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MINSTREL is a project encompassing 11 European music information centers that includes a range of activities with an objective to create a common data base with information about the music life and artists from all nations, help them perform in the participating countries and to preserve the musical heritage digitalize classical music composers autographs and other artifacts as well as collect the documentation related to that type of music.
This is the first time in history that comprehensive information about Croatian music scene is collected and made available in English to the broadest public. The entire endeavor was very demanding: One of the major problems was to choose the criteria for inclusion in this booklet. We, of course, tried to include the most important representatives of each genre, everyone who made a mark or confirmed their status in the local, and especially the mwni music scene with quality or media presence.
We are well aware that there are many artists who are not represented primarily due to space limitations. These are mostly young gotovacc who are bound to fi nd their place in one of the future publications of this type. This large mai was implemented with the help of the European Union and set a strong foundation and a sort of platform for the affirmation of Croatian music and Croatian artists in the world. That is why we consider this booklet on Croatian music as a start to a gotoovac of similar publications that would also include other important names that have been excluded from this one.
The Zagreb Concert Management s Music Information Center would like to thank everyone who helped us collect the abundant visual material and the information, fsli thus contributed to the realization of this project. We wish to offer an insight into Croatian music and as much information about it to anyone who is interested around the world and truly hope that our wish will come true.
Introduction A V There is little information about music during the ancient times in the region that is now Croatia; the information that does exist must be interpreted with one thing in mind, and that is that Croats, who settled in the region in the 6th and 7th centuries, adopted ancient Mediterranean culture and in the 9th mo blended into the Western European Christian cultural and political world.
The Middle Ages were marked with duality: Manuscripts of liturgical music from continental Croatia show a connection with religious centers on the Adriatic, Hungarian infl uences and incorporation to central European tradition.
At the same time, the clergy s efforts in education resulted in improvement of music ki. Sources about secular music of that time are very scarce, but there are some indications that troubadours had some infl uence on it. Fai appearances of simple sacral and secular polyphony and systematic music theory, as well as education of Croatian intellectuals in the University of Paris show that ars nova was present in Croatia in the 14th century.
Ars nova paved a road for new ideas in music, which were in line with humanism and renaissance movements that first developed on the Adriatic coast under Italian infl uences, but it is also known that there were many humanists from Croatia working on the Viennese court of the Croatian-Hungarian king. Music started becoming professional, and the first music-related professions appeared primarily organists and organ builders, but very scarce sources of written music from the 15th and 16th centuries tell us that it was mostly confi ned to church.
With new possibilities, new musical forms infl u- enced the creativity of composers, and thus the midth century became a point when polyphony in Croatia started its rapid development. The invention of printing technologies opened new possibilities in the early 16th century for frottola and lute music composers Filippo de Lurano and Franciscus Bossinensis.
The earliest printed polyphonic compositions date from the midth century; the author was Andrija Patricij. Like Patricij, they too worked ki coastal Croatia, since the Ottoman invasion largely hindered developments in music in the north. Skillful composers and the activities of academies and theoreticians, especially in Dubrovnik, oriented the music of coastal Croatia towards baroque at the beginning of the 17th century.
Due to difficult political situation and the division of the mano between the Habsburgs, Venice, and the Ottomans, the safest offi ce for musicians was within religious institutions.
The three most important orders for the development of 17th century Croatian music were the Jesuits, the Franciscans, and the Paulines. Urban circles rali the nobility were not able to ji nance vocal and instrumental ensembles and events except for the free city republic of Dubrovnik.
Tomaso Cecchini and Gabriello Pu. Although there had been some indications of music totovac the stage being written in the 16th century, echoed from Italy, music at that time remained in the background and a less important part falk staged performances. In the 18th century theatre it was pushed even deeper into the background.
The first half of the 18th century was also a period when music life in Croatia which was still separated between several rulers came to a standstill. In that situation, mxni Church remained the main center main musical life, but it was only intended to fulfi ll the basic liturgical needs. Nobility and the upper class soon joined in and started supporting organized music playing, establishing ensembles, hiring professional musicians and bringing in European musical repertoires.
In any case, music as an art form, sacral and fqli music in the north belonged to the Central European circle, and in the south to the Italian and Mediterranean circles.
Organ building reached its peak at that time. Theatre, too, fli enriched with music by the end of the fzli, and Italian opera troupes started frequenting Croatia.
The concert life was also enriched by visiting foreign artists who brought contemporary repertoires with them. The 18th-century spirit lasted long into the 19th century, at which time music education was improved, institutions for music training were established, as well as societies of music lovers, and music was generally professionalized.
Music institutes and music schools opened. By the middle of the century, the Gotovax enlightenment movement had a strong infl uence on cultural life in the north in general the south would follow somewhat later.
Brochure on. Croatian Music – PDF
In music, composers were mostly focused on patriotic songs that became very popular due to the general circumstances of establishing Croatian identity and resisting the Magyarization within the Austrian Empire. Juraj Carlo Wisner von Morgenstern was notable for gofovac professionalism, and greatly infl uenced Vatroslav Lisinski, the most talented composer of ki period and the author of the first Croatian opera Love and Malice. They helped put Zagreb in fa,i center of Croatian musical life.
Late in the century, composers of so-called transition music, who were educated abroad and were very well aware of all the contemporary trends in European music, matured on the scene.
This was inspired by folklore, and vali in some of the most recognizable works of the local repertoire: Their work and the work of the composers of transition music indebted the generation that followed with the power of synthesizing various infl uences. Improved management of concerts and reform of music education in the 20th century created conditions that made the Music Academy in Zagreb possible, as well as the Zagreb Philharmonics, opera houses in Zagreb, Osijek, Rijeka and Splitthe establishment of the Radio Orchestra in now the Croatian Radio Television Symphony Orchestra and the first professional choir now the Croatian Radio Television Choirthe establishment of the Croatian Composer s Society in and a number of other societies and associations.
These conditions also encouraged numerous chamber ensembles and helped set up festivals, as well as the appearance of excellent performing artists and soloists, thus creating a stable image of Croatian music life that we have today. Rali and Graz where he also served as the chief-conductor of the Philharmonics.
He has attended Christa Ludwig and Bonaldo Giaiotti s master classes. In he had his debut performance with the Croatian National Theatre Opera ffali Zagreb as Pimen in Boris Godunov and became a permanent member of the ensemble in the same year. In he was elevated to gotovsc status of pri. He also sings with other operas: He debuted in the Croatian National Theatre in Zagreb while still a student.
Fališ mi – u proljeću, u jeseni, u ljetu, u zimi
From tohe was the producer, art director and general manager of the Vatroslav Lisinski Concert Hall, mj its programs. In he became mzni resident and in the chief-conductor of the Croatian Radio Television Choir which he has helped elevate to a highly prominent ensemble. She attracted the attention of audiences with her performances of some of the key works for percussion instruments.
She is a member of several chamber ensembles, delivers numerous seminars and workshops, records for radio, television, theatre, and fi lm productions, sits on the board of judges in gootovac, premieres, arranges, and edits sheet music publications for percussion instruments. She has also found the time to record her own album Follow Me and to design her own mallets for MarimbaOne. He is a dedicated promoter of Croatian music around the world, leads his own series of educational concerts in New York and performs for the charity project that started in Austria sponsored by Yehudi Menuhin Live Music Now, which he continued independently in New York.
At the international gotkvac competition in Saumur, France he won the fi rst prize and became a laureate of the Yehudi Menuhin Foundation.
He participated in the establishment of the Cantus Ensemble for contemporary music and the Gotovc Baroque Ensemble, where he still holds the position of the director. A special chapter in his career is dedicated to conducting operas, a fi eld in which he has collaborated with some of the world s top vocalists. He teaches conducting at the Music Academy in Zagreb.
He manj in under Josip Nochta. In that same year, he passed the entrance exam to the Conservatoire Nacional Superieur de Musique de Paris in front of 76 other candidates and graduated from the school in at the top of his class. He then moved to the Canaries to become the solo clarinetist of the Gran Canarie Philharmonic Orchestra. Between and he was a clarinet professor at Conservatorio de Musica de Canarias located in Las Palmas.
He has won numerous awards, regularly sits on the board of judges for international clarinet competitions, and holds master classes in Croatia and abroad. He is also dedicated to playing chamber music and has established several ensembles. He graduated from the latter in and started pursuing graduate specialization studies.
With the help of ABRSM scholarship offered annually by the Royal Academy of Music to one candidate only, in he graduated from the prestigious school as well, where he studied under Michael Lewin. His solo career started infirst as a soprano, and then as counter-tenor in He is now a leader of a whole generation of counter-tenors, and the critics consider him one of the top baroque singers of our day.
As the artistic director of Parnassus Arts Productions, he is in charge of major Italian baroque opera productions. He started appearing in concert stages at a very early age, including national and international festivals, such as the Split and Zagreb Summer Festivals, Dubrovnik Summer Festival, Music Evenings in St.
Brochure on. Croatian Music
In chamber music, he has worked with the Zagreb Soloists, the Sebastian String Quartet, and a number of other renowned artists from Zagreb and Vienna. He has won numerous awards in the country and abroad. He is also a writer, a professor at the piano department and the dean of the Music Academy in Zagreb.
His training and various infl uences helped him make a career as a versatile chamber musician and leader dedicated primarily to early music. Thus inhe became the first violinist of the Academy of Ancient Music ensemble, and has also played with ensembles such as the Orchestra of the Age of Enlightenment, Florilegium and La Nuova Musica.
He performed with the famous European Brandenburg Ensemble conducted by Trevor Pinnock as a soloist during the ensemble s European and East Asian tours in The recording of Bach s Brandenburg Concertos that he made with the ensemble won the Gramophone award.
His first studio album was released in September for the American Naxos label. He was the champion of the Split Opera for a number of years, and then in became the Opera s fi rst soloist and the National Champion of Croatian Opera. He interpreted main bass roles in national opera houses and has performed in opera stages around Europe.
His repertoire is mostly based on Italian bel canto composers, primarily G. He has also interpreted the main bass roles in Croatian composers operas, but his repertoire includes concert pieces as well. He built his long and fruitful career in three countries across three different continents: He has recorded numerous albums and received a number of awards, including a lifetime achievement award in Croatian culture.
Inhe was named the young musician of the year by Jeunesses Musicales Croatia. As a teacher, he has trained some of the most prominent cellists of our day. As a visiting professor, he teaches at conservatories in The Hague, Amsterdam, Copenhagen, and Graz and he also edits sheet music publications for several publishing houses International Music Company, Universal Edition, Sikorski.
He has won a number of important awards: He won the first prize and the special award for interpreting Spanish music in Madrid at the largest guitar competition in Spain, sponsored by the royal family. He has performed in all continents, either in solo recitals or accompanied by orchestras. Bach s music, but he also leans towards Spanish, or Latin American musical expressions. He has recorded for German, Spanish, Belgian and Canadian record labels. He is a proven interpreter of both early and contemporary vocal repertoire, which he confirmed by leading the increasingly recognized Antiphonus vocal ensemble, participating in the ensemble s work both as a singer and the choir master.
He has received awards in several international piano competitions, including the Franz Liszt premio Mario Zanfi in Parma and Gabala u Azerbaijan inwhere he won the first prize. Contemporary compositions make a large portion of her repertoire, including numerous pieces that are rarely performed in Croatia as well as many premieres.