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Skice Za Zgodovino Slovenske Glasbe 20. Stoletja Skice za zgodovino slovenske glasbe 20. stoletja Gregor Pompe Skice za zgodovino slov. glasbe 20_FINAL.indd 1 12. 03. 2019 12:50:55 Skice za zgodovino slovenske glasbe 20. stoletja Zbirka: Glasba na Slovenskem po 1918 ISSN: 2350-6350 Avtor: Gregor Pompe Urednik zbirke: Leon Stefanija, Aleš Nagode, Svanibor Pettan, Urša Šivic, Darja Koter, Boštjan Udovič Člani uredniškega odbora zbirke: Katarina Bogunović Hočevar, Matjaž Barbo, Branka Rotar Pance, Andrej Misson, Mojca Kovačič, Drago Kunej, Jana Arbeiter Recenzenta: Nada Bezić, Andrej Misson Lektorica: Eva Vrbnjak Založila: Znanstvena založba Filozofske fakultete Univerze v Ljubljani Izdal: Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani Za založbo: Roman Kuhar, dekan Filozofske fakultete Oblikovanje in prelom: Irena Hvala Slika na naslovnici: Uršula Berlot Prva izdaja Naklada: 200 Tisk: Birografika Bori d. o. o. Ljubljana, 2019 Cena: 24,90 EUR To delo je ponujeno pod licenco Creative Commons Priznanje avtorstva-Deljenje pod enakimi pogoji 4.0 Mednarodna licenca. / This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Knjiga je izšla s podporo Javne agencije za raziskovalno dejavnost RS. Raziskovalni projekt št. J6-7180 je sofinancirala Javna agencija za raziskovalno dejavnost Republike Slovenije iz državnega proračuna. Prva e-izdaja. Publikacija je v digitalni obliki prosto dostopna na https://e-knjige.ff.uni-lj.si/ DOI: 10.4312/9789610601623 Kataložna zapisa o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani Tiskana knjiga COBISS.SI-ID=298876160 ISBN 978-961-06-0163-0 E-knjiga COBISS.SI-ID=298869760 ISBN 978-961-06-0162-3 (pdf) Skice za zgodovino slov. glasbe 20_FINAL.indd 2 12. 03. 2019 12:50:55 Skice za zgodovino slovenske glasbe 20. stoletja Kazalo Uvod .......................................................................................................................................5 1 Glasba slovenske povojne moderne (1918–1927) .............................................9 1.1 Terminološka vprašanja ............................................................................................9 1.2 Zvestoba predvojni moderni ................................................................................12 1.3 Nove vzpodbude in vplivi ......................................................................................24 1.4. Parcialni opusi, vprašanje periodizacije in zaključki ....................................28 2 Slavko Osterc in Lucijan Marija Škerjanc: estetski razkol in poetsko bratstvo ......................................................................................................... 33 3 Lucijan Marija Škerjanc in njegov (Prvi) violinski koncert – na robu modernizma ................................................................................................. 43 4 Violinske skladbe Matije Bravničarja in vprašanje »klasičnosti« v glasbi 20. stoletja ..................................................................................................... 55 5 Operete Radovana Gobca........................................................................................ 73 6 »Najbrž vedno pišem isto skladbo«. Ob klavirskem opusu Zvonimirja Cigliča ....................................................................................................... 83 6.1 Cigličev klavirski opus: mladostna dela ............................................................83 6.2 Klavirske miniature v pesemsko-suitnem slogu ............................................85 6.3 Nokturno in Bakhanal ...............................................................................................89 6.4 Zaključna misel: dvojnost kot konstanta ..........................................................93 7 Slovenska glasba v prvem desetletju po drugi svetovni vojni – v iskanju socialističnega realizma ........................................................................ 95 7.1 1945: Med tendencioznostjo in avtonomijo ter med tradicionalizmom in inovacijo ..............................................................................95 7.2 V iskanju socialističnega realizma ....................................................................100 7.3 Prva politična in estetska »odjuga« – konec iskanja socialističnega realizma in izmikanja ............................................................................................112 7.4 Zaključek – slovenski socialistični realizem, ujet v arbitrarni napetostni štirikotnik ............................................................................................115 8 Poskus slogovne določitve samospevov Vilka Ukmarja .............................117 9 Slovenska dvanajsttonska glasba .......................................................................127 10 »Klasik« glasbe 20. stoletja – vprašanje modernega in tradicionalnega v opusu Uroša Kreka ..............................................................147 10.1 Problemska izhodišča .........................................................................................147 3 Skice za zgodovino slov. glasbe 20_FINAL.indd 3 12. 03. 2019 12:50:55 10.2 Ekskurz: moderno in tradicionalno v slovenski poeziji 20. stoletja ...149 10.3 »Klasično« = »vmesno«? ....................................................................................150 10.4 Analitični primeri .................................................................................................152 10.5 Sklep: klasičnost in slovenska glasbe druge polovice 20. stoletja .....164 11 Pesmi iz mlina Marijana Lipovška – med glasbeno imanenco in zvestobo literarni ideji .....................................................................................167 12 Janez Matičič – slovenski kompozicijsko-pianistični Dioniz ...................179 13 Jakob Jež – velik v malem ...................................................................................183 14 Vloga in kompozicijska obdelava ljudskega gradiva v opusu Lojzeta Lebiča ..........................................................................................................191 14. 1 Uvodne misli .........................................................................................................191 14.2 Analitični primeri .................................................................................................193 14.3 Sklepne pripombe ...............................................................................................197 15 Baltsko-balkanske postmodernistične povezave: glasba Broniusa Kutavičiusa in Velja Tormisa v primerjavi z glasbo Lojzeta Lebiča ........201 15.1 Baltsko-balkanske vzporednice ......................................................................201 15.2 Razkrivanje paralel ..............................................................................................202 15.3 Analiza izbranih del .............................................................................................207 15.4 Zaključne misli ......................................................................................................215 16 Lebičev postmodernizem: nostalgična utopija ali/in utopična nostalgija ...219 17 Globokarjevo »prodajanje« formule: ne-glasba + več-kot-glasba = glasba 229 18 Elektroakustična glasba v Sloveniji nekoč in danes: alternativa ali mainstream? .................................................................................235 Povzetek ..........................................................................................................................245 Summary .........................................................................................................................257 Imensko kazalo .............................................................................................................269 Skice za zgodovino slov. glasbe 20_FINAL.indd 4 12. 03. 2019 12:50:55 Skice za zgodovino slovenske glasbe 20. stoletja Uvod Pričujočo knjigo je treba razumeti kot »work in progress«, od tod tudi naslov Skice. Praktično od začetka svoje muzikološke znanstvene poti se ukvarjam z zgodovino slovenske glasbe 20. stoletja in večina mojih znanstvenih objav je povezana prav z različnimi aspekti sodobne slovenske glasbe. Toda ena izmed značilnosti umetnosti v 20. stoletju je njena mnogoličnost, kar za znanstveni- ka predstavlja precejšnjo metodološko oviro, saj celotnega arzenala glasbe 20. stoletja ni mogoče motriti skozi enotno metodološko lupo. Vzroke za takšno mnogoličnost je sicer mogoče detektirati precej enostavno, povezani pa so z značilnimi prelomi in rezi, ki so zaznamovali 20. stoletje. Tako je v duhovnozgo- dovinskem pogledu 20. stoletje večinoma prekinjalo z osnovnimi potezami, ki so zaznamovale predhodno 19. stoletje, v nekaterih pogledih pa je določene značilnosti še stopnjevalo. To velja predvsem za poudarjen subjektivizem in že- ljo po inovaciji – obe premisi izhajata iz romantične želje po karakterističnem, torej vsakič novem in subjektivno zaznamovanem. Zahteva po novem posta- ne celo eden izmed osrednjih estetskih postulatov modernizma 20. stoletja. Posledično je za 20. stoletje značilen ne samo odmik od tradicionalnih izrazil, ki so še zaznamovala 19. stoletje, temveč tudi zelo hitro menjavanje osnovnih slo- govnih značilnosti in vpeljevanje številnih novih kompozicijskih tehnik. Za ume- tnosti – in med njimi tudi glasbeno – je zato v 20. stoletju značilen hiter tempo slogovnih sprememb (svojskih potez naj ne izkazuje le posamezen skladateljski opus, temveč vsaka posamezna skladba), ki prav zaradi
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