After many years of friendship and musical affinity, accordionist Merima Kljuço and guitaris tMiroslavTadić unite to present ARITMIA – a new project that is a perfect vehicle for their compositions, arrangements and improvisations.
Merima Ključo, accordion, imbues a dizzying variety of music with playing that moves with its depth of understanding and experience. Whether performing in recital, with ensembles such as Serendipity 4 (with the lateTheodore Bikel), MusikFabrik, and the Asko/Schönberg Ensemble, or as guest soloist with orchestras such as the Scottish Chamber Orchestra and the Netherlands Radio Philharmonic Orchestra, the soulful traditions of her instrument are not only given a unique voice, but they are given new life and meaning.
Merima’s love of world music, and the music of Bosnia in particular, is something she seeks to share with audiences everywhere.
As the producer, composer, and arranger for her highly rated album "Zumra" she has created a multi-layered classical interpretation of a musical tradition she treasures. Her compositions and arrangements are original and contemporary in their juxtaposition of extended techniques with traditional musical forms. The album was voted by The Sunday Times (UK) as one of the "Top 100" albums of 2010", as well as fourth in "Top 10 World Music Albums".
Her most recent multimedia work "The Sarajevo Haggadah: Music of the Book" (for accordion, piano and video, 2014) traces the dramatic story of one of Jewish culture's most treasured manuscripts. Using the musical traditions of Spain, Italy, Austria, and Bosnia-Herzegovina Ključo illustrates and illuminates the Haggadah’s travels from medieval Spain to 20th century Bosnia where it was hidden and rescued during World War II, to its restoration by the National Museum in Sarajevo after the 1992-1995 war. Inspired by the historical novel by Pulitzer‐Prize winning author Geraldine Brooks, "The Sarajevo Haggadah: Music of the Book" creatively interprets this miraculous artifact as a universal symbol of exile, return, and co‐existence.
Guitarist, composer and improviser Miroslav Tadic completed his formal music education in the United States after studying in Italy and his native Yugoslavia.
He has performed and recorded in a wide variety of settings and musical styles, ranging from music of the Baroque and Classical periods to Blues, Jazz, Rock and World music. Tadić's performing and recording credits include projects with Mark Nauseef, The Los Angeles Opera with Placido Domingo, London Symphony Orchestra, among others.Tadić has recorded worldwide and In recent years he has concentrated on developing an approach to improvisation which combines and juxtaposes musical material drawn from many diverse sources, including Baroque, European classical and North Indian classical music, Flamenco, Eastern European folk traditions, Blues, Jazz, and Rock.
He has composed solo and chamber music and has written music for numerous experimental film, dance and theatre works. Most recently, he completed music for the Croatian feature film “Seventy Two Days” by Danilo Serbedzija.
Since 1985 he has been a professor at the prestigious California Institute of the Arts in Los Angeles.
Tickets in advance $10 - call Valley Beth Shalom, (818) 788-6000 until noon on Friday, April 1, 2016. At the door - $15. For further information, call Valley Beth Shalom or visit www.jewishmusicla.org.
Vranjanski Čoček Traditional - Serbia arr. Miroslav Tadić
Čoček (pronounced cho-check) is a dance that became popular in the Balkan region duringthe 19th century, especially among the Romani musicians. There are many variants, depending on the region they come from. Tadić took a famous Čoček from the city of Vranje in Southern Serbia and infused it with other musical influences, particularly those of Flamenco – another very strong Romani tradition.
Gnosienne No.1 (1890) Erik Satie (1866 - 1925) arr. Ključo / Tadić
The Gnossiennes are several piano compositions written by the French composer Erik Satie in the late 19th century. Like his Sarabandes and Gymnopédies, the Gnossiennes are often considered dances. It is not certain that this qualification comes from Satie himself – the sarabande and the Gymnopaedia were at least historically known as dances.
Gnossienne was a word that did not exist before Satie used it as a title for a composition. The word appears to be derived from "gnosis"; Satie was involved in gnostic sects and movements at the time that he began to compose the Gnossiennes. However, some published versions claim that the word derives from Cretan "knossos" or "gnossus"; this interpretation supports the theory linking the Gnossiennes to the myth of Theseus, Ariadne and the Minotaur. Several archeological sites relating to that theme were famously excavated around the time that Satie composed the Gnossiennes.
Ključo's and Tadić's interpretation of Gnossiene No.1 is a humorous reaction to an often too serious approach to Satie's music.
Gde si Dušo, Gde si Rano Davorin Jenko (1835 - 1914) arr. Ključo / Tadić
In this beautiful song by Slovenian composer Davorin Jenko (1835-1914), based on a poem by Serbian poet Branko Radičević (1824-1953), a woman pleads to her beloved in her thoughts. "Where are you, my soul? A whole week has passed and you haven't come to me. Where are you my agony? The sun has set, darkness has come yet I remain alone".
The piece became so popular that most people consider it a traditional folk song.
With some elements of Argentinian Tango, the duo underlines the passionate and longing lyrics of the song.
Balkan Song & Dance (2014) Merima Ključo / Miroslav Tadić
I Kraj Potoka Bistre Vode
II Pajduško Oro
The opening movement is based on a well-known Bosnian Sevdah song "Kraj Potoka Bistre Vode". Sevdah is a highly emotional genre that features complex, ornamented, rubato melodic lines and soulful lyrics. This leads to the dance, based on the Macedonian
dance "Pajduško oro", a lively piece in 5/8 meter. In the improvised middle section Ključo and Tadić bring in the influence of minimalist composers like Terry Riley or Steve Reich.
Mujo (2007) (accordion solo) Merima Ključo (b.1973)
'Mujo' paints an inner world of the passion, suffering and madness from an all-consuming love. This evocative instrumental composition is based on the traditional song (Mujo Kuje) that tells of a man who is shoeing his horse in the middle of the night so he can rush to his love's side, despite the disapproval of his mother. For him, day and night cease to exist when he needs to be with his beloved.
Ključo's concept is to introduce a new, radical approach to accordion playing, creating a context for contemporary techniques to meet traditional song.
Fantasy on Bartók's Romanian Dances (2014) Merima Ključo / Miroslav Tadić
Bartók had deep respect for traditional folk music which inspired him throughout his life. He was tireless, methodical and meticulous in seeking and documenting hundreds of songs and dances from many regions that included today's Hungary, Romania, Bulgaria, Slovakia and Turkey.
His Romanian Dances is a suite of six brief and elegant pieces based on his transcriptions of traditional fiddle or shepherd's flute dances.
This version is the duo's Fantasy on three of them (#2, 3.and 4), which expands them and brings out their rich lyricism and sense of humor.
Rustemul (1990) (guitar solo) Miroslav Tadić(b. 1959)
’Rustemul’ is based on a traditional, joyful Romanian dance in 6/8 meter. Romanian folk music often features unusual harmonies that sound like they could be coming from a Jazz or Blues composition. Tadić took advantage of this unique parallels in the improvised middle section.
Kopanica (2006) Merima Ključo (b.1973)
This is a composition based on a traditional tune from Bulgaria. "Kopanitsa" - the name for a family of lively folk dances from western Bulgaria written in 11/8 meter, (counted as 2-2-3-2-2)- comes from the verb kopam, which means "to dig" or "to hoe", so it is sometimes translated as "little digging dance".
Tamamale and Grandpa Nigun (2009) (accordion solo) Merima Ključo (b.1973)
Dedicated to Tamara Brooks and Theodore Bikel.
Nigun means 'tune' or 'melody' in Hebrew. This religious musical form is originally a vocal one, a song without words, often with repetitive sounds like "bim-bim-bam” or “ay-ay-ay”.
Nana (1914) Manuel de Falla (1876 - 1946)
From Siete Canciones Populares Españolas arr. Ključo / Tadić
Based on a traditional Spanish melody and lyrics, this is one of the most famous lullabies in classical music.
Walk Dance (1990) (guitar solo) Miroslav Tadić(b. 1959)
Walk Dance is based on a traditional Macedonian dance called Kalajdžisko oro (which roughly translated means “coppersmith’s dance”) in 11/8 meter. There are many regional versions, and I have used several well-known melodic phrases as the basis for my composition. The choreography of Kalajdžisko oro is based on the movements that the coppersmith used while making or repairing large metal dishes and vessels around the beginning of the 20th century. This is in keeping with common tradition in East European folk dancing where movements from everyday activities (such as ploughing, planting, harvesting or practicing various kinds of crafts) are used as basis for choreography, like in Merima's "Kopanica".
Kaleš bre Andjo Traditional - Macedonia
arr.Ključo / Tadić
This much-loved Macedonian song shows that a piece in a major key can still express deep melancholy and lyricism – a unique contradiction that is often found in slow songs from that region.
Hajd' Sad Majka (2013) Merima Ključo(b.1973)
From Sevdah Songs II
Sevdah Songs I and II are song cycles by Merima Ključo that consists of arrangements of well known and well loved songs that have been handed down through the generations in Bosnia, and Ključo's original compositions based on this tradition. These are songs of love and desire, but also of rebellious breaking with tradition, as in Mene Majka Jednu Ima that was the inspiration for Ključo's "Hajd' Sad Majka".
I am my mother's only daughter!
She is going to give my hand in marriage to the judge from Livno!
I refuse to marry the judge from Livno!
I want to marry my darling Alija!