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

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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