cd klobucar cantus book

7/25/2019 CD Klobucar Cantus BOOK

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Anelko Klobuar

Tri duhovna stihaza dva soprana i klavirski trio(1990)

Suzana Marinkovi, Lucija Marinkovi sopraniZagrebaki klavirski trio:Eleonora Ernoi, violina, Mar tina Radovi,violonelo i Ljerka PlesliBjelinski, klavirSnimljeno 08. svibnja1990.Majstor tona: Mladen Roko

1Moderato 3:532Largo 2:493Allegro maestoso 3:40

Sonatina za klavir etveroruno(1979)Klavirski duo Ljubomir Gaparovi i Emin ArmanoSnimljeno 2. oujka1992.

Majstor tona: Radan Bosner

4Allegro con brio 2:355Largo 4:016Presto 2:53

Sonata za altovski saksofon i klavir(1982)Dragan Sremec, saksofon i Mirna Nochta, klavirSnimljeno 18. svibnja1985.

Majstor tona: Matija Brki

7Allegro 3:388Largo 4:359Vivace 3:20

10Muzika za orgulje i orkestar(1987)25:06

Anelko Klobuar, orguljeSimfonijski orkestar HRT, dirigent:

Veseljko Bar iiSnimljeno 11. studenoga 1987.Majstor tona: Matija Brki

3. gudaki kvartet(1990)

Zagrebaki gudaki kvartet: Goran Konar, 1.violina, Goran Bakra, 2. violina, Ante ivkovi,viola, Josip Stojanovi, violoneloSnimljeno 28. lipnja1991.Majstor tona: Radan Bosner

11Maestoso 3:10

12Allegro 3:0413Larghetto 4:3114Vivace 2:43

Concertino za dva kontrabasa i gudaki orkestar(1983)

Mario Ivelja i Stjepan Pergar, kontrabasiSimfonijski orkestar HRT, dirigent: Pavle DepaljSnimljeno 15. srpnja1988.

Majstor tona: Matija Brki15Moderato 2:4016Largo 2:2417Allegro maestoso 2:23

Ukupno trajanje: 77:32



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Three Spiritual Verses for Two Sopranos and aPiano Trio(1990)

Suzana Marinkovi and Lucija Marinkovi sopranosZagreb piano trio: Eleonora Ernoi, violin, MartinaRadovi, cello i Ljerka Plesli Bjelinsk i, pianoRecorded on May 8, 1990Sound engineer: Mladen Roko

1Moderato 3:532Largo 2:493Allegro maestoso 3:40

Sonatina for Piano Four Hands (1979)Piano duo: Ljubomir Gaparovi and Emin ArmanoRecorded on March 2, 1992

Sound engineer: Radan Bosner

4Allegro con brio 2:355Largo 4:016Presto 2:53

Sonata for Alto Saxophone and Piano(1982)Dragan Sremec, saxophone and Mirna Nochta, pianoRecorded on May 18, 1985

Sound engineer: Matija Brki

7Allegro 3:388Largo 4:359Vivace 3:20

10Music for Organ and Orchestra(1987) 25:06Anelko Klobuar, organSymphony orchestra of the CroatianRadiotelevision, conductor: Veseljko BariiRecorded on November 11, 1987Sound engineer: Matija Brki

3rd String Quartet(1990.)

Zagreb quartet: Goran Konar, 1st violin, GoranBakra, 2nd violin, Ante ivkovi, viola, JosipStojanovi, celloRecorded on June 28, 1991Sound engineer: Radan Bosner

11Maestoso 3:1012Allegro 3:04

13Larghetto 4:3114Vivace 2:43

Concertino for Two Double Basses and a StringOrchestra (1983)

Mario Ivelja and Stjepan Pergar, double bassesSymphony orchestra of the CroatianRadiotelevision, conductor: Pavle DepaljRecorded on July 15, 1988

Sound engineer: Matija Brki15Moderato 2,4016Largo 2,2417Allegro maestoso 2,23

Total time: 77,32



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Composer, organist and music educator,

Anelko Klobuar (Zagreb, 1931), graduatedin 1955 from the Department of MusicTheory and History of the Music Academyin Zagreb. He also studied composition(under Milo Cipra) and organ (under FranoLui). He continued his professionaldevelopment in organ under Anton

Nowakowski in Salzburg from 1959 to1960, and in composing under AndrJolivet in Paris in 1965 and 1966.

Until 1963 he worked as a secondaryschool teacher in Zagreb, and from 1958to 1963 he was a music associate forDubrava Film in Zagreb. Since 1968 he has

been a teacher of theoretical courses atthe Music Academy (elected full professorin 1983), and he has also taught at theAlba Vidakovi Institute for Church Musicat the Catholic Faculty of Theology of theUniversity of Zagreb, since its foundationin 1963. From 1958 to 1996 he was the

organist of the Zagreb Cathedral. From1995 to 2000 he conducted seminarsin modern music at the Summer OrganSchool in ibenik, where he was alsodirector of the Curriculum Council.

Skladatelj, orgulja i glazbeni pedagog

Anelko Klobuar (Zagreb, 1931.), diplomiraoje 1955. na Teorijskohistorijskom odsjekuMuzike akademije u Zagrebu, a takoerje pohaao i studij kompozicije (kodMila Cipre) i orgulja (kod Franje Luia).Usavravao se od 1959. do 1960. uorguljama kod Antona Nowakowskog

u Salzburgu i u skladanju kod AndraJoliveta u Parizu 1965. i 1966. godine.

Do 1963. godine radio je kaosrednjokolski nastavnik u Zagrebu,a od 1958. do 1963. bio je glazbenisuradnik u Dubrava filmu u Zagrebu. Od1968. djeluje na Muzikoj akademiji kao

nastavnik teorijskih predmeta (1983. jeizabran za redovitoga profesora), a takoerje predavao i na Institutu za crkvenuglazbi Albe Vidakovi pri Katolikombogoslovnom fakultetu Sveuilita uZagrebu od njegova osnutka, 1963.godine. Od 1958. do 1996. bio je orgulja

Prvostolne crkve u Zagrebu. Od 1995.do 2000. godine voditelj je seminarasuvremene glazbe pri Ljetnoj orguljakojkoli u ibeniku u kojoj je bio i direktorprogramskoga Vijea.



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lan je Hrvatskog drutva skladatelja,

Hrvatskog drutva glazbenih umjetnika,Hrvatskog drutva glazbenih teoretiarai redoviti je lan Hrvatske akademijeznanosti umjetnosti.

Odlikovan je brojnim nagradama ipriznanjima, meu ostalim, Odlijem RedaDanice hrvatske s likom Marka Marulia,Vjesnikovom nagradom za glazbu Josiptolcer Slavenski, Nagradom VladimirNazor za ivotno djelo, Nagradom GradaZagreba za mnogostruki doprinos upromicanju djela hrvatskih skladatelja ipoticanje skladanja za orgulje, NagradomIvan Lukai za rad na hrvatskoj

glazbenoj batini s osobitim obzirom narekonstrukciju Bajamontijeva oratorijaPrijenos sv. Dujma, Nagradom Porin zaposeban doprinos hrvatskoj glazbenojkulturi i drugim priznanjima.

***

Skladbe na ovome kompaktnom diskuzajedniki smo izabrali skladatelj i ja.Ogranienje je predstavljao izbor studijskihsnimki u Fonoteci Hrvatskoga radija.Naravno, onaj tko bolje poznaje ogromni

He is a member of the Croatian

Composers Society, Croatian MusiciansSociety, Croatian Association of MusicTheorists and a regular member of theCroatian Academy of Science and Arts.

He has been honoured by numerousawards and recognitions such as theMedal of the Order of Danica Hrvatskawith the image of Marko Maruli, Vjesniksmusic award Josip tolcer Slavenski,the Vladimir Nazor Award for lifetimeachievement, the Award of the City ofZagreb for an immense contribution to thepromotion of works of Croatian composersand the incentive for writing compositions

for organ, the Ivan Lukai Award for hiswork on the Croatian musical heritage withspecial attention to the reconstruction ofBajamontis oratorio The Translation of St.Doimus, the Award Porin for a specialcontribution to Croatian music culture andother recognitions.

***

The compositions on this CD have beenchosen jointly by the composer and me.Our selection was limited by the choice of



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Klobuarev opus moda bi predloio neke

druge skladbe. No, treba voditi raunao injenici da ovaj izbor ipak potpisujesam skladatelj i bez obzira na ogranienjabrojem studijskih snimaka. Osobnodrim da bi drugi jedan poseban izbortrebalo posvetiti iskljuivo Klobuarevimskladbama za orgulje. No, vrlo malo ih je

studijski zabiljeeno.Tri duhovna stihaza dva soprana i klavirskitrio neobian su dokument o posveslobodnom i nekonvencionalnomKlobuarevom odnosu prema duhovnojglazbi. U prvom su planu, dakako,glasovi koji razliitim stupnjevima

ekspresije promiu duhovnost sadrajapjesnikoga predloka, a klavirski im setrio prikljuuje kao suvremena pratnjaiz nekoga drugog svijeta, nastojei takoosuvremeniti duhovnost pjevanogateksta. Zanimljivo je da Klobuar prikrivaizvore tekstovnoga predloka jer stavke

naslovljuje konvencionalnim naslovim(Moderato, Largo,Allegro maestoso),no s druge pak strane odabire vokalnuartikulaciju koja jasno otkriva znaenjepjevane rijei. Pomnijim sluanjem moe

studio recordings in the Record Library of

the Croatian Radio. Certainly, some othercompositions might have been suggestedby persons acquainted with Klobuarsenormous opus; however, the fact shouldbe kept in mind that the author himselfunderwrites the selection however limitedit may be by the number of the studio

recordings. I personally feel that thereshould be a special selection dedicatedexclusively to Klobuars compositions fororgan. Still, very few of them are recorded.

Three Spiritual Versesfor two sopranosand a piano trio is an unusual documentabout Klobuars entirely uninhibited and

unconventional relationship with spiritualmusic. The voices certainly make thecentre of attention with diverse ranges ofexpression and their development of thepoetic template, while the piano trio joinsthem as a contemporary companion froma different world in an effort to modernize

the spirituality of the sung verse. Klobuarintriguingly covers the sources of thetextual template, naming the movementsconventionally (Moderato, Largo,Allegromaestoso), but on the other hand he



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se lako zakljuiti da su predloci zapravo

montae tekstova triju starozavjetnihpsalama, 88. psalma (Vapaj iz nevolje) u1. stavku, 71. psalma (Molitva starca) u 2.stavku i 86. psalma (Molitva u nevolji) u 3.stavku. Odabir je psalama, podjednako kaoi montaa njihovih stihova, ve zapravo,kao odluka za odreenu vrstu duhovnosti,

in skladanja. Zato glazba vie struji izskladateljeve due nego to bi je se moglodrati pukim uglazbljenjem psalamskihstihova. Oito se zato na njih ni sa ime nealudira osim glazbom samom!

Sonatina za glasoviretverorunootvaraponeto drugaiji prostor Klobuareva

glazbenikog habitusa. Pred problemimasmo ako stilski treba omeiti njegov opusjer je oznaka neoklasicizam, koja bi, izuobiajenoga arsenala stilskih etiketa,jedina dolazila u obzir, jednostavnoprevie neutralna, to jest ni na koji nainpoblie ne opisuje prirodu Klobuareve

glazbe. Taj se problem zapravo odnosii na sve preostale skladbe na ovomedisku: dok su one, svaka pojedinano,oiti dokumenti Klobuareva osobna stila,drati ih novoklasicistikima samo taj

chooses a vocal articulation that clearly

depicts the meaning of the sung word. Amore thorough listening reveals that thetemplates are actually assemblies of threepsalms from the Old Testament, namelyPsalm 88 (A Cry of Desperation) in the 1stmovement, Psalm 71 (Prayer of an OldMan) in 2nd movement, and Psalm 86 (A

prayer of David) in 3rd movement. Thechoice of psalms and the assembly of theirverses represent a decision on a certainkind of spirituality, the act of composing.For this reason the music flows from thesoul of the composer, rather than beingconsidered a mere setting of psalm verses

to music. This is obviously why they are nothinted at by anything else than music itself!

Sonatina for Piano Four Hands opens asomewhat different area in Klobuarsmusical domain. When faced with thenecessity to stylistically defi ne his opus,we encounter a problem. The label of

Neoclassicism, the only one that mightbe considered from the usual arsenal ofstylistic labels, seems too neutral, anddoes not seem to closely depict thenature of Klobuars music. The problem



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osobni stil zamagljuje, odnosno tjera nas

da u njima traimo temeljne elementenovoklasicizma koji esto uope nepostoje. Ako bi se Klobuarev individualnistil ipak htjelo nekako odrediti u blizininovoklasicizma, onda bi se moda dalozakljuiti da se njegova glazba poigrava snovoklasicizmom kao, zapravo, maglovitim

stilskim odreenjem, a da mu se nikada nepriljubljuje. U ovoj se Sonatito, na primjer,moe uoiti kroz aluzije na motorinostkoja, moda, podsjea na Prokofjeva, noisto tako i na perkusivno tretiranje klavirakoje e na trenutak, opet moda, podsjetitina Bartka. Oba su ta skladatelja, i

Prokofjev i Bartk, tvorci onih temeljnihelemenata novoklasicizma kao stila, noKlobuar posee za njima da bi takvoelementarno isto poimanje stila zapravodehomogenizirao.

Vjerojatni razlog takve moda svjesnestilske dehomogenizacije lei u injenici

da skladatelj najee sklada za ciljaneumjetnike, tovie ak i po njihovojnarudbi, potujui dakle odrednicerazliitih interpretatorskih profila gotovona razini neke vrste specifinoga

relates to all other compositions on this

CD: they are refl ections of Klobuarsown personal style, and labelling themas neoclassicism would blur thatpersonal style. It would actually make ussearch for basic neoclassical elementsin the compositions that are rarely there.Nevertheless, if Klobuars individual style

could be described as nearneoclassic,it might be said that his music playswith neoclassicism as a hazy stylisticdisposition, never fully adhering to it. ThisSonataexemplifi es this kind of style withallusions to motoric features remindingus perhaps of Prokofi ev, but also to

percussional treatment of the piano thatfor a moment perhaps reminds of Bartk.Both Prokofi ev and Bartk are the initiatorsof stylistic elements of neoclassicism;however, Klobuar reaches out to them inorder to diversify the homogeneity of suchelementary pure concept of style.

The probable reason for this, perhapsintentional stylistic breach of uniformitylies in the fact that the composer usuallywrites with particular performers in mind,even according to their request, complying



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koautorstva. S druge pak strane od takve

dehomogeniziranosti, neke vrste stilskogapluralizma, posve odudara Klobuarev cijeliopus za orgulje, upravo zato to je u njeganepogreivo usaeno Klobuarevo vlastitointerpretatorsko iskustvo. I sada dolazimodo neega to moda najvie zbunjuje,do Klobuareve ogromne glazbenike

erudicije koja se u njegovoj glazbi neerefl ektirati ak ni na nekoj naelnoprihvatljivoj eklektikoj razini. Tu opet trebauoiti priklone tradiciji i odmake od nje kojise ne zbivaju ni po kakvim pravilima to biih se dalo svrstati pod Klobuarev odnosprema tradiciji (opet bi to bio jedan od onih

temeljnih elemenata novoklasicizma!), negose oslanjaju na razliita uporita, na primjerna tradiciju to je podrazumijeva izvoakisastav ili odreena tradicija glazbenihvrsta, ma koliko ona i inae bila naelnai zamagljena. Tako su Tri duhovna stihapo sastavu odmak od tradicije duhovneglazbe koju se, meutim, takvim odmakomosuvremenjuje i aktualizira da bi se otvorioprostor izrazu Klobuarove subjektivneduhovnosti, Sonatina za glasovir etveroruno,Sonata za altovski saksofon i klaviri Concertino za

with particular guidelines of different

interpretational profiles, almost at a levelof some kind of specific coauthorship.On the other hand, Klobuars entireopus for organ completely contrastssuch break from homogeneity, i.e. froma form of stylistic plurality, preciselybecause it is infallibly infused with his own

interpretational experience. This leads usto the most perplexing aspect, to the factthat Klobuars immense musical eruditionwill not be refl ected in his music, even ona fundamentally accepted eclectic level.We must also note the inclinations towardand deviations from tradition that depart

from any set of standards that would defi neKlobuars attitude toward tradition(once again, this would be one of thosebasic elements of neoclassicism!). Theserely on different grounds, for example,on a tradition that is understood by theperforming ensemble or a specific traditionof a musical form, however principal andhazy it might be. Thus the Three SpiritualVersesrepresent a detachment from thetradition of spiritual music simultaneouslymodernizing and renewing it with the



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dva kontrabasa i gudaki orkestarkomentiraju

sonatinu, sonatu i koncert / concertinokao vrste u neobinim sastavima koje seu tradiciji tih vrsta rjee susree, pogotovos tako izrazito naglaenom grotesknousolo instrumenata u Concertinu, zarazliku od Treeg gudakog kvarteta, koji kao i cijeli korpus gudakih kvarteta

u Klobuarevu opusu na specifiannain interpretira tradiciju kvarteta i kaoizvoakog tijela i kao vrste, zadravajui,na primjer, tradicionalne odnose meustavcima, no udaljujui se i pribliavajui seu svakome od njih oekivanoj, po tradicijipretpostavljivoj zvukovnosti.

NoMuzika za orgulje i orkestarnaslovomizbjegava odreenje vrste, ali je skladatelju,zbog neobinog eksperimentiranja sjednostavanou, formalni obrazackoncerta oito bio preuzak za ovdjespecifinu ideju nadmetanja, ali i (naroitokoloristikog) proimanja orgulja i orkestra,

pa bi ma kakva aluzija na koncert kaovrstu viestavane forme bila zasigurnonesukladna toj ideji. Neutralni naslovMuzika...zato je daleko prikladniji karakteruskladbe.

aim of opening a space for Klobuars

subjective spirituality. Sonatina for Piano FourHands, Sonata for Alto Saxophone and PianoandConcertino for Two Double Basses and a String

Orchestra comment on a sonatina, a sonataand a concert / concertinoin terms ofunusual compositions rarely encounteredin the tradition of these forms, especially

with such an emphasised grotesquenessof the solo instruments in the Concertino. Onthe other hand, Third String Quartet as wellas the entire corpus of string quartets inKlobuars opus interprets the traditionof a quartet as a performing ensembleand as a musical form in a specific way,keeping traditional connections, forexample, between movements, but ineach of them departing from and movingtoward the expected, traditionally assumedsonority.

However, Music for Organ and Orchestra avoidsthe defi nition of form by its title. Due to the

composers unusual experimenting withthe singlemovement form, the formalform of a concert was obviously toonarrow for a specific idea of competitionpresented here, but also (especially



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***

Dana 14. prosinca 2001. odrao sekoncert u povodu Klobuareva 70.roendana na kojemu se, od skladbi sovoga kompaktnog diska, izvela Sonatinaza klavir etveroruno i Trei gudaki kvartet. Ukomentaru uz program konstatirao sam nasamome poetku da Klobuareva glazba

postavlja neobine zapreke i otpore kadaje se pisanjem eli racionalizirati. Ako jese analitikotehniki opisuje ili se pak,mimo analitikoteorijskog metajezikasugerira njezin doivljaj, to jest kakoje sluati, zapravo se nita ne postie.Dapae! Jednostavno je najbolje prepustiti

se sluanju. Nije nikakvo udo to smKlobuar skoro nita nikada nije rekaoni napisao o svojoj glazbi, ni javno, niprivatno!

Nika Gligo

coloristic) permeation of organ and

orchestra, so any allusion to a concert asa multiplemovement form would surelybe incompatible with that idea. The neutraltitle Music...is thus more suitable to thecharacter of the composition.

***

On December 14, 2001 a concert was heldin honour of Klobuars 70thbirthday, atwhich the compositions performed fromthis CD were Sonatina for Piano Four HandsandThird String Quartet.In my comment tothe programme I wrote that Klobuarsmusic unusually impedes and resists the

efforts of its written rationalization. If onetries to describe it in an analyticaltechnicalmanner, or rather goes beyond theanalyticaltheoretical metalanguage tosuggest its experience, that is, the way inwhich it should be heard, the effort comesto nothing. Indeed! The best way is simplyto let go off all expectations and listen. Itis no wonder that Klobuar himself neverwrote or said anything about his music,publically or privately!

Nika Gligo



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Urednik i autor teksta / Editor and text by: Nika Gligo

Majstori tona / Sound engineers: Mladen Roko (1., 2., 3.), Radan Bosner (4., 5., 6.11., 12., 13., 14.),Matija Brki (7., 8., 9., 10., 15., 16., 17.)Tonska obrada / Mastering: Vjekoslav NjeiPrijevod / Translation: Martina PokupecFotografija / Photography: Sinia UtulicaGrafiko oblikovanje / Design: Luka GusiNakladnik / Publisher: Cantus d.o.o.Za nakladnika / For the publisher: Mirjana Mati

Zagreb, 2011.Broj izdanja / CD number: 98898490742

Izdanje je objavljeno uz potporu Ministarstva kulture Republike HrvatskeThe CD is released with support from the Ministry of Culture of the Republic of Croatia


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