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Evropski dan 21.3.2013 stare glasbe


w’‡ê“’Ž•’™Œ—ˆ–—™’êh‘‡•’˜ˆê}„––ŒŒ’˜±ê:„‘Œ†ˆêl™•’“–ŽˆêŽ’Œ–Œˆ±êŒ‘ꁒ‰Œˆêt„ˆêr˜Ž’™Œ:±ê–’™ˆ‘–Žˆê“’–„‘Žˆê™êl™•’“–Žˆê“„•„ˆ‘—˜ |‘‡ˆ•ê—‹ˆê“„—•’‘„Šˆê’‰êh‘‡•’˜„ê}„––ŒŒ’˜±êˆ…ˆ•ê’‰ê—‹ˆêl˜•’“ˆ„‘êj’Œ––Œ’‘ê„‘‡ê’‰Œ„êt„ˆêr˜Ž’™Œ:êz’™ˆ‘Œ„‘ꐈ…ˆ•ê’‰ê—‹ˆêl˜•’“ˆ„‘êw„•Œ„ˆ‘—

SEVIQC B R E Ž I C E

ˆ—•—ˆŽê½ê{‹˜•–‡„œ±ê¢¡­£­¢ª¡£±ê¢ª®ªª s˜…„‘„±êu„•’‡‘Œê˜ˆêz’™ˆ‘Œˆê¾êw•ˆOˆ•‘’™„ u„—Œ’‘„êt˜–ˆ˜ê’‰êz’™ˆ‘Œ„ê¾êw•ˆOˆ•‘’™„ }êl™•’“Œê–ˆêˆê•’‡Œê‘’™ê“•„‘Œ:‘Œê‡„‘·ê¢¡­ê„•†„ꢪ¡£ê…’êl™•’“–Ž„ꐕˆW„Ꝅꖗ„•’ê Š„–…’êylthꓕ™Œ:ꓕ„‘’™„„êl™•’“–ŽŒê‡„‘ê–—„•ˆêŠ„–…ˆ­ê{„ꇄ‘ꍈêWŒ™ê–“’ˆ‘ŒŽê ˆ™•’“–ŽŒêŠ„–…ˆ‘Œê‡ˆ‡ŒO:Œ‘Œ­êzꎒ‘†ˆ•—Œ±êŽ’‘‰ˆ•ˆ‘†„ŒêŒ‘ꇕ˜ŠŒŒê“•Œ•ˆ‡Œ—™„Œ±êŽŒê–ˆê ‹Ž•„—Œê‡’Š„„’Ꙉ–ꇄ‘ê“’ê™–ˆê†ˆŒ‘Œ±ê–—„•’ꊏ„–…’ê“•Œ…ŒW˜ˆêOŒ•’Žˆ˜ê’…:Œ‘–—™˜­ê ¢¡­ê„•ˆ†ê–’™“„‡„êê•’–—‘Œê‡‘ˆ™’êq’‹„‘‘„êzˆ…„–—Œ„‘„êi„†‹„±ê“„ê—˜‡Œêê„:ˆ—Ž’ê “’„‡Œ­êw•Œ•ˆ‡Œ—™ˆêylthꑄêl™•’“–ŽŒê‡„‘ê–—„•ˆêŠ„–…ˆê“’‡“Œ•„êl™•’“–Ž„ꝙˆ„ê •„‡Œ–ŽŒ‹êŒ‘ê—ˆˆ™ŒŒ–ŽŒ‹ê“’–—„­êu„‡ê—ˆê™–ˆˆ™•’“–ŽŒê‡’Š„„‘ˆêˆê“’Ž•’™Œ—ˆŒ†„ê Š„­êh‘‡•’˜„ê}„––ŒŒ’˜±ê:„‘Œ†„êl™•’“–ŽˆêŽ’Œ–Œˆ­êu„‡ê–’™ˆ‘–ŽŒê‡ˆ’ê “•„‘’™„‘„±ê–ꎄ—ˆ•Œê“’‘’–‘’ê“•ˆ‡–—„™„’ꖏ’™ˆ‘–Ž’ê–†ˆ‘’ê–—„•ˆêŠ„–…ˆ±êˆê “’Ž•’™Œ—ˆŒ†„ꊄ­ê’‰Œ„êt„ˆêr˜Ž’™Œ:±ê–’™ˆ‘–Ž„ê“’–„‘Ž„ê™êl™•’“–Žˆê“„•„ˆ‘—˜­

Evropski dan stare glasbe

Ponosno predstavljamo slovensko sceno stare glasbe / We proudly present Slovenian early music scene

hꑈšê‰ˆ–—Œ™ˆê‡„œêŒ–ê…’•‘ꌑêl˜•’“ˆ·êv‘ꢡêt„•†‹ê¢ª¡£±êylthêl˜•’“ˆ„‘êl„•œêt˜–Œ†ê uˆ—š’•Žê’•Š„‘Œ–ˆ–ꌗ–êl˜•’“ˆ„‘êk„œê’‰êl„•œêt˜–Œ†ê‰’•ê—‹ˆê™ˆ•œê‰Œ•–—ê—Œˆ­ê~Œ—‹ê†’‘†ˆ•—–±ê †’‘‰ˆ•ˆ‘†ˆ–±ê„‘‡ê’—‹ˆ•êˆ™ˆ‘—–ê—„ŽŒ‘Šê“„†ˆê–Œ˜—„‘ˆ’˜–œê„ê’™ˆ•ê—‹ˆê†’‘—Œ‘ˆ‘—±ê—‹ˆê‡„œêŒ–ê„ê Œ™Œ‘Šêˆ’•Œ„ê—’ê—‹ˆêl˜•’“ˆ„‘ê‹Œ–—’•Œ†„ê˜–Œ†„ê‹ˆ•Œ—„ŠˆêšŒ—‹ê—‹ˆê„Œê’‰ê“•’’—Œ‘Šêˆ„•œê ˜–Œ†ê—’ê„Ꚍ‡ˆê„˜‡Œˆ‘†ˆ­ê¢¡êt„•†‹ê†’Œ‘†Œ‡ˆ–Ꚍ—‹ê—‹ˆê…Œ•—‹‡„œê’‰êq’‹„‘‘êzˆ…„–—Œ„‘êi„†‹±ê „‘‡ê„–’Ꚍ—‹ê—‹ˆê…ˆŠŒ‘‘Œ‘Šê’‰ê–“•Œ‘Š­ê{‹ˆêylthêl˜•’“ˆ„‘êk„œê’‰êl„•œêt˜–Œ†êŒ–ê–˜““’•—ˆ‡ê …œê—‹ˆêl˜•’“ˆ„‘êi•’„‡†„–—Œ‘Šê|‘Œ’‘­ê{‹ˆêl˜•’“ˆ¾šŒ‡ˆê†ˆˆ…•„—Œ’‘ꌖꋄ““ˆ‘Œ‘Šê˜‘‡ˆ•ê—‹ˆê “„—•’‘„Šˆê’‰êt•–êh‘‡•’˜„ê}„––ŒŒ’˜±êˆ…ˆ•ê’‰ê—‹ˆêl˜•’“ˆ„‘êj’Œ––Œ’‘­ê{‹ˆêz’™ˆ‘Œ„‘ê “„•—±êšŒ—‹êš‹Œ†‹êšˆê“•’˜‡œê“•ˆ–ˆ‘—êz’™ˆ‘Œ„‘ꈄ•œê˜–Œ†ê–†ˆ‘ˆ±êŒ–ꘑ‡ˆ•ê—‹ˆê“„—•’‘„Šˆê’‰ê ’‰Œ„êt„ˆêr˜Ž’™Œ:±êz’™ˆ‘Œ„‘ꐈ…ˆ•ê’‰ê—‹ˆêl˜•’“ˆ„‘êw„•Œ„ˆ‘—­


u„êz—„•ˆê–’ê—•Š˜ê“’‡êŒ“’Ꝉˆ‘’ê —•’…ˆ‘—ˆêŒ‘ꊒ–Œ±êŒ‘ꆌ…„ˆê“ˆˆ± “ˆ–„ˆêˆ“’—ˆê³ês˜…„‘ˆê–’ꆈˆ ™ê‘ˆ‡ˆ’ê“’“’‡„‘êê„‡ˆ‘:Œê™ˆ–ˆˆê­­­ê Foto / photo: European Union 2013 EP

Foto / photo: European Comission

k•„ŠŒê“•Œ„—ˆŒ· }ꙈŒŽ’Ꙉ–ˆˆêŒ‘ê:„–—ꐌꍈ±ê‡„ꖈꙄê„‹Ž’ê“•Œ‡•˜WŒê“•Œê“•„‘’™„‘˜ê“•™ˆŠ„êl™•’“–ŽˆŠ„ê ‡‘ˆ™„ê–—„•ˆêŠ„–…ˆ­êk’™’Œ—ˆêŒ±ê‡„ꌝŽ’•Œ–—Œê—’ê“•Œ’W‘’–—ꌑꌝ•„Œê–™’’ꌖŽ•ˆ‘’ê“’‡“’•’ê—ˆê “’…˜‡Œê—ˆ•êŒê„WˆŒê˜–“ˆ‹„±êŽŒê–ŒêŠ„ê™–ˆŽ„Ž’•ê„–˜WŒ­êz—„•„ꊏ„–…„ꍈ꒖•ˆ‡‘Œê‡ˆê‘„Oˆê–Ž˜“‘ˆê ˆ™•’“–Žˆê‡ˆ‡ŒO:Œ‘ˆ­êv…–ˆŠ„Ꙉ:ꎒ—ê—Œ–’:ˆ—ˆêŠ„–…ˆ±ê’‡ê–•ˆ‡‘ˆŠ„ꙈŽ„꓄ꇒꎒ‘†„ꡨ­ê–—’ˆ—„±ê Œ‘Ꝅˆ„ꇈ„ꐒ–—•’™±êŽ’—ê–’êt’‘—ˆ™ˆ•‡Œ±êi„†‹±êo4‘‡ˆêŒ‘ꐑ’ŠŒê‡•˜ŠŒ­êuŒ‹’™„ꇈ„ê–’ê‘„ê ™–ˆê™ê˜WŒ—ˆŽ±ê“•ˆ‡–—„™„’ê“„ê—˜‡Œê’:„‘ê–Œ…’ê‘„Oˆê†Œ™ŒŒ„†ŒˆêŒ‘ê‘„Oˆê–Ž˜“‘ˆêˆ™•’“–Žˆê Œ‡ˆ‘—Œ—ˆ—ˆ±ê „—’ê –Œê „–˜WŒ’±ê ‡„ê Œ‹ê “•’’™Œ•„’±ê ’–™ˆ—˜ˆ’ê Œ‘ê “•ˆ‡–—„™Œ’ê :Œê OŒ•Oˆ˜ê ’…:Œ‘–—™˜±ê “•Œê :ˆˆ•ê ‘„ê “’„Š„ê l™•’“–Ž„ê •ˆW„ê „ê –—„•’ê Š„–…’­ê {’ê ˆê •„’Šê „ê “’‡“’•’±ê ŽŒê ’ê l™•’“–ŽŒê •ˆWŒê „ê –—„•’ê Š„–…’ê ‡„ˆê l™•’“–Ž„ê Ž’Œ–Œ„±ê Œ‘ê „—’ê—˜‡Œê’–—„„’ê“’“’‘’„ê“•ˆ‡„‘Œê’‹•„‘„‘˜ê„Œê†ˆ’ê“’™ˆ:„‘˜ê‘„Oˆê“’‡“’•ˆê Ž˜—˜•ŒêŒ‘ꘐˆ—‘’–—Œ­ê{’ꖐ’ê“’Ž„„ŒêWˆê–ê“•’Š•„’êr˜—˜•„±ê‡„ê“„ꖐ’ê“•ˆ‡„Š„Œê Oˆê ‘’™ê “•’Š•„ê |–—™„•„‘„ê l™•’“„ê ’‡ê ˆ—„ê ¢ª¡¤ê ‡„ˆÃ±ê ŽŒê …’ê ’–•ˆ‡‘Œê ‡ˆê ‘„Oˆê –—•„—ˆŠŒˆê“’’:ŒêŽ˜—˜•‘ˆ˜êŒ‘ꘐˆ—‘ŒOŽˆê“’‡•’:˜ê—ˆ•ê‘ˆŠ’™ˆê“•’’†Œˆ­êvꗈ±ê ‡„ꊕˆê„ê“’ˆ…‘ˆê„‡ˆ™ˆ±ê“•Œ:„’ꇒŠ’‡ŽŒ±êŽ’—ꍈêl™•’“–ŽŒê‡„‘ê–—„•ˆêŠ„–…ˆ­êu„ê “•Œ“’‘ŒêOˆ±ê‡„ꖈꐌꝇŒê¢¡­ê„•ˆ†êŒ•ˆ‡‘’ê“•Œˆ•ˆ‘ꇄ—˜ê„ꗄꇒŠ’‡ˆŽ±ê–„êˆê—’ê ’…ˆ—‘Œ†„ê•’–—™„êq’‹„‘‘„êzˆ…„–—Œ„‘„êi„†‹„±ê¹‘„™ˆ:ˆŠ„ê:˜‡ˆW„ꆈ’—‘ˆŠ„ꊏ„–…ˆ‘ˆŠ„ê ˜–—™„•„‘„º±êŽ’—ꐘꍈꓕ„™Œê~„Š‘ˆ•±ê“„ê—˜‡Œê“•™Œê‡„‘ê“’„‡Œ±ê–Œ…’ê“’‘’™‘ˆŠ„ê •’–—™„ê Œ‘ê “•ˆ‘’™ˆ­ê w•ˆ“•Œ:„‘„ê –ˆ±ê ‡„ê …’ê —„ê “’…˜‡„ê –—„•Œê Š„–…Œê ’’Š’:„„ê •„–—ê Œ‘ê •„†™ˆ—ê—˜‡Œê™ê‘„‡„‘ˆ­

u„™ˆ:Œê –’™ˆ‘–ŽŒê “ˆ–‘ŒŽê m•„‘†ˆê w•ˆOˆ•ˆ‘ê ˆê ™ê –™’ˆê ‡ˆ˜ê w’™’‡‘Œê ’Wê ê ™ˆŒŽŒê „‘’–’ê’“Œ–„êŒ‘O—•˜ˆ‘—ˆ±ê‘„ꎄ—ˆ•ˆêŠ„–…ˆ‘ŒŽŒêOˆê‡„‘ˆ–ꌊ•„’ê—ˆ•êê‘ŒŒê˜–—™„•„’ê Œ‘ꇒ’:„’ê‘„O’ꎘ—˜•‘’ꇈ‡ŒO:Œ‘’­ v…êl™•’“–Žˆê‡‘ˆ™˜ê–—„•ˆêŠ„–…ˆê…ŒêWˆˆ„ê:ˆ–—Œ—„—Œê™–ˆê˜–—™„•„†ˆ±êŽŒê–ˆê—•˜‡Œ’±ê ‡„ê Š„–…„ê ‘„OŒ‹ê “•ˆ‡‘ŒŽ’™ê ‘ˆê Š•ˆê ™ê “’„…’­ê „–˜WŒ—ˆê –Œê “•Œ‘„‘ˆ±ê Žˆ•ê ’‹•„‘„—ˆê –“’Œ‘ꌑꖙ’ˆê‘„‘ˆê“•ˆ‘„O„—ˆê‘„ꐏ„‡ˆê•’‡’™ˆ­êw’‡’…‘’ꎒ—ê–’êw•ˆOˆ•‘’™Œê™ˆ•Œê …•ˆ:„–‘Œ±ê‘„ê…’ꝄꙈ‡‘’Ꝅ“Œ–„‘„ê—˜‡Œê™„O„ꏍ˜…ˆˆ‘ꇒꊏ„–…ˆ‘ˆŠ„ꘖ—™„•„‘„­

h‘‡•’˜„ê }„––ŒŒ’˜±ê :„‘Œ†„ê l™•’“–Žˆê Ž’Œ–Œˆ±ê Ž’Œ–„•Ž„ê „ê Œ’…•„Wˆ™„‘ˆ±ê Ž˜—˜•’±ê ™ˆ:ˆŒ:‘’–—ꌑꐏ„‡ˆ

’‰Œ„êt„ˆêr˜Ž’™Œ:±ê–’™ˆ‘–Ž„ê“’–„‘Ž„ê™êl™•’“–Žˆê“„•„ˆ‘—˜

tœê‡ˆ„•ê‰•Œˆ‘‡–· p—ꌖê„ꊕˆ„—꓏ˆ„–˜•ˆê„‘‡êŒ‘‡ˆˆ‡ê„‘ê‹’‘’˜•ê—’ꍒŒ‘꜒˜êŒ‘ꆈˆ…•„—Œ‘Šê—‹ˆê‰Œ•–—êl˜•’“ˆ„‘êk„œê’‰êl„•œê t˜–Œ†­êpꚒ˜‡êŒŽˆê—’ê—„Žˆê—‹Œ–ê’““’•—˜‘Œ—œê—’ꈛ“•ˆ––ꐜꚋ’ˆ‹ˆ„•—ˆ‡ê–˜““’•—ꉒ•ê—‹Œ–ꌑŒ—Œ„—Œ™ˆê„‘‡ê —’Ꚍ–‹êŒ—ꈙˆ•œê–˜††ˆ––­êp—ꆈ•—„Œ‘œê‡ˆ–ˆ•™ˆ–ꌗ­êl„•œê˜–Œ†êŒ–ê„ꆈ‘—•„ê“„•—ꒉ꒘•ê–‹„•ˆ‡ê†˜—˜•„ê ‹ˆ•Œ—„Šˆê„–êl˜•’“ˆ„‘–­êp—ê–“„‘–ꐒ•ˆê—‹„‘ê„ꐌˆ‘‘Œ˜ê’‰ê˜–Œ†±ê‰•’ê—‹ˆêŒ‡‡ˆê„Šˆ–ê—’ê—‹ˆêˆ‘‡ê’‰ê—‹ˆê ¡¨—‹ê†ˆ‘—˜•œ±êŒ—ꈑ†’“„––ˆ–ê—‹ˆêš’•Žê’‰ê„–—ˆ•–ꏌŽˆêt’‘—ˆ™ˆ•‡Œ±êi„†‹±êo„‘‡ˆê„‘‡ê„‘œê’•ˆ­ê{‹ˆŒ•ê š’•ŽêŒ–ê„ê–’˜•†ˆê’‰êˆ‘’œˆ‘—ꗒꄏê’‰ê˜–±ê„‘‡ê„ê“’šˆ•‰˜ê–œ…’ê’‰ê’˜•ê†Œ™ŒŒ„—Œ’‘ê„‘‡ê’‰ê’˜•ê†’’‘ê l˜•’“ˆ„‘ꌇˆ‘—Œ—œ­êh–ê–˜†‹êŒ—ꇈ–ˆ•™ˆ–ꗒꅈꓕ’’—ˆ‡±ê‹ŒŠ‹ŒŠ‹—ˆ‡ê„‘‡ê…•’˜Š‹—ê—’ê—‹ˆê‹ŒŠ‹ˆ–—ê“’––Œ…ˆê „˜‡Œˆ‘†ˆ±ê„‘‡ê—‹ˆêl˜•’“ˆ„‘ꑈ—š’•Žê‰’•êl„•œêt˜–Œ†ê‹ˆ“–ꗒꄆ‹Œˆ™ˆê—‹Œ–­ê{‹„—ꌖꚋœê—‹ˆêl˜•’“ˆ„‘ê j’Œ––Œ’‘ê‹„–ê…ˆˆ‘ê–˜““’•—Œ‘Šê—‹ˆêl˜•’“ˆ„‘êuˆ—š’•Žê‰’•êl„•œêt˜–Œ†­êh‘‡ê—‹„—ꌖꚋœêšˆê•ˆ„Œ‘ê ‰˜œê†’Œ——ˆ‡ê—’ꐄŒ‘—„Œ‘Œ‘Šê„‘‡êˆ™ˆ‘ꕈŒ‘‰’•†Œ‘Šê’˜•ê–˜““’•—ꗒꆘ—˜•ˆê„‘‡ê—‹ˆê„•—–­ê~ˆê‹„™ˆê‡’‘ˆê Œ—ê—‹•’˜Š‹ê—‹ˆêj˜—˜•ˆêw•’Š•„ˆ±ê„‘‡ê‘’šêšˆê‹„™ˆê“•’“’–ˆ‡ê„ꑈšêj•ˆ„—Œ™ˆêl˜•’“ˆê“•’Š•„ˆê‰•’ê ¢ª¡¤ê’‘š„•‡–­ê~Œ—‹êŒ—–ꌑ†•ˆ„–ˆ‡ê–˜““’•—ꉒ•ê—‹ˆê„•—–ê–ˆ†—’•±ê—‹ˆê‘ˆšê“•’Š•„ˆêšŒê…ˆê—‹ˆêŒ‘†‹“Œ‘ê’‰ê ’˜•ê–—•„—ˆŠœê‰’•ê‹ˆ“Œ‘Šê„‘‡ê“•’’—Œ‘Šê—‹ˆê†˜—˜•„ê„‘‡ê„•—Œ–—Œ†ê–ˆ†—’•–­ê{‹„—ꄏê—‹Œ–ꐄ——ˆ•–ꌖꖋ’š‘ê …œêˆ™ˆ‘—–ꏌŽˆê—‹ˆêl˜•’“ˆ„‘êk„œê’‰êl„•œêt˜–Œ†±ê„‘‡ê„œêpꖄœê—‹„—êpꉌ‘‡êŒ—ꈖ“ˆ†Œ„œê‰Œ——Œ‘Šê—‹„—꜒˜ê †‹’–ˆê—’ê‹’‡ê—‹Œ–ꈙˆ‘—꒑ꢡ–—êt„•†‹­êp—ꌖꗋˆê„‘‘Œ™ˆ•–„•œê’‰ê—‹ˆê…Œ•—‹ê’‰êq’‹„‘‘êzˆ…„–—Œ„‘êi„†‹±ê—‹ˆê µ’–—ê–—˜“ˆ‘‡’˜–ꐌ•„†ˆêŒ‘ꄏê˜–Œ†´±ê„–ê~„Š‘ˆ•ê†„ˆ‡ê‹Œ­êp—ꌖꄏ–’ê—‹ˆê‰Œ•–—ꇄœê’‰ê–“•Œ‘Š±ê„–ê–œ…’ê ‰’•ê•ˆ…Œ•—‹ê„‘‡ê•ˆ‘ˆš„±ê„‘‡êpꋄ™ˆêˆ™ˆ•œê†’‘‰Œ‡ˆ‘†ˆê—‹„—ê—‹Œ–ꌑŒ—Œ„—Œ™ˆêšŒê‹ˆ“ꈄ•œê˜–Œ†ê—’ꆒ‘—Œ‘˜ˆê —’ꅏ’––’ê„‘‡ê‰’˜•Œ–‹êŒ‘ê—‹ˆê‰˜—˜•ˆ­

v‘ˆê„‰—ˆ•‘’’‘±êz˜‘‡„œ±ê—‹ˆêv‡êt„•Žˆ—êz”˜„•ˆ®ê {‹ˆê—•˜“ˆ—–ê„‘‡ê‰Œ‡‡ˆ–ê„‘‡êŒ—‹ˆ•–ꄏê“„œˆ‡± m•’ê„ê’‰ês˜…„‘„±ê’±êˆ™ˆ•œê‰„Œ•ê„Œ‡ sŒŠ‹—‹ˆ„•—ˆ‡œê‡„‘†ˆ‡êŒ‘ê—‹ˆêŒ‘‡ˆ‘¾—•ˆˆØ–ê–‹„‡ˆê° Â{•„‘–„—Œ’‘ê…œê{’êw•Œˆ–—œê„‘‡êoˆ‘•œêj’’“ˆ•Ã

h‘‡•’˜„ê }„––ŒŒ’˜±ê tˆ…ˆ•ê ’‰ê —‹ˆê l˜•’“ˆ„‘ê j’Œ––Œ’‘±ê l˜•’“ˆ„‘ê j’Œ––Œ’‘ˆ•ê ‰’•ê l‡˜†„—Œ’‘±êj˜—˜•ˆ±êt˜—ŒŒ‘Š˜„Œ–ê„‘‡ê€’˜—‹­

p‘ê‹Œ–êš’•Žêw’™’‡‘Œê’WêÂ{‹ˆê~„—ˆ•êt„‘ñꗋˆêŠ•ˆ„—ˆ–—êz’™ˆ‘Œ„‘ê“’ˆ—±êm•„‘†ˆêw•ˆOˆ•ˆ‘±êˆ‘—‹˜–Œ„–—Œ†„œê ‡ˆ–†•Œ…ˆ‡ê—‹ˆêŒ‘–—•˜ˆ‘—–êš‹Œ†‹ê˜–Œ†Œ„‘–ê–—Œê“„œê„‘‡ê†•ˆ„—ˆêšŒ—‹±ê„‘‡±êŒ‘ꇒŒ‘Šê–’±ê‡ˆ‰Œ‘ˆê’˜•ê†˜—˜•„ê ‹ˆ•Œ—„Šˆ­ê v‘ê—‹ˆê’††„–Œ’‘ꒉꗋˆêl˜•’“ˆ„‘êk„œê’‰êl„•œêt˜–Œ†±êpꚒ˜‡êŒŽˆê—’ꆒ‘Š•„—˜„—ˆê„ê—‹ˆê„•—Œ–—–±êš‹’–ˆê ‹„•‡êš’•ŽêŽˆˆ“–ê—‹ˆê˜–Œ†ê’‰ê’˜•ê„‘†ˆ–—’•–ꉕ’ê…ˆŒ‘Šê‰’•Š’——ˆ‘­ê€’˜ê‡ˆ–ˆ•™ˆê•ˆ†’Š‘Œ—Œ’‘ꉒ•ê“•ˆ–ˆ•™Œ‘Šê —‹ˆêˆ’•Œˆ–ê„‘‡ê‰’•ê“„––Œ‘Šêœ’˜•êŽ‘’šˆ‡Šˆê’‘ꗒ꜒˜‘Šˆ•êŠˆ‘ˆ•„—Œ’‘–­êp‘ê—‹ˆêš„œê—‹„—êw•ˆOˆ•ˆ‘Ø–ê ™ˆ•–ˆ–ê„•ˆê—Œˆˆ––±ê„œêœ’˜•ê’™ˆê’‰ê†•ˆ„—Œ‘Šê˜–Œ†ê…ˆê•ˆˆ…ˆ•ˆ‡ê‰’•ˆ™ˆ•­ ’‰Œ„êt„ˆêr˜Ž’™Œ:±êz’™ˆ‘Œ„‘ꐈ…ˆ•ê’‰ê—‹ˆêl˜•’“ˆ„‘êw„•Œ„ˆ‘—


ê™ˆ–ˆˆê™„–ê“’‡•„™„ê‘„ꇄ‘±êŽŒêˆê“’–™ˆ:ˆ‘ꇈ‡ŒO:Œ‘Œê –—„•ˆê Š„–…ˆ­ê }ê —ˆê :„–˜ê –“’O‘ˆê Ž•Œˆ±ê Ž’ê ‘’ŠŒê ˜‡ˆê ‡’WŒ™„’ê–—Œ–Ž’±êŠ„–…„êOˆê™ˆ‡‘’ê’“•„™„Ꝉ’ê“’ˆ…‘’ê ‰˜‘Ž†Œ’®ê:Œê—ˆWˆê–’ê’Ž’ŒO:Œ‘ˆ±ê—ˆê™ˆ:„ꍈꑄO„ê“’—•ˆ…„ê “’ꐌ•˜±ê:˜—ˆ‘˜êŒ‘ꘓ„‘˜±êŽŒêŠ„ꏄ‹Ž’ê“•Œ‘ˆ–ˆê™–„Žˆ˜ê ’‡ê ‘„–­ê oŽ•„—Œê ˆê ˆ’ê “’ˆ…‘’±ê ‡„ê ‡•˜WŒ’ê ’:Œê Œ‘ê “’‡“•ˆ’ê–—„•’ꊏ„–…’±ê“„ê—˜‡Œê‘„–—’“„’:ˆêŒ‘ê’•Š„‘Œ„†Œˆ±ê ŽŒê—’™•–—‘’ꊏ„–…’êOŒ•Œ’­êw•„™ê—’ꍈꖗ’•Œ„êl™•’“–Ž„ꐕˆW„ê „ê–—„•’ꊏ„–…’±êŽ’ꍈꓕˆ‡„Š„„ꗄꇄ‘ê“•„‘’™„‘„­ n’™’•Œ’ê ’ê ‘’—‘Œ‹ê „“Œ–Œ‹ê –—„•ˆê Š„–…ˆ±ê „“„Žê ™ê •ˆ–‘Œ†Œê ™–„ꗄꊏ„–…„ê’…–—„„ê–„’±êŽ’ꍒ꓈™ˆ†ê„ŒêŒ‘–—•˜ˆ‘—„Œ–—ê –ê–™’’ꘐˆ—‘’–—’ê’WŒ™ŒêŒ‘ꍒꗄŽ’ê‘„•ˆ‡ŒêWŒ™’­ê {„Ž’ê Ž’—ê ‘’™„ê “’„‡±ê ŽŒê –ˆê “•Œ:ˆ‘„ê ‡„‘ˆ–±ê –ˆê…’ꊏ„–…„±ê‡’Žˆ•ê…’‡’ê’…–—„„Œê—„‘Ž’:˜—‘Œê ˜‡ˆ±ê ê ™–„ŽŒê ‘’™Œê ‘„–—’“’ê “’‘’™‘’ê •’‡Œ„ê —ˆ•ê “•ˆŽê :˜—ˆ‘„ê Œ‘ê ˆ“’—ˆê “•Œ‘„O„„ê –™’ê ‘ˆ“’Š•ˆOŒ™Œê Œ•ê Œ‘ê —’„W…’ê ‘„OŒê ™‘ˆŒ•ˆ‘Œê Œ‘ê Ž•‹ŽŒê –•†ˆ­ê r’—ê ˆ‡ˆ‘ê ’‡ê ŒŽ’™ê k’–—’ˆ™–ŽˆŠ„±ê ŽŒê “•„™Œ±ê ‡„ê …’ê ¹ˆ“’—„ê •ˆOŒ„ê–™ˆ—º±ê—˜‡ŒêŒê™ˆ•„ˆ’ê™ê˜ˆ—‘’–—±êŽŒê ˆê Ž’•Œ–—‘„ê „ê ‡•˜W…’²ê ˜ˆ—‘’–—±ê ŽŒê ‘„–ê “•ˆŽê ˆ“’—ˆ±ê ŒŒ‘ˆ±ê :˜–—ˆ™ê Œ‘ê ‡˜‹’™‘’–—Œê ’•ˆê –“•ˆˆ‘Œ—Œê —ˆ•ê “’™ˆ:„—Œê ‘„O’ê ’…:˜—Œ™’–—ê Œ‘ê –’Œ‡„•‘’–—­ê

Foto / photo: Milan Markelj

Foto / photo: David Ignaszewski

Foto / photo: Negumbo Lew

ˆ–—Œ—Žˆ·ê }ê l™•’“Œê –’ê “•Œ:„ê •’–—™˜ê ‘’™ˆŠ„ê “•„‘Œ:‘ˆŠ„ê ‡‘ˆ™„­ê k„‘ˆ–±ê ¢¡­ê „•†„ꢪ¡£±êŽ’ê‘„ê„:ˆ—ˆŽê“’„‡Œê™Œ™„ꘓ„‘ˆê™ê—’“’—’ꌑꖙˆ—’…’±ê“•™Œ:ê “•„‘˜ˆ’ê l™•’“–ŽŒê ‡„‘ê –—„•ˆê Š„–…ˆ­ê w’…˜‡„ê „ê “•’ˆŽ—ê ˆê “•ŒO„ê –ê –—•„‘Œê l™•’“–Žˆê•ˆWˆê„ê–—„•’ꊏ„–…’±êylth±ê’•Š„‘Œ„†Œˆ±êŽŒê“•ˆ‡–—„™„ꦥꉈ–—Œ™„’™ê ™ê¢ªê‡•W„™„‹±êê‘„ˆ‘’ê’…ŒŽ’™„—ŒêWŒ™ê–“’ˆ‘ŒŽêˆ™•’“–ŽŒêŠ„–…ˆ‘Œê‡ˆ‡ŒO:Œ‘Œê —ˆ•ê“’™ˆ:„—Œê™Œ‡‘’–—ꌑê˜:Œ‘ˆŽê–—„•ˆêŠ„–…ˆ­ê¢¡­ê„•ˆ†êˆê—˜‡Œê•’–—‘Œê‡„‘êq’‹„‘‘„ê zˆ…„–—Œ„‘„êi„†‹„±êˆ‘ˆê‘„…’ê“’‘„‘Œ‹êŒ‘ê“•Œ‘„‘Œ‹ê’–ˆ…‘’–—Œê–—„•ˆêŠ„–…ˆ­ k„‘ˆ–ê …’‡’ê Ž’‘‰ˆ•ˆ‘†ˆ±ê Ž’‘†ˆ•—Œê Œ‘ê ‡•˜ŠŒê ‡’Š’‡ŽŒ±ê ŽŒê –ˆê ’–•ˆ‡’—’:„’ê ‘„ê –•ˆ‡‘ˆ™ˆOŽ’±ê•ˆ‘ˆ–„‘:‘’ꄏŒê…„•’:‘’ꊏ„–…’±ê‹Ž•„—Œê“’—ˆŽ„Œê“’ê™–ˆê†ˆŒ‘Œ­ê}ˆ:ê –ˆêŒ‹ê…’ê—˜‡Œê“•ˆ‡™„„’ê™êWŒ™’ê“•ˆŽ’ꌑ—ˆ•‘ˆ—„­ê r’—ê“•ˆ‡–ˆ‡‘ŒŽêylthꅌꕄ‡êŒ•„Œê‹™„ˆW‘’–—ꐕˆWˆê‘„Oˆ˜ê“„•—‘ˆ•˜±êl™•’“–ŽŒê ™ˆŒê •„‡Œ–ŽŒ‹ê “’–—„±ê Œ‘ê —˜‡Œê Š’–“ˆê h‘‡•’˜Œê }„––ŒŒ’˜±ê :„‘Œ†Œê l™•’“–ŽˆêŽ’Œ–Œˆê™êi•˜–˜±êŽŒêˆê™ˆŒŽ’‡˜O‘’ê“•ˆ™ˆ„ê“’Ž•’™Œ—ˆ–—™’ê ‘„‡ê ylthê l™•’“–ŽŒê ‡‘ˆê –—„•ˆê Š„–…ˆê ¢ª¡£­ê zŽ˜“„ê ê ‡•˜ŠŒŒê ‘„:Œ‘Œê˜ˆ—‘ŒOŽˆŠ„ꌝ•„W„‘„±êŽ’—ꖒ꓏ˆ–±êŠˆ‡„ŒO:ˆêŒ‘ê„•‹Œ—ˆŽ—˜•„±ê ˆê–—„•„ꊏ„–…„ê’–•ˆ‡‘Œê‡ˆêˆ™•’“–ŽˆêŽ˜—˜•‘ˆê‡ˆ‡ŒO:Œ‘ˆ­ê„ˆ„Ꙉ:ê Ž’—ê—Œ–’:ꏈ—ꊏ„–…ˆ±ê„“Œ–„‘ˆê„Œê’‹•„‘ˆ‘ˆê“•ˆŽê˜–—‘ˆŠ„ꌝ•’:Œ„±ê’‡ê –•ˆ‡‘ˆŠ„ꙈŽ„ꇒꎒ‘†„ꡨ­ê–—’ˆ—„­ê{’‡„ꐈ‡—ˆêŽ’ê–’ê–Ž„‡„—ˆŒ±ê Ž’—ê–’êq’‹„‘‘êzˆ…„–—Œ„‘êi„†‹±êj„˜‡Œ’êt’‘—ˆ™ˆ•‡ŒêŒ‘êoŒ‡ˆŠ„•‡ê™’‘ê iŒ‘Šˆ‘±ê‘„ê–“’O‘’ꇒ…•’ê“’‘„‘Œ±êOˆê™ˆ‡‘’ê’…–—„„êOŒ•’Žê•ˆ“ˆ•—’„•±ê ŽŒê:„Ž„±ê‡„ꊄꇄ‘„O‘ˆê’…:Œ‘–—™’ê“’‘’™‘’ê’‡Ž•Œˆ­ê„—’ꍈꑄ–—„ê l™•’“–ŽŒê‡„‘ê–—„•ˆêŠ„–…ˆêÀꇄꅌꓒ™ˆ:„Œê„™ˆ‡„‘ˆêŒ‘ꇒ–—’“‘’–—ê Š„–…ˆ‘ˆŠ„ꝄŽ„‡„±êŽŒê–ŒêŠ„ꇈŒ’­êv:„•Œ™êŒ‘ê…•ˆ:„–ˆ‘ꍈŒŽ±êŽŒê Oˆê™ˆ‡‘’ꑈ“’–•ˆ‡‘’ꊒ™’•Œê‘„OŒê–•†ˆ­

w’‘’–‘’ê “•ˆ‡–—„™„’ê –’™ˆ‘–Ž’ê –†ˆ‘’ê –—„•ˆê Š„–…ˆê ˆê Šˆ–’±ê –ê Ž„—ˆ•Œê –’ê ’“•ˆŒŒê ‘’†’O‘Œê Ž’‘†ˆ•—­ê }ˆ:ê Ž’—ê —•Œ‡ˆ–ˆ—ê ˆ—ê ˆê ’‡ê “•™Œ‹ê Ž’•„Ž’™ê ‡„‘„O‘ˆŠ„ê zˆ™Œ”†ê i•ˆWŒ†ˆ±ê Oˆê “•ˆ‡ê ‘ˆŽ„ê ˆ—Œê “„ê …Œê –ˆê –„‘„ê ’ê ‘’†’O‘ˆê Ž’‘†ˆ•—˜ê ‡ˆ„ê Ž’—ê –„‡ˆŽê “•Œ™Œ‡­ê k„‘ˆ–ê –’ê –„’–—’ˆ‘ê ‡ˆê ™•‹˜‘–Žˆê ˆ™•’“–Žˆê –†ˆ‘ˆê –—„•ˆê Š„–…ˆ±ê ê ’:‘Œê ˆ‡‘„•’‡‘Œê ™“Œ™’ê Œ‘ê •ˆ„‘’ê ’W‘’–—’ê “’™ˆ’™„‘„ê OŒ•Oˆê •ˆŠŒˆê ˜Š’™‹’‡‘ˆê l™•’“ˆ­ê z’ê ˆ‡ˆ‘ê “’ˆ…‘ˆOŒ‹ê ˆ™•’“–ŽŒ‹ê ‰ˆ–—Œ™„’™ê –—„•ˆê Š„–…ˆê Œ‘ê ˜Šˆ‡ˆ‘ê :„‘ê ylth­ê t’•‡„ê ˆê ‘„Ž˜:ˆ±ê ‡„ê •’–—‘Œê ‡„‘êq’‹„‘‘„êzˆ…„–—Œ„‘„êi„†‹„êŒ‘ê “•™Œê“’„‡„‘–ŽŒê‡„‘ê–’™“„‡„—„±ê ‘Œê “„ê ‘„Ž˜:ˆ±ê ‡„ê –’ê “•Œê ylth±ê ŽŒê ˆê “’…˜‡‘ŒŽê ‘’™ˆŠ„ê ˆ™•’“–ŽˆŠ„ê “•„‘ŒŽ„±ê ’…’ˆê “’™ˆ„Œê‘ˆêˆê–ê“•ˆ“•Œ:„‘ˆ±ê‡„ê –—„•„ê Š„–…„ê “’‘˜„ê ™ˆ:±ê „“„Žê —˜‡Œê ê ‘„“’™ˆ‡’±ê ‡„ê –ˆê —„ê –†ˆ‘„ê —„Ž’ê ™ê l™•’“Œê Ž’—ê ™ê z’™ˆ‘ŒŒê “’–“ˆOˆ‘’ê •„™Œ„ê ™ê „‡’™’–—™’ê ™–ˆ‹ê‘„OŒ‹ê‡•W„™„‘’™­

wˆ—ˆ•êw’‘—™ŒŽ±ê“•ˆ‡–ˆ‡‘ŒŽêylthêl™•’“–Žˆê•ˆWˆê„ê–—„•’ꊏ„–…’

q’•‡Œê z„™„±ê Š„…Œ–—±ê ‡Œ•ŒŠˆ‘—ê Œ‘ê –Ž„‡„—ˆ±ê –“’•’:Œ’ê ’…ê “•™ˆêylthêl™•’“–Žˆê‡‘ˆ™˜ê–—„•ˆêŠ„–…ˆ

rˆˆ‘ê y„’™O±ê ‡Œ•ˆŽ—’•ê Œ‘ê ˜ˆ—‘ŒOŽŒê ™’‡„ê zˆ™Œ”†êi•ˆWŒ†ˆ

j’‘Š•„—˜„—Œ’‘–·êhꑈšê‰ˆ–—Œ™ˆê‡„œêŒ–ê…’•‘ꌑêl˜•’“ˆ­ê{’‡„œ±ê’‘ê—‹ˆê¢¡–—ê’‰êt„•†‹ê¢ª¡£±ê š‹ˆ‘ê—‹ˆê…ˆŠŒ‘‘Œ‘Šê’‰ê–“•Œ‘ŠêŠŒ™ˆ–ꘖꋒ“ˆê’‰êš„•—‹ê„‘‡êŒŠ‹—±ê—‹ˆêl˜•’“ˆ„‘êk„œê’‰ê l„•œêt˜–Œ†êŒ–ꆈˆ…•„—ˆ‡ê‰’•ê—‹ˆê™ˆ•œê‰Œ•–—ê—Œˆ­ê{‹ˆê“•’ˆ†—ê‹„–ê…ˆˆ‘ꌑŒ—Œ„—ˆ‡ê…œê—‹ˆê l˜•’“ˆ„‘êl„•œêt˜–Œ†êuˆ—š’•Ž±êylth±ê„‘ê’•Š„‘Œ–„—Œ’‘ꕈ“•ˆ–ˆ‘—Œ‘Šê¦¥ê‰ˆ–—Œ™„–êŒ‘ê¢ªê †’˜‘—•Œˆ–±ê—’ê…ˆê„ꏌ™Œ‘Šêˆ’•Œ„ê—’ê—‹ˆê˜–Œ†„ê‹ˆ•Œ—„ŠˆêŒ‘êl˜•’“ˆê„‘‡ê—’ꌑ†•ˆ„–ˆê—‹ˆê ™Œ–Œ…ŒŒ—œê„‘‡êŒ“„†—ꒉꈄ•œê˜–Œ†­ê{‹ˆê¢¡–—ê’‰êt„•†‹êŒ–ꄏ–’ê—‹ˆê…Œ•—‹‡„œê’‰êq’‹„‘‘ê zˆ…„–—Œ„‘êi„†‹±ê’‘ˆê’‰ê—‹ˆê’–—Ꚉ¾Ž‘’š‘ê„‘‡ê“•’Œ‘ˆ‘—ꉌŠ˜•ˆ–ꒉꈄ•œê˜–Œ†­ê {’‡„œ±ê†’‘†ˆ•—–±ê†’‘‰ˆ•ˆ‘†ˆ–±ê„‘‡ê’—‹ˆ•êˆ™ˆ‘—–ꉒ†˜–Œ‘Šê’‘ꐈ‡Œˆ™„±ê•ˆ‘„Œ––„‘†ˆ±ê„‘‡ê …„•’”˜ˆê˜–Œ†êšŒê—„Žˆê“„†ˆê–Œ˜—„‘ˆ’˜–œê„ê’™ˆ•ê—‹ˆê†’‘—Œ‘ˆ‘—­êzˆ™ˆ•„ê’‰ê—‹ˆêšŒê „–’ꅈꖗ•ˆ„ˆ‡êŒ™ˆê’™ˆ•ê—‹ˆêp‘—ˆ•‘ˆ—­ê h–ê“•ˆ–Œ‡ˆ‘—ê’‰êylth±êpꚒ˜‡êŒŽˆê—’ꈛ“•ˆ––ꐜꊕ„—Œ—˜‡ˆê’‘ê…ˆ‹„‰ê’‰ê—‹ˆê‘ˆ—š’•Žê —’ê’˜•ê“„•—‘ˆ•±ê—‹ˆêl˜•’“ˆ„‘êi•’„‡†„–—Œ‘Šê|‘Œ’‘ê¾ê„‘‡ê„–’ê—’êt•–êh‘‡•’˜„ê}„––ŒŒ’˜±ê ˆ…ˆ•ê ’‰ê —‹ˆê l˜•’“ˆ„‘ê j’Œ––Œ’‘ê Œ‘ê i•˜––ˆ–±ê š‹’ê ‹„–ê Šˆ‘ˆ•’˜–œê —„Žˆ‘ê ’‘ê —‹ˆê “„—•’‘„Šˆê’‰ê—‹ˆêylthêl˜•’“ˆ„‘êk„œê’‰êl„•œêt˜–Œ†ê¢ª¡£­ê {’Šˆ—‹ˆ•ê šŒ—‹ê ’—‹ˆ•ê „•—Œ–—Œ†ê ˆ›“•ˆ––Œ’‘–±ê ŒŽˆê ‡„‘†ˆ±ê —‹ˆ„—•ˆ±ê „‘‡ê „•†‹Œ—ˆ†—˜•ˆ±ê ˆ„•œê ˜–Œ†ê‰’•–ê„ꆈ‘—•„ê“„•—ꒉꗋˆêl˜•’“ˆ„‘ꆘ—˜•„ê‹ˆ•Œ—„Šˆ­êp—ꈑ†’“„––ˆ–ꐒ•ˆê—‹„‘ê „ê—‹’˜–„‘‡êœˆ„•–ꒉꐘ–Œ†±êš•Œ——ˆ‘ꇒš‘ê’•ê“„––ˆ‡ê’‘ê—‹•’˜Š‹ê’•„ê—•„‡Œ—Œ’‘–±ê‰•’ê—‹ˆê tŒ‡‡ˆêhŠˆ–ê—’ê—‹ˆêˆ‘‡ê’‰ê—‹ˆêˆŒŠ‹—ˆˆ‘—‹ê†ˆ‘—˜•œ­êp‰ê†’“’–ˆ•–ꏌŽˆêq’‹„‘‘êzˆ…„–—Œ„‘ê i„†‹±êj„˜‡Œ’êt’‘—ˆ™ˆ•‡Œê„‘‡êoŒ‡ˆŠ„•‡ê™’‘êiŒ‘Šˆ‘ê„•ˆêŠˆ‘ˆ•„œêšˆ¾Ž‘’š‘±ê—‹ˆ•ˆêŒ–ê –—Œê„Ꚍ‡ˆê•ˆ“ˆ•—’Œ•ˆê—’ꅈꕈ‡Œ–†’™ˆ•ˆ‡ê…œê—’‡„œØ–ꄘ‡Œˆ‘†ˆ–­ê{‹Œ–ꌖꚋœê—‹ˆêl˜•’“ˆ„‘ê k„œê’‰êl„•œêt˜–Œ†ê‹„–ê…ˆˆ‘ꆕˆ„—ˆ‡ê¾ê—’ꌑ†•ˆ„–ˆê—‹ˆê„š„•ˆ‘ˆ––ê’‰±ê„‘‡ê„††ˆ––ê—’±ê„ê ˜–Œ†„ê—•ˆ„–˜•ˆê—‹„—Ꚉꄏê–‹„•ˆ­êhꉄ–†Œ‘„—Œ‘Šê„‘‡ê—Œˆˆ––ꏄ‘Š˜„Šˆê—‹„—ê–—Œê–“ˆ„Ž–ê –—•„ŒŠ‹—ê—’ê’˜•ê‹ˆ„•—–­

p—ê Œ–ê „ê Š•ˆ„—ê “ˆ„–˜•ˆê —’ê Š•ˆˆ—ê œ’˜ê ’‘ê —‹ˆê ’††„–Œ’‘ê ’‰ê —‹Œ–ê ‡„œê ‡ˆ™’—ˆ‡ê—’ê—‹ˆêˆ„•œê˜–Œ†ê‹ˆ•Œ—„Šˆ­êp‘ê—‹ˆ–ˆê—Œˆ–ꒉꚌ‡ˆ–“•ˆ„‡ê †•Œ–Œ–±êš‹ˆ‘ꐄ‘œê“ˆ’“ˆØ–ꏌ™ˆ–ê„•ˆê„‰‰ˆ†—ˆ‡ê…œê‹„•‡–‹Œ“±ê˜–Œ†ê †’‘—Œ‘˜ˆ–ꗒꉘ‰Œê„Ꙉ•œêŒ“’•—„‘—ꉘ‘†—Œ’‘®ê—‹ˆê’•ˆê‡Œ‰‰Œ†˜—ê ’˜•ê †Œ•†˜–—„‘†ˆ–ê „•ˆ±ê —‹ˆê Š•ˆ„—ˆ•ê Œ–ê ’˜•ê ‘ˆˆ‡ê ‰’•ê —‹ˆê “ˆ„†ˆ±ê ˆ’—Œ’‘ê„‘‡ê‹’“ˆê—‹„—ꌗꆄ‘ê…•Œ‘Šêˆ„†‹ê’‘ˆê’‰ê˜–­êh—ê—‹ˆê–„ˆê —Œˆ±êŒ—ꌖꙈ•œêŒ“’•—„‘—ê—‹„—ꚈꍒŒ‘ꉒ•†ˆ–ê—’ê–˜““’•—ê—‹ˆê˜–Œ†ê ’‰êˆ„•Œˆ•ê„Šˆ–±ê„–Ꚉê„–ê—‹ˆê“ˆ•‰’•ˆ•–ê„‘‡ê’•Š„‘Œ–„—Œ’‘–êš‹’ê ‡Œ––ˆŒ‘„—ˆê Œ—±ê „‘‡ê —‹„—ê Œ–ê “•ˆ†Œ–ˆœê š‹„—ê —‹ˆê l˜•’“ˆ„‘ê l„•œê t˜–Œ†êuˆ—š’•Žê‹„–ꇒ‘ˆêŒ‘ꆒŒ‘Šê˜“Ꚍ—‹ê—‹ˆêŒ‡ˆ„ꒉꋒ‡Œ‘Šê —‹Œ–êk„œê’‰ê†ˆˆ…•„—Œ’‘­ ~ˆê—„Žê„…’˜—ꈄ•œê˜–Œ†ê–†’•ˆ–±ê…˜—ꌑꉄ†—ꄏê—‹Œ–ꐘ–Œ†êˆ›Œ–—–ê ’‘œê„—ê—‹ˆê’ˆ‘—êš‹ˆ‘ê„ê–Œ‘Šˆ•ê’•êŒ‘–—•˜ˆ‘—„Œ–—ê…•Œ‘Š–êŒ—ê—’ê Œ‰ˆê—‹•’˜Š‹ê‹Œ–꒕ꋈ•ê„•—±ê„‘‡êŒ‘ꖒꇒŒ‘Šê„Žˆ–ꌗꆒ‘—ˆ“’•„•œ­ê q˜–—ꏌŽˆê—‹ˆê‘ˆšê–“•Œ‘Šê—‹„—ê…ˆŠŒ‘–ê—’‡„œ±ê„–ꏒ‘Šê„–ê—‹ˆ•ˆê„•ˆê –ˆ‘–Œ—Œ™ˆê‹˜„‘ê…ˆŒ‘Š–±ê˜–Œ†êšŒê†’‘—Œ‘˜„œê…ˆê•ˆ…’•‘Ꚍ—‹ê ˆ„†‹ê‘ˆšê“ˆ•‰’•„‘†ˆ±ê„‘‡±ê—‹•’˜Š‹êˆ’—Œ’‘ê„‘‡ê…ˆ„˜—œ±ê…•Œ‘Šê Œ—–ê Œ‘‡Œ–“ˆ‘–„…ˆê “ˆ„†ˆê „‘‡ê †’‘–’„—Œ’‘ê —’ê ’˜•ê —•’˜…ˆ‡ê „‘‡ê ‰•„ŠŒˆê‹ˆ„•—–­êsŒŽˆê’‘ˆê’‰êk’–—’œˆ™–ŽœØ–ꆋ„•„†—ˆ•–±êš‹’ê–„œ–ê —‹„—êµ…ˆ„˜—œêšŒê–„™ˆê—‹ˆêš’•‡´±êšˆê„–’ê…ˆŒˆ™ˆêŒ‘ê„•—êš‹Œ†‹ê Œ–ê ˜–ˆ‰˜ê —’ê –’†Œˆ—œ²ê „•—ê š‹Œ†‹ê —‹•’˜Š‹ê …ˆ„˜—œ±ê Š•„†ˆ±ê ˆ’—Œ’‘ê „‘‡ê–“Œ•Œ—˜„Œ—œê‹„–ê—‹ˆê“’šˆ•ê—’ê—•„‘–‰’•ê˜–ê„‘‡êˆ‘‹„‘†ˆê’˜•ê –ˆ‘–Œ—Œ™Œ—œê„‘‡ê–’Œ‡„•Œ—œ­

~ˆê“•’˜‡œê“•ˆ–ˆ‘—ê—‹ˆêz’™ˆ‘Œ„‘ꈄ•œê˜–Œ†ê–†ˆ‘ˆê Œ–ê —‹ˆê –’Š„‘ê šˆê ‹„™ˆê ŠŒ™ˆ‘ê —’ê —’‘ŒŠ‹—Ø–ê †’‘†ˆ•—­ê t’•ˆê—‹„‘ê—‹Œ•—œêœˆ„•–ê‹„™ˆê“„––ˆ‡ê–Œ‘†ˆê—‹ˆê‰Œ•–—ê –—ˆ“–ꒉꚋ„—ê—’‡„œêŒ–êzˆ™Œ”êi•ˆWŒ†ˆ±ê„‘‡ê˜–—ê„ꉈšê œˆ„•–ê„Š’ê—‹ˆê‡•ˆ„ê’‰ê—’‘ŒŠ‹—ؖꆒ‘†ˆ•—êš’˜‡ê‹„™ˆê –ˆˆˆ‡ê ˜–—ê ŒŽˆê „ê –šˆˆ—ê Œ•„Šˆ­ê {’‡„œê šˆê „•ˆê „‘ê Œ‘‡ˆ“ˆ‘‡ˆ‘—ê“„•—ꒉꗋˆê—’“êl˜•’“ˆ„‘ꈄ•œê˜–Œ†ê –†ˆ‘ˆ±êšŒ—‹ê„ê“’šˆ•‰˜êŒ‘—ˆ•‘„—Œ’‘„êŒ‘‰˜ˆ‘†ˆê„‘‡ê „ê—•˜ˆê„…ŒŒ—œê—’ꆒ‘‘ˆ†—ê—‹ˆêšŒ‡ˆê•ˆŠŒ’‘ê’‰êz’˜—‹ê l„–—ˆ•‘êl˜•’“ˆ­ê~ˆê„•ˆê’‘ˆê’‰ê—‹ˆê„’•êl˜•’“ˆ„‘ê ˆ„•œê ˜–Œ†ê ‰ˆ–—Œ™„–ê „‘‡ê „ê •ˆ‘’š‘ˆ‡ê ylthê ˆ…ˆ•­êp—ꐄœê…ˆê„ꆒŒ‘†Œ‡ˆ‘†ˆê—‹„—ê—‹ˆê…Œ•—‹‡„œê ’‰êq’‹„‘‘êzˆ…„–—Œ„‘êi„†‹ê„‘‡ê—‹ˆê‰Œ•–—ꇄœê’‰ê–“•Œ‘Šê ‰„ê’‘ê—‹ˆê–„ˆê‡„œ±ê…˜—ꌗꌖꑒꆒŒ‘†Œ‡ˆ‘†ˆê—‹„—ê šˆê‹„™ˆê†’‘‘ˆ†—ˆ‡ê…’—‹ê’‰ê—‹ˆê„—êylth±êš‹’êŒ–ê —‹ˆêŒ‘Œ—Œ„—’•ê’‰ê—‹ˆê‘ˆšêl˜•’“ˆ„‘ê‹’Œ‡„œ±ê‘’—ê’‘œê šŒ—‹ê —‹ˆê †’‘™Œ†—Œ’‘ê —‹„—ê ˆ„•œê ˜–Œ†ê ‹„–ê ’•ˆê —’ê ’‰‰ˆ•±ê …˜—ê „–’ê šŒ—‹ê —‹ˆê “•ˆ‡Œ†—Œ’‘ê —‹„—ê —‹Œ–ê –†ˆ‘ˆê šŒê†’‘—Œ‘˜ˆê—’ꇈ™ˆ’“ê•„“Œ‡œêŒ‘êl˜•’“ˆê„–Ꚉê „–êz’™ˆ‘Œ„±ê…•Œ‘ŠŒ‘Šê“ˆ„–˜•ˆê—’ꄏê’˜•ê†Œ—Œˆ‘–­

wˆ—ˆ•êw’‘—™ŒŽ±ê“•ˆ–Œ‡ˆ‘—ê’‰êylthêl˜•’“ˆ„‘êl„•œêt˜–Œ†êuˆ—š’•Ž

q’•‡Œêz„™„±ê™Œ’ê“„œˆ•±ê†’‘‡˜†—’•ê„‘‡ê†’“’–ˆ•±êˆ––„Šˆê š•Œ——ˆ‘ê„—ê—‹ˆê’††„–Œ’‘ꒉꗋˆê‰Œ•–—êylthêl˜•’“ˆ„‘êk„œê’‰ê l„•œêt˜–Œ†

rˆˆ‘êy„’™O±ê‡Œ•ˆ†—’•ê„‘‡ê„•—Œ–—Œ†êˆ„‡ˆ•ê’‰ê zˆ™Œ”†êi•ˆWŒ†ˆ


Člani REMA Evropske mreže za staro glasbo / Members of REMA European Early Music Network http://rema-eemn.net/

BE (Belgija / Belgium) European Festivals Association (EFA) AMUZ (Flanders Festival-Antwerp) BOZAR MUSIC -Sté Philharmonique de Bruxelles Concertgebouw Brugge vzw MAfestival (Festival of Flanders – Bruges) Membre individuel - Anne Hallet Musica - Art and Musical Heritage CH (Švica / Switzerland) Cantar di Pietre CZ (Češka / Czech Republic) Summer Festivities of Early Music Prague (Letní slavnosti staré hudby) DE (Nemčija / Germany) Händel-Festspiele Halle / Stiftung Händel-Haus Bayerischer Rundfunk - Studio Franken Festival Alte Musik Knechtsteden Händel-Festspiele Karlsruhe Internationale Händel Festspiele Göttingen Via Mediæval

FR (Francija / France) Académie Bach Centre culturel de rencontre d’Ambronay Centre de musique baroque de Versailles Festival Baroque de Pontoise Festival de Lanvellec - RIMAT Festival de musique à Maguelone Festival de Musique du Haut-Jura Festival de Sablé Festival de Saintes - Abbaye aux Dames - Académies Musicales de Saintes Fondation Royaumont Mars en baroque Metz en Scènes - Arsenal Printemps des Arts de Nantes REMA Rencontres de Musique Ancienne de Ribeauvillé - Mairie de Ribeauvillé Rencontres Musicales de Vézelay

LT (Litva / Lithuania) Banchetto Musicale

GB (Velika Britanija / United Kingdom) European Union Baroque Orchestra National Centre for Early Music

SE (Švedska / Sweden) NORDEM - Nordic Early Music Federation Stockholm Early Music Festival

DK (Danska / Denmark) Copenhagen Renaissance Music Festival

HR (Hrvaška / Croatia) BaRoMus

ES (Španija / Spain) Festival de Musica Antigua de Ubeda y Baeza Festival Musica Antigua Aranjuez Música, Història i Art (MHA) festival Semana de Musica Antigua Estella

IE (Irska / Ireland) Galway Early Music Festival IT (Italija / Italy) Accademia di Musica Antica de Rovereto Antiqua BZ Associazione Culturale Spazio e Musica Centro di Musica Antica Pietà de’Turchini Echi Lontani Festival Antiqua de S. Raffaele Cimena (TO) Festival Cantar Lontano Festival di Musica Antica del Mediterraneo MOUSIKE Festival Internazionale L’Architasto Festival Musicale Estense - Grandezze & Meraviglie Festival Wunderkammer Ghislierimusica - Collegio Ghislieri di Pavia Settimane Barocche in Brescia e Provincia

LV (Latvija / Latvia) Bach Chamber Music Festival NL (Nizozemska / Netherlands) Festival Oude Muziek Utrecht PL (Poljska / Poland) Festival May with Early Music - The Culture and Art Centre in Wroclaw PT (Portugalska / Portugal) Casa da Música SI (Slovenija / Slovenia) Festival Radovljica Seviqc Brežice


j„“ˆ„êj„•‘Œ’„ z’™ˆ‘–Ž„ꏍ˜‡–Ž„ yŒ…„êm„•’‘ŒŽ„ h‘’‘œ’˜– s„ˆ‘—’ꇌê{•Œ–—„‘’ꏄꕒ——„Ã

w•’Š•„êê w•’Š•„ˆ

h‘’‘œ’˜– }ˆ•…˜ê†„•’ꉄ†—˜êˆ–—

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Foto / photo: NMS

Foto / photo: NMS

Foto / photo: Tomaz Lauko

O nocojšnjem prizorišču Narodni muzej Slovenije je najstarejša in osrednja muzejska ustanova v Sloveniji, ki zbira, dokumentira, čuva in ohranja, raziskuje ter javnosti predstavlja premično kulturno dediščino. Ponaša se z bogato arheološko zbirko najdragocenejših predmetov od kamene dobe do novega veka, numizmatično in grafično zbirko, zgodovinsko zbirko in zbirko uporabne umetnosti, v muzeju pa delujeta tudi oddelek za konserviranje in restavriranje ter bogata knjižnica. Muzej je bil ustanovljen leta 1821 kot Kranjski stanovski muzej. Sedanja muzejska stavba na Prešernovi je bila odprta za javnost leta 1888 in je prvo izključno za kulturo namenjeno poslopje pri nas. Stoji v samem središču mesta, v neposredni bližini Narodne in Moderne galerije, Opere, Cankarjevega doma, Državnega zbora RS in Vlade RS, nekaterih ministrstev in parka Tivoli. Na ogled ponuja stalno arheološko razstavo, na kateri je med drugimi izjemnimi eksponati mogoče videti znamenito situlo z Vač in najstarejše glasbilo na svetu, 55.000-letno neandertalčevo piščal iz kamenodobne jame Divje babe, pa zgodovinsko razstavo o razvoju slovenstva, zbirko antičnih kamnitih spomenikov in edino egipčansko mumijo na Slovenskem. V novi stavbi Narodnega muzeja Slovenije – Metelkova je na ogled obsežna stalna postavitev zgodovinskih in umetnostnih zbirk predmetov od 14. stoletja do danes, nekaj prostorov pa je namenjenih vedno aktualnim občasnim razstavam. Atrij Narodnega muzeja Slovenije na Prešernovi sodi med redke prostore v Ljubljani, ki sprejmejo več sto obiskovalcev. K posebej svečanemu vzdušju v dvorani ob lepoti arhitekture pripomore tudi patina muzejske stavbe, v osrčju katere se nahaja. About tonight’s venue The National Museum of Slovenia is the oldest and the central museum institution in Slovenia, whose six departments collect, document, protect, preserve, study, and publicly present the movable cultural heritage in Slovenia. It contains a rich archaeological, numismatic, and graphic collection, a historical collection and an applied arts collection, as well as a Conservation and Restoration Department and a rich library. The museum was founded in 1821 as the Provincial Museum for Carniola. Existent museum building in the Muzejska Street was built in 1888 and it was the first building in Slovenia, assigned exclusively to culture. It is placed in the very centre of Ljubljana, neighbour of the National and Modern Galleries, Opera and Ballet Theatre, Cankarjev dom, the Parliament building, and the Tivoli Park. It has on view a permanent archaeological exhibition, which includes among other outstanding exhibits the famous Vače situla and the oldest musical instrument in the world, a 55,000-year-old Neanderthal flute from the Stone Age cave of Divje babe, a historical exhibition on the development of Slovenehood, a collection of ancient stone monuments, and the only Egyptian mummy in Slovenia. The new building of the National Museum of Slovenia – Metelkova extensively presents collections of historical arts and crafts objects from the 14th century to the present; there are also some topical occasional exhibitions on show. The Atrium of the National Museum of Slovenia in the Muzejska Street is one of not many spaces in Ljubljana that can welcome several hundred guests. The beauty of the architecture as well as the patina of the museum building reaches the special festive atmosphere of the hall.


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Foto / photo: Jana Jocif


O ansamblu Capella Carniola je bila ustanovljena leta 2004 zaradi potrebe po živi glasbi na tečajih starega plesa (predvsem program 15. in 16. stoletja). Kmalu potem se je njen glasbeni program razširil na evropsko srednjeveško glasbo. Capella Carniola se pojavlja v mnogih različnih formacijah glede na različne glasbene programe: od dua do razširjene »alta capella«, tipične instrumentalne formacije evropskih srednjeveških mest. Med najpomembnejšimi nameni skupine je oživitev rabe glasbenih instrumentov, predstavljenih na slovenskih freskah iz 15. stoletja. Marta Močnik Pirc je solopetje študirala na Akademiji za glasbo v Ljubljani v razredu prof. Irene Baar. V času študija je prejela študentsko Prešernovo nagrado. V letu 2006 je zaključila podiplomski študij na Kraljevem konservatoriju v Haagu na Nizozemskem, kjer je svoje znanje poglabljala z Barbaro Pearson in Diane Forlano na oddelku za klasično glasbo ter z Jill Feldman in Michaelom Chanceom na oddelku za staro glasbo. Nastopala je z Orkestrom Slovenske filharmonije, s Komornim ansamblom Slovenicum, Simfoničnim orkestrom Akademije za glasbo, Komornim orkestrom Wiener Academie, Simfoničnim orkestrom RTV Slovenija, z Münchenskim simfoničnim orkestrom in Baročnim orkestrom Kraljevega konservatorija pod vodstvom priznanih domačih in tujih dirigentov. Poučuje solopetje in vokalno tehniko v Zavodu sv. Stanislava v Ljubljani. Barbara Kanc je zaključila študij plesa na mednarodni plesni šoli Laban v Londonu in ob koncu (2007) šolanja prejela nagrado Simone Michelle za izjemne dosežke na področju koreografije. Pred študijem v tujini je obiskovala SVŠGL-Umetniško gimnazijo, smer za sodobni ples. Trenutno poučuje ples otroke in mladostnike na GŠ LaškoRadeče ter v Lutkovnem gledališču Ljubljana. Sodelovala je v različnih plesnih in interdisciplinarnih projektih, nazadnje kot gostja pri plesni skupini EnKnapGroup. Z renesančnimi plesi se je začela ukvarjati v okviru Umetniške gimnazije, kasneje pa nadaljevala v okviru Kulturno umetniškega društva Cortesía. Kristina Martinc je svojo glasbeno pot začela kot učenka prečne flavte na glasbeni šoli Grosuplje. Leta 2000 se je preusmerila na igranje kljunaste flavte pri prof. Suzani Žužek Paternost, od leta 2005 pa se je šolala na Srednji glasbeni in baletni šoli Ljubljana pri prof. Mateji Bajt. Leta 2009 je bila sprejeta na Akademijo za glasbo v Ljubljani, kjer obiskuje oddelek za staro glasbo pod mentorstvom prof. Mateje Bajt. Redno se udeležuje poletnih šol kljunaste flavte in seminarjev stare glasbe. S triom Hymnia je nastopala na koncertih in festivalih po Sloveniji in tujini. Za študijsko leto 2010/2011 je z omenjeno zasedbo prejela študentsko Prešernovo nagrado Akademije za glasbo v Ljubljani. Poučuje kljunasto flavto na nižji stopnji glasbene šole Zavoda sv. Stanislava v Ljubljani. Janez Jocif je po končani gimnaziji v Škofji Loki študiral arheologijo na Filozofski fakulteti v Ljubljani. Glasbeno se je izobraževal na teoretskem oddelku Srednje glasbene šole in na oddelku za zborovodstvo Pedagoške akademije v Ljubljani. Kot zborovodja je sodeloval z

mnogimi vokalnimi zasedbami, med njimi s Komornim zborom Loka, MePZ Glasbena matica Ljubljana, Slovenskimi kantorji itd. V zadnjem času se posveča preučevanju izvajalske prakse zgodnje glasbe, posebej v povezavi z upodobitvami glasbenih instrumentov na slovenskih gotskih freskah. Deluje kot vodja programa za historično glasbo in ples pri Javnem skladu RS za kulturne dejavnosti. About ensemble Capella Carniola was founded in 2004 in order to obtain live music for the lessons in early dancing (mostly 15th and 16th century programme). Soon afterwards its musical programme was extended to European medieval music. Capella Carniola appears in many different formations depending on the musical programme, from a duo to an extended “alta capella”, a typical instrumental ensemble of European medieval cities. One of the important aims of the group is to revive the use of musical instruments that are represented in Slovenian 15th century frescoes. Marta Močnik Pirc studied solo singing at the Academy of Music Ljubljana in Irene Baar’s class. She received the Prešeren Award in the time of her studies. She finished her postgraduate studies in 2006 at the Royal Conservatory of The Hague in the Netherlands, where she broadened her knowledge with Barbara Pearson and Diane Forlano at the classical music department, and with Jill Feldman and Michael Chance at the early music department. She has performed with the Slovenian Philharmonic Orchestra, the Slovenicum Chamber Ensemble, the Academy of Music Symphony Orchestra, the Wiener Academy Chamber Orchestra, the RTV Slovenia Symphony Orchestra, the Munich Symphony Orchestra and the Baroque Orchestra of the Royal Conservatory, under the leadership of acclaimed local and foreign conductors. She teaches solo singing and vocal technique at St. Stanislav’s Institution in Ljubljana. Barbara Kanc completed her studies of dance at the international dance academy Trinity Laban Conservatoire of Music & Dance in London, and in 2007, at the end of her studies, received the Simone Michelle award for her exceptional achievements in the field of choreography. Prior to her studies abroad, she attended the artistic secondary school, department of contemporary dance. She is currently teaching dance to children and adolescents at music school Laško-Radeče and at the Ljubljana Puppet Theatre. She has participated in different dance and interdisciplinary projects; her last collaboration was a guest appearance with the dance group EnKnapGroup. She started pursuing Renaissance dance in secondary school and has continued her pursuits in the Cultural Art Association Cortesia. Kristina Martinc started as a transverse flute pupil at the Grosuplje Music School. In 2000 she shifted to the recorder with Suzana Žužek Paternost, and from 2005 on she attended Music and Ballet Secondary School in Ljubljana, where she was taught by Mateja Bajt. In 2009 she was accepted at the Academy of Music Ljubljana, where she is a student at the department of early music with Mateja Bajt. She regularly participates in summer schools for recorder and in early music seminars. She has performed at concerts and festivals in Slovenia and abroad with the trio Hymnia. With this same ensemble she won the Prešeren Award of the Academy of Music Ljubljana for

the school year 2010/2011. She teaches recorder at beginner level at the Music School of St. Stanislav’s Institution in Ljubljana. Janez Jocif studied archaeology at the Faculty of Arts in Ljubljana. He obtained his musical education at the Conservatory of Music in Ljubljana, Department of Musical Theory, and at the Academy of Education in Ljubljana, Department of Choral Conducting. As a conductor he has worked and performed with several vocal ensembles (Loka Chamber Choir, mixed choir of Glasbena matica Ljubljana, Slovenian Cantors ). Lately, he has particularly focused on the performance of early music, especially in connection with the depictions of musical instruments in Gothic frescoes. He is in charge of the early music and dance programme with the Slovenian Public Fund for Cultural Activities.


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{„‡ˆ„êw„‘†ˆê–’“•„‘±êŽ„–—„‘ˆ—ˆ±ê—„…˜•Œ‘ê½ê –’“•„‘’±ê†„–—„‘ˆ—–±ê—„…’˜•Œ‘à {’„WꌑŒŠ’ê…„•’:‘„Ꙍ’Œ‘„ê½ê…„•’”˜ˆê™Œ’Œ‘à l•„ˆên•„‰ˆ‘„˜ˆ•ê•ˆ‘ˆ–„‘:‘„ꌑꅄ•’:‘„ê ˜—‘„ê½ê•ˆ‘„Œ––„‘†ˆê„‘‡ê…„•’”˜ˆê˜—ˆÃ tŒ‹„ꌑŒŠ’ê…„•’:‘’Ꙍ’’‘:ˆ’ê½ê…„•’”˜ˆê†ˆ’à t„•Ž’êh‘Šˆ–ŽŒê—ˆ’•…„ê½ê—‹ˆ’•…’à i’•Œ–ꌑŒŠ’ê™’‡–—™’±ê…„•’:‘„ꎌ—„•„ê½ê„•—Œ–—Œ†ê ‡Œ•ˆ†—’•±ê…„•’”˜ˆêŠ˜Œ—„•Ã http://www.youtube.com/user/NovaScholaLabacensis

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Foto / photo: Vera Kabanova

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GML, v Italiji, Srbiji, Franciji, Nemčiji in na Madžarskem. Nastopa v različnih komornih skupinah kot kitarski duo Les deux amis in baročni ansambel Hymnina, v katerem igra vihuelo, lutnjo in teorbo. Osvojil je več prvih nagrad na nacionalnih in mednarodnih tekmovanjih (TEMSIG, Murski kitarski festival, Enrico Mercatali Concorso, Fernando Sor) in prejel dve študentski Prešernovi nagradi kot solist in kot član ansambla Hymnia. Kot solist je nastopal s simfoničnima orkestroma Slovenske Filharmonije, SNG Maribor in godalnim orkestrom Akademije za glasbo Ljubljana. Trenutno se izpopolnjuje tudi v igranju na baročno lutnjo pri profesorju Borisu Šinigoju na oddelku za staro glasbo Glasbene šole Ljubljana Vič Rudnik. Miha Šinigoj je študiral jazz violončelo pri profesorici Andrejki Možina v Gorici v Italiji in kontrabas na jazz oddelku Konservatorija za glasbo in balet v Ljubljani v razredu profesorja Matevža Smerkolja. Doslej se je izpopolnjeval na seminarjih pri violončelistu Damiru Hamidulinu in pri profesorici Tanji Babnik na Glasbeni šoli Vič Rudnik v Ljubljani. Izpopolnjeval se je tudi v jazz improvizaciji pri kontrabasistu Jorisu Teepeu na Jazzinty v Novem mestu in pri Andrejki Možina na Jazz Festivalu v Gorici. Kot violončelist je nastopal z mladinskimi godalnimi orkestri v Ljubljani, Velenju, Kopru, Berlinu, Novem Sadu in Beogradu, kjer so z beograjskim zborom Collegium Musicum izvedli Pergolesijevo Stabat Mater z dirigentko Darinko Matić Marović. Igral je tudi v klavirskem triu Kult. V zadnjem času nastopa kot solist na baročnem violončelu z ansambloma Nova Schola Labacensis in Trio Vagantes. Poleg violončela in kontrabasa igra tudi srednjeveški tenorski fidel in berberski lutar. Marko Angelski je po triletnem študiju kljunaste flavte začel s študijem klasične kitare pri profesorju Borisu Šinigoju, ki ga je navdušil tudi za igranje renesančne lutnje. Je redni član lutenjskega ansambla Nova Schola Labacensis. Več kot desetletje je tudi redni član ansambla folklorne skupine France Marolt, s katerim je gostoval v številnih državah. Poleg tega igra kontrabas v etno skupini The Poušters. Trenutno se izpopolnjuje v igranju na teorbo v razredu Borisa Šinigoja na oddelku za staro glasbo na Glasbeni šoli Ljubljana Vič Rudnik. Boris Šinigoj se je že pred zaključkom študija klasične kitare na Akademiji za glasbo in filozofije na Filozofski fakulteti v Ljubljani posvetil igranju na renesančno lutnjo in raziskovanju primarnih virov. Lutnjar Ivo Magherini ga je kmalu seznanil z vodilnima lutnjistoma Hopkinsonom Smithom in Paulom O’Dettem. Spopolnjeval se je v sodelovanju s člani ansamblov Dufay Collective in Camerata Trajectina. S solističnimi in komornimi koncerti je gostoval po Evropi, ZDA in Kanadi. Nedavno je posnel solistično zgoščenko z naslovom »Lutnje« z reprezentativnim izborom skladb za arabsko, renesančno in baročno lutnjo ter arhilutnjo in kitarone. Sodeluje tudi s simfoničnima orkestroma Slovenske filharmonije in RTV Slovenija. Je umetniški vodja in ustanovitelj lutenjskega ansambla Nova Schola Labacensis ter profesor lutnje na Glasbeni šoli Ljubljana Vič Rudnik in na Akademiji za glasbo v Ljubljani.

About the programme Musical Voyage with Baroque Guitar The Musical Voyage with Baroque Guitar takes us from vivacious dances of European Baroque musical tradition to the inspired Song of Folly in the style of Erasmus of Rotterdam’s Praise of Folly. About ensemble Nova Schola Labacensis is a unique Slovene early music ensemble, which bases its activity on studying Medieval, Renaissance and Baroque musical heritage, but also performing more recent musical compositions. We can proudly name some of our forerunners, who were active in the field of early music in our country: Giacomo Gorzanis, famous Renaissance lutenist from Trieste, Johannes Berthold Höffer, Baroque lutenist from Ljubljana and the founder of Academia Philharmonicorum Labacensis (1701), Schola Labacensis, the first Slovene contemporary Early Music ensemble, especially its founder Janez Höfler, lutenists Primož Soban and Tomaž Šegula, and lutenist Pavel Šraj from Radovljica, who was also the first contemporary Slovene lutemaker. Music has been the constant companion of Tadeja Pance from the secondary school onwards. She studied singing with Barbara Nagode at the musical school Ljubljana Vič Rudnik between the years 2002 and 2009. She has participated in several musical contests and won the first place in singing at the international musical contest Cogoleto 2009 in Genova, Italy. Since 2008 she has been singing with the lute ensemble Nova Schola Labacensis. In 2008 and 2009 she actively participated in the Days of the Lute at the Festival of Early Music at Škofja Loka. In the year of Primož Trubar, she participated in the first performance of Slovenian Protestant choral and secular songs of the time, she was a member of the duo La Turturella with the lutenist Žiga Kroflič and solo soprano in Mozart’s Krönungsmesse, Spatzenmesse and Haydn’s Missa Sancti Nicolai. She is perfecting her skills with mezzosoprano Barbara Jernejčič. Tomaž Šinigoj, after completing his violin studies with Matej Venier at the Conservatory for Music and Ballet in Ljubljana, is now perfecting his violin and viola skills with Djordje Berak at the Music school Ljubljana Vič Rudnik. He also perfected his skills at violin seminars with Vasilij Meljnikov and Jernej Brence. Additionally, he studied jazz improvisation with jazz guitarist Ratko Zjaća at the Festival Jazzinty in Novo mesto and with the jazz singer, composer and cellist Andrejka Možina at the Jazz Festival in Gorizia, Italy. He played as the youngest violinist with the string orchestra of the Music school Ljubljana Moste Polje in Berlin. Lately, he has been regulary appearing as Baroque violin soloist with Trio Vagantes and Nova Schola Labacensis. He also plays alto medieval fiddle, balafon and Berber bendir. Erazem Grafenauer began studying piano at the age of seven (with S. Zorko) and guitar at the age of eight (with E. Hren). He is continuing his education in the class of Professor Andrej Grafenauer at the Academy of Music in Ljubljana. As a soloist he has performed in different Slovenian cities within Ljubljana Musical Youth concerts, in Italy, Serbia, France, Germany and Hungary. He performs in various chamber groups like the guitar duo Les deux amis and the Baroque Ensemble Hymnia, where he plays the vihuela, lute and teorbo. He has won several first prizes in national and international competitions (TEMSIG, Murska Guitar Festival, Enrico Mercatali Concorso,

Fernando Sor) and also received two student Prešeren awards as a soloist and as a member of the ensemble Hymnia. As a soloist he has performed with the Slovenian Philharmonic Orchestra, with the Maribor Philharmonic Orchestra, and with the String Chamber Orchestra of the Academy of Music. He is now perfecting his skills in playing Baroque lute with professor Boris Šinigoj at the department for early music at the Music school Ljubljana Vič Rudnik. Miha Šinigoj studied jazz cello with Andrejka Možina in Gorizia, Italy and double bass at the jazz department of the Conservatory for Music and Ballet in Ljubljana with Matevž Smerkolj. He has been perfecting his skills with the cellist Damir Hamidulin and Tanja Babnik at the Music school Ljubljana Vič Rudnik. He also studied jazz improvisation with double bass player Joris Teepe at Festival Jazzinty in Novo mesto and with jazz singer, composer and cellist Andrejka Možina at Jazz Festival in Gorizia. He has played as a cellist with various youth string orchestras in Ljubljana, Velenje, Koper, Berlin, Novi Sad and Belgrade, where they performed Pergolesi’s Stabat Mater with the choir Collegium Musicum under the conductorship of Darinka Matić Marović. He was also a member of the piano trio Kult. Lately, he has been regulary appearing as Baroque cello soloist with Trio Vagantes and Nova Schola Labacensis. Besides cello and double bass he also plays medieval tenor fiddle and Berber loutar. Marko Angelski, after three years of playing recorder, started studying classical guitar with Boris Šinigoj, who then encouraged him to also study the Renaissance lute. He is now a regular member of the lute consort Nova Schola Labacensis. Besides, he has been a member of the folklore group France Marolt for more than ten years and has toured all over the Europe and elsewhere with them. He also plays double bass in the ethnic music group The Poušters. Now he is perfecting his theorbo skills with Boris Šinigoj at the department for early music at the Music school Ljubljana Vič Rudnik. Boris Šinigoj started to play Renaissance lute and to research original sources of the period even before graduating in classical guitar and philosophy at the Ljubljana University. The lutenist Ivo Magherini introduced him to the leading lutenists Paul O’Dette and Hopkinson Smith. He also perfected his skills playing with the ensembles Dufay Collective and Camerata Trajectina. He appears in solo recitals and in chamber ensemble concerts around Europe, USA and Canada. Recently, he has recorded the finest examples of early music for Arabic lute, Renaissance lute, Baroque lute, archlute and chitarrone on a CD entitled Lutes. He also performs with the Slovenian Philharmonic Orchestra and with the Symphony Orchestra of RTV Slovenia. Mr. Šinigoj is the founder and artistic director of the lute consort Nova Schola Labacensis and a lute teacher at the Music school Vič Rudnik and at the Academy of Music in Ljubljana.


p‘Šˆ‘Œ˜ê l‘–ˆ…ˆ tŒ•„êz—•’ˆê–’“•„‘ê½ê–’“•„‘’à }ŒO‘„êmŒ:’•êˆ’–’“•„‘ê½êˆ’¾–’“•„‘’à i„Wêz—•’ˆê—ˆ‘’•±ê„—ê½ê—ˆ‘’•±ê„—’à k’ˆ‘êh‘W’™„•ê—ˆ‘’•Ã n„O“ˆ•êi„‘’™ˆ†ê—ˆ‘’•Ã q„‘êr˜‹„•ê…„–ê½ê…„––à http://www.ingenium-ensemble.si http://www.ingenium-ensemble.si/


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Foto / photo: Jana Jocif


k˜’êi„—êÀê tŒ‹„’™Œ9 t„—ˆ„êi„—ꎏ˜‘„–—„ꉏ„™—„ê½ê•ˆ†’•‡ˆ•Ã lŠ’‘êtŒ‹„’™Œ9êÂ:ˆ…„’ê½ê‹„•“–Œ†‹’•‡Ã http://www.youtube.com/user/bmusicm www.egon-mihajlovic.com

Foto / photo: Franci Ferjan


O programu Bachova sonata 1030 za flavto in obligatni čembalo velja za eno najobsežnejših, najzahtevnejših in najdragocenejših baročnih sonat. Poleg 1032 je edina avtentična, ki izhaja iz ideje triosonate z docela izpisanim čembalskim partom. Kompleksnost troglasne kompozicije s stalno menjajočimi se temami in idejami med flavto in čembalom je vseskozi prežeta z bogatim muzikalnim izrazom. V drugem stavku v ritmu siciliane melodijo v celoti prepusti flavti in v svoji čuteči ekspresivnosti že nakazuje prihajajoči galantni stil. Zadnji stavek je razdeljen na dva dela: na strogo fugo in na živahni plesni karakter žige. S tem kontrastom dovrši sonato v svoji domiselnosti in virtuoznosti. Mateja Bajt je s poukom kljunaste flavte pričela na Glasbeni šoli Radovljica pri Klemenu Ramovšu, študij pa je nadaljevala na Univerzi za glasbo in upodabljajočo umetnost na Dunaju pri Hansu Marii Kneihsu na koncertni in pedagoški smeri. Leta 1994 je diplomirala iz glasbene pedagogike ter 1997 z enoglasno odliko zaključila magistrski študij na koncertni smeri iz kljunaste flavte. Za izjemen uspeh je prejela nagrado avstrijskega Ministrstva za znanost. Leta 1998 je na Dunaju zaključila še izredni študij s poudarkom na komorni in sodobni glasbi. Kot solistka, članica in vodja različnih ansamblov koncertira v Sloveniji in drugod po Evropi. Sodeluje z uglednimi slovenskimi in tujimi glasbeniki. Leta 2003 je izdala svojo prvo portretno CD-ploščo z naslovom Podoba ljubezni z glasbo francoskega baroka, ki je bila sprejeta s toplo kritiko v Sloveniji, Avstriji in Nemčiji. Po končanem študiju se je posvečala vzgoji najmlajših glasbenikov na kljunasti flavti na različnih glasbenih šolah: v Radovljici, Zavodu sv. Stanislava v Ljubljani in na Jesenicah. Izdelala je učni načrt za kljunasto flavto za program umetniške gimnazije in akademske stopnje. Od 2005 poučuje na Konservatoriju za glasbo in balet Ljubljana in Maribor ter na Akademiji za glasbo v Ljubljani, kjer je bil leta 2009 uveden program kljunaste flavte. Vodi tudi poletne šole ter seminarje za učitelje in učence kljunaste flavte. Egon Mihajlović je študiral historične inštrumente s tipkami (čembalo, fortepiano, orgle) in staro Glasbo na Visoki šoli za glasbo v Frankfurtu, kjer je leta 1992 diplomiral. Leta 1996 je z najvišjimi priznanji končal postdiplomski študij in dobil naziv koncertnega solista. Izpopolnjeval se je pri profesorjih B. van Asperenu, J. Ferrardu in L. F. Tagliaviniju. Od leta 2009 deluje kot profesor čembala na Akademiji za glasbo v Ljubljani. Kot umetniški vodja in dirigent projekta Akademije za glasbo je v Sloveniji premierno izvedel Monteverdijeve Vespere in opero Orfej. Nastopal je na pomembnih evropskih festivalih in koncertnih odrih. S strani kritikov je dobil priznanje kot izvrsten čembalist, predvsem kot specialist za dela D. Scarlattija. Dirigiral je tudi znamenite orkestre, kot so Berlin Baroque in Züricher Kammerorchester. Snemal je za različne založbe ter radijske in televizijske hiše. Kot docent in gostujoči profesor za čembalo, historične inštrumente s tipkami in staro glasbo je poučeval na visokošolskih ustanovah in akademijah za glasbo v Würzburgu, Nürnbergu, Cetinju, Ferrari in Pesaru. Kot član žirije je deloval pri tekmovanjih, kot so Jugend musiziert, italijansko tekmovanje za čembalo „G. Gambi“ v Pesaru, UNESCOvo svetovno tekmovanje za pevce „L’Orfeo“ v Veroni. Je član žirij na pomembnih mednarodnih evropskih tekmovanjih za čembalo in staro glasbo.

About the programme Bach’s sonata 1030 for flute and obligate harpsichord is considered one of the most extensive, most demanding and most valuable baroque sonatas. Besides 1032, it is the only authentic one derived from the idea of a trio sonata with a totally written-out harpsichord part. The complexity of the threevoice composition with ever changing themes and ideas between the flute and the harpsichord is infused with a rich musical expression throughout. In the second movement in the siciliana rhythm, the melody is surrendered completely to the flute, and in its sentient expressiveness it already shows the upcoming gallant style. The last movement is split into two parts: the strict fugue and the lively dance character of the gigue. With this contrast it completes the sonata in its inventiveness and virtuosity. Mateja Bajt studied recorder at the Music School in Radovljica with Klemen Ramovš, and continued her studies with H. M. Kneihs at the University of Music in Vienna. She took teaching methodology courses and also pursued concert studies. In 1994 she graduated as a music teacher and in 1997 obtained a master’s degree in concert performance with distinction. She received a special award from the Austrian Ministry of Science for her outstanding achievements. In 1998 she specialised in chamber and contemporary music. She follows a twofold career as a performer and as a teacher. She collaborates with distinguished musicians from Slovenia and abroad, giving concerts throughout Europe as soloist, member and leader of various ensembles. In 2003 she published her first CD, called ‘A Portrait of Love’, performing French baroque music, which was received with critical acclaim in Slovenia, Austria and Germany. For many years she has been teaching in different music schools (Radovljica, Zavod sv. Stanislava in Ljubljana, Jesenice). She designed study plans for undergraduate and graduate recorder programmes. Since 2005 she has been teaching at the Conservatory of Music and Ballet Ljubljana and Maribor and the Academy of Music in Ljubljana, where the recorder was introduced in 2009. She regularly conducts summer courses and seminars for recorder teachers and pupils. Egon Mihajlović – conductor, harpsichordist and organist – was born in Postojna (Slovenia) in 1972. He began his studies of harpsichord and early keyboard instruments at the Conservatory of Music and Performing Art in Frankfurt (Hochschule für Musik und Darstellende Kunst Frankfurt a. M.), Germany. There, in 1992, he passed his artistic exam (MMus) and in 1996 his postgraduate concert exam. Since 2009 he has been professor of harpsichord and head of Department for Early Music at the University of Ljubljana / Academy of Music. Egon Mihajlovic enjoys the highest reputation as a masterly interpreter of Domenico Scarlatti’s sonatas, equally applauded by audiences and critics. As a harpsichordist, Egon Mihajlović is regularly invited to perform at important concert venues and festivals in Europe and in the USA. As conductor and artistic director, Egon Mihajlović has worked with several well-known orchestras, companies, music academies and opera houses, such as Compagnie Fontainebleau, Zurich Chamber Orchestra, Ballet Baroque Berlin, European Opera Cooperation, The Royal Theatre Montenegro, Slovenian National Opera Theatre, performing orchestra works, baroque operas, opera-ballets, tragédie-lyriques, oratorios and sacred music of Monteverdi, Handel, Lully, Charpentier, Rameau, Hasse and Telemann.


Foto / photo: Domen Grögl

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O programu Skrita avtentičnost

About the programme Hidden Authenticity

Baročna strunska glasbila s pedalno klaviaturo - pedalni čembalo, pedalni klavikord, pedalni lautenwerck in sorodna glasbila – so se iz različnih vzrokov skoraj docela izmuznila iz vidnega polja muzikologije 19. in dobršnega dela 20. stoletja. Vendar so natančne preverbe virov v zadnjih letih pokazale, da je bila prav vloga teh glasbil ključna tako za nastanek kot tudi izvajanje repertoarja, ki ga danes poenostavljeno imenujejo »orgelske skladbe«. Novejše raziskave kažejo strunska glasbila kot avtentično umetniško sredstvo za zvočno oživitev repertorja. Iz Bachovega življenja so znani razni biografski podatki, ki navajajo, da je imel svoj pedalni klavikord, da je svojo umetnost prikazoval na dvomanualnem čembalu s pedalom, da je njegov tesni sodelavec, orglar Hildebrandt, izdelal pedalni čembalo, da so Bachovi najpomembnejši učenci imeli v lasti tovrstna glasbila, Johann Nicolaus Bach pa je sam izdeloval »Lautenwercke« s pedalno klaviaturo, za katere so sodobniki menili, da s svojim globokim pedalnim zvokom »zvenijo prav kakor teorba«. Gavotta v rondojski obliki iz Suite v E-duru BWV 1006a je Bachova lastna transkripcija violinske predloge. Po navedbah Bachovih učencev je mojster v kasnejših letih svoja violinska dela rad igral na glasbila s tipkami, pri čemer je poljubno dodal nekaj dodatnih, harmonskih tonov. V Preludiju te suite, ki jo muzikologi pripisujejo lutenjskemu čembalu »Lautenwercku«, je nekaj not težko ali nemogoče odigrati brez pedala – eno izmed mogočih izhodišč za nocojšnjo izvedbo. Toccato, Adagio in Fugo BWV 564 radi opisujejo kot pedalno vzporednico Bachovega čembalskega Italijanskega koncerta. Ne le trostavčna oblikovna shema, tudi čembalsko narečje skladbe je zanimivo, nekateri prepisi pa vsebujejo tudi tone, ki jih orgle sploh niso imele, čembalo pa zlahka; na primer H1 (kontra H). Zaradi omejene minutaže bomo slišali le Fugo. Ker se niti en sam baročni pedalni čembalo ni ohranil do danes, stoji na odru rekonstrukcija tega zanimivega glasbila.

Baroque string instruments with a pedal keyboard – pedal harpsichord, pedal clavichord, pedal lautenwerck and similar instruments – have, for different reasons, almost entirely slipped away from the field of musicology of the 19th and a good part of the 20th century. However, detailed investigations of sources done in the last years have shown that it was exactly the role of these instruments which was crucial for the creation as well as for the implementation of the repertoire today known under the simplified term of “organ compositions”. Recent research presents string instruments as an authentic artistic means for the sound enlivenment of a repertoire. Various biographical data is known from Bach’s life, which state that he had his own pedal clavichord, that he showed his art on a double-manual harpsichord with a pedal, that his close colleague, organist Hildebrandt, made a pedal harpsichord, that Bach’s most important students owned these kinds of instruments, and Johann Nicolaus Bach made “Lautenwercks” with a pedal keyboard, for which contemporary artists thought “sounded just like a theorbo” with their deep pedal sound. The gavotte in rondo form from the Suite in E major BWV 1006a is Bach’s own transcription of a violin template. According to Bach’s students the master, in later years, liked playing his violin works on instruments with keys, where he randomly added some additional, harmonious tones. In the prelude of this suite, which the musicologists attribute to the luteharpsichord, the “Lautenwerck”, some things are difficult or impossible to play without a pedal – one of the possible starting points for tonight’s performance. The Toccata, Adagio, and Fugue BWV 564 is often described as a pedal parallel of Bach’s harpsichord Italian concert. Not only the form of the three-movement scheme, but also the harpsichord dialect of the composition is interesting, and some transcriptions include tones the organs did not even have, while a harpsichord probably did; like the B1 (contra B). Due to the limited time, we will only hear the Fugue. Since not a single baroque pedal harpsichord has been preserved, there is a reconstruction of this fascinating instrument on stage.

Dalibor Miklavčič je študiral orgle in kompozicijo na dunajski Univerzi za glasbo ter se izpopolnjeval na področju stare glasbe v Milanu pri Lorenzu Ghielmiju. Že v mladosti je bil nagrajenec evropskih orgelskih tekmovanj (EMCY 1989 in 1992) ter je prepoznaven zaradi svojih nastopov v 25 evropskih državah in Aziji. Kot raziskovalec in interpret veliko svojega časa posveča pedalnemu pianoforteju ter pedalnemu čembalu. Požel je odlične mednarodne kritike (»odkritje«, »genialen slovenski klaviaturist« ...), trenutno pa pripravlja posnetke na romantičnem pedalnem klavirju. Miklavčičeva pedagoška karizma je mednarodno iskana; nastopal in/ali predaval je na vodilnih zavodih, kot so Kraljevi kolidž v Londonu, Musikhochschule Lübeck, Akademija Franza Liszta v Budimpešti, dunajski konservatorij, konservatorij P. I. Čajkovski v Moskvi, Glasbena akademija v Gothenburgu in Escuela Superior ESMRS v Madridu. Poleg tega je vodil mojstrske tečaje v 15 evropskih državah (npr. kot naslednik Haralda Vogla: Thüringische Orgelakademie, Nemčija) in deloval kot profesor orgel (Univerza za glasbo v Gradcu/Avstrija 2006–2009), nato pa je poučeval na Akademiji za glasbo v Ljubljani. Nastopa tudi z baročnimi violinisti (S. Standage, U. Engel …); pogosto je nastopal kot solist s “Haydn Sinfonietta Wien” in deloval kot član žirije na mednarodnih orgelskih tekmovanjih.

Dalibor Miklavčič studied organ and composition in Vienna (University of Music) before specializing in early music in Milan with Lorenzo Ghielmi. Already at an early age he won prizes at European organ competitions (a. o. EMCY 1989 and 1992) and has performed in 25 European and Asian countries, dedicating much of his time to interpretations and research on the pedal pianoforte and pedal harpsichord. He has received acclaiming international reviews (“a revelation”, “a brilliant Slovenian keyboardist” ...) and is currently preparing recordings on a romantic piano-pédalier. Miklavčič’s pedagogic charisma is internationally sought after; he has performed and/ or lectured at leading institutions such as the Royal College in London, Musikhochschule in Lübeck, Franz Liszt Music Academy in Budapest, Conservatoire in Vienna, Tchaikovsky State Conservatoire in Moscow, Music Academy in Gothenburg, Escuela Superior ESMRS in Madrid, besides giving master classes in 15 European countries (e.g. as successor of Harald Vogel: Thüringische Orgelakademie, Germany) or serving as professor for organ (Music University in Graz/Austria 2006–2009), subsequently teaching at the Academy of Music in Ljubljana. He also performs with baroque violinists (S. Standage, U. Engel …), and has often performed as a soloist with “Haydn Sinfonietta Wien” and served as a jury member at international organ competitions.


Foto / photo: Igor Skobelev

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Benjamin Izmajlov je koncertni violinist, producent, skladatelj, umetniški vodja glasbenih projektov in festivalov, član žirij na mednarodnih violinskih tekmovanjih, vabljeni solist Moskovske Filharmonije, član ansambla solistov moskovske filharmonije Madrigal, ustanovitelj in direktor Slovenske poletne glasbene akademije in direktor Chopinovega zlatega prstana. Diplomiral in magistriral je z odliko na slovitem moskovskem konservatoriju Čajkovski v razredu legendarne violinistke prof. Marine Yashvili. Pred tem je študiral na Dunaju pri prof. E. Čugajevi. Izpopolnjeval se je na mojstrkih tečajih (P. Vernikov, G. Zhislin, E. Gilels, Z. Bron and V. Tretyakov etc). Nastopal je z orkestri in z najrazličnejšimi zasedbami (Rusija, Italija, Hrvaška, Srbija, Avstrija, Španija idr.). Benjamin Izmajlov je prejel različna priznanja, med drugim tudi priznanje Cirila in Metoda Ruske cerkve za spodbujanje in ohranjanje medkulturnih stikov. Sodeluje z mednarodno priznanimi glasbeniki, kot so na primer Natalia Gutman, Alexander Kagan, Gokhanom Aybulus in Daria Čajkovska, Moshe Aron Epstein, Marina Yashvili, Alexander Buzlov, Roman Simovic, Ljuba Kazarnovskaya, Alviya Vandysheva, Alexander Suetin, Sergej Skripka in A. Čajkovski.

Concert violinist, composer, art director of projects and festivals, producer of musical projects and orchestral CDs as well as a jury member of international violin competitions, Benjamin Izmajlov is a guest soloist of the Moscow Philharmonic, member of the ensemble of Moscow Philharmonic solists “Madrigal”, founder and director of the Slovenian Summer Music Academy and the Chopin Golden Ring Institute. Benjamin graduated and magistrated with flying colours at the famous P. I. Tchaikovsky Conservatory in the class of the legendary violinist Marina L. Yashvili. Before, his studies took place in Vienna (E. Tchugaeva), Italy (P. Vernikov, E. Gilels), Ljubljana (V. Balžalorsky) and Izola, Slovenia (J. Horvat). He succesfully attended masterclasses with V. Tretiakov, G. Zhislin, Z. Bron etc. Benjamin played with many orchestras as well in many prestigous concerts halls, among them the Tchaikovsky Concert Hall in Moscow. During the Slovenian presidency to the EU in 2008, together with his wife, mezzo soprano Manca Izmajlova, they were chosen to represent Slovenia on a tour in 15 EU member countries. Benjamin Izmajlov’s musician friends include N. Gutman, A. Kagan, Moshe A. Epstein, Daria Tschaikowskaja, Gokhan Aybulus, A. Buzlov, R. Simovic, Ljuba Kazarnovskaya, Alviya Vandysheva, Alexander Suetin, Sergej Skripka, and A. Tchaikovski just to name a few.

Manca Izmajlova je mezosopranistka, ki poje v mnogih žanrih in v 20 jezikih. Študirala je igro in muzikal na Mountview Academy of Theatre Arts v Londonu, opero na Akademskem glasbenem kolidžu Čajkovski v Moskvi in s privatnimi učitelji. Delala je tudi kot igralka, TV voditeljica in gledališka režiserka. Kot pevka je nastopala po vsem svetu in se predstavila na več kot 700 koncertih. Sodeluje s pianistoma Gohkanom Aybulusom (Turčija), Dario Tschaikovskayo (Nemčija), s simfoničnimi orkestri, big bandi in s svojim možem, koncertnim violinistom in producentom Benjaminom Izmajlovom. Izdala je albuma Slovanska duša in Slovensko srce, posneta z Ruskim državnim simfoničnim orkestrom kinematografije in dirigentom Sergejem Skripko. Oba sta dosegla platinasto naklado v Sloveniji. S soprogom je kot glavna solistka nastopila na otvoritvenem koncertu 4. slovanskega festivala v Moskvi in prejela medaljo Ruske cerkve za kulturni dialog. Prejela je prvo nagrado na pevskem tekmovanju v Moskvi, med 2000 pevci. Leta 2010 je nastopila na dveh razprodanih koncertih v Cankarjevem domu z Ruskim simfoničnim orkestrom kinematografije. Leta 2011 je ponovila uspeh z istim orkestrom in z zborom Ivo Lola Ribar v Sava centru Beograd pred 3700 ljudmi in leta 2012 z orkestrom in Kapelo Jurlova v Moskovski filharmoniji. Od leta 2012 je gostujoča solistka Moskovske filharmpnije.

Manca Izmajlova is a mezzosoprano singer, singing in many styles and in 20 languages. She studied acting and musical theatre at the Mountview Academy of Theatre Arts in London, studied opera at Academic Musical College Tchaikovsky in Moscow and with private teachers. She has also worked as an actress, TV hostess and theatre director. As a singer she has performed all over the world in more than 700 concerts. She has worked with pianists Gokhan Aybulus (Turkey) and Daria Tschaikowskaya (Germany), symphonic orchestras, big bands and with her husband, concert violinist and her producer Benjamin Izmajlov. She has issued two albums, “Slavic Soul” and “Slovene Heart”, recorded with Russian State Symphony Cinema Orchestra and conductor Sergei Skripka. Both reached platinum in Slovenia. As leading soloist she performed with her husband at the opening concert of 4th Slavic Festival in Moscow. They received a medal for intercultural dialoge from Russian church. She received the first award at a singing competition in Moscow, among 2000 singers. In 2010 she had her first solo concert in Cankarjev dom in Ljubljana, Slovenia, with Russian State Symphony Cinema Orchestra. The concert was sold-out twice. In 2011 the same concert also featuring a choir was repeated with huge success a the Sava Centre in Belgrade in front of 3700 people and at Moscow Philharmonic in 2012. She became a guest soloist of the Moscow Philharmonic in 2012.

Borut Novaković je na lutnji diplomiral v Italiji. Pred tem se je kot klasični kitarist izobraževal v Sloveniji. V obeh državah je znanje dodatno krepil na mojstrskih tečajih. Bil je Zoisov štipendist, po diplomi pa se je še dodatno izpopolnjeval pri priznanem lutnjistu Eduardu Egüezu. Kot učitelj klasične kitare je doslej deloval sedem let v glasbenem šolstvu in pet let drugod. Nastopal je v Italiji, na Hrvaškem in v Sloveniji kot solist in/ali kontinuist. Na lutnji se preizkuša tudi kot skladatelj. Je ustanovitelj in programski svetovalec festivala Jeff. Na svoji poti kot aktiven učenec, učitelj, glasbenik, organizator in skladatelj skuša čimbolj dopolnjevati in negovati proces stalnega dela, izobraževanja, sodelovanja in ustvarjalnosti.

Borut Novaković obtained his diploma in lute performance in Italy. Prior to this he received his education as a classical guitarist in Slovenia. In both countries he increased his knowledge at master classes. He was assigned the Zois scholarship, and after obtaining his diploma he received advanced training with the renowned lutenist Eduardo Egüez. As a classical guitar teacher, he has, so far, worked in the field of music education for seven years, and five years in other fields. He has performed in Italy, Croatia and Slovenia as a soloist and/or continuo player. He has also been trying out the role of a composer on the lute. He is the founder and Programme Advisor of the Festival Jeff. Being an active learner, teacher, musician, organiser, composer, he always strives to improve and maintain his process of constant work, education, collaboration and creativity.


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O programu Dieterich Buxtehude se je rodil na Danskem. Leta 1660 je postal organist nemške cerkve v Helsingørju in osem let pozneje nasledil Franza Tunderja kot organist Marijine cerkve v Lübecku. Edini glasbeni publikaciji, ki ju je izdal za življenja, sta zbirki sonat za violino, violo da gamba in čembalo op. 1 in op. 2. Vsestranski jezuitski učenjak Athanasius Kircher je sonate navedel med oblikami, povezanimi s kompozicijskim slogom stylus phantasticus, in Buxtehudejeve triosonate so še boljši primeri tega sloga kakor njegovi orgelski preludiji. Večina italijanskih sonat s konca 17. stoletja ima štiri stavke, Buxtehudejeve skladbe pa so povsem nepredvidljive. V vsaki lahko pričakujemo vsaj dva urejena in strukturirana odseka, a sta lahko v obliki fuge, zaporedja variacij ali kakšnega plesa. Improvizacijski značaj nekaterih odsekov in na prvi pogled naključna razporeditev se podrejata skrbno izdelanemu načrtu in skladnosti celote. O ansamblu Ansambel musica cubicularis je nastal leta 2004 kot trio in se kmalu razvil v dinamičen sestav prilagodljive velikosti in zasedbe. Posveča se predvsem izvajanju glasbe 17. in 18. stoletja na ustreznih zgodovinskih glasbilih in v svoje koncertne sporede pogosto vključuje manj znana in še neobjavljena dela. Doslej je sodeloval z domačimi in tujimi pevci, violinisti, flavtisti, lutnjisti, čembalisti, cinkisti, pozavnisti, igralci, plesalci in jazzovskim saksofonistom Vaskom Atanasovskim. Nastopil je na festivalih v Sloveniji, Italiji, Nemčiji in Španiji. Leta 2005 je posnel spored slovenske baročne glasbe za Radio Slovenija in Muzikološki inštitut ZRC SAZU, leta 2009 pa zgoščenko sonat Giuseppeja Tartinija z violinistom Žigo Faganelom. V letu 2012 je izšla zgoščenka s posnetki koncertov prve sezone cikla HARMONIA CONCERTANS – Stara glasba na Novem trgu. Žiga Faganel je študiral violino pri Alice Schoenfeld na glasbeni šoli Thornton Južnokalifornijske univerze v Los Angelesu. Izpopolnjeval se je predvsem pri Rainerju Küchlu in Petru Götzlu v Avstriji. Potrdil se je na več tekmovanjih, tudi kot član godalnega kvarteta Tetraktys. Bil je koncertni mojster slovenskih in mednarodnih mladinskih orkestrov in je zdaj član Orkestra Slovenske filharmonije in Godalnega kvarteta Slovenske filharmonije. Leta 2009 je s Tomažem Sevškom in Domnom Marinčičem posnel zgoščenko violinskih sonat Giuseppeja Tartinija. Zadnja leta veliko nastopa z ansamblom musica cubicularis (festival Choregie, Festival Velenje, Avditorij Portorož, Fantazije pod Celjskim stropom, Zvoki klasike na Ljubljanskem gradu, Dnevi stare glasbe, Festival Radovljica, HARMONIA CONCERTANS – Stara glasba na Novem trgu). Igra baročno violino neznanega južnonemškega mojstra iz prve polovice 18. stoletja, ki so jo pred nedavnim restavrirali in jo vrnili v izvirno stanje. Domen Marinčič je študiral violo da gamba pri Hartwigu Grothu v Nürnbergu in pri Philippu Pierlotu na Visoki šoli za glasbo Trossingen. Poleg tega je z odliko diplomiral iz čembala in končal podiplomski študij generalnega basa pri Albertu Rinaldiju. Leta 1997 je dobil najvišjo nagrado na 1. mednarodnem tekmovanju Bach-Abel v nemškem Köthnu. Soustanovil je slovenski ansambel za staro glasbo musica

cubicularis in zavod Harmonia Antiqua Labacensis. Več let je bil član belgijskega ansambla Ricercar Consort, zdaj pa veliko sodeluje z ansamblom Ensemble Phoenix Munich in flavtistom Stefanom Temminghom. Nastopa na uveljavljenih festivalih po vsej Evropi (Avstrija, Belgija, Češka, Danska, Finska, Francija, Hrvaška, Italija, Nemčija, Poljska, Slovaška, Slovenija, Španija, Švica) in je sodeloval pri snemanju več kakor dvajsetih zgoščenk za založbe, kot so Harmonia Mundi France, Aeolus, Ricercar in Oehms Classics. Tomaž Sevšek je študiral orgle pri Zsigmondu Szathmáryju in čembalo pri Robertu Hillu na Visoki šoli za glasbo v Freiburgu. Eno leto se je v okviru izmenjave dodatno izobraževal na Eastman School of Music v Rochestru (ZDA) pri Davidu Higgsu in Arthurju Haasu. Leta 2003 je v Freiburgu končal podiplomski študij orgel in diplomiral iz čembala. Uspešno koncertira doma in v tujini (Nemčija, Avstrija, Italija, Francija, Španija, ZDA) in redno sodeluje s Komornim godalnim orkestrom Slovenske filharmonije. Več let je deloval kot strokovni tajnik komisije TEMSIG (Tekmovanja mladih slovenskih glasbenikov) in predsednik Slovenskega orgelskega društva. Soustanovil je slovenski ansambel za staro glasbo musica cubicularis in zavod Harmonia Antiqua Labacensis. V zadnjih letih se ukvarja tudi s klavikordom in pozabljenim glasbilom – francoskim koncertnim harmonijem (Harmonium d’Art). About the programme Dieterich Buxtehude was born in Denmark. In 1660 he was appointed organist at the German church in Elsinore, and eight years later succeeded Franz Tunder as organist of St. Mary’s church in Lübeck. His only major publications during his lifetime were two sets of ensemble sonatas for violin, bass viol and harpsichord continuo. The Jesuit polymath Athanasius Kircher included sonatas among the genres associated with the stylus phantasticus, and Buxtehude’s sonatas embody this style to an even greater extent than his organ praeludia. Most Italian sonatas written in the last decades of the 17th century are cast in four movements, but Buxtehude’s are totally unpredictable. One can expect at least two orderly, structured sections within each sonata, but these might be a fugue, a variation set or a dance. The improvisatory style of some sections and the seemingly haphazard overall arrangement, however, are carefully planned in order to form an organic unity. About ensemble Begun as a trio in 2004, musica cubicularis soon developed into a dynamic period-instruments ensemble of flexible size. Their main interest lies in 17th and 18th century music and their programmes often include lesser-known music and works still unavailable in modern editions. The ensemble has appeared at festivals in Slovenia, Italy, Germany and Spain, collaborating with singers, violinists, lutenists, harpsichordists, flutists, recorder players, cornettists, sackbut players, dancers, actors and a jazz saxophonist. Their first recording project was a programme of Slovenian baroque music for Radio Slovenia and the Musicological Institute of the Slovenian Academy of Sciences and Arts. In 2009 this was followed by a CD of Tartini’s violin sonatas with violinist Žiga Faganel. Their newest CD features live recordings from the first season of the concert series HARMONIA CONCERTANS – Early Music on the New Square.

Žiga Faganel studied the violin with Alice Schoenfeld at the Thornton School of Music of the USC University in Los Angeles. He perfected his skills with Rainer Küchl and Peter Götzl in Austria. He has proven himself in several competitions, also as a member of the string quartet Tetraktys. He was concertmaster of Slovenian and international youth orchestras and is now a member of the Slovenian Philharmonic Orchestra and of the String Quartet of the Slovenian Philharmonic. In 2009 he recorded a CD of violin sonatas of Giuseppe Tartini together with Tomaž Sevšek and Domen Marinčič. In recent years he has been performing with the ensemble musica cubicularis (Choregie Festival, Velenje Festival, Portorož Auditorium, Fantasies under the Celje Ceiling, Sounds of Classical Music at the Ljubljana Castle, Days of Early Music, SEVIQC Brežice, Radovljica Festival, HARMONIA CONCERTANS – Early Music on the New Square). He plays a baroque violin made by an anonymous South German violin maker in the first half of the 18th century and recently restored to original condition. Domen Marinčič studied viola da gamba with Hartwig Groth in Nuremberg and with Phillippe Pierlot at the Hochschule für Musik Trossingen. Furthermore, he graduated with honours in harpsichord and finished postgraduate studies in thorough bass with Alberto Rinaldi. In 1997 he received the highest award at the First International Viola da Gamba Competition Bach-Abel in Köthen, Germany. He co-founded the Slovenian ensemble for early music musica cubicularis and the Harmonia Antiqua Labacensis institute. For many years he was a member of the Ricercar Consort (Belgium) and now regularly collaborates with the Ensemble Phoenix Munich and the recorder player Stefan Temmingh. He performs at established festivals throughout Europe (Austria, Belgium, the Czech Republic, Denmark, Finland, France, Croatia, Italy, Germany, Poland, Slovakia, Slovenia, Spain, Switzerland) and has recorded more than twenty CDs for labels such as Harmonia Mundi France, Aeolus, Ricercar and Oehms Classics. Tomaž Sevšek studied organ with Zsigmond Szathmáry and harpsichord with Robert Hill at the Musikhochschule Freiburg. He later enrolled at the Eastman School of Music, Rochester NY, where he studied organ with David Higgs and harpsichord with Arthur Haas. In 2003 he finished post-graduate organ studies in Freiburg and graduated in harpsichord. He successfully performs at home and abroad (Germany, Austria, Italy, France, Spain, USA) and regularly collaborates with the Chamber String Orchestra of the Slovenian Philharmonic. For many years he was active as secretary general of TEMSIG (Slovenian Competitions of Young Musicians).and as president of the Slovenian Organ Society. He co-founded the Slovenian ensemble for early music musica cubicularis and the Harmonia Antiqua Labacensis institute. In recent years he has also been studying a forgotten instrument – the French concert harmonium (Harmonium d’Art).


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O programu Program predstavlja nekaj najlepših odlomkov iz Purcellove Vilinske kraljice (1692), ki se tesno vežejo na Shakespearov Sen kresne noči (ok. 1590). Suzana Ograjenšek (sopran) je študirala muzikologijo na univerzah v Ljubljani in Cambridgeu, pevsko pa se izobražuje pri priznanih pedagogih Diane Forlano, Joy Mammen in Césarju Uollu. Sodelovala je z vodilnimi dirigenti baročne glasbe, Williamom Christiejem, Ivorjem Boltonom in Christopherjem Hogwoodom. Mednarodno se je prvič predstavila na Festivalu v Aix-en-Provence leta 2008 v Purcellovi Vilinski kraljici pod taktirko Williama Christieja, sledili so nastopi v Narodnih operah v Strasbourgu in Bordeauxu (Händlov Jefta), Kraljevem gledališču v Madridu (Monteverdijevo Kronanje Popeje) ter v Theater an der Wien na Dunaju (Monteverdijev Orfej), letos pa jo čaka nastop v Narodni operi v Amsterdamu (Gluckova Armida). V Sloveniji se je dvakrat predstavila na Festivalu Brežice, leta 2007 z lastnim baročnim triom La Falsirena in programom Händlovih kantat, leta 2009 pa z godalnim kvartetom Fitzwilliam in programom Haydnove glasbe. Sodelovala je tudi s simofničnim orkestrom RTV Slovenija in Urošem Lajovicem ter z okestrom Hiše kulture Celje pod vodstvom Simona Dvoršaka. Njena diskografija vsebuje DVD Monteverdijeve Popeje iz Kraljevega gledališča v Madridu pri založbi Virgin Classics, Miserere J. K. Dolarja s Simfoničnim orkestrom RTV Slovenija pri ZKP RTV Slovenija, za arhiv Radia Slovenija pa je s pianistko Urško Babič posnela repertoar skladb slovenskega skladatelja Rista Savina. Barbara De Costa je z odliko diplomirala na Univerzi za glasbo in upodabljajočo umetnost v Grazu pri prof. Ottu Brucknerju, podiplomsko izobraževanje na smeri orgle in instrumentalna pedagogika pa zaključila pri prof. Karin Tausch. Na področju čembala in stare glasbe se je izobraževala pri Konstanze Rieckh na deželnem konzervatoriju Johann-Josef-Fux v Grazu. Je dobitnica nagrad na državnih in evropskih tekmovanjih mladih glasbenikov, kot solistka koncertira doma in v tujini, sodeluje z Orkestrom RTV Slovenija (Taras Buljba, Bachov Pasijon po Janezu), v zadnjem času pa se posveča predvsem komorni glasbi in igranju continua v različnih zasedbah. Z Norino Radovan, sopran, in Tiborjem Kerekešem, trobenta, je kot trio Exultet med drugim sodelovala na Festivalu Histria v Puli ter na Varaždinskih baročnih dnevih, kjer so izvajali serijo koncertov v različnih cerkvah. Kot solistka in v komornih skupinah pa je igrala v petih sezonah Slovenskega orgelskega ciklusa. Kaja Kapus, violončelo, je leta 2009 z odliko diplomirala na Akademiji za glasbo v Ljubljani v razredu Igorja Škerjanca, potem ko je 4. letnik opravila v okviru študijske izmenjave na Visoki šoli umetnosti Zürich pri Susanne Basler. Na baročnem violončelu se je izpopolnjevala pri Martinu Zellerju, Markusu Möllenbecku, Wernerju Matzkeju, Kristin von der Goltz in Jaapu ter Lindnu. Je študentka podiplomskega študija baročnega violončela, smer Master of Music, na Državni visoki šoli za glasbo Trossingen v Nemčiji v razredu Wernerja Matzkeja. Na Visoki šoli umetnosti Zürich je pod vodstvom Jill Feldman sodelovala pri izvedbi opere La Purpura de la Rosa Tomasa de Torrejona y Velasca. Na

povabilo Akademije za glasbo v Ljubljani je sodelovala pri slovenski praizvedbi Monteverdijevih Večernic blažene Device. Z baročno skupino Ensemble La Pace je imela koncerte po Sloveniji, v Švici in Italiji. Sodelovala je pri koncertnih izvedbah Purcellove opere Dido in Enej v produkciji Vokalne akademije Ljubljana. Omenjena izvedba opere je maja 2012 izšla v obliki zgoščenke, istega meseca pa jo je posnela tudi Televizija Slovenija. About the programme The programme presents some of the most beautiful fragments of Purcell’s The Fairy Queen (1692), which are closely linked to Shakespeare’s A Midsummer Night’s Dream (about 1590). Suzana Ograjenšek (soprano) studied musicology at Universities of Ljubljana and Cambridge, and continues her singing studies with Diane Forlano, Joy Mammen and César Uolla. She has worked with leading baroque conductors, William Christie, Ivor Bolton and Christopher Hogwood. Her first international appearance at the 2008 Aix-en-Provence Festival in Purcell’s The Fairy Queen (with William Christie) was followed with subsequent engagements at the National Operas in Strasbourg and Bordeaux (Handel’s Jephtha), Teatro Real in Madrid (Monteverdi’s Coronation of Poppea) and Theater an der Wien (Monteverdi’s Orfeo); this year she will sing at Het Muziektheater in Amsterdam (Gluck’s Armide). In Slovenia, she has twice performed at the Brežice Festival: in 2007 with her own baroque trio La Falsirena and a programme of Handel cantatas, and in 2009 with the Fitzwilliam String Quartet and Haydn songs and Lieder. She has also collaborated with the Radio Slovenia Symphony orchestra and Uroš Lajovic, and with the Orchestra of the House of Culture in Celje and Simon Dvoršak. Her discography includes a DVD of Monteverdi’s Poppea from Teatro Real in Madrid on Virgin Classics, J.K. Dolar’s Miserere with the RTV Slovenia Symphony Orchestra on the RTV Slovenia record label, and she has recorded a repertoire of songs by the Slovene composer Risto Savin for the Radio Slovenia archive with the pianist Urška Babič. Barbara de Costa graduated with honours from the University of Music and Performing Arts Graz in the class of Prof. Otto Bruckner, and completed her postgraduate training in organ and pedagogy of music instruments with Prof. Karin Tausch. She also studied harpsichord and early music with Konstanze Rieckh at the Johann-Josef-Fux Conservatory in Graz. She has received several awards at national and European competitions of young musicians. She performs as a soloist in Slovenia and abroad, collaborates with the RTV Slovenia Symphony Orchestra (Taras Bulba, Bach’s Johannespassion), and has lately devoted herself to chamber music and continuo performance in various ensembles. As a member of trio Exultet (with Norina Radovan, soprano, and Tibor Kerekeš, trumpet) she has taken part at the Histria Festival in Pula and at the Varaždin Baroque Days, where they performed a series of concerts in various churches. She has also participated in five seasons of the Slovene Organ Cycle, both as a soloist and as a member of chamber groups. Kaja Kapus, cello, graduated with honours from the Academy of Music in Ljubljana in the class of Igor Škerjanec, having completed her 4th year at a study exchange at the Hochsschule der Künste in Zürich with Susanne

Basler. She has also taken masterclasses in baroque ’cello with Martin Zeller, Markus Möllenbeck, Werner Matzke, Kristin von der Goltz and Jaap ter Linden. Currently she is studying for a postgraduate Master of Music degree in baroque ’cello at the Staatliche Hochschule für Musik in Trossingen, Germany, in the class of Wener Matzke. At the Hochsschule der Künste in Zurich she participated in the performances of the opera La Purpura de la Rosa by Tomaso de Torrejone y Velasco. At the invitation of the Academy of Music in Ljubljana, she took part in the first Slovene performance of Monteverdi’s Vespers. As a member of baroque Ensemble La Pace she has given concerts in Slovenia, Switzerland and Italy. She also took part in the concert performances of Purcell’s Dido and Aeneas, in the production of Vocal Academy Ljubljana. The recording of this production was published on a CD in 2012 and was recorded by TV Slovenia in the same month.


Seviqc Brežice Evropski dan stare glasbe / European Day of Early Music Ljubljana, 21.3.2013 Izdal / Published by: Ars Ramovš zavod za umetnost, marketing, promocijo in investiranje, Ljubljana Urednik / Editor: Žan Cimerman Oblikovanje / Design: David Hosta Prevodi / Translations: Lea Gunc, Jezikomat, Mojca Premrl, s.p., Ars Ramovš Jezikovni pregled / Language editing: Vera Lamut, Ars Ramovš Tisk / Printing: Eurograf d.o.o.


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Evropski dan stare glasbe / European Day of Early Music