Sara Glojnarić (*1991 in Zagreb, Kroatien) ist eine Komponistin, deren künstlerische Praxis sich mit der Popkultur, ihrer Ästhetik und ihren gesellschaftspolitischen Folgen, Nostalgie und kollektivem Gedächtnis sowie dem riesigen Netzwerk von Daten der Popkultur und ihren Nebenprodukten beschäftigt, die durch die Gegenüberstellung dieser beiden Diskurse entstehen.
Ihre Werke, darunter Orchester- und Kammermusikpartituren sowie Videoarbeiten und multimediale und multisensorische Installationen, wurden auf vier Kontinenten (Australien, Europa, Südamerika und Asien) von renommierten Interpret*innen wie Ensemble Musikfabrik, Neue Vocalsolisten Stuttgart, Trio Catch, Sarah Maria Sun, Dirk Rothbrust, Ensemble Mimitabu, The Black Page Orchestra oder dem Kroatischen Radiosinfonieorchester und bei Festivals wie ECLAT Stuttgart, Huddersfield Contemporary Music Festival, Ultraschall Berlin, Wittener Tage für neue Kammermusik, Showroom of Contemporary Sound und Music Biennale Zagreb aufgeführt.
Sara Glojnarić studierte Komposition an der Musikhochschule Zagreb in der Klasse von Davorin Kempf und erwarb später ihren Bachelor und Master in Komposition an der Staatlichen Hochschule für Musik und darstellende Kunst Stuttgart in der Klasse von Martin Schüttler.
In der Konzertsaison 2019/20 wird sie unter anderem aufgeführt beim Taschenopernfestival Salzburg (Uraufführung von Pray, chuck, come hither, Kammeroper für Sopran, Tenor, gemischtes Ensemble und Tonband mit dem Ensemble OENM unter der Leitung von Peter Rundel), vom Ensemble E-MEX Köln, den Neuen Vocalsolisten Stuttgart, ensemble recherche (sugarocoating #2) und an der Staatsoper Stuttgart.
Für ihre Videoinstallation popfem, die in Zusammenarbeit mit der Künstlerin Binha Haase entstand, erhielt Sara Glojnarić den renommierten Kranichsteiner Musikpreis der Darmstädter Ferienkurse für Neue Musik 2018. Seit 2019 ist sie Stipendiatin der Kunststiftung Baden-Württemberg und ihre Arbeiten werden vom Berliner Verlag Edition Juliane Klein veröffentlicht.
Sara Glojnarić (born in Zagreb, Croatia in 1991) is a composer, whose artistic practise deals with pop culture, its aesthetic and its sociopolitical consequences, nostalgia and collective memory, and the vast network of pop-culture data and its byproducts that arise through juxtaposition of these two discourses.
Her works, which include orchestra and chamber music scores, as well as video works and multi-media and multi-sensory installations, have been played on four continents (Australia, Europe, South America, and Asia) by renowned performers, such as Ensemble Musikfabrik, Neue Vocalsolisten Stuttgart, Trio Catch, Sarah Maria Sun, Dirk Rothbrust, Ensemble Mimitabu, The Black Page Orchestra, Croatian Radio Symphony Orchestra, at festivals such as ECLAT Stuttgart, Huddersfield Contemporary Music Festival, Ultraschall Berlin, Wittener Tage für neue Kammermusik, Showroom of Contemporary Sound and Music Biennale Zagreb.
Sara Glojnarić studied composition at the Academy of Music Zagreb, in the class of Davorin Kempf, and later earned her BA and MA degree in composition at the State University of Music and Performing Arts Stuttgart in the class of Martin Schüttler. In the concert season 2019/20 some of the highlights include: Taschenopernfestival Salzburg (premiere of Pray, chuck, come hither, a chamber opera for soprano, tenor, mixed ensemble and tape, performed by Ensemble OENM, conducted by Peter Rundel) as well as commisions and/or performances by Ensemble E-MEX from Cologne, Neue Vocalsolisten Stuttgart, ensemble recherche (sugarocoating #2) and Stuttgart State Opera. Sara is the winner of the prestigious Kranichsteiner Musikpreis at the Darmstadt Summer Course 2018 (Germany) for her video installation popfem, made in collaboration with artist Binha Haase.
Since 2019 Sara Glojnarić is the scholarship holder of Kunststiftung Baden-Württemberg and her works are being published by the Berlin based publisher Edition Juliane Klein.
Residency in Positano
The time spent in Positano was nothing short of magical. I was wondering if my residency will even take place, due to Covid-19 pandemic, but luckily, I was able to travel and it proved to be a very special time to be in Positano. The locals seemed happy that the normally frenzy nature of August at the Amalfi Coast seemed to wind down, if only for a moment – the streets were calmer, waiters in cafes and restaurants were less stressed, at times even bored due to the sudden change of pace. The concensus around the atmosphere in town was unanimous – it hadn’t felt like this since the 80s.
Casa Orfeo, whose atmosphere, like the rest of the town, is entrenched in nostalgia, offered a peaceful space which I used to do all sorts of creative explorations. I focused on writing a chamber opera titled ”Kein Mythos“, whose libretto tells a love story between two women in GDR at the end of the 80s, jumping constantly from the blissful and painful memories of the past, to the realities of today. Needles to say, Casa Orfeo was the perfect place to write such a piece. I was immensly inspired by the calmness and quiet behind the thick white walls, and the intrinsic work required to fully absorb it. Each room in the house has a different character, it tells a different story. I was working in the concert hall, using the big black table facing Wilhelm Kempff’s old Steinway, being constantly reminded of the incredible space and history I have the privilege of working in. After a full day of work, I would find myself playing Beethoven sonatas from scores scattered around the house, hoping to find some long-lost handwritten remark on how to play certain technically difficult passages. For additional inspiration, I spent time composing on the terrace, which is with its big olive tree, blue tiles and white walls truly a crown jewel of the entire house. Its views are breathtaking.
Working on my chamber opera was a huge part of my stay in Positano, but as an avid triathlete, I couldn’t resist the opportunity to rent a nice Bianchi road bike, delivered to us from Amalfi by lovely Daniele and do a long tour alongside the Amalfi Coast, which is on the bucket list for every cyclist. The road took us all the way to Agerola (1500m), where we witnessed some of the most beautiful coastal scenery. Other than composing and occasionally cycling, the thing I was most excited by was the food. Fresh figs from the store downtown next to the butcher, copius amounts of sfogliatella from La Zagara, and just overall delicious produce and coffee available pretty much wherever you go.
The residency cluminated in a wonderful concert on 3rd October 2020 in St. Elisabeht-Kirche Berlin, where ensemble mosaik played 5 of my selected pieces: 2 pieces from ”sugarcoating” series, 1 piece from ”Artefacts” series and 2 videos titled ”#popfem”. It was pure joy working with musicians of such calibre and artistic integrity. Knowing this would probably be the last concert before full lockdown, I savored the moment and surrendered to this wonderful atmosphere created by their artistry and immense energy.
I am deeply thankful to ensemble mosaik and Wilhelm-Kempff-Kulturstiftung for this incredible opportunity. I would also like to thank Natalie, for her kindness and hospitality, to Luigi, for offering comforting words and calling a doctor after a painful medusa sting, and to Carolina for her lovely work around the house.
I hope there will be an opportunity to experience the unique atmosphere of Casa Orfeo once again.
Foto Header © Romano Grozić