Slovenian Philharmonic Orchestra

Transcription

PRIJAVNICA Vpis abonmajev Sezona 2011/2012
Prosimo, obkrožite izbrano: a) DODATNO CD Gallusova dvorana
OR I
parter
vhod
1. balkon
vhod
2. balkon
vhod
OR II
MO I
b) ZAMENJAVA
SF dvorana
MO II
VOK
Slovenska filharmonija
Prosimo, izpolnite s tiskanimi črkami:
Priimek
Ime
Naslov
Pošta
E-pošta
Telefon
Prijavnico bomo upoštevali le ob poravnanih obveznostih do SF v sezoni
2010/2011.
Prijavnica mora biti oddana do 31. maja 2011; plačali boste
lahko pri vpisu.
Kongresni trg 10, 1001 Ljubljana, T: 01 2410 800, 2410 810, F: 01 2410 900
Vaše želje in pripombe:
Abonma 2011/2012
Glasba in narava
Modri/Blue
Oranæni/Orange
Vokalni/Vocal
Spoštovani abonenti in obiskovalci
koncertov Slovenske filharmonije,
veseli nas, da boste z nami tudi v sezoni
2011/2012 – v sezoni, v kateri Vas bomo po
novno razvajali s čarobno glasbeno umetno
stjo svetovnih in domačih avtorjev.
Slovenska filharmonija je že desetletja vodilni
in osrednji kulturni zavod v državi. S svojim
orkestrom in zborom ter z izbranimi gosti, di
rigenti in solisti nenehno zagotavlja zanimive
programe, kakor tudi kakovostne izvedbe.
Zavedamo se, da ekonomske razmere vpliva
jo na kakovost našega življenja in pomembne
odločitve. Naša odločitev pa ostaja nespre
menjena – prizadevali si bomo še naprej pri
pravljati kvalitetne programe, ostati zavezani
tradiciji in glasbenim vrednotam ter dvigati
ustvarjalno in poustvarjalno raven.
Zato si želimo, da bi tudi v tej sezoni ostali v
naši družbi, svoje občutke, zadovoljstvo in kri
tike naših koncertov pa prenašali tudi tistim,
ki še niso naši privrženci.
Prepričani smo, da lahko pripomoremo k iz
boljšanju v naši družbi in da je prav glasba ti
sta, ki povezuje ljudi, saj ne pozna meja. Zato
bomo v prihajajoči sezoni v Dvorani Marjana
Respected subscribers and visitors
to Slovenian Philharmonic concerts,
Kozine pripravili cikel koncertov v sodelovanju
z Zagrebško in Beograjsko filharmonijo. Na
daljevali bomo tudi tradicijo januarskih kon
certov, na katerih bo osrednje mesto pripadlo
skladateljem iz obdobja klasike. Kot novost
pa bomo pripravili tudi šest pisanih nedeljskih
matinej Klasika à la carte.
Spomnimo se, da je minilo že tristo deset let,
odkar so v Ljubljani – med prvimi v Evropi –
ustanovili Academio Philharmonicorum, prvo
predhodnico naše ustanove. Že tedaj je člane
vodila in spodbujala ljubezen do glasbe. Njena
naslednica, Filharmonična družba (1794), je
ljubezen svojih članov do glasbe oplemenitila
z zvenečimi imeni, ko je za častne člane ime
novala tudi ugledne skladatelje, kot so Haydn,
Beethoven, Paganini, Brahms idr. V začetku
prejšnjega stoletja pa sta v Ljubljano prišla
dva velika moža – Gustavu Mahlerju je bila
posvečena prejšnja sezona, Václavu Talichu,
ki je leta 1908 postal prvi dirigent na novo
nastalega Orkestra Slovenske filharmonije in
tukaj ostal do leta 1912, bo posvečena sezona
2011/2012.
Vsi filharmoniki si bomo tudi v prihodnje pri
zadevali uresničevati cilje in vizije, ki so jih
že pred veliko leti zapisali ustanovitelji Aca
demie Philharmonicorum: kot sestavni del
družbenega življenja s svojim delovanjem na
glasbenem področju vidno vplivati na lepoto
in kakovost našega življenja in družbe same.
Damjan Damjanovič,
direktor Slovenske filharmonije
Zahvaljujemo se vodstvu Radiotelevizije Slovenija za podporo in sodelovanje
pri izvedbi programov ter prenosov in posnetkov.
It gives us great pleasure that you will again
be with us in the 2011/2012 season, a season
in which we will once more spoil you with the
magical musical art of international and Slovenian composers.
For decades, the Slovenian Philharmonic has
been the leading and central cultual institution in Slovenia. With its orchestra and choir
as well as selected guests, conductors and
soloists, it has continuously ensured both
interesting programmes and high quality performances.
We are well aware that the economic climate
influences the quality of our life and the important decisions we make. Our decision, however, remains unchanged – we will continue
to endeavour to prepare quality programmes,
to remain faithful to the tradition and to musical values, and to raise the level of creativity
and performance.
We therefore hope that again this season you
will remain in our company, and that you will
convey your emotions, satisfaction and criticisms of our concerts to those who are not
yet our followers.
We are am convinced that we can bring about
improvements in our society, and that music is
that which can bring peple together, as it knows
no borders. Therefore, in the coming season we
will prepare a cycle of concerts in the Marjan
Kozina Hall in cooperation with the Zagreb and
Belgrade Philharmonics. We will also continue
the tradition of January concerts, at which the
focus will be on composers from the classical
period. Furthermore, as a new feature this year
we will prepare six colourful Sunday matinees,
Classics à la carte.
This year, we recall that 310 years have now
passed since the Academia Philharmonicorum, the first predecessor of our institution
and amongst the first institutions of its kind in
Europe, was founded in Ljubljana. Even then,
the members encouraged the love of music. Its successor, the Philharmonic Society
(1794), ennobled its members love of music
by nominating resounding names as honorary members, including celebrated composers such as Haydn, Beethoven, Paganini,
Brahms, etc. At the beginning of the previous
century, two great men came to Ljubljana –
Gustav Mahler, to whom the previous season was dedicated, and Václav Talich, who in
1908 became the first conductor of the newly
formed Slovenian Philharmonic Orchestra and
remained in Ljubljana until 1912. It is to the
latter that the 2011/2012 season will be dedicated.
In the future, all of us at the Philharmonic will
endeavour to realise the goals and visions inscribed by the founders of the Academia Philharmonicorum so many years ago: as an integral part of social life to visibly influence the
beauty and quality of our life and of society
itself with our activities in the area of music.
Damjan Damjanovič,
Director of the Slovenian Philharmonic
We would like to thank the management of Radio Television Slovenia for their
support and cooperation in the realisation of the programme and of broadcasts
and recordings.
Spoštovani obiskovalci,
z veseljem in ponosom Vam predstavljam
Vašo novo abonmajsko sezono 2011/2012.
Ugled Orkestra Slovenske filharmonije v
mednarodnem prostoru se zaradi kakovo
stnega dela zadnjih let utrjuje. Redno lahko
gostimo svetovno znane umetnike, ti pa z
resnično velikim veseljem sodelujejo z naši
mi glasbeniki, spoznavajo Slovenijo in tako
postajajo odlični ambasadorji slovenske kultu
re v svetu. Poleg njih Vam v prizadevanju, da
bi prepoznavali in podpirali talente, še preden
jih »zgrabi« glasbena industrija, predstavljamo
obetavne mlade poustvarjalce.
V prihajajoči sezoni bomo iskali ravnovesje
med deli klasične, romantične, postromanti
čne, moderne in sodobne glasbe. Glasbo
našega časa pa bomo predstavili eklektično
in ne bomo dali prednosti nobenemu od sti
lov ali šol. In uvajamo novost: v želji po še
večji programski koherentnosti in novih vse
binskih povezavah bo naša koncertna druže
nja povezovala tema, in sicer GLASBA IN
NARAVA.
Narava z letnimi časi, živimi bitji, oceani, ve
trom, gozdovi in njihovim šepetanjem je
navdihovala skladatelje vseh obdobij in ven
dar je skoraj po definiciji glasba romanti
ke tista, ki si lasti najpomembnejšo vlogo.
Beethovnova Pastoralna simfonija je najbolj
izstopajoč primer. Ob evokaciji narave nam
Beethoven slika tudi osvobojeno človeško
Dear visitors,
dušo v vseh njenih izrazih z le zanj značilno
močjo in avtentičnostjo. V kraljestvun živali
imajo za glasbenika zagotovo posebno mesto
ptiči. Poleg slavca, prepelice in kukavice v
Pastoralni simfoniji, Respighijevih Ptičev ali
Deliusove pomladne kukavice so Eksotični
ptiči Olivierja Messiaena tako natančno
ornitološko delo, kakršno zmore ustvariti le
navdihnjen glasbenik, ki poskuša prodreti v
skrivnost stvarjenja. Na drugi strani pa nas
Pesem slavčka Igorja Stravinskega postavlja
v srce estetskega vprašanja glasbe dvajse
tega stoletja, vprašanja o mehanskem in
človeškem, subjektivnem in objektivnem.
V antičnih časih je bila glasba odsev vesolja,
nebesnih teles in harmonije med njimi.
V dvajsetem stoletju se je pomen pojma
narava temeljito spremenil, a vendar je ta
skrivnostni in mogočni kozmos navdihoval
še naprej – denimo Ligetija v Atmosferah.
Sir Neville Marriner, ki ga bomo z največjim
veseljem letos prvič pozdravili med nami,
nam bo predstavil glasbo Planetov Gustava
Holsta, daljni odmev glasbe sfer Pitagore in
Platona. Elliott Carter, ki so ga pri njegovem
Koncertu za orkester navdihovali Vetrovi SaintJohna Persa, se naslanja na močno poetično
evokacijo francoskega pesnika, ki je telesna
in metafizična hkrati, da bi v glasbi našel
realnost energij in matematičnih odnosov, ki
se zrcalijo v svetu ter naravnih pojavih.
In končno, tako poznoromantičen kot moderen
nam Gustav Mahler v Pesmi o Zemlji zgosti,
ali pa se vsaj tako zdi, vse mogoče vezi med
glasbo in naravo. Najvišja duhovnost tega dela
nas kliče k najvitalnejšemu bistvu človeške
narave, ki jo odkriva in osvobaja tolažilni čar
glasbe in ustvarjanja.
To visoko mahlerijansko vizijo poslanstva
Glasbe želimo z vso avtentičnostjo in strastjo
ohranjati skupaj z Vami. Za podporo smo Vam
zelo hvaležni. Naj Vam ta sezona prinese
toliko lepega, kolikor smo ga izkusili mi, ki
smo jo pripravljali ...
Emmanuel Villaume,
šef dirigent Orkestra Slovenske filharmonije
It is with pleasure and pride that I present to
you our new subscription season 2011/2012.
Due to quality work in recent years, the
reputation of the Slovenian Philharmonic Orchestra in the international scene is strengthening. We are able to regularly host internationally known artists, who collaborate with
our musicians with genuine pleasure and
grow acquainted with Slovenia, thus becoming excellent ambassadors for Slovenian culture in the world. In addition to these artists,
we endeavour to present promising young
performers in order to become acquainted
with and support new talent before these artists are “grabbed” by the music industry.
In the coming season we will find a balance
between works of classical, romantic, postromantic, modern and contemporary music.
We will present the music of our time in an
eclectic way, without favouring any particular
styles or schools. We are also introducing an
innovation: in a desire for even greater programme coherence and new connections in
terms of content our concert socialising will
be linked by a particular theme, the theme of
MUSIC AND NATURE.
With the four seasons, living organisms,
oceans, the wind, forests and their rustling,
nature has inspired composers of all periods; however, almost by definition, it is in
the music of the Romantics that nature earns
its most important role, with Beethoven’s
Pastoral Symphony being the most salient
example. In addition to the evocation of nature, Beethoven also paints the liberation of
the human soul in all of its expressions, with
a power and authenticity so characteristic of
the composer. In the animal kingdom, birds
undoubtedly occupy a special place for the
musician. Alongside the nightingale, the quail
and the cuckoo in the Pastoral Symphony,
Respighi’s Birds (Gli uccelli) or Delius’s spring
cuckoo, the Exotic Birds (Oiseaux Exotiques)
of Olivier Messiaen is a precise ornithological
work such as can only be created by an enthusiastic musician attempting to penetrate the
secret of creation. On the other hand, Stravinsky’s The Song of the Nightingale (Le chant
du rossignol) places us in the heart of the
aesthetic questions of music of the twentieth
century, questions about the mechanical and
the human, the subjective and the objective.
In ancient times, music was a reflection of
the universe, the heavenly bodies and the
harmony between them. In the twentieth
century the significance of the conception
of nature underwent a fundamental change,
but the mysterious and powerful cosmos
continued to be a source of inspiration, such
as in Ligeti’s Atmospheres. Sir Neville Marriner, whom it gives us the greatest pleasure
to welcome to Ljubljana this year for the first
time, will present the music of The Planets
by Gustav Holst, a distant echo of the music
of the spheres of Pythagoras and Plato. Elliott
Carter’s Concerto for Orchestra was inspired
by Saint-John Perse’s poem Vents (Winds).
Carter drew on the powerful poetic evocation of the French poet, which is simultaneously both physical and metaphysical, in order
for the music to find the reality of the energies and mathematical relationships that are
reflected in the world and in natural phenomena.
And finally, both late romantic and mo-dern, in
his Song of the Earth (Das Lied von der Erde)
Gustav Mahler condenses for us, at least
so it seems, all of the possible connections
between music and nature. The highest spirituality of this work calls us to the most vital
essence of human nature, which is revealed
and liberated by the consoling charm of music
and creativity.
Together with you we would like to preserve
the high Mahlerian vision of the mission of
music with all authenticity and passion. We
are very grateful to you for your support. May
this season bring you as much beauty as we
have experienced in preparing it…
Emmanuel Villaume, Chief conductor of the
Poslovni sistem Mercator d.d., Dunajska c. 107, 1000 Ljubljana
Živite s Piko
Zaslužite si najboljše
Lepo je vedeti, da nekdo ceni in spoštuje, kar ste dosegli v življenju. Z zlato kartico
Mercator Pika vam zagotavljamo vrsto posebnih ugodnosti, ki so namenjene
najbolj zahtevnim. Poleg običajnih ugodnosti, ki jih uživajo imetniki kartice Mercator
Pika, boste z zlato kartico deležni še neomejenega limita uporabe ter možnosti
telefonskega prednaročanja v izbranih poslovalnicah Mercatorja. Z vedno bolj
razvejano mrežo partnerjev v sistemu kartice Mercator Pika za imetnike zlate kartice
pripravljamo posebna presenečenja. Pustite se razvajati, vstopite v elitni klub
imetnikov zlate kartice Mercator Pika.
Pogoji za pridobitev zlate kartice Mercator Pika so objavljeni na spletnih straneh www.mercatorpika.si in
v zgibankah. Zgibanke kartice Mercator Pika so na voljo na vseh prodajnih mestih Mercator, Mercatorjevih
franšiznih prodajalnah in v vseh prodajalnah partnerjev v sistemu kartice Mercator Pika. Za dodatne
informacije pokličite brezplačno telefonsko številko 080 2 080.
Maruša Šuštar, Orionova simfonija/Simphony of Orion, 180x190 cm
Oranæni/Orange
Orkester Slovenske filharmonije
Gallusova dvorana
Cankarjev dom
ob 19.30
Gallus Hall
Cankarjev dom
at 7.30 p.m.
2
6. in 7. oktober 2011
6 and 7 October 2011
dirigent/conductor Kenneth Montgomery
Eugene Ugorski violina/violin
J. Sibelius, Oceanide, op. 73
The Oceanides, Op. 73
J. Sibelius, Koncert za violino in orkester
v d-molu, op. 47
Violin Concerto in D Minor, Op. 47
A. Dvorˇák, V naravi, op. 91
In Nature’s Realm, Op. 91
G. Mahler, Pesmi iz »Dečkovega čudežnega
roga« – izbor
Songs from “The Youth’s Magic Horn” –
selection
G. Mahler, Kaj mi pripovedujejo rože na
travniku – Tempo di Menuetto (2. stavek
Simfonije št. 3)
What the Flowers on the Meadow Tell Me
– Tempo di Menuetto (2nd movement of
Symphony No. 3)
F. Chaslin, Viharni vrh – zborovska suita
Wuthering Heights – choral suite
T. Vulc, novo delo/new work
O. Messiaen, Eksotične ptice
Exotic Birds (Oiseaux Exotiques)
C. Debussy, Pomlad – simfonična suita
Spring (Printemps) – Symphonic Suite
G. Faure, Balada za klavir in orkester, op. 19
Ballade for Piano and Orchestra, Op.19
B. Smetana, Moja domovina: Vltava,
Iz čeških logov in gajev
My Fatherland: Vltava, From Bohemia’s
Woods and Fields
G. Bizet, Simfonija v C-duru/Symphony
in C Major
27. in 28. oktober 2011
dirigent/conductor Jacek Kaspszyk
Anja German klavir/piano
1
16. in 17. februar 2012
16 and 17 February 2012
Orkester Slovenske filharmonije/Slovenian
Philharmonic Orchestra
dirigent/conductor Emmanuel Villaume
Adam Neiman klavir/piano
L. Janaček, Lisička zvitorepka – suita
The Cunning Little Vixen – suite
3
15. in 16. september 2011
15 and 16 September 2011
Slovenski komorni zbor
Slovenian Chamber Choir
dirigent/conductor Frederic Chaslin
Jonathan Michie bariton/baritone
5
K. Penderecki, De natura sonoris št. 1
De natura sonoris No. 1
L. van Beethoven, Koncert za klavir
in orkester št. 3 v c-molu, op. 37
Piano Concerto No. 3 in C Minor, Op. 37
J. Brahms, Serenada št. 1 v D-duru, op. 11
Serenade No. 1 in D Major, Op. 11
4
24. in 25. november 2011
24 and 25 November 2011
Orkester Slovenske filharmonije/Slovenian
Philharmonic Orchestra
dirigent/conductor Lovrenc Blaž Arnič
Karmen Pečar violončelo/cello
B. Bersa, Sončna polja/Sunny Fields
A. Hačaturjan, Koncert za violončelo in
orkester v e-molu
Cello Concerto in E Minor
B. Arnič, Simfonija št. 5, op. 22
Symphony No. 5, Op. 22
6
8. in 9. marec 2012
8 and 9 March 2012
dirigent/conductor sir Neville Marriner
J. Haydn, Simfonija št. 59 v A-duru, »Ogenj«
Symphony No. 59 in A major, “Fire”
A. Webern, V poletnem vetru
In the Summer Wind
G. Holst, Planeti/The Planets
7
5. in 6. april 2012
5 and 6 April 2012
Sabina Cvilak sopran/soprano
Marcos Fink bariton/baritone
M. Ravel, Ladja na oceanu
Une barque sur l'ocean
J. Haydn, Simfonija št. 73 v D-duru, »Lov«
Symphony No. 73 in D Major, “Hunt
(La Chasse)”
G. Faure, Requiem
8
10. in 11. maj 2012
10 and 11 May 2012
dirigent/conductor Martin Sieghart
Dubravka Tomšič Srebotnjak klavir/piano
J. Haydn, Stvarjenje – Predstavitev kaosa
The Creation (Die Schöpfung) – Representa
tion of Chaos
L. van Beethoven, Koncert za klavir in
orkester št. 1 v C-duru, op. 15
Piano Concerto No. 1 in C Major, Op. 15
A. Bruckner, Simfonija št. 6 v A-duru
Symphony No. 6 in A Major
9
31. maj in 1. junij 2012
31 May and 1 June 2012
Fazil Say klavir/piano
L. van Beethoven, Fidelio – uvertura
Fidelio – Overture
L. van Beethoven, Koncert za klavir in
orkester št. 5 v Es-duru, op. 73
Piano Concerto No. 5 in E-flat major, Op. 73
R. Wagner, Zarja in Siegfriedova vožnja
po Renu iz opere Somrak bogov
Dawn and Siegfried’s Rhine Journey from
Götterdämmerung
Gozdno šepetanje iz opere Siegfried
Forest Murmurs from Siegfried
Siegfriedova smrt, žalna glasba in sklepni
prizor iz opere Somrak bogov
Siegfried’s Death, Funeral Music and Final
Scene from Götterdämmerung
15. in 16. september 2011 ob 19.30
15 and 16 September 2011 at 7.30 p.m.
1
Jonathan Mitcihe
Frederic Chaslin
dirigent/conductor
Frederic Chaslin
Jonathan Michie
bariton/baritone
A. Dvorˇák
V naravi, op. 91
In Nature’s Realm, Op. 91
G. Mahler
Pesmi iz »Dečkovega čudežnega roga« – izbor
Songs from "The Youth's Magic Horn" (Lieder aus "Des Knaben
Wunderhorn") – selection
G. Mahler
Kaj mi pripovedujejo rože na travniku – Tempo di Menuetto
(2. stavek Simfonije št. 3)
What the Flowers on the Meadow Tell Me (Was mir
die Blumen auf der Wiese erzählen) – Tempo di Menuetto
(2nd movement of Symphony No. 3)
F. Chaslin
Viharni vrh – zborovska suita
Wuthering Heights – choral suite
6. in 7. oktober 2011, ob 19.30
6 and 7 October 2011 at 7.30 p.m.
Eugene Ugorski, foto: Marco Borggreve
Kenneth Montgomery, foto: Marco Borggreve
dirigent/conductor
Kenneth Montgomery
Eugene Ugorski
violina/violin
J. Sibelius
Oceanide, op. 73
The Oceanides, Op. 73
J. Sibelius
Koncert za violino in orkester v d-molu, op. 47
Violin Concerto in D Minor, Op. 47
L. Janaček
Lisička zvitorepka – suita
The Cunning Little Vixen – suite
B. Smetana
Moja domovina: Vltava, Iz čeških logov in gajev
My Fatherland: Vltava, From Bohemia’s Woods and Fields
2
27. in 28. oktober 2011, ob 19.30
dirigent/conductor
Jacek Kaspszyk
Anja German
Jacek Kaspszyk
Anja German
klavir/piano
K. Penderecki
De natura sonoris št. 1
De natura sonoris No. 1
L. van Beethoven
Koncert za klavir in orkester št. 3 v c-molu, op. 37
Piano Concerto No. 3 in C Minor, Op. 37
J. Brahms
Serenada št. 1 v D-duru, op. 11
Serenade No. 1 in D Major, Op. 11
3
Po besedah Dvorˇákovega učenca Otakarja Šourka v koncertni uverturi V naravi
»narava poje simfonijo o svojih velikih skrivnostih, simfonijo o življenju in ljubezni.
Obdan s tem radostnim hvalospevom se človek počuti oplemenitenega, polnega
radosti in moči«. Naj bo Dvorˇákova himna naravi dobra popotnica celotni sezoni,
katere rdeča nit je povezava med GLASBO IN NARAVO.
“Nature sings the symphony of her great Mystery, the symphony of Life and
Love. And Man, surrounded by this jubilant hymn, feels ennobled, full of joy and
strength.” May Dvorˇák’s hymn to nature be a positive point of departure for the
whole season, whose common thread is the connection between MUSIC AND
NATURE.
Navezanost Gustava Mahlerja na poezijo je bila ena izmed stalnic skladateljevega
življenja in opusa. Če pustimo ob strani njegove lastne verze, so ga najdlje spre
mljale pesmi iz Dečkovega čudežnega roga, zbirke nemške ljudske poezije z
začetka 19. stoletja, ki sta jo uredila zgodnjeromantična pesnika Achim von Arnim
in Clemens Bretano. Z uglasbitvami teh besedil je Mahler upodobil svet zaljubljen
cev, vojakov, preprostih ljudi, lepote narave in tesno povezanost z njo ter nešteto
čustev – od prešernega veselja do globokega obupa. Na prvem koncertu Oranžnega
abonmaja bomo slišali štiri pesmi po izbiri dirigenta Frederica Chaslina.
Gustav Mahler’s affinity to poetry was one of the constants of the composer’s life
and opus. Apart from his own verse, Mahler’s most durable poetic companion was
poetry from The Youth’s Magic Horn (Des Knaben Wunderhorn), a collection
of German folk poetry from the beginning of the 19th century, edited by the early
Romantic poets Achim von Arnim and Clemens Bretano. In setting these texts to
music, Mahler depicted the world of lovers, soldiers, simple folk, the beauty of nature and man’s close connection to it, as well as countless emotions - from mirthful
happiness to deep despair. At the first concert from the Orange Subscription Series
we will hear four songs from the collection, conducted by Frederic Chaslin.
Drugi stavek Tretje simfonije (Tempo di Menuetto) je Mahler poimenoval Kaj mi
pripovedujejo rože na travniku in ga opisal kot »najbolj brezskrbno stvar, kar jih je
kdaj napisal – tako brezskrbno, kot so lahko le rože. [Glasba] niha in valovi v zraku ...
kot rože, ki se na svojih stebelcih upogibajo v vetru.«
Vsebina Oceanid, kot je poudaril Sibelius, »izhaja iz grške mitologije (oz. Homerjevih
del) in ne iz Kalevale,« vendar so številni menili, da je skladba »morska« protiutež
turobnim in strašljivim krajinam, ki jih je uprizoril v svojih poznejših mojstrovinah
te zvrsti.
Na sporedu drugega koncerta bosta tudi dve izmed šestih simfoničnih pesnitev
Smetanovega cikla Moja domovina (Má Vlast), nastalega med letoma 1874 in 1879.
Najbolj znana med njimi je Vltava: svojevrstni rondo, ki z značilnim in naraščajočim
glasbenim motivom realistično tonsko slika pokrajino in življenje ljudi ob reki.
Pesnitev Iz čeških logov in gajev je glasbeni sprehod po čeških pokrajinah, ki si
ga, po besedah avtorja, »vsak lahko razlaga po svoje«.
Tretji koncert bo odprla skladba Krzysztofa Pendereckega De natura sonoris iz
leta 1966. Naslov je parafraza naslova dela Tita Lukrecija Kara (rimskega filozofa
in pesnika, 95–55 pr.n.št.) De rerum natura (O naravi stvari). Že samo ime skladbe
nakazuje, da gre za izjemno učinkovito raziskovanje narave, in sicer narave zvoka
ne samo v matematičnem in fizikalnem pomenu (valovi, razmerja ipd.), temveč
tudi filozofskem. Kot zanimivost omenimo, da smo to delo prvič (in zadnjič) slišali
na koncertu Oranžnega abonmaja 24. februarja 1967, le deset mesecev po krstni
izvedbi.
The second movement from the Third Symphony (Tempo di Menuetto) was la
belled What the Flowers on the Meadow Tell Me (Was mir die Blumen auf der
Wiese erzählen) by Mahler himself, and he describes it as “the most carefree thing
that I have ever written - as carefree as only flowers are. It all sways and waves
in the air ... like flowers bending on their stems in the wind."
As Sibelius himself emphasised, the content of The Oceanides “derives from
Greek mythology, from the works of Homer, and not from Kalevala”. However, many
believe that the composition is an “oceanic” counterbalance to the turbulent and
terrifying places that the composer depicted in his later masterpieces of this genre.
The programme of the second concert will include two of the six symphonic poems from Smetana’s cycle My Fatherland (Má Vlast), composed between 1874
and 1879. The best known amongst them is Vltava, a kind of rondo that, with its
characteristic and growing music, creates a realistic tone painting of the landscape and life of the people inhabiting the riverbanks. The poetry of From Bohemia’s
Woods and Fields is a musical stroll through the Czech countryside that, in the
words of the composer, “each person can explain as they like”.
The third concert will open with a composition by Krzysztof Penderecki, De natura
sonoris, from 1966. The title is a paraphrase of the title of a work by Titus Lucretius
Carus (Roman philosopher and poet, 95-55 BC) De rerum natura (On the Nature
of Things). This title alone indicates that we are dealing with an extraordinarily
efficient investigation of nature; the nature of sound not only in a mathematical
and physical sense (waves, ratios, etc.), but also in a philosophical sense. It is
interesting to note that in Slovenia we heard the work for the first (and last) time
in a concert of the Orange Subscription Series on 24 February 1967, just ten months
after the work’s premiere performance.
24. in 25. november 2011, ob 19.30
24 and 25 November 2011 at 7.30 p.m.
Karmen Pečar, foto: Aleksander Onišak
Lovrenc Blaž Arnič, foto: Tihomir Pinter
dirigent/conductor
Lovrenc Blaž Arnič
Karmen Pečar
violončelo/cello
B. Bersa
Sončna polja
Sunny Fields
A. Hačaturjan
Koncert za violončelo in orkester v e-molu
Cello Concerto in E Minor
B. Arnič
Simfonija št. 5, op. 22
Symphony No. 5, Op. 22
4
16. in 17. februar 2012, ob 19.30
16 and 17 February 2012 at 7.30 p.m.
Adam Neiman
Emmanuel Villaume, foto: Akos
dirigent/conductor
Emmanuel Villaume
Adam Neiman
klavir/piano
T. Vulc
novo delo/new work
O. Messiaen
Eksotične ptice
Exotic Birds (Oiseaux Exotiques)
C. Debussy
Pomlad – simfonična suita
Spring (Printemps) – Symphonic Suite
G. Faure
Balada za klavir in orkester, op. 19
Ballade for Piano and Orchestra, Op.19
G. Bizet
Simfonija v C-duru
Symphony in C Major
5
8. in 9. marec 2012, ob 19.30
8 and 9 March 2012 at 7.30 p.m.
Orkeste Slovenske filharmonije
sir Neville Marriner
dirigent/conductor
sir Neville Marriner
J. Haydn
Simfonija št. 59 v A-duru, »Ogenj«
Symphony No. 59 in A major, “Fire”
A. Webern
V poletnem vetru
In the Summer Wind (Im Sommerwind)
G. Holst
Planeti
The Planets
6
Vodilno ime hrvaške glasbene moderne Blagoje Bersa je kot skladatelj dozorel na
Dunaju. Zato ne preseneča, da v njegovih simfoničnih delih srečamo mahlerjevski
koncept glasbenega programa, ozvočen z izjemnim smislom za kolorit ter s Straus
sovo orkestrsko fakturo. Med najpogosteje izvajanimi skladbami je tudi mojstrsko
orkestrirana simfonična pesnitev Sončna polja iz leta 1919.
Olivier Messiaen je dejal, da mu je učitelj Paul Dukas svetoval: »Poslušajte ptice;
so veliki mojstri«. In je poslušal. Poslušal je resno in pozorno – rezultat pa je bil niz
skladb, med njimi tudi Eksotične ptice za klavir in komorni orkester.
Debussy je program skladbe Pomlad opisal kot »počasno, težavno rojevanje bitij
in stvari v naravi, njihov postopni razcvet, na koncu pa tudi veselje ob ponovnem
rojstvu v nekem novem življenju.«
Webern je le nekaj tednov pred srečanjem z Arnoldom Schönbergom (postal
je skladateljev mentor in prijatelj) dokončal svoje mladostno delo – idilo za veliki
orkester V poletnem vetru, ki je bila prvič izvedena šele leta 1962. Čeprav je
bila navdih za skladbo pesnitev nemškega filozofa Bruna Willeja, so glasbeni
vplivi (Wagner, Strauss, Mahler) precej pomembnejši od pesniških.
Leta 1913 je Gustav Holst pisal prijatelju: »... preučujem le tiste stvari, ki mi sugerirajo glasbo. V zadnjem času mi je značaj vsakega planeta povedal veliko, hkrati sem
dokaj natančno preučeval astrologijo.« Pet let pozneje pa je dirigentu Adrianu Boultu
dejal: »V Planetih (mislim v mojih Planetih) ni ničesar, kar bi lahko izrazili z besedami.« Holstova glasba bo kot oddaljeni odmev glasbe sfer Pitagore in Platona ali les
tvice nebesnih teles Roberta Fludda sklenila spored šestega koncerta Oranžnega
abonmaja.
The leading name of Croatian musical modernism, Blagoje Bersa, matured as
a composer in Vienna. It therefore comes as no surprise that in his symphonic
works we encounter the Mahlerian concept of musical programme, realised in
sound with an extraordinary sense for colour revealing Strauss’s orchestral fingerprint. Amongst Bersa’s most performed compositions is Sunny Fields, his masterfully orchestrated symphonic poem from 1919.
Olivier Messiaen recalled that his teacher Paul Dukas once advised him: “Listen
to the birds; they are the great masters”. And he listened; he listened seriously and
attentively. The result was a series of compositions including Exotic Birds (Oiseaux
Exotiques) for piano and chamber orchestra.
Debussy described the programme for his composition Spring (Printemps) as:
“the slow, laboured birth of beings and things in nature, their gradual blossoming,
and finally the joy of being born into some new life.”
Only a few weeks before meeting Arnold Schoenberg, who was to become
his mentor and friend, Webern completed his youthful masterpiece, the idyll
for large orchestra In the Summer Wind (Im Sommerwind), a work that did not
receive its first performance until 1962. Although the composer found inspiration
for the composition in the poetry of German philosopher Bruno Wille, the musical
influences (Wagner, Strauss, Mahler) are in fact more significant than the poetic.
In 1913, Gustav Holst wrote to a friend: “…(I) only study things that suggest music
to me. Recently the character of each planet has suggested lots to me, and I have
been studying astrology fairly closely.” Five years later, he remarked to conductor
Adrian Boult: “There is nothing in the Planets (my Planets, I mean) that can be
expressed in words.” As a distant echo of the music of the spheres of Pythagoras
and Plato, or of Robert Fludd’s scale of heavenly bodies, Holst’s music will conclude the programme of the sixth concert of the Orange Subscription Series.
5. in 6. april 2012, ob 19.30
5 and 6 April 2012 at 7.30 p.m.
Marcos Fink, foto: Miha Cerar
Sabina Cvilak, foto: Marjan Laznik
dirigent/conductor
Emmanuel Villaume
Sabina Cvilak
sopran/soprano
Marcos Fink
bariton/baritone
M. Ravel
Ladja na oceanu
Une barque sur l'ocean
J. Haydn
Simfonija št. 73 v D-duru, »Lov«
Symphony No. 73 in D Major, “Hunt (La Chasse)”
G. Faure
Requiem
7
10. in 11. maj 2012, ob 19.30
10 and 11 May 2012 at 7.30 p.m.
dirigent/conductor
Martin Sieghart
Dubravka Tomšič Srebotnjak, foto: Scott Campbell
Martin Sieghart
Dubravka Tomšič Srebotnjak
klavir/piano
J. Haydn
Stvarjenje – Predstavitev kaosa
The Creation (Die Schöpfung) – Representation of Chaos
L. van Beethoven
Koncert za klavir in orkester št. 1 v C-duru, op. 15
Piano Concerto No. 1 in C Major, Op. 15
A. Bruckner
Simfonija št. 6 v A-duru, WAB 106
Symphony No. 6 in A Major, WAB 106
8
31. maj in 1. junij 2012, ob 19.30
31 May and 1 June 2012 at 7.30 p.m.
9
Fazil Say, foto: Marco Borggreve
dirigent/conductor
Emmanuel Villaume
Fazil Say
klavir/piano
L. van Beethoven
Fidelio – uvertura
Fidelio – Overture
L. van Beethoven
Koncert za klavir in orkester št. 5 v Es-duru, op. 73
Piano Concerto No. 5 in E-flat major, Op. 73
R. Wagner
Zarja in Siegfriedova vožnja po Renu iz opere Somrak bogov
Dawn and Siegfried’s Rhine Journey from Götterdämmerung
Gozdno šepetanje iz opere Siegfried
Forest Murmurs from Siegfried
Siegfriedova smrt, žalna glasba in sklepni prizor
iz opere Somrak bogov
Siegfried’s Death, Funeral Music and Final Scene
from Götterdämmerung
Maurice Ravel je v letih 1904–1905 napisal serijo petih na videz nepovezanih klavirskih skladb z naslovom Ogledala in vsak stavek posvetil po enemu članu Apašev
(skupine naprednih mladih slikarjev, pesnikov, kritikov in glasbenikov). Skladatelj za
orkester ni priredil vseh delov skladbe, temveč je leta 1906 takoj po krstni izvedbi
orkestriral tretji stavek Ladja na oceanu (posvečen slikarju Paulu Sordesu), dva
najst let pozneje pa še četrtega – Alborado del gracioso.
Oratorij Stvarjenje je vsekakor vrhunec Haydnovega opusa, uvodni del oratorija –
Predstavitev kaosa – pa je s šokantnimi, nerazvezanimi disonancami, fragmentira
nimi temami in nenavadnim razvrščanjem instrumentov najnaprednejši del celotne
skladbe. Kaos je obstajal pred vsem: stvarjenjem zemlje, živih bitji in človeka; iz kao
sa se je rodila narava, iz kaosa je nastala glasba ...
Oranžni abonma bo sklenila glasba Richarda Wagnerja, ki je imela izredno močan
vpliv na njegove sodobnike in naslednike. Od prvih skic do zaključka oz. krstne
izvedbe opere Somrak bogov je preteklo skorajda trideset let. Wagner je »scenarij«
za četrti in hkrati zadnji del svoje velike tetralogije Nibelungov prstan (prvotno poi
menovan Siegfriedova smrt) dokončal 20. oktobra 1848. Danes dva obsežna orke
strska odlomka – Zarjo in Siegfriedovo vožnjo po Renu iz Prologa ter Siegfriedovo smrt, žalno glasbo in zaključno sceno iz tretjega dejanja – pogosto izvajajo
in objavljajo ločeno od celotnega dela. Siegfrieda, osrednjega junaka Prstana, sre
čamo šele v istoimenski operi, ki je tretji del cikla. Pred vsemi velikimi dejanji junak
za hip postane globoko v gozdu, kjer se spomni svojih izgubljenih staršev. Orkester
pa ponazarja šelestenje listja – Gozdno šepetanje.
In 1904 in 1905, Maurice Ravel wrote a series of five apparently unconnected piano
compositions entitled Miroirs (Reflections), with each movement being dedicated
to one member of Les Apaches, a group of progressive young painters, poets,
critics and musicians. The composer did not arrange all of the pieces for orchestra,
but in 1906, directly after the premiere performance, orchestrated the third movement Une barque sur l'ocean (A Boat on the Ocean), dedicated to painter Paul
Sordes, and twelve years later made an orchestral setting of the fourth movement,
Alborado del gracioso.
There is no doubt that the oratorio The Creation represents the peak of Haydn’s
opus. The opening section of the oratorio, Representation of Chaos, with its
shocking, disconnected, dissonant, fragmentary themes and unusually arranged instruments, is the most progressive part of the entire composition. Chaos precedes
everything: the creation of the world, living beings and mankind; from chaos nature
is born, from chaos music comes into existence…
The Orange Subscription Series will conclude with the music of Richard Wagner,
who had an extraordinarily powerful influence on both his contemporaries and
his successors. From the first sketches to the conclusion, or premiere performance,
of the opera Götterdämmerung (Twilight of the Gods) almost 30 years elapsed.
Wagner completed the “script” for the fourth and last part of his great tetralogy
Der Ring des Nibelungen (The Ring of the Nibelung), originally entitled Siegfried’s
Death, on 20 October, 1848. Today, two extensive orchestral excerpts - Dawn
and Siegfried’s Rhine Journey from the Prologue and Siegfried’s Death,
Funeral Music and Final Scene from the third act - are often performed and
broadcast separately from the entire work. We only meet Siegfried, the central
hero of The Ring, in the opera of the same name, which forms the third part of
the cycle. Prior to all of the great events the hero finds himself for a moment deep
in the forest, where he recalls his lost parents. The orchestra depicts the rustling of
the leaves – Forest Murmurs.
Maruša Šuštar, Utopija/Utopia, 190x140 cm
Modri/Blue
Gallusova dvorana
Cankarjev dom
ob 19.30
Gallus Hall
Cankarjev dom
at 7.30 p.m.
5
2
20. in 21. oktober 2011
dirigent/conductor Aleksander Rudin
Jaka Stadler violončelo/cello
A. Ljadov, Jagababa, op. 56
Baba-Yaga, Op. 56
A. Ljadov, Začarano jezero, op. 62
Enchanted Lake, Op. 62
B. Kos, Koncert za violončelo in orkester
(novo delo)
Concerto for Cello and Orchestra (new work)
P. I. Čajkovski, Simfonija št. 1 v g-molu,
op. 13, »Zimske sanje«
Symphony No. 1 in G Minor, Op. 13, “Winter
Dreams”
1
29. in 30. september 2011
29 and 30 September 2011
dirigent in solist/conductor and soloist
Julian Rachlin
W. A. Mozart, Uvertura k operi Figarova
svatba, K. 492
The Marriage of Figaro (Le nozze
di Figaro), K. 492 – Overture
W. A. Mozart, Simfonija št. 35
v D-duru, »Haffnerjeva«, K. 385
Symphony No. 35 in D Major, K. 385,
“Haffner”
P. Hindemith, Žalna glasba za violo
in godalni orkester
Funeral Music (Trauermusik) for viola and
string orchestra
A. Piazzolla, Štirje letni časi v Buenos
Airesu
The Four Seasons of Buenos Aires (Cuatro
Estaciones porteñas)
3
10. in 11. november 2011
10 and 11 November 2011
Bernarda Fink alt/alto
Torsten Kerl tenor/tenor
E. Carter, Koncert za orkester
Concerto for Orchestra
G. Mahler, Pesem o Zemlji
The Song of the Earth (Das Lied von der Erde)
4
1. in 2. december 2011
1 and 2 December 2011
Bernarda Bobro sopran/soprano
Barbara Sorč alt/alto
Tomislav Mužek tenor/tenor
Lucas Debevec Mayer bas/bass
W. A. Mozart, Requiem, K. 626
23. in 24. februar 2012
23 and 24 February 2012
dirigent/conductor Ivan Repušić
Allen Vizzutti trobenta/trumpet
O. Respighi, Ptiči – suita
Birds (Gli uccelli) – Suite
H. Tomasi, Koncert za trobento
Trumpet Concerto
N. Rimski-Korsakov, Šeherezada, op. 35
Shéhérazade, Op. 35
6
29. in 30. marec 2012
29 and 30 March 2012
Sarah Chang violina/violin
M. Šijanec, novo delo/new work
F. Mendelssohn Bartholdy, Koncert
za violino in orkester v e-molu, op. 64
Violin Concerto in E Minor, Op. 64
L. van Beethoven, Simfonija št. 6
v F-duru, op. 68, »Pastoralna«
Symphony No. 6 in F Major, Op. 68,
”Pastorale”
7
12. in 13. april 2012
12 and 13 April 2012
dirigent/conductor Giancarlo Guerrero
Andrew von Oeyen klavir/piano
G. Ligeti, Atmosfere/Atmospheres
W. A. Mozart, Koncert za klavir in
orkester št. 22 v Es-duru, K. 482
Piano Concerto No. 22 in E-flat Major, K. 482
A. Hovhaness, Simfonija št. 2, op. 132,
»Skrivnostna gora«
Symphony No. 2, Op. 132, “Mysterious
Mountain”
A. Copland, Apalaška pomlad – suita
Appalachian Spring – Suite
8
24. in 25. maj 2012
24 and 25 May 2012
dirigent/conductor George Pehlivanian
Marian Lapšansky klavir/piano
P. I. Čajkovski, Koncert za klavir
in orkester št. 2 v G-duru, op. 44
Piano Concerto No. 2 in G Major, Op. 44
I. Stravinski, Slavčkova pesem
Song of the Nightingale (Le chant du
rossignol)
S. Prokofjev, Skitska suita, op. 20
Scythian Suite, Op. 20
9
14. in 15. junij 2012
14 and 15 June 2012
dirigent/conductor Matthias Bamert
Nicolas Altstaedt violončelo/cello
F. Delius, Ko spomladi zaslišiš prvo kukavico
On Hearing the First Cuckoo in Spring
R. Schumann, Koncert za violončelo
in orkester v a-molu, op. 129
Cello Concerto in A Minor, Op. 129
J. Brahms/A. Schönberg, Klavirski kvartet
v g-molu, op. 25
Piano Quartet in G Minor, Op. 25
29. in 30. september 2011, ob 19.30
29 and 30 September 2011 at 7.30 p.m.
1
Julian Rachlin, foto: Dubravko Bulić
dirigent/conductor
Julian Rachlin
W. A. Mozart
Uvertura k operi Figarova svatba, K. 492
The Marriage of Figaro (Le nozze di Figaro), K. 492 – Overture
W. A. Mozart
Simfonija št. 35 v D-duru, »Haffnerjeva«, K. 385
Symphony No. 35 in D Major, K. 385, “Haffner”
P. Hindemith
Žalna glasba za violo in godalni orkester
Funeral Music (Trauermusik) for viola and string orchestra
A. Piazzolla
Štirje letni časi v Buenos Airesu
The Four Seasons of Buenos Aires (Cuatro Estaciones porteñas)
20. in 21. oktober 2011, ob 19.30
Jaka Stadler
violončelo/cello
Jaka Stadler
Aleksander Rudin
dirigent/conductor
Aleksander Rudin
A. Ljadov
Jagababa, op. 56/Baba-Yaga, Op. 56
A. Ljadov
Začarano jezero, op. 62
Enchanted Lake, Op. 62
B. Kos
Koncert za violončelo in orkester (novo delo)
Concerto for Cello and Orchestra (new work)
P. I. Čajkovski
Simfonija št. 1 v g-molu, op. 13, »Zimske sanje«
Symphony No. 1 in G Minor, Op. 13, “Winter Dreams”
2
10. in 11. november 2011, ob 19.30
10 and 11 November 2011 at 7.30 p.m.
3
dirigent/conductor
Emmanuel Villaume
Torsten Kerl
tenor/tenor
Torsten Kerl, foto: Bettina Stoss
Bernarda Fink
Bernarda Fink
alt/alto
E. Carter
Koncert za orkester
Concerto for Orchestra
G. Mahler
Pesem o Zemlji
The Song of the Earth (Das Lied von der Erde)
V sodelovanju s 13. Festivalom Slowind 2011/In cooperation with the 13th Festival
Sowind 2011 »ELLIOTT CARTER - TEMPO E TEMPI«
Modri abonma bo odprla glasba priljubljenega argentinskega skladatelja in bande
onista Astorja Piazzolle Štirje letni časi v Buenos Airesu, v izvirniku napisana za
kvintet (violina, bandoneon, električna kitara, klavir in kontrabas). Nastala je med
letoma 1965 in 1970. V suiti, ki je poklon argentinskemu tangu in hkrati opusu An
tonia Vivaldija, je skladatelj s svojim tangom nuevom vdihnil novo življenje tradicio
nalnim klasičnim oblikam. Danes, dvajset let po Piazzollovi smrti, so Letni časi eno
izmed njegovih najbolj znanih del.
Drugi koncert nas bo popeljal na nasprotni konec sveta – v Rusijo. Z glasbo izjemne
ga mojstra orkestracije Anatola Ljadova se bomo potopili v Začarano jezero. »Kako
slikovito je,« je dejal skladatelj, »in tako bistro, množica zvezd lebdi nad skrivnostmi
globin ... samo narava je lahko takšna – hladna, zlobna in fantastična kot pravljica.«
O hladni ruski zimi pripoveduje tudi Simfonija št. 1 P. I. Čajkovskega. Pri tem ne
posnema zvokov vetra in kraguljčkov na saneh, temveč izraža skladateljeve občutke
in razmišljanja. V nasprotju z nekaterimi drugimi skladbami (npr. Simfonijama št. 2
in 3), ki so jim podnaslove pozneje dodali kritiki, je podnaslov Zimske sanje (kakor
tudi naslova prvih dveh stavkov) delo avtorja samega. S prvo različico (iz 1866.) je
bil nezadovoljen, zato je v naslednjih osmih letih delo večkrat revidiral, a desetletje
pozneje v pismu Karlu Albrechtu priznal: »Kljub vsem očitnim pomanjkljivostim
sem še vedno navezan nanjo, saj je greh moje sladke mladosti.«
O svojem Koncertu za orkester (tretji koncert Modrega abonmaja) je Elliott Carter
zapisal: »Značaj moje skladbe, ki jo je Newyorška filharmonična družba naročila
ob svoji 125-letnici, je določila pesnitev Vetrovi, ki je avtorju, francoskemu pesniku
Saint-Johnu Persu, prinesla Nobelovo nagrado. Ta poezija me je pritegnila z obsež
nimi, skoraj whitmanovskimi opisi Združenih držav, ki jih nenehno bičajo mogočne
sile, kot so vetrovi; sile, ki vedno spreminjajo, preoblikujejo ali brišejo preteklost in
prinašajo sveže in novo.«
Pesem o Zemlji Gustava Mahlerja (z značilno dihotomijo: v naslovu je pesem, v
podnaslovu pa simfonija – za tenor in alt/bariton ter orkester) z besedami starokitaj
ske poezije opeva marsikaj: jesen in pomlad, mladost in lepoto, resignacijo in slovo,
smrt in večnost. Poje o zemlji, o naravi, ki je bila in bo – večno ... Ali kot je v zadnjih
verzih skladbe zapisal avtor: »Ljuba Zemlja vsepovsod cveti v pomladi in zeleni na
novo. Povsod in za vedno modro se svetijo daljave, večno … večno …«
The Blue Subscription Series will open with the music of the popular Argentinean
composer and bandoneon player Astor Piazzolla, The Four Seasons of Buenos
Aires (Cuatro Estaciones porteñas), the original version of which was written
for quintet (violin, bandoneon, electric guitar, piano and contrabass). Composed
between 1965 and 1970, the suite is a tribute to the Argentinean tango as well
as to the opus of Antonio Vivaldi. With his tango nuevo the composer breathes
new life into traditional classical forms. Today, some twenty years after Piazzolla’s
death, the Four Seasons is one of his best known works.
The second concert will convey us to the opposite side of the world - to Russia.
With music by the extraordinary master of orchestration, Anatol Ljadov, we will
immerse ourselves in an Enchanted Lake. “How picturesque it is,” said the com
poser, “how clear, the multitude of stars hovering over the mysteries of the deep …
only nature can be like this – cold, malevolent, and fantastic as a fairy tale.”
P. I. Tchaikovsky’s Symphony No. 1 also speaks of the cold Russian winter,
but rather than imitating the sound of the wind and the sleigh bells it expresses
the composer’s own emotions and reflections. Unlike certain of Tchaikovsky’s
other works, (e.g., Symphonies No. 2 and 3), which were given subtitles by critics,
the subtitle Winter Dreams, as well as the titles of the first two movements,
were contributed by the composer himself. Tchaikovsky was not satisfied with
the first version (from 1866) and therefore over the next eight years revised the
symphony several times. However, a decade later in a letter to Karl Albrecht he
acknowledged: “Despite all its glaring deficiencies I have a soft spot for it, for
it is a sin of my sweet youth.”
Referring to his Concerto for Orchestra (programmed in the third concert of the
Blue Subscription Series) Elliott Carter wrote: “The general character of my composition, which the New York Philharmonic Society commissioned for its 125th
anniversary, was suggested by the Nobel Prize-winning poem “Winds” (Vents)
by the French poet who calls himself St. John Perse. The poem had attracted me
by its expansive, almost Whitmanesque, descriptions of a United States constant
ly swept by forces like winds, forces that are always transforming, remoulding, or
obliterating the past and introducing the fresh and the new.”
With its text from ancient Chinese poetry, Gustav Mahler’s The Song of the Earth
(Das Lied von der Erde) for tenor, alto/baritone and orchestra (which contains a
characteristic dichotomy: in the title it is a song while in the subtitle it is a symphony) sings the praise of numerous things: autumn and spring, youth and beauty,
resignation and farewell, death and eternity. It sings about the Earth, about nature,
which always has been and always will be – eternal… Or, as Mahler wrote in the
last verses of the composition: “The dear Earth everywhere blooms in spring and
grows green afresh! Everywhere and eternally, distant places have blue skies!
Eternally... eternally...”
1. in 2. december 2011, ob 19.30
1 and 2 December 2011 at 7.30 p.m.
Barbara Sorč
Lucas Debevec Mayer
Tomislav Mužek
Bernarda Bobro
dirigent/conductor
Emmanuel Villaume
Bernarda Bobro
sopran/soprano
Barbara Sorč
alt/alto
Tomislav Mužek
tenor/tenor
Lucas Debevec Mayer
bas/bass
W. A. Mozart
Requiem, K. 626
4
23. in 24. februar 2012, ob 19.30
23 and 24 February 2012 at 7.30 p.m.
dirigent/conductor
Ivan Repušić
Allen Vizzutti
Ivan Repušić
Allen Vizzutti
trobenta/trumpet
O. Respighi
Ptiči – suita
Birds (Gli uccelli) – Suite
H. Tomasi
Koncert za trobento
Trumpet Concerto
N. Rimski-Korsakov
Šeherezada, op. 35
Shéhérazade, Op. 35
5
29. in 30. marec 2012,ob 19.30
29 and 30 March 2012 at 7.30 p.m.
Sarah Chang
violina/violin
Sarah Chang
dirigent/conductor
Emmanuel Villaume
M. Šijanec
novo delo/new work
F. Mendelssohn Bartholdy
Koncert za violino in orkester v e-molu, op. 64
Violin Concerto in E Minor, Op. 64
L. van Beethoven
Simfonija št. 6 v F-duru, op. 68, »Pastoralna«
Symphony No. 6 in F Major, Op. 68, ”Pastorale”
6
V zgodovini glasbe skoraj ni skladbe, okoli katere se ne bi spletlo toliko bolj ali manj
verjetnih (in verodostojnih) zgodb kot okrog Mozartovega Requiema. Poleti 1791
ga je pri Mozartu naročil grof Walsegg zu Stuppach in ne Salieri (to je postalo sploš
no mnenje posebej po kultnem filmu Miloša Formana Amadeus). Skladatelj je bil
takrat (pre)zaposlen s komponiranjem opere Čarobna piščal ter Koncerta za klarinet
in orkester, zato se je naročila lotil šele septembra; že 5. decembra pa je umrl.
Partitura je ostala nedokončana, zapustil pa je tudi številne skice zadnjih stavkov.
Skladba je postala znana v verziji, ki jo je dokončal Franz Xaver Süssmayr. Ko se
je razvnel spor zaradi avtorstva, je Beethoven lakonsko odgovoril: »Če ga ni napisal
Mozart, je Mozart tisti, ki ga je napisal.« Kljub dejstvu, da ni v celoti njegov, je ven
darle zasenčil skoraj vsa njegova druga dela in četrti koncert Modrega abonmaja
bo naš poklon 220. obletnici smrti velikega skladatelja.
Ottorino Respighi je svojo naklonjenost stari glasbi in poznavanje le-te pokazal
v svojih treh suitah z naslovom Antične arije in plesi. Tudi s skladbo Ptiči, napisano
1928, se je odpravil v preteklost; Respighi je namreč pet tem iz del skladateljev
sedemnajstega stoletja (B. Pasquinija, J. de Gallota in J.-Ph. Rameauja) preoblikoval
v domiselno suito, v kateri vodilno vlogo igrajo orkestrske ptice – pihala.
Znano je, da je v prvi izdaji partiture Pastoralne simfonije Beethoven zapisal,
da je to »bolj izraz občutja kot [zvočno] slikanje«. Obstaja možnost, da je navdih
našel tudi v delu skladatelja Justina Heinricha Knechata Glasbeni portret narave,
v katerem je avtor poizkusil uprizoriti mirno podeželje, nepričakovano nevihto in
hvaležnost ob koncu neurja. Čeprav je Beethoven stavkom simfonije dal zelo opisne
naslove in celo določil vrste ptic, ki naj bi jih ponazorila pihala, je tudi opozoril:
»Poslušalcu je treba dovoliti, da sam odkrije, za kaj gre. Če pa gre vse slikanje
v instrumentalni glasbi predaleč, je zgrešeno.«
There is virtually no other composition in the history of music around which have
been woven in so many more or less credible (or reliable) stories as around
Mozart’s Requiem. It was commissioned in the summer of 1791 by Count Walsegg
zu Stuppach - not by Salieri, as has become the common belief, particularly after
the success of Miloš Foreman’s cult film Amadeus. At the time that he received
the commission, Mozart was (pre)occupied with composing the opera The Magic
Flute, as well as the Clarinet Concerto, and therefore only commenced work on
the commission in September. But he died on 5 December and the work remained
incomplete, although the composer did leave numerous sketches of the last movements. The composition became known in the version that was completed by
Franz Xaver Süssmayr. When a dispute arose surrounding the authorship of the
work, Beethoven laconically remarked: “If it was not written by Mozart then Mozart
was the one who wrote it.” In spite of the fact that it is not entirely Mozart’s work
the Requiem has managed to overshadow almost all of the composer’s other
works, and in the fourth concert of the Blue Subscription Series it will be our tribute
to the 220th anniversary of the death of the great composer.
Ottorino Respighi demonstrated his admiration for and knowledge of ancient music
in his three suites entitled Ancient Airs and Dances. With his composition Birds
(Gli uccelli), written in 1928, he again sets out for the past, reworking five themes
from works by composers from the 17th century (B. Pasquini, J. de Gallot and
J.-Ph. Rameau) into an imaginative suite in which the leading role is played
by orchestral birds – the wind section.
It is well known that in the first edition of the score of the Pastoral Symphony
Beethoven wrote that the work is “more an expression of emotion than [sound]
painting”. It is possible that Beethoven found part of his inspiration in Justin
Heinrich Knechat’s composition A Musical Portrait of Nature, in which the composer attempts to illustrate the peaceful countryside, an unexpected storm and
gratitude at the end of the storm. Although Beethoven gave all of the movements
of the symphony very descriptive titles, and even determined the species of birds
that the wind instruments are supposed to illustrate, he also pointed out:
“The listener should be allowed to discover the situation. All painting in instrumental music, if pushed too far, is a failure.”
12. in 13. april 2012, ob 19.30
12 and 13 April 2012 at 7.30 p.m.
Andrew von Oeyen, foto: Akos
Giancarlo Guerrero, foto: David Bailey
dirigent/conductor
Giancarlo Guerrero
Andrew von Oeyen
klavir/piano
G. Ligeti
Atmosfere/Atmospheres
W. A. Mozart
Koncert za klavir in orkester št. 22 v Es-duru, K. 482
Piano Concerto No. 22 in E-flat Major, K. 482
A. Hovhaness
Simfonija št. 2, op. 132, »Skrivnostna gora«
Symphony No. 2, Op. 132, “Mysterious Mountain”
A. Copland
Apalaška pomlad – suita
Appalachian Spring – Suite
7
24. in 25. maj 2012, ob 19.30
24 and 25 May 2012 at 7.30 p.m.
Marian Lapšansky
klavir/piano
Marian Lapšansky
George Pehlivanian
dirigent/conductor
George Pehlivanian
P. I. Čajkovski
Koncert za klavir in orkester št. 2 v G-duru, op. 44
Piano Concerto No. 2 in G Major, Op. 44
I. Stravinski
Slavčkova pesem
Song of the Nightingale (Le chant du rossignol)
S. Prokofjev
Skitska suita, op. 20
Scythian Suite, Op. 20
8
14. in 15. junij 2012, ob 19.30
14 and 15 June 2012 at 7.30 p.m.
dirigent/conductor
Matthias Bamert
Nicolas Altstaedt, foto: Marco Borggreve
Matthias Bamert
Nicolas Altstaedt
violončelo/cello
F. Delius
Ko spomladi zaslišiš prvo kukavico
On Hearing the First Cuckoo in Spring
R. Schumann
Koncert za violončelo in orkester v a-molu, op. 129
Cello Concerto in A Minor, Op. 129
J. Brahms
Klavirski kvartet v g-molu, op. 25 (priredba za orkester
A. Schönberg)
Piano Quartet in G Minor, Op. 25 (orchestral arrangement by A. Schönberg)
9
Skladba Atmosfere je kot zvok vesolja, daljave in osamljenosti postala znana,
še preden je zaslovel njen avtor György Ligeti – leta 1968 so jo (kljub avtorjevemu
nasprotovanju) po vsem svetu slišali v filmu Stanleyja Kubricka 2001: Odiseja
v vesolju. Ligeti je svojo glasbeno filozofijo strnil v stavkih: »Nikoli v življenju me
niso zanimale dogme. Glavni izziv mi je bilo odkrivanje neznanih področij. Kompleksne oblike in strukture, ki nastajajo v izjemno preprostih postopkih, so lekcija,
ki jo lahko spoznamo pri preučevanju zgradbe živih organizmov ter človeških in
živalskih skupnosti.«
Alan Hovhaness je bil navdušen nad vzhodnjaško filozofijo in meditacijo in to
navdušenje je prenesel tudi na svojo glasbo. »Gore so simboli, prav tako kot piramide, z njihovo pomočjo človek poskuša spoznati Boga. Gore so simbolično stičišče
posvetnega in duhovnega sveta,« je dejal. Skrivnostna gora, naslov njegove
Druge simfonije, je bil tako kot številni njegovi pomenljivi naslovi dodan šele
takrat, ko je bila skladba že napisana, in to na predlog Leopolda Stokowskega,
ki je želel, da »ima delo ime«.
Balet Apalaška pomlad je bil plesni vrhunec Coplandovega niza »ameriških«
skladb. Avtor je zapisal, da je »imela baletna glasba izhodišče v osebnosti Marthe
Graham«. Celo delovni naslov je bil Balet za Martho, dokler sama Grahamova ni v
pesnitvi Ples Harta Cranea našla posrečenega izraza »Apalaška pomlad«. Pozneje
je priznala, da se je odločila zanj samo zato, ker ji je »dobro zvenel«, saj sicer nima
nobene povezave z dogajanjem v baletu. Istoimenska suita, skladatelj jo je napisal
1945., je prejela Pulitzerjevo nagrado ter nagrado Združenja newyorških glasbenih
kritikov za tisto leto.
V manj kot petih letih se je Igor Stravinski iz zvestega učenca Rimskega-Korsakova
prelevil v enega vodilnih svetovnih modernističnih skladateljev; v revolucionarja,
ki je nekatere poslušalce s svojim popolnoma novim odnosom do ritma in harmoni
je navduševal, druge pa spravljal v bes. Da bi znali (o)ceniti obseg teh sprememb,
ni treba pogledati dlje od opere Slavček, katere prvo dejanje je bilo napisano leta
1909, drugo in tretje pa leta 1914. Stravinski je leta 1919 opero, ki temelji na zgod
bi Hansa Christiana Andersena, priredil v simfonično pesnitev Slavčkova pesem.
Delo bo na sporedu osmega koncerta Modrega abonmaja.
Zadnji koncert bo odprlo delo Ko spomladi zaslišiš prvo kukavico, prva izmed
Dveh skladb za komorni orkester, ki jih je Delius napisal leta 1913. Prijatelj Percy
Grainger ga je namreč prosil, naj ustvari »nekaj za ne prevelik orkester ... pa tudi
nekaj ne izjemno zahtevnega«. V poklon »skladateljskemu« prijateljstvu je Delius
skladbo zasnoval na stari norveški ljudski pesmi, ki je bila jedro mojstrovine skup
nega prijatelja Edvarda Griega (op. 66, št. 14). In prav Grieg je pomagal prepričati
Deliusovo družino, da je skladatelju dovolila oditi v Pariz in začeti življenje umetnika.
As the sound of outer space, distance and loneliness, the composition
Atmospheres became well known long before its composer, György Ligeti,
achieved fame - in 1968, despite the composer’s opposition, it was heard throughout the world n Stanley Kubrick’s film 2001: A Space Odyssey. Ligeti condensed
his musical philosophy into a few sentences: “Dogmata have never interested me.
My main challenge has always been to discover unknown areas. Complex forms
and structures that come about through extremely simple processes are a lesson
that we can learn by studying the construction of living organisms, as well as
human and animal communities.”
Alan Hovhaness was enthusiastic about Eastern philosophy and meditation and
transferred this enthusiasm to his music. “Mountains are symbols, like pyramids,
of man’s attempt to know God. Mountains are symbolic meeting places between
the mundane and spiritual world,” he once said. Like many of the titles of his works,
Mysterious Mountain the title of Hovhaness’s Second Symphony was only given
to the composition after it had been completed, following a suggestion by Leopold
Stokowski, who wanted the work to “have a name”.
The ballet Appalachian Spring was the dance climax of Copland’s series
of “American” compositions. The composer wrote that “the music of the ballet
takes as its point of departure the personality of Martha Graham.” The working
title was in fact Ballet for Martha, until Graham herself came across the felicitous
expression “Appalachian Spring” in Hart Crane’s poem Dance. She later acknowl
edged that she chose the title simply because it “sounded good”, and that it had no
connection whatsoever with the action in the ballet. Copland composed the suite
with the same title in 1945, receiving the Pulitzer Prize and the New York Music
Critics Circle Award for the work the same year.
In less than five years, Igor Stravinsky transformed himself from a faithful pupil
of Rimsky-Korsakov into one of the leading composers of international modernism,
into a revolutionary who, with his entirely new approach to rhythm and harmony,
enthused some listeners while infuriating others. In order to appreciate the extent
of these changes one needs to look no further than the opera The Nightingale,
whose first movement was written in 1909, while the second and third movements
were added in 1914. In 1919, Stravinsky reworked the opera, which is based on
a story by Hans Christian Andersen, into a symphonic poem entitled Song of the
Nightingale (Le chant du rossignol). The composition will be on the programme
of the eighth concert of the Blue Subscription Series.
The final concert will open with the work On Hearing the First Cuckoo in Spring
the first of Two Pieces for Chamber Orchestra, written by Delius in 1913. The composer’s friend Percy Grainger had asked him to write “some piece for not too big
Orchestra ... and not too wildly difficult”. As a tribute to their “composer’s” friendship, Delius based the composition on four ancient Norwegian folk songs that had
formed the core of the masterpiece by their common friend Edvard Grieg (Op. 66,
No. 14). It was in fact Grieg who had helped to convince Delius’s family to permit
the composer to leave for Paris and commence life as an artist.
Maruša Šuštar, X-topij a/X-topia, 190x140 cm
Vokalni/Vocal
Spoštovani obiskovalci
koncertov Vokalnega abonmaja,
dragi prijatelji Slovenskega komornega zbora,
z veseljem Vam predstavljam novo koncert
no sezono Slovenskega komornega zbora, v
kateri boste lahko na osmih koncertih Vokal
nega abonmaja spremljali delo zbora v sezoni
2011/2012, osem koncertov s pestrim izbo
rom zborovskih del pod vodstvom različnih,
predvsem slovenskih zborovskih dirigentov.
V jesenskem delu sezone bo zbor svojim po
slušalcem predstavil dela Antonína Dvorˇáka,
Petra Iljiča Čajkovskega, Aleksandra Grečani
nova, Claudia Monteverdija, Hansa-Wernerja
Henzeja, Huga Wolfa, Johanna Sebastiana
Bacha in številnih drugih. Prvi abonmajski
koncert bom vodila sama, naslednja dirigen
ta pa bosta Marko Ozbič in Stojan Kuret. Na
oktobrskem koncertu bo gostoval dolgoletni
gost Slovenskega komornega zbora Vladimir
Kranjčević, ki bo s koncertom zaznamoval svoj
75. rojstni dan.
Druga polovica sezone se bo izjemoma za
čela z gostujočim ansamblom Kebata-ola in
glasbeno-scensko predstavo Placebo pod
vodstvom Karmine Šilec. Še ena zborovske
mu občinstvu znana umetnica bo dopolnila niz
dirigentk, ki sodelujejo s Slovenskim komor
nim zborom. Urša Lah bo v sporedu del Eino
juhanija Rautavaare, Sverreja Bergha, Nane
Forte, Uroša Rojka in Lojzeta Lebiča povezala
zborovsko glasbo evropskega severa in juga.
Dva koncerta abonmaja bosta pripadla šefu
dirigentu Slovenskega komornega zbora Stef
fenu Schreyerju, ki bo brez dvoma navdušil z
deli iz nemškega, francoskega in severnjaške
ga glasbenega sveta ter z izvedbo novitete
slovenskega skladatelja Alda Kumarja.
Kot umetniškega vodjo Slovenskega komor
nega zbora me pri delu vodi več izzivov. Ob
načrtovanju sporeda in rednem kakovost
nem delu, v okviru katerega širimo repertoar
in omogočamo umetniško rast zbora, si na
poustvarjalno kakovostnih in progamsko za
nimivih koncertih prizadevamo ponuditi najra
zličnejše obraze svetovne zborovske glasbe
vedno številnejšemu občinstvu. Prav tako
želimo z našim delom nagovoriti nove abo
nente in vedno večjemu številu naših kako
vostnih pevcev približati zanimiv in ustvarja
len poklic, poklic zborovskega pevca ter prav
tako zborovskega dirigenta. Vrata Slovenske
filharmonije so na koncertih Slovenskega
komornega zbora odprta vsem, ki jih zborovska glasba zanima in jim veliko pomeni.
Prav tako še vedno velja vsem vabilo na obisk
vaj, generalk in predvsem pogovorov pred
vsakim koncertom Vokalnega abonmaja. Vse
to predstavlja dodatno možnost, da zbor, vse
naše goste izvajalce ter skladatelje in njihova
dela še bolje spoznate. Dobrodošli!
Ali ne biva v naši zavesti pravzaprav tudi ume
tniška duša, ki čaka, da jo nagovorimo? Naj
Vas v sezoni 2011/2012 na koncertih Vokalne
ga abonmaja nagovori Slovenski komorni zbor
s svojimi dirigenti!
Veselim se srečanja z Vami,
Martina Batič,
pomočnica direktorja za zbor
Respected visitors to the concerts
of the Vocal Subscription Series,
dear friends of the Slovenian Chamber Choir,
It gives me great pleasure to present the new
concert season of the Slovenian Chamber
Choir, in which you will have an opportunity to
follow the work of the choir in the 2011/2012
season in the eight concerts of the Vocal Subscription Series, eight concerts with a colourful selection of choral works presented under
the leadership of various, primarily Slovenian,
choral conductors.
In the autumn part of the season, the choir
will present works by Antonín Dvorˇák, Pyotr
Ilyich Tchaikovsky, Aleksandr Grechaninov,
Claudio Monteverdi, Hans-Werner Henze,
Hugo Wolf, Johann Sebastian Bach and many
others. I will lead the first subscription concert myself, and subsequent concerts will be
conducted by Marko Ozbič and Stojan Kuret.
At the October concert, we will host the longstanding guest of the Slovenian Chamber
Choir, Vladimir Kranjčević, who will mark his
75th birthday with the concert. As an exception, the second half of the season will commence with an appearance by the ensemble
Kebataola and the music theatre performance
Placebo, led by Karmina Šilec. Urša Lah is another conductor who regularly collaborates
with the Slovenian Chamber Choir and is well
known to the choral audience. With a programme of works by Einojuhani Rautavaara,
Sverre Bergh, Nana Forte, Uroš Rojko and Lojze Lebič she will bring together choral music
of the European north and south. Two subscription series concerts will be conducted by
the chief conductor of the Slovenian Chamber
Choir, Steffen Schreyer, who will undoubtedly
enthuse listeners with works from the German, French and the northern musical worlds,
as well as with the performance of a new
work by Slovenian composer Aldo Kumar.
As the artistic director of the Slovenian Chamber Choir my work is guided by numerous
challenges. In addition to planning the programme and the regular high quality work,
within the framework of which we expand the
repertoire and facilitate the artistic growth of
the choir, we endeavour to offer our numerous listeners concerts that, as well as quality
performers and interesting programmes, present the most diverse faces of international
choral music. With our work we also seek
to win over new subscribers and to draw the
ever increasing number of high quality singers
closer to the interesting and creative profession of the choral singer, as well as to that of
the choral conductor. At the concerts of the
Slovenian Chamber Choir the doors of the
Slovenian Philharmonic are always open to
everyone who is interested in choral music
and to whom this music means a great deal.
We also extend an open invitation to everyone
who would like to attend the rehearsals, dress
rehearsals and, above all, talks prior to each of
the concerts of the Vocal Subscription Series.
All of this represents an additional opportunity
to become more familiar with the choir, our
guest performers and the composers and
their work. You are warmly invited!
Is it not true that in our consciousness there
is an artistic spirit waiting to be addressed?
In the 2011/2012 season, let this spirit be addressed by the Slovenian Chamber Choir and
its conductors at the concerts of the Vocal
Subscription Series.
I look forward to seeing you,
Martina Batič,
Assistant to the Director for the Choir
Dvorana Marjana Kozine,
ob 19.00
Marjan Kozina Hall,
Slovenian Philharmonic
at 7.00 p.m.
Vse obiskovalce Vokalnega abonmaja vabimo
uro pred vsakim koncertom v Dvorano Slavka
Osterca Slovenske filharmonije na voden
pogovor o programu, skladateljih in izvajalcih
koncerta.
All music lovers are cordially invited to
participate at pre-concert talks about the
programme, composers and performers - one
hour before the performance in the Slavko
Osterc Hall of the Slovenian Philharmonic.
1
25. september 2011
25 September 2011
dirigentka/conductor Martina Batič
Pia Brodnik sopran/soprano
Jana Wallingerová alt/alto
Jaroslav Brezina tenor/tenor
Marcos Fink bas/bass
A. Dvorˇák, Requiem v B-duru, op. 89
Requiem in B-flat Major, Op. 89
23. oktober 2011
23 October 2011
dirigent/conductor Vladimir Kranjčević
Dejan Vrbančič tenor/tenor
Gregor Klančič orgle/organ
2
A. T. Grečaninov, Missa Festiva
P. I. Čajkovski, Liturgija sv. Janeza
Zlatoustega, op. 41
Liturgy of St John Chrysostom, Op. 41
3
27. november 2011
27 November 2011
Instrumentalni ansambel
Instrumental Ensemble
dirigent/conductor Marko Ozbič
klavir pozneje/piano TBA
N. Gombert, In illo tempore, motet
7
5
22. april 2012
22 April 2012
dirigentka/conductor Urša Lah
Tatjana Kaučič klavir/piano
Gregor Klančič orgle/organ
recitator pozneje/reciter TBA
tolkala pozneje/percussion TBA
H. W. Henze, Sicilijanske muze – koncert
na fragmente Vergilovih eklog
Musen Siziliens – Konzert auf EklogenFragmente des Vergil
22. januar 2012
22 January 2012
koncert bo izjemoma v Cankarjevem domu
Ansambel!KEBATAOLA!
Chorus Instrumentalis
4
PLACEBO
avtorski choregie projekt Karmine Šilec
an original project by Karmina Šilec
E. Hovland, Saul!
glasba/music Hildegarda iz Bingna, Howie B,
Bojana Šaljič Podešva, Karmina Šilec
N. Forte, Izštevanka/Counting Rhyme
Godec pred peklom/A Musician
before Hell
C. Monteverdi, Missa da cappella a sei
voci »In illo tempore«
18. december 2011
18 December 2011
dirigent/conductor Stojan Kuret
Martina Burger sopran/soprano
H. Wolf, Die Stimme des Kindes, Op.10
Die Feuerreiter
D. Šostakovič, Deset pesmi na besedila
revolucionarnih pesnikov, op. 88 – izbor
Ten Poems on Texts by Revolutionary Poets,
Op. 88 – Selection
M. Kogoj, Sunce izhaja/The Sun is Rising
G. Kančeli, Lulling the Sun
J. S. Bach, Jesus bleibet meine Freude
iz kantate BWV 147
Jesus, Joy Of Man’s Desiring from
Cantata BWV 147
M. Praetorius, Es ist ein Ros entsprungen
A. Berg, Es ist ein Ros entsprungen
6
19. februar 2012
19 February 2012
dirigent/conductor Steffen Schreyer
B. Bartók, Štiri slovaške pesmi, Sz. 70, BB 78
Four Slovak Folksongs, Sz. 70, BB 78
P. Nørgård, Wie ein Kind
A. Kumar, novo delo/new work
G. Rossini, I Gondolieri
Toast pour le nouvel an
La Passeggiata
B. Hallberg, Koncert za klavir in mešani zbor
Concerto for Piano and Mixed Chorus
H. Distler, Es ist ein Ros entsprungen
P. Eben, Zauberspruch, den Liebsten
zu beschwören
J. Sandström, Det är en ros utsprungen
L. Edlund, Twenne folkvisor
E. W. Korngold, Psalm, Op. 30
B. Hallberg, Domaredansen
E. Rautavaara, Magnificat
M. Heiniö, Luceat
S. Bergh, And Death Shall Have
No Dominion
U. Rojko, Otrok je pesem/A Child is a Poem
L. Lebič, Vrtiljak (Godba na potapljajoči se
ladji)/Carousel (A Band on a Sinking Ship)
8
10. junij 2012
10 June 2012
dirigent/conductor Steffen Schreyer
J. Brahms, Praznični in spominski izreki,
op. 109
Fest- und Gedenksprüche, Op. 109
T. Jennefelt, Warning to the Rich
I. Pizzetti, Tre Composizioni Corali
F. Poulenc, E xsultate Deo
Salve Regina
J. Mäntyjärvi, Psalm 150 in Gransire Triples
F. Martin, Maša za dva mešana zbora
Mass for Double Choir
Jaroslav Brezina
Marcos Fink, foto: Miha Cerar
Pia Brodnik
Jana Wallingerová
25. september 2011, ob 19.00
25 September 2011 at 7.00 p.m.
dirigentka/conductor
Martina Batič
Pia Brodnik
sopran/soprano
Jana Wallingerová
alt/alto
Letos septembra bo minilo 170 let od rojstva Antonína Dvorˇáka. Zato želi Slovenski
komorni zbor počastiti to obletnico z izvedbo njegove veličastne skladbe za soliste,
zbor in orkester – Requiema v B-duru. V njem je zbor osrednji nosilec glasbenega
dogajanja, saj je razen v enem navzoč v vseh stavkih tega monumentalnega dela.
Za prvi koncert Vokalnega abonmaja smo v sodelovanju z veleposlaništvom Češke
republike dve državi tudi »pevsko« povezali. Z Orkestrom Slovenske filharmonije
in okrepljenim Slovenskim komornim zborom bosta nastopila dva slovenska in dva
češka solista.
September this year will witness the passing of 170 years since the birth of Antonín
Dvorˇák. The Slovenian Chamber Choir would like to honour this anniversary with
a performance of the composer’s magnificent composition for soloists, choir and
orchestra - the Requiem in B-flat Major. The choir is the central bearer of musical
events in the Requiem, as it is present in all of the movements of this monumental
work except one. For the first concert of the Vocal Subscription Series we have
cooperated with the Embassy of the Czech Republic in inviting soloists to Slovenia,
thus providing the nations of Slovenia and the Czech Republic with a “singing”
connection. Alongside the Slovenian Philharmonic Orchestra and the massed
Slovenian Chamber Choir two Slovenian and two Czech soloists will appear.
Jaroslav Brezina
tenor/tenor
Marcos Fink
bas/bass
A. Dvorˇák
Requiem v B-duru, op. 89, B. 165
Requiem in B-flat Major, Op. 89, B. 165
1
Le redki vedo, da je Aleksander Grečaninov skladal ne le pravoslavne, temveč tudi
katoliške maše. Med njimi posebej izstopa Missa Festiva, latinska maša za zbor in
orgle, napisana v poznoromantičnem harmonskem jeziku, bogato ritmično razde
lana. Ima tudi izjemno učinkovit orgelski delež.
Liturgija sv. Ivana Zlatoustega, nastala leta 1878, je osrednje delo pravoslavne
glasbe ruske romantike. Čajkovski je z njo želel spodbuditi reformo ruske duhovne
glasbe, zato skladbe cerkev na začetku ni sprejela – ocenili so, da ne ustreza duhu
in tradiciji pravoslavne glasbe. Čez čas pa je prav ta liturgija s svojo globoko kon
templativnostjo postala ena najbolj cenjenih skladb te zvrsti. Pisana je homofonsko,
z imitativnimi elementi, hkrati pa je prežeta s karakteristikami ruske ljudske glasbe.
Leta 1981 je dirigent in skladatelj Vojislav Ilić za slovitega nemškega tenorja Karla
Markusa napisal povezave med deli – jektenije (recitative); pri tem se je naslonil na
tradicijo ruske pravoslavne liturgije.
Few people are aware that Aleksandr Grechaninov composed not only Orthodox
but also Catholic masses. Of particular note amongst them is the Missa Festiva for
choir and organ, written in a late Romantic harmonic language, richly elaborated
rhythmically and containing an extraordinarily effective organ part.
The Liturgy of St John Chrysostom, composed in 1878, is a central work of the Orthodox music of Russian Romanticism. With this composition Tchaikovsky sought
to encourage reform of Russian sacred music, and therefore the work was initially
rejected by the Church, who claimed that it did not encapsulate the appropriate
spirit and tradition of Orthodox music. In time, however, this liturgy, with its deep
contemplativeness, became one of the most highly regarded compositions if its
kind. It is written homophonically with imitative elements, while at the same time
being imbued with the characteristics of Russian folk music. In 1981, the conductor
and composer Vojislav Ilić wrote a connecting passage entitled jektenija (recitative)
between the sections of the work for the celebrated German tenor Karl Markus. In
so doing he drew from the tradition of the Russian Orthodox liturgy.
Gregor Klančič
Dejan Vrbančič
Vladimir Kranjčević, foto: Damir Kalogjera
23. oktober 2011, ob 19.00
23 October 2011 at 7.00 p.m.
dirigent/conductor
Vladimir Kranjčević
Dejan Vrbančič
tenor/tenor
Gregor Klančič
orgle/organ
A. T. Grečaninov
Missa Festiva
P. I. Čajkovski
Liturgija sv. Janeza Zlatoustega, op. 41
Liturgy of St John Chrysostom, Op. 41
2
Marko Ozbič
27. november 2011, ob 19.00
27 November 2011 at 7.00 p.m.
Instrumentalni ansambel
Instrumental Ensemble
Monteverdijeva skladba Marijina večernica (Vespro della Beata Maria Vergine),
izdana leta 1610, predstavlja prelomnico v glasbeni zgodovini, saj nam v njej
skladatelj razodeva preteklost in prihodnost. Dialektika med starim in novim (med
tako imenovanima primo prattico in secondo prattico) predstavlja tudi vodilo tega
sporeda: v prvem delu bomo slišali Monteverdijevo Šestglasno mašo, ki jo je
komponist zgradil na tonskem materialu Gombertovega moteta In illo tempore in
se tako poklonil prejšnji (franko-flamski) generaciji, ki je vrhunec dosegla s Palestri
novim opusom.
Ni naključje, da je Henze za svojo uglasbitev fragmentov iz IX., X. in VI. Vergilove
ekloge uporabil naziv Koncert. Čeprav je osnovno vodilo IX. ekloge petje (»can
tantes licet usque, minus via laedit, eamus ...«), se je skladatelj odločil za popolnost
glasbenega izraza, kot ga je že Monteverdi definiral v predgovoru svoje izdaje: »cum
nonnullis sacris concentibus«. Torej ne le zgolj za vokalni prijem pesniške osnove,
ampak tudi za bogat instrumentalni okvir – v tem primeru pravi koncert za dva
klavirja ob zvokih pihal (simbolično lahko vidimo tu arkadijski svet pastirjev), ki imajo
vlogo tematskega katalizatorja med vokalnim duktusom zbora in klavirskim partom.
Monteverdi’s Marian Vespers (Vespro della Beata Maria Vergine), published in
1610, represents a turning point in music history, as in it the composer reveals both
the past and the future. The dialectic between the old and the new (between the
so-called prima prattica in seconda prattica) also represents the guiding principle
of this programme: in the first part we will hear Monteverdi’s Missa da cappella
a sei voci, which the composer built upon material from Gombert's motet In illo
tempore, thus paying tribute to the previous (Franco-Flemish) generation, which
had achieved it apex in Palestrina’s opus.
It is no coincidence that in the title for his setting of fragments from sections IX,
X and VI of Vergil’s Eclogues Henze included the word Concerto. Although the
basic principle of Eclogue IX is singing (“cantantes licet usque, minus via laedit,
eamus ...”) the composer decided in favour of a perfection of musical expression
as defined by Monteverdi in the introduction to his edition: “cum nonnullis sacris
concentibus”. It is not, therefore, simply a case of a vocal rendition of a poetic
basis, but also of a rich instrumental framework – in this case a genuine concerto
for two pianos, accompanied by wind (into which we can also read a symbolic
rendering of the Arcadian world of shepherds), who take the role of a thematic
catalyst between the vocal technique of the choir and the piano part.
dirigent/conductor
Marko Ozbič
klavir pozneje/piano TBA
N. Gombert
In illo tempore, motet
C. Monteverdi
Missa da cappella a sei voci »In illo tempore«
H. W. Henze
Sicilijanske muze – koncert na fragmente Vergilovih eklog
Musen Siziliens – Konzert auf Eklogen-Fragmente des Vergil
3
4
18. december 2011, ob 19.00
18 December 2011 at 7.00 p.m.
dirigent/conductor
Stojan Kuret
Tatjana Kaučič
klavir/piano
Martina Burger
sopran/soprano
tolkala pozneje/
percussion TBA
H. Wolf
Die Stimme des Kindes,
Op. 10, Feuerreiter
J. S. Bach
Jesus bleibet meine Freude
iz kantate BWV 147
Jesus, Joy Of Man’s Desiring
from Cantata BWV 147
MARTINA
BURGER
fotk nimam
Koncert je zasnovan v dveh delih. V prvem delu bodo predstavljena manj izvajana
dela Huga Wolfa (s klavirjem), trije izmed desetih Šostakovičevih zborov iz opusa 88,
Kogojeva Sunce izhaja ter delo pri nas dokaj neznanega Gije Kančelija.
V drugi del, ki bo obarvan adventnemu času primerno, nas bo uvedel Bachov koral.
Po zanimivih obdelavah starega božičnega teksta in napeva izpod peres Praetoriusa,
Berga, Distlerja in Sandströma bo koncert zaključil slovesni Korngoldov Psalm.
The concert is planned in two parts. The first part presents less performed works
by Hugo Wolf (with piano), three of Shostakovich’s ten choruses from Opus 88,
Kogoj’s The Sun is Rising, as well as a work by Giya Kancheli, a composer less
known in Slovenia.
The second part of the concert, which embraces the atmosphere of Advent, opens
with a Bach chorale. After interesting reworkings of an old Christmas text and
melody penned by Praetorius, Berg, Distler and Sandstrom, the concert will draw
to a solemn conclusion with Korngold’s Psalm.
Tatjana Kaučič
Stojan Kuret
D. Šostakovič
Deset pesmi na besedila
revolucionarnih pesnikov,
op. 88 – izbor
Ten Poems on Texts
by Revolutionary Poets,
Op. 88 – Selection
M. Kogoj
Sunce izhaja
The Sun is Rising
G. Kančeli
Lulling the Sun
M. Praetorius
Es ist ein Ros entsprungen
A. Berg
H. Distler
J. Sandström
Det är en ros utsprungen
E. W. Korngold
Psalm, Op. 30
22. januar 2012, ob 19.00
22 January 2012 at 7.00 p.m.
izjemoma v Cankarjevem domu
exceptionally in Cankarjev dom
5
Ansambel !KEBATAOLA!
Chorus Instrumentalis
PLACEBO
avtorski choregie projekt Karmine Šilec*
an original project by Karmina Šilec*
po najstarejšem ohranjenem delu zahodne glasbenogledališke
kulture praoperi Ordo Virtutum - Red vrlin sv. Hildegarde
iz Bingna
a stage production based on the oldest surviving Western
work that can be called music theatre or proto-opera:
Ordo Virtutum – Play of the Virtues by Hildegard of Bingen
glasba/music
Hildegarda iz Bingna, Howie B, Bojana Šaljič Podešva,
Karmina Šilec
koncert drama obred/concert drama ritual
Placebo je ekspedicija v času, mistični univerzum, boj duše v zemeljskem gledališču, utelešenje srednjeveškega ženskega erosa. Umetniško vzporeja različne
vrste glasbe, s soredjem novega in starega ustvarja vznemirljiv kontekst glasbe
in gledališča.
Placebo is an expedition in time, a mystical universe, a battle of the soul in the
Earthly theatre, an embodiment of Medieval female eros. It artistically parallels
various types of music, and with a network of the new and the old creates
an exciting context of music and theatre.
*projekt je del programa Evropske prestolnice kulture 2012/the project is part of the European Capital
of Culture 2012 programme
19. februar 2012, ob 19.00
19 February 2012 at 7.00 p.m.
Steffen Schreyer, foto: Egon Bajt
Sredi 19. stoletja se je začelo veliko skladateljev zavedati svojih narodnih korenin,
to pa se je izražalo predvsem v raziskovanju ljudskih pesmi in uglasbitvah del
pesnikov. Ustrezno temu jih bolj kot sodobni glasbeni tokovi 20. stoletja zaznamuje
tradicionalni kolorit posameznih dežel. Izjema so uglasbitve Danca Pera Nørgårda,
ki so ga pesmi duševno bolnega Švicarja Adolpha Wölflija (1864–1930) navdihnile
za prav tako nenavadno delo. Zveni »kakor otrok«, igrivo, duhovito, zmedeno in
polno ugank.
In the middle of the 19th century, many composers began to become aware of
their national roots. This found expression above all in the research of folksong and
the setting of works by national poets. In accordance with this, rather than by the
contemporary musical streams of the 20th century these composers are marked
by the traditional colour of individual regions. The exception on the programme
is the settings by the Dane Per Nørgård, who was inspired by the poems of the
mentally ill Swiss Adolph Wölfli (1864–1930) to create a work just as unusual:
outwardly childlike, playful, witty, confused and full of riddles.
dirigent/conductor
Steffen Schreyer
Tatjana Kaučič
klavir/piano
B. Bartók
Štiri slovaške pesmi, Sz. 70, BB 78
Four Slovak Folksongs, Sz. 70, BB 78
P. Nørgård, Wie ein Kind
A. Kumar, novo delo/new work
G. Rossini I Gondolieri
Toast pour le nouvel an
La Passeggiata
B. Hallberg
Koncert za klavir in mešani zbor
Concerto for Piano and Mixed Chorus*
P. Eben, Zauberspruch, den Liebsten zu beschwören*
L. Edlund,Twenne folkvisor*
B. Hallberg, Domaredansen*
*prva izvedba v Ljubljani/first performance in Ljubljana
6
7
Urša Lah
Gregor Klančič, foto: Atelje Potrč
22. april 2012, ob 19.00
22 April 2012 at 7.00 p.m.
Program koncerta sestavljajo skladbe, nastale v zadnjih štiridesetih letih. Prvi del
zaznamujejo sakralna dela dveh finskih in dveh norveških skladateljev, ki so se po
iskanju lastnega jezika v različnih sodobnih kompozicijskih smereh vrnili k neoklasi
cizmu. Drugi del sestavljajo sporočilno močna dela treh reprezentativnih slovenskih
skladateljev: Nane Forte, Uroša Rojka in Lojzeta Lebiča. Njihove skladbe povezuje
raziskovanje neizčrpnega števila izvajalskih možnosti človeškega glasu, kakor tudi
uporaba nekonvencionalnih izraznih sredstev in oblike, ki jo narekuje sodobna sloven
ska poezija.
The programme of this concert is made up of compositions all written in the last
40 years. The first part is marked by sacred works by two Finnish and two Norwegian composers, who after seeking their own language in various contemporary
compositional directions returned to neoclassicism. The second part of the concert
is made up of works with strong messages by three representative Slovenian composers: Nana Forte, Uroš Rojko and Lojze Lebič. Their compositions combine exploration of the inexhaustible possibilities of the human voice with the use of unconventional expressive means and forms dictated by contemporary Slovenian poetry.
dirigentka/conductor
Urša Lah
Tatjana Kaučič
klavir/piano
Gregor Klančič
orgle/organ
recitator pozneje/reciter TBA
N. Forte
Izštevanka
Counting Rhyme
E. Rautavaara
Magnificat
Godec pred peklom
A Musician before Hell
M. Heiniö
Luceat
U. Rojko
Otrok je pesem
A Child is a Poem
E. Hovland
Saul!
S. Bergh
And Death Shall Have
No Dominion
L. Lebič
Vrtiljak (Godba na potapljajoči
se ladji)
Carousel (A Band on a Sinking
Ship)
10. junij 2012, ob 19.00
10 June 2012 at 7.00 p.m.
Steffen Schreyer, foto: Egon Bajt
Vrhunec sporeda in hkrati zadnja skladba večera bo Maša za dva mešana zbora Franka Martina, ki je skoraj 40 let ležala v njegovem predalu, ker jo je imel za
popolnoma osebno zadevo »med sabo in Bogom«. Za protiutež se bo koncert
začel s Prazničnimi in spominskimi izreki Johannesa Brahmsa, ki jih je napisal
za narodne spominske dni. Komaj 23-letni Thomas Jennefelt je pritegnil pozornost
javnosti s skladbo Warning to the Rich (Opozorilo bogatim). Prva tri dela so kljub
duhovnim besedilom bolj družbeno motivirana, zadnja tri pa so predvsem izraz
vere.
The climax of the programme, and the last composition of the evening, will be
the Mass for Double Choir by Frank Martin, which for almost 40 years lay in the
composer’s drawer due to the fact that he viewed the work is an entirely personal
matter “between myself and God”. As a counterbalance, the concert will open
with Fest- und Gedenksprüche by Johannes Brahms, which he wrote for national
commemoration days. At barely 23 years of age, Thomas Jennefelt attracted a
great deal of public attention with his composition Warning to the Rich. In spite
of their witty texts, the first three works are more socially motivated, while the last
three are entirely expressions of faith.
dirigent/conductor
Steffen Schreyer
J. Brahms
Praznični in spominski izreki, op. 109
Fest- und Gedenksprüche, Op. 109
T. Jennefelt
Warning to the Rich*
I. Pizzetti
Tre Composizioni Corali
F. Poulenc
Exsultate Deo
Salve Regina
J. Mäntyjärvi
Psalm 150 in Gransire Triples*
F. Martin
Maša za dva mešana zbora
Mass for Double Choir
*prva izvedba v Ljubljani/first performance in Ljubljana
8
Januarski koncerti
Orkestra Slovenske filharmonije
The January concerts
of the Slovenian Philharmonics
Januarski koncerti Orkestra Slovenske filharmonije v Dvorani Marjana Kozine
so postali stalnica naše ponudbe.
Tudi v tej sezoni bomo pripravili dva, tokrat bolj komorno obarvana dogodka: eden
bo posvečen stoti obletnici rojstva dolgoletnega koncertnega mojstra našega
orkestra Alberta (Alija) Dermelja (1912–1986), na drugem koncertu pa se bomo
spomnili pomembnega dogodka iz zgodovine Filharmonične družbe, ko se je leta
1801 admiral Horatio Nelson (1758–1805) ustavil v Ljubljani in prisluhnil zvokom
tedanjih filharmonikov.
Umetniški vodja projekta bo violinist Primož Novšak.
Vljudno vabljeni 19. in 26. januarja 2012 v Slovensko filharmonijo;
vstopnice bodo na voljo pri naši blagajni od začetka januarja.
The January concerts of the Slovenian Philharmonic Orchestra in the Marjan
Kozina Hall have become a regular feature of our offer.
Again this season we will prepare two events, this time with a more chamber
flavour: one will be dedicated to the centennial of birth of our orchestra’s longstanding concertmaster, Albert (Ali) Dermelj (1912–1986); while at the second concert
we will commemorate an important event in the history of the Philharmonic Society,
when in 1801 Admiral Horatio Nelson (1758–1805) stopped in Ljubljana and listened
to the sound of the philharmonic of the time.
The artistic director of the project will be violinist Primož Novšak.
You are warmly invited to the Slovenian Philharmonic on 19 and 26 January,
2012. Tickets will be on sale at our box office from the beginning of January.
C
M
Y
CM
MY
CY
CMY
K
KLASIKA à la carte
CLASSICS à la carte
Prenovljeni Godalni kvartet Slovenske
filharmonije tokrat v zasedbi:
Irina Kevorkova, violina
Žiga Faganel, violina
Oliver Dizdarević Škrabar, viola
Gordana Keller Petrej, violončelo
bo v sezoni 2011/12 s številnimi gosti
pripravil šest enournih nedeljskih mati
nej s skupnim naslovom
KLASIKA à la carte
S pestro programsko ponudbo in
zasedbo bo ta cikel v Dvorano Marjana
Kozine skušal privabiti širše občinstvo
ter na privlačen način približati klasično
glasbo vsem, ki so radovedni in
odprtega duha. Skupaj bomo potovali
skozi glasbeno zgodovino in odkrivali,
kako je »resna« glasba lahko duhovita in
neskončno zanimiva.
16. oktober 2011
27. november 2011
15. januar 2012
12. februar 2012
25. marec 2012
13. maj 2012
Otroški album
BAchROK
Mozart–Suppe
Operna poslastica
Glasbena skrinja
7
16 October 2011
27 November 2011
15 January 2012
12 February 2012
25 March 2012
13 May 2012
Children’s Album
BAchROQUE
Mozart–Suppe
Opera Treat
Music Chest
7
Na našem »meniju« bodo razgibani,
sveži in zabavni sporedi, ki bodo potešili
»glasbeno lakoto« sedanjih in bodočih
glasbenih sladokuscev.
Vstopnice bodo na voljo pri blagajni
Slovenske filharmonije pred vsakim
koncertom, informacije pa bodo
dostopne tudi na spletni strani
(www.filharmonija.si).
In the 2011/2012 season, the reformed
String Quartet of the Slovenian
Philharmonic, this time with a new
line-up:
Irina Kevorkova, violin
Žiga Faganel, violin
Oliver Dizdarević Škrabar, viola
Gordana Keller Petrej, cello
will, with numerous guests, prepare six
one-hour Sunday matinees under the
common title:
CLASSICS à la carte
With a colourful programme the
ensemble will, within the framework
of the cycle, attempt to attract the
broadest audience to the Marjan Kozina
Hall and in an attractive way bring
classical music closer to everyone who
is curious and open-minded. Together
we will take a journey through music
history and discover how “serious
music” can be witty and infinitely
interesting.
Our “menu” will contain dynamic, fresh
and entertaining programmes that will
satisfy the “musical hunger” of both
present and future music connoisseurs:
Tickets will be available at the box
office of the Slovenian Philharmonic
prior to the individual concerts. Further
information is available at our website:
www.filharmonija.si
Pika − toËka − taËka
Dot − Dot − Dot
Cikel z nekoliko nenavadnim imenom je prvi izmed korakov v sodelovanju Slovenske,
Zagrebške in Beograjske filharmonije – ustanov, ki sodijo med pomembne simbo
le kulturne identitete svojih narodov. Tri vrhunske kulturne institucije bodo v prihodnjih
petih letih načrtovale skupne programe z enakimi sporedi, solisti in dirigenti, kot tudi
gostovanja orkestrov. S tem projektom se bodo krepili kulturno in gospodarsko sode
lovanje ter dobrososedski odnosi v tem delu Evrope; hkrati se bodo ohranjala stara in
izvajala nova glasbena dela ter spodbujale vrednote, ki so strateškega pomena za sle
herno družbo, ki želi izstopati iz povprečja.
With its rather unusual name (which translates as “Dot-Dot-Dot”, with the word
“dot” in Slovenian, Croatian and Serbian respectively) this cycle is the first step
in cooperation between the Slovenian, Zagreb and Belgrade Philharmonics –
institutions that are amongst the most important symbols of cultural identity of their
respective countries. Over the next five years, these three first-rate cultural institutions will plan common performances with the same programmes, soloists and
conductors, as well as guest appearances by the orchestras. With this project the
orchestras will strengthen cultural and economic cooperation, as well as good neighbourly relationships in this part of Europe. At the same time, they will preserve old
musical works and perform new musical works, as well as encouraging values that
are of strategic significance to every society that seeks to rise above the average.
Marjan Kozina Hall,
Slovenski del projekta bo potekal
v Slovenski filharmoniji,
v Dvorani Marjana Kozine:
The Slovenian part of the project
will take place in the Marjan Kozina Hall
of the Slovenian Philharmonic:
8. september 2011
dirigent Andrew Grams
Jean Louis Steuerman klavir
Spored: Schumann, Hanson
8 September 2011
conductor Andrew Grams
Jean Louis Steuerman piano
Programme: Schumann, Hanson
8. december 2011
dirigent Emmanuel Villaume
Andrew von Oeyen klavir
Spored: Mozart, Beethoven
8 December 2011
conductor Emmanuel Villaume
Andrew von Oeyen piano
Programme: Mozart, Beethoven
(ponovitvi koncerta 9. decembra v Zagrebu
in 10. decembra v Beogradu)
(repeat performances on 9 December in Zagreb
and 10 December in Belgrade)
12. januar 2012
dirigentka Keri Lynn Wilson
Spored: Mahler
12 January 2012
conductor Keri Lynn Wilson
Programme: Mahler
17. maj 2012
Zagrebška filharmonija
dirigent Dmitrij Kitajenko
Monika Leskovar violončelo
Spored: Mendelssohn, Čajkovski,
Ravel
17 May 2012
Zagreb Philharmonic
conductor Dmitry Kitaenko
Monika Leskovar cello
Programme: Mendelssohn, Tchaikovsky,
Ravel
27. maj 2012
Beograjska filharmonija
dirigent Muhai Tang
Aleksej Volodin klavir
Spored: Juan, Rahmaninov,
Čajkovski
27 May 2012
Belgrade Philharmonic
conductor Muhai Tang
Alexey Volodin piano
Programme: Juan, Rachmaninoff,
Tchaikovsky
Dodatne informacije o sporedu in izvajalcih bodo
predstavljene na posebni tiskovni konferenci,
dostopne pa bodo tudi v medijih pred vsakim
koncertom.
Additional information about the programme
and performers will be presented at special
press conferences, as well as being available
in the media prior to the individual concerts.
NaËini plaËevanja
SPOŠTOVANI ABONENTI SLOVENSKE FILHARMONIJE,
VSI, KI ŽELITE OBNOVITI ABONMA ZA SEDEŽE, KI STE JIH IMELI
V SEZONI 2010/2011
• vplačajte abonma s priloženo položnico najpozneje do 31. maja 2011
(prijavnice ni potrebno poslati)
•znesek vpišite sami – glede na izbrani način plačevanja (načini plačevanja
so v tabelah)
• abonmajsko izkaznico boste prejeli po pošti v začetku septembra
VSI, KI ŽELITE SPREMEMBO SEDEŽEV, ZAMENJAVO ABONMAJA,
VPIS NOVEGA ČLANA
• pošljite izpolnjeno prijavnico najpozneje do 31. maja 2011 in se potem
oglasite ob vpisu od 20. do 24. junija 2011 (abonmaja za dosedanje sedeže
ne plačajte)
• dodatne informacije lahko dobite po telefonu 01 24 10 800, 01 24 10 810 po 12. uri
ČE SE DO 31. MAJA 2011 NE BOSTE ODZVALI, BOMO VAŠE SEDEŽE
PRISILJENI ODDATI.
Za zamenjave in nove abonente imamo na voljo omejeno število sedežev.
Ker vpis abonmajev poteka po pošti, Vas prosimo, da upoštevate datume in navodila.
SF in CD zagotavljata abonentu, ki ima poravnane obveznosti za sezono 2010/2011,
v novi sezoni 2011/2012 isti sedež v istem abonmaju. Obisk koncerta je mogoč
le z abonmajsko vstopnico za tekočo sezono.
Študentje, dijaki in upokojenci imajo 50 % popusta za en sedež v vsakem
abonmaju. Popust je mogoče uveljavljati le za sedeže II. in III. kategorije.
Dokazila so veljavni indeks, potrdilo o šolanju, pokojninski odrezek oz. izpisek.
Če se odločite za plačilo v celoti, Vam pripada 10% popusta na polno ceno abonmaja.
Če se odločite za plačilo v obrokih, plačate polno ceno abonmaja.
Za obroke boste prejeli položnice.
ZA NOVE ABONENTE IN VSE, KI BODO POSLALI PRIJAVNICO
ZA KAKRŠNOKOLI SPREMEMBO, BO VPIS
od 20. do 24. JUNIJA 2011
od 10. do 13. ure in od 15. do 18. ure
v Slovenski filharmoniji,
Kongresni trg 10, 1000 Ljubljana.
ZAMENJAVA TERMINA V OKVIRU ISTEGA ABONMAJA PRI BLAGAJNI CD
Če ne morete obiskati koncerta v svojem terminu, Vam bo CD izdal vstopnico za
drugi termin. Abonmajsko kartico je potrebno deponirati pri blagajni CD najpozneje
dva dni pred koncertom. CD bo izdal vstopnico za drugi koncert v okviru istega
abonmaja brezplačno. Abonmajska kartica ostane v Informacijskem središču CD
do dneva po drugem koncertu.
Modri abonma/Oranæni abonma
Cene abonmajev v sezoni 2011/2012
Gallusova dvorana, Cankarjev dom
9 koncertov
Modri 1 – četrtek
Oranžni 1 – četrtek
Parter
Ground floor
Modri 2 – petek
Oranžni 2 – petek
Prodaja in cene vstopnic za posamezne koncerte
Orkestra Slovenske filharmonije
Ticket sales and prices for
Slovenian Philharmonic Orchestra concerts
Modri in Oranžni abonma
Blue & Orange Series Concerts
Oranžni/Orange 3, 4
Modri/Blue 2
Kategorija/Category I
Kategorija/Category II
Kategorija/Category III
Kategorija/Category IV
20,00 EUR
16,00 EUR
12,00 EUR
8,00/6,00* EUR
Oranžni/Orange 1, 5
Modri/Blue 5, 7, 8, 9
26,00 EUR
20,50 EUR
16,00 EUR
10,00/8,00* EUR
Oranžni/Orange 2, 6, 7, 8, 9
Modri/Blue 1, 3, 4, 6
33,00 EUR
26,00 EUR
20,00 EUR
13,50/10,00* EUR
1. balkon
Dress circle
2. balkon
Upper circle
Gallusova dvorana, Cankarjev dom
Gallus Hall, Cankarjev dom
I. kategorija/Category I
II. kategorija/Category II
III. kategorija/Category III
* popust za mlajše od 25 in starejše od 65 let
discount for people younger than 25 years and older than 65 years of age
Redni abonenti
prostor
I. kategorija
II. kategorija
III. kategorija
plačilo v celoti
10% popust
144,00 EUR
115,00 EUR
97,00 EUR
polna cena
abonmaja
160,00 EUR
128,00 EUR
108,00 EUR
obrok polne
cene (4 ob.)
40,00 EUR
32,00 EUR
27,00 EUR
Upokojenci, študentje in dijaki
prostor
I. kategorija
II. kategorija
III. kategorija
plačilo v celoti
10% popust
−−−−−
57,50 EUR
48,50 EUR
polna cena
abonmaja
−−−−−
64,00 EUR
54,00 EUR
obrok polne
cene (4 ob.)
−−−−−
16,00 EUR
13,50 EUR
Cankarjev dom
Informacijsko središče in prodaja vstopnic
Information Centre and Box Office
T +386 1 2417 299, 2417 300
F +386 1 2417 322
E vstopnice@cd-cc.si, tickets@cd-cc.si
www.cd-cc.si
Prodaja vstopnic v Informacijskem središču CD
(podhod Maximarketa). Odprto vsak delovnik
od 11. do 13. in od 15. do 20. ure,
ob sobotah od 11. do 13. in uro pred začetkom
prireditev. Imetniki kartic (NLB, Eurocard/Master
card, Visa, Diners, American Express) si lahko
vstopnice zagotovite po telefonu.
Tickets for concerts at the Gallus Hall, Cankarjev
Dom, can be purchased at the CD Information
Centre/Box Office (Maximarket lower arcade).
Open weekdays from 11 am to 1 pm and
from 3 pm to 8 pm, Saturdays from 11 am to 1 pm,
and an hour before the performance. Credit cards
are welcome (NLB, Eurocard/Mastercard, Visa,
Diners, American Express). Tickets can be purchased by telephone.
Vokalni abonma
Cene abonmajev v sezoni 2011/2012
Dvorana Marjana Kozine, Slovenska filharmonija
8 koncertov
Redni abonenti
prostor
I. kategorija
II. kategorija
plačilo v celoti
10% popust
79,00 EUR
60,00 EUR
polna cena
abonmaja
88,00 EUR
67,00 EUR
obrok polne
cene (4 ob.)
22,00 EUR
16,75 EUR
polna cena
abonmaja
54,00 EUR
42,00 EUR
obrok polne
cene (4 ob.)
13,50 EUR
10,50 EUR
www. val-na
vtika. net
154
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Tickets are available at the venue
one hour before the performance.
Ticket reservations
T + 386 1 2311 892
E skz@filharmonija.si
Reportaže
Brisbane
Otok Cres
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nasveti
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Rezervacije vstopnic:
T +386 1 2311 892
E skz@filharmonija.si
XX. leto
navtika
navtika
s
I. kategorija/Category I
II. kategorija/Category II
Vokalni abonma
Vocal series concerts
ilka
et
Marjan Kozina Hall,
navt ika.n
Prodaja in cene vstopnic za koncerte
Slovenskega komornega zbora
Ticket sales and prices for Slovenian
Chamber Choir concerts
www .val-
I. kategorija
II. kategorija
plačilo v celoti
10% popust
48,50 EUR
37,50 EUR
www.val-na vtika.net
prostor
www.val-na vtika.net
Upokojenci, študentje in dijaki
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Telefon: 01 283 94 99, faks: 01 283 95 44 / e-naslov: narocniki¿val-navtika.net
www.val-navtika.net
Viole/Violas:
Aleksandar Milošev
Marija Rome
Flavte/Flutes:
Matej Grahek
Aleš Kacjan
Trobente/Trumpets:
Tibor Kerekes
Franc Kosem
Maja Babnik Ravnikar
Tomaž Malej
Patricija Mihelač Korica
Nataša Paklar Marković
Dejan Glamočak
Igor Konečnik
Igor Maroševič
Oboe/Oboes:
Matjaž Rebolj
Matej Šarc
Pozavne/Trombones:
Marko Ilić
Domen Jeraša
Božidar Lotrič
piccolo
Eva Kacjan
Emil Kopše
Marina Kopše
Ivan Krstić
Zoltan Kvanka
Marjetka Šuler Borovšak
Marjeta Škrjanc
Sonja Vukovič
Šef dirigent
Chief Conductor:
Emmanuel Villaume
Prve violine/1st Violins:
Vera Belič
Monika Ivančev
Druge violine/2nd Violins:
Irina Kevorkova
Roman Leskovic
Koncertna mojstra
Concert Masters:
Miran Kolbl
Janez Podlesek
Matic Anžej
Mojca Arnold
Branko Brezavšček
Žiga Cerar
Oliver Dizdarević Škrabar
Igor Dražil
Tomislav Dražil
Davor Duh
Bojan Erjavec
Žiga Faganel
Katarina Jurca
Maja Savnik
Rado Šteharnik
Rok Zgonc
Milena Dostal
Želimir Đonlić
Marijana Gregorič
Romana Kokalj
Damjana Kožar
Ajda Kralj
Natalija Popov Vesel
Petar Prendžov
Miloš Simić
Jelena Šarc
Matjaž Žižek
Marjorie Anne Carrington
Melina Todorovska
angleški rog/cor anglais
Violončeli/Cellos:
Andrej Petrač
Igor Škerjanec
Klarineti/Clarinets:
Jurij Jenko
Massimiliano Miani
Gregor Marinko
Ivan Šoštarič
Dušan Sodja
Darko Abram
Petra Gačnik Greblo
Klemen Hvala
Gordana Keller Petrej
Jošt Kosmač
Alenka Helena Kovačič
Janez Perne
Pavel Rakar
Martin Sikur
Fagoti/Bassoons:
Paolo Calligaris
Jordan Hadžinikolov
Zoran Mitev
Kontrabasi/
Double Basses:
Petar Brčarević
Rogovi/Horns:
Justin Felicijan
Aurelie Roussel
Jakob Ivan
Maja Burger Zgonc
Robert Prednik
Metod Tomac
Paolo Badiini
Borut Kantušer
Đorđe Malkoć
Krešimir Mikulčić
Mateja Murn Zorko
Blaž Zupan
bas klarinet/bass clarinet
Miha Petkovšek
Peter Stadler
kontrafagot/contrabassoon
Wolf-Hagen Hoyer
baspozavna/bass trombone
Tuba/Tuba:
Janez Žnidaršič
Timpani:
Darko Gorenc
Tolkala/Percussion:
Barbara Kresnik
Matevž Bajde
Franci Krevh
Harfa/Harp:
Urška Križnik Zupan
Aleksandra Verbicka
harfa in instrumenti s tipkami/
harp and keyboard instruments
Martina Batič
Pomočnica direktorja za zbor
Assistant to the Director for the Choir
Steffen Schreyer
Šef dirigent
Chief Conductor
Gregor Klančič
Asistent dirigenta zbora
Assistant Choir Conductor
Tatjana Kaučič
Korepetitorka
Piano Accompaniment
Tenorji
Tenors:
Soprani
Sopranos:
Zdenka Anžur Tozon
Helena Čebul
Rosana Jarm
Igor Drnovšek
Marjan Jančič
Robert Kožar
Katarina Lenarčič
Mateja Langus
Suzana Omejc
Andrej Levec
Fernando Mejias
Martin Logar
Polonca Ribič
Monika Sitar
Renata Vereš Klančič
Marjan Podgrajšek
Marjan Ravnik
Alojz Vodopivec
Peter Pirnat
Basi
Basses:
Alti
Altos:
Mihaela Artač
Katjuša Košir Bukovec
Mateja Kunstek
Matija Bizjan, k.g.
Mateo Debevec
Matevž Kink
Emilija Lavriha
Marta Marolt
Marjetka Prelovšek
Gregor Klančič
Tomaž Koder
Tadej Osvald
Romana Vengust
Darja Vevoda
Vladimira Vremšak
Rok Rakar
Boris Vremšak
Umetnost zvoka
vznemirljivega kaosa ...
www.radiokaos.info facebook: http://www.facebook.com/radiokaos.info twitter: @radio_kaos
Pomembnejše samostojne razstave
Recent Solo Exhibitions
2009
• Nad-zrenje Bežigrajski galerija, Ljubljana
• Ways of the soul, Minoriten Galerie,
Wolfsberg, Avstrija
• Slike, Galerija Zlatni Ajngel, Varaždin
•Zemljemerci, zemljenosci, Galerija Hest,
Ljubljana
2010
•Kritiki izbirajo, Cankarjev dom, Ljubljana
2011
•Planetarij, galerija Equrna, Ljubljana
Maruša ©uštar
Maruša Šuštar se je rodila 6. aprila 1977
v Kranju. Leta 2006 je diplomirala pri
profesorju Zmagu Jeraju na Akademiji
za likovno umetnost v Ljubljani ter tam
nadaljevala podiplomski študij slikarstva
pri profesorju Gustavu Gnamušu. Kot
svobodna umetnica deluje v Preddvoru
pri Kranju.
Maruša Šuštar was born on April 6,
1977 in Kranj, Slovenia. In 2006, she
graduated from the Ljubljana Academy
of Liberal Arts under Professor Zmago
Jeraj and then continued her postgraduate studies in painting with
Professor Gustav Gnamuš at the same
institution. She currently works as a
freelance artist in Preddvor pri Kranju.
Pomembnejše skupinske razstave
Recent Group Exhibitions
2007
•Mednarodna likovna razstava AlpeAdriArt,
Wolfsberg, Avstrija
2008
•Razstava slik II. Mednarodne lik. kolonije
AlpeAdriArt, St. Georgen, Avstrija
2009
•ESSL award CEE 2009 Winners,
Klosterneuburg, Dunaj, Avstrija
2010
•Young art from CEE Razstava nagrajencev
Invitation prize - ESSL award CEE Vienna
Insurance group, Dunaj, Avstrija
•ART Karlsrühe, Karlsrühe, Nemčija
•Begegnungen/srečanja Kranj,
Galerie Freihausgasse, Beljak, Avstrija
•Hočemo biti svobodni, kot so bili očetje,
MGLC, Ljubljana
2011
Slike z razstave, Equrna, Ljubljana
Nagrade
Awards
2004
•Odkupna nagrada občine Žetale,
ex-tempore Ptuj
2009
•Nagrada ESSL award CEE 2009, Invitation
prize – Posebno povabilo Vienna Insurance
group

Slovenian Philharmonic Orchestra

Transcription

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