infotext:
DECONSTRUCTING THE ACCORDION With these sound recordings, Luka Juhart picks up where he left off on his first album Dialog. He revisits the compositions written for him: the compositions he helped create and revise, and the compositions that influenced him. Again there is communication between composers and performers, only this time Luka Juhart went a significant step further by delving even deeper into musical creation and with his first composition hrUP presented his own creative impulses. The title of the present CD comes from one of Juhart's last contacts with contemporary composers, namely from Claus-Steffen Mahnkopf's composition deconstructing accordion, a composition of highly complex procedures, in which the composer also decomposes the notation and separately records tonal structures, dynamic fluctuation and articulation. All with the intention of opening up a new sonic essence of the accordion. For Mahnkopf, deconstruction is not simply destruction, destruction. Jacques Derrida already claimed that dismantling, the dismantling of structure, is not necessarily a negative action; more than destroying, it is important to understand how a whole was formed and therefore to rebuild this whole, explains this philosophical representative of deconstruction. The new tonal wholeness of the accordion is built on the CD with musical ideas that wrongly mostly remained on the edge of the instrument's tonal horizon, unused or even somewhere between the buttons, keys, swinging reeds and the bellows. As with Mahnkopf's virtuosic complexity, the accordion in Eduard Demetz's work is decomposed and reassembled by the instrument's tonal filtering, Fuentes reveals the sonority of the accordion's mechanism, while Žuraj attempts to approximate it to the impression of pure sonic sine waves. In his work hrUP Juhart listens attentively to the not yet revealed tonal core, also with new effects specific to the accordion, with the voice, the whistles, the breath, the noises and the rattling of the oral cavity. Here the musician - inventor of new voiced and rushing forms and their immediate producer, i.e. the musician in the fullest sense - finally expands and lengthens the sonic world of his decomposed accordion. Primoz Trdan VITO ŽURAJ The work Silhouette begins with the monophonic melodic lines spanning several octaves, which I imagine as the contours of abstract reliefs. The melodies running in the uneven rhythmic patterns consist mainly of fourths and fifths. These structures have their origin in a happy coincidence during my stay in the EXPERIMENTALSTUDIO of the SWR Freiburg in 2010. When experimenting with the cello and live electronics, sudden feedback resulted in erratic sine tone cascades, which I recorded, analyzed and then used as material for my new have used work. EDWARD DEMETZ The 4 tracks are a tribute to accordionist Luka Juhart. His search for instrumental perfection, his sophistication in the tonal range, and his eagerness to experiment in dealing with recorded sounds motivated me to compose these four pieces. 4 tracks is a work of a fragmentary character that thrives on the playful desire to »reach for the keys«. The feed sounds were generated by a previously created and electronically processed recording of parts of the accordion part. The electronic processing was carried out by means of sonogram analysis and subsequent filtering of the original accordion sounds. Track 1 is characterized by the tonal eruptiveness. It is an interplay of dynamic outbursts that the accordion and the sound track that is being played offer or compete with one another. Track 2 begins with a filigree movement in the highest register that develops into a tapestry of sound and, after a surging increase in bellows shakes, ends in a virtuoso stretta of two closely intertwined lines. Track 3 acts as a haven of peace through a sequence of overlapping and ever thinning chords. Track 4 is characterized by rhythmic irregularity. Constant shifts of emphasis lead to a cascade of bellows shakes, interlocking groups of chords and cluster sequences. The sound gradually dissipates and what remains is a soft, confused play of major, minor and seventh chords. CLAUS STEFFEN MAHNKOPF In the summer of 1997, an accordionist who was very active at the time asked me for a solo work, so that, so I thought, there would finally be a corresponding work from the "complex school". I resisted at first, but agreed in 2000 after SWR Stuttgart was willing to place an order. I composed the work around the turn of the year 2000/01. Unfortunately, the premiere failed because the interpreter refused to create the score or to work on it with the composer. With the premiere, the cooperation between the composer and the performer was logically ended. Only many years later did I find a courageous and fearless virtuoso in the young Luka Juhart, who took on my score. Thanks to him, I was able to work out a definitive version that replaces the original one and is now the only authoritative one. In this respect, the »valid« premiere is that of October 23, 2011 in Leuven. The work has an eminently theatrical impetus. The interpreter, as it were, decomposes the instrument on the edges of which he moves in terms of sound and playing technique, so that he is decomposed by this instrument to the same extent. In this respect, the »deconstructing accordion« is also an »accordion deconstructing«. I am very happy that Luka Juhart, to whom the work is dedicated, managed the difficult and lengthy birth of this work. ARTHUR SOURCES One of the characteristics of this piece of music is its speed. I'm interested in creating a moving texture that contains multiple dimensions of sound: we hear the sound of the keys mixed with the air and the real sound. I'm also interested in the accordion's somber color projection in the lower registers; for me it is like a line of timbre that is carried upwards. As in other works, regularities and irregularities, density and lightness are the focus of attention in this work. Getmove was composed in 2011; in the following years I corrected the work several times, the last version was created in 2014. LUKA JUHART The goal of the composition hrUP (Lärm) is, on the one hand, to expand the sound spectrum of the instrument and, on the other hand, to project the acoustic, visual and emotional confusion to which we are exposed in our everyday life. John Cage once said, "Wherever we are, we hear noise. If we ignore it, we will be disturbed by it. If we listen to him, we are enthusiastic about it.« I dedicated this composition to Vinko Globokar, with whom I collaborated a lot and whose music I really admire. As a composer, he was also the focus of the Slowind 2013 festival, where I also premiered this composition. |
program:
Vito Zuraj (* 1979)
02 Track 1 02:03
Luke Juhart (* 1982) total time 55:01 Luke Juhart accordion |
Press:
04/2015 Deconstructing Accordion Accordionist Luka Juhart, born in 1982 in what is now Slovenia, released his second solo CD last year, entitled Deconstructing Accordion, published by the Munich label NEOS Music. Juhart, accordionist, teacher and composer, first studied with Hugo Noth in Trossingen, then as a master class student with Stefan Hussong in Würzburg. As a soloist, chamber musician or ensemble member in larger ensembles, he has taken part in no fewer than 40 world premieres, for example in 2010 in Donaueschingen alongside the SWR Sinfonieorchester Baden-Baden and Freiburg in the premiere of Vinko Globokar's 45-minute composition Radiography d'un roman. Juhart, in his spare time a high-altitude mountaineer who climbs a seven-thousander and skis down again, programmed five technically highly virtuosic and musically demanding solo works from the years 2008 to 2014 by Vito Žuraj, Eduard Demetz, Claus-Steffen Mahnkopf - from these Juhart played the world premieres of three works –, Arturo Fuentes and himself. For the title of his CD, Juhart quotes Mahnkopf’s composition of the same name, in whose intention to “open up a new tonal essence of the accordion”, he recognized the content-related concept of his programming. "The new tonal wholeness of the accordion," says Primož Trdan in the foreword to the booklet, "is built on the CD with musical ideas that wrongly mostly remained on the edge of the instrument's tonal horizon, unused or even somewhere between the buttons, keys, vibrating reeds and the bellows.« Juhart discovers the »sonic world of the decomposed accordion« in Mahnkopf's »virtuoso complexity«, in Demetz' »sound filtering of the instrument«, in Fuentes' exposure of the »plenitude of sonority of the mechanism of the accordion« as well as in Žuraj's attempt the accordion »to approximate the impression of pure tonal sine waves.« Vito Žuraj, born in Maribor (Slovenia) in 1979, studied composition in Ljubljana, Dresden and Karlsruhe. His composition dates from 2012 Silhouette. The roughly eight-minute work has a lively, flowing, melodic basic character. The flow is slowed down and stopped at times, contrasted with relatively static and noisy passages such as chords. At the end the music ebbs away in deep, sighing sounds. Silhouette »Begins with the monophonic melodic lines of several octaves«, says the composer, »which I imagine as the contours of abstract reliefs. The melodies running in the uneven rhythmic patterns consist mainly of fourths and fifths.« The composer generated these scales electronically – on the basis of a chance discovery, as a transcription of actually unwanted background noise during the electronic production of an earlier work. The composer carefully introduces deviating material (eg chords and repetitions, percussive structures or a fine, high, sustained whistling tone, plus a few deep, quiet sighing glissandi) and develops it later on. The dominant hectic melodic line appears (around 2:30 minutes) in two voices, in unison several octaves apart – a familiar element from Žuraj's compositional repertoire. (In his work CHANGEOVER from 2011 for instrumental groups and orchestra, he effectively orchestrates a very similar structure for piccolo and contraforte.) In the middle of the piece, Žuraj leads the moving melody into an excited percussive texture, in which knocking, rattling, (air) button noises create a nervous form structure. In the last minute, the deep glissandi come again, drawn out, with pauses in between. Sharp chords break out again, from them the tonal garland rises for the last time. Then a last deep, quiet, sighing sound. Rattling buttons. Ending. Eduard Demetz, born in 1958, studied piano and conducting in Salzburg. As a composer, he also works for film, theater and television. The 4 tracks (2013) for accordion and samples, pieces lasting two or three minutes, Demetz dedicates to the soloist as a homage. Luka Juhart's "search for instrumental perfection, his sophistication in tonality as well as his eagerness to experiment in dealing with recorded sounds motivated me to compose these four pieces." Demetz musically skilfully links the tapes ("recordings of parts of the recording made in advance and electronically processed Accordion Parts«) with the accordion part played live. The samples and the accordion form a hybrid two-part system with a dialogic character, in which the sound sources can sometimes no longer be distinguished by listening. The elements often complement each other for instrumental effects, eg as a dynamic superimposition of an entry of the other voice or for artificial echo effects. The performer coordinates the interplay according to the time display on the CD player. The pieces have clear musical characters. The composer summarizes: »Track 1 is characterized by the tonal eruptiveness. . . . Track 2 begins with [a] carpet of sound ... and ends ... in a virtuoso stretta ... Track 3 acts ... like a haven of peace. Track 4 is characterized by rhythmic irregularity. "That's how they form Tracks a four-part form. »[A] work of a fragmentary character that thrives on the playful joy of 'reaching the keys'.« dunning head deconstructing accordion, a composition commissioned by Südwestrundfunk, is today dedicated to Luka Juhart. The nearly twelve-minute composition was created in the years 2000/2001 - on the initiative of another performer, whose premiere did not go as planned by the composer or the score. After Juhart and Mahnkopf met years later, the revised, final version, which Juhart premiered in Leuven in 2011, was created in close collaboration over three years. The piece has a quiet and at the same time very restless character. It begins with a sharp, dry percussive sound (a fingernail snaps against the instrument's massive body; the sound does not appear a second time). More or less short nervous blocks of sound are constantly interrupted by general pauses. During this »the player remains absolutely motionless, frozen. He suddenly stops playing, and just as suddenly he continues playing.« The functional, structuralist, soon brittle architecture of the work contrasts with its bizarre expressive character (»mushy«, »asthmatic«, »maestoso, but clumsy«). The composer describes his work as "of pronounced theatricality": Ideally, the interpreter gives the work a "compulsive" character.
The score differentiates various parameters of sound production. The notation is partially in five lines: two lines each for the right and left hand, a middle line for the graphic indication of the dynamics (in the frame between Ppppp [!] and p; "as quiet as possible" is defined as the dynamic standard value). A parametric decoupling, a »deconstruction«, takes place insofar as sudden sforzatos appear irregular sffffffz (!) as well as a kind of body vibrato, a "trembling of the body to create an irregular vibrato" that is interspersed again and again, lead to uncoordinated, spasmodic and paroxysmal effects. The two hands, the bellows, the body movements are designed in isolation – decoupled – and summarily bring about an unstable and awkward, but special result that could not be achieved in any other way. Arturo Fuentes, born in Mexico in 1975, came to Europe in 1997 and now lives in Innsbruck after working in Milan, Paris and Vienna. About his music in general, he himself says that it is “a meticulously arranged, kaleidoscopic chaos that explores the boundaries of dynamics, timbre, texture and virtuosity. This music reveals an ever-changing sculptural pattern«. About the almost nine-minute piece Getmove (2011/rev. 2014) in particular, the composer says he is »interested in creating a moving texture that contains multiple dimensions of sound: we hear the noise of the keys mixed with the air and the real sound.« Actually produced the constant movement of small groups of notes, which are repeated in a minimalistic way, from repetitions and fast bellow shakes, create a textural overall impression. Fuentes choreographs the sounds through the various registers, sometimes allowing the bellows to rest while the fingers continue to abuse the buttons. Fuentes aims for the mass effect of the notes. The intended sculptural effect is created through the quasi-educational handling and shaping of the tonal material. The work deserves special attention hrUP (Slovenian: "noise") penned by the accordionist - the first composition with which Juhart appears. He composed the approximately fourteen-minute piece in 2013 and premiered it at the Slowind Festival in Ljubljana that same year. The piece dedicated to Vinko Globokar was inspired by a text by the Slovenian poet Tomaž Šalamun (1941-2014). The intention is "on the one hand to expand the sound spectrum of the instrument and on the other hand to project the acoustic, visual and emotional confusion that we are exposed to in our everyday life". The piece begins with a short silent after ff crescent eight-part chord. At its peak, the performer stomps his feet and lets out a short scream. Silence. This is followed by tones, traditional accordion sounds, scales and repetitions. The peculiarity of the work lies in its center. Suddenly the color changes into an overall atmospheric impression: microtonal dissonances, noisy tone response, unstable intonation, then strangely broken sounds. Juhart discovered this in experiments with key and wind pressure. These are flageolet-like phenomena which, through skilful handling, produce multiphonic effects. This section is fascinating. He is finely tuned and reveals Juhart's - to be expected - excellent knowledge and control of his instrument. Juhart continues to demand the use of the voice in his score, bringing up a wide range here, colorful fricatives, singing voice, whistling, shouting, screaming. (The fact that Globokar is very important to the interpreter-composer is musically clear here.) Halfway through the piece, the eponymous word »hrup« is articulated in a distorted manner, as a long scratching sound in the throat, merging into a fluttering »r« (the tip of the tongue). , terminating in a plosive, voiceless »p« sound. In part, Juhart's strong interpretation gives the piece a theatrical character. On the CD, Luka Juhart presents himself as a brilliant soloist and as an innovative experimenter in his own writing. With five aesthetically and instrumentally different works, he demonstrates his technical mastery and musical versatility. It is to be wished for the interpreter that he gains even greater recognition, and for the listener that a third solo CD will be released in the not too distant future. 14.01.2015 Pretresljiva deconstrukcija instrumenta in izvajalca Plošča poudarja mednarodno sodobno skladateljsko ustvarjalnost z naborom skladb, napisanih v letih 2011–2014, razen že malce prej nastale središčne skladbe Deconstructing accordion Clausa Steffena Mahnkopfa, ki pa je zaradi izvajalsko izjemno zahtevne tehnične plati krstno izvedbo namesto leta 2001 doživela šele leta 2011. Juhartov project uravnoteženo zasnujejo tri glavne sestavine: koncept dekonstrukcije, dialog med ustvarjalcem in pous tvarjalcem ter izvajalske moči akordeonista samega. Deconstruction deluje kot povezujoča glasbena misel in vodilo, ki ga je vsak izmed skladateljev uzrl v svojstvenem komponističnem postopku. Uspešni mladi slovenski skladatelj Vito Žuraj je svoj pogled usmeril na periferijo zvoka akordeona, kar nakazuje naslov skladbe Silhouette, in svoj prefinjeni glasbeni jezik prestavil v sfero alikvotnih tonov. Tako kot pri prvi plošči je tudi pri tej ključnega pomena Lukov dialog s skladatelji in zanj napisanimi skladbami, ki so ga oblikovale kot izvajalca. Dialogue, ki tvori rdečo nit skladbe 4 tracks for accordion in sample Eduarda Demetza, glasbeniku omogoča odziv na elektronsko obdelane dele akordeonskega parta, kjer zvok instrumenta transcendira v polje elektronike. Skladelja je k tovrstnemu načinu kompozicije spodbudilo Juhartovo »veselje do eksperimentiranja in prožnost v stiku s posnetimi zvoki …«. Mahnkopfovo delo izhaja iz »kompleksne šole komponiranja«, nadaljevalke izročila in predvsem kompozicijskih postopkov modernistov. Modernistične skladbe so lahko izvajalsko izjemno zahtevne, v Deconstructing accordion There is something to be said about it, so you can see how it works. Mahnkopf postavlja izvajalca in instrument v enakovreden položaj, kjer eden deconstruira drugega: fragmentirani glasbeni stavek razstavlja slednjega, fizične akrobacije pa prvega. Ucinkovit contrast prejšnjim skladbam prinese delo Getmove Artura Fuentesa z osredotočenostjo na zvočno barvo, ki valovi med globokimi basovskimi zvoki in hitrim, tihim tipkanjem in se pretaka po bolj linearno zasnovanem glasbenem stavku. Juhart je vse skladateljske poglede izvedel z osupljivim občutkom in dojemljivostjo za bisvo posamezne skladbe. Z muzikalno versatilnostjo, ki jo dosega v popolnem spoju s svojim instrumentom, je omogočil skladateljem, da so dejansko razstavili instrument oziroma ustvarili glasbo iz zvočnega materiala, ki se nahaja med gumbi in skrajnimi pregibi meha. Tej intimni povezavi s skladbami je glasbenik tokrat dodal še svojo kompozicijo, hrUP, v katero je instinctivno zlil pretresljivo tehnično dovršeno in ponotranjeno akordeonsko godbo. Skladba zrcali eksperimentalno naravnanost in poslušalca popelje po Kontrastnih zvočnih prostorih, ki terjajo od poslušalca budno poslušanje, saj se mora soočiti z dinamično razpetim glasbenim jezikom, polnim plešočih in eksplozivnih dogodkov kot tudi meditativenih momentov. Pri soočanju s to novo glasbo poslušalcu bisveno pomagajo teksti skladateljev in esej muzikologa v priloženi knjižici. Sodobno glasbeno sceno prežemajo postmodernistični pogledi, ki prej izenačujejo kot razlikujejo med umetniškimi in popularnimi zvrstmi. V želji približati se slehernemu poslušalcu se tem pogledom včasih pridružijo še globalistični principi, ki se v glasbi izražajo kot »melting pot« oziroma spajanje različnih elementov v homogeno in predvsem pomensko enoznačno in torej razumljivo cel oto. Juhartov project je tako prodorno, napredno in zgledno delo, ki v kontekstu aktualne glasbene kulture in Duha časa, v katerem je nastalo, še toliko bolj blesti. Maia Juvanc
Premikanje izvedbenih in miselnih meja Luka Juhart v prvi plan ne postavlja zgolj svoje soloisti?ne kariere, temve? z enako mo?jo deluje tudi kot zagovornik sodobne slovenske glasbe. Za merilo uspešnosti, tudi v umetnosti, pogosto in upravi?eno postavljamo izstopajo?e dosežke v mednarodnem merilu. V glasbi bi to najbrž pomenilo gostovanje v najprestižnejših svetovnih koncertnih dvoranah ali operanih hišah, sodelovanje z eminentnimi glasbeniki, conductors in orkestri ter tudi snemanje za pomembne založniške hiše. Prav slednje je uspelo slovenskemu akordeonistu Luki Juhartu, ki je pri nemški založbi Neos izdal avtorsko zgoš?enko. Založba Neos je v zadnjih letih skupaj z založbo Kairos postala vodilna založniška hiša, kar zadeva izdajanje posnetkov sodobne glasbe – njihov katalog je premišljen, vanj se vpisujejo le najpomembnejši ustvarjalci sodobnega glasbenega jez ika in posledi?no tudi poustvarjalci, vse izdaje pa so zasnovane »celostno «, kar pomeni, da je pozornost namenjena izdelku v celoti: izbranemu programu in izvedbi morata na kvalitativni ravni ustrezati tudi posnetek in programska knjižica. Dosežek Luke Juharta je še toliko pomembnejši, ker je nastal v sodelovanju s slovenskimi mo?mi: snemalnimi, založniškimi (kot sozaložnik nastopa Zavod Sploh) in skladateljskimi. Juhart tako v prvi plan ne postavlja zgolj svoje soloistine kariere, temve? v tujini z enako mo?jo deluje tudi kot zagovornik sodobne slovenske glasbe: na zgoš?enki se je tako poleg njegovega avtorskega dela hrUP znašla tudi skladba Vita Žuraja.Celotna zgoš?enka je dobila ime po skladbi Claus-Steffena Mahnkopfa in bi jo lahko v slovenš?ino prevedli kot deconstrukcija harmonike. Naslov je seveda ve?zna?en: zaznamuje lahko prestop popularnega glasbila iz sfere navidez ljudsko-pouli?nega v visoko umetniško, odtegnitev od tradicionalnega preigravanja številnih priredb, izvorno napisanih za druge instruments kot akordeon, k originalnim delom, ki v središ?e postavljajo idiomatske zna?ilnosti inštrumenta, in seveda kot raziskovanje povsem new izraznih in tehni?nih zmogljivosti inštrumenta. Tako dekonstrukcija, kot to smiselno v svoji spremni besedi zapiše muzikolog Primož Trdan (še ena pomembna doma?a mo?, vpeta v nastajanje projekta), ni povezana samo z destruccijo (razstavljanjem inštrumenta, zanikovanjem tradicije), temve? tudi z vzpostavljanjem nove izrazne in zvo?ne mreže.Ta se v izbranih skladbah kaže v podobnih ?rtah, pa vendarle vedno tudi individualno zabarvanih. V Središ? U Je Gotovo Mahnkopfovo Delo, ki se deconstrukciji bliža tudi prek neznosne zahtevnosti, ki jih nalaga izvajalcu: Šele juhartu, ki so mu posve? Ena vsa da da zgoš? Enki in je pri njihovem nastaju? Inoma Tudi Sodeloval, SE je uspelo pretol?i skozi izjemne skladateljeve zahteve. Zvo?ni rezultat na zgoš?enki jih ne izdaja, kar v prvo lu? postavlya Juhartovo virtuoznost. Žurajevo delo Silhueta lahko razumemo kot tipi?no skladateljevo glasbo, ki živi od hitrosti, številnih sprememb in constantnega valovanja, tokrat povezanega s sinusnim zvo?nim nihanjem, medtem ko Arturo Fuentes (Getmove) podobno zaupa hitrosti, av povezavi z menjavanji tekstur, v katere se zapletajo drobni nezna?ilni zvo?ni drobci, skoraj nekakšne odpadne smeti akordeonske zvo?nosti. Eduard Demetz v skladbi 4 tracks (naslov je neprevedljiv, ker meri tako na zvo?ne kanale kot tudi na posamezne stavke) prisega na fragmentarni karakter, ki ga še poudarja dodani zvo?ni zapis na magnetofonskem traku.Juhartova lastna skladba morda ne prinaš a takšne kompozicijske iz?iš?enosti kot preostala dela, vendar pa slednje nadomeš?az bogastvom idej, ki pogosto izhajajo iz poznavanja inštrumenta, in mo?no glasbeniško izraznost. Skladba je posve?ena Vinku Globokarju, na kar sugerira nekaj igrivih performerskih vdorov, a hkrati vase sprejema vendarle širše modernisti?no izro?ilo. S tem Juhart dokon?no premika meje: ne zgolj izvedljivosti (admonition head), temve? Gregory Pompe
“Deconstructing Accordion” is the name of the new CD by the Slovenian accordionist Luka Juhart, named after the composition by Claus-Steffen Mahnkopf, which exemplifies the aesthetics of this album. Musical intelligence in unity with virtuosity, inclusion of all the instrument's tonal possibilities, from the sound of wind to the clatter of keys to the differentiated modulated tone, and the whole thing with a high level of physical effort: these are some of the ingredients that make Juhart's playing a fascinating listening experience and the accordion a hyperinstrument make that can easily mediate between human sound and quasi-electronic sound. The other works by Vito Žuraj, Eduard Demetz and Arturo Fuentes are not inferior. Juhart's own composition “hrUP” provides the rhetorically wild finale. Max Nyffeler Radio Belgrade Slušaæete numere sa poslednjeg albuma slovenaèkog harmonikaša and pedagoga Luke Juharta, koji je pod nazivom “Dekonstrukcija harmonike”, objavila ove godine diskografska kuæa “NEOS”. Roðen 1982. Godine, Luka Juhart diplomirao je na Konzervatorijumu u Trosingenu u Nemaèkoj, u klasi Huga Nota, a postdiplomske studije je nastavio kod èuvenog pedagoga Štefana Husonga na Konzervatorijumu u Vircburgu. Juhart je posveæen širenju literature za svoj instrument, zbog èega je do sada naruèio preko 40 novih komada za solo harmoniku i ansamble. Redovno saraðuje sa klarinetistom i kompozitorom Urošem Rojkom, sa kojim svira u triju Quo Vadis, kao i sa francuskim avangardnim kompozitorom, slovenaèkog porekla, Vinkom Globokarom. Luka Juhart has the opportunity to be interested in the improvisation of the wheel, and the result is based on the fact that he has never learned anything about Nazism hrUP, respectively Open iz 2013. godine. Prema reèima autora, težio je da proširi zvuèni spektar instrumenta, prikazujuæi svojevrstan akustièni, vizelni i emotivni haos koji doživljavamo u svakodnevnom životu. Kompoziciju je posvetio Vinku Globokaru, a premierno je izvedena prošle godine na Slovind festivalu u Ljubljani. Urednica emisije Marija Šecularac
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