{"id":3776,"date":"2019-02-03T14:18:17","date_gmt":"2019-02-03T13:18:17","guid":{"rendered":"https:\/\/ivansiller.com\/recenzie\/"},"modified":"2019-06-13T11:46:42","modified_gmt":"2019-06-13T09:46:42","slug":"reviews","status":"publish","type":"page","link":"https:\/\/ivansiller.com\/en\/media\/reviews\/","title":{"rendered":"Reviews"},"content":{"rendered":"
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2026<\/div>\n
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1\/2026, <\/h4>\n
\u201cThe teachers appreciated the well-structured program, the interactive activities, and the excellent performances by the performers. The children were fully engaged throughout the entire program, actively participating in the activities, and I believe that through the concert they learned more about music and composers, and above all had the opportunity to try making music themselves a little.\u201d<\/div>\n
Mgr. Katar\u00edna Rie\u010danov\u00e1, Krotenie \u010dertov concert in Bansk\u00e1 Bystrica<\/div>\n<\/div>\n<\/div>\n
2025<\/div>\n
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12\/2025, ISCM<\/h4>\n
“\u0160iller\u2019s interpretation also made it clear that he knows the material intimately and, above all, that he has a genuine affinity for it. He therefore focused, quite rightly, on precision and clarity. In these dance-inspired pieces, Bart\u00f3k\u2019s piano writing becomes as much a percussive instrument as a melodic-harmonic one, a quality the performer captured perfectly in his playing.”<\/div>\n
Jakub Go\u010d, Review of the concert \"Dial\u00f3g\"<\/div>\n<\/div>\n
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12\/2025, ISCM<\/h4>\n
“In \u0160iller\u2019s interpretation, the dances were clear and intelligible, with a distinct sense of pulse and finely shaped subtle accents, balanced voices, and precise dynamic contrasts.”<\/div>\n
Hana Chleb\u00e1kov\u00e1, Review of the concert \"Dial\u00f3g\"<\/div>\n<\/div>\n
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12\/2025, <\/h4>\n
\u201cOutstanding interpretative performances are an absolute given in this selection. The two principal performers, pianists Ivan \u0160iller and Tom\u00e1\u0161 Boro\u0161, radiate remarkable nobility and brilliance in their playing.\u201d<\/div>\n
Juraj Vaj\u00f3, Review of the CD Gestures <\/div>\n<\/div>\n
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10\/2025, ISCM<\/h4>\n
\u201cThe interpretations by the piano duo Ivana \u0160iller and Tom\u00e1\u0161 Boro\u0161 underscored the unity of the entire programme. Their sensitivity to ensemble playing, attention to detail, and ability to capture the character of each work allowed both new and older compositions to become natural parts of a single dramaturgical whole. Their performance gave the music room to breathe \u2014 at times with gentle irony, elsewhere with absolute concentration.\u201d<\/div>\n
Juraj Ber\u00e1ts , Recenzia koncertu v Tatranskej gal\u00e9rii<\/div>\n<\/div>\n
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9\/2025, Hudobn\u00fd fond<\/h4>\n
The Frico Kafenda Award 2025 for long-standing artistic activity in the field of contemporary music, with special recognition for the interpretative performance on the recording VENI ensemble: Nachtboek Quotations.\n \n <\/div>\n
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7\/2025, Classical Explorer (UK)<\/h4>\n
\u201cA fascinating concert, beautifully presented and performed\u201d<\/div>\n
Colin Clarke, Review of the concert \u201cHomagge a Erik Satie\u201d<\/div>\n<\/div>\n
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7\/2025, ISCM – Slovensk\u00e1 sekcia<\/h4>\n
\u201c\u0160iller and Boro\u0161 prove that what matters more is subtle nuance and the courage to let silence speak as powerfully as the notes.\u201d<\/div>\n
Juraj Ber\u00e1ts, Review of the concert \u201cHomagge a Erik Satie\u201d<\/div>\n<\/div>\n
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6\/2025, Hudobn\u00fd \u017eivot<\/h4>\n
“Their movements, facial expressions, and organic synergy allowed the listener to tune into the wave at the beginning of the concert and step off it at the end, all while enjoying the pianists\u2019 surgical precision. Every subtle shade of color and mood was carefully shaped and exact.”<\/div>\n
Jakub Go\u010d, Review of the concert \u201cHomagge a Erik Satie\u201d<\/div>\n<\/div>\n
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5\/2025, Classical Explorer (UK)<\/h4>\n
“A master of piano playing: sophisticated, balanced, thoughtful, and gentle… \u0160iller turns every piece in the program into a premiere.”<\/div>\n
Colin Clarke, Hana Gubenko, Review of the concert at the Slovak Philharmonic<\/div>\n<\/div>\n
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5\/2025, Hudobn\u00fd \u017eivot<\/h4>\n
“In short, Ivan \u0160iller is Ivan \u0160iller \u2013 and that\u2019s great.”\n <\/div>\n
Robert Kol\u00e1\u0159, Review of the concert at the Slovak Philharmonic<\/div>\n<\/div>\n
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5\/2025, Hudobn\u00fd \u017eivot<\/h4>\n
“\u0160iller’s approach to interpretation is immensely focused, as if he were music in a distant world, immersed in it.”<\/div>\n
Haimoni Balgava, Review of the concert at the Slovak Philharmonic<\/div>\n<\/div>\n
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2\/2025, Seen and Heard International<\/h4>\n
“A fascinating, refreshing concert by the VENI Ensemble in Bratislava. During the concert, I felt complete immersion and perfect harmony among all the players. \u0160iller\u2019s playing feels as though he were a skilled jazz improviser (remember, Stockhausen was an excellent jazz pianist).”<\/div>\n
Colin Clarke, Review of the concert Save Our Souls<\/div>\n<\/div>\n
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2\/2025, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cThe inspirational miniature I tried them and they were all rotten from the cycle \u201e\u2026 morceaux en forme de poire\u201c was excellent, which, thanks to its clear structure, brought the perfect cleansing of the palette. Similarly to the author’s next composition, the Tocivil excelled in the precision of Ivan \u0160iller. \u201d<\/div>\n
Jakub Go\u010d, Review of the concert Save our Souls<\/div>\n<\/div>\n
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1\/2025, Scherzo<\/h4>\n
“Ivan \u0160iller is the one who tackles this complex, ironic, colorful, and sometimes folk music, which we listen to with great interest.”<\/div>\n
Ismael Gabral, Review of the Old Boys Anthology CD<\/div>\n<\/div>\n<\/div>\n
2024<\/div>\n
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12\/2024, Hudobn\u00fd \u017eivot<\/h4>\n
“The composition requires the performer to have a complex perception of the score and the ability to aurally distinguish the individual characters, which Ivan \u0160iller rendered with absolute precision and clarity. Thanks to \u0160iller’s gentle handling of the individual voices, the vocal sensitivity of the piece is immediately apparent.”<\/div>\n
Petra Torko\u0161ov\u00e1, Review on CD \u201cOld Boys Anthology\u201d<\/div>\n<\/div>\n
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11\/2024, Hudobn\u00fd \u017eivot<\/h4>\n
“Live educational concerts for both professional and general audiences, focused on exploring lesser-known classical music, are not a commonly established format in our artistic environment. The unique concert series Ives 114 not only fulfills this idea but also ranks among projects that are exceptional on a global scale.”<\/div>\n
Aneta Fickov\u00e1, Recenzia na na koncert IVES 114<\/div>\n<\/div>\n
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11\/2024, web ISCM<\/h4>\n
“The CAGE_112 performance was an inspiring example of interdisciplinary collaboration that successfully brought Cage’s philosophy closer to a wide audience. The high quality of the performers and the attention to detail created an experience that will resonate with visitors for a long time.”<\/div>\n
Juraj Ber\u00e1ts, What was the \"celebration\" of John Cage's 112th birthday like?<\/div>\n<\/div>\n
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10\/2024, Hudobn\u00fd \u017eivot<\/h4>\n
“The interpretation of the entire ensemble, as well as soloist Ivan \u0160iller, is confident, with a clean and full sound. I was personally surprised to learn that it is a concert recording \u2013 the performers have my admiration for such a high-quality live rendition of the pieces.”<\/div>\n
Adri\u00e1n Demo\u010d, Review of the album Nachtboek - Quotations<\/div>\n<\/div>\n
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9\/2024, web ISCM<\/h4>\n
“An excellent and precise performance.”<\/div>\n
Piet Jan van Rossum, Review on CD Nachtboek - Quotations<\/div>\n<\/div>\n
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1\/2024, Hudobn\u00fd \u017eivot<\/h4>\n
“In short, pure delights for the ears\u2014a piano concert for connoisseurs. VENI has a portfolio of remarkable concert projects that have delivered high-quality musical inspiration, healthy confrontation, and the joy of positive audience feedback.”<\/div>\n
Mel\u00e1nia Pu\u0161k\u00e1\u0161ov\u00e1, Review on concert VENI ensemble 16.12. 2023<\/div>\n<\/div>\n<\/div>\n
2023<\/div>\n
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9\/2023, web ISCM<\/h4>\n
“This recording deserves a place not only in the collection of classical music enthusiasts but also in the historical memory of Slovakia. Ivan \u0160iller’s interpretation is brilliant, showcasing not only his technical prowess but also his deep understanding of the piece’s significance within a broader musical and social context.”<\/div>\n
Juraj Ber\u00e1ts, Review on CD CD Old Boys Anthology<\/div>\n<\/div>\n<\/div>\n
2020<\/div>\n
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, <\/h4>\n
“Remarkable creativity, understanding of the spirit of children and their musical world was combined with thorough preparation of accomplished teachers and musicians Tom\u00e1\u0161 Boro\u0161, Ivan \u0160iller, Eva \u0160u\u0161kov\u00e1, and Erika Krko\u0161kov\u00e1. They managed to interact with the soul of the kids \u2013 not leaving the grown-ups out \u2013 because they realized one thing: everything that exists around us can create a world resonating with our feelings and imagination in case we are sensitive to it. It can be positive, comforting, restorative, and motivating.\u201d<\/div>\n
Etela \u010c\u00e1rska, on children's music education project<\/div>\n<\/div>\n
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3\/2020, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cIn thirty years of existence, VENI has done a lot of praiseworthy work and managed to bring a wider circle of listeners to contemporary classical music. They proved that this type of music does not always have to be “classical\u201c or elitist. On the contrary, it can be exciting and adventurous. As proofs serve: their performance at the Pohoda festival, informal attire of musicians at the concerts, and the indignation of the ensemble leaders and members, who themselves feel more like a rock band and play the music they like.\u201d<\/div>\n
Petr Slab\u00fd, the review of album VENI 30<\/div>\n<\/div>\n
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1\u20132\/2020, Hudobn\u00fd \u017eivot<\/h4>\n
“I allow myself to have a heretical thought: in the wonderful bright concert hall Dvorana of today, students wouldn\u00b4t even think of establishing a rebel ensemble of contemporary music.\u00a0 Who would ever need to cause a ripple in today\u00b4s world of contemporary music which is used to everything? Maybe I am wrong\u2026.We enjoyed unusually sparkling clusters, which were in the right places. We were intrigued by elements of coincidence and improvisational freedom, hidden parody, and silence as well!\u201d<\/div>\n
Mel\u00e1nia Pu\u0161k\u00e1\u0161ov\u00e1, the review of VENI ensemble concert <\/div>\n<\/div>\n
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, <\/h4>\n
\u201cVENI ensemble performed a concert that will be remembered for a long time. It was magic from the first to the last note. The careful selection of the program, its excellent performance, and dramaturgy construction translated into the extraordinary mood of the concert.\u201c\u00a0<\/div>\n
Robert Kurdybacha, Karol Lipi\u0144ski Academy of Music Wroclaw, on VENI ACADEMY \/ VENI ensemble \u2013 EU tour 2019 concert<\/div>\n<\/div>\n
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, <\/h4>\n
\u201cEach piece gave us a fresh conceptual and sonic experience where we could hear music that has something to say, whether that is an extreme use of extended techniques on acoustic instruments; or inventive use of time and repetition; or the juxtaposition of dirty noise with classical beauty. Each player in this version of VENI was not only a virtuoso in playing their instrument; they brought the music to us with integrity and pleasure. Unforgettable.\u201d\u00a0\n <\/div>\n
Anne La Berge, Splendor Amsterdam, on VENI ACADEMY \/ VENI ensemble \u2013 EU tour 2019 concert<\/div>\n<\/div>\n<\/div>\n
2019<\/div>\n
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29. 10. 2019, Denn\u00edk N<\/h4>\n
\u201cThe JAMA festival was beneficial in many ways: it acquainted even the people outside of artistic scene \u2013 the inhabitants of Bansk\u00e1 \u0160tiavnica and Bansk\u00e1 Bel\u00e1 \u2013 with the work of Milan Adam\u010diak. Also, to a different group of people (the ones who knew Milan Adam\u010diak more or less theoretically), it offered a plastic, even a harsh point of view on his everyday life. However, the festival foremost enabled us to experience on our own how important it is to get outside \u00b4one\u00b4s social bubbles\u00b4 \u2013 discourses which are inside us and within which we are used to living comfortably.\u201d<\/div>\n
Alexandra Tam\u00e1sov\u00e1, JAMA festival review<\/div>\n<\/div>\n
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7-8\/2019, Hudobn\u00fd \u017eivot<\/h4>\n
“The bonus of the recording are five compositions for piano four hands. In these pieces, Boro\u0161 and \u0160iller \u201cdance around\u201d various modalities of playful contact with the keyboard (Little Tarantulas, Pitter-Patter), but also gracefully present the standard elements of piano play (Arpeggios, Scales). Again, Bach is called back to life (with Liszt looking over his shoulder) and it sounds very poetic. Since Eric Satie has already been mentioned, I\u00a0would like to repeat what Jean Cocteau wrote about Satie\u00b4s music, now in connection to the work of Tom\u00e1\u0161 Boro\u0161: at first glance, the music is as unnoticeable as a\u00a0key hole, but when you look closely, everything changes.\u201d\n <\/div>\n
Robert Kol\u00e1\u0159, the review of album Situations<\/div>\n<\/div>\n
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7-8\/2019, Hudobn\u00fd \u017eivot\n <\/h4>\n
\u201cFifty offers Ivan \u0160iller\u2019s interpretation of miniatures, the technical requirements of some of them (Barlow) are not at all trivial. \u0160iller again confirms his ability to grasp not only classical literature, but also the specific aesthetics of today. The interpretation of graphic scores is determined by the pianist\u00b4s creative capacity and the rhythmical demands exceed the \u201cclassical demands\u201d multiple times.\u201d<\/div>\n
Ondrej Vesel\u00fd, the review of album Fifty<\/div>\n<\/div>\n
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7-8\/2019, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cThe solo recital of Ivan \u0160iller was a\u00a0stunning artistic experience. The protagonist took us on a \u201cvoyage\u201d through selected works of the 20th century and he was a\u00a0very skillful and sensitive \u201cguide\u201d. With ease and persuasiveness, he \u201cshifted\u201d between various nuances, reliably mastering a\u00a0dense and complicated net of subtle interpretational challenges. In great detail and at the same time very delicately, the substance of each presented work was brought into light and he helped us to \u201clisten into\u201d their beauty.\u201d<\/div>\n
Daniel Matej, Ivan \u0160iller's solo recital Cant\u00e9yodjay\u00e2 review<\/div>\n<\/div>\n
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18. 3. 2019, His Voice<\/h4>\n
\u201cThe execution by Prague Modern is precise and can fully compete with the existing recordings by other ensembles.\u201d<\/div>\n
Mat\u011bj Kratochv\u00edl, the review of Prague Modern album<\/div>\n<\/div>\n
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11. 3. 2019, Avant Scena<\/h4>\n
“Composer gives the opportunity to all musicians to make their own decisions and interpretations. That why free improvisation is very important compound of this music. Strange tunes, extraction of weird sounds, an expand of technical abilities, eclectic fusions, contrasts and free improvisations are heard very frequently. The music is completely based on authentic and original Elliott Sharp\u2019s composing style.”<\/div>\n
Avant Scena, the review of album Dispersion by Elliott Sharp and VENI ACADEMY<\/div>\n<\/div>\n
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9\/2019, .t\u00fd\u017ede\u0148<\/h4>\n
\u201cFor my fiftieth birthday, I was given presents from 28 composers from around the world. It\u2019s a collection of short compositions for piano which were released on the FIFTY album, performed by Ivan \u0160iller, who came up with the whole concept and organised it. It was one of the biggest and most beautiful surprises I have ever experienced.\u201d<\/div>\n
Elena Ak\u00e1csov\u00e1, interview with Daniel Matej<\/div>\n<\/div>\n
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20. 2. 2019, Pravda<\/h4>\n
“There are no limits when choosing a birthday present, but what happens if contemporary music composers wish to congratulate a colleague and fellow pilgrim on his fiftieth birthday? The Fifty album conveys almost 30 varied versions of \u201cHappy Birthday\u201d dedicated to the Slovak composer Daniel Matej.”<\/div>\n
Vladim\u00edra Gah\u00e9rov\u00e1, on album Fifty <\/div>\n<\/div>\n
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1-2\/2019, \u201cIvan \u0160iller and I brought the composition \u2018Vexations\u2019 to Vy\u0161n\u00e9 Ru\u017eb\u00e1chy. We made some improvisations of movement to the crystal-clear melody of \u201cVexations\u201d. I was afraid that I would be anxious about having to listen to the same, five-minute, variation repeating itself, but the opposite proved true. I hadn\u2019t been able to immerse myself so deeply in my concentration for a long time, literally feeling that I was not controlling my movements, but that they were the result of something absolutely spontaneous and organic. The music gave our movement, and our mind some finesse, and for me this had almost a cathartic effect, associated with the feeling of deep happiness.\u201d<\/h4>\n
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Barbara R\u00f3naiov\u00e1, interview with Anna \u010conkov\u00e1<\/div>\n<\/div>\n<\/div>\n
2018<\/div>\n
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16. 12. 2018, Gapplegate Classical-Modern Music Review<\/h4>\n
“It is neither so much a one thing or another as it is very much Elliot Sharp music, which is a very important thing. This time now is in part on Elliot Sharp time. Set your watches, put them aside, then listen to this album! I very much recommend it.”<\/div>\n
Grego Applegate Edwards, Elliott Sharp, the review of album Dispersion, VENI Academy with Elliot Sharp, Marian Lejava<\/div>\n<\/div>\n
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10. 12. 2018, Full Moon Zine\n \n \n <\/h4>\n
\u201cWhat was the top? Jesse Kanda, the students of the Veni Academy with their controversial scores, the eco-social appeal performance by Hydrangea II, Jon Rafman\u2019s Dream Journal film and Afro-American activism embedded in the volatile and vigorous beats of 700 Bliss. Any disappointments? None.\u201d<\/div>\n
Lucie Tlusto\u0161ov\u00e1, the review of Animated Film Competition Festival \u2013 PAF 2018 <\/div>\n<\/div>\n
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7. 12. 2018, Full Moon Zine<\/h4>\n
\u201cGuitars, piano, flute, violin, clarinet…The instruments build up tension and explode. I am startled several times when the abrupt outpour of noise surprises me. Creaking, clicking, clattering, a singer who produces screeches reminiscent of the rattling noise made when your food goes down the wrong way or when you swallow water in the swimming-pool. A total pure mess. Ten out of ten. This year\u2019s topic at the PAF is the lapse and the Veni Academy shows what aesthetic beauty a mistake can conceal.\u201d<\/div>\n
Lucie Tlusto\u0161ov\u00e1, the review of VENI ACADEMY concert at the Festival of Film Animation \u2013 PAF 2018<\/div>\n<\/div>\n
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2. 12. 2018, The Slovak Spectator<\/h4>\n
“While still many Slovaks prefer listening to traditional classical music, the interest of the local audience in contemporary music is slowly, but gradually growing, according to \u0160iller.\u00a0\n\u201cBut it is long-distance race,\u201d he said, adding that in bringing contemporary music to an audience the key issue is the establishment of a relationship with the listeners. \u201cThey have to believe that our primary goal is positive and that the only thing we want is to play music different from that they are used listening to.\u201d<\/div>\n
Jana Lipt\u00e1kov\u00e1, on album Fifty<\/div>\n<\/div>\n
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11\/2018, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cOnce again, it was a completely unique evening…It was a different take on Ravel, quite different from the usual naive image of the \u201crepresentative of musical impressionism\u201d. In this version of \u201cMa m\u00e8re l\u2019Oye\u201d, for four hands, Ivan \u0160iller and Tom\u00e1\u0161 Boro\u0161 nicely succeeded in correcting this impression.\u201d<\/div>\n
Robert Kol\u00e1\u0159, the review of the concert Chansons Mad\u00e9casses by Ensemble Ricercata<\/div>\n<\/div>\n
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21\/2018, Open Space Magazine<\/h4>\n
“CD – A nice thing from Bratislava (In Music), 50 anniversary of Daniel Matej; Ivan Siller does a very short realization of Homo Ignorans.”<\/div>\n
Philip Corner, the review of album Fifty<\/div>\n<\/div>\n
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1-2\/2018, Hudobn\u00fd \u017eivot\u00a0\n \n <\/h4>\n
\u201cAn unpredictable story, unexpected musical situations and sharp acoustic combinations have brought the spirit of the American silent avant-garde into the Dvorana.\u201d<\/div>\n
Robert Kol\u00e1\u0159, the review of the concert by Ensemble Ricercata<\/div>\n<\/div>\n<\/div>\n
2017<\/div>\n
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12\/2017, Hudobn\u00fd \u017eivot\u00a0\n \n <\/h4>\n
\u201cThe band is playing the great Glass live, for what must be the fifteenth time, but when it ends, a few seconds of silence hang in the air, with tense expectation \u2013 and only then do the audience breathe again and give a standing ovation. People are beside themselves.\u201d<\/div>\n
Eva Voz\u00e1rov\u00e1, the report from the Cluster ensemble\u2019s American tour<\/div>\n<\/div>\n
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11\/2017, Hudobn\u00fd \u017eivot\u00a0\n \n\u00a0<\/h4>\n
\u201c\u2018Situations\u2019, which was played on the evening in question, is a set of compositions in the traditional sense, and often required much more than basic piano skills. Their attaca intersecting with Kurt\u00e1g\u2019s miniatures worked literally marvellously from a dramaturgical point of view\u2026The fact that \u201cSituations\u201d was played in the artist\u2019s authentic version also played a role, as well as the fact that, if we can say so, Boro\u0161 literally found himself as a composer in them. Ivan \u0160iller was an extremely knowledgeable performer of Kurt\u00e1g\u2019s two-hand pieces.\u201d<\/div>\n
Robert Kol\u00e1\u0159, the review of the concert by Ensemble Ricercata<\/div>\n<\/div>\n
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6\/2017, Hudobn\u00fd \u017eivot\u00a0\n <\/h4>\n
\u201cThe inter-media project \u2018Shaped Songs\u2019 is interesting and unique, and not only in the Slovak context, I believe. As a whole, the performance was incredibly satisfying, and so to conclude I\u2019ll just confirm the words from the programme notes saying that \u2018Shaped Songs\u2019 really represent a shift in the perception of classical music on the path towards new electro-acoustic and compositional input, where the new shape of the song becomes a reflection of the delirium and an image of a moment of pure thought…\u201d<\/div>\n
Daniel Matej, the review of the project \u2018Cluster Ensemble Shaped Songs\u2019<\/div>\n<\/div>\n
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6\/2017, Hudobn\u00fd \u017eivot\u00a0\n \n <\/h4>\n
\u201cThe piece \u2018Aus den sieben Tagen\u2019 by Karlheinz Stockhausen took the perceptive listener on a tour to some unusual corners of experimental music, creating an unforgettable musical experience, which was heightened to a great extent by the concert\u2019s well thought-out dramaturgy.\u201d<\/div>\n
Al\u017ebeta Irhov\u00e1, review of the concert \u201cHommage \u00e0 Milan Adam\u010diak\u201d<\/div>\n<\/div>\n
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3\/2017, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cAlthough I am not a big fan of Glass\u2019 music, this is undoubtedly a classic of 20th century music, and I consider the publication of a CD which has almost exclusively Slovak performers under its label as a similar success for Slovak music as when Vladim\u00edr God\u00e1r\u2019s recording of \u2018Mater\u2019 was taken over by the Munich record label ECM.\u201d<\/div>\n
Andrej \u0160uba, justification for the nominations for the Radio_Head Awards genre awards<\/div>\n<\/div>\n
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3\/2017, Hudobn\u00fd \u017eivot\n <\/h4>\n
\u201cI nominated the 2CD \u2018Cluster Ensemble plays Philip Glass\u2019 for 1st prize. The performances which aspire to the title of the benchmark recording of Glass\u2019 works in an international context, as well as the sound quality and beautiful design of the double album destined it to be the recording event of 2016.\u201d<\/div>\n
Juraj Bubn\u00e1\u0161, justification for the nominations for the Radio_Head Awards genre awards<\/div>\n<\/div>\n
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3\/2017, Hudobn\u00fd \u017eivot\u00a0<\/h4>\n
\u201cThe name itself of the ensemble, which was Radio Dev\u00edn\u2019s ensemble in residence in the 2014-2015 season, evokes a light form of nostalgia for the series of events in the large concert studio, where the public was sitting on the podium, and could, as it were, see the musician\u2019s music, the unique atmosphere of which must have made a lasting impression on every visitor.\u201d<\/div>\n
Robert Kol\u00e1\u0159, review of the double album by Ensemble Ricercata (2016)<\/div>\n<\/div>\n<\/div>\n
2016<\/div>\n
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12\/2016, The Gramophone<\/h4>\n
\u201eThe Cluster ensemble\u2019s neat and carefully prepared performance.\u201c<\/div>\n
Philip Clark, review of album Cluster Ensemble Plays Glass<\/div>\n<\/div>\n
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9\/2016, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cAs a musicologist and musician, all I can say is \u201cwell done\u201d to the over fifty minute recording of a piece which lacks any quantification. The result (for the performer and listener) is something close to a trance. What you take away from listening to this will not be melodies to whistle to yourself under the shower in the evening, but a particular weightlessness of your state of mind cleansed of the layers of previous thoughts and intentions. Philip Glass\u2019 music is clearly in good hands. The Cluster Ensemble is uncompromisingly minimalistic in its effort to interpret musical minimalism.\u201d<\/div>\n
Martin Fla\u0161ar, review of the 3CD set \u2018Cluster Ensemble Plays Philip Glass\u2019<\/div>\n<\/div>\n
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9. 8. 2016, denn\u00edk SME<\/h4>\n
\u201cEven in Chicago journalists were able to listen to the new album by the Slovak Cluster Ensemble, and they were delighted: they gave it a score of 8.3 out of ten, and it featured in the selection of the best recordings from around the world on this popular website. It is a unique feat for media around the world to write about Slovak music recordings. However, the British Guardian daily has also already reviewed it, giving the \u2018Cluster Ensemble plays Philip Glass\u2019 album four stars out of five.\u201d<\/div>\n
Marek Hudec, article about the review of the Cluster Ensemble in Pitchfork magazine <\/div>\n<\/div>\n
\n

9. 8. 2016, Denn\u00edk N<\/h4>\n
\u201cAfter the Guardian, their new album has received another laudatory foreign review. \u2018They tackle some of Philip Glass’s iconic early works, playing them more crisply and clearly than perhaps any other recording in history.\u2019 wrote the Pitchfork server.\u201d<\/div>\n
Oliver Reh\u00e1k, The export story of the Slovak Cluster Ensemble continues<\/div>\n<\/div>\n
\n

8. 8. 2016, Pitchfork<\/h4>\n
“The Cluster Ensemble tackles some of Philip Glass’s iconic early works, playing them more crisply and clearly than perhaps any other recording in history.”<\/div>\n
Seth Colter Walls, review of album Cluster ensemble Plays Philip Glass<\/div>\n<\/div>\n
\n

5. 8. 2016, HIS Voice\n\n\n\n <\/h4>\n
\u201cThe Cluster Ensemble and its young performers have played ninety concerts and performed both in Europe and in the United States, and is today one of the formations which is able to appreciate and do justice to key works of the twentieth century and the present-day with precision and enthusiasm, while highlighting their experimental and unusual nature.\u201d<\/div>\n
Z. K. Slab\u00fd, review of 3CD set, \u2018Cluster ensemble Plays Philip Glass\u2019<\/div>\n<\/div>\n
\n

8\/2016, Vlna \u2013 \u010dasopis o s\u00fa\u010dasnom umen\u00ed a kult\u00fare<\/h4>\n
\u201cMagnificent music, an excellent performance, perfectly managed rendition.”<\/div>\n
Peter \u0160ulej, review of the performance of \u2018Bon Jour Monogramista T.D\u2019<\/div>\n<\/div>\n
\n

1. 8. 2016, Denn\u00edk N<\/h4>\n
\u201cStraight after concerts, all sorts of things are said, usually praises and exaggerations. But when the world-famous composer himself congratulated the six Slovak musicians in person, even offering to release the recording on his own label, it\u2019s a huge thing. And what trumped even this was that he didn\u2019t forget his promise.\u201d<\/div>\n
Oliver Reh\u00e1k, \u201cYou played it to a world-class level, Philip Glass told the Slovaks\u201d - article about the album \u2018Cluster Ensemble plays Philip Glass<\/div>\n<\/div>\n
\n

28. 7. 2016, Pravda<\/h4>\n
\u201cIt has been over a year since the Slovak premiere of the piece \u2018Music With Changing Parts\u2019 was played in Ko\u0161ice, in the presence of the composer himself. Glass enjoyed the performance of his 1971 piece so much that he offered the ensemble the opportunity to release the recording on his own Orange Mountain Music label.\nThe musicians, who at the time were putting the finishing touches to their debut album with the Ko\u0161ice label Hevhetia, accepted the offer. The collection of three CDs entitled \u2018Cluster Ensemble plays Philip Glass\u2019 has recently appeared not only in Slovakia, but also on the shelves of music shops across the whole world.\u201d<\/div>\n
Vladim\u00edra Gah\u00e9rov\u00e1, article about the album Cluster Ensemble plays Philip Glass<\/div>\n<\/div>\n
\n

20. 7. 2016, denn\u00edk SME<\/h4>\n
\u201cSuddenly a cooperation sprung up, resulting in the album entitled \u2018Cluster Ensemble plays Philip Glass\u2019. The famous composer was so pleased with the recording that he decided to distribute it worldwide via his New York company: the pieces played on two electronic organs can now be listened to by people in Australia, England and America.\u201d<\/div>\n
Marek Hudec, \u2018Slovak musicians captured the attention of the famous composer Glass, who is releasing their album\u2019 - review of the album \u2018Cluster Ensemble plays Philip Glass\u2019<\/div>\n<\/div>\n
\n

20. 7. 2016, The Guardian<\/h4>\n
“What\u2019s remarkable about the performances by the Cluster Ensemble is that they never seem didactic, and are wonderfully natural and constantly involving musically. The Slovak group, led by keyboard players Ivan Siller and Fero Kiraly, has devoted itself to Glass\u2019s early music for the last three years, and that total familiarity shines through every aspect of their playing.”<\/div>\n
Andrew Clements, review of album Cluster ensemble Plays Philip Glass<\/div>\n<\/div>\n
\n

7 \u2013 8\/2016, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cYou could tell that each player truly enjoyed those approximately 45 minutes of graduating and tense music until the final moment of deafening silence…\u201d<\/div>\n
Naneta \u010c\u020frg\u0151ov\u00e1, review of VENI ACADEMY: summer academy in Kulturpark<\/div>\n<\/div>\n
\n

4\/2016, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cCommunity. This word can be used to describe the feeling which you experience when you find yourself among the musicians (and teachers) associated in the VENI ACADEMY project.\u201d<\/div>\n
Robert Kol\u00e1\u0159, review of VENI ACADEMY: 4x4<\/div>\n<\/div>\n
\n

4\/2016, Hudobn\u00fd \u017eivot<\/h4>\n
\u201c…the performances by the contemporary music \u2018specialists\u2019, Zuzana Bi\u0161\u010d\u00e1kov\u00e1 in the piece by Peter Groll \u2018V kvapke nekone\u010dna\u2019 [In a drop of infinity] and Ivan \u0160iller in the works by Beria and Ives were captivating.\u201d<\/div>\n
Andrej \u0160uba, review of \u2018Concert for Daniela Var\u00ednska\u2019<\/div>\n<\/div>\n
\n

1-2\/2016, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cAfter a year and a half, the pilgrimage of the Ensemble Ricercata in the role of the first ensemble in residence of Radio Dev\u00edn has reached its peak. We can state that this concept has not only proved itself, but it has also brought something which was missing in our cultural environment. With its exclusive, original dramaturgy, where the music of living composers and Slovak work had an important position, its level of performances and also its unusual form of presentation, the ensemble has set a relatively high level for its followers.\u201d<\/div>\n
Robert Kol\u00e1\u0159, concert review of Ensemble Ricercata<\/div>\n<\/div>\n
\n

1-2\/2016, Hudobn\u00fd \u017eivot\n <\/h4>\n
\u201cEven John Cage himself would perhaps have enjoyed the whole of this game of chance, which the Cluster Ensemble led by Ivan \u0160iller introduced and excellently performed as part of the cycle…\u201d<\/div>\n
Peter Machajd\u00edk , Hudba u Fullu [Music chez Fulla]-interview<\/div>\n<\/div>\n<\/div>\n
2015<\/div>\n
\n
\n

7 \u2013 8\/2015, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cIn Ko\u0161ice, Cluster ensemble \u2013 in the presence of Philip Glass \u2013 performed Glass\u00b4s work Music with Changing Parts.\u201c<\/div>\n
Juraj Ber\u00e1ts, text on the music of Philip Glass<\/div>\n<\/div>\n
\n

7 \u2013 8\/2015, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cFantastic. I\u00a0have known Daniel and Ivan for some time now. The students are great. This brings me a\u00a0lot of joy.\u201d<\/div>\n
J\u00e1n Tk\u00e1\u010d, interview with Elliott Sharp during the VENI ACADEMY summer session<\/div>\n<\/div>\n
\n

5\/2015, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cThe 28th continuation of the Zagrebian Biennale had an extraordinarily strong representation of Slovak composers and musicians. Their cooperation brought results enriching for both sides.\u201d<\/div>\n
Robert Kol\u00e1\u0159, press service on the concerts of VENI ACADEMY at Music Biennale Zagreb 2015<\/div>\n<\/div>\n
\n

4\/2015, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cThanks to Ivan \u0160iller the piece receives a\u00a0captivatingly dreamy, softly Feldman-like colored atmosphere.\u201d<\/div>\n
Robert Kol\u00e1\u0159, the review of Daniel Matej\u00b4s album Memories of You, Hudobn\u00fd fond 2015<\/div>\n<\/div>\n<\/div>\n
2010<\/div>\n
\n
\n

7 \u2013 8\/2010, Hudobn\u00fd \u017eivot<\/h4>\n
“Last year, during the Evenings of New Music\u00b4 concert devoted to Charles Ives, Ivan \u0160iller presented himself as a\u00a0reliable musician. This time, he confirmed this quality again. What binds him with Vanderwall, besides the unconditioned loyalty for the music of the American composer, is the independence with which he took over the uneasy score. He played the slow passages intimate in sound with excellence, but he also mastered the more complicated, expressively-demanding parts.\u201c<\/div>\n
Robert Kol\u00e1\u0159, review of Ives Marathon Reloaded concert, Ch. Ives \u2013 Concord Sonata<\/div>\n<\/div>\n
\n

10\/2010, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cIn the past, the cooperation of Ivan \u0160iller and David Danel on the Evenings of New Music platform was very fruitful. The concert of Ives\u00b4 chamber music did \u2013 so to say \u2013 resurrect the spirit of the Evenings. The result was a\u00a0lovely musical interpretation without hints of exaggeration or exaltation. I\u00a0appreciated this temperance and chamber-like quality especially in Jan\u00e1\u010dek, whose expressive style repeatedly leads musicians to forced expressiveness, sometimes on the verge of \u201cstrings ripping\u201d …\u201d<\/div>\n
Robert Kol\u00e1\u0159, the review of Sonata concert on the SPACE festival - D. Danel (violin), I. \u0160iller (piano) \u2013 works by Ch. Ives, L. Jan\u00e1\u010dek, A. Webern<\/div>\n<\/div>\n
\n

7 \u2013 8\/2010, Hudobn\u00fd \u017eivot<\/h4>\n
\u201cWe can be grateful that following Mikul\u00e1\u0161 Skuta\u00b4s recording of Bach\u00b4s work, there\u00b4s another Slovak pianist who can give Bach an authentic, but at the same time different shape. Let\u00b4s congratulate Ivan \u0160iller and his tutor prof. Daniela Var\u00ednska for this brave project and its compelling realization. \u201c<\/div>\n
Vladim\u00edr Bokes, the Goldberg Variations concert review<\/div>\n<\/div>\n
\n

7 \u2013 8\/2010, Hudobn\u00fd \u017eivot<\/h4>\n
\u201c\u0160iller\u00b4s interpretation of Sonata A\u00a0Major D 959 had rational distance, well thought-over shaping of lines, phrases, and accents, but not for a\u00a0single moment was it possible to doubt the performer\u00b4s musicality… \u0160iller disposes of great intuition…\u201d\n <\/div>\n
Ingeborg \u0160i\u0161kov\u00e1, The Schubertian Evening concert review, Sonata A Major D 959<\/div>\n<\/div>\n
\n

7 \u2013 8\/2010, Hudobn\u00fd \u017eivot<\/h4>\n
“The biggest difference between Mikul\u00e1\u0161 \u0160kuta and Ivan \u0160iller was the sound that each of them could get from the same instrument. The massive and intense sound of Opus 33 was replaced by pronouncedly chamber-like, \u201cthin\u201d, and discrete tone of the remaining cycles. As if \u0160iller sat down at a\u00a0different piano… However, he was able ho handle Beethoven, too – his interpretation (despite a\u00a0certain dose of nervousness or tension) can be considered solid and supported by the personal commitment typical for this player. What I\u00a0especially marveled at was his ability to concentrate on occasionally very tiny surfaces, for example in the miniature No. 9 A\u00a0Major from Op. 119, which requires absolute concentration because of the fast tempo and phrasing.\u201d<\/div>\n
Robert Kol\u00e1\u0159, The Beethoven\u00b4s Bagatelles Concert review, Op. 119 and Op. 126<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n
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