Otvoritev 40. Slovenskih glasbenih dnevov / Opening of the 40th Slovenian Music Days

SIMFONIČNI ORKESTER SNG MARIBOR
SNG MARIBOR SYMPHONY ORCHESTRA

SIMON KREČIČ, dirigent / conductor

Solistka / Soloist:
LOVORKA NEMEŠ DULAR, klavir / piano

Program / Programme:
Janez Matičič: Koncert za klavir in orkester št. 1 / Piano Concerto No. 1
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Janez Matičič: Simfonija št. 1 / Symphony No. 1

Radio je v 20. stoletju postal eno ključnih prizorišč srečanja glasbene ustvarjalnosti in tehničnega napredka. Oblikoval je poslušalske navade, posredoval najnovejše interpretacije ter spodbudil razvoj snemalnih postopkov, ki so radijski studio spremenili v prostor raziskovanja zvoka kot samostojne glasbene materije. Prav iz takšnega »laboratorijskega« okolja je v Franciji vzniknila konkretna glasba (musique concrète), neločljivo povezana z radijskim studiem, montažo posnetih zvokov in odpiranjem novih možnosti zvočne manipulacije. Njene začetke je zaznamoval Pierre Schaeffer, ki je kot tonski tehnik pri francoskem radiu iz studijske opreme razvil povsem nov pristop h komponiranju.

V ta ustvarjalni krog je vstopil tudi Janez Matičič, edini skladatelj sporeda otvoritvenega koncerta 40. Slovenskih glasbenih dnevov. Izšolan pri Lucijanu Mariji Škerjancu in z zgodnjimi deli še zvest tradiciji se je za sodobnejše glasbene tokove začel zanimati med izpopolnjevanjem pri sloviti Nadii Boulanger v Parizu. Odločilen pečat je njegovi ustvarjalnosti vtisnilo večletno sodelovanje s Schaefferjevo Skupino za raziskave glasbe (Groupe de Recherches Musicales), v kateri je med letoma 1962 in 1975 ustvaril vrsto elektroakustičnih del in oblikoval svoj prepoznavni, izrazno izostreni zvočni svet.

Matičič je s svojim pedagoškim delom in ustvarjanjem močno obogatil slovenski klavirski repertoar in širšo pianistično dejavnost. Med deli za ta inštrument je tudi Koncert za klavir in orkester št. 1 (1965), ki odpira program. Prav v tem obdobju se je že jasno kazala usmeritev, ki je nato zaznamovala njegova instrumentalna dela za klasična glasbila: ustvarjal jih je s podobno logiko kot elektroakustično glasbo. Tradicionalne parametre harmonije in melodike nadomeščajo barvni spektri tona, poudarjena tekstura in plastenje ter izbruhi in dramaturško oblikovane napetosti. V simfonični žanr je skladatelj vstopil že prej, njegovo Simfonijo št. 1 (1953) pa še zaznamujejo vplivi, ki so oblikovali njegov s tradicionalnejšimi kompozicijsko-tehničnimi prijemi zaznamovani zgodnejši slog.

Program otvoritvenega koncerta bodo izvedli člani Simfoničnega orkestra SNG Maribor pod taktirko Simona Krečiča, ki je od decembra 2013 umetniški direktor Opere SNG Maribor in prejemnik Glazerjeve listine Mestne občine Maribor za izjemne dosežke na področju kulture. V vlogi solistke nastopa pianistka Lovorka Nemeš Dular, glasbenica širokega formata, predana solističnemu in komornemu muziciranju, pedagoškemu delu ter muzikološki dejavnosti. Njeno glasbeno pot je med drugim zaznamovalo tesno sodelovanje z Janezom Matičičem.
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Radio emerged in the twentieth century as a key nexus between musical creativity and technological progress. It shaped listening habits, broadcast the latest interpretations and encouraged the development of recording processes that transformed the radio studio into a space for the research of sound as musical material in its own right. It was precisely from this “laboratory” environment that musique concrète emerged in France – a composition practice inseparably linked with the radio studio, the editing of recorded sounds and the opening up of new possibilities for sound manipulation. Its theoretical basis was developed by Pierre Schaeffer, who used studio equipment to pioneer an entirely new approach to composition while working as an engineer at France’s public broadcaster RDF.

This creative circle also included Janez Matičič, the sole composer featured in the opening concert of the 40th Slovenian Music Days. Trained under Lucijan Marija Škerjanc and still loyal to tradition in his early works, he began to interest himself in more contemporary musical currents while studying with Nadia Boulanger in Paris. A decisive stamp was placed on his creative endeavours by his years of collaboration with Schaeffer’s Groupe de Recherches Musicales (GRM), in which he created a series of electroacoustic works between 1962 and 1975 and developed his own distinctive, expressively refined sound world.

Matičič significantly enriched the Slovene piano repertoire and piano music in general through his teaching and composition. His works for the instrument include his Piano Concerto No. 1 (1965), which opens the programme. The focus that would characterise his subsequent instrumental works for classical instruments was already clearly apparent in this period: he composed them according to a similar logic to that which he applied to his electroacoustic music, replacing the traditional parameters of harmony and melody with tone colour spectra, an emphasis on texture and layering, dramatic outbursts and dramaturgically shaped tensions. His forays into the symphonic genre predate this period and his Symphony No. 1 (1953) still shows the influences that shaped his earlier style, characterised by more traditional compositional techniques.

The opening concert is performed by members of the Symphony Orchestra of the Slovene National Theatre (SNG) Maribor conducted by Simon Krečič, since 2013 the artistic director of the SNG Maribor Opera and a recipient of the City of Maribor’s Glazer Award for outstanding achievements in culture. The soloist is pianist Lovorka Nemeš Dular, a versatile musician whose activities include solo and chamber performances, teaching and musicological work, and whose musical career has also been marked by her close collaboration with Janez Matičič.