Проблеми интерпретације клавирског стваралаштва Василија Мокрањца
Problems of Interpretation of Vasilije Mokranjac's Piano Works
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Клавирским стваралаштвом значајног српског композитора, академика Василија
Мокрањца (1923-1984) бавим се већ више од петнаест година, теоријски и практично. У
овом раду разматрам различите стилске, техничке и друге интерпретативне проблеме
са којима се сусреће извођач Мокрањчевих клавирских дела. Полазећи од сопственог
извођачког искуства, указујем на Мокрањчеве могуће узоре и показујем на који начин
је могуће приступити његовим клавирским композицијама. У фокусу мог разматрања
су Мокрањчева дела која сам недавно извела на концертима у Београду и Нишу: Тема са
варијацијама, Фрагменти, Шест игара, Интиме и Прелудијуми.
Piano music by Vasilije Mokranjac (1923-84), one of the most distinguished Serbian twentiethcentury
composers, has been in the focus of my interest for more than fifteen years. During this period
I have approached Mokranjac’s piano works both as a performer and a musicologist. It all started in
1998 and 1999, when I played a series of concerts in which I performed almost entire Mokranjac’s piano
oeuvre. Also in 1999, my graduation thesis at the Department of Musicology of the Faculty of Music
in Belgrade was dedicated to Mokranjac’s piano works. Since then, I have published a monograph
and a series of articles dedicated to various aspects of his oeuvre. In December 2014 and March 2015
I performed recitals with Mokranjac’s piano pieces to commemorate the thirtieth anniversary of the
composer’s tragic death.
In this paper I discuss various interpretative challenges faced by the performers of Mokranjac’s
piano works. Such a discussion is long overdue, given the scope and importa...nce of Mokranjac’s oeuvre
in Serbian music; however, this is hardly a surprise, given the fact that the art of interpretation has
been a grossly neglected field of investigation in Serbian musicology since its inception. Moreover,
a relatively small number of piano works by Serbian composers have been published or issued on
compact discs, hence there are hardly any reliable and comparable recordings to talk about. The
entire system of training the future professional music performers in Serbia does not stimulate them
enough to perform music by Serbian composers, encouraging them instead to play the tried and tested
European piano repertoire. Therefore, there is no local tradition or “school” of performance to speak
about. My aim is, on the one hand, to point to certain interpretative problems faced by the performer
of Mokranjac’s works and, on the other, to foster the development of the discipline of performance
studies in Serbia. Starting from some theoretical ideas on the notion of interpretation and observing
how these translate into practice, I discuss various aspects of Mokranjac’s piano pieces: form, structure,
piano technique, articulation, texture, “hidden” heterophony, rhythm, rubato, dynamics, pedalisation,
as well as stylistic shifts conditioned both by the composer’s evolving interests and the changes in
the surrounding political and cultural climate which stimulated certain styles and compositional
approaches in favour of others.
Кључне речи:
Василије Мокрањац / клавир / српска музика 20. века / интерпретација / Vasilije Mokranjac / piano / Serbian twentieth-century music / interpretationИзвор:
Балкан арт форум 2014 (БАРТФ 2014). Уметност и култура данас: дух времена и проблеми интерпретације, 2015, 105-114Издавач:
- Ниш : Универзитет у Нишу, Факултет уметности
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 - CHAP AU - Медић, Ивана PY - 2015 UR - https://dais.sanu.ac.rs/123456789/16050 AB - Клавирским стваралаштвом значајног српског композитора, академика Василија Мокрањца (1923-1984) бавим се већ више од петнаест година, теоријски и практично. У овом раду разматрам различите стилске, техничке и друге интерпретативне проблеме са којима се сусреће извођач Мокрањчевих клавирских дела. Полазећи од сопственог извођачког искуства, указујем на Мокрањчеве могуће узоре и показујем на који начин је могуће приступити његовим клавирским композицијама. У фокусу мог разматрања су Мокрањчева дела која сам недавно извела на концертима у Београду и Нишу: Тема са варијацијама, Фрагменти, Шест игара, Интиме и Прелудијуми. AB - Piano music by Vasilije Mokranjac (1923-84), one of the most distinguished Serbian twentiethcentury composers, has been in the focus of my interest for more than fifteen years. During this period I have approached Mokranjac’s piano works both as a performer and a musicologist. It all started in 1998 and 1999, when I played a series of concerts in which I performed almost entire Mokranjac’s piano oeuvre. Also in 1999, my graduation thesis at the Department of Musicology of the Faculty of Music in Belgrade was dedicated to Mokranjac’s piano works. Since then, I have published a monograph and a series of articles dedicated to various aspects of his oeuvre. In December 2014 and March 2015 I performed recitals with Mokranjac’s piano pieces to commemorate the thirtieth anniversary of the composer’s tragic death. In this paper I discuss various interpretative challenges faced by the performers of Mokranjac’s piano works. Such a discussion is long overdue, given the scope and importance of Mokranjac’s oeuvre in Serbian music; however, this is hardly a surprise, given the fact that the art of interpretation has been a grossly neglected field of investigation in Serbian musicology since its inception. Moreover, a relatively small number of piano works by Serbian composers have been published or issued on compact discs, hence there are hardly any reliable and comparable recordings to talk about. The entire system of training the future professional music performers in Serbia does not stimulate them enough to perform music by Serbian composers, encouraging them instead to play the tried and tested European piano repertoire. Therefore, there is no local tradition or “school” of performance to speak about. My aim is, on the one hand, to point to certain interpretative problems faced by the performer of Mokranjac’s works and, on the other, to foster the development of the discipline of performance studies in Serbia. Starting from some theoretical ideas on the notion of interpretation and observing how these translate into practice, I discuss various aspects of Mokranjac’s piano pieces: form, structure, piano technique, articulation, texture, “hidden” heterophony, rhythm, rubato, dynamics, pedalisation, as well as stylistic shifts conditioned both by the composer’s evolving interests and the changes in the surrounding political and cultural climate which stimulated certain styles and compositional approaches in favour of others. PB - Ниш : Универзитет у Нишу, Факултет уметности T2 - Балкан арт форум 2014 (БАРТФ 2014). Уметност и култура данас: дух времена и проблеми интерпретације T1 - Проблеми интерпретације клавирског стваралаштва Василија Мокрањца T1 - Problems of Interpretation of Vasilije Mokranjac's Piano Works SP - 105 EP - 114 UR - https://hdl.handle.net/21.15107/rcub_dais_16050 ER -
@inbook{ author = "Медић, Ивана", year = "2015", abstract = "Клавирским стваралаштвом значајног српског композитора, академика Василија Мокрањца (1923-1984) бавим се већ више од петнаест година, теоријски и практично. У овом раду разматрам различите стилске, техничке и друге интерпретативне проблеме са којима се сусреће извођач Мокрањчевих клавирских дела. Полазећи од сопственог извођачког искуства, указујем на Мокрањчеве могуће узоре и показујем на који начин је могуће приступити његовим клавирским композицијама. У фокусу мог разматрања су Мокрањчева дела која сам недавно извела на концертима у Београду и Нишу: Тема са варијацијама, Фрагменти, Шест игара, Интиме и Прелудијуми., Piano music by Vasilije Mokranjac (1923-84), one of the most distinguished Serbian twentiethcentury composers, has been in the focus of my interest for more than fifteen years. During this period I have approached Mokranjac’s piano works both as a performer and a musicologist. It all started in 1998 and 1999, when I played a series of concerts in which I performed almost entire Mokranjac’s piano oeuvre. Also in 1999, my graduation thesis at the Department of Musicology of the Faculty of Music in Belgrade was dedicated to Mokranjac’s piano works. Since then, I have published a monograph and a series of articles dedicated to various aspects of his oeuvre. In December 2014 and March 2015 I performed recitals with Mokranjac’s piano pieces to commemorate the thirtieth anniversary of the composer’s tragic death. In this paper I discuss various interpretative challenges faced by the performers of Mokranjac’s piano works. Such a discussion is long overdue, given the scope and importance of Mokranjac’s oeuvre in Serbian music; however, this is hardly a surprise, given the fact that the art of interpretation has been a grossly neglected field of investigation in Serbian musicology since its inception. Moreover, a relatively small number of piano works by Serbian composers have been published or issued on compact discs, hence there are hardly any reliable and comparable recordings to talk about. The entire system of training the future professional music performers in Serbia does not stimulate them enough to perform music by Serbian composers, encouraging them instead to play the tried and tested European piano repertoire. Therefore, there is no local tradition or “school” of performance to speak about. My aim is, on the one hand, to point to certain interpretative problems faced by the performer of Mokranjac’s works and, on the other, to foster the development of the discipline of performance studies in Serbia. Starting from some theoretical ideas on the notion of interpretation and observing how these translate into practice, I discuss various aspects of Mokranjac’s piano pieces: form, structure, piano technique, articulation, texture, “hidden” heterophony, rhythm, rubato, dynamics, pedalisation, as well as stylistic shifts conditioned both by the composer’s evolving interests and the changes in the surrounding political and cultural climate which stimulated certain styles and compositional approaches in favour of others.", publisher = "Ниш : Универзитет у Нишу, Факултет уметности", journal = "Балкан арт форум 2014 (БАРТФ 2014). Уметност и култура данас: дух времена и проблеми интерпретације", booktitle = "Проблеми интерпретације клавирског стваралаштва Василија Мокрањца, Problems of Interpretation of Vasilije Mokranjac's Piano Works", pages = "105-114", url = "https://hdl.handle.net/21.15107/rcub_dais_16050" }
Медић, И.. (2015). Проблеми интерпретације клавирског стваралаштва Василија Мокрањца. in Балкан арт форум 2014 (БАРТФ 2014). Уметност и култура данас: дух времена и проблеми интерпретације Ниш : Универзитет у Нишу, Факултет уметности., 105-114. https://hdl.handle.net/21.15107/rcub_dais_16050
Медић И. Проблеми интерпретације клавирског стваралаштва Василија Мокрањца. in Балкан арт форум 2014 (БАРТФ 2014). Уметност и култура данас: дух времена и проблеми интерпретације. 2015;:105-114. https://hdl.handle.net/21.15107/rcub_dais_16050 .
Медић, Ивана, "Проблеми интерпретације клавирског стваралаштва Василија Мокрањца" in Балкан арт форум 2014 (БАРТФ 2014). Уметност и култура данас: дух времена и проблеми интерпретације (2015):105-114, https://hdl.handle.net/21.15107/rcub_dais_16050 .