classicatransformaEN

Classica Transforma

recording
classical music
experiment
sound manipulation
composing
producing
concept:
Tonči Bakotin
Ruzina Frankulin
(2021)

Sensoria invites all the students of the Josip Hatze music school to apply for the use of free recording sessions of their instrument as part of the “Classica Transforma” project.

We strive to provide equal opportunities to students of all dislocated departments of the Josip Hatze music school (Postira, Supetar, Bol, Hvar, Jelsa, Stari Grad, Vis, Kaštela and Trogir), as well as to conduct field recordings, which depends on program acceptance and the situation caused by the Coronavirus epidemic.

Performers (students) record either at the studio Sensoria or at the one of the dislocated music school department.

Compositions, ie. authors, can be freely chosen by the participants, provided that they are part of their curriculum. Younger students can come to the studio accompanied by a parent or guardian.

Participation in the project, in addition to the possibility of just recording, also brings experience of the production process in the recording studio. The recording can also be used by young artists as an when applying for various festivals and competitions.
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“Classica Transforma” interrogates the dialogue of traditional classical music, technology, creative production and expressionist reinterpretation in the form of contemporary music. Original pieces presented as recorded solo performances of various classical instruments, serve as the basis for the production of new compositions. The procedure partly rely on the notion of ‘reduced listening, as well as the practices advocated by Brian Eno.

Exploring the reinterpretation of compositions created by acoustic performance on various classical instruments and composing completely new works draws questions of emotional and dynamic compatibility of the original samples and the sensibility of the composer/producer.

Process of rearranging and compiling sequences explores new structures that transform certain instruments into textures, into connective tissue, while others are given the role of bearers of dynamics.

By connecting traditional classical and contemporary music, we want to encourage the academic community to perform and promote living composers.

During the first year of project twenty-one student performed with total of 36 compositions, mostly from islands : Nia Pocrnić, Tonka Vušković, Maro Ljubetić, Liora Josipa Hržić, Cvita Kunac, Ela Mradunić (island of Brač) / Ivo Stančić, Julija Domančić, Katarina Bogdanić, Lorena Sanseović, Marta Domančić, Matea Čabrić, Mila Jevremović, Roni Veronika, Tina Muškatelo (island of Hvar) / Petar Vojković, Petra Kristina Siriščević, Stipe Ivčević, Lola Grgić Lojo, Vicenca Mariani (island of Vis) / Noemi Karadžo (Trogir).

Thirteen compositions were reinterpreted:

/// Fernando Sor – Op35-22 /// Lubomir Novak – Etude 24 /// Leopold Mozart – Minuet /// Tobias Haslinger – Sonatina (C major) /// W.Gillock – Phantom Rider /// A.Lauro – Vals Venezolano No.2 /// J.B.Duvernoy – Op176 – Etude 18 (A minor) /// Francesco Molino Prelude (D minor) /// Gatti Gran Metodo – Etude 7 /// S.Maykapar – In The Garden /// Robert Getchell Etude 33 /// H.Lemoine – Etude Op37 No22 (E minor) /// I.L.Kalinski – Perlipaja ///

Five new pieces were composed by Ruzina Frankulin (Tonči Bakotin):

Tittynope
Vicenca Mariani (pianino/upright piano) – J.B.Duvernoy – Op176 – Etude 18 (A minor)
Mila Jevremović (gitara/guitar) – Francesco Molino Prelude (D minor)
Petra Kristina Siriščević (truba/trumpet) – Gatti Gran Metodo – Etude 7