Page 365 - 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. 365
summaries
choirs, which finally detached itself from the previously prevalent nation-
al-awakening and moral subject-matters, and preference for the romantic
style. This “new” music followed the contemporary compositional and lit-
erary impulses of the time, it developed its style and called attention to
the current societal circumstances, particularly social conditions. A mod-
el example of a youth choir, both socially and musically, was the Trboveljski
slavček choir, which was founded and led by Avgust Šuligoj, and achieved
recognition across Europe, comparable to that of the Vienna Boys’ Choir.
Slovene and other composers from what was then Yugoslavia composed
around 800 pieces for the choir, which performed them at concerts and ra-
dio stations in Slovenia and internationally, disseminating the artistic and
social mission of youth choral singing throughout Slovenia. The year of
1934 was a particular milestone as this is when the first youth choir festi-
val took place in Ljubljana. The long-term impact of this resounding event
could be seen in the growing number of new youth choirs, the expansion of
the programme, which was contemporary from the artistic as well as gen-
eral aspect, and comprehensive singing training. Although WWII put a vi-
olent stop to the flourishing tradition of youth choral singing, the tradition
survived with the resumption of activities after 1945. The new times imbued
choral singing with a different mission, new conceptual views, and ideolog-
ically tinted repertoires, while virtually no trace of the pre-war modernists
could be detected in the composition principles. Either unintentionally or
by design, the youth choir leaders followed socialist principles, which al-
lowed no room for the latest composition techniques from the West.
Keywords: youth choral singing, music literature, Emil Adamič, Srečko Ku-
mar, Avgust Šuligoj, Trboveljski slavček
Hartmut Krones
Sprechen und „Sprechgesang“ als Ausdrucksform
für sozialkritische Inhalte in der Musik
der Zwischenkriegszeit
Seit Schönbergs Pierrot lunaire ist der „Sprechgesang“ ein unorthodoxes
Medium für unorthodoxe Inhalte, bald aber in erhöhtem Maße für sozial-
kritische und politische Aussagen. Zusätzlich verschärft wurde diese Au-
sdrucksform durch eine bald geradezu systematisiert eingesetzte Palette,
die von reinem Sprechen bis hin zu „traditionellem Singen“ reichte, wobei
für die besonders scharfen, politisch anklagenden Aussagen bevorzugt das
reine Sprechen eingesetzt wurde. Neben Arnold Schönberg (so in M oses
363
choirs, which finally detached itself from the previously prevalent nation-
al-awakening and moral subject-matters, and preference for the romantic
style. This “new” music followed the contemporary compositional and lit-
erary impulses of the time, it developed its style and called attention to
the current societal circumstances, particularly social conditions. A mod-
el example of a youth choir, both socially and musically, was the Trboveljski
slavček choir, which was founded and led by Avgust Šuligoj, and achieved
recognition across Europe, comparable to that of the Vienna Boys’ Choir.
Slovene and other composers from what was then Yugoslavia composed
around 800 pieces for the choir, which performed them at concerts and ra-
dio stations in Slovenia and internationally, disseminating the artistic and
social mission of youth choral singing throughout Slovenia. The year of
1934 was a particular milestone as this is when the first youth choir festi-
val took place in Ljubljana. The long-term impact of this resounding event
could be seen in the growing number of new youth choirs, the expansion of
the programme, which was contemporary from the artistic as well as gen-
eral aspect, and comprehensive singing training. Although WWII put a vi-
olent stop to the flourishing tradition of youth choral singing, the tradition
survived with the resumption of activities after 1945. The new times imbued
choral singing with a different mission, new conceptual views, and ideolog-
ically tinted repertoires, while virtually no trace of the pre-war modernists
could be detected in the composition principles. Either unintentionally or
by design, the youth choir leaders followed socialist principles, which al-
lowed no room for the latest composition techniques from the West.
Keywords: youth choral singing, music literature, Emil Adamič, Srečko Ku-
mar, Avgust Šuligoj, Trboveljski slavček
Hartmut Krones
Sprechen und „Sprechgesang“ als Ausdrucksform
für sozialkritische Inhalte in der Musik
der Zwischenkriegszeit
Seit Schönbergs Pierrot lunaire ist der „Sprechgesang“ ein unorthodoxes
Medium für unorthodoxe Inhalte, bald aber in erhöhtem Maße für sozial-
kritische und politische Aussagen. Zusätzlich verschärft wurde diese Au-
sdrucksform durch eine bald geradezu systematisiert eingesetzte Palette,
die von reinem Sprechen bis hin zu „traditionellem Singen“ reichte, wobei
für die besonders scharfen, politisch anklagenden Aussagen bevorzugt das
reine Sprechen eingesetzt wurde. Neben Arnold Schönberg (so in M oses
363
