Композитор и његови критичари: рецепција стваралаштва Станојла Рајичића у светлу преломних догађаја за развој српске музике у XX веку

Autor: Bralović Miloš, Medić Ivana
Přispěvatelé: Васић, Александар, Медић, Ивана
Rok vydání: 2021
Předmět:
Zdroj: Музикологија
Muzikologija, Vol 2021, Iss 31, Pp 59-94 (2021)
ISSN: 2406-0976
1450-9814
DOI: 10.2298/muz2131059b
Popis: In this article we discuss the critical reception of the work of composer Stanojlo Rajičić (1910–2000), whose presence in the public musical life of Belgrade was noted already in the 1920s, when he was a student at the “Stanković” Music School and then the Belgrade Music School. The critical reception of his compositional work can be followed for almost seven decades. Performances of Rajičić’s works often provoked controversies and polemics – which speak not only about the composer’s oeuvre itself, but even more so about the state of musical life of Belgrade, Serbia and Yugoslavia in the 20th century. Thus we analyze the reception of Rajičić’s work in the light of historical events that crucially influenced the development of Serbian art music throughout the twentieth century. The article is based on the study of extensive archival material preserved at the Institute of Musicology SASA, Radio Belgrade, as well as private collections. У овом раду представљамо критичку рецепцију стваралаштва композитора, академика САНУ Станојла Рајичића (1910–2000), чије је присуство у јавном музичком животу Београда било забележено још двадесетих година XX века, у периоду када је био ученик музичке школе „Станковић“ и потом Музичке школе у Београду. Критичку рецепцију Рајичићевог композиторског деловања могуће је испратити у распону од готово седам деценија. Извођења Рајичићевих дела неретко су пратиле контроверзе и полемике, које говоре не само о композиторовом опусу, већ још више о музичком животу Београда, Србије и Југославије током XX века. Отуда рецепцију Рајичићевог стваралаштва сагледавамо у светлу историјских догађаја који су кључно утицали на развој српске уметничке музике у ХХ веку. Студија је заснована на проучавању обимне архивске грађе сачуване у Музиколошком институту САНУ, Радио Београду и приватним колекцијама. In this article we discuss the critical reception of the work of composer Stanojlo Rajičić (1910–2000), whose presence in the public musical life of Belgrade was noted already in the 1920s, when he was a student at the “Stanković” Music School and then the Belgrade Music School. The critical reception of his compositional work can be followed for almost seven decades. Performances of Rajičić’s works often provoked controversies and polemics – which speak not only about the composer’s oeuvre itself, but even more so about the state of musical life of Belgrade, Serbia and Yugoslavia in the 20th century. Thus we analyze the reception of Rajičić’s work in the light of historical events that crucially influenced the development of Serbian art music throughout the twentieth century. The article is based on the study of extensive archival material preserved at the Institute of Musicology SASA, Radio Belgrade, as well as private collections. Based on the reception of Rajičić’s compositional output during the seven decades of his career, we come to a conclusion that his oeuvre fully reflected all the ideological upheavals, challenges and turnovers that Serbian and Yugoslav society experienced during the twentieth century. Rajičić’s personal creative style underwent several, more or less dramatic transformations, which were largely motivated by his reactions to the reception of his works by music critics, fellow composers, concert audiences, but also by the communist ideologues after World War II. After Rajičić’s initial success as a young Belgrade prodigy, upon his return from Prague where he studied composition, Rajičić’s modernist works were mostly misunderstood, and their negative reception reflected a long and arduous struggle for the professionalization and modernization of musical life and education in Serbia. On the other hand, Rajičić’s works written during the dictates of the ideology of socialist realism, such as the Second Violin Concerto or the Third Piano Concerto – which at the time of their creation were considered by the Marxist critics to be on the “correct” path of bringing high art closer to the broadest audience – were later harshly criticized precisely because of the composer’s readiness to meet the expectations of the Marxist ideologues and to follow the path of least resistance. Furthermore, Rajičić, a former modernist, became notorious in the late 1970s as an advocate of “backward” and “outdated” compositional tendencies, which hindered the modernization of Serbian music in the Yugoslav and European contexts. Last but not least, towards the end of his academic career, Rajičić’s status as an authoritative professor of composition at the Belgrade Academy of Music and a fellow of the Serbian Academy of Sciences and Arts provoked a revolt of the youngest generation of composers, who strived to emulate the most innovative global music tendencies of that time.
Databáze: OpenAIRE
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