Музичкотеоријски написи Властимира Трајковића у светлу залагања за ново вредновање српске уметничке музике

Abstract

In this paper I analyse selected articles by the composer and academician Vlastimir Trajković (1947–2017), published in various collective monographs and journals over the period of nearly three decades (1982–2008). These writings emphasise Trajković’s constant urging for a fairer (from his point of view) evaluation of Serbian art music in a wider, European and global context, but also within the state / national frameworks. Trajković aimed to prove that Serbian art music, as well as writings on music, would have enjoyed a wider recognition, had certain of their top achievements not been left forgotten and unpublished, and thus unavailable to potential researchers and performers. That is why he pleaded for the improvement of sheet music publishing in the country, as well as for the targeted promotion of Serbian art music repertoire. Moreover, he insisted on the proximity of the Belgrade ’cultural climate’ in the interwar period with the artistic and scholarly tendencies in France and its ’zones of influence’ in the same period. Consequently, Trajković particularly insists on the new evaluation of the opuses of the composers and musicologists Miloje Milojević (1884–1946) and Dragutin Gostuški (1923–1998) – whom he saw as those creative and intellectual individuals who had fallen victims to the ’historical injustice’ and whose (re)positioning within the Serbian music culture would increase the relevance of that same culture both in the national and international contexts.

У овом раду разматрам одабране чланке композитора и академика Властимира Трајковића (1947–2017), који су објављени у различитим зборницима радова и часописима у периоду од непуне три деценије (1982–2008), а у којима долази до изражаја ауторово непрестано залагање за праведније, с његове тачке гледишта, вредновање српске уметничке музике у ширем, европском и светском контексту, али и у државним/националним оквирима. Трајковић настоји да докаже како би српска уметничка музика, али и наука о музици, имале бољи реноме када поједини њихови врхунски домети не би 'лежали' заборављени и необјављени, те самим тим недоступни потенцијалним истраживачима и извођачима. Стога он пледира за унапређење издавачке делатности у области музикалија, као и за циљану промоцију српског музичког стваралаштва. Такође, он се залаже за препознавање блискости београдске културне климе у периоду између два светска рата са уметничким и научним тенденцијама у Француској и њеним 'зонама утицаја' у истом периоду. С тим у вези, Трајковић се посебно залаже за ново вредновање опуса композитора и музиколога Милоја Милојевића (1884–1946) и Драгутина Гостушког (1923–1998) – као управо оних креативних и умних појединаца према којима је учињена 'историјска неправда' и чијом би се (ре)афирмацијом у оквиру српске музичке културе и сама та култура уздигла на виши ниво релевантности у националним и интернационалним оквирима.

In this paper I analyse selected articles by the composer and academician Vlastimir Trajković (1947–2017), published in various collective monographs and journals over the period of nearly three decades (1982–2008). These writings emphasise Trajković’s constant urging for a fairer (from his point of view) evaluation of Serbian art music in a wider, European and global context, but also within the state / national frameworks. Trajković aimed to prove that Serbian art music, as well as writings on music, would have enjoyed a wider recognition, had certain of their top achievements not been left forgotten and unpublished, and thus unavailable to potential researchers and performers. Already in his earliest published texts (1982) he pleaded for the improvement of music scores publishing in the country, as well as for the targeted promotion of Serbian art music repertoire, and this remained a constant in many of his subsequent articles. Moreover, he insisted on the proximity of the Belgrade ’cultural climate’ in the interwar period with the artistic and scholarly tendencies in France and its ’zones of influence’ in the same period. Consequently, Trajković particularly insists on the new evaluation of the opuses of the composers and musicologists Miloje Milojević (1884–1946) and Dragutin Gostuški (1923– 1998) – whom he saw as those creative and intellectual individuals who had fallen victims to the ’historical injustice’ and whose (re)positioning within the Serbian music culture would increase the relevance of that same culture both in the national and international contexts. In doing so, Trajković established a very interesting and meaningful comparison between the endeavors of Miloje Milojević and his Spanish contemporary and ‘kindred spirit’ Manuel de Falla (1876–1946), because they both devoted significant parts of their respective careers to the ‘cultural’ and ‘music-educational’ activities. On several occasions, Trajković stressed out the importance of individual creation as a motor of collective advancement of a national culture, and he highlighted several peak achievements of Serbian art music, pleading for their more frequent performances and a greater recognition.