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20. PagArtFestival

31.7.–17.8.2018.

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utorak, 31. srpnja / Thursday, 31st of Julysrijeda, 1. kolovoza / Wednesday, 1st of August

petak, 3. kolovoza / Friday, 3rd of Augustsubota, 4. kolovoza / Saturday, 4th of August

ponedjeljak, 6. kolovoza / Monday, 6th of Augustutorak, 7. kolovoza / Tuesday, 7th of August

srijeda, 8. kolovoza / Wednesday, 8th of August

ponedjeljak, 13. kolovoza / Monday, 13th of August

petak, 17. kolovoza / Friday, 17th of August

Krešimir Bedek, gitara/guitarEpoque orkestar/Orchestradirigent/conductor: Jan Kučera (Češka/Czech Republic)

Stari grad / Old Town, PagVrtovi lunjskih maslina / The Olive Gardens of Lun

Aleksandar Milošev, violaLovro Pogorelić, klavir/piano

Crkva sv. Frane / St. Francis’ Church, PagVrtovi lunjskih maslina / The Olive Gardens of Lun

Filip Merčep, marimba, vibrafon/vibraphone

Vrtovi lunjskih maslina / The Olive Gardens of LunDom kulture / Culture House, KolanStari grad / Old Town, Pag

PagArtFestival predstavlja mlade glazbenice / PagArtFestival presents young musician:Tea Kulaš, orgulje/organAntonia Dunjko, sopran/soprano

Crkva Marijinog Uznesenja (Katedrala) / St. Mary’s Assumption Church (Cathedrale), Pag

Nicolas Bourdoncle, klavir/piano (Francuska/France)Crkva sv. Frane / St. Francis’ Church, Pag

Raspored koncerata / Concert schedule

svi koncerti započinju u 21h / all concerts start at 9 p.m.

program se odvija u suradnji s:TZ Grada Novalja i TZ Općine Kolan

the program takes place in co-operation with:Novalja Tourist Board and Kolan Tourist Board

Muzika je lirska paučina između srca i mozga. / Music is a lyrical cobweb between the heart and the brain.

M. Krleža

Bez umijeća, nadahnuće je tek trska nošena vjetrom. / Without craftsmanship, inspiration is a mere reed shaken in the wind.

J. Brahms

Žalio bih kada bih samo zabavljao ljude, želim ih učiniti boljima. / I should be sorry if I only entertained them, I wish to make them better.

G. F. Händel

odabrao / selected by: Lovro Pogorelić,

umjetnički direktor/Artistic Director

foto/photo: V. Dorušić

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Krešimir Bedek (Zagreb, 1981.) diplomirao je gitaru u kla-si D. Petrinjaka na Muzičkoj akademiji u Zagrebu. Postdi-plomski studij završio je u Nizozemskoj u klasi Z. Dukića na Kraljevskom konzervatoriju u Hagu. Izvanredni je pro-fesor na Muzičkoj akademiji u Zagrebu.Nastupao je u Hrvatskoj, Nizozemskoj, Belgiji, Njemačkoj, Španjolskoj, Portugalu, Izraelu, Estoniji i Rusiji, svirajući solistički, uz orkestre i u različitim komornim sastavima. Dobitnik je brojnih nagrada i priznanja u Hrvatskoj i u inozemstvu. Na 42. Tribini mladih umjetnika Darko Lukić osvojio je glavnu nagradu te nagradu Koncertne dvorane Vatroslava Lisinskog, a zaposlen kao asistent na Muzičkoj akademiji u Zagrebu primio je Godišnju nagradu Društva sveučilišnih nastavnika i drugih znanstvenika u Zagrebu za 2010. godinu.Pobjednik je međunarodnih gitarističkih natjecanja Gui-tar and Chamber Music Festival Zwolle i Scharpach gitaar concurs (oboje Nizozemska 2006.), Guitarmania (Almada, Portugal, 2007.) te Certamen Internacional de Guitarra de Barcelona ‘Miguel Llobet’ (2008.) i dvostruki je laureat pre-stižnog međunarodnog natjecanja Printemps de la guitarre (Charleroi, Belgija, 2006. i 2008.).

Krešimir Bedek (Zagreb, 1981) graduated from the Za-greb Academy of Music in the class of D. Petrinjak and continued his studies in The Netherlands at the Royal Conservatory in The Hague where he gained master de-gree with Z. Dukić. He is an assistant professor at Zagreb Academy of Music.He has performed as a soloist, with orchestra and in vari-ous chamber music ensembles in Croatia, Spain, Portugal, Germany, Netherlands, Belgium, Israel, Estonia and Russia.He has been awarded many prizes in Croatia, among them the main prize at the 42nd Young Artists Podium Darko Lukić and Vatroslav Lisinski Hall Award. As a teaching as-sistant of the Zagreb Academy of Music, he received the annual award of the Society of University Teachers, Schol-ars and Other Scientists in Zagreb (2010).Krešimir Bedek is a double laureate of the prestigious inter-national competition Printemps de la guitarre (Charleroi, Belgium, 2006 and 2008) and the winner of several interna-tional guitar competitions: Certamen Internacional de Gui-tarra de Barcelona Miguel Llobet (2008), Guitarmania (Al-mada, Portugal, 2007), Guitar and Chamber Music Festival Zwolle and Scharpach gitaar concurs (Netherlands 2006).

Krešimir Bedek, gitara/guitarEpoque orkestar/Orchestra dirigent/conductor: Jan Kučera

J. Mysliveček: 4. Simfonija u D-duru / Symfonie No. 4 in D major A. Dvořák: Češka suita / Czech suiteJ. Kučera: The Birth J. Rodrigo: Koncert / Concerto Aranjuez

foto/photo: R. Philmen

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al Epoque orkestar zajednički je projekt Praškog gudačkog ansambla, Epoque kvarteta i svestranog muzičara, skla-

datelja i dirigenta Jana Kučere. Od osnutka 2001. godine, pored uspješnih koncerata u domovini i inozemstvu, pri-marno je posvećen narudžbama novih djela čeških sklada-telja. Posljednjih godina dobiva brojne ponude za snimanja kazališne i filmske glazbe, i surađuje s vodećim TV i film-skim produkcijama.

Jan Kučera (1977.) posvetio se muzici od svoje pete godi-ne. Studirao je klavir u Pragu u klasi profesora J. Tomana. Na praškom Konzervatoriju studirao je dirigiranje kod M. Němcove, M. Košlera i V. Váleka koji mu je također bio mentor na studiju pri Muzičkoj akademiji u Pragu. Diplo-mirao je (2006.) dirigirajući Simfonijskom orkestru Radio Praga, praizvodeći svoje tri simfonijske poeme na teme iz djela češke literature L. Kundere, B. Hrabala i J. Kolářa. Kompoziciju je završio također na praškom Konzervato-riju, kod B. Řehořa. Skladao je različite glazbene vrste – simfonijska i komor-na djela, kantate i pjesme, scensku glazbu za Praško kaza-lište i regionalna kazališta te aranžmane. Nisu mu strani ni crossover, jazz i drugačiji žanrovi; skladateljev CD Be-stežinsko izrastao je iz uske suradnje s Epoque kvartetom i Epoque orkestrom.Kao dirigent radio je s vodećim češkim orkestrima. Po-red klasičnog repertoara snimao je i izvodio stotinjak djela suvremenih skladatelja, često premijerno. Dirigi-rao je Simfonijskim orkestrom Praga za njihove britan-ske turneje 2015. Pratio je mnoge istaknute soliste (V. Hudeček, E. Indjic, J. Simon, B. Giltburg, O. Sauter, M. Válek, R. Patočka). Aktivan je i na opernoj sceni. U Nacionalnom morav-sko-šleskom kazalištu u Ostravi dirigirao je Mirandolinu B. Martinůa i Vatrenog anđela S. Prokjofjeva. Na Novoj sceni Praškog nacionalnog teatra postavio je izdvedbe dvaju djela D. Šostakoviča – Antiformalistični mali raj i Orango te svjetsku premijeru svoje komične opere Red Mary. U siječnju 2016. postavio je Rossinijevu Pepeljugu u Praškom državnom teatru.

Epoque Orchestra  is a joint project of the Prague String Ensemble, Epoque Quartet and a versatile musician, com-poser and conductor Jan Kučera. Since its foundation in 2001 – in addition to successful concerts both at home and abroad it was primarily devoted to commissioning new works by young Czech composers.  In recent years, Epo-que Orchestra has also been in great demand for recording film and theater music and it has cooperated with major TV and film productions.

Jan Kučera (1977) has devoted himself to music since the age of five. He studied piano in Prague in the class of Professor J. Toman. At the Prague Conservatory he studied conducting with M. Němcová, M. Košler and V. Válek, who also supervised his conducting studies at the Academy of Performing Arts.At his graduation concert (2006), Kučera performed with the Prague Radio Symphony Orchestra the pre-miere of three of his symphonic poems on the themes from Czech literature – works by L. Kundera, B. Hrabal and J. Kolář. He completed his composition studies at the Prague Conservatory under B. Řehoř. In his composing so far, he has worked in several genres - symphonic and chamber works, cantatas and songs, stage music for works by Prague and regional theatres, and ar-rangements. Nor is he a stranger to crossover, jazz and other genres; the composer’s CD Weightlessness arose out of his close cooperation with the Epoque Quartet and Epoque Orchestra.As a conductor he also works with other leading Czech orchestras. In addition to the classical repertoire, he has recorded or performed with them over 100 symphonic works by contemporary composers, often premiers. He conducted Prague Symphony Orchestra during the Great Britain tour in 2015. He has accompanied many outstand-ing soloists (V. Hudeček, E. Indjic, J. Simon, B. Giltburg, O. Sauter, M. Válek, R. Patočka).He is also active at the opera stage. In the National Moravian- Silesian Theatre in Ostrava, he conducted Mirandolina by B. Martinů and Prokofiev’s opera The Fiery Angel. At the New Stage of the National Theatre in Prague, he prepared the performance of two short operas by D. Shostakovich – Antiformalist Rayok and Orango, and his own comic opera Red Mary as a world premier. In January 2016, he staged the opera Cinderella by G. Rossini at the Prague Estates Theatre.

foto/photo: Prague Spring Festival

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Odlikovan najvišom slovenskom nagradom za umjetnič-ka postignuća (Prešernova nagrada), Aleksandar Milošev glazbenik je širokih stilskih interesa. Kao solist nastupao je sa Zagrebačkim solistima, Slovenskom, Zagrebačkom i Beogradskom filharmonijom, pod ravnanjem M. Copeya, En Shaoa i U. Lojovica. Surađivao je s mnogim istaknutim umjetnicima kao što su B. Giuranna, R. Filippini, J. Talich, F. Gulli, J. Rahlin, I. Grafenauer, R. Vlatković, G. Capucon, V. Jagling, A. Rudin, R. Tognetti i C. Altenburger. Nedavno je snimao i svirao s lutnjistom E. Karamazovim, dobit-nikom nagrade Grammy. Zahtjevan komorni glazbenik, Aleksandar je član gudačkog Kvarteta Tartini koji je svi-rao u mnogim prestižnim dvoranama svijeta. Nastupao je na mnogim komornim festivalima uključujući Komorni festival Colmar (Francuska), Dubrovačke ljetne igre, Ma-riborski glazbeni septembar i Festival Ljubljana. Na po-ziciji je vođe dionica viola Slovenske filharmonije, a istu poziciju obnašao je i u Minhenskoj filharmoniji, Orkestru Philharmonia London, Njemačkom komornom orkestru i Orkestru Arturo Toscanini. Njegovi diskografski zapisi uključuju Mozartovu Simfoniju Concertante za violu i or-kestar sa Slovenskom filharmonijom, Mozartove kvartete za flautu s D. Formisanom za talijansku kuću Stradivarius, kao i mnoge zapise s Kvartetom Tartini. Čvrsto odan pe-dagoškom radu, Aleksandar poučava violu kao izvanredni profesor na Muzičkoj akademiji Zagreb, a djelovao je godi-nama i kao gostujući profesor na Kozervatoriju za glazbu i ples Trinity Laban u Londonu.

Awarded the highest Slovenian prize for cultural achieve-ment (The Prešern Award), Aleksandar Milosev is a mu-sician with a broad range of stylistic interests. As a soloist he has appeared with the Zagreb Soloists ensemble, Slo-venian Philharmonic, Zagreb Philharmonic and Bel-grade Philharmonic Orchestras, under the baton of Marc Coppey, En Shao and Uroš Lajovic. Aleksandar has collab-orated with many renowned artists, such as B. Giuranna, R. Filippini, J. Talich, F. Gulli, J. Rachlin, I. Grafenauer, R. Vlatkovic, G. Capucon, V. Jagling, A. Rudin, R. Tognetti and C. Altenburger. He has recently recorded and per-formed with Grammy Award nominated lutenist Edin Karamazov. An avid chamber musician, Aleksandar is also a member of The Tartini String Quartet which has performed in many prestigious venues around the world. He has performed in many chamber festivals including the Colmar Chamber Music Festival (France), Dubrovnik Fes-tival (Croatia), Maribor Musical September and Ljubljana Summer Festival (Slovenia). He is currently the principal violist at the Slovenian Philharmonic Orchestra, and has held previous positions with the Munich Philharmonic Orchestra, Philharmonia Orchestra in London, Deutsche Kammer Orchester and Arturo Toscanini Orchestra. CD recordings include Mozart’s Sinfonia Concertante for vio-lin and viola with the Slovenian Philharmonic Orchestra, Mozart’s flute quartets with Davide Formisano for Italian label Stradivarius, and many recordings with the Tartini String Quartet. Firmly dedicated to pedagogical work, Aleksandar currently teaches viola at the Zagreb Academy of Music. He was teaching at Trinity Laban Conservatoire of Music and Dance in London for years.

Aleksandar Milošev, violaLovro Pogorelić, klavir/piano

L. van Beethoven: Romanca za violu i klavir u F-duru / Romance for Viola and Piano in F major, Op. 50 Nokturno u D-duru / Notturno in D major, Op. 42D. D. Šostakovič: Sonata za violu i klavir / Sonata for Viola and Piano, Op. 147

foto/photo: D. Bulut

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foto / photo by Alan Crljenko

Lovro Pogorelich (1970) received his first piano lessons from his father Ivan, a classically trained musician. At the age of twelve, he began studying with the Russian pianist and ped-agogue Konstantin Bogino. Since his seventeenth birthday, he has been playings concerts worldwide. The following was written about him:

Lovro Pogorelich’ style is precise and well schooled...G. Norris, Daily Telegraph, London, 1988

Here is a unique artist who will, undoubtedly, divide opin-ions. Questionable for some. Fascinating for the others. Inter-esting, in any case...

A. Busser, Nice-Matin, Nice, 1992

A Piano Talent from the Master Category... He is genuine in his playing without unnecessary embellishment, not trying to mislead anyone, doing everything to enter the soul of every tone and to inhale it the full value. There are no superficiality or easy solutions in his performing; everything is presented clearly and strongly...

P. Woetmann, Berlingske Tidene, Copenhagen, 1993

It seems that Pogorelich persistently plays uphill... It is an un-usual and moving experience to meet such a great musician... 

J. Jacoby, Politiken, Copenhagen, 2000

Croatian Piano Lion... Pogorelich is a pianist with the capital P. His technique is overwhelming and his strength is bear-like... In Pictures at an Exhibition his contrasts are so plastic and powerful that we can almost touch children in Tuileriers, feel Bydlo’s attack, experience the orgy of colours at the Mar-ket-place at Limoges, hear rumble in Catacombs, and enlarge and empower the Great Gate of Kiev more than heard ever before. Did anybody miss Ravel’s orchestration? No, Lovro Pogorelich’s interpretation is sufficient. Prokofiev (The 7th So-nata) remains faithful to himself in all three movements... In the third one he dominantly mastered restless tempo, vigor-ously but with strong feeling... leaving everybody breathless while playing. That was overwhelming! 

H. Krarup, Dagblader, Denmark, 2003

Pianist Lovro Pogorelich has discovered how to invest the brooding inevitability of Slavic music with the blustery style of his own... already a veteran concert artist, Pogorelich played an all-Slavic program for an overflow audience...

C. Porter, Washington Post, 2003

It is clear that this is a pianist of a considerable reputation with impressive musical arguments.

J. Hamada, The Record Geijutsu Disc Review (Japan), 2006

In this manly perspective, the Sonata in H minor appears more credible than the most recent affectation from Far East. Also, the Obermann Valley does not wallow in the sublime, so that powerful things are expressed in a dark manner...

O. Bellamy, Le monde de la musique, Paris, 2006

In Pictures at an Exhibition Lovro Pogorelich’s intention is less to grasp his audience than to guide them. Isn’t this ab-sence of violence closer to the spirit of the piece? Without a doubt, his expression well paused and measured, his vivacious harmonic intelligence (Catacomb), his manner of touching the keys and his sound inclined towards intimacy (The Old Castle) captivate. Not forced, but richly coloured, his perfor-mance succedes, almost without noticing it, to evoke the or-chestra. Nice work...

F. Langlois, Le monde de la musique, 2009

Brilliant Lovro Pogorelich at SC... by playing lyrical, deeply introverted, melancholic, emotionally charged pieces from the Années de Pèlerinage, thus showing the virtuosic ability of achieving pianism that left the audience speechless.

B92 Beograd, Tanjug, unknown author, 2011

Lovro Pogorelich does not need to show and/or prove himself in Croatia or outside of it: this inegenious and outstanding artist possesses an enviable inner fullness rendered by mature years, which is in blissful harmony with a superior technical mastery. His biography, as well as his technical mastery, does not need to be described – it is implicit. His position on our increasingly expanding artistic horizon cannot be threatened by any new, sparkling talent. It can be assumed that he is one of reference points of modern Croatian pisanism. Such an artist is a pleasure to listen to, regardless of his choice of rep-ertoire: Brahms, Liszt, Chopin or, as in this concert, Russian composers...

H. Novak Penga, KLASIKA.hr, 2017

Lovro Pogorelich teaches piano as a full professor at the Za-greb Academy of Music. In his spare time he conquers mountain peaks.

Lovro Pogorelić (1970.) dobio je prvu poduku iz klavira od svog oca Ivana, akademskog muzičara. Od dvanaeste godine radi s ruskim pijanistom i pedagogom K. Boginoom. Od se-damnaeste godine redovito koncertira širom svijeta. Solistički ili s orkestrom, ostvaruje pijanističke kreacije uvjerljive snage i nepobitne individualnosti, o čemu je zapisano:

Stil Lovre Pogorelića precizan je i dobro školovan...G. Norris, The Daily Telegraph, London, 1988.

Evo jedinstvenog umjetnika koji će, nesumnjivo, podijeliti mišljenja. Diskutabilan za neke. Fascinantan za druge. Zani-mljiv, u svakom slučaju...

A. Busser, Nice-Matin, 1992.

Klavirski talent iz kategorije velikana... On je genijalan u svom sviranju bez nepotrebnog uljepšavanja, ne nastojeći ni-koga zavesti, čineći sve da uđe u dušu svakom tonu i udahne mu punu vrijednost. Nema površnosti ili lakih rješenja u nje-govoj izvedbi, sve je predstavljeno jasno i snažno...

P. Woetmann, Berlingske Tigendde, Kopenhagen, 1993.

Izgleda da Pogorelić ustrajno kreće uzbrdo... Neobično je i dirljivo iskustvo sresti tako velikog umjetnika...

J. Jacoby, Politiken, Kopenhagen, 2000.

Hrvatski klavirski lav... Pogorelić je pijanist s velikim P. Nje-gova tehnika je nadmoćna a snaga medvjeđa... U Slikama s izložbe kontraste daje toliko plastično i snažno da možemo gotovo dotaknuti djecu u Tuillersu, osjetiti napad Bydla, do-živjeti orgiju boja u Limogesu, čuti huk u Katakombama, a Velika vrata Kijeva postala su veća i moćnija nego što smo čuli ikada prije. Je li ikome nedostajala Ravelova orkestracija? Ne, interpretacija Lovre Pogorelića je dovoljna... Prokofjev (7. sonata) ostaje vjeran sebi u sva tri stavka... U trećem je pot-puno nadvladao uznemireni tempo, snažno ali s osjećajem, svirajući tako da svi ostaju bez daha. To je bilo nadmoćno!

H. Krarup, Dagblader, Danska, 2003.

Pijanist Lovro Pogorelić pronašao je kako investirati u ne-zaobilaznost slavenske glazbe snažnim, raskošnim vlastitim stilom... Koncertni veteran svirao je preplavljenoj publici...

C. Porter, Washington Post, 2003.

Radi se o pijanistu izvjesne reputacije sa zadivljujućim muzič-kim argumentima...

J. Hamada, The Record Geijutsu Disc Review, Japan, 2006.

U toj muževnoj perspektivi Sonata u h-molu osvanjuje vjero-dostojnije od posljednih prenemaganja s Dalekog Istoka. Isto tako, Dolina Obermann se ne valja u sublimnosti te na mra-čan način iznosi snažne stvari...

O. Bellamy, Le monde de la Musique, Pariz, 2006.

U Slikama s izložbe Lovro Pogorelić manje se trudi zavesti slušatelja nego ga voditi. Iz tog odsustva prisile, nije li više odan zapisu djela? Bez sumnje, zato što njegova dobro po-stavljena i odmjerena ekspresivnost, njegova živa harmonična inteligencija (Katakombe), njegov smisao za ganuće i njego-vo nagnuće prizivu intimnog (Stari dvorac) zarobljava. Malo bučnosti i puno fino izbrušenih boja, gotovo bez našeg zna-nja, kroz prizivanje orkestra...

F. Langlois, Le monde de la musique, Pariz, 2009.

Briljantni Lovro Pogorelić u SC-u... svirajući lirske, duboko in-trovertne, melankolične, nabijene emocijama, kompozicije iz serije “Godine hodočašća” na kojima je pokazao vituoznu spo-sobnost postizanja pijanizima od kojeg je publika zanijemila.

B92 Beograd, Tanjug, autor nepotpisan, 2011.

Lovri Pogoreliću u Hrvatskoj, a i izvan nje nije potrebno pokazivanje i/ili dokazivanje: ovaj ingeniozni  umjetnik od formata  posjeduje zavidnu nutarnju puninu koju sa sobom donose zrele godine, a koje su u sretnom suglasju sa superior-nom tehničkom spremom. Kao ni njegov životopis, niti teh-ničku spremu Lovre Pogorelića nije potrebno opisivati – ona se podrazumijeva. Njegov položaj na našem sve razgranati-jem pijanističkom obzorju ne može ugroziti niti jedan novi, blistavi talent. Prije bi se reklo da je Lovro Pogorelić jedna od referentnih točki suvremenog hrvatskog pijanizma. Takvog je umjetnika užitak slušati, bez obzira kojem se repertoaru okreće: Brahmsu, Lisztu, Chopinu ili, kako na ovom koncer-tu, ruskim autorima...

H. Novak Penga, KLASIKA.hr, 2017.

Lovro Pogorelić poučava klavir kao redovni profesor pri Mu-zičkoj akademiji u Zagrebu. U slobodno vrijeme osvaja planinske vrhove.

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foto/photo: S. Čustović

Filip Merčep zasjao je na glazbenoj sceni nastupom u fina-lu Eurovizijskog natjecanja mladih glazbenika 2010. godi-ne ispred bečke Vijećnice, pred 45000 gledatelja, uz prat-nju Simfonijskog orkestra Bečkog radija pod ravnanjem maestra C. Meistera. Otada, Filip svojim mnogobrojnim projektima konstantno dokazuje da je glazbenik širokog spektra interesa i djelovanja.Diplomirao je na Muzičkoj akademiji u Zagrebu u klasi prof.I. Lešnika (2015.) s popratnom pohvalom Cum Laude. Još od studentskih dana aktivno je prisutan na hrvatskoj glazbenoj sceni nastupajući na Dubrovačkim ljetnim igra-ma, Šibenskom, Splitskom i Zadarskom ljetu, Osorskim glazbenim večerima i Muzičkom Biennalu Zagreb. Na-stupao je sa Zagrebačkom filharmonijom, Simfonijskim orkestrom HRT-a, Dubrovačkim simfonijskim orkestrom i Puhačkim orkestrom OSRH. Osvojio je nagradu Ivo Vuljević Hrvatske glazbene mladeži i nagradu Zagrebač-ke filharmonije za najboljeg mladog glazbenika, nagradu Grada Samobora, nagradnu stipendiju Yamaha za najbo-ljeg udaraljkaša Muzičke akademije u Zagrebu, 2. nagradu na natjecanju Universal Marimba Competition u Belgiji, 1. nagradu na Natjecanju Boris Papandopulo u Zagrebu te diskografsku nagradu Porin u kategoriji najbolje interpre-tacije klasične glazbe. Za interpretacije Koncerta za uda-raljke i orkestar I. Lešnika i F. Cibulke sa Zagrebačkom filharmonijom i Koncerta za ksilofon i gudački orkestar B. Papandopula sa Simfonijskim orkestrom HRT-a nagrađen je Rektorovom nagradom Sveučilišta u Zagrebu i Dekano-vom nagradom Muzičke akademije u Zagrebu za aktivnu koncertnu djelatnost.Kao komorni glazbenik surađivao je s J. L. Barretom, S. Rumolino i J. Rodriguezom, M. Leskovar, I. Bilić, S. Poljak te sa zborom Ruske državne kapele pod ravna-njem V. Poljanskog. Nastupio je na Festivalu sljedeće ge-neracije (Bad Ragaz, Švicarska) i Međunarodnom festivalu

Molyvos u Grčkoj. Član je ansambla Sudar Percussion. Snimili su album Eat Suite s djelima M. Meštrovića, na-građen dvjema nagradama u programu Nezavisnih glaz-benenih nagrada (Indipendent Music Awards, SAD), i Ma-rimba kvarteta s eminentnom marimbisticom K. Myćkom koja je Filipov prvi marimbistički uzor, a sada kolegica i mentorica. Na njenoj Međunarodnoj marimbističkoj aka-demiji Filip je gostujući asistent za komornu glazbu.

Lights of the music scene spotlight shone on Filip Merčep in front of Vienna Rathaus and 45.000 people during his performance at Eurovision Young Musicians 2010 finals, accompanied by the Vienna Radio Symphony Orchestra, directed by Mo. C. Meister. Ever since, with his numerous projects, Filip has proven a wide range of his music interest and performance.He graduated from the Zagreb Academy of Music in the class of I. Lešnik, Cum Laude (2015). Ever since his student days, Filip has been actively present on the Croatian music scene, performing at Dubrovnik, Šibenik, Split and Zadar summer festivals, Osor Music Evenings, Music Biennale Zagreb, playing solo with most of Croatian orchestras – Zagreb Philharmonic, Croatian RTV Symphonic Orchestra, Dubrovnik Symphonic Orchestra, Wind Orchestra of Cro-atian Armed Forces. He has won Ivo Vuljević – Croatian Musical Youth’s award for the best young musician and Zagreb Philharmonic Best Young Musician Award, City of Samobor Reward, Yamaha Scholarship Award for the best percussion student at Zagreb Academy of Music, 2nd Prize at Universal Marimba Competition in Belgium, 1st Prize at Boris Papandopulo Competition in Zagreb and discog-raphic award Porin for the best interpretation of classical music. For his interpretation of Concerto for Percussions and Orchestra by I. Lešnik and F. Cibulka with Zagreb Philharmonic and Concert for Xylophone and String Or-

chestra by B. Papandopulo with Croatian RTV Symphony Orchestra, Filip was awarded the Rector’s Award of the University of Zagreb and the Zagreb Academy of Music Dean’s Award for his concert activities.As a chamber musician, he has cooperated with J. L. Barreta, S. Rumolino, J. Rodriguez, M. Leskovar, I. Bilić, S. Poljak and the Russian State Chapel Choir directed by V. Polyansky. He performed at the Next Generation Festival (Bad Ragaz, Swit-zerland) and Molyvos International Music Festival (Greece).

Filip is a member of Sudar Percussion Ensemble. They recorded the Eat Suite album with original pieces by M. Meštrović and received two awards by USA Independent Music Awards. He is also a member of Marimba Quartet with the eminent marimba soloist K. Myćka, his first ma-rimba role-model, now a colleague and mentor. At her In-ternational Marimba Academy Filip is a visiting assistant for chamber music.

Filip Merčep, marimba, vibrafon/vibraphone

J. S. Bach: Partita za instrumente s tipkama br. 2 u c-molu / Partita for Keyboard No. 2 in C minor, BWV 826A. Ignatowicz Glinska: Kameni mozaik / Stone mosaic I. Lešnik: 20 Years Later A. Kątny: YpsilonA. Thomas: MerlinJ. Schwantner: Brzine / Velocities

foto/photo: S. Čustović

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Tea Kulaš (Zadar, 1994.) glazbeno je obrazovanje započela 2000. godine u Glazbenoj školi Blagoje Bersa u Zadru, gdje je pohađala klavirski, teoretski i orguljaški odjel. Posljednju godinu orguljaškog obrazovanja provela je u Zagrebu u kla-si P. Mašića, pod čijim je vodstvom osvojila prvu nagradu na regionalnom i treću nagradu na državnom natjecanju u Zagrebu. Godine 2007. završila je plesno obrazovanje tijekom kojeg je sudjelovala na natjecanjima za skupine i solo plesače te osvajala nagrade. Zadarskom plesnom an-samblu pristupila je 2008. godine te postala voditeljica pod-mlatka s kojim je sudjelovala na svim predstavama ansam-bla kao koreografkinja i plesačica. U redovnom školstvu završila je grafički dizajn Škole za primijenjenu umjetnost i dizajn u Zadru. Godine 2012. upisala je studij muzikologije na Muzičkoj akademiji Sveučilišta u Zagrebu, a 2013. godine studij or-gulja u klasi Lj. Očić kod koje je diplomirala ovog ljeta. Pod njenim je mentorstvom 2015. godine osvojila prve nagrade na regionalnom i državnom natjecanju u Zagrebu. U kate-goriji komorne glazbe iste je godine osvojila prvu nagradu na regionalnom i drugu na državnom natjecanju. U sklopu umjetničko-znanstvenog projekta Religiofonija, 2016. go-dine nastupila je kao solistica s orkestrom Muzičke akade-mije (Zagreb, Čakovec i Ljubljana) te je s kolegicom Danie-lom Perković održala predavanja naslovljena Josip Štolcer Slavenski – skladatelj na marginama. Aktivno sudjeluje na seminarima interpretacije orgulj-ske glazbe (H. Fagius, M. Schmeding, T. Ospital, R. Prieto

Ramírez, K. Volostnov, T. Sevšek Šramel, N. J. Laube, S. Y. Lee, W. Reisinger, H. Fairs).Dobitnica je dvogodišnje stipendije međunarodnog pro-grama razmjene studenata Erasmus te akademske godi-ne 2016./2017. i 2017./2018. provodi u klasi G. Rosta na Umjetničkom sveučilištu u Grazu, gdje je 2017. godine osvojila drugu nagradu na natjecanju Martha Debelli. Redovito koncertira diljem Hrvatske i u inozemstvu te su-djeluje na domaćim i stranim festivalima: Anabasis i Orgu-lje sv. Marka (Zagreb), Ars organi Sisciae (Sela kraj Siska, Martinska Ves), PagArtFestival, Petar Nakić (Rab), Zvučeći kalendar došašća i Orguljsko proljeće (Graz).

Tea Kulaš  (Zadar, 1994) started her musical education in 2000 at Blagoje Bersa Music School in Zadar, where she at-tended the piano, music theory and organ department. She spent the final year of organ education in Zagreb in the class of P. Mašić, under whose supervision she won the first prize at the regional and the third prize at the state competition in Zagreb. In 2007, she completed her dance education during which she participated in group and solo dancing competi-tions and won prizes. She joined the Zadar Dance Ensem-ble in 2008 and became the leader of the youth group with which she participated in all performances of the ensemble both as a choreographer and a dancer. In her regular educa-tion, she completed the graphic design at the School of the Applied Arts and Design in Zadar. In 2012, she enrolled the musicology studies at the Zagreb

Tea Kulaš, orgulje/organAntonia Dunjko, sopran/soprano

J. Pachelbel: Aria prima; Hexachordum ApollinisJ. S. Bach: arija I ja Te slijedim; Muka po Ivanu / aria I follow You likewise; St John Passion, BWV 245 A. Stradella: arija/aria Pietà Signore J. J. Froberger: Toccata II, FbWV 108 J. S. Bach: arija/aria Quia respexit; Magnificat u D-duru/in D major, BWV 243 I. Lukačić: motet Cantabo Domino; Sacrae cantionesJ. S. Bach: arija Dođi u moje srce; Naš Bog je čvrsta tvrđava /

aria Come into my heart’s house; A Mighty Fortress Is Our God, BWV 80 J. S. Bach: Partita u a-molu/in A minor, BWV 827 F. Durante: Djevice, sva od ljubavi / Virgin, all of Love G. F. Händel: Raduj se, kćeri sionska; Mesija / Rejoice greatly, O daughter of Zion; Messiah

foto/photo: A. Vilegžanjin

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Antonia Dunjko rođena je 1992. godine u Varaždinu. Diplomirala je na Muzičkoj akademiji u Zagrebu kod profesorice L. Horvat Dunjko. Trenutno radi s međuna-rodno priznatom sopranisticom R. Joshua. Pobjednica je brojnih nacionalnih i međunarodnih pjevačkih natjeca-nja i pojavila se kao solistica u koncertnim i oratorijskim djelima pod ravnjanjem domaćih i gostujućih dirigena-ta (mo. L. Hager). Izvodila je uloge Slavuja u istoimenoj operi Stravinskog, Amore u Orfej i Euridika (Gluck), Popeje u Agripini (Händel), Lisice u Lukavoj maloj Lisici (Janáček) te Muzike i Euridike u Monteverdijevoj ope-ri Orfej, kao i Emu u Zajčevoj opereti Momci na brod i Marietu u Kálmánovoj opereti Bajadera, u punoj oper-noj produkciji.Antonia redovito nastupa u Hrvatskoj i inozemstvu, u Au-striji, Češkoj, Njemačkoj, Nizozemskoj, Mađarskoj, Italiji, Bugarskoj i Srbiji. Nastupila je i na omladinskom koncertu u Kennedy centru u Washingtonu.Od ove sezone članica je operne grupe The Fat Lady u Haarlemu (umjetnički direktor T. Chasson), Nizozemska.

Antonia Dunjko was born in 1992 in Varaždin. She gained her master degree at the Zagreb Academy of Mu-sic where she has been studing with Professor L. Horvat Dunjko. Currently she works with the international re-nowned soprano R. Joshua. Antonia has won numerous national and international singing competitions and appeared as a soloist in concert and oratorio works con-ducted by domestic and guest conductors (Mo. L. Hager). She performed in fully staged productions the opera roles of Nightingale  in The Nightingale  (Stravinsky), Amore in Orpheus and Eurydice (Gluck), Poppaea in Agrippina (Handel), The Vixen in Cunning Little Vixen (Janáček), La musica and Eurydice in L’Orfeo (Monteverdi) as well as the operetta roles of Ema in Men Aboard (Zajc) and Mariette in Die Bajadere (Kálmán). Antonia performs regularly in Croatia and abroad, in Austria, Czech Republic, Germany, Netherlands, Hun-gary, Italy, Bulgaria and Serbia. She also performed in the youth concert at Kennedy Centre, Washington D.C.Starting from the upcoming season, she has been a part of The Fat Lady Opera Group in Haarlem (artistic direc-tor T. Chasson), Netherlands.

Academy of Music, and in 2013 the organ studies in the class of Lj. Očić that she graduated from this summer. Un-der her mentorship in 2015 she won first prizes at both the regional and state competitions in Zagreb. In the category of chamber music, she won the first prize the same year at the regional and the second prize at the state competition. As a part of the artistic and scientific project Religiophony, in 2016 she performed as a soloist with the orchestra of the Academy of Music (Zagreb, Čakovec and Ljubljana) and held the lectures titled Josip Štolcer Slavenski – composer in the margins with a colleague Daniela Perković.She has actively participated in the seminars of interpreta-tion of organ music (H. Fagius, M. Schmeding, T. Ospital, R. Prieto Ramírez, K. Volostnov, T. Sevšek Šramel, N. J. Laube, S. Y. Lee, W. Reisinger, H. Fairs).

She is the winner of the two-year scholarship of the Erasmus International Student Exchange Program and has spent the academic years of 2016/2017 and 2017/2018 in the class of G. Rost at the University of Music and Performing Arts in Graz, where she won the second prize at the Martha Debelli Competition in 2017.She regularly performs concerts throughout Croatia and abroad and participated in domestic and foreign festivals: Anabasis and Organs of St. Mark (Zagreb), Ars organi Sis-ciae (Sela near Sisak, Martinska Ves), PagAtFestival, Petar Nakić (Rab), the Sounding Ascension Calendar and Organ Spring (Graz).

foto/photo: teatar Madlenianum

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Rođen u Aix-en-Provence 1998., Nicolas Bourdoncle počeo je učiti klavir sa svojim ocem, Michelom Bourdoncleom, da bi nastavio na Konzervatoriju Pierre Barbizer u Mar-seillu, kod E. Berdhota. Redovito je pohađao master clas-seve B. Flavignyja, D. Wayenberga, D. Merlet, C. R. Alsina, D. T. Sona, F. Aguessya, M. Bourdonclea, J. M. Luisade, K. Lifshitza i V. Viardoa.Debitirao je kao solist u dvoranama Filharmonije Odese (Ukrajina) te Kišinjeva i Tiraspola (Moldavija) u dobi od 10 godina. 2012. godine postaje laureat Međunarodnog natje-canja u Hanoiu (Vijetnam). Diplomirao je 2015., s najvišim ocjenama, na pariškom kon-zervatoriju, gdje je studirao kod R. Muraroa. Trenutno stu-dira kod N. Goernera na Visokoj glazbenoj školi u Ženevi.Održao je brojne recitale i koncerte s orkestrima u Fran-cuskoj, Njemačkoj, Španjolskoj, Italiji, Sloveniji, Hrvatskoj, Albaniji, Grčkoj, Rumunjskoj, Moldaviji, Ukrajini, Poljskoj, Armeniji, Vijetnamu, Brazilu, Meksiku...

Born in Aix-en-Provence 1998, Nicolas Bourdoncle start-ed to study piano with his father, Michel Bourdoncle, and continued his education at the Pierre Barbizet Conservatory in Marseilles, with E. Berdhot. He regularly attended the master classes of B. Flavigny, D. Wayenberg, D. Merlet, C. R. Alsina, D. T. Son, F. Aguessy, M. Bourdoncle, J. M. Luisada, K. Lifshitz and V. Viardo.He debuted as a soloist at the Odessa Philharmonic Hall (Ukraine) and of Chisinau and Tiraspol (Moldova) at the age of 10. In 2012, he became the laureate of the Interna-tional Competition in Hanoi (Vietnam). He graduated in 2015, with the highest grades, from the Paris Conservatoire, where he studied with R. Muraro. He is currently studying with N. Goerner at the High Music School in Geneva.He has held numerous recitals and concerts with the or-chestras in France, Germany, Spain, Italy, Slovenia, Croatia, Albania, Greece, Romania, Moldova, Ukraine, Poland, Ar-menia, Vietnam, Brazil, Mexico...

Nicolas Bourdoncle, klavir/piano

J. S. Bach: Preludij i fuga u gis-molu / Prelude and Fugue in G-sharp minor, BWV 863J. Haydn: Sonata u Es-duru / Sonata in E-flat major, Hob. XVI:52F. Chopin: 3. Sonata za klavir u h-molu / Piano Sonata No. 3 in B minor, Op. 58 G. Enescu: 2. Suita za klavir u D-duru / Piano Suite No.2 in D major, Op. 10 S. V. Rahmanjinov: 2. Sonata za klavir / S. V. Rachmaninoff: Piano Sonata No. 2, Op. 36

foto/photo: M. Leduc

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PagArtFestival podržali / PagArtFestival is supported by:

Turistička zajednica Paga / Pag Tourist BoardPag91, Agencija Sunturist Pago, Maricom Tourist Service, Restoran Dubrava, Trattoria i Villa Padre iz Paga/from Pag,

Mandis, Digitalprint iz Zagreba/from Zagreb, Vinarija Petrač, Hršak Breg

zahvaljujemo / thanks to:gospodinu Anti Dabu, gradonačelniku Novalje, na proširenju Festivala / Mr. Ante Dabo, Mayor of Novalja, for extending the Festival gospodinu Anti Fabijaniću Njekulinu, gradonačelniku Paga, Gradskom vijeću Paga i gospodinu Marinu Pernjaku, načelniku Kolana, na prihvaćanju Festivala / Mr. Ante Fabijanić Njekulin, Mayor of Pag, Pag Municipal Authority and Mr. Marin Pernjak, Mayor of Kolan, for approving the FestivalTurističkom centru Paga, Centru za kulturu Grada Novalje i poduzeću PagII na pomoći / Pag Tourist Centre, Novalja Centre for Culture and PagII Enterprise for assistance

zahvaljujemo na gostoprimstvu i suradnji / thanks for welcoming and cooperation to:don Gašparu Dodiću i župnom uredu Paga / don Gašpar Dodić and Pag Parish Office,Maslinarskoj zadruzi Lun / Olive Grove Cooperative Lun

posebno zahvaljujemo / special thanks to:Glazbenim večerima u sv. Donatu na suradnji / Music Evening in St. Donat’s Church for cooperationgospodinu Josipu Portadi na naslovnoj fotografiji / Mr. Josip Portada for a cover photogospodi Tvrtku Marasu i Robertu Kulašu na fotografijama i snimkama / Mr. Tvrtko Maras and Mr. Robert Kulaš for photos and recordings gospodinu Aljoši Paru na scenografskoj pomoći / Mr. Aljoša Paro for set design and assistancegrađanima i turistima otoka Paga na odazivu / citizens and visitors of the Island of Pag for attending the performances

naročito zahvaljujemo / very special thanks to:pokojnom gospodinu Josipu Vičeviću na inicijativi i Društvu Pažana i prijatelja Paga u Zagrebu na pokretanju Festivala / late Mr. Josip Vičević for his initiative and the Zagreb-based Association of Residents and Friends of Pag for launching the Festival svim ljudima dobre volje koji su na bilo koji način pomogli u realizaciji naših programa / all the people of good will who have somehow contributed to the realization of our programs

pomoćnik umjetničkog ravnatelja / Assistant Artistic Director: Krešimir Bedekprodukcija, marketing, organizacija i odnosi s javnošću / Production, Organization, Marketing and Public Relations: Nina Pogorelićpomoćnice / Assistants: Tea Kulaš, Ana Pogorelić, Lucija Rückerprijevod i korektura / translation and proofreading: Iva Špoljar Šarićpriprema za tisak / prepress: Krševan Savić

Festival zadržava pravo promjene programa / The Festival reserves the right to modify the programUmjetnička organizacija / Artistic Association “Lovro&Nina”, Mesnička 24, HR–Zagreb

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