Пијанистички репертоар Корнелија Станковића – између европске праксе и националне идеологије
Kornelije Stanković´s Piano Repertoire – From European Practice to National Ideology
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У овој студији пажња је фокусирана на реконструкцију пијанистичког
репертоара Корнелија Станковића, како би се испитао однос његових
и дела иностраних композитора, као и колико је концепција програма
била условљена срединама у којима je наступао. Након увида у написе у
оновременој штампи, као и у сачуване плакате са концерата, издвојене су
композиције које су се налазиле на његовом пијанистичком репертоару. Циљ
овога рада био је и да се укаже на актуелност извођених композиција, што
је, између осталог, омогућио и увид у немачку штампу разматраног периода.
Of particular importance for the artistic commitment and maturation of Kornelije
Stanković, was his training in Vienna, which at that time represented the center of the
Slavic elite. The whole cultural and social atmosphere of Vienna left a strong imprint
on the young artist: a rich cultural and political life of the city, contacts with Serbian
and Slavic circles and their ideas, especially studies under distinguished professor at
the Conservatory – a composer, pianist and theorist Simon Sechter.
By studying the inscriptions in the Serbian press from the 19th century (Srbski list,
Vidovdan, Južna pčela, Danica, Trgovačke novine, Šumadinka) and preserved posters of
Stankovic’s concerts, we have selected the compositions that were part of the Kornelije Stanković piano repertoire. Besides his own compositions, his repertoire included
some works of Franz Liszt and Sigismund Thalberg, and even, then popular and
now forgotten salon composers-pianists: Jacob Blumenthal, Louis Lacomb...e, Rudolf
Willmers, Eduard M. Pirkhert, and a certain man named Wald. It is possible that this
selection of works was influenced by Sechter himself. Blumental and Lacombe were
his students. However, the fact remains that the compositions of those authors, which
Stanković performed, also represented the most famous works of those composers,
as well as the standards of the salon repertoire at the time.
The aim of this paper is to highlight the equal importance and representation of
the foreign composers within Stankovic’s piano repertoire, as well as the actuality of
performed compositions, which has allowed us to gain an insight into the German
press of the considered period.
Keywords:
Корнелије Станковић / концерти / репертоар / музичка критика / Kornelije Stanković / concerts / repertoire / music criticismSource:
Музикологија / Musicology, 2018, 25, 103-117Publisher:
- Београд : Музиколошки институт Српске академије наука и уметности
Projects:
- Serbian musical identities within local and global frameworks: traditions, changes, challenges (RS-177004)
DOI: 10.2298/MUZ1825103K
Cobiss ID: 173918727