Kazalo - festivalmaribor.sifestivalmaribor.si/wp-content/uploads/2018/09/FM2018_Knjizica_04_web.pdf · ostaja neprekosljiva: nič in nihče drug ni znal posredovati občutenja strasti

Kazalo

Uvodnik 2

OSREDNJI PROGRAM

1 Otvoritveni koncert: Uglasbena strast 8

2 Jupitrova strela 18

3 Moč srca 26

4 La passione 34

5 Zaključni koncert: Moč narave, moč glasbe 44

FESTIVAL MARIBOR MED OTROKI

1 Zvočni vrt 54

2 Glasbena tržnica 56

3 Džumbus 62

4 Ali bi Mozart in Bach danes bila moja prijatelja? 64

Izvajalci 67

Informacije 87

Festival Maribor nastaja v produkciji Narodnega doma Maribor, v koprodukciji s SNG Maribor in Konservatorijem za glasbo in balet Maribor ter v sodelovanju s partnerjema

Zavodom MARS Maribor in Komornim godalnim orkestrom Slovenske filharmonije.

Festival je podprla Mestna občina Maribor. Generalni pokrovitelj Festivala Maribor 2018 je Nova KBM.

The Maribor Festival is produced by Narodni dom Maribor and prepared in coproduction with the Slovenian National Theatre Maribor and the Maribor

Music and Ballet Conservatory, and in cooperation with partners, the Institute MARS Maribor and the Slovenian Philharmonic String Chamber Orchestra.

The Festival is supported by the City Municipality of Maribor. The Festival Maribor 2018 General Sponsor is Nova KBM.

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Spoštovani obiskovalci in obiskovalke,

čas, ko pišem uvodnik za programsko knjižico Festivala, je eden najbolj vročičnih v letu. Z rokami, polnimi dela, in vedno večjim pričakovanjem odštevamo dneve do novega festivala. In ta res ni vsakdanji dogodek. Vse manj vsakdanje postaja tudi zavzeto živo glasbeno poustvarjanje. Prav tako je, na žalost, vedno manj prisotna lepa navada rednega obiskovanja koncertov.

Ne bo me presenetilo, če mi boste priznali, da se za obisk živih izvedb klasične glasbe odločite predvsem, ko so te del festivala. Festival je nenazadnje slavje; in na pravo slavje, sploh če je v dobri družbi, je vredno priti. Pri Festivalu Maribor se tega zavedamo – naša dobra družba je glasbeniška in vedno na vrhu prioritet.

Vemo, da mora biti dobro slavje nepozabno. Slavimo namreč nekaj posebnega. Nekaj, kar nas neznansko razveseli, zapolnjuje, osmišlja, nas žene naprej. Slavimo ob trenutkih osrediščene polnosti in najgloblje pristnosti: ob združitvi z ljubljeno osebo, rojstvu otroka, ob posebnem dosežku. Slavje je lahko tudi intimno, tisto notranje – ko beremo knjigo, ki se nas dotakne na najobčutljivejših mestih, ali poslušamo glasbo, za katero smo prepričani, da prenaša takšna čustva, kot so tista, ki se v nas porodijo ob prelomnih življenjskih dogodkih. To so trenutki, v katerih nas prevzame silovitost življenja in ko srce utripa hitreje.

Naj vam zaupam: glasba je zame ena najzvestejših in najbolj pozornih sprem ljevalk življenja. Osvojila me je s slutnjo neskončnih razsežnosti človekove domišljije in globine, z obljubo, da mi bo razkazala svet v svoji

Uvodnik

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lepi resničnosti in mi dala v okušanje vsa čustvovanja, tudi tista, ki me še čakajo. Glasba je nato te obljube izpolnjevala, spremljala me je povsod, z zvestobo in zagnanostjo najboljšega prijatelja. In vsaj v eni stvari vedno ostaja neprekosljiva: nič in nihče drug ni znal posredovati občutenja strasti tako dobro kot ona; tako dobra je v tem, da sem – kakor že nešteti pred menoj – začela verjeti, da je kar strast sama.

Pri Festivalu Maribor smo v vitalno silovitost glasbe globoko prepričani. To vsekakor drži tudi za Nicolasa Altstaedta, enega najbolj polnoživih glasbenikov, kar jih poznam. On bo določil podobo in zven Festivala Maribor v naslednjih treh letih. Nicolasu Altstaedtu bodo sledili predani glasbeniki Haydnove filharmonije, orkestra, ki pod njegovim umetniškim vodstvom izrisuje novo vizijo skupnega glasbenega poustvarjanja. Sodelovali bodo tudi številni slovenski glasbeniki, in to tako pod Altstaedtovim vodstvom kot s pianistom in dirigentom Alexandrom Lonquichom, velikim poznavalcem umetnosti in nemirnim raziskovalcem, predvsem pa srčnim glasbenikom, s katerim se vsak koncert prelevi v intenzivno, nesebično predajanje glasbe. Veseli smo ponovnega sodelovanja Komornega godalnega orkestra Slovenske filharmonije in Simfoničnega orkestra SNG Maribor. S slednjim bodo ob dvajseti obletnici svojega prvega, bleščečega nastopa v Mariboru nastopili vrhunski hornisti Dávid Kutas, László Seeman, Mahir Kalmik in Boštjan Lipovšek, in sicer pod vodstvom vzpenjajoče se zvezde, mladega madžarskega dirigenta Gergelyja Dubóczkega. S posebno mislijo na otroke in vse, ki vas še navdaja otroška razigranost in radovednost, smo obarvali dogodke letošnjega sklopa Festivala Maribor med otroki. Ves čas festivala bo v Vetrinjskem dvoru odprta razstava Zvočni vrt Petra Kusa, ki vabi k ogledu, raziskovanju in preizkušanju. Posebno živahna bo festivalska sobota, ko bo niz koncertov razveselil in angažiral otroke in njihove družine. Bodite v soboto, 22. septembra, vsekakor v bližini Vetrinjskega dvora in Pokrajinskega muzeja Maribor! Še več o moči glasbe bo izdala zvočna predstava Džumbus, ki je z avtorjem Petrom Kusom in mešano mednarodno zasedbo požela izjemne uspehe doma in na odmevnih prizoriščih v tujini.

Tudi letos smo ponosni na harmonično sodelovanje s koproducentoma, SNG Maribor in Konservatorijem za glasbo in balet Maribor, na podporo Mestne občine Maribor, ki je ena redkih, ki v tem času ne zapira oči pred posebnim pomenom umetnosti, ter vseh drugih, ki nas letos znova podpirajo.

Dovolite, da še zaključim ta nagovor osebno, z enostavnim in povzemajočim vprašanjem: kaj mi glasba pomeni? Krila, ko misliš, da boš lahko poletel. Popotovanje, ko druga ne zadoščajo. Življenje takrat, ko se ti zdi, da ga ne živiš zares. Tolažbo. Spremstvo, soundtrack življenja … S strastjo srca in močjo glasbe tako zarisujemo to glasbeno slavje, novo izdajo Festivala Maribor. Verjamem, da se ponovno vidimo!

Vaša BARBARA ŠVRLJUGA HERGOVICH Vodja programa Koncertne poslovalnice in Festivala Maribor Narodni dom Maribor

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D

Preface

ear Festivalgoers,

As I write the introduction for the festival’s programme booklet, we are in one of the hottest periods of the year. With our hands full of work and with ever-increasing anticipation, we are counting the days to the new festival. And this festival really is not an everyday event. Passionate music performance is also becoming less and less everyday. Unfortunately, the worthy habit of regularly attending concerts, too, is on the wane.

It would come as no surprise to me if you admitted that you attend live performances of classical music above all when the performances are part of a festival. A festival is, after all, a celebration. And it is worth coming to a real celebration, especially if it promises good company. At the Maribor Festival, we are well aware of this – our good company is of a musical kind, and it is always our top priority.

We know that a good celebration must be unforgettable. We are, after all, celebrating something special. Something that brings us enormous joy, that fills us up, that gives us meaning and keeps us going. We normally celebrate moments of concentrated completeness and deepest purity: joining a loved one, the birth of a child, a special achievement. Celebration can also be intimate, that inner celebration: when we read a book that touches us in the most sensitive places, or when we listen to music that we are convinced conveys feelings such as those that arise in us during decisive life events. These are moments when we are overcome by the power of life and when our hearts beat faster.

Let me confide in you: music is one of the most loyal and attentive companions in my life. It conquered me with its intimation of the infinite dimensions of human imagination and depth, with the promise that it would reveal the world to me in its beautiful reality and give me a taste of all of the emotions, including those that still awaited me. Music then fulfilled these promises, it followed me everywhere, with the loyalty and dedication of a best friend. And, at least in one way, it still remains unsurpassable: nothing and nobody has been able to communicate the feeling of passion as well as music; it is so good in this respect that – like many before me – I have begun to believe that music is passion itself.

At the Maribor Festival, we are deeply convinced of the vital power of music. This certainly holds true for one of the most vivacious musicians I know, Nicolas Altstaedt, who will determine the image and sound of the Maribor Festival for the next three years. Nicolas Altstaedt will be followed by the dedicated musicians of the Haydn Philharmonic, an orchestra that, under his artistic direction, creates a new vision of shared music making. Numerous Slovenian musicians will also take part, performing under the direction of Altstaedt, as well as with pianist and conductor Alexander Lonquich, a great connoisseur of art and a tireless

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researcher, but above all a spirited musician, with whom each concert is transformed into intense, selfless submission to music. We are glad to again have an opportunity to collaborate with the Slovenian Philharmonic String Chamber Orchestra and the Slovene National Theatre Maribor Symphony Orchestra. With the latter, on the occasion of the twentieth anniversary of its first, dazzling performance in Maribor, top horn players Dávid Kutas, László Seeman, Mahir Kalmik and Boštjan Lipovšek will perform under the guidance of a rising star, the young Hungarian conductor Gergely Dubóczky. With our thoughts focused on children and everyone who is still inspired by children’s playfulness and curiosity, we have come up with the events of this year’s Maribor Festival Among Children. Throughout the festival, the Vetrinj Mansion will host the exhibition The Garden of Sounds by Peter Kus, inviting visitors to view, explore and experiment. The festival Saturday will be especially lively, with a series of concerts to delight and engage children and their families. On Saturday 22 September, make sure you are near the Vetrinj Mansion and the Regional Museum Maribor! Even more secrets of the power of music will be revealed by the sound performance Bumm, krach, peng, which, with its creator Peter Kus and a mixed international ensemble, has enjoyed outstanding success both in Slovenia and at high-profile venues abroad.

Again this year, we are proud of the harmonious cooperation with our coproducers, the Slovene National Theatre Maribor and the Maribor Conservatory of Music and Ballet. We are also grateful to the City Municipality of Maribor, one of the few bodies that does not close its eyes to the special significance of art, for its support, and to everyone else who has supported us again this year.

Let me conclude this introduction on a personal note, with the simple, all-embracing question: What does music mean to me? Wings, when you think you can fly. A journey, when no others suffice. Life, when it seems that you are not really living it. Consolation. Company, the soundtrack of life ... Thus, it is with the passion of the heart and the power of music that we outline this musical celebration, the new edition of the Maribor Festival. I am sure that we will see each other again!

Your,

BARBARA ŠVRLJUGA HERGOVICH Artistic Director of Concert Management and the Maribor Festival Narodni dom Maribor Cultural Centre

*STRAST

OSREDNJI PROGRAM MAIN PROGRAMME

8 | OSREDNJI PROGRAM

Edward ElgarKoncert za violončelo in orkester v e-molu, op. 851. Adagio – Moderato2. Lento – Allegro molto3. Adagio4. Allegro – Moderato – Allegro, ma non troppo – Poco più lento – Adagio

Joseph HaydnSimfonija št. 92 v G-duru, Hob. I:92, »Oxford«1. Adagio – Allegro spiritoso2. Adagio cantabile3. Menuetto: Allegretto4. Presto

***

Joseph HaydnSimfonija št. 100 v G-duru, Hob. I:100, »Vojaška«1. Allegro2. Allegretto3. Menuetto: Moderato4. Presto

Edward ElgarCello Concerto in E minor, Op. 851. Adagio – Moderato2. Lento – Allegro molto3. Adagio4. Allegro – Moderato – Allegro, ma non troppo – Poco più lento – Adagio Joseph HaydnSymphony No. 92 in G major, Hob. I:92, “Oxford”1. Adagio – Allegro spiritoso2. Adagio cantabile3. Menuetto: Allegretto4. Presto

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Joseph HaydnSymphony No. 100 in G major, Hob. I:100, “Military”1. Allegro2. Allegretto3. Menuetto: Moderato4. Presto

OTVORITVENI KONCERT Uglasbena strastOPENING CONCERT Passion through Music

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Dvorana Union, MariborČetrtek, 20. september, ob 19.30

Union Hall, MariborThursday, 20 September, 7:30 pm

HAYDNOVA FILHARMONIJA

Nicolas Altstaedt, dirigent in violončelist

HAYDN PHILHARMONIC

Nicolas Altstaedt, Conductor and Cellist

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ele v 19. stoletju je violončelo postal inštrument, ki zmore posredovati globoke glasbene emocije – šele takrat so skladatelji pričeli pisati koncerte za violon-čelo, v katerih se niso več zgledovali po violinskih koncertih. Tako so nastali koncerti Schumanna, Saint-Saënsa, Laloja in seveda najdaljši koncert 19. sto-letja, Dvořákov Koncert v h-molu. Na konec te serije se umešča leta 1919 nasta-li Elgarjev (1857–1934) Koncert za violončelo in orkester v e-molu, ki je hkrati eno zadnjih skladateljevih velikih del, pravi labodji spev za odhajajočim ob-dobjem in določenim načinom življenja. Koncert je namreč nastal v kratkem obdobju med koncem prve svetovne vojne in smrtjo Elgarjeve žene.

Formalni model koncerta je nenavaden, saj so stavki med seboj povezani, pri čemer se prvi izogiba sonatni formi in je zasnovan kot tridelna pesemska obli-ka, tretji je prekratek, da bi prinesel pravi kontrast, medtem ko je finale na-pisan kot nepravilni sonatni rondo, ki ga spodjeda ponovitev počasne tožbe. Kljub temu da je koncert bistveno krajši od skladateljevega Violinskega kon-certa, so jasno razvidne simfonične težnje, solist in orkester pa se mestoma zapleteta v izrazite antagonistične situacije, pri čemer orkestrske barve nikoli ne prekrivajo solističnega inštrumenta. Ob odsotnosti šablonskih formalnih kontur se zdi koncert zasnovan kot rapsodovo pripovedovanje epskih zgodb. Ta pričenja z dvema akordoma in spuščajočo se melodijo, obe ideji pa se v koncertu še večkrat vračata in opravljata vlogo nekakšnega motta. Nato skla-datelj vzpostavi z 9/8 taktom zibajočo se atmosfero, ki zaznamuje celotni prvi stavek in je izhodišče za hitri drugi stavek, ki se sicer pričenja recitativno, a se nato s številnimi ponovitvami spreminja v pravi perpetuum mobile. Tretji sta-vek, lirični, mirni in izrazni adagio, se zdi kot nostalgični spomin na pretekle, srečne čase. Melodična linija je neprekinjena, solist in orkester se povežeta v nedeljivo celoto. Sledi bolj razborita glasba: orkester najprej najavlja plesno razpoloženje, ki se nadaljuje s folkloristično pobarvano rondojsko temo, toda to ves čas prekinjajo počasne, elegične epizode, ki vse bolj prevzemajo pobudo in se iztečejo v ponovitev motta. Po tem se koncert ponovno prebudi in zaklju-či s plesnim refrenom.

Josepha Haydna (1732–1809) štejemo za očeta simfonije. Oznaka morda ni povsem korektna, saj Haydn vendarle ni bil prvi, ki je pisal simfonije, toda vsekakor noben drug skladatelj nima tako obsežnega simfoničnega opusa, ki bi bil hkrati še izrazito zgodovinsko pomemben in kvalitativno izredno izenačen. Haydn je nekaj simfonij ustvaril, še preden je postal del glasbene »služinčadi« pri knezu Esterházyju, prave spremembe v simfoničnem ustvarjanju pa so prišle leta 1761, ko je Haydn sprejel službo namestnika kapelnika na dvoru princa Paula Antona Esterházyja. Ta je bil izredno izobražen in je želel svoj novi dvorec v Eisenstadtu spremeniti v sodobno kulturno prestolnico. Ker se mu je zdel delujoči kapelnik G. J. Werner že nekoliko preveč konservativen, mu je ob bok postavil mladega Haydna. Haydn je kapelniško mesto lahko prevzel šele leta 1765, toda prav leta, preživeta v senci glavnega kapelnika, so bila za razvoj zvrsti simfonije najpomembnejša in odločilna. V teh letih je Haydn namreč napisal največ simfonij, kar petindvajset. Večinoma je v njih preizkušal različne modele in iskal ravnotežje med lahkotnejšim in resnejšim izrazom, med tradicionalnim in modernim, med italijanskim in avstrijskim. V takšnem eksperimentalnem laboratoriju je iz tradicije concerta grossa, italijansko-avstrijske in mann-heimske koncertne simfonije, operne simfonije, cerkvene sonate in diverti-menta zvaril nov tip simfonije, katere najpomembnejša novost je bila poveza-na z vpeljavo četrtega stavka in definiranjem zvrsti kot resnega, umetniškega žanra, ki zahteva zbrano poslušanje. Naslednji pomembni stadij v razvoju

Š


simfonije je nastopil po letu 1770, ko se je Haydn seznanil z estetiko viharniš-tva (Sturm und Drang), v kateri lahko ugledamo nenavadno sintezo baročnih kompozicijskih tehnik s postopki dunajskega klasicizma. Posledica združitve tako raznolikih značilnosti je bila povečana izraznost, ritem je postal kom-pleksnejši, razširila se je raba registrov inštrumentov, skladatelj je pogosteje posegal po kontrapunktu, dela pa so postala tudi izvajalsko zahtevnejša.

Nekaj podobnega drži za Haydnove »pariške« simfonije, v katerih se bolj po-sveča zvočnim raznolikostim velikega orkestra in se ponovno oprijema pove-dnih naslovov. Z mislijo na pariški »trg« so nastale tudi naslednje simfonije, pri čemer je simfonije št. 90, 91 in 92 prodal princu Krafftu Ernstu Oettingen-Wallersteinu. Med temi tremi simfonijami je najbolj znana Simfonija št. 92, ki je svoj nadimek dobila zato, ker so jo igrali, ko je skladatelj prejel častni dokto-rat Univerze v Oxfordu. Simfonija se prične s počasnim uvodom, nato preide v hitri sonatni stavek, ki je trdno zgrajen s pomočjo navidezno nepomembnih melodičnih drobcev. Tridelni počasni stavek je melodično sublimen, medtem ko srednji del v molu prinaša tudi nekaj bolj dramatičnih trenutkov. Podobno kontrastna tridelnost zaznamuje menuet, medtem ko finale na osupljiv način druži lahkotnost z nepopisno kontrapunktično spretnostjo.

Haydnova pozicija na dvoru v Eisenstadtu se je drastično spremenila s smrtjo princa Nikolausa leta 1790. Njegov naslednik Anton Esterházy je razpustil dvorne glasbenike in tako je Haydn ostal le nekakšen častni uslužbenec brez pravih zadolžitev. Zato je bilo zanj toliko mikavnejše vabilo, ki mu ga je konec leta poslal londonski impresarij in violinist nemškega rodu, Johann Peter Salomon, ki je Haydnu ponudil dvoletno pogodbo rezidenčnega skladatelja in dirigenta. Haydn je ponudbo sprejel in prišel v London že na prvi dan novega leta 1791. Novo okolje ga je sprejelo z velikimi častmi in pričakovanji, predsta-vljen je bil celo kraljevi družini. Haydnova naloga je bila, da v Londonu pri-pravlja »velike uverture«, kakor so tedaj imenovali današnje simfonije. Sredi leta 1792 se je Haydn vrnil na Dunaj, kjer je ostal leto in pol, a je bilo njegovo bivanje zaznamovano z negotovostjo ob vojnah, ki so v tem času pustošile po Evropi. Tako se je že februarja 1794 vrnil v London ter za Salomona pripravil dve novi simfoniji. Druga po datumu nastanka je bila Simfonija št. 100, ki se je je kmalu oprijel nadimek »Vojaška«. Simfonija se prične s standardnim poča-snim uvodom, ki se prevesi v delikatni allegro, medtem ko druga tema sona-tnega stavka zveni kot popularna koračnica, kar je kasneje izkoristil Johann Strauss v svoji Radetzkyjevi koračnici. Simfonija je nadimek dobila zaradi drugega stavka, ki aludira na vojno ozračje s klici na trobenti in dodanimi tolkalnimi sekcijami, t. i. »turško glasbo«, ki so jo sestavljali takrat eksotični inštrumenti triangel, činele in veliki boben. Tretji stavek je standardni menu-et, medtem ko je glavna tema finala postala tako popularna, da so jo v Angliji pogosto izvajali na lajnah.

Gregor Pompe

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The cello became an instrument capable of conveying deep musical emo-tions only in the nineteenth century, when composers began to write cello concertos that were no longer modelled on violin concertos. Thus the concertos of Schumann, Saint-Saëns and Lalo emerged, and, of course, the longest concerto of the nineteenth century, Dvořák’s Cello Concerto in B minor. At the end of this series of works stands Edward Elgar’s (1857–1934) Cello Concerto in E minor, which, at the same time, is one of the compos-er’s last major works. Composed in 1919, it is a genuine swan song for the departing period and, in a certain way, for life itself, as it was created in the short period between the end of the First World War and the death of Elgar’s wife.

The formal model of Elgar’s concerto is unusual, as the movements are interconnected. The first movement avoids sonata form, and is instead designed as a tripartite song, the third movement is too short to bring genuine contrast, while the finale is written as an irregular sonata rondo that is eroded by the repetition of a slow lament. Despite the fact that the concerto is significantly shorter than the composer’s Violin Concerto, its symphonic tendencies are clearly evident, while in places the soloist and the orchestra become entangled in distinctly antagonistic situations, although the orchestral colours never overwhelm the solo instrument. In the absence of template-like formal contours, the concerto appears to be conceived as a rhapsodic narrative of epic stories. It begins with two chords and a descending melody, two ideas that return many times and have the role of a kind of motto. With a 9/8 meter, the composer then es-tablishes the swaying atmosphere that marks the entire first movement and is a starting point for the fast second movement, which begins like a recitative, but then, with many repetitions, transforms into a genuine per-petuum mobile. The third movement, a lyrical, calm and expressive adagio, seems like a nostalgic recollection of past, happy times. The melodic line is continuous, and the soloist and orchestra are connected into an indivisible whole. This is followed by headier music: the orchestra initially announces a dance mood, which continues with a folk-coloured rondo theme, but this is interrupted by slow, elegant episodes that increasingly take the initia-tive and flow into a repetition of the motto. The concerto then reawakens and concludes with a dance refrain.

Joseph Haydn (1732–1809) is regarded as the father of the symphony. This label may not be entirely correct, as he was not the first composer to write symphonies, but it is certainly true that no other composer has such an extensive symphonic opus that is at the same time very important histor-ically and extremely consistent in terms of quality. Haydn had created a number of symphonies before becoming one of the musical “servants” at the court of Prince Esterházy, but the real changes to his symphonic cre-ativity came in 1761, when he accepted the position of deputy Kapellmeis-ter at the court of Prince Paul Anton Esterházy. The latter was very well educated and aspired to transform his new mansion in Eisenstadt into a modern cultural capital. Since he regarded the current Kapellmeister, G. J. Werner, as somewhat too conservative, the Prince established the young Haydn by his side. It was not until 1765 that Haydn was able to take over the position of Kapellmeister, but it was the years spent in the shadow of Werner that were the most important and decisive for the development of the genre of the symphony. In these years, Haydn wrote the most sym-phonies, as many as twenty-five, in which he experimented with various


models, seeking a balance between lighter and more serious expression, between the traditional and the modern, between the Italian and the Austrian. In this experimental laboratory, a new type of symphony was welded from the tradition of the concerto grosso, the Italian-Austrian and Mannheim symphony, the opera symphony, the church sonata and the divertimento. Haydn’s most important innovations were the introduction of a fourth movement and the establishment of the symphony as a serious, artistic genre requiring attentive listening. The next important stage in the development of the symphony began after 1770, when Haydn became acquainted with the aesthetics of “storm and stress” (Sturm und Drang), in which we can observe an unusual synthesis of Baroque compositional techniques with the procedures of Viennese classicism. The result of the combination of such diverse features was increased expression, more com-plex rhythms, and the expanded use of instrumental registers. In addition, the composer made greater use of counterpoint and the works became more demanding to perform.

Something similar holds for Haydn’s “Paris” symphonies, in which he fo-cuses more on the sonic diversity of the large orchestra and again adds evocative titles to the works. It was with the Parisian “market” in mind that Haydn created the subsequent set of symphonies, of which numbers 90, 91 and 92 were sold to Prince Krafft Ernst Oettingen-Wallerstein. The best known of these three symphonies is Symphony No. 92 , which gained its nickname because it was performed when the composer received an honorary doctorate from the University of Oxford. The symphony begins with a slow introduction that leads to a rapid sonata movement whose tight construction is achieved with the aid of seemingly unimportant melodic fragments. The tripartite slow movement is melodically sublime, while the central section in the minor introduces some more dramatic moments. A similarly contrasting trio marks the minuet, while the finale combines lightness with indescribable counterpoint in an astonishing way.

Haydn’s position at the court in Eisenstadt changed drastically on the death of Prince Nikolaus in 1790. The latter’s successor, Anton Esterházy, dissolved the court musicians, and Haydn remained as a kind honorary servant without real responsibilities. He was therefore even more tempt-ed by the invitation he received from the London impresario and Ger-man-born violinist Johann Peter Salomon at the end of the year, offering him a two-year contract as a resident composer and conductor. Haydn accepted the offer and arrived in London on the first day of the new year of 1791, where the new environment accepted him with great honours and expectations. He was even presented to the royal family. Haydn’s task in London was to prepare “great overtures", as they then called the works we know today as symphonies. In the middle of 1792, Haydn returned to Vienna, where he stayed for a year and a half, a sojourn that was marked by the uncertainty of the wars ravaging Europe at the time. Thus, in Feb-ruary 1794, he returned to London and prepared two new symphonies for Salomon. According to its date of creation, the second of these works was Symphony No. 100, which soon acquired the nickname “Military”. The sym-phony opens with the standard slow introduction, which is transformed into a delicate allegro, while the second theme of the sonata movement sounds like the popular march that was later used by Johann Strauss in his Radetzky March. The symphony gained its nickname due to the second

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Pokrovitelj koncerta / Concert Sponsor

movement, which alludes to a military atmosphere with trumpet calls and an expanded percussion section – so-called “Turkish music” – consisting of exotic instruments: triangles, cymbals and a large drum. The third move-ment is a standard minuet, while the main theme of the finale became so popular that it was often performed in England on the hurdy gurdy.

Gregor Pompe

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Pravi življenjski pogled nazaj: v recitativu zlomljenega človeka, v bežečih spominih in vilinskih fantazijskih svetovih, vse do elegičnega odpeva. Med wagnerjanskimi kromatizmi in razbijanjem srca v udarcih pavke, kakor v Brahmsovem Rekviemu, se svetlikajo vse barve življenja, kot bi v osveženem spominu žarele skozi krožečo kristalno kroglo. Po smrti ostane »Oblivion«, pozaba, je rekel Elgar. Gre za njegovo zadnje pomembno delo, v katerem je po prvi svetovni vojni našel svoje zadnje besede.

Medtem ko je 120 let prej Elgar med komponiranjem v angleškem Brinkwellu (Sussex) slišal grmenje francoskega topništva nad Rokavskim prelivom, je Joseph Haydn v Londonu srečaval begunce francoskih revolucionarnih vojn.

Obe ti pridobitvi umetnosti sta zaznamovani z žalostjo neštetih ljudi in prav tako nas obe danes opominjata na to, kako dragocen je vsak trenutek življenja.

Nicolas Altstaedt

What a review of life: in the recitative of a broken man, scurrying memories and elf-like fantasy worlds up to the elegiac farewell. Between Wagneri-an chromatisms and the palpitations of the heart of a timpani beat like Brahms' Requiem, all colours of life shimmer in intensified memory as if through a revolving crystal ball. After death oblivion remains, Elgar said; it is his last important work, after the First World War he found his last words here.

120 years before Elgar was composing at Brinkwells, England and the thun-der of French artillery was heard in Sussex over the English Channel, Joseph Haydn met refugees of the French Revolution in London.

If both artistic achievements are marked by the suffering of innumerable people, today we are made aware of the preciousness of every single moment of life.

Nicolas Altstaedt

Ko se odločate za bančne storitve, zaupajte banki, ki prisluhne vašim željam.Izberite Premium paket Nove KBM, ki vam prinaša vse, kar potrebujeteza brezskrbno upravljanje vaših osebnih financ.Zagotovite si posvet z osebnim bančnim svetovalcem še danes.

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2Dvorana Union, MariborSobota, 22. september, ob 19.30

Union Hall, MariborSaturday, 22 September, 7:30 pm

HAYDNOVA FILHARMONIJA

Nicolas Altstaedt, dirigent in violončelist

HAYDN PHILHARMONIC

Nicolas Altstaedt, Conductor and Cellist

Jupitrova strelaJupiter's Lightning Strike

Robert SchumannKoncert za violončelo in orkester v a-molu, op. 1291. Ne prehitro2. Počasi3. Zelo živahno

Joseph HaydnSimfonija št. 101 v D-duru, Hob. I:101, »Ura«1. Adagio – Presto2. Andante3. Menuetto. Allegretto4. Finale. Vivace

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Wolfgang Amadeus MozartSimfonija št. 41 v C-duru, KV. 551, »Jupiter«1. Allegro vivace2. Andante cantabile3. Menuetto: Allegretto – Trio4. Molto allegro

Robert SchumannCello Concerto in A minor, Op. 1291. Nicht zu schnell2. Langsam3. Sehr lebhaft

Joseph HaydnSymphony No. 101 in D major, Hob. I:101, “The Clock”1. Adagio – Presto2. Andante3. Menuetto. Allegretto4. Finale. Vivace

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Wolfgang Amadeus MozartSymphony No. 41 in C major, KV. 551, “Jupiter“1. Allegro vivace2. Andante cantabile3. Menuetto: Allegretto – Trio4. Molto allegro

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Leta 1850 je Robert Schumann (1810–1856) sprejel mesto glasbenega direktorja v Düsseldorfu, kjer se je dobro desetletje poprej že izkazal Felix Mendelssohn. Obdobje, ki ga je Schumann preživel v Düsseldorfu, lahko štejemo za najplo-dovitejše, saj je v nekaj letih pred dokončnim izbruhom bolezni napisal kar petdeset novih del. 24. oktobra je Schumann prvič stal na podiju kot glasbeni vodja düsseldorfskega orkestra, in prav na ta dan naj bi končal tudi Koncert za violončelo in orkester, ki je v navalu umetniškega navdiha, povezanega z visokimi pričakovanji ob začetku nove službe, nastal v zgolj štirinajstih dneh. Mnogi imajo koncert že za značilno Schumannovo pozno delo, ko so se že kazali sledovi skladateljeve duševne bolezni – izdajala naj bi jih temačna orkestracija. Dokazov za to seveda ni, veliko bolj izstopa to, da je skladatelju s koncertom uspela nenavadna sinteza virtuoznih, koncertantnih potez z bolj premišljeno glasbeno substanco. Koncert odpirajo trije tihi akordi v or-kestru, takoj nato pa violončelo predstavi osrednjo temo, ki se razteza čez kar trideset taktov in izkorišča širok register solističnega glasbila. Preseganje izpraznjene manire virtuoznega koncerta nenazadnje izdaja tudi formalni koncept, po katerem se trije stavki združijo v celoto, ki poteka brez odmorov, medtem ko celostni koncept in tudi nekakšno narativno strukturo izdajajo reminiscence na osrednjo temo, ki kot odmev v pihalih zazvenijo v sredini počasnega stavka, najdemo pa jih tudi v finalu.

Še v Haydnovem času je bila simfonija preprosto skladba, ki so jo zaigrali pred ali kot intermezzo med vokalno-inštrumentalnim oratorijem ali opero. Njena funkcija je bila, da pripravi razpoloženje za sledeče scene. Prve simfonije, ki niso bile zasnovane kot vložki, je sredi 18. stoletja napisal Giovanni Battista Sammartini, kateremu so sledili mnogi skladatelji, med drugim Joseph Haydn (1732–1809), ki je žanr v dobršni meri izpopolnil. Prve simfonije je napisal pred prihodom na Esterházyjev dvor, kjer se je šele dobro lotil pravega eksperimen-tiranja in postopnega prečiščevanja formalnih okvirov, ki so v nadaljevanju močno zaznamovali zgodovino glasbe. Zgodnje simfonije so napisane v treh stavkih, ki so izpeljani iz zaporedja hitro–počasi–hitro, šele kasneje je Haydn razvil štiristavčni model, kakršnega poznamo danes. Pomemben prelom so bile simfonije, ki jih je leta 1787 napisal za pariško občinstvo, kjer je preizkušal različne orkestrske barve in se odmaknil od salonske ali cerkvene skromno-sti ter ustvaril pravo koncertno glasbo. Nadaljnji premik k perfekciji so bile simfonije, ki jih je skladatelj napisal za londonske koncerte. To je bil sicer za Haydna težak čas, saj se je hkrati s spremembo dvornega oblastnika spreme-nila tudi dvorna pozornost do glasbe. Odrešitev je prišla v obliki naročila im-presarija Johanna Petra Salomona, ki si je želel, da bi Haydn postal za dve leti rezidenčni skladatelj in dirigent njegovih koncertnih serij v Londonu. Haydn je ponudbo sprejel in se takoj na začetku leta 1791 znašel v Londonu, kjer so ga navdušeno sprejeli, za kar se je skladatelj oddolžil s serijo svojih najboljših simfoničnih del.

Simfonija št. 101 si je nadimek »Ura« prislužila zaradi spremljevalne figure v počasnem stavku, ki spominja na tiktakanje. Prične se z značilnim molovskim počasnim in nekoliko skrivnostnim uvodom, ki vodi k hitremu sonatnemu stavku, zasnovanem monotematsko, kar pa še ne pomeni, da skladatelj ni znal iz enotnega gradiva izvabiti širne glasbene raznolikosti. Počasni stavek je kri-žanec med variacijami in rondojem, v vrnitev tiktakajoče teme pa je s taktom tišine in presenetljivo modulacijo Haydn vključil tudi svoj značilni humor. Sledeči menuet je najdaljši v Haydnovih simfonijah, osrednji trio pa spet za-znamujejo številne glasbene šale (»prepozni« vstopi, »napačni« vstopi, aluzija na lajno), medtem ko finale prinaša enostaven tematski material.


Haydnovo formo simfonije je sprejel Wolfgang Amadeus Mozart (1756–1791) ter vanjo vsebinsko vsaj v poznih delih vnesel določene lastne poudarke. Mozarta so na Dunaju občudovali predvsem kot pianista-skladatelja, kar po-meni, da je največ zaslužil z abonmajskimi koncerti, na katerih je predstavljal svoje klavirske koncerte. Nič nenavadnega torej ni, da je v tem prvem dunaj-skem obdobju napisal zgolj tri simfonije (»Haffnerjevo«, »Linško« in »Praško«). Šele potem ko se je omajala Mozartova pianistična slava, je napisal nov ciklus treh simfonij – v nenavadno hitrem tempu so v šestih tednih (od konca junija do začetka avgusta 1788) nastale skladateljeve zadnje tri simfonije. Pri tem nas ne načudi le skladateljeva izredna hitrost pisanja, temveč tudi dejstvo, da gre za največja klasicistična dela te zvrsti, ki pa so med sabo v izrazu tudi precej kontrastna. Ker se niso ohranili podatki o izvedbah teh zadnjih treh Mozartovih simfonij, so mnogi ugibali, da jih je napisal iz notranje nuje, kar je znova bolj kot ne romantizirana predstava. Klasicistični skladatelj je bil pač pragmatik in težko si je predstavljati, da bi jeseni 1788 na številnih koncertih, na katerih je Mozart sodeloval, ne izvajali novih simfonij, temveč raje kakšna starejša dela.

Ime »Jupiter« so poslednji Mozartovi simfoniji nadeli kasnejši založniki, in sicer zato, ker so želeli označiti njeno popolnost. Simfonija je napisana v C-duru, ki je veljal za neke vrste Mozartovo šifro za pompoznost in ceremo-nialnost. Toda ob tej svečanosti prvi stavek prevevajo tudi odmevi opere buffo (zdi se, kot da se je v zaključek druge teme naselila figura iz arije, ki jo je Mozart napisal kot vložek v komično opero Anfossija). Drugi stavek prinaša šablonizirano tematiko, razvito iz razloženih akordov, toda majhni izmiki konvencijam (godala uporabljajo dušilce, tema je okronana z grenko-sladkim melodičnim okrasom) in temna barva orkestra dajejo stavku povsem nove kvalitete, ki že naznanjajo romantiko. Menuet je zasnovan simfonično, krona simfonije pa je finale, v katerem prevladuje kontrapunktično mišljenje. Skla-datelj naniza pet motivičnih domislekov, ki so polifono obdelani (imitacije, zrcaljenja, avgmentacije, stretta), medtem ko vrhunec svojega mojstrstva skla-datelj doseže s kodo, v kateri se vseh pet domislekov kontrapunktično združi. Ob takšnem zaključku je skorajda logično, da salzburški genij v zadnjih treh letih življenja ni napisal nobene simfonije več, četudi se zdi ta misel patetična. Mozart se namreč simfoniji v nadaljevanju ni izogibal zaradi popolnosti svoje simfonije, temveč zato, ker simfonični žanr na Dunaju v tistem času ni bil več popularen.

Gregor Pompe

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n 1850, Robert Schumann (1810–1856) accepted the position of musical di-rector in Düsseldorf, where Felix Mendelssohn had proven himself more than a decade earlier. The period Schumann spent in Düsseldorf can be considered his most fertile, as he wrote some fifty new works in the few years before the final onset of his mental illness. On 24 October 1850, Schumann stood on the podium for the first time as the musical director of the Düsseldorf Orchestra, and it was on this same day that he is thought to have completed the Cello Concerto, which, in a surge of artistic inspi-ration associated with high expectations at the start of his new position, was completed in just fourteen days. Many regard the concerto as char-acteristic of Schumann’s late work, when traces of the composer’s mental illness were already evident, supposedly revealed by the concerto’s dark orchestration. There is, of course, no evidence for this. Much more remark-able is Schumann’s success in executing an unusual synthesis of virtuosic, concertante traits with more considered musical substance. The concerto opens with three soft chords in the orchestra, immediately followed by a presentation of the central theme in the cello, stretching over thirty bars and exploiting the solo instrument’s wide range. The surpassing of the empty mannerisms of the virtuoso concerto is also evidenced by the formal concept, in which the three movements are combined into a whole, per-formed without breaks. The overall concept, as well as a certain narrative structure, gives rise to reminiscences of the central theme, which is echoed in the wind instruments in the central slow movement, while also appear-ing in the finale.

Even in Haydn’s time, the symphony was a simple composition that was played as an overture or intermezzo to a vocal-instrumental oratorio or opera. Its function was to prepare the mood for the following scenes. The first symphonies that were not designed as inserts were written by Giovan-ni Battista Sammartini in the mid-eighteenth century, an example that was followed by many composers, including Joseph Haydn ( 1732 –1809), who greatly improved the genre. The latter wrote his first symphonies even be-fore arriving at the Esterházy Court, where he commenced his experimen-tation in earnest and gradually purified the formal frameworks that were to mark the subsequent history of music so strongly. The early symphonies are written in three movements, derived from the sequence fast-slow-fast. Only later did Haydn develop the four-movement model that we know to-day. An important breakthrough is represented by the symphonies written for the Parisian audience in 1787, in which the composer experimented with various orchestral colours and moved away from salon or ecclesiastical modesty to create genuine concert music. A further step towards perfec-tion was taken with the symphonies written for the London concerts. This was a difficult time for Haydn, as a change in the court ruler in Esterházy had resulted in less attention being focused on music. Salvation came in the form of commissions from the impresario Johann Peter Salomon, who wanted Haydn to become the resident composer and conductor of his con-cert series in London for two years. Haydn accepted the offer and, early in 1791, found himself in London, where he was enthusiastically received. His sojourn in London gave rise to a series of the composer’s best symphonic works.

Symphony No. 101 gained the nickname “The Clock” due to an accompani-ment figure in the slow movement that is reminiscent of the ticking of a clock. It begins with a characteristic slow and somewhat mysterious intro-

I

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duction in the minor, which leads to a fast sonata movement with a mono-thematic design, displaying the composer’s ability to extract extraordinary musical diversity from unified material. The slow movement is a cross be-tween a set of variations and a rondo, while the return of the ticking theme, marked by a bar of silence and a surprising modulation, reveals Haydn’s characteristic humour. The subsequent minuet is the longest in Haydn’s symphonies, and the central trio is once again marked by numerous musi-cal jokes (“late” and “wrong” entries, an allusion to the hurdy gurdy), while the finale brings simple thematic material.

Haydn’s formal solution for the symphony was adopted by Wolfgang Ama-deus Mozart (1756–1791), who nonetheless introduced certain of his own em-phases in terms of content, at least in his late works. In Vienna, Mozart was primarily admired as a pianist-composer. Consequently, most of his income was derived from subscription concerts at which he presented his piano concertos. It is therefore not surprising that he wrote only three sympho-nies (“Haffner”, “Linz” and “Prague”) during the first Viennese period. It was only after Mozart’s fame as a pianist wavered that he wrote a new cycle of symphonies: the last three symphonies were created at an extraordinarily rapid pace over a period of six weeks from the end of June to the beginning of August 1788. However, it is not only the composer’s extraordinary speed of writing that we admire with regard to these works, but also the fact that they represent the greatest classical achievements in this genre, as well as being highly contrasting in expression. Since information regarding the performances of these last three Mozart symphonies has not been pre-served, many observers have suggested that he wrote them from some in-ner necessity, a view that, once again, is little more than romantic specula-tion. The classical composer was a pragmatist, and it is difficult to imagine that, at the many concerts in which Mozart participated in the autumn of 1788, some older works were performed rather than the new symphonies.

The name “Jupiter” was added to Mozart’s last symphony by the publisher in an attempt to denote the work’s perfection. The symphony was written in C major, which was regarded as a kind of Mozartian code for pomp and ceremony. Alongside this ceremony, however, the first movement is also imbued with echoes of opera buffa, with the end of the second theme ap-parently making use of a figure from an aria that Mozart wrote as an insert for the comic opera Anfossia. The second movement brings a stylised theme developed from arpeggios, but the small deviations from convention (the use of mutes in the strings, the theme being crowned with a bittersweet melodic ornament) and the dark colour of the orchestra give the movement a completely new quality that foreshadows Romanticism. The minuet is conceived symphonically, while the symphony is crowned by a finale in which contrapuntal thinking prevails. The composer links together a set of five motivic ideas that are treated polyphonically (imitation, inversion, augmentation, stretto), while Mozart achieves the culmination of his mastery with a code in which all five ideas are combined contrapuntally. With such a conclusion, it is almost logical that the Salzburg genius did not write any more symphonies in the last three years of his life. However, this thought, too, seems rather steeped in pathos: Mozart did not avoid the sym-phony because of the perfection of his last symphony, but rather because the symphonic genre was no longer popular in Vienna at the time.

Gregor Pompe


Sopokrovitelj / Participating Sponsor

Prvič sem dobil občutek, da slišim pravo partituro in glas Schumannovega Koncerta za violončelo, na koncertu Gidona Kremerja, ko je ta delo izvedel na violini. Šele v interpretaciji tega drugega inštrumenta so prišli na površje pravi tempo, artikulacije in s tem značaj dela. Da ta trditev ni povsem privlečena za lase, priča dejstvo, da je delo Schumann sam priredil za [violinista] Josepha Joachima; vsekakor pa dokazuje, kako zelo vizionarski in napreden je bil Schuman (Elgarjev »ideal«) v tej skladbi, ki do danes ostaja najzagonetnejši in najbolj navdušujoč od vseh koncertov za violončelo.

Nicolas Altstaedt

The very first time I had the feeling that I had heard the score and the true voice of the Schumann Cello Concerto was at a concert by Gidon Kremer, where he performed the piece on the violin. The marked tempos and articu-lations, and hence the character of the piece, only became audible due to an interpretation on a different instrument. This is not so far-fetched, as Schu-mann himself created a version for Joseph Joachim, but it shows how visi-onary and far ahead Schumann (Elgar’s “ideal”) was with this composition, which remains the most enigmatic and fascinating of all cello concertos.

Nicolas Altstaedt

CONCERTO KÖLNGIULIANO CARMIGNOLA, violinaMAJUMI HIRASAKI, violina in vodja

SLOVENSKI KOMORNI ORKESTER Z DUNAJAJERA PETRIČEK HRASTNIK, dirigentkaBERNARDA FINK, mezzosopran

ORKESTER SLOVENSKE FILHARMONIJEMICHAEL WENDEBERG, dirigentRINNAT MORIAH, sopran, JEAN-FRÉDÉRIC NEUBURGER, klavir SOLISTI SLOVENSKE FILHARMONIJE

MADŽARSKI NARODNI FILHARMONIČNI ORKESTERZSOLT HAMAR, dirigentCHRISTOPHER PARK, klavir

DANSKI KOMORNI ORKESTERÁDÁM FISCHER, dirigent

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Moč srcaPowered by Heart3Dvorana Union, MariborNedelja, 23. september, ob 19.30

Union Hall, MariborSunday, 23 September, 7:30 pm

Nicolas Altstaedt, violončelo

Alexander Lonquich, klavir

Nicolas Altstaedt, Cello

Alexander Lonquich, Piano

Ludwig van Beethoven

Sonata za violončelo in klavir št. 1 v F-duru, op. 5, št. 11. Adagio sostenuto – Allegro2. Rondo. Allegro vivace

Sonata za violončelo in klavir št. 2 v g-molu, op. 5, št. 21. Adagio sostenuto e espressivo – Allegro molto più tosto presto2. Rondo. Allegro

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Sonata za violončelo in klavir št. 3 v A-duru, op. 691. Allegro ma non tanto2. Scherzo. Allegro molto3. Adagio cantabile – Allegro vivace

Sonata za violončelo in klavir št. 4 v C-duru, op. 102, št. 11. Andante – Allegro vivace2. Adagio – Tempo d'andante – Allegro vivace

Sonata za violončelo in klavir št. 5 v D-duru, op. 102, št. 21. Allegro con brio2. Adagio con molto sentimento d'affetto – Attacca3. Allegro – Allegro fugato

Ludwig van Beethoven

Sonata for Cello and Piano No. 1 in F Major, Op. 5, No. 11. Adagio sostenuto – Allegro2. Rondo. Allegro vivace

Sonata for Cello and Piano No. 2 in G minor, Op. 5, No. 21. Adagio sostenuto e espressivo – Allegro molto più tosto presto2. Rondo. Allegro

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Sonata for Cello and Piano No. 3 in A major, Op. 691. Allegro ma non tanto2. Scherzo. Allegro molto3. Adagio cantabile – Allegro vivace

Sonata for Cello and Piano No. 4 in C major, Op. 102, No. 11. Andante – Allegro vivace2. Adagio – Tempo d'andante – Allegro vivace

Sonata for Cello and Piano No. 5 in D major, Op. 102, No. 21. Allegro con brio2. Adagio con molto sentimento d'affetto – Attacca3. Allegro – Allegro fugato

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lasicizem je porodil žanr simfonije, godalnega kvarteta in klavirske sonate. Po njihovem formalnem kopitu so skladatelji sonatno logiko skušali povezati tudi z drugimi glasbili, predvsem violino in violončelom, vendar so v tem pogledu še premočno zaupali baročni tradiciji generalnega basa, za katero je bilo značilno, da je osnovno melodično linijo spremljal akordični inštrument s harmonskim temeljem in dodatno še basovsko melodično glasbilo, ki je ojačalo basovski fundament. Skladatelji torej še niso zmogli koncipirati solističnih sonat za ne-akordična glasbila, v katerih bi solistični inštrument res samostojno zablestel in zapel, temveč so jih vedno postavljali ob bok akordičnemu klavirju. Še več, razmerje med sopranskim inštrumentom in klavirjem je bilo kar dolgo obrnjeno v prid slednjega. Tako je šlo v primeru klasicistične violinske sonate, se pravi še pri Mozartu, v resnici za klavirsko sonato s spremljanjem violine. S takšno for-mo se je seznanil mladi Ludwig van Beethoven (1770–1827), ki si je seveda želel prerasti tako svojega vzornika Mozarta kot učitelja Haydna, t. i. očeta simfonije in godalnega kvarteta, zato je poleg klavirskega tria svojo priložnost iskal v soli-stičnih sonatah, in sicer za violino in violončelo.

Leta 1792 se je Beethoven preselil na cesarski Dunaj, da bi tam kar najbolje unov-čil svoje velike talente. Toda sprva ni šlo vse gladko. Dunajsko aristokracijo sta navduševali Beethovnova umetnost improvizacije in strastna klavirska igra, a so jo presenečale mladeničeve kompozicije, ki so se zdele polne nenavadnih modulacij in so bile kot da brez izrazite melodične linije. Beethoven je iskal svojo pot. Leta 1796 se je čutil dovolj gotovega in usidranega v mestnem glasbenem življenju, da si je privoščil turnejo, ki ga je prek Prage in Dresdna vodila v Berlin, kjer se je med drugim srečal s pruskim kraljem Friedrichom Wilhelmom II., go-rečim ljubiteljem glasbe in amaterskim violončelistom. Beethoven se je kralju očitno želel prikupiti, zato mu je posvetil svoji prvi sonati za violončelo. Toda na prvi izvedbi za violončelom vendarle ni sedel kralj, temveč njegov prvi violonče-list, izrazit virtuoz Jean-Pierre Duport.

V svoji prvi sonati za violončelo je Beethoven še sledil staremu zgledu, ki je v skladbah za violončelo vztrajal toliko dlje, ker so skladatelji kombinacijo akor-dičnega klavirja in »basovskega« violončela razumeli preprosto kot tipično zasedbo generalnega basa, kar je pomenilo, da je violončelo večinoma podvajal basovski temelj klavirja. Takšno razumevanje kombinacije obeh inštrumentov je šlo celo tako daleč, da mnogi klasicistični avtorji podobnih sonat parta za čelo sploh niso izpisali – jasno je bilo, da čelist igra najnižjo linijo klavirja. Beethoven je v tem pogledu pokazal več pozornosti do violončela, saj je part za violončelo izpisal že v obeh zgodnjih sonatah.

Obe sonati iz opusa 5 imata podobno dvostavčno obliko, ki pa se močno pri-bližuje klasični sonatni tristavčnosti; uvodni sonatni stavek je namreč v obeh primerih razširjen z daljšo, skoraj samostojno počasno introdukcijo, kateri sledi hitrejši rondojski stavek. V Sonati št. 2 v g-molu, op. 5/2 ima violončelo že bistveno bolj osamosvojeno vlogo kot v skladateljevem prvencu, saj redkeje podvaja klavir in se v celotno teksturo umešča z zmeraj bolj značilno individu-alnostjo. V uvodu je tudi pomemben sogovornik pri predstavljanju tematskega materiala, vse bolj postaja nosilec daljših melodičnih misli. Mnoge raziskovalce je obsežni uvod begal in so se spraševali, ali ne gre morda za samostojni sta-vek, in sicer še posebno zato, ker uvodni Adagio ne prinaša samo predstavitve tematskega materiala, temveč že tudi njegovo izpeljevanje. Toda cilj takšnega izpeljevanja ni ponovitev začetne tematike, temveč nastop hitrega Allegra, kar

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kaže na to, da skladateljevo glasbeno mišljenje zaznamuje dramatična logika. To dodatno potrjuje prevladujoče razpoloženje v prvih dveh stavkih, ki je mrakob-no, polno zlih slutenj in nemirnega tipanja. Violončelo in klavir sta zapletena v dialog, ki je podobno živahne in odločne narave kot v kaki izmed skladateljevih simfonij, ki se v tem primeru približuje svetu temnih senc. Ta se razkadi šele v zadnjem stavku, katerega živahno razpoloženje odpravi uvodne temne skrbi.

Šele dvanajst let kasneje se je Beethoven lotil nove sonate za violončelo, ki jo je tokrat posvetil svojemu podporniku, baronu Ignazu von Gleichensteinu. Tudi v tej Sonati op. 69 še manjka »pravi« počasni stavek, široko zasnovani Adagio se namreč prekine že po osemnajstih taktih in se izteče v živahen zaključni stavek. Veliko drznejši je začetek sonate, saj jo odpre solistični violončelo, v nadalje-vanju pa sta inštrumenta zatopljena v enakovredni dialog, ki sega od liričnih melodij do spektakularnih virtuoznih pasaž. Drugi stavek je scherzo z nenava-dnim utripajočim ritmom, ki morda do neke mere izdaja, zakaj je skladatelj delo naslovil z mottom »inter lacrimas et luctum« (med solzami in žalostjo). Dela sicer ne prevevajo kakšni izrazito temni toni, le v sredini prvega stavka lahko razpo-znamo citat melodije »Es ist vollbracht« iz Bachovega Pasijona po Janezu.

Sonati iz opusa 102 sta nastali leta 1815 in sta povezani s spominom na skladate-ljevo drago prijateljico, grofico Marije Erdödy, ki ji je Beethoven kot prvi preigral številna svoja komorna dela. Obe sonati sta napisani izrazito komprimirano, kot da skladatelj ne bi želel zaman tratiti odvečnih besed. V Sonati op. 102/1 so me-lodične linije tako izrazne, a hkrati tako utesnjene, da glasbeni tok neprenehoma vre. Obenem kontrapunkt postane glavni nosilec dramatične ekspresivnosti. Podobno formalno fragmentirana je Sonata op. 102/2, le da gre tu za prvi in edi-ni daljši počasni stavek, ki se napaja pri lirično-baladnem razpoloženju. Stavek se zaključi s fugatom, ki v Beethovnovem času ni bil najbolje razumljen – zaradi številnih disonanc kritiki niso opazili, da je skladatelj staro, baročno tehniko uporabil za neslutene, nove obraze ekspresivnosti.

Gregor Pompe

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Classicism gave rise to the genres of the symphony, the string quartet and the piano sonata. Based on the formal model of these genres, composers also tried to connect sonata logic with other instruments, especially the violin and the cello, but they still placed too much faith in the Baroque tradition of basso continuo, which was characterised by the melodic line being accompanied by a chordal instrument to provide the harmonic basis, with the bass line being reinforced by a bass melodic instrument. Composers were therefore not yet able to conceive solo sonatas for non-chordal instruments in which the solo instrument would really shine and sing independently; the instruments were always placed alongside the chordal piano. Moreover, the relationship between the higher instrument and the piano was for a long time in favour of the latter. This was the case regarding the classical violin sonata, which, even with Mozart, was in fact still a piano sonata with violin accompaniment. It was this form that was inherited by the young Ludwig van Beethoven (1770–1827), who naturally wanted to outgrow both his role model Mozart and his teacher Haydn, the so-called father of the symphony and string quartet. He therefore sought his opportunity not only in the piano trio, but also in sonatas for violin and cello.

In 1792, Beethoven moved to imperial Vienna to take full advantage of his abundant talents. At first, however, not everything went smoothly. Although the Viennese aristocracy was impressed by his art of improvi-sation and his passionate piano playing, listeners were surprised by the young man’s compositions, which seemed full of unusual modulations and lacked a distinct melodic line. Beethoven was seeking his own path. In 1796, he felt sufficiently self-confident and well anchored in the city’s musical life that he embarked on a tour that led him through Prague and Dresden to Berlin, where he met with Prussian King Frederick William II, a fervent music enthusiast and amateur cellist. In an effort to win the king over, Beethoven devoted his first cello sonata to him. At the first perfor-mance, however, it was not the king who sat behind the cello, but his first cellist, the celebrated virtuoso Jean-Pierre Duport.

In his first cello sonata, Beethoven followed the old model. This persisted for so long in cello pieces because composers understood the combination of the chordal piano and the “bass” cello simply as a typical basso continuo ensemble, which meant that the cello mainly duplicates the piano’s bass line. This understanding of the combination of instruments went so far that many classical composers of similar sonatas did not even bother writ-ing out a separate part for the cello: it was clear that the cellist played the lowest line of the piano part. In this regard, Beethoven demonstrated that he was more attentive to the cello, as he created a separate cello part in both of his early sonatas.

Although both sonatas from opus 5 have a similar two-movement form, they are in fact very close to the classical three-movement sonata: in both cases, the introductory sonata movement is expanded by a long, almost in-dependent, slow introduction, while the second movement is a fast rondo movement. In Cello Sonata No. 2 in G minor, Op. 5/2 , the cello has a much more independent role than in the first sonata: it rarely doubles the piano and is located in the overall texture with an increasingly distinct indi-viduality. In the introduction, it is also an important interlocutor in the presentation of the thematic material, increasingly becoming the bearer


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of longer melodic ideas. Many scholars have been bewildered by the long introduction and wondered whether it might not in fact represent an au-tonomous movement, especially because the introductory Adagio not only includes a presentation of the thematic material, but also its development. However, the goal of this development is not to reiterate the initial theme, but rather to create a transition to the rapid Allegro, which indicates that the composer’s musical thinking is marked by a dramatic logic. This is fur-ther confirmed by the prevailing mood in the first two movements, which is gloomy and full of evil foreboding and restless anxiety. The cello and piano intertwine in a dialogue whose lively and decisive nature is remi-niscent of some of the composer’s symphonies; in this case, approaching a world of dark shadows. This subsides only in the last movement, whose lively mood disperses the introductory dark anxiety.

Only twelve years later, Beethoven embarked on a new cello sonata, this time dedicated to his supporter Baron Ignaz von Gleichenstein. Cello So-nata, Op. 69 still lacks a “real” slow movement, as the broadly conceived Adagio is interrupted after only eighteen bars, when it leads into the lively concluding movement. Much more daring is the beginning of the sonata, as it is opens with the solo cello. In the continuation, the instruments are immersed in a balanced dialogue, ranging from lyrical melodies to spectac-ular virtuosic passages. The second movement is a scherzo with an unusu-al pulsating rhythm, which may be a clue to why the composer used the motto “inter lacrimas et luctum” (amid tears and sorrow) in the title. The work is not, however, rendered by any distinctly dark tones; only in the middle of the first movement can we recognise a quotation of the melody “Es ist vollbracht” from Bach’s St John Passion.

The two sonatas from opus 102 were created in 1815 and are associated with the memory of the composer’s dear friend, Countess Marie von Erdődy, to whom Beethoven first performed many of his chamber works. The writing in both sonatas is extremely compact, as if the composer did not want to waste words in vain. In Cello Sonata, Op. 102/1 , the melodic lines are so expressive, and yet so compressed, that the music constantly simmers. At the same time, the counterpoint becomes the main bearer of dramatic expressiveness. A similar formal fragmentation can be observed in Cello Sonata, Op. 102/2 , except that it contains the first and only ex-tended slow movement, which is imbued with a lyrical-ballad mood. The movement ends with a fugue that was not entirely understood in Beetho-ven’s time: due to its many dissonances, critics overlooked the fact that the composer had used the old Baroque technique for unforeseen, new dimensions of expressiveness.

Gregor Pompe


Izvedba petih Beethovnovih sonat za klavir in violončelo (tako jih je, kot je bilo to običajno, poimenoval skladatelj) je tudi za nas izvajalce odkrivanje posebne vrste. Dobimo priložnost, da se ukvarjamo s tremi fazami njegovega ustvarjanja in tako prisostvujemo izjemnim stilnim spremembam. Obe dvostavčni sonati iz op. 5 iz leta 1796 sta drznejši kot hkrati zasnovani sestrski deli za klavir solo.

Nato se nepričakovano znajdemo v letu 1808: Sonata, op. 69 je čudovit primerek dozorelega, velikopoteznega sloga Beethovnovih »srednjih« let. Vživljanje v ta svet izvajalca približa ekstatični dimenziji. Hölderlin bi temu morda rekel »sveto trezno stanje«.

In znova časovni skok: ustvarjalno bogastvo iz leta 1815 dokazuje, da se je Beethoven izogibal sleherni šablonskosti tudi takrat, kadar se je presenetljivo močno navezoval na preteklost. Tako je zaključna fuga Sonate, op. 102, št. 2 eno prvih Beethovnovih poznih delih, v katerih se jasno kaže njegovo vztrajno poglabljanje v glasbo Johanna Sebastiana Bacha. In pri tem nič ne deluje predvidljivo, kajti Beethoven je preurejal gradivo iz takta v takt, vse je hkrati presenetljivo in zgoščeno. Že Sonata, op. 102, št. 1 prinaša enkratno obliko: počasnima uvodoma sledita hitra stavka. In umirjenost, ki prežema poglobljeni in počasni srednji stavek 5. sonate skoraj do sklepnega zastoja, se nikoli ne sprosti. Ko sedijo na robu stola, so tako izvajalci kot poslušalci poklicani k reševanju ugank. Vedno znova je tam nekaj nepredvidljivega, nekaj, kar skoraj zbuja nejevoljo v nas in nas obenem spodbuja, da se ob naslednji priložnosti delu še bolj približamo.

Alexander Lonquich

The performance of all 5 Beethoven Sonatas for piano and violoncello (as the composer used to call them at that time) is also for us, interpreters, a voyage of discovery of a special kind. We have the opportunity to encounter three phases of his work and to take part in unprecedented stylistic changes. Both two-movement Sonatas Op. 5 from 1796 are bolder than similar works for piano solo of the time.

We unexpectedly find ourselves in 1808: The Sonata Op. 69 is a wonderful example of the mature, large-scale work of his "middle" years; with their empathy for this world the musicians come close to an ecstatic dimension, which Hölderlin could have described as "holy sobriety".

And another leap in time: the wealth of invention of 1815 provides the cer-tainty that Beethoven evaded any fixed musical form, even if his musical writing referred greatly to the past. Thus, the closing fugue of the Sonata Op. 102, No. 2 is one of the first examples in his late work of his ongoing fascination with the music of Johann Sebastian Bach. But nothing is predic-table, Beethoven introduces new arrangements from bar to bar, everything is surprising and compressed at the same time. Thus, the Sonata op. 102 No.1 already has a unique form, two slow introductions follow two fast move-ments. And the peacefulness that runs through the profound, slow middle movement of the 5th Sonata to an almost final standstill never serves as relaxation. The musicians and listeners, sitting on the edge of their seats, are called to solve puzzles. There remains something intangible, almost irri-tating, which makes us wish again and again to get to know the work even more profoundly next time.

Alexander Lonquich


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La passioneLa passione4Dvorana Union, MariborPonedeljek, 24. september, ob 19.30

Union Hall, MariborMonday, 24 September, 7:30 pm

KOMORNI GODALNI ORKESTER SLOVENSKE FILHARMONIJE Z GOSTI

Alexander Lonquich, dirigent in pianist

SLOVENIAN PHILHARMONIC STRING CHAMBER ORCHESTRA WITH GUESTS

Alexander Lonquich, Conductor and Pianist

Joseph HaydnSimfonija št. 49 v f-molu, Hob. I:49, »La Passione«1. Adagio2. Allegro di molto3. Menuet e Trio4. Presto

Antonín DvořákSerenada za godala v E-duru, op. 221. Moderato2. Menuetto: Allegro con moto3. Scherzo: Vivace4. Larghetto5. Finale: Allegro vivace

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Wolfgang Amadeus MozartAdagio in fuga v c-molu za godala, KV. 546

Wolfgang Amadeus MozartKoncert za klavir in orkester št. 9 v Es-duru, KV. 271, »Jeunehomme«1. Allegro2. Andantino3. Rondo (Presto)

Joseph HaydnSymphony No. 49 in F minor, Hob. I:49, “La Passione”1. Adagio2. Allegro di molto3. Menuet e Trio4. Presto

Antonín DvořákSerenade for Strings in E major, Op. 221. Moderato2. Menuetto: Allegro con moto3. Scherzo: Vivace4. Larghetto5. Finale: Allegro vivace

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Wolfgang Amadeus MozartAdagio and Fugue in C minor, KV. 546 Wolfgang Amadeus MozartPiano Concerto No. 9 in E flat major, KV. 271, “Jeunehomme”1. Allegro2. Andantino3. Rondo (Presto)

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ajslavnejše, poslednje »londonske« simfonije (št. 93–104) Josepha Haydna (1732–1809) pogosto zakrijejo zanimiva dela, ki jih je skladatelj ustvaril pred zadnjim desetletjem 18. stoletja. To velja že za Simfonijo št. 49, ki jo je Haydn napisal v prvem desetletju svojega službovanja na dvoru princa Nicolausa Esterházyja, kjer je za svoje simfonije lahko računal na orkester, ki ga je se-stavljajo 13 do 15 glasbenikov, in sicer poleg godalcev še par oboj in rogov ter včasih fagot in čembalo za izvajanje generalnega basa.

Za simfonijo je značilno nenavadno zaporedje stavkov počasi–hitro–počasi–hitro, ki ustreza v tistem času že staremu prototipu baročne cerkvene sonate (sonata da chiesa). Njen nadimek ni Haydnov, temveč domislek založnikov in se ne nanaša na kakšno strastno ljubezensko afero, temveč na Kristusov pasijon – nakazoval naj bi povezavo med precej žalobnim značajem dela in kontemplativnostjo velikega petka. Poglobljenost, resnobnost in emotivnost so značilnosti Haydnove simfonije, ki jih je treba povezovati z viharniškim slogom (Sturm und Drang), nekakšnim predobčutenjem romantike. In to zve-zo samo še potrjuje izbira molovske tonalitete. Vsi štirje stavki so zasidrani v f-molu (izjema je trio menueta), v vseh pa se pojavi tudi začetni motiv (c–des-–b–c), kar naj bi navajalo celo na zveze z gregorijanskim koralom. Resnobnost in temačnost dela se zdita povsem v skladu s postnim časom ali vsaj z medita-cijo tega dela cerkvenega leta.

S preteklim barokom je povezana tudi skladba Adagio in fuga Wolfganga Amadeusa Mozarta (1756–1791). Poleti 1788 je skladatelj zaključeval svojo zna-menito trilogijo poslednjih simfonij, hkrati pa je to bil čas, ko je obupno potre-boval denar, zato se je bil pripravljen oprijeti kakršnegakoli plačanega dela (za simfonije ni imel naročnika). Najbrž gre v tem kontekstu razumeti nastanek Adagia in fuge, KV. 546, dela, ki ga je takrat izdal založnik F. A. Hoffmeister. Mozart ni napisal povsem novega dela: predelani fugi za dva klavirja KV. 426 je namreč dodal počasni uvod (adagio). Delo se zdi kot nekakšno posvetilo baroku in zahvala vsemu, česar se je naučil od Händla in Bacha. Uvodni ada-gio je sestavljen iz kontrastnih odsekov, pri čemer je eden izmed njih izpeljan iz značilnega punktiranega ritma, ki je zaznamoval baročno obliko francoske uverture. Kontrastni dualizem adagia se nato preseli v polifone linije fuge, ki jo lahko imamo za nekakšno kontrapunktično vajo pred velikim finalom skla-dateljeve Jupitrove simfonije.

Koncert za klavir in orkester št. 9 v Es-duru, KV. 271 je Mozart napisal ja-nuarja 1777, ko še ni sodil med izstopajoče skladatelje svojega časa, temveč je le uspešno sledil glavnim karakteristikam obdobja. V tem kontekstu se zdi koncert popolnoma samosvoj, lahko bi celo trdili, da gre za prvo mojstrovino. Z njim je Mozart odprl novo stran v svojem opusu: delu je dal izrazite simfonične poteze, kar pomeni, da sta klavir in orkester enakovredna glasbena partnerja in da je orkester polno zaseden, pri čemer do večje veljave prvič pridejo tudi pihala. Solistični klavir se v koncertu oglasi že v drugem taktu, kar je bilo v času, ko so bili uvodni stavki domišljeni še v obliki dvojne ekspozicije (tematski material najprej predstavi orkester, šele nato ga ponovi solist) nekaj popolnoma nezaslišanege. Potem ko solist predstavi temo, lahko orkester nadaljuje z ekspozicijo in šele po njenem zaključku se oglasi solist z dolgim trilčkom. Melodične značilnosti počasnega stavka kažejo, da si je Mozart slog očitno izposodil iz svojih oper in da je nanj vplival viharniški slog, saj je stavek napisan v takrat redko uporabljeni molovski tonaliteti, spuščajoče figure v orkestru jasno aludirajo na znani motiv vzdiha, medtem ko se klavirska dikcija pogosto približuje recitativnemu. V sklepnem stavku

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je Mozart ponovno eksperimentiral z obliko: v energični rondo je vstavil dolg variacijski menuet.

Delo je nadimek »Jeunehomme« dobilo leta 1912, ko sta ga francoska razisko-valca T. de Wyzewa in G. de Saint-Fox postavila v zvezo s francosko pianistko, ki naj bi pozimi 1776 obiskala Salzburg in pri Mozartu naročila koncert. V osemdesetih letih 18. stoletja je v Parizu Mozartove koncerte res izvajala neka gospodična Villieaume, kar bi fonetično v francoščini pomenilo »starec«, in tako bi bil njegov nasprotek, »Jeunehomme«, se pravi mladenič, lahko neke vrste Mozartova šala. Nadaljnje raziskave so pokazale, da je delo naročila pi-anistka Louise Victoire Jenamy – v 18. stoletju so se priimki očitno zapisovali zelo poljubno (Mozart je govoril o pianistki Jenomy, njegov oče pa o gospodič-ni Genomai).

Dvořákovo (1841–1904) Serenado za godala je mogoče razumeti kot rezultat skladateljevega premišljenega spreminjanja sloga. Dvořak je namreč leta 1871 zapustil glasbeniško mesto v opernem orkestru in se poskusil uveljaviti kot skladatelj. Pot je bila trnova, in sicer predvsem zato, ker je v svojih zgodnjih delih vse preveč sledil mladostnim kompozicijskim zgledom, predvsem Wa-gnerju. Šele v sedemdesetih letih se je iz zapriseženega pripadnika novonem-ške šole (Liszt, Wagner) premaknil proti bolj izbrušenemu klasicističnemu konceptu, v katerega je vključil elemente češke ljudske glasbe. Na ta način je svojo glasbo približal akademski prečiščenosti, ki je bila v tistem času značil-na za Brahmsa, Dvořákovega najbolj vnetega zagovornika na »zahodu«, ter ji hkrati dodal nekaj nacionalne posebnosti in prepoznavnosti. Prav v času te slogovne premene in pridobljene avstrijske državne štipendije (1875) je na-stala tudi Serenada za godala, ki je s svojo žanrsko neobteženostjo nekakšen prehod k »resnejši« simfoniji. V Dvořákovi Serenadi dominirata predvsem ljubezen do plesnega in igrivega: prvo razodeva plesno naravnani menuet, ki se zdi po svojem značaju bližje valčku, igrivost pa razkriva nasmejani scherzo. Vendar skladba ne poteka v celoti brez globljega kompozicijskega uvida. Med nenavadnostmi sta vključevanje kanoničnih tehnik v srednji del scherza ter sklepni sonatni rondo s tremi temami, med katere se umešča tudi tema poča-snega stavka in tema iz prvega stavka. Dvořák tako na videz brezbrižno druži enostavnost s kompozicijsko briljanco, kar seveda zmorejo samo največji.

Gregor Pompe

Najboljši in najvarnejši na svetu XC60 OD 299 EUR/mesec

Povprečna poraba goriva: 4,9 – 7,8 l/100 km. Emisije CO2: 129 - 181 g/km. Emisijska stopnja: EURO 6d. Emisije NOx: 0,0191 - 0,0648 g/km. Vrednost specifične emisije trdnih delcev pri dizelskih motorjih: 0,00020 - 0,00053 g/km, število delcev: 0,12 E+11 – 2,33 E+11. Ogljikov dioksid (CO2) je najpomembnejši toplogredni plin, ki povzroča globalno segrevanje. Emisije onesnaževal zunanjega zraka iz prometa pomembno prispevajo k poslabšanju kakovosti zunanjega zraka. Prispevajo zlasti k čezmerno povišanim koncentracijam prizemnega ozona, delcev PM10 in PM2,5 ter dušikovih oksidov. Cene ne vsebujejo stroška kovinske barve in priprave vozila. Ponudba financiranja velja ob nakupu novega vozila Volvo po ponudbi KMAG d.o.o. po MP ceniku ob sklenitvi pogodbe o finančnem leasingu preko Unicredit Leasing, d.o.o. Ponudba zajema obdobje financ. do 84 mesecev, 25,75% polog in (plačilo) 25% preostanka vrednosti, EOM = 4,19%, stroški odobritve 1% vrednosti vozila. Reprezentativni primer izračuna za Volvo XC60 D4 147 kW (200 KM) A Business iz akc. ponudbe: finančni leasing; predračunska vrednost predmeta financ.: 39.990 EUR; lastna udeležba (polog): 25,75%, 10.297,42 EUR; znesek financ.: 29.692,58 EUR; št. obrokov: 84; mesečni obrok: 299,06 EUR ter zadnji (85-i) obrok: 9.997,50 EUR (25%); stroški odobritve: 399,90 EUR (1% vred. vozila); skupni znesek za plačilo brez lastne udeležbe: 35.518,44 EUR; letna obrestna mera: 3,80% je fiksna, EOM: 4,19% na dan 23.7.2018. Financ. se lahko zavrne, če stranka nima ustrezne bonitete. Veljavnost ponudbe do odprodaje zalog. Za tipkarske napake ne odgovarjamo. Več informacij na volvocars.si ali pri pooblaščenem Volvo prodajnem zastopniku. Slike so simbolične. VCAG d.o.o., Leskoškova 2, 1000 Ljubljana.

Novi XC60, najvarnejši avto na svetu po testiranjih Euro NCAP, poleg superiorne varnosti navduši s popolno tehnologijo,

dizajnom, nadzorom in udobjem, zaradi česar je letos osvojil tudi naslov Svetovni avto leta.

Naj bo tudi vaša izbira svetovna.

NE ZAMUDITE IZJEMNE PONUDBE ZA OMEJENO ŠTEVILO VOZIL XC60

Volvo center Maribor Zagrebška 382000 Maribor

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Najboljši in najvarnejši na svetu XC60 OD 299 EUR/mesec

Povprečna poraba goriva: 4,9 – 7,8 l/100 km. Emisije CO2: 129 - 181 g/km. Emisijska stopnja: EURO 6d. Emisije NOx: 0,0191 - 0,0648 g/km. Vrednost specifične emisije trdnih delcev pri dizelskih motorjih: 0,00020 - 0,00053 g/km, število delcev: 0,12 E+11 – 2,33 E+11. Ogljikov dioksid (CO2) je najpomembnejši toplogredni plin, ki povzroča globalno segrevanje. Emisije onesnaževal zunanjega zraka iz prometa pomembno prispevajo k poslabšanju kakovosti zunanjega zraka. Prispevajo zlasti k čezmerno povišanim koncentracijam prizemnega ozona, delcev PM10 in PM2,5 ter dušikovih oksidov. Cene ne vsebujejo stroška kovinske barve in priprave vozila. Ponudba financiranja velja ob nakupu novega vozila Volvo po ponudbi KMAG d.o.o. po MP ceniku ob sklenitvi pogodbe o finančnem leasingu preko Unicredit Leasing, d.o.o. Ponudba zajema obdobje financ. do 84 mesecev, 25,75% polog in (plačilo) 25% preostanka vrednosti, EOM = 4,19%, stroški odobritve 1% vrednosti vozila. Reprezentativni primer izračuna za Volvo XC60 D4 147 kW (200 KM) A Business iz akc. ponudbe: finančni leasing; predračunska vrednost predmeta financ.: 39.990 EUR; lastna udeležba (polog): 25,75%, 10.297,42 EUR; znesek financ.: 29.692,58 EUR; št. obrokov: 84; mesečni obrok: 299,06 EUR ter zadnji (85-i) obrok: 9.997,50 EUR (25%); stroški odobritve: 399,90 EUR (1% vred. vozila); skupni znesek za plačilo brez lastne udeležbe: 35.518,44 EUR; letna obrestna mera: 3,80% je fiksna, EOM: 4,19% na dan 23.7.2018. Financ. se lahko zavrne, če stranka nima ustrezne bonitete. Veljavnost ponudbe do odprodaje zalog. Za tipkarske napake ne odgovarjamo. Več informacij na volvocars.si ali pri pooblaščenem Volvo prodajnem zastopniku. Slike so simbolične. VCAG d.o.o., Leskoškova 2, 1000 Ljubljana.

Novi XC60, najvarnejši avto na svetu po testiranjih Euro NCAP, poleg superiorne varnosti navduši s popolno tehnologijo,

dizajnom, nadzorom in udobjem, zaradi česar je letos osvojil tudi naslov Svetovni avto leta.

Naj bo tudi vaša izbira svetovna.

NE ZAMUDITE IZJEMNE PONUDBE ZA OMEJENO ŠTEVILO VOZIL XC60

Volvo center Maribor Zagrebška 382000 Maribor

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The most celebrated of Joseph Haydn’s (1732–1809) symphonies, the final “London” symphonies (Nos. 93–104), often overshadow the fascinating works that the composer created before the last decade of the eighteenth century. One such work is Symphony No. 49 , written in the first decade of Haydn’s service at the court of Prince Nikolaus Esterházy, where he could count on an orchestra of 13–15 musicians to perform his symphonies: in addition to strings, a pair of both oboes and horns, sometimes a bassoon, and a harpsichord for performing the basso continuo.

Symphony No. 49 is characterised by an unusual succession of movements slow-fast-slow-fast, which corresponded to the already rather old-fash-ioned prototype of the Baroque church sonata (sonata da chiesa). The nickname “La passione” was added by the publisher and does not refer to a passionate love affair, but to Christ’s passion, suggesting a link between the rather mournful character of work and the contemplative nature of Good Friday. Haydn’s symphony is characterised by depth, seriousness and emotion, which should be associated with the poetics of storm and stress (Sturm und Drang), a kind of harbinger of Romanticism. This association is further confirmed by the choice of a minor tonality. All four movements are anchored in F minor (the only exception being the trio of the minuet) and they all contain the initial motif (C-D-flat-B-flat-C), which appears to indicate a connection with Gregorian Chant. The serious and sombre char-acter of the work seems entirely in accordance with the period of Lent, or at least with the meditative nature this part of the church year.

Wolfgang Amadeus Mozart’s (1756–1791) Adagio and Fugue is also associ-ated with the Baroque. In the summer of 1788, the composer completed his superb final trilogy symphonies. He was in desperate need of money at the time and was willing to accept any paid work (he did not have any commis-sions for symphonies). It is probably in this context that we should un-derstand the creation of the Adagio and Fugue KV. 546 , a work published by F. A. Hoffmeister. Mozart did not write an entirely new composition, instead adding a slow introduction (adagio) to a reworking of the fugue for two pianos KV. 426. The work seems to be a kind of tribute to the Baroque and an expression of gratitude for everything the composer had learned from Handel and Bach. The introductory adagio consists of contrasting sections, one of which is derived from the characteristic dotted rhythm associated with the Baroque form of the French overture. The contrasting dualism of the adagio is subsequently transferred to the polyphonic line of the fugue, which we can understand as a kind of counterpoint exercise in preparation for the great finale of the composer’s Jupiter Symphony.

Mozart wrote his Piano Concerto No. 9, KV. 271 in January 1777, at a time when he was not yet regarded as one of the outstanding composers of his era, but merely successfully followed the principal characteristics of the music of the time. In this context, the concerto appears to be completely unique, and it could even be argued that it is Mozart’s first masterpiece. It represents a turning point in his opus, displaying distinct symphonic traits: the piano and orchestra are equal musical partners and the orches-tra is fully occupied, with the wind taking a more prominent role for the first time. The solo piano is heard as early as in the second bar, which was a radical departure from the established practice, in which introductory movements were conceived in the form of a double exposition, with the thematic material being first presented by the orchestra and then repeat-

MAIN PROGRAMME | 39

ed by the soloist. After the soloist presents the theme, the orchestra con-tinues with the exposition, and only after its completion does the soloist reappear with a long trill. The melodic features of the slow movement indicate that Mozart borrowed the style from his operas and was influ-enced by Sturm und Drang: the movement was written in the then rarely used minor tonality and the descending figures in the orchestra clearly allude to the well-known motive of the sigh, while the piano diction often approaches recitative. In the concluding movement, Mozart again exper-iments with form, inserting a long variation minuet in the energetic rondo.

The concerto acquired the nickname “Jeunehomme” in 1912, when French researchers T. de Wyzewa and G. de Saint-Fox established a connection with a French pianist who was thought to have visited Salzburg in 1776 and commissioned a concerto from Mozart. In the 1780s, Mozart’s concerto was in fact performed in Paris by a certain Mlle Villieaume, whose name understood phonetically would mean “old man” in French, which could have given rise to its opposite, “Jeunehomme” (young man), as a kind of Mozartian joke. Further research has shown that the work was actually commissioned by pianist Louise Victoire Jenamy. In the eighteenth centu-ry, surnames were obviously written rather arbitrarily, as Mozart refers to the pianist Jenomy, while his father mentions Miss Genomai.

Antonín Dvořák’s (1841–1904) Serenade for Strings can be understood as a result of the composer’s conscious change in style. In 1871, he resigned from his position in an opera orchestra and tried to establish himself as a composer. It was, however, a thorny path, particularly because his early works remained too faithful to his youthful role models, especially Wag-ner. It was only in the 1870s that he shifted from being a sworn follower of the New German School (Liszt, Wagner) to adopting a more polished classicist concept in which he incorporated elements of Czech folk music. In this way, he brought his music closer to an academic refinement that, at the time, was characteristic of Brahms, Dvořák’s most ardent advocate in the “West”, while the new approach also gave his works a certain national flavour and distinctiveness. It was precisely at the time of this stylistic change, which coincided with his gaining an Austrian state scholarship in 1875, that the Serenade for Strings emerged, which, with its lack of genre fetters, was a kind of transition to a “more serious” symphony. Dvořák’s Serenade is dominated above all by a love of dance and playfulness: the former is revealed in the dance-oriented minuet, which seems to be closer to a waltz in character, while the latter is reflected in the smiling scherzo. However, the composition is not entirely without deep compositional in-sight. Among its unusual features are the inclusion of canonic techniques in the central section of the scherzo, while the final sonata rondo has three themes, including those of the slow movement and the first move-ment. Dvořák thus combines simplicity and compositional brilliance with apparent ease, which, of course, can only be achieved by a great composer.

Gregor Pompe


MAIN PROGRAMME | 41

Haydnovo Simfonijo št. 49 iz leta 1767 je z »La passione« leta 1790 naslovil prepisovalec iz Leipziga, pri čemer ne vemo, ali s skladateljevo privolitvijo. Vsakdo pa, ki ve, kako naravno so bili v 18. stoletju povezani glasba in jezikoslovni elementi, bo tej asociaciji brez nadaljnjega pritrdil, in to tako zaradi boleče kromatike kot mest, kjer se v hitrih stavkih motivični delci prav tako divje vzpnejo, kar ustvarja intenzivne intervalne napetosti. Vse to deluje kot domiselni kompendij baročne afektiranosti. Od tod se lahko pogleda tudi v prihodnost: v Schubertovem počasnem stavku z variacijami iz Kvarteta D 810, »Smrt in deklica«, je nekaj idej, ki bi prav lahko izvirale z začetka Haydnovega dela. Z »La passione« bi lahko naslovili tudi Mozartov Adagio in fugo KV. 546 iz let 1783 in 1788. Tukaj so možnosti verige povezav med Händlovim zgledom in takrat aktualno občutljivo viharniško mentaliteto potisnjene do skrajnih meja. Vse zveni arhaično, pa vendarle preseneča in je kot da neodkrito. Vemo, da se Mozartovo prvo povsem inovativno delo te zvrsti, Koncert za klavir KV. 271 iz leta 1777, začne z za tisti čas nenavadnim začetnim dialogom med orkestrom in inštrumentom s tipkami. Živahna gradnja spremeni poslušanje prvega stavka v pustolovščino. Andantino je precej nenavaden: opraviti imamo z namišljeno operno sceno, vključno z umetelno pianistično kadenco. Kar predstavljamo si lahko, na primer, zapuščeno Ariadno na otoku Naksos. Zadnji stavek okrepi vtis, da imamo opraviti s hipotetičnim odrskim delom, in to predvsem zaradi številnih bliskovitih sprememb razpoloženja. Zares, kako pogosto lahko najdemo v njegovih zrelih operah trenutke, ki zrcalijo čuteči svet vstavljenega menueta.

Dvořákova Serenada za godala, op. 22 (1875) deluje v tem programu kakor tujek. Vsekakor pa se jo kljub njeni priljubljenosti včasih premalo ceni. Poleg enkratne sposobnosti tega češkega mojstra, da ustvarja poetične žanrske slike, me v tej serenadi navdušujejo subtilna umetnost gradnje neenakomernih period, inventivna, širokopotezna, razdelana dinamika, kakor naravno izrasla polifonija, ki večkrat in sočasno nagovarja različne skupine inštrumentov z nasprotujočimi si nalogami. Zaradi nove Bärenreiterjeve izdaje imamo zdaj priložnost zaigrati razširjeno inačico skladateljevega avtografa. Ni povsem jasno, ali so bile aktualne skrajšane inačice prve izdaje zamisel založniške hiše Bote und Bock ali pa je ideja zanje prišla od samega Dvořáka.

Alexander Lonquich


Haydn's Symphony No. 49, written in 1767, was given the name "La passione" by a Leipzig copyist in 1790, though it remains unclear whether this was done in agreement with the composer. But anyone who has examined the natural connection between music and linguistic elements in the eighteenth century will certainly consider this association to be correct, both with re-gard to the poignant chromaticism as well as the motif particles, which also in the fast movements in some cases rebel wildly, acting with great interval tensions. All this seems like an ingenious compendium of baroque affects. From there, a look into the future is also possible: some ideas in Schubert's slow variation movement from the String Quartet in D minor D.810 "Der Tod und das Mädchen" may have originated from the beginning of Haydn's work. "La passione" would also be a plausible title for Mozart's Adagio and Fugue KV. 546 from 1783 and 1788; however, here end the possibilities for a chain of relationships between Handel's example and the then current "sen-sitive" Sturm und Drang mentality. Everything sounds archaic and yet it is surprising and undiscovered. As we know, his first completely innovative work of this genre, the Piano Concerto KV. 271, was composed in 1777, begin-ning with the then unusual opening dialogue between the orchestra and the keyboard instrument. The liveliness of the composition makes listening to the first movement an adventure. The Andantino is quite extraordinary: we are dealing with an imaginary operatic scene, including an erudite pia-no cadenza. One can imagine, for example, the abandoned Ariadne on the island of Naxos. The last movement reinforces the impression of dealing with a hypothetical stage work, especially because of many mood changes as fast as lightning. How often will there be moments in his mature operas that reflect the sentient world of the inserted Minuet!

Dvořáks String Serenade Op. 22 (1875) seems like a foreign body in this program. However, despite its popularity, it is sometimes underestimated. What fascinates me about it, apart from the Czech master's unique ability to create poetic moods, is the subtle art of irregular period formations, an inventive, wide-ranging, differentiated dynamics, like a naturally-grown polyphony, that repeatedly and simultaneously addresses the different gro-ups of instruments with contradictory tasks. The new Bärenreiter edition gives us the opportunity to play the extended version of the autographed version. Whether the current abbreviations of the first edition were the idea of the publishing house Bote und Bock or are based on Dvořáks own conside-rations cannot be clearly determined.

Alexander Lonquich


8. november 2018

4. december 2018

11. februar 2019

14. marec 2019

23. april 2019

MARCOS FINK, basbaritonNEJC LAVRENČIČ, klavir

PETER MATZKA, violina THOMAS SELDITZ, violaREINHARD LATZKO, violončelo ERNST WEISSENSTEINER, kontrabasCHRISTIAN SCHMIDT, klavir

ALEKSANDAR MADŽAR, klavir

IRENA KAVČIČ, flavtaTOMMASO LONQUICH, klarinetKVARTET ZAÏDEIZTOK HRASTNIK, kontrabas

IRENA GRAFENAUER, flavta, s prijatelji

20182019 CIKEL


KP Oglasi A5 2018-19.indd 2 28/08/2018 09:58


ZAKLJUČNI KONCERT Moč narave, moč glasbeCLOSING CONCERT The Power of Nature, the Power of Music

5

Dvorana Union, MariborPetek, 28. september, ob 19.30

Union Hall, MariborFriday, 28 September, 7:30 pm

SIMFONIČNI ORKESTER SNG MARIBOR

Gergely Dubóczky, dirigentDávid Kutas, László Seeman, Mahir Kalmik, Boštjan Lipovšek – rogovi

SLOVENIAN NATIONAL THEATRE MARIBOR SYMPHONY ORCHESTRA

Gergely Dubóczky, ConductorDávid Kutas, László Seeman, Mahir Kalmik, Boštjan Lipovšek – Horns

Carl Maria von WeberUvertura k operi Oberon

Robert SchumannKoncertno delo za štiri rogove in orkester v F-duru, op. 86

***

Carl Heinrich HüblerKoncertno delo za štiri rogove in orkester

Richard WagnerPredigra k 3. dejanju opere Lohengrin (odlomki za kvartet rogov)

V koprodukciji s SNG Maribor.

Carl Maria von WeberOverture to Oberon

Robert SchumannConcert Piece for four Horns and Orchestra in F major, Op. 86

***

Carl Heinrich HüblerConcert Piece for four Horns and Orchestra

Richard WagnerLohengrin, Prelude to Act 3

Co-produced by SNG Maribor.

MAIN PROGRAMME | 45

o sredine 19. stoletja so bile izvajalske zmožnosti rogov precej omejene, saj so ti lahko izvajali le alikvotne tone enega samega tona, na katerem je bila uglašena cev (ob modulacijah je bilo torej treba zamenjati cev), deloma pa so kromatične tone pridobivali s tehniko mašenja. Pomembne spremembe je prinesla iznajd-ba ventilov, s katerimi je bilo cev mogoče podaljševati in skrajševati ter s tem povečevati zalogo izvedljivih tonov. Kot eden prvih je z novim rogom pričel eks-perimentirati Robert Schumann (1810–1856), ki je leta 1849 poleg skladbe Adagio in Allegro za rog in klavir napisal Koncertno delo za štiri rogove in orkester, op. 86.

Tudi sicer veljajo leta 1848–1850 za Schumannovo najkreativnejše obdobje: samo v letu 1849 je dokončal več kot 40 del. Skladatelj je takšno poplavo inspiracije razumel v povezavi z revolucionarnim duhom, ki je takrat zajel Evropo. Skladba, ki jo je skladatelj štel za eno najboljših in je ena prvih, v katerih so v polni meri izkoriščene zvočne in tehnične zmožnosti roga, je napisana v treh neprekinje-nih stavkih. Če je Schumann z izbiro inštrumentov pokazal svoj novatorskih duh, pa je to težje trditi za žanr koncertne skladbe, ki je modeliran po baročnem zgledu forme concerto grosso, v kateri se skupina solistov izmenjuje z večjim ansamblom. Na koncertnih sporedih srečamo Schumannovo koncertno delo razmeroma redko, kar pa ni posledica kombinacije »napredne« izbire glasbil in »nazadnjaške« uporabe forme, temveč izjemne zahtevnosti parta za prvi rog, ki izdatno raziskuje najvišji, težko izvedljivi register tega inštrumenta.

Ob prvi zasebni izvedbi Schumannove Koncertne skladbe za štiri rogove v stanovanju Johanna Rudolfa Lewyja je ob klavirski spremljavi, ki je nadome-stila orkester, in ob prisotnosti skladatelja kot eden izmed hornistov nastopil Carl Heinrich Hübler (1822–1893), takratni član dresdenskega dvornega orke-stra. Hübler je bil v tistem času izstopajoč virtuoz na svojem glasbilu in prav Schumannovo delo ga je navdihnilo, da je še sam napisal koncertantno delo za isto zasedbo. Schumannove skladbe praktično ni bilo mogoče igrati na in-štrumente tistega časa, medtem ko je Hübler zaradi dobrega poznavanje vseh skrivnosti inštrumenta napisal v tehničnem pogledu lažje dostopni koncert, ki pa vsebinsko resda ostaja v senci Schumannovega.

Hüblerjeva koncertna skladba je podobno kot Schumannova sestavljena iz treh kontrastnih stavkov, sorodna je tudi melodična obravnava solističnih glasbil. Kvartet rogov prinaša tudi bolj zapletene harmonske vzorce in zdi se, da skla-datelj prav uživa v izkoriščanju hitrih kromatičnih pasaž. Počasni stavek odpira lirična tema, ki modulira v molovsko tonaliteto. Slednja prinaša nekaj okusa po romantičnem viharništvu, nato pa se spet »odrešujoče« oglasi prva tema. V skle-pnem stavku daje skladatelj rogovom dovolj priložnosti, da prikažejo svoj pravi značaj s številnimi razigranimi lovskimi klici, Hübler pa se v počasnejši epizodi poslužuje tudi starejše tehnike mašenja. Ob koncu se ponovijo začetni trije akor-di, s katerimi se je prvič oglasil hornistični solistični kvartet.

Kar sta Schumann in Hübler samo nakazala, je Richard Wagner (1813–1883) izkoristil v polni meri – trobilne inštrumente z ventili v izpostavljeni vodilni, melodični vlogi, ki je močno presegala klasicistično vlogo skopih odmerjeval-cev forme in ritma. Primer takšne izstopajoče orkestrske vloge kvarteta rogov je Predigra k 3. dejanju opere Lohengrin, kjer je skladatelj rogovom namenil vodilno, slovesno melodično linijo. Wagnerjeva opera prinaša prve pomembne reze v okorelo operno formo 19. stoletja. Glavna Wagnerjeva sprememba je bila

D


povezana z bolj dramatičnim obravnavanjem libreta, ki se ni več ravnal samo po glasbeni logiki zaporedja »številk«, torej arij, duetov, ansamblov in zborov. Tako se pred nami odvija poenoteno dramatično dogajanje, katerega nosilec postane nekaj glavnih glasbenih motivov, ki jasno naznačujejo Lohengrinovo prepoved in čistost, Ortrudino zlobo, Elzino naivnost in dvom, kraljevo privzdignjenost in monumentalnost. Preludij k 3. dejanju opere slika razkošno predporočno atmos-fero, v njegov sredinski del pa se že pretihotapi ritmični motiv slavne poročne koračnice, ki nas še danes pogosto spremlja ob tem pomemben življenjskem koraku.

Pomembno, celo simbolično in dramatično vlogo igra rog tudi v operi Oberon Carla Marie von Webra (1786–1826). Weber je večino svojega življenja posvetil opernim deskam, zato ni čudno, da so se na koncertnem repertoarju ohranila predvsem njegova glasbeno-gledališka dela. V svojem kratkem življenju je na-pisal deset del za glasbeno gledališče in več kot dva ducata scenskih glasb, toda med to množico del, ki jih Weber ni vseh dokončal oziroma se je izgubil njihov notni material, so danes v zavesti poslušalcev ostala predvsem štiri dela: spevo-igra Abu Hassan, velika herojsko romantična opera Euryanthe ter romantični operi Čarostrelec in Oberon. Slednja je skladateljeva zadnja opera in je nastala po naročilu Kraljevega gledališča Covent Garden iz Londona. V tem času je skla-datelj že bolehal za tuberkulozo, a je zaradi finančne stiske vendarle privolil v potovanje na Otok. Weber se je celo naučil angleško, da bi lažje pomagal pri na-stajanju angleškega libreta, ki se je sicer izkazal za precej problematičnega, celo nerazumljivega, saj osnovni zgodbi, povzeti po romanci C. M. Wielanda, dodaja številne stranske osebe, gledališke efekte in odvečne spletke.

Šele tri dni pred prvo izvedbo opere je Weber napisal uverturo, ki je postala najbolj znana točka opere – ponoviti jo je bilo treba že na premieri. Pričenja se z motivom v rogu, ki simbolizira čudežni rog, katerega križarju podari naslovni junak. Uvodno, nežno pravljično atmosfero hitro prekine glasni akord celotnega orkestra, ki je uvod v ognjeviti allegro – ta glasba se v operi kasneje ponovi ob križarjevi ugrabitvi princese iz Bagdada.

Gregor Pompe

MAIN PROGRAMME | 47

Until the mid-nineteenth century, the performance possibilities of the horn were rather limited, as only the harmonics of the note to which the tube was tuned could be produced (in the case of modulation, a section of the tube had to be replaced), although a limited selection of chromatic notes could be obtained using the technique of stopping. Significant changes were introduced with the invention of valves with which the tube could be lengthened and shortened, thereby increasing the number of notes available. One of the first composers to experiment with the new horn was Robert Schumann (1810–1856). In 1849, in addition to the Adagio and Allegro for horn and piano, he also wrote the Concert Piece for Four Horns and Orchestra, Op. 86.

The years 1848–1850 are regarded as Schumann’s most creative period: in 1849 alone, he completed more than forty works. The composer linked this flood of inspiration with the revolutionary spirit that had captured Eu-rope at the time. The Concert Piece, which is written in three continuous movements, was considered by Schumann to be among his best works, and is one of the first compositions in which the sound and technical possibil-ities of the horn are fully exploited. Whereas the choice of instruments re-flects Schumann’s innovative spirit, the same cannot be said of the selec-tion of genre, which is modelled on the Baroque concerto grosso, in which a group of soloists alternate with a larger ensemble. However, the fact that Schumann’s Concert Piece only rarely appears on concert programmes is not a result of this combination of “advanced” selection of instruments and “regressive” use of the form, but rather is due to the exceptional com-plexity of the first horn part, which thoroughly explores the demanding highest register of the instrument.

The first private performance of Schumann’s Concert Piece took place in the apartment of Johann Rudolf Lewy, with piano accompaniment replac-ing the orchestra. In the presence of the composer, the first horn part was performed by Carl Heinrich Hübler (1822–1893), a member of the Dresden Court Orchestra. Hübler was a leading virtuoso on his instrument, and it was Schumann’s work that inspired him to write a concertante work himself for the same ensemble. Whereas Schumann’s work was virtually impossible to play on the instruments of the time, Hübler, with his com-prehensive knowledge of all of the horn’s secrets, was able to write a work that was more approachable technically, but which nonetheless remains in the shadow of Schumann in terms of content.

Hübler’s concert piece follows Schumann’s model of three contrasting movements and is similar in its melodic treatment of the solo instruments. The quartet of horns also introduces more complex harmonic patterns and it seems that the composer enjoyed exploiting rapid chromatic pas-sages. The slow movement opens with a lyrical theme that modulates to the minor, bringing a taste of Romantic storminess before the “redemp-tive” reappearance of the first theme. In the concluding movement, the composer gives the horns ample opportunity to show their true character with numerous hunting calls, while the older technique of stopping is also exploited in the slower episode. The end brings a repeat of the initial three chords with which the quartet of horn soloists first appeared.

That which Schumann and Hübler merely indicated, Richard Wagner (1813–1883) exploited to the full: brass instruments with valves were given


a prominent melodic role that greatly exceeded their classicist role as mere dispensers of form and rhythm. An example of such an outstanding orchestral role is the quartet of horns in the prelude to the third act of the opera Lohengrin, in which the horns are given the leading, solemn melodic line. Wagner’s opera brings the first significant breaks with cal-cified nineteenth-century operatic form. The principal innovation was associated with a more dramatic treatment of the libretto, which no longer functioned solely according to the musical logic of a sequence of “num-bers”, that is, arias, duets, ensembles and choruses. Thus, a unified dramat-ic event unfolds, whose bearer becomes the main musical motifs, which clearly indicate Lohengrin’s prohibition and purity, Ortrud’s evil, Elsa’s naivety and doubt, royal elevation and monumentality, and so on. The prelude to the third act illustrates the lavish pre-wedding atmosphere, while the central section stealthily introduces the rhythmic motif of the famous wedding march that still often accompanies this important step in life today.

The horn plays an important role, even symbolically and dramatically, in the opera Oberon by Carl Maria von Weber (1786–1826). Weber dedicated most of his life to the opera stage, so it is not surprising that the main compositions preserved in the concert repertoire today are his music the-atre works. In his short life, he wrote ten music theatre works and more than two dozen pieces of incidental music, but among this plethora of works – not all of which were completed, and some of which have been lost – four compositions remain in the consciousness of listeners today: the singspiel Abu Hassan, the large Romantic heroic opera Euryanthe, and the Romantic operas Der Freischütz and Oberon. The latter is the composer’s last opera and was created on a commission from the Royal Opera House, Covent Garden, London. During this time, Weber was already suffering from tuberculosis, but due to financial difficulties he nevertheless con-sented to travel to England. He even learned English in order to help with the creation of the English libretto, which proved to be rather problematic, becoming almost incomprehensible, as the central story, based on the ro-mance by C. M. Wieland, is supplemented by a number of side characters, theatrical effects and superfluous intrigues.

Weber wrote the overture just three days before the opera was first per-formed, but it became the most famous number from the opera and had to be repeated at the premiere. It begins with a horn motif that symbolises the miraculous horn given to a crusader by Oberon. The initial gentle, fairytale atmosphere is soon interrupted by a loud chord played by the entire orchestra, introducing a fiery allegro. The same music is repeated later in the opera after the crusader kidnaps a princess from Baghdad.

Gregor Pompe

MAIN PROGRAMME | 49


Pred natanko dvajsetimi leti je v Mariboru prvič zazvenel kvartet po Schumannovi predlogi; dotlej te redko izvajane in nadvse posebne skladbe v naših krajih še nismo slišali. Za to so bili potrebni zaupanje snovalcev programa takratne Mariborske filharmonije, aktivni angažma štirih (pre)drznih hornistov (dva Madžara, Turek in Slovenec), zanesljiva taktirka maestra Pellegrina Amata in seveda glasbeniki Mariborske filharmonije. Danes, dvajset let po tem razburljivem večeru, so se glasbeniki znova združili v identični formaciji. Naše osebne in glasbene poti so medtem vijugale po svoje, vsi pa se zdaj z velikim veseljem vračamo v Maribor, kjer se bo programsko razdajal in izpostavil »gozdni rog« v vsej svoji žlahtnosti.

Boštjan Lipovšek

It has been exactly twenty years since our quartet, inspired by Schumann’s wonderful piece, has first performed in Maribor; up till then, this very speci-al and rarely performed music had not been heard in our parts of the world. This required the trust of the creators of the program of the then Maribor Philharmonic Orchestra, the active engagement of the four (bold) hornists (two from Hungary, one from Turkey and one from Slovenia), the reliable baton of conductor Pellegrino Amato and, of course, the musicians of the Maribor Philharmonic. Today, twenty years after the groundbreaking event, the musicians have reunited in an identical formation. Our personal and musical paths have since taken many different turns, but now we all joyfully return to Maribor, where the “hunting horn” will be generousely showcased in all its nobility.

Boštjan Lipovšek


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FESTIVAL MARIBOR AMONG CHILDREN



*POVEZANOST

54 | FESTIVAL MARIBOR MED OTROKI

Zvočni vrtThe Garden of Sounds1Vetrinjski dvor, Maribor15.–29. september (vsak dan, razen nedelje, med 10. in 18. uro)

Vetrinj Mansion, Maribor15–29 September (from 10:00 am to 6:00 pm every day, except Sunday)

Interaktivna razstava izvirnih glasbenih inštrumentov za otroke in odrasleIdejna zasnova in izvirni inštrumenti: Peter Kus

An interactive exhibition of original music instruments for children and adultsConcept and original instruments by: Peter Kus

Razstava je umeščena v namišljeni »botanično-zoološko-akustični« vrt: rastline in živali so oblikovane v zveneče objekte in izvirne glasbene inštrumente, ki kar vabijo obiskovalca, da se jih dotakne in še sam raziskuje ter ustvarja glasbo, namesto da bi jo le pasivno poslušal.

Otvoritev razstave z avtorjem in zvočna pogostitev bo v soboto, 15. septembra, ob 15.00.

Vstopnine ni.

V koprodukciji z Zavodom Federacija in s sodelovanjem Zavoda MARS Maribor.

Through a fantasy story about an eccentric inventor Professor Berlió, the exhibition is set in a fictional “botanical-zoological-acoustic” garden, where plants and animals are sound objects and instruments. Visitors are encouraged to touch the exhibits, play them themselves and create sounds and music.

The opening of the exhibition with the artist and sound feast will take place on Saturday 15 September, at 3.00 pm.

Entrance is free.

In co-production with Federacija Institute and in collaboration with MARS Institute Maribor.

4. oktober 2018

15. november 2018

24. januar 2019

28. februar 2019

4. april 2019

ZGODBE O JAZZUANA BEZJAK, vokal, GREGOR ZVER, tenor saksofon, JANEZ VOUK, trobenta, MATEJ LESKOVAR, pozavna, MATJAŽ DAJČAR, kitara, ROBERT OŽINGER, klavir, LUKA HERMAN GAISER, kontrabas, BRUNO DOMITER, bobni

KAMOR PTICE NE LETIJOPLESNA IZBA MARIBOR

TESLAJANEZ DOVČ, avtor koncepta, glasbe in izvedba

MOŽ S KLADIVOM V ŽEPUTROBILNI KVINTET CONTRAST

FIESTA LATINATOLKALNA SKUPINA CASCARA

20182019 CIKEL


KP Oglasi A5 2018-19.indd 3 28/08/2018 09:58


Vetrinjski dvor, MariborSobota, 22. september, ob 10.00

Vetrinj Mansion, MariborSaturday, 22 September, 10:00 am

IMA ZAČETEK, KONCA NE

Glasbeno-plesna predstava in delavnica Konservatorija za glasbo in balet Maribor

IT HAS A BEGINNING, BUT NO END

Music and Dance Show and Workshop by the Maribor Conservatory of Music and Ballet

»Glasbena vzgoja je najpomembnejši inštrument, saj ritem in harmonija dospeta do skrivnih delov duše.« (Platon)

Skozi glasbo in ples nas bodo učenci in mentorji Konservatorija za glasbo in balet Maribor popeljali po skrivnih poteh glasbene in plesne umetnosti. Popotovanje se bo zaključilo z večglasnim petjem ob spremljavi inštrumentov, ustvarjenih na delavnici.

Vodji projekta: Simona Fišer in Marjetka Minič

Sodelujejo učenci in mentorji Konservatorija za glasbo in balet Maribor.

Primerno za osnovnošolske otroke z družinami.

V koprodukciji s Konservatorijem za glasbo in balet Maribor.

“Music education is the most im-portant instrument, as rhythm and harmony reach the secret parts of the soul.” (Plato)

Through music and dance, students and mentors of the Maribor Con-servatory of Music and Ballet will lead us through the secret path of the arts of music and dance. The journey will end with multi-voice singing accompanied by instru-ments created at the workshop.

Project Leaders: Simona Fišer and Marjetka Minič

With the participation of students and mentors of the Maribor Con-servatory of Music and Ballet.

Recommended for primary school students and their families.

Co-produced by the Maribor Conservatory of Music and Ballet.

Glasbena tržnicaMusic Market2

FESTIVAL MARIBOR AMONG CHILDREN | 57


Vetrinj Mansion, MariborSaturday, 22 September, 11:00 am

V LOV! Koncertna matineja

Borut Pahič, Marko Arh, Blaž Ogrič in Boštjan Lipovšek, rogovi

TO THE HUNT!Matinee for families with children

Borut Pahič, Marko Arh, Blaž Ogrič and Boštjan Lipovšek, Horns

Tokrat se bomo z našimi mladimi in najmlajšimi poslušalci pomudili v namišljenih potegavščinah in do-godivščinah z rogom. Ta mogočni, bleščeči in lepo zaviti inštrument je resnično nepogrešljiv v vsaki resni koncertni dvorani. Ob tem si bodo glasbeniki dovolili tudi nekaj bese-dnih zasukov, hitro se bomo znašli kje, kjer je temno kot v rogu, morda pa bo kdo koga tokrat ugnal še v kozji rog ... Vsekakor nas čaka zanimivo glasbe-no popotovanje, kjer ne bo manjkalo žlahtnih zvokov, prav tako ne veselih potegavščin, tako da na koncu ne bo povsem jasno, kdo so glasbeniki in kdo poslušalci!

Primerno za osnovnošolske otroke z družinami.

On this occasion, with our young and youngest listeners, we will be occupied with imaginary antics and adventures with the horn. This powerful, glittering and beautifully bent instrument is truly indis-pensable in every serious concert hall. The musicians will also allow themselves some word bending, we will quickly find ourselves in a place that is as dark as the inside of a horn, and someone may even find themselves corned in a goat’s horn ...

In any case, a fascinating musical journey awaits us, with no shortage of noble sounds and plenty of cheer-ful antics, so that in the end it will not be entirely clear who are musi-cians and who are listeners!

Recommended for children and youth from 6–14 with their families.


Viteška dvorana Pokrajinskega muzeja MariborSobota, 22. september, ob 16.00

Knight’s Hall, Regional Museum, MariborSaturday, 22 September, 4:00 pm

GLASBA PRIPOVEDUJE ZGODBE

Adriana Magdovski, klavir

MUSIC TELLS STORIES

Adriana Magdovski, Piano

Glasbenica nam bo razgrnila zgodbe, ki nam jih pripoveduje glasba od starih časov do današnjih dni. Med drugim bomo slišali dela C. W. Glucka, S. Rahmaninova, G. Gershwina in A. Piazzolle.

Primerno za družine z majhnimi otroki.

The Pianist will unfold stories, told through music from ancient to modern times. We will hear music by C. W. Gluck, S. Rachmaninoff, G. Gershwin and A. Piazzolla, among others.

Recommended for the youngest ones and their families.

Udobno izkušnjo koncertne matineje »V lov!« in »Glasba pripoveduje zgodbe« omogoča OŠ Bojana Ilicha.

The comfortable seating of the concerts "To the Hunt!" and "Music Tells Stories" is made posible by the Bojan Ilich primary school.

7.–18. 11. 2018 liffe.si

29. Ljubljanski mednarodni filmski festivalod 9.11.

v MARIBOXU


Zvočna kuhna je interaktivni zvočni performans za otroke in odrasle. V njej ne kuhamo jedi, temveč zvoke!

V ozadju predstave je ideja, da se ustvari okolje, v katerem avtor spoji izkušnje iz svojih prejšnjih projektov: zvočne predstave, v katerih je gledalca postavil v položaj, iz katerega »gleda« na gledališkem odru uprizorjeni zvok, se povežejo z interaktivnimi razstava-mi, na katerih so se gledalci razstav-ljenih inštrumentov oziroma zvoka »dotikali«. V predstavi se posveča prepletanju različnih vlog in načinov zaznavanja gledalca predstave, obisko-valca razstave in poslušalca koncerta. Projekt je zasnovan kot mešanica gle-dališko-lutkovne predstave in delav-nice izdelovanja inštrumentov. Avtor vabi gledalce, da v določenih delih z igranjem na različna zvočila sami ak-tivno posežejo v dogajanje. Predstavo tako ne le gledajo/poslušajo, temveč v njej tudi sodelujejo in imajo z njo nepo-sreden, fizičen stik.

Okvirna tema predstave Zvočna kuhna je sinestezija, povezava sluha z drugimi čuti, predvsem s čutom za okus. Predstava vzpostavlja povezave med glasbo in gastronomijo, ki so prisotne v naših življenjih in v kulturi, ter jih povzema v multisenzorični gledališki izkušnji.

Dogajanje je umeščeno v kuhinjo, ka-mor so obiskovalci povabljeni kot gost-je. A kaj, ko je kuharski mojster izgubil okus! Kako naj zdaj pripravlja hrano? Odkrije, da bi čut za okušanje lahko nadomestil z ustvarjanjem in poslu-šanjem zvokov. Če dela glasbo, je to tako, kakor da bi pripravljal in okušal hrano. Zato vlogo kuharja nadomesti z vlogo glasbenika in skladatelja, ki zdaj z enako strastjo »kuha« zvoke, uživa v njihovih neskončnih kombinacijah in se naslaja v zvočni ekstazi. Njegova usta so postala ušesa.

Sound Kitchen is an interactive sound performance aimed at children and their families. Instead of cooking food, we cook sounds!

The idea of the performance is to create an environment in which the artist can combine his experiences from previous projects – sound per-formances in which the spectator is invited to "watch" the sounds being performed on the theatre stage and in-teractive exhibitions in which visitors can "touch" the exhibited instruments and their sounds. In Sound Kitchen, Peter Kus emphasises the different roles and manners of perception of a theatre spectator, an exhibition visitor and a listener at a concert. The project is designed as a combination of an ani-mated sound theatre performance and a musical instrument workshop. At certain times, the audience can partic-ipate actively in the performance by playing various simple instruments. Thus they do not just observe/listen to the action, but instead become actively involved and experience more direct physical contact with the per-formance.

The theme of Sound Kitchen is syn-esthesia, the intertwining of hearing with other senses, especially taste. The performance establishes con-nections between music and gas-tronomy that exist in our everyday life and culture, combining them in a multi-sensory theatre experience.

The story is placed in a kitchen, to which the audience members are invited as guests, but the chef has lost his sense of taste. How can he now prepare food and cook? He discov-ers that he can restore his sense of taste by creating and listening to the sounds. If he creates music, it is as if he were preparing and tasting food.


Vetrinj Mansion, MariborSaturday, 22 September, 5:00 pm

ZVOČNA KUHNA

Predstava in delavnica Petra Kusa

SOUND KITCHEN

Performance and Workshop by Peter Kus


Predstava sledi zaporedju in drama-turgiji bogatega zvočnega kosila in se konča z delavnico, na kateri se obisko-valci sami preizkusijo v kuhanju neka-terih zvočnih jedi.

Primerno za otroke od 5. leta starosti dalje.

Therefore, he becomes a musician and composer who "cooks" sounds, tastes their infinite combinations, and enjoys a delicious sound extravaganza. His mouth has become his ears.

The performance follows the succes-sion and dramatic arc of a rich sound feast. It ends with a workshop at which the audience can try "cooking" some of the dishes themselves.

Recommended for children from 5 years onward.


Džumbus

Bumm, krach, peng3Velika dvorana Narodnega doma MariborNedelja, 23. september, ob 17.00

Narodni dom MariborSunday, 23 September, 5:00 pm

Besedilo: Peter Kus, Nana Milčinski Režija, glasba in glasbeni inštrumenti: Peter Kus Dramaturgija: Nana Milčinski Koreografija: Andreja Podrzavnik Rauch Likovna podoba predstave: Dan Adlešič Oblikovanje luči: Borut Bučinel Grafično oblikovanje: Nejc Prah Kostumografija: Katarina Müller

Produkcija: Zavod Federacija Ljubljana, Werk 89 (Dunaj), Cankarjev dom (Ljubljana)Partner: Dschungel Wien

Zvočna predstava o dečku, ki ne govori, temveč se sporazumeva le z zvoki in glasbo.

Concept and text by Nana Milčinski, Peter Kus Direction and music by Peter Kus Dramaturgy by Nana Milčinski Choreography by Andreja Podrzavnik Rauch Stage set design by Dan Adlešič Costumes by Katarina Müller Lighting design by Borut Bučinel Graphic design by Nejc Prah

Produced by Zavod Federacija Ljubljana, Werk 89 (Vienna), Cankarjev dom (Ljubljana)

Sound theatre performance about a boy who does not talk but expresses himself through sound and music.

Nastopajo: Urška Cvetko, Krištof Hrastnik, Michael Pöllmann

Performed by Urška Cvetko, Krištof Hrastnik, Michael Pöllmann

V Džumbusu spoznamo nenavadnega dečka, ki ne govori, temveč se name-sto z jezikom izraža s samosvojimi zvoki in glasbo. Če imajo stvari vsaka svoj zvok, potem lahko z igranjem nanje opisuje svet in sebe ter se tako sporazumeva. Toda ko deček odkrije svojo novo govorico ter jo predstavi staršem, zdravnikoma, učiteljici in sovrstniku, naleti na odpor. Vsi njegovo ustvarjalnost, domišljijo in izvirnost razumejo kot motnjo, ki jo je treba odpraviti. V svetu, ki mu vla-dajo pravila in družbene konvencije, za ropotajočega otroka ni prostora.

Bumm, krach, peng presents the character of an unusual boy who does not speak in words but instead communicates with sounds and mu-sic. If each thing has its own sound, then by playing it he can describe the world and express himself. But when the boy discovers his new lan-guage and presents it to his parents, two doctors, a teacher and his class-mate, he encounters opposition. They all see his creativity, imagi-nation and uniqueness as a distur-bance that has to be corrected. In a world that is subjected to rules and


Naučiti se mora jezika in prilagoditi večini. Deček odrašča, se sooča s svo-jo drugačnostjo in išče način, kako bi v svetu omejitev in prepovedi ohranil svojo individualnost.

Igralci in glasbeniki se v predstavi sprašujejo, kaj bi se zgodilo z vsakim od nas, če bi postali ropotajoči deček. Njegovo zgodbo uprizarjajo s pomoč-jo zvočnega ustvarjanja, igranja ter animacije množice različnih izvirnih glasbil in zvočil, izdelanih iz vsakda-njih predmetov. Razvijajo žanr glas-benega gledališča, v katerem je zvok enakovreden drugim elementom predstave.

Primerno za otroke od 6. leta starosti dalje.

social conventions, there is no room for a noise-making child. He has to learn human language and conform to the majority. As the boy grows up, he discovers his difference and looks for ways to retain his individ-uality in a world of limitations and prohibitions.

The actors and musicians ask them-selves what would happen to each of us if we became a noise-making child. They present the story by playing and animating a multitude of different instruments and sound producers created out of every-day objects. They develop a genre of sound theatre in which sound be-comes equal to the other elements of theatre.

Recommended for children from 6 years onward.


Ali bi Mozart in Bach danes bila moja prijatelja?

Would Mozart and Bach be my friends today?

4

Velika dvorana Narodnega doma MariborTorek, 25. september, ob 11.00

Narodni dom MariborTuesday, 25 September, 11:00 am

Glasbena predstava Konservatorija za glasbo in balet Maribor

Music Show of the Maribor Conservatory of Music and Ballet

“Traditions based on truth are eter-nal.” (A. W.)

Does anything esteem truth more than music? That is precisely why the tradition of classical music is such an important basis for the development of the inner world of young people, especially in today’s world, when values are losing their meaning.

Wouldn’t it be interesting to listen to a group of children talking about music in a safe environment and with their instruments? Where nothing is right or wrong, where there is melody that touches you, harmony that conveys you who knows where, or a composition that you so dearly want to play.

We will delve into the periods of the Baroque and Classicism, and, with specific musical examples, try to show what children today feel about compositions from the past, about music that has been part of our tradi-tion for hundreds of years. With the help of theatrical elements, we will

»Tradicije, ki temeljijo na resnici, so večne.« (A. W.)

Ali kaj še bolj čisla resnico kot glasba? Prav zato je tradicija klasične glasbe predvsem v današnjem svetu, ko vrednote izgubljajo svoj pomen, še kako pomemben temelj za razvoj notranjega sveta mladih.

Mar ne bi bilo zanimivo prisluhniti skupini otrok, ki se v varnem okolju in ob inštrumentu pogovarjajo o glasbi? Kjer ni nič prav ali narobe, kjer je melodija, ki se te dotakne, harmonija, ki te popelje, kdo ve kam, ali pač skladba, ki si jo neizmerno želiš igrati.

Poglobili se bomo v obdobji baroka in klasicizma ter s konkretnimi glasbenimi primeri poskušali prikazati, kaj otroci danes občutijo ob skladbah iz preteklosti, ob glasbi, ki je del naše tradicije že na stotine let. S pomočjo dramskih elementov bomo pokukali v njihov svet in skupaj z njimi ugotav ljali, kaj je tisto, s čimer lahko motiviramo otroke, da vzljubijo klasično glasbo.


Vodja projekta: Urška Roškar Vodja predstave: Darja Zorko

Primerno za učence 4. razreda.

V koprodukciji s Konservatorijem za glasbo in balet Maribor in v sodelovanju s Kulturnim dnevnikom.

peek into their world and together with them find out how we can mo-tivate children to develop a love of classical music.

Project Leader: Urška Roškar Leader of the Performance: Darja Zorko

Recommended for 4th grade primary school students.

Co-produced by the Maribor Conservatory of Music and Ballet and in collaboration with Cultural Diary.

*PREDANOST

IZVAJALCI PERFORMERS

68 | IZVAJALCI

Nicolas Altstaedt

Nemško-francoski violončelist Ni-colas Altstaedt je danes eden najbolj iskanih in vsestranskih umetnikov. Kot violončelist, dirigent in umetni-ški vodja se posveča repertoarju, ki se razteza od baročne do sodobne glasbe.

Altstaedt je leta 2010 prejel nagrado Credit Suisse za mladega glasbenika, nato pa je na Festivalu Luzern nasto-pil z Dunajskimi filharmoniki pod vodstvom Gustava Dudamela. Odtlej redno nastopa s svetovnimi orkestri, kot so Tonhalle iz Züricha, Češka filharmonija, orkester Metropoli-tan iz Tokia, Simfonični orkester iz Melbourna in vsi orkestri BBC-ja, ter dirigenti, kot so Roger Norrington, Neville Marriner, Vladimir Aškenazi in Andrew Marcon.

Nicolas nastopa kot solist in skupaj z glasbenikoma Fazilom Sayem in Alexandrom Lonquichom v najbolj prestižnih dvoranah in festivalih po svetu. Kot komorni glasbenik nastopa z Janine Jansen, Vildo Frang, Tabeo Zimmermann, Christianom Tetzlaffom, Leifom Ovetom Andsne-som, Andreasom Ottensamerjem, Pekko Kuusistom, Jörgom Widman-nom, Lawrenceom Powerom, Antoi-nom Tamestitom, Jonathanom Cohe-nom in ansamblom Quatuor Ébène.

Leta 2012 je Gidon Kremer Altstaedta izbral za svojega naslednika na mestu umetniškega direktorja Festivala komorne glasbe Lockenhaus, leta 2014 pa je na njegovo željo nasledil

Adámá Fischerja kot umetniški direktor Orkestra Haydnove filhar-monije, s katerim redno nastopa v dunajski koncertni hiši Konzerthaus, na Festivalu Esterházy ter gostuje na Kitajskem in Japonskem.

Nicolas Altstaedt izvaja krstne iz-vedbe novih del in kompozicije skla-dateljev, kot so Thomas Ades, Jörg Widmann, Thomas Larcher, Matthias Pintscher, Bryce Dessner, Nico Muhly in Fazil Say.

Njegov novi posnetek koncertov za violončelo C. P. E. Bacha, ki jih je izvedel z Arcangelom in Jonathanom Cohenom, je izšel pri založbi Hype-rion in je prejel nagrado Concerto 2017 glasbene revije BBC-ja. Njegov zadnji posnetek s Fazilom Sayem, ki je izšel pri založbi Warner Classics, je bil nagrajen s priznanjem Edison Klassiek 2017.

Nicolas Altstaedt je bil umetnik nove generacije BBC 2010–2012 in preje-mnik štipendije ustanove Borletti Buitoni leta 2009. Trenutno deluje kot rezidenčni umetnik sezone 2018/19 orkestra Severozahodnega nemškega radia Elbphilharmonie v Hamburgu.

S Festivalom Maribor sodeluje od leta 2016.

German-French cellist Nicolas Altstaedt is one of the most sought-after and versatile artists today. As a cellist, conductor and artistic director he performs repertoire spanning from early to the contem-porary music.

Awarded the Credit Suisse Young Artist Award in 2010, he gave a highly acclaimed performance of the Schumann concerto with the Vienna Philharmonic under Gustavo Dudamel at the Lucerne Festival. Since then he has per-formed worldwide with orchestras such as the Tonhalle Orchestra Zurich, Czech Philharmonic, Tchai-kovsky Symphony Orchestra, Tokyo

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Metropolitan Symphony Orches-tra, Melbourne- and New Zealand Symphony Orchestras working with conductors like Sir Neville Marriner, Sir Roger Norrington, Sir Andrew Davis, Andrew Manze, Lahav Shani, Vladimir Ashkena-zy, Vladimir Fedosseev, Giovanni Antonini and Andrea Marcon amongst many others.

In recital, Altstaedt performs solo and with partners Fazil Say and Alexander Lonquich at most prestigious halls and festivals worldwide. As a chamber musician, Nicolas plays with Janine Jansen, Vilde Frang, Tabea Zimmermann, Christian Tetzlaff, Leif Ove And-snes, Andreas Ottensamer, Pekka Kuusisto, Jörg Widmann, Lawrence Power, Antoine Tamestit, Jonathan Cohen and the Quatuor Ébène.

In 2012, Nicolas was chosen by Gidon Kremer to become his suc-cessor as the new artistic director of the Lockenhaus Chamber Music Festival and in 2014, Ádám Fischer asked him to follow in his footsteps as Artistic Director of the Haydn Philharmonic, with whom he regu-larly performs at the Vienna Kon-zerthaus, Esterházy Festival and is touring both China and Japan.

Altstaedt premieres new musical works and performs the works of composers like Thomas Ades, Jörg Widmann, Thomas Larcher, Matthi-as Pintscher, Bryce Dessner, Nico Muhly and Fazil Say.

His recent recording of CPE Bach Concertos with Arcangelo and Jon-athan Cohen released by Hyperion received the BBC Music Magazine Concerto Award 2017. His latest Recital CD with Fazil Say by Warner Classics received the Edison Klass-iek 2017 award.

Nicolas Altstaedt was a BBC New Generation Artist 2010-2012 and a recipient of the „Borletti Buitoni

Trust Fellowship“ in 2009. He is currently Artist in Residence 18/19 at the NDR Elbphilharmonie Ham-burg.

Nicolas Altstaedt is an integral part of the Festival Maribor since 2016.

Marko Arh

Hornist Marko Arh je prvo glasbeno znanje pridobil v Krškem, nato je nadaljeval to pot na mariborskem Konservatoriju za glasbo in balet. Trenutno je študent Akademije za glasbo v Ljubljani pri prof. Boštjanu Lipovšku. Arh se je izobraževal tudi pri številnih drugih priznanih profe-sorjih na mednarodnih seminarjih, se udeležil več državnih in medna-rodnih tekmovanj ter prejel številne nagrade (na letošnjem državnem tekmovanju zlato plaketo in prvo na-grado). Bil je član mednarodnega mla-dinskega orkestra Mladih umetnikov Bayreuth. Marko Arh redno sodeluje z orkestrom SNG Maribor, orkestrom Akademije za glasbo v Ljubljani, Sim-foničnim orkestrom RTV Slovenija in orkestrom SNG Ljubljana.

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Horn-player Marko Arh received his first musical knowledge in Krško and then continued on his musical path at the Maribor Con-servatory for Music and Ballet. He currently studies with prof. Boštjan Lipovšek at the Academy of Music in Ljubljana. Arh also studied with many other renowned professors at international seminars, attended several national and international competitions and received numer-ous awards (at this year's state competition, the gold medal and the first prize). He was a member of the international youth orchestra of the Young Artists Bayreuth. Marko Arh regularly performs with the SNG Maribor Symphony Orchestra, the Orchestra of the Ljubljana Mu-sic Academy and the RTV Slovenia Symphony Orchestra, as well as the Orchestra of the Opera and Ballet Ljubljana.

Gergely Dubóczky

Gergely Dubóczky je danes edini madžarski dirigent mlajše generaci-je, ki je intenzivno sodeloval tako s priznanimi dirigenti kot z rojaki, kot so Zoltán Kocsis ter Ivan in Ádám Fischer. Poleg železnega koncertno-simfoničnega repertoarja se posveča interpretaciji baročne in sodobne glasbe, kar se kaže v številnih krstnih izvedbah žanrsko hibridnih del, ki jih je dirigiral doslej. Pogosto dirigira tudi glasbenogledališkim, zlasti oper-nim produkcijam.

Po diplomi iz matematike je študiral dirigiranje na budimpeški Akademiji za glasbo Franza Liszta, nato se je študijsko izpopolnjeval v New Yorku in na Dunaju pri Marku Stringerju. Pozneje se je udeležil več mojstrskih tečajev pri Petru Eötvösu, Erwinu Ortnerju, siru Simonu Rattlu, Ber-trandu de Billyju in Danielu Hardin-gu. Na Bard kolidžu v zvezni državi New York je bil asistent dirigentov Harolda Farbermana, Leona Botste-

ina in Lawrencea Golana. Poleti 2014 je prejel štipendijo Bayreuthskega festivala, ki mu je omogočila nastop na omenjenem festivalu, poleti 2016 pa je osvojil prvo nagrado na medna-rodnem dirigentskem tekmovanju Atlantske obale na Portugalskem. Nemudoma po diplomi iz dirigiranja je bil ob boku šefa dirigenta Zoltána Kocsisa dve leti dirigent-asistent Madžarske filharmonije, leta 2009 pa je postal umetniški vodja in dirigent Medicinskega orkestra Univerze Semmelweis.

Leta 2013 je ustanovil ansambel Bu-dimpeški zvočni kolektiv (Budapest Sound Collective), s katerim je izvedel več sodobnih multimedijskih in več-zvrstnih produkcij, med njimi Sedem poslednjih besed Josepha Haydna (s pisateljem Pétrom Esterházyjem in likovnim umetnikom Istvanom Na-dlerjem) in umetniški cikel Elementi, ki je bil izveden na Budimpeškem festivalu sodobnih umetnosti CAFe. Od leta 2014 je dirigent Simfoničnega orkestra Glasbenega konservatorija Béla Bartók. Istega leta je Dubóczky prejel vabilo Ivána Fischerja k sode-lovanju pri izvedbi poletne koncertne turneje Budimpeškega festivalskega orkestra, s katerim odtlej redno sodeluje. V zadnjih letih je dirigiral skoraj vsem pomembnejšim orke-strom na Madžarskem (Simfonični orkester MAV, Podonavski orkester Obuda, Simfonični orkester Szolnok, Concerto Budapest in Simfonični orkester Alba Regia). Leta 2016 je bil glasbeni vodja in dirigent sodobne madžarske opere Creative Relation-ships (Ustvarjalna razmerja), ki je

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bila prvič uprizorjena na Bartok Plus Opera festivalu v Miskolcu in je del stalnega repertoarja Budimpeškega operetnega gledališča. Leta 2017 je Dubóczky postal glasbeni direktor televizijskega tekmovanja mladih talentov – Virtuozi klasične glasbe, sodeloval pa je tudi kot profesor diri-giranja na Akademiji za dirigiranje v okviru Festivala Gstaad Menuhin. Od 1. januarja 2018 je glavni dirigent Sim-foničnega orkestra Alba Regia.

Gergely Dubóczky is the only Hun-garian conductor in his thirties who has worked with Zoltán Kocsis, Iván Fischer as well as Ádám Fischer. In addition to the traditional reper-toire, he is a committed devotee of baroque and contemporary music, and his name is associated with many premières of new pieces and performances of cross-genre works. He also frequently conducts theatre and opera productions.

After obtaining a degree in math-ematics, he studied conducting at the Franz Liszt Academy of Music in Budapest, where he graduated summa cum laude. He continued his studies in New York State and later in Mark Stringer’s class in Vienna. He has taken part in several mas-ter classes including those given by Péter Eötvös, Erwin Ortner, Sir Simon Rattle, Bertrand de Billy and Daniel Harding. At Bard College he worked under the guidance of Maestros Harold Farberman, Leon Botstein and Lawrence Golan. In the summer of 2014 he was awarded a Bayreuther Festspiele scholar-ship enabling him to appear at the Festival. In the summer of 2016 he won first prize in the Atlantic Coast Conducting Competition in Portu-gal. Immediately after graduating he spent two years as assistant con-ductor of the Hungarian National Philharmonic alongside Zoltán Kocsis. Since 2009 he has been the artistic director and conductor of the Medic Orchestra at Semmel-

weis University. Since 2014 he has worked as instructor and conductor of the Béla Bartók Conservatory Symphony Orchestra.

In 2013 he founded the ensemble Budapest Sound Collective, and has created contemporary and multi-genre [Gesamtkunstwerk] produc-tions, such as The Seven Last Words by Haydn with Péter Esterházy and painter István Nádler, and the Elements series performed at the CAFe Budapest Contemporary Arts Festival.

Iván Fischer invited him to par-ticipate in a concert tour in the summer of 2014, during which he worked for the first time with the Budapest Festival Orchestra. Since then he has regularly worked with the orchestra both as an assistant and a conductor. In the follow-ing years he has also conducted nearly all the important Hungar-ian orchestras, including the MÁV Symphony Orchestra, the Óbuda Danubia Orchestra, the Szolnok Symphony Orchestra, Concerto Budapest and the Alba Regia Sym-phony Orchestra. In 2016 he was the musical director and conductor of the Hungarian contemporary opera Creative Relationships premiered at the Bartok Plus Opera Festival Miskolc. This performance is still in the programme at the Budapest Operetta Theatre. In 2017 he was the musical director of the Virtuo-sos classical music TV talent compe-tition, and took part in the Gstaad Menuhin Festival as a conducting fellow at the Conducting Academy. He has been the principal conductor of the Alba Regia Symphony Or-chestra since 1 January 2018.

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Haydnova filharmonija Haydn Philharmonic

Haydnovo filharmonijo, rezidenčni orkester palače Esterházy, je leta 1987 ustanovil Ádám Fischer. Tedaj se je imenovala Avstrijsko-madžarska Haydnova filharmonija, sestavljali pa so jo člani Dunajske filharmonije in Madžarske nacionalne filharmonije. Fischerjev namen je bil združiti iz-brane glasbenike obeh držav še pred padcem »železne zavese«, da bi skupaj presegali meje s preigravanjem del Josepha Haydna.

Nicolas Altstaedt je v sezoni 2015/2016 prevzel umetniško vodstvo orkestra, ki od leta 2016 nastopa zgolj še pod imenom Haydnova filharmo-nija. Med vrhunci sezone 2016/17 so bile pod Altstaedtom izvedba Hay-dnovega Stvarjenja v palači Esterházy Eisenstadt z oddajanjem v živo z avdio-vizualne platforme fidelio in ORF3 ter obsežni turneji po Kitajski. Poleg tega je orkester nastopil z Marcom Minkowskim, Alexandrom Lonquichom, Francoisom Leleuxom, Sharon Kam in Mikkom Franckom v palači Esterházy in na prizoriščih, kot so MÜPA Budimpešta, Dunajska koncertna hiša in Koncertna hiša v Dortmundu.

Izven palače Esterházy Eisenstadt je orkester mednarodno zaslovel z obsežnimi turnejami tako po Avstriji in Madžarski kot preostali Evropi ter v ZDA, na Japonskem, v Koreji in na Kitajskem. Da se orkester razvija v pomembno mednarodno telo, do-kazujejo tudi številna vabila k sode-lovanju z Dunajsko koncertno hišo in Glasbenim združenjem, MÜPA Budimpešta, Schubertiado v Schwar-zenbergu, Glasbenim združenjem v Gradcu, Tonhalle Zürich, koncertno dvorano Victoria Hall v Ženevi, Festivalno dvorano Baden-Baden, Berlinsko filharmonijo, Nacionalnim avditorijem Madrid, barcelonskim koncertnim prizoriščem Palau de la

Musica Catalana ter BBC Proms v Londonu in newyorškim festivalom »Mostly Mozart«.

Orkester je med letoma 1987 in 2001 pod vodstvom Ádáma Fischerja po-snel vse Haydnove simfonije za založ-bo Nimbus; posnetki simfonij št. 40 do 54 so bili nagrajeni s priznanjem »najboljše v letu« angleške glasbene revije Gramophone. Med letoma 2004 in 2008 sta Ádám Fischer in Haydno-va filharmonija ponovno posnela Haydnove Londonske simfonije, ki so si leta 2006 in 2008 prislužile odmev-no nagrado Echo Klassik. Posnetek Mozartovega Koncerta za klarinet s Sharon Kam je leta 2011 prejel nagra-do Diapason d'or.

Haydnova filharmonija je rezidenčni orkester Festivala Maribor 2018.

The Haydn Philharmonic – orches-tra in residence at Esterházy Palace - was founded by Ádám Fischer in 1987 as the Austro-Hungarian Haydn Philharmonic, which was made up of members of the Vienna Philharmonic and the Hungarian National Philharmonic. It was Fis-cher’s intention – before the fall of the “Iron Curtain” – to bring togeth-er the best musicians originating from these two countries in order to musically overcome the border by playing the works of Joseph Haydn.

Starting with the season 15/16 Nico-las Altstaedt has taken position as Artistic Director of the Haydn Phil-harmonic. Highlights of the season 16/17 with Nicolas Altstaedt include

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the performance of Haydn’s Crea-tion at Esterházy Palace Eisenstadt broadcasted live through the audio-visual streaming platform fidelio and ORF3, as well as an extensive tour through China. Besides this the orchestra performed with Marc Minkowski, Alexander Lonquich, Francois Leleux, Sharon Kam and Mikko Franck at Esterházy Palace and at venues like MÜPA Budapest, the Vienna Konzerthaus and the Dortmund Konzerthaus.

Outside the Esterházy Palace Ei-senstadt the orchestra has made a name for itself thanks to numerous tours and performances besides in Austria and Hungary through-out Europe and in the USA, Japan, Korea and China. Invitations to the Vienna Konzerthaus and Musikverein, the Budapest MÜPA, the Schubertiade in Schwarzenberg, the Musikverein Graz, the Tonhalle Zürich, Victoria Hall Geneva, Festi-val Hall Baden-Baden, Berlin Phil-harmonic Hall, Auditorio Nacional Madrid and Palau de la Musica Barcelona, the London BBC Proms or the New York “Mostly Mozart” Festival and many others are proof of the ensemble’s development as an internationally highly acclaimed orchestra.

Between 1987 and 2001 the or-chestra recorded all of Haydn’s Symphonies under the direction of Ádám Fischer for Nimbus records; the recordings of the Symphonies, Nos. 40 to 54, earned the accolade of “Best of the Year” from the English music magazine Gramophone. Be-tween 2004 and 2008 Ádám Fischer and the Haydn Philharmonic re-re-corded the “London” symphonies by Haydn which were awarded in 2006 and 2008 with the prestigious “Echo Klassik” award. The recording of Mozart’s Clarinet Concerto with Sharon Kam received a Diapason d’or in 2011.

The Haydn Philharmonic is the resident orchestra of the Festival Maribor 2018.

Člani orkestra na Festivalu Maribor 2018

Orchestra members at the Festival Maribor 2018

Violine / ViolinsDaniel GiglbergerAlexandra PreucilSofia Roldan CativaNela MendelsonUlrike GreuterAnna BigginVeronique de RaedemaekerOskar VargaVeronika SpaltGudula GomezÉva MihályiMarko Jerbić (k. g. / guest)Tamara Bakardzieva (k. g. / guest)Miladin Batalović (k. g. / guest)

Viole / ViolasGyörgy PorzsoltVeronika KörmendyLiudmila KharitonovaNorbert RáczLevente Gidro (k. g. / guest)

Violončela / CellosPiroska BaranyaySebestyén LudmánySibylle HoneckGorazd Strlič (k. g. / guest)

Kontrabasa / Double bassesVincent PerrotinRobert Mako

Flavti / FlutesIrena Kavčič (k. g. / guest)Imre Kovács

Oboi / OboesSebastian Gimeno BalboaMelinda Kozár

Klarinet / ClarinetsAljaž Beguš (k. g. / guest)Patricia Krammer

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Fagot / BassoonAndrea HorváthGyörgy Olajos

Rogovi / French hornsStefan BlonkJairo Pablo Gimeno VesesBlaž Ogrič (k. g. / guest)Borut Pahič (k. g. / guest)

Trobenti / TrumpetsSiegfried KochValentin Kocsis

Pozavne / TrombonesAleš Levančič (k. g. / guest)Jure Medvešek (k. g. / guest)Nejc Kurbos (k. g. / guest)

Pavke / TimpaniAlexander Schröder

Mahir Kalmik

Hornist Mahir Kalmik je po študiju v Istanbulu in Ankari glasbeno znanje izpopolnjeval v Nemčiji, in sicer naj-prej v Stuttgartu pri Radovanu Vlat-koviću ter kasneje v Kölnu pri slovi-tem Erichu Penzlu. Sprva je deloval v orkestrih v Koblenzu in Duisburgu, svojo orkestrsko profesionalno ka-riero solo hornista pa je utrdil kot solo hornist v orkestru frankfurtske Opere.

Kalmik sprejema tudi pedagoške izzive in je v preteklih letih vodil razred hornistov v rodnem Istanbulu. Trenutno poučuje na Visoki šoli za glasbo v Mainzu.

After studies in Istanbul and An-kara, horn player Mahir Kalmik per-fected his musical knowledge in Germany, first in Stuttgart with Radovan Vlatković and later in Cologne with the renowned Erich Penzel. Initially he worked in or-chestras in Koblenz and Duisburg, then his professional orchestral career as a solo horn took off in the orchestra of the Frankfurt Opera.

Kalmik also delves into pedagogical challenges. In the past years he led a class of horn players in his native Istanbul and is currently teaching at the Mainz School of Music.

Komorni godalni orkester Slovenske filharmonije The Slovenian Philharmonic String Chamber Orchestra

Komorni godalni orkester Slovenske filharmonije je štirinajstčlanski ko-morni sestav, ki igra brez dirigenta. V petindvajsetih letih delovanja je ansambel odigral več kot 400 koncer-tov doma in v tujini. Nastopil je na Festivalu Ljubljana, na mariborskem Glasbenem septembru, na festivalih Danubiana in Slovenski glasbeni dnevi, leta 2003 pa tudi v okviru Sve-tovnih glasbenih dnevov v Ljubljani. Koncerti v Dubrovniku (Dubrovniški poletni festival), Zadru in Zagrebu (Zagrebški poletni festival, Baročni festival Zagreb), Samoboru in Opatiji (Bienale sodobne glasbe), na Rabu in Pagu, v Novem Sadu (Festival Nomus), Celovcu in Ohridu (Ohridski poletni festival), Podgorici (Festival A tempo), Gorici, Trstu, Murcii in Ma-dridu (Veranos de la Villa), na Festi-valu Emilia Romagna in na Dunaju so vselej naleteli na navdušen sprejem pri občinstvu in kritiki. Poleg tega

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ansambel vzpodbuja nastanek novih glasbenih del, skrbi za notne izdaje in objavlja promocijske zgoščenke.

Komorni godalni orkester Slovenske filharmonije že dvanajsto sezono pri-reja ciklus koncertov Sozvočje svetov v sodelovanju z Narodno galerijo iz Ljubljane. Prireditev povezuje preda-vanja o likovni umetnosti s koncerti komorne glasbe in privablja ljubitelje likovne in glasbene umetnosti.

Ansambel je sodeloval z medna-rodno priznanimi slovenskimi glasbenicami: pianistko Dubravko Tomšič Srebotnjak, flavtistko Ireno Grafenauer in altistko Mirjam Kalin, gostil pa je tudi številne ugledne tuje glasbenike, kot so violončelisti Aleksander Rudin, Miša Majski in Enrico Dindo, kontratenorist Markus Forster, violinistke Sarah Chang, Pria Mitchell in Alissa Margulis, pianistka Polina Lešenko, hornist Stefan Dohr, oboist Jonathan Kelly in flavtist Massimo Mercelli. Posebno doživetje je bilo sodelovanje z akordeonistom Richardom Gallianom na Glasbenem septembru 2007, Festivalu Maribor 2010 in Dubrovniških poletnih igrah 2011.

Leta 2009 je bil ansambel rezidenčni orkester pod umetniškim vodstvom violinista Richarda Tognettija. Uspešno sodelovanje je zasedba na-daljevala v letu 2010, ko je nastopila z Avstralskim komornim orkestrom.

Repertoar Komornega godalnega orkestra Slovenske filharmonije obsega skladbe vseh stilnih obdobij, posebno pozornost pa ansambel namenja stvaritvam slovenskih av-

torjev, tudi tistih najmlajših, ki se šele uveljavljajo. Za svoje uspešno delo je ansambel prejel več nagrad in pri-znanj: nagrado Prešernovega sklada leta 1999, Župančičevo nagrado leta 2004, Betettovo nagrado leta 2006 in plaketo glavnega mesta Ljubljana leta 2012.

The Slovenian Philharmonic String Chamber Orchestra consists of fourteen string musicians, mem-bers of the Slovene Philharmonic Orchestra. During the eighteen years of its existence, the Slove-nian Philharmonic String Chamber Orchestra has given about 400 concerts in Slovenia and abroad. It has performed at the Ljubljana Summer Festival, the Maribor Festi-val, the Musica Danubiana Festival, the Slovenian Music Days, and in Ljubljana as part of the ISCM World Music Days 2003. The concerts in Dubrovnik (Dubrovnik Summer Festival), Zadar, Zagreb (the Zagreb Summer Festival and the Zagreb Baroque Festival), Samobor, Opatija (Biennial of Contemporary Music), Novi Sad, Klagenfurt, Ohrid, Pod-gorica (Festival A Tempo), Gorizia, Trieste, and Madrid (Veranos de la Villa) were consistently received with enthusiasm by both audiences and critics.

From beginning the orchestra has encouraged musical creativity, the production of new compositions, score editions, as well as promo-tional CDs.

The orchestra has collaborated with numerous Slovene musicians of international acclaim, such as the pianist Dubravka Tomšič Sre-botnjak, flautist Irena Grafenauer, contralto Mirjam Kalin, and other renowned musicians such as cellists Alexander Rudin, Mischa Maisky and Enrico Dindo, counter-tenor Markus Forster, violinists Sarah Chang, Priya Mitchell and Alissa Margulis, pianist Polina Leschenko,

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hornist Stefan Dohr, flautist Mas-simo Mercelli, and accordionist Richard Galliano.

In 2009, it has been the Orchestra in Residence at the Maribor Festi-val under the artistic leadership of Richard Tognetti. In 2010 the or-chestra was a partner of the Public Institution Maribor 2012 − the Euro-pean Capital of Culture.

The orchestra, which performs without a conductor, has produced a number of live concerts, audio and video recordings, as well as several compact discs. Its repertoire includes all period styles. It pays special attention to younger Slo-vene composers. Dedicated to high quality, the Slovenian Philharmonic String Chamber Orchestra has con-solidated its reputation in the crea-tive currents of Europe. It received the country’s most prestigious na-tional accolade, the Prešeren Fund Award in 1999, and the Župančič Award of the City of Ljubljana in 2004, the Betetto Charter in 2006 as well as the Ljubljana City Award in 2012.

Člani orkestra na Festivalu Maribor 2018

Orchestra members at the Festival Maribor 2018

Violine / Violins Janez Podlesek ‒ koncertni mojster / concert leaderOliver Dizdarević – vodja drugih vio-lin / leader of the second violinsJerica KozoleMatjaž PorovneMojca FortinMatic AnžejMatjaž ŽižekMarika Przybil (k. g. / guest)

Viole / ViolasMarija RomeTomaž MalejGea Pantner (k. g. / guest)

Violončeli / CellosIgor ŠkerjanecKlemen Hvala

Konstrabas / Double bassPetar Brčarević

Oboi / OboesMatej Šarc (k. g. / guest)Nina Tafi (k. g. / guest)

Fagot / BassoonMihael Mitev (k. g. / guest)

Rogova / French hornsBorut Pahič (k. g. / guest)Jože Rošer (k. g. / guest)

Peter Kus

Peter Kus je skladatelj, lutkovni režiser, izdelovalec inštrumentov in pedagog. Ustvarja avtorske predsta-ve, v katerih raziskuje območje, kjer se križata glasba in lutkovno gledali-šče. Rezultat tega so predstave Črna kuhna (2004), Glas (2005), Tristan Vox (2006), Kralj prisluškuje (2007), Izgubljeni ton (2010), Gozd raja! (2012), 造音小子嗶叭蹦 (2014), Zvočna kuhna (2015) in Džumbus (2017).

k str. 75 - Člani Komornega godalnega orchestra Slo-venske filhamronije – zamenjaj rdeče z:

Partner Festivala Maribor

90 let Radia Slovenija 60 let Televizije Slovenija

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Posveča se tudi drugim lutkovnim žanrom, v katerih posega po videu (Pojoči grad, 2011) in izkorišča igro senc (Volčje srce, 2015). S predstavami je gostoval na številnih mednarodnih festivalih in zanje prejel več nagrad za izvirnost in glasbo.

Peter Kus poleg tega oblikuje in iz-deluje izvirne glasbene inštrumente. Septembra 2008 je v Etnografskem muzeju v Ljubljani postavil prvo iz-med cikla razstav izvirnih glasbenih inštrumentov Evfonija, s katerimi je v letih 2009–2011 gostoval v Celju in Mariboru. Njegova razstava Zvočni vrt je bila postavljena v Reimsu (Francija), Welsu (Avstrija), Šibeniku, Osijeku in na Reki (Hrvaška) ter v Kotorju (Črna gora). Oktobra 2010 je z ilustratorko Kajo Avberšek izdal Po-joči grad, priročnik za izdelovanje izvirnih inštrumentov v stripu.

Composer, puppet theatre direc-tor, maker of musical instruments and educator Peter Kus comes from Ljubljana, Slovenia. In his latest projects he explores the field where music and theatre meet. The results are puppet/musical performances like Black Kitchen (2004), The Voice (2005), Tristan Vox (2006), A King Listens (2007), The Lost Tone (2010), The Forest of Songs (2012), Bing, Bang, Boing – the noise making boy (2014) and Sound Kitchen (2015). He has also investigated other puppet theatre techniques such as video (The Singing Castle, 2011) and shad-ows (Wolfheart, 2015). The perfor-mances were invited to numerous international festivals and received many awards for music and origi-nality.

Peter Kus also designs original musical instruments. In Septem-ber 2008 he conceived a widely appraised series of exhibitions of original musical instruments Euphonia, which was presented in various towns in Slovenia. From 2012 to 2015 his exhibition The Gar-

den of Sound was featured in Reims (France), Wels (Austria), Ljubljana, as well as Šibenik, Osijek and Rijeka in Croatia and Kotor in Montene-gro. In October 2010 he published a guide book The Singing Castle and a Guide for Making Original Instru-ments in the form of a comic book together with the illustrator Kaja Avberšek.

Dávid Kutas

Madžarski hornist Dávid Kutas je že med študijem pri F. Tarjaniju preje-mal nagrade in odličja na nacionalnih in mednarodnih tekmovanjih. Po zaključenem študiju na glasbeni akademiji Franza Liszta v rodni Bu-dimpešti je svoje angažmaje kot solo hornist nizal po mnogih orkestrih v madžarski prestolnici, nekaj sezon pa je zasedal tudi mesto solista v Sloven-ski filharmoniji. Sedaj igra v Madžar-ski narodni filharmoniji.

Igro Dávida Kutasa odlikujeta iz-jemna virtuoznost in vzdržljivost, svojo pozornost pa na domala vseh področjih namenja ekstremom in

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glasbenim izzivom na mejah mogo-čega.

Hungarian horn player Dávid Ku-tas received prizes and awards at national and international competi-tions already during his studies in the class of F. Tarjáni. After finish-ing his studies at the Franz Liszt Music Academy in his native Buda-pest, he performed as horn soloist in many orchestras in the Hungar-ian capital. For several seasons he was the horn soloist of the Slovene Philharmonic and is currently em-ployed by the Hungarian National Philharmonic Orchestra.

Dávid Kutas' musicianship is char-acterized by exceptional virtuosity and tenacity; in almost every area he gives his attention to extremes and takes on musical challenges at the borders of musical potential.

Boštjan Lipovšek

Boštjan Lipovšek izhaja iz glasbene družine, v kateri se je skozi leta zvr-stilo kar nekaj hornistov. Njegova prva mentorja sta bila oče in brat, nato je glasbeno šolanje nadaljeval na ljubljanski glasbeni akademiji pri prof. Jožetu Faloutu. V njegovem razredu je diplomiral in zaključil še podiplomski študij. Izpopolnjeval se je pri Radovanu Vlatkoviću na salz-burškem Mozarteumu. Med študijem v Ljubljani je za izvedbo Straussove-ga 1. koncerta za rog in orkester s Sim-foničnim orkestrom RTV prejel štu-dentsko Prešernovo nagrado. V tem orkestru je takoj zatem zasedel mesto solo hornista. Kot solist je nastopil pod taktirko odličnih dirigentov, kot so Anton Nanut, Uroš Lajovic, Marko Letonja, En Šao, David de Villiers, S. Pelegrino Amato, Gary Brain, Amy Anderson, Yakov Kreizberg, Sian Ed-wards idr.

Kot gostujoči solo hornist je igral z nacionalnim orkestrom opere

La Monnaie v Bruslju, Berlinskim simfoničnim orkestrom, Izraelsko filharmonijo, Mahlerjevim komornim orkestrom, Avstralskim komornim orkestrom ter Simfoničnim orke-strom iz Melbourna, še vedno pa redno sodeluje tudi z Budimpeškim festivalnim orkestrom, Škotskim komornim orkestrom in Camerato Salzburg.

Lipovšek je leta 1999 postal asistent na Akademiji za glasbo v Ljubljani, kjer sedaj kot redni profesor bdi nad mladimi generacijami študentov. Le-ta 2005 je na povabilo zagrebške aka-demije za glasbo kot docent predaval na tamkajšnji visokošolski ustanovi. Boštjan Lipovšek je leta 2008 prejel nagrado Prešernovega sklada.

Boštjan Lipovšek was born into a musical family which over the years produced quite a few horn players. His first mentors were his brother and father; he then continued his studies at the Academy of Music in Ljubljana in the class of prof. Jože Falout, where he also completed his postgraduate studies. His musical skills were later upgraded in the class of Radovan Vlatković at the Salzburg Mozarteum. During his studies in Ljubljana he received the Prešeren Student Award for

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Strauss' First Horn Concerto, which he performed together with the RTV Slovenia Symphony Orchestra. He then became the solo horn play-er of the orchestra. As a soloist, he has performed under the direction of renowned conductors, such as Anton Nanut, Uroš Lajovic, Marko Letonja, En Shao, David de Villiers, S. Pelegrino Amato, Gary Brain, Amy Anderson, Yakov Kreizberg, Sian Edwards and many others.

As a guest horn soloist, he has performed with the La Monnaie Symphony Orchestra in Brussels, Berlin Symphony Orchestra, Israel Philharmonic, Mahler Chamber Orchestra, Australian Chamber Orchestra, as well as the Melbourne Symphony Orchestra. He still regu-larly collaborates with the Budapest Festival Orchestra, Scottish Cham-ber Orchestra and the Camerata Salzburg.

In 1999 he became assistant pro-fessor at the Academy of Music in Ljubljana, where he now works as tenured professor and guides many students. In 2005 he accepted the post of assistant professor at the Zagreb Academy of Music. In 2008 Boštjan Lipovšek received the Prešeren Fund Award.

Alexander Lonquich

Alexander Lonquich nastopa po vsem svetu – od Japonske do Združenih držav, v Avstraliji in v najpomemb-nejših evropskih glasbenih središčih. Je redni gost prestižnih festivalov, kot so Salzburški festival, Mozartov teden, Klavirski festival Porurja, festivali Schleswig-Holstein, Luzern, Cheltenham, Edinburgh, Locken-haus, Kissingerško poletje, Schuber-tiade v Schwarzenbergu, Beethovnov festival v Bonnu in Varšavi itd. Igral je pod dirigentsko taktirko priznanih dirigentov, kot so Claudio Abbado, Jurij Bašmet, Philippe Herreweghe,

Heinz Holliger, Ton Koopman, Emma-nuel Krivine, Mark Minkowski, Kurt Sanderling in Sándor Végh.

Lonquichove nastope v vlogi solista in dirigenta zelo cenijo tako med-narodni mediji kot tudi občinstvo. Redno nastopa s Camerato Salzburg, Mahlerjevim komornim orkestrom, s komornimi orkestri iz Mantove, Mün-chna, Basla, Stuttgarta pa Nemško komorno filharmonijo Bremen, Radij-skim simfoničnim orkestrom iz Fran-kfurta, Orkestrom Champs-Elysées, orkestrom NDR Elbphilharmonie in drugimi.

Kot zelo uspešen solist je koncertiral z Dunajskimi filharmoniki, Kra-ljevim filharmoničnim orkestrom, orkestrom Tonhalle iz Züricha, Fil-harmoničnim orkestrom iz Luksem-burga, Simfoničnim orkestrom iz Düsseldorfa, Češkimi filharmoniki, Madžarskim narodnim filharmonič-nim orkestrom, Orkestrom Slovenske filharmonije idr.

Lonquich je globoko predan komor-nemu muziciranju, njegovi partnerji so Nicolas Altstaedt, Renaud in Gau-tier Capuçon, Veronika Hagen, Heinz Holliger, Steven Isserlis, Leonidas Kavakos, Isabelle van Keulen, Sabine Meyer, Heinrich Schiff, Christian Tetzlaff, Carolin Widmann, Jörg Wid-mann, Tabea Zimmermann, Kvartet Auryn in Kvartet Carmina.

Njegovi posnetki Mozartovih in Schubertovih opusov so bili deležni izjemno pozitivnih kritiških odzivov. Zanje je prejel francosko nagrado

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Diapason d’or, italijansko Abbiati ter nizozemsko nagrado Edison.

Alexander Lonquich je pri založbi ECM Records izdal več zgoščenk, denimo Plainte Calme z deli franco-skih skladateljev, Schumannovo Kre-isleriano, Partito Heinza Holligerja in zgoščenko z violinistko Carolino Widmann, ki je posvečena glasbi Schuberta. Leta 2016 je izšla zgoščen-ka koncertnih del za klavir R. Schu-manna z Alexandrom Lonquichom in Heinzem Holligerjem, ki je vodil Simfonični orkester Zahodnonem-škega radia.

Od leta 2002 nastopa v klavirskem duu s soprogo Cristino Barbuti. Leta 2013 sta v hiši v Firencah, v kateri živita, ustanovila »Kantoratelier«, majhen gledališki prostor, kjer se skozi delavnice, seminarje in koncer-te poglabljata v teme, ki so jima blizu (psihologija, glasba in gledališče).

Alexander Lonquich is recognized as one of the most important musi-cians, soloists, chamber musicians and conductors of his generation. He currently performs worldwide, in Japan, United States and Aus-tralia, as well as at the most impor-tant European music venues. He is a regular guest of prestigious festi-vals, such as the Salzburg Festival, Mozartwoche Salzburg, Schleswig-Holstein Festival, Kissinger Som-mer, Lucerne Festival, Schubertiade Schwarzenberg, Lockenhaus, Chel-tenham Festival, Edinburgh Festi-val and Beethovenfest in Bonn and Warsaw.

Alexander Lonquich’s perfor-mances, which feature him simul-taneously in the role of soloist and conductor, are hailed as most popular by the international media and audiences: he regularly appears with Camerata Salzburg, Orchestre des Champs-Elysées, Royal Philhar-monic Orchestra, Mahler Chamber Orchestra, NDR Elbphilharmonie

Orchester, Münchener Kammer-orchester, hr Sinfonieorchester Frankfurt, Deutsche Kammerphil-harmonie Bremen, Stuttgarter Kammerorchester, Kammerorches-ter Basel, Accademia Nazionale di Santa Cecilia in Rome, Orchestra Sinfonica Nazionale della RAI in Turin, Orchestra da Camera di Mantova. Lonquich has been a suc-cessful soloist of the Wiener Phil-harmoniker, Tonhalle Orchestra Zürich, Orchestre Philharmonique du Luxembourg, Philharmonic Orchestra of La Scala Theatre in Milan, WDR Sinfonieorchester Köln, Düsseldorfer Symphoniker, Czech Philharmonic Orchestra, Hungarian National Philharmonic Orchestra, to name a few. He played under the baton of Claudio Abbado, Yuri Bash-met, Philippe Herreweghe, Heinz Holliger, Ton Koopman, Emmanuel Krivine, Mark Minkowski, Kurt Sanderling, Sándor Végh.

He is also profoundly committed to chamber music and regularly per-forms with musicians, such as Nico-las Altstaedt, Vilde Frang, Heinz Holliger, Sabine Meyer, Christian Tetzlaff, Carolin Widmann, Jörg Widmann, Tabea Zimmermann, the Artemis Quartet and many others. In 2002, he established a piano duo together with his wife Cristina Barbuti.

Alexander Lonquich’s solo record-ings, dedicated to Mozart, Schu-mann and Schubert, have received the highest critical acclaim and prizes ranging from the “Diapason d’Or” to the “Edison Prize”. In 2016, his new CD recording of Schu-mann’s piano concert pieces with Heinz Holliger and the WDR Sinfo-nieorchester was released.

In 2017 he received the most pres-tigious Italian music critics' award, the “Abbiati Prize”, for the "soloist of the year" and for his versatility

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and constant maturing as a “total musician”.

In 2013 he created with his wife Christina in his own house in Flor-ence, “Kantoratelier”, a small theat-er space where the themes dear to them - related to psychology, music and theater - are explored in greater depth through workshops, seminars and concerts.

Adriana Magdovski

Adriana Magdovski je mariborska pianistka in glasbena pedagoginja (izredna profesorica), ki se danes ob koncertiranju in poučevanju na Pe-dagoški fakulteti v Mariboru veliko posveča tudi približevanju klasične glasbe mlademu občinstvu. Leta 2016 smo z Adriano Magdovski priredili prvi koncert za dojenčke, ki je bil izre-dno dobro sprejet.

Za pianistkin umetniški razvoj je bilo pomembno srečanje s flavtistko Ireno Grafenauer na Glasbenem septembru v Mariboru, ki se je nadaljevalo s kon-zultacijami iz komorne igre na Mo-zarteumu v Salzburgu. Kot komorna

glasbenica sodeluje z Branimirjem Slokarjem, Stankom Arnoldom, Ireno Grafenauer in Bernardo Bobro.

Je dobitnica nagrade Martha Debelli, ki jo svojim najboljšim študentom podeljuje graška univerza, nagrajen-ka mednarodnega tekmovanja Gina Bachauer International Junior Piano Competition v Salt Lake Cityju (ZDA) ter prejemnica mednarodne štipendi-je Soroptimist International Amster-dam in Gallusove nagrade (nagrada oddaje Opus na RTV Slovenija, v po-vezavi s Slovensko filharmonijo).

Maja 2016 in 2017 je bila asistentka prof. Norme Fisher na Royal College of Music v Londonu.

Adriana Magdovski took her first piano lessons at the age of four and then began studies with Milena Sever at the National Music Con-servatory in Maribor. During this time, she attracted the attention of Slovenian audiences by winning the 21st National Competition for Young Musicians with a perfect score of 100 points.

At fifteen years of age, she was ac-cepted to the University for Music and Performing Arts in Graz, Aus-tria, where she studied with Doris Wolf-Blumauer. She continued her studies in London with the world-renowned Norma Fisher, and at the State University of Music and Per-forming Arts Stuttgart with Oleg Maisenberg and Wolgang Bloser.

She was awarded the Martha Debel-li Scholarship by the University for Music and Performing Arts in Graz, Austria, and the Soroptimist Inter-national Scholarship in Amsterdam. She is a prize winner of the Gina Bachauer International Junior Pi-ano Competition in Salt Lake City (USA), and a winner of the Gallus Prize, awarded by the RTV Slovenia and the Slovenian Philharmonic Society.

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She regularly performs in Slovenia as well as abroad, notably in Ger-many and Belgium, under the spon-sorship of the German Forum für Kultur NRW.

Adriana is an associate professor at the University of Maribor, and in 2016 and 2017, she worked as Norma Fisher’s assistant at the Royal Col-lege of Music in London.

Blaž Ogrič

se je začel učiti francoski rog na Glas-beni šoli v Idriji ter šolanje nadaljeval na Konservatoriju za glasbo in balet Ljubljana. Od leta 2015 je študent Akademije za glasbo v Ljubljani pri prof. Boštjanu Lipovšku. Prejel je številne nagrade in igral pod taktirko uglednih dirigentov, kot so Neville Marriner, Philippe Jordan, Daniel Harding, Christoph Eschenbach idr. Že od dijaških časov redno sodeluje z vsemi slovenskimi simfoničnimi or-kestri, danes pa tudi s tujimi. Udeležil se je treh turnej znanega mednaro-dnega Mladinskega orkestra Gustava Mahlerja, v katerem igra prvi rog.

Blaž Ogrič first studied the French horn at the music school in Idrija and later continued his studies at the Ljubljana Music and Ballet Conservatory. Since 2015 he has been a student in the class of prof. Boštjan Lipovšek at the Academy of Music in Ljubljana. He is a re-cipient of many awards and has performed under the direction of different prominent conductors, such as Neville Marriner, Philippe Jordan, Daniel Harding, Christoph Eschenbach, among others. Since his student days he has regularly collaborated with all Slovenian symphonic orchestras and is cur-rently also engaged internationally. He went on three tours with the internationally acclaimed Gustav Mahler Youth Orchestra, where he played first horn.

Borut Pahič

je študiral na Akademiji za glasbo v Ljubljani v razredu profesorja Jožeta Falouta. Po končanem študiju se je zaposlil v Simfoničnem orkestru RTV Slovenija, od leta 2001 pa je prvi hornist Simfoničnega orkestra SNG Maribor. Dejaven je kot komorni glasbenik; med drugim je sodeloval z Avstralskim komornim orkestrom na avstralski turneji.

Borut Pahič studied in the class of prof. Jože Falout at the Academy of Music in Ljubljana. After complet-ing his studies, he was employed with the RTV Slovenia Symphony

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Orchestra and has been since 2001 first hornist of the SNG Maribor Symphony Orchestra. He is also active as a chamber musician and has performed with the Australian chamber orchestra on a tour in Aus-tralia, among others.

László Seeman

Hornist László Seeman je nase opozoril s precejšnjim številom mednarodnih nagrad, vrhunec pa je bila nagrada na tekmovanju ARD v Münchnu. Po študiju v Budimpešti na akademiji Franza Liszta v razredu A. Friedricha je izobraževanje nada-ljeval v Kölnu pri prof. Erichu Penzlu. Že v času študija je postal član orke-stra Severnonemškega radia (NDR) v Hamburgu.

Nato se je po izjemnih uspehih in hitro vzpenjajoči se karieri odločil, da poklicno pot presenetljivo spremeni: vrnil se je v rodno Budimpešto in se nekaj let z glasbo ukvarjal le ljubitelj-sko. Po večletni odsotnosti s koncer-tnih odrov se je vrnil še dejavnejši kot prej ter sprejel mesto profesorja na visoki šoli za glasbo v Miskolcu. Posebno pozornost Seeman namenja komornemu muziciranju v družbi mnogih imenitnih glasbenih znancev in prijateljev.

Horn player László Seeman devel-oped a prominent career with a con-siderable number of international awards and the most prominent one from the ARD competition in

Munich. After studying in Budapest at the Franz Liszt Academy in A. Friedrich's class, he continued his education in Cologne with prof. Erich Penzel. Already during his studies, he became a member of the North German Radio Orchestra (NDR) in Hamburg. After a remark-able success and a fast-paced career, he surprisingly decided on a career change: he returned to his native Budapest and spent some years playing music as an amateur.

After years of absence from the concert stage, he returned with even more vigor than before and accepted the position of professor at the Miskolc school of music. See-man dedicates special attention to chamber music, which he performs with renowned musician friends and colleagues.

Simfonični orkester SNG Maribor The Slovenian National Theatre Maribor Symphony Orchestra

Simfonični orkester SNG Maribor je osrednji inštrumentalni sestav v podravski regiji z razmeroma dolgo poustvarjalno tradicijo. Pestra zgodo-vina orkestra sovpada z delovanjem njegove matične ustanove, mari-borske operne hiše, ki je od leta 1919 doživljala številne preobrazbe, na katere so vplivale pomembnejše poli-tične in kulturne spremembe, kot so padec habsburške monarhije po prvi svetovni vojni, padec nacizma po letu 1945 in nenazadnje slovenska osamo-svojitev leta 1991.

Le dve leti po osamosvojitvi Slovenije je orkester začel delovati pod imenom Mariborska filharmonija. Ta je bila kot društvo ustanovljena 11. junija 1993, vendar je delovala le do novem-bra 2004, ko je pod imenom Simfonič-ni orkester SNG Maribor začela prire-jati samostojne simfonične koncerte

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v okviru matične hiše. Ta praksa se je predvsem po izgradnji Velike dvorane ukoreninila kot poustvarjalna stalni-ca SNG Maribor.

Orkester, ki je nepogrešljiv del kon-certov ter opernih in baletnih pred-stav mariborske Opere in baleta, se pod vodstvom številnih mednarodno uveljavljenih dirigentov iz Slovenije in tujine suvereno posveča poustvar-janju inštrumentalne glasbe in glas-benogledaliških del različnih žanrov od baroka in klasicizma ter glasbe 19. in 20. stoletja do najaktualnejših simfoničnih del.

The SNG Maribor Symphony Or-chestra is one of the leading en-sembles in Slovenia and has a long-standing tradition in both operatic and orchestral repertoire. The rich history of the Orchestra is closely linked with its home institution, the Maribor Opera House, where the orchestra takes a two-part role: besides all the opera performances of the Maribor Opera House it also performs 6 symphonic concerts per season as a part of its own subscrip-tion series.

The orchestra performs under the baton of numerous acclaimed con-ductors from Slovenia and abroad. It thrives in various genres, from opera and ballet to musicals and regularly performs music of all pe-riods: from Baroque and Classicism up to 19th- and 20th-century music as well as contemporary music.

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INFORMACIJE INFORMATION

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CENE VSTOPNIC Otvoritveni koncert: Uglasbena strast: 25 € Jupitrova strela: 25 € Moč srca: 20 € La passione: 25 € Zaključni koncert: Moč narave, moč glasbe: 25 € Džumbus: 4 €

Abonma 5 večernih koncertov: 100 € Predprodaja 20 % popust za vse večerne koncerte do 7. septembra 2018.

Drugi popusti in ugodnosti Upokojenci, skupine nad 10 ljudi, prijatelji festivala (abonenti Narod-nega doma, SNG Maribor, člani Sveta knjige, člani mediateke IFS in člani SIGIC-a): 20 % popust Študenti, mladina in invalidne ose-be: 50 % popust Za brezposelne osebe so na voljo brezplačne vstopnice, če so uro pred predstavo v dvorani še prosti sedeži. Ob dvigu vstopnice je treba skupaj z osebnim dokumentom pokazati tudi potrdilo Zavoda za zaposlovanje.

Popusti se ne seštevajo. Popusti in ugodnosti ne veljajo pri nakupu abonmaja. Abonma in vstopnice s popustom je možno kupiti le v Informacijski pisarni Narodnega doma Maribor in največ uro pred koncertom na prizorišču koncerta.

BLAGAJNA & INFORMACIJE Informacijska pisarna Narodni dom MariborUlica kneza Koclja 9, Maribor02 229 40 50, 031 479 [email protected] je vsak delavnik med 10. in 17. uro, v soboto med 9. in 12. uro.

Druga prodajna mesta - nd-mb.kupikarto.si - uro pred koncertom na prizorišču- v Festivalski info točki v Vetrinjskem dvoru od 15. do 28. septembra med 10. in 18. uro (razen ob nedeljah).

FESTIVALSKA PISARNA [email protected] 02 229 40 06

Vstopnice & informacijeTickets & information

| 89TICKETS | 89

TICKET PRICES Opening Concert: Passion through Music: 25 € Jupiter's Lightning Strike: 25 € Powered by Heart: 20 € La Passione: 25 € Closing Concert: The Power of Nature, the Power of Music: 25 € Džumbus: 4 €

Season ticket5 evening concerts: 100 € Presale 20 % off until September 7th, 2018. Discounts and special offersSenior citizens, groups of 10 people or more: -20 %Students, youth, disabled: -50 %

Individual discounts not available in conjunction with other discounts or special offers.Golden tickets and tickets with discount can only be bought at the Information Office of Narodni dom Maribor.

TICKET OFFICE & INFORMATION Narodni dom MariborInformation OfficeUlica kneza Koclja 9, Maribor, Slovenia+386 2 229 40 50, +386 31 479 [email protected] from 10:00 am to 5:00 pm, Saturdays from 9:00 am to 12:00 noon.

Tickets can also be purchased - online nd-mb.kupikarto.si- one hour prior to each event at the concert venue- at Festival Info Point at Vetrinj Man-sion from September 15 to 28 between 10:00 am and 6:00 pm (except on Sun-days).

FESTIVAL [email protected] +386 2 229 40 06

90 | POKROVITELJI

Pokrovitelji / Sponsors

Medijski pokrovitelji / Media Partners

Partnerji / Partners

Producent / Producer

S podporo / With support from

V koprodukciji z / In coproduction with

Sopokrovitelji / Participating Sponsors

Pokrovitelj koncerta / Concert Sponsor

Generalni pokrovitelj Festivala Maribor 2018 / Festival Maribor 2018 General Sponsor

Uradni prevoznik festivala / Official Artist Transportation Sponsor

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92 | PROGRAMSKA KNJIŽICA

Festival Maribor si pridržuje pravico do spremembe programov. Uredniško delo se je zaključilo avgusta 2018. / Festival Maribor reserves the right to change the programme. The editing of the booklet was completed in August 2018.

PRIREDITELJ / ORGANISERNARODNI DOM MARIBORVladimir Rukavina, direktor / General Manager

KONCERTNA POSLOVALNICA / CONCERT MANAGEMENTBarbara Švrljuga Hergovich, vodja programa Festivala Maribor in Koncertne poslovalnice / Programme DirectorTadeja Kristovič, producentka / ProducerTina Vihar, producentka / ProducerGregor Čerič, strokovni sodelavec za pripravo projektov / Events Manager

VETRINJSKI DVOR / VETRINJ MANSIONMarko Brumen, producent / Producer

AMBASADORJI FESTIVALA MARIBOR / MARIBOR FESTIVAL AMBASSADORSAndrej Ivanuša, Bibi Fortuna, Bruno Fras, Gerhard Angleitner, Gordana Kolesarič, Inge Breznik, Irena Pukšič, Jasmina Vidmar, Jasna Robnik, Lidija Planteu, Majda Gorjup, Majda Jecelj, Marko Košir, Mirjana Mladič, Petra Greiner, Sonja Sibila Lebe, Alenka Prapotnik Zalar, Alenka Cilenšek, Polona Meke Ožinger, Ivanka Mulec Ploj, Manica Špendal

INFORMACIJE / [email protected]

FestivalMaribor festival_maribor

PROGRAMSKA KNJIŽICA FESTIVALA MARIBOR 2018 / PROGRAMME BOOKLET FESTIVAL MARIBOR 2018

UREDILI / EDITED BYBarbara Švrljuga Hergovich, Tadeja Kristovič

BESEDILA / TEXTSBarbara Švrljuga Hergovich, Gregor Pompe, Peter Kus

PREVODI / TRANSLATIONSNeville Hall (strani/pages 2-67, 86-92), Maia Juvanc (strani/pages 15, 24, 32, 41-42, 50, 68-85), Tomi Bušinoski (strani/pages 15, 24, 32, 41-42)

LEKTORIRANJE / PROOFREADINGMonika Jerič (slovenščina/Slovenian language), Neville Hall (angleščina/English: strani/pages 2-67, 86-92)

FOTOGRAFIJE / PHOTOSarhiv Narodnega doma Maribor / archives of Narodni dom Maribor; Dejan Bulut, 13, 24, 56, 65, 82; Marco Borggreve, 14, 68; Cecopato Photography, 30, 79; Tamara Tasev, 49; CAFe Budapest Kotschy Gabor, 49; NatanEsku, 54; Mirko Cvjetko, 57, 79; Matjaž Vertuš, 58; Aljaž Sedovšek, 61; Nada Žgank, 63; Zsofia Raffay, 70; Nancy Horowitz, 72; Serdar Köksal, 74; Žiga Koritnik, 75; Aleksander Ocepek, 83; Damjan Švarc, 85; osebni arhivi izvajalcev / private archives

OBLIKOVANJE IN GRAFIČNA REALIZACIJA / DESIGN & GRAPHIC ARTWORK

NAKLADA / PRINT RUN500 izvodov / copies

TISK / PRINTED BYDesign Studio d. o. o.

PRODAJNA CENA / PURCHASE PRICE2 €

Contents

Preface 4

MAIN PROGRAMME

1 Opening Concert: Passion through Music 8

2 Jupiter's Lightning Strike 18

3 Powered by Heart 26

4 La passione 34

5 Closing Concert: The Power of Nature, the Power of Music 44


1 The Garden of Sounds 54

2 Music Market 56

3 Bumm, krach, peng 62

4 Would Mozart and Bach be my friends today? 64

Performers 67

Information 87

2018

2018

Documents

Kazalo - festivalmaribor.sifestivalmaribor.si/wp-content/uploads/2018/09/FM2018_Knjizica_04_web.pdf · ostaja neprekosljiva: nič in nihče drug ni znal posredovati občutenja strasti