Ilić D., Petrov N. N. Serbian 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, ; [email protected]

Abstract. The oeuvre of Josip Slavenski contains certain staves existing in larger, cyclical compositions and known as Srpska igra (Serbian ). 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 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 ” (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 ““ 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“. In the initial 16 Dance” (Turska igra – third stave); “Greek beats of Serbian dance (from “Balkanopho- Song” (Grčka pesma – twelfth stave) in the nia”) the cluster tends to last, as long as pos- fourth stave of the same title; and “Bulgarian sible. Instead of having the background role, Dance” (Bugarska igra – seventh stave) in the seventh stave of the same title. 1 1. Serbian dance, 2. Albanian song. 3. , The first stave of the piano miniatures 4. Greek song, 5. Romanian dance, 6. From Među- “Balkan Dances and Songs” was composed as mure, 7. Bulgarian dance the two-part form with the developing b part. 2 First volume contains the sections, as follows: 1. Folk Its thematics is significant as regards this dance, 2. From Croatia, 3. Serbian country dance, paper since it had an impact on the creation of 4. Slovenian popular song, 5. Macedonian dance, 6. Albanian song & 7. Bulgarian dance; second vol- “Serbian Dance”, the first stave of the ume: 1. Serbian song, 2. Romanian dance, 3. from orchestra suite “Balkanophonia”. Rasina, 4. Dervish dance 5. Greek song, 6. Slavic dance and 7. Medjimurje song).

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 // 41 Researh Result. Social Studies and Humanities. – Т. 4, Vol. 3, 2018. P. 38-42 it takes the main role, so that it is only in the present in the third stave (“Serbian Dance”) of background that eight-beat whole (theme) the orchestra suite “Balkan Dances” (1938)3. may be read, which is constantly repeated. “Užičanka” contains the eight-takt theme The whole of the stave is a three-part ABA1, repeated several times, each time in a more where A is composed of the alterating repeti- complex way. The first two theme tion of the first and the second thematic mate- expressions (the eight-takt sentence) are in the rial (a-a1-b-b1-a1-a1-b1-b1), followed by a Balkan G-minor, i.e. the dominant D-minor transition consisting of a and b parts, and the (due to the melodic finale on tone a), the third new part, c, and finally a-b. From the initial expression is on the subdominance, the fourth C-Minor-Major in the transitional section to- is along the major dominance, while the wards the central part, it moves through As- following theme expression is bitonal (d- major and As-minor. The central part (119– minor and F-major). Starting from takt 65, the 172) brings completely new thematic material theme variation is repeated in g-minor with and atmosphere, as well. The central part is the same chord present in the first stave of the based on the folk song “Down there to Con- cycle (des-es-fis-as-c), resolved by T e-minor stantinople City“ (Tamo dole grada Cari- or VI stage of the Balkan g-minor. The formal grada) [3, p. 175]. analysis states the scheme: a1-a2-a3-a4-b-a5- Very strong static, this part begins with, a6-a7-a8, in which the sentence begins with occurs because of the “sound interception on the theme a consisting of eight takts (structure the new pedal formation e+F sharp, like sim- 2+2+4), and the theme “increases” to 28 takts ultaneous IV and V scale degrees ’in h’ in due to its five repetitions. which the last part of the movement is devel- The principle of the “variational oped“. [3, p. 175]. The short descending mo- repetition” is evident in this stave, as it is in tif in the augmented fourth range is repeated the rest of them [5, p. 109]. “The repetition of four times (119–140), to continue in the mi- a smaller or larger number of themes is done nor third range (140–167) and repetition of by means of various ‘colouring’ effects: the entire central fragment. The motif reduc- instrumental changes and, even more tion and denser figurations “in secondary par- significant, the change of those layers that allelisms above the pedal fifth F sharp–flat define the theme (ostinato, accordion blocks, and c–g.“ [3, p. 175]. counterpoint melodic lines). Melodic and Repeated 12-tone chord brings the first rhythmic changes of the themes themselves part of the section, but now, in the form of are either rare or nonexistent, whereas the a short Coda (167–189) in H-major. change of the tonal centre, if any, is Sanja Grujić [2] describes the melodic accomplished by a direct transfer or confclict basis of “Serbian Dance” in the following of musical courses”. The third stave of way: ”a and b themes are in C-major, whereas “Balkan Dances”, named “Serbian Dance”, is their repetition (a1b1) is in H-major with the recognized by two different parts (AB). The melodic mode harmonization. Mixolydian C theme of the first part (A), consisting of eight mode (a1 a’1 i b1 b’1) with the harmonization beats, is repetitive (a, a1, a2, a3). This part (a’ b b’) by Mixolydian mode (c, d, e, f, g, a was composed in the harmonc H-minor with (as), b, c) – Slavenski terme this scale as a striking adherence to the dominates. ‘cosmic scale’ in his work ‘Astroacoustics’. Ostinato contains the quints which, assisted The ‘Istra sequence” variant (e instead of by the counterpoint lead of the voices, es) – the middle part theme – C (gis, a, h, c, d, contribute to the creation of bitonality ended e)“ [2, p. 72]. by the accordion in eight voices. The second The three-part suite “From Serbia” part (B) is the continuation of the bitonal part, (1925) is significant in the context of this pa- per owing to its third stave, named 3 The same thematic material appeared also in “String “Užičanka” (Užičanka), whose thematics is Quartet No. 4”.

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 // 42 Researh Result. Social Studies and Humanities. – Т. 4, Vol. 3, 2018. P. 38-42 with F-major resounding, i.e., the theme is in 3. Sedak, E. (1984), Josip Štolcer D-minor and the counterpoint in F-minor- Slavenski, Skladatelj prijelaza [Josip Štolcer major. This is followed by A-minor and the Slavenski, Composer of the Transition], knjiga interplay of the string instruments section in Muuzički Informativni Centar Koncertne direkcije C-minor, leading to the culmination in the Zagreb i Muzikološki Zavod Muzičke akademije Sveučilišta u Zagrebu, II, Zagreb, Croatia. eleventh tone (75-76). The dissonant ostinato 4. Veselinović-Hofman, M. …(comp.) chords represent the basis for the theme (2007), Istorija srpske muzike, Srpska muzika fragments in G-minor and E-minor. The pedal i evropsko muzičko nasleđe [History of Serbian quintal tones and G-minor dominates, the music, Serbian music and European musical herit- basis for the final theme fragments, remain age], Marinković, S, Muzika u XIX veku i prvoj until the end finding its place in the last polovini XX veka [Music in the XIX century and dissonant chord. the first half of the 20th century], Zavod za The analysis of all the staves having the udžbenike, Beograd, Serbia. same title (“Serbian Dance”) shows that they 5. Živković, M. (2014), Interakcija are simple in form but that their continually muzike i vremena [The interaction of music and richer repetition makes them very close to the time], zbirka tekstova, Fakultet muzičke umetnosti, Univerzitet umetnosti u Beogradu, structure of the folklore compositions. The Beograd, Serbia. repetitions are tonally enriched, they introduce modality, polytonality, novel ABOUT THE AUTORS: accordion compositions, clusters, complexity Danijela Ilić, PhD, Assistant Professor, Depart- accomplished by the variation of the thematic ment of Music, Faculty of Arts оf Niš, University materials, polyphony or the combination of of Niš, 10 Kneginje Ljubice, Niš, 18000, Serbia; the thematic materials. [email protected] Nataša Nagorni Petrov, PhD, Associate Profes- Conflict of Interests: author has no sor, Department of Music, Faculty of Arts оf Niš, conflict of interests to declare. University of Niš, 10 Kneginje Ljubice, Niš, Информация о конфликте 18000, Serbia; [email protected]

интересов: автор не имеет конфликта ОБ АВТОРАХ: интересов для деклараций. Илич Даниела, доктор философии, доцент, Департамент музыкального искусства, Фа- References культет искусств в Нише, Университет в Ни- 1. Andreis, J. (1989), Povijest glazbe, ше, Кнегиње Љубице, д. 10, г. Ниш, 18000, Povjest hrvatske glazbe [History of Music, Histo- Сербия; [email protected] ry of Croatian Music], IV knjiga, Sveučelišna Петров Наташа Нагорни, профессор, заве- naklada liber, Zagreb, Croatia. дующая кафедрой теоретических дисциплин, 2. Grujić, S. (1984), Orkestarska muzika Департамент музыкального искусства, Фа- Josipa Slavenskog [Orchestral music of Josip культет искусств в Нише, Университет в Ни- Slavenskog], Beograd, Udruženje kompozitora ше, Кнегиње Љубице, д. 10, г. Ниш, 18000, Srbije, Beograd, Serbia. Сербия; [email protected]

НАУЧНЫЙ РЕЗУЛЬТАТ. СОЦИАЛЬНЫЕ И ГУМАНИТАРНЫЕ ИССЛЕДОВАНИЯ RESEARH RESULT. SOCIAL STUDIES AND HUMANITIES