Edin Karamazov

Vljudno vabljeni na dva koncerta virtuoza na lutnji:

Edin Karamazov

Johann Sebastian Bach

Izvirna glasba za violino in elo v priredbi za lutnjo

etrtek, 13. 8. 2015, 20:30Kostanjevica na Krki, Nekdanji cistercijanski samostanFestivalski predtakt: pogovor z umetnikom in ogled lokacije ob 19:30Festibus: 18:00 LJU ( 10,00 EUR)

Petek, 14. 8. 2015, 20:30Celje, Stara grofijaFestivalski predtakt: pogovor z umetnikom in ogled lokacije ob 19:30Festibus: 18:15 LJU ( 10,00 EUR)

Sting & Edin Karamazov:John Dowland - Come Again

Komentar programa

Transkripcije, predelave, transpozicije in priredbe so bile del baronega glasbenega ivljenja in Bach je bil z njimi dobro seznanjen. Njegov sodobnik je dejal, da je Bach na primer igral Sonate in partite za solo violino na embalo, pri emer je dodal toliko harmonije ali basov, kot se mu je zdelo potrebno. Poleg tega imamo primere Bachovih priredb tako tujih kot lastnih skladb. Bach torej za lutnjo ni pisal novih del posebej za ta instrument, temve je predeloval svoje skladbe, ki so e obstajale, v druge oblike. Edin Karamazov si tako ne prizadeva, da bi neskonno dokazoval, da so takoimenovane Bachove skladbe za lutnjo zares izvorno namenjene za ta instrument, temve raje vzame dela za solo violino ali elo in jih spremeni v nove skladbe za lutnjo. Pri tem se (kolikor je mono) dri izvirnih zapisov, glasbene namembnosti, fraziranja in artikulacije, a jih hkrati priredi na lutnji lasten nain, tako da so prijetne za igranje in posluanje.

O projektu

Edin Karamazov se raje izogne besedni zvezi priredbe za lutnjo izvirnih skladb za violino ali elo in uporablja, kot meni, ustrezneje poimenovanje: razliice za lutnjo skladb, ki temeljijo na razliicah za violino ali elo. Same razliice skladb za violino ali elo namre pogosto ne izvirajo iz teh intrumentov, temve iz nekega glasbenega ideala, ki presega kateri koli intrument. Nekatere skladbe programa je za druge intrumente priredil e Bach ali njegovi glasbeni kolegi, vkljuno z njegovim sinom in zetom, zato se izvedba teh del na lutnji zdi povsem naravna. Zanimiva je anekdota nekega Bachovega sodobnika o tem, kako je Bach zveer pogosto sedel za klavikord in igral Sonate in partite za violino ter improviziral glasove in harmonije, ki jih na violino ni mogoe izvesti. Za lutnjista je izbira klavikorda razumljiva, saj je ta izmed vseh glasbil s tipkami po glasbenem jeziku najbliji lutnji, kar se tie udarca, dinamike in intimnosti. Gre za projekt, ki je izredno ustvarjalen in navduujo, kajti ko glasbenik preigra toliko Bacha, umetniko in nekoliko tudi drugae ivi na neki drugi eksistenni ravnini. Konno, kot je dejal Stravinski: Bach je na najveji evropski skladatelj, s imer bi se skoraj vsakdo lahko strinjal . V Sonatah in partitah ali v Suitah za elo je toliko primerov, zlasti v kontrapunktinih pasaah, kjer se zdi, da glasba ni za violino, ampak proti violini. Violinist se mora pogosto ukvarjati le z okornim vodenjem loka, poskusiti hkrati igrati razline glasove z lokom, ki je v prvi vrsti namenjen igranju ene linije na eni struni. eprav sicer obstajajo primeri polifoninega igranja na violino iz Nemije iz asa pred Bachom, je oitno, da so Sonate in Partite v veliko pogledih prezahtevne za glasbilo. Karamazov vsekakor meni, da je vredno prisluhniti mirnejemu in manj nasilnemu pristopu k tej glasbi, ki ga lahko omogoa lutnja.

O umetniku

Edin Karamazov se je rodil leta 1965 v Zenici, Bosna in Hercegovina. Bil je varovanec Sergia Celibidacheja in je zael svojo glasbeno kariero kot klasini kitarist, nato pa je tudiral barono lutnjo pri Hopkinsonu Smithu na glasbeni akademiji Schola Cantorum Basiliensis v Baslu, vica.

Kot lutnjist-solist je Karamazov debitiral leta 1998, ko je v zadnji minuti nadomestil legendarnega Juliana Breama. Od takrat se je uveljavil kot najbolj zanimiv in karizmatien lutnjist dananjega asa. Njegovi navduujoi in virtuozni nastopi na lutnji in kitari ter repertoar, ki sega od klasikov 16. stoletja do sodobne glasbe, so deleni najvijih ocen in pohval brez primere od kritikov v Evropi in Ameriki. Kot solist je nastopil in snemal z vodilnimi mednarodnimi ansambli in umetniki stare glasbe, kot so Hilliard Ensemble, Hesprion XX, Andreas Scholl, pa tudi s Stingom. Edin Karamazov, edinstven interpret in mojster tevilnih starih in sodobnih strunskih intrumentov, je nastopil na mnogih velikih odrih, kot so Concertgebouw v Amsterdamu, Wigmore Hall v Londonu, Philharmonie v Berlinu in Konzerthaus na Dunaju, e jih omenimo le nekaj. e vedno pa tako kot v mladih letih uiva v impromptu nastopih na ulici.

Njegova diskografija pri zalobi Decca zajema ploi A Musical Banquet in Wayfaring Stranger, obe z Andreasom Schollom. Prva je zbirka skladb za lutnjo, druga pa zbirka ljudskih pesmi. Z izjemno uspenim albumom s Stingom, Songs from the Labyrinth, ki je izel pri Deutsche Grammophon, ni postal le svetovno in izvenanrsko slaven, temve je obudil tudi renesanso lutnje v 21. stoletju. Njegova zadnja ploa pri Decci je prejela odline kritike. The Lute is a Song vkljuuje solo skladbe J. S. Bacha, Lea Brouwerja, Zambonija in Domeniconija ter Hndlove arije z Andreasom Schollom, Purcellove z Rene Fleming, tradicionalno makedonsko pesem z makedonsko pevko in avtorico Kaliopi in skladbo, ki so nastala v sodelovanju s Stingom.

Edin Karamazov igra na ve brenkal iz razlinih kultur in obdobij ter ostaja zavezan raziskovanju rabe lutnje v sodobni glasbi in sodobnih improvizacijskih kontekstih. Poleg solistinih nastopov uiva tudi ob spremljanju pevcev razlinih slogov in tradicij.

Vstopnice:Ars Ramov: E: info@k-ramovs.si, W: www.seviqc-brezice.si in Eventimova prodajna mestawww.eventim.si

Kostanjevica na Krki, Nekdanji cistercijanski samostan

V letu 1234 ustanovljeni Cistercijanski samostan Marijin Studenec je do ukinitve v letu 1785 predstavljal sredie religioznega, prosvetiteljskega, in gospodarskega ivljenja.

Dananja podoba cisterce je rezultat tevilnih posegov v njeno stavbno substanco. Prvotno podobo je v dananji as e v najveji meri ohranila samostanska cerkev, ki predstavlja enega najlepih primerov zgodnjegotske in kasneje barokizirane arhitekture na Slovenskem. Ob koncu 19. stoletja zasledimo prva opozorila o vrednosti nekdanje samostanske cerkve in celotnega samostanskega kompleksa, ki so v 20. stoletju privedli do raziskav stavbe in narta prenove.

Leta 1974 je v prvih obnovljenih prostorih zaivela Galerija Boidar Jakac, ki z umetnostnimi zbirkami ter likovnim in kulturnim programom oivlja ta izjemni kulturni spomenik in njegovo okolico. Za prostor desakralizirane samostanske cerkve uveljavljeni domai in tuji umetniki v okviru programov umetnostnega muzeja pripravljajo avtorske razstavne projekte, ki so deleni velike pozornosti strokovne in laine javnosti. Ve >>>

Celje, Stara Grofija

Najlepa renesanna stavba v mestu je bila zgrajena med letoma 1580 in 1603 ob junem delu mestnega obzidja. Stavbi so v zaetku 17. stoletja dodali e arkadne hodnike. V 30. letih 20. stoletja so ob obnovitvenih delih odkrili znameniti Celjski strop. Po drugi svetovni vojni je v njej svoje domovanje nael Pokrajinski muzej Celje.Muzej nudi prostor stalnim in obasnim razstavam. Z obiskom kulturnozgodovinske razstave se obiskovalci sprehodijo skozi as od srednjega veka do 20. stoletja. Med drugim si lahko pogledajo tudi razstavo o Almi M. Karlin, znameniti Celjanki, svetovni popotnici in pisateljici.

Celje je prijetno mesto ob Savinji, obdano z grii in nizkimi vzpetinami. Ponaa se z bogato naravno in kulturno dediino ter z izjemno zgodovino, ki je doivela svoj razcvet v asu dinastije grofov Celjskih.

Ugodne naravne razmere so e v predrimski, posebno pa v rimski dobi nudile prebivalcem dobre monosti za ivljenje. To je bil eden od razlogov, da se je na vzhodnem delu Spodnje Savinjske doline, ob njeni najniji toki, e v halstattski in kasneje v keltski dobi razvila prva mestna naselbina, imenovana Keleia.Ve >>>

English

Edin Karamazov

You are kindly invited to attend two concerts under the hands of lute virtuoso:

Edin Karamazov

Johann Sebastian Bach

Original violin & original cellomusic transcribed for lute

Thursday, 13. 8. 2015, 20:30Kostanjevica na Krki, Former Cistercian MonasteryThe Festival upbeat: Conversation with the artist at 19:30Festibus: 18:00 LJU ( 10,00 EUR)

Friday, 14. 8. 2015, 20:30Celje, Old Count`s MansionThe Festival upbeat: Conversation with the artist at 19:30Festibus: 18:15 LJU ( 10,00 EUR)

Sting & Edin Karamazov:John Dowland - Come Again

Transcriptions, re-workings, transpositions and arrangements were part of baroque musical life and Bach was no stranger to these practices. A contemporary commented that Bach would play the solo violin Sonatas and Partitas on the harpsichord adding as much in the way of harmony or basses that he found necessary. We have examples of Bachs arrangements of other peoples compositions as well as his own. When Bach wrote for the lute he did not write new works especially for the instrument but reworked compositions of his that already existed in other forms. Instead of labouring over perpetuating the idea that the so-called lute pieces of Bach are proper lute pieces Edin Karamazov prefers to take the works for unaccompanied violin or cello and make them into new works for lute, keeping (as much as possible) to the original text, musical intention, phrasing and articulation, yet transforming them in a way particular to the lute so that they are satisfying to play and to hear.

About the project

Edin Karamazov prefers not to use the words lute transcriptions of the originals for violin or cello. but circumvents the issue by saying lute versions of pieces based on the violin/cello versions. The violin or cello versions themselves are so often not born on the instruments themselves, but come from some musical ideal above and beyond any instrument. In Bachs lifetime, some of these works were adapted for other instruments by Bach himself and by instrumentalists in his circle, including his son and son-in-law. So it seems a natural extension of these works to try them on the lute. Theres an interesting anecdote, related by a contemporary of Bach, that often in the evenings he would sit down at the clavichord and play the Sonatas and Partitas for Violin, extemporizing the voices and harmonies which are impossible on the violin. Its no mystery to a lute player why he would choose the clavichord because of all the keyboard instruments this is the one with the musical language closest to the lute in terms of touch, dynamics and intimacy. This is an extremely creative and gratifying project because when one is playing so much Bach, one sort of lives artistically and a little bit in some other way on a different plane of existence. After all, as Stravinsky said, Bach is our greatest European composer, something with which almost anyone would agree. There are so many instances in the Sonatas and Partitas or in Cello Suites, especially in contrapuntal passages, where the music seems to be almost not for the violin, but against the violin. Often the violinist is reduced to an awkwardness of bowing, trying to play different voices at the same time with a bow primarily intended for playing a single line on a single string. Although there are other examples of polyphonic playing on the violin from Germany in the generation before Bach, the demands of the Sonatas and Partitas really seem to go beyond the instrument in several cases. All in all, Karamazov thinks that it is worth listening to the more peaceful approach, the more non-violent approach that the lute can bring to these works.

About the artist

Edin Karamazov was born in 1965 in Zenica, Bosnia and Herzegovina. A protg of Sergiu Celibidache, he began his musical career as a classical guitarist before taking up the Baroque lute, which he studied with Hopkinson Smith at the Schola Cantorum Basiliensis in Basle, Switzerland.

Karamazov made his solo debut as a lutenist in 1998, stepping in at the last minute for the legendary Julian Bream. Since then he has established himself as todays most exciting and charismatic player of the lute. His thrilling virtuoso performances on the lute and guitar, with a repertoire that ranges from 16th-century classics to the music of today, have garnered rave reviews and unprecedented critical acclaim in Europe and America. As a soloist he has performed and recorded with leading international early music ensembles and artists including the Hilliard Ensemble, Hesprion XX, Andreas Scholl as well as Sting. A consummate interpreter and master technician on numerous early and contemporary stringed instruments, outstanding recital artist Edin Karamazov has appeared at numerous major venues, including the Amsterdam Concertgebouw, Londons Wigmore Hall, Berlins Philharmonie, and Viennas Konzerthaus, among many others. Looking back to his early days, he continues to enjoy giving impromptu performances on the street.

His discography for Decca includes the CDs A Musical Banquet a collection of lute songs with Andreas Scholl and Wayfaring Stranger folksongs with Andreas Scholl. The highly successful album Songs from the Labyrinth with Sting, released on Deutsche Grammophon, has not only made him a household name far beyond the confines of the early-music world but also launched a new lute renaissance for the 21st century. His latest recording for Decca has been released to great acclaim: The Lute is a Song comprises solo works by J. S. Bach, Leo Brouwer, Zamboni and Domeniconi as well as arias by Handel with Andreas Scholl, Purcell with Rene Fleming, a traditional Macedonian song with Macedonian singer and songwriter Kaliopi, and a work by and with Sting.

Edin Karamazov plays several plucked instruments of various cultures and epochs and remains committed to exploring the use of lutes in modern music and contemporary improvisational contexts. In addition to his solo career he enjoys accompanying singers in different styles and backgrounds.

Tickets:Ars Ramov: E: info@k-ramovs.si, W: www.seviqc-brezice.si and Eventim ticket outlets

Kostanjevica na Krki, Former Cistercian Monastery

In 1234 established Cistercian monastery of Mary Studenec till the abolition in 1785, represented a center of religious, Enlightenment, in economic life.

Today's image of cisterce is the result of numerous interventions in Its architectural substance. The original image against today's time is largely preserved monastery church, which is one of the finest examples of early Gothic and later baroque style architecture in Slovenian. At the end of the 19th century, we can see one of the first warnings about the value of the former monastery church and the entire monastery complex, which led to research volume and the renovation plan in the 20th century.

In 1974 is in the first refurbished premises flourish art of Boidar Jakac, with art collections, art and the cultural program revives this exceptional cultural monument and its surroundings. For space of desacralized monastery church, established home and foreign artists, in the context of programs of Art Museum, are preparing copyright exhibition projects, which are also received with a lot of attention in professional lay public. More >>>

Celje, Old Count`s Mansion

This most beautiful Renaissance building in the town was built between 1580 and 1603 on the southern side of the city walls. At the beginning of the 17th century it was further embellished by arched hallways, and during the 1930s restoration its aesthetic value was increased by the discovery of the famous Celje ceiling. Since the end of WWII, it accommodates the Celje Regional Museum, which holds permanent and temporary exhibitions. Its cultural-historical exhibition is a walk through time from the Middle Ages to the 20th century, while the exhibition on Alma M. Karlin enables visitors to learn about this worldwide traveller, writer and distinguished woman from Celje.

Celje is a pleasant city by the Savinja river, encircled by rolling hills. It prides itself on a vast natural and cultural heritage and remarkable history that especially flourished during the times of the Counts of Cilli.

Owing to favourable environmental conditions people settled in this area already during the pre-Roman and more so in the Roman period. The first settlement named Keleia emerged at the most southern end of the eastern Lower Savinja Valley already at the time of the Hallstatt and Celtic cultures.

Nowadays, Celje has about 49,000 inhabitants. More >>>

Podpirajo nas / We are supported by: Eventim SI d.o.o., druba za proizvodnjo in prodajo elektronskih vstopnic (Ljubljana, SI), Galerija Boidar JakacKostanjevica na Krki (Kostanjevica na Krki, SI),Ines Tours turistina agencija, d.o.o., Ljubljana (Ljubljana, SI), Javna agencija Republike Slovenije za spodbujanje podjetnitva, inovativnosti, razvoja, investicij in turizma (Ljubljana, SI), Mestna obina Celje (Celje, SI),Ministrstvo za kulturo (Ljubljana, SI),Pokrajinski muzej Celje (Celje, SI),Radiotelevizija Slovenija javni zavod, Ljubljana (Ljubljana, SI), Rseau Europen de Musique Ancienne (Versailles, FR), SIGIC - slovenski glasbenoinformacijski center, drutvo (Ljubljana, SI), Slovenska akademija znanosti in umetnosti (Ljubljana, SI), S - potniki promet, d.o.o. (Ljubljana, SI)

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