11Th INTERNATIONAL CHOIR COMPETITION ZADAR
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Let Me Be Your Guide: 21St Century Choir Music in Flanders
Let me be your guide: 21st century choir music in Flanders Flanders has a rich tradition of choir music. But what about the 21st century? Meet the composers in this who's who. Alain De Ley Alain De Ley (° 1961) gained his first musical experience as a singer of the Antwerp Cathedral Choir, while he was still behind the school desks in the Sint-Jan Berchmans College in Antwerp. He got a taste for it and a few years later studied flute with Remy De Roeck and piano with Patrick De Hooghe, Freddy Van der Koelen, Hedwig Vanvaerenbergh and Urbain Boodts). In 1979 he continued his studies at the Royal Music Conservatory in Antwerp. Only later did he take private composition lessons with Alain Craens. Alain De Ley prefers to write music for choir and smaller ensembles. As the artistic director of the Flemish Radio Choir, he is familiar with the possibilities and limitations of a singing voice. Since 2003 Alain De Ley is composer in residence for Ensemble Polyfoon that premiered a great number of his compositions and recorded a CD dedicated to his music, conducted by Lieven Deroo He also received various commissions from choirs like Musa Horti and Amarylca, Kalliope and from the Flanders Festival. Alain De Ley’s music is mostly melodic, narrative, descriptive and reflective. Occasionally Alain De Ley combines the classical writing style with pop music. This is how the song Liquid Waltz was created in 2003 for choir, solo voice and pop group, sung by K’s Choice lead singer Sarah Bettens. He also regularly writes music for projects in which various art forms form a whole. -
International Choral Bulletin Is the Official Journal of the IFCM
2011-2 ICB_ICB New 5/04/11 17:49 Page1 ISSN 0896 – 0968 Volume XXX, Number 2 – 2nd Quarter, 2011 ICB International CIhoCral BulBletin First IFCM International Choral Composition Competition A Great Success! Results and Interview Inside Dossier Choral Music in Malaysia, Indonesia, Singapore and Macau 2011-2 ICB_ICB New 5/04/11 17:49 Page2 International Federation for Choral Music The International Choral Bulletin is the official journal of the IFCM. It is issued to members four times a year. Managing Editor Banners Dr Andrea Angelini by Dolf Rabus on pages 22, 66 & 68 Via Pascoli 23/g 47900 Rimini, Italy Template Design Tel: +39-347-2573878 - Fax: +39-2-700425984 Marty Maxwell E-mail: [email protected] Skype: theconductor Printed by Imprimerie Paul Daxhelet, B 4280 Avin, Belgium Editor Emerita Jutta Tagger The views expressed by the authors are not necessarily those of IFCM. Editorial Team Michael J. Anderson, Philip Brunelle, Submitting Material Theodora Pavlovitch, Fred Sjöberg, Leon Shiu-wai Tong "When submitting documents to be considered for publication, please provide articles by CD or Email. Regular Collaborators The following electronic file formats are accepted: Text, Mag. Graham Lack – Consultant Editor RTF or Microsoft Word (version 97 or higher). ([email protected] ) Images must be in GIF, EPS, TIFF or JPEG format and be at Dr. Marian E. Dolan - Repertoire least 350dpi. Articles may be submitted in one or more of ([email protected] ) these languages: English, French, German, Spanish." Dr. Cristian Grases - World of Children’s and Youth Choirs ( [email protected] ) Reprints Nadine Robin - Advertisement & Events Articles may be reproduced for non-commercial purposes ([email protected] ) once permission has been granted by the managing Dr. -
Opce Strane.Vp
Color profile: Generic CMYK printer profile Composite Default screen Alcoholism 2013;49(1):45–53 Pathography Croatian composers’ diseases – biopathographies Darko Breitenfeld1, Stanislav Tuksar2, Danijel Buljan3, Lana [krgati}1, Marina Vuksanovi}1, Marija @ivkovi}1 1 Croatian Physicians’ Music Society – Croatian Medical Association, Zagreb, Croatia 2 Croatian Academy of Science and Art, Zagreb, Croatia 3 Department of Psychiatry, University Hospital Center »Sestre Milosrdnice«, Zagreb, Croatia Summary – Presentation of the diseases Elaborating the pathographic data, we among 25 significant croatian composers shall dedicate somewhat greater atten- reveals some infectious diseases (tubercu- tion to only a handful of our narrowly se- losis, etc.) among the composers who had died young and some chronic non-infec- lected, internationally recognized com- 1,8,9,12–16 tious diseases (mostly malignant, inflam- posers . matory and cardiocerebral origin) among We have some reliable data from the composers who died in old age. It is a part XVIIth century about Ivan Luka~i},who of the pathographic review of over 300 composers from the book »Diseases and lived in the city of [ibenik (1587–1648). destinies of famous composers«. More intensively studying his life, we learn more about the production of wine Key words: Croatia, composers, diseases and olive oil than about other data (he was the prior of a Franciscan monas- Croatians belong among »small« na- tery). Judging by the year of death, we tions, but, according to our experience can not trule out that he died because of with the lexicon structure of some world- plague, i.e. either of the epidemics of -known dictionaries of musicology, about pestilence or because of tumults, wars, a dozen Croatian composers have been famine, migration and other things.1 more widely reported of in such lexi- cons.1 Correnspodence to: Darko Breietenfeld, M.D., Ph.D., Deren~inova 25, 10000 Zagreb, Croatia. -
Milko Kelemen: Life and Selected Works for Violoncello
MILKO KELEMEN: LIFE AND SELECTED WORKS FOR VIOLONCELLO by JOSIP PETRAČ (Under the Direction of David Starkweather) ABSTRACT Milko Kelemen (b. 1924) is one of the most extraordinary Croatian composers of the post-World War II era. He has received numerous prestigious awards for his work, while his compositions are published by major companies, including Schott, Universal, Peters, and Hans Sikorski editions. His music is little studied or known internationally. This paper examines this innovative, avant-garde musician and sheds light both on Kelemen’s life and his compositional technique. The latter is examined in four compositions featuring cello as the main subject: Changeant (1968), Drammatico (1983), Requiem for Sarajevo (1994), and Musica Amorosa (2004). The examination of these compositions is placed in a biographical context which reveals how Kelemen’s keen political and cultural interests influenced his development as a composer. In particular, this document looks at Kelemen’s role as one of the founders, and the first president, of the Zagreb Music Biennale Festival, an event known for its ground-breaking work in bringing together artists and composers from the eastern and western blocs during the Cold War, as well as revitalising Croatia’s old-fashioned and provincial cultural scene. This festival of avant-garde music has been running since 1961. INDEX WORDS: Milko Kelemen, Zagreb Biennale, cello, avant-garde music, Changeant, Drammatico, Requiem for Sarajevo, Musica Amorosa MILKO KELEMEN:LIFE AND SELECTED WORKS FOR CELLO by JOSIP -
Language, Ideology and Politics in Croatia
Language, Ideology and Politics in Croatia M at e k a p o v i ć University of Zagreb, Department of Linguistics, Faculty of Humanities and Social Sciences, Ivana Lučića 3, HR – 10 000 Zagreb, [email protected] SCN IV/2 [2011], 45–56 Izhajajoč deloma iz osnovnih tez svoje pred kratkim izšle knjige Čiji je jezik (Čigav je jezik?) avtor podaja pregled zapletenega odnosa med jezikom, ideologijo in politiko na Hrvaškem v preteklih dveh desetletjih, vključno z novimi primeri in razčlembami. Razprava se osredotoča na vprašanja, povezana s Hrvaško, ki so lahko zanimiva za tuje slaviste in jezikoslovce, medtem ko se knjiga (v hrvaščini) ukvarja s problemi jezika, politike, ideologije in družbenega jeziko- slovja na splošno. Based in part on his recent book Čiji je jezik? (Who does Language Belong to?), the author reviews the intricate relation of language, ideology, and politics in Croatia in the last 20 years, including new examples and analyses. The article emphasizes problems related to Croatia specifically, which might be of interest to foreign Slavists and linguists, while the monograph (in Croatian) deals with the prob- lems of language, society, politics, ideology, and sociolinguistics in general. Ključne besede: jezikovna politika, jezikovno načrtovanje, purizem, hrvaški jezik, jezik v nekdanji Jugoslaviji Key words: language politics, language planning, purism, Croatian language, language in former Yugoslavia Introduction1 The aim of this article is to provide a general and brief overview of some problems concerning the intricate relation of language, ideology, and politics in Croatia in the last 20 years. The bulk of the article consists of some of the 1 I would like to thank Marko Kapović for reading the first draft of the article carefully. -
Prigodom Sakramenata Sv. Pričesti I Sv. Potvrde
2010. Poštovani! Obraćamo Vam se s posebnom po nu dom za pri gode pod jele sakra me nata sv. pričesti i sv. potvrdekrizme kako biste se što bolje, brže i pot punije za njih pripravili. Narudžbe možete izvršiti u VELEPRODAJI Verbum na brojeve telefona i faxa: 021/260-480 021/260-481 Email narudžbe: [email protected] POSEBNA PONUDA Prigodom sakramenata sv. pričesti i sv. potvrde 2 HIT! moj mali molitvenik Zadovoljstvo nam je što Vam i ove godine možemo ponuditi , kojeg je i prethodne godine veliki MOJ MALI MOLITVENIK broj župnih ureda nabavio za svoje prvopričesnike. Želja nam je bila format: 9,5 x 14 cm • uvez: tvrdi + pokazna vrpca na praviti molitvenik za sva kog pr vo pričesnika, a sudeći broj stranica: 136 + 8 • papir: 100 g prema zanimanju žup nika i kateheta u tome smo potpuno uspjeli. broj ilustracija: 40 • broj stranica u dvobojnoj tehnici: 136 U njemu smo ob je di nili sve ono što ste očekivali: na jpo volj niju cije broj stranica u full color tehnici: 8 • cijena s popustom: 18 kn nu, kvalite tan tvrdi uvez, poka znu vrpcu, ve liki broj il us tracija u pogodnost: besplatna uspomena boji, vi sokokvalitetan ti sak u dvobojnoj te h nici na naj boljem off set nom 100g pa piru. najviše pozornosti smo posvetili onom na jbit nijem - sadržaju. Vodili smo računa i o svim primjed bama i sug esti jama, tako da ovo izdanje sadrži sve na dopune koje ste zatražili uklju čujući i “OTA J STVA SV JETLA”. HIT! IZBORI IZDANJAOVE GODINE CIJENA S POPUSTOM Molitvenik sadrži i “OTAJSTVA SVJETLA” = 18kn + BESPLATNA USPOMENA SADRŽAJ DNEVNE MOLITVE . -
The Low Countries. Jaargang 11
The Low Countries. Jaargang 11 bron The Low Countries. Jaargang 11. Stichting Ons Erfdeel, Rekkem 2003 Zie voor verantwoording: http://www.dbnl.org/tekst/_low001200301_01/colofon.php © 2011 dbnl i.s.m. 10 Always the Same H2O Queen Wilhelmina of the Netherlands hovers above the water, with a little help from her subjects, during the floods in Gelderland, 1926. Photo courtesy of Spaarnestad Fotoarchief. Luigem (West Flanders), 28 September 1918. Photo by Antony / © SOFAM Belgium 2003. The Low Countries. Jaargang 11 11 Foreword ριστον μν δωρ - Water is best. (Pindar) Water. There's too much of it, or too little. It's too salty, or too sweet. It wells up from the ground, carves itself a way through the land, and then it's called a river or a stream. It descends from the heavens in a variety of forms - as dew or hail, to mention just the extremes. And then, of course, there is the all-encompassing water which we call the sea, and which reminds us of the beginning of all things. The English once labelled the Netherlands across the North Sea ‘this indigested vomit of the sea’. But the Dutch went to work on that vomit, systematically and stubbornly: ‘... their tireless hands manufactured this land, / drained it and trained it and planed it and planned’ (James Brockway). As God's subcontractors they gradually became experts in living apart together. Look carefully at the first photo. The water has struck again. We're talking 1926. Gelderland. The small, stocky woman visiting the stricken province is Queen Wilhelmina. Without turning a hair she allows herself to be carried over the waters. -
Choral Societies and Nationalism in Europe
Choral Societies and Nationalism in Europe Krisztina Lajosi and Andreas Stynen - 9789004300859 Downloaded from Brill.com09/29/2021 07:51:02PM via free access National Cultivation of Culture Edited by Joep Leerssen Editorial Board John Breuilly – Ina Ferris – Patrick J. Geary John Neubauer – Tom Shippey – Anne-Marie Thiesse VOLUME 9 The titles published in this series are listed at brill.com/ncc Krisztina Lajosi and Andreas Stynen - 9789004300859 Downloaded from Brill.com09/29/2021 07:51:02PM via free access Choral Societies and Nationalism in Europe Edited by Krisztina Lajosi Andreas Stynen LEIDEN | BOSTON Krisztina Lajosi and Andreas Stynen - 9789004300859 Downloaded from Brill.com09/29/2021 07:51:02PM via free access This is an open access title distributed under the terms of the CC BY-NC-ND 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https://creativecommons.org/licenses/by-nc-nd/4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. More information about the initiative can be found at www. knowledgeunlatched.org. This book is part 4 of the NISE proceedings. Cover illustration: Job Lot Cheap by William Michael Harnett, 1878. -
UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Klemen Domjo Sprejemanje Hrvaške Popularne Glasbe V Sloveniji in Slovenske Po
UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Klemen Domjo Sprejemanje hrvaške popularne glasbe v Sloveniji in slovenske popularne glasbe na Hrvaškem Diplomsko delo Ljubljana, 2009 UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Klemen Domjo Mentor: izr. prof. dr. Gregor Tomc Sprejemanje hrvaške popularne glasbe v Sloveniji in slovenske popularne glasbe na Hrvaškem Diplomsko delo Ljubljana, 2009 Sprejemanje hrvaške popularne glasbe v Sloveniji in slovenske popularne glasbe na Hrvaškem Slovenija ima dolgo in pestro zgodovino odnosov s Hrvaško, ki se razteza več stoletij in je preživela razne vojne, nacionalne tvorbe, menjave oblasti,…V vsem tem času ostaja nekakšna specifična kulturna povezanost, ki hkrati enoti in razdvaja. Že od časov Jugoslavije je obstajalo poletno, dopustniško »romanje« Slovencev na Hrvaško, ki pa je vojnam navkljub ostalo, ne glede na morebitne nenaklonjene politične, socialne ali kakršnekoli razmere. Podobno je tudi s hrvaško zabavno glasbo, ki je bila zelo priljubljena že v bivši državi, in še danes se množično prirejajo nastopi hrvaških izvajalcev v Sloveniji. Toda ali je na Hrvaškem slovenska glasba ravno tako priljubljena, kot je hrvaška glasba v Sloveniji? Slovenska glasba je še v lastni državi precej nespoštovana, da pa bi slovenski glasbeni izvajalci bili uspešni na Hrvaškem, je izjemna redkost. Vzporedno z dogajanjem v zabavni glasbi pa se odvija tudi obmejni spor med državama, ki je v zadnjem letu prišel do stopnje vrelišča. Mediji obeh držav so se obsežno razpisali o krajah, lastninah, pravicah, zločinih, dokumentih, …Ali bo to stanje prineslo kakšne spremembe, poleg na gospodarskem, političnem, socialnem, morda tudi na glasbenem področju ? Ali ta politični spor lahko dejansko vpliva tudi na glasbene odnose med državama? Ključne besede: Nacionalni stereotipi, mediji, jugonostalgija, domača in tuja glasba. -
ZAGORAA Cultural/Historical Guide to the Zagora (Inland) Region of Split
A cultural/historical guide to the Zagora (inland) region of Split-Dalmatia County ZAGORA THE DALMATIAN ZAGORA (INLAND) Joško Belamarić THE DALMATIAN ZAGORA (INLAND) A cultural/historical guide to the Zagora (inland) region of Split-Dalmatia County 4 Zagora 14 Klis Zagora 24 Cetinska krajina 58 Biokovo, Imotski, Vrgorac 3 Zagora THE DALMATIAN ZAGORA (INLAND) A cultural/historical guide to the Zagora (inland) region of Split-Dalmatia County Here, from Klis onwards, on the ridge of the Dinara mountain chain, the angst of inland Dalmatia’s course wastelands has for centuries been sundered from the broad seas that lead to a wider world. The experience of saying one’s goodbyes to the thin line of Dalmatia that has strung itself under the mountain’s crest, that viewed from the sea looks like Atlas’ brothers, is repeated, not without poetic chills, by dozens of travel writers. To define the cultural denominators of Zagora, the Dalmatian inland, is today a difficult task, as the anthropological fabric of the wider Dalmatian hinterland is still too often perceived through the utopian aspect of the Renaissance ideal, the cynicism of the Enlightenment, or the exaggeration of Romanticism and the 18th century national revival. After the fall of medieval feudalism, life here has started from scratch so many times - later observers have the impression that the local customs draw their roots from some untroubled prehistoric source in which the silence of the karst on the plateau towards Promina, behind Biokovo, the gurgling of the living waters of the Zrmanja, Krka, Čikola and Cetina Ri- vers, the quivering of grain on Petrovo, Hrvatac and Vrgorac Fields, on 4 Zagora the fat lands along Strmica and Sinj, create the ide- al framework for the pleasant countenance, joyous heart and sincere morality of the local population of which many have written, each from their own point of view: from abbot Fortis and Ivan Lovrić during the Baroque period, Dinko Šimunović and Ivan Raos not so long ago to Ivan Aralica and, in his own way, Miljenko Jergović today. -
Danny Van Hoof Sopraan
Danny Van Hoof sopraan CURRICULUM VITAE DANNY VAN HOOF Danny Van Hoof started her vocal training under Rosette Van De Cauter and Ilona Van Brandt at the Stedelijke Academie voor Muziek, Woord en Dans; the music academy of her hometown Lier. The next step in her voice education took her to The Royal Conservatoire of Antwerp where she studied under Lucienne Van Deyck, Dirk Snellings, Werner Van Mechelen, Guy De Mey and Anne Cambier. She was awarded with a First Prize and a Master Degree of Singing. At present she herself teaches voice lessons at the academy in Lier. Danny had a longstanding participation with the choir Helicon, led by conductor Geert Hendrix. She has also collaborated with Collegium Vocale conducted by Philippe Herreweghe. With these choirs she performed both domestically and abroad. She has participated as a soloist in numerous recordings. She performed among others in: recordings of new liturgical music in Flanders and the Netherlands; the Helicon CD Op de hoogte; and various recordings for Radio Klara, the classical radio channel for the Flemish public in Belgium. As a soprano soloist, Danny performed in the well-known works of, amongst others, Bach, Mozart, Haydn, Brahms, Vivaldi and Orff. More contemporary work by Vic Nees, John Rutter, Tom Löwenthal and Jan Van der Roost belong in her repertoire as well. On regular occasions she brings recitals where she performs music written by Schubert, Haydn, Dowland, Britten, Gershwin, several Flemish composers and many others. At the invitation of the famous Italian tenor Marco Beasley in autumn 2005, Danny sang the soprano solo in the creation of the opera 'Una Odissea', a new composition by the Italian composer Guido Morini. -
1041 Katalog.Pdf
PB 1 WWW.PHAEDRACD.COM · 1992 - 2012 Phaedra’s Whys and Wherefores !is catalog simultaneously lists and celebrates the achievements of Phaedra in the twenty years of its existence. At "rst blush publishing just over one hundred CDs in twenty years time may not look impressive. But it is very impressive, as you will see once you know the whys and wherefores of Phaedra. It is the purpose of this introduction to tell you about them. In spite of the .com extension in the URL of its website (www.phaedracd.com), Phaedra is not a commercial undertaking. It is part of a non-pro"t organization, Klassieke Concerten vzw. It was started by one man, and it still is almost entirely the work of one man. He has no sta#, not even a part-time secretary. His o$ce is a room in his house; his storage space, another room. He does everything himself. He decides which music Phaedra will publish, often searching out totally unknown works, including quite a few that are available only as manuscripts. He chooses the performers, in consultation with the composers if these are still alive. He takes care of the logistics of the recording sessions, and of the production process, of the covers and booklets as well as of the CDs proper. He is in charge of all publicity and of marketing Phaedra. It is impossible to justly evaluate the achievements of Phaedra without knowing it is a one-man operation. Like most Flemish non-pro"t organizations, it is also a shoestring operation.