Katalog_001-080:25_mbz 4/11/09 1:42 PM Page 1
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Katalog_001-080:25_mbz 4/11/09 1:42 PM Page 1
Katalog_001-080:25_mbz 4/11/09 1:42 PM Page 1 Katalog_001-080:25_mbz 4/11/09 1:42 PM Page 2 day month 17 4 dan mjesec hour 17:00 petak / friday sat umjetnost politika art politics umjetnost politika art politics umjetnost politi Katalog_001-080:25_mbz 4/11/09 1:42 PM Page 3 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 Katalog_001-080:25_mbz 4/11/09 1:42 PM Page 4 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. Katalog_001-080:25_mbz 4/11/09 1:42 PM Page 5 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 6 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 7 6 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. 7 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 8 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 dogaanja, pogotovo jer je njegov rast, razvoj i, konaËno, meunarodni 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 meunarodna 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 9 8 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. 9 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 10 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 meunarodnoj sceni, kao πto nas posebno raduju brojna gostovanja glazbenika iz inozemstva. Ipak, kao i svugdje, postoje oni dogaaji, 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 11 10 11 VeÊ gotovo pola stoljeÊa gradski djelatnici, skladatelji, organizatori, izvoaËi 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 meunarodne glazbene scene u naπ grad i svijetu poslao poruku o jedinstvenim kulturnim dogaanjima 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 sugraane, 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 graana 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 12 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 13 12 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 Meunarodnog 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 izvoaËe 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, naete dio svoga svijeta i uæivate u onome πto vam nude umjetnici-sudionici MBZ ‘09. Ivo JosipoviÊ, predsjednik MBZ-a 13 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 14 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 15 snimio / photo by Demirel PašaliÊ 14 Dobrodoπli na 25. MuziËki Biennale Zagreb, festival koji ove godine, izmeu 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 15 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 16 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 17 16 17 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 18 day month petak / friday 17 4 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 19 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 20 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 21 20 „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.“ 21 „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.“ Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 22 day month 17 4 dan mjesec hour 17:00 sat petak / friday Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 23 22 23 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 24 month 17 4 dan mjesec hour 17:00 petak / friday sat 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 25 25 Edward Perraud 24 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 26 month 17 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 27 27 1937 26 The French Pavilion Francuski paviljon U kompleksu Studentskog centa (Savska 25) nalaze se objekti koji su rijedak primjer meunarodne arhitekture moderne u Hrvatskoj, a najznaËajniji meu njima je Francuski paviljon, izgraen 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 dogaa 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 28 day month 17 4 dan mjesec hour 19:30 petak / friday 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, zborovoa 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 29 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 30 day month 17 4 dan mjesec hour 19:30 petak / friday 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 meuvremenu je doπlo It is one year later and the small place experiences the assembling of pilgrims do potpunog raskola izmeu 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 svau 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 lea majci i svjedoËi da je njenu korist. Na dan proπÊenja, dok u mjestu traje svetkovina, dvoje usamljenih nesretnika se ponovno zbliæava. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 31 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 month 17 4 dan mjesec hour 19:30 petak / friday sat VidiÊ Ivan Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 32 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 33 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 zborovoom 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 34 month 17 4 dan mjesec hour 19:30 petak / friday sat Kreπimir DolenËiÊ day Kreπimir DolenËiÊ (Zagreb, 1962.) zavrπio je KlasiËnu gimnaziju, srednju muziËku πkolu i Akademiju dramske umjetnosti. Reæirao je tue 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 nagraen 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 35 35 Dinka JeriËeviÊ 34 Dinka JeriËeviÊ zavrπila je Odjel za arhitekturu i unutarnje ureenje ©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 hour 19:30 petak / friday sat Dedijer-MarËiÊ Danica Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 36 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. Suraivala 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 suraivala 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 37 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), suraujuÊi 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 meunarodnih 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 38 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 pohaa 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 meunarodnim 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 39 39 Diana Hilje 38 Diana Hilje roena 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 unaprijeena 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 40 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 41 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. Suraivao 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 42 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 43 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 44 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, izgraenom 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 45 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 meunarodne 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 46 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, nagraeno 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 47 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 ugoaju 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.” Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 48 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 pohaao 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 surauje 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 49 48 kazaliπna i/ili glazbena djela izvoena 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 month 17 4 dan mjesec hour 22:00 petak / friday sat Ott Daniel Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 50 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. Takoer 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 51 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 takoer 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 month 17 4 dan mjesec hour 22:00 petak / friday sat Fulguralis Liber Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 52 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 oplouje prazninu i potiËe naboj sadræan u biÊu. Nadahnut umijeÊem drevnih proroËica da tumaËe munje, ovo djelo koje traje gotovo trideset minuta razrauje 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 53 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 grau 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 54 day month 17 4 dan mjesec hour 22:00 sat petak / friday Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 55 54 55 Liber fulguralis Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 56 day month subota / saturday 18 4 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 57 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 58 day month 18 4 dan mjesec hour 12:00 subota / saturday sat 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 59 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 izvoaËe 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 usporeuje 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.” Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 60 month 18 4 dan mjesec hour 12:00 subota / saturday sat 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, Maarsku, »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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 61 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 izvoene u Hrvatskoj, Austriji, BIH i u Meksiku. Usavrπavao se na seminarima iz dirigiranja i kompozicije u Hrvatskoj, Austriji, Makedoniji i Maarskoj. Dobitnik je nagrade za kompoziciju Ljetne Akademije Prag-Wien-Budapest i Rektorove nagrade SveuËiliπta u Zagrebu za izvedbu djela Heads and Tails na MuziËkom Biennalu u Zagrebu. Stalno surauje 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. zborovoa 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 62 day month 18 4 dan mjesec hour 17:00 subota / saturday sat 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 63 62 63 Viπe o projektu Proces-Muzika / More on the Process-Music project, str./page 382 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 64 month 18 4 dan mjesec hour 17:00 subota / saturday sat Peter Szendy day Smjeπten na razmeu 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 65 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 suraujuÊi 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 odreene lokacije, Ëisto akuzmatiËna u kojima koristi vizualne i zvuËne predmete. Umjetnik je takoer 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 66 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 67 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 68 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 69 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 roeno 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 70 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 dogaanja 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 meunarodnih 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 71 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 vienje odnosa izmeu 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 usklauju 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 72 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 (izmeu ostaloga, u druæinama Fanny & Alexander te Marca Baliania). Kao glumac je suraivao 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 meunarodnih nagrada i priz- cije umbrijskoga Teatro Stabile, Teatro nanja. Menni je autorica, glumica, kosti- dell’Elfo i Ciriπkoga festivala. Takoer 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 73 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 surauje 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 74 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. Takoer je suraivao 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 75 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. Takoer 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 meunarodnim 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 76 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 77 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 meunarodnim koncertnim aktivnostima pribliæio je hrvatsku udaraljkaπku glazbu svjetskoj javnosti. Od 1984. godine vodi udaraljkaπku sekciju Simfonijskog orkestra Hrvatskoga radija, a od 1990. godine organizira meunarodne 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 meunarodne organizacije Percussive Arts Society. Dobio je nekoliko priznanja za svoja umjetniËka dostignuÊa u Hrvatskoj, a 2003. godine nagraen 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 78 day month 18 4 dan mjesec hour 22:00 sat subota / saturday Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 79 78 79 Igor Leπnik Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 80 day month 18 4 dan mjesec hour 22:00 subota / saturday 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 81 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 meunarodni 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 takoer aleatoriËke raËunalne vizualizacije koje su istovremeno projicirane na velikom platnu. Ovako dobiven audio i video predstavljaju osnovu za solistiËku improvizaciju koja rabi izvoaËke procedure inspirirane folklornom tradicijom sviranja tapana u jugoistoËnoeuropskim zemljama, meu 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 82 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 83 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“. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 84 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 85 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 raa nakon borbe. Igor Leπnik naruËio je ovo djelo i, potpuno obuzet scenarijem osmislio je ovu udaraljkaπku izvedbu koja iznenauje 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] Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 86 day month nedjelja / sunday 19 4 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 87 12:00, MUO XL TUBA ZAGREBA»KI KVARTET SAKSOFONA / ZAGREB SAXOPHONE QUARTET(HR) 17:00, Mimara PROCES-MUZIKA / PROCESS-MUSIC 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 88 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 89 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 izvoenje 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 90 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 takoer 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 Meunarodnom 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.). Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 91 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, izmeu cirkuske parodije i krika umiruÊeg slona… Nakon duljeg premiπljanja, sjetio sam se predstave Peto evanelje. 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 evanelja 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 92 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 93 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 Meunarodnim 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 94 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] Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 95 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 96 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 izmeu 1857. i 1870. godine. U borbi izmeu 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 grae 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] Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 97 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 98 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 dogaanja unutar kvartetske glazbene konstrukcije. Ritamski kontinuum je nukleus koji sjedinjuje promjene u koriπtenju instrumenata, odnosno redoslijedu nastupa, kao i uvoenje 5. instrumenta (zurne) koji ‘gostuje’ i stvara stanoviti ‘nered’. Glazbena graa osloboena 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] Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 99 98 99 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 100 day month 19 4 dan mjesec hour 17:00 nedjelja / sunday sat 17:00, Mimara PROCES-MUZIKA / PROCESS-MUSIC 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 101 101 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. Takoer 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 izmeu predmeta i uzroka. Istraæivao je glas s razliËitih glediπta: lingvistiku glasa, metafiziku glasa, etiku glasa, paradoksalan odnos izmeu 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 102 day month 19 4 dan mjesec hour 17:00 sat nedjelja / sunday Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 103 103 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, izmeu ostalih, Nagradu za elektroniËke umjetnosti Golden Nica 2004. i nagradu TigriÊ (za najbolji kratki film) na Meunarodnom 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 104 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 105 104 Dana 16. travnja 1993. zapoËeo je veliËanstven projekt meunarodne 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? Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 106 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 usuivanje 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 107 106 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 izmeu 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] Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 108 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 109 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 dan mjesec hour 19:30 nedjelja / sunday sat Ivan FilipoviÊ Komorni zbor Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 110 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 potvrivana 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, Maarska, 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). Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 111 111 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 meu 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 surauju 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 112 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 113 112 113 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 usaenu suprotnost izmeu 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 izvoaËa 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 114 day month 19 4 dan mjesec hour 21:30 sat nedjelja / sunday Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 115 114 115 day month 19 4 dan mjesec hour 21:30 nedjelja / sunday sat Sieni Virgilio Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 116 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 suraivao i s meunarodno 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 117 116 na podruËju vizualne umjetnosti, glazbenicima i skladateljima poput Alexandra Balanesca, Ennija Morriconea, Stevea Lacyja, Luisa Sclavisa; Grazie Toderi, Liliane Moro, a na podruËju kostimografije suraivao 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. day month 19 4 dan mjesec hour 21:30 nedjelja / sunday sat Badalamenti Angelo Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 118 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. Suraivao 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 119 119 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 izvoenja poezije i knjiæevnih djela te je suraivao 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 120 day month 19 4 dan mjesec hour 21:30 nedjelja / sunday sat Sudjelovao je u izvedbama djela Luciana Beria, Adriana Guarnierija, Giorgia Ghedinija, Luigija Nona i Galine Ustvolskaje, suraujuÊi 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 121 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 122 day month 19 4 dan mjesec hour 22:30 nedjelja / sunday sat MM, 22:30 Ansambl ACEZANTEZ / ACEZANTEZ Ensemble ACEZANTEZ se vraÊa / ACEZANTEZ is back PosuivaË 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 PosuivaË 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). Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 123 122 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. day month 19 4 dan mjesec hour 22:30 nedjelja / sunday sat Detoni Dubravko Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 124 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 izvoena 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 125 124 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 samopotvruje 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 126 day month 19 4 dan mjesec hour 22:30 nedjelja / sunday sat 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 meu 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, Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 127 126 127 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, PosuivaË 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 izmeu djece i soloists, chamber ensemble and elecroditelja, projekt stupa na podruËje tronics, is a work-in-progress which was beskrajnih moguÊnosti meusobnoga 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 128 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, suraivala 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 129 128 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 Naem drugaËije tvoje Svakako svoje Svidjela mi se viπeznaËnost i neodreenost 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 odreuju 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] Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 130 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, meu 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] Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 131 130 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 surauje 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 132 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. roendan darovao si je joπ jedan meunarodni 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 izmeu 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 133 132 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 134 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 suraivao 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 135 134 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 izmeu Francuza i Engleza, ironiËno-alegorijski monolog djevojke koja s druge obale promatra i magiËnim formulama odbacuje neprijateljsku vojsku, izraen 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 136 day month ponedjeljak / monday 20 4 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 137 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 138 day month 20 4 dan mjesec hour 17:00 ponedjeljak / monday sat 17:00, Mimara PROCES - MUZIKA / PROCESS - MUSIC Alessandro Bossetti, koncert / concert Alexander García Düttmann, predavanje / lecture Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 139 139 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 izmeu 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 izmeu 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 suraivao 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 ponedjeljak / monday sat Bossetti Alessandro Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 140 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 izmeu 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 141 140 141 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 142 day month 20 4 dan mjesec hour 20:00 ponedjeljak / monday sat 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 143 143 (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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 144 day month 20 4 dan mjesec hour 20:00 ponedjeljak / monday sat 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 pronau vlastiti zvuk i ocrtaju vlastitu melodijsku liniju (…). Kanon mi je pokazao koliko odabir jezika odreuje 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.“ Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 145 145 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 146 day month 20 4 dan mjesec hour 20:00 ponedjeljak / monday sat 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, takoer 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 izvoenim 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 147 146 “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] Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 148 day month 20 4 dan mjesec hour 22:00 ponedjeljak / monday sat 22:00, &TD 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 149 149 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 150 day month 20 4 dan mjesec hour 22:00 ponedjeljak / monday sat 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 obraene 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 odreivanje 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 151 150 To naravno varira u svakoj izvedbi, jer se prostorno odreivanje 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 prilagoavati sviranju koristeÊi razliËite tembre, vibrato ili ne-vibrato, razliËita tempa, itd. Prilagoavat 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 hour 22:00 ponedjeljak / monday sat Snoei Wouter Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 152 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 surauje 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 153 153 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 izvoaËa u suvremenoj glazbi kao suËelja izmeu instrumenta i skladatelja te izmeu skladbe i publike. U razdoblju izmeu 2007. i 2010. provodi projekt u sklopu kojega angaæira razne skladatelje πirom svijeta da surauju 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 154 day month utorak / tuesday 21 4 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 155 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 156 day month 21 4 dan mjesec hour 17:00 utorak / tuesday sat Mimara, 17:00, Ansambl Gaida / Gaida Ensemble Robertas ©ervenikas, dirigent / conductor 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 Robertas ©ervenikas, dirigent / conductor Remigijus Merkelys, ravnatelj ansambla / ensemble director Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 157 156 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. Takoer, programe za njega stvarali su razliËiti dirigenti bogatog iskustva u novoj glazbi. Recentni i buduÊi repertoar ansambla ukljuËuje djela vodeÊih litvanskih skladatelja i meunarodno 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 month 21 4 dan mjesec hour 17:00 utorak / tuesday sat ©ervenikas Robertas Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 158 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 suraivati 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. Suraivao 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 meu dirigentima mlae 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 159 159 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 graa 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 utorak / tuesday sat Baranauskas Marius Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 160 Marius Baranauskas (1978.) studirao je kompoziciju u klasi Rimantasa Janeliauskasa na Litvanskoj akademiji. Sudjelovao je i na brojnim meunarodnim teËajevima i radionicama za skladatelje, a 2006. godinu proveo je æiveÊi i radeÊi u Meunarodnom 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”. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 161 161 Nakas ©arūnas 160 ©arūnas Nakas (1962.) je skladatelj, esejist, dirigent, izvoaË, 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 pohaao 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 meu istaknutim meunarodnim izvoaËima te su izvoena 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 162 day month 21 4 dan mjesec hour 17:00 utorak / tuesday 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).“ Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 163 163 ©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. pohaala 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 nagraena na UNESCO-voj Meunarodnoj pozornici skladatelja te je odabrana meu finaliste za nagradu Gaudeamus. ©erkπnytė kao skladateljica i pijanistica redovito sudjeluje na dogaanjima 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 164 day month 21 4 dan mjesec hour 17:00 utorak / tuesday sat “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 izmeu 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).“ Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 165 165 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 (Maarska) i Groænjanu 1999. godine. Skladbe su mu izvoene 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.” Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 166 day month 21 4 dan mjesec hour 19:30 utorak / tuesday sat 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 167 166 167 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 izvoaËi 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 168 day month 21 4 dan mjesec hour 19:30 sat utorak / tuesday Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 169 168 169 Annette Schönmüller, Dieter Kschwendt-Michel, Maida Kariπik, Foto (C) Andreas Friess Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 170 day month 21 4 dan mjesec hour 19:30 utorak / tuesday sat 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, meutim, 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 171 170 dobro, Ëak i s humorom. »ovjek se mora izloæiti shvatljivosti. Dobro je biti provjerljiv. Prostor glazbe je utopija. Ona se meutim dogaa samo u uprizorenju jezik je poveznica ovoga ovdje i onoga tamo. To je uvjet za to da ne postoji jaz izmeu 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 172 day month 21 4 dan mjesec hour 19:30 utorak / tuesday sat »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 izmeu dva principa izmeu kojih æivot treba donijeti odluku: izmeu pesimizma koji vodi u cinizam i opravdava brutalnost kao neπto logiËno, i optimizma koji protiv toga moæe upotrijebiti samo snagu nade i strpljenja. Odnosno, izmeu 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, meu malim junacima svakodnevice, u ljubavnim priËama i neprofitnim organizacijama - meu ljudima koji se poput Voltaireova Candidea jednostavno ne mogu ili ne æele naviknuti na zloÊu i glupost svijeta i koji grozote koje im se dogaaju 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] Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 173 173 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. Zborovoa 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. day month 21 4 dan mjesec hour 19:30 utorak / tuesday sat Tornquist Kristine Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 174 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 izmeu 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 175 175 Sushon Anna 174 Anna Sushon roena 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 meu 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. day month 21 4 dan mjesec hour 19:30 utorak / tuesday sat Vierlinger Rainer Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 176 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, izmeu 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 aneo). (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). Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 177 177 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. Izraivala 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. 21 4 dan mjesec hour 19:30 utorak / tuesday sat Schönmüller month Annette day Kariπik Maida Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 178 Maida Kariπik roena 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, izmeu 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 179 179 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 pohaao i razne majstorske teËajeve. VeÊ mnogo godina Günther Strahlegger surauje 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. day month 21 4 dan mjesec hour 19:30 utorak / tuesday sat Plangg Nina Maria Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 180 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, izmeu ostalog, na festivalu u Gmundenu i u Dræavnoj opereti Dresden te kao koncertna pjevaËica nastupala, meu 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 181 181 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, meu 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. day month 21 4 dan mjesec hour 19:30 utorak / tuesday sat Haneder-Kulterer Maria Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 182 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 voenje 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). Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 183 183 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 meunarodnim 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 184 day month 21 4 dan mjesec hour 22:00 utorak / tuesday sat 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 Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 185 185 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 meu organizatorima glazbenih dogaaja koji æele znati πto se dogaa 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 izmeu 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. Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 186 day month 21 4 dan mjesec hour 22:00 sat utorak / tuesday Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 187 186 187 Ansambl Intégrales / Ensemble Intégrales day month 21 4 dan mjesec hour 22:00 utorak / tuesday sat Rihm Wolfgang Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 188 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 dogaa kad, piπuÊi glazbu, mijeπam boje, ocrtavam linije, izoπtravam obrise, postavljam plohe i izraujem 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 189 Friedrich Burkhard 188 Od 2006. godine Burkhard Friedrich (Berlin, 1962.), skladatelj, osnivaË i jedan od voditelja ansambla Intégrales, komponira djela na granici izmeu 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 pogoena neËija percepcija ako glazbenici izau, a glazba se nastavi, neograniËeno. Musicbox je raen 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 meu 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 month 21 4 dan mjesec hour 22:00 utorak / tuesday sat Oesterle Michael Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 190 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. Suraivao 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 191 190 “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.” Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 192 month 21 4 dan mjesec hour 22:00 utorak / tuesday 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 izvoena kako na festivalima eksperimentalne elektroniËke glazbe tako i na festivalima komorne glazbe, a instalacije su mu postavljane u Nizozemskoj, NjemaËkoj i Velikoj Britaniji. Kao izvoaË, 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 193 192 193 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 pohaa doktorski studij na SveuËiliπtu Brunel u Londonu. Tijekom 2009. tri Êe mjeseca provesti kao stipendist u prestiænoj Villi Aurori u Los Angelesu. month 21 4 dan mjesec hour 22:00 utorak / tuesday sat Seidl day Galette Hannes Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 194 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. Meunarodno 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 meunarodne 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 195 194 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, razgraena 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, prou, 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 month 21 4 dan mjesec hour 22:00 utorak / tuesday sat Hespos Hans-Joachim Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 196 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 pobuuju akciju prije negoli upute za neutralno izvoenje. 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”. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 197 196 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 izvoaËa. KoristeÊi specifiËnosti zvuka saksofona, on mijenja glas izvoaËa 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. IzvoaË 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.” Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 198 day month 21 4 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 199 198 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 vieno, 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 21 4 dan mjesec hour 23:00 utorak / tuesday sat KovaË Mario Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 200 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. Meu najpoznatijim radovima grupe radikalne su akcije (kraa 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). Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 201 200 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 dogaanja, 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 202 day month srijeda / wednesday 22 4 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 203 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 204 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 205 204 Godine 2001. meunarodni 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: izvoenje 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 206 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 Maarskoj 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 pohaao 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 207 207 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 208 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.“ Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 209 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 meunarodnim 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 210 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. Meu 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 dogaanja, 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 211 210 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.” Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 212 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 meunarodnu 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. Surauje s nizom glazbenika, a njezine su ideje viπeslojne i namijenjene svakom pojedincu te sadræe programsko kretanje koje dolazi na vidjelo kroz izraen 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 213 212 “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 ugaa 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 ugaa, nae svoj ton. U pozadini je mantra, a samougaanje dovodi do glazbe (ureenja 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 214 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, solfeo) te u Baselu u ©vicarskoj (studij kompozicije s Rolandom Moserom). Tijekom poslijediplomskog studija nadopunila je svoje znanje sudjelujuÊi na brojnim meunarodnim majstorskim satovima s priznatim skladateljima i instrumentalistima, meu 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 meunarodnim festivalima u Sloveniji i inozemstvu. Trenutno radi kao asistentica za predmet solfeo 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 215 215 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 usporeujuÊi 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 216 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 izmeu neobuzdanosti i meditativne suzdræanosti, kozmopolitskog modernizma i obzirnosti prema slovenskom glazbenom nasljeu. 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 217 216 “Djelo Krug boja nastalo je u proljeÊe (2008.) za iznimne izvoaËe 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 izmeu obojenosti zvuka i glazbenih dogaanja. 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.” Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 218 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 219 218 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 Meunarodnog 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 220 S viπe od sto i Ëetrdeset skladbi skladanih za πirok raspon izvoaËkih 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. Roen 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 221 220 OsnivaË je i direktor nekoliko meunarodnih 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 Meunarodnog sveuËiliπta (International University). Garcia radi kao profesor glazbe i direktor programa za kompozicije na ©koli za glazbu pri floridskom Meunarodnom 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 222 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 meunarodnih odnosa, u Miamiju je na floridskom Meunarodnom 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 Meunarodnom 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 223 223 Stuart John 222 John Stuart profesor je arhitekture na Meunarodnom sveuËiliπtu (International University) u Miamiju, a kao arhitekt, videoumjetnik i povjesniËar surauje 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 224 Od 1993. godine Campbell McGrath radi kao profesor kreativnog pisanja na Meunarodnom 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 225 225 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 Meunarodnom 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 Meunarodnome 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 226 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 227 227 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. Surauje 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 meunarodnoj produkciji teatara La Mama e.t.c. i MMRKernel kao skladateljica i izvoaËica 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 228 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 229 229 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 230 Gotovo osam godina nakon debija na MuziËkom biennalu Zagreb 2001., Cantus Ansambl promaknuo se u brandirani sastav specijaliziran za izvoenje mnogolikih i mnogobrojnih “novih” glazbi. Takoer, 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 voe 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 231 230 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. Takoer, 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 232 day month 22 4 dan mjesec hour 21:30 srijeda / wednesday 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 233 232 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 izvoaËice, 2 izvoaËa 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 month 22 4 dan mjesec hour 21:30 srijeda / wednesday sat Tudor Gordan Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 234 Gordan Tudor (1982.), viπestruko nagraivani 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 izvoene 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”. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 235 235 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 surauje 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.” Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 236 day month 22 4 dan mjesec hour 21:30 sat srijeda / wednesday Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 237 236 237 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 238 day month 22 4 dan mjesec hour 22:30 srijeda / wednesday sat 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 / Nepobijeeno 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 239 238 Nimbus Dei, projekt koji je 2007. zapoËeo Tomislav BabiÊ, zamiπljen je kao medij za izvoenje 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 240 Tomislav BabiÊ (1968.) pohaao 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 241 241 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 242 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 243 242 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 neodreen, 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 rjee te koje ga se usude govoriti. Ovaj premijerni nastup predstavlja njezinu najopseæniju upotrebu mijeπanih medija, s videouradcima, ruËno izraenim 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 izvoaËa koja doseæe eksponencijalnu razinu. Kako se njezin zaprepaπÊujuÊi izraz reflektira s ekrana prema Ëlanu publike, i opet prema izvoaËu, 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 244 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, ureujuÊi 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 245 245 Collier Evan 244 Evan Collier (Kingston, Ontario) bavio se graevinarstvom 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 izvoaËkih 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 izvoaËa 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 izvoaËke 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 246 day month četvrtak / thursday 23 4 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 247 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 248 day month 23 4 dan mjesec hour 16:00 četvrtak / thursday sat 16:00, Mimara Kanadska elektroniËka glazba / Canadian Electronic Music Dennis Patrick, izbornik / curator Ansambl Les Amis / Les Amis Ensemble 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 izvoena u dijelovima, izmeu 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 249 249 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 nagraivanih 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 četvrtak / thursday sat McConnell Philip Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 250 Philip McConnell, skladatelj iz Toronta, roen 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 izvoena 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 251 251 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.“ Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 252 day month 23 4 dan mjesec hour 16:00 četvrtak / thursday 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 253 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 meunarodnim 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 grae 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 izmeu 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“ Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 254 day month 23 4 dan mjesec hour 17:30 četvrtak / thursday sat 17:30, Mimara GudaËki kvartet Penderecki / Penderecki String Quartet Joseph Macerollo, harmonika / accordion Kvartet Penderecki / Penderecki Quartet: Jeremy Bell, violina / violin Jerzy Kaplanek, violina / violin Christine Vlajk, viola Simon Fryer, violonËelo / cello Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 255 254 255 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 Sran 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 “Anelom” Episode IV - A Prayer / Molitva Episode V - Eternal Rest / Pokoj vjeËni month 23 4 dan mjesec hour 17:30 četvrtak / thursday sat Penderecki day kvartet GudaËki Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 256 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 257 257 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 month 23 4 dan mjesec hour 17:30 četvrtak / thursday sat SokoloviÊ Ana Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 258 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 259 259 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 odreen 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.” day month 23 4 dan mjesec hour 17:30 četvrtak / thursday sat Mozetich Marjan Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 260 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, izvoena 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 meunarodni 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 preraena 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 261 261 DediÊ Sran 260 Sran 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 meunarodnih 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 izvoenje 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.” [Sran DediÊ] Sran 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.” [Sran DediÊ] day month 23 4 dan mjesec hour 17:30 četvrtak / thursday sat Pepa Michael Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 262 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 suenju 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 izmeu 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.” Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 263 262 263 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 264 day month 23 4 dan mjesec hour 19:30 četvrtak / thursday 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 / Croatian Radio Television Symphony Orchestra and Big Band Edin Karamazov, gitara / guitar Danijel Detoni, klavir / piano Nikπa Bareza, dirigent / conductor Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 265 264 265 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 266 month 23 4 dan mjesec hour 19:30 četvrtak / thursday sat 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 suraivao 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 Croatian Radio Television Symphony 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 267 266 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 surauje. 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 month 23 4 dan mjesec hour 19:30 četvrtak / thursday sat Karamazov Edin Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 268 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 meunarodnim 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 nagraivane 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 269 269 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 Maarskoj, 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. month 23 4 dan mjesec hour 19:30 četvrtak / thursday sat Tüür day Sven Erkki- Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 270 Erkki-Sven Tüür (Kärdla, 1959.) poËeo se baviti glazbom u drugoj polovici sedamdesetih godina kao voa 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 Meunarodnog 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 271 270 “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 rjea 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 272 month 23 4 dan mjesec hour 19:30 četvrtak / thursday sat 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 prireuje 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 273 272 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 lea. 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 graa 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 23 4 dan mjesec hour 19:30 četvrtak / thursday sat Zimmermann day Alois Bernd Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 274 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“. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 275 274 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 vaenja mozga. Tristan Murail: Gondwana „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 izmeu 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. Tristan Murail: Gondwana „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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 276 day month 23 4 dan mjesec hour 22:00 četvrtak / thursday sat 22:00, MDVL Ansambl Les Amis / Les Amis Ensemble 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 Joseph Macerollo, harmonika / accordion 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 277 277 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 meu 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 4 dan mjesec hour 22:00 četvrtak / thursday sat Lynn Kuo month Sadej day (Kasia) Katarzyna Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 278 Mezzosopran Katarzyna (Kasia) Sadej roena je u Poljskoj, a diplomirala je na SveuËiliπtu Ottawa. Nedavno je magistrirala operu na SveuËiliπtu u Torontu i pohaa 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 pobjeivala 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 279 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 day month 23 4 dan mjesec hour 22:00 četvrtak / thursday sat Pepa Michael Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 280 Isomorphē Michael Pepa roen 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, izvoena 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 281 281 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 day month 23 4 dan mjesec hour 22:00 četvrtak / thursday sat Caravassilis Constantine Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 282 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. meunarodnog 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 283 282 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 odreeni 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 obraena 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 284 month 23 4 dan mjesec hour 22:00 četvrtak / thursday sat 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 285 284 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 odreenosti“ - 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 odreenom 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.“ Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 286 month 23 4 dan mjesec hour 22:00 četvrtak / thursday sat 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 iznenauje ËitkoπÊu sastojaka (...), ËitkoπÊu impulsa zbog kojih se slojevi te cjeline zguπnjavaju i prorjeuju. 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 287 286 “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.” Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 288 day month 23 4 dan mjesec hour 23:30 četvrtak / thursday sat 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 289 288 289 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 290 hour 23:30 četvrtak / thursday 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. IzvoaËi 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 291 291 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 prireuje 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 četvrtak / thursday sat KaËurov month Aleksandar day BlaæeviÊ Luka Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 292 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 pohaao 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 graanin 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 graanin 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). Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 293 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 pohaa 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). Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 294 day month petak / friday 24 4 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 295 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) Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 296 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 297 296 297 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 izvoenja prepoznatljive sve do poËetka 20. stoljeÊa, Arnold Schönberg 1912. godine izvoaËu 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 298 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 299 299 Anzaghi Davide 298 Davide Anzaghi (Milano, 1936.) diplomirao je kompoziciju, dirigiranje, zborsku glazbu te studij klavira na Konzervatoriju Giuseppe Verdi u Milanu. Pohaao je i majstorske teËajeve iz kompozicije kod G. F. Ghedinija i F. Donatonija. Docent je kompozicije na Milanskom konzervatoriju. Njegove skladbe izvoene su u najpoznatijim talijanskim i meunarodnim centrima, a pobjednik je brojnih dræavnih i meunarodnih 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”. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 300 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 grauju 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 301 301 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. IzvoaË 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 month 24 4 dan mjesec hour 17:00 petak / friday sat Calderoni Caterina Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 302 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. Neodreenost 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 odreen 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 303 303 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 izvoaËa 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 oslobaa 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 month 24 4 dan mjesec hour 17:00 petak / friday sat BrajkoviÊ Massimo Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 304 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 uroen. 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 305 305 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 dogaaju 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 306 month 24 4 dan mjesec hour 17:00 petak / friday sat 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”. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 307 307 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 viaju 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 308 day month 24 4 dan mjesec hour 19:30 petak / friday 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 309 308 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 izvoaËkim sposobnostima. Uz redovne koncerte kojima ravna glazbeni ravnatelj, PSO je suraivao 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 takoer 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 surauju 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 310 day month 24 4 dan mjesec hour 19:30 petak / friday sat Cijenjeni dirigent Lihua Tan (kin. Tan Lihua) iznimno je traæen u domovini, Kini, i inozemstvu. Kao gostujuÊi dirigent uspjeπno je suraivao 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 meu mlaim 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 311 311 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 meunarodnim 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. Takoer je djelovao u komornim ansamblima uz intenzivnu koncertnu i diskografsku aktivnost. Sa svojim je πirokim repertoarom nastupao na najvaænijim meunarodnim festivalima. Suraivao 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 312 month 24 4 dan mjesec hour 19:30 petak / friday sat Biao Li day Biao Li (kin. Li Biao; Nanjing, 1969.) slovi kao jedan od vrhunskih solo-udaraljkaπa na suvremenoj meunarodnoj 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- Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 313 312 »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 pobjeivao na mnogim prestiænim meunarodnim 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 proizvoaËe 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 314 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 Rektorove nagrade SveuËiliπta u Zagrebu za najbolji studentski rad ostvaren na MuziËkoj akademiji (1998./99.). Godine 1999. na Meunarodnom 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 315 314 315 In Croatia he studied improvisation with academician Anelko 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 Anelko 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 Anelkom 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 izvoena 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 Anelka 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 316 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, takoer 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 potvruju), 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 317 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 nasljee i razvoj radi prikaza ideje integracije i inovacije. Drugim rijeËima, glazbena tema iz izlaganja πiri se kroz glazbenu grau 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 318 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. Takoer je kao gostujuÊi profesor radio na Ksiamenskom sveuËiliπtu. TrenutaËno je zamjenik predsjednika komiteta za kompoziciju Kineskog druπtva skladatelja. Dobio je mnoge znaËajne nagrade, meu 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 319 318 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 (posuen 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 320 month 24 4 dan mjesec hour 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 321 320 “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. Izmeu 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 322 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. Pohaala 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 323 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 izvoaËima. 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 324 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 325 324 Elena, Cecilia, Matteo, Chiara, Federico, Paolo, Francesco i Chiara dolaze iz pokrajine Reggio Emilia i uËenici su priznatih izvoaËa. 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 obrauje 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 326 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 suraivali 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 327 326 327 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 328 day month subota / saturday 25 4 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 329 12:00, HGZ Tristan Murail, gost-skladatelj 25. MBZ-a / guest-composer of the 25th MBZ: predavanje / lecture Sran »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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 330 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: predavanje / lecture Sran »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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 331 330 331 Komentari Tristana Muraila o vlastitim skladbama Tristan Murail’s comments on his own works Cloches d’adieu, et un sourire... / Zvona rastanka i osmijeh... Ovaj nepretenciozni mali komad napisan je na narudæbu NjemaËkog radija, Deutschlandfunk, u spomen na Oliviera Messiaena. Posuuje nekoliko aspekata (voenje 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”. Cloches d’adieu, et un sourire... / 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 332 day month 25 4 dan mjesec hour 12:00 sat subota / saturday Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 333 333 »aldaroviÊ Filip Sran 332 Sran 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 meunarodnim teËajevima Evgenija Timakina, Jerome Rosea, Waltera Groppenbergera, Sequeire Coste te se u meuvremenu istiËe svestranim solistiËkim i komornim nastupima, na kojima potvruje 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...“ Sran 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...” Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 334 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: Anelko 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 335 335 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 (Maarska) i Saumuru (Francuska). Godine 1988. kvartet postaje Ëlanom Meunarodne 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 Maarskoj. 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 336 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 meunarodnog 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 337 336 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 vieno (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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 338 month 25 4 dan 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 pohaao kod Waltera Zimmermanna (Berlin) i Wolfganga Rihma (Karlsruhe). Njegova su djela praizvoena 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 surauje s Moskovskim ansamblom za suvremenu muziku (MCME), a radio je i s mnogim drugim europskim sastavima. Takoer je napravio novu, upotpunjenu verziju Schubertove “Nedovrπene” simfonije, koristeÊi izvorne skice. Safronov je dobitnik prvih nagrada na meunarodnim 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”). Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 339 338 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 izmeu 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, meutim, 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 4 dan mjesec hour 17:00 subota / saturday sat Sjumak Aleksej Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 340 Aleksej Sjumak (1976.) diplomirao je i magistrirao kompoziciju na Konzervatoriju »ajkovski u Moskvi u klasi A. V. »ajkovskog. Nagraivan je na Sveruskom natjecanju mladih skladatelja te dva puta na Meunarodnom natjecanju P. I. Jurgenson. »lan je Saveza ruskih skladatelja. Pohaao je majstorske teËajeve brojnih skladatelja, a djela su mu izvoena na brojnim europskim festivalima suvremene glazbe. Stalno surauje 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.” Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 341 341 Ekimovski AleksejeviË Viktor 340 Viktor AleksejeviË Ekimovski (Moskva, 1947.) ruski je skladatelj scenskih, orkestralnih, komornih i klavirskih djela koja su izvoena 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. Takoer 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 predviena za visoku klasu izvoaËkog majstorstva. Skladba je napisana za meunarodni 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 25 4 dan mjesec hour 17:00 subota / saturday sat Sudzilovski Jaroslav Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 342 ViolonËelist i skladatelj Jaroslav Sudzilovski (Moskva, 1980.) pohaao 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 buenje; 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 343 342 „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 izvoaËi 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 raa 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 344 month 25 4 dan mjesec hour 20:00 subota / saturday 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 345 344 “Shobogenzo / ©oboenzo, svetu knjigu japanskoga budizma, prikupio je utemeljitelj soto zena Dogen zenji izmeu 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 / ©oboenzo 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 / ©oboenzo 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 4 dan mjesec hour 20:00 subota / saturday sat Nagy József Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 346 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 surauje s brojnim skladateljima i izvoaËima. 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 347 346 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 348 4 dan mjesec 20:00 subota / saturday 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 maarskom folkloru, imajuÊi u vidu rezultate priznatih autora Györgya Szabadosa i Mihálya Drescha. Ovi muziËki elementi i vrhunska umjetniËka kvaliteta osigurali su mu mjesto meu najpoznatijim suvremenim europskim jazz-muziËarima, a najËeπÊe Cécile Loyer (Poissy, 1973.) francuska je surauje s umjetnicima iz Francuske i plesaËica i koreografkinja koja je suraSAD-a (izmeu ostalog i s Ëlanovima saivala s brojnim umjetnicima i plesnim stava Art Ensemble of Chicago). Posljednjih kompanijama, a 2001. godine osnovala je godina redovito surauje 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 349 349 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 suraivala 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 350 day month 25 4 dan mjesec hour 22:00 subota / saturday 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 351 350 Ansambl UMZE (Új Magyar Zene Egyesülete = Novo maarsko glazbeno druπtvo) odræao je prvi koncert godine 1997. na festivalu Budimpeπtanska jesen. Jasna je paralela izmeu ovog druπtva i izvornoga Novog maarskog 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 maarskih i inozemnih autora pribliæe publici. Novi UMZE postao je vrijednim dijelom maarske 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 Maarskoj te svirati u Berlinu, Zagrebu, Karlsruheu i Avignonu. Takoer su objavili 4 nosaËa zvuka. Meu osnivaËima druπtva su prominentne liËnosti maarske 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. Meu 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 maarske 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 dan mjesec hour 22:00 subota / saturday sat “Tri maarska autora Ëija Êe djela biti izvedena na koncertu ansambla UMZE predstavljaju tri generacije maarskih 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 meu najplodnijim skladateljima. Njegova djela karakterizira delikatnost zvuka i tona, bogatstvo raspoloæenja i atmosfere. Najmlai, Máté Bella (1985.) jedan je od najperspektivnijih talenata svoje generacije, a njegova je skladba nagraena u kategoriji komorne glazbe na skladateljskom natjecanju Novoga maarskog 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 352 „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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 353 353 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 izvoaË, 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 Maarskoj 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 month 25 4 dan mjesec hour 22:00 subota / saturday sat BukviÊ Dalibor Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 354 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. Surauje 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 355 354 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 356 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 357 356 „.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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 358 day month nedjelja / sunday 26 4 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 359 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 360 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 Anelko 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)* Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 361 360 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. meunarodnom 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 nasljee 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 Anelko Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 362 Anelko 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] Anelko 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 363 363 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. roendana, 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 364 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 meunarodnim 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 365 365 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 izmeu 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 366 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, meutim, 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.“ Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 367 366 “Roy Lichtenstein (1923. - 1997.) jedan je od rodonaËelnika pop-art pravca u likovnoj umjetnosti XX. stoljeÊa. Pop-art, likovni pravac koji, izmeu ostalog, obiljeæavaju sinteza apstrakcije i figurativnosti, odreeni ‘karnevalizam’ i groteska, od drugih se umjetniËkih koncepata izdvaja optimizmom, pribliæavanjem dnevnom, ‘realnom’ æivotu ljudi i neobvezujuÊim eklekticizmom koji nije puko sastavljanje veÊ vienog, 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 368 day month 26 4 dan mjesec hour 16:30 nedjelja / sunday sat 16:30, HDLU Koncert u povodu 60. roendana 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 369 368 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 izvoaË u kojem se spajaju maπta i utopija. Prvo akademizam, a potom antiakademizam kao njegovo nadvladavanje. IzvoaË 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 ureajima 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]. day month 26 4 dan mjesec hour 16:30 nedjelja / sunday sat Fabbriciani Roberto Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 370 Originalan izvoaË i mnogostran umjetnik, Roberto Fabbriciani osobnim je istraæivanjem inovirao flautistiËku tehniku umnaæajuÊi zvukovne moguÊnosti tog instrumenta. Suraivao 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 371 370 371 “... 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 iznenaujuÊe inovacije...“ Luigi Nono (1981.) “... πto god svirao, uvijek to Ëini majstorski.” John Cage (1989.) “... Neizmjerno se divim njegovoj Ëarobnoj umjetnosti flaute.” György Ligeti (1991.) day month 26 4 dan mjesec hour 16:30 nedjelja / sunday sat Coral Giampaolo Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 372 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 maarskih 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 , Meunarodnu 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 Meunarodni festival suvremene glazbe Trieste Prima, te Udruæenje za novu glazbu Chromas. Bio je Ëlan æirija vaænih meunarodnih natjecanja, poput Glazbene nagrade grada Trsta, Meunarodnoga 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). Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 373 372 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 izmeu 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 374 day month 26 4 dan mjesec hour 16:30 nedjelja / sunday sat 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, meu 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 375 375 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.” day month 26 4 dan mjesec hour 16:30 nedjelja / sunday sat Sbordoni Alessandro Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 376 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, ureivao 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 roendana. 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] Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 377 377 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: „Roenje 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 novoroenËe procijeeno 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.” Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 378 day month 26 4 dan mjesec hour 16:30 nedjelja / sunday sat 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 379 378 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 meunarodnim 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 roendana: u partituri nema formalne posvete; umjesto toga, skladateljeva misao slobodno djeluje kroz izvedbu i povijesnu auru glazbe druge polovine dvadesetog stoljeÊa, koju je ovaj izvoaË 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 (takoer “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- Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 380 day month 26 4 dan mjesec hour 16:30 nedjelja / sunday sat 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 izvoaËa; 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, neobraenih 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 Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 381 381 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 pohaao 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. roendan 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] day month 26 4 dan mjesec hour 16:30 nedjelja / sunday sat Solbiati Alessandro Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 382 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 meunarodnih 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. Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 383 382 “Dragi Roberto, s posebnim zadovoljstvom posveÊujem ti djelo Ibi, bone fabricator nastalo u povodu tvojeg vaænog roendana. 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] Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 384 day month 26 4 dan mjesec hour 16:30 nedjelja / sunday sat 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 meunarodne teËajeve i seminare iz kompozicije i teorije glazbe. Voditeljica je Meunarodne 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] Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 385 384 385 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 meunarodnoj 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 izmeu 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 razraenom 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] Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 386 day month 26 4 dan mjesec hour 19:30 nedjelja / sunday 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 Gica 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 387 386 387 „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 izvoaËa 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 otuenoπÊu i usaenim nam osjeÊajem krivnje. Kafka situaciju svog junaka Jozefa K. dovodi do apsurda nizom nesretnih okolnosti, praÊenja, sasluπanja i iznuivanja 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 iznuen represijama i kontrolama politiËkog i druπtvenog aparata, te bijegom kao odrazom svekolike ljudske otuenosti.” [HNK Rijeka] month 26 4 dan mjesec hour 19:30 nedjelja / sunday sat 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 388 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 389 388 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 suraivao 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. Meunarodnom 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. day month 26 4 dan mjesec hour 19:30 nedjelja / sunday sat Zurovac Staπa Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 390 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. Takoer 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. Nagraen je i na 5. festivalu koreografskih minijatura u Beogradu, 17. meunarodnom 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). Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 391 390 391 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, Labuim 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. day month 26 4 dan mjesec hour 19:30 nedjelja / sunday sat »obanov Dian Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 392 Dirigent Dian »obanov (Tchobanov) roen 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. Pohaao je teËajeve Sir Colina Daviesa u Dresdenu, a privatne sate davao mu je i Fabio Luisi. Osvojio je Drugu i Posebnu nagradu Meunarodnog natjecanja Lovro von MataËiÊ u Zagrebu 2003. godine te Posebnu nagradu »etvrtog meunarodnog austrijsko-maarskog 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). Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 393 393 Drauπnik Æoræ 392 Æoræ Drauπnik (Zagreb, 1965.) roen 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, suraujuÊi na izradi dekora za predstavu Johannes Faust Passion Milka ©parembleka. Od tada surauje 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. month 26 4 dan mjesec hour 19:30 nedjelja / sunday sat GaliÊ day RadoπeviÊ Katarina Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 394 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, suraujuÊi 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 surauje 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 suraivala 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). Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 395 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’ anele Dejana AÊimoviÊa, na kojem je bio pomoÊnik reæije, nagraen 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’ anele (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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 396 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 397 396 „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] Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 398 day month 16 4 dan mjesec hour 19:00 četvrtak / thursday sat POSEBNI PROJEKTI / SPECIAL PROJECTS 19:00, HDLU Predbijenalski program / Pre-Biennale Otvorenje izložbe / Exhibition opening 16/4-26/4 Boris BuÊan Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 399 399 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 400 day month 16 4 dan mjesec hour 19:00 četvrtak / thursday 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 izmeu 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, meutim, svoju svjetlost posuuje. 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 posuuje? 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 malograanski. 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 dogaa 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 401 400 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 402 Bojan GagiÊ, Remix Mangelos ZvuËno-svjetlosna instalacija / Sound-visual installation 17/4-26/4 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 403 402 403 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 odreene 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 takoer 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 404 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 405 404 405 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 406 0 IX III/XC-LX-XC multimedijski plesni projekt / a multimedia dance project Katarina –ureviÊ, autorica, koreografkinja, plesaËica / author, choreographer, dancer Tamara CuriÊ, plesaËica / dancer Robert Nappholz, skladatelj i izvoaË / composer and performer Igor Pauπka i / and Katarina –ureviÊ, 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 407 406 407 “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 –ureviÊ] 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, navoene 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 –ureviÊ] –ureviÊ Katarina Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 408 Katarina –ureviÊ (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 –ureviÊ, (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. –ureviÊ 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 409 409 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, surauje 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 410 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 surauje 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). Suraivao je na meunarodnom 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 411 410 411 Tamara CuriÊ, snimio / photo by Amer Kuhinja Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 412 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 mlai sastavi iz Hrvatske, Italije i NjemaËke, na akustiËnim i elektriËnim instrumentima, svirajuÊi svoje i tue, 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 413 412 413 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 414 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 surauju 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 415 414 (...) 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 odreeno, 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 dogaanja 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] Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 416 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 meunarodni 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 417 416 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 posuivali 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 Tumana. 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, meu 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 Tuman. 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 418 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 meunarodnoga 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 419 418 *** 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 meuodnos, 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 420 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 prinuen), 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? Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 421 420 421 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 vienjem 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] Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 422 TRISTAN MURAIL: Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 423 422 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 suraivao izmeu 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 424 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 425 424 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 dogaaji za glazbu samu, oni πto bacaju svjetlo na njezine temelje, jer u njima nasluÊuju neπto neodræivo. Sva su tri dogaaja 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 426 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 provoenju 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 dogaanje 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 dogaaji 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 odreenog 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 odgaati 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 427 426 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 - Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 428 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- Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 429 428 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 meusobno 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 430 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 431 431 Cleobury Nicholas 430 Dirigent Nicholas Cleobury gorljivi je pobornik nove glazbe te je suraivao 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 432 The representatives of the RE:NEW Predstavnici projekta RE:NEW MUSIC takoer 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 (meu 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 meu 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 433 432 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 434 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. Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 435 434 435 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 436 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 Srana 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 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 437 436 437 Katalog sadrži grau dobivenu od skladatelja, izvoaËa, institucija, organizatora te iz arhiva MBZ-a. Graa je prilagoena 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 info@mbz.hr, www.mbz.hr Radno vrijeme / Working Hours 14 / 4 - 26 / 4 10:00 - 18:00 Katalog_001-080:25_mbz 4/11/09 1:45 PM Page 438 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.