Carmina Slovenica - NEWS

MILICA

Mon, 16 Feb 2026 08:31:20 +0100

wanted and unwanted dauthers performing: Nina Farič (Kikiriki) concept: Karmina Šilec Through the lens of forced abortions of female foetuses in a small Balkan country, the Milica project invites reflection on the exploitation of modern technologies to control women's bodies. The sound event, an experimental live sound production using mainly analogue synthesizers and electronic circuits, is a response to the process of informatization as an industrial revolution that is changing everything, including how we think, feel, create meaning, and act. Minoriti cultural Quarter: 14., 21., 22.3.2026 at 18.00

DARA and STANA

Wed, 07 Jan 2026 20:21:10 +0100

premiere at festival KotorArt: 30.7. 2026 a tribute The choregie project DARA and STANA, inspired by guslar storytelling, explores the worlds of two central and seemingly contradictory phenomena in Montenegro: one of the most prominent cultural figures, the female conductor Dara, and the officially last sworn virgin, Stana. music and texts: Karmina Šilec Performing: ¡Kebataola! ensemble (Maribor, Slovenia) Đude vocal group (Kolašin, Montenegro) Set designer: Dorian Šilec Petek Lighting designer: Andrej Hajdinjak Sound designer: Danilo Ženko commisoned by: KotorArt co-production: Festival KotorArt and Carmina Slovenica, 2026 In collaboration with: KUD Mijat Mašković (Kolašin), Maribor Puppet Theater, Minoriti Cultural Quarter, and Choregie New Music Theater The project was created with financial support from: the Ministry of Culture of the Republic of Slovenia, the City Municipality of Maribor, sources of KotorART and of KUD Mijat Mašković (Kolašin)

Karmina Šilec: STABAT MATER

Fri, 31 Oct 2025 07:05:36 +0100

LINKS to SPOTIFY, APPLE MUSIC, I TUNES BUY ALBUM On one side of the world, there lived people raised by the Sky Mother, who created a garden for common well-being. The World began when, together with the apple tree, the Sky Mother fell from pristine sky. Two loons made a cushion for the falling woman to sit on, because the whole world was made only of water. Then they called the animals to help. In solidarity, compassion and community, they created the Turtle Island, a forever home for all the humans. For her, there was no place for punishment and no cosmic evil. On the other side, there was another woman, Eva, with a garden and a tree. After tasting its fruit, she got expelled from the garden and the door closed behind her. She had to subdue the wilderness into which she had been thrown, toiled hard, gave birth in pain and submit to her husband. And God, who created the World and the Universe, set up cherubs and a sword to guard the tree of life. Same species, same Earth, different stories. And then they met – the descendants of the Sky Mother and the children of Eve – and the Earth now bears the scars of that meeting. STABAT MATER from the collection PUBLIC BODY examines the fragmented multisensory experience of women, creating a space for reflection on social norms and the possibilities of transcending them. It reflects on the absurdity of rigid beliefs and the dangers of intertwining authority with ideology. Stabat mater is thematically linked to the projects Mother's Letters and Thin Membrane from the same collection, which together tell fragments of the life story of Marie from the 17th century. Throughout history, parenthood and sacrifice have been closely intertwined: from Abraham and Isaac to the Greek mythological Medea to Brecht's Mother Courage. This intertwining is clearly expressed in questions of motherhood and career. Motherhood is generally accepted as a central aspect of an adult woman's identity, with other characteristics merely added on. We understand it as a socially expected fact over which we have little control. Presumably, all women want to give birth, and motherhood is their greatest fulfillment. The voluntary decision to live without children is a relatively new phenomenon that still provokes prejudices that women without children are selfish, immature, childish, abnormal, narcissistic, unnatural, and unfeminine. Women feel that the emphasis and glorification of motherhood is a key factor in their decisions. Is motherhood really the main source of satisfaction for women, or is it just one of their many roles and sources of joy? Is the fate of women really so inextricably linked to their biological role in reproduction, or is biology a less important factor? Marie's story serves as a metaphor for reflection on the price women are expected to pay for following their calling, whether to have children or not. It raises fundamental questions: to what extent can mothers devote themselves to their mission/vocation, and how can we even talk about maternal love in relation to the sacrifices their career decisions entail? STABAT MATER is inspired by Marie Guyart (1599–1672), known as the Mary of Incarnation. Marie was a wife, mother, nun, spiritual advisor, mystic, entrepreneur, colonialist, and the first female missionary outside Europe. She played a key role in spreading Catholicism in New France and established the first girls' school in the New World. Her most important writings comprise around 13,000 letters, many of which were addressed to her son Claude. They represent a striking example of early modern colonial discourse. Since her death, she has been considered a saint, and in 2014, the Catholic Church officially declared her a saint. Marie renounced motherhood in favor of her calling and vocation as a nun, but she remained a mother. Her story raises the questions: Do women have to bear the greatest burden when deciding between their personal mission and family duty? Can maternal love exist in radical sacrifice? St. Jerome wrote that Eve was punished for eating the forbidden fruit with sexual desire and painful childbirth. Marriage and motherhood were understood as a repetition of Eve's original sin. The maternal body was marked as unclean, physically scarred by pregnancy and childbirth. If there were no lasting resistance to the female (especially maternal) body because it is not in accordance with Christian holiness, Marie might have realized that the experience of motherhood is not only compatible with Christian teaching, but also an integral part of it, as it offers an opportunity to imitate Christ, who stretches out his arms to embrace us, bows his head to kiss us, and lets us suckle. Instead, like Christ, she suffered the temptations of the devil, who wanted to make her doubt the authenticity of her calling because, as Jerome says, excessive affection for children means dissatisfaction with God. As long as a woman is for childbearing and children, she differs from a man as much as the body differs from the soul. But when she wants to serve Christ more than the world, she will cease to be a woman and will be called a man. STABAT MATER The composition for four female voices a cappella (SSAA) is set as Stabat Mater. The text consists of excerpts from the medieval hymn Stabat Mater Dolorosa, whose most likely authors are the monk Jacopone da Todi (c. 1228–1306) and Pope Innocent III (c. 1160–1216); fragments from Stabat Mater Speciosa (the happiness of a mother at the birth of her son), first printed in the 15th century, which also has no known author or lyrics; insights into the intimate emotional world of a woman is a work by Karmine Šilec. My son, today you are losing your mother, but you are losing nothing, because in her place I am giving you another who will be much greater than me and will have much more power to work for your good. This is the Holy Virgin, to whom I commend you. Be devoted to her, call her mother, and turn to her with kindness in your needs, reminding her that you are her son and that she must care for you. The Stabat Mater was written as an echo of Mary's suffering when she made the decision to enter a convent and take the most difficult step – to leave her child. This is a heavy cross that she bears, following the example of Christ. Like Christ, she endures the contempt of those who despise her as a cruel and heartless mother. And, like Christ, she resists the blow of withdrawal that God has ordered her to endure. But in the end, again like Christ, contrary to natural instincts and human reason, she leaves her dearest in the world – in obedience to God's will and Christ's Gospel commandments. God was testing me. A group of small children, his classmates, gathered around my son and began to raise their voices about how he could have been so crazy as to allow me to enter religious life, saying that he was now without a mother and without a father and that he would be despised and abandoned. "Let's go beg for her," they said to him, "let's make a lot of noise so they'll give her back to you." They came in large numbers to the monastery gate, where they shouted so loudly for them to give me back to my son that they could be heard everywhere. Amidst these cries, I heard my son's voice shouting at the top of his lungs, "Give me back my mother, give me back my mother!" The decision to leave her son was dictated by the theological tradition of marginalizing and devaluing biological motherhood as incompatible with Christian doctrine. When women's children died or were left behind, it was an opportunity to experience the intense pain expected of holy persons; the physical and emotional pain of motherhood could itself be a source of divine revelation and intimate connection with Mary and Christ. Christian woman incarnation did not practiced by motherhood, but rather by its renunciation. Her son Claude, who himself became a Benedictine monk and priest, compared his mother to Abraham: God gave both of them the strength and courage to sacrifice their beloved child, contrary to reason and natural and ecclesiastical law. Although Claude, as a son, longed to be the sole object of his mother's desire, he remained forever third—behind her loving devotion to Jesus. I loved my son very much. Leaving him was my sacrifice. But God wanted me to blind myself and trust him completely. They reproached me for abandoning a child who was not yet twelve years old and had no means of support, but I remembered the Lord's words from the Gospel: Whoever loves father or mother more than me is not worthy of me. And whoever loves son or daughter more than me is not worthy of me. This strengthened my spirit so much that I did not care about the opinions of others, but did the will of our Lord. I wanted to obey him. CANTIQUE The composition Cantique evokes memories of the Ursuline convent in Quebec, where Marie Guyart worked and presumably also composed. Musical fragments have been taken from the convent's archives and modified into an electroacoustic composition with live voices. The sound material is layered over a line that functions as a basso continuo. The microtonal use of strings is inspired by the story of twelve-year-old indigenous girl Agnes Chabdikowechich, who mastered the viola and was often invited to play at religious ceremonies around 1640. The vocal elements are the imaginary sounds of the Viandots – the French called them Hurons (from the French word héron, meaning robber) – who, around 1654, by then already Christianized indigenous people, sang mass phrases in their own language. MUSIC BY: Karmina Šilec PERFORMED BY: ensemble KEBATAOLA (Mojca Borko, Jasmina Črnčič, Eva Germ, Ana Sandrin) Publeshed: CARMINA SLOVENICA, 2025 The project was created in collaboration with: Centre Marie-de-l'Incarnation, Quebec, Canada Radcliffe Institute for Advanced Study, Cambridge, USA Use of the image of Mary of the Incarnation with permission from General Archives of the Ursulines of the Roman Union (AGUUR) LIVE Recorded on April 17, 2025, Union Hall recording / mastering / editing Danilo Ženko graphic design Rudi Uran SANCTA MATER, ISTUD AGAS / Holy Mother, do this 4.25 QUE MOREBAT / She who grieved 3.59 EIA MATER FONS AMORIS / Behold, Mother, fountain of love 3.32 INFLAMANTUS ET ACCENSUS / Blazing and scorched 2.22 QUIS NON POSSET COLLAETARI / Who would not rejoice 2.50 IUXTA CRUCEM TECUM STARE / To stand with you beside the cross 2.32 VIRGO VIRGINUM PRAECLARA / Virgin of virgins, most glorious 3.59 FAC ME TECUM CONGAUDERE / Let me rejoice with you 2.04 QUANDO CORPUS MORIETUR / When in death this body lies 7.20 CUIUS ANIMAM GEMENTEM / Her grieving soul 2.24 CANTIQUE 8.08 supported by: Municipality of Maribor Ministry of Culture of the Republic of Slovenia *English translation by DEEPL, 20025

Karmina Šilec: DATA GARDEN

Mon, 29 Sep 2025 10:13:05 +0200

DATA GARDEN Gardens are spaces for new beginnings, for preserving old traditions, and for re-creating images. We enter the DATA GARDEN project through music generated from abortive plants. With an emphasis on the sounds of plants, DATA GARDEN is a space for reflection, empathy and connection. It allows us to explore how art can contribute to transforming society's understanding, and how listening transforms our perception of nature, history, and community. music and sound:!Kebataola! ensemble, Živa Horvat, Andrej Kobal, Karmina Šilec, Danilo Ženko garden, space, light: Dorian Šilec Petek, Karmina Šilec, Andrej Hajdinjak, Jernej Ženko Premiere: Minoriti Cultural Quarter, November 27, 2025 We hardly ever talk about plants, and their names escape us. But our neglect does not affect them. They are indifferent to the human world, civilizations, and the course of events over the centuries. They seem absent, lost in their monotonous chemical dreams. Their lives unfold in a slow, molecular language that seems inaccessible to us—and yet it is in this language that the story of Earth is written. Gardens are spaces for new beginnings, for preserving old traditions, and for re-creating images. We enter the DATA GARDEN project through music generated from abortive plants. With an emphasis on the sounds of plants, DATA GARDEN is a space for reflection, empathy and connection. It allows us to explore how art can contribute to transforming society's understanding, and how listening transforms our perception of nature, history, and community. They have no emotions, yet they are not closed in on themselves: more than any other creature, they are connected to the world around them. They have given life to countless species; they are the lives that have made Earth a laboratory, a place for invention and creation. Plants do not run away, they do not scream, they do not attack; silent, persistent, and modest, they embody patience. They seem immobile, but that is because they live in a time that is different from ours. In our eyes, the only mobility they have is the one that the wind and waves give them. Masters of adaptation, they are able to survive where life fails other species. In them, nature expresses itself in its most thoughtful form: moderate, harmonious, lasting. Plants embody a peace that is not passivity, but an understanding of balance. Humans have always sought inspiration in nature. Gardens are spaces for new beginnings, for preserving old traditions, and for recreating images. We enter the DATA GARDEN project through music generated from aborted plants. Now, speculatively, we hear them. DATA GARDEN stems from our curiosity and desire to tell stories about alternative worlds. By creating another nature, inspired by biologically complex systems, we want to create an immersion into a mixed reality. With it, we become part of a new ecosystem, rich with networks of complex information. For DATA GARDEN we draw inspiration from the playful wondering associated with the excitement for the unknown, reminiscent of a child's exploration of the world. In this open continuation of our explorations with the mixed reality of DATA GARDEN, we hint at a future that will inevitably be saturated with connected computer media. But in DATA GARDEN the computer is not utilitarian in itself. We understand it as a material means that helps us dive deeper into what nature is to find our place in it. With its emphasis on the "sound of plants", DATA GARDEN is a space for reflection, empathy, and connection, exploring how artistic practice can contribute to transforming our understanding of society—how listening transforms our perception of nature, history, and community. At the same time, DATA GARDEN serves as a reminder that, even though something may be speculative and even seem larger, more unusual than what is known, the Real is even larger and even more "strange". Polyphonic Vortex, ethnobotanical sound event Polyphonic Vortex is a sound garden planted with waves in plant bodies – with sounds generated from abortive, emmenagogue, and contraceptive plants. The basic engine for creating electronic music is the transformation waves of living plants, where plants signals are converted into sound using patented sonification technology. The information obtained from different plants are then combined according to ancient recipes for abortive results. Polyphonic Vortex acts as a marker, which draws attention to the history and present of plant medicine, a practice that has been pushed aside and discredited.Polyphonic Vortex is a field which in the clash with modern times – but with an awareness of lost knowledge – offers a reflection on who has control over human reproduction and how. Pharmakeia, hybrid visual scene Pharmakeia is a garden of plants that do not grow, do not breathe, do not wither; they are artificially created yet remain vividly present. Their life derives from a code. In micro-robotic choreography, the movement of plants has no biological meaning – it is a process that places them in the role of post-natural entities. Their movement is programmed, and the tension between controlled movement and symbolic autonomy creates bodies without sovereignty, bodies under control. Pharmakeia plants are speculative organisms, unreal phantasmal entities, metaphysical apparatuses that function without their own will: cyborg post-plants, bodies encoded in plastic. When they move, though not alive, they are bodies without a voice – and that is precisely why they gain power: they draw attention to the relationships between knowledge, power, control, and nature. Recomposition, conceptional installation A hypothetical scenario from the scientific discipline invites us to consider the potential use of DNA as a space for new data storage, with plants serving as the infrastructure. Recomposition is a space where the stored, decoded part of the composition Phallus Tree is transferred from the cloud to the Juniper, shifting control over data from large corporations to individuals. In this unusual garden, data users become caretakers of plants, and plants become caretakers of information. The installation was created in the gap between the presence of plants and the absence of knowledge and reflects ethnobotanical solastalgia, a mourning for the relationship between humans and plants that was once the basis of everyday survival and decision-making. The work raises moral dilemmas about the limits of human intervention in the environment. How far should humans go with this new form of instrumentalization of nature? TICKETS Production: Carmina Slovenica, 2025 In collaboration with: Maribor Puppet Theater, Minoriti Cultural Quarter, and Choregie New Music Theater The Public Body project was created with financial support from: the Ministry of Culture of the Republic of Slovenia and the City Municipality of Maribor

THIN MEMBRANE

Fri, 01 Aug 2025 13:05:59 +0200

The demonization of drums is an important aspect of cultural conflicts around the world, from the colonial period to the present day. Drums, which held great spiritual and social significance for many peoples, were often viewed by colonists, missionaries, and various regimes as instruments associated with pagan rituals, savage practices, and even evil. As ritual objects, they were banned and often destroyed. Drums were used to drive away evil spirits, express joy at birth, and guide the spirits of the dead on their journey home. They were also used to ward off evil, predict the future, warn of danger, serve as fertility charms, and become the earthly voices of ancestors, spirits, and gods. Drums are intertwined with the customs and memories that make us human. For the Inuit, storytelling, frame drum singing, and dancing possess sonic agency. The power of these sounds—and their misinterpretation by missionaries and colonizers as invoking pagan or even evil forces—led to the banning of the qilaat, the Inuit frame drum, from churches and public spaces. After the suppression of these sounds for nearly 300 years, Inuit drum dancing and singing were inscribed as UNESCO Intangible Cultural Heritage in 2021.

PUBLIC BODY

Wed, 19 Feb 2025 09:53:03 +0100

UPCOMING: DATA GARDEN: 27., 28.11.2025 sound / music / mechanic installation The collection PUBLIC BODY places the human vulnerability to absurd beliefs and the dangers of the close connection between authority and ideology under a close look. The events recreate the fragmented and multi-sensorial experience of women, creating a space for reflection on the body in a way that encourages reflection on social norms and the possibilities for transcending them. Mother's Letters PAST in 2025: Oratorium: MOTHER'S LETTERS CD Stabat Mater: female (SSAA) vocal ansamble, electronics and video Thin membrane: 8 channel sound / mechanic installation and actor Instalation: Eva's Herbs. Choregie Hall at Union, Maribor, September 1, 2025. Sound books: BABA. Podcast on youtube channel Carmina Slovenica, 2025 Mother's Letters. Podcast on youtube channel Carmina Slovenica, 2025

Karmina Šilec: OVIS

Sat, 14 Sep 2024 14:55:00 +0200

documentary opera 25 % sound and music 45 % theatre essays 30 % performance OVIS On RTV SLO Sheep have been central to the human story. The key player in human history, this remarkable animal has been feeding, healing, clothing, and supporting us to prosperity and misery, to build empires and devastate landscapes, to decorate our homes and discover new continents, to build cities and create works of art. Sheep are not just cattle waiting to become meat. OVIS brings this everyday species to the fore. It explores some of the profound impact sheep have had on humanity and natural world, their origin, and other extraordinary things humans have learned from them. Their role in our diets has changed us biologically; they are essential to modern medicine, science and industry; and they hold huge symbolic value in many cultures. The success or failure of civilisations has depended on sheep. OVIS gives these creatures a chance to tell their story. Premiere: November 15, 2024, The Minoriti Cultural Quarter, at 18.00 Production: Carmina Slovenica, 2024 in cooperation with:The Minoriti Cultural Quarter, Maribor Puppet Theatre, Newmusic-theatre Choregie

ACCESS POINT

Sat, 14 Sep 2024 08:00:45 +0200

Geolocated Storytelling Teya Brooks Pribac: PUMPKIN performed and produced by: Teya Brooks Pribac radio play Karmina Šilec: MEDI innocent silent shepherd narrated by: Minca Lorenci from the book Colossal Balkan fiction SOUNDCLOUD Location: The Minoriti Cultural Quarter USE: download the ECHOES app on your phone, listen with headphones https://explore.echoes.xyz/collections/ylgFcFCIHEBdn0Yl Teya Brooks Pribac, PhD (Slovenia / Australia) is an animal studies scholar with a particular interest in cross species grief as well as spirituality as a bodily-focused, non-denominational engagement. She lives in the Australian Blue Mountains with sheep and other animals.

project VAMPIRABILE in Hong Kong

Fri, 21 Jun 2024 09:54:13 +0200

Choregie project VAMPIRABILE About secret miracles Against evil spirits Against spells and monsters… HKUST Shaw Auditorium, Hongkong: 3. and 4.August, 2024 at 20.00 Mythical worlds – rich, mysterious, never fully explored… Imagination and reality, nature and man, beliefs and experience, hopes and fears, power and impotence, they all softly intertwine there. Selecting from among the finest contemporary composers from all over the world – contemporary in time, their spirit and approach – I came up with a selection of works on the subjects one tends to associate only with ancient past. They are locked in the chest with the rest of cultural heritage, yet they keep crawling out by stealth, from colossal national epics to miniature abracadabra’s. They epitomize an infinite pool of imagination, though never for its own sake, without a meaning and a purpose. Amazing, how much of that there is in this world! What diversity and yet what kinder ship! As if the human world, on its mythical plane, allowed for much gentler harmony, linking and bonding of races and peoples, distances and ages, nature and man – more than it does in the harsh reality of here and now. Produced and performed by: Hongkong Children's choir The Hong Kong Children’s Choir (HKCC) was founded in 1969 as the first children’s choir in Hong Kong. It is now the biggest choir in the world with over 5,000 members and has grown into a diversified arts organization for children. HKCC is a registered non-profit-making charitable organization and has made tremendous contributions to children’s art training in Hong Kong.

FORTUNA WON'T BE FAUVEL'S MATCH!

Wed, 15 May 2024 16:53:46 +0200

Sheep, what are we waiting for? There's a wolf in the flock! Fortuna Won’t Be Fauvel’s Match! is based on a gothic allegorical verse romance in which the central metaphor for moral decay and decadence is an ambitious horse/ass. The main character – Fauvel – is an incarnation of sin, irrationality, unreliability, dominance, flattery. Fortuna Won’t Be Fauvel’s Match! mocks human egotism, hedonism, hypocrisy and excesses of the governing classes, of secular as well as church rule, a society contaminated by sin and corruption. The ruling class is despotic and greedy, forgetting about the natural equality of people. Man through politics/the church is a symbol of everything that is wrong with our society and the system which administers it. This issue fascinates since it judges exploitations in the human society and poses the question if today, after 700 years, it is any easier to talk, or do we still whisper. Choregie project Fortuna wont be Fauvel's match! is based on Lojze Lebič’s stage work Fauvel ’86 (Slovene text by Janez Menart) for soloists, mixed choir, piano, percussion, hand instruments and recordings on tape (partially adapted for performance by girls’ choir), added materials are medieval rituals, literature, philosophical texts and music from the Roman de Fauvel. FORTUNA WON'T BE FAUVEL'S MATCH!

Carmina Slovenica

Sat, 27 Apr 2024 10:45:31 +0200

Op.1 : HOMO FABER

Fri, 12 Apr 2024 21:48:51 +0200

DVD Op.1 : HOMO FABER released. Public presentation: 24.5.2024, Castle Rače, at 7.00 pm.

BUY

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Karmina Šilec: OVIS

Thu, 21 Mar 2024 14:39:08 +0100

Sheep have been central to the human story. The key player in human history, this remarkable animal has been feeding, healing, clothing, and supporting us to prosperity and misery, to build empires and devastate landscapes, to decorate our homes and discover new continents, to build cities and create works of art. Sheep are not just cattle waiting to become meat. OVIS brings this everyday species to the fore. It explores some of the profound impact sheep have had on humanity and natural world, their origin, and other extraordinary things humans have learned from them. Their role in our diets has changed us biologically; they are essential to modern medicine, science and industry; and they hold huge symbolic value in many cultures. The success or failure of civilisations has depended on sheep. OVIS gives these creatures a chance to tell their story. Premiere: November 15, 2024, The Minoriti Cultural Quarter Production: Carmina Slovenica, 2024

60 years of Carmine Slovenice

Mon, 15 Jan 2024 07:54:15 +0100

This year marks 60 years since Branko Rajšter founded the Maribor Youth Choir (MPZ) in 1964, an organisation that has been a phenomenon in the history of Slovenian culture from the very beginning. Since 1989 it has been led by Karmina Šilec and under her leadership Carmina Slovenica has become one of the world's key laboratories for the research and development of vocal music and music theatre projects.

op.1: homo faber

Wed, 27 Sep 2023 15:08:00 +0200

concept: Izidor Leitinger and Karmina Šilec TRAILER Op. 1: homo faber blurs the traditional boundaries between craft /craftsmanship and contemporary art. The work understands the various elements (sound, movement, image) that arise in craftsmanship as inspirations for the development of a comprehensive inclusive stage composition. It includes unusual combinations of sound elements, juxtapositions of fragments of human activities from the past and present, and creates visual and sonic interactions through dialogues of music and words, analogue and digital sounds, historical and contemporary elements. The project is guided by the idea of linking seemingly unrelated media: music and sounds generated by work and tasks intertwine, layer and create a complex sonic event. Op. 1: homo faber is a hybrid work, a musical-visual project that breaks down the boundaries between areasdisciplines and aims to create a space for opening up thoughts, perceptions, experiences. The performance combines different forms of expression: the performance of various jobs and tasks, singing, words, images; their changing fusion creates different levels of meaning. performers: Boštjan Gombač, multi-instrumentalist Izidor Leitinger, electronics Vocal ansamble Fantje na vasi Waver: Marta Gregorc Shoemaker: Saša Kovačev Carpenters: Branko Čelofiga, Ivan Belca Stonemason: Alojz Urnaut Barrel maker: Stanko Lunežnik Clogmaker: Martin Muml Seamstress: Vesna Novitović Music instruments repairman: Andrej Robnik Various craftsworks: Tone Žuraj, Primož Šušteršič, Perger Marko, Mustafa Miran, Kosi Miran, Trantura Darko, Brlič Pavel artistic collaborator: Dorian Šilec Petek sound: Danilo Ženko light: Gregor Dvornik assistant director: Tanja Lužar Premiere: 9.12.2023, Minoritska cerkev Maribor reprises: 10.12.2023, Minoritska cerkev Maribor 3.3.2024, Gasilski dom Rače Production: Carmina Slovenica, 2023 In cooperation with: Lutkovno gledališče Maribor, Kulturna četrt Minoriti, Choregie - newmusic theatre

BALKANIKA 2

Wed, 09 Aug 2023 14:16:10 +0200

NEW ALBUM Carmina Slovenica life in Balkan etno improvisations The essence of the Balkan people assembled in music pieces by a wonderful fusion of rhythms, archaisms, liturgy, humoresques, elegies, love tunes, virtuose improvisations and a sonorous colour of vocals Balkan music is seductive and hardly ever leaves the listener untouched. Balkanika does not merely touch you, it strongly embraces you. The body responds – with a smile perhaps or swaying with the rhythm. It is temperamental, clear, erotic, brave and open-spirited. ITUNES SPOTIFY AMAZON BUY

The winner of Darinka Matić-Marović Award

Mon, 03 Jul 2023 09:19:12 +0200

Karmina Šilec received international award for her oustanding contribution to music art In honor of a renown artist Darinka Matić Marović KotorArt festival in Montenegro established an international award named after her. The prize is given to the most prominent artists for works or achievements that represent an outstanding contribution to the development of musical art in the Ex-Yugoslavia area and for female artists originating from this area. An international jury consisting of renowned music artists and theorists decided that 2023 award winner is Karmina Šilec. The prize will be awarded in Kotor, on July 24, as part of the "Vox feminae" events at Philosopher's Square. In its justification, the international jury emphasized that Karmina Šilec's projects were awarded with important international awards for activities in scenic areas that include music. Karmina Šilec's contribution to the development of musical art in our area is also her special form of activity related to musical heritage and its implementation in modern creativity. Karmina Šilec, a Slovenian artist with a wide range of activities, conductor, theater director and composer, who is constantly looking for new music and new areas of stage expression, creates projects with various opera and drama houses, festivals and ensembles all over the world. With an original and research approach, Karmina brought freshness to choral music and musical theater and built her own style of artistic expression, where is no borders of cultures and nations. With her boldness, provocation and erudition, Karmina Šilec transformed various vocal ensembles into top-class artistic formations of the highest rank", emphasized the president of the jury, Dobrila Popović. Darinka Matić Marović was a conductor, professor, and first women Dean of University of Art in Belgrade. As a central figure of the cultural life in region she set high standards for new generations of artists.

MARIA

Sun, 04 Jun 2023 21:45:16 +0200

SPOTIFY APPLE AMAZON music by: Gavin Bryars, Sergej Rahmaninov, Aleksander Kastalski, Maurice Duruflé, Pablo Casals,Einojuhani Rautavaara, Giovanni Battista Pergolesi, Fran Gerbič, Jacob Cooper, Codex Las Huelgas, orthodox chants... Mary, the Queen, is a popular motif in music and painting. The basis for this is found in the Marian typology of the Old and New Testaments, where Mary is identified as the Queen Mother who has great influence over her son (e.g. Bathsheba-Solomon), or as the Queen Intercessor of her people who pleads with the king for mercy (e.g. Esther). When virtues, merits and beauty are attributed to Mary, the rule numquam satis (never enough) applies, and there is no hesitation in expressing the praise with superlatives. It all begins with the Annunciation. It is the moment when the Archangel Gabriel announces to the Virgin Mary that she will conceive and give birth to her Son. Thus, faith explains that this is the time of the incarnation of Christ. The Annunciation is celebrated on March 25, exactly nine months before Christmas – the birth of Jesus. The three figures of the Annunciation event are the Archangel Gabriel, the Virgin Mary and the dove representing the Holy Spirit. This idea has prevailed in all representations and texts of the Annunciation. From the Archangel Gabriel comes the greeting "Hail, full of Grace. The Lord is with you!" (Ave Maria), from which the variants, derivations and extended texts of Marian hymns have developed. However, the extraordinarily rich iconography of Mary is based only in part on the Gospels, so it seems to have developed over the centuries in some way from the Christian Church's need for a maternal image that had previously existed at the heart of many ancient religions. Over the centuries, texts dedicated to the Virgin Mary have inspired many composers who have created some of the greatest jewels of sacred vocal music. From the biblical image of the Virgin Mary arise images associated with her motherhood – virgin motherhood – and her special divine mission, with Mary's compassion on the path of Christ's Passion and with Mary's suffering under the Cross. Marian hymns are sung in worship, especially in the Roman Catholic, Orthodox, Anglican and Lutheran churches. Marian music is related to some other forms of Christian music, but adds a certain emotional component to the process of worship. "Banish, Our Lady, every thought that the devil wants to impose on me in order to plunge my poor soul into the depths of hell. Deliver me, my most holy one, from his snares. Grant me, O Virgin, fear and love of God, decisions worthy of God, a pure life, love of God and at the same time love of my neighbour, patience, humility, temperance, fasting and tears of brokenness that purify me from the evil that I, a wretch, have committed." (Ephrem the Syrian)

THERE IS A MIST ON THE DRAVA RIVER

Mon, 17 Apr 2023 10:42:50 +0200

Je na Dravci m'hlica There is a mist on the river Drava is inspired by Carinthian folk love songs in which the river Drava represents a point of transition or a conflict. In reharmonisations, adaptations of folk songs and original musical thoughts of Hedera Vento, a love story of interpersonal relationships will unfold. The project represents a crossroad between preserved and owned, between communal and intimate. Through the colourful landscapes of the river and symbolic facial expressions of the evolution of a relation that will circle the space, the archetype story of Drava's two shores will be told by live music, real and imaginary soundscapes and video mapping. concept Mojca Kamnik music: folk songs arrangements and new works: Hedera Vento video direction: Mojca Kamnik / filming, editing, montage: Urša Lorber/ actors: Lovro Zafred, Gregor Podričnik video projection: Društvo glasbene spektakularnosti

KIND OF LAIBACH

Wed, 12 Apr 2023 12:54:45 +0200

cikel CHOREGIE 2023 KIND OF LAIBACH Minoritska cerkev, 17.5. 2023 ob 20.00 Performed by: Sašo Vollmaier Music: Sašo Vollmaier (on the base of music by Laibach) "The piano ain't got no wrong notes." Thelonious Monk "Agree with that. But Laibach ain’t got no right notes either." Laibach Imagine what it would be to carve out a piano classic from the 'industrial' monolithic Laibach sound structure. Vollmaier does not tackle this challenge, as one might expect, through preparation or electronic interventions, but by seeking inspiration from the virtuoso pianists Glenn Gould and Vladimir Horowitz, as well as in one of his professors (formerly an associate of the Laibach band as well) Aci Bertoncelj. He is faithful to the original music by testing the extreme limits of both the performer and instrument. Laibach's linear rigor breaks precisely with industrial precision and physical perseverance, but the final result is, surprisingly, even more monolithic, though an absolutely subtle structure, woven only with the black and white keys of an elegant machine, a concert piano which is for Vollmaier larger than life. TICKETS KIND OF LAIBACH