John 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 Kojic
Danas Newspaper, 22 November, 2010

THE ABSENCE OF SILENCE

IIn 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.

Opposite 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.

These are 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!

***

Balkan Insight.com

Les Enfants Terribles - a Dance Opera
| 23 December 2009 | By Andrej Klemencic
http://philipglass.typepad.com/

... 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 SOUNDS No 26
33 FESTIVALS AND SYMPOSIA
I/2009
Marija Nikolić
New Miniatures. 17th International Review of Composers

...The bonus programme included quartertone miniatures for two pianos, excellently performed by Nada Kolundžija and Deborah Richards...

*

TEMPO - a Quaterly Review of Modern Music Vol. 61 No. 242 October 2007
Zagreb: 24th Music Biennale
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 Miljkovic, etc).
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.
..

***

soundaXis festival - Toronto

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.
John Oliver

***

NEW SOUNDS No 26
Nada Kolundžija: Contemporary Music - CD review
Ana Kotevska

Guarnerius, 2005

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 performing.

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 Gustav
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 and inspirative...

*
Radio programme CULTURAL CIRCLES
January 31, 2005.
Zorica Premate

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.

*

Broadcast of the 3rd programmme of Radio Belgrade, Octobar, 2005.
Vesna Mikić

Great Hall of the Student Cultural Centre,
Project "Composers in the First Person"
BELGRADE

... 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"
BELGRADE

... 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 thrilling.

*

COMPOSERS IN THE FIRST PERSON
THE SECOND CHINCH FESTIVAL IN BELGRADE

January 25, 2007
Donata Premeru

...superb piano recital by Nada Kolunäžija...

*

Građanski list, NOVI SAD
Synagogue, Novi Sad

…an outstanding dedication of the pianist in seeking out new works…

*

GLAS, December 27, 2004. BELGRADE
Guarnerius, Belgrade

…she was playing in the dark to bring out the sound…

*

DANAS, May, 2001, BELGRADE
Zorica Kojić

Hall of the Student Cultural Centre, Multimedia celebration of Erik Satie's birthday BELGRADE

Kolundžija, 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…

*

POLITIKA, 2000. BELGRADE
Mirjana Ognjanović
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…


*

Broadcast of the 3rd programmme of Radio Belgrade 1992.
Melita Milin

The Museum of Theatre Art of Serbia, cycle "20th-Century Classics and our Contemporaries", BELGRADE

... 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.
Melita Milin

*

NOVOSTI, 1991. BELGRADE
Bora Komad
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

...violinist, 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
Branka Radović

*
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
Milena Pešić

Jovan and Nada Kolundžija, Little theatre, Bombay

* 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, ZAGREB

* …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,
La Coruńa

* 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 sensibilidad.

LA VOZ DE GALICIA. 17 de Marzo de 1985. LA CORUŃA


Jovan and Nada Kolundžija, Knežev dvor, Dubrovnik Summer Games, DUBROVNIK

* 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 experience.


SLOBODNA DALMACIJA, July 1984, SPLIT


Jovan and Nada Kolundžija, Knežev dvor, Dubrovnik Summer Games, DUBROVNIK

* 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
Miljenko Jelača

Jovan and Nada Kolundžija, Krčka kripta, KRK

* … 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 preparation.

NAŠA RIJEČ, 1983. ZENICA
Stanislav Selak


Jovan and Nada Kolundžija, Daytona Beach Community College, DAYTONA BEACH

* 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 and authoritative


DAYTONA BEACH SUNDAY NEWS-JOURNAL, October 31, 1982.
By Drew Murphy


Jovan and Nada Kolundžija, Blackwell Auditorium at Randolph-Macon College, RICHMOND

* 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
By C.A.Bustard


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 Centre.
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 aesthetic intricacy.

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
Marina Nikolić


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
Dušan Mihalek

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.

ZVUK, 1981.
Sanja Raca

* 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
Đurđa Otržan-Švacov

Nada Kolundžija, Student Cultural Centre, Sonatas and Interludes for prepared piano by John Cage, BELGRADE

*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 else?


STUDENT, 1980, BELGRADE
Miodrag Lazarov


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
Marija Adamov

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".

NOVOSTI, BEOGRAD
Snežana Nikolajević


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 Schoenberg means:
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 interpreters.
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
Miodrag Lazarov


Nada Kolundžija at the National Library, compositions of Arnold Schoenberg, BELGRADE

* 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
Enriko Josif

 

 


Nada Kolundžija, e-mail: nada.k@open.telekom.rs
Adress: Levskog 1, 11 000 Belgrade, Serbia