IPEW - INTERNATIONAL PERCUSSION ENSEMBLE WEEK

U akademskoj godini 2016./2017. na inicijativu Prvog odsjeka za kompoziciju i teoriju glazbe Muzičke akademije ansambl se pojavio kao izborni kolegij unutar Modula „Nova glazba“. Ovaj komorni ansambl otvoren je za sve studente Muzičke akademije, poglavito studente instrumentalnih odsjeka, ali isto tako nudi se kao kreativna i praktična platforma studentima Dirigiranja, Kompozicije i Muzikologije.

Godišnje ASMANGU realizira tri koncerna projekta, od kojih svaki nosi neku svoju posebnost, namjeru i cilj.

Do sada je Ansambl „prošao“ kroz opuse Claude Debussya, Albana Berga, Antona Weberna, Luciana Berio-a, Gyorgy Ligetija, Pierre Bouleza, Iannisa Xenakisa, uz to izveo puno novih skladbi studenata Kompozicije matične Muzičke akademije, ali i studenata Kompozicije s ljubljanske Akademije za glasbo, s kojom redovito surađuje. Posebno se ističe koncert realiziran za Muzički Biennale Zagreb 2017., s djelima nekadašnjih profesora Akademije: Stanka Horvata, Anđelka Klobučara, Rubena Radice i Marka Ruždjaka.

ASAMANGU uskoro očekuju novi izazovi koji su vezani uz suradnju sa studijem i studentima Plesa i Koreografije na Akademiji dramske umjetnosti u Zagrebu, te suradnja s Akademijom likovnih umjetnosti u Zagrebu. Mentor i voditelj Kolegija i ansambla je red.prof.art. Berislav Šipuš

Gudački komorni orkestar Muzičke akademije Sveučilišta u Zagrebu u okviru nastave djeluje od jeseni 2006. godine, a osnovan je na inicijativu prof. Jože Haluze koji je i umjetnički voditelj. Svrha takvog ansambla je omogućiti studentima gudačkog odsjeka, stjecanje prvih iskustava i vještina zajedničkog muziciranja u većem ansamblu, uz vježbu maksimalne komunikacije među dionicama, kao i punog kreativnog zalaganja, s obzirom da ansambl djeluje samostalno, bez dirigenta. Kroz ovakve se projekte studenti postupno uvode u profesionalni način rada koji ih očekuje kao buduće glazbenike.

Orkestar redovito svake godine održava po nekoliko koncerta, isprva u dvorani Akademije (F-5) a od nedavno u novoj zgradi MA-e u Dvorani B. Berse, zatim redovito nastupa na Memorijalu J. Š. Slavenski u Čakovcu (od 2008.) kao i u Zagrebu u sklopu manifestacije Pasionska baština. Nastupio je u sklopu Glazbenog ciklusa Mladi glazbenici u Matici hrvatskoj u Zagrebu, a u nekoliko prigoda i u dvorani Hrvatskog glazbenog zavoda. Gostovao je i u tri navrata u Beču-dva puta u Peterchkirche (2011. pod umjetničkim vodstvom Catherine Mackintosh i opet u studenom 2017. s dirigentom i skladateljem Zoranom Novačićem), te koncert u Universität für Musick und darstellende Kunst (2013) pod vodstvom prof. J. Haluza. Nastupio je i u Poreču u sklopu godišnjeg skupa europske udruge gudačkih pedagoga (ESTA 2012.).

Djelujući od samog osnutka Akademije (1921.), Zbor Muzičke akademije u Zagrebu okuplja studente svih odsjeka i svih studijskih godina i predstavlja reprezentativni i najveći izvođački korpus ove institucije. Okušavajući se u stilski raznolikom i nimalo lakom repertoaru, s velikim je uspjehom surađivao s brojnim umjetnicima poput Slavka Zlatića, Nikše Bareze, Igora Kuljerića, Zorana Juranića, Vladimira Kranjčevića, Aleksandra Kalajdžića, Uroša Lajovica, Milana Horvata, Igora Gjadrova, Pavla Dešpalja, Juliana Kovatcheva, Aluna Francisa, Georga Pehlivaniana i dr.

Zbor se redovito predstavlja publici kompleksnim i interpretativno zahtjevnim djelima među kojima su Bachova Muka po Ivanu, Brahmsov Njemački rekvijem, Mendelssohnov oratorij Ilija i Paulus, Honeggerov Kralj David, Mahlerova Druga i Osma simfonija, Stravinskijeva Svadba, te Brittenov Ratni rekvijem.

Od 2000. godine Zbor Muzičke akademije vodi dirigentica Jasenka Ostojić. Zbor nastavlja tradiciju izvedbi zahtjevnih vokalno – instrumentalnih djela, kao što su oratorij Carmina Burana C. Orffa, Mesija G. F. Handela, Istarske freske B. Papandopula, Prayers of Kierkegaard S. Barbera, Jeanne d’Arc A. Honeggera, Ivan Grozni S. Prokofjeva, IX simfonija L. van Beethovena, Stabat Mater K. Szymanowskog, Misa u Es – duru F. Schuberta, Nelson misa J. Haydna, Requiem W. A. Mozarta, Quatro pezzi sacri G. Verdija, Religiofonija J. Štolcera Slavenskog i dr. Posebno vrijedi istaknuti sudjelovanje Zbora u izvedbama: Requiem u c – molu L. Cherubinija 2010. godine u Ravenni i Trstu, zatim Messa da Requiem G. Verdija 2014. godine u Redipugliji, Italija, pod ravnanjem mo Riccarda Mutija, te u VIII. simfoniji G. Mahlera pod ravnanjem mo Valerija Gergijeva u Ljubljani, Slovenija i u zagrebačkoj Areni.

Veliku pozornost javnosti privukle su izvedbe opera Čarobna frula W. A. Mozarta, Ljubavni napitak G. Donizettija, Le Rossignol I. Stravinskog, Orfej C. W. Glucka, Madame Buffault B. Papandopula, Lukava mala lisica L. Janačeka te Carmen G. Bizeta, kojom je Muzička akademija proslavila 90. obljetnicu djelovanja. Za niz iznimno uspješnih izvedbi Zbor i Orkestar Muzičke akademije dobitnici su Posebnih Rektorovih nagrada.

Percussion ensemble of the Zagreb Music Academy has a short but rich history. Under the artistic direction of Igor Lešnik ensemble was founded in 1999 as an ensemble of the Jeunesses Musicales Croatia. After five years of intense international activity they became independent in 2004.

biNgbang ensemble is laureate of many International and Croatian Music awards. In 2009 they won summa cum laude First prize of International competition in Belgium and in 2004 Percussive Arts Society International Convention in Nashville USA declared them the best student percussion ensemble in the world. Among Croatian prizes it is worth mentioning they received the prize “Ivo Vuljević” as the best young ensemble in Croatia and twice the Rector’s Award of the Zagreb University.

As an international ensemble consisting of best percussion students of the Zagreb Music Academy, biNgbang has performed worldwide: from Europe and Asia over to Americas. biNgbang also hosted many great international soloists like: Andy Narell, Dave Samuels, Art Lipner, Ney Rosauro, Jean Geoffroy John Beck, Angel Frette, Daniella Ganeva, Ludwig Albert…
Their compact disc entitled “biNgbang plays lesnik” published by the American company Equilibrium achieved considerable international success.

biNgbang – udaraljkaški ansambl zagrebačke Muzičke akademije ima kratku, ali bogatu povijest. Pod umjetničkim vodstvom Igora Lešnika ansambl je osnovan 1999. godine kao ansambl Hrvatske glazbene mladeži. Nakon pet godina intenzivnog međunarodnog djelovanja postali su neovisni 2004. godine.

biNgbang Ansambl je laureat mnogih međunarodnih i hrvatskih glazbenih nagrada. U 2009. su osvojili summa cum laude prvu nagradu Međunarodnog natjecanja u Belgiji, a 2004. godine ih je prestižni Arts Society International Convention u Nashvilleu USA proglasio najboljim studentskim ansamblom u svijetu. Među hrvatskim nagradama valja spomenuti nagradu “Ivo Vuljević” za najbolji mladi ansambl u Hrvatskoj te dvije Rektorove nagrade Sveučilišta u Zagrebu.

Ansambl se sastoji od najboljih studenata udaraljki zagrebačke Muzičke akademije. Nastupao je diljem svijeta, od Europe i Azije do Amerike. biNgbang je također ugostio mnoge velike međunarodne soliste kao što su: Andy Narell, Dave Samuels, Art Lipner, Ney Rosauro, Jean Geoffroy John Beck, Angel Frette, Daniella Ganeva, Ludwig Albert …

Njihov nosač zvuka pod nazivom “biNgbang plays Lešnik” objavljen za američku tvrtku Equilibrium postigao je međunarodni uspjeh.

biNgbang musicians: Francesco Mazzoleni, Luis Camacho Montealegre, Dominik Šabić, Andrea Pedron, Petar Pranjić, Marin Borščak, Jaan Štokelj Wu, Šimun Matišić, Rupert Čunko, Štefan Đurković, Janko Adamek, Mario Čavlek, Vedran Vujec, Suzana Komazin, Julija Furek, Davor Marinac, Luka Ivir, Luka Mihajlović

SPONSOR:

MUZIČKA AKADEMIJA SVEUČILIŠTA U ZAGREBU
UNIVERSITY OF ZAGREB ACADEMY OF MUSIC

SAŠA NESTOROVIĆ rođen je 27. kolovoza 1964. godine u Zagrebu. Nakon završene Glazbene škole Blagoje Bersa – na klarinetu i MIOC-a (Matematičko- informatičkog obrazovnog centra), godine 1984. upisuje saksofon na Muzičkoj akademiji u Zagrebu, gdje je 1989. godine diplomirao u klasi profesora Josipa Nochte. Za vrijeme studija bio je dobitnik Vjesnikove nagrade „Darko Lukić“, prvih nagrada na natjecanjima studenata glazbe te dobitnik druge nagrade na Jugoslovenskom natjecanju glazbenih umjetnika. Nakon studija boravio je u Koelnu gdje se aktivno usavršavao kod Jesse Bennetta (USA) i Renata Rožića (Hochschule fur Musik Koeln). Od 1991. do 1998. predavao je saksofon na Glazbenoj školi Pavla Markovca te jazz saksofon i osnove jazz improvizacije u Srednjoj glazbenoj i baletnoj školi u Ljubljani. Od 1998. do 2008. godine bio je dobitnik 13 nagrada Status hrvatske glazbene unije za instrumentalistu godine.

Od 1998. bio je stalni saksofonist, klarinetist i solist Jazz orkestra Hrvatske radiotelevizije. Od 2008. docent je na Muzičkoj akademiji u Zagrebu i šef dirigent Jazz orkestra Hrvatske radiotelevizije. Kao dirigent surađivao je s brojnim solistima među kojima su Doug Richards, Charles Toliver, Ernie Watts, Christian McBride, Alexei Sipiagin, Boris Kozlov, Deborah Carter, Rex Richardson, Alen Vizzutti, David Gazarov, Georgie Fame i drugi.

Na Muzičkoj akademiji u Zagrebu predaje komornu glazbu, osnove jazz improvizacije i jazz ansambl, s kojim je snimao za HRT. Organizator je četrdesetak JazzLab radionica u suradnji Muzičke akademije, Hrvatske glazbene mladeži i Studentskog centra u Zagrebu. Bio je mentor u izradi šest diplomskih radova studenata. Studentski ansambli koje je vodio bili su dobitnici nagrada na četiri natjecanja u Hrvatskoj i Italiji.
Sudjelovao je u izradi zbornika „Hrvatska glazba u XX stoljeću“, Matice Hrvatske tekstom „Nastojanja i iskustva u edukaciji mladih hrvatskih jazz glazbenika“ koji je objavljen u istoimenom zborniku 2009. godine.

Bio je član prosudbenih vijeća na natjecanjima u zemlji i inozemstvu, studentskim i profesionalnim, kao što je natjecanje „Boris Papandopulo“ 2012. i 2016. g.

Suosnivač je Zagrebačkog kvarteta saksofona, s kojim je održao 11 turneja – koncerata i radionica po SAD, Europi i Aziji. Redovito nastupa kao dirigent i solist Jazz orkestra Hrvatske radiotelevizije, kao član ansambla Acezantez i brojnih manjih komornih i jazz sastava. Od posljednjeg izbora u zvanje snimio je 14 nosača zvuka i održao preko dvije stotine koncerata u zemlji i inozemstvu. U akademskoj godini 2016./2017. izabran je u zvanje izv.prof.art.

SAŠA NESTOROVIĆ (Zagreb, 1964) taught classical saxophone at the Music School in Zagreb from 1992 to 1998, as well as jazz improvisation and the principles of improvisation at the Secondary School of Music and Ballet in Ljubljana (Slovenia). He has been active on the German, Croatian and Slovene jazz scene. He leads the Summer School of Jazz on the island of Brač and gives lectures at the Summer School of Saxophone in Dubrovnik. He is now saxophonist, clarinetist and recording musician with the Croatian Radio Television Big Band, as well as composer and arranger with the Zagreb Jazz Portrait quartet. He has worked with eminent jazz musicians like Jesse Benett, Allan Pruskin and Mario de Murier, as well with Doug Richards, Christian McBride, Charles Toliver, Alan Broadbent and many more.

He is doc. art at Music academy in Zagreb, teaching chamber music,jazz improvisation and leading the jazz ensemble. He was colaborator of over than forty JazzLab workshops with names such as Charles Toliver, Miroslav Vitous and Jean -Luc Ponty. He was mentoring six graduating essays at final diplomas and coaching ensembles that were four time awarded in Croatia and Italy.

He was a member of the EBU Big Band Orchestra during a concert tour in Montreal and other cities of Canada in 1999 and has participated in many jazz recordings in Croatia and Slovenia.

Co-founder and member of Zagreb Saxophone quartet, he has made 13 tours- concerts and workshops through the United States and Europe and released many recordings.

Stjepan Vuger rođen je 1988. godine u Zagrebu gdje završava XV. prirodoslovno

-matematičku gimnaziju i srednju glazbenu školu (harmonika u klasi prof. Vjere Odak) na GU Elly Bašić. 2012. godine završava diplomski studij Klasične harmonike u klasi doc. Boruta Zagoranskog i preddiplomski studij Glazbene pedagogije na Odjelu za glazbu Sveučilišta u Puli. Kao stipendist programa Erasmus akademsku godinu 2011./2012. odslušao je na Muzičkoj akademiji u Gdanjsku, u klasi red. prof. Krzysztofa Olczaka i asis. Pawela Zaganczyka.

Kao solist i član komornih sastava sudjelovao je na domaćim i međunarodnim natjecanjima te ostvario zapažene rezultate (2. mjesto – 18. Mlawski festiwal muzyki akoredonowej, Mlawa, Poljska; 1. mjesto – 4. Concorso internazionale Fisa…Armonie, Trst, Italija; 2. mjesto (kategorija dua) – 49. Internationaler Akkordeon Wettbewerb Klingenthal, Njemačka).

Usavršavao se na seminarima kod značajnih harmonikaških pedagoga (F. Lips – Rusija, E. Moser – Njemačka, V. Semjonov – Rusija, R. Sviackevicius – Litva, M. Kern – Njemačka, J. Đorđević – Austrija). Dobitnik je Rektorove nagrade na Sveučilištu u Puli i Dekanove nagrade na Muzičkoj akademiji u Zagrebu.

Od siječnja 2013. godine radi kao nastavnik harmonike na GU Elly Bašić. Od rujna 2013. godine dirigent je Akademskog harmonikaškog orkestra „Ivan Goran Kovačić“. Akademske godine 2014./2015. upisuje studij Dirigiranja na Muzičkoj akademiji u Zagrebu u klasi red. prof. Mladena Tarbuka. Dirigentski debi ostvario je sa Zagrebačkom filharmonijom u siječnju 2017. godine.

Kao dirigent surađivao je sa Zagrebačkom filharmonijom, Hrvatskim narodnim kazalištem u Varaždinu, Istarskim narodnim kazalištem u Puli, Muzičkom akademijom u Puli, a kao harmonikaš sa Zagrebačkom filharmonijom, Simfonijskim orkestrom HRT – a, Hrvatskim narodnim kazalištem u Zagrebu.

Član je ansambla Harlequin Art Collective.

KREŠIMIR STARČEVIĆ (Zagreb, 1988.) klavir je počeo učiti tek sa 12 godina u Umjetničkoj školi Franje Lučića u Velikoj Gorici u razredu Andreje Markulin. Godine 2007. upisuje Muzičku akademiju u Zagrebu u razredu Đorđa Stanettija, gdje je prediplomski studij završio 2011. Magna cum laude, a diplomski 2013. godine. U sklopu programa studentske razmjene Erasmus, akademsku godinu 2012./2013. proveo je na Sveučilištu za glazbu i primijenjene umjetnosti u Beču u razredu Stefana Vladara. Dobitnik je Dekanove nagrade, prvih i drugih nagrada na Županijskim i Državnim natjecanjima učenika i studenata glazbe, kao i druge nagrade na Međunarodnom pijanističkom natjecanju Zlatko Grgošević, 2007. Na 9. Međunarodnom natjecanju mladih glazbenika Ferdo Livadić 2012. godine osvojio je Nagradu grada Samobora, a u dva navrata osvojio Nagradu grada Rovinja, na Pijanističkom natjecanju Zaklade Dino Škrapić (2012., 2014.). Godine 2017. primio je Nagradu za najbolju umjetničku suradnju na 50. Tribini Darko Lukić, za koncert održan s Laticom Anić u maloj dvorani Lisinski. Od 2009. do 2014. godine sudjelovao je u organizaciji ciklusa Virtuoso, a 2014. i 2015. obnašao je funkciju umjetničkog voditelja Zagrebačkih ljetnih večeri. Surađuje s uspješnim hrvatskim glazbenicima kao što su Lovro Merčep, Marco Graziani, Marin Maras, Latica Anić, Bruno Philipp, Filip Merčep, Vedran Kocelj i Antonija Jurin. Bio je umjetnički je suradnik Universal Marimba Competition u Belgiji 2017. te, u više navrata, Međunarodnog tjedna udaraljkaških ansambala u Bjelovaru, u okviru kojeg je surađivao s mnogim uglednim svjetskim udaraljkašima. Solistički je nastupio uz Zagrebačku filharmoniju, Simfonijski orkestar HRT-a, Zagrebačke soliste i Simfonijski orkestar Muzičke akademije u Zagrebu, pod vodstvom dirigenata Pavla Dešpalja, Mladena Tarbuka, Saše Britvića i Tončija Bilića. Nastupio je na festivalima kao što su Muzički biennale Zagreb, Festival sv. Marka, Samoborska glazbena jesen, Riječke ljetne noći, Rapske glazbene večeri, Senjske glazbene večeri, Dana Matice hrvatske u Sarajevu i drugi. Povodom 100. obljetnice smrti Claudea Debussyja, u rujnu 2018. u Hrvatskom glazbenom zavodu u Zagrebu po prvi puta u Hrvatskoj izveo je njegovu klavirsku komornu glazbu u integralnom kronološkom obliku, u suradnji s Laticom Anić, Marcom Grazianijem i Brunom Philippom. Iste godine primio je Nagradu Grada Velike Gorice s likom Franje pl. Lučića.

Croatian pianist Krešimir Starčević (Zagreb, 1988.) started to play piano only at the age of 12. Already in 2007 he enrolled to Zagreb Music Academy in the class of Đorđe Stanetti. He finished his Bachelor’s degree in 2011 Magna cum laude and spent the academic year 2012/2013 at the University of Music and Performing Arts Vienna as a part of Erasmus program, in the class of renowned Austrian pianist Stefan Vladar. He graduated in Zagreb in 2013, receiving Dean’s Award.

He was attending masterclasses of pianists and pedagogues such as K.-H. Kämmerling, E. Indjić, N. Flores, R. Dalibaltayan, P. Paleczny, N. Grubert, G. Gruzman i E. Hubert. He has got many prizes in national and international piano competitions. The most significant of those are second prize at the Zlatko Grgošević Competition, first and second prizes at the Croatian national competition of music students, the award of the City of Samobor at the Ferdo Livadić Competition and third prize at the competition of Dino Škrapić Foundation. In 2017 he received Award for the best artistic collaboration at the Darko Lukić Competition for playing with cellist Latica Anić, who won the competition.

Krešimir also plays with other successful Croatian musicians such as saxophonist Lovro Merčep, violinists Marco Graziani and Marin Maras, trumpet player Vedran Kocelj, percussionist Filip Merčep, clarinetist Bruno Philipp and flutist Antonija Jurin. He was artistic collaborator of Universal Marimba Competition in Belgium in 2017, and for many years he performs at International Percussion Ensemble Week in Bjelovar. He is an on-going associate of Croatian Radio’s Educational Program. Also, he is active as an organizer and promoter of classical music concerts. Since 2009 till 2014 he was one of the organizers of Virtuoso student concert cycle in Zagreb. In 2014 and 2015 he was the Artistic Director of Zagreb Summer Evenings Festival. He played on various music festivals and performed as a soloist with Zagreb Philharmonic Orchestra, Croatian Radiotelevision Symphony Orchestra, Zagreb Soloists and Zagreb Music Academy’s Symphony Orchestra under the conductors Saša Britvić, Pavle Dešpalj and Mladen Tarbuk. On the occasion of the 100th anniversary of the death of Claude Debussy in 2018, he performed at Croatian Music Institute in Zagreb Debussy’s complete piano chamber music works in chronological order, for the first time in Croatia, in collaboration with Latica Anić, Marcom Graziani and Bruno Philipp. That same year he received the City of Velika Gorica’s Award.

Josip Hrastić rođen je 05. listopada 1993. g. u Zagrebu. Pohađao je osnovnu i srednju Glazbenu školu „Blagoje Bersa“ gdje je maturirao kao Glazbenik – teoretičar.

Kao pijanist sudjelovao je i na natjecanju HGDPP-a na kojem osvaja II. nagradu. Godine 2012. upisuje Muzičku akademiju u Zagrebu, odsjek dirigiranja u klasi mo. Uroša Lajovica, a kasnije nastavlja u klasi mo. Mladena Tarbuka.

Kao student sudjelovao je kao asistent u mnogim akademskim projektima: Orfej i Euridika – C.W.Glücka, Quattro pezzi sacri – G: Verdia, Madame Buffault – B. Papandopula, čijom izvedbom je i ravnao, Rossignol – I. Strawinskog i dr. Kao student, sudjeluje na dirigentskim seminarima kod mo. Uroša Lajovica te mo. Collina Mettersa.

Iskustvo i znanje stečeno na Muzičkoj akademiji prenosi ljudima koji se u slobodno vrijeme žele baviti glazbom vodeći razne tamburaške ansamble, zbor Capella juris, dvije godine Limenu glazbu Vrbovec te trenutno radi kao glazbeni urednik na Hrvatskom katoličkom radiju.

Maro Rica rođen je 1995. godine u Makarskoj. Svoje osnovno i srednjoškolsko glazbeno obrazovanje (smjer teorija glazbe) završava u rodnom gradu te potom 2014. godine upisuje studij dirigiranja na Muzičkoj akademiji u Zagrebu u klasi prof. Tomislava Fačinija. Tijekom studija bio je umjetnički voditelj više pjevačkih zborova u Zagrebu i okolici, a od jeseni 2017. radi kao asistent u Akademskom zboru Ivan Goran Kovačić. U srpnju 2017. godine zajedno s kolegama studentima Muzičke akademije osniva udrugu Orkestar mladih glazbenika i do sada ostvaruje već desetak nastupa u Hrvatskoj. S Orkestrom mladih glazbenika realizira projekte kao što su RequiemG. Faurea, Te DeumM. A. Charpentiera (u suradnji s Capellomjuris), Stabat mater G. B. Pergolesija (u suradnji s udrugom Voxartis), 40. simfonija u g-molu W. A. Mozarta i Koncert za klarinet i orkestar br.2 L. Spohra. U lipnju 2018. debitirao je u HNK Zagreb izvedbom opere Cosi fan tutteW. A. Mozarta u sklopu studentskog projekta Muzičke akademije, a pod mentorstvom prof. Fačinija. Usavršavao se na seminaru orkestralnog dirigiranja kod prof. ColinaMettersa u Dubrovniku 2017. godine.

Igor Kuljerić (1938-2006) autor je jednog od najplodnijih, najsvestranijih i najraznolikijih opusa u hrvatskoj glazbi druge polovice dvadesetog stoljeća. Njegove su brojne skladbe redovito izvođene u zemlji i inozemstvu. Uz intenzivnu dirigentsku karijeru bio je važan čimbenik i nositelj hrvatskog kulturnog života kroz niz umjetničkih i upravnih funkcija. Dobitnik je svih značajnijih domaćih nagrada i priznanja. Bio je redoviti član HAZU.

Citat autora: “Toccata pripada onom djelu skladateljeva interesa, uz djela poput Chaconne i Risuono di gavotta, koja prizivaju specifične glazbene oblike iz prošlosti. Njome se zaziva princip motorike kojim se pokreću i razvijaju obrasci “odabranih” intervalsko-metričkih jezgri. Ostinantni ritam sljubljuje dva instrumenta – klavir i vibrafon i pretvara dijalog u monolog. Stavljeni u takav kontekst – dvoje instrumentalista: vibrafonist i pijanist – funkcioniraju poput svećenika “ironičnog” mini-obreda kulta Velikog Mehanizma. Na ustrajnoj virtuoznosti gradi se harmonijska slika a melodijske ćelije zadiru u korijene hrvatske glazbene tradicije i njene dublje slavenske i mediteranske slojeve”.

”Marimba je instrument novijeg doba i ima nekoliko izvorišta. Primjerice, orkestar Gamelan koji njeguje tradiciju ritmičkog višeglasja različitih, melodijskih ili ritmičkih udaraljki. U njihovu se zvuku može osjetiti boja i materija drva, bakra, stakla, vode… Drugo je izvorište afrokubanska glazba, koja vitalnost također temelji na izvanrednoj ritmičnosti i gaji poseban kult boje instrumenta. Riječ je, dakle, o izvaneuropskoj tradiciji koju sam želio spojiti s povijesnom formom koncerta i standardnih instrumenata i doživjeti marimbu kao specifičan klavir za koji je karakteristično da može imati perkusivno značenje par excellence i osobinu pjeva klavira. U odnosu orkestra i marimbe bilo je važno pronaći odgovarajuće boje orkestralnih situacija koje će marimbi dati novo osvjetljenje. Gudačima sam, primjerice, pokušao dati veće perkusivno značenje, a sama je struktura dosta kompleksna. Prelasci iz pojedinih situacija dosta su brzi, okvir je trostavačan (slijedi uobičajeni oblik brzo-lagano-još brže), no bez prekida, a povezanost je ostvarena asocijativnošću glazbenog jezika. Može se reći da je građa sastavljena od melodijsko-harmonijskih jezgri.

…Usporedno skladateljsko razmišljanje vodilo se mišlju o prevladavanju “knjiških” rasprava o tobože povijesnoj “potrošenosti” tradicionalnoga glazbenog vokabulara. Stoga, ako impresionistički obojeni nonakord ili poliritmičnost što se olako vezuje uz samo određena skladateljska imena ili motoričnost i repetitivnost kraćih glazbenih jezgri i niz drugih pojavnosti, ako se oni postave u drugačije odnose i nova okruženja, postaju na neki način ponovno “djevičanskim” materijalom, pripravnim i podatnim za obnavljačka glazbena preoblikovanja. Bio je to svojevrsni obiteljski dug, budući da mi je kćer marimbistica.“

The opus of the Croatian composer Igor Kuljerić (1938-2006) is particularly rich, diverse and difficult to classify. His compositions are regularly performed at home and abroad. He was very active as conductor and was among the most influential figures of Croatian cultural life. Kuljerić is the recipient of all the most important awards and was a member of Croatian Academy of Arts and Sciences.

“Toccata belongs to a particular area of composers’ interest, together with pieces like Chaconne or Risuono di gavotta which call for some specific musical forms of the past times. Its form invokes the persistence of the rhythm, activating and developing patterns from particular metric and interval cells. The ostinato model helps the blending of the two instruments – vibraphone and piano and changes the dialogue into a monologue. In this context, the two instrumentalists – the vibraphonist and the pianist, work as one priest who is performing an ironic mini ritual for the cult of the Great Mechanism. Intensive virtuosity builds the overall harmonic image. The melodic cells are exploring roots of Croatian music heritage and its deeper Slavic and Mediterranean layers.”

«The inspiration for the Concerto can be found in the African music and its rhythms and colors, the Gamelan tradition of rhythmical polyphony, with sounds and colors of wood, copper, glass, water… I wanted to merge the historic form of the concerto with the non-European traditions that live in the roots of the instrument and experience the marimba as a particular kind of piano with equally distinctive percussive and singing qualities. The orchestration was extremely important and I have used it to give to see the marimba under a new light. I gave a stronger percussive character to the strings for ex. The concerto is in three movements (following the traditional scheme fast-slow-faster) which are connected, the structure is complex and the transitions between musical situations are fast and driven by musical associations. The basic elements consist of small melodic and harmonic cells.

…I have always tried to contradict the musicologists` assertions that the traditional musical vocabulary has been fully exploited. I believe that if we put in different relations the so-called “impressionists” chord, polyrhythm’s or rhythmical repetitiveness (that are usually connected with specific composers) they will become a new and fresh material ready for new musical ideas and developments. Since my daughter is a marimbist, writing this concerto was in a way a family debt and I was very enthusiastic about it. “

Luis Camacho Montealegre is a Spanish percussionist who currently combines his Master Degree studies in Percussion at Zagreb Music Academy with prof. Igor Lešnik and the position of Deputy Percussionist in Croatian Radio-Television Symphony Orchestra. Having already finished his Bachelor studies in Conservatorio Superior de Música de Murcia with prof. Juanfra Carrillo, between his awards we find a First Prize in Perkulliria (2015), and two second prizes with his percussion duo Flam-a Duo in Percute Chamber Competition (Spain, 2016) and Universal Marimba Competition (Belgium, 2017).

Italian percussionist Francesco Mazzoleni was born in Venice from a family of musicians. In 2014 he concludes his bachelor degree at the conservatorio of Vicenza. In 2016 gets awarded with his percussion duo, Flam-a Duo in the “Percute international chamber competition” in Valencia, Spain. In July 2017 the duo gets the second prize of the “Universal Marimba Competition” in St. Truiden, Belgium. In 2018 he receives Dean’s annual reward at University of Zagreb Academy of Music where he is at the moment finishing his master degree in the class of prof. Ivana Bilić.

GROUP LEADER: Massimo Pastore

GROUP MEMBERS / PERFORMERS:
Massimo Pastore
Pietro Squarzon
Leonardo Tirindelli
Leonardo Tolio
Carlo Tosato
Andrea Zamengo

Short bio:
Founded and leaded by Massimo Pastore, teacher of percussion at the music Conservatorium of Padua, the Art Percussion Ensemble is actually one of the few dynamic Italian percussion Groups around on the musical scene. It played at a lot of concerts in Italy; among them at the International Chamber Music Festival of Portogruaro, at the Musical Holidays of Sappada, at the International Percussion Days of Bolzano with the participation of the composer Ney Rosauro. In March 2012 the group played with the Japanese marimba player Makoto Nakura during a special concert dedicated to the first anniversary of the earthquake in Japan and in 2015 together with Freiburg Percussion conducted by Bernhard Wulff.

It played “Les Noces” by Igor Stravinskj and “Canti di Prigionia” by Luigi Dallapiccola within the Concert Season of “Amici della Musica of Padova”. It was invited by the Royal Danish Academy of Copenhagen to play the first performance of works by Giovanni Bonato and Edoardo Gioachin and at The Hochschule of Freiburg playing Steve Reich’s Mallet Quartet; in between 2012 and 2014 the group took part to the European project ASTAPER in Krakow (Poland), together with other Percussion Groups, like Amadrums (Krakow), Persecussiò (Valencia) and the Freiburg Percussion Group. In 2015 was invited by the “Cini Foundation” of Venice for a special program with Luigi Nono’s music.

In 2011 it published the double CD “Light & Dark”, with a selection of the best works recorded in between 2004 and 2010; presently several musicians of the Ensemble play actively with important Orchestras and Theatres like “RAI” of Torino, Opera of Rome, Massimo Theatre of Palermo, Orchestra of Padua and Veneto, Orchestra of Fiesole.
Its repertoire, constantly updated, includes works by Keiko Abe, John Beck, Stefano Bellon, Giovanni Bonato, John Cage, Carlos Chavez, Edoardo Gioachin, Bo Holten, Takayoshi Yoshioka, Minoru Miki, Noriko Nakamura, Akira Nishimura, Luigi Nono, Eugene Novotney, Steve Reich, Ney Rosauro, Karlheinz Stockhausen, Tsuneya Tanabe, Simone Tessari, Erkki-Sven Tüür, Yannis Xenakis, Edgard Varèse, Anastasios Vasiliadis, Nebojsa Jovan Zivkovic.

Šimun Matišić rođen je 1996. g u Zagrebu. Trenutno je student 4. godine udaraljki u klasi profesora Igora Lešnika te 3. godine klasične kompozicije u klasi profesora Mladena Tarbuka. Član je mnogih ansambala među kojima se posebno ističe ansambl „Harlequin Art Collective“ koji se bavi izvođenjem djela J. S. Bacha te O. Messiaena, u kojem potpisuje aranžmane. Aktivno se bavi i jazz glazbom kao vibrafonist, bubnjar i skladatelj te do sada ima 3 diskografska izdanja za izdavačku kuću Croatia Records: Jazz Nocturno (2010. Trio), Fortune Smiles (2016. duo s Matijom Dedićem), Invocation (2018. sextet, autorska glazba).

Šimun Matišić is born in 1996. in Zagreb. He is currently student of 4th year of percussion with professor Igor Lešnik, and 3rd year of classical composition with professor Mladen Tarbuk. He is member of many ensembles, but he would like to point out ensemble “Harlequin Art Collective” who plays works of J. S. Bach and O. Messiaen, where he is also arranger of music. Alongside with classical he is also active in jazz music, like vibraphonist, drummer and composer, and has 3 albums recorded for Croatia Records: Jazz Nocturno (2010. Trio), Fortune Smiles(2016. duo with Matijom Dedićem), Invocation (2018. sextet, original music).

Jaan Štokelj Wu is a percussionist from Slovenia, who is currently in his second year of master’s studies at the Music Academy Zagreb with prof. Igor Lešnik. In 2016, he finished his Bachelor’s degree in Trieste, Italy with prof. Fabian Perez Tedesco. He plays in orchestras both in Slovenia and abroad and has won a number of prizes at percussion competitions, most recent one being the second prize at the Slovenian Competition for young musicians in 2015.

Damir Gregurić, klavir (Slavonski Brod, 1967.). Studirao na MA Sarajevo i MA Zagreb, gdje je diplomirao 1992. i magistrirao 1997. godine. Uz solističke nastupe surađuje s brojnim instrumentalistima, pjevačima, glumcima te kao član komornih ansambala, orkestara i raznih kazališnih, radijskih, televizijskih i filmskih projekata. Zaposlen je na MA Zagreb kao umjetnički savjetnik na odsjeku za dirigiranje, harfu i udaraljke.

Damir Gregurić, piano (Slavonski Brod, 1967.)
Studied at Music Academy Sarajevo and Music Academy Zagreb, where he graduated in1992. and achived master degree in 1997.Besides his soloistic work, Damir Gregurić perfromed with many instrumentalists, singers, dancers and actors. He also regularly appears with many chamber ensembles, orchestars as well as records for various radio, theatre, television and movie projects.
Damir Gregurić is employed at University of Zagreb Academy of Music department for conducting, harp and percussion as artistic counselor piano accompanist.

Zildjian concerto for One Multiple-percussion Player and Concert Band by Mladen Tarbuk was premiered in 1995 by Igor Lesnik as soloist with composer himself as conductor. The piece stands out as the first ever Croatian Multipercussion concerto composed as the diploma work of Mladen Tarbuk who in the meantime became one of the Croatian most internationally renowned composers and conductors. On the occasion of the IPEW19 the composer arranged his Zildjian Concerto for a world premiere with piano. The concert programme will showcase only the first movement subtitled “In Modo Classico” in which composer inspirationally expresses his understanding and appreciation of Dmitri Shostakovich’s opus.

Concerto for Percussion by F. Cibulka & I. Lesnik was premiered in 2002 by Igor Lešnik as an homage to the famous sympho-rock group Emerson, Lake & Palmer. Each movement of the work highlights different percussion instrument, while on the occasion of IPEW19 only the first movement with soloist on timpani was programmed. The piece stands out as the most frequently performed and recorded Croatian percussion concerto. Also, there are numerous arrangements of this music for various ensembles ranging from Symphony Orchestra and Symphonic Band to Percussion Ensemble and duo with Organ.

SPONSORS: Adams, Sabian, Sonor, Mike Balter

GROUP MEMBERS / PERFORMERS:
Andrés Pérez
Leandro Teixeira
Luiz Ferreira
Ricardo Monteiro

Short bio:

Simantra Percussion Group was formed in 2009 to give response to the need of having a group of studies and interpretative practices of the percussion music portfolio written in the XX and XXI centuries. Working as an artistic laboratory it also has the goal of interact the different artistic expressions (arts of the body and visual arts) with contemporary music. Simantra’s work values the Portuguese and international percussion repertoire by making premiers, first auditions and music pieces by order.

The recovery (archive and music conduction/execution) of historical pieces that belong to the Portuguese repertoire but are barely known by the public is also a concern of Simantra Percussion Group. Simantra Percussion Group also performed by the famous Quórum Ballet and played alongside with the international solists Mark Ford (EUA), Katarzyna Mycka (POL), Kuniko Kato (JAP), Ching Chen Lin (TWN), Vasco Ramalho (POR) and Ludwig Albert (BEL).

The Group also performed in the CIANTEC’09 – International Congress of Art, New Technologies and Communication, in “Guimarães 2012” European Capital of Culture, in the CísterMúsica – Alcobaça’s Music Festival, in several editions of Tomarimbando – International Percussion Festival of the city of Tomar (Portugal), in the International Percussion Festival of the city of Portimão (Portugal), In the Internacional Percussion Festival of Patagonia (Argentina), in the Festival da Primavera – Internacional Music Festival of city of Viseu (Portugal) in the Groove Alentejo Internacional Percussion Festival of Alentejo (Portugal) and on the Internacional Festival of Marimbists and Percussions of Villahermosa (México). The group consists of Andrés Pérez, Leandro Teixeira, Luiz Ferreira and Ricardo Monteiro.

He was born in 1982 in Reguengos de Monsaraz – Portugal and began his musical studies at the age of 12 at the Vocational School of Music in Évora, a course he completed in 2000 with high classification. In the same year he entered the University of Evora where he graduated in percussion in the year 2005. While student of this institution was awarded with a scholarship of merit two consecutive years, prize attributed to the best students of each course. Between 2006 and 2008 attended a Post -Graduation in solo marimba at the Royal Conservatory Antwerp – Belgium with Professor Ludwig Albert.

He participated in several courses and international festivals of which stands out: Zeltsman Marimba Festival 2003 that took place in Aplleton – WI – USA; Ludwig Albert Academy 2006 – Belgium; Keiko Abe Academy 2007 – Belgium where she worked with Keiko Abe; IPEW 2008 – Croatia. Festival of music of UÉ 2013, Tomarimbando 2014/2017, Percussion Friends 2017 in the Conservatory of Amsterdam, among others.

He is artistic director of the VII editions already realized of the International Festival of Percussion city of Portimão, event organized by the Academy of Music of Lagos. He was also artistic director of the VII edition of the Ludwig Albert Summer marimba Academy in 2014, I FIPAC in Reguengos de Monsaraz and I Percussion Festival of Évora.

Member of Duo Guirimbadu with the guitarist Eudoro Grade.

In July 2017 he released his first CD, Vasco Ramalho – Essências de Marimba, Fados & Choros.

Since April 2012, Vasco Ramalho is artist Adams, one of the most renowned brands of percussion instruments worldwide.

Luiz Ferreira (POR) – Djum Djum
Work for four djembés and electronics, composed for the Simantra Percussion Group and designed for the Mosaic project. It is based on rhythms and the repetitive character of traditional African music.

Steve Reich (EUA) – Mallet Quartet
Writing for 2 vibraphones and 2 marimbas is composed of 3 tempos – fast, slow, fast. In both rapid movements the marimbas support a static harmonic base relating in canon while the vibrafones present the melodic material. In the central movement the texture changes to a lower density, in particular in the marimbas, being therefore the most unexpected tempo.

Keiko Abe (JAP) – The Wave
This is one of the most spectacular pieces from the Japanese marimba player and composer Keiko Abe. Keiko was commissioned to compose a new piece for the concert of the commemoration of 400 years of Japanese – Dutch Relations, i.e. Mr Siebold had come from Europe exceeding the wave and the exchange of culture or business with European countries started 400 years ago. The tittle “The Wave” was given with the meaning that Mr. Siebold crossed the sea and with a hope that the marimba would spread like a wave.

Guerra Peixe (BRA) – Mourão arr. Vasco Ramalho
Written for viola and violin, the composer did a version for Symphonic Orchestra. Is one of his most famous songs, here with an arrangement for marimba ensemble and percussion.

Augusto Marcellino (ARG) – Choro 1 & 9 arr. Gordon Stout – marimba ensemble version by Vasco Ramalho

This two pieces written originally for solo guitar, was transcripted and arranged by de the american marimba player Gordon Stout, here with a marimba ensemble arrangement by Vasco Ramalho.