A simple yet truly respectable outline upon Lorenc Radovani

  • Lorenc Radovani - Foto (4) copy
  • Lorenc Radovani - Foto (1) copy
  • Lorenc Radovani - Foto (2) copy
  • Lorenc Radovani - Foto (3) copy
  • Lorenc Radovani - Foto (5) copy
  • Lorenci

I never thought I would simply sit down and write an article upon the portrait of violinist Lorenc Radovan, as he has already written it with the intensity of his activity. I never occurred to me even while he was studying how to play my Sonata for violin and piano. Not only due to the fact that I was very busy with my schedules at that time but it simply did not occur to me. I did not mean to write something down for him, beyond my beliefs, even after receiving a very positive feedback on his performance on the concert we organized. But after learning that he had worked upon some orchestrations that were executed at the Festival Concert for the 70th anniversary of the conductor and ethnomusicologist Eno Koço, and had been present and part of the very important activity organized by the Faculty of Music in honor of Tonin Harapi, I felt morally obligated to point out, among other things, this unsparing passion of him in recalling the emblematic figures of our art. Music history being an alignment of the achievements of the country’s best creations is it not at the same time the alignment of the activities of one individual alone? Haven’t these individuals long been instrumentalists, entrepreneurs, art lovers and all-over cultured and intelligent people? History is not written in words but with concrete actions.
The facts are endless:
Joseph Joachim was simply an instrumentalist but had an influence not only on Schumann but also on the revelation of Beethoven’s concerto for the violin, his last quartets, and above all the Brahms concert for violin and orchestra. Count Durrazzo, (1717 – 1794) has been a supporter of Charles-Simon Favart, Paris (Today the Comedy Opera Hall in Paris is named Hall of Favart); supporter of the reform of Italian opera, supporter of Gluck and his collaborator, Ranieri de Calzabigi. Antonio Barezzi was simply a merchant but at the same time “Verdi would not be Verdi” without his help in key moments of life.
Thus, even our brief and little-globally-known history, has and will continue on having its own exponents who silently or even in the light of the scene or the media will have their own influence on our art.
Radovan can be depicted as among some of the most outstanding violinist instrumentalists. Being the most knowledgeable and the most creative instrumentalist; with visible talent and extensive activity. In this regard, within our safe space we can list Lorenc, leave three seats empty and then others. While some of the faculty members of the Music Faculty do nothing about this matter; Lorenc is doing very well not only in his appointed duties, but is extremely active in the entire artistic life of the country. During his work on the violin sonata, I was surprised by his accuracy in reading the score and handling many passages I was looking for in my personal idea, but also him putting applications into my score which he kindly requested for me to offer it to him in a digital form, just as I was deeply surprised by his music perception and his suggestions in enriching it even more. Secondly, I would list culture which along with passion suggests ideas and thoughts valuable to him and the environment where he lives. One day he approaches me and says that I should be more attentive to the reflection on the activity that was being carried out over Tonin Harapi and his work. I realized that he was constantly following the Magazine, and had nothing to do with me mentioning his name at all.  He was simply suggesting that more attention should have been paid to Harapi’s name and the activity as a whole.Thirdly, what it is worth emphasizing would be the broad artistic interests. His inexhaustible energy, the complex figure of an instrumentalist who reads and studies music every day, writes comic books on the computer, orchestrates, transcribes, and processes not only in segments of time but constantly were too much of a deal to simply go by unnoticed. It is plain obvious that he cannot do without activity and wants to be omnipresent. He is now studying for a concert, but is also involved in orchestrating or recreating the works of a parallel concert, organizing another activity as the main organizer of the concerts series, and then introducing further into the school programs a completely unknown but valuable work known instruments. He has always been like this since student, but fortunately recent contacts with him have increased and my approach with him has revealed new aspects that are rarely face and often overlooked, leaving no trace. It is this humble nature of his that does not allow him to be put under the spot-light, but in the position of a colleague you do not have the chance to know the full truth. This may have been the purpose of this writing, which despite its shortcomings was made very quick and without any artistic decoration.
Finally, he never fails to show his passionate and lively humorous nature of his.

 

Nestor Kraja

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