V objemu dvojine DUO CLARIPIANO

Slovenska ljudska glasba v koncertni preobleki Slovenian folk music in concert garments Iz objema dvojine nastaja zvočni album, kopiranim ritmom značajsko spremeni, morda Skladba je krst doživela na festivalu Studenec sporazumevanja izvajalcev. Motivika izhaja iz zbirka osmih novih skladb za klarinet in klavir posodobi, zagotovo pa približa okusu zdajšnjih 4. junija 2016. Tomaž Habe pa ji je dodal to treh pesemskih napevov, katerih prvi verzi s fragmenti slovenskega ljudskega izročila. poslušalcev. Skladba je bila krstno izvedena v vizitko: »Rapsodija za klarinet in klavir Zeleno, so: Rož, Podjuna, Zila, Tam, kjer teče bistra Zila Avtorja zamisli in celovitega projekta, ki je pri- Slovenj Gradcu 13. aprila 2016. Makor pa jo je ki te ljubim zeleno (Verde que te quiero verde, in Pr‘ Zili rož‘ce rastejo. Krstno je bila izvedena vedel do te zvočne celote, sta pianistka Tatjana takole pospremil: Garcie Lorce) je odzven življenjskega kroga v na festivalu Studenec 4. junija 2016. Katarina Kaučič in klarinetist Dušan Sodja, uigrana zvezi z naravo in ljudsko pesmijo. Od otroških Pustinek Rakar pa skladbi dodaja to vizitko: glasbenika zasedbe Dua Claripiano. Zamisel … morje in obala … let, prvih čačk z barvico – oblakov, sončkov in »Del naslova skladbe je število tri, ki ga lahko se je brusila več let, sprožila pa jo je zevajo- … sonce in sol … nazobčane travice (spomnimo se otroške pesmi v skladbi večkrat zasledimo kot osnovo, vezni ča vrzel na področju stika ljudske in umetne … vinograd … Jaz pa grem na zeleno trav‘co) se razpenja lok do člen, pa tudi oblikovni steber. Najprej v prvem glasbe v komorni literaturi. Kot pravita sama, … oljke … fantovskih let in košnje (o tej pripoveduje go- napevu (tri doline), potem v oblikovni zasnovi je bila misel še posebej vztrajna v trenutkih … burja in kamen … renjska pesem Travniči so že zeleni, … pojd‘mo skladbe, pri kateri dobimo občutek tridelnosti, muziciranja na tujih odrih. … človek … le kosit) pa madžarsko-prekmurske poroke in čeprav sta ji dodana uvod in zaključek (Coda), … temperament in ljubezen … razočaranja ob izgubi ljube (o tej v prekmurski pa tudi v številnih uporabljenih koroških nape- Po več kot dvajsetletni praksi predanega in … Istra … Nede mi več rasla travica zelena, ge se mi je šetala vih. S številom tri se večkrat poigrava tudi moja spoštljivega poustvarjanja sta se Tatjana in … moj dom … lübica libiena) ter koroške Travnče so žie zaliane obdelava napevov, predvsem v dvogovoru Dušan odločila, da sama spodbudita nastanek Močno izpovedna je zamisel Tomaža Habeta … prispodobe slovesa. Skladba je posvečena klarineta in klavirja, ki imata večkrat naspro- novih partitur. K skupnemu projektu sta po- (1947). V programski rapsodiji za klarinet in Duu Claripiano, odličnima izvajalcema Tatjani tni ritem in tako prvi ali drugi opozori na že vabila slovensko ustvarjalno telo. Pristopilo je klavir razgrinja pokrajinsko idilo, zeleni spomin in Dušanu. Med njima oziroma med klarinetom omenjeno število.« osem skladateljev različnih generacij, ki so Duu na preteklost, na različna, a ključna obdobja in klavirjem sem želel vzpostaviti dialog ena- Claripiano posvetili samolastne kompozicijske Skladatelja Janija Goloba (1948) navdihuje življenja, od otroštva do zrelih let. Posrečeni kovrednih umetnikov in instrumentov, dialog obdelave slovenske ljudske motivike. Prekmurska saga. Počasni tok reke Mure, ravnina, se zdijo kompozicijskimi prijemi, ki pletejo kot najpomembnejše sredstvo dogovarjanja, pregovorna melanholija, pa tudi kulturno me- celoto z drobci motivike znanih ljudskih pesmi; odnosov med ljudmi v medsebojnem razume- Prosojna, iskrena preprostost, iz katere se šano območje, nad katerega se dviguje klopot ti opevajo nostalgično moč zelene pokrajine. vanju, spoštovanju in čustvovanju.« lahko razvije močna ljubezen in ki je dobese- štorkljinih kljunov, ustvarjajo ozračje, ki je zajeto Zeleno, ki te ljubim zeleno, tako je skladatelj po dno pisana izvajalcema na dušo, uvaja celo- Skladateljica mlajšega rodu Katarina Pu- v izraz partiture s tremi stavki in preprostim na- navdihu besed Federica Garcie Lorce (Verde que vito glasbeno zgodbo. To je tristavčna lirična stinek Rakar (1979) se je z Vencem treh dolin slovom: Tri prekmurske ljudske pesmi za klarinet te quiero verde) naslovil partituro z izrazom zu- skladba skladatelja mlajše generacije Andreja poklonila Koroški. Partituro v tridelni pesem- in klavir. Napevi postanejo teme in izstopijo iz najglasbenega skrivnostnega sveta obronkov, Makorja (1987) z naslovom Histria et amor. Teče ski obliki so navdihnili tematsko in značajsko kompozicijske strukture, ki sicer spretno impre- ki so jih odkrivale najprej otroška radovednost čisto, neobremenjeno, naravno kot bistra voda kontrastni napevi iz Roža, Podjune in Ziljske sionistično slika pokrajino, kot prekmurska düša, in igrivost, potem mladostniška vihravost, pa ter se poigrava z jasno prepoznavnimi napevi doline. Celota se razvija kot parafraza s pou- ki premišlava, ali arheološki spomin na nekdanjo zrela odgovornost ter umirjena nostalgija z istrskih ljubezenskih pesmi (Vilota, Dajte, dajte, darkom na estetiki preproste harmonizacije in kulturo Prekmurcev. Skladba je bila krstno izve- ozirom nazaj v svet tistih stezic, ki so včasih bile. Ena puncá ven iz mesta gre), ki jih skladatelj s sin- uglašenega, skoraj spontanega medsebojnega dena 13. aprila 2016 v Slovenj Gradcu. Skladatelj

3 pa je zapisal, da je »občutek, ki preveva veliko različico in sodobne modalne postopke. Duša- je v harmoniji z drugim. V skladbi poskušam utapljati. Tedaj Marijo prosi, naj ga reši, ona pa prekmurske glasbe (Miško Kranjec ga imenuje nu in Tatjani se zahvaljujem za čudovito idejo in oba instrumenta obravnavati enakovredno, mu svetuje, naj ga reši njegov denar. To zgodbo halgato) posebna melanholična mehkoba«. In priložnost, da ljudsko glasbo močneje vtkemo seveda pa naj bo tako, kot je v ljubezni tudi sem zvočno opisal v več variacijah na ljudski ta ga je vodila ob ustvarjanju Treh prekmurskih v našo glasbeno zavest ter jo prenesemo pri- prav. Vsak kdaj potrebuje, da se izpoje, in vsak napev. Nauk pesmi je, da se izgubi vsakdo, ki ljudskih pesmi za klarinet in klavir, ki temeljijo hodnjim slovenskim rodovom.« mora znati tudi poslušati. Seveda je najlepše, se zanaša na to, da ga bo rešil denar. Z glasbe- na napevih iz ljudskih pesmi s prvimi verzi: Poj kadar je vse prijetno ubrano.« nim razmišljanjem o tem skladbo zaokrožim. mi, poj mi, droubna ftica, Ne ouri, ne sejaj in Gnes Od večera, ko oblaki so rdeči, do jutra ranega, Vesel sem, da sta Tatjana in Dušan poskrbela je en leipi den. ko petelinček zapoje … je ljubezen srca vne- Marija in brodnik ali po prvem verzu Marija z za odlično splavitev skladbe.« Krstno sta jo mala … Tudi Tadeja Vulc (1978) je segla po Ogrskega gre je ena najbolj živih legendarnih izvedla 19. maja 2016 na Jesenicah. Ljudska pesem Posočja, natančneje, ljube- ljubezenski zakladnici dediščine. Nagovorili sta ljudskih pesmi, razširjenih po vsem slovenskem zenska iz vasi Zatolmin s prvim verzom Oj, jo lirični pesmi s prvima verzoma Ko oblaki so prostoru. Nagovorila je skladatelja Andreja Zadnja skladba vodi do prvinskega izkustva deklica, povej mi to je nagovorila skladatelja rudeči ter Petelinček je zapieu. Partitura je sveža, Missona (1960), ki je za vsebino besedila na- Bele krajine. Obredja, zaznamovana z meša- Petra Šavlija (1961). Celota se dviga iz jasno igriva in iskriva, sodobna – to razkrije že prvi šel izviren, slikovit glasbeni izraz. Novo delo njem balkanskih kultur, so še danes del tam- izraženega napeva pesmi, ki mu je skladatelj pogled na notni zapis. Vključuje različne zvo- je pospremil s to izčrpno vizitko: »Slovenska kajšnjih navad. Belo oblečene žene, kresnice, celo dodal besedilo. Bolj kot dodani besedilni kovne možnosti obeh glasbil in se tako odmika ljudska pesem Marija in brodnik je bila med hodijo od hiše do hiše in za dobro letino pojejo podlagi pa, se zdi, skladatelj ostaja zvest ab- od romantičnega, nostalgičnega razumevanja našim narodom izredno priljubljena. V izjemni dolgo kresno pesem, ki zaradi vraže ne dopušča solutno glasbeni spretnosti kompozicijskega ljudskega izročila v izraz preproste, mladostne, zbirki, ki izhaja pri Glasbenonarodopisnem prekinitve. Rapsodijo s fragmenti belokranjske tkanja. Duo Claripiano je novo delo krstil na neobremenjene, tudi ne samo lepe, vsekakor inštitutu – Slovenske ljudske pesmi – je obde- (kulturno mešane) pesemske dediščine (Kre- festivalu Studenec 4. junija 2016. Šavli pa je pa manj čustvene danosti. Delo je doživelo lana na kar 75 straneh. Peli so jo povsod po sna pesem, Spazila sem Janka, Tribučko kolo, U svoj pristop zgovorno opisal v vizitki: “V arhivu krst na recitalu v Slovenski filharmoniji 11. slovenski deželi, v številnih različicah, napeve toj črni gori) je zasnovala skladateljica Helena Glasbenonarodopisnega inštitutu ZRC SAZU oktobra 2016. Tole je skladateljičina vizitka: pa bi lahko razvrstili v štiri skupine. Sam sem Vidic (1987) in jo naslovila Kresna. Tatjana in sem študiral zvočne zapise iz Zatolmina, ki »Skladba je nastala po naročilu dveh izvrstnih izbral eno izmed koroških, ki sem jo nedavno Dušan sta jo prvič izvedla 10. julija 2016 na jih je maja 1984 posredoval mag. Igor Cvetko. glasbenikov, ki sta se našla ob muziciranju priredil tudi za mešani zbor in so jo lepo zapeli Veliki Slevici, Helena Vidic pa ji je dodala to Številne ljudske pesmi mu je zapela in marsikaj in igranju. Da pa ju ne povezuje le glasba, pevci APZ Toneta Tomšiča Univerze v Ljubljani. vizitko: »Kot otrok sem vsako poletje hodila na zanimivega povedala gospa Jožefa Šavli, ki ni ampak tudi ljubezen, sem želela še poseb- Vsebina legendarnih ljudskih pesmi je po na- počitnice k stari mami v Črnomelj, še zdaj se v neposrednem sorodstvu z menoj. Za Dušana no upoštevati pri iskanju primerne ljudske vadi razdeljena na tri dele: uvodnega, osrednjo redno vračam tja. Zame ni lepšega kot sončno in Tatjano sem izbral ljubezensko pesem z izra- skladbe zanju. Ker sta duo, sem izbrala dve zgodbo in konec z naukom. V začetku Marija jutro v Beli krajini in belokranjske ljudske pesmi, zom srčne bolečine. Iz spoštovanja do ljudske ljudski skladbi, ki z besediloma orišeta razpon zapusti Ogrsko. Uvodni del skladbe tako zveni ki mi kot skladateljici ponujajo številne možno- zakladnice sem se dolgo udinjal z glasbeno čutenja prave, iskrene ljubezni. Le to sem želela »ogrsko«. V osrednjem delu zgodbe nagovarja sti za obdelavo: nekatere zaradi svoje preproste obliko te skladbe in uporabil nekaj tehnik iz izraziti v glasbi. Kako je novica lahko boleča. mornarja, naj jo zapelje čez morje. Toda on melodike, druge zaradi močnih izraznih čustev. svoje skladateljske delavnice: motivične spre- Kako spreleti srh v strahu za ljubljeno osebo. vozi samo za denar in tako se odpravi naprej V rapsodiji brez besed z glasbo izražam oboje in membe, variacije, imitacije, inverzije, molovo Kako je lahko življenje preprosto lepo, kadar sama. Mornarja pa ujame nevihta, začne se jo pišem na kožo izvajalcema Dua Claripiano.«

5 Vse skladbe pričujočega zvočnega albuma komorno glasbo: fagotist Božidar Tumpej, tero sta v ameriški reviji The Clarinet prejela dobijo svojevrsten, v globino partiture in na- skladatelj in pianist Anthony Spiri, odlično recenzijo. Ob dvajsetletnici njunega zaj do poslušalcev segajoč izraz rahločutnega pri katerem sta se v letih 2005/2006 izpopol- umetniškega delovanja je pri ZKP RTV Slovenija doživljanja ter brezpogojne predanosti skupne- njevala v razredu podiplomantov komorne septembra 2014 izšla zgoščenka 20 Claripiano mu izvajalskemu snovanju Tatjane in Dušana. glasbe na Visoki šoli za glasbo v Kölnu. Oba sta s prerezom skladb slovenskih in tujih avtorjev Gre za odlično zlitje tonskih barv ter intimno diplomirala na ljubljanski Akademiji za glasbo (Gerald Finzi, Marijan Lipovšek, Ljubo Rančigaj, prepletanje posameznih fraz, pri katerem je in magistrirala na Univerzi Mozarteum v Salz- Krzysztof Penderecki, Claude Debussy, Janez tehnična zahtevnost zastrta s suvereno držo burgu. Koncertna pot ju je nato vodila od Los Matičič, Lojze Lebič, Witold Lutosławski). dveh muzikalnih subjektov, ki vodita poslu- Angelesa, Stockholma, Edinburgha, Salzburga, šalca v odprt in brezčasen prostor morda zares Prage, Ljubljane do Beograda in Erevana. Izmed Ljubezen do nemške romantike ju je pripe- slovenskega izraza. gostovanj so najodmevnejši Festival Fringe v ljala do sodelovanja z Mendelssohnovo hišo Edinburghu, ljubljanski Poletni Festival, Festival in Društvom Edwarda Griega v Leipzigu, kjer Zvočni album V objemu dvojine je nastal s “Carinthischer Sommer”, Akademija za komor- sta gostovala marca 2011. Tatjano in Dušana sodelovanjem prvega programa Radia Slove- no glasbo v Montepulcianu in Mednarodni so slovenski skladatelji poimenovali ambasa- nija kot del širšega, celovitega projekta Dua glasbeni festival v Erevanu (Armenija). Oba sta dorja slovenske glasbe, saj na vsakem koncertu Claripiano. Ta v svet globalne komorne glasbe zaposlena v Slovenski filharmoniji. izvajata sodobna slovenska dela in naročata prinaša svežo, sodobno in hkrati raznovrstno izvirne skladbe za njuno zasedbo. Tako sta literaturo z motivičnimi drobci slovenskega Prijateljevanje s slovenskimi skladatelji je na Svetovnem srečanju klarinetistov “Clari- narodovega blaga kot zavidljivih zvočnih po- spodbudilo nastanek številnih skladb za klari- netFest” 2011 v Los Angelesu in leta 2013 v sebnosti. Je celota, ki se poklanja iskreni pre- net in klavir (Ivo Petrić, Primož Ramovš, Janez Assisiju predstavila sodobna slovenska dela prostosti ljudske motivike, jo dviga na visoko Matičič, Lojze Lebič, Ljubo Rančigaj, Peter Ko- skladateljev Lojzeta Lebiča, Janeza Matičiča, umetniško raven in ostaja v prostoru estetike pač, Nenad Firšt, Peter Šavli, Slavko Šuklar, Črt Blaža Puciharja in Uroša Kreka. Poleti 2015 izobraženega glasbenega okusa. Sojar Voglar, Blaž Pucihar). Za svoj prvi album sta imela odmeven recital na “ClarinetFestu” Legende s skladbami klasikov 20. stoletja sta v Madridu, jeseni 2016 v Mainzu na povabilo Simona Moličnik v reviji BBC Music Magazine prejela odlične Združenja nemških klarinetistov, poleti 2017 kritike. Leta 2004 sta v samozaložbi izdala zgo- pa sta predstavila svoj novi projekt Slovenska ščenko Srečanja z deli slovenskih skladateljev, ki ljudska glasba v koncertni priredbi za Duo Pianistka Tatjana Kaučič in klarinetist Du- so jima skladbe tudi posvetili. Januarja 2012 je v Claripiano na ClarinetFestu v Orlandu, Florida. šan Sodja sta ustanovila Duo Claripiano leta založbi Slovenske filharmonije izšla zgoščenka 1994. Od tedaj ju ljubezen ne povezuje samo Romantic Claripiano z najlepšimi sonatami Dušan Sodja igra na klarinete izdelovalca v skupnem življenju temveč tudi v glasbi. Na skladateljev romantike (Camill Saint-Saëns, Schwenk & Seggelke iz Bamberga. njuni poti so ju spremljali odlični mentorji za Robert Schumann, Johannes Brahms), za ka-

7 The album V objemu dvojine (“Dual Em- unencumbered, purely, naturally, like clear fabric of the entire piece, praising the nostalgic or “The green grass no longer grows since my brace”) offers a collection of eight new pieces water, while it plays with clearly recognizable power of the green landscape. Inspired by Fed- love left me”) and finally to metaphors of fame for clarinet and piano inspired by Slovenian melodies from Istrian love songs including erico Garcia Lorca’s Verde que te quiero verde, in “Travnče so žie zaliane” [“The grass is already folk traditions. The two authors of the concept “Vilota”, “Dajte, dajte” (“Give, give”) and “Ena Habe titled his score Zeleno, ki te ljubim zeleno green”] from Koroška. The piece is dedicated and of the project that led to this album are puncá ven iz mesta gre” (“A girl is leaving (“Green, how I want you green”), expressing a to Duo Claripiano, the excellent performers pianist Tatjana Kaučič and clarinetist Dušan town”) which the composer characterfully mysterious extramusical world of extremities, Tatjana and Dušan. Between them, between Sodja, two academically-trained musicians reshapes with syncopated rhythms, perhaps of thresholds first discovered by childhood the piano and the clarinet, I wanted to es- who comprise Duo Claripiano. They refined updating them and certainly drawing closer curiosity and play, then by adolescent passions tablish a dialogue between equal artists and the concept over many years, motivated into to the tastes of modern listeners. The piece and later by mature responsibility, and finally instruments; a dialogue as the most important action by the gaping rift separating folk and was premiered in Slovenj Gradec on April 13, by resigned nostalgia as one looks back to the means of discussion, of relationships between art music in the chamber music literature. Ac- 2016. Makor accompanied that performance world of “those paths that once were” [a refer- people in mutual understanding, respect and cording to the artists themselves, the concept with these words: ence to another well-known Slovenian folksong, a shared emotional life. felt especially pertinent when performing on “Čej so tiste stezice” or “Where are those paths?” foreign stages. …sea and coast… - translator]. The piece had its premiere at the Venec treh dolin (“A Garland of Three Val- …sun and salt… Studenec Festival, June 4, 2016. Composer leys”) by the young composer Katarina Pus- After more than 20 years of committed …a vineyard… Tomaž Habe has added: “The rhapsody for tinek Rakar (born 1979) gestures towards performances, Tatjana and Dušan decided …olive trees… clarinet and piano Zeleno, ki te ljubim zeleno Koroška (Carinthia). The score, which is in to encourage the creation of new pieces them- …bora and stone… (Verde que te quiero verde, Garcia Lorca) echoes ternary form, was inspired by the thematic selves, inviting composers from across Slove- …a person… the circle of life in connection with nature and and distinctive contrasting melodies from nia to take part in the project. Eight composers …temperament and love… folk song. From childhood, from the first scrib- three historically Slovenian valleys in southern from different generations stepped forward …Istria… bles with a crayon – clouds, suns and tooth-like Carinthia, Austria: the Rož (Rosental), Podjuna to contribute compositional treatments of …my home… grass (recalling the children’s song “Jaz pa (Jauntal) and Zila (Gailtal) valleys. The entire Slovenian folk motives, dedicating them to grem na zeleno trav’co” [“I’m Going on the piece evolves as a paraphrase emphasising Duo Claripiano. The ideas of Tomaž Habe (born 1947) are Green Grass”]) – the arc expands to boyhood the aesthetics of simple harmonizations and Transparent, sincere simplicity from which powerfully stated. In his programmatic rhap- and grass-cutting (expressed in the song from the well-attuned, almost spontaneous mutual a powerful love can evolve that is literally sody for clarinet and piano a series of vignettes the Gorenjska region “Travniči so že zeleni, … understanding of the performers. The musical written for the souls of these performers while unfold: a rural idyll, youthful memories of the pojd’mo le kosit” [“The meadows are already motives are derived from three folksong melo- telling a complete musical story: this is the past, key moments of one’s life from childhood green… It’s time to go scything”]); then to dies, of which the first verses are “Rož, Podjuna, lyrical three-movement work by the composer to maturity. The compositional procedures a Hungarian-Prekmurian wedding and the Zila”, “Tam, kjer teče bistra Zila” (“There, where of the younger generation Andrej Makor seem well-chosen as they knit together tiny disappointment at being spurned by a lover the clear Zila runs”) and “Pr’ Zili rož’ce rastejo” (born 1987) entitled Histria et amor. It flows motives of well-known folk songs into the (the Prekmurian folksong “Nede mi več rasla (“Flowers are growing in Zila”). The work was travica zelena, ge se mi je šetala lübica libiena” given its first performance at the Studenec Fes-

9 tival on June 4, 2016. Katarina Pustinek Rakar performed on April 13, 2016 in Slovenj Gradec. of respect for folk heritage I laboured over the in playing and making music together. Since has added the following comment, “A part of The composer has added, “the feeling which musical form of this piece and eventually used they are bound to one another not just by the piece’s title is the number three, which we pervades a lot of music from Prekmurje (Miško some techniques from my usual composition- music but also by love, I especially wanted to can find many times throughout the piece as Kranjec calls it “halgato”) is an especially mel- al workshop: motivic alterations, variation, keep that in mind in searching for appropriate a basic connecting link as well as a founda- ancholic gentleness”. It is this feeling which led imitation, inversion, minor-mode variants and folk pieces for them. Because they are a duo, tional element of the form. It appears first in Golob to write the Three Prekmurian Folksongs modern modal approaches. I am grateful to I chose two folksongs which, in their lyrics, the opening melody (the three valleys) then for clarinet and piano, based on melodies Dušan and to Tatjana for the wonderful idea outline a range of emotions around true, sin- in the formal plan of the piece where, even from the folksongs “Poj mi, poj mi, droubna and opportunity to weave folk music more cere love. This is all I wanted to express in the though an introduction and coda are added, ftica” (“Sing to me, sing to me, little bird”), “Ne strongly into our musical conscience, passing music; how some news can be painful; how we get a feeling of tripartition, and finally also ouri, ne sejaj” (“Don’t plough, don’t sow”) and it on to future generations of Slovenes”. one shudders with concern for a loved one; in the numerous Carinthian melodies which “Gnes je en leipi den” (“Today is a lovely day”). how life can be simply beautiful when one is are used. Many times my development of the From evening, when the clouds are red, to in harmony with the other. I try to treat both melodies plays with the number three, main- A folk song from the Posočje region – more the early morning when the rooster crows … instruments equally in the piece – just as it ly in the dialogue between the clarinet and specifically, a love song from the villages love inflamed the heart … Tadeja Vulc (born is in love. Everyone needs to have their say the piano who often have opposite rhythms, around Zatolmin with the opening verse “Oj, 1978), also compelled to explore the legacy sometimes, and everyone must know how warning one another of that number”. deklica, povej mi to” (“Hey, maiden, do tell of songs about love, found inspiration in the to listen. Of course it is most beautiful when me”) – was the inspiration for composer Peter lyrical songs “Ko oblaki so rudeči” (“The clouds everything is nicely harmonious”. Composer (born 1948) was Šavli (born 1961). As his piece lifts itself out are red”) and “Petelinček je zapieu” (“The little inspired by the Prekmurian saga. The slow of clearly expressed melodies from songs to rooster crowed”). Her piece is fresh, playful, Marija in brodnik (“Maria and the Ferryman”), current of the Mura river, the plains, the pro- which the composer has even added a text, witty and modern – as a quick glance of the with the opening line Marija z Ogrskega gre verbial melancholy and the culturally mixed it seems that he remains faithful to weaving score already reveals. It explores the numer- (“Maria on her way from Hungary”), is one of region crowned with the clatter of stork beaks, them together with absolute musical skill. ous sound possibilities of both instruments, the most legendary folk songs throughout all create an atmosphere that is expressed in Duo Claripiano premiered the new work at moving away from a romantic and nostalgic . It served as inspiration for composer the three-movement piece with the simple the Studenec Festival on June 4, 2016. Šavli understanding of folk tradition towards the Andrej Misson (born 1960) who found an title: Three folk songs from Prekmurje for clari- has described his approach this way, “In the expression of simple, youthful, unburdened, original, picturesque way to wordlessly ex- net and piano. The melodies become artfully archive of the Institute of Ethnomusicology not just beautiful but certainly less emotion- press the text. The work is accompanied by an developed themes that stand out from the ZRC SAZU I studied recordings from Zatolmin al elements. The work received its premiere exhaustive programme note: “The Slovenian compositional structure, skillfully painting made by Igor Cvetko in May 1984. Ms Jožefa at a recital in Slovenian Philharmonic Hall folk song “Marija in brodnik” was extremely an impressionistic picture of the region like Šavli, with whom I am not related, sang nu- on October 11, 2016. The composer had the popular among Slovenes. In the exceptional the Prekmurian düša, ki premišlava [“spirit that merous folk songs for him and told him many following to say about the work: “This piece collection Slovenske ljudske pesmi (Slovenian ponders”] or an archeological memory of an- interesting things. For Dušan and Tatjana I arose following a commission from two ex- Folksongs) published by the Ethnomusicolog- cient Prekmurian culture. The piece was first chose a love song expressing heartache. Out cellent musicians who have found each other ical Institute, there are variations of it over no

11 less than 75 pages. They sang it all over the even today. Women clad in white, known as the material and made possible by the uncon- nist Anthony Spiri, with whom they furthered country, in numerous versions. The various kresnice, walk from house to house singing ditional commitment of Tatjana and Dušan. their studies in 2005-2006 in the postgraduate melodies can be grouped into four groups. a long midsummer song – which according It is an excellent mix of tone colors and an chamber music class at the Cologne University I myself chose one from the Koroška region to superstition must not be interrupted – to intimate interweaving of individual phrases of Music. Both musicians are graduates of the which I recently arranged also for mixed choir, invoke a good harvest. Kresna (“Midsummer’s in which the technical difficulty is obscured Academy of Music and earned their beautifully sung by the singers of the APZ Tone day”) by Helena Vidic (born 1987) is a rhap- by the unbounded confidence of two artists, masters degrees at the Mozarteum. Tomšič Choir of the . The sodic piece featuring fragments of folksongs guiding the listener into an open and timeless The professional journey has taken them to content of so-called legendary folk songs is from the rich heritage of the culturally diverse place, perhaps a truly Slovenian statement. many locations including Los Angeles, Stock- usually divided into three parts: an introduc- Bela krajina region. It includes the folksongs holm, Edinburgh, Salzburg, , Ljubljana, tion, a central story and a coda containing “Kresna pesem” (“Midsummer’s Song”), “Spazi- The album Dual Embrace came about in Belgrade and Yerevan. Among their most im- a lesson. In the beginning, Maria leaves the la sem Janka” (“I saw Janko”), “Tribučko kolo” collaboration with Slovenian Radio 1 as part portant guest appearances are those at the Kingdom of Hungary - the introduction of my and “U toj črni gori” (“In that black mountain”). of a broader comprehensive project with Duo Fringe Festival in Edinburgh, the Ljubljana piece thus sounds “Hungarian”. The central Tatjana and Dušan gave the first performance Claripiano. It brings to the world of chamber Festival, the Carinthischer Sommer Festival, part of the story tells of a sailor who must on July 19, 2016, in Velika Slevica. Helena Vidic music fresh, contemporary and at the same the Academy of Chamber Music in Montepul- carry her across the sea, but he will pilot the has added the following comment: “As a child time diversified literature featuring motivic ciano and the International Music Festival in boat only for money, so she sets off alone. The every summer I went to my grandmother’s fragments cut from the Slovenian national Yerevan. Both musicians are employed in the sailor is then caught in a storm and begins to in Črnomelj for vacation, and even today I fabric. It is a complete artistic statement of- Slovenian Philharmonic Orchestra. drown. Now he asks Maria to save him, but regularly return there. For me there is nothing fering the sincere simplicity of folk motives, she tells him that his money should save him more beautiful than a sunny morning in Bela raising them to a high artistic level and re- Friendships with Slovenian composers have instead. I tell this story in sound using many Krajina and Bela Krajinan folksongs, which maining in the aesthetic space of an educated led to the creation of numerous pieces for variations on a folk melody. The lesson of the offer me as a composer numerous possibilities musical taste. clarinet and piano, including works by Ivo Petrić, Primož Ramovš, Janez Matičič, Lojze song is that everyone who relies on money for development: some of them because of Simona Moličnik to save them looses. I close the piece with their simple melodic lines, others because of Lebič, Ljubo Rančigaj, Peter Kopač, Nenad musical thoughts on this lesson. I am glad their strongly expressed emotions. I express Firšt, Peter Šavli, Slavko Šuklar, Črt Sojar Voglar that Tatjana and Dušan gave the piece such both with music in a rhapsody without words, and Blaž Pucihar. Their first album Legends Clarinetist Dušan Sodja and pianist Tatjana th an excellent premiere.” The first performance written specifically for the two artists of Duo featuring classic works from the 20 centu- Kaučič gave their first concert together as Duo took place on May 19, 2016, in Jesenice. Claripiano”. ry was praised in the BBC Music Magazine. Claripiano in 1994. Since then, love has united In 2004 they released the self-published CD The last piece leads the listener to expe- All the pieces on the present album receive them not only in music but also in life. They Encounters featuring music dedicated to the rience an old Bela Krajina custom. Rituals distinctive performances, from deep with- were accompanied on their path by many duo by Slovenian composers. Their album marked by the blending of Balkan cultures in the score and out to the listeners via the excellent chamber music mentors: bassoonist Romantic Claripiano presenting sonatas by are part of the local customs in the region expression of a truly sensitive experience of Božidar Tumpej, composer Ivo Petrić and pia- romantic composers (Camille Saint-Saëns,

13 Robert Schumann, Johannes Brahms) was Slovenian music” as they include a contem- Andrej Makor: released in 2012 by the Slovenian Philhar- porary Slovenian work on every program and Histria et amor monic’s own recording label and received an have commissioned new works for clarinet 1 I 3:11 excellent review in the American magazine and piano. The duo presented works by Slo- 2 II 2:36 The Clarinet. For their 20th anniversary, their venian composers Lojze Lebič, Janez Matačič, 3 III 2:36 album 20 Claripiano was released by ZKP RTV Blaž Pucihar and Uroš Krek at the ClarinetFest Slovenia in September 2014 and features a World Clarinet Meeting in Los Angeles in 2011 4 Tomaž Habe: 9:36 selection of works from Slovenian and foreign and in Assisi in 2013. In the summer of 2015 Zeleno, ki te ljubim zeleno / Green, how I want you green composers including Gerald Finzi, Marijan Li- they gave a well-received recital at ClarinetFest povšek, Ljubo Rančigaj, Krzysztof Penderecki, in Madrid and in autumn 2016 they performed 5 Katarina Pustinek Rakar: 5:18 Claude Debussy, Janez Matičič, Lojze Lebič in Mainz at the invitation of the German Clar- Venec treh dolin / A Garland of Three Valleys and Witold Lutosławski. inet Association. They presented their latest project Slovenian folk music in concert ar- Jani Golob: A love for 19th century romanticism led rangements for Duo Claripiano at ClarinetFest Tri prekmurske ljudske pesmi / Three Folk Songs from Prekmurje them to collaborate with the Mendelssohn in Orlando, Florida, in summer 2017. 6 Poj mi, poj mi droubna ftica / Sing, do sing to me, little bird 4:18 house and the Edvard Grieg Association in 7 Ne ouri ne sejaj / Don’t plough, don’t sow 3:34 Leipzig, where they made a guest appearance Dušan Sodja plays on clarinets made by 8 Gnes je en leipi den / Today is a lovely day 3:15 in March 2011. Slovenian composers have Schwenk & Seggelke in Bamberg. called Tatjana and Dušan “ambassadors of 9 Peter Šavli: 8:15 Oj, deklica, povej mi to / Hey, maiden, do tell me

10 Tadeja Vulc: 7:24 Oblaki so rudeči & Petelinček je zapieu / Vse note so bile izdane pri Društvu slovenskih skladateljev (Muzicije DSS) februarja 2017 (Mc. DSS 253-260). The clouds are red & The little rooster crowed All compositions are published by the Society of Slovene Composers (Muzicije DSS, Mc DSS 253-260) February 2017 Posneto/Recorded: Radio Slovenija, Studio 26, 25.4.2016 (1-3, 5), 26.4.2016 (6-8), 18.5.2016 (11), 10.6.2016 (9), 12.7.2016 (12), 11 Andrej Misson: 7:56 14.7.2016 (4), 14.10.2016 (10) Marija in Brodnik (Marija z Ogrskega gre) / Tonska mojstra/Sound Engineers: Aleks Pirkmajer Penko (1-3, 5-8), Mitja Krže (4, 9, 10-12) Maria and the Ferryman (Maria on her way from Hungary) Glasbeni producent/Music Producer: Janja Velkaverh Digitalna montaža in mastering/Mastering and Editing: Radio Slovenija, Studio 15, Miro Prljača 12 Helena Vidic: 9:16 Kresna / Midsummer Day’s Fotografije/Photos: Janez Kotar. Prevod/Translation: Steven Loy. Oblikovanje/Design: Žiga Culiberg

15 Dušan Sodja, clarinet/clarinet Tatjana Kaučič, klavir/piano