Anđelko Klobučar Skladbe za orgulje IV / Organ Works IV Sunakladnici / Publishers Katolički bogoslovni fakultet Sveučilišta u Zagrebu Catholic Faculty of Theology of the University of Zagreb Muzička akademija Sveučilišta u Zagrebu Music Academy of the University of Zagreb Za sunakladnike / For the Publishers prof. dr. sc. Mario Cifrak prof. art. Dalibor Cikojević Uredništvo / Editor Board doc. art. Mirta Kudrna prof. mr. art. Miroslav Martinjak izv. prof. art. Pavao Mašić doc. art. Elizabeta Zalović Glavni urednik sveska i redaktor / Chief Editor of the Volume & Music Editor izv. prof. art. Pavao Mašić Notografija / Score Copying izv. prof. art. Pavao Mašić doc. art. Marko Magdalenić Ivan Buljan Karla Tripalo Matija Vučković Prijevod/ Translated by dr. sc. Nenad Polgar Korekcije i prijelom notnog teksta / Music Score Layout & Proofreading Tibor Szirovicza Grafičko oblikovanje i prijelom / Graphic Design and Layout Katolički bogoslovni fakultet Sveučilišta u Zagrebu Catholic Faculty of Theology of the University of Zagreb Lektura / Proofreading doc. art. Jasna Šego Tisak / Printed by Sveučilišna tiskara d.o.o. Tiskanje ovog izdanja omogućilo je Sveučilište u Zagrebu u sklopu kratkoročne Naklada / Print run financijske potpore istraživanja Katoličkoga bogoslovnog fakulteta Sveučilišta u 400 Zagrebu: “Istraživanje, uređivanje i objavljivanje orguljaškog opusa akademika Anđelka Klobučara” uz djelomično financiranje Hrvatske ISMN 979-0-801352-00-2 (svezak / this volume) akademije znanosti i umjetnosti. Katolički bogoslovni fakultet Sveučilišta u Zagrebu Catholic Faculty of Theology of the University of Zagreb The publication of this edition has been assisted by the University of Zagreb as part ISMN 979-0-9005218-5-9 (svezak / this volume) of the short-term financial support of the Catholic Faculty of Theology research Muzička akademija Sveučilišta u Zagrebu project: “Research, editing and printing of the organ works by Anđelko Klobučar, Music Academy of the University of Zagreb the Full Member of the Croatian Academy of Sciences and Arts” which was also co-financed by the Croatian Academy of Sciences and Arts. ISMN 979-0-9005218-9-7 (cjelina / complete series)

CIP zapis je dostupan u računalnome katalogu Zahvaljujemo akademiku Nikši Gligu na vrijednim Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 001016911. savjetima tijekom pripreme ovoga izdanja. A CIP catalogue record for this book is available from the We are grateful to academician Nikša Gligo for his valuable National and University Library in Zagreb under 001016911. advice during the preparation of this edition. Anđelko Klobučar

Skladbe za orgulje Organ Works

Svezak 4 Volume 4

Zagreb, 2018. Sadržaj / Contents

Riječ izdavača ...... V

Predgovor ...... VI

Publisher’s Note ...... XV

Preface ...... XVI

Pièce en mosaïque (1969) ...... 1

Fantazija / Fantasy (1971) ...... 9

Toccata (1971) ...... 15

Skladbe za vjenčanje / Wedding Music (1973) ...... 20

Četiri minijature / Four Miniatures (1974) ...... 24

Dva preludija / Two Preludes (1974 / 1981) ...... 42

Redaktorska bilješka ...... 51

Editor’s Note ...... 54 V

Riječ izdavača

U povodu 85. rođendana maestra Anđelka Klobučara, je imao premalo programa iz glasovira, i stoga je objavljena su tri sveska njegovih skladba za orgulje upisao povijest glazbe. Potom je paralelno upisao i u nakladi Katoličkoga bogoslovnog fakulteta i orgulje i kompoziciju, kod profesora Lučića i Cipre, Muzičke akademije Sveučilišta u Zagrebu. Nastavak budući da su se orgulje mogle upisati kao B-grupa. toga projekta najbolje je moguće priznanje velikom i Svirati počinje za vrijeme srednje škole, kada je, da važnom opusu velikog orguljaša i skladatelja, te izraz bi mogao negdje vježbati, odlazio u crkvu sv. Ivana zahvalnosti velikom umjetniku i čovjeku. u Novoj Vesi, a za uzvrat je morao svirati orgulje na misnim slavljima. Tada su se održavali tihi obredi s Važnu ulogu odigrao je kao urednik glazbenih priloga pratnjom instrumenata, a s obzirom da se moralo u časopisu Sveta Cecilija i kao nastavnik na Institutu improvizirati, tada se vjerojatno pojavio i maestrov za crkvenu glazbu Katoličkoga bogoslovnog fakulteta interes za kompoziciju. Prvi nastup imao je 1952. Sveučilišta u Zagrebu. Kao orguljaš nastupao je u na Majskom festivalu u Zagrebu, gdje je postojala prvostolnoj crkvi u Zagrebu, održavao je samostalne i večer studentskih radova i gdje je odsvirao svoju koncerte te je sudjelovao na priredbama Instituta za Passacagliu za orgulje. Poslije diplome usavršavao se crkvenu glazbu. u interpretaciji kod Antona Nowakowskog (Salzburg, 1960.) i u kompoziciji kod Andréa Joliveta (Pariz 1965./ Glazbom se počeo baviti 1947. godine, a orguljama ga 66.) je, kako sam kaže, „privukao koncert Mladena Stahuljaka u jesen 1945. u katedrali, i njegov koloristički pristup Stvaralački opus Anđelka Klobučara obuhvaća različita orguljanju.“ Kod nas je prije toga bilo mnogo velikih područja, ali njegovo je ime ipak neraskidivo vezano orguljaša, a to nisu samo Franjo Dugan, st. i Franjo Lučić, uz hrvatsku orguljašku tradiciju. Akademik Anđelko nego je gotovo svaka crkva u Zagrebu tada imala svoga Klobučar obilježio je i svojim djelovanjem unaprijedio stalnog orguljaša, u pravilu izvrsnog glazbenika, no, hrvatsku orguljašku školu postavivši nove standarde oni su svi pripadali tzv. tradicijskoj školi. Zvuk njihovih kvalitete u sviranju i u improvizaciji na orguljama. orgulja bio je uvijek jednak, bez specifičnih boja. U to Njegov je doprinos domaćoj orguljaškoj literaturi je doba orgulje već bilo teško učiti i studirati. Godine ogroman, obogatio ju je svojim brojnim, već sada, 1948. bile su i službeno ukinute na srednjoj školi, a ljudi antologijskim djelima. koji su predavali „nisu to više mogli raditi“. Tu se misli na Albu Vidakovića koji tada više nije smio predavati jer je Anđelko Klobučar preminuo je 7. kolovoza 2016., a mi bio regens chori u katedrali, a od 1941., po povratku iz mu kao Fakultet u suradnji s Muzičkom akademijom Rima u Zagreb, bio je profesor na Hrvatskom glazbenom Sveučilišta u Zagrebu želimo novim svescima njegovih konzervatoriju. Predavao je gregorijanski koral i povijest skladbi zahvaliti i odati priznanje. kantate, harmoniju, kontrapunkt i orgulje. Prof. dr. sc. Mario Cifrak Kada je Klobučar 1949. krenuo na studij, orgulje se dekan Katoličkoga bogoslovnog fakulteta nisu mogle upisati ni na Akademiji, za kompoziciju Sveučilišta u Zagrebu VI

Predgovor

Skladatelj, orguljaš i glazbeni pedagog Anđelko Klobučar KRONOLOGIJA (Zagreb, 11. srpnja 1931. – 7. kolovoza 2016.) diplomirao je 1955. g. na Teorijsko-historijskom odsjeku Muzičke 1931. Rođen u Zagrebu 11. srpnja u obitelji Franje i akademije u Zagrebu, a također je pohađao i studij Marije Klobučar kao mlađi brat Berislava, kasnije kompozicije (kod Mila Cipre) i orgulja (kod Franje Lučića). istaknutoga dirigenta koji će dugo godina Usavršavao se u orguljama kod Antona Nowakowskoga u djelovati u Bečkoj državnoj operi. Salzburgu (1959. – 1960.) i skladanju kod Andréa Joliveta 1940. Započinje privatno učiti glasovir kod gđe u Parizu (1965. – 1966.). Do 1958. g. radio je kao srednjo­ Stražnicki. školski nastavnik u Zagrebu, a od 1958. do 1963. g. bio je glazbenim suradnikom u Dubrava filmu u Zagrebu. Od 1968. 1945. Prvi put čuje orgulje u zagrebačkoj katedrali g. djeluje na Muzičkoj akademiji kao nastavnik teorijskih slušajući orguljaša Mladena Stahuljaka. predmeta (izabran je za redovitoga profesora 1983. g.), 1947. Započinje redovito svirati u crkvi sv. Ivana (Nova djelujući istovremeno kao predavač i na Institutu za Ves), gdje utemeljuje muški zbor, te u crkvi sv. crkvenu glazbu Albe Vidaković pri Katoličkom bogoslovnom Obitelji u Zagrebu. fakultetu Sveučilišta u Zagrebu, od 1963. godine, tj. 1947. – 1948. Uči orgulje kod Albe Vidakovića na Srednjoj od osnutka Instituta. Od 1958. do 2004. bio je glavnim glazbenoj školi Državnoga konzervatorija u Zagrebu. orguljašem zagrebačke prvostolnice. Od 1994. do 1998. godine voditeljem je seminara za interpretaciju suvremene 1949. Završio gimnaziju u Zagrebu. glazbe pri Ljetnoj orguljaškoj školi u Šibeniku u kojoj je bio 1949. – 1953. Studira orgulje u klasi Franje Lučića na i direktor Programskoga vijeća. Član je Hrvatskoga društva Muzičkoj akademiji u Zagrebu. skladatelja, Hrvatskoga društva glazbenih umjetnika, Hrvatskoga društva glazbenih teoretičara i redoviti član oko 1950. Pod pseudonimom K. Bučar sklada prve Hrvatske akademije znanosti i umjetnosti. Odlikovan je skladbe – Božićne preludije – nastale kao plod mnogobrojnim nagradama i priznanjima, među ostalima privatne poduke kod Albe Vidakovića, u čijoj su i Odličjem Reda Danice hrvatske s likom Marka Marulića, nakladi i objavljene 1959. g. Vjesnikovom nagradom za glazbu Josip Štolcer Slavenski, 1950. – 1954. Studira kompoziciju u klasi Mila Cipre na Nagradom Vladimir Nazor za životno djelo, Nagradom Muzičkoj akademiji u Zagrebu. Grada Zagreba za mnogostruki doprinos u promicanju djela hrvatskih skladatelja i poticanje skladanja za orgulje, 1952. Javnom izvedbom vlastite Passacaglie za orgulje Nagradom Ivan Lukačić za rad na hrvatskoj glazbenoj u Hrvatskom glazbenom zavodu prvi se put baštini s osobitim obzirom na rekonstrukciju Bajamontijeva predstavlja kao skladatelj. oratorija Prijenos sv. Dujma, Nagradom Porin za poseban 1954. Nakon odlaska Mladena Stahuljaka, na poziv doprinos hrvatskoj glazbenoj kulturi i sličnim priznanjima. Albe Vidakovića, preuzima mjesto orguljaša u Kao jedan od najznačajnijih hrvatskih umjetnika i orguljaša, zagrebačkoj katedrali gdje povremeno svira Klobučar je redovito nastupao solistički i uz orkestar u zemlji orgulje. i inozemstvu (katedrali Westminster u Londonu, katedrali 1955. Diplomira na Historijsko-teorijskom odjelu u St Albansu, katedrali Notre-Dame u Parizu, Bazilici sv. Muzičke akademije u Zagrebu 30. lipnja obranom Marije Anđeoske u Asizu, koncertnim dvoranama u Moskvi, diplomskoga rada Franjo Dugan, život i rad Sankt Petersburgu, Vilniusu, Kijevu, Olivi, Bratislavi). Velik (mentor Josip Andreis). broj koncerata održao je na povijesnim orguljama diljem Hrvatske oživljujući pritom hrvatsku glazbenu baštinu, a 1956. – 1958. Djeluje kao srednjoškolski nastavnik pred hrvatskom je publikom predstavio prvi put i veći dio glazbenoga odgoja u Zagrebu. orguljskog opusa Oliviera Messiaena. Klobučarov opsežan 1958. – 1963. Djeluje kao glazbeni suradnik opus obuhvaća simfonijsku, koncertantnu, komornu, Dubravafilma u Zagrebu. vokalnu i vokalno-instrumentalnu glazbu, a važan dio pripada filmskoj i crkvenoj glazbi. Tvorac je sedamdesetak 1958. Postaje glavni orguljaš zagrebačke katedrale. skladba za orgulje u kojima su one tretirane solistički, 1959. – 1960. Usavršava se kod orguljaša Antona koncertantno ili kao komorni instrument čime je bitno Nowakowskoga na Ljetnoj orguljskoj akademiji u obogatio repertoar hrvatske glazbe za orgulje. Salzburgu. VII

1963. – 1968. Djeluje kao profesor teorijskih predmeta u 1986. Ciklus od tri koncerta s djelima Oliviera Messiaena­ Muzičkoj školi Blagoje Bersa u Zagrebu. u franjevačkoj crkvi na Kaptolu u Zagrebu (11. – 25. svibnja), povodom skladateljeva 78. rođendana. 1963. – 2000. Djeluje kao profesor na Institutu za crkvenu glazbu u Zagrebu gdje predaje kolegije Fuga, 1988. – 1992. Član suradnik Razreda za glazbenu Osnove polifone kompozicije i Improvizacija. umjetnost i muzikologiju Hrvatske akademije znanosti i umjetnosti. 1965. – 1966. Usavršava se kod skladatelja Andréa Joliveta u Parizu. 1989. Dobitnik je Nagrade „Vladimir Nazor“ za Partitu ‘Ad Pavlinos’ za orgulje i za izvedbu skladbe La Nativité 1968. – 2001. Djeluje na Muzičkoj akademiji u du Seigneur Oliviera Messiaena. Zagrebu od 1968. u zvanju docenta, od 1977. u zvanju izvanrednog profesora, od 1983. u 1991. Dobitnik je Nagrade „Ivan Lukačić“ za koncert zvanju redovnoga profesora. U zvanje profesora francuske barokne glazbe na Varaždinskim emeritusa izabran 2012. g. Predaje kolegije baroknim večerima. Glazbeni oblici i stilovi, Polifonija i Solfeggio. 1992. Redoviti član Hrvatske akademije znanosti i 1969. Urednik glazbenoga priloga u Svetoj Ceciliji, umjetnosti. časopisu za crkvenu glazbu do 1978. g. 1994. Voditelj seminara za interpretaciju suvremene 1970. Cjelovečernji koncert skladbi J. S. Bacha u orguljske glazbe (do 1998.) u okviru Orguljaške koncertnoj dvorani P. I. Čajkovskoga u Moskvi. ljetne škole u Šibeniku, čiji je ujedno i programski ravnatelj od 1999. do 2008. 1970. Dobitnik Nagrade „Milka Trnina“ za koncertantnu djelatnost. 1995. Dobitnik Nagrade „Vladimir Nazor“ za životno djelo. 1973. Koncertna gostovanja u Westminsterskoj katedrali u Londonu, katedrali u St Albansu i Velikoj 1995. – 2001. Zajedno s Miroslavom Martinjakom koncertnoj dvorani Lenjingradske filharmonije. uređuje glazbeni prilog u Svetoj Ceciliji, časopisu za crkvenu glazbu. 1974. Praizvedba Koncerta za orgulje Memento Stjepana Šuleka u Koncertnoj dvorani Vatroslava Lisinskoga 1996. Dobitnik odlikovanja Reda Danice hrvatske s likom u Zagrebu. Marka Marulića za zasluge u kulturi. 1975. Snimio prvu u nizu gramofonskih ploča sa solisti­ 1997. Dobitnik Nagrade Grada Zagreba za mnogostruki čkim repertoarom za orgulje. doprinos glazbenoj umjetnosti, posebno promicanju djela hrvatskih skladatelja i poticanju 1976. Praizvedba skladbe Per aspera ad astra za orgulje skladanja za orgulje. i veliki simfonijski orkestar Borisa Papandopula u Koncertnoj dvorani Vatroslava Lisinskoga 1999. Dobitnik Nagrade „Ivan Lukačić“ za rad na u Zagrebu, povodom 70. rođendana Borisa hrvatskoj glazbenoj baštini: rekonstrukciji Papandopula. oratorija Prijenos sv. Dujma Julija Bajamontija. 1978. Koncertno gostovanje u katedrali Notre-Dame u 2001. Dobitnik Nagrade „Porin“ za najbolju skladbu Parizu s repertoarom skladbi hrvatskih skladatelja. klasične glazbe (za solo ili manji sastav) – Koncert za orgulje i timpane. 1980. Pročelnik Odjela za kompoziciju i glazbenu teoriju na Muzičkoj akademiji u Zagrebu do 1993. g. i 2002. Dobitnik Nagrade „Porin“ za životno djelo. ponovo u razdoblju od 1995. do 2000. g. 2011. Dobitnik Nagrade „Lovro pl. Matačić“ za životno 1982. Koncertno gostovanje u Bazilici Svete Marije djelo. Anđeoske u Asizu, gdje izvodi Pjesmu stvorova sv. 2012. Dobitnik Nagrade „Porin“ za najbolju skladbu Franje Asiškoga. klasične glazbe – Muzika za orgulje i orkestar. 1984. Dobitnik Nagrade „Josip Štolcer Slavenski“ 2015. Dobitnik Nagrade „Porin“ za najbolju skladbu za Koncert za orgulje i orkestar. klasične glazbe – Hommage à Bach. 1985. Glazbeni urednik Hrvatske liturgijske pjesmarice 2016. Preminuo u Zagrebu 7. kolovoza. Pjevajte Gospodinu pjesmu novu. VIII

i obrazovni put kao važne formativne elemente skladateljeve osobnosti. Izuzev najranije poduke orgulja koju je primio od Albe Vidakovića (istaknutoga crkvenoga glazbenika, skladatelja, muzikologa i orguljaša, utemeljitelja Instituta za crkvenu glazbu), Klobučar – po vlastitim riječima – najveći utjecaj na odluku da se posveti orguljama pripisuje Mladenu Stahuljaku, jednomu od orguljaša zagrebačke katedrale u vremenu nakon Drugoga svjetskoga rata. Stahuljak je kao predstavnik lajpciške škole (studirao je u klasi Günthera Ramina, tadanjega orguljaša crkve sv. Tome u Leipzigu) predstavio tadanjoj zagrebačkoj sredini novi, koloristički pristup u oblikovanju orguljskoga zvuka, što je Klobučaru bilo iznimno atraktivno obilježje orguljskoga muziciranja, za razliku od koncepta zasićenoga orguljskoga zvuka temeljena na fundamentalnim 8’ registrima kakvim se služio Franjo Dugan, tadanji glavni katedralni orguljaš. Stahuljakov kolorizam s jedne strane i, s druge strane, klasični pristup koji se temelji na kontrapunktnom Anđelko Klobučar – prilog slogu i jasnim tradicionalnim formama, kakav je u svojim skladbama zastupao Vidaković (nekadanji đak biografiji Papinskoga instituta za crkvenu glazbu u Rimu), imaju se promatrati kao dva važna obilježja koja će Anđelko Iako je u hrvatskoj orguljskoj glazbi broj skladba nastalih Klobučar usvojiti i zastupati u svojemu budućem u 20. stoljeću (pogotovo nakon 1945. g.) razmjerno stvaralaštvu. velik, upravo se opus Anđelka Klobučara svojom opsežnošću i kakvoćom izdvaja u veću i vrjedniju cjelinu. Nakon Drugoga svjetskoga rata započinje teško Takvo što i ne iznenađuje budući da je riječ o odličnu razdoblje za crkvene glazbenike i orguljaše: Dugan i orguljašu, improvizatoru i skladatelju čija je glazbenička Stahuljak prestaju djelovati u zagrebačkoj katedrali praksa bila neraskidivo vezana za orgulje zagrebačke zbog političkih prilika, a zbog istih su razloga katedrale, važan instrument u opusu njemačkoga koncerti koje Klobučar prati kao slušatelj uglavnom graditelja Eberharda Friedricha Walckera (sagrađene anonimni jer, osim najavljenih termina održavanja i 1855. g.). Ove orgulje, ujedno i najveće na prostoru repertoara, ime izvođača u pravilu ostaje nepoznato. Hrvatske, bile su trajnom inspiracijom skladatelju, čijem Tek se koncem pedesetih godina 20. stoljeća otvaraju orguljskomu opusu uistinu pripada središnje mjesto mogućnosti za odlazak u inozemstvo: godine u hrvatskoj orguljskoj glazbi. Pritom valja naglasiti 1959. Klobučar odlazi na usavršavanje u Salzburg kako bi određivanje Klobučara isključivo kao orguljaša njemačkomu orguljašu Antonu Nowakowskomu i skladatelja orguljske glazbe – kakvo je još i danas u (profesoru orgulja u Pragu i Stuttgartu, nekadanjemu velikoj mjeri prisutno – bilo pogrješno pa bi umanjivalo učeniku Karla Straubea i tada vrlo cijenjenu interpretu vrijednost i učinke njegova širokoga djelovanja kao skladba J. S. Bacha i suvremenih njemačkih skladatelja) skladatelja orkestralne, komorne, solističke i filmske s kojim proučava orguljske opuse J. S. Bacha, D. glazbe, koncertantnoga orguljaša i improvizatora, Buxtehudea i J. Pachelbela. Snažan utjecaj na Klobučara glazbenoga pedagoga i pisca te crkvenoga glazbenika. ostavlja i studijski boravak u Parizu 1965./66. g. u klasi Preneseno u brojčane pokazatelje, Klobučarev opus Andréa Joliveta gdje dolazi u doticaj sa suvremenom zasad ima zabilježene 232 skladbe uz još 120 naslova francuskom orguljskom glazbom i njezinim važnim filmske glazbe te još neutvrđen, ali pozamašan, broj predstavnicima poput Oliviera Messiaena i drugih. liturgijskih skladba. Upravo će u francuskoj orguljaškoj tradiciji i orguljskoj improvizaciji, kao njezinoj temeljnoj disciplini, Klobučar Prije pomnijega komentara Klobučareva orguljskoga pronaći nadahnuće za daljnje usmjerenje svojega opusa, potrebno je ukratko se osvrnuti na njegovu skladateljskoga djelovanja. To je ponajprije vidljivo koncertantnu djelatnost, repertoarne sklonosti u njegovim vlastitim kompozicijama za orgulje, a IX

još više u odabiru repertoara s kojim se Klobučar jezika: „Njegov izbor svojevrsni je kompromis u pogledu predstavlja diljem Europe i država tadanjega SSSR-a, u izbora kompozicijsko-tehničkih postupaka, na razmeđi kojemu, pored njegovih vlastitih kompozicija, najčešće hindemitovskih kvartnih akorada i proširenog tonaliteta, prevladavaju djela J. S. Bacha i francuskih skladatelja i francuske težnje ka homofonom tkivu i kolorističkom Césara Francka, Jehana Alaina, Jeana Langlaisa, Oliviera tretmanu orgulja.“ Klobučarev skladateljski jezik, premda Messiaena i Marcela Dupréa. Uz neprestanu brigu oko iznimno bogat disonancom, proizlazi iz vlastite mu izvođenja skladba za orgulje suvremenih hrvatskih orguljaške prakse, pa će se tako u skladbama za orgulje, skladatelja, valja istaknuti i trajno bavljenje orguljskim u tehničko-interpretativnom pogledu, uvijek pronaći opusom Oliviera Messiaena čiji je „autentični tumač „svirljivi“ modeli i muzičke figure jasno izvedene iz i promicatelj“ u Hrvatskoj upravo Klobučar. Tako je osobite tonske i tehničke prirode samih orgulja, kao 1986. g. Klobučar održao tri koncerta – u svega 15 dana instrumenta. Kako je Nikša Gligo već ranije ustvrdio, – na kojima je izveo najveći dio Messiaenova opusa: Klobučareva se „glazba poigrava s novoklasicizmom L’Ascension (Uzašašće), Les Corps glorieux (Slavna tijela), kao, zapravo, maglovitim stilskim određenjem, a da mu Livre d’orgue (Knjiga za orgulje), Messe de la Pentecôte se nikada ne priljubljuje“ (citat iz programske knjižice (Duhovska misa) i Meditations sur le Mystère de la Sainte autorskoga albuma Anđelka Klobučara, Cantus, 2011., Trinité (Meditacije o misteriju Presvetoga Trojstva). str. 10). Izvornost i svježina Klobučareva skladateljskoga Prema Klobučarevim riječima, upravo mu je Messiaenov nerva izrazito je prisutna tijekom čitava opusa za orgulje, ciklus La Nativité du Seigneur (Rođenje Gospodinovo) očitujući se u izboru tradicionalnih postupaka poput bio među najomiljenijim skladbama u repertoaru koji motivskoga rada i jasne formalne preglednosti (uz svjesno je redovito izvodio, a svoje bavljenje Messiaenovom izbjegavanje dodekafonije i aleatorike) u kombinaciji glazbom zaokružio je 1991. g. cjelovitom izvedbom s istraživanjem zvukovnoga potencijala instrumenta opsežna ciklusa Livre du Saint Sacrement (Knjiga u čemu je možda najvažnije oslobađanje boje zvuka i Presvetog Sakramenta). kolorizam (pod utjecajem francuske orguljske škole, ali i orguljaša Mladena Stahuljaka). Upravo je koloristički Klobučarev opus za orgulje – work in tretman orgulja osnovna razlika između tradicionalnoga progress shvaćanja zasićena i homogena orguljskoga zvuka kakvim Ukoliko bi trebalo u kraćim crtama naznačiti neke su određeni opusi hrvatskih skladatelja do Klobučara osnovne elemente Klobučareva orguljskoga opusa, (Dugan, Vidaković, Odak, Kolb) i Klobučareva vrlo osobna valjalo bi najprije poći od problema glazbenoga viđenja orguljskoga zvuka koji se u nekim slučajevima teksta. Kako su mnoge autorove skladbe nastale iz ostvaruje i komponiranjem zvuka (Klangkomposition). čina improvizacije, tekst ponekad nije uređen do posljednjega detalja, katkad je riječ o improvizacijama Promatrajući opsežan Klobučarev opus za orgulje solo više-manje fiksiranima u zapis, pogotovo u koji navodimo u zasad potpunu popisu, uočavamo da kompozicijama koje je skladatelj sam izvodio. Naravno, postoje brojni primjeri tzv. apsolutne glazbe koji slijede kad su skladbe nastale po narudžbi drugih interpreta tradicionalni trostavačni model s rasporedom stavaka: ili ih je skladatelj izričito posvetio kojem izvođaču, tada brzi – polagani – brzi (Triptychon, Prva i Druga sonata, je tekst potpuno uređen. Isto je tako i sa skladbama Preludij, interludij i postludij, Hommage à Cecchini, potom koje su bile pripremane za tisak, uglavnom u autorovoj tri minijature povezane u ciklus pod nazivom Intrada, vlastitoj nakladi. Pitanje izbora registara, koji nisu uvijek pastorala i toccata, kao i niz drugih skladba oblikovanih detaljno specificirani, u konačnici je odnos skladateljevih po principu triptiha); trostavačni model u tek dva slučaja uputa i interpretovih želja te mogućnosti instrumenta zamijenjen je dvostavačnim kako to pokazuje diptih na kojemu se skladba izvodi. Pritom, u idealnom smislu, Fantazija i toccata (pri čemu su oba stavka, na razini valja imati na umu bogati zvukovni spektar orgulja mikroforme, opet oblikovani trodijelno) te skladba zagrebačke katedrale kao Klobučareva instrumenta Cantabile i scherzo. Trostavačna forma postupno se par excellence, ali i skladateljevu prilagodljivost u razvija u jedinstveni stavak duljega opsega, primjerice u osobnom tumačenju klasičnih, većinom tradicionalnih skladbama Vitrail, Treća sonata, Musica festiva, Hommage registracijskih rješenja. à Bach i Collage, bilo da je riječ o još uvijek prepoznatljivoj trodijelnosti ili pak tendenciji ka skladanju nizanjem uvijek Odličan pregled Klobučareva stvaralaštva za orgulje nove građe. do 1989. g. prva je ostvarila Hana Breko u svojemu diplomskom radu na Muzičkoj akademiji (Zagreb, 1993.), Druga skupina skladba uglavnom obuhvaća djela ponudivši toliko potrebnu odrednicu skladateljeva nastala narudžbom pojedinih interpreta ili je kakva X

prigoda, odnosno izvanglazbeni sadržaj, bila poticajem kontinuumu kakva pruža upravo ta karakteristično njihovu nastanku. Tu je ponajprije riječ o višestavačnim orguljska forma. ciklusima suitnoga tipa među kojima se izdvajaju Pjesma stvorova, monumentalna suita u devet stavaka i ujedno Klobučareva najopsežnija orguljska skladba, i Partita ‘Ad O izdanju Pavlinos’ na napjeve Pavlinske pjesmarice. U oba se ciklusa Ovo je izdanje nastalo u zajedničkome projektu Muzičke vješto kombiniraju skladatelju svojstveni kompozicijsko- akademije i Instituta za crkvenu glazbu, ostvarenom tehnički postupci, jasno sačuvani i u okviru nešto pod pokroviteljstvom Sveučilišta u Zagrebu, gdje je popularnijega glazbenoga jezika. Zanimljivo, u izrazu Anđelko Klobučar djelovao kao redoviti profesor, a od „popularnijim“ nije riječ ni o kakvu Klobučarevu 2012. g. kao profesor emeritus. U posljednje je vrijeme uzmicanju od vlastitih skladateljskih postupaka, zanimanje za Klobučarevim (orguljskim) opusom sve već ponajviše u naglašenoj melodioznosti, upotrebi veće, pogotovo kad je riječ o sređivanju dostupne modalnosti i donekle tonskom slikanju čime glazba građe i njezinu publiciranju. Tako je nakladnička kuća postaje dostupnija široj publici. U prigodničarskim Cantus 2011. g. objavila presjek skladateljeva opusa na skladbama, dakako, zamjećujemo česte melodijske autorskomu albumu, a 2014. g. i novo notno izdanje citate, reference na liturgijske melodije i gregorijanske Pjesme stvorova. Također, 2014. g. u izdanju Croatie napjeve, ali i upotrebu glazbenoga kriptograma, tehnike Records izišao je i dvostruki nosač zvuka s izborom transformiranja slovne abecede u glazbenu abecedu, Klobučarevih orguljskih skladba, Hrvatska akademija praksu kakvu susrećemo u orguljskim djelima Oliviera znanosti i umjetnosti objavila je partituru Muzike Messiaena i Mauricea Durufléa. za orgulje i orkestar, a Klobučarev opus sve je više predmetom istraživanja i na sveučilišnoj razini. Posebna skupinu skladba čine zbirke kraćih skladba u obliku minijatura i preludija, kao i zasebne skladbe toga U pripremi ovoga izdanja služili smo se svim dostupnim žanra koje svoju vrijednost nalaze u praktičnoj upotrebi izvorima: sačuvanim skladateljevim rukopisima i snimkama, tijekom liturgijskih obreda te u koncertnom vidu. Njima prijepisima drugih izvođača, tiskanim izdanjima u kontrastiraju skladbe velikoga formata koncipirane skladateljevoj vlastitoj nakladi, a važan uvid pružila nam je i u cjelovitom luku – prva Passacaglia iz 1952. i druga zbirka izabranih skladba za orgulje u nakladi Kora prvostolne Passacaglia iz 1988. godine. Usporednim sagledavanjem crkve zagrebačke, 2001. godine. Uz posebno dvojbena ovih dviju skladba na najbolji se način ocrtava prijeđeni mjesta ostavljen je komentar u Redaktorskoj bilješki. Na put u skladateljskom razvoju Anđelka Klobučara: ne koncu, valja istaknuti kako je ovo notno izdanje još jedan samo glede emancipacije disonance (intervala sekunde, korak u detaljnijemu proučavanju Klobučareva opusa, koji kvarte i septime, kao autoru omiljenih intervala), već i u svojom kvalitetom i opsežnošću to i zaslužuje. svojevrsnoj emancipaciji orguljskoga zvuka u glazbenom Pavao Mašić XI

Skladbe u ovome svesku

Pièce en mosaïque (1969.) jednostavačno je Poseban ugođaj stvaraju završni taktovi Fantazije u djelo kolažne forme protkane improvizacijskom kojima solistički registar oboe razvija motiv srodan gestom. Nastanak ovog, dosad neobjavljenog djela, B-A-C-H motivu, ali i Alainovim motivima podrijetlom najvjerojatnije je povezan s koncertnim nastupom iz orijentalne tradicije, pri čemu se korespondiranje švedskog orguljaša Karla-Erika Welina u okviru petog s francuskom glazbom ne iscrpljuje samo u motivici, Muzičkog bienalla Zagreb održanim u zagrebačkoj nego i u registraciji, koja počiva na upotrebi čak tri katedrali 12. svibnja 1969. koji je djelo tom prigodom specifično „francuska“ jezična solo-registra: Cromorne, praizveo. Prilično mirni uvodni i završni dio obilježeni Voix humaine i Hautbois. I dok je u Fantaziji interval srodnim ritamskim motivom uokviruju središnja tri sekunde skladatelju poslužio u gradnji vertikalnih odsjeka u kojima skladatelj razvija gotovo perkusivnu struktura nastalih njegovim superponiranjem (vidi t. narav orguljskog zvuka. U njima primjećujemo odjeke 1-3, 42-44), Toccata će svoju „tokatnost“ temeljiti prije sviračkih gesta prisutnih u Prvoj i Drugoj sonati, kao svega na njegovoj vehementnoj repeticiji. Motoričnost i potpuno odustajanje od metra, a inzistiranje na osnovnog motiva koji se zasniva na repeticiji intervala „komponiranju zvuka i šuma“ ovdje je posebno velike sekunde tako je poslužio za gradnju središnjeg uočljivo u središnjem dijelu skladbe u kojemu odsjeka skercoznog karaktera, kojega uokviruju uvodni skladatelj interval sekunde koristi podjednako u i zaključni odsjek što se temelje na izdržanim i glasnim dionici manuala i pedala. Taj nemir perkusivne prirode akordima. Iako atonalitetna, Toccata u svojim završnim (skladatelj donekle zahtijeva registraciju s jezičnjacima) taktovima pokazuje usmjerenost na ton d kao svojevrsno eskalira u pretposljednjem odsjeku u vidu klastera središte, što je tek izbor nužan za stvaranje osjećaja na manualima, te, posebice, sve gušće geste njihova završne geste stavka: rezultat je moćna gradacija tremola, potpomognutih klasterom u pedalu. Iako je ostvarena stalnim crescendom, u zaključnim taktovima tradicionalna notacija zadržana, vidljiva je skladateljeva potpomognuta povratkom repeticijskog motiva koji upućenost na klastere jasno razdvojene na one na crnim preuzima inicijativu s ciljem stvaranja klimaktičnog i na bijelim tipkama. Dojam „neodgovorenog pitanja“ završetka. kojim skladba završava reflektira se i u njezinome zapisu (vidi Redaktorsku bilješku), pa mnogi interpretativni Skladbe za vjenčanje, objavljene kao glazbeni prilog detalji ostaju izvođačeva zadaća za konačno definiranje. časopisu Sveta Cecilija, XLIII, 1973, br. 2, obuhvaćaju Oslonac u tom procesu donekle može biti podatak da skladateljev originalni doprinos liturgijskoj glazbi za je djelo (pra)izvedeno uz antologijske skladbe Györgyja obred sakramenta vjenčanja. Poznato je kako je upravo Ligetija i Johna Cagea nastalih upravo šezdesetih godina na tom području nestašica odgovarajućeg repertoara 20. stoljeća. s jedne strane, te nekritičko korištenje općenitih, ali i, u liturgijskome smislu, posve neodgovarajućih skladbi Fantazija i toccata (1971.) izvedene su već 1972. rezultiralo određenom stihijom i proizvoljnošću izbora g. u dva navrata, u dvorani Hrvatskoga glazbenog glazbenih sadržaja tijekom obreda vjenčanja. Namjera zavoda i u zagrebačkoj katedrali; preko dvadeset je skladatelja (kao i tadašnjeg uredništva časopisa) dokumentiranih Klobučarevih izvedbi u Hrvatskoj bila ponuditi odgovarajuću glazbenu potporu slavlju i inozemstvu potvrđuje privlačnost ovog diptiha, obreda vjenčanja, pa je za te potrebe Klobučar skladao ubrajajući ga među najizvođenija skladateljeva djela. glazbu za sve dijelove obreda na liturgijski odgovarajuće Iako u osnovi trodijelna, Fantazija je tip jednostavačne, tekstove, a za sastav troglasnog ženskog zbora uz kolažno oblikovane skladbe (uzore donekle možemo pratnju orgulja manualiter. Činjenica da je skladatelj pronaći kod Jehana Alaina, čiju je Prvu i Drugu fantaziju upotrebu pedala naznačio tek na jednom mjestu (u Klobučar imao na svojemu repertoaru). Premda sažetijih izdržanim tonovima kadence Pričesne pjesme), svjedoči proporcija od sličnih Klobučarevih radova, Fantazija ne o namjeni ovih (tehnički manje zahtjevnih) skladbi tada propušta ozvučiti mnoge raznorodne ideje kojima su prosječnom crkvenom orguljašu. Ovdje su uvršteni ishodište tri disonantna intervala: sekunda (nona), kvarta uvodni i završni stavci ciklusa namijenjeni orguljama i septima; njihove vertikalne manifestacije skladatelju su solo, Intrada i Finale, kao primjeri tehnički manje poslužile za porast intenziteta u središnjem, virtuoznom zahtjevnih kompozicija bez upotrebe pedala, što ne bi dijelu, ali i za melodijske obrise lirskog Larghetta koji trebalo priječiti tehnički sposobnije orguljaše da im, po se temelje na sukcesivnom nizanju ovih intervala. uzoru na princip naveden u predgovoru drugom svesku XII

Klobučarevih Skladbi za orgulje (vidi Anđelko Klobučar: svojom teksturom ne korespondira mnogo raznovrsnijim Skladbe za orgulje, svezak drugi, str. XII), dodaju zasebnu izrazom prožetim ostalim trima stavcima. Kao najvažnije dionicu. Uostalom, takav princip poslužio je i sâmome obilježje Ariosa svakako je kanonska provedba melodije skladatelju prilikom skladanja dviju verzija Partite u izdržanim tonovima, čiji nastup uokviruju analogne Ad Pavlinos: jedne verzije za povijesne instrumente uvodne i završne misli. Početna ideja trodijelne Groteske bez pedala, te druge verzije za suvremene, velike odlikuje se ritamskom pulsacijom i zaigranošću kakve orgulje s pedalnom klavijaturom potpunoga opsega. gige, koja u središnjem dijelu poprima uistinu groteskne Funkcionalnost glazbe u prvome je planu: tako u Intradi obrise transformacijom početnog homogenog osminskog orguljaš u dionici lijeve ruke osigurava dostojanstven motiva u karakteristični skercozni motiv (t. 45), te je ritam hoda prilikom ulazne procesije mladenaca, dok kulminacija čitavoga stavka ostavljena za završne je u Finalu – čija osnovna motivska figuracija u dionici taktove nad trilerom u pedalu. Posljednji u nizu, Ostinato, desne ruke neodoljivo podsjeća na potpisnu melodiju također je trodijelne forme, pri čemu je tek prvi dio čuvene Toccate u F-duru iz Pete simfonije, op. 42, br. 1 građen principom ostinata što se razlaže kroz četiri takta Charlesa-Marie Widora – skladatelj predvidio rješenje u u pedalnoj dionici. Postepenim proširenjem ostinatne vidu oznake Da Capo ad libitum za slučajeve kada izlazak formule (t. 17-20) skladatelj odustaje od ostinata u korist svatovske povorke iz crkve traje nešto dulje. mnogo dramatičnijeg sadržaja, dok završni dio privid ostinata postiže tek u ritamskom smislu – „monotonija“ je Četiri minijature (1974.), sačuvane u skladateljevu sadržana u repetitivnoj pratnji koja ugođajno ne narušava rukopisu i njegovoj snimci iz 1982. g. na orguljama mir solističke melodije u pedalnoj dionici. zadarske katedrale (objavljenoj na gramofonskoj ploči Anđelko Klobučar u izdanju Jugotona) jedan su od Dva preludija (1974. / 1981.) dimenzijama predstavljaju istaknutijih primjera disparatnosti između skladateljeva nešto veće skladbe od preludija iz 1997. g. okupljenih zapisa i skladateljeve izvedbe. O tome je već pisala u drugom svesku. Oba počivaju na dvama kontrastnim Hana Breko u svome radu o skladateljevu orguljskom motivima, prvom svečanijem i drugom pokretljivijem, opusu, ponudivši jednu od mogućih verzija dovršenog gotovo tokatnom. Zanimljivo je kako je prvi od njih djela kao ciklusa od četiri minijature. Za potrebe ovoga na gramofonskoj ploči iz 1982. dijelom ciklusa Četiri izdanja odlučili smo se na ponešto drugačiji izbor i minijature te preimenovan u Intradu; riječ je o ranijoj poredak stavaka (opširnije o tome vidi u Redaktorskoj verziji toga preludija, kojega smo za potrebe ovoga bilješci), iako bi u konačnici jedno od rješenja moglo biti i izdanja uvrstili u njegovoj kasnijoj, nešto duljoj verziji izvođenje pojedinačnih stavaka izvan cjelovitoga ciklusa. kakva je, uostalom, objavljena u glazbenom prilogu Trodijelnost Intrade podcrtana je u zvukovnom smislu Svete Cecilije, LI, 1981, br. 4 (vidi Redaktorsku bilješku). odustajanjem od pedala u njezinu središnjem dijelu, a Pavao Mašić XIII

Riječ skladatelja

Ja s glazbom živim. Ne razmišljam o tome što ću napisati i kako, hoću li za života skladati deset skladbi ili ne, kao što to neki sebi zacrtaju. Ja sam stvarno počeo skladati jer sam počeo svirati. Ja redovito sviram. I sve što sam zapisao, zapisao sam da se podsjetim tijekom sviranja. Obilježje mojih skladbi jest formalna preglednost... Jer glazba je stvar koja mora imati svoj početak i kraj, svoj način razmišljanja. Bez forme se ne može. Vrijeme u glazbi? Ne znam. Kod mene sve proizlazi iz moje glazbe. Sloboda u metričkom izmjenjivanju dvodobne i trodobne mjere možda proizlazi iz prirodnog slijeda. Ne bih rekao da je gregorijanski koral svemu kriv, više se radi o utjecaju Francuza, možda Messiaena najviše. Kod mene to proizlazi iz tako jednog prirodnog pulsa. Taktna crta uvijek sugerira uokvirivanje u određene ritmičke formule. Ja nisam uopće mislio na način clustera. Ne znam. Cluster je sam po sebi jedna ploha koja je statična, a moje su konstrukcije malo pokretnije, prozračnije... Za mene su orgulje više koloristički instrument, kako ih uostalom i Francuzi koriste, a ne kao kod Nijemaca (npr. Hindemitha ili Nepomuka Davida) koji su skloni polifonim oblicima i čvrstim formama. Hana Breko: Kompozicijsko-tehničke značajke skladbi za orgulje Anđelka Klobučara, diplomski rad, Zagreb, 1993.

Ono što je zapravo sve preokrenulo je, kad sam negdje u rujnu 1945. slušao Mladena Stahuljaka na orguljama. Za taj sam koncert slučajno saznao, jer je on tada jedini imao oglašeni koncert. To je bilo ono doba, nakon 1945. i nisu se smjeli javno oglašavati koncerti u crkvama. Stahuljak je bio prozvan „suradnikom okupatora“, jer je bio na studiju u Leipzigu, na studiju kod Günthera Ramina, ondašnjega kantora i orguljaša crkve sv. Tome, pa je, po povratku, izgubio pravo na normalni rad. Svirao je u kavani i katedrali, to mu, naravno, nije teklo u staž. Sve do negdje 1950. uopće nije imao građanska prava. No, zašto to govorim: tada sam ga slušao i uvidio da je on jedini koristio registre kao boje, čisto koloristički, jer se do tada, se sve sviralo „sivo“, to je bila takva škola... Kolander, Dugan. Sve crkve su imale orgulje, no pitanje je u kakvom su stanju bile. Mislim da su se neke od njih danas malo poboljšale, jer jedno je vrijeme neutralni zvuk dominirao. No, to nije ničija krivica, nego je to bilo jednostavno stoga što su mnoge orgulje bile tomu prilagođene. Primjer je za to crkva sv. Marka u Zagrebu. U njoj su orgulje, kad su se u 19. stoljeću postavljale, bile čak interesantnije po zvuku nego kasnije. Kasnije se to sve nekako niveliralo, čak nije bilo više miksture, nego su stavili kornet kao kombinaciju miksture i jezičnjaka. Tako da su tada svugdje više zvučale jednako, kao harmonije i forte, ali od boja nije bilo ništa. Stahuljak je prvi postavio „osam“ i „dvostopni“ ili čisti jezičnjak neopterećen s ostalim registrima: čisto koloristički. Eva Kirchmayer-Bilić: Svake orgulje imaju svoju priču, Hrvatsko slovo, 3. prosinca 2010. XIV

Popis orguljskih skladba Anđelka Klobučara

Orgulje solo 1. Božićni preludiji (oko 1950.) 46. Partita za orgulje (2005.) 2. Passacaglia (1952.) 47. Fantazija na napjev Zarana on je ko preteča Kristu (2007.) 3. Toccata (1959.) * 48. Hommage à BACH (2012.) 4. Pet preludija (1963.) * 49. Preludij, canzona i finale (2013.) 5. Suita alleluiatica (1964.) 50. Toccata (2013.) 6. Triptychon (1965.) 51. Fantazija (2014.) 7. Prva sonata (1966.) 52. Varijacije (2014.) 8. Druga sonata (1968.) 53. Drugi triptih (2015.) 9. Pièce en mosaïque (1969.) 54. Usred svoda nebeskoga, preludij (2015.) 10. Fantazija i toccata (1971.) 11. Skladbe za vjenčanje – Intrada i Finale (1973.) 12. Četiri minijature / Pet stavaka (1974.) Orguljski duo 13. Dva preludija (1974. / 1981.) 55. Intrada, canzona i ricercare za orguljski duo (2009.) 14. Freske (1974.) * 56. Balada za orguljski duo (2009.) 15. Hommage à Cecchini (1976.) 57. Božićni triptih (2012.) 16. Preludij, interludij i postludij (1976.) 17. Zdrava o Maria, koralna predigra (1977.) 18. Epithalam (1977.) Orgulje u komornom sastavu 19. Musica festiva (1980.) 58. Canzona za rog i orgulje (1968.) 20. Treća sonata (1981.) 59. Sonata za rog i orgulje (1970.) 21. Pjesma stvorova (1981.) 60. Diptih za rog i orgulje (1982.) 22. Suita (1984.) 61. Arioso i allegro za rog i orgulje (1990.) 23. Koralna fantazija (1984.) * 62. Arioso e allegro za alt-trombon i orgulje (1990.) 24. Vitrail (1986.) 63. Kvintet za orgulje i gudački kvartet (1995.) 25. Jubilatio (1987.) * 64. Scherzo za orgulje i sopran (1996.) 26. Concertino za orgulje, gudače i timpane (1987.), 65. Koncert za orgulje i timpane (1997.) obrada za orgulje solo 66. Trio za violinu, rog i orgulje (1999.) 27. Passacaglia (1988.) 67. Andante za violinu i orgulje (1999.) 28. Offrande à Marie (1988.) 68. Suita za trubu i orgulje (2009.) 29. Partita Ad Pavlinos na napjeve Pavlinske pjesmarice (1989.) 30. Intrada, pastorala i toccata (1994.) Orgulje i orkestar 31. Božićne minijature (1995.) 69. Koncert za orgulje i simfonijski orkestar (1983.) 32. Intrada, arioso e toccata na himnu Sv. Dujma (1995.) 70. Muzika za orgulje i simfonijski orkestar (1987.) 33. Collage (1995.) 71. Concertino za orgulje, gudače i timpane (1987.) 34. Finale (1995.) 35. Cantabile e scherzo (1996.) 36. Preludij (1996.) 37. Preludiji (1997.) 38. Minijature (1998.) 39. Partita na napjev Uskrsnu Isus doista (1998.) 40. Intrada, arioso i toccata na napjev Divici Mariji (1998.) 41. Postludij (1998.) 42. Rondo (1999.) 43. Koncert za orgulje solo (2001.) 44. Triptih B-A-C-H (2004.) 45. Toccata i fuga Danijel Drilo (2005.) *Skladbe koje se zasad smatraju izgubljenima. XV

Publisher’s Note

On occasion of the 85th birthday of Anđelko Klobučar, he did not follow enough programme in piano to three volumes of his organ music have been published study composition, he enrolled in the History of Music as a joint project by the Catholic Faculty of Theology Department. Since at that time one could enroll in and the Music Academy of the University of Zagreb. organ as a minor study programme (B-group), Klobučar The continuation of this project is the best possible started studying organ and composition under recognition to Klobučar’s great and important creative professors Lučić and Cipra. He began to play organ output for the organ, and an expression of our gratitude already during his secondary school education, when, to this great artist. He had an important role as an editor in order to have a place where he could practice, he of the Music Supplement in Sveta Cecilija, the journal for went to St. John’s Church in Nova Ves in Zagreb, where church music, as well as a professor at the Institute for in return he had to play organ at Mass celebrations. At Church Music Albe Vidaković of the Catholic Faculty of that time Low Mass rituals were accompanied by organ Theology at the University of Zagreb. As an organist, he and since one needed to improvise a lot, Klobučar’s played in the Zagreb Cathedral, performed many concerts interest in composition probably originated already and participated in performances of the Institute for then. He gave his first soloist performance in 1952 at Church Music. The May Festival where among music students’ works he premiered Passacaglia, his first organ work. After His music career started in 1947 when he was attracted to graduating from Zagreb University he pursued further organ, as he explained, “by hearing a concert of Mladen studies in organ interpretation with Anton Nowakowski Stahuljak and his colouristic approach to playing organ in (Salzburg, 1960) and in composition with André Jolivet Zagreb Cathedral in the autumn of 1945“. Prior to Stahuljak, (Paris 1965/66). there were many great organists beside Franjo Dugan, Sr. and Franjo Lučić, and almost every church in Zagreb had Anđelko Klobučar’s creative output contains works from its own titular organist and they were mostly excellent many different areas, but his name is mostly associated musicians. However, they all belonged to the so-called with the Croatian organ tradition. Through his work, traditional school in terms of organ registration, i. e. their Klobučar improved Croatian organ school by setting concept of organ sound was always the same and without new standards of quality in playing and improvisation on any specific colours. In those years it was becoming difficult organ. His contribution to the Croatian organ repertoire to learn and study organ; in 1948 the organ education is enormous; he enriched it with works that are today in music school was officially abolished and organists considered anthological. who taught organ “could not do this anymore”. Klobučar probably had in mind Albe Vidaković who was not allowed Anđelko Klobučar passed away on August 7, 2016 to teach organ anymore, mainly because of his activity and with these new volumes of his organ works, the as regens chori of the Zagreb Cathedral. Since 1941, upon Faculty in cooperation with the Music Academy of the his return from Rome to Zagreb, Vidaković worked as a University of Zagreb, want to express their gratitude professor at the Croatian Music Conservatory, where he and recognition to this important figure of Croatian taught the Gregorian chant, history of cantata, harmony, organ scene. counterpoint, and organ. Prof. Mario Cifrak, PhD In 1949, when Klobučar began his studies, one could The Dean of the Catholic Faculty of Theology not study organ even at the Music Academy. Since of the University of Zagreb XVI

Preface

Composer, organist and music pedagogue, Anđelko CHRONOLOGY Klobučar (Zagreb, July 11, 1931 – August 7, 2016) graduated in 1955 from the Music Theory and History 1931 Born in Zagreb on July 11, in the family of Franjo and Department of the Zagreb Music Academy, where he Marija Klobučar as the younger brother of Berislav, later also studied composition with Milo Cipra and organ with on a distinguished conductor in Vienna’s State Opera. Franjo Lučić. He continued his professional development 1940 Began taking piano lessons with Mrs. Stražnicki. in organ with Anton Nowakowski in Salzburg from 1945 Heard the organ for the first time in Zagreb 1959 to 1960, and in composition with André Jolivet in Cathedral, played by the organist Mladen Stahuljak. Paris in 1965 and 1966. Until 1958 he worked as a music school teacher in Zagreb, and from 1958 to 1963 he was 1947 Began playing regularly in the Holy Family Church in a music associate for Dubrava-Film Studio in Zagreb. He Zagreb, and in St. John’s Church (Nova Ves), where has taught at the Albe Vidaković Church Music Institute he also founded a male choir. at the University of Zagreb Catholic Faculty of Theology 1947 - 1948 Studied organ with Albe Vidaković at the State since its foundation in 1963, and since 1968 he has been Conservatory in Zagreb. professor at the Music Academy (elected Full Professor in 1949 Graduated from high school in Zagreb. 1983). From 1958 to 2004 he was the principal organist of the Zagreb Cathedral. From 1994 to 1998 he taught 1949 - 1953 Studied organ in the class of Franjo Lučić at the contemporary music at the Organ Summer School in Zagreb Music Academy. Šibenik, where he was also the director of the Programme c. 1950 Composed his very first organ pieces – Christmas Board. He is a member of the Croatian Composers’ Preludes – under the pseudonym K. Bučar, as a direct Society, Croatian Musicians’ Society, Croatian Association result of private lessons with Albe Vidaković, who of Music Theorists and the Croatian Academy of Science published them in 1959. and Arts. He has been honoured by numerous awards 1950 - 1954 Studied composition in the class of Milo Cipra and recognitions such as the Medal of the Order of Danica at the Zagreb Music Academy. Hrvatska with the Image of Marko Marulić, Vjesnik music award Josip Štolcer Slavenski, the Vladimir Nazor Award 1952 Presented himself publicly for the first time for lifetime achievement, the Award of the City of Zagreb as a composer with a performance of his own Passacaglia for organ at the Croatian Music Institute for the promotion of works of Croatian composers and in Zagreb. the incentive for organ compositions, the Ivan Lukačić Award for his work on the reconstruction of the oratorio 1954 After the departure of Mladen Stahuljak and upon The Translation of St. Domnius by Julije Bajamonti, the the invitation of Albe Vidaković, accepted the post Porin Award for a special contribution to Croatian of organist at the Zagreb Cathedral, where he music culture. As one of the most important Croatian occasionally played the organ. artists and organists, Klobučar regularly performed as a 1955 Graduated from the Music Theory and History soloist as well as with orchestras in Croatia and abroad Department of the Zagreb Music Academy on June (Westminster Cathedral in London, Notre-Dame de Paris, 30, by defending his thesis: Franjo Dugan: Life and Basilica di Santa Maria degli Angeli in Asissi, St Albans Work (under the mentorship of Josip Andreis). Cathedral, concert halls in Moscow, Saint Petersburg, 1956 - 1958 Worked as high school music teacher in Vilnius, Kiev, Oliva, Bratislava). On numerous occasions Zagreb. he performed recitals on historical organs across Croatia, promoting thus also the Croatian music heritage. In his 1958 - 1963 Worked as a music associate of Dubrava Film repertoire special place is occupied by Olivier Messiaen’s Studio in Zagreb. organ music which he presented to Croatian audiences 1958 Became the principal organist of the Zagreb for the first time. Klobučar’s works include orchestral, Cathedral. concertante, chamber, vocal and vocal-instrumental 1959 - 1960 Further organ studies with the organist Anton music, with significant contributions to film music and Nowakowski at the Organ Summer Academy in church music. His creative output for organ includes more Salzburg. than 70 different works which significantly enrich Croatian organ music literature. XVII

1963 - 1968 Worked as a music theory teacher at the 1986 Performed three recitals of Olivier Messiaen’s Blagoje Bersa Music School in Zagreb. organ works on the occasion of the composer’s 78th birthday in the Franciscan Church on Kaptol in 1963 - 2000 Worked as a professor at the Institute for Zagreb (May 11-25). Church Music in Zagreb, where he taught the following courses: Fugue, Basics of Polyphonic 1988 - 1992 A member-associate of the Department of Composition and Improvisation. Music and Musicology of the Yugoslavian Academy of Sciences and Arts. 1965 - 1966 Further composition studies with André Jolivet in Paris. 1989 Received the Vladimir Nazor Award for his Partita Ad Pavlinos for organ and for a performance of 1968 - 2001 Worked at the Zagreb Music Academy the composition La Nativité du Seigneur by Olivier from 1968 as an Assistant Professor, from 1977 Messiaen. as an Associate Professor, and from 1983 as a Full Professor. Received the status of Professor Emeritus 1991 Received the Ivan Lukačić Award for the organ in 2012. He taught the following courses: Musical recital of French Baroque music at Varaždin Baroque Forms and Styles, Counterpoint, and Solfeggio. Evenings Festival. 1969 Became the editor of the Music Supplement in Sveta 1992 Full member of the Croatian Academy of Sciences Cecilija, the journal for church music. He held that and Arts. post until 1978. 1994 Taught interpretation of contemporary organ music 1970 Performed a recital of J. S. Bach’s organ works in the at the Organ Summer School in Šibenik (until 1998), P. I. Tchaikovsky’s Concert Hall in Moscow. where he was also Programme Director from 1999 until 2008. 1970 Received the Milka Trnina Award for his concert activity. 1995 Received the Vladimir Nazor Award for lifetime achievement. 1973 Concert performances in Westminster Cathedral in London, St Albans Cathedral and in the Leningrad 1995 - 2001 Editor of the Music Supplement in Sveta Philharmonics’ Great Concert Hall. Cecilija, the journal for church music, together with Miroslav Martinjak. 1974 Premiered Memento, organ concerto by Stjepan Šulek in the Vatroslav Lisinski Concert Hall in Zagreb. 1996 Received the Medal of Order of Danica Hrvatska with the Image of Marko Marulić for his overall 1975 Recorded the first LP with solo repertoire for organ. contribution to culture. Complete discography includes more than 20 recordings. 1997 Received the City of Zagreb Award of for his rich contribution to music, especially for promoting 1976 Premiered Per aspera ad astra, for organ and a works of Croatian composers and encouraging symphony orchestra by Boris Papandopulo in the composing for organ. Vatroslav Lisinski Concert Hall in Zagreb on the occasion of the 70th birthday of Boris Papandopulo. 1999 Received the Ivan Lukačić Award for his work on the reconstruction of the oratorio The Translation of St. 1978 Performed a recital in the Notre-Dame Cathedral in Domnius by Julije Bajamonti. Paris with repertoire entirely made of Croatian organ works. 2001 Received the Porin Award for the best piece of classical music (for a solo instrument or for a smaller 1980 The Head of the Composition and Music Theory chamber group): Concerto for Organ and Timpani. Department at the Zagreb Music Academy until 1993 and again in the period from 1995 until 2000. 2002 Received the Porin Award for lifetime achievement. 1982 Organ recital at the Basilica of St. Mary of the Angels 2011 Received the Lovro pl. Matačić Award for lifetime in Assisi, where he performed his own organ cycle achievement. The Canticle of Creatures of St. Francis of Assisi. 2012 Received the Porin Award for the best composition 1984 Received Josip Štolcer Slavenski Award for his of classical music: Music for Organ and Orchestra. Concerto for Organ and Orchestra. 2015 Received the Porin Award for the best composition 1985 Music editor of the Croatian liturgical songbook of classical music: Hommage à Bach. Pjevajte Gospodinu pjesmu novu (Sing a New Song to 2016 Died in Zagreb on August 7. the Lord). XVIII

and music education, all important formative elements of the composer’s personality. Apart from the earliest organ lessons he received from Albe Vidaković (a distinguished church musician, composer, musicologist, and organist, as well as the founder of the Institute for Church Music in Zagreb), Klobučar’s decision to dedicate himself to the organ was mostly influenced by Mladen Stahuljak, one of the organists of the Zagreb Cathedral in the period after the Second World War. As a representative of the Leipzig school (where he studied in the class of Günther Ramin, who at the time was the organist of the St. Thomas Church in Leipzig), Stahuljak presented to Zagreb’s audience of that time a new, colouristic approach to the organ. For Klobučar, that represented a very attractive trait of organ playing, as opposed to the then prevailing concept of a neutrally saturated organ sound based on fundamental 8-foot stops used by Franjo Dugan, the principal cathedral organist. Both Stahuljak’s colourism and a classical approach based on counterpoint and clear traditional forms – as represented by Vidaković Anđelko Klobučar (former student of the Pontifical Institute for Church Music in Rome) – should be perceived as two important – a Biographical Sketch characteristics that Anđelko Klobučar adopted and followed in his future work as composer. Although Croatian organ music of the 20th century is fairly rich (especially after 1945), it is precisely Anđelko After the Second World War, there was a hard period Klobučar’s organ output that stands out with its scope for Croatian church musicians and organists: Dugan and quality, thus constituting a larger and a more and Stahuljak stopped playing at the Zagreb Cathedral significant whole. Anđelko Klobučar’s musical practice because of the political situation, and for the same was tightly linked to the great organ of the Zagreb reason most of the concerts that Klobučar attended as Cathedral, an important instrument by a German pipe a listener were anonymous. Apart from the announced organ builder Eberhard Friedrich Walcker, built in 1855. date and the concert program, the name of a performer This instrument, being the largest in Croatia, remained remained, as a rule, unknown. Only towards the end a continuous inspiration for the composer, whose of the 1950s was there a possibility to go abroad: in organ works truly have a central place in Croatian 1959 Klobučar focused on further organ studies in organ music. However, it needs to be pointed out that Salzburg with German organist Anton Nowakowski to define Klobučar exclusively as an organist and a (organ professor in Prague and Stuttgart, and a former composer of organ music – which is still largely the student of Karl Straube, as well as a very distinguished case even today – would be a great mistake that would interpreter of J. S. Bach and contemporary German diminish the significance and results of his broader composers), with whom he studied organ works of work as a composer of orchestral, chamber, solo, J. S. Bach, D. Buxtehude, and J. Pachelbel. Another and film music, as a concert organist and improviser, important part of his education included a one-year a music pedagogue, a music writer, and a church residency in the composition class of André Jolivet musician. Expressed in numbers, Klobučar’s complete in 1965/66 in Paris, where he came into contact with works count 232 pieces, with an additional 120 titles contemporary French organ music and its distinguished of film music, and still undetermined (although fairly representatives such as Olivier Messiaen. It was precisely large) number of liturgical compositions. the French organ tradition, and organ improvisation as its fundamental feature, that became the inspiration for Before proceeding to a more detailed commentary on the future direction of Klobučar’s compositional work. Klobučar’s organ music, a few remarks should be made This is evident not only in his own organ works, but also concerning his concert activities, concert repertoire, in the selection of repertoire that Klobučar performed XIX

throughout Europe and the USSR. In this repertoire compromise in terms of selection of compositional one can notice that, next to his own compositions, techniques, between Hindemithian quartal harmonies Klobučar mostly performed works of J. S. Bach and and extended tonality on one side, and the French French composers: César Franck, Jehan Alain, Jean striving for homophonic tissue and colouristic treatment Langlais, Olivier Messiaen, and Marcel Dupré. Apart of the organ”. Although extremely rich in dissonance, from the continuous effort to perform organ works of Klobučar’s language comes from his own organ contemporary Croatian composers, it has to be pointed performing practice, which means that in his organ out that Klobučar was also continuously engaged with works one will always find, in the technical-interpretative the organ works of Olivier Messiaen, whose “authentic view, “playable” models and musical figures that are interpreter and propagator” in Croatia was precisely clearly drawn from the specific aural and technical him; for instance, in 1986 in a period of only 15 days, nature of the organ. As previously claimed by Nikša Klobučar performed three recitals where he performed Gligo, Klobučar’s music “plays with neo­classicism as a large number of Messiaen’s works: L’Ascension, Les a hazy stylistic disposition, never fully adhering to it“ Corps glorieux, Livre d’orgue, Messe de la Pentecôte and (quotation from the CD booklet with music by Anđelko Méditations sur le Mystère de la Sainte Trinité. According Klobučar, Cantus, 2011, p. 10). Originality and freshness to his own words, Klobučar considered Messiaen’s cycle of Klobučar’s compositional ideas are thus present La Nativité du Seigneur to be his favourite composition during his whole organ output. Important features of his and performed it regularly. Finally, it was Klobučar who language include traditional procedures such as motivic premiered another Messiaen’s large-scale work, Livre du development and clear articulation of musical form Saint Sacrement, in Croatia in 1991. (coupled with conscious renouncement of twelve-tone techniques and aleatoric procedures) in combination with explorations of the organ sound potential; this Klobučar’s Organ Works – Work in latter principle is probably the most important, as it Progress results in liberation of sound and colour (under the A common issue in Klobučar’s organ works is the issue influence of the French organ school, but also that of reliability of musical notation. Since many of his of the organist Mladen Stahuljak). It is precisely the compositions originated through an act of improvisation, colouristic treatment of organ that is the basic difference their notation is sometimes not defined to the last between the traditional understanding of saturated detail. Indeed, in several pieces, especially those that the and homogenous organ sound that determined organ author used to perform himself, one often recognizes works of Croatian composers prior to Klobučar (Dugan, improvisations that are loosely fixed in notation. On the Vidaković, Odak, Kolb) and Klobučar’s very individual contrary, in compositions that originated because of a approach to organ sound that in some cases results in commission, or because the author specifically dedicated the composing with pure sound (Klangkomposition). them to a performer, the text is defined in detail. Of course, same approach is evident in the compositions Analysing Klobučar’s voluminous output for organ solo that were carefully prepared for publication. Another (listed below), one can notice clear examples of absolute important issue is the question of the choice of stops music that follow the traditional three-part model with that are not always specified; the final answer is, in the the following scheme of movements: fast – slow – fast end, a result of the composer’s scarce guidelines, the (Triptychon, First and Second Sonata, Prelude, Interlude interpreter’s wishes, and the capabilities of the instrument and Postlude, Hommage à Cecchini, three miniatures that at performer’s disposal. Ideally, one should keep in mind were linked into a short cycle entitled Intrada, Pastorale the rich sound spectrum of the great organ of Zagreb and Toccata, as well as a number of other compositions Cathedral, Klobučar’s instrument par excellence, keeping that follow tripartite structure). In only two cases do we always in mind the composer’s willingness to remain encounter the two-movement type: in the Fantasy and flexible in individual interpretations of classical, mostly Toccata (however, on the micro level, each movement is traditional solutions in terms of organ registration. again formed in three sections), and in a later example Cantabile and Scherzo. The three-movement form will An excellent overview of Klobučar’s organ works gradually evolve into a single movement, as is the case composed until 1989 was first made by Hana Breko in with compositions Vitrail, Third Sonata, Musica Festiva, her Bachelor’s thesis at the Zagreb Music Academy in Hommage à Bach, and Collage, sometimes retaining a 1993. It was she who offered a much needed definition recognisable tripartite form, and other times as a single of the composer’s language: “His choice is a certain through-composed whole. XX

The second group of organ works consists mostly of but directed more towards building sound textures and pieces that were commissioned by a performer or for sound masses (with focus on different timbres). a special occasion. This primarily refers to pieces in forms of suites, among which two works stand out: The Canticle of the Creatures, a monumental suite in 9 To the Edition movements and Klobučar’s magnum opus, and Partita This edition is the result of a joint project of the Zagreb Ad Pavlinos, composed on melodies from the Songbook Music Academy and the Institute for Church Music. It of the Pauline Order. Both cycles skilfully preserve the has been carried out with the support of the University composer’s individual compositional technique within of Zagreb, where Anđelko Klobučar worked as Full the frame of a more popular musical language. While Professor and, since 2012, as Professor Emeritus. There staying true to his own compositional characteristics, has been an increased interest in editing and publishing he made the music more accessible to wider audiences Klobučar’s works lately. In 2011 the publisher Cantus through emphasised melodic gestures, the use of has published a recording with a selection of the modality so characteristic of folk tunes, and, to a certain author’s chamber and orchestral works. In 2014 Cantus extent, tonal painting. In the compositions written for a published the score of The Canticle of Creatures, while specific occasion, Klobučar often uses melodic citations Croatia Records published a double CD with selected with references to liturgical melodies and Gregorian organ works. Additionally, the Croatian Academy of chant. Occasional use of music cryptogram deserves Sciences and Arts has published the score of Music special mention; it is a technique of transformation of for Organ and Orchestra, while Klobučar’s works are the letters of the alphabet to the musical alphabet, a gradually becoming a subject of interest in academic practice encountered in organ works of Olivier Messiaen research. and Maurice Duruflé. In the preparation of this edition we have used all Another group of organ works consists of short pieces, preserved manuscripts by the composer or other miniatures and preludes, whose value consists of performers, as well as editions that were published at practical use during liturgy, as well as in the concert. the composer’s own expense; we have also profited These short forms are contrasted by large-scale pieces immensely by consulting the collection of selected organ composed in one single arch – the first Passacaglia from works that has been published by the Choir of Zagreb 1952 and the second one from 1988. By putting these Cathedral in 2001 and composer’s own recordings. A two passacaglias side by side, one clearly notices the special problem emerges with different versions of development of Anđelko Klobučar as a composer: not the same piece, as well as with alternative readings of only in terms of the emancipation of dissonance (interval individual bars. In particularly dubious places a comment of a second, a fourth and a seventh as his favourite was added in Editor’s Note. Finally, this edition presents a intervals), but also in terms of the emancipation of the valuable and long overdue documentation of Klobučar’s organ sound. Especially in Passacaglia from 1988, one creative output, which – by its scope, quality and can notice how the treatment of the melody, harmony importance – clearly deserves our attention. and rhythm is not used so much in conventional sense, Pavao Mašić XXI

Music in this Volume

Pièce en mosaïque (1969), previously unpublished seventh. The composer used their vertical manifestations work composed in a single movement, exhibits features to increase intensity in the central, virtuoso part; similarly, of an improvisation. The origin of this piece is most melodic ideas of lyrical Larghetto are based on successive probably related to the concert performance of Swedish sequences of these intervals. The final bars bring out organist Karl-Erik Welin who premiered it in the Zagreb very special atmosphere in which Oboe 8’ develops a Cathedral on May 12, 1969 at the 5th Music Biennale motive similar to B-A-C-H motive, but also related to Zagreb. Fairly calm introduction and concluding part, Alain’s motives that originate from the Oriental tradition. both characterized by a similar rhythmic motive, set The correspondence with French music is, however, not the frame for the central three sections in which the exhausted in similarity of motives, but equally extends composer develops organ sound with somewhat to registration that includes the use of three specifically percussive nature. In these three central parts one can “French” reed stops: Cromorne, Voix humaine, and notice musical gestures like those present in the First and Hautbois. And while in Fantasy the composer used Second Sonata, as well as the complete abandonment of the interval of second to build vertical structures that meter, while the insistence on “composing with sound emerged through its superposition (see b. 1-3, 42-44), and noise” is especially evident in the central section of Toccata will base its “toccateness” primarily on vehement the piece where composer uses the interval of second repetition of the same interval. The potential of the equally in manual and pedal parts. This turmoil of main motive (based on the repetition of interval of major percussive nature – in terms of registration, the composer second) has been used for the central scherzo-like part, demands reed stops – escalates in the penultimate that is placed between the introductory and concluding section where composer uses clusters on manuals and parts, both finding their expression in sustained and gradually thickens them by using tremolo gestures, rich chords. Although atonal, Toccata shows in its final underlining them with pedal clusters. Although he bars tendency towards the tone d as its centre, which preserves traditional notation, one can clearly notice the is a necessary choice for creating an impression of the composer’s familiarity with clusters clearly divided into final gesture of the movement: the result is a powerful those on white and black keys, respectively. The piece conclusion, realized through the continuous crescendo ends with impression of “unanswered question” which is and supported, in the final bars, by the return to repetition also reflected in its notation (see Editor’s Note). That way, motive that reemerges with the purpose of creating a it is clearly performer’s task to define many interpretative climactic ending. details. In exploring these performance decisions, it can be helpful to remember that for its premiere, Pièce en Wedding Music was published as a music supplement in mosaïque was performed together with anthological the church music journal Sveta Cecilija, XLIII, 1973, no. 2 works by György Ligeti and John Cage, which were and includes composer’s original contribution to liturgical composed in the sixties. music for the ceremony of the sacrament of marriage. It is fairly known that the lack of appropriate repertoire in Fantasy and Toccata (1971) were performed already in this area of liturgy, as well as the uncritical use of pieces 1972 on two occasions: in the Croatian Music Institute that are in liturgical sense completely inappropriate, led Great Hall and in the Zagreb Cathedral. Over 20 to certain arbitrariness in the selection of musical pieces documented performances by the author, both in Croatia for the celebration of this sacrament. The intention of the and abroad, confirm attractiveness of this diptych and composer (and the editorial board of the journal at that make it one of the composer’s most performed organ time) was to offer appropriate musical accompaniment works. Although it basically consists of three parts, to the celebration of the sacrament of marriage and to Fantasy is an example of single movement composed this end Klobučar composed music for all parts of the in the collage form (model for which we could find wedding ceremony by using appropriate liturgical texts. among organ works of Jehan Alain, whose First and The vocal pieces are composed for a three-voiced female Second Fantasy Klobučar often performed in his recitals). choir, accompanied by organ manualiter. The fact that the Although Fantasy has more concise proportions in composer indicated the use of pedal in only one instance comparison with similar Klobučar’s pieces, it nevertheless (in sustained notes of the final bars in Communion Song) shows rich display of various musical ideas that emerge witnesses that these, technically less demanding pieces from three dissonant intervals: second (ninth), fourth, and were intended for an average church organist. For this XXII

edition we included two pieces from Wedding Music, The Intrada’s tripartite form is clearly underlined by the introductory and concluding movements intended for absence of pedal in its central part. Meanwhile, it must organ solo, Intrada and Finale, both being examples of be pointed out that this movement hardly corresponds technically less demanding pieces without the use of to much richer texture that permeates other three pedal. However, this should not prevent technically more movements. The most important characteristic of Arioso is capable organists to add an additional pedal part by certainly its canonic development of melody in sustained following the principle indicated in the foreword to the notes, whose appearance is surrounded by introductory second volume of Klobučar’s Organ Works (see Anđelko and concluding musical ideas. The initial idea of the Klobučar: Organ Works, volume two, p. XXIII). As a matter tripartite Grotesque is characterised by rhythmic pulsation of fact, the composer used this principle himself when and playfulness of a giga, while its central part manifests he composed two versions of Partita Ad Pavlinos: one truly grotesque contours through the transformation of version for historical instruments without pedalboard and the initial homogenous eight note motive into scherzo- another version for contemporary, large organ with pedal like motive (b. 45). Finally, the culmination of the whole keyboard of full range. In Wedding Music functionality movement is preserved for the final bars in the shape of of music is of utmost importance: hence, in Intrada the trill gesture in the pedal. The last movement, Ostinato, organist assures the dignified walking pace during the also has the tripartite form, but only the first part is entry procession with the chords in the left-hand part, built with the use of ostinato technique, presented with while in the concluding Finale basic figuration in the right- four bars long ostinato in the pedal part. Through a hand part discreetly reminds of the signature motive of gradual expansion of the ostinato formula (b. 17-20), the Charles-Marie Widor’s renowned Toccata in F-major from composer eventually abandons ostinato in favour of a the Fifth Symphony, op. 42, no. 1. Equally functional is much more dramatic ideas, while the final part achieves Klobučar’s suggestion to add the sign Da capo ad libitum the semblance of ostinato only through its rhythmic for those occasions when the exit of marriage procession nature – “monotony” is contained in the repetitive from the church takes more time. accompaniment that does not disturb the peaceful character of the melodic idea in the pedal part. Four Miniatures (1974) were preserved in the composer´s manuscript and on the LP he recorded in 1982 at the Two Preludes (1974 / 1981) are, in terms of their organ of Zadar Cathedral (published on the LP album dimensions, somewhat larger compositions than the Anđelko Klobučar by Jugoton). These pieces serve preludes from 1997, published in the second volume. as examples of evident disparity between author’s They both develop two contrast motives; the first notation and his own performance, which presents an more ceremonial and the second more toccata-like. It insurmountable task in terms of their preparation for is interesting to note that an earlier version of the first publishing. This has already been elaborated by Hana prelude can be found on Klobučar’s LP album recorded Breko in her work on the composer’s organ music, where in 1982, where it serves as the first movement of the she proposed one among many possible versions of this previously mentioned cycle Four Miniatures, curiously cycle composed of four miniatures. For the purposes of renamed as Intrada. In current volume we included this edition, we opted for a somewhat different selection its later version that has been published as a music and order of movements (for more detailed discussion, supplement in the church music journal Sveta Cecilija, LI, see Editor’s Note), although separate performance of 1981, no. 4 (see Editor’s Note) the individual movements might be equally possible. Pavao Mašić XXIII

Composer in His Own Words

I live with music. I do not think about what I will write and how I will write it; will I manage to compose ten compositions during my life or not, as some composers set their goals. I really started to compose because I started to play. I play regularly. And everything that I have written, I have written just to remind myself of it during playing. The feature of my compositions is their formal clarity... Because music is a thing that needs its beginning and its end, its own way of thinking. One cannot do without the form. Time in music? I do not know. With me, everything comes from my music. Freedom in the metric alterations of duple and triple meter perhaps comes from a natural flow. I would not claim that the Gregorical chant is to be blamed for everything;­ it is more the influence of the French, perhaps Messiaen’s more than anyone else’s. For me all this springs forth from one very natural pulse. The barline always suggests a framing into certain rhythmic formulas. I never actually thought in terms of cluster. I do not know. A cluster is in itself just a static plane, while my constructions are livelier and transparent…For me, organ is more of a colouristic instrument, which is also the way the French use them, and not as Germans do (for instance, Hindemith or Nepomuk David), who are more prone to polyphonic and strict forms. Hana Breko: Compositional-Technical Characteristics of Anđelko Klobučar’s Organ Works, Bachelor thesis, Zagreb, 1993

What actually started the whole thing is when I had a chance to listen to Mladen Stahuljak playing the organ in September, 1945. I found out about his concert only accidentally, because he was the only one at that moment who had an announced concert. That was that time after 1945 when one could not publicly announce a concert that was going to take place in a church. Stahuljak was denounced as one who “cooperates with the occupier”, because he studied in Leipzig with Günther Ramin, the cantor and the organist of the Church of St. Thomas at the time, which is why Stahuljak lost his civil rights after he returned home. He played in coffee shops and in the Cathedral and, of course, none of that counted as official work. Up until sometime around 1950 he did not have any civil rights. But, why am I saying this: I have listen to him then and I realised that he was the only one who used organ stops as colours, in a purely colouristic way, because until then everything was performed in the ”gray” way, it was a certain school of playing…Kolander, Dugan. All churches had organs, but the main issue was in what kind of condition were these instruments. I think some of these have been repaired in the meantime, because for a time the neutral sound dominated. But, this was not anyone’s fault; it was simply the fact that many organs were built that way. An example of this is St. Mark’s Church in Zagreb. There, the organ has been built in the 19th century, but its sound was more interesting at that time than after later modifications. All of this was somehow rendered flat later on, there were no Mixture, but instead the Cornet was set as some kind of a combination of Mixture and reed stop. So, the organ sounded almost the same everywhere, as harmonium and forte, but there was no colour at all. Stahuljak was the first who set “eight-foot” and “two- foot” together or single reed stop, unburdened by other stops: purely colouristic. Eva Kirchmayer-Bilić: Every Organ Has Its Story, Hrvatsko slovo, December 3, 2010 XXIV

List of Organ Works by Anđelko Klobučar

Organ Solo 44. B-A-C-H Triptych (2004) 1. Christmas Preludes (c1950) 45. Toccata & Fugue on „Danijel Drilo“ (2005) 2. Passacaglia (1952) 46. Partita (2005) 3. Toccata (1959) * 47. Fantasy on Hymn Zarana on je ko preteča Kristu 4. Five Preludes (1963) * (2007) 5. Suita alleluiatica (1964) 48. Hommage à BACH (2012) 6. Triptychon (1965) 49. Prelude, Canzona & Finale (2013) 7. The First Sonata (1966) 50. Toccata (2013) 8. The Second Sonata (1968) 51. Fantasy (2014) 9. Pièce en mosaïque (1969) 52. Variations (2014) 10. Fantasy & Toccata (1971) 53. The Second Triptych (2015) 11. Wedding Music – Intrada & Finale (1973) 54. Prelude on Hymn Usred svoda nebeskoga (2015) 12. Four Miniatures / Five Pieces (1974) 13. Two Preludes (1974/1981) 14. Frescoes (1974) * Organ Duo (Four Hands) 15. Hommage à Cecchini (1976) 55. Intrada, Canzona & Ricercare (2009) 16. Prelude, Interlude & Postlude (1976) 56. Ballade (2009) 17. Zdrava o Maria, chorale prelude (1977) 57. Christmas Triptych (2012) 18. Epithalam (1977) 19. Musica Festiva (1980) 20. The Third Sonata (1981) Chamber Music with Organ 21. The Canticle of the Creatures (1981) 58. Canzona for French Horn & Organ (1968) 22. Suite (1984) 59. Sonata for French Horn & Organ (1970) 23. Choral Fantasy (1984) * 60. Diptych for French Horn & Organ (1982) 24. Vitrail (1986) 61. Arioso & Allegro for French Horn & Organ (1990) 25. Jubilatio (1987) * 62. Arioso e Allegro for Alt-Trombone & Organ (1990) 26. Concertino for Organ, Strings and Timpani (1987), 63. Quintet for Organ and String Quartet (1995) version for organ solo 64. Scherzo for Organ & Soprano (1996) 27. Passacaglia (1988) 65. Concerto for Organ and Timpani (1997) 28. Offrande à Marie (1988) 66. Trio for Organ, French Horn & Violin (1999) 29. Partita Ad Pavlinos (1989) 67. Andante for Violin & Organ (1999) 30. Intrada, Pastorale & Toccata (1994) 68. Suite for Trumpet & Organ (2009) 31. Christmas Miniatures (1995) 32. Intrada, Arioso e Toccata on the Hymn of St. Domnius (1995) Organ & Orchestra 33. Collage (1995) 69. Concerto for Organ & Symphony Orchestra (1983) 34. Finale (1995) 70. Music for Organ & Orchestra (1987) 35. Cantabile e Scherzo (1996) 71. Concertino for Organ, Strings and Timpani (1987) 36. Prelude (1996) 37. Preludes (1997) 38. Miniatures (1998) 39. Partita on Croatian Easter Hymn Uskrsnu Isus doista (1998) 40. Intrada, Arioso & Toccata on Divici Mariji (1998) 41. Postlude (1998) 42. Rondo (1999) 43. Concerto for organ solo (2001) * Compositions presumed lost