Page 177 - 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
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recent slovene music and its interpreters
            and director), Črt Sojar Voglar (Komorni koncert), Igor Štuhec (Iz domače-
            ga perivoja), Jani Golob (Tri bagatele), Marjan Šijanec (Butterflies for cham-
            ber orchestra), Peter Šavli (Latino Suite), Nenad Firšt (Letters for violin and
            orchestra) and Ivo Petrić (Fantasia concertante). Most of these works would
            not have been written were it not for the presence of the orchestra and its
            willingness to undertake their performance.
                 Solo vocal interpreters continued to expand their recitals, while still
            cultivating the Lieder model. A particularly notable event was the solo song
            concert to celebrate the centenary of the foundation of the Ljubljana Glas-
            bena matica in 2019. The solo songs of Marij Kogoj are now becoming part
            of the normal repertory as sung especially by Barbara Jernejčič, both in
            concerts and on recordings. She also helped to revive interest in solo vo-
            cal works with ensemble from the 20  century: VI pesem iz cikla Blaznost
                                              th
            Gregorja Strniše by Darijan Božič, Odsevi Hajamovih stihov by Jakob Jež,
            and Microsongs by Alojz Srebotnjak. Solo song recitals gained a much high-
            er profile with a wide range of works often including new works demand-
            ing some of the newer techniques and styles. In a concert in the 2010 Mu-
            sic Days, a wide range of new Slovene songs was performed by three leading
            singers: Barbara Kozelj, Phyllis Ferwerda and Matjaž Robavs that showed
            new techniques in songs by Vladimir Hrovat, Andrej Misson, Jakob Jež,
            Lojze Lebič, Tomaž Habe, Peter Šavli, Jani Golob, Ljubo Rančigaj and Igor
            Štuhec. The result is that composers used new techniques and adventurous
            forms more and more.
                 With a large number of choirs in Slovenia, it is hardly surprising that
            there has been good progress in choral singing. While in the 21  centu-
                                                                         st
            ry there have been many new instrumental Slovene works performed at
            the DSS recitals and the Nights of Slovene Music during the Slovene Music
            Days, choral music has also been generously programmed in the latter fes-
            tival. New music is not so evident here, as it is sometimes interleaved with
            traditional and classic items. Choral music by Uroš Krek, Primož  Ramovš,
            Pavle Merkù, Lojze Lebič and Aldo Kumar has been discreetly fitted in with
            more traditional works. While older Slovene music was never neglected,
            gradually more adventurous music began to be performed with various
            specialist choirs, for example, the excellent Mešani pevski zbor Obala un-
            der Ambrož Čopi and the Slovenski komorni zbor under Mirko Cuderman
            presented this mixture of music, as did the Ljubljana Opera Choir. Sloven-
            ski komorni zbor conducted by Martina Batič have included more recent
            works by Habe, Voglar, Avsec, Nana Forte, Peter Šavli, while Zbor KGB


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