Kaja Farszky: Izlog zvuka udaraljki u 80-ima
Četvrtak, 25. travnja
21h Kaja Farszky: Izlog zvuka udaraljki u 80ima /Showcase of percussion sound in the 80s – (program: Sueyoshi, Smith, Globokar, Rzewski, Yenakis) @ polukružna dvorana Teatra &TD (60′)
PROGRAM / PROGRAMME
Frederic RZEWSKI: To the Earth, for speaking percussionist (1985)
Text: Homeric hymn / Tekst: Homerov himan
Yasuo SUEYOSHI: Mirage pour Marimba (1971)
Stuart Saunders SMITH: Songs I – IX, for actor-percussionist (1980-82)
Iannis XENAKIS: Rebonds B, pour percussion (1987-89)
Vinko GLOBOKAR: ?Corporel, pour un percussioniste sur son corps (1985)
Skladatelj i osnivač talijanske grupe Musica Elettronica Viva (MEV) koja se bavi živom akustičko-elektroničkom improvizacijom, Frederic Rzewski (1938., SAD) napisao je To the Earth 1985. godine na zahtjev udaraljkaša Jana Williamsa koji je tražio djelo za male udaraljkaške instrumente koji će biti lako prenosivi. Djelo je napisano za četiri glinene teglice, a ukomponiran je tekst Homerovog himna božici Zemlje Geji, kojeg izgovara sam izvođač. To the Earth odraz je skladateljeve zaokupiranosti i predanosti društvenim problemima.
Jednostavačnu skladbu Mirage pour Marimba Yasuo Sueyoshi (1937., Japan) napisao je 1971. godine, a posvećena je japanskoj marimbistici Keiko Abe i podijeljena je u šest dijelova: uvod, koral, procesija, povratak, pokret i koda. Ovo djelo jedna je od okosnica solističkog repertoara za marimbu. Inspirirana je japanskim Kabuki teatrom, koji uključuje fantastične kostime, likove praćene živom glazbom na instrumentima shamisen, shakuhachi, japanskim bubnjevima te zvukovne efekte. Sâm skladatelj u uputama predlaže izvođaču/ici da zamišlja taj žanr tijekom izvođenja.
Stuart Saunders Smith (1948., SAD) poznat je kao skladatelj, udaraljkaš i pjesnik. Njegova glazba obično je atonalitetna, ritmički kompleksna te često dozvoljava improvizaciju. Mnoga Smithova djela zahtijevaju od izvođača da govori, pjeva, glumi ili izvodi pantomimu umjesto sviranja instrumenta, a u djelima za udaraljke često koristi uporabne predmete kao instrumente. Songs I – IX djelo je za mali udaraljkaški set sastavljen od kućanskih predmeta, poput posuda, staklenih teglica, noževa, tave i sl. Skladatelj djelo opisuje ovako: “Kad sam bio mali, sanjao sam san koji me nikad nije napustio. Kad su ljudi govorili u tom snu zvučali su kao glazbeni instrumenti – jedan kao tuba, drugi kao violina, treći kao mali bubanj i tako dalje. Niti jedna riječ nije proizašla, samo zvukovi instrumenata. Bio sam vrlo razočaran kad sam se probudio i shvatio da je to bio samo san. U svojim govornim pjesmama okrenuo sam situaciju: izgovaraju se riječi, ali zvuči glazba. Za mene ova ‘glazbena smislenost’ itekako ima smisla.”
Iannis Xenakis (1922. – 2001.) bio je francuski skladatelj, glazbeni teoretičar, arhitekt i matematičar grčkoga porijekla. Kao arhitekt surađivao je s Le Corbusierom na samostanu Sainte Marie de la Tourette te na Philipsovom paviljonu na Expo ’58 koji je projektirao sam. Smatra ga se začetnikom suvremene udaraljkaške literature. Rebonds B jedan je od dva dijela skladbe Rebonds, a sam naslov upućuje na odbijanje, tj. odskakivanje koje je prisutno u cijelom djelu.
“Rebonds je apstraktni ritual, čista glazba izvanrednih i briljantnih ritmova, bez folklorističke “zagađenosti”, koja ide onkraj drama i oluje.” (Jacques Lonchampt)
Francuski skladatelj i trombonist slovenskog porijekla, Vinko Globokar (1934., Francuska,) poznat je nekonvencionalnim i proširenim tehnikama skladanja. Njegova glazba često stavlja naglasak na spontanost i kreativnost, a zahtijeva i improvizaciju. ?Corporel je djelo za solo udaraljkaša, a njegovo tijelo je sam instrument. Izvođač svoje tijelo lupa, tuče, pljuska, bez riječi vokalizira samo suglasnike. Uzorci zvukova i gesti izgrađeni su od boli koje pojedinac sam sebi nanosi. Je li to pitanje ludila ili je izvođač podijeljen na dva dijela, glumeći nametnutu mu torturu nepostojeće sile ili je njegovo sjećanje obilježeno u grotesknom ritualu unutarnje kazne?
Program koncerta izbor je značajnih udaraljkaših djela nastalih mahom u osamdesetim godina. Zamišljen je kao izlog u kojem promatramo i osluškujemo odakle dolazi zvuk udaraljki. Na programu su dvije skladbe suvremene glazbe, Xenakisa i Sueyoshija, koje čine okosnicu solističkog repertoara za udaraljke. Rzewski, Smith i Globokar pak idu onkraj konvencionalnog skladanja, istražuju instrumentalne mogućnosti, koriste svakidašnje predmete za instrumente, tjeraju izvođača da govori, pjeva, kreće se, lupa se, pljuska, istražuje svoje tijelo te dolazi do novih izvora zvukova. Ove skladbe predstavljaju udaraljke u glazbenom teatru, a izvođaču daju slobodu i prostor za vlastitu interpretaciju i improvizaciju. Što sve može biti instrument i jesmo li sami sebi dovoljni da bismo stvarali glazbu? Izlog zvuka udaraljki vodi nas u jednu pomalo drugačiju udaraljkašku priču.
KAJA FARSZKY rođena je u Vrbovcu gdje je i započela svoje glazbeno obrazovanje. Školovanje nastavlja u Zagrebu gdje je nakon završene srednje škole za udaraljke u klasi prof. Božidara Rebića u GŠ Pavla Markovca, diplomirala na Muzičkoj akademiji u klasi prof. Igora Lešnika. Godine 2012. završila je poslijediplomski studij u klasi prof. Miquela Bernata na Viskoj katalonskoj školi za glazbu (ESMuC) u Barceloni, Španjolska. Dobitnica je prvih nagrada na regionalnim i državnim natjecanjima. Kroz svoje školovanje redovito se usavršava na brojnim seminarima radeći s mnogim renomiranim profesorima u Hrvatskoj, Poljskoj, Španjolskoj, Švicarskoj, Belgiji i SAD-u. Tijekom studija u Zagrebu bila je članica udaraljkaškog ansambla biNg bang Muzičke akademije s kojim je redovito nastupala na svjetskim festivalima i međunarodnim natjecanjima. Jedna je od osnivačica klavirističko-udaraljkaškog kvarteta KLANG koji se bavi pretežito hrvatskom suvremenom glazbom. Kao udaraljkašica svira i surađuje s raznim orkestrima i ansamblima: ansambl opere HNK Zagreb, Hrvatski barokni ansambli, Simfonijski orkestar HRT-a, No Borders Orchestra iz Srbije, Orkestar flauti iz Madrida, Puhački orkestar grada Mataróa iz Španjolske te drugi. Od 2012. godine radi kao profesorica udaraljki u Glazbenoj školi Karlovac te djeluje kao timpanistica u ansamblu Opere HNK Zagreb. Kao solistica nastupila je uz Simfonijski puhački orkestar Oružanih snaga HV te Simfonijski orkestar Muzičke akademije. Dobitnica je nekoliko Rektorovih nagrada Sveučilišta u Zagrebu te je bila stipendistica Zaklade Adris. Kao solistica i članica komornih ansambala i orkestara gostovala je u Austriji, Belgiji, Bosni i Hercegovini, Francuskoj, Italiji, Japanu, Južnoj Koreji, Kini, Mađarskoj, Nizozemskoj, Njemačkoj, Portoriku, Rusiji, SAD-u, Sloveniji, Srbiji, Španjolskoj i Švicarskoj.
Composer and the founder of the Italian group Musica Elettronica Viva (MEV), that explores live acoustic-electronic improvisation, Frederic Rzewski (1938, USA), wrote To the Earth in 1985, by the request of the percussionist Jan Williams, who wanted a piece for small percussion instruments that will be easy to transport. The piece is written for four clay pots and contains Homeric hymn to the Earth goddess Geia, that is pronounced by the performer. To the Earth is a reflection of composer’s preoccupation and dedication to social issues.
Japanese composer Yasuo Sueyoshi (1937) wrote his one-movement piece Mirage pour Marimba in 1971, and he dedicated it to a Japanese marimba player Keiko Abe. The piece has six parts: introduction, choral, procession, return, movement and Coda. This piece is one of the backbones of the solo repertoire for marimba. It is inspired by the Japanese Kabuki theatre, that has fantastic costumes, characters accompained by live music on shamisen and shakuhachi instruments, Japanese drums and sound effects. The composer himself suggests the performer to imagine this genre while performing.
Stuart Saunders Smith (1948, USA) is famous as a composer, percussionist and a poet. His music is usually atonal, rhytmically complex and often allows improvisation. Many of Smith’s pieces demand the performer to talk, sing, act or do mime instead of playing his instrument, and in pieces for percussion he often uses everyday things as instruments. Songs I – IX is a piece for a small percussion set made of domestic things, like dishes, clay pots, knives, a pan etc. The composer described the piece like this: „When I was a child, I had a dream that never left me. In this dream, when people talked, they sounded like musical instruments – this one a tuba – this one a violin – this one a drum, and so on. No words came out, just instrumental sounds. I was very dissapointed when I woke up to find it was just a dream. In my speech songs, I reverse the situation. Words come out, but it sounds like music. For me, this music-sense makes perfect sense.“
French composer, music theoretic, architect and a mathematician of Greek origin, Iannis Xenakis (1922 – 2001) collaborated as an architect with Le Corbusier on the monastery of Sainte Marie de al Tourette and he is famour for the famous Philips pavilion at the 1958 Expo, which he designed himself. He is considered to be the founder of contemporary percussion literature. Rebonds B is one of the two parts of a piece called Rebonds, and the title suggests bouncing that is present throughout the piece. “Rebonds is an immense abstract ritual, a suite of movements and hammerings without any folkloristic ‘contamination’, pure music full of marvellously efflorescent rhythms, going beyond drama and tempest.“ (Jacques Lonchampt)
French composer and a trombone player of Slovenian descent, Vinko Globokar (1934, France) is known for his unconventional and wide composing techniques. His music often stresses the spontaneity and creativity, and it also demands improvisation. ?Corporel is a piece for solo percussion and the performer’s body is the instrument. The performer hits, beats, slaps his body, vocalises consonants. The sounds and gestures are derived through the pain one imposes on himself/herself. Is it a question of madness or is the performer, or is the performer split in two, acting the imposed torture of the nonexistent force or is his memory marked in the grotesque ritual of an inner punishment?
Programme of the concert is a selection of significant percussion pieces written mainly during the eighties. It is imagined as a showcase where we observe and listen to where the percussion sound comes from. There are two contemporary pieces on the programme, Xenakis and Sueyoshi, that are a backbone of the solo percussion repertoire. Rzewski, Smith and Globokar go beyond conventional music writing, exploring instrumental possibilities, using everyday objects as instruments, making the performer talk, sing, move, hit and slap their body, explore it and come to new sources of sound. These pieces present percussion in music theatre and they give the performer freedom and space for his/her own interpretation and improvisation.
What can be used as an instrument and are we self-sufficient to create music? Showcase of percussion sound takes us to a somewhat different percussion story.
Kaja Farszky was born in Vrbovec, where she started her music education that continued in Zagreb. After finishing music high school in Zagreb, studying percussion as her main subject with Božidar Rebić at Pavao Markovac music school, she graduated from Zagreb Music Academy under Igor Lešnik.
In 2012 she completed postgraduate study under Miquel Bernat at The Escola Superior de Música de Catalunya in Barcelona, Spain. She won first prizes at a number of regional and national competitions. During her studies she participated regularly in many seminars, working with numerous renowed teachers in Croatia, Poland, Spain, Switzerland, Belgium and USA. During her Zagreb studies she was a member of the percussion ensemble biNg bang of the Music Academy with whom she performed regularly at festivals around the world and international competitions. She is one of the founders of a piano-percussion quartet KLANG, which performs mostly Croatian contemporary music. As a percussionist she collaborates with various orchestras and ensembles: Opera ensemble of the Croatian National Theatre in Zagreb, Croatian Baroque Ensemble, Croatian Radiotelevision Symphony orchestra, No Borders Orchestra from Serbia, Flute orchestra from Madrid, Wind orchestra of Mataró in Spain etc. Since 2012 she is working as a percussion teacher in a music school in Karlovac and plays the timpani in the Opera ensemble of the Croatian National Theatre in Zagreb. As a soloist she played with Croatian Army Symphonic Wind Orchestra and Symphony orchestra of the Music Academy in Zagreb. She was awarded a number of Rector’s awards at the University in Zagreb and held a scholarship of the Adris Trust Fund. As a soloist and a member of chamber ensembles and orchestras, she performed in Austria, Belgium, Bosnia and Herzegovina, France, Italy, japan, South Korea, China, Hungary, The Netherlands, Germany, Porto Rico, Russia, USA, Slovenia, Serbia, Spain and Switzerland.