Page 207 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 207
To Read, to Hear and to See
the Slovenian Music
The Music of Slovenia from
the Remoteness to the Present
Franc Križnar, Maribor
In the Imperfection is Enjoyment, in the Seeking is Delight, in the Play is Art, in the
Music then is Illusion.
T Origins to Medieval
he origins of Slovene music lie in surviving pagan fragments and the
first musical settings of religious texts. The diary of Paolo Santoni-
no, secretary to the patriarch of Aquileia, Cardinal Marco Barbo, con-
tains references to the music that was to be heard in monasteries and church-
es towards the end of the 15th century.1 The musical endeavours of the religious
houses gave rise to part song. Works from this period typically showed an
Italian influence. Slovene secular music before the 16th century owed a great
deal to minesänger, wandering minstrels and other travelling musicians who
would usually perform independently or together with singers. They would
also quite frequently appear in church choirs. The first well-known musical
name from these times is that of Jurij Slatkonja (1456-1522) of Ljubljana and
the Vienna’s bishop from 1513.
Renaissance Music
Although the Slovene contribution to European Renaissance music was not
great, it nevertheless existed. More important perhaps than composers were
Slovene performers. Certain leading Slovene musicians such as Iacob Handl
Gallus (1550-1991) left their homes and began to establish the reputation of
Slovene musical creativity in other countries. Gallus’s madrigals, masses and
motets crossed local borders and became the property of Europe as a whole.
Gallus only really began to develop artistically in Vienna, Olomouc and
Prague, where he was able to give free rein to his creative powers and become
a figure of Europe-wide importance.
1 Dragotin Cvetko, Stoletja slovenske glasbe (The Centuries of Slovene Music) (Ljubljana: Cankarjeva za-
ložba, 1964).
to read, to hear and to see the slovenian music ... 205
the Slovenian Music
The Music of Slovenia from
the Remoteness to the Present
Franc Križnar, Maribor
In the Imperfection is Enjoyment, in the Seeking is Delight, in the Play is Art, in the
Music then is Illusion.
T Origins to Medieval
he origins of Slovene music lie in surviving pagan fragments and the
first musical settings of religious texts. The diary of Paolo Santoni-
no, secretary to the patriarch of Aquileia, Cardinal Marco Barbo, con-
tains references to the music that was to be heard in monasteries and church-
es towards the end of the 15th century.1 The musical endeavours of the religious
houses gave rise to part song. Works from this period typically showed an
Italian influence. Slovene secular music before the 16th century owed a great
deal to minesänger, wandering minstrels and other travelling musicians who
would usually perform independently or together with singers. They would
also quite frequently appear in church choirs. The first well-known musical
name from these times is that of Jurij Slatkonja (1456-1522) of Ljubljana and
the Vienna’s bishop from 1513.
Renaissance Music
Although the Slovene contribution to European Renaissance music was not
great, it nevertheless existed. More important perhaps than composers were
Slovene performers. Certain leading Slovene musicians such as Iacob Handl
Gallus (1550-1991) left their homes and began to establish the reputation of
Slovene musical creativity in other countries. Gallus’s madrigals, masses and
motets crossed local borders and became the property of Europe as a whole.
Gallus only really began to develop artistically in Vienna, Olomouc and
Prague, where he was able to give free rein to his creative powers and become
a figure of Europe-wide importance.
1 Dragotin Cvetko, Stoletja slovenske glasbe (The Centuries of Slovene Music) (Ljubljana: Cankarjeva za-
ložba, 1964).
to read, to hear and to see the slovenian music ... 205
