiliπtu za glazbu u
BeËu. Sotelo je uËio i od Romana
Haubenstocka-Ramatija te pohaao
studij elektroakustiËke glazbe kod Dietera Kaufmanna i studij dirigiranja kod
Karla Österreichera. Kasnije se usavrπava
kod maestra Luigija Nona u Berlinu i
Veneciji. Primio je brojne nagrade za
svoja djela te je dirigirao diljem Europe.
Predavao je na raznim institucijama u
Austriji, NjemaËkoj, Italiji, ©panjolskoj,
Japanu i Sjedinjenim Dræavama.
„Roberto Fabbriciani posjeduje rijetku
kvalitetu muziËke odliËnosti i stvaratelj
je uvijek novih zvukovnih svjetova. Svojim je zvukom i znanjem posljednjih 15
godina osvijetlio moju glazbu. Roberto,
napuπtena jasnoÊa, mali poklon za 60.
roendan uz duboko prijateljstvo i divljenje. [Mauricio Sotelo]
The Madrid composer Mauricio Sotelo
(1961) studied composition with Francis
Burt at the Vienna University. He took
composition classes with Roman
Haubenstock-Ramati, studied Electroacoustic Music with Dieter Kaufmann and
Conducting with Karl Österrericher. He
later worked with Luigi Nono in Berlin
and Venice. He was given numerous
awards for his works and has conducted
all over Europe. He has taught in Austria,
Germany, Italy, Spain, Japan and the
United States of America.
“Roberto Fabbriciani shows rare musical
excellence and always creates new musical worlds. With his sound and knowledge he has been enlightening my music
for the past fifteen years. Roberto,
Deserted Clarity, a small present for your
sixtieth birthday, with deep friendship
and admiration.” [Mauricio Sotelo]
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Solbiati
Alessandro
Alessandro Solbiati (Busto Arsizio,
1956.) nakon dvije godine studija fizike
upisao je i diplomirao glasovir i kompoziciju na Milanskom konzervatoriju.
Istovremeno je Ëetiri godine studirao kod
Franca Donatonija na sienskoj Accademiji Chigiani. Pobjednik je brojnih
dræavnih i meunarodnih natjecanja.
Od godine 1995. docent je fuge i kompozicije na milanskom Konzervatoriju
Giuseppe Verdi, a isto je predavao i na
Konzervatoriju u Bologni.
Alessandro Solbiati (Busto Arsizio, 1956)
studied and graduated in piano and
composition from the Milan Conservatory, after having studied physics for two
years. Simultaneously, he studied with
Franco Donatoni at the Accademia Chigiana in Siena. He won many state and
international competitions.
Since 1995 he has been teaching Fugue
and Composition at the Milan Conservatory. He taught the same classes at the
Bologna Conservatory as well.
382
“Dragi Roberto, s posebnim zadovoljstvom posveÊujem ti djelo Ibi, bone
fabricator nastalo u povodu tvojeg
vaænog roendana. A znaπ li, zapravo,
kada je nastalo to djelo? Nastalo je onog
sijeËanjskog jutra kada sam sjedio u
vlaku putujuÊi k tebi u Firencu, dok su
mi u glavi brujale ideje, a zatim i na divanu u tvojoj kuÊi, dok sam te ispitivao
sve πto mi je padalo na pamet u vezi
flaute, a ti si mi odgovarao otkrivajuÊi mi
toliko novih i neoËekivanih stvari,
neoËekivanih Ëak i za mene, koji sam
mnogo pisao za flautu. Potom, dok smo
sjedili u kuhinji ispred fantastiËne chianine al sangue koju je pripremila Luisella,
pijuÊi vino i razgovarajuÊi...
Vidjeti te kako odmiËeπ flautu dvadeset
centimetara od usta i odande proizvodiπ
misteriozan zvuk: jesam li mogao neËim
drugim zapoËeti skladbu?
Uvjeriti se da je moguÊe dræati jedan
zvuk, a istovremeno ga ritmiËki kontrapunktirati udarcima klapni koje ga ne zahvaÊaju, i da je moguÊe svirati ljupku
melodiju mekim, veoma visokim
zvukovima: jesam li iz skladbe mogao
izostaviti ove timbriËko-artikulacijske
moguÊnosti, meni dotada nepoznate?
Zajedno na tvom instrumentu traæiti sve
moguÊe bikorde, s time da ih sviraπ
izokronijski, bez prekida zvuka, korakom
pjeπaka: jesam li uopÊe mogao zavrπiti
nekako drukËije, a ne ovim polifonim
“hodom”?
Jer, ovo je anagram, a i moja æelja: nastavi istraæivati nove staze, dragi izumitelju zvuka! Ibi, bone fabricator! “
[Alessandro Solbiati]
383
“Dear Roberto,
It is with great pleasure that I dedicate
this composition to you on the occasion
of your important birthday. But do you
know, really, how this piece came into
being? It was created that January morning when I was sitting on the train, traveling to Florence to see you, my mind
full of ideas. Then, on your divan, when I
was asking you everything I could think
of concerning the flute, and you responded, sharing with me a wealth of
new and unexpected information, unexpected even for me, even though I have
written a great deal for the flute. Then, as
we were sitting in the kitchen, Luisella’s
magnificent chianina al sangue in front
of us, drinking wine and talking...
To see you place your flute twenty centimeters in front of your mouth and produce a mysterious sound from that
distance: was it possible to begin my
composition in any other way?
To see that it is possible to hold one
sound while simultaneously counterpointing it rhythmically with the keys
that do not affect it, and that it is possible to play a lovely melody with soft, very
high sounds by blowing into a special
mouth hole: could I have left out these
timbric and articulative possibilities,
until then unknown to me?
To look for every possible bichord on
your instrument, with you playing them
isochronically, without interrupting the
sound, at the pace of a pedestrian: could
I have ended the composition in a way
different from this polyphonic “walk”?
For, this is my anagram for you, and my
wish: continue exploring new paths, dear
inventor of sounds! Ibi, bone fabricator! “
[Alessandro Solbiati]
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Sanja DrakuliÊ, pijanistica i skladateljica
(Zagreb, 1963.) zavrπila je studij klavira
(P. GvozdiÊ) na MuziËkoj akademiji u Zagrebu, a usavrπavala se u Nici, Weimaru,
Parizu i Moskvi (R. Kerer). Kompoziciju
je studirala na École Normale de
Musique A. Cortot u Parizu, Hochschule
für Musik und Darstellende Kunst u
BeËu, zagrebaËkoj MuziËkoj akademiji
(S. Horvat) i na Moskovskom dræavnom
konzervatoriju P. I. »ajkovski (A. Pirumov, J. Bucko), gdje je magistrirala i doktorirala te studirala muzikologiju i
orgulje. Dvije je godine bila asistentica
kompozicije na istom konzervatoriju. Na
Sveruskom natjecanju mladih kompozitora u Moskvi (1993.) osvojila je prvu nagradu s kompozicijom Pet intermezza za
klavir solo. Dobitnica je Jeljcinove Predsjednikove stipendije za skladatelje i brojnih nagrada za skladbe u Hrvatskoj.
Izvanredna profesorica je na Odsjeku za
glazbenu umjetnost UmjetniËke
akademije sveuËiliπta J. J.Strossmayera u
Osijeku. Odræava meunarodne teËajeve
i seminare iz kompozicije i teorije glazbe.
Voditeljica je Meunarodne glazbene
tribine u Puli. Njezina djela izvode poznati solisti, ansambli i orkestri diljem Europe, u Japanu i SAD, a i sama izvodi
svoje klavirske skladbe.
“Two Part Invention je jednostavaËni
kratki komad za flautu piccolo. Napisan
je za Roberta Fabbricianija i za 25. MBZ.
Jednoglasni instrument naveo me na potragu za skrivenim, drugim glasom.”
[Sanja DrakuliÊ]
Sanja DrakuliÊ, pianist and composer
(Zagreb, 1963) graduated in piano (P.
GvozdiÊ) from the Music Academy in Zagreb and specialized in piano in Nice,
Weimar, Paris and Moscow (R. Kehrer).
She studied composition at the École
Normale de Musique A. Cortot in Paris,
the Hochschule für Musik und Darstellende Kunst in Vienna, the Academy of
Music in Zagreb (S. Horvat) and from at
the P.I.Tchaikovsky State Conservatory
in Moscow (A. Pirumov, Y. Boutsko),
winning the Master of Fine Arts and the
Doctor of Musical Arts degrees and studied musicology and organ. She was a
teaching assistant in composition at the
same conservatory for two years. Her
composition Five Intermezzos for piano
solo was awarded the first prize at the
All-Russian Young Composers’ Competition in Moscow (1993). She was awarded
Yeltsin’s Presidential Scholarship for
composers and numerous prizes for
compositions in Croatia. She works as an
Associate Professor at the Art Academy/Department of Music, J. J. Strossmayer University in Osijek, Croatia. She
teaches composition and music theory at
the international master classes and
seminars. She is the programme director
of the International Music Festival in
Pula, Croatia. Her works have been performed by famous soloists, ensembles
and orchestras in Europe, the USA and
Japan and she also performs her own
piano works.
“Two Part Invention is a short, one
movement-piece for the piccolo flute,
written for Roberto Fabbriciani and the
25th MBZ. Writing for a mono-voice instrument made me start a search for the
hidden, other voice (part).” [Sanja
DrakuliÊ]
384
385
Henri Pousseur (Malmédy, 1929) studied music at the Conservatoire de Liège
and Bruxelles from 1947 to 1953, but
considers himself to be self-taught, i.e.,
student of all musical styles. From 1950
he was active in the international avantgarde music scene (dodecaphonic, serial, electronic, aleatoric music). From
1960 Pousseur took an independent
artistic stance, “refusing to refuse” historical experience (a stance referred to
by some as “tabula rasa”), and made efforts to bridge the dualism of ancient
and modern, the“scholarly” and the
“populist” etc. This watershed marks the
beginning of his cooperation with
Michel Butor, which has continued ever
since.
Pousseur taught at the University and
Conservatory of Liège, where he also
founded the Centre de recherches et de
formation musicales de Wallonie. He
also introduced the licence en communication musicale. Until 1999 he was composer-in-residence at the K.U.L.
(University of Leuven). Pousseur has
composed some 150 works of different
dimensions for different functions. He is
and author of numerous articles and
books and holds honorary doctorates
from the Universities of Metz and Lille.
Henri Pousseur (Malmédy, 1929.) studirao je glazbu na konzervatorijima u
Liègeu i Bruxellesu, premda za sebe kaæe
da je samouk, odnosno da je uËenik svih
glazbenih stilova. Od 1950. godine aktivan je na meunarodnoj avangardnoj
glazbenoj sceni (dodekafonija, serijalna
glazba, elektronika, aleatoriËka glazba.
Od 1960. godine Pousseur je zauzeo neovisno umjetniËko stajaliπte, “odbacujuÊi
odbacivanje” povijesnih iskustava (stajaliπte koje neki nazivaju tabula rasa) i
trudeÊi se premostiti jaz izmeu staroga i
modernoga, “uËenoga” i populistiËkoga
itd. Ovaj odmak oznaËava poËetak njegove suradnje s Michelom Butorom, koja
i danas traje.
Od 1970. godine Pousseur predaje na
SveuËiliπtu i Konzervatoriju u Liègeu,
gdje je utemeljio Centre de recherches et
de formation musicales de Wallonie.
Uveo je i novi Studij glazbene komunikacije. Do 1999. godine bio je stalni
skladatelj na KatoliËkom sveuËiliπtu u
Leuvenu. Napisao je oko 150 djela razliËitih dimenzija i namjena. Autor je
brojnih Ëlanaka i knjiga te posjeduje
poËasne doktorate sveuËiliπta u Metzu i
Lilleu.
“The piece was Zeus joueur de flûtes
written in collaboration with Henri
„Djelo Zeus joueur de flûtes nastalo je
Pousseur in 2006. The part of the flute,
2006. godine u suradnji s Henrijem
unedited and only recently available in a
Pousseurom. Dionica flaute, neizdana i
definitive version, is very complex and
tek odnedavno dostupna u zavrπnoj
commands the employment of the entire
verziji, vrlo je kompleksna i traæi angaæ- flute family: the bass flute, the contraman cijele obitelji flaute: basa, konalto flute, the flute in C and the piccolo.
traalta, flaute „in C“ i pikola. ElektroniËki The electronic part is represented by the
dio sastoji se od veÊ postojeÊe elaborielaboration of an existent electronic
rane elektroniËke kompozicije: jedna od composition - it is one of the Otto Studi
Otto Studi Parabolici (Osam paraboliËkih Parabolici (Eight Parabolic Studies) realstudija), realiziranih prema vrlo
ized in 1972 in the Cologne WDR Studios
razraenom sustavu pri Studiju WDR u
using a very elaborated system. The
Kölnu 1972. godine. Konkretno, Studija Study that was used in this composition
koju smo izabrali i prilagodili za ovu
is the Study No. 5, the favorite one of the
prigodu je peta, autorova omiljena, Ëiji
author, entitled Hymne a Zeus Ornithoje naziv Hymne a Zeus Ornithologue.
logue. The flute, in fact, wears an “orOvdje flauta doista nosi “ornitoloπko”
nithological” costume, imitating the
ruho, imitira elektroniËki dio skladbe i s electronic part of the piece and duetting
njime u duetu odræava konstantni duwith it in constant duality. Zeus, the
alitet. Zeus, flauta, ptice: suvremena mi- flute, the birds: a contemporary mythotoloπka i evokativna pripovijest. [Roberto logical and evocative story. [Roberto
Fabbriciani]
Fabbriciani]
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month
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4
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sat
19:30, HNK
Berislav ©ipuπ - Staπa Zurovac - Franz Kafka:
Proces / The Trial*
balet / ballet
Koprodukcija HNK Ivana pl. Zajca Rijeka i MuziËkog biennala Zagreb /
Co-produced by the Ivan pl. Zajc Croatian National Theatre in Rijeka and the
Music Biennale Zagreb
Koreograf i redatelj / Choreographer and director: Staπa Zurovac
Dirigent / Conductor: Dian »obanov
Scenograf / Stage Designer: Æoræ Drauπnik
Kostimografkinja / Costumes: Katarina RadoπeviÊ GaliÊ
Oblikovatelj svjetla / Light Design: Deni ©esniÊ
Glazbena suradnica i pijanistica / Musical assistant, pianist: Ella Veselin
Video projekcije / Video: Marin LukanoviÊ
Asistentica koreografa / Choreographer’s Assistant: Olja JovanoviÊ Zurovac
Uloge / Cast:
Josef K.: Andrei Köteles
Gica Bürstner / Miss Bürstner: Cristina Lukanec / Anna Ponomareva
Sudac i advokat / Judge and Lawyer: Valeri Rasskazov
Slikar Titorelli / Titorelli, the painter: Ludwig Jerkander
Bloch: Vitali Klok
SveÊenik / Priest: Roberto Pereira Barbosa Junior
Tri nadzornika / Three supervisors: Svebor ZguriÊ, Ludwig Jerkander,
Roberto Pereira Barbosa Junior
Leni: Camila Izabel Moreira
Æene / Women:
Svetlana AndrejËuk, Kristina Kaplan, Irina Köteles, Oxana Brandiboura,
Danijela Menkinovski, Anka Popa, Deana MarËiÊ, Anna Ponomareva,
Svetlana Rasskazova, Paula Rus, Tanja Tiπma, Marta Voinea
Muπkarci / Men:
Dmitri AndrejËuk, Leonid Antontsev / Ashatbek Yusupzhanov
Balet i Orkestar HNK Ivana pl. Zajca Rijeka /
Ballet and Orchestra of the Ivan pl. Zajc Croatian National Theatre in Rijeka
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„The Trial by Franz Kafka, a somewhat
unusual title and choice for a ballet, is a
work by Berislab ©ipuπ and Staπa
Zurovac: The whole process of creating
this work is meant as a collaboration,
primarily a collaboration between two
institutions - The Ballet of the Ivan pl.
Zajc Croatian National Theatre in Rijeka
and the Music Biennale Zagreb - but also
a collaboration of the whole, Croatian,
team of authors. The basic idea of
Kafka’s work is the fight with alienation
and the feeling of guilt we are being
forced to have. Kafka brings the situation
his hero, Josef K, is in, ad absurdum,
through a sequence of unfortunate circumstances, pursuits, hearing and extortion, all because of a guilt no-one (not
even Josef K.) knows anything about. The
absurdist literature is closely connected
to the absurdities of today and the feeling of guilt enforced upon us, always following us, extorted through repression,
“RijeË je o predstavi koja je zapravo dugi through control of the political and the
social apparatus and through escape as
niz situacija koje Êe glazbom-zvukom i
reflection of the profound human aliensvojom unutarnjom konstrukcijom, pa
tako i plesom-pokretom, stvarati okvir(e) ation.” [Ivan pl. Zajc Croatian National
za razliËita duπevna i tjelesna stanja, ak- Theatre]
cije i reakcije, kako izvoaËa tako i pub“It is a piece formed by a long string of
like...” (Berislav ©ipuπ)
situations that will, through their music their sound, and their inner structure, as
well as the dance / the movements, create the framework for various states of
mind and body, action and reaction, of
the performer - and of the audience, as
well...” [Berislav ©ipuπ]
“Proces Franza Kafke (pomalo neobiËan
naslov i izbor za balet), balet Berislava
©ipuπa i Staπe Zurovca i cijeli ‘proces’
stvaranja ovog djela zamiπljen je kao
suradnja, prije svega dviju institucija Baleta HNK Ivana pl. Zajca Rijeka i MBZa - a zatim i cijelog domaÊeg autorskog
tima.
Osnovna ideja Kafkina djela borba je s
otuenoπÊu i usaenim nam osjeÊajem
krivnje. Kafka situaciju svog junaka
Jozefa K. dovodi do apsurda nizom nesretnih okolnosti, praÊenja, sasluπanja i
iznuivanja zbog krivnje o kojoj nitko
(pa ni on sam) niπta ne zna. Knjiæevnost
apsurda u uskoj je vezi s apsurdom
danaπnjice i osjeÊajem krivnje koji nam
je nametnut sa strane i koji nas stalno
prati iznuen represijama i kontrolama
politiËkog i druπtvenog aparata, te bijegom kao odrazom svekolike ljudske
otuenosti.” [HNK Rijeka]
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Skladatelj i dirigent Berislav ©ipuπ
(Zagreb, 1958.), usporedo sa studijem
povijesti umjetnosti na zagrebaËkom
Filozofskom fakultetu studirao je i
diplomirao kompoziciju na MuziËkoj
akademiji u Zagrebu (1987., klasa Stanka
Horvata). U kompoziciji se usavrπavao kod
Gilberta Bosca u Udinama te Françoisa
Bernarda Mâchea i Iannisa Xenakisa u
pariπkom Elektronskom studiju UPIC.
Dirigiranje je usavrπavao kod Vladimira
KranjËeviÊa, Æeljka BrkanoviÊa, Kreπimira ©ipuπa te kod Milana Horvata na
Visokoj πkoli za glazbu u Grazu.
snimio / photo by Demirel PaπaliÊ
day
©ipuπ
Berislav
Berislav ©ipuπ (Zagreb, 1958), composer
and conductor, studied art history and
history at the University of Zagreb, and
composition at the Music Academy in
the class of Stanko Horvat (graduated in
1987). He continued further training
under Gilbert Bosco in Udine, as well as
under Francois Bernard Mache and Iannis Xenakis at the UPIC in Paris. He attended conducting course held by
Vladimir KranjËeviÊ, Æeljko BrkanoviÊ
and Kreπimir ©ipuπ in Zagreb, as well as
Milan Horvat at the Hochschule für
Musik und darstellende Kunst in Graz.
388
Od 1979. do 1982. stalni je pijanist-korepetitor Baleta HNK u Zagrebu, od 1987.
do 1989. nastavnik teorije glazbe na
Glazbenom uËiliπtu Elly BaπiÊ u Zagrebu,
a od 1988. do 1989. djeluje kao pijanistkorepetitor u Bermuda Civic Ballet. Od
1989. producent je u Koncertnoj dvorani
Vatroslava Lisinskog. Od 2001. do 2005.
godine bio je ravnatelj ZagrebaËke filharmonije. Bio je producent MuziËkog
biennala Zagreb 1987. i 1989. godine, a
od 1997. godine njegov je umjetniËki
ravnatelj. Od 1989. æivio je u Milanu,
gdje je suraivao s Teatrom alla Scala
kao pijanist-korepetitor u Baletu (1989. 1999.), dirigent orkestra u produkcijama
Baleta (1997. - 1999.) te pijanist-korepetitor i asistent dirigentima u Operi
(1999. - 2002.).
Na MuziËkoj akademiji u Zagrebu bio je
predavaË teorijskih predmeta, 1998.
postaje docent na Odsjeku za kompoziciju i glazbenu teoriju, a 2005. izvanredni
profesor. Cantus Ansambl vodi od utemeljenja 2001.
Dirigentska aktivnost vodila ga je kroz
Hrvatsku, Bugarsku, Albaniju, NjemaËku
i Italiju, a za svoje je skladbe dobio niz
nacionalnih i inozemnih nagrada, to su:
Rektorova nagrada SveuËiliπta u Zagrebu,
Prva nagrada na 15. Meunarodnom
natjecanju MuziËke omladine, Nagrada
Sedam sekretara SKOJ-a, za Adieu,
Nagrada MBZ-a, za Spatial, Nagrada
Festivala suvremene glazbe u Udinama,
Nagrada Hrvatskog glazbenog zavoda, za
Deseo, Nagrada Tribine muziËkog stvaralaπtva Jugoslavije, Vjesnikova nagrada
Josip ©tolcer Slavenski, za djelo Rahbodea,
Nagrada Boris Papandopulo Hrvatskog
druπtva skladatelja, za …e sarai sola sul
lago… te OdliËje Reda Viteza umjetnosti
i knjiæevnosti Ministarstva kulture Republike Francuske (2004.).
389
He worked as an assistant-pianist at the
Croatian National Theatre Ballet in Zagreb (1979-82), and afterwards at the
Bermuda Civic Ballet (1988-1989). He
taught theory at the Elly BaπiÊ Music
School in Zagreb (1987-88). He was program producer at the Vatroslav Lisinski
concert hall, managing director of Zagreb Philharmonic Orchestra (20012005) and producer of the Music
Biennale Zagreb (1987 and 1989), and
since 1997 artistic director of MBZ.
Since 1989 he had lived in Milan where
he has been working as a rehearsal coach
in the ballet (1989-99), orchestra conductor for ballet productions (1997-99);
pianist, rehearsal coach and conducting
assistant in the opera (1999-2002) at the
Teatro alla Scala. He lectures in music
theory at the Zagreb Academy of Music.
He is founder and artistic director of the
Cantus Ensemble (2001). His conducting
has led him through Croatia, Bulgaria,
Albania, Germany and Italy. He received
a number of prizes for his works: the
University of Zagreb’s Rector’s Award in
1985, the first prize at the Jeunesses Musicales International Competition, for the
piece Adieu, the third prize for Mobil,
and the Seven Secretaries of SKOJ award,
all in the same year. He also won an
award for Mobil at the International Festival of Contemporary Chamber Music,
the Music Biennale Zagreb Award for
Spatial, and the Croatian Music Institute
Award for Deseo. He received the prestigious Josip ©tolcer Slavenski Award for
his Rahbodea. In 2003 he was given the
Boris Papandopulo Prize of the Croatian
Composers’ Society for …e sarai sola sul
lago… In 2004 he was decorated Knight
of the Order of Arts and Letters by the
Ministry of Culture of the Republic of
France.
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Zurovac
Staπa
PlesaË i koreograf Staπa Zurovac
diplomirao je na ©koli za klasiËni balet u
Zagrebu u klasi prof. Tatjane LuciÊ-©ariÊ,
a usavrπavao se u Sankt Peterburgu, gdje
je diplomirao kod V. K. Onoπka. »lanom
Baleta HNK u Zagrebu postaje 1989. godine, koreografira od 1996. godine, a od
sezone 2003./2004. ravnatelj je Baleta
HNK Ivana pl. Zajca u Rijeci.
Dobitnik je dviju nagrada Oskar Harmoπ
za najbolje muπke uloge u Ëetiri baleta u
sezoni 1995./1996. te za ulogu Mandarina u Bartókovu »udesnom mandarinu
u sezoni 2000./2001. Takoer je osvojio
dvije nagrade hrvatskog glumiπta: 2000.
godine za najbolje ostvarenje mladog
umjetnika u Molim te, probudi me! i
2006. godine za koreografiju u predstavi
Cirkus primitif balet u izvedbi ansambla
Baleta HNK Ivana pl. Zajca. Nagraen je i
na 5. festivalu koreografskih minijatura u
Beogradu, 17. meunarodnom natjecanju za koreografiju u Hanoveru te na
Svetovnim glazbenim dnevima, a dobio
je i dvije nagrade Peristil Splitskog ljeta te
Nagradu grada Beograda za balet Ko to
tamo peva. U rijeËkom HNK dosad su
postavljene njegove koreografije / autorski projekti: Marquezomanija, Volite li
Brahmsa?, Cirkus primitif balet, Pjesma
nad pjesmama te balet Romeo i Julija S.
Prokofjeva. U SNG-u Maribor 2008. godine praizveden je VojËek, njegov autorski projekt prema drami Woyzeck
Georga Büchnera.
Dancer and choreographer Staπa
Zurovac graduated from the School of
Classical Ballet in Zagreb in the class of
Professor Tatjana LuciÊ-©ariÊ. He continued his education in Petrograd where he
graduated in the class of V. K. Onoπko. In
1989 he became a member of Croatian
National Theatre’s ballet ensemble in
Zagreb and from the 2003/04 season onwards, Staπa Zurovac works as an artistic
director of the ballet ensemble of the
Ivan pl. Zajc Croatian National Theatre
in Rijeka.
He was awarded two Oskar Harmoπ
awards, for best male performances during the 1995/96 season, and again for the
role of Mandarin in Bartók’s Miraculous
Mandarin in the 2000/2001 season. He
was also given the Croatian Theatre
Award in 2000 for the best artistic
achievement by a young artist, for Please,
wake me up! and again in 2006 for best
choreography, for Circus Primitiff Ballet,
performed by the Ivan pl. Zajce Theatre
Ballet. Zurovac won the first prize at the
5th Festival of Choreographic Miniatures
in Belgrade and the second prize of the
17th International Choreographic Competition in Hanover. He received two Peristil Awards and the City of Belgrade Award
for the ballet performance of Who’s Singin’ Over There? His choreographies in
Rijeka so far were Marquesomania, Do
you like Brahms?, Circus Primitiff Ballet,
Song of Songs and the Romeo and Juliet
ballet by Sergei Prokofiev. In 2008 his
project VojËek, based on the play
Woyzeck by Georg Büchner, was premiered in SNG in Maribor (Slovenia).
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s proba - in rehearsal
S osnivanjem rijeËkog Narodnog kazaliπta 1946. godine osniva se i baletni
ansambl kao sastavni dio Opere.
Ansambl sudjeluje u svim opernim ili
operetnim predstavama, no uskoro
samostalno prikazuje pojedine odlomke,
a 1953. godine daje prvu samostalnu premijeru, balet Coppélia Léa Délibesa. NajznaËajniji datum u novijoj povijesti
rijeËkog Baleta je 21. rujna 1990., kada se
ansambl organizira kao samostalna umjetniËka grana s Petrom Pustiπekom na
mjestu ravnatelja.
Godinu 1995. baletni ansambl zapoËinje
svojim dotad najveÊim dostignuÊem,
premijernom izvedbom najpopularnijeg
baleta svih vremena, Labuim jezerom P.
I. »ajkovskoga. Od 2003. godine na Ëelu
rijeËkog Baleta je Staπa Zurovac. Pod njegovim ravnateljstvom u produkcijskom
smislu Balet Ëini zaokret prema suvremenim autorskim projektima, prepoznatljivima po visokoj kvaliteti i
originalnosti s tendencijom praÊenja suvremenih svjetskih tokova i traæenja
novih smjernica i ideja. Iako povremeno
brojËano malen, rijeËki je Balet tijekom
viπe od pola stoljeÊa postizao uistinu
znaËajne rezultate.
The National theatre in Rijeka was
founded in 1946, followed immediately
by the formation of a ballet ensemble of
Opera section. The ballet ensemble participated from then on in all opera and
operetta plays, gradually moving towards independent performances of individual fragments resulting in
ensemble’s first independent premiere
of Léo Délibes’ ballet Coppélia in 1953.
One of the most significant dates for Rijeka’s ballet ensemble was the 21st of
September in 1990 when this ensemble
became an independent art section with
Petar Pustiπek as its director.
In 1995 the ensemble had its most significant breakthrough - they premiered the
world’s most famous ballet Swan Lake
by P. I. Tchaikovsky. From 2003, the ensemble has been led by Staπa Zurovac.
Under his direction, the ensemble made
a significant change towards original
contemporary projects which helped
build a reputation of recognizable quality and original performances, by keeping up-to-date with modern tendencies
and continually searching for new guidelines and fresh ideas. Although small in
numbers, at times, Rijeka’s Ballet ensemble
has had significant results over the years.
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»obanov
Dian
Dirigent Dian »obanov (Tchobanov)
roen je u Bugarskoj, s trenutaËnim prebivaliπtem u Austriji. Godine 2004.
postao je rezidencijalni dirigent sofijskog
Filharmonijskog orkestra u Bugarskoj, a
2007. godine imenovan je glazbenim direktorom Dræavne opere Stara
Zagora. Bio je i rezidencijalni dirigent
Orkestra Schönbrunn Palast iz BeËa. U
posljednje je vrijeme bio i stalni gostujuÊi dirigent s orkestrima poput Orkestra
Budapest Concert, Orkestra Dohnany
Budapest, Hrvatskog komornog orkestra
i Makedonske filharmonije.
Od svog dirigentskog debija 2001. godine
s beËkim Radijskim simfonijskim orkestrom »obanov dobiva iskljuËivo pohvale. Radio je kao glazbeni direktor
Festivala Oper Oder-Spree (NjemaËka),
nakon Ëega je uslijedilo mjesto asistenta
u Klangbogenu u BeËu. Nedavno je
postao Ëlan fakultetskog osoblja na NBU
(Novo bugarsko sveuËiliπte). Ove je sezone imao i ameriËki debi s Forth Collins
Symphony (Colorado) iz SAD-a.
Dian »obanov magistrirao je na
Dræavnoj muziËkoj akademiji u Sofiji
1997. godine te na SveuËiliπtu za glazbu
u BeËu 2001. godine. Pohaao je teËajeve
Sir Colina Daviesa u Dresdenu, a privatne sate davao mu je i Fabio Luisi. Osvojio je Drugu i Posebnu nagradu
Meunarodnog natjecanja Lovro von
MataËiÊ u Zagrebu 2003. godine te
Posebnu nagradu »etvrtog meunarodnog austrijsko-maarskog natjecanja za
dirigente 1998. godine. Osim kao dirigent, nastupao je i kao pijanist s beËkim
Filharmonijskim orkestrom pod vodstvom dirigenta Seijia Ozawe (2003.).
Bulgarian-born conductor Dian
Tchobanov (»obanov), who lives in Austria now, became the Resident Conductor of the Sofia Philharmonic Orchestra
in Bulgaria in 2004 and was appointed as
Music Director of the State Opera Stara
Zagora in 2007. For five seasons he has
been the Resident Conductor of Schönbrunn Palace Orchestra (Vienna). Mr.
Tchobanov has recently appeared as
permanent guest conductor with such
orchestras as the Budapest Concert Orchestra, Dohnany Orchestra Budapest,
Croatian Chamber Orchestra and Macedonia Philharmony.
High praise has followed Tchobanov
ever since his conducting debut in 2001
with the Vienna Radio Symphony Orchestra. In the same year he has served
as Music Director of Oper Oder-Spree
Festival (Germany) which was followed
by the assistant position at the Klangbogen Vienna. He was recently appointed
as a faculty member at the NBU (New
Bulgarian University). This season sees
Tchobanov have his US debut in the US
with the Forth Collins Symphony (Colorado).
Tchobanov earned his master´s degree
from the State Musical Academy (Sofia)
in1997 and University of Music (Vienna)
in 2001. In 2000 he attended a master
class with Sir Colin Davies in Dresden
(Germany) and got private lessons from
Fabio Luisi. Tchobanov has been
awarded with the Second and the Special
award of Lovro von MataËiÊ International Conductors Competition Zagreb
in 2003 and Special award at the Fourth
International Austrian-Hungarian Conductors Competition in 1998. Beyond his
activities as conductor he has also performed played as pianist with the Vienna
Philharmonic Orchestra under the conductorship of Seiji Ozawa (2003).
393
Drauπnik
Æoræ
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Æoræ Drauπnik (Zagreb, 1965.) roen je u
obitelji uglednih glazbenika. Kontrabas
je diplomirao na zagrebaËkoj MuziËkoj
akademiji. Za vrijeme studija postao je
stalnim Ëlanom orkestra Opere HNK u
Zagrebu, a od 1994. godine solist je istog
orkestra. Kao Ëlan i suosnivaË ZagrebaËkog dua kontrabasista odræao je brojne koncerte i snimio Ëetiri nosaËa zvuka.
Uz glazbu, bavi se i organizacijom
izloæaba, izdavaπtvom i likovnom opremom knjiga. Igrom sluËaja, 2001. godine
na poziv Nenada FabijaniÊa poËinje se
baviti scenografijom, suraujuÊi na
izradi dekora za predstavu Johannes
Faust Passion Milka ©parembleka. Od
tada surauje s mnogim uglednim
imenima iz te struke.
Od samostalnih scenografskih radova
valja spomenuti Koriolan, HNK Zagreb;
Ko to tamo peva, NP Beograd; La Sylphide, HNK Zagreb; Boæansku komediju,
SNP Novi Sad; Romea i Juliju, HNK Rijeka, Danse macabre; Coppeliju, NK
Tirana; Wozzecka, SNG Maribor, te
rekonstrukciju scenografije baleta
Oraπar Petra IljiËa »ajkovskog iz 1970.
godine, kao hommage Ëuvenom koreografu Waclawu Orlikovskom.
Æoræ Drauπnik (Zagreb, 1965) comes
from a family of distinguished musicians. He graduated in double bass from
the Music Academy in Zagreb. During
his studies he became a permanent
member of the Opera Ensemble of the
Croatian National Theatre in Zagreb,
where he reached soloist status in 1994.
As member and co-founder of the Zagreb Double Bass Duo he has held numerous concerts and recorded four
compact discs. Alongside his career in
music, he works as organizer of art exhibitions, book editor and graphic designer. In 2001, purely by chance, he
began working as a stage designer at the
invitation of Nenad FabijaniÊ, collaborating on the setting for the play Johannes Faust Passion by Milko
©paremblek. Since then he has worked
with many prominent experts in the field
of stage design.
Regarding his stage design projects,
mention should be made of Koriolan for
the Croatian National Theatre in Zagreb;
Ko to tamo peva for the National Theatre
in Belgrade; La Sylphide for the Croatian
National Theatre in Zagreb; Divine Comedy for the Serbian National Theatre in
Novi Sad; Coppelia for the National Theatre in Tirana; Wozzeck for the Slovenian
National Theatre in Maribor; and the reconstruction of the 1970 stage design for
Tchaikovsky’s Nutcracker, as homage to
the famous choreographer Waclaw Orlikowsky.
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GaliÊ
day
RadoπeviÊ
Katarina
Katarina RadoπeviÊ GaliÊ (Zagreb, 1973.)
zavrπila je u Zagrebu ©kolu za balet i ritmiku te ©kolu za primijenjenu umjetnost
i dizajn, Odjel arhitekture. ©kolovanje
nastavlja na Odjelu dizajna Tekstilnotehnoloπkog fakulteta. Za vrijeme studija
sudjeluje na Natjecanju Smirnoff 96 i na
31. ZagrebaËkom salonu. Kazaliπnom
kostimografijom profesionalno se bavi
od 1997. godine, suraujuÊi u pedesetak
kazaliπnih projekata diljem Hrvatske i u
inozemstvu. Ostvarena kostimografska
rjeπenja kao i skice prema kojima su
nastala izlagala je 2005. godine na zajedniËkoj izloæbi Ëlanova ULUPUH-a i
samostalno 2007. kao osvrt na pet predstava. Sa Staπom Zurovcem Ëesto
surauje u njegovim projektima za zagrebaËko, rijeËko, splitsko, beogradsko i
novosadsko kazaliπte. Kreirala je kostime
za dramske predstave Cyrano de Bergerac
Rostanda, Decameron Boccaccia i druge,
te suraivala s Dramskim studijem slijepih i slabovidnih u predstavama Tata
Ubu Jarryja i Proces Kafke. Dobitnica je
nagrade Assiteja 2005. za najbolju kostimografiju predstave Kako je Tonkica
kupovala kruh, u izvedbi kazaliπta Mala
scena.
Katarina RadoπeviÊ GaliÊ (Zagreb, 1973)
graduated from the Zagreb Classical Ballet School and the Zagreb School of Applied Arts, Department of Architecture.
She continued her education studying
Design at the Faculty of Textile Technology in Zagreb. During her university
years she participated in the Smirnoff 96
Competition and in the 31st Zagreb
Salon. She has been working as a professional costume designer since 1997, collaborating on approximately fifty theatre
projects in Croatia and abroad. Her costumes and sketches for costumes were
shown in the 2005 ULUPUH (Croatian
Association of Artists of Applied Arts)
group exhibition, as well as in her own
2007 show, where she exhibited her work
on five theatre plays. She frequently collaborates with Staπa Zurovac on his projects for theatres in Zagreb, Rijeka, Split,
Belgrade and Novi Sad. She designed
costumes for Rostand’s Cyrano de Bergerac and Boccaccio’s Decameron and
others. She has also collaborated with
the Theatrical Company of the Blind and
Visually Impaired on Jarry’s Père Ubu
and Kafka’s Process. She was conferred
the Assiteja Prize 2005 for best costume
design for the play Kako je Tonkica kupovala kruh (How Tonkica Bought Bread)
performed by the Mala Scena Theatre.
She is a member of the Croatian Association of Artists of Applied Arts (ULUPUH)
and the Croatian Freelance Artists’ Association (HZSU).
Deni ©esniÊ
394
Deni ©esniÊ (Rijeka, 1963.) diplomirao je
dizajn svjetla, video i kazaliπne projekcije
na amsterdamskoj akademiji MAPA
(Moving Academy for Performing Arts).
Oblikovao je svjetlo za stotinjak predstava
u Hrvatskoj i inozemstvu i za to dobio
najvaænija hrvatska kazaliπna priznanja.
U Pekingu je postavio viπe od 3200
rasvjetnih tijela za najveÊu produkciju
Verdijeve Aide, u reæiji Kreπimira
DolenËiÊa. U posljednje vrijeme autor je
i nekoliko scenografija.
Deni ©esniÊ (Rijeka, 1963) graduated in
the lighting design, video and theatre
projection at the Amsterdam Moving
Academy for Performing Arts. He has
designed lighting for around a hundred
performances in Croatia and abroad,
which has earned him the most
important national theatre awards. For
the greatest production of Verdi’s Aida,
directed by Kreπimir DolenËiÊ, he set up
more than 3,200 lighting fixtures in
Beijing. He has created several stage
designs recently.
395
Marin LukanoviÊ (Rijeka, 1979.) od
studija filmologije u Bologni aktivno radi
na dugometraænim igranim i dokumentarnim filmovima u Italiji i Hrvatskoj.
Film Moram spavat’ anele Dejana AÊimoviÊa, na kojem je bio pomoÊnik reæije,
nagraen je 2007. godine s Ëetiri Zlatne
arene. Od 2001. stalni je Ëlan organizacijskog tima Kazaliπta Ulysses, a od 2003.
autor ili koautor videa i asistent reæije u
produkcijama HNK Ivana pl. Zajca, HNK
Zagreb, HNK Osijek, kazaliπta Marin
DræiÊ iz Dubrovnika, Trafika iz Rijeke i
SNG Maribor.
U HNK Ivana pl. Zajca 2004. reæira Pinterovu Prijevaru. Kratkim filmom Standardna priËa 2005. godine osvaja
nagradu na Pulskom filmskom festivalu.
Godine 2008. reæirao je dokumentarni
film ‘Rikard BenËiÊ’, na primjer, s Nadijom MustapiÊ. Film je dio zbirke rijeËkog
Muzeja moderne i suvremene umjetnosti. Aktivan je na mirovnjaËkoj te
nezavisnoj kulturnoj sceni.
Marin LukanoviÊ (Rijeka, 1979) studied
filmology in Bologna. He has been working on feature-length and documentary
films in Italy and Croatia. The film
Moram spavat’ anele (I Have to Sleep,
My Angel) by Dejan AÊimoviÊ, where he
worked as assistant director, was given
four Golden Arena Awards in 2007. Since
2001 he has been a permanent member
of the organization team of Ulysses Theatre, and since 2003 he has been working
as video artist and assistant director in
productions of the Croatian national
theatres in Rijeka, Zagreb and Osijek, the
Marin DræiÊ Theatre in Dubrovnik, the
Trafika Theatre in Rijeka and the Slovenian National Theatre in Maribor. In 2004
he directed Pinter’s Betrayal. In 2005, his
short film A Standard Story won an
award at the Pula Film Festival. In 2008
he directed a documentary film ‘Rikard
BenËiÊ’, For Example, together with
Nadija MustapiÊ. The film is now in the
collection of the Museum of Modern and
Contemporary Art in Rijeka. He is active
in the pacifist and the independent culture circles.
day
month
26
4
dan
mjesec
hour
23:00
nedjelja / sunday
sat
snimio / photo by Ian Wood
23:00, &TD, Polukruæna dvorana /
Semicircular Hall
Trondheym
elektroniËki jazz / electronic jazz
396
„TRONDHEYM je putovanje. Film.
Gitarist i skladatelj gerhard schmitt je
redatelj te istovremeno i protagonist
glazbenog filma o beskraju prostora. zajedno s bas klarinetistom / saksofonistom larsom dieterichom, gerhard
schmitt predvodi ovu glazbenu avanturu
pozivajuÊi publiku da proπeÊe kroz tajgu,
popne se na mjesec, slijedi morskog
sisavca ispod povrπine vode, da se bori sa
sibirskom snjeænom olujom, ubere cvijet
zlaticu, valja se po pijesku te ponekad
Ëak da odleti na planet Pluton. Uæivo na
pozornici aktiviraju se bezbrojni sklopovi
i prekidaËi za efekte, ponekad se to radi
nogom, a ponekad, dok gitara i bas klarinet sviraju svoje, rukom, dok se glazba
ponavlja u petlji, ili kao snimljeni dio upravo odsvirane melodije ili upotrebom
sinkroniziranog laptopa. Video projekcije macaba dodatno pojaËavaju dojam
nastao tijekom stvaranja ovog multimedijskog putovanja pretvarajuÊi ga u
melankoliËne zvukove i melodije svijeta
trondheym-a.
trondheym je nastao prvenstveno kao
æiva konfiguracija. Sve pjesme su nastajale pod tim uvjetima te se tek nakon interaktivnog sviranja ostvarila æelja za
daljnjom proizvodnjom glazbe koja je
razvijena na taj naËin.“ [trondheym]
397
“TRONDHEYM is a journey. a film.
Guitarist and composer gerhard schmitt
is the director and, at the same time,
protagonist of the musical motion picture about the vastness of space.
Together with bass clarinet / saxophone
player lars dieterich, he leads the musical adventure and invites the audience to
wander through the taiga, to walk on the
moon, to follow a sea mammal under
water, to fight themselves through a
Siberian snowstorm, to pick a buttercup,
to wallow in the sand, and sometimes
even to fly to Pluto.
Live on stage, countless effect units and
switches get activated, sometimes by the
feet, while at the same time the guitar
and the bass clarinet get played and
sometimes by the hands, while the
music is carried either by loops that were
played and previously recorded live, or
by a synchronized laptop.
Additionally, macabo’s video projections
intensify the impressions that are created during this multimedia-based journey into the melancholic sounds and
melodies of trondheym’s world.
trondheym came into existence, first and
foremost, as a live configuration. all
songs grew under these conditions and,
only after interactive playing, the wish
was realized, to further-produce the
music that was developed in this way.”
[trondheym]
day
month
16
4
dan
mjesec
hour
19:00
sat
POSEBNI PROJEKTI / SPECIAL PROJECTS
19:00, HDLU
Predbijenalski program / Pre-Biennale
Otvorenje izložbe / Exhibition opening
16/4-26/4
Boris BuÊan
399
BuÊan
Boris
398
Boris BuÊan, akademski slikar i grafiËki
dizajner (Zagreb, 1947.). ©kolu primijenjene umjetnosti zavrπava u Zagrebu
1967. godine. Iste godine upisuje
Akademiju likovnih umjetnosti u Ljubljani. Studij nastavlja na Akademiji
likovnih umjetnosti u Zagrebu, gdje je i
diplomirao 1972. godine. Autor je viπe od
sedamdeset samostalnih izloæbi te je
sudjelovao na brojnim skupnim
izloæbama u zemlji i svijetu.
The painter and graphic designer Boris
BuÊan (Zagreb, 1947) graduated from
the School of Applied Arts in Zagreb in
1967. In the same year he was admitted
to the Academy of Fine Arts in Ljubljana.
He continued his education at the Academy of fine Arts in Zagreb, whence he
graduated in 1972. He is the author of
more than seventy one-man shows and
has participated in numerous group exhibitions in Croatia and abroad.
day
month
16
4
dan
mjesec
hour
19:00
sat
Dohvatiti mjesec, opisati BuÊana
Jazz je vruÊ, izlazi iz suncokreta. Crn je i
zlatan i teæi tome da bude nasmijan. Jazz
je Crnac. Velika je razlika izmeu dæeza i
klasiËne glazbe, koja izlazi iz filodendrona i po svojoj je naravi crna i zelena.
Bach, ma koliko koncizan bio, svoje
studije ritma teæi ucrtati u jedan jedini
list. Zapitate li se πto je arhitektura, vidjet
Êete da su u kupolama upisane glave
arhitekata. Zajedno s naoËalama i cigaretama. Sve je ovo gomila besmislica!
»ovjek ne moæe pisati o Borisu BuÊanu, a
da se pritom ne nasuËe na dvije hridi.
Prva je ona da progovori jezikom
nadrealizma, veÊ odavno zaboravljenim i
pokopanim. Druga je ona da traæi usporedbe, gleda na πto bi ga to podsjetilo.
Ne moæete opisati mjesec, osim da
kaæete da je to okruglo i sjajno nebesko
tijelo, koje, meutim, svoju svjetlost
posuuje. Onome tko bi proËitao ovu
reËenicu, mjesec uopÊe ne bi bio jasan.
Postoji jedna priËa o gomili majmuna
koji pokuπavaju dohvatiti mjeseËev odraz
na jezeru: jedan drugoga dræeÊi za rep
spuπtaju se niz stablo, a posljednji u nizu
zagrabi vjedrom. I - niπta! Podjednako
majmunski bilo bi opisati BuÊana. Od
koga on posuuje? Odgovor bi bio od dragoga Boga, samo πto BuÊan malo bræe
slika nego πto je ovaj stvarao svijet.
BuÊanove slike na senzibilnog gledatelja
djeluju poput droge. Njima se opija, æeli
ih odnijeti kuÊi. Trebale bi biti izlagane u
bordelima, kada bi oni postojali i kada ne
bi bili tako malograanski. Gledam te
slike naslonjene jedne na druge, preda
mnom se rastvaraju kao latice. Neke od
njih joπ su pomalo mokre. Kako na nekoj
zagrebaËkoj adresi, pitam se, nastaju
tako kozmiËke stvari? Skloni smo misliti
da se ono vaæno dogaa daleko od nas.
To Reach the Moon, to Describe BuÊan
Jazz is hot, it comes out of a sunflower. It
is black and golden and wants to smile.
Jazz is a Black man. There is a great difference between jazz and classical
music, which comes out of a philodendron and is black and green by nature.
As concise as Bach may be, he tends to
write his studies of rhythm on a single
leaf. If you ask yourselves what architecture is, you will discover that heads of architects are inscribed within cupolas.
Their eyeglasses and cigarettes included.
All of this is complete nonsense! One
cannot write about Boris BuÊan without
getting stranded on two rocks. The first
rock is to speak in the words of surrealism, which has been buried and forgotten long ago. The second one is to look
for comparisons, something which reminds one of something else. The moon
can be described only as a round and
shiny celestial body which, however,
borrows its light from elsewhere. To the
reader of this sentence, the moon would
make no sense at all. There is a story
about a group of monkeys trying to catch
the reflection of the moon upon the surface of a lake: they descend the tree
holding one another by the tail, and the
last one dips the bucket. Nothing happens! To try to describe BuÊan would be
equally apish. Who does he borrow
from? The answer is: from dear God himself, even though BuÊan is a little quicker
in painting than God was in creating the
world. To the sensitive observer, BuÊan’s
paintings are like drugs; he becomes intoxicated and desires to take them home
with him. They should be exhibited in
brothels, if brothels existed and if they
were not so petty-bourgeois. I look at
these paintings, they unfold in front of
400
Nikad mi nije bilo sasvim jasno πto rade
oni tipovi na burzi. Neπto zavrte, neπto
preokrenu, i hopa, bilijun dolara. S tim bi
meπetarima bilo najlakπe prispodobiti
BuÊana, umjesto da dozivam duhove
Duchampa ili Tiziana iz kasne faze.
Burza je kolabirala, reÊi Êete, zbog
nonπalantnog odnosa prema novcu.
Nije istina. Do sloma je doπlo jer je onim
meπetarima tamo ponestalo maπte. U
BuÊana, vidjet Êete, nikad neÊe biti recesije. Nakon epohe dæeza i klasike, tko zna
koje preobrazbe Êe se joπ dogoditi ili su
se veÊ dogodile. Slike neprekidno naviru,
to nisu platna, to su πtosevi. Izlaze iz potpune crnine i smiju nam se u lice. I kao
πto bi Borges rekao za mjesec - treba ih
dobro pogledati. Moæda nam je posljednji put.
Milana VukoviÊ RunjiÊ
401
me like petals. Some of them are still a
little wet. How is it possible, I wonder,
that such cosmic stuff is being made at a
Zagreb address? We tend to think that
important things happen far away from
where we are. I have never quite understood what it is that those guys at the
stock market do. Some wheelin’, some
dealin’ and bam!, a billion dollars. Perhaps BuÊan should be compared to
stockbrokers, instead of summoning the
ghosts of Duchamp or late Titian. The
stock market collapsed because of nonchalance, you might say. Not true. It collapsed because the stockbrokers began
to lack imagination. With BuÊan, as you
will come to see, there can never be a recession. After the age of jazz and classical
music, who knows what other transformations are about to happen or have already come into being. The images keep
welling forth; they are not canvases, they
are jokes. They come out of total darkness and laugh in our faces. And, as
Borges would say regarding the moon,
they need to be given a good look. We
might never see them again.
Milana VukoviÊ RunjiÊ
Bojan GagiÊ, Remix Mangelos
ZvuËno-svjetlosna instalacija /
Sound-visual installation
17/4-26/4
402
403
REMIX MANGELOS (dokument)
REMIX MANGELOS (document)
Remix Mangelos je zvuËno-svjetlosna instalacija koja nastaje kroz formu koncerta pred publikom. Rad je nastao kao
svojevrsni hommage radu povjesniËara
umjetnosti, kustosa i umjetnika Dimitrija
BaπiËeviÊa Mangelosa (©id 1921. - Zagreb
1987.). Njegova djela nalaze se u kolekcijama svjetskih muzeja kao πto su Centre
Georges Pompidou, MoMa i Tate Modern. U nas je njegov rad joπ uvijek nedovoljno poznat.
Remix Mangelos is a sound-visual installation performed in the form of a concert
in front of an audience. The work has
been created as homage to the work of
the art historian, curator and artist Dimitrij BaπiËeviÊ Mangelos (©id 1921 - Zagreb 1987). His works can be found in
the collections of world museums such
as Centre Georges Pompidou, MoMa
and the Tate Modern. In Croatia his work
is still largely unknown.
U jednoj je fazi svog umjetniËkog rada
DB Mangelos koristio πkolske globuse,
koje je prekrivao bojom i na njima ispisivao odreene reËenice, poruke, formule,
manifeste. Sam je taj oblik stvaranja
nazivao pejzaæima.
In one of his artistic stages DB Mangelos
used school globes which he covered
with color and then wrote certain sentences, messages, formulas and manifests on them. He called them
landscapes.
Bojan GagiÊ prvi je put izveo Remix
Mangelos godine 2002. u Crkvi sv. Dominika u Zadru kao dio projekta Digging
the Channel i suradnje s bostonskom
umjetniËkom grupom Moebius, te ubrzo
nakon toga kao dio off-programa Mittelfesta u Cividaleu i Art-rezidencije u
Lazaretima. Godine 2004. rad je predstavljen i u Muzeju suvremene umjetnosti kao dio eksperimentalnog
programa Pilot 04.
Bojan GagiÊ performed Remix Mangelos
for the first time in 2002 in the Church of
St. Dominik in Zadar as part of the project Digging the Channel and in collaboration with the Boston-based art group
Moebius; soon thereafter he performed
it as part of the off program at the Mittelfest in Cividale and at the Art Residency in Lazareti. In 2004 the work was
presented at the Museum of Contemporary Art as part of the experimental program Pilot 04.
U projektu takoer upotrebljava πkolske
globuse promjera 40 cm u matiranoj
crnoj boji. Na njima nije ispisan nikakav
tekst, oni su sami po sebi Tabula Rasa. U
centralnom dijelu prostora, iznad
globusa koji stoje na galerijskim postamentima postavljeni su reflektori koji
dobivaju dimmerski signal preko
viπekanalnog svjetlosnog procesora.
Kanali su podjeljeni po frekvencijama u
viπe razliËitih grupa.
In this project the artist also uses school
globes with a 40 cm diameter in matte
black color. They do not contain any
text, they are Tabulae Rasae in themselves. Above the globes, on the gallery
construction in the central part of the
room, there are spotlights which receive
a dimmer signal through a multichannel
light processor. The channels are divided
into several different groups according to
their frequencies.
Paljenje, gaπenje i intezitet rada svakog
reflektora razlikuje se ovisno o ulaznom
zvuËnom signalu koji dolazi iz audio
miksera, a kojeg muziËari stvaraju æivom
izvedbom u prostoru. Nakon nekog vremena toplina svjetala postavljenih iznad
globusa poËinje utjecati na njihovu
strukturu tako da ih topi. Na kraju
izvedbe ostaju globusi kao galerijski objekti, promijenjena oblika. Promjena oblika promjena je sadræaja.
U prve tri izvedbe koriπten je jedan crni
globus, dok su u Ëetvrtoj izvedbi koriπtena tri globusa. Dokument Remix
Mangelos sastoji se od osam gotovih objekata (globusa) i osam dokumentarnih
fotografija s prijaπnjih izvedbi.
The switching on and off and the intensity of each spotlight vary depending on
the input sound signal which comes
from the audio mixer and which is created in a live performance by the musicians. After a period of time, the heat
from the spotlights above the globes begins to alter their structure so that they
begin to melt. At the very end of the performance the globes remain as gallery
objects of altered form. The alteration of
form is the alteration of content.
In the first three performances only one
globe was used, while three were used in
the fourth performance. Document
Remix Mangelos consists of eight objects
(globes) and eight documented photographs from the earlier performances.
U osnovi je priËa vrlo jednostavna:
Basically, the story is very simple:
naπ unutarnji svijet
kroz zvuk
pretvoren u svjetlo
mijenja materiju oko nas
Promjena strukture globusa moja je
reËenica, poruka, formula, manifest.
Bojan GagiÊ,
multimedijalni umjetnik,
Ëlan Hrvatskog druπtva likovnih umjetnika (HDLU),
Ëlan Zajednice umjetnika Hrvatske
(ZUH), aktivno izlaæe od 1990.
our internal world
through sound
transformed into light
alters matter around us
The alteration of the globe structure is
my sentence, message, formula, manifest.
Bojan GagiÊ,
multimedia artist, a member of the Croatian Association of Visual Artists (HDLU),
member of Community of Croatian
Artists (ZUH), exhibits actively since 1990.
404
405
0 IX III/XC-LX-XC
multimedijski plesni projekt / a multimedia dance project
Katarina –ureviÊ, autorica, koreografkinja, plesaËica /
author, choreographer, dancer
Tamara CuriÊ, plesaËica / dancer
Robert Nappholz, skladatelj i izvoaË / composer and performer
Igor Pauπka i / and Katarina –ureviÊ, scenografija / stage design
23 / 4, 20:30 - Kino Europa / Cinema Europa, predvorje / foyer
24 / 4, 20:30 - Kino Europa / Cinema Europa, predvorje / foyer
26 / 4, 22:30 - &TD, predvorje / foyer
406
407
“Politics - an art of gaining control, setting up the rules and criteria that make a
society functional… a strategic, social
game… The same way that art is the act
of finding oneself, one’s inner world,
one’s art piece, a piece of light standing
out in the darkness as a complete opposite, within the same politics, within the
boundaries of the determined. Maybe,
sometimes, in order to take a break, we
decide to turn ourselves off, as participants in the predetermined system. Nevertheless, in Aristotel’s work zero as a
concept does not exist…”
“Zvuk ove predstave sloæen je iz dvaju
osnovnih izvora, dvaju medija: kao prvo, [Katarina –ureviÊ]
plesaËice su medij, koji moæe prenositi
“The sounds of this project are created
poruke pokretom, ali i medij jer i same
proizvode zvuk dok se kreÊu, moæda kao from two basic sound sources, two
media: firstly, the dancers are a medium,
pijuni po πahovskoj ploËi, navoene od
drugih, ali i pokuπavajuÊi izaÊi iz okvira, they can carry a message, but they are
iz ploËe; Drugi izvor zvuka druga je vrsta also a medium because they produce
sounds while they move, moving permedija - masovni mediji koji prenose
haps like pawns on a chess board, led by
(politiËke) poruke, ali ovdje sluæe i kao
others, but trying to break free from the
izvor zvukova, medij koji zajedno s pleframe, the board; The second sound
saËicama stvara novi zvuk...”
source is another kind of medium - the
[Robert Nappholz]
mass media, broadcasting (political)
messages, but serving here as a source of
sounds, a medium creating a new sound
in combination with the ones made by
the dancers…” [Robert Nappholz]
“Politika - umjetnost uspostavljanja kontrole, kriterija i pravila funkcioniranja
druπtva… strateπka druπtvena igra… Isto
kao πto je i umjetnost pronalaæenje sebe,
svog svijeta, svog umjetniËkog djela,
posve suprotnog iz mraka izdvojenog komadiÊa svjetla, unutar te iste politike,
unutar granica zadanog. Moæda sebe
katkad, za predah, ipak odluËimo privremeno iskljuËiti kao sudionika u danom
sustavu. Ipak, joπ kod Aristotela nula kao
koncept ne postoji...” [Katarina –ureviÊ]
–ureviÊ
Katarina
Katarina –ureviÊ (Zagreb, 1973.)
koreografkinja je, plesaËica suvremenog
plesa i plesna pedagoginja. Zavrπila je
©kolu suvremenog plesa Ane MaletiÊ u
Zagrebu (1991.), gdje je danas nastavnica.
SuosnivaËica je i umjetniËka voditeljica
Udruge profesionalnih plesnih umjetnika Puls. Potpisuje koreografiju i scenski
pokret za predstave TeËaj odvikavanja
od puπenja Roberta Raponje i Petar Pan
Mladena Vasarija te koreografijau i
izvedbu u projektu saksofonista Claudea
Delanglea ElektriËno popodne na 22.
MBZ-u. Koreografkinja je i autorica
cjeloveËernjih plesnih predstava:
OgraniËen pokret, Sluh oka, ©uma Striborova, THC Pozitiv, Gdje mi je nestao
pupak?, Mekoslon, 093/90-60-90, Autoportreti.
Udruga profesionalnih plesnih umjetnika PULS republiËka je strukovna
udruga koja djeluje od 2001. godine, a
okuplja profesionalne plesaËe/ice, koreografe/kinje i plesne pedagoge/inje s ciljem afirmacije i razvoja plesne
umjetnosti u Hrvatskoj.
Katarina –ureviÊ, (Zagreb, 1973) is a
choreographer, contemporary dancer
and dance educator who graduated from
the Ana MaletiÊ School of Contemporary
Dance in Zagreb (1991), where she works
as a teacher. She is the co-founder and
art director of the Association of professional dance artists PULS. She designed
choreography and stage movements for
Robert Raponja’s play TeËaj odvikavanja
od puπenja (The Quitting Smoking
Course) and Peter Pan by Mladen Vasari.
–ureviÊ choreographed and performed
during the Electric afternoon project, by
the saxophone player Claude Delangle,
for the 22nd MBZ. She was the choreographer and author of full-length dance
plays: OgraniËen pokret, Sluh oka, ©uma
Striborova,THC Pozitiv, Gdje mi je nestao
pupak?, Mekoslon, 093/90-60-90, Autoportreti.
The Association of professional dance
artists PULS is a national professional
association, founded in 2001, bringing
together professional dancers, choreographers and dance educators with the
aim of affirming and developing the art
of dance in Croatia.
409
CuriÊ
Tamara
408
Tamara CuriÊ (Zagreb, 1973.) nakon zavrπene ©kole za balet, ples i ritmiku
diplomirala je 1995. godine na Vlaamse
Dansacademie u Bruggeu (Belgija). Od
1988. radi kao profesionalna plesaËica u
nekoliko kompanija u Hrvatskoj i Europi
(Arena dance theater, Studio za suvremeni ples, ZagrebaËki plesni ansambl,
Liberdance, Mala Scena...). Kao koreografkinja sudjeluje na koreografskim
platformama u Belgiji, surauje s brojnim dramskim kazaliπtima i reæiserima
(Haris PaπoviÊ, Ivan Leo Lemo, Kreπimir
DolenËiÊ, Lary Zappia) i autorica je
nekoliko cjeloveËernjih predstava. Jedna
je od osnivaËica Platforme mladih koreografa u Hrvatskoj, a od 2000. godine
umjetniËka je direktorica Plesnog centra
TALA. Danas radi kao plesaËica, pedagoginja i koreografkinja.
Tamara CuriÊ, (Zagreb, 1973.) graduated
from the Vlaamse Dansacademie, Brugge
(Belgium) in 1995 after having attended
School of Contemporary Dance in Zagreb.
Since 1988 she has been working as a
professional dancer with several companies in Croatia and Europe (Arena Dance
Theater, Studio za suvremeni ples, Liberdance, Mala Scena...). As a choreographer she participated in choreographic
platforms in Belgium, and cooperated
with numerous theatres and theatre directors (Haris PaπoviÊ, Ivan Leo Lemo,
Kreπo DolenËiÊ, Lary Zapia); CuriÊ is the
author of several full-length plays. She is
one of the co-founders of The Platform of
Young Choreographers in Croatia and
from 2000 works as art director of Dance
Centre TALA. She works as a dancer,
educator and choreographer.
Nappholz
Robert
Robert Nappholz (Dubrovnik, 1970.)
kompozitor je, aranæer, producent i
klavijaturist. U Dubrovniku, potom i u
Zagrebu, otvara glazbeni studio i kao
producent, aranæer i kompozitor
surauje s mnogim glazbenicima iz
Hrvatske i inozemstva. Od poËetka
osamdesetih godina prati i usvaja razvoj
elektroniËkih glazbala i glazbene
tehnologije (analogni sintesajzeri, sampleri, midi, sekvenceri) od analogne u
digitalnu i natrag, te programiranje kao
jednu od moguÊih tehnika skladanja. U
GK Gavella bio je koautor glazbe i
glazbenik-glumac u predstavama Dundo
Maroje 1995. godine (reæija Kreπimir
DolenËiÊ) i Osam lakih komada 1994.
godine (reæija Nina Kleflin). OsnivaË je,
klavijaturist i autor glazbe crossover
grupe Fali V, s kojom izdaje dva autorska
LP albuma VisoËije od koljena i Blud za
izdavaËku kuÊu Aquarius records. Autor
je glazbe za kazaliπnu predstavu Class
Enemy autora Nigela Williamsa
(Institucija, 2000. godine, redatelj: Borna
BaletiÊ). Suraivao je na meunarodnom
multimedijskom projektu Indeepandance
autora Vittorija Cosme, Masbeda i Alda
Nove, audiovizualnom spektaklu izvedenom u Milanu u Areni Civica u rujnu
2008. godine.
Robert Nappholz (Dubrovnik, 1970) is a
composer, arranger, producer and pianist.
He first had an audio studio in Dubrovnik and then opened in Zagreb: as a producer, arranger and composer he has
cooperated with numerous foreign and
Croatian musicians. Since the Eighties
he has been following up on the developments of electronic instruments
and music technology (analogous synthesizers, samplers, midi, sequencers),
especially the path from the analogue to
the digital and back, and he has, at some
point, considered programming, as a
possible compositional technique. He
has appeared as an actor, musician and
co-author of the incidental music for the
Gavella Theatre productions of Dundo
Maroje, 1995 (directed by Kreπimir
DolenËiÊ) and Osam lakih komada /
Eight Easy Pieces, 1994 (directed by Nina
Kleflin). Nappholz is the founder, keyboard player and composer of the
crossover group Fali V with which he released two albums, VisoËije od koljena
(1999) and Blud (2005) for Aquarius
records. Nappholz is the author of the
score for the play Class Enemy by Nigel
Williams (Institucija, 2000, directed by
Borna BaletiÊ). His most recent multimedia project, on which he cooperated with
international artists, was an audiovisual
spectacle called Indeepandance - authors: Vittorio Cosma, Masbedo and
Aldo Nove - performed in Milan at Arena
Civica in September, 2008.
410
411
Tamara CuriÊ, snimio / photo by Amer Kuhinja
MUZIKA-DIVERZIJA
Trideset godina nakon Urbofesta, niza priredbi na zagrebaËkim otvorenim prostorima u sklopu 10. MBZ-a, pod vodstvom Nikπe Gliga, dio biennalskoga programa
ponovno izlazi na ulice i trgove, u tramvaje, na kamione. Sudjeluju mahom mlai
sastavi iz Hrvatske, Italije i NjemaËke, na akustiËnim i elektriËnim instrumentima,
svirajuÊi svoje i tue, pjevajuÊi, kako bi ponovno zaposjeli ulice, svojom muzikom
napravili diverziju, izaπli iz okvira, iz koncertnih prostora, iz oËekivanja. Svaka takva
akcija moæe biti prosvjed, koji mladima daje glas, ili afirmacija neËega, primjerice glazbe. Glazbenici su spremni, ali njihov izlazak na otvoreno donosi i moment
neoËekivanosti.
Thirty years after the Urbofest, a string of events held in the open spaces of Zagreb
as a part of the 10th Music Biennale Zagreb, under the baton of Nikπa Gligo, a part
of the Biennale programme steps out again, to the streets and the public squares,
onto the trams and the trucks. The participants are mostly young musicians from
Croatia, Italy and Germany, playing both acoustic and electric instruments, singing
their own pieces and works by others, in order to re-claim the streets, to create a diversion with their music, in order to step out of the box, our of the concert halls, beyond expectations. Every such action can be seen as a protest, giving young people
a voice, or an affirmation of something - of music, for example. The musicians are
ready, but their venture out in the open brings a touch of the unexpected.
Sudjeluju / Participants:
Ansambl biNg baNg / The biNg baNg Ensemble, Zagreb
Ansambl Icarus Junior / the Icarus Junio Ensemble, Reggio Emilia
Grupa za novu glazbu (GNG) uËenika GU Elly BaπiÊ / The New Music Group, students from the Elly BaπiÊ School of Music, Zagreb
Polaznici Rock akademije / Students of the Rock Academy, Zagreb
Polaznici / Students of the Popakademie (.hesslers.), Mannheim
PuhaËka glazba ZET-a / The Brass Band of the Zagreb Electric Tram, Zagreb
412
413
PRELIMINARNI RASPORED / PRELIMINARY TIMETABLE
Petak / Friday, 17 / 4
16:30 PuhaËka glazba ZET-a / The Brass Band of the Zagreb Electrical Tram,
u turistiËkom tramvaju / on the tourist tram
Ponedjeljak / Monday, 20 / 4
11:00 biNg bang, na kamionu / on a truck
11:00 GNG, Oktogon / The Octogon, PreradoviÊ Square
12.00 GNG , NSK - predvorje / National University Library - foyer
Srijeda / Wednesday, 22 / 4
11:00 biNg bang, na kamionu / on a truck
»etvrtak / Thursday, 23 / 4
Poslijepodne / In the afternoon: Rock Academy & .hesslers., radionica / workshop,
Rock Akademija, Ribnjak / Rock Academy, Ribnjak Park
19:00 GNG, KDVL, predvorje / foyer
23:30 Rock akademija / Rock Academy - &TD
Petak / Friday, 24 / 4
Poslijepodne / In the afternoon: Rock Academy & .hesslers., radionica / workshop
Rock Akademija, Ribnjak / Rock Academy, Ribnjak Park
19:00 GNG, KDVL, predvorje / foyer
23:30 Icarus Junior, &TD
Subota / Saturday, 25 / 4
13:00 GNG, Zrinjevac / Zrinjevac Square
23.30 .hesslers., &TD
Grupa za novu glazbu Glazbenog uËiliπta Elly BaπiÊ iz Zagreba djeluje kao
ansambl od studenog 2007. godine. »ine
je uËenici srednje πkole ukljuËeni u projekt Mladi i suvremena glazba, koji se
prema idejnoj zamisli i pod vodstvom
Maje Petyo Boπnjak i Berislava ©ipuπa
kontinuirano ostvaruje u GU Elly BaπiÊ
od jeseni 2007. godine. DugoroËni cilj
projekta jest sustavno upoznavanje
uËenika s novom glazbom 20. stoljeÊa
kako bi mogli slijediti nova stremljenja
21. stoljeÊa. UËenici osnovne i srednje
πkole aktivno upoznaju i izvode Novu
glazbu sudjelujuÊi u radionicama suvremene glazbe. Posebno iskustvo za
Ëlanove Grupe za novu glazbu je
moguÊnost rada s Berislavom ©ipuπem.
U pripremama za nastup na MBZ-u
uËenici surauju s mladim dirigentom
Josipom Nalisom.
The New Music Group of the Elly BaπiÊ
Music School, Zagreb, has been playing
as an ensemble since November 2007.
The group consists of high school students included in the “Young People and
Contemporary Music“ project, based on
the idea, and under the leadership, of
teachers Maja Petyo Boπnjak and
Berislav ©ipuπ. The project’s long-term
goal is to systematically familiarize students with 20th century’s new music in
order for them to be able to follow the
new tendencies of the 21st century. As
active participants, the students of elementary and secondary schools are introduced to, and perform, New music, by
participating in contemporary music
workshops. An added value for the
Group for New Music is an experience of
working with the distinguished professor
Berislav ©ipuπ. In the preparations for
the performances at the Biennale, the
students are cooperating with the young
conductor Josip Nalis.
»lanovi / Members:
Kristina MrËela, violina / violin
Hiwote Tadesse, viola
Fran Leboπ, violonËelo / cello
Andrija ©imiÊ, violonËelo / cello
Lana JosipoviÊ, klavir / piano
Nika Bauman, flauta / flute
Martina Vlastelica, flauta / flute
Miljena MamiÊ, klarinet / clarinet
Jan StijaËiÊ, saksofon / saxophone
Juraj BoriÊ, truba / trumpet
Program za 25. MBZ /
The MBZ Programme:
Milko Kelemen: Tantana
Roman Haubenstock-Ramati:
Ludus Musicalis
414
(...) Od zamiπljenog foklora sljubljenog s
ekspresionizmom, totalne serijalizacije,
aleatoriËkih igri do postmodernih novih
artikulacija tonaliteta, uvijek je skladateljski instinkt Milka Kelemena taj koji
korigira strogost zadanih stilskotehniËkih okvira, intuicija ta koja ga
izmiËe opasnosti od bezliËnosti. No, tog
glavnog skladateljskog korektiva dobrovoljno se odriËe u Tantani za 10 do 20
sviraËa s dirigentom na Ëelu. Glazba
Tantane zapisana je kao verbalna partitura. Nijedna tonska visina, nijedno trajanje nije precizno odreeno, postoje
samo viπeznaËne tekstualne naznake o
odabiru registra i tonskoj gesti te upute o
smjeπtaju ansambla u prostor i formi Ëiji
su gradivni elementi pet odlomaka i
jedna interpolacija te upute o naËinu artikulacije tona, dinamici, raspodjeli
dogaanja unutar ansambl. Prava improvizacija na opis po kojem skladba
moæe imati neobrojeno mnogo posve razliËitih izgleda. Ovdje, kao na nekom
testu kuπnje i izdræljivosti, stoji skladatelj
koji se u velikoj mjeri u skladanju
rukovodi vlastitom intuicijom. Kelemen
je Tantanu skladao za kolegu i prijatelja
Dubravka Detonija koji ju je sa svojim
ansamblom Acezantez praizveo u Opatiji
1975. godine. [Ivana Kocelj]
415
From envisaged folklore, coalescing
with expressionism, complete serialization, and aleatoric games to postmodern
new articulations of tonality, Milko Kelemen’s composer’s instinct has always
been the one which abated the strictness
of the defined stylistic-technical framework, and his intuition the one which
enabled him to evade the danger of
drabness.
However, he voluntarily gives up this key
remedy in Tantana for 10 to 20 players.
The music for Tantana is written as a
verbal score. No tonal height, and no duration is set precisely, there are only
multiple-meaning text notes on the selection of register and tonal gesture;
there are instructions on the position of
ensemble in the space and on the form
whose building elements are five passages and one interpolation; and there
are also instructions on the manner of
tone articulation, dynamics, and distribution of events within an ensemble.
The real improvisation lies in the description which gives this composition a
countless number of various appearances. Here we have, as if on some kind
of endurance test, a composer who, for
the most part, relies on his own intuition
in composing. Kelemen wrote Tantana
for his colleague and friend Dubravko
Detoni who first performed it with his
ensemble Acezantez in Opatija in 1975.
[Ivana Kocelj]
PuhaËka glazba ZET / The Brass Band of the Zagreb Electric Tram (ZET)
Udaraljkaπki ansambl MuziËke
akademije u Zagrebu biNg bang osnovan
je 1999. godine pod umjetniËkim vodstvom Igora Leπnika tijekom ljetnog festivala u Groænjanu u organizaciji
Hrvatske glazbene mladeæi. biNg bang
Ëine najbolji studenti udaraljki zagrebaËke MuziËke akademije i laureati s razliËitih udaraljkaπkih natjecanja.
biNg bang je proglaπen najboljim studentskim sastavom na svijetu na natjecanju Percussive Arts Society u
Nashvilleu (SAD) 2004. Dobitnik je nagrade Ivo VuljeviÊ kao najbolji mladi
ansambl u Hrvatskoj, te Rektorove nagrade SveuËiliπta u Zagrebu. Njihov
nosaË zvuka naslovljen biNg bang plays
Leπnik postigao je meunarodni uspjeh.
biNg bang, the percussion ensemble of
the Music Academy in Zagreb was
formed in 1999, under the artistic guidance of Igor Leπnik, during a stay at the
Groænjan summer festival, organized by
the Jeunesses Musicales Croatia. It is
made up of the best students of percussions from the Academy and laureates of
many percussion competitions.
They have won the title of the world’s
best student ensemble at the Percussive
Arts Society Competition in Nashville in
2004, as well as the Ivo VuljeviÊ Award
for best young ensemble in Croatia, and
the Prize of the Rector of the University
of Zagreb. Their album biNg bang plays
Leπnik has achieved international
success.
416
PuhaËka glazba ZET-a, koja je tijekom
godina nastupala pod razliËitim
imenima, prvi je koncert odsvirala 1928.
godine. »lanovi tek osnovane Limene
glazbe note su posuivali od vojne
glazbe i strpljivo ih prepisivali. Da bi
mogli platiti dirigenta, svaki je Ëlan
plaÊao Ëlanarinu. U nekim su razdobljima doËekivali najviπe duænosnike
u zemlji: tako je Glazba poslije Drugoga
svjetskog rata doËekala i velikoga nacionalnog pjesnika Vladimira Nazora,
kao predsjednika ZAVNOH-a, zatim i
Josipa Broza Tita, kao i kasnije Franju
Tumana. Svirala je i prilikom otvorenja
tramvajske pruge od Maksimira do
Dubrave 1942. godine, kad je Ante
PaveliÊ vozio tramvajski vlak, ali
sljedeÊih je ratnih godina prestala s
radom, a neki su njezini Ëlanovi zavrπili i
u zatvoru. Posebnu ulogu za Glazbu
imao je natkontrolor Haina, koji je za
prometne radnike primao glazbenike, pa
je tako glazba u poËetku bila iskljuËivo
sastavljena od zetovih radnika. S
PuhaËkom glazbom ZET-a radilo je viπe
dirigenata, meu kojim i Franjo lliÊ i
Ivica Podgorski, Ëijom je zaslugom
PuhaËka glazba ZET-a znatno uznapredovala. Proπle je godine Glazba registrirana kao Udruga PuhaËki orkestar ZET-a
i broji 40 aktivnih glazbenika. Danas se
na repertoaru orkestra nalaze brojna
djela poznatih skladatelja, koraËnice, ali i
djela s podruËja zabavne glazbe.
417
The Brass Band of the Zagreb Electric
Tram (ZET), performing under different
names over the years, played its first
concert in 1928. The members of the
newly founded Brass Band borrowed
scores from the Military Band and
copied them diligently. They collected
membership fees in order to be able to
remunerate the conductor. From time to
time they were called upon to take part
in reception ceremonies for the highest
officials: after the World War II, the
Band played for the great national poet
Vladimir Nazor, the Head of Croatia’s
United Anti-Fascist Council; they later
played for Josip Broz Tito and still later
for Franjo Tuman. They also played on
the occasion of the opening of the Maksimir-Dubrava tram line in 1942, when
Ante PaveliÊ conducted a streetcar himself; but after that they quit for the remaining years of the war and a number
of them ended up in jail. A special mention must be made of the chief controller
Haina, who was instrumental in engaging musicians to work for ZET; at the beginning the orchestra was staffed
exclusively by workers employed in the
outfit. A number of conductors have
worked with the Band, among them
Franjo IliÊ and Ivica Podgorski, who improved their quality considerably. Last
year, The ZET Brass Band was formally
registered as an autonomous association, with forty active musicians. Today
their repertoire consists of numerous
works of prominent composers,
marches, as well as light entertainment
music.
Icarus Junior, str. / page 324
Rock Academy, str. / page 290
.hesslers., str. / page 356
Proces - Muzika / Process - Music
U sklopu 25. MuziËkog biennala Zagreb
i nastavljajuÊi suradnju sa zajedniËkim
projektima, Multimedijalni institut i
MuziËki biennale Zagreb predstavljaju
Proces/Muziku: tri filozofsko-audiovizualne soareje. Izvedbe Êe pratiti
predavanja filozofa meunarodnoga
ugleda Ëiji se istraæivaËki rad oslanja na
motive iz Kafkina romana Proces i na
njegovu filmsku verziju koju je Orson
Welles zapoËeo snimati u Zagrebu 1962.
godine.
As part of the 25th Music Biennale Zagreb
and as a continuation of their joint
projects so far, Multimedia Institute
and Music Biennale Zagreb present
Process/Music: 3 philosophic-audiovisual
soirées. Performances will be accompanied by talks delivered by internationally
renowned philosophers whose studies
draw on the motifs from Kafka’s novel
The Trial and its screen version which
was initially filmed by Orson Welles in
Zagreb in 1962.
Proces - Muzika ostvaren je u
Process - Music is co-produced by
koprodukciji Multimedijskoga institute Multimedia Institute and Music
i MuziËkog biennala Zagreb.
Biennale Zagreb.
Izbornici: Ksenija StevanoviÊ, Petar Milat Curators: Ksenija StevanoviÊ, Petar Milat
www.explicit-music.org
www.mi2.hr
www.biennale-zagreb.hr
viπe o sudionicima na str.: 62, 100, 138
www.explicit-music.org
www.mi2.hr
www.biennale-zagreb.hr
more about the participants: page 62, 100, 138
418
***
U Kafkinu Procesu postoji neπto ustrajno,
gotovo neprekidno: izmjenuju se trenuci
zastoja i gibanja, paradoksalni ples
prekida i kretanja. Josefa K. moæemo
promatrati kao povremeno neodluËan
lik, koji oklijeva nositi se s moguÊim, gotovo kao da stoji nepomiËan usred
vlastita æivota, no ipak je sposoban
donositi manje odluke, prelaziti granice
istoËasno i bez napora. Na samomu
kraju treÊega poglavlja doznajemo da je
K. hitro proπao kroz vrata i siπao
stubiπtem kao da se njegovo tijelo „æeljelo stubokom izmijeniti“. Ova izmjena
pokreta tijela, ovo potpuno kretanje instinktivno je usmjereno prema stvaranju
normativna postupka, naglaπavanju razlikovanja (prema izvanjskomu, a ne unutraπnjemu). Tu je i prostor koji treba
razmotriti - prostor unutar i prostor
izvan toga koji je postavljen u meuodnos, prizor trenutka.
Prije ovoga K.-ova bijega zaËuje se zvuk.
Naravno, ne radi se o nizu zvukova,
melodiji, pa ni akordu, veÊ o jednom
jedinom treperavom tonu, nalik zvuku
sirene. Kafka kaæe: „Napokon je primijetio da su se obraÊali njemu, ali ih nije
razumio, Ëuo je samo buku koja je ispunjavala prostor i Ëinilo se kao da se kroz
nju Ëuje nepromjenjiv visok ton poput
sirene. ‘Glasno’, proπaptao je spuπtene
glave, osjeÊajuÊi neugodu πto ih je morao
zamoliti da govore glasnije jer je ionako
znao da su dovoljno glasni, premda se
njemu to Ëinilo nerazumljivim.“
Ovaj nepodnoπljivi ton, buka, prethodi
radnji omoguÊujuÊi nam da shvatimo to
kretanje kroz vrata. Ne radi se o „lijepomu“ zvuku; to je gotovo anestetiËan
zvuk koji zahtijeva punu paænju i
priprema scenu za prizor trenutka. Nije
u pitanju propao pokuπaj na propalom
sasluπanju kao u sceni iz sudnice, nije ni
primjer svih „pogreπnih“ i neodluËnih
sasluπanja koja se zbivaju tijekom ro-
419
***
There is something persistent, a perpetual, almost, in the Kafka’s The Trial: the
alteration of moments of stasis and
movement, the paradoxical dance of
stop and go. Josef K. could be perceived
as a figure of indecision at times, of reluctance to cope with the possible, almost as if he’s frozen within his life and,
yet, he is capable of minute decisions, of
overstepping the boundaries instantaneously and effortlessly. At the very end
of the third chapter we are informed that
K. swiftly walked through the door and
went down the stairway as if his body
“wanted to revolutionize”. This revolution of body movement, this absolute
Go, is aimed viscerally to create a normative practice, to emphasize the process of
differentiation (out not in). There is also
space to consider - the space within and
the space outside itself that is put in the
interplay, in the spree of the moment.
Before this Flight of K there is a sound.
Of course, it is not a succession of
sounds, melody, not even a cord, but a
single undulating tone, like a tone of a
siren. Kafka says: He finally noticed they
were speaking to him but he did not understand them, all he heard was a noise
that filled all the space and through
which there seemed to be an unchanging
higher note sounding, like a siren.
“Louder,” he whispered with his head
sunk low, ashamed at having to ask them
to speak louder when he knew they had
spoken loudly enough, even if it had been,
for him, incomprehensible.
This unbearable tone, this noise, precedes the action, making the way to the
understanding that movement through
the door is possible. This is not a “nice”
sound; it is almost an anesthetic sound
that requires undivided attention and
sets the stage for the spree of the moment. This is not a failed attempt at a
failed hearing as in the court scene, this
mana. Ovaj obijesni zvuk K.-u otvara
nove moguÊnosti - moguÊnost slobode i
normativnog ostvarenja. Moæemo se zapitati ima li ova neskladna sirena ikakve
veze s dvjema pola æenama-pola pticama
prema kojima je nazvana.
PriËa o Sirenama, kako je ispriËana u
Odiseji, jest pripovijest o sluπanju i
glazbenom iskustvu te parabola fiziËkih
svojstava zvuka. Prvo, reËeno je da
„Sirene nisu propustile primijetiti brod
koji im se brzo pribliæavao i zapoËele su
svoj kristalno jasan pjev“, nakon Ëega slijedi olakπanje „jer se viπe nisu Ëuli njihovi glasovi ili njihova pjesma“ i
izbavljenje. I uto slijedi trenutak spoznaje: „Jer dosad nijedan Ëovjek nije
plovio pokraj ovoga otoËiÊa u svojemu
crnom brodu, a da nije Ëuo milozvuËne
glasove s naπih usana. Ne, uæiva u njima i
postavπi mudriji, odlazi svojim putem.“
»ujemo Sirene kako sluπaju brod koji se
pribliæava; svjedoËimo bijegu udaljujuÊi
se od izvora zvuka - i usred Odisejeve
epifanije jer bijaπe Ëuo prelijepi pjev tih
dviju vabilica, a saËuva æivu glavu. I tko
je tu onda prepreden, mogli bismo dodati.
Homerove Sirene oËito pjevaju zavodljivu pjesmu, dok K.-ova Sirena
stvara zagluπujuÊu buku. Æeli li tkogod
preæivjeti taj pjev, treba biti gluh (ili
prinuen), a πto se ostaloga tiËe - fiziËka
nevoljkost otvara sluh i potiËe tijelo na
pokret. Ovaj milozvuËni pjev je fatalan,
dok signalni zvuk preobraæava
moguÊnost. Je li moguÊe da su povezani?
is not a example of all the “mishearings”
and reluctant hearings that are taking
place throughout the novel. This mischievous sound is opening the new territory for K - that of freedom and
normative realization. We might ask if
this disharmonious siren has any relation to two half women-half birds that
are the origin of its name?
The story of Sirens, as it was told in
Odyssey, is a story of a listening and
music experience and parable about
physical properties of the sound. Firstly,
we are told “Sirens failed not to note the
swift ship as it drew near, and they raised
their clear-toned song”, afterwards there
is relief “we could no more hear their
voice or their song” and the salvation.
And there is the moment of the experience: “For never yet has any man rowed
past this isle in his black ship until he has
heard the sweet voice from our lips. Nay,
he has joy of it, and goes his way a wiser
man.”
We hear Sirens listening to the ship’s approaching; we are witnessing the escape
by going away from the source of the
sound - and in between the Odysseus’
epiphany, because he heard these two
tricksters sing the beautiful song without
paying the fatal fee. Who’s the trickster
here, we might add?
Homer’s Sirens are apparently singing a
seductive song, while K’s Siren is a deafening noise. To survive the song one
needs to be deaf (or bound), for the other
- the physical malaise is opening one’s
ears and making body move. This honey
- bearing song is deadly, while the signal
tone is transformer of possibility. Could
they be related?
420
421
Sve Sirene na svojevrstan naËin svjedoËe
o bezgraniËnosti æivota. One su mentalni
crviÊi zaodjenuti u glazbu, oblici glazbenih aura stvarajuÊi i/ili ograniËavajuÊi
moguÊnosti unutarnje putanje - one u
kojoj se moæe zbiti neoËekivani prekid s
vlastitim vienjem sebe.
In a way, all the Sirens are witnessing the
boundlessness of life. They are musical
brainworms, forms of sound auras that
open and/or close possibilities of trajectory within itself - where one might find
a sudden break from one’s own perceived version of self.
Ova dvostruka, ali ne i udvojena verzija
æivotnoga oblika oËituje se u dva Procesa
- u Kafkinu i Wellesovu. Obojica postavljaju promjenu koja se odvija u reæimima
opaæanja, pri Ëemu umjetnost, povijest i
politika neprestano oznaËuju jedni
druge, neprekidno i uznemirujuÊe. »ini
se kao da K.-a, nepomiËnoga i zbijenoga,
pokreÊe Sirena, nakon Ëega viπe nije
mogao niti æelio uopÊe zamisliti da se
zaustavi. (Ksenija StevanoviÊ)
This double, but not duplicate version of
life-form is mirrored in the two Trials Kafka’s and Welles’. They are both staging the change that happened in the
regimes of perception, where art, history
and politics are indexing each other constantly, perpetually, disturbingly. It is as
if K., immobile and compact, was set to
motion by the Siren and then he couldn’t
and wouldn’t imagine to stop.
[Ksenija StevanoviÊ]
TRISTAN MURAIL:
422
Tristan Murail (Le Havre, 1947.) najprije
je studirao ekonomiju te klasiËni i sjevernoafriËki arapski jezik. Od 1967. studira
kompoziciju na Pariπkome konzervatoriju u klasi Oliviera Messiaena, gdje
diplomira s „prvom nagradom“ 1971.
Iste je godine dobio Rimsku nagradu.
Po povratku u Pariz, godine 1973., zajedno s kolegama Michaëlom Lévinasom
i Rogerom Tessierom osniva ansambl
L’Itinéraire, dragocjen laboratorij za
istraæivanja instrumentalnoga komponiranja, uporabe æive elektronike i komponiranje uz raËunalnu pomoÊ. Godine
1980. L’Itinéraire sudjeluju u radionici o
ralunalnoj glazbi pariπkoga centra
IRCAM, s kojim je Murail redovno
suraivao izmeu 1991. i 1997. godine.
PouËavao je na Darmπtatskim ljetnim
teËajevima, Opatiji Royaumont i u Centru Acanthes. Danas æivi u SAD-u i od
1997. godine profesor je na SveuËiliπtu
Columbia.
423
Tristan Murail (Le Havre, 1947) received
degrees in classical Arabic and Maghrib
Arabic from the National School of Living Oriental Languages as well as a Bachelor’s degree in economic science and a
degree from the Paris Institute of Political Studies. He entered Olivier Messiaen’s class at the Paris Conservatory in
1967, and in 1971 received a first prize in
composition. The same year, he was
awarded the Rome Prize. After returning
to Paris in 1973, he joined Michaël Lévinas and Roger Tessier, in founding the
musical collective L’Itinéraire, which
would become a precious laboratory for
his research in the domain of instrumental composition, the use of live electronics and computer assisted composition.
In 1980, the composers from l’Itinéraire
took part in a computer music workshop
at Ircam, the centre with which Murail
collaborated between 1991 and 1997. He
also taught at the summer courses at
Darmstadt, the Abbaye de Royaumont
and the Centre Acanthes. Murail now
lives in the United States and, since 1997,
is professor of composition at Columbia
University.
Dalibor DavidoviÊ
Tristan Murail: Poetika realnog
Dalibor DavidoviÊ
Tristan Murail: Poetics of the Real
Tristan Murail rijetko piπe za glasove, a
scenu zaobilazi u velikom luku. Prevlast
instrumentalnih djela u njegovu katalogu, napose onih za male sastave, lako
je pripisati okolnostima u kojima su
nastala: Murail je poËetkom sedamdesetih godina, zajedno s nekolicinom
drugih mladih skladatelja, sudjelovao u
osnutku pariπkog ansambla za suvremenu glazbu L’Itinéraire, zvuËnog tijela
koje je bilo kadro izvoditi njihove kompozicije, a sa svoje strane i pospjeπiti njihov nastanak. No, sklonost komornom
zvuku, pa i instrumentalnoj glazbi
opÊenito, posebice je u 20. stoljeÊu viπe
od puko biografske pojedinosti: nije
sluËajno da su prijelomna djela BeËke
πkole pisana za male sastave, najËeπÊe
samo za klavir, kao πto se i serijalna
tehnika ranih pedesetih godina najprije
iskuπavala u klavirskom i komornom
Tristan Murail seldom writes for voices
and gives the stage a wide berth. The
predominance of instrumental work in
his catalogue, especially works for small
ensembles, can be easily ascribed to the
circumstances of their creation: in the
early seventies, Murail, along with some
other young composers, engaged in the
creation of the Parisian ensemble for
contemporary music, L’Itinéraire, a
group capable of performing their compositions as well as speeding up the
emergence of new works. However, this
affinity for the sparse chamber sound
and instrumental music in general, especially the affinity shown in the twentieth
century, means more than just pure biographical data: it is not by accident that
the groundbreaking works of the Viennese School were written for small ensembles, mostly just for the piano; the
424
mediju. A potom, ranih sedamdesetih, i
Tristan Murail, zajedno sa svojim drugovima, piπe ponajprije klavirsku i komornu glazbu. Trenuci su to u kojima se
snage sabiru. Presudni dogaaji za
glazbu samu, oni πto bacaju svjetlo na
njezine temelje, jer u njima nasluÊuju
neπto neodræivo. Sva su tri dogaaja
obiljeæena dubokim nepovjerenjem u
ono πto je John Cage, njihov suputnik u
brodolomu, nazvao “komunikacijskim”
karakterom glazbe. U glazbu pod znamenjem subjekta, glazbu kao njegov
“izraz”, πto ga sa svoje strane omoguÊuje
jeziËni sistem, tonalitet.
A tu se moæe iskliznuti veÊ pretjeranim
ustrajavanjem na jednome od njih. Signature straha u djelima BeËke πkole tako
obiljeæavaju ne samo njihove eksplicitne
teme, nego i stanje u kojem se naπao sam
subjekt: forsirajuÊi “izraæavanje”, izgubio
je uporiπte u simboliËkom sistemu koji
mu je omoguÊavao komunikaciju, i tako
se naπao uæasnut u zrakopraznom prostoru. Serijalizacija, s druge strane, teæiπte
prebacuje na sam simboliËki sistem,
stavljajuÊi subjekt u svojevrsni steznik.
Ono πto je preostalo viπe nema ni sintaksu, a pogotovo ne semantiku, raspadajuÊi se na pojedinaËne tonove, nalik
pimplanju po klaviru. Ali serijalna
tehnika, koliko god na prvi pogled uspjeπna u onemoguÊavanju komunikacije,
ipak je joπ potajice priziva, postavljajuÊi
na mjesto tonaliteta drugi simboliËki sistem. A taj pak nije djelotvoran, jer ne
omoguÊuje Ëuti ono realno, drugo od
subjekta, πto bi izmicalo glazbi kao komunikaciji. Stoga se Murail i njegovi
usredotoËuju upravo na to realno zvuka,
ali ga, za razliku od serijalne tehnike, ne
uvode u prethodno zgotovljen simboliËki
sistem, nego ga tretiraju kao realnost sui
generis, koja se moæe analizirati, kako bi
njezin unutraπnji “spektar”, πto ga Ëine
alikvotni tonovi, postao izvoriπtem nove
kompozicijske tehnike. Umjesto glazbenoteorijskih kategorija - akustiËke.
425
serial technique of the early fifties was
rehearsed firstly in the medium of piano
and chamber music. Following that,
Tristan Murail and his companions in
the seventies started by writing the piano
and chamber music. It is in the moments
like these that strength is gathered.
These are the decisive moments for
music itself, moments throwing light at
the fundaments of music, intuiting
something untenable. All the three
events are permeated by a deep mistrust
of what John Cage, their fellow Shipwrecked, calls the “communicative”
character of music. Mistrust of music
under the sign of subject, in music as
“expression” enabled by the language
system, by tonality.
Here, one loses ground just by placing
too much emphasis on one of the elements. The signatures of fear in the
works of the Viennese School do not signify only the explicit themes, but also the
conditions in which the subject itself is
embedded: favouring the “expression”,
the subject loses its hold in the symbolic
system enabling communication and is
thrown, terrified, into the void. On the
other hand, serialization shifts the emphasis on the symbolic system as such,
putting the subject into a kind of corset.
Whatever remains is lacking syntax, very
much without semantics, crumbling into
isolated sounds, like hammering away at
the piano. But the serial technique, so
successful in preventing communication, at first glance, is still furtively pining
for it, replacing tonality by another symbolic system. The other system is not efficient, because it does not allow the real,
the other of the subject to be heard, that
which escapes music as communication.
Therefore Murail and his companions
concentrate on the real of the sound, but
do not, as serial technique does, introduce it in a prefabricated symbolic system, but rather treat it as reality sui
generis, a reality that can be analyzed, so
Poput kljuËnih djela BeËke πkole ili ranih
serijalnih kompozicija, i djela Tristana
Muraila iz sedamdesetih godina obiljeæena su zakopËanoπÊu i Ëak rigidnoπÊu,
πto je posljedica dosljednosti u
provoenju kompozicijskih postupaka.
Otpalo je sve πto bi moglo sugerirati ekspresiju subjekta: pjevani tekstovi,
vokalnost, scena, klasiËni instrumentalni
sastavi, koji bi mogli pobuditi povijesne
reminiscencije. To je zvuËno dogaanje
bez tema i motiva, bez ekspozicija i
provedbi, bez kontrasta. Pa Ëak i bez
forme, ako se pod time podrazumijeva
unaprijed pretpostavljena shema, unutar
koje se zvukovni dogaaji odvijaju kao
po nekom protokolu. Jer komponiranje
koje odbacuje ekspresiju subjekta s
jedne strane i simboliËki sistem s druge,
mora zapoËeti “odozdo”, oslanjajuÊi se
samo na sadræaj izabranog zvuka.
S obzirom da polazi od realnog zvuka, a
ne od matematiËke aproksimacije njegova spektra (kao πto to Ëine serijalisti),
Murail zna da se pojedini alikvotni
tonovi spektra pojavljuju odmah, a drugi
tek nakon odreenog vremena, kao i da
nisu jednako intenzivni. Pa je otuda
moguÊe izvesti sve πto je potrebno: visine
tonova i njihov intenzitet, kao i trenutak
njihova pojavljivanja. Umjesto forme,
koju bi nametnuo subjekt, kompozicija
poprima obiljeæja onoga πto Murail
naziva “procesom”, misleÊi na odvijanje
koje proizlazi iz zvuka samog i njegovih
obiljeæja. Kako se pak raznodobna pojavljivanja alikvotnih tonova spektra ne
mogu odgaati u nedogled, Murailov se
proces odvija kao ponavljanje. Spektar se
tako Ëuje uvijek iznova i njegov se
sadræaj stoga moæe mijenjati, kreÊuÊi,
primjerice, od harmoniËnog stanja,
karakteristiËnog za artikulirane tonove,
do neharmoniËnog, πto odgovara spektralnom ustrojstvu πumova. U djelima iz
sedamdesetih, kao πto su Ethers ili Mémoire / Érosion, promjene koje nastaju
ponavljanjem spektra uvijek su pos-
that its inner “spectrum”, made by overtones, may be the origin of a new technique of composition. The categories of
musical theory are replaced by the
acoustic ones.
As is the case concerning the key works
of the Viennese School or the early serial
compositions, so Tristan Murail’s works
from the seventies are marked by standoffishness, even certain rigidity, as a consequence of consistency in the
application of compositional procedures.
Everything that might suggest an expression of the subject has been discarded:
texts to be sung, vocality, a stage, a classical instrumental ensemble liable to
evoke historical reminiscences. It is a
sounds event without themes and motives, without exposition and development, without contrast. Even without
form, if the form is meant to be a scheme
chosen in advance, as a frame in which
sound events occur according to protocol. The composition that rejects, on one
side, the expression of a subject and any
kind of a symbolic system on the other,
must begin from “below”, relying solely
on the content of the chosen sound.
Considering this departing point in real
sounds, not in a mathematical approximation of its spectrum (as is the case
with the serialists), Murail knows that
some overtones appear at once and
some only after a certain amount of
time, and that their intensity is different.
Everything that is necessary follows from
these circumstances: the pitch of each
note and the moment of their appearance.
Instead of showing form, imposed by the
subject, the composition demonstrates
signs of what Murail calls a “process”,
meaning the unfolding of the real sound
and its features. As the time difference in
the appearance of overtones can’t be delayed infinitely, Murail’s process unfolds
as repetition. Thus the spectrum is heard
again and again and its content can be
changed, for instance starting from a
426
tupne: ne samo πto se pretpostavlja da je
zvuk, kao ishodiπte spektralne glazbe,
nalik æivom organizmu i nikada se ne
mijenja naglo, nego se i sama kompozicija toga doslovno dræi, odvijajuÊi se u
neprestanim, ali jedva zamjetnim
prijelazima. Stoga se pred kompoziciju
kao proces i postavlja problem kraja:
kako zavrπiti neπto πto se neprestance
kreÊe, i pritom ne teæi nekom cilju? I
doista, poput kakva organizma, spektralna kompozicija zavrπava postupnom
“erozijom” spektara, sve do njihova potpunog utihnuÊa. To je navelo brojne
kritiËare na tvrdnju da se u biomorfnim
obiljeæjima spektralnih kompozicija zapravo ocrtavaju uvjeti njihova nastanka,
koji odgovaraju akustiËkoj tehnologiji
sedamdesetih, od postupne promjene
spektra uz pomoÊ prstenastog modulatora, pa sve do erozije zvuka usljed
njegova uzastopnog presnimavanja na
magnetofonsku vrpcu.
Ali lako je historizirati Muraila i iz njegovih naturalizama oËitavati akustiËki
reæim, buduÊi da to njegova djela, u svojoj aseptiËnosti i proceduralnoj dosljednosti, ionako sama nude na uvid.
Zagonetnije je zaπto su ona unatoË tome
tako uvjerljiva. UsredotoËenost na ono
realno zvuka, utemeljujuÊi moment
spektralne glazbe, zalog je da Êe se za
sobom ostaviti ne samo ekspresija, nego
i simboliËki sistem, nuæan za “komunikaciju”. No, rezultat je proces u kojem se
ponavljanjem spektra mijenjaju njegovi
sadræaji, zvuËno odvijanje kod kojeg se
kreÊe od harmoniËnijih do manje harmoniËnih, od “svjetlijih” do “tamnijih”
spektara, ili obratno. Od odnosa
“napetosti” i “opuπtanja”, kako bi rekao
Murail. U spektralnoj glazbi, naime,
harmoniËni spektri, za razliku od neharmoniËnih, nekako uvijek impliciraju
opuπtanje i stabilnost, trenutak kojem se
teæi ili od kojeg se kreÊe, pa je utoliko i
njihova uloga sliËna onoj πto je u tonalitetu imaju konsonance. Ono realno
427
harmonic state connected to articulate
tones in the direction of the inharmonicity, characteristic of the spectral structure of noise. In his works from the
seventies, for instance Ethers or Mémoire
/ Érosion, the changes created by the repetition of the spectrum are always gradual: not only is there a presupposition
that sound, as the starting point of spectral music, is something like a live organism and never changes abruptly, but
the composition proper takes it literally,
unfolding in constant, but barely perceptible transitions. That is why the composition as a process is confronted by
the problem of its ending: how to end
something that is in constant movement
and at the same time is not trying to
reach a goal? Therefore, like an organism,
the spectral composition ends with a
gradual “erosion” of the spectra, until
their total fading. That made numerous
critics claim that the bio-morphic features
of spectral compositions are really connected to the conditions of their creation,
referring to the acoustic technology of
the seventies, from the gradual change of
spectrum aided by a ring modulator, to
the erosion of sound due to consecutive
recording on tape.
Indeed, it is easy to historicize Murail
and detect an acoustic regime in his
naturalisms, since his works, aseptic and
consistent in proceeding, offer this insight themselves. The real enigma is how
it is possible that they remain attractive
in spite of it. The focusing on the reality
of sound, the founding moment of spectral music, warrants not only the discarding of expression, but of all symbolic
systems necessary for “communication”.
The result is a process in which the repetition of the spectrum changes contents,
in which the sound unfolds from more to
less harmonic, from “lighter” to “darker”
spectra, or vice versa. Murail would say,
from relations of “tension” to “relaxation”.
In spectral music, the harmonic spectra -
pojedinaËnog zvuka moæda i ne govori,
ali procesi koji se postupno mijenjaju, i
to s obzirom na hijerarhiËne odnose
timbara, zacijelo upuÊuju na neki simboliËki okvir, koji je Murail tek puno
kasnije nazvao “novom retorikom”.
Transkripcija akustiËkih danosti u manje
ili viπe konvencionalnu notaciju, obiljeæje
spektralne glazbe od samog poËetka, u
tome je pogledu samo pospjeπila
“oformljavanje” njezinih procesa.
Ako se Murailova glazba iz sedamdesetih
joπ opirala narativnosti, pripovijedajuÊi
samo jednostavne priËe, u njegovim
kasnijim djelima procesi se odvijaju
istodobno na viπe razina, pa su stoga
Ëujni rubovi i lomovi, trenuci u kojima
neki proces zavrπava. U glazbu tako
stupaju kontrasti, a ona sama postaje i
zvuËno opulentnija. Orkestralna kompozicija Gondwana upravo svojim bogatim, svjetlucavim zvukom navijeπta niz
kasnijih djela za velike sastave, premda
je u pogledu forme bliæa ranijem modelu
Murailova komponiranja. Sastoji se iz
postupnih prijelaza, “valova” πto se pribliæavaju, da bi se prelili i polagano
povukli. No, glazba i unutar postupnog
odvijanja postiæe vrhunce intenzivnosti,
od kojih je najveÊi onaj oko dvanaeste
minute, za kojim slijede dva manja, kada
se tekstura, nakon horizontalnih girlanda,
ponovno vraÊa vertikalnim sklopovima,
kao i na poËetku djela. A kako se πiri zvuk
Murailovih skladbi, i kako u glazbeno
tkivo ulaze kontrasti, i narativnost
postaje izrazitija. Kasnija su orkestralna
djela, kao Time and Again, pa i ona za
mijeπane sastave, kao Désintégrations,
stoga nalik simfonijskim pjesmama, ne
samo po svojim sugestivnim naslovima
ili duljini od petnaestak minuta, koliko
otprilike traju djela te glazbene vrste, veÊ
i zbog same glazbene naracije, imajuÊi u
vidu da simfonijskom pripovijedanju
nisu toliko vaæna kvalitativna obiljeæja
tematskog materijala, koliko njegove
metamorfoze. Vizualizacija Murailovih
as opposed to the unharmonic - always
imply relaxation and stability in a certain
way, a desired moment or a starting
point, so that in this respect their role is
similar to the role of consonances in
tonality. The reality of a single sound
might not speak, but the gradually
changing processes, in accordance with
the hierarchic relations of timbre,
doubtlessly refer to a symbolic framework,
which Murail would only name a “new
rhetoric” much later. The transcription
of acoustic data into a more or less conventional notation, a characteristic of
spectral music from the very beginning,
in this regard only speeded up the
“forming” of its processes.
While Murail’s music from the seventies
still resisted narrativity, telling only simple stories, in his later works the
processes unfold simultaneously on
more than one level, so that the margins
and breaking points can be heard, the
moments when a process comes to an
end. Contrast enters the music and the
music becomes more opulent in sound.
The orchestral piece Gondwana
adumbrates, by a rich, scintillating
sound, a series of later works for big
ensembles, remaining closer in form to
the former paradigm of Murail’s composing. It consists of transitions, “waves”
approaching, overflowing and slowly
retreating. However, the music reaches
peaks of intensity inside the gradual
unfolding as well, the highest peak
occurring around the twelve minute
mark, followed by two lesser, when the
texture goes back to vertical aggregates,
after going through horizontal garlands,
just as it is in the beginning. With the
widening sound of Murail’s compositions, and the introduction of contrasts
to musical tissue, their narrativity becomes more pronounced. Later orchestral works, for instance Time and Again
as well as those for mixed ensembles, for
instance Désintégrations, seem like sym-
428
kompozicija utoliko je samo nastavak
onoga πto se veÊ ionako nadaje iz glazbe
same. Uostalom, i Lisztova su se programna djela u krugovima devetnaestostoljetnih entuzijasta izvodila u mraku i
sa slikama πto bi ih pokretali u pozadini,
izazivajuÊi kinematografske ekstaze.
Ako je “nova retorika” okvir u kojem se
odvijaju Murailove kompozicije, teπko je
ne zamijetiti da se njihovi procesi Ëesto
odvijaju na sliËan naËin: kao postupne
“erozije” ili “dezintegracije” materijala,
zavrπavajuÊi morendo. Æelja da zvuk sam
postane ishodiπtem, zapravo jedinim
sadræajem glazbe, kao da, pod jakim
poveÊanjem, vodi njegovu rasprsnuÊu u
partikule i potpunom iπÊeznuÊu. Kao
onaj veliki, glavni val Gondwane, koji se
propinjanjem ujedno i obruπava, ostavljajuÊi iza sebe joπ samo slabe odjeke, da
bi ubrzo sve utihnulo. Prakontinent se
razlomio, njegovi bivπi komadi meusobno se udaljuju. Pjesnik brodoloma,
Mallarmé, srodnik je skladateljev, i to ne
samo zato πto je smatrao da pjesnik
“treba prepustiti inicijativu rijeËima”,
veÊ i po tome πto pokazuje kamo to vodi.
Stezanje i koncentracija rezultiraju
rasprskavanjem pjesme, sintaktiËkih
sklopova, jezika samog. Poput fraktala,
Murailove pojedinaËne kompozicije tako
u malome pokazuju ono πto se s njegovim
komponiranjem na πirem planu zbiva.
429
phonic poems, not only because of the
suggestive titles or the duration of fifteen
minutes, the approximate standard for
this kind of musical works, but because
of the musical narration itself, considering the fact that in symphonic narrativity
what matters are not so much the qualitative features of the thematic material
as does its metamorphosis. A visualization of Murail’s compositions therefore
is nothing but a continuation of something given in the music. Just as a reminder: Liszt’s programmatic works
used to be performed for enthusiastic
followers in the nineteenth century in
the dark, with slow-going pictures in the
background, causing cinematographic
ecstasy.
Accepting the “new rhetoric” as the
frame around the unfolding of Murail’s
compositions, it is difficult not to see
that the processes often proceed in a
similar way: as gradual “erosions” or
“disintegrations” of the material, they
end morendo. It seems that the desire to
make the sound as such the starting
point, or really the only content of
music, leads, in a large blow-up, into a
burst of particles and total disappearance.
Just like that huge, central wave in
Gondwana, peaking and subsiding,
leaving only feeble echoes and silence
behind. The primeval continent is breaking apart, the parts are drifting asunder.
The poet of shipwrecks, Mallarmé, is in
kinship with the composer, not only
because he demanded that the “poets
should let the words take initiative”, but
by showing where this path leads to. The
tightening and the focusing lead to a
dissipation of the poem, of syntactic
structures, of language itself. Like fractals,
Murail’s individual compositions demonstrate succinctly what is happening
with his composing on a general level.
MBZ i MuziËka akademija SveuËiliπta u Zagrebu organiziraju seminar Nicholasa
Cleoburyja za studente dirigiranja, studente kompozicije, glazbene teorije,
glazbene kulture i muzikologije, kao i ostale zainteresirane, u subotu, 25. travnja, i
nedjelju, 26. travnja, u dvorani F5 MuziËke akademije, Frankopanska 22.
The MBZ and the Music Academy of the University of Zagreb have organized a
masterclass with Nicholas Cleobury, for students of conducting and students of
music theory, music education musicology, and others, on Saturday, April 25th, and
Sunday, April 26th, at the F5 hall of the Music Academy, Frankopanska 22.
431
Cleobury
Nicholas
430
Dirigent Nicholas Cleobury gorljivi je
pobornik nove glazbe te je suraivao s
brojnim priznatim suvremenim skladateljima poput Bennetta, Bouleza,
Birtwistla, Henza, Ligetija, Macmillana,
Maxwella Daviesa, Pattersona, Rudersa i
Turnagea, a ostvario je i iznimnu suradnju s pokojnim Sir Michaelom Tippettom. Bio je dirigent mnogim
specijalistiËkim ansamblima za novu
glazbu ukljuËujuÊi Aquarius, Birmingham Contemporary Music Group, London Sinfonietta, Die Reihe (BeË) i Opera
Nova (Zürich) te suvremenim
skupinama na najznaËajnijim veÊim
Glazbenim fakultetima. Godine 1997. osnovao je ansambl Sounds New kako bi
suvremenu glazbu pribliæio πiroj publici.
Aktivno je angaæiran u novim projektima
sa studentima skladateljima svih uzrasta
te je ujedno i dinamiËan i uvjerljiv govornik i predavaË traæen kao komunikator i
na pozornici i mimo nje.
Conductor Nicholas Cleobury is a fervent champion of new music and has
worked closely with many notable contemporary composers, such as Bennett,
Boulez, Birtwistle, Henze, Ligeti,
Macmillan, Maxwell Davies, Patterson,
Ruders and Turnage and collaborated
extensively with the late Sir Michael Tippett. He has conducted many leading
specialist new music ensembles including Aquarius, Birmingham Contemporary Music Group, London Sinfonietta,
Die Reihe (Vienna) and Opera Nova
(Zurich) and contemporary groups at
most of the major Music Colleges. In
1997 he founded Sounds New to bring
contemporary music to a wider public.
Actively involved in creative projects
with student composers of all ages, he is
also a vibrant and persuasive speaker
and lecturer in demand as a communicator both on and off the rostrum.
The representatives of the RE:NEW
Predstavnici projekta RE:NEW MUSIC
takoer Êe boraviti u Zagrebu, na susretu MUSIC project will be meeting in Zagreb
as well, at the Westin Hotel, April 17 - 19.
u Hotelu Westin, od 17. - 19. travnja.
RE:NEW MUSIC
Re:new Music projekt je kojim se, uz
potporu Europske unije, nastoji pribliæiti
skladatelje nove glazbe i ansamble za
novu glazbu publici diljem Europe. To je
jedinstvena suradnja 12 partnera i 22
vrhunska ansambla u 11 zemalja (meu
kojima su Hrvatsko druπtvo skladatelja i
Cantus ansambl), zasnovana na
strastvenoj æelji da se raznolik i zanimljiv
repertoar nove glazbe proπiri Europom.
Ansambli su zamoljeni da odaberu po
osam djela iz vlastitog repertoara, djela
æivuÊih skladatelja iz svoje zemlja. Ta Êe
djela tvoriti opseænu europsku kolekciju
iz koje Êe ansambli birati nova djela za
izvedbu. Time Êe se stvoriti platforma za
izvedbe, radionice i skladateljske rezidencije s najboljim repertoarom nove
glazbe i vrhunskim europskim ansamblima. Projekt Êe ustanoviti i stalnu
mreæu meu europskim skladateljima,
ansamblima, muziËkim informacijskim
centrima, druπtvima skladatelja i
udruæenjima za autorska prava u jedinstvenoj partnerskoj strukturi. Prvo razdoblje projekta traje od studenoga 2008.
do listopada 2010. Projekt je iniciralo
Nordijsko skladateljsko vijeÊe, a vodi ga
Dansko druπtvo skladatelja.
RE:NEW MUSIC
Re:new Music is an EU-funded project
bringing new music composers and ensembles to larger audiences across Europe. It is a unique collaboration
between 12 partners and 22 top ensembles in 11 European countries (among
which the Croatian Composers’ Society
and Cantus Ensemble), based on the
passionate aim of spreading a varied and
interesting repertoire of new music
across Europe. The ensembles will be
asked to select 8 works from their own
repertoire, by living composers from
their country. These works will form a
substantial European collection, from
which the ensembles will choose new
works to perform. It will create a platform for performances, workshops and
composer residencies with the best new
music repertoire and top European ensembles. It will also establish a permanent network between European
composers, ensembles, music information centres, composer societies and
copyright associations. By bringing together composer societies, music information centres and copyright
associations from in a unique partner
structure. The first project period runs
from November 2008 through to October
31, 2010. The project is initiated by the
Nordic Composers´ Council and managed by Danish Composers´ Society.
432
PROSTORI ODRÆAVANJA PROJEKATA /
PERFORMANCE VENUES:
BPSI — Bazilika Presvetog Srca Isusova /
Basilica of the Sacred Heart of Jesus, PalmotiÊeva 33
FP — Francuski paviljon Studentskog centra /
Student Centre’s French Pavilion, Savska 25
GDKG — Gradsko dramsko kazalište Gavella,
Gavella Drama Theatre Frankopanska 8 — 10
HGZ — Hrvatski glazbeni zavod / Croatian
Music Institute, GunduliÊeva 6
HDLU — Hrvatsko društvo likovnih umjetnika /
Croatian Association of Artists, Trg ærtava faπizma bb
HNK — Hrvatsko narodno kazaliπte / Croatian
National Theatre, Trg Marπala Tita 15
HYPO - Konferencijski centar / Conference centre
HYPO EXPO XXI: Konferencijska dvorana Kornati /
Kornati Conference Hall, Slavonska avenija 6,
&TD — Teatar &TD / &TD Theatre
(Velika i polukruæna dvorana — Big hall and Semicircular hall),
Studentski Centar / Student Centre, SC, Savska 25
KDVL, MDVL — Koncertna dvorana Vatroslava Lisinskoga,
velika (KDVL) i mala dvorana (MDVL) /
Vatroslav Lisinski Concert Hall, central hall (KDVL) and small
hall (MDVL), Trg Stjepana RadiÊa 4
Mimara — Muzej Mimara / Mimara Museum,
Rooseveltov trg 5
Kino Europa / Europe Cinema, Varπavska 3
KT — Kazaliπte Treπnja / Treπnja Theatre,
MoπÊeniËka 1
MM— MM Centar Studentskog centra /
Student Centre’s MM Centre, Savska 25
MUO — Muzej za umjetnost i obrt / Arts and
Crafts Museum, Trg marπala Tita 10
SC— Studentski centar / Student Centre, Savska 25
ZKL — ZagrebaËko kazaliπte lutaka/ Zagreb
Puppet Theatre, Trg kralja Tomislava 19
ZKM — ZagrebaËko kazaliπte mladih / Zagreb
Youth Theatre, Teslina 7
433
Zahvale / Acknowledgements
Program 25. MuziËkog biennala
podupiru Ministarstvo kulture Republike
Hrvatske i Grad Zagreb - Gradski ured za
obrazovanje, kulturu i πport. Zahvaljujemo i TuristiËkoj zajednici Grada Zagreba, veleposlanstvima i kulturnim
centrima zemalja - prijatelja, sponzorima i donatorima.
The programme of the 25th Music Biennale Zagreb has been prepared with support of the Ministry of Culture of the
Republic of Croatia and the City of Zagreb Department for Education, Culture
and Sports. We would also like to thank
the Zagreb Tourist Board as well as the
embassies and cultural centres, sponsors
and donors.
434
435
Veleposlanstvo Kanade u RH / Embassy
of Canada in the Republic of Croatia
Koncertna dvorana Vatroslava Lisinskog /
Vatroslav Lisinski Concert Hall
Veleposlanstvo Sjedinjenih AmeriËkih
Dræava u RH / Embassy of the United
States of America in the Republic of
Croatia
Metcalf, zaklada / foundation
Austrijski kulturni forum /
Austrian Cultural Forum / Kulturforum
MuziËka akademija SveuËiliπta u Zagrebu /
Music Academy of Zagreb University
Francuski institut u Zagrebu / L’Institut
Français de Zagreb / The French Institute
Pro Helvetia
Multimedijalni institut /
Multimedia Institre
Goethe Institut Zagreb
Regionalni kreativni atelje / Regional
Creative Atelier József Nagy, Kanjiæa
Talijanski institut za kulturu u Zagrebu /
Istituto Italiano di Cultura di Zagabria
Queen of Puddings, glazbeni teatar /
Music Theatre
Kanadski savjet za umjetnost /
Canadian Council for the Arts
Sirene Operntheater Wien /
Operno kazaliπte Sirene, BeË
Kanadski glazbeni centar /
Canadian Music centre
SOCAN, zaklada / foundation
Festival Moskovska jesen /
Moscow Autumn Festival
Studentski centar SveuËiliπta u Zagrebu Kultura promjene /
Student Centre of Zagreb University The Culture of Change
Hrvatska radiotelevizija - Glazbena
proizvodnja, Hrvatska televizija, Hrvatski ZagrebaËka filharmonija /
radio / Croatian Radio Television - Croa- Zagreb Philharmonic Orchestra
tian Radio, Croatian Television, Music
Production
Hrvatsko druπtvo likovnih umjetnika /
Croatian Association of Artists
SPONZORI / SPONSORS
EPH - Jutarnji list,
Hrvatsko narodno kazaliπte Ivana pl. Zajca, medijski partner / media partner
Rijeka / Ivan pl. Zajc Croatian National
Theatre in Rijeka
Auto kuÊa Zubak
Croatia osiguranje
Hrvatsko narodno kazaliπte u Zagrebu / Ericsson Nikola Tesla
Croatian National Theatre in Zagreb
Franck
HYPO GROUP - Alpe Adria
Jugokoncert, Beograd / Belgrade
North Spirit
Vrutak
Kino Europa / Cinema Europa
ZagrebaËka banka
ORGANIZACIJA 25. MBZ-a /
ORGANIZATION OF THE 25TH MUSIC BIENNALE ZAGREB:
HRVATSKO DRU©TVO SKLADATELJA /
CROATIAN COMPOSERS’ SOCIETY
Zagreb, BerislaviÊeva 9, tel. +385 (0)1/4872 370
Antun Tomislav ©aban, Glavni tajnik HDS-a /
Secretary General of the Croatian Composers’ Society
U suradnji s / In association with: Cantus d.o.o,
Baruna Trenka 5, Zagreb, tel. +385 (0)1 4825 360
Mirjana MatiÊ, direktorica / General Manager
PROGRAMSKI ODBOR MBZ-a /
MBZ PROGRAMME COMMITTEE:
Ivo JosipoviÊ, predsjednik / Festival President
Berislav ©ipuπ, umjetniËki ravnatelj / Artistic Director
Kreπimir SeletkoviÊ, savjetnik / Adviser
PRODUCENTI / PRODUCERS:
Nina »alopek
Petra PaviÊ
Srana VrsaloviÊ
Petar Milat, producent projekta Proces-Muzika /
producer of the Process-Music project
Josip Nalis, producent projekta Muzika-diverzija /
producer of the Music-Diversion project
Organizacija / Organization
Andrea KazesoviÊ
Darinka IliÊ
Ured za medije / Press Office:
Jana Haluza, voditeljica / Office Manager
Dina Puhovski, asistentica / assistant
TehniËka realizacija / Technical realization
Zdenko Juran
Jurica Juran
Mario Mavrin
Robert Milevoj
436
437
Katalog sadrži grau dobivenu od
skladatelja, izvoaËa, institucija,
organizatora te iz arhiva MBZ-a.
Graa je prilagoena potrebama izdanja.
Zahvaljujemo na suradnji.
The catalogue contains material received
from the composers, performers,
institutions, organizers, and the MBZ
archives, subsequently adjusted to this
publication. We would like to thank
everyone for their assistance.
URED MBZ-a / MBZ OFFICE
BerislaviÊeva 9, prizemlje / ground floor
tel. +385 (0)1/4872 369, 4872 366
fax: + 385 (0)1/4872 372
[email protected], www.mbz.hr
Radno vrijeme / Working Hours
14 / 4 - 26 / 4
10:00 - 18:00
Nakladnik / Publisher
Hrvatsko druπtvo skladatelja / Croatian Composers’ Society
For the Publisher / Za nakladnika
Antun Tomislav ©aban
Urednica / Editor
Dina Puhovski
Prijevodi / Translations
Vlasta JelaπiÊ Kerec
Maja OrπiÊ MagdiÊ
Marina PetriÊ
Dina Puhovski
Ana ©unjara
Mirjana Travar
Ankica ÆarniÊ
Lektura / Language Editing
Dunja Horvat
Vlasta JelaπiÊ Kerec
GrafiËki suradnik / Tehnical adviser
Æoræ Drauπnik
Ilustracija / Illustration:
Boris BuÊan
GrafiËko oblikovanje / Graphic design:
Artdizajn d.o.o., Zagreb, Nikola ©iπko
Tisak / Printed by:
Printera Grupa, Sv. Nedelja
Zagreb, 2009.

Katalog_001-080:25_mbz 4/11/09 1:42 PM Page 1

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