ARS CHORALIS 2010 - Hrvatska udruga zborovođa

Ars ChorAlis 2010
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Bojan Pogrmilović is a conductor, a solo singer and a voice teacher. He graduated
solo singing at the Music Academy of the University of Zagreb. For ten years he was
the music director of Lado, the National folk dance ensemble of Croatia, and now he
teaches solo singing at Vatroslav Lisinski Music School. As the director of a cappella
ensembles (Dalmatian klapa) Mareta and Cesarice, he has won numerous awards at
the Festival of Dalmatian Klapa in Omiš and the Verona Choir Competition, and
his students have also won many awards at local and international competitions. He
is one of the judges at several local and international choir competitions (Verona,
Azzano Decimo). He is the artistic director of two festivals (Choir competition at
Azzano Decimo, and Seashell, Dalmatian Klapa Festival in Pakoštane) and for two
years he conducted the Mixed choir of Verona, made up of singers belonging to 15
choirs of The Association of the Choral Groups of Verona (AGC Verona). Since
1998, he has directed INA mixed choir, bringing it to its current high level of quality.
Since 2003, he has also directed Vocal ensemble Samoborke. His career as a conductor
also includes working with the String Orchestra from Krumlov in the Czech
Republic, Croatian Chamber Orchestra and the Zagreb Philharmonic Orchestra.
As a solo artist, and together with his various ensembles, he has recorded around 30
albums. He is the president of the Croatian Voice Teachers Association and the vice
president of the Croatian Choral Directors Association.
• Dva moguća puta u određenju zvuka vokalnoga tijela (L) (Cro-E)
U suvremenoj zborskoj glazbi prevladava zvuk koji je posljedica nordijske škole i nordijskog pristupa
zborskoj glazbi. Treba li to biti obrazac za sve stilove i sve vokalne pristupe? Treba li jedno vokalno
tijelo za različita djela zvučati uvijek jednako ili se vokalno treba prilagođavati svakom pojedinom
izrazu? Odgovori svakako nisu jednoznačni, a rješenja nisu jednostavna. Je li uopće potrebno i
moguće naučiti pjevače da se kameleonski prilagođavaju različitim vokalnim izrazima ili je bolje da
budu savršeni u onom izrazu u kojem se najbolje osjećaju?
• Two Possible Ways of Defining the Sound of a Vocal Group
The sound that prevails in contemporary choral music comes as a result of the Nordic school and
Nordic approach to choral singing. Should this be the pattern for all styles and vocal approaches?
Should a vocal group sound the same no matter what piece of music it performs or should it adapt
to different vocal expressions? There are no straightforward answers and simple solutions, so is it
really necessary, or even possible, to teach singers to adapt, like chameleons, to different vocal expressions,
or is it better for them to pursue excellence in the form of singing that suits them best?