Cage`s Music Circus - A House Full of Music
Project by Nada Kolundzija, Scott Fielding
and Review of Composers
BITEF Theater, 19 November, 2010
Review by Zorica
Danas Newspaper, 22 November, 2010
THE ABSENCE OF SILENCE
this world of John Cage, everyday life is overwhelmed by a sense
of wonder for the clanging of dishes, the muffled whine of a vacuum
cleaner or fan, the scraping of shoes on the floor, the buzzing
polyphony of portable radios, the rhythm and melody of the human
voice, and - naturally and as well - for silence.
Such are the sounds of
our contemporary world, indoors and outdoors, of man-made and natural
phenomena, of friendly machines and threatening weather, the outer
world; but what of the other, the inner world, the experiences in
tone (and image) that always accompany us, perhaps in memory, the
totality of (especially) audible sensation? Theatre and circus!
That is, every observed and well-remembered fragment from life in
which you suddenly become aware of every element that contributes
to the moment. Pure epiphany, as Joyce would say.
Conceived by Nada Kolundzija
and director Scott Fielding (USA), John Cage`s Music Circus - A
House Full of Music, is a super-timely and hyper-attractive performance,
performed at Bitef Theater like a real hallucination at the edge
of anarchy, a genuine grand opening of this year's prestigious Nineteenth
International Review of Composers.
a kind of atelier notable for the non-existence of silence and the
non-stop diligence of human action involving the meagerest means
- common objects, traditional and non-traditional instruments, the
floor itself - guests at this unique event savor an unusual meal
of choosen works by John Cage, Katarina Miljkovic ("Nothing,
You say" and "Gliding") and Miroslav Misa Savic ("EuroCage").
The artists here are equally
notable: Nada Kolundzija (prepared piano), Katarina Jovanovic (soprano),
actor Svetozar Cvetkovic, Aleksandar Bencic (trombone), the Quartet
Manufacturing Industry of Musical Material, a percussion orchestra,
and the combined force of numerous artistic associates.
Happily trapped in this
"cage" with exotic birds, watching the nymphs on percussion,
the ceremonial launching of giant shells in bowls of water, listening
to a sort of gospel-beat of young people at the table, attending
a ceremony with the mystical supernatural voice of Katarina Jovanovic,
and spellbound by fire in a sacred vessel on stage that threatens
to burn every lie in art ... well, we are such a privileged audience
that this happiness is almost impossible to resist.
the kinds of a real-life fragments that make Belgrade the hot point
on the creative map of the planet, in this moment, anyway, and forever!
Les Enfants Terribles -
a Dance Opera
| 23 December 2009 | By Andrej Klemencic
... To me, the
musians were more than just members of the supporting cast. The
three pianos were played near faultlessly by Nada Kolundzija, Sonja
Loncar and Andrija Pavlovic...
New Miniatures. 17th International Review of Composers
...The bonus programme included
quartertone miniatures for two pianos, excellently performed by
Nada Kolundžija and Deborah Richards...
a Quaterly Review of Modern Music Vol. 61 No. 242 October 2007
International Festival of Contemporary Music
by Donata Premeru
...while Nada Kolundzija presented
her emblematic 'lady composers programme' (heard earlier in Belgrade)
with pieces by Ada Gentile, Roberta Vacca, Jasna Velickovic, Katarina
Unlike the two other, energetic lady-pianists, Kolundzija, with
her cultivated touch of the instrument, succeeded in creating an
atmosphere of unimagined beauty and sensation, especially with Good
Bach by Jasna Velickovic...
Les AMIS Concerts present an evening
at the Music Gallery called Xenakis and his contemporaries June
6, 8 pm.
...Next came Serbian guest-pianist Nada Kolundzija to lull us to
trance with Morton Feldman's Palais de Mari, one of Feldman's last
compositions. The often-repeated three-note opening material that
ends by a fourth note at the major seventh setthe stage for a sound
object that would be examined as if under a microscope for the next
15-20 minutes, always at a soft volume. Ms.Kolundzija played each
note like a special soft-mallet gong and held us to the end. After
the intermission we heard Ms. Kolundzija perform Klavier-etude -
An Tasten (1977) by Mauricio Kagel.This is a masterpiece of the
piano literature and is a work that should be heard regularly. Ms.
Kolundzija's performance was masterful.
Last on the program was Xenakis' Evryali (1973) for solo piano.
Xenakis created a graphic that he proposes the pianist try to play
but he does not expect the performer to play all of the notes. Some
of the music is acknowledged to be impossible to play...Anyway,
all this to say that Evryali clarifies the issues in the debate
between the abstract and symbolic approach to composition and the
experiential or phenomemologicaapproach. Ms. Kolundzija gave a compelling
rendition of a work that sounds different each time it is performed.
soundaXis blog - June, 2006.
NEW SOUNDS No 26
Nada Kolundžija: Contemporary Music - CD review
A live recording
of the recital held by Nada Kolundžija in Novi Sad's Synagogue in
October 2004 was presented on the second compact disc of a new music
publisher in Belgrade, Jovan Kolundžija's Centre for Fine Arts-Guarnerius.
Apart from being the exhilarating and seductive immediate impress
of a special moment that every successful live recording is, the
latest recording medium of our passionate advocate of contemporary
music testifies to her unique, rare and singular poetics of inspiration,
which exceeds the confines of common performing praxis and manifests
itself in the selection of works, concert dramaturgy and ways of
The different generational and linguistic provenance of authors
on the repertoire, from the oldest, internationally known cult names
such as Louis Andriessen and Mauricio Kagel to the middle-aged Vuk
Kulenovic and Miloš Raickovic, who have been pursuing their careers
in the USA for the last ten years,
to the youngest Irena Popovic, who is currently attending advanced
studies in Salzburg, does not provoke, as might be expected, tension
between the selected works created in a span of almost thirty years,
nor does it leave the impression of uneven music substance. On the
contrary, the simplified piano texture and macro-plan form, with
the simultaneous luxuriousness of timbres, touches and micro-dynamic
changes, a circular style of music thought and interpretation, an
absence of poster innovations, compensated by a discreet yet richly
innovated sound that emerges from a different interpretation of
recognizable pianistic conventions and praxes … all these and other
elements bring together diverse manuscripts whose sum creates an
impression of unity. Preludes, toccatas, etudes, the harpsichord-like
and whispering piano, euphemistically concealed, ironically intoned
or overstated messages, converge into one another and empty into
a composite flow.
The aspiration to a whole and composite sonic space and milieu is
achieved through the dramaturgy of this concert-programme which,
as always with Nada Kolundžija, is the result of a harmonized intuitive
and intellectual process. It seems that it is accepted as a barely
divisible whole, as if
it were an equating of the sonic with the aquatic and/or aerial
element. The asymmetrical flow of a "great suite" of sorts
rests on two bases of great ambit and cumulative energy: the programme
opens with Kulenovic's Virdžinal (Virginal), a developed
ten-minute prelude which in the first layer alone sucks in the sound
and technique of the piano's precursor and globally "examines"
the organ and dramatic potentials of the instrument, while Kagel's
fifteen-minute composition On the Keys, also euphemistically
subtitled Etude for piano, placed near the end of the programme,
is seen as a climactic plateau. Amid these works there flow, under
the same light, Andriessen's compressed Toccata-The Picture of
Moreau and the ironically tame Muzika (Music) - that is - another
quasi-toccata by Milos Raickovic to six notes carrying an
unconcealed “message” and a manifest “attitude” – B-A-G-D-A-D.
Like an anti–finale and a warning that this is an open programmatic
concept, the end is marked by Irena Popovic's dualistic miniature
Tišina i ništa (Silence and Nothing) for piano and whisperer,
a title that may be lent to
Nada Kolundžija’s project in general.
In keeping with Nada Kolundžija’s demiurgically-directional technique,
her interpretation is at once familiar and reserved, intimately
close to the keyboard and the complete gigantic mechanism of instruments
as a totality of music, empathically associated with the substance
of performed works and,
paradoxically, estranged from their authors in an attempt to convey
the notes as rigorously as possible and control all anticipated
sounds and silences that belong to them.
It is precisely the antagonism between sonic hedonism and the pushing
up of its frontiers, on the one hand, and a desire to give an absolutely
accurate rendering of the note text, on the other, between the idealization
of music as a secret and the transparent documentary moment-of-no-return
in which it takes place, that sets off the tense, heated concentration
of this seemingly “light” and “no-worries” cheerful programme.
A la Satie! For, in the depths of Nada Kolundžija’s “balancing-act”
poetics one can discern Satie’s subversiveness without which none
of the works featured in this superb discographic artefact could
have been written or performed.
Translated by Dušan Zabrdac
DAN, March 12, 2005, PODGORICA
International Festival "A tempo"
Main stage of the Montenegrin National Theatre
... Very distinct, expressive
Radio programme CULTURAL CIRCLES
January 31, 2005.
Main hall of the City Hall, cycle "Musica nova", BELGRADE
...Pianist Nada Kolundžija,
an artist whose long-term affinity for contemporary music formed
what is in our terms an entirely specific career, performed at the
main hall of the City Hall on Tuesday, January 25…
…The individual performing poetics of Nada Kolundžija blossomed
in the interpretation of a bouquet of five fairly short waltzes
of 20th-century authors: from Schoenberg's Waltz from opus 23 to
Ligeti's Waltz from his early, neoclassical collection "Musica
ricercata" to Satie's waltz "Je te veux" to the minimalist
"Modern Love Waltz" by Philip Glass and a short waltz
from Louis Andriessen's early postmodernist phase. Under Nada Kolundžija's
fingers each of these short pieces, more or less resembling our
standard perception of the waltz, was given its corresponding sonic
expression, perfectly chosen in terms of style and performing.
…The culmination of the concert was the premiere of the composition
"Paleas de Mari" by American avant-garde composer Morton
Feldman… The interpretation of that sizeable composition of simple
pianistic demands fully demonstrated the pianist's individual poetics:
high intelligence, a specific, contemporary imagination, iron self-control
and an entirely refined touch.
…What Nada Kolundžija achieved at the end of the concert by her
incredible skillfulness at handling small, insignificant, even trivial
pianistic tasks was to subtly induce each and every listener to
arrive at a blissful peace with himself. And this can be achieved
only by the greatest artists of sound.
the 3rd programmme of Radio Belgrade, Octobar, 2005.
Great Hall of the Student Cultural Centre,
Project "Composers in the First Person"
... Kolundžija created a unique
atmosphere of "listening for" differences in similarities,
without redundant gestures (although in the case of Irena Popović's
composition this was quite in the manner of the performers of experimental
music, through the examination of the relationship between silence
and sound, actually examining the potentials of her own voice/body).
By unpretentiousness, which has always been her trademark, she managed
to underline the key points in her creative process, thus not allowing
the quality of certain works from the programme to be questioned.
DANAS, September 2004.
Zorica Kojić Great Hall of the Student Cultural Centre Project "Composers
in the First Person"
... Thus the first concert evening
of the project "Composers in the Firs Person" at the great
hall of the Students Cultural Centre brought to the stage the cult
Belgrade pianist Nada Kolundžija...
... this recital of Nada Kolundžija's, as it finally came to be,
was in fact possible only in her interpretation. Resembling a sun
disk on the stage that gushes like a piano geyser exclusively upwards,
Kolundžija is the only one who can translate the elusive electronic
structure of a work into a human entity with gracious clarity. Entirely
THE FIRST PERSON
THE SECOND CHINCH FESTIVAL IN BELGRADE
January 25, 2007
recital by Nada Kolunäžija...
Synagogue, Novi Sad
dedication of the pianist in seeking out new works…
27, 2004. BELGRADE
…she was playing
in the dark to bring out the sound…
DANAS, May, 2001,
Hall of the Student Cultural
Centre, Multimedia celebration of Erik Satie's birthday BELGRADE
that radiating Marianne Faithful and Nico of domestic avant-garde
pianism and the highly inspiring professor of Belgrade Music Academy,
who opened many a window with her subject in the mostly uncultivated
personal states of mind of the students…
Nada Kolundžija, compact disc featuring works by Erik Satie
The Centre for
Contemporary Art and Photography has published a CD of Nada Kolundžija,
a remarkable and acclaimed interpreter of newer piano music… We
are fortunate that Nada Kolundžija plays Satie with unhidden inspiration,
unusual humour and idiosyncrasy, and above all, with an entirely
elegant, inherent sense of simplicity…
No doubt the compact disc featuring the most famous piano works
of Erik Satie will become a bestseller in our country…
the 3rd programmme of Radio Belgrade 1992.
The Museum of Theatre Art of
Serbia, cycle "20th-Century Classics and our Contemporaries",
... Nada Kolundžija is indeed
a reliable interpreter of compositions from the classical repertoire,
but to our milieu she is particularly valuable as an enthusiastic
performer of contemporary music, making it possible for us to hear
many foreign works which we would otherwise hear only from recordings,
equally promoting domestic production, thus often providing it with
an important incentive as well...
Broadcast of the 3rd programmme of Radio Belgrade, 1992.
Hall of the United Nations, New York
At last unanimity
at the United Nations Palace in New York. The crowded hall bearing
the name of the tragically killed Secretary General Dag Hammershold
marked with standing ovation the end of the piano concert of our
artist Nada Kolundžija, who skillfully interpreted her "specialty"
- 20th century music.
THE GLOBE AND
MAIL, November 21, 1986. TORONTO
by John Kraglund
Jovan and Nada Kolundžija -
Jane Mallett Theatre, Toronto
pianist shine in varied program...
The Mozart's Sonata No.6 in G, K 293, a charming two-movements piece
that gave the lion's share of the music to the piano. Pianist Kolundzija
took full advantage of it in a brilliant, lightfingered and superbly
phrased performance ...
...it was a model of ensemble precision...
Hall of the Faculty of Music,
cycle "Musica viva" of Radio Belgrade, BELGRADE
* An Evening of Modern Music
The concert of pianist Nada Kolundžija...had the charm of yet another
encounter with an extraordinary performer of contemporary music.
While many performers play this music because they have to or feel
they should, Nada Kolundžija has devoted herself to it out of conviction.
...At this concert she played the music of both untalented and inventive
authors as if they were the finest creators, as if they had written
their piano works for her alone. Its eruptive power is only one
of the qualities of such an engaging in music. Her most important
characteristic is the unlimited ability of "reading" the
score and the superstructure of a work...
POLITIKA, May 1986, BELGRADE
Jovan and Nada Kolundžija, Hall of the Kolarac People's University,
cycle International Masters, BELGRADE
* The programme of the sonata
evening that included works by Mozart, Beethoven and Brahms revealed
not only the artistic seriousness and high interpretative abilities
of the duet, but also the desire to satisfy the always present need
of the audience for the tried and tested classical music… Playing
these works as a perfectly coordinated chamber duet in which pianist
Nada Kolundžija had a prominent and splendidly developed part. The
artists confirmed their reputation in an impressive way… Absolutely
precise, technically impeccable and musically thought-out, the playing
of Nada Kolundžija was more than a mere piano accompaniment, growing
into an act of joint music statement, inspirational mutual "serving"
and unique creation…
POLITIKA, 1986. BELGRADE
Jovan and Nada Kolundžija, Little
* The pianist combined perfectly
with the violinist and showed her sensibility.
...the blending if the two instrument was of high quality throught...
The pianist was in complete control with the deliberation that goes
with sensitivity and creativity...
THE TIMES OF INDIA March 18, 1986.
Jovan and Nada Kolundžija, Nehru Memorial Auditorium, New Delhi
* Nada Kolundzija came across
as a strong gifted pianist in the works for piano and violin, and
it was difficult to tear oneself away from the Duo's impassioned
yet comprehensive interpretations. With an urgent driving power
and lyricism, the Duo took on the Beethoven Sponata in G, Op. 30,
No 3...The piano work was breathlessly vivid.
HINDUSTAN TIMES, 18 Mar 1986, NEW DELHI
by Malviya Nagar
Jovan and Nada Kolundžija, Lisinski, cycle Saturdays at the Lisinski,
* …a special quality of this
concert that deserves to be mentioned is togetherness accomplished
in music-making with pianist Nada Kolundžija. With the confidence
and subtlety of her playing, Nada Kolundžija was much more than
a mere soloist accompaniment, she was a musical and coordinated
partner that equally shares the success.
VIJESNIK, 1986. ZAGREB
Bosiljka Perić Kempf
Jovan and Nada Kolundžija, Salle Gaveau, PARIS
* Kolundzija était accompagné
su piano par sa sśur Nada et leur duo fut un cocktail de noblesse
et de raffinement dans la grande tradition romantique...
LE PARISIEN, 14 mars 1985. PARIS
Jovan and Nada Kolundžija, El Teatro Colón,
* Nada Koludzija como pianista
fue una eficas colaboradora en una encomiable labor de plena identificación
con las correspondientes partituras, evidenciando a la vez una gran
LA VOZ DE GALICIA. 17 de Marzo de 1985. LA CORUŃA
Jovan and Nada Kolundžija, Knežev dvor, Dubrovnik Summer Games,
* The Height of Skill
...We could single out Nada Kolundžija's music-making not only as
excellent piano accompaniment, but also as an exceptional music
SLOBODNA DALMACIJA, July 1984, SPLIT
Jovan and Nada Kolundžija, Knežev dvor, Dubrovnik Summer Games,
* Playing on the piano alongside
Jovan Kolundžija was his sister Nada Kolundžija, without whose exceptional,
full-blooded collaboration there would not have been the perfect
artistic singing of the violin and the piano.
VIJESNIK, 1984. ZAGREB
Jovan and Nada Kolundžija, Krčka
* … a superb piano accompaniment
of Nada Kolundžija…
NOVI LIST, 1983. RIJEKA
Jovan and Nada Kolundžija, National Theatre, ZENICA
* Once again Nada
Kolundžija proved to be a remarkable and generous musical collaborator,
imparting a special atmosphere to this extraordinary concert by
her rich musical imagination, temperament, musicality and technical
NAŠA RIJEČ, 1983. ZENICA
Jovan and Nada Kolundžija, Daytona Beach Community College, DAYTONA
* It should be said early on
that his able partner at the piano was his sister, Nada...Her contribution
to the sucess of the evening was enormous. We heard splendid performances
of Cesar Frank's familier "Sonata in A Major"...
...the pianistic support his sister gave was sensitive, musical
DAYTONA BEACH SUNDAY NEWS-JOURNAL, October 31, 1982.
By Drew Murphy
Jovan and Nada Kolundžija, Blackwell Auditorium at Randolph-Macon
* Before the evening was over,
one wished that Nada Kolundzija had come on stage alone to give
the listeners a more penetrating look at the musical artistry that
she unquestionably possesses.
RICHMOND NEWS LENDER, Oct.9, 1982. RICHMOND
By Francis Church
Jovan and Nada Kolundžija, Randolph-Macon College, RICHMOND
* The violinist was joined by
his younger sister, pianist Nada Kolundzija, billed as his accompanist
but turning in a performance that would do a soloist proud. Like
her brother, Ms.Kolundzija lavishes attention on tone, dynamic contrast
and sweeping phrasing - her Shumann must be something to hier.
RICHMOND TIMES - DISPATCH, Oct. 9 1982, RICHMOND
Jovan and Nada Kolundžija, Tuesday Musical Club, SAN ANTONIO
* The two performers had such
intensity of concentration that thay made their instruments communicate
with fervor, passion and affection.
Consistently Jovan's performance flashed with brilliant techniques
and articulate interpretations. Certainly he dominated the stage,
but the listener found himself impressed again and again with Nada's
subtle and delicate accompanyng. The result was a powerful combination
that earned them both prolonged applause.
THE RANGER, Oct 1982,SAN ANTONIO
By Lillian Thomas
Jovan and Nada Kolundžija, Gaillard Municipal Auditorim, CHARLSTON
* The Cesar Franck "Sonata
in A Major" which followed gave even greater insight into the
sensitivities and virtuosity of both pianist and violinist. The
subtle shading from the violin and the broad melodic sweep of piano
as it joined in an interpretation of the first movement was deeply
expressive. In the exciting second novement, the virtuosity of the
pianist nicely balanced the excitement of the violin. One almost
wished to clap at the close of the second moveent - it was so perfectly
proportioned with sensitivity, nuance and tempestuous excitement.
THE NEWS AND COURIER, October 6, 1982, CHARLSTON
by Claire Mc Phail
On the occasion of the LP featuring works by John Cage: Sonatas
and Interludes and Music for Marcel Duchamp
*…With a great sense of new
music (which is one of her basic preoccupations), these works are
performed on the prepared piano by Nada Kolundžija, one of the most
committed members of the music editorial board of the Student Cultural
What is particularly impressive is her ability on the performing-practical
plane to plumb, with great concentration and strength, all - or
nearly all - impetuses of a contemporary work, irrespective of its
DNEVNIK, May 9, 1982. NOVI SAD
* Nada Kolundžija was the first to perform John Cage's works in
our country… A high level of musical sensitivity…
STUDENT, March 3, 1982, BELGRADE
* By this interpretation, pianist Nada Kolundžija has once again
confirmed her remarkable aptitude for fathoming the demands of different
styles of newer music.
POLITIKA, June 2, 1982, BELGRADE
Student Cultural Centre, John Cage - Sonatas and Interludes for
prepared piano, BELGRADE
* The fact remains that in our
country it is only pianist Nada Kolundžija who consistently and
fearlessly engages in such adventures as whole-evening recitals
at which she has been performing 20th-century compositions with
great inspiration… It was thanks to Nada Kolundžija that Belgraders
had the opportunity to listen to the prepared piano live…
STUDENT, 1981, BELGRADE
Jovan and Nada Kolundžija, Serbian National Theatre, NOVI SAD
* Franck's sonata, a veritable
symphony for violin and piano, was superbly performed in the second
part of the concert. It was precisely this sonata that revealed
the compact sound of the brother and sister Kolundžija and their
perfectly coordinated interpretation. Their rendition of Franck's
late Romantic music culminated in the third movement, which will
be remembered as one of the finest achievements of this season.
DNEVNIK, 1981, NOVI SAD
Nada Kolundžija, Music Salon
of the Student Centre, compositions of Arnold Schoenberg, ZAGREB
* Nada Kolundžija approaches
these writings from their more intimate side. Her artistic approach
to Schoenberg's compositions imposes a dimension of likeability
which they had always been denied, thus expanding the expressive
modalities of music discourse.
* Nada Kolundžija's interpretation deserves special attention
inasmuch as this selection of repertoire of hers is valuable in
its own right. Without neglecting her intention to inform, the pianist
primarily attempted to offer her own view of Schoenberg's exploratory
course… What can be concluded based on such an interpretation is
that Schoenberg's music is far "tamer" than it is generally
believed, and that it is very "listenable" if played properly.
VIJESNIK, 1981, ZAGREB
Nada Kolundžija, Student Cultural
Centre, Sonatas and Interludes for prepared piano by John Cage,
*Cage and Kolundžija - ahead
of everyone else?
…Finally, what is to be said of Nada Kolundžija withot repeating
the much favourable and high opinion of her playing, which had also
been stressed last year when she performed the entire piano production
of Arnold Schoenberg. What is more important at this point is the
fact that this concert comes as a bright spot in the monotony and
greyness of Belgrade music life. Bearing in mind the fact that Nada
Kolundžija has been premiering capital works of 20th-century world
music avant-garde for Belgrade's music audience for a year now,
this then carries weight which increases the importance of this
concept even more. Her zeal in Belgrade music life is an exception
on a wider Yugoslav scale as well. If we also keep in mind that
our, Belgrade music consciousness is basically limited by traditionalism,
then Nada Kolundžija indirectly "works" on breaking through
its "ceiling", on opening new horizons, enriching and
expanding the perceptive potentials of our hearing, music consciousness
and in general - this constricted national musical spirit of ours.
And therefore: - (John Cage and) Nada Kolundžija ahead of everyone
STUDENT, 1980, BELGRADE
Jovan and Nada Kolundžija, Studio "M", NOVI SAD
* The Height of the Season
...Jovan and Nada Kolundžija have produced creations which, by their
interest and inventiveness, become part of the height of this year's
concert season in Novi Sad...
DNEVNIK, May 1980, NOVI SAD
Nada Kolundžija and Nikola Srdić
at the "Days of Music" in HERCEG NOVI
*…she confirmed her fascinating
affinity for the music idiom of the second half of the 20th century,
sounding the works with precision in formal-structural terms and
pianistic maturity… clarinetist Nikola Srdić, accompanied on the
piano by Nada Kolundžija, performed that same evening… Their concert
was the interpretative pinnacle of this year's "Days of Music".
Nada Kolundžija, Student Cultural Centre, piano production of
Arnold Schoenberg, BELGRADE
* Nada Kolundžija or a cultural
event par excellence!
…Setting yourself the task to integrally interpret the entire piano
work of such an important figure in newer music history as Arnold
a particular kind of rarity
high consciousness, confidence and feeling of something almost missionary
in oneself, all of which is characteristic of only the greatest
Nada Kolundžija is an interpreter with an exceptional sense of rhythm;
furthermore, she possesses deep concentration and meditative predisposition.
…By her authenticity and particularity of interpretation she arrived
at a point that actually surprises by its maturity and certainly
remains unattained in our milieu seeing that Nada Kolundžija is
a pioneer in Belgrade and that there is simply no one else who could
let her in on the secrets of Schoenberg's (more broadly - avant-garde)
interpretative tone. Left to her own devices, Nada Kolundžija drew
upon herself, upon the dignity of her musical being, that depth
which (perhaps) borders on pure contemplation…
STUDENT, 1979, BELGRADE
Nada Kolundžija at the National Library, compositions of Arnold
* With extraordinary, concentrated
focus on an objective crystallized expression, a genuine Schoenbergian
touch, through the complex accentuation freed of the subjective
sensibility of foregone styles, she arrived in her investigative
approach at new expressive knowledge and new condensed emotional
nuances. Nada Kolundžija has persuaded us that the path she had
chosen in her pianistic orientation is crucial for her further development
and very important for the development of contemporary piano culture
in our country.
A great undertaking. A great achievement.
POLITIKA, 1979, BELGRADE