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Izvedbo Sozvo~jasvetov svetov zagotovili: Izvedbo Sozvočja XIXsosozagotovili The followingmade made Harmony of Spheres the Spheres X possible: The following thethe Harmony of the XI possible:

REPUBLIKA SLOVENIJA MINISTRSTVO ZA KULTURO


Abonma

Sozvočje svetov Subscription

Harmony of the Spheres Cena abonmaja 2011–2012 Subscription price for the 2011–2012 season: 75 EUR Vstopnica Single ticket: 20 EUR V prodaji je 180 sedežev po enotni ceni. 180 seats available at a single price. Abonma ali posamične vstopnice vplačate in prevzamete pri blagajni Narodne galerije, Cankarjeva 20, vsak dan od 10. do 18. ure in uro pred prireditvijo, ob ponedeljkih zaprto. Subscription or single tickets available at the front desk of the National Gallery of Slovenia, Cankarjeva 20, Ljubljana, 10 a.m.–6 p.m., or one hour before the event; closed Mondays. Prijatelji Narodne galerije Friends of the National Gallery of Slovenia: Cena abonmaja Subscription: 60 EUR Vstopnica Single ticket: 15 EUR


Komorni godalni orkester Slovenske filharmonije in Narodna galerija Slovene Philharmonic String Chamber Orchestra and the National Gallery of Slovenia

Sozvočje svetov XI Harmony of the Spheres XI 2011−2012 25.10.2011 / 25 October 2011 Hlad in toplina Severa The Coldness and Warmth of the North Alexander Rudin, violončelo / cello

Arvo Pärt, Aulis Sallinen, Edvard Grieg

Božidar Jakac in glasba Božidar Jakac and Music Milček Komelj, Slovenska akdemija znanosti in umetnosti / Slovenian Academy of Sciences and Arts

6.12. 2011 / 6 December 2011 Brandenburški koncerti Brandenburg Concertos Gordana Josifova-Nedelkovska, oboa / oboe Johann S. Bach, Srećko Bradić

Petje psalmov v času pokristjanjevanja v 9. stol. The Singing of Psalms in the 9th century Nataša Golob, Filozofska fakulteta Univerze v Ljubljani / Faculty of Arts, University of Ljubljana


21.2.2012 / 21 February 2012 Resno in lahkotno Serious & Lightsome Vasko Atanasovski, saksofon / saxophone

Dečo Žgur, Janez Gregorc, Nino de Gleria, Vasko Atanasovski

Stojan Kerbler: Haloške ceste in poti Stojan Kerbler: The Haloze Roads and Pathways Marjeta Ciglenečki, Filozofska fakulteta Univerze v Mariboru / Faculty of Arts, University of Maribor

17. 4. 2012 / 17. April 2012 Glasba med barokom in klasicizmom Music between the Baroque and Classicism Aleš Kacjan, flavta / flute

Georg Anton Benda, Johann Joachim Quantz, Carl Philipp Emanuel Bach

Zven podobe The Sound of the Image Janez Balažic, Filozofska fakulteta Univerze v Mariboru / Faculty of Arts, University of Maribor

29.5.2012 / 29 May 2012 Biseri dvajsetega stoletja Pearls of the 20th Century Maja Rome, viola / viola

György Sandor Ligeti, Paul Hindemith, Béla Bartók

Upodobitve navdiha: France Gorše Visualising Inspiration: France Gorše Andrej Smrekar, Narodna galerija / National Gallery of Slovenia


Dear Friends of the National Gallery of Slovenia and the Slovene Philharmonic String Chamber Orchestra, For the XI season we propose five concerts with select pieces of the world’s musical treasure trove. The Estonian composer Arvo Pärt (1935) is a minimalist and one of the most notable composers of church music. He has perfected a composing technique of his own called tintinnabuli, in which he created Fratres, strongly influenced by the Gregorian chant. Finnish composer Aulis Salinen (1935) is a modernist who respects tradition. The Nocturnal Dances of Don Quixote are inventive and wittingly beaded dancing themes. We shall close the evening with the Holberg Suite by the Norwegian Edward Grieg. We cannot do without the eternal Johann S. Bach. The Advent season will see the performance of two of the six Brandenburg Concertos written for strings in the originally prescribed cast: the 3rd concerto in G-major for three violins, three violas, three cellos, double base and harpsichord, and the 6th concerto for two violas, two violas da gamba, cello, double base and harpsichord. Srećko Bradić modelled his Concerto da chiesa on Bach’s example using an identical cast. We shall enliven the music of the strings with the Concerto for Oboe in D-minor. The evening of Slovene composers will showcase Dečo Žgur, Janez Gregorc, Nino de Gleria and Vasko Atanasovski, the last of which will also perform his most recent composition as a soloist. We shall be treated to the sounds of a string orchestra performing pieces by serious composers of a lighter genre. Among the unforgettable pieces between the Baroque and Classicism are two famous concertos for flute and brilliant string symphonies by Jiři Antonin Benda, Johann Joachim Quantz and Carl Philipp E. Bach. The last concert is dedicated to the pearls of the 20th century. György Sandor Ligeti is one of the greatest composers of the century known also for his film music for Stanley Kubrick. We shall play “Ramifications” of 1969 for twelve strings. Paul Hindemith wrote his Music of Mourning for viola and strings in six hours on 21st January 1936, as he was informed of the death of King George V., and played it as a soloist that same evening with the BBC orchestra. String Quartet No. 4 by Béla Bartók in an expanded cast will come as dessert. The guests of the series will be renowned foreign and local soloists: Alexander Rudin, Gordana Josifova Nedelkovska, Vasko Atanasovski, Aleš Kacjan and Maja Rome. The visual part is dedicated entirely to Slovene art. Prof. Dr. Milček Komelj will talk about Božidar Jakac and music, Prof. DDr. Nataša Golob about the Christianization of the Slovenes and psalm singing, Prof. Dr. Marjeta Ciglenečki about the Haloze of photographer Stojan Kerbler, Assist. Prof. Dr. Janez Balažic about the sound of the image in the work of the Prekmurje painters, and Dr. Andrej Smrekar about the images of inspiration in the sculpture of France Gorše. Klemen Hvala Art Director of SFCSO

Dr. Barbara Jaki Director of NG


Dragi Prijatelji Narodne galerije in Komornega godalnega orkestra Slovenske filharmonije! V XI. sezoni smo pripravili pet večerov z izbranimi skladbami svetovne glasbene zakladnice. Estonski skladatelj Arvo Pärt (1935) je minimalist in eden najvidnejših sodobnih skladateljev sakralne glasbe. Izmojstril je lastno kompozicijsko tehniko, imenovano tintinnabuli, s katero je oblikoval tudi Fratres sicer pod močnim vplivom gregorijanskega korala. Finski skladatelj Aulis Salinen (1935) je modernist, vendar spoštuje tradicijo. Ponočni plesi Don Quixota so domiselno in duhovito nanizani plesni motivi. Večer bomo sklenili s Holbergovo suito Norvežana Edvarda Griega. Brez večnega Johanna S. Bacha ne gre. V adventnem času bomo dva izmed Brandenburških koncertov, namenjena godalom, izvedli v izvirno predpisanih zasedbah: 3. koncert v G duru za tri violine, tri viole, tri violončela, kontrabas in čembalo, ter 6. koncert za dve violi, dve violi da gamba, violončelo, kontrabas in čembalo. Po slednjem je Srećko Bradić v letošnjem letu za enako zasedbo napisal skladbo Concerto da chiesa. S Koncertom za oboo v d−molu bomo razgibali zvok godal s pihalom. V večeru domačih avtorjev bodo naši gostje Dečo Žgur, Janez Gregorc, Nino de Gleria in Vasko Atanasovski, ki bo z novo skladbo nastopil tudi kot solist. Slišali bomo, kako skladbe resnih avtorjev lahkotnejšega žanra zazvenijo v zasedbi godalnega orkestra. Med nepozabnimi skladbami med barokom in klasicizmom Jiřija Antonina Bende, Johanna Joachima Quantza in Carla Philippa E. Bacha sta znamenita koncerta za flavto in briljantne godalne simfonije. Zadnjega posvečamo biserom dvajsetega stoletja. György Sandor Ligeti je eden največjih skladateljev 20. stoletja, znan kot avtor glasbe v filmih Stanleya Kubricka. Predstavili bomo njegovo skladbo »Ramifications« za dvanajst godalcev iz leta 1969. Paul Hindemith je napisal »Žalno glasbo« za violo in godalni orkester v zgolj šestih urah 21. januarja 1936, ko je izvedel za smrt kralja Jurija V. in jo še istega večera izvedel kot solist s simfoničnim orkestrom BBC. Za posladek bo Godalni kvartet št. 4 skladatelja Béle Bartóka v pomnoženi zasedbi godalnega orkestra. Gostje ciklusa bodo ugledni domači in tuji glasbeniki: Alexander Rudin, Gordana Josifova Nedelkovska, Vasko Atanasovski, Aleš Kacjan in Maja Rome. Likovni del programa je v celoti posvečen slovenski umetnosti. Prof. dr. Milček Komelj bo govoril o Jakcu in glasbi, prof. ddr. Nataša Golob o pokristjanjevanju Slovencev in petju psalmov, prof. dr. Marjeta Ciglenečki o Halozah fotografa Stojana Kerblerja, doc. dr. Janez Balažic o zvenu podobe pomurskih umetnikov in dr. Andrej Smrekar o podobah navdiha v kiparstvu Franceta Goršeta. Klemen Hvala programski vodja KGOSF

dr. Barbara Jaki direktorica NG


Komorni godalni orkester Slovenske filharmonije Slovene Philharmonic String Chamber Orchestra Prva violina First Violins

Janez Podlesek – koncertni mojster / Concertmaster Vera Belič, Monika Ivančev, Tomi Dražil Druga violina Second Violins

Žiga Cerar, Oliver Dizdarević Škrabar, Rado Šteharnik, Bojan Erjavec Viola Violas

Maja Babnik Ravnikar, Marija Rome, Tomaž Malej Violončelo Cellos

Igor Škerjanec, Klemen Hvala Kontrabas Double Bass

Petar Brčarević


The Slovene Philharmonic String Chamber Orchestra consists of fourteen string musicians, members of the Slovene Philharmonic Orchestra. The orchestra was founded in 1993 with the support of the Ministry of Culture of the Republic of Slovenia with the purpose of performing on those stages in Slovenia that are unable to accommodate a full symphonic orchestra. During the eighteen years of its existence, the Slovene Philharmonic String Chamber Orchestra, recast as a society in 1999, has given over 350 concerts in Slovenia and abroad. It has performed at the Ljubljana Summer Festival, the Maribor Festival (Musical September Festival), at the Musica Danubiana Festival, the Slovenian Music Days, and in Ljubljana as part of the ISCM World Music Days “Slovenia 2003”. The concerts in Dubrovnik (Dubrovnik Summer Festival), Zadar, Zagreb (the Zagreb Summer Festival and the Zagreb Baroque Festival), Samobor, Opatija (Biennial of Contemporary Music), Novi Sad, Klagenfurt, Ohrid, Podgorica (Festival A Tempo), Gorizia, Trieste, and Madrid (Veranos de la Villa) were received with consistent enthusiasm by both, audiences and critics. As a society it has stimulated musical creativity, the production of new compositions, score editions, as well as promotional CDs from its onset. The orchestra has collaborated with numerous Slovene musicians of international acclaim, such as the pianist Dubravka Tomšič Srebotnjak, flautist Irena Grafenauer, contralto Mirjam Kalin, and other renowned musicians such as cellists Alexander Rudin, Mischa Maisky and Enrico Dindo, counter-tenor Markus Forster, violinists Sarah Chang, Priya Mitchell and Alissa Margulis, pianist Polina Leschenko, hornist Stefan Dohr, flautist Massimo Mercelli, and accordionist Richard Galliano. Since 2009, it has been the Orchestra in Residence and the producer of the Maribor Festival under the artistic leadership of Richard Tognetti. It has performed with musicians such as the flautist Emmanuel Pahud, tenorist James Gilchrist, pianists Boris Berezovsky and Melvyn Tan, violinists Arvid Engegard, Atle Spoonberg, Satu Vänskä, Anthony Marwood, soprano Sabina Cvilak, bassoonist Jane Gower, hornist Marie Luise Neunecker, guitarist Vlatko Stefanovski, kaval player Teodosii Spassov, violist Christopher Moore, cellist Timmo Veiko Valve and flautist Eva Nina Kozmus. In 2010 the orchestra became a partner with the public institution Maribor 2012 − the European Capital of Culture. The orchestra, which performs without a conductor, has recorded a number of live concerts, audio and video recordings, as well as several compact discs. Its repertoire includes all period styles. It dedicates special attention to younger Slovene composers. Dedicated to high quality, the Slovene Philharmonic String Chamber Orchestra is consolidating its reputation in the creative currents of Europe. It received the country’s most prestigious national accolade, the Prešeren Fund Award in 1999, the Župančič Award of the City of Ljubljana in 2004, and the Betetto Charter in 2006.


Komorni godalni orkester Slovenske filharmonije je ansambel štirinajstih godalcev, ki so tudi člani simfoničnega orkestra Slovenske filharmonije. Ustanovili smo ga leta 1993 ob podpori Ministrstva za kulturo Republike Slovenije, z namenom, da bo obiskoval tiste odre v krajih po Sloveniji, ki za večji simfonični orkester nimajo primernih prizorišč. V osemnajstih letih delovanja je ansambel, preoblikovan v društvo leta 1999, odigral okoli 350 koncertov doma in v tujini. Nastopil je na Ljubljanskem poletnem festivalu, na mariborskem Glasbenem septembru, na festivalih Danubiana in Slovenski glasbeni dnevi, leta 2003 pa je nastopil v okviru Svetovnih glasbenih dnevov “Slovenija 2003” v Ljubljani. Koncerti v Dubrovniku (Dubrovniški poletni festival), Zadru, Zagrebu (Zagrebški poletni festival, Baročni festival Zagreb), Samoboru, Opatiji (Bienale sodobne glasbe), Rabu, Pagu, v Novem Sadu (Festival Nomus), Celovcu, Ohridu (Ohridski poletni festival), Podgorici (Festival A tempo), Gorici, Trstu, Murcii in Madridu (Veranos de la Villa) so vselej naleteli na navdušen sprejem pri občinstvu in kritiki. Ansambel vzpodbuja nastanek novih glasbenih del, skrbi za notne izdaje in objavlja promocijske zgoščenke. Orkester sodeluje z mednarodno priznanimi slovenskimi glasbenicami: pianistko Dubravko Tomšič Srebotnjak, flavtistko Ireno Grafenauer in altistko Mirjam Kalin, gostil pa je tudi številna tuja imena svetovnih glasbenih odrov, kot so violončelisti Aleksander Rudin, Miša Majski in Enrico Dindo, kontratenorist Markus Forster, violinistke Sarah Chang, Pria Mitchell in Alissa Margulis, pianistka Polina Leschenko, hornist Stefan Dohr, flavtist Massimo Mercelli in Richard Galliano. Ansambel je bil od leta 2009 rezidenčni orkester in producent Festivala Maribor. Pod umetniškim vodstvom violinista Richarda Tognettija je odigral dvanajst koncertov z glasbeniki kot so flavtist Emmanuel Pahud, tenorist James Gilchrist, pianista Boris Berezovski in Melvyn Tan, violinisti Arvid Engegard, Atle Spoonberg, Satu Vanska in Anthony Marwood, sopranistka Sabina Cvilak, fagotistka Jane Gower, hornistka Marie Luise Neunecker, kitarist Vlatko Stefanovski, kavalist Teodosii Spassov, violist Christopher Moore, violončelist Timmo Veiko Valve in flavtistka Eva Nina Kozmus. V letu 2010 je društvo prevzelo tudi vlogo partnerja javnega zavoda Maribor 2012 − Evropska prestolnica kuture. Orkester, ki igra brez dirigenta, je posnel več audio in video zapisov živih koncertov in izdal deset zgoščenk. Repertoar orkestra obsega skladbe vseh stilnih obdobij. Posebno pozornost namenja stvaritvam slovenskih avtorjev, tudi najmlajših. Predan visoki kakovosti Komorni godalni orkester Slovenske filharmonije utrjuje svoj ugled v evropski poustvarjalni kulturi. Za svoje uspešno delo je ansambel prejel nagrado Prešernovega sklada leta 1999, Župančičevo nagrado leta 2004 in Betettovo nagrado leta 2006.


Alexander Rudin is considered one of the best Russian musicians. Excelling as a cellist, conductor, pianist and an extraordinary chamber musician, he teaches at the Moscow Conservatory, organizes concerts and heads the Musica Viva chamber orchestra since 1988. He graduated from the famous Gnjesin Music Academy as a cellist and a pianist in 1983, completing his studies in conducting at the Moscow Conservatory in 1989. Winning prizes at the most prestigious international competitions, such as the Tchaikovsky competition where he triumphed twice, were a fine recommendation for the beginning of his career. He was interested in older music and started to play the viola da gamba early on. A great part of his personal repertoire consists of works by Russian composers (A. Golovin, V. Silvestrov, V. Artemov). Since he is fond of revivals of “forgotten� pieces, the audiences of Moscow have had the opportunity to listen for the first time to such compositions by Ph. E. Bach, A. Salieri, I. Pleyel, J. Dussk, C. Dittersdorf, O. Kozlovski, V. Paschkevich, A. Aljabjev etc. Rudin tours the world as a soloist and conductor with numerous established orchestras, he is a regular guest of the Kuhmo and Edinburgh festivals, and teaches masterclasses at the most prestigious schools. He holds a chair at the Moscow Conservatory and often conducts youth orchestras. He has recorded over thirty albums with the Musica Viva Orchestra or as a soloist.


Solisti

Alexander Rudin

Aleksander Rudin velja za enega najboljših ruskih glasbenikov. Priznani violončelist, dirigent, pianist in izjemen komorni glasbenik, je tudi profesor na moskovskem Konservatoriju, organizator koncertov ter od leta 1988 vodja komornega orkestra Musica Viva. Leta 1983 je na sloviti Glasbeni akademiji Gnjesin diplomiral kot čelist in pianist, leta 1989 pa je na moskovskem Konservatoriju končal še študij dirigiranja. Zmage na najuglednejših glasbenih tekmovanjih, med drugim je bil dvakrat nagrajen na prestižnem tekmovanju Čajkovskega, so bile sijajna popotnica za začetek umetniške kariere. Že zgodaj se je začel ukvarjati tudi s staro glasbo in igrati violo da gamba. Velik del njegovega repertoarja zavzemajo dela sodobnih ruskih skladateljev (A. Golovin, V. Silvestrov, V. Artemov). Ker je naklonjen oživljanju »pozabljenih« skladb, je tako občinstvo v Moskvi imelo priložnost prvič slišati tudi dela Ph. E. Bacha, A. Salierija, I. Pleyela, J. Dusska, C. Dittersdorfa, O. Kozlovskega, V. Paškeviča, A. Aljabjeva itn. Rudin redno nastopa po svetu kot solist in dirigent številnih priznanih orkestrov, je redni gost festivalov v Kuhmu in Edinburghu, poučuje pa tudi na mojstrskih tečajih. Poleg tega je tudi redni profesor na moskovskem Konservatoriju in pogosto dirigira mladinskim orkestrom. S komornim orkestrom Musica Viva ali kot solist je posnel prek trideset nosilcev zvoka za vodilne ruske in svetovne glasbene založbe.


Referred to as the refined oboe poetess, Gordana Josifova-Nedelkovska is a name in Macedonian cultural circles synonymous to a profound endeavour towards perfection in musical expression. Having graduated in 1988 from the Faculty of Music at the University of St. Cyril and Metodius in Skopje, she pursued a master course in oboe and English horn at the same University in the class of Prof. Kiro Davidovski. She further extended her specialisation at the Mozart Academy in Warsaw and the Banff Centre of Music and Sound in Canada. She has performed as a soloist with many important orchestras such as the Symphony Orchestra of the State Chapel of Saint Petersburg, the Musica Viva Chamber Orchestra with Alexander Rudin, the Belgrade Symphonic Orchestra, the Sophia Soloists Chamber Orchestra, the Macedonian Philharmonic Orchestra, the Macedonian Chamber Orchestra, the St. George Strings Chamber Orchestra, the orchestra of Avignon – Provence, the Chamber orchestra of Porto Alegre – Brazil, and the United Europe Chamber Orchestra. She has given recitals in Russia, Italy (Milan − Verdi Hall), Germany, France, Portugal, Spain, Poland, the Netherlands, Canada, Greece, Turkey, Croatia, Serbia, Montenegro and Macedonia. In 2009, Josifova-Nedelkovska performed with maestro Morricone, upon his invitation. She has also been involved in the organization of Macedonia’s most prominent international cultural festival – the Ohrid Summer Festival, acting as a Music Selector and the President of the Festival Board in 2000–2002 and becoming its Art Director in 2007. In September 2009, JosifovaNedelkovska was appointed Dean of the Faculty of Music in Skopje, Republic of Macedonia.


Solisti

Gordana Josifova Nedelkovska

Gordana Josifova Nedelkovska je v makedonskih kulturnih krogih ime, sinonimno z izjemno težnjo k popolnosti. Po diplomi na Glasbeni fakulteti univerze Sv. Cirila in Metoda v Skopju leta 1988 je obiskovala mojstrski program iz oboe in angleškega roga na isti šoli v razredu prof. Kira Davidovskega. S specializacijo je nadaljevala na Mozartovi akademiji v Varšavi in na Banff Centre of Music and Sound v Kanadi. Kot solistka je nastopila z godalnim orkestrom Musica Viva in Aleksandrom Rudinom, Beograjskim simfoničnim orkestrom, s komornim orkestrom Sofijski solisti, z makedonskim filharmoničnim orkestrom, s Komornim orkestrom Godala sv. Jurija, z orkestrom iz Avignona v Provansi, s komornim orkestrom Porto Alegre v Braziliji, s komornim orkestrom Združena Evropa. S samostojnimi recitali je nastopila v Rusiji, Italiji (Milano − Verdijeva dvorana), Nemčiji, Franciji, Portugalski, Španiji, Poljski, na Nizozemskem, Kanadi, Grčiji, Turčiji, Hrvaški, Srbiji, Črni gori in Makedoniji. Na povabilo mojstra Morriconeja je nastopila z njim leta 2009. Sodelovala je pri organizaciji najprestižnejšega makedonskega mednarodnega kulturnega festivala Ohridski poletni festival, kjer je bila selektorica in predsednica žirije v letih 2000–2002 in je postala njegova direktorica leta 2007. Od septembra 2009 je dekanja Fakultete za glasbeno umetnost v Skopju, Republika Makedonija.


Saxophonist and flutist Vasko Atanasovski is one of the most creative and versatile Slovene composers and musicians, well known for his cross-genre collaborations with world famous jazz, rock, classical, traditional musicians and his masterful approach to all styles of music. Up to this date he has released 10 highly acclaimed albums, received numerous awards as well as earned audience and critics’ compliments for his performances and compositions at home and abroad. He is a regular guest on the European festival and concert circuit and has also performed in India, China and New York. His original compositions have found their way into the world of theatre, dance and puppet shows, repertoires of eminent soloists, orchestras, ensembles and choirs. Among his important concerts and festivals are Townhall (New York, US), “Sally Can’t Dance Festival” (Beijing, CN), European Week of Culture in New Delhi, Bombay ... (IN), Alpentöne (CH), Xong festival (AT, IT, CH), Cankarjev dom, Druga godba, Glasbeni september, Porgy & Bess Wien, Jazz & Wine Festival (IT), Skopsko leto (MK), Rasa (NL), Henry le Boeuf Hall – Balkantraffik (BE), Euro Jazz Festival (Athens, GR), RingRing (YU), Mediawave (HU), NoJazz Fest (HR), Linzfest (AT), Crossroads (IT), MIDEM (Cannes, FR). He has worked with artists such as Marc Ribot (US), Michel Godard (FR), Living Colour (US), Simone Zanchini (IT), Greg Cohen (US), Tamara Obrovac (HR), Roberto Bartoli (IT), Zoltan Lantos (HU), Bratko Bibič, Xu Fengxia (CN), Wilbert de Joode (NL), Krunoslav Levačić (HR), Ewald Oberleitner (AT), Karmina Šilec & Carmina Slovenica, Zlatko Kaučič, Žiga Golob, Dragan Dautovski (MK), Damir Imamović (BA), as well as directors and choreographers: Miha Golob, Vito Taufer, Brane Potočan, Jernej Lorenci, Mojca Horvat, Jasna Knez, Matevž Gregorič, Peter Boštjančič.


Solisti

Vasko Atanasovski

Vasko Atanasovski je eden najkreativnejših slovenskih skladateljev in glasbenikov. Deluje na mnogih glasbenih področjih in v različnih žanrih. Izdal je že 10 albumov, ki se vsi brez izjeme uvrščajo na domači glasbeni piedestal. Za svoje delo je prejel številne pohvale s strani publike in kritikov tako doma kot v tujini. Redno koncertira na pomembnih festivalih in prireditvah po Evropi, igral pa je tudi že v New Yorku, Indiji in na Kitajskem. Njegova dela izvajajo mednarodno priznani solisti, ansambli, zbori in orkestri. Od leta 1997 se posveča predvsem svojemu avtorskemu delu; tako je ustanovitelj ali soustanovitelj številnih glasbenih zasedb in tudi skladatelj za komorne, orkestralne in zborovske sestave ter za lutkovne, plesne in gledališke predstave. Med pomembnejšimi koncerti in festivali so Townhall (New York, NY), 'Sally Can't Dance Festival' (Peking, Kitajska), Evropski teden kulture v Indiji (New Delhi, Bombay ...), Alpentöne (CH), Xong festival (A, I, CH), Cankarjev dom, Druga godba, Glasbeni september, Porgy & Bess (Dunaj, A), Jazz & Wine festival (I), Skopsko leto (MK), Rasa (HOL), Henry le Boeuf Hall - Balkantraffik (B), Euro Jazz Festival (Atene, GR), RingRing (YU), Mediawave (H), NoJazz Fest (CRO), Linzfest (A), Crossroads (I), MIDEM (Cannes, F). Sodeloval je z umetniki kot so Marc Ribot (USA), Michel Godard (F), Living Colour (USA), Simone Zanchini (I), Greg Cohen (USA), Tamara Obrovac (CRO), Roberto Bartoli (I), Zoltan Lantos (H), Bratko Bibič, Xu Fengxia (Kitajska), Wilbert de Joode (HOL), Krunoslav Levačić (CRO), Ewald Oberleitner (A), Karmina Šilec & Carmina Slovenica, Zlatko Kaučič, Žiga Golob, Dragan Dautovski (MK), Damir Imamović (BIH) ter režiserji in koreografi: Miha Golob, Vito Taufer, Brane Potočan, Jernej Lorenci, Mojca Horvat, Jasna Knez, Matevž Gregorič, Peter Boštjančič.


Flautist Aleš Kacjan completed his studies at the Ljubljana Academy of Music in the class of Prof. Boris Čampa. He continued his studies at the Royal Academy of Music in London with Prof. Michie Bennet and completed his postgraduate studies at Salzburg’s Mozarteum with Prof. Irena Grafenauer. During his studies in Ljubljana he received the Prešeren Student Award. In 1986 he won, as a soloist, the Zagreb Competition for Musical Artists and was awarded the same laurel a year later again, this time as a member of a wind trio. In 1985, he became the principal flautist of the Slovene Philharmonic Orchestra. He is a frequent concert soloist and also plays as a member of a number of chamber ensembles. Kacjan was co-founder of the Slowind wind quartet with which he has toured Europe, the United States, Mexico and Mongolia. He has received the Župančič Award of the City of Ljubljana and the Prešeren Fund Award as a member of the Slowind ensemble. He has recorded compact discs with pianist Bojan Gorišek (Jolivet, Dutilleux, Messiaen, Prokofiev) and guitarist Jerko Novak (Piazolla), with the Slovene Philharmonic Orchestra (Mozart, A. Salieri, Concerto for Flute and Oboe), and has contributed in author’s productions: P. Kopač, Concertino for Flute in Strings; P. Ramovš, Concerto doppio; P. Mihelčič: Shadows for Solo Flute, and has played in all Slowind CD and DVD releases. He was nominated for the Prešeren Fund Award in 2005 for his rendition of K. Penderecki’s concerto with the Slovene Philharmonic Orchestra. He has collaborated very successfully with C. Kleiber, L. Maazel, R. Mutti, D. Jensen, A. Madjar, A. Engegard, V. Globokar, H. Holliger, J. Kaspzyk, M. Graf, R. Baršai, A. Rudin.


Solisti

Aleš Kacjan

Aleš Kacjan je bil rojen leta 1958 v Ljubljani, kjer je diplomiral na Akademiji za glasbo v razredu prof. B. Čampe. V času študija je prejel študentsko Prešernovo nagrado. Po šolanju v Ljubljani se je izpopolnjeval na Kraljevi glasbeni akademiji v Londonu pri prof. Michie Bennett in v Salzburgu pri prof. Ireni Grafenauer. Leta 1986 je zmagal na tekmovanju jugoslovanskih glasbenih umetnikov v Zagrebu. Od leta 1985 je solo flavtist v orkestru Slovenske filharmonije. Poleg igranja v orkestru je veliko nastopal kot solist in član različnih komornih skupin. Leta 1995 je s prijatelji ustanovil pihalni kvintet Slowind, s katerim so nastopali po Evropi, ZDA, Mehiki, Mongoliji in posneli devet CD in DVD plošč. Kot član kvinteta Slowind je dobil Župančičevo nagrado mesta Ljubljane in Nagrado Prešernovega sklada. Kot solist je posnel več CD-plošč: s pianistom Bojanom Goriškom (Jolivet, Dutilleux, Messiaen, Prokofiev), kitaristom Jerkom Novakom (Piazolla), orkestrom Slovenske filharmonije (Mozart, A. Salieri, Koncert za flavto in oboo) in sodeloval pri avtorskih ploščah P. Kopač, Koncertino za flavto in godala, P. Ramovš: Concerto doppio; P. Mihelčič: Sence za solo flavto). Za izvedbo koncerta K. Pendereckega z orkestrom SF, je bil leta 2005 nominiran za nagrado Prešernovega sklada. Med imeni, s katerimi je imel čast sodelovati kot solist ali član različnih orkestrov in komornih skupin, velja omeniti: C. Kleiberja, L. Maazela, R. Muttija, Dag Jensen, H. Holligerja, V. Globokarja, A. Madžarja, A. Engegarda, M. Graf, A. Rudina.


Violist Maja Rome studied music at the Celje School of Music with Kristian Kolman. She graduated from the Ljubljana Academy of Music in the class of Prof. Mile Kosi with whom she also completed her postgraduate studies. She has won several prizes in national music competitions, among them the Prešeren Award of the Ljubljana Academy of Music in 2006. As a soloist she has performed with the Celje School of Music, Celje String Orchestra, Gaudeamus Chamber Orchestra, Orchestra of the Slovene National Theatre: Opera and Ballet Ljubljana, and the Slovene Philharmonic Orchestra. She also frequently performs as a chamber musician and is the principal violist of the Slovene Philharmonic Orchestra and Slovene Philharmonic String Chamber Orchestra.


Solisti

Maja Rome

Violistka Maja Rome je srednjo glasbeno šolo končala v Celju pri prof. Kristianu Kolmanu. S študijem je nadaljevala na Akademiji za glasbo v Ljubljani, najprej pri prof. Svavi Bernhardsdottir, diplomirala pa je v razredu prof. Mileta Kosija, pri katerem je končala tudi podiplomski študij. Na državnih tekmovanjih mladih glasbenikov je prejela več nagrad, med drugim pa je prejemnica Prešernove nagrade Akademije za glasbo za leto 2006. Kot solistka je nastopala z Orkestrom Glasbene šole Celje, Celjskim godalnim orkestrom, Komornim ansamblom Gaudeamus, Orkestrom SNG Opera in Balet Ljubljana in Orkestrom Slovenske fiharmonije. Veliko nastopa tudi kot komorna glasbenica, deluje kot vodja viol v Slovenski filharmoniji in je članica Komornega godalnega orkestra Slovenske filharmonije.


Milček (Bogomil) Komelj (b. 1948, Novo mesto) graduated in 1973 from the Faculty of Arts, University of Ljubljana (History of Art, Slovene Language and Literature), received his MA in 1975 (Slovene Expressionism) and his PhD in 1984 (Early Art of Božidar Jakac). He was employed by the Archives of the Republic of Slovenia, the Regional Museum of Dolenjska and 1984−2011 at the Faculty of Arts as a professor of Slovene Art. Since 2008 he has been a member of the European Academy of Sciences and Arts and President of Slovenska Matica, since 2010 an Honorary Citizen of Novo mesto Municipality, and from 2011 a member of the Slovene Academy of Sciences and Arts. He has curated the permanent collection in the Božidar Jakac Museum and the Ivan Vavpotič exhibition at the National Gallery of Slovenia, and has coordinated the Expressionism and New Objectivity project at the Museum of Modern Art, as well as many others. He was the president of numerous national juries for the erection of public monuments and a member of committees such as the Prešeren Fund Board, 1985−1991. He has also chaired History and Problems in Slovene Visual Art; since 1991 he has served as National Coordinator for the History of Art, Chairman of the History of Art Department, and a board member of the Scientific Institute for Humanities at Nova revija. He was an external editor of the Slovene Encyclopaedia and served on the editorial board of the Slovene Biographical Lexicon. He is the author of a trilogy on Slovene painting from the 18th up till the 20th century (Gestures, Faces, Saints), and has published two books of poetry on painting (The Announcement of the Gaze and Islands of Dreams). His bibliography exceeds 1500 items − books, studies, essays, catalogues, exhibition and book reviews. He received the Student Prešeren Award in 1973, the medal of the City of Ljubljana in 1998, the Župančič Award in 2006, and an honorary medal of the Union of Slovene Fine Arts Associations (ZDLSU) in 2008.


Predavatelji

Milček (Bogomil) Komelj

Milček (Bogomil) Komelj (1948, Novo mesto) je leta 1973 diplomiral na FF v Ljubljani (umetnostna zgodovina in slovenski jezik s književnostjo), 1975 magistriral (Ekspresionizem v slovenskem slikarstvu) in 1984 doktoriral (Jakčeva mladostna umetnost). Zaposlen je bil v Arhivu Slovenije, v Dolenjskem muzeju in 1984−2011 kot profesor zgodovine slovenske umetnosti na FF. Od 2008 je redni član Evropske akademije znanosti in umetnosti v Salzburgu in predsednik Slovenske matice, od leta 2010 častni občan Novega mesta, od 2011 pa izredni član Slovenske akademije znanosti in umetnosti. Postavil je stalno zbirko Jakčevega doma, Vavpotičevo razstavo v Narodni galeriji in koordiniral Ekspresionizem in novo stvarnost v Moderni galeriji itd. Bil je predsednik žirij za postavitev javnih spomenikov, sodeloval je v nacionalnih žirijah in odborih kot član UO Prešernovega sklada, 1885−1991 je bil vodja projekta Zgodovina in problemi slovenske likovne umetnosti, od 1991 nacionalni koordinator za umetnostno zgodovino, predstojnik oddelka za umetnostno zgodovino FF in član Sveta znanstvenega inštituta za humanistiko pri Novi reviji. Bil je zunanji urednik Enciklopedije Slovenije in član uredniškega sveta Slovenskega biografskega leksikona. Med drugim je pisec trilogije o slovenskem slikarstvu od 18. do 20. stoletja (Poteze, Obrazi, Svetniki) in avtor dveh pesniških zbirk (Oznanjenje pogleda in Otoki sanj). Njegova bibliografija obsega prek 1500 objav − knjig, razprav, katalogov, recenzij in ocen. 1973 je prejel študentsko Prešernovo nagrado, 1998 plaketo mesta Ljubljane, 2006 Župančičevo nagrado, leta 2008 pa častno plaketo ZDSLU.


Full professor Nataša Golob (b. 1947, Celje) studied at the Faculty of Arts in Ljubljana (History of Art, French and Italian Language). The mentor of her BA and MA theses was Prof. Luc Menaše; the mentor of her first doctoral thesis (Painted Wooden Ceilings in Slovenia up till the Early 18th Century) was Prof. Nace Šumi, the second (The Literature of the Middle Ages in Slovenia and its Audiences) was mentored by Prof. Boris A. Novak. For more than two decades her research has focused on aspects of medieval manuscripts in order to collect as much data on manuscripts, scribes, illuminators, readers, authors and commissioners from the Slovenian localities as possible. She thus wishes to reconstruct the circumstances and facts of intellectual life in Slovenia during the Middle Ages. For her outstanding achievement she received several awards, among them the Golden Sign of the University of Ljubljana (1994), Yale University Scholarship Prize (2000) and the Trubar Award (2010). She is the author of exhibitions and exhibition catalogues (Manuscripts from the Stična Cistercian Abbey of the 12th Century, 1994; Bibles in Slovenia, 1996; Medieval Manuscripts from Žiče Charterhouse, 2006; Manuscripta: Medieval Illumination in Manuscripts from the National and University Library, and Manuscripta: Authors, Scribes, Readers, 2010). She has given lectures at universities and has actively participated at scientific conferences around Europe and the US. She is a member of the Executive Board of the Comité international de paleographie latine. In September 2010 she organized an international conference on the research of medieval manuscripts focusing on authors’ handwritings “Medieval Autograph Manuscripts” in Ljubljana.


Predavatelji

Nataša Golob

Redna profesorica Nataša Golob (1947, Celje) je na Filozofski fakulteti v Ljubljani študirala umetnostno zgodovino, francoski in italijanski jezik s književnostima. Mentor pri diplomskem in magistrskem delu je bil prof. dr. Luc Menaše; mentor prvega doktorata prof. dr. Nace Šumi (Poslikani leseni stropi na Slovenskem do zgodnjega 18. stoletja,1986), mentor drugega (Literatura v srednjem veku na Slovenskem in njeno občinstvo, 2008) prof. dr. Boris A. Novak. Več kot dvajset let se posveča vprašanjem srednjeveških rokopisov in želi zbrati čim več podatkov o rokopisih, prepisovalcih, knjižnih slikarjih, bralcih, avtorjih in naročnikih iz slovenskih krajev ter tako dokumentirati podobo intelektualnega življenja v našem srednjem veku. Za svoje raziskovalno delo je prejela več nagrad, med njimi zlati znak Univerze v Ljubljani (1994), nagradno štipendijo univerze Yale (2000), Trubarjevo priznanje (2010). Je avtorica odmevnih razstav (Stiški rokopisi 12. stoletja, 1994; Biblije na Slovenskem, 1996; Srednjeveški rokopisi iz Žičke kartuzije 1160-1560, 2006; Manuscripta: Knjižno slikarstvo v srednjeveških rokopisih iz NUK ter Manuscripta: Pisatelji, prepisovalci, bralci, 2010). Predavala je na univerzah po vsem svetu in se udeležila mnogih mednarodnih znanstvenih srečanj. Je članica predsedstva Mednarodnega komiteja za latinsko paleografijo in je v septembru 2010 v Ljubljani organizirala znanstveno konferenco o raziskovanju srednjeveških rokopisov oz. avtorskih rokopisov, Avtografi.


Assoc. Prof. Marjeta Ciglenečki (b. 1954, Ljubljana) received her BA (1978) and PhD (thesis: “Castle Furnishing in Slovene Styria from the mid-17th up till the mid-20th Century”, 1997) in the History of Art from the Faculty of Arts of the University of Ljubljana. In 1978 she was employed by the Regional Museum of Ptuj as a curator of the cultural history collections, and served as museum director between 1997 and 2001. She was author of the Meeting with the Orient at Ptuj Castle (1992) exhibition, rewarded by a Valvasor Award. In 1992 she began her co-operation with the Faculty of Education at the University of Maribor and was appointed Assist. Prof. in the Department of Fine Arts in 2001. She moved to the Faculty of Arts of the University of Maribor in 2008, where she established the new Department of Art History. Her research is focused on the Baroque period and culture of the noble class, while she is dedicated to the more recent art production especially in Slovene Styria. She is a member of the research group at the France Stele Institute of Art History at the Scientific Research Centre of the Slovenian Academy of Sciences and Arts. Between 2003 and 2007 she was President of the Slovene Art History Society and from 2008 onwards she has been a member of CIHA (Comitée International de l’Histoire de l’Art) representing Slovenia. In 2011 she organized an international colloquium under the auspices of CIHA entitled Art and Architecture around 1400: Global and Regional Perspectives at the University of Maribor.


Predavatelji

Marjeta Ciglenečki

Izredna profesorica Marjeta Ciglenečki (1954, Ljubljana) diplomirala (1978) in doktorirala (1997) iz umetnostne zgodovine na Filozofski fakulteti Univerze v Ljubljani. Naslov doktorske disertacije: Oprema gradov na slovenskem Štajerskem od srede 17. do srede 20. stol. Leta 1978 se je zaposlila v Pokrajinskem muzeju Ptuj kot kustodinja za kulturno zgodovino, med letoma 1997 in 2001 pa je bila tudi direktorica muzeja. Bila je avtorica razstave Srečanje z Jutrovim na ptujskem gradu (1992), za katero je prejela Valvasorjevo priznanje. V letu 1992 je pričela sodelovati s Pedagoško fakulteto Univerze v Mariboru, v letu 2001 pa kot docentka prevzela redne obveznosti na tamkajšnjem Oddelku za likovno umetnost. Od 2008 je zaposlena na Filozofski fakulteti Univerze v Mariboru, kjer je ustanovila Oddelek za umetnostno zgodovino. Njene raziskave so po eni strani osredotočene na obdobje baroka in plemiške stanovanjske kulture, po drugi pa novejše likovne tvornosti zlasti na slovenskem Štajerskem. Je članica raziskovalne skupine na Umetnostno-zgodovinskem inštitutu Franceta Steleta na ZRC SAZU. Med letoma 2003 in 2007 je bila predsednica Slovenskega umetnostnozgodovinskega društva, od leta 2008 pa je predstavnica Slovenije v CIHA (Comitée International de l'Histoire de l'Art). Leta 2011 je pod okriljem CIHA na univerzi v Mariboru organizirala mednarodni znanstveni simpozij Umetnost okrog 1400: Regionalni in globalni pogledi.


Janez Balažic (b. 1958, Murska Sobota) graduated from the Faculty of Arts of the University of Ljubljana with his thesis entitled The Fresco Workshop of Johannes Aquila. He was curator at the Regional Museum of Ptuj from 1987 up till 1989, from 1889 at the Regional Museum of Murska Sobota, after 1999 senior curator, and museum councillor from 2004. He received his PhD from the University of Ljubljana with his thesis Wall Painting during the Luxemburg Dynasty in Western Pannonia mentored by Prof. Janez Höfler. He took up the post of assistant professor at the Faculty of Arts, University of Maribor in 2010. He is dedicated to art history, mediaeval art in Central Europe, gothic painting, art of the 19th and 20th centuries, cultural history, museum studies and criticism. He was the editor in chief of Monumenta Pannonica (Pomurska Publishing Co.), Regional Museum of Murska Sobota Yearbook and has conceived two symposia, The Urban and Architectural Image of Murska Sobota (1991), and Architect Jože Plečnik in Prekmurje (1997). He was awarded the County of Murska Sobota Medal in 1988 and in 2002. As a member of the museum team he won the European Museum of the Year Award in 1999 for the re-installation of the permanent collection, and in 2001 the Izidor Cankar Award for the research of mediaeval painting. In 2009 he was the recipient of the Valvasor Award and again the Izidor Cankar Award in 2010 for The Works of Art from Prekmurje between the Romanesque and Modern Periods project. He has been an honorary citizen of Moravske Toplice Municipality since 2010.


Predavatelji

Janez Balažic

Janez Balažic (1958, Murska Sobota) je leta 1997 diplomiral iz umetnostne zgodovine na Filozofski fakulteti Univerze v Ljubljani z diplomsko nalogo Slikarska delavnica Janeza Aquile. V letih 1987−1989 je bil kustos v Pokrajinskem muzeju Ptuj, od 1989 pa v Pokrajinskem muzeju Murska Sobota kot višji kustos od 1999 in po 2004 muzejski svetovalec. Na Univerzi v Ljubljani je doktoriral leta 2009 z disertacijo Stensko slikarstvo v dobi Luksemburžanov v zahodnem panonskem prostoru, mentor prof. dr. Janez Höfler. Od 2010 je kot docent zaposlen na Pedagoški fakulteti Univerze v Mariboru. Področja njegovega znanstvenega dela so umetnostna zgodovina, umetnost srednjega veka v srednji Evropi, gotsko stensko slikarstvo, zgodovina umetnosti 19. in 20. stoletja, kulturna zgodovina, muzejske študije in esejistika. Urejeval je zbirko Monumenta Pannonica (pri Pomurski založbi), Zbornik soboškega muzeja in druge edicije ter bil pobudnik strokovnih srečanj Urbana in arhitekturna podoba Murske Sobote (1991) in Arhitekt Jože Plečnik v Prekmurju (1997). Mestna občina Murska Sobota ga je nagradila s plaketo leta 1988 in leta 2002. Kot član avtorske ekipe je leta 1999 za stalno muzejsko razstavo Pokrajinskega muzeja Murska Sobota prejel priznanje European Museum of the Year Award, leta 2001 pa je dobil priznanje Izidorja Cankarja za raziskave srednjeveškega slikarstva. Za projekt Umetnine iz Prekmurja od romanike do modernizma je leta 2009 dobil Valvasorjevo priznanje, nato pa 2010 še priznanje Izidorja Cankarja. 2010 je postal častni občan občine Moravske Toplice.


Andrej Smrekar (b. 1954, Kostanjevica na Krki), BA and MA in Art History at the University of Ljubljana, 1977 and 1981. He worked for the International Symposium of Sculptors Forma viva, as a curator and later Director of the Božidar Jakac Museum of Art from 1977 to 1991, with interruptions. In 1980/1981 he was a visiting fellow at Harvard University endowed by the IREX Board and Department of Culture, Socialist Republic of Slovenia. In 1983 he entered the Graduate School of Arts and Sciences at Harvard with full tuition and scholarship from the university. His doctoral thesis Surrealism and Painting: Representations in Theory and Criticism in Paris 1925−1928, was advised by Tim, J. Clark, Anna Chave and John Czaplicka, submitted in 1991. Several articles and exhibitions and monographs followed in Slovenia, e.g. The Invisible Object of Alberto Giacometti, Early Prints by Tone Kralj, 1991, On the Ruins – of What?, 1991, Rihard Jakopič: Genesis of a Myth, 1993, Ivan Grohar, 1997, France Kralj, 2002, France Gorše: Sculptures Speak, 2005 (with Smiljan Trobiš), First Impressions, 2008, Drawing in Slovenia 1870−1950, 2009. As Director of the National Gallery of Slovenia between 1991−2005, his work focused on the history of the institution and its collections. He produced a number of catalogues on contemporary Slovene abstract artists. He has been President of the Slovene Museum Society since 2003, and President of the Board of Trustees, Božidar Jakac Museum of Art since 2004.


Predavatelji

Andrej Smrekar

Andrej Smrekar (1954, Kostanjevica na Krki), diplomiral in magistriral iz umetnostne zgodovine na Univerzi v Ljubljani, 1977 in 1981. Delal je za Mednarodni simpozij kiparjev Forma viva in kot kustos ter kasneje direktor Galerije Božidar Jakac s prekinitvami med 1977 in 1991. 1980/1982 svobodni slušatelj na Harvard University s štipendijo fundacije IREX in Kulturne skupnosti Socialistične Republike Slovenije. 1983 se je vpisal na Graduate School of Arts and Sciences, Harvard University s šolnino in štipendijo univerze. Doktorski naziv je pridobil z disertacijo Surrealism and Painting: Representations in Theory and Criticism in Paris 1925 - 1928, mentorji Tim, J. Clark, Anna Chave and John Czaplicka, leta 1991. Avtor vrste člankov, razstav in monografskih študij, npr. Nevidni predmet Alberta Giacomettija, Zgodnja grafika Toneta Kralja, 1991, Na ruševinah - česa?, 1991, Rihard Jakopič: Geneza mita, 1993, Ivan Grohar, 1997, France Kralj, 2002, France Gorše: Kipi govorijo, 2005 (with Smiljan Trobiš), Prvi listi, 2008, Risba na Slovenskem 1870−1950, 2009. 1991−2005 se je kot direktor Narodne galerije posvečal njeni zgodovini in zbirkam. Od 2006 kustos zbirke del na papirju v Narodni galeriji. Je tudi avtor vrste monografskih katalogov sodobnih slovenskih umetnikov. Od 2003 je predsednik Slovenskega muzejskega društva in od 2004 predsednik sveta Galerije Božidar Jakac.


Sozvočje svetov XI, 2011 / 12 Harmony of the Spheres XI, 2011 / 12 Torek / Tuesday 25. 10. 2011 / 25 October 2011 Milček Komelj

Božidar Jakac in glasba Božidar Jakac and Music Slikar Božidar Jakac je bil ves prežet z doživljanjem glasbe. Svojo notranjo razgibanost je označeval s pojmoma melodija in ritem ter venomer iskal ustvarjalno sozvenevanje svoje muzikalno ubrane notranjosti z muzikalnostjo pokrajine in tudi figuralnih motivov. Kot simbol svoje umetnosti je občutil muzikalno vzvalovanega violista, kurenta, v glasbenikih, posebno dirigentih, je dojemal simbolične pomene kreatorjev in glede na to je več kot razumljivo, da je vse življenje z veliko predanostjo upodabljal tudi pianiste in koncerte, zvesto prijateljeval z norveškim skladateljem Haraldom Saeverudom in ves svet doživljal kot čustveno prelivajočo se in v zvezdni kozmos stremečo glasbo. Božidar Jakac was completely imbued by the experience of music. He described his internal disposition by melody and rhythm incessantly sought in the creative tuning of his musically pitched inwardness with the musicality of the landscape and even figurative subjects. As a symbol of his art, he felt deeply inundated by the violist, Kurent, in musicians, particularly conductors he came to understand the symbolic meaning of the creators and thus he depicted pianists and concerts throughout his life. He met his lifelong friend, Norwegian composer Harald Saeverud as a student, and experienced the world as an emotional flow of music aspiring towards the Universe.

Hlad in toplina Severa Coldness and Warmth of the North Arvo Pärt: Fratres / Fratres Aulis Sallinen: Ponočni plesi Don Kihota, Op. 58 / The Nocturnal Dances of Don Quixote, Op. 58 Edvard Grieg: Holbergova suita, Op. 40 / Holberg Suite, Op. 40 Solist / Soloist: Alexander Rudin, violončelo / cello


Torek / Tuesday 6. 12. 2011 / 6 December 2011 Nataša Golob

Petje psalmov v času pokristjanjevanja v 9. stol. The Singing of Psalms in the 9th century Okrog leta 1060 je bilo prepisano besedilo, ki govori o množičnem pokristjanjevanju v Ziljski dolini. Zapis posebej poudarja, da so obred spremljali s petjem. Originalno poročilo lahko datiramo v 9. stoletje, to je v čas Karla Velikega († 814) in se glede na lokacijo nanaša na naše slovenske prednike. Prepevanje psalmov je bilo tedaj pomemben del krščanskega obredja in ga najdemo na upodobitvah tako v iluminiranih rokopisih, kot na slonokoščenih reliefih zgodnjega srednjega veka. A text reporting on massive Christianization in the Valley of Zilja (Gailtal) was transcribed in around 1060. The document duly recounts that the ceremony was accompanied by singing. The original report could be dated approximately to the early 9th century, the reign of Charlemagne († 814) and thus brings to life an important historical detail on the life of our forefathers. Chanting of the psalms was an important part of the Christian ritual documented in text as well as in illuminated manuscripts and ivory plaques of the early Middle Ages.

Brandenburški koncerti Brandenburg Concertos Johann S. Bach: Brandenburški koncert št. 3 / Brandenburg Concerto No. 3 Johann S. Bach: Koncert za oboo v d-molu – BWV 1059 / Concerto for Oboe in D-minor – BWV 1059 Srećko Bradić: Concerto da chiesa / Concerto da chiesa Johann S. Bach: Brandenburški koncert št. 6 / Brandenburg Concerto No. 6 Solistka / Soloist: Gordana Josifova Nedelkovska, oboa / oboe


Torek / Tuesday 21. 2. 2012 / 21 February 2012 Marjeta Ciglenečki

Stojan Kerbler: Haloške ceste in poti Stojan Kerbler: The Haloze Roads and Pathways Kljub odličnemu vinu, ki ga pridelujejo v vinorodnem gričevju Haloz na jugovzhodu Slovenije na meji s Hrvaško, so bile Haloze do nedavna najbolj zaostalo slovensko področje. Na začetku sedemdesetih let 20. stoletja je v te kraje začel zahajati fotograf Stojan Kerbler (rojen 1938 na Ptujski Gori) in v dobrem desetletju ustvaril dve izjemni seriji fotografij. Haložani in Koline pripovedujejo o svetu, kjer so se ohranili mnogi starodavni miti in običaji. Haložani na Kerblerjevih fotografijah so ljudje preteklega stoletja, ki so živeli skromno v naravnem ritmu – a bili so srečni, kakor nam zatrjuje avtor fotografij. In spite of excellent wines produced in Haloze, the wine-growing hills in the South-East of Slovenia bordering with Croatia, Haloze was not long ago the most undeveloped Slovene region. Forty years ago Stojan Kerbler, photographer born in 1938 at Ptujska Gora, began revisiting his homeland. Over a period of slightly more than ten years he created two exceptional photographic series: Haloze People and Pig Slaughter. He brought to life the world of living old myths and traditions. He shows us the Haloze people from the previous century living their frugal lives in a natural rhythm – but they were happy as the author of the photographs assures us.

Resno in lahkotno Serious & Lightsome Dečo Žgur: “Ob cesti” za godalni orkester / “By the Road” for string orchestra Janez Gregorc: “Skrivnost Socerba” za saksofon in godalni orkester / “The Mystery of Socerb Castle” for saxophone and string orchestra Nino de Gleria: “Henki Penki Horizontal Polka” / “Henki Penki Horizontal Polka” Vasko Atanasovski: “Aarausko popoldne” za godalni orkester / “Aarau afternoon” for string orchestra Vasko Atanasovski: Novo delo za saksofon in godalni orkester / A new piece for saxophone and string orchestra Solist / Soloist: Vasko Atanasovski, saksofon / saxophone


Torek / Tuesday 17. 4. 2012 / 17 April 2012 Janez Balažic

Zven podobe The Sound of the Image “Slikarstvo je tišina misli in glasba pogleda” se je zapisalo Orhanu Pamuku. Vemo, da to zmore biti le dobra umetnina, ki je kontemplativno polje, prostor meditacije, kjer imanentno biva kot nenehna potreba po spraševanju o smislu bivanja, minljivosti, trajanju, stopnji pričevalnosti, večnosti. Vprašanja o vpetosti v predstavne norme ter vzpostavljanje svojske recepcije zaznamuje opuse nekaterih ključnih osebnosti slovenskega slikarstva od modernizma naprej. Umetnine Ludvika Vrečiča (1900-1945), Zdenka Huzjana (r. 1948) ter Sandija Červeka (r. 1960) odstirajo poglede v široka duhovna zajetja in nam v esencialnem zvenu svojih podob podarjajo izvirna doživetja. “Painting is the silence of thought and the music of sight” was written by Orhan Pamuk. We know that is true only of a real work of art, which is a contemplative field, the space of meditation, where a masterpiece exists as an incessant need for questioning the meaning of life, of transience, of duration, of level of testimony, of eternity. The question of anchoring the imaginative norm and particular reception marks the oeuvres of several key figures in Slovene postmodernist painting. The paintings of Ludvik Vrečič (1900-1945), Zdenko Huzjan (b. 1948) and Sandi Červek (b. 1960) foster insights into broad spiritual reserves, endowing us with an original experience in the clinging essentiality of their images.

Glasba med barokom in klasicizmom Music between the Baroque and Classicism Georg Anton Benda: Sinfonia v B-duru / Sinfonia in B-major Johann Joachim Quantz: Koncert za flavto v G-duru / Flute Concerto in G-major Carl Philipp Emanuel Bach: Koncert za flavto v d-molu / Flute Concerto in D-minor Carl Philipp Emanuel Bach: Simfonija št. 6 v E-duru / Symphony No. 6 in E-major Solist / Soloist: Aleš Kacjan, flavta / flute


Torek / Tuesday 29. 5. 2012 / 29 May 2012 Andrej Smrekar

France Gorše: Upodobitve navdiha France Gorše: Visualizing Inspiration V plastiki Franceta Goršeta je eden od najpogosteje ponavljajočih se motivov upodabljanje navdiha, ustvarjalnega genija in duhovne karizme. Poleg portretov motivu sledimo od Govornika, 1931, do povojnih prerokov, od mitskih figur Cirila in Metoda do parka koroških kulturnih delavcev v Svečah se nizajo podobe, ki jim skupni imenovalec pomeni Leonardo da Vinci, 1939, kasneje pomenljivo preimenovan v Primoža Trubarja. V tej skoraj miniaturni plastiki so opredeljene stilizacija, monumentalnost in ekspresija, ki so nosilke Goršetovega pojmovanja tega kiparskega žanra. Drug primerljiv vrh v njegovem delu je tako imenovani Božični avtoportret, ki ga je modeliral v Vatikanu za božič leta 1971. One of the most frequently repeated subjects in the sculpture of France Gorše is visualized inspiration, creative genius and spiritual charisma. Besides in portraiture the subject can be followed from the Orator of 1931 via prophets, mythical figures of Sts. Cyril and Methodius through to the very late portraits in the Park of the Carynthian Culture in Sveče (Suetscach). Their common denominator is Leonardo da Vinci, 1939, later significantly renamed Primus Trubar. This almost miniature sculpture manifests stylization, monumentality and expressivity which are the building blocks of Gorše’s understanding of the genre. The second comparable apex in his oeuvre is the so-called Christmas Self-portrait, modelled in the Vatican on the Christmas Eve of 1971.

Biseri dvajsetega stoletja Pearls of the 20th Century György Sandor Ligeti: “Ramifications” (Razvejanja) za dvanajst godalcev / “Ramifications” for twelve strings Paul Hindemith: Žalna glasba za violo in godalni orkester / Trauermusik for viola and string orchestra Béla Bartók: Godalni kvartet št. 4 / String Quartet No. 4, arr. for string orchestra Solistka / Soloist: Maja Rome, viola / viola


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