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ISSN 1409-6900 | UDK 82+7     Blesok no. 08 | volume II | April-May, 1999



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                     Peer-reviewed journal
Blesok no. 08April-May, 1999
Sound Reviews

Macedonian Composition School - Yes or No?

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p. 1
Goce Kolarovski

    During the last decade of the 20th century many important anniversaries of the Macedonian professional music creative work are taking place: 100 years from the printing of St. Jovan Zlatoust’s Liturgy, the capital work of the first Macedonian composer A. Badev; 60 years from the creation of the “pearls” of our choral music – the first three songs “Kumanovki” by T. Prokopiev; 50 years from the creation of the strong “Macedonian Reel” for mixed choir by T. Skalovski and the pioneer symphonic Scherzo by T. Karapanicev; 40 years from the first Macedonian opera “Goce” and first symphonic poem “Dancer” by K. Makedonski, the first ballets “Macedonian history” by G. Smokvarski and “Labin and Doyrana” by T. Prokopiev and from the first Macedonian instrumental concert work for piano and expressionistic “By the roads” and the monumental musical epic “Serdarot” by V. Nikolovski on the words of G. Prlicev and a number of the other jubilees. During the period of the creation of the first works in all genres and until the contemporary period, many composers from several generations have created original works from various genres and styles which have already passed the severe examination of the time in the domestic and the world music society. The moment has come when the line of summing and evaluation of the century long, professional, Macedonian composer’s work, has to be drawn, summing which has to give an answer to many basic questions:
    – Are there elements of unity in the works of the Macedonian composers from all generations?
    – Is it possible to group the individual works according to one or another sign?
    – Which is the degree of unity in the use of composing means of expression on one side, and the degree of uniqueness, separation on the other side?
    – Which is the relation between the traditional and the new in the different levels of the maturation of the composers?
    – Do we have composition schools?
    – Can we talk about the existence of a Macedonian composition school?
    Having on mind the attitude of the Russian musicologist M.Mihailov whose capital works come from the field of the music style, and who considers that every artist who has been formed in the atmosphere of his national culture in the given historical conditions which make his works, it is inevitable to note in his works (and accordingly in his individual style) some signs of his national belonging[1], the answer to the

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1. Mihailov M. Stil v muzike. Leningrad 1981 p. 226






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