it`s an all inclusive project.
Transkrypt
it`s an all inclusive project.
I, CULTURE ORCHESTRA THE EASTERN TOUR 2012 1 2 3 The I, CULTURE Orchestra (ICO) was formed in 2011 by the Adam Mickiewicz Institute as part of the cultural programme of the Polish Presidency of the EU Council, from its very beginnings focusing on culture as a means to deepen the EU’s relationship with the countries of the Eastern Partnership (EaP). Assembling some of the most talented young musicians from Armenia, Azerbaijan, Belarus, Georgia, Moldova, Poland and Ukraine, the twin aims of the ICO are to form a great orchestra of international young musicians whilst also creating an outstanding and innovative vehicle for positive cultural and social international development. In 2011, under conductors Sir Neville Marriner and Pavel Kotla, the ICO performed its first international tour to great acclaim in some of Europe’s most prestigious concert halls, including the Berliner Philharmonie, London’s Royal Festival Hall and the Teatro Real in Madrid. For 2012, the ICO returns to its cultural homeland with concerts throughout the EaP, giving local audiences the opportunity to experience this remarkable project. With works by Tchaikovsky, Respighi, Szymanowski and Dvořák, the programme for the current tour is conducted by one of the world’s great up and coming young artists, the Venezuelan Ilyich Rivas. Tutors for the orchestra come from a selection of the world’s leading orchestras, ensembles and music colleges, including The Philharmonia Orchestra, The Moscow Conservatory, The Royal Academy of Music, The Royal Welsh College of Music and Drama, Venezuela’s El Sistema, and the London Symphony Orchestra. Celebrating the rich musical and cultural diversity of Eastern Europe, the ICO is a young but remarkably developing organisation. Future plans include an international symposium exploring the theme of art as an agent for social change, and performances in Scandinavian countries as part of a 2013 tour. These developments are made possible by the way in which the ICO has tapped into the powerful cultural roots of its young players. As Armenian violinist Tatevik Frangulyan and Georgian violist Suren Kirakosian commented of the 2011 tour: ‘Our language is the notes. Our spirits are connected in the pursuit of a common goal... there are moments in history when you have to stand together – it’s like tuning into a new life.’ © Marshall Marcus 4 5 6 I, CULTURE ORCHESTRA THE EASTERN TOUR 2012 7 24.08 LUBLIN 26.08 WARSAW 27.08 MINSK 28.08 KIEV 29.08 CHISINAU 1.09 TBILISI 8 I, CULTURE ORCHESTRA THE EASTERN TOUR 2012 9 The greatest strength of the I, CULTURE Orchestra, which counts almost a hundred members, is the enthusiasm of youth. gazeta wyborcza, lublin, 22.08.2012 10 11 MARSHALL MARCUS VI OLI N TU TO R I felt as if I was beginning the complex ascent of an immense but wonderful mountain, and whilst that ascent brought a host of exotic unexpected encounters and challenges, those encounters and challenges were constantly mitigated by a sense of ‘partying together’ at each new – often bewildering – base camp on the ascent. — Marshall Marcus 12 13 14 15 The most important thing is F R I E N D S H I P. We get to know the culture of other countries. We meet people and make new friends. We understand each other through music. 16 17 CLARE THOMPSON VI OLI N TU TO R Thanks ICO for a great summer of music making. it’s been a privilege to be part of this visionary and unique project. — Clare Thompson 18 19 20 21 22 23 24 25 26 27 YUKO INOUE VI OL A 28 T UTO R 29 30 31 CHI-CHI N WA N O KU N B E DOUBLE BA S S TUTO R A dynamic fusion of passion and energy from beginning to end, throughout! — Chi-Chi Nwanoku NBE 32 33 34 35 The ICO is an ASSORTMENT OF I N D I V I D U A L I T I E S. The ICO is an assortment of individualities. We learn from our diversity and from our acceptance. Sometimes it is not easy, but in the end we always manage. Minor conflicts are unavoidable when you travel and spend most of your time together. But in spite of that, everyone stays in a good mood. — Tomasz Obertyn 36 37 SARAH NEWBOLD F LU T E 38 T U TO R 39 At one of the rehearsals, Ilich Rivas says: Yesterday before the show you looked like corpses, like zombies. And yet you gave a beautiful concert. Unfortunately, such is the life of an artist... I want to thank you. For smiling, and for telling our story. Well done. And the “Zombie Orchestra” gave another great show after that! 40 41 MICHAEL HARRIS CL A RI NET TUTO R What a stimulating experience the 2012 course was: not only musically, but I met so many really lovely people! — Michael Harris 42 43 The young musicians demonstrated their maturity, the teenage maestro won the hearts of the audience, and the nearly three-hourlong concert was received enthusiastically – even after two encores following a daring interpretation of Dvorak, the standing ovation would not end. nowy tydzień w lublinie, 27.08.2012 44 45 MEYRICK ALEXANDER BASSOON TU TO R The attitude of students is fantastic. They work from morning till night and unlike some orchestras, everybody is getting better because they don’t get bored, they always want to achieve more, more and more. — Meyrick Alexander 46 47 THE S T RO FE N G T H THIS ORCHESTRA The strength of this orchestra is also its weakness – our personalities, our emotions, our temperaments. This is particularly easy to see during rehearsals. What unites us is “eastern-ness”. We all have similar souls, and we feel music similarly. — Tomasz Obertyn 48 49 50 51 IT IS PEOPLE ABOVE ALL The ICO is not just a residency and a tour. It is people above all, young musicians from seven countries in Eastern Europe, who meet and share experiences. They are all hosts in their own country, and they try to show the best of it. During this tour, musicians and tutors alike learn how to understand others better and discover new countries and new cultures. — Tomasz Obertyn 52 53 T imothy LINES C L ARINET TUTO R The entire project aimed at, and achieved, the highest artistic standards which, when acompanied by the enthusiasm of young people, makes for an irresistible combination. — Timothy Lines 54 55 Rivas states that the work of the I, CULTURE Orchestra is an exceptional experience. – The music we play goes through Armenian, Polish and Ukrainian sensibilities, and my own Venezuelan. We put a lot of work into reaching compromise and balance. I think this is symbolic of the raison d’etre of this orchestra, which is not only musical, but also political, because it unites people from countries often in conflict with one another – says the Venezuelan conductor. gazeta wyborcza, 24.08.2012 56 57 ALISTAIR MACKIE TRUM P ET 58 TUTO R 59 60 61 62 63 D AV I D WAT K I N CELLO 64 TUTO R 65 16 h o u r s ! Our tight schedule sometimes prevented us from getting better acquainted with the countries we were visiting. We stayed in Moldova for only sixteen hours! – Tomasz Obertyn 66 67 68 69 70 71 PHILIP NODEL O BOE T UTO R I found this orchestra sound like a professional orchestra, not children or youth orchestra. — Philip Nodel 72 73 74 75 ILYICH: IT ’ S AN ALL INCLUSIVE PROJECT. 76 77 JEFF B RYA N T FRENC H 78 H O RN TU TO R 79 COMMUNICATION The real challenge for the organizers and all the participants is a matter of communication. Music might be a universal language, but that does not solve prosaic questions like setting a meeting place or a rehearsal schedule. Not all speak English, or even Russian... — Tomasz Obertyn 80 Yet it is possible to understand and be understood when youth and enthusiasm work their magic. — Tomasz Obertyn 81 82 83 HELEN T U N S TA L L HARP TUTO R How exciting it was to be part of this visionary project with such a marvellous team and what a wonderful exchange of musicianship between so many different cultures. — Helen Tunstall 84 85 BREAK- The concert in Minsk was a breakthrough. Everyone focused entirely on the music. The next day, in Kiev, although the orchestra was already very tired, we were able to find even more energy. This shows just how much strength music can give. — Tomasz Obertyn 86 87 88 89 A ndrew CRESCI TUBA T UTO R I felt totally inspired to be a part of the melting pot of cultures, languages and music that came to fruition as the I, CULTURE Orchestra. — Andrew Cresci 90 91 92 93 SLEEP IS NOT Ilich Rivas: I learn something new every day during this tour. It’s the first time I perform with such a colorful group. Also, I’ve learned that sleep is not necessary. It’s an experience that builds character. From now on I know I’ll be able to conduct even if I haven’t slept or eaten, I’ll have more self-confidence. I’m probably the one who learned the most from this project. NECESSARY 94 95 DAN JENKINS T ROM BONE TU TO R It was a thrill to be one of the brass tutors for the ICO in 2012; exciting players and exciting results! — Dan Jenkins 96 97 98 99 DAMIEN BASSMAN PERC USSI O N TUTO R Every day with the ICO was a reminder of why I love to play music, why I love to teach others about music, and proof that the arts nullify every arbitrary, manmade border or division between “different” people. The students’ hunger for knowledge, open minds, and willingness to share and help each other was an inspiration for me as an artist and a human being. I even learned how to say “lift” and “no problem” in Polish. — Damien Bassman 100 101 102 103 I, CULTURE ORCHESTRA 2012 Tutors Marshall Marcus Violin Clare Thompson Violin Yuko Inoue Viola David Watkin Cello All participants have very good memories of Georgia. A two-day rest in Tbilisi gave them time to breathe after a marathon of long practice hours, with three concerts and several thousands kilometers travelled with only a few hours of sleep in between. The orchestra could finally relax and gather its strength before the last show. — Tomasz Obertyn Chi-Chi Nwanoku NBE Double bass Leon Bosch Double bass Helen Tunstall Harp Sarah Newbold Flute Philip Nodel Oboe Timothy Lines Clarinet Michael Harris Clarinet Meyrick Alexander Bassoon Jeff Bryant French Horn Alistair Mackie Trumpet Dan Jenkins Trombone Andrew Cresci Tuba David Corkhill Percussion Damien Bassman Percussion 104 105 I, CULTURE ORCHESTRA 2012 Members Violin Cello French Horn Nino Akobidze • Georgia Nazeli Arsenyan • Armenia Radu Buimistru • Moldova Aleksandra Maria Denga • Poland Iurii Dubynskyi • Ukraine Serafima Ezusina • Moldova Nadiia Goncharenko • Ukraine Vadim Grumeza • Moldova Elena Jmurco • Moldova Aleksandra Kaczmarek • Poland Marina Kasradze • Georgia Viktoryia Kavaleuskaya • Belarus Arsen Ketikyan • Armenia Nino Kvinikadze • Georgia Vakhtangi Magradze • Georgia Sona Manukyan • Armenia Samvel Mkhitaryan • Armenia Nefelina Musaelyan • Armenia Oksana Pinchuk • Ukraine Anna Podsiadły • Poland Andrei Popa • Moldova Lilit Rushanyan • Armenia Aydan Salamova • Azerbaijan Monika Sawczuk • Poland Olga Shupik • Ukraine Dominika Iwona Sitarz • Poland Aleksandra Natalia Socewicz • Poland Agnieszka Ściążko • Poland Kseniya Trusava • Belarus Gevorg Vardanyan • Armenia Maria Antonina Bielewicz • Poland Daria Gusakova • Ukraine Juan Jose Horie Phoebus • Venezuela Denys Karachevtsev • Ukraine Weronika Kociuba • Poland Zuzanna Barbara Makles • Poland Zofia Zuzanna Moląg • Poland Filip Rzytka • Poland Katarzyna Anna Sadowska • Poland Yaroslava Trofymchuk • Ukraine Paulina Chudzyńska • Poland Ievgen Churikov • Ukraine Rafał Kowalczyk • Poland Piotr Kowalski • Poland Jakub Alfred Wąsek • Poland Viola Vahe Barkhudaryan • Armenia Anton Ceban • Moldova Avenir Ciobanu • Moldova Joanna Małgorzata Kazaniecka • Poland Giorgi Khatalev • Georgia Suren Kirakosian • Georgia Małgorzata Edyta Krasowska • Poland Lech Kula • Poland Marzena Rogińska • Poland Grzegorz Marek Sadowski • Poland Veronika Vardpatrikyan • Armenia 106 Trumpet Kamil Antoni Barciok • Poland Paweł Michał Marciniak • Poland Anton Matsveyeu • Belarus Israfil Rasulov • Azerbaijan Double bass Anna Chłopeniuk • Poland Eugeniu Croitoru • Moldova Viacheslav Gyria • Ukraine Piotr Mikołaj Hetman • Poland Jacek Karwan • Poland Mateusz Ludwik Loska • Poland Nazarii Stets • Ukraine Aliaksei Stvol • Belarus Trombone Flute Harp Dorota Anna Kaufman • Poland Margaryta Khakimova • Ukraine Dmytro Kuzmin • Ukraine Tamar Sakandelidze • Georgia Żaneta Kapera • Poland Iaroslava Sergiienko • Ukraine Oboe Vladimer Astoian • Georgia Zurab Gvantseladze • Georgia Ketevani Tigashvili • Georgia Agata Wojciechowska • Poland Dawid Stanisław Klahs • Poland Inna Konstantynova • Ukraine Stsiapan Matsiuk • Belarus Marcin Paweł Wołowiec • Poland Tuba Krzysztof Białek • Poland Percussion Anton Lazouski • Belarus Olga Maria Przybył • Poland Tomasz Gabriel Skrętkowski • Poland Aleksandra Wasik • Poland Celesta Paulina Lucyna Maślanka • Poland Clarinet Jacek Anyszek • Poland Anton Demianchuk • Ukraine Dmytro Pashynskyi • Ukraine Vasyl Riabitskyi • Ukraine Bassoon Piano Małgorzata Goroszewska • Poland The Adam Mickiewicz Institute promotes Polish culture around the world and actively participates in international cultural exchange. It is a national cultural institution which aims to increase the value of Poland’s brand as a cultural asset and boost Poland’s impact and efficiency in the area of culture. So far: • • • • • • more than 4 000 cultural events in 28 countries have been presented to over 40 million viewers the Institute’s web portal culture.pl has attracted regular visitors from over 120 countries the Institute has presented Polish culture at leading galleries, theatres, clubs and festivals in cooperation with key partners: Brussels (Bozar, La Monnaie), London (Southbank Centre, National Theatre, Whitechapel Gallery), Berlin (Martin Gropius Bau), Madrid (Teatro Real), Moscow (The Pushkin Museum of Fine Arts, Golden Mask Festival) and many more the Institute has organized major cultural events in various countries, such as the Polish Year in Israel, POLSKA! YEAR in the UK, and the International Cultural Programme of the Polish EU Presidency the Institute has launched several exciting ongoing projects: East European Performing Arts Platform (www.eepap.org), I, CULTURE Orchestra (www.orchestra.iam.pl), Polska Music (www.polskamusic.pl), Project Asia (www.azja.iam.pl) the Institute has started preparations for: Poland – U.S. Campus Arts Project, celebration of the centenary of Witold Lutosławski’s birth. Bartosz Baran • Poland Vitalii Fizer • Ukraine Mark Kreshchenskyi • Ukraine Bartosz Andrzej Kwasecki • Poland 107 ICO Team Ewa Bogusz-Moore ico manager Jakub Fiebig Iryna Kovalchuk Katarzyna Świętochowska Marta Szymańska Grzegorz Skorupski special thanks to: Barbara Krzeska, Natalia Dzieduszycka, Magdalena Mich, Katarzyna Łuka, Marek Sokołowski, Tomasz Ostrowski, Dorota Kondiuch, Katarzyna Meissner, Marynia Thun photos: Konrad Ćwik editor: Tomasz Obertyn translation: Lea Berriault graphic design and layout: Marcin Łagocki, Adam Kulcenty adam mickiewicz institute 25 Mokotowska St. 00-560 Warsaw tel. (+48 22) 44 76 100 fax. (+48 22) 44 76 152 www.iam.pl www.orchestra.iam.pl © Adam Mickiewicz Institute 2012 ISBN: 978-83-60263-13-2 108 109 An honorary patronage over the tournee was granted by the President of the Republic of Poland Bronisław Komorowski Partners Armenia: With the support of the Ministry of Culture of the Republic of Armenia Azerbaijan: Belarus: Belarusian State Philharmonic Society With the support of the Ministry of Culture of the Republic of Belarus Georgia: Moldova: Poland: An honorary patronage over the concert was granted by the Marshal of the Lubelskie Voivodship Ukraine: With the support of the Ministry of Culture and Tourism of Ukraine The City of Lublin is the official partner of the I, CULTURE Orchestra project 112