Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
54. dubrovačke ljetne igre 54th Dubrovnik Summer Festival 2003 Hrvatska Croatia MARIO NARDELLI gitara guitar Atrij Kneževa dvora Rector's Palace Atrium 13. srpnja 13th July 21.30 9.30 p.m. Mario Nardelli st. sr.: Dubrovački nocturno Dubrovnik Nocturne Mario Nardelli st. sr.: Omaggio a Boris Ulrich Mario Nardelli st. sr.: Tri folklorne impresije Three Folk Impressions Allegro moderato Moderato libero Allegro Mario Nardelli st. sr.: Syncopato Suite Lazy Cool Joke **** Wolfgang Muthspiel: Tonspiel Dušan Bogdanović: Jazz-sonata Allegro Moderato Poco allegro Vivo Astor Piazzolla: Verano Porteno Astor Piazzolla: La Muerte de Angel Croatian guitar player Mario Nardelli (1961) born in Zagreb, started to play the guitar at a very early age. Having completed the secondary music school in his homeland, he began to study at the Music University in Graz with Leo Witoszynsky (as a holder of the scholarship by the Austrian Ministry of Education and Culture), wherefrom he graduated with honours. After graduation he launched into a remarkable concert career; he intensively performs throughout Europe, North and South America, the Far East and works with the most prestigious artists from the world of classical and jazz music such as Rafael Catala, Wolfgang Muthspiel, Werner Tripp, Ernst Meyer, Markus Schrimer and others. Ever since the beginning of his artistic career he has been trying to reconcile and unite various music genres, from classical and jazz to pop and ethno music, which is precisely how the tonight’s programme is composed. He is engaged in pedagogic work: he is a full time professor at guitar festivals in Lockenhaus (Austria), Balatonalmádi (Hungary), Mikulov (Slovakia), Ankara, Donjeck (Ucraine) etc. He is an honorary professor at the Hacetipe University in Ankara. Mario Nardelli is also a successful producer: the Austrian Reiffeisen Bank entrusted him with organization of the Reiffeisen Classics concerts. Croatian composer, arranger and guitar player Mario Nardelli Sen., the artist’s father, was born in Dubrovnik on 20th May 1927 and died in Zagreb, exactly ten years ago, on 13th July 1993. He graduated from the Zagreb Academy of Music. He was engaged at the Dubrovnik National Theatre and since 1949 he lived in Zagreb, where, until 1982, he was engaged as a music editor, producer, arranger, orchestra member and conductor at the Croatian Radio. For many years he was a guitar player and artistic director of the Vocal-instrumental group Dalmacija. His compositions, for which he himself wrote lyrics, won numerous awards at pop music festivals and his works were published both in the country and abroad. Particularly prominent are his orchestral, concert, vocal and solo compositions. Dubrovnik Nocturne, dedicated to composer's native town, was composed in 1973 and adapted in 1988. In this harmony-wise audaciously elaborated and free rhythm piece, however, Dubrovnik is conjured up in darker colours; depressive mood of the piece is in contrast with all known perceptions about the city. Omaggio a Boris Ulrich, composed in 1983, is dedicated to the author's friend, (who prematurely died of leukemia) the Croatian composer and pianist Boris Ulrich (1931-1983), the winner of the prestigious UNESCO International Composers Award in Paris (1972). A slow, melancholic melody runs and gradually develops through the harmony-wise interestingly composed tone tissue, which in some sections reminds of the blues. Regardless of the very slow tempo, one can feel a dramatic beat pulse throughout the whole composition. The Three Folk Impressions, composed in 1976 are based on irregular rhythms (5/8, 7/8 and 9/8) as well as on the Oriental melos, therefore Nardelli can be claimed a predecessor of ethno-wave that spread to Europe in late 90s. The harmony does not play a major role here, which is quite unlikely for the composer, because what is essential here is the rhythm, which simply does not cease to resound both in the first and final movement. Broken by cadenzas, the second movement has a very free rhythm; it is based on the major second, the interval that is so typical for Eastern music. Nardelli composed his Syncopato Suite in 1978 and dedicated it to his son. In the title of this, at the time surprisingly brave, composition there is a witty play of words :syncopato = in Croatian: suffer, my son! The piece is exclusively composed in a jazz-idiom, which is evident in the titles of the movements. Namely, at that time it was unimaginable for a classical music artist to perform in a jazz manner at a classical music concert. A very demanding performing technique of the piece requires a special feeling for performing jazz from the musician. Austrian guitar player and composer Wolfgang Muthspiel (1965) was born in Judenburg, Austria. He started to study the violin at an early age, believing at first his interest in the guitar to be a hobby. In time the things changed and his love for the guitar grew stronger. He therefore went to study jazz and classical music at the Music University in Graz. Still a student, he arranged Bach's Goldberg Variations for two guitars together with the tonight's soloist. The duo brilliantly world premièred the piece at the Bach Music Days festival in Seckau, Austria. Having arrived to the Boston Jazz Academy, Muthspiel definitely turned to jazz. He was there discovered by Garry Barton, with whose Quintet he went on a two years world tour. After a tremendous success of the tour he dedicated himself solely to creating his own music and projects. The members of his group were, among others, Chick Correa, Garry Burton, Mick Goodrick and Garry Peacock. He makes many return visits to prestigious jazz festivals (Montreux, New York, Toronto, Paris, San Francisco, etc.). Major music festivals (such as Salzburg) commission his new orchestral works that are being performed with great success. He is now based both in Vienna and New York. The Tonspiel (The Play of Tones) was composed in 1986. A wide cadenza from the very beginning of the composition turns into minimalism by a sudden contrast, and out of spite to stark academic composing rules. In the moment when the harmonic and rhythmic tensions culminate, the composer-designer gives the performer a complete freedom and an opportunity to improvise in the place of a nonexisting cadenza. The guitar player and composer Dušan Bogdanović (1955) was born in Belgrade. He studied the composition and the orchestration at the Geneva Conservatory (with P. Wissmer and A. Ginastera) and his guitar teacher was the famous Maria Livia Sao Marcos. At a very early age he won the International Guitar Competition in Geneva and his recital at the Carnegie Hall in New York in 1977 was triumphantly received. He lectured at the Geneva Conservatory and the South California University and presently teaches the guitar and composing at the Music University in San Francisco. He performed in many European countries, as well as in the USA and Japan. He also worked with renowned chamber ensembles (such as De Falla Trio, the guitar and harpsichord duo with Elaine Comparone, etc.) and jazz musicians like James Newton, Milcho Leviev, Charlie Haden, Miroslav Tadić, Mark Nauseef and Anthony Cox. He has a huge discography both as a performer and composer. His extensive composing opus ranges from simple solo forms to complex orchestral pieces, in which his interest for folk music manifests always in a different way. Very interesting are his works in the field of the theory of polyrhythm and polymetric, as well as his analysis of the three-voice counterpoint, renaissance guitar improvisation and also a structural study of motive transformation in composing and improvising regardless of the style. He also collaborated in multidisciplinary projects including music, other arts, psychology and philosophy. Bogdanović composed his Jazz-sonata in 1982 after one of his travels to the African Continent. Namely, on each of his journeys he records and makes notes of the local music, which he later uses in his works in an original way. A music critic of the American magazine Il fronimo wrote: ‘That what Dušan Bogdanović composes can not be compared to anything in the 20th Century music’. The basis of the Jazz-sonata is a distinctive rhythm; yet it is not a conventional jazz-rhythm, but an irregular rhythm that is incomprehensible for an educated European mind. In this piece the composer strives to reach the very roots of jazz that are implanted in the music of uncivilised tribes which Bogdanović met during his travels. The composition style is therefore more exotic and discovering in comparison to typical jazz sound. Technically very demanding, the piece leaves many voids for performer’s free improvisation. The great Argentinian tango master Astor Piazzolla (1921-1992) thus commented the trademark of his art: ”Tango is not merely a dance but a story. This is where one dies and is born, this is where crime and hate blend with love and passion. Tango knows no happy ending ... Tango is a life full of happiness and disappointment, filled with contrasts that hurt but also heal...” Verano Porteno and la Muerte de Angel are compositions saturated with soft harmonies and a constant lethal rhythm of tango which unnoticed runs through their tissue. Applying almost all style directions of nowadays, Piazzolla managed to transform a relatively simple form of this dance into a high and demanding music form that had been accepted by the entire world a long time ago. D. Detoni