Page 186 - 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. 186
nova glasba v »novi« evropi med obema svetovnima vojnama
More recently, however, the perspective on his work has changed: Osterc’s
music today is not considered advanced according to Western European
criteria, even if much of his music is still relatively little known. His music
explored new formal workings and a harmonic idiom that verged on ato-
nality and twelve-note working rather than strict serial technique. It is now
understood and appreciated on its own terms, that is, without too much ref-
erence to the ideas of modernism. In all ways, however, Slovene music de-
veloped enormously under his influence.
Bibliography
Anon.. Hui-lan-chi or History of the Circle of Chalk. Translated into French by
Stanislas Julien as Le Cercle de Craie. London: John Murray, 1832.
The Old Testament of the Bible, I Kings, 3, verses 16–28.
Andraschke, Peter. “Minutna opera ‘Saloma’ Slavka Osterca – Die Minutenop-
er ‘Salome’ von Slavko Osterc.” Kuret, Primož, ed.. Slovenska glasba v
preteklosti in sedanjosti – Slowenische Musik in vergangenheit und Gegen-
wart. Ljubljana: Kres, 1992, 204–15.
Bergamo, Marija. “Osterčeva ‘avantgardnost’ v luči Drugega godalnega kvarte-
ta (1934).” Muzikološki zbornik 31 (1995): 63–69.
Brecht, Bertolt. Der kaukasische Kreidekreis. Berlin: Suhrkamp Verlag, 1955.
Brecht, Bertolt. (translated James and Tanya Stern with W.H. Auden). The
Caucasian Chalk Circle. London: Methuen, 1960; revised, London: Eyre
Methuen, 1976.
Clayton, Alfred. “Zemlinsky, Alexander.” The New Grove Dictionary of Opera.
London: Macmillan, 1992, vol. 4, 1225–26.
Clayton, Alfred. “Kreidekreis, Der.” The New Grove Dictionary of Opera. Lon-
don: Macmillan, 1992, vol. 2, 1043.
Cvetko, Dragotin. Fragment glasbene moderne iz pisem Slavku Ostercu – A
Fragment of Musical Modernism from Letters to Slavko Osterc. Ljubljana:
Slovenska akademija znanosti in umetnosti, 1988.
Cvetko, Dragotin. “Kontakti Slavka Osterca z Milojem Milojevićem.” Muz-
ikološki zbornik 22 (1986): 39–52.
Cvetko, Dragotin. “Kontakti Slavka Osterca z Milojem Milojevićem.” In Milo-
je Milojević kompozitor i muzikolog. Belgrade: Udruženje kompozitora Sr-
bije, 1986, 173–203.
Cvetko, Dragotin. “Veze Josipa Slavenskog sa Slavkom Ostercom.” Arti Mu-
sices 3 (1972): 63–76.
184
More recently, however, the perspective on his work has changed: Osterc’s
music today is not considered advanced according to Western European
criteria, even if much of his music is still relatively little known. His music
explored new formal workings and a harmonic idiom that verged on ato-
nality and twelve-note working rather than strict serial technique. It is now
understood and appreciated on its own terms, that is, without too much ref-
erence to the ideas of modernism. In all ways, however, Slovene music de-
veloped enormously under his influence.
Bibliography
Anon.. Hui-lan-chi or History of the Circle of Chalk. Translated into French by
Stanislas Julien as Le Cercle de Craie. London: John Murray, 1832.
The Old Testament of the Bible, I Kings, 3, verses 16–28.
Andraschke, Peter. “Minutna opera ‘Saloma’ Slavka Osterca – Die Minutenop-
er ‘Salome’ von Slavko Osterc.” Kuret, Primož, ed.. Slovenska glasba v
preteklosti in sedanjosti – Slowenische Musik in vergangenheit und Gegen-
wart. Ljubljana: Kres, 1992, 204–15.
Bergamo, Marija. “Osterčeva ‘avantgardnost’ v luči Drugega godalnega kvarte-
ta (1934).” Muzikološki zbornik 31 (1995): 63–69.
Brecht, Bertolt. Der kaukasische Kreidekreis. Berlin: Suhrkamp Verlag, 1955.
Brecht, Bertolt. (translated James and Tanya Stern with W.H. Auden). The
Caucasian Chalk Circle. London: Methuen, 1960; revised, London: Eyre
Methuen, 1976.
Clayton, Alfred. “Zemlinsky, Alexander.” The New Grove Dictionary of Opera.
London: Macmillan, 1992, vol. 4, 1225–26.
Clayton, Alfred. “Kreidekreis, Der.” The New Grove Dictionary of Opera. Lon-
don: Macmillan, 1992, vol. 2, 1043.
Cvetko, Dragotin. Fragment glasbene moderne iz pisem Slavku Ostercu – A
Fragment of Musical Modernism from Letters to Slavko Osterc. Ljubljana:
Slovenska akademija znanosti in umetnosti, 1988.
Cvetko, Dragotin. “Kontakti Slavka Osterca z Milojem Milojevićem.” Muz-
ikološki zbornik 22 (1986): 39–52.
Cvetko, Dragotin. “Kontakti Slavka Osterca z Milojem Milojevićem.” In Milo-
je Milojević kompozitor i muzikolog. Belgrade: Udruženje kompozitora Sr-
bije, 1986, 173–203.
Cvetko, Dragotin. “Veze Josipa Slavenskog sa Slavkom Ostercom.” Arti Mu-
sices 3 (1972): 63–76.
184
