KlasikaSkladbe za orkester, 1. del

Orchestral Works Vol. 1Slovenia

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CD 2

Marijan Lipovšek 1. Prva rapsodija za violino in orkester / First Rhapsody for Violin and Orchestra . . . . . . . . . . . . . . . 10:42

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

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)

CD 1

Anton Lajovic 1. Andante za veliki orkester / Andante for large orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:47

Slavko Osterc Suita za orkester / Suite for Orchestra 2. Marcia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:46 3. Tranquillo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:32 4. Vivace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1:27 5. Religioso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:14 6. Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:04

Marjan Kozina 7. Bela Krajina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12:57

Primož Ramovš Sinfonietta 8. Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:30 9. Moderato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4:56 10. Vivace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:30 11. Allegro molto e con brio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:39

Uroš Krek Sinfonia per archi 12. Pozivanje / Invocation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:42 13. Prebujenje / Awakening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7:22 14. Odziv / Return . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:30

KlasikaSkladbe za orkester, 1. del / Orchestral Works Vol. 1Slovenia

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Približevanje presežnemu ali antologiji slovenske orkestrske glasbe na pot

PriËujoËa 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

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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

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.

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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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.

The Propinquity to Excellence or ‘Bon voyage’ to an anthology of Slovenian orchestral music

The 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.

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Slovenska simfoniËna glasba v 20. stoletju

Za 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 SlovenskemNa 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

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.

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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.

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

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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.

≈Klasiki« slovenske orkestrske glasbe 20. stoletjaOmenjeni 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).

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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 ritmiËno-orgiastiËnem tradicionalistiËnem glasbenem stavku je glasba Zvonimirja CigliËa (1921—2006),

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.

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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.

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 1950Znamenja 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

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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 SloveniaThe 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.

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

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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

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.

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The umbilical cord with traditional musical ‘language’ was more decisively cut by Marij Kogoj (1895-1956) 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, well-trained 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.

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 centuryThe 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 three-part song forms and seem like late Romantic instrumental songs without words.

* 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.

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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.

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.

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.

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).

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.

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

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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 1950The 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

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

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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

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

32

Skladatelji / Composers

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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.

34 Skladatelji / Composers Skladatelji / Composers 35

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.

Composer, 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 late-Romantic musical idiom.

Anton Lajovic (1878—1960)

Skladatelj, 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

36 Skladatelji / Composers Skladatelji / Composers 37

Slavko Osterc (1895—1941)

Skladatelj, 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

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).

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38 Skladatelji / Composers Skladatelji / Composers 39

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.

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Skladba / Composition:Suita za orkester / Suite for Orchestra(Marcia, Tranquillo, Vivace, Religioso, Presto)

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: 1965*; Slovenska filharmonija, dvorana Marjana Kozine / Slovenian Philharmonic, Marjan Kozina Hall.(* Domnevna letnica nastanka posnetka. / Probable year of recording.)

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).

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 (1925-27) 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.

40 Skladatelji / Composers Skladatelji / Composers 41

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.

Marjan Kozina (1907—1966)

Skladatelj, 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.

42 Skladatelji / Composers Skladatelji / Composers 43

Primož Ramovš (1921—1999)

Pianist 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

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).

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44 Skladatelji / Composers Skladatelji / Composers 45

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).

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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.

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.

46 Skladatelji / Composers Skladatelji / Composers 47

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.

In his compositional procedures, Krek takes some features of the post-war avant-garde (from 12-tone 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.

Uroš Krek (1922—2008)

Skladatelj, 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.

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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

50 Skladatelji / Composers Skladatelji / Composers 51

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.

One 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).

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.

Marijan Lipovšek (1910—1995)

Eden 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

52 Skladatelji / Composers Skladatelji / Composers 53

Lucijan Marija Škerjanc (1900—1973)

Skladatelj, 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

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

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54 Skladatelji / Composers Skladatelji / Composers 55

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 violinKarel Žužek — 2. violina / 2nd violinFranc 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).

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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.

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slogovni heterogenosti skladatelj nobene od možnosti, ki so se mu ponujale, ni sprejel kot zavezujoËe.

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.

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.

Matija BravniËar (1897—1977)

Skladatelj, 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

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Demetrij Žebre (1912—1970)

Za 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

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).

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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).

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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.

In 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.

Skladatelji / Composers 63

dela, ki jih je zapustil, so zato najbolj dovršena, CigliË pa se je v slovensko glasbeno zgodovino zapisal v prvi vrsti kot orkestrski skladatelj.

One 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.

62 Skladatelji / Composers

Zvonimir CigliË (1921—2006)

Osebnostno 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).

Svoje doživljanje sveta je najbolj celovito izražal s pomoËjo simfoniËnega aparata, skozi razvejano paleto orkestrske širine. Orkestralna

Dirigenti / Conductors

Solisti / Soloists

Orkestri / Orchestras

64 Skladatelji / Composers

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).

CD 2/9

Dirigenti / Conductors 67

Samo Hubad (rojen / born 1917)

Po 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.

After 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.

66 Dirigenti / Conductors

Uroš Lajovic (rojen / born 1944)

Po 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.

After 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.

Dirigenti / Conductors 69

Simon KreËiË (rojen / born 1979)

Leta 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.

After 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 Domžale-Kamnik 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.

68 Dirigenti / Conductors

Marko Munih (rojen / born 1936)

Dirigiranje 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.

Marko 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.

Solisti / Soloists 71

Slovenski godalni kvartet / Slovenian String Quartet

V 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.

Between 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.

70 Solisti / Soloists

Igor Ozim (rojen / born 1931)

S 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.

Igor 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.

Orkestri / Orchestras 73

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.

72 Orkestri / Orchestras

Orkester Slovenske filharmonije / Slovenian Philharmonic Orchestra

Od 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.

Since 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

Orkestri / Orchestras 75

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.

74 Orkestri / Orchestras

SimfoniËni orkester RTV Slovenija / RTV Slovenia Symphony Orchestra(SimfoniËni orkester RTV Ljubljana / RTV Ljubljana Symphony Orchestra)

Orkester 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.

The 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

Orkestri / Orchestras 77

Komorni orkester RTV Ljubljana / RTV Ljubljana Chamber Orchestra

Sprva 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.

Comprised 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.

76 Orkestri / Orchestras

Godalni orkester RTV Ljubljana / RTV Ljubljana String Orchestra

Godalni 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.

The 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.

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RTV Slovenija, ZKP − Založba kakovostnih programov / RTV Slovenija, ZKP Publishing and Record Label

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 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 ZKP RTV Slovenija / More about ZKP RTV Slovenija: www.rtvslo.si/zkpprodaja.

SIGIC − Slovenski glasbenoinformacijski center / Slovenian Music Information Centre

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.

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.

VeË o SIGIC-u / More about SIGIC: www.sigic.si.

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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).

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 SlovenijaStrokovni sodelavci / Professional assistants: Špela Lah, Mojca Menart, Klemen MihaËiË, Viktor Škedelj RenËeljBesedila / Texts: Aleš Nagode, Gregor Pompe, Špela Lah, Maia Juvanc Lektorica slovenskih besedil / Slovenian language copy editor: Monika JeriËPrevod / Translation: Steven LoyLektor angleških besedil / English language copy editor: Philip BurtMastering: Radio Slovenija, Studio 15, Miro PrljaËaOblikovanje / Design: Eda PavletiË Naklada / Print run: 2000 izvodov / 2000 copies

Izdano v sodelovanju z / Released in cooperation with:

Radio Slovenija, Program ARSOdgovorni urednik / Managing editor: Matej VenierUrednik uredništva za resno glasbo / Editor of Classical Music Department: Gregor Pirš

SIGIC — Slovenski glasbenoinformacijski center / Slovenian Music Information Centre

Zanj / Represented by: Zoran KrstuloviÊNaslov / Address: Trg francoske revolucije 6, 1000 Ljubljana, Slovenijawww.sigic.si

℗ & © 2015 RTV Slovenija, ZKP — Založba kakovostnih programov / ZKP Publishing and Record Label

Zanjo / Represented by: Mojca Menart, vodja založniške dejavnosti / Head of LabelNaslov / 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 2015Nakup preko interneta / On-line purchase: www.rtvslo.si/zkpprodaja

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℗ & © 2015