Slovenski skladatelji HARFA v delih slovenskih The HARP in the Works of večinoma vzorovali pri dveh concert instrument. In their 3 so koncertantne skladateljev Slovenian Composers osebnostih, ki sta začrtali teme- treatment of the harp, Slovenian možnosti harfe lje novi izvirni glasbi za harfo. composers primarily modelled začeli odkrivati šele arfonija je vizitka mlade arpony is both the calling Po vzoru Clauda Debussyja je themselves on two personalities po drugi svetovni Hharfistke Tine Žerdin, Hcard of the young harpist nova harfna literatura požlahtni- who had laid the foundations for vojni, harfa pa tudi hkrati pa zanimiv portret slo- Tina Žerdin and an interesting la salonsko rutiniranost razlože- original new harp music. pred tem ni imela venskih izvirnih del za harfo, v portrait of original Slovenian nih akordov ter arpeggiev z izra- Following the example of Claude svojega stalnega katerem poleg železnih skladb works for the harp, in which, zitejšo artikulacijo, razdelanostjo Debussy, the new harp reper- mesta; redkeje se je harfnega repertoarja zaslužijo in addition to the established ritma in metruma, virtuoznejšo toire enriched the salon routine oglasila v salonskem posebno pozornost tudi nova repertoire for the harp, new tehniko pedalov pri iskanju pe- of broken chords and arpeggios življenju malošte- dela mlajših skladateljskih ge- works by the younger genera- strejših harmonij ter subtilnejšo with more distinct articulation, vilnega slovenskega neracij. Slovenski skladatelji so tions of composers also receive obravnavo dinamike. Za prvega the elaboration of rhythm and meščanstva, prav koncertantne možnosti harfe particular attention. Slovenian znanilca »debussyjevske linije« meter, a more virtuosic pedal tako ni sodila med začeli odkrivati šele po drugi composers began to discover danes označujemo Zvonimirja technique in search of richer prepoznavna glasbi- svetovni vojni, harfa pa tudi pred the concertante potential of Cigliča, avtorja priljubljenega in harmonies, and a subtler treat- Slovenian composers la slovenskega ljud- tem ni imela svojega stalnega the harp only after the Second nepogrešljivega Concertina za ment of dynamics. Zvone Ciglič, began to discover skega izročila. mesta; redkeje se je oglasila v World War, prior to which the harfo in godalni orkester. the composer of the popular the concertante salonskem življenju maloštevil- harp had not had an established Vpliv Carlosa Salzede pa je and indispensable Concertino potential of the nega slovenskega meščanstva, position. It rarely featured in the močno zaznamoval avantgardo for harp and string orchestra, is harp only after the prav tako ni sodila med pre- salon life of the scarce Slovenian slovenskega prostora in med known today as the precursor of Second World War, poznavna glasbila slovenskega bourgeoisie, while failing to be prvimi, ki so se temeljito po- the “Debussy stream”. prior to which the ljudskega izročila. Spodbude za recognised as an instrument svetili proučevanju Salzedovih The Slovenian avant-garde, on harp had not had an nastanek novih del so k skladate- of the Slovenian folk tradition. pridobitev, je bil Ivo Petrić. the other hand, was strongly established position. ljem večinoma prihajale s strani Composers mainly received Barvno subtilnejša Debussyje- influenced by Carlos Salzedo, It rarely featured in izvrstnih slovenskih harfistk, ki initiatives to write new works vska usmeritev in, na drugi with Ivo Petrić being amongst the salon life of the so se šolale v tujini in z bogatim from excellent Slovenian women strani, celostna obravnava in- the first to undertake a thor- scarce Slovenian znanjem ter strastjo odkrivale harpists who had studied abroad strumenta v sodobnem izrazu ough analysis of Salzedo’s bourgeoisie, while ustvarjalcem vrsto tehničnih and who, with their rich knowl- vodita tudi ustvarjalce mlajših achievements. failing to be recog- pridobitev in izraznih možnosti edge and passion, revealed to generacij, ob njih pa vzporedno The timbral subtlety of the De- nised as an instru- na novo odkritega koncertnega composers the range of technical vseskozi nastajajo še dela po na- bussy stream and the holistic ment of the Slove- glasbila. Slovenski skladatelji pa attributes and expressive pos- ročilu izvajalcev z manj izraziti- treatment of the instrument in nian folk tradition. 2 so se pri obravnavi instrumenta sibilities of the newly discovered mi ambicijami, v katerih doživlja contemporary expression have renesanso salonska, (pre)lahko- also guided the younger genera- obravnavo harfe, oblika pa je še harpist Nevenka Ino, who gave 5 tna naravnanost pod skupnim tions of composers, while, in tradicionalno pesemska z doda- the premiere performance from imenovalcem postmodernizma. parallel, less ambitious perform- no codo. the composer’s manuscript. In Zvočni portret je zasnovan kro- ers continue to commission the preparation of the printed nološko, od najstarejše izvirne works that embody a renais- Alojz Srebotnjak (1931–2010) edition in 2002 (Ed. DSS 1569) skladbe iz leta 1948 do najno- sance of the (too) light salon je z opusom za harfo ustvaril a slight discrepancy occurred in vejšega dela za dve harfi iz leta orientation of harp music under repertoar, v katerem se poleg the notation of one note, result- 2013, zanimivo pa je naključje, the common denominator of miniatur nahajajo tudi velike ing in a changed harmony. With da sta deli napisala skladatelja, postmodernism. oblike. Dragoceno mesto v its rich harmonic language, one ki ju najtesneje povezujemo The present sonic portrait is železnem repertoarju harfistov can already sense an impres- s slovensko izvirno glasbo za designed chronologically, open- zavzemajo Preludiji, napisani za sionist treatment of the harp in harfo – Zvonimir Ciglič in Ivo ing with the earliest original harfo solo (1960). Vsaka izmed this composition, while the form Petrić. composition, written in 1984, petih miniatur je samostojna remains traditionally song-like and closing with the most recent celota, pri čemer osrednji tretji with an added coda. Prva izvirna priložnostna sklad- piece for two harps from 2013. It preludij spominja na folklori- ba za harfo Zvonimirja Cigliča is interesting to note that, coin- stično bogastvo z menjavo 5/8 v With his opus for the harp, (1921–2006) je nastala v letu cidentally, these two works were 2/4 taktovski način ter efektnim Alojz Srebotnjak (1931–2010) velikega skladateljevega uspeha, written by the two composers poudarkom sulla tavola, zunanji created a body of work in which diplomskega dela - Sinfonie who are most closely associated stavki (1, 2, 4, 5) so močno eks- large forms take their place Apassionate (1948). Lirični with original Slovenian music presivni, zapisani v razrahljanem alongside miniatures. His Prel- Adagio amoroso za harfo solo for the harp: Zvonimir Ciglič tonskem jeziku in s presenetljivi- udes for solo harp (1960) have a (1948) je skladatelj posvetil svoji and Ivo Petrić. mi harmonskimi zaključki. precious place in the established prvi ženi, harfistki Nevenki Ino, repertoire for the instrument. ki je delo premierno zaigrala z The first original occasional work Ivo Petrić (1931) se harfi posve- Each of the five miniatures is rokopisa. Med tiskano izdajo for the harp by Zvonimir Ciglič ča skozi vse svoje ustvarjalno ži- an independent whole, while (Ed. DSS 1569) iz leta 2002 in (1921–2006) was composed in vljenje. Pri pisanju ga je v prvem the central, third prelude is rokopisom je prišlo pri zapisu the year of the composer’s great obdobju navdihovala harfistka reminiscent of the wealth of enega tona do rahlega razhaja- success, his graduation work Pavla Uršič, svojemu skladatelj- folklore with its shift from 5/8 to nja ter posledično tudi do spre- Sinfonia Apassionata (1948). skemu vzoru pri pisanju za harfo 2/4 time signatures and its em- menjene harmonije. V skladbi z The lyrical Adagio amoroso for pa se je poklonil z Elegie sur le phasised use of the sulla tavola bogatim harmonskim jezikom harp (1948) was dedicated by nom de Carlos Salzedo. Med naj- effect. The external movements 4 že zasledimo impresionistično the composer to his first wife, bolj izrazita dela avantgardnega (1, 2, 4, 5) are powerfully obdobja in pravo prelomnico expressive and written in an ex- Houška in harfistka Pavla Uršič in the score, which is modelled 7 v pisanju za harfo v slovenski tended tonal language with sur- leta 1966 na Jugoslovanski glas- on Salzedo, reveals a genuine en- glasbi sodi skladba Jeux za glas prising harmonic conclusions. beni tribuni v Opatiji. cyclopaedia of harp effects (vari- in harfo (1965) na nadrealistično ous ways of playing strings with poezijo vojvodinskega pesnika Ivo Petrić (1931) has de- Tradicija pisanja za harfo, ki jo the tuning key, the use of sticks Vaska Pope (1921–1991). Jeux voted his attention to the harp lahko merimo le s polstoletno and other paraphernalia, various je izjemna šola modernih tehnik throughout his creative life. In zgodovino, je verjetno vzrok, types of glissandos, tremolos, igranja na harfo. Kot nakazuje the first period, he was inspired da v izvirni literaturi komornih harmonics, playing using the ime, skladba poudarja »igro« by the harpist Pavla Uršič, while del za harfo ni opaznega števila pedals, pounding on the strings, med izvajalcema, pri kateri harfa he paid tribute to the composer tradicionalnih klasičnih oblik hitting the soundboard), while ustvarja razpoloženje, ter tudi who served as his role model in (tiskane izdaje kažejo npr. le dve the rapid changes in effects, the svobodno »igro«,