Difference between revisions of "Borut Kržišnik Symphonic Orchestra"

Latest revision as of 15:30, 21 February 2021

Comprising one man, a digital library of recorded instruments, and an array of sound processing software, the Borut Kržišnik Symphonic Orchestra is a rather unorthodox orchestra and is the product of the artistic vision of Borut Kržišnik, a composer, music producer, guitarist, and mastering and music programmer. Although he used music sampling tools in his earlier work, his virtual orchestra in its full fledged form first appeared on his 1997 album Stories from Magatrea. An unprecedented approach for Slovenia at that time, it did cause some muttering in certain composers circles.

With time, the approach has gotten a wider acceptance and usage and as for Kržišnik, he has continued his artistic path by composing and producing music in this way for innumerable dance performances, theatre plays, ballets, exhibitions, performances, films, and also his own albums. Among the more resounding collaborations of his is definitely his continuous work with the famed director Peter Greenaway, for whose multi-media artistic output Kržišnik has contributed a lot of musical context.

Borut Kržišnik's background

Kržišnik started his musical career as a self-taught guitarist in the late 1980s, when he played for the famed groups Laibach and Borghesia. At that time, he also started composing and wrote his first music for an art exhibition. This was soon followed by writing music for dance and theatre performances, and throughout the 1990s he has done much work with a number of theatre directors, especially Emil Hrvatin and Julie-Anne Robinson, for whom he started composing in the second half of the 1990s. Continuing his earlier involvement in other art practices, he has worked a lot with video artists Nataša Prosenc and Marina Gržinić.

Data Direct

Data Direct was an early project with Borut Krišnik, saxophonist Primož Simončič (also a member of Lolita), clarinettist Mario Marolt, and violinist Vuk Kraković. Only one record, released simultaneously by Front Rock and the German label Discordia in 1995 and called La Dolce Vita, is officially attributed to them, but in fact a more or less similar personal and musical orientation had already been applied for Borut Kržišnik's first album Currents of Time from 1991 (which had been released by a foreign (UK) record company, anticipating his successful international career).

The group's interest concentrated on the exploration of contemporary eclectic music, surpassing any precise definition of genre but generally moving in the coordinates of symphony orchestra, ethereal folk music of the Balkans, and improvised, free or "cool" jazz and avant-garde rock.

On the album La Dolce Vita and also on some live performances Data Direct were joined by the double bass player Giovanni Maier (of the Enrico Rava Group), the saxophonist Hugo Šekoranja, Roman Dečman from the concert formation of Laibach, percussionist Zlatko Kaučič, and pianist Sandra Rekar. Under the name Data Processed Corrupted, they appeared at Ljubljana's Druga Godba Festival in 1993, performed on the Vorax festival in Vicenza and at the Synthesis – Music of the 20th Century festival (Skopje).

Later works for dance, theatre, and film

After the year 2000, his extensive collaboration with Peter Greenaway started. They met when Peter had an ad-hoc music request for his site-specific multimedia installation Map to Paradise from Ljubljana, produced by Muzeum Institute at Ljubljana Castle. This was followed by a number of scores for Greenaway's performances, installations, theatre plays, documentaries, and films. He wrote and produced the score for his film trilogy and multi-media event, the Tulse Luper Suitcases, and its integral version A Life in Suitcases, which were screened at almost all of the important film festivals (Cannes, Venice, Berlin, Rotterdam, Tribeca, Toronto, Montreal, Chicago, Philadelphia, Hong Kong, Edinburgh, and many others).

Besides his extensive work with Greenaway, Kržišnik composed music for ballets by Massimiliano Volpini and Isabelle Kralj, worked with the renowned choreographer Edward Clug, and created soundtracks and scores for some Slovene films and documentaries (Pokrajina št. 2 by Vinko Möderndorfer and Fabiani Plečnik by Amir Muratović).

Very important were his numerous collaborations with Slovenian director Emil Hrvatin and British director Julie-Anne Robinson. They are continuously present on European stages with culminations in Picollo Teatro in Milan, Bush Theatre and Royal National Theatre in London.

Recently, apart from his albums, he devoted himself to contemporary dance projects. He collaborated with Thomas Noone, Natalia Horecna, Ana Lujan Sanchez, Isabelle Kralj, Josh Beamish, Virpi Pahkinen and Gyula Berger, Bojan Jablanovec, Borghesia and Laibach.

Ples ob 20. obletnici sprejema Ustave Republike Slovenije by Ven Jemersic on YouTube

A dance performance recorded in the Slovene parliament for the 20th anniversary of the Slovene constitution. Music by Borut Kržišnik.

Discography

After his first two albums with Data Direct, his digital processing equipment (Borut Kržišnik Symphonic Orchestra) was less and less supported by live musicians. Stories from Magatrea, first released by KUD France Prešeren and two years later also put out by the American label Falcata – Galia Recording, was followed by A Life in Suitcases (2005, KUD France Prešeren), which is in fact for the same-named film and the aforementioned trilogy. The next album, Sacre du Temps (2007, Station Zuid), was music he created for the choreographer Edward Clug. His next release, the album Valse Brutal from 2009, is once again a stand-alone musical composition. So is his latest album called "Dancing Machine", which was released in 2020 by the UK based Claudio Record Company.

In more than two decades of musical work, Kržišnik has gone through a myriad of sonic choices, dealing with avant-garde, popular, tonal, atonal, abstract, concrete, improvised, and other music. Through it all he has create a distinctive musical language. As only two of his symphonic works were ever performed "unplugged", by a live symphonic orchestra, he continues working with his Magatrea's Symphonic Orchestra, as he sometimes called it.

External links

@@ Line 1: / Line 1: @@
 {{Article
-| status       = WRITING TOPROOFREAD NIFERTIK!
+| status       = INFOBOX TOPROOFREAD FERTIK!
 | maintainer   = Anže Zorman
 }}
 {{Infobox
 | name                = Borut Kržišnik Symphonic Orchestra
-| local name          = Simfonični Orkester Boruta Kržišnika
+| local name          = Projekt Simfonični Orkester Boruta Kržišnika
 | street              = Bratov Učakar 46
 | town                = SI-1000 Ljubljana
-| telephone           = 386 (0) 1 507 6533
+| telephone           = 386 (0) 59 138118
-| fax                 = 386 (0) 1 507 6533
+| website             = http://www.borutkrzisnik.si
-| website             = http://www.borutkrzisnik.com
+| email               =
 | contacts = {{Contact
 | name                = Borut Kržišnik
-| role                = Director
+| role                =
 | email               = borut.krzisnik@guest.arnes.si
 }}
+| accounts =
+http://twitter.com/BorutKrzisnik
+http://www.facebook.com/borut.krzisnik
+http://www.youtube.com/channel/UCGJSbc91fWW5PqlJDn26xwA
+http://soundcloud.com/borut-krzisnik
+http://myspace.com/borutkrzisnik
+http://www.last.fm/music/Borut+Krzisnik
 }}
 {{Teaser|
-Being composed of one man, a digital library of recorded instruments and an array of sound processing software, [[Borut Kržišnik Symphonic Orchestra]] is a rather unorthodox orchestra. As such it is the culmination of an aesthetic vision of [[Borut Kržišnik]], a composer, music producer, mastering and music programmer and a guitarist. Although he integrated music sampling tools in his earlier work, the virtual orchestra in its full fledged form was first used to record his 1997 album Stories from Magatrea. An unprecedented approach for Slovenia at that time, it did cause some muttering in certain composers circles. With time, the approach has gotten a wider acceptance and usage and as for Kržišnik, he continued his artistic path by composing and producing music in this way for a innumerable dance performances, theatre plays, ballets, exhibitions, performances, films and also his own albums. Among the more resounding collaborations of his is definitely his work with the famed director Peter Greenaway, for whose multi-media artistic output Kržišnik has prispeval a lot of musical context.
+Comprising one man, a digital library of recorded instruments, and an array of sound processing software, the [[Borut Kržišnik Symphonic Orchestra]] is a rather unorthodox orchestra and is the product of the artistic vision of [[Borut Kržišnik]], a composer, music producer, guitarist, and mastering and music programmer. Although he used music sampling tools in his earlier work, his virtual orchestra in its full fledged form first appeared on his [[established::1997]] album ''Stories from Magatrea''. An unprecedented approach for Slovenia at that time, it did cause some muttering in certain composers circles.
+With time, the approach has gotten a wider acceptance and usage and as for Kržišnik, he has continued his artistic path by composing and producing music in this way for innumerable dance performances, theatre plays, ballets, exhibitions, performances, films, and also his own albums. Among the more resounding collaborations of his is definitely his continuous work with the famed director Peter Greenaway, for whose multi-media artistic output Kržišnik has contributed a lot of musical context.
+}}
 == Borut Kržišnik's background ==
-Starting as a self taught guitarist, his musical career started in the late 1980s, when he played for the famed groups [[Laibach]] and [[Borghesia]]. At that time, he also started composing and wrote music for an art exhibition. This was soon followed by writing music for dance and theatre performances, and throughout the 90s he has dome much work with a number theatre directors, especially [[Emil Hrvatin]]. Continuing his involvement in other art practices, he collaborated with [[Marina Gržinić]] and has done much work with [[Nataša Prosenc]].
+Kržišnik started his musical career as a self-taught guitarist in the late 1980s, when he played for the famed groups [[Laibach]] and [[Borghesia]]. At that time, he also started composing and wrote his first music for an art exhibition. This was soon followed by writing music for dance and theatre performances, and throughout the 1990s he has done much work with a number of theatre directors, especially [[Emil Hrvatin]] and Julie-Anne Robinson, for whom he started composing in the second half of the 1990s. Continuing his earlier involvement in other art practices, he has worked a lot with video artists [[Nataša Prosenc]] and [[Marina Gržinić]].
 === Data Direct ===
-[[Data Direct]] were [[Borut Krišnik]], saxophonist [[Primož Simončič]] (the already also a member of [[Lolita]]), clarinettist [[Mario Marolt]] and violinist [[Vuk Kraković]]. Only one record (released simultaneously by [[Front Rock]] and the German label Discordia in 1995 and called ''La Dolce Vita'') is officially attributed to them but in fact a more or less similar postava and musical orientation was xcy for Borut Kržišnik's first album from 1991 (which was then already released by a foreign (UK) records company, anticipating his successful international career). The group's interest concentrated on the exploration of contemporary eclectic music, surpassing any precise definition of genre but generally moving in the coordinates of symphony orchestra, ethereal folk music of the Balkans and improvised, free or 'cool' jazz and avant-garde rock.
+[[Data Direct]] was an early project with [[Borut Krišnik]], saxophonist [[Primož Simončič]] (also a member of [[Lolita]]), clarinettist [[Mario Marolt]], and violinist [[Vuk Kraković]]. Only one record, released simultaneously by [[Front Rock]] and the German label Discordia in 1995 and called ''La Dolce Vita'', is officially attributed to them, but in fact a more or less similar personal and musical orientation had already been applied for Borut Kržišnik's first album ''Currents of Time'' from 1991 (which had been released by a foreign (UK) record company, anticipating his successful international career).
-On the album La Dolce Vita and some livew performances they were joined by the double bass player Giovanni Maier (of the Enrico Rava Group), the saxophonist Hugo Sekoranja, Roman Dečman from the concert formation of [[Laibach]], perccusionist Zlatko Kaučič and Sandra Rekar on piano. Under the name Data Processed Corrupted, they appeared on the Ljubljana’s [[Druga Godba Festival]] in 1993, performed on the “Vorax” festival in Vicenza and at the “Synthesis – Music of the 20th Century” festival (Skopje).
+The group's interest concentrated on the exploration of contemporary eclectic music, surpassing any precise definition of genre but generally moving in the coordinates of symphony orchestra, ethereal folk music of the Balkans, and improvised, free or "cool" jazz and avant-garde rock.
+On the album ''La Dolce Vita'' and also on some live performances Data Direct were joined by the double bass player Giovanni Maier (of the Enrico Rava Group), the saxophonist [[Hugo Šekoranja]], [[Roman Dečman]] from the concert formation of [[Laibach]], percussionist [[Zlatko Kaučič Kombo|Zlatko Kaučič]], and pianist [[Sandra Rekar]]. Under the name [[Data Processed Corrupted]], they appeared at Ljubljana's [[Druga Godba Festival]] in 1993, performed on the Vorax festival in Vicenza and at the Synthesis &ndash; Music of the 20th Century festival (Skopje).
+== Later works for dance, theatre, and film ==
+After the year 2000, his extensive collaboration with Peter Greenaway started. They met when Peter had an ad-hoc music request for his site-specific multimedia installation ''Map to Paradise from Ljubljana'', produced by [[Muzeum Institute]] at [[Ljubljana Castle]]. This was followed by a number of scores for Greenaway's performances, installations, theatre plays, documentaries, and films. He wrote and produced the score for his film trilogy and multi-media event, the ''Tulse Luper Suitcases'', and its integral version ''A Life in Suitcases'', which were screened at almost all of the important film festivals (Cannes, Venice, Berlin, Rotterdam, Tribeca, Toronto, Montreal, Chicago, Philadelphia, Hong Kong, Edinburgh, and many others).
+Besides his extensive work with Greenaway, Kržišnik composed music for ballets by Massimiliano Volpini and  Isabelle Kralj, worked with the renowned choreographer [[Edward Clug]], and created soundtracks and scores for some Slovene films and documentaries (''Pokrajina št. 2'' by [[Vinko Möderndorfer]] and ''Fabiani Plečnik'' by [[Amir Muratović]]).
+Very important were his numerous collaborations with Slovenian director [[Emil Hrvatin]] and British director Julie-Anne Robinson. They are continuously present on European stages with culminations in Picollo Teatro in Milan, Bush Theatre and Royal National Theatre in London.
-The album, first released by [[KUD France Prešeren]], was two years later also released by the American label Falcata - Galia Recording. It has been like that
+Recently, apart from his albums, he devoted himself to contemporary dance projects. He collaborated with Thomas Noone, Natalia Horecna, Ana Lujan Sanchez, Isabelle Kralj, Josh Beamish, Virpi Pahkinen and Gyula Berger, [[Bojan Jablanovec]], [[Borghesia]] and [[Laibach]].
+{{YouTube|eGhKmq_3GPU}}
+:''A dance performance recorded in the Slovene parliament for the 20th anniversary of the Slovene constitution. Music by [[Borut Kržišnik]].''
-Namesto da napišem partituro, postavim predse 60 ljudi in jim dirigiram, sam odigram linije na klaviaturo in povem računalniku, kateri zvok ali katera orkestrska sekcija naj jo izvede.
+== Discography ==
-Moja želja je bila in je še vedno, da bi moje skladbe izvajal simfonični orkester. Imel sem malo sreče, malo vztrajnosti in nekaj plodnega sodelovanja, predvsem z Markom Letonjo. Na to gledam kot na še dve izvedbi - “unpluged” izvedbi - skladb, ki pa so na ploščah izšle v moji računalniški izvedbi.
+After his first two albums with [[Data Direct]], his digital processing equipment (Borut Kržišnik Symphonic Orchestra) was less and less supported by live musicians. ''Stories from Magatrea'', first released by [[KUD France Prešeren]] and two years later also put out by the American label Falcata &ndash; Galia Recording, was followed by ''A Life in Suitcases'' (2005, [[KUD France Prešeren]]), which is in fact for the same-named film and the aforementioned trilogy. The next album, ''Sacre du Temps'' (2007, Station Zuid), was music he created for the choreographer [[Edward Clug]]. His next release, the album ''Valse Brutal'' from 2009, is once again a stand-alone musical composition. So is his latest album called "Dancing Machine", which was released in 2020 by the UK based Claudio Record Company.
-epričan sem, da je razlika med obema pristopoma, progresivnim in konceptualnim, bolj odvisna od glasbenika kot od same metodologije. Če bi želel delati po klasičnem, konceptualnem principu, bi to počel, ne glede na to, ali skladam z računalnikom ali s partituro. Prav tako ni nobena redkost – predvsem med novejšimi skladatelji – da je pisanje partiture bolj dinamičen proces, ki vključuje številne spremembe in obrate, ki jih na začetku nismo predvideli. Osebno uporabljam oba pristopa in jih sploh ne ločujem kot nekaj, kar bi se samo po sebi izključevalo. Vsa predvidevanja na eni strani ter sprotna presenečenja in navduševanja na drugi strani se prepletajo. Tudi če se določene ideje, ki smo jih predvideli, ne uresničijo, pa potem gotovo na nek način vplivajo na razvoj skladbe, že z iniciacijo lastne različice, nadgradnje ali celo negacije.
+In more than two decades of musical work, Kržišnik has gone through a myriad of sonic choices, dealing with avant-garde, popular, tonal, atonal, abstract, concrete, improvised, and other music. Through it all he has create a distinctive musical language. As only two of his symphonic works were ever performed "unplugged", by a live symphonic orchestra, he continues working with his Magatrea's Symphonic Orchestra, as he sometimes called it.
-o, v primerjavi s klasičnim skladateljem, z mojim virtualnim orkestrom ne samo komponiram, ampak skladbo tudi izvedem. Izvedba je torej popolnoma odvisna od moje ideje, in to je gotovo eden od najdragocenejših momentov tega načina dela. Hkrati pa je tukaj prisoten praktičen moment in to je, da je izjemno težko priti do izvedbe simfoničnega orkestra, moj virtualni orkester pa mi na svoj način omogoča tudi to.
+== External links ==
-VPR Tako je tvoj način tudi veliko cenejši, bolj dostopen. V tehničnem smislu tvoj postopek komponiranja poteka tako, da zbiraš sample iz orkestrske muzike (to so kratki, sekundo ali dve dolgi sampli), ki jih razvrstiš na klaviaturo, potem pa iz njih sestaviš skladbo.
-irtualnega orkestra
+*[http://www.borutkrzisnik.si Borut Kržišnik website]
+*[http://www.imdb.com/name/nm1380612 Borut Kržišnik on IMDB]
-PR Želel bi, da za uvod pojasniš koncept Magatrejskega simfoničnega orkestra, ki si ga razvil na plošči Magatrejske zgodbe in ga uporabljaš tudi pri glasbi, ki jo trenutno pišeš.
+*[http://www.sigic.si/?mod=search&action=avtor&id=439&lang=en Information on Borut Kržišnik on Sigic.si]
-Tega načina komponiranja sem se vedno posluževal, tudi na prejšnjih ploščah, le da so te vsebovale več v živo posnetega gradiva, ali pa se niso gibale v vodah simfoničnega orkestra. Gre torej za virtualni orkester, sestavljen iz samplerjev in računalniške tehnologije. Samo ime se nanaša na motiv, ki sem si ga sposodil iz knjige Štoparski vodnik po vesolju Douglasa Adamsa
-odobna tehnologija mi ne omogoča samo tega, da lahko skladam in snemam brez odvisnosti od orkestra in inštrumentalistov, temveč tudi tisto, kar je z živo izvedbo neizvedljivo. Vsak inštrument je različen in ima posebne tehnične lastnosti in prav tako to velja tudi za računalnik. Z njim ne moremo igrati violine, tako kot to počne violinist, zato pa lahko počnemo marsikaj, kar je izven fizičnih možnosti bodisi samega inštrumenta bodisi orkestra v celo
-ll the sounds I use are in fact real, but with computer special care and technique it gets certain specific performing quality which is very hard to achieve live. By computer one can take care about every single instrument, one can control their performance, articulation and whatever parameter of sound one wants. On the other hand, in orchestra praxis everything that is not included in group of musicians siting on their chairs and holding their instruments in their hands is treated as extra demand and you don't have to ask much to be too much. It's a shame that power of such a fantastic tool like symphonic orchestra is diminished by its rigidity, routine and, last but not the least, its expensiveness.
-artly yes, but those are just sounds, just instruments. They can be something special or not, but it's just in music where they get their value. My dayly expierence is not to be able to use some perfect sounding instrument recorded in some milion dollar studio, and use some cheaper and "worse" one. I didn't care if Vuk, violinist on my albums had no name violin as long as he performed it with such a strong presence. And vice versa, some solo violinist from big orchestra may have the most expensive violin but if he came in my studio and reads notes technically flawlessly, I couldn't care less. I don't want the musician to read notes, I want them to play.
-stems from various musical areas, including  [[Borut Kržišnik]] has wide experience in stage and film scores; he has collaborated with Julie-Anne Robinson, Zlatko Bourek, [[Bojan Jablanovec]],  Tibor Levay, and VSSD.
-Since 2000 he has collaborated with Peter Greenaway on music for the ''Map to Paradise from Ljubljana'', produced by [[Muzeum Institute]].
-}}
- But what distinguishes Krzisnik from so many other composers who compose on the digital keyboard is the originality of his ideas: strong and memorable melodic lines, unstoppable rhythms, inventive harmony, a kaleidoscopic orchestral palette from which emerges the sound of a super-real orchestra.
-is CD contains the principal themes from Krzisnik’s score for A Life in Suitcases, the new feature film and multi-media event by Peter Greenaway, due for release in 2006.
-==See also==
-* [[Muzeum Institute]]
-== External links ==
-*[http://www.borutkrzisnik.com Borut Kržišnik website]
-*[http://www.myspace.com/borutkrzisnikBorut Kržišnik on Myspace]
 *[http://tonecasualties.com/borut-krzisnik An article on Data Direct]
 [[Category:Music]]
-[[Category:Music groups, ensembles and orchestras]]
 [[Category:Experimental music]]
+[[Category:Updated 2021]]