duo betka bizjak kotnik (saksofon) & milanka èrešnik · 4+3+4+3+2 being exchanghed from the...
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Duo Betka Bizjak Kotnik (saksofon) & Milanka èrešnik
(klavir) deluje od leta 2000. V tem èasu sta izvedli
recitale v razliènih abonmajskih ciklih v Sloveniji, na
Festivalu Lent, v Slovenski Filharmoniji in na Svetovnem
kongresu saksofonistov v Ljubljani 2006 s krstno izvedbo
del J. Matièièa: Repliques in N. Šenk: Impetus. Od leta
2005 sta v sodelovanju s skladatelji Janezom Matièièem,
Nino Šenk in Bla�em Puciharjem obogatili repertoar sloven-
skih skladb za saksofon in klavir.
Snemali sta za arhiv Radia Slovenija (P. Šivica, R.
Boutryja C. Debussyja, T. Yoshimatsa in P. Swertsa),
sodelovali pri zgošèenki Saksofonija Društva slovenskih
skladateljev in Glasbenega društva Saksofonija, nastopili
na Dr�avni slovesnosti ob podelitvi Prešernove nagrade
skladatelju Janezu Matièièu februarja 2007 v Cankarjevem
domu in na Slavnostnem koncertu DSS ob skladateljevem 80.
rojstnem dnevu.
Novembra 2007 sta na Tekmovanju za komorne skupine Primo�
Ramovš v Ljubljani dobili prvo nagrado.
DUO BETKA BIZJAK KOTNIK & MILANKA ČREŠNIK
Duo Betka Bizjak Kotnik (saxophone) and Milanka èrešnik
(piano) have been running together since 2000. In that
time they performed recitals in different concert cycles.
In 2006 at World Saxophone Congress in Ljubljana there
was their premiere of works J. Matièiè: Repliques and N.
Šenk: Impetus. They co-operated with compact disque Saxo-
phonia and were appeared at State Ceremony of Prešeren’s
award wich was given to the composer J. Matièiè in 2007.
Since 2006 they have recorded several pieces for the ar-
chive Radio Slovenia. They got the higest award at Compe-
tition for chamber music Primo� Ramovš in Ljubljana 2007.
DUO BETKA BIZJAK KOTNIK & MILANKA ČREŠNIK
je z odliko diplomirala na Akademiji za glasbo v
Ljubljani. Izpopolnjevala se je na Konservatoriju
CNR v Lyonu, Francija (Medaille d’or in Pre-
miere prix de perf.), ter leta 2005 konèala tudi
specialistièni študij saksofona na Akademiji za
glasbo v Ljubljani. Za svoje uspehe je prejela
Študentsko Prešernovo nagrado Akademije za glasbo
v Ljubljani.
Je dobitnica prvih nagrad na dr�avnih tekmovanjih in final-
istka mednarodnih tekmovanj. Leta 2003 se je predstavila na
Svetovnem kongresu saksofonistov v Minneapolisu, ZDA, (s
kvartetom saksofonov so krstno izvedli dela J. Puciharja in
D. Tementa), leta 2006 pa v Ljubljani (kot solistka s Sim-
foniki RTV Slovenija pod taktirko J. Wytenbacha s koncertom
za dva saksofona Urške Pompe: Near/Blizu). Je èlanica Ko-
mornega orkestra solistov Društva slovenskih skladateljev.
Kot solistka je nastopila s Simfoniki RTV Slovenija, Orke-
strom slovenske vojske in Orkestrom Akademije za glasbo.
Pouèuje saksofon na Srednji glasbeni in baletni šoli v
Ljubljani. V sodelovanju s profesorji srednjih glasbenih
šol iz Slovenije in Glasbenim društvom Saksofonija je
ustanovila Masterclass ter Tekmovanja Saksistra.
BETKA BIZJAK KOTNIK (1976)
Betka Bizjak Kotnik (1976) graduated at Academy of Music
in Ljubljana and at Conservatoir National de Region in Lyon
(Medaille d’or, Premiere prix de perf.), France. In 2005
she finished saxophone post-graduate study in Ljubljana.
She was awarded by Prešeren Student award of Academy of
Music in Ljubljana.
At National competitions She received several first awards
and was several times the finalist of the international
competitions. She perfomed as a soloist with the Symphonic
Orchestra RTV Slovenia, (a premiere of Concerto for two
saxophones Near by U. Pompe, Ljubljana 2006), Symphonic Or-
chestra Luxembourg, Slovenian Army orchestra and Symphonic
Orcestra Academy of Music in Ljubljana. She is a member of
the Chamber orchestra of soloists at the Society of Slovene
composers (KOS).
She is a professor of saxophone at Music Conservatory Lju-
bljana, Slovenia. She founded Saxophone masterclass and
competition Saxistra in cooperation with professors from
Slovene High Musical Schools.
je z odliko diplomirala na Akademiji za glasbo v
Ljubljani v razredu prof. Acija Bertonclja.
Med šolanjem se je izpopolnjevala na ustano-
vah in seminarjih v tujini, in sicer na Visoki
šoli za glasbo v Kölnu v razredu prof. Vassi-
lyja Lobanova ter na mednarodnih poletnih šolah
za klavir v Feldkirchnu (Avstrija), Vicktringu
(Avstrija) in Mariboru ter na mednarodnem teèaju komorne
igre v Böhlnu (Nemèija). Leta 1995 je osvojila drugo na-
grado na Dr�avnem tekmovanju mladih glasbenikov Slovenije.
V koncertnem ciklusu Pianissimo se je predstavila z deli
Matièièa in Debussyja. Nastopila je v razliènih komornih
zasedbah doma in v tujini.
Na Akademiji za glasbo v Ljubljani je konèala specialis-
tièni študij v razredu prof. Tatjane Ognjanoviè. Sodeluje
z uglednim in v svetu uveljavljenim skladateljem Janezom
Matièièem. Z njegovim Koncertom za klavir in orkester je
kot solistka nastopila s Simfoniènim orkestrom RTV Slo-
venija.
Za arhiv Radia Slovenija je posnela njegovih 12 Etud,
Sonato, Preludije, Etude za levo roko, Nokturno in Tri
skladbe.
MILANKA ČREŠNIK (1977)
Milanka èrešnik (1977) graduated at the Academy of music
in Ljubljana. During her study she took part in interna-
tional institutions and cources for piano at Hochschule
fur music in Köln (Germany) by professor Vassily Lobanov
as well as in international cources for piano in Feldkirch
(Austria), Victring (Austria), Maribor (Slovenia) and was
skilling chamber music in Bohlen (Germany).
In 1995 she received the second award at the Slovene na-
tional competition for young musicians. In several reci-
tals she was performed by works of Matièiè and Debussy.
She has appeared in different chamber music performances
at home and abroad. She is coming to the end of post
graduate study in Ljubljana.
She works with world well-known composer Janez Matièiè.
She has recorded his etudes, preludes, sonata and Nocturno
for the archive Radio Slovenia.
Ker je bila skladba pisana po
naroèilu za slovensko
tekmovanje TEMSIG, sem hotel v
njej zdru�iti èim veè razliènih
glasbenih prvin. Med arijo in
improvizacijo sem �elel ustvari-
ti velik kontrast. Ta kontrast
skladbe ne bi razdvojil, ampak bi
jo zdru�il v eno.
Spevnost saksofona v ariji in
virtuoznost v improvizaciji je
harmonsko bogato podlo�ena v kla-
virju, ki skozi vso skladbo osta-
ja saksofonu izrazno in tehnièno
enakovreden sogovornik.
Bla� Pucihar
ARIA IN IMPROVIZACIJA (2007)
The composition was written for
Slovene national competition
therefore I wanted to unit more
different musical elements and
creat a great contrast between
Aria and Improvisation. That
contrast shouldn’t devide the
composition but on the contrary it
should connect it in one unit.
The lyrical canto of saxophone in
Aria and virtuosity in
Improvisation are harmonized by
piano, which is staying
constantly expressive and
technically equivalent.
Bla� Pucihar
ARIA AND IMPROVISATION (2007)
Skladba je bila napisana leta 2006 za Betko Bizjak Kotnik
in Milanko èrešnik. Krstno je bila izvedena na Svetovnem
kongresu saksofonistov 2006 v Ljubljani.
Sestavljena je iz štirih stavkov povezanih v celoto, vendar
se ti zaradi samostojnosti lahko izvajajo tudi posebej.
Poudarek skladbe je na virtuoznosti in menjavanju odsekov
med strogo doloèenimi in svobodnimi ritmiènimi odseki.
S tem namenom je prvi stavek uvodna kadenca saksofona,
ki se ob prehodu v drugi stavek prenese na klavir. Sledi
dvogovor med obema inštrumentoma, ki vodi v ritmièno sku-
pinsko igro in dose�e višek ob koncu drugega stavka.
V tretjem stavku je virtuoznost predstavljena na drugaèen
naèin. Gre za ritmièno svoboden stavek, pri katerem je
najpomembnejša improvizacija. Ta je tonsko doloèena in
neodvisna od drugega inštrumenta. èetrti stavek je sestav-
ljen iz ritmiènega modela (4+3+4+3+2), ki se prestavlja
iz saksofona v klavir. Na zaèetku je skupna igra ritmièno
doloèena, kasneje nadaljujeta inštrumenta neodvisno drug
od drugega v istem ritmiènem modelu, dokler se ne zdru�ita
ob zakljuèku skladbe v kratki kadenci saksofona.
Nina Šenk
IMPETUS (2006)
The composition Impetus was written in 2006 for Betka
Bizjak Kotnik (saxophone) and Milanka èrešnik (piano). It
is composed by four movements being connected on the whole,
but they can be as well as performed separately. The effect
of composition is on virtuosity and changing sections
inside strong definite and free rythmical sections.
The first movement is solo cadenza for saxophone, carrying
down on the the piano just at the step of second movement.
The dialog is followed then between two instruments running
to rythmical group playing and riches the top at the end.
In the third movement virtuosity is presented in different
way. There is free rythmical section with the most
important improvistion which tune is defined and written
out for both instruments but they stay independant.
The fourth movement is consisted by rythmical model
4+3+4+3+2 being exchanghed from the saxophone to piano.
At the beginning the rythmical motive is defined together
following by independant playing but in the same rythmical
model unles it comes together in short saxophone cadenza
at the end of composition.
Nina Šenk
Na �eljo izvrstne saksofonistke Betke Bizjak Kotnik sem
junija 2005 v Parizu napisal skladbo Canto Antico in mesec
dni kasneje v Ljubljani skladbo Frenetico, obe pod skupnim
naslovom Repliques. Ta se nanaša predvsem na prvo skladbo
Canto Antico, prete�no liriènega znaèaja, kjer so navzoèa
pogosta prevzemanja, odgovarjanja med obema inštrumentoma,
kar veèkrat pripelje do krajših kadenènih nastopov enega
in drugega inštrumenta. V postopnem oddaljevanju na koncu
skladba zamre.
V Freneticu zelo razgiban ritmièni potek v srednjem delu
nekoliko obstane v statiènih daljših notnih vrednostih v
saksofonu, prepušèajoè klavirju ritmièno vzburjanje. Coda
pripelje do evfori�nega zakljuèka obeh inštrumentov.
Janez Matièiè
REPLIQUES (2005)
On the request of distinguish saxophonist Betka Bizjak
Kotnik I wrote Canto antico in Paris in June 2005 and one
month later Frenetico in Ljubljana, both under the title
Repliques and the subtitle (2 compostions, 2 instruments,
2 caracters).
The Canto antico is lyrically charged, often having a con-
formable effect in its succession of mutually exchanging
idias. In the finale phase, together with the sympatheti-
cally vibrating pedalled piano, the saxophone calms down
its concluding chant.
The contrasting Frenetico is a rather escatic nature. In
the middle section, the saxophone becomes statically re-
strained, whereas the piano continues its rythmically agi-
tated course. Finally, frenetic frenzy leads both instru-
ments to a reciprocal climax.
Janez Matièiè
Bla� Pucihar: Aria and Improvisation (2007) 1. Arija ..............................................3’302. Improvizacija ......................................2’50
Nina Šenk: Impetus (2006)3. I. .................................................2’204. II. ................................................3’055. III. ...............................................3’30 6. IV. ................................................2’19
Janez Matièiè: Repliques (2005)7. Canto antico .......................................5’398. Frenetico ..........................................3’08
Claude Debussy: Rhapsodie . pour saxophone alto et piano 9......................................................9’00
Roger Boutry: Divertimento10. Allegro ma non troppo ..............................2’5511. Andante ............................................3’1412. Presto .............................................1’35
Takashi Yoshimatsu: Fuzzy bird sonata13. Run, bird ..........................................4’5314. Sing, bird .........................................4’4015. Fly, bird ..........................................3’44
Total time:............................................57’03