ISBN 978961923030ŁŁŁ-5

9 789619 230305

Mu s The Music of Slovenia E Five C ical Educaical R enturies of Slovenian C ock’n’R Slovenia –Birthplace of Folk-Po t ion –ASlovenian N Three Slovenians make aChoir oll inE very Slovenian V cho s through C la ss ational A ical Mu ical annes illage sset s ic p 60 46 04 52 36 33 Digitalna knjižnica Slovenije vam na naslovu www.dlib.si ponuja enostaven dostop do slovenskega znanja in kulturnih zakladov. Na portalu smo za vas obudili:

NOTNE ZAPISE skladb znanih slovenskih skladateljev v rokopisni in tiskani obliki, s pomočjo programa Sibelius pa natisnjene lahko tudi poslušate; ZVOČNE POSNETKE pevskih solistov in ansamblov iz prve polovice 20. stoletja; ČLANKE iz revij, kot so Novi akordi, Nova muzika in Muzikološki zbornik. Knjižnica, ki jo tudi slišite!

The Digital Library of Slovenia, located on the web at www.dlib.si, offers easy access to the knowledge and cul­ tural riches of Slovenia. Available at the website are • sheet music of works by well known Slovene composers both in manuscript facsimiles and engraved edi­ tions; printing and playback are made possible with the help of the notation program Sibelius • Recordings of vocal soloists and ensembles from the first half of the century • Articles from magazines and journals such as Novi akordi, Nova Muzika and Muzikološki zbornik The library you listen to! Introduction 1 INTRODUCTION

n the next calendar year, 2008, Slov- Europeans are familiar with the musical enia and Slovenian cultural profession- creations of Slovenia past and present. Ials are planning a series of exceptional Slovenian history is extremely rich in terms events that will highlight Slovenia and its of its music institutions. The roots of this rich cultural tradition. During the Slov- history began with foreigners, especially enian EU Presidency, a variety of cultural those from the Italian-German language activities and events will take place, and area and later from the Czech language quite a few of them will be of an excep- area. Ultimately there was enough activ- tional and unique nature: that is, they will ity and interest in this field to justify the be happening for the very first time in the foundation of the »Academia Philharmoni- history of Slovenian culture. One of these corum« in the early eighteenth century, is the national presentation of Slovenian an institution that left an indelible mark music at MIDEM in Cannes in January on Slovenian music creation and also trig- 2008. With few exceptions, this fair has gered further developments in the Slov- been unknown to representatives of Slov- enian space. It should be noted that the enian music, Slovenia has never made an activities of the Academia took place at independent guest appearance in Cannes, the very top of the European musical arts and this has made it more difficult to draw and are associated with the names of mu- attention to the long-lasting tradition of sic giants such as Beethoven, Schubert, Slovenian music and its role in the Euro- Mahler. The Academia also became the pean musical space. core of the Philharmonic Society which MIDEM 2008 is the first time Slovenia has was established some time later and is had the opportunity to present its music the predecessor of today’s Slovenian Phil- at this world music fair in a complex and harmonic, the leading institution in classi- systematic manner. This is very important cal music in Slovenia today. since Slovenian music is not well-known While there have been many remarkable in the wider European perspective de- achievements in Slovenian music creation spite the fact the Slovenians, such as the and performance, Slovenian music and renowned Renaissance composer Iaco- music-making has never led in the wider bus Gallus, have participated in creative European history of music. It could even achievements that belong to the highest be said that it lagged behind in the early level of European and world music. And phases of its development. However, this yet, except for specific segments of the gap has been getting narrower and today music profession and its academies, few Slovenian music creation keeps abreast

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 2 Introduction

of wider European novelties and trends in small nations and their cultures. In any try that must constantly struggle against every field of music and in every musical case, this globalizing trend is prevalent to- saturation and find new products that will genre. day. It is not only a question of globalisa- meet the demands of the world market. The next calendar year will be a time of in- tion but also of cultural industrialisation, It must constantly strive to uncover new tercultural dialogue. It offers a promising and this has introduced new economic and undiscovered creative power and po- opportunity for fusion and familiarisation laws into the entire field of culture. This is tential, something that is not always to among many cultures and traditions, par- especially true in the field of music. New be found in the domain of larger nations. ticularly for small nations like Slovenia. technologies, new inventions, universal Quality is the key standard and this offers This is especially important now when accessibility to achievements in sound possibilities for new music products. it seems that creative activity must nec- transmission technique all point toward As a young and now presiding EU mem- essarily be enriched by contact with the higher and higher quality. Music has be- ber, Slovenia shall surely be intriguing to unknown, with new creative sources, new come an industrial market good that, like the many visitors who come to MIDEM creative motifs and spiritual dimensions all goods, goes in search of new markets, this year. MIDEM is a venue that features that are present in all cultures, large and new ideas, new creativity. In this new con- representatives from many countries, small. Size is unimportant in this endeav- text, music can definitely be one of Slov- publishing and production houses, music our: what matters is the ability to draw on enia’s most successful export products. information centres, music institutions, rich, unexploited creative power in order Naturally, looked at from the perspective radio and televisions stations from the to offer the world works of art that are of economic and commercial indicators, whole world. We expect to turn a new page professionally-crafted, rich in substance, the Slovenian music industry is small, in our music history here, to begin a new aesthetics and taste, and have something since the Slovenian market itself is mod- chapter in the recognition of Slovenian fresh, unique and challenging, therefore erate in size. Nevertheless, our music can culture throughout the world. becoming not just exotic but potent in a be interesting to many people. We have wider cultural context. One might argue the ability to meet the high standards of Dr. Vasko Simoniti that these values are more present in the international music industry, an indus- Minster of Culture Republic of Slovenia Contents 3

04 33 36

Play Slovenia 4 Music of Slovenia Echos through Cannes Discover the Musical Cultures of Slovenia 6 For All Kinds of Music Editors: 7 A Home for Arts and Music dr. Jonatan Vinkler, Viktor Škedelj Translation: 8 Three Centuries of Music Steven Loy 11 RTV Slovenia Lectureship: 12 The Slovenian National Theatre Erica Johnson Debeljak Design, Typesetting and Computer handling: 15 For the Present and Future of Slovenian Music Klemen Kunaver 16 Weaving Together Tradition and Modernity Publisher: 17 Culture for Everyone Slovenian Music Information Centre (SIGIC) The Publisher represented by: 18 We Support Musical Creativity Mitja Bervar 19 Because We Value Music Address: SI-1000 Ljubljana, Trg francoske revolucije 6 20 Cooperating for the Future tel: + +386 (0)1 241 20 90 22 Feel, Live, Create http://www.sigic.si/ Print: 25 Always Alive as at the Moment of Creation Tiskarna Pleško d.o.o. 26 Pride of the City of Maribor Circulation: 28 New Sounds of Early Music 14000 copies 29 Forty-Nine Years of Jazz Financially supported by: Ministry of Culture of The Republic of Slovenia 30 The Alternative Music Scene 33 Five Centuries of Slovenian Classical Music Co-sponsor – Printing House Pleško 36 Three Slovenians make a Choir 38 The Regiment Marches Down the Street 40 Traditions and Innovations 44 Historic Roots and New Beginnings 46 Slovenia – Birthplace of Folk-Pop 48 A Short History of Slovenian Pop Music 52 Rock’n’Roll in Every Slovenian Village CIP - Kataloûni zapis o publikaciji Narodna in univerzitetna knjiûnica, Ljubljana 54 Hip-Hop in Slovenia 78(497.4) 56 Electronic Music in Slovenia PLAY Slovenia : discover Slovenian music cultures / 58 The Slovenian Festival Caravan editors Jonatan Vinkler, Viktor Škedelj ; translation Steven Loy. - 60 Musical Education – A Slovenian National Asset Ljubljana : Slovenian Music Information Centre (SIGIC), 62 From Manuscript to Music 2007 ISBN 978-961-92303-0-5 65 contacts 1. Vinkler, Jonatan 236863744 46 52 60

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 4 Music of Slovenia ...

Music of Slovenia Echos through Cannes Slovenian Presentation at MIDEM 2008

Eva Hren

Drago Gajo George Pehlivanian Mate Bekavec Neisha Bojan Gorišek Bratko Bibič

When Slovenia assumes the presidency of the its very best. The choice of Mahler is not arbitrary — the composer was conduc- European Union in 2008, its music will be highlighted tor of Ljubljana’s Theatre of the Estates at MIDEM for the first time. On Tuesday, January 29, during the 1881-1882 season and also performed as a pianist at concerts by the 2008, the sounds of the Slovenian musical pantheon Philharmonic Society. will be heard all day and night. Slovenian jazz will move into the spotlight at the Carlton Hotel as day turns to night. e will start with a presentation of Most recently, he has impressed the mu- Jazz here will be understood in its broad- music and dance-themed televi- sical world with his interpretations of Arvo est sense, embracing traditional stand- Wsion programmes produced by Pärt and Philip Glass. ards, local varieties, and the avant-garde. RTV Slovenia at the 2008 Avant Première The evening’s main event in the Debussy The Bratko Bibič trio will open the festivi- Screenings (IMZ). The Minister of Culture Auditorium will be a concert by the Slo­ ties. Bratko Bibič is the accordionist who Dr. Vasko Simoniti will give a welcoming venian Philharmonic performed under in the late seventies already anticipated speech at the Slovenian exhibition pavil- the baton of chief conductor George Peh­ world-music and ethno-jazz, later joining ion (R 30.01) on behalf of the event’s main livanian. The concert will open with Bela the international movement Rock in Oppo- sponsor, the Slovenian Ministry of Culture. Krajina, a work by Slovenian composer sition, and today is a member of the world The rhythm will gradually quicken as Nei­ Marjan Kozina that is named after one of famous ensemble Accordion Tribe. Next sha, the most popular Slovenian pop sing- the most poetic regions in Slovenia. The will be the Jazz Club Gajo quartet, named er today, appears with her band. Events at performance will commemorate the hun- after the main jazz club in Ljubljana the pavilion will close with cocktails. dredth anniversary of the composer’s where young jazz musicians are given the Next will be a recital by pianist Bojan birth. Next will be Aaron Copland’s Con­ chance to test their chops. The finale will Gorišek, a performance that will be both certo for Clarinet and Orchestra featur- showcase the RTV Slovenia Big Band with contemporary and classical. Gorišek, ing soloist Mate Bekavac, who despite vocal soloist Eva Hren and American guest known for his interpretations of minimal- his youth is one of the leading Slovenian saxophonist Ronnie Cuber. This group, the ist music, has recorded the entire piano clarinettists today. The Philharmonic will oldest jazz ensemble in Slovenia having opus of Erik Satie and George Crumb as conclude with Gustav Mahler’s Symphony performed continuously since 1945, com- well the works of Slovenian composers No. 5, a work that will give the 110-mem- bines rich jazz with the many musical his- Marij Kogoj, Aldo Kumar, and Milko Lazar. ber orchestra a chance to shows itself at tories of Slovenia. M

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Tuesday, January 29, 2008 / Slovenian Pavilion R 30.01 3.00 PM 11.30 AM

10.00 PM

5.00 PM

8.00 PM

11.30 AM: IMZ Avant Première Screening 2008 RTV Slovenia presents music and dance themed television programmes 3.00 PM: Cocktail at the Slovenian Pavilion R 30.01 Welcoming of guests by Slovenian Minister of Culture Dr. Vasko Simoniti Music by: Neisha 5.00 PM: Auditorium A Recital by pianist Bojan Gorišek 8.00 PM: Auditorium Debussy Slovenian Philharmonic Orchestra concert, conducted by George Pehlivanian and featuring soloist clarinettist Mate Bekavac, clarinet 10.00 PM: MIDEM & IJFO Jazz Club, Carlton – Studio 54 Bratko Bibi Trio, Jazz Club Gajo Quartet, RTV Slovenia Big Band featuring solo vocalist Eva Hren & Ronnie Cuber on baritone sax

MIDEM-oglas-ang.indd 1 12/27/07 10:28:49 AM 6 The Slovenian Music Information Centre For All Kinds of Music The Slovenian Music Information Centre

SIGIC staff (photo: Klemen Kunaver) The primary activity of he Slovenian Music Information Cen- team of professionals working out of the tre (Slovenski glasbeni informacijski office spaces of the centre takes care of the centre is the creation Tcenter - SIGIC), is the main informa- day-to-day administration, hiring free- and upkeep of a database tion centre for music in Slovenia. lance associates as needed. SIGIC was established in 2004 following The primary activity of the centre is the of Slovenian music and a public tender initiated by the Ministry creation and upkeep of a database of Slov- musicians of all genres, of Culture and the Ministry of Information enian music and musicians of all genres, Technology for the creation of a music in- styles, and forms from all periods of his- styles, and forms from formation centre in Slovenia. After its es- tory including the present. SIGIC has de- tablishment, the centre had immediate veloped an original and innovative com- all periods of history success in raising the level of information puter programme called MUSICASI. The including the present. in the field of music. On the basis of these programme was designed to create a pro- efforts, SIGIC was accepted into the Inter- fessional and comprehensive catalogue national Association of Music Information of musical works and will be adopted in Centres (IAMIC) in Sweden in June 2006. 2008 by many musical institutions in Since that time, SIGIC has functioned as a both Slovenia and internationally. Because full member of the association. In addition it uses the UNIMARC system of numbering to its many other activities, it distributes description fields, the catalogue will be a monthly English-language summary of globally compatible. In addition to its main music news in Slovenia that is also rel- activities, SIGIC also carries out a number evant for other international music infor- of other important functions: it announces mation centres. These contributions are music related events, reports on publish- posted on the IAMIC website and in sum- ing news from the music world, distrib- maries sent out to interested parties. utes weekly music-information bulletins, SIGIC is organised as an association. It cur- and promotes Slovenian music nationally rently has one hundred and eleven mem- and internationally (for example, organ- bers and has signed cooperation agree- ising the 2008 Slovenian presentation at ments with more than forty of the most MIDEM). It is also important to emphasize important music institutions in Slovenia. the unifying role that SIGIC has had in the The supervisory board of the association is field of music in Slovenia. SIGIC intends to made up of a ten-member administrative intensify its role in the future while broad- council headed by a president. A skilled ening its range of activities. M

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Cankarjev dom 7 A Home for Arts and Music Cankarjev dom

ince 1980, Cankarjev dom, the Ljubljana culture and congress cen- Stre, has been enriching the cultural life of Slovenians. On the international scene, Cankarjev dom is an important and reputable representative, messenger and purveyor of Slovenian culture as well as a cultural and artistic exchange for foreign culture. On the local scene, it remains the central creative and unifying force behind artistic and cultural life. Each year Cankarjev dom, which measures some thirty-six thousand square metres, presents approximately one thousand cul- tural and artistic events and two hundred congresses, and hosts more than four- hundred thousand visitors. Although the cultural and artistic pro- gramme of Cankarjev dom includes all categories of the arts – from theatre, dance, and film to the graphic arts and lit- Vlado Kreslin (photo: Goran Antley) Cankarjev dom (photo: Cankarjev dom archive) erature – the majority of its programming Among the musical guests who have appeared in the is devoted to music. It offers an extremely diverse selection of musical styles and framework of the centre’s classical music programme, features prominent national and interna- Cankarjev dom is especially proud to have hosted tional guest artists. Among the musical guests who have ap- Luciano Pavarotti, Carlos Kleiber, Zubin Mehta, Mischa peared in the framework of the centre’s Maisky, Radu Lupu, Grigorij Sokolov, Lang Lang, Midori, classical music programme, Cankarjev dom is especially proud to have hosted Lu- Joshua Bell, Lorin Maazel, Mariss Jansons, and ciano Pavarotti, Carlos Kleiber, Zubin Mehta, Sir Simon Rattle. Mischa Maisky, Radu Lupu, Grigorij Sokolov, Lang Lang, Midori, Joshua Bell, Lorin Maa- Koite, David Bamada, Madredeus, Vlatko Lipovšek, Mirjam Kalin, and Bernarda Fink; zel, Mariss Jansons, and Sir Simon Rattle, Stefanovski, and many others. flutist Irena Grafenauer, pianist Dubravka as well as acclaimed orchestras such as Cankarjev dom is also proud of the fact Tomšič, clarinettist Mate Bekavec, bass- the Vienna Philharmonic, the Israel Philhar- that in 2005 it was co-producer of the first baritone Marcos Fink, pianist Bojan Gorišek monic, the Royal Concertgebouw Orchestra, staged production of Jaques Offenbach’s and many others. The new club series the National Symphony Orchestra of Wash- lost opera Les fées du Rhin, which was Cankarjev Currents, beginning in February ington D.C., the Royal Philharmonic Orches- performed in Ljubljana following its un- 2008, will offer weekly performances by tra of London, and Staatskapelle Dresden. successful Vienna premiere. Slovenian artists and performers of jazz, World-renowned guest artists from other Cankarjev dom gives special attention to world music, and other genres. The first musical genres include John Zorn, Misia, the presentation of national artists of which Tuesday will present the thirty-year career Omara Portuondo, Cesaria Evora, the Buena many are themselves world-renowned of internationally recognised Slovenian per- Vista Social Club and Ibrahim Ferrer, Habib names: namely, mezzo-sopranos Marjana cussionist Zlatko Kaučič. M

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 8 The Slovenian Philharmonic Three Centuries of Music The Slovenian Philharmonic

Our goal is to create one of the best musical The Slovenian Philharmonic is one of the oldest musical organisations in the world, establishments from one of our oldest. boasting a tradition of more than three hundred years. he Slovenian Philharmonic, one of B. Leskovic, S. Hubad, L. Matačić, U. La- the foremost musical establish- jovic, M. Horvat, and M. Letonja. In 2005, Tments in the country, enjoys a long the leadership of the orchestra was as- The Slovenian Chamber Choir, established and rich tradition. Along with its ven- sumed by its first non-Slovenian conduc- as a professional ensemble in 1991 by erable predecessors — the Academia tor, George Pehlivanian. The artistic direc- Dr Mirko Cuderman, has operated as an Philharmonicorum (1701), the Philhar­ tion and achievements of the orchestra independent part of the Slovenian Phil­ monic Society (1794), and the first Slov­ have been confirmed in numerous guest harmonic since 1998. Mirko Cuderman enian Philharmonic (1908-1913) — to- appearances across Europe, the United has acted as artistic director since its day’s Slovenian Philharmonic is one of States, and Japan, as well as at perform- founding. The choir gives approximately the oldest musical organisations in the ances at important international festivals thirty-five performances each season. In world, boasting a tradition of more than and during collaborations with esteemed addition to their subscription series fea- three hundred years. J. Haydn, L. van conductors (such as C. Kleiber, R. Muti, turing both vocal-instrumental and a cap­ Beethoven, N. Paganini, J. Brahms, and and Z. Mehta) and renowned guest art- pella music, the choir regularly sings with C. Kleiber are among the many eminent ists (Y. Menuhin, D. Oistrakh, I. Pogorelić, other orchestras, performs at festivals names that have been affiliated with the M. Lipovšek, D. Tomšič). For many years and symposiums, and works with guest Slovenian Philharmonic. now, the orchestra has presented a sea- soloists and conductors (E. Ericsson, T. Both the Slovenian Philharmonic Orches- son of thirty-six regular subscription con- Kaljuste, G. Theuring, V. Kranjčević). The tra and the Slovenian Chamber Choir op- certs along with a number of occasional choir has recorded a series of thirty CDs erate under the aegis of the Slovenian performances and youth concerts. The entitled Musica Sacra Slovenica featuring Philharmonic. Since its reestablishment orchestra’s musical accomplishments Slovenian sacred music and have released in 1947, a number of celebrated conduc- have been recorded on more than forty thirty-six other discs that highlight an ex- tors have led the orchestra, including compact discs. tensive range of Slovene choral music. M

Slovenian Philharmonic Hall The Slovenian Chamber Choir (both photos: Slovenian Philharmonic archive)

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Oglas 238x300.ai 12/19/07 12:00:22 PM

Proudly celebrating our 100th Anniversary! Slovenian Philharmonic 10

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia RTV Slovenia 11

RTV Slovenia Music in the Programme of RTV National Radio and Television

The television programme Lepo je biti Mozart (Who Wants to be Mozart?) (photo: Stane Sršen) TV Slovenia is a public institution of RTV Slovenia operates a symphony orchestra, a big cultural and national importance. RIt performs a public service in the band, a chamber choir, and a children's and youth field of radio and television with the goal of choir. All of these contribute to the fulfilment of one of fulfilling the democratic, social, and cultur- al needs of the citizens of the Republic of the fundamental tasks of public radio and television: Slovenia and Slovenians around the world. the broadcast of musical culture and especially of RTV Slovenia operates two national televi- sion stations, three national radio stations, Slovenian musical works and Slovenian artists. a number of regional radio and television stations, radio and television channels for Slovenian artists. The rich palette of con- occupies a special place in the national the indigenous Italian and Hungarian com- cert activities both nationally and inter- radio programming: it is the only sta- munities, and original programming for nationally serves to promote RTV Slovenia tion to have special programs on culture, the ethnic Roma community. It also pro- and Slovenia as a nation. RTV Slovenia has art, science, and education. It is known vides broadcasting for Slovenian national an in-house record label, Založba kaset in as the arts (or the ‘gourmet’) station as minorities in neighbouring countries, Slov- plošč, that releases CDs, audio-cassettes, some three-fourths of its programming enian emigrants, and Slovenians working video-cassettes, and DVDs. is dedicated to classical music ranging in foreign countries. Lastly, RTV Slovenia Radio Slovenia’s primary station is a from traditional works to the most mod- is required by law to provide a special na- general political and information pro- ern output. tional television programme for the direct gramme. It also provides cultural-artistic All types of music are broadcast on RTV simulcast and broadcast of meetings of broadcasting: radio plays, literary eve- Slovenia’s cultural programmes: from folk, the National Assembly and its various gov- nings, and nocturnes (generally short light and popular music to alternative ernmental bodies. poetry readings). RTV’s second station, styles. Radio shows are produced to high- RTV Slovenia operates a symphony or- VAL 202, is not only informative but also light cultural/artistic themes such as clas- chestra, a big band, a chamber choir, and a airs phone-in shows and entertainment. sical music and ballet. Pre-recorded opera children's and youth choir. All of these con- Music is an important broadcasting com- productions and concerts of classical and tribute to the fulfilment of one of the fun- ponent on this station, and in particular contemporary music are broadcast. In ad- damental tasks of public radio and televi- newer and more popular music, concert dition, the station produces educational sion: the broadcast of musical culture and broadcasts, and portraits of music per- and documentary programs about music, especially of Slovenian musical works and sonalities. Radio Slovenia’s third station composers and their works. M

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 12 The Slovenian National Theatre Maribor

The Slovenian National Theatre Maribor Drama, Opera, Ballet, and Symphony Orchestra

Swan Lake (photo: SNG Maribor archive) The Slovenian National Theatre (SNG) Maribor is the devoted to European orchestras and op- era houses. The fact that she is a regular largest public cultural institution in Slovenia. guest at the best opera houses provides t is also the only Slovenian theatre that well. Our very successful tour to Japan ample proof of the high level of her artis- unites dramatic, musical, and dance during which our opera, ballet, and sym- tic, musical, and aesthetic achievements. Iproductions under one roof, a rare or- phony orchestra gave guest appearances She has already added a well-planned cy- ganizational arrangement even in Europe. dominated the season and surpassed all cle of symphonic concerts to the highly SNG Maribor is made up of a theatre com- expectations. The guest appearance of varied opera and ballet repertoire. SNG pany, an opera and ballet company and our drama ensemble in Germany was also Maribor’s season will be complemented a symphony orchestra. It employs more a resounding success. According to the by this excellent concert cycle. It will than three-hundred people and has ap- responses of the critics, the visit fulfilled provide a forum for our skilled musicians poximately one-hundred and fifty employ- expectations in terms of repertoire and to show their high level of mastery and ees under freelance contract. In addition performance standards. Indeed demand knowledge. to its regular programming, SNG Maribor far outstripped our supply. SNG Maribor Drama operates under the is the host and organiser of the annual For twenty years, SNG Maribor Opera artistic directorship of Vili Ravnjak. He has Borštnikovo Srečanje Theatre Festival and and Ballet was led by Stane Jurgec who created many excellent and well-attended the Ondina Otta Young Singers Competi- strived to elevate the institution to the productions that received positive reviews tion. level of other important European cultur- and high praise from critics and audience Last season was exceptionally diverse al institutions. The artistic directorship alike. The coming season will once again and successful. Large audiences enthusi- has now been taken over by the world-re- bring respected directors with unique ar- astically applauded our artists – not only nowned conductor Karen Kamenšek. Her tistic visions that will enrapture and en- in Slovenia but in international venues as artistic career has been almost entirely rich viewers. M

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Sergej Prokofjev Pepelka Spored CINDERELLA / DAS ASCHENPUTTEL PROGRAMME / PROGRAM 07.01., 08.01., 29.02. in 10.05. 2008 Milko Lazar / Edward Clug Prêt-à-porter 01.02., 02.02., 03.02., 04.02., 05.02. in 11.02.

Georges Bizet Carmen 22.02., 23.02., 25.02., 26.02., 02.03., 03.03., 04.03., 06.03., 08.03., 16.05., 17.05., 22.12., 23.12.

Pietro Mascagni Cavalleria rusticana Ruggiero Leoncavallo Glumači PAGLIACCI 21.03.

Peter Iljič Čajkovski Labodje jezero SWAN LAKE / SCHWANNSEE 29.03.

Valentina Turcu La Callas 01.04., 02.04., 16.12., 17.12.

Wolfgang Amadeus Mozart Così fan tutte 18.04., 19.04, 20. 04., 22.04., 24.04.

Mikis Theodorakis Grk Zorba ZORBA THE GREEK / ZORBA, DER GRIECHE 23.05., 24.05.

Giacomo Puccini Madama Butterfl y 10.10., 11.10., 13.10., 15.10., 12.12., 13.12., 29.12.

Peter Iljič Čajkovski Hrestač THE NUTCRACKER / DER NUSSKNACKER 07.11., 08.11., 09.11., 12.11., 15.11., 18.11., 09.12., 26.12., 27.12.

Giuseppe Verdi La traviata 28.11., 29.11., 30.11., 02.12., 03.12., 05.12., 06.12., 10.12., 11.12., 30.12., 31.12.

Koncerti Simfoničnega orkestra SNG Maribor CONCERT OF THE SYMPHONY ORCHESTRA OF SNG MARIBOR / KONZERT SINFONIEORCHESTER DES SNG MARIBOR www.sng-mb.si 17.01., 13.03., 08.05., 25.09., 23.10., 19.12., 20.12.

RepertoarEP.indd 1 12/18/07 8:18:32 PM Društvo slovenskih skladateljev / Society of Slovene Composers Trg francoske revolucije 6/I, Ljubljana, Slovenia • E-mail: [email protected] • www.dss.si The Society of Slovene Composers 15

For the Present and Future of Slovenian Music The Society of Slovene Composers

SS was founded in 1945. Originally The guiding principles behind concert and The Society of Slovene it operated as a volunteer organi- publishing activities are ecumenical. The Dsation, but the growing needs of association strives to support and include Composers (Društvo composers began to require more active the widest possible range of aesthetic slovenskih skladateljev engagement. DSS’ primary task was the convictions. publishing of music, an activity first pur- – DSS) brings Slovenian sued in collaboration with the government composers together publishing house DZS, and after 1955 New works are often commissioned from independently from its own publishing DSS members for these events. under one roof and house. It also initiated a number of concert Originally DSS counted both musicologists series for the performance of new music and composers among its members, but is responsible for the all of which are still in existence. The first today only composers receive member- commissioning and series launched in 1966 was called Kon- ship. Currently there are approximately certni atelje (Concert Atelier) and this one hundred composers and fifteen musi- promotion of new works. was followed by the Night of the Slovene cologists registered as members. certain type of music may sometimes be Composers (1991) and Musica Danubiana The core work of DSS is carried out by five requested. (1998, called Unicum today). The soci- employees: the general secretary, the di- The results are impressive: the associa- ety has also organised many international rector of concert activities, project coordi- tion has published almost two-thousand concerts and is the force behind the Ars nator, director of publishing, and an archi- musical works and approximately sixty Slovenica series of CD recordings of Slov- vist. Various organisational committees compact discs carry its name. It has enian music. include, among others, a general commit- overseen over a thousand debut perform- The association’s publishing wing, DSS tee, administration and oversight commit- ances. This depth of experience has fa- Editions, produces approximately thirty to tees, and honorary court of arbitration. cilitated the organisation of larger events forty publications and five compact discs Special sections are formed for particular such as Days of World Music 2003, a each year. This year Concert Atelier is pre- projects. huge success the first time it was held in paring six chamber concerts. The Night of The guiding principles behind concert and Slovenia. Slovene Composers series performs two publishing activities are ecumenical. The The fundamental goal of DSS is the con- or three concerts each year. International association strives to support and include tinued support and development of high- activities, such as exchange concerts with the widest possible range of aesthetic quality existing projects. Our greatest similar foreign institutions, generally oc- convictions. DSS monitors only the qual- wish is to be able to pay our members cur bienially, as does the international ity of commissioned and recommended adequately for the new works we commis- Unicum festival of contemporary music. pieces, though for specific programmes, a sion. M

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 16 National Opera and Ballet Theatre

Weaving Together Tradition and Modernity Slovenian National Opera and Ballet Theatre of Ljubljana

Façade of the opera house (photo: Branko Cvetkovič) Stage view (photo: Branko Cvetkovič) Today the Slovenian National Opera and Ballet Theatre see over two-hundred different ballet productions from the classical repertoire (SNG) of Ljubljana presents a wide range of opera, and a substantial number of premieres ballet, and concert works in both the contemporary by both Slovenian and international cho- reographers. and classical traditions, including both repertory Today SNG presents a wide range of op- works and periodic new productions. era, ballet, and concert works in both the contemporary and classical traditions, t the turn of the twentieth century, earned a reputation outside of Slovenia’s including both repertory works and pe- two theatres operated in the Ljublja- borders as well. A guest appearance in the riodic new productions. The season con- Ana Opera House that had been con- Netherlands met with enormous success sists of approximately one-hundred and structed in 1892: the German Theatre and and a performance at Opera Garnier in Par- fifty subscription and non-subscription the Slovenian State Theatre offering drama is garnered even greater acclaim. In 1957, performances in the main theatre in and opera. For opera productions, the the- the Ljubljana Opera company’s recording Ljubljana as well as guest performances atre maintained a permanent staff of con- of Prokofiev’sLove For Three Oranges con- in other Slovenian and international loca- ductors and soloists as well as a choir. In ducted by Bogo Leskovic was awarded the tions. In recent years, SNG has success- 1918, a permanent orchestra for the opera Philips Gran Prix for best recording of the fully mounted many co-productions with was established. The company performed year. various international and Slovenian com- primarily French and Italian opera, with an A professional ballet ensemble was panies and artists (Faust, Aida, Les fées emphasis on Slavic and Slovenian operatic founded in Ljubljana in 1918 and has had du Rhin, Love for Three Oranges, Don Quix­ works. In the period between the two world a permanent home in the opera house ote, Prince Igor) that have been extremely wars, the Ljubljana Opera modernised its since that time. In the first year of its ex- well-received repertoire and mounted a number of suc- istence, the troupe staged a number of SNG continues to direct its programming cessful productions of operas by Sloveni- well-known classical ballets and also be- in a way that maintains and nurtures the an composers such as Marij Kogoj, Slavko gan to enrich their repertoire with newer traditions of opera and ballet while at the Osterc, and Mitija Bravničar. After the Sec- Slovenian works. Thus far, audiences in same time expanding its creative hori- ond World War, the Ljubljana ensemble Ljubljana have had the opportunity to zons. M

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Public Fund for the Cultural Activities ... 17

Culture for Everyone Public Fund for the Cultural Activities of the Republic of Slovenia

he Public Fund for Cultural Activities of The Public Fund for the Cultural Activities of the the Republic of Slovenia (JSKD) is a Tmajor Slovenian institution covering Republic of Slovenia (JSKD) supports and stimulates all branches of amateur level cultural and the development of Slovenian amateur-level cultural artistic activities: vocal and instrumental music, theatre and puppet productions, activities, educational programmes at the national folklore, film, literature, fine arts, and and regional levels, and festivals and competitions. contemporary dance. JSKD, which has its headquarters in Ljubljana and fifty-nine - Festival of pop and jazz vocal music - International folk-pop competition (pol- branch offices all over Slovenia, supports Sredi zvezd (Among the Stars) kas and waltzes) and stimulates the development of Slo­ - National festival and competition of chil- - International marching band competi- venian amateur-level cultural activities by dren and youth choirs (biennial) tion and festival organising international, national and re- - Open-air festival of Slovenian choirs - Competition of Slovenian tamburitsa gional level educational programmes, fes- - Seminars for choir directors, summer and mandolin ensembles tivals and competitions, publishing maga- camps for singers - Competition of rock groups zines and manuals, and offering financial - Young musicians’ camp, conductor train- assistance and advice. Instrumental Music ing and seminars There are over one hundred fifty amateur Choral Music wind orchestras and bands in Slovenia, Publishing There are around sixty thousand singers most of them members of the Slovenian JSKD is the publisher of the magazine active in two thousand three hundred Wind Orchestra Association. JSKD also Naši zbori (Our Choirs) which presents choirs and vocal groups that participate at supports a number of popular tamburitsa, composers, choirs and conductors, cho- regular choir events organised by the JSKD mandolin groups, and rock groups. ral events and compositions for all adult on national, regional and local levels. Events: voice settings. JSKD also publishers Events: - National competitions in concert per- monographs of leading Slovenian com- - Competition of Slovenian choirs Naša formance, marching, pop music pro- posers and thematic anthologies of folk pesem (Our Song - biennial) gramme music as well as compositions for differ- - International choir competition Maribor - International competition in concert ent vocal settings, and scores and parts (biennial) performance (triennal) for brass bands. M

Photo: Janez Eržen

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 18 Association of Composers, Authors ... We Support Musical Creativity The Slovenian Association of Composers, Authors and Publishers for Copyright Protection iStockphoto Photo:

The fundamental task of The Slovenian Association the highest possible level of protection to of Composers, Authors and Publishers for Copyright our members and to the members of simi- lar copyright agencies in foreign countries. Protection (SAZAS) is to encourage the use of To users of copyrighted musical material, we offer simple and legal access to the en- contracts that regulate mutual distribution with tire repertoire of music in the world. foreign copyright agencies and thus empower SAZAS has achieved excellent results in the last few years. This year we reported Slovenian authors and composers. a 17% rate of growth in income while ex- he Slovenian Association of Com- collects royalties from the public use of penses remained more or less unchanged. posers, Authors and Publishers for such music within the borders of Slovenia, We reached an agreement with major radio TCopyright Protection (SAZAS), a not- and distributes royalties to composers stations and cable operators, making this for-profit organisation for the collective and copyright owners. group of users aware of the importance of protection of music copyrights, was es- SAZAS membership structure includes copyright laws and giving them permis- tablished by Slovenian authors and com- both full and associate members. There are sion to use copyrighted musical material. posers on February 11, 1993. approximately three-hundred full members Today music is an indispensable part of The fundamental task of SAZAS is to en- making up the assembly that serves as the everyday life. It accompanies us practi- courage the use of contracts that regulate highest governing and supervisory organ cally everywhere we go. Because it is mutual distribution with foreign copyright of SAZAS. The remaining members are as- publicly accessible we sometimes think it agencies and thus empower Slovenian au- sociates who do not fulfil the requirements is free, but that is not the case. Nearly all thors and composers. Ultimately this rep- for full membership and whom SAZAS pro- music is owned by someone. It is SAZAS’ resents the affirmation of basic copyright tects on the basis of written contracts and goal to create a stronger social awareness and related laws as well as other interna- applicable copyright laws. SAZAS maintains of copyright laws and heighten respect for tional conventions for the benefit of ap- databases that contain information about the owners of music. This is both a basic proximately two million Slovenian and for- authors, composers, and musical works human right and an achievement for soci- eign authors of all musical genres. SAZAS from all over the world. With the proper in- ety. Authors and composers create for our grants permission to users who wish to formation technology and our experienced benefit. We must support their musical use copyrighted musical material publicly, professional staff, we are able to guarantee artistry and creativity! M

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia The IPF Institute 19 Because We Value Music The IPF Institute

he Institute for the Enforcement of IPF was established in 1997 and was The main objective of the Rights of Slovenian Recording awarded permission by the Office of -In TArtists and Producers (IPF) is a not- tellectual Property to carry out its tasks the IPF is the effective for-profit organisation which collectively in 2000. The main objective of the IPF is protection and collection asserts the rights of foreign and domestic the effective protection and collection of recording artists and producers in Slov- rights for those who are entitled to them of rights for those enia, as well as the rights of Slovenians in Slovenia and internationally. Royalties who are entitled to entitled to such remuneration abroad. It have been collected since 2004 when the collects and distributes royalties from the first agreement concerning the amount of them in Slovenia and public usage of recorded music on behalf royalties and the conditions for users of of artists and producers. protected content was signed with groups internationally. Before the arrival of LPs, CDs, and other representing users. In the last three years, mediums to preserve recorded sound, a number of other agreements have been every radio station, restaurant or shop- signed with users in different branches owner who wanted to offer music to cus- of commerce, including the producers of tomers and listeners had to hire a group commercial and non-commercial radio and of musicians to perform live and pay television programmes, the Tourism, Hotel them an appropriate fee. Today things and Restaurant Association of the Slove- have changed: the same restaurant or nian Chamber of Commerce and Industry, shop-owner or programme editor can of- the Slovenian Chamber of Commerce, and fer music to his listeners or customers the Slovenian Chamber of Craft. Recently every day of the year for a substantially an agreement with RTV Slovenia (radio smaller fee. Royalties for this so-called and television) was renewed. pubic broadcasting of recordings — IPF strives to distribute the royalties that which, according to state laws governing are collected to the recording artists and artists’ and related rights, the user is re- producers entitled to them in the shortest quired to pay to the artist — are collected possible time possible and with minimum by IPF. expense. M

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 20 The Musicians Union of Slovenia Cooperating for the Future The Musicians Union of Slovenia

We believe that in the he Musicians Union of Slovenia (SGS) In the future, SGS will continue to grow along was established in 1998 as an inde- with the music industry and will maintain a future, composers and Tpendent organisation, principally for dialogue with artists and full-time perform- songwriters, with their professional self-employed musicians. ers in musical/cultural/artistic positions. It Freelance musicians voluntarily join the will try to unite all musical professionals re- curiosity and free spirit, organization in order to safeguard and gardless of their employment status or the will favour technological improve their social, economic and family specific nature of their professional activity. welfare, to protect their rights, and to im- Without a doubt, the first step on this path advancements since they prove laws regarding the foundation and is the realisation of a long-standing plan: results of their work, employment condi- the establishment of a joint conference of bring new possibilities tions and authorship. With these objec- music unions that will be called MUSES. for expression as well as tives in mind, SGS represents the interests The music industry now faces exciting new of united professional musicians in their challenges brought about by the informa- more efficient channels dealings with employers, the state, and tion revolution and digital technology. We for the distribution of other relevant organisations, agencies believe that in the future, composers and and companies. songwriters, with their curiosity and free musical works. In the last ten years, SGS has played an spirit, will favour technological advance- active role in many projects, including the ments since they bring new possibilities creation and implementation of various for expression as well as more efficient copyright regulations and media legisla- channels for the distribution of musical tion, and the establishment of a collec- works. For that reason, SGS wishes to ac- tive organisation for the protection of the tively participate in the creation and design rights of recording artists (composers, of new market models and methods for songwriters, and performers) and produc- protecting copyrights and other rights of ers. The organisation offers free legal ad- composers and performers. We believe that vice to its members and represents them the composers and performers will not be in negotiations with employers. It cooper- an obstacle to the advancement and devel- ates closely with related domestic and in- opment of digital technology, but will rather ternational organisations. welcome it as beneficial to them. M

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia

22 Ljubljana Summer Festival Feel, Live, Create Ljubljana Summer Festival

Festival Ljubljana is a he beginnings of the Ljubljana Sum- The Ljubljana Summer Festival has changed mer Festival date back to 1952 when and grown over the years, all the while ex- member of the European Tthe Ljubljana Tourist Association or- erting a considerable influence over the Festival Association, a ganized the first tourist week. This was cultural life of Slovenia. followed soon after by the first Ljubljana renowned international Festival in 1953. Since then, the group has organization uniting sponsored a number of cultural, business, folklore, tourist, and sports events. of Jože Plečnik as well as by the artistic more than one hundred After 1953, Ljubljana continued to host events featured at the festival. annual summer festivals. Every sum- The festival has changed and grown over festivals and eleven mer, the stages in the capital came to life the years, all the while exerting a consid- national festival with performances of national and inter- erable influence over the cultural life of national musicians, actors, dancers and Slovenia. In the last few years, more than associations. artists such as Dubravka Tomšič, Marjana eighty events in different genres have tak- Lipovšek, Katia Ricciarelli, Grace Bumbry, en place at the Ljubljana Summer Festival. Lord Yehudi Menuhin, Mstislav Rostropo- The festival has been attended by some vich, José Carreras, Slide Hampton, Pierre eighty thousand national and internation- Amoyal, Yuri Bashmet, Mischa Maisky, al visitors, proof that that the festival has Shlomo Mintz, Krzysztof Penderecki, Ric- earned recognition as the summer festi- cardo Muti, Gidon Kremer, Valery Gergiev, val programme of a young and independ- Vladimir Ashkenazy, Julian Rachlin, An- ent country’s capital. This recognition en- gela Gheorghiu, Maceo Parker, Celia Cruz, courages us, the organizers, to continue Wynton Marsalis, Alexander Vedernikov, preparing festivals at the highest artistic Marcelo Alvarez, Bernarda Fink, Mojca level in years to come. Zlobko Vajgl, Vadim Repin, Zubin Mehta, The Ljubljana Summer Festival continues and many others. We have hosted the to pursue its mission – organizing cultural world’s greatest symphony orchestras events on a high artistic level. It is a mem- and opera companies, including the re- ber of the European Festival Association, nowned Academic Bolshoi Theatre from a renowned international organization Moscow. In recent years, the Ljubljana uniting more than one hundred festivals Summer Festival’s program has been en- and eleven national festival associations. riched by the International Fine Arts Colo- The Ljubljana Summer Festival has been ny where many national and international a member of this organization for twenty- artists gather each year in the splendid eight years. The festival’s current direc- venue of Plečnik’s Križanke. The artists tor is Darko Brlek, who also serves as the M archive) Festival Summer Ljubljana (photo: theatre summer Križanke the at Dancing Dirty musical The are inspired by the architectural tradition president of the Association.

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia 240x300.indd 1 Član Evropskega združenja festivalov Member of the European Festival Association 19. June - 28. August 28. - June 19. LJUBLJANA 2008 LJUBLJANA Myung -WhunChung Milan The ScalaPhilharmonicOrchestra, Musical Grease Colony Križanke (6.–11. 7.) J. Cranko, P. I.Čajkovski, K. H.Stolze: Bavarian State Ballet (14. -30.7.) Castle air cinemaatthe Ljubljana Movie underthestars Misha Mayski The EuropeanStringOrchestra Carmélites), opera Carmelites (DialoguesDes F. Poulenc: Dialogues ofThe The 11 Sir AndrewDavis Royal PhilharmonicOrchestra Onegin, ballet FESTIVAL th International Fine Arts International FineArts – theopen

Gilda Buta Ennio Morricone Roma Sinfonietta Orchestra Marricone conductsMorricone R. Leoncavallo: Pagliacci P. Mascagni:Cavalleria Rusticana Bizet: Carmen G. Julian Rachlin Denis Matsuev Valery Gergiev from St.Petersburg Theater oftheMariinsky Orchestra Midori Trio Bashmet Jury Moscow Soloists M. I.GlinkaChoirSt.Petersburg Zubin Mehta Maggio Musicale Fiorentino Orchestra

www.ljubljanafestival.si 12/19/07 3:19:26 PM www.festivalbrezice.com 4.7. - 20.8.2008

Partner country: France

Under the honorary patronage of Minister of Economy of Republic of Slovenia Andrej Vizjak, MSc

CAVE - GROTTA - HÖHLE SEVIQC Brežice 25

Always Alive as at the Moment of Creation SEVIQC Brežice

Musica Alchemica at Brežice castle (photo: Marko Kapus) n the summer of 1982, we organised Seviqc Brežice is an abbreviation of the newly-coined international master classes for early Imusic. This program soon grew into the phrase Semper Viva Quam Creata – roughly translated Radovljica Early Music Festival. In 1997, the as Always alive as at the moment of creation. project was moved to Brežice and renamed Festival Brežice. The following year, the and Klasikaa Slovenija. In 2007, a total of The following are our principle objectives: event was expanded to include a number of fifty concerts were given at twenty-eight to maintain an international programme historic locations across Slovenia. In 2003, historic locations in sixteen Slovenia mu- featuring high-quality artistry in historic we changed the name to the Festival Brežice nicipalities. The project also incorporated settings; to build the positive reputation of Group, and in 2007 to Seviqc Brežice. as members three additional festivals in Slovenia on the international cultural and Seviqc Brežice, one of the country’s most Italy (from Pisa and Trieste). tourist map; to connect Slovenian artists important cultural events, is synonymous We view membership in the project as the with the international scene; to support with early music in Slovenia. We invite the contribution our institute makes toward and promote young talent; to facilitate most renowned artists in the field, giving forging new relationships with European the presence of Slovenian composers in special attention to fostering younger tal- producers of cultural events. We have Europe and beyond; to encourage the de- ent through education and to developing developed new models for sponsorship velopment of tourism and build an effec- professional and informed criticism as and are a highly-regarded member of the tive cultural infrastructure; to stimulate well as cultural tourism. The programme is Réseau européen de musique anciene — and promote cross-cultural dialogue and geared toward the practice of historically- REMA (European Early Music Network). musical exchange between European and inspired performance with events taking We are a non-governmental organisation non-European cultures; to develop inno- place exclusively in locations of historical with a special status in terms of financing vation and creativity; to provide better ac- significance in Slovenia. from state and municipal governments. At cess and encourage greater participation Seviqc Brežice is comprised of four sepa- Seviqc Brežice, there is a special empha- in cultural activities; and finally to make a rate festivals in Slovenia: Festival Brežice, sis given to making the early music expe- substantial contribution to Slovenian and Klasikaa Dolenjska, Klasikaa Postojna, rience available to the wider public. European culture. M

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 26 Narodni dom Maribor

Pride of the City of Maribor Narodni dom Maribor: Festival Lent

Fireworks brighten the festival atmosphere (photo: Festival Lent archive) The programme ranges he Narodni dom Cultural Centre in under the umbrella of Festival Lent. With from classical music, ballet, Maribor, with a staff of twenty-two its more than four hundred concerts and Tpeople, is one of the largest cultural other events and more than half a mil- jazz, singer-songwriter institutions in Slovenia. The oldest concert lion visitors, Festival Lent ranks among concerts, chanson, world agency in Slovenia (having celebrated its the largest events of its kind in Europe, sixtieth anniversary last year), it is host its fame extending far beyond its own music, folklore to street to excellent theatrical comedies and is borders. For the last four years, Festival theatre performances, best known for Festival Lent. At the be- Lent has been ranked among the fifty ginning of each summer, the banks of the best festivals in Europe by Local Festivi- children’s entertainments, Drava River that flows through Maribor are ties, an independent Dutch organisation. and sports events. The transformed into a lively cultural and so- Between 1998 and 2004, it won eleven cial centre, pulsing to the rhythms of the gold, thirteen silver, and nine bronze Pin- colourful and high-quality entire world. Festival Lent’s high-quality nacle Awards from the International Festi- repertoire is presented at multicultural entertainments and activi- val and Events Association (IFEA), one of ties satisfy a broad palette of tastes, in- the festival industry’s most prestigious more than twenty different cluding those of even the most demand- award-giving agencies. Last year at the festival locations. ing visitors to the festival. The organisers fifty-second annual conference of the remain loyal to a proven formula that they IFEA in Atlanta, Festival Lent 2007 won improve upon each year. The programme a Silver Pinnacle Award for the festival’s ranges from classical music, ballet, jazz, programme booklet and another silver singer-songwriter concerts, chanson, award for the festival’s tee-shirt. Festival world music, folklore to street theatre Lent is the pride of both Narodni dom and performances, children’s entertainments, the city of Maribor (which was nominated and sports events. The colourful and high- last year for the 2012 European Capital of quality repertoire is presented at more Culture). In addition to the international than twenty different festival locations. awards mentioned above, is has also been The folklore festival Folkart, jazz festival the recipient of a number of reputable na- Jazzlent and the Ana Desetnica street tional awards from the media, advertising, theatre festival also take place annually and tourism professions. M The Main Stage on the Drava (photo: Festival Lent archive)

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia

28 Festival Radovljica New Sounds of Early Music Festival Radovljica

Festival Radovljica, the estival Radovljica was established four harpsichords as well as a programme a quarter century ago by Klemen of Slovenian music from the sixteenth to oldest international FRamovš, who continued to serve as twenty-first century presented by the Ger- festival of early music artistic director for fourteen years. Follow- man vocal sextet Singer Pur. ing his departure, Tjaša Krajnc became The performance of early music is simi- in Slovenia, is making artistic director and enriched the program lar to the restoration work that recently new pieces for period with a number of innovations, the most uncovered one of the most beautiful important being the commissioning of Gorenjska Baroque halls in Thurn Manor: it instruments available to new works for period instruments. Last brings something new to modern musical year, the Radovljica Early Music Society life. The main goals of such performance is the listening public. and their president Marija Kolar invited Do- the enrichment of the existing repertoire men Marinčič, gamba player and harpsi- with unknown works, the use of period in- chordist, to take over artistic control of the struments the sounds of which seem new festival. In 2007, the twenty-fifth anniver- to today’s listeners, and the incorporation sary of the festival included a surprising of unusual approaches inspired by the jazz concert that featured arrangements study of historical performance practices. of Bach pieces and completed a concert Though Festival Radovljica is active for cycle exploring historical forms of improv- only fourteen days each August, it never- isation. Also in 2007, world-renowned mu- theless makes an important contribution sicians and ensembles such as Sonatori to the field of early music. The festival of- de la Gioiosa Marca, Ricercar Consort, and fers high-quality diverse programming, Rolf Lislevand appeared at Thurn Manor, including music from the Middle Ages to Festival Radovljica’s main venue. Younger the Romantic period as well as the an- musicians at the beginning of their ca- nual commission of new works for period reers were also given a chance to per- instruments. In coming years, it will be form. Other highlights of the 2007 festival organizing a number of interesting and in- included the premiere of the first Slov- novative projects that will create opportu- enian pieces for an unusual ensemble of nities for musicians to collaborate. M

Both photos: Matej Rupel

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia The Ljubljana Jazz Festival 29 Forty-Nine Years of Jazz The Ljubljana Jazz Festival

,JUBLJANA 3LOVENIJA WWWLJUBLJANAJAZZSI Detail from an advertisement for the 46th Ljubljana Jazz Festival (design: tomato) Bass player Robert Jukič (photo: Goran Antley) n 1959, Slovenia started its own jazz fes- bands in the world – Renato Cicco, Primož The Ljubljana Jazz tival in the resort town of Bled; it is now Grašič, and Tone Janša stand out. Ione of the oldest jazz festivals in Europe. The Ljubljana Jazz Festival has always Festival has always With the reestablishment of the festival by focused on innovative, modern and pro- focused on innovative, Cankarjev dom in the nineteen-eighties, the vocative approaches by musicians whose festival came under the cultural centre’s pa- performances transcend not only genre modern and provocative tronage and moved to the capital. Concerts but age, geographical, cultural and racial approaches by musicians are now held at Cankarjev dom, Križanke, boundaries and stereotypes. The Ljubljana and in the streets of Ljubljana. Jazz Festival operates beyond the most whose performances From its inception, the Ljubljana Jazz Fes- common divisions of popular and serious tival presented modern jazz offerings that music: beyond composed and improvised transcend not only genre originate from the creative traditions of music, high-, sub- and popular-culture, but age, geographical, jazz and come from all over the world. The beyond esthetic preferences and stylistic festival presents key historical figures in labels. It primarily reaches the middle and cultural and racial jazz, frequently along with lesser-known younger generations of the music audi- boundaries and musicians. A special emphasis is given to ence. European jazz as well as to modern and The festival offers visitors both excel- stereotypes. creative approaches to the jazz tradition. lent entertainment and an opportunity to Throughout its rich and diverse history, broaden musical and ideological horizons. the festival has made it possible for Slo­ For those who are tired of the usual com- venian audiences to hear the greatest jazz mercial fare, the festival surprises, rewards musicians play live: Dizzy Gillespie, Miles and enraptures with unfamiliar and fresh Davis, Al Di Meola, Tito Puente, McCoy Tyn- audio and visual experiences. In terms of er, Wayne Shorter, Pat Metheny, and Or- festival programming, special attention nette Coleman to name a few. The festival is paid to exclusive projects, to world and has also introduced many undiscovered Slovenian premieres, and to musical works names and featured debut performances. that build and reinforce the artistic credibil- Among local Slovenian performers, RTV ity and quality of the festival with fans and Slovenia Big Band – one of the oldest big the wider professional music public. M

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 30 Alternative Music

Bratko Bibič at Metelkova (photo: Žiga Koritnik) The Alternative Music Scene Metelkova Mesto

The charm of Metelkova is that the programmes offered by its residents weave together live culture that exceeds the normal boundaries of musical forms, trends, and genres, and in the process often create new ones. By Miha Zadnikar

etelkova mesto is a lively cultur- the programmes offered by its residents No Means No, New York Ska Jazz Ensem- al, social, and political complex weave together live culture that exceeds ble, The Ex, and others. All locations offer Min the heart of Ljubljana. Located the normal boundaries of musical forms, rehearsal space to local groups, either near the city’s main train station, it has oc- trends, and genres, and in the process free of charge or for a symbolic rental cupied what were once the Yugoslav army often create new ones. Its five stages – fee. There are also periodic lectures, lis- barracks since September 1993. Metelk- some intimate, some large (Gromka club, tening rooms, and DJ evenings. Radio ova is one of the most extensive autono- Menza pri koritu, Channel Zero, Gala Hala, Študent, the main presenter of new music mous cultural complexes of its kind in Eu- and Jalla Jalla with capacities ranging in Ljubljana and the oldest European com- rope and is one of the largest venues and from twenty to six hundred and accom- munity radio broadcasting since 1969, is producers of multi-ethnic public events in modating outdoor events in the summer) the main supporter of these events. DJs Slovenia, followed only by Cankarjev dom. – host musicians from all over the world. at Metelkova like to entertain and rock It provides a home for numerous artists These include acoustic, electro-acoustic the public while also acquainting them and features an attractive youth hostel and wholly electronic sounds, new jazz, with history and modern music-speak. made in former prison cells. Other lo- modern improvised music, experimental Bands such as 2.2.2.7., Srečna mladina, cales on the site include the lesbian club music, avant-garde, world music, folk- and Deca debilane were born and raised Monokel, the gay club Tifanny, SOT 24.5 (a lore, classical music, new rock, (post) at Metelkova. In recent years the bands club for the theory and culture of disabled punk subgenres, hip-hop, reggae, hard Tilt, Bast and Alzheimer Trio have also people), Bizzarnica Pri Mariči, and Mizzart rock, noise, electronic dance music, and emerged – the products of concert series Club as well as an information centre, li- various contemporary mixes. Jam ses- put on by Defonija and Kataman who have brary, and work area. It also provides of- sions, open mike, and other events also stimulated the public appetite for their fice space to independent cultural organi- take place. Many celebrated artists have carefully selected pearls of avant-garde sations in Ljubljana. Of all Metelkova’s played at Metelkova: Vinko Globokar, Marc musical sound experiments. Metelkova cultural assets, including film, theatre, Ribot, Manu Chao, Oliver Lake, members also works with important festivals such and visual arts, music is undoubtedly the of the Sun Ra Arkestra, Ken Vandermark, as City of Women, Ljubljana Jazz Festival, strongest. The charm of Metelkova is that Henry Grimes, funmental, Fugazi, Druga Godba ... M

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia

Classical Music 33

Five Centuries of Slovenian Classical Music

By Monika Kartin Kos) Božo (drawing: Kozina Marjan composer The or both political and geographical At the beginning of the twentieth century, The tradition of classical reasons, musical life in Slovenia was Marij Kogoj (1892-1956) and Slavko Os- music is exceptionally Falways closely linked to German terc (1895-1941) definitively established and Austrian culture and language. Nev- Slovenian music in the wider European strong in Slovenia, having ertheless today we can identify uniquely musical culture. Kogoj’s choral piece Tre­ run uninterrupted for Slovenian musical art (both creative and nutek (Moment, 1914) and his opera Črne interpretive) that is characteristic and maske (Black Masks, 1928) were land- centuries. There were recognisable. mark works. Osterc was exceptionally ac- periods when musical life Jacobus Gallus Carniolus (1550-1591) was tive in the ISCM and, as the first Slovenian the first well-known composer – and re- to be a member of that organisation, also was more modest but it mains one of the best known today – who became the first Slovenian composer to was never extinguished was born in the territory of modern-day have his pieces played around the world, Slovenia. His works paralleled the Euro- particularly at the contemporary music completely. It may be pean developments of his time and made festivals of his time compared more or less a distinctive and valuable contribution to The history of musical life was strongly Renaissance musical literature. During shaped by the predecessor to today’s concurrently with the the Baroque period Janez Krstnik Dolar Slovenian Philharmonic, the Academia history of music that took (cca. 1620-1673), who worked in Slovenia, Philharmonicorum, which was founded place in the rest of Europe. wrote important works that enriched the in 1701 and is one of the oldest such in- Baroque literature of central Europe. Dolar stitutions in Europe. Between 1794 and was a highly-regarded musical personal- 1919, it operated as the Philharmonic ity, especially in Viennese music circles. Society and it hosted nearly every lead- The nineteenth century in Slovenia, as in ing name in the musical world: G. Mahler, many other nations that lived under the P. de Sarasate, L. Godowsky, R. Strauss, L. Austrian monarchy, was marked by the Slezak, and many others. J. Haydn, L. van awakening of national consciousness. Beethoven and J. Brahms were among Composers directed their efforts towards the Society’s honourable members. The writing music that was intended to arouse first Slovenian Philharmonic, led by the national feelings. Text became more im- great conductors Václav Talich and Fritz portant than music during this time and Reiner, began to operate before the First this led a number of composers to subor- World War. After 1948, the quality of the dinate musical expression to these higher orchestra continuously grew, and in the national objectives. As a result, choir mu- nineteen-eighties, in part due to their

sic blossomed during this period. new home at the Cankarjev dom cultural Kogoj Marij composer The

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 34 Classical Music

The Philharmonic Society hosted nearly every leading name in the musical world at that time: G. Mahler, P. de Sarasate, L. Go- dowsky, R. Strauss, L. Slezak and others. J. Haydn, L. van Beethoven and J. Brahms were among the Society’s honourable members.

centre, the Slovenian Philharmonic Or- chestra could stand beside some of the highest quality European orchestras. The Ljubljana Opera also experienced its peak before the Second World War and then during the nineteen-sixties and seven- ties. Mirko Polič, and later Demetrij Žebre and Bogo Leskovic and others, led the op- era to its great success before war. Today, musical life in Slovenia is excep- tionally developed and lively. In a coun- try with a population of two million, there are six professional symphony and wind orchestras, two opera houses (one in Ljubljana and one in Maribor) as well Mezzo-soprano Marjana Lipovšek (photo: Johannes Ifkovits) as many smaller chamber formations. A number of Slovenian artists belong among the ranks of internationally-known top-quality performers. Mezzo-sopranos Marjana Lipovšek and Bernarda Fink, pi- anist Dubravka Tomšič, flautist Irena Graf- enauer, clarinettist Mate Bekavac, violinist Igor Ozim, tenor Janez Lotrič, trombonist Branimir Slokar, conductor Marko Letonja, The Slovenian Octet and the Slowind Wind Quintet, to name just a few, serve as am- bassadors of Slovenian music all over the world. Numerous musical institutions – from the Slovenian Philharmonic to RTV Slovenia Symphony Orchestra, both opera houses, wind orchestras, the Association of Slovenian Composers, Cankarjev dom as well as several educational institutions – contribute to a rich assortment of per- formances. There is a large concentration of all types of musical projects in Slov- enia, especially in Ljubljana and Maribor. Subscription series by both symphony orchestras, two cycles at Cankarjev dom and at the Narodni dom (National Cul- tural Centre) in Maribor have more than Arabella Goddard

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Classical Music 35

RTV Slovenia Symphony Orchestra

7,500 subscribers which, for towns with Slovenian music is broadly linked to the Slovenian music world celebrated the hun- populations of 300,000 (Ljubljana) and wider European scene. The flow of infor- dredth anniversary of the birth of Marjan 120,000 (Maribor), is an exceptionally mation, ideas, and artists is lively and Kozina, the composer for whom the prize high number. constant. awarded by the Association of Slovenian In addition, a number of more or less Composers for high artistic compositional spe­­cialised music festivals take place achievements is named. in Slovenia, mostly during the summer. plete additional studies in European musi- Slovenian music is broadly linked to the Renovated castles throughout the coun- cal capitals, combining European musical wider European scene. The flow of infor- try, often far from city centres, come alive trends with the uniquely Slovenian iden- mation, ideas, and artists is lively and during the summer months with musical tity of their works. The music of Slovenian constant. Slovenia has proven over the offerings that range from lower to higher composers of all generations is performed centuries that it is on the same level as quality, and are garnering more and more at important festivals and concerts. Ac- Europe; today it is especially clear that it listeners. The main summer festivals are claimed younger composers include Nina is both an equal part and an equal partner in Ljubljana, Maribor, Brežice, and Radov- Šenk, Nana Forte, Črt Sojar Voglar, Vito in the wider cultural landscape. M ljica. While the latter two are devoted es- Žuraj, Bor Turel (who works primarily with pecially to early music and to premiering electronic music), and Uroš Rojko (who new works, the festivals in Ljubljana and is somewhat older and highly regarded Maribor offer a broad range of musical pro- abroad). In terms of more established sen- grams. ior composers who give Slovenian music a Slovenian music is exposed to all of the special dignity, we must not fail to men- world’s compositional trends. Numerous tion Uroš Krek, Lojze Lebič, Janez Matičič, young composers, after their education Primož Ramovš, Vinko Globokar, Ivo Petrić, at the Ljubljana Academy of Music, com- Pavel Mihelčič, and others. This year the

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 36 Choir Music Three Slovenians make a Choir

By Brigita Rovšek

The working zeal, self- “ hree Slovenians make a choir” is how tion and choral events and co-finances one could characterise the enthusi- special projects, Radio Slovenia which initiative and originality Tasm Slovenians have for choral sing- broadcasts regular choir programmes of Slovenian choir ing. This locally well-known saying refers and makes archival recordings, the As- to many Slovenians’ seemingly instinctive sociation of Slovenian Composers which directors and choirs have ability to sing in three parts and is sup- supports the composition of new choral deep historical roots ported by the fact that there are two thou- works, the Ministry of Culture which co- sand three-hundred choirs in this country finances projects of national importance, that have contributed to of only two million! and by school representatives. And yet The working zeal, self-initiative and origi- sheer numbers do not speak as eloquently Slovenia’s cultural image nality of Slovenian choir directors and as the success that Slovenian choirs have over the years and have choirs have deep historical roots that achieved internationally on the stages of have contributed to Slovenia’s cultural im- European Choir Competitions. The most in- earned the country’s age over the years and have earned the ternationally lauded Slovenian choirs are choirs a reputation for country’s choirs a reputation for quality. the Carmina Slovenica Youth Choir, the Ave In a very fundamental way, polyphonic Chamber Choir, and the Tone Tomšič Aca- quality. song has helped Slovenians – including demic Choir. those who remained beyond the country’s Slovenia’s three professional choirs also northern and western borders – to live play an important role in the choir com- and survive through a bitter though beau- munity: namely, the choirs of the Ljublja- tiful history. na and Maribor Opera Houses, and the In both the past and the present, the lively Slovenian Chamber Choir. The latter has re- heart of choral singing belongs above all corded a major part of the Slovenian cho- to the singers and choral directors who ral literature in the collection Anthology of dedicate themselves to music. Choral Slovene Choir Music. groups are usually anchored in the frame- In building their repertoire, most Slovenian work of the societies in which they are ac- choirs range across all musical styles and tive. Of Slovenia’s fifty-five thousand sing- periods with some concerts characterised ers, 33% sing in adult choir societies, 21% by modern works, some by foreign com- in church choirs, and 46% in school choirs. posers, and perhaps most by Slovenian Their work is encouraged and supported composers such as Lojze Lebič, Uroš Krek, by numerous organisations: by the Public Ambrož Čopi, and Damijan Močnik. Slove- Fund for Cultural Activities of the Republic nian choirs contribute importantly to the of Slovenia (JSKD) which sponsors educa- domestic cultural scene with their original

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Choir Music 37

Slovenia’s choir-singing represents a prom- these works, namely the skilled musicians cal review Novi Akordi played key roles ising investment in the future – best of all that emerged from Slovenia’s monastery in this process. The choirs that sprouted it is an art form that is accessible to all. schools and radiated out to other towns up during the inter-war period built upon in the empire. One such musician was the the achievements of their predecessors. composer Iacobus Handl Gallus, whose The effort to keep up with modern times opus includes masses, motets, and mora­ by commissioning new composers and ideas and high standards. The Slovenian lis. actively performing their work was added choir community also makes an important The Spring of Nations in the mid-nine- to the familiar task of raising national con- contribution to the international scene, for teenth century inspired Slovenians to sciousness. The Second World War halted example with the international Youth Choir compose national songs tailor-made for this project temporarily but didn’t end it. Festival in Celje and the International Choir the Slovenian soul, harmonious melos, Most choral groups re-emerged after the Competition in Maribor. played in beseda (cultural events) and war and experienced expanding member- Jurij Slatkonja, the founder of the Viennese čitalnice (places for culturally-politically ship and enjoyed the growing popularity Imperial Court Cappella (later the Vienna themed meetings). Even today, these of new partisan songs. Boys Choir) would surely be happy with songs remain an important part of the These times left a positive legacy. The the vibrant choral life of his fellow coun- repertoire sung by Slovenian male choirs past and the present wonderfully mingle trymen today. Primož Trubar, who in 1550 and octets – formations which are a in Slovenian choral singing. It is in songs, published the first book in the Slovenian Slovenian speciality and were especially which are connected to the events of each language, a Protestant Hymnal, would characteristic during the post-World War individual’s life, that creation and recrea- also be pleased. During the Counter Refor- Two period when the renowned Slovenian tion meet. mation, the musical efforts of the Protes- Octet first came together. Academically- Slovenia’s choir-singing represents a tants were suppressed and yet the Coun- trained composers slowly replaced the promising investment in the future – best ter Reformation was also responsible for self-taught ones of the turn-of- the-cen- of all it is an art form that is accessible to Ljubljana Cathedral’s exceptional musical tury čitalniške period. These composers all. Thus the saying that prevailed in the library – a collection of which no Habsburg launched the Slovenian avant-garde, and past and the present – “three Slovenians court chapel would be ashamed – as well choral music was often at the vanguard. make a choir” – is also an obligation for as for the body of singers that performed The composer Marij Kogoj and the musi- the future. M

The Tone Tomšič Academic Choir under the direction of Urša Lah (photo: Janez Kotar)

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 38 Wind Orchestras

The Regiment Marches Down the Street Slovenian Wind Orchestras

By Daniel Leskovic

Slovenian wind orchestras serve as important istrators such as presidents and secretar- ies, while younger wind band members ambassadors of Slovenian music and artistry at both have the opportunity to play together at national and international performances. In some summer youth camps for young musi- cians. Various competitions are also or- orchestras, one sees a greater emphasis on marching ganised to help increase the technical and and ethno-popular literature, while others focus on musical level of the orchestras, including international competitions in concert per- popular music and jazz. formance, national competitions in con- cert performance in five categories, and he history of wind bands in Slovenia to play an instrument. Later Slovenians a national competition in marching that began in the Middle Ages, when we themselves began to take over the tradi- features a popular music programme. All Tfind the first mention of people gath- tion, writing arrangements for Slovenian of these activities have both national and ering together and making music with an folk songs and setting new conditions for international jury members, instructors, ensemble made up of wind, brass and the tradition’s continued growth. With the and lecturers, who are often impressed percussion instruments. Slovenians can development of music schools, smaller with the quality of Slovenian orchestras be proud of the fact that we have the old- wind ensembles became wind bands and and their organisational capabilities. est continuously active wind band in the wind orchestras that employed up to a As mentioned above, wind bands and cho- world, the Idrija Miners Wind Band, which hundred amateur or professional musi- ral singing are the most developed and will soon celebrate 350 years of activ- cians. Today, participation in wind bands well-organised activities for amateur musi- ity — an illustrious history we can read and choral singing remains the most pop- cians. This predominance is also indicated about beginning with its first mention ulously attended form of organised cultur- by the large number of activities organ- in the historical writings of J. V. Valvasor al activity in Slovenia. Currently there are ised by these groups: from seminars to (1641-1693). And this isn’t the only band more than one hundred fifty community concerts to appearances at competitions celebrating a major anniversary: there are and school-related amateur wind bands and festivals. Because of their universal many more Slovenian wind bands that and wind orchestras in Slovenia, involving presence in many areas of people’s lives have celebrated two centuries of music- more than seven thousand people. There and their indispensable role as part of the making. Most existing bands were formed are also two professional wind orchestras: cultural and social lives of many regions, during three different periods of history, the Slovenian Police and Army Orchestras. Slovenian wind orchestras serve as impor- many during the industrial revolution Two agencies serve the professional and tant ambassadors of Slovenian music and and the Slovenian post-war years, mean- organisational needs of brass bands in artistry at both national and international ing that many Slovenian wind bands have Slovenia: the Public Fund for Cultural Ac- performances. In some orchestras, one recently celebrated their hundred fiftieth, tivities (JSKD) and the Slovenian Brass sees a greater emphasis on marching and hundredth or fiftieth anniversary. Orchestra Association. The basic task of ethno-popular literature, while in others a Many of these bands first arose under the the two organisations is the support and focus on popular music and jazz. Most wind batons of foreign musicians, men from education of wind band musicians. Annual orchestras in Slovenia focus on concert the lands of Austro-Hungary who worked seminars are organised for conductors playing, stimulated by competitions that in Slovenian factories and who knew how and section leaders, as well as for admin- tend to raise the quality of the ensembles.

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Wind Orchestras 39

Plans for the future include bringing Slov- enian wind bands closer to international developments in the field while preserv- ing traditional characteristics; projects with that aim have already been initiated.

Slovenia has a large number of high calibre wind bands that are counted among the best in the world and have earned numer- ous awards at international competitions and festivals. These include the Trbovlje Workers Band, the Papirnica Vevče Wind Or- chestra, the KUD Pošta Wind Orchestra Mar- ibor, the Krka Wind Orchestra, the Logatec Wind Orchestra, the Velenje Miners Wind Orchestra, and the Ravne Steelworkers Wind Orchestra. There are also a number of well-known Slovenian composers of music for wind orchestra, including Dr Josip Čerin, Bojan Adamič, Vinko Štrucl, Emil Glavnik, Jože Privšek, Tomaž Habe, Jani Golob, Igor Krivokapič, Lojze Krajnčan, and Rok Golob. In recent years an increase in youth membership has been observed, includ- ing musicians who are so well-trained that they are able to play the entire wind band repertoire. Together with the appropriate training of artistic directors, these are the two main factors that will probably lead to the continued improvement in the quality of bands in the future. Plans for the future include bringing Slovenian wind bands closer to international developments in the field while preserving traditional char- acteristics; projects with that aim have already been initiated. Since most wind bands focus on concert appearances, there have been a number of efforts in re- cent years to enhance the quality of their performances. In the last two years, we have launched an effort to awaken inter- est in another fundamental tradition of wind band playing: choreographed march- ing. Returning wind band playing to the outdoors and to the streets at a high per- formance level will guarantee even greater popularity among the public and lend the experience further meaning. M Young Musicians Camp Koper 2005 and conductor Miro Saje (photo: Janez Eržen)

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 40 Jazz Under the Alps

poser and conductor – was among the Traditions and Innovations most important figures to popularise jazz in Slovenia. He was also active before the Jazz Under the Alps war. In 1945, Adamič founded the Ljublja­ na Dance Orchestra, which eventually grew to become RTV Slovenia Big Band. The communist authorities had initially prohibited jazz, but the ban was lifted following the political break with Stalin in 1948. The first modern jazz ensembles began to appear in the nineteen-fifties By Mario Batelić (including the band Ad Hoc for whom the noted Slovenian jazz composer J. Gregorc

Jože Privšek, conductor of the RTV Slovenia Big Band Photo: RTV Slovenia archive

The division into ‘modern’ iljutin Negode is the man respon- wrote pieces). The year 1960 when the sible for bringing jazz to Slovenia. first Yugoslav Jazz Festival took place in and ‘classical’ is MIn 1922, he founded the group Bled was an especially important one for characteristic of the jazz Original Jazz Negode and a year later jazz in Slovenia. A. Skale, also a musician brought the first saxophone to Ljubljana. from the pre-war years, spearheaded the scene in Slovenia. The The jazz ensembles that existed in Slovenia event. Over the years, the festival was re- distinction leaves a lot of before the Second World War didn’t actually formulated and eventually renamed the play what today would be called jazz. Nev- Ljubljana Jazz Festival. space in between and this ertheless, they were still extremely impor- tant to the development of jazz in Slovenia, New Jazz Movements space is often filled by the since it was these musicians who eventu- During the nineteen-seventies, perform- work of new musicians. ally played in the post-war ensembles and ers began to appear in Slovenia who forged a real jazz scene in Slovenia. would take traditional jazz in new direc- tions: artists such as L. Jakša (of the The Greatest Populariser of Jazz band Sončna pot), T. Janša and the group B. Adamič (1912-1995) – trumpeter, com- Begnagrad. The latter, whose influence

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Jazz Under the Alps 41

is still felt today, created links between ry, the group has performed under the lead- Z. Kaučič – drummer, percussionist, com- jazz and folk music and art rock under ership of numerous conductors (B. Adamič, poser, and seminar teacher – has organ- the leadership of accordionist B. Bibič. J. Privšek, P. Ugrin, today L. Krajnčan) as ised many international projects, some The nineteen-eighties produced ensem- well as with many international band lead- of which were inspired by poetry, such bles who brought jazz closer to a younger ers (M. Ellington, B. Mintzer) and guest so- as the project Zlati čoln (Golden Boat) public by stitching it together with other loists (C. Terry, J. Hendricks). The drummer, inspired by the writer Srečko Kosovel. S. genres: Miladojka Youneed (jazzcore), D. Gajo, is another devotee of classical jazz. Lacy played on this album, and other in- Quatebriga (African music, fusion) and During the nineteen-eighties, he played in ternational musicians such as K. Wheeler Lolita (tango, rock). Lolita is still active the Ljubljana Jazz Selection as well as with and P. Brötzmann have appeared on other today and recently released a series of international jazz artists such as W. Shaw Kaučič albums. Many Slovenian jazz mu- improvisational performances under the and S. Jordan. sicians go abroad to study, especially to name Lolita Libre with guest artists such The division into ‘modern’ and ‘classical’ Austria and America, and participate in as J. Lurie, T. Grom, and others. A number is characteristic of (though not limited international projects – for example, pian- ists P. Mihelič and R. Chicco play with J. Hendricks in America. When they return to Slovenia, these musicians work together with local musicians (such as pianist Z. Škrinjar, who mixes jazz and classical styles, and Sagar, who combines Indian music and jazz), thus connecting Slovenia to wider musical currents and trends else- where in the world. Let us also note a few promising names who are certain to gain wider recognition in future – I. Lumpert (saxophone), I. Lunder (guitar), R. Jukič (double-bass), and J. Pukl (saxophone) – and a number of jazz vocal artists who al- ready well known – M. Žnidarič, K. Oberžan (standards), M. Osojnik (jazz versions of folk songs), the New Swing Quartet (gos- pel, spirituals), and the a cappella ensem- ble Perpetuum Jazzile. Today Ljubljana has three jazz festivals as well as the Ljubljana Festival which, of former members of Quatebriga are cur- to) the jazz scene in Slovenia. The dis- though mainly devoted to classical mu- rently engaged in other projects. Guitarist tinction leaves a lot of space in between sic, also hosts a number of jazz perform- I. Leonardi leads the Fake Orchestra (jazz, and this space is often filled by the work ances. These concerts are organised African and other music); wind player of new musicians. The Fool Cool Orches­ by B. Rončel, a man who has made an and pianist M. Lazar, among others, has tra, under the direction of I. Leitinger, important contribution to the popularity written pieces for RTV Slovenia Big Band. blends jazz with Balkan music, funk, and of jazz in Slovenia by broadcasting con- B. Bibič continues the work of Begnagrad other styles. Among wind player V. Atanas- cert programmes on television and radio. in the international accordion quintet Ac­ ovski’s international ensembles, both the When we also include festivals outside cordion Tribe and recently offered a se- Adrabesa Ensemble (jazz, Oriental music) the capital such as Jazz Cerkno, Izzven ries performances entitled Na domačem and the Atanasovski-Golob-Levačić Trio in Maribor, and Jazzinty in Novo Mesto vrtu that combined music and film. (improvised music) stand out. Guitarist (the latter event includes master-classes S. Šalamon also frequently plays with for- for young musicians as does Jazz Camp Modern or classical? Both, please! eign musicians (M. Godard, D. Binney and Kranj) one needn’t fear for the future of Certainly the most visible guardian of clas- others). At the beginning of his career, he jazz in Slovenia. The only question is the sical jazz tradition is RTV Slovenia Big Band. recorded with his mentor Z. Kaučič several eternal one: when does ‘modern’ become Over the more than sixty years of its histo- albums that received excellent reviews. ‘classical’? M

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008

44 Folk Music Historic Roots and New Beginnings Slovenian Folk Music

The band Trinajsto prase (photo: artist archive) By Katarina Juvančič

During the early years Slovenia – with its advantageous central region (literally ‘trans-Mura’ – the Mura location and its historical, geographical, River separates this region from the rest of the new millennium, and cultural diversity – might be consid- of Slovenia), the best known of which is while the leaders of the ered a Europe in miniature. This concept certainly the Beltinška banda. Because applies to the vernacular types of music of its immensely successful long-time folk revival were striving that predominated in Slovenia up until the collaboration with well-known Slovenian to preserve authentic Second World War, a mix that revealed the singer/songwriter Vlado Kreslin, interest various influences and interconnections in the Beltinška banda has grown on both forms of Slovenian between the Alpine, Pannonian, Mediter- the local and national scenes. ranean, and Balkan spheres. Though this Other distinctive regional styles include traditional music, a new type of music was subdued during the the south-Slavic legacy of tamburitsa or- generation of fans with post-war years, primarily as a result of the chestras (mainly in the southeast of Slov- expanding popularity of ethnic music in enia), Istrian dance music and other music a more global outlook the media, it was nevertheless preserved made with instruments from that region on musical heritage either in traditional or borrowed form. (connected to the Mediterranean and Bal- We find the Pannonian influence in the kan musical traditions), and ancient fid- appeared on the scene. so-called bande (bands) of the Prekmurja dling techniques indigenous to the Rezia

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Folk Music 45

Many revival ensembles have sprung up One such ensemble is the twelve-member important world music festivals abroad since Slovenian independence, though female vocal ensemble Katice. Individual (such as Womex) and its songs have ap- there were also a few before 1991 trying artists such as Ljoba Jenče, Bogdana peared on European world music best-sell- to breathe life into the dying traditions of Herman and Mira Omerzel-Mirit are also er charts. Katalena is another exceptional- Slovenian folk music. especially well-known interpreters. In- ly popular ensemble that has earned, with strumental ensembles worth mentioning its folk-rock posture, a youthful following are Kurja Koža, which favours melodies across Slovenia. They have also had many played on reed instruments, and Trinajsto successful performances in international Valley in northeast Italy and practiced by Prase and their successor, Tolovaj Mataj, venues. the Slovenian-speaking population who which interprets old dance music for a The high number of foreign guest ap- live there. modern audience. Many of the original pearances by Slovenian revival and Although a few individuals had privately generation of revivalists came together post-revival bands and the connections collected folk music through the seventies in 1996 to form the Folk Slovenia Cultural they make with other world musicians (Mira Omerzel-Mirit and Dario Marušić), Association, which is still active today, to – relationships which became stronger the systematic collection of musical ma- preserve, present and promote Slovenia’s after Slovenia joined the EU – is part of terial on location was started by a team folk-music heritage. a much larger global-local dynamic to from the Institute of Ethnomusicology Another factor in the popularisation of which folk music has always belonged at the Scientific Research Centre of the Slovenian folk music are the world music and will always be exposed in one way Slovenian Academy of Sciences and Arts. festivals that take place in Slovenia, such or another. M Working together with colleagues from the as the Okarina Folk Festival and the Druga state radio, the team taped and published Godba Festival, both of which have hosted recordings of folk songs, instrumental folk a number of traditional, revival, and world music, and folk dances gathered in the music musicians since the late nineteen- field in the nineteen-sixties. eighties. The increasing popularity of world Though there were some isolated efforts music has also meant a revival in Roma mu- prior to independence in 1991 to breathe sic, popularised today by both non-Roma life into the dying traditions of Slovenian artists (for example, the band Šukar) and folk, a whole host of revival ensembles Roma artists (Langa and Imer Brizani). have sprung up since then. In the late sev- During the early years of the new millen- enties and early eighties, a small number nium, while the leaders of the folk revival of musicians (such as those from the were striving to preserve authentic forms bands Salamandra and later Begnagrad) of Slovenian traditional music, a new gen- seized upon the idea, popular among eration of fans with a more global out- growing folk revival movements in West- look on musical heritage appeared on the ern Europe and America, of experimenting scene. Musicians created an individual vi- with traditional sounds. sion of folk music built on the foundation The first intentional shift to a more authen- of multi-faceted multi-genre possibilities tic sound was represented in the work of combined with their own individual musi- the Istrian band Istranova, which stirred cal and aesthetic preferences. Probably Folk-rock ensemble Katalena (photo: Ivian Kan Mujezinović) a new interest in Istrian music among the the best known representative of this local population. Today, local traditional type of approach to traditional music is singers and instrumentalists (Pišćaci, the the quartet known as Terrafolk, which won Batista Family) as well as folk revival en- the prestigious BBC Radio 3 Listener Prize sembles (Istranova, Vruja, La Zonta) and in 2003 for its virtuosic and explosive mix modern interpreters of folk music (Rudi of Balkan music and the band members’ Bučar) coexist on the Istrian folk revival own idiosyncratic contributions. Terra- scene. folk’s former bassist formed his own post- While a strong regional orientation is char- folklore band Jararaja three years ago. acteristic of some folk revival bands, oth- The band Brina has also garnered inter- ers take repertoire from all across Slovenia. national recognition. It has performed at The group Jararaja (photo: Uršula Kordiš)

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 46 Folk - Pop

Slovenia – Birthplace of Folk-Pop

The innovator Lojze Slak and his ensemble (photo: Stane Potrč) By Ivan Sivec

Slovenia is the birthplace ven the name of the genre indicates was Slavko Avsenik’s role as true musician that the music wants to be both of the people, not only exceptionally skilled of one of the newest sub- Eethno-centric and entertaining at as an accordionist but also an extremely genres of popular music, the same time. Folk-pop began in 1953, gifted songwriter (he has composed more and its origins must be credited to the than a thousand original melodies). His narodno-zabavna glasba brothers Slavko and Vilko Avsenik from the brother Vilko knew how to channel this – literally ‘national- village of Begunje in Gorenjska, the moun- type of folk talent in the proper direction tainous northwestern region of Slovenia. and to adapt it to the needs of the radio. entertainment’ music but Vilko’s most important innovation was the It all began with the Avsenik Brothers original quintet formation made up of ac- more commonly referred Slavko was a talented folk musician who cordion, clarinet, trumpet, guitar, and eu- to in English as from the time he was a boy played mu- phonium that combined the elements of a sic in villages and local inns. Vilko, after typical folk trio with those of a brass band. ethno-pop music or graduating from the Ljubljana Academy Many different factors were involved in simply folk-pop. of Music, got a job as a saxophonist in a the rise of the Avseniks’ music. The most dance band at Radio Ljubljana. Later he important is certainly the ascendancy of would became the programming director radio. In 1928, the radio station in Ljublja- of the station. In a way, it is these two men na had approximately three thousand lis- – one self-taught, the other academically teners; by 1950 it had more than twenty trained – who embody everything that times that number. As its broadcast of- ethno-popular music embraces, from the ferings expanded, it was necessary to name itself to its appearance. fill the programme with new content. In The Avsenik phenomenon contained many those days, many of the songs that had innovative elements that had never been traditional or religious content were for- achieved by either folk or academically bidden by the post-war communist re- trained musicians. An important factor in gime. Radio programmers found this new the popularity of this music with listeners music especially useful, leaning as it did

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Folk - Pop 47

towards mostly secular folk melodies. Fol- Slovenia is the birthplace of a special kind lowing the radio success of the Avseniks, of popular music, a genre that is imitated Vilko, by then a radio programmer, opened in a large part of the Alpine world. the door to many similar musical groups. Programmes featuring this kind of popu- lar music, and especially the one-hour evening programme known as Thursday responsible for putting Lojze Slak on the Evenings of Home-style Songs and Melo­ radio, primarily to add variety to the pro- dies, immediately became the favourites gramme. of a radio audience that was comprised of This type of pop music phenomenon relatively simple folk. The Avseniks’ music brought with it many advantages. The also fell favourably upon ears in neigh- Avseniks’ polka Na Golici (On Mt Golica) bouring Austria and southern parts of Ger- became the most frequently played song many (particularly Bavaria) as well as in on many world radio stations in the post- Switzerland, the former Czechoslovakia, war period (played more often than any Poland, France, and many other places. song by the Beatles or Johann Strauss, an artist to whom the Avsenik brothers have Lojze Slak ushers in a new era often been compared). More than ten Originally named the Avsenik Gorenjski thousand musical ensembles patterned »Turbo-folk« group Turbo Angels (photo: artist archive) Quartet, the ensemble became the Goren- after the Avseniks sprouted up all over the its development to one degree another, jski Quintet, translated outside Slovenia as world and this type of music became an such as radio and television program- the Oberkrainer Quintet. Around five-hun- integral part of any kind of merry-making mers, have tended to follow rather than dred similar ensembles were then and are in the Alpine territories. lead. Today there are almost one-hundred still on Radio Ljubljana (now Radio Slov- radio stations in Slovenia, and at least enia). The most original of these – aside Looking ahead one-fifth of them broadcast folk-pop. In from the Avsenik brothers – was the Lojze It is never possible to predict the direc- addition to the more classical variety Slak Ensemble, a folk trio that performed tion of popular music, since music is a of the Avsenik generation, there is now together with the highly polished vocal en- living organism that comes into being ‘turbo-folk’, a variation aimed primarily at semble Fantje s Praprotna (The Boys from and expires on its own. In recent times, younger listeners. In Slovenia, there are Praprotno). It was Vilko Avsenik who was those who have the power to influence currently thousands of young, trained folk musicians. Slovenia is thus the birthplace of a spe- cial kind of popular music, a genre that is imitated in a large part of the Alpine world. Many different kinds of musical groups in the region include at least a few folk-pop pieces in their repertoire. The home of the Avsenik Brothers is now a tourist attrac- tion – with more than seventy percent of visitors coming from outside Slovenia. Their songs and melodies meanwhile are gradually entering the folk tradition. The Avseniks’ work is undergoing the same type of cultural transformation as that of all good songs and melodies by unknown folk musicians from the past. This says a great deal about the high degree of artist- ry in their work as well as the true human- ity and sincere folksiness of this kind of popular music in general. M The founders of ethnic-popular music: The Avsenik Brothers Ensemble (photo: private collection of Ivan Sivec)

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 48 Slovenian Pop Music

erated continuously since that time and is A Short History now known as RTV Slovenia Big Band. The radio orchestra, crucial to the growth of popular music in Slovenia, flirted with jazz of Slovenian Pop Music from its beginnings. Post-war authorities strived to suppress this music, but the or- chestra could not be stopped as it spread By Jure Longyka, Matej Krajnc the jazz virus whether the authorities liked it or not. During the post-war years, the orchestra entertained the public with music and variety shows broadcast live on the radio. These programmes provided a venue for local popular artists. Bojan Adamič and lyricist Frane Milčinski-Ježek became the most prominent songwriters

The true stars of ontrary to widespread opinion, Slov- and launched the tradition of the Sloveni- enian popular music has a long tra- an chanson. There are few recordings from Slovenian popular music Cdition. Even before the appearance the earlier part of this period, most date are the rockers Siddharta. of Slovenian pop singers in the nineteen- from the first half of the nineteen-fifties sixties, Slovenia was largely in step with when recording became more systematic. Dan D, Big Foot Mama, modern musical trends. As early as the Film also contributed to the rise of popu- nineteen-twenties, the ensembles Origi- lar culture. The lightest and most popular and Tinkara Kovač also nal Jazz Negode and Odeon performed a films from this period were Vesna (1953) deserve special acclaim. wide repertoire of jazz and popular songs. and Ne čakaj na maj (1957) directed by People on the street whistled themes from František Čap. The latter featured a song well-known operettas, sound films em- of the same name that is today one of the ployed the newest singers. Radio Ljublja- most well-known evergreen songs in Slov- na, established in 1928, took a leading role enia. Slovenian composers, singers, and during this era. Immediately after World conductors experienced their first compe- War Two, Bojan Adamič founded the Radio tition successes during the late nineteen- Ljubljana Dance Orchestra, which has op- fifties at a festival in Opatija, Croatia. But it

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenian Pop Music 49

soon became clear that Slovenian popular first performed by Marjana Deržaj in 1964. Rendez-vous, Pop design. Middle-of-the- music needed its own festival, and so the Popevka cultivated Slovenian pop for more road rock was personified by the band Slovenska popevka (Slovenian Pop Sing- than a decade and a half, launching hun- Šank Rock. Marijan Smode, one of the last er) festival-competition began in Bled in dreds of excellent singers many of whom winners of Slovenska Popevka, earned 1962. still have a place in the popular conscious- hitherto unimaginable acclaim and, Many members of the members of the nesses today. The Maribor festival Vesela though his popularity has waned over the Radio Ljubljana Dance Orchestra com- jesen, begun during the same period fea- years, will probably remain the highest- posed popular songs. In addition to Bo- tured new local folk-popular music, and selling Slovenian singer of all time. jan Adamič, there was Jože Privšek, the continued in subsequent years. New names appeared on the scene in orchestra’s new leader, Mojmir Sepe, Ati The second half of the sixties brought a the nineteen-nineties: Helena Blagne, Soss, and Jure Robežnik. A first genera- period of pop groups and multi-part en- Magnifico, Čuki, Leteči potepuhi, and Jan tion of celebrity singers was born in the sembles. The group Bele Vrane achieved Plestenjak. Album sales by local Slov- fifties – Jelka Cvetežar, Marjana Deržaj, the most local success, Mladi levi played a enian artists rose again and recording Majda Sepe, Beti Jurković – and these more demanding fusion of jazz-rock-soul, was increasingly taken over by large new would later be joined by a number of new- and the Primorska band Kameleoni, with companies. In 1998, RTV Slovenia revived, apparently out of nostalgia, the Slovenska popevka festival. After a few ambitious years, the festival retreated again and now functions primarily as a vehicle for artists making big debuts. The pop music contest EMA for the annual selection of Eu- rovision receives much more money and attention. Its first divas – Darja Švajger, Nuša Derenda and Alenka Godec – pos- sess exceptional vocal abilities, but even they are not seen much at EMA anymore. The new era of televised pop spectacles is ruled by tele-voting and is now dominated by authentic Slovenian turbo-folk, a kind of music that exploded on the scene with Atomik Harmonik in 2004, a half a centu- ry after the Avseniks’ started the folk-pop genre. So what does this mean for Slovenian comers – Lado Leskovar, Nino Robić, Lidija their long hair and tee-shirts with printed popular music in the new millennium? Kodrič, Berta Ambrož, Alenka Pinterič, and slogans, became the first Slovenian pan- Are we a half century behind the times? Elda Viler. Many of these singers became Yugoslav rock stars. Popevka continued Fortunately not – or at least that’s not the stars thanks to fledgling Slovenian tel- featuring big names at the beginning of whole story. The true stars of Slovenian evision which during the nineteen-sixties the seventies – Oto Pestner, for example, popular music are the rockers Siddharta. produced many high-quality popular mu- and Pepel in kri, Ivo Mojzer and Alfi Nipič – Dan D, Big Foot Mama, and Tinkara Kovač sic programmes on a meagre budget. An but ultimately lost the battle against new- also deserve special acclaim. The tradi- effective blending of literature and music er rock trends. It was viewed as conserva- tion of Slovenian pop-vocal artistry lives began to emerge with texts written by au- tive, kitschy, and narcissistic, and finally on in Olivija and Gal and Galeristi, and in thors who, if not already established writ- folded in 1983. Individual pop performers the splendid new pop bands Silence and ers, had pronounced literary ambitions. such as Hazard and Prizma had became Melodrom. Meanwhile the eternal schism Gregor Strniša, for example, dominated larger than the festival. RTV organised the between rural and urban (the urban tradi- the festival during the sixties. Elza Budau festival Pop Delavnica, using performers tion having incorporated jazz into Sloveni- was another such figure. She wrote the who were otherwise sinking into oblivion. an popular music and introduced waves of lyrics to Poletno noč, perhaps the most Yet plenty of middle-of-the-road pop con- singer-songwriters, rock, punk, and alter- celebrated Slovenian pop song of all time, tinued during the eighties: Čudežna polja, native music) continues. M

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008

52 Rock 'n' Roll

Rock’n’Roll in Every Slovenian Village

The band Siddharta (photo: Luka Kaše) By Igor Bašin

The band Siddharta has been the greatest success of the the tempestuous eighties. A number of new names also came along to shake up last decade. Their 2003 concert with the RTV Slovenia and further enrich Slovenian rock and pop. Symphony Orchestra in Ljubljana’s Bežigrad Stadium Lačni Franz, Martin Krpan, Laibach, Vide- osex, Borghesia, Avtomobili, Agropop, Niet, that drew an audience of more than thirty thousand CZD, Miladojka Youneed, and Strelnikoff all broke all previous records and solidified their status as earned media affirmation at the Novi Rock festival that took place annually after its the greatest rock band working today in Slovenia. 1981 debut at Križanke in Ljubljana. With the independence of Slovenia in he infancy of rock in Slovenia goes and Marko Brecelj). The most illustri- 1991, the twenty-million strong Yugoslav back to the nineteen-sixtes, when ous band of the seventies was the freak- market shrank to the Slovenian market of Tvocal-instrumental bands sprouted rockers Buldožer. A sort of Frank Zappa of two million – though that in no way damp- up in the midst of Beatlemania and shag- Ljubljana, the band was the antithesis of ened creativity. Peter Lovšin of Pankrti, gy beatniks. Among the groups popular at the ultra-popular pastoral rock group Bi- Vlado Kreslin of Martin Krpan, and Zoran the time – Helion, Mladi levi, Svetniki, Si- jelo Dugme from Sarajevo. As a proto-punk Predin from Lačni Franz made names novi, Barbari, Bele vrane, Union and others band, they paved the way for the stormy for themselves as solo artists, while – Kameleoni was the most successful in events of the late seventies. a variegated group of alternative rock the former Yugoslavia. On the threshold of In October 1977, a year after the eruption bands such as Demolition Group, 2227, the seventies, psychedelia, flower-power, of punk in England, the first punk concert Res Nullius, Hic Et Nunc, Ana Pupedan, Woodstock and folk-rock continued to mo- in Yugoslavia took place in Ljubljana. The and Psycho-path continued to perform tivate the genre. Boom Pop, the first real band Pankrti launched a new wave over the and record throughout the nineties. The rock festival, took place in 1971 in Mari- mountainous Balkans. Slovenian punk and middle ground of the pop-rock move- bor and continued in Ljubljana until 1974 new wave – captured on the compilation ment was made up of groups such as Big as a review of Yugoslav rock bands. In a albums Novi punk val 1978-80 (New Punk Foot Mama, Sausages, Babewatch, Lara more artistic vein, progressive and jazz Wave 1978-1980) and Lepo je – was fol- Baruca, Tinkara Kovač, and Bombe. Even rock bands thrived (Sedem svetlobnih lowed by avant-jazz rock (Begnagrad, Srp, though techno, hip hop, drum’n’bass, and let, September, Horizont, Predmestje, Iz- Na lepem prijazni) and a new generation of dance club music challenged the primacy vir) along with singer-songwriters (Tomaž singer-songwriters (Jani Kovačič, Andrej of rock during this period, rock remained Domicelj, Tomaž Pengov, Andrej Trobentar Šifrer) both of which persevered through the central creative musical force with the

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Rock 'n' Roll 53

most tributaries. This is best exemplified and promising bands, and the festivals with the internet media, on the fringes. by artists as varied as Vlado Kreslin and that succeeded Novi Rock after 2000, re- Foreign guest appearances by Slovenian his Beltinska banda, Juhej and vuhmepiš main a lively and important workshop for performers provide an important channel and Orlek (world music); Zaklonišče pre- innovation and creativity. for creative inspiration, confirming that peva (Yugo-rock nostalgia); Racija, Zab- Although there are more than seventy the small scope of the Slovenian market lujena generacija, Not The Same, Srečna radio stations in Slovenia and countless may be transcended with a few strategi- mladina and Elvis Jackson (ska and television channels, the print media dedi- cally placed steps: and, of course, with punk); Interceptor and Noctiferia (heavy cated to music is very modest. There is innovation, authenticity, and originality. metal); Niowt (alternative rock); Silence not a single monthly music magazine Given the rich tradition of Slovenian rock, (alternative pop); Dicky B. Hardy (garage amidst all the pools of yellow print – only the future may not be as complacent or punk rock); The Stroj (industrial tribal- the bi-monthly Muska persevere, along pessimistic as it sometimes seems. M ism); and Žoambo Žoet Workestrao (off rock). Besides Novi Rock, a number of other festivals were launched to stimu- late the domestic music scene (such as No Border Jam, the Zgaga Rock Festival and Rock Otočec). The band Siddharta has been the great- est success of the last decade. Their 2003 concert with the RTV Slovenia Symphony Orchestra in Ljubljana’s Bežigrad Stadium that drew an audience of more than thirty thousand broke all previous records and solidified their status as the greatest rock band working today in Slo­venia. With this concert a new era began in Slovenian pop The cover of the group Buldožer’s debut album from 1975 Cover of the live album from the group Pankrti rock. Mi2, Olivija, Patetico, Dan D, Nei- sha, Naio Ssaion, Slon in Sadež, Gušti & Polona, Leeloojamais and Gal in Galeristi are some of the big names that preceded the current flood of silicon pop and Slov- enian turbo-folk. In the last year alone, Slovenian rock witnessed reunions of the now-legendary bands Šank Rock, Lačni Franz, Buldožer, Pankrti, Polska malca and Interceptor. These featured the hard- working and energetic performers of the eighties and nineties joined by newer faces. In addition to cross-genre bands BAST, Moveknowledgement and the side project of their singers N’Tok and ŠKM band, a number of punk, rock, and ska groups stand out: Tide, Dežurnih krivcih, Dr. Zero, Muškat Hamburg, Kweef Possum, Backstage, Red Five Point Star, alterna- tive pop bands Melodrom, Miss.Bee, and world music modernisers Brina, Katalena, Čompe, Terra Folk, Šukar and Langa. The club scene, with its travelling tours Youn- Gunz and Klub Maraton featuring young The Laibach collective (photo: artist archive)

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 54 Hip-hop Hip-Hop in Slovenia

Photo: Simon Stojko Falk By Boštjan Napotnik In the last year, Slovenian hip-hop became the or many years, Slovenian hip-hop lived on the streets, having emerged collateral damage of a market limited by a small Ffrom the skater subculture. The 1994 language and by lack of knowledge of a music album Leva scena by Ali En, a well-known Ljubljana skater, originated from this par- industry that can hardly justify the financial ticular subculture. Ali recorded his original rhymes with a live band in his uncle’s stu- investment of subculture music releases in a market dio. In terms of musical inspiration, Ali, a fan of just two million. of Kool G Rap in DJ Polo, picked up quite a bit of his rap style from American models but that in now way diminishes the originality, autochthonous quality, and subsequent influence of this groundbreaking record. Ali En convincingly shattered the myth that the Slovenian language is not nimble or ripe enough to express the feelings, moods, and opinions of a young urban generation. He self-confidently explored nearly all the essential hip-hop themes: social commen- tary, public welfare, police, parties, babes, friends, drugs, etc. Leva scena became the standard and anyone else who wanted to make a good rap CD in Slovenia had to try very hard to meet it. And many did. In the following year, the album Pesjan by Pasji Kartel, a band of skiers, came out. Band members, Matej Jovan and Jure Košir, performed true tongue twisters with the microphone. A year later, Maribor made its appearance on the hip-hop map with the album Ko pride bog by the duo Dandrough. The hip- hop scene was coming to a boil. Hip-hop- themed evenings with DJs and rappers Photo: Simon Stojko Falk

Slovenia MIDEM 2008 SING & PLAY SLOVENIAN WAY / Discover Slovenian Music Cultures Hip-hop 55

became a mainstay of the underground For more than a decade now, hip-hip in clubs. Thanks to several concert organis- Slovenia has been an expressive channel ers, Slovenian audiences had the chance for the contemporary urban generation. It to see some of the greatest hip-hop leg- is one of the rare genres where content is ends perform live: The Roots, Beastie Boys, more valuable than form, where quality is Naughty By Nature, Public Enemy, Guru, measured by what one says rather than and Pharcyde. The collective Radyoyo was how one says it. a leader in organising events. In 2000, they released the compilation album 5 Minutes of Fame presenting young artists from all over Slovenia. The same collective also put their energy behind a duo made up of two of their own members, Ljubljana rappers Murat & Jose who released the disc V besedi je moč. On the promotional level, this CD stood out from previous ef- forts, including strange and funny stories featured on the disc Trnow Style by the charismatic rapper Klemen Klemen from the Trnovo neighbourhood of Ljubljana. The freestyle rapper competition occupies an especially honoured place in Slovenian hip-hop. The event showcases live art- ists, rappers rapping off the cuff, creating simultaneous rhymes with no prepared text. All three state championships – the Photo: Simon Stojko Falk first in Velenje the next two in Ljubljana – were crowded with listeners who delighted of knowledge of a music industry that can Samo bedak in sila and Tekochee Kru’s in the flood of improvised rhymes replete hardly justify the financial investment of Adijo stari, kaki scenarij. Most of the per- with jibes, barbed comments, boasts, ra- subculture music releases in a market formers mentioned above also appeared zor sharp descriptions, and role playing. of just two million. A number of projects on the compilations Hiphop kuhna vol.1 Pumped up on adrenaline and the heat of (Plan B – Čarovniki, Nikolovski – Vse ob and Lublana podtalno. competition, the lightning-tongued rappers svojem času) that were extremely un- For more than a decade now, hip-hip in produced perhaps the best rhymes of their successful from the financial standpoint Slovenia has been an expressive channel lives as they performed one on one with only discouraged the recording industry for the contemporary urban generation. each other: the old-fashioned Slovenian further, making it even harder for young It is one of the rare genres where content rapper Pižama, the laid-back Valterap, the artists. The hip-hop generation responded is more valuable than form, where qual- flirtatious Trkaj and N’toko. The latter two predictably to this market situation: with ity is measured by what one says rather began successful recording careers on the self-published recordings distributed in than how one says it. Locally-made MP3 wings of their freestyle triumphs, the first the very popular mini-EP format (Kosta recordings that come out daily on Sloveni- with the more moderate CDs V času enga – Riihlah, Brodii – Malaplošča) as well as an hip-hop internet forums are proof that diha and Rapostol, and the second with more ambitious full-length CDs (Valterap – hip-hop is still dynamic and packs a great the debut Cesarjeva nova podoba and the Malomatomanemona, Samo Boris – Pasiv­ artistic punch. To continue to thrive, how- sharper and more refined Dobrodelni kon­ na oblika glagola biti, Zlatko – Svet je lep). ever, it will need – at the very least – more cert ob koncu sveta. All participants were Some local well-connected performers stable and powerful media outlets (inter- amazingly adept at shaking witty series of have even started their own street-based net-based would be adequate), as well as rhymes out of practically any subject. record labels, such as Dravlje Records stronger institutions for (self)produced In the last year, Slovenian hip-hop be- in Ljubljana and Jerna Style in Maribor, projects. The current situation can best be came the collateral damage of a market which in the last two years released two described with a biblical proverb: the spirit limited by a small language and by lack witty and likable albums, EyeCeeOu’s is willing, but the flesh is weak. M

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 56 Electronic Music in Slovenia Electronic Music in Slovenia

By Jure Matičič Today the electronic lovenia can be proud of its small yet access to recording equipment, meagre diverse electronic music scene. Al- coverage of this type of music in the lo- music scene in Slovenia Sthough it is cut off from traditional cal media, etc. In the beginning, only very is characterised by a sources, electronic music has steadily specialised media, such as fanzines and developed over the last twenty years. This websites, paid any attention to the elec- developed DJ culture development has been most intense in the tronic scene. Eventually larger media out- last decade, which, in terms of the number lets and newspapers began to take notice with a few international of records released, was the richest thus and now coverage is very good. An exam- stars. The more creative far. Experimentation with electronic sound ple of the more complete coverage was a began before the nineteen-eighties, pri- recent interview with DJ Umek in the Sat- side of the electronic marily thanks to the efforts of avant-garde urday supplement of the main daily news- music community composers working in the electro-acous- paper Delo. tic field, a field that has no connection to In the early years, events were limited to is less developed electronic dance music. If we look back at techno evenings organized and designed and has relatively the eighties, we can point to a number of by a handful of DJs. These events took place groups that were already using electronic mainly at the Ljubljana club K4 (which few opportunities to equipment and methods of production. remains one of the main movers on the have work released What we are talking about here is prima- scene) and in smaller clubs such as Palma rily the synthesised creation of sound, and Nexus. Later these events migrated to – especially when it the sampling of techniques being done by larger and more commercial venues, such features experimental groups such as Videosex, Borghesia and as the Dakota club in Ljubljana and Am- Laibach (the project 300,000 VK could basada Gavioli in Izola, which remain the content that is not part of also be included in this group). However largest and best-known clubs in Slovenia. this work was first discussed in the con- Among the first to rotate techno music was the popular culture. text of the punk and industrial movements Aldo Ivančič who was soon joined by the of the eighties and not as part of an inde- younger DJs Umek, Primož Pečovnik, MC pendent electronic scene. Brane, the duet Random Logic, and oth- If the electronic scene really began to pick ers. In 1994, groups of enthusiasts began up speed internationally in the mid-eight- to organise the first rave parties in loca- ies and the beginning of the nineties, it tions anywhere from firehouses to outdoor wasn’t until the mid-nineties that it got go- venues. Later these also migrated to larger ing in Slovenian. There are many reasons halls such as Hala Tivoli in Ljubljana, Rdeča for this delay: the already-mentioned lack Dvorana in Velenje, and Mebla in Nova Gor- of a tradition in this type of music, limited ica. After 2000, the number of commercial

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Electronic Music in Slovenia 57

Experimentation with electronic sound be- gan before the nineteen-eighties, prima- rily thanks to the efforts of avant-garde composers working in the electro-acous- tic field, a field that has no connection to electronic dance music.

rave parties declined. With the exception of some larger events (Breakbeatnik is a festival worth mentioning) and locations (Ambasade Gavioli), events once again were limited to smaller clubs. In terms of genre, for some time produc- tion has been concentrated on techno mu- sic, the hallmark of the Slovenian scene and its best selling product. Labels such as Consumer Recreation and Recycled Loops have become successful internationally, mostly thanks to DJ Umek and his team. There are also a number of smaller labels that are mainly listened to locally: Matrix Music, Absense, Expire, Kial, Veto, and Temponautika. The Tehnika label plays a very important role by effectively promot- ing the Slovenian techno scene interna- tionally and releasing albums by central figures such as Umek, Random Logic, Temponauta, Iztok Turk, Octex, Ouroborots and Virtual Voodoo. Tekton Motor Corp, Beitthron, Anna Lies, Coptic Rain and Cell Block were among the first producers of techno, while the already-mentioned Umek, Valentino Kanzyani and the group Rotor, offering mostly house rhythms, stand out from the current generation. As far as other genres go, the selection in only real counterbalance to the techno more creative side of the electronic mu- Slovenia is quite modest, being limited to scene. The main practitioners of break- sic community is less developed and has experimental electronic music. Here it is beat are the teams Radyoyo, Codeep, and relatively few opportunities to have work important to mention the label RX:TX, of Illegal Crew. Drum’n’bass productions re- released – especially when it features ex- which the driving force is the multimedia main quite small. Among the first was the perimental content that is not part of the artist Marko Peljhan, and individual com- compilation Monk-O-Rama by the Jungle popular culture. On the upside, club hap- pilations that came about as a result of Star Committee team and the collective penings in Slovenia have become a strong tenders for young producers: K4 Format, Klasick stands out on the current scene. and consistent part of the scene. Elec- Elektroflop, and Elektrostars. Enthusiasts Today the electronic music scene in Slov- tronic music has built itself a prominent of drum’n’bass and breakbeat music have enia is characterised by a developed DJ place on Slovenia’s musical map and its forged a strong scene that represents the culture with a few international stars. The influence is only likely to grow. M

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 58 The Slovenian Festival Caravan The Slovenian Festival Caravan

By Luka Zagoričnik Music workshop for children at the Sajeta 2007 festival (photo: Iztok Zupan)

The festival Rock ithout insight into the interna- Festival, Novi Rock) were important fore- tional music festival community runners. The Zgaga Rock Festival, located Otočec made its debut W– into its mechanisms and func- near the town of Litija, also played an im- in 1976, had a repeat tions as they work in the diversified music portant role in shaping the scene for sum- industries – we cannot have insight into mer rock music festivals from 1995 until performance in 1983, the Slovenian Festival Caravan. Festivals 1998 when the tragic death of a motorcy- and became an annual can be divided into two broad categories: cle gang member ended its run. The festi- those whose programmes are tied to spe- val not only presented a diverse selection international festival in cific musical content, genres and sub-gen- of younger and older Slovenian rock bands, res, and mass-market music festivals that it also re-established severed contacts the nineties, reaching present a programmatic mix of various with bands from the regions of the former its peak at the turn of music styles cut out like biscuits for the Yugoslavia and invited important foreign broadest range of popular tastes. The first rock bands. One of its most important con- the millennium. With its caters to a narrow targeted public while tributions was getting together the young particular programming the second leans towards stage spec- local organisational community (such as tacles for a multitude of visitors. Today, the KUD Zgaga Cultural Association) with scheme – which drew on massive summer festivals have outgrown more established Slovenian promoters an extraordinarily broad their early subversive principle of bring- (such as FV Music) and rock critics (Mar- ing diverse subcultures together, evolving jan Ogrinc). selection of Slovenian instead into brand names wrapped in the In 1997, this group joined forces with the and foreign bands – it advertising slogans of big corporations. festival Rock Otočec, which had made its Not surprisingly, the musical content has debut in 1976, had a repeat performance came closer than any been sidelined to a certain degree. in 1983, became an annual international of the other Slovenian The modern outdoor summer festival (as festival in the nineties, and reached its modelled on a number of similar festivals peak at the turn of the millennium. With its festivals to the foreign around the world, and particularly those particular programming scheme – which with carefully constructed image, diversi- drew on an extraordinarily broad selection festival caravan. fied infrastructure, multiple stages, sleep- of Slovenian and foreign bands – it came ing capacity and other forms of leisure closer than any of the other Slovenian fes- activities) began to appear in Slovenia tivals to the foreign festival caravan. Un- during the transitional period of the nine- fortunately, in recent years, the festival’s teen-nineties. Several festivals of the sev- programming hasn’t been as successful, enties and eighties (such as the Boom Pop failing to transcend the level of a merely

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia The Slovenian Festival Caravan 59

After the decline of rock festivals came a After the decline of rock festivals came a for the future of large festivals. On the period of smaller electronic dance music period of smaller electronic dance music other hand, because of rapid changes in and reggae music festivals that featured and reggae music festivals that featured a the music industry, it is becoming more a roster of international artists. roster of international artists. Metal Camp possible for musicians to go on extensive in Tolmin was especially successful and tours and make appearances at interna- became one of the larger heavy metal fes- tional festivals to compensate for small- tivals in Europe. It is interesting to note er earnings from CD sales. The approach decent local festival. In spite of a solid that that every attempt to set up this type used by some smaller specifically-pro- organisational infrastructure, financial is- of festival in a larger and more central ur- grammed festivals – that by investing a sues, and a programme directorship not ban area such as Ljubljana has failed. great deal of enthusiasm become models entirely in tune with the times, are to be A number of smaller festivals with very of success outside the unforgiving mar- blamed for the decline. Nevertheless both specific programs are worth mentioning. ket mechanisms – is what will drive the festivals set in motion a veritable flood Two events that have stood out in recent festival caravan in Slovenia forward into of smaller local festivals all over Slovenia years are the festival of jazz and related the future. M in the mid-nineties (Hoška prebuja, Rock music in Cerkno called Jazz Cerkno (an Butale) organised by youth organisations, excellent example of how a festival can cultural societies, and student clubs. At successfully fit into the local surround- the end of the millennium, most of these ings and continually improve its image festivals folded as a result of non-compet- and programme), and the festival and itive programmes and a lack of continu- creativity camp Sajeta that features a ity (not to mention insufficient financial wildly diverse programme of more ex- resources as they were dependent on the perimental and contemporary Slovenian contributions of local and state authori- and foreign artists and a number of crea- ties, student services, and small compa- tivity workshops. The small size of the nies). Of the festivals that survived this market in Slovenia, the ever-waning field period, the Trnje Festival, which focuses of music distribution, the close proximity on independent music productions, is of larger festivals in Italy, Austria, Serbia, worth mentioning as well as a few youth Croatia, and Hungary, and the unwilling- festivals, in particular the rock festival Ga- ness of larger corporations to finance rage Explosion. these types of events are all bad omens

Poster for the Novi Rock festival 1992 (artist: Tomaž Lavrič) Poster for the Zgaga festival (collection of the organiser) Poster for the Novi Rock festival 1983 (artist: Kostja Gatnik)

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 60 Musical Education Musical Education – A Slovenian National Asset

By Branka Rotar Pance

Since the establishment hen we talk about the assets of tal and vocal curricula. Programme length an individual country, we often depends upon the demands of each indi- of the first public music Woverlook the education system. vidual subject (four, six or eight years). institutions in the early In the article that follows, we would like to Modern lesson plans based upon objec- present a segment of the Slovenian edu- tive-centred and process-development nineteenth century, cation system that, in terms of its struc- planning have been developed for all the music education in ture, expertise and content, ranks at the programmes. Enrolment in the pre-school very top. programme and in the music preparatory Slovenia has experienced Since the establishment of the first public programmes is non-selective (without au- music institutions in the early nineteenth dition). Group lessons are typical for both continual growth. The century, music education in Slovenia has programmes and take place once a week results have enriched experienced continual growth. The results (forty-five minutes). Enrolment in the mu- have enriched both national and interna- sic programme is selective with entrance both national and tional cultural and artistic milieus. requirements varying for each instrumen- international cultural and Slovenia’s network of music primary tal programme. Students have individual schools, the lowest level of the musical instrumental lessons twice per week artistic ­milieus. education system, is comprised of fifty- (twenty, thirty or forty-five minutes - de three public schools (funded on the local pending on the instrument and grade level and state level) and five private licensed of the student) and a music subject class schools. The work of these institutions is once per week: music theory for grades largely determined by legislation regarding one through six and solfegge for grades music education that was passed in 2000 seven and eight. Students at higher levels and a number of subsequent bylaws. The participate in chamber groups and play education programmes offered by music in school orchestras. Students are taught primary schools are diverse and include by university-trained teachers, academy- dance education as well. Students are trained musicians, instrumental teachers, able to choose from various programmes and music teachers. depending on age, interest, and on what a If they successfully pass entrance ex- specific school is able to offer: pre-school ams and audition, talented students may music training (one year), music prepara- continue their music education at an tory school (one year), dance preparatory arts high school devoted to music. The school (three years), a dance programme two secondary schools with the longest (four to six years) and a music programme traditions are the Ljubljana and Maribor that has twenty-four different instrumen- secondary schools for music and ballet.

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Musical Education 61

In the last decade, new secondary music schools have been established in Celje, Velenje, and Koper. There are three train- ing modules for artistic music specialisa- tion at the secondary school level: Mod- ule A, music harmony and counterpoint; Module B, voice or instrument (includes vocal training and nineteen instrumental disciplines); Module C, jazz-popular mu- sic (includes vocal training and six dif- ferent instrumental disciplines). In terms of the musical-technical, professional, and general-education curricula, all three modules are designed in such a way that graduates of the programme are virtu- ally guaranteed entrance into a university music programme in Slovenia or abroad. A high level of achievement and knowledge are acquired under the mentorship of a respected professor who is a specialist for Concert by the winners of the 36th annual Slovenian young musicians competition (TEMSIG) (photo: TEMSIG archive) the instrumental field and music theory subject that each student selects. Most music degree programmes in Slov- enia are offered at the Academy of Music of the University of Ljubljana. The Acad- emy comprises the following eight de- partments: composition and music the- ory, conducting, solo singing and opera school, keyboard instruments and accom- paniment, strings, woodwinds, brass and percussion, music education, and sacred music. Entrance into the undergraduate programme is conditional upon the suc- cessful completion of entrance examina- tions. Musicology studies take place at a differ- ent facility, at the Faculty of Arts of the University of Ljubljana. Of the remaining Slovenian universities, only the School of Pedagogy at the University of Maribor of- Concert by the winners of the 36th annual Slovenian young musicians competition (TEMSIG) (photo: TEMSIG archive) fers an undergraduate degree in music. Each year, the University of Ljubljana at numerous performances, recording for applications in individual disciplines. sends out a call for applications for post- sessions, and competitions. The Young Competitors are evaluated by a jury made graduate study programmes in various Musicians Competition of Slovenia (Tek- up of recognised Slovenian and foreign musical disciplines. These include artistic movanje mladih slovenskih glasbenikov musicians. In recent years, a number of specialisation as well as graduate and doc- - TEMSIG), which is a member of the Euro- new competitions have supplemented the toral level scientific studies at the Acad- pean Association of Music Competitions, traditional TEMSIG competition, providing emy of Music and at the Faculty of Arts. has the longest tradition, almost forty ample opportunity for Slovenia to display Young Slovenian musicians have the op- years, and is organised at regional and na- the efficiency and success of its music portunity to present their achievements tional levels. Each year, a call is sent out education system. M

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 62 Music Publishing in Slovenia From Manuscript to Music Music Publishing in Slovenia

By Simona Moličnik In the last decade, music publishing in Slovenia has become both more prolific and more commercial. The market has become competitive which has had an impact on editorial policies.

any events occur on the path pesmarica (Singer’s Songbook), and Zbori from a composer’s manuscript to (1925-1934) made important contribu- Mactual music. One of the events tions to choral literature. The review Nova is the printing of music notation, bring- muzika (1928-1929) was stylistically the ing the composition closer to interpreters most advanced. and opening the door to the whole world Following the Second World War, the spirit of music. of the times change and the organisation Music publishing began in Slovenia in the of music publishing in Slovenia changed mid-nineteenth century at the same time along with it. The Association of Slovenian as the Spring of Nations and Slovenia’s Composers (DSS) was established on De- national awakening. In the beginning, it cember 22, 1945 and took over the work consisted of the occasional publication and mission of the former Glasbena Matica of sheet music. Later a more centralised which was closed. One of the basic tasks and systematic role in music publishing of DSS, then and today, is the publishing of was assumed by the Glasbena Matica Slovenian works in the scope of the Edicije musical association that was established DSS collection. Originally this work was in 1872. For more than seventy years, up undertaken in collaboration with the state until 1945, Glasbena Matica printed Slov- publishing company DZS, which would enian musical material, which at that time later direct most of its energies towards mostly consisted of choral music and art printing publications for musical instruc- songs and to a lesser degree piano and tion. From 1951 to 1960, the tradition be- chamber music. A number of music jour- gun by Novi akordi and Nova muzika was nals also devoted space to new composi- continued by Slovenska glasbena revija, a tions. These included Cäcilia (1857-1859), publication dedicated to the discussion of Lira sionska (1866), Cerkveni glasbenik musical issues and the publication of con- (1878-1945), Glasbena zora (1899-1900), temporary musical works. and Novi akordi (1901-1914). Thanks to The Association of Slovenian Composers The cover of music journal Novi akordi (photo: National and University Library archive) the editorial concept of its co-founder (DSS) has preserved and revitalised its ­Gojmir Krek, the latter review (New Chords mission, adapting it to the needs of the in English translation) played an espe- present day in an exemplary fashion. cially important role in the growth of Slo­ Its organisational mission is primarily venian music at the turn of the twentieth aimed at the publication and promotion century. Between the wars, the journals of works by living composers. Its ordered Pevec (1921-1938), with its Pevčeva and numbered collection includes nearly

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Music Publishing in Slovenia 63

With each passing year, music publishing lection Selected Works of Slovenian Com­ Slovenian communities across the border in Slovenia becomes more developed and posers, and in the occasional publication are also active in music publishing. The diverse. Notne mape (Music Folders). Christian Cultural Association in Klagen- In the last decade, music publishing in furt, Austria, regularly distributes works, Slovenia has become both more prolific anthologies, and selections by individual and more commercial. The market has Slovenian composers, especially those one thousand nine hundred works of become competitive which has had an that live in Austria. The publishers Mladi- Slovenian music. DSS also deals with the impact on editorial policies. The success- ka and Tržaški tisk in Italy fulfil a similar promotion of these works, often in collab- ful publisher Astrum closely follows de- function in their community. oration with foreign publishers. In recent veloping trends in choral singing through- With each passing year, music publishing years, DSS has operated a stand at the out the world, issuing original works for in Slovenia becomes more developed and major music publishing fair Musikmesse children, adult, and youth choirs. The diverse. In addition to the organisations Frankfurt. publishers Sloway Music and Hartmann mentioned above, there are more and Other music institutions also publish have entered a similar niche market, both more self-publishers and smaller compa- music as part of their activities. Schol- focusing on the printing and promotion nies – many of which disappear as quickly ars at the Institute of Musicology of the of instrumental music. The Lucijan Marija as they spring up. The Music Collection Slovenian Academy of Sciences and Arts Škerjanc Foundation regularly publishes at the National and University Library in Scientific Research Centre (ZRC SAZU) musical works by twentieth century Slo­ Ljubljana has the mission of preserving deal with the transcription of older musi- venian composers. printed music and cataloguing a copy of cal texts, publishing them in the scientific In addition to these publications, the long- every work published in Slovenia. All mu- academic critical editions of Monumenta standing bimonthly journal Cerkveni glas­ sic publishers are required to provide the artis musicae Sloveniae. The Institute of benik (Church Musician) still occupies its library with such works. Ethnomusicology of ZRC SAZU focuses on traditional place, providing readers with Because of its limited size, the market for the transcription and publication of folk sacred music literature. This year the pe- music publication in Slovenia is cruel. For traditions. The Public Fund for Cultural Ac- riodical celebrates its hundredth year of that reason, this segment will increasingly tivities (JKSD) actively supports amateur publishing (after a break between 1945 look towards international promotion and level cultural pursuits, devoting special and 1970). The Catholic publisher Družina encouraging a breakthrough for Slovenian attention to publishing choral music in the occasionally issues monograph editions music around the world – both with music journal Naši zbori (Our Choirs), in the col- with printed music. on paper and in digital form. M

Publications by DSS Editions (photo: Klemen Kunaver)

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 64

The following musical performers vere Jazz invited to participate at MIDEM 2008: Atanasovski / Golob / Levačić trio Accordion tribe Classical Bratko Bibič Anja Bukovec Jazz Club Gajo Quartet Bernarda Fink RTV Slovenia Big Band Bojan Gorišek Samo Šalamon Quartet Carmina Slovenica The Fool Cool Jazz Orchestra Dubrovka Tomšič Zlatko Kaučič Janez Lotrič Marjana Lipovšek Marko Hatlak Mate Bekavac Milko Lazar & Bojan Gorišek Young Talents Sabina Cvilak Aljaž Beguš RTV Slovenia Symphony Orchestra Anja German Slovenska filharmonija Domen Lorenz Slowind Irena Koblar Tomaž Rožanec Luka Šulić Brass Quintet of the Slovenian Philhar- Maja Savnik monic Miha Haas in Tadej Horvat Mihaela Komočar Pop / Rock / World Music Primož Zalaznik Bast Rok Volk Brina Tadej Kenig Gal & Galeristi Elvis Jackson The artists listed above were invited to Katalena participate on the basis of recommenda- Laibach tion by a special committee – all of them Ljoba Jenče accepted the invitation. The final selec- Magnifico tion of artists to perform at MIDEM 2008 Melodrom is the result of discussions between Reed Miha Debevc MIDEM, the Slovenian Ministry of Culture Moveknowledgement and SIGIC, and of scheduling and finan- Neisha cial capabilities of the organiser and the Siddharta programming policies of Reed MIDEM. Šukar Terrafolk The Stroj

Electronic Music DJ Umek

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Contacts 65

Contacts: Društvo slovenskih skladateljev KD Glasbena matica Ljubljana Society of Slovene Composers Vegova 5, 1000 Ljubljana Associations/Societies: Trg francoske revolucije 6/1, 1000 Tel. +386 (0)1 421 05 93 Akademska folklorna skupina Ljubljana Cell +386 (0)51 359 313, France Marolt Študentske Organizacije Tel. +386 (0)1 241 56 60 +386 (0)51 244 672 Univerze v Ljubljani Fax +386 (0)1 241 56 66 Fax +386 (0)1 421 05 94 France Marolt Student Folk Dance [email protected], www.dss.si [email protected] Group, University of Ljubljana Student www.kulturnodrustvo-gmlj.si Union Folklorna skupina Emona Kongresni trg 1, 1000 Ljubljana Emona Folklore Ensemble KUD Cortesia Tel./Fax +386 (0)1 251 43 12 Belokranjska 6, 1000 Ljubljana Ensemble of Renaissance Music and Cell +386 (0)41 292 206, Cell +386 (0)31 392 340 Dance Cortesía +386 (0)41 747 250 [email protected] Bratov Rozmanov 4, 1000 Ljubljana [email protected], www.kd-fsemona.si [email protected] [email protected] www.cortesia-kud.si www.afsfm-drustvo.si Glasbeno društvo Nova Nova Music Society KUD Etnokult – Šukar Akademski pevski zbor Tone Tomšič Ul. Gradnikove brigade 25, Pristinska 8, 1000 Ljubljana Univerze v Ljubljani 5000 Nova Gorica Tel. +386 (0)1 542 13 80, Tone Tomšič Student Choir, University Cell +386 (0)41 393 439 +386 (0)1 542 13 81 of Ljubljana [email protected], www.gdnova.si Cell +386 (0)41 714 234 Kongresni trg 12, 1000 Ljubljana [email protected] Tel. +386 (0)1 251 42 87 Glasbeno društvo Saksofonija www.sukar.org Cell +386 (0)31 314 287 Saxophonia Music Association Fax +386 (0)1 426 93 87 Gestrinova ul. 2, 1000 Ljubljana KUD France Prešeren [email protected] [email protected] Karunova 14, 1000 Ljubljana www.apz-tt.si www.saksofonija.com Tel. +386 (0)1 283 22 88 Fax +386 (0)1 283 11 28 Društvo baletnih umetnikov Slovenije Glasbena matica Trst [email protected], www.kud-fp.si Association of Slovenian Ballet Artists Montorsino 2, 34135 Trst, Italy Župančičeva 1, 1000 Ljubljana Tel. +39 040 418605 Kulturno društvo Folk Slovenija Cell +386 (0)40 465 160, +386 (0)40 Fax +39 040 44182 Folk Slovenia Cultural Association 465 161, +386 (0)40 465 162 [email protected] Kersnikova 4, p.p. 1578, 1000 Ljubljana [email protected], www.dbus.si www.glasbenamatica.com Cell +386 (0)31 743 813 Fax +386 (0)1 232 25 70 Društvo glasbenih umetnikov Slovenije Glasbena mladina ljubljanska [email protected] Association of Slovenian Music Artists Jeunesse Musicales Ljubljana http://quickmouse.net/folkslo/ Stari trg 34, 1000 Ljubljana Slovenska 11, 1000 Ljubljana Tel. +386 (0)1 426 84 71 LokalPatriot Društvo Kulturni hram Cell +386 (0)41 730 430 Novi trg 6, 8000 Novo mesto Association of Slovenian Cultural Centres Fax +386 (0)1 426 84 72 Tel. +386 (0)7 337 43 71 Riklijeva 22, 4260 Bled [email protected] Cell +386 (0)41 399 659 [email protected] www.gml-drustvo.si [email protected] www.lokalpatriot.si Društvo slovenskih pevskih pedagogov Jazz Club Gajo Association of Slovenian Singing Beethovnova ulica 8, 1000 Ljubljana Teachers Tel. +386 (0)1 425 32 06 Gradaška 24, 1000 Ljubljana [email protected] [email protected] www.jazzclubgajo.com

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 66 Contacts

SIGIC – Slovenski Zveza slovenskih godb Festival Ljubljana glasbenoinformacijski center Association of Slovenian Brass Bands Trg francoske revolucije 1-2, Slovenian Music Information Centre p.p. 1531, 1000 Ljubljana 1000 Ljubljana Trg francoske revolucije 6/1, 1000 [email protected] Tel. +386(0)1 241 60 00 Ljubljana www.zvezaslovenskih-godb.si Fax +386(0)1 241 60 37 Tel. +386 (0)1 241 20 88 [email protected] Fax +386 (0)1 241 20 92 ŽKUD – Železničarsko kulturno www.ljubljanafestival.si [email protected], www.sigic.si umetniško društvo “Tine Rožanc” Tine Rožanc Cultural Association of Festival Muzejski vrtovi Slovensko komorno glasbeno Slovenian Railways P.P. 100 gledališče Trg OF 3, 1000 Ljubljana 8001 Novo mesto Slovenian Chamber Music Association Marko Brezigar, predsednik www.lokalpatriot.si/muzejski Slomškova ulica 5, 1000 Ljubljana Tel. +386 (0)1 291 21 80, Tel. +386 (0)5 901 02 60, +386(0)1 291 48 25 Festival Pomladi +386 (0)1 510 65 80 Cell +386 (0)31 247 303 KD CodeEp Cell +386 (0)40 716 180, Fax +386 (0)1 291 48 25 Čopova 14, 1000 Ljubljana +386 (0)41 329 759 [email protected] Tel. +386 (0)1 426 96 99 Fakx +386 (0)1 510 65 80 [email protected] [email protected] Festivals www.festivalpomladi.com www.drustvo-skgg.si Druga godba Druga Godba Festival Festival Radovljica Slovensko muzikološko društvo Kersnikova 4, 1000 Ljubljana Radovljica Festival Slovenian Musicology Association Tel. +386 (0)1 430 82 60 Društvo ljubiteljev stare glasbe Aškerčeva 2, 1000 Ljubljana [email protected] Radovljica Tel. +386 (0)1 241 14 40 www.drugagodba.si Linhartov trg 1, 4240 Radovljica [email protected] Tel./Fax +386 (0)4 531 22 91 Festival Bled [email protected] ŠKUC Bled International Music Festival www.festival-radovljica.si Metelkova 6, 1000 Ljubljana Alpska 74, 4248 Lesce Tel. +386 (0)1 430 35 30 Tel./Fax +386 (0)4 531 76 10 Festival Sanje Fax +386 (0)1 232 91 85 [email protected] Cesta 24. junija 23, 1231 Ljubljana [email protected], www.skuc.org www.festivalbled.com Tel. +386 (0)1 561 23 03, +386 (0)1 563 30 63 Zveza glasbene mladine Slovenije Festival Carniola [email protected];[email protected] Jeunesses Musicales International PR Art center www.sanje.si Kersnikova 4, p.p. 1578, 1000 Ljubljana Glavni trg 20, 4000 Kranj Tel. +386 (0)1 232 25 70 Cell +386 (0)41 926 548 Festival Stična Fax +386 (0)1 430 45 05 [email protected] KD Stična [email protected] www.festivalcarniola.com Stična 11, 1295 Ivančna Gorica www.gms-drustvo.si Cell +386 (0)31 669 616 Festival Lent [email protected] Narodni dom Maribor www.kd-sticna.si Zveza pihalnih orkestrov in godb Ulica Kneza Koclja 9, 2000 Maribor Association of Wind Orchestras and Tel. +386 (0)2 229 40 11, Festival Vox Laci – Glas jezera Brass Bands (0)2 229 40 50 Zgornje Jezersko 112, 4206 Zgornje Novi trg 5, 8000 Novo mesto Fax +386 (0)2 229 40 55 Jezersko [email protected] Cell +386 (0)41 857 940 http://lent.slovenija.net [email protected] www.vox-laci.org

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Contacts 67

FV Festival Kreativni tabor Sajeta Soča Reggae Riversplash FV Music Creative Camp Sajeta Vinylmania records d.o.o. Kersnikova 4, 1000 Ljubljana Gregorčičeva 2, 5220 Tolmin Krekov trg 7, 1000 Ljubljana Tel. +386 (0)1 432 3186 www.sajeta.org Tel. +386 (0)1 425 61 55 http://www2.arnes.si/fv/index2.htm/ Fax +386 (0)1 425 61 55 Mediteran festival [email protected] Grand Rock Sevnica Veliki trg 1, 6310 Izola www.vinylmaniarecords.si [email protected] [email protected] Mednarodni festival kitare Tartini Festival www.grandrocksevnica.com International Guitar Festival KD Lib-art Kosovelova ulica 4a, 6210 Sežana Poljanska 20b, 1000 Ljubljana Izzven Jazz Festival Tel. +386 (0)5 731 20 10 Cell +386 (0)31 419 016 Ulica kneza Koclja 9 [email protected] [email protected] 2000 Maribor www.guitarfestivalslo.net www.tartinifestival.org Tel. +386 (0)2 229 40 12 Fax +386 (0)2 229 40 20 Metal Camp Trnfest [email protected] Rock the Nation & Master of Metal d.o.o. KUD France Prešeren www.izzven.si Kotnikova 5, 1000 Ljubljana Karunova 14, 1000 Ljubljana [email protected] Tel. +386 (0)1 283 22 88, +386 (0)1 Jazz Cerkno www.metalcamp.com 283 22 98 Zavod Gabrijel fest Fax +386 (0)1 283 11 28 Trg prekomorskih brigad 1, 5282 Cerkno Njoki Summer Festival [email protected] Tel. +386 (0)5 374 53 33 Glasbeno kulturno društvo Sax www.kud-fp.si Fax +386 (0)5 374 53 34 Bevkova 11, 5270 Ajdovščina [email protected] [email protected] Seviqc Brežice www.jazzcerkno.si www.njokifestival.com Slovenska cesta 1, 1000 Ljubljana Tel. +386 (0)1 242 08 12 Ljubljana Jazz Festival Orto Fest Cell +386 (0)51 303 040 Cankarjev dom Grablovičeva ulica 1, 1000 Ljubljana Fax +386 (0)1 242 08 15 Prešernova cesta 10, 1000 Ljubljana Tel. +386 (0)1 232 16 74 [email protected] Tel. +386 (0)1 241 71 47 Fax +386 (0)1 231 58 79 www.festivalbrezice.com Fax +386 (0)1 241 72 98 [email protected] [email protected] www.orto-bar.com Zmaj ma mlade www.ljubljanajazz.si Vilharjeva 14a, p.p. 126, 6230 Postojna Primorski poletni festival Tel. +386 (0)5 726 32 86 Jazzinty Festival estivo del litorale [email protected] LokalPatriot Pristaniška 1, 6000 Koper www.zmaj-ma-mlade.com Novi trg 6, 8000 Novo mesto Tel. +386 (0)5 627 17 88 Tel. +386 (0)7 337 43 71 [email protected] Education Cell +386 (0)41 399 659 www.primorski-festival.si [email protected] Public and Private Schools: www.jazzinty.com Rock Otočec Festival Novo Mesto GIS Muzikaviva Kant fest Dilančeva ulica 7, 8000 Novo mesto Grablovičeva 1, 1000 Ljubljana Trg vstaje 3, 2342 Ruše Tel. +386 (0)7 338 00 35 Tel./Fax +386 (0)1 231 27 42 Tel. +386 (0)2 668 84 46 Fax +386 (0)7 338 00 36 [email protected] Fax +386 (0)2 668 84 47 [email protected] www.muzikaviva.si [email protected] www.rock-otocec.com www.cezam.org

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 68 Contacts

Glasbena šola Celje Srednja glasbena in baletna šola IGIZ – Inštitut glasbenoinformacijskih Celje Music School Maribor znanosti pri Centru za Slomškov trg 10, 3000 Celje Maribor Secondary School of Music and interdisciplinarne raziskave in študije Tel. +386 (0)3 492 57 30 Ballet Univerze v Mariboru Fax +386 (0)3 492 57 39 Mladinska ulica 12, 2000 Maribor Institute of Musicinformation Science [email protected] Tel. +386 (0)2 228 72 80 – IMIS www.glasbena-sola-celje.si/srednja_st.php Fax +386 (0)2 229 57 81 Krekova ulica 2 [email protected] 2000 Maribor Glasbena šola Fran Korun Koželjski www.sgbs-maribor.si [email protected] Velenje http://igiz-imis.cimrs.si Fran Korun Koželjski Music School, Zlatko Kaučič - Zvočni izviri Velenje Bevkova 3, 5212 Dobrovo Muzikološki inštitut ZRC SAZU Jenkova cesta 4, 3320 Velenje [email protected] Institute of Musicology Tel. +386 (0)3 898 12 00 www.kaucic-zk.si Scientific Research Centre of the Fax +386 (0)3 898 12 40 Slovenian Academy of Art and Sciences [email protected] Higher Education and Research Novi trg 4, 1000 Ljubljana www.gsvelenje.si Activities: Tel. +386 (0)1 470 62 15 Fax +386 (0)1 425 77 99 Glasbena šola Koper Akademija za glasbo [email protected] Koper Music School Academy of Music http://mi.zrc-sazu.si Gallusova ulica 2, 6000 Koper Stari trg 34, 1000 Ljubljana Tel. +386 (0)5 666 36 00 Tel. +386 (0)1 242 73 00 Pedagoška fakulteta, Univerza v Fax +386 (0)5 666 36 06 [email protected] Mariboru – Oddelek za glasbo [email protected] www.ag.uni-lj.si University of Maribor School of www.glasbena-kp.net/srednja/ Education zgodovina.htm Filozofska fakulteta, Univerza v Music department Ljubljani – Oddelek za muzikologijo Koroška cesta 160, 2000 Maribor Glasbeni atelje Tartini University of Ljubljana School of Tel. +386 (0)2 229 36 00 Tartini Musical Studio Humanities Musicology Department Smoletova ulica 16, 1000 Ljubljana Aškerčeva 2, 1000 Ljubljana Cultural Establishments: Tel. +386 (0)1 436 82 47 Tel. +386 (0)1 241 14 40 Fax +386 (0)1 436 82 46 Fax +386 (0)1 425 93 37 AKC Metelkova mesto [email protected] [email protected] Ljubljana www.ff.uni-lj.si/oddelki/muzikologija/ [email protected] Jazz Kamp Kranj novice2.asp www.metelkova.org http://jazzkamp.blogspot.com Glasbenonarodopisni inštitut ZRC SAZU Cankarjev dom Srednja glasbena in baletna šola Institute of Ethnomusicology Prešernova 10, 1000 Ljubljana Ljubljana Scientific Research Centre of the Tel. +386 (0)1 241 71 02 Ljubljana Secondary School of Music Slovenian Academy of Arts and Fax +386 (0)1 241 72 95 and Ballet Sciences [email protected] Vegova ulica 7, 1000 Ljubljana Novi trg 5/II, 1000 Ljubljana / Gosposka www.cd-cc.si Tel. +386 (0)1 252 19 19 13, 1000 Ljubljana Fax +386 (0)1 252 19 32 Tel. +386 (0)1 470 62 65 im.puls d.o.o. – Music Management [email protected] Fax +386 (0)1 425 77 53 Levstikova ulica 22, 1000 Ljubljana www.sgbslj.org [email protected] Tel. +386 (0)1 251 11 12 www.zrc-sazu.si/gni Fax +386 (0)1 251 11 13 [email protected] www.im-puls.si

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Contacts 69

Javni sklad Republike Slovenije za Proartes – Agencija vrhunskih Slovensko narodno gledališče Maribor kulturne dejavnosti - JSKD ustvarjalcev – Opera in balet National Public Fund for Cultural Proartes Agency for Artists Slovenian National Theatre (SNG) Activities Vilharjeva 27, 1000 Ljubljana Maribor Štefanova 5, 1000 Ljubljana Tel. +386 (0)1 230 92 48 Slovenska ulica 27, 2000 Maribor Tel. +386 (0)1 241 05 00 Fax +386 (0) 230 92 60 Tel. +386 (0)2 250 61 27 Fax +386 (0)1 241 05 10 www.proartes.si Fax +386 (0)2 250 62 96 [email protected] [email protected] www.jskd.si Radio Študent www.sng-mb.si Radio Student M3C – Mreža multimedijskih centrov Cesta 27. aprila 31, 1000 Ljubljana SNG Opera in balet Ljubljana Slovenije Tel. +386 (0)1 242 88 00 Slovenian National Opera and Ballet M3C – Network of Slovenian Multimedia Fax +386 (0)1 242 88 08 Theatre (SNG) Ljubljana Centres www.radiostudent.si Cankarjeva 11, 1000 Ljubljana www.m3c.si/dat/M3C Tel. +386 (0)1 241 17 00 RTV Slovenija Fax +386 (0)1 426 22 49 Ministrstvo za kulturo Republike Kolodvorska 2, 1550 Ljubljana [email protected] Slovenije Tel. +386 (0)1 475 21 11 [email protected] Slovenian Ministry of Culture [email protected] www.opera.si Maistrova 10, 1000 Ljubljana www.rtvslo.si www.balet.si Tel. +386 (0)1 369 59 00 Fax +386 (0)1 369 59 01 Združenje SAZAS – Združenje Zavod IPF – Zavod za uveljavljanje [email protected] skladateljev, avtorjev in založnikov za pravic izvajalcev in proizvajalcev www.kultura.gov.si zaščito avtorskih pravic Slovenije fonogramov Slovenije The Slovenian Association of Institute for Enforcement ot the Rights Narodna in univerzitetna knjižnica – Composers, Authors and Publishers for of Slovenian Recording Artists and NUK Copyright Protection Producers National and University Library Špruha 19, 1236 Trzin p.p. 4096, 1122 Ljubljana Turjaška 1, Ljubljana Tel. +386 (0)1 423 81 10 Tel. +386 (0)1 546 63 25 Tel. +386 (0)1 200 11 10 Fax +386 (0)1 401 45 49 Fax +386 (0)1 546 63 39 Fax +386 (0)1 425 72 93 [email protected] [email protected] [email protected] www.sazas.org www.zavod-ipf.si www.nuk.uni-lj.si/ Sindikat glasbenikov Slovenije ZRC SAZU Pekarna magdalenske mreže Slovenian Musicians' Union Scientific Research Centre of the Zavod za podporo civilnodružbenih Komenskega 26, 1000 Ljubljana Slovenian Academy of Arts and iniciativ in multikulturno sodelovanje Fax +386 (0)1 534 60 35 Sciences Institute for the Support of Civil [email protected] Novi trg 2, 1000 Ljubljana Initiatives and Multicultural Co- www.sindikatglasbenikov.si Tel. +386 (0)1 470 61 00 operation Fax +386 (0)1 425 52 53 Ob železnici 8, 2000 Maribor Slovenska filharmonija [email protected] Tel. +386 (0)2 300 7870 The Slovenian Philharmonic http://odmev.zrc-sazu.si/zrc Fax +386 (0)2 300 7871 Kongresni trg 10, 1000 Ljubjana [email protected] Tel. +386 (0)1 241 08 00 www.pekarna.org Fax +386 (0)1 241 09 00 [email protected] www.filharmonija.si

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008 70 Contacts

Record Labels: Moonlee Records Založba ZRC Znanstvenoraziskovalni Pot na Breg 8, 5250 Solkan center SAZU Dallas [email protected] ZRC Publishing Gradišče 8, 1000 Ljubljana www.moonleerecords.com Novi trg 2, p. p. 306, 1001 Ljubljana Tel. +386 (0)1 426 47 26 Tel. +386 (0)1 470 64 74 [email protected] Multimedia Records Fax +386 (0)1 425 53 19 www.dallas.si Peske 7, IOC Trzin, 1236 Trzin [email protected] Tel. +386 (0)1 568 03 50 http://zalozba.zrc-sazu.si Edicije DSS Fax +386 (0)1 568 03 61 Trg francoske revolucije 6/1, 1000 [email protected] ZKP RTV Slovenija Ljubljana www.multimedia-rec.si RTV Slovenia, Publishing and Record Tel. +386 (0)1 241 56 60 Label Fax +386 (0)1 241 56 66 Nika Records Kolodvorska 2, 1550 Ljubljana [email protected] Šmartinska 152/H6, PP 4100, 1000 Tel. +386 (0)1 475 46 30 www.dss.si Ljubljana Fax +386 (0)1 475 46 78 Tel. +386 (0)1 546 63 20 [email protected] FV Music Fax +386 (0)1 546 63 39 www.rtvslo.si/zkpprodaja Kersnikova 4, 1000 Ljubljana [email protected] Tel. & fax +386 (0)1 432 31 86 www.nika.si Zlati zvoki [email protected] Kosovelova 29, 1410 Zagorje http://www2.arnes.si/fv/ Panika Tel. +386 (0)3 567 13 00 Gregorčičeva 8, 4000 Kranj Fax +386 (0)3 567 20 80 Jazz & Blues Records Tel. +386 (0)4 236 58 11 [email protected] Trubarjeva 41, 1000 Ljubljana Fax +386 (0)4 236 58 15 [email protected] Tel. +386 (0)1 6001 040 [email protected] http://www.zlatizvoki.com Fax +386 (0)1 6001 041 http://otroci.panika.com/ [email protected] Retail Outlets: www.jazzandbluesweb.com rx:tx Hartman d.o.o. Kumrovška 13, 1000 Ljubljana Krpanova ulica 22, 2000 Maribor Kapa Records Fax +386 (0)1 534 55 65 Tel. +386(0)2 429 24 20 Masarykova 24, 1000 Ljubljana [email protected] www.hartman.si Tel. +386 (0)1 43 17 063 www.rx-tx.org/main.html [email protected] www.galahala.com Založba Goga Avtotehna glasbila d.o.o. www.myspace.com/tgalahala Goga Records Slovenska cesta 54, 1000 Ljubljana Glavni trg 6, 8000 Novo mesto Tel. +386 (0)1 474 80 82 Matrix Music Tel. +386 (0)7 393 08 01 [email protected] Ulica Olge Mohorjeve 1, 1000 Ljubljana Fax +386 (0)7 393 08 00 www.avtotehna.si/glasbila Tel. +386 (0)1 517 47 24 [email protected] Cell +386 (0)51 339 109 www.zalozba-goga.si Benton d.o.o. [email protected] Prešernova cesta 9, 1234 Mengeš www.matrixmusik.com Založba Sanje Tel. +386 (0)1 729 11 16 Dream Publishers www.benton.si Menart Records Cesta 24. junija 23, 1231 Ljubljana Riharjeva 22, 1000 Ljubljana Tel. +386 (0)1 561 23 03, +386 (01) 58 Tel. +386 (0)1 280 01 00 80 129 Fax +386 (0)1 280 01 39 Fax +386 (0)1 561 23 03 [email protected] [email protected] www.menart.si www.sanje.si

Slovenia MIDEM 2008 PLAY SLOVENIA Discover the Musical Cultures of Slovenia Contacts 71

Music Engraving: AccordiA d.o.o., Music Engraving & Printing p.p. 2877, SI-1001 Ljubljana Tel. +386 (0)1 540 44 41, +386 (0)1 542 19 91 Fax +386 (0)1 542 37 80 [email protected] www.music-engraving.si www.accordia.si

Gal Hartman, Music engraver Ulica oktobrske revolucije 18a, SI-6310 Izola Cell +386 (0)31 607 796 Tel. +386 (0)5 641 90 35 [email protected]

The list of addresses was compiled by the close of editing.

Some English translations are not the official English names of establishments and are only provided to aid the English speaking reader.

PLAY SLOVENIA Discover the Musical Cultures of Slovenia Slovenia MIDEM 2008

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