Писани трагови о делатностима Велимира Сперњака (1870-1948) - заоставштина у Архиву Музиколошког института САНУ

Abstract

У раду су представљене разноврсне делатности Велимира Сперњака (1870–1948), протојереја, композитора, мелографа и диригента. Указано је на значај композиторовог школовања у главним српским образовним центрима у Хабзбуршкој монархији и на одјеке новостечених знања и искустава у његовој композиторској и широј културно-уметничкој делатности током првих деценија ХХ века. Поред заслуга које је имао за неговање и очување традиционалног српског црквеног појања, приказана је и његова стваралачка активност на пољу световне музике, са посебним освртом на композиторски допринос жанровима салонске музике и праксу кућног музицирања у породичном дому. Основни извори били су сегменти композиторове заоставштине, сачувани у Музиколошком институту САНУ.

This paper aims to present the multifaceted career of Velimir Spernjak (1870–1948), an archpriest, composer, melographer, conductor, and the founder of several ensembles. From an early age, archpriest Velimir Spernjak (a violinist himself) was dedicated to music. His schooling in the main Serbian educational centers in the Habsburg Monarchy (Serbian Orthodox Great Gymnasium in Novi Sad, Orthodox Seminary in Sremski Karlovci), as well as the echoes of this newly gained knowledge and experiences in Spernjak’s compositional, cultural, and artistic activity during the first decades of the 20th century, are presented. The paper is divided into several larger sections focusing on the different segments of Spernjak’s life and work: schooling in Serbian Orthodox Great Gymnasium in Novi Sad and Orthodox Seminary in Sremski Karlovci and cultural activity, Spernjak’s melographical and compositional work in the domain of Serbian church music, as well as his work in the domain of secular music. Throughout his life, Spernjak pursued his musical interests and was focused on perfecting his musical knowledge and skills. Velimir Spernjak had strong connections with his contemporaries and intended to fully participate in the musical life of the time. In addition to his care for the preservation of traditional Serbian church singing, he was dedicated to the traditional Serbian chant. Particular attention is paid to his creative activity in the field of folk music, as well as his contribution to the genres of salon music and the practice of amateur musicianship, especially in his home. It is important to preserve the memories of his musical missionary efforts to educate and highlight the importance of musical education and the role of music in one’s upbringing. Spernjak was the epitome of the cultural zeitgeist of the first decades of the 20th century. The paper is based on the materials from the composer’s legacy (manuscripts of musical scores, photographs, correspondence, concert programs, etc.), preserved at the Institute of Musicology of the Serbian Academy of Sciences and Arts.