“Foolery, sir, does walk about the orb like the sun; it shines everywhere.”
William Shakespeare (1564-1616): Twelfth Night

Die reinste Form des Wahnsinns ist es, alles beim Alten zu lassen und gleichzeitig zu hoffen, dass sich etwas ändert.
Albert Einstein (1879-1955)


Saturday, 12th November 2016 at 7 p.m. – Concert hall of St. Francis Church - Koper
Female choir of the Koper Music School
Conductor: Maja Cilenšek

Piano: Sindija Šiško

Carl Rosman (Germany-England) voice WWW

Ensemble Neofonia (Slovenia)
Anja Brezavšček, flute
Tadej Kenig, clarinet
Klemen Golner, piano-harpsichord
Matjaž Porovne, violin
Igor Mitrovič, cello
Matevž Bajde, percussion

Conductor: Steven Loy (Slovenia-USA) WWW

PROGR concert M:

Jacobus Gallus (1550 – 1591): Pueri Hebraeorum

Giovanni Pierluigi da Palestrina (c. 1525 – 1594): Pueri Heabraeorum

Ambrož Čopi (1973): *Cantate Domino… omnis terra (Hommage a Claudio Monteverdi iz Two sacred Hymns)

Uroš Rojko (1954): Sončnice (Svetlana Makarovič)

Federica Lo Pinto (1997): *Dihanje (Federica Lo Pinto)

Uroš Rojko (1954): Bu (Uroš Rojko)

*premiere

concert

Sir Peter Maxwell Davies: Eight Songs for a Mad King - monodrama
(libretto: Randolph Stow, based on words of George III)

 

Female choir of the Koper Music School arised from the Youth Choir of Koper Music School and in the past six years, it has been led by conductor Maja Cilenšek. In 2012, the Choir won 2nd Prize at the International competition »Citta di Rimini« (Italy) and 1st Prize at the International competition »Varsovia Cantat« in Warsaw. The Choir was invited to perform at important festivals in Italy, Austria and Slovenia (»Musica Attiva« - Piazzola sul Brenta, »Chiavi d`argento« - Chiavenna, »Styria Cantat« and »Voices of Spirit« – Graz, Koper International Choir Festival). In July 2015, at the International competition »Incanto Mediterraneo« in Milazzo, the choir was awarded with a gold medal, 2nd Prize and a special prize for the best performance of an obligatory piece.


Singers:
Babič Nadja, Barač Barbara, Birsa Krušec Ana, Bubnič Ana, Čuk Nejka, Dadič Katja, Filipič Maja, Gregorič Andreja, Grižon Gaja, Jerman Lara, Kozlovič Manca, Koželj Ana, Marjanovič Katarina, Ogrin Marina, Lo Pinto Federica, Sluga Gaia, Šker Eris, Šmajgl Mia, Terbižan Martina, Turk Valentina, Veršič Eva, Vižintin Veronika.

Zbor Koper

 

Maja Cilenšek graduated at the Academy of Music in Ljubljana, at the department of musical education with Prof. Marijan Gabrijelčič. She is teaching music theory at the Koper Music School and Koper Primary School. Maja has collaborated and led regularly several choirs in Slovenia and abroad, where she won important prizes and special recognitions. She is frequently choosing such repertoire, which focuses primarily on new pieces from Slovenian composers, thus encouraging new choir compositions. Maja is invited as a jury member and guest professor at the masterclasses in Slovenia, Italy and Austria. In 2009, she was awarded for her artistic achievements from the Koper Municipality and in October 2012, she won a special prize for the best conductor of the entire competition at the International Choir competition in Rimini (Italy). In October 2014, Slovenian Ministry of education nominated Maja Cilenšek for a special recognition for her achievements in music education.

Maja Cilenšek

 

Carl Rosman was born in England and studied clarinet in Australia, with Phillip Miechel in Melbourne and with Peter Jenkin in Sydney. He graduated with a Masters degree from the Sydney Conservatorium of Music in 2001. He performs as a soloist across a wide range of repertoire from the Romantic period to the present day, specialising in the most demanding works of the contemporary solo repertoire. Carl’s first performances in Europe took place at the 1994 Darmstädter Ferienkurse, where he was awarded a Kranichsteiner Musikpreis. He was an artist in residence at the 1995 Akiyoshidai Festival, and has since performed as a soloist throughout Europe and Australia as well as in the USA, Japan and South Korea.

During 1996 he was a musician in residence at the University of Queensland. From July–December 2002 he was an artist in residence at Akademie Schloss Solitude (Stuttgart), where he regularly returns for performances. During 2007-08 he also lectured in music at Brunel University (London). Carl now lives in Köln as a permanent member of Ensemble Musikfabrik. He is co-artistic director (with Mark Knoop) of Libra, and also a member of ELISION. He has also appeared with groups including ensemble ascolta (Stuttgart), Ensemble Phoenix (Basel), Ensemble Modern/Ensemble Modern Orchestra (including CD recordings of works by Hugues Dufourt, Jörg Widmann and Harrison Birtwistle), Ensemble SurPlus (Freiburg), Ensemble Mosaik (Berlin), Reservoir (UK), Theater Freiburg, and the Gavin Bryars Ensemble. Recent solo performances include Mathias Spahlinger’s akt, eine treppe herabsteigend with Mike Svoboda and the Rundfunk Sinfonieorchester Berlin under Johannes Kalitzke. He has also conducted ensembles including Libra, ELISION, Ensemble Musikfabrik, ensemble ascolta, and Sydney Alpha in works by composers from Berg (Kammerkonzert), Varèse (Ionisation) and Boulez (le marteau sans maître) to Cage (Concert for Piano and Orchestra) and Ferneyhough. He conducted ELISION at the Studio of the Sydney Opera House in 1999, at the 2000 Adelaide Festival, and at the 2006 Huddersfield Festival, as well as in recordings of works by Chris Dench (ik(s)land[s], released on NMC in June 2005), Liza Lim and Aldo Clementi (released on Mode in 2007). He conducted ELISION in the UK premiere of Richard Barrett’s Opening of the Mouth at the 2009 Huddersfield Festival. He also performs as a singer and has premiered works for solo voice by Evan Johnson, Aaron Cassidy and others. He sang Kassandra/Athena in the 2011 La Fura dels Baus staging of Xenakis’s Oresteïa at the Wiener Festwochen. In March 2014 he performed Maxwell Davies’s Eight Songs for a Mad King at Gare du Nord in Basel, in the presence of the composer, with further performances in May and November. Carl has enjoyed direct working relationships with a wide range of composers. He has recorded Brian Ferneyhough’s Time and Motion Study I for ETCETERA, Michael Finnissy’s solo clarinet works for METIER, and two solo works by Richard Barrett for NMC. Recent releases include Georges Aperghis’s Babil with Ensemble musikFabrik (on WERGO), Brian Ferneyhough’s La Chute d’Icare with ELISION (on Kairos) and solo works by Aaron Cassidy (on NEOS). Works composed for him include Chris Dench’s ruins within for solo clarinet in A, Liza Lim’s INGUZ (fertility) for clarinet in A and cello, Richard Barrett’s interference (for contrabass clarinettist also vocalising over a five-octave range) and Flechtwerk (for clarinet and piano, with Mark Knoop), and Georges Aperghis’s Damespiel for solo bass clarinet. His articles on works by Liza Lim and Chris Dench have been published by Musik und Ästhetik, and he writes regularly for International Record Review.

Carl Rosman

Neofonía is a Ljubljana-based ensemble dedicated to exploring the wealth and diversity of music composed in the last half century that has traditionally been absent from the cultural landscape in Slovenia. It is comprised of top-level Slovenian instrumentalists passionate about contemporary music. Since its establishment in 2010 Neofonía have already introduced a number of important and groundbreaking works to Slovenian audiences by some of the most powerful and influential composers of the last 50 years such as György Ligeti, Gérard Grisey, Tristan Murail, Helmut Lachenmann, Luigi Nono, Salvatorre Sciarrino, Kaija Saariaho, Jonathan Harvey, Brian Ferneyhough, Wolfgang Rihm and Fausto Romitelli, as well as music by exciting younger composers such as Ondřej Adámek, Pierre Jodlowski, Dai Fujikura, Paul Clift, Aurélio Edler-Copes and many others. Since their inception, Neofonía has acted as resident ensemble of the Predihano contemporary music series produced by Cankarjev dom. The ensemble’s inaugural concert, presenting the Slovenian premiere of Grisey’s masterpiece Les espaces acoustiques, was hailed by critics and audiences as an indisputable success. Their Ligeti project four years later featured major works including the Chamber Concerto and Piano Concerto for the first time in Slovenia and was met with equal acclaim. In the last two years Neofonía has focused on works for ensemble and electronics.

Neofonija