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Engaged and Their Choirmasters Lacked Expertise

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Engaged and Their Choirmasters Lacked Expertise Article received on May 16, 2006 UDC 78.087.68(497.11)”1944/1950” Roksanda Pejović Choirs in Belgrade Music Life in the First Years after World War II (1944-1950) Abstract In the People’s, and later Socialist Republic of Yugoslavia, social life was dictated by politics. The main goal was “to raise the general cultural level of the people” through music. Choral singing which already had a long tradition, was hence regarded as the most useful means for enlightening the masses and bringing music to the masses. The singing of mass and traditional songs was insisted upon; especially the ones with newly added lyrics with a war thematic, while numerous amateur choirs were founded. Key words Cultural-Artistic Societies, mass songs, traditional songs, amateur choirs, War of National Liberation. We were still under the impression of the bombing and the war that still was not over when, on October 20, 1944, Belgrade was liberated from the German occupation. In the people’s and then the socialist republic, social life was dictated by the political leadership. Its beginnings were in cultural centres, adult education centres, cultural and artistic societies and labour actions. Numerous concerts organized by different music institutions were frequently held in Belgrade and its surroundings, in factories, companies, government offices, army barracks, schools, hospitals, on holidays, in the honouring of important guests. The aim was to “raise the general cultural level of the people with music, by creating organizational forms of public music life, by supporting all social measures that raise the musical awareness of the people, but also by indicating to all music creators… the basic and main fundemental problems of their art in the face of the overall task of the cultural policy of our national democracy, which was set by our very new social reality and personified in the brief and clear… tenet of our first five-year economic development plan”.1 1 Pavle Stefanović, Muzičke diskusije u Sovjetskom Savezu, Muzika, 1948, 1, p. 87. 33 It was considered that art should help “the progressive class in its struggle against reactionism, against a class which, fleeing from life and reality, was doomed to failure… to abstraction, mysticism, individualism, pessimism…”, and that “classless, non-partisan art can be realized only though the increasingly comprehensive, increasingly conscious, increasingly passionate party spirit of contemporary progressive art”.2 Since the orientation towards the popularization of literature, art and music was a priority, the thematics and metods of work were predefined, primarily as socialist realism, and models originated mostly from the Soviet Union which, accoding to some, was the source of “everything… that we feel as brotherly familiar, pleasing and most dear, based on the living heart of Slavic brotherly unity”.3 Texts about music written in the first years after the war almost did not differ from political articles of that period in terms of their ideas and language. They resembled manifestos and proclamations and were filled with quotations of statements of eminent politicians, enthusiastic glorifications of the War of National Liberation and the building of the brotherhood and unity of our nations, as well as equally enthusiastic hopes for a better life in the future and the belief that music would become closer to the masses and that the workers will become musically literate. The authors of these texts considered their ideas to be new and “progressive”. In addition to musicians-veterans, such views were also propagated by musicians who had not advocated them in the interwar period: The past activity of our youth in the cultural-artistic field has been lively and fruitful and has yielded many good results. First of all, it has greatly contributed to the involvement of the broad masses of our young people, whose fathers and mothers, living in spiritual darkness in the former anti- people state, were unable to show their children new paths of living and developing. Our present people’s state, a country where the broadest masses 2 Oskar Danon, Uloga savremene muzike u društvu, Muzika, 1948, 1, pp. 5-16. 3 Pavle Stefanović, Delatnost muzičke sekcije Društva za kulturnu saradnju sa SSSR-om, 20. oktobar, July 13, 1945. 34 of people will be enlightened in the future, has put its sad past behind it forever and has eagerly embarked on the road of wholesome progress in all areas of material and spiritual culture.4 Mass and folk songs Choral songs, especially those unrecorded by the critics, played a prominent role in such a cultural climate – they were sung constantly at meetings, conferences, symposiums, events, in primary schools, grammar schools, companies, factories. They were mass and related songs that had arrived with the partisans. Some of them had also been sung previously in Serbian workers’ choral societies, such as Internacionala (The Internationale), Bilećanka (Song from Bileće), Budi se istok i zapad (The East and the West are Rising), Mitrovčanka (Song from Mitrovica)¸ Radnička Marseljeza (Workers’ Marseillaise), Radnička himna (Workers’ Hymn), as well as Anđelić’s songs, including Crvena je krvca (Red is the Blood), and Blobner’s song Zdravo da ste hrabri borci (Greetings, Brave Soldiers). The socialist state favoured mass songs that resounded all across the former Yugoslavia. Songs sungs during the war were not forgotten either and were joined by new ones, whose content referred to the struggle to build up the country. Through mass songs, music lived a full life as occasional art accessible to the masses, since their texts reflected the atmosphere of the epoch of their creation – during the war their subject matter was related to fighting, while in times of peace it was linked with the building of the country and labour actions. Their texts were translated or replaced with new, revolutionary lyrics. They included the following: Budi se istok i zapad, Budućnost je naša (Bez strepnje, bez straha) /The Future Belongs to Us (Without Anxiety, Without Fear)/, Život, mladost (Partizane naše celi svet već zna) /Life, Youth (Our Partisans are Already Known Worldwide)/, Nabrusimo kose /Let Us Sharpen our Scythes/, Padaj silo i nepravdo /May You Be Destroyed, Force and Injustice/, Partizanka (Po šumama i gorama) /Partisan Song (Through Woods and Mountains)/, Partizan sam, tim se dičim /I am a 4 Mihailo Vukdragović, Muzika na festivalima Narodne omladine, Mladi borac, January 1, 1947. 35 Partisan and Proud of I/), Pesma o radu (Drugarska se pesma ori) /Work Song (A Comradely Song is Echoing)/, Republiko majko naša /Oh, Republic, Our Mother/, etc. The characterstics of certain songs display features of their genre. They are solemn, optimistic, with a straightforward expression, catchy, simple, like in a black and white technique. They glorify the struggle, Marshal Tito, the Party, the army and the building up of the country. They are singable, motivated, with an enthusiastic melody of an international character and a frequent characteristic skip to the fourth, fifth and even the octave at the beginning of a composition. The tension of their melodies mounts and culminates in the refrain. They are almost exclusively diatonic, predominantly in keys with a small number of key signatures. They have a marching, strong, energetic and brisk, often dotted, rhythm. They are two-part, with a simple binary or ternary form with variants, sometimes also with an introduction and a coda, and often with piano accompaniment. Not all Belgrade composers had the same attitude towards mass songs. Some composed them, others were even very successful in this genre, while some did not show enough interest in those intermittent compositions. However, the composers who truly believed in the revolution and were communists by political orientation believed that mass songs should be inspired by folk music and understood as “an art form”, so they suggested that the Association of Composers of Serbia, the Department of Composition of the Music Academy, the press, radio, films, etc. should become involved.5 It seems that mass songs should not be treated as artistic. Branko Dragutinović tried to do so and came to the conclusion that the texts to which they were composed were of poor quality, as well as lacking invention, and did not draw from our choral classics and folk music and lacked correspondence between the language and music accents.6 5 Nikola Hercigonјa, Neka zapažanјa o našoj masovnoj pesmi, Književne novine, March 29, 1949. 6 Branko Dragutinović, Takmičenje horova beogradskih kulturno-umetničkih društava, Politika, November 25, 1948. 36 The efforts of certain composers to break the pattern did not significantly raise the artistic quality of the mass songs. Nor could this be achieved by the use of more intense harmonic life in Mihovil Logar’s mass songs, Mihailo Vukdragović’s more complex piano accompaniment, Stanojlo Rajičić’s efforts to retain some elements of interwar youth songs or Milenko Živković’s desire for a less simple compositional writing. Nikola Hercigonja, who had participated in the War for National Liberation, tried to conceive mass songs in various ways – in the spirit of the Russian elegy, in unity with the folk partisan song and in the manner of the standard mass song. Who can still remember Baranović’s Prvomajska (May Day Song), Vukdragović’s Koračnica (March), Živković’s Omladinski poklič (Cry of the Youth), Logar’s Pesma prvom petogodišnjem planu (Song to the First Five-Year Plan), Rajičić’s Marš minera (March of
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