{"id":29818,"date":"2022-08-18T14:16:44","date_gmt":"2022-08-18T14:16:44","guid":{"rendered":"https:\/\/www.art-bsa.eu\/?p=29818"},"modified":"2023-12-21T12:58:46","modified_gmt":"2023-12-21T12:58:46","slug":"mahlerjeva-peta-simfonija-ob-izdatnem-ozvocenju-v-krizankah","status":"publish","type":"post","link":"https:\/\/www.art-bsa.eu\/en\/2022\/08\/18\/mahlerjeva-peta-simfonija-ob-izdatnem-ozvocenju-v-krizankah\/","title":{"rendered":"Mahler\u2019s Fifth Symphony with generous amplification at Kri\u017eanke"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><div id=\"ut-row-6aecf6944ed99\" data-vc-full-width=\"true\" data-vc-full-width-init=\"false\" class=\"vc_row wpb_row vc_row-fluid vc_column-gap-0 ut-row-6aecf6944edac\" ><div class=\"wpb_column vc_column_container vc_col-sm-12\" ><div id=\"ut_inner_column_6aecf6944f6c9\" class=\"vc_column-inner\" ><div class=\"wpb_wrapper\">\r\n<style type=\"text\/css\">\r\n\r\n    \r\n    #ut-empty-space-6aecf6944f85c {\r\n        height: 60px    }\r\n\r\n    \r\n        @media (min-width: 768px) and (max-width: 1200px) {\r\n        #ut-empty-space-6aecf6944f85c {\r\n        height: 60px;\r\n        display: block;\r\n    }\r\n    }\r\n    \r\n    \r\n    @media (max-width: 767px) {\r\n        #ut-empty-space-6aecf6944f85c {\r\n        height: 60px;\r\n        display: block;\r\n    }\r\n    }\r\n\r\n    \r\n<\/style>\r\n\r\n<div class=\"vc_empty_space\" id=\"ut-empty-space-6aecf6944f85c\"><span class=\"vc_empty_space_inner\"><\/span><\/div><\/div><\/div><\/div><\/div><div class=\"vc_row-full-width vc_clearfix\"><\/div><div id=\"ut-row-6aecf694500a0\" data-vc-full-width=\"true\" data-vc-full-width-init=\"false\" class=\"vc_row wpb_row vc_row-fluid vc_column-gap-0 ut-row-6aecf694500ab\" ><div class=\"wpb_column vc_column_container vc_col-sm-6\" ><div id=\"ut_inner_column_6aecf6945077f\" class=\"vc_column-inner\" ><div class=\"wpb_wrapper\">\r\n\t<div class=\"wpb_text_column wpb_content_element\" >\r\n\t\t<div class=\"wpb_wrapper\">\r\n\t\t\t<div class=\"dc-text-paragraph\">\n<p>Media: Kritik.si<br \/>\nAuthors: Marijan Zlobec<br \/>\nDate: Thu, 18 Aug 2022<br \/>\nLink: <a href=\"https:\/\/kritik.si\/2022\/08\/18\/mahlerjeva-peta-simfonija-ob-izdatnem-ozvocenju-v-krizankah\/\" target=\"_blank\" rel=\"noopener\">https:\/\/kritik.si\/2022\/08\/18\/mahlerjeva-peta-simfonija-ob-izdatnem-ozvocenju-v-krizankah\/<\/a><\/p>\n<\/div>\n\r\n\t\t<\/div>\r\n\t<\/div>\r\n<\/div><\/div><\/div><div class=\"wpb_column vc_column_container vc_col-sm-6\" ><div id=\"ut_inner_column_6aecf69450c7d\" class=\"vc_column-inner\" ><div class=\"wpb_wrapper\">\r\n\t<div class=\"wpb_text_column wpb_content_element\" >\r\n\t\t<div class=\"wpb_wrapper\">\r\n\t\t\t<div class=\"dc-text-paragraph\">\n<p>At the 70th Ljubljana Festival, the Ljubljana International Orchestra came to give a concert at the Kri\u017eanke Summer Theatre. Before that, the orchestra had been on tour with a concert in Novi Sad. In Ljubljana they performed just one work, Gustav Mahler\u2019s Symphony No. 5 in C sharp minor, honouring the composer\u2019s brief period of work in Ljubljana 140 years ago.<\/p>\n<\/div>\n\r\n\t\t<\/div>\r\n\t<\/div>\r\n<\/div><\/div><\/div><\/div><div class=\"vc_row-full-width vc_clearfix\"><\/div><div id=\"ut-row-6aecf694517e9\" data-vc-full-width=\"true\" data-vc-full-width-init=\"false\" class=\"vc_row wpb_row vc_row-fluid vc_column-gap-0 ut-row-6aecf694517f5\" ><div class=\"wpb_column vc_column_container vc_col-sm-12\" ><div id=\"ut_inner_column_6aecf69451f04\" class=\"vc_column-inner\" ><div class=\"wpb_wrapper\">\r\n\t<div class=\"wpb_text_column wpb_content_element\" >\r\n\t\t<div class=\"wpb_wrapper\">\r\n\t\t\t<div class=\"dc-text-paragraph\">\n<p>The Ljubljana International Orchestra has been gaining an ever stronger reputation among young musicians and top professional artists since its successful performances in Slovenia, Italy, Austria, Croatia, Serbia, the United Kingdom and Spain. The orchestra is made up of excellent young musicians who gain invaluable experience by playing in a symphony orchestra and work with renowned professors, conductors and soloists. Musicians from more than thirty-five different countries, and therefore from different cultures and social backgrounds, strive together for the highest performance goals. The orchestra\u2019s repertoire covers both symphonic works of the Viennese Classical and Romantic periods and contemporary works of the 20th and 21st centuries. Sincere enthusiasm, youthful energy and unstoppable courage are the foundation for tackling the great masterpieces of the symphonic repertoire, which the musicians take on every year in several working phases. The orchestra has worked with soloists such as violist Wolfram Christ, trombonist Branimir Slokar, trumpeter Reinhold Friedrich, cellist Konstantin Pfiz, violinist Gregory Ahss and violist Gilad Karni. The orchestra\u2019s concertmasters are Gregory Ahss (concertmaster of the Camerata Salzburg and the Lucerne Festival Orchestra), Janez Podlesek (professor at the Academy of Music) and Yuri Kalnits (soloist). Permanent members of the orchestra also include Konstantin Pfiz (cello), Knut Erik Sundquist (double bass), Jo\u017ee Kotar (clarinet), Igor Ahss (bassoon), Zora Slokar (horn), Mihael \u0160uler (trombone) and Raymond Curfs (timpani). The Ljubljana International Orchestra is the cultural ambassador of the City of Ljubljana. It represents the Slovenian capital and portrays Ljubljana as a cosmopolitan city, a city of young people, creativity and opportunity. The orchestra\u2019s principal conductor is \u017diva Ploj Per\u0161uh. (Official presentation of the orchestra.)<\/p>\n<p>This year the 70th Ljubljana Festival placed particular emphasis on the work of young musicians, somewhat in the spirit of what the world-famous maestro Riccardo Muti said on the stage of Gallus Hall at Cankarjev dom: that young musicians are the future of Western European culture, otherwise chaos will ensue. In Ljubljana, Muti performed with the Luigi Cherubini Youth Orchestra.<\/p>\n<p>The next foreign guest to perform with young musicians at this year\u2019s festival was the celebrated conductor Daniel Barenboim, who gave two concerts with the West\u2013Eastern Divan Orchestra, made up mainly of young Israeli and Palestinian musicians.<\/p>\n<p>After the concert by the Ljubljana International Orchestra, the Slovenian Youth Orchestra will also take to the concert stage (on 25 August) under the baton of \u017diva Ploj Per\u0161uih. The orchestra also includes members of the Youth Orchestra of Ukraine, who came to us as refugees.<\/p>\n<p>Darko Berlek, director and artistic director of the Ljubljana Festival, mentioned at yesterday\u2019s press conference that the time is coming when a youth orchestra made up of Ukrainian and Russian musicians will also be founded. We shall see. Even the Israeli-Palestinian orchestra has had not the slightest effect on ending military attacks in Israel and Paklestine, as we can see right up to today, when an eighteen-year-old Palestinian fell to Israeli gunfire.<\/p>\n<p>In Ljubljana the conductor was the internationally acclaimed Portuguese conductor Osvaldo Ferreira, founder, artistic director and chief conductor of the Portuguese Philharmonic Orchestra. Before that he served as artistic director and chief conductor of the Algarve Orchestra, and was also artistic director of both the Algarve International Music Festival and the Oficina de M\u00fasica de Curitiba in Brazil. As a guest conductor he has conducted in Berlin, Vienna, Brussels, Rome, Lisbon, Porto, Prague, \u0141\u00f3d\u017a, Katowice, Madrid, Seville, Valencia, Cape Town, Caracas, Rio de Janeiro, S\u00e3o Paulo, St Petersburg, London, Aspen and Chicago, where he gained his master\u2019s degree in orchestral conducting. He completed his undergraduate studies at the St Petersburg Conservatory in the class of Ilya Musin. In 1999 he won a prize at the Sergei Prokofiev Competition in Russia. He attended the American Academy of Conducting at the eminent Aspen Music Festival in the USA, which then welcomed him into its fellowship reserved for a select few guests and participants of the festival. Osvaldo was assistant to conductor Claudio Abbado in Salzburg and Berlin. He further consolidated his studies with the Finnish conductor Jorma Panula and the American conductor and violinist David Zinman. He held scholarships from the Portuguese Ministry of Culture and the Calouste Gulbenkian Foundation in Portugal. In Ljubljana, after the concert, he met Darko Brlek and recalled their meeting in China.<\/p>\n<p>The Fifth Symphony in C sharp minor marks an important turning point in Mahler\u2019s output, as in it he stepped away from the symphonic creative concept he had pursued until then. From this symphony onwards, counterpoint became an important element of his composing. With its five movements, the Fifth Symphony departs from the classical model. Mahler also linked it thematically, dividing the five movements into three parts (the first two movements form the first part, the third movement the second part, and the fourth and fifth the third part). The symphony opens with a movement marked Funeral March: measured, strict, like a funeral procession. A paraphrase of a military march of the Austro-Hungarian army is heard, followed by a funeral march. The second movement (Stormily agitated, with the greatest vehemence) shares thematic material with the opening section. The third movement, Scherzo: vigorous, not too fast, which forms the second part of the symphony, is a lively movement whose form is harder to define, as it moves between rondo and sonata form.<\/p>\n<p>In it he develops various thematic elaborations of a dance-like character, from waltzes to L\u00e4ndler. The third part of the symphony consists of the fourth and fifth movements. The final part opens with the symphony\u2019s most famous movement, the mysterious, bittersweet and dreamy Adagietto (Very slow). This movement appears as the main musical theme in the film classic Death in Venice, made in 1971 by the Italian director Luchino Visconti after the novella by Thomas Mann. With its otherworldly sound, the Adagietto has become very well known and is sometimes performed as a standalone work in arrangements for various ensembles and solo instruments.<\/p>\n<p>The Adagietto is followed by the Rondo finale, the fifth movement, marked Cheerful, playful, lively. Although both movements avoid clear formal frameworks, they display sonata form. Mahler revised the Fifth Symphony several times up to his death, as he wanted to get to the bottom of all his unresolved questions about orchestration, and he died before he was truly satisfied with it. (From the programme notes by Metka Suli\u010d).<\/p>\n<p>The performance of Mahler\u2019s symphony was practically entirely in the hands of the \u2018mixing desk\u2019, that is, the sound engineers, who set the volume and thereby shaped the audibility of the symphony in their own way, from the top of the Kri\u017eanke Summer Theatre. When I asked them after the concert (there were three of them, though I do not know who was operating the sound) why the amplification was so strong, one of them replied that otherwise the double basses would not be heard. This appears to me in an entirely different light from what was said about the acoustic functionality of the auditorium itself after its renovation and for the needs of symphony concerts. It is not just about amplification, but about the competence of the people who deal with it; otherwise a new category of performer will have to be introduced in the programme, such as master of concert sound.<\/p>\n<p>The orchestra was without doubt very well prepared, both the individual soloists (trumpet, clarinet, horn) and the individual sections. Throughout, one could sense the great commitment of the young musicians, their will and strength, their desire to belong to top-level music and to the performance of one of the best-known symphonic works \u2013 symphonies that give the performers themselves great satisfaction and, given their youth, make them aware of the importance of their lifelong decisions and of belonging to musical culture at an international level.<\/p>\n<p>Mahler\u2019s Fifth Symphony in C sharp minor gives musicians everything they could wish for \u2013 practically every emotional shade, ranging from the funeral march to a dedication to love and joy in life as such, imbued with optimism, hope and trust in the power of music, which was fully realised in Mahler and his output. In the young musicians we admired their individual excellence as well as their ensemble playing, for which the greatest credit goes to their conductor Osvaldo Ferreira, with his rich international experience, although he has probably not conducted Mahler\u2019s symphonies as often as some others in Central Europe whose recordings are practically legendary (Claudio Abbado). In Slovenia, the most Mahler symphonies were conducted by the late Anton Nanut.<\/p>\n<p>With amplification, the Fifth Symphony sounded like a truly monumental work, with all its details, and of course its individual movements, such as the legendary Adagietto and the brilliant finale, the aforementioned soloists and sections (horns, trumpets, trombones with tuba, flutes). Given the acoustic situation on stage, all the \u201crear\u201d sections seemed better than the strings in the foreground, but these are details that also raise the question of whether it would not have been more appropriate to have a few more strings, at least 60, which were not on stage this time. It seems that contemporary music-education trends favour woodwind and brass players over string players; young people, for instance, do not want to study the viola, as the violist Franc Avsenek, a professor at the Academy of Music, once lamented to me. The flute is in fashion; in Slovenia alone there are more than thirty young female flautists. The question of employment seems to be of secondary importance here, but that this is not so soon becomes apparent in all its \u201ccruelty\u201d. Let us hope that the young musicians who performed at Kri\u017eanke are aware of their decision to pursue a career in music.<\/p>\n<\/div>\n\r\n\t\t<\/div>\r\n\t<\/div>\r\n<\/div><\/div><\/div><\/div><div class=\"vc_row-full-width vc_clearfix\"><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"Medij: Kritik.si Avtorji: Marijan Zlobec Datum: \u010cet., 18. aug. 2022 Povezava: https:\/\/kritik.si\/2022\/08\/18\/mahlerjeva-peta-simfonija-ob-izdatnem-ozvocenju-v-krizankah\/ Na 70. Ljubljana Festival je na koncert v Poletnem gledali\u0161\u010du v Kri\u017eankah pri\u0161el Mednarodni orkester Ljubljana. Orkester je bil sicer pred tem na gostovanju s koncertom v Novem Sadu. V Ljubljani so izvedli samo eno delo, in sicer Simfonijo \u0161t. 5 v cis [...]","protected":false},"author":8,"featured_media":30583,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[143],"tags":[],"class_list":["post-29818","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-novice-si"],"_links":{"self":[{"href":"https:\/\/www.art-bsa.eu\/en\/wp-json\/wp\/v2\/posts\/29818","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.art-bsa.eu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.art-bsa.eu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.art-bsa.eu\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.art-bsa.eu\/en\/wp-json\/wp\/v2\/comments?post=29818"}],"version-history":[{"count":4,"href":"https:\/\/www.art-bsa.eu\/en\/wp-json\/wp\/v2\/posts\/29818\/revisions"}],"predecessor-version":[{"id":30620,"href":"https:\/\/www.art-bsa.eu\/en\/wp-json\/wp\/v2\/posts\/29818\/revisions\/30620"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.art-bsa.eu\/en\/wp-json\/wp\/v2\/media\/30583"}],"wp:attachment":[{"href":"https:\/\/www.art-bsa.eu\/en\/wp-json\/wp\/v2\/media?parent=29818"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.art-bsa.eu\/en\/wp-json\/wp\/v2\/categories?post=29818"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.art-bsa.eu\/en\/wp-json\/wp\/v2\/tags?post=29818"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}