Iskanje po repozitoriju

Opis: The 1960s saw the formation throughout Europe of numerous groups specialising in the performance of New Music. Unlike classical ensembles, these groups were able to adapt their instrumental line-ups as required, and were particularly receptive to experimentation of every kind. In Slovenia they included both the Collegium musicum society, founded in 1957 by Pavel Šivic under the aegis of the Composers’ Club, and the Slavko Osterc Ensemble, founded in 1961 by members of the composers’ group Pro musica viva as a vehicle for the performance of their own works. The spiritus agens and conductor of the latter ensemble was Ivo Petrić (1931–2018). Petrić, who headed the DSS’s publishing arm Edicije Društva slovenskih skladateljev from 1970 until 2002, was also the ensemble’s artistic director from the outset. The ensemble’s activities encouraged the creation of numerous new compositions and contributed to the affirmation of Slovene creativity abroad. The ensemble gave almost 170 concerts, made 140 recordings for national and international radio stations and appeared in nearly 40 television broadcasts. It also premiered 65 works by nineteen Slovene composers, with 40 of these premiere performances taking place abroad and 25 in Slovenia. More than 110 performers passed through the ensemble’s ranks during its initial two decades of activity. Petrić was for the most part able to bring together excellent musicians, with whom he achieved concert performances of a high level of quality, as demonstrated by the numerous reviews published in domestic and foreign media. The paper focuses primarily on the ensemble’s performances abroad, while also highlighting certain events that marked the concurrent activities of the Society of Slovene Composers.
Ključne besede: Slavko Osterc Ensemble, Ivo Petrić, premiere performances, abroad, promotion
Objavljeno v RUP: 10.03.2026; Ogledov: 15; Prenosov: 0
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Opis: Konec 2. svetovne vojne na slovenskih/jugoslovanskih tleh je prinesel bistvene spremembe za delovanje kulturnih društev. Komunistični prevzem oblasti je oviral avtonomnost delovanja kulturnih društev, nekatera pa preprosto ukinil, federalizacija države s priznanjem več narodov pa je omogočila snovanje poklicnih ustanov in društev po nacionalnem ključu, kar je pred vojno ovirala teza o enotnem srbsko-hrvaško-slovenskem narodu. Spremembe, ki jih je prineslo leto 1945, so čutila tudi slovenska glasbena društva, saj nekatera predvojna niso mogla več delovati, na nitki pa je visel tudi obstoj Glasbene matice, ki je pred desetletji obvladovala velik del glasbene scene na Slovenskem. Društvo slovenskih skladateljev je bilo kot stanovsko društvo ustanovljeno decembra 1945. Združilo je skladatelje v Sloveniji in imelo nacionalni značaj, upoštevati pa je moralo tudi ideološkega, saj je njegovo delovanje nadziral državni aparat, ki je vplival na izbor članstva in na njegovo dejavnost. Ta je bila sprva skromnejša od glasbenih društev pred vojno, saj so številne dejavnosti monopolizirale državne ustanove. Ukrep državne oblasti proti posamezniku je npr. lahko pomenil tudi onemogočanje zaposlitve v državni ustanovi ali članstva v stanovskem društvu, izdajanje glasbenega tiska pa so si prisvojila državna založniška podjetja. Šele spremembe kulturne politike po informbirojevskem sporu med Jugoslavijo in Sovjetsko zvezo je na kulturno sceno v začetku petdesetih let prinesel več svežine. To so občutila tudi kulturna društva, tudi Društvo slovenskih skladateljev, saj so se začele možnosti bolj avtonomnega odločanja širiti, na pomenu pa je pridobilo zagovarjanje stanovskih interesov.
Ključne besede: Društvo slovenskih skladateljev, ustanovitev, Danilo Švara, kulturna politika, Koncertna poslovalnica za Slovenijo
Objavljeno v RUP: 10.03.2026; Ogledov: 18; Prenosov: 0
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Opis: Der Kroatische Komponistenverband (Hrvatsko društvo skladatelja, HDS) hat in den vergangenen 80 Jahren eine Schlüsselrolle bei der Bewahrung und Förderung der kroatischen kulturellen Identität und des nationalen musikalischen Schaffens gespielt. Als einzige Berufsorganisation, die kroatische Komponisten, Musikwissenschaftler und Musikschriftsteller vereint, ist der HDS zur zentralen Institution für die Entwicklung der kroatischen Kunst-, Pop- und traditionellen Musik geworden. Über Jahrzehnte hinweg hat der HDS die kreative Arbeit seiner Mitglieder kontinuierlich unterstützt und sich gleichzeitig für die Bewahrung der besonderen Merkmale des kroatischen Musik-Erbes eingesetzt. Neben der Bewahrung der Identität hat der HDS auch durch die Organisation zahlreicher kultureller Veranstaltungen, die zu einem festen Bestandteil des kroatischen Kulturlebens geworden sind, einen wichtigen Beitrag geleistet. Beispielsweise ist die Musikbiennale Zagreb, die seit 1961 stattfindet, bis heute eines der bedeutendsten Ereignisse der zeitgenössischen Musik. Die Musiktribüne in Opatija (heute in Osijek), die 1963 ins Leben gerufen wurde, und das Zagreber Festival, das 1954 gegründet wurde, fördern seit Jahren verschiedene Musikstile und präsentieren kroatische Autoren auf nationaler und internationaler Bühne. Über den Verlag Cantus d.o.o. veröffentlicht der HDS seit fast 25 Jahren Ton- und Notenaufnahmen kroatischer nichtkommerzieller Musik. Ein zentraler Bestandteil der Arbeit des HDS ist die Verwertungsgesellschaft für musikalische Rechte (ZAMP). Die ZAMP sorgt für den Schutz der Urheberrechte kroatischer Musikschaffender und ermöglicht ihnen, eine angemessene Vergütung für ihre Arbeit zu erhalten. Dieses System umfasst seit Jahren nahezu den gesamten kollektiven Schutz von Urhebern und Rechteinhabern aller Art in Kroatien. Dadurch können auch Musiker, Interpreten, Plattenfirmen sowie kroatische Schriftsteller, Journalisten, Filmschauspieler, Regisseure und Produzenten ihre Leistungsschutzrechte durch die ZAMP geltend machen. Seit acht Jahrzehnten bleibt der HDS unbeirrt in seiner Mission – dem Schutz, der Förderung und der Entwicklung der kroatischen Musik, wodurch er zur Bereicherung der nationalen Kultur und zur Bewahrung ihrer Identität beiträgt.
Ključne besede: Kroatischer Komponistenverband, Musikbiennale Zagreb, HDS, ZAMP, Cantus
Objavljeno v RUP: 10.03.2026; Ogledov: 20; Prenosov: 0
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Opis: Dane Škerl (Ljubljana, 1931–Bovec, 2002) was a Slovenian composer, conductor and professor. He graduated in Composition in 1952 from the Academy of Music, University of Ljubljana in the class of Lucijan Marija Škerjanc. Afterwards, Škerl headed for further specialisation to Austria and Germany, where he was active as a conductor and music teacher. From 1960 to 1970, he worked at the Academy of Music in Sarajevo as a professor, after which he returned to Slovenia, where he worked as a professor of composition at the Academy of Music in Ljubljana until his retirement in 1995. The paper strives to describe and contextualise the Škerl’s 10 years of activity in the cultural life of Sarajevo, with special reference to his activity as a composer in terms of the compositional technique and stylistic tendencies. Besides his pedagogical role, he was strongly involved in the social and cultural life of Sarajevo as a collaborator with Radio Sarajevo (serving as advisor, recording engineer, and conductor), a member of various juries, forums, and associations, and artistic councils – particularly with the Opera and the Sarajevo Philharmonic. During this period, Škerl composed over 20 works, mostly symphonic, concertante and vocal-instrumental. The genre diversity of the Škerl’s opus is emphasised through directing the focus of analytical attention to three compositions written in three different points of time, showing the evolution of his compositional style: Pet skladb [Five Pieces] for clarinet and string orchestra (1961), Symphony No. 2 (1963) and Bagatele [Bagatelles] for piano (1968), indicating the persistence of the Neoclassical orientation as a firm stylistic ground based on an evident adherence to a particular harmonic centre and thematic way of shaping the material, but also the emergence of expressionistic tendencies manifested through serialism. Although Škerl remained faithful to the “middle path” between the tendencies, it is important to consider the historical context: since neither Bosnian-Herzegovinian composers nor those from the other Yugoslav republics had strongly expressed contemporary, much less avant-garde tendencies at the time, during the Sarajevo artistic period Škerl demonstrated boldness by opening new perspectives in musical composition and contributing to the burgeoning trend of musical experimentation.
Ključne besede: Dane Škerl, Slovenian Composers, Music Culture in Sarajevo, Neoclassical Style, Expressionism Tendencies
Objavljeno v RUP: 10.03.2026; Ogledov: 11; Prenosov: 0
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Opis: With the establishment of the Composers Association of Macedonia in 1947 in Skopje as an artistic professional organisation, the construction and development of Macedonian musical creativity began. The challenges posed by different historical periods have encouraged the Composers Association of Macedonia to undertake various activities in order to stimulate the development of musical creation and science, but also to define the importance of its members in the preservation and promotion of Macedonian musical culture. Hence, in the paper, through the methods of historical, analytical and comparative research, we gain knowledge about the constant growth of the Composers Association of Macedonia, which over the past eight decades has been a driver of musical life in Macedonia and a focal point of progressive creative ideas.
Ključne besede: Composers Association of Macedonia, productive and reproductive music culture, publishing activity, Days of Macedonian music, Struga Music Autumn
Objavljeno v RUP: 10.03.2026; Ogledov: 13; Prenosov: 0
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