- Gestart in
- Type musicus
- Leuven University
- Persoonlijke website
Setting new standards with technical virtuosity and his characteristical interpretation of old and new repertoire makes Goran Krivokapić one of the leading guitarists of the new, international guitar scene. He won his first international competition at the age of fourteen, and continued to win eighteen more, including two of the most prestigious guitar competitions – “Guitar Foundation of America” (GFA) in Montreal, Canada, and “Dr. Luis Sigall International Competition of Musical Performance” in Viña del Mar, Chile, both in 2004.
Born in 1979, Goran Krivokapic started his music education when he was eight with Mićo Poznanović at the Music School of Herceg Novi in Montenegro and furthered his studies at the Faculty of Music Art in Belgrade in the class of Prof. Srdjan Tošić, graduating in 2000. He continued with Prof. Hubert Käppel and Prof. Roberto Aussel at the “Hochschule für Musik Köln” in Germany, where he graduated and received the “Konzertexamen” degree. He then pursued his postgraduate degree at the Conservatorium Maastricht, the Netherlands, under the tutelage of Prof. Carlo Marchione. He is currently pursuing his Master After Master degree under Prof. Raphaella Smits at the Lemmensinstituut in Leuven.
Goran Krivokapic’s musical focus is on the development of new works for classical guitar, mainly through making his own transcriptions from the baroque and classical works, and collaborating with contemporary composers such as Gerard Drozd and Hendrik Hofmeyr, who have dedicated several of their solo and chamber music works to him. As a chamber musician he is part of the Montenegrin Guitar Duo, together with Danijel Cerovic. Their performances have been highly acclaimed by both audience and critics who praise their historically informed performances of J. S. Bach’s English Suites in a new, fresh approach on two guitars.
A comprehensive guide on how to achieve convincing and credible transcriptions and informed interpretations of Johann Sebastian Bach's music on guitar
Nowadays, transcriptions of Johann Sebastian Bach’s compositions form an integral part of the classical guitar repertoire. These works have been produced in relatively recent times, the first ones being composed by Francisco Tárrega about 130 years ago. Today we have complete works transcribed from the violin, cello and flute repertoire, as well as few harpsichord pieces. Still, even contemporary transcriptions are not much different from those done by Tárrega or, later, by Andrés Segovia. Although many guitar players do listen to historically informed performances of ancient music, and might sense something is not right in the guitar transcriptions, not enough research has been done on this issue. Furthermore, since guitar did not exist as such in Bach's time, there is not any ancient treatise including instrument-specific solutions for dealing with the issues of that music, as there is for example for flute (Johann Joachim Quantz) and keyboard (Carl Philipp Emanuel Bach). A modern 6-string guitar player, therefore, in spite of having Bach as a substantial part of her/his repertoire, does not have anywhere to look at in order to faithfully broach these compositions. The absence of a detailed guide leads to read the music "as it is", with little or no attention paid to era-specific notation practice. For example, although the bowing in compositions for strings, where written, crucially affects the interpretation, no study on the transcriptions of bowings on guitar has been made. Furthermore, guitar transcriptions of keyboard works is a relatively new phenomenon and its complexity asks not only for more research, using the keyboard related sources we have, but also for exploring and experimenting on guitar and developing its techniques.
May 22-23, 2019
This conference explores musician’s long relationship with their instruments and instrumentalities, questioning issues of autonomy and agency in the apparent dichotomy between tools and musical expression. From the mechane of Greek theatres from which gods were suspended, to Mozart’s description of the Stein fortepiano’s knee-lever as “Die Maschine”, to the epoch-defining technologies of recording, sound synthesis, and algorithmic composition of more recent times, performers and composers have relied on mechanical means to create magic in their art.