ORGANUM HARMONICUM (Slovenia)
Miro Božič, harmonica, tidldibab (Neanderthal flute)
Marko Hatlak, accordion
Polona Gantar, organ
Programme:
Polona Gantar (1972), Veni Creator Spiritus, za orgle, orglice, neadertalčevo piščal in harmoniko (*novelty)
Johann Sebastian Bach (1685–1750), Nun komm, der Heiden Heiland, BWV 659
Johann Sebastian Bach (1685–1750), Jesu, bleibet meine Freude from Herz und Mund und Tat und Leben, BWV 147
Slavko Osterc (1895–1941), Five Pieces for Organ
I. Prélude
II. Chaconne
III. Caprice
IV. Choral
V. Petite fugue
Miro Božič, Improvisation to “Za gore že sonce hiti” by Stanko Premrl
Stanko Premrl (1880–1965), Variation of “Ti, o Marija”
Marko Hatlak (1980), Prelude
Stanko Premrl (1880–1965), Meditation
Johann Sebastian Bach (1685–1750), Prelude in a-minor, BWV 942
Stanko Premrl (1880–1965), Variation of “Lepa si, lepa si, Roža Marija”
Miro Božič, an architect and musician, emphasizes that both architecture and music are filled with rhythm, repetition, emphasis, and surprise-elements that define his personal artistic expression. He began his musical path at the age of eight, when he first played the harmonica – a gift from his uncle, marking the beginning of a lifelong journey with the instrument. He studied music theory and trumpet at music school, but it was the harmonica that truly guided his way. First learning on his own, he later continued under the mentorship of Professor Zdenka Šindič, discovering classical music and the instrument’s hidden expressive possibilities. Early on, he drew inspiration from American blues of the 20th century, spaghetti Western soundtracks, and the lyrical tone of Chet Baker and Miles Davis. Over nearly four decades of performing, he has built a wide-ranging and diverse repertoire that includes jazz, classical music, chanson, rock, and folk. He found inspiration in Slovenian music history as well as in new and contemporary compositions. As a soloist, chamber musician, or member of larger ensembles, he has worked with various musicians and orchestras. A unique part of his artistic identity is the search for unconventional concert venues – among the most notable are his performances in the underground tunnels of the Idrija mine (Antonijev rov) and in the Krakovski Forest.
In 1993, he released his first album Mozart Blues, featuring arrangements of classical pieces and his original composition Vlak (“The Train”). In collaboration with pianist and composer Blaž Pucihar, he recorded Jazz in Ti (1999), followed by Music in Color – Quartettulipan (2002) with the Tulipan Quartet, presenting original arrangements of classical, Slovenian folk, and rock music. Later projects include Porgy & Bess (1999), a musical tribute to Čarli Novak with the group Čarlijevi angelčki, and Obljubljena dežela (“Promised Land”, 2021) with guitarist Benjamin Barbarič. He has also collaborated for many years with organist Polona Gantar. Their long-term partnership has produced several archival recordings for Radio Ars, the album Harfa drobnega dežja (“The Harp of Fine Rain”, ZKP RTV Slovenia, 2005), and a performance at the EBU Christmas Concert in 2012.
Marko Hatlak is doubtless one of the most renowned Slovenian accordionists of his generation. In the course of his abundant concert career, he headlined his own tour of the USA, performed as a soloist with the Moscow Symphony orchestra, the Jena Philharmonic, Big Band RTV Slovenia, and Slovenia’s topmost RTV Slovenia Symphony Orchestra. He was a member of some of the biggest Slovenian ensembles, from internationally acclaimed Terrafolk to Distango, Marko Hatlak & Funtango, Stefan Milenkovič, as well as Marko Hatlak in Ars tango, that made names for themselves both at home and abroad. His playing style combines elements of world music with other genres, particularly classical musical (Tango for Rachmaninov, Marko Hatlak and Funtango in Collaboration With SNG Opera in Balet Ljubljana). He played under the batons of En Shao, David De Villiers, and Marko Letonja, and shared the stage with world famous soloists, such as Stefan Milenkovich, Vlatko Stefanovski, Stefan Hussong, and Tommy Emmanuel, as well as exceptional Slovenian musicians including Iztok Mlakar, Matej Bekavec, Mojca Zlobko, Karmen Pečar Koritnik, and Irena Preda.
Organist Polona Gantar graduated from the Department of Music Education at the Ljubljana Academy of Music. At the same time, she studied the organ (concert course) at the Carinthian Conservatory of Music in Klagenfurt with Professor Klaus Kuchling, where she later graduated with distinction. In 2003, she completed her master’s degree in the organ at the University of Music and Performing Arts in Vienna under Professor Peter Planyavsky. She enriched her education in Switzerland, Austria and the Netherlands at numerous masterclasses for the organ and improvisation, led by Almuth Rössler, Olivier Latry, Jos van der Kooy, Peter Planyavsky, Michael Radulescu, Ewald Kooiman, Christoph Wolff and others. She gives solo recitals at home and abroad, collaborates with Slovenia’s most distinguished choirs, and performs in chamber ensembles with solo singers and instrumentalists. Polona Gantar regularly records for RTV Slovenia’s archive and record label, which has released her CDs entitled The Harp of the Fine Rain, and Felix Mendelssohn-Bartholdy. In 2007, she recorded the composition Bolero by Austrian composer Peter Planyavsky for the German label Motette (Peter Planyavsky – Ausgewählte Orgelwerke). She has recorded several other CDs with various Slovenian choirs, and for the RTV Slovenia archive has, among other things, recorded the solo organ works of Primož Ramovš. In 2014, 2016 and 2018, she collaborated as an organist in CD releases by the international Utopia & Reality Chamber Choir for the Norwegian label Cantando Musikvorlag (conducted by Ragnar Rasmussen and Urša Lah). Polona Gantar is a music editor at Radio Slovenia’s Programme Ars, and writes professional music articles for the music journal Glasna. She also serves as an organist at the Franciscan Church of the Annunciation at the Three Bridges in Ljubljana.
Complimentary tickets, courtesy of Večer, GenLan and Primorske novice can be collected an hour before the concert at the venue. Reservations are not possible, spaces are limited.
In collaboration with:
