Pijanist, skladatelj te primarno klavirski pedagog Svetislav Stančić (1895-1970), utemeljitelj Zagrebačke pijanističke škole, smatra se središnjom osobom glazbene i kulturne scene prostora bivše ...Jugoslavije od prvih desetljeća 20. stoljeća do svoje smrti 1970. godine. Tijekom dugogodišnjeg umjetničkog i pedagoškog rada, koji je trajao od 1920. godine sve do njegove smrti, odgojio je više generacija klavirskih pedagoga i interpreta. Također je stvorio vrijednu osobnu knjižnicu te opsežan arhiv osobnih dokumenata, fotografija i dokumentacije vezane uz svoju umjetničku i pedagošku djelatnost. Cjelokupnu zbirku ovoga gradiva njegova je udovica Linda Stančić-Carnelutti nakon njegove smrti poklonila klavirskom odsjeku Muzičke akademije Sveučilišta u Zagrebu, a u Knjižnicu Muzičke akademije pristigla je 2015. (Knjižnica Stančić s malom zbirkom osobnih predmeta), odnosno 2021. godine (dokumentarni arhivski materijal).
Cilj je ovog rada prikaz strukture i sadržaja Knjižnice Svetislava Stančića i, okvirno, njegova Osobnog arhivskog fonda, s popisom Stančićevih autografa. Također se želi ukazati na moguće pravce istraživanja s obzirom na to da raznoliko gradivo pohranjeno u Knjižnici i Osobnom fondu Stančić može biti dragocjen izvor podataka, podjednako zanimljiv klavirskim pedagozima, interpretima i muzikolozima.
Palača Radosavljević/Golubić nalazi se u centru Slavonskog Broda. Trenutačni su vlasnici Mile i Ankica Golubić. U radu sam opisala važnost obitelji Radosavljević i Golubić u društvenom i kulturnom ...životu Slavonskog Broda. U njihovoj se kući nalazi povijesni klavir bečkoga graditelja Josepha Wopaternija iz druge polovice 19. stoljeća, koji je jedan od rijetkih i vrijednih, a možda i jedinstvenih primjeraka Wopaternijeva graditeljskog umijeća na području Hrvatske. Proučavanjem dostupne literature prepoznala sam važnost Josepha Wopaternija u kontekstu duge i bogate tradicije bečkih graditelja klavira. Na temelju stručne procjene i pregleda klavira potvrđeno je da je instrument u lošem stanju te da mu je potrebna cjelovita restauracija.
Plemićki grad Veliki Tabor jedan je od najbolje sačuvanih kasnosrednjovjekovnih i renesansnih utvrđenih gradova na području sjeverozapadne Hrvatske. U njegovu fundusu čuva se sedam glazbenih ...instrumenata. Premda je to relativno skromna brojka, zastupljeni su ne samo zanimljivi nego i naoko neobični primjerci. Najviše je trzalačkih instrumenata: dvije citre, mandolina i dvije drombulje. Instrumente s tipkama predstavlja stolni klavir, a puhačke (uvjetno rečeno) poštanski rog. Instrumenti se čuvaju unutar triju muzejskih zbirki: Kulturno-povijesne, Etnografske i Srednjovjekovne arheološke zbirke. Rad donosi njihov organološki opis kao i pokušaj smještanja u kulturnopovijesni kontekst. Za mandolinu koju je izradio istaknuti zagrebački graditelj Ernest Köröskényi određena je točna godina nastanka. Za stolni klavir otkriveno je tko su mu bili prijašnji vlasnici te kojem je inventaru najvjerojatnije pripadao.
A group of keyboard instruments from the holdings of the Varaždin City Museum consists of 12 objects: ten pianos – the square piano built between 1790 and 1810, five historic pianos from the first ...half of the 19th century, four pianos from the second half of the 19th century – as well as two positive organs from the 17th century. They were built by the prominent instrument makers such as Rudolf Rapoldt, Johann Jakesch, Michael Rosenberg, Wilhelm Lange, Carl Schmidt, Carl Kutschera, Josef Kaspar Fritz, Johann Promberger younger, and brothers Carl and Johann Schweighofer. Most of the instruments originate from Vienna, which confirms its cultural influence on Varaždin; Styria and Bratislava follow. The number and variety of the keyboard instruments kept in the Varaždin City Museum is evidence of a favorable economical situation of their past owners that allowed them to purchase these keyboard instruments from reputable international workshops, their adequate music education, as well as intensive music life in „the little Vienna“ (as contemporaries used to call Varaždin). Instruments collecting in the City Museum of Varaždin is a testimony to a developed awareness of their significance and an effort to saving them as many of them as possible. Being stored in the museums saved many of them – important parts of the cultural heritage – from disappearing. Furthermore, for some of them indispensable restoration was provided. Rudolf Rapoldt’s positive organ and Michael Rosenberger’s historic piano were restored, while Johann Jakesch’s square piano and historic piano by an unknown builder, earlier owned by the Ban of Croatia Josip Jelačić, are in the process of being restored.
Klavikordi, cembala in klavirji z kvaziorgelskimi pedali so bili zelo popularni instrumenti od konca 17. do srede 19. stoletja. Rabili so organistom za pripravo, a tudi drugim – vključujoč ženske in ...aristokrate – pri njih prijetnem pouku glasbe.
Nguyen van Quy lebt in Hanoi und ist Komponist für Instrumentalmusik. Sein Vorbild ist Beethoven, von ihm hat er praktisch alles gelernt. Die Musik des deutschen Komponisten inspirierte ihn, seine ...eigenen Sonaten zu schreiben.
Nguyen van Quy lives in Hanoi and is a composer of instrumental music. His role model is Beethoven, he learned practically everything from him. The music of the German composer inspired him to write his own sonatas.
Članek se ukvarja s spisi psihoanalitika Sebastiana Leikerta. Navezujoč se na Lacana Leikert opisuje glasbo kot sredstvo, ki naj ne bi izražala identitete, ampak ustvarjala predstave o identiteti. ...Glasba pri tem ne ustvarja fikcije neke statistične identitete ampak fuzionirano zlivanje meja med subjektom in objektom.
Collection of musical instruments in the Museum of Slavonia in Osijek is the biggest and most diverse collection of its kind in the eastern Croatia. A section of keyboard instruments in the ...collection consists of 15 objects: nine different types of pianos, positive organ, physharmonica and four harmoniums. The square piano (Tafelklavier), the oldest instrument in the section, was built in Pest in 1815 by the carpenter Sebestyén Antal Vogel. It is chronologically followed by the three historical pianos (fortepiano, Hammerklavier or Hammerflügel), built in Vienna in the first half of the 19th century. These are characterized by the Austrian type of piano action (Ger. Prellmechanik). They were built by Ernst Wacke and Georg Gerstenberger, two lesser known builders, and Conrad Graf – one of the most prominent Viennese piano makers of the time. His historical piano, built in 1838 or 1839, is stored in the collection. Two grand pianos, made in the second half of the 19th century, and one made at the turn of the 19th to 20th centuries, also originate from Vienna. Leopold Schnabel’s piano was built around 1860; Gottfried Cramer’s and Wilhelm Mayer’s piano was built in 1878 or shortly thereafter (both with the Austrian type of piano action); and the Lauberger & Gloss’ piano (with the English type of piano action) was built around 1900. Two upright pianos are also kept in the collection. One built in the Caspar Lorenz & J. Stary workshop in Vienna around 1890, and the other built in the Petrof factory in Hradec Králové in the Czech Republic at the end of the 19th century.
Along with different types of pianos, the collection stores the positive organ – small, one-manual pipe organ – of an unknown maker and provenance, probably built between 1850 and 1860. It was brought to the museum from the Fabing inn, whose owner may have been the innkeeper Antun Fabing. He shared his last name with the most productive organ builders family in eastern Croatia in the second half of the 19th century. The physharmonica was built in Vienna around 1840 by Jacob Deutschmann, an imperial and royal court organ maker. The collection also features four harmoniums dating from between 1880 and 1960. The most significant is the oldest one, built in Vienna around 1880 in the workshop of Teofil Kotykiewicz, who was also an imperial and royal court builder. Two harmoniums were made in the early 20th century: one in the Wilcox & White factory in Connecticut, USA and the other in Joseph Lenarčič’s factory in Vrhnika, Slovenia. The most recent is the Theosten Helgesson’s harmonium, produced in Herrljunga, Sweden around 1960.
The number and variety of the keyboard instruments kept in the Museum of Slavonia is proof of a favourable economic situation of their past owners, which allowed them to purchase these instruments from reputable international workshops. It is also an evidence of their adequate music education, as well as intensive music life in Osijek. Besides in Osijek, the intsruments were played in Zagreb, Zelčin, Vinkovci, Vođinci, and Sombor. The process of instrument collection by the Museum of Slavonia is a testimony of a developed awareness of their significance and an effort to save as many of them as possible. The instruments are stored in the museum storerooms on the no. 6 Trg Svetog Trojstva and the no. 2 Josip Bösendorfer Street. The piano built by Gottfried Cramer and Wilhelm Mayer is the only keyboard instrument exhibited in the temporary permanent exhibition. The positive organ is the only instrument that is currently in the process of being restored. Hopefully, some of the other instruments in the collection will follow this example. This primarily refers to Graf’s piano, Vogel’s square piano and Deutschmann’s physharmonica. Considering their age, a small number of similarly preserved instruments in Croatia, and the fact that they represent achievements of exquisite makers, they are significant not only for regional and national, but also for international cultural heritage.
Primož Ramovš (1921–1999) je klavirske Miniature napisal jeseni 1945. Po končanem študiju pri Slavku Ostercu v Ljubljani (1941) ter izpopolnjevanju pri Alfredu Caselli v Rimu (1941–1943) so bile ...njegovo drugo obsežno poštudijsko delo. Zasnoval jih je kot variacije na koral, s katerim je bil uvedel sklepni stavek Druge simfonije (1943–1944). Sprva jih je želel imenovati variacije brez teme. V desetih odstavkih nastopa izhodiščna misel razdeljena v dve ne zelo kontrastni temi, ki sta vsakokrat obravnavani bodisi zaporedoma bodisi le ena; v prvotni melodični dikciji se avgmentirani oglasita le v srednjem delu zadnjega odstavka. Delo potemtakem niso variacije brez teme, temveč z »utajeno« temo, zaradi (morda različnih) zunanjih okoliščin pa jih je avtor slednjič in ne najbolj primerno imenoval Miniature. Bile so natisnjene 1955. leta, kot celota pa prvič javno izvedene šele jeseni 1963 in samó v radijskem programu. Ciklus kaže skladatelja na začetku samostojne poti. V njem so prepleteni idiomi »splošnega« neoklasicizma med obema vojnama, enako druga modernistična načela, ki jih je pri Slovencih uvajal Osterc, z ostanki starejšega kompozicijskega repertorija, ki ga je bil Ramovš spoznaval na koncertih in med pianističnim študijem. Oboje govori o potezah neoklasicizma na Slovenskem do 1945. leta, predvsem pa razkriva ustvarjalca z izrazitim novatorskim pogumom ter »improvizacijsko« domišljijo, širokopoteznega v zasnovah in usmerjenega k skrajnim območjem (klavirske) zvočnosti.
PDF
