ENISA and the National Slovenian SI-CERT are excited to announce the 1st Cybersecurity Awareness Conference in the EU on November 27, 2024. During this conference, experts from academia, industry, and government will explore the human side of cybersecurity. The event will feature engaging keynotes, best practices, and interactive sessions on topics like psychological attack vectors, neurodiversity, gamified learning, and innovative awareness-raising strategies. Whether you are a cyber educator, awareness specialist or someone interested in protecting digital spaces, this conference is your opportunity to gain valuable insights and network with experts in the field of Cybersecurity awareness.

The event will once again feature interesting lectures by renowned experts. Hybrid construction will be presented on the example of the design and construction of three large buildings, as well as the presentation of the possibility of prefabricated hybrid construction. It will showcase the combination of different building materials such as concrete, wood, steel, glass and rammed earth combined on projects to optimize structural integrity, aesthetic appeal and sustainability. All three projects also demonstrate a number of innovative sustainable designs.

18.30 
Accompanying concert - AFORM.duo (Sara Lešnik - concept, vocals, movement; Ivana Tripković - piano, laptop)

Programme: 

Bernhard Lang: The Cold Trip 
Part 2 for piano, computer and voice, based on Schubert's cycle Winterreise, Monadologie XXXII

In the centre of their interpretive reflections, the two performers (Lešnik and Tripković) place the research of traumas and psychological illusions that characterise the protagonist from Lang's cycle. Their concept does not offer definitive answers, but rather creates space for one's own interpretation and opens up questions for further thinking.

Entry to accompanying event with ticket for "Independent and original" concert.
* 
With the fourth concert of this year's festival, we are moving from a collective to a distinctly original one - the compositions and composers of the "Independent and original" concert are chosen in such a way that they highlight characteristic features, a completely unique stamp and an original compositional language.

19.30 
Pre-concert talk with Bojana Šaljić Podešva (Moderator: Gregor Pompe)

Programme: 
Ferruccio Busoni, Sonatina Seconda
Gabriel Iranyi, Quartett
Michael Finnissy, new work [world premiere]
Marco Stroppa, Gla-dya [world premiere of a new version]
Bojana Šaljić Podešva, Highway to Dadaab

Performed by the members of New Music Forum Ensemble.

19:30 
Pre-concert introduction (Sara Zupančič on music by Pavle Merkú)

Programme: 
Farzia Fallah, Lalayi, ein Schlaflied für Sohrab
Michael Pelzel, As time goes by
Enno Poppe, Tier
Béla Bartók, Melodia
György Ligeti, Hora lunga
Pavle Merku, Quartetto Nr. 2 
György Kurtág, Hommage a Mihaly András, 12 Mikroludien

Performed by members of the New Music Forum Ensemble. 

»String music from Bartók to the present day« will focus on instrument(s) - a different usage of strings and string ensembles, as seen in the Hungarian classics of the 20th century (Bartók, Ligeti, Kurtág), the Iranian composer (Farzia Fallah) and the great Slovenian composer Pavle Merkú.

19:30
Pre-concert talk with Uroš Rojko (moderation: Gregor Pompe)  

Artist: Sae Lee, piano; Miha Rogina, saxophone; Simon Klavžar, percussion; Janez Podlesek, violin; Eldar Saparayev, cello

Programme 
Vinko Globokar, Terres brulées, ensuite
Uroš Rojko, In memoriam Tomaž Lorenz
Bor Turel, Jesenska pripoved
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Lojze Lebič, Expressions 
 

New Music Forum, Society of Slovene Composers and Cankarjev dom celebrate jubilees of four respectable Slovenian composers Lojze Lebič (1934), Vinko Globokar (1934), Bor Turel (1954) and Uroš Rojko (1954).

Harold López-Nussa, piano; Luques Curtis, bass; Grégoire Maret, harmonica; Ruy López-Nussa, drums

Cuba is an island with widely branched musical family trees, and it is not uncommon for them to yield excellent pianists. Harold López-Nussa is certainly one of them. Chucho Valdés describes him as “at the forefront of a new generation of musicians”, and a pianist with “a subtle sound, brilliant ideas, and a unique musical style.” With numerous albums as band leader under his belt, he has taken audiences worldwide by storm with his infectious energy. Harold López-Nussa's latest album and his first on Blue Note Records, Timba a la Americana is closely linked to his personal life. Melancholy and homesickness, the longing for “the colours, the food, the people and the ocean”, the homeland he left behind in late 2021, when he moved from Cuba to Toulouse, France, with his wife and two daughters, are interlinked with the excitement about starting a new life and the experience of discovering new milieus, environments both personal and musical. His compositions are a musical record, a view of Cuba “from the outside”. 

The album is the result of López-Nussa's long friendship with Michael League, Snarky Puppy producer and bassist, who produced the album, and the “blessing” of Don Was, President of the notable Blue Note Records, who’d been keeping track of López-Nussa in Havana for a long time. Their joint effort culminated in an eclectic album that the Rolling Stone magazine hails as “a true jewel of Latin jazz”.

“Timba is the popular music that we make in Cuba today, it is the modern salsa that in Cuba we call timba, but also a dish, a guava paste that we eat with cheese. And Americana because there were several Americans, North Americans, involved in the project,” is Harold López-Nussa’s explanation of the album's title. It features ten dynamic original compositions performed by a tight-knit band featuring harmonica virtuoso Grégoire Maret, who works with legendary musicians such as Herbie Hancock, Pat Metheny and Cassandra Wilson, bassist Luques Curtis, an alumnus of the prestigious Berklee College of Music and member of the Eddie Palmieri band, Bárbaro “Machito” Crespo on congas who gave the album a deep touch of Afro-Cuban roots, and the musician Harold’s been playing with his whole life, his favourite drummer and brother, Ruy Adrián López-Nussa. 

They are making their Cankarjev dom debut as a quartet, and judging from their excellent credentials, we are in for a virtuoso ride, and inspiring and thrilling musical adventure.

Enkhjargal Erkhembayar, glas; Philipp Schiepek, kitara; River Loring Adomeit, bas

Enkhjargal Erkhembayar – Enji, for short – equates music with freedom, originality, singularity, belonging, her music reflects colours and natural phenomena, through her music Enji vocalises unspoken emotions that touch even listeners unfamiliar with her language. Her songs are soulful and confessional, rooted in Mongolian folk tradition. 
Enji was born in Ulaanbaatar and grew up in a yurt, a traditional tent used by nomads, in a close-knit working-class family. Music and singing was an intrinsic part of her family’s daily routine, and Enji's parents encouraged her in her musical creativity. Initially, she pursued the career of a music educator, teaching music at a primary school, but a jazz workshop brought to Mongolia by the Goethe-Institut turned her life upside down. She was accepted to the Munich Conservatory; as a student there, she realised that singing was her life's passion. With support from the Goethe-Institut, Enji recorded her debut release, Mongolian Song – an album of traditional Mongolian song with jazz arrangements, accompanied by accomplished performers like the legendary drummer Billy Hart, pianist Paul Kirby, saxophonist Johannes Enders and bassist Martin Zenker. The encounter with Martin Brugger, owner of Squama Recordings, was catalytic for Enji’s creative talent. Enji's second album, Ursgal, was released during the pandemic, when, used to living in a close-knit community, she suddenly had to face the situation of being alone and truly seeing herself for who she was when on her own. The answer yielded by her self-reflection was a ritual form of expression, the traditional Mongolian singing style of Urtiin duu, which translates as "long song". 

“My father’s side, they used to sing in that style in the countryside, and this long song kind of belongs to me,” Enji explains in an interview. In the Mongolian folk tradition, vocalists extend single words and syllables in vibrato-laden lines that can stretch to minutes. “In our long song, you don’t have bars or strict tempo. Soundwaves extend across space. It is more a picturing of the melody. You have your own energy and your own tempo, and you can sing in a completely free way. The techniques and sounds are related to nature. You can, for example, hear sounds like water, animals, or mountains reflected in the music,” says Enji about her singing style.

Enji’s third release ventures beyond the structures of the Western musical canon she studied at the Conservatory. Alongside her long-time music collaborators, guitarist Paul Brendel and bassist Munguntovch Tsolmonbayar, she recruited two Brazilian musicians, drummer Maria Portugal and clarinettist Joana Queiroz to join her at the studio. She titled her most personal album to date Ulaan, which means ‘red’ in Mongolian. Ulaan is the nickname that has stuck with her since childhood. When a baby, Enji was crying so much she turned red as a beetroot, and her family just called her Ulaan. 

It’s an elegant and powerful twist on traditional Mongolian music, writes The Guardian, while Washington Post thus reviews her concert: “These songs sound so inventive, so free, yet so grounded – and if they end up calming your mind, the aim wasn't to numb it, but to open it.”
 

Nomad je avtorski projekt enega najbolj iskanih in vsestranskih basistov v Sloveniji, Jošta Lampreta. Bas kitaro predstavlja v povsem drugačni vlogi in luči kot smo je vajeni. Namesto, da bi ta ostajala v ozadju kot podporni element, se dvigne v ospredje in razcveti v inštrument z lastno melodijsko in harmonsko vlogo. Jošt Lampet se kot glasbeni popotnik nenehno podaja v raziskovanje različnih glasbenih tradicij, tokrat pa se s svojim najnovejšim projektom poklanja globoki tradiciji flamenka. Njegov pristop prepleta bogato paleto globalnih glasbenih vplivov, ki jih je kot glasbenik skozi leta zbiral in vpletal v svoje ustvarjanje. Njegova bas kitara se morda ravno zato ponaša z izraznostjo, občutkom in tehnično dovršenostjo, v svoji srži pa združuje dušo flamenka, svobodo jazza in subtilnost improvizacije. Z ekipo vrhunskih in široko delujočih umetnikov, Urško Cento, Ninom Mureškićem in Matijo Krečičem, se podaja na nomadsko pot, ki presega glasbene kategorije, briše meje in slavi medsebojno povezanost različnih kultur, kar je v tem času in svetu še kako pomembno.

Nomad ni le projekt glasbenega iskanja, temveč samosvoja glasbena pripoved, skozi katero ustvarjalci raziskujejo transformativno moč glasbe, ki povezuje in združuje. Vlada ji duh inovativnosti - kompozicij tako ne žene tradicionalni flamenko, temveč njegovo preoblikovanje in reinterpretacija skozi oči in občutke nekoga, ki, čeprav ni del te kulture, flamenko globoko občuduje in spoštuje.

Jošt Lampret je v svojih zgodnjih letih glasbene poti ustvarjal z zasedbo Terrafolk in Simbolični orkester, kjer je ob igranju etno glasbe pod mentorstvom Bojana Cvetrežnika odkril svojo ljubezen do glasbe sveta. Po končanem Konservatoriju za glasbo in balet je študij klasičnega kontrabasa nadaljeval na Akademiji za glasbo v Ljubljani pri prof. Zoranu Markoviću. Kot klasični kontrabasist solist je nastopil s Simfoničnim orkestrom RTV Slovenija, Simfoničnim orkestrom Slovenske filharmonije in Komornim godalnim orkestrom Akademije za glasbo. Bil je tudi član znamenitega Gustav Mahler Jugendorchestra ter zmagovalec in prejemnik številnih prvih nagrad na domačih in tujih tekmovanjih.

Ljubezen do jazz glasbe je razvil med delom s prof. Matejem Hotkom in igranjem v akademskem big bandu. Ustanovil je zasedbo P’Jays (ex. Pijammies), ki združuje izjemne slovenske glasbenike mlajše in starejše generacije, s katero je izdal dva albuma avtorske glasbe. Sodeloval je z mnogimi domačimi in tujimi priznanimi glasbeniki, kot so Majid Bekkas, Elliot Mason, Daniel Rowland, Jose Montaña, Irena Grafenauer, Mate Bekavac, Vlado Kreslin, Iztok Mlakar, Saša Nestorovič, Vlatko Stefanovski, Nina Strnad, Jure Pukl, Marko Črnčec in mnogi drugi. Danes redno nastopa v zasedbah Teo Collori & Momento Cigano, Wiyaala & The YagaYagas, Eastern European Bass Ensemble in drugih mednarodnih projektih.

Cikel Noches de tablao predstavlja umetnost na področju sodobnega flamenka. Oblikujejo ga interdisciplinarni umetniški dogodki, osnovani predvsem na živi povezavi glasbe in plesa, ter spremljevalni program izobraževalnih in teoretskih vsebin. Program gradi medkulturni lok med tujimi in domačimi ustvarjalci, ki vzpostavljajo dialog med umetniško prakso flamenka in drugimi glasbenimi žanri in predstavljajo nove ustvarjalne pristope h glasbeni, plesni in performativni umetnosti. Od svojega nastanka leta 2017 daje prostor najnovejšim umetniškim projektom, ki temeljijo na žanrski presečnosti in ponuja širok spekter sodobnih izraznih form. V njem se nizajo koncerti in plesne uprizoritve, v katerih tradicija vstopa v navdušujoča zavezništva z novitetami.

Christoph Irniger, tenor sax; Stefan Aeby, piano; Dave Gisler, guitar; Raffaele Bossard, bas; Michael Stulz, drums

Christoph Irniger, tenor saxophone / Stefan Aeby, piano / Dave Gisler, guitar / Raffaele Bossard, bass / Michi Stulz, drums
The airborne view of the Swiss Alps and the magical plateaux reflected on the surface of the vast lakes fascinates us over and over again, but the familiarity of the landscape is sure to touch a chord with us too. And that is probably also true of the music that comes from there. In recent days, the world has witnessed not only an emergence of notable Swiss pop artists, winning laurels at this year's Eurovision Song Contest, but the blossoming of other genres in this country of 8 million people. Jazz is one of them. The eminent teachers at Switzerland's many renowned conservatoires and universities are attracting scores of young prospective students, including Slovenian musicians. An alumnus of these prestigious seats of learning, the Zürich -based tenor saxophonist Christoph Irniger has been hailed by critics as one of the most promising musicians in contemporary Swiss jazz, and his Pilgrim quintet as one of the most exciting ensembles in young European jazz.

Before he entered the world of jazz Christoph Irniger worked in rock music, as leader of the prog-rock band Cowboys from Hell. He was a member of the Lucerne Jazz Orchestra for seven years, and took lessons from mentors such as Dave Liebman, Mark Turner and Ari Hoenig. He formed two bands, Pilgrim and the Christoph Irniger Trio, so far releasing seven albums (three on Intakt Records). A multi-award winning artist, he has played his original music on European, Asian and US stages. The Pilgrim members play in various other bands and have had the opportunity to work with jazz greats such as Dave Douglas, Christian Weber, Nasheet Waits and Joey Barone. Now passing on this knowledge and experience, Irniger teaches at University of the Arts and the Musikschule Konservatorium in Zürich. He initiated the concert series Jazz im Seefeld, co-founded the Jazzwerkstatt Zürich festival and is a member of the programming team of the Unerhört! festival. 

“I do not see jazz as representing a particular sound or content, but as a way of making music. To me jazz is that music which always processes its time,” says Christoph Irniger who gets ideas for his original compositions from every style of music, and from life itself. His main inspirations are Lake Zürich, the mountains, his family, friends, a range of other art-forms and travelling – above all Berlin and New York, places where he further developed his musical potential and gained inspiration. Irniger places melody above everything else, even in dense, complex notated compositions, or within free jazz passages. 
To mark their tenth anniversary last year, Pilgrim released their fifth album Ghost Cat on Intakt Records, proving once again that they use written compositions and themes merely as a gateway to other, free musical expanses.
 

Ob desetletnici delovanja je zasedba Pilgrim lani pri založbi Intakt Records izdala svoj peti album Ghost Cat, v katerem znova dokazuje, da so spisane kompozicije in teme zanjo le vrata, ki vodijo v drug, svoboden glasbeni prostor.

Žan Tetičkovič, drums, percussion, electronics, composer; Tomaž Gajšt, trumpet and fluegelhorn; Lenart Krečič, tenor and soprano saxophone, bass clarinet; Alba Nacinovich, voice; Jani Moder, guitar; Luca Rosenfeld, double bass and electric bass; Marko Črnčec, piano and keyboards; Matija Krečič, violin; Nejc Avbelj, violin; Zoran Bičanin, cello