{"id":990,"date":"2024-10-07T09:38:06","date_gmt":"2024-10-07T09:38:06","guid":{"rendered":"https:\/\/www.vasiltole.com\/?p=990"},"modified":"2024-10-07T12:19:14","modified_gmt":"2024-10-07T12:19:14","slug":"bisede-me-prof-vasil-tole-per-ne-gazeten-exlibris","status":"publish","type":"post","link":"https:\/\/www.vasiltole.com\/?p=990","title":{"rendered":"Bised\u00eb me prof. Vasil Tole p\u00ebr n\u00eb gazet\u00ebn \u201cExLibris\u201d"},"content":{"rendered":"\n

Pyetje 1. Meq\u00eb muzik\u00ebn nuk e njoh n\u00eb nj\u00eb nivel t\u00eb atill\u00eb p\u00ebr t\u00eb folur n\u00eb terma studimor\u00eb, kjo bised\u00eb do t\u00eb orientohet, po t\u00eb jeni edhe ju dakord, n\u00eb diskutime mbi p\u00ebrvoj\u00ebn tuaj si kompozitor dhe zb\u00ebrthimin e saj n\u00ebp\u00ebrmjet p\u00ebrjetimeve t\u00eb mia si d\u00ebgjues. Ndaj, krejt natyrsh\u00ebm, e para pyetje q\u00eb m\u00eb vjen n\u00eb mendje, lidhet me procesin e krijimit. N\u00ebse n\u00eb piktur\u00eb, nj\u00eb ngjyr\u00eb mund t\u00eb rrij\u00eb vet\u00ebm n\u00eb kontekste t\u00eb caktuara apo n\u00eb let\u00ebrsi nj\u00eb fjal\u00eb edhe e vetme ka jet\u00ebn e saj, po n\u00eb muzik\u00eb, ku nj\u00eb not\u00eb e shk\u00ebputur nga t\u00eb tjerat duket sikur nuk thot\u00eb di\u00e7ka, si ja dilni ta nd\u00ebrtoni struktur\u00ebn aq komplekse dhe aq t\u00eb ngjeshur t\u00eb nj\u00eb partiture?
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P\u00ebrgjigje: T\u00eb krijosh muzik\u00eb \u00ebsht\u00eb nj\u00eb proces q\u00eb kalon nga metafizika drejt fizikes, pra nga \u00e7asti magjik, do t\u00eb thosha, i ides\u00eb fillestare, q\u00eb lind brenda teje si motiv muzikor i koncentruar, drejt nj\u00eb realiteti m\u00eb fizik, m\u00eb konkret, nj\u00eb realitet ku ka let\u00ebr e pentagrame, ku ka rregull, form\u00eb, mas\u00eb, rit\u00ebm, l\u00ebvizje, harmoni, tinguj t\u00eb shtrir\u00eb n\u00eb hap\u00ebsir\u00eb dhe n\u00eb koh\u00eb. \u00cbsht\u00eb si t\u00eb ndjesh fizikisht mendimin dhe t\u00eb tentosh t\u00eb mendosh ftoht\u00eb ndjenj\u00ebn. Me pak fjal\u00eb, nj\u00eb proces kompleks i cili pleks n\u00eb vetvete disa fusha dijeje, nga ato muzikore, te shkencat humane, ato natyrore e teknike, si matematika e gjeometria, arkitektura dhe akustika etj. Ja, mendoje, e th\u00ebn\u00eb thjesht \u00ebsht\u00eb q\u00eb duhet q\u00eb t\u00eb kap\u00ebsh fillimisht diku motivin fillestar, ashtu si Tezeu n\u00eb antikitet q\u00eb kapi fillin e Arian\u00ebs p\u00ebr t\u00eb dal\u00eb nga labirinti ku ishte. K\u00ebt\u00eb “fill muzike”, q\u00eb tashm\u00eb e ke prekur edhe fizikisht, q\u00eb e ke n\u00eb dor\u00eb – si t\u00eb thuash, duhet ta t\u00ebrheq\u00ebsh n\u00ebp\u00ebr shtigjet e err\u00ebta t\u00eb \u201clabirintit krijues\u201d deri sa t\u00eb dal\u00ebsh prej tij, n\u00eb drit\u00eb. Prandaj n\u00eb antikitet muzik\u00ebn e konsideronin si arti m\u00eb inteligjent, pasi kompleksiteti i gj\u00ebrave me t\u00eb cilat p\u00ebrballet kompozitori \u00ebsht\u00eb i pafundm\u00eb.
P\u00ebr t\u00eb fiksuar zanafill\u00ebn e k\u00ebtij procesi unik kompozitor\u00ebt kan\u00eb secili modelet e tyre, p.sh. Moxarti sh\u00ebnonte motivet ose temat sa her\u00eb q\u00eb frym\u00ebzimi ia sillte. M\u00ebnyra se si i vinin motivet ende nuk dihet, por ai i sh\u00ebnonte ato p\u00ebr t\u2019i p\u00ebrdorur m\u00eb von\u00eb n\u00eb kompozimet e tij. Praktika q\u00eb ai ndiqte u zbulua s\u00eb fundmi, kur u gjet nj\u00eb bllok n\u00eb t\u00eb cilin Moxarti kishte shkruar shkurt e qart\u00eb motive t\u00eb ndryshme n\u00eb pentagram, s\u00eb bashku me sh\u00ebnime t\u00eb ndryshme me fjal\u00eb, q\u00eb ky motiv x mund t\u00eb vlej\u00eb p\u00ebr trio, kuartet, sonat\u00eb a simfoni. Nga kjo kuptojm\u00eb q\u00eb pjesa fillestare \u00ebsht\u00eb gati e pakapshme p\u00ebr k\u00ebdo, e m\u00eb pastaj, kur kompozimi zhvillohet, procesi ndodh m\u00eb ngadal\u00eb dhe kompozitori merr koh\u00ebn q\u00eb i duhet p\u00ebr ta realizuar gjith\u00eb kompozimin q\u00eb fillimisht vjen si shkreptim\u00eb rrufeje. Nga p\u00ebrvoja ime modeste kam parasysh se ideja zakonisht m\u00eb vjen bashk\u00eb me nj\u00eb konceptim sado t\u00eb p\u00ebrgjithsh\u00ebm t\u00eb struktur\u00ebs, duke ma leht\u00ebsuar m\u00eb pas procesin e kompozimit.<\/p>\n\n\n\n

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Pyetje 2. N\u00eb nj\u00eb kompozim, sa e v\u00ebshtir\u00eb \u00ebsht\u00eb p\u00ebrzgjedhja e tematikave dhe, mbi t\u00eb gjitha, si mund t\u00eb identifikohen se cilat jan\u00eb tematikat e nj\u00eb simfonie?
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P\u00ebrgjigje: Trash\u00ebgimia e muzik\u00ebs profesioniste na provon se ka dy lloje muzikash: me program dhe ajo pa program. Nuk m\u00eb rezulton se ka tjet\u00ebr lloj. N\u00ebse i referohemi p.sh., gjinis\u00eb s\u00eb simfonis\u00eb, \u00ebsht\u00eb e leht\u00eb p\u00ebr d\u00ebgjuesit n\u00eb rastet kur simfonit\u00eb jan\u00eb me program (t\u00eb plot\u00eb apo qoft\u00eb edhe p\u00ebrmes titujve orientues), si\u00e7 p\u00ebrmend\u00ebm m\u00eb sip\u00ebr edhe simfonin\u00eb e pambaruar \u201cDy lule mbi vorr t\u00eb Sk\u00ebnderbeut\u201d t\u00eb \u00c0t Martin Gjok\u00ebs, apo \u201cSimfonin\u00eb pastorale\u201d t\u00eb Bethovenit, apo \u201cSimfonin\u00eb Alpine\u201d t\u00eb Edmond Buharas\u00eb etj., t\u00eb cilat t\u00eb fokusojn\u00eb qysh n\u00eb titull n\u00eb sfer\u00ebn e interesave q\u00eb synojn\u00eb t\u00eb pasqyrojn\u00eb. \u00cbsht\u00eb disi m\u00eb e v\u00ebshtir\u00eb n\u00eb dukje t\u00eb par\u00eb, kur simfonia apo vepra muzikore \u00ebsht\u00eb thjesht muzik\u00eb e past\u00ebr, pa titull, p.sh. simfonia nr. 1, 2, 3\u2026 apo koncert p\u00ebr violin\u00eb dhe orkest\u00ebr etj. N\u00eb k\u00ebt\u00eb rast, nuk ka asgj\u00eb p\u00ebr t\u2019u shqet\u00ebsuar, e kam fjal\u00ebn p\u00ebr publikun q\u00eb k\u00ebrkon shpjegime, pasi ata duhet t\u00eb din\u00eb q\u00eb muzika komunikon p\u00ebrmes gjendjeve emocionale q\u00eb p\u00ebrcjell dhe jo ndryshe, as p\u00ebrmes fakteve a narrativ\u00ebs s\u00eb fjal\u00ebve. Pra, n\u00ebse gjat\u00eb d\u00ebgjimit t\u00eb muzik\u00ebs ju b\u00ebheni pjes\u00eb e saj duke p\u00ebrjetuar n\u00eb m\u00ebnyr\u00ebn tuaj gjendjet dhe emocionet q\u00eb kompozitori ka dashur t\u00eb p\u00ebrcjell\u00eb, jeni n\u00eb vendin dhe n\u00eb koh\u00ebn e duhur.
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Pyetje 3. Dhe, meq\u00eb jemi te simfonia, nj\u00eb zhan\u00ebr relativisht i von\u00eb n\u00eb muzik\u00eb: Cili \u00ebsht\u00eb udh\u00ebtimi i saj n\u00eb Shqip\u00ebri? Kur fillon, kush e l\u00ebvron m\u00eb s\u00eb pari\u2026?
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P\u00ebrgjigje: Muzika jon\u00eb e kultivuar ka nj\u00eb tradit\u00eb q\u00eb lidhet me Shkodr\u00ebn e fundit t\u00eb shek. XIX, kryesisht n\u00eb fush\u00ebn e muzik\u00ebs urbane, shfaqur si krijimtari p\u00ebr formacionet e orkestrave frymore, ose bandat muzikore, me emra krijuesish si Palok Kurti (1858-1920), Frano Ndoja (1887-1923) etj. Pra, nj\u00eb tradit\u00eb relativisht e re. I pari kompozitor profesionist mbahet Lec Kurti (1884-1948), i biri i Palok Kurtit, i cili u shkollua p\u00ebr kompozim n\u00eb Itali n\u00eb vitet 1909-1915, por q\u00eb nuk e vazhdoi at\u00eb m\u00eb pas. P\u00ebrgjith\u00ebsisht, tradita e re e muzik\u00ebs q\u00eb po krijohej n\u00eb Shqip\u00ebri ishte e lidhur me trash\u00ebgimin\u00eb muzikore popullore vend\u00ebse dhe me nj\u00eb ndikim t\u00eb kuptuesh\u00ebm nga muzika italiane, q\u00eb kishte t\u00eb b\u00ebnte edhe me pesh\u00ebn pozitive t\u00eb Kish\u00ebs Katolike n\u00eb jet\u00ebn muzikore t\u00eb Shkodr\u00ebs s\u00eb atyre viteve e sidomos n\u00eb formimin muzikor t\u00eb shum\u00eb t\u00eb rinjve, t\u00eb cil\u00ebt u b\u00ebn\u00eb m\u00eb pas personalitete t\u00eb muzik\u00ebs son\u00eb, si \u00c7esk Zadeja, Tish Daija, Tonin Harapi, Simon Gjoni, Pjet\u00ebr Gaci etj. Ishte \u00c0t Martin Gjoka (1890-1940) ai q\u00eb, p\u00ebrmes krijimtaris\u00eb s\u00eb tij muzikore, solli n\u00eb muzik\u00ebn ton\u00eb konceptin e simfonizmit si zhvillim dramatik muzikor, t\u00eb simfonis\u00eb si gjini dhe t\u00eb orkestr\u00ebs simfonike si e till\u00eb, pasi simfonia shkruhet p\u00ebr formacionin e orkestr\u00ebs simfonike. Duhet theksuar fakti q\u00eb n\u00ebse opera ka nj\u00eb origjin\u00eb t\u00eb qart\u00eb italiane, simfonia si gjini \u00ebsht\u00eb e lidhur me tradit\u00ebn e madhe muzikore austro-gjermane, me emra t\u00eb m\u00ebdhenj si Hajdeni, Moxarti e m\u00eb pas Bethoven, Brams, Shubert etj. \u00c0t Martini i p\u00ebrkiste k\u00ebsaj tradite. Ai ishte shkolluar p\u00ebr teologji e muzik\u00eb n\u00eb Salzburg dhe formimin e tij muzikor profesionist e vuri n\u00eb sh\u00ebrbim t\u00eb hedhjes s\u00eb bazave t\u00eb simfonizmit shqiptar n\u00eb muzik\u00eb. Vepra e tij simfonike \u201cDy lule mbi vorr t\u00eb Sk\u00ebnderbeut\u201d (1922), konsiderohet si e para simfoni e pambaruar n\u00eb muzik\u00ebn ton\u00eb. Aty gjejm\u00eb rr\u00ebnj\u00ebt e simfonizmit ton\u00eb komb\u00ebtar e, po ashtu, nj\u00eb koncept t\u00eb qart\u00eb t\u00eb zhvillimit simfonik, aq t\u00eb domosdosh\u00ebm p\u00ebr nj\u00eb muzik\u00eb q\u00eb synonte profesionalizmin. Ai shkroi edhe vepra t\u00eb tjera, por kjo vep\u00ebr \u00ebsht\u00eb nj\u00eb nga gur\u00ebt e themelit t\u00eb muzik\u00ebs son\u00eb profesioniste. Vet\u00ebm dy vjet pas p\u00ebrpjekjes s\u00eb \u00c0t Martinit p\u00ebr t\u00eb shkruar muzik\u00eb simfonike, tanim\u00eb n\u00eb Kor\u00e7\u00eb, dirigjenti dhe kompozitori shqiptaro-amerikan Thoma Nassi formoi dhe dha koncertin e par\u00eb t\u00eb nj\u00eb orkestre simfonike modeste n\u00eb Shqip\u00ebri. Ishte data 6 prill 1924, p\u00ebr t\u00eb cil\u00ebn nuk po zgjatem k\u00ebtu.
N\u00eb vitet 1930 Migjeni shkroi nj\u00eb poezi me titullin \u201cLutje\u201d, nj\u00eb lutje e cila i drejtohej Zotit p\u00ebr nj\u00eb simfoni, e jo p\u00ebr di\u00e7ka tjet\u00ebr si\u00e7 dim\u00eb q\u00eb b\u00ebhen zakonisht lutjet, lutje q\u00eb u d\u00ebgjua dy dhjet\u00ebvje\u00e7ar\u00eb m\u00eb von\u00eb, kur shkodrani tjet\u00ebr, kompozitori m\u00eb i shquar shqiptar \u00c7esk Zadeja (1927-1997), kompozoi t\u00eb par\u00ebn simfoni t\u00eb v\u00ebrtet\u00eb, shqiptare e europiane. Ishte viti 1956 kur u p\u00ebrmbush lutja e Migjenit! \u201cLutje\u201d T\u00eb lutem, o per\u00ebndi, p\u00ebr nj\u00eb simfoni me tinguj t\u2019argjant\u00eb e akorde t\u2019art\u00eb. T\u00eb lutem, o per\u00ebndi, p\u00ebr nj\u00eb simfoni plot dashuni t\u00eb nxeht\u00eb si te vasha gjit\u00eb kur vlojn\u00eb ndijesit\u00eb. T\u00eb lutem, o per\u00ebndi p\u00ebr nj\u00eb simfoni t\u00eb d\u00ebfrej n\u00eb lumni t\u2019u u p\u00ebrkund\u00eb n\u2019ani t\u00eb bukur t\u2019andrrimeve t\u00eb kalt\u00ebr, ku t\u00eb fantazm\u00ebve buz\u00ebt m\u00eb t\u00ebrheqin zjarrt\u00eb e m\u00eb digjen syt e flakt\u00eb. T\u00eb lutem, o per\u00ebndi, p\u00ebr nj\u00eb simfoni e kurr, e kurr ma mos t\u00eb zgjohemi.
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Pyetje 4. \u00c7far\u00eb ndikimi kan\u00eb format e tjera t\u00eb artit n\u00eb procesin tuaj t\u00eb kompozimit?
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P\u00ebrgjigje: K\u00ebt\u00eb e shoh n\u00eb dy aspekte. S\u00eb pari, si nevoj\u00eb q\u00eb nj\u00eb krijues ka p\u00ebr t\u00eb njohur e ditur zhvillimet n\u00eb artet simotra (let\u00ebrsi, arte pamore, teat\u00ebr e balet), dhe aspekti tjet\u00ebr lidhet me \u201cngacmimet\u201d krijuese q\u00eb t\u00eb vijn\u00eb prej veprave a subjekteve q\u00eb trajton kryesisht let\u00ebrsia, por dhe artet e tjera dhe jo vet\u00ebm kaq. Sa i p\u00ebrket aspektit t\u00eb par\u00eb, sjell n\u00eb v\u00ebmendje q\u00eb krijuesi ideal \u00ebsht\u00eb ai q\u00eb p\u00ebrshfaqet n\u00eb t\u00eb gjitha llojet e arteve. Rilindja italiane solli disa modele t\u00eb tilla q\u00eb kulmojn\u00eb me poliartistin Leonardo da Vin\u00e7i, q\u00eb ishte piktor, skulptor, arkitekt, shpik\u00ebs, shkrimtar e deri kompozitor etj. At Fan S. Noli yn\u00eb ishte i k\u00ebtij kalibri. Vet\u00eb kam synuar q\u00eb t\u00eb kem nj\u00eb raport t\u00eb q\u00ebndruesh\u00ebm n\u00eb njohjen e arteve simotra. Jam nj\u00eb lexues i mir\u00eb i let\u00ebrsis\u00eb dhe ndjek me shum\u00eb k\u00ebrsh\u00ebri artet pamore n\u00eb bot\u00eb dhe n\u00eb vend. Ndoshta p\u00ebr k\u00ebt\u00eb ka ndikuar babai im Sofokliu, i cili ishte m\u00ebsues muzike dhe vizatimi, ish-nx\u00ebn\u00ebs i Jordan Misjes (1911-1942) dhe i Zef Kolombit (1907-1949) n\u00eb Normalen e Elbasanit, shok klase me Fatmir Haxhiun (1927-2001) n\u00eb \u201cShkoll\u00ebn e Kuqe\u201d n\u00eb Tiran\u00eb.
Sa i p\u00ebrket ndikimit nga format e tjera t\u00eb artit, dihet bot\u00ebrisht se jan\u00eb shum\u00eb vepra muzikore me program q\u00eb jan\u00eb mb\u00ebshtetur n\u00eb tema dhe subjekte t\u00eb m\u00ebdha q\u00eb i ka trajtuar p.sh. let\u00ebrsia, e q\u00eb jan\u00eb shnd\u00ebrruar n\u00eb kryevepra edhe n\u00eb muzik\u00eb. Po p\u00ebrmend k\u00ebtu uvertur\u00ebn \u201cEgmont\u201d t\u00eb Bethovenit mbi tekstin e G\u00ebtes, baletin \u201cRomeo dhe Zhuljeta\u201d t\u00eb Prokofievit mb\u00ebshtetur mbi tragjedin\u00eb e Shekspirit, baleti \u201cPara stuhis\u00eb\u201d i \u00c7esk Zadej\u00ebs i mb\u00ebshtetur mbi romanin \u201cLumi i vdekur\u201d i Jakov Xox\u00ebs, \u201cBritma\u201d e Thomas Simakut mb\u00ebshtetur n\u00eb piktur\u00ebn \u201cThe sream – Britma\u201d, p\u00ebr orkest\u00ebr etj.
N\u00eb krijimtarin\u00eb time po sjell dy vepra, q\u00eb t\u00eb dyja opera t\u00eb mb\u00ebshtetura n\u00eb vepra t\u00eb m\u00ebdha t\u00eb let\u00ebrsis\u00eb bot\u00ebrore dhe asaj komb\u00ebtare. N\u00eb vitet 2000 shkrova oper\u00ebn \u201cEumenides\u201d mb\u00ebshtetur n\u00eb tragjedin\u00eb e Eskilit me t\u00eb nj\u00ebjtin titull, p\u00ebrkthimi n\u00eb shqip nga Ismail Kadare, premiera n\u00eb Athin\u00eb (tetor 2005); dhe oper\u00ebn tjet\u00ebr \u201cGjergj Kastrioti Sk\u00ebnderbeu – Kryezot i Arb\u00ebrit\u201d (2023), mb\u00ebshtetur n\u00eb vepr\u00ebn letrare t\u00eb Imzot Fan S. Nolit me t\u00eb nj\u00ebjtin titull, premiera n\u00eb Tiran\u00eb dhe n\u00eb Prishtin\u00eb (maj 2023).

Pyetje 5. Po teknikat muzikore si ndikojn\u00eb n\u00eb t\u00eb tjera forma t\u00eb artit? Kam parasysh, p\u00ebr shembull, librin tuaj studimor \u201cKadare dhe muzika\u201d\u2026
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P\u00ebrgjigje: Meq\u00eb p\u00ebrmend\u00ebt Kadaren\u00eb e madh dhe t\u00eb paharruar, d\u00ebshiroj t\u00eb kujtoj se ai ka folur m\u00eb se nj\u00eb her\u00eb p\u00ebr r\u00ebnd\u00ebsin\u00eb q\u00eb teknikat kan\u00eb p\u00ebr krijuesin, e po ashtu edhe p\u00ebr shkrimtarin. Ka theksuar se “p\u00ebr shkrimtarin zbulimi i teknikave t\u00eb reja t\u00eb t\u00eb shkruarit \u00ebsht\u00eb nj\u00eb nga mundimet q\u00eb mund t\u00eb krahasohet me ato t\u00eb Tantalit. N\u00eb pamjen e par\u00eb t\u00eb duket se nuk \u00ebsht\u00eb e v\u00ebshtir\u00eb t\u00eb zbulosh teknika te reja. Mir\u00ebpo pik\u00ebrisht k\u00ebtu nis di\u00e7ka e habitshme, nj\u00eb forc\u00eb mizore, ndaluese, e ngjashme me t\u00ebrheqjen e tok\u00ebs, q\u00eb nuk t\u00eb l\u00eb t\u00eb shkosh m\u00eb lart. Kjo m\u00eb shum\u00eb se me ty ka lidhje me t\u00ebr\u00eb bot\u00ebn, me mekanizmin e shijes s\u00eb krijuar prej shekujve, fal\u00eb t\u00eb cilit njer\u00ebzimi arrin t\u00eb marr\u00eb kumtin t\u00ebnd”. Ky mekaniz\u00ebm “shijeje” q\u00eb thot\u00eb Kadare, nuk \u00ebsht\u00eb gj\u00eb tjet\u00ebr p\u00ebrve\u00e7se njohuria e deriat\u00ebhershme e cila, m\u00eb s\u00eb pari, duhet njohur e ditur, n\u00eb m\u00ebnyr\u00eb q\u00eb m\u00eb pas t\u00eb mundesh ta tejkalosh duke nd\u00ebrtuar mbi t\u00eb di\u00e7ka t\u00eb re, e q\u00eb t\u00eb p\u00ebrket vet\u00ebm ty. E reja lidhet pik\u00ebrisht me teknikat e p\u00ebrdorura.
N\u00eb krijimtarin\u00eb time t\u00eb lidhur ngusht\u00eb me rr\u00ebnj\u00ebt etnike t\u00eb muzik\u00ebs son\u00eb popullore, kam zbatuar disa teknika t\u00eb ve\u00e7anta t\u00eb lidhura ngusht\u00eb me procesin tim krijues, si \u201ccluster iso\u201d, \u201cpolifoni e fshehur\u201d, \u201cpolipentatonit\u00eb e ngrira\u201d, \u201cfraktus kabaja\u201d etj. Nd\u00ebr veprat ku jan\u00eb p\u00ebrdorur k\u00ebto teknika p\u00ebrmend \u201cAvaz II\u201d-1994, \u201cDda\u201d-1994, \u201cGenotip\u201d-1996, \u201cTrias\u201d-1996, \u201cA psalmodiae Bono\u201d-1999, \u201cIso polyphony multiverse\u201d-2015, \u201cEp\u201d-2017, \u201cPolifoniso\u201d-2021, \u201cViolin Concert\u201d-2023 etj.
Kthehemi te Kadareja. Ai e dinte s\u00eb brendshmi se vepra e tij kishte nj\u00eb lidhje t\u00eb pandar\u00eb me muzik\u00ebn. E kishte d\u00ebshmuar k\u00ebt\u00eb me romane q\u00eb i quante “Roman me iso” (p\u00ebr \u201cDimrin e vetmis\u00eb s\u00eb madhe\u201d, apo “Koncert n\u00eb fund t\u00eb dimrit”, pa sjell\u00eb shembuj t\u00eb tjer\u00eb t\u00eb shumt\u00eb n\u00eb vepr\u00ebn e tij n\u00eb t\u00eb cil\u00ebn nuk gjen t\u00eb p\u00ebrdorur gabimisht asnj\u00eb gj\u00eb q\u00eb lidhet me muzik\u00ebn, apo qoft\u00eb kjo terminologji t\u00eb saj.
P\u00ebr her\u00eb t\u00eb par\u00eb shkrova p\u00ebr k\u00ebt\u00eb subjekt n\u00eb librin \u201cMuzika dhe let\u00ebrsia\u201d, Onufri, 1997. Nj\u00eb nga kapitujt quhej “Projekt p\u00ebr nj\u00eb guid\u00eb muzikore nga vepra letrare e Ismail Kadares\u00eb”, ku u mora kryesisht me prezenc\u00ebn e dukshme t\u00eb l\u00ebnd\u00ebs muzikore t\u00eb p\u00ebrdorur n\u00eb vepr\u00ebn e tij letrare. M\u00eb pas erdhi natyrsh\u00ebm \u201cKadare dhe muzika\u201d (2019), studim p\u00ebr t\u00eb cilin akademiku Shaban Sinani thot\u00eb se \u201cky lib\u00ebr \u00ebsht\u00eb nj\u00eb prej atyre veprave q\u00eb e b\u00ebjn\u00eb njeriun t\u00eb kuptoj\u00eb se sa i varf\u00ebr do t\u00eb ishte leximi i vepr\u00ebs letrare vet\u00ebm si art fjale. N\u00eb t\u00eb kund\u00ebrt\u00ebn, leximet ndryshe, prej pik\u00ebv\u00ebshtrimesh nga jasht\u00eb let\u00ebrsis\u00eb, provojn\u00eb se sa leht\u00ebsisht t\u00eb rr\u00ebzuesh\u00ebm jan\u00eb kufijt\u00eb q\u00eb projektojn\u00eb historia e let\u00ebrsis\u00eb, teoria, kanonet, vet\u00ebmjaftueshm\u00ebria e tekstit\u201d.
Vet\u00eb Kadare nuk u surprizua kur u njoh me librin. Pak koh\u00eb pas botimit t\u00eb tij, n\u00eb nj\u00eb intervist\u00eb ai pohoi: \u2026 m\u00eb \u00ebsht\u00eb hapur nami q\u00eb Kadareja nuk e do muzik\u00ebn. Nuk \u00ebsht\u00eb hi\u00e7 fare e v\u00ebrtet\u00eb. N\u00eb m\u00ebnyr\u00ebn time t\u00eb t\u00eb shkruarit, e kam ditur intuitivisht, por ma kan\u00eb th\u00ebn\u00eb specialist\u00eb t\u00eb muzik\u00ebs q\u00eb, p\u00ebrdor shpesh at\u00eb zhdrivillim, q\u00eb quhet, at\u00eb procedim q\u00eb p\u00ebrdor muzika, me lajtmotivet q\u00eb shfaqen, q\u00eb zbehen, q\u00eb ridalin, q\u00eb ulen, q\u00eb ngrihen. Si\u00e7 duket \u00ebsht\u00eb nj\u00eb dukuri tautologjike e artit, te t\u00eb gjitha artet”. E dija q\u00eb opinioni i tij lidhej me librin tim, opinion t\u00eb cilin e kisha pritur t\u00eb b\u00ebhej. E shkrova librin “Kadare dhe muzika” se mendoja dhe mendoj q\u00eb artet jan\u00eb t\u00eb nd\u00ebrlidhura me nj\u00ebra-tjetr\u00ebn dhe se krijuesi ideal \u00ebsht\u00eb ai q\u00eb i zot\u00ebron n\u00eb m\u00ebnyr\u00ebn e tij q\u00eb t\u00eb gjitha artet. Kadare ishte nj\u00eb i till\u00eb.
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Pyetje 6. Kur e mendoni nj\u00eb pjes\u00eb muzikore, keni n\u00eb mendje nj\u00eb instrument t\u00eb caktuar? Shkrimtar\u00ebve dygjuh\u00ebsh u b\u00ebhet pyetja se n\u00eb \u00e7\u2019gjuh\u00eb mendojn\u00eb. Po ju, me \u00e7far\u00eb instrumenti mendoni?
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P\u00ebrgjigje: V\u00ebshtir\u00eb t\u00eb heq\u00ebsh nj\u00eb paralele mes tyre, pra mendimit muzikor dhe gjuh\u00ebve te shkrimtar\u00ebt dygjuh\u00ebsh. Kam njohur nga af\u00ebr nj\u00eb shkrimtar t\u00eb madh dy e tregjuh\u00ebsh, m\u00eb pas vepra e tij u p\u00ebrkthye n\u00eb mbi 30 gjuh\u00eb t\u00eb bot\u00ebs. E kam fjal\u00ebn p\u00ebr mikun tim t\u00eb ndjer\u00eb, shkrimtarin dhe akademikun Luan Starova, shqiptar me origjin\u00eb nga Starova e Pogradecit, por q\u00eb gjith\u00eb jet\u00ebn e tij e kaloi n\u00eb Maqedonin\u00eb e Veriut. P\u00ebr shkak t\u00eb rrethanave, ai e shkroi vepr\u00ebn e tij letrare n\u00eb gjuh\u00ebn maqedonase dhe at\u00eb franceze, edhe pse e mendonte n\u00eb shqip at\u00eb. Ai vet\u00eb ka th\u00ebn\u00eb se dhe kur shkruante n\u00eb gjuh\u00eb t\u00eb tjera, veprat e tij frym\u00ebmarrjen e kan\u00eb shqip! Vitet e fundit t\u00eb jet\u00ebs ia kushtoi botimit t\u00eb vepr\u00ebs n\u00eb gjuh\u00ebn shqipe, duke e derdhur at\u00eb brenda trupit t\u00eb gjuh\u00ebs son\u00eb. P\u00ebr t\u00eb ishte si nj\u00eb rikthim te rr\u00ebnj\u00ebt. Ishte shum\u00eb i ngaz\u00ebllyer nga ky proces. I dukej se po kthehej m\u00eb n\u00eb fund n\u00eb sht\u00ebpi pas nj\u00eb largimi t\u00eb gjat\u00eb. Nd\u00ebr kryeveprat do t\u00eb p\u00ebrmendja romanet “Migrimi i ngjalave”, “Koha e dhive” si dhe romani i fundit “Polifonist\u00ebt”, p\u00ebr t\u00eb cilin n\u00eb shum\u00eb aspekte kam qen\u00eb af\u00ebr tij p\u00ebr t\u2019i treguar m\u00ebnyrat se si funksionon polifonia me iso. Ishte shum\u00eb i interesuar t\u2019i d\u00ebgjonte edhe prej meje. Sa i p\u00ebrket kompozitorit, n\u00eb k\u00ebt\u00eb rast un\u00eb, nuk mendoj p\u00ebrmes nj\u00eb instrumenti, por p\u00ebrmes muzik\u00ebs si e t\u00ebr\u00eb, ajo \u00ebsht\u00eb instrumenti ideal. Po, ka nj\u00eb instrument kur mendon p\u00ebrmes tij, por kjo ndodh kur vepra mendohet t\u00eb shkruhet p\u00ebr at\u00eb instrument.
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Pyetje 7. N\u00eb vijim t\u00eb pyetjes s\u00eb m\u00ebparshme, mund t\u00eb flasim pak edhe p\u00ebr procesin e orkestrimit?
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P\u00ebrgjigje: \u00cbsht\u00eb pyetje shum\u00eb teknike p\u00ebr t\u00eb dh\u00ebn\u00eb nj\u00eb p\u00ebrgjigje t\u00eb kuptueshme p\u00ebr t\u00eb gjith\u00eb. Ajo q\u00eb mund t\u00eb them p\u00ebr orkestrimin \u00ebsht\u00eb e lidhur me b\u00ebrjen t\u00eb mundur q\u00eb \u00e7do instrument n\u00eb orkest\u00ebr t\u00eb vendoset n\u00eb nj\u00eb rend gj\u00ebrash ku t\u00eb ruhet individualiteti i \u00e7do instrumenti (kam parasysh respektimin e t\u00eb dh\u00ebnave teknike t\u00eb vegl\u00ebs – sh\u00ebnimi im V.S.T.), raporti i k\u00ebsaj vegle me t\u00eb ngjashmet brenda familjes dhe p\u00ebrtej k\u00ebsaj, me t\u00eb tjerat jasht\u00eb familjes s\u00eb instrumenteve. Se edhe instrumentet kan\u00eb familjet e tyre. Pra, n\u00eb funksion t\u00eb muzik\u00ebs, t\u00eb gjitha instrumentet vendosen n\u00eb ekuacione e raporte muzikore tingullore q\u00eb shtojn\u00eb ngjyrat dhe larmin\u00eb e p\u00ebrdorimit n\u00eb orkest\u00ebr. Vet\u00eb orkestra \u00ebsht\u00eb si shoq\u00ebria. Ajo p\u00ebrb\u00ebhet nga individ\u00eb q\u00eb kan\u00eb z\u00ebrin e p\u00ebrve\u00e7\u00ebm, q\u00eb mund t\u00eb unifikohen n\u00eb nj\u00eb z\u00eb t\u00eb p\u00ebrbashk\u00ebt, ose q\u00eb ndahen n\u00eb grupe t\u00eb ndryshme, t\u00eb cilat p\u00ebrs\u00ebri duhen t\u00eb ruajn\u00eb tiparet e tyre dhe t\u00eb ting\u00ebllojn\u00eb s\u00eb bashku. Partitura ka t\u00eb pakt\u00ebn mbi 20 lloje instrumentesh dhe q\u00eb ato t\u00eb ken\u00eb kuptim duhet t\u00eb bashk\u00ebting\u00ebllojn\u00eb, n\u00eb \u00e7do form\u00eb. T\u00eb gjitha k\u00ebto i kam parasysh kur orkestroj.
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Pyetje 8. A vler\u00ebsohet mjaftuesh\u00ebm tradita e kompozitor\u00ebve shqiptar\u00eb apo nj\u00eblloj si n\u00eb let\u00ebrsi, apo kinematografi, publiku \u00ebsht\u00eb m\u00eb i prir\u00eb drejt s\u00eb huaj\u00ebs q\u00eb, prej vitesh tanim\u00eb nuk p\u00ebrfaq\u00ebson m\u00eb t\u00eb panjohur\u00ebn?
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P\u00ebrgjigje: Nuk mund t\u00eb them q\u00eb vler\u00ebsohet, pa th\u00ebn\u00eb q\u00eb n\u00ebnvler\u00ebsohet me q\u00ebllim. Shpesh k\u00ebt\u00eb krijimtari e mbulon heshtja, ose zgjohet interesi p\u00ebr t\u00eb kur rrall\u00eb, fare rrall\u00eb, n\u00eb p\u00ebrvjetor\u00eb krijuesish t\u00eb shquar organizohen koncerte, apo kur p\u00ebr nevoja ngjarjesh t\u00eb m\u00ebdha ftohen kompozitor\u00ebt n\u00eb konkurse t\u00eb caktuara. Duke filluar q\u00eb nga shkolla ku p\u00ebrgatiten kompozitor\u00ebt, ka nj\u00eb r\u00ebnie t\u00eb numrit t\u00eb t\u00eb interesuarve p\u00ebr t\u00eb studiuar kompozicion e, po ashtu, pak kompozitor\u00eb aktiv\u00eb nuk gjejn\u00eb mund\u00ebsi p\u00ebr t\u2019u mb\u00ebshtetur p\u00ebrmes programeve shtet\u00ebrore p\u00ebr nxitjen e krijimtaris\u00eb s\u00eb re n\u00eb gjinit\u00eb madhore t\u00eb muzik\u00ebs, pa folur q\u00eb nuk ka as \u00e7mime komb\u00ebtare n\u00eb muzik\u00eb, ashtu si\u00e7 ka p\u00ebr artet e tjera. Kjo shpjegon faktin q\u00eb pas viteve 1990 num\u00ebrohen me gishtat e dor\u00ebs veprat e m\u00ebdha skenike apo simfonike, ky \u201cmecenatiz\u00ebm shtet\u00ebror\u201d nuk e ka luajtur rolin e tij p\u00ebr ta mb\u00ebshtetur k\u00ebt\u00eb krijimtari p\u00ebrmes stimulimit t\u00eb krijuesve t\u00eb saj. N\u00eb k\u00ebt\u00eb aspekt kan\u00eb mbetur pa u p\u00ebrmbushur disa detyrime thelb\u00ebsore q\u00eb parashikon ligji nr. 10352 \u201cP\u00ebr artin dhe kultur\u00ebn\u201d, kreu VIII \u201cTarifat e shp\u00ebrblimit t\u00eb cil\u00ebsis\u00eb artistike\u201d, neni 34 \u201cMasa dhe kriteret e shp\u00ebrblimit\u201d, ku thuhet:<\/p>\n\n\n\n

    \n
  1. Masa e shp\u00ebrblimit t\u00eb gjinive artistike, sipas fushave t\u00eb artit dhe p\u00ebr kontributin e angazhimit t\u00eb p\u00ebrkohsh\u00ebm n\u00eb projektet artistike, p\u00ebrcaktohet me vendim t\u00eb K\u00ebshillit t\u00eb Ministrave.<\/li>\n\n\n\n
  2. Ministria p\u00ebrgjegj\u00ebse p\u00ebr artin dhe kultur\u00ebn, n\u00eb zbatim t\u00eb politikave t\u00eb saj, organizon konkurse komb\u00ebtare dhe skema t\u00eb tjera vler\u00ebsimi n\u00eb gjini t\u00eb ndryshme t\u00eb artit. Kushtet dhe masa e shp\u00ebrblimit t\u00eb fituesit p\u00ebrcaktohen me urdh\u00ebr t\u00eb ministrit p\u00ebrgjegj\u00ebs p\u00ebr artin dhe kultur\u00ebn.”<\/li>\n\n\n\n
  3. Kushtet, kriteret dhe masa e shp\u00ebrblimit p\u00ebr rezultate t\u00eb larta, t\u00eb arritura n\u00eb konkurrime nd\u00ebrkomb\u00ebtare p\u00ebr artin e kultur\u00ebn, p\u00ebrcaktohen me vendim t\u00eb K\u00ebshillit t\u00eb Ministrave.
    Pa p\u00ebrmbushjen e k\u00ebtyre detyrimeve p\u00ebrmes VKM-ve p\u00ebrkat\u00ebse, mb\u00ebshtetja p\u00ebr krijimtarin\u00eb nuk ka si t\u00eb realizohet dhe k\u00ebsisoj shnd\u00ebrrohet n\u00eb utopi! Nd\u00ebrkoh\u00eb, dua t\u00eb pohoj se publiku shqiptar dhe ai i huaj e ka mir\u00ebpritur dhe e mir\u00ebpret muzik\u00ebn ton\u00eb kur ajo interpretohet, si brenda vendit dhe jasht\u00eb tij. Ka me dhjet\u00ebra artikuj e komente pozitive p\u00ebr t\u00eb, qoft\u00eb p\u00ebr muzik\u00ebn e madhe t\u00eb tradit\u00ebs, por edhe p\u00ebr muzik\u00ebn pas viteve 1990 dhe autor\u00ebt kryesor\u00eb t\u00eb saj. Si\u00e7 e p\u00ebrmenda, problem mbeten gjinit\u00eb e m\u00ebdha dhe subvencionimi p\u00ebr vepra t\u00eb reja!<\/li>\n<\/ol>\n\n\n\n

    Pyetje 9. Ju frik\u00ebson ideja se mos shoq\u00ebria e nj\u00ebson kultur\u00ebn me kureshtin\u00eb e, mandej, me arg\u00ebtimin dhe k\u00ebshtu, ajo, kultura, pra, z\u00ebvend\u00ebsohet me aktivitete zbavit\u00ebse?
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    P\u00ebrgjigje: Disi po, megjith\u00ebse “kureshtia” duhet t\u00eb jet\u00eb shenj\u00eb, tendenc\u00eb e p\u00ebrhershme edhe p\u00ebr ata q\u00eb ndjekin muzik\u00ebn e mir\u00eb. Nuk do t\u00eb isha shum\u00eb dakord me at\u00eb kategori njer\u00ebzish q\u00eb priren vet\u00ebm drejt aktiviteteve zbavit\u00ebse dhe vet\u00ebm kaq. Atyre do t\u2019u thosha q\u00eb t\u00eb vazhdojn\u00eb “udh\u00ebtimin muzikor”, pik\u00ebrisht t\u00eb nxitur nga kureshtja dhe t\u00eb mos ndalojn\u00eb n\u00eb t\u00eb parin vend, si shok\u00ebt e Uliksit q\u00eb q\u00ebndruan tek ishulli i Circes, ku gjasat jan\u00eb q\u00eb t\u00eb kthehen n\u00eb kafsh\u00eb nga magjit\u00eb e Circes (Homeri thot\u00eb q\u00eb vet\u00ebm syt\u00eb dhe kujtimet iu kishin mbetur nga pjesa njer\u00ebzore). Ata duhet t\u00eb vazhdojn\u00eb udh\u00ebtimin, ashtu si Uliksi, akoma m\u00eb tutje, drejt Itak\u00ebs, aty ku do t\u00eb mund t\u00eb shohin, d\u00ebgjojn\u00eb e shijojn\u00eb rapsodin dhe artistin e madh Demodokun, q\u00eb \u00ebsht\u00eb i bekuar me artin e madh. Aty le t\u00eb q\u00ebndrojn\u00eb, se ky \u00ebsht\u00eb stacioni i duhur, nuk \u00ebsht\u00eb kurrsesi ishulli i Circes destinacioni, i cili m\u00eb ngjason me ato diskot me aktivitete zbavit\u00ebse e pa p\u00ebrmbajtje. Si ka th\u00ebn\u00eb Bodler n\u00eb nj\u00eb poezi:
    Tashi kur turm’e vdekshme dh’e ndotur dh’e p\u00ebr\u00e7muar,
    Kamzhikun e D\u00ebfrimit, k\u00ebt\u00eb xhelat shpirt-zi,
    Do t’a shijoj\u00eb e brejtur nga zemr’e skllav\u00ebruar. (p\u00ebrkthim i Lasgush Poradecit)
    E m\u00eb s\u00eb fundi, duhet t\u00eb mos jen\u00eb kurrsesi nga ai soj njer\u00ebzish, q\u00eb si\u00e7 thoshte Shekspiri “s’kan\u00eb muzik\u00eb mu n\u00eb shpirt”:
    Ai njeri q\u00eb s\u2019ka muzik\u00eb mu n\u00eb shpirt
    Dhe q\u00eb bashkim i \u00ebmbl\u2019i i z\u00ebrave nuk e trondit
    \u00cbsht i pabes\u00eb dhe gati p\u00ebr gracka dhe pla\u00e7kitje
    L\u00ebvizj\u2019 e mendjes tij si nata \u00ebsht\u2019 e ngrysur
    Edhe ndjenjat i ka t\u2019err\u00ebta si Erebi\u201d
    T\u00eb mos i zini bes\u00eb nj\u00eb t\u2019atilli
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    Pyetje 10. N\u00eb cil\u00ebsin\u00eb e akademikut, aktualisht z\u00ebvend\u00ebskryetar i Akademis\u00eb s\u00eb Shkencave, si do ta p\u00ebrshkruanit raportin mes jet\u00ebs artistike dhe asaj akademike? Si ndikojn\u00eb nj\u00ebra te tjetra dhe t\u00eb dyja bashk\u00eb te ju?
    <\/p>\n\n\n\n

    P\u00ebrgjigje: I \u00e7moj se ato jan\u00eb si dy an\u00eb t\u00eb s\u00eb nj\u00ebjt\u00ebs medalje. Pjesa artistike ka t\u00eb b\u00ebj\u00eb me shpirt\u00ebroren, frym\u00ebzimin e kulluar q\u00eb lidhet me at\u00eb q\u00eb zakonisht njer\u00ebzit e quajn\u00eb talent e q\u00eb shfaqet si i dh\u00ebn\u00eb nga Zoti, e p\u00ebrtej \u00e7do parametri teknik t\u00eb matsh\u00ebm. P\u00ebrkund\u00ebr k\u00ebsaj, pjesa akademike ka t\u00eb b\u00ebj\u00eb me an\u00ebn racionale, me dijet dhe disiplinat shkencore t\u00eb cilat nd\u00ebrfuten natyrsh\u00ebm n\u00eb procesin e krijimit e q\u00eb \u00e7do vep\u00ebr arti, qoft\u00eb muzikore, pamore, letrare etj., e ka dhe duhet ta ket\u00eb, se ndryshe \u00e7alon dhe nuk ka gjasa t\u00eb t\u00ebrheq\u00eb v\u00ebmendjen e specialist\u00ebve dhe d\u00ebgjuesve t\u00eb saj. Ajnshtajni ka th\u00ebn\u00eb di\u00e7ka me shum\u00eb vler\u00eb p\u00ebr k\u00ebt\u00eb raport unik, se: \u201cImagjinata \u00ebsht\u00eb m\u00eb e r\u00ebnd\u00ebsishme sesa njohurit\u00eb. Njohurit\u00eb jan\u00eb t\u00eb kufizuara. Imagjinata e rrethon bot\u00ebn\u201d. Pra duket qart\u00eb se imagjinata (kupto talenti -sh\u00ebnimi im V.S. T), \u00ebsht\u00eb primare, por p\u00ebrmes saj mund\u00ebsohet edhe procesi i zgjerimit t\u00eb njohurive. \u00cbsht\u00eb pak a shum\u00eb si raporti mes semantik\u00ebs dhe struktur\u00ebs apo fes\u00eb dhe shkenc\u00ebs. Ka nj\u00eb shprehje q\u00eb e nxjerr n\u00eb pah k\u00ebt\u00eb raport t\u00eb pandash\u00ebm, kur thon\u00eb “Shkenca pa fen\u00eb \u00ebsht\u00eb e \u00e7al\u00eb dhe feja pa shkenc\u00ebn \u00ebsht\u00eb e verb\u00ebr”! Jan\u00eb t\u00eb destinuara t\u00eb bashk\u00ebjetojn\u00eb.
    Nj\u00eb vep\u00ebr artistike duhet t\u2019i ket\u00eb q\u00eb t\u00eb dyja. N\u00eb k\u00ebt\u00eb kuptim, Igor Stravinski, nj\u00eb nga kompozitor\u00ebt emblematik\u00eb t\u00eb shek. XX, parap\u00eblqente t\u00eb quhej “inventer”-shpik\u00ebs e jo thjesht kompozitor, nisur nga fakti q\u00eb i jepte shum\u00eb r\u00ebnd\u00ebsi vepr\u00ebs si struktur\u00eb.
    Nga ana tjet\u00ebr, duke marr\u00eb n\u00eb konsiderat\u00eb q\u00eb muzika \u00ebsht\u00eb gjuh\u00eb komunikimi, shtrohet pyetja, a mundet q\u00eb si krijues muzikor t\u00eb mos jesh i interesuar t\u00eb dish se cilat jan\u00eb kontekstet e rrethanat se si populli p.sh. krijon muzik\u00eb, si reflektohen n\u00eb t\u00eb mjedisi, gjuha, ve\u00e7orit\u00eb e tjera t\u00eb etnotipit shqiptar etj. Apo, si mund ta krijosh gjuh\u00ebn t\u00ebnde muzikore pa qen\u00eb vet\u00eb i formuar me dije q\u00eb t\u00eb leht\u00ebsojn\u00eb kuptimin e trash\u00ebgimis\u00eb artistike muzikore t\u00eb vendit t\u00ebnd apo t\u00eb t\u00eb tjer\u00ebve?
    Prandaj i shoh t\u00eb lidhura k\u00ebto dy aspekte dhe jo si nj\u00eb paraleliz\u00ebm i pamundur. P\u00ebr k\u00ebt\u00eb arsye i jam p\u00ebrkushtuar studimit t\u00eb tingullit, p\u00ebrmes botimeve t\u00eb ndryshme nd\u00ebr vite. Prandaj kompozitor\u00ebt serioz\u00eb t\u00eb \u00e7do kohe kan\u00eb nj\u00eb marr\u00ebdh\u00ebnie t\u00eb q\u00ebndrueshme me besimin, me dijen dhe shkenc\u00ebn, ngado q\u00eb ajo vjen dhe krijohet. Dhe jo vet\u00ebm kompozitor\u00ebt.
    Do ta quaja si nj\u00eb zhvillim pozitiv p\u00ebr jet\u00ebn artistike n\u00eb vend krijimin pran\u00eb Akademis\u00eb s\u00eb Shkencave t\u00eb Komisionit t\u00eb P\u00ebrhersh\u00ebm t\u00eb Artit dhe s\u00eb fundi me vendim qeverie edhe t\u00eb Qendr\u00ebs s\u00eb Studimit t\u00eb Arteve, nj\u00ebsi e p\u00ebrhershme k\u00ebrkimore shkencore po pran\u00eb Akademis\u00eb, e cila ka n\u00eb fokus t\u00eb pun\u00ebs s\u00eb saj artistin krijues shqiptar t\u00eb t\u00eb gjitha koh\u00ebve, si dhe trash\u00ebgimin\u00eb e madhe artistike shqiptare n\u00eb muzik\u00eb, arte pamore, arkitektur\u00eb, teat\u00ebr etj. Kjo qend\u00ebr \u00ebsht\u00eb nj\u00eb tjet\u00ebr model se si mund t\u00eb bashk\u00ebjetoj\u00eb arti me shkenc\u00ebn.
    <\/p>\n\n\n\n

    Pyetje 11. Ngaq\u00eb pata mund\u00ebsin\u00eb t\u00eb d\u00ebgjoja nj\u00eb pjes\u00eb prej kompozimit tuaj m\u00eb t\u00eb fundit, po e mbyll bised\u00ebn me pyetjen m\u00eb t\u00eb zakonshme, por n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, m\u00eb t\u00eb ve\u00e7ant\u00ebn: Me \u00e7far\u00eb po merreni tani? Cili \u00ebsht\u00eb projekti juaj i ardhsh\u00ebm?
    <\/p>\n\n\n\n

    P\u00ebrgjigje: Gjat\u00eb nj\u00eb periudhe gati 35-vje\u00e7are q\u00eb merrem me krijimtari muzikore, pasi kam provuar t\u00eb shkruaj pothuajse n\u00eb t\u00eb gjitha gjinit\u00eb muzikore, nga muzika solo dhe ajo e dhom\u00ebs, vokale e instrumentale, koncertale, simfonike e skenike, \u00e7moj se ka ardhur momenti q\u00eb t\u00eb shkruaj nj\u00eb simfoni. Jam n\u00eb proces t\u00eb kompozimit t\u00eb saj, q\u00eb si\u00e7 e imagjinoni k\u00ebrkon shum\u00eb impenjim, se gjith\u00e7ka p\u00ebrballohet vet\u00ebm. Besoj se viti 2025 do t\u00eb jet\u00eb viti i premier\u00ebs me orkestr\u00ebn simfonike t\u00eb RTSH-s\u00eb dhe dirigjentin Eno Ko\u00e7o. Se si do t\u00eb jet\u00eb kjo simfoni shqiptare e shek. XXI, besoj do t\u00eb flasim p\u00ebrs\u00ebri, pas premier\u00ebs s\u00eb saj!
    Andrea,
    Ju fal\u00ebnderoj p\u00ebr mund\u00ebsimin e intervist\u00ebs!
    <\/p>\n\n\n\n

    Intervist\u00ebn e plot\u00eb e gjeni k\u00ebtu.<\/a>
    <\/p>\n","protected":false},"excerpt":{"rendered":"

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