Glazbena tribina Opatija
http://www.cantus.hr/kat3.php?id3=106&id=2
Od 6. do 9. studenoga u opatijskom hotelu Imperial održat će se 51. Glazbena tribina Opatija, jedinstvena manifestacija Hrvatskog društva skladatelja koja promiče stvaralaštvo hrvatskih suvremenih skladatelja te je od osobitog značenja, ne samo za skladatelje, muzikologe, izvođače, studente glazbe, opatijsku publiku, već i za hrvatsku kulturnu javnost. Glazbena tribina Opatija svjedoči o životnosti našega glazbenog stvaralaštva kao čimbenika svjetske glazbene scene.
Za prošlogodišnje „obljetničko“, 50. izdanje Tribine, bio je priređen program koji je „gledao unazad“, na skladatelje, osnivače, organizatore koji su pokrenuli Tribinu. Tribina 2014., kako je i bilo najavljeno, okreće se prema posve suprotnom pravcu, i vrata otvara gotovo isključivo novim djelima, skladbama nastalima na narudžbu Tribine. Istaknuti hrvatski ansambli – Simfonijski orkestar HRT-a, Cantus Ansambl, Alisios Camerata, kao i gosti iz Srbije – gudački kvartet Tajj i hrvatskoj publici već dobro poznat Lp Duo te koncert elektroničke glazbe, predstavit će više od 15 novih djela hrvatskih skladatelja svih generacija.
U povodu 100. obljetnice smrti Antuna Gustava Matoša, Tribina predstavlja radio-igru Zvučna gesta, u kojoj će se odabrana Matoševa poezija naći u novom glazbeno-kazališnom kontekstu.
Tijekom Tribine bit će održana i dva okrugla stola na temu Suvremena hrvatska glazba u loopu na hrvatskoj sceni – edukacija, produkcija, kritika, publika, a koje će voditi muzikologinje Petra Pavić i Davorka Begović. Nedjeljni termin tribine rezerviran je za studente muzikologije i kompozicije, koji će predstaviti vlastita razmišljanja i zapažanja o novoj glazbi predstavljenoj na Tribini.
Dva posebna projekta predstavit će u četvrtak i petak Zoran Šćekić i duo Lightune.G, a za neobičan spoj jazza i barokne glazbe zadužen je Ratko Vojtek na svom koncertu u subotu. Isti dan održat će se i prvo javno predstavljanje programa 28. Muzičkog biennala Zagreb. IZVRŠNI PRODUCENT: Cantus d.o.o., Baruna Trenka 5, 10000 Zagreb Tel. 01/4825 360, fax 01/ 48 25 361
Cantus Ensemble
"Cantus is also... a desire to approach the contemporary music with high performing and professional criteria; a desire to discover the New and the Unknown; the one that brought us all together. We want this Journey that is about to begin to be as interesting as possible, that it lasts as long as possible and that it is always filled with Curiosity and Wonder..."
-Berislav Šipuš in 2001, the year when the Cantus Ensemble was founded
For many years a large number of Zagreb ensembles filled a years-long gap between two Music Biennales Zagreb (MBZ) in their own ways - by giving individual performances and occasionally also by giving first performances of works by Croatian composers. This was also the reason why it was necessary to found, over and over again, a resident ensemble of a flexible and non-standard line-up that could comply with the heterogeneity of scores and the peculiarities of composers' demands. An unconventional instrumental ensemble could not be created out of the existing ensembles, hence in 2001 the Cantus Ensemble came into existence. Their success at the MBZ of that time with a cycle of four concerts day after day and ten first performances (24-27 April 2001) was met with a powerful response, such that their parent professional organization, the Croatian Composers' Society, has decided to support this practice as a long-term project. Having filled out a decades-long void reserved for performances of the extinct production of contemporary music that included work on new compositions and their promotion, i.e. the interpretation of the compositional heritage of the last century (mainly from the 1950s onward), the Cantus Ensemble established its own place and became a representative participant on the Croatian contemporary music scene. It has now become a usual practice for Croatian composers to dedicate their new compositions to the ensemble directly, not only by means of expected commissions.
Ten years after their first concert in April 2001, the Ensemble still continues to perform in an almost identical line-up, managed by their permanent artistic director and conductor Berislav Šipuš. During this period, their programme has expanded and now includes almost 400 performed works, 90 of which are first performances, while the stylistic pluralism of the 20th and 21st centuries that characterizes their artistic profile will undoubtedly ensure their long-term existence. One of those new works (Olja Jelaska's Butterflies) earned a flattering title of the best artistic achievement in 2005 and won the Josip Štolcer Slavenski Award. The composition Dreamers by Mladen Tarbuk won the same award in 2002, also in their interpretation. Another part of the Cantus Ensemble's singularity is its own summer ten-day artistic workshop (Vis, Zagreb, Grožnjan) organized for the first time in 2003 and in 2008 within intense collaboration with Dutch Gaudeamus Fondation, Festival Gaudeamus Music Week and Croatian Music Youth. In 2006 ensemble had successful concerts at the Dubrovnik Summer Festival, Osor Music Evenings and Omiš Culture Summer and from than on ensemble is a continuous participant of Croatian music scene. From the concert season 2006/2007 ensemble has its own concert cycle Cantus & Lisinski in coproduction with Vatroslav Lisinski Concert Hall.
Maturity of a music ensemble is usually measured in years of its activity, however this ensemble has noted very intense concert activities with performances in Croatia, Austria, Italy, Slovenia, Bosnia and Herzegovina, Germany, Belgium, United Kingdom, Sweden (project Musical Links), France, Netherland, Swiss, China, Canada, Mexico and Turkey. Also the Ensemble has established an international interdisciplinary network of cooperation with the Austrian ensemble Zeitfluss, the Slovenian MD7, the Italian Icarus, the Belgian ensemble Musiques Nouvelles, the Arnold Schoenberg Centre and Foundation in Vienna, the ensemble Sonemus from Sarajevo, as well as with the Cromas Association for New Music from Trieste. These are all ensembles which share the same type of programme and advocate a quality production of contemporary music. The ambitious cooperation with the Icarus Ensemble and its guest performances in Zagreb, Cantus Ensemble's performances in Italy and joint projects in Mexico, Germany and Belgium showed a possible model of an international association!
In a unique project organized by the Croatian Radio named Cities of Music of the European Broadcasting Union (EBU) in November 2005, which hosted seven concerts that were broadcast live in twenty European countries, the Cantus Ensemble was bestowed great honour of opening the cycle. The programme consisted of works by five Croatian composers, four of which were dedicated to the ensemble (one was the first performance). Aside from the national programme, the ensemble also performed the third part of Paul Hindemith's anthological work (Chamber Music op. 36, No. 2) with the soloist Enrico Dindo, which was their pledge to the ensemble's basic programme orientation. From the very beginning, this orientation has included major chamber works of the 20th century Croatian and European heritage, as well as the promotion of contemporary Croatian opus and the works of foreign composers.
Among ensemble's performances abroad, their concerts in Sweden, in the autumn of 2006 (international project Musical Links), should certainly be highlighted, as well as the grand «journey around the world» that took them to Beijing (Beijing Modern Music Festival) and Toronto (Glenn Gould Studio), where they presented extraordinarily ten scores of Croatian composers of the 20th and 21st century. Also, the ensemble was appointed official ISCM's ensemble for the year 2008 and were presented at the ISCM's World Music Days in October 2008, hosted by the Gaida Festival in Vilnius. In the concert season 2009/2010 the ensemble had very successful guest performance during the festival BEMUS in Belgrade and for the first time performed in UK, at the festival Sounds New in Canterbury. In the season 2010/2011 they played in concert cycle of Dome des Invalides in Paris, in Tonhalle Düsseldorf, at the festival Ensemblia in Mönchengladbach and in Zentrum Paul Klee in Bern. In the period of November 2008 - October 2010 Cantus Ensemble was part of the EU project Re:New Music (www.renewmusic.org) with 12 international partners and 22 ensembles from 12 European countries.
Such an expansion of the Cantus Ensemble, with 16 chosen musicians as their core, was enabled by an extraordinarily large number of music works of the 20th and 21st centuries, while the ability to adapt to set, unconventional instrumental combinations gave them a new dimension - they constantly change their line-up, size, sound and stylistic characteristics. The idea of deserting the standard performing body of works and creating an opus of hitherto unusual instrumental formations stemmed from Schoenberg's Pierrot Lunaire (the base of the instrumental ensemble are flute, clarinet, bass clarinet, violin, viola, violoncello, piano) in which the line-up changes with every song. Pierre Boulez shares the same idea, but on a different level, in his work The Hammer without a Master in which he gives performers new possibilities of creation. Through these works he democratically gives performers more space for greater freedom of expression, i. e. he enables their genuine participation in the moulding of a composition. It is not surprising that he wrote in the 1950s that "a composition must always hide surprise and pleasure despite its rationality that should be imposed in order to achieve certain steadiness. Is it possible to harmonize the work and the musician? The composition and the leader who must guide it? Certainly so - this has already been proved by works that announce a new manner of the music being..."
In order to respond to author's request, even one requiring the opening of fixed parts or a form of improvisation, the Cantus Ensemble had to create quality performing preconditions already at an early stage. This is also the reason why all of its members are not only excellent chamber musicians and soloists, but also concert-masters, principal players in symphony orchestras and professors at the Academy of Music in Zagreb. Such individualization of a music group to the level of soloists was required by the specific repertoire profile and a continuous open dialogue within contemporary artistic polystylistics in which music material is constructed and deconstructed in very different authorial concepts and where focus is sought precisely on the accentuated potion of every instrumental part.
There is no doubt that in the past five years the Cantus Ensemble became for the Croatian music scene what Klangforum is for the Austrian, Ensemble Modern for the German, Itinerair, 2M2M and Recherche Ensemble for the French, Avanti for the Finnish or Divertimento for the Italian scenes. French composer and conductor Pierre Boulez and his major project with the EntreContemporain Ensemble (IRCAM) is the "father" to all of these ensembles. Such specialization of a Croatian instrumental ensemble that draws exclusively on the interpretation of modern and contemporary music, that is its most sensitive part - the chamber music, has been guided from the very beginning by very simple principles - work, create, set rules, set time. This simple but binding formula was set in the clearest manner at the first Summer Workshop on the island of Vis via three distinct concert situations. What followed was the division into instrumental ensembles, the first was reserved for wind music, the second for strings which were occasionally complemented with other instruments, while the last and the most complex one required a first performance of a work by one Croatian and one foreign composer (who were personally present during the interpretative shaping phase) and a performance of a composition belonging to the Croatian heritage of the last century. This was an important moment in the creation of their own final identity and artistic self-confidence necessary for creative participation in shaping of each repertoire work. Today, they are distinguished artists on the Croatian cultural scene, and their unique programme status also give them a very high educational importance. Without them, many new generations of young musicians and young audience would be deprived of understanding the works from the past and this century, which only reaffirms another old-time Boulez's thought "...that the entire music life should be organized like a large museum with open galleries for contemporary music, but also with special sections dedicated to retrospection - a classical gallery in which people could always come to admire ancient master works, just as they can admire their Rembrandt in the Munich Picture Gallery whenever they want."
Cantus Ensemble won the Vatroslav Lisinski Price of the Croatian Composers' Society for its contribution to Croatian contemporary music (2005) and the Milka Trnina Price of the Croatian Society of Music Artists for its promotion of Croatian music (2005).
Alisios Camerata is a quartet composed of excellent Croatian musicians Radovan Cavallin, clarinet, Vlatka Peljhan, violin, Branimir Pustički, cello, and Mia Elezović, piano. Each musician has a very successful independent career, and in less than one year of playing together, they have attracted the attention of musical public and critics.
Radovan Cavallin was thirteen when became the youngest student in the history of the Music Academy in Zagreb. After graduation, he continued to study at the Conservatoire National Supérieur de Musique under Guya Deplus and Guy Dangain. He has won numeral awards in international clarinet competitions. Mr. Cavallin has held over 400 solo concerts in Croatia, Slovenia, Bosnia, Macedonia, Serbia, and Montenegro, Italy, France, Japan, Belgium, Portugal, Germany, Spain, and elsewhere. He has collaborated with the Warsaw Symphony Orchestra, Gotvaldova State Symphony Orchestra, Budio Symphony Orchestra from Bologna, Zagreb Soloists, Croatian and Belgrade Radio Television Symphony Orchestra, Gran Canaria Philharmonic Orchestra, Extremadura Philharmonic Orchestra, etc. He has appeared in festivals of Ferrara, Dubrovnik, Bad Hersfeld, Granada, and has recorded for Croatian, French, and Spanish radio stations as well as for labels Croatia Records, Agrup Arte Producciones, Maguelone, Cristal Records, ASV, and Arte Nova MBG. He holds master classes in Croatia, Belgium, Portugal, and Spain. Since 1989, he has been the first clarinet of the Gran Canaria Academy Philharmonic Orchestra in Spain, and a professor at the same academy. Radovan Cavallin established and plays in chamber ensembles Cuarteto Atlántida, Trío Spohr, Cuarteto Reinecke, and Ensemble Isola.
Vlatka Peljhan graduated from the violin program of the Music Academy in Zagreb. She received the master's degree in violin and viola at the High School of Music and Dance in Rotterdam. She has appeared as a soloist with the leading Croatian symphony orchestras. Ms. Peljhan won the first prize at the 1998 A. Marcosig International Competition of Violinists in Italy. With pianist Srebrenka Poljak and cellist Pavle Zajcev from 1998 to 2002 she played in the Zagreb Piano Trio. The Trio has won a number of awards and recognitions in the country and abroad. Vlatka Peljhan has also appeared in international chamber music festivals in Israel, Norway, Germany, Austria, Slovenia, Italy, and Netherlands, attended master classes by Isaac Stern and Leon Fleisher as well as by members of internationally esteemed quartets (Emerson, Juilliard, Borodin, Bártok, Smetana) and of the Grieg Trio. She was a member of the Pacific Music Festival Orchestra in Japan (2003), Symphony Orchestra Academy of the Pacific in Canada (2004), Rotterdam Chamber Orchestra, Amsterdam Symphony Orchestra, and the Zagreb Soloists. She is the viola section leader of the Croatian Baroque Ensemble, and performs with Harmonia Antiqua Labacensis baroque ensemble. She is the concertmaster of Zagreb's Croatian National Theatre Opera Orchestra and the artistic director of the orchestra's Chamber Ensemble. Ms. Peljhan also teaches chamber music at the Music Academy in Zagreb.
Branimir Pustički studied cello at the Music Academy in Zagreb under Valter Dešpalj and at the Vienna University under Reinhard Latzko after receiving a scholarship from the Croatian Academy of Sciences and Arts Foundation. He further studied in numerous courses held by teachers and soloists such as Heinrich Schiff, Boris Pergamenschikow, Rudolf Leopold, Dmitry Ferschtmann, Catherine MacKintosh and Marc Coppey. Mr. Pustički won the University Rector Award, Zagreb Philharmonic Orchestra and American Express Award for the best Croatian young artist in 2003, first prize and audience award at the J. Brahms International Competition in Pörtschach (2005), as well as the special award of the board of judges at the W. Lutosławski International Competition in Warsaw (2005). He has performed as a soloist with the Zagreb Philharmonic Orchestra, Croatian Radio Television Symphony Orchestra, Zagreb Soloists, Ukrainian State Philharmonic Orchestra, ORF Symphony Orchestra. He has held a number of solo recitals in Croatia and the neighboring countries. He is the cello section leader in the Croatian Radio Television Symphony Orchestra and the solo cellist of the Croatian Baroque Ensemble.
Mia Elezović graduated from the piano program of the Music Academy in Zagreb under Zvjezdana Bašić, as well as from the Hochschule für Musik in Vienna under Hans Petermandl and the Hochschule für Musik in Frankfurt under Herbert Seidel. She received the master's degree from the Music Academy in Zagreb. Invited by the Japanese government, she studied for ten months in Kyoto (2004). She has attended a number of master classes and workshops held by renowned professors (S. Bishop-Kovacevich, E. Picht-Axenfeld, H. Nakamura, J. Perry, J.-F. Antonioli, J.O'Conor, etc.) and specialized in Contemporary Performance at Manhattan School of Music in New York. Ms. Elezović had successful performances in international piano competitions, receiving various awards for her art. Her concert activities started very early, and the most significant performances include those in Carnegie Hall and at the Yamaha Piano Salon. She has collaborated with numerous orchestras and chamber ensembles in Europe, Japan, and America, as well as with other artists and conductors (K. Ono, P. Dešpalj. P. Rophé, P. Škerjanc, Z. Srzić, etc.). She has appeared in radio and television programs in Croatia and Germany, as well as in music festivals in the country and abroad. She has taught in many international music schools, and since 2010 at the Conservatoire Royal de Liege, Belgium.
Zoran Ščekić
http://www.zoranscekic.com
http://www.jazzybell.net/blog/zoran-scekic-jazz-gitarist-kompozitor-i-aranzer/
Lightune.G (HR): Lighterature Reading
LUMINOACUSTICS PERFORMANCE
performance & artist-talk:
The series of luminoacoustic performances by the Zagreb-Zadar experimental sound art duo Lightune.G will be open for “reading”, hearing and watching on a performance based on the conversion of light into sound through the photovoltaic effect taking place in solar panels – a technology first described by Albert Einstein in 1905 and for which Einstein was awarded with the Nobel prize for Physics sixteen years later.
The performance is based on luminoacoustics, a performance and composition technique resulting in tonal images.
Each series of tonal images, or better yet, each performance by the duo Lightune.G is unique and site specific, thus labeled as a separate chapter of the luminoacoustic series. We hereby invite you to join us in another exciting sound art evening filled with luminoacoustic sensations in Gallery Mochvara, and, in the tonal imagery disturbed darkness of Pogon Jedinstvo, dive into the appealing mystique of luminoacoustic effects. A pleasant talk about the performance, the philosophy behind luminoacoustics, the relationship of light and sound, as well as technical execution of the performance will follow shortly after the performance, in a cozy and relaxed artist talk with the authors, Miodrag Gladović and Bojan Gagić.
more: http://www.kontejner.org/october-2013-english
LIGHTUNE.G - Bojan Gagić + Miodrag Gladović
Bojan Gagić, multimedia artist based in Zagreb, Croatia and co-founder of SineLinea, Croatian platform for experimental music and new media. His recent works are based on exploring relations between sound, light and public spaces. The core of his interests is the metaphysics of media interchanges and its influence on everyday life.
Miodrag Gladović, engineer of electroacustics, producer and musician. As a musician and producer his main work was related to bands Analena i Lunar. Recently he is also performing with his solo project Packmess GP, which merges his noise guitar heritage with new ways of expression through computer music and computer interfaces. His main interest is merging new and old technologies as a part of artistic process.
TAJJ gudački kvartet
Okupljene u vremenu kada se novo retko rađa,
sjedinjene zajedničkom idejom i mislima,
predstavljamo staru i novu muziku
na način blizak savremenom slušaocu,
poštujući tradiciju, a ugrađujući ritam savremenog života.
Ovo je slika našeg doba, našeg života...
ovo je naša muzika...
TAJJ
Aleksandra Krčmar Ćulibrk, violina
Jovanka Mazalica, violina
Jelena Filipović, viola
Timea Kalmar, violončelo
„...TAJJ više u svoju bogatu biografiju ne upisuje pojedinačne generalije članica. Nazivom sklopljenim od inicijala ličnih imena želi da pokaže poreklo i genezu i iste gudačke, odnosno kvartetske škole, kao i da istakne težnju za podređivanjem individualnih osobenosti zajedničkom idealu o jedinstvu i stopljenosti kvartetskog zvuka...“(Marija Adamov)
Sabirajući stečena iskustva sa istaknutim umetnicima: Ami Flammer, Ištvan Varga, Arnold Steinhard, Sandor Devich, kao i članovima: Amadeus kvarteta, Alban Berg kvarteta, Bartok kvarteta, Chilingiran kvarteta, Daniel string kvarteta, Medici string kvarteta, Janaček kvarteta i Smetana kvarteta; i konačno, završavajući magistarske studije kamerne muzike na Fakultetu muzičke umetnosti u Beogradu u klasi prof.Ladislava Mezeija, TAJJ pronalazi sopstveni umetnički izraz.
„...Ozbiljnost članova ovog ansambla, strast prema kamernoj muzici, umetničko izvođenje, dokaz su ne samo produbljenog rada na partituri već i briga za plemenitu zvučnost kao i precizno tehničko izvođenje...“ (I.Ianku)
TAJJ izlazi iz klasičnog repertoara za gudački kvartet izvodeći sa velikim uspehom dela savremenih autora : A.Vrebalov, B.Kovač, D.Despić, J. Mitrušić, M. Štatkić, I.Stefanović, S.Tikmayer, S.Seghedoni, M.Golo, E.Kiraly, I.Vilson, J.Trbojević, S.Vlajić, D.Vejnović, Lj.Nikolić, M.Mihajlović, Hyekyung Lee, od kojih su pojedini autori posvetili svoja dela upravom ovom ansamblu.
“Najkreativniji odnosi su oni u kojima jedni druge podržavamo da budemo to što jesmo, prihvatamo rizike, teškoće, uspehe i eksperimente širom otvorenog srca i uma - da bismo zajedno rasli i stvarali. Samo u takvim okolnostima gledajući na proteklu deceniju zajedničkog rada, sa zahvalnošću znamo da jedni bez drugih nikada ne bismo stigli dovde. Da, ovu muziku kvartet TAJJ svira bolje nego što je ja čujem u mojoj mašti” (Aleksandra Vrebalov)
TAJJ nastupa na mnogim koncertima i festivalima u zemlji i inostranstvu: Nemačka, Holandija, Mađarska, Rumunija, Italija, Austrija, Francuska, Hrvatska, Crna Gora, Republika Srpska, i dr.
Sa posebnim zadovoljstvom kvartet nastupa sa istaknutim solistima: S.Antunić (flauta), L.L.Aksin (flauta), V.Puškaš (oboa), A.Tasić (klarinet), Ž.Perišić (fagot), G.Marinković (fagot), N.Vasić (horna), M.Radić (horna), I.Marušević (kontrabas), R.Martinović (klavir), N.Bulatović (klavir), I.Kobal (klavir), B.Gorunović (klavir), U.Ovaskainen (klavir), E.Choi (klavir), J.Simon (klavir), V.K.Vitkay (sopran), D.Jovanović (sopran), S.Štulić (tenor), B.Jatić (bas) i mnogi drugi.
„...Klasa u svetu muzike, kvartet TAJJ je sa jednim od najboljih koncerata ove godine doprineo ugledu Srbije. Sretan sklop okolnosti spojio je ove četiri upečatljive ličnosti koje se predaju muzici sa žarom, i koje uprkos svojoj individualnosti, uspevaju da u svom izvođenju budu izuzetno uigrane, pa i zbunjujuće prirodne...“ (Michéle Fizaine)
http://sr.wikipedia.org/wiki/TAJJ_gudački_kvartet#Biografija
Simfonijski orkestar Hrvatske radiotelevizije
http://hr.wikipedia.org/wiki/Simfonijski_orkestar_Hrvatske_radiotelevizije
Simfonijski orkestar HRT-a osnovan je 1931. godine. Početkom Domovinskoga rata glazbenici Simfonijskoga orkestra HRT–a, služeći domovini, održali su desetke koncerata od Osijeka, Pakraca, Lipika, Đakova, Gospića, Vinkovaca i Bošnjaka do Šibenika, Zadra, Karlovca, pa i Sarajeva.Uz klasični i suvremeni repertoar te snimanja za potrebe Hrvatske radiotelevizije i diskografskih tvrtki, Orkestar se skrbi i za hrvatsku glazbenu baštinu i suvremeno hrvatsko stvaralaštvo. U sezoni 2010./2011. Orkestar je obilježio 80. obljetnicu postojanja te je tom prigodom objavljena monografija o njegovu djelovanju uz dvostruki album na koji su uvrštene snimke šefova dirigenata orkestra: Milana Horvata, Krešimira Šipuša, Josefa Daniela, Pavla Dešpalja, Vladimira Kranjčevića, Oskara Danona, Uroša Lajovica i Nikše Bareze.
RATKO VOJTEK - glasovir, basklarinet, djembe, BAROK I JAZZ?
http://www.kdz.hr/index.php/hr/glazbeni-prsten-arhiva/2272-ratko-vojtek-glasovir-basklarinet-djembe-2013-04-16-20-00-00-hr
Multiinstrumentalist Ratko Vojtek debitirao je kao osamnaestogodišnjak sa Zagrebačkom filharmonijom u Drugom koncertu za klarinet i orkestar u Es-duru Carl Marie von Webera. Danas je stalni solist na bas-klarinetu u istom orkestru. Klarinet je diplomirao i magistrirao na Muzičkoj akademiji u Zagrebu u klasi Josipa Tonžetića. Kasnije je diplomirao i bas-klarinet (kao stipendist Zaklade Ive Pogorelića) na Konzervatoriju Sweelinck u Amsterdamu kod slavnog virtuoza Harryja Sparnaaya. Među najznačajnije uspjehe u svojoj klarinetističkoj karijeri ubraja recital u kultnoj nizozemskoj dvorani De Iijsbreker, brojne recitale po Španjolskoj (s pijanistom Ljubomirom Gašparovićem), te snimku djela Snake Charmer Srđana Dedića, koja je posredovanjem UNESCO-a obišla 22 svjetske radio postaje. Na natječaju Stvarajmo zajedno 2002. osvojio je donaciju Zagrebačke banke za nosač zvuka Air. U rujnu 2006. nastupao je kao solist uz ansambl Cantus tijekom njihove turneje po Švedskoj. Tom glazbeniku velike muzikalnosti i bogatih izvođačkih mogućnosti svoja su djela posvetili brojni domaći i inozemni skladatelji.
U glasoviru se Ratko Vojtek većim dijelom usavršavao privatno. Kao pijanist nastupao je u Orkestru Gradskog kazališta Komedija, Mirokado Jazz Orchestra, ansamblu ACEZANTEZ, te tijekom 90.-tih solistički na festivalima poput Muzičkog biennala Zagreb, Međunarodne glazbene tribine u Opatiji ili No Jazz festivala gdje su njegovi koncerti nerijetko proglašavani vrhuncima tih manifestacija. Kao čembalist je nastupao u ansamblima Musica antiqua i Universitas studiorum zagrabiensis. Njegov pijanistički album Ethnophonia, snimljen za diskografsku kuću Croatia Records, dočekan je s odobravanjem domaće i strane stručne kritike (ugledni američki Jazz at a Glance uspoređuje ga s Keithom Jarrettom i Eddiem Palmierijem!). Posljednja četiri diskografska projekta Ratka Vojteka World Music Piano, Organ Concertos, Mozart Portable i Air objavljuje diskografska kuća Rocco & Partner.
LP Duo
http://www.lpduo.com
LP Duo is a piano duo founded by pianists Sonja Loncar and Andrija Pavlovic in 2004. They completed their undergraduate and postgraduate studies from the Faculty of Music in Belgrade, and continued their education at the Hochschule für Musik und Theater Rostock (Germany), completing 4 years of postgraduated and Konzertexamen (KEX) studies in piano duo, in the class of Prof. Hans-Peter and Volker Stenzl.
LP duo performed at the concerts and festivals all arround the Europe and in USA and have also collaborated with many orchestras
They have been recording for radio & TV companies in Serbia, Croatia, Macedonia, San Marino, Poland, Slovenia, Denmark and Netherlands.
So far and they have premiered more than 30 contemporary pieces by international composers in different European countries.
Many composers have dedicated their music to LP Duo.
LP Duo is actively working on improvement of the classical music presentation and its popularization. Many of their concerts have a unique visual identity (special light designs or video works) and sometimes performances are realized out of standard concert venues
Glazbena tribina
http://www.hds.hr/manifestacije/glazbena-tribina/
Glazbena tribina Opatija ,2014.
http://radio.hrt.hr/clanak/glazbena-tribina-opatija/74287/
OBJAVLJENO: 06.11.2014 08:00
51. Glazbena tribina Opatija - izravno na Trećem programu Hrvatskog radija
Jesenski opatijski dani u znaku su 51. Glazbene tribine koja će, u organizaciji Hrvatskog društva skladatelja, okupiti suvremene skladatelje, glazbenike i muzikologe, te glazbene pisce i sve koji su zaintresirani za aktualni trenutak hrvatskog skladateljstva.
Od četvrtka do nedjelje, kroz koncerte, predstavljanja, razgovore i diskusije, brusi se slika sadašnjice na nizu prilika u kojima će se ostvariti brojne praizvedbe novih djela hrvatskih skladatelja. Izravno na Trećem programu uključujemo se uoči koncerta otvorenja uvodnom emisijom u kojoj će se predstaviti skladatelji prvog rasporeda koncerta na kojem će Simfonijski orkestar HRT pod ravnanjem Aleksandra Markovića praizvesti nova djela Sanje Drakulić, Dubravka Palanovića, Frane Đurovića i Ante Knešaureka, dok će se uz sudjelovanje Martine Gojčete-Silić čuti nova instrumentacija poznatog opusa Dragana Plamenca u najnovijoj instrumenataciji Silvia Foretića.
U četvrtak možete pratiti uvodnu emisiju od 19.30 i koncert od 20 sati.
Tradicija susreta uz diskusije o aktualnoj problemaciji nastavlja se i u ovom izdanju opatijske tribine - mlade muzikologinje Petra Pavić i Davorka Begović osmislile su dvodnevnu tribinu u prijepodnevnim satima pod naslovom: "Suvremena glazba u loopu na hrvatskoj sceni - edukacija, produkcija, kritika, publika" na kojoj će sudjelovati Tonči Bilić, Bojan Gagić, Mladen Tarbuk, Diana Grgurić, Gordan Tudor, Tihomir Petrović i Branimir Pofuk.
Prvi dio tribine na rasporedu je u petak od 11 sati i izravno ćemo ga prenositi u terminu emisije Putovi hrvatske glazbe, u petak od 11 sati na Trećem.
Urednica i komentatorica: Iva Lovrec Štefanović