Hudobný život 6/2023

Hudobný život 6/2023

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Hudobný život 6/2023

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    13 35-41 40

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Disclaimer: Please note that Hudobný život, the magazine mentioned in this text, is written in the Slovak language.

For non-Slovak readers who would like to read the printed or electronic version of the magazine, we recommend seeking out translation services or resources to help with understanding the content. One option may be to use online translation tools such as Google Translate or Microsoft Translator, although we cannot guarantee the accuracy of these services.

We apologize for any inconvenience this may cause, and we appreciate your interest in our publication.

Interview: J. Adams - Music Can't Change Society / Concerts and Festivals: (New) Music at the Crossroads – Prešov Music Spring – Košice State Philharmonic – Rajecká Music Spring, Košice Music Spring, Prague Spring / Scent of the instrument: Juraj Griglák / Subito: With Juraj Čižmarovič / Music Theater: State Opera: The Great Theater on the Small Stage, Bavarian State Opera: Chamber Aida / News: Nobel Prize in Music / Education: Superar - Overcoming Obstacles and Differences Between Us / Analysis: Robert Schumann: Viennese Carnival, Op. 26 / Jazz Laboratory: Peter Palaj: Beyond the Clouds / On chat: Nikola Bankov and Martin Uherek / CD Reviews / Short Story.

"People don't change when they listen to a musical piece," said John Adams to Peter Zagar in Prague. And it was by no means a skeptical conversation. In the debate between the two composers, we learn things that were suspected ("When I was twenty years old, Boulez's statements frightened me."), but also those that may surprise experts of Adams' work ("I didn't choose the political subjects, Peter Sellars did."). The concert conducted by one of the greatest living composers at the Prague Spring festival may not have been one of the highlights, but the opportunity for personal contact with the composer, whether during the pre-concert discussion or in journalistic interviews, brought unique moments with a personality with clear opinions, yet a kind and generous approach to life. "We don't want children to just sing and know nothing about the musical structure," says composer and educator Tomáš Boroš about one of the ideas of the Superar project. Together with singer Eva Šušková, they talk about the 10-year project that not only seeks deeper connections in music education in the educational process but also integrates principles of humanism by linking it to the ideas of social inclusion. Two jazz saxophonists were convinced to chat for Hudobný život. Nikola Bankov and Martin Uherek delved into the intricacies of improvisation preparation and realization, providing valuable insight into jazz interpretation and composition. For the second year in a row, writer Vanda Rozenbergová has been sitting down to write for our magazine. In her imagination (and on our last page), stories of fictional and real characters of the music world and its history come to life and metamorphose. She lightly transcends the boundaries of reality and the "possible," sometimes imperceptibly, but always with fascinating inventiveness and sometimes a humorous, touching, or exciting punchline. The author surprises with a detailed knowledge of the music scene, and it is no different in our sixth issue, where the motif of a sound engineer appears, who could (or could not?) have been an oboist. Let our pages convince you that music is not just one...

Andrea Serečinová