Page 170 - 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 ...
Cantico I ), Primož Ramovš (Svobodni dialog, Koral in tocata), Tomaž Svete
(L’amor sul mar, Concert de nuit), Vinko Globokar (Étude pour folklora II,
Eisenberg, Labour), Božidar Kos (Violin Concerto), Larisa Vrhunc (Con-
certo for violin, piano and orchestra), Alojz Srebotnjak (Kraška suita), Bri-
na Jež Brezavšček (Sonsong – Zvočne Varijacije) and Uroš Rojko (Evokaci-
ja, Tongenesis). We must not ignore such outstanding conductors as Samo
Hubad, Anton Nanut, Uroš Lajovic, Marko Letonja and others, who did so
much to support the numerous then younger composers in the 20 century.
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Solo vocal interpreters in the second half of the 20 century were par-
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ticularly active in the field of Lieder. There was a substantial body of songs
with piano accompaniment from which performers were able to construct
concert programmes. The older songs by such composers as Benjamin Ip-
avec were supplemented by those of numerous composers, notably Lucijan
Marija Škerjanc, whose nine volumes of Lieder made possible recitals that
were satisfying and complete in themselves. With this corpus of songs there
was not the incentive to be so adventurous in their choice of music with its
consequent effect on new vocal students and of course on composers. There
were the small collections of less traditional songs by Marij Kogoj (1892–
1956) and Slavko Osterc (1895–1941) that were attempted by a few specialists,
but they were the exceptions. A smaller number of new more advanced solo
songs with piano were composed by Jakob Jež, Lojze Lebič, Pavel Šivic and
Marjan Lipovšek. The use of solo voices with orchestra was not frequent-
ly encountered; Lojze Lebič’s cantata Požgana trava of 1965 and his Novem-
brske pesmi of 1981–82 were exceptional examples. Choral works by Leb-
ič were encouraged by his own activities as a conductor who knew exactly
what would be effective in a choral context. Also prominent in fairly tradi-
tional choral works was Jakob Jež, with three important works which ben-
efitted from the strong choral achievements of Lebič, Do fraig amors (1968),
Brižinski spomeniki (1970–71) and Pogled zvezd (1973). The interpreters of
Lebič’s works, for example, showed what was now possible.
The position of new opera was quite modest. The performances of
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Kogoj’s Črne maske were normally considered exceptional, as singers were
usually involved in techniques demanded by 19 century operatic style.
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9 Slavko Osterc, “Marij Kogoj Črne maske,” Ljubljanski zvon (1929): 380–2; Marij
Kogoj, Črne maske [‘Die schwarze Masken’], ed. Uroš Lajovic (Ljubljana: Društvo
slovenskih skladateljev, Ed. DSS 1980, 2012), full score: Ed. DSS 1980, vocal score:
Ed. DSS 1980a; Marij Kogoj, Črne maske, RTV Ljubljana Chamber Choir, RTV
Symphony Orchestra, choir master Lojze Lebič, conductor Samo Hubad, recorded
1970, Helidon Musica Slovenica, 1991, audio CD.

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