2. Izlog suvremenog zvuka
Drugo izdanje međunarodnog festivala Izlog suvremenog zvuka održava se od 7. do 10. svibnja u prostorima
Studentskog centra: Teatru &TD, MM centru i dvorištu
SC-a. Ovogodišnje festivalsko izdanje tijekom 4 dana
predstavlja više od 80 sudionika iz 7 zemalja, koji će svoj
rad predstaviti kroz 30 programa, uključujući koncerte,
razgovore s autorima, audiovizualne projekte, predavanje i
zvučne instalacije.
Izlog suvremenog zvuka razvija se u onom smjeru
u kojem je i krenuo svojim prvim izdanjem. Generalne
programske smjernice, nastojanja, fokus i ciljevi, u tom
su smislu ostali isti, nastavljajući istraživanje i otkrivanje
novoga, poticanje suradnje i dijaloga, kao i inzistiranje na
otvorenom pristupu suvremenim glazbama današnjice.
Ovogodišnji Izlog jest narastao, po broju sudionika, po
broju zastupljenih zemalja, broju partnera, i tako dalje, no
ono što je mnogo važnije od te vrste kvantitativnog rasta
jest onaj kvalitativni, onaj koji se prepoznaje u samom
sadržaju odnosno u programu. Osim predstavljačkog
karaktera izuzetno je važan onaj pokretački, pa i
povezujući, bilo da se radi o povezivanju glazbenika ili
da se radi o umrežavanju s drugim institucijama, inicijativama i/ili pojedincima koji se bave suvremenom glazbom.
U tom smislu treba istaknuti gostovanje nizozemskih
udaraljkaša, članova vrhunskog ansambla Slagwerk Den
Haag, a posebno njihovu suradnju tj. zajednički nastup s
našim udaraljkašima Kajom Farszky i Nenadom Kovačićem.
Nastavljamo suradnju s austrijskim labelom za novu i
eksperimentalnu glazbu GOD Records, kao i sa slovenskim Zavodom SPLOH koji predstavlja harmonikaša Luku
Juharta, pripadnika mlade generacije slovenskih glazbenika, pomno i strastveno posvećenih izvođenju suvremenog
glazbenog repertoara, pa ćemo u sklopu Juhartovog
nastupa čuti čak 3 praizvedbe (Demetz, Fuentes, Šaljić
Podešva). U suradnji s beogradskim međunarodnim festivalom nove muzike Ring Ring predstavljamo glazbenicu,
skladateljicu i sound artisticu Svetlanu Maraš, kao i video
umjetnika Incredible Boba i eksperimentalnog gitaristu
WoO-a koji će predstaviti svoj novi expanded cinema
projekt Peoplemeter.
Nekoliko je novih domaćih suradnji: s Multimedijalnim
institutom predstavljamo Kontakt der Jünglinge, s udrugom Radiona, Kontejner i Galerijom Močvara radionicu
Noisy Textiles multimedijalne umjetnice Afroditi Psarra, a
nastup glasovitog britanskog pijanista Johna Tilburyja na
otvaranju festivala realiziran je u koprodukciji s Muzičkim
Biennalom Zagreb. Koncert pripremaju i studenti
muzikologije Muzičke akademije u Zagrebu, na čijem će
programu biti skladbe njihovih kolega – studenata kompozicije (Antonio Babić, Sara Glojnarić, Marko Slaviček,
Ivan Violić, Juraj Marko Žerovnik), a u izvedbi studenata
instrumentalista.
Dio programa Izloga ujedno je i dio platforme
Međunarodna razmjena skladatelja – projekta četiriju
članica Međunarodnog udruženja za novu glazbu: Estonije,
Hrvatske, Švedske i Velike Britanije – kroz koju u suradnji
s Hrvatskim društvom skladatelja ugošćujemo po dva
skladatelja iz svake zemlje-članice projekta.
Nadamo se da će drugo festivalsko izdanje svojim
programom i atmosferom ponovno pokazati da je Izlog
potreban, kako publici tako i samim sudionicima, te da u
tom smislu postaje važan segment hrvatske suvremene
glazbene scene. Malen, ali vrlo aktivan.
Ulaz na sva događanja Izloga suvremenog zvuka je
besplatan. Uživajte u četiri dana suvremenog zvuka!
2nd Showroom of
Contemporary Sound
The second edition of the international festival Showroom
of Contemporary Sound will take place from May 7 to
May 10, at the Student Centre venues: &TD Theatre, MM
Centre and the backyard of SC. During four days of this
year’s festival more than 80 participants from 7 countries
will present their work through 30 programmes that include concerts, artist talks, audiovisual projects, a lecture
and sound installations.
Showroom of Contemporary Sound is developing in
the same direction it took on its first edition. General
programme guidelines, endeavor, focus and goals have
remained the same, continuing to explore and discover
the new, encouraging collaboration and dialogue, as well
as insisting on an open approach to contemporary music
of today. This year’s Showroom has grown in number of
participants, countries represented, festival partners,
etc., but more importantly, it grew in quality, visible in the
content, that is, in the programme. Apart from the festival’s representative character, its initiatives are of great
importance, as well as its connecting character, whether
it is the musicians who are connecting or the festival’s
networking with other institutions, initiatives and/or individuals who work in the field of contemporary music. In
this aspect, guest performances of the Dutch percussionists, members of the top music ensemble Slagwerk Den
Haag, deserve mentioning, especially their collaboration
with our percussionists Kaja Farszky and Nenad Kovačić.
We are continuing collaboration with the Austrian label
for new and experimental music GOD Records and with
the Slovenian Sploh Institute, presenting the accordeon
player Luka Juhart, member of the younger generation of
Slovenian musicians, passionately dedicated to contemporary music repertoire. As a part of his performance, we
will hear first performances of three new pieces by Demetz, Fuentes and Šaljić Podešva. In collaboration with
the Belgrade International New Music Festival Ring Ring,
we are presenting the musician, composer and sound
artist Svetlana Maraš, as well as the video artist Incredible
Bob and the experimental guitarist WoO, the duo that
will present their new expanded cinema project, Peoplemeter.
There are several new collaborations on national level:
together with the Multimedia Institute we are presenting Kontakt der Jünglinge, with the Radiona association,
Kontejner and Močvara Gallery we will be organizing the
Noisy Textiles Workshop of the multimedia artist Afroditi
Psarra, and the performance of the renowed British
pianist John Tilbury at the opening of the festival is or-
ganized in collaboration with the Music Biennale Zagreb.
There will be a concert organized and performed by the
students of the Music Academy in Zagreb, presenting the
pieces by their fellow colleagues – students of composition (Antonio Babić, Sara Glojnarić, Marko Slaviček, Ivan
Violić, Juraj Marko Žerovnik).
Part of the programme of the Showroom is also a part
of the International Composers’ Exchange platform –
project of the four member countries of the International
Society for Contemporary Music: Estonia, Croatia, Sweden and Great Britain – through which, in coproduction
with the Croatian Composers’ Society, we will be hosting
two composers from each of the member-countries in the
project.
We hope the second festival edition, through its
programme and atmosphere, once again demonstrates
that the Showroom is needed, from the aspect of the
audiences, but also to the participants, and in this way it
is becoming an important segment of the Croatian contemporary music scene. A small one, but a very active one.
Entry to the entire programme of the Showroom of Contemporary Sound is free. Enjoy the four days of contemporary sound!
srijeda 07. 05.
21,65m šahtofonije
(DB Indoš, Tanja Vrvilo,
18h Hrvoje Nikšić, I.M.Klif,
Vedran Hleb)
@ dvorište SC (4’33’’)
»str 8
otvorenje instalacije:
RGB Luminofon
@ dvorana SEK
18:30h »str 12
Tilbury izvodi Becketta
@ polukružna dvorana
19h Teatra &TD (60’)
»str 14
četvrtak 08. 05.
21,65m šahtofonije
(DB Indoš, Tanja Vrvilo,
Hrvoje Nikšić, I.M.Klif,
Vedran Hleb)
@ dvorište SC (4’33’’)
»str 8
petak 09. 05.
subota 10. 05.
21,65m šahtofonije
(DB Indoš, Tanja Vrvilo,
Hrvoje Nikšić, I.M.Klif,
Vedran Hleb)
@ dvorište SC (4’33’’)
»str 8
Predstavljanje:
Ring Ring
@ kafić Teatra &TD
(45’)
» str 52
Predstavljanje:
Cafe OTO
@ kafić Teatra &TD (45’)
»str 41
Luka Juhart, harmonika
@ polukružna dvorana
Teatra &TD (60’)
»str 54
Thomas Grill: Slušanje zvuk i kontekst
(predavanje)
@ MM centar (60’)
»str 28
srijeda 07. 05.
20h
Artist talk: John Tilbury,
razgovor vodi
Nikša Gligo
@ polukružna dvorana
Teatra &TD (45’)
četvrtak 08. 05.
fusNota predstavlja:
koncert studenata
Muzičke akademije
@ polukružna dvorana
Teatra &TD (60’)
»str 30
2 od pola u 1: Goran
Jurković (saksofon) i
Danijel Detoni (klavir)
@ MM centar (60’)
»str 18
Low Frequency
Orchestra
@ MM centar (50’)
»str 33
subota 10. 05.
Slagwerk Den Haag
& Gideon Kiers
Hilary Jeffery:
Time Spell 2
@ velika dvorana Teatra &TD (30’) »str 42
Artist talk: Hilary
Jeffery, razgovor vodi
Petar Milat (30’)
@ polukružna dvorana
Teatra &TD
20:30h
21h
petak 09. 05.
Slagwerk Den Haag
Arnold Marinissen:
Fingerprints (18’)
SDH & Guests:
Impro session (30’)
@ velika dvorana
Teatra &TD” »str 45
Preparirani projekt
(Buić, Glušac,
Manojlović, Novak,
Pavlica, Peternel, Prica
Kafka, Vorberger) @
MM centar (60’)
»str 56
21:30h
Kontakt der Jünglinge
@ velika dvorana Teatra
&TD (45’)
»str 58
srijeda 07. 05.
21,65m šahtofonije
(DB Indoš, Tanja Vrvilo,
22h Hrvoje Nikšić, I.M.Klif,
Vedran Hleb)
@ dvorište SC (4’33’’)
22:15h
Hommage
Draganu Pajiću - Paji
22:30h @ velika dvorana Teatra
&TD (75’)
»str 24
kajkyt
@ velika dvorana
23:30h Teatra &TD (45’)
»str 26
četvrtak 08. 05.
petak 09. 05.
21,65m šahtofonije
(DB Indoš, Tanja Vrvilo,
Hrvoje Nikšić, I.M.Klif,
Vedran Hleb)
@ dvorište SC (4’33’’)
21,65m šahtofonije
(DB Indoš, Tanja Vrvilo,
Hrvoje Nikšić, I.M.Klif,
Vedran Hleb)
@ dvorište SC (4’33’’)
Zvuk pokreta:
Kaja Farszky &
Nenad Kovačić
@ polukružna dvorana
Teatra &TD (40’)
»str 36
MMessy Oscillators
@ MM centar (45’)
»str 48
Peoplemeter
@ velika dvorana
Teatra &TD (30’)
»str 39
Svetlana Maraš
@ polukružna dvorana
Teatra &TD (40’)
»str 50
subota 10. 05.
23h
21,65m šahtofonije
(DB Indoš, Tanja Vrvilo,
Hrvoje Nikšić, I.M.Klif,
Vedran Hleb)
@ dvorište SC (4’33’’)
»str 8
John Chantler
@ polukružna dvorana
Teatra &TD (30’)
»str 60
21,65 metara šahtofonije
DB INDOŠ / Kuća ekstremnog muzičkog kazališta
Šahtofonist: DB Indoš / šahtofonistica: Tanja Vrvilo
Mikrofonije: Hrvoje Nikšić – Nikša i Ivan Marušić Klif
Funkcionar šahtofona: Vedran Hleb
Multimedijalni performans
Nastavljajući se na projekt predstavljen na
prošlogodišnjem Izlogu suvremenog zvuka, koji je
uključivao izložbu šahtofona i grafičkih partitura za
šahtofon, te izvedbu jedne od skladbi nastalih upravo
za ovaj zvukovni objekt – instrument, Damir Bartol Indoš
proširuje mogućnosti, ali i glazbene i poetičke granice
šahtofona i premijerno predstavlja svoj novi projekt.
U performansu 21,65 metara šahtofonije susreću se tri
aspekta izvedbe: kulturološki, koji se ogleda u radovima s
područja tzv. umjetnosti buke (intonarumori futurističkog
skladatelja Luigija Russola iz razdoblja početka Prvog
svjetskog rata) i s područja umjetnosti tišine Johna Cagea
(eksperimentalnog skladatelja iz razdoblja poslije Drugog
svjetskog rata). Drugi je tehnološki aspekt, obilježen
izumom oružarskog stroja, prvog tenka čije su performance počivale na postolju traktora (oruđarskog stroja).
Treći je aspekt organizacijski, koji se obraća sjećanju na
8
07. 08. i 09. 05. u 18h i 22h
10. 05. u 17h i 23h
@dvorište SC
sto godina od izbijanja Prvog svjetskog rata i od prvog
futurističkog koncerta s intonarumorijima u Milanu.
Prolazeći kroz 21,65 metara šahtofonije, evociramo
situaciju rata i mira, suprotstavljajući i superponirajući
buku industrijske revolucije (koja dostiže vrhunac upravo
u ratnim uvjetima) i tišinu (koja sadrži okolne zvukove koje
slušatelji čuju za vrijeme izvođenja šahtofonije, u njenim
mirnim uvjetima). Šahtofon-kabina postaje opružni muzički
stroj koji klizi, a njegova „muzička funkcija“ je proizvodnja
triju vrsta zvukova unutar svojega skučenoga interijera,
krećući se na metalnim kotačima po vlastitim tračnicama.
Samu glazbenu strukturu čine tri stavka, vremenski
precizno određena štopericom, koja tri puta signalizira
vremenski interval od 1,44 sekunde (3 x 7,21 metara). Prvi
stavak je bučna šahtofonija, a čine ju vibracije opruga u
unutrašnjosti šahtofon-kabine, dok je drugi stavak tiha
šahtofonija koju sačinjavaju zvuk klizanja šahtofona po
šinama i svi drugi zvukovi iz okoline. Treći stavak čine
reprodukcija arhivskih zvukova intonarumorija i njihova reinterpretacija na duhovno recikliranom smeću iz skladišta
DB Indoša.
Vrijeme trajanja jedne izvedbe je 4’33’’, što je jednako
trajanju Cageove skladbe. Tijekom festivala biti će po
dvije izvedbe/vožnje dnevno, svaka naslovljena kako
slijedi:
1. Crepitatore; 2. Ululatore; 3. Gracidatore; 4. Gorgogliatore; 5. Ronzatore; 6. Arco Enarmonico; 7. ”mreža zvukova
Intonarumorija” Risveglio Di Una Citta – Prvi dio;
8. ”mreža zvukova Intonarumorija” Risveglio Di Una Citta
– Drugi dio
Prije početka svake izvedbe/vožnje jest uvod – Palindrom:
In girum imus nocte et consumimur igni.
DB INDOŠ / Kuća ekstremnog muzičkog kazališta
Iz Manifesta…
Pojavljuje se više pitanja samim nazivom DB Indoš / Kuća
ekstremnog muzičkog kazališta: što je muzičko u ekstremnom kazalištu? Što je kazališno u ekstremnoj muzici? Što
je DB Indoš u Kući? Pitanja su to o različitim pragovima
postajanja u ekstremnom, muzičkom, kazališnom, kućnom.
Sva su to postajanja izvođača „uhvaćenih na djelu“ proizvodnje niza zvukova koji proizlaze iz „duhovno recikliranog
smeća“, glasova koji uranjaju u njihove šupljine, rupe, crne
akustičke kutije, gesta njihovih ruku koje stupaju u dodir
s površinom zvuka, prebirući prstima, inzistirajući da zvuk
nastane struganjem, škripanjem, cviljenjem, udaranjem,
vibracijom, rezonancom... Tu su, nadalje, prisutne i geste
potezanja i vučenja, vrtnje, otvaranja i zatvaranja, klizenja
i guranja, kotrljanja, savijanja i stezanja, zavrtanja i odvrtanja. Od početka su tu preklapanja, ispreplitanja, instrumentalni nesklad spojen s drugim elementima – tekstom,
slikom i plesom, koji danas daje sve veći značaj novom
pragu na kojeg stajemo, preko kojeg prelazimo. Prag je to
jednog protu-muzičkog sadržaja u odnosu na uobičajeno
shvaćen muzički sadržaj koji stvaraju klasični instrumenti.
Instrumentarij kojim ekstremno muzičko kazalište radi
čine stari glomazni hard disk, drobilica za orahe, željezno
rebrasto sušilo, ljevak špric kante, željezno violončelo,
bravarski stol s opružnim ladicama, magnetske pločice te
šahtofoni, a skladbe koje se na njima izvode nazivaju se
šahtofonije. (DB Indoš)
DB Indoš, foto: Damir Žižić
9
21,65 Meters of
Schachtophony
DB INDOŠ / House of Extreme Musical Theatre
Schachtophone players – DB Indoš & Tanja Vrvilo
Microphonies – Hrvoje Nikšić-Nikša and Ivan Marušić Klif
Schachtophony operator – Vedran Hleb
Multimedia performance
Continuing the concept presented at the last year’s
Showroom of Contemporary Sound, that included an
exhibition of schachtophones and schachtophone graphic
scores, as well as a performance of a piece for that
sound object – instrument, Damir Bartol Indoš expands
the possibilities, but also musical and poetic limits of the
schachtophone and he will be presenting his new project.
The performance 21,65 Meters of Schachtophony comes
in three aspects of the performance: the cultural aspect,
that reflects in art resulting from the so called art of
noise (intonarumori of the futuristic composer Luigi Russolo from the period of the World War I) and from John
Cage’s concept of silence (experimental composer from
the period after the Second World War). The technological aspect of the performance, marked by the invention
10
of the arm machine, the first tenk whose performances
were based on the tractor chassis. Third aspect communicates via programme, giving memory of the 100 years
since the beginning of the World War I and since the first
futurist intonarumori concert in Milan.
Passing through the 21,65 meters of schachtophony,
we evoke the war and peace situation, juxtaposing the
noise of the industrial revolution (that comes to the fullest during war times) and silence (that contains environmental sounds the listeners hear during the performance
of schachtophony - during the quieter parts). Schachtophone cabin becomes a musical spring machine that
slides and its „musical function“ is producing three kinds
of sound in its small interior, rolling on metal wheels on its
tracks. Music is structured in three movements, split very
precisely using a timer that signalizes a time interval of
1,44 seconds three times (3 x 7,21 meters). The first movement is a noisy schachtophony, created by the vibrations
of the springs inside the schachtophone cabin, while the
second movement presents a silent schachtophony that
consists of the sliding sounds and the sounds from the
surrounding. The third movement is a reproduction of
the archived sounds of the intonarumori and its reinterpretation on spiritual recycled rubbish from DB Indoš’
warehouse.
Duration of the performance is 4’ 33’’ (just like Cage’s
piece of the same title). During the festival, there will be
two performances/rides a day, each titled as follows:
1. Crepitatore; 2. Ululatore; 3. Gracidatore; 4. Gorgogliatore; 5. Ronzatore; 6. Arco Enarmonico; 7.”network of
Intonarumori noises” Risveglio Di Una Citta - First part;
8.”network of Intonarumori noises” Risveglio Di Una Citta
– Second part
Before each performace/ride there is an Introduction –
Palindrom: In girum imus nocte et consumimur igni.
DBINDOŠ / House of Extreme Musical Theatre
From the Manifest…
A number of questions arise as we try to unravel the title
DB Indoš / House of Extreme Theatre: what is musical
about the extreme theatre? What is theatrical in extreme music? What is DB Indoš in the House? These are
questions on different levels of becoming in the extreme,
musical, theatrical, that of a house. All these are levels of
becoming of performers “caught in the act” of producing
an array of sounds from the “spiritual recycled rubbish”,
voices that dive into their hollow parts, holes, black
acoustic boxes, gestures of their hands that come in
contact with the surface of the sound, going through with
the fingers, insisting that the sound comes from scratching, creaking, squeeching, hitting, vibration, resonance…
There are also gestures of pulling and stretching, turning
around, opening and closing, sliding and pushing, rolling,
bending and tightening, twisting and turning. From the
beginning there are overlapping, interlocking, instrumental disbalance with the other elements – text, image,
dance - that today provides a greater impact to the new
level we are stepping on, through which we pass. It is a
point of an anti-musical content in relation to what we
normally understand as musical content coming from a
classical source – classical instruments. Instruments of the
extreme musical theatre consist of a big old hard disc, a
nutcracker, a steel dryer, a funnel, steel cello, locksmith’s
machine with spring drawers, magnetic plates and schachtophones, and the pieces performed on these objects are
called schachtophonies.
11
RGB Luminofon
Lightune.G je zagrebačko-zadarski autorski dvojac.
Miodrag Gladović inženjer je elektroakustike, glazbenik i
producent. Bojan Gagić je multimedijalni umjetnik.
Za svoj rad na razvoju luminoakustike dobili su treću nagradu na prestižnom natjecanju Margaret Guthman New
Musical Instrument Competition održanom u Atlanti 2012.
Njihov rad pod nazivom Lighterature Reading, Chapter 11
trenutno je predstavljen na izložbi T-HTnagrada@msu.hr u
Muzeju suvremene umjetnosti u Zagrebu.
Pretvorbu svjetla u zvuk korištenjem fotonaponskog
efekta solarnog panela (luminoakustiku) započeli smo
krajem 2011. s projektom Lighterature Reading. U prvoj
fazi rada istraživali smo odnose artificijelnih svjetlosnih
objekata i njihove moguće primjene u stvaranju zvuka.
Druga faza istog projekta definirala je način rada s prirodnim izvorom svjetla, suncem. Godine 2013. na Izlogu
suvremenog zvuka dobili smo priliku za realizaciju novog
projekta, luminoakustičkog vozila. Riječ je o kombiju na
koji je postavljeno šest solarnih panela koji registriraju
sve svjetlosne promjene okoline kroz koju se vozilo kreće
i preko računala ih prenose na audio sustav. U kombiju je
12
otvorenje 07. 05. 18:30h @ dvorana SEK
www.lightuneg.com
šestero ljudi koji biraju šest ruta kretanja, odakle i naziv
projekta, Route 666.
RGB Luminofon je novi projekt na kojem radimo,
trenutno u eksperimentalnoj fazi, a prvi prototip biti će
predstavljen na ovogodišnjem izdanju Izloga. Radi se o
luminoakustičkom objektu, zamišljenom kao svjetlosna
varijanta gramofona. Umjesto vinilnih ploča koristimo metalne ploče koje su se nekada vrtile na muzičkim kutijama
s kraja devetnaestog stoljeća. Umjesto gramofonske
ručice postavljamo ručicu s RGB rasvjetom (osnovna podjela bijelog svjetla), a ispod ploče nalaze se solarne ćelije.
Prolaskom svjetla kroz rupice na metalnoj ploči i njegovim
kontaktom sa solarnom ćelijom dobivamo zvuk. RGB
podjelu svjetla dovodimo u odnos s dobivenim zvukom
na način da postavljamo tri neovisna luminofona od kojih
svaki reproducira jedan dio osnovne strukture ukupne
zvučne slike (R-ritam, G-glitch, šum, B-body, tekstura).
(B.G.)
U subotu, 10. svibnja, autori RGB Luminofona Bojan Gagić i Miodrag Gladović prezentirati će svoj
luminoakustički objekt, ali i ukratko predstaviti svoja
dosadašnja luminoakustička istraživanja. Prezentacija će
se održati u dvorani SEK u 16h na engleskom jeziku.
RGB Luminophone
Lightune.G is an artistic duo from Zadar and Zagreb.
Miodrag Gladović is an engineer of electroacoustics, a
musician and a producer. Bojan Gagić is a multimedia
artist.
Lightune.G were awarded the third prize at the prestigeous Margaret Guthman New Musical Instrument
Competition held in 2012 in Atlanta. Their artwork titled
Lighterature Reading, Chapter 11 is currently presented at
the T-HT Award Exposition at the Museum of Contemporary Art in Zagreb.
Turning light into sound by using the photovoltaic effect
of the solar panel (luminoacoustics) was started in late
2011 in the project Lighterature Reading. During its first
phase we explored relations of the artificial light objects
and their possible application in creating sound. The
second phase of the same project has defined the way we
work with natural source of light, the sun. In 2013, at the
Showroom of Contemporary Sound, we got an opportunity to work on another project, a luminoacoustic vehicle.
It is a van with six solar panels, installed on top of it, that
register all changes in light in the area surrounding the
vehicle (that the vehicle passes through) and they trans-
fer it through the computer to the audio system. There
are six people in the van who choose six routes to follow,
hence the title Route 666.
RGB Luminophone is a new project we are working
on, currently in an experimental phase, and the first
prototype will be presented at this year’s Showroom
of Contemporary Sound. It is a luminoacoustic object
acting as a kind of a gramophone working through light.
Instead of vinyl records we use metal plates that used to
be played in music boxes, in the late 19th century. Instead
of the gramophone needle, we place a needle with RGB
lightning (basic division of white light), and beneath the
plate there are solar cells. With light passing through the
holes on the metal plate and through their contact with
the solar cell, sound is created. RGB light division is in relation to the resulting sound in a way that we place three
independent luminophones, each of which reproduces a
part of the basic structure of the whole sound image (Rrhythm, G-glitch, noise, B-body, texture). (B.G.)
On Saturday, May 10, authors of the RGB Luminophone,
Bojan Gagić and Miodrag Gladović, will hold a presentation of their luminoacoustic object, but they will also
present their work in the field of luminoacoustics they
have done so far. The presentation will be held at the SEK
hall, at 4 pm, in English.
13
Tilbury izvodi Becketta
Beckett nije bio odviše sretan zbog javnog izvođenja
njegovog teksta, iako je svoje dopuštenje za to, ne bez
okolišanja, dao par njemu omiljenih izvođača. Možemo
nagađati o tome kako bi sâm Beckett reagirao na ovakvo
moje ‘čitanje’. Ohrabren sam činjenicom da je Beckett
uglavnom volio glazbenike, pa čak je i učio od njih, dok je
prema većini glumaca gajio nepovjerenje.
Tekst iznosim prilično neformalno, s istim stajanjima i
počecima, slično kao kad čitam u tišini. Iznošenje možda
nije najbolja riječ. Odveć je kazališna. Jednostavno ga
čitam naglas, uz pravu mjeru identificiranja s Beckettovim
(starim) likom.
Moja ‘pratnja’ je zapravo soundtrack. Ja sam pijanist,
pa se tu javlja klavir jer mi je ugodno koristiti ga. Ne, nije
mi tek ugodno, prisan sam s tim instrumentom. (“Prisnost
rađa prijezir”, kaže engleska poslovica.)
Formalno/vizualno predstavljanje teksta podsjeća me
na neku vrstu glazbene notacije – akordi su tiskani tako
da su jednako odmaknuti jedan od drugoga.
Znači li to da je ritam akorada periodički, poput pulsa?
Mislim da nije tako. Zamislite da je skladatelj varirao (u
tiskanoj verziji) udaljenost između akorada. Interpret bi se
osjećao primoranim korelirati prostor i vremensko trajanje.
14
07. 05. 19h @ polukružna &TD
Artist talk 07. 05. 20h @ polukružna &TD
Nasuprot tome, paradoksno, formalna priroda tiskane
partiture sugerira ritmičku slobodu.
Slično Beckettovu tekstu, prvi odjeljak (Section I) iz
Stirrings Still podijeljen je na paragrafe. Odjeljci 2 i 3 nisu.
No, čitamo li naglas ili ne, dozvola za stajanje, čekanje,
pauzu, naglašavanje, čak i ponavljanje je beskonačna.
Čitatelj interpretira, a broj interpretacija je beskonačan.
Stoga, kad nastupam, trudim se prilagoditi na način kao
kad čitam u tišini, obično sam.
Ja sam glazbenik, pijanist. Javno čitam Beckettov
Stirrings Still. Osjećam se prirodnije za klavirom, nego
za govornicom. Glazba nije zamišljena da bude invazivna,
nego kao glazbeni odgovor i u tom se smislu moj stav
prema klaviru, prema tonu, prema zvuku klavira reflektira
u načinu čitanja Beckettova teksta, nadam se. (Povremeno
odgovaram i verbalno.) Na pitanje – što si? - odgovaram:
Ja sam glazbenik.
Darley je bio liječnik i Beckettov prijatelj, karizmatičan
čovjek koji je umro u dobi od 35 godina.
Referenca na Walthera odnosi se na pjesmu srednjovjekovnog njemačkog pjesnika Walthera von
der Vogelweidea. Ta se pjesma bavi nepokretnošću,
neaktivnošću i tišinom. Poput protagonista u Stirrings
Still, Walther ne vidi, ne zbog sljepoće, nego jer odbija
gledati. Pjesmu možete pronaći u Codexu Manesse 1400,
srednjovjekovnoj zbirci pjesama. (J.T.)
John Tilbury
Program realiziran u koprodukciji s Muzičkim biennalom
Zagreb.
Nakon Tilburyjevog nastupa razgovor s umjetnikom vodi
akademik Nikša Gligo.
15
Tilbury performs Beckett
Beckett was not happy about his prose texts being delivered publicly, although he granted permission, not without reservations, to one or two of his favourite interpreters. The question arises, speculatively, how would Beckett have responded to such my ‘reading’? I am encouraged by the fact that he generally liked musicians, even
learnt from them, whereas he mistrusted most actors.
I deliver the text, rather informally, with the same
stops and starts, similarly to the way I do when I am
reading silently. Delivery is not the right word. It is too
theatrical. I simply read it aloud, with a good measure of
identification with Beckett’s (elderly) character.
My ‘accompaniment’ is really a soundtrack. I am a
pianist so the piano is featured. I am comfortable with
it - no, not comfortable, I am familiar with the instrument.
(‘Familiarity breeds contempt’. English proverb)
The formal/visual presentation of the text reminds
me of some musical notations - the chords being printed
equidistantly from one another.
Does that mean that the rhythm of the chords is periodic, like a pulse? I think not. Imagine if the composer
had varied the printed distance between the chords. The
16
interpreter would feel obliged to adopt a space/time
correspondence.
By contrast, paradoxically, the formal nature of the
printed score suggests a rhythmic freedom.
Similarly with Beckett’s texts, Section 1 of Stirrings
Still is divided into paragraphs. Sections 2 and 3 are not.
However, as one reads, silently or aloud, the licence to
stop, wait, pause, accentuate, even repeat, is unlimited.
The reader interprets, and there is an infinite number of
interpretations. So when I perform I try to appropriate to
the way I read silently, usually alone.
I am a musician, a pianist, I read Beckett’s Stirrings
Still publicly. I feel more at home behind a keyboard than
a lectern. The music is not meant to be invasive but I
respond as a musician and in a sense my attitude towards
the piano, towards the musical tone, towards the sound
of the piano, is reflected in the way I read Beckett’s text, I
hope. (Occasionally, I respond verbally.) To the question what are you? - I answer, I am a musician.
Darley was a physician friend of Beckett, a charismatic
man who died at the age of 35.
The reference to Walther is a poem by the medieval
German poet Walther von der Vogelweide. The poem
is associated with immobility, inactivity, and silence. Like
the protagonist in Stirrings Still, Walther cannot see, not
because of blindness, but because he refuses to look. See
Codex Manesse 1400. Medieval song book. (J.T.)
Programme in coproduction with Music Biennale Zagreb.
There is an Artist talk after Tilbury’s performance
moderated by academician Nikša Gligo.
Nikša Gligo, foto: Damir Žižić
17
2 od pola u 1: Goran
Jurković i Danijel Detoni
Goran Jurković je glazbenik koji jednaku pažnju
posvećuje svim instrumentima iz porodice saksofona.
Tražeći svoj vlastiti glazbeni izričaj najčešće se izgubi,
pa se za pomoć obraća kolegama iz kvarteta Papandopulo i Mobilis. Rado posluša savjet, no čuje li ga uistinu,
zaključite slušajući njegov koncert.
Danijel Detoni, zvan ton Dis, Danči ili Danula, muči ljude
svojom svirkom, a mlađu generaciju kvazi pedagoškim
monolozima. Voli kuhati i čitati, te je vatreni navijač FC
Barcelone. Pijanist Danijel Detoni (magistrirao na Glazbenom sveučilištu Liszt Ferenc u Budimpešti) je izuzetan
solist, ali i strastveni komorni glazbenik, čemu svjedoče i
brojne nagrade (Državno natjecanje Leó Weiner 2003. u
Budimpešti, Nagrada izraelske Zaklade Isman za iznimnu
interpretaciju Ligetijeve glazbe 2006., najbolji mladi
glazbenik 2008. prema odluci Hrvatske glazbene mladeži,
i druge). Od 2009. podučava na Muzičkoj akademiji u
Zagrebu.
18
07. 05. 21h @ polukružna &TD
www.danijeldetoni.com
Julian Gamisch: unten! (2010.)
izvodi: Goran Jurković
Alikvotni niz kao inspiracija ili kompozicija. Jedan ton
inspirirao je skladatelja toliko da mu je posvetio cijelu
skladbu.
Christian Lauba: Hard (1988.)
izvodi: Goran Jurković
Tenor saksofon u punoj snazi, od zaglušujućih fortissima
do ritmičnih piana, a sve inspirirano Bachom i r’n’b-om?
Možda i nije, ali nije ni važno. Jer je svaka kompozicija
svemir za sebe, a svaka interpretacija samo djelić tog
svemira.
Dubravko Detoni: 22 per 2 in 2 (1983.)
izvode: Goran Jurković i Danijel Detoni
Saksofon i klavir napokon ujedinjeni u 22 muzičke slike.
Frederic Rzewski: Winnsboro Cotton Mill Blues (1979.)
izvodi: Danijel Detoni
When I die don’t bury me at all
Just hang me up on the spoolroom wall.
Place a knotter in my hand
So I can keep on spoolin’ in the Promised Land.
I got the Blues, I got the Blues,
I got the Winnsboro Cotton Mill Blues.
Lordy, Lordy, spoolin’s hard.
You know and I know, I don’t have to tell
Work for Tom Watson, got to work like hell
I got the Blues, I got the Blues,
I got the Winnsboro Cotton Mill Blues.
—“Winnsboro Cotton Mill Blues”
Američki skladatelj i pijanist Frederic Rzewski (1938.)
koristi melodiju ove narodne pjesme kao bazu za zadnju
od svojih Četiriju sjevernoameričkih balada za klavir solo,
koje je dovršio 1979. godine. U ovome ciklusu Rzewski
predstavlja četiri američke folk pjesme koje su povezane
s aktivističkim pokretima u američkoj povijesti. Poznat je
po tome da kroz svoju glazbu eksplicitno pokazuje svoja
politička stajališta, a odabir pjesama u ovome slučaju
odražava stav solidarnosti s radničkom klasom. Porijeklo
pjesme Winnsboro Cotton Mill Blues seže u tridesete
godine prošloga stoljeća, kad su radnici na postrojenju
u Winnsborou (Južna Karolina) počeli kovati pjesničke
stihove. Riječi pjesme trebale su potaknuti suosjećanje
prema teškoćama koje je sa sobom nosio rad u tvornicama i promovirati solidarnost među radnicima. Iako
Winnsboro Cotton Mill Blues, kao skladba za klavir solo,
ne sadrži doslovni tekst pjesme, Rzewski se pobrinuo da
suptilno značenje pjesme prenese kroz svoju skladateljsku
tehniku i kompozicijsko-tehničke postupke, postavljajući
pijanista kao protagonistu pjesme.
Sara Glojnarić: Movie Script Endings (2010.)
izvodi: Danijel Detoni
Sara Glojnarić pri završetku je studija kompozicije kod
Davorina Kempfa na Muzičkoj akademiji u Zagrebu, no
djela su joj već izvodili brojni glazbenici, nalaze se na
nekoliko nosača zvuka, a predstavljena su i na značajnim
festivalima. U sklopu HR Projekta vodi studentski ciklus
Code:new. Hrvatska je predstavnica u sklopu International Rostrum of Composers, u kategoriji skladatelja do 30
godina. Također, izabrana je da napiše zadane skladbe za
Međunarodno natjecanje mladih flautista “Flauta aurea”.
Od 2014. godine stipendistica je Fonda Rudolf i Margita
Matz HDS-a. Trenutno studira kompoziciju na Staatliche
Hochschule für Musik und Darstellende Kunst u klasi
Michaela Reudenbacha, u okviru ERASMUS programa
međunarodne razmjene studenata.
19
„Movie Script Endings je jedno od mojih ranijih djela, s
početka studija kompozicije. Ova dvostavačna kompozicija u kojoj su stavci izrazito kontrastni, bavi se pitanjem
o mogućem završetku neke priče. Željela sam prikazati
svojevrstan ‘director’s cut’ - ukoliko samo jedan događaj
u priči krene drugim putem, cijela priča (i njen kraj) se u
potpunosti mijenjaju.“ (S.G.)
koje koriste elemente mog iskustva suvremene glazbe, a
ujedno sadrže i prizvuk bluesa. Varijacije razdvaja kontemplativni motiv u basovskom registru. Skladba je napisana
za nizozemskog pijanistu Marcela Wormsa, koji ju je
snimio za album suvremenih skladbi inspiriranih bluesom
New Blues for Piano, dok je partituru izdao američkonjemački nakladnik Peermusic.” (S.D.)
Srđan Dedić: All that Blues (2000.)
izvodi: Danijel Detoni
Srđan Dedić diplomiravši kompoziciju na zagrebačkoj
Muzičkoj akademiji u klasi Stanka Horvata, odlazi na
usavršavanje na Sveučilištu u Strasbourgu (François-Bernard Mâche), na Konzervatoriju Sweelinck u Amsterdamu
(Geert van Keulen) i u Tokiju (Joji Yuas). Njegova djela
izvode ugledni orkestri i izvođači: Briselska filharmonija,
Simfonijski orkestar iz Louisvillea, Praški simfonijski orkestar, Korejski komorni orkestar, Zagrebačka filharmonija,
Simfonijski orkestri Hrvatske i Slovenske radiotelevizije,
Cantus Ansambl, Gudački kvartet Penderecki, Monika
Leskovar i drugi. Dobitnik je niza nagrada i priznanja, a
od 2005. predaje na Odsjeku za kompoziciju i glazbenu
teoriju Muzičke akademije Sveučilišta u Zagrebu.
“Fascinantna 12-taktna harmonijska progresija već je
stotinjak godina temelj improvizacije glazbenicima blues,
jazz i ostalih žanrova glazbe. U skladbi All that Blues progresija je postala harmonijskom osnovom za 5 varijacija
Matthias Kranebitter: Nihilistic studies 4-6 (2013.)
izvodi: Danijel Detoni
Austrijski skladatelj Matthias Kranebitter studirao je
elektroakustičku kompoziciju u Beču u klasi Dietera
Kaufmanna, Germana Toro-Pereza, medijsku kompoziciju
u klasi Klausa Petera Sattlera, te klavir kod Christiane Karajeve. Poslijediplomski studij na temu Suvremena glazba
kroz ne-zapadne tehnike završio je na konzervatoriju u
Amsterdamu kod Rafaela Reine, a skladanje je učio kod
Fabija Neidera. Po povratku u Austriju 2009. godine
pohađao je satove kod Aleksandra Stanovskog i Beata
Furrera na Sveučilištu za glazbu u Grazu.
“Nihilistic studies 4-6 (klavir kao neuroza) je namjerna
kontradikcija. Dok oblik studije teži biti akademskim
istraživanjem, termin “nihilizam” vodi u potpuno suprotan
smjer, odmicanje od bilo kakvih dogmatskih koncepata,
negiranje pravila, oslobađanje od njih, pa i od zdravog
razuma.” (M.K.)
20
2 of half in 1: Goran Jurković
and Danijel Detoni
Goran Jurković
Daniel Detoni, Foto Romano Grozdić
Goran Jurković is a musician who pays equal attention to
all the instruments in the saxophone family. He often gets
lost looking for his own musical expression, so he turns
to his colleagues from the sax quartets Papandopulo and
Mobilis for help. He is happy to take advices, but whether
it reaches him or not, you can conclude for yourself listening to his concert.
Danijel Detoni, also known as Dis (D sharp in Croatian),
Danči or Danula, tortures people with his play and does
the same to the younger generation in his pedagogical
monologues. He likes to cook and read and is a passionate FC Barcelona supporter. Pianist Danijel Detoni (master’s degree at the Liszt Ferenc University, Budapest) is a
remarkable soloist, but also a passionate chamber musician, with numerous awards to support that claim (State
competition Leó Weiner in Budapest in 2003; Award by
the Israeli Isman Foundation for exceptional interpretation of music by György Ligeti, in 2006; he was awarded
Best Young Musician Award in 2008, by Jeunesse
Musicales Croatia, etc.). Since 2009 he has been teaching
at the Music Academy in Zagreb.
21
Julian Gamisch: unten! (2010)
performed by: Goran Jurković
Natural harmonics as an inspiration or a composition. A
single tone inspired the composer to the extent that he
devoted the entire piece to it.
Christian Lauba: Hard (1988)
performed by: Goran Jurković
Tenor saxophone in its full power, from deafening fortissimo to rhythmic piano dynamics, and all throughout
inspired by Bach and r’n’b? Perhaps not, but it doesn’t
matter. Each piece is a universe for itself and each interpretation a mere part of this universe.
Dubravko Detoni: 22 per 2 in 2 (1983)
performed by: Goran Jurković and Danijel Detoni
Saxophone and piano finally united in 22 musical images.
Frederic Rzewski: Winnsboro Cotton Mill Blues (1979)
performed by: Danijel Detoni
When I die don’t bury me at all
Just hang me up on the spoolroom wall.
Place a knotter in my hand
So I can keep on spoolin’ in the Promised Land.
I got the Blues, I got the Blues,
I got the Winnsboro Cotton Mill Blues.
22
Lordy, Lordy, spoolin’s hard.
You know and I know, I don’t have to tell
Work for Tom Watson, got to work like hell
I got the Blues, I got the Blues,
I got the Winnsboro Cotton Mill Blues.
—“Winnsboro Cotton Mill Blues”
American composer and pianist Frederic Rzewski (1938)
uses the melody of this industrial folk song as the basis
for the last of his Four North American Ballads for solo
piano, which he completed in 1979. In the cycle Rzewski
sets four American folk songs that are linked with activist
movements in American history. He is known for making
political content explicit in his music, and his choices
of songs to set reflect a stance of solidarity with the
working class. The origins for Winnsboro Cotton Mill
Blues are traced to the 1930s when workers at plant in
Winnsboro, South Carolina first began coining verses.
The lyrics are intended to provoke sympathy for the
hardship of factory labour and promote solidarity among
the workers. Although Winnsboro Cotton Mill Blues, as a
solo piano piece, does not state the lyrics explicitly, Rzewski conveys their subtle meanings through compositional
techniques, situating the pianist as the song’s protagonist.
Sara Glojnarić: Movie Script Endings (2010)
performed by: Danijel Detoni
Sara Glojnarić is finishing her studies in composition with
Davorin Kempf at the Music Academy in Zagreb, but her
music was already widely performed by a number of musicians, it is on several records and has been presented at
a number of significant music festivals. She is organizing
the students’ concert series Code:new, as a part of the
HR Project. Sara is the Croatian representative at the
International Rostrum of Composers, in the cathegory of
composers under 30. She was also chosen to write pieces
for the International Young Flute Players Competition
Flauta Aurea. Since 2014 she holds a scholarship of the
Rudolf and Margita Matz Foundation of the Croatian
Composers’ Society. She is currently studying composition at the Staatliche Hochschule für Musik und Darstellende Kunst in Stuttgart, with Michael Reudenbach, as a
part of the International Students Exchange Programme
ERASMUS.
“Movie Script Endings is one of my earlier pieces, from
the beginning of my composition studies. It has two
contrast movements and deals with the question of a
possible ending of a story. I wanted to present a sort of a
director’s cut – if only a thing in the story goes in different
direction, the entire story (and it’s end) changes completely.” (S.G.)
Srđan Dedić: All that Blues (2000)
performed by: Danijel Detoni
After graduating composition at the Music Academy in
Zagreb with Stanko Horvat, Srđan Dedić continued his
studies at the Strasbourg University (François-Bernard
Mâche), at the Sweelinck Conservatory in Amsterdam
(Geert van Keulen) and in Tokio (Joji Yuas).
His pieces were performed by renowed orchestras
and performers like: The Bruxelles Philharmonic, Louisville Symphony Orchestra, Prague Symphony Orchestra, Korean Chamber Orchestra, Zagreb Philharmonic,
Symphony orchestras of the Croatian and of Slovenian
Radiotelevision, Cantus Ensemble, Penderecki String
Quartet, Monika Leskovar and others. He won a number
of prizes and awards. Since 2005 he has been teaching at
the Composition and Music Theory Section of the Music
Academy of the University in Zagreb.
“A fascinating 12-bar harmonic progression has been
the foundation of musical improvisation for over a century
now to musicians from blues, jazz and other music genres.
In the piece All that Blues this progression has become
a harmonic base for 5 variations that use elements of my
experience of contemporary music, and they also contain
a certain kind of blues sound. The variations are separated by the contemplative motive in the bass register. The
piece was composed for the Dutch pianist Marcel Worms,
23
who recorded the piece on an album of contemporary
music inspired by blues, titled New Blues For Piano, while
the score was published by the American-German publisher Peermusic.” (S.D.)
Matthias Kranebitter: Nihilistic studies 4-6 (2013)
performed by: Danijel Detoni
Austrian composer Matthias Kranebitter studied electroacoustic composition in Vienna with Dieter Kaufmann,
German Toro-Perez, media composition with Klaus Peter
Sattler and piano with Christiana Karajeva. He did his
postgraduate study on Contemporary music through
non-western techniques at the Conservatory in Amsterdam with Rafael Reina, while he studied composition
with Fabio Neider. Returning to Austria in 2009, he took
classes with Alexander Stanovski and Beat Furrer at the
University of Music in Graz.
“The title of the piece, Nihilistic studies 4-6 (piano as
neurosis) is a contradiction with intent. Whereas the form
of a study pretends to be an academic investigation, the
term “nihilism” points to the complete opposite direction,
the disengagement of any kind of dogmatic concepts, the
liberation and negation of rules, even of common sense.”
(M.K.)
24
Hommage
Draganu Pajiću – Paji
Više od 15 domaćih glazbenika i multimedijalnih umjetnika prve će festivalske večeri svojim nastupom odati
počast prerano preminulom eksperimentalnom gitaristu
Draganu Pajiću – Paji, osnivaču kultne grupe Cul-deSac i nezaobilaznom sudioniku, nerijetko i pokretaču,
zagrebačke eksperimentalne i improvizatorske scene,
a koji je s projektom Eklektični ekspresionizam i sâm
sudjelovao u prošlogodišnjem programu Izloga. Sudionici
ovog projekta su Pajini bliski prijatelji, glazbenici s kojima
je Pajo surađivao u proteklih 30 godina vrlo aktivnog i
zanimljivog umjetničkog djelovanja. Forma ovog koncerta
obuhvaća nekoliko dijelova, počevši od najranije postave
Cul-de-Sac, preko nastupa Pajinih suradnika iz njegove
elektroničke i elektroakustične faze, do Orkestra za ubrzanu evoluciju, a obuhvaća i projekciju animiranog filma
autorice Nicole Hewitt, te projiciranje autorskih dijapozitiva Nikole Vincelja Jinxa.
Ivan Marušić Klif, Mario Barišin, Darko Rundek, Andreja
Košavić, Damir Prica Kafka, Igor Pavlica, Miro Manojlović,
Sven Buić, Franjo Glušac, Snježana Ghallo, Luka Persić,
Bruno Vorberger, Višeslav Laboš i Vedran Peternel samo
07. 05 22:15h @ velika dvorana &TD
su neki od glazbenika koji će svojim sudjelovanjem odati
počast dragom prijatelju i kolegi Draganu Pajiću – Paji.
Hommage to
Dragan Pajić – Pajo
More than 15 Croatian musicians and multimedia artists
will perform on the first night of the Festival in the honour
of the early deceased experimental music guitar player,
Dragan Pajić – Pajo, founder of the cult group Cul-de-Sac
and the inevitable member, frequently also the initiator,
of Zagreb’s experimental and improvisation music scene.
Together with the members of the project Eclectic Expressionism, he also took part at the last year’s Showroom.
Members of this project are Pajo’s close friends, musicians with whom he collaborated during the past 30 years
of a very active and interesting music career. Formally,
the concert has several parts, starting from the early lineup of Cul-de-Sac, followed by a performance of Pajo’s collaborators from his electronic and electroacoustic phase,
and finally his Orchestra for an Accelerated Evolution,
and it also includes video screening of an animated film
by Nicole Hewitt and a slideshow by Nikola Vincelj Jinx.
Ivan Marušić Klif, Mario Barišin, Darko Rundek, Andreja
Košavić, Damir Prica Kafka, Igor Pavlica, Miro Manojlović,
Sven Buić, Franjo Glušac, Snježana Ghallo, Luka Persić,
Bruno Vorberger, Višeslav Laboš and Vedran Peternel are
just the core of the group of musicians who will perform
in honour of a dear friend and colleague, Dragan Pajić –
Pajo.
Dragan Pajić Pajo
25
Kajkyt
Kajkyt je umjetničko ime Slobodana Kajkuta, srpskog
skladatelja iz Banja Luke, koji trenutno živi u Austriji, u
Grazu. Otkako je završio studij kompozicije, od 1990ih,
aktivan je kao skladatelj suvremene glazbe, pišući za
različite instrumentalne sastave, od simfonijskog orkestra
do solističkih instrumenata. Također, svira bubnjeve u
nekolicini glazbenih sastava, trenutno u The Striggles. Na
taj je način surađivao s glazbenicima poput makedonskog
sastava Mizar, u projektu Porta Macedonia Aleksandra
Veljanova (Deine Lakaien), sudjelujući na albumu te u nizu
koncerata i na festivalima M’era Luna i Wave Gothic Treffen. Svirao je i povodom ponovnog okupljanja engleskog
sastava Sleeping Dogs Wake, čiji je stalni član od 2013.
Kajkyt je projekt započet 2005., koji predstavlja simbiozu polaganog tempa, mračnog ambijenta i bizantskih
napjeva, koje je istraživao niz godina. 2010. je izdao prvi
album, KRST, na vinilnoj ploči, koji je doživio pohvale
kritike. Album je promoviran uglavnom u crkvama, uz vizualnu pozadinu. Godinu kasnije uslijedio je Krst Remixes,
na kojemu su radili Lustmord, James Plotkin, KK Null, Trajkoski, Lepenik, Kauders, Opcion i Podrum. Godine 2013.
izdao je svoj drugi LP, II, koji je dobio izvrsne kritike na
međunarodnoj razini. Za razliku od prethodnog projekta,
26
07. 05 23:30h @ velika dvorana &TD
www.kajkut.com
koji je zapravo dugačko djelo podijeljeno u četiri dijela,
ovdje je riječ o osam usko strukturiranih pjesama, pri
čemu se izbjegavalo bilo kakvo proširivanje forme, komprimiranih u tipične mračne „pop pjesme“. Usredotočujući
se ponovno prvenstveno na glas, pogotovo na njegove
artikulacijske karakteristike u tihoj dinamici, ovaj album
sadrži stilski raznolike dijelove, od hard industriala, pa sve
do tihih lirskih dijelova. Jaki beat, bas dionica i drone, uz
sveprisutni glas, glavne su karakteristike albuma.
2012. godine Kajkut je osnovao vlastiti izdavački label
za suvremenu glazbu, GOD Records (GODrec).
Kajkyt
Kajkyt is artistic name of Slobodan Kajkut, Serbian composer born in Banja Luka, former Yugoslavia, currently residing in Graz, Austria. Since the 1990s, since he absolved
contemporary composition studies he has been active as
a contemporary composer, composing for various “classi-
cal” setups, from large orchestra to solo pieces. He is also
active as a drummer in a number of bands, currently playing with The Striggles. Kajkyt shared his drumming duties
to artists such as Macedonian dark band Mizar. He also
contributed to the project Porta Macedonia of Alexander
Veljanov (Deine Lakaien). He performed on the record
and was a part of the tour for the album, including shows
all over Germany and at festivals like M’era Luna and
Wave Gothic Treffen. He also contributed to reunion of an
English industrial band, Sleeping Dogs Wake, remaining
official member of the band since 2013.
Kajkyt is a project started in 2005, which presents
symbiosis of down-tempo, dark ambient and byzantine
chants, which he has been exploring for a long period of
time.
2010 saw the release of the first record, KRST, available as a limited double boxed picture vinyl, to a critical
acclaim. The release was promoted mostly in churches
with a visual background. This was followed by Krst
Remixes, one year later, containing remixes from Lustmord, James Plotkin, KK Null, Trajkoski, Lepenik, Kauders, Opcion and Podrum. In 2013 he released his second
LP, II, to a worldwide critial acclaim. Unlike his previous
project, Krst, which was one long piece in four parts, this
one contains eight tightly structured songs, avoiding
any extension of the form, compressed into typical dark
atmosphere “pop songs”. Once again focused primary
on voice, especially with it’s qualities in silent dynamics,
the record deals with various styles, from hard industrial
clashes, to very silent and lyrical passages. Hard beats,
heavy bass and long drones with all present voice, are
the most significant characteristics of the album. In 2012
he started his own label for contemporary music, GOD
Records (GODrec).
kajkyt
27
Thomas Grill: Slušanje –
zvuk i kontekst (predavanje)
Kako percipiramo zvuk unutrašnja je stvar svakoga
pojedinca – jer je sâm zvuk kompleksan, ali i zato što on
ne može postojati bez kakvog konteksta, bilo prostorne
ili kulturološke prirode, ili onoga koji je stvorio umjetnik.
Kako opisujemo i strukturiramo zvukovna iskustva u
određenom okolišu? Ovo izlaganje predstavlja znanstvene, umjetničke i hibridne pristupe toj temi, posebno
se usredotočujući na prostorne i vremenske veze i uvijek
subjektivni položaj slušatelja.
Thomas Grill studirao je interaktivne elektroničke instrumente na Sveučilištu za glazbu i izvedbene umjetnosti
u Beču. Doktorski studij iz kompozicije i glazbene teorije
stekao je na Sveučilištu za glazbu i primijenjene umjetnosti u Grazu. Bavio se znanstvenim istraživanjem na
području zvučne percepcije, analize i modeliranja, interaktivnih elektroničkih instrumenata i umjetne inteligencije.
Radi na razvijanju komercijalnih i open-source softwarea,
elektroničkih instrumenata i interaktivnih medijskih sistema. Također, bavi se razvijanjem koncepta i realizacijom
multimedijskih instalacija i žive elektronike u kontekstu
28
08. 05 18:30h @ MM centar
www.grrrr.org
suvremene glazbe. Izdaje znanstvene tekstove, drži predavanja i radionice na međunarodnim konferencijama.
Grillov umjetnički rad ogleda se na različitim poljima
zvukovne i transmedijalne umjetnosti, od interaktivnih i
mrežnih audiovizualnih instalacija i fotografije, do instrumentalnih skladbi i elektroakustične grupne improvizacije.
Redovito se pojavljuje kao interpret skladane suvremene
glazbe, kao i izvođač strukturirane i slobodne improvizacije. Ostvaruje suradnje s renomiranim umjetnicima
s područja glazbe, pjesništva, kazališta, plesa i video
umjetnosti.
Predaje na Sveučilištu primijenjene umjetnosti i
Sveučilištu za glazbu i izvedbene umjetnosti u Beču.
Stariji je istraživač pri Austrijskom institutu za istraživanje
umjetne inteligencije (OFAI). Bavi se razvijanjem koncepata i vođenjem projekata sa znanstvenog, umjetničkog
i komercijalnog područja. Kurator je ciklusa koncerata
suvremene i eksperimentalne glazbe Neue Musik in St.
Ruprecht u Beču.
Thomas Grill živi i radi u Beču.
Thomas Grill: Listening Sound and Context (lecture)
How we perceive sound is an intricate affair - because
sound itself is a complex matter, but also because it can’t
exist without context of various kinds, be it of a spatial
or cultural nature, or constructed by the artist. How do
we describe and structure sonic experiences in a certain
environment? This talk presents scientific, artistic and
hybrid approaches to the topic, especially focusing on
spatial and temporal relationships and the ever subjective
position of the listener.
Thomas Grill - Individual bachelor and master studies
of Interactive Electronic Instruments at the University
of Music and Performing Arts, Vienna. Doctoral study in
Composition and Music Theory at the University of Music
and Performing Arts, Graz. Scientific research in fields
of sound perception, analysis and modeling, interactive
electronic instruments and artificial intelligence. Development of commercial and open-source software, electronic
instruments and interactive media systems. Conception
and realization of multimedia installations and live electronics in the context of contemporary music. Scientific
publications, lectures and workshops at international
institutions and conferences.
Artistic work in most varied fields of audible and
transmedia art, ranging from interactive and net-based
audiovisual installation and photography to instrumental
composition and electroacoustic group improvisation.
Regular appearances as interpreter of composed contemporary music, as well as performer of structural and
free improvisation. Ongoing cooperation with renowned
artists in the fields of music, poetry, theatre, dance and
video.
Lectureships at the University of Applied Arts and the
University of Music and Performing Arts in Vienna. Senior
researcher at the Austrian Research Institute for Artificial
Intelligence (OFAI). Conception and management of
projects in scientific, artistic and commercial contexts.
Curator for the concert series for contemporary and
experimental music Neue Musik in St. Ruprecht in Vienna.
Thomas Grill lives and works in Vienna, Austria.
29
fusNota predstavlja
Program:
Marko Slaviček: Intermezzo (2013.)
Izvodi: Marko Slaviček, klavir
“Intermezzo za klavir nastao je 2013. godine.” (M.S.)
Juraj Marko Žerovnik: Pet komada za klavir (2012.)
1. stavak - Introdukcija
2. stavak - Soundscape I
3. stavak - Ples
4. stavak - Soundscape II (atacca na peti)
5. stavak - Improvizacija
Izvodi: Juraj Marko Žerovnik, klavir
“Naslovi nemaju nikakvu narativnu podlogu, oni su
isključivo asocijacije, impresije. Neki govore već sami za
sebe, a neki i opisuju stavak, kao npr. onaj prvog stavka
- Introdukcija. Naslovi su namjerno uopćeni jer ne želim
nametati svoje asocijacije slušatelju.” (J.M.Ž.)
Sara Glojnarić: The Phoenix City (2013.)
Izvode: Antonia Mikas (flauta) i Lucija Majstorović (klavir)
“Grad Feniks, kako ga Varšavljani zovu, taj je naziv dobio
nakon strahovitog bombardiranja tijekom 2. svjetskog rata
30
08. 05 20h @ polukružna &TD
u kojem je grad u potpunosti izgubio identitet. Budući
da je skladba premijerno izvedena u Varšavi, htjela sam
‘odati počast’ svima koji su sudjelovali u ponovnoj izgradnji
varšavskog identiteta i kulture, a samim time i u izgradnji
nade i duha.” (S.G.)
Ivan Violić: Lux aeterna (2012.)
Izvode: Jelena Čilaš (sopran) i Ivan Violić (klavir)
“Lux aeterna za glas i klavir je nastala 2012. godine. To je
glazba-molitva u kojoj se nazire i njeno nadano ostvarenje.” (I.V.)
Antonio Babić: Queentet (2012.)
Izvode: Ivana Mišić (flauta), Manca Oberstar (oboa), Filip
Rušnov (klarinet), Marko Novak (rog), Manuela Budišćak
(fagot)
“Skladba je praizvedena u Novom Sadu 2012. godine,
ovom prilikom prvi se put izvodi u Hrvatskoj. Riječ je
o nepretencioznom djelu pretencioznog naslova čije
tumačenje prepuštam slušateljstvu.” (A.B.)
Klub studenata muzikologije fusNota koncertom na Izlogu
suvremenog zvuka predstavlja djela generacije mladih
skladatelja koji dolaze, studenata kompozicije na Muzičkoj
akademiji u Zagrebu. Promicanju njihovog rada mladim
su se muzikolozima priključili i kolege s drugih odsjeka
Muzičke akademije, studenti instrumentalisti, koji će
izvesti odabrani program.
fusNota presents
Programme:
Marko Slaviček: Intermezzo (2013)
Marko Slaviček, piano
“Intermezzo for piano was written in 2013.” (M.S.)
Juraj Marko Žerovnik: Five pieces for piano (2012)
1. Introduction
2. Soundscape I
3. Dance
4. Soundscape II
5. Improvisation
Juraj Marko Žerovnik, piano
“The titles have no narrative background, they are purely
associations, impressions. Some speak for themselves,
some depict the entire movement, like the one of the
1st movement, Introduction, for instance. The titles are
intentionally general because I don’t wish to impose my
own associations on the listener.” (J.M.Ž.)
Sara Glojnarić: The Phoenix City (2013)
Antonia Mikas (flute) & Lucija Majstorović (piano)
“The Phoenix City, as the citizens of Warsaw call it, got its
name following the terrible bombing in the World War II,
when the city completely lost its identity. Since this piece
was first performed in Warsaw, I wanted to honour all
those who took part in rebuilding of the Warsaw identity
and culture, thereby building up hope and spirit.” (S.G.)
Ivan Violić: Lux aeterna (2012)
Jelena Čilaš (soprano) & Ivan Violić (piano)
“Lux Aeterna for voice and piano was written in 2012. It is a
prayer-music that anticipates its hopeful fulfilment.” (I.V.)
Antonio Babić: Queentet (2012)
Ivana Mišić (flute), Manca Oberstar (oboe), Filip Rušnov
(clarinet), Marko Novak (horn), Manuela Budišćak (bassoon)
“The piece was first performed in Novi Sad in 2012 and
this is its first performance in Croatia. It is an unpretentious piece with a pretentious title, the meaning of which I
leave to the listeners.” (A.B.)
31
Musicology students’ club fusNota presents pieces of the
young generation of composers who are yet to come to
the music scene, students of composition at the Music
Academy in Zagreb. In promoting the work of these
young artists, they have been joined by their fellow colleagues from the other sections of the Academy, instrumentalists, who will perform the chosen programme.
Ivan Violić, Juraj Marko Žerovnik, Marko Slaviček, Sara Glojnarić, Antonio Babić
32
Low Frequency Orchestra
Angélica Castelló — blok flaute, elektroničke naprave
Maja Osojnik — blok flaute, elektroničke naprave
Matija Schellander — kontrabas
Thomas Grill — digitalni zvuk
The Low Frequency Orchestra osnovali su u Beču
Angélica Castelló, Thomas Grill, Maja Osojnik i Matija
Schellander, koji čine jezgru ansambla. Pridružili su im se
povremeni članovi Mathias Koch i Herwig Neugebauer,
a nastupali su s nizom gostujućih glazbenika, od kojih su
neki Martin Siewert, George Cremaschi, Susanna Gartmayer, Bernhard Breuer i Michaela Grill. Za oblikovanje
zvuka njihovih nastupa brine se Alfred Reiter.
Ansambl je ostvario niz koncerata slobodne, neidiomatske improvizirane glazbe pod nazivom “CUT”, čije
je jedino pravilo bilo da glazba treba imati strukturalnu
karakteristiku skladbi, s naglaskom na brzoj izmjeni
njezinih dijelova. Njihov album S predstavlja dokumentaciju ovoga koncepta. Snimljen je za vrijeme četiriju izvedbi
uživo u Echoraumu u Beču, 2006. godine. Iste je godine
Low Frequency Orchestra krenuo u suradnju s medijskim
umjetnikom Martinom Pichlmairom, kako bi radili na
interpretaciji grafičkih partitura Roberta Lettnera pod
08. 05 21h @ MM centar
www.lfo.at
nazivom Das Spiel vom Kommen und Gehen. Partiture se
sastoje od pažljivo posloženih traka u boji koje su nastale
kao rezultat jednoga od Lettnerovih umjetničkih djela
iz 1982. Ova je suradnja zabilježena 2011. na DVD izdanju
Sveučilišta primijenjenih umjetnosti u Beču, izdanom u
vrlo malenom broju primjeraka, uz opširnu programsku
knjižicu i trokanalni video. Suradnja s orguljašem Wolfgangom Mittererom započela je 2007. godine snimanjem
uživo na Radiokulturhausu u Beču. Ova snimka poslužila je
kao okvir za glavni glazbeni broj s CD izdanja Mole.
LFO posebno težište stavlja na otvorene koncepte, a u
svojim projektima povezuju improvizirane i komponirane
elemente, kao i akustičke i elektroničke, u organsku
cjelinu.
Koncert je realiziran uz potporu Austrijskog kulturnog
foruma.
33
Low Frequency Orchestra
Angélica Castelló — recorders, electronic devices
Maja Osojnik — recorders, electronic devices
Matija Schellander — double bass
Thomas Grill — digital sounds
The Low Frequency Orchestra was formed in Vienna by
Angélica Castelló, Thomas Grill, Maja Osojnik and Matija
Schellander, who form the core of the ensemble. They
have been joined by semi-permanent members Mathias
Koch and Herwig Neugebauer and have performed with
guests including Martin Siewert, George Cremaschi,
Susanna Gartmayer, Bernhard Breuer and Michaela Grill.
Sound design of all shows is supervised by Alfred Reiter.
The ensemble has played many shows of free non-idiomatic improvised music under the title “CUT” – the only
rule being that the music should have the structural quality of compositions with an emphasis on rapidly changing
sections. The CD “S” is a documentation of this concept.
It has been recorded in a series of four live-recording sessions at the Echoraum Vienna in 2006. In the same year
the Low Frequency Orchestra also collaborated with the
media artist Martin Pichlmair to create an interpretation
of artist Robert Lettner’s graphic scores Das Spiel vom
34
Kommen und Gehen (The Coming and Going Show). The
scores consist of carefully arranged colored strips that
have emerged as a byproduct of one of Robert Lettner’s
works of art in 1982. The piece has been released by the
University of Applied Arts Vienna in a hand numbered
limited edition DVD with an extensive booklet and triplechannel video in 2011.t A collaboration with Wolfgang
Mitterer playing organ started in 2007 with a live recording at the Radiokulturhaus Vienna. This recording served
as a framework for the eponymous main piece of the CD
Mole.
The music of the Low Frequency Orchestra emphasizes in open concepts and connects in all projects
improvised and composed, instrumental and electronic
components in an organic manner.
The concert was done with the support of the Austrian
Cultural Forum in Zagreb.
Low Frequency Orchestra
35
Zvuk pokreta
Kaja Farszky i Nenad Kovačić
Dvoje iznimnih udaraljkaša Kaja i Nenad dolaze iz različitih
muzičkih svjetova, ali dijele jednaku predanost i strast
prema glazbi. Zvuk pokreta novi je i njihov prvi zajednički
projekt, temeljen na improvizaciji, a inspiriran s jedne
strane tradicijskom udaraljkaškom, a s druge pak suvremenom komponiranom i zapisanom glazbom. Tijekom
zajedničkog glazbenog istraživanja Kajin i Nenadov fokus
jest prvenstveno na sâmom izvoru dobivanja zvuka i
međusobnom reagiranju na isti.
Kaja Farszky (1988.) svestrana je udaraljkašica koja djeluje
kao solistica, ali surađuje s raznim komornim ansamblima,
orkestrima i kazališnim umjetnicima. Istaknuti dio njezinog
repertoara čine suvremena glazbena ostvarenja, među
kojima i brojna u Hrvatskoj rijetko izvođena djela te praizvedbe. 2014. godine nagrađena je nagradom Hrvatskog
društva skladatelja za najbolju izvedbu skladbe hrvatskog
autora na 47. glazbenoj tribini Darko Lukić. Školovala se u
Zagrebu i Barceloni, a velik dio njezinog glazbenog života
obilježila su i brojna gostovanja u Europi i svijetu. Njen
pristup izvođenju glazbe obuhvaća izvrsnost same glaz36
08. 05 22:30h @ polukružna &TD
www.kajafarszky.com www.nenadkovacic.com
bene izvedbe, ali i jasno definiran i osmišljen izvanglazbeni
dramaturški koncept. S jednakom se posvećenošću bavi
vizualnim i scenskim elementima, a njeni nastupi obilježeni
su snažnom umjetničkom osobnošću, kako u izvedbama
klasične glazbe, tako i u najizazovnijim djelima suvremene
glazbene literature.
Nenad Kovačić (1982.) je glazbenik i istraživač balkanskog i zapadnoafričkog ritma o kojem je učio od najvećih
živućih majstora u Gvineji, Maliju i Burkini Faso. Glazbom
se počeo aktivno baviti 1997., a kao član bendova Antenat,
Sevdah Takht Damira Imamovića, Afion i NmAB, održao
je preko 700 koncerata u Hrvatskoj i inozemstvu te izdao
6 albuma. Od 2007. djeluje i kao autor kazališne i filmske
glazbe.
Sound of Movement
Kaja Farszky and Nenad Kovačić
Two exceptional percussionists, Kaja and Nenad, come
from different music worlds, but share equal devotion
and passion for music. Sound of Movement is a new
project, first one they are working on together, based on
improvisation and inspired on the one hand by traditional
percussion music, and on the other hand, by contemporary composed music. The main focus of their common
musical exploration is firstly on the very source of the
sound and the reaction to it from both sides.
Kaja Farszky (1988) is a versatile percussionist who is
active as a soloist, but also collaborates with different
chamber ensembles, orchestras and theatre artists.
Contemporary music productions have a prominent place
in her repertoire, many of which are first performances
or pieces rarely performed in Croatia. In 2014 she was
awarded by the Croatian Composers’ Society for the best
performance of a Croatian composer at the 47th Darko
Lukić Young Musicians’ Competition. She got her musical education in Zagreb and Barcelona and her musical
life was largely marked by many guest performances in
Kaja Farszky, foto: Zvonimir Ferina
37
Europe and worldwide. Her approach to music performance is characterized by excellence of the performance,
but also by a clearly defined extramusical dramaturgical
concept, carefully thought through. She dedicates equal
attention to the visual elements as well as elements of
the scene and her performances are characterized by a
powerful artistic personality, both in the classical music
performances and in the most challenging pieces of
contemporary music literature.
Nenad Kovačić (1982) is a musician and explorer of the
rhythmic characteristics of the Balkans and West Africa,
which was introduced and taught to him by many of
the greatest living masters in Guinea, Mali and Burkina
Faso. He is active in music since 1997. As a member of the
bands Antenat, Sevdah Takht by Damir Imamović, Afion
and NmAB, he held over 700 concerts in Croatia and
abroad and released 6 albums. Since 2007 he works as
the author of music for theatre and film.
Nenad Kovačić
38
Peoplemeter
Peoplemeter je novi expanded cinema projekt dvojice
beogradskih umjetnika: video umjetnika Incredible Boba i
eksperimentalnog gitarista i sound artista WoOa.
Projekt čine video projekcije, plavi laseri, neonske žice
i svjetla sa živom elektronikom. Video materijal se sastoji
od slika snimljenih mikroskopom, endoskopom i drugim
tehnikama, a protagonisti su roboti koji žive u postdigitalnom svijetu signala, frekvencija, oscilatora i drugog
medijskog smeća. Živu glazbu izvodi WoO, na gitari s
efektima, te Bob koji izvodi živu elektroniku. Peoplemeter
je praizveden na MUTEK festivalu 2013. u Mexico Cityju.
WoO (1978.) je eksperimentalni gitarist i sound artist iz
Beograda. Uz ideje koje je stekao od pionira elektroničke
glazbe eksperimentira s mobilnim uređajima kao što su
mobiteli, daljinski upravljači, medijske naprave, kompjuterska oprema i slično, kako bi zabilježio njihove frenkvencijske interferencije kroz gitarske magnete. „Ozvučujući
zrak“ kroz svoju gitaru, WoO stvara čarobni zvučni svijet,
bogat frekvencijama, oscilirajući i meditativan. Zvučna
atmosfera, distorzijski drone zvuk, visoki alikvoti i analogni
elektronički zvukovi nalaze svoje mjesto u njegovim
kompozicijama.
08. 05 23:30h @ velika dvorana &TD
incrediblebob.tumblr.com www.belgradenoise.com
Incredible Bob (1978.) prisutan je više od desetljeća na
međunarodnoj medijskoj umjetničkoj sceni, a njegova su
djela prikazivana na više od 300 festivala diljem svijeta,
uključujući MUTEK, Transmediale, TodaysArts, European
Media Art Festival i dr. Bob je nastupao uživo s nizom umjetnika: Actress, Deadbeat, Murcof, Sutekh, Dan Deacon,
Mats Gustafsson, DJ Rupture, Laurent Garnier, The ORB,
Tiga…
Peoplemeter
Peoplemeter is a new expanded cinema performance
created by Incredible Bob, video artist and WoO, experimental guitarist and sound artist, both from Serbia’s
capitol, Belgrade, born in 1978.
Performance is shaped with video projection, blue
lasers, neon wires and lights with live electronic music.
Video consists of imagery shot with microscope, endoscope and other techniques, and protagonists are robots,
living in a post digital world of signals, frequencies, oscillations and other media junk. Live music is performed
39
by WoO, playing guitar with effects and Bob playing live
electronic music. Peoplemeter premiered on MUTEK
Festival 2013 in Mexico City in IMAX cinema.
WoO is an experimental guitarist and sound artist from
Belgrade. Taking clues from electronic music pioneers, he
experiments with mobile devices such as mobile phones,
remote controls, media devices, computer equipment and
similar, to capture their frequency interferences through
his guitar magnets. “Amplifying the air” through his guitar,
WoO creates magical sound-world, frequency rich, oscillating and meditative.Soundscape ambience, distortion
drones, high pitch harmonics and analog electronic
sounds all find their place inside of his compositions.
Incredible Bob is present for over a decade on international media art scene and his works has been shown
in more than 300 festivals around the world including
MUTEK, Transmediale, TodaysArts, European Media Art
Festival, and others. Bob performed live with Actress,
Deadbeat, Murcof, Sutekh, Dan Deacon, Mats Gustafsson,
DJ Rupture, Laurent Garnier, The ORB, Tiga and many
others.
40
As a result, it seems as if the air has taken on a ragged
scouring shape around each of his compositions. A performance by WoO must certainly be worth catching.
The Wire
Their first visit to Mexico with this new projection, was
the highlight of the night A / Vision 2, and to our luck, the
mindfuck will be performing again as part of the “Play 3”.
Do not hesitate, go and give food to your mind.
ibero909.fm
As umbrellas scurry about like spiders, inanimate metal
objects scuttling through emptied streets, and electronics
send clicks and crackles between robots, Peoplemeter
produces a post-apocalyptic world without humans.
Microscopes and endoscopes shoot these objects in
revelatory ways, as the musical score amplifies their
sounds. These objects are animated through various effects, ranging from stop motion to more abstract portraits
as textures. Director Incredible Bob makes these intimate
moments a kind of cinematic object theatre. The sound,
too, literally comes from inanimate ephemera, transformed into experimental instruments by musician WoO of
the BelgradeNoise collective.
Create Digital Motion
Predstavljanje:
Cafe OTO (London)
Cafe OTO osnovali su u travnju 2008. godine Hamish
Dunbar i Keiko Yamamoto s ciljem pružanja mjesta za
kreativnu novu glazbu koja postoji izvan mainstreama.
Nastavljaju svoj večernji program unutar kojega predstavljaju uzbudljivu glazbu uživo, gotovo svake večeri u tjednu.
John Chantler glavni je producent u Cafe OTO od 2011.
godine. Na prezentaciji će govoriti o načinu funkcioniranja
Cafe OTO, izazovima s kojima se susreću prostori poput
ovoga i planovima za budućnost.
09. 05 19h @ kafić teatra &TD
www.cafeoto.co.uk www.room40.org
adventurous live music almost seven nights a week. John
Chantler has been the senior producer at Cafe OTO
since 2011. For this presentation he will talk about how
Cafe OTO works, the challenges spaces like this face and
some plans for the future.
Presentation:
Cafe OTO (London)
Cafe OTO was started in April 2008 by Hamish Dunbar
and Keiko Yamamoto with the aim of providing a home
for creative new music that exists outside of the mainstream. It continues to host an evening programme of
41
Slagwerk Den Haag
Od osnutka ansambla, 1977. godine, članovi udaraljkaškog
ansambla Slagwerk Den Haag usredotočeni su na
izvođenje i razvijanje suvremene glazbe za udaraljke u
najširem obliku: od postojećeg repertoara, preko velikog
broja novih narudžbi i stalnih suradnji sa skladateljima,
do istraživanja najdaljih granica organizirana zvuka. Kao
specijalizirani ansambl, Slagwerk Den Haag zauzeo je
vodeći položaj, na nacionalnoj i internacionalnoj sceni, koji
ih je odveo u doslovno sve europske zemlje, SAD, Argentinu, na Bliski Istok, te u Japan i Koreju.
Svojom uporabom instrumenata, kao i različitih
izvora zvuka, Slagwerk Den Haag je zamjetan po velikoj
raznovrsnosti. Jednako je raznolik i repertoar koji izvode:
od specijaliziranih istraživačkih projekata do projekata
za širu publiku, od koncerata za najmlađe do velikih
međunarodnih koprodukcija. Slagwerk Den Haag aktivno
surađuje s drugim ansamblima, ali i drugim umjetničkim
disciplinama – plesom, kazalištem i vizualnim umjetnostima. Zahvaljujući stalnome “pomlađivanju” sastava tijekom
godina, ansambl je zadržao bogato iskustvo, ali i otvoreni
pristup, što je vidljivo i u pristupu koncertima i načinu
komunikacije s različitim vrstama publike.
42
H. Jeffery: Time Spell 2 09. 05 20h @ velika dvorana &TD
Artist Talk: H. Jeffery 09. 05 20:30h @ polukružna &TD
A. Marinissen: Fingerprints; SDH & Guests: Impro session
09. 05. 21h @ velika dvorana &TD
slagwerkdenhaag.nl hiljef.com arnoldmarinissen.com
Hilary Jeffery je trombonist, skladatelj, umjetnik i pisac.
Kao trombonist, Hilary je poznat po svojoj prilagodljivosti
različitim glazbenim stilovima i područjima, uključujući
suvremenu avangardnu glazbu (Zinc & Copper Works,
Zeitkratzer, The Barton Workshop), rock, techno i
elektroničku glazbu (Germ, Sand, Inconsolable Ghost),
jazz, funk i pop (Franz Hautzinger’s Third Eye, High Birds,
Jimi Tenor), te improviziranu glazbu i free jazz (EARR
Ensemble, Paul Dunmall Octet, Splitter Orchester i
brojne ad hoc skupine). Godine 2006. osnovao je Lysn,
„minimalistički psihodelični“ ansambl posvećen proširenom
slušanju i istraživanju unutarnjeg prostora. Njegov
glazbeni doprinos dostupan je u različitim oblicima u
izdanjima brojnih izdavačkih kuća (Aquarellist, Col Legno,
FMR, Dilemma Records, Important Records, New World
Records, Soul Jazz Records, Sub Rosa i Denovali Records).
Hilary Jeffery: Time Spell 2 (2013.)
za udaraljke i elektroniku
Riječ „čarolija“ može se koristiti za označavanje magijom
stvorenog stanja i kako bi se opisalo određeno vremensko razdoblje. Ova skladba druga je u nizu djela koja
istražuju ideju bacanja čini na vlastitu percepciju vremena.
Glazba je idealno sredstvo za istraživanje i mijenjanje
onoga što percipiramo kao vrijeme, stvarajući iskustvo
nelinearnog, vertikalnog, kružnog, spiralnog i drugih
viševremenskih stanja. Skladba ima pet dijelova, a kreće
se od petoga prema prvome. Svaki udaraljkaš ima pet
nezavisnih ostinato uzoraka, za svaki dio po jedan. Ovi
osnovni uzorci materijal su iz kojega nastaje improvizacija
i varijacije koje se isprepliću. Uz ostinato uzorke nalazi
se grafički prikaz tih osnovnih ritmova koji služi kao neka
vrsta mandale koja se kreće iz vanjskog (petog), pa sve do
unutarnjeg (prvog) dijela. Ovakva notacija inspirirana je
islamskom geometrijom i načinom na koji ona dijeli prostor, implicirajući beskonačnost. Ritmička karakteristika
prepletenih uzoraka osmišljena je da funkcionira na način
sličan vudu (voodoo) bubnjanju, koje ima vrlo kompleksnu karakteristiku istovremenog odvijanja više radnji,
izbjegavajući koncept taktnih crta i izbjegavajući svaku
očitu referencu na fiksiranu metričku strukturu. Živa elektronika je napravljena kao serija delayja koji se izmjenjuju.
Oni stvaraju više poliritmičke kompleksnosti uz pomičuće
ritmove, pa čak postaju vrstom zvuka nalik dronskome
zvuku koji potpuno zamagljuje i guta zasebne ritmičke
elemente. Instrumenti su ozvučeni i rezultat je zvuk sličan
onome u techno glazbi, modernoj vrsti vudua, koji mijenja
psihofizička stanja. Time spell 1 (za preparirani kontrabas,
iz 2011.) je skladan za Rozemarie Heggen. Time Spell 2
pisan je za Slagwerk Den Haag, uz potporu Nizozemskog
fonda za izvedbene umjetnosti.
Nakon izvedbe Time Spell 2 razgovor sa skladateljem i
glazbenikom Hilaryjem Jefferyjem vodi Petar Milat, u
polukružnoj dvorani Teatra &TD.
Slagwerk Den Haag
Since its founding in 1977 the musicians of The Hague
Percussion (Slagwerk Den Haag) have focused on performing and developing contemporary percussion music
in its most diverse forms: from existing repertoire, via a
large number of new commissions and ongoing collaborations with composers, to researching the furthest limits of
organized sound. As a specialized ensemble The Hague
Percussion has built up a leading position, both nationally
as well as internationally, a position, which has brought
43
them to virtually all European countries, the United
States, Argentina, the Middle East, Japan and Korea.
In its use of instrumentation as well as sound sources
The Hague Percussion is noticeable for an enormous diversity. Equally broad is its programming: from specialized
research projects to accessible programs for a general
public and from concerts for the youngest generations
to large-scale (inter)national coproductions. The Hague
Percussion actively pursues collaborations with other
ensembles and disciplines as well - such as dance, theatre
and visual arts. Due to the regular rejuvenation of its
line-up over the years, The Hague Percussion has not only
maintained its vast experience, but also an openness of
character. A characteristic, which is also apparent in the
way the musicians present their concerts and manage to
communicate with large and diverse audiences.
Hilary Jeffery is a trombonist, composer, artist and writer.
As a trombone player Hilary is known for his ability to
cross between different styles and areas of music including contemporary avant-garde (Zinc & Copper Works,
Zeitkratzer, The Barton Workshop), rock, techno and electronica (Germ, Sand, Inconsolable Ghost), jazz, funk and
pop (Franz Hautzinger’s Third Eye, High Birds, Jimi Tenor),
and improvised music and free jazz (EARR Ensemble, Paul
Dunmall Octet, Splitter Orchester and countless ad hoc
groups). In 2006 he founded Lysn, a ‘minimal psycho44
delic’ ensemble dedicated to expanded listening and
explorations of inner space. His contribution to music is
available in different settings on various labels including
Aquarellist, Col Legno, FMR, Dilemma Records, Important
Records, New World Records, Soul Jazz Records, Sub
Rosa and Denovali Records.
Hilary Jeffery: Time Spell 2 (2013) for percussion and
electronics
The word “spell” can be used to denote a magically
created condition and to describe a period of time. This
piece is the second in a series of pieces that explore the
idea of casting a direct spell on our perception of time.
Music is an ideal means for exploring and altering what
is perceived as time, creating experiences of non-linear,
vertical, circular, spiral and other multiple-time states. The
piece has five sections, moving from five to one. Each
percussionist is given five independent ostinato patterns,
one for each section. These basic patterns are used as
primary material for improvisation and interlocking variation. Next to the ostinato patterns is a graphical representation of these basic rhythms, given as a type of mandala
which moves from the outer fifth to the central first
section. This notation is inspired by Islamic geometry and
the way in which it subdivides space, implying infinity. The
rhythmic quality of the interweaving patterns is designed
to function in a similar way to voodoo drumming, which
has a very complex polychronic quality, avoiding the concept of the barline and escaping any obvious reference
to a fixed metric structure. The live electronics system
is designed as a series of changing delays. These delays
first create more polyrhythmic complexity to the shifting
rhythms, and eventually become a black-hole type drone
which completely blurs and swallows the individual
rhythmic elements. The live instruments are amplified and
the resulting sound impacts in a similar way to a techno
sound system, a modern day form of voodoo which alters
psycho-physical states. Time spell 1 (for prepared double
bass, 2011) was composed for Rozemarie Heggen. Time
Spell 2 was composed for Slagwerk Den Haag with support from the Netherlands Performing Arts Fund.
There is an Artist talk with Hilary Jeffery after performance of his Time Spell 2 moderated by Petar Milat, in
the semicircular hall of the Theatre &TD.
Nizozemski udaraljkaš i skladatelj Arnold Marinissen
skladao je za brojne ansamble (Asko|Schönberg, VOCAALLAB, Calefax Rietkwintet, Lunapark, Ives Ensemble,
Prisma String Trio, Asko Kamerkoor, Orgelpark, Ensemble
S, Nizozemski komorni zbor itd.), festivale (Toonzetters
Festival, Huddersfield Contemporary Music Festival,
Noć muzeja u Amsterdamu, November Music Festival
i dr.) i brojna djela za koreografa Edersona Rodriguesa
Xaviera. Ove godine planirane su praizvedbe u Tajvanu,
na Grachtenfestivalu u Amsterdamu i dr. Aktivan je i
kao dirigent glazbe 20. i 21. stoljeća. Dirigirao je brojnim
ansamblima, između ostalih i ansamblima Asko|Schönberg,
Zerafin i Lunapark.
Marinissen puno nastupa i kao solo udaraljkaš te
komorni glazbenik. Bio je rezidencijalni glazbenik u De
Doelen u Rotterdamu, gost u Muziekgebouw aan ‘t IJ u
Amsterdamu te na festivalima diljem Europe, u Bostonu,
Šangaju, Londonu, Rusiji, Singapuru, Australiji, Novom
Zelandu i Uzbekistanu. Kao solist je nastupio s brojnim
orkestrima: Residentie Orchestra, Noordhollands Philharmonisch Orchestra, Amsterdam Sinfonietta, Holland
Symfonia, Nieuw Ensemble, WDR Orkestar u Kölnu, Simfonijskim orkestrom Novog Zelanda i tamošnjim Southern
Sinfonia orkestrom. Snimio je 3 solo albuma koji su naišli
na brojne pohvale kritika.
Arnold Marinissen bio je umjetnički voditelj
Muziekgebouwa aan ‘t IJ u Amsterdamu u sezoni
2012./13. Umjetnički je voditelj nizozemskog ansambla
Lunapark.
Arnold Marinissen: Fingerprints No. 3, 4 & 5 (2013.-14.)
Na zahtjev Arnolda Marinissena, šest udaraljkaša
ansambla Slagwerk Den Haag odabrali su deset svojih najomiljenijih zvukova. Zvukovni objekti mogu biti
udaraljke, kućni predmeti, što god glazbenici smatraju
45
prikladnim. Ovih deset zvukova zajedno tvore vrlo osoban
instrument koji nijedan drugi udaraljkaš ne bi svirao. Za
te instrumente i individualne načine sviranja svakog
udaraljkaša Marinissen je skladao šest komada koji bi se
„bombastično“ mogli nazvati otiscima glazbenog identiteta
svakoga od glazbenika: Fingerprints 1-6. Fingerprints se
mogu izvoditi kao sekstet, solo skladbe ili u kombinaciji
između 2 i 5 izvođača. Ovom će prigodom Fingerprints
3, 4 i 5 biti izvedeni kao trio, a Fingerprint 5 će imati svoju
praizvedbu.
U svakome od solo dijelova svaka je promjena instrumentacije označena u zapisu. Kad se Fingerprints izvode
kao djelo za ansambl, ta označena mjesta sviraju svi,
svatko sa svojim zvukovljem, potičući i podržavajući tako
solista… Finalni dio svih solističkih dijelova također izvode
svi.
Fingerprints su nastali uz potporu Fonds Podiumkunsten.
Nakon izvedbe Marinissenovih Fingerprints slijedi impro session s iznimnim hrvatskim udaraljkašima Kajom
Farszky i Nenadom Kovačićem, koji pak svoj novi projekt
Zvuk pokreta publici predstavljaju 8. svibnja.
Dutch percussionist and composer Arnold Marinissen
wrote for many ensembles (a.o. Asko|Schönberg, VOCAALLAB, Calefax Rietkwintet, Lunapark, the Ives
46
Ensemble, Prisma String Trio, the Asko Kamerkoor, the
Orgelpark, Ensemble S, the Nederlands Kamerkoor, etc.),
festivals (Toonzetters Festival, Huddersfield Contemporary Music Festival, Museumnacht Amsterdam, November Music Festival et al.) and wrote various works for the
choreographer Ederson Rodrigues Xavier. This year, new
work will be performed in Taiwan, at the Grachtenfestival
Amsterdam etc. He is also active as a conductor of music
of the 20th and 21st century. He conducted a number of
ensembles, among others ensembles Asko|Schönberg,
Zerafin and Lunapark.
Marinissen has performed extensively as a solo percussionist and in chamber music. He was artist in residence
at De Doelen in Rotterdam, guest at the Muziekgebouw
aan ‘t IJ in Amsterdam and at festivals all over Europe, in
Boston, Shanghai, London, Russia, Singapore, Australia,
New Zealand and Uzbekistan. He appeared as a soloist
with the Residentie Orchestra, Noordhollands Philharmonisch Orchestra, Amsterdam Sinfonietta, Holland Symfonia, Nieuw Ensemble, WDR Orchestra in Cologne, New
Zealand Symphony Orchestra and the Southern Sinfonia
from New Zealand. He recorded 3 solo CDs, all of which
got excellent reviews from many critics.
Arnold Marinissen programmed the 2012-13 season for
the Muziekgebouw aan ‘t IJ in Amsterdam. He leads the
Dutch ensemble Lunapark.
Arnold Marinissen - Fingerprints No. 3, 4 & 5 (2013-14)
At Arnold Marinissen’s request, the six percussion players
of Slagwerk Den Haag each selected ten of their most
loved sounds. The sounding objects may be percussion
instruments, household items, anything the players found
suitable. The ten sounds together form a very personal
instrument which no other percussionist would ever
play. For those instruments, and based on his experience
with the individual ways of playing, Arnold Marinissen
composed six pieces which could bombastically be called
fingerprints of each player’s musical identity: Fingerprints
1-6. Fingerprints can be performed as a sextet, as solos, or
in any combination between 2 and 5 players. For this occasion, Fingerprints 3, 4 & 5 are played as a trio. Fingerprint
5 receives its first performance.
In each of the solos, each change of instrumentation is
marked in the score. When Fingerprints is performed as
an ensemble piece, those marked moments are played by
everyone, each on his own set of sounds, thus encouraging and supporting the soloist... The final section of each
of the solos is also played by everyone.t
Fingerprints was created with support from the Fonds
Podiumkunsten.
After Marinissen’s Fingerprints there will be an impro
session with extraordinary Croatian percussionists
Kaja Farszky and Nenad Kovačić, who present their new
project Sound of Movement on 8th of May.
Pepe Garcia, Fedor Teunisse, Frank Wienk, foto: Lutske Veenstra
47
MMessy Oscillators:
Ozvučeni
audiovizualni performans
MMessy Oscillators od svojih početaka u labu igraju se
ozvučavanjem senzorima različitih ne-muzičkih predmeta i njihovom akustikom koje zatim povezuju s DIY
elektroničkim instrumentima. Ovim nastupom MMessyji
pomalo razbijaju dosadašnji koncertni set-up stolova i
ljudi u nizu s VJ-ingom projiciranim na izvođače, te se
raspršuju dvoranom MM centra svojim instrumentarijem
i VJ-ingom koji frontalno ulazi u prostor ravnopravno
diktirajući geometrije prostora izvođača.
MMessy Oscillators je bend koji izvodi eksperimentalnu elektroničku glazbu. Nastao je kao ishod audio sekcije
I’MM_ Media laba, te nakon formiranja Udruge za razvoj
‘uradi-sam’ kulture – Radiona nastavlja svoje aktivnosti
pod djelovanjem te organizacije. Bend je do danas sudjelovao na nizu umjetničkih festivala, kako u koncertnim
dvoranama, tako i u galerijama i muzejima u Hrvatskoj i
inozemstvu. MMessy Oscillators uglavnom koriste DIY
elektroničke instrumente poput teremina, oscilatora, DIY
sintesajzera i efekata, gitarskih pedala, piezoelektričnih
48
09. 05 22:30h @ MM centar
radiona.org
senzora, rabljenih elektroničkih instrumenata, circuit-bent
igračaka, hakiranih gadgeta, kompjuterskog trasha i
slično.
MMessy Oscillators: Tin Dožić, Ana Horvat, Deborah
Hustić, Vana Gaćina, Ana Dumbović
VJ-ing: Tanja Minarik
MMessy Oscillators:
Amplified audiovisual
performance
Since their beginnings, MMessy Oscillators have been
playing with sensor based amplification of non-music
instruments and its acoustics which are then connected
with DIY electronic instruments. With this performance
MMessys’ are somewhat shattering their previous concert
set-up based on tables with instruments and people
standing in a row with VJ-ing projected on performers,
changing it by scattering through the MM stage with
their instruments, while the VJ-ing takes the frontal
area, all the while equal in dictating the geometry of the
performers’ space.
MMessy Oscillators is a band that performs experimental electronic music. It derived from the audio section
of I’MM_ Media lab and after the formation of the Association for the Development of ‘do-it-yourself’ Culture
- Radiona / Zagreb Makerspace, they continue their activities as a part of this organization. Up until now, they’ve
had a number of successful appearances at different
art festivals, concert venues, national and international
galleries and museums. MMessy Oscillators mostly use
DIY electronic instruments like theremins, oscillators, DIY
synthesizers and effects, guitar pedals, piezoelectric sensors, living systems-based instruments, vintage electronic
instruments, circuit bent toys, hacked gadgets, computer
trash, etc.
MMessy Oscillators: Tin Dožić, Ana Horvat, Deborah
Hustić, Vana Gaćina, Ana Dumbović
VJ: Tanja Minarik
49
Svetlana Maraš
Svetlana Maraš skladateljica je i sound artistica iz Srbije.
Studirala je kompoziciju na Muzičkoj akademiji u Beogradu i magistrirala na Media Labu u Helsinkiju, gdje
se nakon studija bavila znanstveno-istraživačkim radom.
Usavršavala se na brojnim tečajevima i radionicama širom
svijeta (Bang on a Can, Columbia University, Mozarteum
Summer Academy, KlangKunstBuhne, UDK u Berlinu i dr.).
Godinama je prisutna na međunarodnoj glazbenoj sceni
kao izvođačica žive elektroničke glazbe. Nastupala je u
Espace Multimedia Gantner (Francuska), Ausland (Berlin),
Onassis Cultural Center (Atena), A38 (Budimpešta), kao
i u mnogim drugim dvoranama, te glazbenim festivalima.
Publici se predstavila i kroz interaktivne zvučne instalacije
i konceptualne radove koji nude subjektivnu interpretaciju umjetničke glazbe koristeći jezik novih medija - web,
digitalnu tehnologiju, open source hardware i software.
Članica je kolektiva ImprovE iz Beograda koji se bavi
promocijom eksperimentalne glazbe, te ansambla za novu
muziku Studio 6.
Koristeći laptop kao muzički instrument, Svetlana
istražuje polje digitalnog soundscapea u kojem se glitch,
noise i delikatni tonovi visokih frekvencija isprepliću
sa zvucima ozvučenih objekata. Manipulirajući materi50
09. 05 23:30h @ polukružna &TD
www.svetlanamaras.com
jalom na licu mjesta, koristeći različita algoritamska
rješenja, Svetlana kreira glazbeni tijek koji se proteže
od masivnih zvučnih blokova kompleksne teksture do
hiperminimalističkih zvučanja.
Svetlana Maraš
Svetlana Maraš is s composer and sound artist from
Serbia. She studied composition at the Belgrade Music
Academy and got her master’s degree at the Media Lab
in Helsinki, pursuing in scientific work after the studies.
She took part in many courses and workshops worldwide
(Bang on a Can, Columbia University, Mozarteum Summer
Academy, KlangKunstBuhne, UDK in Berlin and others).
She was first present to the audience through interactive sound installations and conceptual work, offering a
subjective interpretation of art music through the new
media language – web, digital technology, open source
hardware and software. She is a member of the ImprovE
collective from Belgrade that promotes experimental
music, and of the Studio 6 ensemble for new music.
Using the laptop as a musical instrument, Svetlana
explores the digital soundscape field, where glitch, noise
and delicate high frequency tones interwine with the
sounds of the amplified objects. Manipulating the material on the spot, using different algorhythm solutions,
Svetlana creates a music flow that encompasses everything from massive sound blocks with complex textures to
hyper-minimalistic sound.
Svetalana Maraš foto: Cate Schappert
51
Predstavljanje: Međunarodni
festival nove muzike
“Ring Ring” (Beograd)
Od prvog izdanja festivala, 1996. godine, Međunarodni
festival nove muzike “Ring Ring” teži predstaviti najnovija strujanja na kreativnim glazbenim scenama širom
svijeta. Nova i improvizirana glazba, avangardni jazz, novi
rock, elektronička i elektroakustička, kao i suvremena
glazba čine program ovog beogradskog festivala. Glavno
težište je razmjena ideja i suradnja, kako među iskusnim
i poznatim umjetnicima, tako i među onima koji su tek
zakoračili na ovu glazbenu scenu, omogućavajući tako
i tamošnjim domaćim umjetnicima suradnju sa svjetski priznatim glazbenicima. Festival se može pohvaliti
brojnom, mahom mlađom, publikom. Tijekom proteklih 18
godina održavanja Ring Ringa, na festivalu su se predstavili neki od najistaknutijih glazbenih umjetnika: Pierre
Bastien, Stefano Scodanibbio, Fred Frith, The Ex, Iva
Bittova, Hamid Drake, Antonelo Salis, Peter Kowald, Ken
Vandermark, Dagmar Krause, Peter Brotzmann, Otomo
52
10. 05 18h @ kafić teatra &TD
ringring.rs
Yoshihide, AMM, Lars Hollmer, Michel Doneda, Matthew
Shipp, Bratsch i dr.
Program ovogodišnjeg festivala uključuje gostovanje
glazbenika koji dolaze iz 17 zemalja, koncerte, radionice,
predavanja za mlade glazbenike i izložbu. Osim toga, veliki broj koncerata bit će uživo prenošen online, a koncerti
će biti snimani i emitirani na Trećem programu Radio Beograda. Jedna festivalska večer imat će i direktan radijski i
TV prijenos.
Gost Izloga suvremenog zvuka je Bojan Đorđević,
utemeljitelj i umjetnički direktor Ring Ring festivala, koji
će ovdašnju publiku pobliže upoznati s konceptom Ring
Ring festivala, njegovim nastankom, smjerom, poetikom i
promjenama kroz koje je festival prošao kroz proteklih 18
izdanja, kao i predstaviti program nadolazećeg devetnaestog izdanja.
Presentation:
International New Music
Festival “Ring Ring”
(Belgrade)
Since the first festival edition in 1996, the Ring Ring
festival has strived to present recent developments in
the creative music scene around the globe. New and improvised music, avantgarde jazz, new rock, electronic and
electroacoustic, as well as contemporary music, are all a
part of the programme of this Belgrade festival. The main
focus is an exchange of ideas and collaboration, among
the experienced and well-known artists, as well as among
those who have only stepped into this music scene, thus
making it possible for the local artists to collaborate
with the renowned musicians. The festival is proud of its
numerous, mostly younger, audience. During the past 18
years of Ring Ring, some of the most prominent artists in
the music field have been presented at the festival: Pierre
Bastien, Stefano Scodanibbio, Fred Frith, The Ex, Iva
Bittova, Hamid Drake, Antonelo Salis, Peter Kowald, Ken
Vandermark, Dagmar Krause, Peter Brotzmann, Otomo
Yoshihide, AMM, Lars Hollmer, Michel Doneda, Matthew
Shipp, Bratsch and others.
This year’s festival programme includes guest performances by artists from 17 countries, concerts, workshops,
lectures for young musicians and an exhibition. Many
of the concerts will be broadcasted live online and the
concerts will also be recorded and played on Radio Belgrade’s Third Channel. One of the festival evenings will
have a direct radio and TV coverage.
Bojan Đorđević, the founder and artistic director of
the Ring Ring Festival will be presenting the audience
of the Showroom of Contemporary Sound with the concept of the Ring Ring Festival, its beginnings, direction,
poetics and changes it went through during the past 18
editions, and he will talk about the programme of the
upcoming, 19th Ring Ring Festival.
53
Luka Juhart
Program:
Luka Juhart: hrUP (2013.), za Vinka
Bojana Šaljić Podešva: Abstinenca 3 (2014.) *praizvedba
Arturo Fuentes: Getmove (2011., obr. 2014.) *praizvedba
Eduard Demetz: 4 Tracks (2013.) *praizvedba
Vinko Globokar: Dialog o zraku (1994.)
Harmonikaš Luka Juhart (1982.) studirao je na Muzičkoj
akademiji u Trossingenu i na Sveučilištu u Würzburgu
(Hugo Noth i Stefan Hussong). Redovito snima za niz
radijskih postaja i nastupa diljem Europe. Nastupio je s
ansamblima poput Camerata Zürich, Windkraft Ensemble,
Avanture Ensemble, Slovenska filharmonija, BBC Scottish
Symphony Orchestra, Simfonijski orkestar Bečkog radija
ORF i dr. Surađuje s brojnim skladateljima (Rojko, Globokar, Larcher, Huber, Demetz, Mahnkopf).
Glavni medij izražavanja skladateljice Bojane Šaljić
Podešva (1978.) je elektroakustička glazba, fiksirane
snimljene dvokanalne ili višekanalne kompozicije, rad s
instrumentalnim i vokalnim zvukom u realnom vremenu,
te glazbene instalacije. Druga važna domena njezina
54
10. 05 19h @ polukružna &TD
lukajuhart.com bojanasaljic.si
arturfuentes.com eduarddemetz.eu
umjetničkog djelovanja je odnos glazbe i suvremenih
vizualnih i izvedbenih umjetnosti.
Arturo Fuentes (Meksiko, 1975.) u Europu je stigao
1997.; njegov glazbeni put odveo ga je iz Milana, Pariza
i Beča u njegov trenutni dom, Innsbruck. Studirao je
kod Franca Donatonija u Milanu i Horacija Vaggionea u
Parizu. Piše instrumentalnu i elektroničku glazbu i bavi
se kazališnim produkcijama, kombinirajući ples, video i
elektroniku.
Glavna osobina Getmove je brzina. Zanima me
stvaranje izmjenjujuće teksture koja sadrži nekoliko
zvučnih dimenzija: čujemo zvuk tipki koji se miješa sa
zrakom i pravim zvukom. Zanima me također i tamna boja
harmonike u nižem registru; za mene je ona poput linije
zvučne boje koja se kreće naviše. Pravilnost i nepravilnost,
gustoća i svjetlost, okosnice su ovoga djela. (A.F.)
Eduard Demetz (1958.) studirao je klavir i orkestralno
dirigiranje na Mozarteumu. Radio je na nekoliko filmskih,
kazališnih i televizijskih produkcija. Skladbe su mu izvodili
renomirani ansambli i orkestri. Umjetnički je ravnatelj
Valgardenamusica festivala i podpredsjednik Festivala
suvremene kulture Transart.
“4 Tracks for Accordeon and Samples posvećena
su Luki Juhartu, čija potraga za instrumentalnom
savršenošću, istančani osjećaj za ton, kao i otvorenost
eksperimentiranju pri sviranju motivirali su me za skladanje ovih četiriju komada. Tracks je djelo fragmentarnog
karaktera, koje živi od glazbenikove želje da se „zgrabi
tipke“. Zvuk nastaje u realnom vremenu kroz elektroničku
obradu fragmenata harmonikaške dionice.” (E.D.)
Luka Juhart
Accordeonist Luka Juhart (1982) studied at the Trossingen
Music Academy and the Würzburg University of Music in
Germany (Hugo Noth and Stefan Hussong). He regularly
records for various radio stations and performs across Europe. He has appeared with ensembles such as Camerata
Zürich, Windkraft Ensemble, Avanture Ensemble, Slovenian Philharmonic Orchestra, BBC Sco-ttish Symphony
Orchestra, ORF Vienna Radio Symphony Orchestra etc.
Juhart attaches great importance to working with contemporary composers (collaborates with Rojko, Globokar,
Larcher, Huber, Demetz, Mahnkopf).
The basic mean of expression in the work of composer
Bojana Šaljić Podešva (1978) is electroacoustic music, regarding fixed-recorded 2- or more channel compositions,
as well as real-time treatment of instrumental or vocal
sound and music installation. Another important domain
of her work represents music in relation to contemporary
visual and performing arts.
Arturo Fuentes (Mexico, 1975) arrived in Europe
in 1997; his musical path led him from Milan, Paris and
Vienna to his current home in Innsbruck. He has studied
with Franco Donatoni in Milan and Horacio Vaggione in
Paris. He composes instrumental and electronic music,
and conceives new musical theatre projects that combine
dance, video and electronics.
“The feature of Getmove is quickness. I am interested
in creating a shifting texture containing several sound
dimensions: we hear the noise of the keys that are mixed
with the air and the real sound. I am also interested in the
accordeon dark color projection in the lower register; for
me, it is like a line of sonic color that takes off upward.
Regularity and irregularity, density and lightness, are at
the center of this piece.” (A.F.)
Eduard Demetz (1958) studied piano and orchestraconducting at the Mozarteum. He has also worked on
several movie, theatre and tv productions. His pieces have
been performed by acclaimed ensembles and orchestras.
He is Artistic Director of the “valgardenamusica“ festival
55
and vice president of the “Transart“ festival of contemporary culture.
“The 4 Tracks are dedicated to Luka Juhart whose
quest for the instrumental perfection, refined feeling for
the sound, as well as his openness to experimentation
have inspired me for composing these four tracks. Tracks
is a piece characterized by fragmentation, living out of
the player’s desire to „grab the keys“. Music is created in
real time through electronic manipulation of the fragments of the accordeon part.” (E.D.)
Luka Juhart
Preparirani projekt
Saksofonist, pijanist i skladatelj Damir Prica Kafka – Capri,
svakako je nezaobilazno ime na hrvatskoj, ali i nizozemskoj
improvizatorskoj sceni. Uz Dragana Pajića – Paju bio je
osnivač grupe Cul-de-Sac koja je početkom ovog stoljeća
evoluirala u Orkestar za ubrzanu evoluciju, saksofonist
u grupi Haustor, član Trobecovih krušnih peći, osnivač
nizozemsko-hrvatskog benda De Reizende Verkoper, glazbenik u Indoševoj Kući ekstremnog muzičkog kazališta, ali
i koautor i glazbenik u nizu glazbeno-scenskih projekata.
Capri je u svoj novi elektroakustični ansambl okupio
6 glazbenika na prepariranim žičanim instrumentima i
udaraljkama, koji će uz upotrebu elektronike nastupiti
u Prepariranom projektu, temeljenom prije svega na
grupnoj improvizaciji, pri čemu određeni unaprijed fiksirani glazbeni materijali daju naslutit da će njihov nastup
sadržavati i elemente minimalizma, noisea i free jazza.
Sudjeluju:
Damir Prica Kafka (klavir), Tena Novak (violina, efekti),
Sven Buić (kontrabas), Miro Manojlović (udaraljke, efekti),
Bruno Vorberger (udaraljke), Franjo Glušac (električna
gitara, efekti), Vedran Peternel (live sampling), semplirana
truba Igora Pavlice
56
10. 05 20:30h @ MM centar
Prepared Project
Saxophone player, pianist and composer Damir Prica
Kafka – Capri, is definitely an inevitable name on the
Croatian, but also the Dutch improvisation music scene.
Together with Dragan Pajić – Pajo he founded the band
Cul-de-Sac, that later evolved to the Orchestra for Accelerated Evolution, he played saxophone in the band
Haustor, he was a member of Trobec’s Baker’s Ovens, he
started the Dutch-Croatian band De Reizende Verkoper,
he played in Indoš’s House of Extreme Music Theatre,
he co-authored and took part in a number of scene
projects that involved music. Capri gathered 6 musicians
on prepared string instruments and percussion for his
new electroacoustic ensemble, who will perform in the
Prepared Project, based firstly on group improvisation,
albeit some of the previously fixed music material suggest
their performance will also have elements of minimalism,
noise and free jazz.
Damir Prica Kafka – piano
Tena Novak - violin, effects
Sven Buić – double bass
Miro Manojlović – percussion, effects
Bruno Vorberger - percussion
Franjo Glušac – electric guitar, effects
Vedran Peternel - live sampling
Sampled trumpet by Igor Pavlica
Damir Prica Kafka - Capri
57
Kontakt der Jünglinge
Kontakt der Jünglinge su nešto ne baš tako često u
glazbi i ne baš tako često kod namrgođenih germanskih
plemena s onu stranu Alpa ... oni su duhoviti. Muzički
understatement, te britki poantirani humor resi pristup
ove dvojice odraslih mladaca koji svojom dugogodišnjom
suradnjom iskazuju počast vrloj tradiciji (kako njemačke,
tako i elektroničke) glazbe, istododno je uzimajući u đir.
Ah, Stockhausen!
Kontakt der Jünglinge su Asmus Tietchens i Thomas
Köner, obojica neizostavna imena u razvoju elektroničke
glazbe u posljednja tri desetljeća. Neki bi rekli, legende.
Nakon šest godina, i svog zadnjeg nastupa u &TD-u, u
Zagreb se vraćaju netom što su objavili novi zajednički
album, Makrophonie 1.
Asmus Tietchens je, prema vlastitim riječima, „sam svoj
Tonmeister: bez studijâ, bez akademske naobrazbe i bez
stipendija ... isključivo autodidaktički learning-by-doing“.
Autor je nebrojenih albuma, koji su nastajali od polovice
1970-ih do danas. Zamjetna je i njegova višedesetljetna
predavačka aktivnost na fakultetima u Hamburgu, u
području oblikovanja zvuka.
58
10. 05 21:30h @ velika dvorana &TD
www.koener.de/kontaktderjnglinge.htm www.mi2.hr
Thomas Köner je od 1990-ih naovamo svojim prepoznatljivim tamnim zvukom bitno obilježio elektroniku
i nesumnjivi je heroj u žanru. Dobitnik je velikog broja
prestižnih nagrada za svoja audio i video djela. Sretni
smo da je u posljednjem desetljeću u različitim prilikama
Thomas bio čest gost u Zagrebu, te smo tako njegove
projekte mogli pratiti in statu nascendi. (Petar Milat)
Koncert je realiziran u koprodukciji s Multimedijalnim
institutom MaMa.
Kontakt der Jünglinge
Kontakt der Jünglinge aren’t very often in music and not
so very often with the grumpy German tribes accross the
Alps ... they are houmorous. A certain musical understatement and sharp humour are characteristic for the
approach of these two adult youngsters, who have given
an honour to the grand (German and electronic) music
tradition through their long collaboration, at the same
time giving it a „spin“. Ah, Stockhausen!
Kontakt der Jünglinge are Asmus Tietchens and Thomas Köner, both inevitable names in the development of
electronic music in the past three decades. Some would
say, legends. After six years and their last performance
in the &TD Theatre, they are coming back to Zagreb, just
after having published their album Makrophonie 1.
Asmus Tietchens, in his own words, is „his own Tonmeister: with no studio, no academic education and no
scholarships ... only autodidactic learning-by-doing“. He
authored numerous albums from the middle of the 1970s
until today. Several decades of his teaching activity on
faculties in Hamburg, in the field of sound design, are
notable.
Thomas Köner significantly marked the world of electronic music from the 1990s on, with his recognisable
dark sound, and he is undoubtably a hero in the genre.
He won a number of prestigious awards for his audio and
video work. We are happy that Thomas happened to find
himself in Zagreb on many occasions during the past decade and in this way we could follow his projects in statu
nascendi. (Petar Milat)
Concert in coproduction with the Multimedia Institute
MaMa.
Asmus Tietchens
59
John Chantler
John Chantler dolazi iz Australije, no nakon kratkog
perioda u Japanu, duži niz godina živi u Velikoj Britaniji. U
svibnju ove godine izdat će svoj novi, treći album za label
ROOM40. Albumu Even Clean Hands Damage the Work,
većim dijelom snimljenome u praznim EMS studijima u
Stockholmu, prethodio je The Luminous Ground, koji
je izašao 2011. godine, a časopis The Wire uvrstio ga je
među najbolja izdanja te godine.
To je bio njegov prvi LP album, gdje se fokusirao na
analogno-digitalni modularni sintesajzer sistem koji je
prvi puta istraživao na albumu na kojem su uz njega
sudjelovali Lawrence English i Tujiko Noriko (U, iz 2009.).
Ciklus izdanja Automatic Music izdan je u siječnju 2014.
preko The Tapeworma. Snimljen je uživo, a na njemu
spaja sistem širokih mogućnosti koji proizvodi izmjenjive
motive silaznih arpeggija i visceralne buke, pointilističkih
umetaka i beskrajno varirajuće teksture.
60
10. 05 23:30h @ polukružna &TD
inventingzero.net
John Chantler
Originally from Australia but now a long-time UK resident
after a stint in Japan, Chantler will release his third solo
LP for the ROOM40 label in May 2014. ‘Even Clean
Hands Damage the Work’ (recorded for the most part
at the hallowed EMS studios in Stockholm) follows ‘The
Luminous Ground’ – released in 2011 and included in The
Wire magazine’s top releases of that year.
That was his first LP release focusing on the analog/
digital modular synth system he first explored as part
of the trio LP with Lawrence English and Tujiko Noriko
– 2009’s ‘U’. The second volume in his Automatic Music series was released in January 2014 via The Tapeworm. Live,
he patches a versatile system capable of self-generated,
shifting patterns of sliding arpeggios and visceral noise,
pointillist interjections and infinitely variable texture.
Bis programa
Partneri festivala
John Chantler
Programme Encore
Partners of the Festival
61
Mirela Ivičević:
Planet 8
Mirela Ivičević je za scensku suitu Planet 8 dobila Nagradu Grada Čakovca “Josip Štolcer Slavenski” za najbolje
glazbeno ostvarenje u 2013. godini.
Iz obrazloženja:
“Među djelima hrvatskih skladatelja praizvedenima tijekom
2013. godine, Planet 8 Mirele Ivičević izdvaja se svojom
inovativnošću i samosvojnošću… Glazbenost tih zvukova
(ali i šumova, pa čak i „tišina“) u kontekstu je izvedbe često
u funkciji scenskoga, ali se ta „sceničnost“ u konačnici
vraća samoj glazbi, kao počelu iz kojeg izviru svi drugi
elementi ovog majstorskog sveumjetničkog djela.”
Planet 8 alias Operacija Neptun: scenska suita za
ansambl i (samo)refleksiju. Dijete miješanog braka kritičkog i zvučnog doživljaja
svijeta. Bliski srodnik instrumentalnog teatra Mauricija
Kagela i arhetipskog Neptuna za kojeg se zvuk kao
izražajno sredstvo najčešće vezuje. Reciklirajući svat, služi
se svime što vidi i čuje, tolerantan, ne cenzurira. Ne štedi,
preispituje sve što mu dođe pod ruku, pa i onog tj. onu
62
ulaznice: 50/25 kn
11.05 2oh @ polukružna &TD
Artist talk 20:45h @ polukružna &TD
cargocollective.com/mirelaivicevic
u čijoj je misaonoj galaksiji nastao. Prirodno je stanište
glazbenika koji se zbilje ne boje, već u potrazi za subverzivnom snagom glazbe, od krhotina zbilje i postojećih
glazbenih elemenata grade novi zvučno-vizualni svijet. Taj
svijet zbunjuje, uznemiruje, nasmijava i hrabri: istovremeno je zrcalo ne uvijek idealne stvarnosti, ali i neiscrpnog
izvora mogućnosti njezinog preoblikovanja.
„U izvedbi će i ovaj put sudjelovati četvero po nekima
zaista odličnih, a po nama genijalnih, senzacionalnih i
urnebesnih mladih glazbenika.“ Branimir Pofuk, Večernji
list
Skladateljica Mirela Ivičević (Split, 1980.) završila je studij
kompozicije na Muzičkoj akademiji u Zagrebu te poslijediplomski studij medijske kompozicije i primijenjene
glazbe na Universität für Musik und darstellende Kunst u
Beču. Autorica je akustičkih, elektroakustičkih i intermedijalnih djela, zvučnih instalacija, glazbe za film i kazalište,
te dvije opere (Za tri lipe, MBZ 2007. i Karussell, ISCM/
WienModern 2013.). Većina njezinih djela su konceptualna
i interdisciplinarna, baveći se prije svega ulogom zvuka u
socijalnom i političkom kontekstu pri čemu se često služi
zvučnim nuspojavama suvremenog društva.
Djela su joj izvođena po Europi, Sjevernoj i Južnoj
Scenic suite Planet 8 by Mirela Ivičević won her the “Josip
Americi. Dobitnica je Rektorove nagrade (Phantom no. 3,
Štolcer Slavenski” Prize awarded by the City of Čakovec
2004.), nagrade Theodor Körner (Ace of Diamonds, 2010.), for the best achievement in music in the year 2013. nagrade Rudolf Matz (2010.), kao i nagrade ISCM-a za
glazbeni teatar (Gender)Bender 9,99 (2011.). Od 2010. s
From the jury’s opinion:
Gordanom Tudorom organizira međunarodni festival
“Among the pieces of the Croatian composers that had
suvremene glazbe Dani Nove Glazbe Split.
their first performance in 2013, Mirela Ivičević’s Planet
8 stands out from the rest, with its innovative character
and authenticity... Musicality of these sounds (noises and
Koncept, glazba i tekst: Mirela Ivičević
Izvođači: Dunja Delač (violina, glas), Kaja Farszky
even “silences”) in the context of the performance is often
(udaraljke), Goran Jurković (saksofon), Marija Lešaja
in the function of the scene, but this “scenicity” ultimately
(sopran)
goes back to music itself, as the basis for all the other
Producentica: Davorka Begović
elements of this masterly written piece, comprising all art
Savjetnica za scenski pokret: Petra Hrašćanec
forms, emerge.”
Oblikovanje svjetla: Bojan Gagić
Inspicijent i dramaturški savjetnik: Vedran Hleb
Planet 8 alias Operation Neptune: theatre suite for
Produkcija: Studentski centar Sveučilišta u Zagrebu –
ensemble and (self)reflection.
Kultura promjene – Muzički salon
A child of mixed marriage of critical and sound experience of the world. Close relative of Mauricio Kagel’s instrumental theatre and archetypal Neptune, sound as a
means of expression is most commonly associated with.
Recycling fellow, it uses everything it sees and hears, it is
tolerant and does not censor. It does not save, it ques-
Mirela Ivičević: Planet 8
63
tions everything that it gets hold of, even the one in
whose mental galaxy it was born. It is a natural habitat of
musicians who are not afraid of reality, but who, in search
of subversive power of music, use the fragments of reality
and existing musical instruments to build a new audiovisual world. That world is confusing, upsetting, encouraging and it makes us laugh: at the same time it is a mirror
of a not-always-ideal reality, but also of the inexhaustible
source of possibilities of its transformation. Her works have been performed all over Europe,
North and South America. She won University of Zagreb’s
Rector’s Prize (Phantom no. 3, 2004), Theodor Körner
Prize (Ace of Diamonds, 2010), Rudolf Matz Prize (2010),
as well as ISCM Prize for her Vocaltheater Composition
(Gender)Bender 9,99 (2011). In collaboration with Gordan
Tudor, she has been organizing the international festival
of contemporary music Dani Nove Glazbe Split since
2010.
“Four young musicians take part in the performance: by
some - excellent, in our opinion - genious, sensational and
exhilarating.” Branimir Pofuk, Večernji List
Concept, music and text: Mirela Ivičević
Performers: Dunja Delač (violin, voice), Kaja Farszky
(percussion), Goran Jurković (saxophone), Marija Lešaja
(soprano)
Producer: Davorka Begović
Stage movement advisor: Petra Hrašćanec
Lighting design: Bojan Gagić
Stage manager & dramaturgical advisor: Vedran Hleb
Production: Student Centre Zagreb of the University of
Zagreb - Culture of Change – Music Showroom
The composer Mirela Ivičević (Split, 1980) graduated
Composition from the Academy of Music in Zagreb and
she finished her postgraduate studies at Universität für
Musik und darstellende Kunst in Wien. She is the author
of acoustic, electroacoustic and intermedia works, sound
installations, music for film and theatre, and two operas
(The Threefairlady Opera, MBZ 2007 and Karussell,
ISCM/WienModern 2013). The majority of her works are
conceptual and interdisciplinary works, dealing primarily with the role of sound in social and political context,
in which she often uses acoustic side effects of modern
society.
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Mirela Ivičević: Planet 8 foto: Martina Kenji
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Međunarodna
razmjena skladatelja
International
Composers’ Exchange
Međunarodna razmjena skladatelja projekt je 4 članice
Međunarodnog udruženja za novu glazbu (ISCM) - Velike
Britanije, Švedske, Estonije i Hrvatske. Projekt je zamišljen
kao platforma za upoznavanje i razmjenu iskustava
skladatelja, predstavnika navedene 4 ISCMove sekcije.
Sudionici projekta su: John Chantler i Patricia Alessandrini (Velika Britanija), Magnus Bunnskog i Sol Andersson
(Švedska), Tatjana Kozlova i Helena Tulve (Estonija), te
Sanja Drakulić i Mirela Ivičević (Hrvatska).
Međunarodna razmjena skladatelja obuhvaća četiri
zajednička susreta sudionika, u svakoj zemlji-članici po
jedno, s ciljem upoznavanja suvremene glazbene scene
domaćina. Tako je prvi zajednički susret održan u Londonu
u ožujku ove godine, a Hrvatska je zemlja-domaćin upravo
za vrijeme i u suradnji s Izlogom suvremenog zvuka, na
kojemu će među ostalima nastupiti i britanski predstavnik
projekta John Chantler. Tijekom svog boravka u Zagrebu,
od 9. do 12. svibnja, skladatelji će sudjelovati u programima Izloga, prisustvovati izvedbi glazbeno-scenske suite
Planet 8 Mirele Ivičević, kao i nizu prezentacija domaćih
sudionika suvremene glazbene scene.
International Composers’ Exchange is a project of the
four member countries of the International Society for
Contemporary Music (ISCM) – Great Britain, Sweden,
Estonia and Croatia. The idea behind the project is to
get to know each other and exchange experiences of the
composers presenting the four ISCM sections.
Composers taking part in the project are: John
Chantler and Patricia Alessandrini (Great Britain), Magnus
Bunnskog and Sol Andersson (Sweden), Tatjana Kozlova
and Helena Tulve (Estonia) and Sanja Drakulić and Mirela
Ivičević (Croatia). International Composers’ Exchange is
planned to have four meetings of participants in each of
the member countries, with the goal of getting to know
the contemporary music scene of the host-country. The
first meeting was held in London in March, and Croatia is
the host-country during the Showroom, where one of the
UK representatives, John Chantler, will perform. During
their stay in Zagreb, from May 9 to May 12, the composers
will take part in the programme of the Showroom, see
the Planet 8 by Mirela Ivičević, and attend a number of
presentations by the local artists.
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28. Muzički biennale
Zagreb – Međunarodni
festival suvremene glazbe
28th Music Biennale Zagreb
– International Festival of
Contemporary Music
Od 18. do 25. travnja 2015.
From April 18 until April 25, 2015
Za nešto manje od godinu dana pozivamo vas da nam se
ponovno pridružite na intenzivnom osmodnevnom iskustvu suvremene glazbe - 28. Muzičkom biennalu Zagreb!
I u 2015. godini MBZ će zauzeti razne prostore,
dvorane i kazališta širom Zagreba te ih ispuniti s više od
30 raznovrsnih projekata, od nastupa simfonijskih orkestara i komornih ansambala, domaćih i inozemnih solista,
glazbenog teatra, suvremenog plesa, jazza, elektronike pa
sve do alternativne glazbene scene, glazbenih instalacija
i izložbi, na kojima vas bok uz bok očekuju „klasici“ suvremene glazbe, kao i nove skladbe skladatelja iz cijeloga
svijeta. U fokusu našeg programa bit će stvaralaštvo
snažne petorke, petero autora iz samog vrha svjetske
glazbene scene suvremene glazbe, no o tome više nešto
kasnije…
We invite you to join us in less than a year on an intensive
8-day experience of contemporary music – 28th Music
Biennale Zagreb!
In 2015 MBZ will again fill all sorts of venues, concert
halls and theatres in Zagreb with more than 30 diverse
projects, from symphony orchestra and chamber ensemble concerts, national and international soloists, music
theatre, contemporary dance, jazz, electronics, to alternative music scene, music installations and exhibitions.
Both „classics“ of the contemporary music, as well as new
pieces by composers from around the globe await for you
at the festival. Main focus of our festival will be centered
around the great five – five composers from the very top
of the world contemporary music scene… stay tuned for
more information…
www.mbz.hr facebook.com/MusicBiennaleZagreb
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Afroditi Psarra: Noisy
Textiles Workshop
10. i 11. svibnja, od 14 do 20 sati u Klubu SC
Organizatori: Radiona.org, Kontejner & Galerija Močvara,
Muzički salon Kulture promjene SC-a
Radionica Noisy Textiles je uvod u svijet mekih, tekstilnih
elektroničkih sklopova uz korištenje programabilnih
Arduino mikrokontrolera, digitalne elektronike i vodljivih
materijala. Tijekom radionice polaznici će sudjelovati u
kreiranju prototipova i istražiti proces primjene elektronike na tekstil stvarajući nosive sintesajzere/kontrolere s
8-bitnim zvukom, tj. svirajuće odjevne predmete.
Afroditi Psarra (GR) je multidisciplinarna umjetnica
i doktorantica na područjima slike, tehnologije i dizajna.
Njezin rad istražuje granice između narodne tradicije
i rukotvorine, kreativnog kodiranja i soničnog eksperimentiranja s pokretom i plesom. Psarrini radovi uključuju
nekoliko medija, od elektroničkog vezenja do nosive
tehnologije i pametne odjeće za interaktivne instalacije
i audio performanse. Do sada je svoj rad predstavila na
cijenjenim novomedijskim festivalima kao što su Amber
u Istanbulu, PIKSEL u Bergenu, Transmediale i CTM u
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Berlinu, Electropixel u Nantesu, MakerFaire u Rimu, itd.
Trenutno odrađuje praksu u Disney istraživačkom centru u
Zürichu. Najpoznatija je po prvom izvezenom Korg sintesajzeru nazvanom LilyKorg i interaktivnom nosivom objektu za performere Idoru.
Galerija Močvara vas poziva na zvučni performans
Afroditi Psarra: Lilytronica, 11. svibnja u 21h, a 12. svibnja u
20h u Pogonu Jedinstvo. Lilytronica je projekt inspiriran
DIY elektronikom, pop kulturom i narodnom tradicijom koji koristi elektronički vez u kontekstu eksperimentalnog zvučnog performansa. Rad se temelji na live improvizaciji korištenjem tri izvezana sintesajzera nazvanim
LilyKorg s LilyPad Arduino mikrokontrolerom i senzorima.
Važan aspekt rada je kontradikcija koja nastaje suprotstavljanjem „nježnog“ sučelja izvezenog instrumenta i glasnog i snažnog zvuka koji proizvodi. Predstavljanje rada
Lilytronica organizira se u koprodukciji Galerije Močvara i
Radione.org. Afroditi Psarra: Noisy
Textiles Workshop
May 10-11, from 2pm to 8pm at the SC Club
Organizers: Radiona.org, Kontejner & Gallery Močvara,
Music Showroom of the Culture of Change, SC
Noisy Textiles Workshop is an introduction to the world of
soft, textile electronic sets with the use of programmable
Arduino microcontrollers, digital electronics and conductive materials. During the workshop the participants will
take part in creating prototypes and they will explore the
process of application of electronics to textile, creating
wearable synthesizers/controllers with an 8-byte sound,
that is, playing on clothes.
Afroditi Psarra (GR) is a multidisciplinary artist and a
PhD student in the field of image, technology and design.
Her work explores limits between tradition and handcraft,
creative coding and sonic experimenting with movement
and dance. Psarra’s work includes several medias, from
electronic knitting to wearable technology and smart
clothes for interactive installations and audio performances.
Until now she has presented her work at some of the
prominent new media festivals such as Amber in Istanbul,
PIKSEL in Bergen, Transmediale and CTM in Berlin,
Electropixel in Nantes, MakerFaire in Rome, etc. She is
currently doing her practical training in the Disney center
in Zürich. She is mostly known for her embroidered Korg
synthesizer named LilyKorg and the interactive wearable
object for the Idoru performers.
Afroditi Psarra
afroditipsarra.com
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Glazba i obratno:
Eksperimentalna
muzikografija
Music and the
other way around:
Experimental Musicography
U ciklusu emisija Glazba i obratno na HR3 otvara se
serijal Eksperimentalna muzikografija, koji će u 4 epizode
tijekom svibnja biti posvećen Draganu Pajiću-Paji (1956.2014.). Kroz snimke iz bogate ostavštine eksperimentalne
glazbe skupina Cul-de-Sac, Orkestra za ubrzanu evoluciju,
Impronedjeljaka, te drugih susretišta brojnih umjetnika
koji su svirali s Pajom; snimke razgovora i sjećanja na
umjetnika koji je obilježio underground scenu Zagreba iznosi se skica o povijesti njegova djelovanja, o načinima
slušanja-sviranja-improvizacije, sjećanja na njegov ljudski
plemeniti lik, te se u posljednjoj epizodi objavljuje tekst
koji je za ovu priliku napisao Darko Rundek. U razgovorima
sudjeluju: Damir Prica Kafka, Andreja Kurelec Košavić,
Igor Pavlica, Vedran Peternel, Nikola Vincelj Jinx, Franjo
Glušac, Damir Bartol Indoš i Ivan Marušić Klif. Emisije su na rasporedu Trećeg programa Hrvatskog
radija petkom od 22.30 (2., 9., 16. i 23. svibnja) i u slušaonici
na linku: radio.hrt.hr/slusaonica.
Autorica i urednica: Iva Lovrec Štefanović
In the series of radio shows Music and the other way
around on HR3 there will be new series under the title
Experimental Musicography. In its four May episodes, it
will be dedicated to Dragan Pajić – Pajo (1956 – 2014). Recordings from the vast legacy of the experimental music
group Cul-de-Sac, Orchestra for Accelerated Evolution,
Impromondays and other meeting points of many artists
who had played with Pajo; other recordings and memories – an outline arises about the history of his artistic
activities, about the ways of listening-playing-improvising,
memories of his noble human character, and in the last
episode a text by Darko Rundek, written especially for
this occasion, will be published. Artists taking part are:
D. Prica Kafka, A. Kurelec Košavić, I. Pavlica, V. Peternel,
N. Vincelj Jinx, F. Glušac, DB Indoš and I. M. Klif. The series will air on the Third Channel of the Croatian
Radio on Fridays from 10.30 pm (May 2, 9, 16 and 23) and
online on the web site of the Croatian Radio.
Author and editor: Iva Lovrec Štefanović
70
Organizator:
Partneri:
Sponzori:
Medijski partneri:
Tko je tko
Who is who
Koncept, program i produkcija / Concept, Programme and
Production: Davorka Begović
Asistentica produkcije i hospitality / Production Assistant and
Hospitality: Nika Štriga
Odnosi s javnošću / Public Relations: Ana Suntešić
Vizualni identitet / Visual Identity: Petra Matijević
Web: Goran Arbanas, Ana Suntešić, Davor Višnić
Urednice kataloga / Catalogue Editors:
Davorka Begović, Karolina Rugle
Prijevod i video intervjui / Translation and Video Interviews:
Karolina Rugle
Fotograf / Photographer: Damir Žižić
Snimateljica / Cinematographer: Dinka Radonić
Montažer / Editor: Andrija Gvozdić-Michl
Marketing: Danijela Andrijašević
Šefovi tehnike / Technical Directors: Kruno Dolenec,
Fahro Kulenović
Ton / Sound: Vlado Horvatić, Danijel Škrbo
Teatar &TD ozvučenje / Theatre &TD Sound: MMV Auris
Svjetlo / Light: Miljenko Bengez, Boris Bogojević, Damir Kruhak, Mario Vnučec
Scena / Stage: Nikola Božić, Damir Cesnik, Dubravko Dolenec,
Darko Doman, Stipo Katavić, Rene Lambert
MM centar tehnika / MM Centre Technical Coordination:
Damir Vrabec
Rekviziter / Props: Mladen Božović
Inspicijent / Stage manager: Vedran Hleb
Administrativna podrška / Administrative Support:
Dijana Hrebak, Renata Matijević
&TD potpora / &TD Support: Petra Budiša
Savjetnica i potpora / Advisor and Support: Silvija Stipanov
Šefica od kase / Chief of Cash-Register: Lada Čikara
Šefica kulture SC-a / Chief of the Cultural Department of SC:
Nataša Rajković
Sanacijski upravitelj SC-a / SC Restitution Manager:
Pejo Pavlović
Hvala svim sudionicima, suradnicima, partnerima, sponzorima i
zaposlenicima Studentskog centra u Zagrebu koji su omogućili
realizaciju festival! / Thanks to all participants, collaborators,
partners, sponsors and all Student Centre Zagreb’s employees
that have made this festival possible!
Hvala / Thanks to: Nikša Gligo, Darijan Ivezić, Mirela Ivičević,
Darko Kujundžić, Domagoj Marušić, Ingrid Pustijanac
Sveučilište u Zagrebu / University of Zagreb
Studentski centar Zagreb / Student Centre Zagreb
Kultura promjene / Culture of Change
Muzički salon SC / Music Showroom SC
Savska cesta 25, 10 000 Zagreb
sczg.unizg.hr • izlog.sczg.hr • facebook.com/MuzickiSalonSC
davorka.begovic@sczg.hr

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