Atrium of Livadić Cafe (in case of rain Prica Gallery) at 8PM

Free entry!

The concert is organized in cooperation with POU Samobor.

ABOUT

Pavle Golubić Trio is a modern jazz ensemble consisting of three outstanding musicians: Pavle Golubić (drums), Domagoj Leljak (guitar), and Tin Džaferović (double bass). They gained their musical experience and education in Zagreb, Slavonski Brod, Antwerp, Graz, and Vienna.

The trio performs original compositions by its members and arrangements of traditional songs from various regions of Croatia. The aim of selecting such a program is to preserve Croatian cultural heritage by playing their own arrangements of traditional songs from the regions of Međimurje, Slavonia, and Dalmatia in the style of modern jazz, as well as to promote the trio’s own compositions. A few compositions have been chosen from each of these regions.

The songs that the trio has arranged include: “Bistra Voda Teče,” “Dej Mi Bože Joči Sokolove” from Međimurje, “Spori Bećarac” from Slavonia, and “Titrala Se Lipa Mare” from Dalmatia.

This selection of the program encompasses the diversity of the cultural heritage of different parts of Croatia, connected by the authentic improvisational style and contemporary sound of this trio.

The trio’s original compositions are inspired by European modern jazz and the sound of Scandinavian jazz greats such as Bobo Stenson, Tord Gustavsen, Jan Garbarek, Bill Frisell, and others.

The members’ compositions include: “Shining” and “Vogel van Antwerpen” by Pavle Golubić, “New Cowboy Song” and “Za Pavu Urbana” by Tin Džaferović, and “Martin na žalu” and “Nemojte se svađati” by Domagoj Leljak.

Objava Youngmasters Recital: Pavle Golubić Trio pojavila se prvi puta na Youngmasters.

Wednesday, 28/8 at 8PM

Free entry!

BIOGRAPHY

The first-time Youngmasters lecturer Ieva Pranskutė (violin) and Samobor musician Mislav Brajković (cello) form the Xylos Duo, an ensemble that has captivated audiences worldwide with their electric performances, blending the richness of classical music with the vibrancy of contemporary compositions. Since their inception nine years ago, this dynamic duo has developed a deep musical bond, evident in every note they play, whether on the grand stages of the Wiener Musikverein, Wiener Konzerthaus, or in more intimate settings.

Ieva Pranskutė, a Lithuanian violinist, began her musical journey at six with a solo debut and has since performed globally, including with Kremerata Baltica and renowned artists like Gidon Kremer and Martha Argerich. Educated in Vienna under masters like Pavel Vernikov, Ieva has won numerous international awards. Her performances span prestigious venues like Vienna’s Hofburg and Wigmore Hall in London, and she is recognized for promoting Lithuanian culture internationally.

Mislav Brajković has earned significant acclaim, including four “Knowledge Oscars” from Croatia’s Ministry of Education. A top prize winner at competitions like the CARSA and Antonio Janigro International Competitions, Mislav studied in Zagreb and Vienna, where he excelled in cello and chamber music. He has performed in major venues such as the Wiener Musikverein and Muziekgebouw in Amsterdam, and is a founding member of several ensembles.

Together, Ieva and Mislav have created a powerful and versatile ensemble that resonates with audiences of all ages. The Xylos Duo not only delivers captivating performances but also offers a sensory experience that transcends the boundaries of traditional classical music. Their commitment to musical diversity—from classical masterpieces to contemporary works—ensures that their performances are both timeless and relevant. Notably, they were awarded the “Kodály Award” at the ISA Prague-Vienna-Budapest Festival for their outstanding performance of the duo op. 7.

As members of various ensembles, including the Doreen Quartet and Xylos Trio, Ieva and Mislav continue to push the boundaries of classical music, earning accolades and inspiring audiences around the world. Their performances, documented in numerous radio and television productions across Austria and Lithuania, are a testament to their extraordinary talent and dedication to their craft.

In every performance, Ieva and Mislav invite their audiences to embark on a musical journey, creating an atmosphere where the magic of music comes alive, and the rich traditions of classical music are seamlessly intertwined with the energy of the present.

PROGRAM: Around the world

W.A. Mozart (1756-1791): Duo in G-major, K423

G.B. Cirri (c. 1720-c. 1820): Duo No. 4

P. Vasks (1946- ): Castillo Interior

A. Šenderovas (1945-2019): Dialogues

O. Kukal (1964- ): Duo for Violin & Cello

A. Igudesman (1973- ): Duos

Wolfgang Amadeus Mozart was a prolific and influential Austrian composer of the Classical era, known for his mastery across various musical forms, including symphonies, operas, chamber music, and concertos. The Duo in G Major, K. 423 was written for violin and viola. This piece is part of a set of two duos (K. 423 and K. 424) that Mozart composed in 1783 to help his friend Michael Haydn, who was unable to complete a commission for six such duos. The work is particularly noted for the equal partnership between the violin and viola, showcasing Mozart’s skill in creating engaging and balanced chamber music for these two instruments.

Gioachino Battista Cirri (circa 1720–circa 1808) was an Italian composer and cellist who made significant contributions to the Baroque and early Classical music periods. His Duo No. 4, composed for cello and continuo, exemplifies his virtuosic style and innovative approach to chamber music. This work stands out for its intricate interplay between the cello and the accompanying continuo, showcasing Cirri’s skill in blending lyrical melodies with complex, technically demanding passages. The duo reflects the transition from Baroque to Classical aesthetics, highlighting Cirri’s ability to merge expressive depth with structural clarity, making it a notable piece in the repertoire for cellists and chamber musicians.

Pēteris Vasks is a renowned Latvian composer known for his deeply spiritual and evocative music, often reflecting themes of nature, human struggle, and hope. His piece “Castillo Interior”, composed for solo cello, is inspired by the writings of Saint Teresa of Ávila, particularly her mystical work “The Interior Castle.” The composition is a meditative and introspective journey, exploring the inner spiritual realms through a series of seven movements that correspond to the seven stages of spiritual development described by Saint Teresa. “Castillo Interior” is characterized by its haunting melodies, rich textures, and the use of extended techniques, creating a powerful and contemplative atmosphere that challenges the performer both technically and emotionally.

Anatolijus Šenderovas was a distinguished Lithuanian composer celebrated for his emotionally charged and deeply expressive music, which often draws on his Jewish heritage and the cultural history of Eastern Europe. His piece “Dialogues” is a prominent example of his work, written for violin and cello, and it exemplifies his ability to create intense, intimate musical conversations between instruments. The composition is marked by its rich harmonic language and dramatic contrasts, where the two instruments engage in a complex, sometimes confrontational, exchange. “Dialogues” explores themes of communication, conflict, and reconciliation, reflecting Šenderovas’s broader interest in the human condition and the power of music to convey profound emotional experiences.

Oleg Kukal was a Czech composer known for his innovative and evocative contributions to contemporary classical music. His “Duo for Violin and Cello” is a notable work that highlights his adeptness at blending traditional forms with modern sensibilities. Composed with an emphasis on the interplay between the two instruments, the duo features a range of textures and dynamics that allow both the violin and cello to shine individually and in harmony. The piece is characterized by its intricate counterpoint, rich harmonic language, and expressive depth, showcasing Kukal’s ability to craft music that is both technically demanding and emotionally resonant. This duo stands out as a testament to Kukal’s skill in creating engaging chamber music that challenges performers while captivating audiences.

Aleksandar Igudesman is a contemporary composer and violinist renowned for his inventive and genre-blending compositions that often merge classical sophistication with playful elements of humor and theatrics. His work “Duos” is a compelling example of his creative approach, composed for violin and various other instruments, including cello. This collection of duos showcases Igudesman’s ability to blend virtuosic demands with engaging, often whimsical musical dialogues. The pieces in “Duos” reflect his knack for merging technical brilliance with entertaining, narrative-driven elements, providing performers with opportunities for both expressive depth and engaging stage presence. The work is celebrated for its inventive use of the duo format, offering a fresh perspective on chamber music through Igudesman’s unique blend of wit, emotion, and technical prowess.

Objava Youngmasters Recital: Xylos Duo pojavila se prvi puta na Youngmasters.

Free entry!

BIOGRAPHY

Danica Škreblin was born in Zagreb in 2003. She is a student at the Kunstuniversität Graz, studying under professors Łukasz Kuropaczewski and Paolo Pegoraro. She began her education at the Blagoje Bersa Music School under the guidance of Professor Tomislav Vasilj. Throughout her primary and secondary education, she achieved numerous outstanding results. She has won over 20 awards, including first prizes at international guitar competitions such as Porečfest (2018 and 2019), Zagreb Guitar Festival (2018 and 2019), and IGC Ida Presti (2018 and 2020).

This year’s achievements for Danica started with performances in the finals of major competitions in non-age categories, where she was often the youngest contestant. In March of this year, she won the Audience Award at the IGC Ida Presti in Samobor, followed by first prize at the Sarajevo Guitar Festival and second prize at the Guitar Art Festival in Belgrade. Her most recent success came in Spain at the 27th International José Tomás Competition in Petrer, where she won second prize. It is also worth mentioning the Professor Baltazar awards that she received from the City of Zagreb in 2019 and 2021. In June 2021, she gave a solo recital at the Lauba Gallery in Zagreb, and in February 2022, she performed at the Church of St. Jerome as part of the St. Jerome Chamber Music Festival. She also appeared on the TV show Good Morning Croatia.

During her education, Danica refined her skills at masterclasses with renowned guitar pedagogues such as Zoran Dukić, Petrit Çeku, Tomislav Vukšić, Xhevdet Sahatxhija, Krešimir Bedek, Gabriel Bianco, Anabel Montesinos, and Rafael Aguirre.

Danica has been involved with Youngmasters for several years as a participant in masterclasses and as a performer, and last year she also served as a member of the organizational team.

Tonight’s recital follows her Audience Award from the IGC Ida Presti and the exceptional viewership of her performance on the competition’s YouTube channel.

PROGRAM

F. Sor (1778-1839): Introduction and Variations on the theme “Marlborough s’en va-t-en guerre,” Op. 28

M.M. Ponce (1882-1948): Sonatina

• I. Allegro non troppo
• II. Andante
• III. Vivace

M. Ohana (1913-1992): Tiento

I. Albéniz (1860-1909): Evocacíon

F. M. Torroba (1892.1982): Seguidilla, Arada, Fandanguillo, Torija

I. Albéniz: Sevilla

About the Composers and Works

Fernando Sor (1778-1839) was a prominent classical guitarist and composer, known for his significant contribution to the classical guitar repertoire. His works, such as études and sonatas, are still frequently performed today. Sor’s music is characterized by melodic beauty, complex harmony, and technical challenges. The “Introduction and Variations on the theme ‘Marlborough s’en va-t-en guerre'” are based on a French folk song that Sor creatively alters through a series of variations. Each variation showcases Sor’s skillful manipulation of the theme, using different techniques, harmonies, and textures to create a diverse and engaging musical journey. This piece is a testament to Sor’s compositional prowess and his ability to transform a simple melody into a beautiful guitar composition.

Manuel Maria Ponce (1882-1948) was a Mexican composer and pianist who made a significant contribution to the classical guitar repertoire with his compositions. He was a close friend of the Spanish guitarist Andrés Segovia, and together they created many masterpieces that are still widely performed today. One of his well-known works is the Sonatina, popularly known as Sonatina Meridional, which is fundamentally inspired by Spanish folk songs collected by Andrés Segovia and sent to the composer as material for a new composition. According to Segovia, the first movement is called Campo (Field), the second Copla (Song), and the third Fiesta (Celebration).

Maurice Ohana (1913-1992) was a French composer of Spanish descent known for his innovative and avant-garde compositional style, characterized by a blend of diverse influences, including elements of Spanish, North African, and contemporary classical music. He experimented with these elements to create a unique and expressive musical language. One of Ohana’s significant works is Tiento, a composition for solo guitar inspired by the traditional Spanish flamenco form of the same name. Tiento reflects Ohana’s fascination with flamenco, particularly cante jondo, a style of singing often associated with deep, painful, and melancholic themes.

Federico Moreno Torroba (1891-1982) was a Spanish composer and conductor known for his significant contributions to the genre of Spanish classical music, particularly in the field of zarzuela, a form of Spanish operetta. He is also renowned for his works for the guitar—his concertos, sonatas, and solo pieces have become staples of the classical guitar repertoire. Torroba’s compositions often incorporate elements of Spanish folk music and dance forms. For instance, Fandanguillo and Seguidilla are inspired by the Spanish dances of the same names, while Arada and Torija are short vocal-like pieces.

Isaac Albéniz (1860-1909) was a Spanish pianist and composer and one of the key figures in the development of the Spanish classical music genre. Albéniz’s music reflects the rich cultural heritage of Spain, incorporating elements of Spanish folk music. He is best known for his piano works, particularly his suite Iberia and Suite española. Through these works, Albéniz demonstrates his ability to evoke the landscapes and traditions of Spain through music. Evocación is the first movement of the first book of the Iberia suite and captures the essence of Spanish music with its passionate and evocative nature. Sevilla, part of the Suite española, is inspired by the city of the same name and the flamenco dance Sevillanas, embodying the lively spirit of the sunny Andalusian city and transporting us to the vibrant landscapes and cultural heritage of the Iberian Peninsula.

Objava Youngmasters Recital: Danica Škreblin, guitar pojavila se prvi puta na Youngmasters.

Their recital will be held at Galerija Prica on Wednesday, August 21, at 8:00 PM. Entry is free!

BIOGRAPHY

Nataša Veljković, a pianist with a rich international career, has been at the heart of the music world since she was four years old. After studying in Belgrade with Prof. Arbo Valdma, she was accepted into the University of Music and Performing Arts in Vienna at the age of 14, where she graduated with the highest honors. Her talent was recognized early on, as she won her first international competitions in Italy during childhood and achieved sensational success at age 11 with her performance of Ravel’s concerto with the Zagreb Philharmonic. Her outstanding achievements have earned her numerous awards, including the prestigious “Clara Haskil” prize in Switzerland. Veljković has performed with renowned European orchestras and eminent conductors and has participated in many festivals across Europe. In addition to her concert activities, she has recorded numerous CDs, including the complete works of Dora Pejačević. She currently teaches at the University of Music and Performing Arts in Vienna and serves as a jury member at various international competitions, with Mozart’s works being central to her repertoire.

Tobias Stosiek, born in Schwerin, Germany, studied cello at the University of Music and Performing Arts in Vienna under Prof. Tobias Kühne, attending masterclasses with prominent cellists such as David Geringas, Frans Helmerson, and Mstislav Rostropovich. He has won numerous awards at international cello competitions, including first places at the International Brahms Competition in Pörtschach, the International Instrumental Competition in Markneukirchen, the International Cello Competition in Liezen, and the Jeunesses Musicales in Belgrade. Stosiek frequently performs at festivals and concerts across Europe, with his performances broadcasted by ORF, Sender Dresden, DeutschlandRadio Berlin, and MDR Kultur. Since 2003, he has led his class at the University of Music and Performing Arts in Graz and serves as a jury member at prestigious competitions. Tobias Stosiek plays on a cello made by Don Nicola Amati in Bologna in 1700.

PROGRAM

Franz Schubert (1797-1828): Arpeggione-Sonata in a-minor, D. 821
–Allegro moderato
–Adagio
–Allegretto

Frédéric Chopin (1797-1828): Berceuse in D-flat Major, op. 57

Frédéric Chopin: Ballade Nr. 4 in f-minor, op. 52

Frédéric Chopin: Andante spianato et Grande Polonaise brillante in E-flat Major, op. 22

Camille Saint-Saëns (1835-1921): Introduction et Rondo capriccioso, op. 28

On the composers and the pieces

Franz Schubert (1797–1828) was an Austrian composer, recognized as one of the most significant figures of early Romanticism in music. Born on January 31, 1797, in Vienna, he lived only 31 years but left an incredibly rich body of work, including more than 600 songs (lieder), as well as symphonies, sonatas, chamber music, and masses. Schubert’s work was often underappreciated during his lifetime, and he was financially supported by friends. Although relatively unknown outside of Vienna, Schubert was highly esteemed within a close circle of friends and musicians, who organized “Schubertiades,” evenings dedicated to his music.

Franz Schubert composed the Sonata for Arpeggione and Piano in A minor, D. 821 in November 1824, shortly after returning from Zseliz, where he spent the entire summer teaching the two daughters of Count Esterházy. Although today the three-movement Arpeggione Sonata is mostly performed with the cello or viola accompanied by the piano, there are numerous transcriptions for other instruments, particularly wind instruments. The Sonata was originally intended for performance on the arpeggione, an instrument that enjoyed short-lived popularity during Schubert’s lifetime. The guitar d’amour or arpeggione was invented around 1823 or 1824 by the esteemed Viennese guitar maker Johann Georg Stauffer and resembled an enlarged guitar with six strings that could be bowed like a cello. Although the instrument initially garnered significant interest, its popularity was short-lived, and today it is best known thanks to this Schubert Sonata. Despite the instrument’s name, Schubert avoided the use of arpeggios, instead focusing on the lyricism of traditional sonatas for string instruments and piano. The first movement, Allegro, is built around a recognizable melody. The second theme continues with gentle surges of sixteenth notes, and since the arpeggione could not execute rapid notes with a broad dynamic range, all faster sections of the Sonata are marked with a dynamic of piano or pianissimo. The gentle Adagio is almost hymn-like in character, while the Allegretto leads to a brief solo improvisation transitioning into the finale of the multi-part last movement.

Frédéric Chopin (1810–1849) was a Polish composer and pianist, one of the most important and influential composers for the piano in the history of music. As a child, he demonstrated extraordinary talent for music, composing his first pieces at the age of just seven. His works, including mazurkas, polonaises, nocturnes, preludes, and ballades, demand exceptional skill but are simultaneously imbued with poetic beauty and deep emotional power. One of the most intriguing aspects of Chopin’s life was his long-term relationship with the French writer George Sand, whose real name was Aurore Dudevant. Their relationship, both passionate and turbulent, profoundly influenced Chopin’s music, inspiring many of his most famous works. Chopin suffered from poor health throughout his life, likely due to tuberculosis, a disease that significantly affected his work and life, ultimately leading to his death at just 39 years old.

F. Chopin: Berceuse Op. 57

Written during the summer of 1843, “Berceuse in D-flat Major, Op. 57” is one of Chopin’s most mature works. This subtle lullaby begins with the rocking of an ostinato bass, followed by a main theme whose melody resembles a Polish lullaby called “The Moon Has Risen, the Dogs Are Asleep.” The same melody, sung to him by his mother as a child, is used by Chopin in his Fantasy on Polish Airs. After a brief theme of only four measures, 16 variations elegantly and fluidly transition from one to the next. The child’s innocence of the initial melody quickly develops contrapuntally and soon blossoms into an arabesque that floats above the ever-present ostinato bass. Toward the end, the harmonic structure subtly shifts, and the melody once again lulls us to sleep and fades away.

F. Chopin: Ballade No. 4

The last of Chopin’s four ballades, this one differs the most from the previous ones. Of a narrative character and complex polyphonic structure, the fourth ballade is difficult to define formally. Unlike in the other ballades where the first theme is introduced only twice, here it appears in the form of variations. In the introduction, the listener gets the impression of entering a story that has already begun, but the plot of this tale is full of twists and pauses, unexpected climaxes, fascinating episodes, and interludes. In the coda, it reaches its climax and ends with triumphant chords, without diminishing the ecstasy. Filled with virtuosic passages and fragmentary lyrical motifs, the fourth ballade is one of the crowning achievements of Chopin’s entire piano repertoire.

F. Chopin: Andante spianato et Grande Polonaise brillante Op. 22

Chopin added the introductory Andante spianato to the polonaise only in 1834 or 1835, which, due to its character, does not align with the polonaise, but it is precisely this contrast that connects them. The Andante spianato (which means smooth, without affectation) introduces the piece like an intimate nocturne, with a distinctly ornamented melody that develops into a meditative arabesque. A simple chorale follows, breaking the nocturnal atmosphere, simple and orderly in form, after which the ornate passages return. Near the end, we hear a sleepy chorale from afar, from which we are awakened by sudden fanfares of the rhythmic polonaise. The polonaise theme is a lively and singing melody, with a pronounced rhythmic and humorous character. The form is somewhere between a rondo with episodes and a dance with a trio, and the texture consists of numerous brilliant ornaments and virtuosic passages. After a minor key episode of an intimate character, there is a lyrical return to the first theme, which then develops into the initial liveliness. To conclude, the highly virtuosic coda, full of chromaticism, presents a technical challenge for the performer and offers the listener a final culmination of brilliance and bravura.

Camille Saint-Saëns (1835–1921) was a French composer, pianist, organist, and conductor, one of the most prominent musicians of his time. Saint-Saëns was an exceptionally prolific composer, creating in nearly all musical forms, including symphonies, concert works, operas, chamber music, and organ compositions. He was a true child prodigy. By the age of three, he could play the piano, and by five, he began composing. His first public performance at the age of ten became legendary. At that concert, Saint-Saëns offered to play any of Beethoven’s 32 sonatas chosen by the audience, demonstrating extraordinary knowledge and talent. Besides music, Saint-Saëns was a passionate traveler and explorer. He traveled around the world, visiting exotic places such as Egypt, Algeria, Spain, and Ceylon. These journeys often inspired his works, bringing him new ideas and inspirations that enriched his musical palette.

C. Saint-Saëns: Introduction et Rondo Capriccioso

This piece, written in 1863 and dedicated to the great Spanish violinist Pablo de Sarasate, showcases two of the composer’s virtues: in the slow Introduction, the violin sings a lovely melody whose lack of passion speaks volumes about Saint-Saëns’ elegant expressiveness. In the Rondo Capriccioso, vivacity and virtuosity are combined to great effect. In 1876, critics described the work as “a fantastic waltz in the Spanish manner,” and today it is part of the repertoire of all the world’s violinists. About his transcription for cello, cellist Tobias Stosiek says: “In this arrangement, the key remains the same as in the original, which makes it easier to perform with piano or orchestra, as the piano part or orchestral score remains unchanged. The cello plays an octave lower than the violin, achieving an optimal sound. In some places, such as in repetitions, the cello plays even two octaves lower than the original, providing richness and utilizing the full tonal range of the cello down to low C. In a few places, complex parts are slightly simplified, especially in accompanying figures. The notes of this arrangement will be published in the summer of 2024 by the Friedrich Hofmeister Musikverlag publishing house in Leipzig.”

Program notes: Fabijan Košćak

Objava Youngmasters Recital: Nataša Veljković (piano) & Tobias Stosiek (cello) pojavila se prvi puta na Youngmasters.