Page 370 - 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. 370
nova glasba v »novi« evropi med obema svetovnima vojnama
E. F. Burian, cellist Váša Černý and clarinetist Milan Kostohryz expressed
their opinions on the topic of interpretation. Area that appears most sui-
table for processing is chamber music and particularly one specific part,
so called “Czech quartet school.” It is one of few artistic activities in the
field of Czech musical culture where we can observe the continual develop-
ment with all eventual divides and deviations. The founding significance
belongs to the Bohemian Quartet. In the beginning of the 20th century it
was primarily the Ševčík-Lhotský Quartet, Zika’s (Czechoslovak) and Pra-
gue Quartets. Interpretation of the Bohemian Quartet especially began to
change with the inventions of the phonograph and a gramophone record.
The fact that music can be written not only in the sheet but also as a sound,
not only its progression but also qualities elusive in the notation, redirects
the attention to topical and currently ongoing flow of music. Here we can
also find the impulse (which is often overlooked) of the development of new
tradition of performance.
Keywords: Czech music, musicology, performance, score, interpretation re-
search, analysis of recorded music
Jurij Snoj
The Concept of Music in the Writings of Three Slovenian
Interwar Music Essayists
In Slovenia, a large amount of various articles on music came into being
during the interwar period. Among the writers discussing issues of musical
aesthetics, the most importeant were: the composer Anton Lajovic (1878–
1960), the composer Marij Kogoj (1892–1956), and the art historian Stan-
ko Vurnik (1898–1932). The three developed different views on music which
may be interpreted also from the point of view of their personal careers. La-
jovic was a witness of the time as the German cultural supremacy was be-
ing misused for specific polical purposes. He rejected the cultural interna-
tionalism as a pretext for the domination of one nation over the others; he
was convinced that Slovenian music could prosper just as a national mu-
sical culture taking part in a strong yet healthy international competition.
Kogoj was a forward looking composer of his time. In opposition to Lajo-
vic he regarded music as expression of an outstanding personality. As such
music, in his view, cannot remain limited to the boundaries of the nation;
to be artist therefore does not concern the nation but rather the whole hu-
manity. Still another approach to the qestions of music can be encountered
in the writings of Vurnik, who was interested especially in the development
368
E. F. Burian, cellist Váša Černý and clarinetist Milan Kostohryz expressed
their opinions on the topic of interpretation. Area that appears most sui-
table for processing is chamber music and particularly one specific part,
so called “Czech quartet school.” It is one of few artistic activities in the
field of Czech musical culture where we can observe the continual develop-
ment with all eventual divides and deviations. The founding significance
belongs to the Bohemian Quartet. In the beginning of the 20th century it
was primarily the Ševčík-Lhotský Quartet, Zika’s (Czechoslovak) and Pra-
gue Quartets. Interpretation of the Bohemian Quartet especially began to
change with the inventions of the phonograph and a gramophone record.
The fact that music can be written not only in the sheet but also as a sound,
not only its progression but also qualities elusive in the notation, redirects
the attention to topical and currently ongoing flow of music. Here we can
also find the impulse (which is often overlooked) of the development of new
tradition of performance.
Keywords: Czech music, musicology, performance, score, interpretation re-
search, analysis of recorded music
Jurij Snoj
The Concept of Music in the Writings of Three Slovenian
Interwar Music Essayists
In Slovenia, a large amount of various articles on music came into being
during the interwar period. Among the writers discussing issues of musical
aesthetics, the most importeant were: the composer Anton Lajovic (1878–
1960), the composer Marij Kogoj (1892–1956), and the art historian Stan-
ko Vurnik (1898–1932). The three developed different views on music which
may be interpreted also from the point of view of their personal careers. La-
jovic was a witness of the time as the German cultural supremacy was be-
ing misused for specific polical purposes. He rejected the cultural interna-
tionalism as a pretext for the domination of one nation over the others; he
was convinced that Slovenian music could prosper just as a national mu-
sical culture taking part in a strong yet healthy international competition.
Kogoj was a forward looking composer of his time. In opposition to Lajo-
vic he regarded music as expression of an outstanding personality. As such
music, in his view, cannot remain limited to the boundaries of the nation;
to be artist therefore does not concern the nation but rather the whole hu-
manity. Still another approach to the qestions of music can be encountered
in the writings of Vurnik, who was interested especially in the development
368
