Δευτέρα, 17 Δεκεμβρίου 2012

ΜΟΥΣΙΚΑ ΤΑΞΙΔΙΑ ΣΤΑ ΒΑΛΚΑΝΙΑ 2


ΜΟΥΣΙΚΑ ΤΑΞΙΔΙΑ ΣΤΑ ΒΑΛΚΑΝΙΑ





Καλό ξεκίνημα στη σελίδα με τις Μουσικές της Γειτονιάς μας (Βουλγαρία, Ρουμανία, Σερβία, Σκόπια, Μαυροβούνιο, Κροατία, Βοσνία, Σλοβενία, ΑΛβανία, Τουρκία) ! Ας αποτελέσει αυτή η σελίδα έναν μικρό κρίκο στην γνώση των κοινών και την κατανόηση της όσμωσης των πολιτισμών μεταξύ των Βαλκανικών λαών. 




*Tanja Pavlovic 

    ΜΙΚΡΗ ΕΙΣΑΓΩΓΗ


Η Βαλκανική μουσική είναι μια μουσική παράδοση εύκολα αναγνωρίσιμη ανάμεσα σ' όλα τα είδη της μουσικής του κόσμου. Επίσης, είναι μια παράδοση με πολύ ξεκάθαρα χαρακτηριστικά ως προς τις μελωδίες και την ερμηνεία τους. Σε πολύ γενικές γραμμές, βρίσκουμε τις πλευρές του σχηματισμού της σε ένα συνδυασμό παραδόσεων: προχριστιανικών χρόνων, Βυζαντινής, Σλαβικής και Οθωμανικής παράδοσης. Χιλιάδες χρόνια μεταναστεύσεων από ανατολή σε δύση κι από δύση σ' ανατολή μέσα στο Βαλκανικό χώρο οδήγησαν σε μια πολύ ιδιόμορφη κατανομή πληθυσμού ως αποτέλεσμα μείξης διαφορετικών λαών. Έτσι, δημιουργήθηκαν ποικίλα μουσικά περιβάλλοντα. Οι μουσικοί Ρομ που μετανάστευσαν από την Ινδία στην Ανατολία και μετά από την Ανατολία στα Βαλκάνια μετά το 14ο αιώνα, έμαθαν πολύ σύντομα τη μουσική διαφόρων λαών, διατηρώντας ωστόσο,  ως βάση, την μουσική της Ανατολίας. Ο νομαδικός τρόπος της ζωής τους συνέβαλε στο να διαδώσουν ό,τι γνώριζαν σε κάθε γωνιά των Βαλκανίων. Βεβαίως, κατά καιρούς η μετανάστευσή τους γινόταν από δύση προς ανατολάς κι έτσι έφεραν μαζί τους επί παραδείγματι την τσιγγάνικη μελωδία στην Ανατολία. Το αποτέλεσμα της αυθεντικής αλληλεπίδρασης μεταξύ Σλαβικής παράδοσης, Ελληνικής με παγανιστικά χαρακτηριστικά, των χρωμάτων της Ανατολίας (Βυζαντινών και Οθωμανικών) ήταν η διαμόρφωση μιας πλούσιας μουσικής συσσώρευσης, που σήμερα ονομάζουμε Βαλκανική μουσική. 



*Tanja Pavlovic

 Marko Tajčević was born in Osijek (today’s Croatia) on the 29th of January 1900. His music education began with violin studies at the Croatian Music Institution (Hrvatski glazbeni zavod) at the time the First World War broke out in Europe. In 1920 he went to Prague for further music studies where he took composition lessons with Vaclav Stepan. Prague, an important cultural center, made a big impact on young Tajčević. Unfortunately, because of his very poor financial situation he had to leave Prague after a year. For a short period of time, Vienna seemed like a good place where Tajčević could continue his music studies. After spending some time in Vienna, where he took lessons with Joseph Marx and Max Springer, he went back to his country to complete his studies.In Zagreb together with three other composers (Z. Grgoševic, J. Gotovac, and A. Novak) Tajčević prepared a concert in the series “Naša pučka lirika” (Our Folklore), which started in 1923. For this concert each of the composers wrote new songs for voice and piano based on folk music. Tajčević composed six songs for this occasion and the performance of one of them was so successful that the audience asked for encores four times during that same evening. This was a great accomplishment for young Tajčević.During the period 1924-40, Tajčević worked in Zagreb as a teacher. Teaching was Tajčević’s life career, intermingled with composing, conducting, and writing articles and music critiques. With other colleagues from Zagreb, he helped form the Lisinski Music School. Apart from teaching in school and composing, Tajčević was also very active as a choral conductor. He led the choirs “Balkan”, “Srpsko pevačko društvo”, and “Sloga” before moving to Belgrade in 1940, where he continued his conducting activity. His last concert as a choir conductor was in 1945 with the Central Choir of Belgrade, which had just been freed from the Germans. Moving to Belgrade did not stop Tajčević in his teaching career. In 1945 he became a professor of theory and composition at the Belgrade Academy of Music, later renamed Faculty of Music Arts (Fakultet muzicke umetnosti). Tajčević also wrote music critiques beginning in 1922 while he was still in Zagreb, and he kept writing them until 1955. They were published in magazines and newspapers such as Obzor, Riječ, Pokret, Vijenac, Jutarnji list, Zvuk, and Politika. After a considerably long and productive life Marko Tajčević died and was buried in Belgrade in 1984.Tajčević’s complete output totals fifty-four compositions. It includes works for solo voice, choir, chamber orchestra, strings, woodwinds, and piano. He also published books on theory as well as on harmony. His book Osnovna teorija muzike (The Elements of Music Theory) has been extensively used in music schools in the former Yugoslavia. Tajčević’s output is not large, but it is well crafted. He liked to work slowly and was aware of the responsibilities of signing the completed work. The authentic style of Tajčević is expressed through small forms — mostly miniatures, solo songs, and similar short pieces. For many critics, he was a “superb master of the miniature”. Once he mentioned that he was amazed by the power and depth of some miniatures such as Chopin’s Prelude in C minor, Op. 28 No. 20, or Bach’s minuets. This type of piece was probably an important inspiration for his own compositions.Piano works were the main compositional focus of Tajčević before the Second World War. After the war he began composing more often for strings, recalling his first musical steps with violin as his instrument. He wrote six works for strings, four of them titled divertimentos for three violins or string orchestra. Chaconne is his only piece for violin solo, and his only work for a wind instrument is Prelidijum i igra (Prelude and Dance) for flute solo. Vocal pieces (solo and choir) occupied his creativity throughout his life. He wrote songs for solo voice with piano and for female, male, children’s, and mixed choruses. His last piece is Zagorska rapsodija from 1979 for mixed choir.Marko Tajčević was an important composer and musician whose work is recognized not only in Yugoslavia, but internationally as well. Articles about him have appeared in dictionaries and encyclopedias such as the New Grove Dictionary of Music and Musicians, Enciclopedia Salvat de la Musica, and Die Musik in Geschichte und Gegenwart. Some of his piano pieces — Sedam balkanskih igara (Seven Balkan Dances), Medjimurske (Songs from Mur Island), Srpske igre (Serbian Dances), and Prva svita (The First Suite) — were published in Yugoslavia (Prosveta, Frajt, Hrvatski glazbeni zavod) as well as in Germany (Henle Musikverlag, Schott, Hans Gerig Musikverlag), the former Soviet Union (Musgiz), and the United States (Rongwen Music, Inc., Warner Brothers, Broude Brothers, Ltd.). Some famous pianists — such as Rubinstein, Friedmann, Borovski, and Orlov — have included Seven Balkan Dances in their repertoire.(Contribution by Radmila Stojanovic-Kiriluk <ljgljgyahoo.com>.)
Studied music with Blagoje Bersa, Franjo Dugan and Fran Lhotka in Zagreb, Václav Stepán in Prague and Joseph Marx in Vienna. Since 1929 he works as a music teacher, music critic and choir leader in Zagreb. He is one of the co-founders of the music school Lisinski. In 1940 he moved to Belgrado where he was a professor in music theory at the Music Academy from 1945-1966. He published a.o. General Musicology (Belgrado 1949, 3rd edition 1963) and Counterpoint (Belgrado 1958).This information was found in Das Grosse Handbuch der Klaviermusik, Peter Hollfelder, ISBN 3-930656-49-3 (1996), Nikol Verlagsgesellschaft mbH, Hamburg.
Marko Tajčević - Pet preludijuma / Five Preludes

Ο συνθέτης Μάρκο Τάϊτσεβιτς (1900-1984), Σέρβος, γεννημένος στην Κροατία (αν τον τοποθετήσουμε στα σημερινά γεωγραφικά δεδομένα) ανήκει στην πρώτη αξιολογικά κατηγορία συνθετών της πάλαι ποτέ Γιουγκοσλαβίας με πλατιά επιρροή στο μουσικό κλίμα του εικοστού αιώνα. Το γεγονός ότι δεν έχει αναδειχθεί στο μέτρο που θα έπρεπε οφείλεται και στη γνωστή πληγή της διαίρεσης και των σκληρών πολιτικών ανταγωνισμών ανάμεσα στα κρατίδια της άλλοτε δυνατής χώρας. Αυτά τα αδιέξοδα παιχνίδια οδήγησαν στην αφάνεια κι άλλους εκλεκτούς μουσικούς δημιουργούς, όχι μόνον Σέρβους αλλά και καταγόμενους από τις άλλες γιουγκοσλαβικές περιοχές.

Marko Tajčević - Sedam balkanskih igara / Seven Balkan Dances

http://youtu.be/YZELrp7xBSc



Stanislav Binički
From Wikipedia, the free encyclopedia

Stanislav Binički (Serbian Cyrillic: Станислав Бинички, pronounced [stǎnislaʋ binǐt͡ʃkiː]), (27 July 1872 – 15 February 1942)[1] was a Serbian composer, conductor, and pedagogue.
 Binički, who was born in Jasika, Kruševac, is considered to be one of the most famous representatives of Serbian classical music. He wrote Marš na Drinu (March to the Drina), a famous Serbian march, and the first Serbian opera Na Uranku (At dawn) (1914). The Serbian Armed Forces Parade March Past is also another most remembered march composition by him, for it is played by Military bands in the military parades and ceremonies of the Serbian Armed Forces and formerly of the Yugoslav People's Army and the Royal Yugoslav Army. He also wrote seven songs, "Mijatovke", dedicated to great Serbian tenor Mijat Mijatović. He died in Belgrade.
 Тhere is an annual music festival The Days of Stanislav Binički (Serbian:Dani Stanislava Biničkog) held in his homeplace Jasika near Kruševac, in which performed numerous distinguished soloists and ensembles.

Marš na Drinu
From Wikipedia, the free encyclopedia
 Marš na Drinu (Serbian Cyrillic: Марш на Дрину, pronounced [mârʃ na drǐːnu]; English: March to the Drina) is a Serbian patriotic song from World War I and the title of a film (1964).[1]
 During World War I, the river Drina (located on the border between Bosnia and Herzegovina in eastern Bosnia and Serbia) was the site of a bloody battle between the Serbian and Austro-Hungarian army, the Battle of Cer, from August 16 to August 19, 1914. To honour the bravery of the fallen, the Serbian composer Stanislav Binički composed Marš na Drinu. This song has become a symbol of the bravery of the Serbs during the First World War.
 In the Serbian constitutional referendum of 1992, the citizens have voted by vast majority to make it the official anthem of the Republic of Serbia. However, due to the highly flammable nature of the events in the Yugoslav civil wars and especially the neighboring Bosnian war, it was never officially adopted. Instead, the National Assembly had approved the old “God of Justice” anthem from the regal period as the national anthem.

This is incomplete popular version of the song.
Serbian

У бој, крените јунаци сви,
Крен'те и не жал'те живот свој,
Цер нек види строј, Цер нек чује бој, а река Дрина,
Славу храброст и јуначку руку оца сина.

Пој, пој, Дрино водо хладна ти,
Памти, причај кад су падали,
Памти храбри строј који је пун огња, силе, снаге,
Протерао туђина са реке наше драге.

Пој, пој, Дрино, причај роду ти,
Како смо се храбро борили,
Певао је строј, војево'о се бој,
Крај хладне воде,
Крв је текла,
Крв се лила Дрином због слободе.

English

To battle, go forth you heroes,
Go on and don't regret your lives
Let the Cer see the front, let the Cer hear the guns
and the river Drina's glory, courage!
And the heroic hand of the father and sons!

Sing, sing, cold water of the Drina,
Remember, and tell of the ones whom fell,
Remember the brave front, full of fire and mighty force
Whom expelled the invaders from our dear river!
Sing, sing, Drina, tell the generations,
How we bravely fought,
The front sang, the battle was fought
Near cold water
Blood was flowing,
Blood was streaming by the Drina... for Freedom!

Stanislav Binicki - Mars na Drinu, Original Verzia




Divna Ljubojević - Statije - Stradanje Hristovo


***








Kornelije Stanković - Wikipedia, the free encyclopedia
Kornelije Stankovic-Srpska nacionalna pesma
Što se bore misli moje



Што се боре мисли моје
Искуство ми ћутат` вели,
Беж`те сада ви обоје
Нек ми срце говори.
Први поглед ока твога
сјајном сунцу подобан
пленио је срце моје,
учинио робом га.
Да те љубим, ах, једина
целом свету казаћу,
сам` од тебе, ах, премила,
ову тајну сакрићу.

 Παλευουν οι σκεψεις μου.
 και η ωρημοτητα και πειρα μου λενε να σιωπω..
Mα φυγετε..και οι δυο
αφηστε την καρδια μου να μιλησει. 

 Η πρωτη ματια απο τα ματια σου,
 φωτεινο φως του ηλιου ειναι
 μαγεψε την καρδια μου,
σκλαβο τον εκανε. 

Να σ' αγαπω, αχ, μοναδικη μου
σε ολο τον κοσμο θα το πω,
μονο εσενα αχ, πολυαγαπημενη μου
 αυτο θα κρυψω το μυστικο.

Τους στιχους τους εγγραψε ο ( кнез Мибрехаило Оновић)
 πριγκιπας Μιχαιλο Ομπρενοβιτς, στην αγαπημενη ( Катарину Константиновић),Κατερινα Κωνσταντινοβιτς.

Ενας ανεκπληρωτος ερωτας!

...επωδυνος και πολυ προσωπικος, χωρις ιχνος εγωισμου, με πολυ απογοητευση ομως και μια αισθηση ιδανικου. Εδω βρισκεται και η παγιδα του ανεκπληρωτου ερωτα – δεν απομυθοποιειται ποτε, δεν περνα δοκιμασιες, δε φθειρεται και παραμενει καπου, να μας μπλεκει σε φαυλους κυκλους συναισθηματων και σκεψεων, ονειρων και επιθυμιων που ισως να μην εχουν καν σχεση με την πραγματικοτητα, παρα μονο τη δικη μας.

***

Choir/Hor Branko (Nis/Serbia) - Pokajnička molitva 
http://www.youtube.com/watch?v=dROdWDsKOhI&feature=youtu.be
Church Singing Society Branko - concert at Kolarac hall - 29. april 2010.
Composer - Vladimir Milosavljevic
Solo baritone - priest Zoran Filipovic
Conductor - Sara Cincarevic

***

Josif Marinković
was a Serbian choral director and primarily a composer of a prevalently lyrical sentience. Like his younger contemporary Stevan St. Mokranjac, he was devoted to mainly vocal genres—lied and choral. Marinković was a romanticist with a pronounced affinity for melodic expression. He invested exceptional attention to the text declamation, which represented a rather novel quality in Serbian music at the time.
Josif Marinković - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Josif_Marinkovi%C4%87

Oce nas (Our Father) by Serbian composer Josif Marinkovic
http://youtu.be/Mk7XQSbJkZY



 Peričić Vlastimir


- Pepeljuga, mala svita (Cinderella, the Little Suite)http://www.youtube.com/watch?v=s2PQVI3uLUU&feature=youtu.beI - Svitanje (Dawn) 00:00 II - Vašar (The Fair) 03:38 III - Pepeljuga i golubovi (Cinderella and the Doves) 05:00 IV - Marš (March) 12:15Vlastimir Peričić - Simfonijeta (Sinfonietta)
http://www.youtube.com/watch?v=sSCWBr2qdLg&feature=youtu.beI - Moderato assai - Presto 00:00II - Grave, quasi marcia funebre 09:08III - Molto moderato - Presto 18:14




Vasilije Mokranjac 

(1923-1984). Serbian composer. He graduated from the Belgrade Academy of Music as a pupil of Stanojlo Rajicic (composition) and Emil Hajek (piano). From 1947 to 1956 he was professor in the Mokranjac Music School. He was then professor of composition and orchestration at the Belgrade Academy of Music. In 1967 he became a full member of the Serbian Academy of Arts and Sciences. His music’s romantic and expressionistic qualities combine in a musical language that is marked by dramatic strength and lyric expression. His Lyric Poem was performed in Germany and Russia with success. His orchestral works and piano pieces are among the finest examples in the Serbian repertory.
Vasilije Mokranjac - Preludio for Solo Clarinet
http://youtu.be/Pg4mRP92DC0




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