Klasika Skladbe za orkester, 1. del Orchestral Works Vol. 1 Slovenia Klasika CD 2 Skladbe za orkester, 1. del / Orchestral Works Vol. 1 Marijan Lipovšek Slovenia 1. Prva rapsodija za violino in orkester / First Rhapsody for Violin and Orchestra ...... 10:42

CD 1 Lucijan Marija Škerjanc Suita v starem slogu za godalni kvartet in godalni orkester / Anton Lajovic Suite in the Old Style for string quartet and string orchestra 1. Andante za veliki orkester / Andante for large orchestra ...... 8:47 2. Ciaccona ...... 9:09 3. Interludio ...... 2:08 Slavko Osterc 4. Giga ...... 4:51 Suita za orkester / Suite for Orchestra 2. Marcia ...... 2:46 Matija BravniËar 3. Tranquillo ...... 4:32 5. Kurent, simfoniËna pesnitev — poème symphonique / symphonic poem ...... 7:10 4. Vivace ...... 1:27 5. Religioso ...... 5:14 Demetrij Žebre 6. Presto ...... 4:04 Dan, balet (simfoniËna slika) v treh stavkih za veliki orkester / Day, ballet (symphonic picture) in three movements for large orchestra Marjan Kozina 6. Andante ...... 11:10 7. Bela Krajina ...... 12:57 7. Allegro con fuoco ...... 5:48 Primož Ramovš 8. Moderato risoluto ...... 8:14 Sinfonietta Zvonimir CigliË 8. Allegro ...... 4:30 9. Obrežje plesalk, simfoniËna koreografska pesnitev za veliki orkester / 9. Moderato ...... 4:56 Waterfront Dancers, choreographed symphonic poem for large orchestra ...... 15:59 10. Vivace ...... 2:30 11. Allegro molto e con brio ...... 5:39 Dirigenti / Conductors: Uroš Lajovic (CD 1/1; CD 2/2—4), Samo Hubad (CD 1/2—6, 8—11, 12—14; CD 2/1, 6—8, 9), Uroš Krek Marko Munih (CD 1/7), Simon KreËiË (CD 2/5) Sinfonia per archi Solisti / Soloists: Igor Ozim (CD 2/1), Slovenski godalni kvartet / Slovenian String Quartet (CD 2/2—4) 12. Pozivanje / Invocation ...... 5:42 Orkestri / Orchestras: Orkester Slovenske filharmonije / Slovenian Philharmonic Orchestra (CD 1/7), SimfoniËni 13. Prebujenje / Awakening ...... 7:22 orkester RTV Slovenija / RTV Slovenia Symphony Orchestra (CD 1/1, 2—6, 8-11; CD 2/1, 5, 6—8, 9), Godalni orkester 14. Odziv / Return ...... 5:30 RTV Ljubljana / RTV Ljubljana String Orchestra (CD 1/12—14), Komorni orkester RTV Ljubljana / RTV Ljubljana Chamber Orchestra (CD 2/2—4)

2 3 Približevanje presežnemu ali antologiji slovenske orkestrske glasbe na pot riËujoËa prva izdaja SIGIC-a z izborom slovenske orkestrske glasbe je zaËetek ambicioznega naËrta Ppredstavitve kljuËnih del slovenske umetniške glasbe. Naslov Klasika, ki smo ji ga nadeli, morda izraža prej zadrego kot zares jasno zvrstno opredelitev. Pojem je bil že tolikokrat uporabljen in zlorabljen, da s seboj nosi že kar pretežko prtljago pomenov in vrednostnih konotacij. RazliËnim uporabnikom iz danes kulturno raztrešËenega vsakdanjika bi lahko pošiljal zelo razliËna sporoËila. Mnogim, ki so z glasbo v stiku predvsem preko sodobnih medijev in tržnih sistemov, bi lahko pomenil tisti drobni, vËasih povsem odsotni rezervat, v katerem se skriva umetniška glasba in ki se ga iz gole uvidevnosti ne oznaËuje z ustreznim nasprotjem oznake ≈popularna glasba« — torej ≈nepopularna glasba«.

Oznaka ≈klasika« pa sugerira tudi drug pomen. Spominja na podobne besedne zveze, s katerimi oznaËujemo izdelke neke pretekle, odmrle kulture, ki imajo svojo — predvsem muzejsko — vrednost kot zgledi Ëlovekove ustvarjalnosti in smisla za oblikovanje notranje zaokroženih in smiselnih estetskih sistemov. Spomnimo se na ≈klasiËne jezike«, ≈klasiËno umetnost« (tj. antiËno umetnost), literarne klasike ipd. V vseh teh primerih se prepriËanju o preživetosti te umetnosti pridružuje sprejemanje dejstva, da je njihova ≈klasiËnost« posledica delovanja, in sicer v primeru glasbe delovanja generacij oblikovalcev koncertnih sporedov, glasbenih kritikov in muzikologov, ki so izoblikovali arbitraren, a skozi tradicijo utrjen skupek glasbenih del, nekakšen ≈kánon« glasbenih del (vzporednice z biblicistiËno terminologijo niso nakljuËne).

Želimo, da se našo oznako tu razume na drugaËen naËin. OznaËuje nam namreË glasbo, katere prvorazrednost (osnovni pomen pojma classique, kot se je vzpostavil v Franciji v 17. stoletju) ne izhaja iz števila njenih poslušalcev ali stopnje, do katere jo zlorabljajo družbene elite za svojo samopromocijo. Njena prvorazrednost izhaja iz stopnje doseganja skrajnih meja Ëlovekovih sposobnosti pri oblikovanju zvoËnih stvaritev. Njeno merilo je približevanje presežnemu, njen cilj je v neznanem, ne v znanem, v oddaljenosti, ne dosegljivosti, v skrajnem naporu, ne v udobnosti. Njen namen ni hitro in brez truda zadovoljiti Ëlovekovo vrojeno težnjo po glasbenem izrazu, ampak izzivati Ëloveški um, da vedno znova in nanovo konceptualizira doživljanje svojega notranjega in zunanjega sveta v zvoËnih podobah.

Njeno orodje so vsi registri zvoËnega sveta, v vsej svoji kompleksnosti, barvitosti in skoraj nedoumljivi diferenciranosti. »e si sposodimo primerjavo s sodobno komunikacijsko tehnologijo: to je glasba, ki

4 5 je podobna slikam visoke loËljivosti, z milijoni pikslov in barvnih odtenkov. Vredno jo je ustvarjati, kljub zato odloËili, da na prvem albumu najprej predstavimo krajše orkestrske skladbe. Te se iz veË razlogov temu da tvegamo, da bomo zaradi premajhne pasovne širine zadeli ob težave pri njenem prenosu. zdijo najprimernejše za prvi, široki pregled slovenskega ustvarjanja za orkester. Najprej so oblikovno KlasiËna glasba je tista, ki poslušalcu ne streže po maniri industrijske dobe s ceneno funkcionalnostjo, manj preddoloËene, tako da med njimi najdemo tako dela programske glasbe kot tudi skladbe, ki so ampak ga preplavlja z begajoËimi slušnimi vtisi ter s tem izziva, da vedno znova išËe poti do roba svoje bliže absolutni glasbi. Na drugi strani jih je mogoËe zaradi razmeroma skromne dolžine predstaviti v domišljije in umskih sposobnosti. Zato nikoli ne zastara in ni le dokument neke mrtve kulture. Za vedno celoti, hkrati pa še vedno omogoËajo dovolj širok kronološki pogled, ki zajema veË desetletij orkestrske nove generacije poslušalcev, ki so se pripravljeni in sposobni odpraviti na to pot, je neraziskana dežela, ustvarjalnosti. polna nepriËakovanih Ëudes. To se zdi še toliko pomembnejše, Ëe upoštevamo bogastvo in raznovrstnost slovenske glasbe 20. Orkestrska glasba se je kot žanr izoblikovala predvsem v drugi polovici 18. in v 19. stoletju. V sebi stoletja. V njej so se namreË na svojstven naËin zrcalile stilne spremembe burnega 20. stoletja. Izbor je združila dve zgodovinski tendenci. Na eni strani je podedovala blišË in reprezentativnost baroËne tako sega od tipajoËega iskanja znaËilno slovenskega instrumentalnega izraza na zaËetku stoletja in dvorne opere ter postala temelj koncerta, osrednje oblike javnega izvajanja umetniške glasbe v zadnjih sega preko radikalnih novosti nove glasbe dvajsetih in tridesetih let, travmatiËnega Ëasa po 2. svetovni dobrih dveh stoletjih. Na drugi strani je vsrkala precej intelektualne zahtevnosti vzporedno razvijajoËe vojni, ki je prinesel razliËne odzive na pretekle in sodobne grozote, do nove samozavesti glasbenega se komorne glasbe ter s tem ponudila poslušalcu dovolj gradiva za estetsko kontemplacijo. Njen razvoj modernizma. se je do danes odvijal predvsem v napetostnem polju med absolutno glasbo, ki gradi Ëiste forme, brez Prvo vodilo pri sestavljanju antologije je bilo, da mora predstaviti estetsko najbolj prepriËljive skladbe povezav z zunajglasbenimi koncepti, in programsko glasbo, ki tako ali drugaËe išËe poti za izražanje v primerni izvedbi. Pri tem smo se morali snovalci seveda ozirati tudi na dostopnost ustreznih izvedb vsebin, povezanih s fizikalno in psihološko realnostjo. in fonogramov. Žal je bilo gradivo v nekaterih primerih precej omejujoËe, tako da nam je le v zelo Rezultat je velika pestrost orkestrske glasbe v oblikovnem pogledu. Simfonijam in uverturam 18. omejenem obsegu uspelo uresniËiti željo, da bi se ob ustvarjalcih predstavili tudi najpomembnejši stoletja so se skozi desetletja pridružile številne nove in ponovno oživljene oblike: simfoniËna pesnitev, slovenski poustvarjalci orkestrske glasbe. PrepriËani smo, da bo mogoËe to našo željo v še polnejši suita, simfoniËna miniatura, simfoniËna slika ipd. S to vsebinsko in oblikovno pestrostjo se nujno sreËa meri uresniËiti v sledeËih albumih slovenske Klasike. vsak poskus predstavitve neke zakljuËene orkestrske ustvarjalnosti. Slovenska pri tem ni izjema. dr. Aleš Nagode, Prva težava pri oblikovanju izbora skladb za priËujoËi cvetober je bila, kako omejiti ≈slovensko« predavatelj na Oddelku za muzikologijo Filozofske fakultete v Ljubljani, Ëlan izbirne komisije za ustvarjalnost v Ëasu, ko se je nacionalni kulturni in institucionalni okvir šele oblikoval. Pri tem smo se kompilacijo Klasika Slovenia opredelili za Ëas, ko se je slovenska glasbena kultura — nenazadnje zaradi široko izoblikovane in utrjene zavesti posameznih ustvarjalcev o pripadnosti slovenski kulturni naciji — že jasno profilirala. Segli smo do zaËetka 20. stoletja, ko se je skupina skladateljev, zbrana okrog revije Novi akordi, jasno opredelila za idejo nacionalne glasbe.

DoloËene oblike orkestrske glasbe je izredno težko primerno predstaviti v okviru antologije. Zlasti najpomembnejša, simfoniËna dela se zaradi dolžine izmikajo ustrezni predstaviti v danem formatu (CD plošËa). Sodelavci prvega albuma širše zasnovane antologije slovenske orkestrske glasbe smo se

6 7 The Propinquity to Excellence or ‘Bon voyage’ to an anthology Its tools are all the registers of the sound of the world in all their complexity, color and almost of Slovenian orchestral music incomprehensible differentiation. To make a comparison with modern communication technology: this is music which is similar to high-resolution images with millions of pixels and shades of color. It is worth he present release by SIGIC, the first to present a selection of Slovenian orchestral music, is making, despite the fact that, because of our lack of bandwidth, we risk running into difficulties in its Tthe beginning of an ambitious plan to introduce key works of Slovenian classical music. The title transmission. Classical music is that which does not serve listeners in an industrialized manner with Klasika perhaps expresses uneasiness rather than a truly clear definition of genre. The concept has cheap functionality, but instead floods them with bewildering sonic impressions, challenging them to already been used and misused so often that the baggage it carries with it is rather laden with various constantly seek a path to the edge of their imagination and mental abilities. This is why it never grows meanings and connotations, possibly sending very different messages to different listeners in today’s old and is not merely a document of some dead culture. For every new generation of listeners willing culturally fragmented everyday life. To many who connect with music primarily via modern media and and able to set off on this path, it is an undiscovered land full of unexpected wonders. marketing systems, it could refer to that insignificant, sometimes almost non-existent reserve in which classical music hides and which, purely due to the insight it demands, does not identify with its relevant As a genre, orchestral music took shape mainly in the second half of the 18th and in the opposite designation “popular music” — in other words “unpopular music.” 19th centuries. It combined two historical tendencies: the genre inherited the splendor and representativeness of Baroque court opera, which became the basis for the concert experience, the The label “classical” also suggests another meaning. It is reminiscent of similar words and phrases primary form of the public performance of art music in the last two centuries; meanwhile, it absorbed used to denote a product of some kind of bygone, dead cultures that have their own, primarily much of the intellectual complexity of chamber music, which was evolving at the same time, thus museum-worthy value as examples of human invention and the capacity to create internally balanced offering the listener enough material for aesthetic contemplation. Its development has continued and meaningful aesthetic systems. One thinks of Classical languages, Classical art (i.e. art from through to the present day, especially in the tension-filled space between absolute music built upon antiquity), literary classics, etc. In all these cases, a belief in the persistent timelessness of these arts is pure forms, with no connections with extra-musical concepts, and program music which in one way or tied to the acceptance of the fact that their classicism is a consequence of labor; in the case of music, another seeks ways to express content connected with physical and psychological reality. this means the labor of generations of concert programmers, music critics and musicologists who created an arbitrary yet, through tradition, a dependable collection of pieces, some kind of canon of In terms of form, the result is a large variety of orchestral music. In addition to the symphonies and musical works (parallels with Biblical terminology are not accidental). overtures of the 18th century, through the decades a number of new and revitalized forms appeared: the symphonic poem, suite, symphonic miniature, symphonic picture and others. Any attempt to present We would like the title of our CD to be understood in a different way. To us, it designates music whose some kind of complete artistry of orchestral composition faces this varied content and formal diversity. excellence (its ‘first-classness’, the basic meaning of the termclassique as established in France in the Slovenian efforts are no exception to this. 17th century) does not derive from the number of its listeners or the degree to which it is abused by the social elite for self-promotion. Its excellence derives from the level of achievement at the extreme The first challenge in selecting pieces for the present anthology was how to limit Slovenian creative limits of the human ability to devise sonic creations. Its measure is its propinquity to greatness; its achievements at a time when the national cultural and institutional framework was just being formed. In objective lies in the unknown, not in the known; in its remoteness, not in its accessibility; in extreme doing so, we settled on a period when Slovenian musical culture — not least owing to the broad-minded effort, not in comfort. Its intention is not to quickly and effortlessly satisfy the inherent human tendency yet firm convictions of the individual artists concerning their affiliation with Slovenian cultural identity — to make music, but to challenge the mind, so that it may conceptualize the experience of our inner and had finally acquired a distinct profile. We arrived at the early 20th century, when a group of composers outer worlds in sound again and again. gathered around the periodical Novi akordi / New Chords clearly defined an idea of national music.

8 9 Certain forms of orchestral music are extremely difficult to represent appropriately within the scope of Slovenska simfoniËna glasba v 20. stoletju such a collection. In particular, the most important symphonic works cannot be presented in the current medium (CD) because of their length. So the selection committee of this broadly conceived anthology a razvoj posameznih glasbenih žanrov je v veliki meri odloËilna razvita glasbena infrastruktura, ki of Slovenian orchestral music decided that this first volume should present shorter orchestral works. ZomogoËa dejavno preverjanje skladateljskega glasbenega mišljenja in zvoËnih zamisli. Takšno For several reasons, this seemed to be the most appropriate way to take a broad first look at Slovenian razmerje na poseben naËin osvetljuje tudi zgodovina slovenske glasbe. music for orchestra. For one thing, they are less formally predetermined, so listeners can find among them examples of program music as well as pieces which are closer to absolute music. On the other ZaËetki orkestrske glasbe na Slovenskem hand, due to the relatively modest durations involved, it is possible to present them in their entirety, Na Slovenskem lahko zaËetke kontinuiranega razvoja simfoniËne ustvarjalnosti odkrijemo razmeroma while at the same time still making it possible to have a broad chronological view that covers many pozno: Ëeprav so posamezne skladbe nastajale že prej (baroËni Balletti in inštrumentalne Sonate decades of orchestral creativity. Janeza Krstnika Dolarja, klasicistiËni Simfonija in Serenada naturaliziranega Leopolda Ferdinanda This seems all the more important considering the richness and diversity of Slovenian music in the Schwerdta, simfoniËna dela Franca Benedikta Dussika, ki je nekaj let deloval na slovenskem ozemlju), 20th century, as it uniquely mirrors the stylistic changes that occurred during these turbulent years. pa tehtnejša dela najdemo šele v opusih slovenskih skladateljev 20. stoletja (Fran GerbiË napiše prvo The selection ranges from the tentative search for a distinctive Slovenian instrumental medium of slovensko ≈romantiËno« simfonijo, Lovsko simfonijo, leta 1915). Ob tem je tem bolj nenavadno, da expression at the beginning of the century, extending beyond the radical originality of the new music of slovensko ozemlje vsaj na institucionalni ravni v teh pogledih ni zaostajalo: v popisu muzikalij, inventarju the nineteen-twenties and thirties to the traumatic era following the Second World War, which resulted ljubljanske stolnice iz leta 1620, se znajde tudi operna partitura (G. Caccini, L’Euridice), kar kaže in different responses to horrors past and present, to the new self confidence of musical modernism. na zgodnje zanimanje za gledališko umetnost, Ljubljano obiskujejo italijanske in nato tudi nemške potujoËe operne družine, ki domaËe obËinstvo postopno seznanjajo z osrednjim glasbeno-gledališkim The first guiding principle in compiling this anthology was that it should present the most aesthetically repertoarjem, ki je kraljeval v evropskih metropolah, še pomembnejše pa je to, da je bila že leta 1701 v convincing pieces in committed performances. Of course, in doing so, we had to take into consideration Ljubljani po zgledu podobnih italijanskih akademij ustanovljena Academia Philharmonicorum, ki kmalu the availability of relevant performances and recordings. Unfortunately, the material was in some cases zaËne skrbeti za glasbene izvedbe. Potem ko je sredi stoletja sapa novemu združenju pošla, so štirje quite limited, so only to a very limited extent have we succeeded in realizing our desire to also present glasbeni ljubitelji ob koncu stoletja ustanovili Philharmonische Gesellschaft (FilharmoniËna družba, the most important Slovenian performing artists of orchestral music. We are confident that we will be 1794), ki je združila najboljše glasbenike iz vrst diletantov, Ëlanov stolne kapele in mešËanske godbe able to realize this more fully in future compilations of Slovenian Klasika. in je že istega leta štela dvajset Ëlanov ter skrbela za simfoniËno glasbo. Sprva so se družbi prikljuËili domaËi intelektualci, trgovci in premožnejši obrtniki, kasneje pa jo je zaËelo priznavati tudi domaËe Aleš Nagode, PhD, plemstvo in duhovšËina. Seveda se je takšna socialna struktura moËno odražala na pretežno nemški lecturer at the Department of Musicology at the Ljubljana Faculty of Arts and member of the selection usmeritvi družbe, zato pravih impulzov za razvoj slovenske simfoniËne tvornosti sprva ni dala. committee for the anthology Klasika Slovenia. Sredi 19. stoletja, v Ëasu družbeno revolucionarnih viher in ≈vstaje« narodov, ki so dotlej veljali za ≈nezgodovinske«, se je moËno spremenila funkcija glasbe, ki je postala eden izmed osrednjih nacionalnih identifikacijskih faktorjev. V ospredje so stopili predvsem tisti glasbeni žanri, ki so

10 11 neposredno poudarjali nacionalne idiome, posebno vse oblike vokalne glasbe, v kateri sta nacionalno prepriËanja so vodila do misli, da se je treba popolnoma ogniti nemškim zgledom (v izjavljanju takšne pripadnost z vso moËjo potrjevala besedilo in domaËi, nacionalni jezik. NacionalistiËna prebuja tako ideologije je po prvi svetovni vojni prednjaËil skladatelj Anton Lajovic), kar je negativno vplivalo na razvoj najprej odmeva v obliki nastajanja pevskih društev, Ëitalniških prireditev in nato tudi v gledališkem delu, simfoniËne glasbe — prav slednja je namreË preko osrednjih simfonikov dunajskega klasicizma (W. A. ki je v 19. stoletju še tesno povezano z glasbenim: opera je imela prednost pred simfoniËnim. Posebna Mozart, J. Haydn, L. van Beethoven), zgodnjih (R. Schumann, F. Schubert, F. Mendelssohn Bartholdy) in socialna struktura slovenskega življa — maloštevilno plemstvo in poËasi prebujajoËe se izobraženo poznih romantikov (J. Brahms, A. Bruckner, G. Mahler) glavna domena nemške glasbe. Stavba, v kateri je mešËanstvo — se je odražala v skladateljskem delu: veËina slovenskih skladateljev 19. stoletja, avtorjev domovala nemška FilharmoniËna družba, je bila ≈nacionalizirana«, a v njej dolgo ni donela glasba, poizkusi znamenitih vokalnih del, ki so v mnogih primerih tudi ponarodela, so glasbeni amaterji (J. Fleišman, vzpostavljanja simfoniËnega izvajalskega telesa so bili zaporedoma obsojeni na neuspeh (Glasbena M. Vilhar, J. Aljaž) ali pa so prvenstveno zavezani kakemu drugemu poklicu, kot to velja za celotno matica je ustanovila amatersko Orkestralno društvo, deloma je za simfoniËno glasbo skrbel Vojaški skladateljsko-zdravniško družino Ipavcev in številne skladatelje-pravnike (V. Parma, G. Krek, A. Lajovic). orkester Dravske divizije, leta 1934 je bila ustanovljena Ljubljanska filharmonija). Pravo odrešitev je Zato ni Ëudno, da veËji instrumentalni sestavi, ki terjajo višje glasbeniške spretnosti, in domaËa literatura prinesel šele konec druge svetovne vojne in po njej v novi državi vzpostavitev širokega kulturnega okolja, zanje nastajajo kasneje, v Ëasu, ki bi ga že lahko oznaËili za obdobje profesionalizacije slovenskega v katero sta bili v povezavi s simfoniËno glasbo vpeti ustanovitvi Orkestra Slovenske filharmonije glasbenega življenja in je sledilo nastanku prvih glasbenih institucij (DramatiËnemu društvu in Glasbeni (1947) in SimfoniËnega orkestra RTV Slovenija (1955). Danes delujejo v dvomilijonski državi matici z njeno šolo) ter se je dokonËno izvršilo v prvi polovici 20. stoletja. kar štirje profesionalni simfoniËni orkestri (še orkestra Opere v Ljubljani in Mariboru), kar je glede na prebivalstvo zavidljiva številka. V razmeroma kratkem obdobju stotih let je simfoniËno ≈pušËavo« torej Prve zametke želje po formiranju domaËega simfoniËnega izvajalskega telesa lahko ugledamo v zamenjalo orkestrsko izobilje, in takšna sprememba moËno odmeva tudi v kvantiteti in kvaliteti slovenskih Ljubljanski društveni godbi, ki se je formirala leta 1900. Godba ni doživela veËjega vzpona, a je simfoniËnih del, nastalih po letu 1945. predstavljala osnovo, iz katere se je leta 1908 izvila Slovenska filharmonija, samostojno simfoniËno telo (orkester je sicer štel le 32 Ëlanov), ki ga je v letih 1909—1912 vodil sloviti Ëeški dirigent Václav Talich. Profesionalizacija slovenskega glasbenega življenja je sovpadla z obdobjem glasbene moderne v Talich je pripomogel k tehniËni in umetniški rasti sestava, sporedi orkestra pa so bili po svoji zasnovi zahodni Evropi: do sprememb je prišlo postopoma tako v glasbeni tehniki kot tudi estetiki, pri Ëemer je moËno podobni koncertom nemške FilharmoniËne družbe, s katero so domaËi glasbeniki oËitno želeli imela najbolj daljnosežno vlogo ≈osvobojena« harmonija, ki so jo napovedale lebdeËe akordske zveze tekmovati. Ko je moral Talich zaradi spletk zapustiti to pozicijo (pot ga je nato vodila najprej v Plze , od Wagnerjeve glasbene drame Tristan in Izolda; harmonija je bila vse manj v funkciji melodiËnih vzgibov leta 1918 naprej pa je v Pragi vodil orkester »eške filharmonije, ki ga je prav v tem Ëasu utrdil kot in je vse bolj postajala emancipirano polje skladateljske invencije. Prevladovale so ≈velike« zvrsti, kot enega najboljših na svetu), je zaËela dejavnost orkestra slabeti, ostalo pa je postorila vojna. so opera, oratorij in simfonija, medtem ko je bil slovenski prostor veËinoma še vedno zamejen pretežno na vokalno glasbo. Takšno situacijo je želel spremeniti Gojmir Krek (1875—1942), ki je na Dunaju Konec prve svetovne vojne je z vkljuËitvijo slovenskega ozemlja v Kraljevino Srbov, Hrvatov in Slovencev urejal revijo Novi akordi (1901—1914). Kot široko razgledan intelektualec se je zavedal, da s tradicijo prinesel navidezno odrešitev iz dolgoletnih nacionalnih spon habsburškega imperija. Z rahljanjem ni mogoËe prekiniti, vendar si je želel vzpostaviti vez tudi s sodobnejšimi evropskimi tokovi, kakršne je nacionalnih ideoloških temeljev in z izgubo navideznega tekmeca in konkurenta, nemške kulture, spoznaval na Dunaju, in se je zavzemal za razvoj inštrumentalne glasbe. Novi akordi so odprli vrata mladi je zaËetni zagon po potrjevanju lastne kulturne identitete dokaj hitro upadel, hkrati pa se je zasejal slovenski generaciji skladateljev, ki se je izobraževala v tujini in tako stopala v aktiven kontakt z aktualno znaËilni dvom, iz Ëesa naj poslej raste tipika domaËe kulture. »e se je ta prej potrjevala na ta naËin, glasbeno moderno. Risto Savin (s pravim imenom Friderik Širca, 1858—1948) je kot vojaški Ëastnik da se je skušala postaviti ob bok tekmecu ali ga celo ≈prehiteti«, se je zdaj spraševalo, ali ni morda prepotoval velik del Evrope, kompozicijsko pa se je izpopolnjeval v Pragi in na Dunaju, kjer je študiral tudi treba poiskati povsem nove, lastne kulturne temelje, neodvisne od zahodnoevropskih zgledov. Skrajna Anton Lajovic, medtem ko se je Emil AdamiË (1877—1936) šolal na konservatoriju v Trstu.

12 13 ≈Klasiki« slovenske orkestrske glasbe 20. stoletja Kljub temu da sta se Kogoj in Osterc spogledovala z novo glasbo, je v istem Ëasu na Slovenskem Omenjeni skladatelji so se slogovno približali glasbeni moderni — torej širše razvejani kromatiËni harmoniji ustvarjala vrsta skladateljev, ki so s svojo dobro izobrazbo in obvladovanjem kompozicijske tehnike in bolj gosti, polifoni teksturi, med zvrstmi pa je pred širokopoteznimi formami še vedno imela prednost utrdili tradicionalni glasbeni izraz. Ob ambicioznih simfonijah in simfoniËnih pesnitvah Blaža ArniËa romantiËna miniatura, predvsem samospev. Vse to velja za Antona Lajovica (1878—1960), ki je v svojem (1901—1970) ­­ter Lucijana Marije Škerjanca, tudi krajša orkestrska dela Demetrija Žebreta publicistiËnem pisanju ostro napadel zgledovanje pri veliki nemški glasbeni tradiciji, a je sam svoj glasbeni (1912—1970) priËajo o poznem razcvetu glasbene moderne in impresionistiËne barvitosti. Žebre, sicer stavek vendarle zgradil na impulzih, ki jih je na Dunaju prejel prvenstveno iz rok ≈nemških« skladateljev: OsterËev uËenec, ki se je prav tako podal v Prago, ni sledil uËiteljevi poti v novo stvarnost. Bolj ga je v LajovËevih delih odmeva glasba H. Wolfa, G. Mahlerja, R. Straussa, J. Marxa, zgodnjega A. von privlaËevala barvitost velikega simfoniËnega orkestra, celo bližina z impresionizmom — ob Žebretovem Zemlinskega in F. Schrekerja. Podobna zavezanost predvsem liriËnemu, obËutljivemu delu s harmonskimi orkestrskem Prebujenju tako hitro pomislimo na Debussyjev slavni Preludij k favnovemu popoldnevu, detajli in motiviËnimi okruški, ki nimajo prave simfoniËne, torej razvojne teže, je znaËilna za skladateljeva medtem ko Bacchanale s svojo razsežnostjo in virtuoznim obvladovanjem orkestracije prinaša celo nekaj zgodnja orkestrska dela, zasnovana še v Ëasu študija na Dunaju na prehodu stoletij (1899—1902). okusa po Ravelovih partiturah. Žebre se izogiba hladni objektivnosti nove stvarnosti tudi v oËitni želji po Skladbe Adagio, Andante in Capriccio je skladatelj kasneje objavil pod skupnim naslovom Pesmi mladosti, dramatiËnem in pripovednem — Bacchanale je v resnici simfoniËna slika Dan (partitura je bila najdena pri Ëemer izbrani naslov ne oznaËuje le zgodnjega nastanka, temveË tudi znaËilno liriËno, skoraj ≈pevsko« v zapušËini in najbrž ji je bil naknadni naslov pripisan napaËno), ki naj bi nastala med letoma 1936 in noto, zaradi katere je Lajovic kasneje skoraj popolnoma zanemaril simfoniËno glasbo in dosegel najveËje 1938 in nosi podnaslov Balet v treh stavkih za veliki orkester. ZnaËilna je simetriËna tristavËnost, v kateri uspehe v samospevih in zborih. V vseh treh primerih gre za kratke žanrske miniature, ki se spogledujejo s poËasnejša stavka (Andante, Moderato risoluto) uokvirjata hitrejšega (Allegro con fuoco). klasiËno pesemsko tridelnostjo in se zde kot poznoromantiËne inštrumentirane pesmi brez besed. Osterc in Kogoj sta pustila pomembne sledi v ustvarjanju naslednje generacije slovenskih skladateljev, OdloËneje sta popkovino s tradicionalnim glasbenim ≈jezikom« prerezala Marij Kogoj (1895—1956) in posebej Osterc, ki je po povratku v Ljubljano pouËeval do svoje smrti na ljubljanskem konservatoriju Slavko Osterc. Kogoj se je šolal na Dunaju, kjer je poleg najvidnejših del glasbene moderne spoznal in poznejši Glasbeni akademiji. Toda zaËeto skladateljsko delo ter slogovno in estetsko izenaËevanje tudi Schönbergovo kompozicijsko šolo in Ëetrttonski harmonij. Sprva je sicer še sledil razviti harmoniji, z zahodno Evropo je prekinila druga svetovna vojna in v prvih letih po osvoboditvi delo Kogoja in ki ostaja narahlo povezana s tonalnim središËem, kasneje pa je vse bolj zaupal logiki notranje zavesti Osterca ni imelo pravega odmeva, temveË je poudarjeno iskalo stik s poznoromantiËnim izroËilom in ekspresije. Svoj višek je dosegel leta 1927 z uglasbitvijo opere »rne maske, ki s svojim nenavadnim starejše generacije, kar gre v doloËeni meri povezovati tudi z novo politiËno ureditvijo. Preko te je senca simbolistiËnim libretom razkriva bistvo skladateljevih osebnostnih težav (problem identifikacije in porekla). socialistiËnega realizma namreË kapnila tudi na slovenska tla. Seveda v svojem jarmu niti približno ni Kogoj pa z izjemo suite »e se pleše ni zapustil simfoniËnega dela. Zanimivo je, da se prav v tem delu bila tako moËna kot v delih vzhodnega bloka in ni dejavneje posegala v glasbeno življenje, temveË se je iz leta 1927 kažejo jasne slogovne spremembe, premik k bolj objektivni novi stvarnosti, kar lahko zadovoljila z dejstvom, da so vodilni skladatelji nadaljevali s tradicijo razširjenega tonalno-funkcijskega razumemo tudi kot reakcijo na delo Slavka Osterca (1895—1941), ki se je prav tedaj vrnil v Ljubljano ≈jezika« glasbene moderne in da so bili osebno izrazito nezaupljivi do novejših kompozicijskih tehnik. iz Prage, kjer je študiral kompozicijo. OsterËev glasbeni stavek je po praški izkušnji pregleden, zasnovan Zaradi tega ostaja precej nejasno, ali je moËno zagledanost v romantiËni subjektivizem sploh mogoËe po neoklasicistiËnih zgledih, vendar skladateljevo parodiranje in potujevanje ni toliko usmerjeno v enoznaËno povezati s socialistiËnim realizmom ali pa je bilo morda navezovanje na tradicionalne poudarjeno motiviËno delo in periodiËno oblikovanost klasicizma, temveË se napaja pri baroËni motoriki in glasbene vzorce bolj posledica osebnih estetskih nagnjenj vodilnih usmerjevalcev slovenskega polifonem vodenju glasov. Vse to se lepo zrcali v skladateljevi Suiti za orkester (1929), ki v nizu stavkov povojnega glasbenega življenja. prinaša stilizirana obËutja in obrise preteklih žanrskih obrazcev (intradna koraËnica, ekspresivna molitev, Lucijan Marija Škerjanc (1900—1973) je sprva ustvarjal glasbene miniature (samospev, klavirske neobaroËna žiga). skladbe), kar je tipiËna oblika 19. stoletja, nato se je dokazal tudi s številnimi simfoniËnimi deli.

14 15 V slogovnem pogledu Suita v starem slogu ne sodi med najznaËilnejša ŠkerjanËeva dela, saj se v njej Za nadaljnji razvoj slovenske glasbe je pomembno, da so imeli Škerjanc, ArniË in Kozina pomembno prepletata tako neoklasicizem kot poznoromantiËni izraz: v zaporedju stavkov naniza skladatelj baroËno vlogo tudi kot glasbeni pedagogi in vodje osrednjih slovenskih glasbenih institucij, zaradi Ëesar so Ciaccono, Interludij in Gigo, tudi osnovna ideja dialoga med solistiËnim godalnim kvartetom (concertino) imeli velik vpliv na slovensko glasbeno kulturo, kar se je izrazito pokazalo na zaËetku petdesetih let, in preostalim godalnim korpusom (tutti) je povzeta po baroËni obliki concerto grosso. Vendar vnese ko so trije skladatelji istega leta (1951) dovršili svoje prve mojstrovine — Marijan Lipovšek Drugo v neobaroËno strukturo skladatelj tudi romantiËno ≈potujitev«; medtem ko se zdi kompozicijski stavek suito za godala, Primož Ramovš Sinfonietto in Dane Škerl (1931—2002) Serenado za godala, godalnega orkestra oblikovan v ≈starem slogu«, prinašajo solisti znaËilne poudarjeno izrazne melodiËne podobne poteze pa zaznamujejo tudi Sonatino za godala (1956) Uroša Kreka. Prav Sinfonietta linije. Skladba, ki je nastala leta 1928, nosi še eno pomembno potezo: v zasedbi — ansambelska in Primoža Ramovša (1922—1999) sodi med najpogosteje izvajana slovenska simfoniËna dela. solistiËna godala — najbrž odmevajo tudi domaËe ≈infrastrukturne« zagate, to je odsotnost pravega Zaznamuje jo neoklasicistiËna oblika in hindemithovski tip napetostne harmonije, toda simfoniËni ciklus orkestrskega telesa. kljub tem slogovnim zgledom diha tudi skladateljev prav posebni zrak: to se kaže v številnih ostrih dinamiËnih kontrastih, ki postanejo v Ramovševih modernistiËnih zvoËnih kompozicijah še oËitnejši, Marjan Kozina (1907—1966) se je v zgodovino slovenske glasbe zapisal predvsem s Simfonijo in v atmosferskem sopostavljanju raznolikega — uvodnemu neoklasicistiËnemu briu sledi pastoralno (1949), ki je sestavljena iz štirih simfoniËnih pesnitev, vsebinsko povezanih z vojnimi vihrami. Medtem ko zasanjani poËasni stavek, ki daje veliko priložnosti izstopajoËim melodiËnim linijam v pihalih. prvi stavek, Ilova gora, slika bitko in je stavek Padli zamišljen kot simfoniËni epitaf, finale z naslovomProti morju pa kot nekakšna politiËno-socialna apoteoza, je simfoniËni scherzo Bela Krajina v svojem hitrem Marijan Lipovšek (1910—1995) je po drugi svetovni vojni neoklasicistiËne vplive razširil z Bartókovim tempu zasnovan bolj abstraktno simfoniËno — jasne vsebinske premise vanj vdirajo zgolj preko obdelave tipom folklorizma, v katerem folklorno gradivo ni veË eksotiËni dodatek, temveË material, ki je trdno folklornega gradiva (Došel je došel zeleni Jure, Igraj kolce). V izrazitem povezovanju nacionalne vsebine spet z umetno kompozicijsko tehniko. To še posebej velja za skladateljevo Prvo rapsodijo za violino in svetovnonazorskih idej s tradicionalnim glasbenim stavkom lahko v patetiki simfoniËnega finala jasno in orkester (1955), v kateri je osnovno gradivo povzeto po ljudskem materialu (uporabljene so pesmi uzremo tudi podtone socialistiËnega realizma. Toda zazrtost omenjenih skladateljev v preteklost je Vsi so venci bejli, Vün je süša, Zakaj se ti deËva vdaš, Dolenjski furmani), vendar je hkrati podvrženo mogoËe opraviËiti z dejstvom, da je bila simfoniËna glasba vse do tistega trenutka precej podhranjena in stalnemu variacijskemu delu, zato v glasbenem toku materialnih virov skoraj ni mogoËe prepoznati. da so torej L. M. Škerjanc, B. ArniË in M. Kozina zapolnili ≈izpraznjeni« prostor. Podobno je slogovno širil šolske neoklasicistiËne vzore Uroš Krek (1922—2008). Posebej gosta Po vojni so nekateri skladatelji bistveno spremenili svoj slog. Tak preskok zasledimo v opusu Danila postane pri naštevanju vplivov in prevzetih impulzov skladateljeva Sinfonia per archi iz leta 1973: Švare (1902—1981), ki je pred vojno zavezan ekspresionizmu, po njej pa se navezuje na Bartókov tip nekaj odsekov se spogleduje z aleatoriko, gosta akordika mestoma spominja na clustrske harmonije, prefunkcionaliziranega folklorizma (Sinfonia da camera in modo istriano, 1957) in se s po veristiËnih ob zaËetnem osredišËanju na en sam ton bi smeli pomisliti celo na G. Scelsija. Toda ob boku teh zgledih ukrojeno opero Slovo od mladosti (1952) preko tematiziranja življenja pesnika Franceta Prešerna modernistiËnih impulzov najdemo tudi nekatere povsem tradicionalne postopke: Krek ostaja zavezan bliža celo ideji nacionalne opere. Zelo podobno pot od ekspresionizma k folklori ubere predvojni Kogojev motiviËnemu delu, preko motiviËnih reminiscenc in tonske osredišËenosti (v vseh stavkih ima centralno uËenec Matija BravniËar (1897—1977), ki je kasneje študiral še pri Ostercu, zato njegova dela vlogo ton e) je delo zasnovano kot tipiËni ciklus, stavki nosijo poteze sonatne oblike in rondoja, pogosti izkazujejo znaËilno dvojnost — na zaËetku se spogleduje z ekspresionizmom, nato njegov glasbeni stavek so ostinati, dvojno igro med ≈novim«, sodobnim in tradicionalnim pa skriva že naslov — Sinfonia, torej postaja bolj izËišËen, stvaren. Po vojni je takšno dvojnost ≈razširil« še s približevanjem tradicionalnemu nekakšna ≈baroËno« potujena oblika klasicistiËne forme. glasbenemu stavku, kar najbolj jasno dokazuje simfoniËna pesnitev Kurent (1950). Ta obuja lik iz slovenske mitologije, pustno šemo iz vzhodne Slovenije, in prinaša moËne programske asociacije, Brez neoklasicistiËnih zgledov, še bolj jasno zakoreninjena v impresionistiËno-ravelovskem in ritmiËno- Zvonimirja CigliËa medtem ko je skladatelj kompozicijsko zavezan variacijskemu nizanju. orgiastiËnem tradicionalistiËnem glasbenem stavku je glasba (1921—2006),

16 17 avtorja majhnega, a toliko bolj preËišËenega opusa. Svojo simfoniËno koreografsko pesnitev Obrežje med Ëlani skupine segel Lojze LebiË (1934), ki je poskušal v svojih delih ves Ëas harmonizirati racionalne plesalk naj bi zasnoval v Ëasu ujetništva v samici, nato pa jo je leta 1952 zapisal. Siže za skladbo serialistiËne nastavke z bolj razrahljanimi aleatoriËnimi koncepti. Na ta naËin se je v osemdesetih letih je skladatelj prevzel iz romana Ëeškega pisatelja Jana Havlase in govori o ljubezni med Tahitijko in dokopal do specifiËnega glasbenega jezika, ki korenini v dedišËini modernizma, vendar se dejavno belcem, ki ukrade bisere in pobegne z ljubo. Ko se pretrga veriga biserov, ki ju varuje kot talisman, sooËa z arhetipskimi vzorci, ki segajo od aluzij na glasbo pradavnine in slovensko ljudsko glasbo (Korant, postaneta ljubimca ranljiva in padeta pod kopji zasledovalcev. CigliËeva skladba je zasnovana kot 1969) do glasbe velikih skladateljev preteklosti (naznaËen citat Mozarta v Tangramu, 1977, in citat široka simfoniËna freska, ki prinaša postopno zgošËevanje teksture in tempa, da bi ob koncu tragiËno Haydna v Glasbi za orkester — Cantico II, 2001). LebiËev glasbeni ≈jezik« se tudi v Ëasu postmoderne ne poniknila. Material za skladbo je skladatelj prevzel iz lastne klavirske skladbe Bakhanal. odpoveduje dosežkom modernistiËnih iskanj, vendar si skladatelj prizadeva za bolj trdno semantiziranje svojih del, kar se kaže predvsem v nizu pomembnih simfoniËnih del (Queensland Music, 1989, Simfonija V primeru vseh omenjenih skladb gre za kompozicijsko-tehniËno dovršena dela, ki v izbiri melodiËnega z orglami, 1991). Osvobojeni zvoËni jezik, s katerim se je seznanil v Varšavi, je od sredine šestdesetih materiala kažejo na bogato umetniško invencijo, slogovno pa vse zaznamuje spogledovanje s let zaznamoval tudi že omenjenega Primoža Ramovša, ki je ustvarjal zvoËne kompozicije (Simfonija 68, preteklostjo. Gotovo gre za pomembna dela v slovenski povojni glasbi, pa vendar se ne smemo 1968, Organofonija, 1982, Per aspera ad astra, 1991), polne nenadnih kontrastov in izrazitih viškov, ki v ogniti svetovnim vzporednicam — v Ëasu, ko slovenski skladatelji preËistijo svoje znanje v gladke svoji formalni odprtosti zrcalijo skladateljevo umetnost orgelske improvizacije. neoklasicistiËne skladbe ali impresionistiËno pobarvane partiture, se v Darmstadtu dogajajo najpomembnejši modernistiËni ≈prelomi«. Slovensko ≈oËišËevanje« in obraËun z glasbeno tradicijo še Drzneje in bolj brezkompromisno so svoj glasbeni jezik preËistili predvsem tisti skladatelji, ki so dalj ne moreta nastopiti, ker mnogi tokovi sploh niso izživeti. A vendar se je slovenska simfoniËna glasba v Ëasa živeli in ustvarjali v tujem okolju, kar velja predvsem za Janeza MatiËiËa in Vinka Globokarja. zadnji polovici 20. stoletja jasno odprla tudi modernizmu. MatiËiË (1926) se je v domaËem okolju sprva dokazal kot odliËen pianist in avtor številnih izredno virtuoznih in idiomatsko zasnovanih klavirskih kompozicij, popolno spremembo pa je prinesla selitev v Pariz, kjer se je seznanil s sodobnimi glasbenimi tokovi. Od leta 1962 je tesneje sodeloval s Skupino za Novi tokovi v slovenski orkestrski glasbi po letu 1950 glasbene raziskave in njenim vodjem Pierrom Schaefferjem in pod tem okriljem so nastala pomembna Znamenja želje po boljšem vpogledu v soËasno evropsko glasbeno ustvarjalnost se najprej pokažejo elektroakustiËna dela. »eprav je v zadnjih desetletjih veËinoma opustil elektroakustiËno glasbo, je ostal v delovanju skladateljske skupine Pro musica viva (Jakob Jež, Krunoslav Cipci, Ivo PetriÊ, Milan Stibilj, zvest abstraktni izraznosti inštrumentalnega medija. Povsem drugaËno pot je ubral Vinko Globokar Alojz Srebotnjak, Igor Štuhec, Darijan BožiË, Lojze LebiË). Pri tem so pomembno vlogo odigrali obiski (1934), Ëigar dela so dosegla najveËji mednarodni uspeh. Globokar je v svoji zreli fazi razvil poseben festivala Varšavska jesen in Zagrebškega bienala. VeËina Ëlanov skupine je svoj slog spremenila odnos do dela z inštrumentom in do izvora glasbene strukture. Skladatelj inštrument pogosto razume kot prav pod vtisom izkušenj iz Varšave: po spogledovanju s hindemithovsko napetostno harmonijo podaljšek Ëloveškega telesa ali kot ojaËani organ za izgovarjanje. Tako struktura številnih skladateljevih in prevzemanju Schönbergove dodekafonije so se konËno predali osvobojenemu zvoku zvoËnih del neposredno izhaja iz raziskovanja povsem novih zvoËnosti posameznega inštrumenta ali inovativnih kompozicij, v katerih so tradicionalne glasbene parametre zamenjale fizikalne lastnosti zvoka. Orkester tehnik njegove izrabe. Za Globokarja je znaËilno tudi povezovanje glasbene strukture z izvenglasbenimi in njegova barvitost sta postala osrednji skladateljev ≈inštrument«, zato je nastala vrsta simfoniËnih del. fenomeni. Tako skladatelja pogosto zaposlujejo sociološki, politiËni ali celo svetovnonazorski fenomeni (v Med skladatelji omenjene skupine je razpeta zvoËna paleta modernistiËnih skladb najbolj izrazito Emigrantih, 1986, se posveËa vprašanju izseljenstva, v delu MoË, množica, posameznik, 1995, raziskuje navdušila Iva PetriÊa (1931). Ustvaril je vrsto monumentalnih zvoËnih fresk (Integrali v barvah, odnose med množico in posameznikom, v obsežni trilogiji Angel zgodovine, 2004, pa opazimo jasne 1968), v katerih je izrabljal možnosti kontrolirane aleatorike. Podobno kot PetriÊ se je pisanja zvoËnih aluzije na krvavi razpad Jugoslavije,), ki jih ≈prevaja« v glasbeno strukturo. kompozicij oprijel tudi Igor Štuhec (1932), kar se tiËe simfoniËne ustvarjalnosti, pa je morda najdlje

18 19 V zaËetku osemdesetih let je slovensko glasbeno okolje odprto sprejelo postmodernistiËne tendence, Slovenian symphonic music in the 20th Century ki pa so zaradi odsotnosti širšega vpogleda v sodobnejša glasbena snovanja v Sloveniji dobile precej svojsko obliko. Ne zaznamuje jih namreË sooËanje in sopostavljanje modernistiËnega in tradicionalnega decisive factor in the development of individual music genres is a developed musical infrastructure v smislu ≈dvojnega kodiranja«, temveË je zanje znaËilno predvsem ≈vraËanje«, prevzemanje Awhich enables composers to actively evaluate their ideas about music and sound. In a particular tradicionalnih glasbenih modelov. Omenjeno odprto spogledovanje s tradicionalnimi tehnikami in way, this kind of relationship also illuminates the history of Slovenian music. mestoma tudi z vzorci iz popularne glasbene kulture je znaËilno za Alda Kumarja, Janija Goloba in Marka Mihevca. Kumar (1954) se v delu Post-art ali glej, piše ti Wolfgang (1992) že v naslovu jasno The emergence of orchestral music in Slovenia poigrava s terminom postmodernizma, glasbeni stavek pa se spogleduje s klasicistiËno preglednostjo The continuous development of symphonic composition in Slovenia began relatively late: even though kompozicijske obrti. Podobna razpetost je znaËilna za opus Janija Goloba (1948), ki ustvarja tako individual pieces had been written earlier (such as the baroque Balletti and instrumental sonatas of filmsko in zabavno glasbo kot tudi umetnostno, pri Ëemer ostaja zavezan poudarjeni melodiËnosti, Janez Krstnik Dolar, the classical symphony and serenade of naturalized citizen Leopold Ferdinand tonalni funkcijskosti in podedovanim zvrstem in oblikam (Koncert za violino in orkester, 1998). Zveze s Schwerdt, and the symphonic works of Franc Benedikt Dussik, who worked in Slovenian territories for tradicionalno glasbo so izrazite tudi v opusu Marka Mihevca (1957), ki je od zaËetka devetdesetih let some years), we find weightier pieces from Slovenian composers only in the 20th century (Fran GerbiË dalje ustvaril vrsto simfoniËnih pesnitev (Equi, 1990, In signo tauri, 1991), v katerih ni mogoËe prezreti wrote the first Slovenian ‘Romantic’ symphony, Lovska simfonija / Hunting Symphony in 1915). It is all jasnega navezovanja na niz simfoniËnih pesnitev R. Straussa. the more extraordinary, then, that at least at the institutional level, things did not lag behind in Slovenian Seveda pa se ne predajajo vsi skladatelji takemu ≈brezskrbnemu« postmodernizmu. PešËica territory in these respects: in the inventory of the music collection of Ljubljana Cathedral from 1620 skladateljev poskuša poiskati svoj individualni glasbeni izraz na ozadju modernizma, pri Ëemer je one also finds an opera score (Caccini’sL’Euridice ), reflecting an early interest in the dramatic znaËilno, da gre tu v veËini primerov za skladatelje, ki so si temeljito kompozicijsko izobrazbo pridobili v arts. Italian and later German traveling opera families visited Ljubljana, gradually acquainting local tujini in tam celo ostali. To velja za v Avstraliji delujoËega skladatelja Božidarja Kosa (1934), v NemËiji audiences with the important musical-theater repertoire being heard in European metropolises. Even zasidrana Uroša Rojka (1954) in Vita Žuraja (1979), novozelandskega skladatelja Nevilla Halla (1962), more important is the fact that the Academia Philharmonicorum had been established in Ljubljana in ki že veË kot dve desetletji živi v Sloveniji, in skladateljice Lariso Vrhunc (1967), Urško Pompe (1969) 1701, following the example of similar Italian academies, and was soon responsible for organizing and in Nino Šenk (1982). Našteti skladatelji ne vztrajajo pri tistih modernistiËnih konceptih, za katere se je hosting musical performances. By the middle of the century, however, the new organization’s activities izkazalo, da imajo prej oËišËevalno kot pravo umetniško moË, temveË namesto tega vstopajo v široko had declined; then, at the end of the century, four music lovers established the Philharmonische zvoËno ≈osvobojeno« polje, kar pomeni, da na zaËetku 21. stoletja tudi modernizem razumejo kot Gesellschaft / Philharmonic Society (1794), bringing together the best musicians from the ranks legitimni del glasbene preteklosti. Ustvarjanje simfoniËne glasbe je postala takšna samoumevnost, da of local amateurs, members of the cathedral capella and community wind bands; in the year of its veËinoma ustvarjajo skladbe za komorne sestave, v katerih že raznorodna kombinacija glasbil prinaša establishment, it already numbered 20 members and was presenting orchestral concerts. Initially, the vsakiË svojski zvoËno-barvni odtis. organization brought together local intellectuals, merchants and wealthy craftsmen, but later it began to acknowledge the local nobility and clergy. Of course, such a social structure strongly reflected the dr. Gregor Pompe, predominantly Germanic orientation of local society, and thus initially did not provide the right incentive predavatelj na Oddelku za muzikologijo Filozofske fakultete v Ljubljani, publicist in glasbeni kritik for the development of Slovenian symphonic music.

20 21 In the mid-19th century, during a period of social revolutionary upheaval and ‘rebellion’ by peoples who Habsburg Empire. With the development of national ideological foundations and the loss of a virtual until then had been considered ‘non-historical’, the function of music changed greatly and became rival and competitor - namely, German culture - the initial impetus to validate Slovenia’s own cultural a major factor in national identity. The music genres that came to the fore were primarily those that identity rather quickly waned, while at the same time a characteristic doubt was sown, from which directly emphasized national idioms, particularly all forms of vocal music in which both the text and a typical feature of domestic culture would henceforth grow. If it had previously confirmed itself by local language vigorously confirmed national identity. This nationalist awakening first resounded in attempting to settle with the competition or even to ‘overtake’ it, the question now arose as to whether the emergence of choral societies, spirited reading society events and later also in the theater, which a completely new cultural foundation was needed that was entirely Slovenian, independent of western in the 19th century was still tightly bound to music: opera was favored over symphonic music. The examples. This extreme position led to the belief that German models should be completely avoided special social structure of the Slovenian population - a small nobility and a slowly awakening, educated (composer Anton Lajovic led the way in pursuing this ideology after the First World War), a belief which middle class - was reflected in the works that composers wrote: the majority of Slovenian composers was to have a negative impact on the development of orchestral music in Slovenia, since orchestral in the 19th century, authors of nationally renowned choral pieces which in many cases became music, through the important symphonies of Viennese Classicism (Mozart, Haydn, Beethoven), the early popular patriotic songs, were musical amateurs (such as Jurij Fleišman, Miroslav Vilhar and Jakob Romantics (Schumann, Schubert, Mendelssohn) and the late ones (Brahms, Bruckner, Mahler), was Aljaž) or were primarily engaged in some other profession, such as the entire Ipavec family* and many dominated by German music composer-lawyers (such as Viktor Parma, Gojmir Krek and Anton Lajovic). Thus it is not surprising The building which had been home to the German Philharmonic Society was ‘nationalized’, but music that larger instrumental formations, which require greater musical ability, and a domestic repertoire for had not echoed inside for a long time, since attempts to establish a symphonic performing ensemble them arose only later during the period of professionalization in Slovenian musical life that followed were successively doomed to failure (the amateur Orchestra Society was established by Glasbena the formation of the first music institutions such as the Drama Society, and theGlasbena matica music matica; symphonic performances were sometimes presented by the Military Orchestra of the Drava society and its associated school, which finally came about in the first half of the 20th century. Division; the Ljubljana Philharmonic was established in 1934). The right conditions did not materialize The initial desire to form a homegrown symphonic ensemble may be attributed to the Ljubljana until the end of the Second World War, and after it in the expansive cultural environment following the Orchestral Society, established in 1900. They did not experience any marked success, but it did form creation of the new state (of Yugoslavia), in which the founding of the Slovenian Philharmonic the basis from which the Slovenian Philharmonic grew in 1908. The independent orchestra (although it Orchestra (1947) and RTV Slovenia Symphony Orchestra (1955), played an integral part. numbered only 32 members) was led by the young Václav Talich, the later celebrated Czech conductor, Today, in a country of two million people, four professional symphony orchestras are active (including from 1909 to 1912. Talich contributed to the technical and artistic growth of the ensemble, while the the orchestras of the opera houses of Ljubljana and Maribor), which is an enviable figure considering programming was very similar to that of the German Philharmonic Society with whom local musicians the size of the population. In the relatively short period of a century, the symphonic ‘desert’ was obviously wanted to compete. When Talich was forced to resign because of intrigue (he went first to transformed into an orchestral abundance, and this change is clearly seen in the quantity and quality of Plze , then from 1918 onwards to Prague, where he led the Czech Philharmonic, turning it into one of Slovenian orchestral music written after 1945. the best orchestras in the world at that time), the orchestra’s stature declined; the war did the rest. The professionalization of Slovenian musical life coincided with the rise of musical modernism in The end of the First World War, which saw the inclusion of Slovenian territory in the Kingdom of Western Europe: changes gradually took place in both the techniques and aesthetics of music. Serbs, Croats and Slovenes, seemingly brought liberation from the long period of domination under the ‘Liberated’ harmony, foreshadowed in the suspended harmonic connections of Wagner’s music drama Tristan und Isolde, had the most far-reaching role. Harmony became less and less a function * Translator’s note: Benjamin, Alojz, Gustav and Josip Ipavec were all physicians as well as composers.

22 23 of melodic movement and more of an emancipated field of compositional invention. While large-scale The umbilical cord with traditional musical ‘language’ was more decisively cut by Marij Kogoj (1895- genres such as opera, oratorio and symphony predominated in Western Europe, Slovenian music 1956) and Slavko Osterc. Kogoj studied in Vienna, where he came into contact not only with the was still largely dominated by vocal music. Gojmir Krek (1875-1942), editor of the Slovenian journal most prominent aspects of the fin-de sièclemusic world, but also with Schoenberg’s composition Novi akordi / New Chords (1901-1914) in Vienna, wanted to change this situation. As a highly school and quarter-tone harmony. At first, he continued to explore chromatic harmony that remains knowledgeable intellectual, he realized the impossibility of thwarting tradition, but wanted to establish loosely attached to a tonal center; later, he increasingly trusted his intuition and the logic of his own a connection with modern European trends such as those with which he came into contact in Vienna; aesthetics. His greatest achievement came in 1927 with the opera »rne maske / Black Masks, which he was also committed to the development of instrumental music. Novi akordi opened the door for a has an unusual symbolist libretto and reveals the essence of the composer’s personality disorder*. younger generation of Slovenian composers who had studied abroad and came into active contact with With the exception of the suite »e se pleše / If Dancing, Kogoj left no other other symphonic music. modern musical trends. Risto Savin (real name Friderik Širca, 1858-1948) traveled over a large part Interestingly, it is precisely in this work, also composed in 1927, that clear stylistic changes are of Europe as a military officer, and completed composition studies in Prague and Vienna, where Anton evident, a shift to a more neutral New Objectivity that can also be understood as a reaction to the Lajovic also studied, while Emil AdamiË (1877-1936) studied at the conservatory in Trieste. work of Slavko Osterc (1895-1941), who had just then returned to Ljubljana from Prague, where he studied composition. Osterc’s music following his experience in Prague is transparent and based on neoclassical examples, but the composer’s parodying and distancing effects are not so much directed ‘Classic’ Slovenian orchestral music of the 20th century towards highlighted motivic work and periodic formations of Classicism, but is rather energized by a The aforementioned composers moved stylistically closer to musical modernism, using widely branched motoric baroque vitality and polyphonically led voices. All this is well reflected in the composer’sSuita chromatic harmony and dense polyphonic textures; in terms of genre, romantic miniatures - especially za orkester / Suite for Orchestra (1929), which through a succession of movements evokes stylized lieder - were still more prevalent than more ambitious forms. All of this applies to Anton Lajovic emotions and traces the contours of historical forms (an introductory march, an expressive prayer, a (1878-1960), who sharply lambasted imitations of the great German musical tradition in his journalism, neobaroque gigue). while his own musical language built on the influence he absorbed in Vienna, principally from ‘German’ composers: the music of Wolf, Mahler, Richard Strauss and Josef Marx, as well as early Zemlinsky While Kogoj and Osterc were flirting withnew music, a number of other composers in Slovenia, well- and Schreker, is all echoed in Lajovic’s works. The composer’s early orchestral music, conceived trained and skilled in compositional technique, were reinforcing more traditional musical approaches. during his studies in Vienna at the turn of the century (1899-1902), reveal a similar commitment to The ambitious symphonies and symphonic poems of Blaž ArniË (1901-1970) and Lucijan Marija primarily lyrical, sensitive music with harmonic detail and motivic fragments that have no real symphonic Škerjanc, as well as the shorter orchestral works of Demetrij Žebre (1912-1970) testify to the late or developmental weight. The composer later published his Adagio, Andante and Capriccio under flowering of modernism and impressionistic color. Žebre, a student of Osterc who also went to Prague, the unifying title Pesmi mladosti / Songs of Youth, a title which refers not only to the work’s early did not follow his teacher’s path towards New Objectivity. He was more attracted to the colors offered creation, but also to the characteristically lyrical, almost ‘vocal’, quality of the music. Lajovic later almost by a large symphonic orchestra, even to Impressionism: in Žebre’s orchestral Prebujenje / Awakening, completely abandoned symphonic music and achieved his greatest success in lieder and choral works. we very quickly think of Debussy’s famous Prelude to the Afternoon of a Faun, while Bacchanale, in its All three movements of the Pesmi mladosti are short character miniatures that flirt with classic three- broadness and virtuosic mastery of orchestration, even suggests a flavor of Ravel’s scores. part song forms and seem like late Romantic instrumental songs without words.

* Translator’s note: Kogoj, whose career was cut short by mental illness, spent the last 24 years of his life in a psychiatric institution; he suffered profound insecurity concerning the uncertainty of his parentage and true identity.

24 25 Avoiding the cold detachment of New Objectivity, Žebre had an obvious desire for drama and narrative: from the baroque concerto grosso form. However, the composer also inserts a distinctly Romantic Bacchanale is actually the symphonic portrait Dan / Day which was probably written between 1936 ‘alienation’ into the neobaroque structure; while it seems that the compositional elements of the string and 1938 and subtitled Ballet in three movements for large orchestra (the score was found among the orchestra were formed in the ‘old style’, the soloists offer characteristically prominent expressive composer’s possessions following his death, the title Bacchanale was probably given incorrectly). It is melodic lines. The work, which was composed in 1928, has another important feature: the instrumental characterized by a symmetrical three-movement structure in which two slower movements (Andante, medium - ensemble and solo strings - also probably reflects the fundamental ‘infrastructural’ dilemma Moderato risoluto) frame a faster one (Allegro con fuoco). composers in Slovenia faced, namely, the lack of a full orchestra.

Osterc and Kogoj had a significant influence on the work of the next generation of Slovenian Marjan Kozina (1907-1966) made his mark on the history of Slovenian music primarily with composers, especially Osterc, who after his return to Ljubljana taught until his death at the Ljubljana his Symphony (1949), which consists of four symphonic poems related to the war. While the first Conservatory, later renamed the Academy of Music. But compositional work, as well as the process of movement, Ilova gora / Mt. Ilova, paints a battle scene, and the second movement, Padli / The Fallen is bringing styles and aesthetic values into line with those in Western Europe, was interrupted by World conceived as a symphonic epitaph, the finale,Proti morju / Towards the Sea is a kind of socio-political War II, and in the first years following the end of the war the music of Kogoj and Osterc did not have apotheosis, and the fast-paced symphonic scherzo, Bela Krajina, is more abstract symphonic music: the appropriate resonance for the next generation, who instead rather pointedly sought a connection clear semantic content intrudes on it only through folk material (the folksongs Došel je došel zeleni with the late Romantic tradition of an older generation, an impulse that can also be linked to a certain Jure / Welcome Spring, Green (St.) George and Igraj kolce / Circle Game. In the marked integration extent to the new political regime. It was through this new political order, in fact, that the shadow of of nationalistic content and worldly ideas into a more traditional musical language, we can clearly hear socialist realism cast itself over Slovenian soil. Of course, the strictures of the new politics were not undertones of socialist realism in the pathos-laden symphonic finale. The preoccupation of Škerjanc, applied with anything like the severity found in parts of the Eastern Bloc, and political ideology was ArniË and Kozina with the past can perhaps be forgiven when one considers that Slovenian orchestral not used to actively intervene in musical life, but the regime was satisfied with the fact that leading music until that time had been considerably undernourished; they were simply filling the ‘empty’ space. composers continued the tradition of the extended tonal-functional ‘language’ of modern music, and Following the war, some composers altered their style significantly. Such a change can be seen in the were individually highly suspicious of newer compositional techniques. For this reason, it remains works of Danilo Švara (1902-1981), who was committed to expressionism before the war, but then unclear whether it is even possible to establish an unambiguous connection between the infatuation applied himself to a Bartók-like type of appropriated folklore (Sinfonia da camera in modo istriano, with Romantic subjectivism and socialist realism, or whether it was perhaps that the fondness for more 1957) and incorporated verismo models into his opera Slovo od mladosti / Farewell to Youth (1952), traditional musical molds was a consequence of the personal aesthetics and proclivities of the artistic a work which, by thematizing the life of poet France Prešeren, approaches the idea of a national leaders of post-war Slovenian musical life. opera. A very similar path from expressionism to folklore was taken by Kogoj ‘s pre-war student Lucijan Marija Škerjanc (1900-1973) initially wrote musical miniatures (lieder, piano works), a Matija BravniËar (1897-1977), who later also studied with Osterc. As a result, his works show a typical 19th century form, and later proved adept at orchestral music with numerous symphonic works characteristic duality: at the beginning of his career, he flirted with expressionism; his musical language as well. In stylistic terms, the Suita v starem slogu / Suite in the Old Style is not one of Škerjanc’s most then becomes purer, more objective. After the war, this duality ‘expanded’ towards a more traditional typical works, since it combines both neoclassicism and Late Romantic expression: the movements the musical language, as the symphonic poem Kurent (1950) most clearly demonstrates. The piece composer strings together comprises a baroque Ciaccona, Interludio and Giga. Also, the basic idea of a evokes a figure from Slovenian mythology often represented as a carnival mask in traditional pagan dialogue between the solo string quartet (concertino) and the remaining body of strings (tutti) derives celebrations in eastern Slovenia and evokes strong programmatic associations which the composer ties to a series of variations. 26 27 An important factor in the subsequent development of Slovenian music was that, in addition to being tonal concentration (the tone e has a central role in each movement), affirming its conception as a composers, Škerjanc, ArniË and Kozina also had important roles as music teachers and leaders of typical cycle; the movements bare traces of sonata and rondo forms; ostinato appears frequently; even central Slovenian music institutions, and thus had a significant impact on Slovenian musical culture, the title, Sinfonia, conceals a kind of wordplay between the ‘new’ (contemporary) and the traditional, a which is clearly evident at the beginning of the 1950s, when three composers of the next generation kind of ‘baroque’ distancing of classical forms. completed their first masterpieces all in the same year (1951): Marjan Lipovšek withDruga suita za Without neoclassical models, the music of Zvonimir CigliË (1921-2006), a composer with a small but godala / Second Suite for Strings, Primož Ramovš with Sinfonietta and Dane Škerl (1931-2002) with much more consolidated body of work, is even more clearly rooted in an impressionistic Ravel-like and Serenada za godala / Serenade for Strings; a similar mark was also made by Uroš Krek’s Sonatina rhythmically orgiastic traditionalist approach. His choreographed symphonic poem Obrežje plesalk / za godala / Sonatina for Strings (1956). The Sinfonietta (1951) by Primož Ramovš (1922-1999) Waterfront Dancers was allegedly conceived during captivity in solitary confinement, then later written is one of the most frequently performed Slovenian orchestral works. Distinguished by its neoclassical down in 1952. The plot of the work, which the composer took from a novel by Czech writer Jan form and Hindemith-like tension harmonies, and despite its stylistic model, the symphonic cycle also Havlasa, deals with the love between a Tahitian woman and a white man who steals some pearls and breathes with the composer’s truly special air: this is reflected in a number of sharp dynamic contrasts escapes with his beloved. When the string of pearls which protects the lovers like a talisman is broken, which in Ramovš’s more modern sounding compositions become even more pronounced, and in the they become vulnerable and succumb to the spears of their pursuers. CigliË’s piece is designed as a atmospheric juxtaposition of diverse elements. The introductory neoclassical brio is followed by a broad symphonic fresco that features a gradual thickening of texture and tempos to tragically slow dreamy pastoral movement that features many opportunities for soaring melodic lines in the disappear at the end. The composer borrowed material for the piece from his piano work Bakhanal / woodwinds. Bacchanal. After the Second World War, Marijan Lipovšek (1910-1995) augmented the neoclassical influences In all of the works mentioned above, the compositional craft is technically perfect and the choice of in his music with Bartók-like folk elements in such a way that the folk material is no longer an exotic melodic material displays rich artistic invention, while all the pieces share a stylistic attachment to accessory, but is tightly integrated into a skillful compositional technique. This is especially true of the the past. Certainly, this is an important part of Slovenian post-war music; however we must not avoid composer’s Prva rapsodija za violino in orkester / First Rhapsody for Violin and Orchestra (1955), a parallel developments in the world: while Slovenian composers were refining their skills into smooth work in which the basic material is borrowed from folk sources (specifically, the folksongsVsi so venci neoclassical works or impressionistically colored scores, the most important modernist ‘breakthroughs’ bejli / All the Wreathes Are White; Vün je süša / There’s a Draught Outside; Zakaj se ti deËva vdaš / were happening in Darmstadt. Slovenian ‘purification’ and reckoning with musical tradition were still Why Marry?; Dolenjski furmani / Cart Drivers from Dolenjska) but is subjected to continuous variation, unable to appear in such an environment, because many currents had not yet even been explored. so the sources are almost impossible to identify in the flow of the music. Yet Slovenian orchestral music unquestionably opened itself up also to modernist approaches in the Similarly, Uroš Krek (1922-2008) stylistically expanded academic neoclassical models in his work. second half of the 20th century. The influences and borrowed impulses are especially numerous in the composer’sSinfonia per archi from 1973: some sections flirt with aleatory techniques; dense choral passages are reminiscent of cluster harmonies; the concentration on one single tone at the beginning of the work is even New trends in Slovenian orchestral music after 1950 reminiscent of Scelsi. Alongside these modernist devices, however, are some also completely traditional The first appearance of signs of a desire for more awareness of contemporaneous European procedures: Krek remains committed to motivic work; unity is maintained through recurring motifs and musical innovations appeared in the work of a group of composers known as Pro musica viva: Jakob Jež, Krunoslav Cipci, Ivo PetriÊ, Milan Stibilj, Alojz Srebotnjak, Igor Štuhec, Darijan BožiË and

28 29 Lojze LebiË. Visits to the Warsaw Autumn and Zagreb Biennale festivals played a crucial role in the Globokar. MatiËiË (b. 1926) first established himself in Slovenia as an excellent pianist and composer development of these composers, most of whom changed their styles while under the influence of many virtuoso and idiomatic piano compositions; a complete change was brought about by his move of their experience in Warsaw: after flirting with Hindemith-like tension harmonies and adopting to Paris, however, where he became acquainted with contemporary musical currents. From 1962, he Schoenberg’s 12-tone methods, they finally gave themselves over to the sonic liberation of sound collaborated closely with the Groupe de recherche musicales and its director Pierre Schaeffer, and compositions in which the physical properties of sound replace traditional musical parameters. As important electro-acoustic works were created under these auspices. Although he largely abandoned the orchestra and the colors it offers became the composer’s primary ‘instrument’, a number of electro-acoustic music in recent decades, he has remained faithful to the abstract expressionism of orchestral works were written. the instrumental medium. A completely different path was taken by Vinko Globokar (b. 1934), whose works have achieved the greatest international success. In his mature phase, Globokar developed a Among the Pro musica viva composers, it was the extended sound palette of the modernist special approach to working with instruments and to the origin of musical structure. The composer compositions of Ivo PetriÊ (b. 1931) that made the most distinctive impression. He created a series of frequently understands the instrument as an extension of the human body or as an amplifying organ monumental sound frescos (Integrali v barvah / Integrals in Colors, 1968) in which he exploited the for vocal declamation. Thus the structure of many of his works derive directly from the exploration of possibilities of controlled aleatory procedures. Similarly to PetriÊ, the writing of sound compositions also entirely new sonorities from an instrument or innovative techniques of its use. Also characteristic of appealed to Igor Štuhec (b. 1932), but in terms of symphonic imagination, the member of the group Globokar is the integration of musical structures with extra-musical phenomena. Thus the composer who perhaps went the furthest was Lojze LebiË (b. 1934), a composer who continually attempted often employs sociological, political or even world-views which he ‘translates’ into a musical structure. to harmonize rational, serialist elements with looser aleatory concepts. Working in this way, by the The Emigrants (1986), for example, is dedicated to the issue of emigration; Power, Crowd, Individual 1980s he had arrived at a specific musical language rooted in the modernist heritage, but also in (1995) explores the relationship between individuals and the crowd; and in the expansive trilogy Angel active confrontation with archetypal models ranging from allusions to prehistoric music and Slovenian of History (2004) we find clear allusions to the bloody disintegration of Yugoslavia. folk music (Korant, 1969) to the music of great composers of the past (as shown, for example, in the obvious Mozart quotation in Tangram (1977) and the Haydn quotation in Glasba za orkester — Cantico In the early 1980s, the Slovenian musical environment openly accepted post-modernist tendencies, II / Music for Orchestra - Cantico II (2001). Even in our post-modern times, LebiË’s musical ‘language’ which, due to the absence of a broader view of the latest developments in contemporary music, has not renounced the discoveries of modernist exploration, and yet the composer is solidly committed acquired quite a peculiar form. These attempts are not characterized by a confrontation and to a clear internal logic in his work, a quality reflected in a series of important symphonic works, juxtaposition of modernist and traditional approaches in the sense of ‘double coding’, but instead including Queensland Music (1989) and Simfonija z orglami / Symphony with Organ (1991). are mainly characterized by ‘returning’ to take on traditional musical models. This open flirting with traditional techniques and sometimes also with models from popular music is characteristic of the From the mid-sixties onwards, the liberated sound language with which he had become acquainted composers Aldo Kumar, Jani Golob and Marko Mihevc. Already in the title of his work Post-art ali glej, in Warsaw also marked the work of Primož Ramovš (mentioned above). Ramovš created sound piše ti Wolfgang / Post-art or Look, Wolfgang Is Writing to You (1992) Kumar (b. 1954) is clearly compositions full of unexpected contrasts and expressive peaks which, in their formal openness, toying with the term post-modernism, while the music itself flirts with the classical transparency of reflect the composer’s artistry as an improviser on the organ Simfonija( 68 / Symphony ’68 (1968), compositional craft. A similar dichotomy is typical in the work of Jani Golob (b. 1948), who writes both Organofonija / Organophonia (1982), Per aspera ad astra (1991)). film and pop music as well as classical music and remains committed to a pronounced melodicism, It was mainly those composers who lived and worked abroad for a long time who refined their musical functional tonality and inherited genres and forms (Koncert za violino in orkester / Concerto for Violin language more boldly and uncompromisingly; this is particularly true of Janez MatiËiË and Vinko and Orchestra (1998)). Connections with traditional music are also highlighted in the music of Marko

30 31 Mihevc (b. 1957), who from the beginning of the 1990’s onwards composed a series of symphonic poems (Equi (1990), In signo Tauri (1991)) in which a clear fondness for the symphonic poems of Richard Strauss cannot be ignored

Of course, not all composers surrendered to such ‘carefree’ post-modernism. A handful of composers are trying to find their individual voices against a background of modernism; in most cases they have obtained a thorough grounding in composition abroad, with some even choosing to remain there. This applies to Božidar Kos (b. 1934), who has lived in Australia for most of his career, and Uroš Rojko (b. 1954) and Vito Žuraj (b. 1979), both based in Germany, New Zealand composer Neville Hall (b. 1962), who has lived in Slovenia for more than two decades, as well as Larisa Vrhunc (b. 1967), Urška Pompe (b. 1969) and Nina Šenk (b. 1982). These composers do not insist on modernist concepts that have previously shown they have more cleansing properties than true artistic power, but instead enter a wide field of ‘liberated’ sound, meaning that, at the beginning of the 21st century, even modernism is considered as a legitimate part of the musical past. The creation of orchestral music has become so commonplace that most prefer to compose for chamber formations in which an already diverse Skladatelji / Composers combination of instruments offers a unique timbral impression. CD 1 Gregor Pompe, PhD, lecturer at the Department of Musicology at the Ljubljana Faculty of Arts, a journalist and music critic.

32 Anton Lajovic (1878—1960) zanimanja je bil vokal; v njegovem opusu tako prevladujejo samospevi in zborovske skladbe, s katerimi je bistveno zaznamoval prva desetletja slovenske glasbe in postavil temelje sodobni slovenski glasbeni kladatelj, glasbeni kritik in publicist, ena tvornosti. V nenehnem iskanju novih možnosti za pospešitev slovenskega glasbenega razvoja je Svodilnih glasbenih osebnosti zgodnjega 20. izoblikoval lastno, samosvojo glasbeno govorico, katere jedro je bil poizkus vzpostavitve slovenskega stoletja na Slovenskem. Z jasno izoblikovanimi izraza. Do nove glasbe, ki je tedaj zaËela postopoma prodirati v slovensko glasbeno ustvarjalnost, je bil nazori, neomajno nacionalno noto, a hkrati strpen, vendar sam nikoli ni prestopil okvirov poznoromantiËnega glasbenega idioma. svetovljansko širino je Lajovic posegel v najrazliËnejše plasti slovenskega glasbenega omposer, music critic and journalist, and a leading figure in music in the early 20th century in življenja ter bistveno zaznamoval in sooblikoval Slovenia. With clearly defined views and unwavering national loyalty balanced with a cosmopolitan javno glasbeno življenje tedanje Ljubljane; med C broad-mindedness, Lajovic had an impact on all aspects of Slovenian musical life, significantly drugim je bil nepogrešljivi Ëlen društva Glasbena marking and helping to shape the music scene in the Ljubljana of his time. Among other things, he matica in dolgoletni predsednik FilharmoniËne was an indispensable member of the Glasbena matica music society and long-time president of the družbe, ki je po prvi svetovni vojni dobila Philharmonic Society, which received a Slovenian identity after the First World War. slovensko podobo. His first steps in the work of music were guided by the composers Anton Foerster and Matej Prve korake v svet glasbe je naredil pod Hubad, who prepared him for his studies at the Vienna Conservatory. Although he devoted himself mentorstvom skladateljev Antona Foersterja to becoming a future law student in Vienna, the rich musical scene of the Austrian capital drew him in Mateja Hubada, ki sta mu dala zadostno to such an extent that he simultaneously enrolled to study composition (1899-1902), becoming a popotnico za študij na dunajskem glasbenem student of Robert Fuchs. He completed both courses successfully, then returned to his homeland and konservatoriju. Na Dunaj se je sicer podal kot dedicated himself to a career in law. bodoËi študent prava, a ga je bogato glasbeno dogajanje avstrijske prestolnice pritegnilo do te Lajovic devoted himself to music very fervently, but as it was not his primary profession, it is no surprise mere, da je soËasno vpisal tudi študij kompozicije that his compositional output is relatively modest. His primary interest was in vocal music, and lieder (1899—1902) in postal študent Roberta Fuchsa. and choral works dominate his output, with which he made a significant mark on the first decades Oba študija je uspešno zakljuËil, nato se je vrnil v of Slovenian music and laid the foundations of modern Slovenian musical creativity. In his relentless domovino in se posvetil pravnim poslom. search for new ways to accelerate the development of Slovenian music, he developed his own unique musical language, the core of which was an attempt to establish a uniquely Slovenian expressive voice. Glasbi se je Lajovic posveËal zelo predano, He was tolerant towards the new music which at that time was beginning to gradually penetrate the vendar ta paË ni bila njegov prvi poklic, zato Slovenian creative musical landscape, but he himself never moved beyond the boundaries of the late- ne preseneËa, da je njegov skladateljski opus Romantic musical idiom. razmeroma skromen. V središËu njegovega

34 Skladatelji / Composers Skladatelji / Composers 35 Slavko Osterc (1895—1941) CD 1/1 kladatelj, pedagog, glasbeni kritik in publicist, Seden vodilnih slovenskih glasbenikov med Skladba / Composition: obema vojnama. S samosvojim pogledom na Andante za veliki orkester / Andante for large ustvarjanje in izjemnim glasbenim talentom je orchestra bistveno vplival na razvoj sodobne slovenske Izvajalec / Performers: glasbe, s svojim mednarodnim ugledom, ki ga SimfoniËni orkester RTV Ljubljana* / potrjuje zlasti Ëlanstvo v odboru Mednarodnega RTV Ljubljana Symphony Orchestra** združenja za sodobno glasbo (ISCM), pa je (* Leta 1991 se je preimenoval v SimfoniËni orkester slovenski glasbeni tvornosti omogoËil uveljavitev RTV Slovenija. / ** Renamed the RTV Slovenia Symphony Orchestra in 1991.) v širšem mednarodnem okviru. Preko meja domovine je prodrl s svojimi mojstrovinami tudi Dirigent / Conductor: sam; OsterËeva dela so bila v veliki meri izvedena Uroš Lajovic že za Ëasa njegovega kratkega življenja, številna Posneto / Recorded: med njimi tudi na tujih festivalskih in koncertnih 1974; Slovenska filharmonija, dvorana Marjana Kozine / odrih. Slovenian Philharmonic, Marjan Kozina Hall; tonski mojster / sound engineer: Janez Debeljak; Osnove kompozicije je pridobil najprej kot glasbeni producent / producer: Miran KvartiË samouk, nato je v zrelih letih svoje znanje poglobil in formalno izpopolnil na praškem konservatoriju. Tam je študiral pod mentorstvom Foto / Photo: številnih uglednih glasbenikov, najbolj pa sta na Z dovoljenjem Narodne in univerzitetne knjižnice — NUK. oblikovanje njegove glasbene govorice vplivala Vir: Digitalna knjižnica Slovenije (www.dlib.si). / Used with the permission of the National and University Library NUK. skladatelja Karel Boleslav Jirák in Alois Hába. Source: the Digital Library of Slovenia (www.dlib.si). Po uspešno zakljuËenem dvoletnem študiju (1925—27) se je vrnil v Slovenijo, prepriËan v nove, sodobne umetniške nazore, ki so segali od neobaroka, neoklasicizma in ekspresionizma k atonalnosti, atematiËnosti in Ëetrttonski kompozicijski gradnji, zato je lahko stopil na pot

36 Skladatelji / Composers Skladatelji / Composers 37 posodobitve slovenske glasbene ustvarjalnosti. To je uspešno realiziral kot neutruden in cenjen uËitelj Under the influence of the leading composers of his time (Stravinsky, Hindemith, Schoenberg, Berg) najprej na ljubljanskem konservatoriju in kasneje na novo osnovani Glasbeni akademiji. Z odliËnim Osterc forged a distinctive musical language in which there was no place for (well-worn) romantic pedagoškim obËutkom je odloËilno vplival na generacije skladateljev in vzgojil vrsto odliËnih slovenskih sentimentality. However, he did not negate traditions: the old stands alongside the new in his music, glasbenikov (Pavel Šivic, Marijan Lipovšek, Primož Ramovš in številni drugi). while the introduction of new compositional possibilities is never taken to extremes. Although he died rather young, he created a rich and varied catalogue of work. Pod vplivom vodilnih sodobnikov (I. Stravinski, P. Hindemith, A. Schönberg, A. Berg) je Osterc izoblikoval znaËilen glasbeni jezik, v katerem ni bilo prostora za (obrabljeno) romantiËno sentimentalnost. Tradicije vendarle ni negiral: staro pri njem stoji ob novem, pri uvajanju novih kompozicijskih možnosti pa nikdar ne gre do skrajnih robov. Kljub kratkemu življenju je ustvaril bogat in raznolik opus. CD 1/2-6

composer, teacher, music critic and journalist, and one of the leading Slovenian musicians Skladba / Composition: Foto / Photo: Ain the interwar period. With his original views on artistic creation and his exceptional musical Suita za orkester / Suite for Orchestra Z dovoljenjem Narodne in univerzitetne knjižnice — NUK. talent, Osterc significantly influenced the development of modern Slovenian music. His international (Marcia, Tranquillo, Vivace, Religioso, Presto) Vir: Digitalna knjižnica Slovenije (www.dlib.si). / Used with reputation, confirmed particularly by his membership of the board of the International Society for the permission of the National and University Library NUK. Contemporary Music (ISCM), enabled him to promote Slovenian music in a wider international context. Izvajalec / Performers: Source: the Digital Library of Slovenia (www.dlib.si). SimfoniËni orkester RTV Ljubljana* / Osterc himself also broke out of the borders of his home country with his masterpieces, and most of RTV Ljubljana Symphony Orchestra** his works were performed during his short lifetime, many of them at festivals abroad and on foreign (* Leta 1991 se je preimenoval v SimfoniËni orkester concert stages. RTV Slovenija. / ** Renamed the RTV Slovenia Symphony Orchestra in 1991.) Initially, he taught himself the basics of composition; then in his mature years he deepened his knowledge and formally refined it at the Prague Conservatory, where he studied under the tutelage Dirigent / Conductor: of many prominent musicians, although the composers Karel Boleslav Jirák and Alois Hába had most Samo Hubad influence on shaping his musical language. After successfully completing the two-year course (1925- Posneto / Recorded: 27) he returned to Slovenia and, confident in the new, modern artistic attitudes gaining currency at 1965*; Slovenska filharmonija, dvorana Marjana Kozine / the time, (ranging from neobaroque, neoclassicism and expressionism to atonality, athematicism and Slovenian Philharmonic, Marjan Kozina Hall. (* Domnevna letnica nastanka posnetka. / Probable year of quarter-tonal compositional construction), he was able to take an active part in the drive to modernize recording.) Slovenian musical creativity. He accomplished this while working as a tireless and respected teacher, first at the Ljubljana Conservatory and later at the newly established Academy of Music. An excellent teacher, he had a decisive influence on generations of composers, nurturing a number of excellent Slovenian musicians, including Pavel Šivic, Marijan Lipovšek, Primož Ramovš and many others.

38 Skladatelji / Composers Skladatelji / Composers 39 Marjan Kozina (1907—1966) Kozinov prispevek k slovenski glasbeni ustvarjalnosti je pomemben in tehten, Ëeprav v Ëisto glasbenem pogledu njegova dela ne prinašajo novosti; skladatelj se namreË odkrito naslanja na kladatelj, glasbeni akademik, dirigent, violinist dedišËino preteklosti, predvsem poznega 19. stoletja, izrazno pa ostaja zvest samemu sebi in hkrati Sin zborovodja, vsestranska, razgledana in blizu najširšemu obËinstvu. Njegov opus ni obsežen, je pa raznolik, saj je pisal zborovske skladbe, izobražena osebnost, izjemen matematik in samospeve, otroško in filmsko glasbo (velja za enega prvih slovenskih avtorjev glasbe za filme), opero strasten šahist. Kljub številnim interesom je v in orkestrska dela. V mišljenju je bil izrazit simfonik, z izjemnim obËutkom za zvoËno barvo in odliËnim njem naposled prevladala ljubezen do glasbe, poznavanjem znaËilnosti posameznih instrumentov. z osnovami katere se je najprej seznanil pri skladatelju in orglarju Ignaciju Hladniku. Študij composer, music academician, conductor, violinist and choir director, polymath, broad-minded kompozicije je pozneje nadaljeval najprej na and educated personality, outstanding mathematician and a passionate chess player. Despite his Dunaju pri Josephu Marxu in nato pri Josefu A many interests, his love of music eventually prevailed; he first learned the fundamentals of music from Suku v Pragi, kjer je vpisal tudi študij dirigiranja. composer and organist Ignacij Hladnik. He continued with composition studies, first in Vienna with Kozina je pomembno zaznamoval slovenski Joseph Marx and later with Josef Suk in Prague, where he also studied conducting. glasbeni prostor pred in še zlasti po drugi Kozina made an important mark on the Slovenian music scene before and especially after the Second svetovni vojni. Viden peËat je najprej zapustil World War. He first left a notable stamp on the public musical life of Maribor, where he worked as head v javnem glasbenem življenju Maribora, kjer je teacher of the local Glasbena matica music society. After that he went to Belgrade, where he took a deloval kot ravnatelj Glasbene matice. Zatem je teaching position at the city’s Academy of Music, while the Yugoslav capital also awakened a creative odšel v Beograd, kjer je zasedel mesto uËitelja impulse in him. It was in Belgrade that Kozina wrote his first large-scale and more substantial works na tamkajšnji Glasbeni akademiji, takratna (including the opera Ekvinokcij / Equinox, one of the pinnacles of the Slovenian opera repertoire), which jugoslovanska prestolnica pa je prebudila v njem met with considerable acclaim and established him throughout Yugoslavia. After the war, he accepted a tudi ustvarjalni zagon. Prav v Beogradu je namreË position in Ljubljana as manager and artistic director of the newly-formed Slovenian Philharmonic, and napisal prva veËja in tehtnejša dela (med drugim then he took a position as professor of composition at the Academy of Music (in the same city). opero Ekvinokcij, ki sodi med vrhunce slovenske operne literature), s katerimi je požel nemalo Kozina’s contribution to Slovenian music is important and substantial, although in purely musical terms uspeha in se uveljavil v širšem jugoslovanskem his work is not innovative; he openly relies on the legacy of the past, primarily the late 19th century, prostoru. Po vojni je v Ljubljani sprejel mesto while expressively his work remains true to itself and at the same time appeals to the widest possible upravnika novonastale Slovenske filharmonije, audience. His body of work is not extensive, but diverse, including choral works, lieder, children’s and nato je prevzel službo profesorja kompozicije na film music (he was one of the first Slovenian composers of film scores), opera and orchestral works. In Akademiji za glasbo. his ideas, he is a vivid symphonist, with an exceptional sense of timbre and a thorough knowledge of the characteristics of individual instruments.

40 Skladatelji / Composers Skladatelji / Composers 41 Primož Ramovš (1921—1999) CD 1/7 ianist in izjemen improvizator na orglah, Ppredvsem pa eden najuspešnejših in Skladba / Composition: najprodornejših slovenskih skladateljev povojnega Bela Krajina obdobja. Temeljno znanje kompozicijske tehnike je dobil od Slavka Osterca, Ëigar zadnji diplomant Izvajalec / Performers: Orkester Slovenske filharmonije / je bil in Ëigar idejo napredka je uspešno širil in Slovenian Philharmonic Orchestra razvijal naprej. Ramovš je bil goreË zagovornik novega, novih možnosti izraza in velik pristaš Dirigent / Conductor: eksperimentiranja in je verjel, da mora skladatelj Marko Munih (in z njim glasba) slediti duhu Ëasa. Tradicije kljub temu ni negiral, saj je menil, da napredek nikoli ne Posneto / Recorded: sme biti samemu sebi namen. 1987; Slovenska filharmonija, dvorana Marjana Kozine / Slovenian Philharmonic, Marjan Kozina Hall; Najradikalnejša Ramovševa ustvarjalna leta so tonski mojster / sound engineer: Rudi Omota bila petdeseta in šestdeseta leta 20. stoletja, pravi preboj pa je prinesel festival Varšavska Foto / Photo: jesen, kjer se je skladatelj seznanil z novim Z dovoljenjem Narodne in univerzitetne knjižnice — NUK. glasbenim svetom vodilnih poljskih skladateljev, Vir: Digitalna knjižnica Slovenije (www.dlib.si). / Used with z W. Lutosławskim na Ëelu. Postopoma se the permission of the National and University Library NUK. je povsem odpovedal tonalnosti in funkcijski Source: the Digital Library of Slovenia (www.dlib.si). harmoniji. Vendar mu stroga dodekafonija in serialna oblikovanost glasbenega tkiva nista zares odgovarjali; skladateljevi sprošËeni in k improvizaciji nagnjeni osebnosti je bila bistveno bližje aleatorika, ki je njegovi glasbeni invenciji nudila bogate možnosti za razcvet. Ramovšev moto je namreË bil, da je skladateljska ideja (in z njo kompozicijski proces) predvsem spontan dogodek. Njegovo glasbeno govorico so

42 Skladatelji / Composers Skladatelji / Composers 43 zaznamovali linearno mišljenje in z njim glasbena ostrina, ostri kontrasti in veliki dinamiËni razpon ter CD izrazite barvne nianse, zakonitosti glasbenega stavka pa so narekovale zvoËne znaËilnosti posameznih 1/8-11 instrumentov.

Ramovšev opus je izjemno bogat in raznolik, prevladujejo pa instrumentalna dela, ki segajo od Skladba / Composition: solistiËnih skladb do razliËnih komornih sestavov, obsežen je tudi seznam njegovih orkestrskih del. Sinfonietta (Allegro, Moderato, Vivace, Allegro molto e con brio)

pianist as well as an exceptional improviser on the organ, Primož Ramovš was one of the most Izvajalec / Performers: Asuccessful and most effective and radical Slovenian composers of the post-war period. He SimfoniËni orkester RTV Ljubljana* / received a basic knowledge of compositional technique from Slavko Osterc, whose last student he was RTV Ljubljana Symphony Orchestra** and whose idea of progress he expanded and developed further. Ramovš was an ardent advocate of (* Leta 1991 se je preimenoval v SimfoniËni orkester expressive possibilities and a great adherent of experimentation, and he also believed that a composer RTV Slovenija. / ** Renamed the RTV Slovenia Symphony Orchestra in 1991.) (and with the composer, music) must follow the spirit of his time. He did not reject tradition, however, believing that progress should not be an end in itself. Dirigent / Conductor: Samo Hubad Ramovš’s most radical years were the 1950s and 1960s. A real turning point in his development came when he attended the Warsaw Autumn festival, where he became acquainted with the new musical Posneto / Recorded: world of the leading Polish composers, with Witold Lutosławski making the greatest impact on him. 1972; Slovenska filharmonija, dvorana Marjana Kozine / Gradually Ramovš completely abandoned tonality and functional harmony. Strict 12-tone systems and Slovenian Philharmonic, Marjan Kozina Hall; serially-woven musical fabrics, however, did not really appeal to him; the composer’s relaxed personality tonski mojster in glasbeni producent / sound engineer and producer: Sergej Dolenc and propensity for improvisation led him more towards the use of aleatory techniques, offering his musical imagination rich opportunities to flourish. Ramovš’s motto, in fact, was that the idea of the composer (and with it the compositional process) was primarily a spontaneous event. His musical Foto / Photo: language is characterized by linear thinking and a musical pungency, sharp contrasts and wide dynamic Z dovoljenjem Narodne in univerzitetne knjižnice — NUK. ranges as well as expressive shades of color, while the internal logic of the music’s construction is Vir: Digitalna knjižnica Slovenije (www.dlib.si). / Used with dictated by the sonic characteristics of the individual instruments. the permission of the National and University Library NUK. Source: the Digital Library of Slovenia (www.dlib.si). Ramovš’s body of work is extremely rich and varied, dominated by instrumental works ranging from solo pieces to music for various chamber ensembles. His list of orchestral works is also extensive.

44 Skladatelji / Composers Skladatelji / Composers 45 Tako je izoblikoval svojsko glasbeno govorico, ki se upira konkretnejšim slogovnim opredelitvam in priËa o ideološko neobremenjenem glasbeniku.

V kompozicijskem procesu prevzema Krek nekatere poteze povojnih avantgardnih let (od dodekafonije in serialnosti do aleatorike) ter jih povezuje s premisami preteklih slogov in s folklornimi elementi slovenske ljudske dedišËine. V trdnih formalnih shemah vidi osnovo za glasbeno gradnjo, ljudska glasba pa mu pogosto služi kot izhodišËe za komponiranje. V ustvarjalnem procesu tako sledi lastnemu umevanju glasbe, v katerem ga vodijo notranji doživljaji in emocionalni vzgibi.

Kot eden vodilnih skladateljev svoje generacije je pisal za raznolike glasbene sestave, njegov opus pa obsega simfoniËna, komorna in vokalna dela, ob njih pa tudi dramsko, scensko in filmsko glasbo.

composer, ethnomusicologist, double bassist, professor and radio editor, Krek appeared on the ASlovenian music scene at a time when Slovenian music was in the grip of the post-war recovery from which it gradually emerged only in the 1960s. He joined the community of Slovenian composers as a student of Lucijan Marija Škerjanc, and did not fall within the circle of the more advanced young composers from the group Pro Musica Viva. Nevertheless, Krek did not dissociate himself from more modern influences from abroad. Faithful to his own aesthetic views, he adopted those elements which suited his compositional approach. In this way, he formed his own musical language, which defies precise stylistic categorization and is a testimony to a musician unburdened by ideology.

In his compositional procedures, Krek takes some features of the post-war avant-garde (from 12- tone and serial techniques to aleatory procedures) and links them to older styles and Slovenian folk elements. A firm basis for musical construction can be seen in his solid formal schemes, while folk Uroš Krek (1922—2008) music often serves as a starting point. He followed his own understanding of music in the creative kladatelj, etnomuzikolog, kontrabasist, profesor in radijski urednik, ki je v slovenski glasbeni process, guided by his inner experience and emotions. prostor vstopil v Ëasu, ko je bila slovenska glasba v primežu povojnega okrevanja, iz katerega se S As one of the leading composers of his generation, he wrote for a variety of ensembles, and his output je postopoma izvila šele v šestdesetih letih 20. stoletja. Slovenski skladateljski srenji se je prikljuËil comprises symphonic, chamber and vocal works, as well as theatre and film music. kot uËenec Lucijana Marije Škerjanca in ni sodil v krog bolj naprednih mladih skladateljev iz skupine Pro musica viva. Kljub temu se Krek ni zapiral pred najsodobnejšimi vplivi, ki so prihajali iz tujine. Zvest lastnim estetskim nazorom je sprejel tisto, kar je odgovarjalo njegovemu kompozicijskemu konceptu.

46 Skladatelji / Composers Skladatelji / Composers 47 CD 1/12-14

Skladba / Composition: Sinfonia per archi (Pozivanje / Invocation, Prebujenje / Awakening, Odziv / Return)

Izvajalec / Performers: Godalni orkester RTV Ljubljana / RTV Ljubljana String Orchestra

Dirigent / Conductor: Samo Hubad

Posneto / Recorded: Skladatelji / Composers 1974; Slovenska filharmonija, dvorana Marjana Kozine / Slovenian Philharmonic, Marjan Kozina Hall; tonski mojster in glasbeni producent / CD 2 sound engineer and producer: Sergej Dolenc

Foto / Photo: Arhiv Glasbenonarodopisnega inštituta ZRC SAZU / Institute of Ethnomusicology Archive, Research Centre of the Slovenian Academy of Sciences and Arts

48 Skladatelji / Composers resnice. Uspešno je krmaril med novimi slogovnimi tendencami zahodnoevropske glasbe in preverjenimi kompozicijskimi prijemi, trdno zakoreninjenimi v tradiciji: ≈Raje sem se zdel po uporabi sredstev manj sodoben, da je le invencija bila pristnejša.« V kompozicijskem procesu se je tako naslanjal na stroge formalne sheme, ki so mu bile opora pri iskanju izvornega glasbenega izraza, muzikalnega bogastva in svobodne invencije. Tonalni prostor je sicer moËno razširil, a ga ni prestopil. Spogledoval se je s kozmopolitsko širino, vendar je ostajal trdno navezan na slovensko glasbeno dedišËino; pogosto je namreË Ërpal iz slovenske ljudske zakladnice, ki mu je nudila izhodišËe za komponiranje.

Lipovšek se je zapisal med mojstre slovenskega samospeva in intimnejših komornih skladb ter zapustil bogato zbirko zborovskih del, medtem ko je nabor njegovih orkestrskih del skromnejši, Ëeprav tehten.

ne of the most versatile Slovenian musicians, he was active in both the creative and interpretive O(as a technically gifted pianist) fields, and conveyed his broad aesthetic views as a music critic, journalist and teacher. He received his musical training at the Ljubljana Conservatory, where he studied piano with Janko Ravnik and composition with Slavko Osterc. After graduating, he continued his studies in Prague (where he studied composition with Josef Suk and possibly also with Alois Hába, and piano with Vilém Kurz) and later, during the Second World War in Rome (with Alfredo Casella) and in Salzburg (under the mentorship of composer Joseph Marx).

Marijan Lipovšek (1910—1995) Lipovšek is among the handful of Slovenian musicians from the early 20th century who tried to broaden new aesthetic beliefs and compositional/technical possibilities. Although he remained faithful den najbolj vsestranskih slovenskih glasbenikov, ki je svojo umetniškost izkazoval na ustvarjalnem to his creative independence, he believed that music was the most effective means of seeking truth. Ein poustvarjalnem (kot tehniËno podkovan pianist) podroËju, širino svojih estetskih nazorov pa He successfully navigated between the new stylistic tendencies of Western music and established je posredoval kot glasbeni kritik, publicist in pedagog. Visoko glasbeno izobrazbo je pridobil na compositional approaches firmly rooted in tradition:“I’d rather use less modern material solely to Konservatoriju v Ljubljani; klavir je študiral pod mentorstvom Janka Ravnika in kompozicijo pri Slavku make the invention more authentic,” he said. His compositions lean on strict formal schemes that Ostercu. Po konËanem študiju se je izpopolnjeval na mojstrski šoli v Pragi (kompozicijo je študiral pri act as support in the search for an original expressive voice, a rich musicality and contemporary Josefu Suku in domnevno pri Aloisu Hábi, klavir pa pri Vilému Kurzu) ter nato med drugo svetovno invention. Although he expanded tonal space, he never overstepped its boundaries. He flirted with a vojno v Rimu (pri Alfredu Casellu) in v Salzburgu (pod mentorstvom skladatelja Josepha Marxa). cosmopolitan breadth, but remained firmly attached to the Slovenian musical legacy, and often drew from the treasury of Slovenian folk material, which offered him a starting point for composition. Lipovšek se uvršËa med pešËico slovenskih glasbenikov zgodnjega 20. stoletja, ki so si prizadevali za širitev novih estetskih prepriËanj in kompozicijsko-tehniËnih možnosti. Kljub temu je ostajal zvest Lipovšek is counted among the masters of Slovenian lied and intimate chamber works, and left a rich lastni ustvarjalni avtonomiji, glasba pa je bila po njegovem prepriËanju najuËinkovitejše sredstvo iskanja collection of choral works. His output of orchestral pieces is modest, but significant.

50 Skladatelji / Composers Skladatelji / Composers 51 Lucijan Marija Škerjanc (1900—1973) CD 2/1 kladatelj, pianist, pedagog, dirigent in Sglasbeni publicist, ena kljuËnih slovenskih Skladba / Composition: glasbenih osebnosti 20. stoletja. Kot eden Prva rapsodija za violino in orkester / prvih profesionalno izobraženih glasbenikov First Rhapsody for Violin and Orchestra na Slovenskem je v slovenski glasbeni prostor Izvajalec / Performers: vstopil v Ëasu, ko je slovenska glasba še SimfoniËni orkester RTV Ljubljana* / iskala lastno identiteto, s tehtnim tehniËnim RTV Ljubljana Symphony Orchestra** znanjem pa je vanjo vpeljal nov ustvarjalni duh. (* Leta 1991 se je preimenoval v SimfoniËni orkester RTV Osnovno izobrazbo iz klavirja in kompozicije je Slovenija. / ** Renamed the RTV Slovenia pridobil v Ljubljani (med drugim pri skladateljih Symphony Orchestra in 1991.) Stanku Premrlu in Antonu Lajovicu) ter nato Dirigent / Conductor: študij nadaljeval v tujini, najprej na praškem Samo Hubad konservatoriju, nato na dunajski Glasbeni akademiji (pri skladatelju Josephu Marxu in Solist / Soloist: pianistu Antonu Trostu) ter kasneje v Baslu, kjer Igor Ozim — violina / violin je diplomiral iz dirigiranja. Znanje kompozicije je izpopolnjeval tudi v Parizu pri Vincentu d’Indyju. Posneto / Recorded: 1976; Slovenska filharmonija, dvorana Marjana Kozine / Široko razgledan in tehniËno podkovan kot je Slovenian Philharmonic, Marjan Kozina Hall; bil, je Škerjanc že zgodaj izoblikoval svoj lasten tonski mojster / sound engineer: Sergej Dolenc; glasbeni producent / producer: Miran KvartiË glasbeni jezik ter samosvoj pristop in pogled na ustvarjanje. Trdno zasidran v poznoromantiËni miselnosti in moËno navezan na tradicijo, je bil Foto / Photo: prepriËan, da zvoËne možnosti tradicionalnega Tihomir Pinter glasbenega stavka še niso do kraja izËrpane. Po naravi izrazitemu liriku je bila objektivnost tuja; v ustvarjanju sta ga kot bistvena ustvarjalna principa vodila notranja invencija in glasbena fantazija. Tonalnih okvirov ni prestopil, za

52 Skladatelji / Composers Skladatelji / Composers 53 potrebe tonskega barvanja pa se ni izogibal kromatiËni harmoniji. Njegov znaËilno bogat harmonski CD jezik razodeva mojstra zvoËnega barvanja, pri Ëemer je bilo Škerjancu v veliko pomoË njegovo odliËno 2/2-4 obvladovanje instrumentacije.

ŠkerjanËev opus je obsežen in raznolik; bil je mojster samospeva, izrazno najmoËnejši v manjših formah. Skladba / Composition: Pomemben je tudi njegov prispevek k slovenski simfoniËni literaturi, v obdobju med obema vojnama pa Suita v starem slogu za godalni kvartet izstopajo kompozicije za godalni orkester. in godalni orkester / Suite in the Old Style for string quartet and string orchestra (Ciaccona, Interludio, Giga) composer, pianist, teacher, conductor and music journalist, Škerjanc was a key figure in Slovenian Amusic in the 20th century. As one of the first professionally trained musicians in Slovenia, he Izvajalec / Performers: appeared on the local music scene at a time when Slovenian musicians were searching for their own Komorni orkester RTV Slovenija / identity, and with his deep technical knowledge, he injected a new creative spirit into Slovenian music. RTV Slovenia Chamber Orchestra He received his basic education in piano and composition in Ljubljana (with, among others, composers Dirigent / Conductor: Stanko Premrl and Anton Lajovic), then continued his studies abroad, first at the Prague Conservatory Uroš Lajovic and later at the music academy in Vienna (with Joseph Marx and pianist Anton Trost) and in Basel, where he graduated in conducting. He also refined his compositional skills in Paris with Vincent d’Indy. Solisti / Soloists: Slovenski godalni kvartet / Slovenian String Quartet: Highly knowledgeable and technically well-grounded, Škerjanc developed his own musical language Slavko Zimšek — 1. violina / 1st violin and unique approach to, and views on, artistic creation early on. Firmly rooted in a late-Romantic Karel Žužek — 2. violina / 2nd violin sensibility and strongly attached to tradition, he was convinced that the aural possibilities of traditional Franc Avsenek — viola music theory had not yet been exhausted. By its nature, objectivity is foreign to expressive lyricism; Stane Demšar — violonËelo / cello and he was led by inner invention and musical fantasy as essential creative principles. His music never exceeds the limits of tonality, and he does not avoid using chromatic harmonies for tonal color. Posneto / Recorded: 1976; Radio Slovenija, Studio 14 / Radio Slovenia, Škerjanc’s characteristically rich harmonic language reveals a master of sound color, bolstered by Studio 14; tonski mojster / sound engineer: Rado Cedilnik; excellent orchestration skills. glasbeni producent / producer: BožiË Škerjanc’s oeuvre is extensive and diverse: he was a master of lied and most expressive in smaller forms. His contribution to Slovenian orchestral literature is also important, and his compositions for Foto / Photo: string orchestra written between the two world wars are especially notable. Z dovoljenjem Narodne in univerzitetne knjižnice — NUK. Vir: Digitalna knjižnica Slovenije (www.dlib.si). / Used with the permission of the National and University Library NUK. Source: the Digital Library of Slovenia (www.dlib.si).

54 Skladatelji / Composers Skladatelji / Composers 55 Matija BravniËar (1897—1977) slogovni heterogenosti skladatelj nobene od možnosti, ki so se mu ponujale, ni sprejel kot zavezujoËe. kladatelj, violinist, pedagog, glasbeni kritik in BravniËar se je v slovensko glasbeno zgodovino zapisal v prvi vrsti kot simfonik in operni skladatelj, saj Spublicist, ki je bistveno zaznamoval slovenski je bistveno obogatil tedaj siromašno ustvarjalnost na teh podroËjih. Prve skladbe za orkester je napisal glasbeni prostor 20. stoletja. Kot goreË zagovornik v tridesetih letih in se v njih (prviË v znameniti Plesni burleski) predstavil kot zaËetnik slovenskega napredka in hkrati velik nasprotnik provincialnih folklorizma po vzoru B. Bartóka in L. JanáËka. Kot kompozicijsko sredstvo je izrabljal tudi slovensko ostalin, ki so se trdovratno oklepale slovenske folkloro, Ëemur je ostal zvest tudi pozneje. glasbene tvornosti, je pomembno prispeval k širitvi novega ustvarjalnega duha v umetnosti na composer, violinist, teacher, music critic and journalist who made a significant mark on the Slovenskem. Prvo glasbeno izobrazbo je pridobil ASlovenian music scene of the 20th century. As an ardent supporter of progress and at the same na Glasbeni šoli v Gorici, akademsko pa šele v time a great opponent of the provincial remnants that he felt had stubbornly held back Slovenian zrelih letih, ko se je že uveljavil v skladateljskih musical creativity, he made an important contribution to the expansion of a new creative artistic spirit in krogih (na povabilo Slavka Osterca je študiral na Slovenia. His received his first musical education at the public music school in Gorizia, and went on to konservatoriju v Ljubljani). obtain academic training when he established himself in composers’ circles (he studied at the Ljubljana Conservatory at the invitation of Slavko Osterc). Sodobnosti naklonjenega duha je v mladem BravniËarju prepoznal že skladatelj Marij Kogoj, The composer Marij Kogoj, one of the main proponents of a new artistic ethos in the 1920s, eden glavnih zagovornikov novega umetniškega recognized in the young BravniËar an artistic spirit inclined to modernism. He invited the young izraza v dvajsetih letih 20. stoletja. Mladega musician to join the Youth Club, a community of emerging avant-garde artists, and began mentoring glasbenika je povabil v Klub mladih, kjer so se him in composition. A believer in progressive principles, BravniËar never stopped growing artistically, zbirali tedanji avantgardni umetniki, ter nad njim always remaining open to the variety of stylistic possibilities that flooded the musically diverse prevzel kompozicijsko mentorstvo. Zavezan ideji 20th century, while remaining faithful to his own ideas. Sediments of late Romanticism in his music napredka je BravniËar ustvarjalno vseskozi rasel, soon made way for a more expressionist style; later, he was drawn to neoclassical and neobaroque pri tem pa je ostajal odprt za razliËne slogovne tendencies, while during the Second World War he openly flirted with modernist approaches. Despite možnosti, ki so preplavljale glasbeno razvejano the obvious stylistic heterogeneity, he did not regard any of these options as binding. 20. stoletje, in hkrati zvest lastnim nazorom. Usedline pozne romantike so se pri njem kmalu In Slovenian music history, BravniËar is considered primarily a composer of orchestral works and opera, umaknile ekspresionistiËni izraznosti, kasneje so ga as he significantly enriched the formerly impoverished repertoire of Slovenian works in these genres. pritegnile neoklasicistiËne in neobaroËne tendence, With his first pieces for orchestra, written in the 1930s, he was one of the first (first, in the well-known medtem ko se je po drugi svetovni vojni odkrito Plesna burleska / Burlesque Dance) to employ a Slovenian folk spirit, similarly to Bartók and JanáËek. spogledoval z modernistiËnimi prijemi. Kljub oËitni He also used actual Slovenian folk elements as compositional material, to which he also remained faithful later in his career.

56 Skladatelji / Composers Skladatelji / Composers 57 Demetrij Žebre (1912—1970) CD 2/5 a Ëasa svojega življenja se je uveljavil Zpredvsem na poustvarjalnem podroËju, ko Skladba / Composition: je izpriËal izjemen talent kot dirigent orkestrov Kurent, simfoniËna pesnitev — ljubljanske, mariborske in zagrebške operne poème symphonique / symphonic poem hiše, soËasno pa tudi kot organizator glasbenih Izvajalec / Performers: dogodkov. Tako je zapustil pomemben peËat SimfoniËni orkester RTV Slovenija / v javnem glasbenem življenju Trsta, Maribora RTV Slovenia Symphony Orchestra in Zagreba. Medtem ko je bil kot glasbeni poustvarjalec deležen ugleda in spoštovanja, Dirigent / Conductor: pa je Žebretovo skladateljsko delo potekalo Simon KreËiË bolj ali manj v zakulisju njegovega vsakdana.

Posneto / Recorded: Temeljno kompozicijsko znanje je dobil 2011; Radio Slovenija, Studio 26 / Radio Slovenia, na ljubljanskem konservatoriju pri Slavku Studio 26; tonski mojster / sound engineer: Januš Luznar; glasbena producentka / producer: Nina Šenk Ostercu, ki mu je odprl nova obzorja in mu dal izhodišËa za nadaljnje ustvarjanje. Osterc je mlademu nadarjenemu skladatelju z Foto / Photo: oËitnim posluhom za sodobne kompozicijske Z dovoljenjem Narodne in univerzitetne knjižnice — NUK. rešitve svetoval izpopolnjevanje v Pragi. Na Vir: Digitalna knjižnica Slovenije (www.dlib.si). / Used with tamkajšnjem konservatoriju je Žebre kasneje the permission of the National and University Library NUK. študiral kompozicijo, najprej pri Josefu Suku Source: the Digital Library of Slovenia (www.dlib.si). in nato Aloisu Hábi, dirigiranje pa pri Václavu Talichu. Po uspešno zakljuËenem študiju je postopoma izoblikoval lastno glasbeno govorico. Gradil je na temeljih tradicije, pri Ëemer je staro na razliËne naËine družil z novim. OsterËevi novobaroËni vplivi zgodnjih skladb so se umaknili iskanju naprednejših rešitev praških let, Ëemur je sledilo obdobje

58 Skladatelji / Composers Skladatelji / Composers 59 bogate impresionistiËne zvoËnosti ter naposled, v poznih delih, vrnitev k trdnim temeljem ≈klasicistiËne« CD miselnosti. 2/6-8 Žebretov opus je precej raznolik, številËno pa izstopajo predvsem orkestrska in solistiËna dela ter samospevi. Poleg tega je pisal tudi komorno, scensko, filmsko in baletno glasbo ter nekaj zborov, Skladba / Composition: medtem ko se kljub dolgoletni in uspešni karieri opernega dirigenta nikoli ni lotil opere. Dan, balet (simfoniËna slika) v treh stavkih za veliki orkester (znana tudi kot Bacchanale) / Day, ballet (symphonic picture) in three movements for large n his lifetime, Žebre established himself primarily as an interpreter, displaying remarkable talent as a orchestra (also known as Bacchanale) Iconductor in the opera houses of Ljubljana, Maribor and Zagreb, and also as an organizer of musical (Andante, Allegro con fuoco, Moderato risoluto) events. He left an important mark on the musical life of Trieste, Maribor and Zagreb. While he enjoyed prestige and respect as a performer, Žebre’s activity as a composer took place more or less behind the Izvajalec / Performers: scenes of his everyday life. SimfoniËni orkester RTV Ljubljana* / RTV Ljubljana Symphony Orchestra** He gained a basic knowledge of composition at the Ljubljana Conservatory with Slavko Osterc, (* Leta 1991 se je preimenoval v SimfoniËni orkester who opened up new horizons for him, giving him a starting point for further creative development. RTV Slovenija. / ** Renamed the RTV Slovenia Symphony Orchestra in 1991.) Osterc advised the talented young composer with an obvious ear for modern compositional solutions to continue his studies in Prague. At the conservatory there, Žebre later studied composition, first Dirigent / Conductor: with Josef Suk and then with Alois Hába, as well as studying conducting with Václav Talich. After Samo Hubad successfully completing his studies, he gradually developed his own musical language, built on a foundation of tradition, whereby the old joined the new in various ways. Žebre replaced the neobaroque Posneto / Recorded: 1971; Slovenska filharmonija, dvorana Marjana Kozine / influence of Osterc in his earlier pieces with a search for more progressive solutions during his years in Slovenian Philharmonic, Marjan Kozina Hall; Prague. This was followed by a period featuring rich impressionist sonorities, succeeded in later works tonski mojster in glasbeni producent / by a return to a firmly grounded ‘classical’ attitude. sound engineer and producer: Sergej Dolenc

Žebre’s output is quite diverse, comprising mostly orchestral and solo works as well as lieder. In addition to this, he also wrote chamber music, music for theater, film and ballet, and several choral Foto / Photo: pieces. Despite a long and successful career as an opera conductor, he never attempted to compose Z dovoljenjem Narodne in univerzitetne knjižnice — NUK. in that genre. Vir: Digitalna knjižnica Slovenije (www.dlib.si). / Used with the permission of the National and University Library NUK. Source: the Digital Library of Slovenia (www.dlib.si).

60 Skladatelji / Composers Skladatelji / Composers 61 Zvonimir CigliË (1921—2006) dela, ki jih je zapustil, so zato najbolj dovršena, CigliË pa se je v slovensko glasbeno zgodovino zapisal v prvi vrsti kot orkestrski skladatelj. sebnostno eden najbolj samosvojih Oslovenskih glasbenikov, Ëigar samobitnost ne of the most original personalities in Slovenian music, whose individuality and unique attitude in svojski odnos do življenja sta bila vodilo Oto life guided him in his musical expression. In the history of Slovenian music he is regarded as a njegovega glasbenega izraza. V slovensko composer and primarily as a conductor, one of the most prominent of his generation. CigliË’s lifestyle glasbeno zgodovinopisje se je zapisal kot was permeated by strong emotions, torn between the extremes that life presented him. His life was skladatelj in predvsem kot dirigent, eden passionate and temperamental, but also tragic, and tragedy was an integral part of both his existence najvidnejših svoje generacije. CigliËev življenjski and his creative drive. slog so prežemale moËne emocije, razpete For him, music was above all a means of internal expression; he was not interested in experimentation, med ekstremi, pred katere ga je postavljalo either compositionally or technically. He forged a strong personal musical language that remains firmly življenje. Živel je strastno in temperamentno, bound to tradition. CigliË began his musical studies at the piano, later receiving further training from a tudi tragiËno — tragika je bila sestavni del Lucijan Marija Škerjanc, first at the Secondary School for Music and later at the Academy of Music as tako njegovega obstoja kot tudi ustvarjalnega a student of composition and conducting (studying the latter with Danilo Švara). zagona. He expressed his experience of the world most comprehensively through the orchestra, employing a Glasba je bila zanj v prvi vrsti sredstvo diverse palette and symphonic breadth; consequently, the orchestral works which he left are his most notranjega izraza, eksperimentiranje v sophisticated. kompozicijsko-tehniËnem oziru ga ni zanimalo. Izoblikoval je moËno osebno glasbeno govorico, ki ostaja v trdnih okvirih tradicionalnega. Prve korake v svet glasbe je CigliË naredil za klavirjem, temeljno glasbeno izobrazbo pa je kasneje pridobil pri Lucijanu Mariji Škerjancu, najprej na Srednji glasbeni šoli, nato pa tudi na Akademiji za glasbo kot študent kompozicije in dirigiranja (slednje pod mentorstvom Danila Švare).

Svoje doživljanje sveta je najbolj celovito izražal s pomoËjo simfoniËnega aparata, skozi razvejano paleto orkestrske širine. Orkestralna

62 Skladatelji / Composers Skladatelji / Composers 63 CD 2/9

Skladba / Composition: Obrežje plesalk, simfoniËna koreografska pesnitev za veliki orkester / Waterfront Dancers, choreographed symphonic poem for large orchestra

Izvajalec / Performers: SimfoniËni orkester RTV Ljubljana* / RTV Ljubljana Symphony Orchestra** (* Leta 1991 se je preimenoval v SimfoniËni orkester RTV Slovenija. / ** Renamed the RTV Slovenia Symphony Orchestra in 1991.) Dirigenti / Conductors Dirigent / Conductor: Samo Hubad Solisti / Soloists Posneto / Recorded: 1971; Slovenska filharmonija, dvorana Marjana Kozine / Orkestri / Orchestras Slovenian Philharmonic, Marjan Kozina Hall; tonski mojster in glasbeni producent / sound engineer and producer: Sergej Dolenc

Foto / Photo: Z dovoljenjem Narodne in univerzitetne knjižnice — NUK. Vir: Digitalna knjižnica Slovenije (www.dlib.si). / Used with the permission of the National and University Library NUK. Source: the Digital Library of Slovenia (www.dlib.si).

64 Skladatelji / Composers Uroš Lajovic (rojen / born 1944) Samo Hubad (rojen / born 1917) o študiju kompozicije in dirigiranja pri prof. Danilu Švari in prof. Matiji BravniËarju na ljubljanski o konËanem študiju pri Slavku Ostercu in Danilu Švari na Akademiji za glasbo v Ljubljani se je Puniverzi se je izpopolnjeval na Mozarteumu v Salzburgu pri prof. Brunu Maderni ter na dunajski Pizpopolnjeval v Salzburgu in pri Václavu Talichu v Pragi. Njegova vplivna dirigentska pot se je zaËela Univerzi za glasbo in uprizarjajoËe umetnosti v razredu prof. Hansa Swarowskega. Dirigentsko kariero leta 1942 v ljubljanski Operi. V petdesetih letih prejšnjega stoletja si je izoblikoval mednarodno kariero si je najprej izoblikoval kot stalni dirigent Slovenske filharmonije in vodja Komornega orkestra RTV kot šef dirigent Zagrebške filharmonije in kot gostujoËi dirigent münchenske, varšavske, budimpeške Ljubljana. V letih 1979—1981 je deloval kot šef dirigent Zagrebških simfonikov in leta 1988 ustanovil in leningrajske filharmonije, radijskega orkestra v Helsinkih, Parizu, Bratislavi in Moskvi ter Tokijskega komorni ansambel Slovenicum. Na pedagoškem podroËju se je uveljavil kot redni profesor na Univerzi simfoniËnega orkestra. Pod njegovim vodstvom so bila izvedena številna pomembna operna dela v za glasbo in uprizarjajoËe umetnosti na Dunaju ter postal leta 2012 njen Ëastni profesor. Njegovo Parizu, na Nizozemskem, v Genovi, v Teatru San Carlo v Neaplju in Teatru Verdi v Trstu. V letih 1947— dirigentsko udejstvovanje vkljuËuje tako posamezne nastope kot redna sodelovanja, v svoji karieri pa 1966 je deloval kot šef dirigent Orkestra Slovenske filharmonije in nato do leta 1980 vodil SimfoniËni je zasedal mesta rednega dirigenta, šefa dirigenta in umetniškega vodje glasbenih festivalov in veË orkester RTV Ljubljana, s katerim je posnel veËino slovenskega simfoniËnega opusa ter pomembne kot 70 mednarodnih orkestrov, med katerimi so Dresdenska filharmonija, Beograjska filharmonija, opere, med drugim ekspresionistiËno opero »rne maske Marija Kogoja. Za svoje dirigentsko delo je Münchenska filharmonija in salzburški orkester Mozarteum. Za izvedbo Mahlerjeve1. simfonije je prejel številna odlikovanja in nagrade, med njimi dve nagradi Prešernovega sklada in ŽupanËiËevo prejel nagrado Prešernovega sklada. Leta 2013 je bil odlikovan s Ëastnim križem Republike Avstrije za nagrado. umetnost in znanost. fter completing his studies with Slavko Osterc and Danilo Švara at the Academy of Music in fter studying composition and conducting with Danilo Švara and Matija BravniËar at the University ALjubljana, he continued his training in Salzburg and with Václav Talich in Prague. His influential Aof Ljubljana, he continued his training at the Mozarteum in Salzburg with Bruno Maderna and conducting career began in 1942 at the Ljubljana Opera. In the 1950s, he established an international at the Vienna University of Music and Performing Arts in the class of Hans Swarowsky. He initially career as chief conductor of the Zagreb Philharmonic and as guest conductor of philharmonic established his conducting career as chief conductor of the Slovenian Philharmonic and director of orchestras in Munich, Warsaw, Budapest and Leningrad, radio orchestras in Helsinki, Paris, Bratislava the RTV Ljubljana Chamber Orchestra. From 1979 to 1981, he was chief conductor of the Zagreb and Moscow, as well as the Tokyo Symphony Orchestra. A number of important operas were Symphony Orchestra, and in 1988 he founded the Slovenicum chamber ensemble. He is a tenured performed under his direction in Paris, the Netherlands, Genoa, at the Teatro San Carlo in Naples and professor at the University of Music and Performing Arts in Vienna, becoming an honorary professor in the Teatro Verdi in Trieste. Between 1947 and 1966, he worked as chief conductor of the Slovenian 2012. His conducting engagements include both individual performances and ongoing collaborations; Philharmonic Orchestra, and from then until 1980 as chief conductor of the RTV Ljubljana Symphony during his career, he has held the positions of principal conductor, chief conductor and artistic director Orchestra, with whom he recorded most of the Slovenian orchestral repertoire and important operas, of various music festivals, working with more than 70 orchestras internationally, including the Dresden including the expressionist opera »rne maske / Black Masks by Marij Kogoj. He has received Philharmonic, Belgrade Philharmonic, Munich Philharmonic and the Salzburg Mozarteum Orchestra. He numerous prizes and awards, including two Prešeren Fund Prizes and the ŽupanËiË Prize. received the Prešeren Fund Prize for his performance of Mahler’s Symphony No. 1. In 2013, he was awarded the Cross of Honour for Science and Art of the Republic of Austria.

66 Dirigenti / Conductors Dirigenti / Conductors 67 Marko Munih (rojen / born 1936) Simon KreËiË (rojen / born 1979) irigiranje je študiral pri prof. Danilu Švari na Akademiji za glasbo v Ljubljani in se izpopolnjeval eta 2002 je diplomiral iz klavirja pri Aciju Bertonclju na Akademiji za glasbo v Ljubljani. Študij Dkot asistent Lovra von MataËiÊa v Frankfurtu. Po vrnitvi v Ljubljano se je zaposlil v Slovenski Lklavirja je nadaljeval pri Aleksandru Madžarju v Švici, kjer se je zaËela njegova dirigentska pot z filharmoniji, kjer je deloval kot asistent dirigenta, zborovodja, tolkalec v orkestru in pianist ter sedem vkljuËitvijo v razred prof. Dominiqua Roggena. Leta 2005 je izšel nagrajeni posnetek otroške opere let tudi kot stalni dirigent Orkestra Slovenske filharmonije. Poleg orkestrskega vodstva se je Munih Schneewyttli Rolanda Zossa v izvedbi mladega dirigenta KreËiËa, ki si je za svojo dirigentsko vlogo predvsem posveËal vodstvu številnih vokalnih skupin, zlasti uspešno Akademskega pevskega zbora leta 2008 prislužil tretjo nagrado na mednarodnem dirigentskem tekmovanju v italijanskem Grossetu. Tone TomšiË in Komornega zbora RTV Ljubljana. V letih 1979—1995 je bil glavni urednik glasbenega Vodil je veË švicarskih orkestrov (Uniorchester Bern, Komorni orkester Spiez, orkester Visoke šole za programa Radia Slovenija. S SimfoniËnim orkestrom RTV Slovenija je veËkrat gostoval po Evropi umetnost v Bernu), leta 2011 je kot asistent dirigent sodeloval pri izvedbi Massenetovega Wertherja v in v ZDA in z njim poustvaril veË sto posnetkov tako sodobnih kot klasiËnih del slovenskega in produkciji Kraljeve operne hiše v Madridu in se tako uveljavil na mednarodnem prizorišËu. Leta 2012 je mednarodnega repertoarja, med katerimi izstopa zlasti izvedba PatetiËne simfonije P. I. »ajkovskega, ki s premierno baletno uprizoritvijo na glasbo Igorja Stravinskega diplomiral v razredu prof. Milivoja Šurbka. je izšla leta 1987 pri založbi Stradivari Classics. Za svojo dolgoletno glasbeno dejavnost je Munih prejel KreËiË redno sodeluje z razliËnimi domaËimi orkestrskimi sestavi, kot so denimo SimfoniËni orkester nagrado Prešernovega sklada in Betettovo nagrado. Domžale-Kamnik, Orkester Slovenske filharmonije in SimfoniËni orkester RTV Slovenija, od leta 2013 pa deluje tudi kot umetniški vodja mariborske Opere. arko Munih studied conducting with Danilo Švara at the Academy of Music in Ljubljana and Mpursued further studies as an assistant to Lovro von MataËiÊ in Frankfurt. After returning to fter studying with Aci Bertoncelj at the Academy of Music in Ljubljana, he received his degree in Ljubljana, he was employed at the Slovenian Philharmonic, where he worked as assistant conductor, Apiano in 2002. He continued his piano studies with Aleksandar Madžar in Switzerland, where he choir director, percussionist and pianist, and for seven years was also the principal conductor of the began to study conducting in the class of Dominique Roggen. In 2005, the award-winning recording Slovenian Philharmonic Orchestra. In addition to orchestral conducting, Munih principally dedicated of the children’s opera Schneewyttli by Roland Zoss, conducted by the young conductor KreËiË, was himself to leading a number of vocal ensembles, in particular the successful Tone TomšiË Academic released, and in 2008 he won third prize at the international conductor’s competition in Grosseto, Italy. Choir and the RTV Ljubljana Chamber Choir. Between 1979 and 1995, he was chief program director He has conducted several Swiss orchestras (Uniorchester Bern, Spiez Chamber Orchestra, Orchestra for music at Radio Slovenia. With the RTV Slovenia Symphony Orchestra he has made many guest of the Bern University of the Arts) and in 2011 he participated in a production of Massenet’s Werther appearances in Europe and the United States, and made more than a hundred recordings of both at the Royal Opera House in Madrid as assistant conductor, establishing himself on the international contemporary and classical works from the Slovenian and standard repertoire; especially notable scene. In 2012, he graduated in the class of Milivoj Šurbek with the premiere staging of a ballet to among these is the performance of the Pathétique Symphony by Tchaikovsky released in 1987 on the music by Stravinsky. KreËiË regularly works with various Slovenian orchestras, such as the Domžale- Stradavari Classics label. For his long musical career Munih has received the Prešeren Fund Prize and Kamnik Symphony Orchestra, the Slovenian Philharmonic Orchestra and the RTV Slovenia Symphony the Betetto Prize. Orchestra, and since 2013 he has also worked as artistic director of the Maribor Opera.

68 Dirigenti / Conductors Dirigenti / Conductors 69 Igor Ozim (rojen / born 1931) Slovenski godalni kvartet / Slovenian String Quartet študijem violine je priËel pri petih letih pri prof. Leonu Pfeiferju v Ljubljani in ga leta 1949 kot prvi letih 1968—1980 je kvartet deloval kot eden izmed glasbenih ansamblov RTV Ljubljana. Osnoval Siz takratne Jugoslavije s štipendijo Britanskega sveta nadaljeval pri Maxu Rostalu na Kraljevem Vga je violinist in tedanji koncertni mojster SimfoniËnega orkestra RTV Ljubljana Slavko Zimšek glasbenem kolidžu v Londonu. Diplomiral je leta 1951 in osvojil medaljo Carla Flescha. Po osvojitvi skupaj s kolegi violinistom Karlom Žužkom, violistom Francem Avsenkom in violonËelistom Jankom prvega mesta na mednarodnem tekmovanju nemških radijskih postaj ARD leta 1953 v Münchnu se Kichlom. Slednjega je na mestu violonËelista nasledil Edi Majaron, tega pa leta 1972 Stane Demšar. je z intenzivno koncertno aktivnostjo uveljavil na svetovnih odrih kot prepoznaven violinski virtuoz. V etween 1968 and 1980, the quartet was one of the performing ensembles at RTV Ljubljana. It svoji 60-letni karieri je kot solist nastopil z najpomembnejšimi svetovnimi orkestri, kot so Berlinski was founded by the violinist and former concert master of the RTV Ljubljana Symphony Orchestra, filharmoniki, Londonski filharmoniËni orkester, Londonski simfoniËni orkester, SimfoniËni orkester BBC B Slavko Zimšek, together with his colleagues, violinist Karl Žužek, violist Franc Avsenek and cellist in Varšavski filharmoniËni orkester, ter posnel zajetno bero klasiËnih in sodobnih koncertnih del, ki so Janko Kichel. The latter was later replaced by Edi Majaron, who was then succeeded by Stane Demšar izšla pri razliËnih evropskih in ameriških založbah, med njimi tudi veË krstnih izvedb del, ki so mu jih in 1972. posvetili slovenski skladatelji. Številne mlade glasbenike, ki so se udeležili raznih mojstrskih teËajev po svetu in študirali na slovitih univerzah, kot so Visoka šola za glasbo v Kölnu, Konservatorij za glasbo v Bernu in Mozarteum v Salzburgu, je kot vpliven pedagog izoblikoval v prepoznavne virtuoze.

gor Ozim began studying the violin at the age of five with Leon Pfeifer in Ljubljana, and from 1949 Icontinued his studies with Max Rostal at the Royal College of Music in London, the first person from Yugoslavia to receive a scholarship from the British Council. He graduated in 1951, earning the Carl Flesch Medal. After winning first prize at the ARD German Radio International Competition in Munich in 1953, he established himself on international stages as a recognized virtuoso violinist with a demanding schedule of performances. In his 60-year career as a soloist, he performed with the most important orchestras, including the Berlin Philharmonic, the London Philharmonic, the London Symphony Orchestra, the BBC Symphony Orchestra and the Warsaw Philharmonic. He has also made a substantial collection of recordings of classical and contemporary concertos for numerous European and American record labels, including many world premieres written for him by Slovenian composers. As an influential teacher, he has trained many young musicians, coaching talented violinists at master classes around the world and at renowned universities such as the Hochschule für Musik und Tanz in Cologne, the Bern University of the Arts and the Mozarteum in Salzburg.

70 Solisti / Soloists Solisti / Soloists 71 Orkester Slovenske filharmonije / Slovenian Philharmonic Orchestra and 2004) and a European tour in 2012 with Anna Netrebko in the role of Iolanta from the eponymous opera by Tchaikovsky under the baton of former artistic director Emmanuel Villaume. A recording of d ustanovitve leta 1947 dalje se kot eno izmed štirih najpomembnejših slovenskih izvajalskih teles the concert performance of the opera was released by Deutsche Grammophon, enriching the extensive OposveËa izvajanju klasiËnih mojstrovin in sodobnih del domaËih skladateljev ter nadaljuje tradicijo discography of the orchestra, which comprises more than 50 discs. orkestrov starejših družb: Academie Philharmonicorum (1701), FilharmoniËne družbe (1794) in prve Slovenske filharmonije (1908−1913). Orkester je nastopil pod taktirko prepoznavnih tujih in domaËih dirigentov, med njimi Marka Letonje, Uroša Lajovica, Sama Hubada, Lovra von MataËiÊa, Riccarda Mutija, Claudia Abbada in Zubina Mehte, ter sodeloval z vidnimi solisti, med katerimi so Jehudi Menuhin, David Ojstrah, Svjatoslav Richter, Shlomo Mintz, Arthur Rubinstein, Marjana Lipovšek, Bernarda Fink, Dubravka TomšiË Srebotnjak in Irena Grafenauer. Med pomembnejše dogodke iz dnevnika orkestrovih sodelovanj in gostovanj v zadnjem obdobju spadajo koncert pod vodstvom Carlosa Kleiberja, gostovanje z Mstislavom RostropoviËem v Rimu in Valenciji, koncerti v elitni dvorani Musikverein (2002 in 2004) in evropska turneja leta 2012 z Ano Netrebko v vlogi Jolante iz istoimenske opere P. I. »ajkovskega pod taktirko takratnega umetniškega vodje Emmanuela Villauma. Posnetek koncertne izvedbe omenjene opere je izšel pri založbi Deutsche Grammophon in obogatil obsežno diskografijo orkestra, ki šteje veË kot 50 plošË.

ince its establishment in 1947 as one of the four most important performing ensembles in SSlovenia, the Slovenian Philharmonic has been dedicated to performing classical masterpieces and contemporary works by Slovenian composers, while continuing the orchestral tradition of previous incarnations of the organization: the Academia Philharmonicorum (1701), FilharmoniËna družba / Philharmonic Society (1794) and the first Slovenian Philharmonic (1908-1913). The orchestra has performed under the direction of renowned foreign and Slovenian conductors, including Marko Letonja, Uroš Lajovic, Samo Hubad, Lovro von MataËiÊ, Riccardo Muti, Claudio Abbado and Zubin Mehta, and has collaborated with prominent soloists such as Yehudi Menuhin, David Oistrakh, Sviatoslav Richter, Shlomo Mintz, Arthur Rubinstein, Marjana Lipovšek, Bernarda Fink, Dubravka TomšiË Srebotnjak and Irena Grafenauer. Among the most important events on the list of the orchestra's collaborations and guest appearances in recent years are a concert under the direction of Carlos Kleiber, guest appearances with Mstislav Rostropovich in Rome and Valencia, concerts in the elite Musikverein (2002

72 Orkestri / Orchestras Orkestri / Orchestras 73 SimfoniËni orkester RTV Slovenija / RTV Slovenia Symphony Orchestra label, and at the Wien Modern festival they presented the music of Vinko Globokar under the direction (SimfoniËni orkester RTV Ljubljana / RTV Ljubljana Symphony Orchestra) of conductor Diego Masson. The ensemble has collaborated with renowned conductors and performers such as Neeme Järvi, Mariss Jansons, Ralf Weikert, Angela Gheorghiu and Dmitri Sitkovetsky, and rkester je zaËel delovati leta 1955, in sicer pod vodstvom dirigenta Uroša Prevorška, do priËetka given an opportunity to musicians such as Aci Bertoncelj, Irena Grafenauer and Ciril Škerjanec to make O21. stoletja pa je z domaËimi dirigenti Samom Hubadom, Antonom Nanutom in Markom Munihom their first recordings. ter Ëeškim dirigentom Stanislavom Macuro utrdil svoje poslanstvo. V tej smeri od leta 2006 nadaljuje kitajski dirigent En Shao, ki vodi orkester pri poustvarjanju skladb velikih klasiËnih mojstrov in oskrbuje nacionalni fonoteËni arhiv s slovenskimi glasbenimi deli. Bogata orkestrova diskografija obsega preko 100 izdaj za razliËne domaËe in tuje založbe. Svojo koncertno dejavnost je orkester udejanjil tudi na pomembnih mednarodnih odrih, denimo v amsterdamski dvorani Concertgebouw, v dvoranah Musikverein in Konzerthaus na Dunaju, in na festivalih, kot so Beneški bienale, festival Trieste contemporanea in Mahlerjevi tedni v Toblachu. Pod umetniškim vodstvom izraelskega dirigenta Liora Shambadala (2000—2002) je orkester izvedel številna snemanja za založbo Arte Nova in na festivalu Wien Modern pod vodstvom dirigenta Diega Massona predstavil glasbo Vinka Globokarja. Sestav je sodeloval s priznanimi dirigenti in glasbeniki, kot so Neeme Järvi, Mariss Jansons, Ralf Weikert, Angela Gheorghiu in Dmitrij Sitkovecki, ter dal priložnost glasbenikom, kot so Aci Bertoncelj, Irena Grafenauer in Ciril Škerjanec, da so prišli do svojih prvih posnetkov.

he orchestra began performing in 1955 under the direction of conductor Uroš Prevošek. Until Tthe beginning of the 21st century, it strengthened its mission under the guidance of Slovenian conductors Samo Hubad, Anton Nanut, Marko Munih, as well as the Czech conductor Stanislav Macura. Since 2006, the Chinese conductor En Shao has continued in this direction, leading the orchestra in interpretations of works by the great classical masters and supplying the National Music Library Archive with recordings of Slovenian music. The orchestra’s rich discography includes more than 100 releases on various Slovenian and foreign labels. Their concert activities have seen the orchestra perform at important international concert halls, including the Concertgebouw in Amsterdam, the Musikverein and Konzerthaus in Vienna, and at festivals such as the Venice Biennale, the Trieste Contemporanea Festival, and the Mahler Weeks in Toblach. Under the artistic direction of Israeli conductor Lior Shambadal (2000-2002) the orchestra has made several recordings for the Arte Nova

74 Orkestri / Orchestras Orkestri / Orchestras 75 Godalni orkester RTV Ljubljana / RTV Ljubljana String Orchestra Komorni orkester RTV Ljubljana / RTV Ljubljana Chamber Orchestra odalni orkester je eden izmed številnih predhodnikov SimfoniËnega orkestra RTV Slovenija, s prva je orkester v kratkem obdobju, ki ga zamejujeta letnici 1974 in 1978, redno deloval pod Gsvojim delovanjem pa je priËel ob ustanovitvi Radia Ljubljana leta 1928, in sicer pod imenom Sdirigentskim vodstvom Uroša Lajovica in je bil sestavljen iz Ëlanov tedanjega SimfoniËnega orkestra Radio orkester. V letih pred drugo svetovno vojno se je orkester z dodanimi pihalci in trobilci razširil v RTV Ljubljana, nato je od leta 1978 do leta 1984 deloval zgolj projektno. V Ëasu tako rednega kot simfoniËni sestav, ki se je leta 1955 razvil v SimfoniËni orkester RTV Ljubljana, godalna sekcija pa je projektnega delovanja je orkester zapolnjeval pomembno vrzel v takratni komorni glasbeni kulturi priložnostno delovala tudi samostojno kot Godalni orkester RTV Ljubljana. z nastopi po celotni nekdanji skupni državi Jugoslaviji in dajal pobudo za nastanek vrste novih del, napisanih za tovrstni sestav, ki so jih prispevali slovenski skladatelji, kot so Lojze LebiË, Jani Golob, he String Orchestra, one of numerous predecessors of the RTV Slovenia Symphony Orchestra, Primož Ramovš in Jakob Jež. Tbegan its activities as the Radio Orchestra with the establishment of Radio Ljubljana in 1928. In the years before the Second World War, the orchestra added winds and brass, expanding to become a omprised of members of the RTV Ljubljana Symphony Orchestra, the ensemble originally symphonic ensemble that by 1955 had evolved into the RTV Ljubljana Symphony Orchestra. Later, the Cperformed and recorded regularly between 1974 and 1978 under the direction of Uroš Lajovic; string section occasionally performed independently as the RTV Ljubljana String Orchestra. later, from 1978 until 1984, they worked only on a project-to-project basis. During both periods of regular and irregular activity, the orchestra filled an important gap in the performance of chamber music in Yugoslavia, giving recitals around the country, while it also spurred the creation of a number of new compositions for ensembles of this kind by numerous Slovenian composers, including Lojze LebiË, Jani Golob, Primož Ramovš and Jakob Jež.

76 Orkestri / Orchestras Orkestri / Orchestras 77 SIGIC − Slovenski glasbenoinformacijski center / RTV Slovenija, ZKP − Založba kakovostnih programov / Slovenian Music Information Centre RTV Slovenija, ZKP Publishing and Record Label SIGIC − Slovenski glasbenoinformacijski center je osrednja informacijska toËka za dostop do ZKP RTV Slovenija izdaja in distribuira programe na nosilcih zvoka že veË kot štirideset let in na informacij o slovenski glasbi, glasbenikih in glasbenih strokovnjakih ter aktualnih glasbenih aktivnostih. nosilcih slike preko dvajset let. Od vsega zaËetka je založba skrbela za vse glasbene zvrsti, tako jazz, SistematiËno skrbi za promocijo slovenske glasbe in glasbenikov tako doma kot v tujini. V ta namen se klasiko in opero kot tudi otroške pesmi, rock, pop, šanson, ljudsko, etno in narodnozabavno glasbo. V SIGIC uspešno povezuje s številnimi glasbenimi institucijami v Sloveniji in po svetu ter je polnopravni sedemdesetih in osemdesetih letih je bila ena najmoËnejših založb na ozemlju nekdanje Jugoslavije. V Ëlan Mednarodne zveze glasbenoinformacijskih centrov (IAMIC). SIGIC izdaja spletno revijo o glasbi zadnjih letih je še bolj neposredno povezana z radijskimi in televizijskimi programi v smislu promocijske Odzven, ki ponuja kritiËno refleksijo in analitiËno misel o aktualnem glasbenem dogajanju vseh žanrov. dodane vrednosti, obnavljanja in izdajanja dragocenih avdio in video arhivov in podpore novim Z letom 2011 je SIGIC zaËel z izdajanjem preglednih kompilacijskih zgošËenk, s katerimi predstavlja projektom. Letno izda med 30 in 40 visoko kakovostnih programov s podroËja vseh glasbenih zvrsti, presežke v posameznih glasbenih žanrih. ZgošËenkam Jazz Slovenia 2011, Etno Slovenia 2011 in otroških programov animacije, pesmi in pravljic, dokumentaristike in igranih projektov, svojo založniško Eksperiment Slovenia tako sledi Klasika Slovenia: Skladbe za orkester, 1. del, ki jo držite v rokah. dejavnost pa širi tudi na nove medije ter z izidi podpira tako nove talente kot vrhunske slovenske umetnike. The Slovenian Music Information Centre - SIGIC - is the central information point for Slovenian music, musicians, musical professionals, and current musical events and activities. The organization The RTV Slovenia Publishing and Record Label known as ZKP RTV Slovenija has been releasing and systematically promotes Slovenian music and musicians both nationally and internationally. To this end, distributing audio recordings for more than four decades and video recordings for more than twenty SIGIC connects numerous musical institutions in Slovenia and around the world, and is a full member years. One of the most powerful record companies of the 1970s and 1980s in the former Yugoslavia of IAMIC, the International Association of Music Information Centres. SIGIC publishes a web music in nearly all music genres (i.e. classical and opera, children’s songs, rock, pop, folk, chanson, ethno, magazine called Odzven that offers critical reflection and analysis about current musical activities in all jazz), it has been recently mostly linked to radio and television programs of various genres, restoring genres. In 2011, SIGIC started publishing compilation CDs presenting the best from individual music and commercially releasing valuable archival audio and video recordings and supporting new projects. genres; the CDs Jazz Slovenia 2011, Etno Slovenia 2011 and Eksperiment Slovenia are now followed Thirty to forty new releases per year bring first-rate music, children’s programs (animation, songs and by this compilation, Klasika Slovenia: Orchestral Works Vol. 1. fairytales), fiction and documentary releases to new platforms, as well supporting both new talent and the most prominent Slovenian artists.

VeË o SIGIC-u / More about SIGIC: www.sigic.si. VeË o ZKP RTV Slovenija / More about ZKP RTV Slovenija: www.rtvslo.si/zkpprodaja.

78 79 Klasika Skladbe za orkester, 1. del / Orchestral Works Vol. 1 Slovenia

Izbor skladb za kompilacijo je opravila strokovna komisija ℗ & © 2015 RTV Slovenija, ZKP — Založba kakovostnih v sestavi / The compositions were selected by an expert programov / ZKP Publishing and Record Label committee with the following members: Aleš Nagode, Zanjo / Represented by: Mojca Menart, Borut Smrekar, Nenad Firšt. vodja založniške dejavnosti / Head of Label Uredništvo / Editorial Board: SIGIC, ZKP RTV Slovenija Naslov / Address: Kolodvorska 2, Strokovni sodelavci / Professional assistants: Špela Lah, 1550 Ljubljana, Slovenija Mojca Menart, Klemen MihaËiË, Viktor Škedelj RenËelj Vsa dela in izvedbe so avtorsko zašËitene. / Besedila / Texts: Aleš Nagode, Gregor Pompe, Copyright subsists in all recordings on this label. Špela Lah, Maia Juvanc Ljubljana, januar 2015 / January 2015 Lektorica slovenskih besedil / Slovenian language copy Nakup preko interneta / On-line purchase: editor: Monika JeriË www.rtvslo.si/zkpprodaja Prevod / Translation: Steven Loy Lektor angleških besedil / English language copy editor: Philip Burt Mastering: Radio Slovenija, Studio 15, Miro PrljaËa Oblikovanje / Design: Eda PavletiË ℗ & © 2015 Naklada / Print run: 2000 izvodov / 2000 copies

Izdano v sodelovanju z / Released in cooperation with: 113802 Radio Slovenija, Program ARS Odgovorni urednik / Managing editor: Matej Venier Urednik uredništva za resno glasbo / Editor of Classical Music Department: Gregor Pirš

SIGIC — Slovenski glasbenoinformacijski center / Izdajo so finanËno podprli Ministrstvo za kulturo Republike Slovenian Music Information Centre Slovenije, Mestna obËina Ljubljana in projekt MINSTREL Zanj / Represented by: Zoran KrstuloviÊ (mreža za podporo mednarodni izmenjavi in razširjanju Naslov / Address: Trg francoske revolucije 6, glasbenih vsebin na evropski ravni). / This publication received 1000 Ljubljana, Slovenija financial support from the Ministry of Culture of the Republic of Slovenia, the City of Ljubljana and the MINSTREL project www.sigic.si (Music network supporting trans-national exchange and dissemination of music resources at European level).

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