El efecto föhn for cello and accordion
For the score write me a message...

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El efecto föhn pre violončelo a akordeón je ďalšiou z radu skladieb, ktoré umeleckým spôsobom vychádzajú z atmostféry kultúrneho okruhu strednej Európy. Tentoraz skladba doslova kopíruje atmosférický pohyb vzduchu nad naším regiónom. Človek sa pri počúvaní skladby cíti podobne, ako keď sa k Bratislave blíži alpský vietor föhn, pociťuje úzkostlivú nostalgiu, zažíva nevysvetliteľnú a nenaplniteľnú potrebu potešenia. Optika videnia vecí sa pod vplyvom föhnu mení, všetko sa nachádza v zvláštnom, niekedy až znepokojujúcom opare. Podobne oba nástroje vytvárajú bizarné zvukové chvenie, ktoré má podobný vplyv na vnímanie reality, ktorá nás obklopuje. 

Skladba vznikla na jar roku 2006 na podnet Eugena Procháca a Rajmunda Kákoniho.

Visions

El efecto föhn (2007)

Čo je hlavnou úlohou dramaturga Slovenskej filharmónie, aké mechanizmy sa používajú pri tvorbe koncertnej sezóny, ako sa bookujú dirigenti a sólisti, v čom zamiešala karty celosvetová pandémia a mnohé ďalšie zaujímavosti porozprával Juraj Bubnáš – dramaturg Slovenskej filharmónie.

pýtal sa: Daniel Hevier ml. 
odpovedal: Juraj Bubnáš
produkcia: David MJRSK
výroba: Music Press Production s.r.o. / Musicpress.sk Magazín
Podporiť nás môžeš cez PATREON alebo kúpou merchu na
www.cool-classics.com
www.musicpress.sk/
www.mpproduction.eu

tento podcast vznikol vďaka podpore od Bratislavského samosprávneho kraja a Fondu na podporu umenia

Rozhovor s Jurajom Bubnášom – nielen o dramaturgií Slovenskej filharmónie

Thanks to its geographic location, inland waterways, and relatively close oilfields, Bratislava was chosen as an ideal place for the new refinery. In a multilingual Central European city atmosphere a new refinery is built. The workers are full of hopes and expectations. Suddenly the föhn – a warm, dry wind occurs in the sunny city hand in hand with melancholy, sentiment and depression.
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ROZPRÁVAČ
Bratislava bola koncom 19. storočia druhým najväčším mestom v Uhorsku. Vodná cesta ju spájala s Rakúskom, Moravou, Nemeckom a ... ropnými poľami pri Čiernom mori. 

ZBOR
Čo vravíš, nech je jasné 
slnečný sťa lúč

ROZPRÁVAČ 
Bankár Arpád Spitz presvedčil svojich kolegov, že najvhodnejším miestom pre vybudovanie rafinérie bude Bratislava. 

ZBOR
Az éjszaka közeledik,  
A világ lecsendesedik. 

Singet leise, leise, 
Singt ein flüsternd Wiegenlied.

O lásce šeptal tichý mech;
Květoucí strom lhal lásky žel.

Čo vravíš, nech je jasné 
slnečný sťa lúč

ZBOR (Trixi)
Hľa luna bledá, 
Tíško si sedá...
Dnes ako vloni. 
Vŕba sa kloní...

Za čiernu horu

Marek Piaček – Apolloopera

Továreň / Factory

Stretnutie so šéfdirigentom SF Danielom Raiskinom vo štvrtok 10. 11. 2022 pred koncertom „MacMillan / Mozart / Šostakovič“. Stretnutie moderuje Juraj Bubnáš, dramaturg SF.

Foto © Alexander Trizuljak

Stretnutie so šéfdirigentom

Sunshine

Piekna mialas twarz... (ale ju

►United Gravity by DUHAN (May 1, 2018)
https://ajlavmjuzik.bandcamp.com/album/united-gravity

Produkcia, Mix: Duhan
Saxofón1: Grňa
Saxofón 2: Milds
Skreče: 3CK
Basa: Martin Štedroň
Gitara: Roman Pavlík
Mastering: Dobroslav Studio
Grafika: Marek Cina

@duhan-productions
www.facebook.com/duhan.production
duhanproductions.wixsite.com/duhanio
www.instagram.com/duhanio/
www.facebook.com/duhanproductions/

DUHAN - Been Down + Grňa, 3ck

© 2015

The original version of this piece, entitled Sad Cow, was composed in 1995 for piano solo and the foley sample of the sound of cows – at that time during the performance it was played on the CD player. The original music was written for the solo piano to serve as an accompaniment for that solo foley cow soundtrack. 20 years later, in 2015 the piece was completely rewritten for a very new project Vinylized No. 5.  – initialized by the 4mg Records publisher Imi Vegh. This version was completely recomposed and rearranged for electronics only with the use of the great iOS software NanoStudio. And  this version was published on a vinyl.

Vinylized Vol. 5.

Sad Cow

Sad Cow / Smutná krava, electroacoustic version, 2015

© 2019, Marek Piaček, (p) 4mg Records, Vinylized Vol. 8.

Piece written for the Vinylized project Nr. 8. With the only use of the iPad 3rd generation.

4MGLP15 – Slovakia – 2019
released March 1, 2019 

Mastered by Miki Bernath 
Compiled by Imi Vegh

at Discogs: 
www.discogs.com/Various-Vinylized-Vol8/release/13269884

Vinylized Vol​.​8

Vedic Meter (Védske metrum)

Vedic Meter (Védske Metrum)

Midi Lidi - Náměšť (Jaroslav Hutka cover)

Marek Piaček (b. 1972) composer, video producer, performer, lecturer. He studied flute at the Bratislava Conservatory (1986–1992), but his ongoing interest in unusual performance techniques led him to study composition, at first two years privately with Ladislav Burlas and then with Ilja Zeljenka, later at the Academy of Music and Drama with the same teacher (1990–1995). Zeljenka encouraged Piaček’s interest in experimental art, and thus hastened his disassociation with traditional forms (String Quartet, 1989). During his studies he began working in the Experimental Studio of the Slovak Radio, where he produced Flauto dolce ’91 (1991, in collaboration with Juraj Ďuriš). Piaček attended several training courses and seminars (Boswil – 1990–1991; Nottingham Trent University – Kevin Jones, 1993; Akademie für Neue Musik – Boguslaw Schaeffer, Marek Chołoniewski, 1996). He is co-founder of Middle-Class Chamber Orchestra Požoň Sentimental and his musical experience includes more than 30 years performing in many ensembles and groups – Vapori del Cuore, VENI ensemble, don@u.com, SonDrian, Voise Over Noise, Mio-Mio, Audiobratia, Pink Big Pig, Frutti di mare, Musica falsa et ficta, Skuta & Piacek, DekadentFabrik. He performed improvised music with musicians like Nick Collins, David Dramm, Hilary Jeffrey, Ann LaBerge, Beth Griffith, Jean-Marc Montera, Günter Müller, Chris Newmann, John Oswald, Otomo Yoshihide, Jon Rose, Elliot Sharp, Miki Skuta, Daan Vandevalle, Marián Varga, Alfred Zimmerlin, Marcus Eichenberger, David Cajthaml, Ivan Bierhanzl and others.

Since 1996 he has composed music for countless theatre, dance and film productions. He is author of the scores for award-winning films by Peter Kerekes (Ladomírske morytáty a legendy, 66 Seasons, Cooking History and others) Ivana Šebestová (Lionardo Mio, Four), Katarína Kerekesová (Stones, Mimi And Lisa, The Websters), Katya Krausova (Last Folio). He has released more then 40 CD albums with classical, electronic, improvised and film music to date. 
Piaček’s music was featured at ISCM Word Music Days, Warsaw Autumn, Wien Modern, Wiener Festwochen, Melos-Ethos, Evenings of New Music, Musica Danubiana Ljubljana, Bratislava Music Festival, New Slovak Music Festival, Exposition of New Music Brno, Opera Nova Prague, and on many concerts at home and abroad. 

Presently he is active as a composer, performer (flute, laptop, electronics, conductor), improviser, lecturer, organizer of contemporary music events and the video producer of the Slovak Philharmonic concerts for their Online Video Archive.

In his music Piaček exploits elements of every-day life and culture, allusions to pop-music, he re-creates (re-composes) music all around us, music of the past…

In Piaček’s eyes, and in his works, rather, art is a culture-creating activity, giving him space, where something neutral, even trivial, aggressive (bad) is changed into something good, better, of greater value – briefly, something what makes sense.

Továreň / Factory

Marek Piaček

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