Музички критичар Рикард Шварц
Rikard Schwarz as Music Critic
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Студија је посвећена критичарском раду Рикарда Шварца (1897–1941?), значајне личности међуратне музичке културе чија је делатност везана за више центара Краљевине Југославије. Предмет анализе јесте његова активност у београдском музичком часопису Звук у којем је од 1932. до 1935. године објавио укупно тридесет седам текстова, на више од стотину страница. У студији се прате и утврђују константе Шварцових критичарских погледа. Два аспекта су обележила његове написе: одлучан став против виртуозитета и специфично заузимање за савремену музику – заузимање које није искључивало мање радикалан израз у савременој уметности и које није подразумевало опозицију старо – ново. У раду су представљени и друга својства критичарског поступка Рикарда Шварца и његов стил.
The name of Rikard Schwarz (1897‒1941?), a composer, conductor, pedagogue, music writer, and critic who worked in Zagreb, Osijek, Split, Belgrade, and Novi Sad, is not well known to the wider musical public and is not sufficiently present in musicology. Fifty years after the tragic death in the Jasenovac concentration camp Jasenovac in Croatia, Rikard Schwarz was only an entry in the encyclopedia. Since the mid-1990s, the interest in his legacy has increased both in Croatia and Serbia.
The extensive critical activity of Rikard Schwarz is related to all the environments in which he lived and worked. This paper is dedicated to his critical production in the Belgrade music magazine Zvuk (Sound). He wrote for this magazine between 1932 and 1935 and published 37 articles on more than a hundred pages.
This paper determines the constants of Schwarz’s view of the art of music. Two fundamental aspects mark his criticism in Zvuk: clearly negative attitude towards virtuosity in musical art and ...specific advocacy for contemporary music.
Schwarz was against a concert repertoire in which the compositions of accentuated virtuosic physiognomy and similar content would be included. For example, he rejected Henryk Wieniawski and Paganini. He was gentle towards young artists, finding that the tendency towards virtuosity belonged to the youth. He demanded and appreciated virtuosity as a necessary skill, especially concerning domestic choral societies, which during the interwar period had to move towards the contemporary repertoire and be technically ready for the demands it posed.
Schwarz was a student of Alban Berg and advocated contemporary music. However, he was not exclusive. He said that radio, as a new technological and music medium, should support and commission works of contemporary composers. In his critiques, he regularly praised artists who performed modern music. Yet, he was not captured by the avant-garde. His advocacy for contemporary music was not based on the old versus new. He was equally thrilled with the extraordinary performances of music written by P. Tchaikovsky or J. Brahms, as well as some modern composers. Radical expressive means of new music were not enough for him to give a favorable assessment of some musical work.
Rikard Schwarz did not exhibit stylistic distinctiveness as a music critic. However, there are vivid and witty formulations in his texts. The basic impression is that behind his musical criticism is a competent musician of a clear thought who is, in the first place, moderate. As an antifascist and leftist, he also pointed out his political and ideological beliefs in his critiques.
Кључне речи:
Рикард Шварц / часопис Звук / виртуозитет у музици / рецепција модерне музике у Србији / српска музичка критика – прва половина XX века / српска музичка периодика / Rikard Schwarz / magazine Zvuk / virtuosity in music / reception of modern music in Serbia / Serbian music criticism ‒ the first half of the 20th century / Serbian music periodicalsИзвор:
Зборник Матице српске за сценске уметности и музику, 2019, 61, 87-103Издавач:
- Нови Сад : Матица српска
Финансирање / пројекти:
- Идентитети српске музике од локалних до глобалних оквира: традиције, промене, изазови (RS-MESTD-Basic Research (BR or ON)-177004)
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Васић, Александар PY - 2019 UR - https://dais.sanu.ac.rs/123456789/14407 AB - Студија је посвећена критичарском раду Рикарда Шварца (1897–1941?), значајне личности међуратне музичке културе чија је делатност везана за више центара Краљевине Југославије. Предмет анализе јесте његова активност у београдском музичком часопису Звук у којем је од 1932. до 1935. године објавио укупно тридесет седам текстова, на више од стотину страница. У студији се прате и утврђују константе Шварцових критичарских погледа. Два аспекта су обележила његове написе: одлучан став против виртуозитета и специфично заузимање за савремену музику – заузимање које није искључивало мање радикалан израз у савременој уметности и које није подразумевало опозицију старо – ново. У раду су представљени и друга својства критичарског поступка Рикарда Шварца и његов стил. AB - The name of Rikard Schwarz (1897‒1941?), a composer, conductor, pedagogue, music writer, and critic who worked in Zagreb, Osijek, Split, Belgrade, and Novi Sad, is not well known to the wider musical public and is not sufficiently present in musicology. Fifty years after the tragic death in the Jasenovac concentration camp Jasenovac in Croatia, Rikard Schwarz was only an entry in the encyclopedia. Since the mid-1990s, the interest in his legacy has increased both in Croatia and Serbia. The extensive critical activity of Rikard Schwarz is related to all the environments in which he lived and worked. This paper is dedicated to his critical production in the Belgrade music magazine Zvuk (Sound). He wrote for this magazine between 1932 and 1935 and published 37 articles on more than a hundred pages. This paper determines the constants of Schwarz’s view of the art of music. Two fundamental aspects mark his criticism in Zvuk: clearly negative attitude towards virtuosity in musical art and specific advocacy for contemporary music. Schwarz was against a concert repertoire in which the compositions of accentuated virtuosic physiognomy and similar content would be included. For example, he rejected Henryk Wieniawski and Paganini. He was gentle towards young artists, finding that the tendency towards virtuosity belonged to the youth. He demanded and appreciated virtuosity as a necessary skill, especially concerning domestic choral societies, which during the interwar period had to move towards the contemporary repertoire and be technically ready for the demands it posed. Schwarz was a student of Alban Berg and advocated contemporary music. However, he was not exclusive. He said that radio, as a new technological and music medium, should support and commission works of contemporary composers. In his critiques, he regularly praised artists who performed modern music. Yet, he was not captured by the avant-garde. His advocacy for contemporary music was not based on the old versus new. He was equally thrilled with the extraordinary performances of music written by P. Tchaikovsky or J. Brahms, as well as some modern composers. Radical expressive means of new music were not enough for him to give a favorable assessment of some musical work. Rikard Schwarz did not exhibit stylistic distinctiveness as a music critic. However, there are vivid and witty formulations in his texts. The basic impression is that behind his musical criticism is a competent musician of a clear thought who is, in the first place, moderate. As an antifascist and leftist, he also pointed out his political and ideological beliefs in his critiques. PB - Нови Сад : Матица српска T2 - Зборник Матице српске за сценске уметности и музику T1 - Музички критичар Рикард Шварц T1 - Rikard Schwarz as Music Critic SP - 87 EP - 103 IS - 61 UR - https://hdl.handle.net/21.15107/rcub_dais_14407 ER -
@article{ author = "Васић, Александар", year = "2019", abstract = "Студија је посвећена критичарском раду Рикарда Шварца (1897–1941?), значајне личности међуратне музичке културе чија је делатност везана за више центара Краљевине Југославије. Предмет анализе јесте његова активност у београдском музичком часопису Звук у којем је од 1932. до 1935. године објавио укупно тридесет седам текстова, на више од стотину страница. У студији се прате и утврђују константе Шварцових критичарских погледа. Два аспекта су обележила његове написе: одлучан став против виртуозитета и специфично заузимање за савремену музику – заузимање које није искључивало мање радикалан израз у савременој уметности и које није подразумевало опозицију старо – ново. У раду су представљени и друга својства критичарског поступка Рикарда Шварца и његов стил., The name of Rikard Schwarz (1897‒1941?), a composer, conductor, pedagogue, music writer, and critic who worked in Zagreb, Osijek, Split, Belgrade, and Novi Sad, is not well known to the wider musical public and is not sufficiently present in musicology. Fifty years after the tragic death in the Jasenovac concentration camp Jasenovac in Croatia, Rikard Schwarz was only an entry in the encyclopedia. Since the mid-1990s, the interest in his legacy has increased both in Croatia and Serbia. The extensive critical activity of Rikard Schwarz is related to all the environments in which he lived and worked. This paper is dedicated to his critical production in the Belgrade music magazine Zvuk (Sound). He wrote for this magazine between 1932 and 1935 and published 37 articles on more than a hundred pages. This paper determines the constants of Schwarz’s view of the art of music. Two fundamental aspects mark his criticism in Zvuk: clearly negative attitude towards virtuosity in musical art and specific advocacy for contemporary music. Schwarz was against a concert repertoire in which the compositions of accentuated virtuosic physiognomy and similar content would be included. For example, he rejected Henryk Wieniawski and Paganini. He was gentle towards young artists, finding that the tendency towards virtuosity belonged to the youth. He demanded and appreciated virtuosity as a necessary skill, especially concerning domestic choral societies, which during the interwar period had to move towards the contemporary repertoire and be technically ready for the demands it posed. Schwarz was a student of Alban Berg and advocated contemporary music. However, he was not exclusive. He said that radio, as a new technological and music medium, should support and commission works of contemporary composers. In his critiques, he regularly praised artists who performed modern music. Yet, he was not captured by the avant-garde. His advocacy for contemporary music was not based on the old versus new. He was equally thrilled with the extraordinary performances of music written by P. Tchaikovsky or J. Brahms, as well as some modern composers. Radical expressive means of new music were not enough for him to give a favorable assessment of some musical work. Rikard Schwarz did not exhibit stylistic distinctiveness as a music critic. However, there are vivid and witty formulations in his texts. The basic impression is that behind his musical criticism is a competent musician of a clear thought who is, in the first place, moderate. As an antifascist and leftist, he also pointed out his political and ideological beliefs in his critiques.", publisher = "Нови Сад : Матица српска", journal = "Зборник Матице српске за сценске уметности и музику", title = "Музички критичар Рикард Шварц, Rikard Schwarz as Music Critic", pages = "87-103", number = "61", url = "https://hdl.handle.net/21.15107/rcub_dais_14407" }
Васић, А.. (2019). Музички критичар Рикард Шварц. in Зборник Матице српске за сценске уметности и музику Нови Сад : Матица српска.(61), 87-103. https://hdl.handle.net/21.15107/rcub_dais_14407
Васић А. Музички критичар Рикард Шварц. in Зборник Матице српске за сценске уметности и музику. 2019;(61):87-103. https://hdl.handle.net/21.15107/rcub_dais_14407 .
Васић, Александар, "Музички критичар Рикард Шварц" in Зборник Матице српске за сценске уметности и музику, no. 61 (2019):87-103, https://hdl.handle.net/21.15107/rcub_dais_14407 .
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