Njegoš i muzika:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Veröffentlicht: |
Podgorica
Mizički Centar Crne Gore
2013
|
| Ausgabe: | 2. dopunjeno izd. |
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | Zsfassungen in engl. und ital. Sprache |
| Beschreibung: | 309 S. Notenbeisp. |
| ISBN: | 9789940538088 |
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| 246 | 1 | 3 | |a Njegoš and musik |
| 246 | 1 | 3 | |a Njegoš e la musica |
| 250 | |a 2. dopunjeno izd. | ||
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| adam_text | AFTERWORD
The very title of the manuscript Njegoš and Music indicates that
it is a study of interdisciplinary character. Logically, this was
confirmed in elaboration, where historical-biographic, literary-
analytic, musicological-analytic and ethno-musicological aspects
intertwine. The authors wide musicological and philological edu-
cation enabled such complex approach and her confident dealing
with all the above areas. However, the main focus of the mono-
graph is on the analytic-music issues.
Relying on the relevant literary-historical literature of the most au-
thoritative researchers of Njegos’s creative work, in her retrospect
of Njegošs works as the art of the word, weather she writes about
his supreme poetic accomplishments or texts of other purpose (on
the Testament), the author noticed and stressed their significant
artistic values. With a fine sense of values hierarchy she charac-
terized particular works or fragments of larger wholes within
Njegošs main works ( Mountain Wreath, The Ray of the Microcosm,
The False Emperor Ščepan the Small). She always had in mind the
intertwining of various artistic genres and she reached the inter-
esting finding that the most-sublime and the most valuable artistic
works gave supreme results in music arrangement as well, inspired
or originating from the texts that used such works as the base (
Mountain Wreath, The Night More Precious Than The Century, or
The Lament of Batrics Sister, particular reels from The Mountain
Wreath and The Testament).
Analysing Njegoš s works from the perspective of musicology, the
author presented herself as a researcher who has reliable literary,
historical and philological education. The author’s two expertises:
the musicological and the literary-historical one harmoniously
295
complement each other in the study. The latter was expressed in
her exposition on the nature and the diversity of Njegos s verse, or
on the type of songs, and in the succinct observations and judge-
ments on Njegos s literary creation on the whole. The part on the
importance of the gusle in the national history and in Njegoss
works was analysed in a knowingly manner.
Even the discussion on the The Ray of the Microcosm, brings a sub-
tle functional analysis of verses and the poem in general, having in
mind the sound and the music elements of verses, with a special
singling out of the most expressive places...
The statement and the finding that among all Njegoss works The
Mountain Wreath, his most important work, served mostly as an
inspiration for composers (for 21 music work) is both important
and interesting, and that Lament of Batrics Sister as a fragment
was mostly further elaborated and used in musical terms. Com-
posers were inspired also by other strong places from The Moun-
tain Wreath: monologues of Bishop Danilo, reel, which means also
parts with not only stage and lyrical but also reflective elements.
In distinction from The Mountain Wreathe The Ray of the Micro-
cosm and The False Emperor Scepan the Small served to compos-
ers for just one music arrangement each. This is somewhat unex-
pected, having in mind the fact that the author was persuasive in
showing how many different music elements are present in The
False Emperor Scepan the Small She characterized it as a kind of
piece with singing, i.e. as a drama piece permeated with music. Let
us add that even the character of Scepan is not depicted onesid-
edly, according to the black-white matrix.
Vaso Milincevic
296
* st- st-
ihe most extensive chapter of the work is named Njegoš in Mu-
sic After she conscientiously and keenly singled out from the
scarce biographic data and from the works of Njegoš everything
of relevance for his attitude to music, the author now passes to
the relation of music i.e. music creators to Njegoš: to music works
inspired by Njegoš1 s verses. For understandable reasons she had
to limit herself to compositions of Serbian and Montenegrin au-
thors, if they were available ֊ which, unfortunately, was not al-
ways the case. Still, the list given in Appendix 1 records 23 names
of composers and around forty opuses, most of which will be sub-
jected to musicological analysis in this chapter.
Reminding of the conditions in which the music culture in Mon-
tenegro made its first steps in XIX century (starting from the trav-
el descriptions of Viala de Somier and Johann Georg Kohl) and
began to develop more intensively in its last decades, the author
stresses performances whose programme included a section from
the Mountain Wreath as obligatory, sung with gusle or danced in
a reel. The organization and conducting of such programmes is
linked with the name of the first Montenegrin composer Spiri-
don Špiro Ognjenovič, who was the first to undertake the task of
giving sound to a text of Negoš - which was such that it would
present considerable demands even to a better educated compos-
er than Ognjenovič was: Dedicated to the Ashes of the Father of
Serbia. The composition, unfortunately, could not be found, thus
assumptions on its character, style and technical level are made in
parallel with other, preserved compositions of the same author.
On the occasion of 100th anniversary of Njegoš s death a large num-
ber of compositions were created whose authors mainly showed
an inclination towards folklore means of expression. The author
analyzes attentively the choir works of Svetolik Paščan (reels, the
Mass of Prior Stefan), Jovan Bandur {Montenegrin Madrigal) and
Svetomir Nastasijevič (Glass of Honey, Njegoss Aphorisms and
other), works for voice and orchestra by Božidar Trudič (The
Song of Montenegrin Wedding Guest) and by Ljubica Marič (Verses
from the ‘Mountain Wreath% to dwell mostly ֊ for a number of
Â
297
reasons - on Nikola Hercigonja. This author not only wrote the
cantata The Mountain Wreath for the mentioned occasion from
1951, but this work grew in the following years into the stage ora»
torio bearing the same name ֊ by now the most significant music
work inspired by Njegoš. What follows is a detailed review of the
works of Vojin Komadina (Heroic Triptychon, Symphony Njegoš),
of younger Montenegrin composer Žarko Mirkovič (Letters) and
of the masterly work based on Njegoss text, The Testament, by
composer Rajko Maksimovič.
Quite a special place belongs to the piano Nocturno of Dejan
Despič, in which the author wants to conjure up the atmosphere
of The Night More Precious than a Century through purely musi-
cal means, close to impressionism, and without any presence of
words.
The third part of the monograph by Branka Radovič represents
the summing up and systematizing of the results reached through
previous analytic procedure. The heterogeneity of genres of the
works inspired by Njegoša texts is underlined (choir, solo song,
vocal-instrumental, stage and purely instrumental music), as well
as the relation of the composer to the text (observed from different
aspects: from the selection of texts and their possible paraphras-
ing, to style, melodics, rhythmic organization, application of ho-
mophony and polyphony, function of instrumental accompani-
ment. Once again the style meandering of our music was pointed
out - alteration between break into new expression and return
to tradition. Finally - maybe due to lack of a more appropriate
place in the work - here an interesting, almost curious piece of
data was given that as early as in 1886 the opera Montenegrins by
Karel Bendi was performed in Prague, with Njegoš as the main
character, but it was, unfortunately, lost.
Musicological analyses of available compositions have been con-
ducted conscientiously, professionally and meticulously, but, for
the sake of legibility, the author consciously refrained from purely
expert details and formulations, which would have been in place
in a purely musicological discourse (such as for example, the au-
thors previous book The Mountain Wreath and other music-stage
298
works of Nikola Hercigonja issued by the Association of Compos-
ers of Montenegro, quoted in the Bibliography under number
90), as they would be a burden for the text in which the literary
and music angle of observing constantly cross.
On the whole, in our opinion Branka Radovic has done an impor-
tant pioneering work in a field that was to date either not analysed
or only in part analysed, indicating the little known or little valued
data and studying in detail the relevant primary music sources, pre-
senting all in a manner which could find echo in the wider and not
only expert public.
Vlastimir Pericic
299
A
Il tema Njegoš e la musica rappresenta prima di tutto un contributo
allo studio dei significativi rapporti fra la letteratura e la musica nelle
opere di un autore, P. P. Njegoš Nelle sue opere, specialmente in quelle
maggiori, Gorski vijenac (La Corona montana), Luca mikrokozma (Luca
microcosma) Ščepan Mali (Ščepan Piccolo) la presenza della musica e
grande sia nelle menzioni del canto e del suonare popolari, sia nella
struttura di alcune parti del testo dello scrittore, nel modo di una forma
già fatta in una composizione della musica,
Il posto della musica, che fu molto importante nella vita e nelle opere
di Njegoš, non e stato particolarmente analizzato fino ad oggi, mentre
i rapporti fra le altre arti e le sue opere sono stati ricercati negli studi di
notevoli scienziati.
Il maggior parte di questo studio rappresenta le analisi delle opere di
musica dei compositori serbi e montenegri (sono state menzionate anc-
he opere dei compositori delle ex repubbliche jugoslave) composte sui
versi e sulla prosa di Njegoš. Lelenco imponente contiene gli autori da
quelli piu vecchi, del XIX secolo, fino ai nostri contemporanei. Le opere
piu significative fatte e composte sulle opere di Njegoš, rappresentano
nello stesso tempo massime opere di alcuni compositori (Hercigonja,
Maksimovic ed altri ancora). Sono anche composizioni molto impor-
tanti nella nostra completa storia della musica.
Alla fine di questo studio ci sono anche molti allegati, esempi di note,
il registro completo degli autori e delle loro opere classificate secondo il
genero ed i testi, il dizionario dei termini del suono e della musica nelle
opere di Njegoš, mentre esempi di note rappresentano le parti essenziali di
alcuni movimenti e delle composizioni che sono stati analizzati nel corso
della ralizzazione dello studio.
(prevod Draga Ziherl)
PREDGOVOR DRUGOM IZDANjU
.9
9 i i dio i Njegoš i muzika
UVOD.........................................................15
Muzika u Njegoševom životu...................................25
Muzika u ranim djelima i pjesmama............................37
Muzika u Gorskom vijencu.....................................44
Gusle kao znamen...........................................44
Svatovske pjesme...........................................51
Tužbalica................................................ 52
Kola u muzičko-dramaturškom toku...........................54
Kola kao muzička kompozicija...............................56
Duhovna muzika.............................................58
Muzika u Luči mikrokozma.....................................60
Uplivi stare grčke muzike..................................60
Lažni car Šćepan Mali kao dramski komad prožet muzikom.......67
Muzička slojevitost Lažnog cara Šćepana Malog..............76
Dramaturška uloga muzike u Lažnom caru Šćepanu Malom.........78
si i ii dio i Njegoš u muzici
UVOD........................................................85
Crna Gora - XIX vijek i prva decenija XX vijeka.............89
Muzika Njegoševog doba......................................89
Drugi period - romantizam..................................102
Srpska moderna.............................................106
Ratno i poratno doba
(Djela nastala za vrijeme i poslije Drugog svjetskog rata).111
Djela iz 1951..............................................115
Nikola Herđgonja.........................................123
Libreto...............................................127
Način izgradnje oblika................................129
Muzička realizacija.....................................131
Odnos kompozitora našeg doba prema Njegošu..............137
Dejan Despić: Noć skuplja vijeka......................143
Suvremeni crnogorski kompozitori Njegošu................157
163 i ih dio i Žanrovska raznolikost djela
inspirisanih Njegoševim tekstovima
Odnos kompozitora prema tekstu (vidovi upotrebe teksta).179
Zašto tužbalica.......................................180
Aktuelnost Njegoševog opusa danas.......................190
Bogdan Babič..........................................192
Ljubica Marič.........................................195
Dejan Despić..........................................199
Marko Rogošić.........................................204
Tatjana Prele vic................................... 209
Djela iz 2013.........................................212
Žarko Mirkovič........................................214
Aleksandar Perunović..................................220
Nina Perovič..........................................223
26i i Prilozi
PRILOG 1
SPISAK KOMPOZITORA NJEGOŠEVIH DJELA
(INSPIRISANIH NJEGOŠEM).................................263
PRILOG 2
KOMPOZICIJE INSPIRISANE NJEGOŠEM
RAZVRSTANE PO ŽANROVIMA.................................267
MALE VOKALNE FORME....................................267
OSTALE MALE VOKALNE FORME.............................268
VEĆE VOKALNE FORME....................................268
VOKALNO-INSTRUMENTALNE FORME..........................268
INSTRUMENTALNA MUZIKA.................................269
KAMERNA MUZIKA........................................269
SCENSKA MUZIKA........................................269
PRILOG З
KOMPOZICIJE INSPIRISANE
NJEGOŠEVIM TEKSTOVIMA............................. 271
GORSKI VIJENAC...................................271
LUČA MIKROKOZMA................................ 272
LAŽNI CAR ŠĆEPAN MALI.......................... 272
TESTAMENAT................................... 273
PRILOG 4
RJEČNIK ZVUKOVNIH I MUZIČKIH TERMINA
IZ NJEGOŠEVIH DJELA............................... 275
PRILOG 5
BIBLIOGRAFIJA.................................. .283
NOTNI PRIMJERI...................................289
POGOVOR........................................ 291
POGOVOR (engleski)........................... 295
REGISTAR IMENA...................................301
7
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| id | DE-604.BV042679879 |
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| indexdate | 2024-07-10T07:07:18Z |
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| isbn | 9789940538088 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028111745 |
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| spelling | Radović, Branka 20./21. Jh. Verfasser (DE-588)1073649822 aut Njegoš i muzika Branka Radović Njegoš and musik Njegoš e la musica 2. dopunjeno izd. Podgorica Mizički Centar Crne Gore 2013 309 S. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Zsfassungen in engl. und ital. Sprache Peter II. Montenegro, Fürstbischof 1813-1851 (DE-588)118740172 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Peter II. Montenegro, Fürstbischof 1813-1851 (DE-588)118740172 p Musik (DE-588)4040802-4 s DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028111745&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028111745&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Radović, Branka 20./21. Jh Njegoš i muzika Peter II. Montenegro, Fürstbischof 1813-1851 (DE-588)118740172 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)118740172 (DE-588)4040802-4 |
| title | Njegoš i muzika |
| title_alt | Njegoš and musik Njegoš e la musica |
| title_auth | Njegoš i muzika |
| title_exact_search | Njegoš i muzika |
| title_full | Njegoš i muzika Branka Radović |
| title_fullStr | Njegoš i muzika Branka Radović |
| title_full_unstemmed | Njegoš i muzika Branka Radović |
| title_short | Njegoš i muzika |
| title_sort | njegos i muzika |
| topic | Peter II. Montenegro, Fürstbischof 1813-1851 (DE-588)118740172 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Peter II. Montenegro, Fürstbischof 1813-1851 Musik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028111745&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028111745&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT radovicbranka njegosimuzika AT radovicbranka njegosandmusik AT radovicbranka njegoselamusica |