Nada Kolundžija – Reviews

…pianistic brilliance of Nada’s performance

BRITIĆ – The British Serb Magazine, London, 2016

 

…What a sensual undertaking of mind and heart!

Daily newspapers DANAS, by Zorica Kojic, Belgrade, 2016

 

International Festival of New Music RING RING

Radio Belgrade, Ars Sonora broadcasting, 2015, by Srđan Teparić

 

Gala opening of the International Review of Composers: Kaleidoscope of Nada Kolundžija (for children and adults)

Electric Cosmos

The opening concert, rightly, went to the inexhaustible wonder of Nada Kolundžija … what a sensual undertaking of mind and heart!

Daily newspaper DANAS, 2016, by Zorica Kojić

 

Innovation de cette édition, le concert d’ouverture a été conceptualisé et mis sur pied par la pianiste Nada Kolundžija, figure emblématique de la nouvelle musique en Serbie.

Online MAGAZIN CRESCENDO

 

Nada Kolundžija is such a magician that you infallibly leave her concerts with your hearing and spirits completely reconstructed.

Daily newspaper DANAS, 2014, by Zorica Kojić

 

These were equally the best and the most interesting concerts of Belgrade musical summer.

Radio Belgrade II, by Zorica Premate, 2014

 

…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.

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!

Danas Newspaper, by Zorica Premate, 2010, Belgrade

 

Undoubtedly, the best evening of this year’s Platform was totally pervaded by mixture of concert and theatre, refracted through personality and work of the great musical rebel and philosopher John Cage… This unbelievably inspiring evening, the synthesis of concert and theatre, evolved into something more than both these forms, essentially, into a narration with elements of spectacle – but not spectacular, a story of the great musical icon of the 20th century, John Cage and his art, conducted by the hearing and instinct of the director Scott Fielding and the unsurpassable Nada Kolundžija.

Radio Belgrade II, 2010, by Zorica Premate

 

24th Music Biennale, International Festival of Contemporary Music – Zagreb

…Kolundzija, with her cultivated touch of the instrument, succeeded in creating an atmosphere of unimagined beauty and sensation…

TEMPO – a Quarterly Review of Modern Music Vol. 61 No. 242 October 2007, by Donata Premeru

 

Next came Serbian guest-pianist Nada Kolundzija to lull us to trance with Morton Feldman’s Palais de Mari.

After the intermission we heard Ms. Kolundzija perform Klavier-etude – An Tasten (1977) by Mauricio Kagel. This is a masterpiece of the piano Ms. Kolundzija’s performance was masterful.

SoundaXis Blog by John Oliver 2006, Toronto

 

Nada Kolundžija: Contemporary Music. Live recording – CD review Publisher – Guarnerius, 2005

…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 …

…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.

NEW SOUNDS No 26, by Ana Kotevska

 

Main hall of the City Hall, cycle “Musica nova”, Belgrade

…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. by Vesna Mikić

 

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.

Radio Belgrade, CULTURAL CIRCLES 2005. by Zorica Premate

 

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.

Daily newspapers DANAS, September 2004. By Zorica Kojić

 

COMPOSERS IN THE FIRST PERSON
THE SECOND CHINCH FESTIVAL IN BELGRADE

January 25, 2007 By Donata Premeru

 

…superb piano recital by Nada Kolunäžija…

Daily newspaper Građanski list, Synagogue, Novi Sad

 

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

Main stage of the Montenegrin National Theatre, Podgorica, International festival “A tempo”

…Very impressive, expressive and inspired.

Daily newspaper “Dan”, Podgorica , 2005

 

Ceremonial Hall of The City Assembly, Belgrade, “Musica nova” cycle of concerts

…Superb intelligence, specific, modern imagination, iron self-control and supremely refined touché.

CULTURAL CYCLES, radio broadcasting, January 2005, by Zorica Premate

 

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 windows with her subject in the mostly uncultivated personal states of mind of the students…

Daily newspaper DANAS, May, 2001, BELGRADE By Zorica Kojić

 

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 humor 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

Daily newspaper POLITIKA, 2000. BELGRADE, by Mirjana Ognjanović

 

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.

Daily newspaper NOVOSTI, 1991. BELGRADE, by Bora Komad

 

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…

THE GLOBE AND MAIL, November 21, 1986. TORONTO, by John Kraglund

 

Jovan and Nada Kolundžija, Little theatre, Bombay

…The pianist combined perfectly with the violinist and showed her sensibility.

…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, 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, 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, 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 experience.

Daily newspaper 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.

Daily newspaper VIJESNIK, 1984. ZAGREB, by Miljenko Jelača

 

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.

Daily newspaper NAŠA RIJEČ, 1983. ZENICA, by 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 hear.

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 Auditorium, 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.

Daily newspaper 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…

The magazine 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.

Daily newspaper 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 Belgrade had the opportunity to listen to the prepared piano live…

The magazine STUDENT, 1981, BELGRADE, by Marina Nikolić

 

Music Showroom at the Student Centre Zagreb Compositions by Arnold Schoenberg

…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.

Yugoslav music magazine SOUND, 1981. By Sanja Raca

 

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 else?

The magazine STUDENT, 1980, BELGRADE, by Miodrag Lazarov

 

Jovan and Nada Kolundžija, Studio “M”, NOVI SAD

The Height of the Season

Daily newspaper DNEVNIK, May 1980, NOVI SAD, by Marija Adamov *

 

Nada Kolundžija, Student Cultural Centre Compositions by Arnold Schoenberg 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…

The magazine STUDENT, 1979, Belgrade, by Miodrag Lazarov

 

Nada Kolundžija at the National Library, Belgrade
Compositions by Arnold Schoenberg

… 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.

Daily newspaper POLITIKA, 1979, Belgrade, by Enriko Josif