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MELOS-ETHOS International Festival of Contemporary Music Bratislava, 7-17 November 2005 Tflli™ INTERNATIONAL FESTIVAL of CONTEMPORARY MUSIC

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MELOS-ETHOS International Festival of Contemporary Music Bratislava, 7-17 November 2005 Tflli™ INTERNATIONAL FESTIVAL of CONTEMPORARY MUSIC it m ai.... MELOS-ETHOS International Festival of Contemporary Music Bratislava, 7-17 November 2005 tflli™ INTERNATIONAL FESTIVAL OF CONTEMPORARY MUSIC Member of the European Conference of Promoters of New Music ; ig Bratislava 7-17 November 2005 ....... ii-:"-:.---.- ••:•••;::•'•-•*'•'• :i:-:v:;,:-;:5::,:;::';: ""^.'-^^V^^^^W^N^ehiptiii^iH;;^ .:::,:::'-.-:-:-.V:V.;:-.-'::;.-, The festival is supported by Ministry of Culture of the Slovak Republic Main organizer Music Centre Slovakia as delegated by Ministry of Culture of the Slovak Republic Co-organizers Slovak Radio Academy of Music and Performing Arts BranslavaCulture and Information Centre PKO Cultural Centre, Bratislava In collaboration with Slovak Philharmonic Music Fund PRO HELVETIA Goethelnstitut Inter Nationes Institut Francais, Bratislava Embassy of United States of America, Bratislava Radisson SAS Hotel Carlton Polish Institute, Bratislava Slovenske elektrarne, a.s. Association of Slovak Composers Experimental Studio of Slovak Radio Ministry of Culture of the Lithuanian Republic It Festival Committee Ivan Marton, Chairman JozefLuptak Daniel Matej Bosko Milakovic : Adrian Rajter Ol'ga Smetanova , .g\#>. MarekZoffaj Festival Secretary Silvia Zvarova Project Coordinator DenisaBencova The organizers express their warmest gratitude towards all institutions and individuals for their support and assistance. CONCERT CALENDAR Monday • 7 November • 7.00 p.m p. 9 Slovak Philharmonic Concert Hall GODAR 0 BENES REICH Slovak Philharmonic Orchestra Amadinda Percussion Group Valcuha, Lackova, Oravecz, Racz Tuesday • 8 November • 7.00 p.m p. 17 Slovak Radio, Large Concert Studio REICH Amadinda Percussion Group VENI ensemble Chamber Soloists Bratislava DuoPercufonia Racz, Fodor, Horvath, Karolyi, Loczi, Oravecz, Reich Wednesday • 9 November • 7.00 p.m... p. 27 PKO Cultural Centre REICH Amadinda Percussion Group Jakabcic Zwiebel Quartet Thursday • 10November • 7.00p.m. ...p.35 PKO Cultural Centre LUKASLIGETI GYORGYUGETI XENAHS Amadinda Percussion Group Karolyi Friday • 11 November • 5.00 p.m p. 45 Slovak Radio, Small Concert Studio CRUMB BRAM KURTAG MESSIAEN SAARIAHO SZEGHY Amaltea Friday a 11 November • 7.00 p.m p. 57 Slovak Radio, Small Concert Studio BALAKAUSKAS KMlfOVA SAARIAHO BURLAS MAZULTS Gaida Ensemble Servenikas Saturday • 12 November • 7.00 p.m p. 65 Slovak National Theatre Opera House BENES Slovak National Theatre Opera Tuzinsky Sunday • 13 November • 11.00 am p. 69 Palffy Palace, Zamocka 47 KOLKOVICH 08 GASPARIK MARTINCEK ZELJENKA Gaspar, Jarojurcenko, Sokol, Vizvary Albrecht Quartet Benkova, Magyarova Sunday • 13 November • 5.00 p.m p. 75 Slovak Radio, Small Concert Studio SCHULHOFF 09 CAGE JANARCEKOVA BOKES GUBAIDULLNA TrioDounia Sunday • 13 November • 7.00 p.m p. 85 Slovak Radio, Small Concert Studio RIHM WIDMANN NONO Minguet Quartet Monday • 14 November • 7.00 p.m p. 91 Slovak Radio, Small Concert Studio .: BOULEZ XENAKIS APERGHIS CLEMENT ROY KAGEL SCELSI IRSHAI Aleph Ensemble Tuesday • 15 November • 7.00 p.m p. 101 Slovak Radio, Small Concert Studio HOSOKAWA KMTfOVA PAPANETZOVA UN BOULEZ LEJAVA VARESE Melos Ethos Ensemble Lejava, Nagy Wednesday • 16November • 7.00p.m. ..p. 109 Slovak Radio, Small Concert Studio KURTAG 13 BOKES STEINECKER BRANDMULLER LEJAVA SENESI UGETI Ginzery, Mudronova, Siller Thursday • 17 November • 7.00 p.m p. 117 Slovak Radio, Large Concert Studio SIMAI SHCHETINSKY WIELECKI MATSUSHITA The Slovak Radio Symphony Orchestra Nagy, Hudacsek The programme and the artists may change without prior notice! FRINGE EVENTS Tuesday-Thursday • 8-10 November... p. 125 Energy Consulting and Information Centre, Konventna 9 From Perotinus towards Reich Ideas of the Minimal in the Past and Present of Music International Symposium « Wednesday • 9November p. 127 1.30 p.m. Energy Consulting and Information Centre Discussion with Steve Reich Monday • 14 November • 4.30 p.m.... p. 131 Institut Francais, Bratislava French Electroacoustic Music Lecture w/m MONDAY jfM 7 NOVEMBER Slovak Philharmonic Concert Hall 7.00 p.m. f i : • • SLOVAK PHILHARMONIC ORCHESTRA AMADINDA PERCUSSION GROUP Juraj Valcuha conductor VeronikaLackova piano Gyorgy Oravecz piano Zoltan Racz piano 10 VLADIMIR GODAR Partitafor 54 String Instruments, Harpsi­ chord, Timpani and Tubular Bells (1983) Fuga. Adagio Concertino. Allegro con spirito Corale. Lento Capriccio. Presto Canzonetta. Andante quieto e cantabile JURAJ BENES Concerto for Piano and Orchestra No. 3 (2004)* INTERMISSION STEVE REICH The Four Sections (1987) m. IV. >i *world premiere 11 VLADIMIR G0DAR (1956, Bratislava) studied at the Conservatoire in Bratislava (piano with Maria Masarikova, composition with Juraj Pospgil) and at the Academy of MusicandPerformingArtsinBratislava(compostition with DeziderKardos), grad­ uating in 1980 with his Symphony No. 1 for orchestra. Between 1979-1988 he worked as an editor of OPUS Publishing House, since 1988 he's been working at the Institute of Musicology of the Slovak Academy of Sciences. Between 1993-1994 he was the composer-in-residence at the Slovak Philharmonic. 1991-1996 he was the senior editor olSlovak Music quarterly. Since 1996 he has been lecturer of aesthet­ ics at the Komensky University in Bratislava. Godar's first compositions are marked by twelve-tone music, post-war serialism and the Polish School, later, among the trends of the seventies, he was influenced by ancient European music, which he performed (as a continuo player in early music ensembles led by Jan Albrecht), analysed (sever­ al studies, including his dissertation Battaglia and Mimesis) and revised (several volumes ofFontesmusicae, Ancient Music in Slovakia). Forgotten techniques and sound concepts of old European music were thus incorporated into his language. In his comprehensive works he seeks confrontation of the musical past with the present, making use of polystylistic elements (Ricercar, Charm, Partita, Sonata for Cello and Piano, Concerto grosso, Meditation/or Violin and Orchestra, Orbis sensual- ium pictus, Dariachanga's Orchard, Sequence for Violin and Piano). He uses methods of reduction and selection to confront characteristic expressive shapes, drawing not on minimal music of the sixties and seventies, but on European music history, and he further simplifies his language in works written after five years of silence (Symphony Nr. 2, Autumn Meditation, Tenderness, Via lucis, Barcarole). He has been awarded a several prizes: J. L. Bella Prize for Partita (1985) and Concerto grosso (1987), Musical Critic's Prize for Dariachanga 's Orchard(V)i&) and Golden Nail Prize for film music Tenderness (1991) Works (selection): Ricercarper 4 stromenti (1977), Sorrowfull Songs to Words from Old Slovak Poetry for female/children's choir and chamber ensemble (1979), Symphony No. 1 (1980), Trio for violin, clarinet and piano (1980), Violin Duets (1981), Lyrical Cantata for mezzo-soprano and chamber orchestra (1981), Partita for 54 String Instruments, harpsichord, timpani and tubular bells (1983), Grave, passacaglia for piano (1983), Talisman, nocturne forviolin, cello and piano (1979- 1983), Orbis sensualiumpictus, oratorio (¥)84),Meditation forviolin and orches­ tra (1984/rev. 1995), Four Earnest Songs for voice and piano (1985), Sonata to the Memory of Viktor Shklovsky for cello and piano (1985), Concerto grosso per archi e cembalo (19S5), lullabies off an Skdcel for soprano, flute, cello and harpsichord (1986), Sequence for violin and piano (1987), Dariachangha s Orchard, myth af­ ter 0. Chiladze for viola, cello and orchestra(1987),^«tonn Meditation for string quartet (1970/1990), Tenderness, music for a film (1991), Tenderness for string quartet (1991), Symphony No. 2, ritual for orchestra(1992), Via lucis for orchestra (1993), Barcarole for violin, harp, harpsichord and strings (1993), Deploration sur la mart de Witold Lutoslawski for string quartet (1994), Emmeleia, various ver­ sions (1994), The Garden, music for a film (1995), Tombeau de Bartok for orches- tra(1995),£cce/>Ker for soprano, harp, chitarrone, harpsichord andstrings(1997), Orbis pictus, music for a film (1997), La Canzona refrigerativa dellarpa diDavide for cello and harp (1998), Bikit Gilgames for bass and cello (1998), O Crux for cello 12 solo (1999), Krajinka, music for a film (2000), Divertimento in A for violin and cello (2001), Variazionifacili forviolin, cello and piano (2001), Filmovd suita for string quartet (2001), Stdla matka (2001), Kniha zalmov for cello (2003), Pieseh labute for 4ce\ios(2005),Maldsuitupresaxof6novekvarteto(200y),Lecarneval de Venise for string quartet (2005), Slnecnystdt, music for a film (2005). All human artefacts contain the legacy of the past and the present as well as the orientation towards the future. The aim of my composition Partita was to refocus on the problem of the present-past relationship. The conflict with the tradition is no coincidence. I am convinced that a solution to the problems of the present can be found only via a constant meditation over the past. Only after you have really come to terms with the legacy of the tradition, you can come up with a new, breakthrough idea Every human being carries around their past within themselves, but only a memory can provoke a desire for an act of a dynamic innovation. Tradition serves as a collective memory, and its function as an individual human memory is that of a feedback regulator within the living cultural system. In the individual psycological, sociological and artistic struggle for the reconstruction of the human space, the con- flictwiththepastis always
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