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Zvokotok

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  

4.3.2019

Zvokotok: Simon Klavžar

Zvokotok
cikel sodobne komponirane glasbe

Simon Klavžar – tolkala

Program:
Michio Kitazume: Side by Side
Karlheinz Stockhausen: Vibra Elufa
John Psathas: One Study, One Summary - Etude
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Iannis Xenakis: Rebonds
Per Norgard: I Ching - The Gentle, The Penetrating
Andy Akiho: Stop Speaking

Zvokotok se posveča sodobni komponirani glasbi. Zanj je značilna raziskava kompozicijskih postopkov, pogosto v povezavi z glasbeno tehnologijo. Spodbuja in združuje samosvoje zvočne jezike, izvedbeno inovativnost in premeščanje sodobne kompozicije v nove prostorske in koncertne forme.

Zvokotok povezuje prostore ustaljenega institucionalnega umetniškega delovanja s prostori dinamičnega delovanja nevladnih organizacij. Vzpostavlja neobremenjen prostor dialoga in presega umetno razmejitev med področji in prizorišči umetniškega delovanja.

Kurator Primož Trdan v letu 2019 v središče umešča mlado generacijo domačih ustvarjalcev in poustvarjalcev sodobne glasbe in njihovo vpetost v delo s tujimi skladatelji in glasbeniki. Uveljavljenim postopkom sodobne kompozicije, bo program poskušal dodati zvočne rešitve nekaterih mlajših evropskih skladateljev, ki izhajajo tako iz modernistične dediščine skladateljske uporabe razširjenih zvočnih sredstev, šuma, okoljskega, konkretnega zvoka, a snujejo v tesnem dialogu z občutenjem sodobne digitalne dobe.

SIMON KLAVŽAR

Simon Klavžar je profesor tolkal in komorne glasbe na Konservatoriju za glasbo in balet v Ljubljani ter docent na Akademiji za glasbo v Ljubljani. Poleg pedagoškega dela se intenzivno posveča predvsem komorni glasbi in redno sodeluje z ansambli Ensemble Modern Frankfurt, Sonemus Sarajevo, Neofonia Ljubljana, Kompulz in OL-SK duo. Oder si je med drugim delil s člani organizacije Lincoln Chamber Music Society New York ter glasbeniki, kot so Peter Sadlo, Alexej Gerassimez, Katarzyna Mycka, Stefan Hussong, Annika Treutler in Luka Juhart. Klavžarjeva najpomembnejša aktivnost poleg poučevanja je njegov tolkalni duo Drumartica, ki ga od leta 2006 tvori z Jožetom Bogolinom.

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