Музика изгубљене генерације: "америчка прича" Вука Куленовића

Abstract

У овом раду разматра се животна и професионална „одисеја“ српског композитора Вука Куленовића (1946–2017). Куленовић је био један од многобројних југословенских уметника и интелектуалаца који су почетком деведесетих година ХХ века напустили земљу, која се у том тренутку распадала, и окушали срећу у туђини – са више или мање успеха. Након кратког прегледа српске музичке „дијаспоре“ формиране током последњих тридесетак година, осветљава се Куленовићев стваралачки пут пре и после одласка у САД. Посебна пажња посвећује се композицији Concerto рrecipitato за виолину, виолу и гудачки оркестар, премијерно изведеној 5. децембра 2018. године, у Великој дворани Коларчеве задужбине. У закључку се проблематизује (поновно) укључење „изгубљених“ композитора у историју српске музике.

This paper is the latest in the series in which the author discusses the professional paths of Serbian composers who left the country during and after the dissolution of the socialist Yugoslavia and continued their careers abroad. In this paper the analytical lens is directed at the professional and personal “odyssey” of Serbian/Yugoslav composer Vuk Kulenović (1946–2017). In the early 1990s he became one of the countless Yugoslav artists and intellectuals who left the country (which was in the state of disintegration) and tried his luck abroad – with mixed success. Kulenović himself went to Boston MA, USA in 1992, and remained there until his death in 2017. After the introduction which provides an overview of Serbian musical diaspora that has formed over the past thirty years, the likely reasons behind the composers’ decision to emigrate, and arguments for their (re)inclusion into Serbian music history, the focus is shifted to Kulenović’s professional journey before and after moving to the United States. The central hypothesis is that, in spite of his claims to the contrary, Kulenović has never been forgotten in Serbia. Namely, although he was physically absent from the country, his music (including large-scale orchestral works) was regularly performed in Serbia (mostly in Belgrade). The argumentation is supported by a list of Kulenović’s most important performances in Serbia over the 25-year period (1993–2018). The composer’s final completed work Concerto рrecipitato for violin, viola, and string orchestra, premiered posthumously on 5 December 2018 at the Great Hall of the Kolarac Foundation in Belgrade, is also analysed.