OSORSKE OSOR GLAZBENE MUSICAL VEČERI EVENINGS 2008. … · službe za akademsku razmjenu (DAAD)...
Transcript of OSORSKE OSOR GLAZBENE MUSICAL VEČERI EVENINGS 2008. … · službe za akademsku razmjenu (DAAD)...
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Osorske glazbene večeri prije svega su okrenute hr-
vatskom glazbenom stvaralaštvu. Želja nam je da
se upravo na pozadini naše bujne povijesti, koju
Osor čuva u svom okrilju, naša glazba otkrije u svoj svo-
joj punoći. Da bi to bilo moguće, potrebno je dakako da tu
našu glazbu prati i ona “glazba Svijeta” koja je manje ili
više jasno određivala karakter cjelokupne glazbene povi-
jesti. No, komentari za skladbe koje ćete slušati na “Osor-
skim glazbenim večerima” ograničit će se prije svega na
skladbe domaćih autora jer smo sigurni da najveći dio po-
sjetitelja “Osorskih glazbenih večeri” te skladbe susreće
prvi put. Želja nam je prije svega da ti posjetitelji te naše
skladatelje što dulje zadrže u svojoj svijesti.
akademik N. Gligo (1976.)
The “Musical Evenings in Osor” are primarily directed
towards the presentation of Croatian composers and
their compositions. It is our wish that on the back-
ground of our stormy past, which Osor shelters under its
wing, our music be revealed in all its glory. In order for this
to be possible, it is naturally necessary for this music of
ours to be accompanied by the “music of the World” whi-
ch more or less distinctly determined the character of the
whole of musical history. However, the commentaries on
the compositions which you will be hearing at the “Musical
Evenings in Osor” will be limited primarily to compositi-
ons by Croatian authors as we are sure that the majority
of those attending the “Musical Evenings in Osor” will be
hearing them for the fi rst time. It is our greatest wish that
these Croatian composers should remain fresh in the min-
ds of our visitors for as long as possible.
academician N. Gligo (translated by Andriana Hewitt)
OSORSKE
GLAZBENE
VEČERI
2008.
OSOR
MUSICAL
EVENINGS
2008
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Vladimir Nazor
O S O R
Ognjišta hladna davno razvaljena
Srušene crkve, pusti samostani,
Grobovi kojekuda razbacani
U meni bude jato uspomena.
Sjećam se kralja Petra Krešimira,
Orseol - dužda, holih Morozina.
Pod ruševinom ovog trošnog mira
Hrvata trunu kosti i Latina.
O naše tužno umiranje! - Kuda
Nogama ideš, dižu se pred tobom
Pepel i prah, i kudgod hodaš, svuda
Podore gledaš: svud rake za grobom
I krvavijeh rana brazgotine
Na tijelu ove naše domovine.
(Iz zbirke “Istarski gradovi”)
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Vladimir Nazor
O S O R
The cold fi replaces, ruined long ago,
The fallen churches, deserted monasteries,
Escutcheons and blazons strewn around,
They stir in me a fl ock of memories.
I keep remembering Peter Krešimir, the king,
Orseol the dodge, the proud Morosinis -
The bones of the Croats and the Latins
Rot under these decaying walls.
Even in death is our fate wretched!
Wherever your feet touch the ground, they
Stir a cloud of ashes. Wherever you go -
Grave is over grave and scar over scar,
As if some horrid plough has left bloody
Furrows on the body of this land.
(From the collection “Istrian Towns”)
Translated by Antun Šoljan
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Tu gdje se ljube Lošinj i Cres,
gdje jedan drugom ruku steže,
gdje vlada vječnih valova ples,
tu kao prsten što ih veže
nastao grad je, ruža života,
grad Osor, vječna kamena nota.
Argonauti na taj su prag
dolazili, Histri Liburni,
Rimljani, Goti vladali, trag
ostavljali su vjekovi burni...
Hrvati, “jer od mora znaju
živjeti”*, tu su našli domaju.
Refren
Osore grade, pleter života
na čelu tvom se vije i sja,
ti si mu ključ i vječna nota,
grade od mora i od sna.
Osore, stari hrvatski grade,
raduj se svakom kamenu svom,
nikome ne daj da ti ga krade,
vječne slobode budi dom!
Tu gdje se ljube Lošinj i Cres,
gdje jedan drugom ruku pruža,
gdje vlada vječnih valova ples,
tu kao prsten, kao ruža,
upisan poput glagoljskog slova
stoji grad Osor za vijek vjekova.
Refren
Osore grade...
* prema Porfi rogenetu
Luko Paljetak
O S O R
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Luko Paljetak
O S O R
Where Cres and Losinj a kiss exchange
each clasping tight the other’s hand
where life the dancing waves arrange
in a ring that circles fast the land,
the rose of life, this city was born,
Osor town, you harmony in stone.
Jason’s Argonauts crossed the threshold,
then came the Liburni and Histri,
the Goths and Romans the town controlled
left their mark in the tide of history,
and Croats, “though much at sea adept
at living”* here lasting home they kept.
Refrain
City of Osor, interlacing live
on your front waves and gleams;
you’re its key, its breathing archive
city of sea, and city of dreams.
Osor, ancient Croatian town
in every single freestone glory,
let no one dare to pull it down
but be the home of freedom’s story.
Where Cres and Losinj a kiss exchange
each clasping tight the other’s hand
where life the dancing waves arrange
here like ring or roses stand,
emblazoned like a Glagolitic sign
stands Osor town, eternal shrine.
Refrain
City of Osor…
* after Constantine Porphyrogenitus
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Praizvedbe,
prve suvremene izvedbe
i izvedbe djela hrvatskih skladatelja
First performances,
fi rst contemporary performances,
and other performances of works by Croatian composers
Stanko HorvatNotturno za gudače / Notturno for strings
12. srpnja; Hrvatski komorni orkestar
12 July, Croatian Chamber Orchestra
Stanko HorvatDe diebus furoris
14. srpnja; Pavica Gvozdić, glasovir
14 July, Pavica Gvozdić, piano
Bruno BjelinskiTrio
16. srpnja, Trio Osor / 16 July, Trio Osor
Ivo MačekSonata za violinu i glasovir / Sonata for violin and piano
18. srpnja, Tonko Ninić, violina, Vladimir Krpan, glasovir
18 July, Tonko Ninić, violin, Vladimir Krpan, piano
Boris PapandopuloTri igre / Three Dances
20. srpnja, István Römer, gitara / 20 July, István Römer, guitar
Srećko BradićPotonulo sidro / Sunken Anchor
PRAIZVEDBA / FIRST PERFORMANCE
20. srpnja, István Römer, gitara / 20 July, István Römer, guitar
Anđelko KlobučarSonata
20. srpnja, István Römer, gitara / 20 July, István Römer, guitar
Antun DobronićJelšonski tonci / Jelsa Dances
22. srpnja, Zagrebački solisti / 22 July, Zagreb Soloists
Stanko HorvatCrne pjesme za bariton i gudače
Black Songs for baritone and strings
22. srpnja, Zagrebački solisti i Davor Radić, bariton
22 July, Zagreb Soloists and Davor Radić, baritone
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Vinko JelićRicercar
24. srpnja, Monika Leskovar i Giovanni Sollima, violončela
24 July, Monika Leskovar and Giovanni Sollima, cellos
Ivan Mane JarnovićDuet za dvije violine u F-duru / Duet for two violins in F major
26. srpnja, Kimiko Nakazawa i Goran Končar, violine
26 July, Kimiko Nakazawa and Goran Končar, violins
Ivan PadovecTri skladbe iz “Izbora kompozicija za gitaru”
Three compositions from the “choice of guitar works”
28. srpnja, Paulo Martelli, gitara, Brazil
28 July, Paulo Martelli, guitar, Brazil
Sanja DrakulićSweet dreams
PRAIZVEDBA / FIRST PERFORMANCE
30. srpnja, Maxim Fedotov, violina, Galina Petrova, glasovir
30 July, Maxim Fedotov, violin, Galina Petrova, piano
Saša BastalecK’Bogu sad / To God Now
PRAIZVEDBA / FIRST PERFORMANCE
2. kolovoza, ACCO DUO / 2 August, ACCO DUO
Ivo Lhotka KalinskiDva plesa iz Istre / Two Dances from Istria
PRAIZVEDBA VERZIJE ZA DUO KLASIČNIH GITARA
FIRST PERFORMANCE OF THE VERSION FOR CLASSIC ACCORDION DUO
2. kolovoza, ACCO DUO / 2 August, ACCO DUO
Gabriel UsperVulnerasti cor meum
4. kolovoza, Solisti Hrvatskog baroknog ansambla
4 August, Soloists of the Croatian Baroque Ensemble
Tomaso CecchiniHor mai
4. kolovoza, Solisti Hrvatskog baroknog ansambla
4 August, Soloists of the Croatian Baroque Ensemble
Gabriel PulitiHymnum cantate
4. kolovoza, Solisti Hrvatskog baroknog ansambla
4 August, Soloists of the Croatian Baroque Ensemble
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Petar ObradovićI colori
PRAIZVEDBA / FIRST PERFORMANCE
6. kolovoza, Tamara Coha Mandić, fl auta
Diana Grubišić Ćiković, harfa
6 August, Tamara Coha Mandić, fl ute
Diana Grubišić Ćiković, harp
Ivo JosipovićSamba per voce e chitarre
PRAIZVEDBA VERZIJE ZA SOPRAN I GITARISTIČKI KVARTET
FIRST PERFORMANCE OF THE VERSION FOR SOPRANO
AND GUITAR QUARTET
8. kolovoza, Zagrebački gitaristički kvartet, Klasja Modrušan, sopran
8 August, Zagreb Guitar Quartet, Klasja Modrušan, soprano
Stanko HorvatQuartetto
10. kolovoza, Zagrebački kvartet / 10 August, Zagreb Quartet
Miroslav MiletićSonatina
12. kolovoza, Armène Stakian, violina, Švicarska,
Miguel Charosky, gitara, Argentina
12 August, Armène Stakian, violin, Switzerland,
Miguel Charosky, guitar, Argentina
Miroslav MiletićKroateska za violinu solo / Croatesque for violin solo
12. kolovoza, Armène Stakian, violina, Švicarska
12 August, Armène Stakian, violin, Switzerland
Stanko HorvatBen misurato
14. kolovoza, Marek Drewnowski, glasovir, Poljska
14 August, Marek Drewnowski, piano, Poland
Amando IvančićSimfonija u D-duru, br. 3. (Rev. L. Županović 1975.)
Symphony in D major, no. 3. (rev. L. Županović 1975.)
16. kolovoza, Hrvatska komorna fi lharmonija
16 August, Croatian Chamber Philharmonic Orchestra
Miroslav MiletićEpitaf za Pepina / Epitaph for Pepino
PRAIZVEDBA / FIRST PERFORMANCE
16. kolovoza, Hrvatska komorna fi lharmonija
i Francesco Squarcia, viola, Italija
16 August, Croatian Chamber Philharmonic Orchestra
and Francesco Squarcia, viola, Italy
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Dora PejačevićKvartet za glasovir, violinu, violu i violončelo u d-molu, op. 25
Quartet for piano, violin, viola and cello in D minor, op. 25
18. kolovoza, Chopin solisti, Poljska
18 August, Chopin Soloists, Poland
Stanko HorvatRocambole
20. kolovoza, Zagrebački kvartet saksofona
20 August, Zagreb Saxophone Quartet
Berislav ŠipušIm Garten Deiner Liebe / In the Garden of Your Love
20. kolovoza, Zagrebački kvartet saksofona
20 August, Zagreb Saxophone Quartet
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STANKO HORVAT (1930.-2006.)
Osorske glazbene večeri jedini su ljetni festival u Hrvat-
skoj koji sustavno afi rmira hrvatsku glazbenu baštinu, prvim su-
vremenim izvedbama djela prošlosti, te novu produkciju hrvat-
skih živućih autora, praizvedbama njihovih ostvarenja. Korak
dalje u tom hvalevrijednom promicanju hrvatske glazbe učinjen
je odlukom da u središtu pozornosti u svakoj ljetnoj sezoni bude
pojedini skladatelj iz čijeg se opusa nastoji izvesti što veći broj
djela. Kako su OGV uglavnom usmjerene na komornu glazbu,
iako su zastupljena i orkestralna te vokalno-instrumentalna dje-
la, programirani su naslovi odabranog skladatelja pisani za ma-
nje sastave. U ovoj 2008. godini u središtu pozornosti je sklada-
telj i glazbeni pedagog, akademik Stanko Horvat (1930.-2006.)
Svojim je opusom, pedagoškim radom i angažiranim dje-
lovanjem u glazbenim institucijama akademik Stanko Horvat u
najvećoj mjeri zadužio hrvatsku glazbene kulturu druge polovice
20. stoljeća. Rođen u Zagrebu 12. ožujka 1930. godine, diplomi-
rao je 1956. godine kompoziciju na Muzičkoj akademiji u Zagrebu
u razredu jedne od najsnažnijih skladateljskih i pedagoških osob-
nosti hrvatske glazbe, Stjepana Šuleka. Na Konzervatoriju u Pari-
zu usavršavao se tijekom 1958. i 1959. godine kod Tonya Aubina
te privatno kod skladatelja i glazbenog pisca Renéa Leibowitza.
Prvo radno mjesto imao je kao profesor teorijskih predmeta u Mu-
zičkoj školi Vatroslav Lisinski u Zagrebu, a od 1961. godine je bio
docent, od 1976. do umirovljenja 1999. godine redoviti profesor
na Muzičkoj akademiji u Zagrebu. Od 1977. do 1981. godine bio
je dekan te hrvatske visokoškolske ustanove. Izuzetno angaži-
ran na svim područjima kada je riječ o profesiji skladatelja, bio je
Horvat od 1974. do 1979. godine predsjednik Hrvatskog druš-
tva skladatelja (tada Društva hrvatskih skladatelja), a od 1975.
godine je bio suradnik, od 1985. do 1989. umjetnički direktor
Muzičkoga biennala Zagreb, međunarodnoga festivala suvreme-
ne glazbe, koji je imao nedvojbeno presudnu ulogu u stvaralaš-
tvu i afi rmaciji hrvatske Nove glazbe. Kao stipendist Njemačke
službe za akademsku razmjenu (DAAD) boravio je 1977. godine
u Berlinu gdje je u okviru umjetničkoga programa te zaklade ra-
dio u elektroničkom studiju Tehničkoga sveučilišta.
Akademik Stanko Horvat nagrađen je brojnim nagra-
dama i priznanjima, Nagradom Grada Zagreba za Koncert za
glasovir i orkestar i Rondo za gudački kvartet 1967. godine, Na-
gradom Josip Štolcer Slavenski za Sonnant za glasovir 1970. go-
dine, Nagradom Vladimir Nazor za kantatu Jama 1971. godine,
Nagradom Vladimir Nazor za zborske skladbe Slovo o slovu i Za-
pis o očima 1980. godine, spomen-poveljom Hrvatskog društva
skladatelja za zasluge u organizaciji Muzičkog biennala Zagreb
1980. godine, Nagradom Josip Štolcer Slavenski za životno djelo
1990. godine, Nagradom Boris Papandopulo Hrvatskog društva
skladatelja za skladbu Zvuk i bijes 1997. godine, Nagradom Vla-
dimir Nazor za životno djelo 2001. godine kao i nizom drugih
priznanja. 1991. godine preuzeo je dužnost glavnog urednika
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HDS-a Ars croatica i obavljao je do 2001. godine. 1992. godi-
ne izabran je za člana suradnika Hrvatske akademije znanosti i
umjetnosti a 1998. godine i za njezinog redovitog člana.
Iz navedenoga slijedi da je Stanko Horvat bio priznat i od
struke i od društvenih institucija, te da su njegova pojedina djela
osvojila najveća priznanja glazbene kritike i javnosti. Njegova se
djela izvode u svim europskim državama i na gotovo svim konti-
nentima, osobito učestalo na festivalima u Hrvatskoj (Dubrovač-
ke ljetne igre, Muzički biennale Zagreb, Splitsko ljeto, Osorske
glazbene večeri i dr), kao i na inozemnim festivalima (Varšavska
jesen, Musikprotokoll u Grazu, Berliner Biennale, Međunarodni
festival u Brnu). Kao profesor kompozicije na Muzičkoj akademi-
ji u Zagrebu odgojio je niz uglednih hrvatskih skladatelja i nje-
govi su studenti bili Frano Parać, Ivo Josipović, Berislav Šipuš,
Drago Bubalo, Mladen Tarbuk, Sanda Majurec Zanata, Vjekoslav
Nježić, Srđan Dedić, Dalibor Bukvić, Srećko Bradić i drugi.
Gotovo da nema glazbene forme u kojoj se Stanko Hor-
vat nije okušao. Njegov opus obuhvaća orkestralnu, komornu,
vokalno-instrumentalnu, zbornu, scensku i glazbu za solo in-
strumente. Premda prevladavaju instrumentalna djela, velik je
i značajan broj djela inspiriranih književnim predlošcima. Na-
dalje, iako obrazovan u neoklasicizmu i neoromantizmu svojeg
profesora Stjepana Šuleka, iako je u Parizu upoznao serijalizam
i strogu organizaciju glazbenog materijala, te u Berlinu upoznao
odrednice elektroničke glazbe, svi ti elementi nisu našli veće
odjeke u njegovom osobnom glazbenom jeziku. U Horvatovoj
se glazbi, naime, trajno otkriva želja za pomirbom romantičnog
i suvremenog, egzaktnog i slobodnog, konstruiranog i improvi-
ziranog. Očita je njegova sklonost prema jednostavnosti tekstu-
re, što ponekad podsjeća na minimalnu glazbu. A u estetičkom
smislu, značajnijima su se pokazali utjecaji takozvane poljske
avangarde koja je, kao izrazito emotivno obojena glazba, više
odgovarala njegovom ipak romantičnom senzibilitetu. Jer, za
Horvata glazba nije samo materijalna, nego i umjetnička i ljud-
ska činjenica, što svjedoči koliki je bio humanist i kao skladatelj
i kao učitelj. Pa čak i onda kada nam se zvuk njegovih ostvarenja
čini grubim i agresivnim, on logično izražava duboke ljudske
emocije, bilo da se radi o strahu, tjeskobi, nelagodi, ljutnji, bi-
jesu ili o očajanju zbog nemoći. Ta iskonska osjećajnost glazbe
Stanka Horvata čini ju bliskom i prepoznatljivom kod suvreme-
nih slušatelja i instinktivno nailazi na njihovo razumijevanje.
Sklonost naslovima koji upućuju na izvanglazbene sadr-
žaje, spontana programnost Horvatovih djela, trajno iskazuje
namjere skladatelja da zvukovljem potakne slušatelja na suosje-
ćajnost. I koliko god bila disonantna i dramatska njegova glaz-
ba, ona se neprekidno oslanja i proizlazi iz ustanovljenih kano-
na europske klasične glazbe njegova vremena. Tome pridonosi
i korištenje tradicionalnih instrumenata, bez osobitih iskoraka
i eksperimenata. Taj Horvatov karakteristični zvuk naročito je
primjetljiv u njegovim djelima za glasovir ili pak gudače, u ko-
jima uobičajenim instrumentima pridaje nova i izrazito osobna
zvučanja.
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Mogućnost upoznavanja većeg broja skladbi Stanka Hor-
vata na ovogodišnjim Osorskm glazbenim večerima ujedno je i
hommage majstoru suvremene hrvatske glazbe koji nas je na-
pustio 30. listopada 2006. godine. To je mogućnost susreta sa
skladateljem koji je glazbom imao i umio mnogo toga reći. To je
nadasve mogućnost susreta s djelima jedne skladateljski moćne
i izražajne osobnosti.
Dr. sc. Zdenka Weber
STANKO HORVAT(1930-2006)
The Osor Musical Evenings is the only summer festival
in Croatia systematically to concern itself with the endorsement
of the Croatian music heritage, with the fi rst contemporary per-
formances of works of the past, and the new production of living
Croatian composers, including fi rst performances of their works.
A step further in this praiseworthy promotion of Croatian music
was taken with the decision to place at the focus of the festival
each summer one individual composer from whose oeuvre a con-
siderable number of works would be performed. Since the OME is
largely oriented to chamber music, although orchestral and vocal-
instrumental works are also featured, it is the titles of the given
composer that are written for smaller ensembles that tend to be
produced. And in 2008, in the centre of attention is the composer
and music teacher Academician Stanko Horvat (1930-2006).
With his oeuvre, educational work and dedicated activi-
ty in music institutions, Academician Horvat has put Croatian
music of the second half of the 20th century considerably in his
debt. Born in Zagreb on March 12, 1930, in 1956 he graduated
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in composition at the Music Academy in Zagreb, in the class of
one of the strongest compositional and teaching personalities of
Croatian music, Stjepan Šulek. In 1958 and 1959 he did further
studies with Tony Aubin at the Conservatory in Paris and received
private tuition from composer and music writer René Leibowitz.
His fi rst appointment was as teacher of theoretical subjects in the
Vatroslav Lisinski Music School in Zagreb, while from 1961 he
was reader and from 1976 to retirement in 1999, a full professor
at the Music Academy in Zagreb. From 1977 to 1981 he was dean
of this institution. Playing a vigorous part in all areas to do with
the profession of composer, from 1974 to 1979 Horvat was pre-
sident of the composers’ association, and from 1975 he was an
associate and from 1985 to 1989 director of the Music Biennale
Zagreb, the international contemporary music festival that had
with no doubt a crucial role in the creation and championing of
Croatian New Music. He spent 1977 in Berlin as a DAAD scholar,
where in the framework of the art programme of that foundation
he worked in the electronics studio of the Technical University.
Academician Stanko Horvat has won numerous prizes
and awards: the City of Zagreb Prize in 1967 for the Concerto for
Piano and Orchestra and the Rondo for String Quartet; the Josip
Štolcer Slavenski Prize for Sonnant for Piano, 1970; the Vladimir
Nazor Prize for the cantata Jama / Pit, 1971; the Vladimir Nazor
Prize for the choral compositions Letter on Letter and Account of
Eyes in 1980; a commemorative charter of the Croatian Compo-
sers Association for his merits in the organisation of Music Bie-
nnale Zagreb, 1980; the Josip Štolcer Slavenski Prize for lifetime
achievement, 1990; the Boris Papandopulo Prize of the Croatian
Composers Association for the composition Sound and Fury in
1997; the Vladimir Nazor Lifetime Achievement Prize in 2001
and a number of other endorsements. In 1991 he took over the
task of being the editor of the CCA publication Ars Croatica and
carried it out until 2001. In 1992 he was elected an associate fe-
llow of the Croatian Academy of Sciences and Arts, and in 1998
a full fellow.
From all this it is clear that Stanko Horvat has been well
recognised by the profession and by institutions of society, and
that individual works of his have won the highest commenda-
tions of musical criticism and the public. His works have been
performed in all countries in Europe and on almost all the con-
tinents, particularly frequently in music festivals at home (Du-
brovnik Summer Festival, Music Biennale Zagreb, Split Summer,
Osor Music Evenings) and abroad (Warsaw Autumn, Musikpro-
tokoll in Graz, Berlin Biennale, Brno International Festival). As
professor of composition at the Music Academy in Zagreb he has
educated a number of distinguished Croatian composers, some
of his students being Frano Parać, Ivo Josipović, Berislav Šipuš,
Drago Bubalo, Mladen Tarbuk, Sanda Majurec Zanata, Vjekoslav
Nježić, Srđan Dedić, Dalibor Bukvić and Srećko Bradić.
There is almost no form at which Stanko Horvat has not
tried his hand. His oeuvre covers orchestral, chamber, vocal-in-
strumental, choral, stage and solo instrument music. Although
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14
instrumental works prevail, there is a large and important num-
ber of works inspired by literary models. Although brought up in
the neo-Classicism and neo-Romanticism of his teacher, Stjepan
Šulek, and although he became acquainted in Paris with seria-
lism and the strict organisation of musical material, getting to
know in Berlin the determinants of electronic music, none of the-
se elements had really major infl uences on his personal music
language. In Horvat’s music, there is a constant reiteration of the
will to reconcile the romantic and the contemporary, the exact and
the liberal, constructed and improvised. He has a clear affi nity
for simplicity of texture, sometimes recalling minimal music. In
an aesthetic sense, the infl uences of the Polish avant-garde have
been important, for this markedly emotionally coloured music
suited his sensibility, romantic rather than otherwise. For Hor-
vat, that is, music is not only a material but also an artistic and
a human fact, which shows in his humanism as composer and
as teacher. Even when the sound of his works seems harsh and
strident, it does logically express profound human emotions,
whether, fear, anxiety, unease, anger, rage or despair at the sen-
se of being powerless. This primordial sensitivity of the music of
Stanko Horvat makes it close and recognisable to contemporary
listeners, and wins their instinctive understanding.
The fondness for titles that suggest non-musical contents,
the spontaneous programmatic elements in his works, shows
the intentions to encourage the listener through the sounds to
sympathetic reaction. And however dramatic and dissonant his
music might be, it is incessantly reliant upon and derives from
the settled canons of European classical music of his time. This is
helped by the use of traditional instruments, without particular
experimentation or new departures. This sound, characteristic
of Horvat, is particularly recognisable in his piano works, or wor-
ks for strings perhaps, in which he gives familiar instruments a
new and particularly personal sound.
The ability for familiarisation with a large number of Stan-
ko Horvat works at this year’s Osor Musical Evenings is a tribute
to a master of contemporary Croatian music, who departed from
among us on October 30, 2006. It is an opportunity for an en-
counter with a composer who had a lot to say, who knew how to
say it. Above all, a chance for a meeting with works of a powerful
composer and an expressive individuality.
Ph. D. Zdenka Weber
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15
I. Subota Saturday
12. srpnja July 12
21.00 21.00
Hrvatski komorni orkestarThe Croatian Chamber Orchestra
Zagreb
Berislav Šipušravnatelj / conductor
Zagreb
Pavica Gvozdićglasovir / piano
Zagreb
Stanko Horvat Notturno za gudače
(1930.-2006.) Notturno for strings
Wolfgang Amadeus Koncert za glasovir i gudače
Mozart u A-duru, KV 414
(1756.-1791.) Concerto for piano and
strings in A major, KV 414
Allegro
Andante sostenuto
Allegretto
* * * Felix Mendelssohn Simfonija u A-duru, br. 4,
– Bartholdy op. 90, »Talijanska«
(1809.-1847.) Symphony in A major, no. 4,
op. 90 “The Italian” Allegro vivace
Andante con moto
Menuetto - Con moto moderato
Saltarello - Presto
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16
»Pravo očaranje za mene je tada značila mlada poljska
škola. U biti je ona romantična sa svom svojom eruptivnošću
ali i lirizmom. Svu tu izražajnu ljestvicu, koja je tipična za polj-
sku školu, doživio sam kao nešto meni iznimno blisko.« Stanko
Horvat* tumači stvaralački proces u Novoj glazbi kako slijedi: »
Naravno da tu postoji moment kontrole. Onog časa kad vi an-
gažirate u jednom akordu ili u nekoj situaciji kompletnu dva-
naesttonsku ljestvicu, tog časa vi stižete u jedan svijet koji je
defi nitivno lišen bilo kakvog osjećaja disonance i konsonance.
Tog časa vi možete napisati bilo što što ne može zvučati loše u
odnosu na taj fond. Onog časa kada vi zađete u jednu totalnu
atonalnost, onda ne postoji više vertikalna ograda koja bi mogla
smetati. Tu postoji samo vaš vlastiti slušno-doživljajni moment
u kojem vi odlučujete hoćete li izabrati ovu ili onu grupu na taj
fond, to je stvar u kojoj nastupa osobnost. To sam izabrao baš ja,
a vi biste na taj fond, na tu opću zvukovnu sliku, izabrali nešto
sasvim drugo.«
Među skladbama za gudače, bilo gudački kvartet ili an-
sambl gudača, nakon ostvarenja Koral (Zagreb, 1967.) i Perpetu-
um mobile (Zagreb, 1971.), Notturno za gudače (Zagreb, 1980.)
zauzima u Horvatovom opusu važno mjesto, jednako u pogledu
lirizma kao i u pogledu skladateljeva znalačkog pisanja za sa-
stav koji omogućava raznolikost izričaja novoga zvuka. Skladan
za Zagrebačke soliste, koji su djelo praizveli u zagrebačkom Hr-
vatskom glazbenom zavodu 12. prosinca 1980. godine, već je
tada izazvao znatiželju slušatelja, prvenstveno opredjeljenjem
skladatelja da uvijek iznova preispituje vlastiti odnos prema
zvukovnosti, prema novoizabranim predjelima čiste zvučnosti.
Notturno donosi glazbene situacije koje se razliježu kroz instru-
mente stvarajući poetske atmosfere koje slušatelj lako usvaja.
* o skladatelju Stanku Horvatu vidi na str. 10-12.
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“At that time the young Polish school was a spellbinding
experience. In essence it is romantic, with all its explosive power
combined with lyricism. This expressive scale, so typical of the
Polish school, was, I felt, something very close to me.” Stanko
Horvat* explains the creative process in Nova glazba (New Mu-
sic) as follows: “Of course there is a moment of control here. The
very moment you engage, even if in a single chord or in some
situation, a complete twelve-tone scale, that moment you have
arrived in a world that is defi nitively devoid of any feeling of dis-
sonance and consonance. That moment you can write anything
that can’t sound bad as against this background. The moment
when you get into a total atonality, then there is no longer any
vertical boundary capable of interrupting. Here there is only
your own auditory and experiential moment in which you have
to decide if you want to choose this or that group against that
background, and that is the matter where personality comes
out. That was only me that chose that, and you, against this bac-
kground, against this overall sound picture, would have chosen
something completely different.”
Among the compositions for strings, whether for string
quartet or string ensemble, after the works Chorale (Zagreb,
1967) and Perpetuum Mobile (Zagreb, 1971), the Notturno
for strings (Zagreb, 1980) occupies a very important place in
Horvat’s oeuvre, both with respect to its lyricism and with res-
pect to the composer’s adept writing for instruments that ena-
ble diversity of expression of the new sound. Composed for the
Zagreb Soloists, who fi rst performed this work in the Croatian
Music Institute in Zagreb on December 12, 1980, even at that
time it provoked listener curiosity via the composer’s opting over
and over to re-examine his own attitude towards sonority, to the
newly-chosen regions of pure sound. Notturno contains music
situations that well out through the instruments, creating a poe-
tic atmosphere the listener fi nds it easy to internalise.
* For more about composer Stanko Horvat, see page 12-14.
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18
II. Ponedjeljak Monday
14. srpnja July 14
21.00 21.00
Pavica Gvozdićglasovir / piano
Zagreb
Claude Debussy Suite bergamasque
(1862.-1918.) Suite bergamasque Prélude
Menuet
Claire de lune
Passepied
Stanko Horvat De diebus furoris
(1930.-2006.) Grave
Largo - Feroce
Deciso
Tremando
Grave - Insistente
Largo solenne
* * * Johannes Brahms Varijacije i fuga na Händelo-
(1833.-1897.) vu temu, op. 24
Variations and Fugue on a
theme by Händel, op. 24
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19
Glasovir kao bogato vrelo inspiracije pratio je stvaralaš-
tvo Stanka Horvata* u svim njegovim fazama. Dovoljno je samo
navesti naslove njegovih djela za taj omiljeni instrument u eu-
ropskoj klasičnoj glazbi, od još tradicionalno obojenih Varijacija
iz 1953. godine, preko Sonnanta, (1969.), Träumereia (1970.),
Accords (1979.), Ostinata (1982.), Manuala (1985.), Toccate
(1990.) De diebus furoris (1992.), Discantusa (1997.), Paysage
sombre (1998.), Dvije studije (1999.), Etide invencije (1999.),
Tri preludija za glasovir (2001.), Za Pavicu (2003.) do Ben mi-
surato (2004.), pa da se uvjerimo da se Horvat u svojem promi-
šljanju glazbe uvijek vraćao glasoviru, ili je od njega polazio. Već
naslovi upućuju na predodređene glazbene sadržaje a ostvarena
zvukovnost upozorava na Horvatovu neiscrpnu maštu kada je
riječ o znalačkom korištenju mogućnosti glasovira. Osim toga,
u glasovirskim je djelima Horvat izuzetnom intuicijom novato-
ra, ali i kao vjerni sljedbenik naslijeđenih tradicija, prvenstveno
onih romantičke izražajnosti, trajno umio izraziti svoje sklada-
teljsko sazrijevanje osnovano na očaranosti zvukom i mogućno-
stima instrumenta, kao i izuzetnu raznovrsnost pristupa i ostva-
rivanja svojega skladateljskog htijenja.
Glasovirska skladba De diebus furoris (O danima bijesa)
skladateljev je odgovor na dramu koja je zadesila Hrvatsku, na
ratne ponore izazvane srpskom agresijom, na patnje svih na-
padnutih gradova, napose na užase kojima su bili podvrgnuti
građani Vukovara. Ili, kako tumači sam autor: »Djelo je pisano
od zime 1991. do ljeta 1992. Ono je neposredna autorova reak-
cija na dane užasa, strepnje, očaja i bijesa zbog divljačkih i bje-
somučnih napada na Hrvatsku. U šest brojeva (dana) zvučno su
oblikovane dramatične ratne scene - od onih agresivnih i grubih,
do prigušenih i punih potmulog iščekivanja. Djelo ciklički pove-
zuje dva tematska materijala (uvjetno nazvana temom bijesa i
temom očaja) koji se pojavljuju u gotovo svim danima. De die-
bus furoris je djelo iznimnih tehničkih zahtjeva.”
Skladajući kontinuirano za glasovir, u velikoj mjeri pod-
stican vrhunskim pijanizmom Pavice Gvozdić, koja je pomno
praizvodila većinu njegovih skladbi, ostavio je Horvat djela
koja su već odavno ušla u stalnu izvođačku praksu. Skladbu s
večerašnjeg programa praizvela je pijanistica Pavica Gvozdić na
Osorskim glazbenim večerima 1997. godine.
* o skladatelju vidi na str. 10-12.
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20
The piano is a rich source of inspiration that has kept pace
with the creative work of Stanko Horvat* in all its phases. It is
enough merely to mention the titles of works of his for this favo-
urite instrument of European classical music, from the still tradi-
tionally tinged Variations of 1953, via Sonnante (1969), Träu-
merei (1970), Accords (1979), Ostinato (1982), Manual (1985),
Toccata (1990), De diebus furoris (1992), Discantus (1997),
Paysage sombre (1998), Two Studies (1999), Etude of inventi-
on (1999), Three preludes for piano (2001), For Pavica (2003)
through to Ben misurato (2004) for us to be assured that in his
thinking through of music Horvat has always returned to the pia-
no – or indeed started off from it. The very titles indicate certain
musical contents, and the sound quality achieved informs us of
Horvat’s inexhaustible imagination where the adept handling of
the capacities of the piano is concerned. Apart from that, in the
piano works, Horvat, with the outstanding intuition of an inno-
vator who is also a faithful disciple of inherited traditions, prima-
rily those with romantic expressiveness, has always been able to
express his maturity as a composer, based on fascination with
sound and instrumental capacities, as well as an outstanding di-
versity of approach and realisations of his composerly will.
The piano composition De diebus furoris – Days of wrath
is the composer’s answer to the drama that gripped Croatia in the
abysms of the war produced by the aggression of Serbia, to the
pain that suffered all the attacked cities, especially to the horror
to which were submitted the inhabitants of Vukovar. Or as the
author himself says: “the work was written from winter 1991 to
summer 1992. It is the author’s immediate reaction to days of
horror, trepidation, despair and anger because of the savage and
ferocious assaults on Croatia. In the six numbers, the days, the-
re are depictions of dramatic scenes of war, from the aggressive
and rough to the muted and full of dull expectations. The work is
cyclically linked by two sets of thematic material (provisionally
called the wrath theme and the despair theme) that appear in
almost all the days. De diebus furoris is a work of exceptional
technical demands.”
In his ongoing compositions for the piano, to a very large
extent encouraged by the consummate piano artistry of Pavica
Gvozdić, who has given meticulous fi rst performances of most of
his works, Horvat has produced works that long ago entered re-
gular performance practice. Tonight’s composition was fi rst per-
formed by Pavica Gvozdić at the Osor Musical Evenings in 1997.
* For more about composer Stanko Horvat, see page 12-14.
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21
III. Srijeda Wednesday
16. srpnja July 16
21.00 21.00
TRIO OSOR
Zagreb
Renata Penezić fl auta / fl ute
Petar Kovačić violončelo / cello
Zarija Alajbeg Galuf glasovir / piano
Wolfgang Amadeus Trio za glasovir, violinu
Mozart (fl autu) i violončelo
(1756. – 1791.) u C-duru, KV 548
Trio for piano, violin (fl ute)
and cello in C major, KV 548
Allegro
Andante cantabile
Allegro
Philippe Gaubert On a clear morning ( br. 1 iz
(1879. – 1941.) “Three Water Colors”), za
fl autu, violončelo i glasovir
On a clear morning (no. 1
from “Three Water Colo
urs”), for fl ute, cello and
piano
Bohuslav Martinu Trio za fl autu, violončelo i
(1890. – 1959.) glasovir u C-duru
Trio for fl ute, cello and
piano in C major
Poco allegretto
Adagio
Andante. Allegretto scherzando
* * *
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22
Skladatelj i glazbeni pedagog Bruno Bjelinski (1909.-
1992.) zauzima važno mjesto u povijesti hrvatske glazbe 20.
stoljeća i pripada onim nacionalnim skladateljima manjih glaz-
benih kultura koji su, stvarajući u okrilju vlastite sredine, ostva-
rili autorske opuse univerzalnih umjetničkih dometa.
Skladatelj i doktor pravnih znanosti, diplomirao je Bjelin-
ski kompoziciju 1936. godine u razredima Blagoja Berse i Franje
Dugana na Muzičkoj akademiji u Zagrebu. Nakon kraćeg zapos-
lenja u pravnoj struci, radio je 1944./45. godine kao profesor na
Glazbenoj školi u Splitu da bi 1945. godine postao profesorom
polifonije na Muzičkoj akademiji u Zagrebu i na tom mjestu ostao
do umirovljenja 1977. godine.
Bjelinski je bio trajno prisutan i tražen autor i gotovo da
nema žanra u kojem se nije okušao. Kada bi se jednim pojmom
željelo okarakterizirati glazbenika Brunu Bjelinskog, bilo bi to
moguće konstatacijom o osobitoj auri ujednačenih emocionalnih
i intelektualnih osobina, auri kojom je zračio šireći prvenstveno
ozračje vedrine i nepokolebljivog optimizma. Neiscrpne, bujne
skladateljske mašte (osobito prisutno u njegovih petnaest sim-
fonija), stvarao je glazbu naglašene humanosti čija je klasicistička
ukorijenjenost nesmiljeno prkosila svim modernizmima.
Bjelinski je rado pisao »po narudžbi« glazbenika i na
području komorne glazbe je ostavio osobito značajan broj in-
spiriranih djela. Trio za fl autu, violončelo i glasovir (ili za obou,
fagot i glasovir) iz 1960. godine postoji i u verziji za komorni
orkestar pod naslovom Pet invencija (1965.). Doista, s izvan-
Bruno Bjelinski Trio za fl autu, violončelo
(1909. – 1992.) i glasovir
Trio for fl ute, cello and piano
Preludium – Allegro
Aria – Andante
Alla marcia – Vivace
Allegretto cantabile
Rejouissance – Allegro possible
Carl Maria von Weber Trio za fl autu, violončelo i
(1786. – 1826.) glasovir u g-molu, op. 63
Trio for fl ute, cello and pia
no in G minor, op. 63
Allegro moderato
Scherzo – Allegro vivace
Schafers – Andante espressivo
Finale – Allegro
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23
Composer and music educator Bruno Bjelinski (1909-
1992) occupies a very important place in the history of Croatian
20th century music, and belongs to those national composers of
smaller musical cultures who, composing under the aegis of the-
ir own milieu, have created original oeuvres that nevertheless
achieve the status of universal artistic achievement.
Composer and doctor of law, Bjelinski took his degree in
composition in 1936 in the classes of Blagoje Bersa and Franjo
Dugan at the Music Academy in Zagreb. After a short period of
employment in the law, in 1944/45 he was working as a teacher
at the Music School in Split, and in 1945 became professor of po-
lyphony at the Music Academy in Zagreb, a post he held until his
retirement in 1977.
Bjelinski has been a composer who is always present and
much sought-after, and there is hardly a genre at which he has
not tried his hand. If one were to try to characterise the musi-
cian Bruno Bjelinski succinctly, it would be feasible if one used
the statement about the very particular aura of equal emotional
and intellectual features, an aura that gives off an atmosphere
of serenity and indomitable optimism. With an inexhaustible
and exuberant composerly imagination (particularly fi gured in
his fi fteen symphonies) he created music with a pronounced hu-
manity, the classical rooting of which was uncompromising in its
defi ance of all modernisms.
Bjelinski was happy to write “on commission” from mu-
sicians, and in the area of chamber music he left a particularly
important number of inspired works. The Trio for fl ute, cello and
piano (or for oboe, bassoon and piano) of 1960 exists in a ver-
sion for chamber orchestra entitled Five Inventions (1965). In-
deed, with extra-musical associations and respect for the choice
of contrasting tempos, we are concerned here with fi ve inventive
movements that tell of the author’s neo-classic inspirations, de-
riving from a lastingly cheerful and playful fancy. In frequently
improvisational procedures there are bravura passages of great
technical sophistication. Lastingly true to himself, the music of
Bjelinski does not experience rises and falls in value – it is always
at a remarkable level of inspired musicality.
glazbenim asocijacijama i poštivanjem izbora kontrastirajućih
tempa, riječ je o pet inventivnih stavaka koji svjedoče autorov
neoklasični izvor inspiracije, proizašle iz trajno vedre i razigrane
mašte. U često improvizatorskim postupcima sadržane su
bravure znalačke tehničke dovršenosti. Trajno vjerna sebi, ne
poznaje glazba Bjelinskog uspone i padove vrijednosti – ona je
uporno na zavidnoj razini nadahnute muzikalnosti.
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24
IV. Petak Friday
18. srpnja July 18
21.00 21.00
Tonko Ninićviolina / violin
Zagreb
Vladimir Krpanglasovir / piano
Zagreb
Arcangelo Corelli Sonata br. 12, La Follia
(1653.-1713.) Sonata no. 12, La Follia
Franz Schubert Sonatina u D-duru, br. 1,
(1797.-1828.) op. 137
Sonatina in D major, no. 1,
op. 137
Allegro molto
Andante
Allegro vivace
Ivo Maček Sonata za violinu i glasovir
(1914.-2002.) Sonata for violin and piano Con moto
Allegro deciso
Johannes Brahms Sonata za violinu i glasovir
(1833.-1897.) u A-duru, br. 2, op. 100
Sonata for violin and piano
in A major, no. 2, op. 100 Allegro amabile
Andante tranquillo
Allegretto grazioso (quasi
andante)
Johannes Brahms Sonatni stavak za violinu i
glasovir
Sonata movement for violin
and piano
Scherzo
* * *
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25
Ivo Maček (1914.-2002.) glavninu je svoje glazbeničke
djelatnosti u mladosti posvetio koncertnom djelovanju, u zreloj
dobi je bio najaktivniji kao pijanistički pedagog a skladanjem
se u većoj mjeri bavio tek u kasnijoj životnoj dobi. Na Muzičkoj
akademiji u Zagrebu studirao je klavir (Vjekoslav Rosenberg-
Ružić) i kompoziciju (Franjo Dugan). Nakon diplomskog ispita
(1934.) nastavio je studij klavira u razredu uglednog profesora
Svetislava Stančića, utemeljitelja Zagrebačke pijanističke škole,
a 1939. godine se usavršavao u kompoziciji u Parizu kod Roger-
Ducassea. Bio je nastavnik klavira na glazbenoj školi Lisinski u
Zagrebu, a nakon kraćeg rada na položaju tajnika Opere Hrvat-
skog narodnog kazališta u Zagrebu, postao je profesor glasovira
na srednjoj školi Muzičke akademije. Na toj je ustanovi napre-
dovao i od 1950. do 1977. godine je bio redovni profesor glaso-
vira. Iz njegove je klase izašao znatan broj uglednih hrvatskih
pijanista.
Djelujući u komorno-glazbenim sastavima razvio je oso-
biti afi nitet prema djelima za manje ansamble pa se to ogleda i u
njegovom skladateljskom radu u kojemu prevladavaju komorne
skladbe: Romantični trio za klavir, violinu i violončelo (1935.),
Sonata za violončelo i klavir (1955.), dva gudačka kvarteta
(1980., ?) Sonata za violinu i klavir, Puhački kvintet (1987.),
Puhački trio te niz djela za glasovir. Ogledao se i na području
koncertantne (Concertino za klavir i komorni orkestar iz 1991.
godine) i vokalne glazbe (Dva klasična moteta iz 1935. godine).
Izuzetno profi njeni umjetnik svestranog klasičnog obra-
zovanja, s razvijenim osjećajem za stilsko oblikovanje djela,
unosio je Ivo Maček ta bogata iskustva i veliko skladateljsko
tehničko znanje u vlastite skladbe. U formalnom pogledu vjeran
tradiciji, s dubokim razumijevanjem i skladateljskim umijećem,
pisao je glazbu koja je sadržajna i prijemljiva. Tako i njegova So-
nata za violinu i klavir (praizveo 1989. godine violinista Tonko
Ninić s pijanistom Juricom Murajem, te snimio za HTV s autorom
glazbe) odiše vrsnim poznavanjem instrumentalnih mogućnosti
zahvaljujući kojemu se instrumenti skladno upotpunjuju. Odjeci
folklornih elemenata u drugom stavku pružaju pak glazbi poseb-
nu živost, a djelo u cjelini time podcrtava skladateljev identitet.
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Ivo Maček (1914-2002) devoted the major part of his mu-
sical activity in his youth to work in the concert hall, in his matu-
rity he was most active as a piano educator, and to the greatest
extent engaged in composition only in his later life. He studied
the piano at the Music Academy in Zagreb (Vjekoslav Rosenberg-
Ružić) and composition (Franjo Dugan). After his certifi cate
exam (1934) he went on with piano studies in the class of the
celebrated teacher Svetislav Stančić, founder of the Zagreb piano
school and in 1939 he did further studies in composition in Paris,
with Roger-Ducasse. He was teacher of piano at the Lisinski Mu-
sic School, Zagreb, and after a short period working in the post of
secretary of the Opera Company of the Croatian National Thea-
tre in Zagreb, he became a piano teacher at the Music Academy’s
secondary school. He was promoted at this establishment and
from 1950 to 1977 he was a full tenured professor of piano. A
considerably number of distinguished Croatian pianists gradu-
ated from his class.
Working in chamber music ensembles, he developed a
particular affi nity for works for smallish ensembles, and this can
be seen in his compositions, in which chamber works tend to pre-
vail: Romantic trio for piano, violin and cello (1935), Sonata for
cello and piano (1955), two string quartets (1980 and ?) Sonata
for violin and piano, Wind Quintet (1987), Wind Trio and a num-
ber of works for piano.
An exceptionally refi ned artist of an all-round classical
education, with a developed feeling for the stylistic shaping of a
work, Ivo Maček put his ample experience and great composer-
ly technical knowledge into his own compositions. In a formal
point of view loyal to the tradition, with a profound insight and
composerly skill, he wrote music that is both substantial and
sensitive. This can describe his Sonata for violin and piano (fi rst
performed in 1989 by violinist Tonko Ninić with pianist Jurica
Murai, and recorded for HTV with the composer himself) reveals
an impeccable knowledge of the instrumental capacities, thanks
to which the instruments complement each other gracefully. The
echoes of folk music elements in the second movement on the
other hand give the music an especial vivacity, and the work as a
whole thus underscores the identity of the composer.
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V. Nedjelja Sunday
20. srpnja July 20
21.00 21.00
István Römergitara/guitar
Zagreb
Johann Sebastian Bach Suita za lutnju, BWV 995
(1685.-1750.) Lute Suite, BWV 995
Preludij
Allemande
Courante
Sarabande
Gavotte I/II
Gigue
Boris Papandopulo Tri igre
(1906.-1991.) Three Dances
Allegretto vivace
Andante
Allegro comodo
* * * Srećko Bradić Potonulo sidro
(1964.) Sunken Anchor
praizvedba / fi rst performance
Anđelko Klobučar Sonata
(1930.) Allegro risoluto
Largo
Allegro scherzando
Enrique Granados Španjolski plesovi, iz op. 37
(1867.-1916.) Spanish Dances, from op. 37
Andalusa (br. 5) / (no. 5)
Minuetto (br. 1) / (no. 1)
Villanesca (br. 4) / (no. 4)
Zarabanda (br. 3) / (no. 3)
Danza triste (br. 10) / (no. 10)
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Boris Papandopulo (1906.– 1991.) pripada onim europ-
skim skladateljima koji su ostavili bogati opus u svim žanrovima
slijedeći stilske mijene i uvijek ih prilagođavajući vlastitom poi-
manju glazbe. Studirao je kompoziciju na Muzičkoj akademiji u
Zagrebu u razredu Blagoja Berse a dirigiranje na Novom bečkom
konzervatoriju u razredu Dirka Focka. Svoju dirigentsku karije-
ru započeo je u Zagrebu a djelovao je i u Splitu, Rijeci te Kairu.
Tijekom više od 60 godina dugačke i nadasve plodne
skladateljske prakse Boris Papandopulo je ostavio više od 300
djela koja svjedoče bujnu stvaralačku maštu jednog od najčešće
izvođenih hrvatskih skladatelja.
Papandopulo je bio glazbenik, u najpozitivnijem smislu
riječi muzikant, s bogomdanim talentom iskonskog skladatelja,
koji je, u instrumentalnom smislu, vjeran tradiciji. Glazbena ja-
snoća i majstorstvo njegova opsežnog opusa, usprkos izvođač-
kim zahtjevnostima, povod su za stalni život njegove glazbe.
Tri igre za gitaru skladao je Papandopulo 1975. godine.
Riječ je o tri folklorno inspirirane žanr sličice, koje asociraju na
zvukovnost istarskog narodnog idioma ili pak donose citate po-
pularnih pučkih pjesama i elementarne ritmove dubrovačkog
plesa. Pred nama je vješti mozaik trajno raspoložene glazbe koja
znalački koristi mogućnosti gitare. Ili, kao što je napomenuo gi-
tarista István Römer, koji tu glazbu uvijek rado izvodi, »što Pa-
pandopulo dotakne, on pretvara u zlato«!
Srećko Bradić (1963.) završio je studij na Odjelu za glaz-
benu pedagogiju Muzičke akademije u Zagrebu, a njegov je glaz-
beni poziv bio određen studijem na Odjelu za kompoziciju na
istoj ustanovi i diplomom u razredu prof. Stanka Horvata. Među
skladateljevim ranim djelima ističu se Šest bagatela za glasovir,
Trio za violinu, violu i violončelo, Izgubljena glazba (Lost music)
za puhački kvintet i Za gudače (For strings) za gudački orkestar
i dvanaest solista gudača. Novija su djela uglavnom posvećena
većim ansamblima uključujući Penetration za glasovir i gudački
orkestar, Credo za soliste, mješoviti zbor i orkestar, Venery za
veliki orkestar La femme za sopran i orkestar, Koncert za violu,
violončelo i orkestar, Koncert za glasovir i orkestar i Koncert za
orkestar. Radi na Muzičkoj akademiji u Zagrebu gdje predaje
glazbenu teoriju na Odjelu za kompoziciju i glazbenu teoriju.
Autor zapisuje: »Jedna mala intimna ispovijest koja tihim
hodom luta, dolazi, prelazi, vraća se…Tanka crta ponora dubina
biva umivena crnilom ljepote i uz podareni vapaj krene… dolje.«
Skladatelj, orguljaš i pedagog Anđelko Klobučar (1931.),
diplomirao je 1955. godine na teoretsko-historijskom odjelu Mu-
zičke akademije u Zagrebu. Kompoziciju je studirao u razredu
Mila Cipre a orgulje u razredu Franje Lučića. Usavršavao se u or-
guljama kod Antona Nowakovskog u Salzburgu (1960.) i u kom-
poziciji kod Andréa Joliveta u Parizu (1965./66.)
U hrvatskom glazbenom životu Anđelko Klobučar je pri-
sutan od 1952. godine kada se zagrebačkoj javnosti predstavio
izvedbom svoje Passacaglie. U daljnjem je djelovanju trajno pra-
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29
izvodio, uz vlastita, i djela svojih kolega-suvremenika a karijera
orguljaša vodila ga je diljem svijeta i svirao je u najpoznatijim ka-
tedralama i crkvama Europe. Uz pedagoško djelovanje na Muzič-
koj akademiji u Zagrebu, Klobučar je orguljaš Prvostolne crkve.
Posebnošću prigode izdvaja se njegova Papinska misa skladana
u povodu 900. obljetnice Zagrebačke nadbiskupije, praizvedena
11. rujna 1994. godine u povodu prvog dolaska Pape Ivana Pavla
II. u Zagreb.
Izrazito omiljeni skladatelj, Klobučar trajno sklada na
izravne poticaje glazbenika. Tako je i svoju Sonatu skladao
1993. godine na inicijativu gitarista Istvána Römera, koji ju je
ubrzo nakon nastanka i praizveo u zagrebačkom Hrvatskom
glazbenom zavodu. Sugestija glazbenika skladatelju bila je želja
da, u nedostatku sonatnih oblika za gitaru, dobije djelo koje bi
poštivalo zadatosti sonate kao forme. Klobučar je toj želji udovo-
ljio ritmički pregnantnom, prozračnom glazbom koja u tri stavka
slijedi uzor prvog, sonatnog stavka s dvije teme i maštovitom
provedbom, melodijski dojmljivim drugim stavkom jednostav-
ne izražajnosti i trećim stavkom u obliku ronda.
Boris Papandopulo (1906-1991) belongs among those
European composers who have left behind them a rich oeuvre
in all of the genres, following changes in style, always adapting
them however to his own way of understanding music. He studi-
ed composition at the Music Academy in Zagreb, class of Blagoje
Bersa, and conducting in the New Vienna Conservatory, class of
Dirk Fock. He started his conducting career in Zagreb, and also
worked in Split, Rijeka and Cairo.
During the more than 60 years of his long and extremely
fruitful composing practice, Boris Papandopulo wrote more than
300 works, testimony to the exuberant creative imagination of
one of the most often-performed Croatian composers.
Papandopulo was a musician, a player, in the most posi-
tive sense, with a god-given talent of a primal composer, who is
loyal to the tradition in an instrumental sense. The musical cla-
rity and mastery of his capacious oeuvre, notwithstanding the
demands of performing it, are the reason why his music conti-
nues to live.
Three dances for guitar was composed in 1975. These are
three folk-music-inspired genre pictures providing associations
of the sounds of the Istrian vernacular idiom, alternately quo-
ting popular vernacular songs and the elementary rhythms of
the Dubrovnik dance. This is a skilled mosaic of music lastingly
in a good mood that adroitly makes use of the capacities of the
guitar. Or, as guitarist István Romer remarked, who has always
been happy to perform it, “whatever Papandopulo touches, he
turns into gold”.
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Srećko Bradić (1963) completed his degree course in the
music education department of the Music Academy in Zagreb; his
musical vocation was determined however by his course at the
composition department in the same institution, and a degree in
the class of Stanko Horvat. Among the composer’s early works,
particularly interesting are the Six Bagatelles for piano, Trio, for
violin, viola and cello, Lost Music for wind quartet, For Strings for
string orchestra and twelve string soloists. More recent works
are on the whole devoted to major ensembles, including Pene-
tration for piano and string orchestra, Credo for soloists, mixed
choir and orchestra, Venery for large orchestra, La femme for
soprano and orchestra, Concerto for viola, cello and orchestra,
Concerto for piano and orchestra, and Concerto for orchestra. He
works at the Music Academy in Zagreb, teaching music theory at
the composition and music theory department.
The composer writes: “A little intimate confession that
with a quiet step wanders, comes, goes past, comes back… A
thin line of the abyss of the depths is washed with the blackness
of beauty and with the endowed cry moves…down.”
Composer, organist and educator Andelko Klobučar
(1931) took his degree in 1955 in the theoretical and historical
department of the Music Academy in Zagreb. He studied com-
position in the class of Milo Cipra and organ in that of Franjo
Lučić. He did further organ studies with Anton Nowakovski in
Salzburg (1960) and in composition with André Jolivet in Paris
(1965/66).
Anđelko Klobučar has been a feature in Croatian music
life since 1952, when he made his debut before the Zagreb public
with a performance of his own Passacaglia. In his further work,
he has continued to give fi rst performances of his own works and
those of contemporary fellow composers and his career as orga-
nist has taken him around the world, where he has played in the
best known churches and cathedrals of Europe. As well as be-
ing a teacher at the Music Academy, Klobučar is also organist of
Zagreb Cathedral. For the particularity of the occasion, especial
prominence accrues to his Papal Mass, composed to mark the 9th
centenary of the Archdiocese of Zagreb, fi rst performed on Sep-
tember 11, 1994, on the occasion of the fi rst visit of Pope John
Paul II to Zagreb.
A very well-loved composer, Klobučar regularly compo-
ses according to direct prompting from musicians. His Sonata
was in this way composed in 1993 at the initiative of guitarist
István Romer, who soon after its creation fi rst performed it in the
Croatian Music Institute in Zagreb. As the guitarist told the com-
poser, he had the wish, since there is a shortage of sonata forms
for the guitar, to obtain a work that would respect the givens of
the sonata as form. Klobučar met this desire with a rhythmically
pregnant, transparent music that in three movements follows the
model of the fi rst, sonata form with two themes and an imagina-
tive development, a melodically impressive second movement of
simple expressiveness, and a third movement in rondo form.
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31
VI. Utorak Tuesday
22. srpnja July 22
21.00 21.00
Zagrebački solistiThe Zagreb Soloists
Davor Radićbariton / baritone
Zagreb
Wolfgang Amadeus Divertimento u B-duru,
Mozart KV 137
(1756.-1791.) Divertimento in B fl at
major, KV 137
Andante Allegro di molto
Allegro assai
Antun Dobronić Jelšonski tonci
(1878.-1955.) Jelsa Dances
Traškun – Allegretto
Po starosku – Moderato e cantabile
Na livu – Andantino giocoso
Po starogojsku – Moderato e deciso
Poskakuša – Allegretto giocoso
Stanko Horvat Crne pjesme za bariton i
(1930.-2006.) gudače
Black Songs for baritone
and strings
Davor Radić bariton /baritone
* * * Antonin Dvorák Serenada za gudače
(1841.-1904.) Serenade for strings
Moderato Tempo di valse Vivace Larghetto Allegro vivace
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Antun Dobronić (1878.-1955.), skladatelj, glazbeni pi-
sac, kritičar, melograf i pedagog u hrvatskoj povijesti glazbe
prve polovice 20. stoljeća poznat je kao gorljivi »promicatelj ide-
ologije nacionalnoga smjera«. Završio je Učiteljsku školu u Ar-
banasima kraj Zadra, a od 1896. do 1910. godine je bio učitelj
na Hvaru, Visu i u Drnišu. U Prag je otišao u dobi od 32 godine
i nakon dvogodišnjeg studija diplomirao kompoziciju i dirigira-
nje na Konzervatoriju u klasama uglednih čeških profesora K.
Steckera, V. Nováka i F. Spilka. Taj praški boravak još ga je više
uvjerio u potrebu skladanja na osnovama narodne umjetnosti i u
narodnom duhu koje valja oblikovati u umjetničku glazbu.
Duboke korijene u pučkoj glazbi s otoka Hvara, točnije iz
skladateljeve rodne Jelse, nalazimo i u peterostavačnoj suiti Jel-
šonski tonci za gudački orkestar, skladanoj 1938. godine.
Jelšonski tonci su nedvojbeno najčešće izvođeno Dobroni-
ćevo djelo, a sam je skladatelj isticao da glazba ima autobiograf-
ski karakter. »Oni su nastali iz sjećanja na doba mog djetinjstva,
kad je ono stari ‘paron Vincenco’ u milom mi zavičaju, ubavoj
Jelsi na otoku Hvaru, na malenom, zvukovno nadasve prodor-
nom instrumentu mediteranskog podrijetla, liri (lirici, lijerici,
gudačkom instrumentu koji je pratio narodni ples, op. Z. W.), na
osnovi sitnih melodija, ‘tema’, upravo virtuozno improvizirao i
tako na plesovima davno ustaljenim u krasnim fi gurama, svoje
slušateljstvo ugodno zabavljao. Kroz ovo sam prebiranje po prvi
put u ‘umjetničkoj’ tvorbi proćutio primarni muzički izraz u obli-
ku improvizacije… Godine su prolazile, nametnulo mi se više
kulturno-umjetničko naziranje, ali ‘teme’ koje sam u djetinjstvu
usvojio, često su mi navirale u podsvijest. I tako mi se namet-
nulo, da ove ‘primitivne’ ali ustvari zdrave muzičke zamisli za-
odjenem u višu umjetničku formu, da idealiziram stare plesove,
‘tonce’ (tance, što znači plesove, op. Z.W.) mog zavičaja.«
Već su prigodom praizvedbe u travnju 1998. godine Crne
pjesme Stanka Horvata, skladane za bariton i 13 gudača, pri-
vukle znatnu pažnju stručne kritike. Uspjeh je, uz vrsno muzi-
ciranje Zagrebačkih solista, kojima je djelo bilo posvećeno, bio
pripisivan i solistu, baritonu Jošku Lešaji, koji je svoju dionicu in-
terpretirao vrlo izražajno. Bio je to Horvatov nastavak suradnje
s pjesnikinjom Dunjom Robić, s kojom je, kao autoricom libreta,
surađivao i pri izradi svoje opere Preobražaj prema noveli Fran-
za Kafke, a na njezine je stihove skladao i djelo Tišina i uzdasi
za sopran, vibrafon i udaraljke 1993. godine. Bez obzira koliko
nam se ponekad čini dramatičan zvuk koji izvire iz Horvatove
glazbe, on uvijek nastaje kao rezultat jedine moguće, posve lo-
gične i duboke ljudske emocije, bilo da se radi o strahu, tjeskobi,
nelagodi, ljutnji, bijesu ili očajanju zbog nemoći. U tome i jest
ključ po kojem i šira publika prepoznaje taj opus kao sebi blizak
i razumljiv.
* o skladatelju Stanku Horvatu vidi na str. 10-12.
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33
Antun Dobronić (1878-1955), composer, music writer,
critic, transcriber of traditional music and teacher is known in the
history of Croatian music of the fi rst half of the 20th century as an
ardent promoter of the ideology of the national direction. He went
to Normal School in Arbanasi near Zadar, and from 1896 to 1910
was a teacher on Hvar, Vis and in Drniš. He went to Prague at the
age of 32, and after a two-year course, graduated in composition
and conducting at the Conservatory there in the classes of cele-
brated Czech teachers K. Sticker, V. Novák and F. Spilak. This stay
in Prague convinced him still more of the need to compose on the
bases of vernacular, folk, art, and in the national spirit, which had
nevertheless to be given shape in serious music.
We can fi nd the deep roots in the folk music from the island
of Hvar, more precisely from the composer’s native Jelsa, in the
fi ve-movement suite Jelsa Dances for string orchestra, composed
in 1938.
Jelsa Dances are without any doubt the most-performed
of Dobronić’s works. The composer pointed out that they had an
autobiographical nature. “They were created from the time of my
childhood when that old “Paron Vincenzo” in my dear home co-
untry, snug Jelsa on the island of Hvar, in the little, highly pene-
trating instrument of Mediterranean origin, the lyre (the stringed
instrument that accompanied the folk dance, Z.W.), on the basis
of little melodies, themes, actually made virtuoso improvisati-
ons, very pleasantly entertaining his listeners, on dances long
ago set in lovely fi gures. Through this plucking for the fi rst time
in an artistic creation I head primary musical expression in the
form of improvisation… Years went past, and a more cultured
and artistic way of looking at things fastened hard upon me, but
the themes that I internalised in my childhood often welled up in
my unconscious. And so I felt the need to clad these primitive but
actually very healthy ideas in a high artistic form, to idealise the
old dances, the tonci, (dances) of my home town.”
On its very fi rst performance in April 1998, the Black Son-
gs of Stanko Horvat, composed for baritone and thirteen string
instruments, attracted a good deal of attention from the music
press. The success, with the outstanding music making of the
Zagreb Soloists, to whom the work was dedicated, was also as-
cribed to the soloist, the baritone Joško Lešaja, who interpreted
his part with a great deal of expression. This was a continuation
of Horvat’s collaboration with poet Dunja Robić; previously, she
had written the libretto for his opera Metamorphosis after the
story of Franz Kafka, and he also composed the work Silence and
Sighs for soprano, vibraphone and percussion in 1993 to verses
of hers. Irrespective of the drama of the sound that sometimes
wells up out of Horvat’s music, it is always formed as the result of
a possible, entirely logical and profound human emotion, whet-
her it is to do with fear, anxiety, unease, anger, rage or despair at
a sense of powerlessness. This is precisely the key in which the
general public perceives and recognises this work as close to and
intelligible to them.
* For more about composer Stanko Horvat, see page 12-14.
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34
VII. Četvrtak Thursday
24. srpnja July 24
21.00 21.00
Monika Leskovarviolončelo / cello
Zagreb - Berlin
Giovanni Sollimaviolončelo / cello
Italija / Italy
Marin Marais Suita u d-molu (pièces de
(1656.-1728.) viole, 1. livre, 1720.)
Suite in D minor (pièces de
viole, book 1, 1720) Prelude
Allemande
Courante
Sarabande
Gigue
Chick Corea Children’s Songs, br. 3 i br. 9
(1941.) / no. 3 and no. 9
* * * Vinko Jelić Ricercar
(1596.-1636.?)
Giovani Sollima The interpretation of
dreams
The wood
Madre – fi glio – natura
Acheronta movebo acqua
(Leonardo da Vinci’s dream)
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35
Vinko Jelić (Vincenz Jeličić, 1596.-1636.?) pripada gene-
raciji srednjoeuropskih ranobaroknih skladatelja. Iako je najveći
dio života proveo u inozemstvu, naglašavao je svoje hrvatsko
podrijetlo time što je svojem imenu pridavao oznaku »Flumi-
nensi Sancti Viti«, ističući tako da mu je rodni grad Rijeka (tal.
Fiume). Djetinjstvo je proveo u Rijeci, a 1606. godine je otišao u
Graz gdje je školovan kao pjevač dvorskog zbora (Capel Knabe).
Zbor je vodio talijanski dirigent i skladatelj Matthia Ferrabosco,
koji je Jelića glazbeno obrazovao. Istovremeno je pohađao teo-
loški studij, a od 1617. godine je živio u Zabernu (Alzas). 1618.
godine je bio zaređen za svećenika. Razvio je znatnu glazbenič-
ku djelatnost, koju je prekinuo Tridesetogodišnji rat, a Zabern je
postao poprištem žestokih borbi (1622.). U 1636. godini je grad
bio potpuno razoren i prešao je u ruke francuskih vlasti. Još dva
dana prije ulaska Francuza u Zabern (24. srpnja) gradske ispra-
ve navode posljednji put ime Vinka Jelića. Nakon toga mu se iz-
gubio svaki trag.
Vinko Jelić je, uz Ivana Lukačića, najznačajniji hrvatski
ranobarokni skladatelj koji je svojom naglašeno pjevnom i kon-
trapunktski inventivnom glazbom dao znatan prilog europskom
skladateljstvu svojega vremena. Uz zbirku Parnassia militia, je-
dinu u potpunosti sačuvanu, ostavio je Jelić djelomično sačuvane
zbirke Arion primus i Arion secundus. U drugoj je zbirci sadrža-
no i više kraćih instrumentalnih djela. Među njima su ricercari
kao kasnorenesansni i ranobarokni instrumentalni emancipira-
ni stavci karakteristični za način skladanja u funkciji preludija za
neko daljnje djelo. Riječ je o permutacijama odabranog motiva u
smislu etide ili studije koja istražuje tehnička sredstva u sviranju
na nekom instrumentu. Ricercare je moguće izvoditi na različi-
tim instrumentima i te su dvoglasne invencije bile vrlo omiljene.
Na večerašnjem koncertu ćemo tu tipično ranobaroknu, pokret-
nu, kontrapunktski obrađenu i varijacijski nadahnutu Jelićevu
glazbu čuti u verziji za dva violončela, što u potpunosti odgovara
tradiciji izvođenja na raspoloživim instrumentima.
Virginia Woolf, il fl usso di
conscienza
Virginia Woolf, stream of
consciousness
La pericolosa percezione
dell’inconscienza (Freud)
Danger of the perception of
the unconscious (Freud)
Natural songbook
The wood
Frida’s dream
Calamity Jane
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Vinko Jelić (Vincenz Jeličić, 1596-1636?) belongs to the
generation of early Baroque composers of central Europe. Altho-
ugh he spent the major part of his life abroad, he always stressed
his Croatian descent, adding to his name the epithet Fluminensi
Sancti Viti, showing in this way that Rijeka was his native city
(Fiume in Italian). He spent his childhood in Rijeka, an in 1606
went off to Graz, where he was trained to be in the court choir as
a singer – the Capel Knabe. The choir was directed by the Italian
conductor and composer Matthia Ferrabosco, who trained Jelić
in music. At the same time he attended a theology course, and
from 1617 lived in Zabern – Alsace. In 1618 he was ordained. He
developed quite a considerable musical career, which was bro-
ken off by the Thirty Years’ War, with Zabern becoming the site
of ferocious fi ghting in 1622. In 1636 the city was razed and was
taken by the French. Two days before the French entered the city
(July 24) some municipal documents mention the name of Vinko
Jelić for the last time. After that, all trace of him is lost.
Next to Ivan Lukačić, Vinko Jelić was the most important
Croatian early Baroque composer, who with his highly singable
and contrapuntally inventive music made an important contribu-
tion to the European composing of the time. Along with the co-
llection Parnassia militia, the only one totally preserved, he also
left some partially extant collections, Arion primus and Arion
secundus. In the second collection there are more short instru-
mental works. Among them are the ricercars that are late Renai-
ssance or early Baroque emancipated instrumental movements
characteristic of the manner of composing by way of prelude to
some further work. These are permutations of a selected motif
in the sense of etude or study that explores the technical reso-
urces in the playing of a given instrument. Ricercars can be per-
formed on various instruments, and these two-part inventions
were great favourites. At this evening’s concert we shall hear this
typically early Baroque, mobile, contrapuntally well-worked-out
music of Jelić’s, inspired in its variations, in a version for two ce-
llos, which is entirely at one with the tradition of performing on
whatever instruments are available.
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VIII. Subota Saturday
26. srpnja July 26
21.00 21.00
Kimiko Nakazawa violina / violin Japan
Goran Končar violina / violin Zagreb
Aya Tokuda violina / violin Japan*
Seiji Okamoto violina / violin Japan*
Petra Gilming glasovir / piano Zagreb
Johann Sebastian Bach Trio sonata za dvije violine i
(1685.-1750.) glasovir u C-duru, BWV 1037
Trio sonata for two violins
and piano in C major,
BWV 1037 Adagio
Alla breve
Largo
Gigue
Kimiko Nakazawa violina / violin
Goran Končar violina / violin
Petra Gilming glasovir / piano
Henryk Wieniawski Scherzo-Tarantelle
(1835.-1880.)
Aya Tokuda violina / violin
Petra Gilming glasovir / piano
Franz Waxman Carmen fantazija
(1906.-1967.)
Seiji Okamoto violina / violin
Petra Gilming glasovir / piano
* * * Ivan Mane Jarnović Duet za dvije violine u F-duru
(1747.-1804.) Duet for two violins in F major Allegro
Rondo
Kimiko Nakazawa violina / violin
Goran Končar violina / violin
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Richard Strauss Sonata za violinu i glasovir
(1864.-1949.) u Es-duru, op.18
Sonata for violin and piano
in E fl at major, op.18
Allegro ma non troppo
Andante cantabile
Andante-Allegro
Kimiko Nakazawa violina / violin
Petra Gilming glasovir / piano
* laureati japanskog državnog natjecanja,
Seiji Okamoto laureat 2007. godine i Aya Tokuda laureat 2008. godine
* Prize winners of the Japanese national competition:
Seiji Okamoto in 2007 and Aya Tokuda in 2008.
Prije tri desetljeća, sada već daleke 1978. godine, bile su
III. Osorske glazbene večeri posvećene Ivanu Mani Jarnoviću i
tada je bio izveden niz njegovih djela. Pa ipak, znanstvene spo-
znaje o tom skladatelju bile su tada još vrlo manjkave i obilovale
su zabludama. U međuvremenu su utvrđeni brojni elementi koji
govore o stvaralaštvu skladatelja koji već desetljećima intrigira
hrvatsku i svjetsku muzikologiju.
Utvrđeno je da je Jarnović kršten 29., a rođen 26. listo-
pada 1747. godine u Palermu od oca imenom Joannes Maria Gi-
ernovichi i majke imenom Maria de Marchi. Kako su sačuvane
brojne inačice prezimena, konzultirani su lingvisti i stručnjaci za
jezik čije je mišljenje da su talijanizirane verzije prezimena koja
počinju slogom Gior-, Giar, Gier- zapravo slavenskog podrijetla
i dolaze od Jor-, Jar- i Jer-. U tom se pogledu onda talijanizirana
varijanta Giornovichi poklapa s francuskom i njemačkom Jarno-
vick/Jarnowick, što je blisko hrvatskoj inačici prezimena - Jarno-
vić – koje je i u to doba a i danas prisutno na području Hrvatske
između Karlovca i Ogulina. Time se potvrđuju Jarnovićevi hrvat-
ski korijeni. Kada je pak riječ o izvoru imena »Mane«, što se po-
javljuje u hrvatskoj historiografi ji, ono nije nigdje sa sigurnošću
objašnjeno, te se ustvrđuje da to ime valja rabiti kao nadimak, a
ne kao drugo ime. Ispravno bi stoga bilo ovoga virtuoza navoditi
kao Ivana Jarnovića (zvanog Mane).
Sva dugogodišnja istraživanja, vezana uz povijesno odre-
đivanje skladatelja i virtuoza kojega je za života poznavala cijela
kulturna Europa, koji je ostavio dvadesetak izuzetno vrijednih
violinskih koncerata i brojna komorna djela s violinom u glav-
noj ulozi, a koji je preminuo u Petrogradu 23. studenog 1804.
godine, dokazuju vjerojatnost Jarnovićeva hrvatskog podrijetla.
Školovan na talijanskim zasadama povezuje Jarnović kasno-
baroknu izražajnost s klasicističkim značajkama mozartovske
provenijencije. U svojim duetima za dvije violine dokazao je mo-
gućnosti sklada koji je u još većoj mjeri postizao u solističkim
dionicama svojih violinskih koncerata.
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39
Three decades ago, in what now seems a distant 1978,
the 3rd Osor Musical Evenings focused on Ivan Mane Jarnović
and a number of his works were then performed. Still, scholarly
understandings of this composer were then very faulty and abo-
unded in errors. In the meantime, numerous elements have been
discovered that tell of the work of a composer who has for deca-
des now intrigued world and Croatian musicology.
It has been established that Jarnović was christened
on the 29th and born on the 26th of October, 1747, in Palermo,
his father being Joannes Maria Giernovichi and mother Maria
de Marchi. Since many versions of the surname are extant,
numerous language experts on consultation have given their
opinion that Italian surnames that start with Gior- or Giar- or
Gier- are in fact of Slavic origin and derive from Jor-, Jar- and
Jer. Accordingly the Italian version of Giornovichi corresponds
wit the French and German Jarnovick/Jarnowick, close to the
Croatian version, Jarnović, which could at that time as well as
today be found in the area of Croatia between Karlovac and
Ogulin. This confi rms the Croatian roots. As for the origin of the
name “Mane”, which appears in Croatian historiography, it has
never been perfectly surely explained, and it is claimed that the
name should be used as a nickname – hence he should properly
be called Ivan “Mane” Jarnović.
All the years of research related to the historical determi-
nation of the composer and virtuoso who was known in his life-
time by the whole of arts-loving Europe, and who left some score
of very valuable violin concerti and many chamber works with vi-
olin in the main role, who died in St Petersburg on November 23
1804, show the probability that Jarnović was of Croatian origin.
Trained on Italian principles, Jarnović combines a late Baroque
expressiveness with classicist features that have their origins in
Mozart. In his duets for two violins he adumbrated the possibili-
ties of a harmony that he achieved to a still greater extent in the
solo parts of his violin concerti.
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IX. Ponedjeljak Monday
28. srpnja July 28
21.00 21.00
Paulo Martelligitara / guitar
Brazil
Prvi dio
na klasičnoj šestostrunoj gitari
First part
on the classical six-stringed guitar
Geraldo Vespar Two Brazilian Studies
(1937.)
Paulo Bellinati Estudo litorâneo br. 1 / no. 1
(1950.)
Egberto Gismonti Agua e vinho
(1947.) Loro
William Walton Five bagatellas
(1902.-1983.)
* * *Drugi dio na jedanaestostrunoj gitari
Second part on the eleven-stringed guitar
Ivan Padovec Tri skladbe iz „Izbora kom-
(1800.-1873.) pozicija za gitaru“
Three compositions from
„The choice of guitar works“
Johann Sebastian Bach Adagio, BWV 974
(1685.-1750.) (Bach/Marcello)*
Sonata, BWV 1001*
Sonate, BWV 1001*
Adagio
Fuga
Siciliana
Presto
* transkripcija Paulo Martelli / * transcription Paulo Martelli
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41
Ivan Padovec, rođen u Varaždinu 1800. godine,
bio je među prvim hrvatskim profesionalnim gitaristima/
skladateljima s međunarodnim ugledom. Uspješno je kon-
certirao u domovini i inozemstvu, te skladao više od 200
djela, instrumentalnih (uglavnom za gitaru i dvije gitare)
i vokalnih (popjevke za različite glasove uz pratnju gitare
ili glasovira). Mnoge su njegove skladbe bile objavljene
za vrijeme njegova života, kod poznatih izdavača u Beču,
Pragu i dr. Neka od njegovih djela bila su sačuvana u ru-
kopisima, poput „Poleneze u A-duru“, jednog od njegovih
najslavnijih kratkih ostvarenja.
Ivan Padovec autor je pedagoškog priručnika „Te-
oretische-practische Guitar-Schule“, koji je bio nagrađen
prvom nagradom od 40 du kata na natjecanju koje je no-
silo ime jednog ruskog gitarista (vjerojatno Makarova). Tu
gitarističku metodu je 1842. godine objavio bečki izdavač
Werner. Osam poglavlja te knjige sadrže opće glazbene
upute o tehnici sviranja šeststrune gitare. Drugi dio knjige
sadrži melodijske stavke za vježbanje a treći se dio bavi
sviranjem desetstrune gitare.
Desetstruna gitara, koju je izumio Padovec, imala je
uz uobičajenih šest struna još i četiri basa (D, C, H i A),
koji su bili pričvršćeni na kućište i moglo ih se povisiti za
poluton. Tu gitaru je za njega izgradio slavni bečki graditelj
Stauffer.
Zbog oslabljelog vida morao je Padovec napustiti
gostovanja i od 1848. godine do smrti 1873. godine živio
je u svojem rodnom gradu, gdje je davao privatne satove
i povremeno nastupao. Njegova je glazba izraz romantič-
nog ugođaja vremena i pokazuje razvoj gitare kao instru-
menta za profesionalno muziciranje.
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42
Ivan Padovec, born in Varaždin in 1800, was among
the fi rst Croatian professional guitarist/composers with an
international reputation. He gave successful concerts both
at home and abroad, and composed over 200 compositi-
ons, instrumental (mostly for one and two guitars) and vo-
cal (songs for different voices accompanied by guitar or pi-
ano). Many of his compositions were published during his
lifetime, by well-known publishers in Vienna, Prague, etc.
But some of his works were kept in manuscripts, like „Polo-
naise in la major“, one of his most famous short pieces.
Ivan Padovec wrote a pedagogic book „Teoretische-
practische Guitar-Schule“, which was awarded a First prize
of 40 ducats in a competition bearing the name of a Russi-
an guitarist (probably Makarov). This guitar method was
published in 1842 by the Viennese publisher Werner. Its ei-
ght chapters contain general musical instructions on the te-
chnique of playing the six-stringed guitar. The second part
of the book consists of melodious pieces for practising, and
the third part deals with playing the ten-stringed guitar.
The ten-stringed guitar invented by Padovec had in
addition to the usual six strings, four basses (D, C, B and
A) fastened by separate pegs, by which each string could
be raised a semitone. The guitar was made for him by the
famous Viennese luthier Stauffer.
Because of the weakened eyesight, Padovec was
obliged to abandon his tours and from 1848 untill his dea-
th in 1873 he lived in his native town where he was giving
privat lessons and occasionally performing. His music is
the expression of the romantic athmosphere of his time
and it shows the development of the guitar as an instru-
ment for professional music making.
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43
X. Srijeda Wednesday
30. srpnja July 30
21.00 21.00
Maxim Fedotovviolina / violin
Rusija / Russia
Galina Petrovaglasovir / piano
Rusija / Russia
Petar Iljič Čajkovski Divertimenti iz baleta Labuđe
Petar Ilyich Tchaikovsky jezero
(1840.-1894.) Divertimenti from the
ballet Swan Lake Mazurka
Napuljski ples / Neapolitan Dance
Mađarski ples / Hungarian Dance
Pas de deux / Pas de deux
Španjolski ples / Spanish Dance
Modest Petrovič Šest fragmenata iz ciklusa
Musorgski Slike s izložbe
Modest Petrovich Six fragments from Pictures
Mussorgsky from an Exhibition
(1839.-1881.) Gnom / Gnome
Stari dvorac / The Old Castle
Dva Židova – Samuel Gol
denberg i Schmuyle /
Two Jews – Samuel Golden-
berg and Schmuyle
Ples pilića u ljuskama / Ballet
of unhatched chickens
Katakombe / Catacombs
Baba jaga / Baba Yaga
* * * Sanja Drakulić Sweet Dreams for violin
(1963.) and piano praizvedba / fi rst performance
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44
Nikolaj Andrejevič Šeherezada, op. 35
Rimski-Korsakov Scheherezade, op. 35
Nikolai Andreyevich Rimsky-Korsakov
(1844.-1908.)
Aleksandar Porfi rjevič Polovjetski plesovi
Borodin Polovetsian Dances
Alexandar Porfi ryevich Borodin (1833.-1887.)
Sanja Drakulić (1963.), pijanistica i skladateljica, za-
vršila je studij klavira na Muzičkoj akademiji u Zagrebu, a
usavršavala se u Nici, Weimaru, Parizu i Moskvi. Kompoziciju
je studirala na École Normale de Musique A.Cortot u Parizu, Vi-
sokoj školi za glazbu i scensku umjetnost u Beču, zagrebačkoj
Muzičkoj akademiji, a od 1987. na Moskovskom državnom kon-
zervatoriju P. I. Čajkovski, gdje je magistrirala (1992.) i doktori-
rala (1994.), te studirala muzikologiju i orgulje. Dvije je godine
bila asistentica kompozicije na istom Konzervatoriju. Na Sve-
ruskom natjecanju mladih kompozitora u Moskvi (1993.) os-
vojila je prvu nagradu s kompozicijom Pet intermezza za klavir
solo. Dobitnica je Jeljcinove Predsjednikove stipendije za skla-
datelje i brojnih nagrada za skladbe u Hrvatskoj. Članica je Hr-
vatskog društva skladatelja, Saveza skladatelja Rusije i Britans-
ke akademije skladatelja i pjesnika. Izvanredna je profesorica
na Odsjeku za glazbenu umjetnost Umjetničke akademije u Osi-
jeku. Održava međunarodne tečajeve i seminare iz kompozicije
i teorije glazbe. Voditeljica je Međunarodne glazbene tribine u
Puli. Njezina djela izvode poznati solisti, ansambli i orkestri u
Austriji, Bosni i Hercegovini, Bugarskoj, Crnoj Gori, Francus-
koj, Grčkoj, Nizozemskoj, Italiji, Japanu, Kosovu, Makedoniji,
Moldaviji, Norveškoj, Njemačkoj, Rusiji, SAD–u, Sloveniji, Sr-
biji, Španjolskoj, Turskoj, Ukrajini, Velikoj Britaniji i drugdje, a i
sama izvodi svoje klavirske skladbe.
Skladba Sweet dreams je nastala 2008. godine. Posveće-
na je Maximu Fedotovu i Galini Petrovoj te Osorskim glazbenim
večerima 2008. gdje se izvodi premijerno. Sweet dreams je jed-
nostavačna meditativna skladba u kojoj se slatkom snivanju pre-
puštaju i violina i klavir.
* sve transkripcije djela ruskih skladatelja izradila je Aida Isakova
* All arrangements for violin and piano by Aida Isakova
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45
Sanja Drakulić (1963), pianist and composer, did her pri-
mary piano studies at the Music Academy in Zagreb, going on for
further training in Nice, Weimar, Paris and Moscow. She studied
composition at the Ecole Normale de Musique A. Cortot in Paris,
the Music and Stage Art College in Vienna, at the Zagreb Music
Academy, and from 1987 at the Moscow State Conservatory,
where she took a master’s (1992) and a doctorate (1994), and
studied musicology and organ. For two years she was an assi-
stant in composition at the same Conservatory. At the All-Russia
competition for young composers in Moscow in 1993 she won the
fi rst prize with the work Five intermezzi for solo piano. She won
the President’s Scholarship for composers, and many prizes for
compositions in Croatia. She is a member of the Croatian Associ-
ation of Composers, the Federation of Composers of Russia, and
the British Academy of Composers and Poets. She is an associate
professor at the musical art department in the Art Academy in
Osijek. She holds international courses and seminars in com-
position and music theory. She is the leader of the International
Music Forum in Pula. Her works are performed by well-known
soloists, ensembles and orchestras in Austria, Bosnia and Her-
zegovina, Bulgaria, Montenegro, France, Greece, Holland, Italy,
Japan, Kosovo, Macedonia, Moldova, Norway, Germany, Russia,
the USA, Slovenia, Serbia, Spain, Turkey, Ukraine, the UK and el-
sewhere; she herself performs her own piano composition.
Sweet Dreams was written in 2008, and is dedicated to
Maxim Fedotov and Galina Petrova and the Osor Musical Eve-
nings 2008, where it will be performed for the fi rst time. Sweet
Dreams is a one-movement meditative composition in which the
violin and piano give themselves over to soft reveries.
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46
XI. Subota Saturday
2. kolovoza August 2
21.00 21.00
ACCO DUOZagreb
Ivana Levak Vaupotić
Miran Vaupotić
Antonio Vivaldi Concerto grosso, br. 11, op. 3
(1678.-1741.) (Herm. Schroeder)
Concerto grosso, no. 11, op. 3
(Herm. Schroeder)
Preludij / Prelude
Fuga / Fugue
Largo
Finale
Johann Sebastian Bach Umjetnost fuge, BWV 1080
(1685.-1750.) Art of the Fugue, BWV 1080 Contrapunctus 1
Contrapunctus 4
Georgi Sviridov Romansa, iz glazbenih
(1915.-1998.) ilustracija prema Puškinu
Romance, from musical
illustrations after Pushkin
Saša Bastalec Na Yahab Az - K` Bogu sad
(1980.) Na Yahab Az - To God Now praizvedba / fi rst performance
Ivo Lhotka Kalinski Dva plesa iz Istre
(1913.-1987.) Two Dances from Istria praizvedba verzije za duo
klasičnih harmonika
fi rst performance of the version
for two classical accordions
Aleksander Cigankov Two step
(1948.)
* * *
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47
Alfred Šnitke Gogolj suita
Alfred Schnitke Gogol Suite
(1934-1998.) Uvertira - Allegro
Overture - Allegro
Djetinjstvo - Andantino
Childhood - Andantino
Bal - In tempo di valse
Ball - In tempo di valse
Ogrtač - Andante - accelerando
Overcoat - Andante - accelerando
Franck Angelis Romansa
(1962.) Romance
Wolfgang Schröder Eine kleine Lachmusik
(1967.) Allegro
Romanze – Andante
Menuett – Allegretto
Finale – Allegro
Vladimir Podgorni Fantazija – Torna a Surriento
(1928.) Fantasia – Torna a Surriento
Saša Bastalec (1980.) završio je studij Glazbene kulture
na Odjelu za glazbu na Sveučilištu Jurja Dobrile u Puli. Harmoni-
ku je diplomirao u razredu doc. Slavka Magdića 2003. godine.
Tijekom studija polazio je međunarodne ljetne škole har-
monike (Aleksandar Skljarov, Rusija, Vladimir Balyk, Ukrajina,
Peter Soave, SAD, Owen Murray, Velika Britanija, Paolo Picchio,
Italija, Denis Modrušan, Hrvatska), dirigiranja (Slavko Mag-
dić, Hrvatska), te kompozicije (Sanja Drakulić, Hrvatska). Kao
solist, te kao član komornih sastava i orkestara, nastupao je u
Hrvatskoj i u inozemstvu. Radi kao profesor harmonike na Glaz-
benoj školi u Varaždinu.
O skladbi Na Yahab Az autor zapisuje: »To su varijacije na
izraelski napjev. U prijevodu bi značilo „K Bogu sad“ tako da već
sam naslov skladbe smješta doživljaj u određeni obrazac. Tema
je vrlo jednostavna i samozatajna, gotovo da je prisutna određe-
na doza kontemplacije.
Skladba započinje uvodom koji daje osebujnu atmosfe-
ru (harmonizirana niska melodija i visoki akordi) i zvuči isto-
vremeno i arhaično i moderno. Harmonizirana niska melodija s
motivima teme je u kontrastu s visokim akordima kojeg poisto-
vjećujem sa odnosom Boga i čovjeka. Čovjek je u središtu teme
koja postepeno varirajući preobražava glazbene elemente uvo-
deći ih u prvu kulminaciju u drugoj varijaciji, poput pojedinca
koji doživljava duhovno obraćenje. U trećoj varijaciji čovjek na
određeni način odmiče od Boga u ruhu plesnoga karaktera.
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Slijedi četvrta varijacija u kojoj se Bog javlja u svojem pu-
nom sjaju i veličini pozivajući čovjeka da čini dobro sebi i drugi-
ma, otkrivši mu tajnu da put k Bogu vodi zapravo preko čovjeka.
I na kraju, u petoj varijaciji, čovjek slavi Boga u jednom
razigranom narodnom štihu«.
Skladatelj i pjevački pedagog Ivo Lhotka-Kalinski (1913.-
1987.) potječe iz ugledne glazbeničke obitelji na čijem je čelu bio
otac, hornista, skladatelj i dirigent Fran Lhotka, koji se iz Praga
1909. godine doselio u Zagreb. Odrastajući u glazbenoj okolini,
odlučio se Ivo Lhotka-Kalinski za studij glazbe prema vlastitim
afi nitetima, te je na Muzičkoj akademiji u Zagrebu završio studij
kompozicije i solo-pjevanja 1937. godine. Slijedeće dvije godine
se usavršavao u Rimu u klasi istaknutog skladatelja Ildebranda
Pizzetija Po povratku u domovinu djelovao je kao srednjoškol-
ski profesor u Zagrebu i Splitu, a od 1951. godine je bio profesor
solo-pjevanja na zagrebačkoj Muzičkoj akademiji. Nastupao je
kao komorni pjevač (bariton).
Nerijetko inspiriran izvanglazbenim sadržajima, poka-
zao je Lhotka-Kalinski u prvim radovima lakoću skladanja i vr-
sno poznavanje skladateljsko-tehničkih postupaka, što je rezul-
tiralo individualno obojenim djelima. Postepeno, pod utjecajem
prevladavajućeg nacionalnog smjera u hrvatskoj glazbi između
dvaju svjetskih ratova, počeo je u svoja djela unositi elemente
folklorne glazbe različitih hrvatskih regija.
Glazbeno-folklorno područje Istre i Hrvatskog primorja s
otocima obilježava u prvom redu ljestvični niz u kojem se uzasto-
pno izmjenjuju polustepen i cijeli stepen, tzv. istarska ljestvica.
Karakterističnosti tog ljestvičnog niza kao i za to područje tipič-
nih plesnih ritmova, inspirirali su mnoge hrvatske skladatelje.
Gotovo doslovno aranžiranje te folklorne građe pridaje skladbi
Dva plesa iz Istre naglašeni identitet kao i zvukovnost kojom
ona ulazi u korpus regionalno obilježene hrvatske produkcije
20. stoljeća. Prenesena iz medija glasovira u instrumentalne
mogućnosti dviju harmonika ta će karakteristična zvukovnost
nedvojbeno dobiti na novosti i popularizaciji svojeg glazbenog
izričaja.
Saša Bastalec (1980) took a degree in music culture at
the Music Department of Pula University. He completed accordi-
on studies in the class of Slavko Magdić in 2003.
During his course he attended several international accor-
dion summer schools (with Alexandar Skliarov, Russia; Vladi-
mir Balyk, Ukraine; Peter Soave, USA, Owen Murray, UK, Paolo
Piccio, Italy; Denis Modrušan, Croatia), in conducting (Slavko
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49
Magdić, Croatia) and in composition (Sanja Drakulić, Croatia).
As soloist and member of chamber ensembles and orchestras
he has performed in Croatia and abroad. He works as accordion
teacher in the Varaždin Music School.
The author writes of the composition Na Yahab Az: “The-
se are variations on an Israeli song. In translation it would mean
“To God Now”, and so the very title of the work puts the experi-
ence in a certain pattern or form. The theme is very simple and
retiring, it is almost as if there were a certain amount of contem-
plation present.
The composition starts with an introduction that gives a
particular mood (harmonised low melodies and high chords) so-
unding both contemporary and archaic and modern. The harmo-
nised low melody with motifs of the theme is in contrast with the
high chords, which I identify with the relation between God and
man. Man is in the centre of the theme that gradually via variati-
ons transforms the musical elements, introducing them into the
fi rst culmination in the second variation, like an individual who
experiences a spiritual conversion. In the third variation man in a
certain way moves away from God in dance character garb”.
Composer and music teacher Ivo Lhotka-Kalinski (1913-
1987) comes from a distinguished music family, at the head
of which was his father, hornist, composer and conductor Fran
Lhotka, who moved from Prague to Zagreb in 1909. Growing up
in a musical environment, Ivo Lhotka-Kalinski determined on a
music course according to his own affi nities, and completed a
course in composition and solo singing at the Music Academy
in Zagreb in 1937. The next two years he did further studies in
Rome in the class of distinguished composer Ildebrando Pizzeti.
On return to his homeland, he worked as secondary school mu-
sic teacher in Zagreb and Split, and then from 1951 was teacher
of solo singing at the Zagreb Music Academy. He also appeared
in public as a chamber singer (baritone).
Quite often inspired by non-musical sources, Lhotka-Ka-
linski showed in his fi rst works quite a facility in composition,
and an excellent knowledge of composing and technical proce-
dures, which resulted in works with individual colourings. Gra-
dually, under the infl uence of the prevailing national direction in
Croatian music between the two wars, he started bring folk mu-
sic elements of various Croatian regions into his works.
The folk music area of Istria and Croatian northern coas-
tline with the islands is marked primarily by a narrow intervals
style, or the so-called Istrian scale. The characteristics of this
scale and also the dance rhythms typical of this area have inspi-
red many Croatian composers. The almost literal arrangement
of this folk music material gives the composition Two Dances
from Istria a marked identity and sonority that take it into the
body of the regionally marked Croatian work of the 20th century.
Transposed from piano to the capacities of two accordions, this
characteristic sonority will undoubtedly gain in the novelty and
popularisation of its musical expression.
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XII. Ponedjeljak Monday
4. kolovoza August 4
21.00 21.00
Solisti Hrvatskog baroknog ansambla
Soloists of the Croatian Baroque Ensemble
Zagreb
Laura Vadjon barokna violina / Baroque violin
umjetničko vodstvo artistic direction
Ivana Kladarin sopran / soprano
Silvio Richter barokna violina / Baroque violin
Krešimir Lazar barokno violončelo / Baroque cello
Krešimir Has čembalo / harpsichord
Dario Castello Sonata quarta
(oko 1590.- oko 1630.) (Sonate concertate in stil (ca 1590 - ca 1630) moderno, Venecija,1644.)
(Sonate concertate in stil
moderno, Venice,1644)
Gabriel Usper Vulnerasti cor meum
(1609.-1632.)
Tomaso Cecchini Hor mai
(oko / ca 1583.-1644.)
Marco Uccellini Aria sopra la ciacona
(oko / ca 1603.-1680.) Aria sopra la bergamasca
Antonio Vivaldi Kantata Lungi dal vago
(1678.-1741.) volto, RV 680
Lungi dal vago volto
Allegrezza mio core
Arcangelo Corelli Sonata br.12, op.5, La Follia
(1653.-1713.) Sonata no.12, op. 5, La Follia
* * *
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Antonio Vivaldi Trio sonata La Follia, RV 63
Trio sonata La Follia, RV 63
Gabriel Puliti Hymnum cantate
(oko / ca1575.-1642/3.)
Antonio Vivaldi Kantata All ombra di sos
petto, RV 678
Cantata All ombra di sos
petto, RV 678
All ombra di sospetto
O quanti amanti
Jean Marie Leclair Sonata br.3, op. 4
(1657.-1764.) Sonata no. 3, op. 4
Adagio
Allegro
Aria
Largo-Sarabande
Allegro
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52
Uz koncerte, koji su popraćeni priznanjima u hrvatskoj
javnosti i kod stručne kritike, a s pažnjom ih pratite i vi, naši dra-
gi gosti u ovom čarobnom prirodnom ambijentu koji ste odabrali
za godišnji odmor, festival Osorske glazbene večeri organizira i
znanstvene i stručne skupove na kojima domaći i inozemni mu-
zikolozi obrađuju različita glazbena razdoblja i istaknute osob-
nosti hrvatske glazbe. U tom slijedu bio je 1986. godine u Osoru
održan simpozij o glazbenom baroku u Hrvatskoj i festival je
objavio zbornik radova s tog skupa. Knjiga koja je izašla posve-
ćena je hrvatskoj baroknoj glazbi, dakle razdoblju glazbenog
stvaralaštva u kojem je europska glazba doživjela blistavi sjaj
majstorskih djela u čijoj ljepoti i danas uživamo. Večerašnji je
koncert izuzetna prigoda za susrete s baroknom glazbom izvo-
đenom na povijesno autentični način i na instrumentima koji
su replike glazbala baroknog vremena, kao i susrete s velikim
bogatstvom kojemu su, u europskim razmjerima, svoj znatan
doprinos dali i skladatelji iz hrvatskih krajeva.
Rijetko je kada glazba, kao u vrijeme baroka, dakle tije-
kom 17. i prve polovice 18. stoljeća, bila tako snažno prisutna
i priznata u svakodnevnom društvenom i kulturnom životu.
Skladateljski i izvođački dorađena, razvijena barokna glazbena
kultura omogućila je pojave velikana kao što su bili Monteverdi,
Vivaldi, Corelli, Couperin, Purcell, Händel, J. S. Bach i cijela ple-
jada majstora u razvijenim talijanskim, njemačkim, francuskim
i engleskim središtima. U djelima tih skladatelja i virtuoznih in-
terpreta glazba je dosegla neslućene vrhunce, a bilo je to vrijeme
nastajanja novih oblika, opere, kantate, oratorija, triosonate,
concerta grossa i solističkog koncerta.
U Hrvatskoj je to bilo vrijeme raspodijeljenosti krajeva
između venecijanske, habsburške i turske vlasti i to je osujećiva-
lo povoljniji kulturni razvoj. To je uzrokovalo i odlazak mnogih
talenata, koji su svoj razvoj nastavljali u razvijenijim sredinama,
znatnim dijelom u bogatoj Mletačkoj republici. Pa ipak, tadašnje
su kulturne veze s Italijom ponukale i neke talijanske glazbenike
da se nasele u Hrvatskoj.
Početkom 17. stoljeća glazbeni je barok u hrvatskim gra-
dovima, prvenstveno u Dalmaciji, bio potican živim kontaktima
s Italijom te valom katoličke obnove, protureformacije, koju je
predvodio Isusovački red. U hrvatsku su se tradiciju, duhovnu i
svjetovnu, brzo uklopile nove tendencije pjevanja uz instrumen-
talnu pratnju, novosti ranobarokne monodije. Za prihvaćanje tih
inovacija bili su osobito zaslužni Veronežanin Tomaso Cecchini
(Soave, kraj Verone, oko 1583. - Hvar, 1644.), koji je svoj radni
vijek proveo kao kapelnik, orguljaš i skladatelj u Splitu i Hvaru i
ostavio više od 27 opusa, te Gabriel Puliti (Montepulciano, kraj
Arezza, oko 1580. - Istra, 1642/43.), franjevac, koji je svestra-
nu skladateljsku i glazbeničku djelatnost razvio u Istri i na otoku
Pagu. Gabriel Usper, rođen u Poreču, otišao je živjeti u Veneci-
ju, gdje su bila tiskana njegova djela (svjetovni Madrigali con-
certati), a ostavio je i znatan broj duhovnih skladbi. Djelovao je
početkom 17. stoljeća. Svi su oni ostavili vrlo inventivno pisanu
glazbu koja svjedoči njihovu melodijsku nadahnutost i sklada-
teljsko-tehničko umijeće.
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53
Along with the concerts that meet favourable recognition
from the Croatian public and from the reviewers, and followed by
you too, our guests in this magical natural ambience that you have
chosen for your holiday, the festival of the Osor Musical Evenin-
gs also organised specialised and scholarly conferences at which
domestic and foreign musicologists discuss various musical peri-
ods and leading personalities in Croatian music. In this sequence,
1986 saw the holding of a symposium on the musical Baroque in
Croatia, a volume of proceedings later being published. The book
was dedicated to the Croatian Baroque in music, a period of musical
creation in which European music enjoyed a brilliant production of
masterpiece works the beauty of which we still enjoy. Today’s con-
cert is an outstanding occasion for encounters with Baroque music
performed in a historically authentic manner and on instruments
that are replicas of instruments of the Baroque period, as well as
encounters with the great riches to which composers from all the
Croatian regions also made a very considerable contribution.
Rarely has music been so powerfully present and accepted
in everyday social and cultural life as in the time of the Baroque,
that is, in the 17th and fi rst part of the 18th century. Highly culti-
vated in terms of both composition and performance, the develo-
ped Baroque music culture enabled the fl owering of such greats as
Monteverdi, Vivaldi, Corelli, Couperin, Purcell, Handel and Bach
and a whole range of masters in the developed Italian, German,
French and English centres. In the works of these composers, and
the virtuoso interpreters, music attained peaks previously ungu-
essed at, and this was also the time of the creation of new forms,
the opera, the cantata, oratorio, trio sonata, concerto gross and the
concerto for solo instrument and orchestra.
In Croatia this was a time in which the lands were divided
and ruled separately by the Venetians, Habsburgs and Ottomans,
and this frustrated the development of culture. It also led to the
brain drain of many talents, who went on with their development
in more developed and settled centres, mainly in the Venetian Re-
public. Still, the cultural connections with Italy encouraged a mo-
dest reverse fl ow, some Italian musicians settling in Croatia.
At the beginning of the 17th century the musical Baroque in
Croatian cities, primarily in Dalmatia, was fostered by live contacts
with Italy, and by way of the Catholic revival, the Counter Reforma-
tion, which was led by the Jesuits. The new trends for singing with
instrumental accompaniment, the novelties of early Baroque mo-
nody, soon fi tted into the Croatian religious and secular tradition.
Particularly to be credited with the acceptance of these innovations
were Veronese composer Tomaso Cecchini (Soave, by Verona, abo-
ut 1583 – Hvar, 1644), who spent his working life as chapel ma-
ster, organist and composer in Split and then in Hvar, and left more
than 27 opera, as well as Gabriel Puliti (Montepulciano, by Arezzo,
about 1580. - Istra, 1642/43.), a Franciscan, who practised his
all-round musical and composerly activity in Istria and the island
of Pag. Gabriel Usper, born in Poreč, went to live in Venice, where
his works were published (the secular Madrigali concertati), and
he also produced a considerable number of religious compositions.
He was active at the beginning of the 17th century. All of them left
behind them a very inventively written music, which tells of their
melodic inspiration and technical skills in composing.
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54
XIII. Srijeda Wednesday
6. kolovoza August 6
21.00 21.00
Tamara Coha Mandićfl auta / fl ute
Zagreb
Diana Grubišić Ćikovićharfa / harp
Rijeka
Gaetano Donizetti Sonata za fl autu i harfu
(1797.-1848.) Sonata for fl ute and harp
Johan Sebastian Bach Sonata za fl autu i continuo
(1685.-1750.) u g-molu, BWV 1020
Sonata for fl ute and conti
nuo in G minor, BWV 1020
Allegro
Adagio
Allegro
Louis Spohr Fantazija za harfu solo op. 35
(1784.-1859.) Fantasia for solo harp op. 35
Petar Obradović I colori / Colours
(1972.) praizvedba / fi rst performance
Zdenek Jonák Mim za fl autu i harfu
(1917.-1995.) Mime for fl ute and harp
Jean-Michel Damase Varijacije za fl autu i harfu
(1928.) Early morning
Early morning, variations
for fl ute and harp
Franz Doppler Varijacije za fl autu i harfu
– A. Zamara Casilda
(1821.-1883.) Casilda, variations for fl ute
and harp
Jacques Ibert Entr’act za fl autu i harfu
(1890.-1962.) Entr’acte for fl ute and harp
* * *
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55
Trubljač i skladatelj Petar Obradović (1972.) završio je
Srednju glazbenu školu “Luka Sorkočević” u rodnome gradu
Dubrovniku u razredu svojega oca, prof. Nikole Obradovića, a
diplomirao je na Glazbenoj akademiji u Ljubljani u klasi prof. An-
tona Grčara, 1994. godine.
1995. godine zaposlio se kao prvi trubljač Dubrovačkog
simfonijskog orkestra, a krajem iste godine položio je audiciju
za mjesto solo trubljača u Simfonijskom orkestru Hrvatske ra-
diotelevizije u Zagrebu gdje je stalno zaposlen do danas. Vrlo je
aktivan kao solist i komorni glazbenik. Održao je niz zapaženih
nastupa s Dubrovačkim simfonijskim orkestrom, Zagrebačkom
fi lharmonijom, Mostarskim simfonijskim orkestrom, Simfo-
nijskim orkestrom HRT, Kvartetom Sorkočević, Dubrovačkim
gudačkim kvartetom te sudjelovanja na Dubrovačkim ljetnim
igrama, Marulićevim danima u Splitu, Međunarodnoj glazbenoj
tribini u Opatiji, Muzičkom Biennalu Zagreb, Osorskim glazbe-
nim večerima, Art Salon festivalu u Sofi ji, Bugarska.
1995. godine snimio je Vivaldijev Koncert za dvije trublje
i orkestar uz pratnju Zagrebačke fi lharmonije koji je objavljen na
kompaktnoj ploči, a za Glazbeni program Hrvatskoga radija sni-
mio je niz skladbi hrvatskih skladatelja te ih je objavio na dvije
kompaktne ploče u izdanju nakladničke kuće Cantus.
Osim što se bavi skladanjem komornih i orkestralnih dje-
la, napisao je scensku glazbu za predstave Tango, Kaplja duše i
Uzdah Marije Orsole u izvedbi Teatra Lero te 2003. godine glaz-
bu za cjelovečernji igrani fi lm Slučajna suputnica.
O skladbi koja se večeras praizvodi, a koja je napisana
ove godine, skladatelj je zapisao: »I Colori bio je po svemu intri-
gantan izazov i inspirativni povod u mom dosadašnjem sklada-
teljskom radu. Zanimljivo je bilo suprotstaviti po svemu specifi -
čan ton jednog takvog instrumenta kao što je harfa zvuku fl aute,
usložiti međusobna suzvučja, otvoriti neke nove i drugačije
mogućnosti i prepustiti se igri i mašti ali i, u isto vrijeme, pro-
vjeriti neke moje davne zamisli koje su me poticale na ovakav
skladateljski izazov. I Colori, nadam se, inspirativan je poticaj i
glazbenicima, želio bih, jednako zanimljiv publici koja će ga slu-
šati, otvarajući neke svoje zaboravljene spomenare ili otkrivati
jednako primamljive avanture u kojima će sudjelovati kada se
prepoznaju u ponuđenim snovima.«
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56
Trumpeter and composer Petar Obradović (1972) gradu-
ated at the Luka Sorkočević secondary music school in his native
Dubrovnik, class of his father, Nikola Obradović, and then gra-
duated at the Music Academy in Ljubljana, Anton Grčar’s class,
in 1994. In 1995 he took a job as fi rst trumpeter in the Dubrov-
nik Symphony Orchestra, and at the same year took the audition
for the place of solo trumpeter in the Croatian Radio Television
Orchestra in Zagreb, where he is today permanently employed.
He is very active as soloist and chamber musician. He has had
a number of well-received performances with the Dubrovnik
Symphony Orchestra, the Zagreb Philharmonic Orchestra, the
Sorkočević Quartet, the Dubrovnik String Quartet and taken part
in festivals like the Dubrovnik Summer Festival, Split’s Marulić
Days, International Music Forum in Opatija, Music Biennial Za-
greb, Osor Musical Evenings, Art Salon in Sofi a.
In 1995 he recorded Vivaldi’s Concerto for two trumpets
and orchestra with the Zagreb Philharmonic Orchestra, which
was issued on CD, and for the music channel of Croatian Radio
recorded a number of compositions by Croatian composers, and
published them on two CDs issued by Cantus.
As well as composing chamber and orchestra works, he
wrote the stage music for the performances Tango, Drop of the
Spirit, and Sigh of Marija Orsola, produced by Teatar Lero, and in
2003 did the entire soundtrack music for the feature fi lm Chance
Woman on a Journey (Slučajna suputnica).
The composer writes the following with respect to the
work that is being fi rst performed this evening: I Colori was all in
all an intriguing challenge and an inspiring occasion in my com-
posing work today. It was interesting to juxtapose the entirely
specifi c tone of the instrument the harp to the sound of the fl ute,
to fi t together their consonances, to open up some new and di-
fferent capacities and to give in to play and imagination and at
the same time to test out some old ideas I had that encouraged
me to this composing challenge. I colori will also, I hope, be an
inspirational spur to the musicians, and I would hope, equally
interesting to the listening public, who will open up some long-
forgotten memories of theirs and discover equally enticing ad-
ventures in which they will take part when they have recognised
them in the offered dreams.
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XIV. Petak Friday
8. kolovoza August 8
21.00 21.00
Zagrebački gitaristički kvartet
The Zagreb Guitar Quartet
Tomislav Vasilj
Krunoslav Pehar
Melita Ivković
Mak Grgić
Klasja Modrušansopran / soprano
Zagreb
Georg Friedrich Händel Suita u E-duru, br. 5,
(1685.-1759.) HWV 430
Suite in E major no. 5,
HWV 430 Prélude
Allemande
Courante
Air
Jean-Philippe Rameau Gavotte et 6 doubles
(1683.-1764.)
Johann Sebastian Bach Preludij i fuga u C-duru,
(1685.-1750.) BWV 531
Prelude and Fugue in
C major, BWV 531
Heitor Villa-Lobos Bachiana Brasileira br. 5
(1887.-1959.) Bachiana Brasileira no. 5
Klasja Modrušan sopran
* * *
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Ivo Josipović Samba per voce e chitarre
(1957.) praizvedba u verziji za glas i
gitare / fi rst performance of the
version for voice and guitars
Klasja Modrušan sopran
Alberto Ginastera Tres danzas argentinas, op. 2
(1916.-1983.) Danza del viejo boyero
Danza de la moza donosa
Danza del gaucho matrero
Celso Machado Folguedo
(1953.) (posvećen Zagrebačkom
gitarističkom kvartetu)
(dedicated to the Zagreb Guitar
Quartet)
Ivo Josipović, (1957.) pravnik i skladatelj, završio je stu-
dij prava, magistrirao i doktorirao na Pravnom fakultetu Sveu-
čilišta u Zagrebu te diplomirao studij kompozicije na Muzičkoj
akademiji u Zagrebu u klasi prof. Stanka Horvata, 1983. godine.
Autor je sedamdesetak znanstvenih i stručnih radova s područ-
ja kaznenog i međunarodnog kaznenog prava te suradnik u više
zakonskih projekata. Profesor je na Pravnom fakultetu u Zagre-
bu i gost predavač na domaćim i inozemnim visokim učilištima.
Zastupnik je u Hrvatskom saboru.
Kao glazbenik, Josipović je pravi učenik razreda Stanka
Horvata po brizi za skladateljski zanat koji će biti važan predu-
vjet svakoga njegovog skladateljskog pokušaja. Skladatelj je to
za kojega se, međutim, može reći da je od učiteljskog uzora na
stanovit način odstupio, jer je u svojim djelima, negdje uz rubove
prepoznatljivoga formalnog obrasca, uvijek pronalazio mjesta
za dosjetku, radost uz glazbu i zaigranost umjetničkim činom.
Skladba Samba per voce e chitarre (2008.) dio je ciklusa
skladbi nastalih na podlozi skladbe Samba da camera, uspješnici
s kojom je autor pobijedio na Međunarodnom natjecanju Muzič-
ke omladine te osvojio Grand Prix Europske radijske unije (EBU)
još davne 1985. godine. Na poticaj Zagrebačkog gitarističkog
kvarteta, Klasje Modrušan i Ante Čaglja, nastale su dvije nove
verzije skladbe: Samba alla chitarra (za kvartet gitara) i Samba
per voce e chitarre (za glas i kvartet gitara). Činjenica da glazbe-
nici od autora traže nove verzije Sambe za njihove instrumente
govori o uspješnosti skladbe u kojoj se južnoamerički ritam sta-
pa s prepoznatljivom melodikom utemeljenom na molskom sep-
takordu s velikom septimom, uz skladateljske postupke tipične
za postmodernu.
* sve skladbe s programa osim Machadovog Folgueda za četiri gitare
obradio je Ante Čagalj
* All the compositions in the programme apart from that of Machado,
Folguedo, have been arranged for four guitars by Ante Čagalj.
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59
»Ima više razloga koji su me ponukali da ovu skladbu Ive
Josipovića obradim za Zagrebački gitaristički kvartet. Brazil,
samba, gitara, sve to je vrlo inspirativan umjetnički izazov, ta-
kođer i prepoznatljivi glazbeni rukopis Ive Josipovića, pun duha,
znanja i talenta kojim je ova kompozicija napisana. Izuzetno mi
je drago da smo nakon praizvedbe njegove kompozicije Allegro
minimo dobili priliku, ovaj put sa Sambom, nastaviti ovu lijepu
suradnju.« (Ante Čagalj)
Ivo Josipović (1957), lawyer and composer, took
bachelor’s, master’s and doctor’s degrees in law at the Law Fa-
culty of Zagreb University, and also took a bachelor’s in compo-
sition at the Music Academy in Zagreb, class of Stanko Horvat,
in 1983. He is the author of some seventy of specialised and sc-
holarly legal studies from the realm of criminal and international
criminal law, and has been a consultant in the writing of many
statutes. He is a professor at the Law Faculty, a guest lecturer in
tertiary education institutions at home abroad, and an MP in the
Croatian Parliament.
As musician, Josipović is a true member of the class of
Stanko Horvat in his care for the craft of composing, which would
be an important precondition of every composing endeavour of
his. He is a composer for whom it can be said however that he has
in a certain extent departed from his teacher’s model, for in his
works, sometimes at the edges of recognisable formal pattern,
he has always found room for wit, joy in music and exuberance
in the act of creation.
The composition Samba per voce e chitarre (2008) is part
of a cycle of compositions based on the composition Samba da
camera, a successful work that won the composer a win at the In-
ternational Youth and Music competition and with which he won
the Grand Prix of the EBU long ago in 1985. At the urging of the
Zagreb Guitar Quartet, of Klasja Modrušan and Ante Čagalj, two
new versions of the compositions have been penned: Samba alla
chitarra (for guitar quartet) and with a voice added Samba per
voce e chitarre. The fact that the musicians sought new versions
for their instruments tells of the success of the composition in
which the South American rhythm is merged with a recognisable
melody based on a minor seventh chord with a major seventh,
along with composerly procedures typical of the post-modern.
“There are several reasons that encouraged me to arrange
this composition of Ivo Josipović for the Zagreb Guitar Quartet.
Brazil, the samba, the guitar, all this is a big challenge to the inspi-
ration, and also the inimitable musical style of Ivo Josipović, full of
spirit, knowledge and talent with which the composition has been
written. We are extremely glad that after the fi rst performance of
his composition Allegro minimo we have had the chance to go on
with this nice collaboration, this time with the Samba.”
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60
XV. Nedjelja Sunday
10. kolovoza August 10
21.00 21.00
ZAGREBAČKI KVARTETThe Zagreb Quartet
Goran Končar violina / violin
Davor Philips violina / violin
Hrvoje Philips viola
Martin Jordan violončelo / cello
Wolfgang Amadeus Gudački kvartet u G-duru,
Mozart KV 387
(1756.-1791.) String Quartet in G major,
KV 387
Allegro vivace assai
Menuetto
Andante cantabile
Molto allegro
Stanko Horvat Quartetto
(1930.) Tranquillo - Agitato
Giocoso
Robusto
Lamentoso
* * * Bedrich Smetana Gudački kvartet u e-molu,
(1824.-1884.) Iz mojeg života
String Quartet in E minor,
From My Life
Allegro vivo appassionato
Allegro moderato à la polka
Largo sostenuto
Vivace
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61
U nizu skladbi koje je posvetio komornim sastavima,
posebice gudačkom kvartetu (pažnju na Muzičkom biennalu
Zagreb osobito su osvojile praizvedbe skladbi Kontrasti, 1963. i
Rondo za gudački kvartet 1967. godine), ostvario je Stanko Hor-
vat svojim Quartettom iz 1988. godine, kako je u svojoj analizi
ustvrdio Nikša Gligo, transparentnije ali nipošto ne i jednostav-
nije djelo. Djelo je u godini nastanka praizveo u Brnu zagrebački
Kvartet Klima.
Riječ je o četverostavačnom nizu koji se odvija na način
cikličkog modela unutar kojega svaki od stavaka donosi poseban
aspekt načela trodijelnosti. Horvatova »nostalgija« za lijepim
glazbama prošlosti ogleda se u iznošenju melodijskih obraza-
ca, u drugom stavku Giocoso neodoljivo asocirajućeg folklornog
idioma plesnog karaktera, koje prekidaju akordske vertikale i
uzrokuju iznenadne zastoje u proticanju glazbe. Ti se melodijski
fragmenti javljaju u svakom od instrumenata posebno, a akor-
dski rezovi unose dramatsku tenziju. U trećem stavku Robusto
model trodijelnosti se temelji na suprotstavljenosti ritamskoga
i melodijskoga načela, a četvrti stavak Lamentoso, koji slijedi
attacca, građen je na vrsti ritamskoga modusa, određenim slije-
dom ritamskih formula.
Izrazita homogenost akordskog zvukovlja isključuje isti-
canje melodijskih obrazaca pa se u završnom dijelu taj homoge-
ni akordski zvuk tremolo artikulacijom rasplinjuje u zvučanja iz
kojih tek povremeno izranjaju cjelovite akordske grupe. Vrstan
poznavatelj instrumentalnog medija kojemu posvećuje svoju
stvaralačku pažnju, podiže Horvat gudački kvartet na razinu
izvora neopterećene zvukovnosti dajući tek naslovima stava-
ka, tako i prvoga Tranquillo – Agitato, izvjesni pogled u sklada-
teljsku namjeru isticanja glazbene izražajnosti. Tradicionalan,
dakle, u odabiru i osmišljavanju formalne strukture stavaka,
Horvat je izrazito moderan u tretiranju instrumenata i u njiho-
voj mobilnosti pri iznošenju elemenata glazbe koja u konačnici
ostvaruje osmišljenu i inovativnu cjelinu.
* o skladatelju vidi na str. 10-12.
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62
In the run of compositions he has devoted to chamber
ensembles, particularly to the string quartet (the fi rst perfor-
mances of the compositions Contrasts of 1963 and of Rondo
for string quartet of 1967 were particularly well received at the
Music Biennial Zagreb) Stanko Horvat also produced his Quar-
tetto of 1988, which, as Nikša Gligo determined in his analysis,
is more transparent but not a whit simpler. This is a work that
in the year of its origin was fi rst performed by the Zagreb Klima
Quartet in Brno.
This is a four-movement sequence that unfolds in a cycli-
cal model within which each of the movements has a particular
aspect of the three-part principle. Horvat’s nostalgia for the fi ne
music of the past is seen in the presentation of melodic patterns,
in the second movement, Giocoso, irresistibly leaving associati-
ons with the folk music idiom of a dance character, interrupted by
chordal verticals causing sudden halts in the fl ow of the music.
These melodic fragments appear in each one of the instruments
separately, and the chordal cuts bring in a dramatic tension. In
the third movement, Robusto, the three-part model is based on
the opposition of a rhythmical and a melodic principle, while
the fourth movement, the Lamentoso, which is followed by an
attack, is based on a kind of rhythmical mode, determined by the
sequence of rhythmical formulae.
The pronounced homogeneity of the chordal sonority ru-
les out any highlighting of the melodic patterns, and in the fi nal
part this homogeneous chordal sound, via tremolo articulation,
fl oods out into sounds from which only occasionally do complete
chordal groups emerge. A consummate connoisseur of the in-
strumental medium to which he dedicates his composerly atten-
tion, Horvat raises the string quarter to the level of source not
burdened by sonority, giving only the titles of the movements,
including of the fi rst, Tranquillo-Agitato, a certain view into the
composer’s intention by bringing out the musical expressivene-
ss. Traditional then in choosing and giving meaning to the formal
structures of the movement, Horvat is extremely modern in the
treatment of the instruments and in their mobility in the presen-
tation of the elements of the music that ultimately create a well
thought-out and innovative whole.
* For more about composer Stanko Horvat, see page 12-14.
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63
XVI. Utorak Tuesday
12. kolovoza August 12
21.00 21.00
Armène Stakianviolina / violin
Švicarska / Switzerland
Miguel Charoskygitara / guitar
Argentina
Aram Hačaturijan Poème lyrique
Aram Khachaturian (arr. Miguel Charosky)
(1903.-1978.)
Kousan Ashot Yar arantz kèz - Darling,
without you
(arr. Stakian i/and Charosky)
Johann Sebastian Bach Sonata u e-molu, BWV 1023
(1685.-1750.) Sonata in E minor, BWV 1023
(arr. Lessing i/and Höh)
Allegro
Adagio ma non tanto
Allemande
Gigue
Miroslav Miletić Sonatina
(1925.) Allegro
Andante
Allegro
* * * Béla Bartók Šest rumunjskih plesova
(1881.-1945.) Six Romanian Dances
(arr. Miguel Charosky)
Allegro moderato
Allegro
Andante
Molto moderato
Allegro
Allegro – Più allegro
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64
Miroslav Miletić Kroateska br. 2 za violinu
solo
Croatesque no. 2 for violin
solo
Heitor Villa-Lobos Etida br. 2 / Etude no. 2
(1887.-1959.) Chôros br. 1 / Chôros no. 1
Manuel de Falla Popularna španjolska suita
(1876.-1946.) Popular Spanish Suite
(arr. Jaume Torrent)
El paño moruno
Seguidilla murciana
Asturiana
Jota
Nana
Canción
Polo
Hrvatski skladatelj, violist i glazbeni pedagog Miroslav
Miletić (1925.) bio je središnja osobnost prošlogodišnjih 32.
Osorskih glazbenih večeri. Miletić je studirao violinu na Muzič-
koj akademiji u Zagrebu, u razredima profesora Stjepana Šuleka
i Ivana Pinkave, komornu glazbu u razredu Antonija Janigra i
privatno kompoziciju kod Branimira Sakača. U Pragu je poha-
đao poslijediplomski studij viole (Vladislav Černy), kompozicije
(Pavel Borkovec) te akustike i estetike nove glazbe (Alois Haba).
Dirigiranje je studirao kod Lovre Matačića u Salzburgu i J. W. van
Otterlooa u Hilversumu, a svoje je znanje dalje upotpunjavao u
raznim glazbenim središtima: elektronsku glazbu studirao je u
Utrechtu (Nizozemska), a suvremenu komornu glazbu u Darm-
stadtu. U svojoj 83. godini života sa zanimanjem prati zbivanja
na hrvatskoj i svjetskoj glazbenoj sceni, piše nova djela i sa zado-
voljstvom ubire plodove dugogodišnjih uspjeha koje je postizao
kao komorni glazbenik, u Gudačkom kvartetu Pro arte, čiji je bio
utemeljitelj, te osobito kao autor velikog broja uspjelih glazbenih
ostvarenja.
O Sonatini za violinu i gitaru zapisao je skladatelj: »Moja
Sonatina je natopljena folklorom. Volim da mi glazba, poput do-
brog vina, ima geografsko podrijetlo. Na lokalnoj razini gdje se
pravi život događa, ne treba pretjerivati s nacionalnim oznaka-
ma, ali ako vam se posreći uspjeh izvan domovine, tada to igra
važnu ulogu. Ako nemate svoje osobnosti, ostajete u rinfuzi.
Naša narodna glazbe još živi, čisti izvori srećom još nisu pre-
sahnuli. Tu riznicu treba čuvati, a jedan od načina je da se koristi
kao građevni materijal u umjetničkim djelima. Tako su to činili
naši stari skladatelji Vatroslav Lisinski i Antun Dobronić, rodo-
načelnik hrvatske glazbe, koju je Jakov Gotovac doveo do vrhun-
ca u svojoj operi Ero s onoga svijeta. To je naš izvorni proizvod i
jedna od najboljih komičnih opera prošloga stoljeća u svijetu.
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65
Sonatina je tiskana kod Edizioni Musicali Berben. Bio je
to moj prvi susret s talijanskim izdavačem iz Ancone. Skladbu je
1981. godine u Raveni praizveo Piero Raffaelli, za kojega sam,
na poticaj velikog promotora hrvatske glazbe violinčelista Janka
Kichla, Sonatinu i napisao.«
Kroatesku br. 2 za violinu solo skladao je Miroslav Miletić
2003. godine a djelo je doživjelo svoju praizvedbu na Osorskim
glazbenim večerima 2004. godine u interpretaciji uglednog hr-
vatskog violinista Tonka Ninića. Na VIII. Međunarodnom violini-
stičkom natjecanju Vaclav Huml u Zagrebu 2005. godine sklad-
ba je bila navedena kao obavezno djelo i najbolja je interpretacija
bila nagrađena posebnom nagradom. To je priznanje osvojio ma-
đarski violinista Antal Szalai, a autor se rado sjeća oduševljenja
mladog slovenskog natjecatelja Žige Branka. Naime, kada su se
upoznali, mladi se glazbenik obratio skladatelju riječima: »Moj-
ster, jaz sem prav znorel za Vašo Kroatesko!«.
Riječ je o folklorno inspiriranoj glazbi u kojoj se postupnim
razvojem kratki motivi fraza uklapaju u cjelinu, a vrhunac svega
je umjetnički stilizirano kolo. Miletićev je izraz komunikativan,
postavljeni su znatni tehnički zahtjevi koji proizlaze iz skladate-
ljeva iskustva s gudačkim instrumentom, ali kao što sam kaže
»sve je svirljivo i logično«. Kroateska je dobila ime prema analo-
giji »arab – arabeska«, »kroat – kroateska«, što odaje duhovitost,
a sastavni je dio Miletićeva ciklusa skladbi Lijepa naša.
Skladatelj je izrazio svoju radost da će upoznati švicarsku
violinisticu armenskog podrijetla i njezinu interpretaciju Kroa-
teske budući da je ona već upoznata s njegovom glazbom. »Ona
je s argentinskim partnerom Miguelom Charoskym ostvarila
uvjerljivu interpretaciju moje Sonatine za violinu i gitaru, sni-
mljenu nedavno na CD-u koji je objavljen u Lausanni. Sonatina
je aktualno moja najčešće izvođena i snimana skladba i raduje
me da inozemni umjetnici posižu za mojom glazbom.«
Croatian composer, violist and music educator Miroslav
Miletić (1925) was the central personality of last year’s (32nd)
Osor Musical Evenings. Miletić studied violin at the Music Aca-
demy in Zagreb, classes of Stjepan Šulek and Ivan Pinkava. He
studied chamber music in the class of Antonio Janigro and, pri-
vately, composition with Branimir Sakač. In Prague he attended
a post-graduate course in the viola (Vladislav Černy), compositi-
on (Pavel Borkovec) and the acoustics and aesthetics of the new
music (Alois Haba). He studied conducting with Lovro Matačić in
Salzburg and J. W. van Otterloo in Hilversum. He further supple-
mented his knowledge in various other music centres: he studied
electronic music in Utrecht, and contemporary chamber music in
Darmstadt. Now in his 83rd year, he keeps an interested eye on
the current events on the music scene at home and abroad, wri-
tes new works, and with great pleasure gathers the fruits of his
many years of successes achieved as a chamber musician in the
Pro arte String Quartet, of which he was a co-founder, and in par-
ticular as author of a large number of successful musical works.
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66
He wrote of the Sonatina for violin and guitar the fo-
llowing: “My Sonatina is steeped in folk music. I like my music,
like good wine, to have its own appellation controlée. At the local
level where the real life goes on, there is no need to go overboard
with the national markings, but if you happen to be successful
abroad, then this has an important role. If you don’t have your
own personality, you stay in the undifferentiated mass. Our folk
music is still alive, the pure sources luckily have not run dry. This
treasury needs preserving, and one of the ways in doing this is
to use it as building material in works of art. This was done by
our older composers Vatroslav Lisinski and Antun Dobronic, the
originator of Croatian music, which Jakov Gotovac brought to its
peak in his opera Ero the Joker. This is an original Croatian pro-
duct, one of the best comic operas anywhere in the world in the
last century.
The Sonatina was printed at Edizioni Musicali Berben.
This was my fi rst contact with this Italian publisher from Anco-
na. It was fi rst performed in Ravenna in 1981 by Piero Raffaelli,
for whom, at the instigation of that greater promoter of Croatian
music the cellist Janko Kichl, I actually wrote the Sonatina.”
Croatesque no. 2 for violin solo was written by Miletić in
2003, the work getting its fi rst performance at the Osor Musical
Evenings in 2004 by the distinguished Croatian violinist Tonko
Ninić. At the 8th Vaclav Huml International Violin Competition in
Zagreb in 2004 the composition was given as a set work, and
the best interpretation had a special prize. This was won by the
Hungarian violinist Antal Szalai, and the composer is also happy
to recall the enthusiasm of the young Slovene contestant Žiga
Branka. When they met, the young musician addressed the com-
poser in Slovene saying something like – “Maestro, I’m absolu-
tely crazy about your Croatesque!”
This is music inspired by folk music, in which through
the gradual develop short motifs of phrases fi t into a whole, the
peak of it all being an artistically stylised kolo – round dance.
Miletić’s expression is communicative, and considerable techni-
cal demands are made, deriving from the composer’s own expe-
rience with a stringed instrument, but as he says himself “it’s all
playable and logical”. Croatesque of course took its name after
the linguistic model of Arabesque, which reveals some wit, and
is a component part of Miletić’s cycle of compositions Lijepa naša
/ Our beautiful homeland.
Miroslav Miletić has expressed his great pleasure at ge-
tting to know the Swiss violinist of Armenian descent and her
interpretation of Croatesque, since she has already made the
acquaintance of his music. “She and her Argentine partner Mi-
guel Charosky have produced a very convincing interpretation
of my Sonatina for violin and guitar, recorded on CD recently,
published in Lausanne. The Sonatina is currently my most per-
formed and recorded composition and I am very glad that forei-
gn artists have recourse to my music.”
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67
XVII. Četvrtak Thursday
14. kolovoza August 14
21.00 21.00
Marek Drewnowskiglasovir / piano
Poljska / Poland
Claude Debussy Children corner
(1862.-1918.) Doctor gradus ad parnassum
Jimbo’s lullaby
Serenade of the doll
The snow is dancing
The little sheperd
Golliwogg’s cake walk
Stanko Horvat Ben misurato
(1930.-2006.)
Frédéric Chopin Notturno, br. 2, op. 15 (1810.-1849.) Notturno, no. 2, op. 15 Valcer u a-molu, br. 2, op. 34 Waltz in A minor, no. 2, op. 34 Valcer u cis-molu, br. 2, op. 64 Waltz in C sharp minor, no. 2, op. 64 Valcer u As-duru, op. 42 Waltz in A fl at major, op. 42
* * * Domenico Scarlatti Sonata u E-duru, L. 23 (1685.-1757.) Sonata in E major, L. 23 Sonata u d-molu, L. 413 Sonata in D minor, L. 413 Sonata u a-molu, L. 495 Sonata in A minor, L. 495 Sonata u G-duru, L. 349
Sonata in G major, L. 349
Frédéric Chopin Šest poljskih napjeva (1810.-1849.) Six Polish Songs – Franz Liszt Zyczenie – Desiderio
(1811.-1886.) Wiosna – La primavera
Pierscién – Anello
Hulanka – Baccanale
Moja Pieszcotka – La mia gioia
Narzeczony – Il fi danzato
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68
»Ja sam dio one solidne pješadijske jedinice koja ide iza
avangarde, koja ispituje osvojeni teren, koja boravi u njemu, živi
na neki način u njemu, privikava se na nj.. Vrednuje ga ne samo
kao materijal, već kao umjetničku, ljudsku, ako hoćete psihološ-
ku činjenicu. Naravno, avangarda do posljednjih konzekvenci
kida svaku nit, svaku sponu koja bi je mogla vezivati uz ono što
je prošlo. Eto, to je dokaz više da ja nisam avangardni sklada-
telj. Jer moje djelo vrlo jasno pokazuje da sam uvijek, na bilo koji
način vrlo čvrsto vezan uz ono što se može nazvati glazbenom
tradicijom.« Ovo je zapisao Stanko Horvat još 1972. godine.
Danas, kada ga više nema i kada je pred nama njegov dovršeni
skladateljski opus, možemo s pravom ustvrditi da njegova dje-
la zauzimaju posebno mjesto u hrvatskoj glazbi nakon Drugog
svjetskog rata i to upravo po specifi čnom odnosu prema tradi-
ciji, koju zapravo stalno osluškuje, komunicirajući s njome pre-
ko iskustava koja su mu omogućili kontakti s »novim zvukom«,
ostvarujući tako Novu hrvatsku glazbu.
Horvat je osobitu pozornost posvećivao djelima za glaso-
vir i u tim ostvarenjima dolazi do punog izražaja ono što je za
njega bilo umjetničko u glazbi. A to je zacijelo sve ono što dolazi
iz tradicije 19. stoljeća, od njemačkih romantičara do francuskog
majstora klavira Claudea Debussya; ljudsko je u glazbi ono što bi
se trebalo neposredno obraćati slušatelju, no ne kao podilaženje
ili nuđenje već poznatoga, nego kao naglašavanje humanističkih
ideala koje, po Horvatovu mišljenju, očito mora biti konstanta
svekolike glazbe, bez obzira kojim se tehnikama služila i koje
estetičke nazore zastupala.
Tu ljudskost glazbenog izričaja nalazimo i u skladbi iz
posljednje faze Horvatova bavljenja skladateljstvom, u njegovoj
partituri Ben misurato iz 2004. godine. Djelo je na Osorskim
glazbenim večerima praizvela primadona hrvatskog pijanizma
Pavica Gvozdić, umjetnica kojoj je Horvat posvećivao većinu
svojih opusa za glasovir. Ugođaj marša isprekidan je karakte-
rističnim klavirskim burnim pasažama a ritmička odmjerenost
potvrđuje sam naslov skladbe. A sam je skladatelj o djelu zapi-
sao: »Iza ovog ozbiljnog naslova skriva se nevelika glasovirska
skladba, možda tek djelomično odmjerena (misurata). Njezin
uvodni dio evocira oprezni hod, oklijevanje i povremene erupcije
(neodmjeren). Drugi i završni dio skladbe donosi »ben misura-
to« materijal izrazito ritmičkog podrijetla koji se uporno ponavlja
i djeluje ponešto mehanički monotono. Skladbu zaokružuje ve-
hementni akordički fortissimo u dobroj staroj maniri.«
* o skladatelju vidi na str. 10-12.
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“I’m in that sound infantry unit that goes after the avant-
garde, which tests out the territory captured, that occupies it,
lives on it in a way, gets used to it. It evaluates it not only as
material but as an artistic and human and if you like a psycho-
logical fact. Of course, the avant-garde cuts every thread to the
fi nal consequences, every link that might perhaps link it to the
past. This then is one more proof that I am not an avant-garde
composer. My work shows very clearly that I have always, in
any way, very fi rmly linked to what can be called the musical
tradition”. Stanko Horvat wrote this as long ago as 1972. To-
day, when he is no longer with us, and when his complete com-
positional oeuvre is in front of us, we can truly claim that his
works occupy a special place in post-World War II Croatian mu-
sic, precisely because of his particular attitude to the tradition,
which he constantly listens to, communicating with it via expe-
riences that have enabled contacts with the new sound, creating
thus a new Croatian music.
Horvat devoted particular attention to the works for pia-
no, and in these creations what was for him the artistic in music
came fully to the fore. And this is almost certainly everything
that came from the 19th century tradition, from the German Ro-
mantics to the French master of the piano Claude Debussy. The
human in music is what should directly address the listener, not
in the sense of seeking favour or offering what is well known,
but as emphasis on humanist ideals, which in Horvat’s opinion,
clearly must be a constant in all kinds of music, irrespective of
the techniques it uses or the aesthetics it represents.
This humanity of musical expression can also be found
in a composition from the later phase of Horvat’s composition
work, in his score Ben misurato of 2004. This work was fi rst
performed, at the Osor Musical Evenings, by the fi rst lady of the
Croatian pianism Pavica Gvozdić, an artist to whom Horvat has
dedicated most of his opera for the piano. The march mood is
interrupted by characteristic pianistic tempestuous passages
and the rhythmical measuredness is confi rmed by the very title
of the work. The composer himself wrote of this work: “Behind
this serious title a not very large piano composition is concealed,
perhaps only partially measured or misurata. The introductory
part evokes a careful walk, hesitation, occasional eruptions
(not measured). The second and fi nal part of the composition
gives us the ben misurato material of a pronouncedly rhythmi-
cal origin that is persistently repeated and seems even a little
mechanically monotonous. The composition is rounded off by a
vehement chordal fortissimo in the grand old manner.”
* For more about composer Stanko Horvat, see page 12-14.
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70
XVIII. Subota Saturday
16. kolovoza August 16
21.00 21.00
Hrvatska komorna fi lharmonija
Croatian Chamber Philharmonic Orchestra
Zagreb
Pavle Dešpaljravnatelj / conductor
Zagreb
Francesco Squarciaviola / viola
Italija / Italy
Wolfgang Amadeus Divertimento u F-duru, br. 3,
Mozart KV 138 (125c)
(1756.-1791.) Divertimento in F major,
no. 3, KV 138 (125c)
Allegro
Andante
Presto
Amando Ivančić Simfonija u D- duru, br. 3.
(1727.-1762.) (Rev. L. Županović 1975.)
Symphony in D major, no. 3.
(ed. L. Županović 1975) Adagio-Allegro
Andante
Tempo di menuetto - Trio,
menuetto da capo
Allegro
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71
Miroslav Miletić Epitaf za Pepina za violu i
(1925.) gudače
Epitaph for Pepino for viola
and strings
Epitaffi o per Pepino per
viola ed archi
praizvedba / fi rst performance
Francesco Squarcia viola
*** Samuel Barber Adagio za gudače, op. 11
(1910.-1981.) Adagio for strings, op. 11
Carl August Nielsen Kleine Suite, suita za gu-
(1865.-1931.) dački orkestar, op. 1
Kleine Suite, suite for string
orchestra, op. 1 Praeludium (Andante con moto)
Intermezzo (Allegro moderato)
Finale (Andante con moto, Più
mosso)
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72
* o skladatelju vidi na str. 64.
Pripadnik Pavlinskog reda Amando Ivančić (1727.-
1762.), skladatelj i orguljaš, bio je hrvatskog podrijetla a život je
proveo u inozemstvu. Bio je kršten kao Matthias Leopold Ivančić
na Badnjak 1727. godine u Wiener Neustadtu, a kada se 1744.
godine zaredio uzeo je ime Amandus/Amando. Razmjerno plo-
dan autor crkvenih i drugih djela, njih više od stotinu, koja se
čuvaju u arhivima u Hrvatskoj, Mađarskoj, Sloveniji, Austriji i
Njemačkoj, bio je u svoje vrijeme popularan i tražen majstor. Na-
kon ukinuća Pavlinskog reda bio je orguljaš stolne crkve u Grazu,
a kasnije je podučavao u Trnavi, gradu u današnjoj Slovačkoj.
Iako su podaci o njegovu životu još oskudni, njegova djela sve
više privlače pažnju interpreta. To se prvenstveno odnosi na nje-
gove simfonije, uglavnom četverostavačne, nastale u vrijeme
kada su pretklasična bečka simfonija i Mannheimska škola ot-
varale putove novom, klasičnom stilu. Amando Ivančić znao je
lagano i vedro razvijati svoje privlačne i jednostavne teme koje
je uklapao u sonatni oblik i uspijevao ostvarivati čvršću klasičnu
formu. Za potrebe suvremenog izvođenja Ivančićeve je simfonije
revidirao hrvatski skladatelj i muzikolog, akademik Lovro Župa-
nović 1975. godine.
Epitaf za Pepina – Epitaffi o per Pepino skladao je Miro-
slav Miletić 2008. godine. O poticajima za nastanak tog djela
autor je zapisao: »Bio sam počašćen narudžbom Osorskih glaz-
benih večeri da pišem za poznati rimski orkestar I Cameristi
Italiani koji je 2006. godine prvi put gostovao na tom uglednom
hrvatskom ljetnom festivalu. Kako volim upoznavati umjetnike
s kojima surađujem, stupio sam u kontakt s voditeljem orkestra
violistom Francescom Squarciom. Imao sam ga priliku čuti kao
solista s Riječkim komornim orkestrom, budući je on Riječanin
koji živi u Rimu. Upoznao sam i njegovog brata, Giuseppea, ko-
jeg su svi zvali Pepino, a koji je živio u Rijeci i bio »dobri duh« svih
umjetničkih akcija brata Francesca. Vedar i pozitivan čovjek, bio
je Pepino poštar, prijevoznik i kao vrsni kompjuteraš bio je velika
pomoć pri izradi partiture i dionica za moj Concerto grosso koji je
Francesco pripremao za praizvedbu na OGV. Bio sam s Pepinom
u Rimu kada je tamo izvođeno to moje djelo. Zbližio sam se s
obojicom braće i zato me je jako dirnula vijest kada sam čuo da
je Pepino preminuo od srčanog udara u Egiptu, gdje je boravio
kao turist. Bio sam nazočan i dirljivom sprovodu u Rijeci pa je
to dio mojeg »scenarija« za Epitaf. Epitaf, koji mu posvećujem,
jednostavačna je skladba koncipirana trodijelno, u kojoj srednji
dio donosi instrumentalnu verziju mojega a capella zbora Naš
dedek. I kao što taj zbor oplakuje preminulog dedeka, tako i u
ovom novom djelu taj srednji dio ima rekvijemski karakter. U
cjelini, skladba ima duhovni karakter a kada se ponovno javlja A
dio, to nije ponavljanje već skladanoga, nego je riječ o modifi cira-
nom, mutiranom glazbenom materijalu koji je za mene zvučna
reminiscencija na dragog čovjeka.«
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73
A novice of the Paulist Order, Amando Ivančić (1727-
1762), composer and organist, was of Croatian descent, but
spent his life abroad. He was baptised Matthias Leopold Ivančić
on Christmas Eve 1727 in Wiener Neustadt, and when he took
orders in 1744 he took the name Amandus or Amando. He was
a relatively prolifi c composer of church and other works, more
than a hundred of them, kept in archives in Croatia, Hungary,
Slovenia, Austria and Germany, and was in his time a popular
and sought-after master. After the dissolution of the order, he
was organist in Graz Cathedral, and later taught in Trnava , in
today’s Slovakia. Although information about his life is in short
supply, his works have always attracted the attention of inter-
preters. This applies primarily to his symphonies, mainly four-
movement works, created at the time when the pre-classical Vie-
nnese symphony and the Mannheim school opened up the ways
to the new, classical style. Amando Ivančić was able to develo-
pe light and cheerful themes that he fi tted into the sonata form,
and managed to create a stronger classical form. For the needs of
contemporary performance, Ivančić’s symphonies were revised
by the Croatian composer and musicologist, Academician Lovro
Županović, in 1975.
Miroslav Miletić composed his Epitaph for Pepino – Epi-
taffi o per Pepino in 2008. The author has this to say about the
stimulus for this work. “I was honoured by a commission from
the Osor Musical Evenings to write for the well known Roman
orchestra I Cameristi Italiani that in 2006 made its fi rst guest
appearance at this distinguished Croatian summer festival. Sin-
ce I like to get to know the artists I work with, I got in contact with
the leader, the violist Francesco Squarcia. I had the opportuni-
ty to hear him as a soloist with the Rijeka Chamber Orchestra,
since he is a Rijeka man who lives in Rome. I also got to know
his brother, Giuseppe, Pepino as he is called, and who lived in
Rijeka and was the good spirit behind all the artistic actions of
his brother Francesco. A cheerful and positive man, Pepino was
a postman, a carrier and as highly skilled with the computer, he
was a lot of help in the making of the score and the parts for my
Concerto Grosso that Francesco prepared for its fi rst ever per-
formance in Osor. I was with Pepino in Rome when my work
was put on there. I got fairly close to the two brothers, and I was
extremely upset by the news when I heard that while on holi-
day in Egypt Pepino had had a heart attack and passed on. I was
present at the very touching funeral in Rijeka, and this is part of
my scenario for the Epitaph. This Epitaph, which I dedicate to
him, is a one-movement composition conceived in three parts,
in which the central part provides an instrumental version of
my a capella for choir Naš dedek / Our granddad. As this choir
mourns the deceased grandfather, in this new work, the central
part has the character of a requiem. As a whole, the composition
has a spiritual character, and when the A part comes back, it is
not a repetition of something already composed, but a modifi ed,
mutated musical material, which for me is a sound reminiscence
of a very dear person.”
*For more about composer Miroslav Miletić see page 64.
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74
XIX. Ponedjeljak Monday
18. kolovoza August 18
21.00 21.00
Chopin Solisti
The Chopin SoloistsPoljska / Poland
Maciej Łabecki violina / violin
Lucjan Szalinćski-Bałwas violina / violin
Michal Zaborski viola
Arkadiusz Dobrowolski violončelo / cello
Marek Drewnowski glasovir / piano
Robert Schumann Kvintet za glasovir i gudački
(1810.-1856.) kvartet u Es-duru, op. 44
Quintet for piano and string
quartet in E fl at major, op. 44 Allegro brillante
In modo d’una marcia
Scherzo
Allegro ma non troppo
* * * Dora Pejačević Kvartet za glasovir, violinu,
(1885.-1923.) violu i violončelo u d-molu,
op. 25
Quartet for piano, violin,
viola and cello in D minor,
op. 25
Allegro
Adagio
Minuetto
Rondo
Frédéric Chopin Koncert u f-molu, br. 2, op. 21
(1810.-1849.) Concerto in F minor, no. 2,
op. 21 Maestoso
Larghetto
Allegro vivace
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75
Rođena u jednoj od najstarijih hrvatskih plemićkih obi-
telji, grofi ca Dora Pejačević (1885.-1923.) zauzima najznačajni-
je mjesto žene-skladateljice u povijesti hrvatske glazbe s prijela-
za 19. u 20. stoljeće. Njezinu cjelokupnu umjetničku i biografsku
ostavštinu znanstveno je obradila muzikologinja Koraljka Kos i
po tome je Dora Pejačević jedna od rijetkih hrvatskih skladatelja
koji imaju monografi je na hrvatskom, njemačkom i engleskom
jeziku. Umjetnički opus od 58 djela, solo popjevaka, solističkih,
komornih i orkestralnih skladbi, ove skladateljice pripada vre-
menu preobrazbe hrvatske glazbe, vremenu onih težnji koje su
u prvim desetljećima 20. stoljeća unosile niz novih elemenata u
hrvatsku glazbu i ostvarile temelje na kojima su se kasnije razvi-
jali suvremeni stilski pravci.
Dora Pejačević je rođena u Budimpešti, ali je trajno bila
vezana uz obiteljski dvorac u Hrvatskoj, u Našicama, gdje je do-
bila i prvu privatnu poduku (budući da kao aristokratsko dije-
te nije pohađala javnu školu). Kasnije se školovala u Zagrebu,
Dresdenu i Münchenu, te se uz razvijeno osobno zanimanje i
znatiželju, kao i kontakte s nizom istaknutih umjetnika i intelek-
tualaca svoga vremena, razvila u izuzetno dobro informiranu i
kritičnu osobnost. Za životni stil skladateljice karakteristična su
bila brojna putovanja i boravci u europskim metropolama, Beču,
Budimpešti, Pragu, Münchenu i u dvorcu Janovice u Češkoj. Na-
kon udaje za Ottomara von Lumbea u jesen 1921. godine, živjela
je u Münchenu, gdje je i umrla.
Na putu svojeg skladateljskog razvoja odbacila je Dora
Pejačević balast salonskih manira, dekor i retoriku, te konven-
cionalni način izražavanja, da bi u dugotrajnom i upornom
procesu samoizgrađivanja oslobodila ono pravo jezgro vlastita
glazbenog govora koji naslućujemo već u njezinim najranijim ra-
dovima. Prvo veće, u punoj mjeri profesionalno komorno djelo je
Kvartet za glasovir, violinu, violu i violončelo u d-molu, op. 25 iz
1908. godine. Pisan u tradicionalnoj klasičnoj formi sa četiri sta-
vka, odaje kvartet po naslovu i karakteru stilsku formu roman-
tičnih uzora (Čajkovski, Dvorák). Nakon efektnog Allegra donosi
Adagio jednostavnu, toplu melodiju. A nakon plesnog Minuetta
nastavlja elokventni, sadržajno ne previše zahtjevni Rondo, os-
lonjen na Griega, glazbenu priču čija djelotvorna pizzicato-tema
oživljava duh bezbrižnog pokreta.
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76
Born in one of the oldest Croatian aristocratic families,
Countess Dora Pejačević (1885-1923) occupies the position of
the most important woman composer in the history of Croatian
music at the turn of the 19th and 20th centuries. Her artistic and
biographical papers have been treated with great scholarship by
musicologist Koraljka Kos, and hence Dora Pejačević is one of
the few Croatia composers to have a monograph published abo-
ut her and issued in Croatian, German and English. The oeuvre
of 58 opera, solo songs, solo, chamber and orchestral compositi-
ons of this composer belongs to the time in which Croatian mu-
sic was being transformed, a time of those strivings that in the
fi rst decades of the 20th century introduced a number of new ele-
ments into Croatian music and created the foundations on which
contemporary stylistic directions were later to develop.
Dora Pejačević was born in Budapest, but was all her life
tightly connected with the family palace in Croatia, in Našice,
where she had her fi rst private tuition (she did not attend scho-
ol for commoners of course). Later she was educated in Zagreb,
Dresden and Munich, and with a developed personal interest and
curiosity, as well as contacts with leading artists and intellectu-
als of her time, developed into a well informed and critical per-
sonality. The life style of the composer was characterised by her
many journeys too and sojourns in the European metropolises,
in Vienna, Budapest, Prague, Munich and in the castle of Janovi-
ce (today’s Czech Republic). After her marriage to Ottomar von
Lumbe in autumn 1921 she lived in Munich where she died not
long after.
During the course of her composerly development, Dora
jettisoned the ballast of drawing room manners, décor and rhe-
toric, and the conventional manner of expression, and in a long-
lasting and persistent process of development of her own work
liberated the real core of her own musical speech, which we can
sense in her earliest works. The fi rst major and fully professional
chamber work is the Quartet for piano, violin, viola and cello in D
minor, op. 25 of 1908. It was written in the traditional classical
form with four movements, reveals the quartet in its title and the
characteristic stylistic form of its romantic models (Tchaikovsky
and Dvorák). After an effective Allegro comes the Adagio, a sim-
ple and warm melody. After the dance-like Minuetto an eloqu-
ent Rondo continues, not very demanding in content, and based
on Grieg, a musical story the effective pizzicato theme of which
brings to life a spirit of carefree mobility.
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77
XX. Srijeda Wednesday
20. kolovoza August 20
21.00 21.00
Zagrebački kvartet saksofona
The Zagreb Saxophone Quartet
Dragan Sremec sopran saksofon
soprano saxophone
Goran Merčep alt saksofon
alto saxophone
Saša Nestorović tenor saksofon
tenor saxophone
Matjaž Drevenšek bariton saksofon
baritone saxophone
Johann Sebastian Bach Suita u h-molu, br. 2,
(1685.-1750.) BWV 1067
Suite in B minor, no. 2,
BWV 1067
(trans. Nestorović)
Ouverture
Rondeau
Sarabande
Bourrée I, Bourrée II
Polonaise: Lentement – Double
Menuet
Badinerie
Stanko Horvat Rocambole
(1930.-2006.)
Gabriel Pierné Uvod i varijacije na narod-
(1863.-1937.) nu temu
Introduction and variations
on a folk theme
* * *
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78
Berislav Šipuš Im Garten deiner Liebe
(1958.) U vrtu tvoje ljubavi
In the garden of your love
Milko Lazar Koncert za kvartet saksofo-
(1965.) na br. 1
Concerto for saxophone
quartet no. 1
Kaskade
Spleen ‘99
Hommage to Mr. Rifi
Vrijeme izuma saksofona (oko 1840. godine Adolph Sax
je u Bruxellesu konstruirao limeni puhački instrument koji je po
njemu dobio ime saksofon, patentiran u Parizu 1846. godine),
označuje nepostojanje glazbene literature za to glazbalo iz rani-
jih povijesnih razdoblja pa se saksofonisti uglavnom snalaze s
obradbama ranijih djela. Puni uspon saksofon doživljava u dje-
lima skladatelja 20. stoljeća, osobito francuskih autora. Zagre-
bački kvartet saksofona, osnovan 1989. godine, brzo je postao
respektabilni komorni sastav i inspiracija za mnoge hrvatske
skladatelje. Tako i za Stanka Horvata, koji je tom ansamblu po-
svetio dva svoja djela: Drammatico, 1996. godine i Rocambole
2000. godine. Zagrebački kvartet saksofona praizveo je skladbu
Rocambole u Zagrebu 2000. godine na koncertu u povodu skla-
dateljeva 70. rođendana.
Naziv rocambole je ime dviju vrsta češnjaka (Allium sco-
rodoprasum i A. Ascalonium), to je ime deserta popularnog u
Brazilu, ali i ime lika, Rocambole, kojega je u književnost uveo
francuski pisac Pierre Alexis Ponson du Terrail. Horvata je inspi-
rirao taj izmišljeni pustolov, važan u žanru avanturističkih roma-
na i kriminalističkih priča, koje su bile objavljivane u nastavcima
u francuskim časopisima između 1857. i 1870. godine. U borbi
između dobra i zla Rocambole je doživljavao uzbudljive zgode
i plijenio maštu čitatelja uvijek željnih novih opasnosti. Veliki
je broj francuskih pisaca, sve do u 21. stoljeće, opisivao zgode
i nezgode tog fantastičnog lika. Riječ rocambolesque i danas u
francuskom jeziku označava bilo koju vrstu fantastične avan-
ture. Upuštajući se u pustolovinu skladanja za četiri saksofona
iskazao je autor svoju neiscrpnu maštu u nadigravanju četvo-
rice majstora svojih glazbala koji puninom zvuka i zahvaljujući
tehničkoj spremnosti vješto oživljavaju još jednu od Horvatovih
uspjelih partitura. Asocijacije folklornih prizvuka i ležerniji pri-
stup obradbi tematske građe pridaju ovom djelu atmosferu inici-
jalne inspiracije, primarnu nadahnutost igre i uživanja u ugodnoj
boji saksofonskog zvuka.
Berislav Šipuš (1958.), skladatelj, pedagog, dirigent i
umjetnički voditelj uglednog Cantus Ansambla koji promovira
Novu glazbu, usporedo sa studijem povijesti umjetnosti na
zagrebačkom Filozofskom fakultetu diplomirao je kompozicju
1987. godine na Muzičkoj akademiji Sveučilišta u Zagrebu u
razredu profesora Stanka Horvata. Daljnje usavršavanje nasta-
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79
* o skladatelju Stanku Horvatu vidi na str. 10-12.
At the time when the saxophone was invented (around
1840 by Adolph Sax in Brussels, constructing a brass wind in-
strument that took its name from him, and was patented in Paris
in 1846) there was of course no music written for this instru-
ment already existing from earlier periods and saxophonists on
the whole get by with arrangements of earlier works. The saxop-
hone boom came in the works of 20th century composers, parti-
cularly the French. The Zagreb Saxophone Quartet, founded in
1989, soon became a very worthwhile chamber ensemble and
an inspiration for many Croatian composers – including Stanko
Horvat, who dedicated the group two of his works: Drammatico
of 1996 and Rocambole of 2000. The Zagreb Saxophone Quar-
tet fi rst produced the composition Rocambole in Zagreb 2000 at
a concert marking the composer’s 70th birthday.
The title rocambole is the name of two kinds of garlic (Alli-
um scorodoprasum and A. ascalonium), also the name of a dessert
popular in Brazil, as well as a character, Rocambole, introduced
into literature by French writer Pierre Alexis Ponson du Terrail.
Horvat was inspired by this invented adventurer, important in the
vio je kod Gilberta Bosca u Udinama (1986.) te Françoisa Ber-
narda Mâchea, Alaina Despresa i Iannisa Xenakisa u pariškom
Elektronskom studiju UPIC (1987.). Dirigiranje je usavršavao
kod Krešimira Šipuša, Milana Horvata i Vladimira Kranjčevića.
Berislav Šipuš razvio je vrlo bogatu dirigentsku djelatnost
i ravnao je brojnim svjetskim orkestrima a višegodišnji rad u
Teatro alla Scala u Milanu usavršio ga je za pultom baletnih pro-
dukcija. Od 2005. godine imenovan je za izvanrednog profesora
kompozicije i glazbene teorije na Muzičkoj akademiji u Zagrebu.
Kao skladatelj ostvario je brojna orkestralna, vokalno-instru-
mentalna, koncertantna, komorna, zborska i solistička djela koja
svjedoče izuzetnu glazbenu nadarenost i vrsno profesionalno
obrazovanje. Trajno se obnavljajući u svakoj svojoj novoj partituri
iskazuje Šipuš zavidnu skladateljsku maštu i duhovitost koja nje-
govu glazbu čini izuzetno komunikativnom i omiljenom kod izvo-
đača i kod slušatelja. Šipuševa stvaralačka spontanost odlikuje
se hedonizmom i neospornim unutrašnjim vitalizmom. Prisjeća-
jući se nastanka skladbe Im Garten deiner Liebe (U vrtu tvoje lju-
bavi) za kvartet saksofona, koju je na poziv Claudea Delanglea,
profesora saksofona na Visokoj školi za glazbu u Parizu i jedno-
ga od utemeljitelja studija saksofona u Hrvatskoj 1978. godine,
skladao 2002. godine kada ju je Zagrebački kvartet saksofona
praizveo u Parizu, autor je zapisao: »Priča bi mogla ići ovako: kad
sam prije dosta godina pisao skladbu za saksofon solo Le sens
(Osjet) bio sam mlad i zaljubljen… sad kada je ova nova skladba
napokon pred vama i preda mnom, mogu jedino sa sigurnošću
kazati da više nisam mlad kao nekada, i da možda više uistinu i
ne pišem takvu glazbu kao nekada, ali se iskreno nadam da sam
i dalje zaljubljen…Ljubavna pjesma, dakle, … ništa više…«
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80
genre of adventure novels and detective fi ction, published in parts
in French journals between 1857 and 1870. In the fi ght between
good and evil, Rocambole experienced exciting adventures, and
captured the fancy of the readers, always desirous of new perils.
A large number of French writers, right down to the 21st century,
described the fortunes and misfortunes of this fantastic persona.
In French the word rocambolesque refers to any kind of fantastic
scrape. Getting into the adventure of composing for four saxopho-
nes, the author showed his boundless imagination in playing off
the four masters of their instruments who in the fullness of their
sound and thanks to their technical skills skilfully bring to life yet
another of Horvat’s successful scores. Folk music associations
and a casual approach to the treatment of the thematic material
bestow on this work the atmosphere of initial inspiration, the pri-
mary impulse of the game and enjoyment of the pleasant colour
of the sound of the saxophones.
Berislav Šipuš (1958), composer, teacher, conductor and
artistic leader of the distinguished Cantus Ensemble, who pro-
motes the New Music, in parallel with his course in art history
at the Zagreb Faculty of Philosophy also took a degree in com-
position in 1987 at the Zagreb University Music Academy, cla-
ss of Stanko Horvat. He went on to study with Gilbert Bosco in
Udine (1986) and with Francois Bernard Mache, Alain Despres
and Iannis Xenakis in the UPIC Electronic Studio in Paris in 1987.
He did further training in conducting with Krešimir Šipuš, Milan
Horvat and Vladimir Kranjčević.
Berislav Šipuš has had a successful career as conductor,
and has conducted many world orchestras. His several years of
work at Milan’s La Scala fully equipped him to conduct ballet mu-
sic. In 2005 he was appointed associate professor of composition
and music theory at the Music Academy in Zagreb University. As
composer he has produced numerous orchestral, vocal-instru-
mental, concertante, chamber, choral and solo works that tell of
his outstanding musical talents and consummate professional
education. Every work of his is a fresh rejuvenation, and Šipuš
demonstrates a remarkable composing imagination and wit,
which makes his music extremely communicative, and a favou-
rite with both performers and listeners. Šipuš’s creative sponta-
neity is characterised by hedonism and an undeniable internal vi-
tality. Recalling the origin of the work In the Garden of Your Love
for saxophone quarter, that he wrote in 2002, at the invitation of
Claude Delangle, professor of saxophone at the Haute Ecole de
Musique in Paris and one of the founders of the saxophone course
in Croatia in 1976, the author wrote: “The story might go this
way. When quite a few years ago I wrote a composition for solo
saxophone Le Sens (Sense) I was young and in love… now when
this new composition is at length before you and me, I can only
say for certain that I am no longer young as I once was and that I
perhaps no longer write the kind of music I once wrote, but I since-
rely hope I am still in love… A love song, then, nothing more…”
For more about composer Stanko Horvat, see page 12-14.
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