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umjetnost politika art politics umjetnost politika art politics umjetnost politi

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Ilustracija / Illustration: Boris Buan

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olitika art politics umjetnost politika art politics umjetnost politika art politics

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Program 25. Muzikog biennala


podupiru Ministarstvo kulture Republike
Hrvatske, Grad Zagreb - Gradski ured za
obrazovanje, kulturu i port te veleposlanstva i kulturni centri zemalja - prijatelja,
sponzori i donatori.
The programme of the 25th Music Biennale Zagreb has been prepared with support of the Ministry of Culture of the
Republic of Croatia and the City of Zagreb
Department for Education, Culture and
Sports as well as with support of embassies and cultural centres, sponsors
and donors.

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25. Muziki biennale Zagreb odrava se


pod visokim pokroviteljstvom predsjednika Republike Hrvatske Stjepana Mesia.
The 25th Music Biennale Zagreb is being
held under high patronage of the President
of the Republic of Croatia, Mr. Stjepan Mesi.

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Welcoming Words from Mr. Stjepan


Mesi, President of the Republic of
Croatia, for the catalogue of the 25th
Music Biennale Zagreb
It is with great pleasure that I welcome
all the participants and organizers of the
jubilean, 25th Music Biennale Zagreb, a
manifestation that will soon celebrate
half a century of successful promotion of
contemporary music. The Biennale successfully links Zagreb and Croatia with
other European and world art centres. In
fact, during the festival, Zagreb itself becomes one of the most important music
centres of the world.

social changes. It is particularly pleasing


to see that, along with cultural exchange,
there are more and more co-productions
in which Croatian and foreign artists create new works, some of which will be
premiered precisely in Zagreb.
The prestigious European Culture Award,
given to the festival in 2007, only confirmed the importance of the Music Biennale Zagreb. The successful creation
and consolidation of European cultural
ties continues to be the foundation on
which this years rich programme is built.

To the musicians, the audience and the


organizers of this years Music Biennale I
By bringing the best and the most recent wish a lot of good music and much pleaof foreign music to Zagreb and by presen- sure in enjoying the first-rate works of art.
ting to the world what is being done at
home, this festival has accomplished re- Zagreb, March 24th, 2009
markable continuity and gained a lasting
reputation, despite various artistic and
Stjepan Mesi

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U ime Ministarstva kulture i u osobno


ime sa zadovoljstvom pozdravljam brojne sudionike i goste ovogodinjeg jubilarnog 25. Muzikog biennala Zagreb.

On behalf of the Ministry of Culture and


on my own behalf, I am pleased to welcome the many guests and participants
of this festival.

Za sve nas ovaj festival predstavlja vanu


kulturnu toku na mapi suvremenih dogaanja, pogotovo jer je njegov rast, razvoj i, konano, meunarodni status,
harmonino pratio, a esto i mijenjao
sliku suvremenog zvuka naega vremena.

For all of us, this festival represents an


important spot on the cultural map of
contemporary events, especially because
its growth, development and international status have always successfully
followed and often changed the perception of the contemporary music scene.

Sve to pripada povijesti Muzikog biennala Zagreb proizalo je upravo iz


dosljedno provedene ideje o otvorenoj
komunikaciji s cijelim svijetom, i to u
oba smjera. Dosezi nacionalnih suvremenih kretanja u glazbi, zdrueni s vrijednostima koje je ovdje donosila
meunarodna glazbena scena, stvorili su

The history of the Music Biennale Zagreb


shows consistent implementation of the
idea of open communication with the
world, in both directions. The achievements of national contemporary music
combined with values brought in by the
international music scene have created a

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jezik uzajamnosti i ravnopravnih estetskih odnosa kojima su skladatelji i njihovi interpreti stvarali jedan potpuno
drugaiji pogled na umjetnost 20. i 21.
stoljea. Upravo susreti razliitih stvaralakih kulturnih prostora, o emu govori festivalski kontinuitet od gotovo pet
desetljea, jaali su kulturne veze Hrvatske i svijeta. Muziki biennale Zagreb
kola je stvarateljskih osobnosti, stilova,
tehnika i pravaca ija je radikalnost,
pogotovo iz vremena avangarde, snano
obiljeila pojedina razdoblja suvremene
umjetnosti, a festivalski kontekst uvijek
se odnosio na aktualnu evoluciju europske i svjetske glazbe. Upravo ta potreba
prema suivotu, otvorenosti i potpunoj
kreativnoj slobodi apsolutno svih
glazbenih razliitosti koje obiljeavaju
dva stoljea, emancipirala je znaenjski
smisao interkulturnog dijaloga i umjetnike tolerancije.

language of reciprocity and equal aesthetic relationships, enabling the composers and performers to generate a
completely different outlook on the art of
the 20th and the 21st centuries. It is precisely this meeting of different creative
cultural spaces, whose importance is
proven by the five-decade continuity of
the festival, that strengthens the cultural
ties between Croatia and the rest of the
world. Music Biennale Zagreb is a nursery of creative personalities, styles, techniques and tendencies whose radicalism,
especially in the avant-garde period, has
left a deep mark on different aspects of
contemporary art, while its context has
always dealt with current evolution in
the field of European and world music.
The need for coexistence, openness and
creative freedom of the many heterogeneous musical styles appearing during
these two centuries has confirmed the
meaning of intercultural dialogue and
Uz estitke u povodu 25. obljetnice, upu- artistic tolerance.
ujem dobrodolicu svim skladateljima i
glazbenicima, kao i dobre elje za njihove Please allow me to congratulate you on
daljnje uspjehe.
the 25th anniversary of the festival and to
express a warm welcome to all comMinistar kulture Republike Hrvatske
posers and musicians, with best wishes
mr. sc. Boo Bikupi
regarding their future artistic work.
Minister of Culture
of the Republic of Croatia
Boo Bikupi, B. A.

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Potovani ljubitelji glazbe,

Dear music lovers,

Veliko nam veselje predstavlja jo jedno


izdanje Muzikoga biennala, za koji se
ambiciozno i odgovorno pripremamo te
ga s nestrpljenjem oekujemo!

We are pleased to welcome yet another


edition of the Music Biennale Zagreb, for
which we have been ambitiously and responsibly preparing and to which we are
very much looking forward!

Zagreb je grad kulture, grad glazbe.


Ponosni smo na svoju dugu i slavnu
tradiciju. Jednako nas vesele iznimna
postignua naih brojnih glazbenika na
ovdanjoj i meunarodnoj sceni, kao to
nas posebno raduju brojna gostovanja
glazbenika iz inozemstva. Ipak, kao i
svugdje, postoje oni dogaaji, one manifestacije koje su na vrhu, bez premca. Za
nas je to Muziki biennale Zagreb.

Zagreb is a city of culture and music. We


are proud of our long and great tradition.
We are equally pleased by the extraordinary success of our musicians, both on
the national and the international music
scene, and by the numerous guest performances of international artists. However, as everywhere else in the world,
there are always those manifestations
that we consider as being of the utmost
importance. For us, that manifestation is
the Music Biennale Zagreb.

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Ve gotovo pola stoljea gradski djelatnici, skladatelji, organizatori, izvoai i


posjetitelji zajedno sudjeluju u jedinstvenoj avanturi koja u zagrebake dvorane, kazalita i na zagrebake ulice
donosi novi zvuk, stare prijatelje i nove
goste. Svojom hrabrou i inovativnou
Biennale je stekao svjetski ugled, doveo
protagoniste meunarodne glazbene
scene u na grad i svijetu poslao poruku
o jedinstvenim kulturnim dogaanjima
kakva se nude u Zagrebu.

For almost half a century, City employees, composers, organizers, performers


and visitors have been working together
in this unique adventure, which brings
new sounds, old friends and new guests
to the concert halls, theatres and streets
of Zagreb. An audacious and innovative
festival of world renown, the Biennale
brings the international music scene to
our city, while sending a message of
unique cultural experiences taking place
in Zagreb.

Sve su to razlozi zato volimo Muziki biennale i potvrda njegove vanosti. Svim
gostima elim srdanu dobrodolicu u
Zagreb! Siguran sam da e Vam se svidjeti. Svoje sugraane, paljivu i vjernu
publiku, pozivam da prisustvuju briljivo
odabranim i pripremljenim vrhunskim
glazbenim doivljajima.

All this makes us appreciate our festival


and confirms its importance. I would like
to express my warm welcome to all this
years guests! I am sure that you will
enjoy the festival. I would also like to invite my fellow townspeople, who have always been an attentive and faithful
audience, to take part in these carefully
selected and superbly produced musical
experiences.

Uime graana Zagreba i svoje, zahvaljujem sudionicima, organizatorima - posebice Hrvatskom drutvu skladatelja - i
publici 25. Muzikog biennala Zagreb na
novom glazbenom doivljaju, te elim da
festival i ove godine bude vrhunski
glazbeni uitak.
Milan Bandi,
gradonaelnik Grada Zagreba

On behalf of the citizens of Zagreb and


on my own behalf, I thank the participants, the organizers - especially the
Croatian Composers Society - and the
audience of the 25th Music Biennale Zagreb for offering us a new musical adventure, and I hope that this year, as
always, it will prove to be a real musical
treat.
Milan Bandi,
Mayor of the City of Zagreb

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Potovani ljubitelji Nove glazbe,


pred vama je 25. izdanje Muzikog
biennala Zagreb. Unato recesiji, koja
zasigurno ne ide na ruku organizatorima
velikih kulturnih projekata, pokazalo se
da je ideja velikog europskog i svjetskog
sajma Nove glazbe jaa od problema s
kojima se susree svijet. Uz podrku
Ministarstva kulture Republike Hrvatske,
Grada Zagreba, brojnih stranih veleposlanstava i kulturnih centara te sponzora koji su pomogli koliko je tko mogao,
opet smo u prilici vidjeti svu raznolikost
Nove glazbe. Pritom je Biennale, moda
vie nego ikada, rezultat nesebine
suradnje hrvatskih kulturnih institucija
koje su prepoznale vanost koju on ima
za Zagreb i Hrvatsku.

Dear lovers of New Music,


Before you there stands the 25th edition
of the Music Biennale Zagreb. Despite
the recession, which certainly does not
benefit organizers of major cultural projects, it is evident that the idea of a large
European and world contemporary
music fair is stronger than the problems
that worry the world. With the support of
the Ministry of Culture of the Republic of
Croatia, the City of Zagreb, numerous
foreign embassies, cultural centres and
sponsors, who helped according to their
possibilities, we are again able to enjoy
the diversity of contemporary music.
The Biennale is, perhaps more than ever,
the result of selfless cooperation between Croatian cultural institutions,
which have recognized the importance
this festival has for Zagreb and Croatia.

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Naravno, matina kua Hrvatsko drutvo


skladatelja, s pridruenom produkcijskom
kuom Cantus, opet je bilo poveznica
projekta i oslonac bez kojega bi bilo
nemogue organizirati veliki festival.
Europska nagrada za kulturu, koju je
MBZ dobio prilikom prolog festivala te
odluka Meunarodnog drutva za
suvremenu glazbu da MBZ 2011.
ponovno bude njegov festival Svjetski
dani glazbe bili su poticaj da u Zagreb
opet dovedemo iznimne umjetnike,
skladatelje i izvoae iz cijelog svijeta, od
Kine do Amerike. Ali, kao i do sada,
posebnu smo brigu vodili o hrvatskom
stvaralatvu pa ponovno, uz brojne
druge skladbe, s ponosom predstavljamo
jo jednu novu hrvatsku operu i novi
balet. Tema ovogodinjeg festivala, koja
propituje odnos umjetnosti, glazbe i
politike, posebno je intrigantna. Skladatelji iz razliitih zemalja i razliitih
svjetonazora nastojali su dati svoj doprinos temi, izbjegavajui lake odgovore
koje nude pitanja dnevne politike.
elim vam da u ovogodinjem festivalu,
vrlo raznolikih pristupa Novoj glazbi,
naete dio svoga svijeta i uivate u onome
to vam nude umjetnici-sudionici MBZ 09.
Ivo Josipovi, predsjednik MBZ-a

13

Of course, the Croatian Composers Society, the parent institution of the festival, and its production house Cantus
have once again served as the moving
force behind the project, without whose
support it would have been impossible
to organize such a large festival. The European Culture Award, given to the MBZ
during the last festival, as well as the decision of the International Society for
Contemporary Music to make MBZ the
host of its World Music Days festival once
again in 2011, inspired us to invite to Zagreb extraordinary artists, composers
and performers from all over the world from China to America. On the other
hand, we have, as always, taken great
care to present national authors as well
and we are proud to offer you, among
many other pieces, a new Croatian opera
and a new Croatian ballet. The theme of
this years festival, which explores the
relationship between art, music and
politics, is especially intriguing. Composers from different countries and with
different worldviews have made their
contribution to the subject, avoiding
simple answers offered by everyday
politics. I hope that this year, from a
plethora of very different approaches to
New Music, you will be able to find a
piece of your own world and enjoy that
which the artists-participants of the MBZ
2009 have to offer.
Ivo Josipovi, President of MBZ

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snimio / photo by Demirel Paali

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Dobrodoli na 25. Muziki Biennale


Zagreb, festival koji ove godine, izmeu
ostaloga, propituje i kompleksne
suodnose umjetnosti i politike!
Welcome to the 25th Music Biennale
Zagreb, a festival that will try, among
other things, to question the complex
correlations between arts and politics!
Berislav ipu, umjetniki ravnatelj
MBZ-a / Artistic Director of the MBZ

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MBZ je dobitnik Europske kulturne


nagrade (Kulturpreis Europa), koju mu
je 2007. godine za postignua u kulturi
dodijelio Europski kulturni forum.
In 2007, MBZ received the European
Culture Award (KulturPreis Europa),
given out for accomplishments in
culture by the European Culture Forum.

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17

Kazalo / Contents

str. / page

18

Petak / Friday, 17 / 4 / 2009

56

Subota / Saturday, 18 / 4 / 2009

86

Nedjelja / Sunday, 19 / 4 / 2009

136

Ponedjeljak / Monday, 20 / 4 / 2009

154

Utorak / Tuesday, 21 / 4 / 2009

202

Srijeda / Wednesday, 22 / 4 / 2009

246

etvrtak / Thursday, 23 / 4 / 2009

294

Petak / Friday, 24 / 4 / 2009

328

Subota / Saturday, 25 / 4 / 2009

358

Nedjelja / Sunday, 26 / 4 / 2009

398

Posebni projekti / Special projects

422

Tristan Murail: Gost-skladatelj 25. MBZ-a /


Guest composer of the 25th MBZ

434

Zahvale / Acknowledgements

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day

month

petak / friday

17 4

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17:00, Teatar &TD / &TD Theatre


Polukruna dvorana / Semicircular Hall
Uz otvorenje Francuskog paviljona /
Opening of the French Pavilion:
Trio Sylvaina Kassapa / Sylvain Kassap Trio

19:30, HNK
SVEANO OTVORENJE / OPENING CEREMONY
Sreko Bradi: Crux Dissimulata (Prikriveni kri /
Concealed Cross)*, opera

22:00, &TD
Komorni ansambl Paul Klee /
Paul Klee Chamber Ensemble
Kaspar Zehnder, dirigent / conductor

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Uz otvorenje Francuskog paviljona /


Opening of the French Pavilion:
17:00, &TD, Polukruna dvorana /
Semicircular Hall
Trio Sylvaina Kassapa /
Sylvain Kassap Trio
Sylvain Kassap, klarinet / clarinet
Hlne Labarrire, kontrabas / double bass
Edward Perraud, bubnjevi i udaraljke / drums and percussions

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U suradnji s Hlne Labarrire i Edwardom Perraudom, Sylvain Kassap predstavlja bremenitu i nestabilnu glazbu,
ritminu i strujeu, radikalnu i uspjenu.
Uz podrku doslovno zadivljujue ritamske sekcije: dok su temelji glazbe u
rukama Hlne Labarrire, Edward Perraud igra ulogu zaigranog nestaka. Sylvain Kassap, prepun slobodnog duha,
katalizator je grevitog oblika lirizma.
Glazba dotad gotovo nepoznata, no vrijedna mjesta na najvioj razini.

21

With Hlne Labarrire and Edward


Perraud, Sylvain Kassap delivers us a
dense and unstable music, rhythmic and
current, radical and succeeded.
Served by a literally astonishing
rhythm section: while Hlne Labarrire
holds the foundations of the music,
Edward Perraud plays the role of a playful troublemaker. Sylvain Kassap, full of
a spirit of freedom, is the catalyst of a
convulsive shape of lyrism. A music quite
unknown until then but which deserves
its place at the highest level.

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17:00
sat

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23

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Sylvain Kassap

day

Klarinetist Sylvain Kassap (1956.) studirao je muzikologiju i klarinet i ve je rano


svirao s velikanima poput Michela Portala, Johna Surmana, Bernarda Lubata,
Hana Benninka i mnogih drugih. Suosniva je kolektiva Zhivaro. Otvoren svim vidovima glazbenih susreta, improvizirao
je na nastupima komiara, nastupao s
autorima elektroakustinih projekata,
svirao sa svojim Klarinetskim triom i
vodio brojne sastave. Paralelno je kao solist, ili u ansamblima, svirao moderni
(Stravinski, Varse, Webern), kao i suvremeni repertoar za klarinet (Aperghis,
Berio, Cage, Stockhausen) te suoblikovao
nova djela autora kao to su Bernard Cavanna, Luc Ferrari i drugi.
Kao skladatelj uglavnom je samouk, a od
poetka 80ih godina napisao je etrdesetak glazbi za kazalite, film, plesne predstave i televiziju. Tijekom 90ih iz potrebe,
izbora i kao odgovor na zahtjeve solista i
ansambala razvija suvremeniji glazbeni
rukopis: isprva pod utjecajem Luciana
Beria i Franca Donatonija, a potom stvorivi vlastiti, osobniji stil. Snimao je s
mnogim svjetskim glazbenicima, a pod
vlastitim je imenom objavio dvanaest albuma.

Clarinettist Sylvain Kassap (1956), who


studied musicology and clarinet, began
to play alongside the greats such as Michel Portal, John Surman, Bernard Lubat,
Han Bennink, and many others at quite
an early age. He co-founded the Collectif
Zhivaro. Having been open to all aspects
of musical encounters, he improvised at
the gigs of stand-up comedians, performed with the authors of electro-acoustic
projects, played with his Piano Trio and
led a number of bands. Pursuing his career both as a soloist and ensemble musician, he played modern (Stravinsky,
Varse, Webern) and contemporary
(Aperghis, Berio, Cage, Stockhausen) repertoire of music for the clarinet as well
as participated in the process of creating
new works of Bernard Cavanna, Luc Ferrari and other composers.
As a composer, he is mostly self-taught.
Since the early 1980s, he has composed
around forty pieces for theatre, film,
dance performances and television. In
the 1990s, out of necessity, personal
choice and in response to demands from
soloists and ensembles, he developed a
more modern compositional signature,
which was initially influenced by Luciano Berio and Franco Donatoni, before
he created his own, a more personal
style. He has recorded with many international musicians and released twelve
albums under his name.

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Edward Perraud

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Edward Perraud studirao je trombon,


udaraljke i muzikologiju na sveuilitu u
Rennesu, na parikom konzervatoriju
CNSM te IRCAM-u (bavei se analizom
glazbe Tristana Muraila) gdje je otkrio
rock, klasinu i suvremenu glazbu, a kasnije je prouavao i indijsku glazbu. Njegovo sviranje bubnjeva i udaraljki pod
utjecajem je jazz-tradicija, koja ga pak s
vremenom sve vie gura prema slobodnoj improvizaciji. Skupina koja mu je
dala mogunost pomirivanja glazbenih
sila i koja mu je otkrila improvizaciju bila
je Shub Niggurath, poetkom 90ih.
Odonda je svirao u brojnim sastavima
kao to su kvintet Hubbub, sekstet 69,
Das Kapital te duo, trio i kvartet sa Sylvainom Kassapom i drugi, na podruju
jazza, slobodne improvizacije i alternativnog rocka, a sebe predstavlja kao bubnjara, skladatelja, improvizatora i
istraivaa koji vjeruje u samoprijegor.

Edward Perraud studied the trombone,


percussion and musicology at Rennes
University, at the Conservatoire National
de la Musique de Paris and at the
IRCAM, where he did research on the
music by Tristan Murail and discovered
rock, classical and contemporary music,
before he began to study Indian music.
His playing of drums and percussion was
influenced by jazz traditions, which subsequently led to his interest in free improvisation. A group that provided him
with an opportunity to reconcile different musical forces and introduced him
to improvisation was Shub Niggurath in
the early 1990s. Since that period, he has
played in a number of ensembles, such
as the Hubbub Quintet, Sextet 69, Das
Kapital, as well as the duo, trio and quartet line-up with Sylvain Kassap and others in the fields of jazz, free
improvisation and alternative rock. He
describes himself as a drummer, composer, improviser and researcher who believes in self-denial.

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month

17

dan

mjesec

hour

17:00

petak / friday

sat

Hlne Labarrire

day

Hlne Labarrire (1963.) glazbu je


poela uiti u djetinjstvu od svoje brae,
a kontrabas je studirala na konzervatoriju
u Boulogneu. Prve je koncerte odrala s
grupom Ladies First, a zatim je pratila
brojne amerike glazbenike. S vremenom
se odluuje za improviziranu glazbu i
intenzivno radi s francuskim, a potom i
austrijskim predstavnicima toga anra.
Sa svojom grupom, Machination, a
kasnije i vlastitim kvartetom, nastupa po
svjetskim festivalima, kao i s triom i
kvartetom Sylvaina Kassapa te s drugim
ansamblima.

Hlne Labarrire (1963) received music


lessons from her brothers as a child and
subsequently studied the double bass at
Boulogne Conservatoire. She made her
first concert appearances with the Ladies
First Combo, before starting to play
alongside a number of American musicians. Gradually, she has decided to
pursue her career in improvised music
and has worked intensively first with
French and then with Austrian
representatives of the genre. She has
performed at international festivals with
her group, Machination, and later on
with her quartet, as well as with the
Sylvain Kassap Trio and Quartet and
other ensembles.

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27

1937

26

The French Pavilion

Francuski paviljon
U kompleksu Studentskog centa (Savska
25) nalaze se objekti koji su rijedak primjer meunarodne arhitekture moderne
u Hrvatskoj, a najznaajniji meu njima
je Francuski paviljon, izgraen 1937. godine za potrebe Zagrebakog Velesajma.
Sajam je 1957. preseljen na trenutnu lokaciju s june strane Save, a kompleks u
Savskoj prenamijenjen je u Studentski
centar.
Djelo francuskog arhitekta Roberta Camelota, inenjera Bernarda Lafaillea i zagrebakog graditelja Vjekoslava Faltusa,
genijalnom primjenom njihovih arhitektonskih znanja, ulo je u udbenike i preglede najinteresantnijih konstrukcija 20.
stoljea. Legenda kae da je Lafaille tadanjim skepticima dokazivao sigurnost
konstrukcije krova u obliku obrnutog elinog stoca vozei po njemu bicikl.
Nema sumnje da kompleks u Savskoj zasluuje veu pozornost jer ve izgledom tronom, ali sauvanom paviljonskom
arhitekturom znaajnih europskih arhitekata moderne ima komparativnu prednost pred mnogim drugim sveuilinim
institucijama slinog profila. Skoranja
obnova Francuskog paviljona poetak je
prepoznavanja znaenja i potencijala takvog prostora u gradu, jednako kao to je
njegova trenutna zaputenost jasan pokazatelj to se dogaa s objektima
lienim funkcije, namjene. Kultura u tom
smislu ne oplemenjuje drutvo i gradove
samo umjetnikim programima, nego
oivljava i pokree javne prostore.

Within the Student Centre complex (Savska 25) there are examples of international modern architecture in Croatia, and
the most important one is The French
Pavilion, built in 1937 for the purposes of
Zagreb Fair. The Fair moved to its current position on the south bank of river
Sava in 1957, and the complex in Savska
Street became the Student Centre.
Built by French architect Robert Camelot, engineer Bernard Lafaille and Zagreb
constructor Vjekoslav Faltus, due to a genius implementation of their architectural knowledge, the French Pavilion
became a part of school textbooks and
overviews of twentieth-century most interesting architecture. The legend says
that Lafaille proved the security of the
roof construction in the shape of reversed metal cone to skeptics by driving a
bicycle on it.
There is no doubt that the complex in
Savska Street deserves more attention
because of its looks alone - shabby, but
preserved pavilion architecture made by
famous European modern architects has
a comparative value more important
than many other university institutions
of the similar profile. The soon-to-be restoration of the Pavilion is the beginning
of understanding the importance of status and potential of such space in the
city, the same as its present condition testifies what happens to objects that remain without their function, purpose. In
that sense, culture does not improve society and cities with art projects alone,
but it also revives and animates public
spaces.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 28

day

month

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dan

mjesec

hour

19:30

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sat

19:30, HNK
SVEANO OTVORENJE /
OPENING CEREMONY
Sreko Bradi: Crux Dissimulata
(Prikriveni kri / Concealed Cross)*, opera
Ivan Vidi, libretist / libretto
Kreimir Doleni, redatelj / director
Zoran Jurani, dirigent / conductor
Dinka Jerievi, scenografkinja / set design
Danica Dedijer Mari, kostimografkinja / costumes
Deni esni, dizajn svjetla / light design
Ivan Josip Skender, zborovoa i asistent dirigenta / choirmaster and
conductors assistant, Marko Juraga, asistent redatelja / directors assistant
Zvonko Novosel, suradnik za glumu / acting coach
Ansambli HNK Zagreb /
Ensembles of the Croatian National Theatre in Zagreb;
Roza - Martina Zadro
Max - Domagoj Doroti
Bla - Marko Mimica
Matilda - Diana Hilje
Ivan - Davor Radi
Policajac / Policeman - Mario Bokun
Jura - Alen Ruko
Prvi / The First One - Neven Mrzleki
Drugi / The Second One - Igor Hapa
Trei / The Third One - Damir Klaar
Inspicijentica / Stage manager - Dinka Lozi
Asistentice kostimografkinje - volonterke: Ivana Filipovi i Vinja Iris
Korepetitorice / Accompanists: Darjana Blae ojat, Helena Borovi,
Lana Bradi, Nina Cossetto, Silvana uljak

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28

29

Crux Dissimulata - Sadraj

Crux Dissimulata - Summary

Prvi dio.
Svake godine na isti datum, u proljee, u
mjestu Kri odrava se proenje.
Okupljaju se hodoasnici, a mjetani tu
lokalnu svetkovinu koriste i kao priliku
za trgovinu, svojevrsni vjerski turizam.
Tih dana pored lokalnog svetita, u centru
zbivanja nalazi se gostionica Kod Kria,
u kojoj se odvija vrlo intenzivan drutveni
ivot.
U gostionici radi Roza, lijepa mlada ena
udana za Ivana, lokalnog neradnika i
probisvijeta. Vlasnice gostionice je Matilda, agilna udovica nezgodne naravi.
Max, njezin sin jedinac, invalid koji je
nakon pada s motora ostao u kolicima,
zaljubljen je u Rozu, svoju ljubav iz rane
mladosti. Veer uoi proenja, dok se u
birtiji lokalno drutvo zabavlja s hodoasnicima, pojavljuje se Ivan s prijateljem
Blaom. U problemima su; kockali su i
ostali duni novac kamatarima. Ivan posee u Rozinu torbicu, uzima potajice
kljueve od Matildine kue i gostionice i
krade gazdariin novac.

Part One.
Every year at the same date, in springtime,
in a place called Kri (Cross) there is a
parish fte. Pilgrims come from all
around, and locals use on this local event
to trade, as a kind of religious tourism.
Those days, at the centre is the local pub
At the Cross in which all of the locals social
life takes place.
Roza, the beautiful young wife of Ivan, a
local idler and good-for-nothing, works
in this pub. The owner of the pub is
Matilda, an agile widow with a nasty
temper. Max, her only son, who became
disabled and moves around in wheelchair
after falling from a bike, is in love with
Roza, his youth sweetheart. On the
evening of the parish fte, while local
socialites are having fun at the pub, Ivan
appears with his friend Bla. They are in
trouble; they have been gambling and
now owe money to extortionists. Ivan
reaches for Rozas handbag, takes the
keys of Matildas pub from it and steals
the landladys money.

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sat

During the delivery of the money theres


a showdown and Ivan gets hurt while
Bla runs away. Roza hears the news of
her husbands death at the same time
that Matilda discovers she has been
robed. She accuses Roza of stealing her
money and while the police are taking
her away, Max starts defending her and
against his mothers will testifies in
Rozas favour. At the day of parish fte,
while the entire place is celebrating, the
two lonely unfortunate wretches are
Drugi dio.
Godinu dana kasnije u mjestu se ponovno once again brought closer together.
okupljaju hodoasnici i sprema se
proenje. Roza i Max sada ive zajedno Part Two.
u njenoj kui. U meuvremenu je dolo It is one year later and the small place
experiences the assembling of pilgrims
do potpunog raskola izmeu Maxa i
njegove majke. Matilda ih je tuila zbog and religious folks for the parish fte yet
again. Roza and Max live together in her
novca i sada im sud, tono na dan
svetkovine, plijeni stvari i tjera iz Rozine house. Max and his mother are not on
speaking terms. Matilda sued both of
kuice. U njenu korist svjedoio je i
them for stealing their money and the
pokvareni Bla. Max je potpuno
court is, at the very day of the parish fte,
razoaran, svjestan neuspjeha i
nemogunosti da s Rozom vodi normalan claiming seizure of Rozas house. Even
ivot, ali svejedno ne eli moliti majku za the dishonest Bla testified on her
behalf. Max is now utterly disappointed,
milost. Pijan i na rubu ivaca posee za
aware of the failure and impossibility to
orujem. Roza mu oduzima pitolj.
have any kind of normal life with Roza,
Prilikom ovrhe dolazi do sukoba pred
he asks for his mothers forgiveness.
oima znatieljnika. Dok im odnose
stvari, Max zapodijeva u svau s Blaom Drunk, and at the end of his ropes, Max
reaches for the gun which Roza
i ovaj ga udara i rui iz kolica. Roza
successfully takes away from him.
izbezumljena od oaja puca u Blaa i
During the writ of execution, in front of
ubije ga. Dok u mjestu traje sveanost,
the eyes of several inquisitive people, a
Roza posve sama proivljava teke,
conflict bursts. While the officials are
nesnosne trenutke.
seizing their property, Max gets into an
argument with Bla and Bla hits him
and knocks him from his wheelchair.
Roza, completely frantic at this point,
shots Bla and kills him. While the
festivities are well under way, Roza, all
alone, experiences excruciating
moments of grief and suffering.
Prilikom predaje novca dolazi do
obrauna s kamatarima. Ivan strada, a
Bla bjei. Istovremeno dok Roza doznaje
da joj je mu ubijen, Matilda otkriva da
je opljakana. Sumnja pada na Rozu. Kad
je privede policija, u njenu zatitu staje
Max, koji okree lea majci i svjedoi da
je njenu korist. Na dan proenja, dok u
mjestu traje svetkovina, dvoje usamljenih nesretnika se ponovno zbliava.

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31

Sreko Bradi

30

Sreko Bradi (Samobor, 1963.)


diplomirao je glazbenu kulturu, a zatim i
kompoziciju na Muzikoj akademiji u
Zagrebu u razredu prof. Stanka Horvata.
Predaje teorijsko-glazbene predmete na
Odjelu za kompoziciju i glazbenu teoriju
Muzike akademije u Zagrebu. U njegova
vanija djela ubrajaju se Penetration za
klavir i gudaki orkestar, Credo za soliste,
zbor i orkestar, 2 gudaka kvarteta, La
Femme za sopran i orkestar, Koncert za
klavir i orkestar, Koncert za violu,
violonelo i orkestar, Koncert za orkestar,
Homo erectus (Salutes to Europa).

Sreko Bradi (Samobor, 1963)


graduated in the music education and
subsequently in the composition from
the Zagreb Academy of Music in the
class of Stanko Horvat. He teaches a
course on music theory at the
Composition and Music Theory
Department of the Zagreb Academy of
Music. Among his notable works are
Penetration for piano and string orchestra,
Credo for soloists, choir and orchestra, 2
string quartets, La Femme for soprano
and orchestra, Concerto for piano and
orchestra, Concerto for viola, violoncello
and orchestra, Concerto for orchestra,
Homo erectus (Salutes to Europe).

day

month

17

dan

mjesec

hour

19:30

petak / friday

sat

Vidi

Ivan

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 32

Ivan Vidi (Zagreb, 1966.) osnovnu i


srednju kolu zavrio je u Zagrebu, gdje
je diplomirao dramaturgiju na Akademiji
dramskih umjetnosti. Pie kazaline
komade, filmske scenarije i prozu. ivi u
Zagrebu.
Napisao je drame Harpa, Putnici,
Groznica, Ospice, Bakino srce, Velika
Tilda, Happy Endings, Octopussy, Grupa
za podrku, Veliki bijeli zec, Onaj koji se
sam govori, ivot u sjeni banane, ZOO i
dr. Objavio je knjige Drame, Mansioni,
roman Gangabanga te Violator / Ona govori.

Ivan Vidi (Zagreb, 1966) received his


primary and secondary education in
Zagreb, where he graduated in dramaturgy
from the Zagreb Academy of Dramatic
Art. He writes plays, screenplays and
fiction. He lives in Zagreb. He wrote the
following plays: Harpa, Travellers, Fever,
Measles, A Grandmas Heart, The Great
Tilda, Happy Endings, Octopussy, A
Support Group, A Big, White Rabbit, SelfDeclamatory, Life in the Shadow of a Banana Plant, The ZOO, etc. His published
books are Dramas (Mansioni), the novel
Gangabanga and Violator/She Speaks.

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33

Jurani

Zoran

32

Zoran Jurani (Rijeka, 1947.) na Muzikoj


akademiji u Zagrebu studirao je glazbenu
teoriju te kompoziciju (Stjepan ulek) i
dirigiranje (Igor Gjadrov), nakon ega
postaje zborovoom u HNK Zagreb.
Tamo je od 1988. stalni dirigent, a od
2002. - 2005. i ravnatelj Opere. Bio je
umjetniki ravnatelj Opere HNK Ivana
Zajca u Rijeci i Opere HNK u Osijeku.
Izvanredni je profesor na Muzikoj
akademiji u Zagrebu. Stalni je gostdirigent Opere Srpskog narodnog
pozorita u Novom Sadu. Uz niz
simfonijskih i koncertnih skladbi, njegov
repertoar obuhvaa pedesetak opernih
djela iz svih stilskih razdoblja. Autor je
operne farse Govori mi o Augusti (MBZ
1999.), operne sapunice Pingvini
(Hamburg i MBZ 2007.) te niza scenskih,
orkestralnih i komornih skladbi. Revidirao
je i izveo niz zanemarenih djela iz
hrvatske glazbene batine, primjerice
djela Ivana pl. Zajca i Antonija Smareglie.
Revidirao je i izveo i operu Oganj Blagoja
Berse, kao i praizvedbu opere Preobraaj
Stanka Horvata.

Deni eni: str./page 395

Zoran Jurani (Rijeka, 1947) studied the


music theory, composition (Stjepan ulek)
and conducting (Igor Gjadrov) at the
Zagreb Academy of Music, before
becoming a choirmaster at the Croatian
National Theatre in Zagreb. In 1988, he
was appointed resident conductor and in
the period from 2002 to 2005 he worked
as the Opera director. He was also artistic
director of the Operas at the Croatian
National Theatre Ivan pl. Zajc in Rijeka
and the Croatian National Theatre in
Osijek. He currently teaches as a reader
at the Zagreb Academy of Music. He is a
resident guest conductor at the Serbian
National Theatre Opera in Novi Sad. In
addition to many symphonic and concert
works, his repertoire includes around
fifty operas covering all stylistic periods.
He composed the operatic farce Talk to
Me about Augusta (1999 MBZ), the soapy
burlesque Penguins (Hamburg and 2007
MBZ), and a number of stage, orchestral
and chamber works. He revised and
performed a number of neglected works
in Croatian musical heritage, such as
many compositions by Ivan pl. Zajc and
Antonio Smareglia. He also revised and
staged the opera Fire by Blagoje Bersa as
well as the premiere of Stanko Horvats
opera The Metamorphosis.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 34

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17

dan

mjesec

hour

19:30

petak / friday

sat

Kreimir Doleni

day

Kreimir Doleni (Zagreb, 1962.) zavrio


je Klasinu gimnaziju, srednju muziku
kolu i Akademiju dramske umjetnosti.
Reirao je tue i vlastite komade u svim
veim kazalitima Hrvatske, na
Dubrovakim ljetnim igrama, Splitskom
ljetu... Predavao je glumu kao asistent na
ADU, a bio je predava i na Muzikoj
akademiji u Zagrebu, na Rice University
u Houstonu te na Trinity College of
Music u Londonu. Na pozornicama
Hrvatske, Slovenije, Engleske, SAD i Kine
postavio je tridesetak opera, od kojih su
mnoge na repertoarima kazalita ve vie
godina. Bio je ravnatelj Dramskog kazalita
Gavella. Za svoj rad nagraen je mnogim
nagradama za reiju, a dobio je i nekoliko
odlikovanja. U HNK u Zagrebu do sada je
reirao opere Ero s onoga svijeta, Nikola
ubi Zrinjski, Samson i Dalila, Plat, Ki
pukovnije, Marco Polo, Rigoletto, Seviljski
brija i Razgovori karmelianki.

Kreimir Doleni (Zagreb, 1962) received


his education at the Classics-Programme
Secondary School and at a secondary
school of music, before graduating from
the Academy of Dramatic Art. He has
directed his own and other authors
plays in major Croatian theatres, at the
Dubrovnik Summer Festival, Split
Summer Festival, etc. As an assistant
lecturer, he taught acting at the Zagreb
Academy of Dramatic Art and has given
lectures at the Zagreb Academy of Music,
Rice University in Houston and at the
Trinity College of Music in London. He
has staged around thirty operas in
Croatia, Slovenia, England, the USA and
China, some of which have been in the
repertoire of various theatres for years.
He was also appointed to the position of
general manager of the Gavella Drama
Theatre. He has received a number of
awards and several decorations for his
creative work as a director. At the
Croatian National Theatre in Zagreb he
has directed the following operas: Ero
from the Other World, Nikola ubi
Zrinjski, Samson and Dalila, The Cloak,
The Daughter of the Regiment, Marco
Polo, Rigoletto, The Barber of Seville, and
Dialogues of the Carmelites.

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35

Dinka Jerievi

34

Dinka Jerievi zavrila je Odjel za


arhitekturu i unutarnje ureenje kole
primijenjene umjetnosti u Zagrebu.
kolovanje je nastavila u Londonu.
Nakon povratka u Zagreb, 1969. godine,
radi kao scenografkinja na televiziji i
filmu. Od 1974. god. ostvarila je
ezdesetak dramskih, opernih i baletnih
scenografija u HNK Zagreb, ija je stalna
scenografkinja od 1992. godine.
Realizirala je vie od tristo televizijskih,
jednako toliko kazalinih te petnaest
filmskih scenografija. S redateljem
Kreimirom Doleniem u zagrebakoj
je Operi ostvarila predstave Nikola ubi
Zrinjski, Samson i Dalila, Seviljski brija
i Razgovori karmelianki. Izvanredna je
profesorica na ADU i dobitnica brojnih
strukovnih nagrada.

Dinka Jerievi completed the Zagreb


School of Applied Arts, the Department
for Architecture and Interior Decoration.
She continued with further studies in
London. Upon her return to Zagreb in
1969, she started working as a set
designer for television and film. Since
1974, she has authored around sixty
designs for drama, opera and ballet
productions at the Croatian National
Theatre in Zagreb, becoming their
resident stage designer in 1992. She has
created more than 300 set designs for
television, as much for the theatre
productions, and fifteen film set designs.
Together with director Kreimir Doleni,
she worked on the operas Nikola ubi
Zrinjski, Samson and Dalila, The Barber
of Seville, and Dialogues of the Carmelites
staged at the Zagreb Opera. She is a reader
at the Zagreb Academy of Dramatic Art
and a recipient of professional awards.

day

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mjesec

hour

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petak / friday

sat

Dedijer-Mari

Danica

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 36

Danica Dedijer-Mari gimnaziju je


zavrila u Adis Abebi, a u Zagrebu je
diplomirala engleski i francuski jezik na
Filozofskom fakultetu te slikarstvo na
Akademiji likovnih umjetnosti u klasi
profesora ime Peria. Tijekom dvadesetak
godina ostvarila je vie od etiristo
kostimografija. Dobitnica je Nagrade
Gavellinih veeri, Sterijine nagrade i
drugih. Suraivala je s mnogim
suvremenim hrvatskim redateljima u
dramskim, opernim i baletnim
predstavama u svim zagrebakim i
hrvatskim teatrima te u inozemstvu. U
Pekingu je kreirala kostime za vie od
3000 sudionika Verdijeve opere Aida, u
reiji Kreimira Dolenia. U posljednje
vrijeme suraivala je na predstavi Elektra
Euripida u Thtre national de
Luxembourg, Ondine Giroudouxa i Don
Quijote Cervantesa na Dubrovakim
ljetnim igrama i Otoku sv. Ciprijana u
splitskom HNK, za to je dobila nagradu
Marul.

Danica Dedijer-Mari received her


secondary education in Addis Ababa and
graduated in the English and French
from the Zagreb Faculty of Humanities
and Social Sciences as well as in painting
from the Academy of Fine Arts in the
class of ime Peri. She has created more
than 400 costume designs over some
twenty years and has received the
awards at Gavellas Evenings, Sterijas
Theatre, etc. She has worked with many
contemporary Croatian directors, on
drama, opera and ballet productions in
all Zagreb-based and Croatian theatres
as well as abroad. She created costumes
for over 3,000 participants in Verdis
Aida when directed by Kreimir Doleni
in Beijing. Some of her most recent
projects include Euripidess play Electra
at the Thtre national de Luxembourg,
Girodouxs Ondine and Cervantess Don
Quixote at the Dubrovnik Summer
Festival, and St Ciprians Island at the
Croatian National Theatre in Split for
which she has won the Marul Award.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 37

Martina Zadro

36

Sopranistica Martina Zadro diplomirala


je i magistrirala pjevanje na zagrebakoj
Muzikoj akademiji u klasi prof. Snjeane
Bujanovi-Stanislav. Na Visokoj glazbenoj
koli u Grazu diplomirala je lied i oratorij u
klasi prof. Gerharda Zellera. Usavravanje
nastavlja kod Vitomira Marofa i Eve
Blahove, a potom kod operne legende
Anne Moffo. Debitirala je u zagrebakom
HNK, gdje je nastupila kao Jelena, Corilla,
Giulietta, Gilda i Micaela, a danas nastupa
diljem Europe, u Oviedu, Salzburgu,
Pragu, kao i na Opernom Festivalu
Longborough u Engleskoj (kao Violetta,
Mimi, Rosina, Micaela, Pamina i Susanna),
suraujui s brojnim priznatim
dirigentima. Od sezone 2003./2004.
lanica je Opere Slovenskog narodnog
kazalita u Ljubljani, gdje je ostvarila niz
glavnih uloga, a veliki uspjeh uz pohvale
europske kritike postie ulogom Armgard
u svjetskoj premijeri prve Offenbachove
opere Rajnske nimfe. Kao koncertna
pjevaica Martina Zadro nastupa uz
hrvatske, slovenske i eke orkestre. Uz
brojne nagrade u Hrvatskoj pobjednica
je i meunarodnih pjevakih natjecanja
Lucia Popp (Slovaka) i Antonn Dvok
(eka) 1999. godine.

37

Soprano singer Martina Zadro graduated


and obtained her masters degree in
singing from the Zagreb Academy of
Music under Snjeana Bujanovi Stanislav. She also earned a degree in the
lied and oratorio in the class of Gerhard
Zeller at the Graz College of Music. She
continued with further studies under
Vitomir Marof and Eva Blahova, and
subsequently studied with opera legend
Anna Moffo. She made her professional
debut at the Croatian National Theatre
in Zagreb, where she also appeared as
Jelena, Corilla, Giulietta, Gilda, and
Micaela. Today, she performs around
Europe, in Oviedo, Salzburg, Prague, as
well as at the Longborough Festival
Opera in England (as Violetta, Mimi,
Rosina, Micaela, Pamina, and Susanna),
working with many renowned conductors.
In the season of 2003/04, she joined the
Opera Ensemble of the Slovenian
National Theatre in Ljubljana, where she
sang a number of leading roles and
appeared as Armgard in the international
premiere of Offenbachs first opera
Rhine Nymphs to great critical acclaim in
Europe. As a concert singer, Ms. Zadro
has performed alongside Croatian,
Slovenian and Czech orchestras. In
addition to numerous awards received in
Croatia, she also won the Lucia Popp
(Slovakia) and Antonin Dvok (the Czech
Republic) Singing Competitions in 1999.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 38

month

17

dan

mjesec

hour

19:30

petak / friday

sat

Domagoj Doroti

day

Domagoj Doroti (Breice, 1979.) zapoeo


je muziku naobrazbu kao truba u
Glazbenoj koli Ferdo Livadi u Samoboru,
a nastavio na Glazbenom uilitu Elly
Bai u Zagrebu. Isprva pohaa privatne
satove pjevanja i postaje lanom Zbora
HNK Zagreb, a 2004. godine postaje studentom pjevanja u klasi prof. Vlatke
Orani na Muzikoj akademiji u Zagrebu,
gdje je i diplomirao 2008. godine. Tijekom
studija osvojio je prvu nagradu na
dravnom natjecanju pjevaa u
Dubrovniku, a sudjelovao je i na
meunarodnim natjecanjima poput
onoga u San Marinu (Renata Tebaldi),
gdje je uao u polufinale. Dobitnik je
Rektorove nagrade Sveuilita u Zagrebu
za ulogu Rinuccia u operi Gianni Schicchi
Giacoma Puccinija, koju je pripremao na
Muzikoj akademiji. Aktivno nastupa i
kao koncertni i kao operni pjeva.

Domagoj Doroti (Breice, 1979) started


his music education as a trumpeter at he
Ferdo Livadi School of Music in Samobor,
and continued with further studies at the
Elly Bai School of Music in Zagreb.
First, he took up private lessons in singing
and joined the Choir of the Croatian
National Theatre in Zagreb, and in 2004,
he began to study singing with Vlatka
Orani at the Zagreb Academy of Music,
from which he graduated in 2008. During
his studies, he won the first prize at a
national singing competition in Dubrovnik,
and he also participated in the
competitions abroad, such as the Renata
Tebaldi Competition in San Marino,
where he reached the semi-finals. He has
received the University of Zagreb Rectors
Award for the role of Rinuccio in Giacomo
Puccinis opera Gianni Schicchi which
he prepared at the Academy of Music.
He pursues his career as a concert and
opera singer.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 39

39

Diana Hilje

38

Diana Hilje roena je u Dubrovniku.


Nakon diplome na zagrebakoj Muzikoj
akademiji magistrirala je solo pjevanje
1987. godine u klasi profesorice Marije
Bori. Dobitnica je Nagrade Marija
Bori za pjevaka tehnika dostignua
studenata Muzike akademije 1985.
godine. Usavravala se kod Dunje
Vejzovi, Branke Stilinovi i Nade PuttarGold. Solistica Opere HNK u Zagrebu postala je 1986., a 2003. godine
unaprijeena je u prvakinju. Ostvarila je
vie od etrdeset uloga u zagrebakom
HNK (Santuzza, Azucena, Charlotte, Mila
Gojsalia, Amneris, Carmen, Suzuki), a
nastupala je i na ostalim hrvatskim
opernim pozornicama, na Splitskom
ljetu i u Operi SNG Ljubljana.

Diana Hilje was born in Dubrovnik.


Having graduated from the Zagreb
Academy of Music, she obtained a
masters degree in singing in the class of
Marija Bori in 1987. She won the
Marija Bori Award, given to the
Academy students for their performing
achievement in 1985. She further studied
with Dunja Vejzovi, Branka Stilinovi
and Nada Puttar-Gold. In 1986, she was
appointed a soloist of the Opera Ensemble
at the Croatian National Theatre in Zagreb,
before becoming prima donna in 2003.
She has sung over forty roles at the
Croatian National Theatre in Zagreb
(Santuzza, Azucena, Charlotte, Mila
Gojsali, Amneris, Carmen, Suzuki), and
performed at various Croatian opera
venues, at the Split Summer Festival and
the Slovenian National Theatre Opera in
Ljubljana.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 40

month

17

dan

mjesec

hour

19:30

petak / friday

sat

Davor Radi

day

Davor Radi (Pula, 1958.) diplomirao je


solo pjevanje na Muzikoj akademiji u
Zagrebu nakon diplome na zagrebakom
Fakultetu strojarstva i brodogradnje.
lanom Opernog zbora HNK u Zagrebu
postao je 1991., a solist Opere je od 2002.
godine. U matinom kazalitu ostvario je
etrdesetak uloga (Germont, Scarpia,
Nikola ubi Zrinjski, Marcello, Sima,
Gianni Schicchi, Figaro). Gostovao je u
opernim predstavama osjekog i rijekog
HNK, u skopskom Makedonskom
narodnom teatru, Narodnom pozoritu
Sarajevo te u ZGK Komedija, gdje je
nastupio i u brojnim operetama.

Davor Radi (Pula, 1958) graduated in


singing from the Zagreb Academy of
Music after completing his studies at the
Faculty of Engineering and Naval
Architecture. In 1991, he joined the
Opera Ensemble of the Croatian National
Theatre in Zagreb, before becoming a
soloist in 2002, and appeared in around
forty roles (Germont, Scarpia, Nikola
ubi Zrinjski, Marcello, Sima the Miller,
Gianni Schicchi, Figaro). He has given
guest performances in operas staged at
the Osijek and Rijeka Croatian National
Theatres, at the Macedonian National
Theatre in Skopje, the Sarajevo National
Theatre, and at the Komedija City
Theatre in Zagreb, where he appeared in
a number of operettas.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 41

41

Bokun

Mario

40

Mimica

Marko

Mario Bokun (Zagreb, 1976.) apsolvent


je Fakulteta elektrotehnike i raunarstva
i student Muzike akademije u Zagrebu.
Pjevanje je poeo uiti 1994. godine kod
prof. Sergija Foretia u Dugom Selu. Po
dolasku u Zbor HNK Zagreb, iji je stalni
lan, poeo je raditi s Brankom Stilinovi,
a zatim sa Sotirom Spasevskim,
Francescom Anileom i s Vitomirom
Marofom. Danas studira u klasi prof.
Snjeane Bujanovi-Stanislav te pjeva i
solistike uloge u HNK. Suraivao je s
Marko Mimica (Split, 1987.) student je 4. vokalnim ansamblom Madrigal i vanjski
godine pjevanja na Muzikoj akademiji u je suradnik Zbora Hrvatske radiotelevizije.
lan je i solist crkvenog zbora i vokalnog
Zagrebu u klasi prof. Vlatke Orani.
ansambla Duga u Dugom Selu.
Srednju glazbenu kolu, smjer truba,
zavrio je u Splitu. Dobitnik je prve nagrade
na Dravnom natjecanju studenata
glazbe i plesa u Dubrovniku 2007. godine.
Na sceni HNK u Zagrebu debitirao je u
sijenju 2008. u ulozi Papagena u operi
arobna frula W. A. Mozarta. Stipendist
je CEE Musiktheatra.

Mario Bokun (Zagreb, 1976) is a senior


undergraduate at the Faculty of Electrical
Engineering and Computing and a student
at the Academy of Music in Zagreb. He
took up first music lessons with Sergio
Foreti in Dugo Selo in 1994. Having joined
the Croatian National Orchestra Choir in
Zagreb, he started working with Branka
Stilinovi and then with Sotir Spasevski.
Marko Mimica (Split, 1987) is a fourthHe continued with further studies in
year student of singing at the Zagreb
singing under Francesco Anile and
Academy of Music in the class of Vlatka
baritone Vitomir Marof, a national
Orani. He completed a secondary
school of music, trumpet course, in Split. principal soloist at the Zagreb Opera. He
currently studies in the class of Snjeana
He won the first prize at the National
Stanislav-Bujanovi and performs as a
Competition of Music and Dance Students
soloist at the Croatian National Theatre.
in Dubrovnik in 2007. He made his
He has worked with the vocal ensemble
professional debut as Papageno in the
Madrigal and with the Croatian Radio
opera The Magic Flute by W. A. Mozart at and Television Choir as a part-time
the Croatian National Theatre in Zagreb basis. He is a member and a soloist of the
in January 2008. He has been granted a
church choir and vocal ensemble Duga
(Rainbow) in the town of Dugo Selo.
CEE Musiktheater scholarship.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 42

day

month

17

dan

mjesec

hour

22:00

petak / friday

sat

22:00, &TD
Komorni ansambl Paul Klee /
Paul Klee Chamber Ensemble
Kaspar Zehnder, dirigent / conductor
Eva Aroutunian, klavir / piano
Gaudenz Badrutt, klavijature / piano MIDI
Ana Ioana Oltean, flauta / flute
Adrian Cioban, oboa / oboe
Christoph Schnyder, klarinet / clarinet
Veselin Manchev, rog / horn
David Sonton Caflisch, violina / violin
Jessica Rona, viola
Aurlien Ferrette, violonelo / cello
Ivan Nesti, kontrabas / double bass
Pauline Sabatier, glas / voice
Kaspar Zehnder, dirigent i flautist / conductor and flute
Philippe Monne-Loccoz, tehniar / technician
Kerstin Hrtel, menaderica / manager
Dubravko Palanovi: Mozaik za 9 instrumenata / Mosaic for 9 Instruments*
Daniel Ott: Frammenti per Pieve Caina / Fragmenti za Pieve Cainu /
Fragments for Pieve Caina
22/3
le ranz des vaches / cow procession / kravlja povorka
5/9
/\/\/\/
Kinderspiele / childs play / djeje igre
shto s taboi / what with you? / to s tobom?
Jammermusik / sorrowful music / emerna glazba
Jonas Kocher: Harmonie mit schrger Dmpfung und Sopranbimbo /
Harmonija s okomitim smanjenjem i sopran-bimbom / Harmony with an
oblique attenuation and a sopranobimbo
Tristan Murail / Herv Bailly-Basin: Liber fulguralis / Book of Lightnings /
Knjiga munja
Koncert je ostvaren u suradnji s fondacijom
Pro Helvetia / In collaboration with the
Pro Helvetia Foundation

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42

Sastav Ansambla Paul Klee u osnovi


odgovara onom iz Schnbergova djela
Pierrot lunaire: glas, flauta, klarinet,
violina, violonelo, klavir, pri emu se,
ovisno o glazbenicima u pojedinom
djelu, pozivaju i gosti. Time se njegov
repertoar protee od solo djela do
komornih simfonija s dirigentom.
Program posve posveen slikaru Paulu
Kleeu uvijek je mjeavina glazbe koju je
Klee sluao i volio (Bach, Mozart,
Beethoven itd.), glazbe njegovih
suvremenika (Schnberg, Hindemith,
Bartk itd.) i glazbe koja je inspirirana
njime i njegovom umjetnou (u arhivu
Centra Paul Klee nalazi se oko 300
partitura skladanih prema njegovim
djelima). Paul Klee daje poticaj za
program koji nadilazi uobiajene
koncertne izvedbe. Na koncertima se ne
samo svira nego i pjeva, govori, djeluje, a
katkada ak i kuha.

43

The Paul Klee Ensemble basically


corresponds to the composition from
Schnbergs piece Pierrot lunaire: voice,
flute, clarinet, violin, cello, and piano,
where, depending on the musicians in
certain parts of the composition guests
are invited as well. The repertoire of the
ensemble extends from solo pieces to
chamber symphonies involving a
conductor. The programme which is
entirely dedicated to the painter Paul
Klee, represents a constant mixture of
the music Klee listened to and loved
(Bach, Mozart, Beethoven, etc.), the
music of his contemporaries (Schnberg,
Hindemith, Bartk, etc.) and music
inspired by him and his art (there are
approximately 300 musical pieces
composed and inspired with the works
of Paul Klee in the archives of the Paul
Klee Centre). Paul Klee provides an
impetus for a programme that surpasses
usual concert renderings. These concerts
do not feature only instrumental playing,
but singing, talking, acting, and
sometimes even cooking.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 44

day

month

17

dan

mjesec

hour

22:00

petak / friday

sat

Ansambl Paul Klee ne smatra se samo


glasnikom novog doba i nove glazbe,
nego i skupinom izvrsnih solista i
solistica koji su zainteresirani i sposobni
kretati se u razliitim podrujima
glazbene interpretacije i improvizacije.
Ansambl je nastao jo prije otvaranja
Centra Paul Klee. Pijanistica Eva
Aroutunian i flautist Kaspar Zehnder
2002. godine su s dananjim umjetnikim
voditeljem Pierreom Subletom osmislili
interdisciplinarni program sa vicarskom
i armenskom glazbom, umjetnou,
knjievnou i kuhinjom. Pod imenom
Swiss Modern ansambl je u dananjem
sastavu odrao koncerte u Erevanu,
Bernu i enevi.
Kao kuni ansambl Centra Paul Klee
glazbenici svake godine odravaju ciklus
od est koncerata u pretplati u Kulturnom
centru, izgraenom prema zamisli
arhitekta Renza Piana i otvorenom 2005.
godine. Uz to, ansambl odrava brojne
koncerte u vicarskoj i inozemstvu.

The ensemble does not think of itself as


the messenger of new age or new music,
they regard themselves as a group of
excellent solo-performers who share a
common interest and are able to move
through various fields of musical
interpretation and improvisation. The
ensemble was founded even before the
Paul Klee Centre opened. In 2002 the
pianist Eva Aroutunian, flutist Kaspar
Zehnder and todays artistic director
Pierre Sublet jointly worked out an
interdisciplinary programme featuring
Swiss and Armenian music, art, literature
and cuisine. Under the name Swiss
modern, the ensemble gave
performances throughout Switzerland
and Armenia.
As Paul Klee Centres residential
ensemble, these musicians perform six
concerts every season in the Centre
which was built by architect Renzo Piano
and opened in 2005. Besides having
concerts at the Centre, the ensemble
performs concerts throughout
Switzerland and abroad.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 45

45

Kaspar Zehnder

44

Flautist i dirigent Kaspar Zehnder


(Riggisberg, 1970.) obrazovanje je stekao
u Bernu, nakon ega se zaputio na
studije u Pariz na Europsku Mozartovu
akademiju (European Mozart Academy) i
zatim na Accademiju Chigianu u Sienu.
Uz meunarodne nastupe koje odrava
kao solist i dirigent, trenutano radi i kao
umjetniki direktor Festivala Murten
Classics Summer te Glazbenog odsjeka u
Centru Paul Klee u Bernu. Godine 2005.
imenovan je glavnim dirigentom Prake
filharmonije te otad nastupa sa svjetski
priznatim solistima na pozornicama
poput Scale, Palau de la Musica Catalana,
Salle Pleyel itd. Kao dirigent redovno radi
s brojnim francuskim orkestrima, sa
Slovakom filharmonijom, Prakim
simfonijskim orkestrom i vodeim
orkestrima u vicarskoj.

The flautist and conductor Kaspar


Zehnder (Riggisberg, 1970.) trained in
Bern before studying in Paris, at the
European Mozart Academy, and at the
Accademia Chigiana in Siena. Besides
performing internationally as a soloist
and conductor he is currently Artistic
Director of the Murten Classics Summer
Festival and of the Music Department at
the Zentrum Paul Klee in Bern. Since his
nomination as Chief conductor of the
Prague Philharmonia in 2005 he has
appeared with world leading soloists in
venues like La Scala, Palau de la Musica
Catalana, Salle Pleyel etc. He regularly
conducts numerous French orchestras,
the Slovak Philharmonics, Prague
Symphony Orchestra, and leading
orchestras in Switzerland.

day

month

17

dan

mjesec

hour

22:00

petak / friday

sat

Palanovi

Dubravko

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 46

Dubravko Palanovi (Zagreb, 1977.)


diplomirao je kompoziciju u klasi
profesora eljka Brkanovia te kontrabas
u klasi profesora Josipa Novosela. Dosad
je skladao za poznate ansamble kao to
su Zagrebaki solisti, Zagrebaka
filharmonija, Salzburka komorna
filharmonija, Zagrebaki puhaki
ansambl i Varadinski komorni orkestar.
Svirao je u uglednom Orkestru mladih
Gustav Mahler pod vodstvom Claudia
Abbada, a trenutano je zaposlen u
Zagrebakoj filharmoniji. Osnovao je
novi ansambl za modernu glazbu
Acoustic Project. Osvojio je drugu nagradu
na Natjecanju Zaklade Franz Josef Reinl
u Beu za skladbu Muzika za gudae i
marimbu (prva nagrada nije dodijeljena).
Njegov Puhaki kvintet snimljen je na
CD-u Zagrebakoga puhakog ansambla,
a Varadinski komorni orkestar je na
Muzikom biennalu Zagreb izveo njegovo
djelo Emphates za gudae, nagraeno
Rektorovom nagradom Sveuilita u
Zagrebu. Skladbu su izveli i glazbenici
Moskovskoga simfonijskog orkestra na
festivalu suvremene glazbe Moskovska
jesen 2007. godine. Iste je godine za
Koncertnu uvertiru skladatelju uruena
nagrada za najbolje umjetniko djelo
hrvatskoga autora zagrebake
Koncertne dvorane Vatroslava Lisinskoga.

Dubravko Palanovi (Zagreb, 1977)


graduated in composition from the class
of Professor eljko Brkanovi, and in
doublebass from the class of professor
Josip Novosel. He has composed for
renowned ensembles, such as the Zagreb
Soloists, the Zagreb Philharmonic, the
Salzburg Chamber Philharmonic, the
Zagreb Woodwind Ensamble, the
Varadin Chamber Orchestra. He was a
member of the renowned Gustav Mahler
Youth Orchestra, under the guidance of
Claudio Abbado, and he is now
professionally employed in the Zagreb
Philharmonic Orchestra. Palanovi is the
founder of a new ensemble for modern
music called Acoustic Project. He won
the 2nd prize at the Franz Josef Reinl
Foundation Contest in Vienna (the 1st
prize was not awarded), for his Music for
Strings and Marimba. His Woodwind
Quintet was featured on The Zagreb
Woodwind Ensemble CD and the
Varadin Chamber Orchestra performed
his Emphates, for strings - which won the
University of Zagrebs Rectors Prize - at
the Music Biennale Zagreb. The same
piece was also performed by members of
the Moscow Symphony Orchestra at the
contemporary music festival Moscow
Autumn in 2007, in the same year when
Palanovis Concert Ouverture won him
the prize for the best artistic composition
by a Croatian author given by the
Vatroslav Lisinski Concert Hall in Zagreb.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 47

46

Skladba Mozaik nije toliko inspirirana


likovnom tehnikom koliko idejom
mozaika kao slagalice koja mi se zbog
formalne strukture nametnula tijekom
skladanja. Misao vodilja kroz cijelu
skladbu je pulsirajui ritam koji ini
dramatiku skladbe i pojavljuje se na
poetku u klaviru i kontrabasu. U
srednjem dijelu taj ritam je drukiji,
sporiji, tako da sam u spoju s drugim
elementima u tom dijelu skladbe dobio
dugu melodijsku liniju koju zapoinje
violonelo i nastavljaju drugi instrumenti.
Skladba se sastoji od vie kraih dijelova
razliitih karaktera koji u cjelini rezultiraju
irokim spektrom boja i emotivnih
stanja. Prema kraju se opet javlja
pulsirajui ritam, slian onome na
poetku. Tim materijalom skladba
usporava i smiruje se te u takvom
ugoaju i zavrava.

47

My piece Mosaic is not so much inspired


by this art technique as is with the idea
of mosaic as a puzzle that occurred to
me while composing this piece because
of its formal structure. The main idea
present in this composition revolves
around the pulsating rhythm which
appears at the beginning in piano and
cello parts and creates the dramatics of
the composition. By the time the
composition comes to its middle part,
this rhythm changes, slows down and in
combination with other elements present
at this point it takes on a different
melodic path expressed by cello and
continued by other instruments. The
composition itself consists of many
short parts that are different in character
but which as a whole result in broad
spectrum of colours and emotional
conditions. Towards the end of the piece
the pulsating rhythm, similar to the
rhythm from the beginning of the
composition, appears again and the
composition then simply slows down
creating a calm atmosphere for its finish.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 48

month

17

dan

mjesec

hour

22:00

petak / friday

sat

Jonas Kocher

day

Jonas Kocher (Nyon, 1977.) bavi se


sviranjem harmonike, elektronikom
glazbom i skladanjem. Studirao je na
Visokoj umjetnikoj koli u Bernu u klasi
Teodora Anzellottija (harmonika), Pierrea
Subleta (suvremena glazba) i Georgesa
Aperghisa (glazbeni teatar) te pohaao
majstorske teajeve pod vodstvom
Manosa Tsangarisa i Trija Koch-SchtzStuder. Svirao je u razliitim projektima
koje su osmislili Ruedi Husermann i
Daniel Ott. Trenutano nastupa u
mnogim improviziranim glazbenim
projektima u vicarskoj i diljem Europe
svirajui harmoniku i izvodei
elektroniku glazbu te pritom surauje s
mnotvom glazbenika i drugih umjetnika. Bio je pokreta i organizator
vicarsko-balkanske kreativne glazbe te
osniva elektronikoga dua BlindeKinder
s Raphaelom Raccuiom. Uglavnom
samouk, kao skladatelj djeluje u podruju
novoga glazbenog teatra. Njegova su

Jonas Kocher (Nyon, 1977) is a Swiss


accordion player, electronic musician
and composer. He studied at the
Hochschule der Knste Bern with
Teodoro Anzellotti (accordion), Pierre
Sublet (contemporary music) and
Georges Aperghis (thtre musical) and
attended masterclasses with Manos
Tsangaris and the Koch-Schtz-Studer
Trio. He played in various projects by
Ruedi Husermann and Daniel Ott. He
currently plays in many improvised
music projects in Switzerland and Europe
as an accordion player and electronic
musician, collaborating with numerous
musicians and other artists. Kocher was
the initiator and organizer of the SwissBalkan Creative Music and the founder
of the electronic duo BlindeKinder with
Raphael Raccuia. Largely a self-taught
composer, he works in the field of new
music theatre. His theatral and/or music
compositions have been played at

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 49

48

kazalina i/ili glazbena djela izvoena u


bernskom Kazalitu Schlachthaus, u
Baselskom kazalitu, Centru Paul Klee;
na festivalima Encuentros Buenos Aires,
KlangKunstBhne u Berlinu; u Centru
Drrenmatt u Neuchtelu itd. Redovito
pie glazbu za radijske emisije (Hrspiel)
na vicarskom radiju DRS2. Bernski
kanton nagradio ga je estomjesenim
boravkom u parikom Cit Internationale
des Arts 2004. godine, a 2005. godine
dodijeljena mu je Kulturna nagrada
Grada Nyona.

49

Schlachthaus Bern, Theater Basel,


Zentrum Paul Klee, Festival Encuentros
Buenos Aires, KlangKunstBhne Berlin,
Centre Drrenmatt Neuchtel et al. He
regulary composes music for radio
features (Hrspiel) for the swiss radio
DRS2. He was granted a six-monthsresidence at the Cit des arts, Paris, in
2004 by the Canton de Berne and the
Culture prize of the City of Nyon in 2005.

Speaking about his composition


Harmony with an Oblique Attenuation
and a Sopranobimbo, commissioned by
O svojem je djelu, Harmonija s kosim
the Paul Klee Ensemble for their opening
smanjenjem i sopranbimbom,
of the 2005/06 season, the composer
naruenom od Ansambla Paul Klee za
said, The work is based on the excerpts
otvorenje sezone 2005. - 2006., napisao: from Paul Klees Diary and Poems.
Djelo se bazira na izvacima iz Dnevnika Having found inspiration in Dadaism,
i Pjesama Paula Kleea. Inspirirani
the texts play with words, their meanings
dadaizmom, tekstovi se poigravaju
and the rhythm of speech. Despite a
rijeima, njihovim znaenjem i govornim childlike ease and serenity, one can feel
ritmom. Unato djetinjoj lakoi i vedrini, repeatedly both melancholy and
ujedno su uvijek iznova osjetne i
indifference towards the world, art and
melankolija i osjeaj rezigniranosti u
love. The visual and acoustic elements of
odnosu na svijet, umjetnost i ljubav.
the composition are freely arranged
Scenski i akustini elementi skladbe
ironic concert reports and episodes from
Klees Diary: the First World War, artists
slobodno su sloeni ironini koncertni
izvjetaji i epizode iz Kleeova Dnevnika: dilemmas, unhappy love
Prvi svjetski rat, umjetnike dvojbe,
ljubavna razoaranja...

day

month

17

dan

mjesec

hour

22:00

petak / friday

sat

Ott

Daniel

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 50

Daniel Ott (Grub, Appenzell, 1960.)


odrastao je u regiji grada Basela.
Diplomiravi klavir, nastavio je pouavati taj instrument i glazbu u podruju
Basela i Graubndena. Takoer je
sudjelovao u osnivanju razliitih
nezavisnih kazalinih skupina,
ukljuujui kazalinu trupu koja je
putujui vicarskom u koiji izvodila
uline predstave. Usavravanje vezano
za teatar odvelo ga je u Pariz i London u
razdoblju od 1985. do 1990. godine, kada
je studirao kompoziciju kod Nicolausa A.
Hubera na Sveuilitu Folkwang u Essenu
te kod Klausa Hubera na Glazbenom
uilitu u Freiburgu.

Daniel Ott (Grub, Appenzell, 1960) grew


up in the Basle region. After gaining his
piano diploma he went on to teach piano
and music in the Basle and Graubnden
regions. He was also involved in the establishment of various independent theatre groups, including a horse-drawn
wagon tour through Switzerland with a
street theatre group. Theatre studies
took him to Paris and London between
and from 1985 to 1990 he studied composition with Nicolaus A. Huber at the
Folkwang University, Essen, and with
Klaus Huber at the Freiburg University of
Music.

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50

51

Od 1990. godine Daniel Ott radi kao


samostalni skladatelj, pijanist i glumac
uglavnom u podruju novoga glazbenoga
teatra, a sudjeluje i u interdisciplinarnim
projektima i u djelima koja se bave
prostorom/pejzaom. Iste je godine
pokrenuo Festival nove glazbe Rmlingen.
Od 1995. do 2004. godine predavao je
eksperimentalnu glazbu na Umjetnikom
uilitu u Berlinu. Nakon ciklusa
glazbenoga teatra po nazivom ojota I-IV,
skladao je klangkrperklang, glazbu za
vicarski paviljon Petera Zumthora
(EXPO u Hannoveru 2000. godine).
Uslijedile su pejzane skladbe za luku
Sassnitz/Rgen, rijeku Neisse, Rajnsku
luku kod Basela i mnoge druge. Imenovan
je profesorom kompozicije i
eksperimentalne glazbe na Umjetnikom
uilitu u Berlinu 2005. godine.

Since 1990, Daniel Ott has been working


on a freelance basis as composer, pianist
and actor, mainly in the field of new
music theatre - and has also been involved
in interdisciplinary and room/landscape-related works. In 1990, he founded
the Rmlingen New Music Festival.
Between 1995 and 2004 he was teaching
experimental music at the University of
Arts in Berlin. After the music theatre
cycle ojota I-IV, he composed
klangkrperklang - music for Peter
Zuthmors Swiss Pavilion (EXPO Hanover
2000). These works were followed by
landscape compositions for the Harbour
Sassnitz/Rgen, the river Neisse, the
Rheinhafen (Rhine Port) Basel and many
others. In 2005, he became professor for
composition and experimental music at
the University of Arts, Berlin.

Skladba Frammenti per Pieve Caina


napisana je 1996. godine za promjenljivi
sastav (glas, gitara, violonelo, klavir,
udaraljke ili drugi). Ansambl Paul Klee
izvodi djelo u sljedeemu sastavu: flauta,
klarinet, violina, violonelo i klavir, pri
emu je svaki glazbenik takoer udaraljka
i scenski umjetnik. Ovo je djelo jedno od
onih ne suvie ozbiljnih doprinosa
vicarskoj glazbi koja se obino smatra
vrlo ozbiljnom - da ne kaem prilino
depresivnom.

frammenti per pieve caina was


composed in 1996. Its written for a
variable ensemble (voice, guitar, cello,
piano, percussion or other). The
Ensemble Paul Klee plays it with flute,
clarinet, violin, cello and piano, but
every player is also a percussionist and
performer. The piece is one of the not
too serious contributions of Swiss music,
which is normally considered to be at
least very serious - if not rather
depressive.

day

month

17

dan

mjesec

hour

22:00

petak / friday

sat

Fulguralis

Liber

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 52

Liber Fulguralis jest zajedniko


ostvarenje sastavljeno od glazbenih i
vizualnih elemenata koje su istovremeno
razvili Tristan Murail i Herv Bailly-Basin.
Temelji se na jednoj od misli vodilja
Paula Kleea - slikar u svojemu dnevniku
opisuje bljesak oluje kao iskru koja
oplouje prazninu i potie naboj
sadran u biu. Nadahnut umijeem
drevnih proroica da tumae munje, ovo
djelo koje traje gotovo trideset minuta
razrauje razgranatu strukturu jednog
jedinog bljeska munje i razvija razliite
ogranke samo jedne ravaste munje s
poetku djela te se zatim ita na
bezbroj razliitih naina.

Liber fulguralis is a joint creation with


musical and visual components
developed simultaneously by Tristan
Murail and Herv Bailly-Basin. It takes
up one of Paul Klees guiding themes:
the flash of lightning, which the painter
describes in his diary as a spark that
fertilises the void and triggers the very
discharge of being. Inspired by the
ancient oracles art of interpreting
lightning, this nearly half-hour-work
elaborates on the ramifications of a single
strike of lighting and develops the
different branches of a single forked
lightning flash which strikes at the
opening of the work and is then read in
countless different ways.

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52

Sklonost starih naroda prema proricanju


ustupila je mjesto poetskom tumaenju
jednoga of prirodnih fenomena koji
izaziva najvie divljenja. Stoga Murail
nastavlja zapoeto djelo uz zvukove
oceana (Le partage des eaux) i kie (Le lac)
primjenjujui najnovije tehnike spektralne
analize kako bi usitnio konkretne
zvukove u sastavne dijelove te potom
ponovno umetnuo dobivenu grau i
njene viestruke pretvorbe u glazbeni
prostor-vrijeme. Herv Bailly-Basin dalje
razvija postupke otkrivene tijekom svoje
prethodne suradnje s Murailom kadrovi snimljeni razliitim brzinama i u
razliitim mjerilima ekscerptirani su iz
ulomaka ije ponovno sastavljanje od
posve sinteziranih elemenata otkriva
viziju potpuno drukijega poretka koji
je na granici opaanja, mate i simbolizma.

53

Ancient pretensions of divining give way


to a poetic exegesis of one of natures
most fascinating phenomena. Murail
thus continues work begun with sounds
of the ocean (Le partage des eaux) and of
rain (Le lac): using recent techniques of
spectral analysis, to dissect concrete
sounds into elementary components,
and then reinserting this material and its
multiple transmutations into the musical
space-time. Herv Bailly-Basin further
develops procedures found in his
preceding collaborations with Murail:
shots taken at different speeds and scales
are excerpted from fragments whose
re-composition with completely
synthesized elements brings forth a
vision of an entirely different order, at
the limits of perception, of the
imagination and of symbolism.

vie o Tristanu Murailu na / For more on Tristan Murail, str. / page 422

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 54

day

month

17

dan

mjesec

hour

22:00
sat

petak / friday

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54

55

Liber fulguralis

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 56

day

month

subota / saturday

18 4

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 57

12:00, Mimara
Koncert iz ciklusa Cantus & Lisinski /
Cantus & Lisinski concert cycle
Arnold Schnberg:
Ode to Napolon / Oda Napolonu, op. 41
Josip Leaja, bariton / baritone,
Ivan Josip Skender, dirigent / conductor;
Cantus Ansambl /
Cantus Ensemble

17:00, Mimara
PROCES-MUZIKA / PROCESS-MUSIC
projekt Multimedijalnog instituta MAMA i MBZ-a /
a project of the MAMA Multimedia Institute and MBZ
Peter Szendy: predavanje / lecture
Stephan Mathieu: koncert / concert

20:00, HYPO
Teatar Fanny & Alexander / Fanny & Alexander
Theatre: South / Jug*, muziki komad / a musical piece
Autori / Authors: Luigi de Angelis i Chiara Lagani
Glazba / Music by: Mirto Baliani, John Dowland, Alvin
Lucier, Steve Reich, Iannis Xenakis

22:00, MDVL
IGOR LENIK & MBZ: 30 Percussion Years Later /
30 udaraljkakih godina kasnije
Igor Lenik, udaraljke / percussion

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 58

day

month

18

dan

mjesec

hour

12:00

subota / saturday

sat

12:00, Mimara
Arnold Schnberg:
Ode to Napolon / Oda Napolonu, op. 41
Josip Leaja, bariton / baritone,
Ivan Josip Skender, dirigent / conductor;
Cantus Ansambl / Cantus Ensemble
Cantus Ansambl / Cantus Ensemble:
Martin Draunik, 1. violina / 1. violin
Tamara Petir, 2. violina / 2. violin
Lucija Brnadi, viola
Branimir Pustiki, violonelo / cello
Srebrenka Poljak, klavir / piano

Arnold Schnberg, 1924.

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58

Arnold Schnberg (1874.-1951.): Oda


Napoleonu Bonaparteu, op. 41
Poticaj za ovu skladbu doao je iz dvaju
izvora: 8. prosinca 1941., dan nakon
bombardiranja Pearl Harbora, Schnberg
je uo Rooseveltovo obraanje naciji
putem radija u kojem je govorio o
zloglasnom danu, a u sijenju 1942.
Schnberg je od Lige skladatelja primio
narudbu za kratko komorno djelo. Liga
je za proslavu svoje dvadesete obljetnice
naruila nekoliko deset- do
dvadesetominutnih djela. Schnberg je
prihvatio zadatak, no ini se da nije bio
ba uvjeren da e djelo biti primjereno
izvedeno na koncertu Lige skladatelja, pa
joj ga je odbio poslati. On i njegovi uenici
traili su odgovarajue izvoae i mjesto,
no Oda je javno praizvedena tek 23.
studenog 1944.
Schnberg je birao tekst s iznimnom
panjom. elio je skladati neto na tekst
lorda Byrona jer se pjesnikova potpora
grkoj borbi za neovisnost odraavala u
Schnbergovim simpatijama za borbu
europskih nacija protiv Hitlera.
Schnberg je zapisao sljedee o svojoj
odluci da sklada to djelo: Znao sam da
je moralna dunost inteligencije zauzeti
stav protiv tiranije. Uklopio je Marseljezu
i motiv iz Beethovenove Pete simfonije u
trenutku kada govornik izgovara stihove
gromoglasan glas pobjede.
U pismu svom bivem ueniku Heinrichu
Jalowetzu od 8. rujna 1943. (Jalowetz je
pripremio djelo za snimanje s pjevaem)
Schnberg inzistira da pjeva mora imati
brojne nijanse, nune za izraavanje
stotinu i sedamdeset vrsta podsmijeha,
sarkazma, mrnje, poruge, prijezira,
osude itd., koje sam nastojao prikazati u
svojoj glazbi. Nadalje, izvedbu tog djela
usporeuje sa svojim namjerama u djelu
Pierrot lunaire: Recitiranje u djelu
Pierrot lunaire takvo je da se ini da je
glas instrument, ba kao i ostalih pet. U
ovom pak sluaju recitacija mora biti
toliko realistino prirodna da se ini da
glazbe uope nema.

59

Arnold Schnberg (1874-1951): Ode to


Napoleon Buonaparte op. 41
The impetus for this composition was
twofold: 8 December 1941, the day after
Pearl Harbor was bombed, Schnberg
heard President Roosevelts day of
infamy radio address; and in January
1942 Schnberg received a commission
from the League of Composers for a
short chamber work. The League celebrated its 20th anniversary by commissioning several 10- to 20-minute works.
Schnberg accepted the commission.
However, it seems that Schnberg was
not satisfied that his work would receive
an adequate performance at the League
of Composers concert, and he declined
to send them the piece. He and his students searched for suitable performers
and venues, but the Ode was not premiered publicly until 23 November 1944.
Schnberg exercised great care in
choosing the text; he wanted to compose
something on a text by Lord Byron, for
the poets support of Greeces struggle
for independence mirrored Schnbergs
allegiances to the Europe struggling
against Hitler. Of his decision to compose
the piece, Schnberg wrote: I knew it
was the moral duty of intelligentsia to
take a stand against tyranny. He combined the Marseillaise and the motive
from Beethovens Fifth Symphony at the
moment when the speaker declaims, the
earthquake voice of victory.
In a letter of 8 September 1943 to his
former pupil Heinrich Jalowetz, who had
prepared the piece for a recording with a
singer, Schnberg insisted that the
singer must have the number of shades,
essential to express one hundred and
seventy kinds of derision, sarcasm, hatred,
ridicule, contempt, condemnation, etc.,
which I tried to portray in my music. He
further contrasts the performance of this
work to his intentions in Pierrot lunaire:
The recitation in Pierrot lunaire is so as
if the voice would be an instrument like
the other five. But in contrast to that, here
the recitation must be as realistically
Camille Crittenden natural as if there were no music at all.

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month

18

dan

mjesec

hour

12:00

subota / saturday

sat

Josip Leaja

day

Josip Leaja diplomirao je solo pjevanje


na Muzikoj akademiji u Zagrebu u klasi
prof. Snjeane Bujanovi-Stanislav, a
polazio je i Ljetnu opernu kolu u
Salzburgu. Bio je lan opere u Mariboru,
Komorne opere u Beu, Opere HNK
Zagreb te je dvanaest godina gostovao na
sceni Ljubljanske opere. U svojoj
pjevakoj karijeri ostvario je preko 50
opernih uloga u ostvarenjima irokoga
raspona od Hndela, Mozarta, Rossinija,
Donizettija preko Wagnera, ajkovskog,
Verdija i Zajca do ostakovia, Deliusa,
Brittena, Ebena i R. Straussa. Brojna
gostovanja vodila su ga u Austriju,
Maarsku, eku, Njemaku,
Luksemburg, vicarsku, Italiju, Francusku
i na Maltu. Na koncertnoj pozornici
nastupao je uz Beke simfoniare, sa
Zagrebakom i Slovenskom
filharmonijom te s jo nekoliko uglednih
slovenskih i hrvatskih orkestara i
ansambla. Usporedo izvodi repertoar
koncertnih popijevaka Schuberta,
Schumanna, Brahmsa, Berlioza, Ravela i
Iberta. esto je sudjelovao u
praizvedbama hrvatskih i slovenskih
skladatelja.

Josip Leaja completed his solo singing


studies at the Zagreb Music Academy in
the class of Professor Snjeana BujanoviStanislav. He has also attended the
Summer Opera School in Salzburg. He
has been a member of the Maribor
Opera, Chamber Opera in Vienna, Zagreb
Croatian National Theatre Opera, and
gave guest performances at the Ljubljana
Opera for twelve years. In his singing
career, he has performed over fifty opera
roles, ranging form Hndel, Mozart,
Rossini, Donizetti to Wagner, Tchaikovsky,
Verdi and Zajc, to Shostakovich, Delius,
Britten, Eben and R. Strauss. He has
given numerous guest performances in
Austria, Hungary, the Czech Republic,
Germany, Luxembourg, Switzerland,
Italy, France and Malta. He has
performed on stage with the Vienna
Symphony, the Zagreb and Slovenian
Philharmonics, and several other
prestigious Slovenian and Croatian orchestras and ensembles. He has
simultaneously performed a repertoire
of concert songs by Schubert, Schumann,
Brahms, Berlioz, Ravel and Ibert. He has
frequently participated in premieres of
works by Croatian and Slovenian
composers.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 61

Ivan Josip
Skender

60

Ivan Josip Skender (Varadin, 1981.)


zapoeo je glazbeno obrazovanje u
Varadinu kod Dese Jovanovi i Marijana
Zubera. Kompozicijom se poinje baviti
u srednjoj glazbenoj koli, uz Davora
Bobia kao mentora. Studij kompozicije
upisuje na Muzikoj akademiji u Zagrebu
u klasi eljka Brkanovia, a dvije godine
kasnije i paralelni studij dirigiranja u
klasi Vjekoslava uteja. Skladbe su mu
izvoene u Hrvatskoj, Austriji, BIH i u
Meksiku. Usavravao se na seminarima
iz dirigiranja i kompozicije u Hrvatskoj,
Austriji, Makedoniji i Maarskoj.
Dobitnik je nagrade za kompoziciju
Ljetne Akademije Prag-Wien-Budapest i
Rektorove nagrade Sveuilita u Zagrebu
za izvedbu djela Heads and Tails na
Muzikom Biennalu u Zagrebu. Stalno
surauje s nekoliko renomiranih stranih
i hrvatskih glazbenika i ansambala, a
pie i glazbu za kazalite. Kao dirigent,
dosad je imao uspjene nastupe sa
zborom i orkestrom Muzike akademije,
Varadinskim komornim orkestrom,
Hrvatskim baroknim ansamblom,
Hrvatskim komornim orkestrom, Karlovakim komornim orkestrom, zborovima
Ivan Goran Kovai, Ivan Filipovi te
Zvjezdice. efom-dirigentom akad.
zbora Palma, postaje 2004. godine te
osvaja prvu nagradu na dravnom natjecanju pjevakih zborova Zagreb 2006. i
2008., kao i nagradu Hrvatskog drutva
skladatelja za najbolju izvedbu skladbe
hrvatskog autora. Od 2005. god.
zborovoa je u Operi HNK u Zagrebu.
Vie o ansamblu Cantus na str. 230

61

Ivan Josip Skender (Varadin, 1981)


began his music studies in Varadin with
Desa Jovanovi and Marijan Zuber. He
took up composition at secondary music
school, with Davor Bobi as his mentor.
He started composition studies at the
Music Academy in Zagreb in the class of
eljko Brkanovi, and two years later he
began parallel studies of conducting in
the class of Vjekoslav utej. His
compositions have been performed in
Croatia, Austria, Bosnia-Herzegovina
and Mexico. He perfected his skills at
conducting and composition seminars in
Croatia, Austria, Macedonia and Hungary.
He received the composition award from
the Prague-Vienna-Budapest Summer
Academy, as well as the University of
Zagreb Rectors Award for the
performance of Heads and Tails at the
Music Biennale in Zagreb. He maintains
ongoing working relations with several
established foreign artists and Croatian
musicians. He also composes music for
the theatre. As a conductor, he has
performed successfully with the Music
Academy choir and orchestra, Varadin
Chamber Orchestra, Croatian Baroque
Ensamble, Croatian Chamber Orchestra,
Karlovac Chamber Orchestra, as well as
the Ivan Goran Kovai, Ivan Filipovi
and Zvjezdice choirs. He became chief
conductor of the Palma academic
choir in 2004. In that capacity he won the
first award at the Croatian Singing
Choirs Contest in Zagreb in 2006 and
2008, as well as the Croatian Composer
Society award for the best performance
of a composition by a Croatian author.
Since 2005 he has been choir conductor
at the Croatian National Theatre Opera
in Zagreb.
More about the Cantus Ensemble on
page 230

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 62

day

month

18

dan

mjesec

hour

17:00

subota / saturday

sat

17:00, Mimara
PROCES-MUZIKA / PROCESS-MUSIC
projekt Multimedijalnog instituta MAMA i MBZ-a /
a project of the MAMA Multimedia Institute and MBZ
Peter Szendy: predavanje / lecture
Stephan Mathieu: koncert / concert

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62

63

Vie o projektu Proces-Muzika /


More on the Process-Music project, str./page 382

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 64

month

18

dan

mjesec

hour

17:00

subota / saturday

sat

Peter
Szendy

day

Smjeten na razmeu filozofije,


filologije, teorije filma i muzikologije,
opus Petera Szendyja (1966.) dobiva sve
vie priznanja pod okriljem suvremene
francuske filozofije. Szendy trenutano
predaje kolegij iz estetike na Sveuilitu
Paris Ouest - Nanterre La Dfense i obnaa dunost programskoga savjetnika
pri Koncertnoj dvorani Cit de la
musique. Dosad je objavio nekoliko knjiga za ditions de Minuit u kojima se
bavi viestranom problematikom
sluanja. Szendy u svojoj studiji coute Une histoire de nos oreilles istrauje
strategije sluanja i sluateljevih odgovornosti, dok u knjizi Sur coute slijedi
trag arheologije akustikoga praenja
pomno ispitujui djela Benthama,
Mozarta, Hitchcocka, Coppole i Kafke. U
svojemu zadnjem intrigantnom ostvarenju Tubes - la philosophie dans le
juke-box razmatra status pjevanoga hita
kao intimne himne monetarne i psiholoke razmjene.
Peter Szendy zaduen je za prijevod i
pripremu prvoga izdanja francuskih zapisa Ble Bartka. Njegova knjiga Les
prophties du texte - Lviathan. Lire
selon Melville postala je libreto opere
Avis de tempte Georgesa Aperghisa.

Situated on the crossroads of philosophy, philology, film-studies and musicology, the work of Peter Szendy (1966) is
gaining ever-wider recognition within
contemporary French philosophy.
Szendy currently teaches aesthetics
course at University Paris Ouest - Nanterre La Dfense and acts as Program Advisor for the Cit de la musique concert
hall. He has published several books for
ditions de Minuit where the multifaceted problematic of listening is addressed. In his study coute - Une
histoire de nos oreilles Szendy explores
the strategies of listening and responsibilities of the listener, while in the book
Sur coute, he traces archeology of the
acoustic surveillance scrutinizing the
work of Bentham, Mozart, Hitchcock,
Coppola and Kafka. In his latest intriguing work Tubes - la philosophie dans le
juke-box he examines the status of the
song-hit as an intimate hymn of the
monetary and psychological exchange.
Peter Szendy has been in charge of the
translation and preparation of the first
edition of Bla Bartks writings in
French. His book Les prophties du texte
- Lviathan. Lire selon Melville became
the libretto of the opera Avis de temp_te
by Georges Aperghis.

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65

Stephan
Mathieu

64

Stephana Mathieua (1967.) smatraju


jednim od glazbenika dananjice koji
posebno pomnjivo eksperimentira s
elektronikom glazbom. Njegov
prepoznatljiv zvuk uglavnom se temelji
na ranim instrumentima, zvucima iz
okoline i zastarjelim medijima koje
snima i preobraava koristei eksperimentalnu mikrofoniju, tehnike reeditiranja i softverske postupke
ukljuujui spektralnu analizu i zavojnicu.
Pazei uvijek na detalje i afektivan
sadraj djela, stvara jedinstvena iskustva
uivo dok radi s tragovima opaene
stvarnosti. Istovremeno njena i odrjeita,
Mathieuova glazba dosad je objavljena
na 16 CD-ova uz pohvalne kritike irom
svijeta. Zapoeo je kao bubnjar suraujui
s umjetnicima improvizacije poput Axela
Drnera i Butcha Morrisa, a kao solist na
udaraljkama izvodio je vlastite skladbe i
djela Earlea Browna, Stockhausena i
Cagea. Mathieu je osmislio instalacije za
razliite prostore opisujui ih kao
osebujna djela odreene lokacije, isto
akuzmatina u kojima koristi vizualne i
zvune predmete. Umjetnik je takoer
strastveni sakuplja ploa od 78rpm iz
desetih i dvadesetih godina 20. stoljea
koje je koristio u svojim najnovijim
projektima A Static i Virginals.

Stephan Mathieu (1967) is considered to


be one of the most attentive experimental
electronic musicians working today. His
signature sound is largely based on early
instruments, environmental sound and
obsolete media which are recorded and
transformed by means of experimental
microphony, re-editing techniques and
software processes involving spectral
analysis and convolution. Always paying
attention to detail and to the affective
content of the piece, Mathieu creates
unique live-experiences working with
traces of the perceived reality. In the
same time soft-paced and razor-sharp
Mathieus music has been released on 16
critically acclaimed CDs worldwide. He
started as a drummer working with improvising musicians such as Axel Drner
and Butch Morris. As a percussion soloist
he performed his own pieces and
compositions of Earle Brown, Stockhausen
and Cage. Mathieu has created installations
for various spaces, which he describes as
site specific, purely acousmatic works
using both visual and sounding objects.
He is also an avid collector of 78rpm
records from the 1910s and 20s that he
used in his most recent projects A Static
and Virginals.

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20:00, HYPO
Teatar Fanny & Alexander /
Fanny & Alexander Theatre: South / Jug*,
muziki komad / a musical piece
Autori / Authors: Luigi de Angelis i Chiara Lagani
Glazba / Music by: Mirto Baliani, John Dowland, Alvin Lucier, Steve Reich,
Iannis Xenakis
Autori / Ideation: Luigi de Angelis and Chiara Lagani
Reija, scenografija, svjetla / Direction, stage design, lights: Luigi de Angelis
Dramaturgija / Dramaturgy: Chiara Lagani
Dramaturki savjetnici / Dramaturgy consultants:
Caterina Marrone, Rodolfo Sacchettini
Kostimi / Costumes: Chiara Lagani, Sofia Vannini
Dizajn zvuka / Sound design: Mirto Baliani
Repriza / Repeat Performance
Nedjelja / Sunday, 19 / 4, 17:00, HYPO

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Nastupaju / Performed by:


Fiorenza Menni, Mauro Milone,
Davide Sacco
Vokalni ansambl / Vocal ensemble
Melodi Cantores
Elena Sartori, pjevanje i umjetniko
vodstvo / singing and direction
Roberta Guidi, alt / alto
Sergio Martella, tenor
Decio Biavati, bas / basso
Udarljkai / Percussions:
Nextime Ensemble
Danilo Grassi, Lisa Bartolini, Antonio
Somma, Federico Zammarini
Mirto Baliani
Nacrt i izrada scenografija / Scenery
project and realization: Opera Ovunque
Ozov portret / Ozs Portrait: Zapruder
Asistent produkcije / Production assistant: Marian Vanzetto
Asistent scenografije / stage design
assistant: Chiara Castello

67

Produkcija / Production: Opera Futura


Laboratori per un Nuovo Teatro Musicale, Fondazione Teatro Comunale di
Ferrara
Koprodukcija / In co-production with:
Teatro Comunale di Bologna,
Teatro Comunale di Modena, Fondazione I Teatri di Reggio Emilia
Uz pomo / With the contribution of:
Regione Emilia Romagna Assessorato
alla Cultura Sport e Progetto giovani,
Ministero della Giovent in the context
of Accordo di Programma Quadro GECO
- Giovani Evoluti e Consapevoli
U suradnji s / With the cooperation of:
Les Brigittines (Bruxelles), Muziki Bienale Zagreb / Music Biennale Zagreb

Uz zahvalu za / With thanks to: Symrise


GmbH & Co. KG, LIstituto Italiano di
cultura di Zagabria / Talijanski institut za
kulturu u Zagrebu / Italian Culture InstiProdukcijski ured / Production office:
Ifat Nesher za / for Canvas Management, tute in Zagreb
Marco Cavalcoli
Promidba / Promotion: Valentina
Ciampi, Marco Molduzzi, Ifat Nesher
Ured za medije / Press office:
Lorenzo Donati
Logistika / Logistics: Sergio Carioli
Uprava / Administration: Marco Cavalcoli, Debora Pazienza

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South je muziki komad, nova produkcija u sklopu viegodinjeg projekta koji


Fanny & Alexander posveuju arobnjaku
iz Oza Franka L. Bauma. Nakon djela
Dorothy. Disconcert for Oz, u kojem je
znakoviti ciklon, dobro poznat iz prie o
arobnjaku, postao stvaralaka snaga
novog modela glazbenog djela,
inspiriranog Cageovim Europerama, u
kojem se nekoliko zvunih slojeva spaja
u jednu razinu istovremenosti, South eli
u radikalnoj mjeri nastaviti tu istu liniju
istraivanja te ak i u takvom sluaju
iskoristiti izvedbe uivo nekih glazbenika
(udaraljkaa i pjevaa) i glumaca.
Glavnu junakinju Dorothy, koja je na
tom putovanju kroz zemlju Oz svojevrstan
avatar publike, ciklon odnosi juno od
tog fantastinog svijeta, gdje se odvija
njezino putovanje/avantura. Rije je o
neuhvatljivom mjestu ili moda vjetru,
tajnovitom, neobjanjivom - isprva se
ini da je rije o obinom kazalitu,
koncertnoj dvorani, gdje je u tijeku
predstava, no uskoro se preobraava u
pravi samostalni svemir, mjesto/organ
sloenijeg tijela u kojem ama ba svaki
znak, svaki vizualni, auditorni, taktilni i
olfaktivni trag uvijek postaje novi imbenik
u ukupnoj temperaturi i u temeljnom
zahtjevu koji Dorothy, junakinja,

South is a musical piece, the new


production thats part of the multi-year
project Fanny & Alexander is dedicating
to The wonderful Wizard of Oz by Frank
L. Baum. After Dorothy. Disconcert for
Oz, where an emblematic cyclone, the
well-known one from the Wizards tale,
became the generating figure of a proper
new model of musical work - inspired by
Cages Europeras - blending several
sound layers into one level of
concomitances, South intends to continue
and radicalize this very same research
line, availing itself, even in this case, of
live performances by some musicians
(percussionists and singers) and actors.
The protagonist, Dorothy, a kind of
avatar for the audience in this journey
through the world of Oz, is catapulted by
her cyclone south of this fantastic universe
where her journey-adventure takes
place. It is an allusive place or wind,
mysterious, hard to define: at first it
seems to be a common theatre, a concert
hall, where a piece or a performance is
taking place; but soon it is transfigured
into a proper autonomous universe, a
place-organ of a more complex body
where every single sign, every visual
auditory tactile olfactory trace always
becomes a new gradient of the overall

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izraava vlastitim putem i prelaskom. Jug


e potopiti Dorothy, a s njom i publiku, u
duboku no, udaraku, virovitu tamu iz
koje izranja novi jezik bubnjanja, ritmian,
Mjeseev noni i ivotinjski jezik Vjetice
toga vjetra, stvorenja koje je moda
roeno iz tog svijeta zvukova u koji se
Dorothy uronila i koji ju je preobrazio.
Cilj je projekta iznova preispitati i
promisliti retorike mehanizme glazbenih
djela radi ponovnog iitavanja jednog
od sredinjih mitova Zapadne knjievnosti,
poevi od raznolikog suvremenog
repertoara koji se preispituje u skladu s
novim zvukovnim organizmom koji e se
stvarati u slojevima. Fanny & Alexander
prije stvaranja konanog djela provode
istraivanje, koje se obavlja u proirenom
timu, tj. u suradnji s drugim umjetnicima
kao to su kazalina skupina Teatrino
Clandestino i glazbeni ansambli Melodi
Cantores i Nextime, radionica Opera
Ovunque te agencija Canvas Management,
u kontekstu redefiniranja temeljnih
elemenata te glazbene produkcije u
dinamikom smislu.

69

temperature and of the fundamental


request which Dorothy, the protagonist,
expresses by her own path and crossing.
South will sink Dorothy, and the audience
with her, into a deep night, a percussive
and whirling darkness from which a new
language of beating arises, the rhythmic
one, the lunar nocturne and animal language of the Witch of that wind, a creature
maybe born from that world of sound
where Dorothy immersed herself and
was transfigured.
The project intends to revisit and
reconsider the rhetorical mechanisms of
musical works in order to reread a key
myth of Western literature, starting from
a varied contemporary repertoire which
is revisited according to the new sound
organism that will be created in layers.
The research by Fanny & Alexander
leading to the final work will be carried
out by an extended team, that is with the
cooperation of other artists such as the
theatre company Teatrino Clandestino
and the musical ensembles Melodi
Cantores and Nextime, the scenery
workshop Opera Ovunque, the agency
Canvas Management, in the context of a
redefinition of the musical productions
founding elements in a dynamic sense.

Fiorenza Menni (C) Enrico Fedrigoli

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Fanny & Alexander

day

Fanny & Alexander je umjetnika radionica koju su osnovali Luigi de Angelis


i Chiara Lagani u Ravenni 1992. godine.
Glumac Marco Cavalcoli pridruio im se
1997. godine. Dosad su ostvarili
pedesetak dogaanja koja obuhvaaju
kazaline, video i filmske produkcije,
instalacije, performanse, izlobe
fotografija, konferencije, zatim radionice,
festivale i susrete. Redovito odlaze na
turneje po Italiji i ostalim zemljama
predstavljajui svoje izvedbe, za koje su
osvojili nekoliko dravnih i meunarodnih
nagrada, u najuglednijim kazalitima i
na najvanijim festivalima. Godine 2007.
zapoeli su novi viegodinji istraivaki
projekt (2007.-2010.) za koji su nadahnue
pronali u djelu arobnjak iz Oza L. F.
Bauma.

Fanny & Alexander is an art workshop


founded in Ravenna in 1992 by Luigi de
Angelis and Chiara Lagani. Marco
Cavalcoli, actor, joined the company in
1997. To date they have produced about
fifty events ranging across theatre, video
and film productions, installations,
performances, photographic exhibitions,
conferences and study workshops,
festivals and encounters. They tour
regularly in Italy and beyond, presenting
their shows at the most important
theatres and festivals, and won several
national and international awards. In
2007 they started a new pluriennal
research project (2007-2010) inspired by
The Wonderful Wizard of Oz by L. F. Baum.

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Luigi de
Angelis

Chiara
Lagani

70

Luigi de Angelis (1974.) sudjelovao je


kao glumac i redatelj u stvaranju
umjetnikih ideja i svih djela ove
druine. Godine 1998. odluio je prestati
sa scenskim nastupima kako bi se potpuno
posvetio reiji predstava. Tijekom vremena
osmislio je sloeno vienje odnosa izmeu
glazbe i zvuka, rasvjete i vizualne
arhitekture, isprepliui razine opaanja i
bavei se idejom vizije sluanja i sluanja
vizije, odnosno stvarajui umjetnika djela
u kojima se zvuk i vizualno usklauju te
stvaraju mogunost dubljeg iskustva
opaanja. Postupno je produbio svoju
istraivaku aktivnost u smjeru arhitekture,
tehnologije zvuka i rasvjete i videa.

Glumica i dramaturginja Chiara Lagani


(1974.) pie sve izvorne tekstove za
predstave ove glumake druine.
Autorica je nekoliko djela nastalih
adaptacijom i obradom pjesnikih,
kazalinih i knjievnih tekstova
produbljujui tijekom godina postupak
intertekstualnog djela koje ukida pisanu
stranicu iznova oblikujui tekstove u
novu i suvislu narativnu cjelinu. Uz
Luigija de Angelisa s kojim osmiljava
As an actor and director, Luigi de Angelis
sve projekte, umjetnika je voditeljica
glumake druine Fanny & Alexander od (1974) worked on the concepts and
creation of all the companys works. In
samoga osnutka.
1998 he decided to leave the stage in
order to devote himself entirely to the
Chiara Lagani (1974) is an actress and
dramaturgist, the author of all the original direction of the shows. Over the years, he
has conceived a complex vision of the
texts of the companys shows. She had
relationships between music and
created several works of re-elaboration
and rewriting of poetical, theatrical and sounds, lights and visual architecture,
literary texts, deepening, over the years, interweaving the perceptive levels and
a process of intertextual work deflagrating pursuing the idea of vision of listening
and listening of vision, that is the creation
the written page and recomposing the
texts into a new and coherent narrative of works of art where sound and visual
aspects harmonize and originate the
unity. She is the artistic director of
Fanny & Alexander from the companys possibility of a deeper perceptive
experience. He consequentially deepened
very beginning, together with Luigi de
his research on architecture, sound and
Angelis, with whom she shares the
lights technology, video.
process of ideation of all the projects.

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Baliani

18

hour

Mirto

month

Fiorenza
Menni

day

Mirto Baliani diplomirao je 1996. godine


na Umjetnikom zavodu Paolo Toschi u
Parmi i studirao glasovir u klasi Alessandra Nidija. Sklada i izvodi glazbena djela
u nekoliko kazalinih predstava (izmeu
ostaloga, u druinama Fanny & Alexander te Marca Baliania). Kao glumac je
suraivao s Teatro delle Briciole u razFiorenza Menni stekla je diplomu na
doblju od 1991. do 1996. godine. Ostbolonjskoj Akademiji dramske umjetvario je scenske nastupe u nekoliko
nosti Antoniana 1990. godine te osnopredstava Marca Baliania, Marie Maglivala, zajedno s Pietrom Babinom,
kazalinu druinu Teatrino Clandestino etta i druine Fanny & Alexander. Baliani
ija je umjetnika su-voditeljica i produ- osmiljava i realizira projekcije dijapozitiva i videozapisa te tapiserije za produkcentica. Druina je osvojila nekoliko
dravnih i meunarodnih nagrada i priz- cije umbrijskoga Teatro Stabile, Teatro
nanja. Menni je autorica, glumica, kosti- dellElfo i Cirikoga festivala. Takoer
mografkinja, scenografkinja i
radi kao pomonik redatelja.
istraivaica, a 2007. godine primila je
Nagradu Eleonora Duse uz pohvalu kao
Mirto Baliani obtained a diploma in
najbolja nova glumica.
1996 at Istituto dArte Paolo Toschi in
Parma, and studied piano with maestro
In 1990, Fiorenza Menni, qualified at the Alessandro Nidi. He composes and perAccademia darte drammatica Antoniforms the music in several theatre shows
ana in Bologna, founded, with Pietro
(by Fanny & Alexander and Marco
Babina, the theatre company Teatrino
Baliani, among the others). He worked as
Clandestino, of which she is the artistic
an actor with Teatro delle Briciole from
co-director and producer. The company 1991 to 1996. He appears on stage in sevwon several national and international
eral shows by Marco Baliani, Maria
awards and acknowledgements. Menni
Maglietta and Fanny & Alexander.
herself is an author, actress, creator of
Baliani conceives and realizes slide and
costumes and stage objects, researcher
video projections and tapestries for proand she won the 2007 Eleonora Duse
ductions by Teatro Stabile dellUmbria,
Award with honourable mention as the
Teatro dellElfo and Zrich Festival. He
best emerging actress.
also works as a directors assistant.

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Davide Sacco studirao je glasovir na


Uilitu Giuseppe Verdi u Ravenni, no u
dobi od esnaest godina okupio je nekoliko hardcore-punk bendova, u ulozi pjevaa-frontmena. Usporedo sa studijem
odravao je koncerte i producirao albume koje su objavile manje nezavisne
diskografske kue te je nastavio s
tajnim turnejama po Italiji i Europi.
Trenutano sklada koristei sekvencer i
sintetizator, a nastavlja sa svojim istraivanjem kompjutorske glazbe. Stvara
autorsku glazbu i oblikuje zvuk za
predstave Teatra delle Albe, a s druinom Fanny & Alexander surauje
glumei u njihovim izvedbama. Ponekad
radi i kao DJ, a zaokupljen je vlastitim
glazbenim projektima.

Mauro
Milone

Davide
Sacco

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Glumac Mauro Milone usavravao se na


nekoliko radionica koje su odrale kazalDavide Sacco studied piano at the
Giuseppe Verdi Institute in Ravenna, but ine druine kao to su Teatrino Clandestino, Fortebraccio Teatro, MK i
at the age of 16 he dedicated himself to
hardcore-punk bands, taking on the role mnoge druge. Sudjelovao je u kazalinim
produkcijama druina Teatrino Clandesof singer-frontman. In parallel with his
tino, Fanny & Alexander i ostalima, a radi
studies, he played concerts and produced albums distributed by small inde- i kao televizijski i filmski glumac.
pendent labels and went on
Mauro Milone is an actor who formed
underground tours in Italy and Euhis craft by taking part in several workrope. He currently composes music
using sequencers and synthesizers, and shops, held by theatre companies such
as Teatrino Clandestino, Fortebraccio
he keeps on deepening his research on
computer music. He creates the original Teatro, MK and many others. He appeared in theatre productions by
music and sound design for the Teatro
delle Albes shows and works as an actor Teatrino Clandestino and Fanny &
for Fanny & Alexander. Sacco sometimes Alexander, as well as others and he also
works as an actor for television and cinworks as a DJ and keeps busy with his
ema.
own musical projects.

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Danilo
Grassi

day

Danilo Grassi odrava mnotvo koncerata


u Italiji i inozemstvu sudjelujui kao
solist u premijernim izvedbama djela
Luciana Beria, Chicka Coreae, Stevea
Reicha, Maxa Roacha, Giacinta Scelsia,
Iannisa Xenakisa i mnogih drugih na
pozornicama parike Opere Bastille, u
New Yorku, zatim u Centru Gulbenkian
u Lisabonu i Teatro alla Scala u Milanu.
Takoer je suraivao s Pierreom
Boulezom, Francom Donatonijem i
Grardom Griseyem. Nastupao je s
mnogim uglednim orkestrima i komornim
sastavima. Predaje udaraljke na parmskom
Konzervatoriju Arrigo Boito i vodei je
predava specijaliziranih teajeva za
udaraljkae koji se odravaju pod
pokroviteljstvom Europske unije.

Danilo Grassi has an intense concert


activity in Italy and abroad, taking part
as a soloist in first performances of
music by Luciano Berio, Chick Corea,
Steve Reich, Max Roach, Giacinto Scelsi,
Iannis Xenakis and others in contexts
such as Opra Bastille in Paris, Marking
Concert Hall in New York, Gulbenkian
Centre in Lisbon, Teatro alla Scala di
Milano. He has also cooperated with
composers Pierre Boulez, Franco Donatoni, Grard Grisey. He has worked with
many important orchestras, as well as in
chamber contexts. Grassi holds the Chair
of Percussion Instruments at the Arrigo
Boito Conservatory in Parma and is the
premier teacher of High specialization
courses for percussionists, patronized by
the European Union.

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Ansambl Melodi Cantores osnovala je


Elena Sartori 2000. godine kako bi po
prvi put, u svjetskim okvirima, obnovili,
izveli i snimili Rekvijem patera Giovannija Battiste Martinija u suradnji s Konzervatorijem i Sveuilitem u Bologni.
Budui da se radi o otvorenoj skupini,
ansambl je zapoeo intenzivnu javnu
djelatnost, posebno se posvetivi obnavljanju izgubljenih djela uz elegantno
kombiniranje staroklasinoga repertoara
i suvremenih eksperimenata. Nakon
nekoliko uspjenih nosaa zvuka objavljenih u nakladi bolonjskoga Tactusa,
ansambl je poeo odravati koncerte,
poduke i radionice irom Europe.
Stekavi diplomu pijanistice i intenzivno
nastupajui u komornim sastavima,
Elena Sartori diplomirala je orgulje i
orguljsko skladanje te povijest glazbe.
Radila je istraivanja na Baselskomu
konzervatoriju i salzbukom Mozarteumu usavravajui se u sviranju
orgulja kod Daniela Chorzempa te uei
orkestralno i zborsko dirigiranje kod Helmuta Rillinga na Akademiji Bach u
Stuttgartu. Takoer je uila pjevanje u
klasi Claudia Cavine, Michela van
Goethema i Patrizie Vaccari, a nastupa
irom svijeta. Snimila je nekoliko nosaa
zvuka kao solistica i dirigentica.
Ansambl Nextime, instrumentalna
skupina ija se postava mijenja ovisno o
tipu izvedbe, osnovan je 1998. godine na
poticaj Danila Grassija i uiva status rezidencijalnog sastava pri Zakladi TeatroDue u Parmi. Cilj je Ansambla
predstavljanje glazbe koja nadilazi uobiajeni kontekst klasinoga teatra,
pomiui granice konvencionalnih koncerata. Ansambl okuplja soliste koji
obino izvode klasini repertoar u najuglednijim talijanskim i meunarodnim
orkestrima.

75

The Melodi Cantores Ensemble was


founded in 2000 by Elena Sartori for the
realization of the worlds very first reconstrucion, performance and recording of
Requiem by Padre Giovanni Battista
Martini, with the cooperation of the
Conservatoire and the University of
Bologna. Being an open group, the Ensemble started an intense public activity,
devoting itself especially to the recovering of hidden repertoires and fluently
moving between ancient repertoires and
contemporary experimentation. After
some lucky recordings for the label Tactus in Bologna, the Ensemble started to
hold concerts, concert lessons and workshops around Europe.
After obtaining a diploma as a pianist
and intensely performing with chamber
ensembles, Elena Sartori obtained a
diploma as a organist and organ composer, as well in Music History. She has
carried out researches at the Conservatory of Basilea and at the Mozarteum in
Salzburg, specializing as a organist with
Daniel Chorzempa and studying orchestra and chorus direction with Helmut
Rilling at the Bach - Akademie in
Stuttgart. She also studied singing with
Claudio Cavina, Michel van Goethem
and Patrizia Vaccari and performs all
over the world. She has made several
recording as a soloist and conductor.
Nextime Ensemble, an instrumental
group whose personnel varies depending on the performances, was born in
1998 on the initiative of Danilo Grassi
and is the resident artist at Fondazione
Teatro Due in Parma. The purpose of the
Ensemble consists of presenting music
that goes beyond the usual contexts of
classical theatre, exceeding the barriers
of conventional concerts. The Ensembles personnel consists of soloists who
usually perform the classical repertoire
in the most important national and international orchestras.

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22:00, MDVL
IGOR LENIK & MBZ: 30 Percussion Years
Later /
30 udaraljkakih godina kasnije
Igor Lenik, udaraljke / percussion
Franz Cibulka i / and Igor Lenik: Olympian Drums / Olimpijski bubnjevi*,
za udaraljkaa-solista i unaprijed snimljene zvukove / for a percussion
soloist and pre-recorded sounds
Igor Lenik: Gormandizer for chefcussionist (multi-percussion soloist) /
Prodrljivac, za kuharaljkaa (multi-udaraljkaa) solo*
Igor Lenik: Twenty Years Later / Dvadeset godina kasnije, tri stavka za vibrafon / three movements for vibraphone
Serge Folie i / and Igor Lenik: Riossum*, za udaraljke i elektroniki pejza
/ for percussions and electronic landscape
Jean Franois Evrard, videoumjetnik / video-artist
Nordine Hemada, skulpture / sculptures

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Igor Lenik

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Igor Lenik (Zagreb, 1956.) jedan je od


vodeih europskih udaraljkaa. Njegove
skladbe sastavni su dio koncertnih programa znamenitih solista i ansambala
kao i udaraljkakih natjecanja. Svojom
suradnjom sa slavnim kolegama,
bogatom zbirkom snimki te meunarodnim koncertnim aktivnostima pribliio je
hrvatsku udaraljkaku glazbu svjetskoj
javnosti. Od 1984. godine vodi udaraljkaku
sekciju Simfonijskog orkestra Hrvatskoga
radija, a od 1990. godine organizira
meunarodne udaraljkake manifestacije.
Kao osniva udaraljkakog odjela Muzike
akademije u Zagrebu redovan je gost na
poznatim sveuilitima, a njegovi lanci
o udaraljkakoj umjetnosti objavljuju se
u velikom broju strunih asopisa. Profesor Lenik predsjednik je hrvatskog
ogranka meunarodne organizacije
Percussive Arts Society. Dobio je nekoliko
priznanja za svoja umjetnika
dostignua u Hrvatskoj, a 2003. godine
nagraen je titulom francuskog Viteza za
postignua u umjetnosti i knjievnosti.

Igor Lenik (Zagreb, 1956) is one of the


leading percussionists of the generation.
His compositions are part of concert
programs of renowned soloists and
ensembles as well as percussion competitions. His collaborations with famous
colleagues, his rich collection of
recordings and his international concert
activities introduced Croatian percussion
music to the world. Since 1984 he has lead
the Croatian Radio Symphony orchestra
percussion section and since 1990 Lenik
has organized international percussion
events. As founder of the percussion
department at the Music Academy in
Zagreb, he is regular guest at renowned
universities and his percussion articles
have been published in a wide variety of
magazines. Professor Lesnik is the
president of the Croatian Chapter of the
Percussive Arts Society. He has received
several awards for his artistic achievements
at home and in 2003 was awarded
French Knighthood title for accomplishments in arts and literature.

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79

Igor Lenik

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O Prodrljivcu kae: Udaraljke su


pokretno iskustvo - naroito kad se
uzme u obzir priprema, prije same
izvedbe. Svakodnevni zadatak spajanja
razliitih sastojaka kako bi se stvorile
viestruke udaraljkake instalacije
opravdavaju est kolokvijalni izraz
kuhinja, kojim se opisuje radno mjesto
suvremenog udaraljkaa. Recepti od
Brazila do Kine, dobar kuhar i gurmani
eljni ugode mogli bi jednostavnu igru
rijei pretvoriti u kuharaljkaki muziki
teatar.

On Gormandizer: Percussion is a
moving experience - particularly as far
as preparation prior to actual
performance is considered. Every day
task of bringing together various
ingredients to create multiple
percussion installation justifies common
colloquial use of word kitchen describing contemporary percussionists working place. Recipes from Brazil to China,
good cook and gourmets eager to enjoy
might transform a simple word game
into Per-cook-ionized Music Theater.

O Dvadeset godina kasnije: U svojim


Pononim komadima (1984.-1987.)
Lenik je tretirao vibrafon kao solo
instrument, aranirajui razliita
raspoloenja u manje-vie jazzy stilu.
Djelo je u tom obliku dio repertoara
vodeih svjetskih solista i obvezno je
djelo na programima mnogih udaraljkakih natjecanja. Tijekom godina interpretiranja skladatelj je zamjetno promijenio
i djelo te danas - vie od 20 godina nakon
prvih skica - za njega preferira naslov
Dvadeset godina kasnije.

On Twenty Years Later: In his Midnight


Pieces composed 1984 -1987, Igor Lenik
treated vibraphone as a solo instrument
arranging different moods in a more or
less jazzy style. The work in that form is
included today in repertoire of some of
the worlds leading soloists and figures
as a required piece on the programs of
many international percussion competitions. During the years of his interpretation the composer changed the piece
considerably and - more than two
decades after first music drafts where
put on paper - prefers entitling such derived new work as Twenty Years Later.

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81

Cibulka

Franz
Peter

80

Franz Peter Cibulka (Fohnsdorf, 1946.)


zavrio je studij klarineta, kompozicije i
dirigiranja orkestrom na Akademiji za
glazbu i izvedbene umjetnosti u Grazu u
Austriji. Radio je kao profesor klarineta,
komorne glazbe i glazbene teorije na
Konzervatoriju Johann Joseph Fux u
Grazu do srpnja 2002., kada se poinje
baviti iskljuivo skladanjem. Njegov
opus obuhvaa vie od 300 skladbi najrazliitijih stilova napisanih za razliite instrumente, kao rezultat njegove
umjetnike suradnje s razliitim interpretima. Cibulka je meunarodni ugled
stekao izvedbom nekoliko svojih djela na
Svjetskom udruenju simfonijskih
orkestara i ansambala (WASBE), koje je
1997. godine odrano u Schladmingu u
Austriji. Od tada na poziv nastupa u Australiji, Americi, Rusiji i mnogim europskim dravama kao skladatelj, dirigent,
interpret i predava.
Djelo Olimpijski bubnjevi nastalo je kada
je Cibulka Igoru Leniku predloio
suradnju na novom komadu za udaraljke
i elektroniku. Za MBZ 2009. audiokanali
su remiksirani iz obinog sterea u punu
5.1 konfiguraciju zvuka, a reprodukcija
zvuka stvara takoer aleatorike raunalne vizualizacije koje su istovremeno
projicirane na velikom platnu. Ovako dobiven audio i video predstavljaju osnovu
za solistiku improvizaciju koja rabi
izvoake procedure inspirirane folklornom tradicijom sviranja tapana u jugoistonoeuropskim zemljama, meu
kojima je i Grka - domovina olimpijskih
ideala.

Franz Peter Cibulka (Fohnsdorf, 1946)


completed his musical studies in clarinet,
composition and orchestral conducting
at the Academy for Music and Performing
Arts in Graz, Austria. He served as Professor of Clarinet, Chamber Music and
Music Theory at the Johann Joseph Fux
Conservatory in Graz until July 2002
when he began working exclusively as a
free-lance composer. His list of works
includes more than 300 compositions of
the most diverse instrumentation and
styles resulting from his artistic collaboration with various performers. Cibulka
achieved an international reputation
following the performance, in 1997, of
several of his works at the World Association for Symphonic Bands and Ensembles (WASBE) held in Schladming,
Austria. Since then he has been invited
to Australia, America, Russia and many
European countries as a composer,
conductor, performer and lecturer.
This work came to life after Franz Cibulka
proposed to Igor Lenik a collaboration
on a new piece for percussion and
electronics. For the MBZ 2009
performance, audio tracks were remixed
from simple stereo into full 5.1 sound
configuration while sound reproduction
also generates aleatoric computer
visualizations projected simultaneously
on large screen. Resulting audio & video
tracks represent a basis for soloist improvisation utilizing performing procedures inspired by folklore tradition of
tapan playing in South Eastern European
countries, among them Greece - homeland of Olympic ideals.

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Serge Folie

Igor Lenik & Serge Folie

Serge Folie studirao je klavir, orgulje i


harmoniju od mladosti, a naroito
vanim smatra studiranje u klasi Loca
Malliea na Konzervatoriju u Lyonu. Uz
klasino glazbeno obrazovanje, od rana
je skupljao iskustva u studijskom radu.
Foliejeva su strast orkestralne boje, harmonija glasova, istraivanje arhitekture
pokreta i tenja da pomakne granice
glazbenih stilova stvarajui otvoreno
glazbu koja mijea i sastavlja glazbe svijeta. Godine 1994. osnovao je Albedo,
glazbeno drutvo sa stalnim studiom i
pogonom u kojem moe ostvarivati svoje
glazbene ideje. esto sklada po narudbi
francuskih dravnih i regionalnih institucija. Autor je vie od stotinu djela za
razliite sastave i prigode; tri teita njegova stvaralatva skladbe su za male sastave, djela za vrlo velike sastave i glazba
za plesne i dramske predstave te film.

Serge Folie studied piano, organ and


harmony, but he considers his studies
with Loc Mallie at the Lyon Conservatory
especially important. Along with classical
music education, he started acquiring
experience in studio works from early
on. Folies passion are orchestral colors,
harmony of voices, exploration of the
architecture of movements and aspiration
to move the boundaries of music styles
by writing open music which mixes and
joins types of music from all over the
world. In 1994 he founded Albedo, a
music society with its own studio and
facilities in which he can realize his
music ideas. His compositions are often
commissioned by the French government
and regional institutions. He wrote more
than one hundred compositions for
various ensembles and occasions. Three
centres of his opus are compositions for
small ensembles, compositions for very
large ensembles, and music for dance
and drama plays and movies.

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Nordine Hemada

82

Nordine Hemada (Clermont Ferrand,


1967.) sin je i unuk alirskih pastira,
imigranata. U trenutku kad mu se
smijeila dobra karijera, odluio je
okrenuti se drugim stvarima i postati
kipar. Slobodnjakom je postao 1996.
godine, znajui da to nije najlaki put.
Samouki Hemada opisivan je kao
umjetnik koji razliitim materijalima
ocrtava nau humanost.

Nordine Hemada (Clermont Ferrand,


1967) is the son and grandson of Algerian
shepherds, immigrants. When he was
given the opportunity to choose a prosperous career, he decided to take a
different path and become a sculptor. He
became a freelance artist in 1996, knowing that he had chosen a more difficult
path for himself. Self-taught, Hemada
was described as an artist who works
with different materials with which he
gives an outline of our humanity.

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Jean-Franois Evrard

day

Jean-Franois Evrard (1957.) fotograf je i


filma-dokumentarist. Cilj mu je - snimati
istinito. Studirao je na Centru za studiranje i istraivanja slike i zvuka. Snimio
je film o sjeanjima na deportaciju,
naruen od Centra za povijest otpora i
deportacija u Lyonu, portrete umjetnika,
film o dizajnerskom bijenalu u Dakaru te
filmove za institucije. Poduava na Visokoj
koli umjetnosti i dizajna u Saint-Etienneu.

Jean-Franois Evrard (1957) is a photographer and documentary filmmaker.


His goal is to show the truth. He studied
at the Centre for sounds and images research and studies. He made a film about
the remembrance on the feelings on deportation commissioned by the Centre
for the History of Resistance and Deportation in Lyon, artists portraits, a film on
the designers biennale in Dakara, and
various institution-commissioned films.
He teaches at the Academy for Art and
Design in Saint-Etienne.

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84

85

iz djela / from Riossum

Riossum je glazba koja izraava put


prema nekom drugom svijetu. Podvri se
slijepom testu ostavljanja svega iza sebe
kako bi se suoio sa spiralama i potopljenim i neprijateljskim zemljama. Konano
se poinje pojavljivati svijet, nepoznat i
zastraujui, jedinstven, rastrgan u magli.
Mogunost smiraja se raa nakon borbe.
Igor Lenik naruio je ovo djelo i, potpuno
obuzet scenarijem osmislio je ovu
udaraljkaku izvedbu koja iznenauje i u
skladu je s nadrealistikom atmosferom.
Nordine Hemada ilustrirao je svojim fantastinim skulpturama glazbenu priu
koju sam skladao i dao nam nadu ovjekom mira, koji se pojavljuje u sumrak
djela. Jean Franois Evrard donosi svoje
delikatne slike i prenosi nas do mogue
humanosti. [Serge Folie]

Riossum is music which is expressing


the path towards a different world. To
submit oneself to a blind-test of leaving
everything behind, in order to face the
spirals and the sunken and hostile lands.
Finally there emerges a world, unknown
and intimidating, unique, torn, in the
mist. After a battle there is a chance of
serenity.
Igor Lenik commissioned this piece and,
completely overtaken by its script, he devised this surprising percussive performance, in accordance with its surrealist
atmosphere. Nordine Hemada has illustrated this musical story I had written with
his fantastic sculptures and had given us
hope through his man of peace who
appears at the sunset of this work. JeanFranois Evrard adds his delicate images
and transports us towards a possible
humanity. [Serge Folie]

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19 4

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12:00, MUO
XL TUBA
ZAGREBAKI KVARTET SAKSOFONA /
ZAGREB SAXOPHONE QUARTET(HR)

17:00, Mimara
PROCES-MUZIKA / PROCESS-MUSIC
Thomas Kner: koncert / concert
Mladen Dolar: predavanje / lecture

19:30, ZKM
Miro Dobrowolny: Zilverstad / Srebrenica*
oratorijski scenarij / oratorio setting

21:30, &TD
Sandro Lombardi - Virgilio Sieni:
Le Ceneri di Gramsci / Gramscijev pepeo /
Gramscis Ashes,
koreodrama / choreodrama

22:30, MM
Ansambl ACEZANTEZ / ACEZANTEZ Ensemble
ACEZANTEZ se vraa / ACEZANTEZ is back

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12:00, MUO
XL TUBA
Mladen Tarbuk: Eschendorf. Ein kroatisches Mrchen / Jasenovac. Hrvatska pria /
Jasenovac. A Croatian Story
XL TUBA:
Viktor Kirenkov
Jurica Ruklji
Mario incek
Krunoslav Babi

ZAGREBAKI KVARTET SAKSOFONA /


ZAGREB SAXOPHONE QUARTET(HR)
Ruben Radica: etiri studije ustrajnosti / Four Persistency Studies
1. Ostinato (Moderato)
2. Kontrasti (Tempo rubato)
3. Kanon (Larghetto)
4. Pasae (Presto possibile)
Stanko Horvat: Rocambole
Silvije Glojnari: Procedure 4/4 saxophones / Procedura 4/4 saksofona

Zagrebaki kvartet saksofona / Zagreb Saxophone Quartet:


Dragan Sremec, sopran-saksofon / soprano saxophone
Goran Merep, alt-saksofon / alto saxophone
Saa Nestorovi, tenor-saksofon / tenor saxophone
Matja Drevenek, bariton-saksofon / baritone saxophone

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Kvartet
tuba XL

88

U elji da se naoj sredini to vie priblie


svjetski izvoditeljski trendovi, Krunoslav
Babi je 2002. godine utemeljio Kvartet
tuba XL, prvi takav komorni sastav na
ovim prostorima. Budui da se tuba ponajprije smatra orkestralnim glazbalom,
elja im je bila pokazati da i taj instrument
moe muzicirati komorno - pa ak i
solistiki. irok repertoar sastava protee
se od djela starih majstora, klasike i
romantizma pa sve do suvremenih skladatelja i deza. Uz izvoenje izvorne
literature za kvartet tuba, sastav posee i
za obradama velikih hitova barokne i
klasine glazbe. Autori aranmana
vodei su limeni puhai druge polovine
20. stoljea, solisti glasovitih europskih i
amerikih orkestara ili sveuilini profesori. lanovi kvarteta tuba XL nakon zavrene Muzike akademije redom su se
profesionalno usavravali kod priznatih
svjetskih strunjaka. Publika je ve
prepoznala visoku kvalitetu i posebnost
ovog ansambla, koji iza sebe ve ima
velik broj koncerata u zemlji i inozemstvu.
Kvartet XL do sada je snimio i za
Aquarius records izdao dva nosaa zvuka:
100% Tuba i 101% Tuba.

Wishing to introduce current international performing trends to the local audience Krunoslav Babi established the XL
Tuba Quartet in 2002, as the first of such
kind in the region. Since tuba is primarily
an orchestral instrument, it was their
wish to demonstrate that it can also be
adapted to chamber music playing and
even solo parts. The ensembles repertoire varies from classic masters to jazz
and contemporary composers. Along
with original works for a tuba quartet,
they often reach for arrangements of
baroque and classical hits. The
arrangers are usually the leading brass
players of the second half of the 20th
century, soloists from European and
American orchestras and professors. The
musicians of the Quartet have all, upon
graduating from music academies, perfected theirplaying with the prominent
professors. The audience has recognized
their high quality and the uniqueness of
this ensemble, which has already played
a big number of concerts at home and
abroad. The XL Quartet has recorded two
albums for Aquarius Records, so far,
100% Tuba and 101% Tuba.

day

month

19

dan

mjesec

hour

12:00

nedjelja / sunday

sat

Tarbuk

Mladen

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Uz studij fizike na Prirodoslovno-matematikom fakultetu u Zagrebu, Mladen


Tarbuk (Sarajevo, 1962.) diplomirao je
kompoziciju u klasi Stanka Horvata i
dirigiranje kod Igora Gjadrova na Muzikoj akademiji u Zagrebu. Studij dirigiranja
nastavio je na Visokoj koli za glazbu u
Grazu kod Milana Horvata, a kompoziciju i dirigiranje usavravao je i u Beu kod
Friedricha Cerhe i Uroa Lajovica. Od
1990. djeluje kao predava teoretskih
glazbenih predmeta na Muzikoj
akademiji u Zagrebu. Od 1993. do 2000.
djelovao je kao ef-dirigent Simfonijskog
puhakog orkestra Hrvatske vojske. Od
2000. prvi je dirigent Simfonijskog
orkestra HRT, a takoer je stalni gostdirigent Njemake opere u Dsseldorfu.
Tarbukov predani skladateljski i dirigentski rad prepoznat je u Hrvatskoj i u
inozemstvu, o emu svjedoe i brojne
nagrade (nagrada na Natjecanju dirigenata Smetana - Dvok - Janaek,
Nagrada Dr. Ernst Vogel za skladbu A tre ,
Nagrada Stjepan ulek 1993., prva
nagrada na Meunarodnom natjecanju
u Tolosi, Nagrada Josip tolcer Slavenski
za skladbu Sanjai i dr.).

Mladen Tarbuk (Sarajevo, 1962),


graduated in physics at the Faculty of
Science in Zagreb, and also completed
composition studies in the class of
Stanko Horvat and conducting studies in
the class of Igor Gjadrov at the Zagreb
Music Academy. He continued his conducting studies at the Hochschule fr
Musik in Graz with Milan Horvat. He
perfected his composition and conducting skills in Vienna with Friedrich Cerha i
Uro Lajovic. Since 1990 he has taught
music theory classes at the Zagreb Music
Academy. From 1993 to 2000 he was
chief conductor of the Croatian Armed
Forces Symphonic Wind Orchestra, giving
first performances of numerous pieces
by Croatian composers. Since 2000 he
has been the principal conductor of the
Croatian Radio Television Symphony
Orchestra and permanent guest-conductor at the German Opera in Dsseldorf.
Tarbuks dedicated work in the field of
composition and conducting has been
recognized in Croatia and abroad, as
testified by numerous awards (an award
from the Smetana - Dvok - Janaek
Conductors Contest, the Dr. Ernst Vogel
award for his piece A tre, the Stjepan
ulek award, first prize at the International Contest in Tolosa, Spain, Josip tolcer
Slavenski award for the Dreamers etc.).

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Iz predgovora Jasenovcu: Ovo djelo


nastalo je na poticaj izvrsnog tubista,
dragog kolege Krune Babia Prvo to
mi je palo na pamet dosadanja su
iskustva s ovim neobinim instrumentom.
Tuba prema mojoj predodbi zvui kao
neto iz ponora, izmeu cirkuske parodije i krika umirueg slona Nakon duljeg premiljanja, sjetio sam se predstave
Peto evanelje. Izvor za ovu priu bio je
dnevnik kranski usmjerenog politiara
Ilije Jakovljevia, koji je dvije godine
odleao u koncentracijskom logoru
Jasenovac Pa sam odluio izraditi niz
portreta u kojem e svi tamo prisutni
narodi dobiti svaki svoj historijski lik.
Pria se razvija do vrhunca Petog
evanelja u stavku naslovljenom ena s
odrezanom dojkom. Iz operete s koranicama limene glazbe nastaje istinska
tragedija. Uvjerenja sam da nam ona ne
bi bila razumljiva bez svojih parodijskih
prethodnika
Politika tvrdom izmom stoji na vratu
umjetnosti. U davno doba partizana i
ustaa rasno iskorjenjivanje prikazala je
kao farsu. Danas je stanje stvari zamueno
interesima sadanje politike, za koju je
Jasenovac bajka. O toj bajci elim govoriti,
o spremnosti da i danas, kao i nekada,
ovjek stavi no u zube i krene po
susjedovu kravu. Spremnost i bajka, nisu
li to dva obraza istog lica, koje povezuju
upravo umjetnost i politika? Jer tu
krvoednu pohlepu politika preslaguje u
maglovite obzore bajke; moj zadatak je
rasvjetljavanje i razagnavanje magle.
[Mladen Tarbuk]

91

From the introduction to Jasenovac:


...This work was created at the encouragement of an excellent tuba player, a
dear colleague, Kruno Babi.. The first
thing that came to mind were my former
experiences with this unusual instrument.
My notion of what a tuba sounds like is something out of an abyss, a cross between
a circus parody and the shriek of a dying
elephant... After a long consideration, I
remembered the theatre play The Fifth
Gospel. The play was based on the diary
of the Christian-oriented politician Ilija
Jakovljevi, who had served two years in
the Jasenovac concentration camp... I
decided to create a string of portraits in
which all the nations found in Jasenovac
would each get their own historical
character. The story progresses until the
climax of The Fifth Gospel, in a movement
titled The Woman with a Severed Breast.
From an operetta with brass band
marches there evolves a real tragedy. I
am convinced we would not be able to
understand it without the parodist parts
that preceded it...
Politics holds the arts firmly by the neck.
Long ago, in the era of the partizani and
the ustashe, it tried to portray the racial
eradication as a farce. Today the situation
is blurred, muddled by the vested
interests of politics, which considers
Jasenovac to be some sort of a fairy-tale.
This is the story I want to talk about, the
readiness, today as in the old days, to
place a knife between the teeth and set
out to get the neighbours cow. Readiness
and a fairy-tale, arent they two cheeks of
the same face, connected by arts and politics? Because this bloodthirsty greed is
being rearranged, by politics, into foggy
horizons of a fairy-tale; my aim is to shed
some light on, and disperse this fog.
[Mladen Tarbuk]

month

19

dan

mjesec

hour

12:00

nedjelja / sunday

sat

saksofona

day

kvartet

Zagrebaki

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Zagrebaki kvartet saksofona, koji su


osnovali diplomci Muzike akademije u
Zagrebu iz razreda prof. Josipa Nochte, u
sadanjem sastavu djeluje od 1989. godine. Gostovali su u mnogim europskim
zemljama te u Kanadi i SAD-u. Kao
solisti nastupali su s brojnim orkestrima
pod vodstvom poznatih dirigenata, a
renomirani ansambli i solisti esto sudjeluju na njihovim koncertima i snimanjima. Kritika i publika pohvalile su
njihove nastupe na svjetskim kongresima te festivalima kao to su Dubrovake
ljetne igre, Splitsko ljeto, MBZ, Europhonia, Musicora, Festival Julian Rachlin &
prijatelji, NOMUS, Svjetski dani glazbe i
Saxophonia. Kvartet je u Hrvatskoj dobio
vane kulturne nagrade (Milka Trnina,
Judita) te sedam diskografskih nagrada
Porin. Uz mnoge snimke za radio i televiziju u Hrvatskoj i u inozemstvu, kvartet
je snimio samostalne albume Hrvatska
glazba za saksofone i Z Quartet, u SAD-u
izdao CD Tsunagari te gostovao na brojnim nosaima zvuka. Uz veinu
klasinog repertoara za taj sastav i aranmana skladbi razliitih glazbenih stilova
(od renesanse do progresivnog deza)
koje moemo uti na njihovim koncertima, kvartet je praizveo vie od pedeset
novih djela hrvatskih, slovenskih i drugih
autora.

The graduates of the Music Academy in


Zagreb, in the class of Prof. Josip Nochta,
founded the Zagreb Saxophone Quartet,
which has been performing in the present line-up since 1989. They have performed with numerous orchestras under
the baton of esteemed conductors. The
ZSQ has given performances, highly acclaimed both by critics and audiences, at
the Dubrovnik Summer Festival, Split
Summer Festival, Zagreb Music Biennale
Europhonia, Musicora Festival Julian
Rachlin & Friends, NOMUS, Saxophonia
and the World Saxophone Congresses.
The ZSQ has received important Croatian
awards for their achievements in culture
(Milka Trnina, Judita) and seven Croatian
Porin Awards for their recordings. Along
with radio- and TV recordings in Croatia
and abroad, the ZSQ has released their
own albums, Croatian Music for Saxophones and Z Quartet, a CD in the US,
Tsunagari, and played as guests on numerous CDs. Their repertoire includes
pieces originally written for a saxophone
quartet, as well as transcriptions and
arrangements of pieces by various composers belonging to different periods
and styles, ranging from the baroque to
progressive jazz. In addition to this, the
ensemble has premired more than fifty
new works by Croatian, Slovene and
other composers.

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Ruben Radica

92

Ruben Radica (Split, 1931.) prva je


glazbena znanja stjecao od svojeg djeda,
skladatelja Josipa Hatzea. Zavrio je studij
dirigiranja u razredu Slavka Zlatia te
studij kompozicije u razredu Milka
Kelemena, oba na Muzikoj akademiji u
Zagrebu. U kompoziciji se usavravao
kod Vita Frazzija u Sieni, Rena Leibowitza
i Oliviera Messiaena u Parizu te kod
Gyrgya Ligetija, Pierrea Bouleza i
Henrija Pousseura na Meunarodnim
teajevima za novu glazbu u Darmstadtu.
Predavao je na Muzikoj akademiji u
Sarajevu te, od 1963. godine, na
Akademiji u Zagrebu, gdje je 1978.
postao redovnim profesorom, dok je od
1981. do 1985. bio dekan te institucije.
Redoviti je lan HAZU te dobitnik Nagrade
Vladimir Nazor i dviju nagrada Josip
tolcer Slavenski. Odlikovan je redom
Danice hrvatske s likom Marka Marulia.

Ruben Radica (Split, 1931) was introduced


to the basics of music by his grandafther,
the composer Josip Hatze. He graduated
from the Music Academy in Zagreb in
conducting, with Slavko Zlati, and in
composition with Milko Kelemen. He
further studied with Vito Frazzi in Siena,
Ren Leibowitz and Olivier Messiaen in
Paris and Gyrgy Ligeti, Pierre Boulez
and Henri Pousseur at the International
Summer Courses in Darmstadt. He
taught at the Music Academy in Sarajevo
and, from 1963, in Zagreb, where he was
dean between 1981 and 1985. He is a
regular member of HAZU and the
recepient of the Vladimir Nazor Award
as well as two Josip tolcer Slavenski
Awards. He was also decorated with the
Order of Danica medal.

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U skladbi etiri studije ustrajnosti


(2000.) za saksofonski kvartet nije unaprijed dana formalna shema unutar koje
bi autor iznosio svoje glazbene ideje. Ove
propozicije upuuju na vrlo sloen, promiljen, duhovit i inventivan skladateljski prosede Rubena Radice, koji se
manifestira u sva etiri stavka ovoga
djela. Poetiko polazite u sutini je jednostavno. U stanovitom smislu ono je i
svojevrsni izazov koji se prepoznaje u
prihvaanju da se od naoko beznaajnih
rubnih gradbenih elemenata stvori tonska umjetnika organska cjelina, na to
izrijekom upuuju nazivi pojedinih
stavaka. Posljednji od njih, Pasae, prerasta i u etidu za 4 ravnopravna glazbala.
Elegantno koncipirano tonsko ustrojstvo
ovog djela u svom protoku nigdje nema
avova, a sluni doivljaj karakterizira
sposobnost i izvorno glazbeno jedinstvo.
Skladba je posveena Zagrebakom
kvartetu saksofona. [Zrinka Lazarin]

In the composition Four Studies in


Persistence (2000) for saxophone quartet
a formal scheme - a framework within
which the author outlines his music
ideas - is not set in advance. The propositions suggest a very complex, planned,
witty and imaginative procedure of composer Ruben Radica which manifests itself in all four movements of this work.
The poetic starting point is basically very
simple and, in a sense, poses a certain
challenge - to accept the principles of
persistence so that a tonal artistic and
organic entity (referred to in the titles of
movements) is created from seemingly
insignificant borderline building elements.
Passagios, the last of those movements,
develops into an tude for four equal
instruments. The elegantly conceived
tonal structure of this work flows
seamlessly, while ability and genuine
music unity characterize the audio
experience. The piece is dedicated to the
Zagreb Saxophone Quartet.
[Zrinka Lazarin]

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Stanko Horvat

94

Stanko Horvat (1930. - 2006.) studirao je


kompoziciju na Muzikoj akademiji u
Zagrebu u klasi Stjepana uleka, a usavravao se na Parikom konzervatoriju
(Tony Aubin) i privatno kod Rena Leibowitza. Na kasnijem je studijskom boravku u Berlinu kao stipendist Zaklade
DAAD radio na Elektronikom studiju
tamonjega Tehnikog sveuilita. Od
1961. do 1999. bio je profesor kompozicije
na Muzikoj akademiji u Zagrebu (1977.
- 1981. dekan), ostavivi znatan utjecaj
na generacije studenata kompozicije
koje danas oblikuju hrvatski glazbeni
ivot. Bio je predsjednik Hrvatskoga
drutva skladatelja te redovni lan HAZU
od 1998. godine. Od 1985. do 1989. godine
bio je umjetniki ravnatelj Muzikog
biennala Zagreb.

Stanko Horvat (1930 - 2006) studied


composition at the Music Academy in
Zagreb, with Stjepan ulek, and continued
his studies at the Paris Conservatory with
Tony Aubin and privately with Ren Leibowitz. He later spent his on a research
sabbatical in the Electronic Studio of the
Berlin Technical University, on a DAAD
scholarship. He was a professor of composition at the Music Academy in Zagreb
from 1961 to 1999 (and dean from 19771981), greatly influencing the same generations of students that are now forming
Croatias musical life. He was the president
of the Croatian Composers Society and
was a regular member of the Croatian
Arts and Sciences Academy since 1998.
From 1985 to 1989 he was the director of
the Music Biennale Zagreb.

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Stanko Horvat Zagrebakom je kvartetu


saksofona posvetio dva djela: Drammatico
(1996.) i Rocambole (2000.). Potonje je
Kvartet praizveo na koncertu u povodu
skladateljeve 70. obljetnice ivota. Naziv
rocambole je ime dviju vrsta enjaka
(Allium scorodoprasum i A. ascalonium),
to je ime deserta popularnog u Brazilu,
ali i ime lika, Rocambole, kojega je u
knjievnost uveo francuski pisac Pierre
Alexis Ponson du Terrail. Nedvojbeno je
Horvata inspirirao taj izmiljeni pustolov,
vaan u anru avanturistikih romana i
kriminalistikih pria koje su bile objavljivane u nastavcima u francuskim asopisima izmeu 1857. i 1870. godine. U
borbi izmeu dobra i zla Rocambole je
doivljavao uzbudljive zgode i plijenio
matu itatelja. Veliki je broj francuskih
pisaca, sve do u 21. stoljee, opisivao
njegove zgode i nezgode. Rije rocambolesque i danas u francuskom jeziku oznaava bilo koju vrstu fantastine avanture.
Uputajui se u pustolovinu skladanja za
etiri saksofona, Horvat je iskazao neiscrpnu matu u nadigravanju etvorice
majstora svojih glazbala koji puninom
zvuka i zahvaljujui tehnikoj spremnosti
vjeto oivljavaju jo jednu od Horvatovih
uspjelih partitura. Asocijacije folklornih
prizvuka i leerniji pristup obradbi
tematske grae pridaju ovom djelu
atmosferu inicijalne inspiracije, primarnu
nadahnutost igre i uivanja u ugodnoj
boji saksofonskog zvuka.
[dr. Zdenka Weber]

Stanko Horvat dedicated two of his works,


Drammatico (1996) and Rocambole (2000),
to the Zagreb Saxophone Quartet. The
latter was first performed at the concert
on the composers 70th birthday. The title
rocambole can refer to the name of two
types of garlic (Allium scorodoprasum
and A. ascalonium); it can also refer to
the name of a dessert which is very
popular in Brazil, but it is also the name
of a character, Rocambole, which was
introduced into literature by the French
author Pierre Alexis Ponson du Terrail.
Horvat was undoubtedly inspired by this
fictional adventurer, who played an
important role in adventure novels and
detective stories published serially in
French magazines between 1857 and
1870. In the conflict between good and
evil Rocambole meets with all kinds of
exciting adventures and captures the
imagination of readers. A large number
of French writers have been describing
his adventures until the 21st century.
Even today, the word rocambolesque in
French describes any kind of wild adventure. By getting into the adventure of
composing for four saxophones, Horvat
has shown an inexhaustible imagination
in outplaying the four masters who skillfully bring to life another of Horvats
successful scores by using the fullness of
sound and technical readiness. The
associations of folk overtones and a
more relaxed approach to interpretation
of the theme material give this work an
atmosphere of initial incitement, primary
inspiration of the game and enjoyment
in a delightful color of the saxophone
sound. [Zdenka Weber, PhD]

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Silvije Glojnari

96

Silvije Glojnari (Ladislavec / Zlatar Bistrica, 1936.) studirao je na teorijsko-nastavnikom odjelu Muzike akademije u
Zagrebu. Bio je dugogodinji bubnjar
Zagrebakog jazz kvarteta i Zagrebakog
jazz kvinteta te lan Plesnog orkestra
RTV Zagreb. Kao ef-dirigent Big banda
Hrvatske radiotelevizije sudjelovao je na
mnogim europskim festivalima deza.
Sklada za razne sastave te aranira vea
glazbena djela.

Silvije Glojnari (Ladislavec / Zlatar Bistrica, 1936) studied at the theory department of the Music Academy in Zagreb.
He was a long-standing drummer of the
Zagreb jazz quartet and Zagreb jazz
quintet as well as a member of the Zagreb
Television Dance Orchestra. As the principal conductor of the Big Band of Croatian Radio Television, he participated in
many European jazz festivals. He composes for various types of ensembles and
creates musical arrangements of works
by other authors.

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Djelo Procedure 4/4 Saxophones pisano


je za ovogodinji Biennale. U kvartetu
saksofona naao sam sve elemente koji
su omoguili prirodni spoj sa eljenim
glazbenim materijalom. Ve i naslov
govori o redoslijedu dogaanja unutar
kvartetske glazbene konstrukcije.
Ritamski kontinuum je nukleus koji
sjedinjuje promjene u koritenju instrumenata, odnosno redoslijedu nastupa,
kao i uvoenje 5. instrumenta (zurne)
koji gostuje i stvara stanoviti nered.
Glazbena graa osloboena je melodijske i harmonijske stege, ali istovremeno
potuje postulate suvremenog glazbenog
jezika. Ovaj kvartet je nastavak ve
uinjenog koraka prema novom nestandardnom pristupu koji sam primijenio u
projektu JAZZLA(n)DO, kada je spoj Big
banda jazz-provenijencije i folklornog
ansambla Lado doveo do novog
glazbenog idioma. Nije preuzetno rei da
su ovi moji projekti osnova za promiljanja glazbenih sadraja u novom ozraju,
s novim atributima, kao to nije
preuzetno rei da je taj pristup, kao i
glazbena elokvencija Zagrebakog
kvarteta saksofona, omoguio naputanje
Tekue Sadanjosti i odlazak u Skoru
Budunost. [Silvije Glojnari]

Procedures 4/4 Saxophones is a work


written for this years Biennale. I have
found in a saxophone quartet all elements that could be naturally merged
with the desired music material. The title
itself indicates the sequence of events
within a quartet music structure. Rhythmic continuum is the nucleus which
unites the changes in the use of instruments, in the sequence of performances,
while the introduction of the fifth instrument (zurle), a guest, creates a certain
disorder. The music material is free of
melody and harmony control, but it
nevertheless honors the postulates of the
contemporary music language. This
quartet is a continuation of a step already
taken towards a new non-standard
approach which I have applied in the
JAZZLA(n)DO project, in which the
conjunction of the Big band jazz provenance and folk ensemble Lado has lead
to a new music idiom. It is not too presumptuous to say that these projects
form a basis for pondering on music
contents from a new standpoint, with
new attributes, neither is too presumptuous to say that this approach, as well
as the music eloquence of the Zagreb
Saxophone Quartet, has enabled the
abandoning of the current present
and stepping into the near future.
[Silvije Glojnari]

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98

99

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17:00, Mimara
PROCES-MUZIKA / PROCESS-MUSIC
projekt Multimedijalnog instituta MAMA i
MBZ-a / a project of the MAMA Multimedia
Institute and MBZ
Thomas Kner: koncert / concert
Mladen Dolar: predavanje / lecture
Vie o projektu Proces-Muzika /
More on the Process-Music project, str./page 382

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Dolar

Mladen

100

Pri spomenu Mladena Dolara (1951.)


ne pada nam na pamet samo njegova
istaknutost u filozofiji, ve i originalnost
njegovih teorija. Poznat po svojoj usredotoenosti na prouavanje njemake
klasine filozofije, strukturalizma, psihoanalize i filozofije glazbe te po svojemu
djelovanju kao suosniva, zajedno sa
Slavojem iekom i Alenkom Zupani,
Ljubljanskoga kruga teoretske psihoanalize, Dolar je utjecao na mnoge piui o
europskoj politikoj podsvijesti ili o
ljubavi i operi u svojim esejima. Predavao
je filozofiju i teoretsku psihoanalizu na
Sveuilitu u Ljubljani, na kojemu je i
diplomirao, nastavljajui s usavravanjem na Sveuilitu Paris VIII i Sveuilite
u Westminsteru. Takoer je bio lan
urednitva asopisa Problemi i zbirke
Analecta.
U svojoj zadnjoj monografiji A Voice and
Nothing More, objavljenoj na engleskom
jeziku, ponudio je filozofski utemeljenu
teoriju glasa kao lakanovski odnos
izmeu predmeta i uzroka. Istraivao je
glas s razliitih gledita: lingvistiku glasa,
metafiziku glasa, etiku glasa, paradoksalan odnos izmeu glasa i tijela, politiku
glasa, pritom naglaavajui uporabu
glasa kod Freuda i Kafke.

When mentioning Mladen Dolar (1951)


it is not just his philosophical prominence
that springs to mind, but also the originality of his theoretical position. Known
for his research focused on German
classical philosophy, structuralism,
psychoanalysis and philosophy of music
as well as for his activity as one of the
founders, along with Slavoj iek and
Alenka Zupani, of the Ljubljana Circle
of Theoretical Psychoanalysis, Dolar has
influenced many with writings on the
European political unconscious or with
his essays on love or opera. He has
taught philosophy and theoretical
psychoanalysis at the University of
Ljubljana, where he finished his studies,
obtaining additional education at
University Paris VIII and University of
Westminster. He has also served as a
member of the editorial boards of the
magazine Problemi and of the book
collection Analecta. In his latest monograph published in English, A Voice and
Nothing More, he offered a philosophically
grounded theory of the voice as a
Lacanian object-cause. He has researched
the voice using different viewpoints: the
linguistics of the voice, the metaphysics
of voice, the ethics of voice, the
paradoxical relation between the voice
and the body, the politics of voice, while
putting emphasis on the uses of the
voice in Freud and Kafka.

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Kner

Thomas

102

Thomas Kner (1965.) upisao je studij


na glazbenom uilitu u Dortmundu te
studirao elekroniku glazbu u Studiju
CEM u Arnheimu. Proirio je svoj koncept
vremena i zvukovne boje na vizualni
prikaz, iz ega su proizile video instalacije, fotografija i internetska umjetnost.
Njegovo polazite bila je kompozicija
zvuka u koju su postupno integrirani
vidovi izvedbe i vizualnoga jezika, isprva
u suradnji s fimaem Jrgenom Rebleom, i izvedba uivo Alchemie. Nakon
toga je uslijedilo skladanje filmske i
popratne glazbe za povijesne nijeme
filmove u parikima Muzeju Louvre i
Muse dOrsay. Njegov umjetniki
izriaj istrauje podruje tiine i sporosti,
poetiku dezintegracije i statikoga kretanja. Za svoja je audio-vizualna djela
primio mnoge ugledne nagrade, izmeu
ostalih, Nagradu za elektronike umjetnosti Golden Nica 2004. i nagradu Tigri
(za najbolji kratki film) na Meunarodnom filmskom festivalu u Rotterdamu
2005. godine. Njegova medijska instalacija Suburbs of the Void osvojila je
nagradu Transmediale u Berlinu 2005.
godine, a predstavljena je i na venecijanskomu Biennalu. Muzej Rimbaud
naruio je od umjetnika pet stalnih
zvunih instalacija za pet prostorija u
Rezidenciji Rimbaud u francuskomu
gradiu Charleville-Mezires.

Thomas Kner (1965) attended the


music college in Dortmund and studied
electronic music at the CEM-Studio in
Arnhem. He extended his concept of
time and sound colour to images,
resulting in video installations, photography and net.art. His point of departure_was composition of sound in which
aspects of a performance and visual language_were gradually integrated, at first
in collaboration with film artist Jrgen
Reble and the live performance Alchemie.
Following this, he started to compose
film soundtracks and music to accompany
historic silent films for the Louvre
Museum and the Muse dOrsay, Paris.
His artistic expression explores realm of
stillness and slowness, the poetics of
disintegration and static progression.
He has received numerous prestigious
prizes for his audio-visual works, among
them: 2004 Prix Ars Electronica Golden
Nica, the Tiger Cub Award (best short
film) at the International Film Festival
Rotterdam 2005. His media installation
Suburbs Of The Void received the
Transmediale 2005 award in Berlin and
was presented at the Venice Biennale.
The Rimbaud Museum commissioned
five permanent sound installations from
Kner, for five rooms of the Maison
Rimbaud in Charleville-Mezires,
France.

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19:30, ZKM
Miro Dobrowolny: Zilverstad / Srebrenica*
oratorijski scenarij za pjevaa, glumca, plesaa, zborske glasove u prostoru
i komorni sastav, s filmskim projekcijama i kamerom uivo Bernda Riebea /
oratorio setting for a singer, an actor and a dancer, choral voices in space
and a chamber ensemble, with film screenings and live camera by Bernd
Riebe
Tekstovi / Texts: Helmut Wenderoth, Miro Dobrowolny, Georg Trakl,
Zdravko Luburi i dokumentarni tekstovi / with documentary texts
Art Ensemble NRW / Ansambl Art NRW,
Komorni zbor Ivan Filipovi / Ivan Filipovi Chamber Choir
Wolfram Wittekind, tenor, Frieder Mann, plesa / dancer
Helmut Wenderoth, gluma i reija / actor and director
Art Ensemble NRW :
Martin Schminke, violina / violin
Scott Roller, violonelo / cello
Regina Pastuszyk, klarinet i bas-klarinet / clarinet and bass clarinet
Theodor Pauss, klavir / piano
Viola Kramer, sintetizator, harmonika, glas / synthesizer, accordion, voice
Tobias Liebezeit, udaraljke / percussion
Miro Dobrowolny, umjetniki voditelj i dirigent /
artistic director and conductor

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104

Dana 16. travnja 1993. zapoeo je


velianstven projekt meunarodne zajednice: Opametiti se na temelju iskustva
- ili - To se vie nikada ne smije dogoditi moda ak, nada u temelj nekog pravednijeg svjetskog poretka? Toga dana
nekadanji je gradi srebra i ljeilite Srebrenica rezolucijom 819 Vijea sigurnosti
Ujedinjenih naroda proglaen UN-ovom
zatitnom zonom, sigurnim podrujem i
sigurnim utoitem. inilo se da tu svijet
ljudima nudi zatitu od najelementarnijih prijetnji. in humanosti?
1. Prolog - Arija (Slika u glavi) Ahmo na
motociklu - Ples uz nadgrobni zbor /
Prologue - Aria (An Image in the Mind),
Ahmo on the Motorcycle - Dance, with a
funeral choir
2. O suivotu i kako je poeo rat / Living
Together and How the War Began
3. Vojni zapovjednici - Duet - Ples (kolo) /
The Commanders - Duett - Dance (Kolo)
4. O sigurnoj zoni i nadi /
On the Safe Area and Hope
5. Arija / Aria - Marcia funebre
(Neki smrtni jauk /
A Mortal Groan, Zdravko Luburi)
6. Egzekutor / The Executor,
monolog / a monologue
7. Ja to ne elim uiniti! /
I Dont Want to Do That!
8. O umi i stazi ivota i smrti / On the
Woods and the Path of Life and Death
9. Arija sa zborom (uitelj plesa, mesar,
motociklist) / Aria with Choir (Dancing
Master, Butcher and Biker)
10. A ene / And the Women...
11. Arija / Aria (Duboka pjesma / The
Deep Poem, Georg Trakl)
12. O krivnji / On Guilt

105

On April 16, 1993, there begun a magnificent project of the international community: Getting smarter, based on experience
- or - never to happen again - perhpas
even a hope in the foundations of a just
world order? On that day, a former silvermining town and spa, Srebrenica was established as UN protection zone, safe area
and haven, according to the UN resolution 819. It seemd the world was offerring
the people protection from the basic
threats. An act of humaneness?

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Umjetnost uvijek jest, uvijek je bila i bit


e - politika. ak i onda kada se pravi da
to nije. Tada je umjetnost naroito politika jer podupire ono to postoji, vladajue miljenje, moda i ne elei to
eksplicitno initi. I to je jedan od razloga
zato Srebrenicom postavljamo pitanja.
Zagovor za pitanja, za postavljanje pitanja kao stav, za usuivanje postavljanja
pitanja kao plemeniti zahtjev od nas
samih i od djela.
Srebrenica - upozorenje na opasnosti
postmodernog civiliziranog svijeta! to
nas je okiralo? Rat, zloini, nesposobnost da se zloin sprijei? Ponajprije injenica da je takvo to danas mogue.
Kako se takvo to moe dogoditi? - bilo je
vjerojatno najee postavljano pitanje.
Ono u jasnom svjetlu pokazuje stanje zapadnog civiliziranog svijeta.
Mi smo se prilagodili - suvie esto smatrali smo da je kod nas, u Europi, civilizacija kod kue. Da kod nas postoji
pravo i zakon.
A zatim to! Nakon to se to dogodilo, bili
smo bez rijei, zaprepateni. Ta zaprepatenost i injenica da ona ne smije
biti krajem prie, bile su polazne toke
oratorijskog scenarija. Ne razumijemo li
to se dogodilo, moda jednostavna subjektivna pria jednog ovjeka moe pomoi da savladamo zaprepatenost.
[Miro Dobrowolny]

Art is, always was and always will be politically bound. It is political even
when it claims otherwise. Quite the contrary, when it claims to be independent
from politics it is precisely then that it
acts in the favour of ruling politics, committing to the commonly accepted point
of view, even if it does not want to. And
this constitutes one of the reasons why
we ask questions with Srebrenica. Advocating questions, turning asking questions into attitude, daring to ask
questions we see as a noble request to
ourselves and our work.

Srebrenica - a warning of the dangers of


the post-modern civilised world! What
was it that really shocked us? Was it war,
crimes, or the inability to prevent it all?
Or just the fact that something like that
can happen in todays world.
How can something like that happen?
- this was probably the frequently asked
question. It shows us very clearly the
condition in which the Western
civilised world has fallen into.
We managed to adjust ourselves - we regarded much too often the civilisation to
be at home here, in Europe. We thought:
here we have law and we have rights.
And then this! After it happened, we were
stunned, shocked. The dismay followed
by the fact that this must not be the end
of the story, were the starting point of a
scenario for oratorio. If we do not understand what happened to us, maybe then
Ahmo - preivjeli iz Srebrenice.
Djelo Srebrenica je interdisciplinarno. Uz a simple yet subjective story of one man
glazbu, zvukove, glasove u prostoru i pje- can help us overcome our shock. [Miro
Dobrowolny]
vanje, tu su jo ples, gluma i projekcije
filma i slika. Struktura djela nije sluajna,
Ahmo - the survivor of Srebrenica
nego proizlazi iz njegova glavnog lika.
Srebrenica is an interdisciplinary work.
Along with music, sounds and voices filling up the space accompanied by singing,
there is also dancing, acting and film and
images projections. The structure of this
piece is not accidental but comes out of
the storys main character.

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106

Taj je glavni lik mesar, plesa i motociklist Ahmo: Ahmo je preivjeli. ivio je i
valjda opet ivi u Srebrenici, doivio je
doba opsade, pobjegao je - s mnogima
drugima - kroz umu i poslije se ak vratio. U jednom beznadnom svijetu Ahmo
nije izgubio nadu. Vratio se kako bi u
svojem gradu radio kao mesar, nastavio
sa svojim plesnim teajem te organizirao
motociklistike susrete. Pritom sanja
utopijski san: Umjetnost e pobijediti
sve strahote i osposobiti ljude da pristojno ive jedni s drugima.
U Srebrenici nastupaju tri protagonista
(glumac, plesa, pjeva) koji predstavljaju lik Ahme, a tijekom izvedbe djela
glume i druge uloge, primjerice, vojne
zapovjednike, vojnika, ili pak reagiraju
neutralno kao komentatori. Nadrealistiki trenuci dokumentarnih slika i njihove umjetnike obradbe razotkrivaju
cinizam prie. Djelo se neprestano kree
izmeu dramskog suosjeanja i promatranja izvana. I zbor se zvukovno
ukljuuje u zbivanje, no vie kao komentator. U dvanaest prizora pripovijeda se
na oratorijski nain. To nije ni opera, ni
drama, ni balet, ni dokumentacija, ni
rekvijem, ali jest mogunost svega toga.
Fragmenti crvene niti i mnogo pitanja
koja se tvrdoglavo suprotstavljaju sve
proirenijoj enji za brzim odgovorima.
est instrumentalista (ne) tvore orkestar.
Glazbeni materijal destilira se iz jednoga
kola i neprestano krui oko sredinjeg
tona F. Kompozicija i improvizacija tvore
temelj djela. Mnogo toga stoji jedno
pokraj drugoga, a ipak se povezuje.
Zvukovi-slike kombiniraju se i pokreu
pitanja. Na kraju je Ahmina utopija mogui odgovor? [Miro Dobrowolny]

107

This main character is a butcher, dancer


and motorcyclist Ahmo: Ahmo is a survivor. He lived, and probably still lives in
Srebrenica, he experienced Srebrenicas
siege, he fled - along with many others through the woods and later on he even
came back. In a hopeless world, Ahmo did
not lose hope. He even returned in order
to work in his city as a butcher, in order to
continue with his dance course and organize motorcycling events. While he
does that, he dreams the Utopian dream:
art will conquer all atrocities and provide
the opportunity for people to live decently
with each other.
In Srebrenica we have three persons
(actor, dancer, singer), all representing
the character of Ahmo, and during the
performance we have other actors in the
roles of characters, such as military commanders, soldiers, or neutral commentators. The surrealistic moments of
documentary images and their artistic
processing unfold the cynicism of the entire story. This piece constantly moves between a dramatic sympathy and outside
observation. The choir participates with
its sound in the happening more as a
commentator. Through the twelve scenes
the story is told in a manner of an oratorio. This is not an opera, or drama and ballet, nor a documentary or requiem, but it
might as well be all of that. The red thread
fragments and multitude of questions are
stubbornly opposed to the great longing
for quick answers.
Six instrumentalists (dont) make an orchestra. The music material is distilled
from one circle and constantly encircles
the focal note, F. Composition and improvisation form the basis of this piece. A
lot of things are put next to each other,
and yet are intertwined. Sounds - images
are combined and they set off questions.
The end sees Ahmos utopia - as a possible
answer? [Miro Dobrowolny]

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dan

mjesec

19:30

nedjelja / sunday

sat

Miro Dobrowolny (Zagreb, 1959.) studirao je violinu, kompoziciju (u klasi Dimitrija Terzakisa), dirigiranje, komornu
glazbu i muzikologiju u Duisburgu, Dsseldorfu i Klnu. Utemeljio je Ansambl
ART NRW te festival Bergische Biennale u
Remscheidu i Solingenu. Od 2002. godine dirigent je Duisburkih solista. Pie
solistika, komorna, orkestralna i scenska djela.
Miro Dobrowolny (Zagreb, 1959) studied
violin, composition (in the class of Dimitri
Terzakis), conducting, chamber music and
musicology in Duisburg, Dsseldorf and
Cologne). He founded the ART NRW Ensemble and the Bergische Biennale festival in Remscheid and Solingen. Since
2002 he has been working as a conductor
of Duisburg soloists. He composes solo,
chamber, orchestral and stage works.

Wittekind

19

hour

Wolfram

month

Miro Dobrowolny

day

Wolfram Wittekind (Hilden, Dsseldorf )


prouavao je protestantsku crkvenu
glazbu, a zatim je upisao studij pjevanja
u klasi Hansa-Dietera Saretzkija na Robert-Schumann-Hochschule u Dsseldorfu. Diplomirao je 1995. godine s
izvrsnim ocjenama. Tijekom studija
zapoeo je scensku karijeru ulogom
Tamina u Mozartovoj arobnoj fruli, a
slijedile su prestine operne uloge
(Cavaradossi, Don Jose, Alfredo, Lohengrin) u raznim njemakim kazalitima.
esto izvodi njemake pjesme i crkvenu
glazbu, a veoma ga zanima rad modernih
klasinih skladatelja, npr. Kurta Weilla,
Benjamina Brittena i Leoa Janeka.
Wolfram Wittekind (Hilden, Dsseldorf )
studied protestant church music before
starting his university studies of singing
with Hans-Dieter Saretzki at the RobertSchumann-Hochschule in Dsseldorf,
where he graduated with outstanding
grades in 1995. During his studies he
started his stage career with the role of
Tamino in the Magic Flute by Mozart,
followed by prominent opera roles
(Cavaradossi, Don Jose, Alfredo, Lohengrin) in various German theatres.
He frequently performs German songs
and church music and is very interested
in the works of modern classic composers like Kurt Weill, Benjamin Britten,
Leo Janaek.

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 109

Helmut Wenderoth (1957.) dobro je i


rado ivio u malom selu u Hunsrcku do
18. godine i tamo mnogo nauio, pa i u
koli. Zatim je iao u Saarbrcken, Trier,
Dortmund, Frankfurt, Berlin i esto u
Italiju, kako bi dalje ivio i uio. ivljenje
i uenje u teatru ini mu toliko veselje da
na kraju nije elio biti nita drugo doli
glumac. Poslije je poeo i pisati te sve
ee reirati. Danas je umjetniki
voditelj KRESCHtheatra u Krefeldu i na
pozornicama postavlja leerne stvari.
Kada se ne bavi kazalitem, rado jede i
pije s prijateljima te pripovijeda.
Helmut Wenderoth (1957) lived well and
happily in a small village in Hunsrck
until he was 18 years old. He went to
school there and he learned a lot. He
then moved to Saarbrcken, and then to
Trier, followed by Dortmund, Frankfurt,
Berlin with frequent visits Italy often in
order to gain even more knowledge and
experience. The experience of theatre
and living and learning through it
brought him so much joy that he eventually wished for nothing else than being
an actor. Later on he started writing and
directing even more frequently. Today
he works as the artistic director of
KRESCHtheater in Krefeld and features
mostly easy-going pieces. When he is not
working in the theatre, he enjoys eating,
drinking and telling stories with his
friends.

109

Mann

Frieder

Wenderoth

Helmut

108

Frieder Mann je plesa, plesni pedagog i


teolog. Plesno se obrazovao u New Yorku
i San Franciscu, a teologijski na Berkeleyu, Kalifornija, zatim se bavio plesnom
terapijom, tai-chijem, Feldenkraisom, a
u Tbingenu je studirao sport i teologiju.
Danas djeluje kao plesa i koreograf,
gimnazijski profesor tjelesnog odgoja i
religije, a od 1991. godine dri teajeve
Spiritualnost i ples i teajeve plesne
tehnike i koreografiranja te objavljuje na
temu spiritualnosti, liturgijskog plesa i
religijskog obrazovanja.
Frieder Mann is a dancer, dance educator and theologian. He studied dance in
New York and San Francisco, and theology at Berkeley, California. He then practiced dance therapy, tai-chi, Feldenkrais,
and studied sports and theology in
Tbingen. He currently works as a
dancer and choreographer, a high school
physical education teacher, and since
1991 he has been conducting Spirituality and Dance courses, as well as
courses in dance technique and choreography, and has published papers on
the topic of spirituality, liturgical dancing and religious education.

day

month

19

dan

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hour

19:30

nedjelja / sunday

sat

Ivan Filipovi

Komorni zbor

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Komorni zbor Ivan Filipovi osnovan je


1998. godine i jedan je od najuspjenijih
a cappella amaterskih ansambala u
Hrvatskoj. Iako je rije o amaterski zasnovanom vokalnom ansamblu, brojne
nagrade uvjerljivo svjedoe o entuzijastikoj predanosti i zavidnoj umjetnikoj pozvanosti lanova zbora pod
dirigentskim vodstvom njihova osnivaa
Gorana Jerkovia. Visoka priznanja sa
zborskih natjecanja u pravilu su bivala
potvrivana pohvalnim recenzijama
glazbenih kritiara, koji su redovito isticali injenicu da zbor ponajvie njeguje
najzahtjevniju umjetniku literaturu skladanu za zbor a cappella. Pored trijumfalnih nastupa na natjecanjima, zbor
je odrao brojne koncerte u Hrvatskoj i
inozemstvu (Italija, Kina, Maarska, Njemaka, Izrael, Tajvan).

The Ivan Filipovi Chamber Choir was


founded in 1998 and is one of the most
successful a cappella amateur ensembles
in Croatia. Although this is an amateur
vocal ensemble, their numerous awards
a convincing testimony to the enthusiastic dedication and enviable artistic qualities of all members of the choir,
conducted by its founder Goran Jerkovi,
Prestigious recognitions from competitions have been regularly substantiated
by favourable reviews by music critics,
who have repeatedly pointed out that
this ensemble shows a marked preference for the most challenging artistic
subjects - composed for a cappella
choirs. Apart from its triumphant appearances at competitions, the choir has
given numerous concerts in Croatia and
abroad (Italy, China, Hungary, Germany,
Israel, Taiwan).

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ART NRW

110

Ansambl ART NRW osnovan je u sezoni


1985./86. te je specijaliziran za Novu
glazbu, od solistike do orkestralne. Osnovu ansambla ne ine samo instrumentalisti nego i pjevai. Umjetniko vodstvo
u rukama je skladatelja i dirigenta Mire
Dobrowolnog. lanovi ansambla vrsni
su glazbenici od kojih su neki slobodni
umjetnici, a drugi na istaknutima pozicijama u orkestrima u regiji Sjeverno Porajnje. Pri oblikovanju programa Ansambla
teite je naroito na srodnostima meu
razliitim umjetnostima te njihovi programi imaju raspon od performansa i
Gesamtkunstwerka do komornih opera.
Glazbenicima je pritom najvanije publici razjasniti referencije i usmjeriti je na
umjetniki sadraj, bez obzira na vanjsku
formu. Ponekad surauju s ansamblima
za ranu glazbu, a redovno dobivaju financijsku potporu Njemakoga
glazbenog vijea i raznih njemakih zaklada. Gostovali su na brojnim europskim
festivalima te snimaju za njemake televizijske postaje HR i WDR.

ART NRW Ensemble was founded in the


1985/86 season, and specialises in New
Music, ranging from solo to orchestra
music. The core of the ensemble is made
up not only of instrumentalists, but also
of singers. Composer and conductor
Miro Dobrowolni provides artistic guidance for the ensemble. Ensemble members are accomplished musicians. Some
are independent artists, and some hold
distinguished positions in orchestras in
the North Rhine region. In the programme of the ensemble special emphasis is given to the similarities between
the various arts, so the programme encompasses everything from performance
acts and Gesamtkunstwerk to chamber
operas. When performing, the musicians
concentrate on clarifying the references
for the audience and directing it to the
artistic content, regardless of the external form. They occasionally cooperate
with early music ensembles, and receive
regular financial support from the German Music Council and various German
foundations. They have appeared at numerous European festivals, and have
recorded for German television stations
HR and WDR.

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21:30, &TD
Sandro Lombardi - Virgilio Sieni:
Le Ceneri di Gramsci / Gramscijev pepeo /
Gramscis Ashes
koreodrama prema djelu Piera Paola Pasolinija / choreodrama based on
the work by Pier Paolo Pasolini; glazba / music by Angelo Badalamenti
Virgilio Sieni, koreograf i plesa / choreographer and dancer
Sandro Lombardi, glumac / actor
Proizveli / Produced by:
Compagnia Lombardi - Tiezzi, Compagnia Virgilio Sieni
U suradnji s festivalom / In collaboration with: Mittelfest 2007

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113

Ova izvedba nastala je kao rezultat susreta


dvojice protagonista talijanskog eksperimentalnog teatra. Djelo se zasniva na
poemi Le ceneri di Gramsci (Gramscijev
pepeo, 1957.) Piera Paola Pasolinija.
Radnja poeme smjetena je na nekatolikom groblju u Rimu, ispred grobnice Antonija Gramscija, i predstavlja tjeskobno
razmatranje kontradikcije marksistikih
ideala i religiozne vizije realnosti. Pasolini
vrlo jasno izraava duboko usaenu
suprotnost izmeu ovakva dva stajalita:

This performance was born from the


encounter between two protagonists of
the Italian experimental theatre. The
piece is based on Pier Paolo Pasolinis
Le ceneri di Gramsci (The Ashes of
Gramsci, 1957). Set in the Non-Catholic
Cemetery in Rome, in front of Antonio
Gramscis tomb, the poem is an anguished
reflection upon the contradiction between
marxist ideals and a religious vision of
reality. Pasolini explicitly declares the
deep contrast between these two attitudes:

Skandal mojeg proturjeja, toga da sam /


s tobom i protiv tebe; s tobom u srcu / u
svjetlosti, protiv tebe u mranoj utrobi;
mojeg oinskog izdajnikog stanja /
- u misli, u nekoj sjeni akcije - / znam da
sam uza nj prionuo u aru nagon, estetike strasti; / privuen proleterskim
ivotom / tebi prethodnim, za mene je
religija njegova radost, ne tisuljetna /
njegova borba: njegova priroda, ne /
njegova svijest; prvobitna snaga
ovjekova, to se u inu izgubila, / daje
joj opijenost enje, / poetsko svjetlo: i
drugo vie ja ne znam rei, to ne bi bilo /
pravo ali ne iskreno, apstraktna / ljubav,
ne alostiva simpatija
(preveo Mladen Machiedo)

The shame of self-contradiction, to be /


with you and against you; with you in
heart, / in the light, against you in visceral
darkness; / traitor of my paternal station in thought, in the shadow of an action - / I
know Im related to it in the heat / of
instincts, of aesthetic passion; / attracted
by a proletarian life / preceding yours,
my religion is / its gaiety, not its millenary /
struggle: its nature, not its / consciousness;
its the primary strength / of Man, lost in
action, / that gives it the intoxication of
nostalgia / and a poetic light: and nothing
more / I can say about it but / right
words yet not sincere, abstract / love and
not grieved sympathy...

Struktura pjesme i izraajno bogatstvo


daju temelje za dramatski zaplet. Rijei
glumca plesa koristi kao glazbenu osnovu
kako bi stvorio vlastitu koreografiju koja
se izmjenjuje s trenucima tiine. Glumca
se privlai u koreografsku orbitu plesa.
Zajednika osnova na kojoj se dvoje
izvoaa susreu i suprotstavljaju ne
predstavlja samo njihov intelektualni i
emocionalni pristup Pasolinijevoj
poemi, ve i njihovu tjelesnost kroz dvije
dimenzije: usmenu i fiziku. Razliite
razine na kojima se njihova tijela na pozornici prezentiraju omoguuju uspostavljanje razgovora. Rije i ples razvijaju
se zajedno, potiui jedno drugo,
pokuavajui obuhvatiti svoje odjeke.
Posveta pjesniku, refleksija osjetila na
temelju opaenog tijela i povijesti.
Pozornica ovdje utjelovljuje polisemnu
dvoznanost indirektno izraenu u poetskom jeziku: u ovom sluaju je dvoznanost pojaana upotrebom neobine
interpretacije koja nije ograniena na
glumu i ples, ve se zasniva na susretu
ostvarenom u ime poetskog teksta.

The poems structure and expressive


richness offer grounds for the dramatic
plot. The words of the actor, used by the
dancer as a musical base to create his
own choreography, alternate with moments of silence. The actor is attracted
into the choreographic orbit of dance.
The common ground on which the two
performers encounter and confront each
other is not only their intellectual and
emotional approach to Pasolinis poem,
but also their corporeity, in its two dimensions: oral and physical. The different
levels at which their bodies upon the
stage show themselves upon the stage
establish a conversation Word and dance
develop together, bringing on each other,
trying to grasp their respective echoes.
An homage to the poet, a reflection upon
senses and upon the perception of body
and history. The stage here re-presents
the polysemous ambiguity already
implied in poetic language: in this case
the ambiguity is magnified by the use of
an unusual interpretation, not limited to
acting and dance, but based on their
encounter in the name of the poetic text.

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Sieni

Virgilio

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Virgilio Sieni, koreograf i plesa, protagonist je talijanskog suvremenog plesa


jo od ranih 1980-ih, kada djeluje sa svojom prvom plesnom trupom Parco Butterfly te zatim sa zakladom Compagnia
Virgilio Sieni, aktivnom od 1992. godine.
Njegov rad ne sastoji se samo od suvremenog i klasinog plesa, ve i od studija
umjetnosti, arhitekture i japanskih borilakih vjetina. Sieni je svoj rad prezentirao u New Yorku te na turnejama po
Latinskoj Americi i Bliskom istoku.
Uvrstio je iznimno produktivne veze s
najvanijim teatrima i festivalima u Italiji. Dvaput je osvojio nagradu Ubu (najznaajnija talijanska nagrada na
podruju scenske umjetnosti).
Osim rada sa svojom plesnom trupom,
Sieni je bio i gostujui koreograf Teatra
alla Scala u Milanu, znaajnih teatara u
Firenci, Napulju, Palermu te Toskanskog
baleta. Sieni je esto suraivao i s
meunarodno priznatim umjetnicima

Virgilio Sieni, choregrapher and dancer,


has been a protagonist of Italian contemporary dance since the early 1980s,
with his first company Parco Butterfly
and subsequently with the foundation of
the Compagnia Virgilio Sieni, active
since 1992. Its practice includes not just
contemporary and classical dance, but
studies of art, architecture and Japanese
martial arts. Sieni has shown his work in
New York and undertaken tours in Latin
America and the Far East. He has
cemented productive relationships with
the most important theatres and festivals
in Italy. He has twice been awarded the
Ubu prize (the most important Italian
prize for scenic arts)
As well as his work with the company,
Sieni was guest choreographer for the
Teatro alla Scala in Milan, further theatres in Florence, Naples, Palermo and
the Tuscan Ballet. Sieni often collaborates with internationally famed visual

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116

na podruju vizualne umjetnosti,


glazbenicima i skladateljima poput
Alexandra Balanesca, Ennija Morriconea,
Stevea Lacyja, Luisa Sclavisa; Grazie
Toderi, Liliane Moro, a na podruju kostimografije suraivao je s Miucciom
Pradom. Od 2003. godine Sieni ivi u
Firenci, gdje radi kao umjetniki direktor
centra CANGO Cantieri Goldonetta.
CANGO je centar za suvremenu umjetnost, umjetniku praksu, gostoljubivost i
viziju, dodirna toka umjetnika (kroz
program umjetnikih rezidencija) i publike. Virgilio Sieni nije samo koreograf
ve i viestrani umjetnik koji se bavi
izvedbama, videom, fotografijom, instalacijama i urednitvom. Godine 2007. osnovao je Accademiju sullarte del gesto
(Akademiju umjetnosti geste), inovativno mjesto za razmjenu umjetnike
prakse, kontinuiranog istraivanja i
stvaranja sa sreditem u Firenci, ali s
projektima u cijeloj Italiji.

117

artists, musicians and composers, such


as Alexander Balanescu, Ennio Morricone, Steve Lacy, Luis Sclavis; Grazia
Toderi, Liliana Moro, and for costumes:
Miuccia Prada. From 2003, Sieni has
been based in Florence, where he is
Artistic Director of CANGO Cantieri
Goldonetta. CANGO is a centre for contemporary arts, physical practice, hospitality and vision, a focal point for artists
(through a programme of artistic
residencies) and the audience. Virgilio
Sieni is not only a choreographer but a
multi-faceted artist working across
performance, video, photography,
installations and editorials, In 2007 he
founded the Accademia sullarte del
gesto (Academy of the Art of Gesture), an
innovative space for the transmission of
artistic practice, continual research and
creation, centred in Florence, but
running projects across Italy.

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Badalamenti

Angelo

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Skladatelj Angelo Badalamenti (Brooklyn, NYC, 1937.) najee sklada za film i


televiziju, a najpoznatija je njegova
suradnja s reiserom Davidom Lynchom,
koja je poela kad je Badalamenti trebao
biti profesor pjevanja glumici Isabelli
Rossellini za potrebe filma Plavi barun,
ali je na kraju skladao uspjean soundtrack za film. Studirao je na glazbenim
sveuilitima Eastman School of Music u
Rochesteru, New York i na njujorkoj
Manhattan School of Music, gdje je
magistrirao kompoziciju, rog i klavir. Za
svoja je djela dobio nagrade Grammy (za
temu iz serije Twin Peaks) i BAFTA, uz
brojne nominacije za nagrade Grammy,
Emmy, Zlatni globus i dr. Suraivao je s
brojnim svjetskim glazbenicima kao to
su David Bowie, Paul McCartney, Pet
Shop Boys, Michael Jackson, Julee
Cruise, Marianne Faithfull, Dolores
ORiordan i Anthrax.

Composer Angelo Badalamenti (Brooklyn, NYC, 1937) mostly works in film music, is most famous for his collaborations
with David Lynch, which started when
he was hired as Isabella Rossellinis vocal
coach for the movie Blue Velvet, but
ended up scoring the film. Badalamenti
studied at the famous Eastman School of
Music in Rochester and at Manhattan
School of Music, where he received Masters degrees in composition, French horn
and piano. Badalamenti is the the recipient of a Grammy Award for his Twin
Peaks Theme, as well as a BAFTA Award
and several Golden Globe, Emmy and
further Grammy nominations, among
others. His has worked with many acclaimed musicians, such as David Bowie,
Paul McCartney, Pet Shop Boys, Michael
Jackson, Julee Cruise, Marianne Faithfull, Dolores ORiordan and Anthrax.

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Lombardi

Sandro

118

Karijera glumca i spisatelja Sandra Lombardija usko je povezana s priom o


glumakoj druini Il Carrozzone koju je
u Firenci osnovao s Federicom Tiezzijem
i Marion DAmburgo. Ve su se prvim
nastupima, 1972. godine, nametnuli kao
jedni od najprodornijih predstavnika
novog slikovnog teatra. Pod Tiezzijevim
vodstvom Lombardi je izvodio drame
Becketta, Mllera, Marija Luzija, Manzonija, Pasolinija, Brechta, Parisea,
ehova i Bernharda. Njegove izvedbe
utemeljene na dramama Giovannija
Testorija bile su prekretnica u prihvaanju toga lombardskog spisatelja. Od
1988. do 2002. Lombardi je osam puta
osvojio nagradu Ubu za najbolju muku
izvedbu, a tri su njegova djela osvojila
Ubu za najbolju izvedbu godine. Stekao
je reputaciju zbog svojeg specifinog
naina izvoenja poezije i knjievnih
djela te je suraivao s mnogim cijenjenim glumcima i redateljima na radiju,
televiziji i u kazalitu.

The career of the actor and writer Sandro Lombardi is bound to the story of
the company founded by him together
with Federico Tiezzi and Marion DAmburgo in Florence, Italy. As Il Carrozzone, they gave their first performance
in Florence in 1972 and immediately
made a name for the company as one of
the most cutting-edge experiences of the
rising image-theatre. The company has
remained a first-rank experience in the
Italian and European theatre. Under the
direction of Tiezzi, Lombardi interpreted
plays by Beckett, Mller, Luzi, Manzoni,
Pasolini, Brecht, Parise, Chekhov, Bernhard. His performances based on the
plays by Giovanni Testori revoluzionized
the reception of the Lombard writer.
From 1988 to 2002, Lombardi was awarded four times the Ubu prize for the best
male performance and three of his works
were awarded the Ubu for the best performance of the year. He has distinguished himself for his peculiar way of

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Sudjelovao je u izvedbama djela Luciana


Beria, Adriana Guarnierija, Giorgia Ghedinija, Luigija Nona i Galine Ustvolskaje,
suraujui pritom s cijenjenim svjetskim
glazbenim umjetnicima. Sa svojom
glumakom druinom redovito nastupa
u glavnim talijanskim kazalitima, a
sudjelovao je na mnogim kazalinim
festivalima u Europi, SAD-u te u Japanu.
Snimio je CD s pjesmama P. P. Pasolinija
i Danteovim Paklom, etiri Testorijeva
monologa te djelom Destinatario
sconosciuto (Nepoznati primatelj)
autorice Kathrine Kressmann Taylor.
Najnoviji mu je projekt glavna uloga u
novoj produkciji Federica Tiezzija,
Passaggio in India (Put u Indiju) autorice
Santhe Rame Rau (prema istoimenom
romanu E. M. Forstera), koju je ujedno
preveo s engleskoga. Gli anni felici,
narativan esej u kojem opisuje svoje
otkrivanje kazalita i glazbe, osvojio je
godine 2004. nagradu Premio Bagutta
Opera prima. lan je irija za dodjelu
nagrade Premio Napoli. Njegov e prvi
roman, Le mani sullamore, uskoro
objaviti izdavaka kua Feltrinelli.

performing poetry and literature and has


worked with many acclaimed actors and
directors for the radio, television and the
theatre. In the musical field he participated in performances by Luciano Berio,
Adriano Guarnieri, Giorgio Ghedini,
Luigi Nono and Galina Ustvolskaya, collaborating with acclaimed international
artists. He is regularly present with his
company in the main Italian theatres
and has attended many theatre festivals
in Europe, the US and Japan. He recorded, on CD, P. P. Pasolinis poems and
Dantes Inferno, four monologues by
Testori and Destinatario sconosciuto
(Address Unknown) by Kathrine
Kressmann Taylor. His most recent project is a leading role in the new production of Federico Tiezzi, Passaggio in
India (A Passage to India) by Santha
Rama Rau (based on the novel by E.M.
Forster), which he also translated from
English. Gli anni felici, a narrative essay
in which he relates his discovery of theatre and music, was awarded the Premio
Bagutta Opera prima 2004. He is in the
jury of the Premio Napoli. His first novel,
Le mani sullamore, is in course of publication for Feltrinelli.

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Antonio Gramsci (1891. - 1937.), talijanski komunist i marksistiki filozof, velik


je dio ivota proveo u zatvorima faistike
Italije. Njegove Zatvorske biljenice sadre upeatljive analize tekoa s kojima
se suoavao revolucionarni pokret zbog
kulturne hegemonije vladajue klase.
Antonio Gramsci (1891 - 1937), Italian
communist and marxist philosopher
spent a big part of his life in the prisons
of fascist Italy. His Prison Notebooks
contain memorable analyses of the hardships the revolutionary movement had
been confronting because of the cultural
hegemony of the ruling class.

121

Pasolini

Pier Paolo

Gramsci

Antonio

120

Pier Paolo Pasolini (1922. - 1975.)


talijanski pjesnik, pisac i redatelj o ijem
pjesnikom djelu objavljujemo vie u
komentaru Mladena Machieda, uz
prijevod Gramscijeva pepela, u zasebnoj
knjiici s libretima.
Pier Paolo Pasolini (1922 - 1975) Italian
poet, writer and director on whose
oeuvre we provide more information in
Mladen Machiedos commentary next to
the translation of the lyrics, in a separate
booklet.

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MM, 22:30
Ansambl ACEZANTEZ / ACEZANTEZ Ensemble
ACEZANTEZ se vraa / ACEZANTEZ is back
Posuiva suza i smjehova, glazbeno-scenski kola /
The Borrower of Tears and Laughs, a collage
Ivana Bili, udaraljke / percussion
Dubravko Detoni, klavir / piano
Marina Kostelac, glas, pokret, mima / voice, stage movement, mime
Max Kostelac, glas, pokret, mima / voice, stage movement, mime
Saa Nestorovi, sopran-saksofon, tenor-saksofon i sintetizator
Umjetniko vodstvo / artistic direction: Dubravko Detoni
Dubravko Detoni: Od do - Monos III za komorni sastav i elektroniku /
From - To - Monos III, for chamber ensemble and electronics
Milko Kelemen: Yebell, akcija za soliste i komorni ansambl /
an action for soloists and a chamber ensemble
Ivana Bili: (The) Other/ Drugo* , glazba za marimbu, timpan, vrpcu i prijatelje / Music for marimba, timpani, tape and friends
Saa Nestorovi: 3D STEPS/ 3D koraci*
Branimir Saka: Barasou
Dubravko Detoni: Follow Me (Slijedi me) - Bajka - Gimnastika za grupu
Posuiva suza i smjehova * / Follow Me - Fairy Tale - Group Gymnastics Borrower of Tears and Laughs
Ovu predstavu - koju prvi put igra bez njega - ACEZANTEZ posveuje svojem suosnivau, dugogodinjem i dragocjenom suradniku, multiinstrumentalistu, muzikologu, poliglotu, organizatoru, menaderu i svjetskom putniku Fredu Doeku (1925.
- 2008.).
This production - performed for the first time without him - ACEZANTEZ wishes to
dedicate to their co-founder, long-time precious collaborator, multiinstrumentalist,
musicologist, polyglot, organizer, manager and world traveller Fred Doek (1925 - 2008).

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Ansambl Centra za nove tendencije Zagreb (ACEZANTEZ ) utemeljen je prije 40


godina, kada se, pod vodstvom Dubravka
Detonija, okupila skupina uglednih umjetnika viemedijskih sklonosti u namjeri
da stvaraju neto to nije samo glazba, ni
samo kazalite, niti su iskljuivo likovna
otkria. Debitirao je 1970. godine na
Dubrovakim ljetnim igrama, a u njemu
se izmijenilo nekoliko umjetnikih
narataja te velik niz uglednih gostiju iz
svijeta.
U svojemu je neprekidnom istraivanju
ACEZANTEZ prihvatio dragocjenu
suradnju domaih i inozemnih autora
koji su na najrazliitije naine poticali
umjetniku irinu njegova izraza. Brojni
nastupi u Europi, Americi i Aziji ansamblu su dali priliku da u dodiru s etniki i
kulturno raznovrsnim zajednicama
stalno obogauje vlastiti kreativni potencijal. Godine 1975. sastav je na Festivalu
Jugoslavenske radiotelevizije osvojio Nagradu Orfej kao najbolji komorni sastav
godine. Snimao je za radijske i televizijske postaje diljem svijeta te ostvario
bogat diskografski opus.

123

The Ensemble of the Zagreb Centre for


New Tendencies (ACEZANTEZ) was
founded forty years ago, when a group of
renowned musicians with multimedia
talents, led by Dubravko Detoni, came
together in order to create something beyond music, beyond theatre or beyond
visual arts. The group made their professional debut in 1970 at the Dubrovnik
Summer Festival and since then, several
generations of artists have participated
in their activities as well as a great number of prominent guest musicians from
around the world. Having been devoted
to continuous exploration, the ACEZANTEZ accepted with appreciation the collaboration of Croatian and foreign
authors who have inspired the artistic diversity of ensembles idiom in various
ways. The numerous performances in
Europe, the USA and in Asia have given
the ensemble the opportunity to enrich
their own creative potential in touch ethnically and culturally diverse communities. In 1975, the musicians won the
Orpheus Award at the Yugoslav Radio
and Television Festival as the best chamber ensemble of the year. They have
recorded for radio and television stations
around the world and released a large
number of sound recordings.

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Detoni

Dubravko

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Dubravko Detoni (Krievci, 1937.)


diplomirao je glasovir (Svetislav Stani)
i kompoziciju (Stjepan ulek) na Muzikoj akademiji u Zagrebu, a usavravao
se u Sieni (Guido Agosti, Alfred Cortot),
Varavi (Witold Lutos_awski, Gra_yna
Bacewicz, Eksperimentalni studio
Poljskoga radija), Darmstadtu (Gyrgy
Ligeti i Karlheinz Stockhausen) i Parizu
(John Cage). Autor je 130 opusa
orkestralne, komorne, solistike, vokalne
i elektronike glazbe, niza multimedijalnih projekata i eksperimenata, devet knjiga poezije i eseja, serij radijskih i
televizijskih emisija te mnogobrojnih
koncertnih i diskografskih komentara.
Dobitnik je niza nagrada i priznanja u
domovini i u inozemstvu. Djela su mu
izvoena na svim kontinentima, na najvanijim svjetskim festivalima, tiskana u
domovini i inozemstvu te objavljena na
46 diskografskih izdanja. U njima se podjednako slui klasinim instrumentarijem i tekovinama elektronike glazbe, a u
tenji za obogaivanjem zvuka i proirivanjem izraajnih mogunosti esto
kombinira oba zvukovna izvora.

Dubravko Detoni (Krievci, 1937) graduated in the piano (Svetislav Stani) and
composition (Stjepan ulek) from the
Zagreb Academy of Music, and continued with further studies in Siena (Guido
Agosti, Alfred Cortot), Warsaw (Witold
Lutos_awski, Gra_yna Bacewicz, the Experimental Studio of the Polish Radio),
Darmstadt (Gyrgy Ligeti and Karlheinz
Stockhausen), and in Paris (John Cage).
His oeuvre includes 130 orchestral,
chamber, soloist, vocal, and electronic
works, a number of multimedia projects
and experiments, nine books of fiction
and essays, series of radio and television
programmes, as well as numerous commentaries on concerts and sound
recordings. He has received many
awards and honours in the country and
abroad. His works have been performed
on all continents and at the most important international festivals, they have
been published in Croatia and abroad
and released on 46 recordings. The author writes his music drawing on both
classical instruments and electronic
music devices, whereas his efforts to enrich the sound and expand the expressive potential result in his combining of
the two sources of sound.

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O svojim djelima Detoni je zapisao:


Djelo Od do (1976.) odvija se na traci
neprestana suprotstavljanja glazbe i
neglazbe, lijepoga i runoga, poetskoga i nepoetskoga, pokreta i
mirovanja, lirskoga i dramatinoga. To je
spirala lakog ruganja - ali i divljenja kiu, slatkastom, ljepljivom, borniranom
s jedne strane i agresivnom, divljakom,
ruilakom s druge. To je slika svijeta od gadnoga do divnoga i natrag - namjerno pokazana praznim naslovom koji
se ak i naopake ita isto. Zavrnica
skladbe velik je prizor neobinih staklenih glazbala koja se, naputena od sviraa, glasaju sama.

125

Detoni commented on his compositions


as follows:

The piece From - To, for chamber ensemble and electronics (1976) is carried
out on a line of constant juxtapositions
of music and non-music, the beautiful
and the ugly, the poetic and the nonpoetic, the moving and the inaction, the
lyric and the dramatic. It is a spiral of
easy mocking - and admiring - the
kitsch, which is cute, sticky, limited on
one side and aggressive, barbaric and
destructive on the other. Its an image of
the world - from the disgusting to the
wonderful and back - intentionally
hinted at by the empty title, its original
Croatian title even read the same way
Monos III nastao je 1972. kao dio ciklusa from both sides. The finale of the piece is
a grand scene of unusual glass-made inskladbi (stvaranog od 1972. do 1982.) u
struments which, abandoned by the mukojima se uvijek drukije istrauje
sicians, make sounds by themselves.
poloaj izdvojene i samostalne jedinke
zvuka suprotstavljene golemom konglomeratu akustike cjeline. To je studija I was composing Monos III in 1972 as
part of the cycle (coming into existence
jedinstvenog dessina minimalne difrom 1972 to 1982) in which the position
namike i kretanja, koji se neprestano,
iako jedva primjetno, pretapa i mijenja. of a detached and autonomous tonal enRadi se o nerjeivu problemu samostalne tity juxtaposed to the huge conglomerate
of an acoustic unity is explored differakustike elije baene u beskrajan i
ently. This is a study of the unique dessin
ravnoduan kozmos tiine. elija se
samopotvruje neprekidno dozivljui iz of minimal dynamics and movement
which is constantly overlapping and
te tiine, obojena uvijek drukijim nijansama zvunosti; zatim dugo oslukuje changing almost unnoticeably. This is
the matter of an insoluble problem resvoj odjek kao da posluno nadzire
garding an independent acoustic cell
vlastiti nestanak.
thrown into the endless and indifferent
cosmos of silence. The cell reaffirms itself by calling out from the silence repeatedly, painted always with different
nuances of sonority; then listens attentively to its echo for quite some time as if
overseeing obediently its own disappearance.

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Skladba Follow Me (1993.) za komorni


sastav u kojemu solistiku ulogu imaju
vibrafon i ksilofon, bavi se gradivom iz
autorova ranijeg ciklusa s brojkama,
posveenoga velikim virtuozima svojih
glazbala. Iako svaki od devet kratkih,
kontrastnih i meu sobom povezanih
stavaka postavlja pred solisticu drugi
glazbeni ili tehniki problem, uloga je ostalih glazbala - vjernih ili podozrivo-zavidnih sjena, ovisno s koje se strane
gleda - u svim situacijama slina: podrati i ohrabriti solistiki zvuk, namjernim ga, apsurdnim zakanjavanjima i
ubrzanjima obeshrabriti i zaustaviti,
trenutanim nadglasavanjima potaknuti
na jo djelotvornije samostalne istupe.
Bajku (1973.) ine vokalno-instrumentalno-elektronike parafraze na konani
monolog Shakespeareova Macbetha (Tomorrow...), lirsku pjesmu To Daffodils
engleskoga pjesnika Roberta Herricka
(1591. - 1674.) te pripovijest slaboumna
Faulknerova junaka iz Krika i bijesa. U
sreditu pozornosti trinaest povezanih
kontrastnih ulomaka nalazi se rije laan i nevjeran, isprazan rekvizit,
metafora stravina apsurda koji nas
okruuje - no nijedna nije jasno izgovorena. Tek na kraju djela postaje oito da
je ponavljani krik tek privid prave rijei,
onomatopeja poruke i smisla koji zapravo ne postoje.

The composition Follow Me (1993) for


chamber ensemble, in which the solo
parts are played by the vibraphone and
xylophone, deals with the material from
the composers earlier cycle with numbers, dedicated to the great virtuosos on
their instruments. Although each one of
the nine short, contrasting and interconnected movements demands from the
female soloist to tackle a different musical or technical problem, whereas the
role of other instruments - loyal or suspicious and envious shadows, depending
on the point of view - is similar in all situations: to support and encourage the
solo sound, to discourage and stop it
with deliberate and absurd delay and
haste, to instigate even more efficient
solo appearances with instantaneous
overruling.

A Fairy Tale (1973.) consists of vocal-instrumental-electronic paraphrases: of


Macbeths final monologue, by Shakespeare (Tomorrow), the lyrical poem
To Daffodils, by the English poet Robert
Herrick (1591-1674) and the story of a
simple-minded hero from Faulkners
The Sound and the Fury. At the centre of
attention, in these thirteen contrasting,
but mutually connected, fragments,
there lies the word - a false and unfaithful, vain prop, the metaphor of the
dreadful absurdity we are surrounded by
- but no word is intelligibly said out loud.
Gimnastika za grupu - zapoeta 1974. i u It is only at the end of the piece that it
svakoj festivalskoj prigodi prikazivana u becomes obvious how the repeated cry is
but an illusion of the real word, the onodrukijem i novom obliku, pri emu su
matopoeia of a message and of a sense
zapaene bile njezine verzije u sklopu
that do not really exist.
manifestacija Festival of Arts u perzijskom Shirazu i Persepolisu - ne zahtiI started to compose the piece Group
jeva fiziku, ve psiholoku, estetsku,
Gymnastics in 1974 and each festival
ideoloku gimnastiku. Taj projekt, koji
performance saw it in a different and
jo uvijek traje i nikad nee zavriti,
new form, prominent among them being
otvorena je knjiga vjebi u drukijem
the versions played at the Festival of Arts
miljenju, ponitavanju parametara,

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127

in the Iranian cities of Shiraz and Persepolis. The composition does not demand
physical, but rather psychological, aesthetic and ideological gymnastics. This
project, which is still under way and will
never be completed, represents an open
book of exercises in different opinions,
Posuiva suza i smjehova za enskog i annihilation of arguments, forgetting the
djejeg solista, komorni sastav i elektron- rules and in a deliberate misinterpretation of memories. In doing so, the repetiiku, projekt je u nastanku koji se razvija
tion of ideas is inevitable, as well as a
od godine 2008., potaknut ulomcima iz
triju knjiga djeje poezije Dubravka
contribution of folklore (of a very old
Detonija (Glasovir na koturaljkama,
provenance) aimed at the enrichment of
Dimnjaar brie kui nos i Noni svira), the cosmopolitan musical texture.
a naslov nosi prema pjesmi iz zbirke
Noni svira. Prvenstveno potaknut zam- The composition A Borrower of Tears
renim i opasnim, zapravo
and Laughs, for female and child
nedefinirljivim odnosom izmeu djece i soloists, chamber ensemble and elecroditelja, projekt stupa na podruje
tronics, is a work-in-progress which was
beskrajnih mogunosti meusobnoga
first developed in 2008, inspired by the
pretapanja rijei, govora, zvuka i pokreta excerpts from the three books of chils posebnim osvrtom na djetinjski pondrens poetry by Dubravko Detoni
avljajue, imitacijsko, ojeeno obo(Piano of the Roller Skates, A Chimney
gaenje izraza.
Sweep Blows the Houses Nose and The
Night Musician) and entitled after a
poem from the collection The Night Musician. Having been inspired by the complicated and dangerous, in fact
indefinable relationship between children and their parents, the project discovers a sphere of the infinite
possibilities of overlapping words, utterances, sounds and movements with a
special attention to the child-like repetitive, imitational and resounding enrichment of the expression.
zaboravljanju pravila i namjerno
pogrenom prisjeanju. Pritom je nezaobilazna uloga ponavljanja zamisli, kao i
udio folklora (veoma stare provenijencije) pri obogaivanju kozmopolitskoga
glazbenog sloga.

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Ivana Bili

day

Ivana Bili (Zagreb, 1970.) diplomirala je


(1993.) na Muzikoj akademiji u Zagrebu
u razredu Igora Lenika, a usavravala se
na majstorskim teajevima kod Keiko
Abe, Siegfrieda Finka, Klausa Tresselta i
Jeana Geoffroya. lanica je mnogih komornih sastava, a od 1996. i prva timpanistica Simfonijskog orkestra HRT-a.
Solistiki je nastupala diljem Hrvatske i
inozemstva, suraivala je s poznatim
hrvatskim i europskim orkestrima te se
uspjeno pojavljivala na mnogim festivalima. Godine 1998. dobila je Nagradu
Hrvatske glazbene mladei Ivo Vuljevi
za najboljega mladoga glazbenika godine, a 2004. Nagradu HDGU-a Milka
Trnina. Objavljena su joj tri CD-a od
kojih je za dva (2001. i 2004.) osvojila Nagradu Porin. Docentica je na zagrebakoj

Ivana Bili (Zagreb, 1970) graduated


from the Zagreb Academy of Music in
the class of Igor Lenik in 1993, and continued with further studies at the master
classes conducted by Keiko Aba,
Siegfried Fink, Klaus Tresselt, and Jean
Geoffroy. He plays with many chamber
ensembles and in 1996, she became the
principal timpanist of the Croatian Radio
and Television Symphony Orchestra. She
has appeared as a soloist in Croatia and
abroad, has worked with renowned national and European orchestras, and has
given successful performances at various
festivals. In 1998, she was presented with
the Ivo Vuljevi Award of the Jeunesses
Musicales Croatia as the best young musician of the year, and in 2004, she won
the Milka Trnina Award given by the

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Muzikoj akademiji i redovito odrava


majstorske teajeve i seminare. Autorica
je nekoliko skladba za marimbu i duo
marimbi, koje je objavila amerika izdavaka kua Malletworks.
Traim pravo prvo
Neprestano nekako drugo
Uz ovdje moje
Naem drugaije tvoje
Svakako svoje
Svidjela mi se vieznanost i
neodreenost engleske rijei OTHER
(drugi, drukiji, dodatni u svojstvu pridjeva, imenice ili zamjenice). Skrivanje i
prikrivanje, potraga, nemir... Godine i
putovanja to sam ih prevalila s
ACEZANTEZ-om odreuju i moj put i
sklonosti iskuavanju raznih stilova i
novih, drugih, drukijih ili zaboravljenih
muzika - igra u troje, valcer, ponekad
gimnastika, glazba bijela ili crna. arolija
ACEZANTEZ-a i njegova umjetnikog
laboratorija, trenutaka mijeanja naih
vremena, otkucaja, dahova i krikova.
[Ivana Bili]

129

Croatian Association of Musicians. She


has three CDs released, the two of which
(in 2001 and 2004) won the Porin Award.
She works as a senior lecturer at the Zagreb Academy of Music and holds master classes and seminars on a regular
basis. Ms. Bili also composed several
works for marimba and marimba duo,
which were released by the publishing
company Malletworks.
I am looking for the true first
Which is continually other somehow
Here with mine
I found the different yours
Certainly ones own
I liked the ambiguity and indefiniteness
of the English word OTHER (different,
additional in terms of adjective, determiner or pronoun). The hiding and disguising, a search, agitation The years I
spent and journeys undertaken with the
ACEZANTEZ also determine my path
and my inclination to try out diverse
styles as well as new, other, different or
forgotten pieces of music - such as plays
in threes, a waltz, gymnastics sometimes, and black or white music. This is
the magic of ACEZANTEZ and its artistic
laboratory, the moments when our
times, beats, breaths and yells blended.
[Ivana Bili]

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Multiinstrumentalist, dirigent, skladatelj


i araner Saa Nestorovi, (Zagreb,
1964.) zavrio je Muziku akademiju u
rodnom gradu. Osvojio je mnogobrojne
nagrade kao to su Darko Luki, Milka
Trnina (sa Zagrebakim kvartetom saksofona), Judita i druge. Od godine 1989.
stalni je lan Zagrebakog kvarteta saksofona. Godine 1999. prvi je put nastupio
s ansamblom ACEZANTEZ. Istodobno
djeluje i kao jazz-glazbenik. Priznanja
Hrvatske glazbene unije za najistaknutijeg tenor- i sopran-saksofonista potvrdio
je 1999. godine sudjelovanjem u Big
Bandu Europske radijske unije (EBU),
gdje je predstavljao Hrvatsku. Dirigent je
i solist Big Banda Hrvatske radiotelevizije
te lan brojnih priznatih hrvatskih jazzsastava. Obradio je, meu ostalim, i niz
klasinih skladbi za saksofonski kvartet.
Docent je na Muzikoj akademiji u Zagrebu.
Zamisao o skladbi 3D STEPS razvija se
od veljae 2007., kada sam u Moskvi nastupio na Dravnom zavodu za estradu i
jazz. U diskusiji nakon koncerta bilo je
zakljueno da najvei dezisti nikad ne
sviraju u istom ritmu, a istodobno i
panino bjee jedan od drugoga u to je
mogue udaljenije tonalitetne situacije.
Podjela dviju oktava na tri jednaka dijela,
jo uvijek je znak viega reda; velike
stube ne prestaju se sputati u beskrajne
podrume u kojima samuje zaputena,
zarobljena zvijer s tri lica i beskrajno
mnogo prstiju, zvijer trenutne glazbe.
[Saa Nestorovi]

Multiinstrumentalist, conductor, composer and arranger, Saa Nestorovi (Zagreb, 1964) graduated from the Academy
of Music (1989) in his hometown. He has
received many awards, such as the
Darko Luki, Milka Trnina (won together
with the Zagreb Saxophone Quartet), Judita Awards, and others. In 1989, he
joined the Zagreb Saxophone Quartet. In
1999, he had a debut performance with
the ACEZANTEZ ensemble. He also pursues his career as a jazz musician. The
recognition won by the Croatian Music
Union for the most prominent tenor and
soprano saxophonist was further confirmed in 1999, when he played with the
EBU Big Band representing Croatia. He
is a conductor and soloist of the Croatian
Radio Television Big Band as well as a
member of many renowned Croatian
jazz ensembles. He arranged, among
other things, a number of classical compositions for a saxophone quartet.
Nestorovi took up the post of senior lecturer at the Zagreb Academy of Music.
The idea of writing the piece 3D began
to develop in February 2007, when I performed at the Moscow National Institute
for Entertainment and Jazz. In a discussion after the concert, the conclusion
was drawn that the greatest jazz artists
never play in the same rhythm and at the
same time are desperate to detach from
one another in as distant tonalities as
possible. An equal division of two octaves into three parts is still a sign of the
higher order; the large stairs keep descending to the endless basements in
which a neglected and trapped threefaced beast with an infinite number of
fingers, a beast of instantaneous music
lives a solitary life.[Saa Nestorovi]

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130

Marina Kostelac (Zagreb, 1971.)


diplomirala je glumu na zagrebakoj
Akademiji dramske umjetnosti. Jednu je
godinu studirala glumu u Sarajevu, a usavravala se na raznovrsnim majstorskim
teajevima za glumu, ples i pantomimu.
Debitirala je godine 1993. u zagrebakom Teatru ITD u predstavi Katarina
Zrinska od Frankopana. lanica je Zagrebakoga kazalita lutaka, a redovito
surauje i s drugim zagrebakim kazalitima, s HNK Ivana pl. Zajca u Rijeci te s
INK u Puli. esto nastupa na televiziji i
filmu. Solistica je (od 1998.) ansambla
ACEZANTEZ i lanica Actors studija u
Zagrebu. Dobitnica mnogih nagrada i
priznanja, osnovala je vlastito kazalite
Max teatar, u kojemu producira i glumi,
a nedavno je i napisala i reirala novi
djeji hit Crvenkapica.
Max Kostelac (Rijeka, 1999.), sin Marine
Kostelac, do svoje je sedme godine ivio
u Zagrebu, a onda se s roditeljima preselio u Zaprei, u kojemu je danas izvrstan
uenik treega razreda osnovne kole.
Ljubitelj kazalita i filma, uspjeno
sinkronizira crtie i aktivan je lan Fotokino-video kluba Zaprei.

131

Marina Kostelac (Zagreb, 1971) graduated in acting from the Zagreb Academy
of Dramatic Art; she spent a year studying in Sarajevo, and continued with further studies at various master classes in
acting, dance and pantomime. She made
her professional debut in the play Katarina Zrinska at the Zagreb &TD Theatre
in 1993. She works at the Zagreb Puppet
Theatre and regularly appears in the
plays in other Zagreb theatres, in Rijeka
and in Pula. She also works on television
and on film. Kostelac is a soloist (since
1998) of the ACEZANTEZ ensemble and
a member of the Zagreb Actors Studio.
Her creative work has earned her many
awards and honours, she founded her
own theatre company, Max Theatre,
working as a producer and actress. She
wrote and directed a new play Little Red
Riding Hood recently.
Max Kostelac (Rijeka, 1999), the son of
Marina Kostelac, lived in Zagreb until he
was seven, and then moved to Zaprei
with his parents. He is an excellent thirdgrade student in the local primary
school. As a theatre and film aficionado,
he lends his voice to cartoon characters
successfully and is an active member of
the Zaprei Foto-Cinema-Video Club.

Milko Kelemen

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Having graduated from the Zagreb Academy of Music in the class of Stjepan
ulek, Milko Kelemen (Slatina, 1924)
continued with further composition
studies in Paris (Olivier Messiaen) and
Milko Kelemen (Slatina, 1924.) po zavretku studija na Muzikoj akademiji u Freiburg (Wolfgang Fortner). In 1955, he
began to participate regularly in the
Zagrebu, kod Stjepana uleka, nastavio
Summer Courses in New Music in Darmje uiti kompoziciju u Parizu (Olivier
stadt. He founded the Music Biennale
Messiaen) i Freiburgu (Wolfgang FortZagreb, and presented himself with yet
ner). Od 1955. redovito sudjeluje u ljetanother international festival of contemnim Teajevima za novu glazbu u
Darmstadtu. Pokrenuo je Muziki bien- porary music for his 70th birthday, the
one in his hometown of Slatina. He purnale Zagreb, a za svoj 70. roendan
darovao si je jo jedan meunarodni fes- sued his teaching career at the Zagreb
tival suvremene glazbe i to u rodnoj Sla- Academy of Music, at the Dsseldorf and
Stuttgart Universities. As a visiting protini. Pedagokim radom bavio se na
Muzikoj akademiji u Zagrebu te na
fessor, he taught at the Hans Eisler Acadsveuilitima u Dsseldorfu i Stuttgartu. emy in Berlin and at Yale University, etc.
Kao gostujui profesor predavao je,
He has received numerous awards and
izmeu ostaloga, na Akademiji Hans
honours for his creative work, and was
Eisler u Berlinu i Sveuilitu Yale. Primio elected a corresponding member of the
je brojne nagrade i odlikovanja te je
Croatian Academy of Arts and Sciences.
dopisni lan HAZU. Skladbe su mu dos- His compositions have been published
tupne u izdanjima izdavakih kua Uni- by Universal-Edition Schott, Peters,
versal-Edition Schott, Peters, Schirmer,
Schirmer, and Sikorski, while his works
Sikorski, a snimke njegovih djela objavl- have been released on more than one
jene su na vie od stotinu nosaa zvuka. hundred sound recordings. He wrote the
Autor je knjiga Poruka pateru Kolbu i Sv- books A Message to Father Kolb and The
jetlost zvuka. O njemu su snimljena etiri Light of Sound. He is the subject of four
biografska filma.
biographic films.

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132

Sve stilove i tehnike koji su se zavodljivo


nudili u izlozima glazbe nae suvremenosti Kelemen je odmjerio, odabrao,
zaboravio i birao nove. Gotovo da bi se
cijela povijest glazbe druge polovine
prolog stoljea mogla ispripovijedati na
primjeru velikog opusa koji je prihvaao,
reagirao, ak i anticipirao sve vane pojave uzbudljive i nepredvidive povijesne
glazbene avanture. Od zamiljenog folklora sljubljenog s ekspresionizmom, totalne serijalizacije, aleatorikih igri do
postmodernih novih artikulacija
tonaliteta, uvijek je skladateljski instinkt
taj koji korigira strogost zadanih stilskotehnikih okvira, intuicija ta koja ga
izmie opasnosti od bezlinosti. [Ivana
Kocelj]
Verbalni projekt Yebell (1972.) posveen
je Dubravku Detoniju i njegovu
ACEZANTEZ-u, koji ga je (uz sudjelovanje autora) praizveo na Festivalu
Slatina-Radenci. Rije je o improviziranom procesu pretvaranja rijei uglavnom grubosti i psovki na svim
jezicima, kao osebujnom odjeku suvremenoga svijeta - u zvukove, pri emu se
najopsceniji izrazi postupno pretvaraju u
njenosti i obratno.

133

All the styles and techniques that were


offered alluringly at the stands of contemporary music were observed, picked,
forgotten and then picked again by Kelemen. His entire oeuvre would suffice to
give an account of an almost complete
history of music in the second half of the
20th century, since the composer accepted, reacted to, and even anticipated
all the major phenomena of that exciting
and unpredictable musical adventure in
history. Ranging from the imagined folklore blended with expressionism, absolute serialism, and aleatoric plays to
postmodern new tonal articulations, it is
always the composerly instinct that has
corrected the rigidity of the defined stylistic and technical frames, that has
helped him dodge the risk of becoming
drab. (Ivana Kocelj)
The verbal project Yebell (1972) is dedicated to Dubravko Detoni and his
ACEZANTEZ ensemble that gave the premiere performance (with participation
from the composer) at the SlatinaRadenci Festival. This is an improvised
process dealing with the transformation
of words - mostly rude and vulgar words
in all languages as a distinctive echo of
modern world - into sounds, thus gradually turning the most obscene words into
tenderness and vice versa.

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Saka

Branimir

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Jedan od najistaknutijih predstavnika


novije hrvatske glazbe Branimir Saka
(1918. - 1979.) diplomirao je (1941.) kompoziciju u razredu Franje Dugana na
Muzikoj akademiji u Zagrebu. Kao pedagog djelovao je na Dravnoj muzikoj
koli (danas Glazbenoj koli Vatroslava
Lisinskoga) u Zagrebu te na Akademiji
umetnosti u Novom Sadu, a kao glazbeni
urednik (povremeno i dirigent) na
Radio-Zagrebu i Radio-Rijeci. Hrvatsku
je glazbu zaduio smjelim i
osmiljenim traenjem novih
izraajnih sredstava, od prvih u nas
konkretno-elektronikih pokuaja, preko
vanih otkria u biljeenju zvukovnih
zbivanja pa do teoretskih i praktikih razotkrivanja novih mogunosti glazbene
scene, kao i izradbom ciklusa djela trajne
vrijednosti, orkestralnih, vokalnih i komornih. Godine 1964. utemeljio je Jugoslavensku muziku tribinu u Opatiji, u
sklopu koje je osnovao i Muziki informativni centar te je istodobno bio i
jedan od utemeljitelja Muzikoga biennala Zagreb, s kojim je suraivao od
1961. do 1973., pri emu je posljednje
dvije godine bio i njegov umjetniki direktor.

One of the most prominent representatives of Croatian new music, Branimir


Saka (1918-1979), graduated in composition (1941) from the Zagreb Academy
of Music in the class of Franjo Dugan. As
a teacher, he worked at the National
School of Music (today the Vatroslav
Lisinski School of Music) in Zagreb and
at the Novi Sad Academy of Arts. He also
worked as a music editor (occasionally as
a conductor as well) at the Zagreb Radio
and Rijeka Radio. His efforts will be preserved for posterity, starting from his audacious and meaningful search for new
expressive devices, since he was the first
in the country to make concrete attempts in electronic music, then important discoveries in the marking of tonal
processes, to theoretical and practical
revelations regarding the new possibilities of stage performances, also including an invaluable oeuvre of orchestral,
vocal and chamber compositions. In
1964, he founded the Yugoslav Music
Festival in Opatija, establishing the
Music Information Centre as part of the
event, and was one of the founders of the
Music Biennale Zagreb to which he contributed in the period from 1961 to 1973.
He was also the artistic director of the
1971 and 1973 Biennale.

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134

Skladba za enski glas i komorni sastav


Barasou (1971.) posveena je Dubravku
Detoniju i sastavu ACEZANTEZ, koji ga je
izveo ve petstotinjak puta. Na
praizvedbi je solistiku dionicu izvodila
slavna altistica Marijana Radev. Djelo je
potaknuto Baladom o takorima i mievima (Balade des rats et souris) srednjovjekovnoga francuskog pjesnika,
dvorjanina, titonoe i kraljeva peharnika Eustachea Deschampsa (oko
1346. - 1406.). Motiv iz Stogodinjeg rata
izmeu Francuza i Engleza, ironino-alegorijski monolog djevojke koja s druge
obale promatra i maginim formulama
odbacuje neprijateljsku vojsku, izraen
je u nekoliko izraajnih razina, sa zanimljivim, nerijetko bizarnim prepletanjem vokalnoga i instrumentalnoga,
arhainoga i modernoga, lirskoga i zastraujuega.

135

Barasou (1971), for a female voice and


chamber ensemble, is dedicated to
Dubravko Detoni and the ACEZANTEZ
ensemble that has given over 500 performances of the composition. At the
premiere, the solo part was sung by the
famous alto Marijana Radev. The piece
draws on the Ballad of Rats and Mice
(Balade des rats et souris) of the medieval
French poet, courtier, and shield-bearer
Eustache Deschamps (around 13461406). The motif of the Hundred Years
War between France and England, an
ironically allegorical monologue of a girl
who watches from the other bank and
uses a magic spell for defence against the
enemy, consists of several expressive
levels with interesting, often bizarre, interweaving of the vocal and the instrumental, the archaic and the modern, of
the lyrical and the scary.

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ponedjeljak / monday

20 4

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17:00, Mimara
PROCES - MUZIKA / PROCESS - MUSIC
Alessandro Bossetti, koncert / concert
Alexander Garca Dttmann,
predavanje / lecture

20:00, Mimara
Koncert ciklusa Sfumato / Sfumato concert cycle
Zbor Hrvatske radiotelevizije /
Croatian Radio Television Choir
Toni Bili, dirigent / conductor

22:00, &TD
Barbara Lneburg, violina / violin
&
Wouter Snoei, elektronika / electronics

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day

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dan

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hour

17:00

ponedjeljak / monday

sat

17:00, Mimara
PROCES - MUZIKA / PROCESS - MUSIC
Alessandro Bossetti, koncert / concert
Alexander Garca Dttmann,
predavanje / lecture

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139

Dttmann

Garca

Alexander

138

Alexander Garca Dttmann (1961.) je


njemaki filozof i profesor filozofije i
vizualne kulture na Koledu Goldsmiths
pri Sveuilitu u Londonu. Njegova su
prola istraivanja usmjerena prema
odnosu izmeu jezika i povijesti kod
autora poput Adorna, Benjamina i Heideggera. Bavio se pitanjem politike razgradnje - posebno u kontekstu politike
identiteta (aktivizam vezan uz AIDS i
viekulturalnost). Dttmann je vie puta
na vrlo originaln nain nastojao raspravljati o odnosu izmeu filozofije i pretjerivanja (s osobitim obzirom na
injeninost, istinu i povjerenje).
U novije je vrijeme prouavao filmove
Luchina Viscontija u svjetlu Adornove
zamisli da put prema utopiji nikad nije
zaprijeen stvarnim ve moguim, a
njegovo najnovije objavljeno djelo daje
kratki pregled same zamisli razgradnje.
Njegovo je trenutano istraivanje usredotoeno na koncept sudjelovanja u umjetnosti. Uz svoj filozofski i akademski
angaman, Dttmann je suraivao s fotografkinjom Rut Blees na knjizi iz koje je
proiziao libreto komorne opere izvedene u Zavodu za suvremene umjetnosti u
Londonu. Dttmann je proglaen najplodnijim Adornovim nasljednikom u
podruju estetike koji se osobito odlikuje
svojom ustrajnou u produbljivanju
filozofske misli.

Alexander Garca Dttmann (1961) is a


German philosopher and a professor of
philosophy and visual culture at Goldsmiths College, University of London.
His past research has been focused on
the relationship between language and
history in authors such as Adorno,
Benjamin and Heidegger. He addressed
the question of political deconstruction especially in the context of identity politics (AIDS activism, recognition and
multiculturalism). Dttmann made
several original attempts at discussing
the relationship between philosophy and
exaggeration (particularly with respect to
factuality, truth and trust). Recently, he
has analyzed Luchino Viscontis films in
the light of Adornos idea that it is never
the real but always the possible that
blocks the path to utopia, while his latest
publication outlines the very idea of
deconstruction. His current research
centers on the concept of participation
in art. In addition to his philosophical
and academic output, Dttmann has
been collaborating with photographer
Rut Blees on a book that led to creation
of the libretto for a chamber opera
performed at the ICA in London. Garca
Dttmann has been called the most productive heir of Adorno within aesthetics,
particularly characterized by his insistent
depth of philosophical reflection.

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Bossetti

Alessandro

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Alessandro Bossetti (1973.) je skladatelj,


saksofonist i audio umjetnik. Njegova se
djela bave muzikalnou izgovorenih rijei i neobinim vidovima govorne komunikacije. Ostvario je i djela temeljena
na tekstu i zvuku koja su izvedena uivo,
emitirana na radiju i snimljena na
nosaima zvuka u nakladnitvu diskografskih kua koje se bave eksperimentalnom glazbom. U svojemu se radu
kree izmeu zvukovne antropologije i
skladanja, esto ukljuujui prijevod i
pogreno tumaenje u stvaralakom
postupku. Terenska istraivanja i razgovori esto ine osnovu njegovih apstraktnih skladbi zajedno s elektroakustinim i
akustinim kolaima, strategijama
odnosa, uvjebanim i neuvjebanim
postupcima sviranja, istraivanjima
glasa i digitalnom manipulacijom. Kao
saksofonist razvio je osebujan instrumentalni jezik koji ukljuuje proirene
tehnike, umove i snaan utjecaj elektronike glazbe. Nastupao je u svim europskim zemljama, zatim u SAD-u i
Japanu. ivi i radi na relaciji Berlin-Milano-Baltimore. Predavao je u Umjetnikom zavodu u Chicagu, na Koledu
Mills, Sveuilitu u Marylandu, Dravnom sveuilitu Jiao-Tong u Taipeiu i u
Kalifornijskom zavodu za umjetnost.

Alessandro Bossetti (1973) is a composer,


saxophone player and sound artist. His
works are focused on the musicality of
spoken words and unusual aspects of
spoken communication. Bosetti has also
produced text-sound compositions
featured in live performances, radio
broadcastings and recordings for labels
of experimental music. In his work, he
moves along the line between sound
anthropology and composition often
including translation and misunderstanding in the creative process. Field
research and interviews often build the
basis for his abstract compositions along
with electro-acoustic and acoustic
collages, relational strategies, trained
and untrained instrumental practices,
vocal explorations and digital manipulations. As a saxophonist he has developed
an original instrumental language that
incorporates extended techniques,
noises, and a strong influence from
electronic music. He has performed
around Europe, in the USA, and Japan.
He lives and works between Berlin,
Milano and Baltimore. Bosetti has lectured
at Art Institute of Chicago, Mills College,
University of Maryland, National Jiao-Tong
University Taipei and California Institute
of the Arts.

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140

141

Katalog_001-080:25_mbz 4/11/09 1:43 PM Page 142

day

month

20

dan

mjesec

hour

20:00

ponedjeljak / monday

sat

20:00, Mimara
Koncert ciklusa Sfumato / Sfumato concert cycle
Zbor Hrvatske radiotelevizije / Croatian Radio
Television Choir
Toni Bili, dirigent / conductor
Arvo Prt: Kanon pokajanen / Kanon pokajanja / The Canon of Repentance
Oda / Ode I
Oda / Ode II
Oda / Ode III
Oda / Ode IV
Oda / Ode V
Oda / Ode VI
Kontakion
Ikos
Oda / Ode VII
Oda / Ode VIII
Oda / Ode IX
Molitva nakon Kanona / A Prayer Following the Canon
Kadele: Pokajanje - Repentance, izloba / exhibition

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143

(C) Universal Edition / Eric Marinitsch

Arvo Prt

142

Arvo Prt (Paide, 1935.) studirao je


kompoziciju na Konzervatoriju u Talinu
i radio na Estonskom radiju. Godine
1982. prebjegao je iz Sovjetskog Saveza u
Be pa u Zapadni Berlin, gdje je i ostao.
Istraivao je serijalne tehnike i aleatoriku
te zatim rabio tehniku kolaa. Od sredine
1970-ih rabi novi, vlastiti stil - tintinabulizam: Otkrio sam da je dovoljno kad je
jedna nota prekrasno odsvirana. Radim s
vrlo malo elemenata i gradim primitivnim
materijalima - trozvucima, a tri note iz
trozvuka su poput zvona (lat. tintinnabulum - malo zvono). Tintinabulacija
(inae rije koju je moda izmislio Edgar
Allan Poe da opie zvonjavu) u osnovi je
tretiranje simultanih dionica kao jedne,
pri emu se jedna kree oko centralnog
tona, a druga izvodi note iz trozvuka. Taj
je trozvuk najee zvukovna okosnica
djela, od koje se rijetko odstupa.

Arvo Prt (Paide, 1935) studied


composition at the Talinn Conservatory
and worked for the Estonian Radio. In
1982, he emigrated from the Soviet
Union, to Vienna and then to West
Berlin, where he stayed. He explored
serial techniques and aleatorics and used
collage techniques. Since the 1970s he
has used a new style of his own tintinnabuli: I have discovered that it is
enough when a single note is beautifully
played... I work with very few elements
and I build with primitive materials with the triad. The three notes of a triad
are like bells (Lat. tintinnabulum - a little
bell). Tintinnabulation (a word probably
coined by Edgar Allan Poe to describe
the ringing of bells) is in fact the composing two simultaneous voices as one
line - one voice moving stepwise from
and to a central pitch, the other sounding the notes of the triad. This triad usually provides the tonal fundament of a
piece and is rarely relinquished.

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Prt esto pie na religijske tekstove, to


je sluaj i s djelom Kanon pokajanja,
skladbom koju je njemaki publicist Uwe
Schweikert nazvao djelom ture, bolne
ljepote. Tekst Kanona pripisan je Andriji
s Krete (6. / 7. stoljee), a rije je o dijelu
pravoslavne slube koji se izvorno izvodio
ujutro, kako se u samostanima jo radi.
Simbolizira transformaciju, prijelaz iz
noi u dan, staroga u novo. Izvodi se u
mraku uz svijee i tek kada zavri otvaraju
se vrata kako bi se pripustilo svjetlo.
Djelo je narueno uz 750. godinjicu
katedrale u Klnu (1998.) i posveeno je
Estonskom filharmonijskom zboru i
njihovu dirigentu Tnuu Kaljusteu, koji
su djelo i praizveli te ga jedini snimili. U
povodu tog izdanja Prt je rekao da ga je
taj tekst dugo drao jer je bio impresioniran njime i prije nego to ga je razumio. Dijelove je upotrijebio u drugim
skladbama, a cijeli Kanon pokajanja
skladao je pune dvije godine. Vrijeme
koje smo proveli zajedno doista me obogatilo, rekao je, kao i u mnogim
drugim djelima, poao sam od teksta.
elio sam da rijei pronau vlastiti zvuk i
ocrtaju vlastitu melodijsku liniju ().
Kanon mi je pokazao koliko odabir jezika
odreuje karakter nekog djela, ak itavu
strukturu.

Prt often sets religious texts to music, as


was the case with the Canon of Repentance, a pieces describe by the German
critic Uwe Schweikert as a work of
austere, painful beauty. The text of the
Canon is believed to have been written
by Andrew of Crete (6th/7th century) and
it its part of the Orthodox service originally performed at the break of day, as is
still a custom in monasteries. It is a symbol of the border between night and day,
old and new. It is performed in semidarkness, with candles and only after its
finished do the doors open to let in the
light from the outside.
The work was written when Prt was
commissioned to write a piece
commemorating the 750th anniversary
(in 1998) of the building of the Cologne
Cathedral. It was dedicated to the Estonian Philharmonic Choir and their conductor Tnu Kaljuste who premired the
work. On the occasion of this recording,
Prt remarked that the text of the Canon
had kept a firm grip on him for a long
time, as it had made a profound impression on him before he was even able to
understand it. Two choral compositions
were the first attempts to approach the
canon and it took over two years to compose the whole work. The time we spent
together was extremely enriching, he
said, ...as in many of my works, I tried to
use language as a point of departure. I
wanted the word to be able to find its
own sound, to draw its own melodic
line... The Canon has shown me how much
the choice of language predetermines
the character of a work, so much so, in
fact, that the entire structure of the musical composition is subject to the text.

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Toni Bili

144

Toni Bili (Split, 1969.) uspjeno nastupa


na koncertnim pozornicama, ravna
opernim i baletnim predstavama, a s
raznorodnim sastavima izvodi djela u
rasponu od renesanse do suvremene
glazbe. Dirigiranje je diplomirao na
zagrebakoj Muzikoj akademiji u
razredu Pavla Depalja, kod kojega je
zavrio i poslijediplomski studij. Bio je
dobitnik Rektorove nagrade Sveuilita u
Zagrebu i stipendist Zaklade Lovro &
Lilly Matai, a usavravao se kod
Ronalda Zollmana. Debitirao je (1992.) u
HNK u Zagrebu kao dirigent u multimedijskom projektu Osman. Djelovao je
kao dirigent u Operi HNK Ivana pl. Zajca
u Rijeci. Od godine 2000. producent je
Koncertne dvorane Vatroslava Lisinskoga
u Zagrebu, od 2005. njezin umjetniki
ravnatelj, a donedavno i vritelj dunosti
ravnatelja. Od godine 1997. stalni je dirigent, a od 2005. ef-dirigent Zbora
Hrvatske radiotelevizije. Umjetniki je
ravnatelj njegova ciklusa Sfumato.

Toni Bili (Split, 1969) performed


successfully in concerts, conducted
opera and ballet plays, and with various
orchestras rendered compositions from
renaissance to contemporary music. He
graduated in conducting from the Music
Academy in Zagreb in the class of Pavao
Depalj with whom he also finished
post-graduate studies. He was the winner
of the University of Zagreb Chancellors
Award and a scholar of Lovro & Lilly
Matai Foundation, and perfected his
professional experience with Ronald
Zollman. He made his debut (1992) at
the Croatian National Theatre in Zagreb
as a conductor in the multimedia project
Osman. He worked as a conductor at the
Opera of Croatian National Theatre Ivan
pl. Zajc in Rijeka. From 2000 he has been
working as a producer of Concert Hall
Vatroslav Lisinski in Zagreb where in
2005 he became the artistic director and
a head director-subsitute. In 1997 he
became the regular conductor and in
2005 the chief-conductor for the Croatian
Radio-Television Choir. He is the artistic
director of the Choirs music cycle Sfumato.

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Nastavljajui tradiciju Zagrebakih


madrigalista, Zbor Hrvatske radiotelevizije utemeljen je etrdesetih godina
prologa stoljea. Isprva komorni
ansambl pod vodstvom Mladena Pozajia, a zatim Slavka Zlatia, s vremenom
je prerastao u prvi profesionalni zbor u
Hrvatskoj. Njegov je umjetniki identitet
oblikovao niz uglednih glazbenika, iji
put, nakon Igora Kuljeria, danas nastavlja ef-dirigent Toni Bili.
Zbor je dobio Diplomu Milka Trnina za
izuzetne umjetnike dosege u 2004.
godini za izvedbu Hrvatske mise Borisa
Papandopula, a godine 2005. za snimku
je toga djela, u izdanju Cantusa, osvojio
Diskografsku nagradu Porin za album
godine u kategoriji klasine glazbe.
Godine 2007. skladba Igora Kuljeria
Kriu, daj nam ti milosti objavljena na
CD-u u izdanju Orfej/HRT s naslovom
Kako jelen vrilo trai, takoer pod Bilievim
ravnanjem, dobila je Porin za najbolju
skladbu napisanu za solo ili manji sastav.
Godine 1998. Zbor HRT-a je na poticaj
svojega efa-dirigenta poeo sustavno
njegovati pjevanje a cappella i uz
instrumentalnu pratnju. Tako je nastao
Sfumato, ciklus od est koncerata u sezoni,
s namjerom da se publika upozna s
djelima hrvatske glazbene batine,
remek-djelima i manje izvoenim skladbama klasine literature te najnovijim
ostvarajima zborne glazbe u nas i u svijetu.
Ciklus ima i likovnu dimenziju, to je
razvidno iz podnaslova Duhovni zvuci,
boje i oblici, a ostvaruje se u suradnji s
Muzejom Mimara, u kojemu se koncerti
izvode.

The Croatian Radio Television Choir


was founded in 1940s following the tradition of Zagrebs madrigalists. Initially a
chamber ensemble under the direction
of Mladen Pozaji and then Slavko Zlati,
in time this choir grew and became the
first professional choir in Croatia. Its
artistic identity was formed by number
of distinguished musicians, and after
conductor Igor Kuljeri its todays chiefconductor Toni Bili is continuing
along this path.
The choir was awarded the Milka Trnina
award for exceptional achievements in
2004 based on the rendering of Croatian
Mass by Boris Papandopulo, and in 2005
the same composition, conducted by
Toni Bili was recorded on a CD for
Cantus. The Choir won the Best Record
Award Porin for the album of the year in
the category of classical music. In 2007 a
CD recording titled Kako jelen vrilo trai
with Igor Kuljeris composition Kriu,
daj nam ti milosti conducted by Toni
Bili was released under Orfej/HRT and
won the Porin award for the best
composition written for soloists or
smaller ensemble.
In 1998 the Choir started practicing
a cappella type of singing systematically,
as well as singing with accompaniment,
under the leadership of its chief-conductor Toni Bili. Thus the Sfumato cycle of
six seasonal concerts was created with
the intent of introducing the Choirs
audience into the works of Croatian
music heritage, master-pieces and less
known works from the classic literature
as well as with the newest achievements
in choir music in Croatia and around the
world. This concert cycle has a visual
component as well which can be read
from the title - Spiritual sounds, colours
and forms. The cycle is being realized
with the support of the Mimara Museum
where the concerts are regularly held.

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146

KADELE je interdisciplinarni umjetnik


koji povezuje razliite forme, ak i one
neumjetnike, kako bi dobio emotivni
rezultat koji ivi samo u korelaciji s
aktivnim sudjelovanjem gledatelja.
Uspjeno djeluje u inozemstvu, a svoj
likovni rad zapoeo je krajem
devedesetih u zagrebakom Muzeju
suvremene umjetnosti. Od tada je izlagao i radio u Japanu, Italiji, Njemakoj,
SAD-u, Meksiku, Kolumbiji i Hrvatskoj.
U svojem interdisciplinarnom izraavanju posljednjih petnaest godina javlja
se i kao redatelj, pisac, scenograf, performer, ali i kao umjetniki producent, u
Hrvatskoj poznatiji pod imenom Leo
Katunari. U svim disciplinama izraavanja prate ga kontroverzije, pa i skandali,
kao direktna posljedica beskompromisnog
umjetnikog izraza, nerijetko na rubu
drutvene provokacije. Za Muziki biennale 2003. godine reirao je operu Igora
Kuljeria ivotinjska farma. Od 2008.
godine umjetniki je ravnatelj festivala
suvremene umjetnosti MaxArtFest.
Pokajanje je dio veeg ciklusa. Inspirirano
duboko religioznim temama dio je
trilogije, uz Ulazak u Jeruzalem i Put u
Damask. Pokajanje je komentar umjetnika
na poziciju ovjeka u vremenu izgubljene duhovnosti. Iako je formalno rije o
slici velikog formata, ovaj projekt se ipak
sastoji i od kompjuterske matine ploe i
zaboravljenih slojeva softvera, mapa
nebeske ljubavi i mapa puteljaka zalutalih
ljudskih suza, kranskih napjeva
preciznog balansa i budhinske utnje
velikog remeenja te poneto visokih
frekvencija prevedenih kao slutnja,
nemir, izdajstvo, spoznaja i mirenje.
Radovi su izloeni kao dvostruka
instalacija, tri visea platna kao cjelina s
koncertom Zbora HRT-a koji pjeva Arva
Prta i samostalna izloba koja ukljuuje
dodatne radove na zidovima Muzeja Mimara.[Kadele]

147

KADELE is an interdisciplinary artist


who bring different forms together, even
the non-artistic ones, in order to achieve
an emotional result alive only in
correlation to the active participation by
the audience. He has a successful
international career that started at the
Contemporary Arts Museum in Zagreb in
the late 1990s. Since then, he has had
exhibitions in Japan, Italy, Germany, the
US, Mexico, Columbia and Croatia. Over
the last fifteen years he has also appeared
as a director, writer, set designer,
performer and producer, better known
in Croatia as Leo Katunari. In all areas
of his expression he has been followed
by controversy, even scandals, as a direct
consequence of his uncompromising
artistic ways, frequently on the verge of
social provocation. He directed Igor
Kuljeris opera Animal Farm in 2003 for
the Music Biennale. Since 2008 he has
been the artistic director of MaxArtFest,
a festival of contemporary art.
Repentance is a part of a larger cycle.
Inspired by deeply religious ideas, it is a
part of a trilogy, along with Entrance into
Jerusalem and the Road to Damascus. Repentance is the artists commentary on
the position of man in these times of lost
spirituality. Although it is made up of
large paintings, this project also includes
a computer system board, forgotten software layers, a map of heavenly love and a
map of the pathways of stray human
tears, Christian chants with a precise
balance and a Buddhist silence as well as
some high frequencies translated as
premonition, turmoil, betrayal, cognition
and conciliation.
The works form a double installation,
three hanging canvases forming a whole
with the concert of the Choir singing Prt
as well as an independent exhibition that
includes other works on the walls of the
Mimara Museum. [Kadele]

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22:00, &TD
Barbara Lneburg, violina / violin
&
Wouter Snoei, elektronika / electronics
Luigi Nono: La Lontananza Nostalgica
Utopica Futura /
Nostalgic Utopian Future Distance /
Utopijska budua nostalgina udaljenost
produkcijska podrka / supported by: STEIM centre, Amsterdam

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Nono

Luigi

148

Luigi Nono (Venecija, 1924. - 1990.)


jedan je od najvanijih skladatelja druge
polovice 20. stoljea. Poeo je piui serijalna instrumentalna djela, a zatim je sve
vie pisao vokalnu glazbu, esto rabei
politiki angairane tekstove. Od 60-ih
godina sve se vie bavi elektronikom
glazbom.

Luigi Nono (Venice, 1924 - 1990) is one


of the most important composers from
the second half of the 20th century. He
started by writing instrumental pieces,
later turning to vocal music, often using
politically committed texts. Since the
1960s he had been steadily increasing his
activities in electronic music.

La lontananza nostalgica utopica futura


je remek-djelo Luigija Nona za violinu
solo i elektroniku. Tijekom 1980-ih Nono
je poeo eksperimentirati s novim
mogunostima zvuka i produkcije u
studiju Heinrich Strobel ExperimentalStudio des SWR u Freiburgu. Tamo je osmislio u potpunosti nov pristup
kompoziciji i tehnici, esto ukljuujui
doprinose specijaliziranih glazbenika i
tehniara kako bi ostvario svoj cilj. Prvi
rezultati te suradnje postali su vidljivi s
Das atmende Klarsein, Diario polacco II osudom sovjetske tiranije za vrijeme
hladnog rata - i Guai ai gelidi mostri.
Nove tehnologije omoguile su zvuku da
cirkulira u prostoru, dajui toj dimenziji
nimalo manje vanu ulogu od same
emisije zvuka. Takve inovacije postale su
sredinjima u novom konceptu prostora
i vremena.
U ovom se djelu posebna uloga prostora
istie postavljanjem osam zvunika
uokolo publike i putanjem zvuka da vrluda uokolo. Paralelno sa zvukom violine, violinist ee kroz prostor tijekom
izvedbe, od stalka do stalka.

Luigi Nonos La lontananza nostalgica


utopica futura is a masterpiece for violin
solo and electronics. In the 1980s Nono
began to experiment with new sound
possibilities and production at the Heinrich Strobel ExperimentalStudio des
SWR in Freiburg. There, he devised a
whole new approach to composition and
technique, frequently involving the contributions of specialist musicians and
technicians to realise his aims. The first
fruits of these collaborations were Das
atmende Klarsein, Diario polacco II - an
indictment against Soviet Cold War
tyranny - and Guai ai gelidi mostri. The
new technologies allowed the sound to
circulate in space, giving this dimension
a role no less important than its emission. Such innovations became central
to a new concept of time and space. In
this piece, the special role of space
comes across in the setting of 8 loudspeakers around the audience, where the
sound wanders. In the violin part it is
written that the violin player should walk
the space throughout the performance,
wandering from one music stand to
another.

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Nonova La lontananza nostalgica


utopica futura ustvari je kompozicija za
etiri skladatelja: Luigija Nona, Gidona
Kremera, i, u ovom sluaju, Barbaru
Lneburg i Woutera Snoeia. Ne moe se
promatrati kao solo-djelo, nego kao duo,
s obzirom na to da su zadaci za dizajnera
zvuka i violinista sljedei:
izdava donosi partituru s Nonovim
rukopisom i vrpcu sa 8 - uparenih kanala. Na vrpci se nalazi materijal
izvuen iz opsenog radnog razdoblja
Gidona Kremera i Luigija Nona iz kasnih
80-ih u Berlinu. Nono je snimio Kremerove improvizacije i dodatne zvukove
u studiju u kojemu su radili. Prva dva
kanala sadre obraene verzije Kremerovih improvizacija; u treem i etvrtome preteito su zvukovi violine u
iznimno mekim, dinaminim, upljikavim frakcijama zvuka; peti i esti
kanal sastoje se od studijskog materijala,
Kremerova i Nonova glasa, lupanja, grebanja stolica po podu, dok su sedmi i
osmi prepuni nostalgije koja se postie
upotrebom materijala i gesti s podruja
klasine, romantike literature za violinu. Kompozicija se nadovezuje na improvizirani materijal te koristi tipine
Nono-zvukove poput ppppp-col legno sul
tasto na dugim notama, ili gotovo neujnim melodijama koje traju i do 5 minuta.
Zadatak interpreta je spojiti ta dva dijela
- vrpcu i violinu - u okviru od 45 - 60
minuta. O njima u potpunosti ovisi kamo
e tono smjestiti 6 violinskih dionica;
odabir, dinamika i odreivanje prostornosti zadatak je dizajnera zvuka. Sudionik mora proi razliite dijelove
skladbi i spojiti ih jedan po jedan sa 6
uvodnih violinskih dijelova (duljine otprilike 4 - 8 minuta) kako bi dobio dojam
o tome to se tono odvija na vrpci i koje
kombinacije najbolje funkcioniraju.

Nonos La lontananza nostalgica utopica


futura is in fact a composition for 4 composers: Luigi Nono, Gidon Kremer, and
in this case Barbara Lneburg and
Wouter Snoei. It cant be understood as a
solo, but rather as a duo, because the
task set out for the sound designer and
the violinist is the following: The publisher delivers a score with Nonos handwriting and a tape with 8 sound tracks,
paired in two. The tape uses material
which is derived from an extensive working period which Gidon Kremer and
Luigi Nono spent together in the late 80s
in Berlin. Nono recorded Kremers improvisation and additional noises from
the studio they worked in. The first two
tracks are processed versions of Kremers
improvisation; track 3 and 4 mainly use
violin sounds in extremely soft dynamic,
porous, fractions of sounds; track 5 and 6
consist of material from the studio, Kremers and Nonos voice, bangs and
chairs moving on the floor, and track 7
and 8 deliver the nostalgia by using material and gestures from the classic romantic violin literature. The score relates
to the improvised material and also uses
typical Nono-sounds like ppppp-col
legno sul tasto on a long note or almost
inaudible melodies which will last for 5
minutes.
The interpreters task is now to put these
two parts - tape and violin- together
within a time frame of 45 - 60 minutes. It
is up to them, when exactly they place
the 6 violin parts; the choice, dynamic
and the spatialisation of the different
tape parts are especially the sound designers task. As a player you have to go
through the different pairs of tracks and
combine them one by one with the 6 violin entrees (of approximately 4-8 minutes length), to get a notion of what
happens on the tape and which combination will work best.

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150

To naravno varira u svakoj izvedbi, jer se


prostorno odreivanje violinskih dijelova
svaki put blago razlikuje s obzirom na to
da tehniar zvuka svaki put stisne
drukiji gumb na mikseti. Obojica e
povratno reagirati na ono to uju jedan
od drugog te e se konstantno
prilagoavati sviranju koristei razliite
tembre, vibrato ili ne-vibrato, razliita
tempa, itd. Prilagoavat e se i prostornosti, odabiru i dinamici vrpce.
Izvedba e konstantno tei, uklapajui se
u napis to ga je Nono naao u
samostanu u Toledu, a pripisuje se Antoniju Machadu, koji je na neki nain
postao i moto ovog djela: Traveller, there
is no pathway, there is only travelling itself (Putnie, ne postoji put, samo putovanje). [Barbara Lneburg]

151

Of course, this varies in each performance, since the spacing of the violin
parts will be slightly different every time,
and the sound technician will shift the
buttons of his mixing board differently
every time. Both will react reciprocally to
what they hear from each other and constantly they will adapt the playing, using
different timbres, vibrato or non-vibrato,
different tempi etc. and the spatialisation, choice and dynamic of the tape.
The performance will be in constant flux,
fitting to the inscription Nono came
across on monastery in Toledo attributed to Antonio Machado, which became a kind of motto also for this piece:
Traveller, there is no pathway, there is
only travelling itself. [Barbara Lneburg]

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Snoei

Wouter

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Wouter Snoei (1977.) magistrirao je 2000.


godine na Institutu za sonologiju Kraljevskoga konzervatorija u Hagu. I prije
zavrenih studija aktivno je radio kao
glazbenik. Harfu svira od svoje sedme
godine, dok se poslije okuava u stvaranju
elektronike glazbe. Tijekom studija na
Konzervatoriju, a i poslije, Snoei djeluje
u raznim glazbenim podrujima koja sva
ukljuuju elektroniku glazbu. Snoei je
radio kao direktor zvuka na nekoliko
izvedbi elektroakustikih djela Luigija
Nona, Johna Cagea i Grarda Griseya.
Redovito surauje sa skupinama Slagwerkgroep Den Haag, ASKO Kamerkoor i
NVL/Elec. Voices. Snoei je ostvario izvedbe i s Jasperom Blomom i drugim
priznatim dez-glazbenicima na festivalu North Sea Jazz. Nadalje, osnovao je
i pokrenuo vlastiti plesni projekt x(eptional, s kojim je 1997. godine osvojio
Veliku nagradu Nizozemske. Nastupa u
brojnim nizozemskim klubovima i okupljalitima te je izdao brojne nosae
zvuka, neke od njih u suradnji s drugim
umjetnicima, poput Streamera. Proteklih
nekoliko godina Snoei se vie usredotoio
na kompoziciju i izvedbe ive elektronike
i elektroakustike glazbe, koristei kontrolu uivo kao dio elektronike skladbe.
To je do sada rezultiralo nastankom est
skladbi za ivu elektroniku, od kojih
posljednje dvije ukljuuju kombinaciju
elektronike, glasa i instrumenata.

Wouter Snoei (1977) gained his Masters


Degree from the Institute of Sonology
(Royal Conservatory of The Hague) in
2000. Before that he was already active as
a musician, playing the harp from the
age of 7 and making music with computers and electronics later on. During
his years at the Conservatory and afterwards, Snoei worked in various fields of
music practice, all involving electronic
music. He was sound director in several
performances of electro-acoustic pieces
by Luigi Nono, John Cage and Grard
Grisey. He works regularly with Slagwerkgroep Den Haag, ASKO Kamerkoor
and NVL/Elec. Voices; he also performed
with Jasper Blom and other jazz artists at
the North Sea Jazz festival. Furthermore,
he founded his own dance project x(eptional, which won the Grand Prize of
the Netherlands in 1997. Snoei performed in many Dutch club venues and
released a number of records, also with
other artists such as Streamer. In the
past few years Wouters focus has shifted
more towards composition and performance of live electronic and electroacoustic music, adding live control as
part of electronic composition. This has
led to six compositions for live electronics so far, of which the latest two include
a combination of electronics with voices
and instruments.

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153

Lneburg

Barbara

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Otkad je u dobi od osam godina prvi put


prisustvovala Bartkovu koncertu za gudae, Barbara Lneburg osjea strast i
neumornu znatielju prema novoj i najnovijoj glazbi. Kao tinejderica osvojila je
brojne nagrade na natjecanjima za violiniste jo prije nego to je diplomirala
violinu u Londonu (Guildhall School of
Music and Drama), Moskvi (Konzervatorij ajkovski), Karlsruheu i Lbecku.
Tijekom studija osnovala je ansambl Intgrales te i danas djeluje kao njegov umjetniki direktor. Godine 2005. Barbara
Lneburg postala je prvom violinom amsterdamskog kvarteta Zephyr. Njezin je
rad mnoge skladatelje - kao to su Marko
Ciciliani i Manfred Stahnke - potaknuo
na pisanje novih djela, solistikih i koncertnih. Praizvela je vie od stotinu djela
na koncertnim turnejama po Europi,
SAD-u i Dalekom istoku. Kao solistica
koja izvodi suvremenu glazbu nastupala
je s ansamblom Xenakis, skupinom Slagwerkgroep Den Haag, ansamblom ASKO
i Simfonijskim orkestrom SWR-a. Gostovala je na brojnim kompaktnim diskovima
i radijskim produkcijama.
Lneburg trenutano na Sveuilitu
Brunel u Londonu pie doktorat na temu
uloge izvoaa u suvremenoj glazbi kao
suelja izmeu instrumenta i skladatelja
te izmeu skladbe i publike. U razdoblju
izmeu 2007. i 2010. provodi projekt u
sklopu kojega angaira razne skladatelje
irom svijeta da surauju s njom na
skladanju novih djela za violinu/violu ili
e-violinu i elektronike instrumente.

Ever since Barbara Lneburg attended a


concert of Bartks string quartets at the
age of 8 she has been driven by a passion
and a restless curiosity for the new and
the newest music. As an adolescent she
was already awarded numerous prizes in
violin competitions before she completed
her violin studies in London (Guildhall
School of Music and Drama), Moscow
(Tchaikovsky Conservatory), Karlsruhe
and Lbeck (with distinction). During
her studies she founded ensemble Intgrales and remains its artistic director
today. In 2005 Barbara Lneburg also
became primarius of the Amsterdambased Zephyr Kwartet. Her work has
inspired many composers, such as
Marko Ciciliani and Manfred Stahnke, to
write new works for he, solo pieces and
concertos. She has premired more than
100 works on concert tours through
Europe, the United States and the Far
East. As a contemporary music soloist
she has performed with the Xenakis Ensemble, Slagwerkgroep Den Haag, ASKO
Ensemble and the SWR Radiosymphonic
Orchestra. She has featured on many
CDs and radio productions.
At Brunel University London Barbara
Lneburg is doing PhD research on the
performers role as an interface between
instrument and composer and between
composition and audience in contemporary music. In the course of 2007-2010
she commissions various composers all
over the world do collaborate with her in
the development of new pieces for
violin/viola or e-violin plus electronics.

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17:00, Mimara
Ansambl Gaida/ Gaida Ensemble
Robertas ervenikas, dirigent / conductor

19:30, Kazalite Trenja / Trenja Theatre


Jury Everhartz: Circus / Cirkus, opera
Tekst i reija / Text and direction: Kristine Tornquist

22:00, &TD
Ansambl Intgrales / Intgrales Ensemble

23:00, MM
Dada Jihad

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Mimara, 17:00,
Ansambl Gaida / Gaida Ensemble
Robertas ervenikas, dirigent / conductor
Rytis Maulis Canon mensurabilis / Menzuralni kanon / Mensural Canon
arnas Nakas Icon of Fire / Vatrena ikona
Marius Baranauskas A Song for Space / Pjesma za prostor
Raminta erknyt Almond Blossom / Badem u cvatu
First Rays of Sun in the Early Spring / Prve zrake sunca u rano proljee
The Feeling of the Last Spring to Come / Osjeaj zadnjeg proljea
Almond Blossom / Badem u cvatu
Kreimir Seletkovi NO music*
lanovi ansambla / ensemble members:
Valentinas Gelgotas, flauta / flute
Aidas Kanauskas, klarinet / clarinet
Justina Gelgotait, oboa / oboe
Laurynas Lap, truba / trumpet
Marius Balcytis, trombon / trombone
Tomas Kulikauskas, udaraljke / percussion
Rusn Mataityt, violina / violin
Vitalija Rakeviit, viola
Edmundas Kulikauskas, violonelo / cello
Donatas Bagurskas, kontrabas / double bass
Jurgis Karnaviius, klavir / piano
Robertas ervenikas, dirigent / conductor
Remigijus Merkelys, ravnatelj ansambla / ensemble director

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156

Ansambl Gaida, osnovan 2002. godine od


istoimenog festivala suvremene glazbe,
vei je ansambl, tipa sinfoniette, za
suvremenu glazbu. Kao prvi sastav te
vrste u Litvi, ansambl je popunio prazninu koja je postojala u panorami litvanske
moderne glazbe. Gaida stvara zanesene i
precizne interpretacije sofisticiranih
opusa litvanskih i stranih skladatelja te
inicira stvaranje novih inspirativnih
djela. U ovaj sastav pozivani su vodei
litvanski instrumentalisti pa su tako
lanovi ansambla vrlo iskusni muziari s
litvanske scene suvremene glazbe.
Takoer, programe za njega stvarali su
razliiti dirigenti bogatog iskustva u
novoj glazbi. Recentni i budui repertoar
ansambla ukljuuje djela vodeih litvanskih skladatelja i meunarodno poznatih
autora kao to su Gyrgy Ligeti, Luciano
Berio, Kaija Saariaho, John Adams, Luca
Francesconi, Grard Grisey i drugi.

157

Established by the contemporary music


Festival Gaida in 2002, the Gaida Ensemble is a large sinfonietta-type contemporary music ensemble. Being the first
ensemble of this sort in Lithuania, the
Gaida Ensemble filled a gap in the
panorama of Lithuanian modern music.
The ensemble produces enthusiastic and
precise interpretations of sophisticated
opuses by Lithuanian and foreign composers and initiates the composers
creation of new inspiring works. Leading
Lithuanian instrumentalists were invited
to play for this collective, thus all the
members of the ensemble are most
experienced musicians in Lithuanias
contemporary music scene. Different
conductors with outstanding experience
in new music have been asked to design
programmes for the Gaida Ensemble.
The recent and up-coming repertoire of
the ensemble includes works by leading
Lithuanian composers and internationally
known authors, such as Gyrgy Ligeti,
Luciano Berio, Kaija Saariaho, John Adams,
Luca Francesconi, Grard Grisey and
others.

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ervenikas

Robertas

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Dirigenta Robertasa ervenikasa esto


hvale zbog njegovih raznolikih kreativnih
aktivnosti koje se kreu od dirigiranja
prvih izvedbi velikih simfonijskih kompozicija koje su skladali litvanski skladatelji
do istaknutih i zrelih interpretacija suvremenog i klasinog repertoara. Godine
2005. dodijeljena mu je Litvanska nacionalna nagrada za kulturu i umjetnost.
Nakon to je zavrio konzervatorij u
Sankt Peterburgu za zborno i opernoorkestralno dirigiranje, ervenikas je
1993. godine poeo suraivati s Litvanskim
nacionalnim simfonijskim orkestrom te
je 2000. godine imenovan njihovim
Drugim dirigentom. S LNSO-om je nastupio na brojnim glazbenim festivalima
te na poziv esto dirigira i drugim orkestrima poput Filharmonije Sankt Peterburga, Ruskog dravnog simfonijskog
orkestra i izraelske Camerate. Suraivao
je s cijenjenim solistima kao to su
Mstislav Rostropovi, Mia Majski, Maurice Andr, Maksim Fedotov, Julian
Rachlin i drugi, a poznati ruski pijanist
Denis Macujev izdvojio ga je kao svojeg
najboljeg partnera meu dirigentima
mlae generacije. ervenikas je imenovan glazbenim direktorom litvanskog
Nacionalnog kazalita za operu i balet
2008. godine, otkad ga i redovno pozivaju na podij Minhenske dravne opere.

Conductor Robertas ervenikas is often


praised for his diverse creative activities
ranging from the first performances of
large-scale symphonic compositions by
Lithuanian composers to distinctive and
mature interpretations of contemporary
and classical repertoire. He was awarded
the Lithuanian National Arts and Culture
Prize in 2005. After graduating from the
St. Petersburg Conservatory in choral and
operatic-orchestral conducting, ervenikas
began working with the Lithuanian National Symphony Orchestra (LNSO) in 1993
and was appointed its Second Conductor
in 2000. He led the LNSO to a number of
music festivals and he is regularly invited
to conduct such orchestras as the Sankt
Petersburg Philharmonic, the Russian
State Symphony Orchestra and the Israel
Camerata. ervenikas has collaborated
with many celebrated soloists, such as
Mstislav Rostropovich, Mischa Maisky,
Maurice Andr, Maxim Fedotov and Julian Rachlin, among others, and famed
Russian pianist Denis Macujev has singled
out ervenikas as his best partner among
the conductors of younger generation.
ervenikas was appointed the Music Director of the Lithuanian National Opera
and Ballet Theatre in 2008, since when
he has also been regularly invited to the
podium of the Munich State Opera.

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Maulis

Rytis

158

Rytis Maulis (1961.) diplomirao je na


Litvanskoj muzikoj akademiji (1983.)
kompoziciju u klasi Juliusa Juzelinasa.
Godine 1988. je za svoju komornu skladbu
The Sleep osvojio nagradu Tyla (Tiina) za
najuspjeniju skladbu mladog litvanskog
skladatelja, a 1989. godine osvojio je
nagradu Litvanske kulturne zaklade za
svoju komornu i vokalnu glazbu. Dobitnik
je tutgartske stipendije Akademie
Schloss Solitude, kao i dviju nagrada za
najbolje vokalne skladbe godine na natjecanjima Saveza litvanskih skladatelja.
Godine 2004. dodijeljena mu je Litvanska
nacionalna nagrada za kulturu i umjetnost.
Maulisova djela izvode se na raznim
festivalima diljem Europe. Proelnik je
Odjela za kompoziciju pri Litvanskoj
akademiji za muziku i kazalite.

Rytis Maulis (1961) graduated from the


Lithuanian Academy of Music (1983), the
composition class of Julius Juzelinas. In
1988, he was awarded the Tyla (Silence)
Prize, for the most successful composition of a young Lithuanian composer, for
The Sleep, and in 1989 - the prize of the
Lithuanian Culture Fund, for his chamber
and vocal music. He received the scholarship of the Akademie Schloss Solitude,
Stuttgart, as well as two awards for best
vocal compositions of the year at the
Lithuanian Composers Unions competitions. In 2004 he received the Lithuanian
National Arts and Culture Prize. Works
by Maulis are performed in numerous
festivals around Europe. He ia Head of
the Composition Department of the Lithuanian Academy of Music and Theatre.

Harmonijska graa skladbe Canon mensurabilis zasniva se na etvrtstepenim


nizovima koji permutiraju upotrebom
serijalnih tehnika, ime se dobivaju
razliite kombinacije istih zvukova, dok
se ritamska organizacija skladbe zasniva
na naelima koja pomalo nalikuju tehnikama klasinog menzuralnog kanona.
Skladba je nastala na narudbu Festivala
Gaida za ansambl Court-circuit.

The harmonic material of Canon mensurabilis is built from quarter-tone rows


which get permutated by means of serial
techniques, thus producing different
combinations of the same tones, and its
rhythmical organisation is based on the
principles slightly resembling the ancient
techniques of mensural canon. The
piece was commissioned by the Gaida
Festival for the ensemble Court-circuit.

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Baranauskas

Marius

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Marius Baranauskas (1978.) studirao je


kompoziciju u klasi Rimantasa Janeliauskasa na Litvanskoj akademiji. Sudjelovao je i na brojnim meunarodnim
teajevima i radionicama za skladatelje,
a 2006. godinu proveo je ivei i radei u
Meunarodnom centru za skladatelje u
Visbyju u vedskoj. Na natjecanjima
Saveza litvanskih skladatelja dobio je
nagrade za svoje elektroakustike i
orkestralne skladbe, a dobio je i treu
nagradu na Natjecanju Toru Takemitsu u
Japanu te litvansku nagradu za najuspjenije radove na podruju teatra.
Ova je kompozicija monodija koja se
razvija i manifestira kroz razne nijanse i
oblike, a umjesto ljudskog glasa pjeva je
ansambl od osam instrumenata. Svaki
zvuk promatran je kao pod povealom,
otkrivajui nova, pulsirajua podruja
mikrosvijeta i spektra. To je pjesma koja
opisuje beskrajne horizonte zvunog
prostora, nanovo ih otkrivajui i nestajui u njima. Utjelovljen u raznim
tonovima, glas skladbe se konstantno
mijenja, razotkriva, proiruje, skuplja,
prilazi i udaljava... Kompozicija je
nastala prema narudbi Festivala Gaida
za ansambl Les Temps Modernes.

Marius Baranauskas (1978) studied


composition with Rimantas Janeliauskas
at the Lithuanian Academy of Music. He
has also participated in a number of
international courses and workshops for
composers, and in 2006 he resided and
worked at the International Centre for
Composers in Visby, Sweden. He has
won the Lithuanian Composers Union
awards for his electro-acoustic and
orchestral pieces, the third prize at the
Toru Takemitsu Composition Award in
Japan and the Gold Stage Cross, for the
most successful work in the field of theatre.
My composition is an unfolding monody. Sung by an ensemble of eight
instruments rather than a human voice,
it manifests itself in a variety of shades
and forms. Each sound is viewed as if
through a magnifying glass, revealing
new realms of the micro-world, spectres
and pulsations. It is a song addressed to
the endless horizons of sonic space,
discovering them and disappearing in
them. Embodied in different timbres, its
voice always changes, unfolds, expands
and shrinks, approaches and recedes...
Piece was composed on the commission
from Gaida Festival for the ensemble Les
Temps Modernes.

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161

Nakas

arnas

160

arnas Nakas (1962.) je skladatelj,


esejist, dirigent, izvoa, video-umjetnik,
organizator festivala suvremene glazbe i
voditelj radijskih programa. Kompoziciju
je uio na Litvanskoj akademiji za
muziku i kazalite, gdje je studirao pod
vodstvom Juliusa Juzelinasa (diplomirao
je 1986. godine), nakon ega je pohaao
predavanja iz kompozicije u Poljskoj i na
IRCAM-u u Parizu (1998.). Godine 1982.
osnovao je Vilniuki ansambl za novu
glazbu, s kojim je nastupao u 15 europskih drava te u Kanadi. Godine 2001.
napisao je prvi litvanski prirunik o
suvremenoj glazbi. Njegova djela osvojila
su nekoliko nagrada na natjecanjima
Saveza litvanskih skladatelja. Osvojio je i
nekoliko nagrada za osmiljavanje
festivalskih programa. Za njegovo
pisanje i promidbu litvanske glazbe
godine 2007. dodijeljena mu je Litvanska
nacionalna nagrada za kulturu i
umjetnost. Nakasova djela postala su
popularna meu istaknutim meunarodnim izvoaima te su izvoena pred
publikom u Europi, Kanadi, Azerbajdanu
i Indoneziji.

arnas Nakas (1962) is a composer,


essayist, conductor, performance and
video artist, organiser of contemporary
music festivals and presenter of radio
programmes. As a composer, he was
educated at the Lithuanian Academy of
Music and Theatre, where he studied
with Julius Juzelinas (graduating in
1986), and at the composition courses in
Poland and the IRCAM in Paris. In 1982,
he founded the Vilnius New Music
Ensemble, with which he has toured in
15 European countries and Canada. In
2001, he wrote the first Lithuanian textbook on contemporary music. His works
have garnered him several prizes at the
Lithuanian Composers Unions competitions, as well as the Lithuanian
National Arts and Culture Prize. His
distinctions also include awards for programming of the festivals, prizes for his
writings and promotion of Lithuanian
music. Nakas works have enjoyed
popularity with distinguished
international performers and have
reached the audiences in Europe,
Canada, Azerbaijan and Indonesia.

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Icon of Fire / Vatrena Ikona napisana


je kao in memoriam za Algirdasa Doveiku. Prvo znaenje grke rijei eikn jest
predodba. Osobno mi je teko stvoriti
predodbu osobe, umjetnika koji je esto
izvodio moju glazbu. Veinu svojih
komornih djela skladao sam imajui na
umu njega i njegov klarinet, a potajice
sam ga smatrao vlastitim glasom u svijetu
puhakih instrumenata. Vjerojatno sam
zato i odabrao apstraktniji nain odavanja
mu poasti, poput nekog bizantskog
slikara koji izbjegava osobne momente
pridravajui se zadanih pravila u
umjetnosti.
I vidjeh kao stakleno more, pomijeano
s ognjem, i one, koji pobijedie zvijer i
sliku njezinu i broj imena njezina, gdje
stoje na moru staklenom i imaju citare
Boje (Otkrivenje 15:2).

Icon of Fire was written as an In memoriam for Algirdas Doveika. The direct
meaning of the Greek word eikn is
an image. I feel it difficult to create an
image of a person, an artist, who also
was frequent performer of my music.
Many of my chamber works were composed with his clarinet playing in mind,
and I secretly regarded him as my own
voice in the world of wind instruments.
This is probably why I chose a more
abstract way of paying homage, just like
some Byzantine painter, avoiding any
personal moments and obeying
sophisticated rules.
And I saw what looked like a sea of glass
mixed with fire and, standing beside the
sea, those who had been victorious over
the beast and his image and over the
number of his name. They held harps
given them by God (Rev 15:2).

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erknyt

Raminta

162

Raminta erknyt (1975.) studirala je


kompoziciju na Litvanskoj akademiji za
muziku i kazalite glazbe i teatra u klasi
Osvaldasa Balakauskasa. erknyt je u
razdoblju od 1997. do 2007. pohaala
brojne majstorske radionice za skladatelje
u Njemakoj, Nizozemskoj, vedskoj,
Norvekoj, Francuskoj, Latviji i Velikoj
Britaniji, gdje je studirala s Louisom
Andriessenom, Gyrgyem Kurtgom,
Helmutom Lachenmannom, Brianom
Ferneyhoughom i drugima. Dvaput je
osvojila nagradu za najbolju komornu
kompoziciju na natjecanjima Saveza
litvanskih skladatelja. Dobitnica je i nagrade za najuspjeniji rad skladatelja za
teatar u Litvi, nagrad za mlade umjetnike litvanskoga Ministarstva kulture te
Litvanske nacionalne nagrade za umjetnost i kulturu. Njezina je kompozicija
Vortex nagraena na UNESCO-voj
Meunarodnoj pozornici skladatelja te je
odabrana meu finaliste za nagradu
Gaudeamus. erknyt kao skladateljica i
pijanistica redovito sudjeluje na dogaanjima iz suvremene glazbe. Njezine
kompozicije izvode se u vie od 30 zemalja Europe, Azije, Amerika i Australije.

Raminta erknyt (1975) studied


composition at the Lithuanian Academy
of Music and Theatre with Osvaldas
Balakauskas. In 1997-2007 she attended
numerous masterclasses for composers
where she studied with Louis Andriessen,
Gyrgy Kurtag, Helmut Lachenmann,
Brian Ferneyhough, and others.
erknyt was twice awarded the prize
for the best chamber work at the
competitions organized by the
Lithuanian Composers Union.
She is also the recepient of the Gold
Stage Cross, the prize for young artists
of the Lithuanian Ministry of Culture
and the Lithuanian National Arts and
Culture Prize.
Her composition Vortex was awarded at
the UNESCOs International Rostrum of
Composers, and was also selected
among the finalists of the Gaudeamus
Prize. erknyt participates regularly
as a composer and pianist at the contemporary music events. Her compositions have been performed in more than
30 countries in Europe, Asia, Americas
and Australia.

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Jedna od posljednjih slika koje je Vincent


Van Gogh naslikao bila je slika Badem u
cvatu, i upravo je ona posluila kao inspiracija za ovu skladbu. Iako na veini
njegovih slika prevladava tamno i
sumorno raspoloenje, slika Badem u
cvatu istie se nevjerojatno svijetlim
bojama i suptilnom istonjakom
estetikom.
Moja skladba zasniva se na sluanju
glazbe u bojama te pokuaju da
postignem suglasnost svjetla i tame,
toplog i hladnog, ostvarujui
ravnoteu izmeu jasnoe istonjake
glazbe i tradicije koncertne glazbe
zapada. Kompozicija je nastala prema
narudbi institucije New Music Concerts
(Kanada).

One of the last paintings by Vincent van


Gogh - Almond Blossom - was a direct
inspiration for this piece. Although most
of his paintings are of dark, gloomy
mood, Almond Blossom is distinguished
by its incredibly light colours and subtle
oriental flavour. My piece is also based
on hearing music in colours, trying to
achieve the consonances of light and
dark, warm and cold, balancing
between the simplicity, clarity of Oriental music and the tradition of Western
concert music. The piece was composed
on the commission from New Music
Concerts (Canada).

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Seletkovi

Kreimir

164

Kreimir Seletkovi (Slavonski Brod, 1974.)


diplomirao je kompoziciju na Muzikoj
akademiji u Zagrebu u razredu prof. Davorina Kempfa. Polazio je ljetne teajeve
u Semmeringu (Austrija) i Radziejowicama
(Poljska) 1997. godine, ljetni teaj u
Darmstadtu (Njemaka) 1998. godine, te
ljetne teajeve u Szombathelyju (Maarska) i Gronjanu 1999. godine. Skladbe
su mu izvoene u Hrvatskoj, Italiji,
Sloveniji, Rusiji, Kini, Austriji, Kanadi i
Nizozemskoj. Godine 2000. skladba
Minimo izvedena je na festivalu Svjetskih
dana glazbe (World Music Days 2000) u
Luksemburgu. Zaposlen je na Muzikoj
akademiji u Zagrebu u zvanju docenta.
Redoviti je lan Hrvatskog drutva skladatelja, a od 2003. godine urednik je edicije notnih izdanja Ars croatica. Dobitnik
je Rektorove nagrade Sveuilita u Zagrebu (1999.), Nagrade Boris Papandopulo
Hrvatskog drutva skladatelja (2000.),
nagrade za najbolju glazbu za djeju
predstavu na 19. SLUK-u (Susret lutkara i
lutkarskih kazalita u Osijeku, 2003.) i
Nagrade Stjepan ulek (2004.).

Kreimir Seletkovi (Slavonski Brod, 1974)


graduated in composition under Davorin Kempf from the Academy of Music in
Zagreb. He continued with further studies at summer masterclasses in Semmering and Radziejowice (1997), in
Darmstadt (1998) as well as in Szombathely and Gronjan (1999). His compositions have been performed throughout
Croatia, in Italy, Slovenia, Russia, China,
Austria, Canada and the Netherlands.
His composition Minimo was performed
at the 2000 World Music Days in Luxembourg. He works at the Zagreb Academy
of Music as a senior lecturer.
He is a regular member of the Croatian
Composers Society and in 2003 became
editor of the Ars croatica series of musical scores published by the same Society.
Awards: the University of Zagreb Rectors Award (1999); the Boris Papandopulo Award given by the Croatian
Composers Society (2000); prize for the
best music score in childrens play at the
19th SLUK (the Festival of Puppeteers and
Puppet Theatres in Osijek, 2003); the
Stjepan ulek Award (2004).

NO Music - no comment.
NO Music - no comment.

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19:30, Kazalite Trenja / Trenja Theatre


Jury Everhartz: Circus / Cirkus, opera
Tekst i reija / Text and direction: Kristine
Tornquist
Orkestar Hrvatske vojske / Croatian Army Orchestra;
Anna Sushon, dirigentica / conductor
produkcija / production: Sirene Operntheater Wien
Glazba / Music: Jury Everhartz
Tekst i reija / Text and Direction: Kristine Tornquist
Dirigentica / Conductor: Anna Sushon
Orkestar uvjebao / The Orchestra Trained by: Tomislav Faini
Scena / Set Design: Kristine Tornquist, Jakob Scheid
Kostimi / Costumes: Andrea Kltringer
Reiser obnove predstave / Direction of the Resumption: Rainer Vierlinger

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166

167

Artistica na ici, Tigrica / High Wire Artist, Tigress:


Annette Schnmller
Olga, Dama s bradom, Majmun / Olga, the Bearded Lady, Monkey:
Maida Kariik
Klaun Bruno, Slon / Bruno the Clown, Elephant:
Gnther Strahlegger
Krotitelj ivotinja Rodolfo, Medvjed / Animal Tamer Rodolfo, Bear:
Michael C. Havlicek
Ravnatelj Cirkusa / Circus Director:
Dieter Kschwendt-Michel
Malo Samopouzdanje / Little Confidence:
Nina Maria Plangg
Asistentice i inspicijentice / Assistants and stage managers:
Sabine Maringer, Esther Christina Lienbacher
Korepetitorica / Accompanist:
Chin-Wen Yang
Koreografija tanga / Tango choreography:
Raffael Ramirez, Elena Larina
Maska / Make-Up: Beate Lentsch-Bayerl
Korzet za letenje / Flying corset: Markus Kuscher
eiri / Hats: Natalia Kukelka
Producentica / Producer: Maria Haneder-Kulterer

Autori i izvoai ele zahvaliti /


The Authors and the performers wish to thank:
Veleposlanici / the Ambassador Dr. Claudia Rochel-Laurich
Ravnatelju Austrijskoga kulturnog Foruma /
the Director of the Austrian Culture Forum Christian J. Ebner

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169

Annette Schnmller, Dieter Kschwendt-Michel, Maida Kariik, Foto (C) Andreas Friess

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Dok se u razliitim umjetnostima, prvenstveno likovnoj i knjievnosti, nametnuo


ideal naputanja metafizikog ideala,
umjetnosti poput performansa, kazalita
ili glazbe podlone su patosu egzistencije.
Jedan od mojih radnih uvjeta jest, meutim, lakoa stvaranja. Naravno da i komponiranje mora ispunjavati kriterije
umjetnikog djela: mora govoriti samo
za sebe, mora se drati svojih vlastitih
pravila i nai ona koja e uope biti prihvatljiva. Najvea radost u izradi partiture
za mene nije potraga za jedinstvenim
zvukom, koncentracija na nutrinu kako
bih doao do vanjtine. Naravno da to
jest prekrasno iskustvo, ali je isto tako na
sjeveru hladno. Ja sam radije u toploj
sobi i ne trebam tiinu i samou kako bih
uo samoga sebe. Tako nastaje elja za
nepokretnom i pretjeranom perfekcijom,
a to je strah od praznine. Ja elim drugu,
jednostavniju vrstu radosti, veselja muziciranja. Bio sam presretan to sam doivio sjajnu praizvedbu Cirkusa u bekom
Jugendstiltheateru. Gotovo nigdje u partituri nije bilo uputa o izvedbi i oznaka
dinamike. Usprkos tome sviralo se precizno i srano, glazbenicima se notni
tekst inio razumljiv. To sam elio postii.
Sredite mojih zvunih predodbi jest
ljudski glas. Moj je cilj proniknuti u njega
i granice i rubove njegove otpornosti. Ekspresivnost svake druge boje zvuka proizlazi u konanici iz tog polazita. Formu
shvaam kao preduvjet mogunosti komunikacije i razumijevanja - dvostruko
mi je vana jer me namjerni afektivni
utjecaj na sluatelja ne zanima.
Temeljnih principa melodije, harmonije,
ritma spreman sam se odrei tek kad su
iscrpljeni. Nisam u potrazi za neizrecivim,
naprotiv, zahvalan sam na ve izreenom
na koje se rado nastavljam. Ne elim novi
jezik. Vano mi je da unutar nekog jezika
imam to rei. A ako krene posebno

While in different art forms, primarily literature and visual arts, an idea of leaving
the metaphysical ideal behind was imposed, other art forms such as performance, theatre or music are subjects to the
pathos of existence.
One of my working conditions however,
is the lightness of creation. Composing
of course needs to fulfil the criteria of a
work of art: it needs to speak for itself, it
needs to abide by its own rules and eventually find the rules it finds acceptable.
The greatest joy that comes from creating a score for me is not in the search for
that unique sound, nor concentrating on
the inside in order to surface on the outside. Such experience is by all means
beautiful, but North is also very cold. I
rather prefer to be in a warm room not
aching for silence or solitude in order to
be able to hear myself. This is how a desire for immovable and exaggerated perfection is created, identifying with the
fear of emptiness. I want this other, simpler type of joy, the joy of making music.
I was overjoyed for having experienced
an excellent premiere of Circus in Vienna
Jugendstiltheater. The score contained
almost none of the playing directions or
tempo markings. Despite of that the
music was played heartily and precisely,
and the musicians made it seem like the
music written was completely intelligible. This is what I tried to achieve.
The centre of my sound images is the
human voice. My goal is to penetrate
into it and its boundaries and edges of its
resilience. The expressiveness of every
other colour of sound eventually comes
from that very starting point. I see the
form as a precondition to the possibility
of communication and understanding - I
find it double important because I do not
care about the intended, affective impact
it has on the listener.

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170

dobro, ak i s humorom. ovjek se mora


izloiti shvatljivosti. Dobro je biti provjerljiv. Prostor glazbe je utopija. Ona se
meutim dogaa samo u uprizorenju jezik je poveznica ovoga ovdje i onoga
tamo. To je uvjet za to da ne postoji jaz
izmeu umjetnosti i ivota. Umjetnost je
dio ivota, jedan od najljepih, nutarnje
cvjetanje (Schwertsik). Ali ne ivot sam.
I ne zamjena za njega. [Jury Everhartz]

171

I am ready to give up on the basic principles of melody, harmony, rhythm only


when they are completely used-up. I
dont search for the unutterable, on the
contrary, I am grateful for the uttered
and I gladly complement it. I dont want
to create a new language, and I dont
have the need for a language substitute.
Every living language can be expanded
and gives space for experimenting. For
me it is important to have something to
say within each language. And if it serves
me particularly well, I even do it with
humor. A man must be exposed to comprehensibility. Its good to be able to be
authenticated.
The space of the music is a utopia. But it
only occurs in the staging - language is
the link between this here and that over
there. It is a precondition for not having
a gap between art and life. Art is a part of
life, one of its most beautiful parts,
inner blossomingfl (Schwertsik). But its
not life. Nor its substitute.
[Jury Everhartz]

Maida Kariik, Gnther Strahlegger, Foto (C) Andreas Friess

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ovjek ili ivotinja?


etiri artista - prava ovjeka - koji svoje
toke ele izvesti maksimalno dobro i
profitabilno, etiri ivotinje - takorei
ovjeka - koje sjede u svojim psihikim
kavezima, stoje izmeu dva principa
izmeu kojih ivot treba donijeti odluku:
izmeu pesimizma koji vodi u cinizam i
opravdava brutalnost kao neto logino,
i optimizma koji protiv toga moe
upotrijebiti samo snagu nade i strpljenja.
Odnosno, izmeu direktora cirkusa koji
sve pozove u cirkusku arenu i potjera u
borbu, gdje e po ivotinjskom principu
odmah biti raskomadani, i male vjere
koja djeluje dodue nemono, ali ipak
magino: ona se ne da prepiliti, ona je, i
to je njena malena pobjeda, mimo svake
logike neunitiva nada u bolji svijet. A to
je jedan od principa ivota.
Tako direktora cirkusa primjerice nalazimo u centrima moi, kapitalizma i
konzumerizma, u kojima se ljudske
slabosti iskoritavaju za manipulaciju
ovjekom, dok se s druge strane mala
vjera neogranieno pojavljuje u djejim
sobama, knjigama, umjetnikim djelima,
meu malim junacima svakodnevice, u
ljubavnim priama i neprofitnim organizacijama - meu ljudima koji se poput
Voltaireova Candidea jednostavno ne
mogu ili ne ele naviknuti na zlou i
glupost svijeta i koji grozote koje im se
dogaaju ne uvjebavaju i ne oponaaju.
Danas se openito smatraju glupima oni
koji se nisu pametno prilagodili tempu i
trinim uvjetima u cirkuskoj areni. U
neka se druga vremena upravo to
smatralo bitkom ljudskosti - biti pametniji, obazriviji i sabraniji od ivotinjskog
instinkta od kojega smo potekli.
[Kristine Tornquist]

Human or animal?
Four artists - veritable humans - who
want to perform their acts as skilfully
and as profitably as they possibly can,
and four animals - almost humans - who
sit in their psychological cages, are positioned between two principles between
which we must choose in life: pessimism
that leads into cynicism and justifies
brutality as something logical, and optimism that can use only the power of hope
and patience to fight such attitudes. In
other words, the choice is between a circus director that calls everyone into the
circus arena and forces them into a fight
which, according to the animal principle,
will see them immediately dismembered,
and a tiny faith that appears weak, but is
also magical: it cannot be sawn in half, it
is, and in this lies its small victory, an indestructible hope in a better world that
opposes all logic. And that too is one of
the principles of living.
The circus director is thus found in the
centres of power, capitalism and consumerism, where human weaknesses are
used to manipulate people, whereas the
tiny faith appears without limitation in
childrens rooms, books, works of art,
among little heroes of everyday living, in
love stories and non-profit organizations,
among people who, like Voltaires Candide, simply cannot and will not get used
to the meanness and stupidity of the
world, and who do not plan and copy the
horrible things that happen to them.
Generally speaking, the idiots of the
modern day are those who have not been
smart enough to adapt to the tempo and
the market conditions of the circus arena.
In other times, it was precisely such an
attitude that was considered the essence
of humaneness - being smarter, more
considerate and more thoughtful than
the animal instinct that we originated
from. [Kristine Tornquist]

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Everhartz

Jury

172

Jury Everhartz (Berlin, 1971.) nakon


zavretka Isusovake gimnazije studira
teologiju, filozofiju i muzikologiju te
privatno orgulje kod Lothara Knappea i
Martina Ludwiga i kompoziciju kod
Gnthera Gerlacha. Zborovoa je i
dirigent, studira crkvenu glazbu. Od
1992. radi u Beu kao kompozitor,
orgulja i dirigent. Godine 1998. osniva
Operno kazalite Sirene s Kristine
Tornquist, s kojom je od 2003. u braku.
Otada se prvenstveno bavi glazbenim
kazalitem. Neki od njihovih projekata
bili su Ohne Fortschritt keine Fische (Bez
napretka nema riba), Der automatische
Teufel (Automatski vrag), Feist, krimiopera
Der Kommissar (Inspektor), komina
opera Krokodil, Cirkus i Das verzehrte
Lichtlein (Iscrpljeno svjetlace). Skladao
je brojne manje, prije svega komorne
skladbe, a posljednja, Haydn-Trio,
izvedena je u Gradiu na festivalu
posveenom Haydnu.

Jury Everhartz (Berlin, 1971) finished a


Jesuit grammar school and started with
his studies in theology, philosophy and
musicology, at the same time attending
private classes with Lothar Knappe and
Martin Ludwig for organ, and composition with Gnther Gerlach. As a choir
conductor and conductor in general he
studied sacral music. From 1992 he
worked in Vienna as a composer, organist and conductor. In 1998 together with
Kristine Tornquist he founded opera theatre Mermaids. He and Kristine married
in 2003. Since the foundation of the theatre he was mainly preoccupied with
musical theatre. Some of their projects
include Ohne Fortschritt keine Fische
(There is no Progress without Fish), Der
automatische Teufel (Automatic Devil),
Feist, crime-opera Der Kommissar (The
Inspector), comical opera Crocodile, Circus and Das verzehrte Lichtlein
(Exhausted Little Light). He composed
various smaller but predominantly
chamber pieces out of which the last one
Haydn-Trio was performed at the festival
in Burgenland dedicated to Haydn.

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Tornquist

Kristine

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Kristine Tornquist (Graz, 1965.) studirala


je kemiju, kolovala se za zlatara te studirala kiparstvo (na Sveuilitu za primijenjenu umjetnost kod Rona Arada) u
Beu. Otada se slobodno kree izmeu
likovne umjetnosti, kazalita i tekstova.
Velika pokretaka snaga i potreba za
suradnjom s drugim umjetnicima doveli
su do nastanka umjetnike skupine
31. Mai, umjetnikog dvojca
Burkert/Tornquist, do osnutka Theater
am Sofa (Kazalite na kauu) i Opernog
kazalita Sirene s Juryjem Everhartzom.
Kristine Tornquist i Jury Everhartz
zajedno su skladali odnosno producirali
22 opere i kratke opere.

Kristine Tornquist (Graz, 1965) finished


practical education for jewellers, and
studied chemistry and sculpture (at the
University for Fine Arts with Ron Arad) in
Vienna. Ever since that time she has
been positioning herself freely between
visual arts, theatre and texts. Her impetus and need for cooperation with other
artist have led her to the founding of art
group 31. Mai, artistic duo Burkert/Tornquist, Theater am Sofa (Theatre on the
Sofa) and Opera theatre Mermaids with
Jury Everhartz. Kristine Tornquist and
Jury Everhartz together composed and
produced 22 operas and short operas.

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Sushon

Anna

174

Anna Sushon roena je u Rusiji, studirala


je klavir i povijest glazbe na Liceju za
glazbu u Novosibirsku. Godine 1991.
emigrirala je u Izrael i tamo 1995. zavrila
studij dirigiranja na Jerusalem Rubin
Academy of Music and Dance. Od 1996.
ivi u Beu, gdje je nastavila studij glazbe
na tamonjem Sveuilitu za glazbu i
izvedbene umjetnosti. Anna Sushon
radila je meu ostalim kao korepetitorica
u bekim opernim kuama - Bekoj
dravnoj operi, Bekoj komornoj operi,
Theater an der Wien - kao i na festivalu
posveenom Mozartu u Schnbrunnu,
Festivalu Klangbogen u Beu, festivalu u
Retzu te Festivalu Wiener Festwochen.
Nastupala je kao korepetitorica lieda, a
kao dirigentica ravnala je izvedbama
koncerata u SAD-u i Izraelu te izvedbama opera u Beu, Erfurtu, Salzburgu i
Stockholmu. Od 1998. radi kao glavna
korepetitorica u Neue Oper u Beu.

Anna Sushon was born in Russia; she


studied piano and history of music at the
Musical Licej (boarding school) in
Novosibirsk. In 1991 she emigrated to
Israel where she graduated from the
Jerusalem Rubin Academy of Music and
Dance in 1995. Since 1996 she has been
living in Vienna where she continued
music studies at the Vienna University
for Music and Performing Arts. Anna
Sushon worked also as a an accompanist
in Viennas opera houses such as Vienna
State Opera, Vienna Chamber Opera,
Theater an der Wien - and a festival
dedicated to Mozart in Schnbrunn,
Klangbogen festival in Vienna, festival in
Retz, and Wiener Festwochen festival.
She performed as a lied accompanist and
she conducted concerts performed
throughout the USA and Israel. She
conducted operas in Vienna, Erfurt,
Salzburg and Stockholm. Since 1998 she
has been working as the main accopmanist in the Neue Oper in Vienna.

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Vierlinger

Rainer

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Rainer Vierlinger (Haslach, 1967.) ivi u


Beu od 1985. godine. Studirao je biologiju
te radio na projektima za zatitu okolia.
Prva iskustva u kazalitu stekao je u koli,
a od 2000. godine njegovi dotadanji hobiji, kazalite i glazba, postaju mu zanimanje. Bio je asistent Hansa Gratzera
(reija, dramaturgija i produkcija). Od
2005. radi kao slobodnjak, izmeu ostalog
kao asistent Svena E. Bechtolfa, Achima
Freyera, Philippa i Nikolausa Harnoncourta, Martina Kueja, Nikolausa Lehnhoffa i Stefana Ruzowitzkyja. Dosada je
samostalno reirao sljedea djela: Dreck
(R. Schneider), Girardi (S. Wolf) i Der
graue Engel (Sivi aneo). (M. Rinke)

Rainer Vierlinger (Haslach, 1967) has


been living in Vienna since 1985. He
studied biology and worked on nature
preservation projects. His first theatre
experiences come from the time he went
to school, which he later on extended
onto theatre and music as hobbies which
in 2000 became a full-time profession.
He worked as an assistant to Hans
Gratzer (direction, dramaturgy and
production). His freelance career has
among other things, included being an
assistant to Sven E. Bechtolf, Achim
Freyer, Philipp & Nikolaus Harnoncourt,
Martin Kuej, Nikolaus Lehnhoff and
Stefan Ruzowitzkyj. His independent
directing works include: Dreck (R. Schneider), Girardi (S. Wolf) und Der graue Engel
(Grey Angel) (M. Rinke).

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Kltringer

Andrea

176

Scheid

Jakob

Andrea Kltringer studirala je na Visokoj


koli za glazbu i umjetnost - Mozarteum
u Salzburgu. Radila je kostime i opremu
za Pokrajinsko kazalite Salzburg, Pokrajinsko kazalite Linz, Ujedinjene pozornice Graz, Volkstheater Be i druga
kazalita. Izraivala je opremu za opere
za Visoku glazbenu kolu Mnchen, Scenu Salzburg i Operno kazalite Sirene.
Na slobodnoj sceni radila je s grupama
Jakob Scheid (Be, 1966.) studirao je
L.U.S. Theater i ortszeit. Godine 2008. sa
dizajn na Visokoj koli za primijenjenu
skupinom new space company dobila je
umjetnost u Beu. Suosniva je Ateljea
Nagradu Nestoy za komad Koma. Bavi se
za eksperimentalni dizajn Produktgestal- i organizacijom umjetnikih projekata.
tung u bekom kulturnom centru WUK.
Predavao je na odsjeku za dizajn i
Andrea Kltringer studied at the Acadodsjeku za tehniki odgoj Sveuilita za emy for Music and Arts Mozarteum in
primijenjenu umjetnost u Beu. ivi i
Salzburg. She designed costumes and
radi kao slobodni umjetnik, scenograf i
outfits for Salzburg Regional Theatre,
dizajner u Beu.
Linz Regional Theatre, United Stages

Jakob Scheid (Be, 1966) studied design


at the Academy for Fine Arts in Vienna.
He is a co-founder of the Atelier for experimental design Produktgestaltung in
Viennas culture centre WUK. He was a
lecturer at the Department for design
and Department for technical education
at the University for Fine Arts in Vienna.
He lives and works as a freelance artist,
set designer and designer in Vienna.

Graz, Volkstheater Vienna and other


theatres. She designed outfits for operas
performed at the Academy of Music in
Mnchen, Salzburg Scene and Opera
Theatre Mermaids. As a freelance she
cooperated with groups such as L.U.S.
Theater, ortszeit. In 2008 together with
the group new space company she
received a Nestoy award for the play
Coma. She is active in the organization of
artistic projects.

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Schnmller

month

Annette

day

Kariik

Maida

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Maida Kariik roena je u Sarajevu, a na


Konzervatoriju u Beu zavrila je studij
solo pjevanja. Bila je angairana u Bekoj
komornoj operi, u Volksoper i Neue Oper
u Beu, kao i u kazalitima u Winterthuru,
Bratislavi i Sevilji. Koncertno je, izmeu
ostalog, nastupala u bekom Musikvereinu i Auditoriju Angelico u San Franciscu,
kao i na istanbulskom Music Festivalu i
Festivalu Sarajevska zima. Njezin repertoar obuhvaa uloge iz djela Mozarta,
Rossinija, Verdija, Straussa, Brittena i
Berga, ali i beke operete, kao i mnogobrojne uloge iz suvremenog repertoara.
Od 2008. solistica je u Junotirinkoj
dravnoj operi.

Annette Schnmller zavrila je Beko


sveuilite za glazbu i izvedbene umjetnosti (orgulje, dirigiranje), a pjevanje je
diplomirala kod Colleen Rae Holmes u
Opernom studiju u Nrnbergu. Sudjelovala je u brojnim praizvedbama te pjevala u Minhenskoj filharmoniji,
Nizozemskom festivalu komorne opere,
u Neue Oper u Beu, na Donaufestivalu
u Donjoj Austriji i drugdje. Radila je s
Leonardom Prinsloom, Carlosom Wagnerom, Leom Krischkeom, Karoline Gruber i mnogima drugima. U prosincu
2008. uspjeno je nastupila u Beu u
monoperi Medij za glas solo autora Petera Maxwella Daviesa.

Maida Kariik was born in Sarajevo and


graduated in solo singing from Vienna
Conservatory. She worked in Vienna
Chamber Opera, Volksoper and Vienna
Neue Oper, and in theatres in Winterthur,
Bratislava and Seville. She performed
concerts at the Vienna Musikverein and
Angelico Auditorium in San Francisco,
and at the Music Festival in Istanbul and
Sarajevo Winter festival. Her repertoire
includes compositions by Mozart,
Rossini, Verdi, Strauss, Britten and Berg,
and Viennas operettas as well as many
roles from the contemporary reporetoire.
She has been working as a soloist at the
Southern Carinthia Opera since 2008.

Annette Schnmller graduated from


Vienna University for Music and performing Arts (organ, conducting), and
she studied singing with Colleen Rae
Holmes in Opera studio in Nrnberg.
She participated in numerous premieres
and sang in Munich philharmonic, Festival of Chamber opera in Netherlands, in
Neue Oper in Vienna, at Donaufestival in
Austria and elsewhere. She worked with
Leonardo Prinslo, Carlos Wagner, Leo
Krischke, Karoline Gruber and many
others. In December of 2008 she successfully performed in Vienna in the monoopera by Peter Maxwell Davies, Medium
for solo voice.

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179

Havlicek

Nakon mature u Trgovakoj akademiji,


Gnther Strahlegger zapoeo je svoje
pjevako obrazovanje na Pokrajinskom
konzervatoriju u Tirolu, a zavrio ga je na
Glazbenom sveuilitu u Beu kod profesora Waltera Moorea i profesorice AnnaMarije Rott. Potom je pohaao i razne
majstorske teajeve. Ve mnogo godina
Gnther Strahlegger surauje s Opernim
kazalitem Sirene. Prve kontakte s glazbom 20. stoljea omoguila mu je Neue
Oper iz Bea. Veeri posveene liedu i
koncerti diljem Europe nadopunjavaju
njegov umjetniki rad, pri emu je teite
na klasinom oratorijskom repertoaru
kao i lagerima s poetka 20. stoljea.

Michael C.

Strahlegger

Gnther

178

Michael C. Havlicek diplomirao je na


Konzervatoriju grada Bea 2004. u ulozi
Don Giovannija. Uitelji su mu bili
Wicus Slabbert i Edith Lienbacher. Koncerti i veeri posveene liedu odveli su ga
u Junu Afriku, Argentinu, Njemaku i u
SAD. Debitirao je kao Guglielmo u
Mozartovoj operi Cos fan tutte, a daljnji
After graduating from the Trade Academy, su ga angamani odveli u Gradsko
Gnther Strahlegger started with his
kazalite Baden i u Hannover. Godine
education in singing at the Regional Con- 2008. debitirao je u Bekoj komornoj
servatory in Tyrol finishing it at the Uni- operi te na festivalu u St. Margarethenu.
versity of Music in Vienna in the class of
professors Walter Moore and Anna-Mar- Michael C. Havlicek graduated from
ija Rott. He continued with his education Vienna Conservatory in 2004 with the
by attending various master classes.
role of Don Giovanni. His teachers were
Gnther Strahlegger has had a long-stan- Wicus Slabbert and Edith Lienbacher.
ding cooperation with the Opera Theatre Evenings dedicated to lied and many
Mermaids. His first contacts with music concerts led him to South Africa, Argenof the 20th century came from the Vienna tine, Germany and the USA. He had his
debut performance as Guglielmo in
Neue Oper. Evenings dedicated to lied
and concerts all around Europe make up Mozarts opera Cos fan tutte, and further arrangements brought him to Baden
his artistic engagement in which the
City Theatre and Hannover. In 2008 he
main focus lies within the classical oratorio repertoire and pop songs from the had his debut at the Vienna Chamber
Opera and St. Margarethen festival.
beginning of the 20th century.

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Plangg

Nina Maria

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Nina Maria Plangg studirala je solo


pjevanje na Konzervatoriju u Beu i
Privatnom sveuilitu Linz kod Andreasa
Lebede te radila s Birgit Steinberger i
Carol Byers. Ostvarila je uloge Pamine
(arobna frula), Anne (ivot razvratnika),
Ane Frank (Dnevnik Ane Frank), Arsene
(Ciganski barun), Almirene (Rinaldo).
Sudjelovala je u produkciji opera i opereta, izmeu ostalog, na festivalu u Gmundenu i u Dravnoj opereti Dresden te kao
koncertna pjevaica nastupala, meu ostalim, i pod ravnanjem Manfreda Honecka.

Nina Maria Plangg studied solo singing


at the Vienna Conservatory and Private
University Linz with Andreas Lebed, she
worked Birgit Steinberger and Carol
Byers. She performed in roles such as
Pamina (Magic Flute), Anne (Life of a
Debauchee), Anne Frank (Anne Franks
Diary), Arsena (The Gypsy Barron),
Almirena (Rinaldo).
She participated in operas and operettas,
among others, and at the festival in
Gmunden, Dresden State Operreta, and
as a concert singer she also performed
with conductor Manfred Honeck.

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181

Kschwendt-Michel

Dieter

180

Dieter Kschwendt-Michel zavrio je


studij povijesti i politikih znanosti na
Sveuilitu u Beu, potom radei kao
novinar. Istovremeno je privatno uio
pjevanje kod Constantina Zaharija i
Wicusa Slabberta. Debitirao je kao 2.
oficir u Candideu Leonarda Bernsteina u
produkciji Neue Oper iz Bea. Bio je
angairan i gostovao je, meu ostalim, u
Volksoper i Neue Oper u Beu, u
Gradskom kazalitu Baden, Kazalitima
u Regensburgu, Ulmu, Sarajevu, Sevilji,
San Franciscu, kao i na mnogobrojnim
festivalima. Ve se neko vrijeme sve vie
posveuje suvremenoj glazbi. Kao solist
sudjelovao je u brojnim praizvedbama
(npr. u austrijskoj praizvedbi Le balcona
Petera Etvsa) te pjevao pod ravnanjem
dirigenata poput Petera Keuschniga i
Thomasa Hengelbrocka.

Dieter Kschwendt-Michel graduated


history and political sciences at the Vienna University and pursued a career as
a journalist. At the same time he was taking private classes in singing with Constantin Zahario and Wicus Slabbert. He
made his debut as a 2nd officer in Candid
by Leonard Bernsteina in Vienna Neue
Oper production. He was engaged and
was a guest at the Volksoper and Neue
Oper in Vienna among others, in Baden
City Theatre, in theatres in Regensburg,
Ulm, Sarajevo, Seville, San Francisco,
and numerous festivals. For a while now
his main dedication is with contemporary music. As a soloist he participated in
numerous premieres (e.g. in the Austrian
premiere of Le balcon by Peter Etvs)
and sang under conductors such as Peter
Keuschnig and Thomas Hengelbrock.

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Haneder-Kulterer

Maria

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Voditeljica produkcije Maria HanederKulterer studirala je katoliku teologiju u


Beu te zavrila krai studij za odnose s
javnou na Institutu za publicistiku u
Beu. Bila je zaduena za PR i voenje
ureda za Theater gruppe 80. Godine
2006. osnovala je svoju agenciju za kulturni menedment (Haneder-Kulterer
culture & management) s kojom trenutno ima stalni angaman za Operno kazalite Sirene (voditeljica produkcije,
marketing, PR), THEATER TANTO (menadment turneja), teatro (voditeljica
produkcije, marketing i tisak) i za
festival multikids (kolski marketing).

Producer Maria Haneder-Kulterer


(Waldviertel) studied catholic theology in
Vienna and graduated from a short course
in public relations at the Institute for
Publicity in Vienna. She was in charge of
P.R. and office management for Theater
gruppe 80. In 2006 she founded her own
agency for cultural management (Haneder-Kulterer culture & management) with
which she currently has a permanent
engagement with Opera Theatre Mermaids (as a production, marketing and
P.R. leader), THEATER TANTO (touring
management), teatro (production marketing and press leader) and multikids
festival (marketing in schools).

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183

vojske

Hrvatske

Orkestar

182

Orkestar Hrvatske vojske, punim


imenom Simfonijski puhaki orkestar
Oruanih snaga Republike Hrvatske
osnovan je 1991. godine. Od 2008. godine
orkestar djeluje u sastavu Orkestara
OSRH zajedno s Orkestrom HRM i
Klapom HRM Sv. Juraj. Trenutano pod
umjetnikim vodstvom efa-dirigenta
Tomislava Fainija, orkestar nastavlja
intenzivnu aktivnost na protokolarnim i
ostalim zadaama u okviru Oruanih
snaga RH, a postupno jaa i koncertnu
djelatnost. Najee izvodi originalne
skladbe za puhae, hrvatske premijere,
djela suvremenih skladatelja i praizvedbe
hrvatskih autora. U sklopu orkestra
djeluje i niz komornih sastava. Uz prvog
efa-dirigenta Mladena Tarbuka (do 2000.
godine) i stalne goste-dirigente Dragana
Sremca i Tomislava Uhlika, orkestrom su
ravnali mnogi uvaeni dirigenti te uz
njega gostovali vrhunski solisti. Redovno
nastupa na glazbenim festivalima, a
pored brojnih snimki za Hrvatsku Radioteleviziju, SPO je snimao i za diskografsku kuu Honey Rock. Orkestar je veoma
uspjeno nastupao i na mnogobrojnim
meunarodnim festivalima vojnih
orkestara, gdje je svojim koreografiranim
nastupima redovito izazivao oduevljenje
publike.

Croatian Army Orchestra, or the


Symphonic Orchestra of the OSRH was
founded in 1991. Since 2008 the
Orchestra is performing within the OSRH
Orchestras together with HRM Orchestra
and a harmony-singing group HRM
St. George. The orchestra is currently
being led by its chief-conductor - Tomislav Faini, the Orchestra is active within
protocol and other related tasks of the
Croatian Armed Forces, and is constantly working on enhancement of its
concert activities as well. It often plays
original compositions for brass and wind
ensemble, Croatian premieres of international works, compositions by contemporary pieces and first performances
of works by Croatian composers. Several
chamber ensembles are also active
within the Orchestra. Orchestras first
chief-conductor was Mladen Tarbuk,
who worked in the Orchestra until 2000,
but Orchestra welcomed many guestconductors such as Dragan Sremac and
Tomislav Uhlik, was conducted by many
distinguished conductors and featured
many acknowledged soloists.
The Orchestra regularly performs at
music and, along with numerous recordings made for the Croatian RadioTelevision, the Orchestra also made recordings
for the Honey Rock record company.
They have also had successful
performances at international festivals
of military orchestras where they always
woo audiences with their choreographed
performances.

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22:00, &TD
Ansambl Intgrales / Intgrales Ensemble (DE)
Intgrales:
Barbara Lneburg - violina, viola, elektrina violina / violin, viola, e-violin
Burkhard Friedrich - saksofon / saxophone
Ashley Hribar - klavir, sintetizator / piano, synthesizer
Julian Sulzberger - udaraljke / percussion
Wouter Snoei - elektronika / electronics
Wolfgang Rihm - Antlitz / Lice / Countenance
crte za violinu i klavir / a drawing for violin and piano
Burkhard Friedrich - the musicbox-project II / projekt glazbene kutije II
za elektrinu violinu, klavijature, udaraljke, CD i ivu elektroniku /
For E-violin, keyboard, percussion, CD and live electronics
Michael Oesterle - Plateau / Visoravan, za klavir i udaraljke /
for piano and percussion
Marko Ciciliani - Rational Cantilenae in Nine Triads / Racionalne kantilene u devet trijada... za pjevajueg pijanista i svjetlo / for a singing pianist
and light
Hannes Galette-Seidl - the art of entertainment / umijee zabave
za violinu, saksofon, klavir, udaraljke i vrpcu /
for violin, saxophone, piano, percussion, tape
Hans-Joachim Hespos - IKAS, za alt-saksofon / for alto saxophone

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185

Intgrales

Ansambl

184

Ansambl Intgrales, ija je tenja pribliiti glazbu dananjice i nedavne prolosti


publici nepovjerljivoj prema disonancama,
u skladu sa svojim motom poveznica s
glazbom dananjice dosljedno uvruje svoju poziciju izvan zvune sjene
koju baca institucionalna industrija klasine glazbe. Ansambl su 1993. osnovali
violinistica Barbara Lneburg te skladatelj
i saksofonist Burkhard Friedrich, a
zahvaljujui vieznanom razvoju koji
prelazi medijske i kulturne granice
postao je omiljen na radijskim postajama i
meu organizatorima glazbenih dogaaja koji ele znati to se dogaa izvan
mainstreama. Ansambl je tako pozivan
na gostovanja u Berlinu, Klnu, Chicagu,
Amsterdamu, Teheranu i Ulan Batoru.
Nastupao je na festivalima kao to su
Berliner Festwochen, Schleswig Holstein
Musikfestival, Wien Modern i Gaudeamus u Nizozemskoj, ali isto tako i na
iranskom festivalu Fadjr te na mongolskom festivalu Roaring Hooves. Fleksibilna i prilagodljiva instrumentacija te
prirodna integracija elemenata improvizacije, performansa, ive elektronike
glazbe, glazbenog kazalita i filma
ansamblu omoguuju izgradnju bogatog
repertoara te potiu kreativnu razmjenu
ideja i dijalog izmeu partnera izrazito
razliitih osobnosti i stilova.

Ensemble Intgrales, seeking to reconcile the music of today and of the recent
past with an audience suspicious of dissonances - in line with their motto the
link to todays music, has persistently
established its position outside the
sound shadow cast by the institutionalised classical music industry. The ensembles multi-faceted cross-medial and
cross-cultural development, since its
foundation in 1993 by violinist Barbara
Lneburg and composer and saxophone
player Burkhard Friedrich, has made it a
favourite of broadcasting stations and
organisers of musical events interested
in what happens beyond the mainstream,
and earned it invitations for guest performances in Berlin, Cologne, Chicago,
Amsterdam, Tehran or Ulan Bator. The
list of festivals where the ensemble Intgrales has performed includes Berliner
Festwochen, Schleswig Holstein Musikfestival, Wien modern and the Gaudeamus festival in the Netherlands, but also
the Iranian Fadjr Festival or the Mongolian Roaring Hooves. The flexible and
expandable instrumentation as well as
the effortless integration of elements of
improvisation, performance, live electronics, music theatre and film enable
ensemble Intgrales to cover an extensive repertoire and encourage a creative
exchange and dialogue between partners
with extremely different personal and
stylistic backgrounds.

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187

Ansambl Intgrales / Ensemble Intgrales

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Rihm

Wolfgang

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Wolfgang Rihm (Karlsruhe, 1952.)


studirao je kompoziciju na Visokoj koli
za glazbu u Karlsruheu u razredu Eugena
Veltea i Humphreyja Sealea. Poslije je
studirao u Klnu s Karlheinzom Stockhausenom i u Freiburgu s Klausom
Huberom i Hansom Heinrichom Eggebrechtom. Nazvan je najpoznatijim
predstavnikom nove jednostavnosti,
moda bolje reeno - novoromantizma,
ili novoekspresionizma (Radio France).
Njegova djela pokazuju osobnost koju
snano privlae knjievnost i ostale
umjetnosti. Uz Stockhausena i Weberna,
njegove rane utjecaje, Rihmova su djela
poslije bila i pod utjecajem Helmuta
Lachenmanna i Luigija Nona, kojemu je
posvetio nekoliko djela.
Podnaslov ovog Rihmova djela, Crte za
violinu i klavir, opisuje gestu skladbe.
Rihma esto inspirira likovna umjetnost:
Skladba je asketski zvukovni crte, djelo
iste introspekcije, zgusnute kontemplacije u nenarativnoj statinosti, gotovo
zamrznuto. to se dogaa kad, piui
glazbu, mijeam boje, ocrtavam linije,
izotravam obrise, postavljam plohe i
izraujem perspektive? Ili kad traim
tonske boje? Apstrakcija je preduvjet
konkrecije. [Rihm]

Wolfgang Rihm (Karlsruhe, 1952)


studied composition at the Hochschule
fr Musik in Karlsruhe with Eugen Velte
and Humphrey Searle. He later studied
in Cologne with Karlheinz Stockhausen
and in Freiburg with Klaus Huber and
Hans Heinrich Eggebrecht. He was considered to be the best-known representative of the young German musical
movement of the New Simplicity, perhaps better termed as neoromanticism
or neoexpressionism (Radio-France).
His works show a personality strongly
drawn to literature and the arts. Along
with Stockhausen and Webern, his early
influences, he was later greatly influenced
by Helmut Lachenmann and Luigi Nono,
to whom he has dedicated several works.
The subtitle of the piece, Drawing for
violin and piano, describes the gesture of
the composition. Rihm is often inspired
by the fine arts. The piece is an ascetic
sound drawing, a piece of pure introspection, condensed contemplation in
non-narrative static almost congealed.
What happens when I, in the writing of
music, mix colours, trace lines, sharpen
contours, set planes, and work out perspectives? Or search for tone colours?
Abstraction is a prerequisite to concretion [Rihm]

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Friedrich

Burkhard

188

Od 2006. godine Burkhard Friedrich


(Berlin, 1962.), skladatelj, osniva i jedan
od voditelja ansambla Intgrales, komponira djela na granici izmeu Nove
glazbe i elektro-popa. Njegovo podruje
istraivanja jest stalno posipanje javnih i
komercijalnih mjesta mekom glazbom,
muzakom koji potie ljude na kupnju. U
svojem konceptu nazvanom Projekt Muzike kutije, Friedrich do neke mjere rabi
metode odgovorne za uspjeh sistema
Muzak: ponavljanja, sintetske zvukove,
ritamske obrasce. Kombinirajui nekonvencionalne zvukovne strukture i razvlaei repeticije, paralelnom uporabom
ive i unaprijed snimljene glazbe skladatelj iritira sluateljeve osjete, odvodei
ga tako u nepoznata podruja u kojima
kormilarenje postaje uzbudljivom avanturom. U ovom komadu u pitanje se
dovodi potreba za ivom glazbom jer se
ini da je veina sekvenca koje se uju
stalna, zbog uporabe loopova (petlji) i
delaya (kanjenja). U nekim trenucima
glazbenici smiju napustiti pozornicu i
ostaviti glazbu na brigu instrumentima
za loopove. Postavlja se pitanje na koji je
nain pogoena neija percepcija ako
glazbenici izau, a glazba se nastavi,
neogranieno. Musicbox je raen u tradiciji skladatelja iz obiju skupina - ozbiljne i zabavne glazbe - kao to su Edgar
Varse, Anthony Braxton, Frank Zappa i
John Zorn, koji su prelazili granice meu
glazbama i uspijevali ustanoviti nove
anrove.

189

Since 2006, Burkhard Friedrich (1962)


composer, founding member and one of
the two artstic leaders of ensemble Intgrales, verges between New Music and
Electro-Pop. His field of research is the
perpetual sprinkling of public and commercial places with the soft-music of the
sales-enhancing marketing instrument
Muzak. In his concept the musicboxproject, Burkhard Friedrich, to a certain
degree, employs the methods basically
responsible for the system Muzaks success: repetitions, synthetical sounds and
rhythmical patterns. By combining unconventional sound structures and by
stretching the repetitions, by paralleling
live- and pre-produced music, the composer irritates the listeners senses, thus
taking her to uncharted territories in
which to navigate becomes an exciting
adventure. In this piece the necessity for
live music is questioned insofar as most
of the sequences one hears seem to have
become perpetual by the use of loops
and delays. At certain points the musicians are free to leave the stage and let
their loop-instruments in charge of the
music question arises in which way ones
perception is effected if the musicians
exit but at the same time their music
goes on infinitely.
Musicbox sees itself in the tradition of
composers from both groups, for
example Edgar Varse, Anthona Braxton,
Frank Zappa and John Zorn, who always
have been transgressing the boundaries
between serious and entertaining
music, and who have managed to establish new genres.

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Oesterle

Michael

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Michael Oesterle (Ulm, 1968.) dobitnik


je nekoliko nagrada poput Nagrade Gaudeamus, Grand Prize na 12. CBC-evom
radijskom National Competition for
Young Composers, i Nagrade Jules Lger,
koju dodjeljuje Canada Council.
Suraivao je na projektima sa skladateljem
Gerhardom Staeblerom, violinistom Clemensom Merkelom, slikaricom Christinom Unger, videoinstalacijskim
umjetnicama Wandom Koop i Bonnie
Baxter te koreografkinjama Isabellom
Van Grimde, Barbarom Bourget i Dominique Porte. Oesterle je skladao glazbu
za CNOTE, film animatora Christophera
Hintona, koji je 2005. godine osvojio Nagradu GENIE za najbolji kratki animirani
film. S pijanistom Marcom Courouxom
Oesterle je u Montralu osnovao ansambl KORE, a u razdoblju od 2001. do 2004.
godine bio je rezidencijalni skladatelj za
lOrchestre Metropolitain du Grand
Montral. Michael Oesterle trenutno ivi
u Montralu.

Michael Oesterle (Ulm 1968) has received


several awards, such as the Gaudeamus
Prize, the Grand Prize at the 12th CBC
Radio National Competition for Young
Composers, and the Canada Council
Jules Lger Prize. Oesterles works have
been performed and commissioned by
renowned ensembles, orchestras and
soloists all over the world. He has produced
projects in collaboration with composer
Gerhard Staebler, violinist Clemens
Merkel, painter Christine Unger,
video/installation artist Wanda Koop
and Bonnie Baxter and choreographer
Isabelle Van Grimde, Barbara Bourget,
and Dominique Porte. Oesterle composed
the music for CNOTE, a film by animator
Christopher Hinton, produced by the
National Film Board of Canada (NFB).
CNOTE won the 2005 GENIE award for
best animated-short. He founded the
Montral based Ensemble KORE with pianist Marc Couroux, and between 2001
and 2004 he was composer-in-residence
with lOrchestre Metropolitain du Grand
Montral. Michael Oesterle is currently
living in Montral.

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190

Plateau je nastao kao rezultat velikog


broja sati posveenih sluanju inventivnih
mehanizama glazbe montrealskog skladatelja Maxima de la Rochefoucaulda.
Glazbeni mehanizmi slue mi kao sredstva
za promatranje ekspresivnih, dramatskih
kvaliteta s drukijeg stajalita. Dionica
klavira predstavlja statini krajolik s harmonijski gustim artikulacijama koje pulsiraju u sredini registra instrumenta.
Udaraljkau je u kompoziciji zadan niz
radnji koje treba odsvirati na ogranienoj
grupi instrumenata. Takve spontane, ali
ograniene radnje vidim kao zvune ikone, iskrice koje nastaju nasumce kroz
opsesivan rad mehanizma klavira.

191

Plateau is the result of long hours of listening to the ingenious mechanicalmusic of Montreal composer Maxime de la
Rochefoucauld. To me, musical mechanisms are a means to observe expressive
dramatic qualities from a different angle.
The piano part in plateau is a static
landscape, with harmonically dense articulations pulsating in the middle register of the instrument. The percussionist
is given a set of actions, to be played on a
limited set of instruments. I see these
spontaneous but confined actions as sonic
icons, sparks that are released at random
by the obsessive piano mechanism.

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Marko Ciciliani

day

Marko Ciciliani (1970.) glazbeno je obrazovanje s podruja kompozicije i elektronike glazbe stekao u New Yorku,
Hamburgu i Hagu. Pisao je za orkestre,
ansamble, soliste, kao i zvukovne instalacije, a u djela je esto uvrtavao ivu
elektroniku glazbu i druge medije, npr.
svjetlost, lasere, videozapise i animirane
filmove. Za Cicilianija je tipian pokuaj
spajanja naizgled kontradiktornih materijala, ime se djelu daje dojam eksperimenta i zaigranosti uz neoekivane
obrate i raznolikost boja. Djela su mu
izvoena kako na festivalima eksperimentalne elektronike glazbe tako i na
festivalima komorne glazbe, a instalacije
su mu postavljane u Nizozemskoj, Njemakoj i Velikoj Britaniji. Kao izvoa,
Ciciliani ve godinama koristi no input
mixer, vrstu miks-pulta u kojem se ne
koriste vanjski ulazi, nego se svi zvukovi
stvaraju putem internih povratnih veza.

Marko Ciciliani received his musical


training as a composer and electronic
musician in New York, Hamburg and
The Hague. He has written for a variety
of settings, including orchestra, ensembles, solo works and sound installations,
often including live-electronics and
other media like light, laser, video or cartoons. Typical for Cicilianis work is that
it tries to combine seemingly contradictory materials, giving the composition a
feeling of experiment and playfulness,
with surprising turns and a variety of
colour.
The different genres in which Cicilianis music can be heard and seen, are
reflecting his manifold musical activities.
His music has been programmed by festivals of electronic experimental music
just as much as by international festivals
for chamber music. His sound installations have been presented in the Netherlands, Germany and the UK.

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193

As a performer Ciciliani has used the noinput mixer for many years, a mixing
board which does not use any external
inputs, but where all sounds are created
through internal feedbacks. In 2006 Ciciliani founded the group Bakin Zub, an
ensemble comprising five distinguished
musicians from different backgrounds.
Bakin Zub is dedicated to the performance of Cicilianis music while placing an
emphasis on the combination of instrumental writing, live-electronics and light
Racionalne kantilene za devet trijada za designs. Ciciliani lives in Amsterdam and
is following a PhD program at the Brunel
glasovir, glasovni izriaj i svjetlosne
University in London/UK. In 2009 he will
efekte, naruitelj Fonds voor de Scheppende Toonkunst: Kada sam poeo ra- spent a three-month residency at the
diti na tom projektu, privlaio me heavy prestigious Villa Aurora in Los Angeles/USA.
metal i njegova povezanost s drevnim
kultovima i okultizmom. Dok sam se
bavio istraivanjima te teme, otkrio sam Rational Cantilenae in Nine Triads for
da se u blizini mog doma u Amsterdamu piano, vocal utterings and lighting,
Commissioned by the Fonds voor de
nalazi privatna knjinica s najveom
Scheppende Toonkunst: When I started
zbirkom hermeneutike i alkemistike
working on this piece, I was interested in
literature na svijetu. Tamo sam fasciniHeavy Metal and its affinity to ancient
rano itao o svjetonazoru srednjovjekovnih i renesansnih alkemiara. Ja ne cults and occultism. While doing research on this subject-matter, I discovdijelim ta vjerovanja, no alkemija me
fascinira jer predstavlja sloeno stapanje ered that not far from my house in
Amsterdam, there is a private library
znanosti, kranstva i okultnih
vjerovanja utemeljenih na helenistikoj with the world largest collection of
kulturi. U njoj su nakupljeni vrlo razliiti hermeneutic and alchemist literature. I
aspekti povijesti i religije zapada, a pitam went there and read with fascination
about the world-view of Middle-Age and
se koliko tih ideja postoji i danas u
Renaissance alchemists. I do not share
nekom promijenjenom obliku.
these beliefs, but I am fascinated by
Alchemy because of its complex mixture
of science, Christianity and occult beliefs
based in Hellenism. It accumulated very
diverse aspects of western history and
religion and I wonder how much of these
ideas still exist today in an altered form.
Godine 2006. osnovao je skupinu Bakin
zub, ansambl koji se sastoji od petoro
uglednih glazbenika iz razliitih miljea.
Bakin zub izvodi Cicilianijevu glazbu, a
naglasak je na kombinaciji instrumentala, elektronike glazbe uivo i svjetlosnih dizajna. Ciciliani ivi u Amsterdamu
te pohaa doktorski studij na Sveuilitu
Brunel u Londonu. Tijekom 2009. tri e
mjeseca provesti kao stipendist u
prestinoj Villi Aurori u Los Angelesu.

month

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hour

22:00

utorak / tuesday

sat

Seidl

day

Galette

Hannes

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 194

Hannes Galette Seidl (Bremen, 1977.)


studirao je kompoziciju na Visokoj koli
Folkwang s Nicolausom A. Huberom i
Thomasom Neuhausom te na poslijediplomskom studiju u Grazu - kao stipendist DAAD-a - u klasi Beata Furrera.
Radio je u nekoliko elektronikih studija,
u IRCAM-u (Pariz), ZKM-u (Karlsruhe),
IEM-u (Graz), Centro di Sonologia e di
Calcolo (Padova) i dr. Meunarodno je
nastupao s ansamblima kao to su
Klangforum Wien, Ensemble Modern,
Oriol Thrmchen Ensemble i KNM. Dobitnik je stipendije za Darmtatske ljetne
teajeve 2002. godine te stipendije
Akademije umjetnosti u Berlinu. Bio je
lanom meunarodne akademije
Ansambla Modern. Predavao je uvod u
elektroniku glazbu na Sveuilitu Bremen, a od 2005. godine je slobodnjak i
ivi u Gieenu u Njemakoj.

Hannes Galette Seidl (Bremen, 1977)


studied composition at the FolkwangHochschule with Nicolas A. Huber and
Thomas Neuhaus and with Beat Furrer
as a postgraduate in Graz, on a DAAD
scholarship. He worked in several electronic studios, at IRCAM (Paris), ZKM
(Karlsruhe), Centro di Sonologia e di Calcolo (Padova), the Akademie der Knste
Berlin, the IEM (Graz) et al. He has had
international performances with ensembles such as Klangforum Wien, Ensemble
Modern, Ensemble Oriol, Thrmchen
Ensemble and KNM. He received a
scholarship for the Darmstdter Ferienkurse 2002, was grant recipient of the
Akademie der Knste Berlin and was a
member of the international Ensemble
Modern Acadamy. He has taught introduction in electronic music at the Universitt Bremen. Since 2005 he lives as a
freelance composer in Gieen / Germany.

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194

Umijee Zabave Hannesa Galette-Seidla


djelo je oblikovano je kao konceptualna
glazba. On o djelu kae to je to to
omoguava da popularna glazba tako
dobro funkcionira? to ini bit te glazbe
tako trajnom, otpornom? Zato ostaje
prepoznatljivom i ak se iri unato
raznolikom otporu i neodredivou kao
to su buni javni prostori, promet, doba
dana, loe kvaliteta reprodukcije,
pozadinski umovi, suoavanje s nepoznatim predodbama itd.?
ini se da je svaka kultura u stanju
probaviti zabavu - ne samo glazbu.
Ona upija sve, razgraena na lokalnu
boju. Koji su to zvukovi i strategije popglazbe koji stavljaju sve na svoje mjesto?
Za nas se Umijee zabave sastoji of modularnih komponenata razliite glazbe,
koje sjaje poput krhotine, prou, pojave
se ponovno, miruju, prekrivene su, ili
odjednom napadno skae u priv plan;
etnja gradom, dok nesvjesno skupljamo
glazbu. Samo se ovdje glazbu oguli s dojmova o gradu i prinese uima, grubu i
nedotjeranu.

195

Hannes Galette-Seidls The Art of Entertainment is conceived as conceptual


music. He himself says about the piece:
What is it that makes popular music
function so well? What makes the
essence of this music so tenacious? Why
is it that it stays recognisable and even
spreads in spite of diverse resistance and
imponderability such as noisy public
spaces, traffic, time of the day, mean
playback quality, back ground noises,
confrontation with unknown images etc.?
Each culture seams to be able to digest
entertainment - not just music. It absorbs everything, degraded to local colour. What are the sounds and strategies
of pop music that make everything fit?
For us The Art of Entertainment consists
of modular components of various music, which shine off as shreds, pass away,
re-emerge, stand still, are being covered
or suddenly obtrusively spring to the
foreground; a walk through a city, while
one unconsciously collects music. Only
here the music is peeled off the city-impressions und is being brought to the
ears rough and unpolished.

day

month

21

dan

mjesec

hour

22:00

utorak / tuesday

sat

Hespos

Hans-Joachim

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 196

Hans-Joachim Hespos (1938.) od 1964.


godine skladao je veliki broj djela koja
su, prema standardima nove njemake
glazbe, uglavnom ekstremna. Moda je
jedna od najistaknutijih znaajki Hesposove glazbe ta da se u njoj naizgled ne
odvija neki vidljiv proces razvoja tehnike
ili mijena u skupu djela tijekom posljednjih
trideset godina. Njegove partiture, bilo da
su verbalne, grafike ili konvencionalnije
zapisane, ili su pak kombinacija svega,
uvijek pobuuju akciju prije negoli upute
za neutralno izvoenje. Inspirirane
Adornom i Artaudom, svaka kompozicija
poprima nesputani oblik tijekom samog
ina skladanja. Stoga ta djela, bez obzira
na svoju duljinu, i nisu jednostavna za
analizu poput obinog umjetnikog objekta. Kako i sam Hespos kae, on sklada
ne znajui kamo e ga to u kojem trenutku odvesti, ili gdje e zavriti.

Hans-Joachim Hespos (1938) has since


1964 composed a huge number of works
that are usually extreme even by the
standards of the German New Music.
Perhaps one of the most remarkable
features of Hespos music is that there
would seem to have been no discernible
process of development of technique or
alteration in concerns during the last
thirty years. His scores, be they verbal,
graphic, more conventionally notated or
some combination thereof, always constitute incitements to action rather than
instructions to be executed neutrally.
Inspired by Adorno and Artaud, each
composition forms itself unfettered
during the act of composition. Thus each
work of any length would hardly be
analysable as an artistic object. In hespos own words, he composes without
knowing whither it goes in the next
moment, where it ends.

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196

Ovakva radikalna subjektivnost ostvaruje


komunikaciju s publikom Hesposova
djela s ciljem da, kako Artaudov citat
kae, stigne do toke na kojoj stvari
moraju eksplodirati kako bi se dolo do
novog poetka/odlaska... kako bi se duh
doveo do mahnitosti, uzdignuo do svojih
energija.
Ikas, priopenje za medije: IKAS za alt
saksofon (1982.) predstavlja uvod u glazbeni teatar naziva ples na ici. Kako i
stoji u nazivu, interpret hoda po akustinoj tankoj ici koja se izraava kroz nejednake zvukove koje proizvodi glas u
izljevima tjeskobe, panike i bijesa. Saksofon se ovdje nadovezuje na glasnice
izvoaa. Koristei specifinosti zvuka
saksofona, on mijenja glas izvoaa mijenjajui pritom do neprepoznatljivosti i
sam zvuk saksofona. Ovo je djelo
glazbeni teatar u trajanju od 6 minuta.
Stjee se dojam da kompozicija nije linearna nego vertikalna te da egzistira u
prostoru istraujui dubinu dvorane.
Izvoa nagovjeuje zvuk, a glas dolazi
sa ice.

197

This radical subjectivity should communicate itself to any audience of hespos


work, his aim being, to quote Artaud To
reach a point at which things must burst
if there would be a new departure/beginning ... to lead the spirit to a frenzy, to a
rising of its energies.
Press release Ikas: IKAS for altsaxophone
(1982) is the entre to the music theatre
with the title dance on a tightrope. As
the title suggests, the interpreter is walking
an acoustic tightrope, which is expressed
in diverse noises made using the voice in
outbursts of anxiety, panic and rage.
The saxophone is here the players prolonged vocal chords. It changes the voice
of the performer as the as the well known
saxophone sound changes beyond
recognition making use of its specific
richness of timbre.
The piece is a music theatre in itself of 6
minutes length. One gets the impression
that the composition isnt linear but vertical in space, exploring the depth of the
hall. The performer seems to announce a
noise and voice manifest from out his
rope.

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 198

day

month

21

dan

mjesec

23:00, MM
Dada Jihad
Dada Jihad:
Mario Kova
Tomislav Babi
Maksimilijan Ruinski
Kreimir Pauk
Zrinka Kuevi
Ana Franji
Dean Krivai
Damir Kantoci

hour

23:00
sat

utorak / tuesday

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198

Za nastup na Biennalu Dada Jihad


pripremaju projekciju legendarnog
dokumentarnog epa Leni Riefenstahl
Olympia, 1. Teil - Fest der Vlker (Olimpijske igre, 1. dio - Sveanost naroda)
popraenu improviziranom glazbenom
pratnjom na neinstrumentima te koreografiranim plesnim pokretima. Termin
neinstrumenti odnosi se na itav niz
elektronikih, analognih i akustinih
naprava koje se izrazito rijetko rabe u
glazbi, a u sebi sadre itavu paletu
zvukova koji se mogu rabiti: oscilatori,
teremin, kuanski aparati (usisiva,
mikseri, penice, pribor za jelo...), alati
(builice, ekii, razni kljuevi, kare...),
prijenosi kratkovalnog radija i slino.
elja nam je pokuati napraviti spregu
glazbe i filma koristei se razlonim
kulturnim iskustvom unutar glazbene
(zvune) forme. Nije nam elja glazbom
komentirati vieno, nego pokuavamo
ostvariti simbiozu dviju vrsta znakova
(zvunog i vidljivog) kako bi situacija
predstavljanja bila doivljena kao
nadopuna starog materijala, a ne
parazitiranje na njemu.
Dada Jihad vjeruje da je politika bavljenje
javnim poslom radi privatnog probitka te
se stoga bavi umjetnou, za koju vjeruje
da je bavljenje privatnim poslom radi
javnog boljitka.

199

For the performance on the Biennale,


Dada Jihad has prepared a screening of
legendary documentary epic by Leni
Riefenstahl Olympia 1. Teil - Fest der
Vlker accompanied by improvised
music played on non-instruments and
dance choreography. The phrase noninstruments relates to a whole set of
electronic, analogous and acoustic
devices rarely used for performing music
but nonetheless containing a whole
range of sounds ready for use: oscillators,
theremin, household appliances (vacuum
cleaner, blenders, ovens, cutlery...), tools
(drilling machines, hammers, various
wrenches, scissors...), transmissions by a
short-wave radios, etc. Our wish is to try
and create an alliance of music and film
by exploiting on our cultural experience
within the musical (sound) form. We do
not wish to use the music to comment
on what already exists but to try and
symbiotically connect two types of signs
(sounds and images) in such a way so
that the situation presented can be experienced as an upgrade of an old material, rather than creating a hanger-on
situation.
Dada Jihad shares a belief that being in
politics means being in service of general
public for personal gain which is why
they choose to dwell in art for which they
believe is personal work done for the
better of general public.

day

month

21

dan

mjesec

hour

23:00

utorak / tuesday

sat

Kova

Mario

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 200

Mario Kova (Zagreb, 1975.) prva je


kazalina iskustva skupljao u Dramskom
uilitu Zagrebakog kazalita mladih, a
diplomirao je 2002. godine na odsjeku
Kazaline reije na Akademiji dramske
umjetnosti. Godine 1995. osniva nezavisnu studentsku kazalinu grupu
Schmrtz Teatar s kojom reira, glumi,
nastupa u vie od 120 predstava, performansa, hepeninga, koncerata... te ostvaruje brojna gostovanja po Hrvatskoj i
Europi. Meu najpoznatijim radovima
grupe radikalne su akcije (kraa knjiga u
knjiarama u sklopu akcije 22%, egzorcistika akcija istjerivanja zlih demona iz
zgrade HNK, Millennium Marijuana
March..). Poetkom 2001. godine rasputa Schmrtz Teatar i osniva kazalinu
druinu Nova Grupa; pokreta je i osniva nekoliko festivala i susreta, kao to su
FAKI (Festival alternativnog kazalinog
izriaja), TEST! (Teatar Studentima!),
K.R.A.D.U. (Kazalina revija Akademije
dramske umjetnosti).

Mario Kova (Zagreb, 1975) started


collecting his first theatrical experiences
while attending drama classes at Zagreb
Youth Theatre under Zvjezdana Ladika,
Elizabeta Kumer, Jadranka Korda and
Boris Kovaevi eventually graduating
from the Academy of Dramatic Art at the
Department of Theatre Direction in
2002. In 1995 he founded an independent student theatre group named
Schmrtz Teatar with which in over five
years of its existence he directed, acted
and performed in over 120 plays, performances, happenings and concerts making numerous guest appearances in
Croatia and Europe. Among the most famous of this groups works are radical
actions (such as, stealing books in bookstores as a part of a 22% action, exorcising demons from Croatians National
Theatre, Millenium Marijuana March,
etc.). In the beginning of 2001 he dissolved the Schmrtz Teatar and founded a
theatre company called Nova Grupa; he
is the initiator and founder of several
festivals and gatherings such as, FAKI
(Festival of Alternative Theatrical
Expression), TEST! (Theatre to Students!),
K.R.A.D.U. (Theatre Show of the
Academy of Dramatic Art).

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200

Od 2000. godine radi kao profesionalni


kazalini redatelj, a do sada je ostvario
niz predstava u Zagrebu, Poegi, Splitu i
Rijeci. Za veinu tih predstava bio je i
scenograf i skladatelj originalne glazbe, a
mnoge od njih osvajale su nagrade na
domaim i stranim kazalinim festivalima.
Sudjelovao je i u stvaranju brojnih amaterskih predstava i performansa. Za Trei
program Hrvatskog radija reirao je niz
radijskih drama (za reiju ene bombe
Ivane Sajko 2004. godine dobiva Nagradu hrvatskog glumita). S raznim bendovima i projektima izdao je desetak
glazbenih albuma razliitih usmjerenja.
Trenutno svira u grupama Tena Novak i
dada jihad te pjeva u bendu Delvis. Organizira performanse, hepeninge, sluaonice i druga dogaanja, a u klubu Gjuro
II rezidentni je DJ. Koscenarist je i suredatelj filmova Bore Leeja te autor nekoliko kratkometranih filmova. Pisao je
kazaline kritike, recenzije i teorijske
eseje, izdao je zbirku pria Barunasto
podzemlje i za izdavanje uredio nekoliko
knjiga. Bio je i story editor (dnevni urednik) u prvoj sezoni Big Brothera,
kreativni urednik u prvoj sezoni reality
showa BAR te scenarist TV-serije Dobre
namjere.

201

He has been working as a director from


2000, in Zagreb, Poega, Split, and Rijeka.
For most of the shows he also worked as
a set designer and original score composer
and many of these shows won awards on
domestic and foreign theatre festivals.
He directed a series of radio plays for the
Croatian Radio programme (he won the
Croatian Theatre Award for Ivana Sajkos
ene bombe). He has released ten albums
of various music styles (styles varying from
cabaret punk to radical experimentalism),
as a result of cooperation with different
bands and projects. He plays keyboard,
theremin and various electronic devices
in bands Tena Novak and Dada Jihad
and sings in the band Delvis. Mario organizes performances, happenings, literary readings and other events and is a
resident D.J. in Zagrebs club Gjuro II.
With two other co-authors Kova wrote
screenplays and directed films starring
Bore Lee. Hes the author of several short
films, he wrote theatre reviews, reviews
and theoretical essays and he published
a collection of stories Barunasto
podzemlje. As an executive editor he has
edited several books. He worked as a story
editor and a creative editor of reality shows
on TV and as a screenwriter for a TV series.

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 202

day

month

srijeda / wednesday

22 4

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 203

17:00, Mimara
MD7, Ansambl za suvremenu glazbu /
Contemporary Music Ensemble

19.30, GDKG
Orlando Jacinto Garca: Transcending Time /
Nadilazei vrijeme*, opera

21:30, &TD, polukruna dvorana / semicircular hall


Gordan Tudor & Natalija Manojlovi:
Vodoinstalater / The Plumber*

22:30, MM
Nimbus Dei

00:00, MM
NARCISSISTER:
Mali noni komentar /
A Little Night Commentary,
performans / performance

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 204

day

month

22

dan

mjesec

hour

17:00

srijeda / wednesday

sat

17:00, Mimara
MD7, Ansambl za suvremenu glazbu /
Contemporary Music Ensemble
Steven Loy, dirigent / conductor
Matej Zupan, flaute / flutes
Joe Kotar, klarineti / clarinets
Mihael uler, trombon / trombone
Franci Krevh, udaraljke / percussion
Luca Ferrini, klavir / piano
Katja Krajnik, viola
Igor Mitrovi, violonelo / cello
Pavel Miheli, umjetniki ravnatelj / artistic director
Zygmunt Krauze: Voices for Ljubljana / Glasovi za Ljubljanu
Frano urovi: Priajmo o Daksi / Lets Talk About Daksa*
Tina Mauko: Sence / Sjene / Shadows
Urka Pompe: Sr - Osnova i potka / Warp and Woof
Sukhi Kang: Myth / Mit
Lojze Lebi: Barvni krog / Krug boja / Colour Circle

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204

Godine 2001. meunarodni festival Musica Danubiana, koji se odrava od 1998.


godine a posveen je suvremenoj glazbi,
pruio je priliku posebno oformljenom
ansamblu s jedinstvenim sastavom da
svojim djelovanjem potakne stvaranje i
izvedbu novih radova slovenskih skladatelja, ali i skladatelja koji ne dolaze iz
Slovenije. Prva izvedba Ansambla MD
(Musica Danubiana) odrana je u Beu 7.
studenog 2001. godine. Nedugo nakon
tog nastupa sastav je djelomice promijenjen i smanjen te se vie nije mijenjao. U
osnivanju ansambla su, uz lanove, sudjelovali i neki istaknuti glazbenici izvan
tog projekta, poput dirigenta Liora
Shambadala i skladatelja Pavela Mihelia, koji otpoetka djeluje kao umjetniki
ravnatelj ansambla. MD7 danas postoji
kao nezavisna kulturna organizacija, a
svoju je osnovnu misiju potvrdio prvim
koncertom u novom sastavu, odranim
2002. godine: izvoenje skladbi
napisanih posebno za njega, kojima do
izraaja dolazi njegova jedinstvena instrumentacija. Do sada je skupina premijerno izvela 22 slovenske skladbe i 22
skladbe skladatelja koji nisu iz Slovenije.

205

In 2001 Musica Danubiana, an international festival devoted to contemporary


music begun in 1998, offered an opportunity for a specially-formed ensemble
with a unique instrumentation to encourage the creation and performance of
new works by Slovenian and non-Slovenian
composers. The debut performance of
the MD Ensemble (Musica Danubiana)
took place in Vienna on November 7,
2001. Shortly after this event, the group
changed some of its members and reduced the number of musicians to form
an ensemble that has remained the same
ever since. The ensemble was founded
by its members as well as by some distinguished musicians from outside the
project, among those are the conductor
Lior Shambadal and the composer Pavel
Miheli, who has remained the artistic
director of the ensemble from its inception. The MD7 ensemble for contemporary music, which today exists as an
independent cultural organisation, confirmed its basic mission already with
their first concert in their new configuration on November 20, 2002: to perform
compositions written especially for them
which would strictly observe their unique
instrumentation. So far the group has
premiered 22 Slovenian compositions and
22 works by non-Slovenian composers.

day

month

22

dan

mjesec

hour

17:00

srijeda / wednesday

sat

Loy

Steven

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 206

Steven Loy slobodni je dirigent koji


aktivno djeluje u Ljubljani sa suvremenim
glazbenim ansamblima MD7, Slowind i
Ansamblom Slavko Osterc. Dirigirao je
na brojnim znaajnim premijerama u
Sloveniji, ukljuujui premijere skladbi
Stevea Reicha, Briana Ferneyhougha,
Martina Smolke i brojnih drugih skladatelja. Bio je voditelj Slovenske Filharmonije, simfonijskih orkestara iz
Miskolca i Szombathelyja (Savaria) u
Maarskoj te Brasovske filharmonije
(Rumunjska). Porijeklom iz SAD-a,
diplomu iz kompozicije stekao je u
Philadelphiji, a 2000. godine u Parizu mu
je dodijeljena Diplome Suprieur iz
orkestralnog dirigiranja. Bio je i aktivni
sudionik majstorskih radionica s poznatim dirigentima poput Ptera Etvsa,
Zoltna Peska, Jurija Simonova, Helmutha
Rillinga i drugih, a u 2002. godini
pohaao je konzervatorij Accademia
Musicale Chigiana u Sieni, gdje je studirao pod maestrom Lotharom Zagrosekom.

Steven Loy is a freelance conductor


active in Ljubljana with the contemporary
music ensembles MD7, Slowind and Ensemble Slavko Osterc. He has conducted
a number of important premieres in
Slovenia, including works by Steve Reich,
Brian Ferneyhough, Martin Smolka and
many others. He has also led the Slovenian Philharmonic, the Savaria Symphony
and Miskolc Symphony Orchestras
(Hungary) and the Brasov Philharmonic
(Romania). Originally from the US, he
received his BM in composition in
Philadelphia, later earning the Diplome
Superieur in orchestral conducting in
Paris in 2000. He has actively participated
in master classes with many well-known
conductors including Pter Etvs,
Zoltn Pesk, Yuri Simonov and Helmuth Rilling. In 2002 he attended the
Accademia Musicale Chigiana in Siena,
studying with maestro Lothar Zagrosek.

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207

Krause

Zygmunt

206

Zygmunt Krause (Varava, 1938.)


diplomirao je na poljskoj Dravnoj vioj
glazbenoj koli, i to klavir u klasi profesorice Marije Wilkomirske te kompoziciju pod Kazimierzom Sikorskim. Nakon
studija glazbeno je obrazovanje nastavio
u Parizu na stipendiji francuske vlade
kao student Nadie Boulanger. Od 1963.
godine Krauze nastupa kao pijanist u Europi i SAD-u izvodei uglavnom djela suvremene glazbe. Godine 1967. osnovao
je Ansambl Warsztat Muzyczny, specijaliziran za sviranje najnovijih kompozicija. Ansambl je djelovao do 1988. godine
i odrao ukupno 300 koncerata, dok su
za njih poljski, ali i strani skladatelji
napisali vie od 100 djela. Radio je kao
profesor klavira na Dravnom sveuilitu
u Clevelandu (SAD) te uz potporu
DAAD-a boravio i u Berlinu. Predavao je
u Stockholmu, Darmstadtu, Gronjanu,
Osaki, na IU u Bloomingtonu, Glazbenoj
akademiji u Baselu, Sveuilitu Yale i
Sveuilitu Columbia.

Zygmunt Krause (Warsaw, 1938) is a


graduate of the National Higher School
of Music piano studies in the class of
Maria Wilkomirska and of composition
with Kazimierz Sikorski. He continued
his music education in Paris on a French
Government scholarship as a student of
Nadia Boulanger. Since 1963 Krauze has
been playing concerts as a pianist in Europe and the United States, performing
mainly contemporary works. In 1967 he
founded the Warsztat Muzyczny [Musical Workshop] ensemble, specializing in
playing the most recent compositions.
The ensemble continued until 1988, gave
a total of approximately 300 concerts
and had more than 100 works composed
for it by Polish and foreign composers.
In 1970-71 he was a piano professor at
the Cleveland State University, and in
1973-74 stayed in Berlin at the invitation
of the DAAD. He was a lecturer in Stockholm, Darmstadt, the IU in Bloomington, the Basel Academy of Music, Yale
University, Columbia University, Osaka
and Gronjan, among others.

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Tijekom 1982. - 89. Krauze je na poziv


Pierrea Bouleza predavao u Parizu, gdje
je imenovan i umjetnikim savjetnikom
Instituta IRCAM. Tijekom 1983. - 84.
vodio je tjedne glazbene programe na
francuskom radiju Musique. Krauze je bio
koproducent na seriji edukativnih filmova
The Making of Music (Stvaranje glazbe)
za Poljsku televiziju te je 1987. godine,
nakon serije filmova o suvremenoj glazbi
The Sound and Silence (Zvuk i tiina),
osvojio nagradu predsjednitva Poljske
radiotelevizije.
Skladba Glasovi za Ljubljanu sastoji se
od dvaju citata iz moje rane glazbe koji
nemaju nita zajedniko. Glavni dio
kompozicije nova je verzija Glasova iz
1972. godine. Oblik kompozicije je jedinstven, nema kontrasta, a tiina ima
jednako bitnu ulogu kao i zvuk. Nakon
toga slijedi citat iz moje kompozicije za
Macbetha Eugena Ionesca iz 1992. godine.
Ovaj dio publiku moe podsjetiti na iznimno spor ritam habanere. Glasovi za
Ljubljanu stoga su vrsta kolaa sastavljenog od zvunog materijala prethodnih
skladbi. Skladani su 2008. godine i
posveeni Ansamblu MD7.

In 1982-89 Krauze lectured in Paris,


where he was appointed the artistic advisor at the IRCAM Institute at the invitation of Pierre Boulez in 1982 and ran
weekly music programs in Radio France
Musique. In 1986 Krauze co-produced a
series of educational films entitled The
Making of Music for Polish Television,
winning the award of the Chairman of
the Polish Radio and Television in 1987,
followed by a series of films on contemporary music, called The Sound and Silence.
The piece Voices for Ljubljana consists
of two quotations from my early music
which dont have anything in common.
The main part of the composition is a
new version of Voices from 1972. Its form
is unistic, devoid of any contrasts, in
which silence is just as important as
sound. Afterwards there appears a quotation from my music composed for
Macbeth by Eugene Ionesco in 1992. This
part may remind the audience of an extremely slow habanera. Voices for Ljubljana is therefore a kind of collage. Voices
for Ljubljana was composed for, and
dedicated to, the Ensemble MD7 in
2008.

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 209

Pavel Miheli trenutano radi kao


dekan i profesor kompozicije i glazbene
teorije na Akademiji za glazbu u Ljubljani. Njegova djela predstavljena su na
svim znaajnijim meunarodnim festivalima poput Varavske Jeseni, Prakog
proljea, Dubrovakih ljetnih igara,
Ohridskog ljeta, MBZ-a, Festivala
Starawie, Musicore i dr.
Pavel Miheli is currently Professor of
Composition and Music Theory and
Dean of the Academy of Music in Ljubljana. His works have been presented at
important international festivals such as
the Warsaw Autumn, Prague Spring,
Ruse International Festival (Bulgaria),
Berlin International Festival, the Summer Games in Dubrovnik, the Music
Biennial in Zagreb, Ohrid Summer,
Starawie Festival of Contemporary
Music in Poland, in Kiev, Sofia International Festival, Musica Danubiana in
Sato Mare (Romania), twice at the international festival in Bratislava, the
Musicora in Paris and two subscription
concerts in Dresden and other places.

209

Frano urovi

Pavel Miheli

208

Frano urovi (Dubrovnik, 1971.)


diplomirao je kompoziciju na Muzikoj
akademiji u Zagrebu u klasi Frane
Paraa. Osim orkestralnih, komornih i
instrumentalnih skladbi autor je i velikog
broja elektronikih i elektroakustikih
djela, instalacija i multimedijskih projekata, u kojima uspjeno kombinira
glazbu s raznim formama vizualnih
umjetnosti. Dobitnik je nekoliko uglednih nagrada (Josip tolcer Slavenski,
Stjepan ulek). Docent je na Muzikoj
akademiji u Zagrebu.
Frano urovi (Dubrovnik, 1971)
studied composition at the Academy of
Music with Frano Para. Apart from
orchestral, chamber and instrumental
compositions, he also wrote numerous
electronic and electroacoustic works,
installations and multimedia projects in
which he successfully combines music
with various visual art forms. He has
received several important awards
(Josip tolcer Slavenski, Stjepan
ulek). He is an associate professor at
the Academy of Music in Zagreb.

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O Priajmo o Daksi urovi kae: Na


otoiu Daksi pored Dubrovnika 25. i 26.
listopada 1944. ubijeno je nekoliko
desetaka Dubrovana (najmanje 79,
a vjeruje se da je broj puno vei),
uglavnom Hrvata, uglednih intelektualaca. Smaknuli su ih partizani, komunisti, bez ikakvoga suda, a javnost je o
tome kasnije obavijetena plakatima
kojima se htjelo prikazati kako su
pogubljeni kao ustae, ustaki
suradnici, suradnici okupatora i
slino. Meu ubijenima bilo je jedanaest
sveenika. Naravno da dokaza za
optube nije bilo, tovie, ostalo je
upameno kako su neki od ubijenih
pomagali partizane (pribavljajui im
hranu i lijekove, poput fra Marijana
Blaia) ili su simpatizirali komuniste.
Do sada nije bilo mogue pronai bilo
koji materijal, koji bi optuivao pojedince za bilo kakav zloin, ni za kazneni
progon, a kamoli za smrtnu presudu.
Ne samo svjedoci tih dogaanja, nego i
neki objavljeni izvori govore o tome kako
su se bezrazlona ubijanja protegla
duboko u studeni 1944., i kako su rtve
bacane u more ili pokapane na vie
mjesta. Zloin na otoku Daksi nije bio

urovi on his Lets talk about Daksa.


On the 25th and 26th of October, 1944,
on the island of Daksa near Dubrovnik,
several dozens of Dubrovnik residents
(at least 79, and the number is believed
to be much higher) were executed,
mostly Croats, mostly respected intellectuals. They were executed by the partisans, communists, without trial, and the
public was later notified about it via
posters claiming that they had been executed because they had been ustashas,
collaborators with the occupier and so
on. Among those killed were eleven
priests. Naturally, there was no evidence
for those allegations; moreover, it is
claimed that some of those killed had
been helping the partisans (providing
them with food and medicine, like Fra
Marijan Blai) or had been communist
sympathizers. It has not yet been possible to find evidence against them, sufficient for bringing criminal charges
against them, let alone condemning
them to death. The witnesses of these
events, as well as some published
sources, testify of the unwarranted
killings which went on well into November of 1944, and that the victims were

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210

usamljeni sluaj koji se dogodio neplanirano, kako se to godinama objanjavalo,


ve su tadanje komunistike (danas
vie vole da ih se zove antifaistike)
vlasti i planski ubijale i to ne ratne
protivnike, nego hrvatsku inteligenciju i
politike suparnike. Ovaj komunistiki
zloin dio je sustavnog progona hrvatstva, uvod u stotine slinih pokolja koji
e kulminirati u svibnju 1945. u
Bleiburgu, na krinim putovima. Daksa
je samo jedno od oko 1300 hrvatskih
stratita - vie od 700 nalazi ih se diljem
Hrvatske, oko 500 u Sloveniji, a pedesetak u Bosni i Hercegovini.
Za te uasne zloine nitko nije odgovarao i nitko nije kanjen. Zanima me
kako je to mogue? A znamo da za ratni
zloin nema zastare...
Moja kompozicija posveena je nesretno
stradalima na Daksi.

211

thrown into sea or buried in several


locations. The crime on the island of
Daksa was not a lone and unplanned
occurrence, as it was claimed for years,
but rather a part of the systematic persecution of Croatian intelligentsia and
political opponents, a preamble to hundreds of similar massacres which culminated in May 1945 in Bleiburg. According
to my information, Daksa is merely one
of approximately 1300 Croatian scaffolds
- more than 700 are located in various
parts of Croatia, around 500 are located
in Slovenia and around 50 in Bosnia and
Herzegovina.
No one was punished or accused for
these heinous crimes I wonder how
this is possible, considering that there is
no statute of limitations period for war
crimes...
My composition is dedicated to the
wretched ones, executed on Daksa.

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Tina Mauko

day

Tina Mauko (Murska Sobota, 1982.)


diplomirala je klavir 2004. na Akademiji
za glazbu u Ljubljani u klasi Tomaa Petraa. Tijekom studija usavravala se i
kod brojnih drugih priznatih pedagoga te
dobila dvije prve nagrade na dravnim
natjecanjima i jednu meunarodnu kao
dio klavirskoga dua. Sada studira
kompoziciju na ljubljanskoj Akademiji u
klasi slavnoga Janija Goloba. Godine
2008. nekoliko je puta izvedena njezina
idovska rapsodija, a njezino je vlastito
Glazbeno kazalite izvelo i trodnevnu
bajku arovni vig pred punim dvoranama. Na veeri njezinih skladbi u
Slovenskoj filharmoniji nastupalo je 24
priznatih slovenskih glazbenika.
Surauje s nizom glazbenika, a njezine
su ideje vieslojne i namijenjene svakom
pojedincu te sadre programsko kretanje
koje dolazi na vidjelo kroz izraen scenarij te se svaki sluatelj moe uivjeti u
vlastiti nadrealni svijet.

Tina Mauko (Murska Sobota, 1982)


graduated in piano from the Music Academy in Ljubljana in the class of Toma
Petra. During her studies she also
attended classes with many other recognized educators and she won national
and international prizes for her performance as a part of a piano duo. She is currently studying composition at the Music
Academy in Ljubljana in the class of Jani
Golob. In 2008 her Jewish Rhapsody received several performances, and her
Music Theatre performed a three-day
fairy tale Magical Spark in front of a full
auditorium. At the music evenings featuring her compositions in Slovenia Philharmonics 24 acknowledged Slovenian
musicians performed. She has a standing
cooperation with various musicians and
her ideas are recognized as multilayered
intended for an individual and consisting of programme climax that comes to
life through a well developed scenario
providing each listener an opportunity to
experience their own surreal world.

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Ideja Sjena je nesanica svijeta, a kako


prilii kompozitoru kao proroku, on daje
napredno rjeenje i prognozu kako zaustaviti buku, odnosno agresiju i dati konstruktivno objanjenje o uzroku
prisutnosti buke. Iz nje je nastao svijet i u
nju se vraa. Svijet se uvijek iznova
ugaa i ljepota traje vrlo kratko jer se
moramo razviti da bismo je svaki put
vremenski produili. Poela sam s astmatinim disanjem instrumenata - sada
ivimo u disharmoniji i disritmu sa
sobom i zato se ne moemo usuglasiti s
okolinom. Tako se svatko sam nastoji
ugoditi, pronai svoj istinski ton to vodi
do nemoi - agresije - kolapsa. Pomae si
sjenama izvan ovog svijeta Potom se sa
strahom i ne samosvjesno, bez agresije,
svatko sam ugaa, nae svoj ton. U
pozadini je mantra, a samougaanje
dovodi do glazbe (ureenja sustava)
izvan nas. Onda opet zapoinje uplitanje
pa je toka u koju se vraamo naprednija
jer je manje disritmina i liena astmatinog disanja svijeta.

213

The idea of Sjena (Shadows) comes


from the worlds insomnia... Taking into
consideration that a composer serves a
purpose of the prophet, he provides advanced solutions and prognosis on how
to stop the noise, the aggression and deliver a constructive explanation on the
cause of the existence of noise. The
world was created from it and it always
returns to it. We are achieving progress.
The world is constantly being re-tuned
and the beauty of it lasts very shortly, we
have to progress and prolong it. I started
of with asthmatic breathing of instruments - we now live in disharmony and
dysrhythmia with ourselves, which is
why we cant be tuned in with the environment. This way, everyone is finding
their own tuning; everyone is trying to
find their own sound which leads to
powerlessness - aggression - collapse.
Help comes from out of this world,
through shadows and then, in fear,
everyone is getting tuned, finding their
own sound, a mantra in the background,
and self-tuning leads to music (putting
the system in order) that exists outside
us. The interfering begins again and the
point to which we return is more advanced because its less dysrhythmic and
has no asthmatic breathing of the world.

day

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Pompe

Urka

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 214

Nakon to je diplomirala kompoziciju na


Akademiji za glazbu u Ljubljani (1993. u
klasi prof. Dane kerla), Urka Pompe
nastavila je sa studijem na Akademiji
Franz Liszt u Budimpeti (kompozicija,
komorna glazba, solfeo) te u Baselu u
vicarskoj (studij kompozicije s Rolandom Moserom). Tijekom poslijediplomskog studija nadopunila je svoje znanje
sudjelujui na brojnim meunarodnim
majstorskim satovima s priznatim skladateljima i instrumentalistima, meu
kojima su skladatelji Brian Ferneyhough,
Gyrgy Kurtg, Helmut Lachenmann i
pijanist Pierre-Laurent Aimard. Za svoj
rad primila je brojne nagrade i priznanja.
U 2007. godini primila je najvee kulturno
priznanje u Sloveniji - Nagradu Zaklade
Preeren - za postignua u protekle dvije
godine. Njezina glazba zastupljena je na
meunarodnim festivalima u Sloveniji i
inozemstvu. Trenutno radi kao asistentica za predmet solfeo na Akademiji u
Ljubljani.
Sr - Osnova i potka: Blizu, a opet
daleko; skriveno, ali izloeno; tiho,
a opet glasno.

After earning her diploma in composition at the Academy of Music in Ljubljana (1993, with prof. Dane kerl), Urka
Pompe continued her studies at the
Franz Liszt Academy of Music in
Budapest (composition, chamber music,
solfege) and in Basel, Switzerland (composition with Roland Moser). During her
post-graduate studies she supplemented
her knowledge by participating in numerous international masterclasses and
meetings with acknowledged composers
and instrumentalists, which played an
important role in the ongoing maturation of her creativity; composers: Brian
Ferneyhough, James Dillon, Gyrgy
Kurtg, H. Lachenmann, Ivan Fedele,
Jonathan Harvey, piano: Pierre-Laurent
Aimard; chamber music: Mikls Pernyi,
Mrta Gulys. For her work she has
received various prizes and acknowledgments. In 2007 she received the highest
state cultural prize in Slovenia - the Preeren Fund Prize - for her achievements
in the last two years. Her music is performed frequently in Slovenia and has been
presented at various international festivals both in Slovenia and abroad. She is
currently assistant professor of solfege at
the Ljubljana Academy of Music.
Warp and woof
Close, yet far away; Hidden, yet exposed;
Silent, yet loud.

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215

Kang

Sukhi

214

Sukhi Kang (Seoul, 1934.) diplomirao je


kompoziciju na dravnom Sveuilitu u
Seoulu. Studije je nastavio na Naprednoj
glazbenoj koli pri hanoverskom Kazalitu i Konzervatoriju te Tehnikom
sveuilitu u Berlinu. Bio je jedan od
prvih umjetnika u Koreji koji je predstavio
svoju elektroniku glazbu. Od 1969. do
1992. bavio se organizacijom festivala
nove glazbe Pan Music Festival u Seoulu.
Sudjelovao je kao skladatelj i novinar na
veini znaajnih europskih festivala
posveenih novoj glazbi. Bio je i predsjednik ISCM-a u Koreji. U knjizi Begegnungen mit der Welt-Musik (Susreti sa
svijetom glazbe) opisuje svoju praksu i
iskustva u Europi usporeujui i analizirajui korejsku i europsku kulturu. Godine 1980. Kang se vratio u Europu na
dvije godine gdje je radio u Elektronikom
studiju u Klnu i u Elektronikom studiju
berlinskog Tehnikog Sveuilita. Od
1982. godine radi kao profesor na
dravnom sveuilitu u Seoulu i
na Sveuilitu Keymyung u Daegu. Radio
je i kao glazbeni ravnatelj na Olimpijskim
igrama u Seoulu 1988., za ije je
otvorenje skladao raunalnu glazbu.
Godine 1995. objavio je knjigu Analiza
suvremene glazbe.
Dio skladbe Mit za 7 sviraa postoji u
pisanom obliku u fragmentima. Nekoliko
tih fragmenata iskoriteno je u zrcalnoj
formi. Osnova skladbe jest progresija
kombinacije vibrafona i klavira. Skladba
je napisana za MD7.

Sukhi Kang (Seoul, 1934) majored in


composition at the National University
of Seoul, college of music. He continued
his studies at the Advanced Music School
of the Hanover Theatre and Conservatory
and at the Technical University of Berlin.
He was one of the first composers to
present his electronic music in Korea.
From 1969 until 1992, he organized a festival of new music in Seoul, the Pan Music
Festival. Both as composer and journalist,
he participated at all the important European festivals devoted to new music
and reported his impressions on Korean
radios and magazines. He also became
the president of the ISCM in Korea. In his
book Begegnungen mit der Welt-Musik
(Encounters with the Music of the World ),
he described his practices and experiences in Europe, comparing and analyzing Korean and European cultures. In
1980, Kang returned to Europe for two
years: he worked at the Electronic Music
Studio in Cologne and worked at the
Electronic Studio of Berlins Technical
University. He has been a professor of
composition at the National University
of Seoul and Keymyung University,
Daegu. He was also the musical director
for the Olympic Games in Seoul in 1988
and composed computer music for the
opening of the Olympics. In 1995 he
published another book, Analysis of Contemporary Music.
A piece of the music from the Myth for
7 Players exists in written form - in fragments. Several fragments are used in
mirror form. The fundament of the piece
is the combination of Vibraphone and
Piano. This work was composed for MD7.

day

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Lebi

Lojze

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 216

Lojze Lebi (1934.) diplomirao je


kompoziciju i dirigiranje na Akademiji za
glazbu u Ljubljani 1972. godine. Kompozicijski se odvojio od ostalih lanova
skupine Pro musica viva i nastavio
studirati suvremenu glazbu u Darmstadtu. Stvorio je vrlo osobni glazbeni
izraajni idiom kreui se izmeu
neobuzdanosti i meditativne suzdranosti,
kozmopolitskog modernizma i obzirnosti prema slovenskom glazbenom
nasljeu. Njegova djela izvodila su se na
festivalu World Music Days, MBZ-u,
Musikprotokoll u Grazu, Pan Music u
Seoulu, Varavskoj Jeseni i drugim festivalima. Dobitnik je nagrade Preeren za
ostvarenja u 1994. godini. A od 1995.
godine je punopravni lan Slovenske
akademije znanosti i umjetnosti. Od
2003. godine je pridrueni lan Kraljevske flamanske akademije znanosti i umjetnosti u Belgiji.

Lojze Lebi (1934) graduated in composition and conducting from the Academy
of Music in Ljubljana in 1972. Compositionally, he broke from the other members of the Pro musica viva group and
studied further at courses in contemporary music in Darmstadt. He eventually
forged a very personal musical idiom,
stretching between impetuousness and
meditative restraint, cosmopolitan modernism and a sensitivity for Slovenian
musical legacy. His works have been performed at many World Music Days festivals, Berlin and Zagreb Biennales,
Musikprotokoll in Graz, Pan Music in
Seoul, Warsaw Autumn and others. He
was awarded the Preeren Prize for his
works in 1994. Since 1995 he is a full
member of the Slovene Academy of Science and Art, and since 2003 he is an associate member of the Royal Flemish
Academy of Science and Art in Belgium.

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216

Djelo Krug boja nastalo je u proljee


(2008.) za iznimne izvoae ansambla
MD7. Neke od znaajki ovog djela mogu
se deifrirati ve u samom naslovu:
U obliku: djelo s jednim stavkom
povezano je s tri odvojena dijela tako da
dva mirna vanjska dijela okruuju dramatini i ubrzani unutranji dio.
U izriaju: potraga za ravnoteom
izmeu obojenosti zvuka i glazbenih
dogaanja.
U tehnici: razvoj zvuka, formalna i
instrumentalna transformacija, ponekad
virtuozna, ponekad lirina; strogo kontrolirana u nekim dijelovima, a slobodnija u drugim.

217

The work Colour circle was written last


spring for the excellent performers of the
Slovenian chamber ensemble MD7.
Some of the characteristics of the piece
may already be deciphered from the title:
in form: since the single-movement work is linked in three separate
sections, so that two peaceful outer sections encircle a dramatic and faster middle part.
in expression: as a search for balance between sound colouring and musical events
in technique: the development of
sound, formal and instrumental transformation, sometimes virtuosic, sometimes lyrical; strictly controlled in some
parts and more free in others.

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 218

day

month

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dan

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hour

19:30

srijeda / wednesday

sat

19.30, GDKG
Orlando Jacinto Garcia: Transcending Time /
Nadilazei vrijeme*, opera
Campbell McGrath - libreto / libretto
Jacek Jerzy Kolasinski, John Stuart - video
Martina Gojeta Sili, mezzosopran / mezzosoprano
Monika Cerovec, Martina Mati Borse, Neven Mrzleki, Goran Juri vokalni solisti / vocal soloists
Cantus Ansambl / Cantus Ensemble, Mladen Tarbuk, dirigent / conductor
Cantus Ansambl / Cantus Ensemble:
Ivan Novinc, 1. violina / violin
Mislav Pavlin, 2. violina / violin
Tvrtko Pavlin, viola / viola
Jasen Chelfi, violonelo / cello
Nika Bobetko, kontrabas / double bass
Dani Bonjak, flauta / flute
Branko Mihanovi, oboa / oboe
Danijel Martinovi, klarineti / clarinets
Ricardo Luque Perdomo, fagot / bassoon
Bnk Harkay, rog / horn
Vedran Kocelj, truba / trumpet
Mario incek, trombon / trombone
Srebrenka Poljak, klavir / piano
Vojislav ii, udaraljke / percussion

uz zahvale / with thanks to: Veleposlanstvo Sjedinjenih Amerikih Drava


u RH / Embassy of the United States of America in the Republic of Croatia
Elisabeth Marsh, tehnika podrka / technical assistance
Johnu Stuartu / John Stuart, video

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 219

218

Transcending Time (Nadilazei vrijeme)


je nenarativna videoopera u kojoj preobrazba slika, zvukova i percepcije vremena ine okosnicu djela. Djelo je
nastalo u suradnji skladatelja Orlanda
Jacinta Garcije, videoumjetnika Jaceka
Kolasinskog, videoumjetnika /arhitekta
Johna Stuarta i pjesnika Campbella McGratha te se u 75 minuta polako razvija i
gotovo neprimjetno otkriva razvoj 3
kljuna segmenta. Ti segmenti temelje se
na konceptima koji su na apstraktan
nain predstavljeni slikama, zvukom i
tekstom.
U prvom segmentu nazvanom Time in
the Present (Vrijeme u sadanjosti) sugeriraju se kaos i borba sadanjeg postojanja. Drugi dio, The Act of Becoming
(in postanka), ukljuuje materijale kroz
koje se nasluuje preobrazba
prethodnog kaotinog stanja. I naposljetku, materijali ukljueni u trei dio,
A New Order (Novi poredak), sugeriraju
ideju nove egzistencije nastale kao rezultat preobrazbe. Uzmemo li u obzir apstraktnu i ciklinu prirodu ovog djela,
moemo zakljuiti kako nova egzistencija nije nita doli iluzija. Iako se samo
djelo ne zasniva na prii ili narativnom
predloku, tri koncepta predstavljaju osnovne ideje kroz koje se generiraju materijali djela. Transcending Time u
konanici predstavlja senzualnost slika i
zvuka te govori o tome kako postepena
preobrazba istih moe izmijeniti percepciju vremena onih koji prisustvuju
izvedbi djela. Transcending Time djelo
napisano je posebno za Muziki biennale Zagreb uz podrku floridskog
Meunarodnog sveuilita (International University), Berislava ipua i Biennala.

219

Transcending Time is a non-narrative


video opera in which the transformation
of images, sounds, and the perception of
time form the basis for the work. Created
by composer Orlando Jacinto Garcia in
collaboration with video artist Jacek Kolasinski, video artist/architect John Stuart, and poet Campbell McGrath, the
75-minute work evolves slowly and includes 3 segments that unfold seamlessly. The segments are based on
concepts that are abstractly presented by
the images, sounds, and text found in
each.
In the first segment, Time in the Present,
the chaos and struggles found in present
existence are suggested. The second section, The Act of Becoming, includes materials that imply a transformation of this
chaotic state. Lastly, the materials in the
third section, A New Order, suggest the
notion of a new existence as the result of
a transformation. Given the abstract and
cyclical nature of the work, one can also
conclude that this new existence may
not be more than an illusion. Although
the work is not based on a story or narrative, these three concepts were the underlying notions that generated the
materials in the work.
Transcending Time is ultimately about
the sensuality of sound and images and
how the gradual transformation of these
can alter the perception of time in those
experiencing the work.Transcending
Time was written for premiere at the
MBZ, with the support of Florida International University, Berislav ipu and
the Biennale.

month

22

dan

mjesec

hour

19:30

srijeda / wednesday

sat

Garcia

day

Jacinto

Orlando

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 220

S vie od sto i etrdeset skladbi skladanih


za irok raspon izvoakih anrova, Orlando Jacinto Garcia (Havana, 1954.)
postao je jedna od najznaajnijih osoba
u svijetu nove glazbe. Osobit karakter
njegove glazbe opisivan je kao zvuno
iskustvo koje zaustavlja vrijeme i jo
dugo ostaje u sjeanju, a nosi kvalitete
nastale kao rezultat studija pod
Mortonom Feldmanom i drugima.
Roen na Kubi, Garcia je emigrirao u
SAD 1961. godine. Traen kao gostujui
skladatelj i predava u Americi, ali i
drugdje u svijetu, Garcia je ujedno i primatelj brojnih poasti i nagrada raznih
organizacija i kulturnih institucija od
kojih najnovije ukljuuju New Ariel,
Noise International, Matiz Rangel,
Nuevas Resonancias, ACF Sonic Circuits,
stipendije, rezidencijalne stipendije te
nagrade zaklada poput Rockefellera, Fulbrighta, Dutke, Cintas Foundations i
Council for the Arts drave Floride. Njegove skladbe izvode priznati solisti,
ansambli i orkestri diljem svijeta, a
snimljene su za brojne izdavake kue te
su dostupne i u okviru kua Kallisti
Music Press, American Composers
Alliance i BHE.

Through more than one hundred and


forty works composed for a wide range of
performance genres, Orlando Jacinto
Garcia (Havana, 1954) has established
himself as an important figure in the
world of new music. The distinctive
character of his music has been described as time suspended - haunting
sonic explorations, qualities he developed from his studies with Morton Feldman, among others. Born in Cuba,
Garcia migrated to the United States in
1961. In demand as a guest composer
and lecturer nationally and internationally, he is the recipient of numerous honours and awards from a variety of
organizations and cultural institutions,
most recently including the New Ariel,
Noise International, Matiz Rangel,
Nuevas Resonancias, ACF Sonic Circuits
and fellowships, residencies, and other
awards from the Rockefeller, Fulbright,
Dutka, and Cintas Foundations, as well
as the State of Florida Council for the
Arts. With performances by numerous
distinguished soloists, ensembles, and
orchestras around the world, his works
are recorded on a wide range of labels
and are available from Kallisti Music

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 221

220

Osniva je i direktor nekoliko meunarodnih festivala poput New Music


Miami Festival i Music of the Americas
Festival te je ujedno i osniva i umjetniki direktor Ansambla NODUS i Ansambla
New Music floridskog Meunarodnog
sveuilita (International University).
Garcia radi kao profesor glazbe i direktor
programa za kompozicije na koli za
glazbu pri floridskom Meunarodnom
sveuilitu u Miamiju (SAD).
Kada je rije o politici i umjetnosti,
Garcia kae: Istinska je umjetnost po
naravi srodna politici po tome to moe
utjecati na proces kojim neke skupine
ljudi donose odluke. To je naroito sluaj
ako vjerujemo da je umjetnost neto to
e prizvati, ili izazvati, promjene u
neijoj percepciji svijeta. Ako je to sluaj,
te su transformacijske moi donekle
paralelne onima koje nalazimo u politikim situacijama. No dok politika i
njezin aparat esto pokuavaju promijeniti ljudsku percepciju prisilnim i
neetinim sredstvima, transformacija
koju zaziva istinska umjetnost zasniva se
na prirodnoj promjeni naina na koji
ljudi zapaaju i razumiju svijet i sebe
same.

221

Press, the American Composers Alliance,


and BHE. He is the founder and director
of several international festivals including the New Music Miami Festival and
the Music of the Americas Festival, as
well as the founder and artistic director
of the NODUS Ensemble and the Florida
International University New Music Ensemble. Garcia is Professor of Music and
director of the Composition Programme
for the School of Music at Florida International University in Miami (US).
Garcias Thoughts on Politics and Art:
True Art by its very nature is closely related to politics in that it can impact the
process by which groups of people make
decisions. This is especially the case if
one believes that Art is something that
will evoke or elicit a change in how
someone perceives the world. If so, these
transformative powers in some ways
parallel those found in political situations. But whereas politics and its related
apparatus often attempt to alter human
perception by coercive and unethical
means, the transformation that true Art
can evoke is based on a natural change
in the way humans perceive and understand reality and themselves.

month

22

dan

mjesec

hour

19:30

srijeda / wednesday

sat

Kolasinski

day

Jerzy

Jacek

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 222

Jacek Jerzy Kolasinski u Sjedinjene


Amerike Drave doao je iz Poljske,
gdje je studirao povijest i filozofiju na
Jagelonskom sveuilitu u Krakovu.
Osim to ima diplomu studija meunarodnih odnosa, u Miamiju je na floridskom Meunarodnom sveuilitu
(International University) diplomirao i
magistrirao humanistike znanosti. Njegovi multimedijski radovi i instalacije
prikazani su u nekoliko emisija i projekcija u Sjedinjenim Amerikim Dravama
i drugdje. Nedavno su njegovi radovi bili
ukljueni u Short Film Corner - na Filmskom festivalu u Cannesu, Festivalu Cinema Politic u Barceloni, i Festivalu
Internacional Cervantino u Guanajuatu.
U svojim se djelima referira na iskustvo
odrastanja u dva svijeta: Starom svijetu
Europe u Krakovu i Novom svijetu
Sjedinjenih Amerikih Drava u multikulturnom Miamiju. U spoju dvaju svjetova stvara temu koja se kontinuirano
pojavljuje u njegovu opusu, a to je potraga za identitetom u rascjepu kultura.
Kolasinski je dobitnik floridske nagrade
Cultural Consortium Fellowship na podruju medija i vizualne umjetnosti te
nagrade Kosciuszko Foundation Fellowship. Radi kao docent za videoumjetnost
i digitalnu umjetnost na Meunarodnom
sveuilitu (International University) na
Floridi.

Jacek Jerzy Kolasinski came to the


United States from Poland where he
studied history and philosophy at the
Jagiellonian University in Krakow. He
holds a BA degree in International Relations. Jacek received his MFA and BFA
from Florida International University in
Miami. His multimedia works and installations have been featured in several
shows and screenings in the USA and
abroad. Most recently, his works were included in Short Film Corner - Festival de
Cannes, Cinema Politic in Barcelona,
and Festival Internacional Cervantino in
Guanajuato. His work is rooted in the experience of growing up in two worlds:
the Old World of Europe in Krakow
and the New World of the United
States in multicultural Miami. These
convergent worlds create a running
theme that surfaces in many of his
works: the search for identity in the vortex of cultural displacement. Kolasinski
is the recipient of a Florida Cultural Consortium Fellowship in the media and visual arts and the Kosciuszko Foundation
Fellowship. He is an Assistant Professor
of video/digital arts at Florida International University.

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223

Stuart

John

222

John Stuart profesor je arhitekture na


Meunarodnom sveuilitu (International University) u Miamiju, a kao
arhitekt, videoumjetnik i povjesniar
surauje na projektima u kojima istrauje zajednicu, tehnologiju i upotrebu
javnog prostora. Zavrio je dodiplomski
studij klasine literature i primijenjene
matematike na Sveuilitu Brown te
diplomski studij iz klasine arheologije
na Princetonu. Diplomu arhitekta stekao
je na Sveuilitu Columbia. Godine 2008.
osvojio je Nagradu njujorkog Instituta
Van Alen za TimeZone - projekt suradnje
koji je povezao studente Muzeja moderne umjetnosti (MoMA) u New Yorku sa
studentima u Limi u Peruu kako bi
prouili drutveni i gospodarski potencijal komunikacije koja se nudi kroz
tehnologiju otvorene videokonferencije
u javnim prostorima. Stuartova istraivanja financirale su dravne agencije i
brojne zaklade, a njegove su novije knjige Ely Jacques Kahn, Architect: BeauxArts to Modernism in New York i The New
Deal in South Florida: Design, Policy and
Community Building, 1933-1940. Stuartovi videouradci prikazani su na Festivalu Cervantino u Guanajuatu u Meksiku
(suradnja s Orlandom Garcijom i
Jacekom Kolasinskim), festivalu
kratkometranog filma u Miamiju,
potom na Art Basel Miami Beach te na
festivalu The Wolfsonian-FIU. Njegovi
crtei dio su stalne kolekcije u Avery Architectural and Fine Arts Library na
Sveuilitu Columbia.

John Stuart, Professor of Architecture at


Florida International University in
Miami, is an architect, video artist, and
historian exploring collaborative projects
on community, technology, and public
space. He was awarded undergraduate
degrees in classics and applied mathematics from Brown, a graduate degree in
classical archaeology from Princeton,
and a professional architecture degree
from Columbia University. In 2008, he
won the Van Alen Institutes New York
Prize Fellowship for TimeZone, a collaborative project that connected students
at the Museum of Modern Art in New
York with those in Lima, Peru, to study
the social and economic potential of
communications offered through open
video conferencing technologies placed
in public spaces. Stuarts research has
been funded by national endowments
and several foundations and his recent
books are Ely Jacques Kahn, Architect:
Beaux-Arts to Modernism in New York,
and The New Deal in South Florida: Design, Policy and Community Building,
1933-1940. Stuarts videos have been exhibited at the Cervantino Festival in
Guanajuato, Mexico (with Orlando Garcia and Jacek Kolasinski), the Miami
Short Film Festival, Art Basel Miami
Beach, and The Wolfsonian-FIU. His
drawings are in the permanent collection of the Avery Architectural and Fine
Arts Library at Columbia University.

day

month

22

dan

mjesec

hour

19:30

srijeda / wednesday

sat

McGrath

Campbell

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 224

Od 1993. godine Campbell McGrath radi


kao profesor kreativnog pisanja na
Meunarodnom sveuilitu (International University) na Floridi u okviru
MFA programa. Prvu je knjigu Capitalism, objavio 1990. godine, a nakon
objavljivanja tree knjige, Spring Comes
to Chicago, iz 1996. godine, McGrath je
primio brojna priznanja, ukljuujui i
Kingsley Tufts Prize - stipendiju zaklade
Guggenheim and MacArthur Foundations (poznata i kao nagrada za genije),
i stipendiju Witter Bynner uruenu od
strane Library of Congress. Njegov osmi
svezak radova pod nazivom, Shannon: A
Poem of the Lewis and Clark Expedition,
bit e objavljen ove godine. McGrathova
poezija izlazila je u asopisima New
Yorker, Harpers, The Atlantic, a u novinama New York Times dobila je istaknuto mjesto uz rije urednika. Njegova
poezija izala je u vie od etrdeset antologija te u gotovo svim znaajnijim knjievnim asopisima u SAD-u. Neki su od
njegovih projekata prijevod Aristofanove
drame u stihovima Ose, za Sveuilite u
Pennsylvaniji te suradnja u vidu videopoezije naziva 14 Views of Miami. Jedan
je od predavaa na New York State Summer Writers Institute.

Since 1993, Campbell McGrath has


taught in the MFA program at Florida International University, where he is the
Philip and Patricia Frost Professor of
Creative Writing. His first book, Capitalism, was published in 1990 and following
the publication of his third book, Spring
Comes to Chicago, in 1996, McGrath received a number of honours, including
the Kingsley Tufts Prize, fellowships from
the Guggenheim and MacArthur Foundations (the so-called genius award),
as well as a Witter Bynner Fellowship
from the Library of Congress. His eighth
volume of original work, Shannon: A
Poem of the Lewis and Clark Expedition,
will be published in 2009. McGraths
poems have appeared in the New Yorker,
Harpers, The Atlantic, and on the op-ed
page of the New York Times; they have
been published in over forty anthologies,
and in nearly every significant literary
journal in the country. Additional projects include a translation of Aristophanes verse play Wasps for the University
of Pennsylvania Press, and the video/poetry collaboration 14 Views of Miami. He
is also on the faculty of the New York
State Summer Writers Institute.

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225

Sili

Gojeta

Martina

224

Martina Gojeta Sili (Zagreb, 1972.)


diplomirala je pjevanje na Muzikoj
akademiji u Zagrebu u klasi Snjeane Bujanovi-Stanislav. Studij je nastavila u
Meunarodnom opernom centru u Amsterdamu. Dobitnica je druge nagrade na
Hrvatskome natjecanju mladih
glazbenika u Rijeci, 1993. godine, Rektorove i Akademijine nagrade u sezoni
1995. - 96. te druge nagrade na Meunarodnome pjevakom natjecanju Ferruccio Tagliavini u Austriji 1996. godine.
Ostvarila je niz uloga u operama kao to
su Evgenij Onjegin, Hovanina, Rusalka,
Salome, Kuljerieva ivotinjska farma, a
nedavno je na Splitskome ljetu pjevala
Santuzzu u Mascagnijevoj Cavalleriji
Rusticani. Iznimno je uspjena kao koncertna pjevaica (Papandopulova
Hrvatska misa, Mozartova Krunidbena
misa, Verdijev Rekvijem i dr.).

Martina Gojeta Sili (Zagreb, 1972)


graduated in singing from the Zagreb
Academy of Music in the class of
Snjeana Bujanovi-Stanislav. She continued with her studies in the Amsterdam International Opera Centre. She
won the second prize at the Croatian
Competition of Young Artists in Rijeka in
1993, Rectors and Academys awards in
the season of 1995/1996, and the second
prize at the International Competition
for Opera Singers Ferruccio Tagliavini
(Austria, 1996). She has performed in a
number of roles in the operas Evgeny
Onegin, Khovanshchina, Rusalka, Salome, and in Kuljeris Animal Farm,
counting among them her recent appearance as Santuzza in Mascagnis Cavalleria rusticana at the Split Summer
Festival. She also performs as a concert
singer with great success (Croatian Mass
by B. Papandopulo, Coronation Mass by
W. A. Mozart, Requiem by G. Verdi, and
others).

day

month

22

dan

mjesec

hour

19:30

srijeda / wednesday

sat

Cerovec

Monika

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 226

Monika Cerovec (Varadin, 1983.)


diplomirala je glazbenu kulturu na Muzikoj akademiji u Zagrebu, a ove e godine diplomirati i pjevanje u klasi prof.
Lidije Horvat-Dunjko. Godine 2007. osvojila je 1. nagradu na dravnom natjecanju pjevaa u Dubrovniku. Iste godine
dobiva stipendiju za razmjenu studenata
pa jedan semestar slua u Mainzu u klasi
prof. A. Karasiaka. Debitirala je u HNK
Zagreb u ulozi drugog djeaka u
Mozartovoj arobnoj fruli pod ravnanjem mo. V. Kranjevia, a 2008. godine
nastupa u ulozi Nimfe u Monteverdijevom Orfeju pod ravnanjem H. Niqueta.
Stalna je lanica zbora HRT-a.

Monika Cerovec (Varadin, 1983)


graduated in the music education from
the Zagreb Academy of Music and in
2009, she is expected to complete her
studies in singing in the class of Lidija
Horvat-Dunjko. In 2007, she won the
first prize at the national competition in
Dubrovnik as well as a student exchange
scholarship which provided her with an
opportunity to join the class of A.
Karasiak in Mainz for one term. She
made her stage debut as the Second Boy
in The Magic Flute by W. A. Mozart under
the baton of Vladimir Kranjevi at the
Croatian National Theatre in Zagreb. In
2008, she appeared as a Nymph in Monteverdis Orfeo under the baton of Herv
Niquet. She is a regular member of the
Croatian Radio and Television Choir.

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227

Borse

Mati

Martina

226

Martina Mati Borse (Zagreb, 1968.)


diplomirala je pjevanje na Muzikoj
akademiji u Zagrebu (1991.). Solistica je
zbora HRT-a, u kojem radi od 1990. godine i gdje, u sklopu ciklusa Sfumato,
izvodi djela domaih (Lukai,
ibenanin, Cecchini, Kuljeri, Stahuljak
i dr.) i stranih autora (Monteverdi, Bach,
Part, Gesualdo da Venosa i dr.). U
Hrvatskom narodnom kazalitu u Zagrebu debitirala je 2001. godine ulogom
Princeze u operi Sestra Angelica G. Puccinija. Surauje s Hrvatskim baroknim
ansamblom i zborom Cantores Sancti
Marci te je lanica ansambla za ranu
glazbu Syntagma Musicum. Usavravala
se kod profesora Laurencea Cummingsa
na seminaru Aestas Musica u Varadinu.
Sudjelovala je u meunarodnoj produkciji teatara La Mama e.t.c. i MMRKernel
kao skladateljica i izvoaica originalnog
soundtracka Sub rosa za predstavu Faustus Module prema djelu Christophera
Marlowea.

Martina Mati Borse (Zagreb, 1968)


graduated from the Zagreb Academy of
Music in 1991. She is a soloist of the
Croatian Radio and Television Choir,
having joined the ensemble in 1990.
She debuted in the role of The Princess
in G. Puccinis opera Suor Angelica at the
Croatian National Theatre in Zagreb in
2001. As a soloist, she has been working
with the Croatian Baroque Ensemble
and the choir Cantores Sancti Marci and
she is a member of the ensemble for
early music Syntagma Musicum. She
attended the seminar Aestas Musica held
by Professor Laurence Cummings in
Varadin. In the New York-Zagreb coproduction of theatres La Mama e.t.c.
and MMRKernel, she appeared as a
composer and performer of the original
soundtrack Sub rosa for the play Faustus
Module based on the work of Christopher
Marlowe.

day

month

22

dan

mjesec

hour

19:30

srijeda / wednesday

sat

Mrzleki

Neven

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 228

Neven Mrzleki zavrio je studij talijanskog i panjolskog jezika i knjievnosti u


Zagrebu (1983.). Od 1984. godine lan je
Opere zagrebakog HNK. Godine 1993.
diplomirao je solo pjevanje na Muzikoj
akademiji u Zagrebu, a s usavravanjem
je nastavio kod prof. Maria Gjuranca,
dramskog tenora, pokazujui tijekom
obrazovanja sklonost za scenski izriaj,
esto i komiku. Od godine 1993. sudjeluje u radu Zagrebakog opernog
studija, koji vodi Antun Petrui. Od tada
tumai razliite epizodne i srednje
karakterne uloge (nerijetko i vie uloga
po predstavi) u irokom rasponu od
Cimarose, Mozarta i Musorgskog do
Horvata i Jurania.

Neven Mrzleki graduated in Italian and


Spanish in Zagreb in 1983 and joined the
Opera ensemble of the Croatian National
Theatre in 1984. He completed his studies
in singing at the Zagreb Academy of
Music in 1993 and further studied with
Professor Mario Gjuranec, a dramatic
tenor, showing his aptitude for stage
performance, often involving an element
of humour, throughout his education. In
1993 he began working with the Zagreb
Opera Studio under the guidance of
Antun Petrui, appearing in various
supporting and semi-character roles
(often in several roles in the same play)
ranging from Cimarosa to Mozart, from
Mussorgsky to Horvat and Jurani.

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229

Juri

Goran

228

Goran Juri (Karlovac, 1983.) poeo je


uiti flautu i solopjevanje u Karlovcu
(klasa Radmile Bocek) i nastavio u G
Vatroslava Lisinskoga u klasi Bojana
Pogrmilovia. Student je tree godine
pjevanja na Muzikoj akademiji u Zagrebu u klasi Vlatke Orani te apsolvent
fonetike i talijanskog jezika i knjievnosti
pri Filozofskom fakultetu u Zagrebu. Pjevaki se usavravao kod brojnih europskih i amerikih pedagoga, a godine
2005. osvojio je 1. nagradu na Dravnom
natjecanju uenika i studenata glazbe i
plesa u Dubrovniku. Debitirao je 2008.
godine u HNK Zagreb u ulozi Plutona u
Monteverdijevu Orfeju. Poslije je u istoj
operi odigrao i ulogu Harona, a ove je
godine pjevao i ulogu Sarastra u arobnoj fruli Wolfganga Amadeusa Mozarta.
Kao koncertni pjeva nastupao je diljem
Europe, a glumom se poeo baviti u
Dramskom studiju Gradskog kazalita
Zorin dom u Karlovcu i nastavio u
Umjetnikoj organizaciji Studio Kubus
u Zagrebu.

Goran Juri (Karlovac, 1983) took up


flute and singing lessons with Radmila
Bocek in Karlovac and went on to study
in the class of Bojan Pogrmilovi at the
Vatroslav Lisinski School of Music. He is
a third-year student of singing in the
class of Vlatka Orani and a senior
undergraduate of phonetics and Italian
at the Zagreb Faculty of Humanities and
Social Sciences. He continued with
further studies in singing with a number
of European and American teachers. In
2005, he won the first prize at the
National Competition of Music and
Dance Students in Dubrovnik. In 2008,
he made his debut in the role of Pluto in
the opera Orfeo by Claudio Monteverdi
in the Croatian National Theatre in
Zagreb, whereas in 2009, he appeared as
Sarastro in Mozarts The Magic Flute at
the same theatre. As a concert singer, he
has performed around Europe. He
became involved in acting at the Drama
Studio of the City Theatre Zorin dom in
Karlovac and subsequently joined the
artistic association Studio Kubus in Zagreb. In 2008, he appeared successfully
as Brother Dominic in the dramatic
oratorio Joan of Arc at the Stake by Arthur
Honegger at the Vatroslav Lisinski
Concert Hall in Zagreb.

day

month

22

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mjesec

hour

19:30

srijeda / wednesday

sat

Ansambl

Cantus

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 230

Gotovo osam godina nakon debija na


Muzikom biennalu Zagreb 2001., Cantus Ansambl promaknuo se u brandirani
sastav specijaliziran za izvoenje mnogolikih i mnogobrojnih novih glazbi.
Takoer, od samih poetaka ansambl
djeluje u stalnom - do solistikih razina
individualiziranom - sastavu, pod umjetnikim vodstvom i dirigentskom palicom
Berislava ipua. Njegovi lanovi redom
su vrsni komorni glazbenici i solisti,
ujedno koncertni majstori i voe dionica
simfonijskih orkestara te profesori na zagrebakoj Muzikoj akademiji.
Cantus Ansambl nije samo sudionik
hrvatske koncertne scene koju opsluuje svirkama na gotovo svim domaim festivalima i manifestacijama, pa
i vlastitim koncertnim ciklusom (Cantus
& Lisinski, od sezone 2006./2007.), nego
nastoji i ustrajava biti medijem fine percepcije potreba, pokreta promjena ali i
onaj koji se s njima zna i nositi. Stoga,
broj od sedamdesetak praizvedbi, od oko
dvjestotinjak izvedenih opusa, tridesetak
inozemnih gostovanja, kao i brojni gostujui solisti i dirigenti te ve uobiajena

Almost eight years after their debut on


Music Biennale Zagreb in 2001, Cantus
Ensemble has become a brand ensemble
specialized for performing all kinds of
new music. Also, from their beginnings, the ensemble is active with permanent members who, being soloists,
make it a specific individualized ensemble, under artistic leadership and baton
of Berislav ipu. Its members are all exceptional chamber musicians and
soloists, also concert masters, leaders of
the instrumental sections of symphony
orchestras and teachers at the Zagreb
Academy of Music.
Cantus Ensemble is not only a participant in the Croatian music scene, which
they servefl on almost all of national
festivals and manifestations, even with
their own concert cycle (Cantus&Lisinski, since 2006/7), but they are also striving to be the medium of fine perception
of needs, the initial impulse of changes,
but also those who can cope with it.
Therefore, the numbers of approximately seventy performances, around
thirty guest performances, numerous

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230

praksa brojnih skladateljskih posveta svjedoe o poziciji ansambla unutar domaeg, ali i inozemnog konteksta.
Posebnost ansambla je intenzivna mrea
suradnje sa srodnim europskim ansamblima, bekom Fondacijom i Centrom
Arnold Schnberg, kanadskim ansamblom Les AMIS i dr. te radionica za
mlade dirigente i skladatelje koja je ljeta
2008. prvi put organizirana u suradnji s
nizozemskom Fondacijom Gaudeamus,
Festivalom Gaudeamus Musik Week i
Hrvatskom glazbenom mladei. Veliki
put oko svijeta odveo ih je u Peking i
Toronto, gdje su uspjeno predstavili desetak partitura hrvatskih skladatelja 20. i
21. stoljea. Takoer, ansambl je za godinu 2008. proglaen slubenim ansamblom ISCM-a te se krajem listopada
2008. predstavio na Svjetskim danima
glazbe ISCM-a, iji je domain bio Festival Gaida u Vilniusu. (Nina alopek)

231

guest soloists and conductors and the


usual practice of numerous composers
dedications, witness the position of this
ensemble in the national and international context. The ensembles special
features are also the intense collaboration with the European ensembles of the
same type, the Vienna Fondation and
Arnold Schnberg Center, Canadian ensemble Les Amis etc., as well as their own
workshop for young conductors and
composers that was organized for the
first time in collaboration with the Dutch
Gaudeamus Fondation, Gaudeamus Music
Week Festival and Croatian Music Youth.
Their grand journey around the worldfl
took them to Beijing and Toronto, where
they successfully ten works by Croatian
composers of the 20th and 21st century.
The ensemble was also appointed official
ISCMs ensemble for the year 2008 and
were presented at the ISCMs World
Music Days in october this year, hosted
by the Gaida Festival in Vilnius. (Nina
alopek)

Vie o dirigentu Mladenu Tarbuku na str. 90


More on conductor Mladen Tabuk on page 90

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 232

day

month

22

dan

mjesec

hour

21:30

srijeda / wednesday

sat

21:30, &TD, polukruna dvorana /


semicircular hall
Gordan Tudor & Natalija Manojlovi:
Vodoinstalater / The Plumber*
komorni balet, prema motivima iz djela Borisa Viana / chamber ballet,
based on the motifs from Boris Vians oeuvre
Gordan Tudor, skladatelj / composer
Natalija Manojlovi, koreografkinja i dramaturginja / choreographer and
literary consultant
Vojin Hraste, scenograf / stage designer
Davorka Begovi, producentica / producer
Dean Krivai - student-apsolvent nadgrobnog klesarstva / a student of
memorial stone-masonry
Ivana Pavlovi - Noemi
Judita Frankovi - Garamuche
Nino Bokan - Major
Ana Beni, flauta / flute
Goran Jurkovi, saksofon / saxophone
Ivan Bato, klavir / piano
Tanja Torti, violina / violin
Oleg Gourskii, kontrabas / double bass
Produkcija / Production:
Teatar &TD / &TD Theatre //
Kultura promjene Studentskog Centra / Culture of Change, Student Centre //
Sveuilite u Zagrebu / Zagreb University //
MBZ
Repriza / Repeat Performance: 23 / 4, 20:00

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232

Vodoinstalater je komorni balet prema


motivima Borisa Viana, crnohumornog
francuskog pisca, pjesnika, skladatelja,
pjevaa, ansonijera, jazz-kritiara, inenjera, prevoditelja, pronalazaa; uope
- malo je podruja u umjetnosti ili
znanosti koja Viana nisu zanimala i kojima se nije bavio. Inspirirani Vianovom
zbirkom novela Mravci sloili smo novu
priu; libreto prema kojem e nastati
partitura, a prema njoj Vodoinstalater.
Kao i svaki balet, i Vodoinstalater je
kolodvor na kojem se sijeku putevi
glazbenog materijala, u izvedbi 5 instrumenata, 5 glazbenika i jednog laptopa, s
libretom koji pokretom tumae 2
izvoaice, 2 izvoaa i jedan most.
Vodoinstalaterovi likovi kreu se sivim
podrujem od igre do plesa, koje se najbolje moe opisati terminom - pokret.
Vodoinstalater je potresna pria o mjestima i vremenima koja rat nikada nije zahvatio pa su ona morala zahvatiti njega.
To je pria o susjedskim odnosima i
povijesti maltretiranja; o vojnicima na
konjaku, kurvama u bunilu, o studentima u vodi do koljena i djevojicama u
minskom polju. Pria o obinim ljudima
koje vianovska percepcija pretvara u udovita ili barem udake. Major, Garamuche i Noemi vjerojatno su
mediokriteti koji tek u percepciji
vianovskog lika - studenta-apsolventa
nadgrobnog klesarstva postaju
izopaene karikature.
Vodoinstalater je crni balet. Ne bi mogao
biti bijeli jer su i partitura i libreto crni, a
humor ovisi o bojama zastave pod kojom
se igra.
Balet je prekrasna mjeavina niza umjetnosti: plesa, glazbe, drame, poezije i
slikarstva. Kad ih se kombinira i predstavi na pozornici, dobivate umjetnost
baleta. Rije je o visoko discipliniranoj
scenskoj umjetnosti, zasnovanoj na stoljetnoj tradiciji pokreta. [Lizette Nel]

233

The Plumber is a chamber ballet based


on Boris Vians motifs, a black-humor
French writer, poet, composer, singer,
chansonnier, jazz critic, engineer, translator, inventor; in general - there are few
fields of art or science Vian was not interested in, and which he did not deal
with. Inspired by his collection of novels
- The Ants, we came up with a new
story; libretto on which score will be
based, on which then The Plumber will
be based.
As every ballet, The Plumber is also a
gauge where the roads of music material
meet, performed by five instruments,
five musicians and one laptop, with a libretto played out by two female performers, two male performers and one
bridge. Plumbers characters move
within a grey area between play and
dance, best described by the term movement.
The Plumber is a shocking story about
places and times that were never caught
by war, so those times and places had to
catch the war themselves. It is the story
about neighborly relations and the history of harassing; about the soldiers on
Cognac, whores in delirium, students up
to their knees in water and girls in a
minefield.
This ballet is a story about normal people turned into monsters, or at least
weirdoes, through Vians perception.
Major, Garamuche and Noemi are probably mediocrities becoming distorted
caricatures only in the perception of
Vians character - a student - on his final
year of tombstone masonry.
The Plumber is a black ballet. It could not
be white because its score and libretto
are black, and the humor depends on the
colors of flags under which it is being
performed.
Ballet is a very wonderful mixture of a
number of arts: Dancing, Music, Drama,
Poetry and Painting. When these are
combined and presented on the stage, you
have the art of ballet. It is a highly disciplined stage art, based on a centuries-old
tradition of movement. [Lizette Nel]

day

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hour

21:30

srijeda / wednesday

sat

Tudor

Gordan

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 234

Gordan Tudor (1982.), viestruko


nagraivani saksofonist, skladateljskim
se radom poeo baviti prije desetak godina, a posebno se posvetio skladanju tijekom usavravanja u Nizozemskoj i
Francuskoj. U Amsterdamu i Parizu zapoeo je studij kompozicije s posebnim
naglaskom na elektroakustiku glazbu
(mentor Joos Zwanenburg), a za njegovo
je stvaralatvo znaajna i inspiriranost
pokretom dada, skladateljima i kinematografijom autora kao to su Satie,
Milhaud, Schulhoff, Richter, Picabia,
Ray, Tzara... Do sada je skladao za saksofon, komorne ansamble, elektroniku, kao
i glazbu za dokumentarne i animirane
filmove te kazaline i plesne predstave.
Njegove su skladbe izvoene u
Hrvatskoj, Sloveniji, Austriji, Nizozemskoj, Francuskoj, Njemakoj, ekoj i
Americi, a balet Vodoinstalater mu je
prvo glazbeno-scensko djelo. Kad govori
o svom radu, Tudor istie da pie suvremenu (ne)ozbiljnu glazbu.

Gordan Tudor (1982.), a multi-awarded


saxophone player, began to compose
about ten years ago, but he particularly
dedicated himself to composing during
his specialization in Netherlands and
France. In Amsterdam and Paris he
began his Music Composition Studies,
with a special accent on electro-acoustic
music (Joos Zwanenburg - his mentor),
and an important influence for his work
came from his inspiration by Dada
movement, composers and cinematography; Satie, Milhaud, Schulhoff, Richter,
Picabia, Ray, Tzara,...
Until now he has composed for saxophone, chamber ensembles, electronic
music, as well as the music for documentary and animated shows, and theatre
and dance performances.
His compositions have been performed
in Croatia, Slovenia, Austria, Netherlands, France, Germany, Czechoslovakia
and the USA, and The Plumber is his first
music-scenic work. When talking about
his work Tudor points out he writes
contemporary (non)serious music.

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235

Manojlovi

Natalija

234

Natalija Manojlovi (1978.) plesno je


obrazovanje zapoela u glazbenoj koli.
Podijeljeni interes za glazbu i ples s vremenom je prevagnuo u korist plesa, a
nakon kola za ritmiku i ples iskustvo je
stjecala kroz radionice i suradnje s poznatim domaim i inozemnim koreografkinjama i plesaima. Autorski
potpisuje Virus 098, Oprosti, sam malo!,
Duet za grijalicu i radijator i KOROZIJA
d.o.o. Kazalino usavravanje nastavila je
kao suradnica za scenski pokret u predstavama Anoia, Waltla, Brezovca,
Taufera, Tomi-Kovai, Udoviki i
drugih; i dalje surauje s brojnim kazalitima - &TD, ZKM, Slovensko mladinsko gledalie, Mini-Teater u Ljubljani,
Ulysses te s djejim i lutkarskim kazalitima u Osijeku, Zadru, Splitu i Mostaru.
Apsolventica je psihologije na Filozofskom Fakultetu i educira se u podruju
plesnog i dramskog pristupa u psihoterapijskim grupama. Aktivno je sudjelovala
u projektima Eks-scene u poecima njezina djelovanja, kao i u projektima Kulture promjene SC-a od 2004. godine. O
svojem radu Manojlovi kae da je vie
orijentirana na dramaturgiju pokreta
nego na jezik plesa.

Natalija Manojlovi (1978) began her


dance education at a music school. In
time her divided interest for music and
dance prevailed in favor of dance, and
after schools of rhythmic and dance she
gathered her experience through workshops and cooperations with famous native and foreign female choreographers
and dancers. She is the author of Virus
098, Oprosti, sam malo!, Duet za grijalicu i radijator and KOROZIJA d.o.o.
She continued her theatre specialization
as a cooperator for scene movement in
plays by Anoi, Waltl, Brezovac, Taufer,
Tomi - Kovai, Udoviki and the others; and still cooperates with numerous
theatres - &TD, ZKM, Slovensko mladinsko gledalie, Mini-Teater in Ljubljana,
Ulysses, and childrens and puppet theatres in Osijek, Zadar, Split and Mostar.
She is on her final year of Psychology
Studies on Faculty for Humanities and
Social Sciences and she also educates
herself in the field of dance and drama
approach in psychotherapy groups.
She was an active participant in the Eks
Scene projects while still in her beginnings, as well as in the SCs Culture of
Change projects since 2004.
When talking about her work Manojlovi
points out that she is more oriented towards the dramaturgy of movement than
the language of dance.

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day

month

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hour

21:30
sat

srijeda / wednesday

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236

237

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 238

day

month

22

dan

mjesec

hour

22:30

srijeda / wednesday

sat

22:30, MM
Nimbus Dei
Tomislav Babi / Hrvoje Niki: The Fall Of Jerusalem / Pad Jeruzalema
Tomislav Babi: Amenthes [meni:z] / Amentes
Tomislav Babi: Sol Invictus / Nepobijeeno sunce / Unconquered Sun
Tomislav Babi, sintetizatori / synthesizers
Mario Kova, sintetizatori i sampleri / synthesizers and samplers
Tena Novak, elektrina violina i sintetizatori / electronic violin and synthesizers
Ivan Luii - LIIK, VJ

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238

Nimbus Dei, projekt koji je 2007. zapoeo Tomislav Babi, zamiljen je kao
medij za izvoenje njegovih autorskih
elektronikih i eksperimentalnih djela.
Ansambl je promjenjivog sastava, s gostujuim glazbenicima sklonim ad lib improvizaciji na zadani harmonijski i
melodijski okvir. Projekt je veinom orijentiran prema estetici zvuka koju
pruaju analogni elektroniki te elektromehaniki muziki instrumenti.
S kolegom Hrvojem Nikiem 2007. godine snima tzv. one-take improvizacijski
album pod nazivom The Fall Of
Jerusalem. Na premijernoj izvedbi tog
djela za bijenalsku publiku pridruit e
mu se Mario Kova i Tena Novak te
videoumjetnik Ivan Luii, koji e na
platnu iza sastava kombinirati teksture,
radove snimljene kamerom iz ruke i
real-time video, koristei audiosignal.

239

Nimbus Dei is a project started by


Tomislav Babi in 2007, as a medium for
performances of his electronic and experimental works. It is set as free-form
ensemble featuring ad lib-performance
by various guest musicians, whilst Babi
provides core melodic and harmonic
material. In performance, this project is
mostly devoted to the aesthetics of
sound provided by analog electronic and
electro-mechanical instruments.
Together with colleague Hrvoje Niki,
Babi has recorded a completely improvised album in 2007, titled The Fall Of
Jerusalem. For its first performance, at
the Zagreb Biennale, he will be joined by
guest performers Mario Kova and Tena
Novak. This trios performance will be
further enhanced by Ivan Luii, a video
artist who combines textures, hand-held
camera work and real-time processing,
using audio input.

day

month

22

dan

mjesec

hour

22:30

srijeda / wednesday

sat

Babi

Tomislav

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 240

Tomislav Babi (1968.) pohaao je


satove klavira do svoje 17. godine. Kao
srednjokolac poinje skladati koristei
elektronike glazbene instrumente i sintezu zvuka. Nakon studija elektrotehnike
u Zagrebu, poetkom 90-ih godina
studira kompoziciju i orkestraciju te
elektroniku glazbu na Sveuilitu UCSB
u Santa Barbari, Kalifornija. Nakon
povratka u Hrvatsku, od sredine 90-ih
pie primijenjenu glazbu za film, televiziju, kazalite i druge medije.
Raznovrsnost interesa omoguila je irok
raspon djela: od orkestralne i komorne
do elektronike i eksperimentalne
glazbe. Pored skladanja, aktivno se bavi i
dizajnom zvuka. Na MBZ-u 2007.
praizveden je njegov prvi gudaki
kvartet.

Tomislav Babi (1968) studied piano


until the age of seveteen. In high school
he began writing music using electronic
musical instruments and sound synthesis. In the early nineties, after his studies
at the Faculty of Electrical Engineering in
Zagreb, he studied classical composition
and orchestration, as well as electronic
music at the University Of California,
Santa Barbara. Since the mid-90s and his
return to Croatia, he has been writing
music for film, television, theatre and
other media. The diversity of his interests created a wide range of works: from
orchestral and chamber music to synthesis-based scores and experimental
music. Besides scoring, he has strong involvement in sound design. His first
String Quartet was premired at the 2007
Biennale.

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241

Niki

Hrvoje

240

Hrvoje Niki pie glazbu za kazalite i


suvremeni ples od sredine devedesetih.
Danas je aktivan kao glazbeni producent
alternativne rock scene na podruju
bive Jugoslavije.

Hrvoje Niki is writing music for theatre and dance plays since mid90s.
Today he has emerged as one of most
active underground and garage rock
producers in Croatia and ex-Yugoslavia.

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 242

day

month

22

dan

mjesec

hour

00:00

srijeda / wednesday

sat

00:00, MM
NARCISSISTER: Mali noni komentar /
A Little Night Commentary,
performans / performance
[U suradnji s / In collaboration with: HDLU]

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242

U svojem najnovijem solo projektu umjetnica Narcissister primjenjuje tzv.


strvinarenje slika(image-scavenging) u
iznimno originalnim neoburlesknim prizorima. Kroz inteligentnu dekonstrukciju
popularnih medija, njezini eksplicitni
pokreti otkrivaju raznovrsne tjelesne
uitke enske seksualnosti te sugeriraju
rod koji je ujedno neodreen, varljiv i
odvaan. U njoj svojstvenim pokretima
samozadovoljavanja, istraivanja vlastite
osobnosti i nevjerojatnih akrobacija koje
slue u izriaju osobnog iskaza ljubavi,
Narcissister komunicira jezikom koji su
rijetke ene uspjele svladati, a jo su
rjee te koje ga se usude govoriti. Ovaj
premijerni nastup predstavlja njezinu
najopseniju upotrebu mijeanih
medija, s videouradcima, runo
izraenim rekvizitima i kostimima, kao i
glazbenu partituru napisanu u suradnji s
partnerom, Evanom Collierom.
Prethodna djela poput Ass/Vag, Im
Everywoman i The Russian Doll pojavit
e se tijekom izvedbe novog materijala.
Vidjet e se i niz glumaca obuenih
poput Narcissister, od kojih e svaki u
danom trenutku ukljuivati publiku u
Narcissisterin oaravajui svijet. Uranjajui publiku u Narcissisterin uzbudljiv
tijek iste, neumanjene tatine, ovaj projekt razmatra mo narcizma svojih
izvoaa koja dosee eksponencijalnu
razinu. Kako se njezin zaprepaujui
izraz reflektira s ekrana prema lanu
publike, i opet prema izvoau, tako se
verzija mitolokog jezera u kojem se
Narcis ogledao i koje ga je zaaralo
nanovo stvara.

243

In her latest solo showcase see artist


Narcissister employ image-scavenging
in strikingly original neo-burlesque
vignettes. In a clever deconstruction of
popular media, Narcissisters explicit
moves reveal the manifold corporeal
pleasures of female sexuality and suggest
a gender which is equivocal, elusive, and
bold. In her characteristic series of selfpleasuring, self-seeking, self-loving
stunts, Narcissister delivers a language
few women master and even fewer dare
even to speak. This premier event is
Narcissisters most extensive use of
intermedia involving original videos,
handmade props and costumes, and a
musical score written collaboratively
with her partner Evan Collier. Previous
works such as Ass/Vag, Im Everywoman
and the Russian Doll will appear alongside live performances of new
Narcissister material. Permeating the
spectacle will be a cast of actors in
Narcissister drag, each in turn enlisting
its audience in her spellbinding service.
By immersing the audience in
Narcissisters rousing flux of pure
undiminished vanity, this project sees its
performers Narcissean powers reach
exponential levels. As Narcissisters
startling image is mirrored from screen,
to audience member, back to performer,
a version of the mythical lake by which
the original Narcissus was bewitched is
created anew.

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Prije nego to se nazvala Narcissister,


bila je profesionalna plesaica suvremenog plesa koja je glavninu obrazovanja stekla u Amerikom plesnom
centru Alvina Aileya. Od profesionalnih
dostignua istie nastup s Aileyjevom
trupom u Memoriji - jednom od najznaajnijih djela te trupe, turneju po Europi s njemakom rock-operom, gdje je
nastupala kao plesaica, i nastup u industrijskom djelu za kompaniju Mercedes Benz.
Uz nastupe, Narcissister je aktivna i u
drugim kreativnim medijima poput suvremene izrade tekstilnih i drugih kolaa, kiparstva, umjetnike grafike i
fotografije. Narcissister je intenzivno
radila i kao komercijalna umjetnica,
ureujui izloge trgovina te kao stilistica
i umjetnika voditeljica projekata za impresivnu bazu klijenata. Njezini nastupi
integriraju dotadanje iskustvo profesionalne plesaice s njezinom trenutnom
vizualnom idejom i praksom komercijalne umjetnosti.
Narcissister je za svoje iznimno
ivopisne izvedbe dobila priznanje kao
izuzetna umjetnica kroz razne pisane
pozive za nastupima i dodijeljene nagrade. Njezin umjetniki film The SelfGratifier osvojio je nagradu za najbolju
upotrebu seksualne igrake na festivalu
erotskog filma Good Vibrations 2008. godine. U travnju prima Nagradu Bistro za
izniman vodvilj/burlesku, u kategoriji
koja je nastala upravo kako bi se odalo
priznanje njezinom radu. Odabrana je za
rezidencijalnog izvedbenog umjetnika u
organizaciji Galerije Art in General i
Hrvatskog drutva likovnih umjetnika u
Zagrebu, ovog proljea u Zagrebu, a
nastup na MBZ-u dio je tog njezinog
programa.

Before Narcissister called herself Narcissister, she was a professional modern


dancer. Her most formative training took
place at the Alvin Ailey American Dance
Center. Among her professional highlights was being selected to perform with
the Ailey company in Memoria, one of
Aileys seminal pieces, touring Europe as
a dancer in a German rock-opera, and
performing in industrial work for Mercedes Benz.
In addition to her performance work,
Narcissister has worked in many other
creative media including contemporary
quilting, collage, sculpture, printmaking,
and photography. Narcissister has also
worked extensively as a commercial
artist, designing window displays and
working as a stylist and art director for
an impressive roster of clients.
The Narcissister performance projects
integrate her prior experience as a professional dancer with her current visual
and commercial art practices.
In response to her wildly original shows,
Narcissister has been receiving much
recognition as an outstanding artist and
performer through the written word, invitations, and awards. Her art film The
Self-Gratifier won an award for Best Use
of a Sex Toy at The 2008 Good Vibrations Erotic Film Festival. In April she
will be awarded a Bistro Award for Outstanding Vaudeville/Burlesque Award, a
category created especially to honor Narcissisters performance work.
She was selected for a performance art
residency organized by Art in General
Gallery and the HDLU/Croatian Association of Artists in Zagreb, Croatia this
Spring. As part of her residency she will
present her first solo evening length
show at the Biennale.

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245

Collier

Evan

244

Evan Collier (Kingston, Ontario) bavio se


graevinarstvom i ekstremnim
sportovima, a trenutano radi kao dizajner i producent kazalinih scenografija i
rekvizita za izloge trgovina, izlobenih
dvorana, kazalinih produkcija te
rekvizita za umjetnike vizualnih i
izvoakih umjetnosti. Collier je ujedno i
ton-majstor, producent i DJ. Njegova
praktina izobrazba u audioumjetnosti
odvijala se uglavnom u studijima Greenhouse u Vancouveru, gdje je radio kao
pomonik ton-majstora s raznim
skupinama, solistima te na nastupima
uivo. Trenutno radi kao tonski majstor
za AV i zvuk uivo. Collierov osobit interes poiva u hip-hop glazbi i kulturi s
usmjerenou i iskustvom u urbanoj i
elektronskoj glazbi. Njegov osnovni
glazbeni proces sastoji se od stvaranja
naprednih kompozicija kroz upotrebu
loopova i semplova iz niza organskih,
analognih i digitalnih izvora.
Collier djeluje i ispred publike s raznolikim nizom avangardnih izvoaa i koreografa. On je entuzijastini glumac,
plesa, akrobat i akrobat na trapezu,
predstavnik bruklinskog odjevnog poduzea iz Brooklyna, Helmet of the Will,
trener hatha joge te student i praktiar
tradicionalne istonjake filozofije i
meditacije. Nedavno je svu svoju
glazbenu energiju uloio u kompoziciju i
glazbeni aranman za izvoake umjetnosti. Za Biennale je napisao originalnu
glazbu koristei semplove (uzorke)
raznih tradicijskih hrvatskih i istonoeuropskih glazbenih formi.

Evan Collier (Kingston, Ontario) has a


background in building and extreme
sports and he is currently a designer and
producer of theatrical sets and props for
commercial window displays, showrooms, theatre productions, and visual
and performing artists. He is also a
sound engineer, producer, and DJ. His
formative training in audio took place at
Greenhouse studios in Vancouver,
British Columbia where he worked as an
assistant engineer with bands, solo
artists, and live shows. He currently
works doing corporate AV and Live
sound. Collier has a particular interest in
hip hop music and culture and has a
focus and background in urban and electronic music. His primary musical
process is to create forward-thinking
compositions using loops and samples
from a range of organic, analog, and digital sources.
Collier works in front of the curtain as
well, with a diverse set of avant-garde
performance artists and choreographers.
He is an enthusiastic actor, dancer, acrobat and aerialist, the spokesmodel for
the Brooklyn clothing company, Helmet
of the Will, a hatha yoga instructor and
a student and practitioner of traditional
eastern philosophy and meditation.
He has recently devoted his musical energy towards the composition and
arrangement of music for performance
art. For the Biennale he wrote original
music pieces which sample a variety of
traditional Croatian and Eastern European music forms.

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 246

day

month

cetvrtak / thursday

23 4

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 247

16:00, Mimara
Kanadska elektronika glazba /
Canadian Electronic Music

17:30, Mimara
Gudaki kvartet Penderecki /
Penderecki String Quartet

19:30, KDVL
Edin Karamazov, gitara / guitar
Danijel Detoni, klavir / piano
Simfonijski orkestar i Big band HRT-a /
Croatian Radio Television Symphony Orchestra
and Big Band
Nika Bareza, dirigent / conductor

22:00, MDVL
Ansambl Les Amis / Les Amis Ensemble

23.30, &TD
Rock akademija Zagreb / Rock Academy Zagreb

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 248

day

month

23

dan

mjesec

hour

16:00

cetvrtak / thursday

sat

16:00, Mimara
Kanadska elektronika glazba /
Canadian Electronic Music
Dennis Patrick, izbornik / curator
Ansambl Les Amis / Les Amis Ensemble
Les Amis:
Lynn Kuo, violina / violin
Rachel Mercer, violonelo / cello
Marianna Humetska, klavir / piano
Joseph Macerollo, harmonika / accordion
Dennis Patrick: the moulds... / plijesni
tekst napisao i izveo / text written and performed by: Nick Mancuso
Dennis Patrick: Shk no sh / Fluctuations of the sh / Kolebanja shoa
Philip McConnell / Dennis Patrick: Melodrama and Flight /
Melodrama i let*
Andrew Staniland: Piano Preludes (Interludes) /
Preludiji (Interludiji) za klavir
(etiri Preludija moda e biti izvoena u dijelovima, izmeu ostalih skladbi /
The four Piano Preludes might be played between the other works)
Karmela Cepkoljenko: Duel-Duo #11 for cello and accordion [bayan] /
Duel-duet broj 11 za violonelo i harmoniku [bajan]*
Michael Pepa / Dennis Patrick: Squamish
Fractal I - Voice of the Great Spirit / I. Fraktal - Glas velikog duha
Fractal II - Rain / II. Fraktal - Kia
Fractal III - Soundsprawl / III. Fraktal - Rastezanje zvuka
Fractal IV - Bells / IV. Fraktal - Zvona
Fractal V - Skomish, a Strong Wind / V. Fraktal - Skomish, jak vjetar

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249

Patrick

Dennis

248

Dennis Patrick skladatelj je i profesor iz


Toronta. lan je Odsjeka za teoriju i
kompoziciju kole za glazbu Sveuilita
u Torontu, gdje vodi Elektroakustiki
glazbeni studio i koordinira godinji
fakultetski sijeanjski New Music Festival
(Festival Nove glazbe). Dennis Patrick
obrazovan je u klasinoj kompoziciji i
orkestraciji. Neki od njegovih uitelja su
John Weinzweig, Gustav Ciamaga, Godfrey Ridout, Lothar Klein i Talivaldis
Kenins. Skladao je glazbu za nekoliko
nagraivanih radijskih drama koje su
napisali kanadski autori Timothy Findley
i Michael Ondaatje, a koje ukljuuju i
The English Patient (Engleskog pacijenta), The Trials of Ezra Pound
(Iskuenja Ezre Pounda), In The Skin of a
Lion (U lavljoj koi) i Famous Last Words
(Poznate posljednje rijei).
the moulds.... je mala razglednica iz
razdoblja nakon 11. rujna, o ovjeku i
njegovu odnosu prema drutvu. To je
kvadrofonsko elektroakustiko djelo.
Shk no sh (Fluktuacije sha) sadri
strukturni element, jedanaest akord
koje proizvodi japanski sh: crveni usni
instrument. Elektroakustika pratnja sastoji se, uz zvuk poput sha, od bubnjeva,
flaute, i kota (ianog instrumenta).

Dennis Patrick is a Toronto based composer and teacher. He is a member of the


Theory and Composition Division of the
Faculty of Music, University of Toronto
where he directs the Electroacoustic
Music Studio and coordinates the Facultys annual January New Music Festival. He was trained in classical
composition and orchestration. His
teachers included John Weinzweig, Gustav Ciamaga, Godfrey Ridout, Lothar
Klein, and Talivaldis Kenins. He hascomposed music for several award winning radio dramas by Canadian authors,
Timothy Findley and Michael Ondaatje
including The English Patient, The Trials
of Ezra Pound, In The Skin of a Lion, and
Famous Last Words.
the moulds.... is a post 911 vignette
about man and his relationship to society. It is a quadraphonic electroacoustic
work.
Shk no sh (Fluctuations of the sh)
has as a structural element, the eleven
chords produced by the Japanese sh; a
reed mouth-organ instrument. The electroacoustic accompaniment contains, in
addition to a sh-like sound, drums,
flute, and a koto (a plucked stringed instrument).

day

month

23

dan

mjesec

hour

16:00

cetvrtak / thursday

sat

McConnell

Philip

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 250

Philip McConnell, skladatelj iz Toronta,


roen je u Coventryju u Engleskoj. Studirao je na Sveuilitu u Readingu, gdje je
doktorirao muzikologiju na temelju istraivanja o izvornim rukopisima za Brucknerove simfonije u Beu. ivi u Kanadi
od 1970. godine. Bio je umjetniki ravnatelj Kanadske simfonijete, a 2003. postaje
stalnim skladateljem Torontske simfonijete. McConnell je pridrueni skladatelj
pri Kanadskom glazbenom centru i lan
je Kanadskog udruenja skladatelja. Njegova orkestralna, komorna i zborna djela
izvoena su na pozornicama diljem Sjeverne Amerike, Europe i Azije. Godine
2007. njegova je skladba Invocation and
Dance (Prizivanje i ples) za violu i glasovir izvedena u Torontu, a snimljena je
prole veljae u Brnu u ekoj Republici.
Njegovu glazbu za Through the Roof of
My Heart It Rains (Kroz krov mog srca
kii) za sopran, pripovjedaa i komorni
orkestar prvi je put izvela Torontska simfonijeta prologa studenoga u Kraljevskom
muzeju Ontarija.

Philip McConnell, the Toronto composer, was born in Coventry, England.


He studied at the University of Reading,
obtaining a Ph.D. in Musicology after researching the original manuscripts of the
Bruckner symphonies in Vienna. A resident of Canada since 1970, he was Artistic Director of the Canadian Sinfonietta
until moving to the position of composer-in-residence with the Toronto Sinfonietta in 2003. Dr. McConnell is an
Associate Composer with the Canadian
Music Centre and a member of the Canadian League of Composers. His orchestral, chamber, and choral works
have been performed in North America,
Europe and Asia. In 2007 his Invocation
and Dance for Viola and Piano was performed in Toronto and recorded last
February in Brno, Czech Republic. His
music for Through The Roof Of My
Heart It Rains for soprano and narrator
and chamber orchestra were premiered
by the Toronto Sinfonietta last November at the Royal Ontario Museum.

Melodrama i let: McConnell i Patrick


upoznali su se preko Michaela Pepe iz
Les Amisa. S obzirom na to da nisu prije
radili zajedno, sastali su se i presluali
neke od svojih reprezentativnih radova.
Doli su do sljedee zamisli: djelo koje
huka tvrdoglav ivi instrument protiv
nepopustljive vrpce. Budui da ne mogu
rijeiti svoje nesuglasice, dolazi do mahnite potjere u kojoj svaka dionica slijedi i
mami drugu. Potjera vodi do rjeenja velikog praska - ili se moda jednostavno
gasi. Priekajte i saznajte.

Melodrama and Flight: McConnell and


Patrick were introduced to each other by
Michael Pepa of LesAmis. Having never
worked together before they met and
listened to some representative works.
They came up with the following concept:
A piece that pits a live, willful instrument
against an intransigent tape. Unable to
resolve their differences a frantic chase
ensues with each voice following and
baiting the other. The pursuit could
lead to a resolution, a big bang, or maybe
it just fizzles away. Youll just have to
wait and see.

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251

Staniland

Andrew

250

asopis New Yorker njegovu je glazbu


opisao kao prekrasnu i zastraujuu, a
kanadski Nacionalni centar za umjetnost
opisao ga je kao skladatelja koji e se
pokazati jednim od najosobenijih glasova
u zemlji. Andrew Staniland doktorirao
je kompoziciju na Sveuilitu u Torontu.
Dobitnik je brojnih nagrada, ukljuujui
prve nagrade na skladateljskim natjecanjima SOCAN-a te Nagradu Karen Keiser
za kanadsku glazbu. Njegova su djela
predstavljala Kanadu i na UNESCO-vom
International Rostrum of Composers i na
Svjetskim danima glazbe ISCM-a.
Ubrzano postaje jednim od najtraenijih
kanadskih skladatelja, a sada je rezidentni skladatelj Torontskog simfonijskog
orkestra.
Moji interludiji uglavnom su izvaci iz
veeg djela, Tampobata, koje sam napisao za pjevajueg pijanista i elektroniku
2005. godine. Projekt je ostvaren uz pomo Torontske nagrade za nadolazee
umjetnike. Izvorno je djelo trajalo rastegnutih 35 minuta, a od tada mi je drae
rabiti izvatke iz njega, u kombinaciji s
klavirskim solom iz mojeg Trija za harfu,
klavir i udaraljke (2003.). Ta su djela delikatna i jednostavna, gotovo minimalistikog pristupa i mogu funkcionirati kao
mirni, introspektivni trenuci unutar
nekog koncertnog programa.

His music has been described as beautiful and terrifying (New Yorker Magazine)
and he has been described as a composer
who will emerge as one of the most individual voices in this country (Canadian
National Arts Centre). Andrew Staniland
holds a doctorate in composition from
the University of Toronto, and has received numerous accolades, including
top prizes in the SOCAN young composers
competition, and the Karen Keiser Prize
in Canadian Music. His music has represented Canada at both the UNESCO
International Rostrum of Composers and
the ISCM World Music Days. He is rapidly
becoming one of Canadas most in demand composers. Staniland is currently
Affiliate Composer with the Toronto
Symphony Orchestra.
This set of interludes comes mostly
from a large-scale work entitled Tampobata that I wrote for singing pianist and
electronics in 2005._ The project was
realized with the assistance of the 2004
Toronto Emerging Artist Award. The
original work was a sprawling 35 minutes
long. I have since preferred to excerpt
the work, combining it with a piano solo
from my trio: harp, piano, percussion
(2003). The works are extremely delicate
and simple - almost minimalist in approach, and can function as calm introspective moments in a concert program.

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 252

day

month

23

dan

mjesec

hour

16:00

cetvrtak / thursday

sat

Michael Pepa, uz Squamish:


O, veliki due, iji glas u vjetrovima
ujem,
iji dah svijetu udie ivot - zvuk,
Sasluaj me... (Molitva Squamish Indijanaca)
Naziv Squamish preuzet je iz rijei jezika
plemenske skupine Salish, Sko-mish,
to znai jak vjetar ili rodno mjesto
vjetrova. Odnosi se na vjetar koji pue s
Pacifikog oceana, a koji stie i do mjesta
Howe Sound u Britanskoj Kolumbiji.
Vjetroviti glas Snanog duha je iktus koji
udahnjuje ivot akustinom svijetu.

Michael Pepa, on Squamish:


O Great Spirit, whose voice I hear in the
winds,
Whose breath gives life (sound) to the
world, hear me (Prayer, Squamish
Indians)
The name Squamish is adapted from the
Coast Salish word Sko-mish, which
translates to Strong Wind or Birthplace
of the Winds. It refers to the constant
wind from the Pacific Ocean, which is
funnelled up the Howe Sound, British
Columbia. The wind voice of the Great
Spirit is the ictus, which gives life to the
acoustical world.
Vie o M. Pepi / More about M. Pepa: str. /
page 280

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 253

Cepkoljenko

Karmela

252

Karmela Cepkoljenko (Odesa, 1955.)


studirala je na Dravnom konzervatoriju
A. V. Nedanov u Odesi (danas Muzika
akademija), kompoziciju u klasi O. Krasotova i klavir u klasi L. Ginzburga. Na
istoj je instituciji danas profesorica kompozicije. Doktorirala je na Moskovskom
pedagokom institutu te je posjeivala
majstorske teajeve za skladatelje u
Darmstadtu i Bayreuthu. Dobitnica je
nagrada na sovjetskim i meunarodnim
skladateljskim natjecanjima, kao i stipendija i rezidencijskih boravaka od
njemakih, amerikih, austrijskih, vicarskih i ukrajinskih zaklada i fondacija.
Autorica je vie od 70 djela, od kojih je
veina i snimljena na 12 nosaa zvuka.
Idejna je zaetnica, osnivaica i umjetnika ravnateljica godinjeg Festivala
Two Days and Two Nights of New Music
te elnica odbora ukrajinskog ogranka
drutva ISCM i tajnica odbora Ukrajinske
skladateljske unije.
Razvoj glazbene grae predstavlja opu
ideju koja daje mogunost da oko nje
koncentriram osjeaje i misli. Ponekad je
to samo jedna rije, primjerice - duel.
Sama rije moe prizvati cijeli sloj emocija,
od kominih do traginih. Skladala sam
niz djela koja se baziraju na ideji duela, a
jedno od njih je Duel-Duet br. 11.
Glavna je njegova ideja natjecanje izmeu dvojice glazbenika i dvaju instrumenata.
Svaki glazbenik tvrdi da je - najbolji.

253

Karmela Cepkoljenko / Tsepkolenko


(Odessa, 1955) studied at the Odessa
State A. V. Nezhdanova Conservatoire
(now Music Academy), where she is a
professor of composition today. As a
composer, she studied under. O. Krasotov and as a pianist with. L. Ginzburg .
She got her PhD at the Moscow
Pedagogical Institute. She attended
master-courses in Darmstadt and
Bayreuth. She has been awarded diplomas and prizes at Soviet and international
composers competitions. She got creative
residences, grants and scholarships from
German, US, Ukrainian, Austrian and Swiss
foundations and endowments. She is the
author of more than 70 music works, most
of which have been produced on 12 CDs,
and recorded by radios in many countries.
She is the concept author, founder and
Artistic Director of the annual International Festival of Modern Art Two Days
and Two Nights of New Music, as well as
the the Head of the Ukrainian Section of
International Society of ISCM and the
secretary of the Board of the National
Ukrainian Composers Union.
The development of musical material
can represent a general idea that gives
me the opportunity to concentrate my
feelings and thoughts around it. Sometimes it is only a word, for example -Duel.
This word by itself can recall a whole
stratum of emotions ranging from comic
to tragic. I have composed a series of
pieces which are based on the idea of a
duel. One of them is Duel-Duo #11 for
cello and accordion. The main idea of this
work is a competition between two musicians and two musical instruments.
Each musician claims to be the best

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day

month

23

dan

mjesec

hour

17:30

cetvrtak / thursday

sat

17:30, Mimara
Gudaki kvartet Penderecki /
Penderecki String Quartet
Joseph Macerollo, harmonika / accordion
Kvartet Penderecki / Penderecki Quartet:
Jeremy Bell, violina / violin
Jerzy Kaplanek, violina / violin
Christine Vlajk, viola
Simon Fryer, violonelo / cello

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254

255

Ana Sokolovi: Blanc dominant / Dominantno bijelo


thme I - thme II / tema I - II
mutation I / mutacija I
tension / napetost
espace - asymtrique / prostor - asimetrino
diagonale noir / crna dijagonala
mutation II - triangle / mutacija II - trokut
blanc dominant / dominantno bijelo
coda - continuum / koda - kontinuum
Katarina urin: walking away from / odlazei od
Dramatico
Con Spirito
Misterioso
Marjan Mozetich: Hymn of Ascension / Himna uzaaa
for accordion and string quartet / za harmoniku i gudaki kvartet
Sran Dedi: Gudaki kvartet / String Quartet*
Michael Pepa: String Quartet No. 4 with Timpani & Chimes /
Gudaki kvartet br. 4 s timpanima i zvonima
Episode I - Augury / Proricanje
Episode II - Playful Pizzicato / Zaigrani pizzicato
Episode III - A Dream Inspired by an Angel / San inspiriran Anelom
Episode IV - A Prayer / Molitva
Episode V - Eternal Rest / Pokoj vjeni

month

23

dan

mjesec

hour

17:30

cetvrtak / thursday

sat

Penderecki

day

kvartet

Gudaki

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 256

Gudaki kvartet Penderecki u treoj je


dekadi iznimne karijere, tijekom koje je
postao jedan od najpoznatijih komornih
ansambala svoje generacije. Ovih
etvoro glazbenika, porijeklom iz razliitih zemalja - Poljske, Kanade, SAD i Velike Britanije - ujedinili su svoje razliito,
ali skupno iskustvo kako bi sudjelovali u
stvaranju izvedbi koje demonstriraju njihov izvanredan raspon tehnike
izvrsnosti i emocionalnog dosega
(Globe and Mail, Toronto).
Kvartet je osnovan u Poljskoj 1986. godine
na zamolbu istaknutog poljskog skladatelja Krzysztofa Pendereckog. Plodovi
njihovog udruivanja ukljuuju i Pendereckijev opus za gudaki kvartet na
nosaima zvuka. Kvartet je i dalje
posveeni pobornik glazbe naega vremena te izvodi irok raspon repertoara
od Bacha do Brahmsa, od Bartka do
Ligetija, od Franka Zappe do Johna Oswalda, a praizveli su i vie od 100 novih
kompozicija brojnih skladatelja. Fanfare
Magazine ih je opisao kao ansambl impresivne snage i pronicljivog glazbenog
senzibiliteta. Kvartet u svojoj diskografiji
ima vie od dvadeset snimljenih nosaa
zvuka. Velik dio svog vremena posveuju
seminaru Quartetfest, koji se odrava u
proljetnom semestru na Sveuilitu Wilfrid Laurier u Waterloou, Ontario.

The Penderecki String Quartet, now in


the third decade of an extraordinary career, has become one of the most celebrated chamber ensembles of their
generation. These four musicians, each
originating from different countries Poland, Canada, the USA and the UK bring their varied yet collective experience to create performances that
demonstrate their remarkable range of
technical excellence and emotional
sweep (Toronto, Globe and Mail).
The Penderecki Quartet was founded in
Poland in 1986 at the urging of the preeminent Polish composer Krzysztof Penderecki. The fruit of their association
includes Pendereckis complete works
for String Quartet on CD. To this day the
Quartet is a devoted champion of the
music of our time, and has performed a
wide range of repertoire from Bach to
Brahms, Bartk to Ligeti, Frank Zappa to
John Oswald, as well as premiering over
100 new works from numerous composers.
Described by Fanfare Magazine as an
ensemble of formidable power and keen
musical sensitivity, the Penderecki
Quartets large discography includes
over 20 recordings. The Quartet devotes
much of its time to Quartetfest, an intensive Spring-term seminar held at Wilfrid
Laurier University in Waterloo, Ontario.

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257

Macerollo

Joseph

256

Harmonika Joseph Macerollo cjelovit je


glazbenik, pedagog i organizator. Bio je
prvi zagovornik ukljuivanja harmonike
u studij glazbe na sveuilitima u Torontu i Kingstonu. Pouavao je povijest
glazbe, analizu i interpretaciju suvremene glazbe, vodi radionice, objavljuje
lanke. Predstavljao je Kanadu na dvama
harmonikakim natjecanjima, a 2005.
godine dobio je spomen-disk Ruske
federacije harmonikaa za svoj rad na
priznavanju koncertne harmonike irom
svijeta. Nastupao je diljem Sjeverne
Amerike, Europe, Azije i Australije.
Naruio je vie od 200 novih djela kanadskih skladatelja. Njegov udbenik, The
Accordion Resource Manual, upotrebljava se u cijelom svijetu.

Accordionist Joseph Macerollo is a consummate musician, educator and organizer. He pioneered the acceptance of the
accordion at the Faculty of Music, University of Toronto and at Queens University in Kingston. He has lectured,
given workshops, written articles and reviews of concerts and taught history of
music, analysis, and the interpretation of
contemporary music courses. He has
represented Canada in two world accordion championships and in 2005 he was
awarded a commemorative silver disc by
the Russian Accordion Federation for his
outstanding work in recognition of the
concert accordion worldwide. Macerollo
has performed throughout North America, Europe, Asia and Australia. He has
commissioned over 200 works by Canadian composers. His textbook, The Accordion Resource Manual is widely used
internationally.

day

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Sokolovi

Ana

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 258

Ana Sokolovi o skladbi Blanc dominant: Kompozicija za gudaki kvartet iz


1998. inspirirana je vizualnim svijetom
Guida Molinarija. Kompozicija ima osam
stavaka, u formi teme s varijacijama.
Tema se razvija u dva dijela - I. dio: vertikalna dimenzija (harmonijska tema) i
II. dio: horizontalna dimenzija (melodijska tema). Svaka od sedam varijacija
predstavlja glazbeni odgovor na Molinarijeve slike, kojima je moje djelo
zvukovna posveta. Poanta nije u tome da
se pokua vizualno pretvoriti u sluno,
ve je skladba rezultat promiljanja, susreta umjetnikih senzibiliteta i zapis jedne oaranosti. Blanc dominant skladan
je za Molinarijev gudaki kvartet uz potporu Vijea za umjetnost u Qubecu.
[vie o Ani Sokolovi na str. 322]

Ana Sokolovi on Blanc dominant: This


work or string quatret was inspired by
Guido Molinaris visual world. It comprises
8 movements and is structured as a
theme and variations. The theme unfolds
in two parts; Part I : vertical dimension
(harmonic theme). Part II : horizontal
dimention (melodic theme).Each of the
seven variations brings out a musical
correspondence to paintings by Molinari, to which my piece is an aural tribute. The point here is not to try to turn
the visual into the audible. My piece is
rather the outcome of contemplation,
the encounter of artistic sensibilities and
the record of an enchantment. Blanc
dominant was composed in 1998 for the
Molinari String Quartet , with the support
of the Conseil des arts et des lettres du
Qubec.
[more about Ana Sokolovi on page 322]

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 259

259

urin

Katarina

258

Katarina urin studirala je glazbu u


rodnoj Srbiji te magistrirala i doktorirala
kompoziciju na Sveuilitu Toronto u
Kanadi, gdje ivi od 1999. godine. Profesori kompozicije bili su joj Duan Radi,
Gary Kulesha, Chan Ka Nin i Christos
Hatzis. Napisala je vie orkestralnih
djela, komornu operu Ana Karenjina,
ciklus pjesama na japanske haiku tekstove i nekoliko komornih i elektroakustikih djela. Dobitnica je Nagrade K. M.
Hunter za glazbu. Za kvartet odlazei od... ,
koji je predstavljao Kanadu na UNESCOvu programu International Rostrum of
Composers, dobila je Nagradu Karen
Kieser za kanadsku glazbu 2005. godine.
Gudaki kvartet odlazei od predstavlja
prekretnicu u mom stilu. Namjerno sam
se udaljila od tradicionalnih naina
skladanja i poela istraivati nove
tehnike u gudakim izvedbama.
Odmaknula sam se od preciznih
metrikih struktura te povremeno sviraima davala kontroliranu slobodu u
kojoj je tempiranje bilo jedini odreen
vodi za trajanje kompozicije. Kroz slobodnu formalnu strukturu djelo nie
suprotna raspoloenja s epizodama.
Naziv se odnosi i na moj odlazak iz
zemlje - naputanje doma u kojem sam
odrasla. U mojim razmiljanjima o domu
pojavila se i narodna melodija koja je
esta za to podneblje, a koja je nala svoj
put do prvog stavka ovog djela.

Katarina urin studied music in her


native Serbia before obtaining Masters
and Doctorate degrees in composition
from the University of Toronto, Canada
where she has lived in 1999. Her composition teachers were Duan Radi, Gary
Kulesha, Chan Ka Nin and Christos
Hatzis. She has written orchestral works,
a chamber opera, Anna Karenina, a song
cycle based on Japanese haiku, and several chamber and electro-acoustic works.
urin is a recipient of the 2008 K.M.
Hunter Artists Awards for music. Her
string quartet walking away from was
awarded with the Karen Kieser Prize in
Canadian Music in 2005 and it represented Canada at the 2006 UNESCO International Rostrum of Composers in Paris.
The string quartet walking away from
is a turning point in my style. I purposely walked away from traditional
ways of writing and explore new techniques for strings. I walked away from
precise metrical structures and, at times,
gave the players a controlled freedom
with only timings indicated as a guide for
duration. Having a free formal structure,
the piece juxtaposes contrasting moods
with episodes. The title also refers to the
fact that I left my country - walked away
from the home where I grew up. Thinking about home, a folk tune that I used to
hear there found its way into the first
movement of this piece.

day

month

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dan

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hour

17:30

cetvrtak / thursday

sat

Mozetich

Marjan

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 260

Marjan Mozetich (Gorizia, 1948.) slovenskog je podrijetla, no s obitelji je emigrirao u Kanadu 1952. godine. Kompoziciju
je studirao na Sveuilitu Toronto te, uz
pomo Kanadskoga vijea, u Italiji i Engleskoj s Lucianom Beriom i Francom
Donatonijem. U ranijoj karijeri bio je dijelom avangardnih glazbenih krugova.
Osniva je i suravnatelj Ansambla za suvremenu glazbu Array. Njegova su djela,
izvoena diljem Kanade i u inozemstvu,
dobila niz nagrada. Na Festivalu nove
glazbe Konzervatorija u Gentu, Belgija i
na Festivalu nove glazbe Regina bio je
posebnim gostom-skladateljem.
Praizvedba njegova klavirskog koncerta
posveena Robertsonu Daviesu (2000.)
doivjela je ovacije i izvrsne kritike, a
Kanadska radiotelevizijska korporacija
izdala je CD samo s njegovim djelima,
pod naslovom Affairs of the Heart.
Ista korporacija naruila je Himnu uzaaa za meunarodni festival komorne
glazbe Ottawa International Chamber
Music Festival 1998. godine. Djelo je u
originalu napisano za harmonij i gudaki
kvartet kako bi popratilo Dvokove
Bagatele, koje imaju slinu instrumentaciju. Ova je verzija preraena za izvedbu
s harmonikom.

Marjan Mozetich (Gorizia, 1948) is of


Slovenian parentage, but his family emigrated to Canada in 1952. He studied
composition at the University of
Toronto. With the assistance of the
Canada Council he furthered his studies
in Italy and England under the supervision of Luciano Berio and Franco Donatoni. Early in his career he was active in
the avant-garde music circles. He was a
founder and a co-artistic director of the
contemporary ensemble, ARRAY. His
works were performed in prominent new
music concerts across Canada and
abroad and his pieces received several
awards. At the Gent Conservatory New
Music Festival in Belgium and the
Regina New Music Festival he received
special honours as guest-composer. In
February, 2000 the premiere of his Piano
Concerto dedicated to Robertson Davies
received a standing ovation and critical
acclaim. The Canadian Broadcast Corporation released a CD devoted to his
works only titled Affairs of the Heart.
The CBC also commissioned the Hymn
of Ascension by Marjan Mozetich, for the
1998 Ottawa International Chamber
Music Festival. Originally it was written
for harmonium and string quartet to accompany the Dvok Bagatelles with a
similar instrumentation. This version
was adopted for the use of the accordion.

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261

Dedi

Sran

260

Sran Dedi (Zagreb, 1965.) diplomirao


je kompoziciju u klasi Stanka Horvata na
Muzikoj akademiji u Zagrebu, gdje danas predaje. Usavravao se kod FranoisBernarda Mchea u Strasbourgu, Geerta
van Keulena u Amsterdamu i Jojia Yuase
u Tokiju. Od 1991. godine razvija raunalne programe za algoritamsko skladanje. Dobitnik je vie meunarodnih
nagrada za svoje skladbe.
Teko je ne osjetiti veliku odgovornost
pri skladanju za gudaki kvartet, taj svemogui, skladateljima poseban, upravo
karizmatian sastav. Od golemog broja
mogunosti koje prua, naroito me zanimala ona strana gudakog kvarteta kao
sastava idealnog za izvoenje polifonih
slogova i struktura, koje stoga dominiraju ovom trostavanom skladbom. U
svrhu profiliranosti i jedinstva harmonijskog jezika, uglavnom sam koristio samo
ui izbor apartnih, od moguih 43
temeljnih etveroglasnih sazvuja. Prije
petnaestak godina napisao sam kompjuterski program koji generira i pretrauje garniture vie tisua akorada. Tad
je postalo jasno da se u jednom danu
mogu izraditi kombinacije koje inae ne
bih nikada pronaao, jer bi njihovo
runo ispisivanje bio nemogu posao. Po
istom principu poeo sam generirati i istraivati, za mene dotad, nezamislive
kombinacije ljestvica, serija, akorada, ritmova i struktura, koje su postale
izvoritem materijala mojih narednih
skladbi. Tako je i ova skladba rezultat
traganja za tim, na drugi nain
nedostupnim i meni nepoznatim,
sonornim svjetovima. [Sran Dedi]

Sran Dedi (Zagreb, 1965) studied


composition with Stanko Horvat at the
Music Academy in Zagreb, where he now
teaches. He continued his studies with
Franois-Bernard Mchea in Strasbourg,
Geerta van Keulena in Amsterdamu and
Joji Yuasa in Tokyo. Since 1991 he has
been working on computer programmes
in the field of algorithmic composing.
He received a number of important
awards for his works.
It is difficult not to feel the great responsibility when composing for a string
quartet, that mighty, even charismatic
ensemble, so special to composers. From
all the vast possibilities it offers, I was
particularly interested in that side of the
string quartet that makes it the ideal ensemble for performing polyphonic textures and structures, which therefore
dominate this three-movement-piece.
For the sake of the distinctiveness and
unity of harmonic language, I have
mostly been using only a small selection
of 43 possible fundamental four-part-sets.
Fifteen years ago I wrote a computer program that generates and searches trough
collections of thousands of chords. It became apparent this was making it possible create combinations I would never
have found otherwise, because writing
them down manually would have been
an impossible task. According to the same
principle, I have started to generate and
explore combinations of scales, series,
chords, rhythms and structures, previously unimaginable to me. They became
the resources of material for my future
works. This composition is also the result
of a quest for these, in other ways unreachable and unknown, worlds of
sonority. [Sran Dedi]

day

month

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dan

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hour

17:30

cetvrtak / thursday

sat

Pepa

Michael

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 262

Michael Pepa [o kojem vie na str. 280] o


svojem djelu kae: Gudaki kvartet br.
4 s timpanima i zvonima napisan je
1994. godine za Gudaki kvartet St. Lawrence. Djelo je inspirirano esejom nobelovca Elieja Wiesela o suenju Klausu
Barbieu, poznatijem pod imenom kolja
iz Lyona. Francuska drava optuila je
Klausa Barbiea za deportaciju 7500 idova i ubojstvo 4000 osoba pola stoljea
prije. Jedan od osnovnih dokaza protiv
Barbiea bila je naredba koju je potpisao
1944. godine, a koja je glasila: Jutros je
dom idovske djece Djeja kolonija u
Izieu (blizu Lyona) uklonjen. Djeca, kojih
je ukupno bilo 41, u dobi izmeu 3 i 13
godina starosti, uhvaena su. Nadalje,
uhieno je sve idovsko osoblje. Nismo
bili u mogunosti doi do novca i ostalih
vrijednih stvari. Prijevoz do Drancyja
odvit e se 4. 7. 1944.

Michael Pepa [more about Pepa on page


280] on his work: The String Quartet
No. 4 with Timpani and Chimes was
written in 1994 for the St. Lawrence
String Quartet. It was inspired by an
essay by the Nobel Peace Prize winner
Elie Wiesel, about the trial of Klaus Barbie, known as the Butcher of Lyon.
This trial, The State of France vs. Klaus
Barbie, accused Barbie of deporting
7,500 Jews and murdering 4,000 people a
half century earlier. One of the principal
pieces of evidence against Barbie was an
order he signed in 1944: This morning,
the Jewish childrens home Childrens
Colony at Izieu (near Lyons) was removed. 41 children in all, aged three to
13, have been captured. Beyond that, the
arrest of all the Jewish personnel has
taken place. It was not possible to secure
any money or other valuables. Transportation to Drancy will take place on
4/7/44.

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262

263

Djelo je posveeno Liliani Gerenstein,


11-godinjoj djevojici koja je bila jedno
od djece u Izieu. Lilianino Pismo Bogu,
koje je napisala prije nego to je odvedena, inspiriralo je ovo djelo. Sadraj pisma
iskoriten je u IV. epizodi kao molitva.

The work is dedicated to Liliane Gerenstein, an 11 year-old girl who was one of
the children of Izieu. Lilianes Letter to
God, which she scrawled before she was
taken away, inspired the piece. It is used
in Episode IV as a prayer.

Pismo Bogu

A Letter to God

Zahvaljujui Tebi,
imala sam predivan ivot,
Prije negoli je postao zamrljan,
Imala sam divne stvari,
Stvari koje drugi nemaju.
Boe?
Vrati moje roditelje,
Moje jadne roditelje,
Zatiti ih (vie nego mene)
Tako da ih to prije mogu ponovno vidjeti.
Neka mi se vrate jo jednom.
Oh!
Mogu rei da sam imala tako dobru
majku,
I tako dobrog oca!
I imam toliko vjere u tebe,
Da ti zahvaljujem unaprijed.

It is thanks to You,
that I enjoyed a wonderful life before,
that I was spoiled,
that I had lovely things,
things that others do not have.
God?
Bring back my parents,
my poor parents,
protect them (even more than myself)
so that I may see them again as soon as
possible.
Have them come back one more time.
Oh!
I can say that I had such a good
mother,
and such a good father!
I have such faith in You
that I thank You in advance.

Liliane Gernstein
4. 7. 1944.

Liliane Gernstein
4/7/44

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 264

day

month

23

dan

mjesec

hour

19:30

cetvrtak / thursday

sat

19:30, KDVL
Koncert Majstorskog ciklusa Simfonijskog orkestra HRT-a, Ciklusa Big
banda HRT-a i Jazz ciklusa Lisinski, u suradnji s MBZ-om i HDS-om /
A concert in the Master Cycle of the Croatian Radio Television Symphony
Orchestra, in the Big Band Cycle and in the Jazz Lisinski Cycle, in collaboration with MBZ and HDS

Simfonijski orkestar i Big band HRT-a /


Croatian Radio Television Symphony
Orchestra and Big Band
Edin Karamazov, gitara / guitar
Danijel Detoni, klavir / piano
Nika Bareza, dirigent / conductor

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264

265

Erkki-Sven Tr:
Simfonija br. 5, za elektrinu gitaru, big band i simfonijski orkestar /
Symphony No. 5, for electric guitar, big band and orchestra
Silvio Foreti:
Concerto rosso, prema slici Raoula Dufyja, za klavir i orkestar /
based on a painting by Raoul Dufy, for piano and orchestra

Tristan Murail: Gondwana


Bernd Alois Zimmermann:
Musique pour les soupers du Roi Ubu.
Ballet noir en sept parties et une entre. /
Muzika za veere Kralja Ubua.
Crni balet u sedam dijelova i jednoj predigri, za orkestar i big band /
Music for King Ubus Suppers.
A black ballet in seven parts and one ouverture, for orchestra and combo

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 266

month

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hour

19:30

cetvrtak / thursday

sat

Nika Bareza

day

Nika Bareza, ef-dirigent Simfonijskoga


orkestra Hrvatske radiotelevizije od 1992.
godine, uio je dirigiranje kod Milana Sachsa, Hermanna Scherchena i Herberta
von Karajana, a zatim je godinama suraivao s velikim dirigentima kao to su
Lovro pl. Matai, Ferdinand Leitner,
Otmar Suitner i Nikolaus Harnoncourt te
sa skladateljskim klasicima 20. stoljea
kakvi su Benjamin Britten, Carl Orff,
Olivier Messiaen, Luigi Dallapiccola,
Goffredo Petrassi, Dmitrij ostakovi i
Luigi Nono. Najprije dirigent i ravnatelj
Zagrebake opere, poslije je bio stalnim
dirigentom Opera u Zrichu, Petrogradu
i Grazu, u kojemu je bio i ef-dirigent tamonje filharmonije. Sada je stalni dirigent Hamburke opere i milanske Scale,
gdje se istaknuo nizom uspjelih predstava.

Nika Bareza, chief conductor of the


Croatian Radio Television Symphony
Orchestra since 1992, studied conducting
with Milan Sachs, Hermann Scherchen
and Herbert von Karajan and later collaborated with great conductors like
Lovro von Matai, Ferdinand Leitner,
Otmar Suitner and Nicolas Harnoncourt,
as well as with canonical composers of
the twentieth century, like Benjamin
Britten, Carl Orff, Olivier Messaien, Luigi
Dallapiccola, Goffredo Petrassi, Dimitry
Shostakovich and Luigi Nono. Having
started as the conductor and director of
the Zagreb Opera, he was later the resident
conductor at the Opera houses in Zurich,
Petrograd and Graz, where he was also
the principal conductor of the Philharmonic orchestra. He is now the resident
conductor of the Hamburg Opera and
the Scala of Milan, where he gained
recognition creating a number of successful performances.

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266

Redovito gostuje u vodeim europskim


opernim kuama. Od godine 2001. do 2007.
bio je ef-dirigent Opere i Filharmonije
Robert Schumann u Chemnitzu te nekoliko sezona i glazbeni ravnatelj toga grada,
s ijim ansamblima i dalje surauje.
Nika Bareza ujedno je redovit gost i
drugih inozemnih koncertnih pozornica
na kojima se, u suradnji s vodeim europskim orkestrima, osobito zalae za
suvremenu glazbu, a poglavito posveuje
pozornost hrvatskoj glazbenoj batini i
novim ostvarajima domaih skladatelja.
Tako je (pra)izveo i (za radio i televiziju)
snimio antologijska ostvarenja Berse,
Gotovca, Brkanovia, Cipre, Papandopula, uleka, Kelemena, Maleca, Horvata,
Radice, Detonija, Rudjaka, Paraa i
drugih. Glazbena kritika istie Barezinu
predanost glazbenome djelu, njegovo
veliko iskustvo, istanan osjeaj za stil te
rafiniranu interpretaciju svake pojedinosti, a posebice se osvre na njegovo
sjajno poznavanje Wagnerove glazbe.

267

He is, at the same time, a regular guest at


leading opera houses of Europe. From
2001 to 2007 he was chief conductor of
the Robert Schumann Opera and Philharmonic orchestra in Chemnitz, and,
for a few seasons, the musical director of
this city, whose ensembles he still collaborates with. Bareza is also a regular guest
of many a concert stage, always personally advocating contemporary music and
placing special emphasis on the Croatian
musical tradition and new works by Croatian composers. He premired, performed or recorded (for radio and television)
anthological works by Bersa, Gotovac,
Brkanovi, Cipra, Papandopulo, ulek,
Kelemen, Malec, Horvat, Radica, Detoni,
Rudjak, Para and others. Critics have
drawn attention to his devotion to musical oeuvres, his enormous experience,
his subtle feeling for style and his sophisticated interpretation of every detail,
taking special note of his brilliant knowledge of Wagners music.

day

month

23

dan

mjesec

hour

19:30

cetvrtak / thursday

sat

Karamazov

Edin

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 268

Edin Karamazov svojim se izvedbama


tijekom prolog desetljea dokazao kao
jedan od najuzbudljivijih i najkarizmatinijih sviraa lutnje u svijetu. Potvrdila
su to priznanja kritiara u Europi i Americi te brojne pohvalne kritike njegovih
virtuoznih i emocionalnih izvedbi repertoara u rasponu od prvih zapisanih izvedbi iz 16. stoljea do glazbe balkanskih
Roma. Svoj prvi solo nastup kao svira
na lutnji imao je 1998. godine i to kao
zamjena, u posljednji as, za legendarnog
Juliana Brema, sviraa starije generacije
koji je ponovno oivio interes za lutnju.
Od tada je izveo i snimio vie od 80 kompaktnih diskova s brojnim umjetnicima i
meunarodnim ansamblima za ranu
glazbu. Kao interpret majstorske tehnike
izvedbe na brojnim ianim instrumentima iz raznih kultura i razliitih razdoblja,
Karamazov je nastupao u Concertgebouwu
u Amsterdamu, u Berlinskoj filharmoniji,
Carnegie Hallu, bekom Konzerthausu i
Sidnejskoj operi. Usprkos postignutom
uspjehu, Karamazov i dalje odrava nenajavljene uline nastupe. Kako sam kae,
kada se prisjeti svojih poetaka i nastupa
s putujuim cirkusom - Meni je glazba
neka vrsta cirkusa! Njegova diskografija,
u izdanju kue Decca records, ukljuuje i
nagraivane skladbe Come, Heavy Sleep i
The Lute Is a Song.

Over the past decade Edin Karamazov


has established himself as one of todays
most exciting and charismatic lute players, garnering rave reviews and critical
acclaim across Europe and America for
his dazzlingly virtuosic and emotionally
committed performances of an adventurous repertoire that ranges from first
printed 16th century tabulature books to
the music of Balkan Gypsies. He made
his solo debut as a lutenist in 1998. Significantly, it was as a last-minute substitute for the legendary Julian Bream, the
player who had single-handedly led the
modern revival of interest in the lute a
generation earlier. Since then Edin Karamazov has performed and recorded over
80 compact discs with many major international early-music ensembles and
artists. A consummate interpreter and
technician on a wide variety of plucked
instruments from disparate cultures and
epochs, he is also an outstanding recitalist
and has appeared at Amsterdam Concertgebouw, Berlin Philharmonie, Carnegie
Hall, Vienna Konzerthaus and Sydney
Opera, among others. Despite all his success, he still enjoys giving impromptu
performances on the street. As he says,
looking back to his early days performing
with a travelling circus, Music remains a
kind of circus to me! Exclusive on Decca
records, his solo-discography includes
award wining Come, Heavy Sleep and
The Lute is a Song.

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269

Danijel Detoni

268

Danijel Detoni (Zagreb, 1983.) diplomirao je i magistrirao klavir na Muzikoj


akademiji Liszt Ferenc u Budimpetu u
klasama Lszla Baranyaya i Balzsa
Kecsksa, a etvrtu je godinu studija
proveo na Parikom konzervatoriju u
klasi Itamara Golana. Nastavio je s
usavravanjem na Ljetnoj akademiji Tel
Hai u Izraelu s Emanuleom Krasovskim i
Pninom Salzman i na Seminaru i Festivalu Bartk u Szombathelyu kod Dnesa
Vrjona. Nakon brojnih nagarada na
natjecanjima uenika glazbe u domovini,
dobio je i prvu nagradu na Dravnom
natjecanju iz komorne glazbe Leo Weiner
u Budimpeti te nagradu izraelske Zaklade Isman za interpretacije Ligetijeve
glazbe. Godine 2008. dobio je nagradu
Hrvatske glazbene mladei Ivo Vuljevi
za najbolje glazbeno ostvarenje godine.
Kao solist i nastupajui s mnogim
cijenjenim orkestrima esto nastupa u
Hrvatskoj i Maarskoj, a gostovao je i po
koncertnim dvoranama i festivalima po
Europi i Aziji. Nastupa i u duu s violonelisticom Petrom Kuan. Redovno
snima za radijske i televizijske postaje te
diskografske kue.

Pianist Danijel Detoni (Zagreb, 1983) won


his BA and MA degrees in piano (in the
classes of Lszlo Baranyay and Balzs
Kecsks) at the Liszt Ferenc Academy of
Music in Budapest, and attended the
fourth year of his studies in the class of
Itamar Golan at the Paris Conservatory.
He pursued his studies at the Tel Hai
Summer Academy in Israel under Emanuel Krasovsky and Pnina Salzman and
at the i Bartk Seminaru and Festivalu
in Szombathelyu under Dnes Vrjon.
After numerous first prizes at piano
pupils competitions in his homeland, he
won the first prize at the Leo Weiner
State Competition for Chamber Music in
Budapest in April 2003, and in August
2006 he received the Award of the Israeli
Isman Foundation for his extraordinary
interpretation of Ligetis music. In 2008
Detoni won the Jeunesses Musicales
Croatia Ivo Vuljevi Award of the for best
achievement in music of the year. Both
as a soloist and with renowned orchestras, he often performs in Croatia and
Hungary, and he has also appeared as a
guest artist in various concert halls and
at music festivals in Europe and Asia. He
also forms a duo with the cellist Petra
Kuan. He regularly makes recordings for
radio and TV stations, as well as for
recording companies.

month

23

dan

mjesec

hour

19:30

cetvrtak / thursday

sat

Tr

day

Sven

Erkki-

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 270

Erkki-Sven Tr (Krdla, 1959.) poeo


se baviti glazbom u drugoj polovici
sedamdesetih godina kao voa progresivnog rock banda In Spe. Studirao je
kompoziciju na Talinskom konzervatoriju u klasi Jaana Rtsa i privatno kod
Lepa Sumere. U elektronikoj se glazbi
usavravao u Karslruheu. Napisao je est
simfonija, nekoliko koncerata, mnogo
komorne glazbe i jednu operu. Tr rabi
irok spektar skladateljskih tehnika. Zanimali su ga minimalizam, linearna
polifonija i mikrotonalitetnost, dvanaesttonska glazba i tehnika zvukovnih polja.
Kako bi opisao svoje pokuaje da kontrastira i spoji glazbene suprotnosti tonalitet i atonalitet, pravilne repetitivne
ritmove i nepravilne sloene ritmove,
mirnu meditativnost i eksplozivnu
teatralnost - skladatelj koristi termin
metajezik, a kasnije za svoje skladanje i
termin vektorska metoda: Najvanija
razlika spram ranijeg pristupa jest injenica da je u osnovi cijela skladba saeta u
izvornom kodu - genu koji, preobraujui se i rastui, povezuje tokice u
tkanju cijeloga djela. Tr je bio
glazbeni ravnatelj Kazalita Vanalinnastuudio, pouavao je na Estonskoj muzikoj akademiji, a od 1995. godine je
skladatelj-slobodnjak. Jedan je od umjetnikih ravnatelja Meunarodnog festivala nove glazbe NYYD. Za svoja je djela
dobio brojna glazbenika i kulturna priznanja.

Erkki-Sven Tr (Krdla, 1959) started


his musical activity in the second half of
the seventies as a leader of a progressive
rock band, In Spe. He studied composition with Jaan Rts at the Tallinn Conservatoire, took private lessons Lepo
Sumera in Tallinn and trained his skills
in the field of electronic music in Karlsruhe. Instrumental music makes up the
main body of Trs work. He is the author of six symphonies, several instrumental concertos, a lot of chamber
music and an opera. Tr uses a broad
spectrum of compositional techniques.
He has been interested in minimalism,
linear polyphony and microtonality,
twelve-tone music and sound-field technique. To describe his attempt to contrast and combine musical opposites tonality versus atonality, regular repetitive rhythms versus irregular complex
rhythms, tranquil meditativeness versus
explosive theatricality - the composer
has used the term metalanguage. He
has also used the term vectorial
method for his composing: The most
important difference from the earlier approach is the fact that on a grass roots
level, the entire composition is encapsulated in a source code - a gene, which, as
it mutates and grows, connects the dots
in the fabric of the whole work. Tr
worked as the musical director of the
Vanalinnastuudio Theatre, taught composition at the Estonian Academy of
Music and since 1995, he is a freelance
composer. He is one of the artistic directors of the International New Music Festival NYYD. He has received numerous
music and cultural prizes for his works.
Musical trends that developed independently of each other have, over time,
formed completely separate discourses
in the Western cultural sphere. To this
point, it is rare for one circle to show a
slightly more in-depth interest in a

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270

Glazbeni trendovi koji su se razvijali


neovisno jedni o drugima s vremenom
su razvili posve odvojene diskurse u zapadnoj kulturnoj sferi. Rijetkost je da
jedan krug pokae dublji interes za susjedno podruje, a jo je rjea konstruktivna rasprava. Razliiti oblici kontakta
obino kulminiraju u relativno povrnim
crossoverima. Postao sam svjestan
situacije kad sam pristao napisati veliko
djelo - Petu simfoniju - za Big band i
Simfonijski orkestar tutgartskog radija.
elio sam dodati slobodne improvizacije
za sviraa elektrine gitare s iskustvom iz
rock-glazbe. Moja je elja shvaena te je
postavljen temelj za trostrane pregovore
u konstruktivnoj atmosferi - susret predstavnika deza, rocka i simfonijske
glazbe. Peta simfonija podijeljena je u
etiri dijela. Genetski kod glazbe zajedniki je svim stavcima, samo su naini na
koje mutira razliiti. Tako su stilske reference spram rocka i deza tek koloristike i ritamske vrste. [Erkki-Sven Tr]

271

neighboring field. A constructive and


productive discussion is even rarer. All
the various forms of contact tend to culminate in relatively superficial
crossovers. I became clearly aware of this
situation when I agreed to write a major
musical work - the Fifth Symphony commissioned by Stuttgart Broadcast for
their big band and symphony orchestra.
I wanted to add two free improvisations
from an electric guitarist with a rock
background. Fortunately the wish was
understood and thus the foundation for
trilateral negotiations in a constructive
atmosphere was laid - representatives
from the fields of jazz, rock and modern
symphonic music should meet. The
Symphony is divided into four parts. The
genetic code of the music is common
to all of the movements, only the ways in
which it mutates are different. Thus the
stylistic references to rock and jazz are
only of the colour and rhythmic kind.
[Erkki-Sven Tr]

Dionice gitare nije zapisana / The guitar part was not written down

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 272

month

23

dan

mjesec

hour

19:30

cetvrtak / thursday

sat

Silvio Foreti

day

Silvio Foreti (Split, 1940.), sin opernog


tenora, djetinjstvo i mladost provodi u
Sarajevu i Osijeku. Kompoziciju je studirao kod Milka Kelemena na Muzikoj
akademiji u Zagrebu. Za studija radi kao
novinar, orkestralni glazbenik, korepetitor, operetni dirigent te kao pijanist i
kuni skladatelj u satirikom kabaretu
Jazavac (danas Kerempuh). Godine 1963.
osniva Ansambl za suvremenu glazbu s
kojim prireuje niz okantnih i kandaloznih koncerata i hepeninga te
dolazi na glas kao lenfant terrible
hrvatske glazbe. Usavrava se na Visokoj
koli za glazbu u Klnu kod B. A. Zimmermanna (kompozicija) i Herberta
Eimerta (elektronika glazba), a zatim i
kod Karlheinza Stockhausena te je neko
vrijeme suradnik Mauricija Kagela. Predavao je na Visokoj koli Folkwang u Essenu i Duisburgu, gdje je osnovao i
ansambl Fin de sicle - fin de millnaire.
Djeluje kao skladatelj, tekstopisac, dirigent, pijanist i pjeva.

Silvio Foreti (Split, 1940), son of an


opera tenor, spent his childhood and
youth in Sarajevo and Osijek. He studied
composition with Milko Kelemen at the
Music Academy in Zagreb. During his
studies, he worked as a journalist, orchestra musician, accompanist, opera
conductor, pianist and a resident composer for the Jazavac (today: Kerempuh)
Satirical Theatre. He founded the Ensemble for contemporary music with
which he gave a couple do shocking
and scandalous concerts, soon earning
the description enfant terrible of Croatian music. He attended fruther specialization courses at he Hochschule fr
Musik in Kln, in composition under B.
A. Zimmermann and electronic music
under H. Eimer. He also studied with K.
Stockhausen and worked as an associate
of Mauricio Kagel, He taught at the Folkwanghochschule in Essen and Duisburg,
where he founded the Fin de sicle - fin
de millnaire ensemble. He is active as a
composer, librettist, singer, conductor
and pianist.

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272

O djelu Concerto rosso kae: Kada sam,


jo kao gimnazijalac, prvi put vidio Dufyjevu sliku, odmah sam je poelio
ozvuiti. Bio sam ak napisao nekoliko
taktova, ali ih se vie uope ne sjeam.
Dufy je esto i rado slikao, ili crtao,
orkestre raznih vrsta i veliina: mnoge od
tih slika pridonijele su nastanku skladbe.
No ona glavna ima posebnu ar. Kao
prvo, tu je crvenilo kojim je osvijetljena,
odnosno u kojem je okupana cijela slika.
Kao drugo, nije slikana s gledita publike
dotinog koncerta. Slikar se - a s njim i
promatra slike - smjestio iza orkestra,
tako da glazbenike vidimo s lea. U
prvom je planu timpanist; desno od
njega tromboni, lijevo kontrabasi, iza
kojih se nasluuju violonela. Zato su ovi
instrumenti na poetku skladbe istaknuti. Ostali svirai tek su naznaeni s
nekoliko poteza, gube se i ne vidi se to
sviraju. Iz te pomalo amorfne mase
izdiu se dirigent i solist/ica za glasovirom. Daleko iza njih razabiru se
sluatelji. Oito je da se koncert odrava
u dvorani koja nije prevelika, vjerojatno
u kazalitu.
Glazbena graa dobivena je iz
muzikalnih slova. Glavni centralni
tonovi su D (prema prvom slovu
slikareva prezimena - a, igrom sluaja, to
su i inicijali mladog solista) te F (prvo
slovo skladateljeva prezimena, prisutno i
u imenu Dufy). Ostali vaniji tonovi su
A (iz imena Raoul), ES (kao inicijalni S
u imenu skladatelja) te E i C (iz Foreti).
Ovi tonovi (F A C D ES E F) omoguuju
organsko kombiniranje kromatike, dijatonike i pentatonike.

273

Concerto rosso: I was still in High school


when I first saw Dufys painting , but I
immediately felt the wish to put it into
sound. I even composed a few bars but I
have completely forgotten them. Dufy
often painted, or made drawings of, different orchestras, in all shapes and sizes.
All of these pictures are highly inspiring
and many have contributed to the creation of this composition. But the main
one put a special spell on me. Firstly,
there is the redness illuminating and
bathing the whole picture. Secondly, the
picture is not painted from the viewpoint
of the audience of the concert. The
painter is behind the orchestra - and so
are we - so we see the musicians from
the rear. On the first plane is the timpanist; on his right, the trombones, at
left the double basses, and behind them
we can discern cellos. So at the beginning of the score these instruments are
prominent. All the other players are only
hinted at with a few lines, rather blurry
and we cant see their instruments. Only
the conductor and the piano soloist are
emerging from that slightly amorphous
mass. Far behind them there is an intimation of the audience. The hall is obviously not a large one, probably a theatre.
The musical material is derived from
musical letters. The central tones are D
(like the initial of the painter and, by coincidence, of our young soloist) and F
(the composers initial, also appearing in
Dufy. Other important tones are A
(from the name Raoul) ES (again the
composers name), E and C (the remaining letters in Foreti). These tones (F A
C D ES E F) make an organic combination of chromatic, diatonic and pentatonic elements possible.

month

23

dan

mjesec

hour

19:30

cetvrtak / thursday

sat

Zimmermann

day

Alois

Bernd

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 274

Bernd Alois Zimmermann (Bliesheim,


Kln, 1918. - Knigsdorf, Kln, 1970.)
studirao je kompoziciju na Visokim kolama za glazbu u Klnu i Berlinu s Heinrichom Lemacherom i Philippom
Jarnachom te njemaki i filozofiju u
Bonnu, Klnu i Berlinu. Od 1957. godine
predavao je kompoziciju te glazbu za
film, radio i televiziju na Visokoj koli za
glazbu u Klnu. Radio je i s Wolfgangom
Fortnerom i Renom Leibowitzem te
rabio i serijalne tehnike, no razliite je
utjecaje uvijek mijeao sa dezom, nezapadnom glazbom i citatima iz ranijih
djela, najavljujui postmoderne tehnike.
Pisao je za orkestre (simfonije, baletnu
glazbu i koncerte), poznatu operu Vojnici i drugu vokalnu glazbu, Rekvijem za
mladoga pjesnika (kola o novijoj europskoj povijesti za govornike, pjevae, jazzansambl, orkestar i elektroniku),
komorna djela i elektroniku glazbu.
Iako relativno malobrojna, njegova su
djela ostavila trajan trag u njemakoj
glazbi nakon Drugog svjetskog rata, a o
sebi je rekao ini mi se da sam - tipino
za Porajnje - mjeavina redovnika i
Dioniza.

Bernd Alois Zimmermann (Bliesheim,


Cologne, 1918 - Knigsdorf, Cologne,
1970) studied composition at the
Musikhochschulen in Cologne and
Berlin, under Heinrich Lemacher and
Philipp Jarnach, as well as German and
philosophy at the universities of Bonn,
Cologne and Berlin. From 1957 he taught
composition and conducted a seminar in
film, theatre and radio music at the
Cologne Hochschule fr Musik. He has
also worked with Wolfgang Fortner and
Ren Leibowitz, absorbed serialist techniques, but he always merged different
classical influences with jazz, non-Western music and quotes from earlier works,
strikingly anticipating postmodern procedures. He wrote orchestral music
(symphonies, ballets, concertos), a famous opera Die Soldaten and other vocal
music, the Requiem fr einen jungen
Dichter (a collage on the most recent European history), chamber works, as well
as electronic music. Though relatively
few in number, Zimmermanns compositions hold a key position in the history
of post-war German music. He said of
himself I am presumably a mixture,
typical of the Rheinland, of monk and
Dionysus.

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274

Muziku za veere Kralja Ubua Zimmermann je dovrio na narudbu u povodu


svojeg primanja u Berlinsku akademiju
umjetnosti (1966.). Odabrao je motive iz
Kralja Ubua francuskog pjesnika Alfreda
Jarryja, u kojem je Ubu pojam primitivnog, pohlepnog vladara-tiranina. Zimmermannov crni balet odvija se
prigodom banketa na Ubuovu dvoru, na
koji su pozvani i predstavnici Akademije
- te na kraju uhvaeni u klopku. Djelo je
intenzivan i bogat kola, vrhunac citatne tehnike - sastavljen iskljuivo od
citata - citata baroknih plesova, Wagnera, Zimmermannovih suvremenika,
vlastitih djela u naizgled veselom,
aljivom pluralizmu, no zapravo
mranoj, bizarnoj alegoriji o tiraniji - i
sudbini akademaca koji pohode bankete
tirana - sve do vrhunca u Marche du decervellage - Koranici vaenja mozga.
Tristan Murail: Gondwana
Naslov ima dva znaenja: golem, potopljeni kontinent iz drevne indijske legende, kao i jedna od dviju ogromnih
kopnenih masa koje su nekad inile svo
kopno na zemlji. U Gondwani Murail
nastavlja s inovativnom uporabom elektronikih tehnika kao generatora instrumentalne glazbe. U ovom sluaju,
harmoniju stvara modulacija frekvencije.
(..) Drugi vaan element u djelu kolebanje je izmeu trenutaka uma i
trenutaka zvuka. Ako Gondwanini valovi zvuka podsjeaju na potopljenu
Gondwanu, burna povijest geoloke
Gondwane prizvana je dramatinijim
trenucima djela, naroito vulkanskom
erupcijom pred kraj skladbe. [Julian
Anderson]

275

The Music for King Ubus Suppers was


written as a result of a commission,
marking Zimmermann introduction into
the Berlin Academy of the Arts (1966). He
chose motifs from King Ubu, the surrealist novel by Alfred Jarry, in which Ubu is
the incarnation of a primitive, coarse,
greedy ruler, a tyrant. Zimmermanns
black ballet takes place at a banquet at
the Court of Ubu, to which all the members of the Academy of Ubus land are
commanded - only to be dispatched
through the trap door in the end. The
piece is an intense and rich collage, the
pinnacle of the quotation technique consisting solely of quotes: quotes of
baroque dances, Wagners music, pieces
by Zimmermanns contemporaries, his
own works. What seems like merry, jocular pluralism is really a dark, bizarre allegory on tyranny - and the fate of the
academia who attend tyrants banquets climaxing in the Marche du decervellage the Brain Removal March.
Tristan Murail: Gondwana
The title has two meanings. It is a vast,
sunken continent from an ancient Indian legend, as well as one of the two
giant landmasses which once comprised
the earths entire dry land. (...) Gondwana continues Murails innovative use
of electronic techniques as generators of
instrumental music. In this case, the harmony is generated by frequency modulation. Another important element in the
piece is the fluctuation between moments of noise and moments of
sound. If Gondwanas waves of sound
recall the legendary, sunken Gondwana,
the geological Gondwanas turbulent
history is vividly evoked in the musics
more dramatic moments, especially in
the volcanic eruption near the end of
the work. [Julian Anderson]
Vie o Murailu / More about Murail:
str./page 422

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 276

day

month

23

dan

mjesec

hour

22:00

cetvrtak / thursday

sat

22:00, MDVL
Ansambl Les Amis / Les Amis Ensemble
Vojislav ii i Marko Mihajlovi, udaraljkai / percussionists
Nera Stipievi, recitatorica / reciter
Gosti / guests: Cantus Ansambl / Cantus Ensemble,
Saa Britvi, dirigent / conductor
Les Amis:
Katarzyna Sadej, mezzosopran / mezzo-soprano
Lynn Kuo, violina, voditeljica ansambla / violin, ensemble leader
Rachel Mercer, violonelo / cello
Marianna Humetska, klavir / piano
Joseph Macerollo, harmonika / accordion
Constantine Caravassilis: Five Sketches of Cubist Folklore / Pet skica kubistikog folklora
Viktorija op: disPLAY*
I. Vivace
II. Moderato cantabile (tempo rubato)
Marko Rudjak: Tvoj i moj Libanon / Lebanon, mine and yours, Intervencija nad pjesmom u prozi Halila Dubrana - prijevod: Marko Gri - za
(mezzo)sopran, recitatora i dva udaraljkaa / an intervention in the prose
poem by Khalil Gibran, for (mezzo) soprano, reciter and two percussionists
Michael Pepa: ISOMORPH za glas, violinu, harmoniku i ansambl /
for voice, violin, accordion and ensemble

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 277

277

Ansambl Les AMIS

276

Ansambl Les AMIS skupina je iznimno


talentiranih mladih kanadskih
glazbenika. Ansambl izvodi suvremenu i
stariju komornu glazbu. Njegov je osniva i umjetniki ravnatelj Michael Pepa.
Les Amis su se uvijek trudili ugoivati
najsjajnije budue zvijezde: Sadanja
postava ansambla ponosi se svojim
lanovima, koji su meu najuspjenijim
umjetnicima u dvadeset i est godina
dugoj povijesti ansambla. Skupina se
sastoji od dvanaestak umjetnika koji nastupaju po potrebama repertoara osmiljenog za pojedini koncert.

Les AMIS Ensemble is a group made up


of some of the most talented young
Canadian musicians. Their founder and
artistic director is Michael Pepa. The ensemble performs contemporary as well
as traditional chamber music. Les Amis
has always featured the brightest stars of
the future: The present ensemble is
graced with the most accomplished
artists in their twenty-six years history. A
dozen musicians belong to the group
and participate in its projects according
to the demands of the repertoire.

23

dan

mjesec

hour

22:00

cetvrtak / thursday

sat

Lynn Kuo

month

Sadej

day

(Kasia)

Katarzyna

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 278

Mezzosopran Katarzyna (Kasia) Sadej


roena je u Poljskoj, a diplomirala je na
Sveuilitu Ottawa. Nedavno je magistrirala operu na Sveuilitu u Torontu i
pohaa prestian Konzervatorij glazbe
pri Koledu Bard u New Yorku, u klasi
Lorraine Nubar i Dawn Upshaw. Nedavno je u Taipeiu pjevala u Stravinskijevoj
Svadbi i u Sulmoni, Italija, Cherubina u
Mozartovom Figarovom piru.

Violinistica Lynn Kuo na noge die publiku diljem Sjeverne Amerike i Europe.
esto je pobjeivala na kanadskim natjecanjima glazbenika, a izvodi standardni i
suvremeni repertoar. Praizvela je brojna
akustina i elektroakustina djela
napisana upravo za nju. Svira na violini
Riccardo Antoniazzi iz 1904. i gudalu
Hill, koje joj je velikoduno posudio
Steven Pepa.

Mezzo-soprano Katarzyna (Kasia) Sadej


was born in Poland and graduated from
the University of Ottawa. She recently
completed her Masters Degree in opera
at the University of Toronto and she is a
student of the prestigious Bard College
Conservatory of Music, under Lorraine
Nubar and Dawn Upshaw in New York.
Her singing calendar has most recently
found her in Taipei for Stravinskys Les
Noces; Sulmona, Italy for Cherubino in
Mozarts Le Nozze di Figaro.

Violinist Lynn Kuo has brought audiences to their feet throughout North
America and Europe. Kuo has been a frequent top prize-winner in numerous
Canadian musicians competitions.
Championing both the standard and
contemporary repertoire, Kuo has given
numerous world premieres of acoustic
and electroacoustic works written for
her. She performs on a 1904 Riccardo
Antoniazzi violin and Hill bow generously on loan from Steven Pepa.

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 279

Violonelistica Rachel Mercer lanica je


Kvarteta Aviv, Trija Mercer, Trija Shiraz i
Ansamble Made in Canada. Studirala je
na Muzikoj akademiji u Vancouveru,
Kraljevskom konzervatoriju u Torontu,
Sveuilitu Toronto i Konzervatoriju
savezne drave New England. ivi u
Torontu i dri majstorske teajeve te
svira kao prva elistica komornog koncertnog ciklusa Via Salzburg.

279

Humetska

Marianna

Mercer

Rachel

278

Pijanistica Marianna Humetska preselila se u Kanadu iz Ukrajine 2001.


godine. Diplome je stekla na Konzervatoriju ajkovski u Moskvi i koli za
glazbu Glenn Gould u Torontu. Aktivna
je kao solistica, komorna glazbenica te
lanica klaviristikog odsjeka Kraljevskog
konzervatorija u Torontu.

Pianist Marianna Humetska moved to


Canada from the Ukraine in 2001. She
Cellist Rachel Mercer is a member of the holds diplomas from the Tchaikovsky
Aviv Quartet, the Mercer Trio, the Shiraz Conservatory in Moscow and the Glenn
Trio and the Ensemble Made in Canada. Gould School of Music in Toronto. She
has been active as a soloist and chamber
She studied at the Vancouver Academy
musician, as well as a piano faculty
of Music, the Royal Conservatory of
Music, the University of Toronto and the member of the Royal Conservatory of
Music in Toronto.
New England Conservatory. Based in
Toronto, Mercer gives guest masterclasses and plays as principal cellist for
Via Salzburg, a chamber music series.
Vie o Josephu Macerollo /
More about Joseph Macerollo:
str./page 257

day

month

23

dan

mjesec

hour

22:00

cetvrtak / thursday

sat

Pepa

Michael

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 280

Isomorph

Michael Pepa roen je u Rumunjskoj, a


u Kanadi ivi od 1953. godine. Studirao je
kompoziciju na Kraljevskom konzervatoriju u Torontu u klasi Samuela Dolina
te zatim na koledu Trinity u Londonu, a
studirao je i glazbenu pedagogiju. Osim
to je osniva i umjetniki ravnatelj ansambla Les AMIS, Michael Pepa je i rezidencijalni skladatelj kanadske Simfonijete,
lan Kanadske udruge skladatelja, SOCANa i vanjski suradnik-skladatelj kanadskog
Glazbenog centra. Pepa je skladao vie
od 70 djela za solo instrumente, komorne
skupine i orkestre. Veina skladbi bila je
naruena, izvoena i emitirana u Kanadi, Isomorph: Iso - isti; Morph - oblik.
Izomorfizam - koncept konvergentne
ali neke i u SAD-u i Europi.
evolucije. U ovom djelu to se odnosi na
svjetovne i religiozne utjecaje na obrazac
Michael Pepa, born in Romania, has
svakodnevnog ivota. Ansambli Les
lived in Canada since 1953. He studied
AMIS i Cantus premijerno su izveli ovo
composition with Samuel Dolin at the
Royal Conservatory of Music in Toronto djelo 2008. godine u Torontu. Djelo je
and the Trinity College of Music, London. posveeno Josi pralji iz Zadra u
He also has a degree of Master of Arts in Hrvatskoj i prenosi meni drage uspomene na jedan dan proveden u
Music Education. As well as being the
founder and artistic director of Les AMIS Zadru. [Michael Pepa]
Concerts, Michael Pepa is the composerin-residence of the Canadian Sinfonietta,
a member of the Canadian League of
Composers, SOCAN, and an Associate
Composer of the Canadian Music Centre. Pepa has composed over 70 works
for solo instruments, chamber groups
and orchestra. Most have been commissioned, performed and broadcast in
Canada and the rest in the U.S. and
around Europe.

Isomorph: Iso - same; Morph - form.


Isomorphism - a concept of convergent
evolution. In this work, it refers to secular and sacred influences on the pattern
of day-to-day life. It was premiered by
Les AMIS and Cantus Ensemble in 2008
in Toronto. Dedicated to Joso praljas
Zadar, Croatia, this piece expresses my
fond memories of a day in Zadar.
[Michael Pepa]

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281

Britvi

Saa

280

Saa Britvi (Zagreb, 1965.) diplomirao


je dirigiranje na Muzikoj akademiji u
Zagrebu u klasi Igora Gjadrova, a usavravao se u Francuskoj kod Pierrea Dervauxa. Bio je umjetniki voditelj
Akademskog zbora Ivan Goran Kovai
te jedan od osnivaa Hrvatskog komornog orkestra i Hrvatskog baroknog ansambla, iji je i danas ravnatelj. Od 2003.
- 2006. godine bio je ravnatelj Koncertne
direkcije Zagreb. Predaje na Muzikoj
akademiji u Zagrebu i dobitnik je Reda
Danice hrvatske za zasluge u kulturi.

Saa Britvi (Zagreb, 1965) completed


his conducting studies at the Music
Academy in zagreb under Igor Gjadrov
and furthered his studies in France with
Pierre Dervaux. He was the artistic director of the Ivan Goran Kovai Collegiate
Choir. Britvi is one of the founders of
the Croatian Chamber Orchestra and the
Croatian Baroque Ensemble, whose
artistic director he remains. He was the
general manager of the Zagreb Concert
Management from 2003-2006. Britvi, a
recipient of the Order of Danica for cultural merits, teaches at the Zagreb Music
Academy.
Vie o Cantus Ansamblu / More about
the Cantus Ensemble: str./page 230

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Caravassilis

Constantine

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Hvaljen kao najvaniji skladatelj


grkoga podrijetla svoje generacije (Jazz
& Tzaz), Constantine Caravassilis pie
glazbu stalno ispunjenu emocijama i
energijom na duboko individualan
nain (RCM). Caravassilis je laureat 4.
meunarodnog skladateljskog natjecanja
u Volosu, Grka i kanadskog Flautistikog festivala Syrinx. Bio je rezidencijalni skladatelj ustanova Contemporary
Opera Lab, Open Strings i Festivala London Song te torontskih Cantabile Chamber Singers. Dobivao je narudbe od
brojnih svjetskih solista i ansambala te je
smatran jednim od najplodnijih kanadskih skladatelja. Autor je sedam koncerata te brojnih komornih, orkestralnih,
vokalnih i elektroakustikih djela.
Trenutno radi na doktoratu iz kompozicije i orkestralnog dirigiranja kao
stipendist Glazbenog odsjeka Sveuilita
u Torontu.

Hailed as the most important Hellenicdescent composer of his generation


(Jazz & Tzaz), Constantine Caravassilis
music is constantly charged with emotion and energy in a profoundly individual style (RCM). Constantine is laureate
of the 4th International Composition
Competition of the city of Volos, Greece
and the 2006 Syrinx Flute Festival in
Canada. He has been resident composer
with the Contemporary Opera Lab, Open
Strings, with the London Song Festival
in Britain and Torontos Cantabile
Chamber Singers. Commissions have
come from soloists and ensembles the
world around. Regarded as one of the
most prolific young composers in
Canada, Constantines catalogue includes seven concerti, with a plethora of
chamber, orchestral, vocal/choral and
electroacoustic works. He is currently
pursuing a doctorate on full fellowship at
the University of Torontos Faculty of
Music, where he specializes in the fields
of composition and orchestral conducting.

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282

Pet skica kubistikog foklora dio je vee


skupine djela naziva Tales from the Earth
and Skies (Prie sa Zemlje i Neba), trajnoga projekta koji se sastoji od brojnih
orkestralnih, komornih i solo izvedbi. U
ovih pet skica primijenjene su analitike
metode koje potjeu iz mog vlastitog
sinestezijskog stanja, pri emu su
povezani odreeni glazbeni uzorci,
vrhunci te povremeno i cijele fraze sa
svojim paletama boje. U svakom stavku
iskoritena je melodija s korijenima u
narodnoj glazbi, koja je zatim obraena
na kubistiki nain. Takva obrada upotrijebljena je kako bi se melodijski materijal
mogao prezentirati u mirnim i statinim
manirama, dok istovremeno znaajno
doprinosi gubitku veine elemenata narodne glazbe prisutne u melodiji.
Cjelokupni uinak jest otklanjanje jedne
dimenzije u glazbi i stvaranje alternativne
realnosti putem koje se uvode novi naini postizanja kompleksnosti i napredovanja melodije. [Constantine Caravassilis]

283

Five Sketches of Cubist Folklore belongs


to a larger family of works entitled Tales
from the Earth and Skies, an ongoing
project constituted by a number of orchestral, chamber and solo pieces. In
these five sketches I have employed analytical methods that derive from to my
own synaesthetic condition, by associating certain musical patterns, pitches and
occasionally entire phrases with palettes
of color. Each movement uses an original folk-like melody which is treated in a
Cubist fashion. This treatment is employed so that the melodic material is
presented in still and static ways, while it
contributes a great deal to the loss of
many of the melodys folk-like elements.
The overall effect is the removal of one
dimension in the music and the creation
of an alternative reality, one that introduces new ways by which complexity
and forward movement is achieved.
[Constantine Caravassilis]

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Viktorija op (Zagreb, 1979.) na Muzikoj akademiji u Zagrebu diplomirala je


kompoziciju u klasi eljka Brkanovia, a
usavravala se kod Ericha Urbannera u
Austriji te magistrirala na Visokoj koli za
umjetnost u Utrechtu u klasi Henka
Alkema. Pie komorna i orkestralna ali i
elektronika djela, za koja je dobivala nagrade u Hrvatskoj i inozemstvu.

Viktorija op (Zagreb, 1979) graduated


in composition from the Zagreb Music
Academy, under eljko Brkanovi, and
continued with further studies under
Erich Urbanner in Austria. She obtained
her masters degree under Henk Alkem
in the Netherlands. She writes chamber
and orchestral works, as well as electronic music; her compositions have
earned her a number of awards in Croatia and abroad.

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284

O skladbi disPLAY: Paralelno sa


skladanjem ovog komada razmiljam o
izazovima jo neispisane (neodsluane)
skladbe koja u svom sastavu ima glas kao
instrument, te o tekstualnom sadraju
koji bi taj glas trebao pjevati.
(...) Odluujem da u ovoj skladbi mezzosopran pjeva na polu-izmiljeni tekst
niske odreenosti - tekst koji uvijek ne
razumijemo (na nekom stranom jeziku)
ili tekst koji se moe tumaiti na vie
naina, po volji, a koji zbog sadraja ili
prie zapravo ne bi ometao praenje tijeka muzikog sadraja. Tako proizlazi
da je ovdje mezzosopran samo
sporedan lik, ili je moda ipak bolje
rei - ravnopravan ostalim instrumentima po svom doprinosu u gradnji muzikog vremena. Glazba i tekstualni
sadraj rastu i nastaju istovremeno, a
skladba pokuava propitivati njihov
odnos (te odnos same skladbe sa
vlastitom inspiracijom / poticajem izvana), te utvrditi koji je pravi omjer u
proimanju mini simbola, smislenog te
suvinog sadraja koji moemo podnijeti
(kao publika) u odreenom vremenskom
formatu.

285

On her piece, disPLAY: As I am working


on this composition, I am considering
the challenges of the, as yet unwritten
(unheard), piece, meant to include the
voice as an instrument. I am also considering the contents this voice should be
singing. (...) I decide to have the mezzo
sing a semi-fabricated low definition
language - a text we dont always understand (because the language is foreign),
or the kind that could be understood in
more ways than one, at will. This would
not interfere with the following of the
musical contents.
It follows that the mezzo-soprano is just
a secondary character, or, to rephrase it
in a better way - equal to all the other instruments when their contributions to
the construction of musical time are
considered. The music and the contents
of the lyrics grow and evolve together,
while the composition tries to question
their relationship (as well as the relationship of the composition itself to its own
inspiration / external motivation). It is
also trying to determine the right ratio of
the interfusion of the mini-symbols, the
meaningful and the superfluous contents that we, as an audience, can bear in
a given time format.

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Marko Rudjak

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Marko Rudjak (1946.) diplomirao je


klarinet i kompoziciju (u klasi Mila
Cipre) na Muzikoj akademiji u Zagrebu
te se usavravao u Parizu (Ivo Malec,
Pierre Schaeffer) i Klnu (Milko Kelemen). Bio je urednik izdanja Koncertne
direkcije Zagreb i voditelj MIC-a. Profesor je teorijskih predmeta i kompozicije
na Muzikoj akademiji u Zagrebu. Njegova glazba iznenauje itkou sastojaka (...), itkou impulsa zbog kojih se
slojevi te cjeline zgunjavaju i
prorjeuju. Baratanjem zvukom u skladu
s parametrima to ih sluh umije biljeiti,
umjesto prema izmiljenim sustavima
mjerenja. Brigom za detalj, bez opsjednutosti da ovaj bude voritem svih energija to usmjeruju rast glazbenog
oblika u velikom... [Eva Sedak]

Marko Rudjak (1946) graduated from


the Music Academy in Zagreb, in clarinet
and composition (under Milo Cipra) and
studied in Paris (Ivo Malec, Pierre Schaeffer) and Kln (Milko Kelemen). He was
the editor of music publications at the
Zagreb Concert Management and the
manager of the Music Information Centre. He teaches music theory and composition at Music Academy in Zagreb.
His music surprises by the readability
of its components (...), the readability of
the impulses that make the layers of the
whole grow more dense or rare. By
minding the sound parameters that can
actually be measured by our sense of
hearing, rather than by invented measuring systems. By the careful use of details, not obsessively treated as a node of
all the energies directing the growth of the
musical form as a whole... [Eva Sedak]

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Rije intervencija trebalo bi shvatiti u


znaenju koje mu pridaje terminologija s
podruja likovnih umjetnosti:
prezentacija predloka uz svojevrsno zahvaanje u originalno tkivo ornamentirajuim, subjektivistikim,
konstruktivistikim (dekonstruktivistikim) i drugim postupcima. Struktura
izvornog teksta objavljuje se u paralelizmima koji se oslanjaju na dualistiki
princip - suprotstavljanje, afirmacija i
negacija (udisaj i izdisaj - aktivno? i pasivno?). Intervencija nastoji produbiti
jarak to dijeli suprotnosti, postepeno
uvodei u igru i eminentnije kontrastiranje: jezik pojmova - jezik melodije, ili
pojmovni jezik - govor bubnja. (Moda
u jednom momentu naziremo i pokuaj
pomirenja suprotnosti?). Originalni
predloak nisam koristio u cijelosti ve
sam (subjektivno, objektivno?) izabrao
tekstualne jedinice. Posebnu zahvalnost
elim izraziti Marku Griu, poznavaocu
Dubranove poezije i vrsnom prevodiocu njegova Proroka, za prepjev teksta
na hrvatski jezik.

287

The word intervention should be taken


in the sense in which it is used in the visual arts: a presentation of a model (from
antiquity, or of a more recent date) the
original texture of which has in some
way been altered by an ornamental, subjective, constructivist (destructivist) approach. The structure of the original text,
that is to say the model, is given in parallels which rely upon the dualistic principle - of contradiction, affirmation and
negation (breathing in and breathing out
- Active? And passive?). The intervention
endeavours to deepen the chasm between the two extremes, gradually bringing into play more eminent contrasts the
language of concepts - the language of
melody or, conceptual language - the
idiom of the drum. (We may even perceive, at a given moment, an attempt to
reconcile the contradictions?). I did not
use the original model in its entirety, but
made a (subjective, objective?) selection
of textual units. I should like to particularly thank my namesake Marko Gri, a
scholar and gifted translator of Gibrans
The Prophet for his rendition of the
poem in the Croatian language.

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23:30, &TD
Rock akademija Zagreb / Rock Academy Zagreb
Dio projekta Muzika-diverzija / A Part of the Music-Diversion Project
Pjevaki ansambl / Singing Ensemble:
Tina Bilankov
Ana Dabi
Draen Dinter
Ema Galjevi
Matea Goriek
Daria Kari
Tihana Mihaljevi
Ivan Vrhovski
Instrumentalni ansambl / Instrumental Ensemble:
Filip Baburak - gitara / guitar
Jan Belec - bubnjevi / drums
Saa Marec - bas - gitara / bass guitar
Bruna Mati - bubnjevi / drums
Tomislav Preseki - gitara / guitar
Ivan Stipi - klavijature / keyboards
Nastavnici / Teachers: profesorice pjevanja / singing coaches
Maja Jakoli, eljka Predojevi, Martina Klari
Voditelj projekta / Project Leader : Igor Tatarevi

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289

1. Uvertira / Ouverture: GOSPODIN KIA / MR. RAIN


2. DVORI OD SVJETLOSTI / CASTLES OF LIGHT
3. LJUBAV, TO SMO MI / LOVE, THAT IS WHAT WE ARE
4. TIHA GLAD / SILENT HUNGER
5. KAPETAN BRODA / SHIP CAPTAIN
6. PRAZNA OBEANJA / EMPTY PROMISES
7. DOIVOTNA ROBIJA / LIFETIME SENTENCE
8. ROCKER I GRAANIN SVIJETA / A ROCKER AND A CITIZEN OF THE WORLD

day

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akademija

Rock

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Rock Academy - A school for popular


and jazz music - is a non-profit institution founded and initiated by its current
owner, Professor Ladislav Rai. In 2003
the Ministry of Science, Education and
Rock akademija - Uilite za popularnu i Sports approved the start of work of Popjazz glazbu neprofitna je ustanova iji je ular and Jazz Music Secondary School
osniva i vlasnik Ladislav Rai, prof.
for youths and adults and in 2007 and it
Ministarstvo prosvjete i porta odobrilo also approved the start of work of Popuje 2003. godine poetak rada Srednje
lar and Jazz Music Elementary School.
kole za popularnu i jazz glazbu za
mlade i odrasle, a 2007. godine i poeAs popular music set new requirements
tak rada Osnovne glazbene kole za
and standards in music theory as well as
popularnu i jazz glazbu. Osnovana je jer in practical approach to music, it also
je popularna glazba odredila nove zasubsequently revalorised the ingrained
htjeve i standarde u teorijskom i prakprinciples and standards making the
tinom pristupu glazbi uobiajeni
commonly accepted programmes for
programi glazbenih kola znaajnim
music schools obsolete in educating and
dijelom nisu vie bili primjenjivi u
streamlining young musicians. Popular
obrazovanju i usavravanju mladih
music performers often start with their
glazbenika. Izvoai popularne glazbe
education at a little later age than their
esto zapoinju svoje obrazovanje u kas- fellow students in regular music schools,
nijoj dobi od redovnih uenika glazbenih frequently continuing their education
kola i nerijetko ga stjeu privatnom
through private lessons, courses, and inpodukom, teajevima i samostalnim
dependent engagement. In order to creradom. Da bi se i njima omoguio
ate a possibility for such popular music
nastavak kolovanja zajedno s redovnim enthusiasts to be able to acquire necesuenicima, kandidati za upis u srednju
sary knowledge and education through
kolu za popularnu i jazz glazbu mogu
regular schooling the candidates for
biti stariji od 17 godina, a svi se upisuju
popular and jazz music high-school ennakon uspjeno poloenog prijamnog
rolment need to be older than 17 years of
ispita. Odgojni i obrazovni cilj srednje
age and can all become students of the
kole za popularnu i jazz glazbu je
school after successfully passing the enstvaranje profesionalnih kadrova za
trance exam. Educational goal of popular
potrebe glazbene produkcije te
and jazz music high-school is contributpripremanje uenika za nastavak
ing to creating professionals who can
kolovanja na visokokolskoj glazbenoj
work in music production and preparing
ustanovi.
students for continuation of education at
universities and academies.

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Marko Bakovi

Igor Tatarevi

290

Marko Bakovi (1987.) student je 2. godine novinarstva na Visokoj novinarskoj


koli. Zavrio je Srednju glazbenu kolu
Elly Bai, smjer klavir, nakon ega upisuje bubnjeve na RA (Rock-akademiji),
Voditelj projekta Igor Tatarevi (Mostar, kod Roberta Jambruia. Kao petnaesto1976.) diplomirao je violinu na Muzikoj godinjak pokree bend Downtown luAkademiji u Zagrebu, u klasi Branka
natics , a 2007. godine snima prvi demo
Koira. Profesor je na RA gdje pouava
pod nazivom Prvo i osnovno. Na MD
skupno muziciranje, solfeggio i korepeti- (Muzici-diverziji) predstavlja se kao
ciju od 2003. godine te prireuje i vodi
kantautor skladbom rap izriaja zajednike nastupe polaznika u glazbe- Doivotna robija.
no-scenskim djelima. Student je 2. godine
dirigiranja na Muzikoj akademiji u Za- Marko Bakovi (1987) is a second-year
grebu, u klasi maestra Vjekoslava uteja. student of journalism at the Institute for

Igor Tatarevi (Mostar, 1976) graduated


in violin from the Music Academy in
Zagreb in the class of Branko Koir. He
has been teaching group playing,
solfeggio and accompaniment at RA
since 2003 and is active in preparing and
leading joint performances by students
in musical-scenic pieces. He is a second
year-student of conducting at the Music
Academy in Zagreb in the class of
maestro Vjekoslav utej.

Journalism in Zagreb. He graduated


piano from the Elly Bai secondary
music school after which he started
studying percussions at the RA (Rock
Academy) with Robert Jambrui. When
he was fifteen years old he founded a
band named Downtown lunatics that
made its debut recording The First and
Foremost in 2007. At the MD (Muzika-diverzija) he participated as a songwriter of
rap composition - Doivotna robija (Lifetime Sentence).

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Kaurov

month

Aleksandar

day

Blaevi

Luka

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Luka Blaevi (1986.) student je Fakulteta


strojarstva i brodogradnje. Osnove sviranja
gitare uio je kod prof. Tomislava Vasilja.
Od 2004. ui gitaru na RA, a kasnije i Osnovnu kolu za popularnu i jazz glazbu,
u klasi prof. Maria Igreca i Zorana ekia.
Skupno muziciranje pohaao je kod
Ante Prgina i Igora Tatarevia. lan je
benda Pink Studio, iji album prvijenac
izlazi u svibnju 2009. Na MD se predstavlja se kao autor dviju skladbi rock
izriaja - Rocker i graanin svijeta i
Kapetan broda.

Aleksandar Kaurov (1985.) zavrio je


Srednju kolu za tekstil, kou i dizajn, te
Srednju glazbenu kolu Zlatko Balokovi,
smjer kontrabas i klavir. Aktivno sudjeluje
u KUD-u makedonske manjine. Svira
tapan i nastupa kao klavirist, a 2008.
godine upisuje teaj skladanja na RA kod
Marka Tomasovia. U suradnji s tekstopiscem edom Vukoviem pisao je
mjuzikle i eksperimentalno-glazbenu
baletnu suitu te skladbu Ljubav, to smo
mi, koju RA izvodi u sklopu MD, s uvertirom - Gospodin Kia.

Luka Blaevi (1986) is a student of the


Faculty of Shipbuilding and Mechanical
Engineering. He received basic education
in guitar with his teacher Tomislav Vasilj.
He has been studying guitar at the RA
since 2004. At the Elementary school for
popular and jazz music he studies in the
class of Professors Mario Igrec and Zoran
eki. He attended group playing with
Ante Prgin and Igor Tatarevi. He is a
member of the band Pink Studio whose
first album is scheduled to be released in
May 2009. At MD he participated as an
author of two rock compositions - Rocker i
graanin svijeta (A Rocker and Citizen of the
World) and Kapetan broda (Ship Captain).

Aleksandar Kaurov (1985) finished


Textile and Design High School and Secondary music School Zlatko Balokovi in double bass and piano. He is an active
member of Macedonian minority Cultural Club. He plays tapan drum and
performs as a pianist. In 2008 he enrolled
into composition class of Marko Tomasovi at the RA. In cooperation with
text writer edo Vukovi he wrote musicals, experimental musical ballet suite,
and composition Ljubav, to smo mi
(Love, that is what we are) which was
performed by RA within MD and includes an overture titled Gospodin Kia
(Mr Rain).

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Magdalena Loborec (1989.) studentica je


2. godine Fakulteta elektrotehnike i raunarstva, i 4. razreda Osnovne glazbene
kole za popularnu i jazz glazbu u klasi
prof. Zorana ekia te ui gitaru kod
Ladislava Raia i Alana Dovia. lanica
je metal benda Angel Of Fire. Na ovogodinjem MBZ-u u predstavlja se kao
autorica skladba Tiha glad i Dvori od
svjetlosti.

293

Stipi

Ivan

Loborec

Magdalena

292

Ivan Stipi (1989.) student je 1. godine


Fakulteta elektrotehnike i raunarstva.
Na RA pohaa teajeve klavira u
klasama prof. Berislava Arlavija i prof.
Kreimira Galina. Sklada pop-rock
glazbu, a na MD nastupa u dvostrukoj
ulozi, kao autor skladbe pop-rock
izriaja - Prazna obeanja, te kao klavijaturist.
Ivan Stipi (1989) is a first year student
at the Faculty of Electrical Engineering
and Computing. At the RA he attends
piano course in the classes of Berislav
Arlavi and Kreimir Galin. He is a composer of pop-rock music and at the MD
he performs as an author of a pop-rock
composition - Prazna obeanja (Empty
Promises) and as a pianist.

Magdalena Loborec (1989) is a secondyear student at the Faculty of Electrical


Engineering and Computing and is in
the 4th grade of Elementary school for
popular and jazz music in the class of
professor Zoran eki, and studies
guitar with Ladislav Rai and Alan
Dovi. She is a member of a metal band
Angel of Fire. At this years MBZ she will
participate as an author of compositions
Vie o Muzici-diverziji /
Tiha glad (Silent Hunger) and Dvori od
More on Music-Diversion: str / page 412
svjetlosti (Light Castles).

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day

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17:00, Mimara
Pierrot Solaire / Sunana Pierrot / Solar Pierrot
Luisa Sello, koncept i flaute / concept and flutes
Silvio Vovk, recitator / reciter

19:30, KDVL
Pekinki simfonijski orkestar /
Beijing Symphony Orchestra

22:00, MDVL
Ana Sokolovi: Love Songs / Ljubavne pjesme
monoopera / mono opera

23:30, &TD
ICARUS JUNIOR
(dio projekta Muzika-diverzija /
a part of the Music-Diversion project)

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17:00, Mimara
Pierrot Solaire / Sunana Pierrot / Solar Pierrot
Luisa Sello, koncept i flaute /
concept and flutes
Silvio Vovk, recitator / reciter
Davide Anzaghi: Aulorama
Daniele Zanettovich: Les Agnis / Vile Aganis / The Aganis Fairies*
Marcello Fera: Die geheiminsvolle Flte / The Mysterious Flute /
Tajanstvena flauta*
Caterina Calderoni: Crhysalis II / ahura II *
Karl Heinz Stockhausen: Flautina
Massimo Brajkovi: Fantasia / Fantazija*
Sanda Majurec Zanata: Un soffio, un sospiro / amor, uzdah /
A Murmur, a Sigh*
Andrea Talmelli: Studio coreografico n.1 sui Klinamen /
Koreografska studija br. 1 prema klinamenu /
Choreographic Study no. 1, after Klinamen
Giampaolo Coral: Esorcismo del serpente marino /
Egzorcizam morske zmije / Exorcism of the Sea Serpent

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297

Pierrot Solaire / Solar Pierrot


In the year 1912 Arnold Schnberg rejected the conventional canons of performance used until the beginning of the
20th century and assigned a representational role to the interpret of his Pierrot
Lunaire, putting him in a mimetic relationship with the text.
Using Schnbergs position as its starting point, the Pierrot Solaire, which also
shows influences of compositions that
accentuate the emotional quality of musical poetics, adopts the premises of the
Viennese composer while stressing the
importance of gestural expression by
means of micro-direction.
Thus the compositions and their sonic
development gain expressiveness, which
is not necessarily descriptive, but is always
strong and very emotional. The narrated
text springs from the poetics of the compositions themselves, which intentionally
reverses the conventional practice of setting text to music. Contrary to the habitual practice of previous centuries, what
is being narrated here is the music.
Music is the protagonist and the moving
force of the show.

Pierrot Solaire / Sunana Pierrot


Odbacujui uvrijeene kanone izvoenja prepoznatljive sve do poetka 20. stoljea, Arnold Schnberg 1912. godine
izvoau svog djela Pierrot Lunaire dodjeljuje ciljano reprezentativnu ulogu i
stavlja ga u mimetiki odnos s tekstom.
Koristei Schnberga kao polaznu toku,
predstava Pierrot Solaire, u kojoj je prisutan i utjecaj kompozicija koje naglaavaju emocionalnu vrijednost glazbenih
poetika, preuzima premise bekog kompozitora te pomou mikroreije poseban
naglasak stavlja na gestualni izraz.
Shodno tomu, kompozicije i njihov
zvukovni razvoj dobivaju na izraajnosti,
koja nije nuno deskriptivna, ali je zasigurno snana i veoma emocionalna.
Pripovijedani tekst proizlazi iz poetike
samih kompozicija, ime se namjerno
obre uobiajeni nain uglazbljivanja
teksta. Za razliku od prolih stoljea,
ovdje se pripovijeda glazba, ona je uvijek
protagonist i kreativni pokreta predstave. The narration follows the flow of the music, permitting changes of lighting and
Pripovijedanje slijedi glazbeni tijek te,
costume and accentuating the atmosphere
osim to doputa promjene osvjetljenja i of musical pieces. Pierrot, an enchanted
kostima, pojaava i uokviruje atmosferu girl, enters the world of humans to reglazbenih komada. Pierrot, arobna dje- mind them of virtues they only too often
vojica, dolazi u svijet ljudi sa zadaom tend to forget. Magic rites celebrate her
da ih podsjeti na vrijednosti koje oni pre- arrival in the city of Perla, governed by
esto zaboravljaju. Magini obredi prate superficiality, indifference and haste. Panjezin dolazak u grad Perlu, u kojem
tera, the snake god, a demon that takes
vlada povrnost, ravnodunost i urba.
possession of peoples thoughts when
Patera, bog-zmija, demon koji ovladava they are asleep, is the personification of
mislima ljudi dok spavaju, predstavlja
evil, envy and individualism. Only the
zlo, zavist i individualnost. Samo e jeunion of the most profound values will
dinstvo najdubljih ljudskih vrijednosti
successfully annihilate his power. The
uspjeti pokoriti njegovu mo. Taj isti Pat- same Patera, guardian of suppressed
era, uvar potisnutih vrijednosti, stvara
virtues, creates a little rogue, a boy with
jednog vragolana, djeaka zlatne koe golden skin who, interlacing his fingers
koji e, isprepliui svoje prste sa
with those of the sweet Pierrot, begins a
prstima ljupke Pierrot, krenuti prema
journey towards a world of knowledge
svijetu spoznaje i slobode izraza. U tome and freedom of expression. They are acih prati skrivena melodija Johanna Secompanied by a hidden melody of Johann
bastiana Bacha, simbol snage umjetnosti Sebastian Bach, a symbol of the force of
kao apsolutne vrijednosti. [Luisa Sello] the absolute value of art. [Luisa Sello]

Luisa Sello

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Vovk

Luisa Sello took her diploma in flute at


the Conservatory of Udine, and then
studied in Siena with Severino Gazzelloni and in Nice with Alain Marion. Her
meeting with the flautist and teacher
Raymond Guiot was of fundamental significance. Under Guiot she undertook
advanced studies in Paris. She then pursued the study of interpretation at the
prestigious school of the conductor Luigi
Toffolo. Her classical background is
combined with knowledge of early music
performance and the study of the transverse flute, with specialized study of
Bachs repertoire, as well as a constant
interest in contemporary production.
Sello teaches flute at the Giuseppe Tartini Conservatory of Trieste. Luisa Sello
is supported by the international association of the Italian Ministry of Culture
CEMAT.

Silvio

Luisa Sello diplomirala je flautu na


konzervatoriju u Udinama, a studirala je
i u Sieni sa Severinom Gazzellonijem i
Nici s Alainom Marionom. Od presudne
je vanosti bio njezin susret s Raymondom
Guiotom, kod kojega se usavravala u
Parizu, dok je interpretaciju studirala u
prestinoj koli dirigenta Luigija Toffola.
Klasina glazbena znanja kombinira s
poznavanjem rane glazbe i bavljenjem
poprenom flautom te sa specijalizacijom
iz Bachove glazbe, kao i stalnim zanimanjem za suvremenu produkciju. Pouava
na Konzervatoriju Giuseppe Tartini u Trstu. Djeluje uz podrku udruenja CEMAT pri talijanskome Ministarstvu kulture.

Silvio Vovk (Zagreb, 1986.) studira


glumu na zagrebakoj Akademiji dramskih umjetnosti. U novije je vrijeme glumio u filmu Gdje pingvini lete i predstavi
Djeaci Pavlove ulice.
Silvio Vovk (Zagreb, 1986) is a student of
acting at the Academy of Dramatic Art in
Zagreb. He has recently appeared on
film in Gdje pingvini lete / Where Penguins Fly and theatre in Djeaci Pavlove
ulice / The Boys of Paul Street.

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299

Anzaghi

Davide

298

Davide Anzaghi (Milano, 1936.) diplomirao je kompoziciju, dirigiranje, zborsku


glazbu te studij klavira na Konzervatoriju
Giuseppe Verdi u Milanu. Pohaao je i
majstorske teajeve iz kompozicije kod
G. F. Ghedinija i F. Donatonija. Docent je
kompozicije na Milanskom konzervatoriju. Njegove skladbe izvoene su u najpoznatijim talijanskim i meunarodnim
centrima, a pobjednik je brojnih
dravnih i meunarodnih natjecanja
(ukljuujui i Natjecanje Olivier Messiaen za 1974. godinu). Objavljuje radove
pri izdavakoj kui Suvini & Zerboni.
Nakon to je mnogo puta prisustvovao
divnim pjesnikim itanjima proetim
glazbenim interludijima solo flaute (Debussy, Honneger, Fukuschima, itd.),
autor je i sam odluio dati svoj doprinos
ovoj njenoj kombinaciji dviju umjetnosti. Tako je nastala kratka kompozicija
Aulorama, inspirirana faunskim, mitskim zvukom Panova instrumenta i njegovim arobnim lepranjem. Aulodija
bez uzvienosti. Dananja povrnost
poezije i glazbe (i umjetnosti openito)
nije im nimalo umanjila vrijednost, nego
ih je usmjerila prema edenu plemenite
povrnosti, za kojom se osjea iva
potreba. Umjetnost nikada nije bila
tako nuna kao onda kada su je trgovci
proglasili beskorisnom.

Davide Anzaghi (Milan, 1936) studied


composition, conducting, choral Music
and chorus cirection, and ciano at the
Giuseppe Verdi Conservatory in Milan.
He also attended specialization courses
in composition held by G. F. Ghedini and
F. Donatoni. He is professor of Composition at Milan Conservatory. His compositions have been performed in some of
the most renowned Italian and international centers, and he has won many national and international competitions
(for example, the Olivier Messiaen Competition in 1974). His works are published
by the publisher Suvini & Zerboni.
After participating in many beautiful poetry readings interspersed with solo flute
interludes (Debussy, Honneger, Fukuschima, etc.), the author decided to give
his contribution to this delicate combination of arts. Thus he wrote Aulorama,
a brief composition inspired by the faunlike, mythical sound of Pans instrument
and its magical flutter. An aulody without erudition. Todays superficiality of
poetry and music (and the arts in general) has not lessened their value; instead, it has directed them towards the
Eden of noble superficiality, for which
there is a pressing need. Never has art
been more necessary than now, when
merchants proclaimed it useless.

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Daniele Zanettovich

day

Daniele Zanettovich (Trieste, 1950) has


won the following competitions: the G.
B. Viotti Competition of Vercelli, the R.
Zardonai Competition of Roveredo, the
Prix Prince Pierre de Monaco, the C. F.
Malipiero Competition of Treviso and
Genevas Opera and Ballet Competition.
His works are published by the Leduc,
Sonzogno, Ricordi, Zanibon, Curci, and
Pizzicato publishing houses. He teaches
composition at the J. Tomadini ConserU narodnoj tradiciji Furlanije Les Agnis vatory in Udine.
imitiraju pjev vodenih vila koje, prozirne
i omotane velom, na treperavom svjetlu In the folk tradition of the Friuli region
mjeseine izvode igre i plesove sluei se Les Agnis imitate the chanting of the
water fairies which, evanescent and
cvjetovima zvonia. Konstantna elektronika podloga bazira se na unaprijed veiled, play and dance with snowflake
flowers in the flickering moonlight. The
snimljenim zvukovima flauta i ini
zvukovno tkivo jezera na koje se nado- constant electronic background consists
grauju linije pjeva. Kada se u daljini za- of prerecorded flute sounds and represents the sonic tissue of the lake, while
uje zvuk zvona, arolija nestaje!
the singing lines are added onto it. At the
distant sound of a bell the magic stops!
Daniele Zanettovich (Trst, 1950.)
pobjednik je natjecanja G. B. Viotti u Vercelliju, R. Zardonai u Roveretu, Prix Prince
Pierre u Monaku, C. F. Malipiero u Trevisu
te Natjecanja enevske Opere i Baleta.
Njegova djela objavljuju izdavake kue
Leduc, Sonzogno, Ricordi, Zanibon, Curci
i Pizzicato. Profesor je na Katedri za
kompoziciju na Konzervatoriju J. Tomadini u Udinama.

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301

Fera

Marcello

300

Marcello Fera (Genova, 1966.) zavrio je


studij violine na Konzervatoriju N. Paganini, a poslije se usavravao kod R. de
Barbierija i S. Gheorghiua. Kompoziciju
je studirao kod V. Gobokara i J. Droueta,
a dirigiranje kod P. Hlzla. Od 1999. godine stalni je voditelj Ansambla Conductus iz Merana.
Die geheimnisvolle Flte / Tajanstvena
flauta: Ovo djelo, u kojem kombinira
zvuk i gestu, Fera je napisao 2004. godine
za Pierrot Solaire. Konstruirano je prema
kratkoj pjesmi na njemakom jeziku,
koja zahvaljujui brojnim zubnikim, okluzivnim i usnenikim slogovima stvara
neobine izvore zvuka u instrumentu.
Na to se nadovezuju pokreti tijela koji
pomau kretanju izvora zvuka i mali
lirski fragmenti koji strukturom podsjeaju na japansku haiku poeziju i
formu japanskog noh teatra, u kojem
gesta perforira prostor. Izvoa mora postati glumac i imitirati naizmjenino
tamne sekvence i lirske sekvence, inei
da prostor tee u nekoj vrsti istraivanja
atmosfere. Performans, zasnovan na njemakoj verziji pjesme Li Taj-poa, koju je
ve obradio Webern, problematizira
minimalnu gestu koja postaje kljuni dio
nepominosti.

Marcello Fera (Genova, 1966) studied


violin at the Paganini Conservatory. After
finishing his academic training he attended specialization courses with R. de
Barbieri and S. Gheorghiu. He studied
Composition with V. Globokar and J.
Drouet, and Conductorship with P.
Hlzl. Since 1999 he has been the permanent leader of Meranos Conductus Ensemble.
Die geheimnisvolle Flte / The Mysterious Flute: The composition, which combines sound and gesture, was written in
2004 for the Pierrot Solaire. It is inspired
by a short song in the German language,
which, owing to many dental, occlusive
and labial syllables, creates unusual
sources of sound in the instrument. This
experience is enhanced by body movements which cause the sound source to
move, and also by small lyrical fragments
similar to Japanese haiku poetry and by
the Japanese Noh theatre, in which gesture perforates space. The interpret must
become an actor who alternately imitates deep and lyrical sequences, making
the space flow in a sort of exploration of
atmosphere. The performance, based on
a German version of the poem by Li Tai
Po and already treated by Webern, analyzes the problem of minimal gesture as
an unavoidable part of immobility.

day

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Calderoni

Caterina

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Caterina Calderoni (Ravenna, 1963.) zavrila je studij glasovira i kompozicije


kod B. Bettinellija, a potom se usavravala kod F. Donatonija. Godine 1991. pobijedila je na Natjecanju za filmsku glazbu
koje je na sienskoj Accademiji Chigiani
organizirao E. Morricone, a 1997. prola
je u finale natjecanja iz kompozicije
ALEA III u Bostonu. Profesorica je kompozicije na Konzervatoriju u Bariju.
Djelo Chrysalis II /ahura II istrauje
mogue naine irenja i transformacije
svakog pojedinog zvuka, ukljuujui i
manje plemenite zvukove poput
zveckanja kljueva, disanja ili puhanja.
Neodreenost timbra i intonacije
(uzrokovana brzinom pokreta) potrebna
je kako bi se ostvarila hrapava, estoka,
sirova zvunost. Obian zvuk teko se
probija iz zamrenog pletiva sirove materije. I ritam je odreen dahom kojemu
se s obzirom na okolnosti mijenjaju
uestalost i intenzitet. Svijet Chrysalisa,
nagovijeten skulpturama od poliestera i
svjetlosnim oblikovanjem, materija je
koja se oformljuje tako da se spiralnim
vlaknima omata sama oko sebe, poput
liinke u ahuri.

Caterina Calderoni (Ravenna, 1963)


studied Piano and Composition with B.
Bettinelli and later attended master
classes with F. Donatoni. In 1991 she
won the Competition for Film Music
organized by E. Morricone at the Accademia Chigiana in Siena, while in 1997 she
reached the finals of the ALEA III Composition Competition in Boston. She
teaches Composition at the Bari Conservatory.
The piece Chrysalis II explores potential
ways of expansion and transformation of
every individual sound, including less
noble sounds such as clinking of keys,
breathing or blowing. The indeterminacy
of the timbre and intonation (caused by
the velocity of the movement) is necessary in order to produce a rough, violent,
raw sonority. The ordinary sound
emerges with difficulty from the ruffled
network of raw matter. The rhythm is determined by breathing, which changes
frequency and intensity according to circumstances. The world of Chrysalis, suggested by polyester sculptures and
distinct lighting, represents matter that
becomes form by wrapping itself with
spiral threads, like a larva in its cocoon.

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Stockhausen

Karlheinz

302

Karlheinz Stockhausen (Kln, 1928. Krten-Kettenberg, 2007.). Jedan od


tvoraca takozvane punktualne glazbe,
posvetio se elektroakustinoj glazbi.
Njegova poetika sadri snanu ekscentrinu i provokativnu komponentu.
Flautina je arobni duh flaute u ljudskom obliju. Partitura je napisana za
enskog izvoaa jer zvuk flaute
odgovara kvalitetama enskog glasa.
Premda kompozicija poinje tradicionalnim zvunim sekvencama, u nastavku se
ona sve vie obogauje zvunim efektima koje proizvodi tijelo, poput pjeva,
puhanja ili disanja. Malo-pomalo duh
flaute naputa svoju izvornu ulogu i
postaje ljudsko bie. Njegova je bit
sadrana u posljednjoj noti koja, nestabilna i nesigurna, izmie intonaciji u
trenutku u kojem se duh oslobaa iz
instrumenta.

Karlheinz Stockhausen (Cologne, 1928 Krten-Kettenberg, 2007). One of the


creators of the so-called pointillist
music, he dedicated his efforts to the
field of electroacoustic music. His poetics contains a strongly eccentric and
provocative component.
Flautina is the magical spirit of the flute
which materializes in human form. The
score is intended for a female interpret
because the sound of the flute is closer to
the qualities of the female voice. Even
though the composition begins with traditional sound sequences, as it progresses, it becomes more and more
imbued with sound effects created by
the body, such as singing, blowing or
breathing. The spirit of the flute slowly
abandons its original role and becomes a
human being. Its essence is captured in
the last note which, unstable and uncertain, flees intonation at the moment of
the spirits release from the instrument.

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Brajkovi

Massimo

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Massimo Brajkovi studirao je kompoziciju i klavir na Akademiji za glazbu u


Ljubljani. Redoviti je profesor na Filozofskom fakultetu u Puli. Kao skladatelja,
posebno ga zanimaju instrumentalna i
elektronika glazba.
Skladba Fantasia za flautu solo nastala
je 2008. godine na zamolbu svjetski priznate flautistice Luise Sello, kojoj je i
posveena. Siguran sam da e magian
zvuk njezine flaute svakako to i opravdati. Skladbe je prokomponirana, to
opravdava i naslov djela, sastavljenog od
vie odsjeka koji kontrastiraju u tempu,
karakteru, strukturi i mjeri. Melodika se
bazira na oktotonskom nizu koji sam
upotrebljavao s velikim interesom,
posebno zato to se na momente
prekrasno profilirao s elementima meni
vrlo dragog istarskog modusa, koji mi je
duboko uroen. Pored toga nastojao sam
predstaviti tehnike, interpretativne i
koloritne mogunosti samog instrumenta, a budui da je skladba u rukama
izuzetnog interpretatora, publika moe
oekivati pravi glazbeni produkt. [Massimo Brajkovi]

Massimo Brajkovi studied composition


and piano at the Academy of Music in
Ljubljana. He is a full professor at the
Faculty of Humanities in Pula. As composer, he is especially interested in instrumental pieces and electronic music.
Fantasia for solo flute was written in
2008 at the request of the world-famous
flutist Luisa Sello, to whom it is dedicated. I am certain that the magical
sound of her flute will fully justify this
dedication. The piece is through-composed, which also explains its title. The
piece is composed of several contrasting
sections which differ with regard to
tempo, character, structure, and meter.
The melody is based upon an octotonic
sequence, which I used with much pleasure because it combines beautifully with
elements of the Istrian mode. The Istrian
mode is very dear to me and I exploit it
with great joy because it is an important
part of who I am. Moreover, I tried to
present the technical, interpretative and
timbric possibilities of the instrument,
and, since the piece is in the hands of an
extraordinary interpret, I expect the result to be a real musical treat. [Massimo
Brajkovi]

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Talmelli

Andrea

304

Andrea Talmelli (Montese, 1950.) zavrio je studij klavira i kompozicije kod


B. Bettinellija. Ravnatelj je Glazbenog instituta Reggio Emilije. Osvojio je brojne
nagrade, a njegove su skladbe snimljene
i emitirane na RaiTre, Televiziji Koper,
Radiju talijanske vicarske, Ruskom
dravnom radiju i ORF-u. Njegov skladateljski jezik kombinira iskustva poslijeratne avangarde sa zahtjevima
ekspresivnosti.
Na prijelazu iz sedamdesetih u osamdesete godine Talmelli je napisao nekoliko
Otklona (Klinamen) za razliite instrumentalne sastave. Naslov se referira na
jedan od principa epikurejske fizike
prema kojem se u jednolinom
okomitom kretanju atoma ponekad
dogaaju devijacije (klinamen) koje
uzrokuju sluajne sudare atoma. Atomi
se tada grupiraju i tako nastaju razliiti
prirodni oblici. Ovoj fascinantnoj temi,
koja se bavi antikom filozofijom i problemom svemira, autor se ponovno vratio
2000. godine serijom elektronikih
skladbi, odnosno - kao u ovom sluaju skladbi posveenih jednom instrumentu
s elektronikom podlogom. Djelo je
napisano za Pierrot Solaire i posveeno
Luisi Sello, koja izvodi i mimike elemente skladbe.

Andrea Talmelli (Montese, 1950) studied


Piano and Composition with B. Bettinelli. He is the director of the Reggio
Emilia Music Institute. He has won many
prizes, and his compositions have been
recorded and aired on RaiTre, TV-Koper,
the Italian-Swiss Radio, the Russian State
Radio and ORF. His vocabulary combines experiences of post-war avantgarde with demands for expressivity.
In the late Seventies and early Eighties
Talmelli wrote several Klinamen for different instrumental combinations. The
title refers to one of the principles of Epicurean physics, where clinamen stands
for some kind of deviation that disturbs
the uniform perpendicular movement of
atoms, causing them to randomly collide
with one another. These atoms then
gather into groups, creating different
natural shapes. In 2000 the author returned to this fascinating subject, which
explores ancient philosophy and the universe, with a series of electronic compositions and compositions for a solo
instrument with an electronic background. This composition, which belongs to the latter, was written for the
Pierrot Solaire and dedicated to Luisa
Sello, who performs the mimic elements
of the piece as well.

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Sanda Majurec Zanata

day

Sanda Majurec Zanata (Mali Loinj,


1971.) studirala je kompoziciju u klasi
Stanka Horvata na Muzikoj akademiji u
Zagrebu te kasnije u Darmstadtu, Austriji
i vedskoj. Studirala je i embalo u klasi
Vinje Mauran, usavravajui se zatim u
izvedbi barokne glazbe. Predaje na Muzikoj akademiji u Zagrebu.
Skladbu Un soffio, un sospiro napisala je
za Pierrot Solaire, inspirirana tekstom
koji joj je poslala Luisa Sello, dijelom
Pierrota u kojem se Pierrot zaustavlja
pored udnih usta (televizora) koja
proizvode metalne zvukove i sanjive
melodije.

Sanda Majurec Zanata (Mali Loinj,


1971) studied composition under Stanko
Horvat at the Music Academy in Zagreb
and later in Darmstadt, Austria and Sweden. She also studied the harpsichord
with Vinja Mauran, later perfecting her
skills in the performance of baroque
music. She teaches at the Music academy in Zagreb.
Majurec Zanata wrote Un soffio, un
sospiro for Pierrot Solaire, inspired by
the text she was sent by Luisa Sello, the
part of Pierrot where Pierrot stops by a
strange mouth (a television set) creating metal sounds and dreamy
melodies.

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Coral

Giampaolo

306

Giampaolo Coral (Trst, 1944.) poinje


skladati veoma mlad i debitira u Njemakoj 1969. godine. Njegova glazba osvojila je brojne nagrade, a izvode je
nacionalne i internacionalne glazbene
institucije i radiji. ivi i radi u Trstu kao
slobodni skladatelj. Skladba Egzorcizam
morske zmije inspirirana je tajanstvenim
prikazima koji se mogu vidjeti na
grafikama 16. stoljea. Ovdje je pak rije
o crteu austrijskog umjetnika Alfreda
Kubina koji prikazuje morsku zmiju. S
promjenom kouljice (egzorcizam) glava
i rep se spajaju i dobiva se prava tinktura.
Skladba Egzorcizam morske zmije za
flautu i bas-flautu inspirirana je tajanstvenim prikazima koji se esto viaju
na grafikama 16. stoljea. Ovdje je pak
rije o crteu austrijskog umjetnika Alfreda Kubina koji prikazuje morsku
zmiju. Ona moe poprimiti bilo koji
oblik i njezina je priroda dvojaka (Sunce i
Mjesec): dolje je sumpor, topao, vrst,
trajan; gore je srebro, hladno, prevrtljivo,
promjenljivo. S promjenom kouljice
(egzorcizam) glava i rep se spajaju i nastaje odgovarajua tinktura.

Giampaolo Coral (Trieste, 1944) began


composing at an early age, debuting in
Germany in 1969. His music has won numerous prizes and is performed by national and international music
institutions and radios. He lives and
works in Trieste as a freelance composer.
The Exorcism of the Sea Serpent is inspired by the mysterious imagery often
seen in 16th century graphic art. Here, the
composer was directly inspired by Alfred
Kubins drawing of a sea serpent. After
the snake casts its skin (exorcism), the
head and the tail meet to form the appropriate tincture.
Exorcism of the Sea Serpent was written
for flute and bass flute and inspired by
the mysterious imagery often seen in 16th
century graphic art. In this case the author used a drawing by the Austrian
artist Alfred Kubin, which represents a
sea serpent. The serpent can assume any
form and its nature is twofold (the Sun
and the Moon): below is sulfur, warm,
firm, durable; above is silver, cold, inconstant, changeable. After the snake
casts its skin (exorcism), the head and
the tail meet to form the appropriate
tincture.

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sat

19:30, KDVL
Pekinki simfonijski orkestar /
Beijing Symphony Orchestra
Li Biao, udaraljke / percussion
Giampiero Sobrino, klarinet / clarinet
Tan Lihua, dirigent / conductor
(U suradnji sa Zagrebakom filharmonijom, u sklopu ciklusa Plava oktava /
In association with the Zagreb Philharmonic Orchestra as part of the Blue
Octave cycle)
Ante Kneaurek: Passacaglia*
Tang Jianping: Koncert za udaraljke i orkestar Sveta vatra - 2008. /
Concerto for Percussion and Orchestra Sacred Fire - 2008

Alberto Colla: Concinnitherium,


il richiamo del grande sauro / Zaziv velikog saura / The Evocation of a Great
Lizard*,
za klarinet i orkestar / for clarinet and orchestra
Bao Yuankai: Simfonija Pekinka opera / Beijing Opera Symphony
Jing: The painted Face / Obojeno lice
Chou: The Comedian / Komedija
Dan: The Lady / Dama
Sheng: The Man / Mukarac

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308

Pekinki simfonijski orkestar osnovao


je maestro Li Delun 1977. godine.
Sadanji glazbeni ravnatelj i ef-dirigent
orkestra je Tan Lihua. Kao simfonijski
orkestar glavnoga grada sastavljen je od
glazbenika vrhunskih umjetnikih
dosega. Danas je jedan od najpopularnijih orkestara u dravi. Poetkom 1990-ih
orkestar je doivio velike promjene uz
podrku gradskih vlasti. Predanim
radom i vjebanjem postignut je velik
napredak u izvoakim sposobnostima.
Uz redovne koncerte kojima ravna
glazbeni ravnatelj, PSO je suraivao i s
brojnim cijenjenim svjetskim dirigentima. Svake godine odsvira vie od 80
koncerata s programima irokog raspona
anrova za sve ukuse.
Veliku panju orkestar posveuje razvoju
i promociji kineske simfonijske glazbe.
Svojom podrkom suvremenim kineskim
skladateljima znaajno je pridonio kineskom simfonijskom repertoaru. PSO
takoer svira uivo za Kinesku televiziju:
njihov koncert na Velikom zidu Badaling
1996. godine predstavio je svijetu spoj
stare kineske civilizacije i moderne kulture. Pozivani su na nastupe diljem svijeta i surauju s brojnim simfonijskim
orkestrima i dirigentima, a mnogi su se
priznati solisti odluivali na suradnju s
ovim orkestrom. Nedavno su potpisali
ekskluzivni ugovor s diskografskom
kuom EMI. Uoi svake Nove godine
PSO nastupa u Velikoj dvorani naroda, a
stotine milijuna Kineza koncert prate
putem televizijskog prijenosa.

309

The Beijing Symphony Orchestra (BSO)


was founded in 1977 by maestro Li
Delun. Maestro Tan Lihua is the orchestras current Music Director and Principal Conductor. Being the symphony
orchestra of the nations capital, the BSO
has many musicians of great artistic attainments. It has now become one of the
most popular orchestras within the nation.
In the early 1990s, the orchestra underwent adjustments on a large scale with
the support of the Municipality. Considerable progress had been made in its
performing skill through hard work and
diligent practice. In addition to the regular concerts conducted by its music director, the BSO has collaborated with
many esteemed conductors from all over
the globe. Every year, the orchestra presents over 80 concerts, representing a
wide variety of genres and tastes.
The BSO takes great responsibility in developing and promoting Chinese symphonic music. Through its support of
modern Chinese composers, the Beijing
Symphony Orchestra has made remarkable contributions to the development of
the Chinese symphonic repertoire.
The BSO also performs many live broadcast concerts for CCTV. The BSOs performance on the Badaling Great Wall in
1996, which was broadcast through
satellite, combined the ancient Chinese
civilization and modern culture before
the people of the world.
The BSO is regularly invited to perform
around the world and it has benefited
through cooperation with numerous
symphony orchestras and conductors,
with many noted soloists choosing to
collaborate with them. Recently the orchestra signed an exclusive contract with
the EMI. On the Eve of each New Year,
the BSO always performs in the Great
Hall of the People and hundreds of millions of Chinese enjoy it through TV
broadcast.

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Cijenjeni dirigent Lihua Tan (kin. Tan


Lihua) iznimno je traen u domovini,
Kini, i inozemstvu. Kao gostujui dirigent
uspjeno je suraivao s orkestrima u Europi, SAD-u, Kanadi, Izraelu, Australiji,
Argentini, Meksiku, Kolumbiji i Panami.
Predan muziciranju u vlastitoj zemlji,
maestro Tan ravnao je gotovo svim poznatijim kineskim orkestrima. Bio je i gostom-dirigentom Ruskoga dravnom
akademskog simfonijskog orkestra.
Tan je ef-dirigent te glazbeni ravnatelj
Pekinkog simfonijskog orkestra.
Praizveo je stotine novih kineskih djela i i
odgovoran je za kineske premijere
vanih inozemnih djela, kao to su simfonijske skladbe Dvoka, Prokofjeva i
Respighija. U razdoblju od 2001.- 2006.,
maestro Tan ve je tri puta vodio PSO na
uspjene europske turneje.
Kao jedan od najaktivnijih i najutjecajnijih dirigenata s kineske glazbene scene,
Tan je dirigirao na vie od 1000 nastupa
diljem Kine. Kako bi popularizirao simfonijsku glazbu meu mlaim kineskim
generacijama, svake godine ravna izvedbama pristupanijih simfonija i
orkestralnih hitova za uenike i studente. Do sada je vie od 40 nosaa
zvuka sa simfonijskom glazbom te
glazbom za stotine filmova i televizijskih
emisija.

As a widely respected conductor, Tan


Lihua is in great demand both at home
and abroad. As a guest conductor, Tan
Lihua has had numerous successful cooperations with many well-known orchestras in Europe, United States,
Canada, Israel, Australia, Argentina,
Mexico, Colombia and Panama. Enthusiastic about making music in his own
country, Maestro Tan has also conducted virtually all of Chinas domestic
famous orchestras. Tan was invited as
the Guest Conductor of the Russian State
Academic Symphony Orchestra.
Tan Lihua is the music director and principal conductor of the Beijing Symphony
Orchestra. He has debuted hundreds of
new works of Chinese and has also been
responsible for the premieres of important foreign works to the Chinese public,
such as the symphonic works by Dvo_k,
Respighi and Prokofiev. He led the Beijing Symphony Orchestra on three successful European tours between 2001
and 2006.
As one of the most active and influential
conductors of the Chinese music scene,
Tan has presented over 1,000 performances across China. In order to popularize the symphony to Chinas younger
generation, each year, Tan conducts a
number of easily accessible symphonies
and orchestral showpieces for students
in many universities and high schools.
To date, Tan has made more than forty
symphonic recordings and hundreds of
movie and TV scores.

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311

Sobrino

Giampiero

310

Giampiero Sobrino (Pijemont, 1965.) s


odlinim je uspjehom diplomirao na
Konzervatoriju u Alessandriji, odmah se
istaknuvi svojim glazbenim i tehnikim
osobinama na vanim meunarodnim
natjecanjima. S dvadeset godina ve je
bio prvi klarinetist Simfonijskog orkestra
RAI-a u Torinu i Torinske filharmonije.
Ondje je ostao do 1994. godine, dok je
sljedeih deset godina proveo u Orkestru
Fondacije Veronska arena. Pouavao je
na raznim konzervatorijima, na koli visoke muzike specijalizacije u Saluzzu te
na majstorskim teajevima u Italiji, Francuskoj i panjolskoj. Takoer je djelovao
u komornim ansamblima uz intenzivnu
koncertnu i diskografsku aktivnost. Sa
svojim je irokim repertoarom nastupao
na najvanijim meunarodnim festivalima.
Suraivao je s najveim dirigentima
naega doba kao to su Solti, Bernstein,
Giulini, Levine, Rostropovi, Maazel,
Temirkanov, Muti, Mehta, Chailly, Sinopoli i sa skladateljima kao to su Berio,
Boulez, Donatoni i Bussotti.

Giampiero Sobrino (Piedmont, 1965)


graduated from the Conservatory of
Alessandria with the highest marks, excelling immediately, with his outstanding technical and musical qualities, in
important international competitions. At
20, he was already First Solo Clarinet in
the RAI Symphony Orchestra of Turin
and in the Philharmonic Orchestra of the
same city - he stayed there until 1994
and spent the following ten years in the
Orchestra of Arena di Verona Foundation. He has taught in Public Conservatories, in the School of High Musical
Specialization of Saluzzo and in master
classes in Italy, France and Spain, also
collaborating in chamber music formations for an intense concert and recording activity. With his wide repertoire he
has been a soloist in the most important
international festivals. He has worked
with the greatest conductors of our time
like Solti, Bernstein, Giulini, Levine, Rostropovich, Maazel, Temirkanov, Muti,
Mehta, Chailly, Sinopoli and with composers like Berio, Boulez, Donatoni and
Bussotti.

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hour

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petak / friday

sat

Biao Li

day

Biao Li (kin. Li Biao; Nanjing, 1969.) slovi


kao jedan od vrhunskih solo-udaraljkaa
na suvremenoj meunarodnoj glazbenoj
sceni. Takav ugled stvorila mu je zadivljujua tehnika i duboko razumijevanje
udaraljki te izvanredna muzikalnost.
Studij glazbe zapoeo je s pet godina i
uskoro se dokazao kao jedno od najtalentiranije djece u Kini. U dobi od sedam
godina kao predstavnik Kine odravao je
solistike koncerte u mnogim zemljama.
Nakon to je diplomirao na Sredinjem
glazbenom konzervatoriju, kineska ga je
vlada odabrala kao jednog od prvih
udaraljkaa za studij na Konzervatoriju

In the recent international music scene


Li Biao (Nanjing, 1969) is one of the few
outstanding solo percussionists. His astonishing technique and profound understanding of the percussion
instruments as well as his extraordinary
musicality have earned him this high
reputation. He began his musical studies
at the age of five and soon was discovered as one of the most talented children
in China. At the age of seven, Li already
performed as soloist representing China
in many countries. Upon graduation
from the China Conservatory of Music in
1988, Li was chosen by the Chinese gov-

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312

ajkovski u Moskvi, gdje je uio s


Valentinom Snjegerevim i magistrirao s
najboljim ocjenama. Od 1995. do 1998.
kao stipendist DAAD-a studirao je i magistrirao na Minhenskom glazbenom
konzervatoriju s Peterom Sadlom.
Tijekom studija Li je pobjeivao na
mnogim prestinim meunarodnim natjecanjima, kao to su Debrecensko natjecanje udaraljkaa te Natjecanje Alimata.
Mnogi su mu nadareni skladatelji
posvetili svoja djela, koja je izveo tijekom
posebne, veoma uspjene turneje. Li je
ovladao s 50 - 60 razliitih vrsta udaraljki
koje potjeu s podruja Afrike, Amerike,
Europe i Azije. Nastupao je na mnogim
glazbenim festivalima, a kao solist i s
mnogim poznatim orkestrima i komornim ansamblima. Bio je pozvan u
Filharmonijski orkestar nacija kao solist
na njihovoj Davidoff turneji prijateljstva
u sezoni 1999. i 2000. po Europi i Aziji,
dok je kao solist Pekinkog simfonijskog
orkestra vie puta bio na turnejama po
Europi. Na ovogodinjoj turneji svirat e
i djelo kineskog skladatelja Gua Wen
Jinga. Li snima za diskografske kue EMI,
Teldec, DW te za vie radijskih i televizijskih postaja. Od 2003. profesor je na
Sredinjem glazbenom konzervatoriju u
Pekingu, a od 2006. na Visokoj koli za
glazbu Hanns Eisler u Berlinu. U oujku
2008. dobio je nagradu National Spirit
Achiever Award, koju dodjeljuje Mercedes Benz. Li i njegov udaraljkaki
ansambl nastupili su na ceremoniji zatvaranja Olimpijskih igara u Pekingu
2008. godine. Biao Li promovira
proizvoae instrumenata Sabian, Vic
firth, Evans i DJ, a njegove kostime sponzorira tvrtka Blanc de Chine.

313

ernment to be one of the first percussionists to study in Moscow at the


Tchaikovsky Conservatory with V.
Sniegerew and graduated with a master
degree of first honour. Li continued his
music education in Germany after winning the DAAD scholarship. He studied
at the Munich Conservatory of Music
with Peter Sadlo.
During his studies Li won many international prestige competitions including
the Debrecen Percussion Competition
and the Alimata Music Competition.
Li has also inspired many accomplished
composers to write solo percussion
works to emphasize his unique style. All
these pieces have been performed during a specific tour with tremendous success. Li masters more than 50 to 60
different kinds of percussion instruments which come from Africa, America,
Europe and Asia. Li Biao gave many solo
recitals at famous music festivals. As a
soloist he also appeared with renowned
orchestras and chamber ensembles. Following an invitation of the Philharmonia
of the Nations as Soloist on the 1999 &
2000 Davidoff Friendship Tour in Europe
and Asia, further tours led him as Soloist
with the Beijing Symphony Orchestra
through Europe.
Li Biao recorded percussion works as the
EMI, Teldec and DW labels and his performances have also been broadcasted
by the TV and Radio Stations. In 2003, Li
Biao became a teacher at the Beijing
Central Conservatory of Music and in
2006 he became a professor of the
Hanns-Eisler Hochschule fr Musik in
Berlin. In March 2008 he received the
National Spirit Achiever Award from
Mercedes Benz. Li and his Percussion
Group were invited to perform at the
closing ceremony of the 2008 Beijing
Olympic Games. Li Biao is the endorser
for the instrument company Sabian, Vic
firth, Evans, DJ. His concert costumes
are sponsored by Blanc De Chine.

day

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sat

Kneaurek

Ante

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 314

Ante Kneaurek (Zagreb, 1978.) zavrio


je studij orgulja na Muzikoj akademiji u
Zagrebu u klasi profesora Maria Penzara
2000. godine. Studirao je na HndelAkademie u Karlsruheu u Njemakoj u
razredu profesora Ludgera Lohmanna i
kod Daniela Rotha u Parizu. Dobitnik je
Rektorove nagrade Sveuilita u Zagrebu
za najbolji studentski rad ostvaren na
Muzikoj akademiji (1998./99.). Godine
1999. na Meunarodnom natjecanju iz
improvizacije Gnther Ramin na Visokoj
koli za glazbu Felix Mendelssohn-Bartholdy u Leipzigu osvaja Nagradu Gnther Ramin za polifonu improvizaciju.

Ante Kneaurek (Zagreb, 1978) received


a degree in organ from the Academy of
Music in Zagreb in the class of professor
Mario Penzar in 2000. He also studied at
the Hndel-Akademie in Karlsruhe, Germany, in the class of professor Ludger
Lohmann and with Daniel Roth in Paris.
He won the Rectors Award of the University of Zagreb for the best student
composition written at the Academy of
Music (1998/1999). In 1999 at the Gnther Ramin International Improvisation
Competition at the Hochschule fr
Musik und Theater Felix Mendelssohn
Bartholdy in Leipzig he won the Gnther Ramin Award for polyphonic improvisation.

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314

315

In Croatia he studied improvisation with


academician Anelko Klobuar and
composition with professor Marko Rudjak in whose class he graduated in 2005.
He continued his studies in composition
with Amadeus Webersinke and with
Thierry Escaiche. His works were performed in Zagreb, Osijek, Ljubljana,
Pula, Vienna, Berlin, Freyung, Detmold,
Trieste and in Udine. He is the leading
organist of the Basilica of the Sacred
Heart of Jesus in Zagreb. He has performed with many ensembles and
soloists; he is regularly recording works
for the Croatian Radio and Television
(HRT) and has recorded a CD with works
for organ by Anelko Klobuar, Faurs
Requiem for organ and choir, as well as a
CD with choir compositions and improvisations together with the academic
choir Palma. He received a masters degree in Zagreb in 2003, and has attended
a masters postgraduate studies in organ
and improvisation in Detmold in the
class of professor Norbert Dchtel. He is
a panel member at the organ competitions in Croatia.
He performs at concerts in Croatia, Germany, Austria, Italy and in France. He
won the Darko Luki Award for the best
Tema Passacaglie zvukovna je boja koja young musician in Croatia for 2004/2005
se stvara oko tona h, gdje posebno
season. He is a full member of the Croatmjesto zauzima marimba koja slui
ian Composers Society. He works as askao omota, zvuna kulisa oko
sistant professor at the Universities in
spomenutog tona. Slijed varijacija je slo- Zagreb and Osijek.
bodan - praktiki lapidaran.
The theme to the Passacaglia is a sound
colour forming around the note b, while
a special position is given to the
marimba, serving as a sheath around
that tone. The sequence of variation is
free - effectively lapidary.
U Hrvatskoj je studirao improvizaciju s
akademikom Anelkom Klobuarom i
kompoziciju s profesorom Markom
Rudjakom, u ijoj je klasi i diplomirao
2005. godine. U kompoziciji se usavravao kod A. Webersinkea i T. Escaichea.
Djela su mu izvoena u Zagrebu, Osijeku, Ljubljani, Puli, Beu, Berlinu,
Freyungu, Detmoldu, Trstu i Udinama.
Glavni je orgulja Bazilike Srca Isusova u
Zagrebu. Nastupa s ansamblima i solistima, redovito snima za HRT, a snimio je
i CD s glazbom za orgulje Anelka
Klobuara, Faurov Rekvijem u verziji za
orgulje i zbor te CD sa zborskim skladbama i improvizacijama s Akademskim
zborom Palma. Magistrirao je 2003. u
Zagrebu, a na majstorskom poslijediplomskom studiju iz orgulja i improvizacije bio je u Detmoldu u klasi
profesora Norberta Dchtela. lan je irija za orguljaka natjecanja u Hrvatskoj.
Koncertira po Hrvatskoj, Njemakoj,
Austriji, Italiji i Francuskoj. Dobitnik je
Nagrade Darko Luki kao najbolji mladi
glazbenik u Hrvatskoj za sezonu
2004./2005. Redoviti je lan HDS-a. Radi
u zvanju docenta na Sveuilitima u Zagrebu i Osijeku.

day

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19:30

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sat

Colla

Alberto

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Alberto Colla (Alessandria, 1968.)


obuavao se na konzervatorijima u
Alessandriji i Parmi te na Akademiji
Santa Cecilia u Rimu. Dobitnik je mnogobrojnih nagrada za svoje kompozicije
koje ukljuuju i dva koncerta za klavira,
sonate za klavir i gitaru i operu Il
processo, skladanu prema njegovom libretu koji je nastao prema knjizi Proces
Franza Kafke. Colla je imao narudbe i
od njujorkog Juilliarda te Festivala Sonic
Boom, takoer u New Yorku, festivala u
Salzburgu, Festivala Bergen International
i Musica Viva Bavarskog radija. Luciano
Berio je od Colle naruio novo djelo za
zbor i orkestar kako bi inaugurirao novi
teatar koji je osmislio rimski arhitekt
Renzo Piano. Collin eklektini stil zasniva se na glazbi iz raznih prostora i vremena. Colla od 1998. godine pouava
kompoziciju na Konzervatoriju Gaetano
Donizetti u Bergamu u Italiji.
O skladbi Concinnitherium: Ako su
ptice kao vrsta, kulminacija biomuzike
evolucije, potomci one vrste leteih dinosaura koji su nestali prije 65 milijuna
godina (a nedavna otkria u kineskoj
provinciji Liaoning to i potvruju),
namee se pitanje kakve bi nevjerojatne
pjesme ti dinosauri proizveli! Tako, na
primjer, nema sumnje da bi hadrosauri
imali nevjerojatan pjevaki potencijal.
Slon koji trubi svojom dugakom surlom,
koja je produetak nosne upljine, vjerojatno bi se prekrasno sloio s tekuim
zvukovima koje bi proizvodio njihov
vokalni aparat. Tako sam ja zamislio ovu
kompoziciju: nepregledna prerija prepuna dinosaura koja odjekuje njihovim
glasnim krikovima [Alberto Colla]

Alberto Colla (Alessandria, 1968) trained


at the conservatories of Alessandria and
Parma and the Santa Cecilia Academy in
Rome. He has won many prizes for his
compositions, which include two piano
concertos, sonatas for piano and for guitar and the opera Il processo, to his own
libretto based on The Trial by Franz
Kafka. Colla has received commissions
from Juilliard and the Sonic Boom Festival in New York, the Salzburg Festival,
the Bergen International Festival, and
Bavarian Radios Musica Viva. Luciano
Berio commissioned a new work for chorus and orchestra from Colla to inaugurate a new theater designed by the
Roman architect Renzo Piano. Collas
eclectic style draws on music from many
times and places. He has taught composition at the Gaetano Donizetti Conservatory in Bergamo, Italy since 1998.
On Concinnitherium: If the bird species,
the pinnacle of biomusical evolution, are
an offspring of a branch of those flying
dinosaurs that disappeared 65 million
years ago (and recent discoveries in the
Chinese province of Liaoning suggest
that this is so), one cant help but wonder what incredible songs the dinosaurs
themselves might have produced! There
can be no doubt, for instance, that the
hadrosaurs had enormous singing potential. The elephant trumpeting off their
long hollow beaks, an extension of their
nasal cavity, would have combined wonderfully with the gliding sounds emitted
by their vocal apparatus. Thats how I
imagined this composition: a vast prairie
covered in dinosaurs, reverberating with
their booming cries [Alberto Colla]

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Tang

Jianping

316

Jianping Tang (kin. Tang Jianping, 1955.)


prvi je doktor kompozicije u Kini, slavni
suvremeni skladatelj te profesor i voditelj
Odjela za kompoziciju na Sredinjem
glazbenom konzervatoriju. Godine 1970.
zapoeo je studij udaraljki na Jilinskoj
umjetnikoj koli s filipinskim
glazbenikom Santosom, a 1978. studij
kompozicije s profesorima Zhangom
Shoumingom i Huom Cunhuijom. Godine 1985. upisao se na Sredinji
glazbeni konzervatorij i zapoeo magistarski i doktorski studij kod profesora
Xiaja Sua. Neki od njegovih reprezentativnih radova su Chun Qiu (koncert za
kinesku lutnju), Cang Cai, Sacred Fire
2008 (koncert za udaraljke), The Flying
Song (koncert za dizi), Shaolin in the
Wind, Jing Wei (glazba za plesnu dramu),
Xuan Huang, Album of Plants (komorna
glazba), White Horses among the Reeds
(velika kantata) te The Forbidden City
(glazba za dokumentarnu televizijsku
seriju).
Koncert za udaraljke Sveta vatra 2008.
praizveli su udaraljka Biao Li i Pekinki
simfonijski orkestar u koncertnoj dvorani u Zabranjenom gradu u Pekingu 25.
veljae 2006. Ovaj simfonijski koncert
potuje princip klasinog koncerta kako
bi naglasio i proirio izvedbenu tehniku
solistikog instrumenta. S druge strane,
djelo upija tradiciju klasinog koncerta
koji pridaje pozornost racionalnoj logici i
iznosi filozofiju i misli, dok karakteristina struktura slobodnog glazbenog
irenja sinkronizira nasljee i razvoj radi
prikaza ideje integracije i inovacije.
Drugim rijeima, glazbena tema iz izlaganja iri se kroz glazbenu grau koja se
razvija, a sastoji se od glavne linije i pomone linije promjenljivog i razvijajueg
glavnog motiva.

317

Jianping Tang (1955) is the first Doctor


of Composition trained in Mainland
China, famous contemporary composer,
professor and the head of Composition
Department of Central Conservatory of
Music. Under the instructions of the
Philippine musician Santos, he studied
western percussion at Jilin Art School
from 1970. In 1978, he began his composition studies with Prof. Zhang Shouming and Prof. Huo Cunhui, and in 1985
he entered the Central Conservatory of
Music and began his study for masters
degree and doctoral degree with Prof. Su
Xia. His representative works include:
Chun Qiu (pipa concerto), Cang Cai, Sacred Fire 2008 (percussion concerto), The
Flying Song (dizi concerto), Shaolin in
the Wind, Jing Wei (music for the dance
drama), Xuan Huang, Album of Plants
(chamber music), White Horses among
the Reeds (grand cantata), and The Forbidden City (music for the documentary
TV series) among others.
The percussion concerto Sacred Fire
2008 was premiered on 25 February 2006
by Li Biao and the Beijing Symphony Orchestra in the Forbidden City Concert
Hall in Beijing. As a symphony concerto,
this work inherited the principle of classical concerto form to emphasize and
spread the performance technique of the
solo instrument. On the other hand, this
work absorbs the classical concertos tradition of paying attention to rational
logic and representing philosophy and
thoughts, while the characteristic structure of free musical expansion synchronizes inheritance and development in
order to show the idea of integration and
innovation. In detail, the music theme
introduced in the exposition spreads
throughout the music material in the development, composed by a main line
and a subsidiary line of the changing and
developing chief motive.

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Yuankai Bao

day

Yuankai Bao (kin. Bao Yuankai, 1944.)


diplomirao je na Sredinjem glazbenom
konzervatoriju u Pekingu 1967. godine, a
1973. poeo je predavati na Glazbenom
konzervatoriju u Tianjinu. Takoer je
kao gostujui profesor radio na Ksiamenskom sveuilitu. Trenutano je zamjenik predsjednika komiteta za
kompoziciju Kineskog drutva skladatelja. Dobio je mnoge znaajne nagrade, meu kojima je nagrada za
izvanrednog glazbenog pedagoga koju
dodjeljuje Ministarstvo kulture Kine.
Jedan je od prvih koje je Kinesko dravno
vijee financijski nagradilo za
posveenost glazbenom obrazovanju i
kompoziciji. Ve se 30 godina bavi
glazbeno-pedagokim radom, odgojivi
stotine studenata. Baove skladbe obuhvaaju simfonije, komornu glazbu, kantate, mjuzikle, glazbu za filmove i
televiziju te glazbu za djecu. Od 1991. do
2001. Kineska rapsodija (Rhapsody of
China) - njegovo veliko djelo koje se sastoji od sedam poglavlja simfonijske
glazbe temeljene na tradicionalnim kineskim temama i motivima - izvedena je u
40 zemalja.

Bao Yuankai (born 1944) graduated


from Beijings Central Conservatory of
Music in 1967, took up his first teaching
job at the Tianjin Conservatory of Music
in 1973 and was also appointed as Guest
Academic Professor of Xiamen University. He is currently the deputy head of
the composition committee of the Chinese Musicians Association. Notable
awards received by Professor Bao include the outstanding Music Educator
awarded by the Chinese Ministry of Culture and being among the first batch of
specialists to receive special funding
from the Chinese State Council in recognition of his dedication towards music
education and composition. He had devoted 30 years to music education, nurturing hundreds of students. Baos
compositions include symphonies,
chamber music, cantatas, musicals,
movie and television sound tracks, as
well as childrens music. Between 1991
and 2001, Rhapsody of China - his magnum opus including seven chapters of
symphonic music based on Chinese traditional themes and motifs - had been
performed in 40 countries.

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318

O djelu Pekinka opera: Kineska tradicionalna opera starinski je oblik drame


koji ujedinjuje razliite elemente knjievnosti, glazbe, plesa, vizualnih umjetnosti, borilakih vjetina, akrobatske
borbe te drugih oblika izvedbene umjetnosti. Pekinka opera - nazvana prema
glavnom gradu Kine - najutjecajnije je i
najpopularnije djelo iz ove obitelji
lokalnih oblika drame. Simfonija
Pekinka opera koristi razliite uloge i
glazbene stilove karakteristine za
dramu te pokuava iznijeti dubok i bogat
duhovni svijet Kine kroz zapadnjaki
oblik simfonije. Uloge se u pekinkoj
operi dijele na etiri kategorije: Sheng mukarac, Dan - ena, Jing - obojeno
lice, koje je snaan lik u drami, te Chou komedija. Glazba u pekinkoj operi
obino je kombinacija samostalnih udaraljkakih sekvenci i etiri glazbena stila:
Xi-Pi, Er-Huang (ova dva stila obino se
koriste za pjevane dionice), Qu-Pai
(glazba stalnog tona, obino u obliku instrumentalnih dionica koje se koriste kao
pozadinska glazba) i Kun-Qu (posuen iz
drugog oblika drame koji je popularan u
istonim dijelovima Kine). Uz ta etiri
stila, tipina simfonija sastoji se od etiri
stavka razliite brzine, tempa i karaktera.
Simfonijski orkestar koji izvodi simfonije
sastoji se od etiri skupine: drvenih
puhakih instrumenata, limenih
puhakih instrumenata, udaraljki i
ianih instrumenata. Simfoniju je
naruio PSO, a premijerno je izvedena
23. svibnja 2006. pod ravnanjem dirigenta Tana Lihua u Pekingu.

319

On Beijing Opera: Chinas traditional


opera is an ancient drama form which
blends the different elements of literature, music, dance, visual arts, martial
arts, acrobat and other forms of performing arts. The Beijing Opera - named after
the capital of China - is the most influential and popular of this family of localized drama forms. Bao Yuankais
symphony Beijing Opera employs various roles and music styles found in the
drama form and attempts to display the
profound and rich spiritual world of the
Chinese through the western art form of
symphony.
The roles in Peking Opera are divided
into four categories: Sheng - The Male,
Dan - the Female, Jing - the Painted
Face, which is a forceful character in the
drama, and Chou - the Comedian. The
music of Peking Opera is usually a combination of stand-alone percussion sequences and four music styles: Xi-Pi,
Er-Huang (these two are usually used for
sung passages), Qu-Pai (which is fixed
tuned music and comes usually in the
form of instrumental passages which are
used as background music) and Kun-Qu
(borrowed from another drama form
popular in the Eastern regions of China).
Along with these four categoris, a typical
symphony is composed of four movements with different speed, tempo and
character. A symphonic orchestra which
plays symphonies consists of four sections: strings, woodwind, brass and
percussion. This symphony was commissioned by the Beijing Symphony Orchestra and premiered on May 23th, 2006
by the conductor Tan Lihua in Beijing.

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Lauren Phillips u / in Love Songs, snimio / photo by John Lauener

day

22:00, MDVL
Glazbeni teatar Queen of Puddings predstavlja /
Queen of Puddings Music Theatre presents:
Ana Sokolovi: Love Songs / Ljubavne pjesme,
monoopera / mono opera
Lauren Phillips, mezzosopran / mezzo-soprano
Koreografija / Choreography: Marie-Jose Chartier
Glazbeno vodstvo / Music Directors: Dirine N Mheadhra, John Hess
Dizajn svjetla / Lighting Designer: Glenn Davidson
Producentica / Producer: Nathalie Bonjour

Ova je turneja omoguena financijskom pomoi Kanadskoga vijea za


umjetnost, Vijea za umjetnost savezne drave Ontario i Zaklade Metcalf /
This tour was made possible through funding from the Canada Council for
the Arts, the Ontario Arts Council and the Metcalf Foundation

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320

Ljubav je bila i bit e neiscrpna tema


ljudskog stvaralatva. Ljubav nas svuda
prati, ona je uzrok i rezultat. Ljubav budi
najjae ljudske osjeaje: zbog ljubavi su
se vodili ratovi, ali zbog ljubavi su
napisane i najljepe pjesme. Svi jezici
pjevaju o ljubavi na isti nain. Jer sve
sree, sve brige, sve tuge i sve njenosti
slie jedna drugoj.
Love Songs je intimna pria o ljubavi
svrstana u pet tematskih stavaka: ista
ljubav, njena ljubav, djeja ljubav, zrela
ljubav i ljubav za izgubljenom osobom.
Tekstovi su pjevani na pet jezika: na engleskome, francuskome, srpskome,
irskome i latinskome. Izmeu stavaka
nalaze se interludiji u kojima je reenica
Volim te izgovorena na 100 jezika. Dok
su stavci lirskog karaktera, interludiji su
ritminiji, inspirirani bojom stotinu
jezika, gdje pjevaica koristi razne
nekonvencionalne glasovne tehnike.
Love Songs je narudba Glazbenog teatra
Queen of Puddings uz financijsku pomo
Umjetnikog vijea pokrajine Qubec
(Conseil des arts du Qubec).
Kompozicija je posveena mojoj djeci,
Evi i Gustavu. [Ana Sokolovi]

321

Love has always been and always will be


the inexhaustible inspiration of human
creativity. Love follows us everywhere;
love is the cause and the result. Love
evokes the strongest human emotions:
love has led people to wars, but it has
also inspired the most beautiful poems.
All the languages sing about love the
same way. Every happiness, worry, sadness and tenderness is similar to another. Love Songs is an intimate story
about love in five thematic movements: love pure, tender love, childs
love, mature love and love for a person
we lost. The lyrics are sung in five languages: English, French, Serbian, Irish
and Latin. There interludes between the
movements, with the phrase I love you
said in a 100 languages. While the movements are lyrical, the interludes are more
rhythmical, inspired by the colours of a
hundred languages, with the singer using
various unconventional voice techniques. Love Songs was commissioned
by the Queen of Pudding Music Theatre,
with funding by the Qubec Arts Council.
This work is dedicated to my children,
Eva and Gustav. [Ana Sokolovi]

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Ana Sokolovi

day

Ana Sokolovi (Beograd, 1968.) studirala


je kompoziciju na Sveuilitu u Novom
Sadu u klasi Duana Radia i na Sveuilitu u Beogradu u klasi Zorana Eria te
magistrirala u klasi Josa Evangeliste na
Sveuilitu Montral. Pohaala je i majstorsku radionicu Tristana Muraila i
Denysa Bouliannea. Njezin opus
sadrava djela za orkestar i glas, zatim
brojna komorna djela te scensku glazbu.
Trostruka je laureatkinja Natjecanja
SOCAN, a dobila je i druga kanadska
priznanja kao to su nagrade Natjecanja
mladih skladatelja Radija Kanada,
Nagrada Joseph S. Stauffer Kanadskog vijea za umjetnost i Nagrada PrixOpus za
skladatelja 2007. godine. Njezina je prva
opera, The Midnight Court, producirana
u kazalitu Queen of Puddings 2005. godine, a u Europi u londonskom Royal
Opera House. Trenutano je profesorica
na Sveulitu u Montralu.

Ana Sokolovi (Belgrade, 1968) studied


composition at the University of Novi
Sad under Duan Radi and the University of Belgrade under Zoran Eri. She
obtained her masters degree at the University of Montreal under Jos Evangelista. She also attended a composition
workshop with Tristan Murail and Denys
Boulianne. Her repertoire consists of
works for orchestra and voice, as well as
numerous pieces of chamber music and
stage works.
Ana Sokolovi was a winner in the Competition for Young Composers of
SOCAN, three times, and she has received other Canadian awards such as
the CBC Radio Young Composers Grand
Prix, the Joseph S. Stauffer Prize and the
Prix Opus Prize for the composer of the
year in 2007. Her first opera, The Midnight Court, was produced by the Queen
of Puddings Theatre in Canada and the
Royal Opera House in London. She is a
professor at the University of Montreal.

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Phillips

Lauren

322

Porijeklom iz Ottawe, Lauren Phillips u


poetku je studirala pod Donnom Klimowskom i Yoriko Tanno (1995. - 1999.)
te magistrirala pjevanje i literaturu na
Sveuilitu Zapadnog Ontarija, gdje je
studirala pod Anitom Krause-Wiebe.
Osvojila je stipendiju udruge Opera Guild,
zlatnu medalju Sveuilita Zapadnog
Ontarija i nagradu Vivien Asfar Memorial
Award. Njezine operne uloge ukljuuju
ulogu Nancy u djelu Albert Herring i
Dorabelle u Cos fan tutte, a bila je i
zamjenom za uloge Mozartova Cherubina te Frdrica u Mignon, u produkciji
Opere Lyra Ottawa (2007.). Nastupa i kao
solistica u oratorijima.
Poseban afinitet gaji prema suvremenoj
glazbi. Slijedom njezina sudjelovanja na
ljetnom programu Teatra Queen of Puddings, esto je s tom skupinom i nastupala. Neke od njezinih novijih izvedbi su
Sirene Ane Sokolovi, Puksanger Lockrop
i Davids Nimm Karin Rehnqvist te
ponona izvedba djela Pierrot Lunaire za
Seriju suvremenih vokala UWO. Uloge u
suvremenim operama ukljuivale su i
ulogu Plerina u LAmour du loin finske
skladateljice Kaije Saariaho te ulogu Majke u glazbenoj radionici za novu operu
In(s Jamesa Rolfa.
Glazbeni teatar Queen of Puddings pojavio se na umjetnikoj sceni 1995. godine,
izraavajui napredna razmiljanja te
fantastini pristup tradiciji koju zovemo
klasina opera. Osnovali su ga glazbenici
John Hess i Dirine N Mheadhra, koji su
i zasluni za poticanje kreativnih ideja za
nove projekte. Te se ideje razvijaju paljivim odabirom skladatelja, pisaca libreta,
pjevaa i ostalih kreativnih lanova tima.
Grupa je posveena originalnom kanadskom procesu stvaranja ija se estetika
zasniva na fizikom teatru s pjevanjem,
koji se zasniva na izvoaima. Queen of
Puddings kontinuirano proizvodi provokativne dramatske prezentacije najvie
kvalitete koji dovode u pitanje parametre
opernog anra.

323

Originally from Ottawa, Lauren Phillips


first studied with Donna Klimowska and
Yoriko Tanno (1995-1999). Her Masters
in Music Performance and Literature
was obtained from the University of
Western Ontario, where she studied with
Anita Krause-Wiebe. She has won Opera
Guild Scholarships, a University of Western Ontario Gold Medal, as well as the
Vivien Asfar Memorial Award. Opera
roles include Nancy in Albert Herring,
Dorabella in Cos fan tutte, and understudy of Mozarts Cherubino, and the
role of Frdric in Mignon (Thomas) for
Opera Lyra Ottawa Opera in Concert
(2007). She sings oratorios as well.
Phillips has a special affinity for contemporary music. Following her participation in the Queen of Puddings summer
program, she has performed frequently
with the company. Most recently she
performed Sirens by Ana Sokolovi, Puksanger Lockrop and Davids Nimm by
Karin Rehnqvist and she has given a
midnight performance of Pierrot Lunaire
for the UWO contemporary vocal series.
Contemporary opera roles have included
Plerin in LAmour du loin by Finnish
composer Kaija Saariaho, the premiere
of Fugitive Voices by Bramwell Tovey for
the Sweetwater Festival in Owen Sound
(2007), also recorded by CBC, and the
role of the Mother in the music workshop of the new opera In(s, by James
Rolfe.
Queen of Puddings Music Theatre burst
onto the arts scene in 1995 with its forward-thinking, absorbing, fantastical approach to the tradition we know as
classical opera. It was founded by musicians John Hess and Dirine N
Mheadhra and the creative ideas for new
projects originate with them. These ideas
are developed through their careful selection of composers, librettists, singers
and other creative team members. The
company is dedicated to original Canadian creation and its aesthetic is a performer-based physical singing theatre.
From its auspicious beginning, Queen of
Puddings has consistently produced
provocative, dramatic presentations of
the highest quality that have challenged
the parameters of the opera genre.

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23:30, &TD
ICARUS JUNIOR
(dio projekta Muzika-diverzija / a part of the Music-Diversion project)
Elena Orlandini, flauta / flute
Cecilia Pedrazzini, clarinet / clarinet
Matteo Sassi, truba / trumpet
Chiara Bertoncini, violin / violin
Federico Beretti, harmonika / accordion
Paolo Centa, gitara / guitar
Francesco Pedrazzini i / and Chiara Schiatti, udaraljke / percussions
Video: Otolab / Martin Fabrik

Uz podrku talijanskih dravnih i lokalnih institucija i vijea /


Supported by Italian national and local institutions and councils:
Fondazione I Teatri di Reggio Emilia / Zaklada I Teatri iz pokrajine Reggio Emilia /
The I teatri Foundation, Reggio Emilia
Regione Emilia Romagna, Provincia di Reggio Emilia / Regije i pokrajine Emilia Romagna i Reggio Emilia / The Reggio Emilia and Emilia Romagna Region/Province
Assessorato alla Cultura del Comune di Reggio Emilia / Lokalno vijee za kulturu
pokrajine Reggio Emilia / The Culture Council of Reggio Emilia region
Sonora Project - Federazione Cemat / Projekt Sonora saveza Cemat / The Sonora
Project of the Cemat Federation

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324

Elena, Cecilia, Matteo, Chiara, Federico,


Paolo, Francesco i Chiara dolaze iz pokrajine Reggio Emilia i uenici su priznatih izvoaa. Svirai su studenti
Instituta Peri i Instituta Merulo. Ovi
mladi i izvanredni glazbenici zajedno
ine Icarus Junior, glazbeni projekt koji
su 2007. godine osnovali ansambl Icarus
i Officina delle Arti Reggio Emilia.
Ansambl Icarus uvijek je u sredite panje
stavljao proces irenja novog glazbenog
izriaja, noviteta novih glazbenih istraivanja, ponovno otkrivanje popularne i
narodne glazbe, razmjenu kulturnih novost iz razliitih geografskih podneblja te
obnovu iskustava nedavne prolosti poput
glazbene improvizacije ezdesetih.
Icarus Junior stoga je svojevrstan umjetniki atelje u kojemu nema tajni; skupina
pripada ljubiteljima stare kole, ali s
tendencijom kretanja prema modernom
pristupu glazbi zahvaljujui inovativnim
tehnikama i multimediji. Za ove mlade
glazbenike ne postoji sterilna akademija,
jer oni svakodnevno sviraju i eksperimentiraju s glazbom uivo. Njihova
glazbena iskustva kreu se od improvizacija s Philipom Cornerom i Malcolmom Goldsteinom (poznatih
predstavnika njujorke Fluxus sekcije)
preko tradicionalnog glazbenog izraza
zapadnjake kulture (transkripcije
Mozartovih skladbi na manifestaciji Bijele noi u pokrajini Reggio Emilia, uivo
na dravnome Radiju 3) do suvremene
glazbe. Njihov je prvi projekt bio Prove di
volo, koji obrauje odnos mladih i novih
tehnologija.

325

Elena, Cecilia, Matteo, Chiara, Federico,


Paolo, Francesco and Chiara all come
from the Italian province of Reggio
Emilia and are pupils of prestigious
performers. They are students of the Peri
Institute and the Merulo Institute. Together these young and incredible musicians are Icarus Junior, a project created
in 2007 by the Icarus Ensemble and
Officina delle Arti of Reggio Emilia.
Icarus Ensemble has always focused its
attention on a process of divulgation of
new musical languages, on the novelties
proposed by musical research, on the rediscovery of popular and ethnic music,
on the exchange of cultural proposals
from different geographical areas and on
the recovery of experiences of the recent
past, like Sixties improvisation.
Icarus Junior is therefore a sort of an art
atelier, where music has no secrets; the
group loves the old-school approach,
but it has headed towards a modern approach to music, thanks to innovative
techniques and multimedia. For these
young musicians a sterile academy does
not exist, because they play and experiment live music every day. Their musical
experiences range from improvisation
with Philip Corner and Malcom Goldstein
(famous exponents of the New York
Fluxus section) to traditional Western
music (Mozart transcriptions, performed
during the Reggio Emilia White Night and
broadcast live by Radio 3) and contemporary music. Their first project was called
Prove di Volo, about relationship between
young people and new technologies.

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Ovo je njihov drugi projekt i bavi se


ponovnim razmatranjem legendarnog
stoikog albuma The Dark Side of the
Moon grupe Pink Floyda iz 1973. godine,
konceptualnog albuma koji se ne
sastoji tek od izoliranih skladbi, ve
predstavlja organsko djelo. U nedostatku
vokala, poruke iz stihova koji se bave
temom ludila - i time to je lanovima
nedostajao prijatelj i osniva grupe Syd
Barrett, koji je imao psihikih problema izraeni su videom. Elektroniki i ritamski dijelovi skladbe ostali su isti (elektrina gitara, elektrina bas gitara, 2 bubnja)
dok je melodiju sada preuzeo klasian
sastav, dodue ozvuen. Gudai i truba
trebali su uputiti na zvunost albuma
Atom Heart Mother koji je prethodio
albumu Dark Side... Projekt je prvi put
izveden na Festivalu REC pokrajine Reggio Emilia u studenome 2008., na njemu
su suraivali i vidoumjetnici iz Otolaba,
Milano, te Martin Fabrik, Reggio Emilia.

This, their second project is the revisiting


of The Dark Side of the Moon, the seminal
and stoical Pink Floyd album (1973), a
concept album - not just songs, but an
organic work. In the absence of vocals, it
is the video that translates the lyrical
messages that deal with insanity - and
the band members nostalgia for their
missing friend, Pink Floyd founder Syd
Barrett, who had had mental problems.
The electronic and rhythmic part remained
almost the same (an electric guitar, electric bass, 2 drums), while the melodic
one belongs to a classical instrumental
group, even if amplified. Particularly,
strings and trumpet were introduced to
catch explicitly the sonority of the
Atom Heart Mother album, Dark Sides
predecessor. This project was first performed during the Reggio Emilia REC
Festival in November 2008. The Otolab
video-artists team from Milan and Martin
Fabrik from Reggio Emilia have collaborated on this project with Icarus Junior.

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12:00, HGZ
Tristan Murail, gost-skladatelj 25. MBZ-a /
guest-composer of the 25th MBZ:
predavanje / lecture
Sran aldarovi, klavir / piano

17:00, MIMARA
Koncert u suradnji s festivalom Moskovska jesen /
A concert in association with the Moscow Autumn
festival

20:00, ZKL
Sho-bo-gen-zo / Vidoviti putovi / Clairvoyant Paths
koreoglazbeni projekt / choreomusical project

22:00, MDVL
Komorni ansambl UMZE / UMZE Chamber Ensemble

23:30, &TD
.HESSLERS.:
smallOnes brainpain

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day

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dan

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hour

12:00

subota / saturday

sat

12:00, HGZ
Tristan Murail,
gost-skladatelj 25. MBZ-a /
guest-composer of the 25th MBZ:
predavanje / lecture
Sran aldarovi, klavir / piano
Tristan Murail:
Cloches dadieu, et un sourire... /
Zvona rastanka i osmijeh... /
Bells of Farewell, and a Smile...
Comme un oeil suspendu et poli par le songe... /
Poput oka, zaustavljenog i umivenog snom... /
Like an eye, suspended and polished by a dream
La Mandragore / Bunovina / Mandrake

vie o Murailu / More on Murail


na str. / page 422

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330

331

Komentari Tristana Muraila o vlastitim


skladbama

Tristan Murails comments on his own


works

Cloches dadieu, et un sourire... /


Zvona rastanka i osmijeh...
Ovaj nepretenciozni mali komad
napisan je na narudbu Njemakog
radija, Deutschlandfunk, u spomen na
Oliviera Messiaena. Posuuje nekoliko
aspekata (voenje diskursa, kao i tri zavrna tona, rastanak) iz jednoga od najranijih djela Oliviera Messiana, njegova
preludija za klavir Cloches dangoisse et
larmes dadieu / Zvona tjeskobe i suze
oprotaja (1929.). Pokuao sam, pored
drugih aluzija, umijeati i nekoliko
odjeka zvona, koja se pojavljuju u
mnogim mojim vlastitim djelima. Na
njih odgovaraju sjajni odjeci i klasteri
akord u vedrim tonalitetima, onako kao
to je osmijehu zadnjim Messiaenovim
djelima zauvijek uspio nadvladati
tjeskobu i suze prolosti - jer nema
konanoga zbogom.

Cloches dadieu, et un sourire... /


Bells of Farewell, and a Smile...
This unpretentious little piece was written at the request of the German Radio,
Deutschlandfunk, in memory of Olivier
Messiaen. It borrows several aspects (the
conducting of the discourse, and the
three final notes, the adieu) of one of
Olivier Messiaens earliest works, his
piano prelude Cloches dangoisse et
larmes dadieu (1929). I tried to mix in,
amongst other allusions, a few echos of
bells which are featured in many of my
own works. These are answeded by luminous echoes and clusters of chords in
cheerful keys, as the smile of Messiaens last works managed te triumph for
good over the anguishes and tears of
the past - for there is no final farewell.

Comme un oeil suspendu et poli par le


songe... / Poput oka, zaustavljenog i
umivenog snom...
Comme un oeil suspendu et poli par le
Comme un oeil... carries the influence of
songe / Poput oka, zaustavljenog i
Messiaen - the piece was written for the
umivenog snom
entrance exam of the Conservatoire NaComme un oeil... pokazuje Messiaenov
tional de Musique de Paris, therefore beutjecaj - djelo je napisano za moj prijemni ispit na Parikome konzervatoriju, fore my studies with Messiaen. An allusion
to the composer is found several years
dakle - prije mojeg studija s Messilater and more consciously in Cloches
aenom. Aluziju na skladatelja poslije i
dadieu... written as a homage a little
svjesnije stavljam u Cloches dadieu...
djelo napisano kao hommage nedugo time after his death. The bells heard in
the piece belong to the universe of specnakon njegove smrti. Zvona iz ovog
tral music and to that of Messiaen.
komada pripadaju i svijetu spektralne
glazbe, ali i Messiaenovu svijetu.
La Mandragore / Mandrake
Under the gallows grows the mandrake.
Mandragore / Bunovina / Mandrake
Ispod vjeala raste bunovina. U pono za At midnight, when the moon is full, it is
picked beneath the hanged man who
punoga mjeseca bere se ispod objeenoga koji se njie Bunovina: medit- swings... The mandrake: a Mediterranean
plant used in witchcraft. Due to its root
eranska biljka koja se koristi za arolije.
in the shape of a homunculus, it is beVjeruje se da ima arobne moi zbog
lieved to have magic powers.
ovjekolikog korijena.
The music: a spiral centred on several
Glazba: spirala centrirana na nekoliko
ostinati of rhythm, colour and timbre ostinata u ritmu, boji i timbru - pet
five spectral chords of variable appearspektralnih akord raznolike pojave
ance turn in the arms of the spiral.
vrti se u rukama spirale.
Ovo je djelo nastalo po narudbi pijanis- This piece was commissioned by pianist
Tomoko Yazawa and the French Ministry
tice Tomoko Yazava i Francuskog minof Culture.
istarstva kulture.

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333

aldarovi

Filip

Sran

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Sran Filip aldarovi (Zagreb, 1973.)


zapoeo je glazbeno obrazovanje u
glazbenoj koli Pavao Markovac u klasi
Jelice Kuzmin. Studirao je na Muzikoj
akademiji Sveuilita u Zagrebu, gdje je i
diplomirao klavir, u klasi Vladimira Krpana. Usavravao se na koli za glazbu
Sveuilita Indiana u Bloomingtonu,
SAD, u klasi Leonarda Hokansona te na
Koledu Trinity u Londonu u klasi Prof.
Philipa Fowkea i na kraju magistrirao na
uglednome Sveuilitu Miami, na
Floridi, u klasi Prof. J. Roberta Floyda
(2002). Koncertnu vjetinu nadalje
razvija na meunarodnim teajevima
Evgenija Timakina, Jerome Rosea, Waltera Groppenbergera, Sequeire Coste te
se u meuvremenu istie svestranim
solistikim i komornim nastupima, na
kojima potvruje opravdanost osvojenih
nagrada i laskavih kritika. Od 2005. godine, aldarovi je docent na Muzikoj
akademiji u Zagrebu.
Njegov je repertoar raznolik, obuhvaa
djela velikih svjetskih skladatelja, pritom
ne zanemarujui niti domae skladatelje.
aldarovi redovito snima za radio i televiziju, a njegov je prvi CD sa sonatama
Liszta i Rahmanjinova izaao u izdanju
Art Net Cluba 1998. godine. Od 1990. redovito odrava recitale, kao i koncerte s
orkestrom, diljem Hrvatske. Njegov debi
u Washingtonu Cecilia Porter iz Washington Posta ovako je opisala: aldarovievo sviranje otkriva potpuni
artizam u spajanju introspektivnog pristupa s profinjenom osjetljivou za fraziranje...

Sran Filip aldarovi (Zagreb, 1973)


started his music education in the Pavao
Markovac music school under Jelica
Kuzmin. He graduated in piano major at
the Music Academy in Zagreb in the
class of Vladimir Krpan. aldarovi went
on to perfect his pianist skills at Indiana
University in Bloomington with Leonard
Hokanson , and later at the Trinity College of Music in London with Philip
Fowke. aldarovi obtained a Masters
degree in Piano performance from the
prestigious University of Miami School
of Music where he, under the guidance
of J. Robert Floyd (2002). He has actively
participated in master classes held by
Evgeniy Timakin, Sequiera Costa, Walter
Groppenberger, Jerome Rose, and Rian
de Waal and continues to excel in his
versatile solo and chamber appearances,
where he justifies all the prizes he won
and all the flattering reviews written
about him. aldarovi holds the position
of senior lecturer at the Music Academy
in Zagreb.
His repertoire is diverse and includes
works by all the great international composers without neglecting Croatian ones.
He makes recording for radio and TV
broadcasts and published his first CD,
with Liszt and Rachmaninov sonatas, in
1998. From 1990 onwards aldarovi
gives recitals on a regular basis all over
Croatia. For his Washington debut, Cecilia Porter from the Washington Post
wrote: aldarovis playing reveals consummate artistry in coupling an introspective approach with refined
sensitivity for phrasing...

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17:00, MIMARA
Festivalska razmjena: Koncert u suradnji s festivalom Moskovska jesen /
Inter-Festival Exchange:
A concert in association with the Moscow Autumn festival

Kvartet Sebastian / Sebastian Quartet


Dubravko Palanovi, kontrabas / double bass
lanovi kvarteta / quartet members:
Anelko Krpan, violina/ violin
Korana Rucner, violina/ violin
Neboja Floreani, viola
Zlatko Rucner, violonelo / cello
Marina motova: Dj vu, za gudaki kvartet / for string quartet
Anton Safronov: ...riflessioni... / ...odrazi... / ...reflections...
za violu, violonelo i kontrabas / for viola, cello and double bass
Aleksej Sjumak: Kadenca / Cadenza, za gudaki kvartet / for string quartet
Viktor Ekimovski: Strofe / Stanzas, za dvije violine / for two violins
Jaroslav Sudzilovski: Karanogi, za violinu, violu i violonelo /
for violin, viola and cello

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Sebastian

kvartet

Gudaki

334

Gudaki kvartet Sebastian osnovan je


1982. godine kao Kvartet muzike omladine Zagreb. Od 1990. godine djeluje pod
dananjim imenom. lanovi kvarteta usavravali su se na teajevima komorne
glazbe u Gronjanu (Hrvatska), Rogakoj
Slatini (Slovenija), Peuhu (Maarska) i
Saumuru (Francuska). Godine 1988.
kvartet postaje lanom Meunarodne
zaklade Yehudi Menuhin sa sjeditem u
Parizu. Osim estih nastupa u Hrvatskoj,
Gudaki kvartet Sebastian koncertirao je
u Sloveniji, Francuskoj, Sjevernoj Koreji,
Italiji, Austriji i Maarskoj. Repertoar
kvarteta obuhvaa djela od klasike do suvremene glazbe s naglaskom na
hrvatskom stvaralatvu. Praizveli su vie
djela suvremenih skladatelja. Od 2002.
odravaju vlastiti koncertni ciklus u
Maloj dvorani KD Vatroslava Lisinskoga.

The Sebastian String Quartet was


founded 1982 as The Quartet of The
Jeunesses Musicales of Zagreb. It has
performed under its current name since
1990. Members of the quartet were improved on mastercourses for chamber
music in Gronjan (Croatia), Rogaka
Slatina (Slovenia), Pecs (Hungary) and
Saumure (France). In 1988 the quartet
became a member of Yehudi Menuhin
The International Foundation in Paris.
Ina addition to its frequent performances
in Croatia, the Quartet has given concerts
in Slovenia, France, North Korea, Italy,
Austria and Hungary. The Sebastian
Quartets repertoire includes works from
classical to contemporary music with an
emphasis on Croatian compositions.
They have premired several contemporary works. They have had their own
concert cycle in the Vatroslav Lisinski
Concert Hall- the Small Hall, since 2002.

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Marina motova

day

Skladateljica Marina motova (Irkutsk,


1959.) zavrila je srednju kolu klavirskog
smjera u rodnom gradu, a u Moskvi je
studirala kompoziciju na Institutu Gnjesinih u razredu profesora N. I. Peiko te
se tamo i usavravala u klasi Sergeja S.
Berinskog. Aktivna je lanica Ruskog
drutva skladatelja i Drutva kazalinih
djelatnika. Jo kao studentica motova je
postala laureatkinjom Svesaveznog natjecanja za najbolju klavirsku minijaturu,
a zatim i Prvog meunarodnog skladateljskog natjecanja Sergej Prokofjev te
Nagrade Aleksandra Vampilova za
monooperu Zapisi Marije Volkonske. Od
1998. godine voditeljica je Glazbenog
kluba Sergeja Berinskog - kreativnih susreta sa skladateljima u Moskvi. U okviru
projekta Mladi moskovski skladatelji
2004. godine joj je dodijeljena Predsjednikova stipendija.

The composer Marina Shmotova


(Irkutsk 1959) graduated in piano from
the music school in her home town and
studied composition at the Gnesin Institute in Moscow, under N. I. Peiko, attending post-graduate studies with
Sergei S. Berinski. She is active in the
Russian Association of Composers and
the Drama Artists Union. While still a
student, Shmotova was a laureate of Soviet Union Composers Competition, in
the category of best piano miniature;
She later wond the First International
Composers Competition Sergei
Prokofiev and was awarded the Alexander Vampilov Prize for the mono opera
The Noteboooks of Maria Wolkonski.
Since 1998 she has led the Sergei Berinski
Musical Club - Creative Encounters with
Composers. In 2004m she was awarded
the Presidents prize of the Young composers from Moscow project.

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Vie puta sudjelovala je na festivalima


suvremene glazbe u Rusiji i u inozemstvu, primjerice na gentskom festivalu
Ingeborg Bachmann u glazbi, na Kijevskom festivalu, na festivalu Dva dana
i dvije noi Nove glazbe u Odessi, na
Composers Concordance u SAD-u te na
festivalima u Brazilu, Italiji, Francuskoj i
dr. Njezin opus obuhvaa komorne instrumentalne i vokalne skladbe, simfonijske poeme, koncertantna djela, zborsku
glazbu, glazbu za orkestar narodnih instrumenata te glazbu za dramske predstave. Sergej Berinski o motovoj je
kazao: Nedvojbeno je lirske prirode.
Tei izraziti najdublja i najtee dokuiva
duevna stanja. Izbjegava u svojoj glazbi
sve izvanjsko, buno i sluajno Veliki
adut skladateljice - bogata i samosvojna
intonativnost.
Dj vu je skladba za gudaki kvartet
nastala 2004. godine. Njezin naziv - kao
da je ve vieno (proivljeno) nekada ini mi se najprimjerenijim. To je Dj
vu (Marina motova)

337

She took part at a number of contemporary music festivals in Russia and


abroad: Ingeborg Bachmann in Music,
Kiev Musik Fest, Two Days and Two
Nights, Composers Concordance, as well
as festivals in Brazil, Italy, France etc.
Her opus includes chamber, vocal and
instrumental compositions, symphonic
poems, concerti, choir music, music for
folk music instruments and for the theatre. Sergei Berinski wrote about Shmotova: She is without doubt of a lyrical
nature. She wants to express the deepest
and the least accessible experiences of
the soul. In her music she avoids all that
is superficial, noisy and random. The
great forte of the composer is her rich
and original invention.
Dj vu is a piece for string quartet from
2004. The title, as if everything has already been seen (experienced), seems
to me to be the most appropriate one, as
that is a dj vu [Marina Shmotova]

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Anton Safranov

day

Anton Safranov (Moskva, 1972.) studirao


je na Moskovskom dravnom konzervatoriju ajkovski kod Edisona Denisova, a
poslijediplomski je studij pohaao kod
Waltera Zimmermanna (Berlin) i Wolfganga Rihma (Karlsruhe). Njegova su
djela praizvoena u Rusiji, Njemakoj,
Nizozemskoj i Finskoj, a neka su se nala
na nosaima zvuka u izvedbi ansambala
Ensemble Modern (Frankfurt) i eNsemble pro artefl (Sankt Peterburg). Stalno
surauje s Moskovskim ansamblom za
suvremenu muziku (MCME), a radio je i
s mnogim drugim europskim sastavima.
Takoer je napravio novu, upotpunjenu
verziju Schubertove Nedovrene simfonije, koristei izvorne skice. Safronov je
dobitnik prvih nagrada na meunarodnim skladateljskim natjecanjima,
predaje na Odsjeku za kompoziciju
Moskovskog konzervatorija, lan je
Skupine za strukturalni otpor i jedan od
urednika ruskog asopisa Tribuna sovremenoj muziki.

Anton Safronov (Moscow, 1972) studied


at the Moscow State Conservatory P.
Tchaikovsky with Edison Denisov, postgraduated with Walter Zimmermann
(Berlin) and Wolfgang Rihm (Karlsruhe,
Germany). His works have been premired in Russia, Germany, Netherlands
and Finland and some of his works were
produced on CDs, performed by the Ensemble Modern (Frankfurt) and the eNsemble pro arte (St. Petersburg). He
works permanently with the Moscow
Contemporary Music Ensemble (MCME)
and has worked with many other European ensembles. He has also made the
new completed version of Schuberts
Unfinished Symphony, using the original drafts. Safronov is the winner of First
Prizes at international composers competitions, he teaches at the Dept. of
Composition of the Moscow Conservatory, he is a member of the Structural Resistance Group and co-redactor of the
Russian magazine Tribuna Sovremennoy Muzyki (The Contemporary Music
Platform).

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O skladbi ... riflessioni...: Jedan kineski


mudrac smatrao je da ovjek posjeduje
dvije due: poslije smrti jedna od njih
putuje ravno u raj, a druga u pakao... Prvi
impuls koji me potaknuo u stvaranju ove
skladbe bio je nevjerojatan svjetlosni
efekt koji me zadivio i opinio prije
mnogo godina u Katedrali sv. Vida u
Pragu. Snop jarkog svjetla, koji je kroz
okna prodirao unutar zdanja, sudarao
se s polutamom niega, donjeg dijela
zdanja - ne mijeajui se pritom s tom
polutamom, ve obrazujui neku nevidljivu granicu izmeu svjetla i polumraka. Talijanska rije riflessioni oznaava
odjednom dva pojma: odraze i refleksiju. Odraze - materijalnih pojava (svjetla ili zvuka) i refleksiju - kao unutarnje
proivljavanje vremena. Samu ideju
odraza - refleksija prekrasno prenose i
doaravaju tri niska gudaka instrumenta. Njihov prirodni sumrani registar, magma intenzivnog zvukovnog
protoka - i njegovi odbljesci u obliku
eterinih visokih zvuanja i najistananijih prizvuka. Ove dvije sfere zapoinju
dijalog - ne pribliavajui se, meutim,
jedna drugoj, nego se udaljavajui u krajnje predjele - do ujnih granica zvuka i
ne-zvuka.
Praobraz - skica ove skladbe napisana je
vrlo davno, ali prole godine sam joj se
ponovno okrenuo i redigirao je. Skladbu
je u ovom obliku prvi puta izveo Ensemble Modern u Rimu (Italija) i Bad-Homburgu (Njemaka).

339

On his piece ... riflessioni: A Chinese


sage claimed that man has two souls:
after death one of them goes straight to
Heaven, the other to Hell
The first impulse for the creation of this
composition was the incredible effect of
light in the St.Vitus Cathedral of Prague,
dazzling and enchanting me many years
ago. A stream of strong light from the
windows, colliding with the semi-obscurity of the interior, lower part of the
edifice - but at the same time not mixing
with the darkness, but rather formin an
invisible border between light and semidarkness. The Italian word riflessioni signifies both reflection, as mirroring
and reflection as - thought. A reflection, of material things (light or sound),
and reflection as an inner feeling of time.
The three lower string instruments are a
wonderful medium of this reflection and
mirroring. Their natural dark scope,
the magma of intense sound streaming and their reflections in the form of ethereal higher tones and the finest of vibrations. These two spheres begin a
dialogue - not drawing closer but separating into remote landscapes - to the
very limits of the possibility of sounds or
non-sounds. The first, primeval sketch of
the composition was written a long time
ago, but I turned to it last year and edited
it. In this form the composition was premiered by the Ensemble Modern in Rome
and Bad Homburg.

day

month

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hour

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Sjumak

Aleksej

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Aleksej Sjumak (1976.) diplomirao je i


magistrirao kompoziciju na Konzervatoriju ajkovski u Moskvi u klasi A. V.
ajkovskog. Nagraivan je na Sveruskom
natjecanju mladih skladatelja te dva puta
na Meunarodnom natjecanju P. I. Jurgenson. lan je Saveza ruskih skladatelja.
Pohaao je majstorske teajeve brojnih
skladatelja, a djela su mu izvoena na
brojnim europskim festivalima suvremene glazbe. Stalno surauje s nekoliko ruskih, nizozemskih i njemakih
sastava.
O skladbi Kadenca kae: Kao to je poznato, rije kadenca moe se tumaiti
na dva naina - s jedne strane, to moe
biti kraj muzike fraze, a s druge - majstorska solistika improvizacija. Ovaj
kvartet kombinira obje definicije.
Klasina kadencna fraza uje se tijekom
cijele skladbe, ponekad djelomino,
ponekad izrazito transformirana. Svi su
lanovi kvartet solisti unato sporome
tempu; svaku dionicu obiljeavaju virtuoznost i komplicirana, diferencirana
ritmika.

Alexei Syumak (1976) obtained his B.A.


and M.A. in composing from the
Tchaikovsky Conservatory in Moskow,
under A. V. Tchaikovsky. He has won
awards at the All-Russian Young Composers Competition and twice at the International P. I. Yurgenson Competition.
He is a member of the Russian Composers Union. He has attended numerous composers masterclasses and his
works have been performed at many European festivals of contemporary music.
He maintains a regular collaboration
with a number of Russian, Dutch and
German ensembles.
On his Cadenza, he said: As is well
known, the word cadenza may be interpreted in two ways - on the one hand,
it is the end of a musical phrase, and on
the other hand, it is a masterly improvisation by a soloist. The quartet combines
both definitions. A classic cadenza
phrase is sounding throughout the composition, sometimes partially, sometimes heavily transformed. All the
quartet members are soloists despite the
slow tempo; the part of each instrument
is noted for virtuosity and complicated
differentiated rhythmics.

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341

Ekimovski

Aleksejevi

Viktor

340

Viktor Aleksejevi Ekimovski (Moskva,


1947.) ruski je skladatelj scenskih, orkestralnih, komornih i klavirskih djela koja
su izvoena diljem Europe. Studirao je
kompoziciju s Aramom Haaturjanom i
povijest glazbe s Konstantinom Rosenschildom na Ruskoj muzikoj akademiji
u Moskvi. Magistrirao je i doktorirao muzikologiju na Konzervatoriju u Sankt
Peterburgu. Autor je brojnih lanaka o
suvremenoj glazbi za asopise u Francuskoj, Njemakoj, Rusiji i Srbiji, kao i
prve ruske monografije o Olivieru Messiaenu. Takoer je uredio nekoliko tomova
sabranih djela Dmitrija ostakovia. Ekimovski je od 1996. godine predsjednik
Udruenja za suvremenu glazbu u Moskvi.
Strofe je naziv za stihotvorni anr, za
kojeg je karakteristina lirska orijentacija
i lakoninost izlaganja poetske misli.
Glazbenu paralelu tog anra sam ostvario
kroz sedam nevelikih stavaka (strofa),
koji su kontrastnih karaktera, a zajedno
tvore jedinstven i nedjeljiv ciklus. U
njemu se izmjenjuju ritmiki organizirani
komadi i slobodno aleatoriki komadi.
Ansambl dviju violina privukao je moju
pozornost velikim rasponom izraajnosti
tembra i dinamike, kao i zanimljivim i
neobinim fakturnim mogunostima.
Zbog tehnikih potekoa skladba je
predviena za visoku klasu izvoakog
majstorstva. Skladba je napisana za
meunarodni festival komorne glazbe u
poljskom gradu Luslawicu, 1984, po zamolbi organizatora festivala Krzysztofa
Pendereckog te je tamo i praizvedena.
[Viktor Ekimovski]

Viktor Alexeievich Ekimovsky (Moscow,


1947) is a Russian composer of stage, orchestral, chamber, and piano works that
have been performed throughout Europe.
He studied composition with Aram
Khachaturian and music history with
Konstantin Rosenschild at the Russian
Academy of Music in Moscow. He completed a post-graduate course and earned
his PhD in musicology at the Conservatory
of Music in St. Petersburg. He has written
numerous articles on modern music for
publications in France, Germany, Russia,
and Serbia, as well as the first Russian
monograph about Olivier Messiaen. Ekimovsky also edited several volumes of the
collected works by Dmitry Shostakovich.
In addition, he has served as president of
the Association for Contemporary Music
in Moscow since 1996.
Stanzas is a name for a verse-creating
genre, marked by a lyrical orientation and
a laconic way of exposing poetic thought.
Its musical parallel was created through
seven shorter movements (stanzas), of
contrasting character, which form an integral, indivisible cycle. In it, the rhythmically organized parts and the freely
aleatoric ones alternate. The two-violinensemble attracted my attention through
its big range of expressive timbres and
dynamics, and interesting and unusual
possibilities in structure. Due to technical
difficulties, my piece is meant for high-class
performing mastership. It was written for,
and premired at, the Luslawice Chamber
Music Festival in 1984, commissioned by
its organizer, Krzysztof Penderecki
[Viktor Ekimovski]

day

month

25

dan

mjesec

hour

17:00

subota / saturday

sat

Sudzilovski

Jaroslav

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 342

Violonelist i skladatelj Jaroslav


Sudzilovski (Moskva, 1980.) pohaao je
Muziku kolu Gnjesin u Moskvi, u klasi
svojeg oca Sergeja Sudzilovskog, a zatim
studirao na Dravnoj muzikoj
akademiji Ivana Ipolitov u Moskvi u klasi
Natalije ahovskaje. Kompoziciju je
studirao na Konzervatoriju ajkovski s V.
Tarnopolskim te nastavio na poslijediplomskom studiju kod K. S. Haaturjana. Redovno nastupa od 1997. i
uglavnom se posvetio suvremenoj glazbi,
praizvodei koncerte i solistika djela
ruskih i drugih skladatelja. Za svoje
izvedbe dobio je niz nagrada. Mnoge su
njegove skladbe napisane za violonelo pri emu koristi prednosti svojeg vrsnog
poznavanja tog instrumenta kako bi
stvorio jedinstvene zvukovne pristupe,
ukljuujui ozvuenja, kao u eenskoj
sonati i baletnoj suiti Robertovo buenje;
ali i u tradicionalnijim djelima poput ciklusa Noni karnevali te Samoodvlaenja
panje - drami za violonelo, zbor,
orkestar i pripovjedaa.

Cellist and composer Yaroslav


Sudzilovsky (Moscow, 1980) studied at
the Gnessin High School in the class of
his father Sergei Sudzilovsky and at the
Ipolitov Ivana Moscow State Music
Academy, under Natalia Shahovskaya.
Sudzilovsky studied composition at the
Tchaikovsky Conservatory under V.
Tarnopolsky, continuing with post-graduate studies under K. S. Khachaturian.
Sudzilovsky has been performing regularly since 1997, and has focused largely
on contemporary music, premiering a
number of concertos and solo works by
Russian and other composers. He has
won a number of awards for his performances. Many of his compositions are for
cello - where he takes advantage of his
knowledge of the instruments to create
unique sonic approaches, including amplification - as in his Chechen Sonata and
the ballet suite, Roberts Awakening; as
well as more traditional works - such as
his cycle Carnivals of the Night and the
drama for cello, orchestra, chorus, and
narrator, Auto Distraction.

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342

Karanogi doslovno znai crne, tree


noge. Naziv je dan na pittovskom jeziku
(moj autorski jezik, koji sam izumio, a
ima svoju ortografiju, fonetiku i sistem
tajnopisa). Karanogi, odbacujui tradicionalnu formu, tvore vrlo striktno organiziranu konstrukciju. Karanogi je
jednostavana skladba, razdijeljena
misaonom pauzom. Zato se djelo sastoji
od quasi prvog i quasi drugog stavka, koji
su ujedinjeni zajednikim sistemom.
Ogromnu vanost u skladbi imaju pauze.
Sve pauze su strogo ispisane i regulirane.
Moe se ak rei da od poetka skladbe
ivi paralelna kompozicija pauza koje
prodiru u glazbu i povezuju djelo. Kulminacija kompozicije je pauza - centralna
pauza koja traje 1 minutu i 50 sekundi, i
izvoai je izdre gledajui na sat. Ta
pauza svojevrsno predstavlja toku
zlatnog reza kompozicije. elio sam potpuno se osloboditi svih tradicionalnih
ogranienja u pisanju muzike, otisnuti se
u istu kompoziciju, gdje tvorac raa i
diktira zakone glazbe, oblika, ukusa,
anra itd, a ne da zakoni diktiraju
tvorcu. [Jaroslav Sudzilovski]

343

Karanogi literally means black, running legs. It belongs to the pittish language, a language I have invented, along
with its orthography, phonetics and a secret way of writing it. While abandoning
traditional forms, the piece has a strictly
organized construction, comprising of
one movement, divided into two parts by
a contemplative pause. This is why the
piece really has a quasi first movement
and a quasi second movement, united
by a common system. The pauses are
hugely important for this work, all
strictly written down and regulated. You
could even say there is a parallel composition made of pauses trying to penetrate
the music and unify the piece. The composition reaches its climax during a
pause lasting for one minute and fifty
seconds, with the performers looking at
their watches. This pause also marks the
golden section point of the piece. My
wish was to break free from all the traditional restraints concerning the writing
of music, to set sail for a pure composition where the creator gives birth to
music and creates the rules of music,
form, taste, genre etc, not the other way
around. [Jaroslav Sudzilovski]

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 344

month

25

dan

mjesec

hour

20:00

subota / saturday

sat

Iz predstave / From the production

day

20:00, ZKL
Sho-bo-gen-zo / Vidoviti putovi /
Clairvoyant Paths,
koreoglazbeni projekt / choreomusical project
Jzsef Nagy, redatelj, koreograf i plesa / director, choreographer and dancer
Ccile Loyer, plesaica / dancer
Jolle Landre, kontrabas / double bass
kos Szelevnyi, udaraljke i puhaki instrumenti /
percussion and woodwind instruments
Video: Ivan Attila
Dizajn / Design: Zoltan Bicskei
Izrada kostima / Costume-making: Aleksandra Pei
Izrada rekvizita / Props production: Alexandre de Monte
Rekviziter / Props: Gyula Francia
Svjetlo / Lights: Laszlo Dobo
Zvuk / Sound: Daniel Davcik
Asistent redatelja / Directors Assistant: Peter Gemza
Glazba i aranmani / Music and arrangements:
Joelle Leandre & kos Szelevnyi
Kostimi, scena / Costumes, dcor: Jzsef Nagy
koproducenti / co-producers: Jugokoncert i / and
Regionalni kreativni atelje /
Regional Creative Atelier Jzsef Nagy, Kanjia

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344

Shobogenzo / oboenzo, svetu knjigu


japanskoga budizma, prikupio je
utemeljitelj soto zena Dogen zenji
izmeu 1231. i 1253. godine. Danas ovi
zapisi ne zanimaju samo prouavatelje
budizma nego i filozofe, psihologe, lijenike, matematiare, fiziare i druge.
Izvan religije, ova nam knjiga daje
metodu nalaenja unutranje slobode,
sree, univerzalnog mira i vjene istine.
Cilj knjige jest objasniti kako uiti i upoznati svoj stalni i beskrajni um i ivot. To
nije logika disertacija. Nije ni nelogina.
Ona je izvan svake logike.

345

Shobogenzo, the holy book of Japanese


Buddhism was compiled by Dogen zenji,
founder of soto zen between 1231 and
1253. Nowadays this writing evokes interest not only among those who study
Buddhism in Japan but among: philosophers, psychologists, doctors, mathematicians, physicists etc.
Beyond religion, this book gives us a
method of finding the inner freedom,
happiness, universal peace and eternal
truth... Shobogenzo is not a logical dissertation. It is also not illogical. It is beyond
all logic.

Sho in Chinese and in Japanese means


true, right, the highest, the biggest, absolute. The meaning of bo is dharma,
eternal, immortal, universal, immovable
truth. Therefore shobo means the highSho / o na kineskome i japanskome oz- est principle, the absolute truth, the
essence of Buddhism.
naava ono to je istinito, najvie, naGen means eye, eyeball, most important
jvee, apsolutno. Bo je dharma, vjeno,
point, principle. In the same time it also
besmrtno, univerzalna nepromjenjiva
istina. Stoga je shobo / obo najvii prin- means to wake up, to return to the true
sense, to the normal state of consciouscip, apsolutna istina, bit budizma.
ness and at the end reaching the satori.
Gen/en znai oko, ona jabuica, najvanija toka, princip, ali znai i probu- Zo means warehouse, store and treasury.
diti se, vratiti se pravom osjeaju,
Therefore Shobogenzo means the treasnormalnom stanju svijesti i na kraju
ury where the highest, widest, deepest
dosei satori. Zo znai skladite,
truth, the essence of dharma, the conpohrana, riznica.
sciousness of Buddha is kept. Shobogenzo means the whole universe,
Stoga Shobogenzo / oboenzo znai:
everything that exists. Everything is
riznica u kojoj se dri najvia, najira,
equally important, but on the other hand
najdublja istina, bit dharme, Budina
every existing thing has its own karma.
svijest. Shobogenzo / oboenzo znai:
When we see a cow, we see the whole ancijeli svemir, sve to postoji. Sve je
imal: a head, a horn, a tail, all that makes
jednako vano, no sve to postoji ima
up the animal, but all these different
vlastitu karmu. Kada vidimo kravu,
parts can be divided into skin, meat,
vidimo cijelu ivotinju. Nju ine glava,
bone, etc.
rog, rep, ali svi se ti dijelovi mogu
podijeliti na kou, meso, kost itd.
Zapravo - nije mogue objasniti znaenje
ovog pojma govorom, ili reenicama.
Treba ga prenijeti tihim razumijevanjem,
od moje due do vae...

In fact, it is not possible to explain the


meaning of the shobogenzo with talking
or sentences. It has to be handed over by
silent comprehension, from my soul to
your soul...

day

month

25

dan

mjesec

hour

20:00

subota / saturday

sat

Nagy

Jzsef

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 346

Jzsef Nagy (Kanjia, 1957.) studirao je


etnografiju i glazbu u Budimpeti, gdje
ga Andrs Kecsks uvodi u svijet pantomime. U Parizu ui od velikana
Marcela Marceaua i tiennea Decrauxa.
Paralelno se upoznaje s raznim dalekoistonim vjetinama, plesom butoh,
akrobacijom, suvremenim plesom, kontaktnim plesom. Prvu samostalnu produkciju, Pekinka patka, ostvaruje 1987.
godine i kritiari ga ubrzo hvale kao originalnog autora srednjoeuropskog kulturnog kruga. Nagy svoju umjetnost crpi
iz djetinjstva, iz regije okoline Kanjie.
Ritualnost njegovih predstava formira se
nakon duih improvizacija, a istaknuta
vizualnost njegovih komada vezana je uz
muziku: kada je to mogue, predstave
sadre ivu muziku na pozornici, a Nagy
surauje s brojnim skladateljima i
izvoaima. Kazalite Jzsefa Nagya
danas govori autentinim ravniarskim
kazalinim jezikom na svjetskom nivou.
Godine 2001. Nagy dobiva europsku
kazalinu nagradu Grand Prix Taormina,
koju su prije njega dobivali velikani
poput Petera Brooka, Ariane
Mnouchkine, Georgea Stehlera, Heinera
Mllera... Dobitnik je i Nagrade BITEF-a,
nagrada festivala u Avignonu,
Hamburgu, Cividaleu, Perigauxu, kao i
Zlatne Maske Moskve za predstave
Woyzeck i uvari sna.

Jzsef Nagy (Kanjia, 1957) studied


ethnography and music in Budapest
where Andrs Kecsks introduced him to
the world of pantomime. In Paris he had
the opportunity to learn from the great
Marcel Marceau and tienne Decraux. At
the same time he learned the Far Eastern
arts, butoh dance, acrobatic and contemporary dance, and contact dance. He
did his first independent production,
The Beijing Duck in 1987, after which he
received critical acclaim as an original
author of Central European cultural circle. Nagys art draws on his childhood
memories set in the surroundings of the
Kanjia region. The rituality of his plays
is formed after longer improvisations
and the emphasized visual quality of his
plays is intertwined with music - whenever possible, he features live stage
music in his plays and Nagy himself cooperates with numerous musicians and
performers. The Jszef Nagy Theatre of
today speaks the authentic lowland theatre language on a cosmopolitan level.
In 2001 Nagy was given European Theatre Award Grand prix Taormina, previously awarded to people such as Peter
Brook, Ariane Mnouchkin, George Stehler, Heiner Mller... He is also a winner
of the BITEF Award, the awards of festivals in Avignon, Hamburg, Cividale, Perigaux, and the Golden Mask of Moscow
Award for Woyzeck and Dream Keepers.

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346

Od 1995. godine ravnatelj je Centre


Chorgraphique National dOrlans, koji
je pod njegovim vodstvom stekao ugled
vrhunske kazaline institucije. Proglaen
je francuskim Vitezom kulture. Bavi se
grafikom, ilustrator je knjiga Rolanda
Barthesa i Milana Kundere, a 2006. godine bio je suravnatelj festivala u Avignonu. Iste je godine s radom zapoeo
njegov Regionalni kreativni atelje Jzsef
Nagy u Kanjii.

347

Since 1995 he has been working as a director of Centr Chorgraphique National


dOrlans which has, under his leadership, gained a reputation of a world-class
theatre. He has been named French
Knight of Culture. Nagy also works as
a graphic designer and is the illustrator
of Roland Barthes and Milan Kunderas
books. In 2006 he worked as a co-director of the Avignon Festival and the same
year he started working on his Jzsef
Nagy Regional Creative Atelier in Kanjia.

Iz predstave / From the production

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dan

mjesec

20:00

subota / saturday

sat

Szelevnyi

25

hour

kos

month

Ccile Loyer

day

kos Szelevnyi (Debrecen, 1966.) emigrirao je na Zapad osamdesetih godina.


Njegova je muzika ekstatine naravi, a izvodi je s najveem ekspresivnou i velikim uivljenjem i invencijom. Szelevnyi
od poetka svoju glazbu crpi iz muzikog
materinjeg jezika: stvaranje svog umjetnikog svijeta temelji na maarskom folkloru, imajui u vidu rezultate priznatih
autora Gyrgya Szabadosa i Mihlya
Drescha. Ovi muziki elementi i vrhunska umjetnika kvaliteta osigurali su mu
mjesto meu najpoznatijim suvremenim
europskim jazz-muziarima, a najee
Ccile Loyer (Poissy, 1973.) francuska je
surauje s umjetnicima iz Francuske i
plesaica i koreografkinja koja je suraSAD-a (izmeu ostalog i s lanovima saivala s brojnim umjetnicima i plesnim stava Art Ensemble of Chicago). Posljednjih
kompanijama, a 2001. godine osnovala je godina redovito surauje s Jszefom
vlastitu plesnu kompaniju, C. Loy.
Nagyem.
Ccile Loyer (Poissy, 1973) is a French
dancer and choreographer who has collaborated with many artists and dance
companies and founded her own company, C. Loy, in 2001.

kos Szelevnyi (Debrecen, 1966) emigrated to the West during 1980s of the
20th century. His music is ecstatic and he
performs it with utmost expressiveness,
great empathy and inventiveness. Szelevnyis music has always been rooted in
the music of his mother tongue: he created
his own artistic world based on Hungarian
folklore, at the same time taking into
consideration the achievements of renowned authors, such as Gyrgy Szabados
and Mihly Dresch. Such musical elements,
along with superior artistic quality, have
launched him among the most recognized
contemporary European jazz musicians.
He mostly cooperates with artists from
France and USA (among who are the
members of the Art Ensemble of Chicago)
and in the last couple of years he has
cooperated with Jszef Nagy on a
regular basis.

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349

Landre

Jolle

348

Jolle Landre (Aix-en-Provence, 1951.)


svirala je blok-flautu, klavir i kontrabas u
rodnom gradu. Njezin uitelj kontrabasa,
Pierre Delescluse, potaknuo ju je da se
upie na Pariki konzervatorij, gdje je dobila najvie ocjene. Godine 1976. dobila
je stipendiju za Center for Creative and
Performing Arts u Buffalu (SAD), to e
se pokazati kao izuzetno znaajno razdoblje, posebice zbog susreta s Mortonom
Feldmanom te upoznavanja s glazbom
Earla Browna, Johna Cagea i Giacinta
Scelsija. Istovremeno je dobila priliku iskusiti i alternativnu glazbenu scenu New
Yorka i nastaviti s angairanou na podruju improvizacije u glazbi. Nastavila je
s djelovanjem u konvencionalnoj suvremenoj glazbi i to ne samo kao lanica
ansambla suvremene glazbe nego i izvedbama djela Cagea i Scelsija, od kojih
je nekoliko i snimila. O Cageu je jednom
prilikom rekla: On e zauvijek ostati moj
duhovni otac. John me natjerao da oslukujem svijet oko sebe. O Scelsiju: Susret bitan koliko i susret s Cageom; on je
potovao slobodu mojih radnji; njegova
glazba me preplavljivala jer je jedna od
najiskrenijih, jer nam pripovijeda o naoj
svijesti, o naem ljudskom stanju.
Sluajui jazz, brzo sam se uhodala u
slobodan, improvizirani izriaj u kojem
je, za mene, Derek Bailey iznimno bitan,
isto kao i George Lewis i Irne Schweizer
i, naravno, Anthony Braxton. Susret s
Derekom u New Yorku prije nekoliko godina imao je slian utjecaj na mene kao i
susret s Cageom. Landre je snimala s
Baileyjem te suraivala s nizom improvizatora. lanica je skupine European Womens Improvising Group, a snimila je i
jedan od najudnijih albuma (ak i prema standardima slobodnog,
improvizirajueg deza), Les domestiques
s Jonom Roseom - kolekciju zvukova iz
kuanstva s glazbenim efektima - a nedavno je osnovala i The Canvas Trio.

Jolle Landre (1951, Aix-en-Provence)


started playing recorder and studied
both piano and double bass in her home
town. Her double bass teacher, Pierre
Delescluse, encouraged her to apply to
the Conservatoire National Superieur de
Musique de Paris where she won first
prize for double bass. In 1976 she received a scholarship to the Center for
Creative and Performing Arts in Buffalo,
a time that was to prove particularly influential due to encounters with Morton
Feldman, and the music of Earl Brown,
John Cage and Giacinto Scelsi. She was
also able to experience the downtown
New York music scene and continue her
involvement in improvised music. Landre has continued to be involved with
straightcontemporary music, not only
as a member of contemporary music ensembles but particularly through the
works of Cage and Scelsi, several of
which have been recorded by her. Of
Cage, she said He will always be my
spiritual father... John made me listen to
the world around me. And on Scelsi:
as important as meeting Cage; he respected the freedom of my actions; His
music overwhelmed me; it is one of the
truest, because it speaks to us of our conscience, of our human condition. After
listening to jazz I quickly got into the free,
improvised realm where, for me, Derek
Bailey is extremely important, also George
Lewis and Irne Schweizer, and for sure,
Anthony Braxton. Meeting Derek in New
York several years ago had nearly the same
impact on me as meeting Cage. Landre
recorded with Bailey and has worked with
a wide range of improvisers. She is a
member of the European Womens Improvising Group and has recorded one of
the weirdest records (even by free improvising standards) in Les domestiques
with Jon Rose - a collection of domestic
noises set to musical effect - and more
recently has formed The Canvas Trio.

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day

month

25

dan

mjesec

hour

22:00

subota / saturday

sat

22:00, MDVL
Komorni ansambl UMZE /
UMZE Chamber Ensemble
Komorni zbor Muzike akademije Zagreb/
Chamber Choir of the Music Academy Zagreb
Zoltn Rcz , dirigent i umjetniki ravnatelj /
conductor and artistic director
Mt Bella: Chuang Tzus Dream / San uang Cua
Zsolt Serei: ... stets blickend in die Hh / ... gledajui uvijek u visinu /
ever glancing to the skies, za obou i komorni ansambl / for oboe and
chamber ensemble
Dalibor Bukvi: Ad lucem / K svjetlu / Towards the Light, za ansambl i zbor,
for choir and chamber ensemble
Tristan Murail: Seven Lakes Drive
Gyrgy Ligeti: Melodien / Melodije / Melodies

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350

Ansambl UMZE (j Magyar Zene


Egyeslete = Novo maarsko glazbeno
drutvo) odrao je prvi koncert godine
1997. na festivalu Budimpetanska jesen.
Jasna je paralela izmeu ovog drutva i
izvornoga Novog maarskog glazbenog
drutva koje su osnovali Bartk, Kodly i
Weiner 1911. godine jer UMZE nastavlja
ambiciju da se klasina glazba 20. stoljea zadri na repertoaru te da se najnovija sijela maarskih i inozemnih
autora priblie publici. Novi UMZE
postao je vrijednim dijelom maarske
glazbene scene. U poetku je djelovao
tek povremeno jer nije imao redovnih
prigoda te je koristio infrastrukturu
ansambla Amadinda. Ipak su uspjeli nastupiti na najprestinijim festivalima u
Maarskoj te svirati u Berlinu, Zagrebu,
Karlsruheu i Avignonu. Takoer su objavili 4 nosaa zvuka. Meu osnivaima
drutva su prominentne linosti
maarske glazbe kao to su Gyrgy
Ligeti, Gyrgy Kurtg, Andrs Szllsy,
Pter Etvs i Lszlo Vidovszky kao predsjednik. Odbor drutva na tri je godine
odabrao Zoltna Rcza za umjetnikog
ravnatelja te Ptera Etvsa za
poasnoga efa-dirigenta. Ve drugu
godinu zaredom sredstva Ministarstva
kulture ansamblu omoguuju redovno
djelovanje. Meu vrhuncima protekle sezone jesu koncert u ast Stevea Reicha i
Louisa Andriessena, gostovanje na
Glazbenom festivalu Schleswig-Holstein
u Hamburgu s programom Ligetijevih
djela i godinji program Hommage
Ligeti, kojim se nastoje osigurati izvedbe
cjelokupnog opusa tog velikana
maarske glazbe.

351

The UMZE (short for j Magyar Zene


Egyeslete in Hungarian = New Hungarian Music Society) Ensemble gave its
debut concert at the 1997 Budapest Autumn Festival. The parallel between the
original New Hungarian Music Society formed by Bartok, Kodaly and Leo
Weiner in 1911 - and todays UMZE ensemble is apparent as they continue
their ambition to keep the now classic
compositions of the 20th century in the
repertoire and to bring the most recent
compositions of both Hungarian and
foreign composers to the listener. The
newborn UMZE has become an asset to
Hungarian music in the past ten years.
Lacking regular funding, the ensemble
operated on an occasional basis at first,
using Amadindas infrastructure. Nevertheless, they appeared at the most prestigious Hungarian festivals and gave
concerts in Berlin, Karlsruhe, Avignon
and Zagreb. UMZE has also released 4
CDs. The New Hungarian Music Societys founding members include many
prominent figures of Hungarian music
like the Gyrgy Ligeti, Gyrgy Kurtg,
Andrs Szllsy, Pter Etvs, and Lszlo Vidovszky as president. UMZEs executive board elected Zoltn Rcz as
Artistic Director for three years and Pter
Etvs as honorary Principal Conductor.
For a second consecutive year a grant
from the cultural ministry enables the
UMZE Ensemble to take on a regular
schedule. Among the highlights of the
last season were special tribute concerts
to Steve Reich and Louis Andriessen, a
guest appearance at the Schleswig-Holstein Festival in Hamburg with an allLigeti program and UMZEs annual
Hommage Ligeti concert, from a series
aiming to offer performances of the entire
oeuvre of this great Hungarian composer.

month

25

dan

mjesec

hour

22:00

subota / saturday

sat

Tri maarska autora ija e djela biti


izvedena na koncertu ansambla UMZE
predstavljaju tri generacije maarskih
skladatelja: Gyrgy Ligeti (1923. - 2006.)
bio je avanturist i to se forme i to se ekspresije tie te velik vizionar suvremene
glazbe. Njegov raznolik opus zauzeo je
posebno mjesto u povijesti glazbe po
svojoj visokoj glazbenoj kvaliteti i
beskompromisnoj individualnosti. Zsolt
Serei (1954.) pie svoja djela sa strogom
samokritinou, uz iznimnu panju, te
stoga nije meu najplodnijim skladateljima. Njegova djela karakterizira delikatnost zvuka i tona, bogatstvo
raspoloenja i atmosfere. Najmlai, Mt
Bella (1985.) jedan je od najperspektivnijih talenata svoje generacije, a njegova je
skladba nagraena u kategoriji komorne
glazbe na skladateljskom natjecanju
Novoga maarskog muzikog foruma.
[UMZE]
U predgovoru djelu Melodien Ligeti
navodi da ono ima tri sloja: prednji,
koji sadrava melodije, srednji, sa sekundarnim figurama (esto ostinatima) i
pozadinski, u kojem su dugi drani
tonovi. Tri se sloja isprepliu i uje se
komabinacija melodija, klastera i
uzlaznih ljestvica, a svaka dionica zapravo samostalno die.

Gyrgy Ligeti (C) BMC -Andrea Felvegi

day

Ligeti

Gyrgy

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 352

The three Hungarian authors whose


works will be performed in the concert
program by UMZE Chamber Ensemble,
represents three generation of the Hungarian composers. Gyrgy Ligeti (19232006) was an adventurer in form and
expression and a great visionary of contemporary music. His richly varied output takes a special position in its musical
quality and uncompromising individuality. Zsolt Serei (1954) writes his pieces
with severe self-criticism, with meticulous care, and thus does not count as one
of the prolific composers. His scores are
characterized by a delicacy of sound and
tone, a richness of mood and atmosphere. The youngest, Mt Bella (1985)
is one the most promising talents of his
generation, his present composition was
the winner of the chamber music category of New Hungarian Music Forum
composition competition 2009 (UMZF
2009). [UMZE]
In the preface of the score of Melodien,
Ligeti refers to the three strata of the
piece: the foreground which features the
melodies of the title, the middle layer
made up of secondary figures (some of
them ostinato-like), and a background
consisting of long, sustained tones. The
three layers are intertwined and we hear
a combination of melodies, upward
scales and clusters while each part also
seems to breathe independently.

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 353

353

Serei

Zsolt

Mt Bella

352

Zsolt Serei (Takcsi, 1954.) studirao je


trombon pod vodstvom Gyrgya Zilcza i
Jzsefa Nagya i kompoziciju pod Istvnom Feketom Gyrom. Diplomirao je
kompoziciju (1979.) na Akademiji Liszt
kao student Endrea Szervnszkyog i
Emila Petrovicsa te dirigiranje (1982.) u
klasi Andrsa Krodija i Ervina Lukcsa.
Od 1978. godine lan je studija New Music kao izvoa, dirigent i skladatelj. Od
1986. godine radi kao predava na AkaMt Bella (Budimpeta, 1985.) studira
demiji Ferenc Liszt. Godine 1989. osnona Akademiji Ferenc Liszt u Budimpeti, vao je instrumentalni ansambl
Componensemble, koji je postao znaajan
gdje mu kompoziciju predaje Gyula
pokreta u stvaranju suvremene glazbe u
Fekete. Unato svojoj mladosti Bella je
Maarskoj te je premijerno izveo djela
osvojio nekoliko nagrada na natjecanjima iz kompozicije, od kojih prvu u dobi Bouleza, Kurtga i Feldmana. Serei je
od 15 godina. Proglaen je skladateljem 1991. godine kao dirigent tog ansambla
gostovao na Muzikom biennalu u Zagrebu.
najbolje pjesme u 2007. godini na natjecanju koje je odrao Fakultet za kazalite
i film u Budimpeti, dijelio je prvo mjesto Zsolt Serei (Takcsi, 1954) studied trombone under the direction of Gyrgy Zilcz
na natjecanju Akademije Ferenc Liszt u
2008. godini, a ove je godine osvojio na- and Jzsef Nagy, and composition under
Istvn Fekete Gyr. At the Ferenc Liszt
gradu u kategoriji komorne glazbe na
Academy of Music he received his degree
Kompozicijskom natjecanju novog main composition (1979) as a student of
arskog glazbenog foruma (UMZF 2009.).
Endre Szervnszky and Emil Petrovics,
and conducting (1982) in the class of AnMt Bella (Budapest, 1985) is a student drs Krodi and Ervin Lukcs. He has
been a member of the New Music Studio
at the Ferenc Liszt Academy of Music
Budapest where his teacher at composi- since 1978 as a performer, conductor
and a composer. He has been a teacher
tion is Gyula Fekete. Despite his young
at the faculty of composition of the Ferage Bella has won several composition
enc Liszt Academy since 1986. In 1989 he
competitions, the first one at the age of
founded the instrumental group Compo15. He was the Composer of the Best
nensemble, which has become a signifiSong in 2007, at a competition organized
cant base for contemporary
by the University of Theatre and Film in music-making in Hungary and has preBudapest, he shared the first prize at the miered pieces by Boulez, Kurtg and
Ferenc Liszt Academy Competiton in
Feldman. Their repertoire includes inter2008, and in January 2009 he won the
national and Hungarian contemporary
New Hungarian Music Forum Composi- chamber works. In 1991 Serei attended
the Music Biennale Zagreb, as a conduction Competition (UMZF 2009) in the
tor of the ensemble.
category of chamber music.

day

month

25

dan

mjesec

hour

22:00

subota / saturday

sat

Bukvi

Dalibor

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 354

Dalibor Bukvi (Sinj, 1968.) diplomirao


je kompoziciju u klasi Stanka Horvata na
Muzikoj akademiji u Zagrebu. Usavravao se na ljetnim teajevima u Darmstadtu kod Karlheinza Stockhausena i
Luce Lombardija, u Parizu na Ljetnoj
akademiji IRCAM-a, a kao stipendist
francuske vlade studirao je na Odsjeku
za elektroakustiku Parikog konzervatorija u klasi Laurenta Cuniota te na
Konzervatoriju regije Boulogne u klasi
Michela Zbara. Dobitnik je Rektorove
nagrade Sveuilita u Zagrebu i Nagrade
Stjepan ulek. Pie za instrumente solo,
komorne sastave, za zbor i orkestar, za
kazalite i film. Surauje sa Zagrebakim
kazalitem mladih, HNK Osijek, plesnom
grupom Gesta, amsterdamskom trupom
Griftheater, parikim Alchimistes i
grupom Dance Mission iz San Francisca.
Djela mu izvode brojni domai i inozemni umjetnici i ansambli, a mnoga
su i snimljena na nosaima zvuka.
Od 1996. do 2008. godine ivio je u
Parizu, gdje je radio kao korepetitor te
profesor klavira, glazbene teorije i improvizacije na vie kola i konzervatorija.
Od 2008. godine ivi u Zagrebu i predaje
glazbeno-teorijske predmete na Muzikoj akademiji Sveuilita u Zagrebu.
Skladba Ad lucem za mjeoviti zbor i
orkestar skladana je 2009. godine na
autorov vlastiti latinski tekst.

Dalibor Bukvi (Sinj, 1968) graduated in


composition under Stanko Horvat from
the Music Academy in Zagreb. He furthered his studies at the Darmstadt Summer Courses, with Karlheinz Stockhausen
and Luca Lombardi, at IRCAMs Summer
Academy in Paris, and studied at the
Electroacoustic Music Department of the
Paris Conservatory, on a scholarship
provided by the French government. He
also studied at the Conservatory of the
Boulogne Region, under Michel Zbar.
Bukvi is the recipient of the Zagreb
University Chancellors Award and the
Stjepan ulek Award. He writes for solo
instruments, chamber ensembles, for
choirs and orchestras as well as theatre
and film music. He has worked with the
Zagreb Youth Theatre, the Croatian National Theatre in Osijek, the Gesta dance
group, the Griftheater Company from
Amsterdam, the Alchimistes from Paris
and the Dance Mission from San Francisco. His pieces are frequently performed by Croatian and international
artists and ensembles, with many of
them recorded on CDs. From 1996 until
2008 Bukvi lived in Paris and worked
there as an accompanist, piano teacher,
and professor of music theory and improvisation at several schools and conservatories. Since 2008 he has lived in
Zagreb, where he teaches music theory
at the Music Academy.
His piece Ad lucem for mixed choir and
orchestra was written in 2009, using the
authors own Latin text.

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 355

354

Tristan Murail o skladbi Seven Lakes


Drive:
Blizu mjesta gdje stanujem protee se
prostrano sauvano zemljite, prirodni
park (Harriman State Park) koji pripada
velikom gorskom lancu, Apalaima; tu se
planine pokrivene umama izmjenjuju s
prirodnim ili umjetnim jezerima.
Parkom se od jednoga kraja na drugi
protee put, Seven Lakes Drive - Put
sedam jezera. Krivuda uz strmine, pruajui pogled na jezera, jedno jezero za
drugim. To su zvukovi roga, krivudave
melodije koje vode vrim i harmoninijim zvukolicima, jezerima glazbe
koja su sva ista, a svako je razliito.
Tehniki promatrano, komad je zasnovan na prirodnome harmonijskom rezoniranju roga i klavira.

355

Tristan Murail on Seven Lakes Drive:


Near where I live, there is a large stretch
of preserved land, a natural park (Harriman State Park) belonging to the vast
Appalachian range where small forest
covered mountains are spangled with artificial or natural lakes. A road crosses
the park from end to end, the Seven
Lakes Drive. It winds through the hills,
revealing views of the seven lakes one by
one. Horn calls, sinuous melodies leading toward more stable and more harmonic soundscapes, lakes of music, all
the same, all different.
Technically, the piece is based on the
natural harmonic resonances of the horn
and piano.
vie o Tristanu Murailu / more about
Tristan Murail: str. / page 422

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 356

day

month

25

dan

mjesec

hour

23:30

subota / saturday

sat

23:30, &TD
.HESSLERS.: smallOnes brainpain
Dio projekta Muzika - Diverzija / A Part of the Music- Diversion Project
Christoph Hessler, glas, gitara / vocals, guitar
Sebastian Wagner, glas i gitara / vocals, guitar
Thomas Zipner, bas-gitara i glas / bass guitar, vocal
Moritz Mller, bubnjevi / drums

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 357

356

.hesslers., sastav osnovan u


Mannheimu 2005. godine, prve nastupe
odrao je mjesec dana nakon osnutka, a
na prvu njemaku turneju krenuo je u
2006. godini. Iste godine uli su u Bandpool, natjecateljski projekt za nove talente te izdali album pod nazivom
smallOnes brainpain. Na drugoj su
turneji, poetkom 2007. godine nastupili
na poznatim njemakim glazbenim festivalima: najznaajniji takav nastup bio je
na festivalu Rock am Ring - najveem europskom rock festivalu - gdje su svirali za
150.000 ljudi uz bendove poput Smashing Pumpkins, Muse, Slayer itd. Nakon
festivalskog ljeta 2007. godine, .hesslers.
su osmislili svoju do sada najopseniju
turneju s dvadeset i dva nastupa. Oboavatelja je bilo sve vie te su .hesslers.
uskoro postali vaan bend na njemakoj
glazbenoj sceni. Nakon to su tijekom
2008. godine pisali nove pjesme, sastav
trenutano snima novi studijski album s
poznatim talijanskim producentom
Fabiom Trentinijem.
U dananje vrijeme promjenljive
glazbene industrije .hesslers. su uskoro
napustili tonui brod i pokrenuli vlastito
poslovanje. Uz pomo interneta, Amazona, digitalne distribucije preko
iTunesa i Finetunesa, uz paljivo
odabrane vanjske partnere, timski rad i
umreavanje, postigli su ono to pomodni video spotovi, savjetovanje oko
plastinog imida i skupi marketing nisu:
.hesslers. imaju glazbu, energiju i visoku
kvalitetu i stihova i glazbe, zbog ega ih
njihovi oboavatelji vole, kupuju njihove
albume i odlaze na njihove koncerte.
Zato paljivo gledajte pozornicu, jer nita
vam ne moe opisati to se na njoj
deava: energija i snaga. Buno, ivo,
snano, zahtjevno, a istovremeno
zarazno, nepredvidljivo i nadahnuto...

357

Founded in Mannheim in 2005,


.hesslers. landed their first gigs a month
later and ventured out on their first tour
of Germany in 2006. The same year, they
also made it into Bandpool, a highly
competitive funding project for newcomer talents, and released their first
album smallOnes brainpain. Their second tour, in early 2007, included the
stages of Germanys famous alternative
music festivals: The biggest deal was the
Rock am Ring - Europes biggest rock
festival - where they played for 150.000
festival goers along Smashing Pumpkins,
Muse, Slayer etc. After the festival summer of 2007, .hesslers. mastered their so
far most extensive tour with 22 gigs. Like
the gigs, the fans multiplied and
.hesslers. are becoming a force to be
reckoned with in the German music
business. After having written new
songs, the band is now recording their
new studio album with well known Italian producer Fabio Trentini, who is responsible for a few of the most
recognized rock-productions in Europe.
In times of a fickle music industry,
.hesslers. left the sinking ship and now
mind their own business. The internet,
Amazon.com, digital distribution over
itunes and finetunes, selected external
partners, teamwork, and networking can
do what fancy videos, plastic fantastic
image consulting, and expensive marketing wouldnt. The music, the energy, and
the quality of the music and the lyrics are
what makes .hesslers. Fans like it, they
buy their records and rock out to their
concerts.
So keep your eyes and ears locked on the
stage because nothing can describe
whats happening up there: Energy and
Strength. Noisy, live, forceful, demanding, and at the same time catchy, unpredictable and inspiring...
Vie o projektu Muzika-Diverzija /
More about the Music-Diversion project:
str. /page 412

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 358

day

month

nedjelja / sunday

26 4

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 359

13:30, BPSI
Suvremena glazba za orgulje /
Contemporary Organ Music
Elizabeta Zalovi, orgulje / organ

16:30, HDLU
Flautistiki maraton / Flute Marathon
Roberto Fabbriciani, flaute / flutes

19:30, HNK
Berislav ipu - Staa Zurovac - Franz Kafka:
Proces / The Trial*
balet / ballet

23:00, &TD, polukruna dvorana / semicircular halla


Trondheym
elektroniki jazz / electronic jazz

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 360

day

month

26

dan

mjesec

hour

13:30

nedjelja / sunday

sat

13:30, BPSI
Suvremena glazba za orgulje /
Contemporary Organ Music
Elizabeta Zalovi, orgulje / organ
Anelko Klobuar: Hommage Cecchiniju / Hommage Cecchini
Petr Eben: Hommage Buxtehudeu / Hommage Dietrich Buxtehude
Naji Hakim: Gershwinesca
Lionel Rogg: Hommage Takemitsuu: Zemlja, voda /
Hommage Takemitsu: La Terre, LEau / Earth, Water
Ivo Josipovi: Lichtenstein Pop-Art (Hommage Royu Lichtensteinu /
Hommage Roy Lichtenstein)*

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 361

360

Elizabeta Zalovi osnovnokolsko i srednjokolsko glazbeno obrazovanje stekla


je u Donjecku (Ukrajina) i u Zagrebu. Na
Muzikoj akademiji u Zagrebu diplomirala je glazbenu teoriju. Zaposlena je u
Srednjoj glazbenoj koli Pavla Markovca,
gdje predaje teorijske glazbene predmete. Orgulje je studirala na Institutu za
crkvenu glazbu u klasi prof. M. Kudrne, a
poslije je diplomirala na Muzikoj akademiji u klasi prof. Ljerke Oi. Godine
2006. zavrila je umjetniko usavravanje
iz orgulja na Muzikoj akademiji u klasi
prof. Marija Penzara.
Kao orguljaica nastupala je u zemlji i
inozemstvu. Na Danima hrvatske glazbe
praizvela je 7 Preludija za orgulje skladatelja Branka Lazarina, a na 7. i 9. meunarodnom festivalu orgulja Organum
Histriae nastupila je kao lanica sastava
Zagrebakoga komornog orkestra. Ostvarila je niz koncerata u zemlji i inozemstvu kao lanica orguljakog dua
Zalovi-Kudrna Quattro obbligato, a
2008. godine snimila je nosa zvuka u izdanju diskografske kue Croatia Records.
Ideja koncerta je hommage, dakle, utjecaj i paralele glazbene tradicije u suvremenom autorskom idiomu u skladu s
mogunostima i specifinostima
orgulja
Monumentalno nasljee orguljske literature neizbjeno se reflektira i u suvremenim skladbama za taj instrument.
Inspiracija i reinterpretacija iz arhetipskih izvora skladbi, skladatelja i stilova
oituje se u djelima naih suvremenika,
poput klasika dananjice Petra Ebena.
Drugu dimenziju predstavlja istraivanje
(i uivanje) u brojnim mogunostima
koje pruaju orgulje u idiomu skladatelja
koji nisu vezani za taj instrument
(relacija Gershwin - Hakim). Hommage
je valorizacija tradicije, eksperiment i
sinergija. [Elizabeta Zalovi]

361

Elizabeta Zalovi received her primary


and secondary music education in
Donetsk (Ukraine) and Zagreb. She graduated in music theory from the Music
Academy in Zagreb. She teaches music
theory works in the Pavao Markovac
music school. Zalovi studied organ at
the Institute for Church Music in the
class of M. Kudrna and later graduated
from the Music Academy under Ljerka
Oi. In 2006 she completed her artistic
education at the Music Academy in the
class of Mario Penzar.
As an organist, she has performed in
Croatia and abroad, namely at the Croatian Music Days where she premired the
7 Organ Preludes by Branko Lazarin, at
the 7th and the 9th International Organ
Festival Organum Histriae, and she has
performed as a member of the Zagreb
Chamber Orchestra. She had numerous
concerts in Croatia and abroad as a
member of the Zalovi-Kudrna organist
duo, Quattro obbligato, and in 2008 she
recorded a CD for the record company
Croatia Records.
The concept of this concert is - hommage, the influence and parallels of traditional classical music found in the
idioms of contemporary composers idioms, taking into consideration the specific qualities of the organ... The
monumental heritage of organ literature
is inevitably mirrored in the organ pieces
written by our contemporaries, such as
Petr Eben, a modern classic. Another dimension of the concept is the research and the enjoyment - of the numerous
possibilities the organ had to offer, found
in the idiom of composers not really affiliated with this instrument (the Gershwin - Hakin relation). The hommage is a
valorisation of tradition, an experiment,
and a synergy. [Elizabeta Zalovi]

day

month

26

dan

mjesec

hour

13:30

nedjelja / sunday

sat

Klobuar

Anelko

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 362

Anelko Klobuar (Zagreb, 1931.) na zagrebakoj je Muzikoj akademiji


diplomirao teorijsko-historijski odsjek te
studirao kompoziciju (Milo Cipra) i
orgulje (Franjo Lui); usavravao se u
kompoziciji (A. Jolivet) i orguljama (A.
Nowakowski), a predavao je na Muzikoj
akademiji te na Institutu za crkvenu
glazbu Albe Vidakovi. Kao vrstan orgulja (od sredine 1950-ih niz je godina bio
stalni orgulja zagrebake katedrale)
svoje umijee obiljeeno jakim utjecajem
francuske kole implementira i u stvaralatvu te sklada opsean opus posebno
zamjetan u podruju komorne i
orguljske glazbe. U njegovu je radu osobito dojmljiva mnogoznanost pristupa
boji i principima improvizacijske misli i
invencije, uz postojano promiljanje
parametara povijesnih glazbenih odrednica. Znaajan je i njegov prinos opusu
hrvatske filmske glazbe. [Dodi Komanov]

Anelko Klobuar (Zagreb, 1931) graduated from the music history department
at Zagrebs Music Academy and studied
composition (under Milo Cipra) and
organ (Franjo Lui), furthering his studies in composition with A. Jolivet and the
organ with A. Nowakowski. He taught at
the Music Academy in Zagreb and the
Albe Vidakovi Institute for Church
Music. As a brilliant organist (and the
resident of the Zagreb Cathedral since
the 1950s) Klobuar applied his artistry,
largely influenced by the French School,
to his creative work and generates an extensive opus, especially notable for its
chamber and organ works. His work is
especially marked by an impressive multifaceted approach to musical colour,
and by the principles of improvisational
thought and invention, with constant
consideration of the historical musical
guidelines. His contribution to the Croatian film music opus is significant as
well. [Dodi Komanov]

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363

Eben

Petr

362

Petr Eben (Zamber, 1929. - Prag, 2007.),


jedan od najpoznatijih ekih skladatelja, studirao je klavir i kompoziciju
na Muzikoj akademiji u Pragu i predavao na Odsjeku za povijest glazbe
prakog Karlova sveuilita. Predavao je i
kompoziciju na Kraljevskom koledu u
Manchesteru te od 1990. na prakoj
Akademiji izvedbenih umjetnosti. Bio je
predsjednik festivala Prako proljee i aktivno nastupao kao pijanist i orguljaimprovizator. Pisao je orguljska djela,
orkestralne komade, balete, oratorije, a
najvie je inspiracije crpio iz staroga
liturgijskog pjevanja i narodnih pjesama.
Hommage Buxtehudeu napisao je 1987.
godine u povodu Buxtehudeova 350.
roendana, na narudbu Ministarstva
obrazovanja njemake savezne pokrajine
Schleswig-Holstein. Za posvetu majstoru
sjevernonjemake orguljske toccate
odabrao je glazbeni oblik toccate i fuge.

Petr Eben (Zamber, 1929 - Prague, 2007),


one of the best-known Czech composers,
studied piano and composition at the
Prague Academy of Music and held a
teaching post in the History of Music Department at Pragues Charles University.
He was professor of composition at the
Royal Northern College of Music in Manchester. In 1990 he became a professor of
composition at the Academy of Performing Arts in Prague. Eben was the President of the Prague Spring Festival and
active as an improviser on piano and
organ. He wrote organ works, orchestral
pieces, ballets, oratories. Two main
sources of his inspiration were the plain
chant and the folk songs.
In 1987 Petr Eben wrote his Hommage
Dietrich Buxtehude on the occasion of
Buxtehudes 350th birthday, commissioned by the Ministry of Education of
Schleswig-Holstein. By choosing the toccata-fugue, the composer paid homage
to Buxtehude, the master of the North
German organ toccata.

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 364

month

26

dan

mjesec

hour

13:30

nedjelja / sunday

sat

Naji Hakim

day

Naji Subhy Paul Irne Hakim (Beirut,


1955.) studirao je na Parikom konzervatoriju i koledu Trinity u Londonu. Dobitnik je devet prvih nagrada na
meunarodnim natjecanjima orguljaa i
skladatelja za orgulje. Bio je prvi orgulja
Bazilike Sacr-Coeur u Parizu, a zatim je
naslijedio Oliviera Messiaena kao orgulja Crkve sv. Trojstva. Profesor je analize
na Konzervatoriju regije Boulogne-Billancourt i gostujui profesor Kraljevske
muzike akademije u Londonu. Papa
Benedikt XVI. dodijelio mu je kri Pro Ecclesia et Pontifice za predani rad za dobrobit Katolike crkve. Pie glazbu za solo
instrumente, simfonijska djela, oratorije,
mise, kantate, a napisao je i etiri
orguljska i jedan violinski koncert.
Hakim je napisao Gerschwinescu na
narudbu engleskog pijanista i
orguljskog virtuoza Waynea Marshalla.
Rapsodino djelo s druge strane oceana
odaje poast Georgeu Gershwinu, podsjeajui na aljiv nain i u formi ronda
na nekoliko tema velikog amerikoga
skladatelja simfonijskog deza.

Naji Subhy Paul Irne Hakim (Beirut


1955) studied at the Paris Conservatory
and the Trinity College of Music in London. He has won nine first prizes at international organ and composition
competitions. He was the organist of the
Basilique du Sacr-Coeur, Paris and then
became organist of lglise de la Trinit,
in succession to Olivier Messiaen. He is a
professor of musical analysis at the
Boulogne-Billancourt Conservatory, and
visiting professor at the Royal Academy
of Music, London. In 2007, Pope Benedict XVI has awarded Hakim the Pro Ecclesia et Pontifice Cross, for his
commitment and work for the benefit of
the Church. Hakims works include solo
instrumental music symphonic pieces,
oratories, masses, cantatas, four organ
concertos, a violin concerto.
Naji Hakim wrote Gershwinesca in answer to the commission of the English
piano and organ virtuoso, Wayne Marshall. The rhapsodic piece pays a tribute,
from beyond the oceans, to George
Gershwin, by recalling, in a witty and humorous rondo form, several themes of
the American great symphonic jazz composer.

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365

Lionel
Rogg

364

Lionel Rogg (eneva, 1936.) orgulja je,


embalist, skladatelj i profesor koji je tri
puta snimio kompletan orguljski opus J.
S. Bacha. Na enevskom konzervatoriju
studirao je orgulje u klasi Pierrea
Segonda i klavir u klasi Nikite Magaloffa.
Orguljske je recitale svirao diljem Europe, Amerika i Azije. Predavao je na
enevskom konzervatoriju do 2001. godine, a danas predaje orgulje i improvizaciju na Kraljevskoj muzikoj
akademiji u Londonu. U novije se vrijeme bavi skladanjem i pie djela za
orgulje, klavir, zborove uz orkestar i komorne sastave.
Kulturna razmjena izmeu Europe i
Dalekog istoka ne potjee tek iz naeg
doba. Bilo da je rije o slikarstvu, knjievnosti, kazalitu, ove su razmjene
snano utjecale na umjetnike aktivnosti
na tim podrujima. U glazbi 20. stoljea
dobar je primjer veliki skladatelj Toru
Takemitsu: sluanje njegovih djela uvjerilo me u mogunosti obnavljanja
glazbenog senzibiliteta zahvaljujui suptilnoj melankoliji koja mijea tradicijsku
japansku kulturu i skladateljske tehnike
zapada. Kao temu odabrao sam etiri elementa, no nije bila rije o imitiranju osobnoga Takemitsuova stila niti o
ilustriranju etiriju elemenata - vie mi
se ini da je moja glazba sluala zemlju,
vodu, vatru i zrak, putajui da je, velikim dijelom nesvjesnu slike, vode
slike. [Lionel Rogg]

Lionel Rogg (Geneva, 1936) is an organist, harpsichordist, pedagogue, and composer who has recorded the complete
organ works of Bach three times. He
studied at the Geneva Conservatory with
Pierre Segond (organ) and Nikita Magaloff (piano). He has given recitals all over
Europe, the Americas and Asia. Rogg was
a professor of organ at the Geneva Conservatory until 2001 and he now teaches
organ and improvisation at the Royal
Academy of Music in London. He has
lately turned to composing, writing
organ works, piano pieces, choral works
with orchestra and chamber music.
The cultural exchange between Europe
and the Far East has started long before
our time. Whether its painting, literature, or theatre, these exchanges have
strongly influenced the artistic activities
in both parts of the world. A good example of this in 20th century music is the
great composer Toru Takemitsu: listening to his works made me realize that
there was a chance of renewing musical
sensibilities, owing to a subtle melancholy mixing traditional Japanese culture
with the compositional techniques of the
West. As my subject, I have chosen the
four elements - it seems to me that my
music had been listening to the earth,
the water, the fire and the air, allowing
itself to be led by the imagery.
[Lionel Rogg]

day

month

26

dan

mjesec

hour

13:30

nedjelja / sunday

sat

Josipovi

Ivo

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 366

Ivo Josipovi (Zagreb, 1957.) doktor je


pravnih znanosti i zastupnik u
Hrvatskom saboru, a studij kompozicije
zavrio je u klasi Stanka Horvata na zagrebakoj Muzikoj akademiji, gdje
danas predaje. Od poetka 1990-ih vodi
Muziki biennale Zagreb. Opus mu
obuhvaa razliita podruja te zrcali stalnost invencije i osjeanja polivalentnosti
suvremenog jezika glazbe. O njegovu je
radu zabiljeeno: Kao skladatelj
Josipovi je pravi uenik razreda Stanka
Horvata po brizi za skladateljski zanat,
koji e biti vaan preduvjet svakog njegova skladateljskog pokuaja. Skladatelj
je to za kojega se, meutim, moe rei da
je od uiteljskog uzora na stanovit nain
odstupio jer je u svojim djelima - bilo da
je rije o Sambi da camera, o Drmeu za
Pendereckog, ili o Derneku - negdje uz
rubove prepoznatljivoga formalnog
obrasca uvijek pronalazio mjesta za dosjetku, radost uz glazbu i zaigranost umjetnikim inom.

Ivo Josipovi (Zagreb, 1957) graduated


in composition under Stanko Horvat
from the Music Academy and is currently holding the position of senior lecturer there and is a member of
parliament. He obtained his PhD in legal
sciences. Since the early 1990s, he has
been director of the Music Biennale Zagreb. His oeuvre covers a variety of the
multifaceted contemporary musical
idiom, while some of his works fulfil a
complex communicative purpose. His
creative work has been described as follows, As a composer, Josipovi is a true
student of Stanko Horvats class when it
comes to his attention to the composers
craftsmanship as an important prerequisite for all of his compositional attempts.
One could, in fact, say that he as a composer has departed somewhat from Horvats teachings due to his pronounced
tendency to squeeze some witty musical
ideas, his joy of music or fascination with
the creative process on the margins of a
recognisable formal pattern, be it in
Samba da Camera, Drme for Penderecki,
or Dernek.

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366

Roy Lichtenstein (1923. - 1997.) jedan je


od rodonaelnika pop-art pravca u
likovnoj umjetnosti XX. stoljea. Pop-art,
likovni pravac koji, izmeu ostalog, obiljeavaju sinteza apstrakcije i figurativnosti, odreeni karnevalizam i
groteska, od drugih se umjetnikih koncepata izdvaja optimizmom, pribliavanjem dnevnom, realnom ivotu ljudi i
neobvezujuim eklekticizmom koji nije
puko sastavljanje ve vienog, ve svojevrsna sinteza mate i realiteta. U
akademskoj glazbi pop-art se moe dijelom prepoznati i u onome to se oznaava postmodernom. Bliska mi je nova
artikulacija ve upotrijebljenih formi, pa
i klieja sadranih u popularnoj i narodnoj glazbi, reartikulacija tehnika baroka
ili klasike, spoj robusne avangarde i
njenog minimalizma. Posebno, sklon
sam optimizmu i uivanju u umjetnosti,
kako kreatora, tako i konzumenta.
Likovna djela Roya Lichtensteina, esto u
formi stripa, poput Picture and Pitcher,
Entablature, Still Life in Yellow and
Black, Landscape with Figures and Rainbow, The Great Pyramids, Mad Scientist
ili POW WOW, asociraju me na takav
umjetniki pristup. [Ivo Josipovi]

367

Roy Lichtenstein (1923-1997) is one of


the founders of pop-art style in the 20th
century visual arts. Pop-art is a movement in visual arts which, among other
things, is marked with the synthesis of
abstraction and figurative art, a certain
odes of carnival and grotesque; it
stands out from other art styles of the
20th century by manifesting optimism,
and closeness to everyday, real life that
includes unbinding eclecticism that is
not a mere composition of something already experienced, but a synthesis of
imagination and reality. Pop-art can be
recognized, in a way, in academic
music by what is called post-modern
music. The new interpretation of the already tried-out forms, even clichs in
popular and modern music is something
I find particularly interesting, whether it
is the new interpretation of techniques
of baroque or classical music or a combination of robust avant-garde with gentle
minimalism. I am particularly keen on
optimism and enjoying art as a creator of
art and as a consumer. Roy Lichtensteins works of art are often in the form
of a comic strip such as, Picture and
Pitcher, Entablature, Still Life in Yellow
and Black, Landscape with Figures and
Rainbow, The Great Pyramids, Mad Scientist or POW WOW, which inspire me to
take on such an artistic approach myself. [Ivo Josipovi]

Katalog_001-080:25_mbz 4/11/09 1:44 PM Page 368

day

month

26

dan

mjesec

hour

16:30

nedjelja / sunday

sat

16:30, HDLU
Koncert u povodu 60. roendana Roberta
Fabbricianija - Flautistiki maraton /
A concert marking Roberto Fabbricianis 60th
birthday - Flute Marathon
Roberto Fabbriciani, flaute / flutes
Giampaolo Coral: Aulodia sul nome Roberto Fabbriciani /
Aulodija na ime Roberto Fabbriciani /
Aulody to the Name Roberto Fabbriciani *
Marcello Panni: Linverno di Pan / Panova zima / Pans Winter *
Giacomo Manzoni: 708 *
Alessandro Sbordoni: LInaugurazione delleco / Inauguracija jeke /
Inauguration of the Echo *
Tristan Murail: Unanswered Questions / Neodgovorena pitanja
Alessandro Grego: Balingenesis / Balingeneza *
Fabrizio Fanticini: An Musil / Musilu / To Musil *
Berislav ipu: Dick Tracy and the Story of the Sad Young Men /
Dick Tracy i pria o tunim mladiima
Roberto Fabbriciani: Suoni per Gigi / Zvukovi za Gigija za flautu i
magnetsku vrpcu / Sounds for Gigi for flute and magnetic tape
Mauricio Sotelo: A Roberto: la chiarezza deserta / Za Roberta: Naputena
jasnoa /For Roberto: Deserted Clarity *
Alessandro Solbiati: Ibi, bone fabricator! / Tamo, dobri izumitelju! /
There, You Good Inventor*
Sanja Drakuli: Dvoglasna invencija / Two-Part Invention*
Henri Pousseur/Roberto Fabbriciani: Zeus joueur de fltes /
Zeus the Flute Player / Zeus flautist

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368

Na pragu 45. godinjice moga umjetnikog rada normalno je i vano nainiti


neku vrstu zavrnog rauna. U godinama
od 1964. do danas moja su umjetnika
iskustva bila mnogobrojna i vrlo raznolika, no svima im je zajedniki nazivnik
bila radoznalost, entuzijazam za novo, za
istraivanje i za eksperimentiranje, te
otvorenost za budue nadgradnje. Uvijek
sam, uz standardni repertoar, svirao i
glazbu svojega vremena; s njome sam
rastao i uvijek sam ostajao blizak eksperimentiranju, avanturi novih zvukova te
glazbenim i instrumentalnim rizicima.
Flauta nije ograniena na objekt; ona je
neiscrpan izvor realizacije glazbenih
misli, i to ne samo onih vezanih za instrument. Subjekt-glumac je izvoa u
kojem se spajaju mata i utopija.
Prvo akademizam, a potom antiakademizam kao njegovo nadvladavanje.
Izvoa mora riskirati. Nuno je osvijestiti prostor s kojim se moramo suoiti.
I tiina se moe uti. Treba duboko cijeniti podmorsku ljepotu pianissima.
Neogranien broj boja i timbara. Ljepota
tih zvukova potencira se i obnavlja ureajima za pojaavanje i oprostorenje
zvuka (ivom elektronikom).
Poetkom osamdesetih godina, na jednom uspjenom koncertu s Luigijem
Nonom, stvorili smo iluziju sluanja
pauza tiine... koje su bile veoma zvune!
Pomou novog senzibiliteta i tehnike
poinjemo navikavati svoje uho na veu
dinamiku raznovrsnost i na vee bogatstvo zvuka, irei izvedbene mogunosti
instrumenta. Suvremeni jezik flaute
obuhvaa veliko bogatstvo i raznolikost
tehnikih, timbrikih i zvukovnih
mogunosti. Stoga je flauta kao instrument uvijek aktualna i po svojoj prirodi
nenadmana. [Roberto Fabbriciani].

369

At the threshold of the 45th anniversary of


my artistic activity, I feel that it is normal
and important to make some kind of
summary of my career. From 1964 until
the present day my artistic experiences
have been numerous and diverse, but
they all had something in common: curiosity, enthusiasm for new things, enthusiasm for research and
experimentation and openness for future
discoveries. Side by side with the standard repertoire, I have always played the
music of my own time. I grew with this
music and I always stayed in tune with
experimentation, the adventure of new
sounds as well as musical and instrumental risks.
The flute is not limited to the object; it is
an inexhaustible source of realization of
musical thoughts, and not