Page 255 - Weiss, Jernej, ur./ed. 2024. Glasbena kritika – nekoč in danes ▪︎ Music Criticism – Yesterday and Today. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 7
P. 255
symphonic matinees of jeunesses musicales slovenia: the first two decades
The Tone Tomšič Academic Choir under the direction of Jože Fürst per-
formed. The tradition of the choir and the name that generations of
singers have created over time - all this ensures a high level of quality in
choral singing, which the singers confirmed at the concert.13
Uroš Lajovic’s opening performance with the Slovenian Philharmonic
Orchestra of Paul Hindemith’s symphony Matisse the Painter was a se-
rious concert act that placed itself somehow in the gilded middle of our
relationship to music. A few years ago, Hindemith would have struggled
to qualify for the concert’s main points, today he is succeeding.14
There were 19 neutral reviews, meaning that the reviews of the perfor-
mances mentioned good as well as negative characteristics in the perfor-
mances. Below are two excerpts, from 1979 and 1983, respectively, demon-
strating the negative aspects of the review. In the first example, the reviewer
relates to the execution of the programme, and in the second, to the pro-
gramme itself.
In Beethoven’s Fifth Piano Concerto, it is quite crucial that the pitch set-
tings and the dosage of the ‘sforzzati’ be set with precise and attentive
sharpness ... Aci Bertoncelj was not actually expecting an accompani-
ment, but a bold thought ... he is yet to play the Fifth Concerto as he can
and wants.15
Once again, we have witnessed a concert programme devoid of dome-
stic creativity, even though the decree establishing the Slovenian Phil-
harmonic in 1947 places the performance of domestic music at the top
of its agenda.16
13 “Nastopil je Akademski pevski zbor Tone Tomšič pod vodstvom Jožeta Fürsta. Tradici-
ja zbora in ime, ki so si ga generacije pevcev ustvarile skozi čas – vse to zagotavlja vi-
soko raven kakovosti zborovskega petja, ki so jo pevci na koncertu potrdili.” Tomaž
Rauch, “Potrjena kakovost [Quality Confirmed],” Delo, May 5, 1989, 10.
14 “Uroš Lajovic je za uvod z orkestrom Slovenske filharmonije pripravil z izvedbo simfo-
nije Slikar Matiss Paula Hindemitha resno koncertno dejanje, ki se je postavilo neka-
ko v pozlačeno sredino našega odnosa do glasbe. Hindemith bi se pred leti še s težavo
uvrstil za temeljno točk koncerta, danes mu to že uspeva.” Peter Kušar, “Z davnino,
Griegom, s slikarjem Matissom,” Dnevnik, October 2, 1979, 5.
15 “Pri Beethovnovem Petem klavirskem koncertu je pač čisto odločilnega pomena, da
nastavke tona, odmerjenosti ‘sforzzatov’ nastavimo z natančno in pozorno ostrino
… Aci Bertoncelj pravzaprav ni pričakoval spremljave, temveč krepko misel … kakor
hoče in zmore odigrati Peti koncert, našega pianista še čaka.” Peter Kušar, “Osterc,
Beethoven, Dvořak,” Dnevnik, October 23, 1979, 5.
16 “Spet smo prisostvovali izvedbi koncertnega programa brez domače ustvarjalnosti, pa
čeprav odločba o ustanovitvi Slovenske filharmonije iz leta 1947 postavlja prav skrb
255
The Tone Tomšič Academic Choir under the direction of Jože Fürst per-
formed. The tradition of the choir and the name that generations of
singers have created over time - all this ensures a high level of quality in
choral singing, which the singers confirmed at the concert.13
Uroš Lajovic’s opening performance with the Slovenian Philharmonic
Orchestra of Paul Hindemith’s symphony Matisse the Painter was a se-
rious concert act that placed itself somehow in the gilded middle of our
relationship to music. A few years ago, Hindemith would have struggled
to qualify for the concert’s main points, today he is succeeding.14
There were 19 neutral reviews, meaning that the reviews of the perfor-
mances mentioned good as well as negative characteristics in the perfor-
mances. Below are two excerpts, from 1979 and 1983, respectively, demon-
strating the negative aspects of the review. In the first example, the reviewer
relates to the execution of the programme, and in the second, to the pro-
gramme itself.
In Beethoven’s Fifth Piano Concerto, it is quite crucial that the pitch set-
tings and the dosage of the ‘sforzzati’ be set with precise and attentive
sharpness ... Aci Bertoncelj was not actually expecting an accompani-
ment, but a bold thought ... he is yet to play the Fifth Concerto as he can
and wants.15
Once again, we have witnessed a concert programme devoid of dome-
stic creativity, even though the decree establishing the Slovenian Phil-
harmonic in 1947 places the performance of domestic music at the top
of its agenda.16
13 “Nastopil je Akademski pevski zbor Tone Tomšič pod vodstvom Jožeta Fürsta. Tradici-
ja zbora in ime, ki so si ga generacije pevcev ustvarile skozi čas – vse to zagotavlja vi-
soko raven kakovosti zborovskega petja, ki so jo pevci na koncertu potrdili.” Tomaž
Rauch, “Potrjena kakovost [Quality Confirmed],” Delo, May 5, 1989, 10.
14 “Uroš Lajovic je za uvod z orkestrom Slovenske filharmonije pripravil z izvedbo simfo-
nije Slikar Matiss Paula Hindemitha resno koncertno dejanje, ki se je postavilo neka-
ko v pozlačeno sredino našega odnosa do glasbe. Hindemith bi se pred leti še s težavo
uvrstil za temeljno točk koncerta, danes mu to že uspeva.” Peter Kušar, “Z davnino,
Griegom, s slikarjem Matissom,” Dnevnik, October 2, 1979, 5.
15 “Pri Beethovnovem Petem klavirskem koncertu je pač čisto odločilnega pomena, da
nastavke tona, odmerjenosti ‘sforzzatov’ nastavimo z natančno in pozorno ostrino
… Aci Bertoncelj pravzaprav ni pričakoval spremljave, temveč krepko misel … kakor
hoče in zmore odigrati Peti koncert, našega pianista še čaka.” Peter Kušar, “Osterc,
Beethoven, Dvořak,” Dnevnik, October 23, 1979, 5.
16 “Spet smo prisostvovali izvedbi koncertnega programa brez domače ustvarjalnosti, pa
čeprav odločba o ustanovitvi Slovenske filharmonije iz leta 1947 postavlja prav skrb
255
