An Afternoon of Music in Tivoli Park


Friday, 1 September, at 5 pm, Plečnik Auditorium, Tivoli Park, 

The concert is free of charge. Four-legged friends are welcome. Bring a blanket to make yourself comfortable while listening.

The concert is organised by NOVA Musical Society in cooperation with the Department for Culture of the City of Ljubljana, Ljubljana Tourism and International Centre of Graphic Arts. 


NOVA Rhapsody

NOVA Philharmonic orchestra

Conductor: Simon Perčič
Soloist: Sebastijan Buda, horn

Andrej Misson: Smoke on the Water, Meditation on the theme Smoke on the Water
Richard Strauss: Concert for Horn and Orchestra no. 1 in E flat major, op. 11, Allegro – Andante – Allegro
Modest P. Musorgski (orchestration Leo Funtek): Pictures at an Exhibition
Promenade – Gnomus – Promenade – Il vecchio castello – Promenade – Tuileries (Dispute d'enfants après jeux) – Bydło – Promenade – Ballet of unhatched chicks – Samuel Goldenberg and Schmuÿle – Promenade – Limoges: Le Marché (Le grande nouvelle) – Catacombae: sepulchrum romanum, Cum mortuis in lingua mortua – (Baba Jaga)/The hut on hen's legs (Baba Yaga) – The great gate of Kiev
Franz Liszt: Hungarian Rhapsody no. 2, S. 359/2 (4)


As the most complex form of art, music has the wonderful capacity of being able to add sound to a range of different ideas, which is exactly what is outlined by tonight's programme. Ideas can, among other things, also migrate between genres (classical-rock-classical: Misson; and folk-classical: Liszt), composition techniques (classicism-romance: Strauss), or mediums (painting-music: Musorgski).

In the composition Smoke on the Water, Andrej Misson (1960) uses three musical ideas from Smoke on the Water by the English group Deep Purple. The first comes from the famous guitar riff, the rest from the chorus. But the composer has not been the first to borrow ideas from a composition and use them in a new dimension – this was done before by the rock musicians enticed by Beethoven's 5th Symphony.

Also inspired by Beethoven was Richard Strauss (1864–1949), who was particularly influenced by his father Franz during his youth. The latter, defending pleasing melodies against technical and compositional proportions, shone as an outstanding horn player during his time. This is how Richard's love for the horn, as well as classical music, evolved, which he always cultivated, despite setting new milestones in music. He wrote Concert for Horn and Orchestra at the tender age of 19, yet it expresses the entire colourful range of sound and technical complexity of the instrument.

Modest Mussorgsky (1839–1881), a composer of the Russian Five, was also bound to the collective national. After the death of his friend, painter and architect Victor Hartmann, with whom he had shared an interest in national art, Russian folklore and history, he set some of his friend's works from his retrospective exhibition to music – as if sensing that the artist's sketches, drawings and watercolours would be lost. A cycle of miniatures entitled Pictures at an Exhibition was created. It consists of ten portraits on the theme of the depictions, and five self-portraits called Promenade, which reflect the different mood of the composer as he viewed each picture individually. The composer managed to revive the static figures through musical painting, emphasizing their playful, fantastic, mythological, grotesque and dark essence.

Hungarian Rhapsody no. 2 is probably one of the most frequently performed from the collection of all the nineteen compositions by composer Franz Liszt (1811–1886). Even though he was born in the Hungarian part of the Austrian Empire, he developed a cosmopolitan spirit with his early trips to Vienna, Paris and Rome. It was in as late as 1839 that homesickness drove him to explore his home culture. Thinking that he would reach his Hungarian roots by studying the local Roma musicians and their music, he composed a comprehensive repertoire with folk melodies and motifs. We may forgive him for his mistake, since his rhapsody provides a generous serving of splendid melodies, graceful variations and virtuosic chromatic passages.

• Tjaša Pernek


The NOVA Philharmonic

The NOVA Philharmonic international youth symphony orchestra has been operating under the auspices of the NOVA Music Society since 2010. Its aim is to stimulate ambitious musicians with academy, conservatory, elementary music school and amateur backgrounds in their practical work, to gain further experience and deepen their knowledge. The symphony orchestra, which prepares at least two projects with a concert programme each year, has performed with acclaim in Slovenia, Italy, Serbia and Croatia. It regularly collaborates with renowned soloists, directors and visual artists, thereby crossing the boundaries of genres.

Conductor Simon Perčič (1979) completed his studies of Trombone at the Academy of Music in Ljubljana and studied Conducting at the Scuola di musica di Fiesole in Florence. As a trombone player he performed in the Slovenian Philharmonic Orchestra and in the RTV Slovenia Symphony Orchestra. As a conductor he is often hosted in Italy, Armenia, Austria, Hungary and Poland. His attention is set primarily on young musicians, he is active as the music director of the NOVA Philharmonic, artistic director of the OrkesterkamP and Svirél projects, as well as a pedagogue for brass.

Sebastijan Buda (2000) is attending the class of Jože Rošer at the Conservatory of Music and Ballet in Ljubljana. He is the winner of numerous accolades of excellence in the national competition (TEMSIG) and at international competitions (Svirél/Slovenia, Giovani Musicisti – Città di Treviso/Italy, Varaždin/Croatia, Audi Mozart/Italy). He is gaining further experience as a member of the NOVA Philharmonic symphony orchestra, where he has already appeared as a soloist, as a member of the TrobiNOVA brass quintet, and in the Komen Wind Orchestra.


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Boris Jesih: Connections

30. 11. 2017–11. 3. 2018

Boris Jesih (1943) established himself as an artist at the end of the 1960s as part of the expressive figuration circle of painters. Under the influence of pop art, he responded to the characteristics of the spirit of the time with his geometric transformation of everyday objects, later also turning predominantly to landscape. As a printmaker, he excels in the techniques of relief printing and flat printing, with superior results in colour lithography. As a prize winner of the 13th International Biennial of Graphic Arts in 1979 (special prize for a young artist), he attracted attention with his series of lithographs, a set of which is part of the MGLC collection. Beside the lithographs, the retrospective exhibition also presents drawings, paintings and photographs, which highlight the connections between his creative process and his works. 

Boris Jesih: A Doors (1983, color lithography).

Watch out! Wet print! #10

Tanja Radež: HAPPY NEW YEAR 2018

5. 12. 2017–8. 1. 2018

TAM-TAM Street Gallery at Vegova ulica (opposite Glasbena matica)

Tanja Radež often finds herself in a quandary over the sense of creating national symbols. The symbolic emblems of national identity are often only adornments and no longer support the construction of a bright future. However, the symbols and colours persist through a changing history, since man must quite clearly lay the boundaries of his existence and mark the sovereignty of the group to which he belongs. 

Tanja Radež: HAPPY NEW YEAR 2018.


14. 12. 2017–4. 1. 2018

Thursday, 14 December, at 5 pm., Švicarija Creative Center (ground floor)

The Copying project in the form of an artists' book, presents 11 artists, who have each developed and created their own view of copying and the copy.

Artists: Kate Bingaman-Burt, Tate Foley, JULM (Jason Urban & Leslie Mutchler), Leah Mackin, Test Print (Amze Emmons), Garret Orr, Nez Pez, Nika Rupnik, Grace Synder, RL Tillman, Breanne Trammell

Curator: Printeresting

Photo: Printeresting.

From the Švicarija studios

Marija Mojca Pungerčar: A transitional period is foreseen

Thursday, 14 December, at 7 pm, Švicarija Creative Centre (1st floor)
at 18.00, guided tour of the exhibition with Maria Mojca Pungerčar and curator Nina Jeza

A transitional period is foreseen is a project in which artist Marija Mojca Pungerčar stems from a selection of photographs documenting private events that represent or indicate important turning points in life over a prolonged period of time.

Marija Mojca Pungerčar: A transitional period is foreseen.