With the concert cycle <\/span>Classical Music Today? Tomorrow?<\/span><\/i>, over the past four years we have been exploring how classical music can be placed within contemporary time and space. We have successfully outlined guidelines and laid the foundations for what we hope will be a long-term presence on the local concert scene.<\/span><\/p>\n Where does classical music belong today? Exclusively in concert halls? Churches? Weddings? Festivals? Clubs? Elevators? Shops? Or does it still belong anywhere at all? And in what form? Strictly in the evening\u2014glittering, accompanied by carefully chosen words and fine wine? In its original form, as it once was\u2014or is modernization allowed? Is it desirable? Meaningful?<\/span><\/p>\n In the rapid whirl of modern times, classical music has found itself in a crisis of an identity that was once rock-solid. As if it has wandered into a mix of elitism, conservatism, and time-consuming pedantry. It seems that an \u201cinstant\u201d era, overloaded with information, can only with difficulty process art that demands a bit more attention, time, and reflection.<\/span><\/p>\n And yet classical music is, in the end, still\u2014music! And one of the functions of art, in its essence, is also entertainment. A large part of the classical repertoire was\u2014and still is\u2014created precisely for this purpose. Technical refinement, virtuosic performance, and aesthetic and expressive contribution are the added value that simply reinforces that basic intention.<\/span><\/p>\n The cycle <\/span>\u201cClassical Music Today? Tomorrow?\u201d<\/span><\/i> is conceived as proof that, for enjoying classical music, more than enough is simply an individual\u2019s curiosity. Bold performers appear in less conventional ensembles, bringing freshness and innovation to the classical scene, while never neglecting the importance of high-quality performance and thoughtful programme selection.<\/span><\/p>\n In the past we have hosted names recognized beyond the local context, including Oberton String Octet, Franziskus Ensemble, Trio Tempestoso, Rudi Katholnig and Hans-Peter Steiner, KUG Sax Sippia, Lumi, Simon \u0160irec, the Spectrum saxophone quartet, and others.<\/span><\/p>\n Going forward, we wish to continue following the guidelines of previous years\u2014inviting musicians who, through their work, are searching for something more. For the most part these are young musicians looking for new ways to connect with audiences: through a fresh stage presence, an unconventional ensemble, repertoire choices, or arrangements of established classical works. They strive to present classical music in a new way\u2014one that is as attuned as possible to the spirit of the time. This year\u2019s edition features five concerts, and, for the first time, it will also include the art of movement\u2014dance.<\/span><\/p>\n This time, however, we will run the cycle a little differently. We will enrich it with a residency of the cycle\u2019s artistic director in our premises at Areh on Pohorje. In October, as part of the concert cycle Classical Music Today? Tomorrow?, we will host Sa\u0161a Fekonja. His stay will unfold between the peace of Ru\u0161ka ko\u010da on Pohorje and urban Maribor, enabling a diverse creative process and the successful preparation and delivery of the cycle.<\/p>\n Fekonja will use the residency for intensive co-creation, inviting both local musical colleagues and international classical-music experts to collaborate, with the aim of building a music community in Maribor. A special emphasis will be placed on knowledge transfer to younger generations: on Friday, 14 October, at 6 p.m., he will hold a music workshop for young people at Romska postaja. This extended stay and creative work will serve as a creative laboratory where, in the relaxed atmosphere of nature and the city, different musical visions will intertwine\u2014adding invaluable artistic depth and freshness to the autumn concert cycle.<\/p>\n WORKSHOP<\/strong><\/p>\n