Med odrom in zaodrjem Bogunović Hočevar, Katarina
Muzikološki zbornik,
12/2023, Letnik:
59, Številka:
1-2
Journal Article
Recenzirano
Odprti dostop
Razprava osvetljuje prva leta delovanja Opere Narodnega gledališča v Ljubljani po prvi svetovni vojni. Na osnovi obstoječih virov delno rekonstruira organizacijski in umetniški ustroj ustanove. ...Zaradi pomanjkanja primarnih virov oz. dokumentacije, ki bi razkrila notranje delovanje opernega ansambla, se naslanja na dnevnokritiška pričevanja glasbenih protagonistov takratnega časa.
Raziskovanje ljubljanske Opere odpira opazovanje različnih področij delovanja te ustanove – umetniškega, organizacijskega in nenazadnje družbenega –, ki se v soodvisnosti vzajemno prepletajo in ...vplivajo na temeljno poslanstvo umetniškega zavoda – uprizarjanje glasbenogledališkega dela ter v širši perspektivi posredovanje in etabliranje umetnostnih teženj operne hiše. Pričujoči prispevek osvetljuje čas ljubljanske Opere med obema vojnama, v ospredje pa postavlja vprašanje operne režije oz. umetniško emancipacijo opernega režiserja skozi prizmo najpomembnejših akterjev te ustanove.
Nineteenth-century concert life in Laibach (Ljubljana), capital of the Habsburg Carniola, was shaped and led by the local Philharmonic Society. Until the establishment of the Musical Society in 1872, ...it was the only musical institution in Carniola. Even after the establishment of the Musical Society, the Philharmonics remained the principal and representative leader of concert life. In the mid-nineteenth century, the main European centers had their own operatic and concert civil orchestras, however, Laibach did not have a concert symphony orchestra. In order to lead and perform regular symphonic concerts, the Philharmonic Society had to hire musicians from the military chapel, which also collaborated with the Opera and, at the end of the nineteenth century, participated in the concerts of the Music Society. The history of the Philharmonics exhibits not only a rich tradition but also illustrates the program endeavors of the artistic leaders, the musical trends of the time and social circumstances, which sometimes encouraged and at other times hindered its work. The first preserved program notes indicate that at that time (1816) challenging symphonic works were already played and in this regard Beethoven’s role was evident. In 1808 the Society already attempted to elect Beethoven as an honorary member of the society, but this happened only in 1819. A year before the local premiere of his Symphony No. 6, and for this opportunity, the composer sent a manuscript with his own corrections. Until then his Symphonies Nos. 1, 2, 7 and probably 4 were already performed there. The program notes of the Society indicate that Beethoven’s works were played at least (but usually more than) once in a season. In the second half of the nineteenth century, the appeal and the interest in the composer’s creative output grew even stronger, alongside the appreciation of the memory of the composer. It is also significant to note that his chamber works became regularly performed in the chamber concerts of the Philharmonics. Even though from the very beginning the composer’s overtures had a stable and regular place within the repertoire, the first full performance of his Symphony No. 9 took place only in 1902 (the first three movements were already performed a decade earlier).
Med odrom in zaodrjem Katarina Bogunović Hočevar
Muzikološki zbornik,
12/2023, Letnik:
59, Številka:
1-2
Journal Article
Recenzirano
Odprti dostop
Razprava osvetljuje prva leta delovanja Opere Narodnega gledališča v Ljubljani po prvi svetovni vojni. Na osnovi obstoječih virov delno rekonstruira organizacijski in umetniški ustroj ustanove. ...Zaradi pomanjkanja primarnih virov oz. dokumentacije, ki bi razkrila notranje delovanje opernega ansambla, se naslanja na dnevnokritiška pričevanja glasbenih protagonistov takratnega časa.
Janko Ravnik je ob svojem prihodu na slovensko glasbeno prizorišče veljal (ob Kogoju) za obetavno skladateljsko osebnost. Posebno pozornost so v Novih akordih pritegnila njegova klavirska dela, ki so ...po mnenju takratne kritike odpirala novo poglavje slovenske klavirske tvornosti. Razprava razgrinja kompozicijski ustroj posameznih skladb objavljenih v Novih akordih ter iz le-teh izpelje značilnosti skladateljeve poetike zgodnih klavirskih del.
Raziskovanje ljubljanske Opere odpira opazovanje različnih področij delovanja te ustanove – umetniškega, organizacijskega in nenazadnje družbenega –, ki se v soodvisnosti vzajemno prepletajo in ...vplivajo na temeljno poslanstvo umetniškega zavoda – uprizarjanje glasbenogledališkega dela ter v širši perspektivi posredovanje in etabliranje umetnostnih teženj operne hiše. Pričujoči prispevek osvetljuje čas ljubljanske Opere med obema vojnama, v ospredje pa postavlja vprašanje operne režije oz. umetniško emancipacijo opernega režiserja skozi prizmo najpomembnejših akterjev te ustanove.
Alongside the previously formed aspirations of the Slovenian music scene, the post-war period brought new opportunities and challenges. Immediately after its founding, the newly established Slovenian ...Philharmonic began to realise the idea of collectivism. Soon after its affirmation, however, it started to shift away from this ideal and seek a path towards a firmer programme policy. On this path, it also had to overcome certain (sometimes well-intentioned) obstacles arising from various professional societies.
Schumannova glasba – predvsem tista, ki je nastala nekako do leta 1840 – velja danes za paradigmo romantične glasbene umetnosti. Skladateljevo navdušenje nad sočasno romantično literaturo ni ostalo ...zgolj na ravni recepcije in posameznih literarnih poskusov, temveč je močno zaznamovalo tudi njegovo glasbeno poetiko. Ta pa brez poznavanja estetike (literarnega) fragmenta ostaja zgolj področje številnih interpretativnih vrzeli.
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