n i r g e n e Mont
Guitar Duo Goran Krivokapić & Danijel Cerović
Nova glazba za gitaru
mjesto ulaska u gnostičke, posvećene prostore Nove muzike, pristupačan U gitaristički program ovog CD-a nudi pitku
muziku 20. vijeka, atraktivnu i «običnimð zaljubljenicima u muziku, ali i muziku koja u sve tri kompozicije poznatim muzičkim uzorcima pridodaje nova značenja. Pridjev nova ovdje govori o jednostavnom, ali ipak novom oblikovanju melodijskih, harmonskih, ritmičkih, interpretacijskih i drugih ćelija, te muzičkih stilova i pravaca koji su sastavni dio odrastanja i života savremenog čovjeka. Stoga kompozicije s ovog CD-a mogu savremenim kompozitorskim praksama i danas poslužiti kao primjeri muzike okrenute konzumaciji publike.
rostavačna Tango svita br. 1 za dvije gitare T neprikosnovenog «kralja tangað Astora Pjacole (Astora Piazzolle, 1921-1992), objavljena je 1985. godine, i posvećena poznatim gitaristima ð braći Serđu i Odairu Asadu (Sérgiu i Odairu Assad). O širokoj popularnosti kompozicije svjedoče
mnogobrojne obrade, koje su tokom prethodnih 25 godina nastajale za različite izvođačke sastave. S obzirom da za Pjacolu gitara nije uobičajen instrument, umjesto kompozitorskih nedorečenosti koje bismo ovdje mogli očekivati, ovu kompoziciju odlikuje majstorski rukopis do granice koja muziku čini svime onim što je široj publici poznato kao jedinstveni Pjacolin stil. Virtuozna, rascvjetana, senzualna dramatika, naglašena sinkopiranim ritmovima ispunjenim energijom, sentimentalnošću i emotivnošću koje otkrivaju melodije lunghe drugog stava i nestalna horizontalna polimetrija poput one između 4/4 i 6/8 (u prvom stavu) ili 4/4 i 5/4 (u drugom stavu) pripadaju do tada već dobro razvijenom i utvrđenom Pjacolinom stilu tango nuevo. Inovativnost stila tog novog tanga, kojeg su ranijih godina napadali zagovornici konzervativnijih struja, na izrazit je način označena harmonskim specifičnostima. Jedna od njih je visok stepen prisutnosti hromatskih kretanja, skokova i sekvenci, što kompoziciju čini prototipom Pjacolinog zrelog stila. Zanimljivo je i zgušnjavanje harmonskog jezika u kodi 3. stava, koje prevazilazi očekivana Pjacolina
harmonska rješenja. Muzička tradicija primjećuje se u učestalom korišćenju ostinatnih harmonskih struktura, čija se zvučna upečatljivost postiže ritmičkim usitnjavanjem. Tome se pridružuje i razrada cjelokupnog tonskog materijala u vertikalnom i horizontalnom smislu. Uticaj kontrapunktskih tehnika na Pjacolin stil vidljiv je u fragmentarnim kompozicijskim principima pasakalje u 1. stavu koje ne percipiramo kao takve - oni nestaju i prije nego što su se razvili. Gledajući iz širih istorijskih perspektiva, sve su to postupci uočljivi i u djelima majstora devetnaestog (katkad i osamnaestog) vijeka, ali i utemeljivača Nove muzike.
uzika za cirkus op. 54a (komponovana 1992. godine) Karla Domenikonija M (Carlo Domeniconi), jedna je od najizvođenijih
kompozicija ovog italijanskog kompozitora. Domenikoni u sedam od devet stavova koristi melodijske uzorke i tempa popularnih i narodnih pjesama i igara, poput tanga, valcera, sirtakija, pasodoblea, kan-kana, svinga... Stavovi su s jedne strane zamišljeni kao programska muzika čije je vanmuzičko značenje podcrtano deskriptivnim naslovima u cilju zvučnog «oslikavanjað cirkusa i njegovih karakterističnih likova na nivou asocijativnosti. S
druge strane, sama zvučna realizacija je muzička parodija. Izazovi interpretacije ove kompozicije ili pojedinih njenih djelova počivaju u izuzetnoj pjevnosti, jednostavnosti i transparentnosti notnog zapisa većine stavova. Ipak, ova fiktivna jednostavnost u sebi nosi nešto od međuprostora između umjetničkog i trivijalnog, koje je u prvoj polovini 20. vijeka majstorski inaugurisao Erik Sati (Erik Satie). Dokaz tome su i dva stava (“Pačja trka” i “Jogi koji je nestao kroz ključaonicu”) koji izlaze iz područja parodiranja i dotiču područje Nove, ali i indijske muzike.
osljednja kompozicija na CD-u je Sonata P fantasia za dvije gitare, koju je Dušan Bogdanović komponovao između 1991. i 1992.
godine. Poput Pjacoline Tango svite, i ova je kompozicija posvećena braći Asad. U svojih desetak minuta ona predstavlja bogati zvučni imaginarij, nastao vještim spajanjima tradicijom naslijeđenih muzičkih formi i savremenih kompozitorskih pristupa. Tri stava (Allegro ritmico, Adagio rubato, Allegro molto) u notnom su zapisu spojeni u jedinstvenu cjelinu, a izvođenjem stavova bez uobičajene pauze postižu se poseban unutrašnji doživljaj i kohezija. Prvi stav u izuzetno jasnom formalnom okviru sonatnog oblika spaja se pomoću meditativnog
drugog stava s trećim, brzim stavom u obliku ronda. Pored elemenata džeza, nailazimo tu i na efekte svojstvene električnoj gitari, afričke ritmove i prizvuke indijske muzike, melodijske orijentalizme i pentatonske obrasce... No, time se ne iscrpljuje imaginarij: gotovo brutalna vertikalna sazvučja stravinskijevog i bartokovog prizvuka, kao i debisijevski crtež notnog zapisa u 3. stavu ukazuju na velik broj podsvjesnih kompozitorskih postupaka. Te unutrašnje slojeve naziremo i u području tempa. Rezultat je nevjerovatna vitalnost ove muzike: u prvi mah ona nam se čini jednostavnom, dijelom svakodnevnice, gotovo muzikom kojom smo neprestano okruženi. Istovremeno, njenu složenost možemo prepoznati svakim novim slušanjem, otkrivajući uvijek nove elemente. Komunikativnost ove sonate drugačijeg je karaktera od one Pjacoline. No, obije posjeduju iskonsku iskru koja se u istoriji muzike najčešće imenuje kao spoj nadarenosti i poznavanja tradicija klasične muzike, etno-muzike u širem smislu, ali i savremene popularne muzike. Ipak, naglasimo da se ne radi o danas popularnom “cross-overu”. Ovdje su predstavljene kompozicije koje su sastavni, pa i reprezentativni dio sveukupnog muzičkog repertoara za dvije gitare. Jer - kvalitetna umjetnička muzika uvijek je nastojala sintetizovati višestruke muzičke pojave. Helena Novak Penga
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u*san
B.
New music for guitar
of entering the Gnostic, hallowed halls of New Music, the accessible guitar program Ionnstead this compact disc offers an undemanding
selection of 20th century music, attractive to “ordinary” music-lovers, it also offers of three compositions which give new meaning to wellknown musical forms. The adjective new does not refer to speculative musical realms but to a simple, yet new, molding of melodic, harmonic, rhythmic, interpretational, and other facets, as well as works in styles and directions which are a basic part of the life and growth of the people of today. Thus the works on this CD can serve contemporary composers as example intended for a wide audience.
he three-movement Tango Suite no. 1 for T two guitars by the undisputed authority ð the “King of Tango” Ástor Piazzolla (1921-1992), was published in 1985 and dedicated to the guitarist brothers, Sérgio i Odair Assad. The great variety of arrangements written in the last 25 years
testifies to the wide popularity of this piece. As the guitar is not typical instrument Piazzolla used, one might expect a composition for two guitars to be an understatement. Nevertheless, a masterful polish adorns this work to the point of making it the embodiment of all that audiences recognize as Piazzollaðs unique style. Sentimentality, emotion, and a virtuoso, florid, sensual drama accented with energetic syncopated rhythms, shown by expansive melodies in the second movement as well as the unstable polymeter (such as between 4/4 and 6/8, in the first movement, and 4/4 and 5/4, in the second), belong to Piazzollaðs already well-developed Tango Nuevo style. The innovativeness of new tango, which was criticized by conservative factions in early years, has distinctive harmonic peculiarities. One of them is the prevalence of chromatic slides, leaps, and sequences, which was to be a prototype of Piazzollaðs mature style. he compressed harmonic language in the coda of the third movement, which exceeds the harmonies one would expect in Piazzolla, is also interesting. The musical
T
tradition is noticeable in the frequent use of an ostinato harmonic structure, whose sonoral distinctiveness is achieved by rhythmic fragmentation. To this is added the entire musical material in the vertical and horizontal sense. The influence of counterpoint on Piazzollaรฐs style is visible in the fragmental compositional principles of the passacaglia in the first movement which we do not perceive as such รฐ they disappear before they develop. Seen from a broad historical perspective, this is all to be found in the masters of the 19th (and sometimes of the 20th) century, but also in the founders of New Music.
arlo Domeniconi's Circus Music, op. 54a C for two guitars is one of his most performed works. This work in itรฐs nine movements represents an entirely different atmosphere. In seven of the movements, Domeniconi uses melodic devices and tempos of popular and folk tunes and dances, such as the tango, waltz, sirtaki, pasodoble, can-can, swing, etc. The movements are, one the one hand, conceived as program music whose symbolism is underlined by descriptive titles meant to conjure up the circus and its drama. On the other hand, the result is one of musical parody. The guarantee
of this compositionðs performance, or of parts, rests on its exceptional singability and the transparent texture of most of the movements. Nonetheless, this apparent simplicity bears within itself something of the grey area between the artistic and the trivial, as was masterfully introduced by Eric Satie in the first half of the 20th century. Proof of this lies in two movements (Duck Race and The Yogi Who Disappeared through the Keyhole) which cross from parody of the banal toward New Music and even East Indian music.
he last work on the CD is Sonata Fantasia T for two guitars, which Dušan Bogdanović wrote in 1991-92. Like Piazzolla's Tango Suite, this work is dedicated to the Assad brothers. In its ten minutes, this music presents rich musical imagery arisen from skillful amalgamation of traditional musical forms and contemporary approaches. The three movements (Allegro ritmico, Adagio rubato, and Allegro molto) are connected together, and performing without breaks lends an internal experience and cohesion. The first movement, in a clear, formal sonata-allegro form, joins with the help of a meditative second movement, with the third, quicker movement in rondo
form. Along with a jazz element, we find here effects typical for the electric guitar, African rhythms and traces of East Indian music, melodic orientalism and pentatonic patterns, etc. Yet this does not exhaust the imagery: almost brutal vertical harmonies with strains of Stravinsky and Bartók and Debussyðs sketch of music point to a great number of compositional approaches. We can sense these internal levels in the area of tempo. The result is the unbelievable vitality of this music: it seems at first like simple, everyday, almost like the music which surrounds us constantly. At the same time, each new listening reveals more of its complexity of new elements. The communicativeness of this sonata is of a completely different nature from that of Piazzolla. Yet both contain a primordial spark which is most often considered the marriage of talent and knowledge of classical musical tradition, ethno music in the broad sense, but also of contemporary popular music. Still, we can emphasize that this is not a case of popular crossover. Here are presented works which are an essential ð even representative ð part of the repertoire for two guitars. Art music of quality has always strove to synthesize multiple musical phenomena. Helena Novak Penga
Ástor Piazzolla: Tango Suite Astor Pjacola : Tango svita 1. Deciso (Tango No. 1) 2. Andante (Tango No. 2) 3. Allegro (Tango No. 3)
Carlo Domeniconi : Circus Music op. 54a for two guitars Karlo Domenikoni : Muzika za cirkus 4. The Argentine Knife Thrower / Argentinski bacač noževa 5. Spanish Riders on Greek Horses / Španski jahači na grčkim konjima 6. The Wax Museum / Muzej voštanih figura 7. The Duck Race / Trka pataka 8. Plik, the Flea of the Andes / Plik - buva s Anda 9. The Ural Magic Voice and the Don Cossaks / Magični uralski glas i donski Kozaci 10. The Fire Brigade “On ice” / Vatrogasna brigada na ledu 11. The Yogi who Dissappears through the Key Hole / Jogi koji nestaje kroz ključaonicu 12. The Orchestra Says Good-Bye / Orkestar kaže doviđenja
Dusan Bogdanovic : Sonata Fantasia for two guitars Dušan Bogdanović : Sonata Fantazija za dve gitare 13. Allegro ritmico 14. Adagio, rubato 15. Allegro molto
Producent / Producer: Vanja Lisjak Snimatelj / Filip Vidović, Morris-Studio, Zagreb Post-produkcija & Mastering / Postproduction & Sound Master: Filip Vidović, Morris-Studio, Zagreb Tekst / Text: Helena Novak Penga Prijevod / Translation: Johnatan Zalusky Fotografi / Photographers / Vedran Kocelj & Tomislav Kovačić Dizajn / Artwork & Design: Goran Ivšić Urednik / Editor: Žarko Mirković Izdavač / Publisher: Muzički centar Crne Gore / Montenegrin Music Center Gitara / Guitar: Andres D. Marvi Žice / Strings: Savarez Snimano / Recorded at: Dom udruge Češka beseda, Zagreb
MUZIČKI CENTAR CRNE GORE / MONTENEGRIN MUSIC CENTER Rektorat UCG Bulevar Džordža Vašingtona bb 81000 Podgorica, Montenegro tel / phone +382 20414 262 fax / fax +382 20414 263 mob / GSM +382 68245980 www.muzickicentar.com
Goran Krivokapic, rođen 1979, jedan
je od vodećih gitarista mlađe međunarodne muzičke scene. Razlozi za to su njegova tehnička virtuoznost kao i karakteristične interpretacije starog i novog repertoara. obitnik je 18 prvih nagrada na međunarodnim takmičenjima, te više regionalnih i međunarodnih priznanja (Oktobarska Nagrada Herceg Novog, priznanje za najboljeg mladog gitaristu godine i najbolji kompakt disk godine). Godine 2004. pobjeđuje na prestižnim takmičenjima u Sjevernoj i Južnoj Americi - "GFA“ (Kanada) i ðDr. Luis Sigal“ (Čile). Krivokapić od tada nastupa u najznačajnijim svjetskim koncertnim salama.
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ao solista, Krivokapić je nastupao uz K pratnju renomiranih orkestara iz Crne Gore,Srbije,Čilea,Mađarske, Njemačke,
Italije i Rumunjske. Gost je na brojnim međunarodnim festivalima i univerzitetima, kao izvođač, predavač ili član žirija. O njemu je snimljeno nekoliko dokumentarnih filmova (TV Crne Gore, TV Arte), a kao izvođač ili gost je nastupao na više radio i tv stanica, kao FOX7, Fine Music Radio, Hessische Rundfunk, WGBH Radio Boston, WDR...
O Krivokapiću su pisali: Classical Guitar Magazine (Engleska), Akustik Gitarre (Njemačka), Gendai Guitar Magazine (Japan), Les Cahiers de la Guitare (Francuska), Musica (Italija), Seicorde (Italija), MobilArt (Crna Gora), Stampa (Italija). Njegov fokus je na razvoju novih djela za gitaru, pretežno kroz transkribovanje, ali i saradnju sa savremenim kompozitorima. d 2010. godine, Goran Krivokapić vodi klasu studenata na postdiplomskim studijama na Međunarodnoj Akademiji Gitare u Koblencu, Njemačka.
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Goran Krivokapic, born 1979, is
one of the leading guitarists of the young international scene. Beside his technical virtuosity, reason for this is his characteristical interpretation of old and new repertoire. Apart from winning eighteen international competitions, he received several awards at the annual "International Guitar Convention in Alessandria�, Italy: 2005 as the best young guitarist of the year and 2006 for his debut CD "Best CD of the Year". His breakthrough came in 2004 as winner of the two most prestigious competitions in North
and South America (Canada and Chile).
ince then he has performed in the most S prestigious halls all over the world. As a soloist, Goran has performed accompanied by
orchestras from Montenegro, Serbia, Chile, Hungary, Germany, Italy and Romania. As an artist, lecturer and adjudicator, he is a frequent guest at many international festivals and universities. Several television documentaries were made about him (TV Montenegro, TV Arte) and he performed for and gave interviews to TV and radio stations such as FOX7, Fine Music Radio, Hessische Rundfunk, WGBH Radio Boston, WDR. Various newspapers and music magazines wrote about him: Classical Guitar Magazine (UK), Akustik Gitarre (Germany), Gendai Guitar Magazine (Japan), Les Cahiers de la Guitare (France), Musica (Italy), Seicorde (Italy), MobilArt (Montenegro), Stampa (Italy). Goran Krivokapic's focus is on the development of new works for classical guitar, mainly through transcribing Baroque and Classical works, but also collaborating with contemporary composers. Since 2010 he lectures a class of post-graduate students at the Koblenz International Guitar Academy.
Danijel Cerović diplomirao je
gitaru na Fakultetu muzičke umetnosti u Beogradu u klasi profesorke Vere Ogrizović, a master studije za gitaru završava na Konzervatorijumu u Mastrihtu (Holandija) u klasi Karla Markjonea. Magistrirao je na Muzičkoj akademiji na Cetinju , i usavršavao se na majstorskim kursevima kod poznatih inostranih izvodjača i pedagoga. obitnik je brojnih priznanja na takmičenjima za gitaru u regiji i u inostranstvu. Kao solista i član kamernih ansambala često nastupa na festivalima u zemlji i inostranstvu ( Crna Gora, Srbija, Bugarska, Hrvatska, Slovenija, Makedonija, Grčka, Njemačka, Holandija, Španija). Kao solista nastupao je sa Crnogorskim simfonijskim orkestrom, s Orkestrom RTVCG, Mossani Strings (Holandija), Kvartetom Rubikon, kao i sa istaknutim domaćim i inostranim umjetnicima kao što su Amanda Stojović, Goran Krivokapić, Bojan Martinović, Milena Gjurova, Olivera Dukić i dr.
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Danijel Cerović je jedan od osnivača i umjetnički direktor nikšićkog Guitar festivala. Od 2003.godine angažovan je kao stručni
saradnik u nastavi na Muzičkoj akadamiji na Cetinju. Član je odbora za muziku pri CANU, a bio je i profesor na katedri za gitaru Muzičke akademije u Istočnom Sarajevu. Snimio je solistički CD sa djelima Skarlatija, Sora i Đulijanija kao i CD muzike za glas i gitaru u okviru Amarilli dua. Često snima i za potrebe radijskih i televizijskih emisija (RTCG, RTS, RTVNK, BNT).
Danijel Cerovic graduated on the
Faculty of Music Arts in Belgrade in the class profesor Vera Ogrizovic. and completed his master studies in guitar at the Conservatory in Maastricht (The Netherlands) in the class of Carlo Marchione. At the Music Academy in Cetinje he obtained master degree. He attended master courses with renowned foreign performers and educators .
erovic won numerous awards in competitions C for guitar here and abroad. D. Cerovic regularly performs as a soloist and member of chamber
ensembles at domestic and international festivals (Montenegro. Serbia, Bulgaria, Croatia, Slovenia, Macedonia, Greece, Germany,The Netherlands, Spain). As a soloist he has performed with the Montenegrin Symphony Orchestra, the Orchestra of Montenegrin Radio and Television, Mossani Strings (The Netherlands), Rubicon Quartet, as well as with prominent national and international artists such as Amanda Stojovic, Goran Krivokapic, B. Martinovic, M. Gjuro, O. Dukic and others.
Danijel Cerovic is co-founder and artistic director of the Niksic Guitar Festival. Since 2003 he is hired as an expert teacher at the Music academy in Cetinje. He is a member of the Board for music at CANU, and was a professor of guitar at the Music Academy of Eastern Sarajevo. As a soloist, he has recorded CD with music by Scarlatti, Sor and Giuliani. As a member of Duo Amarilli, he has recorded CD with music for voice and guitar. Cerovic is regularly recording for radio and television broadcasts (RTCG, RTS, RTVNK, BNT).