Arti musices, Vol. 39 No. 1, 2008.
Izvorni znanstveni članak
The Compositional Opus of Vjekoslav Klaić. A Contribution to the History of Vocal Music in Croatia (On the 80th Anniversary of Klaić's Death)
Rozina Palić-Jelavić
orcid.org/0000-0001-9661-3298
; Odsjek za povijest hrvatske glazbe HAZU, Zagreb, Hrvatska
Sažetak
The manifold roles of the scholar (historian, geographer, literary historian, writer, music/critic) and university professor, Vjekoslav Klaić (1849-1928), was first reflected in Croatian music life through the author's presence in his work in music journalism, as editor, and then in organisation of music (re)productive life in Zagreb, marking a crucial period in the history of the Hrvatski glazbeni zavod (Croatian Music Institute) that was named «Klaić's period» (1890-1920). In that way, Klaić's incidental but more or less continuous compositional activity that took a place in the background of the author's other numerous and prominent interests, corresponds with the first decades of the Zajc-Kuhač period. Choral- and solo-songs have a fundamental place in Klaić's rather restricted composing work - reduced to small forms of largely vocal (choral and solo) music, but also enriched in the early period by composition of several more complex instrumental (chamber and orchestral) works, announced pretentiously in the very beginning as having youthful and creative enthusiasm, this probably having been prompted by the composer's active conducting work. Though he was known as the author of c. 19 shorter works (as the author of 10 solo-songs), he was often listed among the representatives of the (art) solo-song of the time. Since the fields of Klaić's choral compositions and his vocal lyrics both display relatively qualitative variety - particularly represented by choirs - consistent with the themes of patriotic, lyrical-patriotic, subjective-reflective and love texts, Klaić the composer is equally represented by his earlier compositions for male choirs (Pod prozorom, Svraćanje and Na Nehaju gradu) and by successful solo-songs Moja lađa, Kad?, Nesretna djevojka, Ti moraš, dušo, moja bit, Uspavanka.
Having found their place in printed editions of song books and collections of Croatian authors, Klaić's mentioned compositions, along with his other works, more easily reached the public, and some of them soon became a part of popular property. Both the author's compelling many-sided merits in the field of Croatian music life and/or the pervading presence of his personality, as well as the completely acceptable mode of his compositional expression, customary at that time, certainly contributed to that popularity. In the first place, that refers to the melodic-rhythmic component, which is recognised as the strongest and most inventive element in the musical language of (all) the composers of Zajc's epoch.
Finally, by its characteristics, Klaić's compositional opus (of c. 25 compositions) does not fall outside the framework of the musical-stylistic determinants of the Croatian solo- (and choral) song of the second half of the 19th century, as also shown by the opuses of Klaić's close contemporaries: diligent and meritorious amateurs-promoters of the art of music and numerous so-called Kleinmeister of occasional and unpretentious music, rallied around Zajc as the leading personality in the Croatian music of that time.
Ključne riječi
Hrčak ID:
24858
URI
Datum izdavanja:
2.6.2008.
Posjeta: 2.469 *