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Научный Результат. Социальные И Гуманитарные Исследования Researh Result

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Научный Результат. Социальные И Гуманитарные Исследования Researh Result Ilić D., Petrov N. N. Serbian dances from the oeuvre of Josip Slavenski // 38 Researh Result. Social Studies and Humanities. – Т. 4, Vol. 3, 2018. P. 38-42 DOI: 10.18413/2408-932X-2018-4-3-0-4 D. Ilić, N. N. Petrov SERBIAN DANCES FROM THE OEUVRE OF JOSIP SLAVENSKI University of Niš, 10 Kneginje Ljubice, Niš, 18000, Serbia; [email protected] Abstract. The oeuvre of Josip Slavenski contains certain staves existing in larger, cyclical compositions and known as Srpska igra (Serbian Dance). This paper is an attempt to examine whether they contain the identical or just similar thematics, whether the same formal pattern was applied in all staves with this title, as well as the origin of this thematics in case it is novel. The comparative analysis applied in this paper contributes to the realisation of the way in which the composer expressed the Serbian folklore origin of the thematics and to what extent it influenced the choice of the formal framework, its structure and adequate harmonic and polyphonic solutions. Key words: thematics; form; folklore; origin; harmonic and polyphonic solutions Илич Д., Петров Н. Н. СЕРБСКИЕ ИГРЫ В ТВОРЧЕСТВЕ ЙОСИПА СЛАВЕНСКОГО Университет в Нише, Кнегиње Љубице, 10, г. Ниш, 18000, Сербия; [email protected] Аннотация. В творчестве Йосипа Славенского существуют некоторые элемен- ты в рамках более обширных, циклических произведений, которые выступают под одним и тем же названием – Сербская игра. В данной работе рассматрива- ется вопрос происхождения тематического материала (если он оригинальный), использования такого же формального шаблона у всех элементов с таким названием. Разрешается также вопрос о том, идет ли речь об одном и том же, или подобном тематическом материале. Путем сравнительного анализа можно прийти к выводу о способах, использованных композитором для представления происхождения тематики из сербского фольклора, и насколько такая тематика повлияла на выбор формы, ее структуры, и обнаружение соответствующих гармонических и полифонических решений. Ключевые слова: тематический материал; форма; фольклор; происхождение; гармонические и полифонические решения “The period between the two world ism, among whom Josip Slavenski (his full wars is characterised by a striking condensa- name was Josip Štolcer-Slavenski) was the tion of music occurrences since the works of most prominent one. He was born on May 11, various generations of composers appeared 1896 in a small town of Čakovec (Croatia) [1, simultaneously, intertwined” [4, p. 94]. Be- p. 350]. He started his music education in sides the composers belonging to the so called Varaždin and later went to Budapest, where “Belgrade School” and the proponents of he was instructed in composition by Zoltan Mokranjac (Stevan Stojanović Mokranjac) Kodalj (Zoltán Kodály). Two years later, his and his manner of composition, there created thirst for knowledge led him to Prague where the composers who belonged to Expression- he was taught by composer Višeslav Novak НАУЧНЫЙ РЕЗУЛЬТАТ. СОЦИАЛЬНЫЕ И ГУМАНИТАРНЫЕ ИССЛЕДОВАНИЯ RESEARH RESULT. SOCIAL STUDIES AND HUMANITIES Ilić D., Petrov N. N. Serbian dances from the oeuvre of Josip Slavenski // 39 Researh Result. Social Studies and Humanities. – Т. 4, Vol. 3, 2018. P. 38-42 (Višeslav Novak), the pupil of Dvoržak (An- connected and belonging to the expressionist tonín Leopold Dvořák). His further music ed- method: the expressionist reduction to folk- ucation was continued in Paris, where he lore, the autonomy of the melodic element learned about the work of B. Bartok (Béla and the autonomy of the rhythmic element” Viktor János Bartók). He returned to Zagreb [4, p. 67]. but his stay and work there was rather brief, This composer used the titles of staves not even a year (1923/1924), after which he of his larger, cyclic compositions as the titles moved to Belgrade. He taught at a private of the separate pieces, and vice versa. The music school, which is at present known as same or similar folklore thematics is found in Music School “Mokranjac”, and since 1937, the compositions or staves with different titles he taught at Secondary Music School, which but of the same geographical origin and was at that time under the supervision of Mu- vigour. The term “Serbian dance” (Srpska sic Academy and which is at present named igra), as the title of the stave of a larger, after him. During the period after the Second cyclic somposition, appears in the following World War up to his death, on November 30, works: 1955, Josip Slavenski taught composition at 1) Symphonic suite “Balkanophonia” Music Academy. His creative work was cer- (Balkanofonija) (1926-1927) as the first tainly influenced by the teaching of Zoltan stave of this cycle Kodalj, his own knowledge of Bartok’s mu- 2) Cycle known as “Balkan Dances and sic, as well as the compositions created by his Songs” (Igre i pesme sa Balkana) (1927) contemporaries, such as Strauss (Rich- as the eighth stave of the cycle named ard Strauss), Scriabin (Alexander Nikola- “Serbian Song” (Srpska pesma) yevich Scriabin), Schoenberg (Ar- 3) Symphonic suite “Balkan Dances” nold Schoenberg), Debussy (Achille- (Balkanse igre) (1937-1938) as third Claude Debussy), Ravel (Joseph Mau- stave of the cycle. rice Ravel) and others. ”The symphonic compositions “Youth” Maria Bergamo (Maria Bergamo) em- (Mladost), ”Yugoslav Suites” (Jugoslovenska phasises three phases in the development of svita) created for the orchestra, the unfinished Expressionism in music: two-stave composition “Zagorje”, the 1) Revolutionary (the beginning of the First composition “Yugoslav Dances and Songs” World War), (Jugoslovenske pesme i igre) created for the 2) Constructivist (from 1918 to 1925), violin and orchestra, as well as ‘six folk 3) The stage in which Expressionism was no songs’ created for the string orchestra (or longer characterised by its distinct style quartet), “Balkanophonia”, created for the and which developed after the Second symphonic orchestra (1927), i.e. “Balkan World War [4, p. 17]. Suite” for the string orchestra (1930), were Describing the bold ideas of the forth- followed by the creation of “Songs and coming Expressionism, the same author be- Dances from the Balkans” (1927), composed lieves that the most radical among the com- using the orchestration of certain staves of the posers of the time was Josip Slavenski, whose piano cycle with the exception of two staves” work “was marked by boldness that other [3, p. 170]. The same author names these composers, nationally-oriented in their crea- works “Balkan Cycle” (Balkanski ciklus). The tion, were not ready to accept”. The elements comparison of the names of the staves in of the first phase of Expressionism in Serbian “Balkanophonia”, “Balkan Suite” and the music, which is believed to have lasted from cycle “Balkan Dances and Songs” leads to a 1932 onwards, are evident in the works of Jo- comparative analysis, which want to answer a sip Slavenski [4, p. 172]. “The power of the few questions: music expression of Josip Slavenski results from three principal factors mutually inter- НАУЧНЫЙ РЕЗУЛЬТАТ. СОЦИАЛЬНЫЕ И ГУМАНИТАРНЫЕ ИССЛЕДОВАНИЯ RESEARH RESULT. SOCIAL STUDIES AND HUMANITIES Ilić D., Petrov N. N. Serbian dances from the oeuvre of Josip Slavenski // 40 Researh Result. Social Studies and Humanities. – Т. 4, Vol. 3, 2018. P. 38-42 1) Whether the melodic line, i.e. the The atmosphere of “Serbian Song”, thematics of the aforementioned staves is eighth stave (i.e., first in the second the same or similar, collection) of the cycle “Balkan Dances and 2) Whether such a thematics, originiating Songs” is different from the atmosphere from the same melodic line, is created by the stave of the same title from the characterised only by the altered suite “Balkanophonia”. The part a is orchestration or the harmonic basis, expressed at the beginning of the stave as the 3) Whether the same or similar thematic four-takt structure, with frequent changes of motivation has the same or similar the takt (3/4 and 2/4). The part b contains two solution, six-takt sentences, which end the first part of 4) Whether it is a completely new thematics the stave. The second part starts as which either originates or does not a continuum composed by the polyphonic originate from the same region in Serbia, combination of both thematic materials. The 5) If the thematics is different, whether it whole stave is marked by the Oriental scale might have been found in some other and tonal instability. The part might be compositions, either individual or being a determined as a two-part form. stave in one cycle, Starting from, probably, the best known 6) Whether it is possible that the Serbian song suite of J. Slavenski, named “Balkanopho- or dance has taken on the same or similar nia”, seven-movement cycle1 brings the „Ser- formal solution from that composition bian dance“ in the form of the first movement. having a different title. Viewing the entire cycle, this movement is The cycle of 14 piano miniatures the longest one and formally, the best formed, “Balkan Dances and Songs” was composed likewise in the “Balkan Suite“. The thematic in 1927, the year when “Balkanophonia” was material for its first part, originates from the created, as well. Five of the dances from the “Folk Dance“ which makes the first move- cycle were further elaborated in the cycle ment of the piano cycle “Balkan Dances and “Balkanophonia”: first stave known as “Folk Songs“2. “The Contrast expression, resting on Dance” and first stave of “Balkanophonia” the genre poles – dancing and lilting, comes named “Serbian Dance”. Therefore, these to the front plane in the cycle dramaturgy. In compositions deserve to be examined in this parallel with that, there are developed such paper. Other staves of “Balkan Dances and internal bonds, without which the unity of the Songs”, recognized thematically in artistic whole would face reconsideration. “Balkanophonia” are: “Albanian Song” These mutual bonds are created, already in (Albanska pesma – sixth stave) in the second Serbian dance, the widest and most developed stave with the same title; “Dervish Dance” section of the suite, which, at the same time, (Igra derviša – eleventh stave) in “Turkish represents its center support“.
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