Anđelko Klobučar Skladbe za orgulje II / Organ Works II Izdavač / Publisher Katolički bogoslovni fakultet Sveučilišta u Zagrebu Catholic Faculty of Theology of the University of

Za izdavača / For the Publishers prof. dr. sc. Tonči Matulić Nakladnici / Printing Publishers Katolički bogoslovni fakultet Sveučilišta u Zagrebu Catholic Faculty of Theology of the University of Zagreb Muzička akademija Sveučilišta u Zagrebu Academy of the University of Zagreb Za nakladnike / For the Printing Publisher prof. dr. sc. Tonči Matulić prof. art. Dalibor Cikojević Uredništvo / Editor Board doc. art. Mirta Kudrna prof. mr. art. Miroslav Martinjak doc. art. Pavao Mašić doc. art. Elizabeta Zalović Glavni urednik sveska i redaktor / Chief Editor of the Volume & Music Editor doc. art. Pavao Mašić Notografija / Score Copying Josip Blažević Marija Cerovac Marko Magdalenić, prof. Ivan Šćepanović 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 Lektura / Proofreading Nada Babić, prof. Tisak / Printed by Sveučilišna tiskara d.o.o. Tiskanje ovog izdanja omogućilo je Sveučilište u Zagrebu u sklopu kratkoročne Naklada / Print run financijske potpore istraživanju projekta Katoličkoga bogoslovnog fakulteta 350 Sveučilišta u Zagrebu: “Istraživanje, uređivanje i objavljivanje CIP zapis je dostupan u računalnome katalogu orguljaškog opusa akademika Anđelka Klobučara.” Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000944448. A CIP catalogue record for this book is available from the The publication of this edition has been assisted by the University of Zagreb as part National and University Library in Zagreb under 000944448. of the short-term financial support to the Catholic Faculty of Theology research project: “Research, editing and printing of the organ works by Anđelko Klobučar, ISMN 979-0-9005218-7-3 (svezak / this volume) the Full Member of the Croatian Academy of Science and Arts.“ ISMN 979-0-9005218-9-7 (cjelina / complete series) Anđelko Klobučar

Skladbe za orgulje Organ Works

Svezak 2 Volume 2

Zagreb, 2016. Sadržaj / Contents

Riječ izdavača ...... V

Predgovor ...... VI

Publisher’s Note ...... XVI

Preface ...... XVII

Preludiji / Preludes (1996/1997) ...... 1

Minijature, 1. set / Miniatures, 1st Set (1998) ...... 43

Minijature, 2. set / Miniatures, 2st Set (1998) ...... 61 V

Riječ izdavača

Veliku nam zahvalnost i radost pobuđuje tiskanje not- dragocjenih vještina u području suvremene notografije. nih zapisa neobjavljenih orguljskih skladba uglednoga Ovo tiskano izdanje otkrivenih, sistematiziranih, revidira- i cijenjenoga akademika – maestra Anđelka Klobuča- nih i uređenih orguljskih skladba ima iznimnu vrijednost ra, profesora emeritusa, koji je u svojstvu skladatelja za popularizaciju hrvatske orguljske glazbe i najboljega i glazbenoga pedagoga dao velik doprinos razvoju i što je hrvatska orguljska umjetnost, kao dio europske djelovanju Instituta za crkvenu glazbu Albe Vidaković orguljske umjetnosti, stvorila tijekom druge polovice 20. (ICG) Katoličkoga bogoslovnoga fakulteta Sveučilišta stoljeća, kao dio glazbene baštine budućim hrvatskim i u Zagrebu, još od osnutka Instituta davne 1963. godi- europskim naraštajima orguljaša i studentima orgulja. ne. Ta se suradnja nastavila i nakon 1968. godine, kad je maestro Klobučar postao profesorom na Muzičkoj Sistematizacija, uređivanje i objavljivanje dijela orgulj- akademiji Sveučilišta u Zagrebu. Svakako treba spome- skoga opusa jednoga među najrelevantnijim suvreme- nuti da je maestro Klobučar bio pedeset godina orgu- nim hrvatskim skladateljima, orguljašima i glazbenim ljašem zagrebačke katedrale, dotično od 1954. do 2004. pedagozima – maestra Anđelka Klobučara – iznimno je godine. O skladateljskom, koncertnom, pedagoškom i vrijedno za hrvatsku i europsku kulturnu baštinu, ali i za nastavničkom radu maestra Klobučara svjedoče mnoge glazbeno-pedagoški rad s budućim naraštajima stude- nagrade i priznanja. Svojim je radom tako obilježio nata orgulja. Ovim će izdavačkim nizom svi profesori orgulje i orguljsku glazbu u Hrvatskoj da je, na neki na- i studenti orgulja, osobito oni na kolegijima Orgulje i čin, postao sinonimom za taj veličanstveni instrument. Komorna glazba na ICG-u Albe Vidaković i na Muzičkoj Svojim estetskim dosezima, originalnim izvedbama, ali i akademiji, imati na raspolaganju jedan izvorni didaktič- veličinom opusa podjednako privlači pozornost glazbe- ko-pedagoški materijal iznimne umjetničke vrijednosti. ne i laičke javnosti. Na ovome mjestu treba odati priznanje i izraziti duboku Ovaj izdavački niz orguljskih skladba nastao je kao i iskrenu zahvalnost svim nastavnicima i studentima koji rezultat istraživanja, revidiranja i obrade za tisak jednoga su radili na ostvarenju ovoga projekta i omogućili da ova dijela, do danas neobjavljena, orguljskoga opusa maestra vrijedna trilogija ugleda svjetlo dana. Treba posebno Klobučara kojega, bez ikakva ustezanja, treba uvrstiti istaknuti i pohvaliti vrijednu suradnju profesora i stu- među najcjenjenije suvremene hrvatske autore orguljske denata ICG-a Albe Vidaković i Muzičke akademije, koja glazbe. Poznato je da su dosadašnje, više sporadične, se nastavila i na zajednički dogovorenom izdavačkom i publikacije njegovih orguljskih skladba često bile bez nakladničkom pothvatu. Činom objavljivanja ove trilogi- autorove korekture te nisu, s obzirom na kakvoću, bile je, s pretpostavljenom suradnjom ICG-a Albe Vidaković i uređene glede zahtjeva instrumenta, koncertnih izvedba Muzičke akademije, ujedno izražavamo duboku zahval- i glazbeno-pedagoških procesa. S posebnim ponosom nost akademiku maestru Anđelku Klobučaru odajući ističemo da su u realizaciji ovoga projekta, osim nasta- priznanje za sve lijepo i dobro čime je zadužio naše dvije vnika ICG-a Albe Vidaković i Muzičke akademije, aktivno ustanove i, posebno, hrvatsku orguljsku baštinu. sudjelovali i studenti. Ta je suradnja zasigurno potaknula njihovo zanimanje kako za orguljski opus maestra Klobu- prof. dr. sc. Tonči Matulić čara, tako i za hrvatsku glazbenu baštinu općenito, pri- dekan Katoličkoga bogoslovnog fakulteta donijevši njihovu iskustvu istraživačkoga rada i stjecanju Sveučilišta u Zagrebu VI

Predgovor

Skladatelj, orguljaš i glazbeni pedagog Anđelko Klobučar (Zagreb, 11. srpnja 1931. – 7. kolovoza 2016.) diplomirao KRONOLOGIJA 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 djelo- Usavršavao se u orguljama kod Antona Nowakowskoga u vati u Bečkoj državnoj operi. Salzburgu (1959. – 1960.) i skladanju kod Andréa Joliveta u Parizu (1965. – 1966.). Do 1958. g. radio je kao srednjo- 1940. Započinje privatno učiti glasovir kod gđe školski nastavnik u Zagrebu, a od 1958. do 1963. g. bio je Stražnicki. glazbenim suradnikom u Dubrava filmu u Zagrebu. Od 1945. Prvi put čuje orgulje u zagrebačkoj katedrali sluša- 1968. g. djeluje na Muzičkoj akademiji kao nastavnik teo- jući orguljaša Mladena Stahuljaka. rijskih predmeta (izabran je za redovitoga profesora 1983. g.), djelujući istovremeno kao predavač i na Institutu za 1947. Započinje redovito svirati u crkvi sv. Ivana (Nova crkvenu glazbu Albe Vidaković pri Katoličkom bogoslov- Ves), gdje utemeljuje muški zbor, te u crkvi sv. nom fakultetu Sveučilišta u Zagrebu, od 1963. godine, tj. Obitelji u Zagrebu. od osnutka Instituta. Od 1958. do 2004. bio je glavnim 1947. – 1948. Uči orgulje kod Albe Vidakovića na Srednjoj orguljašem zagrebačke prvostolnice. Od 1994. do 1998. glazbenoj školi Državnoga konzervatorija u Zagrebu. godine voditeljem je seminara za interpretaciju suvreme- 1949. Završio gimnaziju u Zagrebu. ne glazbe pri Ljetnoj orguljaškoj školi u Šibeniku u kojoj je bio i direktor Programskoga vijeća. Član je Hrvatskoga 1949. – 1953. Studira orgulje u klasi Franje Lučića na društva skladatelja, Hrvatskoga društva glazbenih umjet- Muzičkoj akademiji u Zagrebu. nika, Hrvatskoga društva glazbenih teoretičara i redoviti oko 1950. Pod pseudonimom K. Bučar sklada prve član Hrvatske akademije znanosti i umjetnosti. Odlikovan skladbe – Božićne preludije – nastale kao plod je mnogobrojnim nagradama i priznanjima, među ostali- privatne poduke kod Albe Vidakovića, u čijoj su ma i Odličjem Reda Danice hrvatske s likom Marka Maruli- nakladi i objavljene 1959. g. ća, Vjesnikovom nagradom za glazbu Josip Štolcer Slaven- ski, Nagradom Vladimir Nazor za životno djelo, Nagradom 1950. – 1954. Studira kompoziciju u klasi Mila Cipre na Grada Zagreba za mnogostruki doprinos u promicanju Muzičkoj akademiji u Zagrebu. djela hrvatskih skladatelja i poticanje skladanja za orgulje, 1952. Javnom izvedbom vlastite Passacaglie za orgulje u Nagradom Ivan Lukačić za rad na hrvatskoj glazbenoj ba- Hrvatskom glazbenom zavodu prvi se put pred- štini s osobitim obzirom na rekonstrukciju Bajamontijeva stavlja kao skladatelj. oratorija Prijenos sv. Dujma, Nagradom Porin za poseban 1954. Nakon odlaska Mladena Stahuljaka, na poziv Albe doprinos hrvatskoj glazbenoj kulturi i sličnim priznanjima. Vidakovića, preuzima mjesto orguljaša u zagre- Kao jedan od najznačajnijih hrvatskih umjetnika i orgulja- bačkoj katedrali gdje povremeno svira orgulje. ša, Klobučar je redovito nastupao solistički i uz orkestar u zemlji i inozemstvu (katedrali Westminster u Londonu, ka- 1955. Diplomira na Historijsko-teorijskom odjelu Mu- tedrali u St Albansu, katedrali Notre-Dame u Parizu, Bazi- zičke akademije u Zagrebu 30. lipnja obranom lici sv. Marije Anđeoske u Asizu, koncertnim dvoranama u diplomskoga rada Franjo Dugan, život i rad (men- Moskvi, Sankt Petersburgu, Vilniusu, Kijevu, Olivi, Bratisla- tor Josip Andreis). vi). Velik broj koncerata održao je na povijesnim orguljama 1956. – 1958. Djeluje kao srednjoškolski nastavnik glaz- diljem Hrvatske oživljujući pritom hrvatsku glazbenu benoga odgoja u Zagrebu. baštinu, a pred hrvatskom je publikom predstavio prvi put i veći dio orguljskog opusa Oliviera Messiaena. Klobučarov 1958. – 1963. Djeluje kao glazbeni suradnik Dubrava- opsežan opus obuhvaća simfonijsku, koncertantnu, ko- filma u Zagrebu. mornu, vokalnu i vokalno-instrumentalnu glazbu, a važan 1958. Postaje glavni orguljaš zagrebačke katedrale. dio pripada filmskoj i crkvenoj glazbi. Tvorac je sedamde- setak skladba za orgulje u kojima su one tretirane solistič- 1959. – 1960. Usavršava se kod orguljaša Antona ki, 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 Mes- Muzičkoj školi u Zagrebu. siaena u franjevačkoj crkvi na Kaptolu u Zagrebu (11. – 25. svibnja), povodom skladateljeva 78. 1963. – 2000. Djeluje kao profesor na Institutu za crkvenu rođendana. glazbu u Zagrebu gdje predaje kolegije Fuga, Osnove polifone kompozicije i Improvizacija. 1988. – 1992. Član suradnik Razreda za glazbenu umjet- nost i muzikologiju Hrvatske akademije znanosti i 1965. – 1966. Usavršava se kod skladatelja Andréa Joli- umjetnosti. veta u Parizu. 1989. Dobitnik je Nagrade „Vladimir Nazor“ za Partitu ‘Ad 1968. – 2001. Djeluje na Muzičkoj akademiji u Zagrebu Pavlinos’ za orgulje i za izvedbu skladbe La Nativité od 1968. u zvanju docenta, od 1977. u zvanju du Seigneur Oliviera Messiaena. izvanrednog profesora, od 1983. u zvanju redov- noga profesora. U zvanje profesora emeritusa 1991. Dobitnik je Nagrade „Ivan Lukačić“ za koncert fran- izabran 2012. g. Predaje kolegije Glazbeni oblici i cuske barokne glazbe na Varaždinskim baroknim stilovi, Polifonija i Solfeggio. večerima. 1969. Urednik glazbenoga priloga u Svetoj Ceciliji, časo- 1992. Redoviti član Hrvatske akademije znanosti i pisu za crkvenu glazbu do 1978. g. umjetnosti. 1970. Cjelovečernji koncert skladbi J. S. Bacha u koncer- 1994. Voditelj seminara za interpretaciju suvremene tnoj dvorani P. I. Čajkovskoga u Moskvi. orguljske glazbe (do 1998.) u okviru Orguljaške ljetne škole u Šibeniku, čiji je ujedno i programski 1970. Dobitnik Nagrade „Milka Trnina“ za koncertantnu ravnatelj od 1999. do 2008. djelatnost. 1995. Dobitnik Nagrade „Vladimir Nazor“ za životno 1973. Koncertna gostovanja u Westminsterskoj katedrali djelo. u Londonu, katedrali u St Albansu i Velikoj koncer- tnoj dvorani Lenjingradske filharmonije. 1995. – 2001. Zajedno s Miroslavom Martinjakom ure- đuje glazbeni prilog u Svetoj Ceciliji, časopisu za 1974. Praizvedba Koncerta za orgulje Memento Stjepana crkvenu glazbu. Šuleka u Koncertnoj dvorani Vatroslava Lisinskoga u Zagrebu. 1996. Dobitnik odlikovanja Reda Danice hrvatske s likom Marka Marulića za zasluge u kulturi. 1975. Snimio prvu u nizu gramofonskih ploča sa solisti- čkim repertoarom za orgulje. 1997. Dobitnik Nagrade Grada Zagreba za mnogostruki doprinos glazbenoj umjetnosti, posebno promica- 1976. Praizvedba skladbe Per aspera ad astra za orgu- nju djela hrvatskih skladatelja i poticanju sklada- lje i veliki simfonijski orkestar Borisa Papando- nja za orgulje. pula u Koncertnoj dvorani Vatroslava Lisinskoga u Zagrebu, povodom 70. rođendana Borisa 1999. Dobitnik Nagrade „Ivan Lukačić“ za rad na hrvat- Papandopula. skoj glazbenoj baštini: rekonstrukciji oratorija Pri- jenos sv. Dujma Julija Bajamontija. 1978. Koncertno gostovanje u katedrali Notre-Dame u Parizu s repertoarom skladbi hrvatskih skladatelja. 2001. Dobitnik Nagrade „Porin“ za najbolju skladbu klasične glazbe (za solo ili manji sastav) – Koncert 1980. Pročelnik Odjela za kompoziciju i glazbenu teoriju za orgulje i timpane. na Muzičkoj akademiji u Zagrebu do 1993. g. i ponovo u razdoblju od 1995. do 2000. g. 2002. Dobitnik Nagrade „Porin“ za životno djelo. 1982. Koncertno gostovanje u Bazilici Svete Marije 2011. Dobitnik Nagrade „Lovro pl. Matačić“ za životno Anđeoske u Asizu, gdje izvodi Pjesmu stvorova sv. djelo. Franje Asiškoga. 2012. Dobitnik Nagrade „Porin“ za najbolju skladbu kla- 1984. Dobitnik Nagrade „Josip Štolcer Slavenski“ za Kon- sične glazbe – Muzika za orgulje i orkestar. cert za orgulje i orkestar. 2015. Dobitnik Nagrade „Porin“ za najbolju skladbu kla- 1985. Glazbeni urednik Hrvatske liturgijske pjesmarice sične glazbe – Hommage à Bach. Pjevajte Gospodinu pjesmu novu. 2016. Preminuo u Zagrebu 7. kolovoza. VIII

obrazovni put kao važne formativne elemente sklada- teljeve osobnosti. Izuzev najranije poduke orgulja koju je primio od Albe Vidakovića (istaknutoga crkvenoga glazbenika, skladatelja, muzikologa i orguljaša, ute- meljitelja Instituta za crkvenu glazbu), Klobučar – po vlastitim riječima – najveći utjecaj na odluku da se po- sveti 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, ta- danjega 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 slogu i jasnim tradicionalnim formama, kakav je u svojim skladbama zastupao Vidaković (nekadanji đak Anđelko Klobučar – prilog Papinskoga instituta za crkvenu glazbu u Rimu), imaju se promatrati kao dva važna obilježja koja će Anđelko biografi ji Klobučar usvojiti i zastupati u svojemu budućem stva- ralaštvu. Iako je u hrvatskoj orguljskoj glazbi broj skladba nastalih u 20. stoljeću (pogotovo nakon 1945. g.) razmjerno velik, Nakon Drugoga svjetskoga rata započinje teško razdo- upravo se opus Anđelka Klobučara svojom opsežnošću blje za crkvene glazbenike i orguljaše: Dugan i Stahu- i kakvoćom izdvaja u veću i vrjedniju cjelinu. Takvo što ljak prestaju djelovati u zagrebačkoj katedrali zbog i ne iznenađuje budući da je riječ o odličnu orguljašu, političkih prilika, a zbog istih su razloga koncerti koje improvizatoru i skladatelju čija je glazbenička praksa Klobučar prati kao slušatelj uglavnom anonimni jer, bila neraskidivo vezana za orgulje zagrebačke katedra- osim najavljenih termina održavanja i repertoara, ime le, važan instrument u opusu njemačkoga graditelja izvođača u pravilu ostaje nepoznato. Tek se koncem Eberharda Friedricha Walckera (sagrađene 1855. g.). pedesetih godina 20. stoljeća otvaraju mogućnosti za Ove orgulje, ujedno i najveće na prostoru Hrvatske, bile odlazak u inozemstvo: godine 1959. Klobučar odlazi su trajnom inspiracijom skladatelju, čijem orguljskomu na usavršavanje u Salzburg njemačkomu orguljašu opusu uistinu pripada središnje mjesto u hrvatskoj or- Antonu Nowakowskomu (profesoru orgulja u Pragu i guljskoj glazbi. Pritom valja naglasiti kako bi određivanje Stuttgartu, nekadanjemu učeniku Karla Straubea i tada Klobučara isključivo kao orguljaša i skladatelja orguljske vrlo cijenjenu interpretu skladba J. S. Bacha i suvreme- glazbe – kakvo je još i danas u velikoj mjeri prisutno nih njemačkih skladatelja) s kojim proučava orguljske – bilo pogrješno pa bi umanjivalo vrijednost i učinke opuse J. S. Bacha, D. Buxtehudea i J. Pachelbela. Snažan njegova širokoga djelovanja kao skladatelja orkestralne, utjecaj na Klobučara ostavlja i studijski boravak u Parizu komorne, solističke i fi lmske glazbe, koncertantnoga 1965./66. g. u klasi Andréa Joliveta gdje dolazi u doticaj orguljaša i improvizatora, glazbenoga pedagoga i pisca sa suvremenom francuskom orguljskom glazbom i nje- te crkvenoga glazbenika. Preneseno u brojčane pokaza- zinim važnim predstavnicima poput Oliviera Messiaena telje, Klobučarev opus zasad ima zabilježene 232 skladbe i drugih. Upravo će u francuskoj orguljaškoj tradiciji i uz još 120 naslova fi lmske glazbe te još neutvrđen, ali orguljskoj improvizaciji, kao njezinoj temeljnoj discipli- pozamašan, broj liturgijskih skladba. ni, Klobučar pronaći nadahnuće za daljnje usmjerenje svojega skladateljskoga djelovanja. To je ponajprije Prije pomnijega komentara Klobučareva orguljskoga vidljivo u njegovim vlastitim kompozicijama za orgu- opusa, potrebno je ukratko se osvrnuti na njego- lje, a još više u odabiru repertoara s kojim se Klobučar vu koncertantnu djelatnost, repertoarne sklonosti i predstavlja diljem Europe i država tadanjega SSSR-a, u IX

kojemu, pored njegovih vlastitih kompozicija, najčešće hindemitovskih kvartnih akorada i proširenog tonalite- prevladavaju djela J. S. Bacha i francuskih skladatelja ta, i francuske težnje ka homofonom tkivu i koloristič- Césara Francka, Jehana Alaina, Jeana Langlaisa, Oliviera kom tretmanu orgulja.“ Klobučarev skladateljski jezik, Messiaena i Marcela Dupréa. Uz neprestanu brigu oko premda iznimno bogat disonancom, proizlazi iz vlastite izvođenja skladba za orgulje suvremenih hrvatskih mu orguljaške prakse, pa će se tako u skladbama za skladatelja, valja istaknuti i trajno bavljenje orguljskim orgulje, u tehničko-interpretativnom pogledu, uvijek opusom Oliviera Messiaena čiji je „autentični tumač pronaći „svirljivi“ modeli i muzičke figure jasno izvedene i promicatelj“ u Hrvatskoj upravo Klobučar. Tako je iz 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). Pre- str. 10). Izvornost i svježina Klobučareva skladateljsko- ma Klobučarevim riječima, upravo mu je Messiaenov ga nerva izrazito je prisutna tijekom čitava opusa za ciklus La Nativité du Seigneur (Rođenje Gospodinovo) orgulje, očitujući se u izboru tradicionalnih postupaka bio među najomiljenijim skladbama u repertoaru koji poput motivskoga rada i jasne formalne preglednosti je redovito izvodio, a svoje bavljenje Messiaenovom (uz svjesno izbjegavanje dodekafonije i aleatorike) u glazbom zaokružio je 1991. g. cjelovitom izvedbom kombinaciji s istraživanjem zvukovnoga potencijala opsežna ciklusa Livre du Saint Sacrement (Knjiga Presve- instrumenta u čemu je možda najvažnije oslobađa- tog Sakramenta). nje boje zvuka i kolorizam (pod utjecajem francuske orguljske škole, ali i orguljaša Mladena Stahuljaka). Upravo je koloristički tretman orgulja osnovna razlika Klobučarev opus za orgulje – work in između tradicionalnoga shvaćanja zasićena i homogena progress orguljskoga zvuka kakvim su određeni opusi hrvatskih Ukoliko bi trebalo u kraćim crtama naznačiti neke osnov- skladatelja do Klobučara (Dugan, Vidaković, Odak, Kolb) ne elemente Klobučareva orguljskoga opusa, valjalo bi i Klobučareva vrlo osobna viđenja orguljskoga zvuka najprije poći od problema glazbenoga teksta. Kako su koji se u nekim slučajevima ostvaruje i komponiranjem mnoge autorove skladbe nastale iz čina improvizacije, zvuka (Klangkomposition). tekst ponekad nije uređen do posljednjega detalja, kat- kad je riječ o improvizacijama više-manje fiksiranima u Promatrajući opsežan Klobučarev opus za orgulje solo zapis, pogotovo u kompozicijama koje je skladatelj sam koji navodimo u zasad potpunu popisu, uočavamo da izvodio. Naravno, kad su skladbe nastale po narudžbi postoje brojni primjeri tzv. apsolutne glazbe koji slijede drugih interpreta ili ih je skladatelj izričito posvetio ko- tradicionalni trostavačni model s rasporedom stavaka: jem izvođaču, tada je tekst potpuno uređen. Isto je tako i brzi – polagani – brzi (Triptychon, Prva i Druga sonata, sa skladbama koje su bile pripremane za tisak, uglavnom Preludij, interludij i postludij, Hommage à Cecchini, potom u autorovoj vlastitoj nakladi. Pitanje izbora registara, koji tri minijature povezane u ciklus pod nazivom Intrada, nisu uvijek detaljno specificirani, u konačnici je odnos pastorala i toccata, kao i niz drugih skladba oblikova- skladateljevih uputa i interpretovih želja te mogućno- nih po principu triptiha); trostavačni model u tek dva sti instrumenta na kojemu se skladba izvodi. Pritom, u slučaja zamijenjen je dvostavačnim kako to pokazuje idealnom smislu, valja imati na umu bogati zvukovni diptih Fantazija i toccata (pri čemu su oba stavka, na spektar orgulja zagrebačke katedrale kao Klobučareva razini mikroforme, opet oblikovani trodijelno) te sklad- instrumenta par excellence, ali i skladateljevu prilagodlji- ba Cantabile i scherzo. Trostavačna forma postupno se vost u osobnom tumačenju klasičnih, većinom tradicio- razvija u jedinstveni stavak duljega opsega, primjerice u nalnih registracijskih rješenja. skladbama Vitrail, Treća sonata, Musica festiva, Hommage à Bach i Collage, bilo da je riječ o još uvijek prepoznatlji- Odličan pregled Klobučareva stvaralaštva za orgulje do voj trodijelnosti ili pak tendenciji ka skladanju nizanjem 1989. g. prva je ostvarila Hana Breko u svojemu di- uvijek nove građe. plomskom radu na Muzičkoj akademiji (Zagreb, 1993.), ponudivši toliko potrebnu odrednicu skladateljeva Druga skupina skladba uglavnom obuhvaća djela jezika: „Njegov izbor svojevrsni je kompromis u pogledu nastala narudžbom pojedinih interpreta ili je kakva izbora kompozicijsko-tehničkih postupaka, na razmeđi prigoda, odnosno izvanglazbeni sadržaj, bila poticajem X

njihovu nastanku. Tu je ponajprije riječ o višestavač- O izdanju nim ciklusima suitnoga tipa među kojima se izdvajaju Ovo je izdanje nastalo u zajedničkome projektu Muzičke Pjesma stvorova, monumentalna suita u devet stavaka akademije i Instituta za crkvenu glazbu Albe Vidaković, i ujedno Klobučareva najopsežnija orguljska skladba, i ostvareno pod pokroviteljstvom Sveučilišta u Zagrebu, Partita ‘Ad Pavlinos’ na napjeve Pavlinske pjesmarice. U gdje je Anđelko Klobučar djelovao kao redoviti profesor, a oba se ciklusa vješto kombiniraju skladatelju svojstveni od 2012. g. kao profesor emeritus. U posljednje je vrijeme kompozicijsko-tehnički postupci, jasno sačuvani i u zanimanje za Klobučarevim (orguljskim) opusom sve veće, okviru nešto popularnijega glazbenoga jezika. Zanimlji- pogotovo kad je riječ o sređivanju dostupne građe i njezi- vo, u izrazu „popularnijim“ nije riječ ni o kakvu Klobu- nu publiciranju. Tako je nakladnička kuća Cantus 2011. g. čarevu uzmicanju od vlastitih skladateljskih postupaka, objavila presjek skladateljeva opusa na autorskomu albu- već ponajviše u naglašenoj melodioznosti, upotrebi mu, a 2014. g. i novo notno izdanje Pjesme stvorova. Tako- modalnosti i donekle tonskom slikanju čime glazba đer, 2014. g. u izdanju Croatie Records izišao je i dvostruki postaje dostupnija široj publici. U prigodničarskim nosač zvuka s izborom Klobučarevih orguljskih skladba, skladbama, dakako, zamjećujemo česte melodijske Hrvatska akademija znanosti i umjetnosti objavila je par- citate, reference na liturgijske melodije i gregorijanske tituru Muzike za orgulje i orkestar, a Klobučarev opus sve je napjeve, ali i upotrebu glazbenoga kriptograma, tehnike više predmetom istraživanja i na sveučilišnoj razini. transformiranja slovne abecede u glazbenu abecedu, praksu kakvu susrećemo u orguljskim djelima Oliviera U pripremi ovoga izdanja služili smo se svim dostupnim Messiaena i Mauricea Durufléa. izvorima: sačuvanim skladateljevim rukopisima, ručnim prijepisima drugih izvođača, tiskanim izdanjima u skladate- Posebna skupinu skladba čine zbirke kraćih skladba u ljevoj vlastitoj nakladi, a važan uvid pružila nam je i zbirka obliku minijatura i preludija, kao i zasebne skladbe toga izabranih skladba za orgulje u nakladi Kora prvostolne crkve žanra koje svoju vrijednost nalaze u praktičnoj upotrebi zagrebačke, 2001. godine. Poseban problem bile su nam tijekom liturgijskih obreda te u koncertnom vidu. Njima različite inačice iste skladbe te alternativna čitanja pojedinih kontrastiraju skladbe velikoga formata koncipirane u taktova. U razrješivanju dvojba umnogome nam je pomo- cjelovitom luku – prva Passacaglia iz 1952. i druga Passa- gao sam skladatelj svojom odlukom o konačnoj inačici sva- caglia iz 1988. godine. Usporednim sagledavanjem ovih ke pojedine skladbe te nužnim ispravcima koje smo uvrstili dviju skladba na najbolji se način ocrtava prijeđeni put u u ovo notno izdanje. U tom smislu, ovo je konačna sklada- skladateljskom razvoju Anđelka Klobučara: ne samo glede teljeva riječ glede notnoga teksta. Uz posebno dvojbena emancipacije disonance (intervala sekunde, kvarte i sep- mjesta ostavljen je komentar u redaktorskoj bilješki. Na time, kao autoru omiljenih intervala), već i u svojevrsnoj koncu, valja istaknuti kako je ovo notno izdanje još jedan emancipaciji orguljskoga zvuka u glazbenom kontinuumu korak u detaljnijemu proučavanju Klobučareva opusa, što kakva pruža upravo ta karakteristično orguljska forma. je prijeko potrebno, zato ga s radošću predajemo javnosti Pavao Mašić povodom skladateljeva 85. rođendana. XI

Skladbe u ovome svesku

U ovome se svesku nalaze dvije zbirke kraćih skladba pr- građeni akordi, preludiji br. 1, 4, 6, 7, 8, 9, 11 temelje se votno objavljenih u skladateljevoj vlastitoj nakladi. Riječ na skladatelju omiljenim disonantnim intervalima sekun- je o zbirkama preludija i minijatura za orgulje, skladbama de, kvarte i septime, dočim u posljednja dva preludija koje u orguljaškoj tradiciji svoj nastanak često vezuju skladatelj insistira na intervalu tritonusa. Zanimljiv je, s uz moment improvizacije. Poznata je činjenica kako je obzirom na to, Preludij br. 6 u kojem se kombiniraju sva upravo improvizacija bila važno obilježje liturgijskoga tri pristupa, pa u početnim taktovima prepoznajemo sviranja prije liturgijske reforme Drugoga vatikanskoga kvartne akorde u dionici manuala s kojima dijalogizira sabora, kada se od orguljaša očekivalo da mnogo više pedalna dionica donoseći motiv baziran na intervalu sudjeluje sviranjem, uglavnom u vidu improviziranih terce koji se tijekom stavka transformira u tritonus – intervencija tijekom liturgijskih obreda. Iako u mnogo melodijski istaknutu figuru u t. 19, praćenu u tom slučaju manjoj mjeri, takva je praksa zadržana i do danas te su, u brzim izmjenama velikih sekundi u manualu. određenom smislu, skladbe zastupljene u ovome svesku odraz skladateljeva djelovanja kao liturgijskoga orgulja- Klasičan ili, preciznije, neobarokni pristup u oblikovanju ša, ali i kao profesora improvizacije. svih preludija pogotovo je jasno vidljiv, a kao dokaz tomu spomenimo jasno oslanjanje na motoričnost ritma, Ukoliko bismo trebali izdvojiti neka zajednička obilježja česte ostinatne figure i jedinstvenost „afekta“, odnosno ovih skladba, svakako bi na prvome mjestu bila njihova glazbene karakterizacije koja dominira čitavim tijekom funkcionalnost i mnogo prijemljiviji zvuk kao posljedica pojedinoga stavka. U usporedbi s minijaturama, pre- česte upotrebe naglašenoga tonalitetnoga centra i tercno ludije odlikuju veće dimenzije i konkretniji zvuk: tek u građenih akorda. Iako opsegom variraju, gotovo svim pre- Preludiju br. 9 susrećemo intimniji, posve prigušeni zvuk ludijima i minijaturama zajedničko je oslanjanje na kakav čiji se poetični izraz može vrlo dobro izraziti upotrebom jednostavan motiv, često izveden iz elementarnih svirač- karakterističnih registracija u dinamici pianissima kakve kih gesta i jednostavnih, svirljivih figura kao generativne nude orgulje zagrebačke katedrale s velikim izborom ideje – principom kakav nam je poznat iz instruktivnih iznimno tihih registara iz porodice gudača. S obzirom djela Johanna Sebastiana Bacha, u kojima se podjednako na registraciju posebno je sugestivna pedalna dionica naglašava sposobnost iznalaženja kvalitetnih glazbenih čiji materijal u uvodnim i završnim taktovima sugerira ideja („invencija“) te raznovrsne mogućnosti njihova funkciju ostinatnoga basa na bazi 16’ zvuka, dok u središ- daljnjega razvijanja i provođenja i, na koncu, uobliča- njemu dijelu donosi solističku melodiju koju na Walcke- vanja glazbenoga tijeka u globalnu formu. Okupljene u rovu instrumentu zagrebačke katedrale može izuzetno jedinstveni svezak, ove skladbe, možda na najbolji način, rafinirano ozvučiti jezični solistički registar u pedalnoj sublimiraju aspekt Klobučareve orguljske pedagogije dionici, Singend Kornett 2’. (koju, na žalost, nikada nije imao prilike jače profesionalno razvijati) i predstavljaju svojevrsnu „školu za orgulje“, prije Ostali preludiji karakterom su bliski tipu intrade ili finala, svega u smislu orguljske improvizacije i njezinih temeljnih na što nas upućuju oznake tempa (dominiraju Maestoso konstitutivnih elemenata. i Allegro) i dinamike, koje se kreću u rasponu od f do fff što vrlo sugestivno upućuje na moguće načine njihove upotrebe kao procesionalnih skladba na početku i zavr- Preludiji šetku misnoga obreda. Posebno svečan, intradni karak- Zbirka od dvanaest preludija nastaje u listopadu 1997. ter pokazuje se u Preludiju br. 3 u kojem posebnu dozu godine, a ovome smo izdanju originalnim preludijima (ov- monumentalnosti izraza priskrbljuje ostinatni pokret u dje numeriranima od 3. do 14. preludija) pridružili još dva pedalnoj dionici (slično kao u Preludiju br. 4), a još naglaše- naknadno pronađena preludija iz 1996. i 1997. g., numeri- niji izraz na tragu fanfara otkriva se u Preludiju br. 10, koji je ravši ih kao prva dva preludija u novome slijedu od ukupno među rijetkim primjerima Klobučarove posve tonalitetno četrnaest preludija. U toj odluci vodili smo se ponajprije vre- definirane glazbe na bazi tercne akordike. Veličanstven menom nastanka, sličnostima stila i izraza te, naposljetku, ugođaj pruža i Preludij br. 7 čiji se predložak nadahnjuje odlukom sâma skladatelja prilikom tiskanja ovoga izdanja. ranijim uvodnim stavkom skladbe Hommage à Cecchini iz 1976. g., koji, možda na najbolji način, svjedoči o naravi Uočljiva je ambivalentnost skladateljeva pristupa u građi skladatelja kao odlična improvizatora koji se rado vraća akorda: u preludijima br. 2, 3, 5, 10 i 13 dominiraju tercno karakterističnim momentima svojega opusa. XII

Karakter finala u jačoj mjeri naslućujemo u preludijima vrijedne predloške namijenjene onim orguljašima koji br. 6, 11, 12, 13 i 14, a važnu ulogu pritom imaju tokatni su manje skloni improvizaciji u liturgiji. Naravno, to ne elementi, posebice naglašeni u posljednja tri preludija isključuje njihovu upotrebu kao tehnički jednostavnije- zbirke. U Preludiju br. 12 prepoznajemo svojevrsnu tocca- ga koncertnoga repertoara ili, pak, gradiva namijenjena tinu s nešto rjeđom upotrebom pedala, dok je mnogo učenicima orgulja. Razloge nastanku ovih skladba valja opsežniji Preludij br. 13 s virtuoznim izmjenama brzih tražiti i u ulozi skladatelja kao predavača i voditelja pro- trozvuka i čestim promjenama metra na tragu sličnih grama Orguljaške ljetne škole u Šibeniku, gdje je prvi momenata iz Messiaenova orguljskoga opusa. I u njemu put predstavljeno izdanje ovih minijatura objavljenih u ostinatne formule igraju važnu ulogu, a ustrajavanje na skladateljevoj vlastitoj nakladi. Usmjerenost na tonali- ostinatnom pokretu u vidu neprekinuta ritma, odnosno tetni jezik klasične harmonije i tercno građene akorde konstantna motoričnoga kretanja temeljni je element te duljinom sažetiji opseg pojedinih stavaka (za razliku ili, bolje rečeno, pokretač zaključnoga Preludija br. 14; taj od već spomenutih preludija) nedvojbeno upućuje da stavak pravi je moto perpetuo u kojemu se vrlo jedno- su ove skladbe namijenjene orguljašima početnicima, stavnim sviračkim gestama razvija misao širokoga luka i učenicima orgulja te orguljašima skromnijih tehničkih još šire amplitude zvuka za koje nam, kao uzor, opet va- vještina. Ipak, to ne isključuje pristup kakav je i skla- lja prizvati skladateljevo „radno mjesto“ tijekom pedese- datelj demonstrirao na albumu Divici Mariji iz 1998. tak godina liturgijskoga muziciranja: moćne Walckerove g., na kojem se pod nazivom Improvizacija IV zapravo orgulje i bogatu akustiku zagrebačke katedrale. krije Minijatura br. 13, koju skladatelj izvodi na velikim orguljama zagrebačke katedrale uz kontinuiranu upo- trebu pedala, premda zasebne pedalne dionice nema Minijature u notnom tekstu. Naime, riječ je o pristupu kakvim S dva seta minijatura Klobučar nastavlja tradiciju svojih su se služili mnogi francuski skladatelji u skladbama prethodnika i nekadašnjih orguljaša zagrebačke katedra- istovremeno namijenjenima orguljama ili harmoniju le, Vatroslava Kolandera (1848. – 1912.) i Franje Dugana prepuštajući izvođaču odluke, ali i odgovornost, za što (1874. - 1948.), koji su za sobom ostavili zbirke kraćih uspješniju adaptaciju skladbe sukladno mogućnostima verseta i preludija grupiranih oko češće korištenih tona- instrumenta koji je izvođaču na raspolaganju. liteta kao uzoran predložak improvizacijama kakvima su su se služili tijekom liturgije. Uočljiva je tako određena Drugi set bitno je kraći i obuhvaća tek osam sklad- podudarnost Klobučarevih minijatura s versetima oku- ba, kojima smo dodali još četiri minijature naknadno pljenima u Duganovu rukopisu Skladbe za orgulje (1925.), pronađene u skladateljevoj arhivi (Minijature br. 8, 9, 10 kao i s Kolanderovim orguljskim opusom koji obuhvaća i 11). Novost je uvođenje obligatne pedalne dionice u preludije, fantazije i fuge. nekim minijaturama koje su, međutim, opsegom dulje od istoimenih skladba iz prvoga seta te se, na koncu, Prvi set ima ukupno osamnaest minijatura skladanih izrazom približavaju preludijima. Ipak, za razliku od pre- manualiter (bez dionice pedala). Premda nije izričito ludija koji su uglavnom zamišljeni u glasnoj dinamici i specificirano, jasno je prepoznatljiva skladateljeva međusobno sličnu izrazu, ovdje je riječ o vrlo diversifi- potreba za grupiranjem minijatura u tročlane nizove ciranim skladbama, među kojima se svakako ističu Mi- po principu preludij – interludij – postludij (Vorspiel, nijatura br. 6 – građena principom dijalogiziranja dvaju Zwischenspiel i Nachspiel), što podupire i zajednički kontrastnih motiva – realno mnogo složenije metričke tonalitetni centar pojedine tročlane grupe. Tako su u strukture, nego što to konvencionalni metar sugerira, te prvome setu minijatura zastupljeni durski tonaliteti u Minijatura br. 2 čija pedalna dionica uvodi motiv zvona rasponu od jednoga do tri predznaka (redom: G, F, D, koji se, kasnijom diminucijom u manualima, pretvara A, B, Es), s iznimkama Minijatura br. 8 i br. 14 koje su u u karakteristični osminski motiv čest u carillonu, vrsti korespondentnim paralelnim molskim tonalitetima. orguljske skladbe francuskoga baroka u kojoj se opona- Budući da je riječ o tonalitetima kakve često susrećemo ša zvonjava crkvenih zvona. Nije naodmet spomenuti u pučkim crkvenim popijevkama, postoji vrlo realna kako je jedan od takvih antologijskih primjera Carillon mogućnost upotrebe svakoga tročlanoga niza kao u F-duru Louisa Couperina, skladatelja čija je djela odgovarajuće predigre, međuigre i zaigre u liturgij- Klobučar vrlo rado izvodio na svojim recitalima upravo skome sviranju (u Minijaturama br. 10, 11 i 12 posebno devedesetih godina 20. stoljeća. Iako u uvodnoj i za- se jasno uočavaju citati karakterističnih motiva popi- vršnoj minijaturi prepoznajemo već poznate predloške jevke Zdravo djevo čista, izvor milosti iz zbirke Cithara intrade, odnosno finala, ipak je u ovom setu poseban octochorda), pa minijature možemo promatrati kao naglasak stavljen i na polifonijsko oblikovanje, pa je u XIII

Minijaturi br. 7 riječ o fugatu koji se, nakon jednostav- ne troglasne provedbe karakterne teme, zaključuje Redaktorska bilješka strettom. Imitacija je prisutna i u oblikovanju Minijature br. 4, čija osnovna misao svojim melodijskim kontura- Minijatura br. 9, 2. set ma izravno priziva citat gregorijanskoga napjeva Ave U t. 14 postoji alternativno čitanje od onoga koje je maris stella. Tako se i u ovim, naizgled jednostavnim i otisnuto u ovom izdanju, a izvor za njega jest sklada- kratkim, skladbama otkrivaju mnogi zanimljivi detalji, teljev rukopis koji se doima skicom, pa smo prednost svježina skladateljevih ideja i mnogo bogatije moguć- dali tiskanoj verziji objavljenoj u prilogu časopisa Sveta nosti interpretacije nego što bi se na prvi pogled reklo. Cecilija 1986/1987. Ipak, spomenimo kako u rukopi- Činjenica da je riječ o „jednostavnijim“ i tehnički manje snom izvoru u dionici lijeve ruke u t. 14 na drugoj dobi zahtjevnim djelima, odnosno o skladbama pedagoške nastupa četvrtinka es, dok u dionici desne ruke linija i liturgijske namjene, ne isključuje potrebu za koncer- soprana glasi b’-c’’-d’’-e’’-es’’-f’’-g’’ (pri čemu ritam ostaje tnim izvedbama ovih vrijednih i iznimno zanimljivih identičan). glazbenih momenata. Pavao Mašić XIV 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 tro- dobne 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 uokvi- rivanje 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 kom- binaciju 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.

Zašto me to tako iznenadilo? Zato jer je u našem području dominirala crkvena glazba koja je bila, kako bih rekao, ostvarivana po zvuku u berlinskoj školi za crkvenu glazbu, a to znači da se nije isticala boja registara niti mogućnosti različitih karaktera registara, nego se išlo jednim neutralnim zvukom, pa su najprije bili iskorišteni svi osnovni registri, zatim oni alikvotni redom, tako da je uvijek bila razlika samo u dinamici, a sve je bilo jedna neutralna, reklo bi se, siva boja instrumenta. Berlinska škola je utjecala i na Austriju, i na Mađarsku, i kod nas; svi koji su učili i samostalni bili i koji nisu prolazili nikakve škole, oni su bili na taj način upućeni u zvuk orgulja. I, naravno, da kad se pojavio Stahuljak, onda je to bilo nešto posve novo i zato sam se ja počeo približavati i težiti za sviranjem orgulja. Anđelko Klobučar, orguljaš, skladatelj, akademik: njim samim, audio-portret, autorica: Giga Gračan, HR, 3. program, 05. 11. 2013. XIV XV

Popis orguljskih skladba Anđelka Klobučara

Orgulje solo 1. Božićni preludiji (oko 1950.) 45. Triptih B-A-C-H (2004.) 2. Passacaglia (1952.) 46. Toccata i fuga Danijel Drilo (2005.) 3. Toccata (1959.) * 47. Partita za orgulje (2005.) 4. Pet preludija (1963.) * 48. Fantazija na napjev Zarana on je ko preteča Kristu (2007.) 5. Suita alleluiatica (1964.) 49. Hommage à BACH (2012.) 6. Triptychon (1965.) 50. Preludij, canzona i finale (2013.) 7. Prva sonata (1966.) 51. Toccata (2013.) 8. Druga sonata (1968.) 52. Fantazija (2014.) 9. Pièce en mosaïque (1969.) 53. Varijacije (2014.) 10. Fantazija i toccata (1971.) 54. Drugi triptih (2015.) 11. Skladbe za vjenčanje – Intrada i Finale (1973.) 55. Usred svoda nebeskoga, preludij (2015.) 12. Četiri minijature (1974.) 13. Dva preludija (1974.) 14. Freske (1974.) * Orguljski duo 15. Pet stavaka (1974.) * 56. Intrada, canzona i ricercare za orguljski duo (2009.) 16. Hommage à Cecchini (1976.) 57. Balada za orguljski duo (2009.) 17. Preludij, interludij i postludij (1976.) 58. Božićni triptih (2012.) 18. Zdrava o Maria, koralna predigra (1977.) 19. Epithalam (1977.) 20. Musica festiva (1980.) Orgulje u komornom sastavu 21. Treća sonata (1981.) 59. Canzona za rog i orgulje (1968.) 22. Pjesma stvorova (1981.) 60. Sonata za rog i orgulje (1970.) 23. Suita (1984.) 61. Diptih za rog i orgulje (1982.) 24. Koralna fantazija (1984.) * 62. Arioso i allegro za rog i orgulje (1990.) 25. Vitrail (1986.) 63. Arioso e allegro za alt-trombon i orgulje (1990.) 26. Jubilatio (1987.) * 64. Kvintet za orgulje i gudački kvartet (1995.) 27. Concertino za orgulje, gudače i timpane (1987.), 65. Scherzo za orgulje i sopran (1996.) obrada za orgulje solo 66. Koncert za orgulje i timpane (1997.) 28. Passacaglia (1988.) 67. Trio za violinu, rog i orgulje (1999.) 29. Offrande à Marie (1988.) 68. Andante za violinu i orgulje (1999.) 30. Partita Ad Pavlinos na napjeve Pavlinske pjesmarice 69. Suita za trubu i orgulje (2009.) (1989.) 31. Intrada, pastorala i toccata (1994.) 32. Božićne minijature (1995.) Orgulje i orkestar 33. Intrada, arioso e toccata na himnu Sv. Dujma (1995.) 70. Koncert za orgulje i simfonijski orkestar (1983.) 34. Collage (1995.) 71. Muzika za orgulje i simfonijski orkestar (1987.) 35. Finale (1995.) 72. Concertino za orgulje, gudače i timpane (1987.) 36. Cantabile e scherzo (1996.) 37. Preludij (1996.) 38. Preludiji (1997.) 39. Minijature (1998.) 40. Partita na napjev Uskrsnu Isus doista (1998.) 41. Intrada, arioso i toccata na napjev Divici Mariji (1998.) 42. Postludij (1998.) 43. Rondo (1999.) 44. Koncert za orgulje solo (2001.) *Skladbe koje se zasad smatraju izgubljenima. XVI XV

Publisher’s Note

We feel immense gratitude and great joy that previously and valuable skills in the use of the most recent music unpublished music scores of organ works of renowned notation software. This printed edition of discovered, and respected academician and maestro Anđelko Klobu- systematised, revised, and edited Klobučar’s organ works čar will be printed. Professor Emeritus Anđelko Klobučar is of extraordinary value for popularisation of Croatian contributed greatly as a and musical peda- organ music and for passing on to future Croatian and gogue to the development and work of the Institute for European generations of organists and organ students Church Music Albe Vidaković (ICG) of the Catholic Faculty the best that Croatian organ art (as a part of European of Theology of the University of Zagreb ever since its organ art) has created during the second part of the 20th foundation in 1963. This cooperation continued even century. after Klobučar became a professor at the Music Academy of the University of Zagreb in 1968. It also needs to be Systematisation, editing, and publishing of organ works pointed out that Klobučar was organist of the Zagreb of Anđelko Klobučar, one of the most relevant contem- Cathedral for 50 years; more precisely, from 1954 until porary Croatian , organ musicians, and music 2004. One does not need to elaborate too much on the pedagogues is extremely valuable for Croatian and Euro- compositional, concert, pedagogical, and teaching work pean cultural heritage, but also for musical-pedagogical of Anđelko Klobučar; many awards and recognitions work with upcoming generations of organ students. give a testimony for that. With his work he has left such This edition will provide original didactical-pedagogical a mark on the organ and organ music in that material of extraordinary artistic value for all professors he almost became a synonym for this glorious musical and students who attend courses in Organ and Chamber instrument. His organ works draw attention of both Music at the ICG Albe Vidaković and at the Zagreb Music musical and lay audience due to their aesthetical reach, Academy. original performances, and their scope. I would also like to recognise the contribution of and This edition of organ works originated as a result of rese- express deep and heartfelt gratitude to all teachers and arch, revision, and print editing of one part of previously students who worked on the realisation of this project unpublished organ works of Anđelko Klobučar, who and who made it possible for this trilogy to come forth. It should certainly be counted among the most renowned is important to especially point out and compliment the contemporary Croatian organ composers. It is known valuable cooperation between professors and students that previous more sporadic publications of his organ of the ICG Albe Vidaković and the Zagreb Music Academy, compositions were often made without author’s correc- which has continued through jointly agreed publishing tions and that they were not edited in accordance with and printing project. By the act of publishing this trilogy the particular demands of the organ as an instrument. through the presupposed cooperation between the This led to qualitative deficiencies that were equally felt ICG Albe Vidaković and the Zagreb Music Academy, we in concert performances and in the musical-pedagogi- would also like to express deep gratitude to academician cal process. It is with pride that we might point out that maestro Anđelko Klobučar by recognising everything beside teachers at the ICG Albe Vidaković and the Zagreb beautiful and good he has done, for which both afore- Music Academy, students were also involved in the mentioned institutions, as well as Croatian organ herita- realisation of this project. This cooperation surely ignited ge, are indebted to him. in them interest for both, the organ works of Anđelko Prof. Tonči Matulić, PhD Klobučar and for Croatian musical heritage in general. The Dean of the Catholic Faculty of Theology They gained much needed experience of research work of the University of Zagreb XVI XVII

Preface

Composer, organist and music pedagogue, Anđelko Klobučar (Zagreb, July 11, 1931 – August 7, 2016) CHRONOLOGY graduated in 1955 from the Music Theory and History 1931 Born in Zagreb on July 11, in the family of Franjo Department of the Zagreb Music Academy, where he and Marija Klobučar as the younger brother of Beri- also studied composition with and organ with slav, later on a distinguished conductor in ’s Franjo Lučić. He continued his professional development State . in organ with Anton Nowakowski in Salzburg from 1959 to 1960, and in composition with André Jolivet in Paris in 1940 Began taking piano lessons with Mrs. Stražnicki. 1965 and 1966. Until 1958 he worked as a music scho- 1945 Heard the organ for the first time in Zagreb Cathe- ol teacher in Zagreb, and from 1958 to 1963 he was a dral, played by the organist Mladen Stahuljak. music associate for Dubrava-Film Studio in Zagreb. He has taught at the Albe Vidaković Church Music Institute 1947 Began playing regularly in the Holy Family Church in at the University of Zagreb Catholic Faculty of Theology Zagreb, and in St. John’s Church (Nova Ves), where since its foundation in 1963, and since 1968 he has been he also founded a male choir. professor at the Music Academy (elected Full Profe- 1947 - 1948 Studied organ with Albe Vidaković at the ssor in 1983). From 1958 to 2004 he was the principal State Conservatory in Zagreb. organist of the Zagreb Cathedral. From 1994 to 1998 1949 Graduated from high school in Zagreb. he taught contemporary music at the Organ Summer School in Šibenik, where he was also the director of 1949 - 1953 Studied organ in the class of Franjo Lučić at the Programme Board. He is a member of the Croatian the Zagreb Music Academy. Composers’ Society, Croatian Musicians’ Society, Croatian c. 1950 Composed his very first organ pieces – Christmas Association of Music Theorists and the Croatian Aca- Preludes – under the pseudonym K. Bučar, as a direct demy of Science and Arts. He has been honoured by nu- result of private lessons with Albe Vidaković, who merous awards and recognitions such as the Medal of the published them in 1959. Order of Danica Hrvatska with the Image of Marko Marulić, Vjesnik music award Josip Štolcer Slavenski, the Vladimir 1950 - 1954 Studied composition in the class of Milo Nazor Award for lifetime achievement, the Award of the Cipra at the Zagreb Music Academy. City of Zagreb for the promotion of works of Croatian 1952 Presented himself publicly for the first time as a com- composers and the incentive for organ compositions, poser with a performance of his own Passacaglia for the Ivan Lukačić Award for his work on the reconstructi- organ at the Croatian Music Institute in Zagreb. on of the oratorio The Translation of St. Domnius by Julije 1954 After the departure of Mladen Stahuljak and upon Bajamonti, the Porin Award for a special contribution to the invitation of Albe Vidaković, accepted the post of Croatian music culture. As one of the most important organist at the Zagreb Cathedral, where he occasio- Croatian artists and organists, Klobučar regularly perfor- nally played the organ. med as a soloist as well as with orchestras in Croatia and abroad (Westminster Cathedral in London, Notre-Dame 1955 Graduated from the Music Theory and History De- de Paris, Basilica di Santa Maria degli Angeli in Asissi, St partment of the Zagreb Music Academy on June 30, Albans Cathedral, concert halls in Moscow, Saint Pe- by defending his thesis: Franjo Dugan: Life and Work tersburg, Vilnius, Kiev, Oliva, Bratislava). On numerous (under the mentorship of Josip Andreis). occasions he performed recitals on historical organs 1956 - 1958 Worked as high school music teacher in Zagreb. across Croatia, promoting thus also the Croatian music heritage. In his repertoire special place is occupied by 1958 - 1963 Worked as a music associate of Dubrava Olivier Messiaen’s organ music which he presented to Film Studio in Zagreb. Croatian audiences for the first time. Klobučar’s works 1958 Became the principal organist of the Zagreb include orchestral, concertante, chamber, vocal and Cathedral. vocal-instrumental music, with significant contributions to film music and church music. His creative output for 1959 - 1960 Further organ studies with the organist Anton organ includes more than 70 different works which signi- Nowakowski at the Organ Summer Academy in ficantly enrich Croatian organ music literature. Salzburg. XVIII 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 Aca- demy of Sciences and Arts. 1965 - 1966 Further composition studies with André Jolivet in Paris. 1989 Received the for his Partita Ad Pavlinos for organ and for a performance of the com- 1968 - 2001 Worked at the Zagreb Music Academy from position La Nativité du Seigneur by Olivier Messiaen. 1968 as an Assistant Professor, from 1977 as an Associate Professor, and from 1983 as a Full Pro- 1991 Received the Ivan Lukačić Award for the organ recital fessor. Received the status of Professor Emeritus of French Baroque music at Varaždin Baroque Eve- in 2012. He taught the following courses: Musical nings Festival. Forms and Styles, Counterpoint, and Solfeggio. 1992 Full member of the Croatian Academy of Sciences 1969 Became the editor of the Music Supplement in Sveta and Arts. Cecilija, the journal for church music. He held that 1994 Taught interpretation of contemporary organ music post until 1978. at the Organ Summer School in Šibenik (until 1998), 1970 Performed a recital of J. S. Bach’s organ works in the where he was also Programme Director from 1999 P. I. Tchaikovsky’s Concert Hall in Moscow. until 2008. 1970 Received the Milka Trnina Award for his concert 1995 Received the Vladimir Nazor Award for lifetime activity. achievement. 1973 Concert performances in Westminster Cathedral in 1995 - 2001 Editor of the Music Supplement in Sveta Ce- London, St Albans Cathedral and in the Leningrad cilija, the journal for church music, together with Philharmonics’ Great Concert Hall. Miroslav Martinjak. 1974 Premiered Memento, organ concerto by Stjepan 1996 Received the Medal of Order of Danica Hrvatska with Šulek in the Concert Hall in Zagreb. the Image of Marko Marulić for his overall contribu- tion to culture. 1975 Recorded the first LP with solo repertoire for or- gan. Complete discography includes more than 20 1997 Received the City of Zagreb Award of for his rich con- recordings. tribution to music, especially for promoting works of Croatian composers and encouraging composing 1976 Premiered Per aspera ad astra, for organ and a symp- for organ. hony orchestra by Boris Papandopulo in the Vatro- slav Lisinski Concert Hall in Zagreb on the occasion 1999 Received the Ivan Lukačić Award for his work on the of the 70th birthday of Boris Papandopulo. reconstruction of the oratorio The Translation of St. Domnius by Julije Bajamonti. 1978 Performed a recital in the Notre-Dame Cathedral in Paris with repertoire entirely made of Croatian organ 2001 Received the Porin Award for the best piece of works. classical music (for a solo instrument or for a smaller chamber group): Concerto for Organ and Timpani. 1980 The Head of the Composition and Music Theory De- partment at the Zagreb Music Academy until 1993 2002 Received the Porin Award for lifetime achievement. and again in the period from 1995 until 2000. 2011 Received the Lovro pl. Matačić Award for lifetime 1982 Organ recital at the Basilica of St. Mary of the Angels achievement. in Assisi, where he performed his own organ cycle 2012 Received the Porin Award for the best composition The Canticle of Creatures of St. Francis of Assisi. of classical music: Music for Organ and Orchestra. 1984 Received Josip Štolcer Slavenski Award for his Con- 2015 Received the Porin Award for the best composi- certo for Organ and Orchestra. tion of classical music: Hommage à Bach. 1985 Music editor of the Croatian liturgical songbook 2016 Died in Zagreb on August 7. Pjevajte Gospodinu pjesmu novu (Sing a New Song to the Lord). XVIII XIX

Anđelko Klobučar – a Biographical Sketch

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 infl uenced 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. Tho- mas 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 (for- mer student of the Pontifi cal Institute for Church Music in Rome) – should be perceived as two important cha- Although Croatian organ music of the 20th century is racteristics that Anđelko Klobučar adopted and followed fairly rich (especially after 1945), it is precisely Anđelko in his future work as composer. Klobučar’s organ output that stands out with its scope and quality, thus constituting a larger and a more After the Second World War, there was a hard period for signifi cant whole. Anđelko Klobučar’s musical practice Croatian church musicians and organists: Dugan and Sta- was tightly linked to the great organ of the Zagreb huljak stopped playing at the Zagreb Cathedral because Cathedral, an important instrument by a German pipe of the political situation, and for the same reason most organ builder Eberhard Friedrich Walcker, built in 1855. of the concerts that Klobučar attended as a listener were This instrument, being the largest in Croatia, has been anonymous. Apart from the announced date and the and remains a continuous inspiration for the composer, concert program, the name of a performer remained, as whose organ works truly have a central place in Croatian a rule, unknown. Only towards the end of the 1950s was organ music. However, it needs to be pointed out that to there a possibility to go abroad: in 1959 Klobučar focused defi ne Klobučar exclusively as an organist and a com- on further organ studies in Salzburg with German organ- poser of organ music – which is still largely the case even ist Anton Nowakowski (organ professor in Prague and today – would be a great mistake that would diminish Stuttgart, and a former student of Karl Straube, as well as the signifi cance and results of his broader work as a a very distinguished interpreter of J. S. Bach and con- composer of orchestral, chamber, solo, and fi lm music, as temporary German composers), with whom he studied a concert organist and improviser, a music pedagogue, a organ works of J. S. Bach, D. Buxtehude, and J. Pachelbel. music writer, and a church musician. Expressed in num- Another important part of his education included a one- bers, Klobučar’s complete works count so far 232 pieces, year residency in the composition class of André Jolivet with an additional 120 titles of fi lm music, and still in 1965/66 in Paris, where he came into contact with undetermined (although fairly large) number of liturgical contemporary French organ music and its distinguished compositions. representatives such as Olivier Messiaen. It was precisely the French organ tradition, and organ improvisation as its Before proceeding to a more detailed commentary on fundamental feature, that became the inspiration for the Klobučar’s organ music, a few remarks should be made future direction of Klobučar’s compositional work. This is concerning his concert activities, concert repertoire, and evident not only in his own organ works, but also in the music education, all important formative elements of selection of repertoire that Klobučar performed through- the composer’s personality. Apart from the earliest organ out Europe and the USSR. In this repertoire one can notice XX XIX

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

of the Creatures, a monumental suite in 9 movements To the Edition and Klobučar’s magnum opus, and Partita Ad Pavlinos, This edition is the result of a joint project of the Zagreb composed on melodies from the Songbook of the Pau- Music Academy and the Institute for Church Music Albe line Order. Both cycles skilfully preserve the composer’s Vidaković. It has been carried out with the support of the individual compositional technique within the frame of a University of Zagreb, where Anđelko Klobučar worked more popular musical language. While staying true to his as Full Professor and, since 2012, as Professor Emeritus. own compositional characteristics, he made the music There has been an increased interest in editing and more accessible to wider audiences through emphasised publishing Klobučar’s works lately. In 2011 the publisher melodic gestures, the use of modality so characteristic of Cantus has published a recording with a selection of the folk tunes, and, to a certain extent, tonal painting. In the author’s chamber and orchestral works. In 2014 Cantus compositions written for a specific occasion, Klobučar published the score of The Canticle of Creatures, while often uses melodic citations with references to liturgical Croatia Records published a double CD with selected melodies and Gregorian chant. Occasional use of music organ works. Additionally, the Croatian Academy of cryptogram deserves special mention; it is a technique Sciences and Arts has published the score of Music for of transformation of the letters of the alphabet to the Organ and Orchestra, while Klobučar’s works are gradu- musical alphabet, a practice encountered in organ works ally becoming a subject of interest in academic research. of Olivier Messiaen and Maurice Duruflé. In the preparation of this edition we have used all preser- Another group of organ works consists of short pieces, ved manuscripts by the composer or other performers, miniatures and preludes, whose value consists of prac- as well as editions that were published at the composer’s tical use during liturgy, as well as in the concert. These own expense; we have also profited immensely by con- short forms are contrasted by large-scale pieces com- sulting the collection of selected organ works that has posed in one single arch – the first Passacaglia from been published by the Choir of Zagreb Cathedral in 2001. 1952 and the second one from 1988. By putting these A special problem emerges with different versions of the two passacaglias side by side, one clearly notices the same piece, as well as with alternative readings of indi- development of Anđelko Klobučar as a composer: not vidual bars; the final answer to all questions offered the only in terms of the emancipation of dissonance (inter- composer himself, who was of great help in making all the val of a second, a fourth and a seventh as his favourite necessary corrections and making decision on the definite intervals), but also in terms of the emancipation of the version of each individual composition in this edition. The- organ sound. Especially in Passacaglia from 1988, one refore, this edition represents the final word of the com- can notice how the treatment of the melody, harmony poser concerning the musical text. In particularly dubious and rhythm is not used so much in conventional sense, places a comment was added. Finally, this edition presents but directed more towards building sound textures and a valuable and long overdue documentation of Klobučar’s sound masses (with focus on different timbres). creative output, and we are delighted to be able to publish Pavao Mašić it in celebration of the composer’s 85th birthday. XXII

Music in this Volume

This volume presents two collections of short organ interval of a third tend to dominate Preludes No. 2, 3, 5, pieces – preludes and miniatures – genres traditionally 10, and 13, while Preludes No. 1, 4, 6, 7, 8, 9, and 11 are associated with the art of organ improvisation. Before based on the composer’s favourite dissonant intervals the liturgical reform of the Second Vatican Council in of a second, fourth and seventh. Finally, in the last two 1965, improvisation was an important aspect of liturgical preludes the composer insists on the use of a tritone music and the organist was expected to participate ac- (augmented fourth or diminished fifth). In that sense, tively in liturgical rites in the form of mostly improvised Prelude No. 6 is of a particular interest because it combi- interventions. Although to a lesser extent, this practice is nes all three approaches. Therefore, in its opening bars still present today, which is why the compositions in this one can recognise quartal chords in the manual parts in volume could be regarded as representative examples of dialogue with a third-based motive in the pedal which the composer’s activity, both as a liturgical organist and transforms during the course of the piece from a third as an organ improvisation teacher. to a tritone – a melodically emphasised figure in bar 19, accompanied by a rapid alteration of major seconds in The common characteristics of these compositions are the manual parts. their ease of use in practice and a very pleasant sound as a consequence of frequent use of triads and clearly A Classical or, more precisely, Neo-Baroque approach in emphasised tonal centres. Although they vary in scope, the composition of the preludes is clearly visible from almost all preludes and miniatures use a single motive the frequent use of motoric rhythms, ostinato figures, that is often drawn from elementary playing gestures and the use of a single Affekt throughout each piece. In and rather simple, playable figures as its generative comparison with miniatures, preludes are characterised idea. This principle is well-known from instructive works by their larger scope and a more substantial sound. of Johann Sebastian Bach and equally emphasises the Prelude No. 9 is a single exception in terms of its sound ability of finding high-quality musical ideas (“inven- concept: one can notice a more intimate and poetic tions”), as well as developing multiple possibilities of texture that can be very well expressed by the use of their further transformation and development, and, characteristic organ stops in pianissimo. String stops finally, forming the musical flow that results in a ba- immediately come to mind, especially given a large num- lanced global form. Gathered in a single volume, these ber of extremely quiet and beautiful string stops on the compositions demonstrate, perhaps in the best way, an Walcker organ of the Zagreb Cathedral. When it comes aspect of Klobučar’s organ pedagogy (that, unfortuna- to the choice of organ stops in the bass, the pedal part is tely, he never had a chance to develop). Furthermore, quite suggestive. In the introductory and final bars the they represent a certain “organ method”, primarily in the pedal line suggests the function of ostinato bass on the sense of organ improvisation techniques and their basic 16’ basis, while the middle section contains a distinct building elements. solo melody that can be shaped especially well on the Walcker organ with the use of a very refined pedal reed Preludes stop of particular beauty, Singend Kornett 2’. The collection of twelve preludes was originally com- The remaining preludes are similar to intrada or finale posed in October 1997; in addition, this present edition types of movements, which is evident from their tempo also contains two subsequently found preludes from markings (predominantly Maestoso and Allegro), as well 1996 and 1997 (Preludes No. 1 and No. 2, while the prelu- as from dynamics that range from f to fff. All this sug- des of the collection are numbered as No. 3 through No. gests their possible use as processional compositions 14). The decision to include the extra preludes with this at the beginning or the end of the Holy Mass. Especially volume was made because of the time of their origin, si- ceremonial (and reminiscent of an intrada) is the Prelude milarities of their style and expression to the preludes of No. 3, in which the monumental character is expressed the collection, and finally, the decision of the composer by the ostinato movement in the pedal part (similarly to himself at the time of publication of this edition. the Prelude No. 4). This character is even more empha- sised in the Prelude No. 10, where in the course of the One can notice the plurality of the composer’s approach piece the character transforms into a majestic fanfare. in the choice of vertical structures: trichords based on an This is one of the rare examples of Klobučar’s composi- XXIII

tions entirely based on the use of triads. A grandiose tion of Miniatures No. 8 and No. 14 composed in the atmosphere is also evoked by the Prelude No. 7 – which corresponding relative minor keys. Considering the fact is inspired by an earlier piece, precisely the introduc- that these keys are frequently encountered in church tory movement of Klobučar’s organ piece Hommage hymns, there is a real possibility of using these miniatu- à Cecchini from 1976 – and which, perhaps in the best res as respective preludes, interludes and postludes in way, shows the composer as an excellent improviser liturgical music, especially in cases where organists are who gladly returns to characteristic moments of his own less prone to improvisation. Actually, in Miniatures No. oeuvre. 10, 11 and 12 one notices clear citations from the old Croatian hymn devoted to the Virgin Mary, Zdravo Djevo The finale character is more strongly suggested in the čista, izvor milosti (Hail Virgin pure, source of grace), Preludes No. 6, 11, 12, 13, and 14; toccata-like elements as found in Cithara octochorda, a Croatian songbook play an important role here, especially in the last three from 18th century. Of course, this does not exclude use preludes. In the Prelude No. 12 one can recognise a of these pieces as technically less demanding concert toccatina with only a scarce use of pedal, while the more repertoire, or as teaching material intended for organ voluminous Prelude No. 13 with virtuosic alternation of students. As a matter of fact, the very reason why these triads and frequent meter changes reminds of similar compositions might have been written could be that moments in Messiaen’s early organ works. A significant Klobučar was engaged as a lecturer and the programme feature of both Preludes No.13 and No.14 are the ostina- director of The Organ Summer School in Šibenik (Cro- to formulas. Insisting on a constant motoric movement is atia), where he actually presented these miniatures for the fundamental element or, more precisely, the driving the first time in 1998 in his own edition. The directness force of the final Prelude No. 14, making it a true moto towards a tonal language and triadic harmony, as well as perpetuo. The large single-arch musical idea and even the shorter length of most of the miniatures (as opposed larger amplitude of sound are achieved through the to the aforementioned preludes), undoubtedly suggest accumulation of very simple musical gestures, an idea that these compositions were written with beginners, probably born and inspired by the composer’s “work pla- organ students, and organists of limited technical ability ce” during his 50-year career behind the powerful Walc- in mind. However, this does not exclude the approach ker organ in the rich acoustics of the Zagreb Cathedral. demonstrated by the composer himself on his recor- ding Divici Mariji (To the Virgin Mary) from 1998, where the composition entitled Improvisation IV is actually Miniatures Miniature No. 13, being performed at the great organ With his two sets of organ miniatures Klobučar continues of the Zagreb Cathedral with the continuous use of the tradition of his predecessors and former organists pedal. Actually, this approach was used by many French of the Zagreb Cathedral, Vatroslav Kolander (1848- composers in compositions intended for both organ and 1912) and Franjo Dugan (1874-1948), who both wrote harmonium (reed organ); the performer himself has to collections of short organ pieces, grouped around more make a decision (and take responsibility for) as to how frequently used keys, as examples of their improvisations to achieve the most successful adaptation of the piece in played in the liturgy. One can notice a certain correspon- accordance with the capabilities of the instrument at his dence of Klobučar’s miniatures with versets gathered in disposal. Dugan’s manuscript Organ Works (1925), as well as with Kolander’s organ works that include preludes, fantasies, The second set is shorter in terms of the number of pie- and fugues. ces. Originally it included only eight miniatures, to which we added another four miniatures subsequently found The first set contains 18 miniatures composed manu- in composer’s private collection (see Editor’s Note). Its no- aliter (without the obbligato pedal part). Although not velty consists of an introduction of the obligatory pedal explicitly specified, one can clearly notice the composer’s part in some of the pieces. The miniatures here are lon- need to group miniatures in three-member sequences ger in scope than those contained in the first set, which according to the principle of a prelude-interlude-postlu- actually makes them much closer to preludes. However, de (Vorspiel, Zwischenspiel and Nachspiel), which is also as opposed to preludes that are mostly conceived as confirmed by the common key of each three-member loud in dynamics and character, these miniatures are qu- group. Hence, in the first set of miniatures one encoun- ite diverse. Among them, two particularly stand out: the ters major keys in the range from one to three acciden- Miniature No. 6, built on the dialogue of two contrasting tals (in the order: G, F, D, A, B flat, E flat) with the excep- motives – with a much more complicated metric structu- XXIV

re than is originally suggested by the conventional me- es of much more sophisticated interpretations than one ter; and the Miniature No. 2, whose pedal part introdu- could guess at first sight. The fact that these are “simpler” ces the motive of bells that is later transformed (through and technically less demanding works intended for diminution in the manual part) into a characteristic pedagogical and liturgical use does not exclude the po- eight-note motive frequently encountered in carillon, a ssibility to perform them in a concert setting as precious type of composition of French Baroque used to imitate and extremely interesting moments musicaux. the ringing of church bells. It should be mentioned that one of the anthology examples is the Carillon in F-major by Louis Couperin, whose works Klobučar frequently Editor’s Note performed in his recitals during the last decade of the nd 20th century. Although one can recognise the already Miniature No. 9, 2 set familiar models of intrada and finale movements in the In b.14 we have alternative reading opposed to one print- Miniatures No. 1 and No. 8 respectively, special attention ed in this edition, whose source is composer’s manuscript. in this set is paid to polyphonic treatment. Miniature No. Since the manuscript has features of a sketch, we favoured 7 is actually a three-part fugato that is even concluded the printed version of this piece published in Sveta Cecilija, by a stretto after a simple exposition of a characteristic the journal for church music in 1986/1987. The alternative theme. The imitation principle is also present in Minia- reading of b. 14 consists of following: on the second beat ture No. 4, whose basic idea with its melodic contour in the left hand there is quarter note e-flat (instead of e evokes the Gregorian chant Ave maris stella. As these few natural), and in right hand the soprano line is: b flat’-c’’-d’’- examples show, many interesting details can be found in e’’-e flat’’-f’’-g’’ (the rhythm stays the same). these short compositions, and with them the possibiliti- Pavao Mašić XXIIIXXV

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 dur- ing 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 or- ganist 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 play- ing…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 some- how 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

Why was I so surprised by it? Because in our region dominated such kind of church music that was, how to say this, realized in sound by following the approach of the Berlin school for church music, which means that the colour of the organ stops and possibilities of various characteristics of organ stops were not emphasised, but instead organists always tried to get a neutral sound. Thus, they always used firstly all fundamental stops (8’), then those aliquote (all 4’, then all 2’, and so on), which led only to the difference in dynamics, and everything was certain neutral, one could say, gray colour of the instrument. The Berlin school influenced Austria and Hungary, so all those who studied there, or on their own in Croatia, were always directed to that sound of the organ. Of course, when Stahuljak appeared, he brought something entirely new and this is why I started to get closer and why I wanted to play the organ. Anđelko Klobučar, the Organist, the Composer, the Academician; in his own words, audio-portrait, author: Giga Gračan, Croatian Radio, Third Channel, November 11, 2013 XXVIXXIV

List of Organ Works by Anđelko Klobučar

Organ Solo 1. Christmas Preludes (c1950) 45. B-A-C-H Triptych (2004) 2. Passacaglia (1952) 46. Toccata & Fugue on „Danijel Drilo“ (2005) 3. Toccata (1959) * 47. Partita (2005) 4. Five Preludes (1963) * 48. Fantasy on Hymn Zarana on je ko preteča Kristu 5. Suita alleluiatica (1964) (2007) 6. Triptychon (1965) 49. Hommage à BACH (2012) 7. The First Sonata (1966) 50. Prelude, Canzona & Finale (2013) 8. The Second Sonata (1968) 51. Toccata (2013) 9. Pièce en mosaïque (1969) 52. Fantasy (2014) 10. Fantasy & Toccata (1971) 53. Variations (2014) 11. Wedding Music – Intrada & Finale (1973) 54. The Second Triptych (2015) 12. Four Miniatures (1974) 55. Prelude on Hymn Usred svoda nebeskoga (2015) 13. Two Preludes (1974) 14. Frescoes (1974) * 15. Five Pieces (1974) * Organ Duo (Four Hands) 16. Hommage à Cecchini (1976) 56. Intrada, Canzona & Ricercare (2009) 17. Prelude, Interlude & Postlude (1976) 57. Ballade (2009) 18. Zdrava o Maria, chorale prelude (1977) 58. Christmas Triptych (2012) 19. Epithalam (1977) 20. Musica Festiva (1980) 21. The Third Sonata (1981) Chamber Music with Organ 22. The Canticle of the Creatures (1981) 59. Canzona for French Horn & Organ (1968) 23. Suite (1984) 60. Sonata for French Horn & Organ (1970) 24. Choral Fantasy (1984) * 61. Diptych for French Horn & Organ (1982) 25. Vitrail (1986) 62. Arioso & Allegro for French Horn & Organ (1990) 26. Jubilatio (1987) * 63. Arioso e Allegro for Alt-Trombone & Organ (1990) 27. Concertino for Organ, Strings and Timpani (1987), 64. Quintet for Organ and String Quartet (1995) version for organ solo 65. Scherzo for Organ & Soprano (1996) 28. Passacaglia (1988) 66. Concerto for Organ and Timpani (1997) 29. Offrande à Marie (1988) 67. Trio for Organ, French Horn & Violin (1999) 30. Partita Ad Pavlinos (1989) 68. Andante for Violin & Organ (1999) 31. Intrada, Pastorale & Toccata (1994) 69. Suite for Trumpet & Organ (2009) 32. Christmas Miniatures (1995) 33. Intrada, Arioso e Toccata on the Hymn of St. Domnius (1995) Organ & Orchestra 34. Collage (1995) 70. Concerto for Organ & Symphony Orchestra (1983) 35. Finale (1995) 71. Music for Organ & Orchestra (1987) 36. Cantabile e Scherzo (1996) 72. Concertino for Organ, Strings and Timpani (1987) 37. Prelude (1996) 38. Preludes (1997) 39. Miniatures (1998) 40. Partita on Croatian Easter Hymn Uskrsnu Isus doista (1998) 41. Intrada, Arioso & Toccata on Divici Mariji (1998) 42. Postlude (1998) 43. Rondo (1999) 44. Concerto for organ solo (2001) * Compositions presumed lost