Mihael Paar » zagreb

Announcing autumn 2014 concert schedule

MihaelPaar.com — Fri, 10 Oct 2014 23:29:36 +0000

Dear Friends,

I am happy to announce the concerts I will be giving throughout Croatia till the end of the year. Various musicians and ensembles will join me on these occasions. I am looking forward to seeing you on some of them! For detailed information please visit schedule.

Oct 28 – Požega
Nov 5 – Samobor
Nov 13 – Jastrebarsko
Nov 23 – Sv. Nedelja
Dec 3 – Zagreb
Dec 12 – Samobor

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Zagreb Artists to Zagreb Audience

MihaelPaar.com — Sun, 13 Dec 2009 14:47:30 +0000

“The climax of the evening was the premiere of the brilliant composition by a Croatian composer Ivana Kiš, written for the basset clarinet & guitar – Rosa’s Way Home, which the author wrote for the two of her coevals. It is a story about a woman who gets lost on her way home and is walking distractedly step by step trying to find the right path. From the initial tones which symbolize frightened pattering, the music associates with panic in progressive gradation, ending in a ritardando accompanied by maniac ostinato in crescendo. The impressive, only six minute piece was masterfully performed.

M.Paar & K.Bedek have reached highest level of chamber musicianship and revealed perfect harmony of their instruments supported by the beauty of tone, technical perfection and virtuosity. Contented audience rewarded the young artists with ovations and in return the encore was a popular Nana by M. de Falla.”

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The Young Artists Tribune Darko Lukić

MihaelPaar.com — Sat, 01 Sep 2007 14:50:58 +0000

“Mr. Paar made a distinctive impression, notably for his overall approach to music. His interpretations reflected a fine synthesis of intellectual and rational in expression with a profound artistic gesture. It is without saying extraordinary young musician.”

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Recital for the Zagreb Concert Management

MihaelPaar.com — Fri, 11 May 2007 14:51:57 +0000

“The chamber music cycle Piano pianissimo (Concert Management Zagreb) placed in the Zagreb historic Illyrian Hall, hosted a young Croatian virtuoso Mihael Paar and a Japanese pianist Hiroyo Imagawa. The clarinet which made a break as a solo-instrument only in the 19th century, on the concert podiums stays less present even today. This made a good occasion for the audience to witness its unique sound in, what seemed to be quite a comprehensive program composed in two rather simetrical parts. Thus each part had an opening piece of somewhat easier material, followed by the central piece firmly connected to the tradition, through which a much deeper and complex sonata form was reached. Likewise, the selection of composers (Gershwin, Benjamin, Brahms, Lovreglio, Klobučar, Poulenc) witnessed a wide range of performers’ affinities and capacities. Mihael Paar, a multiple winner of several international competitions and a frequent figure of numerous concert projects in his homecountry and abroad, equally copes, as seen in his resume, with all music genres, amongst them both, stylized jazz and contemporary music.

Effective cohesion of classic and jazz, which at the start of the 20th century came as an exceptionally grateful genre for the clarinet, was noticeable at the very beginning in the Gershwin’s Three Preludes, originally composed for piano alone. Hiroyo Imagawa, a young artist with a distinguished career of a concert pianist, who lives today in Salzburg, established herself in Gershwin’s showpiece as an equal piano partner. An Interesting sound, skilful mesh of both instruments and a display of clarinet technique set out the composition Le Tombeau de Ravel by which the Australian Arthur Benjamin gave his tribute to Maurice Ravel and to the French impressionism. Afterwards, the Brahms’s four-movement Sonata for clarinet and piano in f-minor op.120 sounded rather serious and inhibited, but the interpretation of Mihael Paar and Hiroyo Imagawa pointed to the range and the power of Brahms’s experience of clarinet and piano combination. Concert Fantasie on the motives from Verdi’s La Traviata by Donato Lovreglio put the tehnical facilities of the clarinet in the spot, and Paar provided an appropriate respond followed by Klobučar’s Suite in its rather short, but distinct movements which brought more introvert, but still clear and stable sound of both instruments. The concluding Sonata by Poulenc, one of the key works of modern clarinet literature with a demanding part of the leading instrument – quick leaps, tempo alterations and a complex treatment of the clarinet in general – but with a solid piano support, rounded the impression of performing maturity of Mihael Paar and Hiroyo Imagawa.”

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Young Artists at Matica hrvatska

MihaelPaar.com — Thu, 03 Feb 2005 14:54:33 +0000

“With this recital, clarinetist Mihael Paar showed high range of sonority in all registers of his attractively movable instrument along with virtuosity of clear articulation in legato as well as in much more difficult staccato which particularly became prominent in the last encore- composition by N. Rimsky-Korsakov. His performance drew enthusiastic applause of the audience…”

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