Programme
Tuesday, 13.10.2009
A Tribute to Haydn
Tuesday, 8.12.2009
Vivaldi and His Contemporaries
Tuesday, 16.2.2010
Two Viennese Schools
Tuesday, 23.3.2010
Bach's Easter Music
Tuesday, 18.5.2010
An Evening of Slovene Music
Antonio Vivaldi
Stabat Mater
The Slovene Philharmonic String Chamber Orchestra with soloist
Mirjam Kalin
Harmony of the Spheres
Dear Friends of the National Gallery of Slovenia and the Slovene Philharmonic String Chamber Orchestra,
since we have moved through European countries from Scandinavia to the Czech Republic in the East through Great Britain and France in the West in recent seasons, Central Europe attracted us anew this time. This region has produced music that has most decisively shaped our musical taste and is therefore most familiar to us. This year's series will be punctuated by the Tribute to Haydn, Italian Baroque music, the music of both Viennese schools, Bach’s sacral music, and by a selection of Slovenian scores as a consolidated tradition in our programming.
We shall celebrate the Year of Haydn in the first concert with a somewhat expanded cast. A couple of oboes and horns will enable us to produce two symphonies from the period which enthroned Haydn as the "father of the symphony". They will be followed by a Concerto for Two Horns which might be its first production in Ljubljana ever.
Three suite movements by Corelli, Vivaldi's Concerto for Flute, capped by the Gemignani's spirited transcription of Corelli's "La Follia" will be an appropriate introduction into the December festive season.
Next year we shall first be meeting three representatives of both Viennese schools. We shall insert Telemann's popular Concerto for Viola and Strings between Webern's "Langsamer Satz" and Beethoven's string quartet "Il Serioso".
The Easter season will be opened by appropriate music – this time Bach's two unforgettable arias from his Passion: "Es ist vollbracht" and "Erbarme dich", followed by "Psalm 51", for which Bach borrowed Pergolesi's music.
The final concert will be dedicated to Lucijan Marija Škerjanc with a production of string suites, and Dane Škerl's adaptation of "Five Lyrical Melodies" for cello.
Soloists engaged for this season are the hornists Boštjan Lipovšek and Andrej Žust, flautist Massimo Mercelli, violist Mile Kosi, soprano Urška Žižek Plavec, mezzo-soprano Mirjam Kalin, and cellist Igor Škerjanec.
We are doing our best to harmonize topics from the visual arts with the music programme. We shall couple Haydn with a presentation of Dornava Mansion, modelled on the Viennese hedonistic architecture of Haydn's time. Francesco Robba will join Vivaldi since his formative years in Venice coincide with the musician's hiatus of popularity, the music of both Viennese schools will be coupled by a Neo-Classical collection of gem casts. We shall extend the Easter concert with a presentation of an important Italian painting of the Pieta, and the music of Lucijan Marija Škerjanc will be introduced by Jakopič’s paintings of piano nocturnos depicted from 1912 up till 1923.
Enjoy our programme and bring your friends to experience the Harmony of the Spheres!
Klemen Hvala, Art Director of SFCSO
Barbara Jaki, Director of NG
Subscription price: 75 €, single ticket: 20 €
Subscription price for Friends of the National Gallery of Slovenia: 60 €, single ticket: 15 €
Subscription or single tickets available at the front desk of the National Gallery of Slovenia, Cankarjeva 20, Ljubljana, from 10 am–6 pm, or one hour before the event; closed Mondays.
Tuesday, 13 October 2008 |
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| Andrej Smrekar Harmony in the Dornava Mansion In 1757 Sigismund Attems had his Dornava mansion refurbished. He entrusted the task to Josef Hueber, an architect from the circle of Adolf von Hildebrandt, the Viennese court architect. Hueber transferred the type of hedonistic summer residence from the imperial capital to the feet of Slovenske Gorice. It was dedicated to the pleasures of the senses and the enjoyment of the arts - from the stage-like effects of the architecture, different types of garden landscaping, sculpture and painting as well as most certainly also of music, as the sculptural decoration suggets. What a pitty that definitions of modern purpose of this extraordinary jewel among our monuments have been so far unsuccessful. |
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Tuesday, 8 December 2008 |
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| Matej Klemenčič Francesco Robba and Venetian Sculpture in the 18th century At the time when Antonio Vivaldi entertained the Venetians in Ospedale della Pieta with his music, the young Francesco Robba (1698-1757) studied with the sculptor Pietro Baratta. As he moved to Ljubljana in 1720, he soon became the leading sculptor in Carniola. In spite of leaving one of the most exciting artistic centres of the first half of the 18th century for a somewhat more provincial Ljubljana, he did not sever his ties with the native city. That enabled him to keep pace in a less demanding environment with the creativity of his most important contemporaries, such as Antonio Corradini, Antonio Gai, Giammaria Morlaiter and Giovanni Marchiori. |
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Arcangelo Corelli (1653-1713)
Antonio Vivaldi (1678-1741)
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Tuesday, 16 February 2009 |
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| Alenka Simončič The Enlightened Gem Collecting Collections of gems became very popular in the 18th century when the increasing interest in the culture of the Antiquity fostered plaster casting from original gems. The National Gallery of Slovenia holds such a collection. Gem cutting was considered a major art in Greek and Roman cultures. the gems of the Antiquity became symbols of beauty, elegance and cultivated taste because of the precious materials - semiprecious and precious stones, because of their colour and perfection of the craft. Due to their rich iconography they exerted a strong influence on the arts of the following centuries, while their plaster casts in the period of enlightened Neo-Classicism became accessible to a broad circle of collectors. |
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Anton Webern (1883-1945) |
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Tuesday, 23 March 2009 |
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| Ferdinand šerbelj Unknown Painter of the 18th Century, Pieta The iconography of the Virgin with son in her bosom originates in the sculpture of the expressive late Middle Ages and was transformed in numerous variations through the age of the Baroque. The monumental canvas of the Pieta in the National Gallery of Slovenia is a work of an unknown artist, but its overall artistic quality and its formal and colouristic execution testify to its importance. Ongoing reserarch will perhaps disclose the name of the artist by the time of its presentation at the Easter concert of this season. |
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soloists Urška Žižek Plavec, Mirjam Kalin |
 
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Tuesday, 18 May 2009 |
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| Andrej Smrekar Nocturne by Jakopič Rihard Jakopič was a fan of classical music. Between 1912 and 1923 he painted a series of piano nocturnos in which he barely made any changes in the composition. His model was Ana Czerny, his spouse. Insisting on the internal source of light, colour composition and handling of the paint he sought the expression of music with painterly means so persistently that Ana claimed she could tell from the painting whether she had played Bach or Beethoven. |
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Lucijan Marija Škerjanc (1900-1973) Third Suite for Strings Five Lyrical Melodies soloist Igor Škerjanec, cello Second Suite for Strings |
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