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Petar Čulić – 12 autorskih skladbi (12 original pieces)
«Debut album by the young guitarist and composer from Split Petar Čulić
Elegiac poetics of composing
The musicality route of Čulić is a melodious free song, of elegiac character
Petar Čulić is a Mediterranean, which brings him even closer to the professor Goran Listeš, as well as to the tradition of cantilena, which engendered numerous great talents like Arsen Dedić, father and son Stipišić in the field of popular music.
The composer from Split Petar Čulić comes into the scene of guitar authors with this publication with no intention to conceptually shape his poetical handwriting with some of the trendy boisterous titles. Maybe he’s aware that this scene has primarily hosted his teacher Goran who has been performing there for long, as well as a proved virtuoso and an outstanding soloist Viktor Vidović who attempted composing chamber music, on the album Music for two, and popular music, too. However, while Viktor Vidović with serious goals perceives his own efforts as a composer’s handwriting yet to be developed, dealing with sonata, capriccio and other forms of classical music, Listeš is in his composing attitude completely free; he spontaneously records the ideas as they appeared during his guitar education.
The guitar, just like the piano (eminently concert instruments and very rarely orchestral), often inspires its players to, due to their love for the guitar, dedicate themselves to the creation of their own music ideas, too, and to the development of their own musical expression. During his compulsory education Petar Čulić was a student of Goran Listeš, too, which has certainly left its mark on the freedom of touch with his own instrument, as well as in relation to his own ideas of composing.
Petar Čulić is a Mediterranean, which brings him even closer to the professor Goran Listeš, as well as to the tradition of cantilena, which engendered numerous great talents like Arsen Dedić, father and son Stipišić in the field of popular music. Čulić masters the performing technique and the instrument particularly well, but more evident than these are his „overflows“ of ideas from playing techniques, especially Spanish type ones, into his personal expression, as in the piece The Spanish Game and in one of the Variations on the theme „Autumn“. The musicality route of Čulić is a melodious free song, of elegiac character in the pieces The Emptiness, The Lighthouse, The Sea and especially in the piece Believe, while in The Distance he shows a true impressionist talent to convey those deeply felt moments in the musical language. Although he himself says that his greatest inspiration was a character of the Little Prince from the novel for children and adults by Antoine de Saint-Exupéry, and that piece might indeed be the most complete one, but we would like to point out The Distance and a piece of enigmatic title M. for their originality and fine sense of mood and atmosphere.
The first piece The Emptiness has the most complete melody line which, as in other melancholic pieces, can be easily brought to the form of the popular music (in this case evoking the Stairway to Heaven by Led Zeppelin). And I’m not saying that to draw attention to the possible plagiarism because it is definitely not the case for that melody, but to point out how the similarity in melodic line can very well stand out from the otherwise recognizable version. The course of the intervals and the way of combinating phrases indicate the true Mediterranean melodious way of small sequences unencumbered by time, but creating the ideal base for a dramatic event. Therefore, altogether, Čulić shows an exceptional talent for depicting moods, which is very useful in so called accompanying music for film and theatre. I would include the piece Traffic Jam in that type of functional music, performed by the guitarist quartet, where apart from Čulić, perform other young guitarists of the new generation Lovro Peretić, Natan Zlodre and Nikica Polegubić. Some of them are students of Listeš, and some of them are students of Petrinjak, who have completed their education on the international studies and masterclasses, so that we can speak of a new generation of the Zagreb guitar school which has extended itself to the Adriatic and which is very promising. The piece Traffic Jam is very maturely thought as a humorous onomatopoeic representation of nervous, torn mood during the traffic jams, with the central episode of intimate character, rudely interrupted again by the external reality. Together with The Lighthouse and the piece Happy Time, it also witnesses how Čulić’s talent is twofold; from one side there is a Mediterranean vocal singing that pulls into the fields of pop and popular music, while from the other a notable talent for depicting dramatic and lyric moods. Čulić is distinguished by mastering deeply melancholic and bright and joyful moods, so we wouldn’t be surprised if the film industry or theatre production hired him as a composer, because he is a big potential.»
Đurđa Otržan, magazine Cantus
Dance no. 1
The Little Prince
Variations on the theme "Autumn"
The Spanish Game
The Traffic Jam