Непознати критичарски рад Марка Тајчевића
Marko Tajčević’s Unknown Critical Work

Summary/Abstract: Prominent Serbian composer Marko Tajčević (1900–1984) was engaged in music criticism from the twenties to the fifties of the 20th century. In the period between the two world wars, he wrote in a number of Zagreb and Belgrade newspapers and magazines. After a six-year break caused by the Second World War, he returned to work on criticism after the war in the Vo­i­ce of the Na­ti­o­nal Front of Ser­bia [Glas Narodnog fronta Srbije]. His cooperation in this paper lasted from March 12, 1946 to January 19, 1947. He published a total of eighteen music reviews. He followed the work of the Belgrade Philharmonic and the Belgrade Opera, as well as concerts of Yugoslav and foreign artists. Tajčević’s music reviews are characterized by distinct clarity and brevity. In terms of style, he did not aspire to aestheticize the language and wrote simply. He used professional musicological terminology to a limited extent, addressing a wide audience. He was a strict critic, who expressed objections to artistic creations in a reasoned manner, and did not pay attention to the fact that he was writing in the time after the war when musical life was just being renewed and progressed. As a pedagogue and critic, he urged the audience to behave appropriately at concerts and opera performances. He was an opponent of the concert repertoire in which the overemphasis of virtuosity prevails. Likewise, he was at a great distance in relation to avant-garde music. He appreciated those trends of contemporary music that did not break ties with traditional musical styles and were moderately modern. This is the first musicological study devoted to the critical work of Marko Tajčević in the Vo­i­ce of the Na­ti­o­nal Front of Ser­bia.

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