Abstracts
Ikonografija portreta Ivana Zajca
Usprkos brojnosti portreta Ivana Zajca, samo ih je nekoliko poznato široj javnosti i koriste se za razne svrhe, od publikacija do internetskih stranica. Zajc je pozirao za portrete u velikom vremenskom rasponu, od mladenačkog portreta kada je imao 28 godina, do fotografija iz duboke starosti. Posthumno su ga portretirali i znameniti hrvatski kipari poput Frane Kršinića te Vanje Radauša.
Građa je sakupljena u zagrebačkim arhivima, knjižnicama i muzejima, te u privatnim zbirkama Zajčevih potomaka. Riječ je o dvodimenzionalnim portretima: crtežima, fotografijama, uljanim i zidnim slikama te o trodimenzionalnim predmetima: reljefima, bistama i statui koja se nalazi ispred HNK Ivana pl. Zajca u Rijeci. To je ujedno jedini njegov portret koji se u Hrvatskoj može vidjeti na otvorenim prostorima. Portreti su objavljeni u knjigama, časopisima i novinama, na naslovnicama tiskanih muzikalija i nosača zvuka, razglednicama, poštanskim markama i dr. Izlaganje donosi popis portreta Ivana Zajca, ali na kraju postavlja i pitanje koja su to mjesta gdje bismo očekivali Zajčeve portrete, a nema ih – npr. na njegovom grobu na Mirogoju ili u prostorima Osnovne glazbene škole Ivana Zajca u Zagrebu.
The Iconography of Zajc’s Portraits
Despite the abundance of portraits of Ivan Zajc, only a few of them are known to the general public and they are used for various purposes, from publications to websites. Zajc posed for portraits in a large time span, from the youthful portrait when he was 28 years old to the photographs from his old age. He was also posthumously portrayed by famous Croatian sculptors like Frane Kršinić and Vanja Radauš.
The material is collected in Zagreb archives, libraries and museums, as well as in private collections of Zajc’s descendants. There are two-dimensional portraits: drawings, photographs, oil paintings and murals, and three-dimensional objects: reliefs, busts and a statue which is located in front of the Croatian National Theatre Ivan Zajc in Rijeka. It is also the only Zajc’s portrait in Croatia which can be seen in outdoor space. The portraits have been published in books, magazines and newspapers, on the covers of printed music and sound recordings, postcards, postage stamps, etc. The presentation brings a list of portraits of Ivan Zajc, but eventually raises the question of places in which we would expect Zajc’s portraits, but there are none – e. g. his grave at Mirogoj or the Elementary Music School of Ivan Zajc in Zagreb.
Raićeva režija Zajčeve opere Prvi grijeh, 1912.
Ivo Raić otvara stranicu modernističke režije i prvi je hrvatski profesionalni operni redatelj. Poslije obnove Opere u zagrebačkome HNK-u 1909. godine Raićeva redateljska poetika konačno prekida sa teatralnošću izvedbe i kreće prema stvaranju modela „kazališnoga kazališta“, glavnog zahtjeva modernističke scenske umjetnosti. U glazbenim režijama Raić objedinjuje bogato iskustvo stečeno za desetgodišnjega boravka i angažmana u Beču, Berlinu, Pragu i Hamburgu koje se u režiji Zajčeve opere Prvi grijeh, 18. rujna 1912. godine, eksplicira u više umjetnički bitnih razina. Budući da Zajc operu Prvi grijeh sklada na temelju istoimena oratorija Silvija Strahimira Kranjčevića, njezina struktura podrazumijeva elemente glazbenoga i dramskoga modernizma. Inscenacija Prvog grijeha razmatra se u kontekstu europskoga kazališta i utjecaja na razvoj hrvatske operne produkcije u vremenskom rasponu od Lisinskijeve opere Ljubav i zloba do Bersina Ognja. Teatrološka analiza koncentrirana je na motiv Zajčeve opere (izgon Adama i Eve iz raja) kontekstualiziran u fin de siecleovsko idejno poljuljano poimanje društvenih normi. Budući da Raić u inscenaciju Prvoga grijeha uključuje likovna rješenja Alfreda Rollera, Mahlerova suradnika u Beču i Reinhardtova u Berlinu, posebno se ističe odbacivanje realizma u korist simboličkog postupka u opremi pozornice. Na inovativnost toga postupka uglednog scenskog inovatora, A. Rollera, dovezuje se Tomislav Krizman koji daje likovno rješenje trećega čina Zajčeve opere i autor je kostima. U prvome kazališnom nastupu Krizman svjedoči pripadnost bečkoj secesiji, osobito Klimtovom slikarstvu, što je dotad nezastupljeno, osobito na glazbenome području, u povijesti hrvatskoga kazališta. Svojstva režije Zajčeve opere Prvi grijeh rekonstruirana su ponajprije iz povijesnog aspekta na temelju Raićeve ostavštine u Zavodu za povijest hrvatske književnosti, kazališta i glazbe HAZU, memoara Srećka Albinija, spoznaja o glumačkim i pjevačkim dometima njezinih interpreta i recepciji u časopisima i dnevnom tisku. Raznovrsnost izvora određuje metodologiju izlaganja problematike i unatoč njihovoj fragmentarnosti pa i subjektivnim recepcijskim stajalištima Raićeva režija Zajčeve opere Prvi grijeh, 1912. jedno je temeljnih ishodišta hrvatskog scenskoga modernizma.
The Staging of Zajc’s Opera Prvi grijeh (The First Sin, 1912) by Raić
Ivo Raić opens the page of modernistic staging and is the first Croatian professional opera director. After the renovation of the Opera in Zagreb’s National Theatre in 1909 Raić’s staging poetics finally terminated theatricality of performances and moved towards creating a model of „theatrical theater“, the main postulate of modernistic scenic art. In the musical stagings Raić combines a rich experience gained during his ten year stay and engagement in Vienna, Berlin, Prague and Hamburg, which is interpreted in the staging of Zajc’s opera Prvi grijeh (The First Sin; September 18, 1912) on several important artistic levels. Since Zajc composed the opera The First Sin based on the homonymous oratorio by Silvije Strahimir Kranjčević, its structure involves elements of musical and dramatic modernism. The staging of The First Sin is clarified in the context of European theater and its impact on the development of Croatian opera productions in the time span from Vatroslav Lisinski’s opera Ljubav i zloba (Love and Malice) to Blagoje Bersa’s Oganj (Der Eisenhammer). Theatrological analysis is focused on the motive from Zajc’s opera (the expulsion of Adam and Eve from Paradise) contextualized in the notionally shaken fin de siecle understanding of social norms. Since Raić in the staging of The First Sin includes graphic solutions by Alfred Roller, Mahler’s associate in Vienna and Reinhardt’s in Berlin, particularly stands out the rejection of realism in favor of a symbolic process in the stage equipment. The innovation of this procedure by respectable stage innovator, A. Roller, is continued by Tomislav Krizman who provides visual solution for the third act of Zajc’s opera and is the author of the costumes. In his first theatrical engagement Krizman reveals his afilliation to the Vienna Secession, especially Klimt’s painting, which was until then not represented in the history of Croatian theater, particularly in the field of music. Characteristics of staging of Zajc’s opera The First Sin were reconstructed primarily from a historical point of view based on the Raić’s legacy at the Institute for the History of Croatian Literature, Theater and Music at the Croatian Academy of Sciences and Arts, Srećko Albini’s memoirs, assessment of acting and singing achievements of its interpreters and reception in journals and newspapers. The diversity of sources determines the methodology of exposing the problems and in spite of their incompleteness and even subjective standpoints of reception, Raić’s staging of Zajc’s opera The First Sin from 1912 is considered to be one of the fundamental starting points of Croatian scenic modernism.
Glazbene migracije i kulturni transferi u budimpeštanskom Narodnom kazalištu:
Slučaj Józsefa Kontija (Cohn; 1852-1905)
József Konti (1852-1905) bio je najpopularniji skladatelj mađarskih opereta u Budimpešti krajem 19. stoljeća. Njegovo djelo iz 1884. godine s naslovom Az eleven ördög [Živi vrag], na mađarski libreto Antala Derékija (Leipnik) nastao prema francuskoj comédie en vaudeville, daleko je najuspješnija rana mađarska opereta; često oživljavana u Mađarskoj čak i tijekom prvih desetljeća 20. stoljeća. Popularnost njegovih djela još je zanimljivija zbog činjenice da sam Konti uopće nije bio rođeni Mađar: rođen je u Varšavi u poljskoj židovskoj obitelji (njegovo izvorno obiteljsko ime je Cohn). Prema njegovim biografima, Konti je studirao i u svom rodnom gradu i u Beču, a prije dolaska u Budimpeštu radio je, između ostalog, u Salzburgu, Debrecenu, Oradei (Nagyvárad/Großwardein) i Šopronu (Sopron/Ödenburg). Na temelju sekundarne literature čini se da njegova karijera pokazuje određene sličnosti s onom njegova hrvatskog kolege Ivana Zajca, izvedbama čijih je nekoliko djela Konti dirigirao kao Theaterkapellmeister. Primjerice, prema nekim njegovim biografima i Konti je, poput Zajca, također radio u bečkom Karlovu kazalištu (Carl-Theater). U ovome bih radu želio istražiti Kontijevu karijeru kao primjer tipičnog života glazbenika u multietničkoj Habsburškoj monarhiji s posebnim naglaskom na godine koje je proveo kao dirigent Nacionalnog kazališta u Budimpešti (1885-1903). To razdoblje njegovog djelovanja i njegov glazbeno-kazališni kontekst prilično su dobro dokumentirani zahvaljujući kazališnim plakatima, almanasima, partiturama, dionicama i arhivskoj građi nekadašnjeg Nacionalnog kazališta što su se sačuvali uglavnom u javnim zbirkama u Budimpešti (Nacionalna knjižnica Széchény, Knjižnica glavnoga grada Ervin Szabó, Arhiv glavnoga grada). Na temelju tih izvora želio bih pokazati kako je i u kojem kontekstu Konti pridonio formiranju rane mađarske operete.
Musical Migration and Cultural Transfers at the Budapest Folk Theatre:
The Case of József Konti (Cohn; 1852-1905)
József Konti (1852-1905) was the most popular composer of Hungarian operettas in late 19th-century Budapest. His 1884 work entitled Az eleven ördög [The living devil] to the Hungarian libretto of Antal Deréki (Leipnik) after a French comédie en vaudeville was by far the most successful early Hungarian operetta; it was frequently revived in Hungary even during the first decades of the 20th century. The popularity of his pieces is so much the more interesting, because Konti himself was not a native Hungarian at all: he was born in Warsaw in a Polish Jewish family (his original family name was Cohn). According to his biographers, he studied both in his native city as well as in Vienna, and before coming to Budapest, he worked among others in Salzburg, Debrecen, Nagyvárad (Oradea/Großwardein), and Sopron (Šopron/Ödenburg). On the basis of the secondary literature, it seems that his career shows certain similarities to that of his Croatian colleague, Giovanni/Ivan Zajc, some of whose works Konti conducted as a Theaterkapellmeister. For example, according to some of his biographers, Konti also worked at the Vienna Carl-Theater like Zajc. In my paper, I would like to study Konti’s career as an example of a characteristic musician life in the multi-ethnic Habsburg Monarchy with special emphasis on his years spent as the conductor of the Budapest Folk Theatre (1885-1903). This period of his activity and its musico-theatrical context is quite well documented, due to the theatre playbills, almanachs, performing scores, partbooks and archival materials of the one-time Folk Theatre preserved mostly in Budapest public collections (Széchényi National Library, Capital City Ervin Szabó Library, Capital City Archive). On the basis of these sources, I would like to show how and in what context Konti contributed to the formation of early Hungarian operetta.
Tradicijski običaj biranja kralja na otoku Silba u operi Kralj od Silbe varaždinskog skladatelja s početka 20. st. Vjekoslava Rosenberga Ružića
U ovom radu govori se o donedavno ‘izgubljenoj’ partituri opere Kralj od Silbe varaždinskoga skladatelja Vjekoslava Rosenberga Ružića (1870-1954). Do danas ne postoji podatak o izvedbi cjelovite opere osim onog o izvedbi Uvertire iz 1930, i ponovo tek mnogo kasnije iz 2005. Opera datira najvjerojatnije iz 1899, libreto je napisao Ferdo Živko Miler (1853-1917), a čuva se u arhivu Nacionalne i sveučilišne knjižnice u Zagrebu zajedno s ostalim mnogobrojnim Ružićevim djelima koja su putem donacije stigla u ovu ustanovu još 1964, a do danas nisu katalogizirana, inventarizirana pa ni javno vidljiva.
Cilj ovoga rada je predstaviti djelo i to s naglaskom na sadržaj, odnosno tematiku same opere. Naime, Ružić se već samim naslovom ali i sadržajem opere odlučuje za folklorni običaj karakterističan ne samo za otok Silbu nego i za mnoga druga dalmatinska mjesta i gradove – tzv. biranje kralja. U radu će se nastojati prikazati sam običaj (podrijetlo običaja, vrijeme održavanja, sudionici, ‘kraljevski’ rekviziti, način biranja, gašenje običaja i sl.) na otoku Silbi ali i drugim lokacijama, analizirajući i valorizirajući brojnu stariju i noviju historiografsku i etnološku literaturu koja se njime bavi. Također, nastojat će se utvrditi u kojoj mjeri Ružić upotrebljava elemente glazbenih tradicijskih obilježja (dalmatinske provenijencije) kojima se približava tada aktualnom nacionalnom glazbenom usmjerenju. Iako Ružić u nekim svojim djelima upotrebljava folklorne teme, prema Evi Sedak to je samo „ustupak vremenu“. Upravo stoga bit će još zanimljivije otkriti na koji način Varaždinac Ružić glazbeno podcrtava sadržaj koji je dalmatinski, te je li četverogodišnji boravak u Splitu (1891-1895) bio dovoljan za upoznavanje dalmatinske glazbene tradicije.
The Traditional Election of the King Custom on the Island of Silba in the Opera The King of Silba by the Varaždin Early 20th-Century Composer Vjekoslav Rosenberg Ružić
This paper discusses the until recently ‘lost’ score of the opera King of Silba by the Varaždin composer Vjekoslav Rosenberg Ružić (1870-1954). To this day there is no information about the performance of the complete opera other than that of the performance of the overture in 1930, and again much later in 2005. The opera probably dates from 1899, its libretto was written by Ferdo Živko Miler (1853-1917), and is kept in the archive of the National and University Library in Zagreb along with other numerous Ružić’s works which came to this institution in 1964 through donations and has not been catalogued, inventoried or even publicly visible until today.
The aim of this paper is to present the work with emphasis on its content, i. e. the subject matter of the opera. In fact, in the very title, as well as in the content of the opera Ružić chose the folk custom which is characteristic not only for the island of Silba but also for many other Dalmatian places and cities – the so-called election of the king. This paper will try to present the custom itself (origin of the custom, time of the event, participants, ‘royal’ props, election mode, extinction of the custom etc.) on the island of Silba as well as on other locations, by analyzing and valorizing numerous older and more recent relevant historiographical and ethnological literature. Also, efforts will be made to determine the extent to which Ružić uses the elements of traditional musical features (of Dalmatian provenance) by which he approached the current national musical orientation of the time. Although in some of his works Ružić used folk themes, according to Eva Sedak it is only „concession to the period“. That is why it will be even more interesting to discover the way the Varaždin (north-Croatian) composer Ružić highlights the Dalmatian content by means of music, and was his four-year stay in Split (1891-1895) sufficient for familiarizing with the Dalmatian musical traditions.
Djela Ivana Zajca na javnim koncertima i studijskim snimkama u produkciji Hrvatske radiotelevizije
Hrvatska radiotelevizija od pokretanja radija (1926) i televizije (1956) izravno prenosi i snima glazbene događaje koje organiziraju drugi organizatori u Hrvatskoj, a od pokretanja vlastitih ansambala počinje aktivno sudjelovati u koncertnom životu Hrvatske, ispunjavajući time jednu od glavnih uloga nacionalnih radiotelevizijskih kuća. Repertoarna politika ansambala HRT-a uglavnom podržava, za razliku od drugih organizatora koncerata, izvođenje djela izvan standardnog repertoara, šireći tako glazbeni ukus publike javnih koncerata i slušatelja radija. Od 1942, kada Hrvatski krugoval počinje organizirati javne koncerte svojih ansambala, do 2013, ti su ansambli na javnim koncertima izveli samo 21 Zajčevo djelo. Da li je to malo ili nije, pitanje je na koje će istraživanje pokušati dati odgovor. Studijske snimke Zajčevih skladbi jednim su dijelom odraz javnog koncertnog repertoara ansambala HRT-a, a drugim su dijelom odraz programskih potreba Radija i Televizije koje nisu mogle biti ostvarene na koncertima vlastitih ansambala, pa se nadopunjavaju studijskim snimkama. U njihovoj realizaciji sudjeluju umjetnici i ansambli iz cijele Hrvatske, pa je za očekivati da budu brojnije i žanrovski raznovrsnije. Da li je tako, još je jedno pitanje na koje ćemo moći dati odgovor nakon provedenog istraživanja.
Works by Ivan Zajc at Public Concerts and on Studio Recordings Produced by Croatian Radio-Television
Since the launch of the radio (1926) and television (1956) Croatian Radiotelevision directly transmitted and recorded music events organized by other organizers in Croatia, while with starting its own ensembles it began to actively participate in the Croatian concert life, thereby fulfilling one of the main roles of national broadcasters. Unlike other concert organizers, repertory policy of the Croatian Radiotelevision ensembles generally supported performing works outside the standard repertoire, thus expanding the musical taste of the audience of public concerts and radio listeners. From 1942, when the station was known as Hrvatski Krugoval and it began to organize public concerts of its ensembles, until 2013, these ensembles performed only 21 works by Zajc in public concerts. Is that too little is the question that this research will try to answer. Studio recordings of works by Zajc are partly a reflection of public concert repertoire of the Croatian Radiotelevision ensembles, while partly a reflection of program needs of the radio and television stations that could not be achieved through concerts of their own ensembles, which is why they are supplemented by studio recordings. In their realization participate artists and ensembles from the entire Croatia, so it is expected to be more numerous and more diverse by genre. Is that really the case is another question that we will be able to answer after conducted research.
Zajčeve margine
Rad se bavi pitanjem je li moguće afirmirati one dijelove opusa Ivana Zajca što ih je muzikologija ocijenila kao slabe i utoliko “marginalne”. Među tim “marginalnim” dijelovima su i popijevke, o kojima će ovdje biti riječi. Raspravljat će se o tome kako su ih muzikolozi slušali, što su u njima čuli i što je ostalo izvan njihova slušnog obzora.
Margins of Ivan Zajc
This paper will address the question whether it is possible to win a higher reputation for those segments of Ivan Zajc’s oeuvre which were evaluated by musicology as being of a low quality and, as such, being a “marginal” part of his artistic output. As one of this supposedly “marginal” parts, the songs of Ivan Zajc will be in the focus of this paper. It will be discussed how they were listened to by musicologists, what the musicologists heard there and what remained outside of their ears.
Rane izvedbe Zajčevih kazališnih djela u SAD-u
Kazališna djela Ivana Zajca nisu bila potpuno nepoznata u SAD-u. Zapravo su postojala dva Zajca – Zajc skladatelj bečkih opereta i Zajc uvaženi hrvatski nacionalni skladatelj. Svaki od tih dvaju identiteta imao je svoju svrhu. Zajčeve bečke operete bile su postavljane, iako rijetko, u kazalištima njemačkog jezika u drugoj polovici devetnaestog stoljeća kao dio žive kazališne scene koju su za sebe stvorili njemački doseljenici u Ameriku. Primjerice, kazalište Germania (Germania Theatre) u New Yorku uz ostale je lagane opere i neglazbene predstave na svom repertoaru tijekom sezone 1873/1874. ponudilo i operetu Momci na brod (Mannschaft an Bord). S druge strane, izvedbe Zajčevih djela na hrvatskom jeziku postale su svečano obilježavanje identiteta hrvatske dijaspore. Čikaško amatersko Hrvatsko pjevačko i dramatsko društvo Jadran (Croatian Choir and Dramatic Club Jadran) izvelo je djelo Momci na brod (hrvatsku inačicu Mannschaft an Bord) 1920-ih godina. Zajčeva kultna opera Nikola Šubić Zrinjski postavljena je u Chicagu 1929, a u Clevelandu i Detroitu 1938. godine; u sva je tri grada postojala značajna hrvatska populacija koja je bila ciljana publika tih produkcija. Zajčeva djela također su se pojavljivala i na programima što su ih nudila različita hrvatska američka pjevačka društva kao izraz njihova hrvatskog naslijeđa.
Early Performances of Zajc’s Stage Works in the U.S.
The stage works of Ivan Zajc were not completely unknown in the U.S. In essence, two Zajcs existed – the composer of Viennese operettas and the esteemed Croatian national composer. Each of these dual identities served its own purpose. Zajc’s Viennese operettas were produced, albeit rarely, in German-language theaters during the second half of the nineteenth century as part of a vibrant theatrical scene created by and for German immigrants. For example, the Germania Theatre in New York City offered Mannschaft an Bord in repertory during the 1873-74 season alongside other light operas and non-musical plays. Performances of Zajc’s Croatian-language works, on the other hand, became celebrations of Croatian diasporic identity. Chicago’s Hrvatsko pjevačko i dramatsko društvo Jadran (Croatian Choir and Dramatic Club Jadran), an amateur society, produced Momci na Brod (the Croatian version of Mannschaft an Bord) in the 1920s. Zajc’s iconic opera Nikola Šubić Zrinjski was staged in Chicago in 1929 and in Cleveland and Detroit in 1938; all three cites had sizeable Croatian populations that would have been target audiences for the productions. Works by Zajc also appeared on programs offered by various Croatian American singing societies as expressions of their Croatian heritage.
Ivan Zajc u češkim zemljama
Češki su glazbenici Ivana Zajca doživljavali dvojako: u njemu su vidjeli slavenskog skladatelja pod utjecajem talijanske glazbe. Njegovim su se djelima divili i izvodili ih (ne samo u velikim centrima, nego i u provincijskim mjestima), ali su ih također i kritizirali – ovisno o kulturnoj i političkoj situaciji vremena, drukčije prije i nakon osnutka Čehoslovačke Republike 1918. godine.
Ivan Zajc in the Bohemian Lands
Ivan Zajc was considered by the Bohemian musicians ambivalently: they saw in him a Slavonic composer, influenced by Italian music. His works were admired and performed (not only in big centres, but also in the country towns), but also criticised – depending of the cultural and political situation of the time, different before the creation of the Czechoslovak Republic in 1918, and after.
Bugarske pjesme Ivana Zajca
Pjesme Ivana Zajca proširile su se među amaterskim glazbenim sastavima u Bugarskoj osamdesetih godina 19. stoljeća, a u prvim desetljećima 20. stoljeća zauzele su središnje mjesto u njihovim repertoarima. Zajedno sa svojim dobro poznatim opusima, kao što su U boj, u boj, Mornarska, Moja domovina itd., tu je bilo i nekoliko pjesama sa stihovima pjesnika bugarskog narodnog preporoda od kojih je neke sam skladatelj ujedinio u vokalne cikluse s naslovom Bugarske pjesme.
Izvješće prati kronologiju stvaranja ovih radova – najraniju Bugarsku davoriju „Napred“ (za muški zbor, opus 502, 1881), vokalni ciklus Bugarske melodije za glas i klavir (opus 843a, b, c, d, 1894) te dvije solo-pjesme – Zora (opus 851/a) i Uspavanka (opus 851/b) s podnaslovom Bugarska kantata na stihove poznatog bugarskog pjesnika narodnog preporoda Ljubena Karavelova. U isto je vrijeme nastala još jedna Zajčeva bugarska skladba – Majka, na tekst Ivana Vazova, s kojom je Zajc osvojio prvu nagradu na Prvom bugarskom glazbenom natjecanju (1894) u organizaciji Glazbenog društva Sofija. Na početku 20. stoljeća skladatelj je objavio svoje pjesme na stihove bugarskih pjesnika u glazbenom ciklusu Iz bulgarske pjesme, opus 984 (1904), koji je uključivao i jednu novu skladbu – „Na orajie, brate“ na tekst Petka R. Slavejkova.
Ova djela hrvatskog skladatelja nisu samo obogatila glazbeni repertoar zborskih pjevača. Melodije njegovih marševa s bugarskim tekstovima postale su simbol težnji našeg naroda za oslobođenjem te se nerijetko pretpostavlja da su izvorno bugarskog podrijetla. Istovremeno one ukazuju na veze Ivana Zajca s bugarskim glazbenicima (K. Mahan, N. Nikolaev), pjevačkim društvima, školama i drugima, zbog čega je zagrebački Glazbeni zavod postao atraktivno obrazovno odredište za puno mladih Bugara u prvom desetljeću 20. stoljeća. U tom je povijesnom centru glazbeno-kulturnih odnosa obiju nacija formiran znatni dio prvog naraštaja pedagoga i skladatelja koji su položili temelje nove profesionalne kulture u Bugarskoj.
Ivan Zajc’s Bulgarian Songs
Ivan Zajc’s songs spread among the amateur music bands in Bulgaria in the 1880s and in the first decades of the 20th century they took a central place in their repertory. Together with his well known opuses like U boj, u boj, Mornarska, Moja domovina, etc., there are also a number of songs with verses by Bulgarian National Revival poets, some of which the composer himself united in vocal cycles under the title Bulgarian songs.
The report traces the chronology of creating these works – from the earliest Bulgarian davorija “Forward”(Napred, for male voice choir, opus 502, 1881), the vocal cycle Bulgarian Melodies for Voice and Piano (opus 843 a, b, c, d, 1894), as well as two solo songs – „Dawn” (Zora) (opus 851/a) and Uspavanka (opus 851/b) with subtitle Bulgarian Cantata with verses by the famous Bulgarian poet of the National Revival Lyuben Karavelov. At the same time another Bulgarian composition by Zajc was written – “Mother” (Majka), with text by Ivan Vazov, with which he participated and won the First Bulgarian Music Competition (1894), organized by Sofia Music Society. At the beginning of the 20th century the composer published his songs with verses by Bulgarian poets in the music cycle Iz bulgarske pjesme, opus 984 (1904) which included one new composition “To arms, brotheer” (Na orajie, brate) text by Petko R. Slavejkov.
These works of the Croatian composer did not only enrich the music repertory of choral singers. The melodies of his marches, written with Bulgarian texts, have become epitome of the national liberation aspirations of our nation and they have frequently been assumed as Bulgarian by their origin. Meanwhile, they indicate Ivan Zajc’s connections with Bulgarian musicians (K. Mahan, N. Nikolaev), choral societies, schools and others, due to which Zagreb’s Glazbeni zavod became an attractive educational goal for a lot of young Bulgarians in the first decade of the 20th century. In this historical centre of musical-cultural relations of both nations a considerable part of the first generation of teachers and composers was formed who laid the foundations of the new professional culture in Bulgaria.
Poljske teme u operama Ivana Zajca (Pan Tvardovski i Gospođe i husari)
Među nekoliko opernih libreta koje je Josip Eugen Tomić napisao za Ivana Zajca čak su dva nastala na temelju remek-djela poljske književnosti romantizma. To su: Pan Tvardovski (praizvedba: 11. svibnja 1880, Zagreb), prema romanu Mistrz Twardowski Józefa Ignacyja Kraszewskog iz 1840. te Gospođe i husari (praizvedba: 13. listopada 1886, Zagreb) prema istoimenoj komediji najvećeg poljskog komediografa Aleksandera Fredroa iz 1825, koja se u Zagrebu prikazivala od 1849. godine.
Uzimajući u obzir činjenicu da prijevod nije samo lingvistička transformacija, već pridonosi i kulturnoj razmjeni, ove će poljske teme biti predstavljene kroz književnu, kulturnu i povijesnu perspektivu.
Polish Themes in Ivan Zajc’s Operas (Pan Twardowski and Ladies and Hussars)
Among a few opera librettos written by Josip Eugen Tomić for Ivan Zajc as much as two are based on masterpieces of Polish Romantic literature. These are the following: Pan Twardowski (first performance: 11 May 1880, Zagreb), based on Józef Ignacy Kraszewski’s novel Master Twardowski from 1840 and Ladies and Hussars (Gospođe i husari, first performance: 13 October 1886, Zagreb), based on a comedy of the same title by the greatest Polish comedy writer, Aleksander Fredro, from 1825, which has been played in Zagreb since 1849.
Taking into consideration the fact, that a translation is not a mere linguistic transformation, but it contributes to cultural exchange, these Polish topics will be presented in a literary, cultural and historical perspective.
Bugarski skladatelji izvan Bugarske: četiri naraštaja glazbenih migranata nepriznatih u njihovoj domovini
U izlaganju će se razmotriti životne priče šestoro bugarskih skladatelja koji su djelovali izvan Bugarske. Ove kreativne ličnosti pripadaju četirima različitim naraštajima.
Prvu generaciju glazbenih migranata predstavljaju dva brata, suvremenici Ivana Zajca iz druge polovice devetnaestog stoljeća: Michael (1838-1877) i Isidore (1846-1885) Mihailović koji su svoja djela objavili u Beču, Pragu i Bukureštu pod nazivom Micailidi, Michailidi ili Micailides. Drugi naraštaj predstavlja Vasil Božinov (1888-1966), skladatelj iz prve polovine dvadesetog stoljeća koji je studirao u Zagrebu (Franjo Dugan), Leipzigu (Max Reger) i Pragu (Alois Hába).
Najreprezentativnije ličnosti trećeg naraštaja bugarskih glazbenih migranata dva su avangardna skladatelja druge polovine dvadesetog stoljeća: André Boucourechliev (1925-1997) u Parizu te Henri Lazarof (1932-2013) u Los Angelesu. Najnoviji, četvrti naraštaj predstavlja skladateljica iz Londona: Dobrinka Tabakova (1980).
Nijedan od ovih šest etabliranih skladatelja trenutno nije uključen u službeni popis Društva bugarskih skladatelja. Tijekom izlaganja razmotrit će se nekoliko mogućih razloga za tu situaciju. Za usporedbu će se koristiti sudbina dvoje čeških skladatelja migranata u Bugarskoj: Ivana Cibulke (1880-1943) i Ludmile Prokopove (1888-1959).
Bulgarian Composers outside Bulgaria: Four Generations of Musical Migrants Unrecognised in their Homeland
The life stories of six Bulgarian composers working outside of Bulgaria will be discussed during the presentation. These creative personalities belong to four different generations.
The first generation musical migrants are represented by two brothers contemporaries of Ivan Zajc from the second half of the nineteenth century: Michael (1838-1877) and Isidore (1846-1885) Mihailović who published their works in Vienna, Prague, and Bucharest under the name Micailidi, Michailidi or Micailides. The second generation is represented by Vassil Bozhinov (1888-1966), a composer from the first half of the twentieth century who studied in Zagreb (Franjo Dugan), Leipzig (Max Reger), and Prague (Alois Hába).
The most representative figures from the third generation Bulgarian musical migrants are two avant-garde composers from the second half of the twentieth century: André Boucourechliev (1925-1997), settled in Paris, and Henri Lazarof (1932-2013), settled in Los Angeles. The newest fourth generation is represented by a lady composer from London: Dobrinka Tabakova (1980).
No one from these six well-established composers is included in the official list of the Union of Bulgarian composers now. Several possible reasons for that situation will be discussed during the presentation. The destiny of two Czech migrant composers in Bulgaria will be used for comparison: Ivan Cibulka (1880-1943) and Ludmila Prokopová (1888-1959).
Zajc i Beč, još jednom
Od listopada 1862. do siječnja 1870. godine Zajc je živio u Beču gdje je postigao uspjeh svojim operetama i operama. Postoji više istraživanja i studija, ali ih je samo nekoliko na njemačkom jeziku te se čini da danas postoji malo zanimanja za njegovu ličnost i njegovu glazbu. Cilj je bio ponovno promotriti Zajčev boravak u Beču kako bi se pronašli novi aspekti izvođenja i recepcije njegovih djela, kao i njegova društvenog života unutar hrvatske zajednice te među drugim skladateljima. Radio je kao pedagog i pisao nacionalne skladbe za prigodne slavenske događaje.
Nakon što je Zajc napustio Beč 1870. godine još uvijek je tamo imao kontakte. Vratio se u Beč kako bi propagirao svoje radove, a odlikovao ga je i car.
Zajc and Vienna, Revisited
From October 1862 to January 1870 Zajc lived in Vienna where he was successful with his operettas and operas. There exist several investigations and studies but only a few in German language and it seems that nowadays there is only a few interest in his person and his music. The aim was to look again on Zajc’ sojourn in Vienna, to find new aspects in the performance and reception of his works as well as in his social life within the Croatian community and with other composers. He worked as a teacher and wrote national compositions for Slavic events.
After Zajc left Vienna in 1870 there were still existing contacts. He came back to Vienna to promote his works and he was also honoured by the Emperor.
Razvoj glazbenih i scenskih izražajnih sredstava u opernom stvaralaštvu Ivana pl. Zajca
Školovan na zasadama talijanske operne tradicije – kojima je ostao vjeran tijekom čitavog stvaralačkog vijeka – Zajc je ipak, kao pragmatičan i prilagodljiv umjetnik, nastojao u svoje stvaralaštvo unijeti i elemente novih stilskih gibanja u europskoj glazbi. I u tome je na neki način blizak svom velikom uzoru, Giuseppeu Verdiju, iako su njegovi dometi u prihvaćanju novih izražajnih sredstava daleko skromniji. Ipak, od bellinijevski koncipirane studentske opere La Tirolese, i gotovo epigonskog preuzimanja verdijanskog idioma u operama iz riječkog perioda (u slučaju Amelie s upravo raskošnom invencijom), do kasnoromantičarskih scenskih i glazbenih rješenja u djelima poput opera I minatori, Prvi grijeh i Oče naš prijeđen je dug put postupnog prihvaćanja novih tekovina, na kojemu važnu etapu predstavljaju i formalne inovacije u prvim hrvatskim operama, nastale u težnji za stvaranjem nacionalnog opernog obrasca.
Taj će se evolutivni put – koji svjedoči o Zajčevu praćenju novih gibanja u glazbenom svijetu, iako ih je prihvaćao uglavnom na površinskoj razini – nastojati rasvijetliti analizirajući neke osobitosti opera ih svih perioda skladateljeva života: od spomenutih prvih opera, preko Mislava, Bana Legeta i Zrinjskog, Lizinke i Zlatke, do opera iz kasnijeg perioda (uz tri već spomenute, tu su značajne još Primorka i Armida). No temeljne značajke Zajčeva glazbenog govora i u tim su djelima čvrsto vezane uz vokabular talijanske operne glazbe, koji je on znao spretno ispuniti inventivnim melodijskim i ritmičkim obrascima; zato je put od La Tirolese do opere Oče naš daleko ravniji i kraći od Verdijeva puta od Oberta do Falstaffa. Zanimljivo je spomenuti i da su rasponi između prvih i posljednjih opera kod Zajca i Verdija otprilike podjednaki – kod Zajca to je 56, a kod Verdija 54 godine.
The Evolution of Expressive Musical and Stage Means in the Operatic Output of Ivan Zajc
Although Zajc’s musical education was based on Italian operatic tradition – which he faithfully held on to throughout his entire creative lifetime – he still, being pragmatic and flexible artist, tried to enrich his creation by adding the elements of new styles of European music. That is what makes him in a way similar to his great role model, Giuseppe Verdi, although Zajc’s range of accepting new means of expression is much more modest. However, from La Tirolese, an opera from his student days in a Bellinian manner, and almost epigonic taking over of the Verdi‘s idiom in operas from Rijeka period (with very luxuriant invention in case of Amelia) to late romantic theatrical and musical solutions in operas such as I Minatori, Prvi grijeh (The First Sin) and Oče naš (Our Father), Zajc crossed a long way of gradually accepting new acquisitions, in which an important stage represent also the formal innovations of his first Croatian operas, resulting from the pursuit of creating a national opera idiom.
Attempt will be made for this evolution path – which testifies that Zajc was current with new movements in the musical world, though he accepted them mainly on the surface level – to be claryfied through analyzing some peculiarities of operas from each period of composer’s life: from the aforementioned first operas, through Mislav, Ban Leget and Zrinjski, Lizinka and Zlatka, to the operas of later period (besides the three already mentioned, Primorka and Armida are also significant). However, even in those works are the basic features of Zajc‘s musical language strongly associated with the vocabulary of Italian opera music, which he skilfully filled with inventive melodic and rhythmic patterns; therefore is the path from La Tirolese to the opera Our Father far more leveled and shorter than Verdi‘s path from Oberto to Falstaff. It is also interesting to mention that the range between the first and the last opera by Verdi and by Zajc is roughly equal – in Zajc’s case 56 years, and in Verdi‘s 54.
Glazbenici židovskog podrijetla u sjevernoj Hrvatskoj do 1941. godine kao primjeri kulturne migracije i kulturnih transfera unutar srednjeeuropskog kulturnog kruga
Povijest hrvatske glazbe bilježi brojne glazbenike različitog podrijetla koji su u devetnaestom stoljeću i prvoj polovici dvadesetog stoljeća svojim dolaskom na područje sjeverne Hrvatske značajno pridonosili stvaranju i razvoju glazbenog života. Tako su i pripadnici židovskoga naroda, kao naroda migracije i dijaspore nastale uslijed društveno-povijesnih okolnosti u cijeloj Europi devetnaestog stoljeća, svojim seobama transferirali znanja i kulturu iz raznih zemalja srednjoeuropskog prostora na prostor sjeverne Hrvatske. Povijest hrvatske glazbe bilježi glazbenike poput Antuna Schwarza, utemeljitelja kazališnog orkestra prije dolaska Ivana Zajca, koji je svojim školovanjem u Beču i povratkom u rodni Zagreb transferirao bečko kulturno ozračje u zagrebačku sredinu. Julius Epstein, rođeni Zagrepčanin, inače poznat i kao učitelj Gustava Mahlera, etablirao se kao klavirski pedagog u Beču te tamo odgojio novi naraštaj pijanista i glazbenika koji su „bečka znanja” potom prenijeli u zagrebačku pijanističku školu. U 20. stoljeću, pijanistica Antonija Geiger-Eichhorn je kao učenica znamenitog Leopolda Godovskog koncertirala od Praga do Beča, Budimpešte i Zagreba te briljantnom tehnikom i izrazitom muzikalnošću prenosila nasljeđe jednog od najvećih uzora pijanističke tehnike u hrvatsku glazbenu sredinu. Nastanivši se u Zagrebu podučavala je klavir te također odgojila niz pijanista i glazbenika.
Cilj ovoga rada je na primjerima djelovanja glazbenika židovskoga podrijetla ukazati na putove kulturnih migracija iz srednje Europe prema Hrvatskoj i identificirati vrstu i oblik kulturnog transfera koji se dogodio kulturnim dodirima unutar austro-ugarsko-češko-hrvatskog kulturnog kruga.
Musicians of Jewish Origins in Northern Croatia up until 1941 as Models of Cultural Migration and Cultural Transfers within the Central-European Cultural Circle
The history of Croatian music notes many musicians of different background whose arrival to the area of northern Croatia in the nineteenth and the first half of the twentieth century significantly contributed to the establishment and development of musical life. Thus have also the members of the Jewish people, as a nation of migration and diaspora which was the result of sociohistorical circumstances in the nineteenth century Europe, through their migration transferred the knowledge and culture of various Central-European countries to the area of northern Croatia. The history of Croatian music notes musicians such as Antun Schwarz, the founder of the theater orchestra before the arrival of Ivan Zajc, who returned to his hometown Zagreb after his studies in Vienna and thus transferred part of Viennese cultural atmosphere to the Zagreb milieu. Julius Epstein, born in Zagreb, also known as a teacher of Gustav Mahler, established himself as a piano teacher in Vienna where he raised a new generation of pianists and musicians who transferred their „Viennese knowledge” to the Zagreb piano school. A twentieth century pianist Antonija Geiger-Eichhorn, while studying with the famous Leopold Godovski, held concerts from Prague to Vienna, Budapest and Zagreb, and by brilliant technique and distinct musicality transferred the legacy of one of the greatest role models of piano technique into Croatian music. Having settled in Zagreb, she taught piano and also raised a number of pianists and musicians.
The aim of this paper is to point out, on the examples of activity of musicians of Jewish origin, the ways of cultural migrations from Central Europe to Croatia and to identify the type and the form of cultural transfer that took place by means of cultural contacts within the Austro-Hungarian-Czech-Croatian cultural circle.
Zajčeva opera Primorka (1901) i njegova ideja „glazbene drame“
Dvočinka Primorka Ivana Zajca (1832-1914) skladana je 1899. (op. 870), a praizvedena na samome početku sezone 1901/1902. Autor libreta je Ivan Trnski (1819-1910), jedan od najistaknutijih pjesnika Hrvatskog narodnog preporoda. Zajedničko djelo dvojice vremešnih umjetnika nije bilo dobro primljeno: opera je izvedena svega dvaput, očito zbog lošeg odaziva publike, iako je kritika pokazala više razumijevanja za nj.
Skladana je za veliki orkestar, ali relativno komorni vokalni sastav: četiri glavne i četiri sporedne pjevačke uloge te zbor. Razlog interesa za to djelo je Zajčevo karakteriziranje (i imenovanje) toga glazbeno-scenskog rada kao „glazbene drame“ – jedinstveno među Zajčevim izvedbama. Analizom ovoga djela uputit će se na Zajčevo shvaćanje tog pojma, među zagrebačkom publikom i kritikom toga doba vezanog uz Wagnerovo operno stvaralaštvo. Upozorit će se na njegove kvalitete i značajke, na raskorake u pristupu i realizaciji opere te na neke kvalifikacije koje su istaknute u novinskim napisima.
Zajc’s Opera Primorka (The Girl from Primorje, 1901) and His Idea of “Musical Drama”
The opera Primorka (The Girl from Primorje) by Ivan Zajc (1832-1914) was composed in 1899 (as op. 870), and staged for the first time at the very beginning of the 1901-02 opera season. The author of the libretto was Ivan Trnski (1819-1910), one of the most praised poets of the Croatian National Revival movement. The joint effort of the two elderly artists was not well received: the opera was performed only twice, obviously because of the lack of interest of the Zagreb audience, although the critics manifested some more enthusiasm for it.
Zajc composed this opera in two acts for a large orchestra, but a relatively smaller chamber vocal ensemble: four main and four subsidiary vocal roles with the choir. The reason for the interest in this piece is the composer’s own characterization of the work as „musical drama“, which is unique among his theatrical works. The analyses will point at Zajc’s understanding of the term, connected among both the Zagreb audience and critics with Richard Wagner’s operas. Furtheron, some qualities, characteristics and discrepancies in the approach and the realization of the opera will be brought to light, as well as some qualifications, highlighted in the newspaper reviews.
Zajčeva sakralna glazba
Iako je skladatelj Ivan Zajc cijeli svoj život bio zaokupljen kazalištem, u njegovom je opusu prepoznatljiv interes i za sakralnu glazbu. Naime, u Zajčevu impozantnom skladateljskom opusu (više od 1000 djela) oko 120 naslova pripada sakralnoj tematici.
Činjenica je također da je Zajc koncem 19. stoljeća, a pod utjecajem ideja njemačkih cecilijanaca, sudjelovao u prvim pokušajima reforme crkvene glazbe u Hrvatskoj kroz utemeljenje časopisa za crkvenu glazbu Sv. Cecilija (1877-1878). Bio je to prvi glazbeni časopis u Hrvatskoj. Uz Ivana Zajca kao urednik se pojavljuje i Miroslav Cugšvert. Zajc je u spomenutom časopisu uređivao glazbeni dio te je tu otisnuo i nekoliko svojih skladbi.
Zajčev glazbeni opus, koji uključuje sve glazbene oblike sakralne glazbe, još je uvijek većim dijelom nepoznat u našoj glazbenoj i crkvenoj praksi. Zato će se u izlaganju, u kontekstu povijesno-društvenih te crkveno-liturgijskih okolnosti, predstaviti i razmotriti upravo Zajčev opus sa sakralnom tematikom.
Zajc’s Sacral Music
Although the composer Ivan Zajc was his whole life preoccupied with theater, in his oeuvre is an interest in sacral music also recognizable. Specifically, Zajc‘s impressive oeuvre (more than 1000 works) includes c. 120 titles that belong to sacral themes.
The fact is also that under the influence of German Cecilians at the end of the 19th century Zajc participated in the first attempts to reform the church music in Croatia through the establishment of the journal for church music Sv. Cecilija (1877-78). It was the first music journal in Croatia. Along with Ivan Zajc as editor also appears Miroslav Cugšvert. In aforementioned journal Zajc edited the musical section in which he printed a few of his works as well.
Zajc’s musical oeuvre, which includes all musical forms of sacral music, is still largely unknown in our music and church practice. That is why this paper, in the context of sociohistorical and ecclesiastical-liturgical circumstances, will present and discuss precisely Zajc‘s oeuvre with sacral themes.
Nepoznati Zajc: opera La Dea della Montagna, ovvero I Minatori (1899)
Planinska boginja ili rudari, jedna od posljednjih Zajčevih opera, skladana je 1899. (navodno za kazalište Scala u Milanu), a praizvedena je u koncertnom obliku tek 1983. Sadržajem i dramaturško-glazbenom realizacijom ona se izdvaja iz Zajčeva glazbenoscenskog opusa. Talijanski libreto J. Fontane obrađuje tipično romantičku priču o uplitanju demonskih prirodnih sila u ljudski život: glavni je junak podvojen između „zemaljske“ ljubavi i mračnih strasti planinske boginje, ali je iskupljen žrtvom voljene žene. Opera je podijeljena na prizore koji neposredno prelaze jedan u drugi, bez opsežnih recitativa i raskošnih arija, uz povremenu uporabu provodnih motiva. Radnja je nošena dinamizmom skupnih prizora u koje su ugrađene dionice solista. Scensko zbivanje oživljavaju zborovi i plesovi mornara, seljanki i rudara. Učinkoviti su prizori s nastupima vila i planinske boginje. Orkestar je važan čimbenik u tim scenama fantastike kao i u gradacijama na kraju svakoga od triju činova. Glavne su uloge majstorski profilirane. Koncentrirana, dramaturški sjajna cjelina osvaja snagom glazbenog nadahnuća. Nadograđujući na tradiciju operne priče 19. stoljeća Zajc je dao vrijedan prilog hrvatskom glazbenom romantizmu.
Unknown Zajc: the Opera La Dea della Montagna, ovvero I Minatori (1899)
La Dea della Montagna, ovvero I Minatori, one of Zajc’s last operas, was composed in 1899 (allegedly for the La Scala Theatre in Milan), and was first performed in a concert form only in 1983. Its content and dramaturgical-musical realization singles it out from the rest of the Zajc’s stage oeuvre. The Italian libretto by J. Fontana deals with a typically romantic story of interference of demonic natural forces in human life: the main hero is torn between „earthly“ love and dark passions of mountain goddess, but is redeemed by the sacrifice of the woman he loves. The opera is divided into scenes directly crossing into one another without extensive recitatives and luxurious arias, with occasional use of leading motives. The plot is driven by the dynamics of group scenes in which are embedded the solo sections. Stage occurence is revived by the choirs and dances of sailors, peasant women and miners. The scenes with performances of fairies and mountain goddess are powerfull. The orchestra is an important factor in these scenes of fiction as well as in the gradations at the end of each of the three acts. The main roles are profiled masterly. Concentrated, dramaturgically excellent entireness overwhelmes with the power of its musical inspiration. By building on the tradition of the 19th-century operatic stories Zajc has made a valuable contribution to the Croatian musical Romanticism.
Ivan Zajc i njegova recepcija u slovačkoj glazbenoj kulturi
U razmatranju recepcije istaknutog hrvatskog skladatelja Ivana Zajca (1832-1914) u slovačkoj glazbenoj kulturi moramo obratiti pozornost na uzajamne kulturne i društvene hrvatsko-slovačke odnose koje je nedvojbeno intenzivirala – osobito u 19. stoljeću – slavofilija. Iznimno je važna činjenica da je Zajčev otac, voditelj vojničkog orkestra Johann Zajitz (1800-1854) kratko vrijeme bio aktivan i u Bratislavi. Od Zajčeve obilne glazbene proizvodnje osobitu su pozornost u Slovačkoj izazvali njegovi muški zborovi i glazbeno-scenska djela. Vojnički orkestri također su pridonijeli širenju njegove glazbe.
Slovački zbor (Slovenský spevokol) s velikim je uspjehom u Martinu 1871. izveo Zajčev muški zbor U boj koji je tada postao dijelom stalnog repertoara tog zbora. Naime, u tom su se razdoblju, osobito u vrijeme kada je Slovački zbor vodio zborovođa Ján Kadavý (1873-1883), zborovi slavenskih skladatelja pjevali na izvornom jeziku. Ova praksa dokumentirana je također i sačuvanim primjercima Zajčevih zborova s izvornim hrvatskim tekstom: U boj, Hrvatske gore (Gore, mile gore), Noćni stražari (Tiha noć je nastala) i Večer na Savi (Tiha noć je krila). Međutim, postoje i drugi zborovi koji su sačuvani u prijevodima. Popularnost Zajčevih zborskih djela svakako je povezana s činjenicom da su se poklapala s razdobljem u kojem se ideal muških zborskih skladbi temeljio uglavnom na homofonskoj teksturi. Osobita pozicija zbora U boj, koji je skladatelj kasnije uključio u svoju operu Nikola Šubić Zrinjski, rezultat je i simboličkog značenja tog zbora u jačanju nacionalnog identiteta u Slovačkoj.
Od Zajčevih glazbeno-scenskih djela u Slovačkoj su bile izvedene opereta Mannschaft an Bord! (Bratislava i Košice, 1866) i operetom proglašena Die Hexe von Boissy (Košice, 1870). U novo uspostavljenoj Čehoslovačkoj Republici Opera Slovačkog narodnog kazališta u Bratislavi je 29. listopada 1925. pripremila slovačku premijeru Zajčeve najpopularnije opere, glazbene tragedije Nikola Šubić Zrinjski, kao izraz jačanja slovačkih i hrvatskih, odnosno čehoslovačkih i južnoslavenskih odnosa. Izvedbom je ravnao Bedřich Holeček, kazališni redatelj bio je Achille Viscusi, a do izražaja su došli solisti Zdeněk Otava (Zrinjski), Helena Bartošová (Jelena) i Dobřena Šimáňová (Eva). Reakcija publike bila je odobravajuća, kao i većina kritike. Za suvremenike u Slovačkoj Ivan Zajc bio je poznati hrvatski skladatelj. Ipak, njegova su djela povijesnom selekcijom isključena iz repertoara slovačkih izvodilačkih ansambala u drugoj polovini 20. stoljeća.
Ivan Zajc and his Reception in Slovak Music Culture
Considering the reception of the outstanding Croatian composer Ivan Zajc (1832–1914) in the Slovak music culture we have to pay attention to mutual cultural and social Croatian–Slovak relations, which were undeniably intensified – especially in the 19th century – by the Slavophilism. It is a remarkable fact that Zajc’s father, the military bandmaster Johann Zajitz (1800–54) was active also in Bratislava for a short period. From Zajc’s ample music output it is especially his male choir pieces and musical stage works which aroused attention in Slovakia. Military bands helped to spread his music too.
With great success the Slovak Choir (Slovenský spevokol) in Martin performed Zajc’s male choir U boj in 1871, which then became part of the permanent repertory of the choir. It was namely in this period, particularly when the Slovak Choir was led by the choirmaster Ján Kadavý (1873–83), that the choral pieces of Slavic composers were sung in the original language. This practice is documented also by the preserved copies of Zajc’s choral pieces with original Croatian text U boj, Hrvatske gore (Gore, mile gore), Noćni stražari (Tiha noć je nastala) and Večer na Savi (Tiha noć je krila). However, there are other choral pieces which are preserved in translations. The popularity of Zajc’s choral works was certainly related to the fact that they were in accord with the period ideal of male choral compositions based mostly on homophonic texture. The specific position of the choir U boj, included later by the composer into his opera Nikola Šubić Zrinjski, was due also to its symbolic meaning in Slovakia, to the strengthening of the national identity.
Among Zajc’s musical stage works the operetta Mannschaft an Bord! (Bratislava, Košice, both in 1866) and Die Hexe von Boissy (Košice, 1870) declared as operetta, were performed in Slovakia. In the newly established Czechoslovak Republic the Opera of the Slovak National Theatre in Bratislava prepared the Slovak premiere of Zajc’s most popular opera, the music tragedy Nikola Šubić Zrinjski on October 29, 1925, as an expression of the strengthening of Slovak and Croatian, or Czechoslovak and South-Slavic relations. It was conducted by Bedřich Holeček, stage director was Achille Viscusi, and the soloists Zdeněk Otava (Zrinjski), Helena Bartošová (Jelena) and Dobřena Šimáňová (Eva) came to the fore. The reactions of the audience and the majority of the critique were appreciative. For the contemporaries in Slovakia Ivan Zajc was a renowned Croatian composer. Nevertheless, his works were excluded by the historical selection from the repertories of the Slovak performing ensembles in the second half of the 20th century.
Stanje Zajčeva opusa – ispravci i revizije opernih opusa
Povijest skladateljske prakse numeriranja pojedinačnog glazbenog djela oznakom opus (op.) uz dodatak broja, koja se uobičajila u 18. stoljeću u svrhu identifikacije i razlikovanja među naslovima autorovih skladbi, a od 19. stoljeća i s tendencijom prema kronološkom redanju brojeva opusa, pokazala je brojne i u konačnom ishodu nepouzdane i nedosljedne načine označavanja. Tematski katalozi, koje je muzikološka znanost pokrenula od 19. stoljeća, pokušaj su sistematizacije skladateljskih opusa, potrebnog kako za njezino očuvanje, tako i za širu (izvodilačku, istraživačku itd.) primjenu. Primjer skladateljske ostavštine Ivana Zajca u tom je smislu jedinstven u hrvatskoj glazbi s obzirom na: 1. skladateljevu urednu i ustrajnu evidenciju vlastita opusa (popisi skladbi s nizom zadanih detaljnih podataka); 2. ogroman broj opusa (1202 numerirana i 62 bez oznake opusa); 3. arhiviranje skladbi (knjige u kojima je Zajc uvezivao pojedina ili skupine djela, tzv. libri); 4. brigu oko rukopisa (čuvani autografi i vlastiti prijepisi), i 5. muzikološki rad Huberta Pettana čiji iscrpan i opsežan Popis skladbi Ivana Zajca (Zagreb: JAZU, 1956) i danas predstavlja temeljnu literaturu. Problematika Zajčeve numeracije opusa jest neujednačenost i prekobrojnost, a jedinog referentnog (Pettanovog) popisa što taj enormno značajan rad na području sređivanja skladateljeve građe nema nasljednika u smjeru sveobuhvatnog, sistematskog tematskog kataloga. Ovaj rad na primjeru opernog stvaralaštva donosi odgovor na pitanje što sve u popisu Zajčevih skladbi obuhvaća oznaka opus te predočava sve neujednačenosti u numeriranju opusa (odnosno načine na koje autor označava partiture, glasovirske izvode, izdvojene odlomke ili verzije pisane za solističke glasove uz orkestar ili glasovir, zborove, simfonijski orkestar, obrade za puhački orkestar, klavir dvoručno i četveroručno, tisak, revizije i sl.), čime će se u pitanje postaviti i prihvaćeno brojčano stanje građe. Izloženim će se navodima naglasiti potreba za revidiranjem dosadašnje prezentacije Zajčeve skladateljske građe te obveza struke za stvaranjem primjerenog, prema suvremenim potrebama i kriterijima izrađenog, kataloga djela jednoga od najproduktivnijih hrvatskih skladatelja.
The Current State of Zajc’s Opus – Corrections and Revisions of His Operatic Works
The history of composing practice of numbering single musical works by the marking opus (op.) with added number, which became customary in the 18th century for the purpose of identifying and distinguishing the titles of the author’s works, and from the 19th century with a tendency toward the chronological numbering of works, showed numerous and in the final outcome unreliable and inconsistent ways of labeling. Thematic catalogues, which the musicological scholarship initiated in the 19th century, represent the attempt of systematization of composers’ oeuvres which was necessary for their preservation, as well as for wider (performing, research, etc.) use. In this regard the compositional legacy of Ivan Zajc represents the unique model in Croatian music with respect to: 1) the composer’s orderly and persistent record of his own oeuvre (lists of works with a series of default detailed data); 2) vast opus number (1202 numbered and 62 without the opus number); 3) archiving of the works (books in which Zajc bounded individual or group works, the so called libri); 4) the care for manuscripts (preserved autographs and handwritten transcripts); and 5) musicological work of Hubert Pettan whose detailed and comprehensive Popis skladbi Ivana Zajca (List of works by Ivan Zajc; Zagreb: Yugoslav Academy of Sciences and Arts, 1956) still represents the fundamental literature. Zajc’s oeuvre numbering is inconsistent and redundant, and the only reference list (by Pettan) which is extremely important in the field of sorting the composer’s material has no heir in the direction of establishing a comprehensive systematic thematic catalogue. On the example of operatic creation, this paper brings the answer to the question what is in the list of Zajc’s compositions implied by the marking opus and presents all inconsistencies in the numbering of the oeuvre (i. e. the ways in which the author marked scores, piano reductions, isolated passages or versions written for solo voices with orchestra or piano, choirs, symphony orchestra, arrangements for wind orchestra, piano two-hands and four-hands, print, revisions etc.), which will also put into question the accepted numerical state of the material. The exposed assertions will emphasise the need to revise the current presentation of Zajc’s compositional material and the duty of musicology to produce, according to modern needs and criteria, a suitable catalogue of works of one of the most productive Croatian composers.
Skladbe Ivana Zajca na šelakovim gramofonskim pločama
Skladbe Ivana Zajca bile su vrlo popularne za njegova života i poslije, pa je razumljivo da su se snimale na ploče. Doba šelakovih ploča trajalo je od početka 20. stoljeća do kraja 1960-ih. Na temelju istraživanja u javnim i privatnim fonotekama te pregledavanjem kataloga ploča domaćih i stranih izdavačkih kuća utvrđeno je da je na šelakovim pločama snimljena 91 skladba Ivana Zajca.
Prve Zajčeve skladbe snimila je u Zagrebu 1902. engleska tvrtka Gramophone Co. uz pomoć svoje njemačke podružnice. Do početka Prvoga svjetskog rata snimali su ih njemačke tvrtke Odeon i Favorite, francuska Pathé te ponovno engleska Columbia te na kraju i hrvatski izdavač Sokol. Poslije Prvog svjetskog rata pa do 1945. Zajčeva su djela snimale hrvatske tvrtke Edison Bell Penkala i Elektroton te strane tvrtke Columbia i His Master’s Voice.
Arije i duete iz opera Nikola Šubić Zrinjski i Lizinka, operete Nihilistica, vokalnu liriku, budnice i koračnice izvodili su prvaci zagrebačke Opere: Anka Horvat, Irma Polak, Micika Freudenreich, Ernesto Camarotta, Bogdan pl. Vulaković, Zbor hrvatskog tipografskog društva Sloga i vojnička glazba Zagrebačke VII. hrvatsko-slavonske domobranske pukovnije, 16. kraljevske pješačke pukovnije i c. i kr. 70. pukovnije. 1930-ih godina snimali su ih operni prvaci toga doba Maja de Strozzi, Zlata Gjungjenac, Zinka Kunc, Marko Vušković, Nikola Cvejić, Pierre Pierotić, Aleksandar Griff i kvartet članova pjevačkog udruženja Lisinski.
Compositions by Ivan Zajc on Shellak Gramophone Records
Ivan Zajc’s works were very popular during his lifetime and after it, so it is understandable that they were recorded on records. The age of shellak gramophone records lasted from the early 20th century until the end of the 1960s. Based on the research in the public and private record libraries and browsing the record catalogues of local and foreign publishing houses it was found that 91 Zajc’s works in all had been recorded on shellak gramophone records.
The first Zajc’s works were recorded in Zagreb in 1902 by the English company Gramophone Co. with the help of its German subsidiary. By the beginning of World War I they were recorded by the German companies Odeon and Favorite, French Pathé, then again the English company Columbia, and finally also by the Croatian publisher Sokol. After the World War I until 1945 Zajc’s works were recorded by Croatian companies Edison Bell Penkala and Elektroton, as well as by foreign companies Columbia and His Master’s Voice.
Arias and duets from the opera Nikola Šubić Zrinjski and Lizinka, operetta Nihilistica, vocal lyric, patriotic songs and marches were performed by the champions of Zagreb Opera: Anka Horvat, Irma Polak, Micika Freudenreich, Ernesto Camarotta, Bogdan Vulaković, the Choir of Croatian Typographic Society Sloga and the military music of the Zagreb 7th Croatian-Slavonian Home Guard Regiment, the 16th Royal Infantry Regiment and the 70th Imperial and Royal Regiment. During the 1930s they were recorded by the opera champions of that period Maja de Strozzi, Zlata Gjungjenac, Zinka Kunc, Marko Vušković, Nikola Cvejić, Pierre Pierotić, Aleksandar Griff and the quartet consisting of members of the singing society Lisinski.
Ivan Zajc u kolopletu hrvatske glazbene historiografije
O Ivanu Zajcu, najplodnijem hrvatskom skladatelju, ni 100 godina nakon njegove smrti nema monografije. Uzrok tome je vjerojatno upravo njegov golemi opus, kojemu valja dodati i sve ostale Zajčeve djelatnosti: dirigentsku, organizacijsku, ravnateljsku, pedagošku. Međutim, premda nema monografije, postoje brojni glazbenohistoriografski tekstovi, koji upravo svojom brojnošću korespondiraju sa Zajčevim skladateljskim opusom. Stoga će se ovaj rad usredotočiti u prvom redu na glazbenohistoriografske sinteze. Razlog je jednostavan. One su, naime, ponajbolji izvori za iščitavanje temeljnog autorova mišljenja o skladateljevim djelatnostima i opusu u cjelini, rekli bismo njegova „pogleda odozgo“. Nakon Povijesti glazbe Vjenceslava Novaka (s kraja 19. st., rukopis, objavljeno 1994) i Kratke povjesti glazbe Stjepana Hadrovića (1911), koje su napisane još za Zajčeva života, opće povijesti glazbe napisali su Josip Andreis, Hubert Pettan, Nenad Turkalj i Stanislav Tuksar, dok su povijesti hrvatske glazbe napisali Božidar Širola, Branimir Ivakić, Hubert Pettan, Josip Andreis, Lovro Županović, Ennio Stipčević, Stanislav Tuksar, te kao kuriozum, istaknuti bugarski muzikolog Ivan Kamburov (1883-1955). Ipak, iz razmatranja neće biti izostavljene ni pojedine specijalističke studije, kojima se postupno gradi put do toliko željene i još uvijek neostvarene monografije.
Ivan Zajc in the Whirlpool of Croatian Music Historiography
Even one hundred years since his death there is no monograph on the most prolific Croatian composer Ivan Zajc. The reason for this lies probably in his huge opus, to which all Zajc’s other activities should be added: conducting, organizing, managing, and teaching ones. However, there exist numerous music-historiographical texts which correspond in their number to Zajc’s compositional output. This is why this paper will be primarily focused on music-historiographical syntheses and the reason for it is simple. Namely, they are the best sources for reading the author’s fundamental opinion on the composer’s activities and composing opus as a whole, i.e., we might say, reading off his “view from above”. After Vjenceslav Novak’s (1859-1905) Povijest glazbe [History of Music, manuscript from the end of the 19th century; published in 1994] and Stjepan Hadrović’s (1863-1934) Kratka povjest glazbe [A Short History of Music, 1911], which had both been written still in Zajc’s lifetime, general music histories were written by Josip Andreis (1909-1982), Hubert Pettan (1912-1989), Nenad Turkalj (1923-2007) and Stanislav Tuksar (1945), while histories of Croatian music were written by Božidar Širola (1889-1956), Branimir Ivakić (1906-1943), Hubert Pettan, Josip Andreis, Lovro Županović (1925-2004), Ennio Stipčević (1959), Stanislav Tuksar, and as a curiosity, by the prominent Bulgarian musicologist Ivan Kamburov (1883-1955). Nevertheless, particular specialized studies which gradually build a path to the desired and still unachieved monograph will not be omitted from thsi paper.
Post-’emancipacijska’ migracija srednjo- i istočno-europskih židovskih glazbenika: ulazak u umjetničku glazbu Zapada, transferi tradicionalnih židovskih glazba i inovacije u zapadnim umjetničkim i popularnim glazbama
Postoji nebrojeno mnogo izvještaja o kolektivnoj ‚emancipaciji‘ europskih Židova u 19. stoljeću u određenim regijama ili zemljama, ili u individualnim biografijama. Mnogi od njih prepričavaju kronologiju općeg europskog prosvjetiteljstva (Aufklärung) i s njim povezanih ideja društvene reforme koja koristi razum, znanja i otkrića da bi osporila ideje koje počivaju na tradiciji ili objavi te da bi se suprotstavila zlouporabi položaja od strane crkve i države. Političke ideje prosvjetiteljstva naposljetku su proizvele židovski prosvjetiteljski pokret (Haskala) te konačno pokrenule ono što se shvaća kao građanska „emancipacija“ europskog židovstva. U zapadnoj je Europi modernizacija rezultirala društvenom pokretljivošću Židova i rastućim bogatstvom. Nasuprot tome, u početnim se fazama modernizacije u Rusiji i Poljskoj javljaju siromaštvo i nezaposlenost. Sporost i niska razina gospodarske ekspanzije zajedno s brojnom i brzo rastućom židovskom populacijom stvorile su uvjete različite od onih na Zapadu: malo gospodarskih pogodnosti, pojačanu konkurenciju, a mnogi su Židovi potražili priliku drugdje. Milijuni su migrirali prema zapadu – uglavnom preko oceana – odražavajući ‚privlačnost‘ europskog ruba Atlantika i američkog industrijskog razvoja te ‚odbojnost‘ političkih čimbenika, uključujući pogrome, politički antisemitizam te određene revolucionarne aktivnosti.
Židovska glazbena aktivnost na kraju osamnaestog stoljeća uglavnom se svodila na liturgijske funkcije i privatne proslave ili događanja. Do kraja 18. stoljeća ono što danas shvaćamo kao zapadnu umjetničku glazbu u feudalnoj je Europi uglavnom bilo ograničeno na Crkvu te u 17. i 18. stoljeću na aristokratske dvorove, a i jedno i drugo je u pravilu bilo nedostupno Židovima. Štoviše, u Europi je židovski musicking bez izuzetka potisnula „Glazbena kleveta protiv Židova“, varijacija priče o Muci u kojoj Židov ubija nedužnog kršćanskog dječaka kako bi ušutkao njegovu „harmoničnu“ muzikalnost, dok se na židovski musicking gledalo kao na „buku“.
Ovaj povijesni slijed – opće europsko prosvjetiteljstvo, židovsko prosvjetiteljstvo, židovska ‚emancipacija‘ i dramatičan porast židovske populacije i migracije u Europu i preko oceana – kronološki se poklapao s „pograđanštenjem“ i pretvaranjem u robu umjetničke glazbe u Europi. U ovom ću radu pokazati da je rezultat tih trendova bio:
- ulazak prethodno isključenih židovskih skladatelja, izvođača i publike u zapadnu umjetničku glazbu, kao i postizanje uspjeha u njoj;
- prijenos i razvoj tradicionalnih židovskih glazbi, kao što su a) liturgijska i kantoralna glazba, b) klezmer glazba te c) jidiš kazalište u zapadnu Europu i Sjevernu Ameriku;
- istaknuto sudjelovanje Židova u glazbenim inovacijama kao što su: a) glazbeno kazalište, b) kabare, te c) filmska glazba.
Post-‘Emancipation’ Migration of Central and Eastern European Jewish Musicians: Entreé into Western Art Music, Transfers of Traditional Jewish Musics, and Innovations in Western Art and Popular Musics
There are innumerable accounts of the 19th century ‘Emancipation’ of European Jews collectively, in specific regions or countries, or in individual biographies. Many recount the chronology of general European Enlightenment (Aufklärung) and associated ideas of societal reform using reason, knowledge, discoveries to challenge ideas resting on tradition, or revelation, and opposing abuse of power by church and state. Political ideas of the Enlightenment subsequently gave rise to the Jewish Enlightenment movement (Haskala), and ultimately launched what has come to be understood as the civic ‘Emancipation’ of European Jewry. In Western Europe, modernization resulted in social mobility of Jews and increasing wealth. In contrast, in the initial stages of modernization in Russia and Poland, poverty and unemployment appeared. The slow pace and low level of economic expansion, together with a large and rapidly growing Jewish population created conditions different from the West: few economic opportunities, competition intensified, and many Jews sought opportunities elsewhere. Millions migrated westward – mainly overseas – reflecting the ‘ pull’ of Atlantic Rim European and of American industrial development, and the ‘push’ of political factors including pogroms, political anti-Semitism, and specific revolutionary activities.
Jewish musical activity at the close of the eighteenth century was largely confined to liturgical functions and private celebrations or events. Until the end of the 18th century, what we now view as Western Art Music was largely confined in feudal Europe to the Church and, in the 17th and 18th centuries, to the aristocratic courts, both generally inaccessible to Jews. Moreover, in Europe Jewish musicking was universally constricted by “The Music Libel Against the Jews,” the variation on the Passion story in which an innocent Christian boy is killed by a Jew in order to silence his “harmonious” musicality, even as Jewish musicking itself is viewed and heard as “noise.”
This historical sequence: the general European Enlightenment, the Jewish Enlightenment, the Jewish ‘Emancipation,’ and dramatic growth of the Jewish population and migration in Europe and overseas, coincided chronologically with the “bourgeoisification” and commodification of art music in Europe. In this paper I show that these trends resulted in:
1) Entreé of previously excluded Jewish composers, performers, and audiences into, and achievement of prominence in, Western Art Music;
2) Transfer and development of traditional Jewish musics, such as a) liturgical and cantorial music, b) klezmer music, and c) Yiddish Theatre to Western Europe and North America;
3) Prominent Jewish participation in musical innovations such as: a) Musical Theatre, b) Cabaret, and c) Cinema Musics.
Pritjecanje zapadne glazbe u Koreju početkom 20. stoljeća – Usredotočenost na skladateljevu glazbenu pozadinu, obrazovanje i identitet
Društvena situacija s početka 20. stoljeća u Koreji predstavljala je skladateljima toga razdoblja kompleksno i brzo mijenjajuće okruženje. Heterogene činjenice zapadne kulture naglo su prihvaćene u korejskom tradicionalnom društvu te su zasjenile tisuće godina tradicije. Zapadna kultura koja je u korejsko društvo prodrla kroz kršćanstvo utjecala je na kulturu, politiku, stil života i uvjerenja korejskog naroda.
Konkretno, prodor zapadne glazbe koji je započeo krajem 19. stoljeća značajno je utjecao na korejsku glazbu. U tom kontekstu ‚skladatelj‘ je primarni predmet interesa u raspravi o prodoru zapadne glazbe u Koreju. Skladatelji toga razdoblja predvodili su korejsku glazbenu kulturu s početka 20. stoljeća zbog ključne uloge koju su odigrali na području glazbe.
Ova će prezentacija obuhvatiti i istražiti kako su ti skladatelji ušli u svijet zapadne glazbe, primili glazbeno obrazovanje te utvrdili svoj identitet uglednih skladatelja. Opseg ovog rada ograničen je na korejske skladatelje koji su rođeni između 1890-ih i 1920-ih godina: Hong, Nan-p‘a (1898-1941), Ahn, Ki-Young (1900-1980), Chae, Dong-Sun (1910-1953), Kim Dong-Jin (1913- ), Ik-t‘e (1906-1965), Kim, Soun-Nam (1917-1983), Yun, Isang (1917-1995), Lee, Sang-Keun (1922-2000), La, Un-Yung (1922-1994), itd.
Glazbena kultura u 20. stoljeću u Koreji bila je pod utjecajem institucije ‚crkve‘ i ‚himana‘ koji su se pjevali u crkvama. U tom je kontekstu ‚kršćanstvo‘ odigralo važnu ulogu u recepciji zapadne glazbe u Koreji. Uvid u obrazovnu pozadinu korejskih skladatelja pokazao je da u Koreji glazbeno obrazovanje nije bilo glavni čimbenik. Budući da su mnogi skladatelji studirali u Japanu, prijem zapadne glazbe u Koreji prošao je kroz kanal Japana i istovremeno uzrokovao jasan utjecaj japanskih glazbenih trendova na korejsku glazbu. Također je važno priznati da rani korejski skladatelji nisu bili usredotočeni samo na skladanje, nego su se također razvijali i kao izvođači i kao pedagozi. Oni su, naime, često istodobno i skladali i podučavali glazbu.
Sociološki gledano ovi su skladatelji proživjeli vrtlog radikalnih društvenih i političkih zbivanja u Koreji, uključujući razdoblje prosvjetiteljstva, japansko kolonijalno razdoblje, neovisnost od Japana, podjelu Koreje i modernizaciju. U skladu s tim na njihovu je glazbu snažno utjecala burna politička i društvena klima toga vremenskog razdoblja. Ova će rasprava jasno ukazati na načine na koje su korejski moderni skladatelji 20. stoljeća otkrivali svoj glazbeni svijet te na vrstu utjecaja koji je stvorila njihova glazba. Ovaj pregled pružit će važnu perspektivu za razumijevanje korejske glazbe 20. stoljeća, a također se može koristiti i kao temelj za stilistička i estetička istraživanja korejske glazbe 20. stoljeća.
The Influx of Western Music in Early 20th-Century Korea – Focusing on the Composer’s Musical Background, Education and Identity
The social situation of the early 20th century in Korea offered a complex and rapidly changing environment to the composers of those times. The heterogeneous facts of Western culture were abruptly adopted into the Korean traditional society, and trumped thousands of years of tradition. The Western culture, which has permeated into the Korean society through Christianity, has influenced the culture, politics, lifestyle, and thoughts of the Korean people.
In particular, the influx of Western music that began at the end of the 19th century left a significant impact on the music of Korea. In this context, the ‘composer’ is the primary object of interest in discussing the influx of Western music in Korea. The composers from this time led the Korean music culture of the early 20th century, as they played the main roles in the field of music.
This presentation will cover and explore how these composers entered the world of Western music, received musical education, and established their identities as renowned composers. The scope of this study is limited to Korean composers who were born from the 1890s to the 1920s: Hong, Nan-p’a (1898-1941), Ahn, Ki-Young (1900-1980), Chae, Dong-Sun (1910-1953), Kim, Dong-Jin (1913- ), An, Ik-t’e (1906-1965), Kim, Soun-Nam (1917-1983), Yun, Isang (1917-1995), Lee, Sang-Keun (1922-2000), La, Un-Yung (1922-1994) etc.
The music culture of the 20th-century Korea was influenced by the institution of the ‘church’ and the ‘hymns’ that were sung in churches. In this context, ‘Christianity’ played an important role in the reception of the Western music in Korea. Upon examining the educational background of Korean composers, one can recognize that the music education in Korea was not a major factor. Because many composers studied in Japan, the reception of Western music in Korea passed through the channel of Japan and simultaneously caused Korean music to be keenly influenced by Japan’s music trends. And it is important to acknowledge that the early Korean composers not only concentrated on composing, but also evolved as performers and in education. They often composed while simultaneously teaching music.
Sociologically, these composers have lived through a maelstrom of radical social and political events in Korea, including the period of Enlightenment, the Japanese colonial period, the independence from Japan, the separation of Korea, and modernization. Accordingly, their music was deeply influenced by the tumultuous political and societal climate of that time period. Through this discussion, the ways of how the Korean modern composers of the 20th century have unfolded their music world, how their music was influenced by their time period, and what kind of impact was created by their music will be clearly addressed. This examination will provide an important perspective in understanding the 20th-century Korean music, and can also be used as a foundation for the stylistic and aesthetic research of the 20th-century Korean music.
„Vox populi“ – uloga i značenje zborskih brojeva/ulomaka u hrvatskoj nacionalno-povijesnoj opernoj trilogiji (Mislav, Ban Leget, Nikola Šubić Zrinjski) Ivana Zajca
Zajčeva nacionalna operna trilogija („velika izvorna narodna glasbena drama“ Mislav iz 1870, „izvorna narodna opera u 3 čina“ Ban Leget iz 1872, „glasbena tragedija u 3 čina“ Nikola Šubić Zrinjski iz 1876) stvarana je u slijedu, tijekom šest godina, a Zajc je dotad u svojemu skladateljskom radu imao iskustva ranoga opernoga te intenzivnijega operetnoga stvaralaštva, koje joj je neposredno prethodilo. Međutim, u hrvatskom su kulturno-povijesnom prostoru toga doba spomenute Zajčeve opere – uz operu Ljubav i zloba Lisinskoga – bile i jedine hrvatske nacionalne opere dotad skladane i izvedene (osim Porina koji je bio izveden tek 1897).
Kao što je u dosadašnjim istraživanjima ustanovljeno, izvanglazbeni sadržajni temelji nacionalnih opera uglavnom su bili nacionalnopovijesni (herojski) događaji, legende s nacionalnim obilježjima i narodni mitovi (u značenju naroda, puka, a ne ili ne samo u smislu folklornoga fenomena). Nacionalna opera 19. stoljeća, kao i nacionalni događaji na kojima se ona temeljila te oni koji su se zbili u doba njezina nastanka, osobito su bili snažni ondje gdje su se mogli pronaći zajednički, prepoznatljivi kulturni, politički i ekonomski sadržaji. Ipak, kao fenomen koji uključuje etnicitet, naciju, jezik, politički aspekt i glazbu, u nacionalnoj se operi – paradigmatičnom primjeru dodira glazbenoscenske vrste i nacionalnoga identiteta – primarno naglašavala ljudima (sredini) bliska tema/radnja, kojima je i bila namijenjena; štoviše, takva se uglazbljena priča trebala ticati naroda nekoga prostora više negoli naroda kao političkoga etniciteta.
Budući da nacionalnu operu čini sveza opere i naroda u njegovoj bîti, više nego drugi elementi (glazbeni ili izvanglazbeni), emanaciju te sveze, uz glavne nositelje, naslovne likove (protagoniste), osobito predstavljaju zborski brojevi/ulomci.
U tekstu se tematizira uloga, mjesto i značenje zborskih brojeva/ulomaka spomenutih opera, i to iz nekoliko aspekata: strukturne/gradbene forme, dramaturške uloge, tekstnoga sloja i njegove semantičke (značenjske) poruke putem ključnih pojmova i sintagma te glazbenosadržajne okosnice, odnosno iz aspekta njihovih međusobnih preklapanja/prožimanja.
Unutar tih kategorija, dakle, s obzirom na sadržajnotekstno i glazbeno tkivo opere, zborski se brojevi/dijelovi sagledavaju i na razini: njihove simboličke funkcije u nacionalnoj komponenti djela, potvrđivanja ideje nacionalnoga/identiteta pa tako i ideje o genezi nacije, folklorno-patriotskoga principa (koji se u njima napose očuvao), odnosa između „naroda“ i/ili „skupina“ i glavnoga/glavnih protagonista u operi, isticanja društvene uloge opere koja se oslanja na društveno-povijesni kontekst komunikacije (sociolegitimacijska dimenzija zborova), pokretačke/akcijske uloge zborskih dijelova (mobilizacijska funkcija), potom i političkoga okvira na temelju funkcija nositelja vlasti (starješina, ban, vojskovođa), identifikatora pripadnosti, naposljetku i uočavanja analogije kojom uspijevaju transcendirati okvire mjesta i vremena vlastite pojave (primjerice, U boj).
Srodnosti i razlike među trima Zajčevim operama, u segmentu zborskoga dijela, moguće je promotriti u kontekstu nekih primjera operistike 19. stoljeća, i to ponajprije u odnosu na prije nastala operna djela (Nabucco iz 1842; Hugenoti iz 1836) autora koji su utjecali na Zajca u većoj (Verdi) ili manjoj mjeri (Meyerbeer), a koja su se izvodila u zagrebačkom kazalištu, i to u razdoblju Zajčeva ravnanja Operom (1870-1889). S druge strane, opera Boris Godunov (nastala 1868-1869; prerađena 1871-1872, izvedena 1874) Musorgskoga, koju Zajc u vrijeme stvaranja svoje trilogije nije mogao poznavati, uzima se kao primjer opere u kojoj je naglašena uloga „naroda“ (predstavljena skupnim/zborskim prizorima) poprimila status usporediv s važnošću glavnoga lika.
“Vox populi” – The Role and Significance of Choral Numbers/Segments in Ivan Zajc’s Croatian National-Historical Trilogy (Mislav, Ban Leget, and Nikola Šubić Zrinjski)
Zajc’s national trilogy („the great original folk music drama“ Mislav from 1870, „the original folk opera in 3 acts“ Ban Leget from 1872, „the musical tragedy in three acts“ Nikola Šubić Zrinjski from 1876) was created in sequence, over six years and until then in his composing Zajc had an experience of early operatic and immediately preceding more intense operettic creativity. However, in the Croatian cultural space of the period the aforementioned Zajc’s operas – along with Lisinski‘s opera Ljubav i zloba (Love and Malice) – were also the only Croatian national operas that were composed and performed until then (except for Porin which was performed only in 1897).
As previous research showed, non-musical contents which were a base of national operas were generally national-historical (heroic) events, legends with national characteristics and folk myths (in terms of a nation, the people, and not, or not only in the sense of the folklore phenomenon). National opera of the 19th century, as well as national events which it was based on and those that occurred at the time of its creation, were particularly strong in cases where a common, recognizable cultural, political and economic activities could be found. However, as a phenomenon that involves ethnicity, nation, language, political aspect and music, in a national opera – a paradigmatic example of connection between musical-stage forms and national identity – is primarily emphasized a subject/plot close to the people (social milleu) for which it was intended; moreover, such a story set to music should concern the people from a certain area more than the nation as a political ethnicity.
Since a national opera seems to be made of a bound between the opera and the people in its essence, more than of other elements (musical or non-musical), the emanation of this relationship, along with its major representatives, title characters (protagonists), is especially represented by choral numbers/fragments.
The article discusses the role, place and significance of choral numbers/fragments of aforementioned operas from several aspects: structural/building forms, dramaturgical role, the text and its semantic message (meaning) through key notions and phrases, as well as the musical essence, i. e. from aspect of their mutual overlap/interference.
Within these categories, therefore with respect to the content of the text and musical material of the opera, choral numbers/parts will be considered on several levels: their symbolic function in the national component of the work; confirmation of the idea of national/identity, including ideas about the genesis of the nation; folk-patriotic principle (especially preserved in them); the relationship between “people” and/or “groups” and the main protagonist(s) of the opera; highlighting the social role of the opera, which relies on the socio-historical context of communication (social-legitimate dimension of the choirs); driving/action role of choral parts (the function of mobilization); the political framework based on the function of the public authority (headman, Banus, military leader); identifiers of appertaining; and finally perceiving of analogies, by which they manage to transcend the framework of time and place of their own instance (for example, U boj).
It is possible to observe the similarities and the differences between these three Zajc’s operas, concerning choral numbers, in the context of some examples of the 19th-century opera production, especially with regard to the opera works created earlier (Nabucco from 1842; Les Huguenots from 1836) of the authors who have influenced Zajc more (Verdi) or less (Meyerbeer), and which were performed in the Zagreb theater in the period of Zajc‘s management of Opera (1870-1889). On the other hand, Mussorgsky‘s opera Boris Godunov (written between 1868 and 1869; revised from 1871 to 1872, performed in 1874), which Zajc could not have known at the time of the creation of his trilogy, is taken as an example of the opera in which the emphasized role of “the people” (represented by the group/choral scenes) has assumed the status which can be compared to the importance of the leading character.
Ivan Zajc – Doprinos njegovoj recepciji u Sloveniji
Čini se da je Ivan Zajc nekako izostavljen iz muzikološke literature. Kao jedan od najistaknutijih hrvatskih skladatelja, dirigenata i pedagoga Zajc se jedva spominje u suvremenoj literaturi o glazbi u Sloveniji nakon njegove smrti. Jedini znanstveni rad o Zajcu u slovenskoj literaturi o glazbi u posljednjih pola stoljeća povijesno je prilično udaljen – Lovro Županović objavio je studiju o Zajčevoj korespondenciji u Muzikološkom zborniku iz 1967. godine.
Međutim, iz pregleda tiska prije Prvog svjetskog rata čini se da je Zajc bio dobro poznata i visoko cijenjena ličnost. Anton Sušnik 1895, Janko Barle također 1895, Stanko Premrl 1910, Ernst Krajanski 1911, Franc Kimovec 1915. godine – da spomenemo samo neke od autora u Sloveniji koji su pisali o Ivanu Zajcu – svi su mu oni odali počast pisanjem o njegovu radu i postignućima. On je bio jedna vrsta klasičnog skladatelja, što se može zaključiti iz zapisa nepoznatog novinara 1908. godine, u časopisu Dom in svet, vezano uz njegovu operetu Seoski plemić: „Kritičari hvale rad starog majstora Zajca i obećavaju mu ogroman uspjeh na pozornici.“ Nadalje, njegova je glazba također objavljena u časopisu Novi akordi, kao i u seriji partitura tada jedinog glazbenog izdavača Glasbena matica (primjerice sljedeće partiture su naširoko kružile: Seljanko, dušo draga; Dijaška; Oj, Korano; Ružica i Slavuj; Poputnica Nikole Jurišića, Pater noster itd.). Zajc je očito bio jedan od najtraženijih skladatelja unutar neposrednog konteksta tehnički prilično ograničene nacionalne izvodilačke prakse u Sloveniji.
U svom ću priopćenju pratiti povijest recepcije Ivana Zajca u Sloveniji iz dvije perspektive: najprije će biti predstavljena recepcija njegove glazbe, a potom će se analiza napisa o njemu razmotriti u kontekstu „kulturne razmjene“ koja je imala (i još uvijek ima) zanimljivu ulogu.
Ivan Zajc – A Contribution on His Reception in Slovenia
Ivan Zajc seems to be somehow missing out in the musicological literature. As one of the most prominent Croatian composers, conductors and educators, he has been hardly mentioned in the contemporary music literature in Slovenia after his death. The only scholarly paper during the last half of a century dealing with Zajc in the Slovenian literature on music is historically a rather distant one – Lovro Županović published a study on Zajc’s correspondence in Muzikološki zbornik (Musicological Annual) of 1967.
However, if one browses through the press before the Great War of 1914-18, Zajc seems to have been a well known and highly respected figure. Anton Sušnik in 1895, Janko Barle also in 1895, Stanko Premrl in 1910, Ernst Krajanski in 1911, Franc Kimovec in 1915 – to name only some of the authors in Slovenia writing about Ivan Zajc – they all payed him respect by writing about his work and achievements. He was a kind of a classic composer, as one may infer from an anonymous reporter’s note in 1908, in the journal Dom in svet, regarding his operetta Seoski plemić: „The critics are praising the work of the old master Zajc and promisses him huge success onstage.“ Furthermore, his music was also published in the magazine Novi akordi as well as in the score series of the then only music publisher Glasbena matica (for instance, the following scores were circulating rather widely: Seljanko, dušo draga; Dijaška; Oj, Korano; Ružica i Slavuj; Poputnica Nikole Jurišića; Pater noster, etc.). He was evidently one of the sought-after composers within the intimate context of the technically rather limited national performance practice in Slovenia.
In my paper I shall follow the reception history of Ivan Zajc in Slovenia from two perspectives: first, the reception of his music will be offered, afterwards an analysis of the writings on him will be discussed in the context of ‘cultural exchange’ that has played (and still does) an interesting role.
Između društvene nužnosti i umjetničke slobode: o pojavama migracije i kulturnog transfera kao dinamičkih principa u hrvatskoj glazbenoj kulturi od Lukačića do Zajca
Pojam ‘migracija’ potječe iz latinskog termina ‘migrare’, što znači ‘seliti se’, ‘doseliti’ i/ili ‘odseliti’, što predstavlja zbirni pojam za različite procese koji su uočeni u prirodi i zajednicama živih bića, uključujući i ljudsko društvo. Tako ćemo ga kao pojam naći u područjima stvarnosti što ih proučavaju zasebne discipline kao što su astronomija, biologija, medicina, kemija, genetika, geologija, informacijska tehnika, seizmika, botanika i subatomska fizika, ali nas naravno ovdje i danas isključivo zanima sociološko-kulturološki aspekt koji se tiče jednog posebnog slučaja u društvu: migracijâ glazbenika u hrvatskim povijesnim zemljama od početka 17. do kraja 19. stoljeća. Pritom ćemo razmatrati i općenite dimenzije tzv. kulturnog transfera kao popratne i važne komponente migracijskih procesa. U razmatranje će se uzeti u obzir dulja ili trajna promjena boravišta kako onih glazbenika koji su došli kao imigranti na teritorije hrvatskih povijesnih zemalja tako i onih koji su kao emigranti otišli izvan regionalnih ili nacionalnog boravišta u kojem su rođeni. Tzv. unutarnje migracije unutar pojedinih hrvatskih regija (odnosno povijesnih zemalja) ili nacionalnog teritorija neće se u ovome izlaganju uzimati u obzir, jer bi to za ovu priliku neprimjereno proširilo područje istraživanja.
Hrvatske povijesne zemlje čitavo su razdoblje od 17. do pred kraj 19. stoljeća proživjele većim dijelom kao regije pod političkom i administrativnom dominacijom i društveno-kulturnim utjecajima drugih većih državnih tvorevina: uža Hrvatska i Slavonija u cjelini u okvirima Habsburške monarhije, veći dijelovi Istre i Dalmacije u okvirima Venecije do njezina pada krajem 18. stoljeća, a jedino je Dubrovačka Republika bila samostalna do početka 19. stoljeća kada je nakon 1815. i ona inkorporirana u Habsburško carstvo.
U priopćenju će se detaljnije raspravljati o pojedinačnim slučajevima imigracije najistaknutijih glazbenika (u lokalnim razmjerima) i izraditi pokušaj njihove moguće tipologije; to su:
– tijekom 17. stoljeća: Gabrielo Puliti, Tomaso Cecchini i Gaetano de Stephanis;
– tijekom 18. stoljeća: Carlo Antonio Nagli, Benedetto Pellizzari, Jan Křtitel Vaňhal, Johann Pleyel i Ivan Werner;
– tijekom 19. stoljeća: Marco Lamperini, Tomaso Resti, Petrus Jacob Haibel, Domenico Barocci, Alberto Visetti, Eligio Bonamici, Georg Carl Wiesner-Morgenstern, Juraj Haulik i Miroslav Cugšvert.
Dvostruko brojniji emigracijski slučajevi glazbenika rođenih u hrvatskim povijesnim zemljama obuhvatit će sljedeće glazbenike:
– u 17. stoljeću: Francesco Sponga Usper, Ivan Lukačić, Damian Nembri, Atanazije Jurjević-Grgičević, Vinko Jelić, Juraj Križanić, Kristofor Ivanović i Đuro Baglivi;
– u 18. stoljeću: Petar Nakić, Vladislav Menčetić, Stephano N. Spadina, Giuseppe Michele Stratico, Paolo Serra i Josip Franjo Domin;
– u 19. stoljeću: Antun Sorkočević, Nikola Udina Algarotti, Dragutin Turányi, Franz von Suppé, Leopold Aleksandar Zellner, Ilma Murska, Irma Trputec-Terrée, Ema Vizjak de Nicolesco, Matilda Mallinger-Schimmelpfenig, Josip Kašman, Franjo Krežma, Milka T(e)rnina, te kao zaseban slučaj Ivan Zajc.
Pokušaj izradbe tipologije izradit će se na temelju sociološke teorije migracija i njezinih kategorija ‘odbojnog’ (push) i ‘privlačnog’ (pull) faktora, odnosno u našem slučaju društvenih nužnosti kao odrednica s izvanumjetničkim karakterom i negativnim nabojem s jedne i ostvarenja umjetničke slobode kao odrednica s umjetničkim karakterom i pozitivnim nabojem s druge strane.
Na posljetku, iznosi se mišljenje da se hrvatski glazbeno-umjetnički identitet stvarao u stalnom osciliranju između tradicije i inovacije, pri čemu su inovativna načela kao pozitivni faktor bila dijelom uvođena upravo imigracijskim glazbeno-kulturnim transferima. S druge strane, iako su pretežno društveno uvjetovane emigracijske pojave kao odljev ‘glazbenih mozgova’ imale u cjelini negativan učinak zbog osiromašenja emitivnih glazbenih kultura, na individualnom planu odlazak talentiranih pojedinaca predstavljao je za njih osobno nesumnjivo proširenje vlastite umjetničke slobode i puniju realizaciju njihovih stvaralačkih potencijala, što se u pojedinim slučajevima (npr. Lukačić, Nakić, Krežma, Trnina, Zajc) pokazalo i kao povratno kvalitativno dinamiziranje hrvatske glazbeno-kulturne scene.
Between Social Determinants and Artistic Freedom: On Migration and Cultural Transfer Phenomena as Dynamic Principles in Croatian Music Culture from Lukačić to Zajc
The term ‘migration’ has its origins in Latin term ‘migrare’, meaning ‘to move’, ‘to move in’, and/or ‘move away’, and it is used as a collective noun for various processes perceived in nature and communities of living beings, including human society. Thus it could be found in the areas of reality investigated by separate disciplines such as astronomy, biology, medicine, chemistry, genetics, geology, information techniques, seismics, botanics and subatomic physics, but hic et nunc we are, of course, exclusively interested in the socio-culturological aspect dealing with one special case in European society: migrations of musicians concerning Croatian historical lands from the beginning of the 17th to the end of the 19th centuries. In this we shall also deal with general aspects of the so-called cultural transfer as an accompanying and important component of migration processes. What will be taken into consideration are longer or permanent changes of domiciles both by those musicians who moved in as immigrants to the territories of Croatian historical lands and by those who moved away from their regional or national domiciles where they were born. The so-called inner migrations within particular Croatian regions (i.e. historical lands) or within the national territory will not be taken under consideration because this issue would inappropriately enlarge the area of investigation in this occasion.
Croatian historical lands lived throughout the period from the beginning of the 17th to the end of the 19th century mostly as regions under political and administrative domination, and under socio-cultural influences of other greater states: Croatia proper and Slavonia on the whole within the frames of the Habsburg Empire, and greater parts of Istria and Dalmatia within Venice until its fall at the end of the 18th century; only the Republic of Dubrovnik was independent until the very beginning of the 19th century when in 1815 it was also incorporated into the Habsburg Empire.
In this paper more details will be offered on individual immigration cases of most outstanding musicians (in local terms) and an attempt will be given of their possible typology:
– during the 17th century for: Gabrielo Puliti, Tomaso Cecchini and Gaetano de Stephanis;
– during the 18th century for: Carlo Antonio Nagli, Benedetto Pellizzari, Jan Křtitel
Vaňhal, Johann Pleyel and Ivan Werner;
– during the 19th century for: Marco Lamperini, Tomaso Resti, Petrus Jacob Haibel, Domenico Barocci, Alberto Visetti, Eligio Bonamici, Georg Carl Wiesner-Morgenstern, Juraj Haulik and Miroslav Cugšvert.
Twice more numerous individual emmigration cases of musicians born in Croatian historical lands will include:
– during the 17th century: Francesco Sponga Usper, Ivan Lukačić, Damian Nembri, Atanazije Jurjević-Grgičević, Vinko Jelić, Juraj Križanić, Kristofor Ivanović i Đuro Baglivi;
– during the 18th century: Petar Nakić, Vladislav Menčetić, Stephano N. Spadina, Giuseppe Michele Stratico, Paolo Serra i Josip Franjo Domin;
– during the 19th century: Antun Sorkočević, Nikola Udina Algarotti, Dragutin
Turányi, Franz von Suppé, Leopold Aleksandar Zellner, Ilma Murska, Irma Trputec-Terrée, Ema Vizjak de Nicolesco, Matilda Mallinger-Schimmelpfenig, Josip Kašman, Franjo Krežma, Milka T(e)rnina, and – as a special case – Ivan Zajc.
An attempt to build up a typology of these cases will be offered according to the sociological theory of migration and its categories of ‘push’- and ‘pull’-factors, i.e in this case of social determinants with extra-musical character and a negative charge on one side, and the realization of artistic freedom with musical character and a positive charge on the other side.
Finally, the author’s opinion is offered that the Croatian art music identity in the period under consideration had been created in the form of a permanent oscillation between tradition and innovation, in which innovative principles as a positive factor were partly introduced exactly by musico-cultural transfers through immigration processes. On the other hand – although mostly socially conditioned emmigration phenomena as a ‘musical brain-drain’ had had a negative outcome on the emitive musical cultures because of their respective impoverishment – the emmigration of talented musicians represented for their personal lives a doubtless enlargement of their artistic freedom and a fuller realization of their creative potentials, what in some cases (for example, those of Lukačić, Nakić, Krežma, Trnina, and Zajc) also meant a qualitative feed-back dynamization of Croatian musico-cultural stage.
Diskografija Ivana Zajca od razdoblja vinila do danas
Cilj je ovoga rada pružiti prvi sustavan i prema trenutačno dostupnim podatcima cjelovit popis diskografije Ivana Zajca od razdoblja vinila do danas. Nakon kronološkog pregleda Zajčeve diskografije zabilježene na dugosvirajućim (‘long play’) gramofonskim pločama, zvučnim kasetama i kompaktnim diskovima, pristupit će se analizi sakupljenog materijala po određenim parametrima: snimljenoj skladbi, izvođačima, nakladniku te mjestu i godini izdanja. Također će se razmotriti značenje diskografije u promicanju i istraživanju Zajčeva stvaralaštva. Usporedit će se različite snimke opere Nikola Šubić Zrinjski, njegova najizvođenijeg djela. Dijelove iz ove opere, prije svega zbor U boj, u boj, osim klasičnih glazbenika obradili su i snimili brojni popularni ansambli i solisti na albumima različite tematike. Razmotrit će se snimke još četiri opere (Amelia, Ban Leget, Mislav, Viteška ljubav) i jedne operete (Momci na brod), kao i snimke solo pjesama i zborova. Naposljetku, pažnja će se posvetiti i zvučnim izdanjima manje poznatih i rjeđe izvođenih orguljskih i komornih djela.
The Discography of Ivan Zajc from Vinyl till the Present Time
The aim of this paper is to offer the first systematic and – according to currently available data – complete list of discography of Ivan Zajc from the period of vinyl until present time. After a chronological overview of Zajc’s discography recorded on long play records, audio cassettes and compact discs, the analysis of the collected material will be made according to certain parameters: the recorded tracks, artists, publishers and the year and place of publication. The value of discography in promotion and research on Zajc’s creativity will also be considered. Various recordings of his most often performed work, the opera Nikola Šubic Zrinjski, will be compared. Except for classical musicians, many popular ensembles and soloists on albums of various themes have also interpreted and recorded parts from this opera, especially the choir U boj, u boj. Recordings of four more operas (Amelia, Ban Leget, Mislav, Viteška ljubav) and one operetta (Mannschaft an Bord!) will be discussed, as well as recordings of solo-songs and choirs. Finally, attention will be paid to the audio editions of lesser-known and rarely performed organ and chamber works.
“Veličanstvo zakona”: otpor Engleza operi
Ako karakteristično oštra izjava Bernarda Shawa iz 1911. godine, prema kojoj „povijest izvorne [engleske] glazbe, prekinuta Purcellovom smrću, ponovno započinje sa Sir Edwardom Elgarom“, više nije prihvatljiva znanstvenicima koji se bave britanskom glazbenom kulturom osamnaestog i devetnaestog stoljeća, ona ipak dostiže konvencionalnu mudrost, posebice u vezi s operom. ‚Neuspjeh‘ engleske opere kao domaćeg žanra između Purcella i Benjamina Brittena također je trajno uobičajena pojava. Pod rubrikom ‚Glazbene migracije i kulturni transferi‘ (određene u pozivu za sudjelovanje na ovome skupu) želio bih reći da takva čitanja engleske glazbe općenito, a posebice opere, zamračuju dugotrajnu bliskost između opere i književnosti na engleskom jeziku koju je zagovarao sam Shaw. Shawova vlastita percepcija sebe kao prirodnog nasljednika Richarda Wagnera svjedoči o ovoj bliskosti koju također potvrđuju djela drugih irskih pisaca, uključujući Johna Millingtona Syngea i Jamesa Joycea. S obzirom na srazmjerno slabu povijest recepcije britanske opere prije Brittena (na području na kojem se osobito istaknuo irski skladatelj Charles Villiers Stanford), ‚otpor Engleza‘ operi barem djelomično iskupljuje (i objašnjava) njezina tvorbena prisutnost u drami i beletristici.
“The Majesty of the Law”: the Resistance of English to Opera
If Bernard Shaw’s characteristically abrasive declaration in 1911 that „the history of original [English] music, broken off by the death of Purcell, begins again with Sir Edward Elgar“ no longer seems plausible to scholars of eighteenth- and nineteenth-century British musical culture, it nevertheless amounts to a conventional wisdom, notably with regard to opera. The ‘failure’ of English opera as a domestic genre between Purcell and Benjamin Britten is likewise an abiding commonplace. Under the rubric of ‘Musical Migrations and Cultural Transfers’ (identified in the call for papers), I would like to argue that such readings of English music in general and opera in particular eclipse an enduring intimacy between opera and literature in English which was championed by Shaw himself. Shaw’s own perception of himself as the ‘natural successor’ to Richard Wagner attests this intimacy, which is also affirmed in the work of other Irish writers, including John Millington Synge and James Joyce. Given the comparatively poor reception history of British opera before Britten (in which the Irish composer Charles Villiers Stanford figured prominently), the ‘resistance of English’ to opera is at least partly redeemed (and explained) by its formative presence in drama and fiction.