Page 168 - Weiss, Jernej, ur./ed. 2025. Glasbena interpretacija: med umetniškim in znanstvenim┊Music Interpretation: Between the Artistic and the Scientific. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 8

glasbena interpretacija ... | music interpretation ...
international reputation for performances of classic violin concertos be-
came famous. While he was at home with the great romantic violin con-
certos of the past, he also became associated with new concertos from his
own country. Typical Slovene works with orchestra performed and record-
3
ed by Ozim have been Uroš Krek’s Inventiones ferales of 1963, Dane Škerl’s
Violin Concerto of 1983–84 and Janez Matičič’s Concerto for violin and or-
chestra of 1967, Lucijan Marija Škerjanc’s Concerto of 1944, Slavko Osterc’s
Concerto for violin and seven instruments of 1927–28 and Ivo Petrić’s Trois
images of 1973. In the first Krek developed his distinctive and powerful but
discordant melodic lines in ways that Ozim was able to characterise effort-
lessly. Similarly he handled Škerl’s concerto’s sometimes playful virtuosity
with its dark undertones in masterly fashion. Yet Ozim was also able bring
life to Matičič’s advanced style with similar conviction. In the same way he
was able to project the Hindemithian style of Slavko Osterc’s Concerto and
the traditional romantic idiom of Škerjanc’s Concerto. Perhaps his greatest
achievement in setting a high standard for new Slovene pieces was the out-
4
standing interpretation of Petrić’s Trois images with its unorthodox form
and exceptionally difficult modern techniques.
The second major interpreter of the period was the outstanding pianist
Aci Bertoncelj (1939–2002), who could always be relied upon to perform dif-
ficult works completely convincingly. His solo part in Darijan Božič’s Elon-
5
gacije. for piano and ensemble, for example, showed flair and humour, a
perfect role model for young players. The Sonet za Acija (‘Sonnet for Aci’) by
Lojze Lebič is a generous tribute to the pianist’s talent and Uroš Krek’s terse
and tricky Sur une mélodie of 1977 was dedicated to him. An outstanding
recording by Bertoncelj of three of Matičič’s Piano Studies, Škerjanc’s Noc-
turnes, and Ramovš’s Sarkazmi long ago set an inspirational and an aspira-
tional standard. Of his many piano pupils one can single out the composer
6
https://www.thestrad.com/news/obituary-igor-ozim/17795.article.
3 A recording of Igor Ozim playing these works was published by Društvo slovenskih
skladateljev in 2009: Multiple authors, Slovenski violinski koncerti / Slovene vio-
lin concertos, Igor Ozim, Ars SlovenicA, Društvo slovenskih skladateljev, Ed. DSS
200971, 2009, compact disc.
4 Ivo Petrić, Trois images (Ljubljana: Društvo slovenskih skladateljev, Ed. DSS 530,
1974).
5 Darijan Božič, “Elongacije,” track 4 on Ensemble Slavko Osterc, Aci Bertoncelj (pi-
ano) and Ensemble Slavko Osterc, conductor Ivo Petrić, Helidon Musica Slovenica
FLP 10-007E, 1972, vinyl LP.
6 Janko Ravnik, Lucijan Marija Škerjanc, Primož Ramovš, Janez Matičič, Musica Slovenica,
performed by Aci Bertoncelj (piano), Helidon Musica Slovenica FLP 10-009, 1974, vinyl LP.

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