Česká centra, Czech Centres

Česká centra / Czech centres - logo

Program

Nov 10, 2010 12:00 AM - 12:00 AM

JIŘÍ STIVÍN - SOLO SYSTEM BAND

Jiří Stivín has been interpreting pre-Classical music on the recorder since 1975. After graduating from the cinematography department of the Prague Film Academy (FAMU), he devoted himself exclusively to music. He studied at the Royal Academy of Music as well as at the Prague Academy of Music, where he studied composition. His flute teachers were Milan Muncingler (Ars Revidiva) and Jiří Válek (Czech Philharmonic). Stivin performs music from the Middle Ages, the Renaissance, and the Baroque periods. He has recorded flute concertos (Telemann and Vivaldi on 4 CDs) and has mastered all kinds of flutes and recorders. He has also been intensely involved in jazz, composition, and in the improvisational New Music, using saxophone, clarinet, flute, recorder, and several kinds of folk pipes.

JIŘí STIVíN - SOLO SYSTEM BAND

Concert

November 10, 2010 , 7 pm, Free

 

Jiří Stivín has been interpreting pre-Classical music on the recorder since 1975. After graduating from the cinematography department of the Prague Film Academy (FAMU), he devoted himself exclusively to music. He studied at the Royal Academy of Music as well as at the Prague Academy of Music, where he studied composition. His flute teachers were Milan Muncingler (Ars Revidiva) and Jiří Válek (Czech Philharmonic). Stivin performs music from the Middle Ages, the Renaissance, and the Baroque periods. He has recorded flute concertos (Telemann and Vivaldi on 4 CDs) and has mastered all kinds of flutes and recorders. He has also been intensely involved in jazz, composition, and in the improvisational New Music, using saxophone, clarinet, flute, recorder, and several kinds of folk pipes.

As a soloist, he works with renowned musical ensembles and institutions (Virtuosi di Praga, the Prague Symphony Orchestra, the Slovak Chamber Orchestra, the Prague Madrigalists, Due Boemi, Suk Chamber Orchestra, Talich Quartet, etc.). He fronts his own Collegium Quodlibet and leads the jazz quartet Jiří Stivín & Co. He gives solo recitals with harpsichord, organ, or guitar, and sometimes performs with the sole aid of a tape recorder. For the last ten years, as part of the Prague Symphony Orchestras concert subscription series, he has been giving a series of performances called All Manner of Flutes and has written a large corpus of film, theatre and concert music. Jiří Stivín teaches at the Prague Conservatoire, at the annual jazz workshops in Frýdlant and is frequently involved in many other projects, including educational concerts for children.

Jiri Stivins website

From interviews with Jiri Stivin:

"Everybody starts with copying his idols. At first, mine were Davis and Desmond. Then Coleman and Coltrane apeeared on the scene and I knew this was what I wanted to do. Later I admired many other musicians, wanting my playing to approximate theirs namely technically. What Im after now is rather to avoid virtuoso playing and showing off..."

"I, for one, dont practice playing scales but rather Baroque sonatas. Im not sure whether I will ever use these progressions in my improvisations but I keep them as background, as inspiration. Take Albert Mangelsdorff, for example. We understand each other as musicians but his view is different from mine. He always wants his music to sound as "American" jazz. What Im after is music per se, the atmosphere..."

"Jazz - especially when played by small ensembles - has its specific requirements. It is not enough just to play an instrument well, because what youve got to have is similar thinking, to be on the same bandwaggon so to speak..."

"The main thing is not so much to constantly search for a new sound, for unusual registers, overblown pitch, tones outside the regular pitch range of the instrument. Naturally, there is that something which always urges you to try out novel things, but what is essential - in other words music and music is what you must be after - can be perfectly rendered even within the regulatr "midstream" pitch, provided everything clicks in place as it should..."

"I like the sound of historical instruments and I also like old music..."

"I like any folk music. Folk music has possibilities that have become off-limits for professionals and this is why some people now return to folk music to rediscover them..."

"A perfectly rehearsed and harmonized band need not necessarily make music. This is but a technical aspekt of the whole thing. On the other hand, musicians who have eestablished rapport need not rehearse much and yet they can cook as hell. And theirs will be a music which is totally different from that in which everything is known beforehandand nothing can happen..."

"Really, whats most important is not so much the musical idiom but rather an artistic expression, be it achieved by any means: sound, silence, gesture, action, anything..."

"Using music, I conduct a dialogue with the listener about my own lifes experience. Theres folk and country music in it, a return to nature. I feel that the quinessence of all art is in honesty and in that everybody should do his own thing he deeply feels inside. Commercial attractiveness should only come second. If a piece reveals individuality and has a message to tell, then its got a right to live..."

"Poeple always play all kinds of games and even their symbiosis is a play. And play as a short of co-playing is what Im after in my concerts. I try to get the audience involved in the play..."

"If you dont want to be a soloist and wish to avoid problems arising from playing in an ensemble, you play in a duo. Two musicians can establish a better rapport than tree, much less four. The chemistry of understanding each other is best achieved in a duo..."

"In fact I dont even care too much with whom I play. I could even play with ten tuba players if I felt we understood each other..."

 

Venue:

321 East 73rd Street
NY 10021 New York
United States

Date

Nov 10, 2010 12:00 AM - 12:00 AM

Organizer:

České centrum


Remind me
This event has already started.