Baroque references in works of Vlastimir Trajković

Abstract

The article examines Baroque references in three Trajković’s compositions: Arion, Le nuove musiche per Chitarra ed Archi op. 8 (1979), Le retour des zéphyres ou ‘Zefi ro torna’ op. 25 (2001) and solo song Renouveau from the cycle Cinq poèmes de Stéphane Mallarmé op. 29, in its version for voice, fl ute and piano (2003), all these compositions being unified by the idea of modernity and novelty, metaphorically contained also in the idea of renewal of nature, which connects music of the moderns from the beginning of the 17th century and Trajković’s search for new paths in music, opposite to ‘gothic’ tangles of the Avant-garde. Complex and multi-layered, the references to the Baroque era in Trajković’s works reflect fundamentally generic, archetextual relations. Compositions Arion and Zefi ro torna are set upon explicit references to Italian origins of the Baroque epoch, in theoretical, as well as in the creative domain (to Caccini’s collection of madrigals - Le Nuove Musiche, 1601, and Monteverdi’s madrigal Zefi ro torna, 1614, after Petrarch’s sonnet). Zefi ro torna, with a primarily French title and subtitles of the ‘scenes’ given after antique mythological sources, indicates, again, a twofold generic relation: to the Italian madrigal tradition (including another Monteverdi’s madrigal with the same title composed after Rinuccini’s sonnet, from 1632) and the French tradition of opera/ballet, additionally mediated by references to the opuses of Debussy and Ravel. Multiple literary and musical trans-historical relations can be observed in the solo song Renouveau. However, from these compositions, implicit generic relations, far more than explicit para-textual references, with the whole corpus of themes, forms, texts, discourses as well as crucial poetic concepts of the 17th-century music can be inferred.

Članak je usmeren na razmatranje baroknih referenci u tri Trajkovićeve kompozicije: Arion, Le nuove musiche per Chitarra ed Archi op. 8 (1979), Le retour des zéphyres ou ‘Zefi ro torna’, op. 25 (2001) i u pesmi Renouveau iz ciklusa Cinq poèmes de Stéphane Mallarmé, op. 29 u verziji za glas, flautu u klavir (2003). Sve kompozicije su objedinjene idejom modernosti i novine, metaforički sadržanom i u ideji obnavljanja prirode, koja povezuje muziku modernih na početku XVII veka i Trajkovićevo traganje za novim putevima muzike u odnosu na ‘gotičke’ zaplete avangarde. Složene i višestruke, reference na barokno doba muzike u Trajkovićevim delima odražavaju bitno generički, arhitekstualni odnos. Kompozicije Arion i Zefi ro torna postavljene su na eksplicitnim referencama na italijansko izvorište barokne epohe, kako u teorijskom, tako u stvaralačkom domenu (na Kačinijevu /Caccini/ zbirku madrigala Le Nuove Musiche, 1601, i Monteverdijev madrigal Zefi ro torna /1614/ prema sonetu Petrarke). Zefi ro torna, s primarno francuskim naslovom i podnaslovima ‘scena’ prema antičkim mitološkim izvorima, upućuje, opet, na dvostruki generički odnos prema italijanskoj madrigalskoj tradiciji i francuskoj tradiciji opere/baleta, dodatno posredovan referencama na stvaralaštvo Debisija (Debussy) i Ravela (Ravel). Višestruke literarne i muzičke transistorijske veze ostvaruju se u pesmi Renouveau. No, u ovim kompozicijama se, mnogo više od ekspliciranih paratekstualnih referenci, ostvaruje implicitan, generički odnos s čitavim korpusom tema, formi, tekstova, diskursa, kao i bitnih koncepata muzike XVII veka.