Aleksandra Vrebalov: XXII (A Winter's Day/Zimnji dan) скачать в хорошем качестве

Aleksandra Vrebalov: XXII (A Winter's Day/Zimnji dan)

Aleksandra Vrebalov - XXII (A Winter's Day/Zimnji dan), version for flute ensemble and cello (2024) Written for and performed by Flautino Lola Classic, founded and lead by Ljubiša Jovanović Sound mastering by Zoran Jerković Recorded live in Ljubljana Academy of Music, Slovenia, April 27, 2025 In composer's words: The idea for a new piece that would complete Mokranjac’s final work Zimnji dan (A Winter's Day) originated with the team at Scholz & Friends in Belgrade. Their approach to commissioning this project was inspiring to me: they followed a vision equally grounded in facts and imagination, connecting our musical past with the present and bringing together artistic expressions from different times and spaces. My fascination with composers’ final—and often unfinished—works inspired me nearly fifteen years ago to base the theoretical-historical portion of my doctoral examination at the University of Michigan on that subject. The topic evolved into an analysis of ten works with a pronounced spiritual dimension, from Atalanta Fugiens (1617) by Michael Maier—canons that complete the alchemical process—to Beethoven’s Grosse Fuge (1826). Composing music, like any act of creation, is directly connected to questions of the soul: to awareness of one’s place in life and in the surrounding world, and to reflections on death. A composer’s final work inevitably carries a synthesis of artistic mastery, life experience, and a deep connection to the mystery of life and transience, inviting us to search for a message—a sign from a realm otherwise beyond our reach. For this reason, my first encounter with the score of Zimnji dan, the final work of our great Mokranjac, was deeply emotional. The score was entirely different from what I had expected. Mokranjac’s mental decline marked his last creative attempt, and the central question became how to approach musical material that, in character, bears little of the recognizable, iconic voice of its creator. It made me realize that it would be artificial to reconstruct Mokranjac’s style from the brilliant period of his creative life on the basis of such a sparse score. Instead of completing the work in the same musical language in which it was begun, I wove Mokranjac’s final fragment into an entirely new musical fabric, guided by respect, gratitude, and love for its creator. I end the piece by quoting Mokranjac’s iconic Tebe pojem, Tebe blagoslovim, rare music by a secular composer that entered the liturgical canon of the Orthodox Church. In the work, the performers chant their own names—a signature practice I have used in many of my pieces to ground performers in the music and acknowledge their unique presence and contribution. The title of the piece, XXII, is taken from Đulići uveoci by Jovan Jovanović Zmaj, referring to the twenty-second poem that inspired Mokranjac to begin his final composition. https://www.aleksandravrebalov.com https://composersedition.com/aleksand... https://ljubisaorfej.com Djulici uveoci XXII: https://sr.wikisource.org/sr-el/ЂУЛИЋ...