Luka Juhart's guest appearances

Luka Juhart

Luka Juhart - 7 skladateljev ZVO.ČI.TI (So.und.ing) 2010

Café Concerts

Naši umetniki pred mikrofonom

Béla Fleck

Jan Vogler

Steven Isserlis

Jennifer Koh

Maya Beiser

Benjamin Verdery

Mika Stoltzman

Avi Avital

Pablo Villegas

Alina Ibragimova

Alisa Weilerstein

Conrad Tao

Jake Schepps

Anthony McGill

Anne Akiko Meyers

OwlTail

Z oddajo Naši umetniki pred mikrofonom začenjamo niz pogovorov z nagrajenci Prešernovega sklada in Prešernovima nagrajencema za življenjsko delo. Tokrat se bo Primož Trdan pogovarjal z Lukom Juhartom, akordeonistom, zadnje čase pa tudi skladateljem. »Luka Juhart v glasbi ne išče delnih rešitev. Glasba zanj ni kariera, ampak nujnost, ki ga vodi med interpretacijo, ustvarjanjem, improviziranjem in poživljanjem glasbene scene.« je zapisano v obrazložitvi za nagrado Prešernovega sklada.

 Luka Juhart, dobitnik nagrade Prešernovega sklada 2020

Successful sibling duos in music are rare. The stress of rehearsing and being constantly on the road together can derail the happiest collaboration. The best-known sibling partnership in musical history – Wolfgang Amadeus Mozart and his sister Nannerl – didn't last long. He went off to Paris, Vienna and Prague; Nannerl settled down into marriage. The Swiss cellists Thomas and Patrick Demenga appear to take their collaboration with a more easy-going attitude. Some 35 years since graduating from Juilliard and the Bern Conservatory, respectively, they are still going strong, and performed together in December at the Chamber Music Society of Lincoln Center.  "We can go on stage and close our eyes and start without even looking at each other," Patrick Demenga told host Jeff Spurgeon. "We are so close in a way musically that we trust – it's one of the most exciting experiences that you can have on stage." The two cellists, who also have active solo careers, came to the WQXR Café to perform as both a duo and as a trio with the Slovenian accordionist Luka Juhart. Their program combined the music of Bach with two modern works. First up was a transcription of Bach's Sonata in G minor for Gamba and Harpsichord (first movement), with Juhart playing the harpsichord part. "Normally if you play with harpsichord and continuo," said Thomas Demenga, "you have a very thin sound and you have to be very careful as a cellist not to overpower the harpsichord. In this combination with accordion you have a really full range because he can sustain the lines so you have the full polyphony."   Juhart met the Demenga brothers through a composer friend, which led to some festival dates in Europe. At an appearance in Austria last year, David Finckel, the artistic director of the Chamber Music Society of Lincoln Center, heard the trio and booked them on his series. Although the accordion is a relative outsider in U.S. chamber music circles, Juhart estimates that there are 30 or 40 college-level training programs in Europe where one can major in the instrument (he teaches at the academy in Ljubljana, Slovenia). Below, Juhart performs Vinko Globokar’s theatrical solo piece, Dialog über Luft.While Juhart has sought to explore the outer boundaries of the modernist accordion sound, he has also taken up Baroque works by Rameau, Handel, Scarlatti and Frescobaldi. The Demenga brothers, meanwhile, have been equally versatile, as seen in the last work on their program, an excerpt from Thomas Demenga's Solo per due, which features all manner of bowed and plucked techniques. "It's a bit jazzy but not really because I don't like classical musicians who try to play jazz," said Thomas Demenga. He notes that one of his classmates and friends at Juilliard was the violinist Nigel Kennedy, known for a freewheeling forays into popular styles. "We played on the streets [of New York] to make money," Demenga recalls. The two musicians also played frisbee in the halls of Juilliard. "People hated us," he said with a laugh. Video: Kim Nowacki; Audio: Chase Culpon; Production &amp; Text: Brian Wise

Successful sibling duos in music are rare. The stress of rehearsing and being constantly on the road together can derail the happiest collaboration. The best-known sibling partnership in musical history – Wolfgang Amadeus Mozart and his sister Nannerl – didn't last long. He went off to Paris, Vienna and Prague; Nannerl settled down into marriage. The Swiss cellists Thomas and Patrick Demenga appear to take their collaboration with a more easy-going attitude. Some 35 years since graduating from Juilliard and the Bern Conservatory, respectively, they are still going strong, and performed together in December at the <a href="http://www.chambermusicsociety.org/" rel="nofollow" target="_blank">Chamber Music Society of Lincoln Center</a>. "We can go on stage and close our eyes and start without even looking at each other," <a href="http://patrickdemenga.ch/en/Welcome" rel="nofollow" target="_blank">Patrick Demenga</a> told host Jeff Spurgeon. "We are so close in a way musically that we trust – it's one of the most exciting experiences that you can have on stage." The two cellists, who also have active solo careers, came to the WQXR Café to perform as both a duo and as a trio with the Slovenian accordionist <a href="http://www.lukajuhart.com" rel="nofollow" target="_blank">Luka Juhart</a>. Their program combined the music of Bach with two modern works. First up was a transcription of Bach's Sonata in G minor for Gamba and Harpsichord (first movement), with Juhart playing the harpsichord part. "Normally if you play with harpsichord and continuo," said <a href="http://www.thomasdemenga.ch/?lang=en" rel="nofollow" target="_blank">Thomas Demenga</a>, "you have a very thin sound and you have to be very careful as a cellist not to overpower the harpsichord. In this combination with accordion you have a really full range because he can sustain the lines so you have the full polyphony."   Juhart met the Demenga brothers through a composer friend, which led to some festival dates in Europe. At an appearance in Austria last year, David Finckel, the artistic director of the Chamber Music Society of Lincoln Center, heard the trio and booked them on his series. Although the accordion is a relative outsider in U.S. chamber music circles, Juhart estimates that there are 30 or 40 college-level training programs in Europe where one can major in the instrument (he teaches at the academy in Ljubljana, Slovenia). Below, Juhart performs Vinko Globokar’s theatrical solo piece, Dialog über Luft.While Juhart has sought to explore the outer boundaries of the modernist accordion sound, he has also taken up Baroque works by Rameau, Handel, Scarlatti and Frescobaldi. The Demenga brothers, meanwhile, have been equally versatile, as seen in the last work on their program, an excerpt from Thomas Demenga's Solo per due, which features all manner of bowed and plucked techniques. "It's a bit jazzy but not really because I don't like classical musicians who try to play jazz," said Thomas Demenga. He notes that one of his classmates and friends at Juilliard was the violinist Nigel Kennedy, known for a freewheeling forays into popular styles. "We played on the streets [of New York] to make money," Demenga recalls. The two musicians also played frisbee in the halls of Juilliard. "People hated us," he said with a laugh. Video: Kim Nowacki; Audio: Chase Culpon; Production &amp; Text: Brian Wise

Café Concert: The Demenga Brothers and Luka Juhart
