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Chandos Records Ltd, at the Above Address CHAN 10267 Front.qxd 7/2/07 12:43 pm Page 1 CHANDOS CHAN 10267 H CHAN 10267 BOOK.qxd 7/2/07 12:49 pm Page 2 Ljubica Maric´ (1909–2003) Byzantine Concerto* 25:09 For piano and orchestra 1 1 Sound and Ringing. Preludium quasi una toccata – 11:02 2 2 In Darkness and Glimmering. Aria – 5:14 3 3 Roaring and Glaring. Allegro 8:54 4 Threshold of Dream 8:51 Cantata for soprano, alto, narrator and chamber orchestra Jovan Milic´evic´ narrator 5 Ostinato Super Thema Octoïcha† 6:41 For piano, harp and string orchestra Josip Pikelj harp 6 Songs of Space‡ 28:11 Cantata for mixed choir and symphony orchestra TT 69:12 Dragoslava Nikolic´ soprano and alto Olga Jovanovic´ piano* Ljubica Maric´ piano† Belgrade Philharmonic Orchestra* Radio-Television Belgrade Chamber Orchestra Ljubica Mari´c Oskar Danon Radio-Television Belgrade Mixed Choir ‡ Radio-Television Belgrade Symphony Orchestra‡ Mladen Jagusˇt‡ 3 CHAN 10267 BOOK.qxd 7/2/07 12:49 pm Page 4 music circles and brought Mari´c her earliest she was to spend the next few years Mari´c: Byzantine Concerto and other works international success. In 1933, the Wind conducting in Prague with the Radio Quintet was selected by the ISCM board for Symphonic Orchestra, and in Belgrade. In the festival in Amsterdam: Mari´c was the 1936, she began studying composition under Ljubica Mari´c, the most prominent figure in the these views on to his student in an effort to youngest composer to participate in the Alois Hába in the Department for Quarter- history of contemporary Serbian music, was a stimulate her talent. Mari´c completed her festival and won the first serious recognition Tone Music at Prague Conservatory. The non- unique, creative spirit of our times; her broad education in Belgrade in 1929 with her for her music: thematic approach, one of the most musical, philosophical and humane ideas Sonata fantasia for solo violin, which she The Wind Quintet by Ljubica Mari´c was one of the important compositional principles of that extend far beyond the confines of musical performed herself, becoming the first graduate most interesting and certainly one of the soundest composer, took root in Mari´c’s musical theory. in composition studies at secondary school pieces of music that the festival has so far thought, as did an enduring enthusiasm for Mari´c was just four years old when she saw level in Serbia (because no Music Academy produced. This work left one wondering what the the sound of the quarter-tone tempered a column of soldiers returning home after the had yet been founded). She moved to Prague future held for such remarkable musical gifts… piano. However, her compositions from that end of the Second Balkan War. Her father’s where, during the admission exam for the Glasgow Herald, June 1933 period: Trio for clarinet, trombone and double horse came back without its rider, to the State Conservatory, Josef Suk noted her Hermann Scherchen was of the same opinion. bass and Suite for the quarter-tone piano – sound of military trumpets. She became musical gifts and accepted her to study After hearing Wind Quintet, he listed Music for which prompted Hába to offer her the post of deeply attached to her mother, but she was composition in his Master’s School of Orchestra in the programme for the Music- assistant at his department – are lost. In never to forget the horrifying sound of those Composition. She remained in Prague, with Drama Symposium that year in Strasbourg, 1938, Mari´c decided to return to Belgrade trumpets – a sound that would reappear brief intermissions, from 1929 until 1937. In and invited Mari´c to participate as the and became a music teacher at the Stankovi´c again, much later, in Songs of Space and this centre for the modernist aspirations of conductor. School of Music. Byzantine Concerto. The young Mari´c grew up European expressionism, Mari´c acquainted Ljubica Mari´c conducted her Music for Orchestra She was there at the outbreak of World War with music, studying the violin at the Belgrade herself with atonality, quarter-tone music and with a strong inner compulsion. A brilliantly gifted Two – a war that marked the end of her first School of Music in the early 1920s, when the the beginning of dodecaphony, but also with woman. creative period and the beginning of a time of former Yugoslavia had just been created. There Berg, Hába and Schulhoff. Only two Messager d’Alsace, Strasbourg, August 1933 withdrawal and silence. In 1945 she became a she met Josip Slavenski (1896 –1955), a compositions have survived from the period: Her participation in these two significant professor of theoretical subjects at the Music composer who played a significant role in her the Wind Quintet and Music for Orchestra. festivals in 1933, the good reviews lauding Academy in Belgrade. Although her creative own choice of composing as a career. Both compositions reveal the composer’s her compositions, the enormous support of energy had been reignited, she had to cope Slavenski, the first Yugoslav composer to win strong inclination towards objective and anti- Hermann Scherchen, the experience of with the negative Communist approach to international recognition and acclaim, was the romantic contemporary music. In Prague Mari´c hearing Stravinsky’s Symphony of Psalms in European modernism, and to art in general. In driving force behind a new era in Yugoslav also studied conducting with Nikolay Malko, Amsterdam, and a meeting with Bartók in the years after the war, Mari´c devoted herself and Serbian music, who believed in Bartók’s who encouraged her growing desire to devote Strasbourg, all had a decisive impact on to researching Serbian folk music and ancient ideal of the synthesis of the spirit of folk herself to conducting. However, her two recent Ljubica Mari´c, finally convincing her to Orthodox Christian church music. Some of her music and personal expressiveness. He passed compositions had attracted the attention of dedicate her life to composing. Nevertheless, works from that period were directly 4 5 CHAN 10267 BOOK.qxd 7/2/07 12:49 pm Page 6 influenced by folk music, the most interesting Space has meaning, like time and existence. Death way in which the philosophical and profoundly fourth voices of the Octoëchos. About this being Three Preludes and Étude for piano, is beyond space, timeless – nothing. But in our human subject matter was translated into composition Ljubica Mari´c said: Sonata for violin and piano, and Verses from experience, it confronts life and is therefore sound, together with the daring musical Two short solo passages of the piano, treated as ‘The Mountain Wreath’ for baritone and piano. always life-like, be it even as the most abstract language used for this monumental cantata, one of the orchestral instruments in the In the early 1950s, Mari´c again stopped negation of existence. made Songs of Space one of the crucial symphonic movement of Octoïcha I, urged me to composing for some years before her Just as Mari´c found stimulus for her mental achievements in twentieth-century Yugoslav assign the primary role to the piano in the next authentic style erupted without compromise in reflections in an archaic, lapidary music. Mari´c became a leading Serbian composition. That is how Byzantine Concerto for the orchestral works Songs of Space, contemplation of life and death (the tragic composer and one of Yugoslavia’s most piano and orchestra came into being: it is a Passacaglia, and the cycle Music of the expression of which has timeless and human important artists. homage both to our Byzantine heritage and our Octoëchos. Songs of Space (1956) is a dimensions), so she did for her musical Mari´c continued to add to her œuvre cultural roots. The three movements of this score cantata for mixed choir and symphony language. In the cantata Songs of Space she throughout the late 50s and early 60s, her carry the following titles: ‘Sound and Ringing’, orchestra, based on the epitaphs on the created an unprecedented synthesis of most prolific and important creative period. ‘In Darkness and Glimmering’, ‘Roaring and tombstones of the Bosnian Bogomils (a modern and traditional elements, the principal Particularly noteworthy is the cycle Music of Glaring’. The orchestra consists of brass, strings, medieval Christian sect with its origins in characteristic of her mature style. In this the Octoëchos which was inspired by the harp and classic percussion. Only the first Manichaeism). In the composer’s own words: composition, for the first time, Mari´c used Octoëchos, a volume of medieval Serbian movement is based on the consistent application Unforgettable is the moment when I first came traditional elements of Serbian folk music, in religious songs based on Byzantine Church of the hexachord of the second mode. As a across a mimeographed notebook containing particular its modality and the building of music and arranged in eight voices (modes) result, two connected transpositions of the epitaphs carved on Bogomil tombstones in Bosnia melodic and harmonic structures based on according to their scale structure. Without hexachord generate a total of twelve chromatic and Herzegovina, then the night when the dramatic intervals of seconds. The result is a complex, attempting in any way to replicate the musical tones. structure of the seven chosen inscriptions began to dense tissue of symphonic music, expressive expression of bygone times, Mari´c saw in the The movements are not essentially contrasted take shape, and finally, the morning when the first in its colour, free from any harmonic or formal elements she adopted from the distant past in expression – their open, rhapsodic form notes emerged out of these magnificently simple, conventions; an endless space in which the only a stimulus for her own creativity in her obeys nothing but the inner logic of the living and life-inspiring words; in confrontation with voices of the choir echo as if coming from search for a new sound.
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