Page 178 - Weiss, Jernej, ur. 2018. Nova glasba v “novi” Evropi med obema svetovnima vojnama ?? New Music in the “New” Europe Between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 2
P. 178
nova glasba v »novi« evropi med obema svetovnima vojnama
this period, the Symphony in C major of 1922, subtitled Ideali (‘Ideals’), is
traditional in its form and techniques.4 The last work of any substance from
this time is his first opera Krst pri Savici (‘Baptism at the Savica’) with a sto-
ry that has roots in Slovene history and mythology. It is through composed,
but it is possible to identify traditional set-pieces such as arias, duets and
ensembles. This technique of having the best of both worlds is something
that he also used in his later opera, Krog s kredo.
Prague Years 1925–27
The years in Prague were used by Osterc to extend his style and study new
techniques. He was able to expand his horizons considerably and learn to
use new techniques to embrace those of his teachers, establishing a very
good relationship with them, but taking from each of them only what
he wanted. He gained a good grounding in new techniques from Karel
B oleslav Jirák, but also developed an adventurous side from Alois Hába.
Although there is no evidence that Osterc had any dealings with Alexander
Z emlinsky who was living in Prague at the time, it is quite possible that he
was able to encounter some of his work while he was studying in that city.
The fact that both Osterc and Zemlinsky used the play Der Kreidekreis by
Klabund as librettos for operas in the next few years may not be the coinci-
dence that it initially seems. At the same time, there is also another side to
his musical experience: that his fondness for using the folk music of his na-
tive land could be integrated into his modernist tendencies.
Experimental Ljubljana 1927–30
After returning from his studies in Prague to Ljubljana, Osterc became
very active in three main ways. The first of course was the composition of
his new music, which he hoped would be widely performed. Secondly, he
worked extensively with the International Society for Contemporary Mu-
sic (ISCM),5 including contacts with many composers and other musicians
in the different republics of what was then Yugoslavia and further afield in
numerous countries of Europe. The third important activity was his teach-
ing of a significant number of composition pupils, whom he was able to en-
4 See the study Zoran Krstulović, “Kompozijski stavek Simfonije v C-duru (‘Ideali’)
Slavka Osterca,” Muzikološki zbornik 31 (1995): 53–62.
5 Normally referred to in continental Europe by its French name, Société internationale
de la musique contemporaine (SIMC).
176
this period, the Symphony in C major of 1922, subtitled Ideali (‘Ideals’), is
traditional in its form and techniques.4 The last work of any substance from
this time is his first opera Krst pri Savici (‘Baptism at the Savica’) with a sto-
ry that has roots in Slovene history and mythology. It is through composed,
but it is possible to identify traditional set-pieces such as arias, duets and
ensembles. This technique of having the best of both worlds is something
that he also used in his later opera, Krog s kredo.
Prague Years 1925–27
The years in Prague were used by Osterc to extend his style and study new
techniques. He was able to expand his horizons considerably and learn to
use new techniques to embrace those of his teachers, establishing a very
good relationship with them, but taking from each of them only what
he wanted. He gained a good grounding in new techniques from Karel
B oleslav Jirák, but also developed an adventurous side from Alois Hába.
Although there is no evidence that Osterc had any dealings with Alexander
Z emlinsky who was living in Prague at the time, it is quite possible that he
was able to encounter some of his work while he was studying in that city.
The fact that both Osterc and Zemlinsky used the play Der Kreidekreis by
Klabund as librettos for operas in the next few years may not be the coinci-
dence that it initially seems. At the same time, there is also another side to
his musical experience: that his fondness for using the folk music of his na-
tive land could be integrated into his modernist tendencies.
Experimental Ljubljana 1927–30
After returning from his studies in Prague to Ljubljana, Osterc became
very active in three main ways. The first of course was the composition of
his new music, which he hoped would be widely performed. Secondly, he
worked extensively with the International Society for Contemporary Mu-
sic (ISCM),5 including contacts with many composers and other musicians
in the different republics of what was then Yugoslavia and further afield in
numerous countries of Europe. The third important activity was his teach-
ing of a significant number of composition pupils, whom he was able to en-
4 See the study Zoran Krstulović, “Kompozijski stavek Simfonije v C-duru (‘Ideali’)
Slavka Osterca,” Muzikološki zbornik 31 (1995): 53–62.
5 Normally referred to in continental Europe by its French name, Société internationale
de la musique contemporaine (SIMC).
176
