Zavod Sploh


A cycle of contemporary composed music

Zvokotok focuses on contemporary composed music. It is defined by the research of compositional procedures and often linked to music technology. It encourages and merges unique sound languages and performative innovativeness and moves contemporary compositions into new spatial and concert forms.
Zvokotok connects established institutional spaces of artistic activity with premises of the dynamic action of NGOs. It implements and maintains unburdened space of dialogue and overcome the artificial distinction between areas and venues of artistic activity.

The program in 2023 was conceived by Nina Dragičević.

In 2023, in the Zvokotok cycle, we will expand the concepts and scope of the sonic: we will not stop at reducing the auditory as exclusively musical, nor will we intervene only in sonority as omnipresence, but we will expand the object of sound's origin. We will put at the center the sonic potential of cultural, one might even say civilizational, products such as the text (and therefore, of course, intertextuality) and the visual. Sound emanates from text. The 20th and then the 21st century placed textual and visual (graphic) composition in the field between the extreme poles of composition and 'pure' improvisation, shaking up the relationship between composer and performer. If musical notation assumed that composer and performer would understand each other as precisely as possible, with new approaches to the articulation of musical ideas this is no longer only unlikely, but above all not necessary. On the one hand: a renunciation of commandment. On the other: a renunciation of following the commandment. But also, a renunciation of breaking ties in the name of independence. A renunciation of atomism. A renunciation of totality. A release. We will argue that textual and/or graphic composition is the site of humanist contact par excellence. And we need that.

The series consists of five concert evenings, i.e., performances of at least five compositions. Since textual and visual composition widens the field of interpretation - so much so that it allows (even encourages) the performer to play a compositional role - we can say that with each performance a new composition is created, but not entirely, since it is at the same time an interpretation of a specific composition. Therefore, where possible, in each concert, a particular composition (its textual or visual notation) will be performed several times, but each time with a different performing ensemble, i.e., each time anew. In a sense, we will be observing not only the performance, but the creation of a (different) composition each time. The emergence of a non-authoritarian system of communication.

The program was conceived by:
2014 - Nina Prešiček, Bojana Šaljić Podešva, Luka Juhart
2015 - Nina Prešiček, Bojana Šaljić Podešva, Luka Juhart
2016 - Tomaž Grom
2017 - Jonas Kocher
2018 - Tomaž Grom
2019 - Primož Trdan
2020 - Mauricio Valdés San Emeterio 
2021 - Luka T. Zagoričnik
2022 - Steven Loy  


Zvokotok: Schallfeld Ensemble

Zvokotok 15. april ob 20h - ansambel Schallfeld
V sodelovanju s Cankarjevim domom

Fluid Disorder

Ansambel Schallfeld v projektu Fluid Disorder raziskuje razširjeno zaznavo sodobnega zvoka. Glasbeniki želijo podkrepiti izrazne možnosti in čutno, telesno zaznavo sodobne glasbe – v eklektičnem glasbenem poteku združujejo sodobne inštrumentalne teksture, ritmični utrip in glasbeni tok, ki meji na izkušnjo transa, nova dela skladateljev kombinirajo z interludiji Jorgeja Sanchez-Chionga, v interpretacijo skladb pa vpletajo tudi improvizacijo inštrumentalistov in živo elektroniko, ki fragmentira inštrumentalni zvok.


Hannes Kerschbaumer, Kritzung II, za violino, tri izvajalce z lesenimi zvočili in živo elektroniko (2018)

Andres Gutierrez Martinez, Grain, za ansambel in živo elektroniko (2018, naročilo Ansambla Schallfeld, od podpori Ernst von Siemens Musikstiftung)

Arash Yazdani, Exponential Decay - or There's Nothing to See Here, za ansambel (svetovna premiera)

Jorge Sanchez-Chiong, Funky Achromat, za ansambel, elektroniko in gramofon (2018)

Lorenzo Romano, Furore, za sekstet in živo elektroniko (2016)

S finančno podporo Avstrijskega kulturnega foruma Ljubljana

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