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Anđelko Klobučar

Tri duhovna stiha za dva soprana i klavirski trio (1990)

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Muzika za orgulje i orkestar (1987) 25:06

Anđelko Klobučar, orgulje Simfonijski orkestar HRT, dirigent: Veseljko Barišić Snimljeno 11. studenoga 1987. Majstor tona: Matija Brkić

Suzana Marinković, Lucija Marinković — soprani Zagrebački klavirski trio: Eleonora Ernoić, violina, Martina Radović, violončelo i Ljerka Pleslić–Bjelinski, klavir Snimljeno 08. svibnja1990. Majstor tona: Mladen Roško

3. gudački kvartet (1990) 1 2 3

Moderato Largo Allegro maestoso

Zagrebački gudački kvartet: Goran Končar, 1. violina, Goran Bakrač, 2. violina, Ante Živković, viola, Josip Stojanović, violončelo Snimljeno 28. lipnja1991. Majstor tona: Radan Bosner

3:53 2:49 3:40

Sonatina za klavir četveroručno (1979) Klavirski duo Ljubomir Gašparović i Emin Armano Snimljeno 2. ožujka1992. Majstor tona: Radan Bosner 4 5 6

Allegro con brio Largo Presto

11 Maestoso 12 Allegro 13 Larghetto 14 Vivace

2:35 4:01 2:53

Concertino za dva kontrabasa i gudački orkestar (1983) Mario Ivelja i Stjepan Pergar, kontrabasi Simfonijski orkestar HRT, dirigent: Pavle Dešpalj Snimljeno 15. srpnja1988. Majstor tona: Matija Brkić

Sonata za altovski saksofon i klavir (1982) Dragan Sremec, saksofon i Mirna Nochta, klavir Snimljeno 18. svibnja1985. Majstor tona: Matija Brkić 7 8 9

Allegro Largo Vivace

3:10 3:04 4:31 2:43

15 Moderato 16 Largo 17 Allegro maestoso

3:38 4:35 3:20

2:40 2:24 2:23

Ukupno trajanje: 77:32 2

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Three Spiritual Verses for Two Sopranos and a Piano Trio (1990)

Moderato Largo Allegro maestoso

3rd String Quartet (1990.) Zagreb quartet: Goran Končar, 1st violin, Goran Bakrač, 2nd violin, Ante Živković, viola, Josip Stojanović, cello Recorded on June 28, 1991 Sound engineer: Radan Bosner

3:53 2:49 3:40

Sonatina for Piano Four Hands (1979)

11 Maestoso 12 Allegro 13 Larghetto 14 Vivace

Piano duo: Ljubomir Gašparović and Emin Armano Recorded on March 2, 1992 Sound engineer: Radan Bosner 4 5 6

Allegro con brio Largo Presto

3:10 3:04 4:31 2:43

2:35 4:01 2:53

Concertino for Two Double Basses and a String Orchestra (1983)

Dragan Sremec, saxophone and Mirna Nochta, piano Recorded on May 18, 1985 Sound engineer: Matija Brkić

Mario Ivelja and Stjepan Pergar, double basses Symphony orchestra of the Croatian Radiotelevision, conductor: Pavle Dešpalj Recorded on July 15, 1988 Sound engineer: Matija Brkić

Sonata for Alto Saxophone and Piano (1982)

7 8 9

25:06

Anđelko Klobučar, organ Symphony orchestra of the Croatian Radiotelevision, conductor: Veseljko Barišić Recorded on November 11, 1987 Sound engineer: Matija Brkić

Suzana Marinković and Lucija Marinković — sopranos Zagreb piano trio: Eleonora Ernoić, violin, Martina Radović, cello i Ljerka Pleslić — Bjelinski, piano Recorded on May 8, 1990 Sound engineer: Mladen Roško 1 2 3

Music for Organ and Orchestra (1987)

Allegro Largo Vivace

15 Moderato 16 Largo 17 Allegro maestoso

3:38 4:35 3:20

2,40 2,24 2,23

Total time: 77,32 3

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Skladatelj, orguljaš i glazbeni pedagog Anđelko Klobučar (Zagreb, 1931.), diplomirao je 1955. na Teorijsko–historijskom odsjeku Muzičke akademije u Zagrebu, a također je pohađao i studij kompozicije (kod Mila Cipre) i orgulja (kod Franje Lučića). Usavršavao se od 1959. do 1960. u orguljama kod Antona Nowakowskog u Salzburgu i u skladanju kod Andréa Joliveta u Parizu 1965. i 1966. godine.

Composer, organist and music educator, Anđelko Klobučar (Zagreb, 1931), graduated in 1955 from the Department of Music Theory and History of the Music Academy in Zagreb. He also studied composition (under Milo Cipra) and organ (under Frano Lučić). He continued his professional development in organ under Anton Nowakowski in Salzburg from 1959 to 1960, and in composing under André Jolivet in Paris in 1965 and 1966.

Do 1963. godine radio je kao srednjoškolski nastavnik u Zagrebu, a od 1958. do 1963. bio je glazbeni suradnik u Dubrava filmu u Zagrebu. Od 1968. djeluje na Muzičkoj akademiji kao nastavnik teorijskih predmeta (1983. je izabran za redovitoga profesora), a također je predavao i na Institutu za crkvenu glazbi »Albe Vidaković« pri Katoličkom bogoslovnom fakultetu Sveučilišta u Zagrebu od njegova osnutka, 1963. godine. Od 1958. do 1996. bio je orguljaš Prvostolne crkve u Zagrebu. Od 1995. do 2000. godine voditelj je seminara suvremene glazbe pri Ljetnoj orguljaškoj školi u Šibeniku u kojoj je bio i direktor programskoga Vijeća.

Until 1963 he worked as a secondary school teacher in Zagreb, and from 1958 to 1963 he was a music associate for Dubrava Film in Zagreb. Since 1968 he has been a teacher of theoretical courses at the Music Academy (elected full professor in 1983), and he has also taught at the “Alba Vidaković” Institute for Church Music at the Catholic Faculty of Theology of the University of Zagreb, since its foundation in 1963. From 1958 to 1996 he was the organist of the Zagreb Cathedral. From 1995 to 2000 he conducted seminars in modern music at the Summer Organ School in Šibenik, where he was also director of the Curriculum Council. 6

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Član je Hrvatskog društva skladatelja, Hrvatskog društva glazbenih umjetnika, Hrvatskog društva glazbenih teoretičara i redoviti je član Hrvatske akademije znanosti umjetnosti.

He is a member of the Croatian Composer’s Society, Croatian Musicians’ Society, Croatian Association of Music Theorists and a regular member of the Croatian Academy of Science and Arts.

Odlikovan je brojnim nagradama i priznanjima, među ostalim, Odličjem Reda Danice hrvatske s likom Marka Marulića, Vjesnikovom nagradom za glazbu »Josip Štolcer Slavenski«, Nagradom »Vladimir Nazor« za životno djelo, Nagradom Grada Zagreba za mnogostruki doprinos u promicanju djela hrvatskih skladatelja i poticanje skladanja za orgulje, Nagradom »Ivan Lukačić« za rad na hrvatskoj glazbenoj baštini s osobitim obzirom na rekonstrukciju Bajamontijeva oratorija Prijenos sv. Dujma, Nagradom »Porin« za poseban doprinos hrvatskoj glazbenoj kulturi i drugim priznanjima.

He has been honoured by numerous awards and recognitions such as the Medal of the Order of Danica Hrvatska with the image of Marko Marulić, Vjesnik’s music award “Josip Štolcer Slavenski”, the “Vladimir Nazor” Award for lifetime achievement, the Award of the City of Zagreb for an immense contribution to the promotion of works of Croatian composers and the incentive for writing compositions for organ, the “Ivan Lukačić” Award for his work on the Croatian musical heritage with special attention to the reconstruction of Bajamonti’s oratorio The Translation of St. Doimus, the Award “Porin” for a special contribution to Croatian music culture and other recognitions.

*** Skladbe na ovome kompaktnom disku zajednički smo izabrali skladatelj i ja. Ograničenje je predstavljao izbor studijskih snimki u Fonoteci Hrvatskoga radija. Naravno, onaj tko bolje poznaje ogromni

*** The compositions on this CD have been chosen jointly by the composer and me. Our selection was limited by the choice of 7

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studio recordings in the Record Library of the Croatian Radio. Certainly, some other compositions might have been suggested by persons acquainted with Klobučar’s enormous opus; however, the fact should be kept in mind that the author himself underwrites the selection however limited it may be by the number of the studio recordings. I personally feel that there should be a special selection dedicated exclusively to Klobučar’s compositions for organ. Still, very few of them are recorded.

Klobučarev opus možda bi predložio neke druge skladbe. No, treba voditi računa o činjenici da ovaj izbor ipak potpisuje sam skladatelj i bez obzira na ograničenja brojem studijskih snimaka. Osobno držim da bi drugi jedan poseban izbor trebalo posvetiti isključivo Klobučarevim skladbama za orgulje. No, vrlo malo ih je studijski zabilježeno. Tri duhovna stiha za dva soprana i klavirski

trio neobičan su dokument o posve slobodnom i nekonvencionalnom Klobučarevom odnosu prema duhovnoj glazbi. U prvom su planu, dakako, glasovi koji različitim stupnjevima ekspresije promiču duhovnost sadržaja pjesničkoga predloška, a klavirski im se trio priključuje kao suvremena pratnja iz nekoga drugog svijeta, nastojeći tako osuvremeniti duhovnost pjevanoga teksta. Zanimljivo je da Klobučar prikriva izvore tekstovnoga predloška jer stavke naslovljuje konvencionalnim naslovim (Moderato, Largo, Allegro maestoso), no s druge pak strane odabire vokalnu artikulaciju koja jasno otkriva značenje pjevane riječi. Pomnijim slušanjem može

Three Spiritual Verses for two sopranos

and a piano trio is an unusual document about Klobučar’s entirely uninhibited and unconventional relationship with spiritual music. The voices certainly make the centre of attention with diverse ranges of expression and their development of the poetic template, while the piano trio joins them as a contemporary companion from a different world in an effort to modernize the spirituality of the sung verse. Klobučar intriguingly covers the sources of the textual template, naming the movements conventionally (Moderato, Largo, Allegro maestoso), but on the other hand he 8

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chooses a vocal articulation that clearly depicts the meaning of the sung word. A more thorough listening reveals that the templates are actually assemblies of three psalms from the Old Testament, namely Psalm 88 (A Cry of Desperation) in the 1st movement, Psalm 71 (Prayer of an Old Man) in 2nd movement, and Psalm 86 (A prayer of David) in 3rd movement. The choice of psalms and the assembly of their verses represent a decision on a certain kind of spirituality, the act of composing. For this reason the music flows from the soul of the composer, rather than being considered a mere setting of psalm verses to music. This is obviously why they are not hinted at by anything else than music itself!

se lako zaključiti da su predlošci zapravo montaže tekstova triju starozavjetnih psalama, 88. psalma (Vapaj iz nevolje) u 1. stavku, 71. psalma (Molitva starca) u 2. stavku i 86. psalma (Molitva u nevolji) u 3. stavku. Odabir je psalama, podjednako kao i montaža njihovih stihova, već zapravo, kao odluka za određenu vrstu duhovnosti, čin skladanja. Zato glazba više struji iz skladateljeve duše nego što bi je se moglo držati pukim uglazbljenjem psalamskih stihova. Očito se zato na njih ni sa čime ne aludira — osim glazbom samom! Sonatina za glasovir četveroručno otvara

ponešto drugačiji prostor Klobučareva glazbeničkog habitusa. Pred problemima smo ako stilski treba omeđiti njegov opus jer je oznaka »neoklasicizam«, koja bi, iz uobičajenoga arsenala stilskih etiketa, jedina dolazila u obzir, jednostavno previše neutralna, to jest ni na koji način pobliže ne opisuje prirodu Klobučareve glazbe. Taj se problem zapravo odnosi i na sve preostale skladbe na ovome disku: dok su one, svaka pojedinačno, očiti dokumenti Klobučareva osobna stila, držati ih »novoklasicističkima« samo taj

Sonatina for Piano Four Hands opens a

somewhat different area in Klobučar’s musical domain. When faced with the necessity to stylistically define his opus, we encounter a problem. The label of “Neoclassicism”, the only one that might be considered from the usual arsenal of stylistic labels, seems too neutral, and does not seem to closely depict the nature of Klobučar’s music. The problem 9

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osobni stil zamagljuje, odnosno tjera nas da u njima tražimo temeljne elemente novoklasicizma koji često uopće ne postoje. Ako bi se Klobučarev individualni stil ipak htjelo nekako odrediti u blizini novoklasicizma, onda bi se možda dalo zaključiti da se njegova glazba poigrava s novoklasicizmom kao, zapravo, maglovitim stilskim određenjem, a da mu se nikada ne priljubljuje. U ovoj se Sonati to, na primjer, može uočiti kroz aluzije na motoričnost koja, možda, podsjeća na Prokofjeva, no isto tako i na perkusivno tretiranje klavira koje će na trenutak, opet možda, podsjetiti na Bartóka. Oba su ta skladatelja, i Prokofjev i Bartók, tvorci onih temeljnih elemenata novoklasicizma kao stila, no Klobučar poseže za njima da bi takvo elementarno čisto poimanje stila zapravo dehomogenizirao. Vjerojatni razlog takve možda svjesne stilske dehomogenizacije leži u činjenici da skladatelj najčešće sklada za ciljane umjetnike, štoviše čak i po njihovoj narudžbi, poštujući dakle odrednice različitih interpretatorskih profila gotovo na razini neke vrste specifičnoga

relates to all other compositions on this CD: they are reflections of Klobučar’s own personal style, and labelling them as “neoclassicism” would blur that personal style. It would actually make us search for basic neoclassical elements in the compositions that are rarely there. Nevertheless, if Klobučar’s individual style could be described as near–neoclassic, it might be said that his music plays with neoclassicism as a hazy stylistic disposition, never fully adhering to it. This Sonata exemplifies this kind of style with allusions to motoric features reminding us perhaps of Prokofiev, but also to percussional treatment of the piano that for a moment perhaps reminds of Bartók. Both Prokofiev and Bartók are the initiators of stylistic elements of neoclassicism; however, Klobučar reaches out to them in order to diversify the homogeneity of such elementary pure concept of style. The probable reason for this, perhaps intentional stylistic breach of uniformity lies in the fact that the composer usually writes with particular performers in mind, even according to their request, complying 10

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koautorstva. S druge pak strane od takve dehomogeniziranosti, neke vrste stilskoga pluralizma, posve odudara Klobučarev cijeli opus za orgulje, upravo zato što je u njega nepogrešivo usađeno Klobučarevo vlastito interpretatorsko iskustvo. I sada dolazimo do nečega što možda najviše zbunjuje, do Klobučareve ogromne glazbeničke erudicije koja se u njegovoj glazbi neće reflektirati čak ni na nekoj načelno prihvatljivoj eklektičkoj razini. Tu opet treba uočiti priklone tradiciji i odmake od nje koji se ne zbivaju ni po kakvim pravilima što bi ih se dalo svrstati pod »Klobučarev odnos prema tradiciji« (opet bi to bio jedan od onih temeljnih elemenata novoklasicizma!), nego se oslanjaju na različita uporišta, na primjer na tradiciju što je podrazumijeva izvođački sastav ili određena tradicija glazbenih vrsta, ma koliko ona i inače bila načelna i zamagljena. Tako su Tri duhovna stiha po sastavu odmak od tradicije duhovne glazbe koju se, međutim, takvim odmakom osuvremenjuje i aktualizira da bi se otvorio prostor izrazu Klobučarove subjektivne duhovnosti, Sonatina za glasovir četveroručno, Sonata za altovski saksofon i klavir i Concertino za

with particular guidelines of different interpretational profiles, almost at a level of some kind of specific co–authorship. On the other hand, Klobučar’s entire opus for organ completely contrasts such break from homogeneity, i.e. from a form of stylistic plurality, precisely because it is infallibly infused with his own interpretational experience. This leads us to the most perplexing aspect, to the fact that Klobučar’s immense musical erudition will not be reflected in his music, even on a fundamentally accepted eclectic level. We must also note the inclinations toward and deviations from tradition that depart from any set of standards that would define “Klobučar’s attitude toward tradition” (once again, this would be one of those basic elements of neoclassicism!). These rely on different grounds, for example, on a tradition that is understood by the performing ensemble or a specific tradition of a musical form, however principal and hazy it might be. Thus the Three Spiritual Verses represent a detachment from the tradition of spiritual music simultaneously modernizing and renewing it with the

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dva kontrabasa i gudački orkestar komentiraju sonatinu, sonatu i koncert / concertino kao vrste u neobičnim sastavima koje se u tradiciji tih vrsta rjeđe susreće, pogotovo s tako izrazito naglašenom grotesknošću solo instrumenata u Concertinu, za razliku od Trećeg gudačkog kvarteta, koji — kao i cijeli korpus gudačkih kvarteta u Klobučarevu opusu — na specifičan način interpretira tradiciju kvarteta i kao izvođačkog tijela i kao vrste, zadržavajući, na primjer, tradicionalne odnose među stavcima, no udaljujući se i približavajući se u svakome od njih očekivanoj, po tradiciji pretpostavljivoj zvukovnosti.

aim of opening a space for Klobučar’s subjective spirituality. Sonatina for Piano Four Hands, Sonata for Alto Saxophone and Piano and Concertino for Two Double Basses and a String Orchestra comment on a sonatina, a sonata

and a concert / concertino in terms of unusual compositions rarely encountered in the tradition of these forms, especially with such an emphasised grotesqueness of the solo instruments in the Concertino. On the other hand, Third String Quartet — as well as the entire corpus of string quartets in Klobučar’s opus — interprets the tradition of a quartet as a performing ensemble and as a musical form in a specific way, keeping traditional connections, for No Muzika za orgulje i orkestar naslovom example, between movements, but in izbjegava određenje vrste, ali je skladatelju, each of them departing from and moving zbog neobičnog eksperimentiranja s toward the expected, traditionally assumed jednostavačnošću, formalni obrazac sonority. koncerta očito bio preuzak za ovdje specifičnu ideju nadmetanja, ali i (naročito However, Music for Organ and Orchestra avoids kolorističkog) prožimanja orgulja i orkestra, the definition of form by its title. Due to the composer’s unusual experimenting with pa bi ma kakva aluzija na koncert kao the single–movement form, the formal vrstu višestavačne forme bila zasigurno form of a concert was obviously too nesukladna toj ideji. Neutralni naslov Muzika... zato je daleko prikladniji karakteru narrow for a specific idea of competition presented here, but also (especially skladbe. 13

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*** Dana 14. prosinca 2001. održao se koncert u povodu Klobučareva 70. rođendana na kojemu se, od skladbi s ovoga kompaktnog diska, izvela Sonatina za klavir četveroručno i Treći gudački kvartet. U komentaru uz program konstatirao sam na samome početku da Klobučareva glazba postavlja neobične zapreke i otpore kada je se pisanjem želi racionalizirati. Ako je se analitičko–tehnički opisuje ili se pak, mimo analitičko–teorijskog metajezika sugerira njezin doživljaj, to jest kako je slušati, zapravo se ništa ne postiže. Dapače! Jednostavno je najbolje prepustiti se slušanju. Nije nikakvo čudo što sâm Klobučar skoro ništa nikada nije rekao ni napisao o svojoj glazbi, ni javno, ni privatno! Nikša Gligo

coloristic) permeation of organ and orchestra, so any allusion to a concert as a multiple–movement form would surely be incompatible with that idea. The neutral title Music... is thus more suitable to the character of the composition. *** On December 14, 2001 a concert was held in honour of Klobučar’s 70th birthday, at which the compositions performed from this CD were Sonatina for Piano Four Hands and Third String Quartet. In my comment to the programme I wrote that Klobučar’s music unusually impedes and resists the efforts of its written rationalization. If one tries to describe it in an analytical–technical manner, or rather goes beyond the analytical–theoretical metalanguage to suggest its experience, that is, the way in which it should be heard, the effort comes to nothing. Indeed! The best way is simply to let go off all expectations and listen. It is no wonder that Klobučar himself never wrote or said anything about his music, publically or privately! Nikša Gligo 15

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Urednik i autor teksta / Editor and text by: Nikša Gligo Majstori tona / Sound engineers: Mladen Roško (1., 2., 3.), Radan Bosner (4., 5., 6.11., 12., 13., 14.), Matija Brkić (7., 8., 9., 10., 15., 16., 17.) Tonska obrada / Mastering: Vjekoslav Nježić Prijevod / Translation: Martina Pokupec Fotografija / Photography: Siniša Uštulica Grafičko oblikovanje / Design: Luka Gusić Nakladnik / Publisher: Cantus d.o.o. Za nakladnika / For the publisher: Mirjana Matić Zagreb, 2011. Broj izdanja / CD number: 98898490742 Izdanje je objavljeno uz potporu Ministarstva kulture Republike Hrvatske The CD is released with support from the Ministry of Culture of the Republic of Croatia 16

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