voyageBARTOLOMEJ STANKOVIĆ

BIOGRAFIJA

Bartolomej Stanković, bosanskohercegovački pijanist i docent na Katedri za klavir Muzičke akademije Univerziteta u Istočnom Sarajevu. Muzičko obrazovanje započeo je u klasi prof. Bahrije Šabanović u Visokom (1997), a Srednju muzičku školu Sarajevo završava u klasi prof. Angeline Bojović-Pap (2006). Magistrirao je klavir na Muzičkoj akademiji u Zagrebu u klasi prof. em. Pavice Gvozdić (2011). Postdiplomski studij na akademiji Steinway Academy u Veroni završio je u klasi pijaniste Federica Gianella (2012). Usavršavao se na seminarima eminentnih klavirskih pedagoga: Andrej Pisarev, Grigory Gruzman, Naum Grubert, Peter Eicher, Jan Jiracek von Armin, Arsen Čarkić, Jelena Pavić, Gregor Vidović i Andrea Dindo. Dobitnik je brojnih nagrada na državnim i internacionalnim takmičenjima, kao i Rektorove nagrade Sveučilišta u Zagrebu za projekt „KLAVIR – kroz historiju i gra�u“ koji je kao koncertna prezentacija predstavljen u nekoliko gradova Bosne i Hercegovine i Hrvatske. Na 27. muzičkom biennalu u Zagrebu predstavljao je Bosnu i Hercegovinu (2013). Sara�ivao je sa Dubrovačkim simfonijskim orkestrom, Sarajevskom filharmonijom i održao preko 60 solističkih koncerata u Bosni i Hercegovini, Hrvatskoj, Italiji i Austriji. Izdavačka kuća Nota Bene Records (Zagreb) objavila je njegov prvi nosač zvuka – CD album “Balkan Madness BH edition” s djelima odabranih bh. kompozitora (2018). Iste godine, na koncertnoj turneji u 8 gradova Bosne i Hercegovine (SBK), promovirao je CD album i djela bh. kompozitora. Tijekom 2019. nastavlja promociju djela bh. kompozitora na festivalima kao što su Dani Vlade Miloševića u Banjaluci, Mostarsko proljeće u Mostaru, 38. pozorišne igre u Jajcu, Putovanje kroz muziku u Prnjavoru, GuitarUnited u Sarajevu te Dani Vojina Komadine u Istočnom Sarajevu. Nakon koncerta “Bartolomejevo putovanje – večer bh. skladatelja” u Koncertnoj dvorani Vatroslava Lisinskog u Zagrebu (2019), u Sarajevu je povodom Svjetskog dana muzike održao dva koncerta na kojima je izveo djela za klavir 24 bosanskohercegovačka kompozitora.

BIOGRAPHY

Bartolomej Stanković, a pianist from Bosnia and Herzegovina and an assistant professor at the Piano Department of the Academy of Music, University of East Sarajevo. He started his education in music in the class of professor Bahrija Šabanović in Visoko (1997), and finished the Secondary School of Music Sarajevo, in the class of professor Angelina Bojović-Pap (2006). He obtained his magister’s degree from the Academy of Music in Zagreb, in the class of emeritus professor Pavica Gvozdić (2011). He also finished a postgraduate study at the Steinway Academy in Verona, in the class of pianist Federico Gianello (2012). He has been improving himself in seminars by eminent piano pedagogues: Andrej Pisarev, Grigory Gruzman, Naum Grubert, Peter Eicher, Jan Jiracek von Armin, Arsen Čarkić, Jelena Pavić, Gregor Vidović and Andrea Dindo. He has won numerous prizes at state and international competitions, as well as the Rector’s Prize of the University of Zagreb for the project “PIANO - Through History and Construction” which was presented in the form of concert presentations in a few cities of Bosnia and Herzegovina and Croatia. At the 27th Music Biennale in Zagreb, he was the representative of Bosnia and Herzegovina (2013). He has also cooperated with the Dubrovnik Symphony Orchestra, Sarajevo Philharmonic Orchestra and has held more than 60 solo concerts in Bosnia and Herzegovina, Croatia, Italy and Austria. The record label Nota Bene Records (Zagreb) published his first CD recording “Balkan Madness BH edition” with the works of selected composers from Bosnia and Herzegovina (2018). In the same year, on the concert tour in 8 cites of Bosnia and Herzegovina (Central Bosnia Canton), he promoted the CD recording and the works of the composers from Bosnia and Herzegovina. During 2019, he continued with the promotion of the works of composers from Bosnia and Herzegovina, at the festivals such as The Days of Vlado Milošević in Banjaluka, Mostar Spring in Mostar, 38th Theatre Games in Jajce, Travelling through Music in Prnjavor, GuitarUnited in Sarajevo and The Days of Vojin Komadina in East Sarajevo. After the concert “Bartolomej’s Voyage - the Night of Composers from Bosnia and Herzegovina” in the Vatroslav Lisinski Concert Hall in Zagreb (2019), he held two concerts in Sarajevo on the occasion of the World Music Day, where he performed the piano works written by 24 composers from Bosnia and Herzegovina.

BIOGRAFIJA

Bartolomej Stanković, bosanskohercegovački pijanist i docent na Katedri za klavir Muzičke akademije Univerziteta u Istočnom Sarajevu. Muzičko obrazovanje započeo je u klasi prof. Bahrije Šabanović u Visokom (1997), a Srednju muzičku školu Sarajevo završava u klasi prof. Angeline Bojović-Pap (2006). Magistrirao je klavir na Muzičkoj akademiji u Zagrebu u klasi prof. em. Pavice Gvozdić (2011). Postdiplomski studij na akademiji Steinway Academy u Veroni završio je u klasi pijaniste Federica Gianella (2012). Usavršavao se na seminarima eminentnih klavirskih pedagoga: Andrej Pisarev, Grigory Gruzman, Naum Grubert, Peter Eicher, Jan Jiracek von Armin, Arsen Čarkić, Jelena Pavić, Gregor Vidović i Andrea Dindo. Dobitnik je brojnih nagrada na državnim i internacionalnim takmičenjima, kao i Rektorove nagrade Sveučilišta u Zagrebu za projekt „KLAVIR – kroz historiju i gra�u“ koji je kao koncertna prezentacija predstavljen u nekoliko gradova Bosne i Hercegovine i Hrvatske. Na 27. muzičkom biennalu u Zagrebu predstavljao je Bosnu i Hercegovinu (2013). Sara�ivao je sa Dubrovačkim simfonijskim orkestrom, Sarajevskom filharmonijom i održao preko 60 solističkih koncerata u Bosni i Hercegovini, Hrvatskoj, Italiji i Austriji. Izdavačka kuća Nota Bene Records (Zagreb) objavila je njegov prvi nosač zvuka – CD album “Balkan Madness BH edition” s djelima odabranih bh. kompozitora (2018). Iste godine, na koncertnoj turneji u 8 gradova Bosne i Hercegovine (SBK), promovirao je CD album i djela bh. kompozitora. Tijekom 2019. nastavlja promociju djela bh. kompozitora na festivalima kao što su Dani Vlade Miloševića u Banjaluci, Mostarsko proljeće u Mostaru, 38. pozorišne igre u Jajcu, Putovanje kroz muziku u Prnjavoru, GuitarUnited u Sarajevu te Dani Vojina Komadine u Istočnom Sarajevu. Nakon koncerta “Bartolomejevo putovanje – večer bh. skladatelja” u Koncertnoj dvorani Vatroslava Lisinskog u Zagrebu (2019), u Sarajevu je povodom Svjetskog dana muzike održao dva koncerta na kojima je izveo djela za klavir 24 bosanskohercegovačka kompozitora.

BIOGRAPHY

Bartolomej Stanković, a pianist from Bosnia and Herzegovina and an assistant professor at the Piano Department of the Academy of Music, University of East Sarajevo. He started his education in music in the class of professor Bahrija Šabanović in Visoko (1997), and finished the Secondary School of Music Sarajevo, in the class of professor Angelina Bojović-Pap (2006). He obtained his magister’s degree from the Academy of Music in Zagreb, in the class of emeritus professor Pavica Gvozdić (2011). He also finished a postgraduate study at the Steinway Academy in Verona, in the class of pianist Federico Gianello (2012). He has been improving himself in seminars by eminent piano pedagogues: Andrej Pisarev, Grigory Gruzman, Naum Grubert, Peter Eicher, Jan Jiracek von Armin, Arsen Čarkić, Jelena Pavić, Gregor Vidović and Andrea Dindo. He has won numerous prizes at state and international competitions, as well as the Rector’s Prize of the University of Zagreb for the project “PIANO - Through History and Construction” which was presented in the form of concert presentations in a few cities of Bosnia and Herzegovina and Croatia. At the 27th Music Biennale in Zagreb, he was the representative of Bosnia and Herzegovina (2013). He has also cooperated with the Dubrovnik Symphony Orchestra, Sarajevo Philharmonic Orchestra and has held more than 60 solo concerts in Bosnia and Herzegovina, Croatia, Italy and Austria. The record label Nota Bene Records (Zagreb) published his first CD recording “Balkan Madness BH edition” with the works of selected composers from Bosnia and Herzegovina (2018). In the same year, on the concert tour in 8 cites of Bosnia and Herzegovina (Central Bosnia Canton), he promoted the CD recording and the works of the composers from Bosnia and Herzegovina. During 2019, he continued with the promotion of the works of composers from Bosnia and Herzegovina, at the festivals such as The Days of Vlado Milošević in Banjaluka, Mostar Spring in Mostar, 38th Theatre Games in Jajce, Travelling through Music in Prnjavor, GuitarUnited in Sarajevo and The Days of Vojin Komadina in East Sarajevo. After the concert “Bartolomej’s Voyage - the Night of Composers from Bosnia and Herzegovina” in the Vatroslav Lisinski Concert Hall in Zagreb (2019), he held two concerts in Sarajevo on the occasion of the World Music Day, where he performed the piano works written by 24 composers from Bosnia and Herzegovina.

O KOMPOZITORIMA

Franciscus Bossinensis - Franjo Bosanac (Srebrenik, 1480-90.? – Venecija, 1535.), renesansni kompozitor koji je djelovao u tadašnjoj Mletačkoj Republici. Bosanac je ušao u svjetsku historiju muzike zahvaljujući svojim transkripcijama frottola, s kojima je započeo razvoj vokalno-instrumentalne solističke prakse muziciranja. Bosančeva zbirka „Tenori e contrabassi intabulati col sopran in canto figurato per cantare e sonar col lauto“ jedna je od najranijih štampanih zbirki renesansne vokalne monodije uz pratnju lutnje. Instrumentalni Ričerkari ubrajaju se me�u prve štampane kompozicije te vrste, improvizacijskog su značaja i zasnivaju se na izmjenjivanju akorada i pasaža te kraćih ulomaka motivske imitacije. Zulejda Ida Latas (XIX st.), ro�ena u Bugarskoj kao Ana Simonis, bila je supruga Omera-paše Latasa koji je 1850. godine došao u Sarajevo da uguši ustanak protiv sultana Abdul Medžida I., kojeg su digli age i begovi zbog sultanovih reformi. Zulejda-hanuma (zvana još i Saida-hanuma i Zubejda-hanuma) u Sarajevu je sredinom XIX stoljeća komponovala marševe za klavir ili orkestar, svirala klavir i zajedno sa svojim bratom držala časove muzike. Kompozicija March za klavir (1855), objavljena u Londonu, tipični je primjer popularnih kompozicija koje su se veoma rado slušale u mnogim muzičkim salonima europskih prijestolnica. Milena Mrazović-Preindslberger (Bjelovar, 1863. – Beč, 1927.), prva novinarka, urednica i izdavačica u BiH te spisateljica, etnografkinja i antropologinja. Osim što je odlično svirala klavir, Milenina umjetnička djelatnost obuhvatala je i kompozitorsko stvaralaštvo koje se kretalo u okvirima malih formi namijenjenih klaviru. Njene kompozicije su najraniji dostupni tragovi o kompozitorskoj praksi u BiH. Württemberg Marsch op. 10 za klavir posvećen je Wilhelmu Herzogu von Württembergu, vojnom zapovjedniku i poglavaru Zemaljske vlade u prvim godinama okupacije. Marsch je nastao izme�u 1879. i 1882., a objavljen je u Beču u ediciji Doblingera. Jednostavan harmonijski jezik i jasna trodijelna forma djelu daju poletan i vedar karakter. Julius Fučik (Prag, 1872. – Berlin, 1916.), češki novinar i učenik slavnog kompozitora Antonína Dvořáka. Godine 1891. stupa u službu austrougarske vojske u svojstvu vojnog muzičara, a 1897. dolazi u Sarajevo. Iako je na čelu vojnog orkestra stacioniranog u Sarajevu proveo samo tri godine, Fučik je u kratkom roku zavrijedio mjesto jednog od najznačajnijih vojnih kapelnika koji su boravili u BiH. Sarajevo Marsch op. 66, nadahnut sarajevskim prizorima, često je bio dio koncertnih repertoara onog vremena. Napisan je u verziji za klavir solo, klavir četveroručno i vojni orkestar. Ljubomir Bajac (Mostar, 1890. – Sarajevo, 1951.) muzičko obrazovanje započeo je u Sarajevu, a od 1910. do 1913. studira kompoziciju u Beču i Budimpešti. Bio je istaknuti dirigent Srpskog-pravoslavnog crkvenog pjevačkog društva „Sloga“ i Željezničarskog pjevačkog društva „Jedinstvo“ s kojim je postigao značajne umjetničke rezultate. Predavao je klavir u Muzičkoj školi i drugim srednjim školama u Sarajevu. Svrstava se me�u vodeće ličnosti muzičkog života u BiH izme�u dva svjetska rata. Kompozicija Pale nade, pisana kasnoromantičarskim kompozitorskim jezikom, nastala je početkom Prvog svjetskog rata kada cijeli svijet proživljava svoje najteže dane.

Mladen Pozajić (Županja, 1905. – Zagreb, 1979.) studirao je na Muzičkoj akademiji u Zagrebu kompoziciju kod Blagoja Berse, klavir kod Svetislava Stančića, a dirigovanje kod Frana Lhotke, u čijoj je klasi diplomirao (1927). Studij kompozicije nastavio je u Parizu i Beču. Pozajić je bio istaknuti horski dirigent, a najznačajniji je njegov rad sa kamerno-vokalnim ansamblom „Zagrebački madrigalisti“ kojeg je osnovao 1931. godine. Od 1947. Pozajić je živio i djelovao u Sarajevu kao dirigent, kompozitor i profesor Muzičke akademije. Njegova djela odlikuju se upotrebom folklornih elemenata. Kompozicija Grave posvećena je Svetislavu Stančiću i dio je ciklusa Kompozicije za klavir (1966). U njoj dolazi do izražaja homofona faktura i proširena tonalitetnost.

Fra Nenad Dujić (Busovača, 1911. – Fojnica, 1966.), bosanski franjevac i svećenik, profesor u Franjevačkoj klasičnoj gimnaziji u Visokom i na Franjevačkoj teologiji u Sarajevu. Diplomirao je kompoziciju na Hrvatskom državnom konzervatoriju u Zagrebu (1942). Pastoralno je djelovao u Bugojnu, Tolisi, Kraljevoj Sutjesci i Fojnici gdje je vodio i župne zborove. Harmonizirao je mnoge postojeće pučke napjeve, ali i sam komponovao brojna djela, naročito duhovnog karaktera. Rondo u gis-molu prožimaju nježne melodije širokog daha. U njemu kompozitor spaja obrise folklornih napjeva sa klasičnim harmonijama. Branko Grković (Mostar, 1920. – Sarajevo, 1982.) započeo je muzičke studije kod Franje Matějovskog i Ljubomira Bajca u Oblasnoj muzičkoj školi u Sarajevu, a dalje se usavršavao u Beogradu i Beču kod eminentnih muzičkih ličnosti tog doba. Od 1945. predavao je klavir u Muzičkoj školi u Sarajevu, a od 1947. bio je korepetitor sarajevske opere i baleta. Ostvario se kao iznimno uspješan i cijenjen korepetitor, pedagog i kompozitor. Kompozicija U posjeti bosanskom selu jedna je od 14 programskih kompozicija klavirske zbirke „Šarena lopta“. Polifoni način izlaganja teme u obliku karakternih varijacija i asimetričan oblik uz karakteristično sazvučje male i velike sekunde vjerno dočaravaju naslov kompozicije. Nada Ludvig-Pečar (Sarajevo, 1929. – Beč, 2008.) započela je studij kompozicije na Muzičkoj akademiji u Sarajevu u klasi Miroslava Špilera, a završila u klasi Lucijana M. Škerjanca na Akademiji za glasbo u Ljubljani. Dugi niz godina bila je pedagog teorijskih predmeta u Srednjoj muzičkoj školi u Sarajevu. Opredjeljena za neoklasični stil, Nada Ludvig-Pečar napisala je veliki broj vokalnih i instrumentalnih djela te objavila veliki broj pedagoške i etnomuzikološke literature. Suita Hexatonica (1973) izgra�ena je na heksakordalnom cjelostepenom nizu. Niz od šest tonova f g a h cis dis u različitoj konstelaciji predstavlja gra�u svite koju čine stavovi Invencija, Uspavanka, Ples, Bagatela i Tokata. Dragoje Đenader (Gradiška, 1930. – Sarajevo, 1986.) dolazi u Sarajevo 1949. godine te na podstrek Borisa Papandopula piše svoje prve radove. Na Muzičkoj akademiji u Sarajevu završio je teoretsko-nastavnički odsjek i kompoziciju u klasi Vojina Komadine. Kao izvorište za svoj stvaralački opus, Đenader uzima folkor, ponekad kao citat, ali češće kao inspiraciju ili duhovno polazište. Savremeni zvukovni senzibilitet daje temama inspirisanim folklorom nove karakteristike. U Sonati za klavir (1984) kompozitor kombinira klasične harmonijske i formalne elemente sa romantičarsko-impresionističkim.

Posebnost melodijske linije rezultat je stalne harmonijske nestabilnosti koja daje specifičnu boju cijeloj sonati. Posljednji stav sublimira sve ranije upotrijebljene kompozicione tehnike.

Ivan Čavlović (Sanski Most, 1949.) završio je muzičke studije na Pedagoškoj akademiji u Puli (1972) i na Muzičkoj akademiji u Sarajevu gdje je diplomirao Odsjek za muzičku teoriju i pedagogiju (1977) i dvogodišnji studij klavira (1979), postdiplomirao (1983) i doktorirao (1991). Pokretač je i osnivač institucija, manifestacija i drugih aktivnosti u oblasti muzičke umjetnosti i nauke. Bio je dekan Muzičke akademije Univerziteta u Sarajevu (2007–2016), a sada je profesor emeritus Univerziteta u Sarajevu (od 2016). Objavio je oko 200 naučnih, stručnih i publicističkih radova i deset knjiga i monografskih brošura iz različitih oblasti nauke o muzici. Komponovao je oko 50 djela za različite sastave i jednu operu atrakcijâ Srebreničanke (2004). Fondacija „Čavlović“ organizirala je dva njegova cjelovečernja autorska koncerta (2018, 2019). Kompozicija Bartolomejevo putovanje (2018) nastala je na poticaj pijaniste Bartolomeja Stankovića. Sadržaj kompozicije odražava adekvatnu muzičku formu ronda. Prva tema je plesna a ironijski pokretljiva, druga je rokerski impulsivna, treća je misaona konstrukcija zatišja, a sve tri su faze imaginarnog, ali mogućeg putovanja kroz prostor. Muzičko vrijeme opredmećeno je formom simetričnog ronda, a kraj je isti kao početak. To znači da putovanje nikad nije završeno!? Vojin Komadina (Karlovac, 1933. – Beograd, 1997.), kompozitor izuzetnog stvaralačkog opusa, dugogodišnji profesor kompozicije na Muzičkoj akademiji u Sarajevu i prvi dekan Muzičke akademije Univerziteta u Istočnom Sarajevu. U njegovim djelima primijetno je prisustvo folklora i otvorenost prema savremenim i modernim stilsko-estetskim odrednicama. Njegov kompozitorski opus broji preko 220 djela i obuhvata više muzičkih područja: muziku za djecu, vokalno-instrumentalnu, simfonijsku, elektro-akustičku i scensku muziku. Kompozicija Časovnik, sa podnaslovom Uspomene, dio je zbirke „Za mlade“. U njoj se prožimaju klasične harmonije i jasne, dječije melodije. Dražan Kosorić (Sokolac, 1976.), kompozitor simfonijske, kamerne, instrumentalne i vokalno-instrumentalne muzike. Diplomirao je harmoniku i kompoziciju na Državnoj muzičkoj akademiji „A.V. Neždanova“ u Odesi (Ukrajina). Magistrirao je multidisciplinarne studije i kompoziciju na Muzičkoj akademiji Univerziteta u Istočnom Sarajevu. Njegova djela izvo�ena su diljem svijeta i nagra�ena na brojnim me�unarodnim konkursima. Osnivač je i umjetnički rukovodilac Orkestra harmonika Muzičke akademije Univerziteta u Istočnom Sarajevu, na kojoj je obnašao dužnost dekana (2015-2020). Kompozicija Postludijum (2017), posvećena Bartolomeju Stankoviću, virtuozno je djelo u kojem se prepliću četiri različita raspoloženja. Spajajući savremene tehnike komponovanja sa izrazito virtuoznim tehničkim figurama, kompozitor je ostvario briljantno klavirsko djelo prepuno snažnih emocija.

Pet Ričerkara / Five Ricercars

March

Württemberg Marsch op.10

Sarajevo Marsch op.66

Pale nade / Fallen Hopes

Grave

Rondo u gis-molu / Rondo in G-sharp minor

U posjeti bosanskom selu / Visiting a Bosnian Village

Suita HexatonicaInvencija / InventionUspavanka / LullabyPles / DanceBagatela / BagatelleTokata / Toccata

Sonata za klavir / Sonata for the PianoAllegroLargamentePrestoAllegro

Bartolomejevo putovanje / Bartolomej's Voyage

Časovnik / Clock

Postludijum / Postlude

UKUPNO TRAJANJE / TOTAL TIME:

ABOUT THE COMPOSERSFranciscus Bossinensis – Franjo Bosanac (Srebrenik, 1480-90? – Venice, 1535), renaissance composer who was active in the Republic of Venice. Bosanac entered into the world history of music due to his transcriptions of the frottole, with which the development of the vocal-instrumental practice of solo musical performances started. Bosanac's collection „Tenori e contrabassi intabulati col sopran in canto figurato per cantare e sonar col lauto“ is one of the earliest printed collections of renaissance vocal monody accompanied by the lute. The instrumental Ricercars belong among the first printed compositions of the kind, with improvisational significance and based on the alternation of chords and passages and shorter parts with motive imitation. Zulejda Ida Latas (19th century), born in Bulgaria as Ana Simonis, was the wife of Omer Pasha Latas, who came to Sarajevo in 1850 to quell an uprising against the sultan Abdulmejid I, which was raised by the aghas and beys because of the sultan’s reforms. In Sarajevo, in the middle of the 19th century, Zulejda-hanuma (also known as Saida-hanuma and Zubejda-hanuma) composed marches for the piano or orchestra, played the piano and held music lessons together with her brother. The composition March for the Piano (1855), published in London, is a typical example of popular compositions which were very gladly listened to in many music salons of European capitals. Milena Mrazović-Preindslberger (Bjelovar, 1863 – Vienna, 1927), the first journalist, editor and publisher in Bosnia and Herzegovina, and also a writer, ethnographer and anthropologist. Besides playing the piano excellently, Milena's artistic activities also encompassed the composition creation which was within the small forms intended for the piano. Her compositions are the earliest available traces on the compositional practice in Bosnia and Herzegovina. Württemberg Marsch op. 10 for the piano was dedicated to Wilhelm Herzog von Württemberg, a military commander and head of the Territorial government in the first years of occupation. Marsch was created between 1879 and 1882 and it was published in Vienna in Doblinger edition. A simple harmonic language and clear ternary form give the work a dashing and cheerful character. Julius Fučik (Prag, 1872 – Berlin, 1916), a Czech journalist and a disciple of the famous Czech composer Antonín Dvořák. In 1891, he starts serving in the Austro-Hungarian army in the status of a military musician, and in 1897 he comes to Sarajevo. Although he spent only three years as the head of the military orchestra stationed in Sarajevo, in a very short time period he earned the position as one of the most significant military kapellmeisters having resided in Bosnia and Herzegovina. Sarajevo Marsch op. 66, inspired by the sights of Sarajevo, was often a part of concert repertoirs of the time. It was written in the versions for piano solo, piano four hands and military orchestra. Ljubomir Bajac (Mostar, 1890 – Sarajevo, 1951), had started his musical education in Sarajevo, and from 1910 to 1913 he was studying composition in Vienna and Budapest. He was a prominent conductor of the Serbian-Orthodox Church Singing Society “Sloga” and the Railway Singing Society “Jedinstvo” with which he achieved significant artistic results. He was teaching the piano in the School of Music and other scondary schools in Sarajevo. He is classified among the leading personalities of

of music life in Bosnia and Herzegovina between the two world wars. The composition “Fallen Hopes”, written in a late-romantic compositional language, was created at the beginning of the World War I when the entire world was living through its most difficult days. Mladen Pozajić (Županja, 1905 – Zagreb, 1979) studied at the Academy of Music in Zagreb. He studied composition with Blagoje Bersa, piano with Svetislav Stančić and conducting with Fran Lhotka, and he graduated from his class in 1927. He continued the study of composition in Paris and Vienna. Pozajić was a prominent choral conductor, and his work with the chamber-vocal ensemble “Zagrebački madrigalisti”, which he founded in 1931, stands as the most significant. From 1947 Pozajić was living and working in Sarajevo as a conducter, composer and professor at the Academy of Music. A characteristic of his works is the use of folklore elements. The composition Grave was dedicated to Svetislav Stančić and it is a part of the cycle Compositions for the Piano (1966). The homophonic texture and expanded tonality come to the fore in the composition. Fra Nenad Dujić (Busovača, 1911 – Fojnica, 1966), a Bosnian Franciscan and priest, professor in the Franciscan Classical Gymnasium in Visoko and at the Franciscan Theology in Sarajevo. He graduated composition from the Croatian State Conservatory in Zagreb (1942). He performed pastoral duties in Bugojno, Tolisa, Kraljeva Sutjeska and Fojnica, where he also conducted the parish choirs. He harmonised many existing people's tunes, but also composed numerous works himself, especially of spiritual character. Rondo in G-sharp minor is permeated by gentle melodies with wide breath. In it, the composer connects the contours of folk tunes with classical harmonies. Branko Grković (Mostar, 1920 - Sarajevo, 1982) had started the study of music with Franjo Matějovski and Ljubomir Bajac at the Regional School of Music in Sarajevo, and further improved in Belgrade and Vienna with eminent personalities of the age. From 1945, he was a piano teacher at the School of Music in Sarajevo, and from 1947 he was the repetiteur of the Sarajevo opera and ballet. He was an extraordinarily successful and appreciated repetireur, pedagogue and composer. The composition Visiting a Bosnian Village is one of the 14 programme composition from the collection of works for the piano named “A Colourfall Ball”. The polyphonic manner of exposing the theme in the form of character variation and the asymmetrical form with the characteristic vertical sonority of minor and major second faithfully evoke the title of the composition. Nada Ludvig-Pečar (Sarajevo, 1929 – Vienna, 2008) started the study of composition at the Academy of Music in Sarajevo in the class of Miroslav Špiler, and finished it in the class of Lucijan M. Škerjanc at the Academy of Music in Ljubljana. For many years she was a pedagogue of theoretical subjects in the Secondary School of Music in Sarajevo. Choosing the neoclassical style, Nada Ludvig-Pečar wrote a great number of vocal and instrumental works and also published a large amount of pedagogical and ethnomusicological literature. Suita Hexatonica (1973) was built on a hexachordal whole tone series. The series of six tones F G A B C# D# in different constellation presents the construction material of the suite, consisting of the movements: Invention, Lullaby, Dance, Bagatelle and Toccata.

Dragoje Đenader (Gradiška, 1930 – Sarajevo, 1986) comes to Sarajevo in 1949 and writes his first works at the incentive of Boris Papandopulo. He finished the theoretical-teaching department and composition in the class of Vojin Komadina. As the source for his creative opus, Đenader uses folklore, sometimes as a quotation, but more often as the inspiration or spiritual starting point. The contemporary sound sensibility gives new characteristics to the folklore-inspired themes. In Sonata for the Piano (1984), the composer combines the classical harmonic and formal elements with the romanticistic-impressionistic ones. The peculiarity of the melodic line is the result of constant harmonic instability which gives a specific colour to the entire sonata. The last movements sublimes all previously used compositional techniques. Ivan Čavlović (Sanski Most, 1949) finished the music studies at the Pedagogic Academy in Pula (1972) and at the Academy of Music in Sarajevo, where he graduated from the Department of Music Theory and Pedagogy (1977) and the two-year piano study (1979), finished postgraduate studies (1983) and obtained a doctorate (1991). He has been the initiator and founder of institutions, events and other activities in the field of music art and science. He was the dean of the Academy of Music in Sarajevo (2007-2016) and now he has been a professor emeritus of the University of Sarajevo (since 2016). He has published about 200 scientific, professional and publicistic papers and ten books and monograph brochures in different fields of the science on music. He has composed about 50 works for different ensembles and one opera attraction Srebreničanke (2004). The “Čavlović” foundation organised two feature-length concerts of his authorial compositions (2018, 2019). The composition Bartolomej's Voyage (2018) was created at the incentive of the pianist Bartolomej Stanković. The content of the composition reflects the appropriate musical form of a rondo. The first theme is of a dancing character, but still ironically movable, the second is impulsive in the manner of rock music and the third is a mental construction of a calm, and all three are the stages of an imaginary but possible voyage through the space. The musical time is objectified by the form of a symmetrical rondo, and the end is the same as the beginning. It means that the voyage never ends!? Vojin Komadina (Karlovac, 1933 - Belgrade, 1997), composer with an extraordinary oeuvre, the professor of composition at the Academy of Music in Sarajevo for many years and the first dean of the Academy of Music at the University of Еаst Sarajevo. In his works, there is a noticeable presence of folklore and openness towards the contemporary and modern stylistic-aesthetic determinants. His compositional oeuvre contains more than 220 works and encompasses numerous fields of music: music for children, vocal-instrumental, symphonic, electro-acoustic and stage music. The composition Clock, with the subtitle Memories, is a part of the collection For the Young. Classical harmonies and clear, children melodies are permeating in it. Dražan Kosorić (Sokolac, 1976), a composer of symphonic, chamber, instrumental and vocal-instrumental music. He graduated accordion and musical composition from the National Academy of Music A. V. Nezhdanova in Odessa (Ukraine). He obtained his magister’s degrees at multidisciplinary studies and in musical composition at the Academy of Music of the University of East Sarajevo. His works have been performed all over the world and awarded at numerous international contests. He is the founder and art director of the Accordion Orchestra of the Academy of Music

at the University of East Sarajevo, where he was the dean in the period 2015-2020. The composition Postlude (2017), dedicated to Bartolomej Stanković, is a virtuoso work in which four different moods are intertwining. By connecting the contemporary techniques of composition with extraordinarily virtuoso technical figures, the composer created a brilliant work full of strong emotions.

Producent / ProducerBartolomej Stanković

Snimanje i montaža / Recording and mixing Pe�a Hart (Studio SOBA)

MasteringPe�a Hart (Studio SOBA)

Klavirštimer / Piano TunerAmer Šanjta

Tekst / TextLorena Grubešić

Prijevod / TranslationDarko Kovačević

Graf ički dizajn / Graphic designFaruk Garib

Izdavač / PublisherNOTA BENE doo

Za izdavača / For the publisher Mladen Malek

Godina proizvodnje / Year of production 2020

Sponzori i donatori / Sponsors and donators

Asocijacija kompozitora-muzičkih stvaralaca BiH / Association of Composers – Music Authors of BiHHKD Napredak Zagreb

Grad Visoko / City of Visoko

Snimano / Recorded

Muzička akademija Univerziteta u Istočnom Sarajevu, februar 2020. godine / Music Academy of University of East Sarajevo, February 2020

Odabrana djela za klavir bosanskohercegovačkih kompozitoraSelected piano works of composers from Bosnia and Herzegovina

www.notabenerecords.comwww.bartolomejstankovic.com

Samir Fejzić, Milan Prebanda, Vlado Milošević, Vojin Komadina, Milan Jeličanin, Asim Horozić, Josip Magdić, David Mastikosa, Dražan Kosorić, Armen Škobalj

Franjo Bosanac (Franciscus Bossinensis)

Zulejda Ida Latas

Milena Mrazović-Preindlsberger

Julius Fučik

Ljubomir Bajac

Mladen Pozajić

Fra Nenad Dujić

Branko Grković

Nada Ludvig-Pečar

Dragoje Đenader

Ivan Čavlović

Vojin Komadina

Dražan Kosorić

BONUS TRACK

02:40

01:34

03:26

03:12

04:23

04:42

03:50

03:05

01:2901:3900:5901:5901:29

03:5103:3803:0003:50

10:02

01:29

05:11

66:15

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9.10.11.12.13.

14.15.16.17.

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Pet Ričerkara / Five Ricercars

March

Württemberg Marsch op.10

Sarajevo Marsch op.66

Pale nade / Fallen Hopes

Grave

Rondo u gis-molu / Rondo in G-sharp minor

U posjeti bosanskom selu / Visiting a Bosnian Village

Suita HexatonicaInvencija / InventionUspavanka / LullabyPles / DanceBagatela / BagatelleTokata / Toccata

Sonata za klavir / Sonata for the PianoAllegroLargamentePrestoAllegro

Bartolomejevo putovanje / Bartolomej's Voyage

Časovnik / Clock

Postludijum / Postlude

UKUPNO TRAJANJE / TOTAL TIME:

VOYAGEBartolomej Stanković, klavir/piano