Page 384 - Weiss, Jernej, ur./ed. 2021. Opereta med obema svetovnima vojnama ▪︎ Operetta between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 5
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opereta med obema svetovnima vojnama
Ex. 2: Gobec, Radovan. Planinska roža. (Ljubljana: Društvo slovenskih skladateljev, 2019),
Edicije DSS (Score, Ed. DSS 651, p. 19)
deed it is different from the general style of many operettas. It is then found
in a group of three mini-variations that are character sketches for Dobro-
vik (Adagio 4/4 time)24 [Ex. 2].
Miran (Fox[trot] tempo, 2/2 time)25
Ex. 3: Gobec, Radovan. Planinska roža. (Ljubljana: Društvo slovenskih skladateljev, 2019),
Edicije DSS (Score, Ed. DSS 651, p. 20)
Miran and Dobrovik together with chorus adding a new and humor-
ous dimension to the melody (Andante maestoso 4/4 time)26 [Ex. 4]. The
melody thus takes on three different characters, with Gobec reinforcing the
use of his tune by including it in the finales of each of the three acts. For
other numbers in the musical setting he relied on simple forms and formu-
las. A series of five two-part songs with refrains is the standard form that
Gobec then follows. Musical characterisation is fairly limited, probably be-
cause Gobec was relying on the progress of the complex drama being car-
24 Ibid., 19.
25 Ibid., 20.
26 Ibid., 21–2.
382
Ex. 2: Gobec, Radovan. Planinska roža. (Ljubljana: Društvo slovenskih skladateljev, 2019),
Edicije DSS (Score, Ed. DSS 651, p. 19)
deed it is different from the general style of many operettas. It is then found
in a group of three mini-variations that are character sketches for Dobro-
vik (Adagio 4/4 time)24 [Ex. 2].
Miran (Fox[trot] tempo, 2/2 time)25
Ex. 3: Gobec, Radovan. Planinska roža. (Ljubljana: Društvo slovenskih skladateljev, 2019),
Edicije DSS (Score, Ed. DSS 651, p. 20)
Miran and Dobrovik together with chorus adding a new and humor-
ous dimension to the melody (Andante maestoso 4/4 time)26 [Ex. 4]. The
melody thus takes on three different characters, with Gobec reinforcing the
use of his tune by including it in the finales of each of the three acts. For
other numbers in the musical setting he relied on simple forms and formu-
las. A series of five two-part songs with refrains is the standard form that
Gobec then follows. Musical characterisation is fairly limited, probably be-
cause Gobec was relying on the progress of the complex drama being car-
24 Ibid., 19.
25 Ibid., 20.
26 Ibid., 21–2.
382
