Dubrovački Simfonijski Orkestar Dubrovnik Symphony Orchestra Nil Venditi Dirigentica / Conductor Marijan Đulzel Glasovir / Piano

71. DUBROVAČKE LJETNE IGRE 71st DUBROVNIK SUMME FESTIVAL 2020. HRVATSKA CROATIA

DUBROVAČKI SIMFONIJSKI ORKESTAR DUBROVNIK SYMPHONY ORCHESTRA NIL VENDITI DIRIGENTICA / CONDUCTOR MARIJAN ĐULZEL GLASOVIR / PIANO

PARK GRADAC | GRADAC PARK 30. SRPNJA | 30 JULY 21.30 | 9.30 PM

GIOACHINO ROSSINI: TURČIN U ITALIJI – UVERTIRA IL TURCO IN ITALIA - OVERTURE

LUDWIG VAN BEETHOVEN: 5. KONCERT ZA KLAVIR I ORKESTAR U ES- DURU, OP. 73,„CARSKI“ PIANO CONCERTO NO. 5 IN E-FLAT MAJOR, 'EMPEROR' ALLEGRO ADAGIO UN POCO MOSSO RONDO: ALLEGRO

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LUDWIG VAN BEETHOVEN: SIMFONIJA BR. 1, U C-DURU, OP.21 SYMPHONY NO. 1 IN C MAJOR, OP. 21

ADAGIO MOLTO – ALLEGRO CON BRIO ANDANTE CANTABILE CON MOTO MENUETTO: ALLEGRO MOLTO E VIVACE – TRIO FINALE: ADAGIO – ALLEGRO MOLTO E VIVACE

DUBROVAČKI SIMFONIJSKI ORKESTAR u Dubrovački filharmonijski orkestar. Grad važan je dio bogatog i raznolikog kulturnog Dubrovnik, uz potporu članova Orkestra, nasljeđa Dubrovnika i Hrvatske i kao takav 1946. osniva profesionalno glazbeno tijelo, redovno nastupa u jedinstvenim ambijentima Gradski orkestar Dubrovnik, koji se poslije svoga grada kao što su atrij Kneževa dvora, kratko zvao i Dubrovački festivalski orkestar. gradske crkve i trgovi. S poznatim domaćim i S tadašnjim šefom dirigentom, Nikolom međunarodno priznatim umjetnicima Debelićem, sedamdesetih godina ostvaruje interpretira djela majstora baroka, klasike i opsežne turneje po Europi te u suradnji s romantizma, ne samo u Dubrovniku, već i na Agencijom Columbia Artists Man iz New turnejama u svijetu. Orkestar u Dubrovniku u Yorka odlazi na tromjesečnu turneju u SAD i kontinuiranom je djelovanju od 1924. godine, Kanadu (više 120 koncerata sa solistima u početku u polu-profesionalnoj organizaciji, Vladimirom Krpanom, Ivom Pogorelićem, a potom u punom profesionalnom sastavu. Valterom Dešpaljem...). Orkestar 1992. zadnji Dubrovački simfonijski orkestar nastavlja put mijenja svoje ime u današnji naziv dugu i značajnu glazbenu tradiciju koja se već Dubrovački simfonijski orkestar. razvila u razdoblju Dubrovačke republike U posljednjih nekoliko godina, Dubrovački (1358. - 1808.). Dubrovački orkestar osnovali simfonijski orkestar nastupao je u su mladi entuzijasti, maturanti Gimnazije u najprestižnijim dvoranama svijeta, u Dubrovniku. Originalno ime orkestra Washingtonu (Kennedyjev centar), New (Dubrovački orkestar) 1925. je promijenjeno Yorku, Seattleu, Versaillesu, Baselu, Medanu, Jakarti, Beču (Musikverein), Bariju i Zagrebu. Festivalski orkestar i danas DSO, glavni je Godine 2005. Dubrovački simfonijski orkestar nositelj glazbenog dijela programa Igara te nagrađen je prestižnom nagradom „Milka svojom djelatnošću pokriva čitav spektar Trnina“, a 2015. nagradom za doprinos orkestralnog zvuka: domaćoj i sezonskoj ugledu i promociji Dubrovačko-neretvanske publici približavali su dubrovačku i hrvatsku županije u zemlji i svijetu. Također, glazbu od Sorkočevića i Jarnovića do posljednjih nekoliko godina, Dubrovački Papandopula i Detonija, pratili soliste ili sami simfonijski orkestar organizira niz festivala i izvodili najvažnija djela simfonijske literature, ciklusa glazbe kojima obogaćuje kulturnu nastupali samostalno, ali i u glazbeno- ponudu Dubrovnika. Među njima su scenskim djelima poput Monteverdijeva Međunarodni festival opernih arija „Tino Combattimenta, Rossinijeva Seviljskog brijača, Pattiera“, Međunarodni glazbeni festival kao i mjuzikla Dundo Maroje Đela Jusića. Već „Dubrovnik u pozno ljeto“, glazbeni ciklusi 70 godina, međutim, najčešće publiku Igara „Dubrovačko glazbeno proljeće“, „Jesenji prizivaju k najvažnijim djelima klasične glazbeni moskar“, ciklus barokne glazbe orkestralne literature, od skladbi Bacha i „Orlando Furioso“ te festival „Stradun Vivaldija preko Mozarta, Beethovena i Classic“. Schuberta do Brahmsa ili Čajkovskog, šireći Članovi orkestra akademski su glazbenici koji horizonte i prema novome. Svojim su znanje stjecali uglavnom na Muzičkoj koncertima tako tvore umjetničku bazu zbog akademiji u Zagrebu, ali i diljem svijeta. koje su Igre od početaka bile, a u nastavku i Njegova lista koncerata jako je duga, ostaju, nezamislive bez Dubrovačkog uključujući turneje po Europi, SAD-u i simfonijskog orkestra. Indoneziji. Dubrovački simfonijski orkestar surađivao je s poznatim umjetnicima, među kojima su: Lovro von Matačić, Antonio Janigro, Zubin Mehta, Kiril Kondrashin, Ernst Marzendorfer, Milan Horvat, Nikola Debelić, Pavle Dešpalj, Anton Nanut, David Ojstrah, Lord Yehudi Menuhin, Mstislav Rostropovič, Svjatoslav Richter, Henryk Szeryng, Uto Ughi, Christoph Eschenbach, Stefan Milenković, Ivo Pogorelić, Dubravka Tomšič, Dunja Vejzović, Ruža Pospiš Baldani, Monika Leskovar, Radovan Vlatković, Mischa Maisky, Yuri Bashmet, Julian Rachlin, Michel Legrand, Alun Francis, Ivo Dražinić, Maxim Fedotov, Goran Končar, Maxim Vengerov, Nicholas Milton, Christoph Campestrini, Dmitry Sinkovsky, Tabea Zimmermann, David Garrett, Marc Tardue i brojni drugi. Mnoge od tih suradnji ostvarene su upravo na Dubrovačkim ljetnim igrama: Od 1951. Gradski orkestar Dubrovnik, poslije

Talijansko-turska dirigentica NIL VENDITTI plasirao se u polufinale, među trinaest (Perugia, 1994.) nedavno je imenovana najboljih natjecatelja te održao recital u glavnom gostujućom dirigenticom dvorani „Brahms“ bečkog Musikvereina. Za Toskanskog orkestra, nedugo nakon što je uspjehe tijekom studija primio je Dekanovu ondje prvi put gostovala, u srpnju 2019. Ove i nagradu (2010.) i Rektorovu nagradu sljedeće sezone angažirana je i kao pomoćna Sveučilišta u Zagrebu, za izvedbu 5. dirigentica Nizozemskog filharmonijskog Beethovenovog koncerta za klavir i orkestar orkestra, s kojim je već ostvarila debi u uz Zagrebačku Filharmoniju (2012.) amsterdamskom Concertgebouwu. U U prosincu 2018. hrvatska diskografska kuća protekloj je sezoni, tijekom studija u Zürichu, Croatia Records objavila je Đuzelov prvi asistirala i Marcu Albrechtu, s Nizozemskom solistički album, Virtuoso collection: Marijan filharmonijom, i svom mentoru Paavu Järviju Đuzel (live), snimljen uživo na koncertu u u izvedbama opere Fidelio, s Orkestrom Hrvatskom glazbenom zavodu, s izborom Tonhalle iz Züricha te je ostvarila debitantske skladbi L. Van Beethovena (sonata iz op. 106, nastupe s orkestrima Les Siècles, Camerata “Hammerklavier“), R. Schumanna, B. Bartóka i Salzburg i sa Simfonijskim orkestrom HRT-a. D. Kempfa. Laureat je brojnih natjecanja: Nedavno je ostvarila i svoj prvi nastup s „Zlatko Grgošević“, „Mladi virtuozi u Orkestrom iz Paua ravnajući izvedbom Zagrebu“, „Grand Prix“ Lions kluba Rijeka, Schumannova Koncerta za violončelo i EPTA u Osijeku, „Ferdo Livadić“ u Samoboru i Beethovenove Sedme simfonije. Ravnatelj tog dr. Pobijedio je na 49. Tribini mladih orkestra, Frédéric Morando, izjavio je kako je glazbenika Darko Lukić u Zagrebu. Nastupao Beethovenova glazba njezina specijalnost te je uz Zagrebačku filharmoniju, Zagrebačke je smatra iznimnom umjetnicom koju očekuje soliste, Simfonijski orkestar HRT-a, nevjerojatna karijera. Kraljevska kapela belgijskih vodića, Zadarski komorni orkestar, Orkestar Opere HNK-a iz Splita te surađivao s uglednim dirigentima i Pijanist MARIJAN ĐUZEL (Imotski, 1990.) komornim glazbenicima kao što su Pierre- stekao je osnovno glazbeno obrazovanje u André Valade, Robert Lehrbaumer, Evgenia rodnom gradu, gdje je u glazbenoj školi učio Epshtein, Veton Marevci, Hari Zlodre, Yves klavir kod Alenke Milano i rog kod Ivana Segers, Koenraad Hofman. Održao je recitale Glibote. Gimnaziju i srednju školu (klavir u u Hrvatskoj i inozemstvu (Austrija, Belgija, klasi Kosovke Čudine) završio je u Splitu. Italija, Njemačka, Švicarska, SAD, Tajland). Klavir je diplomirao na zagrebačkoj Muzičkoj Nastupao je i na poznatim hrvatskim akademiji kao student Đorđa Stanettija. festivalima i ciklusima koncerata, kao što su Studirao je i na Akademiji za glasbo u Glazbene večeri u Sv. Donatu, Glazbeni Ljubljani u klasi Dubravke Tomšič te je bio umjetnici Zagrebu, Hvarske ljetne priredbe, student Sveučilišta za glazbu i izvedbenu Svibanjske glazbene večeri u Šibeniku, umjetnost u Beču, u klasi Jana Jiračeka von Koncerti u Eufrazijani i dr. Arnima. Svoja pijanistička znanja usavršio je na Kraljevskom konzervatoriju u Bruxellesu kod Aleksandra Madžara. Godine 2013., na 14. međunarodnom pijanističkom natjecanju „Beethoven“ u Beču, između 259 kandidata „Jesti, voljeti, pjevati i probavljati hranu – donose puhači. Djelo je praizvedeno u četiri su čina komične opere poznate pod milanskoj Scali 1814. nazivom život. A sve to prolazno je poput mjehurića pjenušca.” Rekao je to Gioachino Rossini (Pesaro, 1792. – Passy, Pariz, 1868.), Ludwig van Beethoven (Bonn, 1770. - Beč, najznačajniji talijanski skladatelj prve 1827.) navodno je rekao da bi Rossini bio polovice 19. stoljeća. I po glazbenoj i po doista odličan skladatelj „da ga je učitelj izvanglazbenoj djelatnosti povezuje ga se s dovoljno nalupao po stražnjici“. Beethoven je, lakoćom i hedonizmom, no iza njih stajalo je pojednostavljeno, simbol ozbiljne predanosti posebno glazbeno umijeće. Rossini je glazbi, smještanja ideala ispred uživanja, kao i odrastao po kazalištima u kojima su nastupali iznimna pojava u povijesti glazbe. Njegova njegov otac, trubač i kornist, i majka, brojna djela, među kojima 9 simfonija, djela pjevačica. Svirao je nekoliko instrumenata i za komorne sastave, 32 klavirske sonate, učio pjevanje te nastupao kao dječački opera Fidelio, osnova su koncertnog sopran, zatim je u kazalištima svirao čembalo repertoara diljem svijeta, a ove su godine i počeo skladati prve arije, učiti kompoziciju u zastupljena još i više, kako bi se dostojno Bologni i proučavati djela Haydna i Mozarta. obilježila obljetnica njegova rođenja. Bio je pod ugovorom s dvama napuljskim Uobičajeno je Beethovenov opus dijeliti na tri kazalištima te je svake godine za svako od faze, prvu do otprilike 1802. godine, kada njih pisao po jednu novu operu, ali ubrzo proživljava krizu zbog gubitka sluha i počinje pisati i za mnoga druga kazališta. neizvjesne budućnosti, srednju, u kojoj piše Putovao je po Europi, nizao operne uspjehe ambiciozna, tzv. "herojska" djela, i treću, od po Italiji, u Beču te u Parizu, gdje je živio u oko 1815., koju nazivaju i više „duhovnom“, više navrata i proveo završnih 14 godina meditativnom fazom. Franz Liszt nazvao je tri života. Poznat je bio i po gastronomskoj razdoblja Beethovenova stvaralaštva ukratko vještini. Rossini je usavršio komičnu operu l'adolescent, l'homme, le dieu (mladić, buffo i razvio operu seria, pisao djela koja muškarac, bog). traže puno virtuoznosti, a sebe je nazivao Koncert za klavir i orkestar br. 5, u Es-duru, „posljednjim od klasicista.“ Iako najpoznatiji “Carski koncert”, Beethoven po komičnim operama, ali i drugim vokalnim je pisao 1809. U to doba, skupina plemića djelima, skladao je i mnoge instrumentalne odlučila je Beethovenu davati godišnju skladbe. rentu, kako ne bi morao prihvatiti posao Opera Turčin u Italiji bila je svojevrstan kapelnika na dvoru u Kasselu, već bi mogao „nastavak“ Talijanke u Alžiru, odnosno djelo ostati u Beču i prvenstveno se posvećivati sa sličnim tipom zapleta i egzotičnih skladanju. Među njima su bili i princ elemenata, no s manje arija, više ansambala. Joseph Franz Maximilian Lobkowitz, kojem je Sastojci radnje tipični su - nepostojana posvećena Simfonija „Eroica“, kao i supruga, naivni suprug, „egzotični“ (turski) nadvojvoda Rudolph, carev brat. On je bio udvarač, njegova bivša i bal pod maskama. Beethovenov jedini student kompozicije Uvertira operi počinje duljim uvodom, s (ostale je podučavao klavir) i skladatelj mu je melankoličnim, ali i izvedbeno teškim, solom posvetio deset djela, između ostalih i Koncert za rog, možda posvetom Rossinijevu ocu, prije za klavir i orkestar br. 5. Beethoven je živahne teme gudača i razigrane melodije koji nastavio tradiciju pisanja solističkih koncerata preuzetu od ranijih generacija te Prva simfonija Ludwiga van Beethovena pod napose od Mozarta. Ipak, sve se više odmicao specifičnim je teretom očekivanja publike, jer od „simfoniziranog ritornella“, kako raniji često se ne sluša sama za sebe, kao rano djelo oblik naziva Richard Taruskin, te u velikog majstora, već se u njoj traže klice Beethovenovim koncertima klavir ima sve Beethovenovih kasnijih, značajnih važniju ulogu. U to doba napreduje i gradnja simfonijskih djela. Prvu je simfoniju skladao instrumenata pa pijanisti dobivaju veće tek s 29 godina (rad na simfonijskom djelu ekspresivne mogućnosti. Četvrti Beethovenov započeo je nekoliko godina prije, no te je koncert klavir čak započinje sam, bez skice, čini se, odbacio), možda iz orkestra, što je za ono doba bila značajna strahopoštovanja prema remek-djelima promjena, a u ovom, Petome, „junaštvo“ se Mozarta i Haydna, ali s vremenom će u odmah iskazuje početkom s kadencama, prije simfonije unijeti značajne formalne i standardnog predstavljanja tema. orkestracijske inovacije. S njime počinje era Peti koncert za klavir i orkestar Beethoven je simfonije kao važnog zasebnog djela koje pisao za vrijeme francuskih napada na iskazuje skladateljevu osobnost, era koja Beč, što mu je „potreslo dušu i tijelo“ kako je kulminira Mahlerovim iskazom da simfonija pisao izdavaču. Prvi ga je, u Leipzigu treba biti „poput svijeta“, odnosno, 1811., svirao Friedrich Schneider, a zatim u „sadržavati sve“. Beču Carl Czerny. Nadimak „carski“ Svoju Prvu simfoniju praizveo je 1800., možda mu je dao engleski pijanist i izdavač dirigirajući je na posebnom koncertu kojim je Johann Baptist Cramer, no prema drugoj predstavljao vlastita djela (uz skladbe legendi neki je francuski časnik slušao Mozarta i Haydna izveden je i Beethovenov Czernyjevu izvedbu i tada uskliknuo da se Septet). Bila je to prva njegova „akademija“, u radi kazalištu Burgtheater (tada K.u.K. National- o „caru među koncertima“. Za koncert, Hof-Theater) u Beču, jer nije još bilo zapravo simfonijsko djelo sa solističkom koncertnih dvorana današnjeg tipa. U Prvoj se dionicom, skladatelj je odabrao i „herojski“ simfoniji Beethoven drži naslijeđenih, tonalitet, Es-dur, u kojem je pisao i „Eroicu“. tradicionalnih okvira, ali već prvi harmonijski Nakon „junačkih“ obračuna u prvome stavku, odabiri u sporom uvodu (dominanta F-dura „oluje s tučom“ (Tovey), s razmetljivom na početku djela u C-duru) nagoviještaju prvom i suzdržanom drugom temom, drugi je drukčiji pristup, a onodobna se kritika i stavak poput nokturna s lirskom pobunila, tvrdeći da to nije dobar početak za dominacijom klavira. Temu Ronda klavir takvo djelo. Kritičar novina Allgemeine donosi još u andanteu, a zatim se Musikalische Zeitung izvedbu je nazvao strmoglavljuje u razvijeni i slavljenički allegro „najzanimljivijim koncertom u dugo finala. Pijanist i muzikolog Donald vremena“, a Simfoniju djelom koje pokazuje Francis Tovey zapisao je da orkestar u ovom veliko umijeće i inovativnost, samo što koncertu, uz ostale zadaće, mora biti i „previše rabi puhače“ – još jedna inovacija laganom, eteričnom pratnjom, što se od njih koja kasnijoj publici ne upada „u uho.“ Nakon ranije nije tražilo, dok solo-dionica polaganog uvoda, u prvome stavku slijedi „razvija tehniku svojeg instrumenta slobodom razvoj šaljive prve teme u gudačima i lirske i briljantnošću za koje Beethoven nije teme drvenih puhača. Drugi stavak je imao prilike u sonatama i komornoj glazbi.“ delikatan, poput menueta, a onaj koji se doista zove Menuetto življi je, energičniji od odmjerenih plesova koji inače nose to ime. Beethovenov biograf Maynard Solomon nazvao ga je „prikladnim oproštajem od 18. stoljeća“. Kratak polagani uvod, s ljestvičnim nizom koji se u djelu čuje i prije, vodi u uzbudljiv, prštavi finale. Djelo je Beethoven želio posvetiti nadvojvodi Maximilianu Franzu, nadbiskupu Kölna, koji je financirao Beethovenovo školovanje u Beču. Kako je on umro prije no što je simfonija tiskana, posvetio ju je barunu Gottfriedu van Swietenu, pokrovitelju bečkih glazbenika, koji je navodno Haydna potaknuo na skladanje Stvaranja svijeta i Mozarta upoznao s Bachovim, a Beethovena s Händelovim skladbama, ali i s djelima Shakespearea i Homera.

Dina Puhovski

The DUBROVNIK SYMPHONY ORCHESTRA youthful enthusiasts, graduates of Dubrovnik is an important part of the rich and diverse High School. The original name, the Dubrovnik cultural heritage of Dubrovnik and Croatia. It Orchestra, was changed in 1925 to the regularly appears in the one-of-a-kind Dubrovnik Philharmonic Orchestra. The city settings of its own town, such as the Atrium of of Dubrovnik, with the help of the members of the Rector’s Palace, the city’s churches and the orchestra, in 1946 founded the Dubrovnik squares. With well-known domestic and City Orchestra, which was the professional internationally recognised artists, it musical body that was mainly responsible for interprets works of masters of the Baroque, the musical part of the programme of the Classicism and Romanticism, not only in Dubrovnik Summer Festival. For a short time Dubrovnik but in its foreign tours. it had the name of Dubrovnik Festival The orchestra has been operating continually Orchestra, and with its then chief conductor, since 1924 in Dubrovnik, at the beginning in a Nikola Debelić, in the seventies went on semi-professional manner, and then extensive tours of Switzerland, Germany, composed entirely of professionals. The Belgium and Holland, and through the Dubrovnik Symphony Orchestra is carrying Columbia Artists Management of New York on the long and important musical tradition went on a three-month tour of the US and that developed in the period of the Dubrovnik Canada (over 120 concerts with soloists Republic (1358-1808). The orchestra was Vladimir Krpan, Ivo Pogorelić and Valter founded by some Dešpalj). In 1992 it made its last name-change to its current name, Dubrovnik Symphony International Music Festival, the Dubrovnik Orchestra. Musical Spring, Autumn Musical Moskar [fan], Members of the orchestra are academy the Orlando Baroque Music cycle and Stradun trained musicians who on the whole acquired Classics. their skills at the Music Academy in Zagreb, but elsewhere in the world as well. The NIL VENDITTI, an Italian-Turkish conductor orchestra’s list of concerts is very long, and (Perugia, 1994) was recently nominated includes tours around Europe, the US, Principal Guest Conductor of the Orchestra Indonesia. The orchestra has worked with della Toscana after her very first visit in July some very well-known artists: Lovro von 2019. She is also assistant conductor to the Matačić, Antonio Janigro, Zubin Mehta, Kiril Netherlands Philharmonic Orchestra this and Kondrashin, Ernst Marzendorfer, Milan next season – including her own Amsterdam Horvat, Nikola Debelić, Pavle Dešpalj, Anton Concertgebouw Hall debut with Netherlands Nanut, David Oistrakh, Yehudi Menuhin, Philharmonic Orchestra. In the past season, Mstislav Rostropovich, Svjatoslav Richter, during her studies in Zürich, she assisted both Henryk Szeryng, Uto Ughi, Christoph Marc Albrecht with the Netherlands Eschenbach, Stefan Milenkovich, Ivo Philharmonic Orchestra and her mentor Pogorelić, Dubravka Tomšič Srebotnjak, Paavo Järvi with the Tonhalle Orchester Dunja Vejzović, Ruža Pospiš Baldani, Monika Zürich performances of Fidelio. She also made Leskovar, Radovan Vlatković, Mischa Maisky, her debuts with Les Siècles, the Camerata Yuri Bashmet, Julian Rachlin, Michel Legrand, Salzburg and the Croatian Radio and Alun Francis, Ivo Dražinić, Maxim Fedotov, Television Symphony Orchestra. Beethoven is Goran Končar, Maxim Vengerov, Nicholas very much her repertoire strength, as warmly Milton, Christoph Campestrini, Dmitry expressed by the manager of the Orchestre de Sinkovsky, Tabea Zimmermann, David Pau, where she just made her conducting Garrett, Marc Tardue and many others. debut with Schumann Cello Concerto and In the last few years, the Dubrovnik Beethoven Symphony No. 7. After the first Symphony Orchestra has appeared in some of rehearsal, the director of the orchestra the world’s top concert halls: Kennedy Center Mr. Frédéric Morando said she is an - Washington, New York, Seattle, Kurhaus – extraordinary artist with a great career ahead Bad Eberbach, Lisinski – Zagreb, Chateau of her. Veves, Versailles, Basel, Medan – Jakarta,

Musikverein Goldener Saal – Vienna, Teatro MARIJAN ĐUZEL (1990) has gradually Petruzzelli – Bari. In 2005 it won the established himself as one of the leading prestigious Milka Trnina Prize, and in 2015 a Croatian pianists of his generation. He prize for its contribution to the reputation attended primary music school in his and promotion of the Dubrovnik-Neretva hometown Imotski, where he learned piano County in the country and in the world. In the from Alenka Milano and french horn from last few years, the DSO has organised a series Ivan Glibota. He continued his education in of festivals and cycles of music enhancing the Split, where he finished academic high school cultural scene in Dubrovnik. Among them are as well as music secondary school (piano, the Tino Pattiera International Festival of class of Kosovka Cudina). He graduated from Operatic Arias, the Dubrovnik Late Summer the Music Academy in Zagreb as a student of Djordje Stanetti. He also studied at the Croatian festivals and concert series, such as Universität für Musik und darstellende Kunst Musical Evenings in St. Donat (Zadar), (class of Jan Jiracek von Arnim), and upon the Glazbeni umjetnici Zagrebu, Hvar Summer invitation of Dubravka Tomsic, he studied Festival, Svibanjske glazbene večeri (Šibenik), piano in her class at the Akademija za glasbo and Concerts in the Euphrasian Basilica in Ljubljana. Finally, he specialized at the (Porec). Koninklijk Conservatorium in Brussels under

Aleksandar Madzar. In 2013, at the 14th

International Beethoven Piano Competition in

Vienna, from a field of 259 candidates, ‘Eating, loving, singing and digesting are, in Marijan entered the semifinals among the truth, the four acts of the comic opera known thirteen best contestants and gave a recital in as life and they pass like bubbles of a bottle of Brahms Hall at Vienna’s Musikverein. He also champagne.’ These are the words of participated in the prestigious International Gioachino Rossini (Pesaro, 1792 – Passy, Telekom Beethoven Competition in Bonn Paris, 1868), the most important Italian 2017. Croatia Records published Marijan's composer of the first half of the 19th century. first solo CD , Virtuoso Collection: Marijan Both his musical and non-musical activities Đuzel (live), recorded live in the concert at are associated with lightness and hedonism, the Croatian Music Institute in Zagreb in but there was a special musical artistry February 2018, with pieces by Beethoven behind them. Rossini grew up in theatres in (Hammerklaviersonate op. 106), Schumann, which his father, a trumpeter and hornist, and his mother, a singer, performed. He played Bartok and Kempf. Djuzel was laureate of several instruments, took singing lessons and numerous piano competitions; Zlatko performed as a boy soprano; then he played Grgosevic Competition, Young Virtuoso harpsichord in theatres and started Competition in Zagreb, Grand Prix of the composing his first arias, studying Rijeka Lions Club, EPTA competition in composition in Bologna and studying the Osijek, Ferdo Livadic Competition in works of Haydn and Mozart. He had a Samobor. He won the Darko Lukić Award at contract with two theatres in Naples and the 49th Darko Lukic Tribune of Young wrote one new opera for each of them every Musicians in Zagreb. He has performed with year, but he soon started writing for many the Zagreb Philharmonic Orchestra, the other theatres as well. He travelled across Zagreb Soloists, the HRT Symphony Europe and had a string of operatic successes in Italy, Vienna and Paris, where he Orchestra, Koninklijke Muziekkapel van de occasionally lived and spent the final 14 years Belgische Gidsen, the Zadar Chamber of his life. He was also renowned for his Orchestra, and the Orchestra of the Opera of gastronomic skills. Rossini refined opera the Croatian National Theater in Split, under buffa and developed opera seria, wrote works the baton of Pierre-Andre Valade, Robert that require considerable virtuosity and Lehrbaumer, Veton Marevci, Hari Zlodre, Yves referred to himself as ‘the last of the Classics’. Segers, Koenraad Hofman and others. He has Although best known for his comic operas, as also performed recitals in Croatia and abroad well as other vocal works, he also composed (Austria, Belgium, Italy, Germany, numerous instrumental pieces. Switzerland, the United States, Thailand ...). The opera Il turco in Italia (The Turk in Italy) He has performed at various renowned was a sort of a ‘sequel’ to L'italiana in Algeri (The Italian Girl in Algiers), a work with a Lobkowitz, to whom the ‘Eroica’ Symphony is similar type of plot and exotic elements, but dedicated, and Archduke Rudolph, the with less arias and more ensembles. The Emperor’s brother. He was the only elements of the plot are typical - inconstant Beethoven’s student of composition (he wife, naïve husband, ‘exotic’ (Turkish) suitor, taught others piano) and the composer his ex and a masquerade ball. The overture to dedicated ten of his works to him, including the opera starts with a long introduction, with the Piano Concerto No. 5. Beethoven melancholic, but technically demanding horn continued the tradition of writing solo solo, perhaps a dedication to Rossini’s father, concertos inherited from the earlier before giving way to a lively theme played by generations and especially from Mozart. the strings and playful melody of the winds. Nevertheless, he moved away from the The work was first performed at La Scala, ‘symphonised ritornello’, as Richard Taruskin Milan, in 1814. named the earlier form, while piano played an increasingly important role in Beethoven’s LUDWIG VAN BEETHOVEN (Bonn, 1770 - concertos. Advancements in instrument Vienna, 1827) allegedly said that Rossini building in this period additionally expanded would have been a great composer if ‘his the expressive possibilities of pianists. teacher had spanked him enough on his Beethoven’s Piano Concerto No. 4 even opens backside’. Beethoven was, in simple words, a with the piano solo, without the orchestra, symbol of serious dedication to music and which was a significant change at the time, putting ideals before enjoyment, and an while in this evening’s Piano Concerto No. 5, exceptional figure in the history of music. His ‘heroism’ is expressed right at the beginning numerous works, including Symphony No. 9, with cadenzas, before the standard chamber works, 32 piano sonatas and opera introduction of themes. Fidelio are the foundation of concert repertoires worldwide, performed even more Beethoven composed Piano Concerto No. 5 often than usual this year to mark the during the French siege of Vienna, which anniversary of his birth. affected him ‘in both body and soul’, as he wrote to his publisher. It was first performed His musical output is traditionally divided in Leipzig by Friedrich Schneider in 1811 and into three periods: the first, which ended later in Vienna by Carl Czerny. The name around 1802 when he went through a crisis ‘Emperor’ possibly came from the English due to loss of hearing and uncertain future, pianist and publisher Johann Baptist Cramer, the middle period, in which he wrote but according to another legend, some French ambitious, ‘heroic’ works, and the third officer exclaimed it was ‘an emperor among period from around 1815, considered more concertos’ after hearing Czerny’s ‘spiritual’, meditative. Franz Liszt named performance. The composer chose the ‘heroic’ these three periods simply l'adolescent, E-flat major key for the concerto, more l'homme, le dieu (youth, man, god). precisely a symphonic piece with a solo part, Beethoven composed Piano Concerto No. 5 in in which he also composed the ‘Eroica’. E-flat major, ‘Emperor’, in 1809. At that time, Following the ‘heroic’ clashes in the first a group of noblemen decided to give movement, ‘a hailstorm’ (Tovey), with Beethoven annual allowance so he would not ostentatious first and restrained second have to accept the position of Kapellmeister theme, the second movement is like a at the Kassel Court, but instead stay in Vienna nocturne with lyrical domination of the piano. and dedicate himself to composing. The group The piano introduces the Rondo theme included Prince Joseph Franz Maximilian andante and then it lunges into a developed and festive allegro of the finale. The pianist Allgemeine Musikalische Zeitung newspaper and musicologist Donald Francis Tovey wrote critic described the performance as ‘the most that the orchestra in this concerto, among interesting concert in a long time’ and the other tasks, must accompany the solo lightly, Symphony a work that shows great skill and ethereally, which was never required of them innovativeness, only suffering from ‘excessive before, while the solo part ‘develops the employment of wind instruments’ – another technique of its instrument with a freedom innovation the future audiences would not and brilliance for which Beethoven has no find unusual. After the slow introduction, the leisure in sonatas and chamber music’. humorous first theme presented by the strings is developed in the first movement, as Ludwig van Beethoven’s Symphony No. 1 is well as the second, more lyrical theme specifically burdened by the audiences’ introduced by the woodwinds. The second expectations because it is rarely perceived as movement is delicate, like a minuet, while the a work in its own right, an early work of a one that is actually entitled Menuetto is more great master, but instead the audiences vivacious, more energetic than the steadily search in it the seeds of Beethoven’s later paced dances of the type. Beethoven’s great symphonic works. He composed biographer Maynard Solomon described it as Symphony No. 1 at the late age of 29 (he ‘a fitting goodbye to the 18th century’. The began working on a symphonic piece several short slow intro, with a scale sequence heard years earlier, however, it appears that he earlier in the work, leads to an exciting, discarded those drafts), perhaps out of scintillating finale. respect to the masterpieces of Mozart and Haydn, but in time he would introduce Beethoven wanted to dedicate the piece to important formal and orchestral innovations Archduke Maximilian Franz, Archbishop of into symphonies. With him begins the era of Cologne, who financed his education in symphony as an important individual work Vienna. Since the Archduke died before the that reflects composer’s character, era which symphony was printed, he dedicated it to culminated with Mahler’s statement that a Baron Gottfried van Swieten, the patron of symphony must be ‘like the world’, that it Viennese musicians, who allegedly must ‘contain everything’. encouraged Haydn to write The Creation and introduced Mozart to Bach’s and Beethoven He conducted the first performance of his to Handel’s works, as well as the works of Symphony No. 1 in 1800 in a special concert Shakespeare and Homer. where he presented his works (Beethoven’s Septet was also performed in addition to the Dina Puhovski works of Mozart and Haydn). This was his first concert of this type and it took place at the Burgtheater (at the time known as K.u.K. National-Hof-Theater) in Vienna because concert halls as we know them today did not exist yet. In Symphony No. 1 Beethoven adheres to the inherited, traditional framework, but his first harmonic choices in the slow introduction (dominant in F major at the beginning of the work in C major) already suggest a different approach, which made the critics protest and claim that such a beginning was not suitable for this type of work. The