Arti musices, Vol. 45 No. 2, 2014.
Izvorni znanstveni članak
Choral Segments/Numbers in Ivan Von Zajc’s Opera Nikola Šubić Zrinjski from the Aspects of Romantic and National Ideas
Rozina Palić-Jelavić
orcid.org/0000-0001-9661-3298
; Odsjek za povijest hrvatske glazbe HAZU, Zagreb, Hrvatska
Sažetak
After examination of the score of Zajc’s opera Nikola Šubić Zrinjski, the existence of several types of choral segments/numbers could be observed; so the author’ s intention has been to give the choral parts of his score a significant role — in relation to the whole opera, in which an important place belongs to the solo numbers (ensembles) — considering them in several aspects: the category of dramaturgy; the category of text and its meaning; and the category of music, as regards their integrations/overlappings.
This relates to the aspect of the drama plot and the historical background of the drama in the libretto, in which the patriotic principle (exposed in the choral passages, too) took precedence, as well as to the aspects of the social role of the opera; namely, the message that has been contained in the opera’ s thematic layer is transferred by expressive and imaginative idioms; the paradigmatic example being the opera’ s finale U boj! / To the battle! (the final „vivid image“, the scenic view without words and motion — Alegorija/Katastrofa / Allegoria/Disaster), which has not had merely a scenographic and/or decorative function, but also an essentially dramaturgical one.
Furthermore, the focus is placed on the aspect of the Romantic topos, with a prominent national identificational narration idiom, which has been expressed in choral segments; moreover, the textual (and musical) layer of the opera is observed with regard to ideologemes, also significant in the choral score, which may be interpreted in the context of the idea of nation, courage, self-sacrifice and loyalty, with the most frequent syntagm ‘U boj’ / To battle, holy battle etc.
Finally, in view of the specific qualities that have marked Zajc’ s opera and concerning the period of its occurrence, significant in terms of establishing national consciousness and intensification of choir activities, attention is paid to the idea of the national (at the level of music and text). Namely, in addition to music and folklore associations (San Jelene — Ljubio je goluban / Jelena’ s dream — The pigeon had loved) and the national-heroic theme, specific signs ("trademarks") of national/ethnic affiliation are also evident: in choosing the repertoire of verses and strophes (by using decasyllable forms and formative elements) and in their semantics (Tako nama Boga velikoga / We swear to the Great God).
Ključne riječi
Ivan von Zajc; Hugo Badalić; Nikola Šubić Zrinjski/Nikola Šubić Zrinski; choral numbers; opera of the 19th century; Croatian national historical opera; national identity; U boj [To the Battle]; San Jelene (Ljubio je goluban) [Jelena’s Dream (The pigeon had loved)]; Slava ti care [Glory to you, Emperor]; Tako nama Boga velikoga [We swear to the great God]
Hrčak ID:
133550
URI
Datum izdavanja:
13.11.2014.
Posjeta: 2.707 *