Критичарски погледи Славка Остерца

Přispěvatelé: Томашевић, Катарина
Jazyk: srbština
Rok vydání: 2022
Předmět:
Zdroj: Зборник Матице српске за сценске уметности и музику
Popis: Композитор Славко Остерц (1895–1941), истакнути представник словеначке и југословенске музичке авангарде у међуратном периоду, оставио је значајан траг и као музички критичар у београдским часописима Звук и Музички гласник. У студији се анализирају његови погледи на музичку уметност и представља његова идеолошка позиција. Његове критике обележио је антиоперетски став када је реч о репертоару националних позоришних кућа, као и залагање за модерну и авангардну музику. Његову позицију одредило је и чврсто прихватање и заступање идеологије југословенства. У прилогу студије објављује се интегрална аналитичка библиографија Остерчевих написа у наведеним музичким часописима. Stana Ribnikar (= Đurić-Klajn), a Serbian musicologist and pianist, editor of the magazines Zvuk (Sound) (1932–1936) and Muzički glasnik (Musical Herald) (1938–1941), invited the Slovenian composer and music writer Slavko Osterc (1895–1941) to cooperation in the mentioned magazines. He published 45 different articles in them ‒ mainly music reviews. He reported on the musical life of Slovenia for the Belgrade magazines. In addition, he published essays on Slovenian and Serbian composers, a report on the international festival of contemporary music in Vienna, and several reviews of sheet music editions of Slovenian music. On one occasion, he also participated in a polemic. This study is devoted to the analysis of Osterc’s views on musical art. He was an opponent of operetta as an inappropriate stage type for the repertoire of the Ljubljana Opera, considering that operetta has no place in the repertoire of national theaters. Nevertheless, he appreciated the fact that operettas brought significant income to the theater and that thus the work on operas and ballets could be supported. Slavko Osterc separated musical work and performance. If a piece of music was properly prepared and performed superiorly, he always pointed it out, although the piece itself he did not particularly appreciate. Osterc was a supporter of the musical avant-garde, primarily Alois Hába and the Second Viennese School. He also wrote enthusiastically about the works of Sergei Prokofiev and Dmitri Shostakovich. However, he did not see the modernized national style as a desirable present and future of European and Yugoslav music. His idiosyncrasies came to the fore in his views on Western European music. He had no affinity for the music of Johannes Brahms, César Franck, and Richard Wagner. He thought that the sequence as a compositional tool was misused and thus created the appearance of an invention, so on several occasions, he wrote negatively about sequence as a structural element of a musical composition. The eccentricity of S. Osterc, which did not stand the test of time, comprised also the unfavorable writings about the music of F. Chopin, F. Mendelssohn, and E. Grieg. In the ideological sense, Slavko Osterc was a Slavophile and a follower of the Yugoslav ideology. He always gave priority to the Slavic repertoire, considering it the duty of Yugoslav opera houses and artists to perform even less representative works of Slavic authors. Although during the 1930s, the Yugoslav ideology was shaken by the state and political crisis, Osterc remained faithful to it until the end of his life.
Databáze: OpenAIRE
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