The history of Slovenian music of the first decades after the First World War can not be written without drawing certain parallels with the history of music in Central Europe. From this perspective, Slovenian composers in the period after 1918 followed the examples of the style that, according to C. Dahlhaus and H. Danuser, can be in German labelled as die Moderne and in Slovenian correspondingly as moderna, the closest English appropriation of the term being “early modernism”. Before the war, Slovenian early modernist composers published their compositions in the magazine Novi akordi, and after the war they maintained the same stylistic orientation. What had changed was the social position of these composers: they were no longer the daring, young and innovative artistic generation, instead taking their place as the main leaders of Slovenian music culture, and therefore increasingly becoming the guardians of conservatism, of the aesthetics of expression, rooted in the romantic convictions of the 19th century. The present text analyses the aesthetic viewpoints and compositions of Anton Lajovic, Janko Ravnik and Lucijan Marija Škerjanc, who either almost ceased to compose after 1925 or remained indebted to the early modernist style well into the 20th century. It also examines works by Risto Savin and Emil Adamič, who embraced the new stylistic trends more eagerly, especially the New Objectivity, which was introduced into Slovenia by Slavko Osterc. The conclusion identifies the specifics of Slovenian early modernism, especially its commitment to the more intimate, lyrical genres of lieder and piano pieces, which were more typical of the 19th century than of the early modernism of the canonised Central European composers, who wrote predominantly large weltanschauung symphonies and operas.
COBISS.SI-ID: 63537762
The article examines groups of com- posers who were active after the Second World War. An analysis of their role in the develop- ment of composition practices seeks to answer the question of why spectralism, which strongly marked French music and has resonated in European music ever since the 1970s, hardly emerged at all in Slovenia. It has slowly found its way into Slovenian musical consciousness only in the twenty-first century.
COBISS.SI-ID: 40948269
The world after the Second World War witnessed two radical changes of cultural and social paradigm. From the cataclysmic atmosphere emerged the second wave of Modernism. In art, this attitude was manifested in a radical break with the aesthetic and stylistic characteristics of prior generations. In architecture the International Style was born, meanwhile similar "universality" was also characteristic of musical serialism. From the beginning of the 1970s the wheels again begin to turn in the other direction. The powerful destructive will of modernism increasingly waivers, and the period after modernism - postmodernism - begins. The book brings some answers to the questions related to the reasons for these turnarounds, their consequences and their implications. The book brings articles from wide scope of interntional scholars.
COBISS.SI-ID: 61505122