Slovenski skladatelji HARFA v delih slovenskih The HARP in the Works of večinoma vzorovali pri dveh concert instrument. In their 3 so koncertantne skladateljev Slovenian Composers osebnostih, ki sta začrtali teme- treatment of the harp, Slovenian možnosti harfe lje novi izvirni glasbi za harfo. composers primarily modelled začeli odkrivati šele arfonija je vizitka mlade arpony is both the calling Po vzoru Clauda Debussyja je themselves on two personalities po drugi svetovni Hharfistke Tine Žerdin, Hcard of the young harpist nova harfna literatura požlahtni- who had laid the foundations for vojni, harfa pa tudi hkrati pa zanimiv portret slo- Tina Žerdin and an interesting la salonsko rutiniranost razlože- original new harp music. pred tem ni imela venskih izvirnih del za harfo, v portrait of original Slovenian nih akordov ter arpeggiev z izra- Following the example of Claude svojega stalnega katerem poleg železnih skladb works for the harp, in which, zitejšo artikulacijo, razdelanostjo Debussy, the new harp reper- mesta; redkeje se je harfnega repertoarja zaslužijo in addition to the established ritma in metruma, virtuoznejšo toire enriched the salon routine oglasila v salonskem posebno pozornost tudi nova repertoire for the harp, new tehniko pedalov pri iskanju pe- of broken chords and arpeggios življenju malošte- dela mlajših skladateljskih ge- works by the younger genera- strejših harmonij ter subtilnejšo with more distinct articulation, vilnega slovenskega neracij. Slovenski skladatelji so tions of composers also receive obravnavo dinamike. Za prvega the elaboration of rhythm and meščanstva, prav koncertantne možnosti harfe particular attention. Slovenian znanilca »debussyjevske linije« meter, a more virtuosic pedal tako ni sodila med začeli odkrivati šele po drugi composers began to discover danes označujemo Zvonimirja technique in search of richer prepoznavna glasbi- svetovni vojni, harfa pa tudi pred the concertante potential of Cigliča, avtorja priljubljenega in harmonies, and a subtler treat- Slovenian composers la slovenskega ljud- tem ni imela svojega stalnega the harp only after the Second nepogrešljivega Concertina za ment of dynamics. Zvone Ciglič, began to discover skega izročila. mesta; redkeje se je oglasila v World War, prior to which the harfo in godalni orkester. the composer of the popular the concertante salonskem življenju maloštevil- harp had not had an established Vpliv Carlosa Salzede pa je and indispensable Concertino potential of the nega slovenskega meščanstva, position. It rarely featured in the močno zaznamoval avantgardo for harp and string orchestra, is harp only after the prav tako ni sodila med pre- salon life of the scarce Slovenian slovenskega prostora in med known today as the precursor of Second World War, poznavna glasbila slovenskega bourgeoisie, while failing to be prvimi, ki so se temeljito po- the “Debussy stream”. prior to which the ljudskega izročila. Spodbude za recognised as an instrument svetili proučevanju Salzedovih The Slovenian avant-garde, on harp had not had an nastanek novih del so k skladate- of the Slovenian folk tradition. pridobitev, je bil Ivo Petrić. the other hand, was strongly established position. ljem večinoma prihajale s strani Composers mainly received Barvno subtilnejša Debussyje- influenced by Carlos Salzedo, It rarely featured in izvrstnih slovenskih harfistk, ki initiatives to write new works vska usmeritev in, na drugi with Ivo Petrić being amongst the salon life of the so se šolale v tujini in z bogatim from excellent Slovenian women strani, celostna obravnava in- the first to undertake a thor- scarce Slovenian znanjem ter strastjo odkrivale harpists who had studied abroad strumenta v sodobnem izrazu ough analysis of Salzedo’s bourgeoisie, while ustvarjalcem vrsto tehničnih and who, with their rich knowl- vodita tudi ustvarjalce mlajših achievements. failing to be recog- pridobitev in izraznih možnosti edge and passion, revealed to generacij, ob njih pa vzporedno The timbral subtlety of the De- nised as an instru- na novo odkritega koncertnega composers the range of technical vseskozi nastajajo še dela po na- bussy stream and the holistic ment of the Slove- glasbila. Slovenski skladatelji pa attributes and expressive pos- ročilu izvajalcev z manj izraziti- treatment of the instrument in nian folk tradition. 2 so se pri obravnavi instrumenta sibilities of the newly discovered mi ambicijami, v katerih doživlja contemporary expression have renesanso salonska, (pre)lahko- also guided the younger genera- obravnavo harfe, oblika pa je še harpist Nevenka Ino, who gave 5 tna naravnanost pod skupnim tions of composers, while, in tradicionalno pesemska z doda- the premiere performance from imenovalcem postmodernizma. parallel, less ambitious perform- no codo. the composer’s manuscript. In Zvočni portret je zasnovan kro- ers continue to commission the preparation of the printed nološko, od najstarejše izvirne works that embody a renais- Alojz Srebotnjak (1931–2010) edition in 2002 (Ed. DSS 1569) skladbe iz leta 1948 do najno- sance of the (too) light salon je z opusom za harfo ustvaril a slight discrepancy occurred in vejšega dela za dve harfi iz leta orientation of harp music under repertoar, v katerem se poleg the notation of one note, result- 2013, zanimivo pa je naključje, the common denominator of miniatur nahajajo tudi velike ing in a changed harmony. With da sta deli napisala skladatelja, postmodernism. oblike. Dragoceno mesto v its rich harmonic language, one ki ju najtesneje povezujemo The present sonic portrait is železnem repertoarju harfistov can already sense an impres- s slovensko izvirno glasbo za designed chronologically, open- zavzemajo Preludiji, napisani za sionist treatment of the harp in harfo – Zvonimir Ciglič in Ivo ing with the earliest original harfo solo (1960). Vsaka izmed this composition, while the form Petrić. composition, written in 1984, petih miniatur je samostojna remains traditionally song-like and closing with the most recent celota, pri čemer osrednji tretji with an added coda. Prva izvirna priložnostna sklad- piece for two harps from 2013. It preludij spominja na folklori- ba za harfo Zvonimirja Cigliča is interesting to note that, coin- stično bogastvo z menjavo 5/8 v With his opus for the harp, (1921–2006) je nastala v letu cidentally, these two works were 2/4 taktovski način ter efektnim Alojz Srebotnjak (1931–2010) velikega skladateljevega uspeha, written by the two composers poudarkom sulla tavola, zunanji created a body of work in which diplomskega dela - Sinfonie who are most closely associated stavki (1, 2, 4, 5) so močno eks- large forms take their place Apassionate (1948). Lirični with original Slovenian music presivni, zapisani v razrahljanem alongside miniatures. His Prel- Adagio amoroso za harfo solo for the harp: Zvonimir Ciglič tonskem jeziku in s presenetljivi- udes for solo harp (1960) have a (1948) je skladatelj posvetil svoji and Ivo Petrić. mi harmonskimi zaključki. precious place in the established prvi ženi, harfistki Nevenki Ino, repertoire for the instrument. ki je delo premierno zaigrala z The first original occasional work Ivo Petrić (1931) se harfi posve- Each of the five miniatures is rokopisa. Med tiskano izdajo for the harp by Zvonimir Ciglič ča skozi vse svoje ustvarjalno ži- an independent whole, while (Ed. DSS 1569) iz leta 2002 in (1921–2006) was composed in vljenje. Pri pisanju ga je v prvem the central, third prelude is rokopisom je prišlo pri zapisu the year of the composer’s great obdobju navdihovala harfistka reminiscent of the wealth of enega tona do rahlega razhaja- success, his graduation work Pavla Uršič, svojemu skladatelj- folklore with its shift from 5/8 to nja ter posledično tudi do spre- Sinfonia Apassionata (1948). skemu vzoru pri pisanju za harfo 2/4 time signatures and its em- menjene harmonije. V skladbi z The lyrical Adagio amoroso for pa se je poklonil z Elegie sur le phasised use of the sulla tavola bogatim harmonskim jezikom harp (1948) was dedicated by nom de Carlos Salzedo. Med naj- effect. The external movements 4 že zasledimo impresionistično the composer to his first wife, bolj izrazita dela avantgardnega (1, 2, 4, 5) are powerfully obdobja in pravo prelomnico expressive and written in an ex- Houška in harfistka Pavla Uršič in the score, which is modelled 7 v pisanju za harfo v slovenski tended tonal language with sur- leta 1966 na Jugoslovanski glas- on Salzedo, reveals a genuine en- glasbi sodi skladba Jeux za glas prising harmonic conclusions. beni tribuni v Opatiji. cyclopaedia of harp effects (vari- in harfo (1965) na nadrealistično ous ways of playing strings with poezijo vojvodinskega pesnika Ivo Petrić (1931) has de- Tradicija pisanja za harfo, ki jo the tuning key, the use of sticks Vaska Pope (1921–1991). Jeux voted his attention to the harp lahko merimo le s polstoletno and other paraphernalia, various je izjemna šola modernih tehnik throughout his creative life. In zgodovino, je verjetno vzrok, types of glissandos, tremolos, igranja na harfo. Kot nakazuje the first period, he was inspired da v izvirni literaturi komornih harmonics, playing using the ime, skladba poudarja »igro« by the harpist Pavla Uršič, while del za harfo ni opaznega števila pedals, pounding on the strings, med izvajalcema, pri kateri harfa he paid tribute to the composer tradicionalnih klasičnih oblik hitting the soundboard), while ustvarja razpoloženje, ter tudi who served as his role model in (tiskane izdaje kažejo npr. le dve the rapid changes in effects, the svobodno »igro«, kjer se inter- writing for the harp in his Elegia sonati), ampak prevladujoče šte- switches and the use of various preta lahko prepustita domiš- sur le nom de Carlos Salzedo. vilo žanrskih kompozicij, na še paraphernalia represent a special lji ji, spodbujeni z aleatoričnimi Amongst the more pronounced nepresežene klišeje pa opozar- challenge for the harp virtuoso. predlogi skladatelja. Priložena works of the avant-garde period, jajo tudi prevladujoče zasedbe The work was composed in 1965 legenda po Salzedovem vzoru and representing a genuine komornih skupin s harfo (flavta/ while the composer was further- odkriva pravo enciklopedijo turning point in Slovenian harp harfa, violina/harfa). Edinstveni ing his studies in Paris, and the efektov za harfo (različni načini music, is Jeux for voice and harp obračun s klišeji in tradicijo zato- premiere performance was given igranja na strune s ključem, upo- (1965), based on the surreal hlega salona tako prinaša Atános by mezzo-soprano Eva Novšak raba palčk ter ostalih rekvizitov, poetry by the Vojvodina poet, št. 2 za harfo in harmoniko Houška and harpist Pavla Uršič različne vrste glissandov, tremo- Vasko Popa (1921–1991). Jeux (2002) dr. muzikologije Gregorja in 1966 at the Yugoslav Music lov, flageoleti, igranje s pedali, is an extraordinary anthology of Pompeta (1974). O delu, v ka- Tribune in Opatija. tolčenje po strunah, udarci na modern harp performance tech- terem je izvajalcu na harfi dana resonančno desko), poseben niques. As the title suggests, the vrsta izraznih možnosti z izbiro The young tradition of harp izziv virtuozu na harfi ponujajo composition emphasises “play” rekvizitov, izrabo učinkovitih music in Slovenia, with a history hitre menjave efektov, preklopi between the two performers, efektov ter ponudeno izvedbo of only half a century, is prob- in uporaba različnih rekvizitov. with the harp creating the mood, aleatoričnih obrazcev, je avtor ably the reason for the small Krstno izvedbo dela, ki je nasta- as well as free “play”, allow- zapisal: »Skladba Atános št. 2 za number of traditional classical jalo v obdobju skladateljevega ing the performers freedom of harmoniko in harfo je nastala forms in the original chamber študijskega izpopolnjevanja v imagination, encouraged by the na pobudo Primoža Kranjca in music repertoire for the harp Parizu leta 1965, sta pripravili aleatoric suggestions of the com- Tine Žerdin, ki sta jo prvič izve- (there are, for example, only 6 mezzosopranistka Eva Novšak poser. The key to the notations dla leta 2002 v sklopu festivala two sonatas amongst printed Glasbeni julij na Obali. Podobno editions), and for the prevalence v Dresdnu leta 2006 v okviru piece is simply the word “sonata” 9 kot v prvi skladbi iz ciklusa of genre compositions, while skladateljevega podiplomskega written backwards. Both pieces Atános (Atános št. 1 op. 10 za the most frequent chamber izpopolnjevanja. Skladba ilustra- are seemingly in sonata form, angleški rog in harfo, 1999) se music formations (flute/harp, tivno sledi stari kitajski zgodbi that is, we can identify the expo- tudi v tem delu druži staro in violin/harp) also highlight the o slikarju, ki vse svoje življenje sition, the development and the novo – naslov dela je namreč fact that harp clichés have not slika eno podobo. Prispodoba recapitulation, or more loosely, le nazaj prebrana sonata. Obe yet been superseded. A unique umetnikovega življenja, kjer the announcement, the deriva- skladbi imata navidez sonatno confrontation with the clichés slikar vstopi v svojo sliko in izgi- tion and the return. In Atános obliko, saj bi v njiju lahko iskali and the stuffy salon tradition is ne za detajlno narisanimi vrati, No. 2, I also solve the problem of ekspozicijo, izpeljavo in reprizo thus represented by Atános No. je izhodišče za zvočno slikanje in the sonic-timbral balance of the oz. bolj ohlapno najavljanje, 2 for harp and accordion (2002) uporabo sodobnega glasbenega two instruments with the rather izpeljevanje in vračanje. V by Gregor Pompe (1974), who jezika, pri izvedbah v živo pa diverse production of sound. skladbi Atános št. 2 razrešujem holds a PhD in musicology. občinstvo lahko sledi tudi pred- While the initial and the final poleg tega še problem zvočno- Referring to this work, in which pisanim vizualnim elementom. sections are linked through the -barvne uravnoteženosti dveh the harpist is provided with a common exploitation of the mo- inštrumentov s precej raznoliko range of expressive possibilities Skladbi Janija Goloba in Igorja tivic material, the central deriva- produkcijo zvoka. Začetni in with the use various parapher- Dekleve sta priložnostni deli tion section rises in the shape of končni del sta povezana prek nalia and striking effects, as well divertimentnega značaja. two climaxes: one rhythmic, the skupne izrabe motivičnega as with the performance of the Jani Golob (1948) je Nokturno za other aleatoric.” materiala, središčni izpeljevalni aleatoric formulae offered, the violino in harfo napisal na pobu- del pa se pne v obliki dveh vi- composer wrote: “Atános No. 2 do violinistke Oksane Pečeny in Another piece linked to contem- škov: ritmičnega in aleatorično for accordion and harp was writ- harfistke Tine Žerdin za koncert porary expression and Salzedo’s razvezanega.« ten on the initiative of Primož GM oder 2007. V pesemski obliki holistic treatment of the in- Kranjc and Tina Žerdin, who filmsko navdahnjene skladbe ima strument with an emphasised Zavezi sodobnega izraza in Sal- gave the premiere performance harfa spremljevalno vlogo. percussive role is Harficum by zedove celostne obravnave in- in 2002 at the festival Musi- a representative of the younger strumenta s poudarjeno perku- cal July on the Coast. As in the Tudi pri krstni izvedbi skladbe generation of composers Tomaž sivno vlogo sledi tudi Harficum first piece of the Atános cycle za duo harfe in flavte Amabile Bajželj (1979). The one-move- predstavnika mlajše skladateljske (Atános No. 1, Opus 10 for cor Igorja Dekleve (1933) je sodelo- ment programme piece for solo generacije Tomaža Bajžlja anglais and harp, 1999), the vala harfistka Tina Žerdin, solist harp was composed in Dresden (1979). Enostavčno programsko second piece combines the old na flavti je bil Jeffrey Cohan. in 2006, during the composer’s 8 delo za harfo solo je nastalo and the new – the title of the Skladatelj je sicer »uporabnost« postgraduate studies. dela načrtoval in tako napisal The composition illustratively Mavrica. Ta se vzpenja iz globin (1933) also involved harpist Tina 11 dve različici - za flavto in klavir follows an old Chinese story v višine na način kakega Debus- Žerdin, with Jeffrey Cohan per- ter flavto in harfo, nastali pa sta about a painter who paints the syjevega preludija. Drugi stavek, forming the solo flute. The com- leta 2008. V rondojsko zasnovani same picture again and again Mesec in giljotina, vsebuje več poser planned the “usability” skladbi svobodnemu delu (li- throughout his entire life. The repetitivnih in perkusivnih ele- of the work by writing two ver- bero) sledi ritmično poudarjeni metaphor for the artist’s life, mentov, ki izhajajo iz spektra sions, both composed in 2008: izpisani del (amabile). V dialogu in which the painter enters his alikvotnih tonov kovin.« one for flute and piano and the kadenc v delu libero skladatelj painting and disappears behind Skladba je bila napisana leta other for flute and harp. Con- interpretoma prepušča svobo- an elaborately painted door, is 2010 po naročilu Mednarodnega ceived in rondo form, the work dno izbiro metrike, harmonija in a point of departure for sound združenja za ekmelično glasbo v comprises a free section (libero) posamezne vloge izvajalcev pa painting and the use of a con- Salzburgu za koncert ob dvajse- followed by a rhythmically em- so natančno izpisane. temporary musical language, tletnici njegovega obstoja. Prvo phasised precisely notated sec- while in live performances the izvedbo je mednarodna zasedba tion (amabile). In the dialogue Tomaž Svete (1956) z delom audience can also follow the izvajalcev pripravila še v letu na- of cadenzas within the libero za flavto, violo in harfo Deux prescribed visual elements. stanka na Mozarteumu in sicer section, the composer gives the aquarelles écméliques (2010) v koreografski različici, čeprav performers a free choice of me- opozarja na posebnost v svojem The compositions by Jani Golob partitura sama tega prvotno ne ters, while the harmony and the opusu, ki ga gradijo predvsem and Igor Dekleva are both occa- predvideva. individual roles of the perform- velike forme, hkrati pa odkriva sional works with a divertimento ers are precisely prescribed. tudi posebnost v literaturi za character. Med zadnja dela harfnega opusa harfo slovenskih skladateljev. V Jani Golob (1948) wrote his Nok- Iva Petrića in zadnjo skladbo With Deux aquarelles écméliques delu izpostavlja svoj prvi vzgib turno (Nocturne) for violin and portreta harfistke Tine Žerdin for flute, viola and harp (2010), pri raziskovanju harfe v jeziku harp on the initiative of Oksana sodi Harpsody za dve harfi, Tomaž Svete (1956) draws at- Debussyja, vendar ga pot od Pečeny and harpist Tine Žerdin kar je po dostopnih podatkih tention to a feature in his own zgodnjefrancoskih zgledov vodi for the concert Jeunesses Mu- edini primer tovrstne literature opus, which is mainly comprised do novodobnih spektralistov, sicale Stage 2007. The harp has v slovenski glasbi. Skladba je of large forms, while at the same kar posebej poudari z natančno an accompanying role in a song nastala leta 2013 na pobudo time revealing a characteristic predpisano uglasitvijo instru- form inspired by film music. Tine Žerdin, ki jo je s Christine of the harp repertoire by Slove- menta. Kot je sam zapisal, »delo Leibbrand-Kügerl tudi krstila nian composers in general. In temelji na spektralnih razmerjih The premiere performance of na gradu Kromberk. Mojstrsko his work, Svete reveals his first alikvotnih tonov 8:11:14:17:20, the composition Amabile for poznavanje izraznosti harfe impulse in the exploration of the 10 ki zaznamujejo prvi stavek harp and flute by Igor Dekleva omogoči skladatelju, da ustvari harp in the language of Debussy, občutek instrumenta, ki je pro- but the path from the early Amongst the most recent works with Christina Leibbrand-Kügerl 13 žnejši pri modulacijah, harmo- French models leads to contem- in the harp opus of Ivo Petrić, at the Kromberk Castle. Petrić’s niji in efektih. Tovrstni občutek porary spectralists, as is particu- and the last composition in the mastery of the harp’s expressive instrumenta bi svobodno lahko larly emphasised by the precisely portrait of harpist Tina Žerdin, is resources has enabled the com- imenovali »superharfa«. prescribed tuning of the instru- Harpsody for two harps, which, poser to create the impression of ment. As the composer himself according to the available in- an instrument that is more flexi- Veronika Brvar states, “the work is based on the formation, is the only Slovenian ble in modulations, harmony and spectral ratios of the harmonics work of its kind. Harpsody was effects, an impression we could 8:11:14:17:20, which mark the composed in 2013 on the initia- describe as that of a “superharp”. first movement Arc-en-ciel. This tive of Tina Žerdin, who gave the piece rises from the depths up premiere performance together Veronika Brvar into the sky in a way that is remi- niscent of a Debussy prelude. The second movement, La lune et la guillotine, contains numerous re- petitive and percussive elements that derive from the spectrum of harmonics of metals.” The composition was com- missioned by the International Ekmelic Music Society of Salz- burg in 2010 for a concert marking the 20th anniversary of its foundation. The premiere performance was given by an international ensemble the same year at the Mozarteum, in a choreographed version that the score itself originally does not envisage.

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O interpretih About the performers udejstvuje ter nastopa kot so- Since the time of her studies 17 listka s pomembnimi domačimi in Vienna, Tina Žerdin has arfistka Tina Žerdin je pri- arpist Tina Žerdin began in tujimi orkestri ter kot članica performed numerous concerts, čela svojo glasbeno pot kot her musical career as a pi- raznovrstnih komornih zasedb. appearing as a soloist with im- Hučenka klavirja na glasbeni šoli Hano student at the music school Je soloharfistka Dunajskega portant Slovenian and foreign v domačem Velenju. Klavirju ter of her home town Velenje. She komornega orkestra, orkestrov orchestras, and as a member of kasneje tudi solopetju je ostala remained faithful to the piano, Wiener Akademie in Österrei- a diverse range of chamber en- zvesta vse do prvega srečanja s and later solo singing, until her chisch-Ungarische Haydn Phil- sembles. She is currently a solo harfo. first encounter with the harp. harmonie (Dunajska Akademija harpist with the Vienna Cham- Na Univerzi za glasbo na Dunaju She graduated and completed in Avstrijsko-ogrska Haydnova ber Orchestra, the Vienna Acad- je v razredu profesorice her master’s degree with distinc- Filharmonija) ter pogosta gostja emy Orchestra and the Austro- Adelheid Blovsky-Miller z odli- tion in the class of Adelheid tako v dunajskih opernih hišah Hungarian Haydn Philharmonic ko opravila tako dodiplomski Blovsky-Miller at the University (Ljudska opera, Dunajska dr- Orchestra, as well as being a kot tudi magistrski študij ter se of Music and Performing Arts žavna opera) kot tudi v orkestru regular guest of both Viennese hkrati intenzivno izobraževala in Vienna, at the same time avstrijske nacionalne radijsko-te- opera houses (the Vienna Volk- pri številnih znanih tujih profe- furthering her studies with a levizijske hiše (RSO). Kot solo- soper Theatre and the Vienna sorjih, predvsem predstavnikih number of renowned foreign harfistka je leta 2014 gostovala v State Opera) and the Vienna visoke francoske šole igranja teachers, mainly representatives orkestru milanske Scale. Dolgo- Radio Symphony Orchestra harfe. of the high French school of letno sodelovanje jo veže na or- (RSO). In 2014, she was a guest V času študija je bila štipen- harp performance. kester Tirolskih slavnostnih iger, solo harpist with the La Scala distka Ministrstva za kulturo During her studies, she held a v katerem je preigrala vse velike Orchestra in Milan. She has also Republike Slovenije, po zaključ- scholarship from the Ministry Wagnerjeve opere, sodeluje pa established close ties with the ku šolanja pa je od Univerze za of Culture of the Republic of tudi z najboljšimi avstrijskimi orchestra of the Tyrolean Fes- glasbo na Dunaju prejela tudi Slovenia, after which she was komornimi orkestri za sodobno tival, with whom she has per- nagradno štipendijo za izjemni awarded a grant for outstand- glasbo: z zasedbama Die reihe in formed all of the great Wagner študijski uspeh. Leta 2010 je za ing academic achievement by Ensemble Kontrapunkte. operas, while also collaborating svoje raziskovalno delo na temo the University of Music and Veliko se posveča tudi izvajanju with the best Austrian chamber Richard Wagner in harfa prejela Performing Arts in Vienna. In slovenske glasbe za harfo. Krstno orchestras for contemporary štipendijo Bayreuthskega štipen- 2010, she received a Bayreuth je do sedaj izvedla dela Tomaža music: Die Reihe and Ensemble dijskega sklada. University study grant for her Bajžlja, Igorja Dekleve, Brine Kontrapunkte. Že vse od časa svojega študija research on Richard Wagner Jež-Brezavšček, Janija Goloba, Tina Žerdin also devotes a great 16 na Dunaju se veliko koncertno and the harp. Aleša Strajnarja, Iva Petrića in deal of attention to Slovenian Gregorja Pompeta, poustvarila harp music. She has given the prva samostojna zgoščenka s the Ravinia Festival in Chicago. 19 slovenske praizvedbe del Slavka premiere performances of celotnim opusom Marija Kogoja As an established performer of Šuklarja, Tomaža Sveteta in Jake works by Tomaž Bajželj, Igor ob spremljavi litovske pianistke contemporary music, she has col- Puciharja. Dekleva, Brina Jež-Brezavšček, Gaive Bandzinaite. laborated with international en- Kot pedagoginja sodeluje z Za- Jani Golob, Aleš Strajnar, Ivo Flavtistka Mateja Kremljak je sembles (Tonkünstler, Slovenian sebno glasbeno šolo na Ptuju ter Petrić and Gregor Pompe, as magistrirala na graški univerzi, Philharmonic Orchestra, RTV z orkestrskim kampom Styria well as presenting the Slovenian podiplomski študij pa nada- Symphony Orchestra Slovenia) v Lipnici v Avstriji. Je tudi sou- premieres of works by Slavko ljevala pri G. Cambursanu in and has appeared at a number of stanoviteljica izobraževalnega Šuklar, Tomaž Svete and Jaka M. Mercelliju. Od leta 1998 je international festivals (Slowind, programa za harfo pod okriljem Pucihar. pikolistka-flavtistka v orkestru Styrian Autumn Festival, Styri- državne operne hiše v Ulaanba- As a teacher, she has worked for SNG Maribor in Simfoničnem arte). In 2005, her first independ- taarju (Mongolija). the Private Music School of Ptuj orkestru SNG Maribor, hkrati ent compact disc was released, and for Camp Styria in Leibnitz, pa poučuje na zasebni glasbeni featuring the entire opus of Marij Mezzosopranistka Barbara Austria. She is also a cofounder šoli B.A.S.E. Je članica številnih Kogoj, accompanied by Lithu- Jernejčič Fürst je magistrirala of the education programme for komornih zasedb in sodeluje v anian pianist Gaiva Bandzinaita. na graški univerzi za glasbo v harp under the auspices of the orkestru Festivala Maribor. Flutist Mateja Kremljak gained razredu K. E. Hoffmana in se State Opera House in Ulaan- Akordeonist Primož Kranjc je her master’s degree from the izpopolnjevala pri svetovno bataar, Mongolia. po dveletnem študiju na graški Graz University and continued znanih pevcih (M. Lipovšek, B. univerzi, nadaljeval izobraževa- her postgraduate studies with Schlick, C. Ludwig). Bila je čla- Mezzo-soprano Barbara nje na Kraljevi danski akademiji G. Cambursan and M. Mercelli. nica Flamskega opernega studia Jernejčič Fürst completed her za glasbo v Koebenhavnu. Tam Since 1998, she has been a flut- v belgijskem Gentu in štipen- master’s degree at the Univer- je 2006 magistriral z odliko v ist/piccolo player with the Sym- distka sklada festivala Ravinia sity of Music and Performing razredu J. Crabba. Zdaj deluje phony Orchestra of the Slovene v Chicagu. Kot uveljavljena Arts in Graz in the class of K. kot pedagog v Glasbeni šoli Gro- National Theatre in Maribor, interpretka sodobne glasbe E. Hoffman, and then furthered suplje in Glasbeni šoli Velenje while also teaching at the B.A.S.E sodeluje z mednarodnimi an- her studies with internation- in koncertira samostojno in kot private music school. She is a sambli (Tonkünstler, Slovenska ally renowned singers such as komorni glasbenik. member of numerous chamber filharmonija, Simfonični orke- M. Lipovšek, B. Schlick and C. Vesna Stanković, rojena v Be- ensembles and collaborates with ster RTV Sloveniija) in koncer- Ludwig. She was a member of ogradu, je koncertna mojstrica the Maribor Festival Orchestra. tira na mednarodnih festivalih the Flemish Opera Studio in dunajske Ljudske opere in Du- After two years at the Graz (Slowind, Štajerska jesen, Styri- Gent, Belgium, and received a najskega komornega orkestra University, accordionist Primož 18 arte). Leta 2005 je izšla njena scholarship from the fund of ter profesorica za violino na Kranjc furthered his studies at graški univerzi. Kot solistka je the Royal Danish Academy of simfoničnega orkestra Ukrajine, Adelheid Blovsky-Miller, gradu- 21 koncertirala v vseh večjih mestih Music in Copenhagen, where he ob tem pa je poučeval na Držav- ating from the harp concert class bivše Jugoslavije ter v Avstriji, completed his master’s degree ni akademiji za glasbo. Od leta at the same time. Since 2010, she Italiji, Švici, Nemčiji, Franciji, with distinction in the class of 1998 je član orkestra mariborske has taught the subject Teaching ZDA in na Japonskem, redno pa J. Crabb in 2006. He currently operne hiše in Simfoničnega the Harp at Music Schools at the nastopa kot komorna glasbenica teaches at music schools in orkestra SNG Maribor. Veliko Vienna University. In addition, in sodeluje v mednarodnih žiri- Grosuplje and Velenje, as well as se posveča tudi komornemu she plays in numerous chamber jah glasbenih tekmovanj. Vesna performing solo concerts and as muziciranju. and orchestral ensembles, such Stanković igra violino Jakob a chamber musician. as the Graz Philharmonic, Hofer Stainer (1671), ki jo je dobila Born in Belgrade, Vesna Symphoniker, etc. v posojo od avstrijske državne Stanković is the concertmaster After completing his studies at banke Bank Austria. of the Vienna Volksoper Thea- the Kiev Academy of Music, Avstrijska harfistka Christine tre and the Vienna Chamber Belarusian viola player Rosty- Leibbrand-Kügerl je zaključila Orchestra, as well as teaching slav Denysyuk became a mem- magistrski študij inštrumen- violin at the Graz University. She ber of the Taras Shevchenko talne pedagogike (smer harfa) has performed as a soloist in all National Theatre Opera and na dunajski univerzi v razredu of the major cities of ex-Yugo- Ballet Orchestra and the Na- Adelheid Blovsky-Miller, hkrati slavia, as well as in Austria, Italy, tional Symphony Orchestra of pa diplomirala še iz koncertne Switzerland, Germany, France, Ukraine, while also teaching at smeri študija harfe. Od leta 2010 the USA and Japan. She appears the National Music Academy na dunajski univerzi izvaja pouk regularly as a chamber musician of Ukraine (Kiev Conserva- predmeta Praksa poučevanja and serves as a jury member at tory). Since 1998, he has been harfe na glasbenih šolah. Redno international music competi- a member of the orchestra of sodeluje v številnih komornih in tions. Vesna Stanković performs the Maribor opera house and of orkestrskih zasedbah, med njimi on a Jakob Stainer violin (1671), the Symphony Orchestra of the z Graško filharmonijo, orke- which she has acquired on loan Slovene National Opera and Bal- strom Hofer Symphoniker idr. from the Bank of Austria. let in Maribor. He also dedicates Beloruski violist Rostyslav Austrian harpist Christine a great deal of time to chamber Denysyuk je po študiju na kije- Leibbrand-Kügerl completed music performance. vski Akademiji za glasbo postal her master’s degree in instru- član orkestra Državne opere mental pedagogy (harp) at the 20 Taras Ševčenko ter Državnega Vienna University in the class of Ivo Petrić: Jeux / Igre V pozabo se mu skrije Tatovi se priplazijo do grma Igra ta živo se nadaljuje 23 šest pesmi iz ciklusa Vaska Pope, Ta išče ga med travo Eden izmed njih ukrade rožo poslovenil Ciril Zlobec V srce jo svoje skrije Vse dokler je še kaj rok Išče ga in išče Vse dokler je še kaj nog I. Pred igro Kje ga vse ne išče Prikažejo se hčerke vetra Vse dokler je česarkoli Zatisneš si eno oko In v iskanju njega sebe izgubi Obrano vidijo lepoto Pokukaš sam vase v vsak kot In pohitijo za tatovi rož VI. Po igri Pogledaš če ni kje žebljev če ni III. Zapeljevanje Naposled se roke zgrabijo za lopovov Nekdo ljubkuje nogo stola Odpirajo odpirajo jim prsi trebuh Če jajc kukavičjih ni kje Vse dokler se stol ne zgane Pri enih najdejo srce Da trebuh se od smeha ne In z nogo da mu sladko Pri drugih bogme ne razpoči Zatisneš še drugo oko znamenje Ko tam trebuha ni Počepneš in skočiš Odpirajo jim prsi Skočiš visoko visoko visoko Drug spet ključavnico Vse dokler pri nekom srca ne Ena roka se s težavo dvigne Na vrh samega sebe poljublja najdejo Da hladen znoj obriše s čela Poljublja jo pa še kako poljublja In v srcu rože ukradene Tudi čela ni Od tu padeš z vso težo Vse dokler ključavnica poljuba Dneve padaš globoko globoko mu ne vrne V. Gobe Druga roka za srce se zgrabi globoko Eni odgriznejo drugim Da srce iz prsi ne zbeži Do dna svojega brezna Tretji se drži ob strani Roko ali nogo ali karsibodi Tudi srca ni Bulji v to dvojico Kdor ne razbije se v koščke In vrti glavó vrti Denejo to med zobe Obedve roki padeta Kdor cel ostane in cel vstane Stečejo kar najbolj morejo Brezdelni padeta v naročje Ta se igra Vse dokler mu glava ne odpade V zemljo to zakopljejo Tudi naročja ni

II. Slepe miši IV. Tatovi rož Drugi razbežijo se na vse strani Na eno dlan zdaj pada dež Nekdo se skrije pred nekom Nekdo bo rožni grm Vohajo in iščejo in vohajo Iz druge raste trava Pod jezik se mu skrije Drugi bodo hčerke vetra Vso zemljó razgrebejo Kaj bi ti govoril Ta išče ga pod zémljo Ostali pa tatovi rož Kdor srečen najde svojo roko Na čelo se mu skrije Ali nogo ali karsibodi 22 Ta išče ga na nebu Sam na vrsti je da grize I. Before Playing He hides in his forgetting The wind's daughters appear As long as there are arms 25 One shuts one eye He looks for him in the grass See the tree plundered of its As long as there are legs Peers into oneself into every beauty As long as there is anything corner Looks for him looks And give chase to the rose whatever Looks at oneself to see there are Where doesn't he look for him thieves no spikes no thieves And looking for him loses himself VI. After Playing No cuckoos' eggs Open up their breasts one by one At last the hands clutch at the III. Seduction In some they find a heart stomach One shuts the other eye too One caresses the leg of a chair In some so help me none Lest the stomach burst with Crouches then jumps Until the chair turns laughing Jumps high high high And gives him a welcome sign They go on opening up their But there is no stomach To the top of oneself with its leg breasts Until they uncover one heart One hand just manages to lift Thence one drops by one's own Another kisses a keyhole And in that heart the stalen rose itself weight Kisses it doesn't he just kiss it To wipe the cold sweat from the For days one drops deep deep Until the keyhole returns his kiss V. Mushrooms forehead deep Some bite off the others' There's no forehead either To the bottom of one's abyss A third stands by Arm or leg or whatever Gapes at the other two The other hand reaches to the He who is not smashed to And twists his head twists it Take it between their teeth heart smithereens Run off as quick as they can Lest the heart leap out of the He who remains whole and gets Until his head falls off Bury it in the earth breast Vasko POPA, up whole There isn't a heart either Selected Poems, He plays IV. Flower Thieves The others run in all directions Harmondsworth: Someone be a rose tree Sniff search sniff search Both hands drop Penguin Books, II. Blind Mice Some be the wind' s daughters Turn up all the earth Idle drop into the lap 1969; translated by Someone hides from someone Some the rose thieves There's no lap either Anne Pennington Hides under his tongue If any are lucky enough to find (I. Before play, II. He looks for him under the earth The rose thieves creep up on the their arm On one hand now the rain is Hide-and-seek, III. rose tree Or leg or whatever falling The seducer, IV. The He hides on his forehead One of them steals a rose It's their turn to bite From the other grass is growing rose thieves, V. He, 24 He looks for him in the sky Hides it in his heart The game goes on briskly What more should I say VI. After play) V sodelovanju z Radiem Slovenija, direktor / In cooperation with Radio Slovenia, Director: Miha Lampreht, programom ARS, odgovorni urednik / Programme ARS, Managing Editor: Matej Venier, uredništvom za resno glasbo Radia Slovenija, urednik / Serious Music Department of Radio Slovenia, Editor: Gregor Pirš, in ZKP RTV, vodja založniške dejavnosti RTV / and ZKP RTV, Head of Publishing Activities of RTV Slovenia: Mojca Menart. Posnetki so posneti v studijih Radia Slovenija. / Recorded in the studios of Radio Slovenia. Pro- ducentka / Producer: Janja Velkavrh (1 – 19). Tonski mojstri / Recording Engineers: Miha Ocvirk (1, 14), Mitja Krže (2 – 12, 15 – 18), Aleks Pirkmajer Penko (13), Zoran Crnkovič (19). Tonski asistent / Recording Assistant: Cole Moretti (1 – 3, 5 – 19). Digitalna montaža in zvokovna obdelava / Digital editing and CD mastering: Miro Prljača (1 – 19).

Glavni urednik Edicij DSS / Chief Editor of Edicije DSS: Marko Mihevc Muni, urednik izdaje Ars SlovenicA / Editor of the series Ars SlovenicA: Tomaž Habe, tehnični urednici / Technical Editors: Tjaša Primc, Sabina Dečman. Tekst / Text: Veronika Brvar. Lektoriranje / Proofreading: Martin Ahlin. Prevod / Translation: Neville Hall. Fotografije / Photographs: Sara Bano. Avtorica naslovnih fotografij / Cover Photographs: Ana Leko Nikolić. Grafično oblikovanje / Graphic Design: Klemen Kunaver. Tisk knjižice / Booklet Printing: Cicero Begunje d.o.o. Naklada / Edi- tion: 500 izvodov / 500 copies. Izdajo zgoščenke sta sofinancirala Ministrstvo za kulturo RS in Mestna občina Ljubljana. / The release of the compact disc was co-financed by the Ministry of Culture of the Republic of Slo- venia and the Municipality of Ljubljana. Založnik / Publisher: Društvo slovenskih skladateljev / Society of Slovene Composers, zanj / Represented by: Klemen Weiss, december 2014 / December 2014.

Izvajalci / Performers: Tina Žerdin, harfa / harp (1 – 19) Barbara Jernejčič Fürst, mezzosopran / mezzo-soprano (7 – 12) Primož Kranjc, harmonika / accordion (13) Vesna Stanković, violina / violin (15) Mateja Kremljak, flavta / flute (16 – 18) Rostyslav Denysyuk, viola (17, 18) Christine Leibbrand-Kügerl, harfa / harp (19) Tina ŽERDIN HARFONIJA HARPONY

Zvonimir CIGLIČ 1 Adagio amoroso za harfo / for harp 3:19 Ed. DSS 1596 (partitura / score) Alojz SREBOTNJAK Preludiji za harfo / Preludes for harp 2 I Con moto 1:46 3 II Andante, con espressione 2:43 4 III Allegretto, leggiero 3:30 5 IV Moderato, molto agitato 3:40 6 V Allegro, quasi rustico 2:28 Ed. DSS 436 (partitura / score) Ivo PETRIĆ Jeux / Igre za glas in harfo / for voice and harp 7 I Pred igro / Before Playing 3:38 8 II Slepe miši / Blind Mice 1:38 9 III Zapeljevanje / Seduction 2:20 10 IV Tatovi rož / Flower Thieves 3:18 11 V Gobe / Mushrooms 2:25 12 VI Po igri / After Playing 3:13 Mc. DSS 83 (partitura / score) Gregor POMPE 13 Atános št. 2 za harfo in harmoniko / Atános No. 2 for harp and accordion 7:20 Tomaž BAJŽELJ 14 Harficum za harfo / for harp 6:34 Jani GOLOB 15 Nokturno za violino in harfo / Nocturne for violin and harp 5:37 Igor DEKLEVA 16 Amabile za flavto in harfo / for flute and harp 6:35 Mc. DSS 130 (partitura / score) Tomaž SVETE Deux aquarelles écméliques za flavto, violo in harfo / for flute, viola and harp 17 Arc-en-ciel 3:45 18 La lune et la guillotine 3:17 Ivo PETRIĆ 19 Harpsody za dve harfi / for two harps 8:43

Skupaj / Total 75:49