Davorin Jenko (1835–1914) Prilozi Za Kulturu Sećanja

Total Page:16

File Type:pdf, Size:1020Kb

Davorin Jenko (1835–1914) Prilozi Za Kulturu Sećanja DAVORIN JENKO (1835–1914) PRILOZI ZA KULTURU SEĆANJA DAVORIN JENKO (1835–1914) PRISPEVKI ZA KULTURO SPOMINA Urednik Katarina Tomašević DAVORIN JENKO (1835–1914) PRILOZI ZA KULTURU SEĆANJA DAVORIN JENKO (1835–1914) PRISPEVKI ZA KULTURO SPOMINA Izdavači Muzikološki institut Srpske akademije nauka i umetnosti Nacionalni savet slovenačke nacionalne manjine u RS Urednik Katarina Tomašević Uređivački odbor dr Melita Milin, direktor Muzikološkog instituta SANU Saša Verbič, predsednik Nacionalnog saveta slovenačke nacionalne manjine u Republici Srbiji prof. dr Maja Đukanović, Filološki fakultet prof. dr Anica Sabo, Fakultet muzičke umetnosti Recenzenti Akademik Dimitrije Stefanović dr Melita Milin Prevod na slovenački jezik dr Maja Đukanović Prevod na engleski jezik Adriana Sabo, MA Lektura srpskih tekstova dr Jovanka Radić Lektura engleskih tekstova Esther Helajzen Štampa Colorgrafx Beograd, Dragana Jeftića bb Pripremu ovog izdanja pomoglo je Ministarstvo kulture i informisanja Republike Srbije Muzikološki institut Srpske akademije nauka i umetnosti Nacionalni savet slovenačke nacionalne manjine u RS (1835–1914) PRILOZI ZA KULTURU SEĆANJA PRISPEVKI ZA KULTURO SPOMINA Urednik Katarina Tomašević BEOGRAD 2016. Davorin Jenko, autor nepoznat (oko 1865). (Biblioteka SANU-ф217, Zaostavština Stane Đurić-Klajn. Iz Kataloga fototeke SANU 1841–1947. Beograd, SANU, 1998. Ilustracije na koricama. Prednja strana: Fotografija Davorina Jenka, autor nepoznat (oko 1865). (Biblioteka SANU-ф217, Zaostavština Stane Đurić-Klajn. Iz Kataloga fototeke SANU 1841–1947; [Davorin Jenko] Zujte strune [Strune, milo se glasite (na tekst France Prešerna)]. Duet od Jenka za komad Izbiračica [1872], prepis. Arhiv Muzikološkog instituta SANU, AN 1616. Zadnja strana: Partitura srpske himne Bože, pravde, „od D. Jenka za vojenu muziku, uredio D. Čižek“ (Arhiv Srbije, МИД, Пс Ц-А, ф 1 р 182/881). SADRŽAJ/KAZALO Reč urednika . 9 I STUDIJE . .17 Sonja Marinković Rad Davorina Jenka u svetlu razvoja muzike u Srbiji i Evropi . .19 Delo Davorina Jenka v luči razvoja glasbe v Srbiji in Evropi (Povzetek) . .26 Davorin Jenko’s Work in the Light of the Development of Serbian and European music (Summary) . .26 Jernej Weiss Forward! – The first Slovenian National Anthem by Davorin Jenko . .27 Naprej! – Davorin Jenko: prva slovenska himna (Povzetek) . .38 Naprej! – Davorin Jenko: prva slovenačka nacionalna himna (Rezime) . .38 Katarina Tomašević Davorin Jenko i Stevan St. Mokranjac. Biografski fragmenti. Prilog kulturi sećanja . .39 Davorin Jenko in Stevan St. Mokranjac. Biografski fragmenti. Prispevek h kulturi spomina (Povzetek) . .54 Davorin Jenko and Stevan St. Mokranjac. Biographical Fragments. Contribution to Cultural Remembrance (Summary) . .54 Mladena Prelić Mapiranje kulturne istorije i pamćenja: beogradske godine Davorina Jenka i Vele Nigrinove . .57 Mapiranje kulturne zgodovine in spomina: beograjska leta Davorina Jenka in Vele Nigrinove (Povzetek) . .81 Mapping Cultural History and Memory: Belgrade Years of Davorin Jenko and Vela Nigrinova (Summary) . .81 Marijana Kokanović Marković Davorin Jenko na sceni Srpskog narodnog pozorišta u Novom Sadu (1861–1914): Recepcija komada s pevanjem Seoska lola. .83 Davorin Jenko na odru Srbskega narodnega gledališa v Novem Sadu (1861–1914): recepcija predstave s petjem „Seoska lola“ (Povzetek) . 102 Davorin Jenko on the Stage of the Serbian National Theatre in Novi Sad (1861–1914): Reception of the Play with Music ‘Seoska lola’[The Village Bachelor](Summary) . 103 Anica Sabo Analitički oslonci u proučavanju opusa Davorina Jenka . 105 Analitične opore v preučevanju opusa Davorina Jenka (Povzetek). 117 Analytical Holds in the Process of Studying Davorin Jenko’s Opus (Summary) . 117 Maja Đukanović Literarne teme u kompozicijama Davorina Jenka . 119 Literarne teme v skladbah Davorina Jenka (Povzetek) . 127 Literary Themes in Davorin Jenko’s Compositions (Summary) . 127 II ODJECI U ŠTAMPI / ODMEVI V TISKU Povodom stogodišnjice smrti Davorina Jenka / Ob stoletnici smrti Davorina Jenka . 129 Katarina Tomašević Davorin Jenko (1835–1914): „naš znameniti stranac“ Sećanje na kompozitora srpske himne Bože, pravde, povodom stogodišnjice smrti . 131 Ivana Vesić Davorin Jenko (1835–1914): fragmenti iz života poznatog kompozitora . 137 III PRILOG. ARHIVSKA SVEDOČANSTVA/ PRILOGA. ARHIVSKA PRIČEVANJA Iz zbirke Muzikološkog instituta SANU/ Iz zbirke Muzikološkega inštituta SANU. 143 Slovenske narodne pesmi . 145 Zujte strune . 153 Uvertira Kosovo . 158 Uvertira Milan . 173 Seoska lola. No8 Seoska sam lola . 185 Pesme iz komada Đido. 191 Testament Davorina Jenka. 203 AUTORI/AVTORJI 209 Reč urednika Reč urednika Dve godine za redom – 2014. i 2015, šira intelektualna i naučna, a posebno – muzička i muzikološka javnost u Srbiji, poklonile su izuzet- nu pažnju obeležavanju dveju godišnjica vezanih uz ime Davorina Jenka (1835–1914) – znamenitog kompozitora i horovođe, umetnika čiji su život i rad duboko i trajno obeležili istoriju kako slovenačke, tako i srpske kulture. Tokom 2014. godine, nizom aktivnosti bila je obeležena stogodišnji- ca Jenkove smrti. Vredan i kreativan doprinos obeležavanju jubileja dao je najpre umetnički film Davorin Jenko – Tvorac himni i budnica autora Ane Pavlović i Dragomira Zupanca (saradnik na scenariju K. Tomašević), u produkciji Kulturno-obrazovnog programa RTS-a (Redakcija školskog i obrazovnog programa; premijerno emitovanje: Drugi program RTS-a, 22. novembar). Uz prisustvo najuglednijih predstavnika SANU, Slovenačke ambasade, Muzikološkog instituta SANU i Nacionalnog saveta slovenač- ke nacionalne manjine u Republici Srbiji, film je bio prikazan i na Sveča- noj akademiji posvećenoj Jenku, u Svečanoj sali SANU, 26. novembra. Istog dana, u organizaciji Muzikološkog instituta SANU i Nacionalnog saveta slovenačke nacionalne manjine u RS, održan je interdisciplinarni naučni skup Davorin Jenko – Prilozi za kulturu sećanja, na kojem su re- zultate svojih najnovijih istraživanja Jenkovog dela izložili stručnjaci iz oblasti muzikologije (dr Sonja Marinković, dr Katarina Tomašević, dr Ma- rijana Kokanović-Marković, Ivana Vesić, MA i Srđan Atanasovski, MA), komparativnih književnih studija (dr Maja Đukanović), teorije muzike (dr Anica Sabo) i etnologije (dr Mladena Prelić). Referati sa ovog skupa dali su podstrek većini autora da spovedu dodatna istraživanja i napišu stu- dije koje predstavljamo u ovom Zborniku. Dvodnevni program obeleža- vanja stogodišnjice smrti Davorina Jenka u SANU, 2014, zaokružilo je kompoziciono veče njegovih dela, u znalačkoj selekciji dr Anice Sabo. Na programu su, uz komentar muzikologa Adriane Sabo, bila izvedena reprezentativna Jenkova ostvarenja horske, kamerne vokalnoinstrumental- ne i orkestarske muzike (u preradi za klavir), u interpretaciji Ekumenskog muškog hora (dirigent Bratislav Prokić), Radmile Vladetić (sopran), Oli- vera Sabo Batanča (bariton) i Milice Sekulić (klavir). 9 Reč urednika Poseban, muzikološki prilog obeležavanju istovremene stogodišnji- ce Jenkove i smrti Stevana Stojanovića Mokranjca, objavljen je u časopisu Muzikologija (br. 16) za 2014. godinu. Zbog značaja teme koja osvetlja- va prirodu odnosa dvojice ključnih protagonista srpske muzike na prelazu XIX i XX veka, na predlog uređivačkog odbora zbornika Davorin Jenko (1835–1914) – Prilozi za kulturu sećanja, tu studiju, sa manjim dopunama, takođe ovde prezentujemo. Obeležavanje drugog značajnog Jenkovog jubileja – 180 godina od rođenja, tokom 2015. godine, proteklo je u manjem intenzitetu, ali nipo- što bez zapaženih rezultata. U Muzeju Narodnog pozorišta u Beogradu, počev od 16. maja, bila je u toku izložba Davorin Jenko (1835–1914), u organizaciji Arhiva Srbije i Arhiva Slovenije. Prilikom zatvaranja izlož- be, 28. oktobra, u Muzeju je ponovo prikazan TV film Davorin Jenko – Tvorac himni i budnica, nakon što je publici bio predstavljen zbornik tekstova sa skupa održanog u Ljubljani 2014. godine. Objavljivanjem rada „Slovenac – utemeljitelj srpske scenske muzike“, iz pera teatrologa dr Jelice Stevanović, obeležavanju drugog Jenkovog jubileja pridružio se i vodeći nacionalni časopis Zbornik Matice srpske za scenske umetnosti i muziku (br. 53). U ovom sažetom podsećanju na načine na koje su Beograd, Novi Sad i Ljubljana još jedanput rekli: „Veliko hvala!“ Davorinu Jenku, nisu, svakako, mogla biti evidentirana mnogobrojna koncertna izvođenja njego- vih kompozicija, kao ni svi prigodni novinski članci objavljeni u dnevnoj i nedeljnoj štampi. Zbornik radova Davorin Jenko (1835–1914) – Prilozi za kulturu se- ćanja ne predstavlja samo svojevsrno zaokruženje svih spomenutih ma- nifestacija kojima je, nakon više od jednog stoleća, potvrđen eminentni status Davorina Jenka u kulturnoj istoriji Srbije. Očekujemo da će pre- zentovane studije podstaći nova istraživanja, tim pre što je u svom zbiru spektar sagledanih tema interdisciplinaran, zahvatajući polja istorije mu- zike (Marinković, Tomašević), granične oblasti između istorije muzike i istorije teatra (Kokanović-Marković), studija kulture i etnologije (Prelić), teorije muzike (Sabo) i komparativnih muzičko-književnih istraživanja (Đukanović). Posebno smo zahvalni slovenačkom kolegi Jerneju Weissu na izvanredno podsticajnom prilogu o prvoj slovenačkoj himni – zname- nitom Jenkovom horskom delu Naprej, zastava Slave!. Činjenica da ovu studiju objavljujemo na engleskom jeziku, kao i odluka da pismo ovog Zbornika bude latinično, reflektuju našu želju da ovde prezentovani rezul- tati budu dostupni širem – međunarodnom naučnom i čitalačkom krugu, a pre svega u Sloveniji – prvoj Jenkovoj
Recommended publications
  • Ana Petricevic Soprano
    Ana Petricevic Soprano Ana Petricevic was born in Belgrade, Serbia, where she began her musical studies at the age of 8, when she started playing the flute. She studied opera singing at the University of Music in Belgrade. Her notable achievements as a student include winning the “Biserka Cvejic” award for the most promising young soprano and the “Danica Mastilovic” award for the best student. She also won the outright 1st prize (100/100 points) at the International Competition for Chamber Music “Davorin Jenko” and 2nd Prize at the International Competition for Opera Singers “Ondina Otta” in Maribor, Slovenia. and graduated with the highest grades, interpreting the roles of Micaela (Carmen, G. Bizet) and Tatiana (Eugene Onegin, P. I. Tchaikovsky). Ms Petricevic's professional debut was a success singing the role of Georgetta (Il Tabarro, G. Puccini) at the National Theatre of Belgrade. Following that performance, she made her debut also in the role of Contessa Almaviva (Le Nozze di Figaro, W. A. Mozart). In 2012 Ms Petricevic was presented a scholarship from the fund “Raina Kabaivanska” and, shortly afterwards, moved to Modena, Italy. For the next three years she studied with the famous Bulgarian soprano at the Institute of Music Vecchi-Tonelli di Modena. In this period, he sang in numerous concerts and prestigious events, the most prominent being the beneficiary Gala concert “Raina Kabaivanska presenta i Divi d'Opera” (2014, Sofia, Bulgaria). The concert was broadcasted live on National Television. After moving to Italy, Ms Petricevic attended different masterclasses, lead by renowned artists such as soprano Mariella Devia and baritone Renato Bruson.
    [Show full text]
  • VASE Studio Portrait of Composer Davorin Jenko
    VASE Visual Archive Southeastern Europe Permalink: https://gams.uni-graz.at/o:vase.1490 Studio portrait of composer Davorin Jenko Object: Studio portrait of composer Davorin Jenko Description: Half-length shot of a man sitting next to a piano. He is wearing a dark suit adorned with insignia of honor. Comment: Davorin Jenko (1835, Dvorje – 1914, Ljubljana) was a famous Slovene composer. He is sometimes considered the father of Slovenian national Romantic music. He also composed the Serbian national anthem, 'Bože pravde' ('God of Justice') and the former Slovenian national anthem 'Naprej, zastava Slave' ('Forward, Flag of Glory!'). In 1862, he moved to the town of Pančevo in southern Vojvodina, where he worked Studio portrait of composer Davorin Jenko as the choirmaster of the local Serbian © Museum of Theater Art of Serbia Orthodox church. He later moved to Belgrade on the other side of the Austrian-Serbian border. There he worked as a composer in the Serbian National Theatre. Jenko was among the first four members of the Academy of Arts of the Royal Serbian Academy of Sciences, appointed by King Milan I of Serbia on 5 Studio portrait of composer Davorin Jenko April 1887. He lived in Serbia until 1897, © Museum of Theater Art of Serbia when he moved to Ljubljana. He was married to Vela Nigrinova, one of the first grande dames of Serbian theatre. Date: Not after 1897 Location: Belgrade Country: Serbia Type: Postcard Creator: Jovanović, Milan, (Photographer) Publisher: S.B. Cvijanović Dimensions: Artefact: 137mm x 87mm Format: Not specified
    [Show full text]
  • VASE Group Shot of Artists Celebrating Davorin Jenko's Birthday
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by GAMS - Asset Management System for the Humanities VASE Visual Archive Southeastern Europe Permalink: http://gams.uni-graz.at/o:vase.1470 Group shot of artists celebrating Davorin Jenko's birthday Object: Group shot of artists celebrating Davorin Jenko's birthday Description: Outdoor group photograph of actors and actresses in front of a building. All of them are wearing modern clothes. Some are holding glasses in their hands. The faces of a woman and a man looking out of a Group shot of artists celebrating Davorin window in the door on the right of the Jenko's birthday building can also be seen. © Museum of Theater Art of Serbia Comment: Davorin Jenko (1835, Dvorje – 1914, Ljubljana) was a famous Slovene composer. He is sometimes considered the father of Slovenian national Romantic music. He also composed the Serbian national anthem, 'Bože pravde' ('God of Justice') and the former Slovenian national anthem 'Naprej zastava Slave' ('Forward, Flag of Glory!'). In 1862, he moved to the town of Pančevo in southern Vojvodina, where he worked as the choirmaster of the local Serbian Orthodox church. He later moved to Belgrade on the other side of the Austrian-Serbian border. There he worked as a composer in the Serbian National Theatre. Jenko was among the first four Group shot of artists celebrating Davorin Jenko's birthday members of the Academy of Arts of the © Museum of Theater Art of Serbia Royal Serbian Academy of Sciences, appointed by King Milan I of Serbia on 5 April 1887.
    [Show full text]
  • Contribution of Czech Musicians to the Serbian Music in the 19Th Century* Prispevek Čeških Glasbenikov Srbski Glasbi 19
    K. TOMAŠEVIĆ • CONTRIBUTION OF CZECH MUSICIANS TO THE ... UDK 78(=162.3):78(497.11)”18” Katarina Tomašević Institute of Musicology, Serbian Academy of Sciences and Arts Inštitut za muzikologijo, Srbska akademija znanosti in umetnosti Contribution of Czech Musicians to the Serbian Music in the 19th Century* Prispevek čeških glasbenikov srbski glasbi 19. stoletja Ključne besede: glasbena migracija, češka glas- Key words: music migration, Czech music, Ser- ba, srbska glasba, romantika bian music, Romanticism Izvleček Abstract Glavni cilj sestavka, ki se posveča prispevku češ- The main goal of this paper, devoted to the con- kih glasbenikov srbski glasbi 19. stoletja, je v tribution of Czech Musicians to the Serbian Mu- osvetlitvi tistih dejstev, ki morejo prispevati k sic in the 19th Century is to point out the facts boljšemu razumevanju migracij kot pomembnega which will contribute to the better understand- kulturnega fenomena. Posebna pozornost se ing of the migration as an important cultural phe- posveča vrsti glasbenikov, ki so biografsko in po nomenon. Particular attention will be paid to sev- svojih delih pomembni. eral musicians whose biographies and achieve- ments are notable. In the history of music of European nations, the phenomenon of music migration is deeply connected with the history of Czech music and its protagonists. Moreover, the Czech music history represents one of the best examples for the theoretical re- search into migrations. Various and fertile premises and conclusions about the politi- cal, ideological and sociological causes of the musical migrations, as well as about their formal and aesthetical consequences, can be reached by observing the move- ments of Czech musicians across the map of Europe (and even of the world!), particu- larly in the 18th and in the 19th centuries.
    [Show full text]
  • SLOVENE Music in a European Context: the INTERNATIONAL
    Prejeto / received: 24. 9. 2012. Odobreno / accepted: 9. 3. 2012. S LOVENE MuSIC IN A EuROPEAN CONTExT: THE INTERNATIONAL ACTIVITIES OF DRAGOTIN CVETKO NIALL O’LOUGHLIN Loughborough University Izvleček: Dragotin Cvetko je razvijal muziko- Abstract: Dragotin Cvetko developed musi- logijo v Sloveniji s pisanjem člankov, knjig, z cology in Slovenia writing articles, books, izdajanjem glasbenih del in s prisostvovanjem producing editions and attending international na mednarodnih konferencah. Usposabljal je conferences. He trained scholars to contribute muzikologe za znanstveno delo, za sodelovanje to foreign conferences and journals. Thus Slo- na posvetovanjih v tujini in v tujih strokovnih venia became established on the international revijah. S tem se je Slovenija uveljavila na med- musicological stage. narodnem muzikološkem prizorišču. Ključne besede: Dragotin Cvetko, Slovenija, Keywords: Dragotin Cvetko, Slovenia, musi- muzikologija cology Dragotin Cvetko’s contribution to the establishment and development of musicology in Slovenia was enormous. In order to take an international perspective on his life’s work, one is obliged to concentrate on his written works as these will convey the essential nature of his achievement outside Slovenia. First of all, however, one must investigate those printed texts which represent his pioneering work within Slovenia itself, as these give the essence of his thinking. His printed work includes editions, articles and books. To take these in order, one can first point to Cvetko’s landmark editions of the secular music by Jacobus Gallus, the edition of Harmoniae morales of 1966 and that of Moralia of 1968.1 To present major works by the leading Renaissance composer from Slovenia was an essential task that he undertook in excellent fashion.
    [Show full text]
  • (Beograd) the National Idea in Serbian Music of the 20Th Century
    Melita Milin (Beograd) The National Idea in Serbian Music of the 20th Century If there was but one important issue to be highlighted concerning Serbian music of the 20th century, it would certainly be the question of musical nationalism. As in all other countries belonging to the so-called European periphery, composers in Serbia faced the problem of asserting both their belonging to the European musical commu- nity and specific differences. The former had to be displayed by their musical craftmanship and creative individuality, while the lat- ter were conveyed through the introduction of native folk elements as tokens of a specific identity. Stevan Mokranjac (1856{1914) was the key-figure among Serbian composers before World War I. On his numerous tours abroad (Thessaloniki, Budapest, Sofia, Istanbul, Berlin, Dresden, Leipzig, Moscow), he received considerable appraisal for his choral works, which were primarily suites based on folk music (\rukoveti"). These outstanding works even surpassed early exam- ples of Serbian musical nationalism composed by Kornelije Stankovi´c which had been presented for the first time forty years earlier in Vi- enna.1 The most important part of Stevan Mokranjac's output are his \rukoveti" and church music, both composed for a cappella choir (Serbian church music is traditionally vocal a cappella music), but he also composed some works for voice and piano, for strings and incidental music.2 Mokranjac was only two years younger than Leoˇs 1Kornelije Stankovi´c (1831{1865) studied at the Vienna conservatory where his professor of counterpoint was the famous Simon Sechter. Stankovi´c gave con- certs with piano and choral pieces based on Serbian folk melodies (mostly simple harmonisations) and church music - two liturgies - based on traditional Serbian church chant (the liturgies were performed in 1855 and 1861 in the Musikverein Hall in Vienna).
    [Show full text]
  • New Sound 51, I/2018 Marija Bergamo's Other Thematic Interests
    New Sound 51, I/2018 Marija Bergamo’s other thematic interests Article received on January 24th 2018 that vibrate throughout this essay collec- Article accepted on May 16th 2918 tion, intersecting and complementing each UDC: 78.071.1:929 .(082)(049.32) 786.2.089.6(082)(049.32) other, forming an original, dynamic, ethi- cally thought-out and clearly positioned musical musicological thought. SonjaCvetkovi* The many decades of no direct commu- University of Niš nication that we ‘owe’ to the vicissitudes of Faculty of Arts life beyond music and musicology or, as Department of Music Bergamo would say, to “galloping his- 13 tory”, should not be seen as an irrevers- Katarina Tmaei (e, Davorin ible discontinuity. The best testimony to Jenko (1835–1914). Prilozi za kulturu that is the close research collaboration that srsuursm exists today between the musicology de- [Contributions to Cultural partments in Belgrade and Ljubljana, Remembrance], Belgrae Institute f which also involves former students of Musiclgy f the Serbian Acaemy Marija Bergamo. f Sciences an Arts, Natinal Cuncil f the Slenian Natinal Minrity in the Reublic f Serbia, 2016 In 2014, when the Serbian music and wider cultural public was focused on marking the centenary of the death of Stevan Stojanović Mokranjac, several events were organised to mark a simultaneous jubilee linked with the personality of Mokranjac’s elderly con- temporary, Slovenian composer Davorin Jenko. The central part of the two-day Pro- gramme was organised at the Serbian Academy of Sciences and Arts, within the framework of the Academy, where the film Davorin Jenko – the creator of the anthems and patriotic songs1 was presented, at an * Author contact information: [email protected] 1 The film by Ana Pavlović and Dragomir Zu- panc (director) was realised in the production of the Cultural and Educational Programme of the 13“O zgodovinskosti (tudi) glasbene zgodovine: Radio Television of Serbia with the professional pogled junoslovanskega prostora”, op.
    [Show full text]
  • Pianodj16 J.Pdf
    13TH INTERNATIONAL COMPETITION BEOGRAD DAVORIN JENKO JAN 30 ⁄ FEB 04 2016 Since 2004, we’ve been holding our annual International Competition Davorin Jenko, unique in many ways. The Competition has No Age Limit. The event is addressed to students, coming from public and private music institutions worldwide, as well as young artists on the threshold of an international career. competition.msdjenko.edu.rs Daniel Rivera (Argentina/Italy) / Susanna Spaemann (Austria) / Jokut Mihailović (Serbia). /. Liudmila. Synagovskaya (Russia) / Martin Kasík (Czech Republic) / Lidija Malahotky Has (Slovenia) / Ivanka Kordić (Croatia) / Arjana Kuriu Grubi (Macedonia) / Helena Davidović (Srbia) / Srdjan Dalagija (Serbia) Piano Competition Jury / Žiri The candidates for Piano Solo and Piano Duo disciplines will be judged by an international jury consisting of renowned soloists and music educators. / Kandidate u disciplinama Klavir i Klavirski duo ocenjuje međunarodni žiri sastavljen od eminentnih solista i pedagoga. HÉCTOR ALEJANDRO DANIEL RIVERA DAVORIN JENKO 2016 Daniel Rivera was born in 1952 in Rosario performed in the most important theaters Martha Argerich, Rivera comes in piano (Argentina), in a family strictly connected to in Italy and abroad. His natural talent and duo (two pianos and piano 4 hands) in the the music world. He came to Italy in 1973 virtuosity allowed him to face broad range Teatro Ponchielli of Cremona, Teatro Lirico with a scholarship obtained by winning of the pianistic repertoire, from classics to in Cagliari, Catanzaro’s Politeama Theatre, the competition organized by the National contemporary music. His repertoire con- Teatro Nuovo Giovanni di Udine, Piano Festi- Fund for Arts and the Mozarteum Argentino. sists of more than 50 concerts for piano val of Pietrasanta and Ascoli Piceno up the After achieving the Italian Diploma with and orchestra, performed in tours with Ital- memorable concert on 19 and 20 October cum laude at the Cherubini conservatory ian and foreign orchestras.
    [Show full text]
  • Slovenački Kompozitori U Srbiji Davorin Jenko, Mihovil Logar, Zlatan Vauda
    SLOVENAČKI KOMPOZITORI U SRBIJI DAVORIN JENKO, MIHOVIL LOGAR, ZLATAN VAUDA ANICA SABO V Srbiji je bilo v drugi polovici 19. stoletja veliko As a mainstay of the country’s development and the pozornosti posvečeno umetnosti, enemu od podpornih shaping of national identity, art was given a great deal stebrov razvoja države in oblikovanja narodne iden- of attention in Serbia in the second half of the nine- titete. Takrat je v Beograd prišel Davorin Jenko. Z ra- teenth century. This was the time when Davorin Jenko znovrstnimi prizadevanji na številnih področjih glas- came to Belgrade; by participating in many areas of benega življenja v Srbiji je stkal kulturne vezi med Serbian music life, he worked to establish cultural slovenskim in srbskim narodom. Poleg dejavnosti Da- links between Slovenia and Serbia. In addition to vorina Jenka je bilo opazno tudi delovanje Mihovila Davorin Jenko, this article addresses the work of Mi- Logarja in Zlatana Vaude. Vsi trije so bili v prvi vrsti hovil Logar and Zlatan Vauda. Alongside composing skladatelji, delovali pa so tudi na drugih področjih as their primary occupation, it examines other aspects (zborovodstvo, različne oblike pedagoškega dela in of their engagement such as work with choirs, various izjemno obsežno organizacijsko-družbeno delovanje). forms of teaching, and extensive involvement in orga- Ključne besede: slovenski skladatelji, Davorin Jenko, nizing events and social activities. Mihovil Logar, Zlatan Vauda, kulturne vezi, zbor. Keywords: Slovenian composers, cultural links, choir. S lovenački muzičari različitog profila – kompozitori, dirigenti, instrumentalisti, peva- či – ostavili su vidljiv trag u kulturnom životu Srbije. U ovom radu sagledava se de- latnost trojice kompozitora – Davorina Jenka (1835–1914), Mihovila Logara (1902– 1998) i Zlatana Vaude (1923), koji su, delujući u različitim društveno–istorijskim okolnostima, bitno uticali na tokove muzičkog života u Srbiji.
    [Show full text]
  • THE SAXTOPUS Crossover Project
    THE SAXTOPUS Crossover Project #FLUTE #BEATBOX #SAXOPHONES #CLASSICAL #CONTEMPORARY #POPART #CROSSOVER #ELECTRONICS #COVER #ENERGETIC Members: Simon Širec – alto saxophone, flute, EWI Danijel Lauko – baritone saxophone For longer gigs “Crossover project” includes a second part with the drummer. In this case the trio has a heavy sound and offers a lively party ambient. The Saxtopus owns the microphones for following instruments: Alto saxophone – pick up microphone Flute – pick up microphone Baritone saxophone – pick up microphone EWI (electronic wind instrument) – midi instrument. When the drummer is involved, the microphones for the drummer would be needed from the event organizer. Simon Širec (1987), received his formal education at the Conservatory for Music and Ballet Ljubljana (Dejan Prešiček - 2008), City of Vienna University, (Lars Mlekusch – BA 2012) and University of Music and performing Arts GraZ (Gerald Preinfalk – MA 2014). Širec also holds a university degree of musicology from the Faculty of Arts in Ljubljana, where he graduated in 2011. He has been awarded on several competitions. Among others he is a 3-times priZewinner of the Fidelio competition in Vienna in the filed of classical music, as well as in the field of interdisciplinary projects. As a member of the European Saxophone Ensemble he has been touring around Europe in 2010 and 2011 (Nicosia, Thessaloniki, Sofia, Budapest, Vienna, Milano, Prague, Ostrava, Bratislava, Timisoara, Berlin, Maribor, Trieste, Tilburg, Poitiers, Brussels and Belgrade) where a CD and a DVD had also been recorded. Širec has premiered more than 30 works, either as a soloist, chamber or an orchestra musician, as well as a member of an interdisciplinary ensemble (dance, music, acting).
    [Show full text]
  • Novi Zvuk 51.Pdf
    Department of Musicology Faculty of Music International Journal of Music Belgrade, I/2018 ISSN 0354-818X = New Sound UDC 78:781(05) COBISS.SR-ID 102800647 International Journal of Music Belgrade, I/2018 Publisher: Department of Musicology Faculty of Music Kralja Milana 50, 11000 Belgrade Editorial Board: Mirjana Veselinović-Hofman Ph.D. (Editor-in-chief) Vesna Mikić Ph.D. (Deputy editor-in-chief) Academician Dejan Despić Sonja Marinković Ph.D. Ana Kotevska M.A. Miloš Zatkalik M.A. Marcel Cobussen Ph.D. (The Netherlands) Pierre Albert Castanet Ph.D. (France) Chris Walton Ph.D. (South Africa/Switzerland) Eduardo R. Miranda Ph.D. (Brazil/UK) Nico Schüler Ph.D. (Germany/USA) Cover design: Jovana Ćika Novaković Secretary of the Editorial Board: Ivana Miladinović Prica Editorial Board and Office: Faculty of Music Kralja Milana 50, 11000 Belgrade E-mail: [email protected] www.newsound.org.rs The Journal is published semestrally. The Journal is classified in ERIH – European Reference Index for the Humanities CONTENTS CONVERSATIONS Jelena Novak Music That Knows Where It’s Going. Conversation with Tom Johnson ...... 1 STUDIES Nice Fracile The Phonographic Recordings of Traditional Music Performed by Serbian Prisoners of War (1915–1918) ..................................................................... 17 Ivana Vesić, Vesna Peno The Structural Transformation of the Sphere of Musical Amateurism in Socialist Yugoslavia: A Case Study of the Beogradski Madrigalisti Choir ... 43 Bogumila Mika Music of Karol Szymanowski in the Intertextual Dialogue ......................... 64 INTERPRETATIONS Geraldine Finn Panic at the Proms (perhaps the explanation lies in his background) .......... 83 TRIBUTE TO PROF. DR. ROKSANDA PEJOVIĆ Ivana Perković Narrative Monologue and (Internal) Dialogue: In Memory of Roksanda Pejović (1929–2018) ................................................................
    [Show full text]
  • Reception of Stevan Stojanović Mokranjac's Composing
    Lana Paćuka Reception of Stevan Stojanović Mokranjac’s... DOI: 10.2298/MUZ1416227P UDK: 78.071.1 Мокрањац Стојановић С. 78(497.6)”1878/1918” Reception of Stevan Stojanović Mokranjac’s composing creativity in the musical life of Bosnia and Herzegovina: Austro-Hungarian period Lana Paćuka1 Academy of Music (Sarajevo) Abstract With the arrival of the Austro-Hungarian Monarchy, Bosnia and Herzegovina en- countered Western European social trends, which affected the shaping of musical life physiognomy in the late nineteenth and early twentieth century. In this ex- tremely intricate relationship between national and pro-European-oriented cultural trends, Serbian composer Stevan Stojanović Mokranjac had a special position as a unique musical phenomenon, since he was a composer whose musical talent im- posed itself as an authority in strengthening the national musical expression and serving as a guideline for numerous BH artists. Keywords Austria-Hungary, Bosnia and Herzegovina, musical life, Stevan Stojanović Mokranjac, reception, rukoveti. Socio-political contexts Pursuant to a decision of the 25th Congress of Berlin, Aus- tria-Hungary was granted the right to territorial administration of Bosnia and Herzegovina (1878), and shortly after it also embarked on the social and political occupation thereof, working out each sub- sequent political move.2 The careful organization of administration 1 [email protected] 2 The armed resistance to occupation put up by people, as well as the permanent fear of new political and social unrest led to a series of drafted laws and ordinances aimed, among other things, at imperceptibly taking control over all segments of socio-political and ultimately cultural life of B&H.
    [Show full text]