OSORSKE OSOR GLAZBENE MUSICAL VEČERI EVENINGS 2008. … · službe za akademsku razmjenu (DAAD) boravio je 1977. godine u Berlinu gdje je u okviru umjetničkoga programa te zaklade

1

Osorske glazbene večeri prije svega su okrenute hr-

vatskom glazbenom stvaralaštvu. Želja nam je da

se upravo na pozadini naše bujne povijesti, koju

Osor čuva u svom okrilju, naša glazba otkrije u svoj svo-

joj punoći. Da bi to bilo moguće, potrebno je dakako da tu

našu glazbu prati i ona “glazba Svijeta” koja je manje ili

više jasno određivala karakter cjelokupne glazbene povi-

jesti. No, komentari za skladbe koje ćete slušati na “Osor-

skim glazbenim večerima” ograničit će se prije svega na

skladbe domaćih autora jer smo sigurni da najveći dio po-

sjetitelja “Osorskih glazbenih večeri” te skladbe susreće

prvi put. Želja nam je prije svega da ti posjetitelji te naše

skladatelje što dulje zadrže u svojoj svijesti.

akademik N. Gligo (1976.)

The “Musical Evenings in Osor” are primarily directed

towards the presentation of Croatian composers and

their compositions. It is our wish that on the back-

ground of our stormy past, which Osor shelters under its

wing, our music be revealed in all its glory. In order for this

to be possible, it is naturally necessary for this music of

ours to be accompanied by the “music of the World” whi-

ch more or less distinctly determined the character of the

whole of musical history. However, the commentaries on

the compositions which you will be hearing at the “Musical

Evenings in Osor” will be limited primarily to compositi-

ons by Croatian authors as we are sure that the majority

of those attending the “Musical Evenings in Osor” will be

hearing them for the fi rst time. It is our greatest wish that

these Croatian composers should remain fresh in the min-

ds of our visitors for as long as possible.

academician N. Gligo (translated by Andriana Hewitt)

OSORSKE

GLAZBENE

VEČERI

2008.

OSOR

MUSICAL

EVENINGS

2008

Knjizni blok.indd 1Knjizni blok.indd 1 30.6.2008 19:43:0930.6.2008 19:43:09

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Vladimir Nazor

O S O R

Ognjišta hladna davno razvaljena

Srušene crkve, pusti samostani,

Grobovi kojekuda razbacani

U meni bude jato uspomena.

Sjećam se kralja Petra Krešimira,

Orseol - dužda, holih Morozina.

Pod ruševinom ovog trošnog mira

Hrvata trunu kosti i Latina.

O naše tužno umiranje! - Kuda

Nogama ideš, dižu se pred tobom

Pepel i prah, i kudgod hodaš, svuda

Podore gledaš: svud rake za grobom

I krvavijeh rana brazgotine

Na tijelu ove naše domovine.

(Iz zbirke “Istarski gradovi”)


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Vladimir Nazor

O S O R

The cold fi replaces, ruined long ago,

The fallen churches, deserted monasteries,

Escutcheons and blazons strewn around,

They stir in me a fl ock of memories.

I keep remembering Peter Krešimir, the king,

Orseol the dodge, the proud Morosinis -

The bones of the Croats and the Latins

Rot under these decaying walls.

Even in death is our fate wretched!

Wherever your feet touch the ground, they

Stir a cloud of ashes. Wherever you go -

Grave is over grave and scar over scar,

As if some horrid plough has left bloody

Furrows on the body of this land.

(From the collection “Istrian Towns”)

Translated by Antun Šoljan


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Tu gdje se ljube Lošinj i Cres,

gdje jedan drugom ruku steže,

gdje vlada vječnih valova ples,

tu kao prsten što ih veže

nastao grad je, ruža života,

grad Osor, vječna kamena nota.

Argonauti na taj su prag

dolazili, Histri Liburni,

Rimljani, Goti vladali, trag

ostavljali su vjekovi burni...

Hrvati, “jer od mora znaju

živjeti”*, tu su našli domaju.

Refren

Osore grade, pleter života

na čelu tvom se vije i sja,

ti si mu ključ i vječna nota,

grade od mora i od sna.

Osore, stari hrvatski grade,

raduj se svakom kamenu svom,

nikome ne daj da ti ga krade,

vječne slobode budi dom!

Tu gdje se ljube Lošinj i Cres,

gdje jedan drugom ruku pruža,

gdje vlada vječnih valova ples,

tu kao prsten, kao ruža,

upisan poput glagoljskog slova

stoji grad Osor za vijek vjekova.

Refren

Osore grade...

* prema Porfi rogenetu

Luko Paljetak

O S O R


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Luko Paljetak

O S O R

Where Cres and Losinj a kiss exchange

each clasping tight the other’s hand

where life the dancing waves arrange

in a ring that circles fast the land,

the rose of life, this city was born,

Osor town, you harmony in stone.

Jason’s Argonauts crossed the threshold,

then came the Liburni and Histri,

the Goths and Romans the town controlled

left their mark in the tide of history,

and Croats, “though much at sea adept

at living”* here lasting home they kept.

Refrain

City of Osor, interlacing live

on your front waves and gleams;

you’re its key, its breathing archive

city of sea, and city of dreams.

Osor, ancient Croatian town

in every single freestone glory,

let no one dare to pull it down

but be the home of freedom’s story.

Where Cres and Losinj a kiss exchange

each clasping tight the other’s hand

where life the dancing waves arrange

here like ring or roses stand,

emblazoned like a Glagolitic sign

stands Osor town, eternal shrine.

Refrain

City of Osor…

* after Constantine Porphyrogenitus


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Praizvedbe,

prve suvremene izvedbe

i izvedbe djela hrvatskih skladatelja

First performances,

fi rst contemporary performances,

and other performances of works by Croatian composers

Stanko HorvatNotturno za gudače / Notturno for strings

12. srpnja; Hrvatski komorni orkestar

12 July, Croatian Chamber Orchestra

Stanko HorvatDe diebus furoris

14. srpnja; Pavica Gvozdić, glasovir

14 July, Pavica Gvozdić, piano

Bruno BjelinskiTrio

16. srpnja, Trio Osor / 16 July, Trio Osor

Ivo MačekSonata za violinu i glasovir / Sonata for violin and piano

18. srpnja, Tonko Ninić, violina, Vladimir Krpan, glasovir

18 July, Tonko Ninić, violin, Vladimir Krpan, piano

Boris PapandopuloTri igre / Three Dances

20. srpnja, István Römer, gitara / 20 July, István Römer, guitar

Srećko BradićPotonulo sidro / Sunken Anchor

PRAIZVEDBA / FIRST PERFORMANCE


Anđelko KlobučarSonata


Antun DobronićJelšonski tonci / Jelsa Dances

22. srpnja, Zagrebački solisti / 22 July, Zagreb Soloists

Stanko HorvatCrne pjesme za bariton i gudače

Black Songs for baritone and strings

22. srpnja, Zagrebački solisti i Davor Radić, bariton

22 July, Zagreb Soloists and Davor Radić, baritone


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Vinko JelićRicercar

24. srpnja, Monika Leskovar i Giovanni Sollima, violončela

24 July, Monika Leskovar and Giovanni Sollima, cellos

Ivan Mane JarnovićDuet za dvije violine u F-duru / Duet for two violins in F major

26. srpnja, Kimiko Nakazawa i Goran Končar, violine

26 July, Kimiko Nakazawa and Goran Končar, violins

Ivan PadovecTri skladbe iz “Izbora kompozicija za gitaru”

Three compositions from the “choice of guitar works”

28. srpnja, Paulo Martelli, gitara, Brazil

28 July, Paulo Martelli, guitar, Brazil

Sanja DrakulićSweet dreams


30. srpnja, Maxim Fedotov, violina, Galina Petrova, glasovir

30 July, Maxim Fedotov, violin, Galina Petrova, piano

Saša BastalecK’Bogu sad / To God Now


2. kolovoza, ACCO DUO / 2 August, ACCO DUO

Ivo Lhotka KalinskiDva plesa iz Istre / Two Dances from Istria

PRAIZVEDBA VERZIJE ZA DUO KLASIČNIH GITARA

FIRST PERFORMANCE OF THE VERSION FOR CLASSIC ACCORDION DUO

2. kolovoza, ACCO DUO / 2 August, ACCO DUO

Gabriel UsperVulnerasti cor meum

4. kolovoza, Solisti Hrvatskog baroknog ansambla

4 August, Soloists of the Croatian Baroque Ensemble

Tomaso CecchiniHor mai



Gabriel PulitiHymnum cantate




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Petar ObradovićI colori


6. kolovoza, Tamara Coha Mandić, fl auta

Diana Grubišić Ćiković, harfa

6 August, Tamara Coha Mandić, fl ute

Diana Grubišić Ćiković, harp

Ivo JosipovićSamba per voce e chitarre

PRAIZVEDBA VERZIJE ZA SOPRAN I GITARISTIČKI KVARTET

FIRST PERFORMANCE OF THE VERSION FOR SOPRANO

AND GUITAR QUARTET

8. kolovoza, Zagrebački gitaristički kvartet, Klasja Modrušan, sopran

8 August, Zagreb Guitar Quartet, Klasja Modrušan, soprano

Stanko HorvatQuartetto

10. kolovoza, Zagrebački kvartet / 10 August, Zagreb Quartet

Miroslav MiletićSonatina

12. kolovoza, Armène Stakian, violina, Švicarska,

Miguel Charosky, gitara, Argentina

12 August, Armène Stakian, violin, Switzerland,

Miguel Charosky, guitar, Argentina

Miroslav MiletićKroateska za violinu solo / Croatesque for violin solo

12. kolovoza, Armène Stakian, violina, Švicarska

12 August, Armène Stakian, violin, Switzerland

Stanko HorvatBen misurato

14. kolovoza, Marek Drewnowski, glasovir, Poljska

14 August, Marek Drewnowski, piano, Poland

Amando IvančićSimfonija u D-duru, br. 3. (Rev. L. Županović 1975.)

Symphony in D major, no. 3. (rev. L. Županović 1975.)

16. kolovoza, Hrvatska komorna fi lharmonija

16 August, Croatian Chamber Philharmonic Orchestra

Miroslav MiletićEpitaf za Pepina / Epitaph for Pepino


16. kolovoza, Hrvatska komorna fi lharmonija

i Francesco Squarcia, viola, Italija

16 August, Croatian Chamber Philharmonic Orchestra

and Francesco Squarcia, viola, Italy


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Dora PejačevićKvartet za glasovir, violinu, violu i violončelo u d-molu, op. 25

Quartet for piano, violin, viola and cello in D minor, op. 25

18. kolovoza, Chopin solisti, Poljska

18 August, Chopin Soloists, Poland

Stanko HorvatRocambole

20. kolovoza, Zagrebački kvartet saksofona

20 August, Zagreb Saxophone Quartet

Berislav ŠipušIm Garten Deiner Liebe / In the Garden of Your Love

20. kolovoza, Zagrebački kvartet saksofona

20 August, Zagreb Saxophone Quartet


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STANKO HORVAT (1930.-2006.)

Osorske glazbene večeri jedini su ljetni festival u Hrvat-

skoj koji sustavno afi rmira hrvatsku glazbenu baštinu, prvim su-

vremenim izvedbama djela prošlosti, te novu produkciju hrvat-

skih živućih autora, praizvedbama njihovih ostvarenja. Korak

dalje u tom hvalevrijednom promicanju hrvatske glazbe učinjen

je odlukom da u središtu pozornosti u svakoj ljetnoj sezoni bude

pojedini skladatelj iz čijeg se opusa nastoji izvesti što veći broj

djela. Kako su OGV uglavnom usmjerene na komornu glazbu,

iako su zastupljena i orkestralna te vokalno-instrumentalna dje-

la, programirani su naslovi odabranog skladatelja pisani za ma-

nje sastave. U ovoj 2008. godini u središtu pozornosti je sklada-

telj i glazbeni pedagog, akademik Stanko Horvat (1930.-2006.)

Svojim je opusom, pedagoškim radom i angažiranim dje-

lovanjem u glazbenim institucijama akademik Stanko Horvat u

najvećoj mjeri zadužio hrvatsku glazbene kulturu druge polovice

20. stoljeća. Rođen u Zagrebu 12. ožujka 1930. godine, diplomi-

rao je 1956. godine kompoziciju na Muzičkoj akademiji u Zagrebu

u razredu jedne od najsnažnijih skladateljskih i pedagoških osob-

nosti hrvatske glazbe, Stjepana Šuleka. Na Konzervatoriju u Pari-

zu usavršavao se tijekom 1958. i 1959. godine kod Tonya Aubina

te privatno kod skladatelja i glazbenog pisca Renéa Leibowitza.

Prvo radno mjesto imao je kao profesor teorijskih predmeta u Mu-

zičkoj školi Vatroslav Lisinski u Zagrebu, a od 1961. godine je bio

docent, od 1976. do umirovljenja 1999. godine redoviti profesor

na Muzičkoj akademiji u Zagrebu. Od 1977. do 1981. godine bio

je dekan te hrvatske visokoškolske ustanove. Izuzetno angaži-

ran na svim područjima kada je riječ o profesiji skladatelja, bio je

Horvat od 1974. do 1979. godine predsjednik Hrvatskog druš-

tva skladatelja (tada Društva hrvatskih skladatelja), a od 1975.

godine je bio suradnik, od 1985. do 1989. umjetnički direktor

Muzičkoga biennala Zagreb, međunarodnoga festivala suvreme-

ne glazbe, koji je imao nedvojbeno presudnu ulogu u stvaralaš-

tvu i afi rmaciji hrvatske Nove glazbe. Kao stipendist Njemačke

službe za akademsku razmjenu (DAAD) boravio je 1977. godine

u Berlinu gdje je u okviru umjetničkoga programa te zaklade ra-

dio u elektroničkom studiju Tehničkoga sveučilišta.

Akademik Stanko Horvat nagrađen je brojnim nagra-

dama i priznanjima, Nagradom Grada Zagreba za Koncert za

glasovir i orkestar i Rondo za gudački kvartet 1967. godine, Na-

gradom Josip Štolcer Slavenski za Sonnant za glasovir 1970. go-

dine, Nagradom Vladimir Nazor za kantatu Jama 1971. godine,

Nagradom Vladimir Nazor za zborske skladbe Slovo o slovu i Za-

pis o očima 1980. godine, spomen-poveljom Hrvatskog društva

skladatelja za zasluge u organizaciji Muzičkog biennala Zagreb

1980. godine, Nagradom Josip Štolcer Slavenski za životno djelo

1990. godine, Nagradom Boris Papandopulo Hrvatskog društva

skladatelja za skladbu Zvuk i bijes 1997. godine, Nagradom Vla-

dimir Nazor za životno djelo 2001. godine kao i nizom drugih

priznanja. 1991. godine preuzeo je dužnost glavnog urednika


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HDS-a Ars croatica i obavljao je do 2001. godine. 1992. godi-

ne izabran je za člana suradnika Hrvatske akademije znanosti i

umjetnosti a 1998. godine i za njezinog redovitog člana.

Iz navedenoga slijedi da je Stanko Horvat bio priznat i od

struke i od društvenih institucija, te da su njegova pojedina djela

osvojila najveća priznanja glazbene kritike i javnosti. Njegova se

djela izvode u svim europskim državama i na gotovo svim konti-

nentima, osobito učestalo na festivalima u Hrvatskoj (Dubrovač-

ke ljetne igre, Muzički biennale Zagreb, Splitsko ljeto, Osorske

glazbene večeri i dr), kao i na inozemnim festivalima (Varšavska

jesen, Musikprotokoll u Grazu, Berliner Biennale, Međunarodni

festival u Brnu). Kao profesor kompozicije na Muzičkoj akademi-

ji u Zagrebu odgojio je niz uglednih hrvatskih skladatelja i nje-

govi su studenti bili Frano Parać, Ivo Josipović, Berislav Šipuš,

Drago Bubalo, Mladen Tarbuk, Sanda Majurec Zanata, Vjekoslav

Nježić, Srđan Dedić, Dalibor Bukvić, Srećko Bradić i drugi.

Gotovo da nema glazbene forme u kojoj se Stanko Hor-

vat nije okušao. Njegov opus obuhvaća orkestralnu, komornu,

vokalno-instrumentalnu, zbornu, scensku i glazbu za solo in-

strumente. Premda prevladavaju instrumentalna djela, velik je

i značajan broj djela inspiriranih književnim predlošcima. Na-

dalje, iako obrazovan u neoklasicizmu i neoromantizmu svojeg

profesora Stjepana Šuleka, iako je u Parizu upoznao serijalizam

i strogu organizaciju glazbenog materijala, te u Berlinu upoznao

odrednice elektroničke glazbe, svi ti elementi nisu našli veće

odjeke u njegovom osobnom glazbenom jeziku. U Horvatovoj

se glazbi, naime, trajno otkriva želja za pomirbom romantičnog

i suvremenog, egzaktnog i slobodnog, konstruiranog i improvi-

ziranog. Očita je njegova sklonost prema jednostavnosti tekstu-

re, što ponekad podsjeća na minimalnu glazbu. A u estetičkom

smislu, značajnijima su se pokazali utjecaji takozvane poljske

avangarde koja je, kao izrazito emotivno obojena glazba, više

odgovarala njegovom ipak romantičnom senzibilitetu. Jer, za

Horvata glazba nije samo materijalna, nego i umjetnička i ljud-

ska činjenica, što svjedoči koliki je bio humanist i kao skladatelj

i kao učitelj. Pa čak i onda kada nam se zvuk njegovih ostvarenja

čini grubim i agresivnim, on logično izražava duboke ljudske

emocije, bilo da se radi o strahu, tjeskobi, nelagodi, ljutnji, bi-

jesu ili o očajanju zbog nemoći. Ta iskonska osjećajnost glazbe

Stanka Horvata čini ju bliskom i prepoznatljivom kod suvreme-

nih slušatelja i instinktivno nailazi na njihovo razumijevanje.

Sklonost naslovima koji upućuju na izvanglazbene sadr-

žaje, spontana programnost Horvatovih djela, trajno iskazuje

namjere skladatelja da zvukovljem potakne slušatelja na suosje-

ćajnost. I koliko god bila disonantna i dramatska njegova glaz-

ba, ona se neprekidno oslanja i proizlazi iz ustanovljenih kano-

na europske klasične glazbe njegova vremena. Tome pridonosi

i korištenje tradicionalnih instrumenata, bez osobitih iskoraka

i eksperimenata. Taj Horvatov karakteristični zvuk naročito je

primjetljiv u njegovim djelima za glasovir ili pak gudače, u ko-

jima uobičajenim instrumentima pridaje nova i izrazito osobna

zvučanja.


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Mogućnost upoznavanja većeg broja skladbi Stanka Hor-

vata na ovogodišnjim Osorskm glazbenim večerima ujedno je i

hommage majstoru suvremene hrvatske glazbe koji nas je na-

pustio 30. listopada 2006. godine. To je mogućnost susreta sa

skladateljem koji je glazbom imao i umio mnogo toga reći. To je

nadasve mogućnost susreta s djelima jedne skladateljski moćne

i izražajne osobnosti.

Dr. sc. Zdenka Weber

STANKO HORVAT(1930-2006)

The Osor Musical Evenings is the only summer festival

in Croatia systematically to concern itself with the endorsement

of the Croatian music heritage, with the fi rst contemporary per-

formances of works of the past, and the new production of living

Croatian composers, including fi rst performances of their works.

A step further in this praiseworthy promotion of Croatian music

was taken with the decision to place at the focus of the festival

each summer one individual composer from whose oeuvre a con-

siderable number of works would be performed. Since the OME is

largely oriented to chamber music, although orchestral and vocal-

instrumental works are also featured, it is the titles of the given

composer that are written for smaller ensembles that tend to be

produced. And in 2008, in the centre of attention is the composer

and music teacher Academician Stanko Horvat (1930-2006).

With his oeuvre, educational work and dedicated activi-

ty in music institutions, Academician Horvat has put Croatian

music of the second half of the 20th century considerably in his

debt. Born in Zagreb on March 12, 1930, in 1956 he graduated


13

in composition at the Music Academy in Zagreb, in the class of

one of the strongest compositional and teaching personalities of

Croatian music, Stjepan Šulek. In 1958 and 1959 he did further

studies with Tony Aubin at the Conservatory in Paris and received

private tuition from composer and music writer René Leibowitz.

His fi rst appointment was as teacher of theoretical subjects in the

Vatroslav Lisinski Music School in Zagreb, while from 1961 he

was reader and from 1976 to retirement in 1999, a full professor

at the Music Academy in Zagreb. From 1977 to 1981 he was dean

of this institution. Playing a vigorous part in all areas to do with

the profession of composer, from 1974 to 1979 Horvat was pre-

sident of the composers’ association, and from 1975 he was an

associate and from 1985 to 1989 director of the Music Biennale

Zagreb, the international contemporary music festival that had

with no doubt a crucial role in the creation and championing of

Croatian New Music. He spent 1977 in Berlin as a DAAD scholar,

where in the framework of the art programme of that foundation

he worked in the electronics studio of the Technical University.

Academician Stanko Horvat has won numerous prizes

and awards: the City of Zagreb Prize in 1967 for the Concerto for

Piano and Orchestra and the Rondo for String Quartet; the Josip

Štolcer Slavenski Prize for Sonnant for Piano, 1970; the Vladimir

Nazor Prize for the cantata Jama / Pit, 1971; the Vladimir Nazor

Prize for the choral compositions Letter on Letter and Account of

Eyes in 1980; a commemorative charter of the Croatian Compo-

sers Association for his merits in the organisation of Music Bie-

nnale Zagreb, 1980; the Josip Štolcer Slavenski Prize for lifetime

achievement, 1990; the Boris Papandopulo Prize of the Croatian

Composers Association for the composition Sound and Fury in

1997; the Vladimir Nazor Lifetime Achievement Prize in 2001

and a number of other endorsements. In 1991 he took over the

task of being the editor of the CCA publication Ars Croatica and

carried it out until 2001. In 1992 he was elected an associate fe-

llow of the Croatian Academy of Sciences and Arts, and in 1998

a full fellow.

From all this it is clear that Stanko Horvat has been well

recognised by the profession and by institutions of society, and

that individual works of his have won the highest commenda-

tions of musical criticism and the public. His works have been

performed in all countries in Europe and on almost all the con-

tinents, particularly frequently in music festivals at home (Du-

brovnik Summer Festival, Music Biennale Zagreb, Split Summer,

Osor Music Evenings) and abroad (Warsaw Autumn, Musikpro-

tokoll in Graz, Berlin Biennale, Brno International Festival). As

professor of composition at the Music Academy in Zagreb he has

educated a number of distinguished Croatian composers, some

of his students being Frano Parać, Ivo Josipović, Berislav Šipuš,

Drago Bubalo, Mladen Tarbuk, Sanda Majurec Zanata, Vjekoslav

Nježić, Srđan Dedić, Dalibor Bukvić and Srećko Bradić.

There is almost no form at which Stanko Horvat has not

tried his hand. His oeuvre covers orchestral, chamber, vocal-in-

strumental, choral, stage and solo instrument music. Although


14

instrumental works prevail, there is a large and important num-

ber of works inspired by literary models. Although brought up in

the neo-Classicism and neo-Romanticism of his teacher, Stjepan

Šulek, and although he became acquainted in Paris with seria-

lism and the strict organisation of musical material, getting to

know in Berlin the determinants of electronic music, none of the-

se elements had really major infl uences on his personal music

language. In Horvat’s music, there is a constant reiteration of the

will to reconcile the romantic and the contemporary, the exact and

the liberal, constructed and improvised. He has a clear affi nity

for simplicity of texture, sometimes recalling minimal music. In

an aesthetic sense, the infl uences of the Polish avant-garde have

been important, for this markedly emotionally coloured music

suited his sensibility, romantic rather than otherwise. For Hor-

vat, that is, music is not only a material but also an artistic and

a human fact, which shows in his humanism as composer and

as teacher. Even when the sound of his works seems harsh and

strident, it does logically express profound human emotions,

whether, fear, anxiety, unease, anger, rage or despair at the sen-

se of being powerless. This primordial sensitivity of the music of

Stanko Horvat makes it close and recognisable to contemporary

listeners, and wins their instinctive understanding.

The fondness for titles that suggest non-musical contents,

the spontaneous programmatic elements in his works, shows

the intentions to encourage the listener through the sounds to

sympathetic reaction. And however dramatic and dissonant his

music might be, it is incessantly reliant upon and derives from

the settled canons of European classical music of his time. This is

helped by the use of traditional instruments, without particular

experimentation or new departures. This sound, characteristic

of Horvat, is particularly recognisable in his piano works, or wor-

ks for strings perhaps, in which he gives familiar instruments a

new and particularly personal sound.

The ability for familiarisation with a large number of Stan-

ko Horvat works at this year’s Osor Musical Evenings is a tribute

to a master of contemporary Croatian music, who departed from

among us on October 30, 2006. It is an opportunity for an en-

counter with a composer who had a lot to say, who knew how to

say it. Above all, a chance for a meeting with works of a powerful

composer and an expressive individuality.

Ph. D. Zdenka Weber


15

I. Subota Saturday

12. srpnja July 12

21.00 21.00

Hrvatski komorni orkestarThe Croatian Chamber Orchestra

Zagreb

Berislav Šipušravnatelj / conductor

Zagreb

Pavica Gvozdićglasovir / piano

Zagreb

Stanko Horvat Notturno za gudače

(1930.-2006.) Notturno for strings

Wolfgang Amadeus Koncert za glasovir i gudače

Mozart u A-duru, KV 414

(1756.-1791.) Concerto for piano and

strings in A major, KV 414

Allegro

Andante sostenuto

Allegretto

* * * Felix Mendelssohn Simfonija u A-duru, br. 4,

– Bartholdy op. 90, »Talijanska«

(1809.-1847.) Symphony in A major, no. 4,

op. 90 “The Italian” Allegro vivace

Andante con moto

Menuetto - Con moto moderato

Saltarello - Presto


16

»Pravo očaranje za mene je tada značila mlada poljska

škola. U biti je ona romantična sa svom svojom eruptivnošću

ali i lirizmom. Svu tu izražajnu ljestvicu, koja je tipična za polj-

sku školu, doživio sam kao nešto meni iznimno blisko.« Stanko

Horvat* tumači stvaralački proces u Novoj glazbi kako slijedi: »

Naravno da tu postoji moment kontrole. Onog časa kad vi an-

gažirate u jednom akordu ili u nekoj situaciji kompletnu dva-

naesttonsku ljestvicu, tog časa vi stižete u jedan svijet koji je

defi nitivno lišen bilo kakvog osjećaja disonance i konsonance.

Tog časa vi možete napisati bilo što što ne može zvučati loše u

odnosu na taj fond. Onog časa kada vi zađete u jednu totalnu

atonalnost, onda ne postoji više vertikalna ograda koja bi mogla

smetati. Tu postoji samo vaš vlastiti slušno-doživljajni moment

u kojem vi odlučujete hoćete li izabrati ovu ili onu grupu na taj

fond, to je stvar u kojoj nastupa osobnost. To sam izabrao baš ja,

a vi biste na taj fond, na tu opću zvukovnu sliku, izabrali nešto

sasvim drugo.«

Među skladbama za gudače, bilo gudački kvartet ili an-

sambl gudača, nakon ostvarenja Koral (Zagreb, 1967.) i Perpetu-

um mobile (Zagreb, 1971.), Notturno za gudače (Zagreb, 1980.)

zauzima u Horvatovom opusu važno mjesto, jednako u pogledu

lirizma kao i u pogledu skladateljeva znalačkog pisanja za sa-

stav koji omogućava raznolikost izričaja novoga zvuka. Skladan

za Zagrebačke soliste, koji su djelo praizveli u zagrebačkom Hr-

vatskom glazbenom zavodu 12. prosinca 1980. godine, već je

tada izazvao znatiželju slušatelja, prvenstveno opredjeljenjem

skladatelja da uvijek iznova preispituje vlastiti odnos prema

zvukovnosti, prema novoizabranim predjelima čiste zvučnosti.

Notturno donosi glazbene situacije koje se razliježu kroz instru-

mente stvarajući poetske atmosfere koje slušatelj lako usvaja.

* o skladatelju Stanku Horvatu vidi na str. 10-12.


17

“At that time the young Polish school was a spellbinding

experience. In essence it is romantic, with all its explosive power

combined with lyricism. This expressive scale, so typical of the

Polish school, was, I felt, something very close to me.” Stanko

Horvat* explains the creative process in Nova glazba (New Mu-

sic) as follows: “Of course there is a moment of control here. The

very moment you engage, even if in a single chord or in some

situation, a complete twelve-tone scale, that moment you have

arrived in a world that is defi nitively devoid of any feeling of dis-

sonance and consonance. That moment you can write anything

that can’t sound bad as against this background. The moment

when you get into a total atonality, then there is no longer any

vertical boundary capable of interrupting. Here there is only

your own auditory and experiential moment in which you have

to decide if you want to choose this or that group against that

background, and that is the matter where personality comes

out. That was only me that chose that, and you, against this bac-

kground, against this overall sound picture, would have chosen

something completely different.”

Among the compositions for strings, whether for string

quartet or string ensemble, after the works Chorale (Zagreb,

1967) and Perpetuum Mobile (Zagreb, 1971), the Notturno

for strings (Zagreb, 1980) occupies a very important place in

Horvat’s oeuvre, both with respect to its lyricism and with res-

pect to the composer’s adept writing for instruments that ena-

ble diversity of expression of the new sound. Composed for the

Zagreb Soloists, who fi rst performed this work in the Croatian

Music Institute in Zagreb on December 12, 1980, even at that

time it provoked listener curiosity via the composer’s opting over

and over to re-examine his own attitude towards sonority, to the

newly-chosen regions of pure sound. Notturno contains music

situations that well out through the instruments, creating a poe-

tic atmosphere the listener fi nds it easy to internalise.

* For more about composer Stanko Horvat, see page 12-14.


18

II. Ponedjeljak Monday

14. srpnja July 14

21.00 21.00

Pavica Gvozdićglasovir / piano

Zagreb

Claude Debussy Suite bergamasque

(1862.-1918.) Suite bergamasque Prélude

Menuet

Claire de lune

Passepied

Stanko Horvat De diebus furoris

(1930.-2006.) Grave

Largo - Feroce

Deciso

Tremando

Grave - Insistente

Largo solenne

* * * Johannes Brahms Varijacije i fuga na Händelo-

(1833.-1897.) vu temu, op. 24

Variations and Fugue on a

theme by Händel, op. 24


19

Glasovir kao bogato vrelo inspiracije pratio je stvaralaš-

tvo Stanka Horvata* u svim njegovim fazama. Dovoljno je samo

navesti naslove njegovih djela za taj omiljeni instrument u eu-

ropskoj klasičnoj glazbi, od još tradicionalno obojenih Varijacija

iz 1953. godine, preko Sonnanta, (1969.), Träumereia (1970.),

Accords (1979.), Ostinata (1982.), Manuala (1985.), Toccate

(1990.) De diebus furoris (1992.), Discantusa (1997.), Paysage

sombre (1998.), Dvije studije (1999.), Etide invencije (1999.),

Tri preludija za glasovir (2001.), Za Pavicu (2003.) do Ben mi-

surato (2004.), pa da se uvjerimo da se Horvat u svojem promi-

šljanju glazbe uvijek vraćao glasoviru, ili je od njega polazio. Već

naslovi upućuju na predodređene glazbene sadržaje a ostvarena

zvukovnost upozorava na Horvatovu neiscrpnu maštu kada je

riječ o znalačkom korištenju mogućnosti glasovira. Osim toga,

u glasovirskim je djelima Horvat izuzetnom intuicijom novato-

ra, ali i kao vjerni sljedbenik naslijeđenih tradicija, prvenstveno

onih romantičke izražajnosti, trajno umio izraziti svoje sklada-

teljsko sazrijevanje osnovano na očaranosti zvukom i mogućno-

stima instrumenta, kao i izuzetnu raznovrsnost pristupa i ostva-

rivanja svojega skladateljskog htijenja.

Glasovirska skladba De diebus furoris (O danima bijesa)

skladateljev je odgovor na dramu koja je zadesila Hrvatsku, na

ratne ponore izazvane srpskom agresijom, na patnje svih na-

padnutih gradova, napose na užase kojima su bili podvrgnuti

građani Vukovara. Ili, kako tumači sam autor: »Djelo je pisano

od zime 1991. do ljeta 1992. Ono je neposredna autorova reak-

cija na dane užasa, strepnje, očaja i bijesa zbog divljačkih i bje-

somučnih napada na Hrvatsku. U šest brojeva (dana) zvučno su

oblikovane dramatične ratne scene - od onih agresivnih i grubih,

do prigušenih i punih potmulog iščekivanja. Djelo ciklički pove-

zuje dva tematska materijala (uvjetno nazvana temom bijesa i

temom očaja) koji se pojavljuju u gotovo svim danima. De die-

bus furoris je djelo iznimnih tehničkih zahtjeva.”

Skladajući kontinuirano za glasovir, u velikoj mjeri pod-

stican vrhunskim pijanizmom Pavice Gvozdić, koja je pomno

praizvodila većinu njegovih skladbi, ostavio je Horvat djela

koja su već odavno ušla u stalnu izvođačku praksu. Skladbu s

večerašnjeg programa praizvela je pijanistica Pavica Gvozdić na

Osorskim glazbenim večerima 1997. godine.

* o skladatelju vidi na str. 10-12.


20

The piano is a rich source of inspiration that has kept pace

with the creative work of Stanko Horvat* in all its phases. It is

enough merely to mention the titles of works of his for this favo-

urite instrument of European classical music, from the still tradi-

tionally tinged Variations of 1953, via Sonnante (1969), Träu-

merei (1970), Accords (1979), Ostinato (1982), Manual (1985),

Toccata (1990), De diebus furoris (1992), Discantus (1997),

Paysage sombre (1998), Two Studies (1999), Etude of inventi-

on (1999), Three preludes for piano (2001), For Pavica (2003)

through to Ben misurato (2004) for us to be assured that in his

thinking through of music Horvat has always returned to the pia-

no – or indeed started off from it. The very titles indicate certain

musical contents, and the sound quality achieved informs us of

Horvat’s inexhaustible imagination where the adept handling of

the capacities of the piano is concerned. Apart from that, in the

piano works, Horvat, with the outstanding intuition of an inno-

vator who is also a faithful disciple of inherited traditions, prima-

rily those with romantic expressiveness, has always been able to

express his maturity as a composer, based on fascination with

sound and instrumental capacities, as well as an outstanding di-

versity of approach and realisations of his composerly will.

The piano composition De diebus furoris – Days of wrath

is the composer’s answer to the drama that gripped Croatia in the

abysms of the war produced by the aggression of Serbia, to the

pain that suffered all the attacked cities, especially to the horror

to which were submitted the inhabitants of Vukovar. Or as the

author himself says: “the work was written from winter 1991 to

summer 1992. It is the author’s immediate reaction to days of

horror, trepidation, despair and anger because of the savage and

ferocious assaults on Croatia. In the six numbers, the days, the-

re are depictions of dramatic scenes of war, from the aggressive

and rough to the muted and full of dull expectations. The work is

cyclically linked by two sets of thematic material (provisionally

called the wrath theme and the despair theme) that appear in

almost all the days. De diebus furoris is a work of exceptional

technical demands.”

In his ongoing compositions for the piano, to a very large

extent encouraged by the consummate piano artistry of Pavica

Gvozdić, who has given meticulous fi rst performances of most of

his works, Horvat has produced works that long ago entered re-

gular performance practice. Tonight’s composition was fi rst per-

formed by Pavica Gvozdić at the Osor Musical Evenings in 1997.



21

III. Srijeda Wednesday

16. srpnja July 16

21.00 21.00

TRIO OSOR

Zagreb

Renata Penezić fl auta / fl ute

Petar Kovačić violončelo / cello

Zarija Alajbeg Galuf glasovir / piano

Wolfgang Amadeus Trio za glasovir, violinu

Mozart (fl autu) i violončelo

(1756. – 1791.) u C-duru, KV 548

Trio for piano, violin (fl ute)

and cello in C major, KV 548

Allegro

Andante cantabile

Allegro

Philippe Gaubert On a clear morning ( br. 1 iz

(1879. – 1941.) “Three Water Colors”), za

fl autu, violončelo i glasovir

On a clear morning (no. 1

from “Three Water Colo

urs”), for fl ute, cello and

piano

Bohuslav Martinu Trio za fl autu, violončelo i

(1890. – 1959.) glasovir u C-duru

Trio for fl ute, cello and

piano in C major

Poco allegretto

Adagio

Andante. Allegretto scherzando

* * *


22

Skladatelj i glazbeni pedagog Bruno Bjelinski (1909.-

1992.) zauzima važno mjesto u povijesti hrvatske glazbe 20.

stoljeća i pripada onim nacionalnim skladateljima manjih glaz-

benih kultura koji su, stvarajući u okrilju vlastite sredine, ostva-

rili autorske opuse univerzalnih umjetničkih dometa.

Skladatelj i doktor pravnih znanosti, diplomirao je Bjelin-

ski kompoziciju 1936. godine u razredima Blagoja Berse i Franje

Dugana na Muzičkoj akademiji u Zagrebu. Nakon kraćeg zapos-

lenja u pravnoj struci, radio je 1944./45. godine kao profesor na

Glazbenoj školi u Splitu da bi 1945. godine postao profesorom

polifonije na Muzičkoj akademiji u Zagrebu i na tom mjestu ostao

do umirovljenja 1977. godine.

Bjelinski je bio trajno prisutan i tražen autor i gotovo da

nema žanra u kojem se nije okušao. Kada bi se jednim pojmom

željelo okarakterizirati glazbenika Brunu Bjelinskog, bilo bi to

moguće konstatacijom o osobitoj auri ujednačenih emocionalnih

i intelektualnih osobina, auri kojom je zračio šireći prvenstveno

ozračje vedrine i nepokolebljivog optimizma. Neiscrpne, bujne

skladateljske mašte (osobito prisutno u njegovih petnaest sim-

fonija), stvarao je glazbu naglašene humanosti čija je klasicistička

ukorijenjenost nesmiljeno prkosila svim modernizmima.

Bjelinski je rado pisao »po narudžbi« glazbenika i na

području komorne glazbe je ostavio osobito značajan broj in-

spiriranih djela. Trio za fl autu, violončelo i glasovir (ili za obou,

fagot i glasovir) iz 1960. godine postoji i u verziji za komorni

orkestar pod naslovom Pet invencija (1965.). Doista, s izvan-

Bruno Bjelinski Trio za fl autu, violončelo

(1909. – 1992.) i glasovir

Trio for fl ute, cello and piano

Preludium – Allegro

Aria – Andante

Alla marcia – Vivace

Allegretto cantabile

Rejouissance – Allegro possible

Carl Maria von Weber Trio za fl autu, violončelo i

(1786. – 1826.) glasovir u g-molu, op. 63

Trio for fl ute, cello and pia

no in G minor, op. 63

Allegro moderato

Scherzo – Allegro vivace

Schafers – Andante espressivo

Finale – Allegro


23

Composer and music educator Bruno Bjelinski (1909-

1992) occupies a very important place in the history of Croatian

20th century music, and belongs to those national composers of

smaller musical cultures who, composing under the aegis of the-

ir own milieu, have created original oeuvres that nevertheless

achieve the status of universal artistic achievement.

Composer and doctor of law, Bjelinski took his degree in

composition in 1936 in the classes of Blagoje Bersa and Franjo

Dugan at the Music Academy in Zagreb. After a short period of

employment in the law, in 1944/45 he was working as a teacher

at the Music School in Split, and in 1945 became professor of po-

lyphony at the Music Academy in Zagreb, a post he held until his

retirement in 1977.

Bjelinski has been a composer who is always present and

much sought-after, and there is hardly a genre at which he has

not tried his hand. If one were to try to characterise the musi-

cian Bruno Bjelinski succinctly, it would be feasible if one used

the statement about the very particular aura of equal emotional

and intellectual features, an aura that gives off an atmosphere

of serenity and indomitable optimism. With an inexhaustible

and exuberant composerly imagination (particularly fi gured in

his fi fteen symphonies) he created music with a pronounced hu-

manity, the classical rooting of which was uncompromising in its

defi ance of all modernisms.

Bjelinski was happy to write “on commission” from mu-

sicians, and in the area of chamber music he left a particularly

important number of inspired works. The Trio for fl ute, cello and

piano (or for oboe, bassoon and piano) of 1960 exists in a ver-

sion for chamber orchestra entitled Five Inventions (1965). In-

deed, with extra-musical associations and respect for the choice

of contrasting tempos, we are concerned here with fi ve inventive

movements that tell of the author’s neo-classic inspirations, de-

riving from a lastingly cheerful and playful fancy. In frequently

improvisational procedures there are bravura passages of great

technical sophistication. Lastingly true to himself, the music of

Bjelinski does not experience rises and falls in value – it is always

at a remarkable level of inspired musicality.

glazbenim asocijacijama i poštivanjem izbora kontrastirajućih

tempa, riječ je o pet inventivnih stavaka koji svjedoče autorov

neoklasični izvor inspiracije, proizašle iz trajno vedre i razigrane

mašte. U često improvizatorskim postupcima sadržane su

bravure znalačke tehničke dovršenosti. Trajno vjerna sebi, ne

poznaje glazba Bjelinskog uspone i padove vrijednosti – ona je

uporno na zavidnoj razini nadahnute muzikalnosti.


24

IV. Petak Friday

18. srpnja July 18

21.00 21.00

Tonko Ninićviolina / violin

Zagreb

Vladimir Krpanglasovir / piano

Zagreb

Arcangelo Corelli Sonata br. 12, La Follia

(1653.-1713.) Sonata no. 12, La Follia

Franz Schubert Sonatina u D-duru, br. 1,

(1797.-1828.) op. 137

Sonatina in D major, no. 1,

op. 137

Allegro molto

Andante

Allegro vivace

Ivo Maček Sonata za violinu i glasovir

(1914.-2002.) Sonata for violin and piano Con moto

Allegro deciso

Johannes Brahms Sonata za violinu i glasovir

(1833.-1897.) u A-duru, br. 2, op. 100

Sonata for violin and piano

in A major, no. 2, op. 100 Allegro amabile

Andante tranquillo

Allegretto grazioso (quasi

andante)

Johannes Brahms Sonatni stavak za violinu i

glasovir

Sonata movement for violin

and piano

Scherzo

* * *


25

Ivo Maček (1914.-2002.) glavninu je svoje glazbeničke

djelatnosti u mladosti posvetio koncertnom djelovanju, u zreloj

dobi je bio najaktivniji kao pijanistički pedagog a skladanjem

se u većoj mjeri bavio tek u kasnijoj životnoj dobi. Na Muzičkoj

akademiji u Zagrebu studirao je klavir (Vjekoslav Rosenberg-

Ružić) i kompoziciju (Franjo Dugan). Nakon diplomskog ispita

(1934.) nastavio je studij klavira u razredu uglednog profesora

Svetislava Stančića, utemeljitelja Zagrebačke pijanističke škole,

a 1939. godine se usavršavao u kompoziciji u Parizu kod Roger-

Ducassea. Bio je nastavnik klavira na glazbenoj školi Lisinski u

Zagrebu, a nakon kraćeg rada na položaju tajnika Opere Hrvat-

skog narodnog kazališta u Zagrebu, postao je profesor glasovira

na srednjoj školi Muzičke akademije. Na toj je ustanovi napre-

dovao i od 1950. do 1977. godine je bio redovni profesor glaso-

vira. Iz njegove je klase izašao znatan broj uglednih hrvatskih

pijanista.

Djelujući u komorno-glazbenim sastavima razvio je oso-

biti afi nitet prema djelima za manje ansamble pa se to ogleda i u

njegovom skladateljskom radu u kojemu prevladavaju komorne

skladbe: Romantični trio za klavir, violinu i violončelo (1935.),

Sonata za violončelo i klavir (1955.), dva gudačka kvarteta

(1980., ?) Sonata za violinu i klavir, Puhački kvintet (1987.),

Puhački trio te niz djela za glasovir. Ogledao se i na području

koncertantne (Concertino za klavir i komorni orkestar iz 1991.

godine) i vokalne glazbe (Dva klasična moteta iz 1935. godine).

Izuzetno profi njeni umjetnik svestranog klasičnog obra-

zovanja, s razvijenim osjećajem za stilsko oblikovanje djela,

unosio je Ivo Maček ta bogata iskustva i veliko skladateljsko

tehničko znanje u vlastite skladbe. U formalnom pogledu vjeran

tradiciji, s dubokim razumijevanjem i skladateljskim umijećem,

pisao je glazbu koja je sadržajna i prijemljiva. Tako i njegova So-

nata za violinu i klavir (praizveo 1989. godine violinista Tonko

Ninić s pijanistom Juricom Murajem, te snimio za HTV s autorom

glazbe) odiše vrsnim poznavanjem instrumentalnih mogućnosti

zahvaljujući kojemu se instrumenti skladno upotpunjuju. Odjeci

folklornih elemenata u drugom stavku pružaju pak glazbi poseb-

nu živost, a djelo u cjelini time podcrtava skladateljev identitet.


26

Ivo Maček (1914-2002) devoted the major part of his mu-

sical activity in his youth to work in the concert hall, in his matu-

rity he was most active as a piano educator, and to the greatest

extent engaged in composition only in his later life. He studied

the piano at the Music Academy in Zagreb (Vjekoslav Rosenberg-

Ružić) and composition (Franjo Dugan). After his certifi cate

exam (1934) he went on with piano studies in the class of the

celebrated teacher Svetislav Stančić, founder of the Zagreb piano

school and in 1939 he did further studies in composition in Paris,

with Roger-Ducasse. He was teacher of piano at the Lisinski Mu-

sic School, Zagreb, and after a short period working in the post of

secretary of the Opera Company of the Croatian National Thea-

tre in Zagreb, he became a piano teacher at the Music Academy’s

secondary school. He was promoted at this establishment and

from 1950 to 1977 he was a full tenured professor of piano. A

considerably number of distinguished Croatian pianists gradu-

ated from his class.

Working in chamber music ensembles, he developed a

particular affi nity for works for smallish ensembles, and this can

be seen in his compositions, in which chamber works tend to pre-

vail: Romantic trio for piano, violin and cello (1935), Sonata for

cello and piano (1955), two string quartets (1980 and ?) Sonata

for violin and piano, Wind Quintet (1987), Wind Trio and a num-

ber of works for piano.

An exceptionally refi ned artist of an all-round classical

education, with a developed feeling for the stylistic shaping of a

work, Ivo Maček put his ample experience and great composer-

ly technical knowledge into his own compositions. In a formal

point of view loyal to the tradition, with a profound insight and

composerly skill, he wrote music that is both substantial and

sensitive. This can describe his Sonata for violin and piano (fi rst

performed in 1989 by violinist Tonko Ninić with pianist Jurica

Murai, and recorded for HTV with the composer himself) reveals

an impeccable knowledge of the instrumental capacities, thanks

to which the instruments complement each other gracefully. The

echoes of folk music elements in the second movement on the

other hand give the music an especial vivacity, and the work as a

whole thus underscores the identity of the composer.


27

V. Nedjelja Sunday

20. srpnja July 20

21.00 21.00

István Römergitara/guitar

Zagreb

Johann Sebastian Bach Suita za lutnju, BWV 995

(1685.-1750.) Lute Suite, BWV 995

Preludij

Allemande

Courante

Sarabande

Gavotte I/II

Gigue

Boris Papandopulo Tri igre

(1906.-1991.) Three Dances

Allegretto vivace

Andante

Allegro comodo

* * * Srećko Bradić Potonulo sidro

(1964.) Sunken Anchor

praizvedba / fi rst performance

Anđelko Klobučar Sonata

(1930.) Allegro risoluto

Largo

Allegro scherzando

Enrique Granados Španjolski plesovi, iz op. 37

(1867.-1916.) Spanish Dances, from op. 37

Andalusa (br. 5) / (no. 5)

Minuetto (br. 1) / (no. 1)

Villanesca (br. 4) / (no. 4)

Zarabanda (br. 3) / (no. 3)

Danza triste (br. 10) / (no. 10)


28

Boris Papandopulo (1906.– 1991.) pripada onim europ-

skim skladateljima koji su ostavili bogati opus u svim žanrovima

slijedeći stilske mijene i uvijek ih prilagođavajući vlastitom poi-

manju glazbe. Studirao je kompoziciju na Muzičkoj akademiji u

Zagrebu u razredu Blagoja Berse a dirigiranje na Novom bečkom

konzervatoriju u razredu Dirka Focka. Svoju dirigentsku karije-

ru započeo je u Zagrebu a djelovao je i u Splitu, Rijeci te Kairu.

Tijekom više od 60 godina dugačke i nadasve plodne

skladateljske prakse Boris Papandopulo je ostavio više od 300

djela koja svjedoče bujnu stvaralačku maštu jednog od najčešće

izvođenih hrvatskih skladatelja.

Papandopulo je bio glazbenik, u najpozitivnijem smislu

riječi muzikant, s bogomdanim talentom iskonskog skladatelja,

koji je, u instrumentalnom smislu, vjeran tradiciji. Glazbena ja-

snoća i majstorstvo njegova opsežnog opusa, usprkos izvođač-

kim zahtjevnostima, povod su za stalni život njegove glazbe.

Tri igre za gitaru skladao je Papandopulo 1975. godine.

Riječ je o tri folklorno inspirirane žanr sličice, koje asociraju na

zvukovnost istarskog narodnog idioma ili pak donose citate po-

pularnih pučkih pjesama i elementarne ritmove dubrovačkog

plesa. Pred nama je vješti mozaik trajno raspoložene glazbe koja

znalački koristi mogućnosti gitare. Ili, kao što je napomenuo gi-

tarista István Römer, koji tu glazbu uvijek rado izvodi, »što Pa-

pandopulo dotakne, on pretvara u zlato«!

Srećko Bradić (1963.) završio je studij na Odjelu za glaz-

benu pedagogiju Muzičke akademije u Zagrebu, a njegov je glaz-

beni poziv bio određen studijem na Odjelu za kompoziciju na

istoj ustanovi i diplomom u razredu prof. Stanka Horvata. Među

skladateljevim ranim djelima ističu se Šest bagatela za glasovir,

Trio za violinu, violu i violončelo, Izgubljena glazba (Lost music)

za puhački kvintet i Za gudače (For strings) za gudački orkestar

i dvanaest solista gudača. Novija su djela uglavnom posvećena

većim ansamblima uključujući Penetration za glasovir i gudački

orkestar, Credo za soliste, mješoviti zbor i orkestar, Venery za

veliki orkestar La femme za sopran i orkestar, Koncert za violu,

violončelo i orkestar, Koncert za glasovir i orkestar i Koncert za

orkestar. Radi na Muzičkoj akademiji u Zagrebu gdje predaje

glazbenu teoriju na Odjelu za kompoziciju i glazbenu teoriju.

Autor zapisuje: »Jedna mala intimna ispovijest koja tihim

hodom luta, dolazi, prelazi, vraća se…Tanka crta ponora dubina

biva umivena crnilom ljepote i uz podareni vapaj krene… dolje.«

Skladatelj, orguljaš i pedagog Anđelko Klobučar (1931.),

diplomirao je 1955. godine na teoretsko-historijskom odjelu Mu-

zičke akademije u Zagrebu. Kompoziciju je studirao u razredu

Mila Cipre a orgulje u razredu Franje Lučića. Usavršavao se u or-

guljama kod Antona Nowakovskog u Salzburgu (1960.) i u kom-

poziciji kod Andréa Joliveta u Parizu (1965./66.)

U hrvatskom glazbenom životu Anđelko Klobučar je pri-

sutan od 1952. godine kada se zagrebačkoj javnosti predstavio

izvedbom svoje Passacaglie. U daljnjem je djelovanju trajno pra-


29

izvodio, uz vlastita, i djela svojih kolega-suvremenika a karijera

orguljaša vodila ga je diljem svijeta i svirao je u najpoznatijim ka-

tedralama i crkvama Europe. Uz pedagoško djelovanje na Muzič-

koj akademiji u Zagrebu, Klobučar je orguljaš Prvostolne crkve.

Posebnošću prigode izdvaja se njegova Papinska misa skladana

u povodu 900. obljetnice Zagrebačke nadbiskupije, praizvedena

11. rujna 1994. godine u povodu prvog dolaska Pape Ivana Pavla

II. u Zagreb.

Izrazito omiljeni skladatelj, Klobučar trajno sklada na

izravne poticaje glazbenika. Tako je i svoju Sonatu skladao

1993. godine na inicijativu gitarista Istvána Römera, koji ju je

ubrzo nakon nastanka i praizveo u zagrebačkom Hrvatskom

glazbenom zavodu. Sugestija glazbenika skladatelju bila je želja

da, u nedostatku sonatnih oblika za gitaru, dobije djelo koje bi

poštivalo zadatosti sonate kao forme. Klobučar je toj želji udovo-

ljio ritmički pregnantnom, prozračnom glazbom koja u tri stavka

slijedi uzor prvog, sonatnog stavka s dvije teme i maštovitom

provedbom, melodijski dojmljivim drugim stavkom jednostav-

ne izražajnosti i trećim stavkom u obliku ronda.

Boris Papandopulo (1906-1991) belongs among those

European composers who have left behind them a rich oeuvre

in all of the genres, following changes in style, always adapting

them however to his own way of understanding music. He studi-

ed composition at the Music Academy in Zagreb, class of Blagoje

Bersa, and conducting in the New Vienna Conservatory, class of

Dirk Fock. He started his conducting career in Zagreb, and also

worked in Split, Rijeka and Cairo.

During the more than 60 years of his long and extremely

fruitful composing practice, Boris Papandopulo wrote more than

300 works, testimony to the exuberant creative imagination of

one of the most often-performed Croatian composers.

Papandopulo was a musician, a player, in the most posi-

tive sense, with a god-given talent of a primal composer, who is

loyal to the tradition in an instrumental sense. The musical cla-

rity and mastery of his capacious oeuvre, notwithstanding the

demands of performing it, are the reason why his music conti-

nues to live.

Three dances for guitar was composed in 1975. These are

three folk-music-inspired genre pictures providing associations

of the sounds of the Istrian vernacular idiom, alternately quo-

ting popular vernacular songs and the elementary rhythms of

the Dubrovnik dance. This is a skilled mosaic of music lastingly

in a good mood that adroitly makes use of the capacities of the

guitar. Or, as guitarist István Romer remarked, who has always

been happy to perform it, “whatever Papandopulo touches, he

turns into gold”.


30

Srećko Bradić (1963) completed his degree course in the

music education department of the Music Academy in Zagreb; his

musical vocation was determined however by his course at the

composition department in the same institution, and a degree in

the class of Stanko Horvat. Among the composer’s early works,

particularly interesting are the Six Bagatelles for piano, Trio, for

violin, viola and cello, Lost Music for wind quartet, For Strings for

string orchestra and twelve string soloists. More recent works

are on the whole devoted to major ensembles, including Pene-

tration for piano and string orchestra, Credo for soloists, mixed

choir and orchestra, Venery for large orchestra, La femme for

soprano and orchestra, Concerto for viola, cello and orchestra,

Concerto for piano and orchestra, and Concerto for orchestra. He

works at the Music Academy in Zagreb, teaching music theory at

the composition and music theory department.

The composer writes: “A little intimate confession that

with a quiet step wanders, comes, goes past, comes back… A

thin line of the abyss of the depths is washed with the blackness

of beauty and with the endowed cry moves…down.”

Composer, organist and educator Andelko Klobučar

(1931) took his degree in 1955 in the theoretical and historical

department of the Music Academy in Zagreb. He studied com-

position in the class of Milo Cipra and organ in that of Franjo

Lučić. He did further organ studies with Anton Nowakovski in

Salzburg (1960) and in composition with André Jolivet in Paris

(1965/66).

Anđelko Klobučar has been a feature in Croatian music

life since 1952, when he made his debut before the Zagreb public

with a performance of his own Passacaglia. In his further work,

he has continued to give fi rst performances of his own works and

those of contemporary fellow composers and his career as orga-

nist has taken him around the world, where he has played in the

best known churches and cathedrals of Europe. As well as be-

ing a teacher at the Music Academy, Klobučar is also organist of

Zagreb Cathedral. For the particularity of the occasion, especial

prominence accrues to his Papal Mass, composed to mark the 9th

centenary of the Archdiocese of Zagreb, fi rst performed on Sep-

tember 11, 1994, on the occasion of the fi rst visit of Pope John

Paul II to Zagreb.

A very well-loved composer, Klobučar regularly compo-

ses according to direct prompting from musicians. His Sonata

was in this way composed in 1993 at the initiative of guitarist

István Romer, who soon after its creation fi rst performed it in the

Croatian Music Institute in Zagreb. As the guitarist told the com-

poser, he had the wish, since there is a shortage of sonata forms

for the guitar, to obtain a work that would respect the givens of

the sonata as form. Klobučar met this desire with a rhythmically

pregnant, transparent music that in three movements follows the

model of the fi rst, sonata form with two themes and an imagina-

tive development, a melodically impressive second movement of

simple expressiveness, and a third movement in rondo form.


31

VI. Utorak Tuesday

22. srpnja July 22

21.00 21.00

Zagrebački solistiThe Zagreb Soloists

Davor Radićbariton / baritone

Zagreb

Wolfgang Amadeus Divertimento u B-duru,

Mozart KV 137

(1756.-1791.) Divertimento in B fl at

major, KV 137

Andante Allegro di molto

Allegro assai

Antun Dobronić Jelšonski tonci

(1878.-1955.) Jelsa Dances

Traškun – Allegretto

Po starosku – Moderato e cantabile

Na livu – Andantino giocoso

Po starogojsku – Moderato e deciso

Poskakuša – Allegretto giocoso

Stanko Horvat Crne pjesme za bariton i

(1930.-2006.) gudače

Black Songs for baritone

and strings

Davor Radić bariton /baritone

* * * Antonin Dvorák Serenada za gudače

(1841.-1904.) Serenade for strings

Moderato Tempo di valse Vivace Larghetto Allegro vivace


32

Antun Dobronić (1878.-1955.), skladatelj, glazbeni pi-

sac, kritičar, melograf i pedagog u hrvatskoj povijesti glazbe

prve polovice 20. stoljeća poznat je kao gorljivi »promicatelj ide-

ologije nacionalnoga smjera«. Završio je Učiteljsku školu u Ar-

banasima kraj Zadra, a od 1896. do 1910. godine je bio učitelj

na Hvaru, Visu i u Drnišu. U Prag je otišao u dobi od 32 godine

i nakon dvogodišnjeg studija diplomirao kompoziciju i dirigira-

nje na Konzervatoriju u klasama uglednih čeških profesora K.

Steckera, V. Nováka i F. Spilka. Taj praški boravak još ga je više

uvjerio u potrebu skladanja na osnovama narodne umjetnosti i u

narodnom duhu koje valja oblikovati u umjetničku glazbu.

Duboke korijene u pučkoj glazbi s otoka Hvara, točnije iz

skladateljeve rodne Jelse, nalazimo i u peterostavačnoj suiti Jel-

šonski tonci za gudački orkestar, skladanoj 1938. godine.

Jelšonski tonci su nedvojbeno najčešće izvođeno Dobroni-

ćevo djelo, a sam je skladatelj isticao da glazba ima autobiograf-

ski karakter. »Oni su nastali iz sjećanja na doba mog djetinjstva,

kad je ono stari ‘paron Vincenco’ u milom mi zavičaju, ubavoj

Jelsi na otoku Hvaru, na malenom, zvukovno nadasve prodor-

nom instrumentu mediteranskog podrijetla, liri (lirici, lijerici,

gudačkom instrumentu koji je pratio narodni ples, op. Z. W.), na

osnovi sitnih melodija, ‘tema’, upravo virtuozno improvizirao i

tako na plesovima davno ustaljenim u krasnim fi gurama, svoje

slušateljstvo ugodno zabavljao. Kroz ovo sam prebiranje po prvi

put u ‘umjetničkoj’ tvorbi proćutio primarni muzički izraz u obli-

ku improvizacije… Godine su prolazile, nametnulo mi se više

kulturno-umjetničko naziranje, ali ‘teme’ koje sam u djetinjstvu

usvojio, često su mi navirale u podsvijest. I tako mi se namet-

nulo, da ove ‘primitivne’ ali ustvari zdrave muzičke zamisli za-

odjenem u višu umjetničku formu, da idealiziram stare plesove,

‘tonce’ (tance, što znači plesove, op. Z.W.) mog zavičaja.«

Već su prigodom praizvedbe u travnju 1998. godine Crne

pjesme Stanka Horvata, skladane za bariton i 13 gudača, pri-

vukle znatnu pažnju stručne kritike. Uspjeh je, uz vrsno muzi-

ciranje Zagrebačkih solista, kojima je djelo bilo posvećeno, bio

pripisivan i solistu, baritonu Jošku Lešaji, koji je svoju dionicu in-

terpretirao vrlo izražajno. Bio je to Horvatov nastavak suradnje

s pjesnikinjom Dunjom Robić, s kojom je, kao autoricom libreta,

surađivao i pri izradi svoje opere Preobražaj prema noveli Fran-

za Kafke, a na njezine je stihove skladao i djelo Tišina i uzdasi

za sopran, vibrafon i udaraljke 1993. godine. Bez obzira koliko

nam se ponekad čini dramatičan zvuk koji izvire iz Horvatove

glazbe, on uvijek nastaje kao rezultat jedine moguće, posve lo-

gične i duboke ljudske emocije, bilo da se radi o strahu, tjeskobi,

nelagodi, ljutnji, bijesu ili očajanju zbog nemoći. U tome i jest

ključ po kojem i šira publika prepoznaje taj opus kao sebi blizak

i razumljiv.



33

Antun Dobronić (1878-1955), composer, music writer,

critic, transcriber of traditional music and teacher is known in the

history of Croatian music of the fi rst half of the 20th century as an

ardent promoter of the ideology of the national direction. He went

to Normal School in Arbanasi near Zadar, and from 1896 to 1910

was a teacher on Hvar, Vis and in Drniš. He went to Prague at the

age of 32, and after a two-year course, graduated in composition

and conducting at the Conservatory there in the classes of cele-

brated Czech teachers K. Sticker, V. Novák and F. Spilak. This stay

in Prague convinced him still more of the need to compose on the

bases of vernacular, folk, art, and in the national spirit, which had

nevertheless to be given shape in serious music.

We can fi nd the deep roots in the folk music from the island

of Hvar, more precisely from the composer’s native Jelsa, in the

fi ve-movement suite Jelsa Dances for string orchestra, composed

in 1938.

Jelsa Dances are without any doubt the most-performed

of Dobronić’s works. The composer pointed out that they had an

autobiographical nature. “They were created from the time of my

childhood when that old “Paron Vincenzo” in my dear home co-

untry, snug Jelsa on the island of Hvar, in the little, highly pene-

trating instrument of Mediterranean origin, the lyre (the stringed

instrument that accompanied the folk dance, Z.W.), on the basis

of little melodies, themes, actually made virtuoso improvisati-

ons, very pleasantly entertaining his listeners, on dances long

ago set in lovely fi gures. Through this plucking for the fi rst time

in an artistic creation I head primary musical expression in the

form of improvisation… Years went past, and a more cultured

and artistic way of looking at things fastened hard upon me, but

the themes that I internalised in my childhood often welled up in

my unconscious. And so I felt the need to clad these primitive but

actually very healthy ideas in a high artistic form, to idealise the

old dances, the tonci, (dances) of my home town.”

On its very fi rst performance in April 1998, the Black Son-

gs of Stanko Horvat, composed for baritone and thirteen string

instruments, attracted a good deal of attention from the music

press. The success, with the outstanding music making of the

Zagreb Soloists, to whom the work was dedicated, was also as-

cribed to the soloist, the baritone Joško Lešaja, who interpreted

his part with a great deal of expression. This was a continuation

of Horvat’s collaboration with poet Dunja Robić; previously, she

had written the libretto for his opera Metamorphosis after the

story of Franz Kafka, and he also composed the work Silence and

Sighs for soprano, vibraphone and percussion in 1993 to verses

of hers. Irrespective of the drama of the sound that sometimes

wells up out of Horvat’s music, it is always formed as the result of

a possible, entirely logical and profound human emotion, whet-

her it is to do with fear, anxiety, unease, anger, rage or despair at

a sense of powerlessness. This is precisely the key in which the

general public perceives and recognises this work as close to and

intelligible to them.



34

VII. Četvrtak Thursday

24. srpnja July 24

21.00 21.00

Monika Leskovarviolončelo / cello

Zagreb - Berlin

Giovanni Sollimaviolončelo / cello

Italija / Italy

Marin Marais Suita u d-molu (pièces de

(1656.-1728.) viole, 1. livre, 1720.)

Suite in D minor (pièces de

viole, book 1, 1720) Prelude

Allemande

Courante

Sarabande

Gigue

Chick Corea Children’s Songs, br. 3 i br. 9

(1941.) / no. 3 and no. 9

* * * Vinko Jelić Ricercar

(1596.-1636.?)

Giovani Sollima The interpretation of

dreams

The wood

Madre – fi glio – natura

Acheronta movebo acqua

(Leonardo da Vinci’s dream)


35

Vinko Jelić (Vincenz Jeličić, 1596.-1636.?) pripada gene-

raciji srednjoeuropskih ranobaroknih skladatelja. Iako je najveći

dio života proveo u inozemstvu, naglašavao je svoje hrvatsko

podrijetlo time što je svojem imenu pridavao oznaku »Flumi-

nensi Sancti Viti«, ističući tako da mu je rodni grad Rijeka (tal.

Fiume). Djetinjstvo je proveo u Rijeci, a 1606. godine je otišao u

Graz gdje je školovan kao pjevač dvorskog zbora (Capel Knabe).

Zbor je vodio talijanski dirigent i skladatelj Matthia Ferrabosco,

koji je Jelića glazbeno obrazovao. Istovremeno je pohađao teo-

loški studij, a od 1617. godine je živio u Zabernu (Alzas). 1618.

godine je bio zaređen za svećenika. Razvio je znatnu glazbenič-

ku djelatnost, koju je prekinuo Tridesetogodišnji rat, a Zabern je

postao poprištem žestokih borbi (1622.). U 1636. godini je grad

bio potpuno razoren i prešao je u ruke francuskih vlasti. Još dva

dana prije ulaska Francuza u Zabern (24. srpnja) gradske ispra-

ve navode posljednji put ime Vinka Jelića. Nakon toga mu se iz-

gubio svaki trag.

Vinko Jelić je, uz Ivana Lukačića, najznačajniji hrvatski

ranobarokni skladatelj koji je svojom naglašeno pjevnom i kon-

trapunktski inventivnom glazbom dao znatan prilog europskom

skladateljstvu svojega vremena. Uz zbirku Parnassia militia, je-

dinu u potpunosti sačuvanu, ostavio je Jelić djelomično sačuvane

zbirke Arion primus i Arion secundus. U drugoj je zbirci sadrža-

no i više kraćih instrumentalnih djela. Među njima su ricercari

kao kasnorenesansni i ranobarokni instrumentalni emancipira-

ni stavci karakteristični za način skladanja u funkciji preludija za

neko daljnje djelo. Riječ je o permutacijama odabranog motiva u

smislu etide ili studije koja istražuje tehnička sredstva u sviranju

na nekom instrumentu. Ricercare je moguće izvoditi na različi-

tim instrumentima i te su dvoglasne invencije bile vrlo omiljene.

Na večerašnjem koncertu ćemo tu tipično ranobaroknu, pokret-

nu, kontrapunktski obrađenu i varijacijski nadahnutu Jelićevu

glazbu čuti u verziji za dva violončela, što u potpunosti odgovara

tradiciji izvođenja na raspoloživim instrumentima.

Virginia Woolf, il fl usso di

conscienza

Virginia Woolf, stream of

consciousness

La pericolosa percezione

dell’inconscienza (Freud)

Danger of the perception of

the unconscious (Freud)

Natural songbook

The wood

Frida’s dream

Calamity Jane


36

Vinko Jelić (Vincenz Jeličić, 1596-1636?) belongs to the

generation of early Baroque composers of central Europe. Altho-

ugh he spent the major part of his life abroad, he always stressed

his Croatian descent, adding to his name the epithet Fluminensi

Sancti Viti, showing in this way that Rijeka was his native city

(Fiume in Italian). He spent his childhood in Rijeka, an in 1606

went off to Graz, where he was trained to be in the court choir as

a singer – the Capel Knabe. The choir was directed by the Italian

conductor and composer Matthia Ferrabosco, who trained Jelić

in music. At the same time he attended a theology course, and

from 1617 lived in Zabern – Alsace. In 1618 he was ordained. He

developed quite a considerable musical career, which was bro-

ken off by the Thirty Years’ War, with Zabern becoming the site

of ferocious fi ghting in 1622. In 1636 the city was razed and was

taken by the French. Two days before the French entered the city

(July 24) some municipal documents mention the name of Vinko

Jelić for the last time. After that, all trace of him is lost.

Next to Ivan Lukačić, Vinko Jelić was the most important

Croatian early Baroque composer, who with his highly singable

and contrapuntally inventive music made an important contribu-

tion to the European composing of the time. Along with the co-

llection Parnassia militia, the only one totally preserved, he also

left some partially extant collections, Arion primus and Arion

secundus. In the second collection there are more short instru-

mental works. Among them are the ricercars that are late Renai-

ssance or early Baroque emancipated instrumental movements

characteristic of the manner of composing by way of prelude to

some further work. These are permutations of a selected motif

in the sense of etude or study that explores the technical reso-

urces in the playing of a given instrument. Ricercars can be per-

formed on various instruments, and these two-part inventions

were great favourites. At this evening’s concert we shall hear this

typically early Baroque, mobile, contrapuntally well-worked-out

music of Jelić’s, inspired in its variations, in a version for two ce-

llos, which is entirely at one with the tradition of performing on

whatever instruments are available.


37

VIII. Subota Saturday

26. srpnja July 26

21.00 21.00

Kimiko Nakazawa violina / violin Japan

Goran Končar violina / violin Zagreb

Aya Tokuda violina / violin Japan*

Seiji Okamoto violina / violin Japan*

Petra Gilming glasovir / piano Zagreb

Johann Sebastian Bach Trio sonata za dvije violine i

(1685.-1750.) glasovir u C-duru, BWV 1037

Trio sonata for two violins

and piano in C major,

BWV 1037 Adagio

Alla breve

Largo

Gigue

Kimiko Nakazawa violina / violin

Goran Končar violina / violin

Petra Gilming glasovir / piano

Henryk Wieniawski Scherzo-Tarantelle

(1835.-1880.)

Aya Tokuda violina / violin


Franz Waxman Carmen fantazija

(1906.-1967.)

Seiji Okamoto violina / violin


* * * Ivan Mane Jarnović Duet za dvije violine u F-duru

(1747.-1804.) Duet for two violins in F major Allegro

Rondo




38

Richard Strauss Sonata za violinu i glasovir

(1864.-1949.) u Es-duru, op.18

Sonata for violin and piano

in E fl at major, op.18

Allegro ma non troppo

Andante cantabile

Andante-Allegro



* laureati japanskog državnog natjecanja,

Seiji Okamoto laureat 2007. godine i Aya Tokuda laureat 2008. godine

* Prize winners of the Japanese national competition:

Seiji Okamoto in 2007 and Aya Tokuda in 2008.

Prije tri desetljeća, sada već daleke 1978. godine, bile su

III. Osorske glazbene večeri posvećene Ivanu Mani Jarnoviću i

tada je bio izveden niz njegovih djela. Pa ipak, znanstvene spo-

znaje o tom skladatelju bile su tada još vrlo manjkave i obilovale

su zabludama. U međuvremenu su utvrđeni brojni elementi koji

govore o stvaralaštvu skladatelja koji već desetljećima intrigira

hrvatsku i svjetsku muzikologiju.

Utvrđeno je da je Jarnović kršten 29., a rođen 26. listo-

pada 1747. godine u Palermu od oca imenom Joannes Maria Gi-

ernovichi i majke imenom Maria de Marchi. Kako su sačuvane

brojne inačice prezimena, konzultirani su lingvisti i stručnjaci za

jezik čije je mišljenje da su talijanizirane verzije prezimena koja

počinju slogom Gior-, Giar, Gier- zapravo slavenskog podrijetla

i dolaze od Jor-, Jar- i Jer-. U tom se pogledu onda talijanizirana

varijanta Giornovichi poklapa s francuskom i njemačkom Jarno-

vick/Jarnowick, što je blisko hrvatskoj inačici prezimena - Jarno-

vić – koje je i u to doba a i danas prisutno na području Hrvatske

između Karlovca i Ogulina. Time se potvrđuju Jarnovićevi hrvat-

ski korijeni. Kada je pak riječ o izvoru imena »Mane«, što se po-

javljuje u hrvatskoj historiografi ji, ono nije nigdje sa sigurnošću

objašnjeno, te se ustvrđuje da to ime valja rabiti kao nadimak, a

ne kao drugo ime. Ispravno bi stoga bilo ovoga virtuoza navoditi

kao Ivana Jarnovića (zvanog Mane).

Sva dugogodišnja istraživanja, vezana uz povijesno odre-

đivanje skladatelja i virtuoza kojega je za života poznavala cijela

kulturna Europa, koji je ostavio dvadesetak izuzetno vrijednih

violinskih koncerata i brojna komorna djela s violinom u glav-

noj ulozi, a koji je preminuo u Petrogradu 23. studenog 1804.

godine, dokazuju vjerojatnost Jarnovićeva hrvatskog podrijetla.

Školovan na talijanskim zasadama povezuje Jarnović kasno-

baroknu izražajnost s klasicističkim značajkama mozartovske

provenijencije. U svojim duetima za dvije violine dokazao je mo-

gućnosti sklada koji je u još većoj mjeri postizao u solističkim

dionicama svojih violinskih koncerata.


39

Three decades ago, in what now seems a distant 1978,

the 3rd Osor Musical Evenings focused on Ivan Mane Jarnović

and a number of his works were then performed. Still, scholarly

understandings of this composer were then very faulty and abo-

unded in errors. In the meantime, numerous elements have been

discovered that tell of the work of a composer who has for deca-

des now intrigued world and Croatian musicology.

It has been established that Jarnović was christened

on the 29th and born on the 26th of October, 1747, in Palermo,

his father being Joannes Maria Giernovichi and mother Maria

de Marchi. Since many versions of the surname are extant,

numerous language experts on consultation have given their

opinion that Italian surnames that start with Gior- or Giar- or

Gier- are in fact of Slavic origin and derive from Jor-, Jar- and

Jer. Accordingly the Italian version of Giornovichi corresponds

wit the French and German Jarnovick/Jarnowick, close to the

Croatian version, Jarnović, which could at that time as well as

today be found in the area of Croatia between Karlovac and

Ogulin. This confi rms the Croatian roots. As for the origin of the

name “Mane”, which appears in Croatian historiography, it has

never been perfectly surely explained, and it is claimed that the

name should be used as a nickname – hence he should properly

be called Ivan “Mane” Jarnović.

All the years of research related to the historical determi-

nation of the composer and virtuoso who was known in his life-

time by the whole of arts-loving Europe, and who left some score

of very valuable violin concerti and many chamber works with vi-

olin in the main role, who died in St Petersburg on November 23

1804, show the probability that Jarnović was of Croatian origin.

Trained on Italian principles, Jarnović combines a late Baroque

expressiveness with classicist features that have their origins in

Mozart. In his duets for two violins he adumbrated the possibili-

ties of a harmony that he achieved to a still greater extent in the

solo parts of his violin concerti.


40

IX. Ponedjeljak Monday

28. srpnja July 28

21.00 21.00

Paulo Martelligitara / guitar

Brazil

Prvi dio

na klasičnoj šestostrunoj gitari

First part

on the classical six-stringed guitar

Geraldo Vespar Two Brazilian Studies

(1937.)

Paulo Bellinati Estudo litorâneo br. 1 / no. 1

(1950.)

Egberto Gismonti Agua e vinho

(1947.) Loro

William Walton Five bagatellas

(1902.-1983.)

* * *Drugi dio na jedanaestostrunoj gitari

Second part on the eleven-stringed guitar

Ivan Padovec Tri skladbe iz „Izbora kom-

(1800.-1873.) pozicija za gitaru“

Three compositions from

„The choice of guitar works“

Johann Sebastian Bach Adagio, BWV 974

(1685.-1750.) (Bach/Marcello)*

Sonata, BWV 1001*

Sonate, BWV 1001*

Adagio

Fuga

Siciliana

Presto

* transkripcija Paulo Martelli / * transcription Paulo Martelli


41

Ivan Padovec, rođen u Varaždinu 1800. godine,

bio je među prvim hrvatskim profesionalnim gitaristima/

skladateljima s međunarodnim ugledom. Uspješno je kon-

certirao u domovini i inozemstvu, te skladao više od 200

djela, instrumentalnih (uglavnom za gitaru i dvije gitare)

i vokalnih (popjevke za različite glasove uz pratnju gitare

ili glasovira). Mnoge su njegove skladbe bile objavljene

za vrijeme njegova života, kod poznatih izdavača u Beču,

Pragu i dr. Neka od njegovih djela bila su sačuvana u ru-

kopisima, poput „Poleneze u A-duru“, jednog od njegovih

najslavnijih kratkih ostvarenja.

Ivan Padovec autor je pedagoškog priručnika „Te-

oretische-practische Guitar-Schule“, koji je bio nagrađen

prvom nagradom od 40 du kata na natjecanju koje je no-

silo ime jednog ruskog gitarista (vjerojatno Makarova). Tu

gitarističku metodu je 1842. godine objavio bečki izdavač

Werner. Osam poglavlja te knjige sadrže opće glazbene

upute o tehnici sviranja šeststrune gitare. Drugi dio knjige

sadrži melodijske stavke za vježbanje a treći se dio bavi

sviranjem desetstrune gitare.

Desetstruna gitara, koju je izumio Padovec, imala je

uz uobičajenih šest struna još i četiri basa (D, C, H i A),

koji su bili pričvršćeni na kućište i moglo ih se povisiti za

poluton. Tu gitaru je za njega izgradio slavni bečki graditelj

Stauffer.

Zbog oslabljelog vida morao je Padovec napustiti

gostovanja i od 1848. godine do smrti 1873. godine živio

je u svojem rodnom gradu, gdje je davao privatne satove

i povremeno nastupao. Njegova je glazba izraz romantič-

nog ugođaja vremena i pokazuje razvoj gitare kao instru-

menta za profesionalno muziciranje.


42

Ivan Padovec, born in Varaždin in 1800, was among

the fi rst Croatian professional guitarist/composers with an

international reputation. He gave successful concerts both

at home and abroad, and composed over 200 compositi-

ons, instrumental (mostly for one and two guitars) and vo-

cal (songs for different voices accompanied by guitar or pi-

ano). Many of his compositions were published during his

lifetime, by well-known publishers in Vienna, Prague, etc.

But some of his works were kept in manuscripts, like „Polo-

naise in la major“, one of his most famous short pieces.

Ivan Padovec wrote a pedagogic book „Teoretische-

practische Guitar-Schule“, which was awarded a First prize

of 40 ducats in a competition bearing the name of a Russi-

an guitarist (probably Makarov). This guitar method was

published in 1842 by the Viennese publisher Werner. Its ei-

ght chapters contain general musical instructions on the te-

chnique of playing the six-stringed guitar. The second part

of the book consists of melodious pieces for practising, and

the third part deals with playing the ten-stringed guitar.

The ten-stringed guitar invented by Padovec had in

addition to the usual six strings, four basses (D, C, B and

A) fastened by separate pegs, by which each string could

be raised a semitone. The guitar was made for him by the

famous Viennese luthier Stauffer.

Because of the weakened eyesight, Padovec was

obliged to abandon his tours and from 1848 untill his dea-

th in 1873 he lived in his native town where he was giving

privat lessons and occasionally performing. His music is

the expression of the romantic athmosphere of his time

and it shows the development of the guitar as an instru-

ment for professional music making.


43

X. Srijeda Wednesday

30. srpnja July 30

21.00 21.00

Maxim Fedotovviolina / violin

Rusija / Russia

Galina Petrovaglasovir / piano

Rusija / Russia

Petar Iljič Čajkovski Divertimenti iz baleta Labuđe

Petar Ilyich Tchaikovsky jezero

(1840.-1894.) Divertimenti from the

ballet Swan Lake Mazurka

Napuljski ples / Neapolitan Dance

Mađarski ples / Hungarian Dance

Pas de deux / Pas de deux

Španjolski ples / Spanish Dance

Modest Petrovič Šest fragmenata iz ciklusa

Musorgski Slike s izložbe

Modest Petrovich Six fragments from Pictures

Mussorgsky from an Exhibition

(1839.-1881.) Gnom / Gnome

Stari dvorac / The Old Castle

Dva Židova – Samuel Gol

denberg i Schmuyle /

Two Jews – Samuel Golden-

berg and Schmuyle

Ples pilića u ljuskama / Ballet

of unhatched chickens

Katakombe / Catacombs

Baba jaga / Baba Yaga

* * * Sanja Drakulić Sweet Dreams for violin

(1963.) and piano praizvedba / fi rst performance


44

Nikolaj Andrejevič Šeherezada, op. 35

Rimski-Korsakov Scheherezade, op. 35

Nikolai Andreyevich Rimsky-Korsakov

(1844.-1908.)

Aleksandar Porfi rjevič Polovjetski plesovi

Borodin Polovetsian Dances

Alexandar Porfi ryevich Borodin (1833.-1887.)

Sanja Drakulić (1963.), pijanistica i skladateljica, za-

vršila je studij klavira na Muzičkoj akademiji u Zagrebu, a

usavršavala se u Nici, Weimaru, Parizu i Moskvi. Kompoziciju

je studirala na École Normale de Musique A.Cortot u Parizu, Vi-

sokoj školi za glazbu i scensku umjetnost u Beču, zagrebačkoj

Muzičkoj akademiji, a od 1987. na Moskovskom državnom kon-

zervatoriju P. I. Čajkovski, gdje je magistrirala (1992.) i doktori-

rala (1994.), te studirala muzikologiju i orgulje. Dvije je godine

bila asistentica kompozicije na istom Konzervatoriju. Na Sve-

ruskom natjecanju mladih kompozitora u Moskvi (1993.) os-

vojila je prvu nagradu s kompozicijom Pet intermezza za klavir

solo. Dobitnica je Jeljcinove Predsjednikove stipendije za skla-

datelje i brojnih nagrada za skladbe u Hrvatskoj. Članica je Hr-

vatskog društva skladatelja, Saveza skladatelja Rusije i Britans-

ke akademije skladatelja i pjesnika. Izvanredna je profesorica

na Odsjeku za glazbenu umjetnost Umjetničke akademije u Osi-

jeku. Održava međunarodne tečajeve i seminare iz kompozicije

i teorije glazbe. Voditeljica je Međunarodne glazbene tribine u

Puli. Njezina djela izvode poznati solisti, ansambli i orkestri u

Austriji, Bosni i Hercegovini, Bugarskoj, Crnoj Gori, Francus-

koj, Grčkoj, Nizozemskoj, Italiji, Japanu, Kosovu, Makedoniji,

Moldaviji, Norveškoj, Njemačkoj, Rusiji, SAD–u, Sloveniji, Sr-

biji, Španjolskoj, Turskoj, Ukrajini, Velikoj Britaniji i drugdje, a i

sama izvodi svoje klavirske skladbe.

Skladba Sweet dreams je nastala 2008. godine. Posveće-

na je Maximu Fedotovu i Galini Petrovoj te Osorskim glazbenim

večerima 2008. gdje se izvodi premijerno. Sweet dreams je jed-

nostavačna meditativna skladba u kojoj se slatkom snivanju pre-

puštaju i violina i klavir.

* sve transkripcije djela ruskih skladatelja izradila je Aida Isakova

* All arrangements for violin and piano by Aida Isakova


45

Sanja Drakulić (1963), pianist and composer, did her pri-

mary piano studies at the Music Academy in Zagreb, going on for

further training in Nice, Weimar, Paris and Moscow. She studied

composition at the Ecole Normale de Musique A. Cortot in Paris,

the Music and Stage Art College in Vienna, at the Zagreb Music

Academy, and from 1987 at the Moscow State Conservatory,

where she took a master’s (1992) and a doctorate (1994), and

studied musicology and organ. For two years she was an assi-

stant in composition at the same Conservatory. At the All-Russia

competition for young composers in Moscow in 1993 she won the

fi rst prize with the work Five intermezzi for solo piano. She won

the President’s Scholarship for composers, and many prizes for

compositions in Croatia. She is a member of the Croatian Associ-

ation of Composers, the Federation of Composers of Russia, and

the British Academy of Composers and Poets. She is an associate

professor at the musical art department in the Art Academy in

Osijek. She holds international courses and seminars in com-

position and music theory. She is the leader of the International

Music Forum in Pula. Her works are performed by well-known

soloists, ensembles and orchestras in Austria, Bosnia and Her-

zegovina, Bulgaria, Montenegro, France, Greece, Holland, Italy,

Japan, Kosovo, Macedonia, Moldova, Norway, Germany, Russia,

the USA, Slovenia, Serbia, Spain, Turkey, Ukraine, the UK and el-

sewhere; she herself performs her own piano composition.

Sweet Dreams was written in 2008, and is dedicated to

Maxim Fedotov and Galina Petrova and the Osor Musical Eve-

nings 2008, where it will be performed for the fi rst time. Sweet

Dreams is a one-movement meditative composition in which the

violin and piano give themselves over to soft reveries.


46

XI. Subota Saturday

2. kolovoza August 2

21.00 21.00

ACCO DUOZagreb

Ivana Levak Vaupotić

Miran Vaupotić

Antonio Vivaldi Concerto grosso, br. 11, op. 3

(1678.-1741.) (Herm. Schroeder)

Concerto grosso, no. 11, op. 3

(Herm. Schroeder)

Preludij / Prelude

Fuga / Fugue

Largo

Finale

Johann Sebastian Bach Umjetnost fuge, BWV 1080

(1685.-1750.) Art of the Fugue, BWV 1080 Contrapunctus 1

Contrapunctus 4

Georgi Sviridov Romansa, iz glazbenih

(1915.-1998.) ilustracija prema Puškinu

Romance, from musical

illustrations after Pushkin

Saša Bastalec Na Yahab Az - K` Bogu sad

(1980.) Na Yahab Az - To God Now praizvedba / fi rst performance

Ivo Lhotka Kalinski Dva plesa iz Istre

(1913.-1987.) Two Dances from Istria praizvedba verzije za duo

klasičnih harmonika

fi rst performance of the version

for two classical accordions

Aleksander Cigankov Two step

(1948.)

* * *


47

Alfred Šnitke Gogolj suita

Alfred Schnitke Gogol Suite

(1934-1998.) Uvertira - Allegro

Overture - Allegro

Djetinjstvo - Andantino

Childhood - Andantino

Bal - In tempo di valse

Ball - In tempo di valse

Ogrtač - Andante - accelerando

Overcoat - Andante - accelerando

Franck Angelis Romansa

(1962.) Romance

Wolfgang Schröder Eine kleine Lachmusik

(1967.) Allegro

Romanze – Andante

Menuett – Allegretto

Finale – Allegro

Vladimir Podgorni Fantazija – Torna a Surriento

(1928.) Fantasia – Torna a Surriento

Saša Bastalec (1980.) završio je studij Glazbene kulture

na Odjelu za glazbu na Sveučilištu Jurja Dobrile u Puli. Harmoni-

ku je diplomirao u razredu doc. Slavka Magdića 2003. godine.

Tijekom studija polazio je međunarodne ljetne škole har-

monike (Aleksandar Skljarov, Rusija, Vladimir Balyk, Ukrajina,

Peter Soave, SAD, Owen Murray, Velika Britanija, Paolo Picchio,

Italija, Denis Modrušan, Hrvatska), dirigiranja (Slavko Mag-

dić, Hrvatska), te kompozicije (Sanja Drakulić, Hrvatska). Kao

solist, te kao član komornih sastava i orkestara, nastupao je u

Hrvatskoj i u inozemstvu. Radi kao profesor harmonike na Glaz-

benoj školi u Varaždinu.

O skladbi Na Yahab Az autor zapisuje: »To su varijacije na

izraelski napjev. U prijevodu bi značilo „K Bogu sad“ tako da već

sam naslov skladbe smješta doživljaj u određeni obrazac. Tema

je vrlo jednostavna i samozatajna, gotovo da je prisutna određe-

na doza kontemplacije.

Skladba započinje uvodom koji daje osebujnu atmosfe-

ru (harmonizirana niska melodija i visoki akordi) i zvuči isto-

vremeno i arhaično i moderno. Harmonizirana niska melodija s

motivima teme je u kontrastu s visokim akordima kojeg poisto-

vjećujem sa odnosom Boga i čovjeka. Čovjek je u središtu teme

koja postepeno varirajući preobražava glazbene elemente uvo-

deći ih u prvu kulminaciju u drugoj varijaciji, poput pojedinca

koji doživljava duhovno obraćenje. U trećoj varijaciji čovjek na

određeni način odmiče od Boga u ruhu plesnoga karaktera.


48

Slijedi četvrta varijacija u kojoj se Bog javlja u svojem pu-

nom sjaju i veličini pozivajući čovjeka da čini dobro sebi i drugi-

ma, otkrivši mu tajnu da put k Bogu vodi zapravo preko čovjeka.

I na kraju, u petoj varijaciji, čovjek slavi Boga u jednom

razigranom narodnom štihu«.

Skladatelj i pjevački pedagog Ivo Lhotka-Kalinski (1913.-

1987.) potječe iz ugledne glazbeničke obitelji na čijem je čelu bio

otac, hornista, skladatelj i dirigent Fran Lhotka, koji se iz Praga

1909. godine doselio u Zagreb. Odrastajući u glazbenoj okolini,

odlučio se Ivo Lhotka-Kalinski za studij glazbe prema vlastitim

afi nitetima, te je na Muzičkoj akademiji u Zagrebu završio studij

kompozicije i solo-pjevanja 1937. godine. Slijedeće dvije godine

se usavršavao u Rimu u klasi istaknutog skladatelja Ildebranda

Pizzetija Po povratku u domovinu djelovao je kao srednjoškol-

ski profesor u Zagrebu i Splitu, a od 1951. godine je bio profesor

solo-pjevanja na zagrebačkoj Muzičkoj akademiji. Nastupao je

kao komorni pjevač (bariton).

Nerijetko inspiriran izvanglazbenim sadržajima, poka-

zao je Lhotka-Kalinski u prvim radovima lakoću skladanja i vr-

sno poznavanje skladateljsko-tehničkih postupaka, što je rezul-

tiralo individualno obojenim djelima. Postepeno, pod utjecajem

prevladavajućeg nacionalnog smjera u hrvatskoj glazbi između

dvaju svjetskih ratova, počeo je u svoja djela unositi elemente

folklorne glazbe različitih hrvatskih regija.

Glazbeno-folklorno područje Istre i Hrvatskog primorja s

otocima obilježava u prvom redu ljestvični niz u kojem se uzasto-

pno izmjenjuju polustepen i cijeli stepen, tzv. istarska ljestvica.

Karakterističnosti tog ljestvičnog niza kao i za to područje tipič-

nih plesnih ritmova, inspirirali su mnoge hrvatske skladatelje.

Gotovo doslovno aranžiranje te folklorne građe pridaje skladbi

Dva plesa iz Istre naglašeni identitet kao i zvukovnost kojom

ona ulazi u korpus regionalno obilježene hrvatske produkcije

20. stoljeća. Prenesena iz medija glasovira u instrumentalne

mogućnosti dviju harmonika ta će karakteristična zvukovnost

nedvojbeno dobiti na novosti i popularizaciji svojeg glazbenog

izričaja.

Saša Bastalec (1980) took a degree in music culture at

the Music Department of Pula University. He completed accordi-

on studies in the class of Slavko Magdić in 2003.

During his course he attended several international accor-

dion summer schools (with Alexandar Skliarov, Russia; Vladi-

mir Balyk, Ukraine; Peter Soave, USA, Owen Murray, UK, Paolo

Piccio, Italy; Denis Modrušan, Croatia), in conducting (Slavko


49

Magdić, Croatia) and in composition (Sanja Drakulić, Croatia).

As soloist and member of chamber ensembles and orchestras

he has performed in Croatia and abroad. He works as accordion

teacher in the Varaždin Music School.

The author writes of the composition Na Yahab Az: “The-

se are variations on an Israeli song. In translation it would mean

“To God Now”, and so the very title of the work puts the experi-

ence in a certain pattern or form. The theme is very simple and

retiring, it is almost as if there were a certain amount of contem-

plation present.

The composition starts with an introduction that gives a

particular mood (harmonised low melodies and high chords) so-

unding both contemporary and archaic and modern. The harmo-

nised low melody with motifs of the theme is in contrast with the

high chords, which I identify with the relation between God and

man. Man is in the centre of the theme that gradually via variati-

ons transforms the musical elements, introducing them into the

fi rst culmination in the second variation, like an individual who

experiences a spiritual conversion. In the third variation man in a

certain way moves away from God in dance character garb”.

Composer and music teacher Ivo Lhotka-Kalinski (1913-

1987) comes from a distinguished music family, at the head

of which was his father, hornist, composer and conductor Fran

Lhotka, who moved from Prague to Zagreb in 1909. Growing up

in a musical environment, Ivo Lhotka-Kalinski determined on a

music course according to his own affi nities, and completed a

course in composition and solo singing at the Music Academy

in Zagreb in 1937. The next two years he did further studies in

Rome in the class of distinguished composer Ildebrando Pizzeti.

On return to his homeland, he worked as secondary school mu-

sic teacher in Zagreb and Split, and then from 1951 was teacher

of solo singing at the Zagreb Music Academy. He also appeared

in public as a chamber singer (baritone).

Quite often inspired by non-musical sources, Lhotka-Ka-

linski showed in his fi rst works quite a facility in composition,

and an excellent knowledge of composing and technical proce-

dures, which resulted in works with individual colourings. Gra-

dually, under the infl uence of the prevailing national direction in

Croatian music between the two wars, he started bring folk mu-

sic elements of various Croatian regions into his works.

The folk music area of Istria and Croatian northern coas-

tline with the islands is marked primarily by a narrow intervals

style, or the so-called Istrian scale. The characteristics of this

scale and also the dance rhythms typical of this area have inspi-

red many Croatian composers. The almost literal arrangement

of this folk music material gives the composition Two Dances

from Istria a marked identity and sonority that take it into the

body of the regionally marked Croatian work of the 20th century.

Transposed from piano to the capacities of two accordions, this

characteristic sonority will undoubtedly gain in the novelty and

popularisation of its musical expression.


50

XII. Ponedjeljak Monday


21.00 21.00

Solisti Hrvatskog baroknog ansambla

Soloists of the Croatian Baroque Ensemble

Zagreb

Laura Vadjon barokna violina / Baroque violin

umjetničko vodstvo artistic direction

Ivana Kladarin sopran / soprano

Silvio Richter barokna violina / Baroque violin

Krešimir Lazar barokno violončelo / Baroque cello

Krešimir Has čembalo / harpsichord

Dario Castello Sonata quarta

(oko 1590.- oko 1630.) (Sonate concertate in stil (ca 1590 - ca 1630) moderno, Venecija,1644.)

(Sonate concertate in stil

moderno, Venice,1644)

Gabriel Usper Vulnerasti cor meum

(1609.-1632.)

Tomaso Cecchini Hor mai

(oko / ca 1583.-1644.)

Marco Uccellini Aria sopra la ciacona

(oko / ca 1603.-1680.) Aria sopra la bergamasca

Antonio Vivaldi Kantata Lungi dal vago

(1678.-1741.) volto, RV 680

Lungi dal vago volto

Allegrezza mio core

Arcangelo Corelli Sonata br.12, op.5, La Follia

(1653.-1713.) Sonata no.12, op. 5, La Follia

* * *


51

Antonio Vivaldi Trio sonata La Follia, RV 63

Trio sonata La Follia, RV 63

Gabriel Puliti Hymnum cantate

(oko / ca1575.-1642/3.)

Antonio Vivaldi Kantata All ombra di sos

petto, RV 678

Cantata All ombra di sos

petto, RV 678

All ombra di sospetto

O quanti amanti

Jean Marie Leclair Sonata br.3, op. 4

(1657.-1764.) Sonata no. 3, op. 4

Adagio

Allegro

Aria

Largo-Sarabande

Allegro


52

Uz koncerte, koji su popraćeni priznanjima u hrvatskoj

javnosti i kod stručne kritike, a s pažnjom ih pratite i vi, naši dra-

gi gosti u ovom čarobnom prirodnom ambijentu koji ste odabrali

za godišnji odmor, festival Osorske glazbene večeri organizira i

znanstvene i stručne skupove na kojima domaći i inozemni mu-

zikolozi obrađuju različita glazbena razdoblja i istaknute osob-

nosti hrvatske glazbe. U tom slijedu bio je 1986. godine u Osoru

održan simpozij o glazbenom baroku u Hrvatskoj i festival je

objavio zbornik radova s tog skupa. Knjiga koja je izašla posve-

ćena je hrvatskoj baroknoj glazbi, dakle razdoblju glazbenog

stvaralaštva u kojem je europska glazba doživjela blistavi sjaj

majstorskih djela u čijoj ljepoti i danas uživamo. Večerašnji je

koncert izuzetna prigoda za susrete s baroknom glazbom izvo-

đenom na povijesno autentični način i na instrumentima koji

su replike glazbala baroknog vremena, kao i susrete s velikim

bogatstvom kojemu su, u europskim razmjerima, svoj znatan

doprinos dali i skladatelji iz hrvatskih krajeva.

Rijetko je kada glazba, kao u vrijeme baroka, dakle tije-

kom 17. i prve polovice 18. stoljeća, bila tako snažno prisutna

i priznata u svakodnevnom društvenom i kulturnom životu.

Skladateljski i izvođački dorađena, razvijena barokna glazbena

kultura omogućila je pojave velikana kao što su bili Monteverdi,

Vivaldi, Corelli, Couperin, Purcell, Händel, J. S. Bach i cijela ple-

jada majstora u razvijenim talijanskim, njemačkim, francuskim

i engleskim središtima. U djelima tih skladatelja i virtuoznih in-

terpreta glazba je dosegla neslućene vrhunce, a bilo je to vrijeme

nastajanja novih oblika, opere, kantate, oratorija, triosonate,

concerta grossa i solističkog koncerta.

U Hrvatskoj je to bilo vrijeme raspodijeljenosti krajeva

između venecijanske, habsburške i turske vlasti i to je osujećiva-

lo povoljniji kulturni razvoj. To je uzrokovalo i odlazak mnogih

talenata, koji su svoj razvoj nastavljali u razvijenijim sredinama,

znatnim dijelom u bogatoj Mletačkoj republici. Pa ipak, tadašnje

su kulturne veze s Italijom ponukale i neke talijanske glazbenike

da se nasele u Hrvatskoj.

Početkom 17. stoljeća glazbeni je barok u hrvatskim gra-

dovima, prvenstveno u Dalmaciji, bio potican živim kontaktima

s Italijom te valom katoličke obnove, protureformacije, koju je

predvodio Isusovački red. U hrvatsku su se tradiciju, duhovnu i

svjetovnu, brzo uklopile nove tendencije pjevanja uz instrumen-

talnu pratnju, novosti ranobarokne monodije. Za prihvaćanje tih

inovacija bili su osobito zaslužni Veronežanin Tomaso Cecchini

(Soave, kraj Verone, oko 1583. - Hvar, 1644.), koji je svoj radni

vijek proveo kao kapelnik, orguljaš i skladatelj u Splitu i Hvaru i

ostavio više od 27 opusa, te Gabriel Puliti (Montepulciano, kraj

Arezza, oko 1580. - Istra, 1642/43.), franjevac, koji je svestra-

nu skladateljsku i glazbeničku djelatnost razvio u Istri i na otoku

Pagu. Gabriel Usper, rođen u Poreču, otišao je živjeti u Veneci-

ju, gdje su bila tiskana njegova djela (svjetovni Madrigali con-

certati), a ostavio je i znatan broj duhovnih skladbi. Djelovao je

početkom 17. stoljeća. Svi su oni ostavili vrlo inventivno pisanu

glazbu koja svjedoči njihovu melodijsku nadahnutost i sklada-

teljsko-tehničko umijeće.


53

Along with the concerts that meet favourable recognition

from the Croatian public and from the reviewers, and followed by

you too, our guests in this magical natural ambience that you have

chosen for your holiday, the festival of the Osor Musical Evenin-

gs also organised specialised and scholarly conferences at which

domestic and foreign musicologists discuss various musical peri-

ods and leading personalities in Croatian music. In this sequence,

1986 saw the holding of a symposium on the musical Baroque in

Croatia, a volume of proceedings later being published. The book

was dedicated to the Croatian Baroque in music, a period of musical

creation in which European music enjoyed a brilliant production of

masterpiece works the beauty of which we still enjoy. Today’s con-

cert is an outstanding occasion for encounters with Baroque music

performed in a historically authentic manner and on instruments

that are replicas of instruments of the Baroque period, as well as

encounters with the great riches to which composers from all the

Croatian regions also made a very considerable contribution.

Rarely has music been so powerfully present and accepted

in everyday social and cultural life as in the time of the Baroque,

that is, in the 17th and fi rst part of the 18th century. Highly culti-

vated in terms of both composition and performance, the develo-

ped Baroque music culture enabled the fl owering of such greats as

Monteverdi, Vivaldi, Corelli, Couperin, Purcell, Handel and Bach

and a whole range of masters in the developed Italian, German,

French and English centres. In the works of these composers, and

the virtuoso interpreters, music attained peaks previously ungu-

essed at, and this was also the time of the creation of new forms,

the opera, the cantata, oratorio, trio sonata, concerto gross and the

concerto for solo instrument and orchestra.

In Croatia this was a time in which the lands were divided

and ruled separately by the Venetians, Habsburgs and Ottomans,

and this frustrated the development of culture. It also led to the

brain drain of many talents, who went on with their development

in more developed and settled centres, mainly in the Venetian Re-

public. Still, the cultural connections with Italy encouraged a mo-

dest reverse fl ow, some Italian musicians settling in Croatia.

At the beginning of the 17th century the musical Baroque in

Croatian cities, primarily in Dalmatia, was fostered by live contacts

with Italy, and by way of the Catholic revival, the Counter Reforma-

tion, which was led by the Jesuits. The new trends for singing with

instrumental accompaniment, the novelties of early Baroque mo-

nody, soon fi tted into the Croatian religious and secular tradition.

Particularly to be credited with the acceptance of these innovations

were Veronese composer Tomaso Cecchini (Soave, by Verona, abo-

ut 1583 – Hvar, 1644), who spent his working life as chapel ma-

ster, organist and composer in Split and then in Hvar, and left more

than 27 opera, as well as Gabriel Puliti (Montepulciano, by Arezzo,

about 1580. - Istra, 1642/43.), a Franciscan, who practised his

all-round musical and composerly activity in Istria and the island

of Pag. Gabriel Usper, born in Poreč, went to live in Venice, where

his works were published (the secular Madrigali concertati), and

he also produced a considerable number of religious compositions.

He was active at the beginning of the 17th century. All of them left

behind them a very inventively written music, which tells of their

melodic inspiration and technical skills in composing.


54

XIII. Srijeda Wednesday


21.00 21.00

Tamara Coha Mandićfl auta / fl ute

Zagreb

Diana Grubišić Ćikovićharfa / harp

Rijeka

Gaetano Donizetti Sonata za fl autu i harfu

(1797.-1848.) Sonata for fl ute and harp

Johan Sebastian Bach Sonata za fl autu i continuo

(1685.-1750.) u g-molu, BWV 1020

Sonata for fl ute and conti

nuo in G minor, BWV 1020

Allegro

Adagio

Allegro

Louis Spohr Fantazija za harfu solo op. 35

(1784.-1859.) Fantasia for solo harp op. 35

Petar Obradović I colori / Colours

(1972.) praizvedba / fi rst performance

Zdenek Jonák Mim za fl autu i harfu

(1917.-1995.) Mime for fl ute and harp

Jean-Michel Damase Varijacije za fl autu i harfu

(1928.) Early morning

Early morning, variations

for fl ute and harp

Franz Doppler Varijacije za fl autu i harfu

– A. Zamara Casilda

(1821.-1883.) Casilda, variations for fl ute

and harp

Jacques Ibert Entr’act za fl autu i harfu

(1890.-1962.) Entr’acte for fl ute and harp

* * *


55

Trubljač i skladatelj Petar Obradović (1972.) završio je

Srednju glazbenu školu “Luka Sorkočević” u rodnome gradu

Dubrovniku u razredu svojega oca, prof. Nikole Obradovića, a

diplomirao je na Glazbenoj akademiji u Ljubljani u klasi prof. An-

tona Grčara, 1994. godine.

1995. godine zaposlio se kao prvi trubljač Dubrovačkog

simfonijskog orkestra, a krajem iste godine položio je audiciju

za mjesto solo trubljača u Simfonijskom orkestru Hrvatske ra-

diotelevizije u Zagrebu gdje je stalno zaposlen do danas. Vrlo je

aktivan kao solist i komorni glazbenik. Održao je niz zapaženih

nastupa s Dubrovačkim simfonijskim orkestrom, Zagrebačkom

fi lharmonijom, Mostarskim simfonijskim orkestrom, Simfo-

nijskim orkestrom HRT, Kvartetom Sorkočević, Dubrovačkim

gudačkim kvartetom te sudjelovanja na Dubrovačkim ljetnim

igrama, Marulićevim danima u Splitu, Međunarodnoj glazbenoj

tribini u Opatiji, Muzičkom Biennalu Zagreb, Osorskim glazbe-

nim večerima, Art Salon festivalu u Sofi ji, Bugarska.

1995. godine snimio je Vivaldijev Koncert za dvije trublje

i orkestar uz pratnju Zagrebačke fi lharmonije koji je objavljen na

kompaktnoj ploči, a za Glazbeni program Hrvatskoga radija sni-

mio je niz skladbi hrvatskih skladatelja te ih je objavio na dvije

kompaktne ploče u izdanju nakladničke kuće Cantus.

Osim što se bavi skladanjem komornih i orkestralnih dje-

la, napisao je scensku glazbu za predstave Tango, Kaplja duše i

Uzdah Marije Orsole u izvedbi Teatra Lero te 2003. godine glaz-

bu za cjelovečernji igrani fi lm Slučajna suputnica.

O skladbi koja se večeras praizvodi, a koja je napisana

ove godine, skladatelj je zapisao: »I Colori bio je po svemu intri-

gantan izazov i inspirativni povod u mom dosadašnjem sklada-

teljskom radu. Zanimljivo je bilo suprotstaviti po svemu specifi -

čan ton jednog takvog instrumenta kao što je harfa zvuku fl aute,

usložiti međusobna suzvučja, otvoriti neke nove i drugačije

mogućnosti i prepustiti se igri i mašti ali i, u isto vrijeme, pro-

vjeriti neke moje davne zamisli koje su me poticale na ovakav

skladateljski izazov. I Colori, nadam se, inspirativan je poticaj i

glazbenicima, želio bih, jednako zanimljiv publici koja će ga slu-

šati, otvarajući neke svoje zaboravljene spomenare ili otkrivati

jednako primamljive avanture u kojima će sudjelovati kada se

prepoznaju u ponuđenim snovima.«


56

Trumpeter and composer Petar Obradović (1972) gradu-

ated at the Luka Sorkočević secondary music school in his native

Dubrovnik, class of his father, Nikola Obradović, and then gra-

duated at the Music Academy in Ljubljana, Anton Grčar’s class,

in 1994. In 1995 he took a job as fi rst trumpeter in the Dubrov-

nik Symphony Orchestra, and at the same year took the audition

for the place of solo trumpeter in the Croatian Radio Television

Orchestra in Zagreb, where he is today permanently employed.

He is very active as soloist and chamber musician. He has had

a number of well-received performances with the Dubrovnik

Symphony Orchestra, the Zagreb Philharmonic Orchestra, the

Sorkočević Quartet, the Dubrovnik String Quartet and taken part

in festivals like the Dubrovnik Summer Festival, Split’s Marulić

Days, International Music Forum in Opatija, Music Biennial Za-

greb, Osor Musical Evenings, Art Salon in Sofi a.

In 1995 he recorded Vivaldi’s Concerto for two trumpets

and orchestra with the Zagreb Philharmonic Orchestra, which

was issued on CD, and for the music channel of Croatian Radio

recorded a number of compositions by Croatian composers, and

published them on two CDs issued by Cantus.

As well as composing chamber and orchestra works, he

wrote the stage music for the performances Tango, Drop of the

Spirit, and Sigh of Marija Orsola, produced by Teatar Lero, and in

2003 did the entire soundtrack music for the feature fi lm Chance

Woman on a Journey (Slučajna suputnica).

The composer writes the following with respect to the

work that is being fi rst performed this evening: I Colori was all in

all an intriguing challenge and an inspiring occasion in my com-

posing work today. It was interesting to juxtapose the entirely

specifi c tone of the instrument the harp to the sound of the fl ute,

to fi t together their consonances, to open up some new and di-

fferent capacities and to give in to play and imagination and at

the same time to test out some old ideas I had that encouraged

me to this composing challenge. I colori will also, I hope, be an

inspirational spur to the musicians, and I would hope, equally

interesting to the listening public, who will open up some long-

forgotten memories of theirs and discover equally enticing ad-

ventures in which they will take part when they have recognised

them in the offered dreams.


57

XIV. Petak Friday


21.00 21.00

Zagrebački gitaristički kvartet

The Zagreb Guitar Quartet

Tomislav Vasilj

Krunoslav Pehar

Melita Ivković

Mak Grgić

Klasja Modrušansopran / soprano

Zagreb

Georg Friedrich Händel Suita u E-duru, br. 5,

(1685.-1759.) HWV 430

Suite in E major no. 5,

HWV 430 Prélude

Allemande

Courante

Air

Jean-Philippe Rameau Gavotte et 6 doubles

(1683.-1764.)

Johann Sebastian Bach Preludij i fuga u C-duru,

(1685.-1750.) BWV 531

Prelude and Fugue in

C major, BWV 531

Heitor Villa-Lobos Bachiana Brasileira br. 5

(1887.-1959.) Bachiana Brasileira no. 5

Klasja Modrušan sopran

* * *


58

Ivo Josipović Samba per voce e chitarre

(1957.) praizvedba u verziji za glas i

gitare / fi rst performance of the

version for voice and guitars

Klasja Modrušan sopran

Alberto Ginastera Tres danzas argentinas, op. 2

(1916.-1983.) Danza del viejo boyero

Danza de la moza donosa

Danza del gaucho matrero

Celso Machado Folguedo

(1953.) (posvećen Zagrebačkom

gitarističkom kvartetu)

(dedicated to the Zagreb Guitar

Quartet)

Ivo Josipović, (1957.) pravnik i skladatelj, završio je stu-

dij prava, magistrirao i doktorirao na Pravnom fakultetu Sveu-

čilišta u Zagrebu te diplomirao studij kompozicije na Muzičkoj

akademiji u Zagrebu u klasi prof. Stanka Horvata, 1983. godine.

Autor je sedamdesetak znanstvenih i stručnih radova s područ-

ja kaznenog i međunarodnog kaznenog prava te suradnik u više

zakonskih projekata. Profesor je na Pravnom fakultetu u Zagre-

bu i gost predavač na domaćim i inozemnim visokim učilištima.

Zastupnik je u Hrvatskom saboru.

Kao glazbenik, Josipović je pravi učenik razreda Stanka

Horvata po brizi za skladateljski zanat koji će biti važan predu-

vjet svakoga njegovog skladateljskog pokušaja. Skladatelj je to

za kojega se, međutim, može reći da je od učiteljskog uzora na

stanovit način odstupio, jer je u svojim djelima, negdje uz rubove

prepoznatljivoga formalnog obrasca, uvijek pronalazio mjesta

za dosjetku, radost uz glazbu i zaigranost umjetničkim činom.

Skladba Samba per voce e chitarre (2008.) dio je ciklusa

skladbi nastalih na podlozi skladbe Samba da camera, uspješnici

s kojom je autor pobijedio na Međunarodnom natjecanju Muzič-

ke omladine te osvojio Grand Prix Europske radijske unije (EBU)

još davne 1985. godine. Na poticaj Zagrebačkog gitarističkog

kvarteta, Klasje Modrušan i Ante Čaglja, nastale su dvije nove

verzije skladbe: Samba alla chitarra (za kvartet gitara) i Samba

per voce e chitarre (za glas i kvartet gitara). Činjenica da glazbe-

nici od autora traže nove verzije Sambe za njihove instrumente

govori o uspješnosti skladbe u kojoj se južnoamerički ritam sta-

pa s prepoznatljivom melodikom utemeljenom na molskom sep-

takordu s velikom septimom, uz skladateljske postupke tipične

za postmodernu.

* sve skladbe s programa osim Machadovog Folgueda za četiri gitare

obradio je Ante Čagalj

* All the compositions in the programme apart from that of Machado,

Folguedo, have been arranged for four guitars by Ante Čagalj.


59

»Ima više razloga koji su me ponukali da ovu skladbu Ive

Josipovića obradim za Zagrebački gitaristički kvartet. Brazil,

samba, gitara, sve to je vrlo inspirativan umjetnički izazov, ta-

kođer i prepoznatljivi glazbeni rukopis Ive Josipovića, pun duha,

znanja i talenta kojim je ova kompozicija napisana. Izuzetno mi

je drago da smo nakon praizvedbe njegove kompozicije Allegro

minimo dobili priliku, ovaj put sa Sambom, nastaviti ovu lijepu

suradnju.« (Ante Čagalj)

Ivo Josipović (1957), lawyer and composer, took

bachelor’s, master’s and doctor’s degrees in law at the Law Fa-

culty of Zagreb University, and also took a bachelor’s in compo-

sition at the Music Academy in Zagreb, class of Stanko Horvat,

in 1983. He is the author of some seventy of specialised and sc-

holarly legal studies from the realm of criminal and international

criminal law, and has been a consultant in the writing of many

statutes. He is a professor at the Law Faculty, a guest lecturer in

tertiary education institutions at home abroad, and an MP in the

Croatian Parliament.

As musician, Josipović is a true member of the class of

Stanko Horvat in his care for the craft of composing, which would

be an important precondition of every composing endeavour of

his. He is a composer for whom it can be said however that he has

in a certain extent departed from his teacher’s model, for in his

works, sometimes at the edges of recognisable formal pattern,

he has always found room for wit, joy in music and exuberance

in the act of creation.

The composition Samba per voce e chitarre (2008) is part

of a cycle of compositions based on the composition Samba da

camera, a successful work that won the composer a win at the In-

ternational Youth and Music competition and with which he won

the Grand Prix of the EBU long ago in 1985. At the urging of the

Zagreb Guitar Quartet, of Klasja Modrušan and Ante Čagalj, two

new versions of the compositions have been penned: Samba alla

chitarra (for guitar quartet) and with a voice added Samba per

voce e chitarre. The fact that the musicians sought new versions

for their instruments tells of the success of the composition in

which the South American rhythm is merged with a recognisable

melody based on a minor seventh chord with a major seventh,

along with composerly procedures typical of the post-modern.

“There are several reasons that encouraged me to arrange

this composition of Ivo Josipović for the Zagreb Guitar Quartet.

Brazil, the samba, the guitar, all this is a big challenge to the inspi-

ration, and also the inimitable musical style of Ivo Josipović, full of

spirit, knowledge and talent with which the composition has been

written. We are extremely glad that after the fi rst performance of

his composition Allegro minimo we have had the chance to go on

with this nice collaboration, this time with the Samba.”


60

XV. Nedjelja Sunday


21.00 21.00

ZAGREBAČKI KVARTETThe Zagreb Quartet


Davor Philips violina / violin

Hrvoje Philips viola

Martin Jordan violončelo / cello

Wolfgang Amadeus Gudački kvartet u G-duru,

Mozart KV 387

(1756.-1791.) String Quartet in G major,

KV 387

Allegro vivace assai

Menuetto

Andante cantabile

Molto allegro

Stanko Horvat Quartetto

(1930.) Tranquillo - Agitato

Giocoso

Robusto

Lamentoso

* * * Bedrich Smetana Gudački kvartet u e-molu,

(1824.-1884.) Iz mojeg života

String Quartet in E minor,

From My Life

Allegro vivo appassionato

Allegro moderato à la polka

Largo sostenuto

Vivace


61

U nizu skladbi koje je posvetio komornim sastavima,

posebice gudačkom kvartetu (pažnju na Muzičkom biennalu

Zagreb osobito su osvojile praizvedbe skladbi Kontrasti, 1963. i

Rondo za gudački kvartet 1967. godine), ostvario je Stanko Hor-

vat svojim Quartettom iz 1988. godine, kako je u svojoj analizi

ustvrdio Nikša Gligo, transparentnije ali nipošto ne i jednostav-

nije djelo. Djelo je u godini nastanka praizveo u Brnu zagrebački

Kvartet Klima.

Riječ je o četverostavačnom nizu koji se odvija na način

cikličkog modela unutar kojega svaki od stavaka donosi poseban

aspekt načela trodijelnosti. Horvatova »nostalgija« za lijepim

glazbama prošlosti ogleda se u iznošenju melodijskih obraza-

ca, u drugom stavku Giocoso neodoljivo asocirajućeg folklornog

idioma plesnog karaktera, koje prekidaju akordske vertikale i

uzrokuju iznenadne zastoje u proticanju glazbe. Ti se melodijski

fragmenti javljaju u svakom od instrumenata posebno, a akor-

dski rezovi unose dramatsku tenziju. U trećem stavku Robusto

model trodijelnosti se temelji na suprotstavljenosti ritamskoga

i melodijskoga načela, a četvrti stavak Lamentoso, koji slijedi

attacca, građen je na vrsti ritamskoga modusa, određenim slije-

dom ritamskih formula.

Izrazita homogenost akordskog zvukovlja isključuje isti-

canje melodijskih obrazaca pa se u završnom dijelu taj homoge-

ni akordski zvuk tremolo artikulacijom rasplinjuje u zvučanja iz

kojih tek povremeno izranjaju cjelovite akordske grupe. Vrstan

poznavatelj instrumentalnog medija kojemu posvećuje svoju

stvaralačku pažnju, podiže Horvat gudački kvartet na razinu

izvora neopterećene zvukovnosti dajući tek naslovima stava-

ka, tako i prvoga Tranquillo – Agitato, izvjesni pogled u sklada-

teljsku namjeru isticanja glazbene izražajnosti. Tradicionalan,

dakle, u odabiru i osmišljavanju formalne strukture stavaka,

Horvat je izrazito moderan u tretiranju instrumenata i u njiho-

voj mobilnosti pri iznošenju elemenata glazbe koja u konačnici

ostvaruje osmišljenu i inovativnu cjelinu.



62

In the run of compositions he has devoted to chamber

ensembles, particularly to the string quartet (the fi rst perfor-

mances of the compositions Contrasts of 1963 and of Rondo

for string quartet of 1967 were particularly well received at the

Music Biennial Zagreb) Stanko Horvat also produced his Quar-

tetto of 1988, which, as Nikša Gligo determined in his analysis,

is more transparent but not a whit simpler. This is a work that

in the year of its origin was fi rst performed by the Zagreb Klima

Quartet in Brno.

This is a four-movement sequence that unfolds in a cycli-

cal model within which each of the movements has a particular

aspect of the three-part principle. Horvat’s nostalgia for the fi ne

music of the past is seen in the presentation of melodic patterns,

in the second movement, Giocoso, irresistibly leaving associati-

ons with the folk music idiom of a dance character, interrupted by

chordal verticals causing sudden halts in the fl ow of the music.

These melodic fragments appear in each one of the instruments

separately, and the chordal cuts bring in a dramatic tension. In

the third movement, Robusto, the three-part model is based on

the opposition of a rhythmical and a melodic principle, while

the fourth movement, the Lamentoso, which is followed by an

attack, is based on a kind of rhythmical mode, determined by the

sequence of rhythmical formulae.

The pronounced homogeneity of the chordal sonority ru-

les out any highlighting of the melodic patterns, and in the fi nal

part this homogeneous chordal sound, via tremolo articulation,

fl oods out into sounds from which only occasionally do complete

chordal groups emerge. A consummate connoisseur of the in-

strumental medium to which he dedicates his composerly atten-

tion, Horvat raises the string quarter to the level of source not

burdened by sonority, giving only the titles of the movements,

including of the fi rst, Tranquillo-Agitato, a certain view into the

composer’s intention by bringing out the musical expressivene-

ss. Traditional then in choosing and giving meaning to the formal

structures of the movement, Horvat is extremely modern in the

treatment of the instruments and in their mobility in the presen-

tation of the elements of the music that ultimately create a well

thought-out and innovative whole.



63

XVI. Utorak Tuesday


21.00 21.00

Armène Stakianviolina / violin

Švicarska / Switzerland

Miguel Charoskygitara / guitar

Argentina

Aram Hačaturijan Poème lyrique

Aram Khachaturian (arr. Miguel Charosky)

(1903.-1978.)

Kousan Ashot Yar arantz kèz - Darling,

without you

(arr. Stakian i/and Charosky)

Johann Sebastian Bach Sonata u e-molu, BWV 1023

(1685.-1750.) Sonata in E minor, BWV 1023

(arr. Lessing i/and Höh)

Allegro

Adagio ma non tanto

Allemande

Gigue

Miroslav Miletić Sonatina

(1925.) Allegro

Andante

Allegro

* * * Béla Bartók Šest rumunjskih plesova

(1881.-1945.) Six Romanian Dances

(arr. Miguel Charosky)

Allegro moderato

Allegro

Andante

Molto moderato

Allegro

Allegro – Più allegro


64

Miroslav Miletić Kroateska br. 2 za violinu

solo

Croatesque no. 2 for violin

solo

Heitor Villa-Lobos Etida br. 2 / Etude no. 2

(1887.-1959.) Chôros br. 1 / Chôros no. 1

Manuel de Falla Popularna španjolska suita

(1876.-1946.) Popular Spanish Suite

(arr. Jaume Torrent)

El paño moruno

Seguidilla murciana

Asturiana

Jota

Nana

Canción

Polo

Hrvatski skladatelj, violist i glazbeni pedagog Miroslav

Miletić (1925.) bio je središnja osobnost prošlogodišnjih 32.

Osorskih glazbenih večeri. Miletić je studirao violinu na Muzič-

koj akademiji u Zagrebu, u razredima profesora Stjepana Šuleka

i Ivana Pinkave, komornu glazbu u razredu Antonija Janigra i

privatno kompoziciju kod Branimira Sakača. U Pragu je poha-

đao poslijediplomski studij viole (Vladislav Černy), kompozicije

(Pavel Borkovec) te akustike i estetike nove glazbe (Alois Haba).

Dirigiranje je studirao kod Lovre Matačića u Salzburgu i J. W. van

Otterlooa u Hilversumu, a svoje je znanje dalje upotpunjavao u

raznim glazbenim središtima: elektronsku glazbu studirao je u

Utrechtu (Nizozemska), a suvremenu komornu glazbu u Darm-

stadtu. U svojoj 83. godini života sa zanimanjem prati zbivanja

na hrvatskoj i svjetskoj glazbenoj sceni, piše nova djela i sa zado-

voljstvom ubire plodove dugogodišnjih uspjeha koje je postizao

kao komorni glazbenik, u Gudačkom kvartetu Pro arte, čiji je bio

utemeljitelj, te osobito kao autor velikog broja uspjelih glazbenih

ostvarenja.

O Sonatini za violinu i gitaru zapisao je skladatelj: »Moja

Sonatina je natopljena folklorom. Volim da mi glazba, poput do-

brog vina, ima geografsko podrijetlo. Na lokalnoj razini gdje se

pravi život događa, ne treba pretjerivati s nacionalnim oznaka-

ma, ali ako vam se posreći uspjeh izvan domovine, tada to igra

važnu ulogu. Ako nemate svoje osobnosti, ostajete u rinfuzi.

Naša narodna glazbe još živi, čisti izvori srećom još nisu pre-

sahnuli. Tu riznicu treba čuvati, a jedan od načina je da se koristi

kao građevni materijal u umjetničkim djelima. Tako su to činili

naši stari skladatelji Vatroslav Lisinski i Antun Dobronić, rodo-

načelnik hrvatske glazbe, koju je Jakov Gotovac doveo do vrhun-

ca u svojoj operi Ero s onoga svijeta. To je naš izvorni proizvod i

jedna od najboljih komičnih opera prošloga stoljeća u svijetu.


65

Sonatina je tiskana kod Edizioni Musicali Berben. Bio je

to moj prvi susret s talijanskim izdavačem iz Ancone. Skladbu je

1981. godine u Raveni praizveo Piero Raffaelli, za kojega sam,

na poticaj velikog promotora hrvatske glazbe violinčelista Janka

Kichla, Sonatinu i napisao.«

Kroatesku br. 2 za violinu solo skladao je Miroslav Miletić

2003. godine a djelo je doživjelo svoju praizvedbu na Osorskim

glazbenim večerima 2004. godine u interpretaciji uglednog hr-

vatskog violinista Tonka Ninića. Na VIII. Međunarodnom violini-

stičkom natjecanju Vaclav Huml u Zagrebu 2005. godine sklad-

ba je bila navedena kao obavezno djelo i najbolja je interpretacija

bila nagrađena posebnom nagradom. To je priznanje osvojio ma-

đarski violinista Antal Szalai, a autor se rado sjeća oduševljenja

mladog slovenskog natjecatelja Žige Branka. Naime, kada su se

upoznali, mladi se glazbenik obratio skladatelju riječima: »Moj-

ster, jaz sem prav znorel za Vašo Kroatesko!«.

Riječ je o folklorno inspiriranoj glazbi u kojoj se postupnim

razvojem kratki motivi fraza uklapaju u cjelinu, a vrhunac svega

je umjetnički stilizirano kolo. Miletićev je izraz komunikativan,

postavljeni su znatni tehnički zahtjevi koji proizlaze iz skladate-

ljeva iskustva s gudačkim instrumentom, ali kao što sam kaže

»sve je svirljivo i logično«. Kroateska je dobila ime prema analo-

giji »arab – arabeska«, »kroat – kroateska«, što odaje duhovitost,

a sastavni je dio Miletićeva ciklusa skladbi Lijepa naša.

Skladatelj je izrazio svoju radost da će upoznati švicarsku

violinisticu armenskog podrijetla i njezinu interpretaciju Kroa-

teske budući da je ona već upoznata s njegovom glazbom. »Ona

je s argentinskim partnerom Miguelom Charoskym ostvarila

uvjerljivu interpretaciju moje Sonatine za violinu i gitaru, sni-

mljenu nedavno na CD-u koji je objavljen u Lausanni. Sonatina

je aktualno moja najčešće izvođena i snimana skladba i raduje

me da inozemni umjetnici posižu za mojom glazbom.«

Croatian composer, violist and music educator Miroslav

Miletić (1925) was the central personality of last year’s (32nd)

Osor Musical Evenings. Miletić studied violin at the Music Aca-

demy in Zagreb, classes of Stjepan Šulek and Ivan Pinkava. He

studied chamber music in the class of Antonio Janigro and, pri-

vately, composition with Branimir Sakač. In Prague he attended

a post-graduate course in the viola (Vladislav Černy), compositi-

on (Pavel Borkovec) and the acoustics and aesthetics of the new

music (Alois Haba). He studied conducting with Lovro Matačić in

Salzburg and J. W. van Otterloo in Hilversum. He further supple-

mented his knowledge in various other music centres: he studied

electronic music in Utrecht, and contemporary chamber music in

Darmstadt. Now in his 83rd year, he keeps an interested eye on

the current events on the music scene at home and abroad, wri-

tes new works, and with great pleasure gathers the fruits of his

many years of successes achieved as a chamber musician in the

Pro arte String Quartet, of which he was a co-founder, and in par-

ticular as author of a large number of successful musical works.


66

He wrote of the Sonatina for violin and guitar the fo-

llowing: “My Sonatina is steeped in folk music. I like my music,

like good wine, to have its own appellation controlée. At the local

level where the real life goes on, there is no need to go overboard

with the national markings, but if you happen to be successful

abroad, then this has an important role. If you don’t have your

own personality, you stay in the undifferentiated mass. Our folk

music is still alive, the pure sources luckily have not run dry. This

treasury needs preserving, and one of the ways in doing this is

to use it as building material in works of art. This was done by

our older composers Vatroslav Lisinski and Antun Dobronic, the

originator of Croatian music, which Jakov Gotovac brought to its

peak in his opera Ero the Joker. This is an original Croatian pro-

duct, one of the best comic operas anywhere in the world in the

last century.

The Sonatina was printed at Edizioni Musicali Berben.

This was my fi rst contact with this Italian publisher from Anco-

na. It was fi rst performed in Ravenna in 1981 by Piero Raffaelli,

for whom, at the instigation of that greater promoter of Croatian

music the cellist Janko Kichl, I actually wrote the Sonatina.”

Croatesque no. 2 for violin solo was written by Miletić in

2003, the work getting its fi rst performance at the Osor Musical

Evenings in 2004 by the distinguished Croatian violinist Tonko

Ninić. At the 8th Vaclav Huml International Violin Competition in

Zagreb in 2004 the composition was given as a set work, and

the best interpretation had a special prize. This was won by the

Hungarian violinist Antal Szalai, and the composer is also happy

to recall the enthusiasm of the young Slovene contestant Žiga

Branka. When they met, the young musician addressed the com-

poser in Slovene saying something like – “Maestro, I’m absolu-

tely crazy about your Croatesque!”

This is music inspired by folk music, in which through

the gradual develop short motifs of phrases fi t into a whole, the

peak of it all being an artistically stylised kolo – round dance.

Miletić’s expression is communicative, and considerable techni-

cal demands are made, deriving from the composer’s own expe-

rience with a stringed instrument, but as he says himself “it’s all

playable and logical”. Croatesque of course took its name after

the linguistic model of Arabesque, which reveals some wit, and

is a component part of Miletić’s cycle of compositions Lijepa naša

/ Our beautiful homeland.

Miroslav Miletić has expressed his great pleasure at ge-

tting to know the Swiss violinist of Armenian descent and her

interpretation of Croatesque, since she has already made the

acquaintance of his music. “She and her Argentine partner Mi-

guel Charosky have produced a very convincing interpretation

of my Sonatina for violin and guitar, recorded on CD recently,

published in Lausanne. The Sonatina is currently my most per-

formed and recorded composition and I am very glad that forei-

gn artists have recourse to my music.”


67

XVII. Četvrtak Thursday


21.00 21.00

Marek Drewnowskiglasovir / piano

Poljska / Poland

Claude Debussy Children corner

(1862.-1918.) Doctor gradus ad parnassum

Jimbo’s lullaby

Serenade of the doll

The snow is dancing

The little sheperd

Golliwogg’s cake walk

Stanko Horvat Ben misurato

(1930.-2006.)

Frédéric Chopin Notturno, br. 2, op. 15 (1810.-1849.) Notturno, no. 2, op. 15 Valcer u a-molu, br. 2, op. 34 Waltz in A minor, no. 2, op. 34 Valcer u cis-molu, br. 2, op. 64 Waltz in C sharp minor, no. 2, op. 64 Valcer u As-duru, op. 42 Waltz in A fl at major, op. 42

* * * Domenico Scarlatti Sonata u E-duru, L. 23 (1685.-1757.) Sonata in E major, L. 23 Sonata u d-molu, L. 413 Sonata in D minor, L. 413 Sonata u a-molu, L. 495 Sonata in A minor, L. 495 Sonata u G-duru, L. 349

Sonata in G major, L. 349

Frédéric Chopin Šest poljskih napjeva (1810.-1849.) Six Polish Songs – Franz Liszt Zyczenie – Desiderio

(1811.-1886.) Wiosna – La primavera

Pierscién – Anello

Hulanka – Baccanale

Moja Pieszcotka – La mia gioia

Narzeczony – Il fi danzato


68

»Ja sam dio one solidne pješadijske jedinice koja ide iza

avangarde, koja ispituje osvojeni teren, koja boravi u njemu, živi

na neki način u njemu, privikava se na nj.. Vrednuje ga ne samo

kao materijal, već kao umjetničku, ljudsku, ako hoćete psihološ-

ku činjenicu. Naravno, avangarda do posljednjih konzekvenci

kida svaku nit, svaku sponu koja bi je mogla vezivati uz ono što

je prošlo. Eto, to je dokaz više da ja nisam avangardni sklada-

telj. Jer moje djelo vrlo jasno pokazuje da sam uvijek, na bilo koji

način vrlo čvrsto vezan uz ono što se može nazvati glazbenom

tradicijom.« Ovo je zapisao Stanko Horvat još 1972. godine.

Danas, kada ga više nema i kada je pred nama njegov dovršeni

skladateljski opus, možemo s pravom ustvrditi da njegova dje-

la zauzimaju posebno mjesto u hrvatskoj glazbi nakon Drugog

svjetskog rata i to upravo po specifi čnom odnosu prema tradi-

ciji, koju zapravo stalno osluškuje, komunicirajući s njome pre-

ko iskustava koja su mu omogućili kontakti s »novim zvukom«,

ostvarujući tako Novu hrvatsku glazbu.

Horvat je osobitu pozornost posvećivao djelima za glaso-

vir i u tim ostvarenjima dolazi do punog izražaja ono što je za

njega bilo umjetničko u glazbi. A to je zacijelo sve ono što dolazi

iz tradicije 19. stoljeća, od njemačkih romantičara do francuskog

majstora klavira Claudea Debussya; ljudsko je u glazbi ono što bi

se trebalo neposredno obraćati slušatelju, no ne kao podilaženje

ili nuđenje već poznatoga, nego kao naglašavanje humanističkih

ideala koje, po Horvatovu mišljenju, očito mora biti konstanta

svekolike glazbe, bez obzira kojim se tehnikama služila i koje

estetičke nazore zastupala.

Tu ljudskost glazbenog izričaja nalazimo i u skladbi iz

posljednje faze Horvatova bavljenja skladateljstvom, u njegovoj

partituri Ben misurato iz 2004. godine. Djelo je na Osorskim

glazbenim večerima praizvela primadona hrvatskog pijanizma

Pavica Gvozdić, umjetnica kojoj je Horvat posvećivao većinu

svojih opusa za glasovir. Ugođaj marša isprekidan je karakte-

rističnim klavirskim burnim pasažama a ritmička odmjerenost

potvrđuje sam naslov skladbe. A sam je skladatelj o djelu zapi-

sao: »Iza ovog ozbiljnog naslova skriva se nevelika glasovirska

skladba, možda tek djelomično odmjerena (misurata). Njezin

uvodni dio evocira oprezni hod, oklijevanje i povremene erupcije

(neodmjeren). Drugi i završni dio skladbe donosi »ben misura-

to« materijal izrazito ritmičkog podrijetla koji se uporno ponavlja

i djeluje ponešto mehanički monotono. Skladbu zaokružuje ve-

hementni akordički fortissimo u dobroj staroj maniri.«



69

“I’m in that sound infantry unit that goes after the avant-

garde, which tests out the territory captured, that occupies it,

lives on it in a way, gets used to it. It evaluates it not only as

material but as an artistic and human and if you like a psycho-

logical fact. Of course, the avant-garde cuts every thread to the

fi nal consequences, every link that might perhaps link it to the

past. This then is one more proof that I am not an avant-garde

composer. My work shows very clearly that I have always, in

any way, very fi rmly linked to what can be called the musical

tradition”. Stanko Horvat wrote this as long ago as 1972. To-

day, when he is no longer with us, and when his complete com-

positional oeuvre is in front of us, we can truly claim that his

works occupy a special place in post-World War II Croatian mu-

sic, precisely because of his particular attitude to the tradition,

which he constantly listens to, communicating with it via expe-

riences that have enabled contacts with the new sound, creating

thus a new Croatian music.

Horvat devoted particular attention to the works for pia-

no, and in these creations what was for him the artistic in music

came fully to the fore. And this is almost certainly everything

that came from the 19th century tradition, from the German Ro-

mantics to the French master of the piano Claude Debussy. The

human in music is what should directly address the listener, not

in the sense of seeking favour or offering what is well known,

but as emphasis on humanist ideals, which in Horvat’s opinion,

clearly must be a constant in all kinds of music, irrespective of

the techniques it uses or the aesthetics it represents.

This humanity of musical expression can also be found

in a composition from the later phase of Horvat’s composition

work, in his score Ben misurato of 2004. This work was fi rst

performed, at the Osor Musical Evenings, by the fi rst lady of the

Croatian pianism Pavica Gvozdić, an artist to whom Horvat has

dedicated most of his opera for the piano. The march mood is

interrupted by characteristic pianistic tempestuous passages

and the rhythmical measuredness is confi rmed by the very title

of the work. The composer himself wrote of this work: “Behind

this serious title a not very large piano composition is concealed,

perhaps only partially measured or misurata. The introductory

part evokes a careful walk, hesitation, occasional eruptions

(not measured). The second and fi nal part of the composition

gives us the ben misurato material of a pronouncedly rhythmi-

cal origin that is persistently repeated and seems even a little

mechanically monotonous. The composition is rounded off by a

vehement chordal fortissimo in the grand old manner.”



70

XVIII. Subota Saturday


21.00 21.00

Hrvatska komorna fi lharmonija

Croatian Chamber Philharmonic Orchestra

Zagreb

Pavle Dešpaljravnatelj / conductor

Zagreb

Francesco Squarciaviola / viola

Italija / Italy

Wolfgang Amadeus Divertimento u F-duru, br. 3,

Mozart KV 138 (125c)

(1756.-1791.) Divertimento in F major,

no. 3, KV 138 (125c)

Allegro

Andante

Presto

Amando Ivančić Simfonija u D- duru, br. 3.

(1727.-1762.) (Rev. L. Županović 1975.)

Symphony in D major, no. 3.

(ed. L. Županović 1975) Adagio-Allegro

Andante

Tempo di menuetto - Trio,

menuetto da capo

Allegro


71

Miroslav Miletić Epitaf za Pepina za violu i

(1925.) gudače

Epitaph for Pepino for viola

and strings

Epitaffi o per Pepino per

viola ed archi

praizvedba / fi rst performance

Francesco Squarcia viola

*** Samuel Barber Adagio za gudače, op. 11

(1910.-1981.) Adagio for strings, op. 11

Carl August Nielsen Kleine Suite, suita za gu-

(1865.-1931.) dački orkestar, op. 1

Kleine Suite, suite for string

orchestra, op. 1 Praeludium (Andante con moto)

Intermezzo (Allegro moderato)

Finale (Andante con moto, Più

mosso)


72

* o skladatelju vidi na str. 64.

Pripadnik Pavlinskog reda Amando Ivančić (1727.-

1762.), skladatelj i orguljaš, bio je hrvatskog podrijetla a život je

proveo u inozemstvu. Bio je kršten kao Matthias Leopold Ivančić

na Badnjak 1727. godine u Wiener Neustadtu, a kada se 1744.

godine zaredio uzeo je ime Amandus/Amando. Razmjerno plo-

dan autor crkvenih i drugih djela, njih više od stotinu, koja se

čuvaju u arhivima u Hrvatskoj, Mađarskoj, Sloveniji, Austriji i

Njemačkoj, bio je u svoje vrijeme popularan i tražen majstor. Na-

kon ukinuća Pavlinskog reda bio je orguljaš stolne crkve u Grazu,

a kasnije je podučavao u Trnavi, gradu u današnjoj Slovačkoj.

Iako su podaci o njegovu životu još oskudni, njegova djela sve

više privlače pažnju interpreta. To se prvenstveno odnosi na nje-

gove simfonije, uglavnom četverostavačne, nastale u vrijeme

kada su pretklasična bečka simfonija i Mannheimska škola ot-

varale putove novom, klasičnom stilu. Amando Ivančić znao je

lagano i vedro razvijati svoje privlačne i jednostavne teme koje

je uklapao u sonatni oblik i uspijevao ostvarivati čvršću klasičnu

formu. Za potrebe suvremenog izvođenja Ivančićeve je simfonije

revidirao hrvatski skladatelj i muzikolog, akademik Lovro Župa-

nović 1975. godine.

Epitaf za Pepina – Epitaffi o per Pepino skladao je Miro-

slav Miletić 2008. godine. O poticajima za nastanak tog djela

autor je zapisao: »Bio sam počašćen narudžbom Osorskih glaz-

benih večeri da pišem za poznati rimski orkestar I Cameristi

Italiani koji je 2006. godine prvi put gostovao na tom uglednom

hrvatskom ljetnom festivalu. Kako volim upoznavati umjetnike

s kojima surađujem, stupio sam u kontakt s voditeljem orkestra

violistom Francescom Squarciom. Imao sam ga priliku čuti kao

solista s Riječkim komornim orkestrom, budući je on Riječanin

koji živi u Rimu. Upoznao sam i njegovog brata, Giuseppea, ko-

jeg su svi zvali Pepino, a koji je živio u Rijeci i bio »dobri duh« svih

umjetničkih akcija brata Francesca. Vedar i pozitivan čovjek, bio

je Pepino poštar, prijevoznik i kao vrsni kompjuteraš bio je velika

pomoć pri izradi partiture i dionica za moj Concerto grosso koji je

Francesco pripremao za praizvedbu na OGV. Bio sam s Pepinom

u Rimu kada je tamo izvođeno to moje djelo. Zbližio sam se s

obojicom braće i zato me je jako dirnula vijest kada sam čuo da

je Pepino preminuo od srčanog udara u Egiptu, gdje je boravio

kao turist. Bio sam nazočan i dirljivom sprovodu u Rijeci pa je

to dio mojeg »scenarija« za Epitaf. Epitaf, koji mu posvećujem,

jednostavačna je skladba koncipirana trodijelno, u kojoj srednji

dio donosi instrumentalnu verziju mojega a capella zbora Naš

dedek. I kao što taj zbor oplakuje preminulog dedeka, tako i u

ovom novom djelu taj srednji dio ima rekvijemski karakter. U

cjelini, skladba ima duhovni karakter a kada se ponovno javlja A

dio, to nije ponavljanje već skladanoga, nego je riječ o modifi cira-

nom, mutiranom glazbenom materijalu koji je za mene zvučna

reminiscencija na dragog čovjeka.«


73

A novice of the Paulist Order, Amando Ivančić (1727-

1762), composer and organist, was of Croatian descent, but

spent his life abroad. He was baptised Matthias Leopold Ivančić

on Christmas Eve 1727 in Wiener Neustadt, and when he took

orders in 1744 he took the name Amandus or Amando. He was

a relatively prolifi c composer of church and other works, more

than a hundred of them, kept in archives in Croatia, Hungary,

Slovenia, Austria and Germany, and was in his time a popular

and sought-after master. After the dissolution of the order, he

was organist in Graz Cathedral, and later taught in Trnava , in

today’s Slovakia. Although information about his life is in short

supply, his works have always attracted the attention of inter-

preters. This applies primarily to his symphonies, mainly four-

movement works, created at the time when the pre-classical Vie-

nnese symphony and the Mannheim school opened up the ways

to the new, classical style. Amando Ivančić was able to develo-

pe light and cheerful themes that he fi tted into the sonata form,

and managed to create a stronger classical form. For the needs of

contemporary performance, Ivančić’s symphonies were revised

by the Croatian composer and musicologist, Academician Lovro

Županović, in 1975.

Miroslav Miletić composed his Epitaph for Pepino – Epi-

taffi o per Pepino in 2008. The author has this to say about the

stimulus for this work. “I was honoured by a commission from

the Osor Musical Evenings to write for the well known Roman

orchestra I Cameristi Italiani that in 2006 made its fi rst guest

appearance at this distinguished Croatian summer festival. Sin-

ce I like to get to know the artists I work with, I got in contact with

the leader, the violist Francesco Squarcia. I had the opportuni-

ty to hear him as a soloist with the Rijeka Chamber Orchestra,

since he is a Rijeka man who lives in Rome. I also got to know

his brother, Giuseppe, Pepino as he is called, and who lived in

Rijeka and was the good spirit behind all the artistic actions of

his brother Francesco. A cheerful and positive man, Pepino was

a postman, a carrier and as highly skilled with the computer, he

was a lot of help in the making of the score and the parts for my

Concerto Grosso that Francesco prepared for its fi rst ever per-

formance in Osor. I was with Pepino in Rome when my work

was put on there. I got fairly close to the two brothers, and I was

extremely upset by the news when I heard that while on holi-

day in Egypt Pepino had had a heart attack and passed on. I was

present at the very touching funeral in Rijeka, and this is part of

my scenario for the Epitaph. This Epitaph, which I dedicate to

him, is a one-movement composition conceived in three parts,

in which the central part provides an instrumental version of

my a capella for choir Naš dedek / Our granddad. As this choir

mourns the deceased grandfather, in this new work, the central

part has the character of a requiem. As a whole, the composition

has a spiritual character, and when the A part comes back, it is

not a repetition of something already composed, but a modifi ed,

mutated musical material, which for me is a sound reminiscence

of a very dear person.”

*For more about composer Miroslav Miletić see page 64.


74

XIX. Ponedjeljak Monday


21.00 21.00

Chopin Solisti

The Chopin SoloistsPoljska / Poland

Maciej Łabecki violina / violin

Lucjan Szalinćski-Bałwas violina / violin

Michal Zaborski viola

Arkadiusz Dobrowolski violončelo / cello

Marek Drewnowski glasovir / piano

Robert Schumann Kvintet za glasovir i gudački

(1810.-1856.) kvartet u Es-duru, op. 44

Quintet for piano and string

quartet in E fl at major, op. 44 Allegro brillante

In modo d’una marcia

Scherzo

Allegro ma non troppo

* * * Dora Pejačević Kvartet za glasovir, violinu,

(1885.-1923.) violu i violončelo u d-molu,

op. 25

Quartet for piano, violin,

viola and cello in D minor,

op. 25

Allegro

Adagio

Minuetto

Rondo

Frédéric Chopin Koncert u f-molu, br. 2, op. 21

(1810.-1849.) Concerto in F minor, no. 2,

op. 21 Maestoso

Larghetto

Allegro vivace


75

Rođena u jednoj od najstarijih hrvatskih plemićkih obi-

telji, grofi ca Dora Pejačević (1885.-1923.) zauzima najznačajni-

je mjesto žene-skladateljice u povijesti hrvatske glazbe s prijela-

za 19. u 20. stoljeće. Njezinu cjelokupnu umjetničku i biografsku

ostavštinu znanstveno je obradila muzikologinja Koraljka Kos i

po tome je Dora Pejačević jedna od rijetkih hrvatskih skladatelja

koji imaju monografi je na hrvatskom, njemačkom i engleskom

jeziku. Umjetnički opus od 58 djela, solo popjevaka, solističkih,

komornih i orkestralnih skladbi, ove skladateljice pripada vre-

menu preobrazbe hrvatske glazbe, vremenu onih težnji koje su

u prvim desetljećima 20. stoljeća unosile niz novih elemenata u

hrvatsku glazbu i ostvarile temelje na kojima su se kasnije razvi-

jali suvremeni stilski pravci.

Dora Pejačević je rođena u Budimpešti, ali je trajno bila

vezana uz obiteljski dvorac u Hrvatskoj, u Našicama, gdje je do-

bila i prvu privatnu poduku (budući da kao aristokratsko dije-

te nije pohađala javnu školu). Kasnije se školovala u Zagrebu,

Dresdenu i Münchenu, te se uz razvijeno osobno zanimanje i

znatiželju, kao i kontakte s nizom istaknutih umjetnika i intelek-

tualaca svoga vremena, razvila u izuzetno dobro informiranu i

kritičnu osobnost. Za životni stil skladateljice karakteristična su

bila brojna putovanja i boravci u europskim metropolama, Beču,

Budimpešti, Pragu, Münchenu i u dvorcu Janovice u Češkoj. Na-

kon udaje za Ottomara von Lumbea u jesen 1921. godine, živjela

je u Münchenu, gdje je i umrla.

Na putu svojeg skladateljskog razvoja odbacila je Dora

Pejačević balast salonskih manira, dekor i retoriku, te konven-

cionalni način izražavanja, da bi u dugotrajnom i upornom

procesu samoizgrađivanja oslobodila ono pravo jezgro vlastita

glazbenog govora koji naslućujemo već u njezinim najranijim ra-

dovima. Prvo veće, u punoj mjeri profesionalno komorno djelo je

Kvartet za glasovir, violinu, violu i violončelo u d-molu, op. 25 iz

1908. godine. Pisan u tradicionalnoj klasičnoj formi sa četiri sta-

vka, odaje kvartet po naslovu i karakteru stilsku formu roman-

tičnih uzora (Čajkovski, Dvorák). Nakon efektnog Allegra donosi

Adagio jednostavnu, toplu melodiju. A nakon plesnog Minuetta

nastavlja elokventni, sadržajno ne previše zahtjevni Rondo, os-

lonjen na Griega, glazbenu priču čija djelotvorna pizzicato-tema

oživljava duh bezbrižnog pokreta.


76

Born in one of the oldest Croatian aristocratic families,

Countess Dora Pejačević (1885-1923) occupies the position of

the most important woman composer in the history of Croatian

music at the turn of the 19th and 20th centuries. Her artistic and

biographical papers have been treated with great scholarship by

musicologist Koraljka Kos, and hence Dora Pejačević is one of

the few Croatia composers to have a monograph published abo-

ut her and issued in Croatian, German and English. The oeuvre

of 58 opera, solo songs, solo, chamber and orchestral compositi-

ons of this composer belongs to the time in which Croatian mu-

sic was being transformed, a time of those strivings that in the

fi rst decades of the 20th century introduced a number of new ele-

ments into Croatian music and created the foundations on which

contemporary stylistic directions were later to develop.

Dora Pejačević was born in Budapest, but was all her life

tightly connected with the family palace in Croatia, in Našice,

where she had her fi rst private tuition (she did not attend scho-

ol for commoners of course). Later she was educated in Zagreb,

Dresden and Munich, and with a developed personal interest and

curiosity, as well as contacts with leading artists and intellectu-

als of her time, developed into a well informed and critical per-

sonality. The life style of the composer was characterised by her

many journeys too and sojourns in the European metropolises,

in Vienna, Budapest, Prague, Munich and in the castle of Janovi-

ce (today’s Czech Republic). After her marriage to Ottomar von

Lumbe in autumn 1921 she lived in Munich where she died not

long after.

During the course of her composerly development, Dora

jettisoned the ballast of drawing room manners, décor and rhe-

toric, and the conventional manner of expression, and in a long-

lasting and persistent process of development of her own work

liberated the real core of her own musical speech, which we can

sense in her earliest works. The fi rst major and fully professional

chamber work is the Quartet for piano, violin, viola and cello in D

minor, op. 25 of 1908. It was written in the traditional classical

form with four movements, reveals the quartet in its title and the

characteristic stylistic form of its romantic models (Tchaikovsky

and Dvorák). After an effective Allegro comes the Adagio, a sim-

ple and warm melody. After the dance-like Minuetto an eloqu-

ent Rondo continues, not very demanding in content, and based

on Grieg, a musical story the effective pizzicato theme of which

brings to life a spirit of carefree mobility.


77

XX. Srijeda Wednesday


21.00 21.00

Zagrebački kvartet saksofona

The Zagreb Saxophone Quartet

Dragan Sremec sopran saksofon

soprano saxophone

Goran Merčep alt saksofon

alto saxophone

Saša Nestorović tenor saksofon

tenor saxophone

Matjaž Drevenšek bariton saksofon

baritone saxophone

Johann Sebastian Bach Suita u h-molu, br. 2,

(1685.-1750.) BWV 1067

Suite in B minor, no. 2,

BWV 1067

(trans. Nestorović)

Ouverture

Rondeau

Sarabande

Bourrée I, Bourrée II

Polonaise: Lentement – Double

Menuet

Badinerie

Stanko Horvat Rocambole

(1930.-2006.)

Gabriel Pierné Uvod i varijacije na narod-

(1863.-1937.) nu temu

Introduction and variations

on a folk theme

* * *


78

Berislav Šipuš Im Garten deiner Liebe

(1958.) U vrtu tvoje ljubavi

In the garden of your love

Milko Lazar Koncert za kvartet saksofo-

(1965.) na br. 1

Concerto for saxophone

quartet no. 1

Kaskade

Spleen ‘99

Hommage to Mr. Rifi

Vrijeme izuma saksofona (oko 1840. godine Adolph Sax

je u Bruxellesu konstruirao limeni puhački instrument koji je po

njemu dobio ime saksofon, patentiran u Parizu 1846. godine),

označuje nepostojanje glazbene literature za to glazbalo iz rani-

jih povijesnih razdoblja pa se saksofonisti uglavnom snalaze s

obradbama ranijih djela. Puni uspon saksofon doživljava u dje-

lima skladatelja 20. stoljeća, osobito francuskih autora. Zagre-

bački kvartet saksofona, osnovan 1989. godine, brzo je postao

respektabilni komorni sastav i inspiracija za mnoge hrvatske

skladatelje. Tako i za Stanka Horvata, koji je tom ansamblu po-

svetio dva svoja djela: Drammatico, 1996. godine i Rocambole

2000. godine. Zagrebački kvartet saksofona praizveo je skladbu

Rocambole u Zagrebu 2000. godine na koncertu u povodu skla-

dateljeva 70. rođendana.

Naziv rocambole je ime dviju vrsta češnjaka (Allium sco-

rodoprasum i A. Ascalonium), to je ime deserta popularnog u

Brazilu, ali i ime lika, Rocambole, kojega je u književnost uveo

francuski pisac Pierre Alexis Ponson du Terrail. Horvata je inspi-

rirao taj izmišljeni pustolov, važan u žanru avanturističkih roma-

na i kriminalističkih priča, koje su bile objavljivane u nastavcima

u francuskim časopisima između 1857. i 1870. godine. U borbi

između dobra i zla Rocambole je doživljavao uzbudljive zgode

i plijenio maštu čitatelja uvijek željnih novih opasnosti. Veliki

je broj francuskih pisaca, sve do u 21. stoljeće, opisivao zgode

i nezgode tog fantastičnog lika. Riječ rocambolesque i danas u

francuskom jeziku označava bilo koju vrstu fantastične avan-

ture. Upuštajući se u pustolovinu skladanja za četiri saksofona

iskazao je autor svoju neiscrpnu maštu u nadigravanju četvo-

rice majstora svojih glazbala koji puninom zvuka i zahvaljujući

tehničkoj spremnosti vješto oživljavaju još jednu od Horvatovih

uspjelih partitura. Asocijacije folklornih prizvuka i ležerniji pri-

stup obradbi tematske građe pridaju ovom djelu atmosferu inici-

jalne inspiracije, primarnu nadahnutost igre i uživanja u ugodnoj

boji saksofonskog zvuka.

Berislav Šipuš (1958.), skladatelj, pedagog, dirigent i

umjetnički voditelj uglednog Cantus Ansambla koji promovira

Novu glazbu, usporedo sa studijem povijesti umjetnosti na

zagrebačkom Filozofskom fakultetu diplomirao je kompozicju

1987. godine na Muzičkoj akademiji Sveučilišta u Zagrebu u

razredu profesora Stanka Horvata. Daljnje usavršavanje nasta-


79


At the time when the saxophone was invented (around

1840 by Adolph Sax in Brussels, constructing a brass wind in-

strument that took its name from him, and was patented in Paris

in 1846) there was of course no music written for this instru-

ment already existing from earlier periods and saxophonists on

the whole get by with arrangements of earlier works. The saxop-

hone boom came in the works of 20th century composers, parti-

cularly the French. The Zagreb Saxophone Quartet, founded in

1989, soon became a very worthwhile chamber ensemble and

an inspiration for many Croatian composers – including Stanko

Horvat, who dedicated the group two of his works: Drammatico

of 1996 and Rocambole of 2000. The Zagreb Saxophone Quar-

tet fi rst produced the composition Rocambole in Zagreb 2000 at

a concert marking the composer’s 70th birthday.

The title rocambole is the name of two kinds of garlic (Alli-

um scorodoprasum and A. ascalonium), also the name of a dessert

popular in Brazil, as well as a character, Rocambole, introduced

into literature by French writer Pierre Alexis Ponson du Terrail.

Horvat was inspired by this invented adventurer, important in the

vio je kod Gilberta Bosca u Udinama (1986.) te Françoisa Ber-

narda Mâchea, Alaina Despresa i Iannisa Xenakisa u pariškom

Elektronskom studiju UPIC (1987.). Dirigiranje je usavršavao

kod Krešimira Šipuša, Milana Horvata i Vladimira Kranjčevića.

Berislav Šipuš razvio je vrlo bogatu dirigentsku djelatnost

i ravnao je brojnim svjetskim orkestrima a višegodišnji rad u

Teatro alla Scala u Milanu usavršio ga je za pultom baletnih pro-

dukcija. Od 2005. godine imenovan je za izvanrednog profesora

kompozicije i glazbene teorije na Muzičkoj akademiji u Zagrebu.

Kao skladatelj ostvario je brojna orkestralna, vokalno-instru-

mentalna, koncertantna, komorna, zborska i solistička djela koja

svjedoče izuzetnu glazbenu nadarenost i vrsno profesionalno

obrazovanje. Trajno se obnavljajući u svakoj svojoj novoj partituri

iskazuje Šipuš zavidnu skladateljsku maštu i duhovitost koja nje-

govu glazbu čini izuzetno komunikativnom i omiljenom kod izvo-

đača i kod slušatelja. Šipuševa stvaralačka spontanost odlikuje

se hedonizmom i neospornim unutrašnjim vitalizmom. Prisjeća-

jući se nastanka skladbe Im Garten deiner Liebe (U vrtu tvoje lju-

bavi) za kvartet saksofona, koju je na poziv Claudea Delanglea,

profesora saksofona na Visokoj školi za glazbu u Parizu i jedno-

ga od utemeljitelja studija saksofona u Hrvatskoj 1978. godine,

skladao 2002. godine kada ju je Zagrebački kvartet saksofona

praizveo u Parizu, autor je zapisao: »Priča bi mogla ići ovako: kad

sam prije dosta godina pisao skladbu za saksofon solo Le sens

(Osjet) bio sam mlad i zaljubljen… sad kada je ova nova skladba

napokon pred vama i preda mnom, mogu jedino sa sigurnošću

kazati da više nisam mlad kao nekada, i da možda više uistinu i

ne pišem takvu glazbu kao nekada, ali se iskreno nadam da sam

i dalje zaljubljen…Ljubavna pjesma, dakle, … ništa više…«


80

genre of adventure novels and detective fi ction, published in parts

in French journals between 1857 and 1870. In the fi ght between

good and evil, Rocambole experienced exciting adventures, and

captured the fancy of the readers, always desirous of new perils.

A large number of French writers, right down to the 21st century,

described the fortunes and misfortunes of this fantastic persona.

In French the word rocambolesque refers to any kind of fantastic

scrape. Getting into the adventure of composing for four saxopho-

nes, the author showed his boundless imagination in playing off

the four masters of their instruments who in the fullness of their

sound and thanks to their technical skills skilfully bring to life yet

another of Horvat’s successful scores. Folk music associations

and a casual approach to the treatment of the thematic material

bestow on this work the atmosphere of initial inspiration, the pri-

mary impulse of the game and enjoyment of the pleasant colour

of the sound of the saxophones.

Berislav Šipuš (1958), composer, teacher, conductor and

artistic leader of the distinguished Cantus Ensemble, who pro-

motes the New Music, in parallel with his course in art history

at the Zagreb Faculty of Philosophy also took a degree in com-

position in 1987 at the Zagreb University Music Academy, cla-

ss of Stanko Horvat. He went on to study with Gilbert Bosco in

Udine (1986) and with Francois Bernard Mache, Alain Despres

and Iannis Xenakis in the UPIC Electronic Studio in Paris in 1987.

He did further training in conducting with Krešimir Šipuš, Milan

Horvat and Vladimir Kranjčević.

Berislav Šipuš has had a successful career as conductor,

and has conducted many world orchestras. His several years of

work at Milan’s La Scala fully equipped him to conduct ballet mu-

sic. In 2005 he was appointed associate professor of composition

and music theory at the Music Academy in Zagreb University. As

composer he has produced numerous orchestral, vocal-instru-

mental, concertante, chamber, choral and solo works that tell of

his outstanding musical talents and consummate professional

education. Every work of his is a fresh rejuvenation, and Šipuš

demonstrates a remarkable composing imagination and wit,

which makes his music extremely communicative, and a favou-

rite with both performers and listeners. Šipuš’s creative sponta-

neity is characterised by hedonism and an undeniable internal vi-

tality. Recalling the origin of the work In the Garden of Your Love

for saxophone quarter, that he wrote in 2002, at the invitation of

Claude Delangle, professor of saxophone at the Haute Ecole de

Musique in Paris and one of the founders of the saxophone course

in Croatia in 1976, the author wrote: “The story might go this

way. When quite a few years ago I wrote a composition for solo

saxophone Le Sens (Sense) I was young and in love… now when

this new composition is at length before you and me, I can only

say for certain that I am no longer young as I once was and that I

perhaps no longer write the kind of music I once wrote, but I since-

rely hope I am still in love… A love song, then, nothing more…”

For more about composer Stanko Horvat, see page 12-14.


Documents

OSORSKE OSOR GLAZBENE MUSICAL VEČERI EVENINGS 2008. … · službe za akademsku razmjenu (DAAD) boravio je 1977. godine u Berlinu gdje je u okviru umjetničkoga programa te zaklade