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Premio Corso Salani 2015
il principale appuntamento italiano con il cinema dell’Europa centro orientale un progetto di Alpe Adria Cinema Alpe Adria Cinema 26a edizione piazza Duca degli Abruzzi 3 sala Tripcovich / teatro Miela 34132 Trieste / Italia 16-22 gennaio 2015 tel. +39 040 34 76 076 fax +39 040 66 23 38 [email protected] con il patrocinio di www.triesteflmfestival.it Comune di Trieste twitter.com/TriesteFilmFest Direzione Generale per il Cinema – facebook.com/TriesteFilmFest Ministero dei Beni e delle Attività Culturali e del Turismo con il contributo di Regione Autonoma Friuli Venezia Giulia Creative Europe – MEDIA Programme CEI – Central European Initiative Provincia di Trieste Comune di Trieste Direzione Generale per il Cinema – Ministero dei Beni e delle Attività Culturali e del Turismo CCIAA – Camera di Commercio di Trieste con il sostegno di Lux Film Prize Istituto Polacco – Roma con la collaborazione di Fondazione Teatro Lirico Giuseppe Verdi – Trieste Fondo Audiovisivo FVG Associazione Casa del Cinema di Trieste La Cappella Underground FVG Film Commission Eye on Films Associazione Culturale Mattador Associazione Corso Salani Centro Ceco di Milano media partner mymovies.it media coverage by Sky Arte HD direzione artistica promozione, coordinamento volontari biglietteria Annamaria Percavassi e direzione di sala Rossella Mestroni, Alessandra Lama Fabrizio Grosoli Patrizia Pepi Gioffrè desk accrediti presidente comunicazione, progetto grafco Ambra De Nobili organizzazione generale immagine coordinata e allestimenti Cristina Sain Claimax -immagina.organizza.comunica- -
Festival Slovenskega Filma
festivalfestival slovenskegaslovenskega filmafilma FESTIVAL DEL CINEMA SLOVENO / FESTIVAL OF SLOVENIAN FILM 1 besedila texts producenti in/ali režiserji predstavljenih filmov / producers and/or directors of the presented films, Jelka Stergel, Miha Knific uredniški odbor editorial board Tjaša Smrekar, Jelka Stergel urednica editor Alenka Ropret oblikovanje design Blaž Krump, Pregib prevod translation Maja Ropret tisk print Collegium Graphicum naklada print run 700 september 2018 produkcija production Slovenski filmski center, javna agencija / Slovenian film center, public agency Nataša Bučar, direktorica / Managing Director Miklošičeva 38, Ljubljana fsf.si 3 festival slovenskega filma 10.–15. 9. 2018 PORTOROŽ PORTOROSE LJUBLJANA 4 5 URADNI TEKMOVALNI PROGRAM OFFICIAL COMPETITION PROGRAMME 32 Celovečerni filmi Feature Films 64 Manjšinske koprodukcije Minority Co-productions 70 Srednjemetražni filmi Medium-Length Films 76 Kratki filmi Short Films 93 Študijski filmi Student Films PREGLEDNI PROGRAM PANORAMA PROGRAMME 106 Celovečerni filmi Feature Films 114 Manjšinske koprodukcije Minority Co-productions 120 Srednjemetražni filmi Medium-Length Films 128 Kratki filmi Short Films 141 Študijski filmi Student Films 166 Strokovni program Industry Events 9 Uvodnik SPREMLJEVALNI PROGRAM 172 Indeks filmov Foreword SPECIAL PRESENTATIONS Film Index 152 Podmladek 14 Nagrada Metoda Badjure za življenjsko delo Youth Wing 174 Indeks producentov Metod Badjura Lifetime Achievement Award 158 Otroški animirani film Producer Index Children’s Animations 23 Festivalske -
An Overview of Slovenian-Croatian Relations
(business culture environment politics sports) January 09 ISSN 1854-0805 01 An overview of Slovenian-Croatian relations Energy crisis: Reliability of energy supply in Slovenia Slovenian woman of 2008: We are able to love even when we are three hundred years old Veronika Stabej con In Focus 6-9 Slovenian-Croatian relations Slovenia must persist in its demands on Croatia 14-17 Interview Dear readers, Neža Maurer this is the first edition of Sinfo in 2009 and the first with the new image. The Slovenian woman of 2008 issue we place before you has not only received a graphic makeover, but more importantly a change in editorial policy. We really want to bring you more information primarily from every field of Slovenian knowledge and expertise, and show you interesting people, places and events. Sports 38-39 As we say on the cover, we’ll be bringing you business news from Slovenia, in Primož Kozmus and this issue presenting two successful and excellent companies, each from a slightly Sara Isakovič different angle. The Slovenian sportsman and sportswoman We will focus even more on culture in the broadest sense of the word; the next of 2008 thematic issue will be entirely dedicated to this topic. This issue has news from the arts, presenting a successful young musician, and with special stress on the culinary arts, with some specialties from one part of Slovenia. 8-31 Porcelain Catbryur The Catbriyur trademark is an extraordinary idea put into practice. People We talked to the Slovenian Woman of 2008, who is convinced that we can love 40-43 even if we are thee hundred years old. -
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. -
Slovenski Gledališki Letopis ( SLOVENE THEATRE ANNUAL
K JOLBKQBL)BKOÄLPWB LJLPNFOUBSKFVWBKB pa NikaŠvabinJuvanovaMaia, PUFNQPSPÀBKPH,MFNFOJOHPTQB#FSDF LBKVTQFMPKFOBPESJIJOLBKQBÀOF v teatrihinnavseslovenskisceni; QBLBKWTFÄUFWLJIWTFQPNFOJ LBNLEPÄFMOBHPTUPWBOKF kdo jekjedobilpriznanje, PWFMJLJI UVEJNBMJI pa ševseofestivalih, še predenjenaodrušlozares; BMJCJMÇFQSFKQPTWPKFWNFT pel, plesalalilestatiral, ,EPWTFWUFBUSVKFJHSBM SFÇJSBM do v se SLOEV NSGKI EL DEALIŠKI L TOPIS 18_19 SLOEV NHE T EART NE A NUAL oSl venski gledališki letopis ( 20 SLOEV NHE T EART NE A NUAL ) 18_ 20 19 Slovenski gledališki letopis 2 SLOVENE THEATRE ANNUAL ( 0 ) 18_2 0 19 Sestavil in uredil ŠTEFAN VEVAR Spremna beseda: Melita Forstnerič Hajnšek (dramsko in postdramsko gledališče) Nataša Berce (balet in ples) Maia Juvanc (operno gledališče) Nika Švab (lutkovno gledališče) Klemen Markovčič (radijska igra) Sodelavci za posamezna gledališča: Tatjana Ažman (SNG Opera in balet Ljubljana), Barbara Briščik (SSG Trst), Darja Čižek (Opera in balet SNG Maribor), Lidija Franjić (Lutkovno gledališče Ljubljana), Oriana Girotto (Mini teater), Alen Jelen (ŠKUC gledališče), Robert Kavčič (Prešernovo gledališče Kranj), Srečko Kermavner (Šentjakobsko gledališče), Alenka Klabus Vesel (Mestno gledališče ljubljansko), Mojca Kranjc (SNG Drama Ljubljana), Tina Kren Mihajlović (Lutkovno gledališče Maribor), Tina Malič (Slovensko mladinsko gledališče), Staša Mihelčič (Cankarjev dom), Martina Mrhar (SNG Nova Gorica), Anja Pirnat (Gledališče Glej), Sandra Požun (Drama SNG Maribor), Mitja Sočič (Anton Podbevšek teater), Katja Somrak (Plesni teater Ljubljana), -
Kunstbericht 2011 Kunstbericht
Kunstbericht-2011-FX.indd 1 Kunstbericht 2011 Kunstbericht 06.06.12 08:14 2011 Kunstbericht 2011 Bericht über die Kunstförderung des Bundes Struktur der Ausgaben Förderungen im Detail Service Glossar zur Kunstförderung Impressum Herausgeber Bundesministerium für Unterricht, Kunst und Kultur, Kunstsektion, 1010 Wien, Minoritenplatz 5 Redaktion Alexandra Auth, Herbert Hofreither, Robert Stocker Cover Christina Brandauer Grafische Gestaltung, Satz, Herstellung Peter Sachartschenko Herstellung Druckerei Berger, Horn Inhalt Vorwort Seite 5 I Struktur der Ausgaben Seite 7 II Förderungen im Detail Seite 81 III Service Seite 139 IV Glossar zur Kunstförderung Seite 263 V Register Seite 297 Kunstbericht 2011 5 Vorwort Der Kunstbericht 2011 ist mehr als nur ein Geschäftsbericht. Er stellt nicht nur transpa- rent Zahlen und Fakten dar, er zeigt vor allem die Bandbreite der Kunstförderung und den Erfolg des künstlerischen Schaffens in der Literatur, am Theater, in der Musik, im Film, in der bildenden Kunst sowie die Arbeit der regionalen Kulturinstitutionen. Gemeinsam können wir auf ein gutes Jahr für die Kunst zurückblicken: nationale und internationale Preise für den österreichischen Film, die Umsetzung der Kinodigitalisie- rung für die Programmkinos, ein vielbeachteter Beitrag Österreichs bei der Kunstbiennale in Venedig, weitere Stärkung des zeitgenössischen Kunstschaffens und die nachhaltige © Hans Ringhofer Umsetzung der Nachwuchsförderung und Kulturvermittlung. Um eine kontinuierliche Tätigkeit zu ermöglichen, bedarf es eines stabilen Budgets. Trotz der Konsolidierung des Staatshaushaltes, die zu Kürzungen in einigen Ressorts geführt hat, ist es uns im Bereich der Kunst und Kultur gelungen, die Budgets und die Ausgaben stabil zu halten. Darin drückt sich das klare Bekenntnis zur Verantwortung des Staates für die Förderung von Kunst aus. -
Philharmonic Hall Lincoln Center F O R T H E Performing Arts
PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con certs next October with a subscription season of 16 concerts in eight pairs, run ning through early April. The estab lishment of a chamber music society completes the full spectrum of perform ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap pointed Artistic Director of The Cham ber Music Society of Lincoln Center. The Society is the outgrowth of an in tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. -
UNIVERZA V MARIBORU PEDAGOŠKA FAKULTETA Oddelek Za Predšolsko Vzgojo
UNIVERZA V MARIBORU PEDAGOŠKA FAKULTETA Oddelek za predšolsko vzgojo DIPLOMSKO DELO Nataša Medved Ljubljana, 2010 UNIVERZA V MARIBORU PEDAGOŠKA FAKULTETA Oddelek za predšolsko vzgojo Diplomsko delo GLASBENE VSEBINE V SERIJSKIH PUBLIKACIJAH CICIBAN IN CICIDO TER NJIHOVA UPORABA V PRAKSI Mentorica: Kandidatka: izr. prof. dr. Olga Denac Nataša Medved Ljubljana, 2010 Lektorica: Damjana Kern, prof. slovenščine Prevajalka: Ana Pavec, dipl. prevajalka nem. in ang. ZAHVALA Zahvaljujem se izr. prof. dr. Olgi Denac za kakovostno vodenje in svetovanje pri pisanju diplomske naloge. Prav tako se zahvaljujem vsem, ki ste na kakršen koli način pripomogli k uspešni izdelavi mojega diplomskega dela. IZJAVA Podpisani-a Nataša Medved, roj. 24. 1. 1979 v Ljubljani, študentka Pedagoške fakultete Univerze v Mariboru, smer predšolska vzgoja, izjavljam, da je diplomsko delo z naslovom Glasbene vsebine v serijski publikaciji in njihova uporaba v praksi pri mentorci prof. Olgi Denac avtorsko delo. V diplomskem delu so uporabljeni viri in literatura korektno navedeni; teksti niso prepisani brez navedbe avtorjev. _________________________ (podpis študentke) Maribor, 7. junij 2010 POVZETEK: Najprej so bili samo zvoki, ki jih je človek izvajal z udarjanjem na trde, zveneče predmete in jih spremljal s svojim glasom. Prvotni glasbeni izraz je bilo bolj kakor petje vpitje in oponašanje zvokov iz narave. Pri tem je človeka najbolj prevzel ritem. Z njim je povezal tudi gibanje telesa. Tako so se rodili ples, petje in igranje na zveneče predmete (les, kamen, kost). Nastanek piščali je prinesel nov glasbeni izraz – melodijo, ki pa predstavlja višji glasbeni razvoj. Sprva se je glasba ustno prenašala iz roda v rod. Ko pa so se pojavili posebni znaki za pisanje not, se je tudi glasba začela spreminjati. -
Henryk Górecki's Spiritual Awakening and Its Socio
DARKNESS AND LIGHT: HENRYK GÓRECKI’S SPIRITUAL AWAKENING AND ITS SOCIO-POLITICAL CONTEXT By CHRISTOPHER W. CARY A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Christopher W. Cary ACKNOWLEDGMENTS I would like to express my gratitude to Dr. Christopher Caes, who provided me with a greater understanding of Polish people and their experiences. He made the topic of Poland’s social, political, and cultural history come alive. I would like to acknowledge Dr. Paul Richards and Dr. Arthur Jennings for their scholarly ideas, critical assessments, and kindness. I would like to thank my family for their enduring support. Most importantly, this paper would not have been possible without Dr. David Kushner, my mentor, friend, and committee chair. I thank him for his confidence, guidance, insights, and patience. He was an inspiration for me every step of the way. Finally, I would like to thank Dilek, my light in all moments of darkness. iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iii ABSTRACT....................................................................................................................... vi CHAPTER 1 INTRODUCTION ........................................................................................................1 Purpose of the Study.....................................................................................................1 -
Programme Booklet 2016
18th Slowind Festival 2016 PU LSE OF LIG Slovenian PhilharmonicHT Cankarjev dom 22–29 October 2016 Artistic Director: Ivan Fedele Andrea Manzoli • Pierre Boulez • Luciano Berio • Neville Hall • Lojze Lebič • Nina Šenk • Pasquale Corrado • Luka Juhart • Erik Satie • Claude Debussy • Ivan Fedele • Sergei Rachmaninoff • Bor Turel • Ottorino Respighi • Gregor Pirš • György Ligeti • Dear Listeners, While it was not a coincidence that we selected Vito Žuraj as the artistic director of the last Slowind Festival, we can say that this year’s choice also involved a certain amount of luck. About two years ago, we knocked on the door of Italian composer Ivan Fedele and proposed that Slowind perform at the Venice Biennale, of which he is the programme director. He generously invited us to the last edition of the festival and included a good measure of Slovenian contemporary music written for our ensemble on the programme. There followed discussions on a variety of challenges in the field of contemporary music, and a desire to invite him to Ljubljana soon matured within us. We gave him a copy of Mateja Kralj’s book entitled ... Wood, Wind, Metal ... which provides a thorough presentation of the philosophy of Slowind’s operation, while also giving creative people an indication of what still remains to be done with us after seventeen festivals. Ivan Fedele was glad to accept our invitation and, with his new festival programme, has invited us into the unknown – just where Slowind always likes to be. This year’s festival will primarily be permeated with Ivan Fedele’s own music for a wide range of instrumental combinations. -
Sturm Und Klang Ensemble
ECSA INVITES YOU TO THE EUROPEAN CONTEMPORARY COMPOSERS ORCHESTRA (ECCO) F E AT U R I N G THE STURM UND KLANG ENSEMBLE BRUSSELS, 14 FEBRUARY 2017 — STUDIO 1, FLAGEY CULTURAL CENTER — PLACE SAINTE CROIX, 1050 BRUSSEL — BELGIUM ABOUT ECCO THE EUROPEAN CONTEMPORARY COMPOSERS ORCHESTRA (ECCO) ECCO is an ECSA project dedicated to performing and promoting contemporary art music and to reaching new audiences. It operates as a network of active ensembles, orchestras and young professionals, supporting the creative dialogue between composers and performers and offering young professionals the opportunity to develop their skills with ensembles experienced in performing contemporary music on an international level. The ECCO concerts, and other cultural projects organised by ECSA, are aimed at increasing the visibility of ECSA and all the issues connected to the status of contemporary music creators. Pieces are received via a call to all ECSA member societies and are carefully selected to reflect the cultural and aesthetical diversity of European art music in the 21st century. In 2016, ECCO presented three very successful concerts given by Sturm und Klang, the Slovenian Philharmonic and the Big Band of RTV Slovenia. Tonight’s concert, the ECCO Symphony Wind Orchestra concert conducted by Thomas Van Haeperen, will perform five pieces by European composers selected by the ECCO Artistic Committee. The composers are: Jukka-Pekka Lehto (Finland), Grégory D’Hoop (Belgium), Denis Bosse (Belgium), Geir Sundbø (Norway) and Kari Beate Tandberg (Norway). The European Commission support for the production of this publication does not constitute endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. -
Perceptual and Semantic Dimensions of Sound Mass
PERCEPTUAL AND SEMANTIC DIMENSIONS OF SOUND MASS Jason Noble Composition Area Department of Music Research Schulich School of Music McGill University, Montreal April 2018 A dissertation submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Jason Noble 2018 In memory of Eleanor Stubley, Clifford Crawley, and James Bradley, for whose guidance and inspiration I am eternally grateful Table of Contents Abstract ...............................................................................................................................v Résumé ................................................................................................................................viii Acknowledgments................................................................................................................xi Contributions of Authors ......................................................................................................xiii List of Figures ......................................................................................................................xiv List of Tables .......................................................................................................................xvii Introduction ....................................................................................................................1 Chapter 1: Perceptual Dimensions of Sound Mass .............................................5 1.1 Introduction: Defining ‘Sound Mass’ .........................................................................5