• La Stagione Concertistica 2017

    30. januar 2017, ob 20.30
    La Stagione Concertistica 2017 – Koncerti komorne glasbe v Trstu

    Pihalni kvintet Slowind
    Wolfgang Amadeus Mozart (1756–1791): Serenada v c-molu, K. 388
    Nina Šenk (roj. 1982): Obrisi in sence/Silhouettes and Shadows
    György Ligeti (1923–2006): Šest bagatel (1953)
    György Ligeti: Deset skladb za pihalni kvintet (1968)


    več …

  • Slowind gostuje v Kanadi – Montréal

    na povabilo ECM+ (Ansambla za sodobno glasbo iz Montréala) in pihalnega kvinteta Pentaèdre

    ponedeljek, 28. november 2016, ob 19.30
    Koncertna dvorana Konservatorija v Montréalu
    (4750, Henri-Julien Ave)


    Pihalni kvintet Slowind
    Karine Bétournay: Marguerite, 1536 (création)
    Niels Rosing-Schow (b. 1954): Five Studies (1979–2012)
    Salvatore Sciarrino (b. 1957): Il silenzio degli oracoli (1989)
    Robert Aitken (b. 1939): Folia (1981)
    Nina Šenk (b. 1982): Silhouettes and Shadows (2016)
    Toshio Hosokawa (b. 1955): Ancient Voices (2013)
    Vinko Globokar (b. 1934): Avguštin, dober je vin/Augustin, Good is the Wine (2000)

  • Slowind gostuje v Kanadi – London ON

    sreda, 30. november 2016, ob 19.30
    The Jeffery Concerts
    Wolf Performance Hall, Central Library, 251 Dundas Street, London, Ontario

    Pihalni kvintet Slowind
    Wolfgang Amadeus Mozart (1756–1791): Serenade in c minor, K. 388/384a, “Nacht Musique”
    Toshio Hosokawa (b. 1955): Ancient Voices (2013)
    Alexander von Zemlinsky (1871–1942): Humoresque (1939)
    Darius Milhaud (1892–1974): La Cheminée du roi Renée Op. 205
    Nina Šenk (b. 1982): Silhouettes and Shadows (2016)
    György Ligeti (1923–2006): Six Bagatelles

  • Slowind gostuje v Kanadi – Kitchener

    četrtek, 1. december 2016, ob 19.00
    Numus Concerts
    Kitchener Public Library Theatre, 85 Queen Street N., Kitchener

    Pihalni kvintet Slowind
    Niels Rosing-Schow (b. 1954): Five Studies (1979–2012)
    Ivan Fedele (b. 1953): Flamen (2000)
    Nina Šenk (b. 1982): Silhouettes and Shadows (2016)
    Elliott Carter (1908–2012): Retracing (2002) for bassoon
    Toshio Hosokawa (b. 1955): Ancient Voices (2013)
    Robert Aitken (b. 1939): Folia (1981)


    Niels Rosing-Schow
    5 Studies for Wind Quintet (2012)

    The musical material in my 5 Studies for Wind Quintet dates back to 1984, where four of the movements appear as a piece with the title 4 Studies. The additional second movement Quasi lontano, has roots even further back, that is in my first attempt to compose a wind quintet in 1973. The material from these earlier compositions has been substantially reviewed in this ‘updated’ version, but still the music is characterized by a time of fresh inspirations from György Ligeti and the Danish variety of ‘new simplicity’.

    Despite the neutral title ‘studies’, these five short movements are more than just etudes exploring the wind quintet’s diverse tonal possibilities; it contains five contrasting musical situations, each encompassing a tapered musical point.

    —Niels Rosing-Schow


    Ivan Fedele (b. 1953)
    Flamen (1994)
    for wind quintet

    Even when writing for the more intimate domain of the wind quintet, Fedele continues to pursue the idea of sound as a representation of space. In Flamen (in Latin “breath”), the five instruments are set quite far apart from each other and on raised platforms of differing heights, so that they form a type of arch made up, from left to right, of the flute, oboe, horn (in the centre, at the innermost and highest point), bassoon and clarinet. As in Richiamo, the geometry of the sound sources is conceived not only to obtain effects of resonance and reverberation, but more especially so that the figures that underpin the composition follow different routes in space in accordance with the principles of attraction, symmetry and stratification that govern the interaction between the five instruments. These figures are not melodic or thematic patterns, but rather thread-like arabesques that derive from the historical repertory of embellishments (turns, rapid repeated notes, quivering arpeggios, appoggiaturas, acciaccaturas, trills) and define a sonic and physical space that is changeable and ephemeral.

    The whole of the first part follows this modality with systematic obstinacy and dazzling virtuosity. The second, which starts with a long held note on the horn, presents various segments characterised by quieter and more reflexive material; each time, however, they are attacked, at first timidly and then more openly, until being finally overwhelmed by the return of the opening figures in continuous and frenetic transformation.

    —Claudio Proietti


    Young Slovenian composer Nina Šenk (born 1982) graduated in composition from the Ljubljana Music Academy in the class of Pavel Mihelčič in 2005. She then undertook postgraduate studies at the Dresden University of Music under Lothar Voigtländer from 2005 to 2007, and at the Munich University for Music and Performing Arts under Matthias Pintscher (2007-2008).

    While studying, she received several awards, including the European Award for best composition at the festival Young Euro Classic for her Violin Concerto (2004), the Prešeren Award of the Ljubljana Academy of Music, and first prize in the Festival of Contemporary Music in Weimar, Germany for the composition Movimento fluido (2008).

    Her compositions have been performed at important festivals both in Slovenia and abroad (the Biennale of the New York Philharmonic, the Salzburg Festival, the Young Euro Classic Music Days in Kasseler, Musica Viva in Munich, Positionen in Frankfurt, the Weimar Spring Days, Heidelberg Spring, the Ljubljana Festival, the Slowind Festival, the Slovenian Music Days, the World Saxophone Congress, etc.) and in concerts around the world with various orchestras, including the New York Philharmonic, the Orchestra of the State Theatre of Cottbus, the Festival Orchestra Young Euro Classic, the Slovenian Philharmonic Orchestra, the Slovenian Philharmonic String Chamber Orchestra, the RTV Slovenia Symphony Orchestra, and by renowned ensembles such as Ensemble InterContemporain, Ensemble Modern, the Scharoun Ensemble, Ensemble Mosaik, the London Sinfonietta, the United Berlin Wind Quintet, Ensemble Aleph, Altera Veritas, MD7, the Concorde Ensemble and the Berlin Chamber Orchestra.

    In the seasons 2008/2009 and 2009/2010, Nina Šenk was the resident composer of the Orchestra of the State Theatre of Cottbus, Germany.

    The first idea while thinking about Silhouettes and Shadows was a line that flows in various ways from one instrument to another, from a solo line all the way to homophony. From the quintet, I have tried to create one single source of line (silhouette), sometimes colouring it with shade (chips of line). I deliberately avoided too broad an ambit of notes, because I wanted to achieve a narrowness, a collective density, a single density of sonority, from which no one colour stands out.

    The composition is demanding due to the compact range of dynamics, from soft to as soft as possible, realised in fast and faster tempi, and due to the sensitive transitions of the line from one instrument to another, which must always flow from one to the next. Due to the diversity of the instruments, this was an interesting and demanding challenge while composing, and I have no doubt that this challenge will open up ever new performance possibilities for the performers.

    The composition is dedicated to the wind quintet Slowind and was first performed on 24 October 2016 at 18th Festival Slowind 2016 in Ljubljana.”

    —Nina Šenk


    Toshio Hosokawa, born 1955 in Hiroshima, is a fisher of multiple ponds. On the one hand, he carries the torch of European modernism, having studied in Germany under Isang Yun and Klaus Huber. On the other, he professes a deep affinity for traditional Japanese music and Zen Buddhism.

    The work Ancient Voices was written for and commissioned by Ensemble Wien-Berlin for their 30th anniversary. I received the obituary of Wolfgang Schultz who was the core member of this ensemble while working on the structure of this. I dedicate this work to him.

    My music always has ritualistic essence that music could contain. Music could calm the human soul, and could have the role of giving life to the invisible area of the heart. My music is not meant to have an influence on human intelligence but rather to a human body and “chi.” I would like to express “chi,” the source of energy of life that propels human and nature.

    This music shows the characteristic of my music, where the melodic line of each note has a curved form, like those in Eastern writings. Those lines tangle with each other like plants, and form the universe of Yin and Yang (light and shadow, male and female, high and low, strong and weak), while creating ritualistic music.

    —Toshio Hosokawa


    World renowned Canadian flutist, composer and conductor Robert Aitken has been honoured with the Order of Canada and is a Chevalier de l’ordre des Arts et des Lettres (France). In 1970, having previously served as principal flute for both the Vancouver and Toronto Symphony Orchestras, Aitken embarked on a solo career that continues to take him to virtually every corner of the globe. Such notables as John Cage, George Crumb, Elliott Carter, Toru Takemitsu, Gilles Tremblay, John Beckwith and Bruce Mather have dedicated works to him. In 2003 he was presented with a Lifetime Achievement Award from the National Flute Association (USA). In 2004, he retired as Professor für Flöte at the Staatliche Hochschule für Musik in Freiburg, Germany, a position he had held for 16 years. In 2009 Aitken was the recipient of Canada’s largest arts award, the prestigious Walter Carsen Prize for Excellence in the Performing Arts.

    As a composer, he holds Bachelor and Masters degrees from the University of Toronto and all of his works are published by Universal Edition, Salabert, Ricordi and Peer Music. Robert Aitken has been the artistic director of Toronto’s New Music Concerts since its inception in 1971.

    Aitken’s “Scherzo for Woodwind Quintet” Folia was commissioned by the York Winds with the assistance of the Canada Council in 1981 and was composed in the fall of that year at the MacDowell Colony in New Hampshire. Both the time and place of the work’s creation are commemorated in the title of this work, which reveals the composer’s intention to “reflect the random order and rich colours of nature as exhibited by tree and ‘foliage’ while maintaining a high lever of intensity throughout. Even the few sustained passages offer the musicians extra technical challenges such as trills of variable speed, flutter tonguing and simultaneous singing and playing.” The dense forest of notes that evolve from the wooden instruments that send forth the first roots of the work may indeed strike certain listeners as ‘random’, yet they are in fact derived from the subtle change ringing of a carefully chosen series of notes and durations: “The music follows an idea of all things relating and flowing into each other and, while there are certain random aspects, it is not at all a ‘free piece’.” Towards the conclusion of the composition a measured degree of rhythmic freedom is introduced, before giving way to a single, sustained harmony that sounds the intervallic ‘seed’ of the work: “The melodic and harmonic material is entirely based on a major/minor ninth chord in all its inversions which, coloured with unusual overtones, slips in and out of focus, much like the variety of autumn foliage. Hints of relaxation and timbral changes are achieved by varying the density of the texture, suggestive of the wildness of nature.”

    —Daniel Foley




    Pihalni kvintet Slowind je bil ustanovljen pred dvaindvajsetimi leti. V tem času se je ansambel, ki izvaja praktično vsa dela standardnega repertoarja za ta sestav, profiliral še v brezkompromisnega in v slovenskem prostoru najaktivnejšega izvajalca sodobnih del, od klasikov avantgarde do najmlajših, še neuveljavljenih, a zelo obetavnih avtorjev našega časa.

    Slowind z naročili spodbuja mlade slovenske skladatelje ter se rad odziva vabilom za izvedbe novitet na mnogih evropskih odrih. Obenem že vrsto let tesno sodeluje z etabliranimi svetovnimi skladatelji, kot so Vinko Globokar, Robert Aitken, Heinz Holliger, Jürg Wyttenbach, Tošio Hosokava, Uroš Rojko, Martin Smolka, Volker Staub, Ivo Nilsson, Gérard Buquet, Niels Rosing Schow in drugi, ki mu posvečajo svoja dela in ga vključujejo v svoje projekte. Slowind tako redno gostuje na nekaterih najpomembnejših prizoriščih sodobne glasbe: Ars Musica Bruselj, Biennale Bern, Klangspuren Innsbruck, New Music Concerts Series Toronto, Contempuls Praga, Théâtre Dunois Pariz, Beneški bienale, Zagrebški glasbeni bienale in Mednarodni glasbeni festival Takefu (Japonska).

    več …




    Umetniško vodstvo: Ivan Fedele, Italija

    Ljubljana, 22.–29. oktober 2016


    Cenjena poslušalka, spoštovani poslušalec,
    če ni bilo naključje, da smo za umetniškega vodjo lanskega Festivala Slowind izbrali Vita Žuraja lahko rečemo, da je letošnji izbiri botrovalo tudi nekaj sreče.
    Pred približno dvema letoma smo namreč potrkali na vrata italijanskega skladatelja Ivana Fedeleja in mu predlagali nastop Slowinda na Beneškem bienalu, ki ga programsko vodi. Velikodušno nas je povabil na lansko izdajo festivala in na spored koncerta uvrstil tudi dobro mero slovenske sodobne glasbe, napisane za naš ansambel. Sledili so pogovori o najrazličnejših izzivih na področju sodobne glasbe in kmalu je v nas dozorela želja, da ga povabimo v Ljubljano. Izročili smo mu knjigo Mateje Kralj z naslovom … les, veter, kovina …, ki bralcu dodobra razkrije filozofijo Slowindovega delovanja, kreativnim ljudem pa tudi nakaže, kaj se z nami po sedemnajstih festivalih še da početi. Ivan Fedele je naše povabilo rad sprejel in nas z novim programom festivala povabil v neznano – tja, kamor Slowind vedno znova rad zahaja.
    Letošnji festival bo v prvi vrsti prežet z njegovo glasbo za najrazličnejše sestave. Zato so koncerti glede na zasedbe izvajalcev koncipirani precej klasično. Prvi koncert je v celoti namenjen zasedbi dveh klavirjev, tolkal in elektronike, drugi samo violini z elektroniko, tretji pihalnemu kvintetu, četrti godalnemu kvartetu s pevko, zadnji pa nekoliko bolj v duhu Slowinda – mešanim raznovrstnim zasedbam.
    Tokrat bomo v Ljubljani gostili vrsto odličnih italijanskih izvajalcev sodobne glasbe, med katere sodijo izjemni violinist Francesco D’Orazio, pianistka Maria Grazia Bellochio, zvočna realizatorja elektronske glasbe Alvise Vidolin in Francesco Abbrescia, godalni kvartet Quartetto Prometeo s sopranistko Valentino Coladonato ter ansambel Ex Novo iz Benetk pod dirigentskim vodstvom Pasquala Corrada.
    Ob spoznavanju glasbe Ivana Fedeleja bomo imeli letos priložnost slišati kar nekaj izjemnih in obsežnih del: Anthèmes II za violino in elektroniko Pierra Bouleza, Godalni kvartet št. 2 Györgyja Ligetija in Barvni krog Lojzeta Lebiča.
    Seveda tudi tokrat na prvo izvedbo čakajo nove skladbe, ki jih letos poleg Ivana Fedeleja z dvema (!) novitetama za festival prispevajo še Neville Hall z novo skladbo za solistično oboo ter Nina Šenk in Luka Juhart z novima skladbama za pihalni kvintet. Doživeli bomo torej pet svetovnih praizvedb, v poznih urah pa bomo lahko prisluhnili tudi zvočni projekciji Zgodbe o glasu in piščali avtorjev Bora Turela in Gregorja Pirša.
    Veseli nas, da bomo tudi letos Festival Slowind povezali s koncertno sezono Orkestra Slovenske filharmonije, ki bo na abonmajskih koncertih izvedel Fedelejev Koncert za violino in orkester. Solist bo Francesco D’Orazio, dirigiral pa bo Pierre-André Valade.
    Za glasbeno izobraževanje bodo na mednarodni glasbeni delavnici, ki jo organiziramo skupaj s Filozofsko fakulteto Univerze v Ljubljani, poskrbeli predavatelji komponisti Ivan Fedele, Andrea Manzoli, in violinist Francesco D’Orazio.

    Vljudno vabljeni na 18. Festival Slowind 2016!
    Matej Šarc

    fedele2Brez glasbe bi bilo življenje napaka,” – tako je zapisal véliki nemški filozof Friedrich Nietzsche, jaz pa bi dodal: „Brez neskončnega prenavljanja glasbe bi bilo življenje dolgočasno.” Nobena umetnost ni bolj visokoleteča, bolj vihrava, neotipljiva, tenkočutna in bolj sugestivna kot glasba in jaz sem imel veliko srečo, da sem vse življenje preživel sredi tega čudovitega sveta, ki vključuje misel, čustvo, znanost in znanje, obljublja pa večnost ustvarjalnosti za nove in nove generacije, ki prihajajo.
    Slowind 2016 bo postavil na ogled mnoge moje skladbe, nastale v zadnjih dvajsetih letih. To je naravnost čudovita priložnost, da predstavim občinstvu, kako sem v tem času razvijal svoj ustvarjalni in slogovni pristop, kako sem vedno postavljal na prvo mesto družbeno dimenzijo glasbe in kako veliko pozornosti sem namenjal dinamiki zaznave.
    Smo ljudje, ki pišejo glasbo za druge ljudi.” Ta maksima me je spremljala skozi moje raziskovanje umetnosti in poetike in mojo domišljijo ves čas usmerjala k najbolj inovativnim in radikalnim partituram, kar je tudi eno od osnovnih vodil, ki jih skušam prenesti na svoje mlade študente na Akademiji sv. Cecilije v Rimu. Dva od njiju, Andrea Manzoli in Pasquale Corrado, se nam bosta pridružila s svojimi svežimi in obetavnimi skladbami. Njima, tako kot tudi drugim odličnim študentom, ki jih poučujem, zaupam pričevanje ‘novega humanizma’, čigar glasba danes ni samo priča, ampak prav gotovo tudi njegova vodilna sila.
    Priložnost, da se lahko na vsakem koncertu družim s slovenskimi avtorji, je izjemno dragocena, saj jih lahko globlje spoznam in doživim. Zato sem zelo počaščen, da me v moji monografski predstavitvi spremljajo Luka Juhart, Nina Šenk, Lojze Lebič, Neville Hall, Bor Turel ter Gregor Pirš. Prepričan sem, da bo to vir novega povezovanja, sodelovanja in prijateljstva, saj sami ne pridemo daleč. Samo združeni in solidarni lahko, vsak zase, ocenimo svojo osebno identiteto, preko primerjave z identiteto drugega in skozi proces družbene in kulturne rasti.
    Koncertni programi Festivala Slowind 2016 so zelo raznoliki in navdani s čarom, ki vas bo pritegnil v teden nove glasbe; orkestrski, komorni in solistični večeri, z elektroniko in brez nje.
    Ne pozabimo, da živimo v stoletju, v katerem glasba korenito spreminja tako svoje ustvarjalne usmeritve kakor tudi poslušalske navade.
    Dobro glasbo želim vsem!
    Ivan Fedele


    * * * * * * *

    1. koncert
    sobota, 22. oktober 2016, ob 20.00

    Slovenska filharmonija, Dvorana Marjana Kozine

    Dve luni dva

    Predkoncertni pogovor ob 19.00
    Gosta pogovora: Ivan Fedele in Alvise Vidolin

    Maria Grazia Bellochio – klavir
    Aldo Orvieto – klavir
    Dario Savron – tolkala
    Simone Beneventi – tolkala
    Alvise Vidolin – zvočna realizacija
    Luca Richelli – asistent zvočne realizacije

    Ivan Fedele (roj. 1953): Two Moons Two (2016) – Skladba za dva klavirja, dva virtualna instrumenta in živo elektroniko (Svetovna premiera)
    Ivan Fedele: Wood-Skin Tracks (2016) za dva tolkalca in živo elektroniko (Svetovna premiera)
    Ivan Fedele: Pulse and Light (2014) za dva klavirja in živo elektroniko (Slovenska premiera)
    Ivan Fedele: Phasing (2013) za dva klavirja in dva tolkalca (Slovenska premiera)

    VEČ …


    2. koncert
    nedelja, 23. oktober 2016, ob 20.00

    Slovenska filharmonija, Dvorana Marjana Kozine

    Nočni popotniki

    Predkoncertni pogovor ob 19.00
    Gost pogovora: Francesco D’Orazio
    Francesco D’Orazio – violina, petstrunska električna violina
    Francesco Abrescia – zvočna realizacija

    Ivan Fedele (roj. 1953): Viaggiatori della notte (1983) – Tri skladbe za violino
    Luciano Berio (1925–2003): Sequenza VIII za violino
    Ivan Fedele: Suite Francese II (2010) za violino
    Pierre Boulez (1925–2016): Anthèmes 2 (1997) za violino in elektroniko
    Ivan Fedele: Suite Francese VIb (2014) za petstrunsko električno violino in elektroniko

    VEČ …


    3. koncert
    ponedeljek, 24. oktober 2016, ob 20.00

    Slovenska filharmonija, Dvorana Marjana Kozine


    Predkoncertni pogovor ob 19.00
    Gostje pogovora: Andrea Mazoli, Neville Hall, Luka Juhart in Nina Šenk

    Pihalni kvintet Slowind

    Andrea Manzoli (roj. 1977): Crosswinds/Bočni vetrovi (2016) za pihalni kvintet
    Neville Hall (roj. 1962): the crystal body of air (2013) za oboo (Svetovna premiera)
    Matej Šarc – oboa
    Luka Juhart (roj. 1982): Svetovi (2016) za pihalni kvintet (Svetovna premiera)
    Nina Šenk (roj. 1982): Silhouettes and Shadows/Obrisi in sence (2016) za pihalni kvintet (Svetovna premiera)
    Ivan Fedele (roj. 1953): Flamen (1994) za pihalni kvintet

    VEČ …


    4. koncert
    ponedeljek, 24. oktober 2016, ob 23.00

    Slovenska filharmonija, Dvorana Marjana Kozine

    Bor Turel (roj. 1954) , Gregor Pirš (roj. 1970)

    Kos kosti (2011) (Zvočna projekcija)

    Zvezdana Novakovič – glas
    Ljuben Dimkaroski – moustérienska flavta
    Franci Krevh – tolkala
    Marko Hatlak – harmonika
    Luka Juhart – harmonika
    Bor Turel – elektronika
    Gregor Pirš – elektronika

    Radio Slovenija, zasebni studio Bora Turela, studio Yellow Room

    VEČ …


    Mednarodna glasbena delavnica
    torek, 25. oktober 2016

    Ljubljana, Univerza v Ljubljani, Filozofska fakulteta, Aškerčeva 2, Ljubljana, ‘Modra soba’ (5. nadstropje) – 18. Festival Slowind 2016

    Oblikovanje zvoka in posredovanje glasbe

    za glasbenike, skladatelje, muzikologe, študente glasbe in muzikologije ter ljubitelje glasbe (v angleščini)

    Predavatelji: Ivan Fedele, Pasquale Corrado, Francesco D’Orazio, Andrea Manzoli
    Organizacija in vodstvo: prof. Larisa Vrhunc

    VEČ …

    Rok za prijavo: najkasneje do 20. oktobra 2016.


    5. koncert
    torek, 25. oktober 2016, ob 20.00

    Slovenska filharmonija, Dvorana Marjana Kozine

    Paroles y palabras

    Valentina Coladonato – sopran
    Quartetto Prometeo:
    Aldo Campagnari – violina
    Jacopo Bigi – violina
    Massimo Piva – viola
    Francesco Dillon – violončelo

    Ivan Fedele (roj. 1953): Paroles y palabras (2000) – Štiri skladbe za sopran in violončelo
    Ivan Fedele: Palimpsest (2006/2007) – Četrti godalni kvartet
    György Ligeti (1923–2006): Godalni kvartet št. 2 (1968)
    Ivan Fedele: Morolòja Kè Erotikà (2010/2011) za sopran in godalni kvartet

    VEČ …


    6. in 7. koncert
    četrtek 27. oktober in petek, 28. oktober 2016, ob 19.30

    Abonmajska koncerta Slovenske filharmonije (Modri abonma)

    Ljubljana, Cankarjev dom, Gallusova dvorana – 18. Festival Slowind 2016

    Orkester Slovenske filharmonije
    Pierre-André Valade– dirigent
    Francesco D’Orazio – violina

    Erik Satie/orkestracija Claude Debussy: Gimnopedija št. 1
    Ivan Fedele: Koncert za violino in orkester (1998/1999)
    Sergej Rahmaninov/orkestracija Ottorino Respighi: Pet etud, P. 160 (Cinq études-tableaux)
    Ottorino Respighi: Rimske pinije, P. 141


    8. koncert
    sobota, 29. oktober 2016, ob 20.00

    Ljubljana, Slovenska filharmonija, Dvorana Marjana Kozine


    Ex Novo Ensemble;
    Daniele Ruggieri – flavta
    Davide Teodoro – klarinet
    Aldo Orvieto – klavir
    Dario Savron – tolkala
    Carlo Lazari – violina
    Carlo Teodoro – violončelo
    Pasquale Corrado – dirigent

    Slowind z gosti:
    Francesco D’Orazio – violina solo
    Aleš Kacjan – flavta
    Matej Šarc – oboa
    Davide Teodoro – klarinet
    Jurij Jenko – basovski klarinet
    Paolo Calligaris – fagot
    Metod Tomac – rog
    Franc Kosem – trobenta
    Žan Tkalec – pozavna
    Matevž Bajde – marimba
    Dario Savron – vibrafon
    Urška Križnik Zupan – harfa
    Aldo Orvieto – klavir
    Janez Podlesek – violina
    Carlo Lazari – violina
    Maja Rome – viola
    Carlo Teodoro – violončelo
    Miha Firšt – kontrabas
    Pasquale Corrado – dirigent
    Francesco D’Orazio – violina
    Pasquale Corrado – dirigent

    Ivan Fedele (roj. 1953): Imagini da Escher* (2005) za flavto, klarinet, klavir, tolkala, violino in violončelo
    Lojze Lebič (roj. 1934): Barvni krog (2008) za flavto, klarinet, pozavno, tolkala, klavir, violino in violončelo
    Ivan Fedele: Mosaïque (2008) za violino solo in 16 izvajalcev
    Pasquale Corrado (roj. 1979): Pulse (2013) za flavto, klarinet, klavir, tolkala, violino in violončelo
    Ivan Fedele: Mudra (2013) za flavto, klarinet, basovski klarinet, rog, trobento, pozavno, tolkala, klavir, dve violini, violo, violončelo in kontrabas

    VEČ …