Љубица Марић (1909–2003) ј
Ljubica Marić (1909-2003)
Аутори
Чичовачки, БориславОстала ауторства
Максимовић, ЉубомирКнежевић, Зоран
Милошевић-Ђорђевић, Нада
Конференцијски прилог (Објављена верзија)
![](/themes/MirageDAIS//images/creativecommons/arr.png)
Метаподаци
Приказ свих података о документуАпстракт
Љубица Марић (1909–2003) је најоригиналнији српски композитор XX
века. Свој специфичан музички стил остварила је аутентичном комбинацијом примене модуса српског Осмогласника (пореклом из византијске
црквене традиције) и експресионистичког музичког идиома. Она је први
композитор у историји музике који је модални систем византијског по рекла користио за формирање целокупне мелодијско-хармонске структуре сопствених нелитургијских музичких дела. Љубица Марић је рођена 18. марта 1909. године у Крагујевцу. Родитељи су јој били Павле Марић (1863–1913) и Катарина Марић, рођ. Ђорђевић
(1875–1964) .
.
Ljubica Marić (1909–2003) was Serbia’s most original composer of the 20th century.
Not only is Ljubica Marić important for Serbian art because she was the first musician
in Serbia to earn a degree in composition, or because she wrote the first Serbian atonal
composition, was the first female conductor from Serbia and the composer whose music
was very well received abroad, but because Ljubica Marić was the first Serbian composer
who, using the unbridled curiosity of her immense talent, produced a powerfully authentic creative opus which far surpassed the borders of Serbia and the former Yugoslavia
and was a genuine artistic expression on the world music scene. Thus, Ljubica Marić was,
and still is, one of the few Serbian artists whose work left a distinctive, creative mark on
the entire art scene of her time. She established her distinctive musical style through the
authentic synthesis of the Serbian Octoëchos modes (originating in the Byzantine church
tradition) and... the expressionist musical idiom. She was the first composer in the history
of music who used the modal system of Byzantine origin to create a complete melodicharmonic structure of her non-liturgical compositions.
Ljubica Marić was born in Kragujevac, on 18 March 1909. She began studying music
(violin) in Valjevo, where she lived with her mother after the First World War and following the death of her father in the Second Balkan War. After moving to Belgrade in 1923,
Ljubica continued her violin studies at the then only music school, where she soon met
Josip Slavenski, one of the most authentic Serbian and Yugoslav composers, becoming
acquainted with his music, too. Slavenski discovered in her a talent for composing music
and wholeheartedly encouraged her development, giving her lessons in music composition. Thus, in 1929, Ljubica Marić earned her diploma in composition and became the
first holder of such a diploma obtained through education in Serbia. That same year, on
the advice of Slavenski, she decided to enroll at the Prague State Conservatory, to study
composition. After passing the entrance exam (when she played her Sonata Fantasia for
solo violin), Ljubica was not admitted to the regular composition studies program, but,
because of the exceptional value of her compositions, continued her studies in Josef Suk’s
class at the so-called Master School Department, which was the level of study that corresponded to today’s postgraduate or master’s studies. Consequently, in the late summer
of 1929, Ljubica and her mother moved to Prague. There, Ljubica very soon became acquainted with new compositional techniques of the time and was, at first, most attracted
to atonalism. In those days, Prague was visited by prominent composers who gave lectures at the conservatory – Schoenberg, Prokofiev and Hindemith – in whose lectures
Ljubica took a keen interest. Her musical curiosity also motivated her to travel and attend concerts of contemporary music (Vienna, 1932). In addition to composition, Ljubica
Marić also studied conducting in Prague, under Professor Metod Doležil, but she also
attended master classes of one of the most renowned European conductors of the time, Russian conductor Nicolay Malko. He noticed Ljubica’s great talent and encouraged her
to become a conductor. She took a strong liking to the approach of a conductor to music,
and therefore she performed several times as a conductor. Amongst others, she conducted the Prague Radio Symphony Orchestra, not only as the first Serbian female conductor
but also as the first woman ever to conduct Prague orchestras. And as a young composer
in Prague, Ljubica Marić had the opportunity to present her works to the audience. Thus,
her String Quartet, the first Serbian atonal composition, received excellent reviews from
critics. She completed her studies in Prague in 1932, with the composition Music for
Orchestra, the first Serbian atonal orchestral piece. Then she went to Berlin where she
spent the 1932-33 school year improving her piano playing technique under Emil Seling.
The Wind Quintet was her first piece of work to ensure her great international success.
In 1933, the composition was included in the programme of the International Society for
Contemporary Music (ISCM) festival, held in Amsterdam, and was voted one of the best
works of the entire festival. The success of the Wind Quintet, which was also one of the
first major international successes of Serbian music, was crucial in Ljubica Marić’s decision to fully commit herself to pursuing a career in composing. Hermann Scherchen,
one of Europe’s leading conductors of the time, and one of the most active promoters of
contemporary music, invited Ljubica Marić to participate, as a composer and conductor,
in his music festival in Strasbourg, in August that same year. At the festival, Ljubica Marić
conducted the Strasbourg Conservatoire Symphony Orchestra “Hector Berlioz” and premiered her composition Music for Orchestra. It was another great international success
for Ljubica Marić and Serbian music. In 1934, Ljubica and her mother moved to Zagreb,
where they lived for two years. Ljubica occasionally conducted concerts in Belgrade. In
1936, at Alois Hába’s invitation, she decided to continue her studies at the Department
of Microtonal Music of the Prague State Conservatory, where she remained for one year.
Alois Hába was enthusiastic about her work, so he suggested that she should stay in
his department, as an assistant. Ljubica declined the offer, because she expected that
a similar department of microtonal music was to be established at the Zagreb Academy
of Music, so she returned to Zagreb. After her hopes were shattered, Ljubica decided to
return to Belgrade, where, in the autumn of 1938, she was appointed professor of theoretical subjects at the “Stanković” Music School, where she worked until the end of the
Second World War. In 1945, she was appointed professor of theoretical subjects at the
Department of Composition and Orchestration of the Music Academy in Belgrade, where
she kept the post until her retirement in 1967. As of the mid-1950s, she devoted herself to
composing music and engaging in other art forms (drawing, painting, and writing). It was
then when she produced her most significant musical compositions – highly individual,
original and exciting – with which, as such, Serbia’s 20th century music reached its cli max. The most exceptional pieces were the cantata Songs of Space and the cycle Music
of Octoëchos. She led a simple and withdrawn life, especially after her mother’s death in
1964. All her compositions were dedicated to her mother. She was involved in music improvisation for a long time since then, and returned to composing as late as in the early
1980s. In the early 1990s, a huge and unexpected shift in attitude towards her music took
place, which was initiated and realized abroad. As of 1993, the Barka Foundation and the
De IJsbreker Music Center in Amsterdam organized a series of concerts featuring Ljubica Marić’s music in the Netherlands, which drew great attention to her work. Thus, in April 1996, Ljubica visited Amsterdam for the second time after 63 years, where, in the
De IJsbreker Music Center Hall, a gala concert honoring the release of the compact disc
with her chamber music was held. A few days later, in Cologne Philharmonic Hall, Ljubica
Marić attended the world premiere of her piano trio Torso, which was commissioned by
the KölnMusik Foundation and whose premiere was a great success. It was then when
Ljubica’s music made an appearance on the European music scene shining in all its glory.
Concerts of her chamber music were then held in Germany, Switzerland, Sweden and the
Netherlands. The German music publishing house Furore Verlag from Kassel decided to
publish all of Ljubica’s music, thus becoming her exclusive publisher. Ljubica Marić was
the first Serbian composer whose entire oeuvre was published abroad. She died in Bel grade on 17 September 2003. In 2009, the centenary of her birth was marked with the
support of UNESCO, which included the date of her birth in the UNESCO Calendar of
anniversaries of eminent personalities important for the world cultural heritage.
Nearly seventy years passed between the creation of her first composition Sorrow
for the Girl (1928) and her last work, the piano trio Torso (1996). Ljubica Marić spent that
time by listening carefully to her own world of sounds, studying folk music and Serbian
Octoëchos, learning, reading and contemplating. Over that time span, she created around
forty musical compositions for solo instruments, solo voice, chamber ensembles, choir,
string and symphony orchestras. In terms of the stylistic traits of her musical composi tions, Ljubica Marić’s entire oeuvre can be divided into five distinct phases:
1. The early phase (1929–1944);
2. The phase of extended tonality, tonal fields, modality and Balkan folk music
(1944/5–1955);
3. The mature phase or the phase of Octoëchos (1956–1967);
4. The phase of musical improvisation (1968–1975);
5. The last phase ((1976) 1983–1996).
In her early creative phase, Ljubica Marić drew much of her inspiration from two
sources: that of traditional folk music elements and avant-garde aspirations of interwar European music (atonality, microtonality and athematism). The second phase of
her creative practice was characterized by the use of tonal fields (modeled on that of
Scriabin), as well as by the exploration of folk music. The completion of this phase resulted in the first artistic integration, which took place in the oeuvre of Ljubica Marić,
embodied in Sonata for Violin and Piano, which implied the synthesis of melodic and
rhythmic elements based on the features of the Western Balkan folk music, on the one
hand, and the harmonic aspect built on dissonant chords, on the other. During the third
phase, she produced her most significant compositions, which, at the same time, were
among the highlights of Serbian music and art of all time. These are the cantata Songs
of Space (1956), Passacaglia for symphony orchestra (1957), and the cycle Music of Octoëchos (1958–1963), consisting of four compositions (Octoïcha 1, for symphony orchestra
(1958/9); Byzantine Concerto for piano and orchestra (1959); the chamber cantata The
Threshold of Dream (1961), and the composition for soloists and chamber orchestra Ostinato Super Thema Octoïcha (1963)). The cantata Song of Space is a continuation of her
established principle to combine divergent musical influences, which is here upgraded and compounded several times: one influence, based on the use of structural features of
folk music (close to the role models of Bártok and Stravinsky), and the other one, based
on the traditions of interwar musical expressionism, atonality in particular. The central
feature of composer’s creative practice applied in the cycle Music of Octoëchos was the
use of melodies from church chants from Octoëchos by Stevan Mokranjac, which served
as the basic and sole source for the creation of the melodic and harmonic components
of her compositions. The modes and tunes in the Octoëchos became Ljubica Marić’s most
important musical source of inspiration. The most important novelty in composing,
which is characteristic for the entire cycle Music of Octoëchos, was the fact that for the
first time ever a composer used the modal structure of melodies, originating in medieval
Byzantine spiritual music, to conceive the entire melodic and harmonic structure of a
non-liturgical and non-programatic piece of music.
During the phase of musical improvisation, she produced the piece Music of Sound,
which was recorded on about twenty magnetophon tapes. In the final, fifth phase of her
creative practice, Ljubica Marić produced some exceptional, primarily chamber pieces,
with which she once again entered the realm of a unique originality based on the authentic form of her compositions and a distinct system of applying the elements of musical
archaisation, as one of the most striking features of her personal expression. She created these compositions by alternately arranging diatonic and chromatic fields, whereby
all diatonic fields were entirely based on the formulas of church melodies in Octoëchos.
The most important aspects of musical archaisation in her works was the use of musical
elements and features of folk music (mainly the so-called old Serbian music tradition),
melodic elements from the collection Octoëchos, as well as the use of Western European
polyphony and medieval compositional principles.
Ljubica Marić’s oeuvre, consisting of pieces such as Songs of Space, which, immediately after the premiere, achieved cult status in Serbian and Yugoslavian art and culture,
had a huge impact on the then Serbian music, and later on as well. Her music influenced
the composers from other republics of the former Yugoslavia. The hallmark of her work
was the system of application of elements of musical archaisation, especially the Octoëchos mode, as well as the fuse of musical elements and principles from different stylistic
epochs (from medieval organum to the atonality and microtonality of the 20th century
music).
As a young composer, Ljubica Marić used avant-garde music composition tech niques, to which she later added some distinctive elements of the traditional medieval
music of the Balkans (originating in Byzantium). Thus, she created a unique oeuvre with in the 20th century world music scene. Owing to that, not only is Ljubica Marić the most
significant and the most original Serbian composer of the 20th century, but also one of
the most significant Serbian artists in general, and at the same time was one of the most
unique and independent-minded musical authors of the 20th century.
Кључне речи:
Љубица Марић (1909-2003) / биографија / Ljubica Marić (1909-2003) / biographyИзвор:
Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1, 2021, 233-283Издавач:
- Београд : Српска академија наука и уметности
TY - CONF AU - Чичовачки, Борислав PY - 2021 UR - https://dais.sanu.ac.rs/123456789/14571 AB - Љубица Марић (1909–2003) је најоригиналнији српски композитор XX века. Свој специфичан музички стил остварила је аутентичном комбинацијом примене модуса српског Осмогласника (пореклом из византијске црквене традиције) и експресионистичког музичког идиома. Она је први композитор у историји музике који је модални систем византијског по рекла користио за формирање целокупне мелодијско-хармонске структуре сопствених нелитургијских музичких дела. Љубица Марић је рођена 18. марта 1909. године у Крагујевцу. Родитељи су јој били Павле Марић (1863–1913) и Катарина Марић, рођ. Ђорђевић (1875–1964) . . AB - Ljubica Marić (1909–2003) was Serbia’s most original composer of the 20th century. Not only is Ljubica Marić important for Serbian art because she was the first musician in Serbia to earn a degree in composition, or because she wrote the first Serbian atonal composition, was the first female conductor from Serbia and the composer whose music was very well received abroad, but because Ljubica Marić was the first Serbian composer who, using the unbridled curiosity of her immense talent, produced a powerfully authentic creative opus which far surpassed the borders of Serbia and the former Yugoslavia and was a genuine artistic expression on the world music scene. Thus, Ljubica Marić was, and still is, one of the few Serbian artists whose work left a distinctive, creative mark on the entire art scene of her time. She established her distinctive musical style through the authentic synthesis of the Serbian Octoëchos modes (originating in the Byzantine church tradition) and the expressionist musical idiom. She was the first composer in the history of music who used the modal system of Byzantine origin to create a complete melodicharmonic structure of her non-liturgical compositions. Ljubica Marić was born in Kragujevac, on 18 March 1909. She began studying music (violin) in Valjevo, where she lived with her mother after the First World War and following the death of her father in the Second Balkan War. After moving to Belgrade in 1923, Ljubica continued her violin studies at the then only music school, where she soon met Josip Slavenski, one of the most authentic Serbian and Yugoslav composers, becoming acquainted with his music, too. Slavenski discovered in her a talent for composing music and wholeheartedly encouraged her development, giving her lessons in music composition. Thus, in 1929, Ljubica Marić earned her diploma in composition and became the first holder of such a diploma obtained through education in Serbia. That same year, on the advice of Slavenski, she decided to enroll at the Prague State Conservatory, to study composition. After passing the entrance exam (when she played her Sonata Fantasia for solo violin), Ljubica was not admitted to the regular composition studies program, but, because of the exceptional value of her compositions, continued her studies in Josef Suk’s class at the so-called Master School Department, which was the level of study that corresponded to today’s postgraduate or master’s studies. Consequently, in the late summer of 1929, Ljubica and her mother moved to Prague. There, Ljubica very soon became acquainted with new compositional techniques of the time and was, at first, most attracted to atonalism. In those days, Prague was visited by prominent composers who gave lectures at the conservatory – Schoenberg, Prokofiev and Hindemith – in whose lectures Ljubica took a keen interest. Her musical curiosity also motivated her to travel and attend concerts of contemporary music (Vienna, 1932). In addition to composition, Ljubica Marić also studied conducting in Prague, under Professor Metod Doležil, but she also attended master classes of one of the most renowned European conductors of the time, Russian conductor Nicolay Malko. He noticed Ljubica’s great talent and encouraged her to become a conductor. She took a strong liking to the approach of a conductor to music, and therefore she performed several times as a conductor. Amongst others, she conducted the Prague Radio Symphony Orchestra, not only as the first Serbian female conductor but also as the first woman ever to conduct Prague orchestras. And as a young composer in Prague, Ljubica Marić had the opportunity to present her works to the audience. Thus, her String Quartet, the first Serbian atonal composition, received excellent reviews from critics. She completed her studies in Prague in 1932, with the composition Music for Orchestra, the first Serbian atonal orchestral piece. Then she went to Berlin where she spent the 1932-33 school year improving her piano playing technique under Emil Seling. The Wind Quintet was her first piece of work to ensure her great international success. In 1933, the composition was included in the programme of the International Society for Contemporary Music (ISCM) festival, held in Amsterdam, and was voted one of the best works of the entire festival. The success of the Wind Quintet, which was also one of the first major international successes of Serbian music, was crucial in Ljubica Marić’s decision to fully commit herself to pursuing a career in composing. Hermann Scherchen, one of Europe’s leading conductors of the time, and one of the most active promoters of contemporary music, invited Ljubica Marić to participate, as a composer and conductor, in his music festival in Strasbourg, in August that same year. At the festival, Ljubica Marić conducted the Strasbourg Conservatoire Symphony Orchestra “Hector Berlioz” and premiered her composition Music for Orchestra. It was another great international success for Ljubica Marić and Serbian music. In 1934, Ljubica and her mother moved to Zagreb, where they lived for two years. Ljubica occasionally conducted concerts in Belgrade. In 1936, at Alois Hába’s invitation, she decided to continue her studies at the Department of Microtonal Music of the Prague State Conservatory, where she remained for one year. Alois Hába was enthusiastic about her work, so he suggested that she should stay in his department, as an assistant. Ljubica declined the offer, because she expected that a similar department of microtonal music was to be established at the Zagreb Academy of Music, so she returned to Zagreb. After her hopes were shattered, Ljubica decided to return to Belgrade, where, in the autumn of 1938, she was appointed professor of theoretical subjects at the “Stanković” Music School, where she worked until the end of the Second World War. In 1945, she was appointed professor of theoretical subjects at the Department of Composition and Orchestration of the Music Academy in Belgrade, where she kept the post until her retirement in 1967. As of the mid-1950s, she devoted herself to composing music and engaging in other art forms (drawing, painting, and writing). It was then when she produced her most significant musical compositions – highly individual, original and exciting – with which, as such, Serbia’s 20th century music reached its cli max. The most exceptional pieces were the cantata Songs of Space and the cycle Music of Octoëchos. She led a simple and withdrawn life, especially after her mother’s death in 1964. All her compositions were dedicated to her mother. She was involved in music improvisation for a long time since then, and returned to composing as late as in the early 1980s. In the early 1990s, a huge and unexpected shift in attitude towards her music took place, which was initiated and realized abroad. As of 1993, the Barka Foundation and the De IJsbreker Music Center in Amsterdam organized a series of concerts featuring Ljubica Marić’s music in the Netherlands, which drew great attention to her work. Thus, in April 1996, Ljubica visited Amsterdam for the second time after 63 years, where, in the De IJsbreker Music Center Hall, a gala concert honoring the release of the compact disc with her chamber music was held. A few days later, in Cologne Philharmonic Hall, Ljubica Marić attended the world premiere of her piano trio Torso, which was commissioned by the KölnMusik Foundation and whose premiere was a great success. It was then when Ljubica’s music made an appearance on the European music scene shining in all its glory. Concerts of her chamber music were then held in Germany, Switzerland, Sweden and the Netherlands. The German music publishing house Furore Verlag from Kassel decided to publish all of Ljubica’s music, thus becoming her exclusive publisher. Ljubica Marić was the first Serbian composer whose entire oeuvre was published abroad. She died in Bel grade on 17 September 2003. In 2009, the centenary of her birth was marked with the support of UNESCO, which included the date of her birth in the UNESCO Calendar of anniversaries of eminent personalities important for the world cultural heritage. Nearly seventy years passed between the creation of her first composition Sorrow for the Girl (1928) and her last work, the piano trio Torso (1996). Ljubica Marić spent that time by listening carefully to her own world of sounds, studying folk music and Serbian Octoëchos, learning, reading and contemplating. Over that time span, she created around forty musical compositions for solo instruments, solo voice, chamber ensembles, choir, string and symphony orchestras. In terms of the stylistic traits of her musical composi tions, Ljubica Marić’s entire oeuvre can be divided into five distinct phases: 1. The early phase (1929–1944); 2. The phase of extended tonality, tonal fields, modality and Balkan folk music (1944/5–1955); 3. The mature phase or the phase of Octoëchos (1956–1967); 4. The phase of musical improvisation (1968–1975); 5. The last phase ((1976) 1983–1996). In her early creative phase, Ljubica Marić drew much of her inspiration from two sources: that of traditional folk music elements and avant-garde aspirations of interwar European music (atonality, microtonality and athematism). The second phase of her creative practice was characterized by the use of tonal fields (modeled on that of Scriabin), as well as by the exploration of folk music. The completion of this phase resulted in the first artistic integration, which took place in the oeuvre of Ljubica Marić, embodied in Sonata for Violin and Piano, which implied the synthesis of melodic and rhythmic elements based on the features of the Western Balkan folk music, on the one hand, and the harmonic aspect built on dissonant chords, on the other. During the third phase, she produced her most significant compositions, which, at the same time, were among the highlights of Serbian music and art of all time. These are the cantata Songs of Space (1956), Passacaglia for symphony orchestra (1957), and the cycle Music of Octoëchos (1958–1963), consisting of four compositions (Octoïcha 1, for symphony orchestra (1958/9); Byzantine Concerto for piano and orchestra (1959); the chamber cantata The Threshold of Dream (1961), and the composition for soloists and chamber orchestra Ostinato Super Thema Octoïcha (1963)). The cantata Song of Space is a continuation of her established principle to combine divergent musical influences, which is here upgraded and compounded several times: one influence, based on the use of structural features of folk music (close to the role models of Bártok and Stravinsky), and the other one, based on the traditions of interwar musical expressionism, atonality in particular. The central feature of composer’s creative practice applied in the cycle Music of Octoëchos was the use of melodies from church chants from Octoëchos by Stevan Mokranjac, which served as the basic and sole source for the creation of the melodic and harmonic components of her compositions. The modes and tunes in the Octoëchos became Ljubica Marić’s most important musical source of inspiration. The most important novelty in composing, which is characteristic for the entire cycle Music of Octoëchos, was the fact that for the first time ever a composer used the modal structure of melodies, originating in medieval Byzantine spiritual music, to conceive the entire melodic and harmonic structure of a non-liturgical and non-programatic piece of music. During the phase of musical improvisation, she produced the piece Music of Sound, which was recorded on about twenty magnetophon tapes. In the final, fifth phase of her creative practice, Ljubica Marić produced some exceptional, primarily chamber pieces, with which she once again entered the realm of a unique originality based on the authentic form of her compositions and a distinct system of applying the elements of musical archaisation, as one of the most striking features of her personal expression. She created these compositions by alternately arranging diatonic and chromatic fields, whereby all diatonic fields were entirely based on the formulas of church melodies in Octoëchos. The most important aspects of musical archaisation in her works was the use of musical elements and features of folk music (mainly the so-called old Serbian music tradition), melodic elements from the collection Octoëchos, as well as the use of Western European polyphony and medieval compositional principles. Ljubica Marić’s oeuvre, consisting of pieces such as Songs of Space, which, immediately after the premiere, achieved cult status in Serbian and Yugoslavian art and culture, had a huge impact on the then Serbian music, and later on as well. Her music influenced the composers from other republics of the former Yugoslavia. The hallmark of her work was the system of application of elements of musical archaisation, especially the Octoëchos mode, as well as the fuse of musical elements and principles from different stylistic epochs (from medieval organum to the atonality and microtonality of the 20th century music). As a young composer, Ljubica Marić used avant-garde music composition tech niques, to which she later added some distinctive elements of the traditional medieval music of the Balkans (originating in Byzantium). Thus, she created a unique oeuvre with in the 20th century world music scene. Owing to that, not only is Ljubica Marić the most significant and the most original Serbian composer of the 20th century, but also one of the most significant Serbian artists in general, and at the same time was one of the most unique and independent-minded musical authors of the 20th century. PB - Београд : Српска академија наука и уметности C3 - Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1 T1 - Љубица Марић (1909–2003) ј T1 - Ljubica Marić (1909-2003) SP - 233 EP - 283 UR - https://hdl.handle.net/21.15107/rcub_dais_14571 ER -
@conference{ author = "Чичовачки, Борислав", year = "2021", abstract = "Љубица Марић (1909–2003) је најоригиналнији српски композитор XX века. Свој специфичан музички стил остварила је аутентичном комбинацијом примене модуса српског Осмогласника (пореклом из византијске црквене традиције) и експресионистичког музичког идиома. Она је први композитор у историји музике који је модални систем византијског по рекла користио за формирање целокупне мелодијско-хармонске структуре сопствених нелитургијских музичких дела. Љубица Марић је рођена 18. марта 1909. године у Крагујевцу. Родитељи су јој били Павле Марић (1863–1913) и Катарина Марић, рођ. Ђорђевић (1875–1964) . ., Ljubica Marić (1909–2003) was Serbia’s most original composer of the 20th century. Not only is Ljubica Marić important for Serbian art because she was the first musician in Serbia to earn a degree in composition, or because she wrote the first Serbian atonal composition, was the first female conductor from Serbia and the composer whose music was very well received abroad, but because Ljubica Marić was the first Serbian composer who, using the unbridled curiosity of her immense talent, produced a powerfully authentic creative opus which far surpassed the borders of Serbia and the former Yugoslavia and was a genuine artistic expression on the world music scene. Thus, Ljubica Marić was, and still is, one of the few Serbian artists whose work left a distinctive, creative mark on the entire art scene of her time. She established her distinctive musical style through the authentic synthesis of the Serbian Octoëchos modes (originating in the Byzantine church tradition) and the expressionist musical idiom. She was the first composer in the history of music who used the modal system of Byzantine origin to create a complete melodicharmonic structure of her non-liturgical compositions. Ljubica Marić was born in Kragujevac, on 18 March 1909. She began studying music (violin) in Valjevo, where she lived with her mother after the First World War and following the death of her father in the Second Balkan War. After moving to Belgrade in 1923, Ljubica continued her violin studies at the then only music school, where she soon met Josip Slavenski, one of the most authentic Serbian and Yugoslav composers, becoming acquainted with his music, too. Slavenski discovered in her a talent for composing music and wholeheartedly encouraged her development, giving her lessons in music composition. Thus, in 1929, Ljubica Marić earned her diploma in composition and became the first holder of such a diploma obtained through education in Serbia. That same year, on the advice of Slavenski, she decided to enroll at the Prague State Conservatory, to study composition. After passing the entrance exam (when she played her Sonata Fantasia for solo violin), Ljubica was not admitted to the regular composition studies program, but, because of the exceptional value of her compositions, continued her studies in Josef Suk’s class at the so-called Master School Department, which was the level of study that corresponded to today’s postgraduate or master’s studies. Consequently, in the late summer of 1929, Ljubica and her mother moved to Prague. There, Ljubica very soon became acquainted with new compositional techniques of the time and was, at first, most attracted to atonalism. In those days, Prague was visited by prominent composers who gave lectures at the conservatory – Schoenberg, Prokofiev and Hindemith – in whose lectures Ljubica took a keen interest. Her musical curiosity also motivated her to travel and attend concerts of contemporary music (Vienna, 1932). In addition to composition, Ljubica Marić also studied conducting in Prague, under Professor Metod Doležil, but she also attended master classes of one of the most renowned European conductors of the time, Russian conductor Nicolay Malko. He noticed Ljubica’s great talent and encouraged her to become a conductor. She took a strong liking to the approach of a conductor to music, and therefore she performed several times as a conductor. Amongst others, she conducted the Prague Radio Symphony Orchestra, not only as the first Serbian female conductor but also as the first woman ever to conduct Prague orchestras. And as a young composer in Prague, Ljubica Marić had the opportunity to present her works to the audience. Thus, her String Quartet, the first Serbian atonal composition, received excellent reviews from critics. She completed her studies in Prague in 1932, with the composition Music for Orchestra, the first Serbian atonal orchestral piece. Then she went to Berlin where she spent the 1932-33 school year improving her piano playing technique under Emil Seling. The Wind Quintet was her first piece of work to ensure her great international success. In 1933, the composition was included in the programme of the International Society for Contemporary Music (ISCM) festival, held in Amsterdam, and was voted one of the best works of the entire festival. The success of the Wind Quintet, which was also one of the first major international successes of Serbian music, was crucial in Ljubica Marić’s decision to fully commit herself to pursuing a career in composing. Hermann Scherchen, one of Europe’s leading conductors of the time, and one of the most active promoters of contemporary music, invited Ljubica Marić to participate, as a composer and conductor, in his music festival in Strasbourg, in August that same year. At the festival, Ljubica Marić conducted the Strasbourg Conservatoire Symphony Orchestra “Hector Berlioz” and premiered her composition Music for Orchestra. It was another great international success for Ljubica Marić and Serbian music. In 1934, Ljubica and her mother moved to Zagreb, where they lived for two years. Ljubica occasionally conducted concerts in Belgrade. In 1936, at Alois Hába’s invitation, she decided to continue her studies at the Department of Microtonal Music of the Prague State Conservatory, where she remained for one year. Alois Hába was enthusiastic about her work, so he suggested that she should stay in his department, as an assistant. Ljubica declined the offer, because she expected that a similar department of microtonal music was to be established at the Zagreb Academy of Music, so she returned to Zagreb. After her hopes were shattered, Ljubica decided to return to Belgrade, where, in the autumn of 1938, she was appointed professor of theoretical subjects at the “Stanković” Music School, where she worked until the end of the Second World War. In 1945, she was appointed professor of theoretical subjects at the Department of Composition and Orchestration of the Music Academy in Belgrade, where she kept the post until her retirement in 1967. As of the mid-1950s, she devoted herself to composing music and engaging in other art forms (drawing, painting, and writing). It was then when she produced her most significant musical compositions – highly individual, original and exciting – with which, as such, Serbia’s 20th century music reached its cli max. The most exceptional pieces were the cantata Songs of Space and the cycle Music of Octoëchos. She led a simple and withdrawn life, especially after her mother’s death in 1964. All her compositions were dedicated to her mother. She was involved in music improvisation for a long time since then, and returned to composing as late as in the early 1980s. In the early 1990s, a huge and unexpected shift in attitude towards her music took place, which was initiated and realized abroad. As of 1993, the Barka Foundation and the De IJsbreker Music Center in Amsterdam organized a series of concerts featuring Ljubica Marić’s music in the Netherlands, which drew great attention to her work. Thus, in April 1996, Ljubica visited Amsterdam for the second time after 63 years, where, in the De IJsbreker Music Center Hall, a gala concert honoring the release of the compact disc with her chamber music was held. A few days later, in Cologne Philharmonic Hall, Ljubica Marić attended the world premiere of her piano trio Torso, which was commissioned by the KölnMusik Foundation and whose premiere was a great success. It was then when Ljubica’s music made an appearance on the European music scene shining in all its glory. Concerts of her chamber music were then held in Germany, Switzerland, Sweden and the Netherlands. The German music publishing house Furore Verlag from Kassel decided to publish all of Ljubica’s music, thus becoming her exclusive publisher. Ljubica Marić was the first Serbian composer whose entire oeuvre was published abroad. She died in Bel grade on 17 September 2003. In 2009, the centenary of her birth was marked with the support of UNESCO, which included the date of her birth in the UNESCO Calendar of anniversaries of eminent personalities important for the world cultural heritage. Nearly seventy years passed between the creation of her first composition Sorrow for the Girl (1928) and her last work, the piano trio Torso (1996). Ljubica Marić spent that time by listening carefully to her own world of sounds, studying folk music and Serbian Octoëchos, learning, reading and contemplating. Over that time span, she created around forty musical compositions for solo instruments, solo voice, chamber ensembles, choir, string and symphony orchestras. In terms of the stylistic traits of her musical composi tions, Ljubica Marić’s entire oeuvre can be divided into five distinct phases: 1. The early phase (1929–1944); 2. The phase of extended tonality, tonal fields, modality and Balkan folk music (1944/5–1955); 3. The mature phase or the phase of Octoëchos (1956–1967); 4. The phase of musical improvisation (1968–1975); 5. The last phase ((1976) 1983–1996). In her early creative phase, Ljubica Marić drew much of her inspiration from two sources: that of traditional folk music elements and avant-garde aspirations of interwar European music (atonality, microtonality and athematism). The second phase of her creative practice was characterized by the use of tonal fields (modeled on that of Scriabin), as well as by the exploration of folk music. The completion of this phase resulted in the first artistic integration, which took place in the oeuvre of Ljubica Marić, embodied in Sonata for Violin and Piano, which implied the synthesis of melodic and rhythmic elements based on the features of the Western Balkan folk music, on the one hand, and the harmonic aspect built on dissonant chords, on the other. During the third phase, she produced her most significant compositions, which, at the same time, were among the highlights of Serbian music and art of all time. These are the cantata Songs of Space (1956), Passacaglia for symphony orchestra (1957), and the cycle Music of Octoëchos (1958–1963), consisting of four compositions (Octoïcha 1, for symphony orchestra (1958/9); Byzantine Concerto for piano and orchestra (1959); the chamber cantata The Threshold of Dream (1961), and the composition for soloists and chamber orchestra Ostinato Super Thema Octoïcha (1963)). The cantata Song of Space is a continuation of her established principle to combine divergent musical influences, which is here upgraded and compounded several times: one influence, based on the use of structural features of folk music (close to the role models of Bártok and Stravinsky), and the other one, based on the traditions of interwar musical expressionism, atonality in particular. The central feature of composer’s creative practice applied in the cycle Music of Octoëchos was the use of melodies from church chants from Octoëchos by Stevan Mokranjac, which served as the basic and sole source for the creation of the melodic and harmonic components of her compositions. The modes and tunes in the Octoëchos became Ljubica Marić’s most important musical source of inspiration. The most important novelty in composing, which is characteristic for the entire cycle Music of Octoëchos, was the fact that for the first time ever a composer used the modal structure of melodies, originating in medieval Byzantine spiritual music, to conceive the entire melodic and harmonic structure of a non-liturgical and non-programatic piece of music. During the phase of musical improvisation, she produced the piece Music of Sound, which was recorded on about twenty magnetophon tapes. In the final, fifth phase of her creative practice, Ljubica Marić produced some exceptional, primarily chamber pieces, with which she once again entered the realm of a unique originality based on the authentic form of her compositions and a distinct system of applying the elements of musical archaisation, as one of the most striking features of her personal expression. She created these compositions by alternately arranging diatonic and chromatic fields, whereby all diatonic fields were entirely based on the formulas of church melodies in Octoëchos. The most important aspects of musical archaisation in her works was the use of musical elements and features of folk music (mainly the so-called old Serbian music tradition), melodic elements from the collection Octoëchos, as well as the use of Western European polyphony and medieval compositional principles. Ljubica Marić’s oeuvre, consisting of pieces such as Songs of Space, which, immediately after the premiere, achieved cult status in Serbian and Yugoslavian art and culture, had a huge impact on the then Serbian music, and later on as well. Her music influenced the composers from other republics of the former Yugoslavia. The hallmark of her work was the system of application of elements of musical archaisation, especially the Octoëchos mode, as well as the fuse of musical elements and principles from different stylistic epochs (from medieval organum to the atonality and microtonality of the 20th century music). As a young composer, Ljubica Marić used avant-garde music composition tech niques, to which she later added some distinctive elements of the traditional medieval music of the Balkans (originating in Byzantium). Thus, she created a unique oeuvre with in the 20th century world music scene. Owing to that, not only is Ljubica Marić the most significant and the most original Serbian composer of the 20th century, but also one of the most significant Serbian artists in general, and at the same time was one of the most unique and independent-minded musical authors of the 20th century.", publisher = "Београд : Српска академија наука и уметности", journal = "Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1", title = "Љубица Марић (1909–2003) ј, Ljubica Marić (1909-2003)", pages = "233-283", url = "https://hdl.handle.net/21.15107/rcub_dais_14571" }
Чичовачки, Б.. (2021). Љубица Марић (1909–2003) ј. in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1 Београд : Српска академија наука и уметности., 233-283. https://hdl.handle.net/21.15107/rcub_dais_14571
Чичовачки Б. Љубица Марић (1909–2003) ј. in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1. 2021;:233-283. https://hdl.handle.net/21.15107/rcub_dais_14571 .
Чичовачки, Борислав, "Љубица Марић (1909–2003) ј" in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1 (2021):233-283, https://hdl.handle.net/21.15107/rcub_dais_14571 .