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Review of: Socialist Realism And Music. Colloquium Musicologicum Brunense, 36, 2001. Edited by Mikuláš Bek, Geoffrey Chew and Petr Macek. Institute of Musicology, Faculty of Arts, Masaryk University Brno, Koniasch Latin Press, Praha 2004.
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Review of: Muzika u tehnokulturi. Univerzitet umetnosti (едиција „4Ф САЈБЕР“), Beograd 2004.
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За разлику од нашег фестивала „Музика у Србији“, основаног 1976. године, а почетком деведесетих година прошлог века трансформисаног у међународну Трибину савременог музичког стваралаштва, концепт „Словеначких музичких дана“ (Slovenski glasbeni dnevi) није се мењао у протеклих двадесет година. Организатори овог фестивала истрајно пропагирају дела словеначке музичке баштине, и новије и старије. Тако је овогодишњи, јубиларни фестивал на програму имао, поред осталог, једну премијеру дела младог аутора (Концерт за виолончело и оркестар Чрта Сојара Воглара), камерно вече дела Иве Петрића, Даријана Божића и других чланова некадашње групе Pro musica nova и концерт хорских дела Сама Времшака и Вилка Укмара.
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In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called “arbitrary communion songs” have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced from late-Byzantine singing tradition; more specifically, from a group of songs that although based on liturgical texts, were performed in extraliturgic occasions. These are calophonic irmoi which were composed by a great number of known late-Byzantine masters of singing. The second direction had its beginning in Russian spiritual music that generated a new melodic genre, kant, based on western models. The majority of those compositions have freely written spiritual texts, too, and not part of the liturgy. Kanti were, namely, singing numbers in liturgical dramas – theatrical pieces with Christian historical themes. The majority of arbitrary communion hymns from Serbian collections have texts from the psalms or use texts for irmoi of specific canons. There is only one text that does not belong to the output of church hymnography. In spite of that, the melodies of the analysed hymns reflect the presence of traditional compositional procedures characteristic of late-Byzantine and Serbian traditions. On either side, they possess atypical musical phrases that relate them to the the kanti. The usage of paraliturgical songs instead of communion hymns is commentated upon from the liturgic aspect also. That song belongs to the central part of the Liturgy and most fundamental during the service of the Orthodox church. Therefore, the deviation in Serbian practice from the rules that define its place and role demonstrate the distancing from the tradition, raises a fundamental question: is liturgical meaning being compromised.
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This article deals with the orchestral opus of Petar Bergamo, a Croat composer whose most productive period was linked to Beograd, Serbia where he lived and worked at the time. In four works: First Symphony, overture-phantasy Navigare necesse est, Musica Concertante and Second Symphony, all conceived in just four consecutive years (1960 – 1963), the matter being treated through author’s technical tools includes authentic materials, autoquotations, quasiquotations, quotations, and the ‘fund’ mode (fundus). Fragments of musical history embeded in the newly established structure, void of tonal components and orchestrated in great detail to achieve the coloration which may prevail the actual form, introduced to Serbian practice a new respect for the old. Since it was new, Bergamo’s contribution could not have been determined at that time in all of its significance. Laying his agenda on the dead-end street of what was considered modern art, Bergamo earned an attribute of post, regarding his respect for the past. The reception of Bergamo’s opus is viewed here through various articles and critiques from the time of its inception as well as thirty years later. From the viewpoint of the 1990s it appears that his language or at least some of its elements had become the impetus for one particular stream of local compositional teaching. As such, this strenghtens his position as a fundamental innovator, and labels him as the one who imposed the post in modern Serbian music.
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Opera Zora Dcomposed by Isidore Žebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidore Žebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera ((Opera studio Nederland) and the Viennese Chamber Opera (.Wiener Kammeroper) were the coproducers of the first production. The opera was directed by David Pountney, the renowned opera director, while an international team of young singers and celebrated artists assisted the co-production. The opera was played three times in Amsterdam. Winfried Maczewski conducted the Amsterdam Nieuw Ensemble whereas Daniel Hoyem Cavazza conducted the Wiener Kammeroper on twelve performances. The Viennese premier of Zora D. opened the season of celebrations, thus marking the 50th anniversary of the Wiener Kammeroper.The libretto, based on the script for a TV film by Dušan Ristić, was co-written by Isidore Žebeljan, Milica Žebeljan and Borislav Čičovački. Speaking of genre, the libretto represents a melange of thriller, melodrama and mystery, with elements of fiction. The opera consists of the prologue and seven scenes. The story, set in the present-day Belgrade, also goes back to the 1930’s and the periods interweave. The opera was written for four vocalists: the soprano, the baritone, and two mezzo¬sopranos. The chamber orchestra has fifteen musicians.The story: One summer day in 1935, Belgrade poetess Zora Dulijan mysteriously disappears. Sixty years later, Mina, an ordinary girl from Belgrade, quite unexpectedly becomes part of an incredible story, which gradually unravels as time goes by. Led by a dream (recurring night after night, with some vague verses about poplar trees and contours of a mysterious woman with a silver scarf being all that Mina remembers) she sets out to solve the mystery that seems to haunt her for no apparent reason. Part of the secret is also an invisible force, which Mina uses to gradually piece together the story of a great love that was brutally brought to an end 60 years ago and now seeks fulfillment. At the same time, Vida, a woman in her 80s, who has just returned to Belgrade from a long exile, begins to feel tortured and haunted by ghouls from the past, the very7 same she has been trying to escape all those years. Mina, desperate to solve the mystery7, and Vida, in search of final rest and redemption, meet to disclose to us the answer and tell us what really happened to Zora D.The leading characters of the opera, whose main attribute is illusiveness, undergo transformation that is something rarely found in opera literature. This quality of the characters and the story, as well as the absence of a real drama in the libretto, matches the specific idea of a contemporary opera. Unlike composers who insist on giving characters psychological quality, thus reducing their emotions to cliches for reasons of clarity, Isidore Žebeljan demonstrates a need for a completely different type of opera. Her idea is to have an opera which focuses on the sensual exploits of music itself. This is the very type of opera sought after by Isidore Žebeljan. The first and most striking feature of her music is a very unique melodic invention. Opera Zora D. could be described as a necklace of thickly threaded music pearls. Microelements of the traditional music from Serbia (Vojvodina), Romania and the south of the Balkans give her melodies a very special quality7. Those elements, however, have not been taken over in their entirety, nor do they exist in the form that would link this music to any particular type of folk music.Music elements of the traditional music, incorporated in the music expression of Isidora Žebeljan, provide additional distinctiveness and the colour, while being experienced as an integral part of Žebeljan’s creative being which carries within itself the awareness of the composer’s musical roots. Melodic elements of the opera expressed in such a manner give form to vocal parts, which require of performers great musicality and perfect technique without compromising the nature of their vocal expression. Specific chords with a diminished fifth, resulting from the use of folk music scales with augmented second, give the opera a distinct harmonic quality.The rhythmic and metric components of music are complex, naturally stemming from the melody and are characterized by a mixture of rhythms and changeable metrics. The rhythmic patterns of percussion are incorporated in the whole by parallel lining up of melodic and rhythmic layers, so that they produce sonorous multiplicity. Very often the rhythmic elements have characteristics of a dance.The chamber orchestra consists of flute (piccolo and alto), clarinet and bass¬clarinet, saxophon (soprano and alto), bassoon, French horn, trumpet, harp, piano, percussion, and string quintet. By providing specific orchestration and colouring, Isidora Žebeljan manages to completely shift the real dramatic suspense from words to music, particularly the orchestra, thus causing various emotional states to quickly change.Speaking of structure, the opera represents an infinite sequence of melodies. Although rarely, melodic entities have, in some places, the form of arias. There are no real recitatives in the entire opera. Each segment of the opera belongs to a corresponding melodic section of the stage that they are part of.The extraordinary quality of the music in Zora D. lies in the music surprise that it provides, which is an element of the composer’s language and style rarely seen in the music literature but is a symbol of a special talent. Emotional states are not merely evoked through particular musical cliches, the unusual origin of which may be found in the exceptional parallel quality of states stemming from the very music. The listener, in his or her initial encounter with the music of the opera, will never hear dark and disconsolate music when tragic and dramatic happenings are taking place. Listening to the music will, however, help them feel the sound layer of the tragedy that is present in the offered sound. They will not follow it consciously but, instead, they will be leaded to the exact emotional stimulus that they will not be able to defy rationally. Such a music expression we call a music fiction.Artistic team involved in the first production of Zora D. has discovered a HVS technique, which helps shifting elements of scenography, from one set into the next, very efficiently and effectively.Isidora Žebeljan’s opera Zora D. represents a great success of Serbian music on the international scene, and undoubtedly the greatest success of Serbian opera. Her music liberates listeners from the compulsion of reflecting upon the content they are listening to. Instead, her music compels them to feel.
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Die Frage nach dem Verhältnis zwischen Musik und Poesie, zwischen Wort und Ton, die für jede Epoche aktuell war, stand im Mittelpunkt zweier internationaler musikwissenschaftlicher Kongresse in diesem Jahr: dem der 4. internationaler Konferenz der WMA (“Wort-Musik Assoziation”, 18–21. Juni 2003, Berlin) und dem des 7. internationalem Symposiums im Rahmen des Musikfestivals Melos-Ethos (12–14. November 2003, Bratislava). Die erste Veranstaltung, die facettenreich und interdisziplinär konzipiert war, ist aus der langjährigen Zusammenarbeit von Experten aus verschiedenen Bereichen der Musik, Literatur und des Theaters erwachsen, die so über eigene methodologisches Basis verfügen. Geistiger Vater dieser ‘Grenzgebietforschung’ ist Steven Paul Scher (Dartmouth College, Hanover, NH), der zahlreiche Arbeiten1 im Bereich der musikalischen und literarischen Komparatistik veröffentlichte.
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The conference entitled Romanticism and Nationalism in Music was hosted by the Music Department of the Ionian University and held in the very musical city of Greece, Corfu, from 17 to 20 October. The conference’s committee had the following members: Assistant Professor Anastasia Siopsi (Conference Director), Professor and Head of the Music Department of Ionian University Charis Xanthoudakis, Assistant Professor Irmgard LerchKalavrytinou, Associate Teacher Konstantinos Kakavelakis, Associate Teacher Panagiotis Vlaghopoulos, Associate Teacher Konstantinos Kardamis (Secretarial Support) and Georgia Zervou, in charge of Public Relations of Music Department of Ionian University (Conference Organizer).
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Брно, град богате културне и уметничке традиције, угледни универ- зитетски центар Средње Европе и музичка престоница Моравске, већ тридесетосам година за редом, захваљујући двема престижним манифес- тацијама - фестивалу Моравска јесен и, посебно, музиколошком колок- вијуму - потврђује своју запажену улогу на међународнојмузичкојсцени. У новијојопштојисторији музике чувен no томе што je у њему живео и стварао Леош Јаначек, за историју српске музике значајан no извођењу опере Коштана Петра Коњовића, град Брно био je прошле јесени домаћин одличним симфонијским (Симфонијски оркестар Санкт ПетерсбурГа, МађарскоГ и ЧешкоГ pagujd), камерним (Ансамбл Мартину нпр.) и во- калним (Schola Gregoriana Pragensis) ансамблима, као и групи од дваде- сетседморо музиколога из девет земаља света који су узели учешће у тродневном раду научног скупа са атрактивном темом: Нова музика у „новој“ Европи 1918-1938. ИдеолоГија, теорија u пракса.
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Leonid (1867-1937) and Rimma (1877-1959) Brailowsky brought to Belgrade National theatre (together with other Russian emigrated stage and costume designers) the spirit of the World of Art (Mir Iskusstva), making décor and costumes for 18 performances during the period of 1921-1924. Les romanesques by Edmond Rostand, Le malade imaginaire by Moliere, Shakespeare’s Richard III, Merchant of Venice and King Lear and two Serbian dramas, Offenbach’s Hoffmann ’s Tales, Faust by Gounod, Smetana’s Bartered Bride, Bizet’s Carmen, Onegin and Queen of Spades by Tchaikovsky, Massenet’s Manon, The Tsar’s Bride by Rimsky-Korsakov, The Wedding of Milosh by Petar Konjovich, the Serbian opera composer, two ballets, Sheherazade and Nutcracker. The artists, husband and wife, were praised for their modernization of the Belgrade scene, for their vivid realization of sets and costumes, for their novelties, especially in Serbian historical dramas by Branislav Nušić and Milutin Bojić, and Shakespeare as well. In operas and ballets they were also respected in some extent, but the pictorial, sometimes independent value of their scenic work, although inspired by music, arouse opposing questions among the musical critics, who could not accept their too bright colors which once conquered Paris in the scenic interpretation of Leon Bakst or Nikolai Roerich. To avoid resistance of Belgrade critics the couple decided to leave Yugoslav capital for Italy where they continued successfully their artistic career.
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The word texture designates, according to the definition of the Robert dictionary, the arrangement of the threads of a woven thing, applying quite naturally to the principles of weaving and, by extension, can concern the arrangement of sound elements. In musical vocabulary, the term "texture" is uncommon and most often ignored by specialized dictionaries; However, this notion has occupied a determining place in the thinking of a large number of composers since the 1950s. Allowing us to consider questions of timbre and the conception of orchestral writing from a new angle, it will be considered successively in works by Ligeti, Lutoslawski, Brown, Carter, Feldman and through the electro-acoustic approach.
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In the course of his artistic career, which has lasted for more than fifty years now, Vladan Radovanović (b. Belgrade, 1932) has created works in the domains of electroacoustic music, mixed electronics, metamusic, visual arts, artifugal projects, tactile art, literature, drawings of dreams, polymedial and vocovisual projects, as well as art theory. Central to his poetics is the theme of synthesis art. Based on a synthesis of the arts and a fusion of media, the flow of his opus disturbs the limitations of art. His synthesis of media-lines is neither a product of rational decision, nor is it inspired by the works of other artists. Its initial form appears in the mind of the artist as a sensation or a representation that emerges from sleep and dream, or from his exploration of the mysteries of his inner being. In an attempt to create a classification of the arts that would suit his understanding of the nature of art, Radovanović has suggested a basic division into single-media and multi-media arts. Single-media arts include music, poetry and painting, whereas the remaining arts belong to the multi-media group. The latter contains works created by an expansion of mixed forms such as theatre, opera and ballet, but in which the media involved accomplish greater integrity - mixedmedia (for example: happening, fluxus etc), multimedia (opera, film, environment) and intermedia (a term which posesses two meanings: a new media that is in-between media, or a new media in which all the elements are equal and integrated). Radovanović prefers the second meaning, but he uses the term polymedia for such works. This term is analogous to polyphony, because Radovanović has aimed to create a polymedia form in which separate media lines would be treated in counterpoint, in order to remain complementary and mutually dependant. In 1957, Radovanović began to sketch his theoretical thesis, initiated by his concrete artistic output. Although he had distinguished his diverse artistic output according to formal and designative characteristics, later he subordinated his work to the term synthesic art. Synthesic art is, according to Radovanović, one of the models of multi-medial arts. We have analyzed the works of Vladan Radovanović, which do indeed belong to the category of synthesic art, on many levels. First of all we tried to locate his opus in the context of Serbian and Europian art. Radovanović's avant-garde poetics was born in the context of Serbian art in the second half of the 20th century, which was dominated by 'moderate modernism'. His works did not fit into the existing world of art, and therefore were marginalized and underestimated. Despite his innovative spirit, hunger for novelty7, and aim to transcend the materiality7 of materials, which are all characteristics of high-modem avant-garde poetics, Radovanović claims autonomy. His latest works do not fit into the current world of art either, because he does not want to place his poetics in the domain of contemporary post-modern poetics and theories. His intentional evasion of fashionable currents is a product of his conscience, which asks that he remain faithful to himself and his inner artistic vision. Another theoretical challenge when addressing the works of this artist was to locate his synthesic art within the larger historical and contemporary manifestations of the total world of art, especially where his works compare with Richard Wagner's Gesamtkunstwerk.. Radovanović believes that his concept of synthesic art is similar to Gesamtkunstwerk, but in no way equal. Therefore, we have examined all the controversies about the usage of the term Gesamtkunstwerk, as well as different theoretical approaches to this concept and its evolution; then, we have analyzed it in terms of the theoretical and practical realization of synthesic art. By formulating in detail his theory of synthesic art, Radovanović has given us a key for the understanding and analysis of his works of art. For example, we have analyzed several of his earlier multi-media works (Dreams, vocovisual works Desert (Pustolina), Poly-aedar, Ball, Change and Vocovisual omages, and polymedia projects Electrovideoaudio, Building of Rooms-Signs, The Great Sounding Tactyzone, Polim 2, Polim 3, video-work Variations.for TV’) as well as one of his latest synthesic works, Constellations, in order to describe the practical realization of his theory, and to demonstrate how his poetic model is equally precise and flexible. Radovanović both realizes and recognizes his artistic output and theoretical thought as a united product, as they were both created in his synthesic mind.
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Adriana Hölzsky's stage work Tragedy - Invisible Space (1997), that has no plot, no singing and no stage characters, it can be used as one radical experiment, a strange meta-opera. Instead of Real actors are given sound figures and props, feelings, gestures and gesture produced. The composer's intention was "the complexity and "To try out the expressiveness of an opera without semantics". The work appears as a totality of heterogeneous layers in which times and spaces, The real and the fantastic, the poetic and the surreal merge.
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Two outstanding personalities of the Soviet musical life in the 1920’s, the composer Nikolay Myaskovsky and the musicologist Boris Asafyev, both exponents of modernism, made volte-faces towards traditionalism at the beginning of the next decade. Myaskovsky’s Symphony no. 12 (1931) and Asafyev’s ballet The Flames of Paris (1932) became models for Socialist Realism in music. The letters exchanged between the two men testify to the former’s uneasiniess at the great success of those of his works he considered not valuable enough, whereas the latter was quite satisfied with his new career as composer. The examples of Myaskovsky and Asafyev show that early Soviet modernists made their move away from avantgarde creativity well before they faced any real danger from the bureacracy.
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The twentieth century saw a development in the arts that had never occurred before in history. Producers and recipients of art grew totally apart. Traditionally, the production of art had always been dependent on commissions and public. Around 1900, production began to precede the interest of potential commissioners, spectators and audiences. In music, the gap was wider than in the pictorial arts: it did not take the museums more than a few decades to catch up with the cubists, the surrealists, and the other painters who took leave from traditional depiction based on the rules of central perspective. But the composers who challenged the rules of the musical equivalent of central perspective, ‘central tonality’, suffered a different fate. Even today, a symphony orchestra runs the risk of not attracting enough listeners when putting too much Schoenberg or Webern on the programme. Should that be a reason to restrict the diet of the audiences to Bach, Mozart and Mahler? Almost any professional in music will resist this. So will any government agency responsible for the creation and diffusion of artistic products. But here, we face a paradox: since political decisions on the funding for the orchestra may depend on the immediate attractiveness of the programmes for the audience, political demands for specific quota of new music on the programme create a tension between introducing ‘new’ music to the concert audience (and the label neue Musik continues to be used here and there for music dating from before the Second World War) and the very conditions for the survival of the musical body required to bring any new music to life.
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У граду Крфу, на острву Крфу, крајем октобра и почетком новембра 2002. организован je један занимљив и несвакидашњи скуп истраживач-ког и фестивалског карактера са називом 16th World Congress on Dance Research, ca темом Dance as Intangible Heritage (Игра као недодирљиво наслеђе), интересантан и у истраживачком и у извођачком смислу, оријентисан претежно на фолклорну област. Ова je манифестација no свом интернационалном домету превазишла оне претходне, такође организоване у Грчкој. Конгрес je објединио историчаре и теоретичаре игре и извођаче (каткада обе активности у истом лицу), у организацији Савета за игру УНЕСКО. Председник Савета, господин Алкис Рафтис, историчар игре и кореограф, социолог и етнолог, професор универ-зитета, оснивач je и директор грчког, обимног no својим делатностима, етно-театра Дора Страту, јединственог ансамбла народних игара у све-ту, који се појавио и у Београду, на великојсцени Сава-центра средином марта 2002.
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Обележавање јубилеја др Надежде Мосусове, угледне и дугогодиш- ње сараднице Музиколошког института САНУ, научника и професора, представља прилику да се укратко осврнем на њен досадашњи допринос српскојмузикологији, a он je, већ на први поглед, од незаобилазног значаја. Иако приложена библиографија о томе најбоље сведочи, њоме, no природи ствари, не могу бити обухваћене многоструке професионалне активности наше слављенице, које су управо због своје ширине и разгра- натости често "невидљиве" културној, na и ужојстручној јавности. Због тога he о њима бити више речи у овом скромном омажу.
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The article consists of three parts. In the first part the author gives a survey of the large artistic renewal that took place in the Netherlands around 1900. Special attention is given to “de beweging van Tachtig”(the movement of the “Tachtigers”), a renewal movement in literature in which the composer Alphons Diepenbrock was involved. In the second part a short description of the life and work of this most important Dutch composer of the end of the nineteenth century is given. In his early years Diepenbrock orientated himself to composers like Wagner, especially around the First World War (in which the Netherlands remained a neutral country), and he became a fervent admirer of French art. His music is a unique synthesis of Wagner’s chromaticism, the word-bound rhythms of plain-chant and the polyphonic music of the old Flemish schools of Ockeghem and Josquin. In the third part the author deals with a couple of Diepenbrock”s (artistic) contacts. There are highlights on Mahler, Schönberg and Debussy, primarily based on their correspondence.
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Review of: Džerald Abraham, Oksfordska istorija muzike, I. Preveo sa engleskog Miloš Zat- kalik. Clio (Biblioteka »Ars mušica«, urednik: Hristina Medić), Beograd 2001, 340 str
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