program - SVIZ

3.–13. september 2009 

Maribor, Slovenija 

Festival Maribor 

V ZNAMENJU SLOMŠKOVEGA LETA 

The Maribor Festival 2009 

Dedicated to the Memory of Bishop Slomšek 

Richard Tognetti 

umetniški vodja / artistic director 

Koncerte sta podprla Mestna občina Maribor in Ministrstvo za kulturo Republike Slovenije / 

Concerts are supported by the Municipality of Maribor and the Ministry of Culture of the Republic of Slovenia 

Festival Maribor v sodelovanju s Kulturno-prireditvenim centrom Narodni dom Maribor / 

The Maribor Festival in coproduction with Cultural Events Centre Narodni dom Maribor 

www.festivalmaribor.si 

Generalni pokrovitelj / 

Principal Sponsor 

MESTNA OBČINA MARIBOR


The Maribor Festival 

UVODNIKI / EDITORIALS 

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Lani mi je uspelo nekaj presenetljivega – kar nekaj svojih rojakov sem 

prepričal, da pripotujejo vso pot iz Avstralije in se udeležijo prvega Festivala 

Maribor 2008. 

Sprva so me vsi spraševali, kje na zemljevidu naj Maribor sploh iščejo – 

pokazal sem jim fotografije in govoril o Sloveniji v samem središču Evrope, 

kjer bodo našli čudovito in edinstveno zmes kulture in zgodovine, kjer 

vzhod sreča zahod in kjer se jug začenja spajati s severom. 

Zagotovil sem jim, da jih bodo v Mariboru gostili topli in dobrosrčni 

ljudje (in da bodo uživali v čudoviti hrani in vinu). Koncerti bodo potekali 

na gradovih, v cerkvah in v intimnem vzdušju prijetnih koncertnih 

dvoran. Predstavil sem jim zbir instrumentalistov in vokalistov, ki smo jih 

povabili, in jim povedal, da bomo sodelovali tudi z romskimi glasbeniki 

ter prisluhnili njihovi magično privlačni 

glasbeni izpovedi. Namignil sem jim, 

da se jim bo vsakdanje življenje zdelo 

daleč proč, oddaljeno za nekaj galaksij. 

Morda malo skeptični, a vseeno radovedni, 

so se nekateri podali na pot in obiskali 

naš uvodni Festival Maribor 2008. 

Iz mariborske stolne cerkve, ko je zvok 

Mozartove maše v c-molu še donel med 

cerkvenimi zidovi, smo se skupaj sprehodili 

do zaključnega koncerta, kjer so 

romski glasbeniki s svojim nastopom 

hipnotizirali občinstvo; tu so mi prav 

ti gostje navdušeno govorili o svojih 

nepozabnih občutkih in obljubili, da se 

na festival vrnejo tudi prihodnje leto. 

Prihodnje leto se je prevesilo v letos, in 

tako vas že v drugo pozdravljam na Festivalu 

Maribor. Uvodoma smo raziskovali 

trčenje novega in starega, videno 

skozi prizmo izkušenj, ki sem jih nabral 

kot avstralski glasbenik, zakoreninjen v 

tradiciji zahodne klasične glasbe. 

V tem oziru smo ob snovanju prihodnjih 

festivalov upoštevali uspeh določenih 

preverjenih programskih struktur, ki danes tvorijo osnovo Festivala 

Maribor: večina večernih koncertov v Unionski dvorani, Jutranje refleksije 

v Kazinski dvorani in nekaj prireditev v ostalih čudovito intimnih bližnjih 

dvoranah (s katerimi je Maribor neverjetno blagoslovljen); raziskovanje 

stare glasbe predstavljeno na nov način in odkritje nove; in naš zaključek 

s sakralno glasbo v mariborski stolni cerkvi (letos s Pasijonom po Janezu, 

kjer bomo doživeli enega danes največjih evangelistov, priznanega 

britanskega tenorista Jamesa Gilchrista).

Skupna želja vseh sodelujočih glasbenikov je, da ostanemo na festivalu 

kolikor dolgo moremo, da delimo izkušnje in vzajemno doprinašamo k 

skupnemu ustvarjanju. 

Letošnji rezidenčni orkester je Komorni godalni orkester Slovenske filharmonije, 

ki bo nastopil tudi v sestavu širšega Festivalskega orkestra. 

Rezidenčni orkester sestavljajo člani Slovenske filharmonije, enega najstarejših 

orkestrov na svetu, čigar zgodovina sega vse do leta 1701. Simfonični 

orkester Slovenske filharmonije bo nastopil na otvoritvenem koncertu 

Festivala Maribor 2009, skozi festival pa bomo predstavili tudi nekatere 

njegove druge člane: veliki Haydn, Beethoven (6. in 8. simfonija), Paganini 

in Brahms (Dvojni koncert na otvoritvi z Aleksandrom Rudinom), so bili 

v času življenja imenovani za častne člane Slovenske filharmonije. Tudi 

tokrat sanjamo globalno in delujemo lokalno – tako bodo ob naštetih 

domačih glasbenikih letos z nami še Slovenski komorni zbor, kar nekaj 

vokalnih solistov in priljubljen vsestranski glasbenik Boštjan Gombač. 

Z veseljem pozdravljam vrnitev Borisa Berezovskega, ki bo rezidenčni 

pianist festivala, prvič pa bo z nami sodeloval Vlatko Stefanovski. 

V Maribor bodo prišli flavtist Emmanuel Pahud (solo flavtist Berlinske 

filharmonije), fagotistka Jane Gower (solo fagotistka Gardinerjevega 

Orchestre Revolutionaire), godalni kvartet Engegård, kontrabasist Knut 

Erik Sundquist in mnogi drugi. 

Neobremenjeni s strogo zastavljeno in omejujočo rdečo nitjo festivala 

bomo s podtalnim tokom raziskovali prispodobo Valov, katere vrhunec 

bo Musica Surfica oziroma Mariborska Musica Surfica: lov na valove kot 

ples in ustvarjalni navdih. 

Veselim se vznemirljive izpovedne intenzivnosti in umetniškega naboja 

v glasbi Dannyja Spoonerja in Mikea Kerina, legend avstralske in irske 

tradicionalne glasbe ter bizarne svojeglavosti največjega avstralskega 

karikaturista Michaela Leuniga – za nas je spesnil Človeški karneval, ki ga 

je v slovenščino prevedel Milan Jesih, predstavil pa ga bo Vladimir Jurc. 

Tako vas torej vabim na dogodek, ki največ užitka izvabi kot celota, zelo 

okusen pa je tudi po posamičnih delih. 


umetniški vodja 

Festival Maribor 2009 


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Implausibly, I persuaded people to travel all the way from Australia to attend 

the first ten-day Festival Maribor in 2008. Initially, many asked me where 

Maribor lay on the map. I showed them photos and identified the country 

of Slovenia in Central Europe where they would find a glorious and unique 

convergence of cultures and history, where east meets west and the south 

begins to meld into the north. 

I assured them that in Maribor, they would be entertained by people with 

warm, poetic hearts (and that they would enjoy wonderful food and wine). 

There would be concerts in castles, cathedrals and intimate theatres. I told 

them about the collection of instrumentalists and singers we had chosen and 

that there would be gypsies with seemingly magical powers of musical seduction. 

I suggested that their normal lives would seem like far away galaxies. 

Skeptical but nevertheless curious, some did make the effort and came to our 

inaugural Festival Maribor. 

After stepping out of the Maribor Cathedral 

with the sound of Mozart’s 

C-Minor Mass still ringing amongst 

the church stones, we walked up to 

the finishing concert where the gypsies 

performed their hypnotic acts on 

the audience; these guests elatedly 

told me of their transformation and 

committed to the next year’s Festival. 

Next year has become this year and 

I welcome you to our second Festival 

Maribor, 2009. 

Our first endeavour incorporated an 

exploration of the new world colliding 

with the old, viewed through the 

prism of my own experiences as an 

Australian musician steeped in the 

traditions of Western classical music. 

We laid some conventions for future 

Festivals, acknowledging the success of certain program structures, these are 

the basis for Festival Maribor: most of the concerts taking place in Union Hall; 

the Morning Reflections in Kazina Theatre Hall and other, beautiful, intimate 

proximate halls (for which Maribor is uniquely blessed); the exploration of 

old music presented in new ways and the discovery of new music; and our 

conclusion with sacred music (this year the St. John Passion featuring one 

of the great Evangelists and aptly named British tenor, James Gilchrist) in 

the cathedral. 

It is a loose requirement that the musicians stay for as long as they can in 

order to cross-pollinate their music with others. 

In residence this year will be the Slovene Philharmonic String Chamber Orchestra 

also performing as the larger Festival Orchestra comprising members from

the Slovene Philharmonic, one of the longest extant orchestras in the world 

since its establishment in 1701. The Slovene Philharmonic itself will present 

the opening concert and some other members of this prestigious orchestra 

are making their presences felt as well: Haydn, Beethoven (Symphonies 6 and 

8), Paganini and Brahms (including Brahms’ Double concerto with Alexander 

Rudin) all have been made honorary members in their lifetime. 

We continue to dream globally but act locally, and so we also have the Slovenian 

Chamber Choir, Slovenian singer soloists and the admired all round 

musician Boštjan Gombač. I am delighted to welcome back Boris Berezovsky, 

who will be our pianist in residence. 

From Macedonia will come Vlatko Stefanovski. From further afield flautist 

Emmanuel Pahud (Principal Flute of the Berlin Philharmonic), baroque bassoonist 

Jane Gower (Principal Bassoon in John Eliot Gardiner’s Orchestre 

Revolutionnaire et Romantique) will perform in Maribor and Dornava’s 

baroque castle, along with the Engegård Quartet, double bassist Knut Erik 

Sundquist and many others. 

Without being encumbered by an explicit (and, perhaps, restricting) “fille 

rouge” this year, an underground current will be exploring the notion of 

Waves; the climax being Musica Surfica or Maribor Musica Surfica: an investigation 

of surfing as dancing and using this mysterious phenomenon 

as an inspiration for our music. 

I welcome a potent cross-pollination collaboration with folk singer Danny 

Spooner and laconic fiddler Mike Kerin, legends in the Australian and Irish 

folk movement and the bizarre whimsy of Australia’s greatest cartoonist 

Michael Leunig who has created for us the Carnival of the Humans, translated 

by Milan Jesih and presented by Vladimir Jurc. 

So this is an invitation to an event that is best enjoyed as a whole; but each 

part of the sum can be taken and enjoyed on its own. 


Artistic Director 

Maribor Festival 2009 


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Ob 150. obletnici Slomškovega 

prihoda v Maribor 


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Mariborska nadškofija in z njo vsi Slovenci, ki v srcu dobro mislimo, letos 

obhajamo Slomškovo leto, ki želi biti znamenje hvaležnosti za Slomškove 

kulturnozgodovinske, versko-pastoralne in narodnostne razsežnosti 

njegovega življenja in dela, še zlasti za prestavitev škofijskega sedeža v 

Maribor (4. septembra 1859), za ustanovitev Visoke bogoslovne šole v 

Mariboru (14. oktobra 1859), ustanovitev Mohorjeve družbe in Bratovščine 

sv. Cirila in Metoda za edinost kristjanov, Slomškove nedeljske šole z 

znamenitim priročnikom Blaže in Nežica v nedeljski šoli ter za njegovo 

obsežno versko, duhovno in narodnostno delovanje, ki ga je uresničeval 

kot pastir in učitelj s svojimi pridigami in izdajanjem različnih učbenikov, 

priročnikov, pesmaric in molitvenikov. 

V Slomškovem času je Maribor spadal pod 

graško škofijo. Meja med takratno lavantinsko 

(sedaj mariborsko) in graško škofijo je potekala 

od Vuhreda po vrhovih Pohorja do Slovenske 

Bistrice, Ptuja, Velike Nedelje in Gornje Radgone. 

Škof A. M. Slomšek je s svojo modrostjo 

in vztrajnostjo dosegel, da se je škofijska meja 

prestavila severno od Drave, na mejno črto, ki 

je leta 1918 postala državna meja med Avstrijo 

in Jugoslavijo. General Maister je ubranil in 

potrdil to, kar je s škofijsko mejo zakoličil škof 

A. M. Slomšek, ki je ob ustanovitvi Visoke bogoslovne 

šole v uvodnem govoru izrazil željo, naj 

Maribor postane to, kar sta bila v svojem času 

Oglej in Salzburg, močno žarišče za duhovni in 

materialni blagor slovenskega naroda. 

Že iz naštetega vidimo, kako prav je imel literarni 

zgodovinar France Kidrič, ko je zapisal, da bl. škof A. M. Slomšek 

zavzema vodilno mesto v naši duhovni zgodovini. 

Veseli smo, da se tudi Festival Maribor 2009 vključuje v obhajanje Slomškovega 

leta, saj vemo, da je Slomšek zelo cenil in podpiral petje in glasbo, 

še posebej sakralno glasbo. Kupil si je klavir in najel zasebnega učitelja 

glasbe, da bi lahko staršem, katehetom in duhovnikom pomagal tudi s 

petjem doživljati in izražati lepoto ter pomen krščanskega življenja. V ta 

namen je izdajal pesmarice, leta 1853 je izšla »Šola vesela lepega petja«, 

ki je nekaj edinstvenega v naši glasbeni literaturi. Zato je prav, da bo na 

svečani otvoritvi Festivala Maribor in proslavi Slomškovega leta zazvenela 

tudi Slomškova večernica »Glejte, že sonce zahaja …« 

Dr. Stanko Lipovšek, stolni župnik 

tajnik Odbora za Slomškovo leto

On the occasion of the 150 th anniversary of 

Bishop Anton Slomšek’s arrival in Maribor 

This year the archdiocese of Maribor and all good hearted Slovenes are 

celebrating the Year of Slomšek, in a sign of gratitude for Slomšek’s cultural-historical, 

religious-pastoral and the national dimensions of his life 

and work, especially the transfer of the seat of the Lavantine Diocese to 

Maribor (4 th September 1859), for the establishment of the Theological 

High School in Maribor (14 th October 1859), establishment of the Mohor’s 

Society and the Fellowship of St Cyril and St Method for the Unity of Christians, 

Slomšek’s Sunday schools with the famous handbook “Blaže and 

Nežica in Sunday school”, and for his extensive religious, spiritual and 

national activities, which along with his sermons and publishing of various 

textbooks, handbooks, song-books and prayer books he carried out 

as a shepherd and teacher. 

During Slomšek’s time Maribor came under the Graz diocese. The border 

between the then Lavantine (now Maribor) and Graz diocese ran from 

Vuhred along the peaks of Pohorje to Slovenska Bistrica, Ptuj, Velika Nedelja 

and Gornja Radgona. Through his wisdom and perseverance Bishop 

A. M. Slomšek achieved in getting the diocesan border moved north of 

the river Drava to the borderline, which in the year 1918 became the State 

border between Austria and Yugoslavia. General Maister defended and 

confirmed the diocesan border marked out by Bishop A.M. Slomšek, who 

in his opening speech at the foundation of the Theological High School 

expressed a desire that Maribor, like Aquilea and Salzburg in their time, 

would become a strong focal point for the spiritual and material welfare 

of the Slovene nation. 

Already from the above we can see how right the literary historian France 

Kidrič was, when he wrote that Bishop A. M. Slomšek occupies the leading 

place in our spiritual history. 

We are joyful that Festival Maribor 2009 has included the celebration 

of Slomšek’s Year, since we know that Slomšek highly appreciated and 

supported singing and music, especially sacral music. He bought a piano 

and hired a private music teacher so that also through singing he could 

help parents, catechists and priests experience and voice the beauty and 

meaning of Christian life. To this end, he published song-books, and in the 

year 1853 “Šola vesela lepega petja” (School of joyous beautiful singing) 

was published, which is something quite unique in our musical literature. 

It is therefore proper that at the ceremonious opening of Festival Maribor 

and the celebration of Slomšek’s Year also sound Slomšek’s vespers “Glejte, 

že sonce zahaja …” (Look, the sun is already setting …). 


Dr. Stanko Lipovšek, cathedral priest 

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Secretary of the Slomšek’s Year Committee

Glasba lahko izreče neizrekljivo 


Katera pot, kateri vzgibi in katera prizadevanja nas vodijo tja, 

kamor se velja napotiti? 

Pot Festivala Maribor je jasno in nedvoumno začrtana in z našimi 

prizadevanji ji brezpogojno sledimo. Pa vendar, ko poskušam 

preliti v besede vse tisto, kar določa in plamti naše prepričanje, 

nastane določena praznina, prostor neizrekljivega. Kot bi poskušala 

ukalupiti nekaj, kar po svoji naravi ne trpi kalupov. 

Še vedno se lahko zatečem k navajanju izrekljivih dejstev o Festivalu 

Maribor, čeprav: 

govoriti o trdem delu in emocijah se zdi nebogljeno in je mimo; 

trkati na kulturno ozaveščenost in poslanstvo je donkihotsko, 

mimo pa itak; leporečenje o še eni Haydnovi ali Beethovnovi 

simfoniji je v mojem primeru povsem nepotrebno in je seveda 

mimo; hladno naštevanje statističnih dejstev je brezosebno in 

tudi mimo; citirati druge je nesamozavestno in še najbolj mimo … 

In tako smo spet pri neizrekljivem! 

Festival Maribor je v bistvu ustvarjanje skupnega jezika, ki ga 

na neverbalni ravni vsi čutimo in vsi razumemo. Je jezik, ki želi 

nakloniti enotnost govorici glasbe in skozi glasbo govorici duha. 

Tisto, kar občutimo kot neizrekljivo, je proces ustvarjanja, postavljanje 

novih jezikovnih pravil, nizanje besed in artikuliranje, 

določanje strukture in sintakse stavka, predvsem pa trenutek, 

ko začutimo, da jezik zadiha, zaživi in spregovori. 

Pravila postavljamo vsi, tisti na odru, vi v občinstvu, mi za pisalnimi 

mizami, tisti, ki nas financirajo in tisti za govorniškim 

pultom; stavke, njihovo strukturo, sintakso in artikulacijo določa 

naš umetniški vodja; besede, ki vdihnejo stavkom življenje, so 

naši glasbeniki. 

V smislu izrekljivega se lahko mimobežno dotaknemo še izzivov, 

radikalnosti, nuje, koristi in neponovljivosti skupnega ustvarjanja 

zdaj in tukaj … in potem na lepem zmanjka besed. 

In tam, kjer zmanjka besed, se začne glasba in Festival Maribor! 

Brigita Pavlič 

direktorica Festivala Maribor 

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Music can express the unexpressible 

Which path, which motivations and which aspirations lead us there, where 

it is worth setting out for? 

The path of Festival Maribor is clearly and indubitably outlined and with 

our aspirations we are following it unconditionally. However, when I try to 

put into words all that which defines and fires our convictions a certain void 

results, an inexpressible space. As though it tries to mould something, which 

according to its nature does not tolerate moulds. 

Yet I can always turn to mentioning expressible facts about Festival Maribor, 

although to speak about hard work and emotions 

seems helpless and is amiss; to knock on 

cultural awareness and mission is quixotic, is 

amiss anyway; to say something nice about 

one more of Hayden’s or Beethoven’s symphonies 

in my case is completely unnecessary and 

of amiss; the cold enumeration of statistical 

facts is impersonal and also past; to quote others 

is unconfident and is truly amiss … 

And so we are again at the inexpressible! 

Essentially Festival Maribor is creating a common 

language, which on a non-verbal level we 

all feel and we all understand. It is a language, 

which bows to the unity of the language of 

music and through music the language of the 

spirit. 

That, which we feel as inexpressible is a process 

of creating, of setting new language principles, 

arranging words and giving articulation, determining 

the sentence structure and syntax, 

but above all the moment when we perceive 

that a language breathes, is alive and beaks the silence. 

The rules are set by everyone, those on the stage, you in the audience, we 

behind office desks, those who finance us and those behind the oratorical 

lectern; sentences, their structure, syntax and articulation are determined 

by our artistic director; and the words, which breathe life into a sentence 

are our musicians. 

In the sense of the inexpressible we can also fleetingly mention the challenges, 

radicalities, constraints and unrepeatability of common creation here and 

now … and then suddenly words run out. 

And there, where words run out music and Festival Maribor begin! 


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Brigita Pavlič 

Director Festival Maribor



SPORED / PROGRAM 

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Četrtek, 3. september 2009 / Thursday, 3. September 2009 

Koncert št. 1 / Concert No. 1 

Velika dvorana SNG ob 20:00 / Grand Hall Slovene National Theatre at 20:00 

V znamenju Slomškovega leta 

Dedicated to the memory of bishop Slomšek 

SVEČANA OTVORITEV: 

Poklon prijateljstvu 

SOLEMN OPENING: 

A Celebration of Friendship 

SLOVENSKA FILHARMONIJA / SLOVENIAN PHILHARMONIC 

Juraj Valčuha, dirigent / conductor 

Solisti / Soloists: 

Richard Tognetti, violina / violin 

Alexander Rudin, violončelo / violoncello 

Boštjan Gombač, kositrna piščal / tin whistle 

Danny Spooner, kitara / guitar 

Mike Kerin, gosli / fiddle

Spored / Program: 

Anton Martin Slomšek (1800–1862): Večernica »Glejte, že sonce zahaja« 

(prir. B. Gombač za godalni kvartet, gosli in concertino – priredba za 

Festival Maribor, v počastitev Slomškovega jubileja / Vespers “Look, the sun 

is already setting” (arr. B. Gombač for string quartet, fiddle and concertino – 

commissioned by the Maribor Festival and dedicated to the Bishop Slomšek 

Jubilee) 

Anton von Webern (1883–1945): V poletnem vetru. Idila za veliki orkester 

/ In the Summer Wind. Idyll for Large Orchestra 

Johannes Brahms (1833–1897): Koncert za violino, violončelo in orkester 

v a-molu op. 102 / Double Concerto in A Minor, Op. 102 

1. Allegro 

2. Andante 

3. Vivace non troppo 

* * * 

Gustav Mahler (1860–1911): Simfonija št. 1 v D-duru – »Titan« / Symphony 

No. 1 in D Major – “Titan” 

1. Počasi, zateglo. Kakor glas narave / Langsam, schleppend 

2. Močno razgibano, vendar ne prehitro / Kraftig bewegt, doch nicht zu schnell 

3. Slovesno počasi in umirjeno, brez upočasnjevanja / Feierlich und gemessen, 

ohne zu schleppen 

4. Viharno razgibano / Stürmisch bewegt 

Johannes Brahms danes upravičeno velja za skladatelja, ki je odlike 

prečiščenega klasicističnega glasbenega stavka skušal ohranjati tudi v 

času cvetočega romantičnega subjektivizma, s čimer si je nakopal sovraštvo 

tistih mladih glasbenikov, ki so simpatizirali z bolj v sodobnost 

usmerjenimi prizadevanji Wagnerja in Liszta. Šele razvoj glasbe v 20. 

stoletju je pokazal, da z Brahmsom vendarle ni mogoče povezovati le 

konservativnosti – prav velikan glasbe 20. stoletja, Arnold Schönberg, je 

svojo kompozicijsko tehniko v veliki meri domislil na ozadju Brahmsovega 

izredno ekonomičnega motivično-tematskega dela. Takšna razpetost 

med staro in novo je značilna tudi za skladateljev Dvojni koncert, ki se po 

eni strani naslanja na obliko koncertantne simfonije, kakršno sta gojila 

Mozart in Beethoven, po drugi strani pa jasno presega romantično obliko 

virtuoznega koncerta. 

Po tem, ko je skladatelj leta 1885 dokončal svojo Četrto simfonijo, se je 

za dalj časa posvetil komornemu mediju: v hitrem zaporedju je napisal 

Sonato za violončelo in klavir op. 99, Sonato za violino in klavir op. 100 ter 

Klavirski trio op. 101. V teh delih je Brahms prišel do bolj prečiščenega, 

asketskega izraza, ki zaznamuje tudi koncert. Zdi se celo, da je le-ta nastal 

kot logično nadaljevanje ukvarjanja s solistično violino in violončelom 

(obe sonati) ter njuno dialoško pozicijo, ki prevladuje v Klavirskem triu 

op. 101. Vendar pa je mogoče vzpodbude za nastanek dela poiskati tudi 

PROGRAM / PROGRAM 

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16 

v skladateljevem osebnem življenju. Leta 1881 je namreč prekinil tesno 

prijateljsko vez, ki ga je povezovala s slavnim violinskim virtuozom 

Josephom Joachimom. Ta se je tega leta ločeval od svoje žene Amalie 

(Amalie Schneeweiss, najvidnejša operna in koncertna pevka druge polovice 

19. stoletja, rojena 1839 v Mariboru), ki ji je Brahms s čustvenim 

pismom stopil v bran. Prav z Dvojnim koncertom je skladatelj želel ponovno 

vzpostaviti umetniško vez z dolgoletnim prijateljem – ta del naloge je 

skladatelju uspešno uspel: Joachim je skupaj z Robertom Hausmannom 

koncert krstno izvedel. 

Prvi stavek prinaša po kratkem orkestrskem uvodu dolgo kadenco, v 

kateri se vsak posebej predstavita oba solista. Violinist s prvo temo in 

violončelist z drugo sonatnega stavka – tako se že v izhodišču izriše posebnost 

Brahmsovega dojemanja sonatne oblike: pravi konflikt koncerta 

ne izhaja iz dvoboja med inštrumentoma ali dvema različnima temama, 

nasprotje je skrito v materialu samem, saj je druga tema logično izpeljana 

iz kratkega motiva vzdiha prve teme. Nadaljevanje stavka sledi po 

logičnih obrisih sonatnega stavka, vendar pa je v ospredje postavljen 

princip razvijanja, saj je močan izrazni kontrast med temama zamenjala 

logika organske povezanosti. Tridelno zasnovani drugi stavek prinaša 

novo presenečenje: razpeto melodično misel prvega dela igrata namreč 

oba solistična inštrumenta skupaj v oktavah, zaradi česar postaja stavek 

podoben razširjeni pevski sceni. Bolj koncertantni duh preveva sklepni 

rondo, ki prinaša za Brahmsa značilni priokus po romski glasbi. 

Delo Antona Weberna je v odločilni meri zaznamovalo razvoj glasbe v 

drugi polovici 20. stoletja. Vendar pa Webern ni bil brezdušni inovator, 

temveč se je logično navezal na stanje glasbe ob koncu 19. stoletja. Za 

takšno značilno »historično« držo je bil gotovo odgovoren Webernov 

študij muzikologije – leta 1908 je namreč doktoriral iz del mojstra stare 

glasbe Heinricha Isaaca. Za Webernov skladateljski razvoj je bilo gotovo 

odločilno srečanje z Arnoldom Schönbergom, ki je postal skladateljev 

skladateljski mentor in tudi tesen prijatelj. Le nekaj tednov pred usodnim 

srečanjem je Webern dokončal svoje mladostno orkestrsko delo 

V poletnem vetru, ki je bilo prvič izvedeno leta 1962. Rokopis je namreč 

našel šele skladateljev biograf Hans Moldenhauser, ko je preiskoval zapuščino 

vdove Webernovega sina. To zgodnje delo nam meče posebno 

luč na razvoj skladateljevega glasbenega jezika. Napisano je namreč v 

značilnem slogu moderne: skladatelj uporablja bogate barve povečanega 

simfoničnega orkestra, harmonije so tonalne, a močno razširjene, 

prevladuje bogastvo izraza. Skladatelj se je v svojem delu naslonil na 

obsežno pesnitev nemškega socialnega filozofa in liberalnega misleca 

Bruna Willeja, vendar pa se zdijo pomembnejši kot ti poetični impulzi 

različni glasbeni vplivi: v bogati orkestraciji je tako mogoče razpoznati 

prstne odtise Richarda Straussa, podnaslov (»Idila«) in atmosfera prikličeta 

v spomin »Gozdno šepetanje« iz Wagnerjevega Siegfrieda, fragmentarno 

delo z melodičnim gradivom pa podobne postopke pri Gustavu Mahlerju. 

Pa vendar je mogoče odkriti tudi v tem mladostnem delu – skladatelj ga

je dokončal pri dvajsetih – nekaj posebnosti, ki zaznamujejo tudi njegov 

zreli opus: orkestracija je sicer veličastna, a hkrati tudi posebna (Webern 

zahteva kar pet klarinetov, a samo dva fagota in nato tudi kar šest rogov, 

pa nobene pozavne), še bolj pa bode v oči nesorazmerje med kratkosapno 

melodiko in prekipevajočo orkestracijo. Webernova pozornost je torej 

že tudi na začetku ustvarjalne poti namenjena melodičnemu fragmentu 

in zvočni barvi. 

Prav med Brahmsa in Weberna se v zgodovinskem razvoju glasbe umešča 

Gustav Mahler. Še posebno mesto pri tem velja skladateljevi Prvi 

simfoniji, saj se prav z njo začenja čas moderne, torej obdobje, v katerem 

so skladatelji že prevzeli nove estetske postulate, ne pa še novih 

kompozicijskih tehnik. Svoj simfonični prvenec je Mahler pričel snovati 

leta 1885, ko je deloval v Kasslu, dokončal pa ga je leta 1888 v Leipzigu 

in krstno izvedel leto kasneje v Budimpešti. Sprva je delo zasnoval 

kot simfonično pesnitev v dveh delih s podnaslovom »Titan«, ki ga je 

prevzel po istoimenskem romanu Jeana Paula. Vendar pa je skladatelj 

ustroj dela kasneje precej spremenil: izpustil je drugi stavek (»Rožica«), 

spremenil orkestracijo in zavrgel poetični program, pri čemer se določenim 

zuanjglasbenim asociacijam vendarle ne moremo odpovedati. 

Tako je že s počasnim uvodom, ki z lebdečim tonom a, razširjenim po 

celotnem orkestrskem spektru, pred nas postavlja sliko statične narave, 

v kateri odzvanjajo odmevi ptičjega petja in oddaljenih fanfar, niz kvart 

pa se bo izkazal za glavno tematsko gradivo dela. Sledi hitrejši del, v 

katerem Mahler izrablja pesem »To jutro sem jo mahnil preko polja« iz 

cikla Popotnikove pesmi, ki malo pred koncem doseže tipični vrhunec (ali 

kot bi dejal T. W. Adorno »izbruh«). Drugi stavek je krepki ländler, valčku 

podoben ples, nato pa sledi trpko ironična posmrtna koračnica, ki naj bi 

jo skladatelj domisli »v slogu Callota«. Mahler je meril na sliko, na kateri 

lovca neso k poslednjemu počitku živali, ki jih je še malo prej preganjal. 

Nenavaden je že začetek s solističnim kontrabasom, nato pa se razvija 

dolg kanon, v katerem prepoznamo znamenito pesmico Mojster Jaka v 

molu, kanonu pa se kmalu pridružijo še viže, ki spominjajo na igranje kake 

razglašene domače godbe na pihala. Odmik od ironičnega prinaša nežni 

srednji del, ki je povzet po eni izmed pesmi iz cikla Popotnikove pesmi 

(»Modre oči moje ljube«). Obsežni finale je zamišljen kot »popotovanje« 

od pekla do nebes: tako se divja dramatična glasba najprej umakne 

lirično zamaknjenim spevom, pa se spet vrne, tokrat skupaj z aluzijami 

na motiviko iz prvega stavka, dokler dokončno ne zmaga junaška tema: 

niz kvart, tokrat postavljen v dur. 


Today, Johannes Brahms is justifiably regarded as a composer who attempted 

to retain the distinctive features of a purified classical musical technique in 

a time of bourgeoning romantic subjectivity, for which he incurred the wrath 

of those young musicians who sympathised with the more contemporary 

17


endeavours of Wagner and Liszt. It was only the development of music in 

the 20 th century that demonstrated that in fact it is not possible to link just 

conservatism with Brahms – the musical giant of the 20 th century, Arnold 

Schoenberg, to a large extent arrived at his own compositional technique 

on the background of Brahms’s extraordinarily economic motivic-thematic 

work. This tension between the old and the new is also characteristic of the 

composer’s Double Concerto, which, on the one hand, is based on the form 

of the sinfonia concertante as nurtured by Mozart and Beethoven, while, on 

the other, clearly encroaches on the romantic form of the virtuoso concerto. 

After completing his Fourth Symphony in 1885, Brahms devoted an extended 

period of work to the chamber medium: in rapid succession he wrote the Cello 

Sonata Op. 99, the Violin Sonata Op. 100 and the Piano Trio Op. 101. In these 

works Brahms arrived at a more purified, ascetic expression, something that 

also marks the concerto. It even seems that the concerto came about as a 

logical extension of dealing with the solo violin and cello (in both sonatas) 

and their dialogue stance that dominates the Piano Trio Op. 101. However, 

it is also possible to seek the impulse for the emergence of this work in the 

composer’s personal life. In 1881, he broke off a close friendship that he had 

established with the celebrated violin virtuoso Joseph Joachim. The same 

year, Joachim had divorced his wife Amalie (Amalie Schneeweiss, one of the 

leading opera singers of the 19 th century, born 1839 in Maribor), to whose 

defence Brahms had entered with an emotional letter. It was precisely with 

the Double Concerto that the composer sought to re-establish an artistic 

connection with his longstanding friend. In this aspect of his task Brahms 

was successful: Joachim gave the premiere performance of the concerto 

along with Robert Hausmann. 

After a short orchestral introduction, the first movement brings a long cadenza 

in which each of the soloists is presented in turn. The violinist takes the 

first theme and the cellist the second theme of this sonata movement, thus 

sketching at the very outset a feature of Brahms’s conception of sonata form: 

the real conflict of the concerto is not derived from a dual between the two 

instruments, nor between two different themes, but rather the opposition is 

concealed in the material itself, as the second theme is a logical derivation 

of a short sighing motive from the first theme. The continuation of the movement 

follows the logical outlines of a sonata movement, but the principle of 

development is established at the fore, as the powerful expressive contrast 

between the two themes is exchanged for the logic of organic connection. 

The tripartite scheme of the second movement brings a new surprise: the 

expansive melodic idea of the first section is played by both of the solo instruments 

together in octaves, making the movement reminiscent of an extended 

singing scene. A more concertante spirit is conveyed by the concluding rondo, 

which is imbued with that tinge of Roma music so characteristic of Brahms. 

18 

The work of Anton Webern made a decisive mark on the development of 

music in the second half of the 20 th century. Webern was not, however, a 

ruthless innovator, but instead logically connected himself to the state of 

music at the end of the 19 th century. The reason for this characteristically

‘historical’ stance can undoubtedly be found in Webern’s study of musicology 

– in 1908 he completed a doctoral dissertation on the works of the master of 

early music, Heinrich Isaac. A decisive event in Webern’s compositional development 

was most certainly his meeting Arnold Schoenberg, who became 

both his compositional mentor and a close friend. Just a few weeks before 

this fateful meeting Webern had completed his youthful orchestral work Im 

Sommerwind (In the Summer Wind), a composition that did not receive its 

first performance until 1962. The manuscript of this work was found by the 

composer’s biographer, Hans Moldenhauser, while investigating the estate of 

the widow of Webern’s son. This early work sheds particular light on the development 

of the composer’s musical language. It is written in the characteristic 

style of the modern: the composer employs the rich colours of an expanded 

symphony orchestra, the harmonies are tonal but extremely extended and 

a rich expressiveness prevails. In his work the composer relies a great deal on 

the extensive poetry of German social philosopher and liberal thinker Bruno 

Wille. However, various musical influences seem even more important than 

these poetic impulses: in the rich orchestration it is possible to distinguish the 

fingerprints of Richard Strauss, the subtitle (‘Idyll’) and atmosphere bring to 

mind the ‘Forest Murmurs’ from Wagner’s Siegfried, while the fragmentary 

working with melodic material is similar to procedures employed by Gustav 

Mahler. Nonetheless, even in this youthful work – the composer completed 

it at the age of only twenty – it is still possible to discover certain traits that 

mark his mature opus: the orchestration is grandiose but contains certain 

special features (Webern calls for five clarinets but only two bassoons, as well 

as six horns but no trombones), while even more striking is the incongruence 

between the intermittent melody and the overflowing orchestration. Thus 

even at the beginning of his creative path Webern’s attention is focused on 

the melodic fragment and sonic colour. 

It is precisely between Brahms and Webern that Gustav Mahler takes his 

place in the historical development of music. The composer’s First Symphony 

has a special position in this development, as it marks the beginning of the 

era of the modern, a period in which composers had already taken on board 

the new aesthetic postulates but not yet the new compositional techniques. 

Mahler began planning his first symphonic work in 1885 while working in 

Kassel. It was completed in 1888 in Leipzig and given its premiere performance 

one year later in Budapest. He initially planned the work as a symphonic 

poem in two parts with the subtitle ‘Titan’, taken from the novel of the same 

name by Jean Paul. However, the composer later modified the construction 

of the work to a large extent: he discarded the second movement (‘Floweret’), 

changed the orchestration and rejected the poetic programme, although we 

nonetheless cannot deny certain extra-musical associations. Thus even the 

slow introduction, with its floating tone of ‘a’ spread throughout the entire 

orchestral spectrum, presents us with a picture of a static natural landscape 

in which resound the echoes of bird calls and a distant fanfare, a series of 

fourths that will later reveal themselves to be the main thematic material 

of the work. There follows a faster section in which Mahler makes use of the 


19

song ‘I Went This Morning Over the Field’ from the cycle Songs of a Wayfarer. 

This section reaches a typical climax (or ‘eruption’, as T.W. Adorno would say) 

shortly before the end. The second movement is a vigorous ländler, a waltzlike 

dance, followed by a dryly ironic funeral march, which the composer 

apparently conceived ‘in the style of Callot’. Mahler aimed for a picture in 

which a hunter is brought to his final rest by the animals that he had previously 

persecuted. Even the opening is unusual with its solo contrabassoon, 

after which a long canon develops in which we recognise the famous song 

‘Frère Jacques’ in the Minor. The canon is soon joined by tunes reminiscent 

of the playing of some out of tune local wind band. A shift from the ironic 

is provided by the gentle central section, which is taken from another of 

the songs from the cycle Songs of a Wayfarer (‘The Two Blue Eyes of My Beloved’). 

The extensive finale is conceived as a kind of ‘journey’ from hell to 

heaven: the wild dramatic music first defers to a lyrically withdrawn song, 

only to return again, this time together with allusions to motives from the 

first movement, until finally the heroic theme prevails – a series of fourths, 

this time set in the Major. 


Gregor Pompe 

Prevod / Translation: Neville Hall 

20

Petek, 4. september 2009 / Friday, 4. September 2009 


Kazinska dvorana ob 11:00 / Kazina Hall National Theatre at 11:00 

JUTRANJE REFLEKSIJE 1: 

Odmevi prednikov 

MORNING REFLECTIONS 1: 

Echoes of Ancestors 

BORIS BEREZOVSKY, klavir / piano 

RICHARD TOGNETTI, violina / violin 

MICHAEL KUGEL, viola / viola 

ALEXANDER RUDIN, violončelo / violoncello 

DANNY SPOONER, glas / vocal 


Uvod Danny Spooner / Introduction by Danny Spooner 

Zoltan Kodály (1882–1967): Duo za violino in violončelo op. 7 / 

Duo for Violin and Cello, Op. 7 

1. Allegro serioso, non troppo 

2. Adagio 

3. Maestoso e largamente, ma non troppo lento – Presto 

* * * 

Benjamin Britten (1913–1976): Sonata za violončelo in klavir 

v C–duru op. 65 / Sonata in C Major, Op. 65 

1. Dialogo. Allegro 

2. Scherzo pizzicato. Allegretto 

3. Elegia. Lento 

4. Marcia. Energico 

5. Moto perpetuo. Presto 

Franz Schubert (1797–1828): Sonata za arpeggione in klavir 

v a–molu D 821 (verzija za violo in klavir) / Arpeggione Sonata 

in A Minor, D 821 (version for viola and piano) 

1. Allegro moderato 

2. Adagio 

3. Allegretto 

21


22 

Pot do skladateljske invencije včasih ubira precej čudna pota. Tako lahko 

včasih kot sprožilec kreativne volje služi povsem banalni vsakdanji dogodek. 

Nekako v tem smislu gre razumeti prebuditev ustvarjalne energije, 

ki je angleškega skladatelja Benjamina Brittna (1913–1976) zajela leta 

1960. Ob prvi londonski izvedbi Šostakovičevega Prvega koncerta za 

violončelo in orkester je namreč spoznal slavnega violončelista Mstislava 

Rostropoviča. Človeške iskre med glasbenikoma so preskočile nemudoma 

in med obema se je razvilo prisrčno prijateljstvo, posledica katerega 

so bila številna dela, ki jih je Britten namenil violončelu: Simfonija za 

violončelo in orkester, tri solistične suite in Sonata za violončelo in klavir. 

Slednja je nastala samo nekaj mesecev po prvem srečanju. Zanimivo 

je, da se je prav s Sonato Britten povrnil k absolutni glasbi. Pred tem 

se je namreč skoraj izključno posvečal vokalni in dramatični glasbi – z 

deli, kot so Peter Grimes, Billy Bud in Sen kresne noči, si je utrdil položaj 

najpomembnejšega opernega skladatelja druge polovice 20. stoletja. Pri 

tem je Britten ves čas ostajal dedič tradicije – ni sledil modernističnim 

tokovom, temveč je ostajal zavezan izročilu predvojnega neoklasicizma 

in ekspresionizma, kar sta bili sicer tudi značilnosti glasbe Šostakoviča. 

Brittnova Sonata sestoji iz petih stavkov, ki že v naslovih najavljajo izrazite 

karakterne poteze. Uvodni stavek, »Dialog«, je napisan v sonatni obliki, 

prva tema pa izrašča po skladateljevih lastnih besedah iz »drobnega 

motiva s padajočo ali vzdigajočo se sekundo«. Bolj so miniaturam podobni 

naslednji stavki: ritmična »Scherzo«, ki živi od grobih pizzicatov, 

in »Koračnica« oklepata emocionalno središče skladbe, »Elegijo«, ki je 

zamišljena kot tragična, globoko občutena arija, v kateri zadržana melodija 

poteka nad slovesnimi akordi klavirja. Sklepni stavek ob nezadržni 

hitrosti uravnoteža resnost uvoda. 

Tudi Schubertova Sonata za arpeggione in klavir je nastala po precej 

čudnem spletu okoliščin. Skladatelja k skladanju ni gnala osebna, notranja 

nuja – tako si ponavadi predstavljamo zanosnega romantičnega 

skladatelja – temveč preprosto dejstvo, da je v tistem času na Dunaju 

postajal popularen inštrument arpeggione, ki ga je leta 1814 »izumil« 

Johann Georg Staufer. Šlo je za inštrument, ki je bil zelo podoben kitari: 

imel je šest strun z enako uglasitvijo, kot je značilna za kitaro, vendar pa 

se je na inštrument igralo z lokom, tako kot na godala. Schubert je svojo 

sonato napisal leta 1824 skoraj gotovo po naročilu Vincenza Schusterja, 

edinega znanega virtuoza na novi inštrument. To je bilo sicer v Schubertovem 

življenju precej temačno obdobje: le nekaj mesecev prej je namreč 

izvedel za svojo neozdravljivo bolezen – sifilis. Kako močno depresiven je 

bil skladatelj, pričajo nekateri odlomki iz njegovih pisem: »Mislim, da sem 

najbolj nesrečna in bedna kreatura na tem svetu. Predstavljaj si človeka, 

ki ne bo nikoli več zdrav in katerega obup je tako močan, da postajajo 

stvari zmeraj slabše in slabše.« Kljub temu, da je bila medicina iz začetka 

19. stoletja ob Schubertovi bolezni precej nemočna (predpisovali so zgolj 

nenavadne diete, ki so bile v resnici brez učinka, in podobno nesmiselna 

pogosta umivanja), pa je Schubertova kreativnost vseeno močno cvetela.

Zdi se celo, da je našel pot do večje izrazne poglobljenosti, kar kažejo 

številne mojstrovine, nastale v tem času (opera Fierrabras, pesemski ciklus 

Lepa mlinarica, Oktet in godalni kvartet Smrt in deklica). 

Šele v drugi polovici leta 1824 se je razredčila tudi skladateljeva produktivnost 

– pogosta so bila slaba počutja, glavoboli, kožni izpuščaji, vse to 

pomešano z globokim občutkom življenjske poraženosti. Pa vendar je 

prav v tem času vzklila Sonata za arpeggione, v kateri bi sicer zaman iskali 

znamenja grozljivosti avtorjeve človeške usode. Prvi stavek v značilni 

Schu bertovi maniri prinaša bolj melodično zaokroženo gradivo, kot pa 

pravi tematski material, ki bi bil primeren za nadaljnje izpeljevanje. V 

drugem stavku se vsaj nekaj časa zdi, da je v ospredje postavljen klavir, 

nato pa z napetimi harmonijami in modulacijami v osredje zopet stopi 

arpeggione (dandanes poslušamo sicer verziji za violo ali violončelo), 

medtem ko sklepni rondo z dvema epizodama prežemajo madžarski 

prizvoki. 

Težje pa bi iskali kakšne zunanje vzroke, ki bi sprožili nastanek, ob 

Kodályjevem (1882–1967) Duo za violino in violončelo. Tudi Kodály je bil 

podobno kot Britten še globoko v 20. stoletje nadaljevalec tradicionalnega 

glasbenega izraza, vendar s to pomembno razliko, da je veliko svojih del 

oplemenitil s folklorističnim duhom. Podobno kot njegov skladateljski 

vrstnik in prijatelj Béla Bartók se je tudi Kodály ukvarjal z etnomuzikološkim 

zbiranjem in raziskovanjem ljudskega glasbenega gradiva, ki je 

poleg izrazitih Debussyjevih vplivov in posluha za klasicistično formalno 

preglednost najbolj vplivalo na skladateljev glasbeni jezik. Zanimivo pa 

je, da je v sedemdesetih ustvarjalnih letih Kodály le petnajst let pisal 

komorno glasbo, in sicer med letoma 1905 in 1920. Kasneje je svojo 

odločitev za druge glasbene zvrsti tudi jasno razložil: »Obstaja le tanka 

plast glasbenih izobražencev, ki obiskuje komorne koncerte, večini ljudi, 

množici pa je komorna glasba absolutno tuja. Zato sem se počasi vse več 

posvečal zborovski glasbi, edini glasbi, ki lahko k resni glasbi pripelje 

glasbeno neizobraženo množico.« In res v Kodályjevem opusu dominirajo 

zborovska dela, s pevsko logiko in melodiko pa so »okužene« tudi 

številne instrumentalne kompozicije. 

Tako nas niti ne more presenetiti, da je večina komornih del napisana za 

godala – le-ta najlažje posnemajo pevsko linijo. Tudi ob poslušanja Dua, 

ki je nastal leta 1914, prvič pa je bil izveden na festivalu Mednarodnega 

združenja za sodobno glasbo v Salzburgu leta 1924, se nam zazdi, da 

poslušamo dialog dveh pevcev. Skladatelj med inštrumentoma ves čas 

ohranja zvočno ravnovesje, delo pa izkazuje tudi močno melodično 

invencijo ter sposobnost, kako doseči virtuoznost s precej enostavnimi 

sredstvi. 


The path to compositional invention sometimes has some strange twists. 

An entirely banal everyday event can sometimes trigger the creative will. It 

is perhaps in this sense that we can understand the awakening of creative 

23


24 

energy that took hold of English composer Benjamin Britten (1913–1976) 

in 1960. At the first London performance of Shostakovich’s First Cello Concerto 

the composer made the acquaintance of the celebrated cellist Mstislav 

Rostropovich. Human sparks immediately flew between the two musicians 

and soon developed into a warm friendship, the consequence of which were 

a number of works by Britten for the cello: the Cello Symphony, the three solo 

suites and the Cello Sonata. 

The latter was written just a few months after the first meeting. It is interesting 

that it was precisely with the Sonata that Britten returned to absolute 

music. Prior to that he had almost exclusively dedicated himself to vocal and 

dramatic music. With works such as Peter Grimes, Billy Bud and A Midsummer 

Night’s Dream he had forged a place for himself as the most important opera 

composer of the second half of the 20 th century. In so doing Britten always 

remained the inheritor of tradition – he did not follow modernist streams, 

but rather remained connected to the tradition of pre-war neoclassicism and 

expressionism, which were also characteristic of the music of Shostakovich. 

Britten’s Sonata is made up of five movements, the titles of which already 

herald explicitly characteristic traits. The introductory movement ‘Dialogue’ 

is written in sonata form. In the composer’s own words, the first theme grows 

from “a tiny motive with falling or rising seconds”. The following movements 

are more like miniatures: a rhythmic ‘Scherzo’, which is brought to life by 

rough pizzicatos, and a ‘March’ enclose the emotional heart of the composition, 

an ‘Elegy’, conceived as a tragic, deeply felt aria in which a restrained 

melody unfolds over solemn piano chords. The concluding movement, with 

its unrestrained speed, provides a counterbalance to the seriousness of the 

introduction. 

Schubert’s Sonata for Arpeggione and Piano also came about after a rather 

strange set of circumstances. The composer was not driven to writing the 

work by a personal, inner necessity – as we usually imagine the workings 

of a passionate romantic composer – but rather by the simple fact that the 

arpeggione, ‘invented’ in 1814 by Johann Georg Staufer, had become a popular 

instrument in Vienna at the time. It was an instrument very similar to the 

guitar: it had six strings with the same tuning as the guitar but it was played 

with a bow, like a string instrument. Schubert wrote his sonata in 1824, almost 

certainly on a commission from Vincenz Schuster, the only famous virtuoso 

on the new instrument. This was a rather dark period of Schubert’s life: just 

a few months earlier he had learned that he had contracted an incurable illness 

– syphilis. The deep depression of the composer is testified to by extracts 

from his letters: “I believe I am the most unhappy and miserable creature in 

this world. Imagine a man who will never again be healthy and whose despair 

is so strong that things become ever worse and worse.” In spite of the fact 

that the medical profession at the beginning of the 19 th century was rather 

helpless in the face of Schubert’s illness (they simply prescribed unusual diets, 

which were in truth without effect, as was the pointless frequent washing) 

the composer’s creativity nonetheless blossomed powerfully. It even seems 

that he found a path to a greater expressiveness, as is demonstrated by the

numerous masterpieces that came about at this time (the opera Fierrabras, 

the song cycle Die schöne Müllerin, the Octet and the string quartet Death 

and the Maiden). 

It was only in the second half of 1824 that the composer’s productivity began 

to lose momentum – with increasing frequency he was subject to nausea, 

headaches and rashes, all combined with a deep feeling of defeat in 

life. Nonetheless, it is precisely in this time that the Sonata for Arpeggione 

cheerfully arose, a work in which any search for signs of the horror of the 

composer’s human fate would be fruitless. In the typical Schubert manner, 

the first movement brings material that is melodically rounded rather than 

thematic material that would be suitable for further development. In the 

second movement for some time it seems that the piano has been placed 

to the fore, and then with tense harmony and modulations the arpeggione 

again takes centre stage (these days we actually listen to a version for viola 

and cello), while the concluding rondo with two episodes is imbued with a 

Hungarian sonic atmosphere. 

It would be more difficult to find any kind of external causes that may have 

triggered the composition of Kodály’s Duo for Violin and Cello. Like Britten, 

Kodály continued traditional musical expression well into the 20 th century, 

but with one important difference – many of his works were imbued with a 

folklore spirit. Similar to his fellow composer and friend Béla Bartók, Kodály 

concerned himself with the ethnomusicological collection and research of 

folk music material, which, in addition to explicit influences of Debussy and 

an ear for classical formal transparency, had the greatest influence on the 

composer’s musical language. It is interesting that in his seventy years of 

creative work Kodály only devoted fifteen years to writing chamber music, 

from 1905 to 1920. Later he clearly explained his decision to focus on other 

types of music: “There is only a thin layer of musically educated people who 

attend chamber music concerts; to the Majority of people, to the masses, 

chamber music is absolutely foreign. Therefore I gradually devoted myself 

more and more to choral music, the only music that can attract the musically 

uneducated masses to serious music.” And it is true that Kodály’s opus is 

dominated by choral music, with the singer’s logic and melody also ‘infecting’ 

numerous of his instrumental compositions. 

It should, therefore, be of no surprise that the Majority of Kodály’s chamber 

works are written for strings – instruments that imitate a singing line with the 

greatest ease. Even on listening to the Duo, which was written in 1914 and first 

performed in the festival of the International Society for Contemporary Music 

in Salzburg in 1924, one has the impression of listening to a dialogue between 

two singers. The composer always maintains a sonic balance between the two 

instruments, while the work also demonstrates a powerful melodic invention 

and an ability to achieve virtuosity with rather simple means. 

Gregor Pompe 



25



Velika dvorana Narodni dom ob 17:00 / Narodni dom Hall at 17:00 

SOL ZEMLJE 

SALT OF THE EARTH 

DANNY SPOONER, glas / vocal 

MIKE KERIN, violina, gosli / violin, fiddle 

BOŠTJAN GOMBAČ, piščali, flavta, klarinet / whistles, flute, clarinet 

JOHN McSHERRY, irske dude / Uilleann pipes 


Tradicionalne ljudske pesmi z Britanskega otočja in Avstralije / 

The British and Australian folksong tradition 

Obredne in ritualne ljudske pesmi / Ritual and magic folksongs 

Danny Spooner je svetovno priznani pevec tradicionalnih in sodobnih 

ljudskih napevov Britanije in Avstralije. Skupaj z ljudskim godcem Mikeom 

Kerinom, enim najboljših irskih dudarjev, Johnom McSherryjem in slovenskim 

multiinstrumentalistom Boštjanom Gombačem nam bodo dokazali, 

da še vedno živimo v svetu, polnem mitov in legend. 

Danny Spooner is one of the world’s most acclaimed singers of traditional 

and contemporary folk songs from Britain and Australia. Joined by folk fiddler 

Mike Kerin, one of the world’s best uilleann pipes players John McSherry, 

and Slovenian multi-instrumentalist Boštjan Gombač, they will prove that 

we still live in a world full of myths and legends.



Dvorana Union ob 19:30 / Union Hall at 19:30 

SENCE IN SVETLOBA 

SHADOWS AND LIGHTS 

KOMORNI GODALNI ORKESTER SLOVENSKE FILHARMONIJE / 

SLOVENE PHILHARMONIC STRING CHAMBER ORCHESTRA 

Richard Tognetti – dirigent, violina / conductor, violin 


Boris Berezovsky, klavir / piano 

Thomas Hammes, trobenta / trumpet 

Satu Vänskä, violina / violin 


Karol Szymanowski (1882–1937): Godalni kvartet št. 2 op. 56 

(prir. R. Tognetti) / String Quartet No. 2, Op. 56 (arr. R. Tognetti) 

1. Moderato. Dolce e tranquillo 

2. Vivace, scherzando 

3. Lento. Doppio movimento 

Dmitrij Šostakovič (1906–1975): Koncert za klavir, trobento in godala 

št. 1 v c-molu op. 35 / Concerto for Piano, Trumpet, and String Orchestra 

No. 1 in C Minor, Op. 35 

1. Allegretto – Allegro vivace 

2. Lento 

3. Moderato 

4. Allegro con brio 

* * * 

César Franck (1882–1890): Prvi stavek (Allegretto ben moderato) iz 

Sonate za violino in klavir v A-duru (prir. R. Tognetti) / First movement 

(Allegretto ben moderato) from Sonata for Violin and Piano in A Major 

(arr. R. Tognetti) 

Peter Iljič Čajkovski (1840–1893): Serenada za godala v C-duru 

op. 48 / Serenade for Strings in C Major, Op.48 

1. Pezzo in forma di Sonatina. Andante non troppo – Allegro moderato 

2. Valse. Moderato. Tempo di valse 

3. Élégie. Larghetto elegiaco 

4. Finale (Tema russo). Andante – Allegro con spirito 

27


28 

Peter Iljič Čajkovski je med drugim zapisal: »Umetnik živi dvojno življenje: 

kot navaden človek in kot umetnik. Kdor misli, da umetnik izraža v 

svoji umetnosti tisto, kar čuti v vročici trenutka, se močno moti.« V tej 

misli se zrcali spoznanje, da med umetnikovim turbulentnim vsakdanjim 

življenjem in umetniškim izrazom ni nujno iskati močnih vzporednic. To 

nedvomno dokazujeta vsaj dve deli z nocojšnjega sporeda: navidez neobtežena 

Serenada Čajkovskega je nastala v za skladatelja precej težkem 

življenjskem obdobju, razposajenost Prvega klavirskega koncerta Šostakoviča 

pa ne daje slutiti, da je le nekaj mesecev kasneje prišla težka Stalinova 

»obsodba« in s tem nujna pokoritev estetiki socialističnega realizma. 

Glavni človeški problem Čajkovskega je bil povezan z njegovo spolno 

identiteto – s homoseksualnostjo, ki je bila v tistem času socialno izrazito 

stigmatizirana in celo kriminalizirana. Pod pritiskom okolice se je 

skladatelj leta 1877 vdal družbenim konvencijam in se na hitro poročil, 

vendar pa se je že tudi kmalu razdružil, močni psihični prizadetosti pa so 

se pridružili tudi zunanji bolezenski znaki. Veliko zaslug, da se je skladatelj 

izkopal iz depresije, gre pripisati premožni vdovi Nadeždi von Meck, ki je 

Čajkovskemu ponudila velikodušno rento, zaradi katere je lahko opustil 

svojo službo na konservatoriju in se popolnoma predal skladanju. Med 

Meckovo in skladateljem se je razvila živahna korespondenca (ohranjenih 

je okoli 1200 pisem), osupljivo pa je, da se mecenka in varovanec nikoli 

nista srečala. 

V času ene izmed osebnostnih kriz se je Čajkovski leta 1880 umaknil na 

posestvo svoje sestre v Kamenko. Tu sta nastali Uvertura 1812 in Serenada 

za godala. Pisanje prve je skladatelju predstavljajo muko, saj je pisal brez 

navdiha, vse drugače pa je bilo s Serenado, o kateri je Meckovi sporočil: 

»Serenado sem napisal iz notranje potrebe. Prišla je od srca, a zaradi 

tega, to si drznem zapisati, ni brez umetniške vrednosti.« Skladba sledi 

klasicističnim idealom, predvsem Mozartovim, izkazuje pa za Čajkovskega 

nenavadno motivično povezanost, saj celotna skladba izhaja iz padajočega 

tetrakorda. Prvi stavek je napisan v obliki sonatine, kar pomeni, da je 

brez središčne izpeljave: po slovesnem uvodu sledi klasicistično modeliran 

stavek. Drugi stavek je valček, za katerega se zdi, da bi lahko pripadal 

tudi kakšnemu mojstrovemu baletu, »Elegija« pa se razvija kot turoben 

dialog med violinami in violončeli. Za sklepni stavek je Čajkovski izbral 

dve ruski ljudski pesmi: prva tvori počasen uvod, drugo pa zaznamuje 

ognjevit plesni ritem. Celota skladbe je zaokrožena malo pred koncem, 

ko se ponovi počasen uvod iz prvega stavka, ki se nato umakne vedri 

prešernosti sklepnih taktov. 

Prekipevajoča radost napolnjuje tudi Prvi klavirski koncert Dmitrija Šostakoviča, 

ki je nastal kmalu po tem, ko je skladatelj dokončal svojo 

tragično opero Lady Macbeth Mcenska. Skladatelj, ki je delo napisal tudi za 

lastne pianistične potrebe, si je koncert zamislil kot nekakšno parodijo na 

klasicistično-romantični tip virtuoznega koncerta: namesto grandioznih 

tem in vrtoglavih pasaž smo priča številnim glasbenim »šalam«, aluzijam

in parodičnim elementom. Nenavadna je že zasedba, saj je skladatelj 

godalom dodal solistično trobento (Šostakovič je imel ob pisanju parta v 

mislih prvega trobentača Leningrajske filharmonije, Aleksandra Šmidta), 

za katero se zdi, da s svojimi komentarji ves čas »moti« gladek tok glasbe. 

Parodični karakter dela najavlja že začetek, v katerem lahko prepoznamo 

aluzijo na Beethovnovo sonato Appassionata, drugi stavek je melanholičen 

valček, tretji je zamišljen kot nekakšna prosta improvizacija, sklepni 

pa zopet prinaša kalejdoskop namernih banalnosti (spogledovanje z 

jazzovsko in popularno glasbo), karikirane aluzije na glasbo preteklosti in 

robustne ostinate. Šostakovič si je takšno odprto radoživost, zafrkljivost 

in eksperimentiranje lahko privoščil zadnjič – sledila je namreč uničujoča 

kritika »Kaos namesto glasbe«, po kateri je moral skladatelj svoj glasbeni 

jezik bistveno obrusiti. 

Komorni deli Szymanowskega in Francka pripadeta poznim skladateljskim 

obdobjem obeh mojstrov. Karol Szymanowski je bil sprva pod 

vplivom simfonične glasbe Richarda Straussa, kasneje pa si je obzorja 

razširil s potovanji v Italijo in severno Afriko. Tu se je »okužil« z ljubeznijo 

do Sredozemlja, antike in mitologije, v svoj glasbeni jezik pa je sprejel 

impresionistične vplive. Visoko estetizirana glasba Szymanowskega je 

nato nove odločilne spremembe doživela šele po letu 1922, ko se je 

skladatelj vse pogosteje odpravljal v Zakopane, kjer se je napajal ob 

ljudski glasbe ljudstev iz gorovja Tatre. Izraz ljudske glasbe je v tem času 

našel pot tudi v skladateljevo glasbo, vendar pa je Szymanowski ljudsko 

glasbo obravnaval podobno kot Bartók: v svojih delih praktično ni citiral 

ljudskih napevov, temveč je skušal glasbeni stavek sam oblikovati po vzoru 

ljudske glasbe. Drugi godalni kvartet iz leta 1927 prinaša tako nenavaden 

spoj izrazito senzualne, v harmonskem pogledu skoraj dekadentne glasbe 

z ritmičnim nabojem ljudske glasbe. Prvi stavek v obrisih še spominja 

na sonatno obliko, drugi stavek je scherzo, ki ga poganjajo močni ritmi 

ljudske plesne glasbe, zadnji stavek pa je domišljen kot dvojna fuga na 

ljudsko temo, ki jo je skladatelj uporabil že v svojem baletu Harnasie. 

Nenavadni in navidez diametralno različni vplivi so se pomešali tudi v 

značilni glasbeni idiom Césarja Francka. Za skladatelja je tako značilna 

skromna pobožnost, krščanska mistika, ki pa se spleta s harmonskimi in 

glasbeno-tehničnimi inovacijami Wagnerjeve glasbene drame in Lisztovih 

simfoničnih pesnitev. Oba vpliva se najbolj jasno prežemata v skladateljevem 

poznem opusu. Sonato za violino in klavir je Franck napisal leta 

1886 kot poročno darilo belgijskemu rojaku, slavnemu violinistu Eugènu 

Ysaÿeju. Skladba je podobno kot znamenita Simfonija v d-molu kljub 

navidezni regularni štiristavčnosti zasnovana izrazito ciklično. Solistična 

violina že v uvodnih taktih prvega stavka, ki je zasnovan kot razširjen 

preludij, prinaša zaporedje treh tonov, ki ga lahko razumemo kot motivično 

klico, iz katere raste tematski material celotne skladbe, uvod pa z 

nestabilnim nonakordom tudi napoveduje harmonijo, na katero je očitno 

močno vplivala kromatika Wagnerjeve glasbene drame Tristan in Izolda. 


29


30 

Pyotr Ilyich Tchaikovsky once wrote: “The artist leads a double life: as a 

normal person and as an artist. Anyone who thinks that an artist expresses 

in his art that which he feels in the heat of the moment is entirely mistaken.” 

This thought reflects the realisation that it is not necessarily possible to find 

strong parallels between an artist’s turbulent everyday life and an artist’s 

expression. This is undoubtedly demonstrated by at least two of the works on 

this evening’s programme: the apparently unburdened Serenade by Tchaikovsky 

was written during a rather difficult period of the composer’s life, 

while in Shostakovich’s boisterous First Piano Concerto there is no hint of 

the fact that just a few months later Stalin’s weighty ‘condemnation’ was 

pronounced, accompanied by the inevitable subjugation to the aesthetics 

of social realism. 

Tchaikovsky’s main human problem was connected with his own sexual 

identity, with homosexuality, which at that time was explicitly socially stigmatised 

and even criminalised. Under the pressure of the circumstances, in 

1877 the composer gave in to social conventions and quickly married, but 

the marriage was soon dissolved. The ensuing overwhelming psychological 

affliction was soon joined by signs of physical illness. Much of the credit for 

the composer being able to find his way out of his depression belongs to the 

wealthy widow Nadezhda von Meck, who offered Tchaikovsky a generous 

stipend, enabling him to resign from his position at the conservatory and 

devote himself entirely to composing. A lively correspondence developed 

between Meck and the composer (some 1200 letters are still extant) and it is 

an astonishing fact that the patron and her ward never actually met in person. 

In 1880, during one of his personal crises, Tchaikovsky withdrew to his sister’s 

estate in Kamenka. It was there that he composed the 1812 Overture and the 

Serenade for Strings. Writing the former work represented pure torment for the 

composer, as he composed without inspiration. It was, however, an entirely 

different story with the Serenade, about which Tchaikovsky informed Meck: 

“I have written the Serenade from an inner need. It came from the heart, 

and because of this I am bold enough to write that it is not without artistic 

value.” The composition follows classical ideals, above all those of Mozart, 

while demonstrating Tchaikovsky’s extraordinary motivate connectedness, 

with the entire work being derived from a descending tetrachord. The first 

movement is written in the form of a sonatina, which means that it lacks the 

central development section of a standard sonata movement: the solemn 

introduction is followed by a classically modelled movement. The second 

movement is a waltz, which almost seems that it could belong to one of the 

master’s ballets, while the ‘Elegy’ develops as a mournful dialogue between 

the violins and the cellos. For the concluding movement Tchaikovsky selected 

two Russian folk songs: the first forms a slow introduction while the second 

is marked by a fiery dance rhythm. The entire composition is rounded off just 

before the end when the slow introduction from the first movement returns, 

finally giving in to the cheerful abandon of the concluding bars. 

Dmitri Shostakovich’s First Piano Concerto, written shortly after the composer 

completed his tragic opera Lady Macbeth of the Mtsensk District, is also

imming with joy. Written partly for the composer’s own pianistic needs, 

the concerto is conceived as a kind of parody of the classical-romantic type 

of virtuoso concerto: instead of grandiose themes and dizzying passages we 

are witness to numerous musical ‘jokes’, allusions and parodic elements. Even 

the ensemble is rather unusual, as the strings are joined by a solo trumpet 

(in writing this part Shostakovich had in mind the first trumpeter of the 

Leningrad Philharmonic, Alexander Schmidt), whose commentary seems 

to constantly ‘disturb’ the smooth flow of music. The parodic character of 

the work is announced at the very beginning, with its evident allusion to 

Beethoven’s Appassionata sonata. The second movement is a melancholy 

waltz, the third is conceived as a kind of free improvisation, while the concluding 

movement again brings a kaleidoscope of intentional banality (flirting 

with jazz and popular music), along with caricatures of music of the past and 

robust ostinatos. This was the last time that Shostakovich could allow himself 

such open joviality, mockery and experimentation – after devastating criticism 

(“chaos instead of music”) the composer was forced to fundamentally 

distil his musical language. 

The two chamber works by Szymanowski and Franck both fall into the late 

compositional periods of the two masters. Karol Szymanowski was initially 

under the influence of the symphonic music of Richard Strauss, but later 

broadened his horizons with journeys to Italy and northern Africa. Here he 

was ‘infected’ with a love for the Mediterranean, antiquity and mythology, 

and his music took on impressionist influences. The highly aestheticised music 

of Szymanowski again underwent decisive changes only after 1922, when 

the composer travelled with increasing frequency to Zakopane, where he 

drank in the folk music of the people from the Tatra Mountains. During this 

time, the expression of folk music found its way into the composer’s music, 

but Szymanowski treated folk music in a similar way to Bartók: he practically 

never actually cited folk song in his works, but instead tried to form his own 

musical technique according to the model of folk music. Thus the Second 

String Quartet, from 1927, brings an unusual alloy of explicitly sensual music, 

almost decadent music in a harmonic sense, with the rhythmic charge of folk 

music. In its outline the first movement is still reminiscent of sonata form, 

while the second movement is a scherzo driven on by the powerful rhythms 

of folk music. The last movement is conceived as a double fugue on a folk 

theme that the composer had already used in his ballet Harnasie. 


Unusual, and apparently diametrically opposed, influences also come together 

in the characteristic musical idiom of César Franck. Typical of the 

composer are modest piety, Christian mysticism, interwoven with the harmonic 

and musical-technical innovations of the Wagnerian musical drama 

in the Lisztian symphonic poem. Both influences most clearly permeate the 

composer’s work in his late opus. Franck wrote the Sonata for Violin and Piano 

in 1886, as a wedding gift to his Belgian compatriot, the celebrated violinist 

Eugèn Ysaÿe. In spite of its apparently regular four movement scheme the 

composition is explicitly cyclic, similar to the composer’s celebrated Symphony 

in D Minor. In the opening bars of the first movement, which is conceived as an 

31

expansive prelude, the violin already states the sequence of three tones that 

we can understand as the motivic cell from which the thematic material of the 

entire composition grows. With its unstable dissonance the introduction also 

foreshadows the work’s harmony, on which it is clear that the chromaticism 

of Wagner’s music drama Tristan and Isolde had a strong influence. 

Gregor Pompe 



32

Sobota, 5. september 2009 / Saturday, 5. September 2009 




Skriti zakladi 


Hidden Treasures 

BORIS BEREZOVSKY, klavir / piano 



MATEJ GRAHEK, flavta / flute 

OGNJEN POPOVIĆ, klarinet / clarinet 

BOŠTJAN LIPOVŠEK, rog / horn 

JANE GOWER, fagot / bassoon 

THOMAS HAMMES, trobenta / trumpet 


Dmitrij Šostakovič (1906–1975): Trio za violino, violončelo in klavir št. 2 

v e-molu op. 67 / Trio for violin, cello and piano No. 2 in E Minor, Op. 67 

1. Andante – Moderato – Poco più mosso 


3. Largo – 

4. Allegretto – Adagio 

* * * 

Nikolaj Rimski-Korsakov (1844–1908): Kvintet za flavto, klarinet, rog, 

fagot in klavir v B-duru / Quintet for flute, clarinet, horn, bassoon and piano 

in B flat Major 


2. Andante 

3. Rondo. Allegretto 

Bohuslav Martinů (1890–1959): Kuhinjski revue (La revue de cuisine) / 

The Kitchen Revue 

1. Prologue 

2. Tango 

3. Charleston 

4. Final. 

33


34 

Kadar si v spomin prikličemo rusko glasbo 19. stoletja, takrat pred nami 

najbolj jasno oživijo toni živopisnih orkestrskih skladb in obsežne zgodovinske 

operne freske. To še posebej velja za opus Nikolaja Rimskega- 

Korsakova, v katerem dominirajo slavna simfonična dela (Šeherezada) in 

številna številne opere (Sadko, Sneguročka, Zlati petelin). Takšna predstava 

nas kaj kmalu pripelje tudi do predsodka, da bistvo ruske glasbe ni zasidrano 

v glasbeni substanci in tehniki, temveč da večina ruskih skladateljev 

kompozicijsko neznanje prikriva z razkošnimi barvami, torej zunanjim 

okrasjem. Takšen je bil pogled mnogih zahodnoevropskih sodobnikov 

na rusko glasbo, pri čemer so spregledali, da so ruski skladatelji samo 

spremenili hierarhijo pomembnosti posameznih glasbenih parametrov: 

inštrumentalno barvo so postavili pred intervalna razmerja, pri čemer 

danes vemo, da je glasbeni razvoj v 20. stoletju krenil prav v to smer. 

Tudi biografije mnogih ruskih skladateljev so kolegom na zahodu vsaj 

navidez samo še potrjevale sum o obrtniški neizdelanosti njihove glasbe: 

tudi Korsakov je bil sprva brez temeljite glasbene izobrazbe in se je 

preživljal kot mornariški častnik. Pridružil pa se je slavni ruski peterici, ki 

je želela vzpostaviti rusko nacionalno glasbo, ki bi se ognila zahodnoevropskim 

zgledom, kakršni so bili značilni za glavnega eksponenta ruske 

glasbe, Petra Iljiča Čajkovskega. Toda leta 1871 je kljub nasprotovanju 

kolegov v petorki Korsakov sprejel službo na konservatoriju in praktično 

čez noč se je iz napol kompozicijskega amaterja prelevil v izkušenega 

kompozicijskega mojstra, čigar tehnika je bila tako popolna, da je 

venomer popravljal dela svojih kompozicijskih somišljenikov. Toda do 

pravega umetniškega priznanja Korsakov še ni prišel. Zato ni čudno, da 

se je leta 1876 prijavil na kompozicijsko tekmovanje v komorni glasbi, ki 

ga je pripravilo Rusko glasbeno združenje. Korsakov je na natečaj poslal 

kar dve skladbi: Godalni sekstet in Kvintet v nenavadni zasedbi za flavto, 

klarinet, rog, fagot in klavir. Prav gotovo sta skladatelju kot zgled služila 

Mozart in Beethoven, ki sta napisala deli za podobno zasedbo (oba sta 

sicer namesto flavte uporabila oboo). Klasicistične vplive pa je Korsakov 

odkrito priznal, saj je celo sam zapisal, da je prvi stavek napisan »v klasicističnem 

slogu Beethovna«. 

Rezultati tekmovanja Korsakova niso preveč navdušili: Sekstet je pristal 

med omenjenimi deli, žirija pa je povsem prezrla Kvintet, ki ga je sam 

skladatelj imel za bistveno boljše delo. Vzrok za neuspeh dela gre verjetno 

iskati v dejstvu, da se je ansambel, ki je delo izvajal na tekmovanju, 

popolnoma sesul in skladbe sploh ni zaigral do konca. V prvem stavku 

zares lahko slišimo vplive Beethovna, pri čemer se zdi v melodičnem 

pogledu druga tema sonatnega stavka celo zelo podobna slavni temi iz 

finala Beethovnove Devete simfonije. Drugi stavek pričenja solistični rog, 

ki eksponira tematsko gradivo stavka, v središčnem delu pa je začetna 

tema spremenjena v fugeto, kar jasno kaže, da je Korsakov žirijo želel 

prepričati o visokem obvladovanju kontrapunkta. Finale je zasnovan kot 

rondo v tri osminskem taktu. Pričenja se zabavno s poskakujočim fagotom 

v oktavah, nad katerimi se razvije prepoznavna viža. Posebnost stavka

predstavlja osrednji del, ki si ga je skladatelj zamislil kot sosledje kadenc 

za vse inštrumente, ki jih prekinjajo znane oktave v fagotu. Lahkotnost 

in gladkost dela nas pušča brez besed: ruski skladatelji so vendarle znali 

pisati tudi komorno glasbo. 

Slednje še veliko jasneje potrjuje opus Dmitrija Šostakoviča, pa čeprav 

tudi njega danes poznamo predvsem po izrednem opusu petnajstih 

simfonij. Šostakovičevo naklonjenost komorni glasbi gre najprej pripisati 

dejstvu, da je dolgo časa sam mislil na pianistično kariero, kasneje 

pa je pogosto sodeloval kot pianist v komornih skupinah, hkrati pa je 

bolj v intimo zazrta komorna glasba skladatelju nudila možnost za bolj 

poglobljeno osebno izpoved, ki ni bila nujno povezana z diktatom socialističnega 

realizma. 

Drugi klavirski trio v e-molu je Šostakovič napisal leta 1944. Povod za 

nastanek gre iskati v nepričakovani smrti skladateljevega prijatelja, muzikologa 

Ivana Solertinskega, s katerim ju je prijateljstvo vezalo od leta 

1927. Široko razgledani Solertinski je napisal prvo rusko monografijo o 

Mahlerju in je Šostakoviča tudi okužil z ljubeznijo do tega velikana pozne 

romantike, kar najbolj razodeva skladateljeva Četrta simfonija. Trio se 

tako pridružuje še drugim komemorativnim delom, ki so nastala v tem 

času: Osma simfonija je zamišljena kot žalostinka za žrtve druge svetovne 

vojne, Druga klavirska sonata pa je napisana v spomin na Šostakovičevega 

učitelja klavirja Nikolajeva. 

Trio se pričenja z misterioznim zvokom flažoletov violončela in sordinirane 

violine. Toda takšen krhek začetek v nadaljevanju prerašča v robusten 

glasbeni stavek simfoničnih dimenzij. Divji Scherzo ne prinaša prave 

razbremenitve, temveč je napolnjen s številnimi kontrasti: kmečki ples 

se v triu umakne navidez bolj umirjenemu valčku. Largo je zgrajen na 

podlagi osmih temačnih koralnih akordov v nizki legi klavirja, ki v obliki 

passacaglie dominirajo cel stavek. Nad njimi godali razvijata žalno glasbo, 

ki prinaša izrazite aluzije na glasbo Mahlerja. Finale je spet nepopustljiv: 

zamišljen je kot nekakšen ples smrti. Šostakovič v njem ponavlja osrednji 

temi iz prvega in počasnega stavka, kot novo gradivo pa služijo elementi 

judovske glasbe, ki ima v skladateljevem opusu jasen simbolični pomen: 

gre za glasbo zatiranih. Seveda uporablja Šostakovič simbol predvsem 

zato, ker ga je mogoče precej prosto tolmačiti: na eni strani lahko simbolizira 

trpljenje ob holokavstu druge svetovne vojne, po drugi pa lahko 

izraža tudi skladateljevo osebno dilemo – kako ustreči pričakovanjem 

politike in se ne dokončno predati. 


When we think of Russian music of the 19 th century what comes to mind 

most clearly are the tones of painterly orchestral compositions and expansive 

historical operatic frescoes. This is particularly true of the opus of Nikolai 

Rimsky-Korsakov, which is dominated by celebrated symphonic works 

(Scheherazade) and numerous operas (Sadko, The Snow Maiden, The Golden 

35


36 

Cockerel). This kind of conception also soon leads us to the prejudice that the 

essence of Russian music is not rooted in musical substance and technique, but 

instead the Majority of Russian composers conceal their lack of compositional 

knowledge with luxurious colours, that is, with external ornamentation. 

This was the view of Russian music held by many of their western European 

contemporaries, a view that overlooked the fact that Russian composers 

had simply changed the hierarchy of the relative importance of individual 

musical parameters: instrumental colour was given priority over intervallic 

relationships, which is precisely the direction in which music developed in 

the 20 th century, as is clear from today’s perspective. 

The biographies of many Russian composers, at least on the surface, simply 

confirmed what their western colleagues suspected regarding the level of 

craft in their music: Rimsky-Korsakov himself initially lacked any fundamental 

musical education and made a living as a naval officer. He joined 

the celebrated Russian Five, who wanted to establish a Russian national 

music that would avoid western European models, such as those that were 

characteristic of the main exponent of Russian music of the time, Pyotr Ilyich 

Tchaikovsky. In 1871, however, in spite of opposition from his colleagues in the 

Russian Five, Rimsky-Korsakov accepted a position at the conservatory and 

practically overnight transformed from a compositional semi-amateur to an 

experienced compositional master whose technique was so perfect that he 

frequently corrected the work of his compositional adherents. Nonetheless, 

Rimsky-Korsakov did not achieve genuine recognition as an artist. It therefore 

comes as no surprise that in 1876 he entered a composition competition for 

chamber music organised by the Russian Music Society. In fact, he submitted 

two compositions to the competition: the String Sextet and the Quintet, 

with its unusual ensemble of flute, clarinet, horn, bassoon and piano. There 

is no doubt that Rimsky-Korsakov modelled his work on compositions by 

Mozart and Beethoven, who had both written works for similar ensembles 

(although they had both used flute instead of oboe). Rimsky-Korsakov himself 

acknowledged the classical influences, writing that the first movement was 

composed “in the classical style of Beethoven”. 

The composer was not so enthusiastic about the results of the competition: 

the Sextet had been placed amongst the mentioned works, but the jury had 

completely overlooked the Quintet, a work that Rimsky-Korsakov himself 

regarded as a much better composition. The reason for the lack of success can 

probably be sought in the fact that the ensemble that performed the work 

at the competition fell to pieces completely and was not even able to play 

the piece to the end. It is true that we can hear the influence of Beethoven in 

the first movement, in which it seems that the melodic profile of the second 

theme of this sonata movement is actually very similar to the celebrated 

theme from the finale of Beethoven’s Ninth Symphony. The second movement 

commences with the solo horn, which presents the thematic material 

of the movement. In the central section of the movement the initial theme 

changes into a fugue, clearly demonstrating that Rimsky-Korsakov wanted 

to convince the jury of his high level of mastery of counterpoint. The finale is

conceived as a rondo in three-eight time. It begins humorously with the bassoon’s 

leaping octaves, above which develops a distinctive tune. The feature 

of the movement is the central section, which the composer conceived as a 

sequence of cadenzas for all of the instruments, interrupted by the familiar 

octaves in the bassoon. The lightness and smoothness of the work leave us 

speechless: Russian composers did actually know how to write chamber music. 

The latter is even more clearly confirmed by the opus of Dmitri Shostakovich, 

although today he is also primarily known for his extraordinary set of fifteen 

symphonies. Shostakovich’s favourable disposition towards chamber music 

can first be attributed to the fact that for a long time he himself considered a 

career as a pianist, and later frequently participated in chamber ensembles 

as a pianist. At the same time, the more intimate focus of chamber music 

offered the composer an opportunity for a deeper personal expression that 

was not necessarily connected with the dictates of social realism. 

Shostakovich wrote the Second Piano Trio in E Minor in 1944. The reason for 

its emergence can be found in the unexpected death of the composer’s friend, 

musicologist Ivan Solertinsky, with whom he had established a friendship in 

1927. The broad minded Solertinsky had written the first Russian monograph 

about Mahler, and had also infected Shostakovich with a love for the great 

late romantic, as is most clearly evident in the composer’s Fourth Symphony. 

The Trio can be placed alongside other commemorative works composed 

in this period: the Eighth Symphony was conceived as an homage to the 

victims of the Second World War, and the Second Piano Sonata was written 

in memory of Shostakovich’s piano teacher, Nikolayev. 

The Trio commences with the mysterious sound of cello harmonics and muted 

violin. In the continuation, however, this fragile opening grows into a robust 

musical expression of symphonic dimensions. A wild Scherzo does not bring 

any real relief, but is instead full of numerous contrasts: in the trio the rural 

dance gives way to an apparently more tranquil waltz. The Largo is constructed 

on the basis of eight dark chorale chords in the lower register of the 

piano, which dominate the entire movement in the form of a passacaglia. 

Above them the strings develop mournful music that offers an explicit allusion 

to the music of Mahler. The finale is again relentless, conceived as a kind of 

dance of death. In it Shostakovich repeats the two central themes from the 

first movement and the slow movement, while new material is provided by 

elements of Jewish music, something that has a clear symbolic meaning in 

the composer’s opus: it is music of the oppressed. Of course, Shostakovich 

uses this symbol primarily because it is rather easy to interpret: on the one 

hand, it can symbolise the suffering during the holocaust of the Second 

World War, while, on the other hand, it expresses the composer’s personal 

dilemma – how to satisfy political expectations without entirely capitulating. 


Gregor Pompe 

37 

Prevod / Translation: Neville Hall

Sobota, 5. september 2009 / Saturday, 5. September 2009 

Filmska predstava / Movie presentation 

velika dvorana Narodni dom ob 17:00 / Narodni dom Hall at 17:00 

FILMI O SURFANJU V NARODNEM DOMU 

DIVJE VODE 

SURFING MOVIES IN NARODNI DOM 

ROUGH WATERS 

Foto Jon Frank

Sobota, 5. September 2009 / Saturday, 5. September 2009 



MARIBORSKA MUSICA SURFICA: 

Glasbena plima 

MUSICA SURFICA MARIBOR: 

Musical tide 

FESTIVALSKI ORKESTER / FESTIVAL ORCHESTRA 


Avtor fotografije / Images created by Jon Frank 

Derek Hynd na odlomkih iz filma Jacka McCoya / Derek Hynd surfing 

sequence courtesy of Jack McCoy 

Sodelujejo / Featuring: 

Barbara Kresnik, tolkala / percussion 

Tina Žerdin, harfa / harp 

Danny Spooner, glas / vocal 

Mike Kerin, violina, gosli / violin, fiddle 


Janez Podlesek, violina / violin 

Mile Kosi, viola / viola 

Igor Škerjanec, violončelo / violoncello 

Sabina Cvilak, sopran / soprano 

Matej Grahek, flavta / flute 

Milena Lipovšek, flavta / flute 

Tomaž Sevšek, čembalo / harpsichord 

Ben Carey, vizualna podoba, projekcija / projection 

Danilo Ženko, tonski mojster / sound engineer 

39


Richard Tognetti (*1965): The Glide, Somewhere (prva izvedba / 

premiere) 

Edward Elgar (1857–1934): Sospiri, Adagio za godala, harfo in orgle 

op. 70 / Sospiri, adagio for strings, harp and organ, Op. 70 

Richard Tognetti (*1965): Derek and The Far Field Theory (prva 

izvedba / premiere) 

Richard Tognetti (*1965): Dream ‘hatavat chalom’ (prva izvedba / 

premiere) 

Trad.: Call of the Seals (prir. / arr. R. Tognetti) 

Dmitrij Šostakovič (1906–1975): Godalni kvartet št. 9 v Es-duru op. 

117 (5. stavek – Allegro) / String Quartet No. 9 in E flat Major Op. 117 

(5. Movement – Allegro) 

Gavin Bryars (*1943): Jesus’ Blood never failed me yet 


* * * 

Johann Sebastian Bach (1685–1750): Odlomek iz Pasijona po Janezu, 

BWV »Ich Folge Dir Gleichfalls Mit Freudigen Schritten« / St. John 

Passion, BWV 245 – Ich Folge Dir Gleichfalls Mit Freudigen Schritten 

Dmitrij Šostakovič (1906–1975): Godalni kvartet št. 15 v es-molu op. 

144 (prir. R. Tognetti) / String Quartet No. 15 in E flat Minor Op. 144 arr. 

R. Tognetti) 

Richard Strauss (1864–1949): Morgen! op. 27, št. 4 / Morgen! Op. 27, 

No. 4 

40 

Foto Jon Frank

Richard Tognetti o Musici Surfici 

Pesem 

Tim Hughes: Oktobrska zarja 

Pesem Oktobrska zarja Tima Hughesa nas popelje v subjektivno interpretacijo 

sveta jesenskih barv, simbolov in občutkov; slutnja zime, morda celo 

ledene dobe, ostankov jesenske zabave na pohojeni zelenici, grmovja, ki 

bo umrlo z mrazom in reke, ki jo bo zaklenil led. Vse se bo kmalu začelo, 

ko moč mraza iztisne še zadnji ogenj iz vrelišča zemlje in srca. 

Glasba 

Drsenje, tam nekje 

Da bi tukaj, tako daleč od morja, zaobjeli bistvo nečesa oddaljenega 

in bi deskanje uporabljali za inspiracijo, je neverjeten dialog z naravo. 

Kakor Jonov izlet do Shipsternsa, je njegova pot do Islandije izjemna 

stvar. Kljub temu, da nas gravitacija vleče navzdol, še vedno osvajamo 

gore. Ne moremo proizvajati niti kisika niti vode, ki bi nas ohranjala pri 

življenju, vendar kljub temu iščemo morske globine. Ali je vse to res samo 

zato, ker je tam in obstaja? Morda pa je le potrditev, da obstajamo mi in 

da nadaljujemo z obstojem. 

Elgar Sospiri (Vzdihljaji) 

Ljudje se do sedaj niso resnično ukvarjali s tem, da bi raziskali zvezo med 

klasično glasbo in deskanjem, zato je pred nami bogato polje še neraziskanih 

povezav. Včasih nam vzame veliko časa, da najdemo pravo glasbo, 

ki bi se prilegala slikam in ki hkrati ne bi bila preveč očitna. Včasih pa se 

stvari zgodijo same od sebe. Elgarjevi Vzdihljaji so eno takšnih srečanj 

z Jonovimi ganljivimi in bleščečimi prizori strahospoštovanega zaliva 

Waimea. V svetu deskanja je prava legenda, prvi val se proslavi, največjega 

je treba osvojiti. Lepota njegovih posnetkov je v prikazu lahkotnosti 

bivanja grozečega vala in njegove smrtonosne moči. Njegovi posnetki 

preslepijo silovitost. Val je predmet, ljudje na njem pa se pojavijo le kot 

nekakšna bitja, ki so tja postavljena. Vendar ostajajo njihovi podvigi kljub 

navidezni nepomembnosti izjemni. Jezus je hodil le po vodi … 


Derek in teorija daljnega zvočnega polja 

To je edini segment, kjer se zares osredotočimo na deskarja; transcendentno 

nedoumljiva preobrazba športne aktivnosti peščice deskarjev na 

umetniški nivo. Derek Hynd je umetnik. Težko ga je kategorizirati in še 

težje določiti, predvsem kot surfarja. Jack McCoy je zadnja leta preživel 

ob snemanju tega posebnega človeka. Hynd je pionir ideje t. i. »surfanja 

brez smernikov«, kjer smer (orientacija) deske ni več pomemba ampak 

sledi pogledu – naprej, nazaj in v obrat. 

41

Sanje »hatavat chalom« (»za lepše sanje«) 

Napisali smo skladbo, za katero upam, da nežno prepeva ob slikah, ne 

da bi prenašala sporočilo neke zgodbe. Breztežnost. Satie bi to nalogo 

opravil odlično. 

Call of the Seals (Klic tjulnov) 

Tradicionalna skladba v Tognettijevi priredbi. Govori sama zase. 

Šostakovič Kvartet št. 9 

Naznanja in je skoraj nepojmljivo le medigra. 

Jesus’ Blood never failed me yet 

(Jezusova kri me še nikoli ni razočarala) 

Moč hipnoze leži v prepričanju pacienta. 


Bach »Ich folge Dir gleichfalls …« 

(»Kljub temu ti sledim …«) 

Kot pri Elgarju – z Jonom sva se spogledala in vedela … 

Šostakovič Kvartet št. 15 

Sproščanje šepetajoče izrazne moči, ki na trenutke prevzame. 

Strauss 

Jutro, je epilog. 

42 

Foto Jon Frank

Derek Hynd o Musici Surfici 

Deskarji radi preizkušajo meje. Počutijo se varne v objemu oceana, kot 

da jih ocean ščiti pred svojo strahovito močjo. Ne glede na velikost valov, 

silovitost vetra ali del dneva se deskar goreče prepusti vznemirjenosti 

pred grozečo nevarnostjo. Ta prefinjena norost presega vsakršno logiko. 

Jon Frank, čigar kinematografsko delo v sodelovanju z Richardom 

Tognettijem bo prikazano v Mariboru, se je pred kratkim mudil na skrajnem 

robu Južnega oceana, kjer se je spopadal z valovi orkanskih moči. Na 

svojem »pohodu« je varno prispel do Shipstern’s Bluffa, severo-vzhodno 

od zaliva Hobart’s Storm Bay. Njegov cilj je bilo opazovanje masivnih 

valov, ki se cevasto lomijo v ogromne, več kot petdeset metrov dolge 

»tube«. Pogled je bil osupljiv. 

Pot nazaj pa je bila nekaj drugega. Le malo pred temo, ko je bila pred njim 

še kakšna ura možnosti, da se prevrne ali zaradi okvare motorja ustavi, 

se je v čolniču samo dvanajst konjskih moči in velikem, da vanj komaj 

leže človek, soočil z grozečimi šestmetrskimi valovi. Preden je poskusil 

izvesti enega najusodnejših trikov na svetu, se je neustrašni Frank znašel 

pred neizogibnim vprašanjem, ali naj se povzpne na še eno vertikalno 

morsko steno. Kaj ga je gnalo v nevarnost, da si v notranjosti vodnega 

tulca povsem od blizu ogleda enega najmočnejših valov na svetu, ne da 

bi to komurkoli povedal? 

Takšni poznopopoldanski samomorilski deskarski podvigi so za umetnika 

v Franku nekaj vsakdanjega. Iščoč temačna čudesa deskanja, Frank živi 

za bližino srditega morja. 

Jack McCoy je zmernejši, vendar prav tako vnet. Tudi on je Tognettijev 

sodelavec, ki pri svojih šestdesetih letih razvija umetnost podvodne 

kinematografije na način, ki mu ni para. Posnel je eno najboljših jež na 

smrtonosnem predelu »Konec poti« na Tahitiju, zdaj pa pod valovi, ob 

vznožju vodne gmote, vzporedno s silovitim, v tulec se lomečim valom, 

držeč se za potopljivo plovilo, drsi s hitrostjo dvanajstih vozlov. 

Čemu? Kljub nevarnosti, da ga vrtinec potegne v skoraj gotovo pogubo, 

je to pogled, še nikoli viden v katerikoli umetniški formi. 

Tognettija ocean očitno pomirja. Čeprav na manj vratolomen način, 

preprosto mora deskati. Skrbno izdelan načrt deluje precej preprosto – 

iskanje in jezdenje valov. Čeprav se ne podaja na izlete z Jonom Frankom 

v grozljivem mraku ob tasmanski obali in tudi ne z McCoyem, privezan 

za njegovo plovilo, v tuljave tahitijskih valov, se rad napoti po sledi za 

svežimi valovi. 

V deskanju je nekakšen prvinski zen. Podobno kot visokogorsko plezanje, 

predstavlja deskanje dejanje harmonične obnove, ki se v tisočletju le 

neznatno spreminja. Pritisk se sprosti. 

Pred desetimi leti, na primer, v finalnem delu tekmovanja Davis Cup, 

sta bila v kraju Bayonne izenačena dva tekmovalca. Čutiti je bilo silen 


43


44 

naboj francoskega ponosa, ves narod je zadrževal dih pred nezadržnim 

izbruhom ob skorajšnji premoči svojega ljubljenca. Toda naenkrat je 

izginil z obzorja. Nihče ga ni videl. Izgubil se je. 

Sledil je nazoren primer francoske panike. Že so bili pričakovani penali, 

ko se je na površju nekaj prikazalo. Forget je šele pred kratkim začel z 

deskanjem. Ljudstvo ga je zagledalo v morju ob kolegu Angletu – v siloviti 

izmenjavi valov s svetovnim prvakom Tomom Currenom – v strastni dirki 

do obale. Kakorkoli, ježa deskarja začetnika je lahko bolj vznemirljiva kot 

deskanje mojstra valov. Nekoliko je postal, preden se je zagnal v zadnji 

val in nato presrečen zakorakal po pesku. 

Do prizorišča, kjer so metali kovanec, se je skozi neznansko gnečo prebil v 

zadnjem hipu. Ne da bi se prav ogrel, je pometel s svojim nasprotnikom. 

Deska je mnogo starejša od violine s severa in lutnje z juga, izvira iz obdobja 

plemenskega Peruja, okrog leta 2000 pr. n. št. Tognettijeva zadnja 

deskarska strast je starodaven način deskanja brez smernikov. Kot eden 

izmed prvih navdušencev za oživljanje te spretnosti, svoj hobi uspešno 

združuje s kariero. 

Tognettiju sem se pridružil že pri številnih manjših deskarskih podvigih. 

Samo lovila sva valove. Srečava se na najbližji možni plaži ali pa skušava 

ujeti ugodne vremenske razmere kje daleč stran. Podava se na lov za 

zabavo. 

Med enim tovrstnih podvigov, južno od Roaring Forties, se je porajala 

ideja o široko zasnovanem ustvarjalnem projektu, ki naj bi združeval na 

videz nezdružljivo in pritegnil tudi mlajše občinstvo. S pomočjo finančnega 

zaledja s strani Tognettijevega Avstralskega komornega orkestra, 

ki zaupa njegovemu notranjemu občutku, se je rodila Musica Surfica. 

Frankovemu prvotnemu poskusu in kasneje McCoyevi turneji z deskarji 

brez smernikov na eni in glasbeniki Avstralskega komornega orkestra 

na drugi strani je sledil edinstven domino efekt. Glasba Paganinija in 

Šostakoviča, pomešana z doslej nepoznanim načinom deskanja, je dosegla 

izjemen odmev. 

Predstava Richarda Tognettija in Satu Vänske v opuščeni tovarni, prepletena 

z Wegenerjevim in Joskejevim mojstrstvom na deskah brez smernikov, 

narejenih po starodavni metodi, je povzročila zaznaven premik v surferski 

dinamiki. Po tridesetih letih usmerjanja pozornosti vedno intenzivneje 

na športni pomen deskanja, je tokrat do izraza prišel umetnostni vidik. 

Dogodek Musica Surfica se je po enkratnem predvajanju na avstralski 

televiziji nekako znašel na DVD-ju ter postal največkrat nagrajeni film leta 

o deskanju od New Yorka do Biarritza. Mladoletni deskarji od Malibuja 

v Kaliforniji do Noosa Headsa v Avstraliji opuščajo kričavost pop kulture 

in se vračajo k tisočletja stari metodi. 

Joe Strummer je nekoč polagal upe v punkrock reklo: »Naslednja generacija 

– Razodetje«, Richard Tognetti je to občutje utrdil z vsebino.

Jon Frank o Musici Surfici 

Ime mi je Jon Frank. Star sem 38 let in živim v Viktoriji, Avstralija. Življenje 

je tukaj na drugem koncu sveta mirno, kar mi povsem odgovarja. Tukaj je 

morje čisto kot brinjevec; zelena steklenica, napolnjena z belim žganjem 

in dvignjena proti soncu. 

Ko se po dolgih potovanjih, ki jih pogosto preživljam v družbi ostalih, 

vrnem domov, čutim sveži pečat samote. Ponavadi mi vzame dan ali dva, 

da se privadim na drgetajoče verze zahodnega oblaka, premikajočega 

se mimo kuhinjskega okna ter pripeva mimobežnega dežja, ki dela trušč 

na moji pločevinasti strehi. 

S fotografijo sem se začel ukvarjati pri dvajsetih letih. Tisti trenutek, ko 

sem približal kamero k svojemu levemu očesu, je bil svet videti lepši; kakor 

da bi čakal, da ga ujamem v objektiv. Nikoli nisem imel resne ambicije, da 

postanem fotograf, a ko se je moja takratna glasbena pot basista začela 

strmo spuščati, sem začel fotografirati vse, kar sem poznal, deskanje, 

ocean in valove. Pri tem sem spoznal, da je možno posneti svet kot ga 

vidim na poseben in izjemen način. 

V svoji karieri sem večinoma snemal videe in filme ter se ukvarjal s statično 

fotografijo. Ne verjamem, da so velike razlike v mojem pristopu pri 

fotografiranju v različnih formatih, mogoče se za spoznanje razlikuje sama 

postavitev v vodi. Moj primarni cilj je bil vedno fotografirati kar se da 

naravno. Največje zadovoljstvo mi predstavlja, ko fotografiram neopazno 

in potihoma. Najraje odplavam ven in fotografiram sam. 

Bili so časi, ko telefon ni zvonil več mesecev. Imam kolege, ki delajo podnevi 

ali ponoči, ki fotografirajo modo, poroke ali reklame, da bi preživeli. 

Sam sem imel to srečo, da sem se prebil s fotografiranjem deskanja na 

vodi. Včasih minevajo tedni, ne da bi vzel kamero v roke, vendar ponavadi 

razmišljam v podobah, slike begajo v mislih in dobivajo obliko, medtem 

ko živim iz dneva v dan. Veliko priložnosti se hitro izmuzne, vendar jih tu 

in tam nekaj ujamem in shranim v svojo majhno črno škatlo. 

Deskanje na vodi ni moja edina ljubica, je pa ljubica, ki ne pozna ljubosumnosti. 

Morda zato, ker ve, da bi se vedno vrnil k njej, če bi kadarkoli v 

življenju zašel. Veselim se tega, da uvajam svoja otroka v življenje deskarjev. 

To mi predstavlja največje veselje, ki jima ga lahko dam. Radost mi 

vračata, ko me spravita tja ven ob dnevih, ko bi se sicer odpravil domov 

in pil pivo. Vsa izkušnja deskanja je vzajemna. 

Deskanje je preprosto in popolno in nima v svojem bistvu ničesar opraviti 

s statusom, videzom ali egom. Morda idealiziram, vendar sam v to 

verjamem. Vse, kar je danes povezano s človeštvom, je povezano z zgoraj 

navedenim, pa vendar še vedno obstajajo dnevi, ki jih lahko preživim 

spokojno, sam z morjem. 

Če bi hotel opisati svoje delo, bi rekel, da gledam v svet in čakam, da 

ujamem trenutek, ko se zgodi nekaj, kar ima smisel. 


45

Richard Tognetti about Musica Surfica 

The poem 

Tim Hughes: October Dawn 

October is marigold, and yet 

A glass half full of wine left out 

To the dark heaven all night, by dawn 

Has dreamed a premonition 

Of ice across its eye as if 

The ice-age had begun to heave. 

The lawn overtrodden and strewn 

From the night before, and the whistling green 


Shrubbery are doomed. Ice 

Has got its spearhead into place. 

First a skin, delicately here 

Restraining a ripple from the air; 

Soon plate and rivet on pond and brook; 

Then tons of chain and massive lock 

To hold rivers. Then, sound by sight 

Will Mammoth and Saber-tooth celebrate 

Reunion while a fist of cold 

Squeezes the fire at the core of the world, 

Squeezes the fire at the core of the heart, 

And now it is about to start. 

46

Glide, Somewhere 

To capture an essence of somewhere remote, and to use surfing as the inspiration 

and to view it here so far from the sea is an implausible dialogue 

with nature. Like Jon’s trip to Shipsterns, his trip to Iceland is an improbable 

journey. Gravity pulls us down to earth but we insist on climbing mountains. 

We cannot release oxygen in H2O to sustain us but still we seek the watery 

depths. Is it really just because they are there? 

Perhaps it’s more an affirmation that we are and continue to be, here. 

Elgar Sospiri 

Humans to this point in time haven’t really bothered to explore the combination 

of classical music and surfing, leaving it as a rich vein of enterprise for 

us to survey. Sometimes we struggled to find the “right” music that sang to 

the images and yet was not overly cloying and obvious. Sometimes things 

just click the first go. Elgar’s Sospiri was one such union with Jon’s touching 

and radiant footage of the awesome power of Waimea Bay. In the surfing 

world it is the original legend – the wave is the first celebrated big wave to be 

conquered. The beauty of this footage lies in the way Jon brings a lightness of 

being to a wave glorified for its awesome deathly power. The images belie this 

intensity. The wave is the subject. The humans appear mere in their existence 

on it. Although on the other hand, what they are doing is exceptional. Jesus 

only walked on water … 


Foto Jon Frank 

Derek and The Far Field Theory 

This is the only segment to really focus on the surfer. Few surfers transcend 

their sport to turn it into an art. Derek Hynd is a life artist. Hard to catergorize 

and even harder to pin down … esp. on a surfboard. Jack McCoy has spent the 

past year filming this elusive character whose quirky quotient runs as high as 

a bird flies. He has been pioneering the idea of friction free surfing – looking 

forward, looking back, spinning. 

47

Apesanteur Dreaming 

We wrote music that hopefully gently sings to the images without trying to 

convey a story. Apesanteur. Satie would have done it perfectly. 

Call of the Seals 

Trad. arr. Tognetti – Speaks for itself. 

Shostakovich 9 

is a precursor and as an improbable interlude. 

Jesus’ Blood never failed me yet 

The power of hypnosis lies in the belief of the patient. 


Bach 

“Ich folge dir gleichfalls…” (“I likewise follow you 

with eager steps”) 

Shostakovich Quartet no. 15 

Unleashing a whispering suggestive power that, at times, is overwhelming. 

Strauss Morgen 

Is an Epilogue. 

48 

Foto Jon Frank

Derek Hynd about Musica Surfica 

Surfers tend to push limits. They feel they are cocooned within the ocean 

against its formidable power. 

No matter the size of wave, strength of wind or time of day, the surfer seems to 

welcome the lull before peril. A form of madness takes precedence over logic. 

One Sunday afternoon on the island of Tasmania, at the edge of the far 

reaches of the southern world, “am Ende der Welt”, (which was from the 

1830’s the principal penal colony in Australia), the artist Jon Frank, whose 

cinematographic work is featured here in Maribor put out from safe harbour 

in a tiny little runabout boat. 

The sky was a steely grey and the wind calm (the lull before the peril) as he set 

out on a spur of the moment unaccompanied passage. One hour later he had 

arrived at the infamous Shipstern Bluff to the north east of Hobart’s Storm Bay. 

His mission was to view the massively open ‘tubing’ waves. From 50 metres 

away the vision was awe-inspiring. But soon after arriving the wind began 

to howl and the colossal waves turned to heaving chaos. The way back was 

a different matter. As he set his boat around for the return journey, elation 

turned to gallow’s humor as he faced distorted 20 foot seas with a feeble 12 

horse power motor attached to a coffin sized open boat, close to darkness 

and facing a good hour or more of potential capsize or stall before trying 

to navigate one of the most treacherous bluffs on Earth. Cresting another 

vertical wall of water, the intrepid Frank pondered the inevitable question: 

What possessed him to take a look at one of the heaviest waves in the world 

from close quarters, in a veritable bottle cap, without telling a soul? 

Events such as the late afternoon suicidal surf check are normal for the artist 

in Frank. Invoking dark wonders of the surfing experience, he lives for 

proximity to the angry sea. 

He didn’t film this particular event. To hold a camera and live would have 

been impossible. To be a voyeur to his own undoing, knowing the ocean 

would have swallowed the evidence would have been the poet’s ultimate 

ascetic statement. 

Jack McCoy is more measured, though just as driven. Another collaborator of 

Tognetti’s, the 60 year old continues to define the art of underwater cinematography 

in a manner few peers would attempt. Having filmed the greatest 

ride of all time at the deadly Tahitian location ‘End of The Road’ from the 

safety of a boat, he now trolls beneath the wave on the reef floor, running 

next to the ‘tube’ holding on to a submersible James Bond like machine 

travelling at 12 knots per hour. 

Why? Despite the risk of being sucked through the vortex to a rather certain 

demise, the vision is like nothing ever seen before in any artistic form. 

Tognetti obviously finds release in the ocean, albeit in less challenging manner. 

Simply, he must surf. A considerable schedule is rendered relatively easy 

by seeking out and riding waves. Whilst perhaps fortunate not to be in the 


49


50 

vicinity of Jon Frank that violent dusk off Tasmania, or piggy backed to McCoy 

beneath Tahitian tubes, the extra yard in pursuing fresh edge is familiar. 

There’s a certain primal Zen in surfing. Not unlike mountain climbing, it 

presents an act of harmonic renewal little changed in an eon. Pressures will 

peel away. 

By way of example, a decade ago, the Davis Cup Final was level at two rubbers 

all in Bayonne. With a defining point of French cultural pride at hand 

within the hour and the nation in expectant uproar, lynchpin Guy Forget 

was surely destined. Except no one could find him. He was missing. Gone. 

A master class in French panic set in. The consequence of forfeit was raised 

before a piece of trivia surfaced. Forget had recently taken up surfing. A dash 

to the coast found him in the sea at Anglet – incongruously trading waves 

with World Champion surfer Tom Curren. No matter, a beginner’s ride could 

feel more sublime than that of a master. He bided his time for a nice last wave 

before happily walking up the sand, and making it through considerable 

traffic to the coin toss. 

Without warm up, he wiped the opponent off the court. 

The surfboard predates the violin of the north and the ‘oud to the south by 

the far march of time, stemming from tribal Peru in 2000BC. At the core of 

Tognetti’s latest surfing penchant is the ancient method of finless surfing. 

As one of a tight original crew to revisit the practice, the grounding pastime 

is patterned with career. 

I have joined Tognetti in many a Minor surfing venture. Just searching for 

waves. We meet at the closest possible beach or chase weather far a field. 

We chase serious fun. 

On one charge south into the Roaring Forties a freeform project was set in 

train. With ACO bedrock funding, management trusting Tognetti’s gut feeling 

that youth culture would connect with a trip stepping back with a view 

to the future, Musica Surfica was born. 

With core vision shot by Frank – and later by McCoy on a litmus tour by finless 

surfers and ACO musicians on the Australian coast, a rare ripple effect took 

hold. Textures of Paganini and Shostakovich mixed with hitherto arcane 

surfing struck an extraordinary chord. 

The performance of Tognetti and Vänskä in an abandoned factory, juxtaposed 

with finless surfers Wegener and Joske on ancient recreations, saw a subtle 

shift in the surfing dynamic. In some relief to 30 years of a penny ante pro 

sport, focus on the artform returned. 

With the Musica Surfica event escaping under the table to DVD after a one 

time showing on Australian television, it has become the most awarded 

surfing film of the year from New York to Biarritz. Teen surfers from Malibu 

in California to Noosa Heads in Australia are abandoning the fizz of pop 

culture for a method dating back eons. 

Joe Strummer once put his hopes in punk rock parlance, “Next Generation, 

A Revelation”. Richard Tognetti has fortified the sentiment, with substance.

Jon Frank about Musica Surfica 

My name is Jon Frank. I am 38 years old and live in Victoria, Australia. Life is 

quiet this near to the bottom of the world, which suits me fine. The sea down 

here is gin clear; the colour of a green bottle filled with white spirits and held 

to the sun. After being on the road for a while, often travelling in the close 

company of others, there is a refreshing brand of solitude to be found on my 

return home. It usually takes me a day or two to get used to the quivering 

verses of westerly cloud ripping past my kitchen window or the chorus of a 

passing shower strumming on my tin roof. 

I began photographing at age twenty. The moment I held the camera up 

to my left eye the world looked better, like it had been waiting to be framed 

inside a rectangle. I had no real ambition to become a photographer but 

with my chosen career as a bass player heading resolutely downhill I began 

shooting pictures of what I knew, which was surfing and the ocean and 

waves. I realised that here lay a possibility to record how I saw my world, 

and to do so in a unique voice. 

For most of my career I have shot video and motion picture film as well as 

stills photographs. I don’t think there is too much difference in my approach 

to photographing in these formats, maybe some slightly different positioning 

while shooting in the water. My primary objective is always to try and capture 

the world as naturally as possible. The greatest pleasure for me is to just 

go about making pictures quietly and unnoticed. I prefer to swim out and 

shoot alone. 

There have been times when the phone may not ring for a few months so it 

pays to be diverse. I have colleagues who work day jobs or night jobs or shoot 

fashion, weddings or advertising to get by. I have been fortunate enough 

to be able to get through within the surfing world. Weeks can pass without 

me picking up a camera but I am usually thinking about photographs or 

seeing them flutter by as I go about day-to-day life. Most opportunities slip 


51 

Foto Jon Frank

quickly away, but occasionally I will be able to trap one inside my little black 

box to keep. 

Surfing is not my only mistress, but she doesn’t get jealous; perhaps because 

she knows that if I ever stray, I will always come back. I am enjoying introducing 

my two children to the surfing life. It is the greatest joy I could think of giving 

them. Now they are giving back to me by getting me out there on days when I 

would normally just head home and drink a beer. The entire surfing experience 

is circular. 

Surfing is so simple and perfect and at its core has nothing to do with wealth 

or status or appearances or ego. Of course this is idealistic but I believe it to be 

true. Anything in the twenty-first century involving mankind will contain all 

of the above, but somehow there are still those days when you can experience 

a quiet session with the sea where nothing else exists. 

If I had to describe my work I would say that I just look at the world and then 

wait for something to happen that makes some kind of sense. 


52 

Foto Jon Frank


Odprtje fotografske razstave / Opening of an exibition of photographs 

Dvorana Union – predbalkonska dvorana ob 22:00 / 

Union Hall – Balcony Front Hall at 22:00 

JON FRANK, 

Festival Maribor 2008 

53


54 

Jon Frank – Epilog 

Od meje z Avstrijo se z veliko naglico približujem Mariboru in ne vem 

natančno, kaj naj pričakujem. Moj šofer, zelo družaben Slovenec, čigar 

imena si ne uspem priklicati v spomin, na vsaki bencinski črpalki velikodušno 

ustavi, tako da se lahko za nadaljnje kilometre v neznano preskrbim 

z novimi zalogami odličnega, hladnega slovenskega piva v pločevinki. Ko 

se pripeljeva na mariborski mestni trg sem izredno dobre volje. 

Zdi se popolnoma samoumevno, da se bom kot fotograf in snemalec 

deskanja na vodi odpravil na raziskovanje obale. Ločen od morja, začutim 

vznemirjenje ob misli, da ne bom ponovno bolščal v horizont. 

Slovenija ima na zahodu države košček obale, ki meji na sosednjo Italijo 

in ga nežno ljubkuje topla voda Jadranskega morja. Ta obala ni znana 

po velikih valovih in tako me prav nič ne mika odpotovati iz mojega na 

novo osvojenega mesta med griči. 

Festival se prične prihodnjo noč. Fotografiram glasbenike, toda fotografije 

se v primerjavi z lastnimi občutki ob doživljanju glasbe zdijo nepristne in 

brez življenja. Iščem način, kako fotografirati glasbo, kako ujeti v podobo 

zvok orkestra; ne želim le prežati, da v objektiv ujamem negiben profil 

katerega izmed solistov. Moja teorija je, da če pustim zaklopko fotoaparata 

dovolj dolgo odprto, glasbeniki ne bodo izginili, nasprotno, njihova 

podoba se bo umaknila beli svetlobi, živemu in žarečemu univerzumu 

zvoka in gibanja. Ne uspe mi – pa tega ne sprejmem z bridkostjo. 

Nemo in vsaj navidez brez velikega notranjega boja med sprehodom po 

ozkih ulicah skrbno preučujem svoje čevlje … 

Nekega večera sedim sam v klubu, kjer se zbirajo glasbeniki. Prostore, 

polne pridušene svetlobe, prežema zatohel vonj. Klet je polna majavih 

miz, lesenih stolov in temnih kotičkov, z drugimi besedami, to »zaklonišče« 

je popolno. Zastonj hladno rdeče vino in mlačno pivo v velikih steklenicah 

predstavljata veliko skušnjavo. Sem prihajajo vsak večer glasbeniki 

in njihov prihod vedno znova poživi razpoloženje v vzdušja polnih prostorih. 

Zdi se mi, da se tukaj počutijo veliko bolje kot zunaj, kjer jih sveže 

obrite, lepo oblečene in na sijočih lesenih deskah osvetljujejo žarometi. 

Ruski in skandinavski glasbeniki pijejo vodko do zgodnjih jutranjih ur, 

njihove žgečkljive zgodbice zvenijo v melodijah mnogoterih naglasov 

in se izgubljajo v gromkem krohotu; zvenijo, kot da skušajo priklicati 

svoje prednike. 

Slednjič se Brigita odloči, da je čas za počitek in jih pošlje spat, te izgubljene 

ovčice, te velike sramežljive otroke z večnim leskom v očeh. 

»Jutri igrate Mozarta … Pojdite spat!« 

Zaradi vina imam glavobol. Razmišljam, kaj naj naredim, za popotnico 

si lahko naročim še eno pijačo, toda odločim se za sprehod ob rečnem 

bregu. Ob porajajoči se prvi sivi jutranji zarji ugotovim, da moram, če 

želim ujeti v objektiv glasbo, fotografirati tiste, ki glasbo ustvarjajo in 

ujeti njihovo popotovanje po arhaični pokrajini notnih zapisov. Brez 

glasbenikov glasba ne obstaja, in tisti, ki ji prisluhnejo, lahko skozi njihova

življenja, ki se zrcalijo v izvedeni glasbi, izkusijo resnično 

človeško razodetje. Zvoki njihovih obrabljenih, ukrivljenih 

lesenih glasbil pripovedujejo v enaki meri o minulih 

dnevih in letnih časih, o zgodovini sveta, o starih ljubeznih 

in strahu pred smrtjo. 

Težko je fotografirati klasičen koncert. Predstavljate si 

značilen klikajoč zvok, ki prihaja iz moje nič kaj obzirne 

črne škatle. Za človeka, ki nerad vzbuja pozornost je 

sramotno in preprosto neprijetno, da ob vsaki zamisli z 

glasnim sprožilcem in brnenjem pritegne pozornost. Na 

srečo odkrijem največ trenutkov, ki se mi zdijo zanimivi, 

pred ali po koncertih in med vajami. 


Glasbene vrhunce za novinca v klasični glasbi predstavljajo 

Rus Boris Berezovsky, ki na otvoritvenem koncertu igra 

Beethovna, dostojanstvo in veličina Williama Bartona, 

čudovito »Svetlenje« ter Tognettijeva neomajna ustvarjalna 

moč in sposobnost vodenja. In nazadnje, zaključni 

koncert v mariborski stolni cerkvi z izvedbo Lebiča, Pärta, 

Haydna in Mozartove »Velike maše«, ki me gane do solz. 

Ta koncert lahko označim kot najpomembnejšo glasbeno 

izkušnjo v svojem življenju. 

55


56 

Jon Frank – Afterword 

I approach Maribor at great speed through the Austrian border with little 

idea of what to expect. My driver, a gregarious Slovene whose name has 

been lost to the day, generously pulls over at each service station we pass so 

I can avail myself of the facilities and re-stock for the unknown miles ahead 

with fine, cold Slovenian beer in a can. I am in a terrific mood as we drive 

into Maribor Town Square. 

It may be obvious to state that I tend to travel to coastal regions for my work 

as a surfing photographer and cameraman. To be isolated from the sea is 

not a completely new experience but I feel excited by not having a horizon 

to gaze at. Slovenia does have a slither of coast in the west facing Italy, delicately 

caressed by the blood-warm waters of the Adriatic Sea. This coast is 

not known for its waves, so I have little interest in journeying away from my 

newly acquainted mountain city. 

The festival begins the following night. I begin by making pictures of musicians 

playing music but they feel hollow and lifeless when compared to my 

own memories of the concerts. I must attempt to find a way to photograph 

the music itself, to capture the sound of the orchestra in an image, rather 

than another static profile of the latest soloist. I have a theory that if I leave 

the shutter of my camera open long enough the musicians will all but disappear, 

evacuating their present form to become a mass of white light, a living, 

radiating universe of sound and movement. I fail eventually, not in misery, 

but rather mutely and without much fight or evidence, except perhaps that 

I take to studying my boots while out walking the city’s narrow laneways. 

One evening I am sitting alone in the Musicians Bar. Home to a pungent 

musty aroma that permeates it’s candle lit chambers, this basement bomb 

shelter is all wobbly tables, wooden chairs and dark corners; in other words, 

perfect. Chilled red wine and room temperature beer in large bottles served 

free of charge is cheese to a rat with a gold tooth. Atmospheric as it is, the 

musicians come each night, stamping down the stairs, their arrival never failing 

to lift the room. I suspect they feel more at home in this subterranean dive 

than out in front of all, brightly lit from above, clean shaved in monkey-suits 

upon the polished wooden boards. The Russian and Scandinavian players 

sit drinking Vodka until the early hours telling bawdy stories in all manner of 

tongues, bellowing and roaring; summoning ancestors. Finally Brigita will 

decide it’s time to send them on their way, these little lost sheep, these large 

coy children with glints firmly set in their eyes. 

“You have Mozart tomorrow … go sleep!” 

Tonight the wine is giving me a headache. I am pondering the possibility 

of just one more to steady myself for the walk home, when I decide to take 

a stroll along the riverbank. Beneath a wanting grey dawn I realise that to 

photograph the music itself is to photograph the vessels, the conduits to 

those ancient scrolls. Nothing exists without the musicians themselves, and 

it is through their lives that those present can experience a truly human 

revelation. The notes played on their worn, curved wooden instruments are

telling of days and seasons gone, of the whole 

world’s history, our past of old love and feared 

death in equal measure. 

Photographing a classical concert is difficult. 

Imagine the noise of a canon shrieking from my 

idiotic black box. It’s ignoble, undignified and 

plain embarrassing for an introverted personality 

to be drawing attention to his every thought 

with a loud click and whir. Fortunately I discover 

the Majority of the moments that interest me occur 

before or after the concerts themselves or during 

rehearsals. 


Musical highlights for this classical music neophyte 

are Russian Boris Berezovsky playing Beethoven 

at the opening concert, William Barton’s dignity 

and stature at all times, finally experiencing the 

magnificent ‘Luminous’, Tognetti’s unwavering 

verve and leadership, and the closing orchestral 

concert in the Maribor Cathedral featuring Lebic, 

Pärt, Haydn and Mozart’s mass, which moves me 

to tears and ranks as the greatest musical experience 

of my life. 

57

Nedelja, 6. September 2009 / Sunday, 6. September 2009 




Vezi pretrgane, 

vezi ustvarjene 


Bonds broken, 

bonds created 


SATU VÄNSKÄ, violina / violin 

MICHAEL KUGEL, viola / viola 

MILE KOSI, viola / viola 


IGOR ŠKERJANEC, violončelo / violoncello 

VLADIMIR JURC, pripovedovalec / narrator 


Johannes Brahms (1833–1897): Godalni sekstet št. 2 v G-duru 

op. 36 / String Sextet No. 2 in G Major, Op. 36 

1. Allegro non troppo 

2. Scherzo. Allegro non troppo – Presto giocoso 

3. Poco adagio 

4. Poco allegro 

* * * 

Arnold Schönberg (1874–1951): Ozarjena noč op. 4 / 

Transfigured Night, Op. 4

Richard Dehmel: Ozarjena noč 

iz zbirke »Ženska in svet« 

Dve postavi gresta skozi mrtev, mrzel gaj, 

mesec plava poleg, postavi zreta vanj. 

Mesec plava prek visokih hrastov, 

brez oblačka je nebeška luč, 

ki temni od nočnih zubljev. 

Glas ženske govori: 

Ob tebi grešna stopam, 

otroka nosim, a ni tvoj. 

Močno sem se pregrešila; 

nisem več verjela v srečo 

in vendar me je dušilo hrepenenje 

po življenja smislu, po materinski sreči 

in dolžnosti; spozabila sem se 

in zgrožena dopustila, da moje telo 

je objemal tujec 

in zato sem se še celo blagoslovila. 

Zdaj se je življenje maščevalo, 

saj srečala sem tebe. 

In gre naprej s korakom negotovim, 

strmi kvišku, mesec plava poleg. 

Njen temni pogled se utaplja v luči. 

Glas moškega govori: 

Otrok, ki si ga zanosila, 

naj tvoji duši ne bo v breme, 

poglej, kako jasno se lesketa nebo! 

Sijaj je zaobjel vse naokoli, 

ti pa z menoj brodiš po mrzlem morju, 

toda toplina se razliva 

od tebe v mene, od mene v tebe. 

Ta bo ožarila tujega otroka, 

ki ga boš kot mojega rodila meni. 

Prižgala luč si v meni, 

mene samega si spremenila v otroka. 


Objame jo čez močne boke. 

Njuna sapa se poljubi v zraku. 

Dve postavi gresta skozi sveto, svetlo noč. 

59 

Prosti prevod Gregor Pompe

Richard Dehmel: Transfigured Night 

from a collection »Woman and World« 

Two people walk through a bare, cold grove; 

The moon races along with them, they look into it. 

The moon races over tall oaks, 

No cloud obscures the light from the sky, 

Into which the black points of the boughs reach. 

A woman’s voice speaks: 


I’m carrying a child, and not yours, 

I walk in sin beside you. 

I have committed a great offense against myself. 

I no longer believed I could be happy 

And yet I had a strong yearning 

For something to fill my life, for the joys of 

Motherhood 

And for duty; so I committed an effrontery, 

So, shuddering, I allowed my sex 

To be embraced by a strange man, 

And, on top of that, I blessed myself for it. 

Now life has taken its revenge: 

Now I have met you, oh, you. 

She walks with a clumsy gait, 

She looks up; the moon is racing along. 

Her dark gaze is drowned in light. 

A man’s voice speaks: 

May the child you conceived 

Be no burden to your soul; 

Just see how brightly the universe is gleaming! 

There’s a glow around everything; 

You are floating with me on a cold ocean, 

But a special warmth flickers 

From you into me, from me into you. 

It will transfigure the strange man’s child. 

You will bear the child for me, as if it were mine; 

You have brought the glow into me, 

You have made me like a child myself. 

60 

He grasps her around her ample hips. 

Their breath kisses in the breeze. 

Two people walk through the lofty, bright night. 

Translated by Stanley Appelbaum

Poslušalce in muzikologe je vedno zaposlovalo vprašanje razmerja 

med umetnikovim notranjim duševnim življenjem in vsebino njegove 

umet nosti. Pri tem mnogi razlagalci prihajajo do popolnoma nasprotnih 

prepričanj: eni so prepričani, da lahko umetnik snov za svoje umetnine 

črpa zgolj iz osebnih doživetij, spet drugi pa so mnenja, da med obojim 

ni prave zveze in da je umetnik zavezan predvsem zakonitostim svoje 

obrti in materiala. 

Podobna vprašanja pred nas postavljata oba Brahmsova godalna seksteta, 

za katera se zdi, da sta v veliki meri zaznamovana s skladateljevim 

odnosom do žensk. Danes vemo, da je bila osrednja Brahmsova muza 

Clara Schumann, še posebej po tem, ko je preminil njen mož, veliki skladatelj 

Robert Schumann, sicer velik podpornik mladega Brahmsa. Toda 

življenji Clare in Johannesa se nista nikoli povezali. Tako kot Brahms ni 

našel poti tudi do Agathe Siebold, s katero naj bi bil celo tik pred poroko, 

vendar pa se je, če gre verjeti iskrenosti v pismih, v zadnjem trenutku 

ustrašil nesvobode. Brahms je pisal Agathi: »Ljubim te! Moram te spet 

videti, toda ne morem nositi okov! Piši, če se lahko vrnem, da te objamem, 

da te poljubim, da ti povem, da te ljubim.« Agatha ga je zavrnila in zveza 

je bila prekinjena. Brahms je kasneje svojo potezo obžaloval in je zapisal: 

»Do Agathe sem se obnašal kot malopridnež.« Vendar pa je pravo katarzo 

doživel šele ob komponiranju Drugega godalnega seksteta, o katerem je 

dejal, da se je z njim »odrešil od zadnje ljubezni«. 

Toda zveze med ljubezensko zgodbo in glasbo ne gre preprosto iskati 

v prevladujoči mili atmosferi, ki deloma celo spominja na Schubertovo 

glasbo (to je prav v tem času Brahms obilno študiral), temveč predvsem 

v tematskem materialu, ki je zasnovan kot nekakšna šifra za ljubezen 

do Agathe. Tako lahko ob koncu prve teme zasledimo kratko glasbeno 

misel, ki sestoji iz tonov a-g-a-h-e, v kateri lahko ugledamo izpis Agathinega 

imena (brez črke t), to misel pa kontrapunktira še kratek melodični 

okrušek a-d-e. Brahms nam s pomočjo tonov pripoveduje: »Agathe ade!« 

oz. »Adijo Agatha!«. Ta kratki moto postane v skladbi nosilen, saj ne 

zaznamuje zgolj prvega stavka, temveč ga najdemo tudi v počasnem 

stavku, izkaže pa se, da Brahms vendarle postavlja odnos med toni tega 

Agathinega motiva pred človeški odnos – morda tudi zato nikoli ni bil 

zmožen pravega ljubezenskega razmerja. 

Prvi stavek seksteta, ki se večinoma napaja pri dolgih melodijah, izhaja 

iz nekoliko misteriozne teme, ki je harmonsko pobarvana z zdrsi v mediantne 

sfere. Prav ti dajejo še poseben mik oddaljenim modulacijam v 

izpeljavi, kjer dobi harmonsko razpredanje prednost pred melodičnim. 

Drugi stavek je oblikovan kot scherzo, ki nosi baladne podtone, v triu 

pa se umakne bolj razigranemu in vaškemu ländlerju. Počasni stavek 

svojo motivično vsebino spet črpa iz Agathinega mota, zasnovan pa 

je kot variacijski niz. Tema pri tem ostaja nekoliko zakrita, zaradi česar 

je Brahmsov dobri prijatelj, glasbeni kritik Eduard Hanslick zapisal, da 

gre za »variacije brez teme«. Petim variacijam sledi še koda v eteričnem 

E-duru. Zadnji stavek je bolj razigran, v njem pa se izmenjujejo živahne 


61

epizode s fugiranimi odseki in razpeto melodiko. Je za razumevanje te 

glasbe potrebno poznati prigodo z Agatho? Morda daje odgovor na to 

vprašanje dejstvo, da je skladatelj sekstet pričel snovati še pred kratko 

ljubezensko afero, končal pa ga je kar pet let kasneje. 


62 

Med svoje umetniške vzore je Arnold Schönberg zelo visoko postavljal 

Johannesa Brahmsa. Cenil je predvsem njegov tip »razvijajoče se variacije«, 

princip katere lahko odkrijemo tudi v Schönbergovi dvanajsttonski 

tehniki. Toda še preden je Schönberg v dvajsetih letih 20. stoletja razvil 

novo tehniko komponiranja z dvanajstimi soodvisnimi toni, se je zgledoval 

po glasbeni moderni. Privlačil ga je svet močno razširjenih wagnerjanskih 

harmonij in poetičnost, ki jo je bilo v glasbo mogoče preliti v obliki 

simfonične pesnitve. Prav v svojem najbolj popularnem delu – Ozarjeni 

noči – je združil ideal wagnerjanske glasbe (kromatična harmonija, ideja 

glasbene poetičnosti) in Brahmsovo ekonomičnost (delo s stalno spreminjajočimi 

se motivičnimi celicami, komorna zasedba). 

S skladateljskim mentorjem in prijateljem Alexandrom Zemlinskym, ki 

ga je vpeljal v skrivnosti tako Wagnerja kot tudi Brahmsa, je Schönberg 

poleti leta 1899 odšel na krajši oddih v Payerbach južno od Dunaja. In 

tudi nastanek Schönbergovega zgodnjega dela je povezan z ljubezensko 

zgodbo: prav v Payerbachu se je Schönberg zaljubil v Mathildo, sestro 

Zemlinskega. Schönberga je takoj zajela ustvarjalna vročica in le v treh 

tednih je nastala simfonično pesnitev, ki jo je skladatelj napisal na podlagi 

pesmi Richarda Dehmla, pesnika, ki je izrazito vplival na Schönbergove 

estetske poglede. Dehmlova poezija se namreč jasno umešča v 

čas dekadence, ki je skušal opraviti s številnimi neverjetnimi moralnimi 

predsodki. To velja tudi za izbrano pesem, ki je zamišljena kot pogovor 

med žensko in moškim, ki hodita skozi gozd v nočni mesečini. Ženska 

moškemu prizna, da nosi otroka, ki pa ni njegov, moški pa v ljubečem 

odgovoru oznani svojo pripravljenost, da v veliki ljubezni tujega otroka 

sprejme kot svojega. 

Danes sodi Ozarjena noč med skladateljeva najpogosteje izvajana dela, 

kritika pa skladbi ob krstni izvedbi leta 1902 ni bila preveč naklonjena, 

nekateri so Schönbergu celo očitali, da se zdi, kot bi partitura nastala 

tako, da je skladatelj z njo pobrisal še po vlažnem rokopisu Wagnerjeve 

glasbene drame Tristan in Izolda, mnoge pa je motila tudi izbira navidez 

neprimerne snovi (simfonična pesnitev nima zunanjega programa, temveč 

slika bolj duševne konflikte in atmosfero narave). Večina kritikov ni mogla 

prenesti, da je skladatelj v svojem glasbenem jeziku združil sveta, ki sta 

do sedaj veljala za nezdružjiva: Brahmsovega in Wagnerjevega. Skladba 

je sestavljena iz dveh delov z uvodom in epilogom. Uvod prinaša temno 

misel v d-molu, prvi del pa nato dramatično nabito izpoved žene, ki ga 

zaznamuje motiv v violi. Sredi dela se atmosfera zamenja; težke zvoke 

zamenja nežna liričnost, motivična kratkosapnost pa se spremeni v dolgo 

izdržano melodijo v D-duru, ki predstavlja odgovor moškega. Delo 

se sklene v epilogu, ki jasno naslika spokojno vzdušje »ozarjene« noči.

Listeners and musicologists are always kept busy by the question of the 

relationship between an artist’s inner life and the content of his or her art. 

In this regard, many commentators arrive at completely opposing convictions: 

some believe that the artist can only extract the material for his or her 

artworks from personal experience, while others are of the opinion that there 

is no genuine link between the two and that the artist is bound primarily by 

the laws of his or her craft and material. 

Similar questions are posed by of both of Brahms’s string sextets, which seem 

to be marked to a large extent by the composer’s relationship to women. 

Today, we know that Brahms’s main muse was Clara Schumann, especially 

after the death of her husband, the great composer Robert Schumann, who 

was also an ardent supporter of the young Brahms. However, the lives of 

Clara and Johannes never actually came together. Similarly, Brahms never 

found the path to Agatha Siebold, with whom he was actually on the brink of 

marriage at one point. If we are to believe the sincerity of his letters it would 

seem that at the last moment the composer took fright at a loss of freedom. 

Brahms wrote to Agatha: “I love you! I must see you again, but I cannot wear 

fetters! Write if I may return, to hold you, to kiss you, to tell you that I love 

you.” Agatha rejected him and the relationship was broken off. Brahms later 

regretted his actions, writing: “I behaved like a scoundrel towards Agatha.” 

However, he only underwent a genuine catharsis on composing the Second 

String Sextet, saying that the work “redeemed him from the last love”. 

It is not a case, however, of simply seeking the connection between the love 

story and the music in the prevailing gentle atmosphere of the work, which is 

in places even reminiscent of the music of Schubert, a composer Brahms was 

studying a great deal during this period. The link should instead be sought 

in the thematic material, which is conceived as a kind of code for his love for 

Agatha. Thus at the end of the first theme we find a short musical idea made 

up of the tones a-g-a-b(‘h’ in German)-e, in which we can see the spelling of 

Agatha’s name (without the letter ‘t’). This idea is counterpointed with the 

short melodic fragment a-d-e. With the aid of this sequence of tones Brahms 

tells us: “Agatha ade!”, or “Farewell Agatha!”. This short motto becomes a key 

structural element in the composition, as it marks not only the first movement 

but can also be found in the second slow movement. It seems, however, that 

Brahms gives the relationship between the tones of this Agatha motive priority 

over the human relationship – perhaps this is why he was never capable 

of a real love affair. 

The first movement of the sextet, which gains most of its substance from long 

melodies, derives from a somewhat mysterious theme that is harmonically 

coloured with shifts to the sphere of the mediant. It is precisely these shifts that 

give a special charm to the distant modulations in the development, where 

the harmonic scheme gains priority over the melodic. The second movement 

is designed as a scherzo with undertones of a ballad, while the trio shifts to 

a more vivacious and rural ländler. The slow movement, planned as a series 

of variations, again draws its motivic content from the Agatha motto. The 


63

theme itself remains somewhat concealed, which prompted Brahms’s good 

friend, music critic Eduard Hanslick, to write that the movement comprised 

of “variations without a theme”. The five variations are followed by a coda 

in the ethereal E Major. The last movement is more dynamic, containing an 

exchange of lively episodes with fugal sections and expansive melody. Is 

it necessary to be familiar with the events surrounding Agatha in order to 

understand this music? Perhaps the answer to this question lies in the fact 

that the composer began to plan the sextet before the brief love affair and 

finished it some five years after it. 


64 

Arnold Schoenberg gave Johannes Brahms an exalted position amongst 

his artistic sources. Above all, he valued his type of ‘developing variation’, a 

principle we can also discover in Schoenberg’s twelve-tone technique. But 

before Schoenberg developed his new technique of composing with twelve 

interdependent tones in the 1920s, he modelled himself after the musical 

modern. He was attracted to the world of the enormously expanded Wagnerian 

harmony and poeticism, which in music could be poured into the form 

of the symphonic poem. It is precisely in his most popular work, Verklärte 

Nacht (Transfigured Night), that he combined the ideal of Wagnerian music 

(chromatic harmony, the idea of musical poeticism) and Brahmsian economy 

(working with constantly changing motivic cells, the chamber ensemble). 

Together with his mentor and friend Alexander Zemlinsky, who had led him 

to the secrets of both Wagner and Brahms, Schoenberg set off in the summer 

of 1899 for a short break in Payerbach, south of Vienna. The emergence of 

Schoenberg’s early work is also connected with a love story: it was in Payerbach 

that Schoenberg fell in love with Matilda, Zemlinsky’s sister. Schoenberg 

was immediately seized by a creative fever and in just three weeks composed 

a symphonic poem based on a poem by Richard Dehmel, a poet who had 

an explicit influence on Schoenberg’s aesthetic outlook. Dehmel’s poetry is 

clearly located in a time of decadence, which the poet tries to overcome with 

numerous less than credible moral prejudices. This is also true of the selected 

poem, which is conceived as a conversation between a man and a woman 

walking through the forest in the moonlight. The woman confesses to the 

man that she is carrying a child, but that it is not his. In his loving reply the 

man declares his preparedness to accept a child as his own as a mark of his 

great love for the foreign child. 

Today, Verklärte Nacht counts amongst the composer’s most frequently performed 

works, but on its premiere performance in 1902 critics were not well 

disposed towards it. Some even reproached Schoenberg saying that it was as 

if his score had come about by the composer smudging a damp manuscript 

of Wagner’s music drama Tristan and Isolde. Many critics were also disturbed 

by the selection of apparently inappropriate material: the symphonic poem 

did not have an external programme, but instead was more a picture of the 

psychological conflicts and the atmosphere of the natural environment. 

Furthermore, the Majority of critics could not accept that the composer had 

been able to combine two worlds in his musical language that until then

had been regarded as incompatible: that of Brahms and that of Wagner. The 

composition is made up of two parts with an introduction and an epilogue. 

The introduction brings the thematic idea in d Minor, while the first section 

presents the dramatically charged confession of the woman, marked by a 

motive on the viola. In the central section the atmosphere shifts; the weighty 

sound world is exchanged for a gentle lyricism, and the short motivic breaths 

are transformed into a long restrained melody in D Major, representing the 

response of the man. The work concludes with an epilogue, which clearly 

paints the placid atmosphere of the ‘transfigured’ night. 

Gregor Pompe 



65




MOČ SANJ 

THE POWER OF DREAMS 




Solist / Soloist: 

Emmanuel Pahud, flavta / flute 


Brett Dean (*1961): Carlo 

Antonio Vivaldi (1678–1741): Koncert za flavto v F-duru op. 10, 

št. 1, RV 433 – »Nevihta na morju« / Flute Concerto in F Major, 

Op. 10, No. 1 RV 433 – “La tempesta di mare” 

1. Allegro 

2. Largo 

3. Presto 

Antonio Vivaldi (1678–1741): Koncert za flavto v D-duru op. 10, 

št. 3, RV 428 – »Čuvaj« / Flute Concerto in D Major, Op. 10, No. 3 RV 

428 – “Il gardellino” (The Watchman) 

1. Allegro 

2. Largo 

3. Allegro 

* * * 

Carl Vine (*1954): Sanje piščali, koncert za flavto in godala / 

Pipe Dreams, concerto for flute and strings 

Ludwig van Beethoven (1770–1827), prir. za godalni orkester /arr. 

for string orchestra R. Tognetti: Godalni kvartet št. 11 v f-molu op. 95 

– »Il serioso« / String Quartet No. 11 in F Minor, Op. 95 – “Il serioso” 


2. Allegretto ma non troppo 

3. Allegro assai vivace ma serioso 

4. Larghetto espressivo / Allegretto agitato

Avstralski skladatelj, violist in dirigent Brett Dean je bil po študiju viole 

v Brisbaneu in Berlinu od 1985 član Berlinskih filharmonikov, 2000 pa se 

je vrnil v Avstralijo in se posvetil komponiranju. Njegova prva dela so 

povezana z eksperimentalnimi filmi. Od prve javne izvedbe svojega dela 

some birthday.. leta 1992 vse več komponira, njegova dela pa izvajajo 

priznani orkestri in dirigenti sveta. Leta 2006 je postal Umetniški direktor 

Avstralske nacionalne akademije za glasbo. Za violinski koncert The Lost 

Art of Letter Writting je prejel prestižno nagrado Grawemeyer Award 2009, 

takorekoč »Nobelovo nagrado za glasbo«. 

Dean se ima za tradicionalista, v njegovih skladbah se poznajo vplivi 

filma, elektronske glasbe in slikarstva. Dean kakor slikar nanaša plasti 

zvoka na svoje »platno«. »Slikarsko« delo je tudi Carlo, ki ga je za Festival 

Huntington leta 1997 naročil Avstralski komorni orkester. Naslov se nanaša 

na Carla Gesualda, ki je bil cenjen skladatelj vokalne glasbe, obenem pa 

eden najbolj razvpitih zločincev v Italiji 16. stoletja – leta 1590 je umoril 

svojo ženo in njenega ljubimca. Dean išče povezave med Gesualdovim 

življenjem in glasbo: besedila poznih Gesualdovih madrigalov so polna 

asociacij na ljubezen, krivdo in smrt. Carlo se začenja s posnetkom 

Gesualdovega madrigala Moro lasso. Ob kolažu harmonsko povezanih, 

a značajsko različnih citatov iz madrigala se v proces vključi orkester 

solističnih godal s citati iz drugih Gesualdovih del, ki se vse bolj pomika 

proti zvočnosti 20. stoletja. Carlo je potovanje med dvema časoma, dvema 

glasbama. V njem se Gesualdovi madrigali umaknejo v šepet in nervozne 

vzdihe, odmeve usodne neapeljske noči leta 1590. 

Velik vpliv na glasbeno Evropo prve polovice 18. stoletja je imel »dolgočasen 

tip, ki je vedno znova in znova komponiral eno in isto obliko«, 

kakor ga je označil Stravinski. A Antonio Vivaldi kljub velikemu številu 

koncertov (ima jih ok. 500) še zdaleč ni bil dolgočasen. Bil je eden najbolj 

izvirnih italijanskih skladateljev svoje generacije, domišljav in zapravljiv 

individualist, obenem pa pobožen in resnoben mož. Njegov koncertni 

opus razodeva, koliko variant, nians v instrumentaciji in domislekov v zasnovi 

je Vivaldi uspel zaobjeti v okviru ene same tristavčne glasbene zvrsti. 

Koncertov za flavto nima veliko, a tudi tu je bil inovator. Njegov prvi 

niz šestih koncertov za flavto (1728) je bil prva zbirka tovrstnih del v 

Italiji; prehitel ga je le angleški skladatelj Robert Woodcock, ki je svoje 

tri koncerte objavil leta 1727. Vivaldijevi koncerti večinoma temeljijo na 

starejših delih. »La tempesta di mare« z morskim viharjem, priljubljenim 

opernim toposom tega časa, je adaptacija Violinskega koncerta v Es-duru. 

Uvodni Allegro prinaša udarjajočo temo v unisonu, medtem ko se flavta 

v kratkih linijah izmenjuje z violinami orkestra, nad ripienom pa se oglaša 

z nervoznimi melodijami. Lažno zatišje nastopi v Largu, osrčju nevihte. 

Zaključni Presto se zopet začne v unisonu, nato pa se flavta z dolgimi 

linijami bori proti sunkovitim napadom violin in continua. 

Tretji koncert op. 10 (adaptacija istoimenskega Violinskega koncerta v 

D-duru) nosi naslov »Il gardellino« in z nežnimi temami flavte prikaže bolj 


67

pastoralen aspekt glasbila. Tudi ripieno godal je harmoničen. Uvodni 

Allegro je lahkoten in skorajda eteričen ter po vzdušju spominja na Pomlad 

iz Štirih letnih časov. Osrednji Cantabile je speven in ljubek, zaključni 

Allegro pa je ognjevit stavek plesnega značaja. 


68 

Avstralski skladatelj Carl Vine je priznan ustvarjalec resne, filmske in 

elektronske glasbe, komponira pa tudi za televizijo in gledališče. Rodil 

se je v Perthu, od leta 1975 pa v Sydneyu ustvarja kot svobodni umetnik. 

Zaslovel je kot skladatelj glasbe za klasični ples in televizijo in leta 1978 

napisal prvi daljši avstralski balet Poppy. Leta 1980 je začel poučevati 

kompozicijo elektronske glasbe na konservatoriju v Queenslandu ter 

deloval v ansamblu za sodobno glasbo Flederman. Je umetniški direktor 

različnih avstralskih glasbenih ustanov. Leta 2005 je bil za svoj izjemni 

prispevek k avstralski glasbi nagrajen s prestižno nagrado Don Banks 

Music Award. Njegova dela so znana tudi v Evropi, ZDA in na Japonskem. 

Sam se ima za »radikalno tonalnega skladatelja«, zaznamujeta pa ga 

dostopnost in odprtost. V nekaterih skladbah je poudarjena ornamentika 

melodije, v drugih Vine ustvarja bogate in kompleksne polifonije. V 

svojem opusu ima pomembna instrumentalna dela: sedem simfonij in 

sedem koncertov ter precej klavirskih in komornih del. 

Pipe dreams je prvič izvedel Avstralski komorni orkester z violinistom 

Emmanuelom Pahudom leta 2003 v Sydneyu. Koncert je zamišljen kot 

sanje, ki bi jih lahko sanjala flavta. S sanjami postane človeška, saj so 

globoke želje in sanje – tudi neuresničljive – nekaj izrazito človeškega. 

Enostavčno delo iz treh odsekov se poslužuje klasične oblike zmerno – 

počasi – hitro. Solistična linija flavte je virtuozna, arabeskna, a ne zato, 

da bi poslušalca zmedla ali naredila vtis nanj, temveč zato, da bi pričarala 

toliko sanjavosti, kot je le mogoče. To so sanje kovinske piščali, ki misli, 

da zanjo ni meja. 

Ludwig van Beethoven je »resni« godalni kvartet iz leta 1810 posvetil 

svojemu najboljšemu prijatelju, dvornemu tajniku Nikolausu Zmeskallu 

von Domanovec. Ta je bil dober čelist, na njegov nasvet pa se je Beethoven 

zanesel tudi v praktičnih rečeh, pa naj bo glede recepta loščila za čevlje 

ali dileme, kako odpustiti slabega služabnika. 

Kvartet je bil prvič javno izveden leta 1814, 1816 pa je tudi izšel. Brezkompromisnost 

glasbe se zrcali že v naslovu, ki ga je izbral skladatelj. Resnoba 

ima tu mnogo obrazov: od globokoumnosti, temačnosti in pesimizma 

do globoke žalosti in obupa. A to ni programska glasba, ki bi opisovala 

konkretne dogodke in stanja, temveč aforistično zgoščena absolutna 

glasba, ki se izogiba konvencionalnim in lagodnim prehodom ter nas 

nenhno postavlja »in medias res«. 

Prvi stavek začenja moto kvarteta – ostra figura v unisonu; tej sledijo 

raztrgani oktavni skoki. Skoraj brez prehoda nastopi svetlejša druga 

tema s triolami. V izpeljavi se med seboj prepletata oba osrednja motiva 

glavne teme (šestnajstinke in punktirane oktave), stavek pa zaključi

azgibana koda, ki nato resignira v pianissimo. V sledečem Allegrettu 

prva tema sestoji iz dveh kontrastnih elementov, ki sooblikujeta potek 

stavka: postopa violončela navzgor ter kantilene violine. Kromatična 

druga tema pripelje v fugatni odsek. Posamezni motivi se po izpeljavi 

vse bolj drobijo, dokler nazadnje ne ostanejo le še skupinice »vzdihov«. 

V eksplozivnem Scherzu Beethoven uporabi nenavadne kontraste med 

tonalitetami. Zadnji stavek uvaja otožen uvod z motivi vzdihov, ki jim 

sledi napet in ambivalenten zaključek: »allegretto« je nežnejši tempo, 

kakršnega »agitato« spodbija. Sklep kvarteta, čeprav v duru, se tako zdi 

bolj uporniško dejanje volje kot sprava s svetom in seboj. 

After studying the viola in Brisbane and Berlin, Australian composer, violist 

and conductor Brett Dean joined the Berlin Philharmonic in 1985. In 2000, he 

returned to Australia and dedicated himself to composing. His first works were 

linked with experimental films. From the first public performance of his work 

some birthday … in 1992, Dean spent more and more time composing, and 

his works are performed by recognised orchestras and conductors throughout 

the world. In 2006, he became the artistic director of the Australian National 

Academy of Music. For his violin concerto The Lost Art of Letter Writing he 

received the prestigious Grawemeyer Award 2009, which is virtually regarded 

as the ‘Nobel Prize for music’. 

Dean regards himself as a traditionalist, and in his compositions one can 

recognise the influence of film, electronic music, and painting. He applies 

layers of sound to his ‘canvas’ like a painter. His composition Carlo is also a 

‘painterly’ work. It was commissioned by the Australian Chamber Orchestra 

for the Huntington Festival in 1997. The title refers to Carlo Gesualdo, who was 

a highly regarded composer of vocal music, while at the same time being one 

of the most notorious criminals of 16 th century Italy – in 1590 he murdered 

his wife and her lover. Deans seeks links between Gesualdo’s life and music: 

the texts of Gesualdo’s later madrigals are full of associations with love, 

guilt and death. Carlo begins with a recording of Gesualdo’s madrigal Moro 

lasso. Alongside a collage of musical quotations from the madrigal, which 

are harmonically connected but diverse in terms of character, the orchestra 

of solo strings is included in the process with quotations from other works 

by Gesualdo, drawing the music ever closer to the sound world of the 20 th 

century. Carlo is a journey between two eras, two types of music. Eventually 

Gesualdo’s madrigals withdraw into whispering and nervous sighing, echoes 

of that fateful Neapolitan night in 1590. 


In the second half of the 18 th century, an enormous influence was exerted on 

European music by “a boring chap who composed again and again in one and 

the same form”, as he was described by Stravinsky. However, in spite of the 

incredible number of concertos he produced (around 500 in total) Antonio 

Vivaldi was far from being boring. He was one of the most original Italian 

composers of his generation, an imaginative and extravagant individualist, 

but at the same time a pious and earnest man. His concerto opus reveals 

69


70 

how many variants, nuances in instrumentation and schematic ideas Vivaldi 

managed to encompass within the framework of a single three-movements 

musical genre. 

Vivaldi did not actually compose a lot of concertos for flute, but he was nonetheless 

an innovator in this field too. His first series of six concertos for flute 

(1728) was the first collection of its kind in Italy; the only composer to predate 

Vivaldi in this respect was the Englishman Robert Woodcock, who published 

his three flute concertos in 1727. Vivaldi’s flute concertos are mainly based 

on older works. “La tempesta di mare”, with its sea storm (one of the most 

popular opera topoi of the time) was an adaptation of the Violin Concerto 

in E-flat Major. The introductory Allegro brings an insistent theme in unison, 

while the flute exchanges short lines with the violins of the orchestra, and 

appears with nervous melodies over the ripieno. A false calm appears in the 

Largo, the eye of the storm. The concluding Presto again begins in unison, 

and then the long lines of the flute struggle against the gusty assaults of the 

violins and continuo. 

The third concerto of Opus 10 (an adaptation of the Violin Concerto in D 

Major with the same name) bears the title “Il gardellino”, and with the flute’s 

gentle themes demonstrates the more pastoral dimension of the instrument. 

The ripieno of the strings is harmonious. The introductory Allegro is light and 

almost ethereal, with an atmosphere reminiscent of Spring from The Four 

Seasons. The central Cantabile is song-like and charming, while the concluding 

Allegro is a fiery movement with a dance character. 

Australian composer Carl Vine is an acknowledged artist in the areas of a 

serious, film and electronic music, while also composing for television and 

theatre. He was born in Perth, but from 1975 he worked in Sydney as a freelance 

artist. He made his name as a composer of music for classical dance and 

television, and in 1978 composed the first extended Australian ballet Poppy. 

In 1980, he began teaching electronic music composition at the Queensland 

Conservatory, as well as being active in the ensemble for contemporary 

music Flederman. He is the artistic director of various Australian musical 

institutions. In 2005, he received the prestigious Don Banks Music Award for 

his exceptional contribution to Australian music. His works are also known 

in Europe, USA and Japan. 

He considers himself to be a ‘radical tonal composer’, and his work is characterised 

by accessibility and openness. In some works he emphasises the 

ornamentation of melody, while in others he creates rich and complex polyphony. 

His opus includes numerous important instrumental works: seven 

symphonies and seven concertos, as well as many piano and chamber works. 

Pipe Dreams was first performed by the Australian Chamber Orchestra and 

flutist Emmanuel Pahud in 2003 in Sydney. The concerto is conceived as 

dreams that could be dreamed by the flute. With dreams mankind comes 

into being, as deep desires and dreams – including those that are unrealisable 

– are something explicitly human. This single movement work with three 

sections submits to classical form: moderate-slow-fast. The solo flute lines

are virtuoso and arabesque, but not with the aim of confusing the listener 

or making an impression on him or her, but rather in order to conjure up as 

much dreaminess as possible. These are dreams of a pipe that believes that 

it has no borders. 

Ludwig van Beethoven dedicated his ‘serious’ string quartet from 1810 to 

his best friend, court secretary Nikolaus Zmeskall von Domanovecs. As well 

as being a good cellist Beethoven relied on Domanovecs’s advice for a range 

of practical matters, ranging from a recipe for good shoe polish to advice 

about how to fire a bad servant. 

The quartet was first performed publicly in 1814 and was published two years 

later in 1816. The uncompromising quality of the music is reflected even in 

the title, which the composer chose himself. Here seriousness has many faces: 

from depth of spirit, obscurity and pessimism to deep sorrow and hopelessness. 

However, this is not programme music describing concrete events or a 

particular state, but rather aphoristically dense absolute music that avoids a 

conventional and comfortable approach, constantly placing us ‘in medias res’. 

The first movement begins with the quartet’s motto – an austere figure in 

unison – followed by broken octave leaps. Almost without a transition the 

brighter second theme with triplets appears. In the development both of 

the central motives of the main theme interweave (the semiquavers and the 

dotted octaves), and the movement concludes with an agitated coda that 

fades into pianissimo. In the subsequent Allegretto the first theme is made 

up of two contrasting elements that together shape the flow of the movement: 

the ascending trajectory of the cello and the cantilena of the violin. The 

chromatic second theme leads to a fugato section. After the development 

the individual motives become increasingly fragmented, until only a handful 

of ‘sighs’ remain. In the explosive Scherzo Beethoven employs unusual tonal 

contrasts. The last movement is initiated with a melancholy introduction 

with sighing motives, followed by a tense and ambivalent conclusion: ‘allegretto’ 

is a more gentle tempo, which ‘agitato’ impugns. The conclusion of 

the quartet, although in a Major key, seems more like an act of defiance than 

a reconciliation with the world and oneself. 


Katarina Šter 


71

Ponedeljek, 7. September 2009 / Monday, 7. September 2009 




Radostno obilje 


Joyful Prosperity 



Emmanuel Pahud, flavta / flute 

Boris Berezovsky, klavir / piano 


Michael Kugel, viola / viola 

Alexander Rudin, violončelo / violoncello 


Sergej Prokofjev (1891–1953): Sonata za flavto in klavir v D-duru op. 94 / 

Flute Sonata in D Major, Op. 94 

1. Moderato 

2. Scherzo: Presto 

3. Andante 


Wolfgang Amadeus Mozart (1756–1791): Kvartet za flavto, violino, violo in 

violončelo št. 1 v D-duru K 285 / Quartet No. 1 in D Major for flute, violin, viola 

and cello, K 285 

1. Allegro 

2. Adagio 

3. Rondeau 

* * *

Elliott Carter (*1908): Scrivo in vento (Pišem v veter) za flavto solo / 

Scrivo in vento for solo flute 

Joseph Haydn (1732–1809): Simfonija št. 104 v D-duru – »Londonska« 

/ »Salomon«, Hob. I:104 / Symphony No. 104 in D Major – “London” / 

“Salomon”, Hob. I:104 

1. Adagio – Allegro 

2. Andante 

3. Menuetto – Trio: Allegro 

4. Finale: Spiritoso 

Sergej Prokofjev je znan predvsem po simfoničnih delih, kot sta Klasična 

simfonija ter glasbena pravljica Peter in volk. Umetniško pa stoji med 

Stravinskim in Šostakovičem, med svobodo svetovljana in socialističnim 

realizmom Sovjetske zveze. In čeprav se je v zadnjih letih zdelo, da bo 

moral izbirati med »domovinskimi ideali« oz. režimom ter umetniško 

svobodo, se mu je posrečilo, da je tudi po vojni ustvarjal drzno in izvirno 

glasbo, ki je bila obenem »razumljiva«, kakor so terjale oblasti. 

Prokofjev ni napisal veliko komornih del; poleg dveh krajših skladb so 

tu še sonate za violino, violončelo ali flavto in klavir, solistična violinska 

sonata in dva godalna kvarteta. Sonata za flavto in klavir je nastala med 

drugo svetovno vojno. Na vojno dogajanje je Prokofjev odreagiral z 

domoljubno propagandno glasbo, po drugi strani pa se je umaknil v 

»absolutnost« in intimo instrumentalne, komorne glasbe. V čas tega 

komornoglasbenega ustvarjalnega zamaha sodi Sonata za flavto in klavir, 

prvič izvedena 7. decembra 1943 v Moskvi (1944 je bila kot Sonata za 

violino in klavir št. 2 izvedena v različici z violino). Sonata op. 94 je vedra, 

jasna in transparentna po obliki ter sodi med neoklasicistična dela Prokofjeva. 

V štirih stavkih se pred poslušalcem odvije elegantna obdelava 

tematskega materiala, ki je polna fantazije in obenem dodobra izčrpa 

barvne in tehnične zmožnosti solističnega glasbila. 


Mozartovi kvarteti za prečno flavto in godala so lahkotnejša priložnostna 

dela. Trije med njimi so bili napisani v Mannheimu v sezoni 1777/78 za 

Ferdinanda Dejeana iz Vzhodnoindijske delniške družbe. Dejean je sicer 

naročil 3 koncerte in 3 kvartete s flavto, vendar Mozartu naročila zaradi 

časovne stiske del ni uspelo izpolniti v celoti. V tem času je 22-letnega 

skladatelja namreč bolj kot komponiranje mikala svoboda, ki jo je prvič 

užival brez očetove navzočnosti v Mannheimu. Tu se je zaljubil v Aloysio 

Weber, ki jo je hotel celo odpeljati v Italijo in iz nje narediti primadono. 

Načrta seveda ni uresničil, besni Leopold pa je Wolfganga v pismu obdolžil 

neodgovornosti in nezvestobe družini. 

Kvartet za flavto in godala K 285 je delo, ki ga je Mozartu uspelo pripeljati 

do končne oblike; druga dva kvarteta sta dvostavčna. V vseh stavkih 

je v ospredju solistični instrument – flavta. Allegro je s svojo bogato 

melodiko ena najbolj domiselnih Mozartovih stvaritev sploh, najbolj 

73

priljubljen pa je Andante, otožna podoknica flavte v h-molu. Kvartet 

zaključuje živahni Rondo. 


74 

Stoletnik Elliott Carter velja za največjega živečega ameriškega skladatelja, 

ki je do- in tudi pre-živel dve generaciji ameriških komponistov. V 

najstniških letih je nanj najbolj vplival Charles Ives, nato pa se je ob študiju 

na Harvardu glasbeno izobraževal na Longy School. Med letoma 1932 

in 1935 je študiral pri Nadii Boulanger v Parizu in se posvečal strogemu 

kontrapunktu. Po vrnitvi v ZDA se je Carter ustalil v New Yorku in nastopil 

svojo dolgo profesorsko pot; poučeval je na vodilnih ameriških univerzah 

in kolidžih, za katere je pisal zborovska dela. Po prvih instrumentalnih 

neoklasicističnih delih se je oddaljil od neoklasicizma in vneto iskal druge 

glasbene izraze. V 50-ih letih je svoje kontrapunktsko znanje preizkušal 

zlasti na področju ritma, v 60-ih letih pa so njegove skladbe postajale 

vse bolj fragmentarne. V ospredje je vse bolj stopala sinteza evropskega 

in ameriškega. S selitvijo v London leta 1981 je za Carterja nastopilo 

novo obdobje. Antagonizmi preteklih dob so se slednjič pomirili med 

seboj, skladatelj pa s svojo glasbo, za katero je prejel številna priznanja 

in nagrade (mdr. dvakrat Pulitzerjevo nagrado). Carter je samohodec 

med ameriškimi skladatelji in se ni povezal z nobeno skupino ali šolo. 

Scrivo in vento za flavto solo iz leta 1991 je eno najbolj subtilnih Carterjevih 

del za solistični instrument. Posvečeno je flavtistu Robertu Aitkenu, ki je 

kompozicijo premierno izvedel 1991 v Avignonu. Tam je med letoma 1326 

in 1353 živel tudi Francesco Petrarca, ki mu skladba dolguje naslov: »scrivo 

in vento« so besede iz zaključka prve kvartine soneta Beato in sogno et di 

languir contento, v katerem pesnik opisuje svoje hrepenenje po nedosegljivi 

ljubezni – Lauri, ki jo, že vnaprej obsojeno na neuresničljivost, gradi 

na pesku in zapisuje v veter. Flavta s svojo krhko in fragmentarno glasbo 

sledi bežnim in celo nasprotujočim si pesnikovim občutjem. 

V Haydnovem letu bomo na Festivalu Maribor slišali Prvo simfonijo »očeta 

simfonije«, zazvenela pa bo še zadnja po vrsti s častitljivo številko 104. 

Od nastanka prve pa do zadnje je Haydn prehodil dolgo življenjsko in 

skladateljsko pot, kjer je simfonijo iz pretežno lahkotne zvrsti razvil v 

ambiciozno formo, na katero se še danes sklicujemo kot na model klasične 

simfonije. Vrhunec tega razvoja predstavlja dvanajst londonskih simfonij. 

Zadnja Haydnova simfonija je znana kot »Londonska« (kar je paradoks, 

saj so »londonske« vse njegove zadnje simfonije), a ima še eno ime: 

»Salomon«. Tega je dobila po violinistu in impresariju Johannu Petru 

Salomonu, ki je Haydna povabil, naj za angleško publiko napiše šest 

simfonij. Po velikanskem uspehu v sezonah 1791 in 1792 je Haydn z velikim 

veseljem prišel tudi drugič ter v letih 1794 in 1795 Otoku predstavil 

še šest novih simfonij. 

Monotematski prvi stavek razpreda glasbeno idejo prvih štirih taktov. 

Haydn je poln neizčrpnih domislic, ne da bi pri tem potreboval nov kontrast 

ali nov motiv, po vsakem odseku pa se vrne h glavni temi. Drugi

stavek je prvemu podoben po uporabi istih tonov, po ritmu, tempu in 

harmonizaciji pa se od njega razlikuje. Njegov pesemski značaj teži k 

variacijski obliki, a tudi oblikovno spominja na prvi stavek. Hitri menuet 

je le še reminiscenca na starinski ples, medtem ko se trio bliža dunajskemu 

ländlerju. Živahni finale v sonatni obliki je tehtna in velika sinteza 

dunajske klasike z elementi ljudske in plesne glasbe. 

Haydn je v »londonskih simfonijah« združil simfonične ideale 18. stoletja 

ter v njih zajel raznolikost glasbenih slogov in žanrov svojega časa. 

Simfonijo klasicizma je pripeljal do skrajnosti in zaključil bogato obdobje 

glasbene zgodovine. Simfonija št. 104 ima celo nekaj »mozartovskih« 

potez, s katerimi se je morda poklonil svojemu sopotniku v nekem glasbenem 

obdobju. Ko je Haydn pod zadnjo simfonijo napisal »Fine Laus 

Deo« (»Konec, Bogu hvala«), je morda slutil, da do konca življenja ne bo 

napisal nobene simfonije več. Kar je v njih iskal, je našel, in kar je hotel 

povedati, je tudi povedal. 

Sergei Prokofiev is known primarily for his symphonic works, such as the 

Classical Symphony and the musical fairy tale Peter and the Wolf. Artistically 

he stands between Stravinsky and Shostakovich, between the freedom of the 

cosmopolitan and the social realism of the Soviet Union. Although in his last 

years it seemed that he would have to choose between ‘patriotic ideals’, that 

is, the regime, and artistic freedom, he was fortunate in that after the war he 

created daring and original music that was at the same time ‘understandable’, 

as was demanded by the authorities. 

Prokofiev did not write a great number of chamber works; apart from two 

shorter compositions there is the sonata for violin, cello or flute and piano, 

the solo violin sonata and two string quartets. The Flute Sonata was written 

during the Second World War. Prokofiev responded to the events of the war 

with patriotic propaganda music, while also withdrawing into the ‘absolutism’ 

and intimacy of instrumental, chamber music. The Flute Sonata falls into 

the period of this wave of chamber music creativity. It was first performed 

on 7 December 1943 in Moscow (in 1944 it was performed in its version for 

violin as the Violin Sonata No. 2). Counting amongst Prokofiev’s neoclassical 

works in terms of form, Sonata Op. 94 is joyous, clear and transparent. In the 

composition’s four movements the elegant working of the thematic material 

unfolds before the listener, full of fantasy and at the same time making exhaustive 

use of the colouristic and technical capabilities of the solo instrument. 


Mozart’s quartets for transverse flute and strings are lighter occasional 

works. Three of them were written in Mannheim in the 1777/78 season for 

Ferdinand Dejean from the Dutch East India Company. Dejean had actually 

commissioned three concertos and three quartets with flute, but due to time 

pressure Mozart was unable to fulfil the commission entirely. At the time, the 

22-year-old composer was drawn more to the freedom that he experienced for 

75

the first time with the absence of his father in Mannheim than to composing. 

It was in Mannheim that he fell in love with Aloysia Weber, whom he even 

wanted to take to Italy to establish as a prima donna. Of course, the plan was 

never realised; in a letter Leopold accused Wolfgang of being irresponsible 

and disloyal to the family. 

The Quartet for flute and strings K 285 was the only of the flute quartets that 

Mozart managed to bring to its final form; the other two quartets have only 

two movements. In all of the movements the foreground is taken by the solo 

instrument – the flute. With its rich melodies the Allegro is one of Mozart’s 

most thoughtful works, while the most popular movement is the Andante, 

a melancholy serenade for the flute in B Minor. The quartet is concluded 

with a lively Rondo. 


Centenarian Elliott Carter is regarded as the greatest living American composer, 

an artist who has experienced and outlived two generations of American 

composers. As a teenager he was most influenced by Charles Ives, then 

while studying at Harvard he also pursued a music education at the Longy 

School. Between 1932 in 1935, he studied with Nadia Boulanger in Paris, 

focusing his attention on strict counterpoint. On his return to the USA, Carter 

settled in New York and began his long career as a professor; he taught at 

the leading American universities and colleges, for which he wrote choral 

works. After his first neoclassical instrumental works he distanced himself 

from neoclassicism and eagerly set about finding other means of musical 

expression. In the 1950s, he tested his contrapuntal knowledge primarily in 

the area of rhythm, and in the 1960s his compositions became ever more 

fragmentary. A synthesis of the European and the American came increasingly 

to the fore. On moving to London in 1981 Carter entered a new creative 

period. The antagonisms of the earlier periods finally resolved themselves and 

the composer received numerous awards and prizes for his work (including 

twice being awarded the Pulitzer Prize). Carter is the loner of the American 

composing scene and never attached himself to any group or school. 

Scrivo in vento for solo flute from 1991 is one of the most subtle of Carter’s 

works for solo instrument. It is dedicated to flutist Robert Aitken, who premiered 

the work in 1991 in Avignon. It was there that Francesco Petrarch lived 

from 1326 to 1353, to whom the composition owes its title: ‘scrivo in vento’ 

are the words that conclude the first quarto of sonnets Beato in sogno et di 

languir contento, in which the poet describes his longing for an unachievable 

love – predestined to be unrealised, his love for Laura is built in the sand and 

written in the wind. With its fragile and fragmentary music, the flute follows 

the poet’s fleeting and even contradictory emotions. 

76 

In the Haydn year at the Maribor Festival we will hear Symphony No. 1 by 

the ‘father of the symphony’, and we will also hear the last symphony, with 

the venerable number 104. Between composing his first and last symphonies 

Haydn trod a long life and compositional path, where the symphony developed 

from a predominantly light genre into the ambitious form that we today

cite as the model of the classical symphony. The apex of this development is 

represented by the twelve London symphonies. 

Haydn’s last symphony is known as the ‘London’ Symphony (which is a paradox 

as all of his last symphonies are ‘London’ symphonies), but it also has 

another name: the ‘Salomon’. This name originates from the violinist and 

impresario Johann Peter Salomon, who invited Haydn to write six symphonies 

for the English public. After the enormous success of the 1791 and 1792 

seasons, Haydn was very happy to return to England again in 1794 and 1795 

to present six new symphonies. 

The monothematic first movement sets out its musical idea in the first four 

bars. Haydn is full of inexhaustible ideas, although having no need of new 

contrast or a new motive, returning to the main theme after each episode. The 

second movement is similar to the first in terms of its use of the same tones, 

while its rhythm, tempo and harmonisation differ. The movement’s poetic 

character tends towards variation form, but it is also formally reminiscent of 

the first movement. The rapid minuet only hints at the old-fashioned dance, 

while the trio comes close to a Viennese ländler. The lively finale in sonata 

form is a balanced and extensive synthesis of Viennese classicism with elements 

of folk and dance music. 

In his ‘London symphonies’ Haydn brought together the symphonic ideals 

of the 18 th century, while also imbuing them with a range of musical styles 

and genres of his time. He took the symphony of classicism to the extreme 

and concluded a rich period of musical history. Symphony No. 104 even has 

certain ‘Mozartian’ traits, with which the composer perhaps pays tribute to 

his fellow traveller in a particular musical period. When Haydn signed his last 

symphony ‘Fine Laus Deo’ (‘The End, Praise be to God’) he perhaps sensed 

that he would not write any more symphonies in his lifetime. He had found 

what he had been looking for in his symphonies, and he had said what he 

had wanted to say. 




77

Ponedeljek, 7. September 2009 / Monday, 7. September 2009 


Slavnostna dvorana na dvorcu Dornava ob 19:30 / Knights Hall at Dornava Mansion at 19:30 

OGNJEMET VIRTUOZNOSTI 

FIREWORKS OF VIRTUOSITY 

Predavanje o dvorcu Dornava, eni najlepših posvetnih stavb poznega baroka 

pri nas – Dr. Andrej Smrekar 

Lecture about the Dornava Mansion – Dr. Andrej Smrekar 

Together with the remains of the once extensive gardens, Dornava is one of the 

more important monuments of late Baroque art in Central Europe 

KOMORNI GODALNI ORKESTER SLOVENSKE FILHARMONIJE / SLOVENE 

PHILHARMONIC STRING CHAMBER ORCHESTRA 

Satu Vänskä – vodja in solo violina / lead and solo violin 

Solistka / Soloist: 

Jane Gower, fagot / bassoon 


Isaac Posch (ca.1590–1622/1623): Balletta I à 4 (Musicalische Ehrenfreudt) 

Antonio Vivaldi (1678–1741): Koncert za fagot in godala v B-duru, RV 501 – »Noč« 

/ Concerto for Bassoon and Strings in B-flat Major, RV 501 “La notte” (The Night) 

1. Largo – Andante molto 

2. I fantasmi (Prikazni / Apparitions) 

3. Il sonno (Sen / Sleep) 

4. Sorge l’aurora (Zora hiti / Dawn breaks) 

Ottorino Respighi (1879–1936): Stari plesi in arije za lutnjo, Suita št. 3 / Ancient 

Airs and Dances for Lute, Suite No. 3 

1. Italiana (Neznani avtor, konec 17. stoletja / anonymous, late 17 th century) 

2. Siciliana (Neznani avtor, konec 17. stoletja / anonymous, late 17 th century) 

3. Passacaglia (Lodovico Roncalli, 1692) 

* * *

Elena Kats-Chernin (1957*): Re-invencije št. 1–3 za fagot in godalni 

orkester / Re-Inventions No. 1–3 for bassoon and string orchestra 

Antonio Vivaldi (1678–1741): Koncert za fagot in godala v a-molu, RV 497 / 

Concerto for bassoon and strings in A Minor, RV 497 

1. Allegro molto 

2. Andante molto 

3. Allegro 

Giuseppe Tartini (1692–1770), prir. za solo violino in godalni orkester / 

arr. for solo violin and string orchestra F. Kreisler: Sonata za violino in basso 

continuo v g-molu – »Vražji trilček« / Sonata for violin and basso continuo in 

G Minor »Trillo del diavolo« (Devil’s Trill) 

1. Larghetto affettuoso 

2. Allegro energico 

3. Grave – Allegro assai 

O skladatelju, organistu in izdelovalcu orgel Isaacu Poschu ni veliko 

znanega. Rodil se je v avstrijskem Kremsu in obiskoval protestantsko 

šolo v Regensburgu, kjer se je glasbeno izobraževal. Leta 1614 je postal 

organist v Celovcu; verjetno je deloval tudi med protestantskim plemstvom. 

Med letoma 1607 in 1614 je začasno bival na Kranjskem. Prvo od 

dveh svojih najbolj znanih instrumentalnih zbirk Musicalische Ehrenfreudt 

(1618) je posvetil koroškim deželnim stanovom; leta 1621 je sledila še 

zbirka Musicalische Tafelfreudt. Zbirki prinašata predvsem plesne stavke v 

severnonemškem ali celo angleškem instrumentalnem slogu in pomenita 

pomemben prispevek na področju zgodnjebaročne »variacijske« suite. 

Uvodne štiri skladbe prve zbirke – »ballettas« – so bile namenjene zabavi 

plemičev pri obedih, sledile pa so jim tristavčne suite, ki so obed lahko 

le spremljale ali pa so ob njih zaplesali. 

Med več kot 500 koncerti Antonia Vivaldija jih je kar okoli 39 za fagot 

in po številu neposredno sledijo violinskim koncertom. Najbrž so bili 

napisani za izvedbo v beneški ustanovi za osirotela dekleta Ospedale 

della Pietà, ki se je ponašala z zavidljivo bogato glasbeno dejavnostjo 

in kjer je Vivaldi služboval; za Ospedale je moral po pogodbi iz leta 1723 

napisati po dva nova koncerta na mesec. Po drugi strani bi lahko nekateri 

koncerti nastali za katerega od Vivaldijevih mecenov. 

Koncert za fagot v B-duru, RV 501 je eden od tistih Vivaldijevih koncertov, 

ki ima program, na katerega opozarjajo tako naslov koncerta kot tudi 

naslovi posameznih stavkov. Prvi stavek predstavi sceno, v kateri ima 

fagot ornamentirano recitativno melodijo. Drugi je dramatičen: tu fagot 

raziskuje nočne prikazni, nato pa sledi miren stavek Il sonno, ki ilustrira 

spanec. Ta se konča, ko napoči zora, in fagot se ob prebujanju dneva 

sooča z različnimi odzivi orkestra. 

Koncert za fagot v a-molu, RV 497 je eden od Vivaldijevih desetih koncertov 

za fagot, napisanih v molu. Živahnemu uvodnemu ritornellu sledijo blago 


79

ubrane violine in viola, ki jih ponovno prežene začetni polet. Virtuozni 

fagot povzema od predhodnega ritornella in razvije v Andante svojo 

melodijo. Ta preide v finalnem stavku v solistične epizode, ki uokvirjajo 

razgibano orkestrsko igro. 


80 

Ottorino Respighi je danes najbolj znan po orkestrski »trilogiji« del 

Rimski vodnjaki, Rimske pinije in Rimska slavja. Prvo mednarodno priznanje 

pa je skladatelju leta 1908 prinesla orkestracija Arianine tožbe Claudia 

Monteverdija. Stara glasba je Respighija pritegnila v otroških letih, 

kasneje pa je transkribiral dela italijanskih avtorjev iz 17. in 18. stoletja. 

Znana je njegova ljubezen do gregorijanskega korala in Monteverdija. 

Moderni glasbeni tokovi in ideje ga niso pritegnili; v inovantivnih glasbenih 

skupinah se ni našel. Leta 1932 se je podpisal celo pod manifest, 

ki je napadal tedaj nove glasbene smeri in skladatelje pozival k vrnitvi v 

ustaljeno italijansko tradicijo. 

Respighijevo zanimanje je veljalo tudi zvrsti »aria antica«, povezani z 

arijami z lutnjo in tradicijo dvornih plesov 16. stoletja. Po dveh posrečenih 

orkestrskih suitah iz let 1917 in 1923 je Respighi leta 1931 napisal tretjo 

suito Antiche arie e danze za godalni orkester, kjer je dosegel posrečeno 

ravnovesje med značilno respighijevsko barvitostjo in renesančno jasnostjo 

zvoka. V očarljivih plesnih stavkih, prosto rekonstruiranih na podlagi 

del avtorjev iz 17. stoletja, ne bomo našli ironije. Prej preprosto ljubezen 

do lepote glasbe preteklih stoletij. 

Elena Kats-Chernin je iz Uzbekistana v Avstralijo skupaj z družino 

emigrirala leta 1975. Klavir in kompozicijo je študirala na moskovskem 

konservatoriju in na konservatoriju v Sydneyu. Po letu 1980 je študirala 

na Visoki šoli za glasbo v Hanovru in nato ostala v Nemčiji, kjer je komponirala 

predvsem glasbo za baletne in gledališke produkcije. Leta 1994 

se je vrnila v Sydney. Za svoje kompozicije je prejela številne nagrade in 

priznanja, njena dela pa izvajajo znameniti orkestri in druge zasedbe. 

V svoji glasbi Kats-Cherninova pogosto izhaja iz preprostega tematskega 

materiala ali glasbene formule, ideje; osnovnemu, intuitivno izbranemu 

impulzu sledi obdelava glasbenega gradiva, ki iz izhodišča zavije na 

povsem nove poti. Skladateljica posebne poudarke posveča raziskovanju 

zvoka in glasbene teksture. Na podlagi impulza ob spominu na Bachove 

dvoglasne invencije je leta 2005 nastalo tudi šest Re-Invencij za baročni 

fagot (prvotno za kljunasto flavto) in godala. Bachova dela so postala 

izhodišče glasbenih del, ki imajo drugačen zvok in drugačno strukturo 

kot izvirniki. Re-invencija št. 1 izhaja iz Invencije št. 8 v F-duru in izhodiščno 

skladbo popelje v pravi valček. Re-invencija št. 2 (iz Invencije št. 4 v d-molu) 

je krhka, počasna in hipnotična; v njej se nad dvema izmenjujočima 

se akordoma vzpenjajo in spuščajo lestvice. Re-invencija št. 3 se opira 

na Invencijo št. 13 v a-molu, ki je značilna po svoji nezadržani motorični 

energiji; podlago glavnega materiala pa tu dajejo viole in violončela s 

ponavljajočim se vzorcem.

V Piranu rojeni Giuseppe Tartini je bil eden izmed najbolj znanih violinistov 

in glasbenih teoretikov svojega časa. V njegovo violinsko šolo v 

Padovi so se zgrinjali učenci iz mnogih dežel Evrope. Kot skladatelj je bil 

predvsem mojster sonate, ki jo je nemalokrat preoblikoval v prizorišče 

virtuoznosti. Zlasti v komornih sonatah (da camera) se je oddaljil od ustaljene, 

iz suite izpeljane oblike. Njegova dela so sodobnike presenečala z 

izrazno močjo in afektiranostjo ter z drznimi harmonijami. Smisel glasbe 

za Tartinija namreč ni bil »preprost čutni užitek, temveč vznemirjenje, 

stopnjevanje ali pomiritev afektov s toni«. 

Slovita violinska sonata s programskim naslovom »Vražji trilček« je bila 

znana že pred letom 1750, izšla pa je posthumno (1798) v Parizu. Ime je 

dobila po sanjah, v katerih naj bi Tartini slišal hudiča igrati na violino; ko 

se je zbudil, je »vražjo« melodijo oz. trilček poskusil zapisati. Čeprav se 

vragov trilček pojavi šele v zadnjem stavku, je z »vražje« težkimi trilčki 

začinjena cela sonata. Začetni »Larghetto« v značilnem punktiranem ritmu 

in pastoralnemu vzdušju siciliana je le zatišje pred nevihto energičnega in 

bojevitega »Allegra«. Kratek počasni »Grave« uvaja zaključni in tehnično 

virtuozni »Allegro«, v katerem se sonata izkaže vredno svojega imena: 

vodilno melodijo spremljajo številni zadržki in trilčki na drugih strunah. 

Vmesni kratki počasni interludiji so le oddih in priprava na zaključno 

virtuoznost solistične kadence, kjer kult virtuoznosti že napoveduje kult 

virtuoza, s katerim bo čez nekaj desetletij ovenčan Paganini. 

Not a great deal is known about the composer, organist and organ maker 

Isaac Posch. He was born in Krems, Austria, and attended a Protestant school 

in Regensburg, where he obtained his music education. In 1614, he became 

an organist in Klagenfurt, most likely also working amongst the Protestant 

aristocracy. Between 1607 in 1640, he lived temporarily in Kranj. The first of his 

two best known instrumental collections, Musicalische Ehrenfreudt (1618), is 

dedicated to the Provincial Estates of Carniola; in 1621 it was followed by the 

collection Musicalische Tafelfreudt. The collections primarily contain dance 

movements in the northern German or even English instrumental style and 

represent an important contribution to the early baroque ‘variation’ suite. 

The opening four compositions of the first collection – “ballettas” – were 

intended for the entertainment of the aristocracy at mealtime. These are 

followed by three-movement suites, which could either accompany a meal 

or be used for dancing. 


Amongst Antonio Vivaldi’s 500 concertos there are as many as 39 for bassoon, 

second in number only to the violin concertos. They were most likely 

written for performance in the Venetian institute for orphan girls, Ospedale 

della Pietà, which boasted musical activities of an enviable richness and 

where Vivaldi was employed; according to his contract with the Ospedale 

dating from 1723, Vivaldi was obliged to compose two new concertos each 

81

month. On the other hand, some of the concertos could have been written 

for Vivaldi’s patrons. 

The Concerto for Bassoon in B-flat Major, RV 501, is one of many Vivaldi concertos 

with a programme, as is indicated both by the concerto’s title and the 

titles of the individual movements. The first movement presents a scene in 

which the bassoon has an ornamented recitative melody. The second movement 

is dramatic, with the bassoon exploring night-time apparitions. This 

is followed by a tranquil movement entitled Il sonno, which illustrates sleep. 

This movement concludes with daybreak, and with the sunrise the bassoon 

is faced with various responses from the orchestra. 

One of ten Vivaldi’s bassoon concertos in minor key, the Concerto in A Minor, 

RV 497, opens with a vigorous ritornello, continuing in a gentler mood with 

violins and viola, before the initial impetus is restored. The virtuoso solo part 

starts with entries varied by the inclusion of elements drawn from the second 

part of the opening ritornello. The Andante is introduced by the orchestra, 

before the bassoon embarks on its own aria. The third movement duly starts 

with the orchestral ritornello, framing solo episodes for the solo bassoon. 


Ottorino Respighi is today best known for his orchestral ‘trilogy’ Fountains 

of Rome, Pines of Rome and Roman Festivals. However, the composer first 

gained international recognition in 1908 with his orchestration of Claudio 

Monteverdi’s Lamento d’Arianna. Even as a child Respighi was attracted to 

ancient music, and he later transcribed works by Italian composers from the 

17 th and 18 th centuries. His love of Gregorian chant and Monteverdi is well 

known. He was not, however, drawn to modern musical streams and ideas, 

and did not find himself in any innovative musical groups. In 1932, he even 

signed his name to a manifesto that attacked the new musical directions of the 

time and called upon composers to return to the established Italian tradition. 

Respighi’s interest in early music also extended to the genre of ‘aria antica’, 

connected with arias with lute accompaniment and the tradition of court 

dances of the 16 th century. After two very successful orchestral suites from 

1917 and 1923, Respighi composed a third suite in 1931 entitled Antiche arie 

e danze for string orchestra, in which he achieved a happy balance between 

typically Respighi colouration and a renaissance clarity of sound. There is no 

irony to be found in the charming dance movements, freely reconstructed 

on the basis of works by composers from the 17 th century, but rather just a 

simple love of the beauty of music from past centuries. 

82 

Elena Kats-Chernin emigrated from Uzbekistan to Australia with her family 

in 1975. She studied the piano and composition at the Moscow Conservatory 

and at the Sydney Conservatory. From 1980, she studied at the Hanover 

University of Music and Drama, and then remained in Germany, where she 

primarily composed music for ballet and theatre productions. In 1994, she 

returned to Sydney. She has received numerous prizes and awards for her 

compositions and her works are performed by recognised orchestras and 

other ensembles.

Kats-Chernin’s music is often derived from simple thematic material or musical 

formulas and ideas; the initial, intuitively selected impulse is followed by a 

treatment of the musical material, which from its starting point develops on 

entirely new paths. The composer places particular emphasis on the research 

of sound and musical texture. The six Re-Inventions for baroque bassoon and 

strings (originally for recorder and strings) came about in 2005 on the basis 

of an impulse sparked by Bach’s two-part inventions. Bach’s compositions 

became the starting point for musical works that have a different sound and 

a different structure from the originals. Re-Invention No. 1 is derived from 

Bach’s Invention No. 8 in F Major, and transforms the original composition 

into a genuine waltz. Re-Invention No. 2 (from Invention No. 4 in D Minor) 

is fragile, slow and hypnotic; in it scales rise and fall above two alternating 

chords. Re-Invention No. 3 is based on Invention No. 13 in A Minor, which is 

characterised by a relentless motoric energy; the basis for the main material 

is here provided by repeating patterns in the violas and cellos. 

Giuseppe Tartini, born in Piran, was one of the most famous violinists and 

musical theoreticians of his time. Pupils from all over Europe flocked to his 

violin school in Padua. As a composer he was above all a master of the sonata, 

which he frequently transformed into a stage for virtuosity. Particularly in his 

chamber sonatas (sonate da camera) he distanced himself from the established 

forms derived from the suite. His works surprised his contemporaries 

with their expressive power and affectation, as well as with their daring harmonies. 

For Tartini the point of music was not “simple emotional pleasure, but 

rather the excitement, intensification and calming of affections with notes”. 

The famous violin sonata with the programmatic title ‘The Devil’s Trill’ was 

already well known before 1750, but it was only published posthumously in 

1798 in Paris. It got its name from dreams in which Tartini apparently heard 

the devil playing the violin; when he woke up he tried to notate the ‘devil’s’ 

melody, or trill. Although the devil’s trill appears only in the last movement, 

the entire sonata is spiced with ‘devilishly’ difficult trills. With its characteristic 

dotted rhythms and the pastoral atmosphere of a siciliano, the opening Larghetto 

is the calm before the storm of the energetic and pugnacious Allegro. A 

short, slow Grave introduces the concluding and technically virtuosic Allegro, 

in which the sonata proves to be worthy of its name: the leading melody is 

accompanied by numerous grace notes and trills on other strings. The short 

slow interludes are only a breathing space and preparation for the final virtuosity 

of the solo cadenza, where the cult of virtuosity already heralds the cult 

of the virtuoso, with which Paganini was to be crowned a few decades later. 




83

Torek, 8. September 2009 / Tuesday, 8. September 2009 


Kazinska dvorana ob 11:00 / Kazina Hall at 11.00 


Harmonično pustolovstvo 


Harmonic Adventurousness 

GODALNI KVARTET ENGEGÅRD / ENGEGÅRD QUARTET 

Arvid Engegård, violina / violin 

Atle Sponberg, violina / violin 

Juliet Jopling, viola / viola 

Jan-Erik Gustafsson, violončelo / violoncello 

Sodeluje / Featuring: 

Knut Erik Sundquist, kontrabas / double bass 


Joseph Haydn (1732–1809): Godalni kvartet št. 66 v G-duru op. 77/1, Hob. 

III:81 / String Quartet No. 66 in G Major, Op. 77/1, Hob.III:81 


2. Adagio 

3. Menuetto. Presto 

4. Finale. Presto 

Béla Bartók (1881–1945): Godalni kvartet št. 3 / String Quartet No. 3 

1. Prima parte – Moderato 

2. Seconda parte – Allegro 

3. Ricapitulazione della prima parte – Moderato. Coda – Allegro molto 

* * * 

Antonín Dvořák (1841–1904): Godalni kvintet za godalni kvartet in 

kontrabas v G-duru op. 77 / String Quintet for string quartet and contrabass 

in G Major, Op. 77 

1. Allegro con fuoco 

2. Scherzo. Allegro vivace 

3. Poco andante 

4. Finale. Allegro assai

Josepha Haydna imamo upravičeno za »očeta« godalnega kvarteta, 

komorne zvrsti, ki je po svojem pomenu in umetniški teži v 19. in 20. 

stoletju postala osrednja. Rojstvo kvarteta je tesno zvezano s Haydnovim 

delovanjem v kapeli kneza Esterházyja v Eisenstadtu, kjer je imel 

skladatelj na voljo dovolj časa za »eksperimentiranje« – svoj mogočni 

opus oseminšestdesetih kvartetov je ustvarjal v razponu kar petdesetih 

let. Takšno »laboratorijsko« spreminjane kvarteta pa si je Haydn lahko 

privoščil v zelo drastični meri tudi zato, ker pisanje kvartetov ni sodilo 

med njegove službene obveznosti – prvi kvarteti so tako nastali predvsem 

iz potrebe zasedbe, zato v prvih opusnih številkah srečamo celo kvartetne 

priredbe skladateljevih simfonij, ker pa so bili koncerti kvartetov v 

prvi vrsti namenjeni hišnemu, ljubiteljskemu muziciranju, je bil njihova 

glasbena vsebina sprva lahkotnejše in vedre narave. Haydn je svoje prve 

kvartete imenoval celo kot »divertimento a quattro«, v novo zvrst pa je 

združil elemente baročne triosonate, avstrijskega divertimenta, ljudske 

plesne glasbe in operne arije. To pisano mešanico je nato podvrgel procesu 

prečiščevanja forme in racionalnosti, ki naj bi dala poslušalcu tudi 

intelektualni užitek, pri čemer je bilo osrednje Haydnovo vodilo, da bi 

bilo mogoče kvartet razumeti kot enakovreden »pogovor« štirih inštrumentov. 

Forma prvih kvartetov je bila strogo simetrična: hitri stavek v 

sonatni obliki, menuet, počasni stavek v pesemski obliki, še en menuet 

in finale v sonatni ali suitni obliki. Kasneje je odpadel drugi menuet, tisti, 

ki je ostal, pa je pridobival vse bolj izrazite karakterne poteze, ki se jim 

je umikala preprosta plesnost. 

Krono kvartetnega ustvarjanje je Haydn dosegel leta 1781 s ciklusom 

tako imenovanih »Ruskih kvartetov«, vendar pa se glasbeni razvoj tu še 

ni ustavil. Tako so novosti značilne tudi za poslednja kvarteta opus 77. 

Po izkušnjah, ki si jih je Haydn pridobil v Londonu, sta zadnja kvarteta 

bolj ekstrovertirana, kar se kaže predvsem v tematskem gradivu, ki je 

zasnovano izrazito simfonično. Pa vendar kažeta deli že tudi določeno 

ustvarjalno stisko: princ Lobkowitz je naročil šest kvartetov, Haydn pa je 

napisal samo dva. Skladatelj naj bi z ustvarjanjem prenehal, ker je v tem 

času že slišal Beethovnove kvartete iz opusa 18, ki so Haydna presenetili 

s svojo drzno naprednostjo. Nekaj Beethovnovega odmeva je mogoče 

iskati celo v Kvartetu v G-duru, vsaj v menuetu, ki je daleč od elegantnega 

dvornega plesa: zasnovan je kot divji presto, pobarvan z impulzi romske 

in hrvaške ljudske glasbe, ki se v svojem močnem in enakomernem utripu 

približujejo karakterju scherza – oblike, s katero je Beethoven nadomestil 

»Haydnov« menuet. 


Med največje nadaljevalce kvartetnega izročila po Haydnu in Beethovnu 

pa lahko v 20. stoletju prištevamo Bélo Bartóka. Podobno kot pri Haydnu 

tudi šest Bartókovih kvartetov razodeva skladateljev kompozicijski 

razvoj. Sprva je bil še pod vplivom nemške pozne romantike (Wagnerjeve 

harmonije, Regerjeve kromatike in Straussove orkestracije), nato pa mu 

je etnomuzikološki in skladateljski prijatelj Kodály približal francosko 

glasbo, še posebej Debussyja, zadnja koristna spoznanja pa je prineslo 

85

temeljito ukvarjanje z ljudsko glasbo. Tako je Bartók Prvi godalni kvartet 

napisal še pod vplivom nemške romantične razčustvovanosti, Drugi že 

prinaša več občutka za barvo, medtem ko Tretji godalni kvartet jasno 

zaznamuje prestop v bolj drzen glasbeni stavek. 

Sam skladatelj je zapisal, da njegov Tretji kvartet prinaša spremembo 

estetskega ideala: če je prej zaupal v Beethovnov tip glasbene poglobljenosti, 

ga je zdaj bolj zanimalo popolno glasbeno obrtništvo, kakršno 

predstavlja glasba Bacha. Za kvartet je značilna izredna zgoščenost glasbene 

misli in originalna oblika. Tradicionalni štirje stavki so združeni v en 

sam stavek, v katerem je mogoče ugledati obrise sonatne oblike (»Prima 

parte« predstavlja osnovne glasbene ideje, »Seconda parte« nadaljuje z 

razburjeno izpeljavo gradiva, medtem ko lahko poslednji odsek razumemo 

kot variirano in prečiščeno reprizo s kodo, ki v prepričljiv zaključek 

poveže vse tematske niti). Spregledati tudi ne gre, da Bartók pod vplivom 

Bergove Lirične suite, ki jo je slišal prav v tem času, bolj svobodno obravnava 

tudi zvočnost godal. Tako srečamo v delu različne zvočne efekte: 

od glissandov, pizzicata, igranja na mostičku ali ubiralki do zadušenih 

tonov in uporabe pretiranega vibrata. 


86 

Po letu 1871, ko je Dvořák zapustil mesto violista v opernem orkestru, 

se je pričelo skladateljevo postopno uveljavljanje. Najprej je sicer prišla 

grenka izkušnja z opero Kralj in ogljar, ki jo je gledališče sprva sprejelo, 

nato pa zaradi izvedbenih težav tudi zavrnilo. Toda Dvořák ni izgubil 

svoje ustvarjalne samozavesti, temveč je temeljito prečistil svoj glasbeni 

izraz. Odpovedal se je wagnerjanskim vplivom in se povrnil h periodičnosti 

in oblikovni preglednosti klasicističnega stavka, v svojih delih pa 

je melodični material vse pogosteje oplemenitil s slovansko folkloro. 

Če izvzamemo novo verzijo opere Kralj in ogljar – o tej je sam skladatelj 

zapisal, da je zdaj »bolj nacionalna kot wagnerjanska« – je to slogovno 

spremembo domislil v mediju komorne glasbe. 

Kvintet op. 77 (delo je sprva nosilo oznako opus 18, pri izdaji leta 1888 pa 

je založnik Simrock natisnil napačno številko 77) je nastal leta 1875 za 

kompozicijsko tekmovanje »Moji ljudje«, ki je bilo pripravljeno v okviru 

prireditve »Umeùlecká beseda«. Originalno je imelo delo pet stavkov, 

pred tiskanjem pa je Dvořák izpustil »Intermezzo«. Za delo je značilna 

ekonomičnosti in velika tematska gostota, zaradi česar dobiva skladba 

že kar simfonične dimenzije. V prvem stavku predstavi glavni motiv, 

ki prestavlja izhodišče celotnega stavka, solistična viola, drugi stavek 

je energičen, češko obarvani scherzo, počasni stavek prinaša delikatni 

dialog med glasbili, medtem ko finale v obliki rondoja poveže tematske 

misli prejšnjih stavkov. Mojstrstvo, s katerim obvladuje Dvořák godala, 

že daje slutiti prve velike mednarodne uspehe – le dve leti kasneje je na 

delo češkega skladatelja postal pozoren Johannes Brahms, ki je mladega 

varovanca priporočil založniku Simrocku, ta pa je pri Dvořáku naročil serijo 

folklorno obarvanih plesov za klavir štiriročno – tako nastali Slovanski 

plesi so ponesli Dvořákovo ime po celem svetu.

We justifiably regard Joseph Haydn as the ‘father’ of the string quartet, 

the chamber music genre that, in terms of significance and artistic weight, 

became the central genre of the 19 th and 20 th centuries. The birth of the 

quartet is closely linked with Haydn’s work in the chapel of Count Esterházy in 

Eisenstadt, where the composer had sufficient time available for ‘experimentation’; 

his immense opus of sixty-eight quartets was created over a period of 

some fifty years. This ‘laboratory’ modification of the quartet could also be 

afforded by Haydn to such a drastic extent because the writing of quartets 

was not included amongst his professional obligations. Thus the first quartets 

came about primarily from the needs of the ensemble, which is why in the 

first opus numbers we even find quartet arrangements of the composer’s 

symphonies. Given that concerts of quartets were above all conceived as 

domestic, amateur music making, the musical content of the string quartet 

was at first of a light and joyous nature. Haydn even named his first quartets 

“divertimento a quattro”, and combined elements of the baroque trio sonata, 

the Austrian divertimento, folk dance music and opera aria in the new genre. 

He then subjected this colourful mixture to a process of formal purification 

and rationalisation, with the intention of also providing the listener with 

intellectual pleasure. In so doing Haydn’s central guideline was the notion 

that the quartet could be understood as an equal ‘conversation’ between 

four instruments. The form of the first quartets was strictly symmetrical: a 

fast movement in sonata form, a minuet, a slow movement in song form, 

another minuet and a finale in sonata or suite form. Later the second minuet 

was abandoned and the minuet that remained gained ever more explicit 

character traits that shifted it away from simple dance music. 

The crown of Haydn’s quartet creativity was achieved in 1781 with the cycle 

of so-called ‘Russian Quartets’, but the musical development did not stop 

there; thus the two subsequent quartets of opus 77 are also characterised by 

innovation. After the experience that Haydn had gained in London, the last 

two quartets are more extroverted, something that is evident above all in 

the thematic material, which is conceived in an explicitly symphonic manner. 

However, the works also indicate a certain creative crisis: Prince Lobkowitz 

had ordered six quartets but Haydn only wrote two. The composer apparently 

abandoned the project due to the fact that by this time he had already 

heard Beethoven’s quartets from opus 18, which surprised Haydn with their 

daring progressiveness. It is even possible to find certain echoes of Beethoven 

in the Quartet in G Major, at least in the minuet, which is far removed from 

an elegant court dance; conceived as a wild presto, coloured with impulses 

from Roma music and from Croatian folk music, its powerful and uniform 

pulse approaches the character of a scherzo, the form with which Beethoven 

had replaced ‘Haydn’s’ minuet. 


Amongst the greatest composers to continue the quartet tradition of Haydn 

and Beethoven in the 20 th century we can include Béla Bartók. As with Haydn, 

Bartók’s six quartets reveal his compositional development. Initially he was 

still under the influence of the German late romantics (Wagner’s harmony, 

87


88 

Reger’s chromaticism and Strauss’s orchestration), then his friend, musicologist 

and composer Kodály, drew his attention to French music, especially that 

of Debussy, while his final useful revelation was a deep involvement with folk 

music. Thus Bartók wrote his First String Quartet still under the influence of 

German romantic emotiveness, the Second Quartet brings a greater feeling 

for colour, while the Third String Quartet is clearly marked by a conversion 

to a more daring musical style. 

The composer himself wrote that his Third Quartet brought a change in 

aesthetic ideal: if he had earlier trusted Beethoven’s type of musical depth, 

he was now more interested in perfect musical craft, as represented by the 

music of Bach. The quartet is characterised by an extraordinary density of 

musical ideas and originality of form. The traditional four movements are 

combined into just one movement, in which it is possible to trace the outlines 

of sonata form: the ‘Prima Parte’ presents the basic musical ideas, the ‘Seconda 

Parte’ continues with an agitated development of the material, while 

we can understand the following section as a varied and purified reprise with 

a coda, combining all three thematic threads in a convincing conclusion. It 

should also be noted that under the influence of Berg’s Lyric Suite, which 

Bartók heard for the first time during this period, the composer treated the 

sonority of the strings more freely. Thus we meet with various sonic effects 

in the work: from glissando, pizzicato, playing on the bridge and strumming, 

to muted tones and the use of exaggerated vibrato. 

After 1871, when Dvořák resigned from his position as a violist in an opera 

orchestra, he began to gradually gain recognition as a composer. First, however, 

there was a bitter experience with the opera King and Charcoal Burner, 

which was initially accepted by the theatre then subsequently abandoned 

due to performance difficulties. However, Dvořák did not lose his creative 

self-confidence, but instead fundamentally purified his musical expression. 

He rejected Wagnerian influences and returned to the periodicity and formal 

transparency of classical style, while with increasing frequency gracing his 

works with melodic material from Slavonic folklore. With the exception of 

the new version of the opera King and Charcoal Burner, about which the 

composer himself wrote that it was “now more national than Wagnerian”, 

this stylistic change was conceived in the medium of chamber music. 

The Quintet, Op. 77 (the work first bore the opus number 18, but in the edition 

published in 1888 the publisher Simrock incorrectly printed the number 77) 

was written in 1875 for the composition competition ‘My People’, which was 

prepared within the framework of the cultural events known as ‘Umeùlecká 

beseda’. Originally the work had five movements, but prior to printing Dvořák 

omitted the ‘Intermezzo’. The composition is marked by an economy of means 

and an extraordinary thematic density, giving it almost symphonic dimensions. 

In the first movement the solo viola presents the main motive, which 

represents a starting point for the entire movement. The second movement 

is an energetic scherzo with Czech colouring, the slow movement brings 

a delicate dialogue between the instruments, while the finale, in the form

of a rondo, connects the thematic ideas of the previous movements. The 

mastery with which Dvořák controls the string writing already provides a 

hint of the imminence of his first great international successes – just two 

years later the Czech composer came to the attention of Johannes Brahms, 

who recommended his young protégé to the publisher Simrock. The latter 

commissioned a series of folk flavoured dances for piano four hands from 

Dvořák, giving rise to the Slavonic Dances, the work that made Dvořák’s 

name famous throughout the world. 

Gregor Pompe 



89

Torek, 8. September 2009 / Tuesday, 8. September 2009 



SPOMINI NA PODEŽELSKO ŽIVLJENJE 

RECOLLECTIONS OF COUNTRY LIFE 




Danny Spooner, glas / vocal 

Mike Kerin, gosli / fiddle 

John McSherry, irske dude / Uilleann pipes 


Arcangelo Corelli (1653–1713): Concerto grosso v g-molu op. 6, št. 8 – »Koncert 

za božično noč« / Concerto grosso in G Minor, Op. 6, No. 8 – “Fatto per la notte di 

natale” (Christmas Concerto) 

1. Vivace – Grave 

2. Allegro 

3. Adagio – Allegro – Adagio 

4. Vivace – Allegro 

5. Pastorale ad libitum 

Trad.: Pastoralne teme / Pastoral themes 

Ralph Vaughan Williams (1872–1958): Škrjanček v letu, romanca za violino 

in orkester / The Lark Ascending, Romance for violin and orchestra 


Pavel Haas (1899 –1944), prir. za godalni orkester / arr. for string orchestra R. 

Tognetti: Drugi stavek (»Kočijaž, kočija in konj – Andante«) iz Godalnega kvarteta 

št. 2 op. 7 – »Z opičjih gora« / Second Movement (Coach, coachman and horse – 

Andante) from String Quartet No. 2, Op. 7 – “From the Monkey Mountains” 


* * *


Ludwig van Beethoven (1770–1827): Simfonija št. 6 v F-duru op. 68 – 

»Pastoralna« / Symphony No. 6 in F Major, Op. 68 – “Pastoral” 

1. Allegro ma non troppo: Prebuditev vedrih občutij ob prihodu na deželo / 

Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande 

2. Andante molto moto: Prizor ob potoku / Szene am Bach 

3. Allegro: Veselo druženje podeželanov / Lustiges Zusammensein der Landleute 

4. Allegro: Nevihta, vihar / Gewitter, Sturm 

5. Allegretto: Vesela in hvaležna čustva po nevihti / Frohe und dankbare Gefühle 

nach dem Sturm 

Violinist in skladatelj Arcangelo Corelli je zapustil relativno malo del, a 

ta so imela velikanski vpliv. Objavil je štiri nize po 12 triosonat in solističnih 

violinskih sonat, 1714 pa je v Amsterdamu posthumno izšlo 12 concertov 

grossov. To so razširjene triosonate, v katerih concerto grosso kontrastira 

mali zasedbi concertina. Napisani so v obliki plesno obarvanih stavkov 

(sonata da camera) ali resnobnejše cerkvene sonate (sonata da chiesa), 

z akordskim in basovskim glasbilom v continuu. 

Concerto grosso št. 8 iz opusa 6 je morda identičen z božičnim koncertom, 

ki ga je Corelli 1690 napisal za kardinala Ottobonija. Napisan je v obliki 

štiristavčne cerkvene sonate. Resnobni, kromatično obarvani »Grave« 

zaznamujejo dolge notne vrednosti in linearno vodenje glasov. V drugem 

stavku se posamezni odseki pojavijo v različnih oblikah imitacije. 

Spevnemu in izraznemu »Adagiu« s kontrastnim osrednjim delom sledi 

četrti stavek, sestavljen iz dveh odsekov v različnih taktovskih načinih. 

Ponovitev zaključne kadence pa neposredno vodi v stavek »Pastorale«. 

Pastorala je bila priljubljena glasbena oblika instrumentalne glasbe 17. 

in 18. stoletja, ki je na glasben način »prikazovala« rustikalno vzdušje. 

Corellijev stavek je temu concertu grossu pri izdaji pravzaprav ad libitum 

dodal skladateljev učenec Matteo Fornari in mu z njim prislužil ime »Per 

la notte di natale«. 


Ralph Vaughan Williams kot skladatelj stoji med Elgarjem in Brittnom. 

Za časa njegovega življenja spremembe in revolucije niso pretresale samo 

evropske glasbe, temveč so se v katastrofah svetovnih vojn krepko zamajali 

temelji družbe celega sveta. Williams je sredi občutja »ponorelega 

sveta« iskal trdne korenine svoje umetnosti v t. i. »nacionalni glasbi«. Trdil 

je, da morajo biti umetniške korenine »trdno zasidrane v tvoji domači 

zemlji, in če ti ta zemlja lahko da kaj individualnega, lahko pridobiš cel 

svet, ne da bi izgubil svojo dušo«. Dva temelja angleške nacionalne glasbe 

– ljudska glasba ter glasba elizabetinske dobe – sta bila tudi Williamsu 

eden izmed glavnih virov navdiha. Še danes ga glasbene zgodovine 

opisujejo kot značilno »angleškega«: zanje je »apoteoza angleškosti«, 

njegova glasba pa je »najbolj individualna v zgodovini britanske glasbe 

vse od Purcella dalje«. 

91

Angleško bistvo je tisto, kar po mnenju glasbenih zgodovinarjev preveva 

tudi Williamsovo idilično, zasanjano pastoralno romanco The Lark Ascending 

(Škrjanček v letu oz. Škrjanček, ki leti kvišku) iz leta 1914 (revidirana je 

bila leta 1920). Prvikrat jo je v orkestrski različici izvedla Marie Hall, ki ji 

je posvečena. Glasbo uvajajo verzi iz istoimenske pesmi romantičnega 

pesnika Georgea Mereditha, ki opisujejo radostni let škrjančka nad dolino 

ter njegovo pesem v »srebrnih verigah zvoka«. Pesnik škrjančka primerja 

z vinom, ki napolnjuje svojo čašo – dolino –, in s katerim se pod nebo 

dvigajo tudi ljudje. Onomatopoetična romanca v počasnejšem »Andante 

sostenuto« prikazuje v neskončnost spreminjajočo se pesem škrjančka 

in ekstazo njegovega petja, ki se izteče v »Allegretto tranquillo«, hitrejši 

in z ljudsko glasbo navdahnjeni del. A pastoralna idila je tu le iluzija in 

nostalgija: delo, ki je nastalo na pragu prve svetovne vojne in bilo končano 

po njej, je v pravo idilo le še težko verjelo. 


92 

Češki skladatelj Pavel Haas se je glasbeno izobraževal v Filharmonični 

šoli v Brnu in se leta 1919 vpisal na kompozicijo na tamkajšnjem konservatoriju, 

kjer ga je najbolj zaznamoval študij pri Leošu Janáčku. Ta 

je svoje študente seznanil s harmoniko in melodiko moravske ljudske 

glasbe. Melodični in ritmični elementi govora ter njegova uglasbitev so 

tudi pri Haasu postali eden glavnih temeljev kompozicije. A čeprav je bil 

Janáčkov vpliv nanj velik, je slednji razvil povsem lastni slog, ki so ga v 

melodiki poleg moravske ljudske pesmi zaznamovali napevi judovskih 

sinagog in gregorijanskega korala, ritmično pa je Haas z zanimanjem sledil 

sodobnim zahodnoevropskim glasbenim tokovom in jazzu. Na spodbudo 

žene Soňe se je leta 1935 povsem posvetil glasbi. Zaradi judovskega 

porekla je bil leta 1941 deportiran v koncentracijsko taborišče Terezín, 

kjer je napisal najmanj osem del (ohranjena so tri, med njimi Študija za 

godala in Štiri pesmi na kitajsko poezijo). Haas je umrl v plinski celici leta 

1944 v taborišču Birkenau. Za sabo ni zapustil obsežnega opusa, a kljub 

temu je eden glavnih predstavnikov češke glasbe, ki je narodno tradicijo 

povezal z novimi dosežki mednarodne glasbe. 

Godalni kvartet št. 2 je nastal leta 1925, tri leta po koncu študija pri Janáčku. 

Prva izvedba v Brnu leta 1926 z Moravskim kvartetom zlasti zaradi »predrzne« 

uporabe tolkal v zadnjem stavku ni bila dobro sprejeta; v nadaljnjih 

izvedbah tolkal ni bilo več. Kvartet v štirih stavkih slika razpoloženja in 

podobe Opičjih gora (vzdevek za Moravsko višavje, v Haasovem času 

priljubljeno turistično destinacijo). Haas kot mojster tonskega slikanja v 

prvem stavku (»Krajina«) predstavi monumentalno podobo pokrajine z 

onomatopoetičnimi prikazi petja ptic in dogajanja v naravi. Drugi stavek 

s tremi temami in značilnimi zvoki potovanja po podeželski cesti predstavi 

kočijo, kočijaža in konja. Tretji stavek (»Mesec in jaz«) je med vsemi 

najbolj liričen in oseben, zaključni (»Divja noč«) pa je začinjen z ljudskimi 

melodijami in elementi jazza. 

Ludwig van Beethoven je Šesto simfonijo napisal v istem času kot Peto; 

obe sta bili premierno izvedeni istega večera, 22. 12. 1808, v ledeno-

mrzlem gledališču Theater-an-der-Wien. Štiriurni koncert Beethovnovih 

del je bil predolg, da bi lahko uspel, polomijo pa je zagotovila še slaba 

izvedba z glasnimi vmesnimi Beethovnovimi opazkami. Šesta simfonija 

(tedaj naslovljena kot Peta simfonija, Peta pa kot Šesta) je bila kot prva na 

vrsti dobro sprejeta. Sestrski simfoniji sta po značaju različni, obenem 

pa predstavljata dva pola istega pogleda na svet. 5. simfonija povzdiguje 

individuum in je v nenehnem razvoju, Šesta simfonija pa človeka predstavlja 

v odvisnosti od in kot del narave. Harmonija ni cilj, temveč red 

stvari; značilna je stalna harmonska prisotnost trozvoka, pogost je tudi 

bordun. Harmonska napetost je minimalna, kontrasti so majhni, zvočne 

plasti statične in mirno valujoče. Ta mir za kratek čas razbije samo nevihta. 

Napovednik koncerta je Pastoralno simfonijo opisal kot »Spomine na 

podeželsko življenje«. Skladbo še bolj kot asociacija na glasbeno tradicijo 

pastorale določa Beethovnova osebna zavezanost naravi, ki izhaja iz 

notranjega občutenja. Sporočilo slavnega stavka – »Bolj občutje kakor 

slikanje« – je jasno: Beethoven kljub programskim naslovom ne slika 

narave in konkretnih prizorov podeželskega življenja (izjemi sta Prizor ob 

potoku z glasovi ptic ter posnemanje nevihte), temveč odmeve narave v 

človeku. V Šesti simfoniji se na estetski ravni v eno združujejo človekova 

občutja ob naravi, ki je bila za Beethovna skoraj religiozen pojem – »göttliche 

Natur«, božanska narava. 

Violinist and composer Arcangelo Corelli left relatively few works, but 

those he did bequeath had an enormous influence. During his lifetime, he 

published four collections of works, each containing twelve trio sonatas 

and solo violin sonatas, and in 1714 twelve concerti grossi were published 

posthumously in Amsterdam. The latter are expanded trio sonatas in which 

the concerto grosso is contrasted with small concertino ensembles. They are 

written in the form of dance flavoured movements (sonata da camera) or 

more serious church sonatas (sonata da chiesa), with a continuo comprising 

chordal instrument and a bass instrument. 

Concerto grosso No. 8 from opus 6 is possibly identical to the Christmas 

concerto that Corelli wrote in 1690 for Cardinal Ottoboni. It is written in the 

form of a four-movement church sonata. The serious, chromatically coloured 

Grave is marked by long note values and linear voice leading. In the second 

movement the individual sections appear in various forms of imitation. The 

cantabile and expressive Adagio with its contrasting central section is followed 

by the fourth movement, made up of two sections in differing time 

signatures. The repeat of the concluding cadenza leads directly to a movement 

entitled Pastorale. In the 17 th and 18 th centuries, the pastorale was a 

popular form of instrumental music that ‘illustrated’ a rustic atmosphere 

with musical means. On publication, Corelli’s movement was added to this 

concerto grosso ad libitum by the composer’s pupil Matteo Fornari, earning 

the work its title “Per la notte di natale”. 


93


94 

As a composer Ralph Vaughan Williams stands between Elgar and Britten. 

During his lifetime, change and revolution not only marked European music, 

but in two catastrophic world wars the very social foundations of the entire 

world were forcefully shaken. Amidst a feeling of ‘the world gone crazy’ Williams 

sought firm roots for his art in so-called ‘national music’. He asserted 

that artistic roots must be “firmly anchored in one’s homeland, and if that 

land can give you something individual you can gain the entire world without 

losing your soul”. The two foundations of English national music – folk music 

and the music of the Elizabethan era – where amongst the main sources of 

Williams’s inspiration. Even today, music histories describe Williams as typically 

‘English’: he is the “apotheosis of Englishness”, his music is “the most 

individual in the history of British music since Purcell”. 

In the opinion of music historians, the English essence is also that which gave 

rise to Williams’s idyllic, dreamy pastoral romance The Lark Ascending from 

1914 (revised in 1920). The orchestral version of this work was performed for 

the first time by Marie Hall, to whom it is dedicated. The music is based on 

verses from the poem of the same name by romantic poet George Meredith, 

who describes the joyous flight of a lark above a valley and the bird’s song in 

“silver chains of sound”. The poet compares the lark with wine that fills his 

goblet – the valley – and with which beneath the heavens people also raise 

themselves up. The eternally changing song of the lark and the ecstasy of 

its singing is portrayed in the onomatopoeic romance in the slow Andante 

sostenuto. This flows into the Allegretto tranquillo, a faster section inspired 

by folk music. But here the pastoral idyll is just illusion and nostalgia: it is only 

with difficulty that the work actually believes in the idyll, as it was commenced 

on the outset of the First World War and was completed after it. 

Czech composer Pavel Haas commenced his music education at the Philharmonic 

School in Brno, and in 1919 enrolled to study composition at the 

Brno Conservatory, where he was most influenced by his studies with Leoš 

Janáček. The latter made his students familiar with the harmony and melody 

of Moravian folk music. The melodic and rhythmic elements of speech and 

its setting to music also became one of the main foundations of Haas’s approach 

to composition. Although Janáček’s influence on the young composer 

was enormous, Haas subsequently developed an entirely personal style. 

In addition to Moravian folk song, his sense of melody was marked by the 

singing in Jewish synagogues and by Gregorian chant, while rhythmically 

he was influenced by an interest in contemporary western European musical 

streams and jazz. Encouraged by his wife Soňa, Haas dedicated himself 

entirely to music in 1935. However, due to his Jewish origins, he was deported 

to the Terezín concentration camp in 1941, where he composed at least eight 

works, of which only three are extant, including the Study for String Orchestra 

and the Four Songs on Chinese Poetry. Haas died in a gas chamber in the 

Birkenau concentration camp in 1944. He did not leave an extensive opus, 

but he is nonetheless one of the key representatives of Czech music, linking 

the national tradition with the new achievements of international music.

String Quartet No. 2 was written in 1925, three years after Haas had finished 

studying with Janáček. It was first performed in Brno in 1926 by the Moravian 

Quartet. However, particularly because of its ‘overly daring’ use of percussion 

in the last movement, it was not well received; the percussion was subsequently 

removed from future performances. In its four movements the quartet illustrates 

the atmosphere and imagery of the Monkey Mountains (the name 

given to the Moravian highlands, a popular tourist destination during Haas’s 

time). In the first movement (Landscape) Haas shows himself to be a master 

of tone painting, with a presentation of the monumental landscape of the 

region, including onomatopoeic depictions of bird calls and other natural 

phenomena. With its three themes and characteristic sounds of a journey 

over country roads, the third movement represents ‘Coach, Coachman and 

Horse’. Of all of the movements, the third (The Moon and I) is the most lyrical 

and personal, while the final movement (Wild Night) is spiced with folk 

melodies and jazz elements. 

Ludwig van Beethoven wrote his Sixth Symphony at the same time as the 

Fifth, and both works were premiered at the same concert, on 22 December 

1808 in the freezing cold theatre of the Theater-an-der-Wien. The four 

hour concert of Beethoven’s works was far too long to be a success, but its 

failure was further ensured by poor performances, as well as Beethoven’s 

loud interjections. As the first item on the programme, the Sixth Symphony 

(which was then numbered as the Fifth Symphony, while today’s Fifth was 

labelled the Sixth) was well received. The sister symphonies are different in 

character but actually represent two opposite poles of the same world view. 

The Fifth Symphony elevates the individual and is in constant development, 

while the Sixth Symphony presents man as dependent on nature and as its 

integral part. The harmony is not the goal but rather the order of things, and 

is characterised by an almost constant harmonic presence of triads, and the 

frequent use of bourdon. Harmonic tension is minimal and contrasts are 

small, while the sonic layers are static and gently undulating. The peace is 

only briefly broken by a storm. 

The preview of the concert described the Pastoral Symphony as “reminiscences 

of country life”. The composition is not so much determined by associations 

with the musical pastoral tradition as by Beethoven’s personal connection 

to nature, which derived from his inner emotion. The message of the famous 

statement “more feeling than painting” is clear: in spite of the work’s programmatic 

title, Beethoven does not illustrate nature in concrete scenes of 

country life (with the exception of ‘By the Brook’, with its bird calls, and the 

imitation of the storm) but rather the echoes of nature in man. In the Sixth 

Symphony man’s emotions in the face of nature are brought together on 

an aesthetic a level; for Beethoven nature was almost a religious concept – 

‘gött liche Natur’, divine nature. 




95

Sreda, 9. September 2009 / Wednesday, 9. September 2009 




Človeški karneval 


Carnival of the Humans 


Richard Tognetti – dirigent, solo violina / conductor, solo violin 

Solista / Soloists: 

Marie Luise Neunecker, rog / horn 

Melvyn Tan, klavir / piano 


Jure Goručan, klavir / piano 

Janez Podlesek, violina / violin 

Oliver Dizdarević, violina / violin 

Mile Kosi, viola / viola 


Petar Brčarević, kontrabas / double bass 

Nataša Paklar Marković, flavta, piccolo / flute, piccolo 

Ognjen Popović, klarinet / clarinet 

Barbara Kresnik, ksilofon / xylophone 

Atle Sponberg, koncertni mojster / lead violin 

Vladimir Jurc, pripovedovalec / narrator


Wolfgang Amadeus Mozart (1756–1791): 

Koncert za rog in orkester št. 2 v Es–duru K 417 / Horn Concerto 

No. 2 in E-flat Major, K 417 

1. Allegro 

2. Andante 

3. Rondo: Allegro 

Koncert za klavir in orkester št. 12 v A–duru K 414 (386a) / 

Piano Concerto No. 12 in A Major, K 414 (386a) 

1. Allegro 

2. Andante 

3. Rondeau: Allegretto 

* * * 

Človeški karneval / Carnival of the Humans* 

Charles Camille Saint Saëns (1835–1921): Živalski karneval / Le 

carnaval des animaux (glasba / music) 

Michael Leunig (*1945), prev. / transl. Milan Jesih: Človeški 

karneval / Carnival of the Human Animals (besedilo / text) 

* V sodelovanju z Lutkovnim gledališčem Maribor / In collaboration 

with the Puppet Theatre Maribor 


Michael Leunig: Ingoodfaith 

Michael Leunig: Fishdance 

97

Človeški karneval 

Michael Leunig – prevod za Festival Maribor Milan Jesih 

1. PROLOG. 

Takrat, ko so ljudje shodili 

po zadnjih in spregovorili, 

češ, »Zdaj pa nismo več živali,« – 

so skrili, kar so prej kazali, 

um jeli pa krepiti v smeri, 

da Zemljo uničijo za zmeraj. 

Ko rafinma je bil ta prav, 

svet je človeški vrt postal. 

Ljudje v njem, v svoji kletki vsak, 

s petjem vzmigavali so zrak, 

iz njih vsevdilj otožno zroč 

k luni in daljnim zvezdam v noč. 


Prisluhnite in kar z menoj 

v ta čudni zverinjak nocoj. 

2. PREDSEDNIKI DRŽAV IN VLAD. (LEV) 

Predsedniki držav in vlad – 

ni bolj sijajnih bitij, 

kadar le dá se kje 

javno spregovoriti 

– z vidika nacionalne slave 

in v svojo čast in v čast države –, 

da mi smo dobri, drugi zli, 

njim prav, nam dobro se godi. 

Ko smo se dali poučiti, 

vodje pravični, plemeniti, 

resnicoljubni, modri vsi 

nam solze zvabijo v oči. 

Potem jih na volilni dan 

splaknemo kot nesnago stran. 

3. NAVADNI LJUDJE. (PETELIN) 

98 

Zamislimo si, da zaigrajo 

fanfare za navadno rajo: 

drzno, brhko in lirično 

– saj ni preveč satirično? –. 

Čas si vzemimo za postanek:

ljudje navadni, kaj dandanes, 

preprosta dejstva upoštevaje, 

počnejo največ in najraje? 

Bezljajo sem in tja seveda 

brez mere in miru in reda, 

neozdravljivi so titani 

in manični ljudje navadni. 

Kaotičen je iz tira svet, 

morda bo prav moliti spet; 

Camille Sain-Saens že sestavil 

je himno blazni tej zmešnjavi: 

kdo iskal bi boljšo od njegove? 

Fanfare za vse negotove. 

4. TURIST. (OSEL) 

Turist se odpravi naglo z doma: 

sleherna cesta k Rimu roma, 

po vseh človeških mravelj kača, 

vse mravlje v lahnih letnih hlačah: 

ujame bus, teče za vlaki, 

ujame nahod nad oblaki; 

gnečo povzroča, v njej sopeč 

zahteva brž sveta še več: 

škljoc, foto, škljoc, kako sem zbit, 

tu je še en kitajski zid, 

prelep pogled, splendida vista. 

Oglejte si sami turista. 

5. STARI STARINA. (ŽELVA) 

Starina zdelan je naskoz; 

skoz čase lakote in obilja 

ravnal je plug in vlačil voz, 

si strl srce, hrbet si uvijal, 


a še živi ga čarna sila, 

da z glasbo, ki živi za njo, 

nakvišku je razširil krila 

k ljubicam svojim pod nebo. 

6. JAZ 

Jaz kar znenada tu je 

vsenaokrog povsod: 

ljube notranje nuje 

so v njem lepo komod. 

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Jaz kratko malo mora 

ostati sebi zvest, 

kar že s seboj bi storil 

morda na lastno pest. 

Jaz poln je in okrogel, 

prost, zrel je in sladak. 

Krasno, če vseokrog je 

jaz: jaz, miren in blag. 

7. TUJEC. (KENGURU) 

Nedokončano. 

8. POKOJNI. (RIBA) 


Ne udeluj za njimi, ki so odšli. 

Niti kadar srce ti krvavi. 

Nič se ne boj, 

še bodo s teboj. 

Ko nepripravljen boš in sam, 

znenada znajdejo se tam. 

Ne uplaši se in ne obračaj preč: 

k tebi prišli so tebi zgolj 

preprosto modrega kaj reč, 

kaj, kar že veš, a ne dovolj: 

dotik in stavek – da boš vedel –: 

»Saj bo še dobro, vse je v redu.« 

Kak takšen rek, kratek in jasen. 

In ko izginejo počasi, 

s teboj ostane mir vznesen; 

življenje in smrt imata nov pomen; 

še bolj boš ljubil njih, ki so odšli, 

in se o ljubezni neomajni učil 

še dolge dolge dni: 

vse dokler za ljubezen boš ranljiv. 

9. BUDALA. (MULE) 

100 

Budala so vse finte spoznala, 

budala, in vsa pomagala; 

nič nas bolj ne razkajla 

kot izmuzljivost budala.

Budala vejo naša lumpstva mala, 

budala, lahko bi jih izbrbljala. 

Nič bolje kart ne raztala 

kot izmuzljivost budala. 

10. EKSCENTRIKI. (KUKAVICA) 

Ekscentrik, to skrivnostna je pojava, 

čudno vedenje ga opazno uslikava, 

zgubljen in sam je v urejenem svetu, 

kjer vse posebno je skaženo in prekleto. 

Vendar od vseh pravi nonkonformist 

je najbolj svetel in srčen in čist. 

11. LJUBLJENI. (PTICE) 

Od ljubih je najprej – za hipec – zastrupitev. 

Potem od ljubljenih nasmeh dobite. 

Potem od ljubih se nakopljejo skrbi. 

Pa izpuščaj od ljubih: peče in skeli. 

Potem od ljubih pride neprespana noč. 

Pa od ljubih groza in strah trepetajoč. 

Tako ljubi zroči nas same našim čutom: 

tu se začne pa vélika ljubezen – to minuto. 

12. MEGALOMANI. (PIANISTI) 

Megalomani hočejo nadzor, 

češ, kdor zaupa duši, ta je nor. 

Ni takih situacij in ne stanj, 

da bi neprvi bil megaloman. 

Megaloman ve vsak za svoj način, 

kako rešiti svet iz ruševin: 

zadelati razpoko vsako in špranjo, 

ki delo so drugih megalomanov. 


13. OTROK. (FOSILI) 

Človeško dete v rosnih letih 

se prav pogosto znajde v kletki, 

in v njej se uči, kako ravna se, 

da si prijazen, ko si odrasel. 

Prijazni odrasel je prijazen, 

vendar nesrečen: malček blazen 

in podivjan osvobodi 

otroka v sebi z vajeti. 

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Otrok v otroštvu, zgolj takrat – 

tako kot kadar je pomlad, 

zbor ptic in angelov naj poje: 

otroštvo je pomlad, po svoje. 

14. NAGA DAMA. (LABOD) 

Neznansko je zajetna čudna dama naga: 

zajetna, mehka je in vsa okrogla. 

Fantastične ima dojke in zadnjico od vraga, 

pa vam drsi po cesti v smeri vogla. 

Lahna kot oblaček, graciozno gre in počasi 

– pogled, uprt v prostranstva tuja – 

skoz množico in popevčico momlja si 

in nebu vrtnico ponuja. 


A kaj da hodi naga in kje obleko ima 

in kakšna neki je anamneza njena? 

Je kratkomalo dama, ki nihče je ne pozna: 

božanska in čudežna skrivnost je brez imena. 

15. VÉLIKA PARADA. 

Tako, pa smo pri véliki paradi, 

iz radosti vsi zvoki in pomladi – 

naj končno odpremo slednjo od kletk, 

spustimo ven ljudi noret: 

brez uzd zaplesat – roke v bok –, 

z glavo vrtet, skakat okrog: 

liki priljudni in značaji mrki; 

premjé za ples nagici migni z brki; 

starina otožni kaj se ne bi 

zmiril z otrokom živim v sebi, 

naj Palestinci blagi in blagi Izraelci 

zaigrajo tuš mirú na eni ukulelci. 

Ljudje naj izpoznajo – in bo zadosti – 

da kjer ljubezen vlada, vsi so prosti. 

102

CARNIVAL OF THE HUMAN ANIMALS 

By Michael Leunig, 2007. 

1. PROLOGUE. 

When human beings began to walk 

Upon hind legs and learned to talk 

And say, “We are no longer creatures …” 

They covered up their natural features 

And set about becoming clever – 

Enough to ruin the earth forever. 

And as sophistication grew 

The world became a human zoo. 

Where human types in many cages, 

Sang their songs on little stages 

Staring sadly through the bars 

Towards the distant moon and stars. 

So lend your ears and come with me 

Into this weird menagerie. 

2. PRESIDENTS AND PRIME MINISTERS. (LION) 

Presidents and Prime Ministers are magnificent creatures; 

They’re magnificent at making speeches. 

Which tell us of our national glory 

The stirring and redeeming story 

That we are good and the others bad 

That we are happy – the others sad 

Then having said these wondrous things 

Our leaders stand like queens and kings 

So noble, truthful, just and wise. 

That tears of gladness fill our eyes. 

Until, upon election day 

We vote and have them flushed away. 


3. THE COMMON PERSON. (ROOSTER) 

Now let’s imagine if we can 

A fanfare for the common man: 

Bright and bold and lyrical – 

Perhaps that’s too satirical – 

If we pause to contemplate 

The common person’s current state 

Considering the simple facts 

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Of how the modern person acts: 

Running here, running there, 

Agitation and despair, 

Incurably Titanic – 

The common man is manic. 

The modern world in disarray. 

It might be time to sit and pray 

And let Camille Sain-Saens express 

An anthem for this crazy mess: 

For nothing could be truer. 

Than this fanfare for the insecure. 

4. THE TOURIST. (JACKASS) 


The tourist runs away from home 

And all the roads that lead to Rome 

Are packed with speeding human ants 

Wearing lightweight tourist pants 

Catching buses, catching trains 

Catching colds in aeroplanes 

Hurtling to everywhere; 

Through the streets and through the air 

Faster faster, more and more. 

Through another hotel door 

Photograph it, see it all 

See another Chinese wall 

One more continental shelf. 

Tourist you should see yourself. 

5. THE OLD, OLD MAN. (TURTLE) 

The old, old man is a weary beast; 

He pulled the plough, he pulled the cart 

Through the famine and the feast; 

It broke his back, it broke his heart 

But it did not break the magic spell 

That gave him wings to drift and fly 

With music that he loved so well 

To sweethearts floating in the sky. 

104 

6. ME 

The me slowly emerges 

And when it does it’s splendid; 

Delightful inner urges 

All beautifully extended.

The me just simply must 

Unto itself be true 

And absolutely thrust 

Its life into the blue. 

The me is full and rounded 

And ripe and sweet and free. 

It’s great to be surrounded 

By a lovely peaceful me. 

7. STRANGERS (KANGAROO) 

Unfinished. 

8. THE DEPARTED. (FISH) 

Don’t fret too much for the Departed. 

Even though they leave you broken hearted. 

Have no fear 

They WILL reappear 

When you’re alone and unprepared 

They will just turn up. Do not be scared. 

Be still. Do not turn away; 

There is something wise they have come to say 

To you and to you alone; 

Some plain and simple thing already known 

They will touch you and say, 

“It’s alright, everything will be OK” 

Or something just like that, short and clear. 

Then casually they will turn and softly disappear 

Leaving you elated and in perfect peace 

The meaning of life and death will then increase 


And your love for the departed one will grow. 

There is so much more you will get to know 

About love that is unassailable. 

So long as you make yourself available. 

9. JERKS (MULES) 

Jerks know all the lurks 

Jerks get all the perks. 

Nothing really irks 

Like the murkiness of jerks. 

105

Jerks know all your quirks 

Jerks do all the smirks 

Nothing really works 

Like the murkiness of jerks. 

10. ECCENTRICS (COOKOO) 

The eccentric is a mysterious creature 

Peculiar behaviour is its notable feature 

Lost and alone in a world of conformity 

Where oddness is seen as a dreadful deformity. 

Yet, of all the creatures, the true non-conformist 

Is often the brightest, the boldest and warmest. 

11. THE BELOVED. (BIRDS) 


The beloved brings intoxication – for a while. 

Then some time later the beloved brings – a smile. 

And later on the beloved brings a few concerns. 

And later on the beloved brings a rash that burns. 

And later on the beloved brings a sleepless night. 

And then the beloved brings a dreadful fright. 

And so the beloved brings us to our senses. 

And that is where the greatest love commences. 

12. MEGALOMANIACS (PIANISTS) 

Megalomaniacs want control 

Because they do not trust the soul. 

In every living situation 

A megalomaniac seeks domination. 

Megalomaniacs want their way 

To make a better world they say; 

To fix the breakages and cracks 

Of other megalomaniacs. 

13. THE CHILD (FOSSILS) 

The human child at a tender age 

Is often placed into a cage 

Where it is trained to join the cult 

Of acting like a nice adult. 

106 

The nice adult then goes all sad 

And starts to act a little mad 

Until it turns completely wild 

And liberates its inner child.

Childhood must be had when young 

Something like when spring has sprung 

Let the birds and angels sing 

Childhood is the time of spring. 

14. THE NAKED LADY. (SWAN) 

The strange naked lady is wonderfully plump– 

So soft, so large and complete. 

Magnificent bosom and fabulous rump 

Just gliding along through the street. 

Slowly and gracefully – light as a cloud 

A faraway look in her eye 

Humming a sweet little song to the crowd 

And holding a rose to the sky 

But why is she naked and where are her clothes 

And what is her medical history? 

She’s simply the lady that nobody knows: 

A divine and miraculous mystery. 

15. THE GRAND PARADE. 

And so we come to the grand parade 

Where all the sounds of joy are made 

As we finally open every cage 

And let the humans out to rage 

And dance along with hands on hips; 

To roll their heads and pout their lips; 

Characters bright and characters shady; 

The prime Minister shall dance with the Naked Lady, 

The sad old man will be reconciled 

With the beautiful truth of his inner child, 

And sweet Palestinians with sweet Israelis 

Will blow fanfares of peace on their ukuleles. 

Then the humans creatures shall finally see. 

That where there is love – THEY ARE FREE. 


107


108 

Ko je Mozartova vdova Konstanca urejala zapuščino pokojnega moža 

za tisk, je bila velika večina njegovih koncertov za rog in orkester izgubljena. 

Manjkale so pasaže iz dveh koncertov v Es-duru (K 417 in K 495), 

njune kopije pa v veliki meri niso bile zanesljive. Koncertov za rog in orkester 

v Mozartovem opusu ni veliko; med njimi je tudi veliko oblikovnih, 

harmonskih in melodičnih podobnosti, mnogokrat so bili napisani kar 

na rezervne ali odvečne notne liste, v naglici in brez določnejših oznak 

artikulacije ali tempa. A čeprav jim sam skladatelj morda ni pripisoval 

tako velikega pomena kot kateri drugi glasbeni zvrsti, danes sodijo med 

velike dosežke glasbene literature za rog. 

Mozart je rog spoznal že v mladih letih, saj je družino pogosto obiskal 

rogist dvorne kapele Joseph Leutgeb (Leitgeb), prijatelj njegovega očeta. 

Tudi z Leopoldovo finančno pomočjo se je osamosvojil in na Dunaju odprl 

trgovinico s sirom ter se obenem preživljal kot priložnostni »svobodni 

umetnik« – rogist. Mozart se je spet srečal z njim po svojem prihodu na 

Dunaj in zanj napisal nekaj del za rog. Ne brez kančka zlobe ali vsaj razposajenosti, 

saj je v njih Leutgeba vedno nekoliko zasmehoval. Rokopis 

Koncerta za rog in orkester št. 2 iz leta 1783 tako nosi posvetilo: »Wolfgang 

Amadé Mozart se je usmilil Leitgeba, neumnega osla, vola in norca, na 

Dunaju, 27. maja 1783«. A usmiljenje je bilo vendarle dobronamerno, saj 

je delo polno svežine in navdiha ter nudi solistu dovolj manevrskega prostora, 

da se izkaže. Po uvodnem sonatnem stavku sledi spevni Andante, 

v katerem izstopa mehka barva instrumenta. Koncert zaključuje živahni 

Rondo v priljubljenem lovskem slogu. 

Kako leto pred tem pa je Mozart napisal koncert, ki ga je največkrat izvajal 

kar sam: Klavirski koncert št. 12 v A-duru. O več izvedbah priča dejstvo, da 

sta za vsak stavek ohranjeni dve kadenci; poleg tega je Mozart zaključni 

»Rondo« – današnji K 386 – nadomestil z novim. Spomladi 1783 je delo 

skupaj z dvema klavirskima koncertoma, ki sta nastala v isem času (K 413 

in 415), tudi revidiral. Koncert je nastal kmalu po prihodu na Dunaj, ko 

je Mozart zaslovel z Begom iz seraja, priložnost nastanka pa ni znana. V 

pismu očetu ga je Mozart opisal kot »nekaj vmes med pretežkim in prelahkim«, 

kar pa vsekakor ugaja ušesu. In res je Mozart v tem času ugajal 

publiki: njegovi koncerti so bili dobro obiskani. Muhasto naklonjenost 

občinstva je skladatelj izkoristil tudi v sledečih letih, ko je nastalo nekaj 

njegovih največjih klavirskih koncertov. 

Klavirski koncert št. 12 v A-duru je očarljiv predvsem zaradi drobnih detajlov, 

ki so vtkani vanj. Trije stavki dela so po značaju kontrastni. Prvi – sonatni 

stavek z dvojno ekspozicijo – je svetel in optimističen, v tridelnem pesemskem 

drugem stavku pa je Mozart uporabil temo Johanna Christiana 

Bacha in se s tem poklonil spominu januarja 1782 umrlega skladatelja. 

Glavna tema zaključnega »Rondeauja« pa je nežna in graciozna. 

Avstralski karikaturist, pesnik in mislec Michael Leunig stripe objavlja že 

od študentskih let; največ sta jih v njegovem več kot 35-letnem delovanju 

objavila avstralska dnevnika The Herald in The Age. Sprva se je posvečal

perečim kulturnim, političnim in družbenim problemom, potem pa je 

leta 1969 objavil strip, v katerem se pojavi možic na raci, ki jezdi v sončni 

zahod in na glavi nosi čajnik. Raca in čajnik se pojavljata v prelomnih stripih 

njegovega življenja, čeprav so se v različnih obdobjih v njih pojavili 

tudi drugi liki, ki so izražali Leunigov pogled na svet. V zadnjem obdobju 

so bili njegovi stripovski komentarji dogodkov v Avstraliji in po svetu 

spet bolj politično angažirani. Že od nekdaj pa so bili vir nasprotij in so 

Leunigu prinesli veliko občudovanja in tudi nasprotovanja. Leta 1999 

je bil Leunig zaradi svojih dosežkov in vplivnega prispevka k avstralski 

kulturi razglašen za živi nacionalni zaklad Avstralije. 

Leunig je izdal več zbirk stripov, poezije s stripi in čisto pesniških zbirk 

ter zbirk molitev, njegovo delovanje pa sega tudi na področja glasbe, 

gledališča, terapije, religije in duhovnosti. Življenjski nazor, kakršnega 

izražajo njegovi stripi in besedila, je izrazito humanističen, a zaznamovan 

z mnogimi filozofijami; v njem najdemo krščanski pogled na svet, 

pomešan z neke vrste panteizmom. Leunig meni, da je človekovo mesto 

v naravi, a ne v udobju izkoriščanja narave, temveč v tem, da se je sposoben 

integrirati vanjo. Sodobna družba, ki nas sili v tekmovalnost in 

borbo, je glavni povzročitelj duhovnega osiromašenja ljudi in »humanistične 

dekadence«; vloga umetnika / pesnika v njej je skoraj terapevtska. 

Umetnost ljudi opominja na njihovo povezanost z naravo, jih osvobaja, 

daje možnost radovanja v življenju in osmišljuje trpljenje. Vsem bitjem, 

predvsem človeškim, mora biti mar, kaj se dogaja z drugimi živimi bitji 

na tem planetu – sicer življenje lahko postane prava mizerija. 

Takšne misli se pojavljajo še v drugih Leunigovih projektih, od katerih 

sta med odmevnejšimi iz zadnjih let Živalski karneval (2000) in Karneval 

človeških živali oz. Človeški karneval (2007). Oba sta nastala v sodelovanju 

z Richardom Tognettijem in Avstralskim komornim orkestrom ter izhajata 

iz glasbe skladatelja Camilla Saint-Saënsa, ki je nenavadno delo napisal 

kot satiričen komentar na svoje pianistične kolege. Živalski karneval je 

nastal na počitnicah v Avstriji leta 1886 za intimni krog prijateljev; razen 

stavka Labod Saint-Saëns za življenja ni dovolil objave, ker je menil, da 

je delo trivialno in da bi lahko škodovalo njegovemu ugledu. Leunig je 

karneval z verzi in ilustracijami avstralski publiki približal tako, da je namesto 

izvirnih živali v Živalski karneval vključil značilne živali Avstralije. Z 

ironično gesto je iz Saint-Saënsovega dela izključil edino avstralsko žival 

– kenguruja – in na njegovo mesto postavil zajca. Živali tu predstavljajo 

»notranje bitje«, zverinico, ki je v vseh nas. Ta misel se nekoliko drugače 

nadaljuje v Človeškem karnevalu, ki prikazuje značilne človeške tipe oz. 

zveri (v nekaterih je mogoče prepoznati znane osebe iz političnega sveta). 

Nekatere zveri so izpostavljene visokim zahtevam in mahinacijam sodobne 

družbe, na drugi strani pa stojijo uspešni in samozavestni politični 

voditelji, ki jih Leunig neusmiljeno slika kot najslabše med vsemi – polne 

častihlepja, brez domišljije in vredne posmeha. Individualno človeško se 

meša s kolektivnim, posameznik stoji nasproti družbi in v njej. In Leunig 

se sprašuje: Kaj je tu človek? 


109


110 

By the time Mozart’s widow Constanze put the legacy of her deceased 

husband into order for publishing large parts of his horn concertos had been 

lost. Passages from the two concertos in E-flat Major (K 417 and K 495) were 

missing, and the copies of these works were to a large extent unreliable. 

There are, in fact, very few horn concertos in Mozart’s opus, and there are 

many formal, harmonic and melodic similarities between the extant works. 

Often they were written on reserve or surplus manuscript paper, and the 

haste of their execution is evidenced by undetermined articulation marks 

or tempi. Although the composer himself may not have attributed a great 

deal of importance to these compositions relative to those of other musical 

genres, today they count amongst the great achievements of the musical 

literature for the horn. 

Mozart became familiar with the horn at a very early age, as his family was 

often visited by Joseph Leutgeb (Leitgeb), a horn player of the court chapel 

and a friend of Mozart’s father. With Leopold’s financial assistance Leutgeb 

gained his independence and opened a cheese shop in Vienna, while at the 

same time supplementing his income as an occasional ‘freelance artist’ – a 

horn player. When the young Mozart arrived in Vienna he made Leutgeb’s 

acquaintance again and wrote several works for horn for him – not without 

a hint of mischief, or at least playfulness, as in these works he always pokes 

fun at Leutgeb to some extent. Thus the manuscript for the Horn Concerto 

No. 2 from 1783 bears the dedication: “Wolfgang Amadeus Mozart took pity 

on Leitgeb, a foolish ass, ox and madman, in Vienna, 27 May 1783”. Mozart’s 

‘pity’ was nonetheless well-intentioned, as the work abounds with freshness 

and inspiration, offering the soloist sufficient manoeuvring space to display 

his skill. The introductory sonata movement is followed by a cantabile Andante, 

in which the soft colour of the instrument stands out. The concerto 

concludes with a lively rondo in the popular hunting style. 

One year earlier, Mozart had written the concerto that he most frequently 

performed himself: the Piano Concerto No. 12 in A Major. The frequency of 

its performance is evidenced by the fact that for each movement there are 

two extant cadenzas; furthermore, Mozart replaced the concluding rondo 

with a new movement, today’s K 386. In the spring of 1783 he revised the 

work, along with two other piano concertos that had been written around 

the same time (K 413 and K 415). The concerto was written soon after the 

composer’s arrival in Vienna, at the time that Mozart achieved recognition 

with The Abduction from the Seraglio, but the precise reason for the work’s 

composition is not known. In a letter to his father, Mozart described the piece 

as “something between too heavy and too light”, which nonetheless pleases 

the ear. It is true that at this time Mozart pleased the public – his concerts were 

well attended. The composer continued to take advantage of the whimsical 

favour of the public in the following years, when some of his greatest piano 

concertos were written. 

The charm of the Piano Concerto No. 12 in A Major lies primarily in the fine 

detail woven into it. The work’s three movements are contrasting in character. 

The first movement, a sonata movement with a double exposition, is luminous

and optimistic, while in the three-part song-like second movement Mozart 

uses a theme by Johann Christian Bach, paying homage to the composer, 

who had passed away in January 1782. The main theme of the concluding 

Rondeau is gentle and gracious. 

Since his student years, Australian drawer, poet and thinker Michael Leunig 

has published cartoons; during his 35 year career as a cartoonist most of his 

work was published in the Australian newspapers The Herald and The Age. At 

first he focused his attention on burning cultural, political and social issues, 

then in 1969 he published a cartoon in which there appears a small man on 

a duck, riding into the sunset with a teapot on his head. The duck and the 

teapot appear in the groundbreaking cartoons of his life, although in various 

periods other figures expressing Leunig’s view of the world also appear in 

his work. In recent years, his cartoons have been commentaries on events in 

Australia and throughout the world, again with a more political orientation. 

From the very start his work has been controversial, bringing Leunig both a 

great deal of admiration as well as antagonism. For his achievements and 

influential contribution to Australian culture, Leunig was named as a living 

national treasure of Australia in 1999. 

Leunig has published numerous collections of cartoons, poetry with cartoons 

and pure poetry, as well as collections of prayers. His work also inhabits the 

fields of music, theatre, therapy, religion and spirituality. His view of life, as 

expressed in his cartoons and texts, is explicitly humanistic but marked by 

many philosophies; in it we find a Christian view of the world mixed with 

a kind of pantheism. Leunig believes that man’s place is in nature – not in 

the convenience of exploiting nature, rather in being capable of integrating 

himself into nature. Contemporary society, which forces us into competition 

and conflict, is the main cause of the spiritual poverty of people and 

of ‘humanistic decadence’; the role of the artist/poet in society is almost 

therapeutic. Art reminds people of their connection with nature, it liberates 

them, gives them the ability to enjoy life and relieves suffering. Every living 

being, and especially humanity, should care about what happens to other 

living beings on the planet – otherwise life can become pure misery. 


This kind of thinking also appears in Leunig’s other projects, amongst the 

most resounding of which in recent years have been Carnival of the Animals 

(2000) and Carnival of the Human Animals or Carnival of the Humans (2007). 

Both of these projects have come about in cooperation with Richard Tognetti 

and the Australian Chamber Orchestra, and are derived from the music of 

composer Camille Saint-Saëns, who composed his unusual work as a satirical 

commentary on his pianistic colleagues. Carnival of the Animals was 

written on holiday in Austria in 1886 for the composer’s intimate circle of 

friends. Apart from the movement The Swan, Saint-Saëns did not allow the 

work to be published during his lifetime because he believed that it was trivial 

and could damage his reputation. With his verses and illustrations Leunig 

brought the carnival closer to the Australian public by replacing the original 

animals in Carnival of the Animals with animals characteristic of Australia. 

111

In an ironic gesture he excluded the one animal in Saint-Saëns’s work that is 

actually from Australia – the kangaroo – and in its place included the rabbit. 

The animals here represent the ‘inner being’, the wild beast, in all of us. This 

thought is continued in a somewhat different way in Carnival of the Humans, 

which shows the characteristics of human types, or beasts (in some of whom 

it is possible to recognise well known figures from the world of politics). Some 

beasts are exposed to the extreme demands and machinations of contemporary 

society, while on the other side stand successful and self-confident 

political leaders, whom Leunig ruthlessly paints as the worst of all – full of 

ambition, lacking imagination and worthy of ridicule. The individual human 

being mixes with the collective; the individual stands both in opposition to 

society and within it. What here is a human being? 




112

Sreda, 9. September 2009 / Wednesday, 9. September 2009 


SNG Stara dvorana ob 19:30 / Old Theatre Hall at 19:30 

SONCE MLADOSTI 

THE SUN OF YOUTH 

Danny Spooner, vokal / vocal 

Boštjan Gombač, piščali, flavta / whistles, flute 

Mike Kerin, violina, gosli / violin, fiddle 

Richard Tognetti, violina / violin 


Michael Kugel, viola / viola 








Johannes Brahms (1833–1897): Godalni sekstet št. 1 

v B-duru op. 18 / String Sextet No. 1 in B-flat Major, Op. 18 

1. Allegro ma non troppo 

2. Andante ma moderato 

3. Scherzo: Allegro molto 

4. Rondo: Poco allegretto e grazioso 

* * * 

Tradicionalni napevi in skladbe za gosli / Folk songs and fiddle music: 

Reel by Mike Kerin 

Call of the Seals 

Byker Hill 

Newell Highway 

Bach 

Paganini 

Hey Rain by Bill Scott 

Hangman’s Reel 

Oh for me Grog 

Boccherini 

Jack Orion 

Cuckold 

113


Johannesu Brahmsu je pot v znani glasbeni svet dodobra utrl šele Robert 

Schumann, s katerim se je seznanil leta 1853. Schumann mu je pomagal 

navezati stike z glasbenimi založbami in mu omogočil preboj v skladateljske 

kroge starejše generacije, v članku »Neue Bahnen« (Nove poti) 

pa je v reviji Neue Zeitschrift für Musik leta 1853 navdušeno in obenem 

preroško zapisal, da je Brahms »poklican, da izgovori najvišji izraz časa 

na idealen način«. Prav zato je Brahmsa nekaj let zatem globoko potrla 

Schumannova bolezen, v kateri je stal ob strani njegovi ženi Clari, do 

katere so v njem vzklila globoka čustva. Clara mu je od tedaj vse življenje 

predstavljala ideal ženske, žene in matere in njeno odobravanje je iskal 

vselej, ko je šlo za presojo njegovih novih del. 

V komorni glasbi je Brahms zmogel zajeti vso globino svoje ustvarjalne 

osebnosti, obenem pa izčrpati različne oblikovne in zvočne možnosti. V 

obdobju štiridesetih let – med 1854 in 1894, nekako od časa poznanstva 

s parom Schumann dalje – je napisal 24 umetniško dovršenih glasbenih 

del. Med njimi je v obdobju »prve zrelosti«, med novembrom 1859 in 

poletjem 1860 nastal Godalni sekstet št. 1, ki ga je prvikrat javno izvedel 

razširjeni godalni kvartet Josepha Joachima oktobra v Hannovru. Lastnoročno 

priredbo počasnega stavka za klavir pa je skladatelj poklonil Clari 

Schumann ob njenem rojstnem dnevu 13. septembra 1860. 

Pred Brahmsom godalnega seksteta kot komornoglasbene zvrsti skoraj 

ni bilo. Tudi sekstet mladega Brahmsa je morda bolj poskus približevanja 

simfoniji kakor pionirsko delo na področju komorne glasbe. Simfoniji se 

bliža po oblikovnih značilnostih in temnem, skoraj orkestralnem zvoku, 

kjer violi in violončela prevladujejo nad violinama. Manj simfoničen je 

način oblikovanja glasbenega stavka, ki izrazito ločuje med melodijo in 

njeno spremljavo. Čar dela je prav v povezavi temnega zvoka z izrazito, 

občuteno melodiko, in morda ga je Brahms prav zato imenoval »dolga 

sentimentalna skladba«. 

Spevni prvi stavek, z velikim razponom dinamike je napisan v razširjeni 

sonatni obliki, v kateri se Brahms zgleduje po Schubertu: prehod iz prve 

teme k drugi odloži s stransko temo – daljšo modulacijo v oddaljeno 

tonaliteto. Kompleksni niz variacij v počasnem drugem stavku priča o 

Brahmsovem študiju kontrapunkta in stare glasbe: variacije na podlagi 

ponavljajoče se basovske linije spominjajo na tradicijo follia-variacij ali 

chaconno. Energični Scherzo s plesnim triom razkriva še drugo plat skladatelja, 

ki osebnosti resnega in nežnega Brahmsa iz 2. stavka pridružuje 

demoničnega »Kreislerja« (Brahmsov psevdonim po liku čustveno zmedenega 

skladatelja iz Hoffmannovega dela Maček Murr). Oba združita 

moči v zadnjem stavku, ki prepleta obliko rondoja, sonatnega stavka in 

variacij. Bolj kot klasičnemu finalu se Brahms tu bliža »nebeški dolžini« 

finalov Schubertovih del. 

114 

Johannes Brahms’s path to the known musical world was forged only with 

the assistance of Robert Schumann, with whom Brahms became acquainted 

in 1853. Schumann helped Brahms to make contact with music publishers and

enabled him to break through to the composers’ circles of the older generation. 

In his article ‘Neue Bahnen’ (New Paths), published in the journal Neue 

Zeitschrift für Musik in 1853, Schumann wrote enthusiastically, and at the 

same time prophetically, that Brahms “is destined to articulate the highest 

expression of the time in an ideal way”. Thus some years later Brahms was 

deeply saddened by Schumann’s illness, during which time he remained 

at the side of the elder composer’s wife Clara, a figure who aroused deep 

emotions in Brahms. From that time onwards, Clara represented the ideal 

woman, wife and mother to Brahms, and he always sought her approval 

with regard to his new works. 

In chamber music Brahms succeeded in capturing the full depth of his creative 

personality, while at the same time exhaustively exploring a range of formal 

and sonic possibilities. In a period of 40 years, between 1854 and 1894 (from 

the time of making the acquaintance of the Schumanns onwards) Brahms 

wrote twenty-four artistically perfected musical works. Amongst them, in 

the period of the ‘first maturity’, we find the String Sextet No. 1, composed 

between November 1859 and the summer of 1860, and first publicly performed 

by Joseph Jaochim’s expanded string quartet in October in Hanover. The 

composer’s own arrangement of the slow movement for piano was dedicated 

to Clara Schumann on the occasion of her birthday, on 13 September 1860. 

Before Brahms’s work the string sextet barely existed as a chamber music 

genre. In fact, Brahms’s sextet could itself be understood more as an attempt at 

approaching the symphony than as a pioneering work in the area of chamber 

music. It comes close to the symphony in terms of its formal characteristics 

and due to its dark, almost orchestral sound world, in which the violas and 

cellos dominate the violins. Less symphonic, however, is the approach to 

forming the musical texture, in which the melody and accompaniment are 

explicitly distinct. The charm of the work lies precisely in this combining of a 

dark sound world with an explicit, emotional melody, which is perhaps why 

Brahms called the work “a long sentimental composition”. 

The cantabile first movement, with its extensive dynamic range, is written in 

expanded sonata form, with Brahms taking Schubert as a model: the transition 

from the first theme to the second is delayed by a subsidiary theme – an 

extended modulation to a distant key. The complex set of variations in the 

slow second movement is testimony to Brahms’s study of counterpoint and 

ancient music: the variations over a repeating bass line are reminiscent of 

the tradition of La Folia variations or the chaconne. The energetic Scherzo 

with a dance trio reveal another side of the composer’s personality, adding 

the demonic ‘Kreisler’ to the warmth of the young Brahms of the second 

movement (Kreisler was Brahms’s pseudonym, after the emotional, confused 

composer from Hoffmann’s work Tomcat Murr). Both of these personalities 

combine forces in the final movement, which interweaves the forms of rondo, 

sonata movement and variations. Rather than a classical finale, here Brahms 

approaches the ‘heavenly length’ of the finales of Schubert’s works. 


115 




Ljudska glasba je že od nekdaj vpeta v skladbe tako imenovane »visoke 

umetnosti«. Klasične glasbe si brez ljudskih elementov preprosto ne gre 

zamisliti. Najdemo jo v obliki priljubljenih melodij ali značilnih plesnih 

ritmov; zdaj subtilno zdaj bolj očitno je prisotna tako v komornih kot orkestrskih 

delih. Vselej pa nam pričara čudovit občutek vitalnosti. Ljudska 

glasba se je skoraj v celoti in do poznih let 19. in zgodnjih let 20. stoletja 

prenašala z ustnim izročilom, vse dokler niso prizadevanja posameznih 

narodov pozvala k zbiranju ljudskih zakladov. Veliko skladateljev kot so 

Béla Bartók, Percy Grainger, Gustav Holst in Ralph Vaughan Williams je 

začelo zbirati podatke o ljudski glasbi in uporabljati postopek snemanja 

ljudskih godcev na voščene valje. Stik z ljudsko glasbo je močno vplival na 

njihov stil komponiranja, saj so tovrstne ritmične in melodične elemente 

vključevali v svoje skladbe. 

Ljudska glasba je velikokrat nastajala z namenom in se rojevala ob različnih 

priložnostih: slavje, žalovanje, ritmično ponavljajoča se kmečka 

opravila ali preprosto preganjanje samote. Podobna potreba po glasbi 

se prenaša tudi na sodobnega obiskovalca koncertov le, da so danes 

obredne razloge zamenjali emocionalni. Ljudski pevec Danny Spooner, 

goslač Mike Kerin in multiinstrumentalist Boštjan Gombač se pridružujejo 

Richardu Tognettiju, Knutu Eriku Sundquistu, Satu Vänski, Michaelu Kuglu, 

Igorju Škerjancu in članom kvarteta Engegård na koncertu presenetljivih 

kontrastov in navdihnjenih odkritij. 

Folk music has always infiltrated so-called ‘high art’ concerts. Classical music 

would be simply unthinkable without it. Distinguished by ear-catching tunes, 

characteristic dance rhythms and a marvellous sense of vitality, it appears in 

orchestral and chamber music, where sometimes its influence is subtle, and 

other times overt. Folk music was almost entirely an oral tradition until the 

late 19 th and early 20 th centuries, when nationalistic fervour swept Europe and 

prompted wholesale collecting of such treasures. Many composers including 

Béla Bartók, Percy Grainger, Gustav Holst and Ralph Vaughan Williams, 

scoured the countryside for songs and tunes remembered by the elderly, and 

then recorded them on paper or on wax cylinders. 

Such music tended to be for a purpose: dancing; mourning; rhythmic tasks 

such as grinding and kneading; or simply to keep oneself company (think of 

the lonely shepherd’s pipe). This need for music surely exists for the modern 

concert-goer, although perhaps more for emotional than physical or ceremonial 

reasons. Traditional singer Danny Spooner, fiddler Mike Kerin and multiinstrumentalist 

Boštjan Gombač join Richard Tognetti, Knut Erik Sundquist, 

Satu Vänskä, Michael Kugel, Igor Škerjanec and members of the Engegård 

Quartet for a concert of surprising contrasts and enchanting discoveries. 

116

Četrtek, 10. September 2009 / Thursday, 10. September 2009 

aaaaaaaaaaaaaaaaaa 

Dvorana Union – predbalkonska dvorana ob 18:00 / 

Union Hall – Balcony Front Hall at 18:00 

Bosiljka Perić Kempf: 

SREČANJA IN POGOVORI 

MEETINGS AND DISCUSSIONS 

Primeri dobre kulturne prakse 

Examples of good cultural practices 

117


118 

»Vreden si toliko, kolikor si zmožen ustvariti, močan si toliko, 

kolikor si se sposoben soočiti z lastnimi slabostmi.« 

Rek, sprva uporabljen kot komentar o vrednosti hrvaške kulture 

v primerjavi z močjo hrvaške kulturne politike, lahko 

prenesemo na razmerje kulture v smislu ustvarjalnosti in 

kulturne politike nasploh. Napovedujemo zanimivo razpravo 

ob predstavitvi najnovejše knjige verjetno najbolj znane 

hrvaške glasbene kritičarke Bosiljke Perić Kempf, znane po 

svoji ostri artikulaciji, in Melite Forstnerič Hajnšek, dolgoletne 

urednice Večerove kulture. 

Avtorica priznane knjige izbranih kritiških zapisov z naslovom 

»Obe plati medalje« (Lice i naličje), dolgoletna radijska in 

časopisna novinarka, samostojna in nepodkupljiva kulturna 

kritičarka in esejistka, govori v knjigi »Srečanja in pogovori« 

o vrhunskih evropskih umetnikih in menedžerjih. 

Le-ti govorijo o svojem delu, uspehih in neuspehih, o sodelovanju 

in o izkušnjah s hrvaško oziroma kulturno politiko 

nasploh, hkrati pa pravzaprav vsi govorijo o istem: o načelih 

dobre kulturne prakse, o tem, kako se povprečni bojijo izvrstnih, 

o problemu kadrovanja nekompetentnih in podobnih 

ignorantov med upravitelji kulturnih in medijskih hiš, 

kar ponekod postaja standardna praksa. Knjiga je zanimiva 

predvsem zato, ker koncipira izbor govornikov izključno po 

kriteriju kvalitete; kulturni praktikanti evropskega in svetovnega 

nivoja razmišljajo povsem skladno, brez ozira na etnično 

in zemljepisno pripadnost. 

»Intervju kot učilišče« izreče Ivo Malec v predgovoru in ta 

misel sijajno zaobjema osnovno kvaliteto teh pogovorov: 

sogovorniki imajo vedno dovolj časa za artikulacijo in razvoj 

misli, diskretna ter inteligentna vprašanja vedno dopuščajo, 

da nas pogovor začara z intelektualnim nabojem in iskrečo 

kreativnostjo. 

Znano je, da je lahko dober intervju odlično čtivo; poleg 

lepote misli, bogatih informacij in podatkov predvsem o 

sodobni hrvaški kulturni proizvodnji in njenem mestu na 

kulturnem zemljevidu sveta, bo ta knjiga nedvomno odjeknila 

v najboljši možni obliki protesta proti klestenju medijskega 

prostora za kulturo in znanost, torej za edina dva prava pokazatelja 

vrednosti nekega naroda.

“You are worth as much as you are able to create, you are strong 

to the extent you are able to confront your own weaknesses”. 

The saying, first used as a commentary about the value of Croatian 

culture in comparison with the strength of the Croatian 

cultural policy, can be transferred to the conditions of culture in 

the sense of creativity and the cultural policy in general. 

The Maribor Festival offers an interesting discussion at the 

presentation of the latest book by probably the best-known 

Croatian music critic Bosiljka Perić Kempf, noted for her sharp 

articulation and Melita Forstnerič Hajnšek, yearlong culture 

editor at the daily Večer. 

The author of the acknowledged book of selected critiques entitled 

“Lice i naličje” (Both sides of the Coin) and the yearlong 

radio and newspaper journalist, independent and incorruptible 

culture critic and essayist, speak in the book ˝Srečanja in 

pogovori ˝ (Meetings and Discussions) about top-level European 

artists and managers. 

Only they speak about their work, successes and failures, about 

their cooperation and experiences with Croatia and its cultural 

policy in general, but actually all speak about the same things: 

about the principles of good cultural practices, about how the 

average fear the excellent, about the problem of recruitment 

of the incompetent and similar ignoramuses among managers 

of cultural and media houses, which in some places is becoming 

standard practise. The book is interesting mainly because it 

drafts a selection of speakers exclusively according to the quality 

criterion; cultural trainees of a European and worldwide level 

think quite consistently, disregarding ethnic and geographical 

affiliation. 

“Interview as a school “, says Ivo Malec in the preface and that 

brilliant sentiment embraces the basic quality of these discussions: 

the interlocutors always have enough time for the articulation 

and development of thought, discreet and intelligent 

questions always allow scintillating creativity and charged intellectual 

discussion enchant us. 

It is well known that a good interview can be excellent reading 

matter; in addition to beautiful thoughts, abundant information 

and data primarily about modern Croatian cultural production 

and its place on the world cultural map, this book will undoubtedly 

reverberate in the best possible form of protest against 

hewing media space for culture and science, thus the only two 

real indicators of the value of a nation. 


119

Četrtek, 10. September 2009 / Thursday, 10. September 2009 



VELIKA »MALA« SIMFONIJA 

BIG “LITTLE” SYMPHONY 



Solist / Soloist: 

Jan Erik Gustafsson, violončelo / violoncello 


Joseph Haydn (1723–1809): Simfonija št. 39 v g-molu HOB. I:39 – »Nevihta 

na morju« / Symphony No. 39 in G Minor, HOB. I:39 – »Tempesta di mare« 

1. Allegro assai 

2. Andante 

3. Menuet 

4. Finale. Allegro di molto 

Peter Iljič Čajkovski (1840–1893): Variacije na rokokojsko temo za 

violončelo in orkester op. 33 / Variations on a Rococo Theme for cello and 

orchestra, Op. 33 

1. Moderato quasi Andante 

2. Tema. Moderato semplice 

3. Variazione I. Tempo del Tema 

4. Variazione II. Tempo del Tema 

5. Variazione III. Andante sostenuto 

6. Variazione IV. Andante grazioso 

7. Variazione V. Allegro moderato 

8. Variazione VI. Andante 

9. Variazione VII. Allegro vivo 

* * * 

Ludwig van Beethoven (1770–1827): Simfonija št. 8 v F-duru op. 93 / 

Symphony No. 8 in F Major, Op. 93 

1. Allegro vivace e con brio 

2. Allegretto scherzando 

3. Tempo di Menuetto 

4. Allegro vivace

Josepha Haydna upravičeno štejemo za »očeta« simfonije – ni bil sicer 

prvi avtor simfonij, vendar pa jih je napisal več kot sto, hkrati pa je najbolj 

odločilno doprinesel k razvoju oblike, zaradi česar mu gre med zgodnjimi 

simfoniki nedvomno prvo mesto. Prvi pomembnejši karierni uspeh je 

Haydnu uspel leta 1761, ko je postal namestnik kapelnika na dvoru princa 

Paula Antona Esterházyja. Ta je bil izredno izobražen in je želel svoj novi 

dvorec v Eisenstadtu spremeniti v sodobno kulturno prestolnico. Ker se 

mu je zdel delujoči kapelnik G. J. Werner že nekoliko preveč konservativen, 

mu je ob bok postavil mladega Haydna, katerega pogodba je bila 

napisana precej nenavadno: postavljala ga je jasno na drugo mesto za 

Wernerjem, nalagala pa mu je vse bistvene naloge, ki bi sicer morale pripadati 

»glavnemu« kapelniku. Tako je bil Haydn zadolžen za vzdrževanje 

glasbenega arhiva in inštrumentov, moral je poučevati petje, dejaven je 

bil kot izvajalec (kot solist in kot član orkestra), zadolžen pa je bil tudi 

za »komponiranje po želji princa«. Seveda je takšna nenavadna pozicija 

Haydna vodila v številne spore z Wernerjem, situacija pa se je po smrti 

princa še zaostrila, saj je bil novi vladar, Nicolaus, brat Paula Antona, 

kar se tiče estetskih pogledov še bolj napredno usmerjen, vendar pa je 

Haydn kapelniško mesto lahko prevzel šele leta 1765 po Wernerjevi smrti. 

Čeprav so morala biti ta štiri leta različnih dvobojev z Wernerjem precej 

stresna, pa so bila za razvoj zvrsti simfonije prav gotovo najpomembnejša 

in odločilna: v teh letih je Haydn namreč napisal največ simfonij, kar 

petindvajset. V teh delih je večinoma preizkušal različne modele in iskal 

ravnotežje med lahkotnejšim in resnejšim izrazom, med tradicionalnim 

in modernim, med italijanskim in avstrijskim. Najpomembnejša novost 

je bila povezana z vpeljavo četrtega stavka in definiranjem zvrsti kot 

resnega, umetniškega žanra, ki zahteva zbrano poslušanje. 

V Devetintrideseti simfoniji bi lahko iskali že celo nekaj potez viharništva, 

sloga, ki se ga je Haydn oprijel sicer šele v naslednjih letih – delo je napisano 

v molovski tonaliteti, kar je za klasicistično glasbo izrazita redkost in 

kot po pravilu prinaša ekspresivne konotacije. Mnogi so celo prepričani, 

da je prav ta simfonija vplivala na znamenito Mozartovo »malo« Simfonijo 

v g-molu, K 183, za katero je prav tako značilna nenavadna zasedba s kar 

štirimi rogovi. Prvi stavek prinaša nemirno atmosfero, ki jo še dodatno 

krepijo premori, ki trgajo nastope prve teme, željo po eksperimentiranju 

pa kaže tudi zasnova druge teme, ki se začne z enakim intervalnim 

zaporedjem (kvarta – terca) kot prva tema, kar kaže na to, da se je Haydn 

ukvarjal z idejo monotematskosti. Če je prvi stavek izrazito vihrav, pa je 

drugi nenavadno umirjen – v svoji izraziti galantnosti in osrediščenosti 

zgolj na godala se spogleduje s starejšimi oblikami. Sledeči menuet se 

vrača v izhodiščno molovsko tonaliteto, medtem ko vihravi finale zopet 

vzpostavlja izraznost prvega stavka. 

Naslednje pomembne tektonske premike v razvoju simfonije je prinesel 

simfonični opus Beethovna. Predvsem s svojo Tretjo, Peto in Šesto simfonijo 

je postavil povsem nove standarde: simfonija je postala organsko 


121


122 

zaključeno delo, ki ga je potrebno razumeti. Najprej je zato treba analitično 

prodreti v skrivnosti njegove zgradbe, nato pa je kompleksni 

glasbeni stavek mogoče postaviti tudi v zvezo s svetovnonazorskimi 

izjavami. Sprva je tak izrazito poglobljen odnos do kompozicije poslušalce 

navdajal z osuplostjo, nato pa so kljub zbeganosti vendarle prepoznali 

daljnosežnost skladateljevih idej. Zato so bili skorajda nekoliko razočarani 

nad mojstrovo Osmo simfonijo. Na koncertu, na katerem sta bili 

poleg številnih drugih skladateljevih del izvedeni tudi Sedma in Osma 

simfonija, so prvo pozdravili navdušeno, drugo pa precej mlačno, kar je 

Beethovna razjezilo, saj je bil prepričan, da je Osma simfonija boljša od 

Sedme. Poslušalci so bili verjetno presenečeni nad skorajda starinskim 

tonom simfonije, ki se spogleduje s klasicističnimi predhodniki, s Haydnom 

in Mozartom (namesto scherza Beethoven za tretji stavek postavi 

»zastareli« menuet). Občinstvo ni prepoznalo, da Beethoven vendarle 

vzpostavlja jasno, skoraj ironično distanco do klasicizma, kar se kaže 

v številnih harmonskih presenečenjih, šaljivi igri z ritmom (sinkope in 

premeščeni akcenti) in oblikovnih posebnosti (v prvem stavku znaša 

zaključna koda dolgih 72 taktov, v finalu pa kar 250 taktov, kar je skoraj 

polovica stavka). Najbolj pa je buril duhove šaljivi drugi stavek, ki naj bi 

ga po anekdoti, katere verodostojnosti ni mogoče dokončno potrditi, 

Beethoven napisal za Johanna Nepomuka Mälzla, izumitelja metronoma. 

In res utripa stavek v mehaničnem ritmu, ki spominja na tiktakanje ure 

ali metronoma, nad ritmično enoličnostjo pa se razvija prikupna viža. 

Kljub temu, da se pogosto zdi, da opus ruskega romantičnega skladatelja 

Petra Iljiča Čajkovskega zaznamuje predvsem močna razčustvovanost, 

pa je treba vedeti, da je skladatelj občudoval glasbo Mozarta. Prav ljubezen 

do Mozarta je Čajkovskega navdihnila za dela, v katerih je začutiti 

tudi nekaj klasicističnega igrivega duha. To velja predvsem za pantomimo 

iz opere Pikova dama, Četrto suito, imenovano tudi »Mozartiana« in 

nenazadnje za Variacije na rokokojsko temo. Slednje je Čajkovski napisal 

konec leta 1876, takoj po simfonični pesnitvi Francesca da Rimini. Delo 

je posvetil prijatelju, profesorju na Moskovskem konservatoriju, nemškemu 

violončelistu Wilhelmu Fitzenhagnu, ki je delo tudi prvi izvedel. 

Fitzenhagen je variacije zaznamoval precej močno: v solistični part je 

dodal številne virtuozne vrivke, najpomembneje pa je, da je spremenil 

strukturo samega dela. Tako je opustil osmo variacijo in zamenjal vrstni 

red posameznih variacij. Čajkovski ni veliko protestiral, zato je bila natisnjena 

Fitzenhagnova »verzija«, ki je ostala v rabi vse do danes. 

Prav gotovo se ob naslovu skladbe Čajkovskega tudi vprašamo, kakšne so 

vezi, ki jih skladba vzpostavlja z rokokojskim slogom. Še največ je takšnega 

»starinskega« duha občutiti v temi, ki je zasnovana izrazito periodično, 

bolj prosojna pa je tudi orkestracija, saj se je Čajkovski odrekel trobentam 

in trombonom. Toda variacijsko nadaljevanje se vse bolj jasno odpiralo 

tipičnemu romantičnemu idiomu: posamezne variacije pridobivajo karakterne 

poteze (četrta variacija je zasnovana plesno, šesta je ekspresivna 

romanca s pizzicato spremljavo, poslednja variacija pa prinaša odločen

koračniški utrip), solistična linija pa postaja izrazito virtuozna. Čajkovski 

je Mozarta prav gotovo oboževal, a vendarle ne toliko, da bi žrtvoval 

svoj lastni glasbeni izraz. 

We justifiably regard Joseph Haydn as the ‘father’ of the symphony. Although 

he was not the first composer of symphonies he did write more than 

one hundred such works and made the most decisive contribution to the 

development of the form, for which he undoubtedly deserves first place 

amongst the early symphonic composers. Haydn gained the first Major success 

in his career in 1761, when he became the assistant chapel master in the 

court of Prince Paul Anton Esterházy. The latter was an extraordinarily well 

educated man, and wanted to transform his new court in Eisenstadt into a 

contemporary cultural centre. Due to the fact that the incumbent chapel 

master, G.J. Werner, was a rather conservative figure, Prince Esterházy placed 

at his side Joseph Haydn, whose contract was somewhat unusual: he was 

clearly established in second place to Werner, but at the same time he was 

given all of the essential tasks that should fall to the ‘principal’ chapel master. 

Thus Haydn was responsible for the maintenance of the music archive and 

instruments, he had to teach singing, he was active as a performer (both 

as a soloist and as a member of the orchestra), and he was also obliged “to 

compose according to the wishes of the Prince”. Of course, being placed in 

such an unusual position led Haydn to a number of disputes with Werner, 

and after the death of the Prince the situation became even more tense, as 

the new master, Paul Anton’s brother Nicholas, had an even more progressive 

orientation in terms of his aesthetic outlook. Nonetheless, Haydn was only 

able to take up the position of chapel master in 1765, after Werner’s death. 

Although his various conflicts with Werner must have been rather stressful 

during the four years in which they worked together, the period was undoubtedly 

most significant and decisive for the development of the symphony: in 

these years Haydn composed symphonies at the greatest rate of his career, 

completing twenty-five such works. Most of the symphonies written during 

this period experiment with various models, seeking a balance between light 

and serious expression, between the traditional and the modern, and between 

the Italian and the Austrian. The most significant innovation, however, was 

linked with the introduction of the fourth movement and the definition of 

the genre as a serious artistic genre, demanding attentive listening. 

In Symphony No. 39 we could even find certain traits of ‘sturm und drang’, a 

style that Haydn engaged with only in subsequent years – the work is written 

in a Minor key, which is a noticeable exception for classical music and implies 

certain expressive connotations. Many observers are even convinced that 

it is precisely this symphony that had an important influence on Mozart’s 

superb ‘Little’ Symphony in G Minor, K 183, which is also characterised by an 

unusual ensemble with four horns. The first movement brings an unsettled 

atmosphere, which is intensified by the breaks that interrupt the appearance 

of the first theme. A desire for experimentation is also demonstrated 


123

in the conception of the second theme, which begins with the same interval 

sequence (fourth-third) as the first theme, showing that Haydn was engaging 

with the idea of monothematicism. If the first movement is explicitly stormy 

the second is unusually calm – with its obviously galant quality and its focus 

on the strings alone it flirts with older forms. The subsequent minuet returns 

to the initial Minor tonality, while the stormy finale re-establishes the expressiveness 

of the first movement. 


The next important tectonic shifts in the development of the symphony 

were brought about by the symphonic opus of Beethoven. Above all in the 

Third, Fifth and Sixth Symphonies he established entirely new standards: 

the symphony became an organically rounded work that demanded to be 

understood. It is, therefore, first necessary to break through analytically to the 

secrets of its construction, and then it is possible to establish links between 

the complex musical technique and phenomena related to a world view. At 

first, such an obviously in-depth attitude towards composition perplexed 

listeners, and then in spite of the complexity they nonetheless recognised the 

far-reaching scope of the composer’s ideas. Thus the audience was almost 

somewhat disappointed with the master’s Eighth Symphony. At the concert 

at which, along with a number of other works by the composer, Beethoven’s 

Seventh and Eighth Symphonies were performed, the audience welcomed 

the former with enthusiasm while the response to the latter was rather tepid. 

This angered Beethoven, as he was convinced that the Eighth Symphony was 

better than the Seventh. Listeners were no doubt surprised by the almost ‘old 

fashioned’ tone of the symphony, which flirts with its classical predecessors 

by Haydn and Mozart (instead of a scherzo Beethoven placed an ‘out-of-date’ 

minuet in the third movement). The audience did not recognise the fact that 

Beethoven actually establishes a clear, almost ironic, distance towards classicism, 

as is demonstrated by the numerous harmonic surprises, the humorous 

play with rhythm (syncopation and displaced accents) and the formal surprises 

(in the first movement the concluding coda is 72 bars long, and in the finale 

the coda has 250 bars, which is almost half of the movement). That which 

stirred the audience up most, however, was the humorous second movement, 

which, according to anecdotal evidence whose reliability cannot be entirely 

confirmed, Beethoven wrote for Johann Nepomuk Mälzel, the inventor of the 

metronome. It is true that the movement pulses in a mechanical rhythm that 

is reminiscent of the ticking of a clock or metronome, but above this rhythmic 

monotony unfolds an attractive tune. 

124 

In spite of the fact that it often seems that the opus of Russian romantic 

composer Pyotr Ilyich Tchaikovsky is marked above all by powerful emotion, 

it is important to realise that the composer actually admired the music 

of Mozart. It was precisely a love of Mozart that inspired Tchaikovsky to 

compose works in which one can feel a certain playful classical spirit. This 

is true in particular of the pantomime from the opera The Queen of Spades, 

the Fourth Orchestral Suite, also known as the ‘Mozartiana’, and not least 

of the Variations on a Rococo Theme. The latter was written by Tchaikovsky

towards the end of 1876, just after he had completed the symphonic poem 

Francesca da Rimini. It is dedicated to Tchaikovsky’s friend and professor at 

the Moscow Conservatory, German cellist Wilhelm Fitzenhagen, who also 

gave the premiere performance. Fitzenhagen himself left an important mark 

on the variations, adding a number of virtuoso inserts to the solo part and, 

most importantly, modifying the very structure of the work: he omitted the 

eighth variation and changed the order of the individual variations. Tchaikovsky 

did not have any major objections, so it was Fitzenhagen’s ‘version’ 

that was printed and that remains in use today. 

In view of Tchaikovsky’s title for the composition, we may well ask what 

connections the work establishes with the rococo style. The ‘old-fashioned’ 

spirit can be felt to the greatest extent in the theme, which has a specifically 

periodic scheme, as well as in the transparent orchestration in which Tchaikovsky 

omitted trumpets and trombones. In the continuation, however, the 

variations are based ever more clearly on the typically romantic idiom: the 

individual variations are given specific character traits (the fourth variation 

is conceived as a dance, the sixth is an expressive romance with pizzicato accompaniment, 

the last variation brings a decisively march-like pulse), while 

the solo line gains an obviously virtuoso character. Tchaikovsky no doubt 

admired Mozart, but not so much that he would sacrifice his own personal 

musical expression. 

Gregor Pompe 



125

Petek, 11. September 2009 / Friday, 11. September 2009 


Velika dvorana Narodni dom ob 17:00 / Narodni dom Hall at 17:00 

HARMONIA BALKANICA 

VLATKO STEFANOVSKI – kitara / guitar 

THEODOSII SPASSOV – kaval / caval 


Jovka Kumanovka 

Kasapsko oro 

Kalajdzisko oro 

Eleno cerko 

Gipsy Song 

Oj ti momce Ohridjance 

Say Bob 

Gipsy Dance 

Yonuz Emre … 

Vlatko Stefanovski (Makedonija) in Theodosii Spassov (Bolgarija), dva 

izvrstna glasbenika, virtuoza na kitari in kavalu s širokim razponom 

glasbenih znanj in izkušenj nas bosta popeljala v glasbene zakladnice 

Makedonije, Srbije in Vojvodine, Bolgarije in Romunije in brez dvoma 

ponudila vrhunsko koncertno doživetje balkanske glasbe ter izjemen 

pogled v razkošje njenih žanrov. Njun skupni glasbeni koncept temelji 

na uporabi tradicionalnih glasbenih motivov, mojstrsko preoblikovanih 

v tekočo, melodično, improvizacijskih erupcij polno glasbeno igro, ki se 

uspe na daleč izogniti sleherni klišejskosti in banalnosti. 

Two excellent performers, virtuoso guitar and caval player with a broad range 

of different music experiences – Vlatko Stefanovski (Macedonia) and Theodosii 

Spassov (Bulgaria) present a showcase of Balkan music from Macedonia, 

Serbia, Vojvodina, Bulgaria and Rumania, providing the best possible insight 

in its flamboyant music traditions and genres. Their joint musical concept 

masterfully uses traditional musical themes, remodeling them into sleek, 

melodical suites full of improvisatory eruptions and avoiding any chance 

for obvious clichés or banality to emerge.

Petek, 11. September 2009 / Friday, 11. September 2009 



ODSEVI NOČI 

RADIANT NIGHT 


Arvid Engegård – dirigent, violina / conductor, violin 

Solista / Soloists: 

James Gilchrist, tenor / tenor 

Marie Luise Neunecker, rog / horn 


Georg Friedrich Händel (1685–1759): Arija »Mehko jo ponesite, angeli, 

prek neba in Njegova mogočna roka« – iz oratorija Jefte / Aria “Waft her, 

angels, through the skies and His mighty arm” from the oratorio Jephtha 

Benjamin Britten (1913–1976): Serenada za tenor, rog in godala op. 31 / 

Serenade for tenor, horn and strings, Op. 31 

1. Prolog / Prologue 

2. Pastorala / Pastoral 

3. Nokturno / Nocturne 

4. Elegija / Elegy 

5. Pogrebna pesem / Dirge 

6. Himna / Hymn 

7. Sonet / Sonnet 

8. Epilog / Epilogue 

* * * 

Olivier Messiaen (1908–1992): »Medzvezdni klic«, stavek št. 6 za solo 

rog iz »Iz Kanjonov do zvezd« / “Appel Interstellaire” (“Interstellar Call”), 

movement No. 6 for solo horn from “Des Canyons aux Etoiles” (“From the 

Canyon to the Stars”) 

Wolfgang Amadeus Mozart (1756–1791): Simfonija št. 25 v g-molu 

K 183 / Symphony No. 25 in G Minor, K 183 


2. Andante 

3. Menuetto 

4. Allegro 

127

Jefte 

Mehko jo ponesite, angeli, prek neba 

tja daleč nad azurno planjavo, 

da bo tam vstala v slavi kot vi, 

tam na veke z vami vladala. 

Jephta 

Waft her, angels, through the skies, 

far above yon azure plain, 

glorious there, like you, to rise, 

there like you for ever reign. 

* 


Jefte 

Njegova [Jehovova] mogočna roka je z nenadnim zamahom 

razkropila in premagala nadutega sovražnika. 

Padli so pred njim, ko je prek neba 

ukazal sunkovitim vetrovom poleteti v maščevanju. 

Jephta 

His mighty arm, with sudden blow, 

dispers’d and quell’d the haughty foe. 

They fell before him as when thro’ the sky, 

he bids the sweeping winds in vengeance fly. 

Informativni prevod / Translation: Katarina Šter 

128 

Razvoj angleške umetnosti je vedno potekal nekoliko drugače kot na 

evropskem kontinentu, pri čemer gre razloge iskati v relativni geografski 

izoliranosti. Po tem, ko je čas renesanse dal vrsto velikih angleških avtorjev, 

se je v času baroka pozornost usmerila na naturaliziranega Angleža, 

Georga Friedricha Händla. Prav čas Händlovega delovanja v Angliji nam 

dokazuje, kako je bilo svetovljanstvo razširjeno daleč pred globalistično 

idejo 21. stoletja: Händel je kot Nemec sredi Londona ustvarjal tipično 

italijansko zvrst – opero. Seveda so bili v tistem času v središču opernega 

pogona predvsem operni pevci, pri čemer so prednjačili tisti, vzgojeni v 

Italiji. Händel se je preživljal z razpisovanjem opernih abonmajev. Te je 

potem polnil s svojimi operami, ki jih je izvajala njegova operna družina. 

Kmalu pa so v kraljevskem mestu zrasle tudi konkurenčne družine in 

po spremembi politične in duhovne klime se je čas opere pričel počasi 

iztekati. Händel je zato zatočišče poiskal v komponiranju oratorijev – 

oblikovno so bili ti zelo podobni operi, saj so bili sestavljeni iz solističnih

točk, recitativov in zborov, vendar pa niso potrebovali scenske realizacije, 

kar je seveda bistveno zmanjšalo izvedbene stroške. 

V začetku leta 1751 je pričel tedaj že močno oslabljeni mojster pisati 

svoj zadnji oratorij – Jefte. V središču oratorija je trpljenje Jefte, ki se je 

zaobljubil, da bo za božjo pomoč daroval prvo osebo, ki mu bo prišla na 

proti pred domačim pragom. In pred Jefteja stopi prav njegova hčerka, 

ki jo Händel portretira z najnežnejšimi toni. Nenavadna poglobljenost 

in religiozna predanost, ki žarita iz Händlovega oratorija, verjetno že 

odsevata slutnjo skladateljeve približajoče se smrti. 

Na novega glasbenega »velikana« je nato Anglija čakala precej dolgo 

časa – dobila ga je šele v 20. stoletju z Benjaminom Brittnom. Britten se 

je leta 1942 vrnil iz ZDA in se dokončno ustalil v Angliji. Ker se je zavedal, 

da bo kot simfonični skladatelj težko konkuriral velikemu mojstru simfonije 

Vaughnu Williamsu, se je odločil, da so bo posvetil operi. Že zelo 

kmalu je pričel s pisanjem opere Peter Grimes, vmes pa je skoraj nekako 

za oddih napisal še Serenado za tenor, rog in godala. Za nastanek dela 

sta bila v veliki meri »odgovorna« dva odlična mlada glasbenika: hornist 

Dennis Brain in Brittnov življenjski sopotnik, tenorist Peter Pears, sicer 

tudi prvi Peter Grimes. 

Serenado lahko razumemo skoraj kot nekakšno antologijo angleške poezije, 

napisane na tematiko noči. Vendar pa je skladatelj izkoristil predvsem 

dramatične potenciale posameznih pesmih, ki jih je razpostavil dramaturško 

izredno učinkovito. Delo v veliki meri zaznamuje tudi zvočnost roga, 

ki je nosilka »romantičnih« konotacij. In res nas uvodna »Pastorala« vodi v 

svet romantične narave, v »Nokturnu« se zaslišijo značilne terčne verige 

roga, »Elegija« je zgrajena okoli otožnih poltonov, »Pogrebna pesem« 

je zamišljena kot stopnjujoči se ostinato, medtem ko se zdi »Himna« v 

svojem melodičnem okrasju zasnovana celo nekoliko baročno. V zadnji 

pesmi rog »molči«, vendar pa se nato povrne v solističnem »Epilogu«, ki 

ga igra iz daljave. Ta je sicer identičen »Prologu«, v njem pa lahko iščemo 

še eno vez z naravo: skladatelj namreč predpisuje, da mora izvajalec vse 

tone izvajati s pomočjo alikvotnih tonov in ne ventilov, kar prinaša tudi 

nekaj specifičnih intonančnih obarvanj. 


Nekaj strukturalne logike, ki določa Brittnovo Serenado, lahko srečamo 

tudi v šestem stavku Messiaenovega obsežnega dela Iz kanjonov do zvezd, 

napisanem za manjšo orkestrsko zasedbo, v kateri dominirajo številna 

raznolika in eksotična tolkala. Delo je Messiaen napisal med letoma 1971 

in 1974 po naročilu ameriške družbe »Musica Aeterna«, glavni navdih pa 

je dobil prav na popotovanju po Ameriki, na katerem sta ga s svojimi 

lepotami navdušila naravna rezervata Bryce Canyon in Cedar Breaks. Šesti 

stavek, napisan za solistični rog, izkazuje strogo simetrično obliko, saj je 

zgrajen iz introdukcije, refrena, središčne izpeljave, ponovitve refrena in 

kode, ki je zamišljena kot rakova ponovitev introdukcije. Slednjo lahko 

razumemo kot nekakšno demonstracijo različnih izvajalskih možnosti, 

ki jih ponuja to trobilo: tako lahko slišimo frulato, trilčke, mikrotonske 

129

oscilacije in glissande. Kontrast temu pa predstavljata refrena, v katerih 

skladatelj rog obravnava kot tipično »romantični«, signalni inštrument. 

Prav v takem druženju sodobnega in tradicionalnega se razkriva glavna 

poteza Messiaenovega poznega opusa, ki ga zaznamuje sinteza vseh 

skladateljevih kompozicijskih iskanj in se kaže v sopostavljanju ritmov, 

prevzetih iz indijske glasbe, uporabe modusov z omejeno možnostjo 

transpozicije in izkoriščanje melodičnega bogastva ptičjega petja (v 

celotnem delu slišimo tonske arabeske ptic, ki domujejo v kanjonu Bryce 

in na havajskem otočju). 


Jeseni leta 1773 se je sedemnajstletni Mozart vrnil iz desettedenskega 

bivanja na Dunaju in takoj zatem je pričel ustvarjati serijo petih simfonij. 

Druga med njimi je t. i. Mala simfonija v g-molu, prva skladateljeva simfonija 

v molovi tonaliteti. Za delo je značilen temnejši, strastni ton, vendar 

»resnejših« tonov ne gre povezovati s kakšno skladateljevo osebno krizo. 

Veliko bolj verjetno je, da je mladi Mozart na Dunaju slišal »viharniške« 

simfonije Josepha Haydna, med njimi prav gotovo mojstrovo 39. simfonijo, 

ki je napisana tako kot Mozartova v g-molu, uporabljeni pa so prav 

tako štirje rogovi. V resnici kaže Mozartova 25. simfonija velik napredek 

glede na mladostna dela: tematski odnosi med stavki postanejo bolj 

premišljeni, glasbeni stavek gostejši, kar trije stavki so napisani v sonatni 

obliki, izpeljave postanejo obsežnejše, simfonija je ciklično povezana. 

Simfonija se v resnici izmika galantnemu muziciranju, ki je bilo v tem času 

prevladujoče, zaznamujejo pa jo sinkopirani ritmi, trdovratne repeticije 

tonov, dramatični unisoni in kromatična trdota. 

Že prvi stavek napolnjujejo padajoče in vzdigajoče se sinkope, intenzivnost 

pa se prenaša tudi v drugo temo sonatnega stavka. Melanholično 

vzdušje nato napolnjuje tudi v drugi stavek, iz katerega ob sordiniranih 

godalih izstopajo fagoti in značilni motiv vzdiha. Temno je pobarvan tudi 

menuet, v katerem prinaša več svetlobe le kratek trio, napisan zgolj za 

pihala. Finale se takoj pričenja z unisonom, nato pa se povrnejo sinkope, 

ki so zaznamovale že prvi stavek in skladatelj tako delo pripelje do 

smiselno zaokroženega konca. 

130 

The development of English art has always proceeded in a somewhat different 

way to that on the European continent, which can be explained by 

the relative geographical isolation of the country. While the Renaissance 

period gave rise to a series of great English composers, during the time of 

the baroque attention was directed at the naturalised Englishman, George 

Frideric Handel. It is precisely the period of Handel’s working in England 

that demonstrates how cosmopolitanism was widespread well before the 

21 st century idea of globalisation: as a German based in London, Handel 

created in the typically Italian genre – opera. Of course, at this time it was 

primarily opera singers who were at the centre of the operatic sphere, particularly 

those brought up in Italy. Handel made his living by offering opera 

subscription series, which he would then fill with his own operas performed

y his own opera company. Soon competing companies arose in the royal 

city, and after changes in the political and intellectual climate the epoch of 

opera began to gradually fade. Thus Handel sought shelter in composing 

oratorios. These were formally very similar to opera, as they were made up 

of solo numbers, recitatives and choruses, but they did not require the scenic 

realisation, which, of course, meant significantly reduced performance costs. 

At the beginning of 1751, the already greatly weakened master began to write 

his final oratorio – Jephtha. At the centre of the oratorio is the suffering of 

Jephtha, who has promised that for God’s help he will sacrifice the first person 

he comes across in front of his doorstep. Before Jephtha steps his daughter, 

whom Handel portrays with the most gentle tones. The extraordinary depth 

and religious devotion that radiate from Handel’s oratorio most likely reflect 

a presentiment of the composer’s own approaching death. 

England had to wait a long time for a new musical ‘giant’; it was not until 

the 20 th century that such a figure arrived, in the form of Benjamin Britten. 

Britten returned from USA in 1942 and finally settled down in England. Realising 

that as a symphonic composer it would be difficult to compete with the 

great master of the symphony, Vaughan Williams, he decided to dedicate 

himself to opera. Very soon he commenced writing the opera Peter Grimes, 

during which time, almost as a kind of break, he also wrote the Serenade for 

tenor, horn and strings. To a large extent, two excellent young musicians were 

‘responsible’ for the emergence of this work: horn player Dennis Brain and 

Britten’s life partner, tenor Peter Pears, who was also the first Peter Grimes. 

We can almost understand the Serenade as a kind of anthology of English 

poetry written on the theme of the night. However, the composer made 

use above all of the dramatic potential of the individual poems, which he 

deployed in an extremely efficient way in terms of drama. To a large extent, 

the work is marked by the sound of the horn, which is the bearer of its ‘romantic’ 

connotations. The introductory ‘Pastoral’ really does lead us to the 

world of romantic nature, in the ‘Nocturne’ we hear the sequences of thirds so 

characteristic of the horn, the ‘Elegy’ is built around melancholy semitones, 

the ‘Dirge’ is conceived as a gradually building ostinato, while it seems that 

the ‘Hymn’, with its melodic ornamentation, is almost conceived in baroque 

terms. In the last song the horn is ‘silent’, but it returns in the solo ‘Epilogue’, 

which the performer plays from a distance. This movement is identical to 

the ‘Prologue’, and in it we can find one more link with nature: the composer 

specifies that the performer must play all of the tones with the aid of natural 

harmonics and not with the valves of the horn, which introduces certain 

specific colours in terms of intonation. 


Something of the structural logic that determines Britten’s Serenade can 

also be found in the sixth movement of Messiaen’s extensive work From 

the Canyon to the Stars, written for a small orchestral ensemble in which 

numerous diverse and exotic percussion instruments take a leading role. 

Messiaen composed this work between 1971 and 1974 on a commission from 

the American society ‘Musica Aeterna’. The main inspiration for the work was, 

131

in fact, derived from his travels in America, during which he was enthused by 

the beauty of the natural reserves Bryce Canyon and Cedar Breaks. Witten 

for solo horn, the sixth movement demonstrates a strictly symmetrical form, 

as it is constructed from an introduction, a refrain, a central development, 

a repetition of the refrain and a coda, which is conceived as a crab canon of 

the introduction. We can understand the latter as a kind of demonstration 

of various performance possibilities offered by this brass instrument: we can 

hear flutter tonguing, trills, microtonal oscillations and glissandi. In contrast to 

this are the two refrains, in which the composer treats the horn as a typically 

‘romantic’ signal instrument. It is precisely in this combining of the contemporary 

and the traditional that we discover the main trait of Messiaen’s late 

opus, which is marked by a synthesis of all of the composer’s compositional 

searching, as evident in the superposition of rhythms, taken from Indian music, 

the use of modes of limited transposition and the exploitation of the melodic 

wealth of bird calls (throughout the work we hear the tonal arabesques of 

birds that live in the Bryce Canyon and on the Hawaiian islands). 


In the autumn of 1773, the seventeen-year-old Mozart returned from a nine-week 

stint in Vienna and immediately began to compose a series of five 

symphonies. The second of them is the so-called ‘Little’ Symphony in G Minor, 

the first of the composer’s symphonies in a Minor key. The work is characterised 

by a dark, frightening tone, but its ‘more serious’ tone cannot be linked 

with some kind of personal crisis of the composer. It is much more likely that in 

Vienna the young Mozart heard the ‘sturm und drang’ symphonies of Joseph 

Haydn, amongst them most certainly the masterful Symphony No. 39, which, 

just like Mozart’s symphony, is composed in G Minor and has four horns. In 

fact, Mozart’s Symphony No. 25 represents significant progress relative to his 

youthful works: the thematic relationships between the movements become 

more thought out, the musical style is denser, three movements are written in 

sonata form, the development becomes more extensive, and the symphony 

is cyclically connected. The symphony demonstrates a certain shift from the 

gallant music making that was predominant at the time, being marked by 

syncopated rhythms, relentless repetition of tones, dramatic unisons and 

chromatic stringency. 

Even the first movement is full of falling and rising syncopations, with the 

intensity being carried forward to the second theme of this sonata movement. 

The melancholy atmosphere also flows into the second movement, in which 

the bassoon stands out from the muted strings with its characteristic sighing 

motive. The minuet is also darkly coloured, with the only light being provided 

by the short trio, scored for wind alone. The finale commences immediately 

with a unison, before a return of the syncopations that marked first movement, 

providing the work with a meaningful rounded conclusion. 

132 

Gregor Pompe 






Prekipevajoča živahnost 


Bursting vivacity 


Arvid Engegård – dirigent, violina / conductor, violin 


Joseph Haydn (1732–1809): Simfonija št. 1 v D-duru Hob. I:1 / 

Symphony No. 1 in D Major, Hob. I:1 

1. Presto 

2. Andante 

3. Presto 

Wolfgang Amadeus Mozart (1756–1791): Koncert za violino in 

orkester št. 4 v D-duru K 218 / Violin Concerto No. 4 in D Major, K 218 


2. Andante cantabile 

3. Rondeau 

* * * 

Georg Friedrich Händel (1685–1750): Glasba na vodi HWV 348–350 

(izbor iz suit) / Water Music HWV 348–350 (selection from the following suites) 

Suita št. 1 v F-duru / Suite No. 1 in F Major 

Ouverture: Largo / Allegro – Adagio e staccato – Allegro – Andante – (Presto: 

Passepied) – Air – Minuet – Bourrée – Hornpipe – (Allegro moderato) 

Suita št. 2 v D-duru / Suite No. 2 in D Major 

(Allegro) – Alla Hornpipe – Minuet – Lentement – Bourrée 

Suita št. 3 v G-duru / Suite No. 3 in G Major 

(Menuet) – Rigauždon: Presto – (Rigaudon) – Menuet – (Menuet) – (Affettuoso) – 

(Cantabile) 

133


134 

Čeprav je naziv »oče simfonije«, kakor radi imenujemo Josepha Haydna, 

morda nekoliko pretiran, ni nobene druge instrumentalne zvrsti v 

zahodni glasbi, v kateri bi bilo ustvarjanje enega samega skladatelja tako 

obsežno, glasbenozgodovinsko tako pomembno ali tolikšne umetniške 

kvalitete. Na poti ustvarjanja simfonij se ni Haydn nikoli ustavil ali obtičal 

pri enem samem modelu, temveč je obliko nenehno razvijal in iskal nove 

rešitve, s tem pa se je spreminjal tudi njegov simfonični slog. 

Preden se je Haydn zaposlil pri Esterházyju, je napisal nekaj simfonij za 

grofa Morzina. Korpus najzgodnejših simfonij je največkrat orkestriran 

za dve oboi, dva rogova in godala, po obliki pa je tristavčen, v klasični 

obliki hitro – počasi – hitro. Že prve simfonije pa nakazujejo na razliko 

med bolj svečanim prvim in hitrim finalnim stavkom, medtem ko je 

osrednji stavek nekoliko počasnejši in »lahkotnejšega« značaja. Tako 

je Haydn v prvih simfonijah prepletel avstrijsko in italijansko, resno in 

lahkotno, tradicionalne in moderne poteze. Simfonijo št. 1, kakor jo je 

sam oštevilčil, je celo začel s t. i. mannheimskim crescendom, inovacijo 

mannheimske šole, v kateri nastopi nenaden crescendo v celotnem orkestru. 

Po letu nastanka (1759) pa to ni njegova najzgodnejša simfonija; 

ta čast pripada Simfoniji št. 18. Prva in druge zgodnje simfonije se od 

poznih simfonij zelo razlikujejo, a vendar so tudi ti Haydnovi simfonični 

začetki male mojstrovine. 

Wolfgang Amadeus Mozart je največ del za violino ustvaril v letih 

1771–1775 v Salzburgu, ko je bil koncertni mojster v službi knezoškofa 

Colloreda. Dodaten impulz koncertom pa je prineslo tudi njegovo tretje 

italijansko potovanje (od julija do septembra 1773), na katerem je spoznal 

veliko odličnih violinistov in violinskih skladateljev. V Salzburgu je bila 

violinska koncertantna glasba v razcvetu, zato ne čudi, da je poleg petih 

violinskih koncertov v tem obdobju moč najti tudi veliko Mozartovih 

posameznih stavkov za ta instrument, koncertantne violinske vmesne 

stavke pa imajo tudi različne serenade in divertimenti. Tako med člani 

dvorne kapele kot med amaterji je bilo veliko odličnih violinistov, ni 

pa znano, za katere priložnosti in/ali izvajalce je Mozart svoje koncerte 

napisal. Prvi je najbrž nastal leta 1773, ostali pa leta 1775. Sicer pa so bili 

v Mozartovem času in še pozno v 19. stoletje njegovi violinski koncerti 

manj znani in razširjeni kot npr. klavirski koncerti. 

V svojih koncertih je Mozart na nek način obdeloval in predeloval vse, kar 

se je naučil o italijanski in francoski, pa tudi češki violinski glasbi. Vsak violinski 

koncert ima svoje individualne posebnosti, a od enega do drugega 

lahko zasledimo jasen formalno-tehnični in glasbeno-vsebinski razvoj. 

Od začetnih vivaldijevskih vzorov je v zadnjih treh koncertih tako ostala 

le še tristavčnost, vanje pa se že mešajo vplivi arije in sonatnega stavka. 

Skupaj s 5. violinskim koncertom je prav Violinski koncert št. 4 naletel na 

najboljši odziv; obe deli sta za izvedbo tehnično zahtevni, a obenem zelo 

hvaležni. Prvi stavek Četrtega violinskega koncerta je tematsko bogat, a 

jasno strukturiran. Andante cantabile je poln liričnega občutja in nav-

diha. Koncert pa zaključuje rondo z ljudskim značajem in – kot pove že 

naslov – po francoskem zgledu. Odlikujejo ga elegantne teme in vmesni 

plesni odseki. V koncertu najdemo tudi odzvene Violinskega koncerta 

Luigija Boccherinija iz leta 1768, ki je bil prav tako napisan v D-duru, ima 

podoben strukturni plan in je Mozartovemu celo tematsko podoben. 

Toda Mozart je vdihnil svojemu delu gracioznost in briljanco, kakršen 

njegov predhodnik ne pozna. 

Po smrti angleške kraljice Anne leta 1714 je Georg Friedrich Händel (ang. 

George Frederic Handel) ostal brez pokroviteljice, Anglija pa brez kralja. 

Ker neposrednega dediča prestola ni bilo, je kralj postal saški volilni knez 

Georg (George oz. Jurij I.) iz Hannovra, ki je bil že poprej Händlov delodajalec. 

Po svojem prihodu iz Nemčije se je kralj izogibal javnim nastopom 

ni hotel govoriti angleško, zato je med svojimi podaniki kmalu obveljal za 

nekoliko omejenega. Z nekoliko angleškega humorja so ga označili še za 

»dobrosrčnega človeka, ki je na celem svetu sovražil samo tri ljudi: svojo 

mater, svojo ženo in svojega sina«. Vendar je kralj hotel svoje podložnike 

nekoliko pomiriti, zato se je odločil prirediti koncertni spektakel. 

Pruski odposlanec v Londonu Friedrich Bonet je poročal o kraljevih željah 

»po koncertu na reki [Temzi], podobnemu maskam [značilna zvrst 

angleške glasbe, ki je združevala poezijo, vokalni in instrumentalno 

glasbo, gledališče in ples]«. 17. julija ob osmih zjutraj je kralj stopil na 

svojo barko v spremstvu nekaterih plemičev; njegovi barki je sledila 

barka s 50 instrumentalisti. Glasbo je, kakor nadalje poroča odposlanec, 

»posebej za to priložnost napisal slavni Händel, po rodu iz Halleja, ki je 

najpomembnejši dvorni skladatelj Njegovega Veličanstva. Njegovemu 

Veličanstvu je glasba tako ugajala, da jo je ukazal vsega skupaj trikrat 

ponavljati, čeprav je vsaka predstava trajala eno uro.« Bark in čolnov z 

ljudmi, ki so prišli ta nenavadni koncert poslušat, je bilo brez števila, kralj 

pa je ob reki v številnem spremstvu tudi obedoval. Princ in kraljeva žena 

se slovesnosti nista udeležila. 

Glasba na vodi (Walsh jo je 1734 objavil z naslovom Celebrated Water Music) 

je zbirka 20 stavkov, ki so jih igrali ob različnih priložnostih; določeni deli 

iz te suite se pojavljajo v različnih rokopisih in morda so nekateri nastali 

že pred letom 1717. Avtograf večine stavkov je izgubljen, zato vrstni red 

stavkov danes ni popolnoma jasen, sodobni viri in tiski pa nakazujejo 

različne vrstne rede stavkov. Iz ohranjenih partitur so dolgo časa sklepali 

na tri suite, ki naj bi se med seboj razlikovale po zasedbi in okvirni 

tonaliteti: eno v F-duru, drugo v D-duru in tretjo v G-duru. Vendar je ta 

teza vprašljiva, saj najzgodnejši viri (transkripcije iz zgodnjih 20-ih let 

18. stoletja) stavke v D-duru in G-duru razvrščajo popolnoma mešano. 

Razvrščanje stavkov po tonalitetah se je uveljavilo do 30-ih let 18. stoletja 

in se odraža tudi v Walshevih priredbah iz leta 1743. 

Glasba na vodi skupaj z Glasbo za kraljevski ognjemet predstavlja vrhunec 

Händlovega monumentalnega popularnega sloga, v katerem je uspešno 

združil italijansko koncertno muziciranje posameznih skupin instrumen- 


135

tov ter po francoski modi ukrojen plesni značaj stavkov. Sintezi je dodal še 

piko na i, ko je v suite vključil zbore pihal ter značilno angleško ljudsko in 

plesno glasbo (»Country Dances«), ki se navezujejo na tradicijo Purcella. 


136 

Although the title ‘father of the symphony’, which we are fond of attributing 

to Joseph Haydn, may be somewhat exaggerated, there is no other 

instrumental genre in western music in which the creativity of one single 

composer is so extensive, so important in a musical-historical sense, or of 

such consistently high artistic quality. In the process of creating symphonies 

Haydn never settled on or stuck to one single model, but rather constantly 

developed the form and sought new formal solutions, in so doing also modifying 

his symphonic style. 

Before gaining employment with Esterhazy, Haydn wrote several symphonies 

for Count Morzin. The corpus of the earliest symphonies were most frequently 

orchestrated for two oboes, two horns and strings, and had a three-movement 

form in the classical fast-slow-fast configuration. However, even the first 

symphonies demonstrate a difference between the more solemn first movement 

and the fast final movement, while the central movement is somewhat 

slower and ‘lighter’ in character. Thus in the first symphonies Haydn interwove 

the Austrian and the Italian, the serious and the light, the traditional 

and the modern. Symphony No. 1, as the composer himself numbered the D 

Major symphony, even begins with the so-called Mannheim crescendo, an 

innovation of the Mannheim School in which a sudden crescendo appears 

in the entire orchestra. According to the year in which it was written (1759), it 

is not, in fact, Haydn’s earliest symphony; this honour belongs to Symphony 

No. 18. Although the First Symphony and the other early symphonies differ 

greatly from the later symphonies, these symphonic beginnings of Haydn 

are nonetheless little masterpieces in their own right. 

Wolfgang Amadeus Mozart composed for the violin most intensively in 

the period from 1771 to 1775 in Salzburg, when he was a concertmaster in 

the service of Archbishop Colloredo. An additional impulse for writing violin 

concertos was provided by his third journey to Italy, from July to September 

1773, during which time he made the acquaintance of numerous excellent 

violinists and violin composers. Concertante music for the violin was blossoming 

in Salzburg at the time, and so it is no wonder that in addition to 

the five violin concertos from this period we also find numerous individual 

movements for the instrument, as well as concertante violin interludes in 

various serenades and divertimentos. Although there were many excellent 

violinists amongst the members of the court chapel, as well as in the ranks 

of amateurs, it is not known for which specific occasions and/or performers 

Mozart actually wrote his concertos. The first was most likely written in 1773 

and the others in 1775. However, in Mozart’s time and well into the 19 th century 

his violin concertos were less known and more narrowly disseminated 

than his piano concertos.

In his concertos, Mozart in a way reworked everything that he had learned 

from Italian and French music for the violin, as well as from Czech violin music. 

Each of the violin concertos has its own individual features, but from one concerto 

to the next we can trace a clear formal-technical and musical-content 

development. From the initial models of Vivaldi only the three-movement 

form remains by the time of the last three concertos, in which influences of 

the aria and sonata form are already evident. 

Along with the Fifth Violin Concerto it was Violin Concerto No. 4 that met with 

the best response; both works are technically demanding for the performer, 

but at the same time very rewarding. The first movement of Violin Concerto 

No. 4 is thematically rich and clearly structured. The Andante Cantabile 

is full of lyrical emotion and inspiration. The concerto’s concluding rondo 

has a folk character following the French model, as the title suggests, and 

is distinguished by elegant themes and dance episodes. In the concerto we 

also find resonances of Luigi Boccherini’s Violin Concerto from 1768, which 

was also written in the key of D Major, as well as having a similar structural 

plan and even being akin to Mozart’s concerto in terms of thematic material. 

However, Mozart breathed a graciousness and brilliance into his work such 

as was unknown to his predecessor. 

After the death of England’s Queen Anne in 1740, George Frederic Handel 

was left without a patron and England without a sovereign. As there was 

no direct heir to the throne, the Saxon Duke George, Prince-elector of Hanover, 

a former employer of Handel, became King George I. On his arrival 

from Germany the new King avoided public appearances because he did 

not want to speak English, and was thus soon regarded by his subjects as 

somewhat limited. With typically English humour they labelled King George 

as “a kind-hearted man, who in the whole world only hates three people: his 

mother, his wife and his son”. Seeking to calm his subjects the King decided 

to organise a concert spectacle. 

The Prussian emissary in London, Friedrich Bonet, communicated the King’s 

wishes for “a concert on the river [The Thames] similar to a masque [a characteristic 

English musical genre combining poetry, vocal and instrumental 

music, and theatre and dance]”. On 17 July at 8 o’clock in the morning the King 

boarded his barge accompanied by some noblemen; his vessel was followed 

by another barge carrying 50 instrumentalists. As the emissary continues, 

the music was “composed especially for the occasion by the famous Handel, 

born in Halle, the most important court composer of His Royal Highness. The 

music so pleased His Highness that he ordered the entire work to be repeated 

three times, irrespective of the fact that each performance lasted one hour”. 

The King’s barge was accompanied by countless boats full of people who had 

come to listen to the unusual concert, and the King himself dined on the river 

with this enormous entourage. The Prince and the King’s wife, however, did 

not attend the festivities. 

The Water Music (published by Walsh in 1734 with the title The Celebrated 

Water Music) is a collection of 20 movements that were performed on vari- 


137

ous occasions; parts of the suite appear in various manuscripts and some 

of them may have been written prior to 1717. The autograph copies of most 

of the movements have been lost, and so the order of the movements is not 

entirely clear today; contemporary sources and editions present the movements 

in various sequences. From the scores that were preserved it was for 

many years concluded that the pieces fell into three suites, differing in terms 

of instrumentation and tonality: one in F Major, the second in D Major and 

the third in G Major. This theory is questionable, however, as in the earliest 

extant source (a transcription from the early 1720s) the movements in D Major 

and G Major are ordered in a completely mixed sequence. The ordering of the 

movements according to tonality was nonetheless followed until the 1730s, 

and is reflected in Walsh’s editions from 1743. 

Together with The Music for the Royal Fireworks, The Water Music represents 

the peak of Handel’s monumental popular style, in which he successfully 

combined the Italian concerto music making of individual instrumental 

groups and the French fashion of dance movements. Handel perfected this 

synthesis by adding a choir of wind instruments and characteristic English 

folk and dance music (Country Dances), linked to the tradition of Purcell. 




138



SNG Stara dvorana ob 19:30 / Old Theatre Hall at 19:30 

BALKANSKE SUITE 

BALKAN SUITES 



Arvid Engegård, dirigent, violina / conductor, violin 






Vlatko Stefanovski, kitara / guitar 

Theodosii Spassov, kaval / kaval 

Boštjan Gombač, klarinet / clarinet 

Matevž Bajde, marimba 


139


Nordijska tradicionalna glasba, izbor skladb bo napovedan / 

Traditional Nordic music, the selection will be announced. 

* * * 


Nino de Gleria: Himen za domovino, petstavčnik za kaval, klarinet, 

marimbo, komorni godalni orkester, plastične prašiče in še kaj – 

noviteta, pisano za Festival Maribor / Hymen for the Homeland in 

five movements for caval, clarinet, marimba, chamber string orchestra, 

plastic pigs and more – new piece commissioned by the Maribor Festival 

Theodossii Spassov: Proviknal se Todor / Todor’s Compliant 

Theodossii Spassov: Gipsy Dance 

Theodossii Spassov: Something Wonderful 

Trad.: Iovka Kumanovka (arr. T. Spassov) 

Theodossii Spassov: Say Bob 

Trad.: Yunus Emre (arr. T. Spassov) 

Theodossii Spassov: Fire Feast 

Trad.: Eleno (arr. T.Spassov) 

Program predstavlja pestro paleto glasbene raznolikosti in ritmičnih 

posebnosti tradicionalne glasbe evropskega Severa na eni in tradicionalne 

glasbe Balkana na drugi strani. 

Glasba in umetnost balkanskih narodov nasploh je morda prav zaradi 

zapletenih in skozi stoletja razburkanih zgodovinskih okoliščin globoko 

emotivna, topla in prežeta z iskrenostjo. Tako je umetnost Balkana posledično 

že od nekdaj privlačila, v današnjem času, ko je svet široko odprt 

za emocionalne in spiritualne vzgibe, ki prihajajo iz jugovzhoda Evrope, 

pa je na pohodu, ki mu ni primerjave. 

140 

Theodosii Spassov je gotovo največji virtuoz na kavalu in vodilni bolgarski 

jazz-folk glasbenik in skladatelj. 

V svojih skladbah spaja elemente ljudskega s sodobnimi glasbenimi 

tokovi od jazza do klasične glasbe. Tako je v zadnjih letih ustvaril več 

del za simfonični orkester in kaval. Poznan je tudi kot skladatelj filmske 

glasbe in je podpisan pod filma »Granitza« (Meja), 1993 ter »Gori, Gori 

Ogantche« (Gori, gori ogenj), 1994. Značilen zven njegovega glasbila pa 

je moč prepoznati tudi na posnetkih iz filmov, za katere je glasbo napisal 

Ennio Morricone. 

Preden pa se predamo glasbi Balkana, nam koncertni program prinaša 

premiero skladbe Nina de Glerie. Ob tem, ko Festival Maribor vsako leto 

medse povabi cvet slovenskih glasbenikov, pri slovenskem skladatelju tudi

naroči novo skladbo in tako ne le poustvarja, temveč aktivno sodeluje 

tudi pri ustvarjanju nove glasbe. 

Nina de Glerio ne moremo umestiti med etablirane skladatelje slovenske 

»klasičnoglasbene« scene, še manj pa med avtorje, ki ustvarjajo v okviru 

ostalih konvencionalnih glasbenih področij. Sodi med umetnike, ki so 

ubrali svojo pot; njegovo ustvarjanje je sveže in zanimivo in tudi zato 

vredno predstavitve v okviru Festivala Maribor. 

V nekaterih glasbenih krogih je Nino de Gleria znan in cenjen predvsem 

po nekonvencionalnih basovskih linijah ter po oblikovno domiselnem 

in izvirnem glasbenem konceptu, ki se kaže kot avantgardističen in futurističen, 

bolj ali manj šokanten, poln sarkazma in bojda – pavlihovstva. 

The program features Nordic traditional music including Finnish tango as 

one of the most enduring and popular music forms in Finland as well as most 

typical and rhythmically complex folk music from the Balkans. 

Perhaps it is due to the complex and unsettled historical circumstances 

throughout the centuries that the music and art of the Balkan nations is 

generally deeply emotive, warm and imbued with sincerity for which there 

is no comparison. Since times of old Balkan arts have been appealing, and 

nowadays when the whole world is open to the emotional and spiritual 

movements that come from south-east Europe, Balkan arts are spreading 

more than ever. 

Theodosii Spassov is unquestionably the greatest virtuoso of Bulgaria’s 

shepherd flute, the caval and a leading Bulgarian folk-jazz musician and 

composer. In his musical compositions Spassov blends the traditions of folklore 

with the latest developments of other musical genres ranging from jazz to 

classic. In the last few years he has also written music for symphonic orchestra 

and caval. Theodosii Spassov has composed and produced the music for a 

number of films (“Granitza / The Border” 1993; “Gori, Gori Ogantche / Burn Fire, 

Burn” 1994 etc.). The characteristic sound of his instrument is recognisable also 

in recordings from films for which the music was written by Ennio Morricone. 

Before listening to music from the Balkans, the concert program offers the 

premiere of a new piece by Nino de Gleria. Every year Festival Maribor not 

only showcases some of Slovenia’s most talented musicians, but it also commissions 

a new musical work by a Slovenian composer, thus taking an active 

role in not just performing but also creating new music. 

Nino De Gleria cannot be placed among established composers of the Slovene 

“classical music” scene, even less among authors who create within 

the frame of other conventional music spheres. He belongs among artists 

who have chosen their own path in the music world; his creations are fresh 

and interesting and therefore well worth presenting at Festival Maribor. In 

some music circles, Nino de Gleria is known and esteemed above all for his 

unconventional bass lines, and for his creative and original musical concept, 

which reflect as avantguardistic and futuristic, more or less shocking, full of 

sarcasm and supposedly – buffoonery. 


141



Stolna cerkev ob 19:30 / Maribor Cathedral at 19:30 

»IZPOLNJENO JE!« 

“IT IS ACCOMPLISHED!” 


Richard Tognetti, dirigent, violina / conductor, violin 

SLOVENSKI KOMORNI ZBOR / SLOVENIAN CHAMBER CHOIR 

Mirko Cuderman, zborovodja / choirmaster 


James Gilchrist, tenor / tenor (Evangelist / Evangelist) 

Marcos Fink, bas-bariton / bass baritone (Kristus / Jesus Christ) 

Sabina Cvilak, sopran / soprano 

Mirjam Kalin, mezzosopran / mezzosoprano 

Christian Immler, bas / bass 


Johann Sebastian Bach (1685–1750): Pasijon po Janezu, BWV 245 / 

St. John Passion BWV 245 

Nekrolog Johanna Sebastiana Bacha poroča o petih pasijonih leipziškega 

kantorja. Z glasbo sta se ohranila le dva, in današnji poslušalec se najprej 

spomni na Pasijon po Mateju. Pasijon po Janezu največkrat ostaja v senci 

svojega mlajšega brata. A po krivici: Janezov pasijon je npr. vneto zagovarjal 

Robert Schumann, Albert Schweitzer pa v Bachovi biografiji piše, kako mu je 

po začetnih težavah to Bachovo delo priraslo k srcu bolj kot katerokoli drugo.

Leipziška tradicija je za veliki petek zapovedovala izvedbo pasijona 

iz koralne pesmarice Gottfrieda Vopeliusa. Protestantske cerkve pa so 

začele že ok. leta 1700 uvajati modernejše pasijone z recitativi in arijami 

ter z instrumentalno spremljavo. V leipziški Neukirche (Novi cerkvi) so 

pasijonski oratorij prvikrat izvedli na veliki petek leta 1717. Leipziški kantor 

Johann Kuhnau se s tem ni strinjal, vendar so meščani drli v Neukirche 

in mestni svet mu je predlagal, naj tudi sam pripravi podobno glasbo. 

Sklenili so, naj se oratorijski pasijon namesto rimanega koralnega pasijona 

izvaja med večernicami, in tako je 1721 Kuhnau v Tomaževi cerkvi 

izvedel Pasijon po Marku. 

Naslednje leto je bila za izvedbo pasijona predvidena Nikolajeva cerkev, 

1723 pa zopet Tomaževa. Bach, ki je leta 1723 postal kantor v Leipzigu, s 

tem ni bil seznanjen – Pasijon po Janezu je pripravljal za izvedbo na veliki 

petek (7. aprila) 1724 v Tomaževi cerkvi. Štiri dni pred izvedbo je mestni 

svet Bachu naročil, naj delo izvede v Nikolajevi cerkvi. Za izvedbo je Bach 

v pevskem korpusu najverjetneje združil najboljša dva zbora Tomaževe 

šole in poleg stalnih pridobil še dodatne instrumentaliste. 

Besedilom iz Janezovega evangelija je Bach dodal pesmi iz besedil Heinricha 

Brockesa (zlasti iz parafraze bibličnega poročila o pasijonu, Der für 

Sünde der Welt Gemartete und Sterbende Jesus iz leta 1712), Christiana 

Weiseja in Christiana Heinricha Postela. Trdno središče in arhitekturni 

temelj pasijona pa ostaja evangeljsko poročilo, v katerem ima osrednje 

mesto prizor sojenja Jezusu. Biblično besedilo v recitativih pojejo solisti 

(Evangelist, Jezus, Peter in Poncij Pilat …) in zbor (veliki duhovniki, 

judovsko ljudstvo, rimski vojaki …). Te mestoma prekinjajo homofono 

(v kancionalnem slogu) uglasbene kitice protestantskega korala in t. i. 

»madrigalne« skladbe v verzih, največkrat v obliki arij. 

Pasijon je razdeljen na dva dela: prvi se je izvajal pred pridigo večernic, 

drugi pa po njej in jo po poročilih nekaterih Bachovih sodobnikov skoraj 

popolnoma zasenčil. Prvi del pasijona sta uokvirjala dva korala, drugemu 

pa je sledil Gallusov motet Ecce quomodo moritur justus. Prvi del govori o 

izdaji Jezusa v vrtu Getsemani ter o Jezusovem zaslišanju pred velikimi 

duhovniki. Bach je zlasti posrečeno časovno razporedil Petrove zatajitve 

Jezusa. Prvi del se konča, ko se Peter (ali grešnik) zave, kaj je storil. 

V ospredju drugega dela je potek Pilatove sodbe, ki jo diktira nahujskano 

judovsko ljudstvo. V zborih Bach uporablja svobodnejšo imitacijo ali 

homofonijo, le stavek, v katerem Judje na podlagi zakonov utemeljujejo 

svoj prav (»Wir haben ein Gesetz«), je napisan kot fuga. Pilat hoče Jezusa 

osvoboditi, a ljudstvo zahteva njegovo smrt. Sledi križanje na Golgoti, 

Jezusova smrt in dogodki po njej, ki se končajo s pokopom, ob katerem 

verniki razmišljajo tudi o svoji smrti. Prizor Jezusove smrti se zgošča 

okrog besed: »Dopolnjeno je.« Nanje se navezuje počasna, introvertirana 

altovska arija s kontrastnim, zmagoslavnim osrednjim delom. Še drugače 

se naveže nanjo basovska arija, ki Jezusov vzklik pretvori v vprašanje: ali 

je s tem, ko je to rekel, osvobodil smrti tudi dušo vernika? Tihi »da« se 

pojavi z istim glasbenim motivom kakor predhodno vprašanje. 


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Različna besedila pasijona so med sabo povezana z značilnimi iztočnicami. 

Tako se npr. koral, ki sledi Pilatovi izjavi: »Kar sem pisal, sem pisal«, 

naveže na ime, ki ga je napisal nad Jezusov križ, le da je sedaj to ime 

zapisano v srcu vernika. Besedne iztočnice lahko zaznamujejo tudi značaj 

posameznih stavkov pasijona. V arijah ponavadi najbolj pride do izraza 

določen afekt, skoraj v vseh stavkih pa najdemo najrazličnejša tonska 

slikanja določenih besed. »Übeltätig« (zločinec) in »töten« (umoriti) v 

zboru Judov, ki zahtevajo Jezusovo smrt, sta tako npr. uglasbena z dolgimi, 

kromatičnimi melizmi; bičanje brez konca slika dolgi melizem v 

recitativu »Barabas aber« na besedi »geißelte«. Čisto drugačen je dolg, 

harmoničen melizmatski prikaz mavrice (»Regenbogen«) v ariji »Erwäge, 

wie sein blutgefärbter Rücken«. Značilne so tudi hitre pasaže not na besedah 

»eilt« in »flieht« (hitite, letite) v ariji »Eilt, ihr angefochten Seelen«. 

Pasijon po Janezu je delo, ki ga je Bach največkrat revidiral. Za veliki 

petek leta 1725 je Bach uvodni in zaključni stavek nadomestil z dvema 

predelavama korala za zbor in instrumentalno spremljavo. Zamenjane 

so bile tudi tri arije (ena od njih prav tako vključuje koral). S tem se je 

Pasijon po Janezu aktivno vključil v leto Bachovega cikla t. i. »koralnih 

kantat«. V tretji predelavi iz leta 1732 sta bila dva dela (Petrova tožba in 

potres) izpuščena. V zadnji pa se je Bach odpovedal skoraj vsem kasnejšim 

spremembam, zahteval je le nekoliko večji izvajalski aparat. Leta 1739 se 

je lotil obsežnejše predelave Pasijona, ki pa je ni dokončal in se k njej tudi 

ni več vrnil. Zgodovina sprememb v Janezovem pasijonu nas na vsaki točki 

preseneča s posrečenimi Bachovimi eksperimenti in izvirnimi rešitvami. 

Večernicam velikega petka, ki so se v Leipzigu nekaj let pred njegovim 

prihodom razvile v enega najpomembnejših glasbenih dogodkov, je Bach 

z Janezovim pasijonom vtisnil svoj značilni pečat. Pasijon se odvija na dveh 

ravneh: prva je zasidrana v bibličnem času, kjer od daleč prisostvujemo 

evangelistovi pripovedi, dialogom bibličnih oseb in hrumenju judovskih 

množic. Druga poteka na veliki petek »tukaj in sedaj«, v Bachovem času, 

ko vernik podoživlja Jezusovo trpljenje in razmišlja, kaj pasijon pomeni 

za njegovo življenje. Obe različni plasti se velikokrat tudi prepleteta, 

in to je poslušalcu pasijona v Bachovem Leipzigu omogočilo osebno 

doživetje pasijona. Pomemben vezni člen med obema ravnema so protestantski 

korali, ki se s svojo vsebino navezujejo na biblično dogajanje, 

nato pa se zazrejo v sedanjost. Včasih se navežejo na oboje hkrati (koral, 

ki zaključuje prvi del pasijona, bi npr. lahko bil tako izpoved Petra kot 

vsakega grešnika, kar namiguje na to, da je vsak grešnik kdaj pravzaprav 

Peter). Tudi solistične arije, ki ponavadi izražajo občutja in afektirane refleksije 

vernika, včasih neposredno nadaljujejo biblični dogodek (potres 

in zmeda v templju se nadaljujeta v srcu vernika). Bachova glasba tako 

kakor liturgični obred združuje biblične dogodke, o katerih govori in jih 

podoživlja, z živo sedanjostjo.

Johann Sebastian Bach’s obituary speaks of five passions by the Leipzig 

cantor. Only two of them have survived with music, and today’s listener thinks 

first of the St Matthew Passion, with the St John Passion often remaining in 

the shadow of its younger brother. This preference is unjust: the St John Passion 

was, for instance, highly regarded by Robert Schumann, while in Bach’s 

biography Albert Schweitzer writes that after some initial difficulties with this 

work it eventually grew closer to his heart than any other. 

The Leipzig tradition specified the performance of the passion from the chorale 

hymnal of Gottfried Vopelius on Good Friday. From around the beginning 

of the 18 th century, the Protestant Church had begun to implement a more 

modern passion, containing recitatives and arias along with instrumental 

accompaniment. In Leipzig’s Neukirche (New Church) the passion oratorio was 

first performed on Good Friday in 1717. The Leipzig cantor, Johann Kuhnau, 

did not agree with this, but the townsfolk flocked to the Neukirche so the city 

council suggested to him and that he should prepare similar music. They 

agreed to perform the oratorio passion in the place of the rhymed chorale 

passion during the vespers, and so in 1721 Kuhnau performed the St Mark 

Passion at the St Thomas Church. 

It was foreseen that the following year the performance of the passion would 

be held at the St Nicholas Church, and then in 1723 it would again take 

place at the St Thomas Church. However, Bach, who became the cantor 

of Leipzig in 1723, was not informed of this decision, and so prepared the 

St John Passion for performance on Good Friday (7 April) in 1724 at the St 

Thomas Church. Four days before the performance, the city council requested 

that Bach perform the work at the St Nicholas Church. For the performance 

Bach most likely combined the best two choirs from the St Thomas School 

to make up the chorus, and supplemented the permanent instrumentalists 

with additional players. 

To the texts from the Gospels According to St John and St Matthew, Bach 

added poems from texts by Heinrich Brockes (especially from the paraphrase 

of the biblical story of the passion Der für Sünde der Welt Gemartete und 

Sterbende Jesus from 1712), Christian Weise and Christian Heinrich Postel. 

However, the solid core and the architectural foundation of the passion remains 

the message from the Gospel, with the scene of the judgment of Jesus 

taking the central position. The biblical text is sung in recitatives by the soloists 

(the Evangelist, Jesus, Peter, Pontius Pilate, etc.) and the chorus (the high 

priests, the Jewish people, the Roman soldiers, etc.). These are occasionally 

interrupted by homophonic settings of verses of Protestant chorale and socalled 

‘madrigal’ compositions in verses, most frequently in the form of arias. 

The passion is divided into two parts: the first was performed before the 

vespers sermon, and the second after it (almost completely overshadowing 

the sermon according to reports by some of Bach’s contemporaries). The first 

part of the passion is framed by two chorales and the second part is followed 

by Gallus’ motet Ecce quomodo moritur justus. The first part speaks of the 

betrayal of Jesus in the garden of Gethsemane, and about Jesus’ hearing 

before the high priests. Bach’s temporal arrangement of Peter’s disavowal 


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of Jesus is particularly apt. This part concludes when Peter (or the sinner) 

realises what he has done. 

At the centre of the second part is the course of Pilate’s judgment, which is 

dictated by the incited Jewish people. In the choruses Bach uses more modern 

imitation or homophony; it is only the movement in which the Jews justify 

their decision on the basis of the law (Wir haben ein Gesetz) that is written 

as a fugue. Pilate wants to set Jesus free but the people demand his death. 

There follows the crucifixion on Golgotha, Jesus’ death and the subsequent 

events, concluding with the burial at which the believers also reflect upon 

their own death. The scene of Jesus’ death is concentrated around the text: 

“It is accomplished”. Connected to this is a slow, introverted alto aria, with 

a contrasting, triumphant central section. Linked to this in a different way 

is a bass aria in which Jesus’ exclamation is transformed into a question: in 

saying what he said did he also liberate the souls of the believers from death? 

A soft ‘yes’ appears with the same musical motive as the preceding question. 

The various texts of the passion are linked by characteristic key phrases. 

Thus, for instance, the chorale that follows Pilate’s declaration “I have written 

what I have written” is connected with the name that he wrote above 

Jesus’ cross, only that now this name is inscribed in the heart of the believer. 

The key phrases of the text can also denote the character of the individual 

movements of the passion. In the arias there is normally the expression of a 

particular affect, while in almost all of the movements we find diverse tone 

painting of specific phrases. For example, the words ‘übeltätig’ (criminal) and 

‘töten’ (kill) in the chorus of the Jews who demand Jesus’ death are set to music 

with long, chromatic melismas; the incessant flogging is illustrated by a long 

melisma in recitative Barabas aber on the word ‘geißelte’. Quite different is 

the long, harmonic melismatic illustration of a rainbow (‘Regenbogen’) in 

the aria Erwäge, wie sein blutgefärbter Rücken. Also characteristic are the 

rapid passages of notes on the words ‘eilt’ and ‘flieht’ (hurry, fly) in the aria 

Eilt, ihr angefochten Seelen. 

Bach revised the St John Passion more than any other work. For Good Friday 

in 1725, Bach replaced the introductory and final movements with two reworked 

chorales for chorus and instrumental accompaniment. Three arias 

were also replaced, one of which includes a chorale. Thus the St John Passion 

is actively included in the year of Bach’s cycle of so-called ‘chorale cantatas’. 

In three reworkings from 1732 two sections were omitted: Peter’s lament 

and the earthquake scene. In the end, however, Bach rejected almost all of 

the later changes and only demanded a somewhat enlarged performance 

apparatus. In 1739, he embarked on an extensive reworking of the Passion, 

but this was not completed and he never returned to the work. The history 

of the changes to the St John Passion is surprising at every turn, with Bach’s 

felicitous experiments and original solutions. 

With the St John Passion Bach placed his own characteristic seal on the Good 

Friday vespers, which some years before his arrival in Leipzig had already 

developed into one of the city’s most important musical events. The passion

unfolds on two levels. The first is rooted in biblical times, where we witness 

from afar the evangelist’s narratives, the dialogues of the biblical figures and 

the roaring of the Jewish crowd. The second takes place on Good Friday ‘here 

and now’, in Bach’s time, when the believer experiences Jesus’ suffering and 

reflects upon what the passion means for his or her own life. Both of these 

layers frequently interweave, providing the listener in Bach’s Leipzig with a 

personal experience of the passion. An important link between the two levels 

is formed by the Protestant chorales, which in terms of content are linked 

to biblical events, but also gaze into the present. Sometimes they connect 

with both levels at the same time: the chorale that concludes the first part 

of the passion could, for instance, also be the confession of Peter as a common 

sinner, which hints that every sinner is at a time actually Peter. The solo 

arias, too, which normally express the emotions and affected reflections of 

the believer, sometimes directly continue biblical events (the earthquake 

and the confusion in the temple continue in the heart of the believer). Both 

Bach’s music and the liturgical ceremony bring together the biblical events 

that they bring to life and the living present. 




147



IZVAJALCI / PERFORMERS 

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Boris Berezovski 

Boris Berezovski si je ustvaril spoštovanja 

vreden ugled kot eden najmogočnejših 

klavirskih virtuozov in kot glasbenik edinstvenega 

uvida in senzibilnosti. Leta 1969 

v Moskvi rojen Berezovski je pod mentorstvom 

Elise Virsaladze študiral na Moskov 

skem konservatoriju, zasebne ure pa 

je obiskoval pri Aleksandru Satzu. Po njegovem 

triumfalnem debiju v londonski 

dvorani Wigmore leta 1988 ga je kritik časopisa 

The Times opisal kot »izredno obetavnega 

umetnika, glasbenika vrtoglave 

virtuoznosti in izjemne moči«. Z zmago 

na mednarodnem tekmovanju Čajkovski 

v Moskvi je leta 1990 Timesovo napoved 

tudi izpolnil. Berezovski kot solist redno 

nastopa z uglednimi orkestri in dirigenti. 

Kot komorni glasbenik nastopa na festivalih 

in ciklih po celem svetu, kot so klavirski 

cikel Berlinske filharmonije in amsterdamske 

koncertne hiše Concertgebouw, festival 

Verbier, festival La Rouque d’Anthéron 

in letos drugič tudi na Festivalu Maribor. 

Posnel je več zgoščenk z deli Chopina, 

Schumanna, Rahmaninova, Musorgskega, 

Balakirjeva, Medtnerja in Ravela, kot tudi 

Lisztove Transcendentalne etude. Njegovi 

posnetki Rahmaninova so prejeli nagrado 

Nemških glasbenih kritikov, posnetke 

Ravela pa so svojim bralcem priporočili 

Le Monde de la Musique, Diapason, BBC 

Music Magazine in The Independent on 

Sunday. Marca leta 2006 je Berezovski 

prejel nagrado BBC Music Magazine. 

Boris Berezovsky has established a remarkable 

reputation as one of the mightiest piano 

virtuosi and a musician of unique insight 

and sensitivity. Born in Moscow in 1969 he 

studied at the Moscow Conservatorium 

under the guidance of Elisso Wirssaladze 

and took private lessons with Alexander 

Satz. After his 1988 Wigmore Hall debut 

The Times described him as an “artist of 

exceptional promise, a player of dazzling 

virtuosity and formidable power”. Two 

years later he won the Gold Medal at the 

International Tchaikovsky Competition in 

Moscow and entitled that very promise. Berezovsky 

regularly performs as soloist with 

distinguished orchestras and conductors. 

As chamber musician he regularly performs 

worldwide on various festivals and series, 

such as the Piano Series of the Berlin Philharmonics, 

the International Piano Series in 

Concertgebouw Amsterdam, at the Verbier 

Festival, the La Roque d’Anthéron and this 

year for the second time at the Maribor 

Festival. Moreover he recorded some CD’s 

with the works of Chopin, Schumann, Rachmaninov, 

Mussorgsky, Balakirev, Medtner, 

Ravel and Liszt’s Transcendental Studies. 

His Rachmaninov record won the German 

music critics prize and the Ravel record was 

recommended by Le Monde de la Musique, 

Diapason, BBC Music Magazine und The 

Independent on Sunday. In March of 2006 

he was awarded with the BBC Music Magazine 

Award. 

Sabina Cvilak 

Sopranistka Sabina Cvilak se je rodila v 

Mariboru. Solopetje je študirala v Gradcu 

na Akademiji za umetnost, kjer je leta 

2000 diplomirala, leta 2004 pa tudi magistrirala. 

Že v času študija je prejela več 

nagrad na različnih tekmovanjih. Pozornost 

širše javnosti je pritegnila v sezoni 

2003/2004, ko je nizala uspešne debije v 

Hamburški državni operi, Singapurju in 

Finski narodni operi v Helsinkih v vlogi 

Liu v Puccinijevi operi Turandot, v Trstu 

(Teatro Verdi) kot Micaela v Bizetovi Carmen, 

na festivalu Klangbogen na Dunaju 

kot Aminta v Mozartovi Il Re pastore in na 

opernem festivalu Savonlinna na Finskem 

kot Antonia v Hoffmannovih pripovedkah. 

V sezoni 2004/2005 je postala štipendistka 

Karajanovega sklada in članica Dunajske 

državne opere, kjer je med drugim 

nastopila v operah Dafne, Rensko zlato, 

Valkira, Somrak bogov, Parsifal, Rigo letto,

Aladin, Kapljice za ljubezen, Čarobna piščal, 

Figarova svatba … Nastopila je na 

Dunajskih slavnostnih tednih, na festivalu 

Aix-En-Provence in v Luksemburški 

operi, kot članica mariborske Opere pa 

se je med drugim predstavila kot Margareta 

v Gounodovi operi Faust, Nedda 

v Leoncavallovih Glumačih, Michaela v 

operi Carmen, Jerica v operi Zlatorog V. 

Parme in Liu v operi Turandot. Nastopila 

je tudi v Wagnerjevem Parsifalu pod taktirko 

Mareka Janowskega s filharmonijo 

Monte Carlo. Gostuje tudi v Narodni operi 

iz Washingtona (kot Michaela in Mimi v 

Puccinijevi operi La Boheme). Je uspešna 

koncertna pevka. Njen repertoar zajema 

Bachov Pasijon po Janezu, Pasijon po Mateju, 

Magnificat, Mendelssohnovega Elijo, 

Händlove oratorije, Mozartove, Schubertove 

in Haydnove maše in drugo. 

Wiener Festwochen, the Aix-En-Provence 

Festival and the Luxembourg Opera. On 

invitation of Placido Domingo she made 

a successful debut in Washington national 

opera as Mimi in La Boheme in september 

2007 and got reinvited as Liu in Turandot 

in saison 2008/2009. Future invitations 

include Die Schöpfung with Peter Schreier 

in Lille, Nedda in Pagliacci, Michaela and 

Fiordiligi in her home town Maribor … She 

worked with renowned choreographer and 

dancer Edward Clug on the Architecture of 

Silence project and performed in her hometown 

Maribor as Marguerite in Faust. Marek 

Janowski invited her to sing 2 concerts with 

the Philharmonic Orchestra of Monte Carlo 

(Wagner’s Parsifal in concert version in Monaco 

and Verdi’s Quatri Pezzi Sacri in Alte 

Oper Frankfurt). Her concert repertoire includes 

St. John Passion, St. Matthew Passion, 

St. Marcus Passion, Christmas oratorio 

and Magnificat from Bach, Oratorios from 

Haendel as well as Masses from Mozart, 

Haydn, Schubert and Bruckner, Schubert’s 

Lazarus and Mendelssohn’s Messiah. 

Sabina Cvilak was born in Maribor, Slovenia. 

She studied singing at the Academy of Arts 

in Graz. During her studies, Sabina Cvilak 

took part in several competitions and won 

several prizes. She finished her postgraduate 

studies in 2004 and graduated with 

distinction in singing. She gained renown 

making successful debuts at the Hamburg 

State Opera, the National Opera Houses of 

Singapore and Finland. She performed to 

great acclaim as Liu in Puccini’s Turandot, 

as Michaela in Bizet’s Carmen, as Aminta 

in Mozart’s Il Re Pastore and as Antonia in 

Offenbach’s The Tales of Hoffmann. In the 

2004/2005 season she became Karajandemy 

and member of the Vienna State Opera, 

where she performed in operas such as 

Daphne, Rheingold, Wallküre, Götterdämmerung, 

Parsifal, Rigoletto, Aladin, L’eleisir 

d’amore, Magic Flute, Nozze di Figaro … 

Sabina has already performed at the 

Arvid Engegård 

Arvid Engegård je stari znanec mariborskih 

koncertnih odrov, kjer se je občinstvu 

vtisnil v spomin tako kot dirigent in 

solist z orkestrom kot komorni glasbenik. 

Njegova glasbena pot je zarisana po 

vsej Evropi. V času, ko je bil njen direktor 

Engegårdov najpomembnejši glasbeni 

učitelj, Sándor Végh, je deset let vodil 

salzburško Camerato Academico (rezidenčni 

orkester Festivala Maribor 2008), 

s katero je posnel vse Mozartove Divertimente 

in se še posebej zapisal v spomin z 

izvedbo Haffnerjeve serenade. Camerato 

je vodil tudi na posnetkih vseh Mozartovih 

klavirskih koncertov z Andrásom 

Schiffom. Po salzburškem obdobju se je 

priključil amsterdamskemu godalnemu 

kvartetu Orlando, kjer je osem let igral 

prvo violino. Engegård ostaja priljubljen 

komorni glasbenik in solist po vsej Evropi. 

Je soustanovitelj in umetniški vodja 

festivala komorne glasbe na Lofotskih 

otokih. Vedno bolj prepoznaven je tudi 

kot dirigent. Pod njegovo taktirko so med 


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drugim nastopili že BBC-jev simfonični 

orkester, Beograjska filharmonija, Mariborska 

in Slovenska filharmonija, Camerata 

Academica Salzburg, salzburški 

orkester Mozarteum, Norveški komorni 

orkester, Orkester norveškega radia in 

filharmonija iz Osla. 

Arvid Engegård has enjoyed an illustrious 

career in Europe. He led Camerata 

Academica Salzburg for 10 years under the 

directorship of his most important musical 

inspiration and teacher, Sándor Végh. 

With Camerata, Arvid recorded the complete 

Mozart Divertimenti, including many 

violin solos most notably in the Haffner 

Serenade and the complete Piano Concerti 

with András Schiff. Arvid went on to be the 

first violinist of the Orlando String Quartet, 

based in Amsterdam, a position he held for 

8 years. He continues to be much in demand 

throughout Europe as chamber musician 

and soloist. Engegård is the co-founder and 

Artistic Director of Lofoten International 

Chamber Music Festival. As a conductor, 

Arvid is in increasing demand, and in recent 

years he has conducted the BBC Concert Orchestra, 

Belgrade Philharmonic Orchestra, 

Camerata Academica Salzburg, Mozarteum 

Orchestra Salzburg, Norwegian Chamber 

Orchestra, Norwegian Radio Orchestra and 

the Oslo Philharmonic Orchestra. He is well 

known to Maribor’s audience and did many 

breathtaking performances in past years. 

Kvartet Engegård / 

The Engegård Quartet 

Godalni kvartet Engegård je leta 2006 

ustanovil Arvid Engegård (prva violina), 

ob njem pa kvartet tvorijo še Atle Sponberg 

(druga violina), Juliet Jopling (viola) 

in Jan-Erik Gustafsson (violončelo). 

Godalni kvartet je že nastopil na nekaj 

festivalih po Skandinaviji. Med drugim je 

njihov nastop na Mednarodnem festivalu 

komorne glasbe Lofoten v živo prenašala 

tudi norveška televizija NRK, njihov 

nastop na Sibeliusovih dnevih v Lovissi 

pa finski radio. Lani je godalni kvartet 

Engegård sodeloval pri dveh svetovnih 

premierah – z Nilsom Øklandom je 

na bergenskem festivalu (Festspillene) 

odigral Kvintet za violino Hardangerške 

gosli (»Hardingfele«) in Godalni kvartet 

Ričardasa Kabelisa, s Frodom Hartleyem 

pa je na glasbenem festivalu Nordland 

v Bodu premierno predstavil Kvintet za 

harmoniko in godalni kvartet Maje Ratke. 

Vodje številnih skandinavskih festivalov, 

kot so Festspillene v Bergnu, Mednarodni 

festival komorne glasbe Lofoten in Sibeliusovi 

dnevi člane kvarteta vedno znova 

vabijo k sodelovanju. Lani so prvič nastopil 

na festivalu komorne glasbe v Oxfordu 

in so posneli svojo prvo zgoščenko (z deli 

Griega, Haydna in Solberga), ki jo je mednarodna 

javnost navdušeno pozdravila. 

The Engegård Quartet was formed in 2006 

with Arvid Engegård and Atle Sponberg on 

violin, Juliet Jopling on viola and Jan-Erik 

Gustafsson on cello. The quartet has already 

performed in several festivals throughout 

Scandinavia and performed live on NRK 

from the Lofoten International Chamber 

Music Festival, the Oslo Chamber Music Festival 

and Festspillene in Bergen, as well as 

live on Finnish Radio from Sibelius Days in 

Lovissa. In 2008 the quartet worked with Nils 

Økland in a world premiere performance of 

Ricardas Kabelis’ Quintet for Harding Fiddle 

and String Quartet at the Festspillene in 

Bergen, and with Frode Hartley in another 

world premiere, this time of Maja Ratke’s 

Quintet for Accordion and String Quartet in

the Nordland Music Festival in Bodø. Many 

Scandinavian festivals have welcomed 

them back for a second or third year running, 

including the Festspillene in Bergen, 

the Lofoten International Chamber Music 

Festival and the Sibelius Days. Last year the 

Engegård Quartet has also performed at the 

Oxford Chamber Music Festival in England. 

The quartet released their first CD in 2008 

to international acclaim, playing the music 

of Grieg, Haydn and Solberg. 

Festivalski orkester / 

Festival Orchestra 

1. VIOLINE / VIOLIN 


Arvid Engegård 

Janez Podlesek 

Monika Ivančev 

Vera Belič 

Tomi Dražil 

Matic Anžej 

2. VIOLINE / VIOLIN 

Satu Vänskä 

Atle Sponberg 

Oliver Dizdarevič 

Žiga Cerar 

Rado Šteharnik 

Bojan Erjavec 

Irina Kevorkova 

3. VIOLE / VIOLA 

Mile Kosi 

Juliet Jopling 

Maja Rome 

Mateja Ratajc 

Tomaž Malej 

4. VIOLONČELA / CELLO 

Igor Škerjanec 

Jan-Erik Gustafsson 

Klemen Hvala 

Gorazd Strlič 

Niko Sajko 

5. KONTRABASI / DOUBLE BASS 

Petar Brčarević 

Knut Erik Sundquist 

Darko Kovačič 

6. ČEMBALO / HAPISCHORD 

Tomaž Sevšek 

7. VIOLA DA GAMBA & ČEMBALO / 

VIOLA DA GAMBA 

Domen Marinčič 

8. FLAVTE / FLUTE 

Matej Grahek 

Milena Lipovšek 

9. PIKOLO / PICCOLO 

Nataša Paklar Markovič 

10. OBOE / OBOA 

Matej Šarc 

Jonathan Mauch 

11. KLARINETI / CLARINET 

Ognjen Popović 

Dušan Sodja 

12. FAGOTI / BASSOON 

Paolo Calligaris 

Miha Petkovšek 

13. ROGOVI / HORN 

Boštjan Lipovšek 

Andrej Žust 

Borut Pahič 

Aurelie Roussel 

14. TROBENTE / TRUMPET 

Tibor Kerekeš 

Franci Kosem 

15. POZAVNE / TROMBONE 

Marko Ilić 

Miha Šuler 

16. TOLKALA / PERCUSSION 

Barbara Kresnik 

Matevž Bajde 

Marcos Fink 

Basbaritonist Marcos Fink je diplomiral 

na Fakulteti za agronomijo Univerze v 

Buenos Airesu in postal inženir agronomije. 

Ker je odraščal v glasbeni družini, je 

kmalu začel aktivno sodelovati pri zborih, 

najprej v Zboru Karantanija, kasneje pa 

v priznanih vokalnih skupinah v Buenos 


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Airesu, kot so Coro Polifónico Nacional, 

Camerata Monteverdi, Camerata Vocale 

in Grupo Vilo. Pevsko se je šolal pri Ivanu 

Ivanovu in Victorju Srugu. Prve pomembne 

solistične nastope je imel kot 

član Bachove akademije v Buenos Airesu. 

Izpopolnjeval se je pri raznih evropskih 

mojstrih kot so W. Schöne, Ph. Huttenlocker, 

A. Baldin, E. Werba in leta 1988 

prejel štipendijo Shell Argentina ter v 

Londonu razširil solopevski repertoar pri 

sopranistki Heather Harper in pianistu 

Robertu Sutherlandu. Leta 1990 je debitiral 

v Veliki festivalski dvorani v Salzburgu. 

Postal je član solističnega ansambla 

salzburškega Deželnega gledališča in v 

Mozartovem jubilejnem letu odpel vlogi 

Leporella in Figara. Je dvakratni nagrajenec 

pariške Academie du Disque Lyrique 

in nagrajenec Prešernovega sklada. 

Marcos Fink was born in Buenos Aires into 

a Slovene family where singing was always 

present. He graduated at the Faculty 

of Agronomy in Buenos Aires. During his 

studies Marcos started his vocal training 

with Ivan Ivanov and Victor Srugo. He was a 

member of the Slovene vocal group Karantanija 

in Buenos Aires and later he joined 

acknowledged vocal groups Coro Polifónico 

Nacional, Camerata Monteverdi, Camerata 

Vocale and Grupo Vilo. He performed his 

first Major solos as member of the Bach 

Academy in Buenos Aires. He perfected his 

vocal abilities with various European maestros 

such as W. Schöne, Ph. Huttenlocker, 

A. Baldin, E. Werba and received the Shell 

Argentina scholarship in 1988. The scholarship 

enabled Marcos to travel to London, 

where he widened his repertoire under 

the guidance of soprano Heather Harper 

and pianist Robert Sutherland. In 1990 he 

made his opera debut in the Festival Hall 

in Salzburg, Austria. Later he became ensemble 

member of the Salzburg Province 

Theatre, performing the part of Leporello 

and Figaro during the Mozart Year 2006. 

Marcos is two time laureate of the Parisian 

Academie du Disque Lyrique and prizewinner 

of the Prešeren Foundation. 

Jon Frank 

Jon Frank je umetnik, ki se ukvarja s fotografiranjem 

deskanja na valovih – njegove 

podobe t. i. surfanja veljajo za najboljše 

na svetu. Kot snemalec je sodeloval pri 

snemanju »surferskega art filma« Litmus, 

med novejše projekte sodita alternativni 

dokumentarec Musica Surfica, ki je prejel 

nagrado za najboljši film na newyorškem 

festivalu surferskega filma, in film Mick, 

Myself & Eugene, posnet po knjižni predlogi 

Micka Fanninga in razglašen za film 

leta revije Tracks Magazine. Njegova tehnika 

fotografiranja, tako iz vode kot tudi 

s kopnega, je brez primerjave. Leta 2007 

je bil odlikovan z nagrado za fotografijo 

leta na prireditvi Surfer Poll and Video 

Awards, leta 2008 pa je prejel nagrado 

Australian Surfing Award. Že več kot 

desetletje fotografira za revijo Surfing 

World, njegove fotografije pa so krasile 

že veliko različnih knjig, med drugim tudi 

njegovo Waves of the Sea (Valovi morja). 

Jon Frank is the artist of the surf image. 

He filmed the seminal surf film Litmus and 

more recently alternative surfing documentary 

Musica Surfica (awarded best feature 

at the New York Surf Film Festival) and Mick 

Fanning’s acclaimed biopic Mick, Myself & 

Eugene (awarded Film of the Year by Tracks 

Magazine). His stills photography is without 

peer, both from the water and on land, and 

was rewarded with Photo of the Year at the 

2007 Surfer Poll and Video Awards and the 

2008 Australian Surfing Awards. He has 

been senior photographer for Surfing World 

magazine for over a decade and his images 

have adorned various books, including his 

own Waves of the Sea.

James Gilchrist 

Angleški tenorist James Gilchrist je svojo 

profesionalno pot začel kot zdravnik 

v eni izmed londonskih bolnišnic in se 

leta 1996 odločil za glasbeno kariero. 

Nekdanji zborist oxfordskega New Collegea 

je med drugim nastopil v znameniti 

londonski dvorani kralja Alberta in na 

Salzburškem festivalu. Gilchrist redno 

sodeluje z vodilnimi britanskimi in evropskimi 

opernimi hišami in velja za enega 

najbolj cenjenih britanskih interpretov 

repertoarja 18. stoletja. V njegovem 

repertoarju tako med drugim najdemo 

Bachove mojstrovine Pasijon po Janezu 

in Pasijon po Mateju, Mozartov Rekvijem 

in mnogo Händlovih oratorijev. Gilchrist 

je nastopal na vseh pomembnejših festivalih 

klasične glasbe v Evropi, z različnimi 

priznanimi ameriškimi orkestri pa tudi 

v večjih mestih onkraj Atlantika. Zaradi 

njegovega zanimanja za sodobno glasbo 

je velikokrat sodeloval ob krstnih izvedbah 

novih del. Med njegovimi številnimi 

posnetki najdemo Bachova Pasijon po Janezu 

in Pasijon po Mateju ter Rahmaninove 

Večernice. V lanski sezoni je Gilchrist 

med drugim nastopil tudi v znameniti 

dresdenski Frauenkirche in londonski 

Westminsterski katedrali. 

James Gilchrist began his working life as a 

doctor, turning to a full-time career in music 

in 1996. A former chorister at New College, 

Oxford, Gilchrist has already appeared in 

London’s famous Royal Albert Hall and the 

Salzburg Festival. He regularly collaborates 

with leading British and European opera 

ensembles and is one of the leading British 

interpreters of eighteenth-century repertoire. 

His wide repertoire includes Bach’s 

masterpieces St. John Passion and St. Matthew 

Passion, Mozart’s Requiem and many 

Händel’s Oratorios. Gilchrist performed at 

all Major classical music festivals throughout 

Europe and has toured the United States 

performing with various renowned American 

orchestras. He is much in demand as 

an operatic and concert performer, whose 

interest in contemporary music added a 

number of world premiers to his credit. 

Amongst his many recordings are Bach’s 

St. John Passion and St. Matthew Passion 

and Rachmaninov’s Vespers. His last year’s 

appearances include performances in Dresden’s 

Frauenkirche and London’s famous 

Westminster Cathedral. 

Nino de Gleria 

Nino de Gleria je slovenski kontrabasist, 

baskitarist, skladatelj, aranžer in producent. 

Študiral je na Visoki šoli za glasbo 

in upodabljajočo umetnost v avstrijskem 

Gradcu. Bil je stalni ali občasni član več 

domačih zasedb (Begnagrad, Quatebriga, 

Nimal, Bocoj, Hiša, Hammond 

trio in drugih). Nino deluje kot studijski 

glasbenik, je avtor ali soavtor glasbe za 

številne filme (Zadnja večerja, Lojze se 

je zbudil, Striptih, Naprej), TV filme (Na 

pepelu raja, Spleti, Noč angela), gledališke 

in lutkovne predstave ter za okoli 

sto televizijskih oddaj. Za RTV Slovenija 

je uglasbil petnajst pesmi iz zbirke Iskanja 

pesnika Nika Grafenauerja ter prav toliko 

pesmi Daneta Zajca. Od leta 1995 deluje 

v okviru neodvisne glasbene produkcije 

Glasbeni Arboretum – mavrica prečudovitih 

harmoldurij, ki spodbuja predvsem 

ustvarjalnost in svobodomiselnost nekomercialnih 

glasbenih idej. V svoji karieri 

je sodeloval s številnimi znanimi in neznanimi 

glasbeniki, trenutno pa največ 

nastopa s Fake Orchestra, Igor Leonardi’s 

bandom in Brino ter sklada za godalni 

kvartet Godalika. 

Nino de Gleria is a Slovenian bass guitar 

player, acoustic bass player, composer, arranger 

and producer. Nino studied at the 


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Academy of Music and Performing Arts in 

Graz, Austria. He is the member of many 

Slovenian bands such as Begnagrad, Quatebriga, 

Nimal, Bocoj, Hiša, Hammond trio 

and others. He is an active studio musician 

and composer or co-composer of music for 

many Slovenian films (The Last Supper, Lojze 

Woke Up As Usual, Striptih, Naprej), TV 

films (Na pepelu raja, Spleti, Noč angela), 

theater and puppet theatre plays and about 

100 TV shows. For the Slovenian National 

Radio-Television he set to music 15 poems 

from the collection Iskanja (Quests) by the 

Slovenian poet Niko Grafenauer and also 

15 poems of the Slovenian poet Dane Zajc. 

Since 1995 Nino has been working within 

the independent music production program 

Glasbeni Arboretum (Musical Arboretum), a 

collaboration which Nino likes to describe 

as “a rainbow of wonderful musical escapades, 

which, above all, tries to encourage 

creativity and open-mindedness”. Through 

his career Nino has been working with many 

famous and unknown artists as actively as 

possible. Currently he mostly plays with the 

Fake Orchestra, Igor Leonardi’s band, Brina, 

and the Godalika String Quartet, for which 

he often composes music for. 

Boštjan Gombač 

Boštjan Gombač je znan slovenski multiinštrumentalist 

ter skladatelj glasbe za 

gledališče, film in televizijo, tuje pa mu 

niso niti odrske deske. Že med študijem 

klarineta, pod mentorstvom prof. Jožeta 

Kotarja na ljubljanski Akademiji za glasbo, 

se je navduševal za različne glasbene zvrsti. 

Glasbena pot ga je namreč že kot najstnika 

popeljala po svetu in mu odpirala 

nova obzorja v glasbenem izražanju. Sam 

pravi, da mu je pri njegovem ustvarjanju 

zvok navdih in vodilo. Bolj nenavaden ko 

je, večji izziv, možnost izražanja ter veselje 

do dela mu nudi. Njegovo delo preteklih 

desetih let lahko zasledimo na približno 

70 nosilcih zvoka in zajema vse od etna 

do resne glasbe. Je mojster pihal, kot so 

klarinet, kositrne piščali in okarine, igra 

na pojočo žago, bodhran in theremin ter 

kopico drugih nenavadnih inštrumentov 

in zvočil, ki jih le redko zasledimo na koncertnih 

odrih. S skupino Terrafolk je požel 

mnogo glasbenih nagrad in priznanj, med 

drugim tudi nagrado občinstva radia BBC 

3, sodeloval pa je tudi s skupinami Katalena, 

Bast in Bachology Quartet. Nastopil je 

že s kopico znanih imen slovenske glasbe 

in z mnogimi tujimi glasbeniki, kot so Neil 

Innes, Tommy Emmanuel, The Cat Empire, 

Arvid Engegård, Susanne Lundeng, Knut 

Erik Sundquist, Josipa Lisac … Trenutno 

dokazuje svoj igralski talent v predstavi 

»Patty Diphusa – Izpovedi porno dive«, ki 

je bila nagrajena kot najboljša predstava 

na Teatarfestu 2008. 

Boštjan Gombač is a popular Slovene multiinstrumentalist 

and theatre, film and television 

composer. He became enraptured 

by different musical styles while studying 

clarinet with Jože Kotar at the Academy of 

Music in Ljubljana – not surprisingly since 

his musical path led him around the globe 

as a teenager and opened new horizons to 

his musical expression. Boštjan says that 

the sound is the inspiration and guidance 

of his creativeness. Over the past ten years 

he recorded over 70 CD-s, ranging from folk 

to classical music. He masters playing wind 

instruments such as the clarinet, tin whistles 

and ocarina. He also plays the singing saw, 

bodhran, theremin and many other peculiar 

instruments that are rarely seen on stage. As 

member of the Slovene folk band Terrafolk 

he won many awards including the BBC Radio 

3 World Music Audience Award in 2003. 

He is also well known as an important member 

of many other Slovene bands, including 

Katalena, Bast and the Bachology Quartet. 

Boštjan has performed with numerous famous 

Slovene and foreign musicians, such 

as Neil Innes, Tommy Emmanuel, The Cat 

Empire, Arvid Engegård, Susanne Lundeng, 

Knut Erik Sundquist, Josipa Lisac … Nowadays 

he is demonstrating one of his many 

other talents – acting in “Patty Diphusa – 

Confessions of a Porno Diva”, the award 

winning play of Teatarfest 2008.

Jure Goručan 

Jure Goručan je mladi slovenski pianist 

in tolkalec, rojen 1992 v Ljubljani. Svoje 

prve korake klavirskega izobraževanja 

je začel v Tržiču, nadaljeval na Jesenicah 

pri Elizabeti Demšar Zupan, nazadnje se 

je učil v Kopru pri prof. Selmi Chicco. Je 

študent Kölnske akademije za glasbo pri 

profesorju Arbu Valdmi. Redno se udeležuje 

klavirskih seminarjev in festivalov v 

mnogih evropskih državah. Najpogosteje 

obiskuje poletne in zimske šole svojega 

profesorja v Dubrovniku, Liechtensteinu 

in v Estoniji, kjer od trinajstega leta 

naprej vsako leto igra z orkestrom. Jure 

je sodeloval tudi z Zagrebškimi solisti, s 

katerimi je imel turnejo desetih koncertov 

po osrednji Evropi s Chopinovim Prvim 

koncertom za klavir in orkester. Nastopal 

je v znanih koncertnih dvoranah, kot so 

Kölnska in ljubljanska filharmonija, dvorana 

Ernest-Ansermet v Ženevi, dvorana 

Vatroslava Lisinskega v Zagrebu … Vzporedno 

se uči tudi tolkal. Najprej se je učil 

pri profesorju Matiji Šmaljclju, sedaj pa je 

dijak zadnjega letnika Srednje glasbene 

in baletne šole v Ljubljani pri profesorju 

Borisu Šurbku. Je dobitnik mnogih nagrad 

tako na domačih kot mednarodnih 

tekmovanjih. 

Jure Goručan is a young Slovenian pianist 

and percussionist. Born in Ljubljana 

in 1992, he took his first piano lessons in 

Tržič, continued in Jesenice with Professor 

Elizabeta Demšar Zupan, ending in Koper 

with Professor Selma Chicco. Currently he 

is a student of the renowned Professor Arbo 

Valdma on the Music Academy of Cologne. 

He is regular participant of piano seminars 

and festivals in many European countries. 

He mostly takes part at summer and winter 

academies, led by his professor in Croatia, 

Liechtenstein and Estonia – since the age of 

thirteen he regularly performs as a soloist 

with the orchestra. Jure Goručan also collaborated 

with the Zagreb Soloists – a tour 

of ten concerts all around middle Europe, 

performing Chopin’s Piano concerto No.1. 

He had performed on famous stages such 

as Cologne Philharmonic, Ljubljana Philharmonic, 

Ernest-Ansermet hall in Geneva, 

Vatroslav Lisinski hall in Zagreb … He is the 

winner of many prizes of music competitions 

in Slovenia and abroad. In parallel, 

Jure Goručan is studying percussion. At first, 

he studied with Professor Matija Šmaljcelj, 

currently he is a student of Professor Boris 

Šurbek, finishing his last year on Ljubljana 

Music Gymnasium. 

Jane Gower 

Jane Gower igra na zgodovinski fagot in 

redno nastopa na evropskih koncertnih 

odrih, v Združenih državah Amerike in 

Avstraliji. Zelo dejavna je kot komorna 

glasbenica in solistka, ki sodeluje z najboljšimi 

svetovnimi orkestri za staro glasbo. 

Ima tudi obsežno zbirko zgodovinskih 

instrumentov, s katerimi redno nastopa. 

1992 je z odliko diplomirala na Akademiji 

za glasbo v Canberri. Kasneje sta ji nizozemska 

vlada in kraljičin sklad podelila 

štipendijo za študij zgodovinskega fagota 

na Kraljevem konservatoriju v Haagu, ki 

ga je 1996 prav tako zaključila z odliko. V 

svoji karieri je Jane nastopila s številnimi 

znanimi orkestri, med drugim tudi s 

Sydneyjskim simfoničnim orkestrom, Avstralskim 

komornim orkestrom in ansamblom 

Australia. Leta 2005 jo je Sir John 

Eliot Gardiner imenoval za solo fagotistko 

svojih znamenitih orkestrov Angleški baročni 

solisti in Orchestre Révolutionnaire 

et Romantique. Vlogo prvega fagota je 

vrsto let igrala tudi v orkestru Anima 

Eterna pod vodstvom Josa van Immerssela. 

Jane Gower se vedno znova vrača v 

svojo domovino Avstralijo, kjer nastopa 

z Avstralskim orkestrom Brandenburg, 

Avstralskim Bachovim orkestrom in Avstralskim 

komornim orkestrom. Od leta 

2007 Jane tudi redno poučuje na mojstrskih 

tečajih znamenite londonske Kraljeve 

akademije za glasbo. 


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As a specialist in historical bassoon, Jane 

Gower performs extensively throughout 

Europe, the USA and Australia. She is very 

active in chamber music and as a soloist, 

in addition to appearing with the finest 

early music orchestras, and has a growing 

collection of original instruments on 

which she also performs. Jane received 

her Bachelor of Music, with high distinction, 

from the Canberra School of Music 

in 1992. Subsequently, she was awarded 

a Netherlands Government Scholarship 

and Queens Trust grant for study of historical 

bassoon at the Royal Conservatory 

in The Hague, The Netherlands, where she 

completed her performance diploma in 

early music in 1996, with high distinction. 

Up until this time she performed with The 

Sydney Symphony Orchestra, The Australian 

Chamber Orchestra and The Australia 

Ensemble. In 2005 Jane was appointed principal 

bassoonist of Sir John Eliot Gardiner’s 

acclaimed orchestras, the English Baroque 

Soloists and Orchestre Révolutionnaire et 

Romantique. She has been principal bassoonist 

with Jos van Immerseel’s orchestra 

Anima Eterna for many years. She returns 

regularly to her native Australia to perform 

with the Australian Brandenburg Orchestra, 

Australian Bach Ensemble and Australian 

Chamber Orchestra. Jane has presented 

regular master classes at the Royal College 

of Music, London, since 2007. 

Matej Grahek 

Matej Grahek je rojen leta 1974 v Trbovljah. 

Je solist flavtist Slovenske filharmonije, 

profesor na Srednji glasbeni šoli 

Ljubljana in docent za flavto na Akademiji 

za glasbo v Ljubljani, kjer je tudi opravil 

podiplomski študiji pri prof. Fedji Ruplu. 

Dve leti se je izpopolnjeval na salzburškem 

Mozarteumu pri Ireni Grafenauer. 

V času študija je prejel vrsto prvih nagrad 

na tekmovanjih mladih glasbenikov v 

Sloveniji in tedanji Jugoslaviji, 2001 pa 

je bil finalist mednarodnega tekmovanja 

EBU v Bratislavi. S pihalnim kvintetom 

ArtVento se je v letu 2006 uvrstil v četrtfinale 

mednarodnega tekmovanja ARD v 

Münchnu. Kot solist nastopa s Slovensko 

filharmonijo, z Big Bandom RTV Slovenija, 

sodeluje pa tudi z različnimi komornimi 

skupinami, s katerimi nastopa doma in v 

tujini (Avstrija, Italija, Nemčija, Hrvaška, 

Srbija, Madžarska, Češka, Nizozemska, 

Španija in ZDA …). Matej Grahek je izdal 

sedem zgoščenk, od tega štiri solistične. 

Matej Grahek was born in 1974 in Trbovlje, 

Slovenia. He is Principal flute of the Slovene 

Philharmonics, Professor at the Ljubljana 

School of Music and assistant Professor at 

the Academy of Music in Ljubljana, where he 

completed his postgraduate studies under 

Professor Fedja Rupel. He later perfected his 

knowledge at the Mozarteum in Salzburg 

under the world renowned flautist Irena 

Grafenauer. As a student Matej Grahek won 

numerous first prizes at music competitions 

for young musicians in Slovenia and former 

Yugoslavia. In 2001 he was the finalist of 

the International EBU Music Competition in 

Bratislava, Slovakia. With the wind quintet 

ArtVento Matej Grahek was quarterfinalist 

of the ARD Music Competition in 2006. 

Grahek regularly performs as soloist with 

the Slovene Philharmonics and the RTV Slovenia 

Big Band. Simultaneously he cooperates 

with various chamber ensembles with 

which he performs in Slovenia and abroad. 

Matej Grahek has recorded seven records, 

four as a soloist.

Jan-Erik Gustafsson 

Jan-Erik Gustafsson je študij čela zaključil 

leta 1992 na Glasbenem inštitutu Edsberg 

v Stockholmu. Kot nagrajenec številnih 

pomembnih glasbenih tekmovanj je leta 

1994 podpisal pogodbo z ameriško agencijo 

Young Concert Artists. Pred kratkim 

je s svojim recitalom z velikim uspehom 

debitiral v New Yorku in nastopil na številnih 

koncertih po vsej Ameriki. Kot solist je 

nastopil že z večino skandinavskih orkestrov 

in mnogimi tujimi orkestri. Od leta 

1998 je umetniški vodja Festivala Sibelius 

v Loviisi. Gustafsson igra na glasbilu Testore, 

izdelanem leta 1718, ki mu ga je na 

razpolago ponudil Kulturni sklad Finske. 

Jan-Erik Gustafsson completed his soloists’ 

diploma on the cello at the Edsberg Music 

Institute in Stockholm in 1992. He is a laureate 

of many international competitions 

and in 1994 was taken on by the American 

Young Concert Artists Agency. He recently 

gave his recital debut in New York, which 

lead to numerous engagements throughout 

the USA. Gustafsson has performed as soloist 

with most of the Scandinavian orchestras 

and many orchestras abroad. Since 1998 he 

has been the Artistic Director of the Sibelius 

Festival in Loviisa. Gustafsson plays a Testore 

cello made in 1718 loaned to him by 

the Finnish Cultural Foundation. 

Thomas Hammes 

Thomas Hammes se je rodil leta 1978 v 

nemškem kraju Ossan-Monzel ob reki Mozeli. 

Pri sedmih letih je v domači glasbeni 

šoli prvič v roke prijel trobento. Leta 1987 

je v okrožni glasbeni šoli Bernkastel-Wittlich 

postal učenec Nikolaja Čočeva. Osvojenim 

nagradam na deželnih in državnih 

tekmovanjih Mladina muzicira je sledilo 

vabilo v Mladinski orkester dežele Rheinland 

Pfalz. Pri petnajstih letih je Thomas 

postal učenec profesorja Petra Leinerja 

na Visoki šoli za glasbo in gledališče v 

Saarbrücknu, kjer je leta 1997 pričel s 

študijem orkestrske glasbe. Šolanje je 

dve leti kasneje nadaljeval pod vodstvom 

Martina Kretzerja na Akademiji Herberta 

von Karajana Berlinskih filharmonikov. 

Leta 2004 je pod mentorstvom Klausa 

Schuwerka pridobil solistično diplomo na 

Akademiji za glasbo v švicarskem Baslu. 

Od sezone 2001/2002 je solist trobentač 

Simfoničnega orkestra Radia Stuttgart 

SWR, ki ga vodi Sir Roger Norrington. 

Thomas je zelo zaželen kot solist in komorni 

glasbenik na številnih glasbenih 

festivalih v Nemčiji, med katerimi so Mosel 

Festwochen, Festival Mitte Europa, 

Brandenburgški glasbeni festival, festival 

Schleswig Holstein in mnogi drugi. Kot 

solist je Thomas že nastopil z Deželnim 

gledališčem Oldenburg, Simfoničnim orkestrom 

SWR Kaiserslautern in Deželnim 

gledališčem Aachen. 

Thomas Hammes was born in 1978 in 

Osann-Monzel/Mosel, Germany. He took 

his first trumpet lessons at the age of seven 

at the local Music School. In 1987 he became 

the student of Nikoley Tchotschev at the 

Bernkastel-Wittlich Music School. Having 

won his first prizes at the national “Youth 

makes Music” competitions, Thomas was 

soon invited to join the Rheinland Pfalz 

Youth Orchestra. At the age of 15 he became 

student of Professor Peter Leiner at the 

Hochschule für Musik und Theater in Saarbrücken. 

In 1997 he started his Orchestral 

Music studies at the same institution and 


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continued his musical education in 1999 

at the Herbert von Karajan Academy of the 

Berlin Philharmonic Orchestra under the 

guidance of Martin Kretzer. In 2004 Thomas 

acquired his soloist diploma at the Academy 

of Music in Basel, Switzerland under Professor 

Klaus Schuhwerk. Since the 2001/2002 

Season he is solo trumpeter of the Radio 

Symphony Orchestra Stuttgart of the SWR, 

being led by Sir Roger Norrington. Thomas is 

very much in demand as soloist and chamber 

musician at numerous German music 

festivals like Mosel Festwochen, Festival 

“Mitte Europa”, Brandenburg Musikfestival, 

Schleswig Holstein Musikfestival … As soloist 

Thomas has already performed with the 

Oldenburg State Theatre, the Nuremberg 

Symphony, the Kaiserslautern Symphony 

Orchestra of the SWR and the Aachen State 

Theatre. 

Christian Immler 

Christian Immler je petje študiral pod 

mentorstvom Rudolfa Piernayja na londonski 

akademiji za glasbo in gledališče 

Guildhall. Leta 2001 je zmagal na mednarodnem 

tekmovanju Nadie in Lili Boulanger 

v Parizu in odtlej kot solist sodeloval 

s svetovno znanimi orkestri in skladatelji. 

Med njegovimi nedavnimi koncertnimi 

vrhunci so Bachova Maša v b-molu pod 

Marcom Minkowskim, Pasijon po Janezu 

s Collegium Vocale Gent pod Philippom 

Herreweghejem, vloga Pharnacesa v 

Zemlinskyjevem Kralju Kandualesu v 

znameniti amsterdamski dvorani Concergebouw, 

Weillov Berlinski rekvijem na 

festivalu v Lucernu, Mahlerjeve skladbe z 

Orchestre des Pays Savoie, Telemannove 

kantate z Andrewom Parrottom, Rossinijeva 

Mala slovesna maša na festivalu 

v Vancouvru, Haydnov oratorij Letni časi 

z Orchestre de Picardie ter Bachov Pasijon 

po Mateju in Fauréjev Rekvijem z 

orkestrom Gulbenkian pod Michelom 

Corbozom. Odlično sprejeti so bili njegovi 

recitali v slovitih dvoranah kot so 

Wigmore in Kraljeva festivalna dvorana 

v Londonu, newyorška dvorana Frick 

Collection in pariški Salon d’Honneur. V 

njegovi diskografiji najdemo Stölzlove 

kantate, Continental Britons, Bernsteinovo 

simfonijo Kaddish ter Albenizovo 

opero Henry Clifford s Simfoničnim orkestrom 

iz Madrida, ki so jih kritiki po vsem 

svetu navdušeno sprejeli. 

Christian Immler trained at the Guildhall 

School of Music and Drama in London with 

Rudolf Piernay, won the International Nadia 

et Lili Boulanger Competition in Paris in 

2001 and has since worked as a soloist with 

Major orchestras and conductors all over 

the world. Recent concert highlights have 

included Bach’s B Minor Mass with Marc 

Minkowski, the St. John Passion for Collegium 

Vocale Gent, conducted by Philippe 

Herreweghe, Pharnaces in Der König Kandaules 

by Zemlinsky at the Concertgebouw 

in Amsterdam, Weill’s Berliner Requiem at 

the Lucerne Festival, Mahler Songs with the 

Orchestre des Pays de Savoie, Telemann 

cantatas with Andrew Parrott, Rossini’s 

Petite Messe Solennelle during the Vancouver 

Festival, Haydn’s The Seasons with 

the Orchestre de Picardie, Bach’s St. Matthew 

Passion and the Fauré Requiem with 

the Gulbenkian Orchestra conducted by 

Michel Corboz. Christian is an experienced 

recitalist, having already made his debut 

at the Wigmore Hall and the Royal Festival 

Hall in London, the Frick Collection in New 

York and the Salon d’Honneur in Paris. His 

recordings include cantatas by Stölzel, Continental 

Britons and Kaddish on Nimbus and 

Albeniz’ Henry Clifford with the Orquesta 

Sinfonica de Madrid for Decca, all released 

to wide critical acclaim. 

Milan Jesih 

Milan Jesih je eden najbolj plodnih pesnikov, 

dramatikov in prevajalcev zadnjih 

trideset let v Sloveniji. Po končani srednji

šoli se je vpisal na študij primerjalne književnosti 

na Filozofski fakulteti v Ljubljani, 

kjer je leta 1971 sodeloval v študentskem 

uporu zoper vodstvo fakultete kot eden 

izmed njegovih vodij. Že naslednje leto 

je izdal zbirko, zaznamovano s temi dogodki. 

V tem času je skupaj z Andrejem 

Brvarjem, Ivom Svetino in Matjažem Kocbekom 

pesniško zorel v skupini 441 in 442 

v okviru poetičnega gledališča Pupilije 

Ferkverk. V naslednjih desetletjih je napisal 

osem pesniških zbirk, prevedel več 

kot štirideset iger in dram svetovno znanih 

avtorjev kot so Shakespeare, Čehov 

in Bulgakov ter jih okrog trideset napisal 

tudi sam. Ustvaril je vrsto radijskih in televizijskih 

iger za odrasle in otroke. Za svoje 

delo je prejel vrsto nagrad, med njimi leta 

1986 Prešernovo nagrado. 

Juliet Jopling je violo študirala pod vodstvom 

Davida Takena na znameniti angleški 

univerzi Cambridge in pod vodstvom 

Thomasa Riebla na salzburškem Mozarteumu. 

Je stalna gostja festivalov komorne 

glasbe po vsej Evropi in nagrajenka 

mednarodnega tekmovanja Lionela Tertisa 

za violiste. Kot solistka se je z Waltonovim 

Koncertom za violo z londonskim 

orkestrom Philharmonia predstavila tudi 

londonski publiki. Joplingova sodeluje z 

Norveškim komornim orkestrom, Evropskim 

komornim orkestrom in z Ensemble 

Modern. Igra na glasbilu Giuseppe Guadagnini 

in je umetniški vodja Mednarodnega 

festivala komorne glasbe Kerry. 

Milan Jesih is one of the most prolific poets, 

playwrights and translators to have appeared 

in Slovenia in the last thirty years. 

After he finished secondary school, he began 

studies of comparative literature at the 

Faculty of Arts and Sciences in Ljubljana, 

where, at the age of twenty-one, he was 

one of the leaders of a student riot in 1971. In 

the following year he published a collection 

of poems marked by these events. During 

this time he was maturing as a poet in the 

groups 441 and 442 in the Pupilija Ferkverk 

poetry theatre together with Andrej 

Brvar, Ivo Svetina and Matjaž Kocbek. In 

the decades since then he has written eight 

collections of poetry, translated more than 

forty plays and dramas by world-renowned 

authors such as Shakespeare, Chekov and 

Bulgakov, and written about thirty himself. 

He has also created numerous radio and 

TV plays for adults and children. During his 

creative period he received several awards, 

among them also the Prešeren Award in 

1986. Jesih’s dramatic works reflect 20 th 

century streams of philosophy and linguistics, 

the main representatives of which are 

Saussure, Wittgenstein, Heidegger, Derrida 

and Lyotard. 

Juliet Jopling 

Juliet Jopling studied viola with David Takeno 

while at Cambridge University and with 

Thomas Riebl at the famous Mozarteum in 

Salzburg. She has performed in chamber 

music festivals throughout Europe and is a 

laureate of the Lionel Tertis International 

Viola Competition. Her solo appearances 

include a performance of Walton’s Viola 

Concerto with The Philharmonia London. 

Jopling works with the Norwegian Chamber 

Orchestra, the Chamber Orchestra of 

Europe and Ensemble Modern. She plays 

a Giuseppe Guadagnini and is the Artistic 

Director of Kerry’s International Chamber 

Music Festival. 

Vladimir Jurc 

Vladimir Jurc je rojen v Mariboru. Leta 

1974 je diplomiral na Akademiji za gledališče 

– AGRFT v Ljubljani in pridobil naziv 

diplomirani dramski igralec. Septembra 

istega leta je postal član Slovenskega mladinskega 

gledališča v Ljubljani. 1993 se je 

pridružil Stalnemu slovenskemu gledališču 

– SSG v Trstu, kar traja neprekinjeno 

že celih 26 sezon. V 35 letih je sodeloval s 

skoraj vsemi slovenskimi režiserji in mnogimi 

tujimi, ustvaril številne nepozabne 


161


like, od tega več kot 100 samo v SSG. 

Vse like je krasilo igralsko iskateljstvo in 

posebnost, za kar ga kritika uvršča med 

vodilne slovenske karakterne igralce. Za 

svoje umetniško delo je prejel številna 

priznanja in nagrade, med njimi nagrado 

Prešernovega sklada, Severjevo nagrado, 

ZDUS-ovo nagrado, več Borštnikovih nagrad 

… V zadnjih letih se uveljavlja tudi 

kot režiser, scenarist in dramaturg. 

Vladimir Jurc was born in Maribor. He 

studied acting at the AGRFT (Academy for 

Theatre, Radio, Film and Television) in Ljubljana, 

from which he graduated in 1974 

and at the same year became a member 

of the renowned SMG theatre (Slovensko 

mladinsko gledališče) in Ljubljana. In 1983 

he joined the SSG Trst (Stalno slovensko 

gledališče, Tiest, Italy), where he remained 

for 26 seasons. In the 35 years of stage career 

he collaborated with almost all Slovenian 

and many renowned foreign directors, created 

numerous unforgettable characters 

(more than a 100 in SSG Triest only) with 

great critical acclaims and became one 

of Slovenia’s most prominent actors. For 

his achievements in stage acting he was 

awarded numerous awards, among which 

there are the Prešeren Foundation Award 

(highest national award in the field of culture), 

the Sever Award, the Theatre Actor’s 

Guild Award as well as two Borštnik Awards 

(awards by Slovenia’s biggest theatre festival). 

In the last few years he focused on dramaturgy, 

directing and screenplay writing. 

posvetila študiju solopetja pri znani slovenski 

primadoni Zlati Ognjanović. Maja 

1989 je postala članica polprofesionalnega 

zbora RTV Ljubljana, dve leti kasneje 

pa je bila sprejeta v takrat na novo 

ustanovljen Slovenski komorni zbor. Leta 

1994 se je pridružila zboru SNG Opere 

in baleta Ljubljana in kmalu dobila tudi 

svojo prvo solistično vlogo – vlogo guvernante 

v Pikovi Dami P. I. Čajkovskega. 

1996 je postala stalna članica solističnega 

ansambla SNG opere in baleta Ljubljana 

in do danes poustvarila zelo pester izbor 

z več kot 35 solističnimi opernimi vlogami. 

Že leta 1996 je kot mlada obetavna 

pevka prejela Wagnerjevo štipendijo, 

1998 nagrado zlata ptica za poustvaritev 

Jele v Kozinovi operi Ekvinokcij ter 2005 

ugledno nagrado Prešernovega sklada. 

Mirjam Kalin je zelo ustvarjalna tudi na 

koncertnem področju. Kot solistka je nepogrešljiva 

osebnost na naših koncertnih 

odrih. Umetniška pot jo je z vokalno-instrumentalnimi 

deli iz obdobij baroka do 

sodobnosti ter kot izvajalko samospevov 

ponesla širom Evrope. Tako je sodelovala 

s priznanimi domačimi in tujimi dirigenti 

kot so Zubin Mehta, Dieter Rossberg, 

Franišek Praisler, Fuat Mansurov, George 

Pehlivanian in mnogimi drugimi. Na njenem 

repertoarju so samospevi Beethovna, 

Brahmsa, Dvořáka, Griega, Gustava in 

Alme Mahler, Musorgskega, Schuberta, 

Schumanna, Zemlinskega, Cigliča, Ipavca, 

Kozine, Kogoja, Kreka, Lajovica, Lipovška, 

Mavrija, Strmčnika, Šivica, Škrjanca 

ter Vremšaka. 

162 

Mirjam Kalin 

Mirjam Kalin je rojena v Ljubljani, kjer se je 

po končani Pedagoški gimnaziji povsem 

Mirjam Kalin was born in Ljubljana, Slovenia. 

After graduating from secondary school 

she devoted herself completely to the study 

of solo singing with the famous Slovenian 

singer Zlata Ognjanović. In 1989 Mirjam 

became member of the semi-professional

Slovene Radio and Television Choir. Two 

years later she joined the Slovene Chamber 

Choir and in 1994 she became member of 

the Slovene National Opera and Ballet Choir 

in Ljubljana, where she was soon given her 

first solo part as the governess in Tchaikovsky’s 

Queen of Spades. In 1996 Mirjam 

Kalin became a regular soloist at the Slovene 

National Opera and Ballet Ensemble 

in Ljubljana where she performed in over 35 

different operas. In 1996 she won the Wagner 

Scholarship, in 1998 she was awarded 

the “Zlata ptica” Award for her performance 

of Jela in Kozina’s Opera Equinox and was 

laureate of the Prešeren Foundation in 2005. 

Mirjam is an indispensable performer on 

concert stages throughout Slovenia. As a 

soloist she performed throughout Europe 

with a repertoire ranging from baroque 

to contemporary music. She worked with 

many renowned conductors, including 

Zubin Mehta, Dieter Rossberg, Franišek 

Praisler, Fuat Mansurov, George Pehlivanian 

and many others. Mirjam’s broad repertoire 

includes songs from Beethoven, Brahms, 

Dvořák, Grieg, Gustav and Alma Mahler, 

Mussorgsky, Schubert, Schumann, Zemlinsky, 

Ciglič, Ipavec, Kozina, Kogoj, Krek, 

Lajovic, Lipovšek, Mavri, Strmčnik, Šivic, 

Škrjanc and Vremšak. 

Mike Kerin 

Mike Kerin igra na violino, kitaro in 

mandolino, ima izjemen glas ter posluh 

za nenavadne harmonije. V avstralski 

»country« glasbi zaradi dovršene muzikalnosti 

in veliko izkušenj uživa visok 

ugled. Kerin se z glasbo profesionalno 

ukvarja od leta 1978. Ima enega tistih izjemnih 

naravnih glasbenih talentov, ki mu 

dovoljuje improvizacijo tudi v skladbah, 

ki jih ne pozna. Avstralskim ljubiteljem 

country glasbe je Kerin znan predvsem 

po svojih nastopih in posnetkih s skupino 

Gaelforce; The Flying Emus, s katerimi je 

sklenil dogovor, da ne bodo iste skladbe 

nikoli zaigrali na enak način. Med drugim 

je sodeloval tudi s skupino Travelling 

Country Band, Slimom Dustyjem, 

WheelerDealersi in mnogimi drugimi 

avstralskimi glasbeniki. Slim Dusty je 

Kerina spoznal z Richardom Tognettijem, 

s katerim sta na podelitvi nagrad Australian 

National Living Treasures leta 2001 

presenetila z improviziranim nastopom. 

Nasled nje leto je Tognetti, kot umetniški 

vodja Huntington Festivala, Kerina in Travelling 

Country Band povabil k sodelovanju. 

Za vrhunec festivala sta pred navdušenim 

občinstvom s svojim prijateljskim 

violinskim »dvobojem« poskrbela prav 

Kerin in Tognetti. 

Mike Kerin plays fiddle, guitar and mandolin, 

and has a fine voice and an ear for 

aching, unusual harmonies. He has a firstrate 

reputation in Australian country music 

for his consummate musicianship and vast 

experience. He has been a professional musician 

since 1978 and a quiet driving force 

in the country music scene. He is one of 

those exceptional and natural musicians 

who can improvise an accompaniment or 

take a lead solo, even in an unfamiliar work. 

Mike is well-known to Australian lovers of 

country music through his performances 

and recordings with the touring band 

Gaelforce; the Flying Emus, who had a pact 

with each other never to perform a song 

the same way twice; and the Travelling 

Country Band, Slim Dusty, and the WheelerDealers, 

alongside countless others. Slim 

Dusty was responsible for introducing Mike 

Kerin and Richard Tognetti to one another, 

following an impromptu performance at a 

ceremony celebrating Australia’s National 

Living Treasures in 2001. The following year, 

Mike and the Travelling Country Band were 

invited to appear at the Huntington Festival 

in Mudgee, of which Tognetti was the Artistic 

Director. A highlight of the Festival was a 


163

friendly session of ‘duelling fiddles’ by Mike 

Kerin and Richard Tognetti, which had the 

audience cheering. 


164 

Komorni godalni 

orkester Slovenske 

filharmonije / Slovene 

Philharmonic String 

Chamber Orchestra 

Komorni godalni orkester Slovenske filharmonije 

je ansambel štirinajstih godalcev, 

sicer članov Simfoničnega orkestra 

Slovenske filharmonije. Umetniški vodja 

orkestra je Klemen Hvala. V petnajstih 

letih delovanja je orkester odigral več 

kot dvestopetdeset koncertov doma in 

v tujini, bil večkrat gost Festivala Ljubljana, 

festivalov Danubiana in Slovenskih 

glasbenih dnevov, oktobra 2003 pa je 

nastopil v okviru Svetovnih glasbenih 

dnevov – Slovenija 2003 v Ljubljani. 

Koncerti v Dubrovniku, Zadru, Zagrebu, 

Samoboru, Opatiji, Novem Sadu, Celovcu, 

Ohridu, Podgorici, Gorici in Trstu so 

vselej naleteli na hvaležen sprejem pri 

občinstvu in kritikih. Orkester sodeluje 

s svetovno znanimi slovenskimi glasbenicami 

– pianistko Dubravko Tomšič 

Srebotnjak, flavtistko Ireno Grafenauer 

in altistko Mirjam Kalin, koncertiral pa je 

tudi z enim največjih svetovnih čelistov 

Mišo Majskim, violinistko Sarah Chang, 

hornistom Stefanom Dohrom ter akordeonistom 

Richardom Gallianom. Orkester, 

ki igra brez dirigenta, je posnel 

več zvočnih in video zapisov koncertov 

v živo ter številne zgoščenke. Posebno 

pozornost ansambel namenja delom slovenskih 

avtorjev, tudi tistih najmlajših, ki 

se šele uveljavljajo. Vse to potrjuje visoko 

kakovost ter vlogo in pomen Komornega 

godalnega orkestra Slovenske filharmonije 

v slovenski in evropski poustvarjalni 

kulturi. Za svoje uspešno delo je ansambel 

prejel nagrado Prešernovega sklada 

leta 1999, Župančičevo nagrado leta 2004 

in Betettovo nagrado leta 2006. 

The Slovene Philharmonic String Chamber 

Orchestra is composed of fourteen string 

musicians who are also members of the Slovene 

Philharmonic Orchestra. The artistic 

director of the orchestra is Klemen Hvala. In 

fifteen years of existence, the ensemble has 

performed more than 250 concerts at home 

and abroad. The orchestra has appeared 

several times at the Ljubljana Summer Festival, 

the Musica Danubiana Festival and 

the Slovenian Music Days, and in October 

2OO3 it appeared as part of the ISCM World 

Music Days – Slovenia 2OO3 in Ljubljana. 

The concerts held in Dubrovnik, Zadar, Zagreb, 

Samobor, Opatija, Novi Sad, Klagenfurt, 

Ohrid, Podgorica, Gorizia and Trieste, 

were always enthusiastically received by 

the public and critics. The Slovene Philharmonic 

String Chamber Orchestra has 

played with renowned musicians such as 

pianist Dubravka Tomšič Srebotnjak, flautist 

Irena Grafenauer, altist Mirjam Kalin, 

as well as with one of the world’s greatest 

cellists Mischa Maisky, violinist Sarah 

Chang, french hornist Stefan Dohr and the 

accordionist Richard Galliano. The orchestra, 

which performs without a conductor, 

has recorded a number of audio and video 

recordings of live concerts as well as several 

compact discs. The Slovene Philharmonic 

String Chamber Orchestra dedicates special 

attention to works of Slovenian composers, 

including the newest among them who are 

just establishing themselves. All of this confirms 

the high quality as well as the role and 

significance of the Slovene Philharmonic 

String Chamber Orchestra in the creative 

currents of Slovenia and the rest of Europe. 

In recognition of its artistic quality the ensemble 

has received the country’s most 

prestigious national accolade, the Prešeren 

Fund Award in 1999, the Župančič Award by 

the City of Ljubljana in 2004, and the Betetto 

Charter in 2006.

Mile Kosi 

Violist in pedagog Mile Kosi se je rodil v 

Ljubljani, kjer je po maturi na klasični gimnaziji 

in po diplomi iz violine pri prof. Veroneku 

na Srednji glasbeni in baletni šoli 

v Ljubljani, začel igrati violino v orkestru 

RTV Slovenija. Istočasno se je vpisal na 

ljubljansko Akademijo za glasbo, kjer je 

leta 1979 diplomiral iz viole pri prof. Dermelju, 

ter prejel univerzitetno Prešernovo 

nagrado. Od leta 1965 do leta 1980 je bil 

solist violist v Orkestru RTV Slovenija. Po 

uspešno opravljeni avdiciji je leta 1980 

postal solo violist Gürzenich Orkestra v 

Kölnu, kjer deluje še danes. V tem času 

je nekaj let poučeval violo na Akademiji 

za glasbo v Ljubljani, kjer je od leta 2003 

tudi redno zaposlen. Sodeloval je v več 

komornih skupinah (Ljubljanski godalni 

trio, ansambel Slavko Osterc, Camerata 

Slovenica, Pierre Feit Concertino, Guerzenich 

Quartet), in bil leta 1987 kot prvi 

tujec povabljen kot solo violist v orkester 

Wagnerjevega festivala v Bayreuthu. Kot 

solist je s pomembnimi dirigenti kot so 

Bour, Lehel, Janowski, Imbal, Caridis, 

Conlon, Stenz in drugimi, odigral najbolj 

popularne in zahtevne koncerte za violo, 

skladateljev Bartóka, Berlioza, Bairda, 

Martinuja, Straussa, Mozarta in drugih, 

prav tako pa je odigral mnoge krstne izvedbe 

njemu posvečenih del. 

The violist and pedagogue Mile Kosi was 

born in Ljubljana, Slovenia. After graduating 

from grammar school and taking 

a violin diploma under the guidance of 

professor Veronek at the School of Music 

and Ballet, Mile Kosi became violinist of the 

Slovenian Radio Symphony Orchestra. At 

the same time he began his viola studies 

at the Academy of Music in Ljubljana. Under 

the guidance of professor Dermelj he 

graduated with honours and was awarded 

the Prešeren Prize. From 1965 to 1980 Mile 

Kosi was solo violist of the Slovenian Radio 

Symphony Orchestra. 1980 he became solo 

violist of the Gürzenich Orchestra Köln and 

has remained that position ever since. At the 

same time he has also been teaching viola 

at the Academy of Music in Ljubljana. He 

was member of several chamber ensembles 

as the Ljubljana String Trio, the Slavko Osterc 

ensemble, Camerata Slovenica, Pierre 

Feit Concertino and the Gürzenich Quartet. 

1987 Mile Kosi was appointed as the first 

foreign solo violist at the Bayreuth Festival. 

As soloist he performed the most pretentious 

and popular viola concertos of Bartok, 

Berlioz, Baird, Martinu, Strauss and Mozart 

under esteemed conductors such as Bour, 

Lehel, Janowski, Imbal, Caridis, Conlon, 

Stenz … He performed many first performances 

of viola concertos dedicated to him 

by various composers. 

Barbara Kresnik 

Barbara Kresnik se je pri sedmih letih 

pričela učiti igranja na klavir, pri desetih 

pa je glasbeno izobraževanje nadaljevala 

z igranjem tolkal. Leta 1995 je 

diplomirala na Akademiji za glasbo v 

Ljubljani v razredu prof. Borisa Šurbka. 

Študij je nadaljevala na Konservatoriju 

v francoskem Versaillesu pri prof. Sylviu 

Gualdi, kjer je študij zaključila leta 1996 

s posebno nagrado skladatelja Jeana 

Aubina za najboljšo interpretacijo. Tako 

v času študija kot po njem se je udeleževala 

seminarjev pomembnih tolkalskih 

pedagogov in izvajalcev, kot so Keiko 

Abe, Evelyn Glennie, Igor Lešnik in Jean 

Geoffroy. Igrala je v orkestrih Slovenske 

filharmonije, Simfoničnem orkestru RTV 

Slovenija, Orkestru SNG Opera in Balet 

Ljubljana, številnih komornih ansamblih 

ter kot solistka nastopala z orkestrom 

Slovenske filharmonije. Pedagoško se je 

Barbara Kresnik udejstvovala kot profesorica 

na gimnazijah v Celju in Kopru. S 

harfistko Nicoletto Sanzin je koncertirala 

v Sloveniji in Italiji, od leta 1999 pa je ustanovna 

članica skupine StoP (slovenski tolkalni 

projekt), v okviru katere deluje kot 

solistka, predavateljica in pedagoginja. 


165


Od leta 1992 je članica orkestra Slovenske 

filharmonije, najprej kot tolkalista, od leta 

2007 pa tudi kot timpanistka. 

Barbara Kresnik started with piano lessons 

at the age of seven. When she was ten years 

old she continued her musical practice 

with switching to playing percussions. She 

studied under Professor Boris Šurbek at the 

Academy of Music in Ljubljana, where she 

acquired her diploma in 1995. She continued 

her studies at the Versailles Music 

Conservatory with Professor Sylvio Gauda 

where she concluded her studies with a 

special reward of the composer Jean Aubin 

for best musical interpretation and the 

evaluation “La Medaille d’Or al unanimite”. 

Already as a student Barbara Kresnik took 

part at classes of important percussionist 

teachers and performers like Keiko Abe, 

Evelyn Glennie, Igor Lešnik, Jean Geoffroy 

… She collaborated with the Slovene 

Philharmonics, the Symphony Orchestra 

of RTV Slovenia, the Ljubljana Opera and 

Ballet Orchestra, numerous chamber ensembles 

and as soloist with the Slovene Philharmonics. 

She pursued a teaching career 

as a Professor at gymnasiums in Celje and 

Koper. Together with harpist Nicoletta Sanzin 

she performed in Slovenia and Italy and 

became one of the founding members of the 

group StoP (Slovene Percussions Project) in 

1999, where she acts as soloist, lecturer and 

teacher. As percussionist she is member of 

the Slovene Philharmonics since 1992 and 

since 2007 also as timpanist. 

Michael Kugel se je rodil v Ukrajini. Sprva 

je v domačem Harkovu študiral violino, 

nato pa se je na Državnem konservatoriju 

Rimski-Korsakova v Sankt Peterburgu 

posvetil študiju viole. Leta 1975 je osvojil 

prvo nagrado na mednarodnem tekmovanju 

violistov v Budimpešti. V času 

Sovjetske zveze je deloval kot solist moskovske 

filharmonične organizacije Mosconcert, 

kot violist v Beethovnovem državnem 

godalnem kvartetu in asistent na 

moskovskem konservatoriju Čajkovskega. 

Od leta 1990 do 1996 je bil profesor na 

Jeruzalemski akademiji za glasbo in ples, 

leta 1996 pa se je nastanil v Belgiji, kjer je 

danes profesor na Kraljevem Konservatoriju 

v Gentu, kot profesor pa deluje tudi na 

Kraljevem konservatoriju v Maastrichtu. 

Kot solist je nastopal s celo vrsto najvidnejših 

orkestrov ter v najpomembnejših 

koncertnih dvoranah sveta. Sodeluje na 

festivalih in poučuje na mojstrskih tečajih 

širom Evrope, Amerike, Azije in Daljnega 

Vzhoda. Repertoar violistov je obogatil s 

številnimi transkripcijami pa tudi s svojimi 

skladbami, med katerimi je ob sonatah, 

duetih, suitah in preludijih tudi Koncert za 

violo in orkester. Je član žirij mednarodnih 

tekmovanj v Veliki Britaniji, Nemčiji, Italiji, 

Avstriji, Izraelu, Belgiji, ZDA in na Nizozemskem. 

Njegova diskografija obsega 

20 zgoščenk, na nekaterih izmed njih se 

predstavlja tudi z violo d’amore ter kot dirigent. 

Je avtor dveh knjig: Šostakovičeva 

sonata in Bartókov koncert za violo – zgodovina 

nekega obdobja ter Mojstrovine 

instrumentalne glasbe. 

166 

Michael Kugel 

Michael Kugel was born in the USSR. He 

studied violin at the Beethoven School of 

Music and at the Music College in Kharkov, 

later he studied viola, composition and conducting 

at the St. Petersburg State Rimsky- 

Korsakov Conservatory. In 1975 he won First 

Prize at the International Viola Competition

in Budapest. In the USSR he was the soloist 

of the Moscow Philharmonic Organization 

Mosconcert, violist of the Beethoven 

State Quartet and assistant-professor at 

the Moscow Tchaikovsky Conservatory. 

From 1990 till 1996 he was a professor at 

the Jerusalem Rubin Academy of Music and 

Dance. In 1996 he settled in Belgium and 

now he is a professor at the Ghent Royal 

Conservatory and at the Maastricht Royal 

Conservatory. He appeared as a soloist 

with many major orchestras and in major 

concert halls throughout the world. He has 

taken part in festivals and has given master 

classes in Europe, America, Asia and Far 

East. Michael Kugel has enriched the viola 

repertoire with many transcriptions and his 

own compositions: Concerto for viola and 

orchestra, sonatas, duos, suites, preludes 

etc. He was a member of jury for International 

Competitions in England, Germany, 

Italy, Austria, Israel, Belgium, USA, Croatia, 

Holland etc. He has recorded about 20 discs 

and also made numerous recordings as a 

conductor and viola d’amore performer. He 

is the author of two the two books: “Viola 

Sonata by Shostakovich and Viola Concerto 

by Bartók – The History of an Era” and the 

“Masterpieces of the Instrumental Music”. 

Boštjan Lipovšek 

Boštjan Lipovšek izhaja iz glasbene družine, 

v kateri je igranje roga tradicija. 

Njegova prva mentorja sta bila oče in 

brat, glasbeno šolanje pa je nadaljeval 

na ljubljanski glasbeni akademiji pri prof. 

Jožetu Faloutu. Pri njem je tudi diplomiral 

ter zaključil podiplomski študij. Izpopolnjeval 

se je pri Radovanu Vlatkoviću na 

salzburškem Mozarteumu. Med študijem 

v Ljubljani je dobil študentsko Prešernovo 

nagrado za izvedbo Straussovega Prvega 

koncerta za rog in orkester s Simfoničnim 

orkestrom RTV Slovenija. V tem 

orkestru je kmalu zatem zasedel mesto 

solista hornista. Kot solist je nastopal tudi 

z Orkestrom Slovenske filharmonije, z 

Mariborsko filharmonijo, Dubrovniškim 

simfoničnim orkestrom, s Filharmoničnim 

orkestrom iz Vidma, Komornim orkestrom 

Padova e Veneto in z orkestrom Jeunesses 

musicales. Igra pod taktirko odličnih dirigentov, 

kot so Anton Nanut, Uroš Lajovic, 

Marko Letonja, S. Pelegrino Amato, Gary 

Brain, Amy Anderson, Yakov Kreizberg, 

Sian Edwards. Kot solist je gostoval pri nacionalnem 

orkestru opere La Monnaie v 

Bruslju in pri Berlinskih simfonikih, sodeloval 

pa je tudi z Mahlerjevim komornim 

orkestrom. Od leta 1999 kot asistent, od 

leta 2004 pa kot docent predava na Akademiji 

za glasbo v Ljubljani. Leta 2005 je 

pričel kot docent predavati na Akademiji 

za glasbo v Zagrebu. Boštjan je dobitnik 

nagrade Prešernovega sklada leta 2008. 

Boštjan Lipovšek comes from a musical 

family with a long tradition of horn players. 

His first mentors were his father and 

brother, followed by prof. Jože Falout at 

the Music Academy in Ljubljana. Boštjan 

Lipovšek studied with prof. Falout through 

his graduate and post-graduate studies. 

Later he went to the Salzburg Mozarteum 

for advanced studies with Radovan 

Vlatković. During his study in Ljubljana he 

received the Student Prešeren Award for his 

interpretation of Strauss Concerto No. 1 for 

horn and orchestra with the RTV Slovenia 

Symphony Orchestra. As a soloist he played 

with the Slovene Philharmonic Orchestra, 

Maribor Philharmonics, Dubrovnik Symphony 

Orchestra, Philharmonic Orchestra 

from Udine, Chamber Orchestra Padova e 

Veneto and Jeunesses musicales Orchestra. 

He played under the guidance of great conductors, 

such as Anton Nanut, Uroš Lajovic, 

Marko Letonja, David de Villiers, S. Pelegrino 

Amato, Gary Brain, Amy Anderson, Yakov 

Kreizberg, Sian Edwards. He played as 

guest soloist with the national orchestra of 

La monnaie Opera house in Brussels and 

with the Berlin Symphony Orchestra and 


167


continued his collaboration with the Mahler 

Chamber Orchestra. He became assistant 

university teacher in 1999 and senior university 

teacher in 2004 at the Music Academy 

in Ljubljana. From 2005 he has worked as 

senior university teacher at the Music Academy 

in Zagreb. Boštjan received the highest 

Slovenian award for culture – the Prešeren 

Award 2008. 

Lutkovno gledališče 

Maribor / Maribor 

Puppet Theatre 

Lutkovno gledališče Maribor je bilo ustanovljeno 

leta 1974. V tridesetih letih se je 

uveljavilo kot gledališče, ki se posveča 

predvsem predstavam za otroke in pretežno 

posega po novitetah iz sodobne 

slovenske otroške in mladinske literature. 

V repertoar vključuje tudi besedila iz 

svetovne klasike, prirejene za lutkovni 

oder, kjer jih oživljajo v vseh lutkovnih 

tehnologijah. Lutkovno gledališče Maribor 

sodeluje na številnih mednarodnih 

festivalih doma in v tujini in je prejelo več 

nagrad. Od leta 1990 prireja mednarodni 

lutkovni festival Poletni lutkovni pristan. 

puppet theatre. The Maribor Puppet Theatre 

is a regular guest and laureate of numerous 

international puppet theatre festivals in Slovenia 

and abroad. Since 1990 it is the host 

and organiser of the International Puppet 

Theatre Festival “Poletni lutkovni pristan”. 

Domen Marinčič 

Domen Marinčič je diplomiral iz čembala 

pri Carstnu Lohffu v Nürnbergu, na Visoki 

šoli za glasbo Trossingen pa je končal 

podiplomski študij generalnega basa pri 

Albertu Rinaldiju. Študiral je tudi violo 

da gamba pri Hartwigu Grothu in Philippu 

Pierlotu. Leta 1997 je zmagal na 1. 

mednarodnem tekmovanju Bach-Abel 

v nemškem Köthnu. Med letoma 1999 

in 2003 je sodeloval z uveljavljenim 

belgijskim ansamblom Ricercar Consort, 

zdaj pa veliko nastopa in snema z 

ansamblom Ensemble Phoenix Munich 

(koncerti v Avstriji, Belgiji, Češki, Danski, 

Franciji, Italiji, Nemčiji, Slovaški, Španiji 

in Švici). Kot čembalist sodeluje z različnimi 

slovenskimi orkestri. Sodeloval je 

pri snemanju zgoščenk za založbe, kot 

so Aeolus, Harmonia Mundi France in Ricercar. 

Soustanovil je slovenska ansambla 

za staro glasbo Musica Cubicularis in Harmonia 

Antiqua Labacensis. Od leta 2005 

predava generalni bas in partiturno igro 

na Oddelku za muzikologijo Filozofske 

Fakultete v Ljubljani. Za koncerte izvedbe 

in notne izdaje je pripravil rekonstrukcije 

številnih skladb 17. in 18. stoletja, ki se 

niso ohranile v celoti. 

168 

The Maribor Puppet theatre was founded in 

1974. In over thirty years it has established 

a reputation as a puppet theatre dedicated 

to children’s plays. Its repertoire mainly 

consists of novelties from contemporary 

Slovene children’s and youth literature. It 

also includes wordings from world literature 

classics especially arranged for a puppet 

theatre stage, where they are being brought 

to life using all technologies available to the 

Domen Marinčič first took a degree in 

viola da gamba with Hartwig Groth in 

Nuremberg before finishing his studies at 

the highest level with Philippe Pierlot at 

the Hochschule für Musik Trossingen. At

the same time he studied the harpsichord 

with Carsten Lohff and subsequently finished 

post-graduate studies in thorough 

bass with Alberto Rinaldi. He received the 

highest award at the First International 

Viola da Gamba Competition Bach-Abel in 

Cöthen in 1997. He performes as continuo 

player with various Slovenian orchestras 

and with ensembles such as Ricercar Consort, 

Ars Antiqua Austria, Ensemble Phoenix 

Munich and Stylus Phantasticus. He has 

participated in CD productions for labels 

such as Aeolus, Harmonia Mundi France 

and Ricercar. He co-founded the Slovenian 

early music ensembles Musica Cubicularis 

and Harmonia Antiqua Labacensis. He takes 

special interest in continuo performance 

based on thorough historical research, 

and has reconstructed the missing parts 

for performances and editions of works by 

various 17 th - and 18 th -century composers. 

He teaches thorough bass and score reading 

at the Department of Musicology at the 

University of Ljubljana. 

John Mc Sherry 

John Mc Sherry je znan kot eden največjih 

svetovnih virtuozov igranja na irske dude. 

Irish Music Magazine ga je oklical za »resničnega 

mojstra«, Green Man Review pa 

ga je imenoval za »najpomembnejšo gonilno 

silo sodobnih inovacij«, saj je s svojim 

edinstvenim stilom ponesel igranje na 

irske dude v nove višave. Njegov smisel za 

improvizacijo so nekateri primerjali celo s 

tistim, ki ga premore ena največjih legend 

jazz glasbe, John Coltrane. Mc Sherry je 

kot solist in član mnogih izvrstnih glasbenih 

skupin nastopil na glasbenih odrih 

po vsem svetu. Je skladatelj, producent, 

aranžer in priznan studijski glasbenik – 

med številnimi imeni, s katerimi je sodeloval 

pri snemanju plošč, so tudi skupina 

Clannad, Nancy Griffiths, Shaun Davey in 

Donal Lunny. John se je rodil v zahodnem 

Belfastu in odraščal v družini, predani tradicionalni 

glasbi. Irske dude so ga očarale 

že v zgodnji mladosti in tako je že pri 

petnajstih postal dvakratni vseirski prvak, 

pri osemnajstih pa najmlajši zmagovalec 

v zgodovini prestižnega in pomembnega 

glasbenega tekmovanja Oireachtas. V 

80-ih letih je ustanovil skupino Tamalin, 

ki je uspešno preigravala fuzijo rocka, 

tradicionalne irske, keltske in vzhodne 

glasbe. V 90-ih je bil soustanovitelj folk 

skupine Lunasa, razen tega pa je nastopal 

tudi z glasbeniki in glasbenimi skupinami 

kot so Dan Ar Braz, Riverdance, Ornette 

Coleman in Secret Garden. 

John Mc Sherry is hailed as one of the finest 

exponents of the art of uilleann piping in the 

world today – “a true master” – Irish Music 

Magazine. Described as being “at the forefront 

of modern innovation” – Green Man 

Review, he has taken piping and whistle 

playing to new heights with his unique 

style. His sense for improvisation has even 

been compared to that of the great Jazz 

legend John Coltrane. John has toured 

the world as both a solo performer and a 

member of several outstanding bands. He 

is a composer, producer, arranger and established 

studio session musician of world 

class, recording and performing with everybody 

from Clannad, Sinead O’Connor 

and Nancy Griffiths, to Shaun Davey, Donal 

Lunny and The Corrs. Born in West Belfast 

and coming from a family steeped in traditional 

music, John focused his energies 

on the pipes from an early age. By the time 

he reached fifteen he had two All Ireland 

Championship titles under his belt and at 

the age of eighteen he was the youngest 

ever winner of the prestigious and much 

coveted ‘Oireachtas’ piping competition. 

Combining with his musical siblings, John 

formed the exciting and innovative band 

Tamalin, bringing their unique fusion of 

Irish, Rock, Eastern and Celtic music to 

enthusiastic audiences around the world. 

John, always in constant demand, has had 


169


170 

the opportunity to perform with a multitude 

of other artists including Dan Ar Braz, Riverdance, 

Ornette Coleman and Secret Garden. 

Marie Luise Neunecker 

Hornistka Marie Luise Neunecker velja 

za eno najbolj uglednih instrumentalistk 

svoje generacije. V svoje vrste jo redno 

vabijo največji glasbeni festivali, zaželena 

pa je tudi kot solistka in komorna glasbenica. 

Kritik berlinskega časnika Morgenpost 

jo je opisal kot »resnično kraljevsko 

glasbenico, ki na rog igra z melodično 

gracioznostjo in lahkotnimi, prožnimi linijami, 

ki so marsikateremu hornistu nedosegljivi.« 

Kot solohornistka Bamberških 

simfonikov in Radijskega simfoničnega 

orkestra iz Frankfurta je med leti 1979 in 

1989 nase opozorila s številnimi nagradami 

uglednih mednarodnih glasbenih tekmovanj. 

Kot komorna glasbenica nastopa 

z violinistoma Petrom Zimmermannom 

in Christianom Tetzlaffom, s pianistom 

Larsom Vogtom in kvartetom Zehetmair. 

György Ligeti ji je posvetil koncert za rog 

»Hamburški koncert«, ki ga je Marie Luise 

Neunecker premierno izvedla leta 2001. 

S številnimi posnetimi nosilci zvoka je 

hornistka znatno pripomogla k večji prepoznavnosti 

literature svojega glasbila 

iz najrazličnejših ustvarjalnih obdobij. 

Marie Lusie Neunecker je profesorica za 

rog na Višji šoli za glasbo Hannsa Eislerja 

v Berlinu. 

Hornist Marie Luise Neunecker is one of 

today’s most prominent instrumentalists. 

She is regularly invited to appear at Major 

music festivals and is much in demand as 

a chamber musician. As the Berliner Morgenpost 

wrote, “The truly regal Marie Luise 

Neunecker plays the horn with a melodic 

grace and effortless, supple lines that other 

horn players can only dream of.” During her 

tenure as principal horn of the Bamberg 

Symphony Orchestra and the Frankfurt Radio 

Symphony Orchestra from 1979 to 1989, 

she attracted attention by winning several 

prestigious international competitions. 

She appears as a chamber musician with 

violinists Frank Peter Zimmermann and 

Christian Tetzlaff, pianist Lars Vogt, and the 

Zehetmair Quartet. György Ligeti composed 

his horn concerto, Hamburg Concerto, for 

Marie Luise Neunecker, which she premiered 

in January 2001. Her many recordings have 

contributed significantly to making horn 

literature of various epochs more familiar 

to listeners. Marie Luise Neunecker is professor 

of horn at the Hanns Eisler Academy of 

Music in Berlin. 

Emmanuel Pahud 

Švicarski glasbenik, ki je bil pri rosnih 22-ih 

letih imenovan za solo flavtista Berlinskih 

filharmonikov, ob svoji dejavnosti v tem 

prestižnem orkestru pa nastopa še kot solist 

z drugimi svetovno znanimi orkestri, 

na primer z Londonskim filharmoničnim 

orkestrom ali z Japonskim simfoničnim 

orkestrom NHK ter pod vodstvom slovitih 

dirigentov kot so Claudio Abbado, 

Sir Simon Rattle in Mstislav Rostropovič. 

Veliko časa posveča tudi komorni glasbi, 

tako je pred kratkim skupaj s pianisti Ericom 

Le Sagem, Yefimom Bronfmanom in 

Hélène Grimaud prepotoval Evropo, Severno 

Ameriko in Japonsko. Na festivalu 

v Luzernu je bil počaščen z nazivom residenčnega 

umetnika, v njegovo obsežno 

zbirko pomembnih nagrad pa spadajo 

tudi posebne nagrade, kot so Concours 

de Genève (kjer je leta 1992 osvojil kar 

osem od dvanajstih nagrad), solistična 

nagrada v okviru Svetovne skupnosti 

francosko govorečega radija in nagrada 

Evropskega sveta Juventus. Pahud se 

lahko pohvali tudi z nagrado fundacije 

Yehudija Menuhina in UNESCO-ve Mednarodne 

glasbene tribune. Veliko nagrad 

je Pahudu prinesla njegova diskografija

– med drugimi nagrade TV-Victoires de 

la Musique, Diapason d’Or, posnetek leta 

Francoskega radia in nagrado japonske 

glasbene industrije Record Geijutsu. Njegovi 

najnovejši posnetki za založbo EMI 

Classic so sonate Cesarja Francka, Charlesa-Marie 

Widorja in Richarda Straussa, 

z Avstralskim komornim orkestrom pa je 

posnel še nekaj Vivaldijevih koncertov. 

Njegova plošča z izvedbo Koncerta za 

flavto Carla Nielsena je bila nominirana 

za dva grammyja in nagrajena z nagrado 

nemških glasbenih kritikov. 

Swiss flautist Emmanuel Pahud was appointed 

Principal Flute of the Berlin Philharmonic 

Orchestra at the age of 22 and 

has performed with this world renowned 

orchestra ever since. As soloist he regularly 

performs with other leading orchestras such 

as the London Philharmonic Orchestra or 

the NHK Symphony Orchestra and with 

highly esteemed conductors like Claudio 

Abbado, Sir Simon Rattle and Mstislav 

Rostropovich. As a passionate chamber 

musician Pahud recently toured around 

Europe, North America and Japan with 

pianists Eric Le Sage, Yefim Bronfman and 

Hélène Grimaud. Pahud’s extraordinary 

talent has won him many awards, including 

“Artiste Ètoile” at the Lucerne Festival. 

His awards comprise eight of twelve special 

awards of the “Concours de Genève” 

1992, the soloist award of the “Worldwide 

French-speaking Community Radio 

Awards” as well as the “Juventus Award” of 

the European Council. Moreover, Pahud is 

prizewinner of the “Yehudi Menuhin Foundation” 

and the “International Tribune for 

Musicians of UNESCO”. His discography is 

much acknowledged and was awarded with 

many prizes, including some “TV-Victoires 

de la Musique”, “Diapason d’Or”, “Record of 

the Year” from Radio France or the “Record 

Geijutsu” prize of the Japanese music industry. 

As exclusive artist for EMI Classics his 

latest recordings include sonatas from César 

Franck, Charles-Marie Widor and Richard 

Strauss as well as Antonio Vivaldi concertos 

with the Australian Chamber Orchestra. His 

record of Carl Nielsen’s Flute Concerto was 

nominated for two Grammys and awarded 

with the German Record Critic’s Award. 

Janez Podlesek 

Janez Podlesek je bil rojen leta 1981 v Ljubljani. 

Violino se je začel učiti pri sedmih 

letih pri profesorju Hervinu Jakončiču na 

Glasbeni šoli Domžale. Šolanje je nadaljeval 

na Srednji glasbeni in baletni šoli 

Ljubljana pri profesorici Dušanki Stražar. 

Leta 1999 je prejel Škerjančevo nagrado. 

Glasbena pot ga ni vodila daleč, saj je študij 

violine nadaljeval v razredu profesorja 

Primoža Novšaka na Akademiji za glasbo. 

Leta 2004 je diplomiral in septembra 

2006, prav tako pri profesorju Novšaku, 

končal še podiplomski študij. Izpopolnjeval 

se je pri Leonidu Sorokovu, Helfriedu 

Fisterju, Ilanu Gronichu in Tomažu Lorenzu. 

Na tekmovanjih v Ljubljani, Zagrebu 

in Gorici je osvojil več nagrad. Med študijem 

je dvakrat prejel Prešernovo nagrado 

Akademije za glasbo. Redno deluje v Triu 

Clavimerata; z njim je posnel tri zgoščenke. 

Sodeluje še s številnimi priznanimi 

slovenskimi in tujimi glasbeniki, kot so 

Arvid Engegård, pihalni kvintet Slowind, 

Mirjam Kalin … Od septembra 2004 je 

koncertni mojster orkestra Slovenske 

filharmonije in Komornega godalnega 

orkestra Slovenske filharmonije. Kot član 

Komornega godalnega orkestra Slovenske 

filharmonije je decembra 2006 prejel 

Bettetovo listino. 


171


172 

Janez Podlesek was born in Ljubljana, Slovenia 

in 1981. He began studying violin aged 

seven years with Professor Hervin Jakončič 

at the Music school in Domžale. He continued 

his studies at the Music and ballet secondary 

school in Ljubljana under Professor 

Dušanka Stražar. In 1999 he was awarded 

with the Škerjanec prize. Janez Podlesek 

studied violin at the Academy of Music in 

Ljubljana, under Professor Primož Novšak, 

who was also his mentor during Janez’s 

postgraduate studies. Janez perfected his 

playing with Leonid Sorokov, Helfried Fister, 

Ilan Gronich and Tomaž Lorenz. He won 

numerous awards at music competitions in 

Ljubljana, Zagreb and Gorizia. Janez Podlesek 

was awarded the Student Prešeren 

prize of the Academy of Music twice during 

his studies. He’s an active member of the 

Clavimerata Trio, with which he recorded 

three records. He regularly cooperates 

with renowned Slovene and foreign musicians, 

like Arvid Engegård, wind quintet 

Slowind, Mirjam Kalin … Since September 

2004 Janez Podlesek is concert master of 

the Symphony Orchestra of the Slovene 

Philharmonics and of the String Chamber 

Orchestra of the Slovene Philharmonics. As 

member of the String Chamber Orchestra 

he was awarded the Betteto award in 2006. 

Ognjen Popović 

Ognjen Popović se je rodil leta 1977 v 

Pančevu, Srbija, kjer je obiskoval nižjo in 

srednjo glasbeno šolo. Leta 1999 je pod 

vodstvom profesorja Ulfa Rodenhäuserja 

diplomiral na Akademiji za glasbo v Stuttgartu, 

dve leti kasneje pa pridobil magisterij 

na Akademiji za glasbo v Münchnu. 

Kot solist ali član komornih ansamblov je 

nastopil že po vsem svetu. V svoji karieri 

je Ognjen sodeloval že z Münchensko 

filharmonijo, Evropskim komornim orkestrom, 

Beograjsko filharmonijo, Radijskim 

orkestrom Valencia, akademskima 

orkestroma iz Münchna in Stuttgarta … 

Je večkratni nagrajenec mednarodnih 

glasbenih tekmovanj doma in v tujini. 

Od leta 2002 je solo klarinetist Beograjske 

filharmonije. Istega leta je ustanovil 

komorni ansambel »Balkanska komorna 

akademija«, ki ga sestavljajo znana imena 

iz sveta klasične glasbe. Ognjen Popović 

je tudi predavatelj za klarinet in saksofon 

na mednarodni glasbeni delavnici pihal v 

Tivtu, od leta 2007 naprej pa tudi docent 

na ugledni akademiji za komorno glasbo 

Villa Musica v Nemčiji in profesor za klarinet 

in saksofon na beograjski Akademiji 

lepih umetnosti. 

Ognjen Popović was born in 1977 in 

Pančevo, Serbia. He graduated at the Academy 

of Music in Stuttgart, Germany, under 

the guidance of Professor Ulf Rodenhäuser 

in 1999. Two years later he received a master’s 

degree from the Academy of Music in 

Munich, Germany. As soloist or member of 

chamber ensembles Ognjen Popović has 

performed around the globe. He has worked 

with numerous orchestras, including the 

Munich Philharmonic, the European Chamber 

Orchestra, Radio Symphony Orchestra 

Valencia, the Belgrade Philharmonic, the 

Munich Academic Orchestra, the Stuttgart 

Academic Orchestra … Ognjen is laureate 

of numerous music competitions at home 

and abroad. Since 2002 he is solo clarinet of 

the Belgrade Philharmonic. In the same year 

he founded “The Balkan Chamber Academy”, 

a chamber ensemble, composed of 

famous classical musicians. Since 2007 Ognjen 

Popović is assistant Professor at the renowned 

academy for chamber music “Villa 

Musica” in Germany. He is also Professor for 

clarinet and saxophone at the Academy of 

fine arts in Belgrade and teaches clarinet 

and saxophone at the international music 

workshop for wind instruments in Tivat.

Aleksander Rudin 

Aleksander Rudin velja za enega najbolj 

uglednih violončelistov našega časa. Leta 

1983 je na sloviti ruski Glasbeni akademiji 

Gnessin diplomiral kot čelist in pianist, leta 

1989 pa je na Moskovskem glasbenem 

konservatoriju zaključil še študij dirigiranja. 

Zmage na najprestižnejših glasbenih 

tekmovanjih Stare celine, med drugim je 

dvakratni nagrajenec slovitega tekmovanja 

Čajkovski, so bile sijajna popotnica za 

začetek umetniške kariere. Od leta 1988 je 

umetniški vodja in stalni dirigent komornega 

orkestra Musica Viva. Rudin redno 

nastopa po vsem svetu, bodisi kot solist 

ali dirigent številnih priznanih orkestrov, 

je reden gost festivalov kot sta Kuhmo 

in Edinburgh, poučuje tudi na številnih 

mojstrskih tečajih. Poleg tega je tudi redni 

profesor na Moskovskem glasbenem 

konservatoriju, redno pa kot dirigent sodeluje 

tudi z ruskimi mladinskimi orkestri. 

Skupaj s komornim orkestrom Musica 

Viva ali kot solist je za vodilne ruske in 

svetovne glasbene založbe posnel prek 

trideset nosilcev zvoka. Rudin pa izstopa 

tudi po svoji posebni osebnosti; njegovi 

mnogi različni talenti glasbenega ustvarjanja 

se pri muziciranju zlijejo v popolno 

ravnovesje. Strogo se drži smeri, ki si jo 

je začrtal sam; pot kreativnih idej in eksperimentiranja 

v popolnoma akademski 

glasbeni tradiciji. 

Alexander Rudin stands out as one of the 

world’s finest cellists of his generation. In 

1983 he received his degree in music (cello 

and piano) at Moscow’s Gnessin Academy 

of Music. Later he pursued conducting studies 

at the Moscow Conservatoire where 

he graduated in 1989. He won numerous 

prizes at the most prestigious European 

music competitions, including two at the 

renowned Tchaikovsky competition, what 

gave him a brilliant start to his artistic career. 

Since 1988 Rudin has been the Artistic 

Director and conductor of Musica Viva, 

one of the finest chamber orchestras in the 

world. Nowadays Alexander Rudin performs 

worldwide with the world’s most renowned 

symphony or chamber orchestras as a soloist 

as well as a conductor, participates at festivals 

such as Kuhmo or Edinburgh and gives 

regular master classes all over the globe. He 

is professor at the Moscow Conservatoire 

and regularly works as a conductor with 

youth orchestras. Rudin has recorded over 

30 CDs, both solo and with the Musica Viva 

Orchestra, for leading Russian and foreign 

labels. He stands out for his extraordinary 

personality: he is talented in various aspects 

of musical performance, with all his talents 

creating a perfect balance. He strictly follows 

the direction he has chosen for himself; 

the path of creative ideas and experiments 

in a purely academic musical tradition. 

Tomaž Sevšek 

Tomaž Sevšek, rojen leta 1978, je s študijem 

orgel začel na Visoki šoli za glasbo v 

Freiburgu pri Zsigmondu Szathmáryju, 

obenem pa je študiral tudi čembalo pri 

prof. Robertu Hillu. Med študijem se je 

leto dni v okviru izmenjave dodatno izobraževal 

na Eastmanovi glasbeni šoli v 

Rochestru (ZDA), kjer je orgle študiral pri 

Davidu Higgsu, čembalo pa pri Arthurju 

Haasu. Leta 2003 je v Freiburgu zaključil 

podiplomski študij orgel in diplomiral iz 

čembala. Je trikratni prejemnik prve nagrade 

na Tekmovanjih mladih slovenskih 

glasbenikov in prejemnik druge nagrade 

na Evropskem tekmovanju mladih orglavcev 

leta 1998 v Ljubljani. Leta 2002 je 

zmagal na severnoameriškem izbornem 

tekmovanju za Mednarodno orgelsko 

tekmovanje Calgary, leta 2003 pa je bil 

finalist Mendelssohnovega tekmovanja v 

Berlinu. Tomaž Sevšek uspešno koncertira 

doma in v tujini (Nemčija, Avstrija, Italija, 

Nizozemska, Španija, ZDA). Redno nastopa 

z orkestrom Slovenske filharmonije, 

s Komornim godalnim orkestrom Slovenske 

filharmonije pa sodeluje tudi kot 


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čembalist. Je soustanovitelj komorne zasedbe 

za staro glasbo Musica Cubicularis 

in zavoda Harmonia Antiqua Labacensis. 

Od leta 2004 je predsednik Slovenskega 

orgelskega društva. Poglobljeno se posveča 

izjemno širokemu spektru orgelske 

in komorne glasbe od pozne renesanse 

do glasbene avantgarde 21. stoletja. 

Born in 1978, Tomaž Sevšek graduated 

in 2001 from Musikhochschule Freiburg, 

Germany, studying organ with Zsigmond 

Szathmáry and harpsichord with Robert 

Hill. Receiving scholarships from the Slovene 

Ministry of Culture he enrolled at the 

Eastman School of Music, Rochester NY, 

where he studied organ with David Higgs 

and harpsichord with Arthur Haas. In 2003 

he finished his master’s programme (organ 

and harpsichord) in Freiburg. Tomaž Sevšek 

won first prize at the Slovene National Competition 

for Young Organists several times 

and received second prize at the European 

Competition for Young Organists in 1998. 

He was finalist of the Royal Bank of Canada 

Calgary Organ Competition (2002) and 

the Mendelssohn-Wettbewerb (2003). He 

gives recitals in Slovenia, Germany, Austria, 

Italy, the Netherlands, Spain and the USA. 

He regularly performs with the Orchestra 

of the Slovene Philharmonics and – as a 

harpsichordist and continuo player – with 

the Chamber Orchestra of the Slovene Philharmonics. 

Tomaž Sevšek is a founding 

member of an early music ensemble Musica 

Cubicularis and Institute Harmonia Antiqua 

Labacensis. He has been head of the Slovenian 

Organ Society since 2004. His interest 

lies in a broad spectrum of music, from the 

late renaissance to the musical avant-garde 

of the 21 st century. 

Simfonični orkester 

Slovenske filharmonije 

/ Slovene Philharmonic 

Orchestra 

Ni veliko simfoničnih orkestrov, ki bi se 

lahko ponašali s tako bogato in dolgoletno 

tradicijo kot Orkester Slovenske 

filharmonije. Zaradi odlične geografske 

lege med Alpami in Jadranom, na stičišču 

germanskega, romanskega in slovanskega 

sveta, je lahko glasbena umetnost sledila 

vplivom tako s severa in juga kot tudi 

z vzhoda in zahoda. Orkester Slovenske 

filharmonije se s svojimi predhodnicami 

Academio Philharmonicorum (1701), Filharmonično 

družbo (1794) ter prvo Slovensko 

filharmonijo (1908–1913) ponosno 

postavlja ob bok najstarejših na svetu. 

Med mnogimi uglednimi umetniki, ki so 

postali častni člani Slovenske filharmonije 

srečamo Josepha Haydna, Ludwiga van 

Beethovna, Niccolò Paganinija, Johannesa 

Brahmsa, Carlosa Kleiberja in številne 

druge. Svoj sloves je orkester potrdil na 

številnih gostovanjih v evropskih kulturnih 

metropolah in v Združenih državah 

Amerike ter na Japonskem, predstavil pa 

se je tudi na pomembnih mednarodnih 

festivalih Dunajski slavnostni tedni, Maggio 

Musicale Fiorentino, Praška pomlad, 

Varšavska jesen, Dubrovniške poletne 

igre, Ravenski festival … Leta 2006 je 

Orkester Slovenske filharmonije z velikim 

uspehom izvedel turnejo po Švici in 

presegel vsa pričakovanja na prvi turneji 

po Japonski. 2007 se je predstavil publiki 

v Ludwigshaffnu, Luganu, La Chaux-de- 

Fondsu in Dubrovniku, lani pa v Budimpešti, 

Bratislavi, na festivalu MIDEM v 

Cannesu, v Sarajevu, Bruslju, Gradcu, St. 

Pöltnu, Beljaku in dvorani Dunajskem 

glasbenega združenja.

There are not many symphonic orchestras 

in the world to pride themselves on such an 

intensive and long-standing tradition as the 

Slovene Philharmonic Orchestra can. The 

geographical significance of this country 

between the Alps and the Adriatic, at the 

crossing-point of Germanic, Romance and 

Slavic worlds, permitted the musical art to 

follow the musical trends from North and 

South and from East and West. The history 

of the Slovene Philharmonic Orchestra and 

its predecessors Academia Philharmonicorum 

(1701), the Philharmonic Society (1794), 

and the first Slovene Philharmonic (1908– 

1913) make it one of the oldest in the world. 

Among the many great names that became 

honorary members of the Slovene Philharmonic 

we can find Joseph Haydn, Ludwig 

van Beethoven, Niccolò Paganini, Johannes 

Brahms, Carlos Kleiber and many others. 

The Orchestra has re-affirmed its reputation 

on numerous tours across European cultural 

centres and in the United States of America 

and Japan, presenting itself also at many 

renowned International Festivals (Wiener 

Festwochen; Maggio Musicale Fiorentino, 

The Prague Summer, The Warsaw Autumn, 

The Dubrovnik Summer Festival, Ravenna 

Festival …). In 2006 the Orchestra achieved 

great success at the tour of Switzerland, and 

surpassed all expectations on its first Japan 

tour ever. In 2007 they had concerts in Ludwigshaffen, 

Lugano, La Chaud-de-Fonds, 

and Dubrovnik, and last year they have performed 

in Budapest, Bratislava, MIDEM in 

Cannes, Sarajevo, Bruxelles, Graz, St. Pölten, 

Villach and Vienna. 

Slovenski komorni 

zbor / The Slovenian 

Chamber Choir 

Slovenski komorni zbor, ki od leta 1998 

deluje kot samostojna organizacijska 

enota Slovenske filharmonije, je edini 

profesionalni pevski zbor pri nas. Ustanovljen 

je bil leta 1991 na pobudo Mirka 

Cudermana, ki je že ves čas tudi njegov 

umetniški vodja. Osnovna naloga zbora 

so koncerti vokalno-inštrumentalne 

in a capella glasbe v okviru Vokalnega 

abonmaja, redno pa sodeluje tudi v vokalno-inštrumentalnih 

projektih z domačimi 

in tujimi orkestri. Slovenski komorni 

zbor je sodeloval z mnogimi uglednimi 

tujimi zborovskimi dirigenti (E. Ericson, 

T. Kaljuste, G. Theuring, V. Kranjčević, J. 

Scheidegger, H. Leenders …), prav tako 

pa je imel na vokalno-inštrumentalnih 

koncertih priložnost peti pod taktirkami 

uglednih domačih in tujih orkestrskih 

dirigentov (M. Horvat, K. Penderecki, H. 

Haenchen, U. Gronostay, T. Guschlbauer, 

J. Kovács, K. Kobayashi, R. Muti …). Na 

svojih koncertih je zbor odpel več krstnih 

izvedb domačih in tujih avtorjev, večina 

njegovih programov v Vokalnem abonmaju 

pa je bila slovenskemu občinstvu 

predstavljena prvič. Med drugim je SKZ 

izdal trideset zgoščenk slovenske sakralne 

glasbe pod imenom Musica Sacra Slovenica, 

se predstavil tujemu občinstvu na 

številnih evropskih festivalih in je večkratni 

nagrajenec festivala Varaždinski 

baročni večeri. 

The Slovenian Chamber Choir was founded 

in 1991 as a professional choir on the initiative 

of Mirko Cuderman, who has been leading 

it ever since. It operates as an individual 

organisational unit within the Slovenian 

Philharmonics and has approximately 

35 performances per concert season. Its 

basic goals are vocal/instrumental and a 

cappella music concerts within the Vocal 

season series, and it is regularly active in 

vocal/instrumental projects in cooperation 

with Slovenian and foreign orchestras. The 

Slovenian Chamber Choir has performed 

with numerous foreign choirmasters for the 

Vocal season series (E. Ericson, T. Kaljuste, 

G. Theuring, V. Kranjčević, J. Scheidegger, H. 

Leenders …). The vocal/instrumental music 

concerts offered many great opportunities 

for the choir to sing under the baton of re- 


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nowned Slovenian and foreign orchestra 

conductors (M. Horvat, K. Penderecki, H. 

Haenchen, U. Gronostay, T. Guschlbauer, 

J. Kovács, K. Kobayashi, R. Muti …). The 

choir’s concert repertoire has offered many 

premieres of Slovenian and foreign authors’ 

works, with most of the program within the 

Vocal season series being new to the home 

audience. The Slovenian Chamber Choir has 

performed at numerous European festivals, 

has been rewarded multiple times for their 

performances at the Varaždin Baroque 

Evenings festival and released 30 CDs of 

Slovenian sacred music under the name 

Musica Sacra Slovenica. 

Andrej Smrekar 

Andrej Smrekar se je rodil v Kostanjevici 

na Krki leta 1954. Diplomo in magisterij 

iz umetnostne zgodovine je opravil na 

ljubljanski Filozofski fakulteti, doktorat 

pa na znamenitem Harvardu. Vrsto let 

je delal kot vodja ateljeja na prostem 

Mednarodnega simpozija kiparjev Forma 

viva, kot organizator kulturnih programov 

pri Dolenjskem kulturnem festivalu 

in Grafičnem bienalu jugoslovanskih 

otrok. Po diplomi leta 1977 se je zaposlil 

kot kustos v Galeriji Božidar Jakac, kjer je 

sodeloval pri postavitvi njenih prvih stalnih 

zbirk, kasneje je postal njen direktor. 

V letih 1980/81 je bil IREX-ov štipendist 

– svobodni slušatelj na Harvardski univerzi. 

Med študijem je delal v grafični 

zbirki v Fogg Art Museumu, bil večkrat 

asistent pri vajah različnih predmetov in 

izvedel tri predavanja o moderni plastiki 

na Brandeis University. S tezo »Nadrealizem 

in slikarstvo: predstavitve v teoriji in 

kritiki v Parizu 1925 – 1928« je doktoriral 

leta 1991. Kot direktor Narodne galerije 

je v letih od 1991 do 2005 koordiniral 

več večjih projektov (Gotika v Sloveniji, 

Zakladi slovenskih cerkva, Valentin 

Metzinger itd.) Pripravil je več razstav iz 

slovenske zgodnje moderne umetnosti. 

Plod njegovega zanimanja za recepcijo 

likovne umetnosti je več razstav in 

razprav s področja slovenske moderne 

umetnosti. Sedaj je muzejski svetnik v 

Narodni galeriji in skrbi za zbirko del na 

papirju. Andrej Smrekar je od leta 2002 

predsednik Slovenskega muzejskega 

društva in od 2006 član IO slovenskega 

nacionalnega odbora ICOM. 

Andrej Smrekar was born in 1954 in Kostanjevica 

na Krki, Slovenia. He received his BA 

and MA at the University of Ljubljana and 

his Ph.D. at Harvard University. For a number 

of years he has worked for the International 

Symposium of Sculptors FORMA VIVA, 

for the Lower Carniolan Festival of Culture 

in Kostanjevica na Krki and for the Yugoslav 

Biennial of Children’s Print. After his 

graduation he took the post of the curator 

at the Božidar Jakac Art Museum and later 

became its director. In 1980/81 he held an 

IREX grant as a visiting fellow at Harvard 

University. During his doctoral studies in 

Cambridge, Massachusetts he worked at the 

Print Room of the Fogg Art Museum, held 

several teaching fellowships at the Harvard 

University and gave three lectures on early 

modern sculpture at the Brandeis University. 

He received his Ph.D. from Harvard in 1991 

with his thesis “Surrealism and Painting: 

Representations in theory and Criticism 

in Paris 1925−1928”. Smrekar has been the 

director of the national Gallery of Slovenia 

from 1991 to 2005. As a curator he directed 

several national projects (Gothic Art in Slovenia, 

The Treasures of Slovene Churches, 

Valentin Metzinger, etc.). He has organized 

several exhibitions and wrote catalogues 

and articles on Slovene artists of the 20 th 

century. Smrekar’s interest in reception of 

visual art resulted in several papers and catalogues. 

He serves as a museum adviser to 

the National Gallery of Slovenia and keeper 

of the collection of works on paper. Andrej 

Smrekar has served as the president of the 

Slovene Museum Society since 2002 and as 

a member of the ICOM Slovenia executive 

board since 2006.

Theodosii Spassov 

Theodosii Spassov je na kaval, tipično 

bolgarsko pastirsko piščal, pričel igrati v 

Glasbeni šoli Kotel. Študij enega najstarejših 

inštrumentov v Evropi, ki navdušuje z 

bogatim zvokom in neomejenimi tehničnimi 

možnostmi, je nadaljeval na bolgarski 

Akademiji za glasbo in ples v Plovdivu. 

Spassov je z mešanjem tradicionalne bolgarske 

folk glasbe z jazz, fusion in klasično 

glasbo razvil edinstven stil igranja. V 

zadnjih dveh desetletjih je Theodosii na 

glasbenih turnejah prepotoval vso Evropo, 

Azijo, Bližnji Vzhod, Avstralijo, Kanado 

in ZDA. Leta 1994 je nastopil z Ženskim 

radijskim zborom Sofija, ki je za posnetek 

Le Mystere Des Voix Bulgares prejel 

prestižno nagrado grammy. Leto kasneje 

ga je revija Newsweek oklicala za enega 

najbolj talentiranih Vzhodnoevropskih 

glasbenikov, ki mu je »v postkomunističnem 

kulturnem opustošenju uspelo 

iznajti nov glasbeni žanr«. 

Theodosii Spassov began his early training 

on the caval at the Kotel Music School 

and The Academy of Music and Dance in 

Plovdiv/Bulgaria. The caval, an eight-hole 

wooden “shepherd” flute, is one of the oldest 

instruments in Europe, rich in tone and 

technical possibilities. Theodosii Spassov 

has developed his own unique style of 

playing the instrument by synthesizing 

traditional folklore with jazz, fusion and 

classical music. For over 20 years, he has 

toured all over Europe, Asia, the Middle 

East, Australia, Canada and United States. 

In 1994, he performed with Sofia Women’s 

Radio Choir which was awarded with a 

Grammy Award for “Le Mystere Des Voix 

Bulgares”. In April 1995, Newsweek magazine 

recognized Theodosii Spassov as one of 

the most talented Eastern–European musicians 

in its “Best of the East” article, noting 

that “Spassov … is not merely surviving the 

post-communist cultural wasteland. He has 

actually invented a new musical genre.” 

Atle Sponberg 

Atle Sponberg je študiral violino pod 

mentorstvom Isaaca Schuldmana na 

Norveškem konservatoriju in pod mentorstvom 

Hermana Krebbersa v Amsterdamu. 

Udeleževal se je mojstrskih tečajev, 

ki so jih vodili Isaac Stern, Shlomo Mintz, 

Henryk Szeryng in Mstislav Rostropovič. 

Sponberg je vodja Orkestra norveškega 

radia, pogosto pa pod njegovim vodstvom 

nastopa tudi Norveški komorni 

orkester. Nastopil je na recitalih in festivalih 

komorne glasbe širom Evrope, med 

drugim z glasbeniki kot sta Lars Anders 

Tomter in Truls Mørk. Posnel je že več nosilcev 

zvoka, katerih stilske zvrsti segajo 

od norveške folk glasbe, argentinskega 

tanga in vse do umetnostne glasbe. 

Atle Sponberg studied with Isaac Schuldman 

at Norway’s Conservatory and with 

Herman Krebbers in Amsterdam. He has 

participated in master classes with Isaac 

Stern, Shlomo Mintz, Henryk Szeryng and 

Mstislav Rostropovich. Atle Sponberg is 

leader of the Norwegian Radio Orchestra 

and is often invited to lead the Norwegian 

Chamber Orchestra. He has given recitals 

and chamber music performances at festivals 

throughout Europe with artists such as 

Lars Anders Tomter and Truls Mørk. Sponberg 

has released many CDs, from Norwegian 

folk music and Argentinean tango to 

classical music, including a CD of duos for 

violin and cello with Øystein Birkeland. 


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Danny Spooner 

Danny Spooner je strasten folk glasbenik 

in poznavalec britanske ter avstralske 

glasbene tradicije. Pred II. svetovno 

vojno, v londonskem East Endu rojeni 

Spooner, je odraščal v delavski družini, 

obdan s tako imenovano »cockney« tradicijo, 

glasbo in folkloro. Pri trinajstih letih 

je pustil šolo in začel delati na ladji, ki je 

plula po Temzi in ob obali južne Anglije. 

Pod budnim očesom Boba Robertsa se je 

učil britanskih pesmi in navdušeno prebiral 

njihove zgodbe. Naslednjih deset let je 

opravljal različna dela, od člana posadke 

ladijske reševalne službe do kapitana ribiške 

ladje. Raznoliko in skoraj nomadsko 

življenje je Dannyju prineslo izjemno bogate 

življenjske izkušnje. Ko je leta 1962 

prispel v Avstralijo, je ugotovil, da se 

tamkajšnje občinstvo navdušuje nad folk 

glasbo, ki je v tem času doživljala preporod. 

Zahvaljujoč izjemnemu spominu in 

želji po učenju, se je kmalu razvil v enega 

najboljših interpretov britanske folk glasbe 

v Avstraliji. Svoj repertoar je obogatil 

z mnogimi britanskimi tradicio nalnimi 

pesmimi in z glasbo avstralske kulturne 

dediščine. Glasba Dannyja Spoonerja je 

obenem tradicionalna glasba, ki zveni kot 

nova in nova glasba, ki zveni zelo ljudsko. 

Danny Spooner’s passion is the expression 

of British and Australian culture through 

folk music. Born into a working-class family 

in the East End of London prior to World War 

II, Danny Spooner grew up with the traditions, 

music and folklore of a typical Cockney 

family. At 13 he left school and worked 

on a sailing barge which plied the Thames 

and the south coast of England. Under 

the instructive eye of Bob Roberts, Danny 

learned British songs and was enrolled in 

libraries along the coast to read their stories. 

Over the next 10 years he held various jobs 

including salvage tug and trawler skipper. 

This varied, almost nomadic life, has given 

Danny a rare real-life education in the ways 

of working people. When Danny arrived in 

Australia in 1962, he realized that there was 

an audience ready, interested, and willing 

to appreciate these sorts of songs. This was 

the engine room of the folk revival in Australia, 

and made Danny want to learn those 

songs. Thanks to a prodigious memory and 

a willingness to learn about his craft, Danny 

Spooner quickly developed into one of the 

best singers of British folksongs in Australia. 

Over the years he has augmented what he 

learned ‘on the job’ with a vast repertoire 

spanning almost every part of the British 

tradition – as well as a respectable portion 

of the Australian folk heritage. Long described 

as ‘a living national treasure’, Danny 

Spooner can make traditional music seem 

new and make new songs seem old. 

Vlatko Stefanovski 

Vlatko Stefanovski se je leta 1957 rodil v 

gledališko družino v makedonskem Prilepu. 

Kitare se je naučil igrati s trinajstimi 

leti. Težko je opisati, kaj vse lahko Vlatko 

izvabi iz svoje kitare; izgleda, kot da že 

vso svojo kariero odkriva izrazne možnosti, 

ki mu jih instrument nudi. V zadnjih 

treh desetletjih je njegova glasba odražala 

njegov raznovrsten glasbeni okus 

in njegovo neprimerljivo tehniko igranja 

kitare. Na svetu ni veliko kitaristov, katerih 

delo so pohvalila imena kot so John 

McLaughlin, Mark Knopfler, Allan Holdsworth 

ali Joe Satriani. Vlatkov natančen, 

tekoč stil igranja, je bil ena od značilnosti 

in razpoznavnih znakov njegove skupine 

Leb i sol, s katero je nastopal in navduševal 

občinstvo po vsej bivši skupni državi. 

Tako na akustični kot električni kitari je 

Stefanovski že zdavnaj dokazal svoje kvalitete 

s katerimi se uvršča med vodilne 

in najzanimivejše kitariste v Evropi. Po 

razpadu skupine Leb i sol je zelo uspešno 

nadaljeval svojo solistično kariero. Skupaj 

z Miroslavom Tadićem, profesorjem na 

univerzi CalArts v Los Angelesu, je leta 

1997 posnel zbirko tradicionalnih pesmi 

in kol imenovano Krushevo, ki velja za 

enega vrhuncev njegovega glasbenega

ustvarjanja. Nedavno je virtuozni makedonski 

kitarist izdal solistični album 

»Thunder From The Blue Sky«, ki oslikava 

njegove kitaristične korenine in vzore. Na 

albumu med drugim gostuje tudi legendarni 

nizozemski kitarist Jan Akkerman. 

Stefanovski se uspešno poskuša tudi kot 

avtor glasbe številnih filmov, ki jo je leta 

2001 zbral in izdal v kompilaciji Kino Kultura. 

Univerza Cirila in Metoda v Skopju 

je leta 2007 njegovo glasbeno udejstvovanje 

nagradila s častnim doktoratom. 

Vlatko Stefanovski was born in 1957 in Prilep, 

FYR of Macedonia in a theatrical family. 

He started playing guitar at the age of 

13. It is not easy to describe what Vlatko 

Stefanovski does with his guitar; it seems 

that he has been on a quest for his whole 

career to discover the real possibilities of the 

instrument. For the last thirty years his work, 

both with his band Leb i Sol and his solo 

output, has reflected his diverse tastes and 

delicate guitar playing. Not many people 

have John McLaughlin, Mark Knopfler, Allan 

Holdsworth, and Joe Satriani praising 

their work. His precise, flowing style was one 

of the identifying trademarks of Leb i Sol’s 

sound and regardless whether he is playing 

acoustic or electric guitar, Stefanovski 

has demonstrated musical qualities that 

have made him one of the most exciting 

and progressive European guitarists. After 

Leb I sol he developed a very successful solo 

career. In 1997, together with Miroslav Tadić, 

a professor at CalArts in LA, he recorded Krushevo 

a collection of traditional songs and 

reels played on two guitars, which to this 

very day is one of the highlights of his career 

as a recording and performing artist. His 

latest release ‘Thunder from the Blue Sky’ 

is a magnifi-cent blues record with guitar 

legend Jan Akkerman (Focus) contributing 

his part and perfectly complementing the 

almost dizzying playing of the 6-string virtuoso 

from Macedonia. Stefanovski wrote 

music for several films which was later collected 

and released as Kino Kultura in 2001. 

In 2007 Stefanovski was honoured a doctorate 

honoris causa at Skopje’s University St. 

Kiril and Metodij. 

Knut Erik Sundquist 

Na Festival Maribor se vrača tudi Knut Erik 

Sundquist, eden najodličnejših kontrabasistov 

iz dežele fjordov. Sedem let je bil 

član Filharmoničnega orkestra Bergen, 

danes pa redno nastopa z Norveškim komornim 

orkestrom, Norveškim baročnim 

orkestrom, Festivalskim orkestrom Lucern 

ter Mahlerjevim komornim orkestrom 

pod vodstvom Claudia Abbada. Nekdanji 

nogometaš je priljubljeni šport opustil 

zaradi študija glasbe, prvi kontrabas, ki 

ga je prijel v roke, pa je bil izdelan kar 

doma; iz vratu očetove kitare in plošče 

z domače mize. Na začetku je igral jazz, 

nato pa se je pridružil orkestru v mestu 

Tromsø. Kot pravi sam, je Mozartov Rekviem 

v njem prebudil življenje. Njegovi 

recitali so cenjeni tako na Norveškem kot 

v tujini, žirija festivala Northern Lights ga 

je tako nagradila za dosežke v njegovi 

glasbeni karieri. V obrazložitvi so še posebej 

pohvalili njegov »suveren nadzor 

nad instrumentom, ki je dovršen tako 

glasbeno kot tehnično« ter njegov čisti, 

elegantni in sijajni zvok. V domačem Harstadu 

je Sundquist kontrabasist in vodja 

orkestra Divison Music Corps, sicer pa je 

tudi član frankfurtskega Ensemble Modern, 

s katerim izvaja vsa pomembnejša 

dela sodobnih skladateljev. 


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One of Norway’s foremost double bass players, 

Knut Erik Sundquist was a member of 

the Bergen Philharmonic Orchestra for seven 

years and now performs regularly with 

the Norwegian Chamber Orchestra and 

Norwegian Baroque Orchestra, the Lucerne 

Festival Orchestra, and the Mahler Chamber 

Orchestra under the direction of Claudio 

Abbado. A former soccer player, Knut Erik 

Sundquist gave up the sport to study music, 

beginning his studies on a home-made double 

bass constructed from a tabletop and 

the neck of his father’s guitar. He first started 

playing jazz, then joined the orchestra in 

his hometown of Tromsø. He fondly recalls 

that “the Mozart Requiem awakened life 

in me.” Sundquist’s recitals are applauded 

both at home in Norway and abroad. He 

was honored recently with the jury prize at 

the Northern Lights Festival, an award that 

recognizes his achievements throughout 

his musical career. He has been praised 

for his “sovereign control over the double 

bass, both musically and technically” and 

for coaxing elegantly clean and beautiful 

sounds from its strings. He also plays 

with the Ensemble Modern in Frankfurt, a 

group which performs the most important 

contemporary music. When he is at home 

in Harstad in northern Norway, he is the 

double bass musician in the Division Music 

Corps there. 

Igor Škerjanec 

Violončelist Igor Škerjanec se je rodil leta 

1962 v Ljubljani v glasbeni družini. Pri 

desetih letih se je pri svojem očetu Cirilu 

Škerjancu začel učiti violončelo. Študij je 

nadaljeval v ZR Nemčiji na glasbeni akademiji 

v Detmoldu v razredu profesorja 

Andrea Navarre, kjer je leta 1986 diplomiral 

z odliko. Pozneje je končal še podiplomski 

študij in se nato izpopolnjeval na 

mojstrskih tečajih pri Danielu Shafranu 

in Borisu Pergamenšikovu v Grožnjanu, 

Sionu in v Sieni. Med študijem je prejel 

vrsto prvih nagrad na raznih tekmovanjih 

študentov glasbe. Kot solist čelist deluje v 

orkestru Slovenske filharmonije, s katerim 

je posnel zgoščenko s koncerti Haydna, 

Elgarja in Saint-Saënsa, kot solist in komorni 

glasbenik pa veliko nastopa doma 

in v tujini. S triom Luwigana je prepotoval 

skoraj vso Evropo in severno Ameriko. 

Kot solist je nastopal z različnimi orkestri, 

izvajal pa je tudi vrsto del slovenskih 

skladateljev. Od leta 2002 je tudi solist Komornega 

godalnega orkestra Slovenske 

filharmonije. Za svoje dosedanje delo je 

prejel Bettetovo nagrado Društva slovenskih 

glasbenih umetnikov in Zupančičevo 

nagrado mesta Ljubljana. Od leta 2006 je 

docent na Akademiji za glasbo v Ljubljani 

za predmet violončelo. 

Cellist Igor Škerjanec was born in 1962 in 

Ljubljana, Slovenia. He grew up in a musical 

family where he took his first cello lessons 

at the age of ten with his father, cellist 

Ciril Škerjanec. Later Igor studied cello with 

Professor André Navarra at the Academy 

of Music in Detmold, Germany, where he 

graduated with honors in 1986. Afterwards 

he finished his postgraduate studies and 

took master classes with Daniel Shafran 

and Boris Pergamentchikov in Grožnjan, 

Sion and Siena. During his studies Igor was 

laureate of many student competitions. 

He is solo cellist of the Slovene Philharmonics 

and recorded with them concerts of 

Haydn, Elgar and Saint-Saëns. He is also 

very active as soloist and chamber musician. 

With trio Luwigana he has performed 

successfully throughout Europe and North 

America, he played with diverse orchestras 

and presented among others also works of 

Slovenian composers. Since 2002 Igor is a 

soloist of the Slovene Philharmonic String 

Chamber Orchestra. He’s been awarded the 

Betteto Award from the Slovene Composers 

Society and the Zupančič Award from 

the Municipality of Ljubljana. Since 2006 

Igor Škerjanec is Assistant Professor at the 

Academy of Music in Ljubljana.

Melvyn Tan 

V Singapurju rojeni Melvyn Tan že tri 

desetletja živi in ustvarja v Veliki Britaniji. 

Svoj študij je pričel na šoli Yehudija 

Menuhina, kjer je med drugim študiral 

pri Vladu Perlemuterju, Nadii Boulanger 

in Marceu Ciampiju. Preden se je posvetil 

igranju fortepiana je na londonski Kraljevi 

visoki šoli za glasbo študiral klavir 

pod mentorstvom Angusa Morrisona in 

čembalo pod mentorstvom Ruth Dyson. 

Potem, ko si je kot fortepianist ustvaril 

izjemen ugled na mednarodni ravni, se 

je leta 1995 odločil, da se spet posveti 

igranju sodobnega klavirja. Tan je predstavil 

celotne cikle Beethovnovih sonat 

ter Debussyjevih in Chopinovih Preludijev 

v New Yorku, Tokiu in Londonu. V svoji 

karieri je s slovitimi orkestri nastopil v 

najpomembnejših koncertnih dvoranah 

sveta in na številnih festivalih, kot so 

Salzburg, Mondsee, Cheltenham, City of 

London, Spitalfields, Bath, Oxford in Peking. 

Nastopil je z dirigenti, kot so Roger 

Norrington, Bruno Weil, Leonard Slatkin, 

Frans Brüggen, Nicholas McGeegan, Herbert 

Soudant, Libor Pešek, Marin Alsop, 

Emmanuel Krivine in Jaap van Zweden. 

Od novembra 2000 je profesor na londonski 

Kraljevi visoki šoli za glasbo. 

Born in Singapore and resident in the UK 

since 1978, Melvyn began his studies at the 

Yehudi Menuhin School, where his teachers 

included Vlado Perlemuter, Nadia Boulanger 

and Marcel Ciampi. At London’s Royal 

College of Music he studied piano with 

Angus Morrison and harpsichord with Ruth 

Dyson before progressing to the fortepiano. 

Having established an international reputation 

for his performances on the fortepiano, 

Tan made the decision to return publicly 

to the modern piano in 1995. Melvyn has 

given complete cycles of the Beethoven 

Sonatas, Debussy and Chopin Preludes, 

in New York, Tokyo and London, and has 

performed at leading concert halls with renowned 

orchestras around the world. Festival 

appearances include Salzburg (summer 

festival and Mozartwoche), Mondsee, Cheltenham, 

City of London, Spitalfields, Bath, 

Oxford and Beijing. In addition to Roger 

Norrington his concerto partners have 

included conductors Bruno Weil, Leonard 

Slatkin, Frans Brüggen, Nicholas McGeegan, 

Herbert Soudant, Libor Pešek, Marin Alsop, 

Emmanuel Krivine and Jaap van Zweden. 

In November 2000 he was made a fellow of 

the Royal College of Music. 


Richard Tognetti je avstralski violinist, 

skladatelj in dirigent. Rodil se je v Canberri, 

odraščal pa v Wollongongu. Trenutno 

je umetniški vodja in direktor Avstralskega 

komornega orkestra. Študiral 

je na Glasbenem konservatoriju v Sydneyu, 

podiplomski študij pa nadaljeval pri 

mariborskem profesorju Igorju Ozimu na 

Konservatoriju v Bernu, kjer je leta 1989 

med vsemi absolventi, solisti dobil tudi 

prestižno nagrado Tschumi. Kasneje istega 

leta ga je odbor Avstralskega komornega 

orkestra imenoval za umetniškega 

vodjo in vodilno violino. Takrat je bil star 

samo 25 let, danes pa je že 20 let umetniški 

vodja tega orkestra, ki se je v tem 

času uveljavil kot eden vodilnih komornih 

orkestrov sveta. Časopis The Times ga je 

oklical celo za »najboljši komorni orkester 

na planetu«. 

Tognetti je mnogostranski violinist, izvajalec 

glasbe na starih, modernih in 

električnih inštrumentih. Poznan je tudi 

po priredbah skladb skladateljev, kot so 

Janáček, Szymanowsky, Paganini, Beethoven, 

Ravel in Satie, kar je znatno razširilo 

repertoar Avstralskega komornega 

orkestra. Med vrhunce njegove kariere 

štejejo nastop na Sydneyjskem festivalu 

(kot dirigent Mozartove opere Mitridate), 

nastopi s slovito ameriško Handel&Haydn 

So ciety, hongkonško filharmonijo, Came- 


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182 

rato Salzburg, Tapiola Sinfonietto ter Irskim 

in Nordijskim komornim orkestrom. 

Od leta 2008 se kot umetniški vodja podpisuje 

pod Festival Maribor. 

Kot solist je Tognetti večkrat nastopil 

z Avstralskim komornim orkestrom in 

pomembnejšimi avstralskimi filharmonijami, 

kot je Sydneyjska, s katero je leta 

1998 uprizoril avstralsko krstno izvedbo 

Ligetijevega Koncerta za violino. Sodeloval 

je s pisano druščino številnih drugih 

umetnikov; z glasbeniki Josephom 

Tawadrosom, Dawn Upshaw, Jamesom 

Crabbom in Emmanuelom Pahudom, z 

igralcem Jackom Thompsonom, s pevci 

Petrom Garettom, Neilom Finnom, Timom 

Friedmanom in Paulom Capsisom, s 

fotografoma Billom Hensonom in Jonom 

Frankom ter pesnikom in karikaturistom 

Michaelom Leunigom. Preizkusil se je 

tudi kot soskladatelj filmske glasbe za 

hollywoodski film Master&Commander 

ter surferski film Horrorscope. 

Poleg številnih zgoščenk, ki jih je Tognetti 

posnel skupaj z Avstralskim komornim 

orkestrom, je za ABC Classics pred kratkim 

posnel Bachove solistične sonate in partite. 

Posnetke so kritiki leta 2005 sprejeli 

z navdušenjem, leta 2006 pa so prejeli 

nagrado ARIA za najboljši album klasične 

glasbe. Zgoščenke z Bachovim violinskim 

opusom s spremljavo so izšle leto kasneje 

in bile 2007 prav tako nagrajene z nagrado 

ARIA za najboljši album klasične glasbe. 

V bližnji preteklosti je Tognetti posnel 

serijo Mozartovih Koncertov za violino in 

Dvořakov Koncert za violino. 

Kot strasten zagovornik glasbenega 

izobraževanja je v okviru Avstralskega 

komornega orkestra leta 2005 ustanovil 

izobraževalni program in program »Vzhajajoča 

glasbena zvezda«. Pred kratkim se 

je z Avstralskim komornim orkestrom podal 

na turnejo po Avstraliji, na kateri so 

predstavljali glasbo, ki jo je navdihnil na 

newyorškem festivalu prvonagrajeni film 

Musica Surfica. 

Kar tri prestižne avstralske univerze so 

Richardu Tognettiju podelile častni doktorat, 

avstralska vlada pa ga je leta 1999 

nagradila z najvišjim državnim priznanjem 

»National Living Treasure«. Igra na 

glasbilo Guarneri del Gesù iz leta 1743, 

ki mu ga je podaril anonimni avstralski 

donator. 

Australian violinist and conductor Richard 

Tognetti has established an international 

reputation for his compelling performances 

and artistic individualism. He studied at the 

Sydney Conservatorium with Alice Waten, in 

his home town of Wollongong with William 

Primrose, and at the Berne Conservatory 

(Switzerland) with the Slovenian violi nist 

Igor Ozim, where he was awarded the 

Tschu mi Prize as the top graduate soloist 

in 1989. Later that year he returned to lead 

several performances of the ACO, and in 

November, at only 25 years of age, was 

appointed as Leader. He was subsequently 

appointed Artistic Director of the Orchestra. 

Tognetti performs on period, modern and 

electric instruments. His numerous arrangements, 

compositions and transcriptions 

have expanded the chamber orchestra 

repertoire and been performed throughout 

the world. 

Highlights of his career as director, soloist 

or chamber music partner include the Sydney 

Festival (as conductor of Mozart’s opera 

Mitridate); and appearances with the Handel 

& Haydn Society (Boston), Hong Kong 

Philharmonic, Camerata Salzburg, Tapiola 

Sinfonietta, Irish Chamber Orchestra 

and the Nordic Chamber Orchestra. He is 

currently Artistic Director of the Maribor 

Festival in Slovenia; the first festival under 

his leadership was held in September 2008 

and featured collaborations with European 

and Australian musicians and the European 

premiere of Luminous. 

As a soloist Richard Tognetti has appeared 

on many occasions with the ACO and with 

the major Australian symphonies, including 

the Australian premiere of Ligeti’s Violin 

Concerto with the Sydney Symphony in 

1998. He has collaborated with colleagues

from across various art forms and artistic 

styles, including Joseph Tawadros, Dawn 

Upshaw, James Crabb, Emmanuel Pahud, 

actor Jack Thompson, singers Peter Garrett, 

Neil Finn, Tim Freedman and Paul Capsis, 

photographers Bill Henson and Jon Frank, 

and poet/cartoonist Michael Leunig. In 

2003, Richard was co-composer of the score 

for Peter Weir’s Master and Commander: 

The Far Side of the World; violin tutor for 

its star, Russell Crowe; and can also be 

heard performing on the award-winning 

soundtrack. In 2005, together with Michael 

Yezerski he co-composed the soundtrack to 

Tom Carroll’s surf film Horrorscopes and, 

in 2008, created The Red Tree, inspired by 

illustrator Shaun Tan’s book. 

Alongside numerous recordings with the 

ACO, Richard Tognetti has recently recorded 

Bach’s solo violin repertoire for ABC Classics. 

The unaccompanied sonatas and partitas 

were released in 2005 to critical acclaim and 

awarded the 2006 ARIA Award for Best Classical 

Album. The concertos were released in 

2006 and awarded the 2007 ARIA for Best 

Classical Album. The final instalment, the 

accompanied sonatas, was released in 2007 

and recently collected the 2008 ARIA for Best 

Classical Album. Future recordings include a 

set of Mozart concertante violin works and 

the Dvorak Violin Concerto for the BIS label. 

A passionate advocate for music education, 

Tognetti established the ACO’s Education 

and Emerging Artists programs in 2005 

and toured regional Australia with a concert 

based on the inspiring documentary 

film, Musica Surfica (recently awarded best 

feature at the New York Surf Film Festival). 

Richard Tognetti holds honorary doctorates 

from three Australian universities and was 

made a National Living Treasure in 1999. 

He performs on a 1743 Guarneri del Gesù, 

made available exclusively to him by an 

anonymous Australian private benefactor. 

ter študiral na Pariškem konservatoriju pri 

Janosu Fürstu, nato pa se izpopolnjeval 

še na mojstrskih tečajih pri Jormu Panuli. 

Med leti 2003 in 2005 je bil pomočnik 

umetniškega vodje orkestra Narodne 

opere v Montpellierju, istočasno je debitiral 

s Francoskim nacionalnim orkestrom 

in Filharmoničnim orkestrom francoskega 

radia. V sezoni 2005–2006 je vodil Francoski 

narodni orkester, Ensemble Orchestral 

de Paris ter debitiral v Nemčiji z Deželno 

Filharmonijo Rheinland-Pfalz v Ludwigshafnu. 

V sezoni 2006–2007 je debitiral 

v Italiji (La Boheme, Teatro comunale di 

Bologna) ter med drugimi vodil orkestre, 

kot so: Toscaninijeva filharmonija (Parma), 

Sicilijanski simfonični orkester (Palermo), 

Filharmonija iz Monte Carla ter sodeloval 

na festivalu Le Printemps des Arts v Monaku. 

Sezono 2007/2008 je pričel s Filharmonijo 

iz Rotterdama, sledil je Orkester 

italijanskega radia iz Torina, Londonski 

filharmonični orkester, Nemški simfonični 

orkester iz Berlina, Filharmonija iz Monte 

Carla, Filharmonija iz Osla ter odmeven 

debi z Münchenskimi filharmoniki. V sezoni 

2008/2009 je debitiral v leipziškem 

Gewandhausu ter v Stochkolmu (Orkester 

švedskega radia), gostoval v Milanu 

(Verdijev orkester), Torinu (orkester RAI) 

ter Londonu (Philharmonia London). Sezona 

bo tudi v znamenju debija v Bavarski 

državni operi v Münchnu ter Nemški 

operi v Berlinu, v Benetkah bo vodil Orkester 

opere La Fenice in v Los Angelesu 

debitiral s Losangeleškimi filharmoniki. 

V prihajajoči sezoni ga med drugimi že 

pričakujejo Münchenski filharmoniki, 

Saška državna kapela iz Dresdna, Bavarska 

državna opera, Pittsburški simfoniki 

in Washingtonski nacionalni simfonični 

orkester. Z novembrom 2009 bo postal 

Maestro Juraj Valčuha šef dirigent Nacionalnega 

simfoničnega orkestra RAI 

Torino. 


Juraj Valčuha 

Slovaški dirigent Juraj Valčuha je študiral 

kompozicijo in dirigiranje na konservatoriju 

v Bratislavi. Po diplomi je dve leti 

študiral dirigiranje v St. Peterburgu pri Ilji 

Musinu, leta 1998 pa se je preselil v Pariz 

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184 

Slovakian conductor Juraj Valčuha studied 

composition and conducting at the Bratislava 

Conservatory. He spent two years in St. 

Petersburg and studied conducting with Ilya 

Musin. In 1998 he moved to Paris where he 

studied conducting at the Conservatoire 

National Supérieur with Janos Fürst and 

attended Masterclasses of Jorma Panula. 

Juraj Valčuha was Assistant Music Director 

of the Orchestre et Opéra National de 

Montpellier from 2003 to 2005. Contemporaneously 

he made his debut with the 

Orchestre National de France and the Orchestre 

Philharmonique de Radio-France. 

In the season 2005/2006 he conducted 

the Orchestre National de France and the 

Ensemble Orchestral de Paris. He had his 

German debut with the Rheinland-Pfalz 

Philharmonie in Ludwigshafen. In the 

2006/2007 season he made his Italian debut 

with La Boheme at the Teatro Comunale Bologna. 

He led the Filarmonica Toscanini in 

Parma, the Orchestra Sinfonica Siciliana in 

Palermo and the Orchestre Philharmonique 

de Monte-Carlo in the New Year concert as 

well as at the Festival Le Printemps des Arts 

in Monaco. He started the 2007/2008 season 

conducting the Rotterdam Philharmonic, 

followed by the RAI Orchestra in Turin, the 

Philharmonia Orchestra in London, the 

DSO Berlin, the Orchestre Philharmonique 

de Monte-Carlo, the Oslo Philharmonic and 

had a very successful debut with the Munich 

Philharmonic. In 2008/2009 he had his debut 

with the Gewandhaus Leipzig and the 

Swedish Radio Orchestra. He led again the 

Orchestra Verdi in Milano, the RAI Orchestra 

Torino and the Philharmonia London. 

In 2009/2010 he will have his debut with 

the Bavarian State Opera Munich and 

the Deutsche Oper Berlin. He will lead the 

Orchestra del Teatro La Fenice in Venezia 

and make his debut with the Los Angeles 

Philharmonic. He will also open the season 

of the Munich Philharmonic, will have his 

debut with the Staatskapelle Dresden and 

will appear again with the Philharmonia 

and the RAI Orchestra Torino, the Pittsburgh 

Symphony and the National Symphony Orchestra 

Washington. Maestro Juraj Valčuha 

has been appointed Chief Conductor of the 

Orchestra Sinfonica Nazionale della RAI, 

Torino from November 2009 until 2013. 

Satu Vänskä 

Rojena finskim staršem na Japonskem je 

Satu v deželi vzhajajočega sonca violino 

prvič prijela v roke pri rosni starosti treh 

let. Ko se je leta 1989 z družino vrnila na 

Finsko, je šolanje nadaljevala pod vodstvom 

Perttija Sutinena na Konservatoriju 

Lahti in na finski Akademiji Sibelius. Leta 

1997 jo je pot ponesla na Bavarsko, kjer 

se je na Visoki šoli za glasbo v Münchnu, 

do diplome leta 2001, izobraževala 

pod mentorstvom Ane Čumačenko. Z 

enajstimi leti je bila sprejeta na prestižno 

Violinsko šolo Kuhmo, ustanovljeno 

za nadarjene mlade violiniste, kjer se je 

učila pri Iliji Grubertu, Zinaidi Gilels in 

Pavlu Vernikovu. S komornim orkestrom 

Virtuozi di Kuhmo je nastopala na tamkajšnjem 

Festivalu komorne glasbe Kuhmo. 

Leta 1998 jo je Sinfonia Lahti imenovala 

za »mlado solistko leta«, dve leti kasneje 

pa je postala nagrajenka nemškega sklada 

»Deutsche Stiftung Musikleben«. Med 

študijem v Nemčiji je igrala v Münchenski 

filharmoniji in v Simfoničnem orkestru 

bavarskega radia, bila pa je tudi tutor Mladih 

bavarskih filharmonikov. Ta mlada in 

izjemno nadarjena glasbenica je trenutno 

namestnica vodje slovitega Avstralskega 

komornega orkestra in igra na violino, 

ki je bila leta 1763 izdelana v delavnici 

mojstra Tommasa Balestrierija. 

Born into a Finnish family in Japan, she took 

her first violin lessons at the age of three. 

When her family moved back to Finland in 

1989 she continued her studies with Pertti 

Sutinen at the Lahti Conservatorium and 

the Sibelius Academy. From 1997 Satu 

was a pupil of Ana Chumachenco at the 

Hochschule für Musik in Munich where she 

finished her diploma in 2001. At the age of 

11 Satu was selected for the Kuhmo Violin

School in Finland, a special institution for 

talented young violinists where she attended 

master classes with Ilya Grubert, 

Zinaida Gilels and Pavel Vernikov and had 

the opportunity to perform at the Kuhmo 

Chamber Music Festival with the Kuhmo 

Virtuosi Chamber Orchestra. In 1998 Sinfonia 

Lahti named her “young soloist of the 

year” and in 2000 she was a prize winner of 

the “Deutsche Stiftung Musikleben”. During 

her studies in Germany she played with 

the Munich Philharmonic and the Bavarian 

Radio Symphony Orchestra and was a tutor 

with the Young Bavarian Philharmonic. 

This talented young musician is Assistant 

Leader of the renowned Australian Chamber 

Orchestra and plays on a 1763 Tommaso 

Balestrieri violin. 

Tina Žerdin 

Tina Žerdin je začela svojo glasbeno pot 

kot pianistka in pevka na glasbeni šoli 

v domačem Velenju, kjer je bila najprej 

učenka učitelja Daliborja Bernatoviča, 

nato profesorice Rude Ravnik-Kosi. Na 

Univerzi za glasbo na Dunaju je kot redna 

študentka koncertne smeri harfe leta 

2005 z odliko zaključila prvi del študija, 

v juniju 2008 pa prav tako z odliko končala 

magistrski študij koncertne smeri 

harfe v razredu profesorice Adelheid 

Blovsky - Miller. V času študija je bila štipendistka 

Ministrstva za kulturo Republike 

Slovenije, po končanem študiju pa je 

od Univerze na Dunaju prejela nagradno 

štipendijo za izjemne študijske dosežke. 

Veliko nastopa doma in v tujini v okviru 

uglednih koncertnih ciklov in festivalov – 

solistično, kot solistka z orkestri (Simfoniki 

RTV Slovenija, Makedonska Filharmonija, 

Orkester Univerze na Dunaju, Camerata 

Labacaensis, Vienna Imperial Philharmonic 

…) in kot članica različnih komornih 

zasedb (z glasom, flavto, violo, violino, 

akordeonom, ustno harmoniko, orglami, 

klavirjem …). Izkušnje v orkestrski igri si 

nabira pri domačih in številnih tujih orkestrih, 

part prve harfe je v tujini igrala 

med drugim pod dirigenti Valeryjem 

Gergievim, Pierrom Boulezom, Gustavom 

Kuhnom … Veliko sodeluje s sodobnimi 

slovenskimi skladatelji, zanjo so bile napisane 

skladbe J. Privška, S. Šuklarja, J. 

Goloba, G. Pompeta in T. Bajžlja. Je avtorica 

mnogih posnetkov komornih del in 

sololiterature za arhiv Radia Slovenija in 

avstrijski ORF. Marca letos so na zgoščenki 

avstrijske založbe Usha Records izšli njeni 

posnetki Ravela in Debussyja. 

Harpist Tina Žerdin started her musical path 

as a piano player and singer in her native 

town of Velenje. She finished with honors 

her Masters studies in concert harp at the 

University of Music and Fine Arts in Vienna 

in the class of professor Adelheid Blovsky- 

Mill. She was awarded with the scholarship 

of Ministry of Culture of Republic of 

Slovenia. As a soloist with orchestras she 

performs a lot at home and abroad (RTV 

Slovenia Symphonics, Macedonian Philharmony, 

Orchestra of University of Vienna, 

Camerata Labacaensis …) she is also a 

member of various chamber ensembles 

(voice, flute, viola, violine, acordeon, organ, 

piano …). 


185

Informacije in prodaja vstopnic 

INFORMACIJSKA PISARNA NARODNEGA DOMA 

Kulturno-prireditveni center Narodni dom Maribor 

Ulica kneza Koclja 9, SI – 2000 Maribor 

http://www.nd-mb.si 

telefon: 02 229 40 50 // 02 229 40 11 

031 479 000 // 040 744 122 

e-pošta: info@nd-mb.si in prodaja@nd-mb.si 

Odprto vsak delavnik od 8:30 do 18:00, 

v soboto od 9:00 do 12:00 ter uro pred vsako prireditvijo. 

Cenik vstopnic 

Večerni koncerti: 25 € 

Matineje in popoldanski koncerti: 15 € 

Festivalski abonma (20 koncertov): 260 € 

Izbirni abonma (10 koncertov po lastni izbiri): 150 € 

Popusti in ugodnosti 

Mladina, invalidi: 50-odstotni popust 

Abonenti Narodnega doma: 

Večerni koncerti: 20 € 

Matineje in popoldanski koncerti: 12 € 

Festivalski abonma (20 koncertov): 200 € 

Izbirni abonma (10 koncertov): 110 € 

Izbor 5 koncertov: 65 € 

Prijatelji festivala: 

Abonenti Slovenske filharmonije: 20-odstotni popust 

Abonenti Komornega godalnega orkestra Slovenske 

filharmonije – Sozvočje svetov: 20-odstotni popust 

Abonenti Koncertne direkcije Zagreb: 20-odstotni popust 

V sodelovanju z organizacijo ŠOUM študentom in dijakom omogočamo 

abonma za matineje in popoldanske koncerte (15 koncertov): 25 € (vrednost 

abonmaja 100€: subvencija ŠOUM 25€, popust Narodnega doma Maribor 50€) 

Popusti se ne seštevajo. 

186 

Načini plačila 

– gotovina, 

– plačilna kartica BA, 

– kreditne kartice (Mastercard, Eurocard, Activa, Diners, Visa), 

– možnost obročnega odplačevanja (več informacij o tem nudi Informacijska 

pisarna Narodnega doma).

Tickets and information 

TICKET SALES OFFICE 

Cultural Events Centre Narodni dom Maribor 

Ulica kneza Koclja 9, SI – 2000 Maribor 

http://www.nd-mb.si 

Telephone: 

+386 2 229 40 11; +386 2 229 40 50 

+386 40 744 122; +386 31 479 000 

E-mail: info@nd-mb.si and prodaja@nd-mb.si 

Open every workday from 8:30 to 18:00, 

Saturdays from 9:00 do 12:00 and one hour prior to an event. 

Ticket prices 

Evening concerts: € 25 

Matinees and afternoon concerts: € 15 

Festival Subscription (20 concerts): € 260 

Your Choice Card (10 concerts): € 150 

Discounts, Special Offers 

Youth, Disabled: – 50% discount 

Subscribers of Narodni dom Maribor music and theatre programmes: 

Evening concerts: € 20 

Matinees and afternoon concerts: € 12 

Festival Subscription (20 concerts): € 200 



Friends of Maribor Festival: 

Subscribers of the Slovene Philharmonic Series: 20% discount 

Subscribers of the Slovene Philharmonic String Chamber Orchestra 

Series – Harmony of the Spheres: 20% discount 

Subscribers of Koncertna direkcija Zagreb: 20% discount 

In cooperation with ŠOUM (Student Organisation of Maribor University) 

subscriptions for matinees and afternoon concerts are available to students and 

secondary school pupils (15 concerts): 

€25 subscription (subscription value €100: ŠOUM’s subsidy €25, Narodni dom 

Maribor discount €50). 

Discounts may not be added together. 

Payment 

– cash 

– credit cards (Mastercard, Eurocard, Activa, Diners, Visa) 

– by instalments (for more information please contact the Ticket Sales Office of 

Narodni dom) 

187

POKROVITELJI / SPONSORS 

Generalni pokrovitelj / Principal Sponsor

Medijski pokrovitelji / Media Sponsors: 

MESTNA OBČINA MARIBOR 

Uradni prevoznik festivala / Official transporter of the Festival:

PROGRAMSKA KNJIŽICA / PROGRAMME BOOKLET 

FESTIVAL MARIBOR 2009 / MARIBOR FESTIVAL 2009 

Prireditelj / Organiser: 

Kulturno-prireditveni center Narodni dom Maribor / Cultural Events Centre Narodni dom Maribor 

Vladimir Rukavina, direktor / General Manager 

Festival Maribor / The Maribor Festival: 

Brigita Pavlič, direktorica / Director 

Richard Tognetti, umetniški vodja / Artistic Director 

Mirjana Kolesarič, producentka / Producer 

Jernej Gregorič, odnosi z javnostmi / Public Relations 

Maja Pirš, sodelavka pri redakciji publikacij / Editorial Services 

Aleksandra Saša Šturm, koordinatorka / coordinator 

Pomoč pri realizaciji festivala – sodelavci Narodnega doma Maribor / Support for festival realization – 

Narodni dom Maribor coworkers 

Informacije / Information: 

office@festivalmaribor.si 

Založil / Published by: Kulturno-prireditveni center Narodni dom Maribor / Cultural Events Centre 

Narodni dom Maribor 

Izdal / Edited by: Festival Maribor 

Besedila / Texts: Gregor Pompe, Katarina Šter, Richard Tognetti, Derek Hynd, Jon Frank, 

Maja Pirš, Nino de Gleria, Dr. Stanko Lipovšek, Brigita Pavlič 

Prevodi / Translations: Neville Hall, Milan Jesih, Mojca Muršič, Heather Pirjevec, Maja Pirš, 

Jernej Gregorič, Mirjana Kolesarič, Klemen Šurk, Stanley Appelbaum, Brigita Pavlič 

Lektorji / Proof readers: Jadranka Zaletelj, Michelle Kerr, Damien Low, Heather Pirjevec 

Uredila / Editor: Brigita Pavlič, Barbara Švrljuga 

Fotografije / Photos: Blaž Celarec, Bokkie Vink, Dejan Bulut, Dušan Marc, Elisabeth Heinemann, Elisabeth 

Novick, Giovanni Montenero, Jelena Zdrale, Jim Four, Jon Frank, Matjaž Vrečko, Mateja Jordovič Potočnik, 

Matej Rupel, Mavricij Pivk, Nejc Lasič, Nebojša Tejić, Paul Henderson Kelly, Sheila Rock, Thomas Rabsch, 

Toni Čebron, Vanja Dizdarević, Warner Music, Zippo Zimmerman 

Oblikovanje / Design: Didi Šenekar 

Grafična realizacija / Graphic Artwork: Grafični atelje Visočnik 

Naklada / Print run: 2.000 izvodov / copies 

Tisk / Printed by: MI BO tisk 

191

V sodelovanju z / s / In collaboration with: 

Mestno občino Maribor / Municipality of Maribor 

Ministrstvom za kulturo Republike Slovenije / Ministry of Culture of the Republic of Slovenia 

Veleposlaništvom Avstralije (Dunaj) / Australian Embassy in Vienna 

Veleposlaništvom Kraljevine Norveške / Royal Norwegian Embassy in Slovenia 

Partnerji Festivala Maribor / The Maribor Festival partners: 

Slovensko narodno gledališče Maribor / Slovene National Theatre Maribor 

Nadškofija in metropolija Maribor / Metropolitan Archdiocese of Maribor 

Občina Dornava / The municipality of Dornava 

Slovenska filharmonija / Slovene Philharmonic Orchestra 

Komorni godalni orkester Slovenske filharmonije / Chamber String Orchestra of the Slovene 

Philharmonic 

Prijatelji Festivala Maribor / Friends of the Maribor Festival: 

Tolarno Galleries 

Vasse Felix Wines and Music Festival 

Australian Chamber Orchestra 

Slovenska filharmonija / Slovene Philharmonic Orchestra 

Komorni godalni orkester Slovenske filharmonije / Chamber String Orchestra of the Slovene 

Philharmonic 

Slovensko narodno gledališče Maribor / Slovene National Theatre Maribor 

Narodna Galerija / Slovene National Gallery 

Umetnostna Galerija Maribor / Maribor Art Gallery 

Koncertna direkcija Zagreb / Concert Management Zagreb 

Lofoten International Chamber Music Festival 

Festival Ljubljana 

Festival Radovljica 

Esterhazy Festival Eisenstadt 

B.A.S.E 

Festival Maribor si pridržuje pravico do spremembe programov. / The Maribor festival reserves the right 

to change the program. 

Spletna stran / website: 

www.festivalmaribor.si 

Mednarodna standardna serijska številka publikacije / 

International publication serial number: ISSN 1855-492X 

Festival Maribor – programska knjižica 

Prodajna cena: 2 EUR 

192 

The Maribor Festival – Programme Brochure 

Purchase price: 2 EUR

program - SVIZ

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