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Marija Bergamo’s other thematic interests Article received on January 24th 2018 that vibrate throughout this essay collec- Article accepted on May 16th 2918 tion, intersecting and complementing each UDC: 78.071.1:929 .(082)(049.32) 786.2.089.6(082)(049.32) other, forming an original, dynamic, ethi- cally thought-out and clearly positioned musical musicological thought. Sonja Cvetkovi * The many decades of no direct commu- University of Niš nication that we ‘owe’ to the vicissitudes of Faculty of Arts life beyond music and musicology or, as Department of Music Bergamo would say, to “galloping his- 13 tory”, should not be seen as an irrevers- Katarina T ma e i (e , Davorin ible discontinuity. The best testimony to Jenko (1835–1914). Prilozi za kulturu that is the close research collaboration that s r s u ur s m exists today between the musicology de- [Contributions to Cultural partments in Belgrade and Ljubljana, Remembrance], Belgra e Institute f which also involves former students of Music l gy f the Serbian Aca emy Marija Bergamo. f Sciences an Arts, Nati nal C uncil f the Sl enian Nati nal Min rity in the Re ublic f Serbia, 2016
In 2014, when the Serbian music and wider cultural public was focused on marking the centenary of the death of Stevan Stojanović Mokranjac, several events were organised to mark a simultaneous jubilee linked with the personality of Mokranjac’s elderly con- temporary, Slovenian composer Davorin Jenko. The central part of the two-day Pro- gramme was organised at the Serbian Academy of Sciences and Arts, within the framework of the Academy, where the film Davorin Jenko – the creator of the anthems and patriotic songs1 was presented, at an
* Author contact information: [email protected] 1 The film by Ana Pavlović and Dragomir Zu- panc (director) was realised in the production of the Cultural and Educational Programme of the 13“O zgodovinskosti (tudi) glasbene zgodovine: Radio Television of Serbia with the professional pogled ju noslovanskega prostora”, op. cit., cooperation and participation of the associates 89. of the Institute of Musicology (associate on sce-
198 Reviews interdisciplinary scientific conference II Reflections in the Press, III Addition. Ar- Davorin Jenko – Contributions to Cultural chival testimonies. The Preface is also pub- Remembrance organised by the Institute of lished in Slovenian (Beseda urednice), in Musicology of the SASA and the National which (besides English) there are summa- Council of the Slovenian National Minor- ries of seven studies in Serbian and one in ity in the Republic of Serbia (November English, with the intention of the content of 26) and at a concert of the representative the Proceedings being available to the mu- choral, chamber and orchestral composi- sical and the broader public in Jenko’s na- tions of Davorin Jenko (selected by com- tive land, Slovenia. poser and music theorist Anica Sabo) held In the Preface by editor Katarina at the Gallery of the SASA on November Tomašević the activities which marked 27.2 Jenko’s anniversaries in Serbia during The papers announced at the scientific 2014 and 2015 are laid out and the content conference were published in the Proceed- of the Proceedings is briefly presented. ings under the same name, where the re- The main part of the Proceedings opens sults of the research of Jenko’s life and cre- with the study by Sonja Marinković (Fac- ativity were presented by experts in the ulty of Music Arts Belgrade) entitled field of musicology, ethnology, music the- Davorin Jenko’s Work in the Light of the ory and comparative literary studies. Be- Development of Serbian and European side the Preface (Word of the Editor) the music which sheds light in terms of context Proceedings contain three parts: I Studies, on the contribution of this artist to the de- velopment of Serbian music. Relying on the terminology and criteria of the periodi- nario Katarina Tomašević) and the Institute of Etnography of the SASA as well as the Faculty sation presented in Serbian literature of the of Music Arts in Belgrade. 19th century, the author examines several 2 During 2015 in Serbia there was a number of issues (the composer’s relation to the folk- occasional events which continued to mark an- lore, ideas of Pan-Slavism and professional other significant Jenko’s jubilee – 180 years standards) on which she established the since his birth: in the Museum of National The- connections among Jenko and Kornelije atre in Belgrade, the exhibition ‘Davorin Jenko (1835–1914)’ was organised by the Archives of Stanković in Jenko s early, pre-romanticist Serbia and the Archives of Slovenia, which pre- period and stylistic evolution in his instru- sented the Proceedings Davorin Jenko (1835– mental and stage works, which would clas- 1914) / Life and work on the occasion of the sify him at the end of his creative path as a centenary of death (Ed. G. Jenuš and F. Kri nar) representative of Romanticism, and thus from a scientific conference held in Ljubljana determine his position as an intermediator on November 24 and 25 2014. The Post of Ser- bia and Post of Slovenia released in November between pre-Romanticism and Mokran- 2015 the postage stamps with the image of jac’s era. Davorin Jenko, while the exhibition of the Ar- The paper by Jernej Weiss (Faculty of chives of Serbia and the Archives of Slovenia Philosophy, Ljubljana) ‘Forward!’ – The ‘Davorin Jenko (1835–1914)’ is also shown in first Slovenian National Anthem by the exhibition Gallery of the Historical Archive Davorin Jenko deals with the significance of U ice, within the framework of the October of Jenko’s choir With Slava’s Banner, For- events of the City of U ice in 2016.
199 New Sound 51, I/2018 ward! in a historical perspective in which of these prominent figures of Serbian special attention is paid to its role in the music. processes of the formation and raising of Mladena Prelić (Institute of Etnography Slovenian national consciousness, starting SASA Belgrade) in the paper Mapping with the premiere performances of this Cultural History and Memory: The Bel- choir in 1860 onwards, through various grade Years of Davorin Jenko and Vela Ni- socio-historical and political contexts dur- grinova examines two artists of Slovenian ing the 20th century. The paper is comple- origin: the composer Davorin Jenko and mented by the biographical data from Jen- the actress Augusta – Vela Nigrinova ko’s Slovenian and Vienna periods, as well (1862–1908) whose personal and profes- as data related to the performance and re- sional paths joined in an elite institution of ception of this famous patriotic song com- Serbian culture, the National Theatre in pared with the French La Marseillaise. The Belgrade. At the beginning, the author lays author points out the great significance of out in the chapters “Belgrade, a City in the song With Slava’s Banner, Forward! Transition” and “Between Art and the Na- both in the period of strengthening national tional Mission: the National Theatre as the ideology and in spreading the ideas of Pan- epicenter of cultural life and as a temple of Slavism among Slovenes and underlines its patriotic religion” the historical, cultural universal character. and artistic frames, presenting the artistic Katarina Tomašević (Institute of Musi- work of Davorin Jenko as a musician and cology of the SASA Belgrade) in the study Vela Nigrinova as an actress, while the last Davorin Jenko and Stevan St. Mokranjac: two chapters “Our Foreigners” and “List- Biographical Fragments. Contribution to ing on the Cultural Memory Map” speak Cultural Remembrance, which was first about (dis)continuity and the ways of published in 2014 in the journal Musicol- memorising their personalities in the cul- ogy No. 16, discusses the phenomenon of tural history of Serbia and Belgrade. the anniversary – centenary of the death of Marijana Kokanović Marković (Acad- Jenko and Mokranjac as an incentive to emy of Arts Novi Sad) in the study Davorin cultivating cultural remembrance. Through Jenko on the Stage of the Serbian National several fragments – selected chronological Theatre in Novi Sad (1861–1914): Recep- images, the author informs readers about tion of the Play with Music ‘Seoska lola’ the points of intersection in Jenko and [‘The Village Bachelor’] points to Jenko’s Mokranjc’s biographies, explaining the contribution to the theatre scene in Novi delicate nature of their relationship in the Sad as the musical author with the greatest context of national discourse. Special at- number of plays with music performed tention is paid to the events from the his- since the founding of this theatre until the tory of Serbian music and cultural institu- beginning of the First World War. In this tions: the Belgrade Choral Society and the work, a chronological list is given of the National Theatre in Belgrade as well as to stage pieces with Jenko’s music and the the events held in the jubilee year of 2014 conductors of the theatre orchestra, system- that contributed to the preservation and in- atically and transparently. The author tensification of the cultural remembrance speaks about how the audience received
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Jenko’s music for the popular play Seoski tion (Shakespeare, Beaumarchais, Goethe, lola [The Village Bachelor], which was Hugo, Schiller). In this way, Jenko in his performed at the Serbian National Theatre opus linked Slovenian and Serbian music in Novi Sad for more than twenty years, and literature, at the same time bringing the thanks to an insight into the the press re- works of world authors closer to the audi- views of that time (Po ori te/The Theatre) ence. and, at the same time, revealing the attitude Katarina Tomašević researched Slove- of the theatre administration towards Jenko nian-Serbian musicological relations in the as a ‘foreigner and Isidor Bajić as an ‘au- paper How Dragotin Cvetko wrote about thentic’ Serbian composer who was com- Davorin Jenko. Contribution to the Study missioned by the Serbian National Theatre of Slovenian-Serbian Musicological Rela- to compose the music for the same piece in tions during the Period of the FNR Yugo- 1909. slavia. Based on the correspondence be- Anica Sabo (Faculty of Music Arts Bel- tween Dragotin Cvetko and Petar Konjović, grade) discussing Analytical Supports in founder and first director of the Institute of the Process of Studying Davorin Jenko’s Musicology of the SASA, the author care- Opus opens some questions related to sin- fully reconstructed the work of Slovenian gling out certain analytical points that can musicologist and academician Dragotin contribute to a better understanding of this Cvetko on the monograph about Davorin author’s music, and as an analytical sample Jenko, which is still a starting point in Jenko’s concert ouvertire Milan is used. A studying the life and work of this artist. detailed analysis of this orchestral piece is While writting the monograph, Cvetko illustrated by the schemes of the formal closely collaborated with Petar Konjović, structure and tonal plan. The author moves Stana urić-Klajn and other associates of away from the formalist approach to study- the Institute of Musicology. The author ing the phenomenon of the music flow and points out that this was an example of gen- devotes special attention to the manifesta- erous, collegial and friendly support on the tion of the principle of symmetry. part of the Serbian musicologists to their Maja ukanović (Faculty of Philology Slovenian colleague, thus establishing an Belgrade) in the paper Literary Themes in active, very fruitful and successful cooper- Davrorin Jenko’s Compositions writes ation between musicologists from Slovenia about the composer’s inspiration drawn and Serbia till today. from the literary opus of his compatriots, In the second part of the Proceedings: Slovenian poets Simon Jenko, Miroslav Reflections in the Press are presented the Vilhar and France Prešern. After moving to texts by Katarina Tomašević: Davorin Serbia, Jenko began his collaboration with Jenko (1835–1914): ‘Our famous for- leading Serbian poets of that time: ura eigner’. In memory of the composer of the Jakšić and Janko Veselinović, for whose Serbian anthem ‘God of Justice’, marking dramatic texts some of his most popular the centenary of his death, published in works were created (Seoba Srbalja / Mi- Kulturni dodatak (Culture Supplement) of gration of the Serbs, ido). He also found the Politika daily newspaper and Ivana inspiration in the European literary tradi- Vesić (Institute of Musicology of the SASA
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Belgrade) Davorin Jenko (1835–1914): Article received on April 27th 2018 fragments from the life of a famous com- Article accepted on May 16th 2018 poser, published in the Ilustrovana politika UDC: 786.2.083(086.76)(049.32) 785.78.036(086.76)(049.32) weekly magazine. Both texts were pub- lished in 2014, and were included in these Proceedings with the intention of complet- RAdoš MITRovIć*3* ing the picture of the attention paid in Ser- University of Arts in Belgrade bia to marking the centenary of Davorin Faculty of Music Jenko’s death. Department of Musicology In the last segment of the Proceedings under the heading Archival testimonies, a Na a K lun ija, Br h g i representative selection was published Breathing Out: A Little Anthology of from the collection of Jenko’s scores (piano Piano Music (1914–2014), I a a compositions, songs from plays with sing- Mila in i Prica (e , Belgra e ing, piano excerpts from orchestral over- vertical Ja , 2017, 3Cds, 207 tures) and documents (The Testament of ISBN 978-86-86037-17-6 Davorin Jenko) which are kept in the ar- chive of the Institute of Musicology of the SASA Belgrade. Pianist Nada Kolund ija has been tire- In shedding light from different aspects lessly exploring the disparate and diverse on the creativity of a prominent figure from world of music created in a contemporary the Serbian musical past, the Proceedings context for decades. Seeking a specific po- Davorin Jenko (1835–1914). Contributions etic framework that would satisfy her ar- to cultural remembrance represents a sig- tistic requirements, she reveals her own nificant contribution to the expansion of sensibility and aesthetic credo by her the body of knowledge about this versatile choice of program. In that sense, Nada artist. We believe that with its content these Kolund ija manages to build an aura of Proceedings will activate the currently, authenticity already on the primary level rather faded memory of Davorin Jenko in of material selection, which most often terms of new interpretations of his role and moves between a tendency towards spe- importance in our music history and lead to cific, often intimate and extremely sensi- a growing interest in the performance of tive treatment of the instrument, and an his music. examination of new sound and experi- ment. In addition to being inclined towards unique authorial approaches she shows great courage in her own artistic endeavors – instead of reproduction she chooses in- terpretation, i.e. performance. However, although transgression might be a common
* Author contact information: radosh.mitro- [email protected]
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