Проучавање уметничке биографије и музичког деловања Петра Стојановића: прилог идентификацији и разматрању истраживачких извора

Abstract

У тексту се разматра документација из породичне архиве потомака композитора Петра Стојановића (1877–1957), која је 2018–2019. године послата Музиколошком институту САНУ. Грађа је систематизована и сагледана у контексту досадашњих проучавања докумената о овом уметнику. Представљен је њен садржај, указано је на њен значај у истраживању различитих аспеката биографије и уметничког деловања Петра Стојановића. Тексту је приложен попис грађе.

The paper presents the material from the family archives of composer Petar Stojanović (1877‒1957). Stanka Jovanović (born in 1931) and Marko Dimitrijević (1976), the successors of the composer’s sister Konstancija-Stanka Dimitrijević (1872‒1954), donated the material to the Institute of Musicology SASA. It consists of different kinds of documents, from manuscripts and printed compositions, through photographs and correspondence, to texts about Stojanović and his family members. The material was received on two occasions, in April 2018 and May 2019. Out of 213 listed units, 93 were physically donated to the Institute, and the entire material was donated in electronic form. Regarding the material donated only in electronic form, a smaller part of it remained in the possession of the donors, a larger part is in the archive of Elisabeth Zastiera (1944), granddaughter of Petar Stojanović, while several documents were given to the pianist Nataša Špaček. The material is systematized and examined in the context of previous studies of documents about this artist. Its content was presented and it was pointed out to its importance in the research of various aspects of biography and artistic work of Petar Stojanović. Based on a detailed analysis, it was concluded that this corpus of documents can be included in the examination of the complex intertwining of private and family, professional and public aspects of Stojanović’s life and work, the consideration of the problem of Stojanović’s integration into the Vienna and Belgrade music context, the study of his understanding of national art, and the perception of the aspect of marginalization of the composer within the frameworks of Serbian music, before and after his death. Among the individual data, the most numerous are the ones that point to the unexplored aspects of Stojanovic’s cooperation with other musicians and the performances of his music at home and abroad, especially during the late years of composer’s life. The material is comparable to the unlisted segment of Petar Stojanović’s legacy, kept in the Library of the Faculty of Music in Belgrade, with which it is complemented in a research context. A copy of the listed material from the family archives of Petar Stojanović is appended to the text.