Sublime and precise: Mind sonorities of Vlastimir Peričić

Abstract

Author discusses the course and results of the professional activity of Serbian composer and musicologist Vlastimir Peričić (1927-2000). At the beginning of his career Peričić was a promising young composer who won a prestigous Vercelli Competition Prize in 1950 for his String quartet. His style was characterized by post-romantic musical expression. He was convinced that a tonal system was the only acceptable base for making new music. In that sense, he came close to Paul Hindemith's approach to the world of new sonorities. The author explains Peričić's position in the context of Serbian music of the second half of the 20th century. He was considered somewhat conservative because he never accepted avant-garde techniques and procedures. His imagination and concentration on compositional process made him competent in the technical realization of his rich musical ideas. On the other hand, he was a shy personality who had never been penetrating enough to promote his own works. Hence, during the last decades of his life (when he stopped composing) almost no one was conscious of the great value of his works. Peričić suddenly interrupted his compositional career in the mid 1960s and thereafter devoted himself to theoretical work. His books on counterpoint harmony, and Serbian composers, many articles on contemporary Serbian composers, as well as his major multilingual dictionary of musical terms which includes seven languages, were among the finest fruits of Serbian theoretical achievements in the field of music. Now is the moment to reexamine Peričić's opus because his compositional achievements, as well as his theoretical studies, were of the highest quality. Peričić was a real part of the European music elite as a composer and musicologist, but he never received adequate professional recognition, especially in a broader European context.

Srpski kompozitor Vlastimir Peričić je, krećući se mahom tragom Hindemitovih (Paul Hindemith) nazora, ostao privržen tonalnom načelu muzičkog mišljenja i preglednoj formi. Svojom upečatljivom supstancom ističu se njegova dela: Gudački kvartet, Simfonijeta za gudače i ciklusi solo pesama Noć bez jutra i Gradinar. Kao autor monografija o Josifu Marinkoviću i Stanojlu Rajičiću, postavio je uzorne muzikološke modele. Među delima kojima je obogatio našu muzičkoteorijsku literaturu izdvajaju se: Razvoj tonalnog sistema, Višejezični rečnik muzičkih termina i Vokalni i vokalno-instrumentalni kontrapunkt.