JANEZ MATIČIČ: SKLADBE ZA VIOLINO IN KLAVIR - ANJA BUKOVEC, IGOR OZIM - VIOLINA; MILANKA ČREŠNIK, JANEZ MATIČIČ - KLAVIR

Classical and Modern Music

Format: CD

Code: 112454

EAN: 3838898112454

Tracks:
Trois Morceaux for violin and piano, op. 17 (1949)
1. Prélude (listen!)
2. Air
3. Nocturne
4. Appassionato for violin and piano, op. 12 (1947)
Štiri uspavanke for violin and piano, op. 50 (1958 - 1984)
5. I.
6. II.
7. III.
8. IV.
9. Poème Lyrique for violin and piano, op. 22 (1952)
Synthèses for violin and piano, op. 41 (1969)
10. Transparences
11. Ostinato
12. Limpido
13. Chants pt. 1 for violin solo, op. 48 (1980)
Deux poèmes for viola and piano, op. 18 (1949)
14. I. Quasi lento
15. II. Andante

ANJA BUKOVEC – violin: 1-9
IGOR OZIM violin: 10-13, viola/viola: 14-15
MILANKA ČREŠNIK piano : 4, 9
JANEZ MATIČIČ piano: 1-3, 5-8, 10-12

Almost all my works for the violin were created in cooperation with my friend, the violinist Igor Ozim. We met when we studied violin under Professor Leon Pfeifer way back in the 1940s (during the war). Ozim was a brilliant violin player and left me in his wake, but at the same time encouraged me to compose for this musical instrument. He did the first performances for all my compositions for violin, either as a soloist or accompanied by piano.
The compositions on this CD are from various periods. My early works (Trois Morceaux, Appassionato, Štiri uspavanke and Poème Lyrique) are performed by the violinist Anja Bukovec, while the compositions from the recent period (Synthèses, Chants (No 1)) rendered by Igor Ozim, are taken from the RTV Ljubljana Archive, where Ozim’s recording of Deux poèmes for viola and piano also comes from.
The Trois Morceaux Op 17 cycle was composed in 1949 and performed for the first time by Igor Ozim in London, where he received the Carl Flesch Medal Award in 1951. The composition consists of three movements (Prélude, Air and Nocturne) with a lyrical character and a differing formal design. In Prélude, a melodic song in semiquavers raises above the constant ripple of the piano in the background, and leads to several consecutive culminations. Air with its contrasting slower character has the ABA form with even more pronounced lyricism. The middle section has a short piano ascend, where in its culmination is accompanied by a violin. In the theme B of the Nocturne movement, we follow a canonical imitative dialogue between the violin and the piano.
I composed Apassionato Op 12 especially for Igor Ozim’s first independent recital. The composition was performed for the first time in the April of 1947 (with Hilda Horak on piano). The composition brings a series of sequential starts and culminations exchanging between the two instruments.
Štiri uspavanke Op 50 (Four Lullabies) were composed with lengthy time intervals between them. The first one (1958) is complying Ozim’s wish and is a transcription of the eponymous composition from the second piano Suite Op 28 with a constant melodic figure above the syncopated pedal tone and consistent “bell” in the highest pitch, which serves as the foundation for the violin song. The second one (1961) was originally written for the daughter of my friend and conductor Klaro Mizerit, but when Igor Ozim saw it, he immediately appropriated it, because “Breda wasn’t able to play it anyway.” The lyrical start develops into the livelier middle section, which is followed by a modified recapitulation. The third lullaby (1983) was composed when my mother died. It has a more expressive character and also contains some dramatic features. The last one, Lullaby No IV (1984) is constructed strictly on the piano ostinato (g, a, h, c) and serves as a foundation for a very lyrical violin song.
Poème Lyrique Op 22 (1952) is the longest composition from the early period and is based on a sonata movement. The first zealous theme with some very high violin pitches is followed by a grand piano solo, which brings us to a paroxysm. The second theme ensues, which is performed entirely on the G string with a strong lyrical expression. Both themes simultaneously develop and intertwine – either very lyrically or very dramatic in some sections. The recapitulation, with its tempo primo again brings us to the initial zeal which ends with a shorter violin cadence. The code nostalgically tackles both themes, which simultaneously dissipate and fade out.
Synthèses Op 41 was composed in 1969. I had to hurry, as I wanted to present the composition for the grand international competition in composition, “Mérite Culturel et Artistique” in Paris. I entered the score at the very last minute before the deadline. A month later, at the end of November I received the news that I was the winner of the competition “A l’unanimité de tout le Jury”. The score was to be performed a week later at the gala night. I asked Igor Ozim to perform it and he came from Cologne to Paris especially for that occasion. We rehearsed very hard, because this is a very complex three movement score, where both the first and the third movement hug the larger central movement, which is rhythmically and dynamically very fluctuating. The initial movement, Transparences starts with a piano trill, which is joined by high pitch violin sounds with short lyrical fragments. The two instruments later develop a more dramatic and tense dialogue which calms down towards the end. The rhythmical impulse, which represents the basis of the central movement Ostinato, completely takes on the interplay of both instruments by using the same basic composition cells for both. This dynamic flow in the middle part of the composition is tackled differently: under the high pitched notes of the violin, the piano ascends in consecutive cascades. The following The recapitulation brings a true delirium in escalating the intensity. Limpido has a different lyrical character than that of the first movement, because it contains a certain fixation with the same tones for violin (e, es, d) and a parallel behaviour for piano with the C note as the highest in the recapitulation. After leaving this situation,the composition fades out in a shorter code.
Chants Op 48 (1963–1980) consist of four compositions for a solo violin and was composed over a longer period of time. This record brings only the first (1972), which was commissioned by Igor Ozim as a musical supplement for his book on the interpretation of contemporary music for violin (published by Breitkopf Publishing House). In this composition, I presented my view of contemporary violin playing. I composed it with a violin in my hand.
The early two songs, Deux poèmes Op 18 (1948) were commissioned by the then first viola player of the Slovenian Philharmonic Orchestra Srečko Zalokar and his wife, the piano player Jelka Suhadolnik. They never performed them, saying “they were too complicated.” Many years later Igor Ozim – angry again that the composition hadn’t yet been performed – suggested: “Let the two of us record them!” The result is on this CD and it proves that Ozim mastered the viola to no lesser an extent than he did the violin. The first of the two lyrical compositions is more sober and in line with a November melancholic atmosphere: the piano sounds frequently descend in quavers, while the viola’s song is very melodic. The second one is longer and more dynamic and it introduces a greater range into the sounding of both instruments. In the middle of the composition, the piano solo is joined by the viola and with their intensive rhythmical movements they bring the score to its culmination. The following recapitulation soothes the instruments

Janez Matičič

JANEZ MATIČIČ

Composer Janez Matičič was born in 1926 in Ljubljana, where he also received his education. He first studied violin and later took up piano, composition and conducting, graduating from the Academy of Music in 1951. His first compositions were influenced by NeoRomanticism, but after taking lessons with renowned Nadia Boulanger in Paris he turned to Modernism. After joining the famous Groupe de Recherches Musicales in 1961, he developed an interest in electroacoustic music, which was produced in the electronic studios of the group. All these cosmopolitan influences are evident in Matičič’s music, which is emotionally intense, excellently crafted and always inventive. The music for piano stands out among his works, as this is the instrument with which he has developed both emotionally and technically and for which he has been constantly composing new masterpieces. His piano works are among the most extensive and recognizable in the Slovenian music: from his first NeoRomantic miniature, suites and 12 studies, Neoclassical and Modernist sonatas, to highly interesting contemporary musical images (Utripi, Resonance, Gemini for two pianos, Géodes for piano and percussion, Cosmophonie for piano and magnetic tape). Recently he has written the following works involving piano: Toccata – Fantasia, Sonata No. 4 Choralis for piano four hands and eight new studies. Matičič has also written some noteworthy electroacoustic compositions, including Tri vizije, Oscilacije and Fuzije. Works for violin and piano, string quartet and saxophone quartet could be highlighted among his chamber music compositions.His orchestral music (such as the two symphonies,Trans…, four concertos – for violin, violoncello and two for piano) is noted for his sense of timbres and interesting formal structure. It is also worth mentioning that Matičič has always been the best and most authentic interpreter of his piano works, what only explains his thoughtful composing and quest for original style. For his work Matičič received numerous awards, including t e prestige Prince Rainer award in Monaco (1962), Mérite Culturel et Artistique in Paris (1969), the Radio Belgrade award (1966), the RTV Slovenia award (1994), an award for his electroacoustic works in Bourges (1980) and the Prešeren award for his lifetime work (2007).
Even though Matičič’s second home as well as a source of his artistic inspiration and cosmopolitanism is Paris, he remains closely connected to Slovenian musical heritage.

ANJA BUKOVEC

Anja Bukovec is a top musician and a popular media personality. She excels in mastering the instrument, has a very recognisable style, offers unique interpretations and establishes an unforgettable sense of communication with her audiences. She is well known and an appreciated person, who has honed her skills as a cultural ambassador during her studies in Ljubljana, Prague, Cologne and Vienna. Anja performs as a soloist. She has received numerous international awards and enthrals audiences around the globe. Her records Gemini (2007), Follow (2008) and Chameleon (2009) have reached the very top of popular music charts and are the best selling CDs dealing with classical music in Slovenia. So far, Anja has collaborated with the Alban Berg Quartet, world-renowned conductors such as En Shao, Uroš Lajovic and Marko Letonja and also with the several time BAFTA film composition winner Christopher Gunning and with the most prominent German pop musicians Die Fantastichen 4. She continues to prove that classical music is not only a connoisseurs’ domain: on the contrary - it can reach the masses, providing that it is presented in the proper manner. Anja’s hearty approach to her audiences connects all generations, from the youngest to the oldest. Experts and critics always give Anja excellent reviews and compare her with the greatest names in the world of music. All her concerts are sold out and the festive season events with her are a synonym for excellence. On special request, Anja performed for Her Majesty, Queen Elizabeth II.

IGOR OZIM

Igor Ozim (born 1931) began his violin studies with Leon Pfeifer in Ljubljana. Before entering the Academy of Music, he was also studying the piano and finished classical secondary school in Ljubljana. On a scholarship from the British Council, he continued his studies at the Royal Academy of Music in London with Max Rostal. In 1951 he won the Carl Flesch Violin Competition, and in 1953 the ARD International Music Competition in Munich. As an internationally acclaimed concert violinist, he collaborated with the world’s most esteemed orchestras. For many decades he was teaching at the Cologne University of Music – the post was offered to him by his former professor Max Rostal. Additionally, he has been teaching violin at the universities in Bern and Vienna. Currently, he is a professor at the Salzburg Mozarteum and holds master classes for violinists around the world, for many years also in the Slovenian town of Velenje. He has been a member of the jury in various prestigious international violin competitions. His editions of a number of classical and contemporary music for violin, among them Mozart’s violin concertos, have been published by prominent publishers. Today, Igor Ozim is one of the most appreciated authorities on violin playing in the world. With his pedagogical and artistic work, he has significantly contributed to the modern approach to studying this royal instrument. His playing is characterized by crystal clear intonation, superb bowing technique, flawless tone production, and carefully considered interpretation, which reflects his profound knowledge and precise analysis of musical works. Igor Ozim has recorded a number of the most beautiful masterpieces of the violin repertoire, including several important Slovenian works: his recordings of the violin concertos by Lucijan Marija Škerjanc, Ivo Petrić, Janez Matičič, and Uroš Krek, as well as of many other pieces shine through his meticulous and masterful performance. His artistic approach could be described as a highly disciplined and artistically honest striving after the sublime Apollonian ideal, which inspires the greatest masterpieces of the Western culture.

MILANKA ČREŠNIK

Pianist Milanka Črešnik, (1977) started her musical training at the Music School in Ravne na Koroškem. She took her diploma at the Intermediate Music School in Maribor as a pupil of Prof. Marija Serajnik. At the Academy of Music in Ljubljana she was a student of Prof. Aci Bertoncelj. She graduated in 2001 and went on to study with Prof. Vassily Lobanov at the Hochschule fur Music Cologne. In 1995 she received the Second Prize at the Slovene Nacional Competition for Young Musicians. She has appeard in diferent chamber music performences at home and abroad. With saxophonist Betka Bizjak Kotnik performed recitals in diferent concert cycles. They have recorded CD named Replique. They got the higest award at competition for chamber music Primož Ramovš in Ljubljana 2007. She post graduated at the Academy of Music in Ljubljana in the class of Prof. Tatjana Ognjanović. She works as a Prof. of piano at the Music School in Nazarje.