Page 307 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 307
zkorak med glasbeno poetiko in estetiko pri urošu rojku
from the mid-18th to mid-19th-century, would not have been important for the
zenith of the avant-garde movement, as Alex Ross notes for the “Darmstad’s
hypermodern façade” where »the age-old longing for sublimity and transcend-
ence«17. Michela Garda notes that two and a half centuries ago the »venera-
tion of the past and the use of historical compositional techniques eventually be-
came the primary criteria for evaluation of the sublime in music«.18 Far from
claiming that Rojko’s views on old-music procedures (which he uses in a va-
riety of ways in his compositions) may be taken as criteria of the sublime, it
seems that there may be an important analogy between (not only) Rojko’s
work19 and the ideals of the sublime from the late 18th century. The analo-
gy may be indicated in terms of a creative game of historically tested com-
positional procedures in which Rojko founds profound experiential impor-
tance. Uleomina for chorus is a nice example from Uroš Rojko’s Oeuvre to fit
into Jean-David Jumeau-Lafond’s20 search for the sublime in the 19th and ear-
ly 20th-century choral music without semantic text as a pointer of the sublime
– »several main outlines stand out: the expression of the supernatural, the sym-
bolist aesthetics of mystery, the evocation of sleep and death and […] a pantheistic
vision of nature« in succeeding to »express the inexpressible«.21
Of course, at this point the analysis should immerse in a complex set
of questions regarding the compositional procedures, the poetical directions
17 Alex Ross, The rest is noise (New York: Picador Farrar, Straus and Giroux, 2007), 299.
18 Michela Garda, »Teorie e tipologie del sublime musicale nella seconda metà del Settecento: Pre-
supposti estetici ed atteggiamenti ricettivi,« Revista De Musicología 16, no. 5 (1993): 3070–3088.
19 Cf. for instance:
Colleen Renihan, »'History as it should have been': Haunts of the historical sublime in John Co-
rigliano's and William Hoffman's The ghosts of Versailles,« Twentieth-century music 10, no. 2 (2013):
249–272.
Márta Grabócz, »Value in contemporary art and the category of the sublime in new music:
Works of F.-B. Mâche, J.-C. Risset and P. Eötvös,« in Music: function and value. Proceedings of the
11th international congress on musical signification 27, eds. Teresa Malecka and Małgorzata Pawłowska
(Kraków, 2013), 75–97.
Jean-David Jumeau-Lafond, »Le choeur sans paroles, ou Les voix du sublime,« Revue de musicolo-
gie 83, no. 2 (1997), 263–279.
Helga de la Motte-Haber, »Das Schöne und das Sublime,« in Schönheit als verweigerte Gewohnheit:
Der Schönheitsbegriff und die avancierte Musik im 20. Jahrhundert–Kolloquium des Dresdner Zentrums
für Zeitgenössische Musik im Rahmen der 13. Dresdner Tage der Zeitgenössischen Musik, ed. Marion De-
muth (Saarbrücken: Pfau-Verlag, 2008), 66–72.
Kiene Brillenburg Wurth, »Sounds like now: Music, avant-gardism, and the post-modern subli-
me,« in Music and literary modernism: Critical essays and comparative studies, ed. Robert P. McParland
(Cambridge: Cambridge Scholars Publishing, 20092), 12-31.
20 Jean-David Jumeau-Lafond, op. cit., 279.
21 Ibid.
305
from the mid-18th to mid-19th-century, would not have been important for the
zenith of the avant-garde movement, as Alex Ross notes for the “Darmstad’s
hypermodern façade” where »the age-old longing for sublimity and transcend-
ence«17. Michela Garda notes that two and a half centuries ago the »venera-
tion of the past and the use of historical compositional techniques eventually be-
came the primary criteria for evaluation of the sublime in music«.18 Far from
claiming that Rojko’s views on old-music procedures (which he uses in a va-
riety of ways in his compositions) may be taken as criteria of the sublime, it
seems that there may be an important analogy between (not only) Rojko’s
work19 and the ideals of the sublime from the late 18th century. The analo-
gy may be indicated in terms of a creative game of historically tested com-
positional procedures in which Rojko founds profound experiential impor-
tance. Uleomina for chorus is a nice example from Uroš Rojko’s Oeuvre to fit
into Jean-David Jumeau-Lafond’s20 search for the sublime in the 19th and ear-
ly 20th-century choral music without semantic text as a pointer of the sublime
– »several main outlines stand out: the expression of the supernatural, the sym-
bolist aesthetics of mystery, the evocation of sleep and death and […] a pantheistic
vision of nature« in succeeding to »express the inexpressible«.21
Of course, at this point the analysis should immerse in a complex set
of questions regarding the compositional procedures, the poetical directions
17 Alex Ross, The rest is noise (New York: Picador Farrar, Straus and Giroux, 2007), 299.
18 Michela Garda, »Teorie e tipologie del sublime musicale nella seconda metà del Settecento: Pre-
supposti estetici ed atteggiamenti ricettivi,« Revista De Musicología 16, no. 5 (1993): 3070–3088.
19 Cf. for instance:
Colleen Renihan, »'History as it should have been': Haunts of the historical sublime in John Co-
rigliano's and William Hoffman's The ghosts of Versailles,« Twentieth-century music 10, no. 2 (2013):
249–272.
Márta Grabócz, »Value in contemporary art and the category of the sublime in new music:
Works of F.-B. Mâche, J.-C. Risset and P. Eötvös,« in Music: function and value. Proceedings of the
11th international congress on musical signification 27, eds. Teresa Malecka and Małgorzata Pawłowska
(Kraków, 2013), 75–97.
Jean-David Jumeau-Lafond, »Le choeur sans paroles, ou Les voix du sublime,« Revue de musicolo-
gie 83, no. 2 (1997), 263–279.
Helga de la Motte-Haber, »Das Schöne und das Sublime,« in Schönheit als verweigerte Gewohnheit:
Der Schönheitsbegriff und die avancierte Musik im 20. Jahrhundert–Kolloquium des Dresdner Zentrums
für Zeitgenössische Musik im Rahmen der 13. Dresdner Tage der Zeitgenössischen Musik, ed. Marion De-
muth (Saarbrücken: Pfau-Verlag, 2008), 66–72.
Kiene Brillenburg Wurth, »Sounds like now: Music, avant-gardism, and the post-modern subli-
me,« in Music and literary modernism: Critical essays and comparative studies, ed. Robert P. McParland
(Cambridge: Cambridge Scholars Publishing, 20092), 12-31.
20 Jean-David Jumeau-Lafond, op. cit., 279.
21 Ibid.
305
