Sinagoga, 19.30
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Mo\u0107 sudbine
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KEMAL GEKI\u0106, klavir (SAD)
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Program: Beethoven, Wagner, Rahmanjinov, Musorgski<\/p><\/p>\n\n\n\n
\u201eEkstravagancija divljeg vatrometa… \u010dini se da prevazilazi zakone prirode… fascinantno i pot\u010dinjavaju\u0107e.\u201c
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Le Devoar, Kanada
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\u201eNjegovi nastupi podrazumevaju svu mogu\u0107u perfekciju izra\u017eajnosti i fantazije, ne samo mehani\u010dku i digitalnu nepogre\u0161ivost\u201c Takashi Momose, The Record Gejitsu, Japan<\/p><\/p>\n\n\n\n
*Informacije i prodaja ulaznica u Muzi\u010dkoj omladini Novog Sada (Katolicka porta 2\/2, tel.021\/452-344) radnim danima od 8,00 do 14,00 \u010dasova, kao i dva sata pred po\u010detak programa na mestu odr\u017eavanja.
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ON LINE REZERVACIJE I PRODAJA KARATA: www.muzickaomladina.org<\/p><\/p>\n\n\n\n
Cene ulaznice:
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1.000 dinara PARTER SA STRANE i 1.200 dinara CENTRALNI PARTER I CENTRALNA GALERIJA<\/p><\/p>\n\n\n\n
KEMAL GEKI\u0106, klavir (SAD)
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Jedan od najistaknutijih pijanista svoje generacije, \u010dije interpretacije krasi originalnost pristupa, \u010desto provokativnog i intrigantnog, ali zato hrabrog i vrlo uverljivog, \u0161kolovao se na Akademiji umetnosti u Novom Sadu u klasi profesorke Jokut Mihailovi\u0107. U dvadesetoj, 1982, ve\u0107 je asistent u istoj instituciji, a tri godine kasnije zavr\u0161ava i poslediplomske studije. Iste, 1985 \u2013 na \u0160openovom takmi\u010denju \u2013 po\u010dele su i kontroverze koje \u0107e nadalje pratiti ovog nekonvencionalnog, veoma ekspresivnog i tehni\u010dki perfektnog umetnika, koga danas mnogi hvale kao jednog od najve\u0107ih i najuzbudljivijih savremenih pijanista. Ubrzo posle bure u Var\u0161avi izazvane podeljenim mi\u0161ljenjima uglednih \u010dlanova \u017eirija, Kemal Geki\u0107 po\u010dinje da svira po \u010ditavoj Evropi, Sjedinjenim Ameri\u010dkim Dr\u017eavama, Srednjem i Dalekom Istoku, Kanadi, Sovjetskom Savezu, Japanu, Jugoisto\u010dnom Pacifiku, Japanu, Egiptu, Ju\u017enoj Americi, a njegove koncerte prenose sve ve\u0107e televizijske ku\u0107e: RAI, TV Portugal, TV stanice biv\u0161e Jugoslavije, HNK (Japan), Poltel, Egipatska TV, NDR, RTV USSR, Intervizija, PBS (SAD) i CBS (Kanada). Istorija nerazumevanja dela \u017eirija ponovila se i 1988. na Montrealskom takmi\u010denju, koje je za Geki\u0107a bilo gotovo posle polufinala, ali su mu zato njegovi obo\u017eavaoci dodelili nagradu publike.
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Ono \u0161to ga \u010dini toliko posebnim jeste njegov umetni\u010dki kredo koji podrazumeva poznavanje svih bitnih \u010dinjenica potrebnih za rekonstrukciju originalnih ideja u delima koja svira i mo\u0107 da ih o\u017eivi pred publikom, pru\u017eaju\u0107i, po mnogim mi\u0161ljenjima, \u201efascinantne, beskompromisne i uvek nove interpretacije\u201c.
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Za svoje snimke na kojima su istan\u010dana i pronicljiva vi\u0111enja muzike Hendla, Mocarta, \u0160opena, Skrjabina i Lista, Kemal Geki\u0107 je nagra\u0111ivan u Evropi, Americi i Japanu. Njegov izvanredni kompakt-disk objavljen za \u201eNaxos\u201c, s transkripcijama Rosinija \u2013 Lista, osvojio je \u201eRosetu\u201c, nagradu muzi\u010dkog vodi\u010da Penguin, dok se njegov tonski zapis za \u201eJVC\u201c, s Transcendentalnim etidama Franca Lista smatra najboljim u istoriji pijanizma. Diskografija Kemala Geki\u0107a obuhvata 15 kompakt-diskova i jedan de-ve-de. Godine 2009. objavljen je solo ce-de s delima Debisija, Forea i Ravela, zatim ce-de s koncertima \u010cajkovskog i Rahmanjinova, kao i disk s muzikom za klavir i violon\u010delo Gabrijela Forea. Po\u010detkom 2010, u produkciji ku\u0107e \u201eGama Media\u201c, objavljeno je dugoo\u010dekivano izdanje s etidama Frederika \u0160opena, kao i de-ve-de s kompletnim baladama i etidama \u0160opena i Lista, snimljenim na dva koncerta odr\u017eana istog dana u Majamiju 2009. godine.
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Put od rodnog Splita, preko Zagreba i Novog Sada, doveo je Kemala Geki\u0107a do Sjedinjenih Ameri\u010dkih Dr\u017eava, gde \u017eivi od 1999, i uz pijanisti\u010dku karijeru radi kao stalni profesor na Me\u0111unarodnom univerzitetu u Majamiju na Floridi i kao profesor na Muzi\u010dkoj akademiji \u201eMusashino\u201c u Tokiju.
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Veliko interesovanje na ameri\u010dkom tr\u017ei\u0161tu poslednjih godina odvelo ga je u mnoge zemlje Ju\u017ene Amerike. Ovacije na koncertima u Venecueli, Gvatemali, Boliviji svedo\u010de o sve ve\u0107oj popularnosti njegovih samosvojnih izvo\u0111enja. Pune sale na koncertima Kemala Geki\u0107a u Japanu privukle su pa\u017enju mnogih univerziteta i konzervatorijuma \u0161irom zemlje u kojima odr\u017eava brojne majstorske kurseve.<\/p><\/p>\n\n\n\n
\u201eGenije beskrajnog talenta“ Jan Weber, Express wieczorny<\/p><\/p>\n\n\n\n
\u201eHipnoti\u010dki i super-egzorcisti\u010dki pijanizam, bez \u0161ale!\u201c Zorica Koji\u0107, Danas<\/p><\/p>\n\n\n\n
„Izazivaju\u0107i odreda pa\u017enju pojavom, nastupom, stavom, kostimom, niskim sedenjem za klavirom i ravno ispru\u017eenim prstima, umetnik je otpo\u010detka dao na znanje da \u0107e ono \u0161to sledi doneti puno radikalnih zvu\u010dnih postupaka i interpretacije \u201eoslobo\u0111ene\u201c svih onih poznatih elemenata i datosti \u0161to su ih naneli vekovi i brojni, i prose\u010dni i genijalni izvo\u0111a\u010di, patina vremena i ustanovljeni parametri“.
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Marija Adamov, Dnevnik, Novi Sad<\/p><\/p>\n\n\n\n
„Ja\u010dina udara, ogromne tonske suprotnosti, orkestarski intenzitet zvuka, sledovi `gvozdenih` oktava, izvla\u010denje maksimalne snage iz instrumenta, bombasti\u010dnost, kao i efekti sa pokri\u0107em i bez pokri\u0107a, stav i gestikulacija, pokreti ruku, samouverenost, dali su ovim tuma\u010denjima dignitet suverenog, briljantnog muziciranja, a prijem umetnika u sva tri grada, pokazao da ga i pored kontroverznog ukusa, samosvojnog, odnosno samovoljnog preobra\u017eavanja velikih dela, publika smatra pravom pijanisti\u010dkom zvezdom“.
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Marija Adamov<\/p><\/p>\n","protected":false},"excerpt":{"rendered":"
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