• La Stagione Concertistica 2017

    January 30, 2017 at 8.30 p.m.
    La Stagione Concertistica 2017 – Chamber music concert in Trieste (Italy)

    Slowind Wind Quintet
    Wolfgang Amadeus Mozart (1756–1791): Serenade in C minor, K. 388
    Nina Šenk (roj. 1982): Obrisi in sence/Silhouettes and Shadows
    György Ligeti (1923–2006): Six Bagatelles (1953)
    György Ligeti: Ten Pieces for wind quintet (1968)

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  • Slowind in Canada – Montréal

    ECM+ (Ensemble contemporain de Montréal) and Wind Quintet Pentaèdre presents Slowind

    Monday, 28th November, 2016 at 7.30 p.m.
    Concert Hall of the Montréal Conservatoire (4750, Henri-Julien Ave)


    Slowind Wind Quintet
    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 in Canada – London, Ontario

    Wednesday, 30th November, 2016 at 7.30 p.m.
    The Jeffery Concerts
    Wolf Performance Hall, Central Library, 251 Dundas Street, London, Ontario

    Slowind Wind Quintet
    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 in Canada – Kitchener

    Thurday, 1st December, 2016 at 7.00 p.m.
    Numus Concerts
    Kitchener Public Library Theatre, 85 Queen Street N., Kitchener

    Slowind Wind Quintet
    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



  • Slowind, Wind Quintet

    The wind quintet Slowind was established 22 years ago, and has become the most active new music ensemble in Slovenia. As well as performing practically all of the works of the standard wind quintet repertoire, the members of Slowind have developed a reputation as uncompromising performers of contemporary music, from the classics of the avant-garde to works by the youngest composers, many of whom are not yet established but are very promising composers of our time. By commissioning new works, Slowind constantly encourages young Slovenian composers and is glad to respond to invitations to perform new compositions on many European stages.

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  • 18th FESTIVAL SLOWIND 2016


    Artistic direction: Ivan Fedele, Italy

    Ljubljana, October 22–29, 2016


    Dear Listeners,
    While it was not a coincidence that we selected Vito Žuraj as the artistic director of the last Slowind Festival, we can say that this year’s choice also involved a certain amount of luck.
    About two years ago, we knocked on the door of Italian composer Ivan Fedele and proposed that Slowind perform at the Venice Biennale, of which he is the programme director. He generously invited us to the last edition of the festival and included a good measure of Slovenian contemporary music written for our ensemble on the programme. There followed discussions on a variety of challenges in the field of contemporary music, and a desire to invite him to Ljubljana soon matured within us. We gave him a copy of Mateja Kralj’s book entitled Wood, Wind, Metal … which provides a thorough presentation of the philosophy of Slowind’s operation, while also giving creative people an indication of what still remains to be done with us after seventeen festivals. Ivan Fedele was glad to accept our invitation and, with his new festival programme, has invited us into the unknown – just where Slowind always likes to be.
    This year’s festival will primarily be permeated with Ivan Fedele’s own music for a wide range of instrumental combinations. Thus the concerts are conceived in a rather classical way in terms of ensembles. The first concert is dedicated entirely to the combination of two pianos, percussion and electronics, the second concert is devoted exclusively to violin with electronics, the third to wind quintet, and the fourth to string quartet with a singer, while the last concert is slightly more in the spirit of Slowind, with diverse mixed ensembles.
    This time, we will welcome a number of excellent Italian performers of contemporary music to Ljubljana, including the exceptional violinist Francesco D’Orazio, pianist Maria Grazia Bellochio, the string quartet Quartetto Prometeo with singer Valentina Coladonato, and the ensemble Ex Novo from Venice, under the baton of Pasquale Corrado. For the electronic music, the sound projection will be overseen by Alvise Vidolin and Francesco Abbrescia.
    As well is becoming familiar with the music of Ivan Fedele, we will have an opportunity to hear some other exceptional and extensive works: Anthèmes II for violin and electronics by Pierre Boulez, String Quartet No. 2 by György Ligeti and Barvni krog (Colour Circle) by Lojze Lebič.
    There are, of course, a number of new compositions awaiting their first performance at this year’s festival. Ivan Fedele has contributed two (!) new works for the festival, Neville Hall has composed a new piece for solo oboe, and we will perform new wind quintets by Nina Šenk and Luka Juhart. Thus we will have an opportunity to experience five world premieres. In the late hours, we will also be able to hear a sound projection of Zgodba o glasu in piščali (A tale of Voice and Flute) by Bor Turel and Gregor Pirš.
    We are pleased to once again connect the Slowind Festival with the concert season of the Slovenian Philharmonic Orchestra, who will perform Fedele’s Concerto for Violin and Orchestra at subscription concerts. Francesco D’Orazio will appear as soloist, and the orchestra will be conducted by Pierre-André Valade.
    Music education again has a place within the festival programme this year. Composers Ivan Fedele and Andrea Manzoli, as well as violinist Francesco D’Orazio, will speak at an international music workshop organized jointly with the Faculty of Arts in Ljubljana.

    You are cordially invited to the 18th Slowind Festival 2016!

    Matej Šarc


    “Without music, life would be a mistake”, wrote the great German philosopher Friedrich Nietzsche; I would add: “Without the endless renewal of music, life would be boring.” No other art form is as highflying, as stormy, as intangible, as sensitive, as suggestive as music, and I consider it to be my great good fortune that I have spent my whole life involved in this wonderful world, which embraces thoughts, emotions, science and knowledge, and which promises an eternity of creativity for ever new generations to come.
    The Slowind Festival 2016 will be a showcase of many of my compositions created in the last twenty years. This is a wonderful opportunity for me to present to the audience how, during this period, I have developed my creative and stylistic approach, how I have always given priority to the social dimension of music, and how much attention I have devoted to the dynamic of perception.
    “We are people who write music for other people.” This maxim has accompanied me throughout my research of art and poetics, and has always directed my imagination towards the most innovative and radical scores. It is one of the principles that I attempt to convey to my young students at the Academy of St Cecilia in Rome, two of whom – Andrea Manzoli and Pasquale Corrado – will join us at the festival with their fresh and promising compositions. To these two young composers, as well as to my other excellent students, I impart a belief in the “new humanism”, of which music today is not only a witness but undoubtedly also a driving force.
    The opportunity to join with Slovenian composers at each concert is highly valued, as it gives me a chance to become familiar with and experience these composers more deeply. I am therefore very honoured that my monographic presentation will be accompanied by Luka Juhart, Nina Šenk, Lojze Lebič, Neville Hall, Bor Turel and Gregor Pirš. I am certain that this will be a source of new connection, cooperation and friendship. We do not get very far alone. Only together and in solidarity can we each asses our own personal identity, through comparison with the identity of others and through a process of social and cultural growth.
    The concert programmes of the Slowind Festival 2016 are very diverse, and I am certain that they are imbued with a charm that will draw you to this week of new music: orchestral, chamber and solo evenings, with and without electronics. We should not forget that we live in a century in which music is experiencing profound change, both in terms of its creative direction and regarding listening habits.

    I wish you all good music!
    Ivan Fedele

    * * * * * * *


    * * * * * * *

    1st concert
    Saturday, October 22, 2016 at 8.00 p.m.

    Preconcert talk at 7.00 pm
    Guest of the talk: Ivan Fedele

    Slovenska filharmonija (Slovenian Philharmonic), Marjan Kozina Hall

    Two Moons Two

    Mariagrazia Bellocchio, Aldo Orvieto – piano
    Dario Savron, Simone Beneventi – percussion
    Alvise Vidolin – live electronics, Luca Richelli – sound projection assistant

    Ivan Fedele (b. 1953): Two Moons Two (2016) for two pianos, two virtual instruments and live electronics (World premiere)
    Ivan Fedele: Wood-Skin Tracks (2016) for two percussionists and live electronics (World premiere)
    Ivan Fedele: Pulse and Light (2014) for two pianos and live electronics
    Ivan Fedele: Phasing (2013) for two pianos and two percussionists

    MORE …


    2nd concert
    Sunday, October 23, 2016 at 8.00 p.m.

    Preconcert talk at 7.00 pm
    Guest of the talk: Francesco D’Orazio

    Slovenska filharmonija (Slovenian Philharmonic), Marjan Kozina Hall

    Night Travellers

    Francesco D’Orazio – violin, five-string electric violin
    Francesco Abbrescia – live-electronics

    Ivan Fedele (b. 1953): Viaggiatori della notte (1983) three pieces for violin
    Luciano Berio (1925–2003): Sequenza VIII for violin
    Ivan Fedele: Suite Francese II (2010) for violin
    Pierre Boulez (1925–2016): Anthèmes 2 (1997) for violin and electronics
    Ivan Fedele: Suite Francese VIb (2014) for electric five-string violin and electronics

    MORE …


    3th concert
    Monday, October 24, 2016 at 8.00 pm

    Preconcert talk at 7.00 pm
    Guests of the talk: Andrea Manzoli, Neville Hall, Luka Juhart and Nina Šenk

    Slovenska filharmonija (Slovenian Philharmonic), Marjan Kozina Hall


    Matej Šarc – oboe

    Andrea Manzoli (b. 1977): Crosswinds (2014) for wind quintet
    Neville Hall (b. 1962): the crystal body of air (2013) for oboe solo (World premiere)
    Matej Šarc – oboe
    Luka Juhart (b. 1982): Svetovi/Worlds (2016) for wind quintet (World premiere)
    Nina Šenk (b. 1982): Silhouettes and Shadows (2016) for wind quintet (World premiere)
    Ivan Fedele (b. 1953): Flamen (1994) for wind quintet



    4th concert
    Monday, October 24, 2016 at 10.30 pm

    Slovenska filharmonija (Slovenian Philharmonic), Marjan Kozina Hall

    A Tale of Voice and Flute

    Bor Turel (b. 1954) , Gregor Pirš (b. 1970): Bone Piece

    Sound projection
    Zvezdana Novakovič – voice
    Ljuben Dimkaroski – Moustérian flute
    Franci Krevh – percussion
    Marko Hatlak – accordion
    Luka Juhart – accordion
    Bor Turel – electronics
    Gregor Pirš – electronics

    Realization: Radio Slovenia, Bor Turel’s Private Studio, Yellow Room Studio



    International Workshop
    Tuesday, October 25, 2016

    Ljubljana, University of Ljubljana, Facultuy of Arts, Department of Musicology

    Sculpting the sound and projecting music

    Lecturers: Ivan Fedele, Pasquale Corrado, Francesco D’Orazio, Andrea Manzoli
    Organization and moderation: prof. Larisa Vrhunc

    MORE …

    Please fill out the online application form (Last day to apply: October 20, 2016)


    5th concert
    Tuesday, October 25, 2016 at 8.00 pm

    Preconcert talk at 7.00 pm
    Guest of the talk: Francesco Dillon

    Slovenska filharmonija (Slovenian Philharmonic), Marjan Kozina Hall

    Paroles y palabras

    Valentina Coladonato – soprano
    Quartetto Prometeo:
    Aldo Campagnari – violin
    Jacopo Bigi – violin
    Massimo Piva – viola
    Francesco Dillon – violoncello

    Ivan Fedele (b. 1953): Paroles y palabras (2000) for soprano and violoncello
    Ivan Fedele: Palimpsest (2006) – fourth string quartet
    György Ligeti (1923–2006): String Quartet No. 2 (1968)
    Ivan Fedele: Morolòja kai erotikà (2010/2011) for soprano and string quartet 



    6th and 7th concert
    Thursday, October 27 and Friday, October 28, 2016 at 7.30 pm

    Slovenian Philharmonic Subscription Concerts (Blue Series)

    Cankarjev dom, Gallus Hall


    Slovenian Philharmonic Orchestra
    Pierre-André Valade – conductor
    Francesco D’Orazio – violin

    Erik Satie (1866–1925)/orch. Claude Debussy: Gymnopedie No. 1
    Ivan Fedele (b. 1953): Concerto for Violin and Orchestra (1998/1999)
    Sergei Rachmaninoff (1873–1943)/orch. Ottorino Respighi: Cinq études-tableaux, P. 160
    Ottorino Respighi (1879–1936): Pini di Roma, P. 141


    8th concert
    Saturday, October 29, 2016 at 8.00 pm

    Preconcert talk at 7.00 pm
    Guests of the talk: Pasquale Corrado, Lojze Lebič and Ivan Fedele

    Slovenska filharmonija (Slovenian Philharmonic), Marjan Kozina Hall


    Ex Novo Ensemble:
    Daniele Ruggieri – flute
    Davide Teodoro – clarinet
    Aldo Orvieto – piano
    Dario Savron – percussion
    Carlo Lazari – violin
    Carlo Teodoro – cello
    Slowind with guests:
    Daniele Ruggieri – flute
    Matej Šarc – oboe
    Davide Teodoro – clarinet
    Jurij Jenko – clarinet, bass clarinet
    Paolo Calligaris – bassoon
    Metod Tomac – horn
    Franc Kosem – trumpet
    Žan Tkalec – trombone
    Matevž Bajde – marimba
    Dario Savron – vibraphone
    Urška Križnik Zupan – harp
    Aldo Orvieto – piano
    Janez Podlesek – violin
    Carlo Lazari – violin
    Maja Rome – viola
    Carlo Teodoro – cello
    Miha Firšt – contrabass
    Francesco D’Orazio – solo violin
    Pasquale Corrado – conductor

    Ivan Fedele (roj. 1953): Imagini da Escher (2005) for flute, clarinet, piano, percussion, violin and violoncello
    Lojze Lebič (roj. 1934): Barvni krog (2008) for flute, clarinet, trombone, percussion, piano, violin and violoncello
    Ivan Fedele: Mosaïque (2008) for violin solo and 16 performers
    Pasquale Corrado (roj. 1979): Pulse (2013) for flute, clarinet, piano, percussion, violin and violoncello
    Ivan Fedele: Mudrā (2013) for flute, clarinet, bass clarinet, horn, trumpet, trombone, percussion, piano, two violins, viola, violoncello and double bass