Greetings from Austria II

Sezona|Season 2o11−2o12

HUMANITARNI KONCERT HUMANITARIAN CONCERT

Pozdrav iz Austrije II Greetings from Austria II

dirigent • conductor UVE TAJMER | UWE THEIMER [Austrija • Austria]

• PODGORICA • Velika scena Crnogorskog narodnog pozorišta Great Hall of Montenegrin National Theatre Četvrtak, 23. februar 2012. u 20.00 časova Thursday, February 23d, 2012 at 20:00

Gostovanje•Guest performance • HERCEG NOVI • Dvorana park Park Hall Petak, 24. februar 2012. u 20 časova Friday, February 24th, 2012 at 20:00 GENERALNI SPONZOR CRNOGORSKOG SIMFONIJSKOG ORKESTRA GENERAL SPONSOR OF MONTENEGRIN SYMPHONY ORCHESTRA KARL MIHAEL CIRER • CARL MICHAEL ZIEHRER Poloneza lepeze • Fan Polonaise (Fächerpolonaise) Pjesma, ples, smijeh • Singing, Dancing, Laughing (Singen, Lachen, Tanzen), Valcer | Waltz Prepuštanje • Letting Go (Loslassen) Brza polka | Quick Polka (schnell) JOZEF ŠTRAUS • JOSEF STRAUSS Žensko srce • Women´s Heart (Frauenherz) Polka Mazur Ravings • Delirijumi (Delirien) Valcer | Waltz JOZEF HELMESBERGER • JOSEF HELLMESBERGER Male novine • Small Gazette (Kleiner Anzeiger) Galop | Galopp JOHAN ŠTRAUS MLAĐI • JOHANN STRAUSS II Ubrzanja • Accelerations (Accelerationen) Valcer | Waltz Sa dunavske plaže • From the Strand of Danube (Vom Donaustrande), Brza polka | Quick Polka (schnell)

pauza • intermission

FRANC LEHAR • FRANZ LEHÁR Fata Morgana Koncert Gavotte | Concert Gavotte The Ball Sirens • Balske sirene (Ballsirenen) Valcer | Waltz Nehledil-marš • Nechledil March Zwanzinette Ciganska ljubav • Gipsy Love (Zigeunerliebe) Valcer | Waltz PROGRAM • PROGRAMME PROGRAM EMERIH KÁLMÁN • EMERICH KÁLMÁN Grofica Marica • Countess Mariza (Ouvertüre zur Gräfin Mariza),uvertira | Ouverture Želim da igram • I´d like to dance (Tanzen möchte‘ ich) Valcer | Waltz

3 MEDIJSKI SPONZOR MEDIA SPONSOR Pozdrav Greetings iz from Austrije II Austria II

U Austriji se tradicionalno, 1. januara, The New Year´s Concert of the Vienna u „zlatnoj sali“ Bečkog Muzikferajna Philharmonic traditionally takes place (Udruženje prijatelja muzike) održava on January 1, in the „Golden Concert Novogodišnji koncert Bečke filhar Hall“ of the Vienna Musikverein (Socie ty monije. U međuvremenu se po uzoru of Friends of Music). Following the na njega u mnogim zemljama organi example of Austria, many countries zuju novogodišnji koncerti, najčešće u have in the meantime established their prvim sedmicama Nove godine. Nakon own New Year´s concerts, all of them prošlogodišnjeg prvog koncerta Bečke taking place in the first weeks of each muzike, drugi koncert ove vrste u Pod New Year. Like the first concert with gorici donosi izbor djela braće Johana i Viennese music last year, this year´s Jozefa Štrausa i Karl Mihael Cirera, iz second concert in Podgorica offers again vremena procvata ove vrste muzike, za a combination of famous compositions jedno sa djelima Jozefa Helmesbergera, belonging to the golden age of this i kompozicijama Franca Lehara i Eme music style, from brothers Johann and riha Kalmana, dva najvažnija kompo Josef Strauss, from the time of turn of zitora iz „srebrne“ ere Bečke operete, the century from Carl Michael Ziehrer na prelazu u XX vijek. and Josef Hellmesberger, and also from Franz Lehár and Emmerich Kálmán, the two most important composers of the „silver“ age of the Viennese Operetta.

5 KARL MIHAEL CIRER (1843– The concert begins with three 1922), sin bečkog šeširdžije, izučio compositions by CARL MICHAEL je zanat svog oca, ali se neuporedivo ZIEHRER (1843–1922). Son of više interesovao za muziku. Nakon a Viennese hatter, who learned his što je stekao muzičko obrazovanje, father´s trade, Ziehrer was actually prvi put je nastupio kao kompozi more interested in music. After acqui tor i vođa sopstvenog orkestra 1863. ring a music education, he first per godine. Već tada su novine pisale da formed in 1863 as a composer and „će biti ozbiljan takmac braći Štraus“. conductor of his own orchestra. The Njegovi najpoznatiji valceri, Somot newspapers promptly reported „that he i svila – (Samt und Seide), Bečke dje- will be a serious rival to Strauss brothers“. vojke (Weana Mad’ln), Građani Beča His most famous waltzes Velvet and Silk (Wiener Bürger), Djeca karnevala (Samt und Seide), Viennese Girls (Weana (Faschingskinder) ili Naprijed (Here- Mad’ln), Citizens of Vienna (Wiener inspaziert), se isto tako često izvode Bürger), Carnival Goers (Faschingskinder) kao i njegov čuveni „Schönfeld Marš“, or Come right in Hereinspaziert), are jedno od najpopularnijih djela u equally popular in Austria as the the Austriji (Marš je posvećen poručniku Schönfeld-Marsch (dedicated to and feldmaršalu – t.j. generalu najnižeg named after Field-Marshal-Lieutenant ranga – Antonu fon Šoenfeldu – Anton von Schönfeld, Chief of Genera l Staff načelniku Generalštaba). Od 1870. K. of the Army). From 1870 onwards he M. Cirer je naizmjenično bio šef vojnih i was alternately conducting military and civilnih orkestara. U periodu 1885–1893 civil orchestra. Between 1885–1893, godine vodio „k. u. k.“ (kaiserlich Ziehrer conducted the band of the und königlich=carski i kraljevski) voj “k. u. k.” (abbreviation for “kaiserlich ni orkestar pješadijskog puka u Beču und königlich”, meaning: imperial and (čiji je jedan bataljon duže vrijeme bio royal, pertaining to the Dual Monarchy stacioniran u Kotoru), koji je podigao of Austro-Hungary) infantry regiment na visok nivo i sa njim postigao prve 4, stationed in Vienna (one of its battal velike uspjehe. Vrhuncem njegove ka ions was in based Kotor for a long time). rijere smatra se imenovanje za četvrtog He led it to a high level and achieved i poslednjeg c. i kr. dvorskog muzičkog his first big successes with it. The direktora 1907. godine, nakon oca i nomination as fourth and last “k. u. k.” sina Johana Štrausa i Eduarda Štrausa. Court Ball Music Director (Hofball- Za vrijeme Prvog svjetskog rata Cirer Musikdirektor) in 1907, after Johann je izgubio svu imovinu, koju je, kao Strauss Senior, Strauss Junior and Eduard monarhistički patriota, založio za rat Strauss, can be described as a zenith of ne obveznice. Umro je u siromaštvu his career. Ziehrer, a fervent monarchis 1922. godine. tic patriot, lost all of his fortune in war

6 Poloneza lepeze – Fächerpolonaise bonds during the First World War, and (op. 525), se svake godine izvodi na died impoverished in 1922. otvaranju bala Bečke filharmonije i TheFan Polonaise‒Fächerpolonaise Bečke opere, kao i mnogih drugih ba (op. 525), by Carl Michael Ziehrer, is a lova u Austriji (Poloneza je francuski piece of music frequently played at the naziv za tzv. poljski ples, iz vremena pri beginning of balls in Vienna like the an je Bečke muzike, koji se izvodi u taktu nual Vienna Philharmonic Ball or the ¾, pri čemu ulazak igrača i izvođenje Vienna Opera Ball (The termPolonaise figura uz kratke naklone u različitim is the French description of a so-called pravcima omogućava njihovo uzajam „Polish dance“ and in the festive ¾ tact, no pozdravljanje kao i pozdravljanje allowing the dancers to greet each other publike). Poloneza lepeze je sigurno and the audience upon entering, while najpoznatije djelo te vrste. Prvi put je performing elegant figures followed with štampano 1906. godine, uz napomenu short nods in different directions). The da je „već sa velikim uspjehom izvođeno The Fan Polonaise is probably the most na mnogim balovima“, što navodi na famous music piece of its kind. It ap zaključak muzikologa da je kompono peared in print in 1906, with a sugges vano već oko 1900. godine. tion „that it has already been performed Svoj ljupki valcer Pjesma, ples, on many balls with great success“, thus smijeh – Singen, Tanzen, Lachen leading to the conclusion that it was (op. 486) Cirer je komponovao za composed as early as 1900. hor i orkestar povodom karnevalske Ziehrer initially composed his lovely proslave Bečkog muškog pjevačkog waltz Singing, Dancing, Laughing / udruženja 27.1.1899, gdje je doživio Singen, Tanzen, Lachen (op. 486) for veliki uspjeh. Danas se ovo djelo izvodi choir and orchestra of the Viennese Male uglavnom u orkestarskoj verziji. Choir, on the occasion of the carnival Brza polka Prepuštanje – Loslassen (op. celebration held on January 27, 1899, 386) izvedena je prvi put 7. okto which was an instant success. This bra 1887. godine u Beču, od strane piece is nowadays being performed Orkestra 4. pješadijskog puka. Po only by orchestra. put mnogih Cirerovih brzih polki, Ziehrer first performed his quick polka i ova je prepuna specifičnog šarma, Letting Go / Loslassen (op. 386) with koji tokom duge balske noći, iznova the Orchestra of the Infantry Regiment uzbuđuje plesače. Nr. 4 in Vienna, October 7th, 1887. JOZEF ŠTRAUS (1827–1870) As with many of his fast polkas, this je, poput starijeg brata Johana, od sparkling and charming composition oca naslijedio ljubav i talenat za mu electrifies the dancing crowd during a ziku. Ipak, nije želio da se bavi ovim lengthy ball night.

7 pozivom, već da postane građevinski JOSEF STRAUSS (1827–1870), inženjer, te je studirao tehniku. Izme as well as his older brother Johann, đu ostalog izumio je mašinu za inherited the talent and love of music čišćenje, koja je dugo bila u upotrebi from his father, but did not want to na bečkim ulicama. Nakon što mu se become a professional musician. He brat Johan teško razbolio tokom jedne studied engineering and worked as inostrane turneje, Jozef je na nagovor an architectural draftsman. Among porodice pristao da privremeno vodi other things, he invented a street- Štraus-orkestar. Ali, interesovanje za cleaning device, which was used in ovaj orkestar je bilo toliko da je Jozef, Vienna for a long period of time. After his čak i nakon bratovog ozdravljenja, do brother Johann fell seriously ill while kraja svog života radio kao dirigent i touring abroad, the family talked Josef kompozitor. Dok na nastupima nije into leading the Strauss-orchestra, bio tako uspješan kao njegov brat which was so much in demand that he Johan, dotle su mnoge njegove kom worked as a conductor and a composer pozicije po kvalitetu bile dorasle dje until the end of his days. Although his lima njegovog brata, koji je sam sebe performances were less successful than opisivao kao popularnijeg a Jozefa kao his brother´s, his compositions where talentovanijeg. Jozef je prerano umro in any case comparable in quality and u 43. godini, od moždanog udara esprit. His brother Johann described izazvanog uzbuđenjem oko loše orga himself as being the more popular, nizovane turneje. while he saw Josef as more talented. Jozef Štraus je bio majstor za pol Josef died prematurely at the age of 43, ku u tročetvrtinskom taktu – tzv. pol of a cerebral apoplexy following an ex ka mazur. Nekoliko ovih kompozicija citement over a poorly organized tour. je nazvao po nekim tipovima ženskih Josef Strauss was a master of polka in karaktera: Naivka (Die Naive), Ama- ¾ tact – the so-called polka mazur. He zonka (Die Amazone), Koketa (Die named a number of such compositions Kokette). Moguće je da je pri komp after different types of women – The onovanju polke mazur Žensko srce – Naive (Die Naive), The Amazonian (Die Frauenherz (op.166) iz 1863. godine Amazone), The Coquette (Die Kokette). mislio na svoju voljenu suprugu Karoli Maybe Josef Strauss was thinking nu. Josef je nizom valcera romantičnog i of his beloved wife Karoline, while melanholičnog štimunga, ali istovreme he was composing the polka mazur no punih poleta, kao što su Zvuci sfere Women´s Heart / Frauenherz (op. (Sphärenklänge), Dynamiden (Tajne sile 166) in 1863. In creating a range of privlačnosti) ili Seoske laste iz Austrije equally romantic and melancholic (Dorfschwalben aus Österreich), stvo

8 rio jedne od najljepših bisera Bečke sweeping waltzes, such as Sounds of muzike, u koje se ubraja i magični valcer Sphere (Sphärenklänge), „Dynamiden Delirijumi – Delirien (op. 212), sa (secret powers of attraction) or Village svojim mističnim uvodom. Jozef ga Swallows form Austria (Dorfschwalben aus je komponovao u vrijeme karnevala Österreich), Josef Strauss left us some 1867. godine, istog onog tokom koga of the greatest pearls of the Viennese Music. je prvi put izveden Dunavski valcer The almost magical waltz Ravings njegovog brata Johana. Jozef je svoj / Delirien (op. 212), with a slightly valcer komponovao za Bal medicina mystical prelude, also belongs to them. ra, održan 22. januara 1867. godine Josef composed it during the same i posvetio ga studentima medicine. 1867 carnival, during which his brother Shodno svom naslovu, uvod djela Johann´s Danube Waltz debuted , later reflektuje grozničave fantazije bole to become famous. Josef composed snika, nakon čega slijedi uobičajeni his waltz for the Ball of Medicine živahan valcer. Students on January 22, 1867 and Jedna od prvih kompozicija dedicated it to them. According to the JOZEFA HELMESBERGERA title, the fascinating tone painting of the (1855–1907), rijetko izvođeni lijepi introduction reflects the feverish ravings galop Male novine – Kleiner Anzeiger of a sick person, only to then turn into a – (op. 4), vjerovatno predstavlja prvi lively waltz. izlazak u javnost kompozitora. Sin vio A seldom performed and pleasing liniste i dirigenta Jozefa Helmesbergera galop Small Gazette / Kleiner Anzeiger starijeg (1828–1893) je sa 18 godina (op. 4), one of the first compositions of prvi put nastupio kao violinista u or JOSEF HELLMESBERGER (1855– kestru Bečke dvorske opere. Godine 1907), is probably the “outing” piece of 1875. je postao dirigent Orkestra the composer. Hellmesberger was also 4. austrijskog pješadijskog puka, a the son of a violinist and conductor 1876. puka broj 32. Od 1878. go (Joseph Hellmesberger Senior, 1828– dine je bio solo violinista u Bečkom 1893) and joined the Vienna Court dvorskom orkestru i Bečkoj dvorskoj Opera Orchestra as violinist at the age operi, kao i profesor violine na of 18. In 1875 he became the military Bečkom Konzervatorijumu. Godine orchestra director of the Austrian infan 1890. Helmesberger postaje prvi di try Regiment Nr. 4, and the following rigent c. i kr. Bečkog dvorskog or year of the Regiment Nr. 32. From kestra. Od 1901. do 1903. godine 1878 onwards he was a solo violinist dirigovao je koncertima Bečke fil in the Vienna Court Orchestra and harmonije. Court Opera, as well as violin profe

9 JOHAN ŠTRAUS MLAĐI (1825 ssor at the Society of Friends of –1899) je već kao dijete oduševljeno slu Music´s Conservatory in Vienna. šao probe orkestra svog oca, održavane Hellmesberger became the first “k. u. k.” u njihovoj kući. I pored protivljenja oca, court music conductor (Hofkapellmeister) koji svojim sinovima nije želio težak in 1890. Between 1901 and 1903 he život direktora plesnog orkestra, Johan conducted the concerts of the Vienna mlađi se potajno (uz majčino znanje i Philharmonic. podršku) školovao za muzičara i kasnije Already as a child, JOHANN osnovao svoj orkestar. Nakon prerane STRAUSS JUNIOR (1825–1899) očeve smrti postao je novi kralj valcera, was delighted to listen to his father´s nadmašivši očevu slavu. Godine 1860. orchestra, rehearsing at their house. komponovao je valcer Ubrzanja Against the will of Johann Strauss – Accelerationen, (op. 234) za bal Senior, who wanted to spare his sons studenata tehnike, održan u Sofijinim the exhausting life of a dance band salama u Beču. Uvod predstavlja zvuk director, Josef acquired professional mašina, koji putem ubrzanja (akcelera music education secretly (but with cije) dostiže pravi tempo valcera. Johan the knowledge and support from his Štraus je na teme iz svoje operete Karne- mother) and founded his own orche val u Rimu / Der Carneval in Rom, prvi stra. After the premature death of his put izvedene 1873. godine, kompono father, Johann became the new „waltz vao nekoliko plesova, između ostalog king“, outshining his father´s glory. brzu polku Sa dunavske plaže – Vom He dedicated his waltz Accelerations Donaustrande (op. 356), zamišljenu – Accelerationen (op. 234) to the kao pozdrav iz Beča, grada-domaćina students of technology, composing it Svjetske izložbe, održane te godine. in 1860 for the occasion of the ball, Prvi put je izvedena 6. aprila 1873., held in the Sophie´s Hall in Vienna. na koncertu povodom 50-godišnjeg The overture depicts the stomping of jubileja orkestra Štraus, osnovanog od machines, which gradually reaches strane Johana Štrausa starijeg. Budući the actual waltz tempo through najveća rijeka u istoimenoj monarhiji, „accelerations“. Based on the melo naziv Dunava je često korišćen u naslo dies of his second operetta The Carnival vima kompozicija, na primjer u valceru in Rome (Der Carneval in Rom), debut Dunavske nimfe (Donauweibchen) i, ing in 1873, Johann Strauss composed naravno, u nazivu najpoznatijeg valcera several pieces of dance music. One of na svijetu, Na lijepom plavom Dunavu them is the sparkling fast polka From the (An der schönen blauen Donau). Strand of Danube – Vom Donaustrande Krajem 19. vijeka okončava se zla (op. 356), which was conceived as a tno doba Bečke muzike, sa svojim veli greeting from Vienna, the host city of čanstvenim plesnim i koncertnim valce the World exhibition that same year.

10 rima i različitim vrstama polki i marševa, It premiered on April 6, 1873, on za koje prije svega imamo da zahvalimo the occasion of the 50th jubilee of the Johan Štrausu-sinu, kao i nizu njego Strauss Orchestra, founded by Johann vih talentovanih, ali manje poznatih Strauss Senior. Being the longest and savremenika. Većina ovih kompozitora the most important of the eponymous „lake“ muzike iz svih krajeva Monar Monarchy, the name of the river Danube hije, koji su obilježili 19. vijek – kao was often used as a reference, e. g. in the waltz na primjer dinastija tri Karl Komzák-a The Danube Mermaid (Donauweibchen) i Julius Fućik (iz Bohemije), Franz von and, of course, in the title of the most Suppé (iz Dalmacije) i Fahrbach (iz Beča), famous waltz in the world, By the naizmjenično su bili vođe banjskih, Beautiful Blue Danube (An der schönen scenskih ili nekih drugih orkestara, ili blauen Donau). su upravljali vojnim orkestrima c. i kr. The golden age of the Viennese Music, oružanih snaga, koje su ukupno brojile with its magnificent dance and orchestral 120 pješadijskih pukova. Vojni orkestri, waltzes, different kinds of polkas and koji su se finansirali kao dio oficirskog marches, for which we have to thank korpusa svakog puka i često izrastali u Johann Strauss Junior above all, but simfonijske orkestre, upošljavali su i also many other talented, but less do 6500 muzičara, obezbjeđujući od famous contemporaries, drew to an vijanje balova, nedjeljnih promenada, end at the turn of the 19th century. ali i širenje „ozbiljne“ klasične muzike u Most influential composers of the 19th svim djelovima Imperije – što je njihov century „light“ music from all over the najznačajniji doprinos razvoju muzike. Monarchy, such as the dynasty of three Tako su, na primjer, c. i kr. vojni or Karl Komzáks and Julius Fućik (from kestri u simfonijskom sastavu prvi put Bohemia), or Franz von Suppé (from izveli djela Betovena i Bruknera u Sara Dalmatia) and the Fahrbachs (from jevu i Mostaru. Vienna), were either alternately leading Na prelazu između vjekova, koji orchestras for the stage and of health resorts, simbolizuje kulturni procvat Austro or military orchestra of the “k. u. k.” Armed ugarske Monarhije, i tzv. „zlatno doba“ Forces, counting as many as 120 infantry Bečke operete je prešlo u „srebrno“. U regiments. The military bands of each ovoj eri, koja je trajala do 30-ih godina regiment, often enlarged to symphonic prethodnog vijeka je najjači trag ostavio orchestras, which employed altogether FRANC LEHAR (1870–1948), koji 6.500 musicians at different regimental je svojim remek-djelom Vesela udovica garrison posts, were sustained at the (Die Lustige Witwe) stvorio jednu od expense of the relative officer corps. They najuspješnijih opereta u istoriji muzike. provided music for the balls and Sunday Ono što je karakteristično za Lehár-a, promenades, but it is also thanks to them ali još više za Kálmán-a, je da su za sižee that the „serious“ classical music found

11 svojih opereta uzimali glorifikujuće, its way to the remotest corners of the ali i ironične reminiscencije na izgub Empire, which is their greatest cultural ljeno „srećno doba“ u kome se živjelo and historical achievement. Thus were do 1914. godine, kao i iskrivljene, ali Beethoven´s and Bruckner´s pieces u svakodnevniom životu prihvaćene presented to the audience in Sarajevo and obrade egzotičnih svjetova. Treba Mostar by k. u. k. Military orchestras. napomenuti da su i Lehár i Kálmán, The turn of the century, associated with uprkos velikom uspjehu postignutom the cultural prime of the Austrian- na polju popularne muzike tog vremena Hungarian Monarchy, marked the Unterhaltungsmusik („ “), nastojali da transition of the Viennese Operetta pored zabavnih, operetskih melodija, from „golden“ to „silver“ age. This era, stvore kako „ozbiljne“ forme, tako i lasting until the 1930s, was mostly samostalnu muziku za igru. influenced by FRANZ LEHÁR Drugi dio koncerta počinje kon (1870–1948), whose masterpiece certnom gavotom Fata Morgana (op. The Merry Widow (Die Lustige Witwe) 59), oblikom koji svoj naziv duguje represents one of the most successful tempu gavote, barokne igre promjen operettas in the history of music. ljivog ritma, porijeklom iz Francuske, Glorifying, but also ironic retrospects u kojem je napisana glavna tema ovog of the lost „happy times“ before 1914 djela. „Fata Morgana“, nastala 1902. were used as operetta plots by Lehár, godine u stvari je Lehár-ova obrada but even more by Kálmán, as well as sopstvene kompozicije iz 1899. godi adaptations of distant worlds, which ne, koja se prvobitno zvala Helenen- were distorted, but yet somehow Gavotte. Predstavlja uspomenu na ranu, relevant for the everyday life. In spite neuzvraćenu ljubav kompozitora pre of their success with the so-called ma mladoj ženi pod drugim imenom, entertainment or popular music za koju se ispostavlja da je varka, ali (Unterhaltungsmusik), both Lehár and on se te fatamorgane prisjeća u snenoj Kálmán, besides creating pieces of muzičkoj atmosferi između radosti, dance music mainly from their opere nade i sjete. Nakon veličanstvenog, ttas, endeavoured in also composing skoro simfonijskog uvoda smjenjuju “serious” music. se vedre, trijumfalno-plesne teme The second part of our concert begins Želim da 96onovana 1924.) i valcer with the Concert Gavotte Fata Morgana igram Tanzen möcht’ ich, – iz operete (op. 59). The Gavotte is a baroque Die Czardasfürstin, Princeza čardaša – ballroom dance with a shifting nastale 1915. godine, su dva najpoz rhythm, originating from France. The EMERIHA natija i najuspješnija djela description „concert gavotte“ derives KÁLMÁNA (1882. Siófok – 1953. from the pace of the main theme

12 Pariz). Kálmán je, isto kao i Lehár, (tempo di Gavotte). The Fata Morgana zapravo mađarski kompozitor, ali se, is actually Lehár´s 1902 version of the isto kao i strastveni monarhista Cirer, composition Helenen-Gavotte from the smatra „kakanijskim“ kompozitorom year 1899. It is a memory of an early, (Robert Muzil je u romanu Čovjek unhappy love of the composer to a woman bez svojstava – „Der Mann ohne Ei- with another name, that turned out to genschaften iz pojma „k. u. k.“ – c. i. kr. be a deception – a Fata Morgana, but – skovao nostalgični izraz „kakanij- one which he remembered in a dream- ski“, kao sinonim za kosmos Dunav like alteration between pleasure, hope ske Monarhije). Kálmán, sin jevrej and melancholy. A majestic, seemingly skog trgovca žitaricama, je počev od symphonic introduction is followed 1900. studirao muziku u Budimpešti, by cheerful, almost triumphant gdje mu je, između ostalih kolega bio dancing themes, interchanging with i Béla Bartók. Godine 1908. je ste romantic and sad motives of violin kao međunarodnu slavu operetom solos. As many of Lehár´s works, this Šturm (Invazija) Tatara (Tatárjárás), composition is marked by Hungarian izvedenom i u Beču pod nazivom Je- atmosphere and rhythm, modulating dan jesenji manevar (Ein Herbstmanö- between minor and major. Because of ver). Kasnije, Kálmán se seli u Beč, its majestic grandeur, it is justifiably gdje su mu, pored pomenutih dvaju described as a Concert Gavotte. opereta, najveći uspjesi bili Ciganski The most beautiful melodies from primaš (Zigeunerprimas) iz 1912. The Merry Widow, debuting on December i Cirkuska princeza (Zirkusprinzessin) 30, 1905 in Vienna, have been iz godine 1926. Oba djela su prvi put formed into the waltz The Ball izvedena u Beču i karakteriše ih pri Sirens / Ballsirenen. sustvo mađarskog i ciganskog folklora, kao metafora vedrih uspomena na The following Nechledil–March is različite životne sfere i suživot različitih an offspring of Lehár´s still popular etničkih, staleških i kulturnih arhetipo operetta Women from Vienna (Wiener va u Monarhiji. Dok ekstatični valcer Frauen), first performed on November Želim da igram, donosi poletnu idilu 25, 1902. The melody corresponds to sna o sreći uoči svjetskog rata, dotle the operetta song Nechledil, Du schöner uvertira za Groficu Maricu evocira na Mann, Du hast es allen angetan… mnoge melodije ove popularne opere (Nechledil, you handsome man, everybody te. Nakon Hitlerove okupacije Austrije, took a fancy to you…). Kálmán je emigrirao u SAD, odakle se The Zwanzinette is a delightful musi tek 1949. godine vraća u Evropu. cal piece from the operetta Eva first per

13 Galop uzdaha – Seufzer-Galopp formed in Vienna 1911. It is dedicated (op. 9) Johana Štrausa Starijeg, koji se na to a ballerina that Lehár was in love novogodišnjim koncertima uobučajeno with, calling her tenderly „Zwanzi“. izvodi kao prvi „bis“ (prije Dunavskog Since Johann Strauss Junior´s ope valcera i Marša Radeckog). objavljen je retta The Gipsy Baron (Zigeunerbaron), 1828. godine. Postoji mogućnost da je Gipsies became a popular idealising nastao od melodija iz jednog od njego subject, symbol of unruly, wild love vih ranijih valcera. Ono što je u svakom and yearning for the allegiance to the slučaju prepoznatljivo je karakter epohe state, as part of a multicultural milieu. biedermeier i izraženi taedium vitae The alternately buoyant andvi mo ng muzičara. waltz Gipsy Love / Zigeunerliebe Martin Pamer also originates from the melodies of the eponymous operetta, first on Posebni gost Crnogorskog simfoni stage of the Viennese Carl Theatre jskog orkestra (CSO): in January 1910. In this work Lehár tried to break the mold, by conne Nandor SEDERKENJI cting Wagner´s dramatic opera forms, koncert-majstor Operskog balskog which were en vogue at the time, with orkestra iz Beča the zestful Viennese waltzes and even more vivacious folklore of the Hungarian Posebnu zahvalnost dugujemo: Gipsies. Uve TAJMER-U za muzičku The overture of the operetta Countess pripremu i dirigovanje pro bono Mariza / Gräfin Mariza (1924) and the waltz I´d like to dance / Tanzen UKUPAN PRIHOD SA KONCERTA möcht’ ich from the operetta The NAMIJENJEN JE POMOĆI Czárdás Princess /„Die Czárdásfürstin PORODICAMA (1915), two most famous and POGOĐENIM JAKIM ZIMSKIM successful works by NEVREMENOM U CRNOJ GORI. EMMERICH KÁLMÁN (1882 Siófok – 1953 Paris), complete the second part of our concert. Both premiered in Vienna and are distinguished by the Hungarian and Gipsy folklore, embedded in cheerful memories of different life-worlds in the Monarchy, including the country gentry and military, as well as the whole range of ethnic, estates-based

14 and cultural archetypes. Whilst the / Seufzer-Galopp (op. 9), by Johann waltz “I´d like to dance” conveys the Strauss Senior. We know only the spirited idyll of happiness in an ecstatic year of the first printed ad in 1828. It ¾ tact, the overture to the Countess is possible that it was developed from Mariza gives a revue of the melodies the melodies of one of his earlier from the entire operetta. Kálmán is waltzes. In any case, the composition actually Hungarian, just like Lehár, reflects the musical atmosphere of but they are both considered as „kakanian“ the Biedermeier period (1st half of composers (from the German the 19th century in Central Europe) pronunciation of the aforementioned and the exhaustion of the stressed abbreviation „k. u. k.“, “imperial orchestra musicians. and royal”, used in Robert Musil´s Martin Pammer novel The Man without Qualities / Der Mann ohne Eigenschaften as a nostalgic synonym of the Danube Special Guest of the Montenegrin Monarchy universe; i.e. “Kakanien”). Symphony Orchestra (MSO): From 1900 onwards, Kálmán, son Nandor SZEDERKENY of a Jewish grain merchant, studied Concert master of Opera Ball music in Budapest, with Béla Bartók Orchestra, Wien among his colleagues. He became internationally known in 1908, with Special thanks for their contribution his operetta The Invasion of Tatars to this concert to: (Tatárjárás), put on stage in Vienna, Uwe THEIMER for musical under the title An Autumn Manoeuvre preparation and conducting pro bono (Ein Herbstmanöver). Kálmán moved to Vienna, where he celebrated his PROCEEDINGS OF THIS CONCERT greatest successes, The Gipsy Virtuoso WILL BE USED TO PROVIDE (Zigeunerprimas) published 1912 and RELIEF TO FAMILIES AFFECTED BY The Circus Princess (Zirkusprinzessin) DAMAGES CAUSED BY STRONG from 1926, in addition to the two WINTER WEATHER aforementioned operettas. The special IN MONTENEGRO. attribute of all of his operettas is a distinctly Hungarian musical mark. After Hitler occupied Austria, Kálmán emigrated to the USA, returning to Europe only in 1949. The first encore of the concert (before the Danube Waltz and the Radetzky-March) is the Sigh Galop

15 PARTNER MUZIČKOG CENTRA CRNE GORE PARTNER OF MONTENEGRIN MUSIC CENTER UVE TAJMER je stekao osnove svog UWE THEIMER received the basics muzičkog znanja kao član “Hora of his music knowledge as a mem bečkih dječaka”. Završio je dirigov ber of the “Vienna Boys´ Choir”. He anje na Bečkoj muzičkoj akademiji graduated from the Music Academy u klasi profesora Hansa Svarovskog i in Vienna in the conducting class of studirao komponovanje kod Alfreda the professor Hans Swarowsky and Ula. Postao je dirigent Hora bečkih studied composing under Alfred Uhl. dječaka, sa kojim je gostovao u Ja He became conductor for the “Vienna panu 1967. i 1969. godine. Boys´ Choir” and undertook two ad ditional tours to Japan, in 1967 and U okviru Salcburškog Festivala, Uve 1969. Tajmer je radio kao asistent Karla Bema, Lorina Mazela i Džejmsa Le Uwe Theimer acted as assistant of vina. Od 1975. godine je angažovan u Karl Böhm, Lorin Maazel and James „Wiener Volksoper“ kao šef operskog Levine for the Salzburg Festival. Since studija i dirigent. Sa ansamblom ove 1975 he was active at the “Wiener operske kuće je još dva puta gosto Volksoper”, as a dean of studies and vao u Japanu. U Austriji je, između conductor. With the ensemble of this ostalog, dirigovao praizvođenjem opera house, he visited Japan two more “Pollicino” od Hans Verner Hencea, times. Amongst others, he conducted kao i brojnim operama i operetama i the Austrian first performance of Hans uspješnim muzičkim produkcijama: Werner Henze´s Opera “Pollicino”, as “La Cage aux Folles”, “My fair Lady”, well as a multitude of further operas “Gigi” i “Kiss me Kate”. and operettas and successful music productions, such as “La Cage aux Kao dirigent, gostovao je u Ope Folles”, “My fair Lady”, “Gigi” and ri Grac, na Festivalu Mörbisch, “Kiss me Kate”. Međunarodnom festivalu opereta u Trstu, u Teatro Massimo u Palermu, As a guest conductor he worked at Krakovskoj operi, Bečkoj kamernoj the Graz Opera House, Lake Festival

17 operi, i nastupao sa Štutgartskom fil in Mörbisch, International Operetta harmonijom, Slovačkom filharmoni Festival in Trieste, Teatro Massimo jom, Tokijskim simfonijskim orkest in Palermo, Opera House Cracow, rom, Operskim orkestrom iz Osake, Viennese Chamber Opera, as well Filharmonijom sjeverne Njemačke i as on the concerts with the Stutt Petersburškom filharmonijom. Od gart Philharmonic Orchestra, Slova 1996. godine u ulozi umjetničkog kian Philharmonic Orchestra, Tokyo direktora i dirigenta vodi festival Symphony Orchestra, Osaka Opera Operetsko ljeto u Donjoj Austriji Orchestra, North German Phil (Festival u dvorcu Langenlois). harmonic Orchestra and Petersbu rg Philharmonic Orchestra. Since Dugo godina je bio dirigent u „Jo 1996 he leads the Operetta Summer hann Strauss Kapelle”. Radio je kao of Niederösterreich (Castle Festival aranžer i kompozitor za mnoge ansa Langenlois) as artistic director and mble, između ostalog Bečki Ring conductor. Ensemble, Bečke virtuoze, Kvartet Küchl, Bečki gudački trio i Bečke He was a long-term conductor of the Biedermeier soliste. “Johann Strauss Kapelle”. He worked as arranger and composer for many Uve Tajmer je dirigent Bečkog ope ensembles, including The Viennese rskog balskog orkestra i Bečkog Ring Ensemble, Viennese Virtuosi, klasičnog simfonijskog orkestra od Küchl Quartet, Viennese String Trio 1983. godine. Sa ova dva orkestra i and Viennese Biedermeier Soloists. Bečkim Biedermeier solistima je dao mnogobrojne koncerte širom Evro Uwe Theimer is conductor of the Vi pe, boravio na turnejama u Americi, ennese Opera Ball Orchestra and Vi Aziji i Japanu. ennese Classic Symphony Orchestra since 1983. With these two orchestras Među njegovim brojnim horskim i and the Viennese Biedermeier Soloists orkestarskim djelima izdvajaju se: Te he gave numerous concerts all around Deum, kamerna simfonija i Gudački Europe, toured America and Asia and kvartet br. 2, premijerno izveden od Japan. strane Küchl kvarteta u Bečkom mu zičkom društvu.

18 Njegovo svestrano muzičko iskustvo Besides his pieces for choir and orches preporučilo ga je 1996. za gostujućeg tra, his most important compositions profesora na Univerzitetu za muziku are a Te Deum, a chamber symphony i reproduktivne umjetnosti u Beču, and his String Quartet No.2, first per a nekoliko godina kasnije i za stalni formed by the Küchl Quartet in the angažman, od kada i vodi klasu na Viennese Musical Society. muzičko-dramskom odsjeku ove in stitucije. His multifaceted music experience is appreciated by the University for Mu sic and Performing Arts in Vienna, which offered Uwe Theimer a visit ing professorship in 1996, turned into a regular chair in 1999. He has been leading a class on the department for music and drama ever since.

19 Sezona|Season 2o11−2o12

I violine | I violins II violine | II violins Nandor Sederkenji Katarina Pavlović Vujadin Krivokapić Tanja Bogdanović Marko Simović Tijana Jovović Ana Perazić Viktorija Vujić Dušan Rakonjac Miloš Bošković Sanda Sekulović Milena Vuković Gerd Cinxo Milena Rajković Ajlinda Mataj Tomoko Sagawa Florijan Balaš Ana Živković

Viole |Violas Violončela | Violoncellos Uroš Lapčević Igor Perazić Vladislava Drašković Darko Kolanda Ilijana Blagojević Vladimir Drobnjak Nemanja Živanović Nevena Milenković Mirjana Jovanović Ana Ristić

Kontrabasi | Double basses Zoran Zakrajšek Predrag Vujović Slaven Turusković

20 Flaute | Flutes Oboe | Oboas Klarineti | Clarinets Marija Đurđević-Ilić Jarina Denisenko Petar Garić Žana Marinković-Lekić Dragan Lazić Anton Melnikov

Fagoti | Bassons Horne | Chorns Trube | Trumpets Mihajlo Radivojević Jiri Kaminski Aleksandar Arsić Anton Runov Sandra Miletić Sava Rajković Igor Lazić Dario Krivokapić

Tromboni | Trombons Timpani | Timpani Perkusije | Percussion Aleksandar Bencić Srđan Palačković Miloš Mićunović Dejan Ljujić Mladen Vasojević Meša Kerović Stefan Lubarda

Harfa | Harp Ljiljana Nestorovska

21 MUZIČKI CENTAR CRNE GORE · MONTENEGRIN MUSIC CENTER Rektorat UCG Bulevar Džordža Vašingtona bb 81000 Podgorica

Direktor Muzičkog centra Crne Gore · General Manager of MMC Žarko MIRKOVIĆ tel: +382 20 414 262 + 382 20 414 264 + 382 68 245 991 fax: +382 20 414 263 www.muzickicentar.com e-mail: [email protected]

CRNOGORSKI SIMFONIJSKI ORKESTAR · MONTENEGRIN SYMPHONY ORCHESTRA RTV Crne Gore Cetinjski put bb 81000 Podgorica tel: + 382 20 234 426 fax: + 382 20 234 426 mob: +382 68 245 991 www.muzickicentar.com/cso/ e-mail: [email protected]

MENADŽMENT CRNOGORSKOG SIMFONIJSKOG ORKESTRA · MANAGEMENT OF MSO Igor PEROVIĆ · sekretar CSO · Secretary of MSO Jelena JOVANOVIĆ · PR Manager Goran PERIŠIĆ · organizator · Organizer Dragica MAJIĆ · nototekar · Librarian Neđeljko KOPRIVICA, Ivan ĐURANOVIĆ · Stage managers

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17. MART • 17th MARCH

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PODGORICA VELIKA SCENA CRNOGORSKOG NARODNOG POZORIŠTA GREAT HALL OF MONTENEGRIN NATIONAL THEATRE SUBOTA, 17. MART 2012. U 20 ČASOVA SATURDAY, 17TH MARCH 2012 AT 20:00 Medijski partneri Media Partners

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