1. No category

Klasika
Skladbe za orkester, 1. del
Orchestral Works Vol. 1
Slovenia
Klasika
Skladbe za orkester, 1. del / Orchestral Works Vol. 1
Slovenia
CD 2
CD 1
Lucijan Marija Škerjanc
Suita v starem slogu za godalni kvartet in godalni orkester /
Suite in the Old Style for string quartet and string orchestra
2. Ciaccona . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9:09
3. Interludio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:08
4. Giga . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:51
Marijan Lipovšek
1. Prva rapsodija za violino in orkester / First Rhapsody for Violin and Orchestra . . . . . . . . . . . . . . . 10:42
Anton Lajovic
1. Andante za veliki orkester / Andante for large orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:47
Slavko Osterc
Suita za orkester / Suite for Orchestra
2. Marcia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Tranquillo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4. Vivace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5. Religioso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6. Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2:46
4:32
1:27
5:14
4:04
Marjan Kozina
7. Bela Krajina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12:57
Primož Ramovš
Sinfonietta
8. Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9. Moderato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10. Vivace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11. Allegro molto e con brio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4:30
4:56
2:30
5:39
Uroš Krek
Sinfonia per archi
12. Pozivanje / Invocation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:42
13. Prebujenje / Awakening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7:22
14. Odziv / Return . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:30
2 Matija BravniËar
5. Kurent, simfoniËna pesnitev — poème symphonique / symphonic poem . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7:10
Demetrij Žebre
Dan, balet (simfoniËna slika) v treh stavkih za veliki orkester /
Day, ballet (symphonic picture) in three movements for large orchestra
6. Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11:10
7. Allegro con fuoco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:48
8. Moderato risoluto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:14
Zvonimir CigliË
9. Obrežje plesalk, simfoniËna koreografska pesnitev za veliki orkester /
Waterfront Dancers, choreographed symphonic poem for large orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15:59
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),
Marko Munih (CD 1/7), Simon KreËiË (CD 2/5)
Solisti / Soloists: Igor Ozim (CD 2/1), Slovenski godalni kvartet / Slovenian String Quartet (CD 2/2—4)
Orkestri / Orchestras: Orkester Slovenske filharmonije / Slovenian Philharmonic Orchestra (CD 1/7), SimfoniËni
orkester RTV Slovenija / RTV Slovenia Symphony Orchestra (CD 1/1, 2—6, 8-11; CD 2/1, 5, 6—8, 9), Godalni orkester
RTV Ljubljana / RTV Ljubljana String Orchestra (CD 1/12—14), Komorni orkester RTV Ljubljana / RTV Ljubljana
Chamber Orchestra (CD 2/2—4)
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Približevanje presežnemu ali antologiji slovenske orkestrske glasbe na pot
P
riËujoËa prva izdaja SIGIC-a z izborom slovenske orkestrske glasbe je zaËetek ambicioznega naËrta
predstavitve 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
temu da tvegamo, da bomo zaradi premajhne pasovne širine zadeli ob težave pri njenem prenosu.
KlasiËna glasba je tista, ki poslušalcu ne streže po maniri industrijske dobe s ceneno funkcionalnostjo,
ampak ga preplavlja z begajoËimi slušnimi vtisi ter s tem izziva, da vedno znova išËe poti do roba svoje
domišljije in umskih sposobnosti. Zato nikoli ne zastara in ni le dokument neke mrtve kulture. Za vedno
nove generacije poslušalcev, ki so se pripravljeni in sposobni odpraviti na to pot, je neraziskana dežela,
polna nepriËakovanih Ëudes.
Orkestrska glasba se je kot žanr izoblikovala predvsem v drugi polovici 18. in v 19. stoletju. V sebi
je združila dve zgodovinski tendenci. Na eni strani je podedovala blišË in reprezentativnost baroËne
dvorne opere ter postala temelj koncerta, osrednje oblike javnega izvajanja umetniške glasbe v zadnjih
dobrih dveh stoletjih. Na drugi strani je vsrkala precej intelektualne zahtevnosti vzporedno razvijajoËe
se komorne glasbe ter s tem ponudila poslušalcu dovolj gradiva za estetsko kontemplacijo. Njen razvoj
se je do danes odvijal predvsem v napetostnem polju med absolutno glasbo, ki gradi Ëiste forme, brez
povezav z zunajglasbenimi koncepti, in programsko glasbo, ki tako ali drugaËe išËe poti za izražanje
vsebin, povezanih s fizikalno in psihološko realnostjo.
Rezultat je velika pestrost orkestrske glasbe v oblikovnem pogledu. Simfonijam in uverturam 18.
stoletja so se skozi desetletja pridružile številne nove in ponovno oživljene oblike: simfoniËna pesnitev,
suita, simfoniËna miniatura, simfoniËna slika ipd. S to vsebinsko in oblikovno pestrostjo se nujno sreËa
vsak poskus predstavitve neke zakljuËene orkestrske ustvarjalnosti. Slovenska pri tem ni izjema.
Prva težava pri oblikovanju izbora skladb za priËujoËi cvetober je bila, kako omejiti ≈slovensko«
ustvarjalnost v Ëasu, ko se je nacionalni kulturni in institucionalni okvir šele oblikoval. Pri tem smo se
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.
zato odloËili, da na prvem albumu najprej predstavimo krajše orkestrske skladbe. Te se iz veË razlogov
zdijo najprimernejše za prvi, široki pregled slovenskega ustvarjanja za orkester. Najprej so oblikovno
manj preddoloËene, tako da med njimi najdemo tako dela programske glasbe kot tudi skladbe, ki so
bliže absolutni glasbi. Na drugi strani jih je mogoËe zaradi razmeroma skromne dolžine predstaviti v
celoti, hkrati pa še vedno omogoËajo dovolj širok kronološki pogled, ki zajema veË desetletij orkestrske
ustvarjalnosti.
To se zdi še toliko pomembnejše, Ëe upoštevamo bogastvo in raznovrstnost slovenske glasbe 20.
stoletja. V njej so se namreË na svojstven naËin zrcalile stilne spremembe burnega 20. stoletja. Izbor
tako sega od tipajoËega iskanja znaËilno slovenskega instrumentalnega izraza na zaËetku stoletja in
sega preko radikalnih novosti nove glasbe dvajsetih in tridesetih let, travmatiËnega Ëasa po 2. svetovni
vojni, ki je prinesel razliËne odzive na pretekle in sodobne grozote, do nove samozavesti glasbenega
modernizma.
Prvo vodilo pri sestavljanju antologije je bilo, da mora predstaviti estetsko najbolj prepriËljive skladbe
v primerni izvedbi. Pri tem smo se morali snovalci seveda ozirati tudi na dostopnost ustreznih izvedb
in fonogramov. Žal je bilo gradivo v nekaterih primerih precej omejujoËe, tako da nam je le v zelo
omejenem obsegu uspelo uresniËiti željo, da bi se ob ustvarjalcih predstavili tudi najpomembnejši
slovenski poustvarjalci orkestrske glasbe. PrepriËani smo, da bo mogoËe to našo željo v še polnejši
meri uresniËiti v sledeËih albumih slovenske Klasike.
dr. Aleš Nagode,
predavatelj na Oddelku za muzikologijo Filozofske fakultete v Ljubljani, Ëlan izbirne komisije za
kompilacijo Klasika Slovenia
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
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The Propinquity to Excellence or ‘Bon voyage’ to an anthology
of Slovenian orchestral music
T
he present release by SIGIC, the first to present a selection of Slovenian orchestral music, is
the beginning of an ambitious plan to introduce key works of Slovenian classical music. The title
Klasika perhaps expresses uneasiness rather than a truly clear definition of genre. The concept has
already been used and misused so often that the baggage it carries with it is rather laden with various
meanings and connotations, possibly sending very different messages to different listeners in today’s
culturally fragmented everyday life. To many who connect with music primarily via modern media and
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
opposite designation “popular music” — in other words “unpopular music.”
The label “classical” also suggests another meaning. It is reminiscent of similar words and phrases
used to denote a product of some kind of bygone, dead cultures that have their own, primarily
museum-worthy value as examples of human invention and the capacity to create internally balanced
and meaningful aesthetic systems. One thinks of Classical languages, Classical art (i.e. art from
antiquity), literary classics, etc. In all these cases, a belief in the persistent timelessness of these arts is
tied to the acceptance of the fact that their classicism is a consequence of labor; in the case of music,
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
musical works (parallels with Biblical terminology are not accidental).
We would like the title of our CD to be understood in a different way. To us, it designates music whose
excellence (its ‘first-classness’, the basic meaning of the term classique as established in France in the
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
limits of the human ability to devise sonic creations. Its measure is its propinquity to greatness; its
objective lies in the unknown, not in the known; in its remoteness, not in its accessibility; in extreme
effort, not in comfort. Its intention is not to quickly and effortlessly satisfy the inherent human tendency
to make music, but to challenge the mind, so that it may conceptualize the experience of our inner and
outer worlds in sound again and again.
8 Its tools are all the registers of the sound of the world in all their complexity, color and almost
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
making, despite the fact that, because of our lack of bandwidth, we risk running into difficulties in its
transmission. Classical music is that which does not serve listeners in an industrialized manner with
cheap functionality, but instead floods them with bewildering sonic impressions, challenging them to
constantly seek a path to the edge of their imagination and mental abilities. This is why it never grows
old and is not merely a document of some dead culture. For every new generation of listeners willing
and able to set off on this path, it is an undiscovered land full of unexpected wonders.
As a genre, orchestral music took shape mainly in the second half of the 18th and in the
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
primary form of the public performance of art music in the last two centuries; meanwhile, it absorbed
much of the intellectual complexity of chamber music, which was evolving at the same time, thus
offering the listener enough material for aesthetic contemplation. Its development has continued
through to the present day, especially in the tension-filled space between absolute music built upon
pure forms, with no connections with extra-musical concepts, and program music which in one way or
another seeks ways to express content connected with physical and psychological reality.
In terms of form, the result is a large variety of orchestral music. In addition to the symphonies and
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
some kind of complete artistry of orchestral composition faces this varied content and formal diversity.
Slovenian efforts are no exception to this.
The first challenge in selecting pieces for the present anthology was how to limit Slovenian creative
achievements at a time when the national cultural and institutional framework was just being formed. In
doing so, we settled on a period when Slovenian musical culture — not least owing to the broad-minded
yet firm convictions of the individual artists concerning their affiliation with Slovenian cultural identity —
had finally acquired a distinct profile. We arrived at the early 20th century, when a group of composers
gathered around the periodical Novi akordi / New Chords clearly defined an idea of national music.
9
Certain forms of orchestral music are extremely difficult to represent appropriately within the scope of
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
of Slovenian orchestral music decided that this first volume should present shorter orchestral works.
For several reasons, this seemed to be the most appropriate way to take a broad first look at Slovenian
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
hand, due to the relatively modest durations involved, it is possible to present them in their entirety,
while at the same time still making it possible to have a broad chronological view that covers many
decades of orchestral creativity.
This seems all the more important considering the richness and diversity of Slovenian music in the
20th century, as it uniquely mirrors the stylistic changes that occurred during these turbulent years.
The selection ranges from the tentative search for a distinctive Slovenian instrumental medium of
expression at the beginning of the century, extending beyond the radical originality of the new music of
the nineteen-twenties and thirties to the traumatic era following the Second World War, which resulted
in different responses to horrors past and present, to the new self confidence of musical modernism.
The first guiding principle in compiling this anthology was that it should present the most aesthetically
convincing pieces in committed performances. Of course, in doing so, we had to take into consideration
the availability of relevant performances and recordings. Unfortunately, the material was in some cases
quite limited, so only to a very limited extent have we succeeded in realizing our desire to also present
the most important Slovenian performing artists of orchestral music. We are confident that we will be
able to realize this more fully in future compilations of Slovenian Klasika.
Aleš Nagode, PhD,
lecturer at the Department of Musicology at the Ljubljana Faculty of Arts and member of the selection
committee for the anthology Klasika Slovenia.
10 Slovenska simfoniËna glasba v 20. stoletju
Z
a razvoj posameznih glasbenih žanrov je v veliki meri odloËilna razvita glasbena infrastruktura, ki
omogoËa dejavno preverjanje skladateljskega glasbenega mišljenja in zvoËnih zamisli. Takšno
razmerje na poseben naËin osvetljuje tudi zgodovina slovenske glasbe.
ZaËetki orkestrske glasbe na Slovenskem
Na Slovenskem lahko zaËetke kontinuiranega razvoja simfoniËne ustvarjalnosti odkrijemo razmeroma
pozno: Ëeprav so posamezne skladbe nastajale že prej (baroËni Balletti in inštrumentalne Sonate
Janeza Krstnika Dolarja, klasicistiËni Simfonija in Serenada naturaliziranega Leopolda Ferdinanda
Schwerdta, simfoniËna dela Franca Benedikta Dussika, ki je nekaj let deloval na slovenskem ozemlju),
pa tehtnejša dela najdemo šele v opusih slovenskih skladateljev 20. stoletja (Fran GerbiË napiše prvo
slovensko ≈romantiËno« simfonijo, Lovsko simfonijo, leta 1915). Ob tem je tem bolj nenavadno, da
slovensko ozemlje vsaj na institucionalni ravni v teh pogledih ni zaostajalo: v popisu muzikalij, inventarju
ljubljanske stolnice iz leta 1620, se znajde tudi operna partitura (G. Caccini, L’Euridice), kar kaže
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
repertoarjem, ki je kraljeval v evropskih metropolah, še pomembnejše pa je to, da je bila že leta 1701 v
Ljubljani po zgledu podobnih italijanskih akademij ustanovljena Academia Philharmonicorum, ki kmalu
zaËne skrbeti za glasbene izvedbe. Potem ko je sredi stoletja sapa novemu združenju pošla, so štirje
glasbeni ljubitelji ob koncu stoletja ustanovili Philharmonische Gesellschaft (FilharmoniËna družba,
1794), ki je združila najboljše glasbenike iz vrst diletantov, Ëlanov stolne kapele in mešËanske godbe
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
plemstvo in duhovšËina. Seveda se je takšna socialna struktura moËno odražala na pretežno nemški
usmeritvi družbe, zato pravih impulzov za razvoj slovenske simfoniËne tvornosti sprva ni dala.
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
11
neposredno poudarjali nacionalne idiome, posebno vse oblike vokalne glasbe, v kateri sta nacionalno
pripadnost z vso moËjo potrjevala besedilo in domaËi, nacionalni jezik. NacionalistiËna prebuja tako
najprej odmeva v obliki nastajanja pevskih društev, Ëitalniških prireditev in nato tudi v gledališkem delu,
ki je v 19. stoletju še tesno povezano z glasbenim: opera je imela prednost pred simfoniËnim. Posebna
socialna struktura slovenskega življa — maloštevilno plemstvo in poËasi prebujajoËe se izobraženo
mešËanstvo — se je odražala v skladateljskem delu: veËina slovenskih skladateljev 19. stoletja, avtorjev
znamenitih vokalnih del, ki so v mnogih primerih tudi ponarodela, so glasbeni amaterji (J. Fleišman,
M. Vilhar, J. Aljaž) ali pa so prvenstveno zavezani kakemu drugemu poklicu, kot to velja za celotno
skladateljsko-zdravniško družino Ipavcev in številne skladatelje-pravnike (V. Parma, G. Krek, A. Lajovic).
Zato ni Ëudno, da veËji instrumentalni sestavi, ki terjajo višje glasbeniške spretnosti, in domaËa literatura
zanje nastajajo kasneje, v Ëasu, ki bi ga že lahko oznaËili za obdobje profesionalizacije slovenskega
glasbenega življenja in je sledilo nastanku prvih glasbenih institucij (DramatiËnemu društvu in Glasbeni
matici z njeno šolo) ter se je dokonËno izvršilo v prvi polovici 20. stoletja.
Prve zametke želje po formiranju domaËega simfoniËnega izvajalskega telesa lahko ugledamo v
Ljubljanski društveni godbi, ki se je formirala leta 1900. Godba ni doživela veËjega vzpona, a je
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.
Talich je pripomogel k tehniËni in umetniški rasti sestava, sporedi orkestra pa so bili po svoji zasnovi
moËno podobni koncertom nemške FilharmoniËne družbe, s katero so domaËi glasbeniki oËitno želeli
tekmovati. Ko je moral Talich zaradi spletk zapustiti to pozicijo (pot ga je nato vodila najprej v Plze , od
leta 1918 naprej pa je v Pragi vodil orkester »eške filharmonije, ki ga je prav v tem Ëasu utrdil kot
enega najboljših na svetu), je zaËela dejavnost orkestra slabeti, ostalo pa je postorila vojna.
Konec prve svetovne vojne je z vkljuËitvijo slovenskega ozemlja v Kraljevino Srbov, Hrvatov in Slovencev
prinesel navidezno odrešitev iz dolgoletnih nacionalnih spon habsburškega imperija. Z rahljanjem
nacionalnih ideoloških temeljev in z izgubo navideznega tekmeca in konkurenta, nemške kulture,
je zaËetni zagon po potrjevanju lastne kulturne identitete dokaj hitro upadel, hkrati pa se je zasejal
znaËilni dvom, iz Ëesa naj poslej raste tipika domaËe kulture. »e se je ta prej potrjevala na ta naËin,
da se je skušala postaviti ob bok tekmecu ali ga celo ≈prehiteti«, se je zdaj spraševalo, ali ni morda
treba poiskati povsem nove, lastne kulturne temelje, neodvisne od zahodnoevropskih zgledov. Skrajna
12 prepriËanja so vodila do misli, da se je treba popolnoma ogniti nemškim zgledom (v izjavljanju takšne
ideologije je po prvi svetovni vojni prednjaËil skladatelj Anton Lajovic), kar je negativno vplivalo na razvoj
simfoniËne glasbe — prav slednja je namreË preko osrednjih simfonikov dunajskega klasicizma (W. A.
Mozart, J. Haydn, L. van Beethoven), zgodnjih (R. Schumann, F. Schubert, F. Mendelssohn Bartholdy) in
poznih romantikov (J. Brahms, A. Bruckner, G. Mahler) glavna domena nemške glasbe. Stavba, v kateri je
domovala nemška FilharmoniËna družba, je bila ≈nacionalizirana«, a v njej dolgo ni donela glasba, poizkusi
vzpostavljanja simfoniËnega izvajalskega telesa so bili zaporedoma obsojeni na neuspeh (Glasbena
matica je ustanovila amatersko Orkestralno društvo, deloma je za simfoniËno glasbo skrbel Vojaški
orkester Dravske divizije, leta 1934 je bila ustanovljena Ljubljanska filharmonija). Pravo odrešitev je
prinesel šele konec druge svetovne vojne in po njej v novi državi vzpostavitev širokega kulturnega okolja,
v katero sta bili v povezavi s simfoniËno glasbo vpeti ustanovitvi Orkestra Slovenske filharmonije
(1947) in SimfoniËnega orkestra RTV Slovenija (1955). Danes delujejo v dvomilijonski državi
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
zamenjalo orkestrsko izobilje, in takšna sprememba moËno odmeva tudi v kvantiteti in kvaliteti slovenskih
simfoniËnih del, nastalih po letu 1945.
Profesionalizacija slovenskega glasbenega življenja je sovpadla z obdobjem glasbene moderne v
zahodni Evropi: do sprememb je prišlo postopoma tako v glasbeni tehniki kot tudi estetiki, pri Ëemer je
imela najbolj daljnosežno vlogo ≈osvobojena« harmonija, ki so jo napovedale lebdeËe akordske zveze
Wagnerjeve glasbene drame Tristan in Izolda; harmonija je bila vse manj v funkciji melodiËnih vzgibov
in je vse bolj postajala emancipirano polje skladateljske invencije. Prevladovale so ≈velike« zvrsti, kot
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
urejal revijo Novi akordi (1901—1914). Kot široko razgledan intelektualec se je zavedal, da s tradicijo
ni mogoËe prekiniti, vendar si je želel vzpostaviti vez tudi s sodobnejšimi evropskimi tokovi, kakršne je
spoznaval na Dunaju, in se je zavzemal za razvoj inštrumentalne glasbe. Novi akordi so odprli vrata mladi
slovenski generaciji skladateljev, ki se je izobraževala v tujini in tako stopala v aktiven kontakt z aktualno
glasbeno moderno. Risto Savin (s pravim imenom Friderik Širca, 1858—1948) je kot vojaški Ëastnik
prepotoval velik del Evrope, kompozicijsko pa se je izpopolnjeval v Pragi in na Dunaju, kjer je študiral tudi
Anton Lajovic, medtem ko se je Emil AdamiË (1877—1936) šolal na konservatoriju v Trstu.
13
≈Klasiki« slovenske orkestrske glasbe 20. stoletja
Omenjeni skladatelji so se slogovno približali glasbeni moderni — torej širše razvejani kromatiËni harmoniji
in bolj gosti, polifoni teksturi, med zvrstmi pa je pred širokopoteznimi formami še vedno imela prednost
romantiËna miniatura, predvsem samospev. Vse to velja za Antona Lajovica (1878—1960), ki je v svojem
publicistiËnem pisanju ostro napadel zgledovanje pri veliki nemški glasbeni tradiciji, a je sam svoj glasbeni
stavek vendarle zgradil na impulzih, ki jih je na Dunaju prejel prvenstveno iz rok ≈nemških« skladateljev:
v LajovËevih delih odmeva glasba H. Wolfa, G. Mahlerja, R. Straussa, J. Marxa, zgodnjega A. von
Zemlinskega in F. Schrekerja. Podobna zavezanost predvsem liriËnemu, obËutljivemu delu s harmonskimi
detajli in motiviËnimi okruški, ki nimajo prave simfoniËne, torej razvojne teže, je znaËilna za skladateljeva
zgodnja orkestrska dela, zasnovana še v Ëasu študija na Dunaju na prehodu stoletij (1899—1902).
Skladbe Adagio, Andante in Capriccio je skladatelj kasneje objavil pod skupnim naslovom Pesmi mladosti,
pri Ëemer izbrani naslov ne oznaËuje le zgodnjega nastanka, temveË tudi znaËilno liriËno, skoraj ≈pevsko«
noto, zaradi katere je Lajovic kasneje skoraj popolnoma zanemaril simfoniËno glasbo in dosegel najveËje
uspehe v samospevih in zborih. V vseh treh primerih gre za kratke žanrske miniature, ki se spogledujejo s
klasiËno pesemsko tridelnostjo in se zde kot poznoromantiËne inštrumentirane pesmi brez besed.
OdloËneje sta popkovino s tradicionalnim glasbenim ≈jezikom« prerezala Marij Kogoj (1895—1956) in
Slavko Osterc. Kogoj se je šolal na Dunaju, kjer je poleg najvidnejših del glasbene moderne spoznal
tudi Schönbergovo kompozicijsko šolo in Ëetrttonski harmonij. Sprva je sicer še sledil razviti harmoniji,
ki ostaja narahlo povezana s tonalnim središËem, kasneje pa je vse bolj zaupal logiki notranje zavesti
in ekspresije. Svoj višek je dosegel leta 1927 z uglasbitvijo opere »rne maske, ki s svojim nenavadnim
simbolistiËnim libretom razkriva bistvo skladateljevih osebnostnih težav (problem identifikacije in porekla).
Kogoj pa z izjemo suite »e se pleše ni zapustil simfoniËnega dela. Zanimivo je, da se prav v tem delu
iz leta 1927 kažejo jasne slogovne spremembe, premik k bolj objektivni novi stvarnosti, kar lahko
razumemo tudi kot reakcijo na delo Slavka Osterca (1895—1941), ki se je prav tedaj vrnil v Ljubljano
iz Prage, kjer je študiral kompozicijo. OsterËev glasbeni stavek je po praški izkušnji pregleden, zasnovan
po neoklasicistiËnih zgledih, vendar skladateljevo parodiranje in potujevanje ni toliko usmerjeno v
poudarjeno motiviËno delo in periodiËno oblikovanost klasicizma, temveË se napaja pri baroËni motoriki in
polifonem vodenju glasov. Vse to se lepo zrcali v skladateljevi Suiti za orkester (1929), ki v nizu stavkov
prinaša stilizirana obËutja in obrise preteklih žanrskih obrazcev (intradna koraËnica, ekspresivna molitev,
neobaroËna žiga).
14 Kljub temu da sta se Kogoj in Osterc spogledovala z novo glasbo, je v istem Ëasu na Slovenskem
ustvarjala vrsta skladateljev, ki so s svojo dobro izobrazbo in obvladovanjem kompozicijske tehnike
utrdili tradicionalni glasbeni izraz. Ob ambicioznih simfonijah in simfoniËnih pesnitvah Blaža ArniËa
(1901—1970) ­­ter Lucijana Marije Škerjanca, tudi krajša orkestrska dela Demetrija Žebreta
(1912—1970) priËajo o poznem razcvetu glasbene moderne in impresionistiËne barvitosti. Žebre, sicer
OsterËev uËenec, ki se je prav tako podal v Prago, ni sledil uËiteljevi poti v novo stvarnost. Bolj ga je
privlaËevala barvitost velikega simfoniËnega orkestra, celo bližina z impresionizmom — ob Žebretovem
orkestrskem Prebujenju tako hitro pomislimo na Debussyjev slavni Preludij k favnovemu popoldnevu,
medtem ko Bacchanale s svojo razsežnostjo in virtuoznim obvladovanjem orkestracije prinaša celo nekaj
okusa po Ravelovih partiturah. Žebre se izogiba hladni objektivnosti nove stvarnosti tudi v oËitni želji po
dramatiËnem in pripovednem — Bacchanale je v resnici simfoniËna slika Dan (partitura je bila najdena
v zapušËini in najbrž ji je bil naknadni naslov pripisan napaËno), ki naj bi nastala med letoma 1936 in
1938 in nosi podnaslov Balet v treh stavkih za veliki orkester. ZnaËilna je simetriËna tristavËnost, v kateri
poËasnejša stavka (Andante, Moderato risoluto) uokvirjata hitrejšega (Allegro con fuoco).
Osterc in Kogoj sta pustila pomembne sledi v ustvarjanju naslednje generacije slovenskih skladateljev,
posebej Osterc, ki je po povratku v Ljubljano pouËeval do svoje smrti na ljubljanskem konservatoriju
in poznejši Glasbeni akademiji. Toda zaËeto skladateljsko delo ter slogovno in estetsko izenaËevanje
z zahodno Evropo je prekinila druga svetovna vojna in v prvih letih po osvoboditvi delo Kogoja in
Osterca ni imelo pravega odmeva, temveË je poudarjeno iskalo stik s poznoromantiËnim izroËilom
starejše generacije, kar gre v doloËeni meri povezovati tudi z novo politiËno ureditvijo. Preko te je senca
socialistiËnega realizma namreË kapnila tudi na slovenska tla. Seveda v svojem jarmu niti približno ni
bila tako moËna kot v delih vzhodnega bloka in ni dejavneje posegala v glasbeno življenje, temveË se je
zadovoljila z dejstvom, da so vodilni skladatelji nadaljevali s tradicijo razširjenega tonalno-funkcijskega
≈jezika« glasbene moderne in da so bili osebno izrazito nezaupljivi do novejših kompozicijskih tehnik.
Zaradi tega ostaja precej nejasno, ali je moËno zagledanost v romantiËni subjektivizem sploh mogoËe
enoznaËno povezati s socialistiËnim realizmom ali pa je bilo morda navezovanje na tradicionalne
glasbene vzorce bolj posledica osebnih estetskih nagnjenj vodilnih usmerjevalcev slovenskega
povojnega glasbenega življenja.
Lucijan Marija Škerjanc (1900—1973) je sprva ustvarjal glasbene miniature (samospev, klavirske
skladbe), kar je tipiËna oblika 19. stoletja, nato se je dokazal tudi s številnimi simfoniËnimi deli.
15
V slogovnem pogledu Suita v starem slogu ne sodi med najznaËilnejša ŠkerjanËeva dela, saj se v njej
prepletata tako neoklasicizem kot poznoromantiËni izraz: v zaporedju stavkov naniza skladatelj baroËno
Ciaccono, Interludij in Gigo, tudi osnovna ideja dialoga med solistiËnim godalnim kvartetom (concertino)
in preostalim godalnim korpusom (tutti) je povzeta po baroËni obliki concerto grosso. Vendar vnese
v neobaroËno strukturo skladatelj tudi romantiËno ≈potujitev«; medtem ko se zdi kompozicijski stavek
godalnega orkestra oblikovan v ≈starem slogu«, prinašajo solisti znaËilne poudarjeno izrazne melodiËne
linije. Skladba, ki je nastala leta 1928, nosi še eno pomembno potezo: v zasedbi — ansambelska in
solistiËna godala — najbrž odmevajo tudi domaËe ≈infrastrukturne« zagate, to je odsotnost pravega
orkestrskega telesa.
Marjan Kozina (1907—1966) se je v zgodovino slovenske glasbe zapisal predvsem s Simfonijo
(1949), ki je sestavljena iz štirih simfoniËnih pesnitev, vsebinsko povezanih z vojnimi vihrami. Medtem ko
prvi stavek, Ilova gora, slika bitko in je stavek Padli zamišljen kot simfoniËni epitaf, finale z naslovom Proti
morju pa kot nekakšna politiËno-socialna apoteoza, je simfoniËni scherzo Bela Krajina v svojem hitrem
tempu zasnovan bolj abstraktno simfoniËno — jasne vsebinske premise vanj vdirajo zgolj preko obdelave
folklornega gradiva (Došel je došel zeleni Jure, Igraj kolce). V izrazitem povezovanju nacionalne vsebine
in svetovnonazorskih idej s tradicionalnim glasbenim stavkom lahko v patetiki simfoniËnega finala jasno
uzremo tudi podtone socialistiËnega realizma. Toda zazrtost omenjenih skladateljev v preteklost je
mogoËe opraviËiti z dejstvom, da je bila simfoniËna glasba vse do tistega trenutka precej podhranjena in
da so torej L. M. Škerjanc, B. ArniË in M. Kozina zapolnili ≈izpraznjeni« prostor.
Po vojni so nekateri skladatelji bistveno spremenili svoj slog. Tak preskok zasledimo v opusu Danila
Švare (1902—1981), ki je pred vojno zavezan ekspresionizmu, po njej pa se navezuje na Bartókov tip
prefunkcionaliziranega folklorizma (Sinfonia da camera in modo istriano, 1957) in se s po veristiËnih
zgledih ukrojeno opero Slovo od mladosti (1952) preko tematiziranja življenja pesnika Franceta Prešerna
bliža celo ideji nacionalne opere. Zelo podobno pot od ekspresionizma k folklori ubere predvojni Kogojev
uËenec Matija BravniËar (1897—1977), ki je kasneje študiral še pri Ostercu, zato njegova dela
izkazujejo znaËilno dvojnost — na zaËetku se spogleduje z ekspresionizmom, nato njegov glasbeni stavek
postaja bolj izËišËen, stvaren. Po vojni je takšno dvojnost ≈razširil« še s približevanjem tradicionalnemu
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,
medtem ko je skladatelj kompozicijsko zavezan variacijskemu nizanju.
16 Za nadaljnji razvoj slovenske glasbe je pomembno, da so imeli Škerjanc, ArniË in Kozina pomembno
vlogo tudi kot glasbeni pedagogi in vodje osrednjih slovenskih glasbenih institucij, zaradi Ëesar so
imeli velik vpliv na slovensko glasbeno kulturo, kar se je izrazito pokazalo na zaËetku petdesetih let,
ko so trije skladatelji istega leta (1951) dovršili svoje prve mojstrovine — Marijan Lipovšek Drugo
suito za godala, Primož Ramovš Sinfonietto in Dane Škerl (1931—2002) Serenado za godala,
podobne poteze pa zaznamujejo tudi Sonatino za godala (1956) Uroša Kreka. Prav Sinfonietta
Primoža Ramovša (1922—1999) sodi med najpogosteje izvajana slovenska simfoniËna dela.
Zaznamuje jo neoklasicistiËna oblika in hindemithovski tip napetostne harmonije, toda simfoniËni ciklus
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,
in v atmosferskem sopostavljanju raznolikega — uvodnemu neoklasicistiËnemu briu sledi pastoralno
zasanjani poËasni stavek, ki daje veliko priložnosti izstopajoËim melodiËnim linijam v pihalih.
Marijan Lipovšek (1910—1995) je po drugi svetovni vojni neoklasicistiËne vplive razširil z Bartókovim
tipom folklorizma, v katerem folklorno gradivo ni veË eksotiËni dodatek, temveË material, ki je trdno
spet z umetno kompozicijsko tehniko. To še posebej velja za skladateljevo Prvo rapsodijo za violino
in orkester (1955), v kateri je osnovno gradivo povzeto po ljudskem materialu (uporabljene so pesmi
Vsi so venci bejli, Vün je süša, Zakaj se ti deËva vdaš, Dolenjski furmani), vendar je hkrati podvrženo
stalnemu variacijskemu delu, zato v glasbenem toku materialnih virov skoraj ni mogoËe prepoznati.
Podobno je slogovno širil šolske neoklasicistiËne vzore Uroš Krek (1922—2008). Posebej gosta
postane pri naštevanju vplivov in prevzetih impulzov skladateljeva Sinfonia per archi iz leta 1973:
nekaj odsekov se spogleduje z aleatoriko, gosta akordika mestoma spominja na clustrske harmonije,
ob zaËetnem osredišËanju na en sam ton bi smeli pomisliti celo na G. Scelsija. Toda ob boku teh
modernistiËnih impulzov najdemo tudi nekatere povsem tradicionalne postopke: Krek ostaja zavezan
motiviËnemu delu, preko motiviËnih reminiscenc in tonske osredišËenosti (v vseh stavkih ima centralno
vlogo ton e) je delo zasnovano kot tipiËni ciklus, stavki nosijo poteze sonatne oblike in rondoja, pogosti
so ostinati, dvojno igro med ≈novim«, sodobnim in tradicionalnim pa skriva že naslov — Sinfonia, torej
nekakšna ≈baroËno« potujena oblika klasicistiËne forme.
Brez neoklasicistiËnih zgledov, še bolj jasno zakoreninjena v impresionistiËno-ravelovskem in ritmiËnoorgiastiËnem tradicionalistiËnem glasbenem stavku je glasba Zvonimirja CigliËa (1921—2006),
17
avtorja majhnega, a toliko bolj preËišËenega opusa. Svojo simfoniËno koreografsko pesnitev Obrežje
plesalk naj bi zasnoval v Ëasu ujetništva v samici, nato pa jo je leta 1952 zapisal. Siže za skladbo
je skladatelj prevzel iz romana Ëeškega pisatelja Jana Havlase in govori o ljubezni med Tahitijko in
belcem, ki ukrade bisere in pobegne z ljubo. Ko se pretrga veriga biserov, ki ju varuje kot talisman,
postaneta ljubimca ranljiva in padeta pod kopji zasledovalcev. CigliËeva skladba je zasnovana kot
široka simfoniËna freska, ki prinaša postopno zgošËevanje teksture in tempa, da bi ob koncu tragiËno
poniknila. Material za skladbo je skladatelj prevzel iz lastne klavirske skladbe Bakhanal.
V primeru vseh omenjenih skladb gre za kompozicijsko-tehniËno dovršena dela, ki v izbiri melodiËnega
materiala kažejo na bogato umetniško invencijo, slogovno pa vse zaznamuje spogledovanje s
preteklostjo. Gotovo gre za pomembna dela v slovenski povojni glasbi, pa vendar se ne smemo
ogniti svetovnim vzporednicam — v Ëasu, ko slovenski skladatelji preËistijo svoje znanje v gladke
neoklasicistiËne skladbe ali impresionistiËno pobarvane partiture, se v Darmstadtu dogajajo
najpomembnejši modernistiËni ≈prelomi«. Slovensko ≈oËišËevanje« in obraËun z glasbeno tradicijo še
ne moreta nastopiti, ker mnogi tokovi sploh niso izživeti. A vendar se je slovenska simfoniËna glasba v
zadnji polovici 20. stoletja jasno odprla tudi modernizmu.
Novi tokovi v slovenski orkestrski glasbi po letu 1950
Znamenja želje po boljšem vpogledu v soËasno evropsko glasbeno ustvarjalnost se najprej pokažejo
v delovanju skladateljske skupine Pro musica viva (Jakob Jež, Krunoslav Cipci, Ivo PetriÊ, Milan Stibilj,
Alojz Srebotnjak, Igor Štuhec, Darijan BožiË, Lojze LebiË). Pri tem so pomembno vlogo odigrali obiski
festivala Varšavska jesen in Zagrebškega bienala. VeËina Ëlanov skupine je svoj slog spremenila
prav pod vtisom izkušenj iz Varšave: po spogledovanju s hindemithovsko napetostno harmonijo
in prevzemanju Schönbergove dodekafonije so se konËno predali osvobojenemu zvoku zvoËnih
kompozicij, v katerih so tradicionalne glasbene parametre zamenjale fizikalne lastnosti zvoka. Orkester
in njegova barvitost sta postala osrednji skladateljev ≈inštrument«, zato je nastala vrsta simfoniËnih del.
Med skladatelji omenjene skupine je razpeta zvoËna paleta modernistiËnih skladb najbolj izrazito
navdušila Iva PetriÊa (1931). Ustvaril je vrsto monumentalnih zvoËnih fresk (Integrali v barvah,
1968), v katerih je izrabljal možnosti kontrolirane aleatorike. Podobno kot PetriÊ se je pisanja zvoËnih
kompozicij oprijel tudi Igor Štuhec (1932), kar se tiËe simfoniËne ustvarjalnosti, pa je morda najdlje
18 med Ëlani skupine segel Lojze LebiË (1934), ki je poskušal v svojih delih ves Ëas harmonizirati racionalne
serialistiËne nastavke z bolj razrahljanimi aleatoriËnimi koncepti. Na ta naËin se je v osemdesetih letih
dokopal do specifiËnega glasbenega jezika, ki korenini v dedišËini modernizma, vendar se dejavno
sooËa z arhetipskimi vzorci, ki segajo od aluzij na glasbo pradavnine in slovensko ljudsko glasbo (Korant,
1969) do glasbe velikih skladateljev preteklosti (naznaËen citat Mozarta v Tangramu, 1977, in citat
Haydna v Glasbi za orkester — Cantico II, 2001). LebiËev glasbeni ≈jezik« se tudi v Ëasu postmoderne ne
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
z orglami, 1991). Osvobojeni zvoËni jezik, s katerim se je seznanil v Varšavi, je od sredine šestdesetih
let zaznamoval tudi že omenjenega Primoža Ramovša, ki je ustvarjal zvoËne kompozicije (Simfonija 68,
1968, Organofonija, 1982, Per aspera ad astra, 1991), polne nenadnih kontrastov in izrazitih viškov, ki v
svoji formalni odprtosti zrcalijo skladateljevo umetnost orgelske improvizacije.
Drzneje in bolj brezkompromisno so svoj glasbeni jezik preËistili predvsem tisti skladatelji, ki so dalj
Ëasa živeli in ustvarjali v tujem okolju, kar velja predvsem za Janeza MatiËiËa in Vinka Globokarja.
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
glasbene raziskave in njenim vodjem Pierrom Schaefferjem in pod tem okriljem so nastala pomembna
elektroakustiËna dela. »eprav je v zadnjih desetletjih veËinoma opustil elektroakustiËno glasbo, je ostal
zvest abstraktni izraznosti inštrumentalnega medija. Povsem drugaËno pot je ubral Vinko Globokar
(1934), Ëigar dela so dosegla najveËji mednarodni uspeh. Globokar je v svoji zreli fazi razvil poseben
odnos do dela z inštrumentom in do izvora glasbene strukture. Skladatelj inštrument pogosto razume kot
podaljšek Ëloveškega telesa ali kot ojaËani organ za izgovarjanje. Tako struktura številnih skladateljevih
del neposredno izhaja iz raziskovanja povsem novih zvoËnosti posameznega inštrumenta ali inovativnih
tehnik njegove izrabe. Za Globokarja je znaËilno tudi povezovanje glasbene strukture z izvenglasbenimi
fenomeni. Tako skladatelja pogosto zaposlujejo sociološki, politiËni ali celo svetovnonazorski fenomeni (v
Emigrantih, 1986, se posveËa vprašanju izseljenstva, v delu MoË, množica, posameznik, 1995, raziskuje
odnose med množico in posameznikom, v obsežni trilogiji Angel zgodovine, 2004, pa opazimo jasne
aluzije na krvavi razpad Jugoslavije,), ki jih ≈prevaja« v glasbeno strukturo.
19
V zaËetku osemdesetih let je slovensko glasbeno okolje odprto sprejelo postmodernistiËne tendence,
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
v smislu ≈dvojnega kodiranja«, temveË je zanje znaËilno predvsem ≈vraËanje«, prevzemanje
tradicionalnih glasbenih modelov. Omenjeno odprto spogledovanje s tradicionalnimi tehnikami in
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
poigrava s terminom postmodernizma, glasbeni stavek pa se spogleduje s klasicistiËno preglednostjo
kompozicijske obrti. Podobna razpetost je znaËilna za opus Janija Goloba (1948), ki ustvarja tako
filmsko in zabavno glasbo kot tudi umetnostno, pri Ëemer ostaja zavezan poudarjeni melodiËnosti,
tonalni funkcijskosti in podedovanim zvrstem in oblikam (Koncert za violino in orkester, 1998). Zveze s
tradicionalno glasbo so izrazite tudi v opusu Marka Mihevca (1957), ki je od zaËetka devetdesetih let
dalje ustvaril vrsto simfoniËnih pesnitev (Equi, 1990, In signo tauri, 1991), v katerih ni mogoËe prezreti
jasnega navezovanja na niz simfoniËnih pesnitev R. Straussa.
Seveda pa se ne predajajo vsi skladatelji takemu ≈brezskrbnemu« postmodernizmu. PešËica
skladateljev poskuša poiskati svoj individualni glasbeni izraz na ozadju modernizma, pri Ëemer je
znaËilno, da gre tu v veËini primerov za skladatelje, ki so si temeljito kompozicijsko izobrazbo pridobili v
tujini in tam celo ostali. To velja za v Avstraliji delujoËega skladatelja Božidarja Kosa (1934), v NemËiji
zasidrana Uroša Rojka (1954) in Vita Žuraja (1979), novozelandskega skladatelja Nevilla Halla (1962),
ki že veË kot dve desetletji živi v Sloveniji, in skladateljice Lariso Vrhunc (1967), Urško Pompe (1969)
in Nino Šenk (1982). Našteti skladatelji ne vztrajajo pri tistih modernistiËnih konceptih, za katere se je
izkazalo, da imajo prej oËišËevalno kot pravo umetniško moË, temveË namesto tega vstopajo v široko
zvoËno ≈osvobojeno« polje, kar pomeni, da na zaËetku 21. stoletja tudi modernizem razumejo kot
legitimni del glasbene preteklosti. Ustvarjanje simfoniËne glasbe je postala takšna samoumevnost, da
veËinoma ustvarjajo skladbe za komorne sestave, v katerih že raznorodna kombinacija glasbil prinaša
vsakiË svojski zvoËno-barvni odtis.
dr. Gregor Pompe,
predavatelj na Oddelku za muzikologijo Filozofske fakultete v Ljubljani, publicist in glasbeni kritik
20 Slovenian symphonic music in the 20th Century
A
decisive factor in the development of individual music genres is a developed musical infrastructure
which enables composers to actively evaluate their ideas about music and sound. In a particular
way, this kind of relationship also illuminates the history of Slovenian music.
The emergence of orchestral music in Slovenia
The continuous development of symphonic composition in Slovenia began relatively late: even though
individual pieces had been written earlier (such as the baroque Balletti and instrumental sonatas of
Janez Krstnik Dolar, the classical symphony and serenade of naturalized citizen Leopold Ferdinand
Schwerdt, and the symphonic works of Franc Benedikt Dussik, who worked in Slovenian territories for
some years), we find weightier pieces from Slovenian composers only in the 20th century (Fran GerbiË
wrote the first Slovenian ‘Romantic’ symphony, Lovska simfonija / Hunting Symphony in 1915). It is all
the more extraordinary, then, that at least at the institutional level, things did not lag behind in Slovenian
territory in these respects: in the inventory of the music collection of Ljubljana Cathedral from 1620
one also finds an opera score (Caccini’s L’Euridice), reflecting an early interest in the dramatic
arts. Italian and later German traveling opera families visited Ljubljana, gradually acquainting local
audiences with the important musical-theater repertoire being heard in European metropolises. Even
more important is the fact that the Academia Philharmonicorum had been established in Ljubljana in
1701, following the example of similar Italian academies, and was soon responsible for organizing and
hosting musical performances. By the middle of the century, however, the new organization’s activities
had declined; then, at the end of the century, four music lovers established the Philharmonische
Gesellschaft / Philharmonic Society (1794), bringing together the best musicians from the ranks
of local amateurs, members of the cathedral capella and community wind bands; in the year of its
establishment, it already numbered 20 members and was presenting orchestral concerts. Initially, the
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
predominantly Germanic orientation of local society, and thus initially did not provide the right incentive
for the development of Slovenian symphonic music.
21
In the mid-19th century, during a period of social revolutionary upheaval and ‘rebellion’ by peoples who
until then had been considered ‘non-historical’, the function of music changed greatly and became
a major factor in national identity. The music genres that came to the fore were primarily those that
directly emphasized national idioms, particularly all forms of vocal music in which both the text and
local language vigorously confirmed national identity. This nationalist awakening first resounded in
the emergence of choral societies, spirited reading society events and later also in the theater, which
in the 19th century was still tightly bound to music: opera was favored over symphonic music. The
special social structure of the Slovenian population - a small nobility and a slowly awakening, educated
middle class - was reflected in the works that composers wrote: the majority of Slovenian composers
in the 19th century, authors of nationally renowned choral pieces which in many cases became
popular patriotic songs, were musical amateurs (such as Jurij Fleišman, Miroslav Vilhar and Jakob
Aljaž) or were primarily engaged in some other profession, such as the entire Ipavec family* and many
composer-lawyers (such as Viktor Parma, Gojmir Krek and Anton Lajovic). Thus it is not surprising
that larger instrumental formations, which require greater musical ability, and a domestic repertoire for
them arose only later during the period of professionalization in Slovenian musical life that followed
the formation of the first music institutions such as the Drama Society, and the Glasbena matica music
society and its associated school, which finally came about in the first half of the 20th century.
The initial desire to form a homegrown symphonic ensemble may be attributed to the Ljubljana
Orchestral Society, established in 1900. They did not experience any marked success, but it did form
the basis from which the Slovenian Philharmonic grew in 1908. The independent orchestra (although it
numbered only 32 members) was led by the young Václav Talich, the later celebrated Czech conductor,
from 1909 to 1912. Talich contributed to the technical and artistic growth of the ensemble, while the
programming was very similar to that of the German Philharmonic Society with whom local musicians
obviously wanted to compete. When Talich was forced to resign because of intrigue (he went first to
Plze , then from 1918 onwards to Prague, where he led the Czech Philharmonic, turning it into one of
the best orchestras in the world at that time), the orchestra’s stature declined; the war did the rest.
The end of the First World War, which saw the inclusion of Slovenian territory in the Kingdom of
Serbs, Croats and Slovenes, seemingly brought liberation from the long period of domination under the
* Translator’s note: Benjamin, Alojz, Gustav and Josip Ipavec were all physicians as well as composers.
22 Habsburg Empire. With the development of national ideological foundations and the loss of a virtual
rival and competitor - namely, German culture - the initial impetus to validate Slovenia’s own cultural
identity rather quickly waned, while at the same time a characteristic doubt was sown, from which
a typical feature of domestic culture would henceforth grow. If it had previously confirmed itself by
attempting to settle with the competition or even to ‘overtake’ it, the question now arose as to whether
a completely new cultural foundation was needed that was entirely Slovenian, independent of western
examples. This extreme position led to the belief that German models should be completely avoided
(composer Anton Lajovic led the way in pursuing this ideology after the First World War), a belief which
was to have a negative impact on the development of orchestral music in Slovenia, since orchestral
music, through the important symphonies of Viennese Classicism (Mozart, Haydn, Beethoven), the early
Romantics (Schumann, Schubert, Mendelssohn) and the late ones (Brahms, Bruckner, Mahler), was
dominated by German music
The building which had been home to the German Philharmonic Society was ‘nationalized’, but music
had not echoed inside for a long time, since attempts to establish a symphonic performing ensemble
were successively doomed to failure (the amateur Orchestra Society was established by Glasbena
matica; symphonic performances were sometimes presented by the Military Orchestra of the Drava
Division; the Ljubljana Philharmonic was established in 1934). The right conditions did not materialize
until the end of the Second World War, and after it in the expansive cultural environment following the
creation of the new state (of Yugoslavia), in which the founding of the Slovenian Philharmonic
Orchestra (1947) and RTV Slovenia Symphony Orchestra (1955), played an integral part.
Today, in a country of two million people, four professional symphony orchestras are active (including
the orchestras of the opera houses of Ljubljana and Maribor), which is an enviable figure considering
the size of the population. In the relatively short period of a century, the symphonic ‘desert’ was
transformed into an orchestral abundance, and this change is clearly seen in the quantity and quality of
Slovenian orchestral music written after 1945.
The professionalization of Slovenian musical life coincided with the rise of musical modernism in
Western Europe: changes gradually took place in both the techniques and aesthetics of music.
‘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
23
of melodic movement and more of an emancipated field of compositional invention. While large-scale
genres such as opera, oratorio and symphony predominated in Western Europe, Slovenian music
was still largely dominated by vocal music. Gojmir Krek (1875-1942), editor of the Slovenian journal
Novi akordi / New Chords (1901-1914) in Vienna, wanted to change this situation. As a highly
knowledgeable intellectual, he realized the impossibility of thwarting tradition, but wanted to establish
a connection with modern European trends such as those with which he came into contact in Vienna;
he was also committed to the development of instrumental music. Novi akordi opened the door for a
younger generation of Slovenian composers who had studied abroad and came into active contact with
modern musical trends. Risto Savin (real name Friderik Širca, 1858-1948) traveled over a large part
of Europe as a military officer, and completed composition studies in Prague and Vienna, where Anton
Lajovic also studied, while Emil AdamiË (1877-1936) studied at the conservatory in Trieste.
‘Classic’ Slovenian orchestral music of the 20th century
The aforementioned composers moved stylistically closer to musical modernism, using widely branched
chromatic harmony and dense polyphonic textures; in terms of genre, romantic miniatures - especially
lieder - were still more prevalent than more ambitious forms. All of this applies to Anton Lajovic
(1878-1960), who sharply lambasted imitations of the great German musical tradition in his journalism,
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
and Schreker, is all echoed in Lajovic’s works. The composer’s early orchestral music, conceived
during his studies in Vienna at the turn of the century (1899-1902), reveal a similar commitment to
primarily lyrical, sensitive music with harmonic detail and motivic fragments that have no real symphonic
or developmental weight. The composer later published his Adagio, Andante and Capriccio under
the unifying title Pesmi mladosti / Songs of Youth, a title which refers not only to the work’s early
creation, but also to the characteristically lyrical, almost ‘vocal’, quality of the music. Lajovic later almost
completely abandoned symphonic music and achieved his greatest success in lieder and choral works.
All three movements of the Pesmi mladosti are short character miniatures that flirt with classic threepart song forms and seem like late Romantic instrumental songs without words.
The umbilical cord with traditional musical ‘language’ was more decisively cut by Marij Kogoj (18951956) and Slavko Osterc. Kogoj studied in Vienna, where he came into contact not only with the
most prominent aspects of the fin-de siècle music world, but also with Schoenberg’s composition
school and quarter-tone harmony. At first, he continued to explore chromatic harmony that remains
loosely attached to a tonal center; later, he increasingly trusted his intuition and the logic of his own
aesthetics. His greatest achievement came in 1927 with the opera »rne maske / Black Masks, which
has an unusual symbolist libretto and reveals the essence of the composer’s personality disorder*.
With the exception of the suite »e se pleše / If Dancing, Kogoj left no other other symphonic music.
Interestingly, it is precisely in this work, also composed in 1927, that clear stylistic changes are
evident, a shift to a more neutral New Objectivity that can also be understood as a reaction to the
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
towards highlighted motivic work and periodic formations of Classicism, but is rather energized by a
motoric baroque vitality and polyphonically led voices. All this is well reflected in the composer’s Suita
za orkester / Suite for Orchestra (1929), which through a succession of movements evokes stylized
emotions and traces the contours of historical forms (an introductory march, an expressive prayer, a
neobaroque gigue).
While Kogoj and Osterc were flirting with new music, a number of other composers in Slovenia, welltrained and skilled in compositional technique, were reinforcing more traditional musical approaches.
The ambitious symphonies and symphonic poems of Blaž ArniË (1901-1970) and Lucijan Marija
Škerjanc, as well as the shorter orchestral works of Demetrij Žebre (1912-1970) testify to the late
flowering of modernism and impressionistic color. Žebre, a student of Osterc who also went to Prague,
did not follow his teacher’s path towards New Objectivity. He was more attracted to the colors offered
by a large symphonic orchestra, even to Impressionism: in Žebre’s orchestral Prebujenje / Awakening,
we very quickly think of Debussy’s famous Prelude to the Afternoon of a Faun, while Bacchanale, in its
broadness and virtuosic mastery of orchestration, even suggests a flavor of Ravel’s scores.
* 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:
Bacchanale is actually the symphonic portrait Dan / Day which was probably written between 1936
and 1938 and subtitled Ballet in three movements for large orchestra (the score was found among the
composer’s possessions following his death, the title Bacchanale was probably given incorrectly). It is
characterized by a symmetrical three-movement structure in which two slower movements (Andante,
Moderato risoluto) frame a faster one (Allegro con fuoco).
from the baroque concerto grosso form. However, the composer also inserts a distinctly Romantic
‘alienation’ into the neobaroque structure; while it seems that the compositional elements of the string
orchestra were formed in the ‘old style’, the soloists offer characteristically prominent expressive
melodic lines. The work, which was composed in 1928, has another important feature: the instrumental
medium - ensemble and solo strings - also probably reflects the fundamental ‘infrastructural’ dilemma
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
composers, especially Osterc, who after his return to Ljubljana taught until his death at the Ljubljana
Conservatory, later renamed the Academy of Music. But compositional work, as well as the process of
bringing styles and aesthetic values into line with those in Western Europe, was interrupted by World
War II, and in the first years following the end of the war the music of Kogoj and Osterc did not have
the appropriate resonance for the next generation, who instead rather pointedly sought a connection
with the late Romantic tradition of an older generation, an impulse that can also be linked to a certain
extent to the new political regime. It was through this new political order, in fact, that the shadow of
socialist realism cast itself over Slovenian soil. Of course, the strictures of the new politics were not
applied with anything like the severity found in parts of the Eastern Bloc, and political ideology was
not used to actively intervene in musical life, but the regime was satisfied with the fact that leading
composers continued the tradition of the extended tonal-functional ‘language’ of modern music, and
were individually highly suspicious of newer compositional techniques. For this reason, it remains
unclear whether it is even possible to establish an unambiguous connection between the infatuation
with Romantic subjectivism and socialist realism, or whether it was perhaps that the fondness for more
traditional musical molds was a consequence of the personal aesthetics and proclivities of the artistic
leaders of post-war Slovenian musical life.
Marjan Kozina (1907-1966) made his mark on the history of Slovenian music primarily with
his Symphony (1949), which consists of four symphonic poems related to the war. While the first
movement, Ilova gora / Mt. Ilova, paints a battle scene, and the second movement, Padli / The Fallen is
conceived as a symphonic epitaph, the finale, Proti morju / Towards the Sea is a kind of socio-political
apotheosis, and the fast-paced symphonic scherzo, Bela Krajina, is more abstract symphonic music:
clear semantic content intrudes on it only through folk material (the folksongs Došel je došel zeleni
Jure / Welcome Spring, Green (St.) George and Igraj kolce / Circle Game. In the marked integration
of nationalistic content and worldly ideas into a more traditional musical language, we can clearly hear
undertones of socialist realism in the pathos-laden symphonic finale. The preoccupation of Škerjanc,
ArniË and Kozina with the past can perhaps be forgiven when one considers that Slovenian orchestral
music until that time had been considerably undernourished; they were simply filling the ‘empty’ space.
Lucijan Marija Škerjanc (1900-1973) initially wrote musical miniatures (lieder, piano works), a
typical 19th century form, and later proved adept at orchestral music with numerous symphonic works
as well. In stylistic terms, the Suita v starem slogu / Suite in the Old Style is not one of Škerjanc’s most
typical works, since it combines both neoclassicism and Late Romantic expression: the movements the
composer strings together comprises a baroque Ciaccona, Interludio and Giga. Also, the basic idea of a
dialogue between the solo string quartet (concertino) and the remaining body of strings (tutti) derives
26 Following the war, some composers altered their style significantly. Such a change can be seen in the
works of Danilo Švara (1902-1981), who was committed to expressionism before the war, but then
applied himself to a Bartók-like type of appropriated folklore (Sinfonia da camera in modo istriano,
1957) and incorporated verismo models into his opera Slovo od mladosti / Farewell to Youth (1952),
a work which, by thematizing the life of poet France Prešeren, approaches the idea of a national
opera. A very similar path from expressionism to folklore was taken by Kogoj ‘s pre-war student
Matija BravniËar (1897-1977), who later also studied with Osterc. As a result, his works show a
characteristic duality: at the beginning of his career, he flirted with expressionism; his musical language
then becomes purer, more objective. After the war, this duality ‘expanded’ towards a more traditional
musical language, as the symphonic poem Kurent (1950) most clearly demonstrates. The piece
evokes a figure from Slovenian mythology often represented as a carnival mask in traditional pagan
celebrations in eastern Slovenia and evokes strong programmatic associations which the composer
ties to a series of variations.
27
An important factor in the subsequent development of Slovenian music was that, in addition to being
composers, Škerjanc, ArniË and Kozina also had important roles as music teachers and leaders of
central Slovenian music institutions, and thus had a significant impact on Slovenian musical culture,
which is clearly evident at the beginning of the 1950s, when three composers of the next generation
completed their first masterpieces all in the same year (1951): Marjan Lipovšek with Druga suita za
godala / Second Suite for Strings, Primož Ramovš with Sinfonietta and Dane Škerl (1931-2002) with
Serenada za godala / Serenade for Strings; a similar mark was also made by Uroš Krek’s Sonatina
za godala / Sonatina for Strings (1956). The Sinfonietta (1951) by Primož Ramovš (1922-1999)
is one of the most frequently performed Slovenian orchestral works. Distinguished by its neoclassical
form and Hindemith-like tension harmonies, and despite its stylistic model, the symphonic cycle also
breathes with the composer’s truly special air: this is reflected in a number of sharp dynamic contrasts
which in Ramovš’s more modern sounding compositions become even more pronounced, and in the
atmospheric juxtaposition of diverse elements. The introductory neoclassical brio is followed by a
slow dreamy pastoral movement that features many opportunities for soaring melodic lines in the
woodwinds.
After the Second World War, Marijan Lipovšek (1910-1995) augmented the neoclassical influences
in his music with Bartók-like folk elements in such a way that the folk material is no longer an exotic
accessory, but is tightly integrated into a skillful compositional technique. This is especially true of the
composer’s Prva rapsodija za violino in orkester / First Rhapsody for Violin and Orchestra (1955), a
work in which the basic material is borrowed from folk sources (specifically, the folksongs Vsi so venci
bejli / All the Wreathes Are White; Vün je süša / There’s a Draught Outside; Zakaj se ti deËva vdaš /
Why Marry?; Dolenjski furmani / Cart Drivers from Dolenjska) but is subjected to continuous variation,
so the sources are almost impossible to identify in the flow of the music.
Similarly, Uroš Krek (1922-2008) stylistically expanded academic neoclassical models in his work.
The influences and borrowed impulses are especially numerous in the composer’s Sinfonia 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
reminiscent of Scelsi. Alongside these modernist devices, however, are some also completely traditional
procedures: Krek remains committed to motivic work; unity is maintained through recurring motifs and
28 tonal concentration (the tone e has a central role in each movement), affirming its conception as a
typical cycle; the movements bare traces of sonata and rondo forms; ostinato appears frequently; even
the title, Sinfonia, conceals a kind of wordplay between the ‘new’ (contemporary) and the traditional, a
kind of ‘baroque’ distancing of classical forms.
Without neoclassical models, the music of Zvonimir CigliË (1921-2006), a composer with a small but
much more consolidated body of work, is even more clearly rooted in an impressionistic Ravel-like and
rhythmically orgiastic traditionalist approach. His choreographed symphonic poem Obrežje plesalk /
Waterfront Dancers was allegedly conceived during captivity in solitary confinement, then later written
down in 1952. The plot of the work, which the composer took from a novel by Czech writer Jan
Havlasa, deals with the love between a Tahitian woman and a white man who steals some pearls and
escapes with his beloved. When the string of pearls which protects the lovers like a talisman is broken,
they become vulnerable and succumb to the spears of their pursuers. CigliË’s piece is designed as a
broad symphonic fresco that features a gradual thickening of texture and tempos to tragically
disappear at the end. The composer borrowed material for the piece from his piano work Bakhanal /
Bacchanal.
In all of the works mentioned above, the compositional craft is technically perfect and the choice of
melodic material displays rich artistic invention, while all the pieces share a stylistic attachment to
the past. Certainly, this is an important part of Slovenian post-war music; however we must not avoid
parallel developments in the world: while Slovenian composers were refining their skills into smooth
neoclassical works or impressionistically colored scores, the most important modernist ‘breakthroughs’
were happening in Darmstadt. Slovenian ‘purification’ and reckoning with musical tradition were still
unable to appear in such an environment, because many currents had not yet even been explored.
Yet Slovenian orchestral music unquestionably opened itself up also to modernist approaches in the
second half of the 20th century.
New trends in Slovenian orchestral music after 1950
The first appearance of signs of a desire for more awareness of contemporaneous European
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
29
Lojze LebiË. Visits to the Warsaw Autumn and Zagreb Biennale festivals played a crucial role in the
development of these composers, most of whom changed their styles while under the influence
of their experience in Warsaw: after flirting with Hindemith-like tension harmonies and adopting
Schoenberg’s 12-tone methods, they finally gave themselves over to the sonic liberation of sound
compositions in which the physical properties of sound replace traditional musical parameters. As
the orchestra and the colors it offers became the composer’s primary ‘instrument’, a number of
orchestral works were written.
Among the Pro musica viva composers, it was the extended sound palette of the modernist
compositions of Ivo PetriÊ (b. 1931) that made the most distinctive impression. He created a series of
monumental sound frescos (Integrali v barvah / Integrals in Colors, 1968) in which he exploited the
possibilities of controlled aleatory procedures. Similarly to PetriÊ, the writing of sound compositions also
appealed to Igor Štuhec (b. 1932), but in terms of symphonic imagination, the member of the group
who perhaps went the furthest was Lojze LebiË (b. 1934), a composer who continually attempted
to harmonize rational, serialist elements with looser aleatory concepts. Working in this way, by the
1980s he had arrived at a specific musical language rooted in the modernist heritage, but also in
active confrontation with archetypal models ranging from allusions to prehistoric music and Slovenian
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
II / Music for Orchestra - Cantico II (2001). Even in our post-modern times, LebiË’s musical ‘language’
has not renounced the discoveries of modernist exploration, and yet the composer is solidly committed
to a clear internal logic in his work, a quality reflected in a series of important symphonic works,
including Queensland Music (1989) and Simfonija z orglami / Symphony with Organ (1991).
From the mid-sixties onwards, the liberated sound language with which he had become acquainted
in Warsaw also marked the work of Primož Ramovš (mentioned above). Ramovš created sound
compositions full of unexpected contrasts and expressive peaks which, in their formal openness,
reflect the composer’s artistry as an improviser on the organ (Simfonija 68 / Symphony ’68 (1968),
Organofonija / Organophonia (1982), Per aspera ad astra (1991)).
It was mainly those composers who lived and worked abroad for a long time who refined their musical
language more boldly and uncompromisingly; this is particularly true of Janez MatiËiË and Vinko
30 Globokar. MatiËiË (b. 1926) first established himself in Slovenia as an excellent pianist and composer
of many virtuoso and idiomatic piano compositions; a complete change was brought about by his move
to Paris, however, where he became acquainted with contemporary musical currents. From 1962, he
collaborated closely with the Groupe de recherche musicales and its director Pierre Schaeffer, and
important electro-acoustic works were created under these auspices. Although he largely abandoned
electro-acoustic music in recent decades, he has remained faithful to the abstract expressionism of
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
special approach to working with instruments and to the origin of musical structure. The composer
frequently understands the instrument as an extension of the human body or as an amplifying organ
for vocal declamation. Thus the structure of many of his works derive directly from the exploration of
entirely new sonorities from an instrument or innovative techniques of its use. Also characteristic of
Globokar is the integration of musical structures with extra-musical phenomena. Thus the composer
often employs sociological, political or even world-views which he ‘translates’ into a musical structure.
The Emigrants (1986), for example, is dedicated to the issue of emigration; Power, Crowd, Individual
(1995) explores the relationship between individuals and the crowd; and in the expansive trilogy Angel
of History (2004) we find clear allusions to the bloody disintegration of Yugoslavia.
In the early 1980s, the Slovenian musical environment openly accepted post-modernist tendencies,
which, due to the absence of a broader view of the latest developments in contemporary music,
acquired quite a peculiar form. These attempts are not characterized by a confrontation and
juxtaposition of modernist and traditional approaches in the sense of ‘double coding’, but instead
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
composers Aldo Kumar, Jani Golob and Marko Mihevc. Already in the title of his work Post-art ali glej,
piše ti Wolfgang / Post-art or Look, Wolfgang Is Writing to You (1992) Kumar (b. 1954) is clearly
toying with the term post-modernism, while the music itself flirts with the classical transparency of
compositional craft. A similar dichotomy is typical in the work of Jani Golob (b. 1948), who writes both
film and pop music as well as classical music and remains committed to a pronounced melodicism,
functional tonality and inherited genres and forms (Koncert za violino in orkester / Concerto for Violin
and Orchestra (1998)). Connections with traditional music are also highlighted in the music of Marko
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
combination of instruments offers a unique timbral impression.
Gregor Pompe, PhD,
lecturer at the Department of Musicology at the Ljubljana Faculty of Arts, a journalist and music critic.
32 Skladatelji / Composers
CD 1
Anton Lajovic (1878—1960)
S
kladatelj, glasbeni kritik in publicist, ena
vodilnih glasbenih osebnosti zgodnjega 20.
stoletja na Slovenskem. Z jasno izoblikovanimi
nazori, neomajno nacionalno noto, a hkrati
svetovljansko širino je Lajovic posegel v
najrazliËnejše plasti slovenskega glasbenega
življenja ter bistveno zaznamoval in sooblikoval
javno glasbeno življenje tedanje Ljubljane; med
drugim je bil nepogrešljivi Ëlen društva Glasbena
matica in dolgoletni predsednik FilharmoniËne
družbe, ki je po prvi svetovni vojni dobila
slovensko podobo.
Prve korake v svet glasbe je naredil pod
mentorstvom skladateljev Antona Foersterja
in Mateja Hubada, ki sta mu dala zadostno
popotnico za študij na dunajskem glasbenem
konservatoriju. Na Dunaj se je sicer podal kot
bodoËi študent prava, a ga je bogato glasbeno
dogajanje avstrijske prestolnice pritegnilo do te
mere, da je soËasno vpisal tudi študij kompozicije
(1899—1902) in postal študent Roberta Fuchsa.
Oba študija je uspešno zakljuËil, nato se je vrnil v
domovino in se posvetil pravnim poslom.
Glasbi se je Lajovic posveËal zelo predano,
vendar ta paË ni bila njegov prvi poklic, zato
ne preseneËa, da je njegov skladateljski opus
razmeroma skromen. V središËu njegovega
34 Skladatelji / Composers
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
tvornosti. V nenehnem iskanju novih možnosti za pospešitev slovenskega glasbenega razvoja je
izoblikoval lastno, samosvojo glasbeno govorico, katere jedro je bil poizkus vzpostavitve slovenskega
izraza. Do nove glasbe, ki je tedaj zaËela postopoma prodirati v slovensko glasbeno ustvarjalnost, je bil
strpen, vendar sam nikoli ni prestopil okvirov poznoromantiËnega glasbenega idioma.
C
omposer, music critic and journalist, and a leading figure in music in the early 20th century in
Slovenia. With clearly defined views and unwavering national loyalty balanced with a cosmopolitan
broad-mindedness, Lajovic had an impact on all aspects of Slovenian musical life, significantly
marking and helping to shape the music scene in the Ljubljana of his time. Among other things, he
was an indispensable member of the Glasbena matica music society and long-time president of the
Philharmonic Society, which received a Slovenian identity after the First World War.
His first steps in the work of music were guided by the composers Anton Foerster and Matej
Hubad, who prepared him for his studies at the Vienna Conservatory. Although he devoted himself
to becoming a future law student in Vienna, the rich musical scene of the Austrian capital drew him
to such an extent that he simultaneously enrolled to study composition (1899-1902), becoming a
student of Robert Fuchs. He completed both courses successfully, then returned to his homeland and
dedicated himself to a career in law.
Lajovic devoted himself to music very fervently, but as it was not his primary profession, it is no surprise
that his compositional output is relatively modest. His primary interest was in vocal music, and lieder
and choral works dominate his output, with which he made a significant mark on the first decades
of Slovenian music and laid the foundations of modern Slovenian musical creativity. In his relentless
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.
He was tolerant towards the new music which at that time was beginning to gradually penetrate the
Slovenian creative musical landscape, but he himself never moved beyond the boundaries of the lateRomantic musical idiom.
Skladatelji / Composers 35
CD
1/1
Skladba / Composition:
Andante za veliki orkester / Andante 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.)
Dirigent / Conductor:
Uroš Lajovic
Posneto / Recorded:
1974; Slovenska filharmonija, dvorana Marjana Kozine /
Slovenian Philharmonic, Marjan Kozina Hall;
tonski mojster / sound engineer: Janez Debeljak;
glasbeni producent / producer: Miran KvartiË
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).
36 Skladatelji / Composers
Slavko Osterc (1895—1941)
S
kladatelj, pedagog, glasbeni kritik in publicist,
eden vodilnih slovenskih glasbenikov med
obema vojnama. S samosvojim pogledom na
ustvarjanje in izjemnim glasbenim talentom je
bistveno vplival na razvoj sodobne slovenske
glasbe, s svojim mednarodnim ugledom, ki ga
potrjuje zlasti Ëlanstvo v odboru Mednarodnega
združenja za sodobno glasbo (ISCM), pa je
slovenski glasbeni tvornosti omogoËil uveljavitev
v širšem mednarodnem okviru. Preko meja
domovine je prodrl s svojimi mojstrovinami tudi
sam; OsterËeva dela so bila v veliki meri izvedena
že za Ëasa njegovega kratkega življenja, številna
med njimi tudi na tujih festivalskih in koncertnih
odrih.
Osnove kompozicije je pridobil najprej kot
samouk, nato je v zrelih letih svoje znanje
poglobil in formalno izpopolnil na praškem
konservatoriju. Tam je študiral pod mentorstvom
številnih uglednih glasbenikov, najbolj pa sta na
oblikovanje njegove glasbene govorice vplivala
skladatelja Karel Boleslav Jirák in Alois Hába.
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
Skladatelji / Composers 37
posodobitve slovenske glasbene ustvarjalnosti. To je uspešno realiziral kot neutruden in cenjen uËitelj
najprej na ljubljanskem konservatoriju in kasneje na novo osnovani Glasbeni akademiji. Z odliËnim
pedagoškim obËutkom je odloËilno vplival na generacije skladateljev in vzgojil vrsto odliËnih slovenskih
glasbenikov (Pavel Šivic, Marijan Lipovšek, Primož Ramovš in številni drugi).
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.
A
composer, teacher, music critic and journalist, and one of the leading Slovenian musicians
in the interwar period. With his original views on artistic creation and his exceptional musical
talent, Osterc significantly influenced the development of modern Slovenian music. His international
reputation, confirmed particularly by his membership of the board of the International Society for
Contemporary Music (ISCM), enabled him to promote Slovenian music in a wider international context.
Osterc himself also broke out of the borders of his home country with his masterpieces, and most of
his works were performed during his short lifetime, many of them at festivals abroad and on foreign
concert stages.
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
of many prominent musicians, although the composers Karel Boleslav Jirák and Alois Hába had most
influence on shaping his musical language. After successfully completing the two-year course (192527) he returned to Slovenia and, confident in the new, modern artistic attitudes gaining currency at
the time, (ranging from neobaroque, neoclassicism and expressionism to atonality, athematicism and
quarter-tonal compositional construction), he was able to take an active part in the drive to modernize
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
Under the influence of the leading composers of his time (Stravinsky, Hindemith, Schoenberg, Berg)
Osterc forged a distinctive musical language in which there was no place for (well-worn) romantic
sentimentality. However, he did not negate traditions: the old stands alongside the new in his music,
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.
CD
1/2-6
Skladba / Composition:
Suita za orkester / Suite for Orchestra
(Marcia, Tranquillo, Vivace, Religioso, Presto)
Izvajalec / Performers:
SimfoniËni orkester RTV Ljubljana* /
RTV Ljubljana Symphony Orchestra**
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).
(* Leta 1991 se je preimenoval v SimfoniËni orkester
RTV Slovenija. / ** Renamed the RTV Slovenia Symphony
Orchestra in 1991.)
Dirigent / Conductor:
Samo Hubad
Posneto / Recorded:
1965*; Slovenska filharmonija, dvorana Marjana Kozine /
Slovenian Philharmonic, Marjan Kozina Hall.
(* Domnevna letnica nastanka posnetka. / Probable year of
recording.)
Skladatelji / Composers 39
Marjan Kozina (1907—1966)
S
kladatelj, glasbeni akademik, dirigent, violinist
in zborovodja, vsestranska, razgledana in
izobražena osebnost, izjemen matematik in
strasten šahist. Kljub številnim interesom je v
njem naposled prevladala ljubezen do glasbe,
z osnovami katere se je najprej seznanil pri
skladatelju in orglarju Ignaciju Hladniku. Študij
kompozicije je pozneje nadaljeval najprej na
Dunaju pri Josephu Marxu in nato pri Josefu
Suku v Pragi, kjer je vpisal tudi študij dirigiranja.
Kozina je pomembno zaznamoval slovenski
glasbeni prostor pred in še zlasti po drugi
svetovni vojni. Viden peËat je najprej zapustil
v javnem glasbenem življenju Maribora, kjer je
deloval kot ravnatelj Glasbene matice. Zatem je
odšel v Beograd, kjer je zasedel mesto uËitelja
na tamkajšnji Glasbeni akademiji, takratna
jugoslovanska prestolnica pa je prebudila v njem
tudi ustvarjalni zagon. Prav v Beogradu je namreË
napisal prva veËja in tehtnejša dela (med drugim
opero Ekvinokcij, ki sodi med vrhunce slovenske
operne literature), s katerimi je požel nemalo
uspeha in se uveljavil v širšem jugoslovanskem
prostoru. Po vojni je v Ljubljani sprejel mesto
upravnika novonastale Slovenske filharmonije,
nato je prevzel službo profesorja kompozicije na
Akademiji za glasbo.
40 Skladatelji / Composers
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
dedišËino preteklosti, predvsem poznega 19. stoletja, izrazno pa ostaja zvest samemu sebi in hkrati
blizu najširšemu obËinstvu. Njegov opus ni obsežen, je pa raznolik, saj je pisal zborovske skladbe,
samospeve, otroško in filmsko glasbo (velja za enega prvih slovenskih avtorjev glasbe za filme), opero
in orkestrska dela. V mišljenju je bil izrazit simfonik, z izjemnim obËutkom za zvoËno barvo in odliËnim
poznavanjem znaËilnosti posameznih instrumentov.
A
composer, music academician, conductor, violinist and choir director, polymath, broad-minded
and educated personality, outstanding mathematician and a passionate chess player. Despite his
many interests, his love of music eventually prevailed; he first learned the fundamentals of music from
composer and organist Ignacij Hladnik. He continued with composition studies, first in Vienna with
Joseph Marx and later with Josef Suk in Prague, where he also studied conducting.
Kozina made an important mark on the Slovenian music scene before and especially after the Second
World War. He first left a notable stamp on the public musical life of Maribor, where he worked as head
teacher of the local Glasbena matica music society. After that he went to Belgrade, where he took a
teaching position at the city’s Academy of Music, while the Yugoslav capital also awakened a creative
impulse in him. It was in Belgrade that Kozina wrote his first large-scale and more substantial works
(including the opera Ekvinokcij / Equinox, one of the pinnacles of the Slovenian opera repertoire), which
met with considerable acclaim and established him throughout Yugoslavia. After the war, he accepted a
position in Ljubljana as manager and artistic director of the newly-formed Slovenian Philharmonic, and
then he took a position as professor of composition at the Academy of Music (in the same city).
Kozina’s contribution to Slovenian music is important and substantial, although in purely musical terms
his work is not innovative; he openly relies on the legacy of the past, primarily the late 19th century,
while expressively his work remains true to itself and at the same time appeals to the widest possible
audience. His body of work is not extensive, but diverse, including choral works, lieder, children’s and
film music (he was one of the first Slovenian composers of film scores), opera and orchestral works. In
his ideas, he is a vivid symphonist, with an exceptional sense of timbre and a thorough knowledge of
the characteristics of individual instruments.
Skladatelji / Composers 41
CD
1/7
Skladba / Composition:
Bela Krajina
Izvajalec / Performers:
Orkester Slovenske filharmonije /
Slovenian Philharmonic Orchestra
Dirigent / Conductor:
Marko Munih
Posneto / Recorded:
1987; Slovenska filharmonija, dvorana Marjana Kozine /
Slovenian Philharmonic, Marjan Kozina Hall;
tonski mojster / sound engineer: Rudi Omota
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).
42 Skladatelji / Composers
Primož Ramovš (1921—1999)
P
ianist in izjemen improvizator na orglah,
predvsem pa eden najuspešnejših in
najprodornejših slovenskih skladateljev povojnega
obdobja. Temeljno znanje kompozicijske tehnike
je dobil od Slavka Osterca, Ëigar zadnji diplomant
je bil in Ëigar idejo napredka je uspešno širil in
razvijal naprej. Ramovš je bil goreË zagovornik
novega, novih možnosti izraza in velik pristaš
eksperimentiranja in je verjel, da mora skladatelj
(in z njim glasba) slediti duhu Ëasa. Tradicije kljub
temu ni negiral, saj je menil, da napredek nikoli ne
sme biti samemu sebi namen.
Najradikalnejša Ramovševa ustvarjalna leta so
bila petdeseta in šestdeseta leta 20. stoletja,
pravi preboj pa je prinesel festival Varšavska
jesen, kjer se je skladatelj seznanil z novim
glasbenim svetom vodilnih poljskih skladateljev,
z W. Lutosławskim na Ëelu. Postopoma se
je povsem odpovedal tonalnosti in funkcijski
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
Skladatelji / Composers 43
zaznamovali linearno mišljenje in z njim glasbena ostrina, ostri kontrasti in veliki dinamiËni razpon ter
izrazite barvne nianse, zakonitosti glasbenega stavka pa so narekovale zvoËne znaËilnosti posameznih
instrumentov.
Ramovšev opus je izjemno bogat in raznolik, prevladujejo pa instrumentalna dela, ki segajo od
solistiËnih skladb do razliËnih komornih sestavov, obsežen je tudi seznam njegovih orkestrskih del.
A
pianist as well as an exceptional improviser on the organ, Primož Ramovš was one of the most
successful and most effective and radical Slovenian composers of the post-war period. He
received a basic knowledge of compositional technique from Slavko Osterc, whose last student he was
and whose idea of progress he expanded and developed further. Ramovš was an ardent advocate of
expressive possibilities and a great adherent of experimentation, and he also believed that a composer
(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.
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
world of the leading Polish composers, with Witold Lutosławski making the greatest impact on him.
Gradually Ramovš completely abandoned tonality and functional harmony. Strict 12-tone systems and
serially-woven musical fabrics, however, did not really appeal to him; the composer’s relaxed personality
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
language is characterized by linear thinking and a musical pungency, sharp contrasts and wide dynamic
ranges as well as expressive shades of color, while the internal logic of the music’s construction is
dictated by the sonic characteristics of the individual instruments.
CD
1/8-11
Skladba / Composition:
Sinfonietta
(Allegro, Moderato, Vivace, Allegro molto e con brio)
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.)
Dirigent / Conductor:
Samo Hubad
Posneto / Recorded:
1972; Slovenska filharmonija, dvorana Marjana Kozine /
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).
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.
A
composer, ethnomusicologist, double bassist, professor and radio editor, Krek appeared on the
Slovenian 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.
Uroš Krek (1922—2008)
S
kladatelj, etnomuzikolog, kontrabasist, profesor in radijski urednik, ki je v slovenski glasbeni
prostor vstopil v Ëasu, ko je bila slovenska glasba v primežu povojnega okrevanja, iz katerega se
je postopoma izvila šele v šestdesetih letih 20. stoletja. Slovenski skladateljski srenji se je prikljuËil
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
In his compositional procedures, Krek takes some features of the post-war avant-garde (from 12tone 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
music often serves as a starting point. He followed his own understanding of music in the creative
process, guided by his inner experience and emotions.
As one of the leading composers of his generation, he wrote for a variety of ensembles, and his output
comprises symphonic, chamber and vocal works, as well as theatre and film music.
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:
1974; Slovenska filharmonija, dvorana Marjana Kozine /
Slovenian Philharmonic, Marjan Kozina Hall;
tonski mojster in glasbeni producent /
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
Skladatelji / Composers
CD 2
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.
O
ne of the most versatile Slovenian musicians, he was active in both the creative and interpretive
(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)
E
den najbolj vsestranskih slovenskih glasbenikov, ki je svojo umetniškost izkazoval na ustvarjalnem
in poustvarjalnem (kot tehniËno podkovan pianist) podroËju, širino svojih estetskih nazorov pa
je posredoval kot glasbeni kritik, publicist in pedagog. Visoko glasbeno izobrazbo je pridobil na
Konservatoriju v Ljubljani; klavir je študiral pod mentorstvom Janka Ravnika in kompozicijo pri Slavku
Ostercu. Po konËanem študiju se je izpopolnjeval na mojstrski šoli v Pragi (kompozicijo je študiral pri
Josefu Suku in domnevno pri Aloisu Hábi, klavir pa pri Vilému Kurzu) ter nato med drugo svetovno
vojno v Rimu (pri Alfredu Casellu) in v Salzburgu (pod mentorstvom skladatelja Josepha Marxa).
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
lastni ustvarjalni avtonomiji, glasba pa je bila po njegovem prepriËanju najuËinkovitejše sredstvo iskanja
50 Skladatelji / Composers
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
to his creative independence, he believed that music was the most effective means of seeking truth.
He successfully navigated between the new stylistic tendencies of Western music and established
compositional approaches firmly rooted in tradition: “I’d rather use less modern material solely to
make the invention more authentic,” he said. His compositions lean on strict formal schemes that
act as support in the search for an original expressive voice, a rich musicality and contemporary
invention. Although he expanded tonal space, he never overstepped its boundaries. He flirted with a
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 is counted among the masters of Slovenian lied and intimate chamber works, and left a rich
collection of choral works. His output of orchestral pieces is modest, but significant.
Skladatelji / Composers 51
CD
2/1
Skladba / Composition:
Prva rapsodija za violino in orkester /
First Rhapsody for Violin and 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.)
Dirigent / Conductor:
Samo Hubad
Solist / Soloist:
Igor Ozim — violina / violin
Posneto / Recorded:
1976; Slovenska filharmonija, dvorana Marjana Kozine /
Slovenian Philharmonic, Marjan Kozina Hall;
tonski mojster / sound engineer: Sergej Dolenc;
glasbeni producent / producer: Miran KvartiË
Foto / Photo:
Tihomir Pinter
52 Skladatelji / Composers
Lucijan Marija Škerjanc (1900—1973)
S
kladatelj, pianist, pedagog, dirigent in
glasbeni publicist, ena kljuËnih slovenskih
glasbenih osebnosti 20. stoletja. Kot eden
prvih profesionalno izobraženih glasbenikov
na Slovenskem je v slovenski glasbeni prostor
vstopil v Ëasu, ko je slovenska glasba še
iskala lastno identiteto, s tehtnim tehniËnim
znanjem pa je vanjo vpeljal nov ustvarjalni duh.
Osnovno izobrazbo iz klavirja in kompozicije je
pridobil v Ljubljani (med drugim pri skladateljih
Stanku Premrlu in Antonu Lajovicu) ter nato
študij nadaljeval v tujini, najprej na praškem
konservatoriju, nato na dunajski Glasbeni
akademiji (pri skladatelju Josephu Marxu in
pianistu Antonu Trostu) ter kasneje v Baslu, kjer
je diplomiral iz dirigiranja. Znanje kompozicije je
izpopolnjeval tudi v Parizu pri Vincentu d’Indyju.
Široko razgledan in tehniËno podkovan kot je
bil, je Škerjanc že zgodaj izoblikoval svoj lasten
glasbeni jezik ter samosvoj pristop in pogled na
ustvarjanje. Trdno zasidran v poznoromantiËni
miselnosti in moËno navezan na tradicijo, je bil
prepriËan, da zvoËne možnosti tradicionalnega
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
Skladatelji / Composers 53
potrebe tonskega barvanja pa se ni izogibal kromatiËni harmoniji. Njegov znaËilno bogat harmonski
jezik razodeva mojstra zvoËnega barvanja, pri Ëemer je bilo Škerjancu v veliko pomoË njegovo odliËno
obvladovanje instrumentacije.
ŠkerjanËev opus je obsežen in raznolik; bil je mojster samospeva, izrazno najmoËnejši v manjših formah.
Pomemben je tudi njegov prispevek k slovenski simfoniËni literaturi, v obdobju med obema vojnama pa
izstopajo kompozicije za godalni orkester.
A
composer, pianist, teacher, conductor and music journalist, Škerjanc was a key figure in Slovenian
music in the 20th century. As one of the first professionally trained musicians in Slovenia, he
appeared on the local music scene at a time when Slovenian musicians were searching for their own
identity, and with his deep technical knowledge, he injected a new creative spirit into Slovenian music.
He received his basic education in piano and composition in Ljubljana (with, among others, composers
Stanko Premrl and Anton Lajovic), then continued his studies abroad, first at the Prague Conservatory
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.
Highly knowledgeable and technically well-grounded, Škerjanc developed his own musical language
and unique approach to, and views on, artistic creation early on. Firmly rooted in a late-Romantic
sensibility and strongly attached to tradition, he was convinced that the aural possibilities of traditional
music theory had not yet been exhausted. By its nature, objectivity is foreign to expressive lyricism;
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.
Škerjanc’s characteristically rich harmonic language reveals a master of sound color, bolstered by
excellent orchestration skills.
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
string orchestra written between the two world wars are especially notable.
54 Skladatelji / Composers
CD
2/2-4
Skladba / Composition:
Suita v starem slogu za godalni kvartet
in godalni orkester / Suite in the Old Style
for string quartet and string orchestra
(Ciaccona, Interludio, Giga)
Izvajalec / Performers:
Komorni orkester RTV Slovenija /
RTV Slovenia Chamber Orchestra
Dirigent / Conductor:
Uroš Lajovic
Solisti / Soloists:
Slovenski godalni kvartet / Slovenian String Quartet:
Slavko Zimšek — 1. violina / 1st violin
Karel Žužek — 2. violina / 2nd violin
Franc Avsenek — viola
Stane Demšar — violonËelo / cello
Posneto / Recorded:
1976; Radio Slovenija, Studio 14 / Radio Slovenia,
Studio 14; tonski mojster / sound engineer: Rado Cedilnik;
glasbeni producent / producer: BožiË
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).
Skladatelji / Composers 55
Matija BravniËar (1897—1977)
slogovni heterogenosti skladatelj nobene od možnosti, ki so se mu ponujale, ni sprejel kot zavezujoËe.
S
BravniËar se je v slovensko glasbeno zgodovino zapisal v prvi vrsti kot simfonik in operni skladatelj, saj
je bistveno obogatil tedaj siromašno ustvarjalnost na teh podroËjih. Prve skladbe za orkester je napisal
v tridesetih letih in se v njih (prviË v znameniti Plesni burleski) predstavil kot zaËetnik slovenskega
folklorizma po vzoru B. Bartóka in L. JanáËka. Kot kompozicijsko sredstvo je izrabljal tudi slovensko
folkloro, Ëemur je ostal zvest tudi pozneje.
kladatelj, violinist, pedagog, glasbeni kritik in
publicist, ki je bistveno zaznamoval slovenski
glasbeni prostor 20. stoletja. Kot goreË zagovornik
napredka in hkrati velik nasprotnik provincialnih
ostalin, ki so se trdovratno oklepale slovenske
glasbene tvornosti, je pomembno prispeval k
širitvi novega ustvarjalnega duha v umetnosti na
Slovenskem. Prvo glasbeno izobrazbo je pridobil
na Glasbeni šoli v Gorici, akademsko pa šele v
zrelih letih, ko se je že uveljavil v skladateljskih
krogih (na povabilo Slavka Osterca je študiral na
konservatoriju v Ljubljani).
Sodobnosti naklonjenega duha je v mladem
BravniËarju prepoznal že skladatelj Marij Kogoj,
eden glavnih zagovornikov novega umetniškega
izraza v dvajsetih letih 20. stoletja. Mladega
glasbenika je povabil v Klub mladih, kjer so se
zbirali tedanji avantgardni umetniki, ter nad njim
prevzel kompozicijsko mentorstvo. Zavezan ideji
napredka je BravniËar ustvarjalno vseskozi rasel,
pri tem pa je ostajal odprt za razliËne slogovne
možnosti, ki so preplavljale glasbeno razvejano
20. stoletje, in hkrati zvest lastnim nazorom.
Usedline pozne romantike so se pri njem kmalu
umaknile ekspresionistiËni izraznosti, kasneje so ga
pritegnile neoklasicistiËne in neobaroËne tendence,
medtem ko se je po drugi svetovni vojni odkrito
spogledoval z modernistiËnimi prijemi. Kljub oËitni
56 Skladatelji / Composers
A
composer, violinist, teacher, music critic and journalist who made a significant mark on the
Slovenian music scene of the 20th century. As an ardent supporter of progress and at the same
time a great opponent of the provincial remnants that he felt had stubbornly held back Slovenian
musical creativity, he made an important contribution to the expansion of a new creative artistic spirit in
Slovenia. His received his first musical education at the public music school in Gorizia, and went on to
obtain academic training when he established himself in composers’ circles (he studied at the Ljubljana
Conservatory at the invitation of Slavko Osterc).
The composer Marij Kogoj, one of the main proponents of a new artistic ethos in the 1920s,
recognized in the young BravniËar an artistic spirit inclined to modernism. He invited the young
musician to join the Youth Club, a community of emerging avant-garde artists, and began mentoring
him in composition. A believer in progressive principles, BravniËar never stopped growing artistically,
always remaining open to the variety of stylistic possibilities that flooded the musically diverse
20th century, while remaining faithful to his own ideas. Sediments of late Romanticism in his music
soon made way for a more expressionist style; later, he was drawn to neoclassical and neobaroque
tendencies, while during the Second World War he openly flirted with modernist approaches. Despite
the obvious stylistic heterogeneity, he did not regard any of these options as binding.
In Slovenian music history, BravniËar is considered primarily a composer of orchestral works and opera,
as he significantly enriched the formerly impoverished repertoire of Slovenian works in these genres.
With his first pieces for orchestra, written in the 1930s, he was one of the first (first, in the well-known
Plesna burleska / Burlesque Dance) to employ a Slovenian folk spirit, similarly to Bartók and JanáËek.
He also used actual Slovenian folk elements as compositional material, to which he also remained
faithful later in his career.
Skladatelji / Composers 57
CD
2/5
Skladba / Composition:
Kurent, simfoniËna pesnitev —
poème symphonique / symphonic poem
Izvajalec / Performers:
SimfoniËni orkester RTV Slovenija /
RTV Slovenia Symphony Orchestra
Dirigent / Conductor:
Simon KreËiË
Posneto / Recorded:
2011; Radio Slovenija, Studio 26 / Radio Slovenia,
Studio 26; tonski mojster / sound engineer: Januš Luznar;
glasbena producentka / producer: Nina Šenk
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).
58 Skladatelji / Composers
Demetrij Žebre (1912—1970)
Z
a Ëasa svojega življenja se je uveljavil
predvsem na poustvarjalnem podroËju, ko
je izpriËal izjemen talent kot dirigent orkestrov
ljubljanske, mariborske in zagrebške operne
hiše, soËasno pa tudi kot organizator glasbenih
dogodkov. Tako je zapustil pomemben peËat
v javnem glasbenem življenju Trsta, Maribora
in Zagreba. Medtem ko je bil kot glasbeni
poustvarjalec deležen ugleda in spoštovanja,
pa je Žebretovo skladateljsko delo potekalo
bolj ali manj v zakulisju njegovega vsakdana.
Temeljno kompozicijsko znanje je dobil
na ljubljanskem konservatoriju pri Slavku
Ostercu, ki mu je odprl nova obzorja in mu
dal izhodišËa za nadaljnje ustvarjanje. Osterc
je mlademu nadarjenemu skladatelju z
oËitnim posluhom za sodobne kompozicijske
rešitve svetoval izpopolnjevanje v Pragi. Na
tamkajšnjem konservatoriju je Žebre kasneje
študiral kompozicijo, najprej pri Josefu Suku
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
Skladatelji / Composers 59
bogate impresionistiËne zvoËnosti ter naposled, v poznih delih, vrnitev k trdnim temeljem ≈klasicistiËne«
miselnosti.
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,
medtem ko se kljub dolgoletni in uspešni karieri opernega dirigenta nikoli ni lotil opere.
I
n his lifetime, Žebre established himself primarily as an interpreter, displaying remarkable talent as a
conductor in the opera houses of Ljubljana, Maribor and Zagreb, and also as an organizer of musical
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
scenes of his everyday life.
He gained a basic knowledge of composition at the Ljubljana Conservatory with Slavko Osterc,
who opened up new horizons for him, giving him a starting point for further creative development.
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
with Josef Suk and then with Alois Hába, as well as studying conducting with Václav Talich. After
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
influence of Osterc in his earlier pieces with a search for more progressive solutions during his years in
Prague. This was followed by a period featuring rich impressionist sonorities, succeeded in later works
by a return to a firmly grounded ‘classical’ attitude.
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
pieces. Despite a long and successful career as an opera conductor, he never attempted to compose
in that genre.
60 Skladatelji / Composers
CD
2/6-8
Skladba / Composition:
Dan, balet (simfoniËna slika) v treh stavkih za
veliki orkester (znana tudi kot Bacchanale) / Day, ballet
(symphonic picture) in three movements for large
orchestra (also known as Bacchanale)
(Andante, Allegro con fuoco, Moderato risoluto)
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.)
Dirigent / Conductor:
Samo Hubad
Posneto / Recorded:
1971; Slovenska filharmonija, dvorana Marjana Kozine /
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).
Skladatelji / Composers 61
Zvonimir CigliË (1921—2006)
O
sebnostno eden najbolj samosvojih
slovenskih glasbenikov, Ëigar samobitnost
in svojski odnos do življenja sta bila vodilo
njegovega glasbenega izraza. V slovensko
glasbeno zgodovinopisje se je zapisal kot
skladatelj in predvsem kot dirigent, eden
najvidnejših svoje generacije. CigliËev življenjski
slog so prežemale moËne emocije, razpete
med ekstremi, pred katere ga je postavljalo
življenje. Živel je strastno in temperamentno,
a tudi tragiËno — tragika je bila sestavni del
tako njegovega obstoja kot tudi ustvarjalnega
zagona.
Glasba je bila zanj v prvi vrsti sredstvo
notranjega izraza, eksperimentiranje v
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).
dela, ki jih je zapustil, so zato najbolj dovršena, CigliË pa se je v slovensko glasbeno zgodovino zapisal v
prvi vrsti kot orkestrski skladatelj.
O
ne of the most original personalities in Slovenian music, whose individuality and unique attitude
to life guided him in his musical expression. In the history of Slovenian music he is regarded as a
composer and primarily as a conductor, one of the most prominent of his generation. CigliË’s lifestyle
was permeated by strong emotions, torn between the extremes that life presented him. His life was
passionate and temperamental, but also tragic, and tragedy was an integral part of both his existence
and his creative drive.
For him, music was above all a means of internal expression; he was not interested in experimentation,
either compositionally or technically. He forged a strong personal musical language that remains firmly
bound to tradition. CigliË began his musical studies at the piano, later receiving further training from
Lucijan Marija Škerjanc, first at the Secondary School for Music and later at the Academy of Music as
a student of composition and conducting (studying the latter with Danilo Švara).
He expressed his experience of the world most comprehensively through the orchestra, employing a
diverse palette and symphonic breadth; consequently, the orchestral works which he left are his most
sophisticated.
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.)
Dirigent / Conductor:
Samo Hubad
Posneto / Recorded:
1971; Slovenska filharmonija, dvorana Marjana Kozine /
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
Dirigenti / Conductors
Solisti / Soloists
Orkestri / Orchestras
Uroš Lajovic (rojen / born 1944)
Samo Hubad (rojen / born 1917)
P
P
o študiju kompozicije in dirigiranja pri prof. Danilu Švari in prof. Matiji BravniËarju na ljubljanski
univerzi se je izpopolnjeval na Mozarteumu v Salzburgu pri prof. Brunu Maderni ter na dunajski
Univerzi za glasbo in uprizarjajoËe umetnosti v razredu prof. Hansa Swarowskega. Dirigentsko kariero
si je najprej izoblikoval kot stalni dirigent Slovenske filharmonije in vodja Komornega orkestra RTV
Ljubljana. V letih 1979—1981 je deloval kot šef dirigent Zagrebških simfonikov in leta 1988 ustanovil
komorni ansambel Slovenicum. Na pedagoškem podroËju se je uveljavil kot redni profesor na Univerzi
za glasbo in uprizarjajoËe umetnosti na Dunaju ter postal leta 2012 njen Ëastni profesor. Njegovo
dirigentsko udejstvovanje vkljuËuje tako posamezne nastope kot redna sodelovanja, v svoji karieri pa
je zasedal mesta rednega dirigenta, šefa dirigenta in umetniškega vodje glasbenih festivalov in veË
kot 70 mednarodnih orkestrov, med katerimi so Dresdenska filharmonija, Beograjska filharmonija,
Münchenska filharmonija in salzburški orkester Mozarteum. Za izvedbo Mahlerjeve 1. simfonije je
prejel nagrado Prešernovega sklada. Leta 2013 je bil odlikovan s Ëastnim križem Republike Avstrije za
umetnost in znanost.
A
fter studying composition and conducting with Danilo Švara and Matija BravniËar at the University
of Ljubljana, he continued his training at the Mozarteum in Salzburg with Bruno Maderna and
at the Vienna University of Music and Performing Arts in the class of Hans Swarowsky. He initially
established his conducting career as chief conductor of the Slovenian Philharmonic and director of
the RTV Ljubljana Chamber Orchestra. From 1979 to 1981, he was chief conductor of the Zagreb
Symphony Orchestra, and in 1988 he founded the Slovenicum chamber ensemble. He is a tenured
professor at the University of Music and Performing Arts in Vienna, becoming an honorary professor in
2012. His conducting engagements include both individual performances and ongoing collaborations;
during his career, he has held the positions of principal conductor, chief conductor and artistic director
of various music festivals, working with more than 70 orchestras internationally, including the Dresden
Philharmonic, Belgrade Philharmonic, Munich Philharmonic and the Salzburg Mozarteum Orchestra. He
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
o konËanem študiju pri Slavku Ostercu in Danilu Švari na Akademiji za glasbo v Ljubljani se je
izpopolnjeval v Salzburgu in pri Václavu Talichu v Pragi. Njegova vplivna dirigentska pot se je zaËela
leta 1942 v ljubljanski Operi. V petdesetih letih prejšnjega stoletja si je izoblikoval mednarodno kariero
kot šef dirigent Zagrebške filharmonije in kot gostujoËi dirigent münchenske, varšavske, budimpeške
in leningrajske filharmonije, radijskega orkestra v Helsinkih, Parizu, Bratislavi in Moskvi ter Tokijskega
simfoniËnega orkestra. Pod njegovim vodstvom so bila izvedena številna pomembna operna dela v
Parizu, na Nizozemskem, v Genovi, v Teatru San Carlo v Neaplju in Teatru Verdi v Trstu. V letih 1947—
1966 je deloval kot šef dirigent Orkestra Slovenske filharmonije in nato do leta 1980 vodil SimfoniËni
orkester RTV Ljubljana, s katerim je posnel veËino slovenskega simfoniËnega opusa ter pomembne
opere, med drugim ekspresionistiËno opero »rne maske Marija Kogoja. Za svoje dirigentsko delo je
prejel številna odlikovanja in nagrade, med njimi dve nagradi Prešernovega sklada in ŽupanËiËevo
nagrado.
A
fter completing his studies with Slavko Osterc and Danilo Švara at the Academy of Music in
Ljubljana, he continued his training in Salzburg and with Václav Talich in Prague. His influential
conducting career began in 1942 at the Ljubljana Opera. In the 1950s, he established an international
career as chief conductor of the Zagreb Philharmonic and as guest conductor of philharmonic
orchestras in Munich, Warsaw, Budapest and Leningrad, radio orchestras in Helsinki, Paris, Bratislava
and Moscow, as well as the Tokyo Symphony Orchestra. A number of important operas were
performed under his direction in Paris, the Netherlands, Genoa, at the Teatro San Carlo in Naples and
the Teatro Verdi in Trieste. Between 1947 and 1966, he worked as chief conductor of the Slovenian
Philharmonic Orchestra, and from then until 1980 as chief conductor of the RTV Ljubljana Symphony
Orchestra, with whom he recorded most of the Slovenian orchestral repertoire and important operas,
including the expressionist opera »rne maske / Black Masks by Marij Kogoj. He has received
numerous prizes and awards, including two Prešeren Fund Prizes and the ŽupanËiË Prize.
Dirigenti / Conductors 67
Marko Munih (rojen / born 1936)
Simon KreËiË (rojen / born 1979)
D
L
irigiranje je študiral pri prof. Danilu Švari na Akademiji za glasbo v Ljubljani in se izpopolnjeval
kot asistent Lovra von MataËiÊa v Frankfurtu. Po vrnitvi v Ljubljano se je zaposlil v Slovenski
filharmoniji, kjer je deloval kot asistent dirigenta, zborovodja, tolkalec v orkestru in pianist ter sedem
let tudi kot stalni dirigent Orkestra Slovenske filharmonije. Poleg orkestrskega vodstva se je Munih
predvsem posveËal vodstvu številnih vokalnih skupin, zlasti uspešno Akademskega pevskega zbora
Tone TomšiË in Komornega zbora RTV Ljubljana. V letih 1979—1995 je bil glavni urednik glasbenega
programa Radia Slovenija. S SimfoniËnim orkestrom RTV Slovenija je veËkrat gostoval po Evropi
in v ZDA in z njim poustvaril veË sto posnetkov tako sodobnih kot klasiËnih del slovenskega in
mednarodnega repertoarja, med katerimi izstopa zlasti izvedba PatetiËne simfonije P. I. »ajkovskega, ki
je izšla leta 1987 pri založbi Stradivari Classics. Za svojo dolgoletno glasbeno dejavnost je Munih prejel
nagrado Prešernovega sklada in Betettovo nagrado.
M
arko Munih studied conducting with Danilo Švara at the Academy of Music in Ljubljana and
pursued further studies as an assistant to Lovro von MataËiÊ in Frankfurt. After returning to
Ljubljana, he was employed at the Slovenian Philharmonic, where he worked as assistant conductor,
choir director, percussionist and pianist, and for seven years was also the principal conductor of the
Slovenian Philharmonic Orchestra. In addition to orchestral conducting, Munih principally dedicated
himself to leading a number of vocal ensembles, in particular the successful Tone TomšiË Academic
Choir and the RTV Ljubljana Chamber Choir. Between 1979 and 1995, he was chief program director
for music at Radio Slovenia. With the RTV Slovenia Symphony Orchestra he has made many guest
appearances in Europe and the United States, and made more than a hundred recordings of both
contemporary and classical works from the Slovenian and standard repertoire; especially notable
among these is the performance of the Pathétique Symphony by Tchaikovsky released in 1987 on the
Stradavari Classics label. For his long musical career Munih has received the Prešeren Fund Prize and
the Betetto Prize.
68 Dirigenti / Conductors
eta 2002 je diplomiral iz klavirja pri Aciju Bertonclju na Akademiji za glasbo v Ljubljani. Študij
klavirja je nadaljeval pri Aleksandru Madžarju v Švici, kjer se je zaËela njegova dirigentska pot z
vkljuËitvijo v razred prof. Dominiqua Roggena. Leta 2005 je izšel nagrajeni posnetek otroške opere
Schneewyttli Rolanda Zossa v izvedbi mladega dirigenta KreËiËa, ki si je za svojo dirigentsko vlogo
leta 2008 prislužil tretjo nagrado na mednarodnem dirigentskem tekmovanju v italijanskem Grossetu.
Vodil je veË švicarskih orkestrov (Uniorchester Bern, Komorni orkester Spiez, orkester Visoke šole za
umetnost v Bernu), leta 2011 je kot asistent dirigent sodeloval pri izvedbi Massenetovega Wertherja v
produkciji Kraljeve operne hiše v Madridu in se tako uveljavil na mednarodnem prizorišËu. Leta 2012 je
s premierno baletno uprizoritvijo na glasbo Igorja Stravinskega diplomiral v razredu prof. Milivoja Šurbka.
KreËiË redno sodeluje z razliËnimi domaËimi orkestrskimi sestavi, kot so denimo SimfoniËni orkester
Domžale-Kamnik, Orkester Slovenske filharmonije in SimfoniËni orkester RTV Slovenija, od leta 2013
pa deluje tudi kot umetniški vodja mariborske Opere.
A
fter studying with Aci Bertoncelj at the Academy of Music in Ljubljana, he received his degree in
piano in 2002. He continued his piano studies with Aleksandar Madžar in Switzerland, where he
began to study conducting in the class of Dominique Roggen. In 2005, the award-winning recording
of the children’s opera Schneewyttli by Roland Zoss, conducted by the young conductor KreËiË, was
released, and in 2008 he won third prize at the international conductor’s competition in Grosseto, Italy.
He has conducted several Swiss orchestras (Uniorchester Bern, Spiez Chamber Orchestra, Orchestra
of the Bern University of the Arts) and in 2011 he participated in a production of Massenet’s Werther
at the Royal Opera House in Madrid as assistant conductor, establishing himself on the international
scene. In 2012, he graduated in the class of Milivoj Šurbek with the premiere staging of a ballet to
music by Stravinsky. KreËiË regularly works with various Slovenian orchestras, such as the DomžaleKamnik Symphony Orchestra, the Slovenian Philharmonic Orchestra and the RTV Slovenia Symphony
Orchestra, and since 2013 he has also worked as artistic director of the Maribor Opera.
Dirigenti / Conductors 69
Igor Ozim (rojen / born 1931)
Slovenski godalni kvartet / Slovenian String Quartet
S
V
študijem violine je priËel pri petih letih pri prof. Leonu Pfeiferju v Ljubljani in ga leta 1949 kot prvi
iz takratne Jugoslavije s štipendijo Britanskega sveta nadaljeval pri Maxu Rostalu na Kraljevem
glasbenem kolidžu v Londonu. Diplomiral je leta 1951 in osvojil medaljo Carla Flescha. Po osvojitvi
prvega mesta na mednarodnem tekmovanju nemških radijskih postaj ARD leta 1953 v Münchnu se
je z intenzivno koncertno aktivnostjo uveljavil na svetovnih odrih kot prepoznaven violinski virtuoz. V
svoji 60-letni karieri je kot solist nastopil z najpomembnejšimi svetovnimi orkestri, kot so Berlinski
filharmoniki, Londonski filharmoniËni orkester, Londonski simfoniËni orkester, SimfoniËni orkester BBC
in Varšavski filharmoniËni orkester, ter posnel zajetno bero klasiËnih in sodobnih koncertnih del, ki so
izšla pri razliËnih evropskih in ameriških založbah, med njimi tudi veË krstnih izvedb del, ki so mu jih
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.
letih 1968—1980 je kvartet deloval kot eden izmed glasbenih ansamblov RTV Ljubljana. Osnoval
ga je violinist in tedanji koncertni mojster SimfoniËnega orkestra RTV Ljubljana Slavko Zimšek
skupaj s kolegi violinistom Karlom Žužkom, violistom Francem Avsenkom in violonËelistom Jankom
Kichlom. Slednjega je na mestu violonËelista nasledil Edi Majaron, tega pa leta 1972 Stane Demšar.
B
etween 1968 and 1980, the quartet was one of the performing ensembles at RTV Ljubljana. It
was founded by the violinist and former concert master of the RTV Ljubljana Symphony Orchestra,
Slavko Zimšek, together with his colleagues, violinist Karl Žužek, violist Franc Avsenek and cellist
Janko Kichel. The latter was later replaced by Edi Majaron, who was then succeeded by Stane Demšar
in 1972.
I
gor Ozim began studying the violin at the age of five with Leon Pfeifer in Ljubljana, and from 1949
continued 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
O
d ustanovitve leta 1947 dalje se kot eno izmed štirih najpomembnejših slovenskih izvajalskih teles
posveËa izvajanju klasiËnih mojstrovin in sodobnih del domaËih skladateljev ter nadaljuje tradicijo
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.
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
the concert performance of the opera was released by Deutsche Grammophon, enriching the extensive
discography of the orchestra, which comprises more than 50 discs.
S
ince its establishment in 1947 as one of the four most important performing ensembles in
Slovenia, 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
(SimfoniËni orkester RTV Ljubljana / RTV Ljubljana Symphony Orchestra)
O
rkester je zaËel delovati leta 1955, in sicer pod vodstvom dirigenta Uroša Prevorška, do priËetka
21. stoletja pa je z domaËimi dirigenti Samom Hubadom, Antonom Nanutom in Markom Munihom
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.
label, and at the Wien Modern festival they presented the music of Vinko Globokar under the direction
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
given an opportunity to musicians such as Aci Bertoncelj, Irena Grafenauer and Ciril Škerjanec to make
their first recordings.
T
he orchestra began performing in 1955 under the direction of conductor Uroš Prevošek. Until
the 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
G
S
odalni orkester je eden izmed številnih predhodnikov SimfoniËnega orkestra RTV Slovenija, s
svojim delovanjem pa je priËel ob ustanovitvi Radia Ljubljana leta 1928, in sicer pod imenom
Radio orkester. V letih pred drugo svetovno vojno se je orkester z dodanimi pihalci in trobilci razširil v
simfoniËni sestav, ki se je leta 1955 razvil v SimfoniËni orkester RTV Ljubljana, godalna sekcija pa je
priložnostno delovala tudi samostojno kot Godalni orkester RTV Ljubljana.
T
he String Orchestra, one of numerous predecessors of the RTV Slovenia Symphony Orchestra,
began 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
symphonic ensemble that by 1955 had evolved into the RTV Ljubljana Symphony Orchestra. Later, the
string section occasionally performed independently as the RTV Ljubljana String Orchestra.
76 Orkestri / Orchestras
prva je orkester v kratkem obdobju, ki ga zamejujeta letnici 1974 in 1978, redno deloval pod
dirigentskim vodstvom Uroša Lajovica in je bil sestavljen iz Ëlanov tedanjega SimfoniËnega orkestra
RTV Ljubljana, nato je od leta 1978 do leta 1984 deloval zgolj projektno. V Ëasu tako rednega kot
projektnega delovanja je orkester zapolnjeval pomembno vrzel v takratni komorni glasbeni kulturi
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,
Primož Ramovš in Jakob Jež.
C
omprised of members of the RTV Ljubljana Symphony Orchestra, the ensemble originally
performed and recorded regularly between 1974 and 1978 under the direction of Uroš Lajovic;
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.
Orkestri / Orchestras 77
SIGIC − Slovenski glasbenoinformacijski center /
Slovenian Music Information Centre
RTV Slovenija, ZKP − Založba kakovostnih programov /
RTV Slovenija, ZKP Publishing and Record Label SIGIC − Slovenski glasbenoinformacijski center je osrednja informacijska toËka za dostop do
informacij o slovenski glasbi, glasbenikih in glasbenih strokovnjakih ter aktualnih glasbenih aktivnostih.
SistematiËno skrbi za promocijo slovenske glasbe in glasbenikov tako doma kot v tujini. V ta namen se
SIGIC uspešno povezuje s številnimi glasbenimi institucijami v Sloveniji in po svetu ter je polnopravni
Ëlan Mednarodne zveze glasbenoinformacijskih centrov (IAMIC). SIGIC izdaja spletno revijo o glasbi
Odzven, ki ponuja kritiËno refleksijo in analitiËno misel o aktualnem glasbenem dogajanju vseh žanrov.
Z letom 2011 je SIGIC zaËel z izdajanjem preglednih kompilacijskih zgošËenk, s katerimi predstavlja
presežke v posameznih glasbenih žanrih. ZgošËenkam Jazz Slovenia 2011, Etno Slovenia 2011 in
Eksperiment Slovenia tako sledi Klasika Slovenia: Skladbe za orkester, 1. del, ki jo držite v rokah.
ZKP RTV Slovenija izdaja in distribuira programe na nosilcih zvoka že veË kot štirideset let in na
nosilcih slike preko dvajset let. Od vsega zaËetka je založba skrbela za vse glasbene zvrsti, tako jazz,
klasiko in opero kot tudi otroške pesmi, rock, pop, šanson, ljudsko, etno in narodnozabavno glasbo. V
sedemdesetih in osemdesetih letih je bila ena najmoËnejših založb na ozemlju nekdanje Jugoslavije. V
zadnjih letih je še bolj neposredno povezana z radijskimi in televizijskimi programi v smislu promocijske
dodane vrednosti, obnavljanja in izdajanja dragocenih avdio in video arhivov in podpore novim
projektom. Letno izda med 30 in 40 visoko kakovostnih programov s podroËja vseh glasbenih zvrsti,
otroških programov animacije, pesmi in pravljic, dokumentaristike in igranih projektov, svojo založniško
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
systematically promotes Slovenian music and musicians both nationally and internationally. To this end,
SIGIC connects numerous musical institutions in Slovenia and around the world, and is a full member
of IAMIC, the International Association of Music Information Centres. SIGIC publishes a web music
magazine called Odzven that offers critical reflection and analysis about current musical activities in all
genres. In 2011, SIGIC started publishing compilation CDs presenting the best from individual music
genres; the CDs Jazz Slovenia 2011, Etno Slovenia 2011 and Eksperiment Slovenia are now followed
by this compilation, Klasika Slovenia: Orchestral Works Vol. 1.
The RTV Slovenia Publishing and Record Label known as ZKP RTV Slovenija has been releasing and
distributing audio recordings for more than four decades and video recordings for more than twenty
years. One of the most powerful record companies of the 1970s and 1980s in the former Yugoslavia
in nearly all music genres (i.e. classical and opera, children’s songs, rock, pop, folk, chanson, ethno,
jazz), it has been recently mostly linked to radio and television programs of various genres, restoring
and commercially releasing valuable archival audio and video recordings and supporting new projects.
Thirty to forty new releases per year bring first-rate music, children’s programs (animation, songs and
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
v sestavi / The compositions were selected by an expert
committee with the following members: Aleš Nagode,
Borut Smrekar, Nenad Firšt.
Uredništvo / Editorial Board: SIGIC, ZKP RTV Slovenija
Strokovni sodelavci / Professional assistants: Špela Lah,
Mojca Menart, Klemen MihaËiË, Viktor Škedelj RenËelj
Besedila / Texts: Aleš Nagode, Gregor Pompe,
Špela Lah, Maia Juvanc
Lektorica slovenskih besedil / Slovenian language copy
editor: Monika JeriË
Prevod / Translation: Steven Loy
Lektor angleških besedil / English language copy editor:
Philip Burt
Mastering: Radio Slovenija, Studio 15, Miro PrljaËa
Oblikovanje / Design: Eda PavletiË
Naklada / Print run: 2000 izvodov / 2000 copies
Izdano v sodelovanju z / Released in cooperation with:
℗ & © 2015 RTV Slovenija, ZKP — Založba kakovostnih
programov / ZKP Publishing and Record Label
Zanjo / Represented by: Mojca Menart,
vodja založniške dejavnosti / Head of Label
Naslov / Address: Kolodvorska 2,
1550 Ljubljana, Slovenija
Vsa dela in izvedbe so avtorsko zašËitene. /
Copyright subsists in all recordings on this label.
Ljubljana, januar 2015 / January 2015
Nakup preko interneta / On-line purchase:
www.rtvslo.si/zkpprodaja
℗ & © 2015
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 /
Slovenian Music Information Centre
Zanj / Represented by: Zoran KrstuloviÊ
Naslov / Address: Trg francoske revolucije 6,
1000 Ljubljana, Slovenija
www.sigic.si
80 Izdajo so finanËno podprli Ministrstvo za kulturo Republike
Slovenije, Mestna obËina Ljubljana in projekt MINSTREL
(mreža za podporo mednarodni izmenjavi in razširjanju
glasbenih vsebin na evropski ravni). / This publication received
financial support from the Ministry of Culture of the Republic
of Slovenia, the City of Ljubljana and the MINSTREL project
(Music network supporting trans-national exchange and
dissemination of music resources at European level).