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S e z o n a • S e a s o n 2 o 1 1 − 2 o 1 2

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NC

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ORICA

dirigent • conductor

GINTER PIHLER GUNTER PICHLER

EJAL EIN-HABAREYAL EIN-HABAR

solista • soloist

[Austrija • Austria]

flauta | flute[Izrael • Israel]

VELIKA SCENA CRNOGORSKOG NARODNOG POZORIŠTA GREAT HALL OF MONTENEGRIN NATIONAL THEATREPETAK,10. FEBRUAR 2012. U 20 ČASOVA FRIDAY, 10 TH FEBRUARY 2012 AT 20:00

GENERALNI SPONZOR CRNOGORSKOG SIMFONIJSKOG ORKESTRA GENERAL SPONSOR OF MONTENEGRIN SYMPHONY ORCHESTRA

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ĐOAKINO ROSINIGIOACHINO ROSSINISeviljski berberin, uvertiraThe barber of Seville, overture

VOLFGANG AMADEUS MOCARTWOLFGANG AMADEUS MOZARTKoncert za flautu i orkestar, br.1, KV 313, G-durConcerto for Flute and Orchestra, No1, KV 313, G Major

Allegro maestosoAdagio ma non troppoRondo: Tempo di menueto

p a u z a • i n t e r m i s s i o n

VOLFGANG AMADEUS MOCARTWOLFGANG AMADEUS MOZARTSimfonija, br. 36, KV425, C-dur „Linc”Symphony, No 36, KV425, C Major “Linz”

Adagio – Allegro spiritosoPoco adagioMenuettoFinale (Presto)

MEDIJSKI SPONZORMEDIA SPONSOR

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The Italian composer GIOACHINO ROSSINI (1792–1868) attended the Conservatoire in Bologna from 1806 to 1810, and besides this he studied by himself the scores of J. Haydn, W. A. Mo­zart, D. Cimarosa and G. Paisiello. Gifted with outstanding inventiveness, he composed easily and quickly. During two decades of his creative work, apart from instrumental and vocal-instrume-ntal works, G. Rossini wrote around 40 music-stage compositions. Boldly vio-lating the conventions by introducing stage realism and psychological char-acterizations of his personages, he cru-cially influenced further development of Italian opera in XIX century. In 1816 he composed three comic operas: The Barber of Seville, Cinderella and The Thieving Magpie.

Libretto for the Barber of Seville, opera in two acts, set in Seville in XVIII century, was written by Cezare Sterbini in 1775 based on the comedy by Piero Bon­marche bearing the same name. Decid-ing to compose the opera The Barber of Seville, G. Rossini took a very brave step since one of the most popular operas of that time by G. Paisiello was written based on the same libretto. As opposed to Paisiello’s gentle music coloured by lyrical sentimentalism, Rossini’s music is “live, loud, of bright and light colours“ and it not only suits Bonmarche’s text but also faithfully interprets it. The fact that it was created in only twenty days, witnesses the composer’s unparalleled inventiveness and the then demand-

Italijanski kompozitor ĐOAKINO ROSI-NI (1792–1868) od 1806. do 1810. go-dine je pohađao Konzervatorijum u Bolonji, a pored toga sam je proučavao partiture J. Hajdna, V. A. Mocarta, D. Čimaroze i Đ. Paizijela. Obdaren izra-zitom inventivnošću, komponovao je lako i brzo. Tokom dvije decenije stva-ralačkog rada, pored instrumentalnih i vokalno-instrumentalnih djela Đ. Rosi-ni je napisao oko četrdeset muzičko-scenskih kompozicija. Smjelo kršeći konvencije uvođenjem scenskog reali-zma i psihološke karakterizacije likova presudno je uticao na dalji razvoj itali-janske opere u XIX vijeku. Godine 1816. komponovao je tri komične opere: Seviljski berberin, Pepeljuga i Svraka kradljivica.

Libreto za Seviljskog berberina, dvo-činu operu, čija se radnja odvija u Sevilji u XVIII vijeku, napisao je Ćezare Ster­bini prema istoimenoj komediji Pjera Bomaršea iz 1775. godine. Odlukom da komponuje operu Seviljski berberin, Đ. Rosini je učinio veoma smio korak jer je na isti libreto bila napisana jedna od najpopularnijih opera Đ. Paizi jela. Za razliku od Paizijelove muzike – nježne i obojene lirskim sentimentali-zmom, Rosinijeva je „živa, bučna, jarkih i svijetlih boja” i ne samo da odgovara Bomaršeovom tekstu već je i njegov vjerni tumač. Podatak da je nastala za samo dvadeset dana, svjedoči o ko-mpo zitorovoj nenadmašnoj invenciji kao i zahtjevnosti tadašnjeg operskog tržišta u Italiji. S obzirom na kratak

ing opera market in Italy. Since he had a short period of time at disposal, he had to use earlier composed musical works. Thus he used the Overture for the op-era Aureliano in Palmira, which originat-ed three years earlier. This introductory music, which, owing to the beauty and richness of melody and orchestration, became the standard part of orches-tra repertory, was written in the sonata form and by its character announces the serene atmosphere of the work.

One of the most significant artists in the history of music, WOLFGANG AMADE-US MOZART (1756–1791), composed already at the age of eight and his first compositions originated several years after that (operas Apollo and Hyacin-thus and The Feigned Simpleton). The opus of this composer includes over 600 works of various genres. He com-posed operas, concertos, symphonies, serenades, string quartets, masses, can-tatas...

He was one of the first composers who wrote concertos for wind instruments (flute, clarinet, bassoon, oboe, horn) at the time when they were not yet per-fectioned technically. In autumn 1777 he went to Meinheim where one of the best orchestras in Europe of that time was located, with especially estaeemed flutists, among other Johann­Baptist Wendling. Thus Mozart, during his stay in Meinheim was commissioned to write several compositions for flute (four quartets and three concertos). Concerto for Flute and Orchestra No1 in G Major was composed in 1778. Andante for Flute and Orchestra in C Major KV 315, which originated in 1777 and is included to-

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period koji je imao na raspolaganju, morao je da iskoristi i ranije kompono-vane muzičke numere, pa je tako upo-trijebio Uvertiru koja je nastala tri go-dine ranije, za operu Aurelije u Palmiri. Ova uvodna muzika, napisana u formi sonatnog oblika, svojim karakterom nagovještava vedru atmosferu djela, a zahvaljujući ljepoti i bogatstvu melo-dike i orkestracije postala je standardni dio orkestarskog repertoara.

Jedan od najznačajnijih umjetnika u istoriji muzike VOLFGANG AMADEUS MOCART (1756–1791) je već u jedana-estoj godini komponovao svoje prve opere (Apolon i Hijacint, Bastijen i Basti-jena, Jednostavna prevara), a sa trina-est postao koncertmajstor u orkestru salcburškog nadbiskupa. Opus ovog kompozitora obuhvata preko 600 djela različitih žanrova – komponovao je opere, koncerte, simfonije, serenade, gudačke kvartete, mise, kantate...

Mocart je jedan od prvih kompozitora koji je pisao koncerte za duvačke in-strumente (flautu, klarinet, fagot, obou, hornu) u vrijeme kada oni još nisu bili tehnički usavršeni. Tokom boravka na manhajskom dvoru (1977–1978) gdje se nalazio jedan od najboljih evrop-skih orkestara, dobio je porudžbinu da za čuvenog flautistu Johana­Batistu Vendlinga napiše nekoliko kompozicija (tri koncerta i četiri kvarteta). Koncert za flautu i orkestar br. 1 u G-duru KV 313 komponovan je u februaru 1778. godine. Smatra se da je Andante za flautu i orkestar u C-duru, KV 315, koji se danas ubraja u najpopularnije kom-pozicije za flautu i orkestar, predstavljao alternativni, lagani stav ovog koncerta.

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Simfonijska muzika V. A. Mocarta omo-gućava nam da sa velikom preciznošću pratimo stilski razvoj u njegovom stvaralaštvu, a posebno ukoliko se ima u vidu da je ovaj žanr stvarao u periodu od oko 24 godine (od 1764. do 1788).

Simfoniju br. 36 u C-duru, KV 425, je napisao tokom kratkog boravka u aus-trijskom gradu Lincu, krajem 1783. go-dine, za četiri dana kako bi je prilagodio lokalnoj proslavi. Premijera je održana u Lincu 4. novembra 1783, a u Beču 1. aprila sljedeće godine. Iako se u ovoj kompoziciji naziru klice Don Đovanija i Jupiter simfonije, ona još uvijek pod-sjeća na simfonije kakve je stvarao F. J. Hajdn: lagani sanjalački uvod pr-vog stava, piano nastupi brze teme i očekivani instrumentalni efekti kao što je dupliranje melodijskih dionica u triju menueta. Svaki stav, izuzev menueta, koncipiran je u formi klasičnog sonat-nog oblika.

Jelena Jovanović

day in the most popular compositions for flute and orchestra is considered to have represented the alternative – slow movement of this concert.

Symphonic music of W. A. Mozart ma-kes it possible for us to follow with great precision the development of style in his creation, and especially if one takes into account the fact that he created this genre in the period of around 24 years (from 1764 to 1788).

He wrote Symphony No 36 in C Ma-jor, KV 425, during his short stay in the Austrian town Linz, during four days by the end of 1783, in order to adapt it to a local celebration. The premiere was held in Linz on November 4 1783, and in Vie nna on Apil 1 of the follow-ing year. Even though the seeds of Don Giovanni and Jupiter symphony can be discerned in this composition, it still re-minds of the symphonies created by F. J. Haydn: the slow dreamy introduction of the first movement, piano appearances fast themes and expected instrumen-tal effects such as doubling of melody sections in the trio of the minuet, and each movement, except the minuet, is conceived in the form of classical sonata form.

Jelena Jovanović

PARTNER MUZIČKOG CENTRA CRNE GORE PARTNER OF MONTENEGRIN MUSIC CENTER

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GINTER PIHLER započeo je studije na Univerzitetu za Muziku u Beču 1955. godine. U 18 godini postao je vođa Bečkog simfonijskog orkestra a tri go-dine nakon toga bio je angažovan od strane Herberta fon Karajana kao vođa Bečkog filharmonijskog orkestra.

Od 1963. bavi se pedagoškim radom: kao profesor na Univerzitetu za muziku u Beču i gostujući profesor na Hoschule fuer Music u Kelnu (od 1993). Tokom 2007. bio je šef odsijeka za gudače na Međunarodnom institutu za kamernu muziku u Madridu. Kao profesor sud-jelovao je u brojnim međunarodnim ljet-njim školama.

Godine 1969. dobio je nagradu „Mo-zart Interpretation Prize“ a 1970. je os-novao Alban Berg kvartet u kojem je bio prvi violinista.

Dirigovao je Royal Flanders filhar-monijom, Novom simfonijetom Amster-dama, Ka mernim orkestrom Padove, Kamernim orkestrom Lausane, Orke-strom Hale, Norveškim kamernim orke-strom, Pariskim orkestrom; imao kon-certne turneje širom Evrope sa: Izraels-kim kamernim orkestrom, Toskanskim orkestrom, Irskim kamernim orkestrom, Njemačkom filharmonijom...

Od početka devedesetih godina di-rigovao je najpoznatijim orkestrima u Ja-panu kao što su: Orkestar Tokija, Osake, Hirošime, Filharmonija Saporo i kamerni orkestar Kanazava.

U periodu od 2001. do 2006. Ginter Pihler je bio gostujući dirigent Kamernog

GUNTER PICHLER began studies at the University for Music in Vienna in 1955. At the age of 18 he became the leader of Vienna Symphony Orchestra and three years after that he was engaged by Her­bert von Karajan as the leader of Vienna Philharmonic Orchestra.

From 1963 he was engaged as a professor at the University for Music in Vienna and the guest professor at the Hoschule fuer Music in Cologne from 1993. In 2007 he was the Head of the Strings Department at the International Institute for Chamber Music in Madrid. As a professor he also participated at nu-merous summer schools.

In 1969 he was awarded the „Mo-zart Interpretation Prize“ and in 1970 he established the Alban Berg quartet in which he was the first violinist.

He conducted the Royal Flanders Philharmonic, Nieuw Sinfonietta Am-sterdam, Orchestra da Camera di Pado-va, Orchestre de Chambre de Lausanne, Halle Orchestra, Norwegian Chamber Orchestra, Paris Orchestra, he had con-cert tours all over Europe with Israel Chamber Orchestra, Toscana Orchestra, Irish Chamber Orchestra, German Philar-monic.

Since the beginning of the nineties he has conducted the most famous orches-tras in Japan such as: Tokyo, Osaka, Hiro-shima Orchestra, Philharmonica Sa pporo and Chamber Orchestra Kana zava.

In the period from 2001 to 2006 Gunter Pichler was the guest conduc-

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orkestra Kanazava a potom i umjetnički saradnik.

Tokom sezona 2008/2009 i 2009/2010 dirigovao je milanskim orke strom I Po-meriggi Musicali, Nacionalnim orke-strom Lila, Bečkim kamernim orkestrom, Hajdn orkestrom Bolza ne, Kamernim orkestrom Štutgarda, Nacionalnim sim-fonijskim orkestrom Taipei, Tokijskim, Osaka, Sendai i Saparo orkestrima u Ja-panu.

tor of the Chamber Orchestra Kanaza-va and then also Artistic Advisor.

During the season 2008/2009 and 2009/ 2010 he conducted the Orches-tra I Pomeriggi MusicalI Milano, Lille National Orchestra, Vienna Chamber Orchestra, Haydn Orchestra Bolzano, Stuttgart Chamber orchestra, National Symphony Orchestra Taipei, Tokyio, Osaka, Sendai and Sapparo Orchestras in Japan.

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Flautista i dirigent EJAL EIN-HABAR (1971), od 1997. godine je angažovan kao prvi flautista u Izraelskom filharmo-nijskom orkestru. Vođa je duvačkog odsi-jeka na Univerzitetu u Tel-Avivu Buch-mann-Mehta školi za muziku.

Pobjednik je Međunarodnog takmi-čenja za flautu – Scheveningen 1992.godine u Holandiji, takmičenja u Japanu 1993, Francois Shapira takmičenja u Iz-raelu 1996, a u periodu od 1983–1996. bio je stipendista Fondacije za kulturu Amerika-Izrael.

Redovno nastupa kao solo flautista, ali i dirigent sa vodećim orkestrima u Izraelu, kao i orkestrima širom svijeta. Priređuje resitale, master klase i nastupa sa kamernim ansamblima na koncerti-ma i festivalima u Izraelu, Evropi, Južnoj i Sjevernoj Americi i Kanadi.

Kao solista tokom 2008. godine je imao turneju sa orkestrom IPO u Nju-jorku, Nju Džersiju, Filadelfiji, San Di-jegu, Los Anđelesu.

Osnivač je i član Izraelskog duvačkog kvinteta sa kojim je snimio tri CD-a, dok je sa Izraelskim ansamblom flauta sni-mio tri.

Njegov poslednji CD „It Takes Two to Trio” za flautu, obou i klavir naišao je na veoma pozitivne kritike od strane Ame-rican Record Guide kao i magazina Pan – Britanske organizacije za flautu.

Flutist and conductor EYAL EIN-HABAR (1971), has been engaged as the first flute in the Israeli Philharmonic Or-chestra since 1997. He is the Head of the Wind Department at the University in Tel Aviv Buchmann-Mehta School of Music.

He won the International Compe-tition for Flute Scheveningen in 1992 in the Netherlands, Francois Shapira Competition in Israel in 1996, com-petition in Japan in 1993, and he was the fellow of the Foundation for Cul-ture America-Israel in the period from 1983–1996.

He appears regularly as the solo flutist and conductor with the leading orchestras in Israel, and in orchestras all over the world. He presents recit-als, master classes and appears with chamber ensembles at concerts and festivals in Israel, Europe, South and North America and Canada.

As a soloist during 2008 he went on tour with IPO orchestra in New York, New Jersey, Philadephia, San Di-ego, Los Angeles.

He is the founder and member of Israeli Wind Quartet with which he recorded three CDs, and four with Is-raeli Flute Ensemble.

His latest CD „It takes Two to Trio” for flute, oboe and piano received very good reivews by the American Record Guide as a magazine of the Pan – British organization for flute.

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S e z o n a | S e a s o n 2 o 1 1 − 2 o 1 2

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I VIOLINE | I VIOLINS

Grigorij Krasko, koncertmajstor

Vujadin KrivokapićMarko Simović

Ana PerazićDušan RakonjacSanda Sekulović

Gerd CinxoAndrija Abramović

Ajlinda Mataj

VIOLE | VIOLAS

Panta VeličkovićVladislava Drašković

Ilijana BlagojevićNemanja ŽivanovićMirjana Jovanović

II VIOLINE | II VIOLINS

Katarina Pavlović Tanja Bogdanović

Tijana Jovović Viktorija Vujić

Miloš Bošković Milena VukovićMilena RajkovićTomoko Sagawa

Ana Živković

KONTRABASI | DOUBLE BASSES

Zoran ZakrajšekPredrag Vujović

Slaven Turusković

VIOLONČELA | VIOLONCELLOS

Igor PerazićIgor Tyncherov Darko Kolanda

Vladimir DrobnjakNevena Milenković

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OBOE | OBOAS

Jelena Soro Jarina Denisenko

KLARINETI | CLARINETS

Petar GarićAnton Melnikov

TRUBE | TRUMPETS

Aleksandar ArsićSava Rajkovic

FLAUTE | FLUTES

Marija Đurđević-IlićŽana Marinković-Lekić

FAGOTI | BASSONS

Anton RunovNikola Goločevac

HORNE | HORNS

Jelena SkendžićSandra Miletić

PERKUSIJE | PERCUSSION

Miloš Mićunović

TIMPANI | TIMPANO

Srđan Palačković

TROMBONI | TROMBONES

Bodin Draškoci Dejan Ljujić

Martina Lukšić

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Naš sli jedeći koncert Our next concert

VELIKA SCENA CRNOGORSKOG NARODNOG POZORIŠTA GREAT HALL OF MONTENEGRIN NATIONAL THEATREČETVRTAK, 23. FEBRUAR 2012. U 20 ČASOVA THURSDAY, 23TH FEBRUARY 2012 AT 20:00

PODGORICA

23. FEBRUAR • 23th FEBRUARY

[Austrija • Austria]

dirigent • conductorUVE TAJMER | UWE THEIMER

Koncert se organizuje u saradnji sa ambasadom AustrijeConcert is organised in cooperation with Austrian Embassy

Pozdrav iz Austrije 2 Greetings from Austria 2

MEDIJSKI PARTNERI · MEDIA PARTNERS

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