DOCSLIB.ORG

Europa Cinema (Foyer) 7:30 PM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Europa Cinema (Foyer) 7:30 PM 30th MUSIC BIENNALE ZAGREB 06—13 04/2019 30th Music Biennale Zagreb is held Table of Content under the high patronage of the President of Republic of Croatia, Kolinda Grabar Kitarović 05 Who is Who at the Pre-biennale Week 30th MBZ 44 Saturday 30/03 10 30th MBZ 46 Tuesday 02/04 15 Music. Sound — City. Space 48 Wednesday 03/04 19 Program block Hommage to Urbofest 1979 52 Thursday 04/04 23 Tiny Nothings — John Cage 58 Friday 05/04 in Zagreb 1985 27 jazz.hr & MBZ Biennale Week 31 Oris: Architecture + Sound 68 Saturday 06/04 35 KNAPPING 86 Sunday 07/04 37 A Festival for the Big Little 114 Monday 08/04 Ones — Music, Space and Me 134 Tuesday 09/04 39 Masterclasses 142 Wednesday 10/04 166 Thursday 11/04 188 Friday 12/04 202 Saturday 13/04 223 Biographies 05 30th Music Biennale Zagreb 30th MBZ Who is Who ORGANISATION OF THE FESTIVAL 2019 MBZ DESIGN Croatian Composers’ Society (HDS) Sven Sorić Hrvoje Spudić HDS Secretary-General Tin Dožić Antun Tomislav Šaban Photographers Vedran Metelko PROGRAMME BOARD OF THE 30TH MUSIC Matej Grgić BIENNALE ZAGREB Tomislav Sporiš Krešimir Seletković, Artistic Director Cameramen for Musical Walks (until 26 March 2018) David Bošnjak Berislav Šipuš (until 26 March 2018) Josip Sunko Nina Čalopek Damir Martinović Mrle Tomislav Oliver TECHNICAL SERVICES AND LOGISTICS Davor Hrvoj (from 26 March 2018) Ivo Josipović (from 26 March 2018) Technical Director Bojan Gagić Creators of programme section Architecture + Sound Technical Managers Marko Slaviček Damir Filipčić Tin Oberman Luka Hrvoj Tomislav Oliver Tehnicians Ivan Cafuta PRODUCTION AND ORGANISATION Željko Milišić Augustin Kvočić Executive Producer Adam Radić Nina Čalopek Producers MBZ OFFICE AND SALES Mirna Gott Lovorka Sršen Head of MBZ Office Dijana Meheik Vanja Daskalović Coordinator of Sales and Volunteers COMMUNICATION AND VISUALS Mia Orsag Head of Press Office Vedran Lesar Đurđica Sarjanović Emilja Miholić Borna Ivezić Press Office Matej Kniewald Tamara Terzija Cintia Macuka Dora Sabljić Social Media Content Editor Mia Orsag TRANSPORT Website Editor Anamarija Žugić Drivers Ivan Horvat Web Design Mario Šarlog Slaven Bolanča Transport Web Design in general Marijo Jagarinec Econik d.o.o. Thank you to all the 06 07 VOLUNTEERS of the 30th MBZ! 30th Music Biennale Zagreb 06—13/04/2019 It was with great pleasure that I agreed to be the Patron of the 30th Music Biennale, to be held in Zagreb from April 6 to 13, 2019. The jubilee edition of this important musical event is the occasion to remember all those people whose vision of new musical expressions and aesthetic helped start a musical encounter of artists from all over the world, to whom Zagreb has become the center of contemporary music. On this occasion, we will be reminded of the 1979 MBZ Urbofest, which is particularly interesting for this anniversary edition dedicated to urban identities, where music and the city reside. I would therefore like to take this opportunity to congratulate the founders, organizers and participants of the Music Biennale and wish this prestigious event further success in its work, to the satisfaction of the audience and new music makers. Yours sincerely, The President of the Republic of Croatia Kolinda Grabar – Kitarović 08 09 30th Music Biennale Zagreb 06—13/04/2019 Dear music lovers, dear artists, In its 58th year of existence, the Music Biennale Zagreb is celebrating I would like to warmly welcome you to the 30th anniversary its 30th festival edition and reminding its audience of the famous edition of the Music Biennale, a festival dedicated to new event in history that happened four decades ago when the legendary music of all genres whose rich program has made Zagreb Urbofest was held. On this occasion, while remembering the founder an undeniable European music hub since 1961. and first president of the Biennale, composer Milko Kelemen, we are reminded of his words on tolerance and high-quality production as the This extraordinary cultural event, recognized by both two key premises which have been lying at the heart of the Biennale the audience and musicians across the world, provides from 1961 until today. an insight into recent music production, from concerts of symphony orchestras and chamber ensembles, As the only international contemporary music festival in the Republic experimental music theatre and contemporary dance to of Croatia of such scale and tradition, regarded as the source of new jazz and electronic and alternative music. This year Zagreb aesthetics, it continues to encourage the diversity of creative cultural will once again become a 10-day cultural hub visited by spaces, creative freedom and composers’ autonomy. The artistic regional and European lovers of art and contemporary dialogue which the Music Biennale Zagreb has continuously had with music. The theme of this year’s Music Biennale Zagreb the world is mirrored in many topics related to contemporary trends, is The City and Music. Thanks to the presentation and from “The Encounter of Cultures,” “The Sound of Technology and creation of music about the notion of the city, the Festival Man,” female composing, “Musical Constellations of the Digital Age,” will cover numerous topics and areas of related or less “Music of the Cities” or “EU: Inside/Outside” to this year’s main topic related disciplines. Music, Space, City, Sound. The effect that this Festival has on Croatian contemporary music is proof enough of the great accomplishments As the Mayor of Zagreb, I am proud of the tradition of this of national culture and its creators, relevant and equal participants renowned Festival, of its importance on the contemporary on the international scene, with which they jointly shaped different music scene and of the fact that our city is a destination perspectives on the art of the 20th and 21st century. with one of the best European festivals. I would like to congratulate its founder, the Croatian Composers’ Society, On the occasion of the opening of the 30th Music Biennale Zagreb, on outstanding organization and on yet another intriguing I would like to wish all composers, soloists and ensembles a lot of program which follows the current trends. success in the promotion of the musical culture of our time. I would like to thank everyone whose work and enthusiasm Minister, made this 30th edition of the Music Biennale possible and Nina Obuljen Koržinek, PhD wish our dear guests a pleasant stay in our city. Welcome! Yours faithfully, Mayor of the City of Zagreb Milan Bandić 10 11 30th Music Biennale Zagreb Free From Expectations, Free, Everywhere You shouldn’t be surprised by anything because you shouldn’t expect anything. The whole purpose of these projects is to make your own In socialism, the concept of “art democratization” originates discoveries, anytime, anywhere. Therefore, you shouldn’t be from the heated debates about high-brow vs. low-brow and elite surprised by anything because you shouldn’t expect anything. vs. mass or popular culture. One of the socialist mottos from Anyway, maybe nothing will ever happen other than you getting the period of the Urbofest, which also denotes the spirit of that up early, finding your way to the department store entrance and program, was “to develop culture as an integral part of human life, then going home feeling fooled. as a ‘creative action’ rather than an exclusive event.” (Gulin Zrnić) And it is the exclusivity of the event which is the very condition These are the words from the “festival diary” of the 10th Music that to this day continues to include the criterion of expectation — Biennale Zagreb (MBZ) used to endorse the festival’s concept and expectation of the audience that the performance will match the justify its reluctant approach to describing the festival events by predefined model which it may (paradoxically, again as expected) using the example of the 1961-1979 MBZ RETROSPECTIVE held at deviate from or expectation of the audience that their previous the Zagreb department store NAMA. Issued precisely 40 years ago, knowledge, their “horizon of expectation,” should be adapted in that program diary denoted that special edition of the MBZ related order to consume the provided content. Using simple vocabulary to the program called the Urbofest (Zagreb, May 12–18, 1979). and attractive methods, both the 10th and the 30th MBZ, as well Why is, however, this particular quote used in the story of the as those in between, found a way to democratize art by freeing 30th Music Biennale, to be held in early April 2019? This year’s themselves and the audience of the obligation to expect. The anniversary MBZ, apart from a program section dedicated to John events on the programs of the 10th and the 30th MBZ are no Cage’s 1985 MBZ performance, mostly continues with the format, longer exclusive in a negative way; they are integrated into the city ideas and viewpoints of the Urbofest, as the city and music were and the community, and anyone, no matter how open their mind is, chosen as its theme. The seemingly simple title quotation thus can participate in them, interpret them — or simply indulge in them. reveals at least three Urbofest’s postulates, not only as a series of events but also as different ways of thinking about art and culture; The purpose is to make your own discoveries, everywhere. But maybe postulates which could, without a doubt, be applied to the concept nothing will ever happen. of the 30th MBZ. And that’s fine. The 2019 MBZ, just like the 1979 one, gathers artists from all over the world, while at the same time promoting national artistic works (a whopping number of 15 new pieces by Croatian composers have been commissioned for the occasion).
Load more

Recommended publications
  • Digibooklet Antonio Janigro
    ANTONIO JANIGRO & ZAGREG SOLOISTS Berlin, 1957-1966 ARCANGELO CORELLI (1653-1713) Concerto grosso in D major, Op. 6/4 I. Adagio – Allegro 2:32 II. Adagio 2:03 SOLOISTS III. Vivace 1:09 IV. Allegro – 1:58 V. Allegro 0:41 Gunhild Stappenbeck, Cembalo Continuo recording: 14-01-1957 GIOACHINO ROSSINI (1792-1868) Sonata for Strings No. 6 in D major I. Allegro spiritoso 6:32 II. Andante assai 2:39 ZAGREG III. Tempesta. Allegro 5:12 recording: 19-04-1964 & PAUL HINDEMITH (1895-1963) Trauermusik (Funeral Music) for Solo Viola and Strings I. Langsam 4:28 II. Ruhig bewegt 1:25 III. Lebhaft 1:32 IV. Choral „Für deinen Thron“ 2:24 Stefano Passaggio, solo viola recording: 12-03-1958 JANIGRO DMITRI SHOSTAKOVICH (1906-1975) Octet for Strings, Op. 11 II. Scherzo recording: 17-04-1964 SAMUEL BARBER (1910-1981) Adagio for Strings recording: 19-04-1964 ANTONIO ANTONIO MILKO KELEMEN (*1924) Concertante Improvisations for Strings I. Allegretto 2:20 II. Andante sostenuto – Allegro giusto 2:05 SOLOISTS III. Allegro scherzando 1:15 IV. Molto vivace quasi presto 2:05 recording: 12-03-1958 MAX REGER (1873-1916) Lyric Andante for String Orchestra5:18 recording: 16-03-1966 WOLFGANG AMADEUS MOZART (1756-1791) Divertimento in B-flat major, K. 137 ZAGREG I. Andante 4:10 II. Allegro di molto 2:44 & III. Allegro assai 2:17 recording: 19-03-1961 ROMAN HOFFSTETTER (1742-1815), former attrib. to JOSEPH HAYDN (1732-1809) Serenade in C major (from Op. 3/5) recording: 11-11-1958 ANTONIO VIVALDI (1678-1741) Concerto in D major, RV 230 (Cello Version) JANIGRO I.
    [Show full text]
  • ÅRSMELDING 2007 I 2007 Arrangerte 29 Jazzklubber På Østlandet 871 Konserter for Mer Enn 68 000 Publikummere
    ÅRSMELDING 2007 I 2007 arrangerte 29 jazzklubber på Østlandet 871 konserter for mer enn 68 000 publikummere. Østnorsk jazzsenter fordelte kr 1 216 000,- i arrangørstøtte til disse aktivitetene. Østnorsk jazzsenters arbeid tar utgangspunkt i Norsk kulturråds utredning «Improvisasjon satt i system» fra 1995 som igjen har bakgrunn i Stortingsmelding nr 61 (1991/92) «Kultur i tiden». Senteret har som formål på ideelt grunnlag å spre kunnskap om og øke forståelsen og interessen for jazz og beslektede kunstformer, samt å legge til rette for lokal aktivitet innafor musikksjangeren i fylkene Østfold, Vestfold, Telemark, Buskerud, Oppland, Hedmark, Akershus og Oslo. Østnorsk jazzsenter er organisert som en forening, og styres av et årsmøtevalgt styre. Senteret er medlem i landsorganisasjonen Norsk jazzforum, og samarbeider med de fire andre regionale jazzsentrene. Medlemmer i Norsk jazzforum som er lokalisert i de åtte Østlandsfylkene er medlem i Østnorsk jazzsenter, og har stemme- og møterett på jazzsenterets årsmøter. Østnorsk jazzsenters satsingsområder for perioden 2006 – 2010 er: • Formidlings- og opplæringstiltak for og med ungdom i alle aldre • Styrke Norske store orkester og styrke arbeidsvilkårene for utøvende og skapende musikere • Videreutvikle konsertarrangørene og arbeide for en helhetlig arrangørstøtteordning (Foto © Ann Iren Ødeby, Tor Erik Schrøder) Aktiviteter 2007 Norske store orkester/ prosjekter for Ungdom i alle aldre musikermedlemmene Arrangørene Norske store Klubb- og arrangørstøtte Norske store orkester er Østnorsk Østnorsk jazzsenter vil satse videre på Østnorsk jazzsenter fordelte i 2007 jazzsenters eget orkester, og er et Norske store som et kreativt forum for kr 1 216 000,- i arrangørstøtte til 31 av få større profesjonelle ensembler komponister og musikere som jobber med jazzarrangører på Østlandet.
    [Show full text]
  • Usporedba Djelovanja Modela Recipročnoga Odgovora I Dijakronijskoga Modela U Nastavi Glazbene Umjetnosti Na Oblikovanje Glazbenoga Ukusa Učenika
    Sveučilište u Zagrebu Filozofski fakultet Ivana Senjan USPOREDBA DJELOVANJA MODELA RECIPROČNOGA ODGOVORA I DIJAKRONIJSKOGA MODELA U NASTAVI GLAZBENE UMJETNOSTI NA OBLIKOVANJE GLAZBENOGA UKUSA UČENIKA DOKTORSKI RAD Zagreb, 2018. Sveučilište u Zagrebu Filozofski fakultet Ivana Senjan USPOREDBA DJELOVANJA MODELA RECIPROČNOGA ODGOVORA I DIJAKRONIJSKOGA MODELA U NASTAVI GLAZBENE UMJETNOSTI NA OBLIKOVANJE GLAZBENOGA UKUSA UČENIKA DOKTORSKI RAD Mentorica: izv. prof. dr. sc. Snježana Dobrota Zagreb, 2018. Faculty of Humanities and Social Sciences Ivana Senjan COMPARISON OF THE IMPACT OF THE RECIPROCAL FEEDBACK MODEL OF MUSICAL RESPONSE AND THE DIACHRONIC MODEL IN TEACHING MUSIC ART ON SHAPING MUSICAL TASTE OF SECONDARY SCHOOL STUDENTS DOCTORAL THESIS Supervisor: associate professor Snježana Dobrota, Ph.D. Zagreb, 2018. INFORMACIJE O MENTORICI Dr. sc. Snježana Dobrota izvanredni je profesor na Odsjeku za učiteljski studij Filozofskog fakulteta Sveučilišta u Splitu. Rođena je 25. listopada 1972. godine u Splitu. Osnovnu i srednju školu (Klasična gimnazija Natko Nodilo i Srednja glazbena škola Josip Hatze) završila je u Splitu. Godine 1994. diplomirala je na Fakultetu prirodoslovno- matematičkih znanosti i odgojnih područja Sveučilišta u Splitu, smjer Glazbena kultura, čime je stekla stručnu spremu sedmog (VII/1) stupnja i stručni naziv profesor glazbene kulture. Zahvaljujući visokom prosjeku ocjena bila je stipendistica Sveučilišta u Splitu, te dobitnica Rektorove nagrade. Akademske godine 1995./96. upisala je poslijediplomski znanstveni studij Glazbene pedagogije na Muzičkoj akademiji i Filozofskom fakultetu Sveučilišta u Zagrebu, Odsjek za pedagogiju. Magistrirala je 2000. godine s temom Utjecaj aktivnog slušanja glazbe na razvoj perceptivnih sposobnosti djece rane školske dobi (mentor prof. dr. sc. Pavel Rojko) te stekla akademski stupanj magistra znanosti iz područja društvenih znanosti, polja odgojnih znanosti, grane opća pedagogija – glazbena pedagogija.
    [Show full text]
  • Helge Sunde Ensemble Denada
    Helge Sunde Ensemble Denada FINDING NYMO ACT 9492-2 Veröffentlichung: 23. Oktober 2009 Verglichen mit den Umwälzungen bei kleinen Bandbesetzungen hat sich bei großen Orchestern im Jazz seit dem Ende der Bigband-Ära erstaunlich wenig getan. Sucht man neue Ansätze, wird man automatisch im hohen Norden landen: Norwegen hat sich als Hochburg großer Ensembles etabliert, vorangetrieben von Leadern wie Trygve Seim, Geir Lynse - und natürlich Helge Sunde. Der 44-Jährige aus dem kleinen Ort Stryn ist gewissermaßen die Allzweckwaffe der norwegischen Orchesterszene: Er ist Lehrer an der staatlichen Musikakademie und an anderen Universitäten. Als Komponist für klassische Symphonieorchester und moderne Ensembles hat sich Sunde einen Namen gemacht. Auf der Bühne ist der Posaunist und Multiinstrumentalist in Formationen wie dem Norwegischen Radio Orchester, Geir Lysnes Listening Ensemble oder dem Ophelia Orchestra sowie als Leiter eigener Bands zu erleben. Bei Helge Sunde wird „-die-Ecke-Denken zum vitalen, leidenschaftlichen “ (Jazzthing). „ und furios, detail- und klangbewusst geht es zu im Orchester des Komponisten und Blechbläser Helge Sunde", schreibt das Fono Forum ü raffinierte Arrangements und feine Klangbilder, die auf seinem 2007 erschienenen ACT- ü Denada (ACTSACD 9805-2) zu hören sind. Mit dem Norske Store Orchestra ist hier „ groovendes, mitreißendes Musikerlebnis" (Jazzpodium) entstanden. Beim Nachfolger Finding Nymo (ACT 9492-2) hat nun das Ensemble den CD-Namen Denada geerbt, der sich so vieldeutig aus dem Spanischen ableiten lässt: Kann es doch ü„dem Nichts “stehen wie ü„ “ oder ü den Umweg ins Englische ü „“ Eine unverbindliche Aufforderung zur Spontaneität sozusagen. Erneut lädt Sunde damit in ein wie einem Füllhorn entsprungenes musikalisches Reich ein, in dem sich seine vielseitigen Vorlieben und kreativen Arbeitsfelder kaleidoskopartig entfalten.
    [Show full text]
  • Årsmelding-2008.Pdf
    Årsmelding 2008 1 Østnorsk jazzsenter I 2008 arrangerte 32 jazzklubber på Østlandet 862 konserter for mer enn 71 000 publikummere. Østnorsk jazzsenter fordelte kr 1 288 908,- i arrangørstøtte til disse aktivitetene. Østnorsk jazzsenters arbeid tar utgangspunkt i Norsk kulturråds utredning ”Improvisasjon satt i system” fra 1995 som igjen har bakgrunn i Stortingsmelding nr 61 (1991/92) ”Kultur i tiden”. Senteret har som formål på ideelt grunnlag å spre kunnskap om og øke forståelsen og interessen for jazz og beslektede kunstformer, samt å legge til rette for lokal aktivitet innafor musikksjangeren i fylkene Oslo, Akershus, Buskerud, Vestfold, Østfold, Telemark, Hedmark og Oppland. Østnorsk jazzsenter er et regionalt kompetansesenter for jazz med arbeidsoppgaver innen formidling, opplæring og informasjon. Senteret samarbeider med jazzmiljøene i samtlige åtte fylker i regionen, og legger til rette for at jazzmusikk er tilgjengelig for et størst mulig publikum på Østlandet. Kompetanseutvikling og oppbygging av et velfungerende støtte- og serviceapparat for det frivillige og profesjonelle jazzliv i regionen er sentrale arbeidsoppgaver for senteret. Østnorsk jazzsenter er organisert som en forening, og styres av et årsmøtevalgt styre. Senteret er medlem i landsorganisasjonen Norsk jazzforum, og samarbeider med de fire andre regionale jazzsentrene. Medlemmer i Norsk jazzforum som er lokalisert i de åtte Østlandsfylkene er medlem i Østnorsk jazzsenter, og har stemme- og møterett på jazzsenterets årsmøter. 2 BIlder: Ensemble Denada (Foto © Bassam
    [Show full text]
  • Zagreb Winter 2016/2017
    Maps Events Restaurants Cafés Nightlife Sightseeing Shopping Hotels Zagreb Winter 2016/2017 Trešnjevka Where wild cherries once grew Go Gourmet A Croatian feast Shopping Cheat Sheet Find your unique item N°86 - complimentary copy zagreb.inyourpocket.com Festive December Contents in Ljubljana ESSENTIAL CITY G UIDES Foreword 4 Sightseeing 46 A word of welcome Snap, camera, action Arrival & Getting Around 6 Zagreb Pulse 53 We unravel the A to Z of travel City people, city trends Zagreb Basics 12 Shopping 55 All the things you need to know about Zagreb Ready for a shopping spree Trešnjevka 13 Hotels 61 A city district with buzz The true meaning of “Do not disturb” Culture & Events 16 List of Small Features Let’s fill up that social calendar of yours Advent in Zagreb 24 Foodie’s Guide 34 Go Gourmet 26 Festive Lights Switch-on Event City Centre Shopping 59 Ćevap or tofu!? Both! 25. Nov. at 17:15 / Prešernov trg Winter’s Hot Shopping List 60 Restaurants 35 Maps & Index Festive Fair Breakfast, lunch or dinner? You pick... from 25. Nov. / Breg, Cankarjevo nabrežje, Prešernov in Kongresni trg Street Register 63 Coffee & Cakes 41 Transport Map 63 What a pleasure City Centre Map 64-65 St. Nicholas Procession City Map 66 5. Dec. at 17:00 / Krekov trg, Mestni trg, Prešernov trg Nightlife 43 Bop ‘till you drop Street Theatre 16. - 20. Dec. at 19:00 / Park Zvezda Traditional Christmas Concert 24. Dec. at 17:00 / in front of the Town Hall Grandpa Frost Proccesions 26. - 30. Dec. at 17:00 / Old Town New Year’s Eve Celebrations for Children 31.
    [Show full text]
  • Uloga I Važnost Menadžmenta I Marketinga U Organizaciji Glazbenih Festivala
    Uloga i važnost menadžmenta i marketinga u organizaciji glazbenih festivala Franjić, Petra Undergraduate thesis / Završni rad 2019 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Academy of Arts and Culture in Osijek / Sveučilište Josipa Jurja Strossmayera u Osijeku, Akademija za umjetnost i kulturu u Osijeku Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:251:876062 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-24 Repository / Repozitorij: Repository of the Academy of Arts and Culture in Osijek SVEUČILIŠTE JOSIPA JURJA STROSSMAYERA U OSIJEKU AKADEMIJA ZA UMJETNOST I KULTURU ODSJEK ZA KULTURU, MEDIJE I MENADŽMENT SVEUČILIŠNI PREDDIPLOMSKI STUDIJ KULTURA, MEDIJI I MENADŽMENT PETRA FRANJIĆ ULOGA I VAŽNOST MENADŽMENTA I MARKETINGA U ORGANIZACIJI GLAZBENIH FESTIVALA ZAVRŠNI RAD MENTOR: Doc. dr. sc. Marta Borić Cvenić Osijek, 2019. SAŽETAK: Tema ovog završnog rada je važnost menadžmenta i marketinga u organizaciji glazbenih festivala. Zadnjih godina sve popularniji postaju razni festivali, a posebno glazbeni festivali. Organizacija ovakvog događaja dosta je komplicirana što će se vidjeli i kroz ovaj rad. Zadaća menadžmenta kod glazbenih festivala je da stvore kvalitetnu ideju, zaposle prave ljude, stvore realan plan za festival te kada ga provedu da ga znaju i održavati. Potrebno je znati kvalitetno nadzirati festival. Spomenuti će se i što se sve ubraja u marketing događanja, odnosno festivala. Kao primjer u radu obrađena su dva velika hrvatska glazbena festivala, INmusic festival i Ultra Europe koji se provodi u Splitu te jedan američki festival koji nije uspio, a to je Fyre festival. Ključne riječi: događaj, festival, marketing. menadžment SUMMARY: The theme of this final paper is the importance of management and marketing in the organization of music festivals.
    [Show full text]
  • Bibliografije ― Bibliographies, Armud6 47/1-2 (2016) 275-309 275
    BIBLIOGRAFIJE ― BIBLIOGRAPHIES, ARMUD6 47/1-2 (2016) 275-309 275 BIBLIOGRAFIJE ― BIBLIOGRAPHIES BIBLIOGRAPHIA MUSICOLOGICA CROATICA ADDENDA I RADOVI ZA 2014. GODINU I. Znanstveni i stručni radovi a) Knjige BACHRACH-KRIŠTOFIĆ, Sanja – KRIŠTOFIĆ, Mario (ur.): Jugoton : istočno od raja : 20.10.-30.11.2014., Tehnički muzej, Zagreb : katalog izložbe, Kultura umjetnosti, Zagreb 2014, ISBN 9789535715016. BAJUK, Lidija – MIHOLIĆ, Irena (ur.): O hrvatskoj tradicijskoj glazbi Međimurja i oko nje : Centar za kulturu Čakovec, Scheierova dvorana, 6.-25. listopada 2014. katalog izložbe, Institut za etnologiju i folkloristiku – Udruga Matapur, Zagreb – Lopa- tinec 2014, ISBN 9789536020959. BAJUK, Lidija – PETROVIĆ OSMAK, Željka (ur.): O hrvatskoj tradicijskoj glazbi Me- đimurja i oko nje : predavanja i radionice Zlatna grana i Međimurska tradicijska glazba, Etnografski muzej – Institut za etnologiju i folkloristiku – Udruga Ma- tapur, Zagreb – Lopatinec 2014, ISBN 9789536273614. BARBIERI, Marija: Nada Tončić : život i djelo, Ex libris, Zagreb 2014, ISBN 9789532840605. BARIĆ, Mirko: Tambura : kako sam gradio bisernicu, Gradska knjižnica »Ivan Goran Kovačić«, Karlovac 2014, ISBN 9789537852146. BELINA, Mirna – KOŽUL, Marina: Vizualna glazba, Udruga 25 FPS, Zagreb 2014, ISBN 9789537848026. BRATIĆ, Martina: Zagrebački solisti : velikih 60, Zagrebački solisti, Zagreb 2014. BRČIĆ, Maroje: S gitarom ruku pod ruku, Matica hrvatska, Ogranak Dubrovnik, Dubrovnik 2014, ISBN 9789537784393. BRUSIĆ, Doris (ur.): Pjevački zbor KUD-a Halubjan kroz povijest, KUD »Halubjan«, Viškovo 2014, ISBN 9789535760702. 276 BIBLIOGRAFIJE ― BIBLIOGRAPHIES, ARMUD6 47/1-2 (2016) 275-309 BULETIĆ, Mario – MARUŠIĆ, Dario: Istarski tradicijski instrumenti : iz fundusa Et- nografskog muzeja Istre : katalog izložbe, Etnografski muzej Istre, Pazin 2014, ISBN 9789537944063. CIKOJEVIĆ, Dalibor: Glazbena trilogija : Ostavština posljednjeg skladatelja ; Posljednja violina Niccolòa Amatija ; Virtuozi, muze i striptiz, Leykam International, Zagreb 2014, ISBN 978953340015.
    [Show full text]
  • Milko Kelemen: Life and Selected Works for Violoncello
    MILKO KELEMEN: LIFE AND SELECTED WORKS FOR VIOLONCELLO by JOSIP PETRAČ (Under the Direction of David Starkweather) ABSTRACT Milko Kelemen (b. 1924) is one of the most extraordinary Croatian composers of the post-World War II era. He has received numerous prestigious awards for his work, while his compositions are published by major companies, including Schott, Universal, Peters, and Hans Sikorski editions. His music is little studied or known internationally. This paper examines this innovative, avant-garde musician and sheds light both on Kelemen’s life and his compositional technique. The latter is examined in four compositions featuring cello as the main subject: Changeant (1968), Drammatico (1983), Requiem for Sarajevo (1994), and Musica Amorosa (2004). The examination of these compositions is placed in a biographical context which reveals how Kelemen’s keen political and cultural interests influenced his development as a composer. In particular, this document looks at Kelemen’s role as one of the founders, and the first president, of the Zagreb Music Biennale Festival, an event known for its ground-breaking work in bringing together artists and composers from the eastern and western blocs during the Cold War, as well as revitalising Croatia’s old-fashioned and provincial cultural scene. This festival of avant-garde music has been running since 1961. INDEX WORDS: Milko Kelemen, Zagreb Biennale, cello, avant-garde music, Changeant, Drammatico, Requiem for Sarajevo, Musica Amorosa MILKO KELEMEN:LIFE AND SELECTED WORKS FOR CELLO by JOSIP
    [Show full text]
  • EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
    EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos.
    [Show full text]
  • GAVELLA U PROLOGU Darko Gašparović
    GAVELLA U PROLOGU Darko Gašparović 1. Prvi broj kazališnoga časopisa Prolog1 izašao je u travnju 1968., kad se bilo navršilo šest godina od smrti Branka Gavelle, redatelja i mislioca teatra koji je bitno obilježio razvoj hrvatskoga glumišta u razdoblju od 1920. pa sve do sedamdesetih godina 20. stoljeća. Donju granicu njegova ključnog utjecaja postavljamo na godine neposredno poslije Prvoga svjetskog rata. Pitanje je zašto, kad znamo da je svoju prvu režiju, tragediju Messin- ska vjerenica Friedricha Schillera, bio ostvario u Hrvatskome narodnom kazalištu 1914. godine.2 Zbog izbijanja Prvoga svjetskog rata, unovačenja i odlaska na galicijsko bojište, Gavella se u kazalište kao redatelj vratio tek u kasnu jesen 1917. kad postavlja komediju u tri čina Alfreda de Musseta 1 Izdavač je bio Sveučilišni odbor SSJ, a uredništvo su činili mahom dvadeseto godišnjaci, od najmlađega, brucoša filozofije i anglistike Slobodana Šnajdera, do najstarijega, redatelja Mire Međimorca s dvadeset pet godina. Osta- li su članovi uredništva bili kritičar i esejist Darko Gašparović, prozaik Drago Kekanović, publicist Vladimir Roksandić i student glume Ante Rumora (glavni urednik). 2 Premijera je bila 19. III. 1914., a do 28. IV. nanizale su se svega tri izvedbe. 321 Svijećnjak.3 Do tada je zagrebačkom scenom suvereno vladao Josip Bach, koji je režirao većinu predstava, ujedno obnašajući dužnost ravnatelja Drame. Otada pa sve do kraja godine 1924., kad odlazi u Beograd na mjesto ravnatelja i redatelja Drame Narodnoga pozorišta, Gavella se postupno nametnuo ključnom figurom hrvatske režije u tome razdoblju, uz već spomenutoga Bacha i Ivu Raića, koji je udario temelje modernoj režiji u Hrvatskoj postavkom Shakespeareova Koriolana 1909.4 To je doba kad još uvijek mladi predratni doktor bečke filozofije i kazališni kritičar u dnevniku na njemačkome jeziku Agramer Tagblatt koji se potpisivao šifrom – ll režira svoje prve značajne i stilski samosvojne predstave u zagrebačkome HNK-u, što će kulminaciju imati u suradnji s mladim dramatičarom Miroslavom Krležom.
    [Show full text]
  • Redatelj Koji Vlada Scenom Branko Gavella I Modernizacija Slovenskog Kazališta
    REDATELJ KOJI VLADA SCENOM BRANKO GAVELLA I MODERNIZACIJA SLOVENSKOG KAZALIŠTA Primož Jesenko Uloga Branka Gavelle (1885. – 1962.) na prostoru nekadašnje Jugo­ slavije, u Ljubljani, Zagrebu i u Beogradu, glavnim kazališnim središtima u tadašnjoj zajedničkoj državi, velika je, i bila je u zapisima Dušana Moravca i Filipa Kalana, Nikole Batušića i Georgija Para, već i znanstveno objašnjena. U godinama između 1920. i 1926., prijelaznim godinama između amaterskih nastojanja i umjetničkog kazališta, umjetnička razina slovenskog kazališta nije bila zavidna. Publika je tražila svoje i ako to nije dobila, u sve se većoj mjeri otuđivala, piše Moravec. Tako danas znamo da je Gavellin sistem režije bio ključan za idejno-estetsku i stilsku europeizaciju jugoslavenskog kazališta, za »prijelom iz romantičnog klasicizma u plemeniti realizam«.1 U Ljubljani je, u međuratnom razdoblju, utjecaj na stil slovenskog kazališta i njegov repertoar kao izvedbeni uzor imao Narodni divadlo iz Praga, a slabije su tragove ostavila kazališta iz 1 Lojze Filipič, Doktor Branko Gavella (Spominske reminiscence njegovega učenca). GL Drama SNG Ljubljana 1961/62, str. 36­38. 384 prijestolnice zajedničke države ili iz Zagreba. U to je doba Gavella isprva bio gostujući redatelj u Narodnom gledališču u Ljubljani, zatim redovni član redateljskog zbora, a poslije oslobođenja nakratko i pedagog za režiju na ljubljanskoj Akademiji za igralsko umetnost (AIU). Odobrenje Ministarstva za prosvjetu u Beogradu 1930. godine, koje se odnosilo na Gavellino »povremeno« režiranje u Ljubljani, osigurao je dopis Otona Župančiča, ondašnjeg ravnatelja Drame i Opere Narodnog kazališta u Ljubljani. (Zbog šestojanuarske diktature 1929. Gavella napušta Beograd.) Razlog za Župančičev prijedlog bio je manjak redatelja u Narodnom kazalištu u Ljubljani, jednako kao i stagnirajući estetski monopol dotadašnjih nositelja dramske režije Osipa Šesta, Cirila Debevca ili Milana Skrbinšeka, što je dovelo do inflacije raznovrsnosti u repertoaru.
    [Show full text]