Page 176 - 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 ...
Gregor Pirš (Suite – Tissue), Tadeja Vulc (Razpoke časa), Uroš Rojko (Ne-
ofonia, ...für eine Piccolospielerin..., Odtekanje časa IV, Try holding your
breath), Nina Šenk (My Letters), Alenja Pivko Kneževič (Odmev – Echo),
Tomaž Grum (Moja želja, tvoj ukaz, Abuse me gently), Vito Žuraj (Tension
tenderly, Framed) and Larisa Vrhunc (Drobtine časa, Zamrznitve).
In any discussion and presentation of Slovene music one must pay trib-
ute to the outstanding contribution to its development, by the Slovenska fil-
harmonija and RTV Symphony Orchestra, particularly during the last two
decades. They were and still are regular performers at the annual Slovene
Music Days, tackling difficult works with the greatest confidence and pre-
cision. They also regularly include Slovene works in their normal concert
seasons. Without these orchestras and their special skills in tackling diffi-
cult modern works we probably would not be witnessing numerous new
works by leading composers as well as significant works repeated from ear-
lier years: Lojze Lebič (Miti in apokrifi, Glasba – Koncert za violončelo, Mu-
sica concertata), Ivo Petrić (Slika Doriana Graya II), Uroš Rojko (Dih ran-
jenega časa, Tongenesis, Concerto fluido), Nenad Firšt (Lovci sanj), Vinko
Globokar (Eisenberg, Les chemins de la liberté, Sternbild der Grenze, An-
gel zgodovine), Janez Matičič (Cello Concerto and Violin Concerto No.1),
Igor Štuhec (Nekropola), Tomaž Habe (Horn Concerto, Trombone Concer-
to), Urška Pompe (Saxophone Concerto), Larisa Vrhunc (Med prsti zven po-
dobe II, Tako tiho, Vedno znova), Tomaž Svete (L’amor sul mar), Vito Žuraj
(Tiebreak, Runabout, Changeover). It is this reliable orchestral ability that
must have encouraged many Slovene composers to spend long hours com-
posing large orchestral scores. It is also worthy of comment that there is
a wide range of conductors (some not Slovene at all) involved in the per-
formance and interpretation of new Slovene works. Their contribution has
been very significant.
Another new development that helped to enrich the Slovene reperto-
ry was the creation of smaller groups from the orchestras, particularly the
Slovenska filhamonija. The 20-year-old Komorni godalni orkester Sloven-
ske filharmonije (Slovene Philharmonic String Chamber Orchestra) has
performed and recorded new works by Lojze Lebič (Per archi – Za goda-
la), Nina Šenk (Chant, Concerto grosso), and Nenad Firšt (Tolmuni), all
in superb performances. Another group which has produced two collec-
tions of recordings and a wide range of public concerts not only in Slo-
venia but also across Europe is the Komorni orkester solistov DSS (KOS).
One notes works performed and recorded by Marko Mihevc (the founder

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