Page 303 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 303
zkorak med glasbeno poetiko in estetiko pri urošu rojku
tory of musical practices gathered around the tripartite division of the musi-
cal world: popular musics, »mainstream« and the »advanced« or avant-gar-
de music.
His view of the avant-garde is clear: »I did not accept the tradition of
the German avant-garde as mine own,« claims Rojko.3 Moreover, he felt the
avant-garde from that period as a »dead end«4. Although Luigi Nono per-
suaded him immediately after he came to Freiburg with his all-sounds-music
approach and he reckoned Ligeti, for some time by then, as one of his main
lighthouses in the dispersed horizon of the musical life in the ‘eighties, his
impressions were uneasy ones. His work with Ligeti was especially frustrat-
ing one. Ligeti »with his guru-like poise,« Rojko recounts, »led me into uncer-
tainty and horrible split«.5
His view of the avant-garde urges rojko not only to distance himself
from it, but to search for certain ahistoric position: »What I’ve been doing
now, in the last five years,« emphasized Rojko in the middle of the 1990’s,
»is above all liberation of myself. I try to understand everything as translating,
canalizing of primary energies into a palpable substance.«6 This is one of most
clear self-references that Rojko has uttered about his music: writing music is
for him a process of translating »primary energies« into acoustic phenome-
na. Rather comparable to the acoustic research in the post-WW II, Rojko sees
composing in terms of a historically unbiased, emphatically »forgetful« pro-
cess of immersion with sound:
To me, each piece is a challenge, an adventure that consists of doubt and enthusiasm.
Doubt of whether I can ever bring it to an end, enthusiasm over any small discovery
which promotes self confidence and reassures that it was worthwhile to start it …7
... Comprehension of the Aesthetic Function in Music
In spite of Rojko’s artistic maturing in the tradition of “the critical avant-
garde” – his “critical way of thinking” lives in his musical logic as a set of rig-
orously thought out compositional procedures and methods – the composer
doubts in the efficiency of a compositional system. A »system proves noth-
3 »Pogovor s Srečkom Mehom [Interview with Srečko Meh],« Glasbena mladina, no. 5 (1995): 6.
4 Brošura Radia Slovenije (Prix Italia '93), Uroš Rojko, Inner Voices.
5 »Pogovor s Srečkom Mehom [Interview with Srečko Meh],« Glasbena mladina, no. 5 (1995): 6.
6 Ibid.
7 Uroš Rojko, personal website http://home.arcor.de/uros.rojko/english/e_rojko.html (11. 4. 2014).
301
tory of musical practices gathered around the tripartite division of the musi-
cal world: popular musics, »mainstream« and the »advanced« or avant-gar-
de music.
His view of the avant-garde is clear: »I did not accept the tradition of
the German avant-garde as mine own,« claims Rojko.3 Moreover, he felt the
avant-garde from that period as a »dead end«4. Although Luigi Nono per-
suaded him immediately after he came to Freiburg with his all-sounds-music
approach and he reckoned Ligeti, for some time by then, as one of his main
lighthouses in the dispersed horizon of the musical life in the ‘eighties, his
impressions were uneasy ones. His work with Ligeti was especially frustrat-
ing one. Ligeti »with his guru-like poise,« Rojko recounts, »led me into uncer-
tainty and horrible split«.5
His view of the avant-garde urges rojko not only to distance himself
from it, but to search for certain ahistoric position: »What I’ve been doing
now, in the last five years,« emphasized Rojko in the middle of the 1990’s,
»is above all liberation of myself. I try to understand everything as translating,
canalizing of primary energies into a palpable substance.«6 This is one of most
clear self-references that Rojko has uttered about his music: writing music is
for him a process of translating »primary energies« into acoustic phenome-
na. Rather comparable to the acoustic research in the post-WW II, Rojko sees
composing in terms of a historically unbiased, emphatically »forgetful« pro-
cess of immersion with sound:
To me, each piece is a challenge, an adventure that consists of doubt and enthusiasm.
Doubt of whether I can ever bring it to an end, enthusiasm over any small discovery
which promotes self confidence and reassures that it was worthwhile to start it …7
... Comprehension of the Aesthetic Function in Music
In spite of Rojko’s artistic maturing in the tradition of “the critical avant-
garde” – his “critical way of thinking” lives in his musical logic as a set of rig-
orously thought out compositional procedures and methods – the composer
doubts in the efficiency of a compositional system. A »system proves noth-
3 »Pogovor s Srečkom Mehom [Interview with Srečko Meh],« Glasbena mladina, no. 5 (1995): 6.
4 Brošura Radia Slovenije (Prix Italia '93), Uroš Rojko, Inner Voices.
5 »Pogovor s Srečkom Mehom [Interview with Srečko Meh],« Glasbena mladina, no. 5 (1995): 6.
6 Ibid.
7 Uroš Rojko, personal website http://home.arcor.de/uros.rojko/english/e_rojko.html (11. 4. 2014).
301
