Музикографски рад Емила Хајека

Přispěvatelé: Томашевић, Катарина
Jazyk: srbština
Rok vydání: 2021
Předmět:
Zdroj: Зборник Матице српске за сценске уметности и музику
Popis: Емил Хајек (1886–1974), еминентни музичар чешког порекла, оставио је крупан траг као уметник и клавирски педагог у Београду, где је стигао 1928. и остао до краја живота. Хајек се бавио и музикографијом. У раду се анализирају његове музичке критике, есеји и други текстови, и то с обзиром на њихову тематику, пишчев поступак и његове погледе на музичку уметност и уметност свирања на клавиру. Ненаметљив у изношењу сопствених мњења и уверења, Хајек је ипак јасно показао какав је његов однос према музичкој интерпретацији, савременој музици или музичком виртуозитету. Emil Hajek (1886–1974), an eminent musician of Czech origin, left a major mark as a pianist and piano pedagogue in Belgrade, where he arrived in 1928 and remained until his death. He was first a professor and then the director of the Music School “Stanković” (1928–1937), and then a professor and the chair of the Piano Department at the Belgrade Music Academy (1937–1963). He supervised a number of excellent pianists (Olga Popov, Vera Veljkov, Olga Jovanović, Vlastimir Škarka, etc.). A widely educated musician and intellectual, Hajek wrote about music throughout his life and left behind a small but diverse musicographic corpus. He successfully wrote music critics and essays, reviews of music editions, music literature, reports on international music festivals and pianist competitions, etc. He paid special attention to the problems of music education and piano teaching methodology. His name can be found in music magazines and literary magazines (Zvuk, Muzički glasnik, Muzika, Književne novine, Savremeni akordi). His essays were mostly written for the Radio Belgrade program. Hajek was also an associate of the Music Encyclopedia of the Yugoslav Institute of Lexicography in Zagreb. This study analyzes Hajek’s writing process, as well as his views on musical art and piano interpretation. Modest in expressing his own views and beliefs, he did not act as a normativist. However, his musical views were clear and articulate, and we can reconstruct them based on his texts. As a pianist and pedagogue, he valued virtuosity as a precondition for professional musical interpretation. However, he was against the works in which external splendor represented the dominant or only content. He advocated performing contemporary music in Belgrade. This, however, did not prevent him from strongly criticizing some composers and their works, who, in his opinion, had failed (for example, Igor Stravinsky’s Symphony in C or Boris Blacher’s opera Romeo and Juliet). Emil Hajek advocated a greater presence of chamber music in interwar Belgrade, as well as the performance of works by domestic composers and more frequent performances of domestic, especially young artists. In his articles on piano teaching and methodology, this leading piano pedagogue in interwar Belgrade and one of the leading ones after 1945, made an unequivocal “diagnosis” of the existing problems, pointing out the ways to overcome them. Although critical, he was never pessimistic about the future of the domestic music schooling. In the Serbian interwar music periodicals, certain ideological attitudes and influences were manifested. Hajek only once mentioned the Soviet Union and very affirmatively regarding the talented composers who appeared in that country between the two world wars.
Databáze: OpenAIRE
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