A. Vivaldi, GP Telemann, IM Jarnović
Like a large, rhapsodic collage, which carries within itself an immanent aesthetic-stylistic logic, the program of the duo of flutist Ana Domančić Krstulović and violinist Violeta Smajlović-Huart was created. The paintings of Wassily Kandinsky as a guiding thread, the light in the background of the music – with her collage technique, which vibrates an almost audible rhapsody of colors, colorful fragments combined into a symphonic harmony, they led Ana Domančić, who, following the intertwined connections from artist to performer and back, or from composer to another composer, connects music from Bach to the present in this program. Following the long, thin threads of sometimes historical connections, and sometimes very personal histories and associations, she bridges the distances between musical eras and styles, in a kaleidoscope of the program united by some fundamental thoughts about “music as the teacher of life”, paraphrasing the famous saying in which history bears this title.
Ivan Mane Jarnovic (1747-1804) illuminated the winter nights of St. Petersburg with his Mediterranean brightness, spending his life in other European metropolises as well. Baptized in Palermo under the name Giovanni Giernovichi in 1747, according to some sources he was born "on a ship in the waters of Ragusa", Jarnović (whose surname appears in about forty versions in historical sources), according to tradition, studied violin with A. Lolli in Stuttgart, and then lived in Paris where he performed with great success at prestigious Spiritual concerts, as well as at violin competitions and in Parisian salons. His journey took him to Berlin, Frankfurt, then to cities throughout Germany, Austria, Poland, Scandinavia, all the way to Moscow, and then to London. He spent the last years of his life mostly in Hamburg, and his death found him in St. Petersburg, where he performed in 1803-4. A bravura style that adorns Mediterranean cantilena is a characteristic of his compositions, a series of violin concertos, as well as shorter pieces, such as his concert violin duo printed in Paris in 1790 and 1793. His violin duets (a total of 9 have been preserved) bear all the characteristics of concertante music – from technical complexity to the intriguing nature of beautiful, interesting themes, all for the purpose of bravura and noble competition between two parts, or two instrumentalists. The flute can often take over the violin part, so it is not unusual to hear them in a version in which one of the violin parts is taken over by the flute, as in Duo in D major, Op. 16.
Two-part inventions JS Bach (1685-1750) were composed for pedagogical purposes. Bach's house was filled with children, mostly Bach's, who were themselves learning music. A year and a half after the death of his first wife, Maria Barbara, who was the daughter of an organist and Bach's second cousin - and herself a member of the great Bach musical family - Johann Sebastian remarried a musician, Anna Magdalena Wilcke, who was a singer. In addition to their own numerous children, their house was also filled with numerous students and musical apprentices in a kind of Bach music workshop, where music was written on a weekly basis and called for for the ensembles that Bach led. Many of the compositions were composed as exercises for children and students, and Two-part inventions (of which the musicians will perform No. 4 in D minor, BWV 775 i No. 9 in F minor, BWV 780) were originally written as preamble or the introductory part for Klavierbüchlein für Wilhelm Friedemann Bach, a booklet of compositions of varying difficulty, in which there are explanations of keys and playing ornaments, which Bach compiled for his eldest son. Two-part inventions, or polyphonic two-part short compositions, were later reworked as technical exercises for Bach's students.
David Nuñez, born in 1970 in Caracas, Venezuela, is a violinist and composer who spent most of his life in Brussels, where he studied. He works primarily as a violin soloist and then as a pedagogue, and his composition Homage to JS Bach It came to Split via Italy, via composer Boris Porena, also featured on tonight's program, who has family ties to Split. The short piece for solo violin is about the impression of Bach's music and the distant echo of his counterpoint expressed in just one lyrical line.
One of the Baroque composers who was particularly fond of the flute was Georg Philipp Teleman (1681-1767) The flute was one of the three instruments he mastered – along with the harpsichord (or organ) and the violin. Knowing the flute as a player, his writing was natural, organic, technically skilled, precise and progressive. In his flute music he managed to find different colors and incorporate different styles – reaching for the rustic as well as the refined salon style, assimilating various elements of the Italian, French and Polish styles. Duet in G major je the twentieth music lesson for music masters (Zwanzigste Lection des Music-Meisters), published as part of The Faithful Music Master TWV 40 (A true musical master), a kind of musical journal, the first of its kind in Germany, which was published in 25 issues during 1728-29. It published about seventy short vocal and instrumental compositions, mostly by Telemann. They were mostly simple and very quickly became popular both in private households and at German courts, where they were performed by leading musicians.
carl stamitz (1745-1801) was the eldest son of the Baroque composer Johann Stamitz. He, like his brother Anton, belonged to the Mannheim school, traveling around Europe as a violin virtuoso in his youth, and he, like Jarnović, performed at the Paris Concerts Spirituels, probably in the same period. His large opus of symphonies and concertos for various instruments is stylistically close to Haydn and the gallant style of the young Mozart. He is particularly characterized by beautiful melodies, in which he often leads the voices in thirds and sixths. Expressiveness was more important to this composer than virtuosity, and so it is in the 6 duets op. 27 for two flutes or violins, to which he belongs Duet No. 2 in A major.
Another classicist, but with a slightly calmer life than Stamitz or Jarnović, was FranChoose Deviènne (1759-1803), called in his time the "Mozart of the Flute". In addition to being a flute virtuoso, he was also a famous bassoonist and composer, and his oeuvre also includes operas. His career is primarily linked to Paris, where he played in various Parisian ensembles, and later taught flute at the National Institute of Music (Paris Conservatory). His numerous works for flute are still popular today, and his Mmethod, namely his eight books of sonatas for flute or bassoon. His Aria with variations It was originally composed for two flutes.
Saverio Mercadante (1795-1870) remains known as one of the most important Italian opera composers of the 19th century – he was a contemporary of Bellini, Donizetti and Rossini, whom he outlived, but his style remained old-fashioned at a time when Verdi was making a breakthrough with his dramatic compositional technique. Mercadante is also known in the world of flute music, as an excellent flutist and composer for the flute. He studied flute, violin and composition at the Naples Conservatory, where he later became director. Among his instrumental compositions are his numerous variations on operatic arias and themes – the technique of variation was popular in the 19th century, and beautiful operatic melodies were the source of numerous virtuoso variations and fantasies. Among Mercadante's works of this type are Variations on Nell' Agnese, according to the opera Agnes of Fitzheury Ferdinand Paer. It is an aria How the fog flies in the windI have my green andà - Like mist in the wind, my youth flees..
Boris Porena (1927-2022) was an Italian philosopher and composer, married to the Split cellist Paola Bučan, who taught cello at the Perugia Conservatory, and who was closely related to the flautist Ana Domančić. As a student of Goffredo Petrassi, Porena was initially influenced by neoclassical poetics, later developing his harmonic language in the direction of the late Renaissance period. His two short neo-baroque polyphonic compositions Terze, sisters i Fughetta a due, were originally written for two flutes.
Sheet music by a little-known Hungarian composer Endrea Székelyja (1912-1989) came to the attention of musicians when the German flutist Karl Bernhard Sebon left his legacy of around 3 titles to the Split UMAS. Among these notes are many compositions dedicated to him, which until then only he had played. In this way, some almost completely forgotten works were also revealed, such as Four medallions Székely, a composition dedicated to the memories of four great composers of the 20th century – Stravinsky, Schönberg, Webern and Bartók.
Music patchwork Violeta Smailović-Huart, according to the composer, is a conceptual work of art, created in collaboration with Sarajevo director Nedžad Begović. "Based on the topics that the violinist received from the director during the filming of the documentary about her life, Violeta developed 9 "musical sketches" that represent Bosnian melos in an extremely innovative way, through the exploration of the unusual and virtuosic sounds of Violeta's violin." Excerpts of the work were performed for the first time as an encore at the final concert of the centenary of the Sarajevo Philharmonic, when Violeta Smailović performed as a soloist, conducted by Zubin Mehta.
Wilhelm Bernhard Molique (1802-1869) was a German violinist and composer, who after a series of youthful tours settled in Stuttgart where he taught violin and conducted. His style developed under the influence of Beethoven, Mozart and Mendelssohn, and especially Louis Spohr, with whom he studied. The main part of Molique's compositional legacy is his violin concertos, but he also left a large number of chamber and concertante works for other instruments, including Duo concertante originally composed for flute and violin (from Drei Musikalische Skizzen op. 70). This duo is one of the most beautiful original duets for flute and violin, brilliantly written for both instruments, which can display various technical and expressive qualities in the most beautiful romantic manner.
French violinist and composer Henri Marteau (1874-1934) is particularly notable as an accomplished interpreter of chamber works, especially by French composers such as Camille Saint-Saëns and Gabriel Faure. He left behind a considerable oeuvre, consisting mostly of chamber works, but also a number of concertos and vocal compositions. His Divertimento op. 43, no. 1 It bears the characteristics of Art Nouveau, remnants of Impressionism mixed with Neoclassicism - melodies of simple diatonic movement, playful rhythms, airy texture and vague emotion, which are the hallmarks of the generation from Roussel to Poulenc, or the "French Six".
Zrinka Matić
Ana Domančić Krstulović, flute
Ana Domančić Krstulović is a prominent Croatian flautist with a rich concert, teaching and artistic career. She graduated from the Academy of Music in Zagreb in the class of Tinka Muradori, and continued her education at the University of Music and Art in Stuttgart with K. Schochow and A. Nicolet. She earned her doctorate at the Peabody School of Music at Johns Hopkins University in Baltimore as a Fulbright scholar (Britton Johnson). She trained in Paris (Alain Marion), the USA (Julius Baker), and with renowned professors such as Andre Jaunet, S. Gazzelloni and Conrad Klemm.
During her career, she was the first solo flutist of the Opera-Symphony Orchestra of the Croatian National Theatre Split from 1977 to 1991, and from 1992 she became the first flutist-piccolist and concertmaster of the Croatian Navy Orchestra (HRM), and from then until 1999 she was also the first flutist of the Dubrovnik Symphony Orchestra.
As a soloist, Ana Domančić Krstulović has performed with various orchestras and ensembles in Croatia and abroad, and has recorded a number of albums.
French, Italian and Croatian composers have composed for her, such as Boris Papandopulo, Anđelko Klobučar, Igor Kuljerić, Olja Jelaska, Mladen Tarbuk, Davorin Kempf, Tomislav Uhlik, Petar Obradović, and she has also collaborated with many international artists.
She founded numerous chamber ensembles, and for many years she led the Croatian Heritage Ensemble in Split, for the preservation of Croatian musical heritage. She is also the author of the important manual “Breath to the Flute”.
With her rich resume and work as a pedagogue in music schools throughout Dalmatia, and later as a professor at the “I. Mirković” Academy in Lovran, the University of Mostar and as a full professor at the Academy of Arts, University of Split, she has made a significant contribution to the development of flute playing and the promotion of the instrument. As president of the Croatian Musical Youth Split, she emphasized the development of cultural activities in the field of music, and by organizing the flute festival Days of the Flute in Split, now called Flumas, she contributes to the development of the flute scene as well as the Split cultural scene on an international level. As a long-time resident of the Uzmah –Hvar summer seminars, she additionally provides musical guidance to numerous young flutists with her work.
Violeta Smailović-Huart, violin
"A charismatic artist with a fascinating personality, a sound of a thousand colors, perfect technique and inexhaustible energy. Violeta is a happy symbiosis between innate musicality and excellent musical education" (written by Bosiljka Perić-Kempf, Novi List, Croatia).
After brilliant studies, she was personally noticed by Sir Yehudi Menuhin and quickly developed a solid international career, performing in many European countries, the USA and Asia (in large halls such as the Concertgebouw in Amsterdam, the Rachmaninoff Hall in Moscow, the Salle Gaveau in Paris, St. John's Cathedral in New York, etc.).
Movement creator Music On The String (festivals, master classes), Violeta Smailovic-Huart remained very active during the pandemic. After a series of concerts Beethoven 250 in her native Sarajevo, she launched a project Big Break, inspired by the global cultural crisis, which brings together concerts, lectures and master classes by internationally renowned professionals (performers, composers and musicologists).
Violeta currently works as a violin professor at a prestigious music academy. Schola cantorum in Paris because she has always wanted to pass on her knowledge to young violinists. She attracts a large number of talented international students and is often invited to serve as a judge on international juries.
Born into a family of renowned musicians, she gave her first live performance on television at the age of 5. At the age of 11, she played as a soloist with the Sarajevo Philharmonic Orchestra, and at 18, she graduated from the Academy of Arts in Novi Sad. Postgraduate studies took her to the Conservatoire National Supérieure de la Musique et de la Dance de Paris (Cycle de Perfectionnement), the Academia Internazionale di Musica a Portogruaro in Venice (Diploma di Concertista), and the Meadows School of Music at SMU in Dallas (Artist Certificate and Master Degree). Selected for The best young musician of Yugoslavia, was a laureate of the Sir Yehudi Menuhin Foundation (Paris) and the Sasakawa Peace Foundation (Japan). With pianist Sergio De Simone, she won the INCE Special Prize at the international competition Trio of Trieste (Italy).
Over time, she gained more and more maturity, combining her intense personality with the best of what her excellent teachers, representatives of the leading Russian, French and American violin schools (Ilya Grubert, Pavel Vernikov, Emanuel Borok, Evgeniya Tsugaeva, Tamara Smirnova), offered. On stage, either as a soloist or as a member of an ensemble, she had the opportunity to collaborate with some great artists including Ricardo Mutti, Sergiu Comisiona, Itzak Perlman, Itzak Stern, Konstantin Bogino, Sergio De Simone, Benedict Clockner, Manfred Stilz, Vasiliy Shcherbakov and many others.
An excellent interpreter of contemporary music (Beriova Sequence, Sciarrino Capriccio etc.), she recorded a song for the Fnac record label Cry D. Wilde (dedicated to her), and recently she created a violin concerto by A. Sijarić (also dedicated to her).
Violeta Smailovic-Huart plays an instrument by the famous Italian violin maker Enrico Rocca.
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Ivan Mane Jarnović Duo in D major op. 16
Allegro – Romanza – Rondo
Johann Sebastian Bach: Two-voice invention no. 4 in D minor, BWV 775
David Nunez: Homage to JS Bach (first performance in Croatia)
Johann Sebastian Bach: Two-voice invention no. 9 in F minor, BWV 780
Georg Philipp Telemann: Duet in G major
Dolce-Scherzando - Largo e misurato - Vivace e staccato
Carl Stamitz: Duet no. 2 in A major, Op. 27, No. 2
Andante – Menuetto/Trio – Allegro
François Devieènne: Aria with Variations
Saverio Mercadante: Aria with Variations Like the fog in the wind, from the opera Agnes of Fitzhenry F. Paëra (first performance in Croatia)
Boris Porena: Terze, sisters
Fughetta a due (first performance in Croatia)
Endre Szekely: Four medallions (first performance in Croatia)
Ritorno (Stravinsky)
Canon cancrizans (Sch.(berg)
Variations (Webern)
Bartok's portrait
Violeta Smailović-Huart: Music patchwork
Wilhelm Bernhard Molique: Duo concertante (first performance in Croatia)
Henri Marteau: Divertimento op. 43, no. 1 (first performance in Croatia)
Intrada, Dance, Finale
