Meðunarodno Saksofonisticˇko Natjecanje International Saxophone Competition C Zagreb, 12

Total Page:16

File Type:pdf, Size:1020Kb

Meðunarodno Saksofonisticˇko Natjecanje International Saxophone Competition C Zagreb, 12 KDZ_NOCHTA_Knjizica_Korice_FIN_PRI.pdf 1 6.5.2014. 16:06:36 MEÐUNARODNO SAKSOFONISTICˇKO NATJECANJE INTERNATIONAL SAXOPHONE COMPETITION C ZAGREB, 12. - 17. 5. 2014. M Y HRVATSKI GLAZBENI ZAVOD CM MY CY CMY K 1. 1. MEĐUNARODNO SAKSOFONISTIČKO NATJECANJE ‘JOSIP NOCHTA’ ZAGREB, 12. -17. svibnja 2014. 1ST INTERNATIONAL SAXOPHONE COMPETITION ‘JOSIP NOCHTA’ ZAGREB, May 12 – 17, 2014 KDZ_NOCHTA_Knjizica_03_FIN.indd 1 5.5.2014. 16:03:23 1. međunarodno saksofonističko natjecanje ‘Josip Nochta’ održava se pod pokroviteljstvom gospodina Milana Bandića Umjetnički ravnatelj natjecanja / gradonačelnika Grada Zagreba Artistic Director of the Competition Dragan Sremec 1st International Saxophone Competition ‘Josip Nochta’ is held under the patronage of Mr. Milan Bandić Mayor of the City of Zagreb Počasni odbor Natjecanja / Honorary Board of the Competition Održavanje 1. međunarodnog saksofonističkog natjecanja ‘Josip Nochta’ Milan Bandić, predsjednik, Marcel Bačić, Dalibor Cikojević, omogućilo je Gradsko poglavarstvo Grada Zagreba Mladen Janjanin, Josip Nalis, Saša Nestorović, Marina Novak, Dragan Sremec 1st International Saxophone Competition ‘Josip Nochta’ was made possible by Zagreb City Government Organizacija Natjecanja / Organization of the Competition Posebnu zahvalnost za suradnju i pomoć zaslužuju Koncertna Direkcija Zagreb / Zagreb Concert Management Our special thanks for collaboration and help Hrvatski glazbeni zavod / Croatian Music Institute Ured za obrazovanje, kulturu i sport Grada Zagreba Muzička Akademija Sveučilišta u Zagrebu / University of Zagreb City Office for Education, Culture and Sports Zagreb Music Academy Eugene Rousseau Zagrebačka filharmonija Zagreb Philharmonic Orchestra Adolphesax.com, la web del saxofón Ministarstvo kulture Republike Hrvatske Ministry of Culture of the Republic of Croatia Hrvatsko društvo skladatelja Croatian Composers’ Society Zagrebački kvartet Zagreb Quartet Hotel Westin, Zagreb Kao i sponzori i donatori nagrada navedeni u katalogu As well as sponsors and donators of awards listed in the catalogue KDZ_NOCHTA_Knjizica_03_FIN.indd 2 5.5.2014. 16:03:23 KDZ_NOCHTA_Knjizica_03_FIN.indd 3 5.5.2014. 16:03:23 Ove, 2014. godine, obilježavamo deve- 2014 is the year of Professor Josip Nochta’s 5 desetu obljetnicu rođenja Josipa Nochte, 90th birthday. He was the first saxophone prvog profesora saksofona na Muzičkoj professor at the Music Academy of the akademiji Sveučilišta u Zagrebu i jednog University of Zagreb and one of the first od prvih promicatelja klasičnog saksofona promoters of classical saxophone in this u ovom dijelu Europe. Stoga je potpuno part of Europe. He therefore deserved to zasluženo Međunarodno saksofonističko have this competition named after him. natjecanje u Zagrebu nazvati upravo nje- We are also joining the celebration of the govim imenom. Istodobno se širom svije- Adolphe Sax bicentennial, the 200th an- ta obilježava dvjestota godišnjica rođenja niversary of the genius music instrument Adolphea Saxa, genijalnog konstruktora designer’s birth. glazbenih instrumenata. The purpose of the competition, to be Cilj natjecanja ovakvog opsega koje će se held in Zagreb every three years, is to u Zagrebu održavati svake treće godine, further promote the performance and jest jačanje doprinosa i daljnji zamah izvo- composing activities for this distinctive đačkoj i kreativnoj afirmaciji ovog osebuj- instrument. I am proud that my long term nog instrumenta. Ponosan sam i počašćen friends, colleagues and great artists who što su se moji dugogodišnji prijatelji, ko- have also contributed greatly to the de- lege i umjetnici koji su svaki na svoj način velopment of the saxophone in Croatia, sudjelovali u razvoju saksofona i u našoj have accepted the invitation to work with Hrvatskoj, odazvali pozivu za sudjelovanje the board of judges and contributed to u radu ocjenjivačkog suda i pomogli da the organization of the first competition već prve godine pedesetak mladih ljudi iz gathering around fifty young players from cijeloga svijeta s nama sudjeluje u sveča- around the world to share the joy of music. nosti glazbe i promociji saksofona. I am especially grateful to the City of Za- Hvala svima, a dakako posebna hvala Gra- greb and the Office for Education, Culture du Zagrebu i Uredu za obrazovanje, kultu- and Sports, as well as to all the donors and ru i sport, kao i svim donatorima i spon- sponsors who made this demanding pro- zorima bez kojih ne bismo mogli ostvariti ject possible. ovako zahtjevan projekt. Dragan Sremec Dragan Sremec KDZ_NOCHTA_Knjizica_03_FIN.indd 5 5.5.2014. 16:03:24 6 Rodom iz Antunovca kod Bjelovara, Josip Josip Nochta (1924 – 1995) was born in 7 Nochta (1924. – 1995.) pohađao je Sred- Antunovac near Bjelovar. He attended sec- nju glazbenu školu u Zagrebu, a klarinet ondary school in Zagreb and then gradu- je diplomirao na Akademiji za glasbo u ated from the clarinet program of the Mu- Ljubljani gdje je 1972. kod Mihe Gunzeka sic Academy in Ljubljana. In 1972 he com- završio i specijalizaciju. Po povratku u Za- pleted the specialization program under greb postaje solist Opernog orkestra HNK, Miha Gunzek at the same institution. After 1957. prvi klarinetist Simfonijskog orke- returning to Zagreb, he became the solo- stra RTV Zagreb, a 1960. dobiva mjesto ist of the Croatian National Theatre Opera solista orkestra Zagrebačke filharmonije. Orchestra, in 1957 the first clarinetist of Nochta se rano ogledao i na koncertnom the Zagreb Radio Television Symphony podiju kao solist i komorni glazbenik pa Orchestra, and in 1960 the soloist of the je postigao zapažene uspjehe kod kuće i Zagreb Philharmonic Orchestra. Noch- u inozemstvu. Kritičari su isticali profinje- ta also developed a soloist and chamber nu muzikalnost, virtuozno svladavanje career and achieved great success both instrumenta i tehničku dovršenost njego- locally and internationally. Critics praised va sviranja. Od 1973. član je Zagrebačkog his sophisticated musical talent, virtuoso duhačkog kvinteta s kojim je ostvario više playing and perfected technique. In 1973 od 900 javnih nastupa, snimio nekoliko he became a member of the Zagreb Wind nosača zvuka i brojne trajne snimke za Quintet, performing with the ensemble potrebe HRT-a. Vidno mjesto u njegovu more than 900 times and recording sever- repertoaru zauzimali su domaći skladatelji al albums, as well as for the Croatian Radio pa je zahvaljujući Nochti u drugoj polovici Television. He included Croatian compos- dvadesetog stoljeća hrvatska literatura za ers in his repertoire and has greatly con- klarinet obogaćena vrijednim djelima. tributed to the enrichment of Croatian clarinet literature during the second half Već 1957. Nochta odlučuje svoje znanje i of the 20th century. umjetničko iskustvo prenijeti mlađim na- raštajima i postaje prvi profesor klarineta In 1957 Josip Nochta decided to transfer na Muzičkoj akademiji u Zagrebu. No nje- his artistic knowledge and experience to gov entuzijam i želja za neprekidnim na- younger generations and became the first pretkom i proširivanjem glazbenog vido- clarinet professor at the Music Academy in kruga ponukali su ga da u svoje svekoliko Zagreb. His enthusiasm and drive to con- muzičko djelovanje osobito u pedagoš- tinue developing and expanding his mu- kim okvirima uključi i saksofon. Tako 1977. sical views made him also to include the saksofon postaje jedan od studijskih pro- saxophone into his overall musical activi- grama na Odsjeku za duhačke instrumen- ties, in particular in teaching. This resulted te Muzičke akademije u Zagrebu, a Josip in the inclusion of saxophone as one of Nochta je na čelu razreda od početka pa the study programs of the Wind Instru- sve do 1992. kada na njegovo mjesto do- ments Department of the Music Academy lazi prvi diplomant klase, Dragan Sremec. in Zagreb in 1977, with Josip Nochta as the head of the program until 1992, when he was replaced by the program’s first gradu- ate, Dragan Sremec. KDZ_NOCHTA_Knjizica_03_FIN.indd 6 5.5.2014. 16:03:25 KDZ_NOCHTA_Knjizica_03_FIN.indd 7 5.5.2014. 16:03:26 8 Hrvatski glazbeni zavod (HGZ) najstarija Croatian Music Institute (HGZ) is the old- 9 je glazbena ustanova u Hrvatskoj. Osno- est music organization in Croatia. It was Članovi Ocjenjivačkog suda / van je 1827. u Zagrebu kao društvo pri- established in 1827 in Zagreb as a music Members of the Board of Judges jatelja glazbe, tada u javnosti poznat kao society, known at the time as Musikvere- Musikverein (Glazbeno društvo), i djeluje in, and has been active ever since as a civil Eugene Rousseau, SAD / USA - predsjednik / president neprekidno do danas kao udruga građa- association. Croatian Music Institute is one na. HGZ jedan je od stupova glazbenog of the pillars of music amateurism in Cro- Arno Bornkamp, Nizozemska / The Netherlands amaterizma u nas, a dio njegovih članova atia, and some of its members play with Claude Delangle, Francuska / France muzicira u amaterskim ansamblima: Druš- amateur ensembles: Show Orchestra, Big Pavle Dešpalj, Hrvatska / Croatia - finalni krug / final round tvenom orkestru, Big Bandu, Društvenom Band, Show Chamber Ensemble and Show Matjaž Drevenšek, Slovenija / Slovenia komornom ansamblu i Društvenom zbo- Choir. Croatian Music Institute has initi- ru. HGZ pokretač je mnogih oblika glaz- ated numerous forms of Zagreb’s music Dragan Sremec, Hrvatska / Croatia benog života u Zagrebu: organizirao je life: the organization has produced con- Gordan Tudor, Hrvatska / Croatia koncerte i izgradio zgradu s koncertnom certs and a building with a concert hall, dvoranom, osnovao
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]
  • 210 Srpanj 2018
    ISSN 1330–4747 ČASOPIS HRVATSKOGA DRUŠTVA SKLADATELJA | BROJ 210 SRPANJ 2018. | CIJENA 22 kn Berislav Šipuš — koncert, razgovor i tribina za 60. rođendan Životna priča o slobodi duha Novi nazorovac među skladateljima — Dubravko Detoni Hrvati su bistar, nadaren i duhovit narod! Londonski dnevnik Biance Ban Snimanje u Studiju Abbey Road Davor Gobac u povodu 30 godina Zmaja Volio bih snimiti solo ploču Vojko V o istoimenom samostalnom albumu prvijencu Ne želim biti glas generacije ni kroničar vremena! rogoni me ideja da napišem UVODNIK Natječaj za Pknjigu. Neki tip skrivene Dragi čitatelji, autobiografije. Volio bih pisati o u srpanjskom broju naše- Chansonfest ga časopisa u razgovori- ljudima, ljubavi i istini. ma s mnogim istaknutim 2018. predstavnicima naše glaz- Umjetnička organizacija Chansonfest objavlju- bene scene predstavlja- je natječaj za nove skladbe koje će biti izvede- mo s poštovanjem njihov ne na Međunarodnom festivalu šansone Chan- rad. S naslovnice nam se sonfest 2018. smiješi Berislav Šipuš, ko- jega ćemo upoznati u op- Chansonfest se održava pod pokroviteljstvom sežnom životnom inter- i uz potporu Ministarstva kulture Republike Hr- vjuu u kojem otkriva tajne vatske, Grada Zagreba i Hrvatskog društva svoje vijugave umjetnič- skladatelja. ko–političke karijere. On je protagonist naše posljed- U obzir dolaze samo radovi visoke umjetničke nje tribine Nota mog života vrijednosti u kojima glazba i stihovi čine jedin- koju u dvorani Hrvatskog društva skla- stvenu cjelinu. Chansonfest nema natjecateljski datelja svakoga mjeseca priredi naš šar- karakter, a sve se skladbe izvode uživo. mantni dežurni zabavljač Vojo Šiljak. Pi- Prijava za natječaj treba sadržavati naslov sklad- šemo i o Šipuševu bogatom autorskom be, podatke o autorima, notni zapis (s tekstom i koncertu u završnici ciklusa Cantus An- harmonijskim simbolima) ili demosnimku (CD ili sambla Cantus@Lauba, a svemu je mp3) te ispis stihova.
    [Show full text]
  • The Saxophone Symposium: an Index of the Journal of the North American Saxophone Alliance, 1976-2014
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014 Ashley Kelly Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Kelly, Ashley, "The aS xophone Symposium: An Index of the Journal of the North American Saxophone Alliance, 1976-2014" (2015). LSU Doctoral Dissertations. 2819. https://digitalcommons.lsu.edu/gradschool_dissertations/2819 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE SAXOPHONE SYMPOSIUM: AN INDEX OF THE JOURNAL OF THE NORTH AMERICAN SAXOPHONE ALLIANCE, 1976-2014 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and AgrIcultural and MechanIcal College in partIal fulfIllment of the requIrements for the degree of Doctor of MusIcal Arts in The College of MusIc and DramatIc Arts by Ashley DenIse Kelly B.M., UniversIty of Montevallo, 2008 M.M., UniversIty of New Mexico, 2011 August 2015 To my sIster, AprIl. II ACKNOWLEDGEMENTS My sIncerest thanks go to my committee members for theIr encouragement and support throughout the course of my research. Dr. GrIffIn Campbell, Dr. Blake Howe, Professor Deborah Chodacki and Dr. Michelynn McKnight, your tIme and efforts have been invaluable to my success. The completIon of thIs project could not have come to pass had It not been for the assIstance of my peers here at LouIsIana State UnIversIty.
    [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]
  • Croatie La Voici
    Septembre — Décembre 2012 www.croatielavoici.com Dossier de presse Contacts presse Opus 64 Valérie Samuel et Patricia Gangloff 01 40 26 77 94 / p.gangloff @opus64.com Sommaire Éditos 3 Le festival en chiffres 9 Patrimoine 11 Arts visuels 19 Design et architecture 35 Théâtre et Danse 41 Musique 47 Cinéma 59 Littérature et débats d’idées 69 Éducation et SCIENCES 77 Gastronomie 79 Économie et politiques publiques 83 Sport 85 Calendrier des manifestations 87 Équipes 90 Partenaires 92 3 Éditos La France dédie une Saison culturelle à la Croatie à la veille de son entrée dans l’Union européenne en juillet 2013. Aujourd’hui, la Croatie est un jeune Etat dont on épelle le nom avec clarté et ce, depuis la déclaration de son indépen- dance en 1991 après des siècles de dominations diverses. Ce pays de 4,7 millions d’habitants, au croisement de lignes de séparation et de rencontre nous livre, le temps d’un fes- tival, la beauté de son héritage culturel comme sa créativité la plus actuelle. Au cours de son histoire épique, en prise avec les grandes monarchies qui ont dominé l’Europe centrale aussi bien qu’avec la puissance des civilisations méditerranéennes, la Croatie a affi rmé « son caractère européen par la com- binaison remarquable d’une personnalité où s’affi rment jusqu’aujourd’hui, dans les épreuves et les tourmentes, la conscience identitaire et l’appropriation des diverses cultures avec lesquelles elle a été en contact… Comme l’Europe elle-même, la Croatie est faite d’acculturations successives qui l’ont enrichie sans l’altérer.
    [Show full text]
  • Croatian Films 2008/2009
    Address Kralja Zvonimira 20, 10000 Zagreb, Croatia Telephone +385 (0)1 465 54 39 Fax +385 (0)1 465 54 42 URL www.havc.hr E-mail [email protected] Acting Director Martina Petrović Collaborators Jadranka Hrga, Ivana Ivišić, Sanja Ravlić i Maja Nikolić In memoriam: Albert Kapović (1957-2008), Director of the Croatian Audiovisual Centre Contents Editor Hrvoje Pukšec Feature Films 8 Collaborators Ivana Ivišić, Ivan Kelava, Zrinka Lazarin Feature Films (Post)Production 30 Translation & Proofreading Feature Films Pre-production 42 Ivana Ivišić, Vera Kordić, Duško Čavić Feature Films Co-production 52 Design Vanja Cuculić, Marko Šesnić i Goran Turković Short Films 60 Printed by Sveučilišna tiskara d.o.o. Zagreb Documentary Films 78 Print run 400 Documentary Films (Pre/Post)Production 98 Publisher Croatian Audiovisual Centre | Zagreb, January, 2009 Animated Films 102 Animated Films (Pre/Post)Production 114 Experimental Films 122 Experimental Films (Pre/Post)Production 130 isbn 978-953-55208-1-8 Contacts 134 Opening towards the World Nikica Gilić In recent years, Croatian cinema has come to be rec- thrillers or French polars (Ostojić’s Nobody’s Son), in increase in international and regional cooperation Having said all this, I should point out that high- Ph. D., film scholar ognized as one of the most vital creative industries in the meditative style of the best Hungarian or Russian continued in 2008, with Buick Riviera, Three Stories quality documentaries and experimental films have the region. Croatian films and filmmakers been feted movies (Goran Rušinović’s Buick Riviera), or using the About Sleeplessness and Will Not Stop There) so one consistently been a great asset to Croatian cinema by reviewers and critics in the international press, as grotesque humour of Mediterranean and Southeastern can argue that Croatian film is opening itself up to the and thankfully, they continue to go from strength to well as by film festival juries at prestigious world festi- Europe (Brešan’s Will Not Stop There and Matanić’s world in yet another way.
    [Show full text]
  • Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
    NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists.
    [Show full text]
  • Who Is Paule Maurice?? Her Relative Anonymity and Its Consequences
    WHO IS PAULE MAURICE? HER RELATIVE ANONYMITY AND ITS CONSEQUENCES by Anthony Jon Moore A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL December 2009 Copyright © Anthony Jon Moore 2009 ii ACKNOWLEDGEMENTS I would like to express my sincere and deep appreciation to the many people who fielded my incessant queries and one-track mind conversations for the last two years, especially Dr. Kenneth Keaton, Dr. Laura Joella, Dr. Stuart Glazer, and my translator, Elsa Cantor. The unbelievable support that materialized from individuals I never knew existed is testimony to the legacy left behind by the subject of this thesis. I want to extend my heartfelt appreciation to Jean-Marie Londeix for responding to my many emails; Sophie Levy, Archivist of the Conservatoire National Supérieur de Musique de Paris for providing me with invaluable information; Marshall Taylor for donating his letter from Paule Maurice and his experiences studying Tableaux de Provence with Marcel Mule; Claude Delangle for Under the Sign of the Sun; James Umble for his book, Jean-Marie Londeix: Master of the Modern Saxophone; and Theodore Kerkezos for his videos of Tableaux de Provence. I want to thank Dr. Eugene Rousseau, Professor Emeritus Jack Beeson, Sarah Field, the Clarinet and Saxophone Society of Great Britain, Dr. Julia Nolan, Dr. Pamela Youngdahl Dees, Dr. Carolyn Bryan, and Dr. William Street, for generously taking a call from a stranger in search of Paule Maurice.
    [Show full text]
  • Jewish Heritage Sites in Croatia, 2005
    JEWISH HERITAGE SITES IN CROATIA PRELIMINARY REPORT United States Commission for the Preservation of America’s Heritage Abroad 2005 UNITED STATES COMMISSION FOR THE PRESERVATION OF AMERICA’S HERITAGE ABROAD Warren L. Miller, Chairman McLean, VA Members: Ned Bandler August B. Pust Bridgewater, CT Euclid, OH Chaskel Besser Menno Ratzker New York, NY Monsey, NY Amy S. Epstein Harriet Rotter Pinellas Park, FL Bingham Farms, MI Edgar Gluck Lee Seeman Brooklyn, NY Great Neck, NY Phyllis Kaminsky Steven E. Some Potomac, MD Princeton, NJ Zvi Kestenbaum Irving Stolberg Brooklyn, NY New Haven, CT Daniel Lapin Ari Storch Mercer Island, WA Potomac, MD Gary J. Lavine Fayetteville, NY Staff: Michael B. Levy Jeffrey L. Farrow Washington, DC Executive Director Rachmiel Liberman Samuel D. Gruber Brookline, MA Research Director Laura Raybin Miller Katrina A. Krzysztofiak Hollywood, FL Program Manager Vincent Obsitnik Peachtree City, VA 888 17th Street, N.W., Suite 1160 Washington, DC 20006 Ph: (202) 254-3824 Fax: (202) 254-3934 E-mail: [email protected] October 10, 2005 Message from the Chairman One of the principal missions that United States law assigns the Commission for the Preservation of America’s Heritage Abroad is to identify and report on cemeteries, monuments, and historic buildings in Central and Eastern Europe associated with the cultural heritage of U.S. citizens, especially endangered sites. The Congress and the President were prompted to establish the Commission because of the special problem faced by Jewish sites in the region: The communities that had once cared for the properties were annihilated during the Holocaust. The atheistic Communist Party dictatorships that succeeded the Nazis throughout most of the region were insensitive to American Jewish concerns about the preservation of the sites.
    [Show full text]
  • DOWNLOAD PDF Programska Brošura 2021
    PREDBIENNALSKI PROGRAM 16/04 PETAK PRVI FESTIVALSKI BLOK 22:00h ONLINE KONCERT 21/04 SRIJEDA 18:00h Izlog Francuskog instituta “Continuum Nr. 1 — Furioso!” Alexander Schubert: Serious Smile 09/04 PETAK pop-up koncert studenata Muzičke akademije u Zagrebu Aart Strootman: Dwell in Darkness** (narudžba projekta Ulysses) 18:00h ONLINE KONCERT Alexander Kaiser: Mechanical Dogs 18:00h Izlog Francuskog instituta Interaktivna improvizacija 3 18/04 NEDJELJA Ivana Kuljerić Bilić: Scarlet Woman Looking to the Left* Milko Kelemen: Magarac šeta pored mora pop-up koncert studenata Muzičke akademije u Zagrebu Alen i Nenad Sinkauz: Sinking Toilet Water Level* Branimir Davor Vincze: Šest minijatura za očajnu kućanicu Jazz ansambl Muzičke akademije u Zagrebu Mirela Ivičević: Case Black Frano Đurović: Koncert za klavir i elektroniku* Interaktivna improvizacija 1 Martin Češnjak, violina; Dunja Đurđević, flauta HGZ Tena Ivana Borić: Toy Story* Matej Hremeščec, klarinet; Šime Vuksan, fagot Black Page Orchestra Matthias Kranebitter: Candlelight Music mit Rondo Jazz ansambl Muzičke akademije u Zagrebu mentor: izv. prof. art. Saša Nestorović 10:00—11:30h Mala dvorana Ajtony Csaba, dirigent Erin Keleuva, flauta; Jan Plevko, klarinet; Šime Vuksan, fagot Svirkaonica, suvremeno-glazbena radionica za djecu (4+) Alen Sinkauz, el. bas, elektronika Ivan Batoš, klavir Šime Buha, klavir; Matilda Fatur, kontrabas; Luka Ivir, udaraljke Programska suradnja u sklopu proslave 100. obljetnice voditeljica: Lucija Stanojević, violinistica i glazbena edukatorica Nenad Sinkauz, el. gitara, elektronika mentor: izv. prof. art. Saša Nestorović Francuskog instituta i Muzičke akademije Sveučilišta u Zagrebu IJA → KC 60 programska suradnja: Ulysses EU Projekt i ÖGZM 20:00h ONLINE KONCERT U G R O Programska suradnja u sklopu proslave 100.
    [Show full text]
  • Creating the Past: the Palace Complex of the Karađorđević Dynasty in the Light of Reviving the Middle Ages
    III BYZANTINE HERITAGE AND SERBIAN ART III BYZANTINE HERITAGE AND SERBIAN ART BYZANTINE HERITAGE IMAGINING THE PAST THE RECEPTION OF THE MIDDLE AGES IN SERBIAN ART FROM THE 18TH TO THE 21ST CENTURY BYZANTINE HERITAGE AND SERBIAN ART III BYZANTINE HERITAGE AND SERBIAN ART I–III Editors-in-Chief LJUBOMIR MAKSIMOVIć JELENA TRIVAN Edited by DANICA POPOVić DraGAN VOJVODić Editorial Board VESNA BIKIć LIDIJA MERENIK DANICA POPOVić ZoraN raKIć MIODraG MARKOVić VlADIMIR SIMić IGOR BOROZAN DraGAN VOJVODić Editorial Secretaries MARka TOMić ĐURić MILOš ŽIVKOVIć Reviewed by VALENTINO PACE ElIZABETA DIMITROVA MARKO POPOVić MIROSLAV TIMOTIJEVIć VUJADIN IVANIšEVić The Serbian National Committee of Byzantine Studies P.E. Službeni glasnik Institute for Byzantine Studies, Serbian Academy of Sciences and Arts IMAGINING THE PAST THE RECEPTION OF THE MIDDLE AGES IN SERBIAN ART FROM THE 18TH TO THE 21ST CENTURY Editors LIDIJA MERENIK VlADIMIR SIMić IGOR BOROZAN BELGRADE, 2016 PUBLished ON THE OCCasiON OF THE 23RD InternatiOnaL COngress OF Byzantine STUdies This book has been published with the support of the Ministry of Education, Science and Technological Development of the Republic of Serbia P.U.C. “Pogrebne usluge” – Belgrade CONTENTS I. FROM TRADITION TO HISTORY: MAPPING THE PAST IN 18TH CENTURY ART THE IMAGE OF THE PAST AS A HISTORICAL ARGUMENT. THE RECEPTION OF THE MIDDLE AGES IN SERBIAN BAROQUE ART. 11 Vladimir Simić ON OLD WINE IN NEW WINESKINS. TRADITIONAL PAINTING AMONG THE SERBS IN THE LATE 17TH AND EARLY 18TH CENTURY . 25 Ljiljana Stošić OLD ICON PAINTING AND THE RELIGIOUS REVIVAL IN THE ‘KINGDOM OF SERBIA’ DURING AUSTRIAN RULE 1718–1739. 33 Ana Milošević THE RECEPTION OF TRADITIONAL THEMES ON THE EARLY BAROQUE ICONOSTASES IN SLAVONIA.
    [Show full text]