http://hdl.handle.net/10174/935 Wed, 08 Apr 2026 08:43:41 GMT 2026-04-08T08:43:41Z http://hdl.handle.net/10174/39978 Title: Modest Mussorgsky (1839-1881): PICTURES AT AN EXHIBITION (Arranged for two guitars by Michalis Kontaxakis & Dejan Ivanovich) Authors: Ivanovic, Dejan Editors: Ivanovich, Dejan Abstract: Pictures at an Exhibition (1874) by Modest Mussorgsky (1839-1881) is regarded as one of the most beloved classical music works of all time. Like Berlioz’s Symphonie fantastique (1830), its direct conceptual predecessor, Mussorgsky’s Pictures follow the programmatic, descriptive nature of its music material, connecting the elements of reality with the world of fantasy and illusion. Inspired by a series of paintings by Viktor Hartmann (1834-1873), Mussorgsky’s close friend, Pictures narrates a story about personal transformation during the observation of the paintings— perhaps even the composer’s own self-reflection. This is particularly evident when comparing Promenade I with Promenade IV or Cum Mortuis in Lingua Mortua, which is, in fact, a Promenade, though differently titled and positioned. As in Berlioz’s Symphonie Fantastique, the main character moves between reality and hallucination, ultimately undergoing his own transformation. From Gnomus and Baba-Yaga to Ox Cart, Children’s Quarrel after Games or the Market in Limoges, the listener is constantly confronted with dualities of conscious and unconscious, real and imaginary, rich and poor, joyful and sad or funny and scary. The popularity of Pictures at an Exhibition increased significantly after Maurice Ravel (1875-1937) colorfully adapted the work for symphony orchestra (1922). Ravel’s orchestration added a new depth to Mussorgsky’s music, especially through its expanded palette of orchestral tone colors. This opened possibilities for bold, new experiments, which brought the idea of creating the version of Pictures at an Exhibition for two guitars. Mon, 01 Dec 2025 00:00:00 GMT http://hdl.handle.net/10174/39978 2025-12-01T00:00:00Z http://hdl.handle.net/10174/39977 Title: 50 Godina Studija Gitare na Muzičkoj Akademiji u Zagrebu Authors: Rugle, Karolina; Bedek, Kresimir Abstract: O livro publicado pela Academia de Música de Zagreb celebra o quinquagésimo aniversário do programa de estudos de guitarra, lançado em 1974, onde se divulga o trabalho artístico de Dejan Ivanovich, o membro da respetiva Classe de Guitarra desde 1994. Fri, 11 Oct 2024 23:00:00 GMT http://hdl.handle.net/10174/39977 2024-10-11T23:00:00Z http://hdl.handle.net/10174/39658 Title: Bach, J. S. (2025). Concerto in E Minor for Guitar and Piano (after the harpsichord concerto in F Minor, BWV 1056). [Ed. Ivanovich, D.] Authors: Ivanovic, Dejan Editors: Ivanovich, Dejan Abstract: J. S. Bach’s musical language is, probably, one of the most universal and suitable music textures that exist. Therefore, his pieces can be faithfully interpreted on any instrument, regarding the nature of its sound production. It is largely believed that Concerto BWV 1056 (cca. 1738), written for harpsichord concertato and accompanied by two violins, viola & basso continuo, represents an arrangement of one of the lost concerti, possibly for violin or oboe. The 2nd movement, Largo, was previously used as the opening Sinfonia from Cantata Ich steh mit einem Fuß im Grabe BWV 156 (I stand with one Foot in the Grave) [1727 or 1729], with, indeed, an oboe carrying the main melodic line. The present adaptation of the BWV 1056 for guitar & piano follows the same premise like J. S. Bach himself had when he elaborated the arrangement of this concerto for harpsichord: to make an instrument, mainly used for accompaniment in chamber music, serve as a soloist. It is worth mentioning that the original register of BWV 1056 is largely maintained in the guitar part, in order to faithfully preserve the original music texture of J. S. Bach’s score. Wed, 01 Jan 2025 00:00:00 GMT http://hdl.handle.net/10174/39658 2025-01-01T00:00:00Z http://hdl.handle.net/10174/39000 Title: Análise de Seis Obras Contemporâneas Authors: Pescada, Gonçalo Abstract: O livro Reflexões sobre a Prática Acordeonística: Vol. II. Análise de seis obras contemporâneas debruça-se sobre a escrita e análise de obras originais escritas para acordeão pelos compositores Sofia Gubaidulina, Luciano Berio, Edison Denisov, Franco Donatoni, Mauricio Kagel e Magnus Lindberg. A versatilidade do acordeão e as suas características inovadores pela ação do sistema convertor são analisadas sob o ponto de vista do intérprete e das reflexões necessárias para o desenvolvimento da prática acordeonística. Abstract The book Reflections on Accordion Practice: Vol. Analysis of Six Contemporary Works focuses on the writing and analysis of original works written for accordion by composers Sofia Gubaidulina, Luciano Berio, Edison Denisov, Franco Donatoni, Mauricio Kagel, and Magnus Lindberg. The versatility of the accordion and its innovative characteristics through the action of the converter system are analyzed from the point of view of the performer and the reflections necessary for the development of accordion practice. Wed, 31 May 2023 23:00:00 GMT http://hdl.handle.net/10174/39000 2023-05-31T23:00:00Z