Serbian & Greek Art Music: A Patch to Western Music History

Serbian and Greek Art Music

A Patch to Western Music History

Yannis Belonis, Biljana Milanovi , Melita Milin,

Nick Poulakis, Katy Romanou, Katarina Tomaševi

Edited by Katy Romanou

First published in the UK in 2009 by

Intellect Books, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First published in the USA in 2009 by Intellect Books, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA

Copyright © 2009 Intellect Ltd

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.

A catalogue record for this book is available from the British Library.

Cover designer: Holly Rose

Copy-editor: Heather Owen

Typesetting: Mac Style, Beverley, E. Yorkshire

ISBN 978-1-84150-278-6

EISBN 978-1-84150-338-7

Printed and bound by Gutenberg Press, Malta.

Contents

Contributors

Foreword

Katy Romanou

A Note on the Transliteration of Names

PART I: ART MUSIC IN SERBIA

Chapter 1: Serbian Musical Theatre from the Mid-19th Century until World War II

Biljana Milanovi

Chapter 2: Musical Life in Serbia in the First Half of the 20th Century: Institutions and Repertoire

Katarina Tomaševi

Chapter 3: Features of the Serbian Symphony in the First Half of the 20th Century

Biljana Milanovi

Chapter 4: The Music of Ljubica Mari : The National and the Universal in Harmony

Melita Milin

Chapter 5: Serbian Music of the Second Half of the 20th Century: From Socialist Realism to Postmodernism

Melita Milin

PART II: ART MUSIC IN GREECE

Chapter 6: The Ionian Islands

Katy Romanou

Chapter 7: The Greek National Music School

Yannis Belonis

Chapter 8: Nikos Skalkottas

Katy Romanou

Chapter 9: Chr stou, Adam s, Koukos: Greek Avant-garde Music During the Second Half of the 20th Century

Nick Poulakis

Index of Persons

Contributors

YANNIS BELONIS is member of the Faculty of Music Technology at the Technological Educational Institute of Epirus and chief editor of the music periodical Polyphonia. He has done considerable research, publishing and music editing on Greek music of the first half of the 20th century.

BILJANA MILANOVI is research assistant at the Institute of Musicology of the Serbian Academy of Sciences and Arts. Her main field of research includes Serbian heritage of the first half of the 20th century. Currently, she is interested in cultural studies, especially, in collective identities. She was editor of the music magazine Pro Musica and is member of the editorial board of the journal Muzikologija. She has published many articles in scientific periodicals, the more recent being Analogies between the Works of George Enescu and Modern Serbian Composers (2006); Stevan Stojanovi Mokranjac et les aspets de l’ ethnicité et du nationalisme (2006). She has published the book Milenko Paunovi – Two modalities of the work.

MELITA MILIN is senior researcher at the Institute of Musicology in Belgrade. She was editor of the journal Muzikologija in 2001–2005. She has published the book The Intertwining of the Traditional and the New in Serbian Music after the Second World War (1945–1965), as well as many articles and chapters in collective editions. Recent publications: Les Compositeurs serbes et le nationalisme musical. L’évolution des approaches créatrices aux XIXe et XXe siècles, Etudes Balkaniques, Paris 2006; Poetic texts in the Works of Ljubica Mari , History and Mystery of Music, Belgrade 2006.

NICK POULAKIS is a musicologist and composer. He is at present Ph.D. candidate in ethnomusicology at the University of Athens. He has worked as a special scientist on ethnomusicology, popular film music, ethnographic film and musical multimedia in the Faculty of Music Technology at the Technological Educational Institute of Epirus. He has participated in several musicological research and music editing projects. He is member of the editorial board of the journal Polyphonia and the International Music and Media Research Group.

KATY ROMANOU is a musicologist teaching in the Music Faculty of the University of Athens. She has done considerable research on Greek music and is the author of several books and many articles. She is on the editorial and the advisory boards of the periodicals Musicologia and Polyphonia, respectively, and associate editor for the Greek language in RIPM. Her most recent book is Greek Art Music in Modern Times (2006).

KATARINA TOMAŠEVI is researcher at the Institute of Musicology of the Serbian Academy of Sciences and Arts in Belgrade and assistant professor in the Department of Musicology and Ethnomusicology of the Academy of Arts in Novi Sad. She is the present editor of the journal Muzikologija. Author of the book At the Crossroads of the East and the West. On the Dialogue between the Traditional and the Modern in Serbian music (1918–1941), she published numerous essays on Serbian music, among which more recent are: Musical Modernism at the ‘Periphery’? Serbian Music in the First Half of the Tweniteth Century and Petar Konjovi – Pro et contra Wagner. A Contribution to the Study of the History of National Musical Drama.

Foreword

This book is about the assimilation and development of western art music in Serbia and Greece during the 19th and 20th centuries. It gives information on music education, music life and music creativity in the two nations, since they gained their freedom from the Ottomans. It relates the efforts of local musicians to synchronise their musical environment with the West and achieve the inclusion of Serbian and Greek music in western music history: an aim that seemed consistent with overall progress and, at various historical stages, attainable.

One may certainly talk of a terminal failure, because both art music and the history of Western music have deeply changed their meaning in current musicology and this aim has not been accomplished.

However, it is some of the causes that have brought this irreversible change of context in music history and art music (such as globalisation aesthetics or overflowing academic fields and swarms of doctoral dissertations) that account for current interest in the Balkans. This interest compels us, local musicologists, to narrate in English the story of western music’s assimilation in our countries; after all, we are convinced that what is not said in English is as if not said at all.

So, this book may be seen as mending an unfulfilled aim; or else, as a patch to western music history.

Being part of the Balkans, Serbia and Greece belong to the European area that was the latest to be westernised. Under the Ottomans for long centuries, they won their independence early in the 19th century and founded their tiny states with the intervention of major European powers interested in the area; they also postponed the expectation for a great Greece and great Serbia and foiled the dream of the union of all Balkan Christians. The new tiny states, inhabited by a small percentage of nationals living in surrounding and far remote areas, went through their race of westernisation with the conflicting sentiments of an awareness of inferiority compared to western powers and a fear of losing the eastern qualities of their identity.

Traditional music, developed in those areas during their isolation from the West, consists of folk music and the music of the Orthodox church (a purely vocal art music, with its own theoretical system and notation, which the Serbs have replaced by stave notation, but the Greeks continue to apply to this date). Both had attracted the interest of western scholarship since early in the 18th century, being European traditions singularly untouched by western institutionalised art music. Folk music of those areas was appealing because of its uncommon richness and diversity and because it strongly suggested originating from ancient Greek music. Béla Bartók, writing in 1942, attributes this wealth to racial impurity (that in our ethical age might be called racial enrichment), produced by the political (and military) upheavals that divided and dislocated peoples of numerous ethnicities forcefully or subtly in dense frequency, varying in pace, neighbours and influences.

But this racially impure – or rich – treasure was used by urban composers to demonstrate national unity. Because it is in urban music that national antagonism and politics in general are reflected. To bring in again Béla Bartók’s experience from his contact with neighbouring peasants of different nationalities in 1943: there is not – and never has been – the slightest trace of hatred or animosity against each other among those people.

Privileged with rich, still functional local music traditions, Serbia and Greece developed a corpus of art music that bore from its earliest examples interesting marks of national identity. The aim as well as the problems of uniting the traditional with the progressive (or the eastern with the western), motivated all initiatives in music education, music life and creativity, and this is a theme reverberating in nearly all chapters of this book.

Serbs and Greeks have been the lesser adversary among Balkan nations; one could even say the friendliest. Their common historic process continued in the first half of the 20th century, where they fought on the same side in both World Wars and in both Balkan Wars. It was the Cold War and recent globalisation policies that brought the two nations into opposition.

However, these latter policies have not hindered friendships and teamwork. The authors of this book have been in close collaboration since 2002, when we participated as a team in the International Musicological Society’s Conference in Leuven.

The Serbian musicologists of the team are affiliated to the Institute of Musicology of the Serbian Academy of Sciences and Arts in Belgrade, and the Greek musicologists, to the Music Department of the University of Athens.

In the first part of this book the history of Serbian music is unfolded. Biljana Milanovi writes on stage and symphonic music in Serbia. She describes the complex political situations since the 19th century that caused continuous population movements in the area, clarifying the situations and the influences that moulded the Serbian national music idioms and the composers’ personal styles. Katarina Tomaševi gives a comprehensive account of the history of the most important Serbian institutions of music education, performance and dissemination in the first half of the 20th century. Melita Milin has a chapter on the significant female composer Ljubica Mari , the centenary of whose birth is celebrated this year. Melita Milin has also contributed with a chapter on the trends that attracted Serbian composers in the second half of the 20th century, and on the political situations and dramatic events (including the 1999 war) that moulded and filtered their expression.

The second part of the book relates three successive stages of recent Greek music history. Katy Romanou describes musical life in the Ionian Islands: the sole area of Greece that was not under the Ottomans and which developed, in the 19th century, a music culture nearly identical to that of neighbouring Italy. Yannis Belonis transports us to Athens and Thessalonica, the cultural centres in the 20th century. Speaking on the composers dominating the scene, he skilfully interweaves the crucial political events of the period and their impact on society and culture. Following is a chapter on Nikos Skalkottas, who died sixty years ago and whose music is recently gaining recognition. (We have not included in this book chapters on Maria Callas, Dimitri Mitropoulos and Iannis Xenakis, who are already vastly explored in western bibliography.) In the final chapter of this book, Nick Poulakis writes about Greek music after World War II. He develops his subject through the paradigmatic cases of three composers who adopted different music trends from a stylistic and a philosophical point of view: Jann s Chr stou, Michal s Adam s and Pericl s Koukos.

Achieving homogeneity in the footnotes, bibliography and various aspects of language within this book was a task undertaken by the Greek musicologist Alexandros Charkiolak s of the Music Library of Greece Lilian Voudouri. Knowing the great difficulties he faced, I consider his contribution of supreme importance and thank him for his great care.

Katy Romanou

Athens, 13 May 2009

A Note on the Transliteration of Names

Serbs widely apply the Latin alphabet, with diacriticals, and this is how all Serbian names are written in this book.

Transliterating the Greek alphabet is a problem to which no solution may be practised consistently, without irrational results.

We chose the ALA Standard System because so many Greek names and words are spelled in English according to it; whereas the phonemic system does not show the connection between Greek and other European languages (it is doubtful if one could connect Omiros to Homer, Aggelos to Angel, Psikhi to Psyche and so on).

Greek names in bibliography are given both in Greek and in their transliterated form. The names of certain Greek authors might appear in two slightly different ways (Demertzis and Demertz s). This is so in cases where the person is author of a Greek and a foreign edition (where another system of transliteration is followed).

Greek spelling is missing in names that were originally in some other language, as is the case with names of most early composers in Corfú, where Italian was the language spoken by educated Greeks. We write their names in Italian, instead of proceeding to a double conversion, which does not lead back to the original (for example: Manzaro – – Mantzaros).

In the index – uniform for all chapters in this book – Greek names are written in the Latin alphabet only.

The chapters of this book are signed as the authors themselves spell their names in English.

Katy Romanou

Part I: Art Music in Serbia

Chapter 1

Serbian Musical Theatre from the Mid-19th Century until World War II

Biljana Milanovi

Petar Konjovi ’s autograph from his Miloš’s Wedding (1903).

The development of a modern Serbian musical theatre was comparable to that of other countries involved in nation-building within the revolutionary-Romantic context of the 19th century. However, the specific situation in Serbia was influenced by the complex political and socio-economic circumstances of the Austro-Hungarian and Turkish empires, by variable geographic and symbolic borders, and by the enduring struggle to unite the Serbs within a single state. Though several stages of liberation from the Turkish rule enabled the formation of first an autonomous Principality and then the Serbian Kingdom, a great many regions inhabited by Serbs on the territories of present-day Vojvodina, Croatia, Dalmatia, Bosnia, Kosovo and Metohija were still part of the Habsburg and Ottoman empires right up to the Balkan wars (1912–1913) and World War I. The legitimacy of Serbian statehood was then transferred to a multi-ethnic Yugoslav state (1918) characterised simultaneously by polycentric national cultures and a centralising (supra) national tendency towards the homogenization of an imagined Yugoslav identity. Therefore, the complex layers of collective cultural identities, as well as the multiple traditional strands of cultural life, represent an important context for the investigation not only of musical theatre but of the entire culture of the Serbs in the 19th and 20th centuries. Since the national musical scene had also been developing inside the Serbian state and among the Serbian population in Vojvodina from the beginning of this period, its foundation had been formed in relation to the experience of several different cultures, which meant overcoming numerous obstacles. However, certain regions were marked even prior to this by an expressive continuity of changes, so that the dynamic process of change within social and economic contexts, lifestyles, spiritual values and competing models of national culture had its foundation in an earlier period. This offered a unique potential for creativity. ¹

Researches into Serbian musical theatre developed within independent studies of institutions and repertoire on the one hand and compositional-stylistic or dramaturgical features of different musical-dramatic genres on the other. Though a consideration of individual works has been predominant, the resulting extensive corpus of knowledge only serves to emphasise that a detailed and integral insight into the history of the national musical scene in Serbia has yet to be developed in Serbian musicology.

As in earlier stages, from medieval jongleurs’ theatre to Jesuitical dramas and verteps in the 18th century, Serbian musical theatre of the new era is inseparable from the dramatic theatre with which it shares its history. The initial impulses begin with the activity of the versatile Joakim Vuji (1772–1847), who organised stage performances among the Serbs of Hungary and the Principality of Serbia.² There were Serbian theatrical companies in the first half of the century in Novi Sad, Pan evo, Kikinda, Sombor and other places in Vojvodina. At that time, the Theatre of the Princedom of Serbia (1834) was established, and its foundation, together with the slightly earlier orchestra (the Band of the Principality of Serbia (1831)), was an important part of the institutionalisation of culture and society in Kragujevac, the then capital of the newly formed Principality. The first developmental phase of a Serbian musical culture began with the cooperation of the two leading figures in these institutions, Joakim Vuji and Josif Šlezinger (1794–1870). It continued also when the capital was moved to Belgrade (1841) through the short-term activities associated with the theatres at umruk and at Jelen, and ended with the appearance of the first musical-stage works created by professional composers at the time when national theatres in Novi Sad (1861) and Belgrade (1868) were established. This initial period was characterised by the amateurism of composers, orchestral players and singer-actors alike, as well as by numerous organisational-technical problems and a patriarchal audience that was just beginning to construct its national and cultural identity.

Conditioned by multiple needs, Šlezinger performed various types of music: marches, dances, potpourri, fantasies from foreign, predominantly contemporary, operas (Mozart, Bellini, Donizetti, Halévy), as well as his own pieces dedicated to the theatre, often inspired by folk melodies.³ His activity and cooperation with Vuji were influenced by the wishes, inclinations and autocratic demands of Prince Miloš Obrenovi , who was not keen on performances without songs. Beside the royal family, the audience also included top-ranked dignitaries, clerks and officials and, on special occasions only, other citizens too. The prince used to drink coffee and smoke the chibouk, talk to the actors during the performance and demand certain songs regardless of the content of the play. Generally

the audience in the first part of the century expressed openly and aloud their dissatisfaction or approval regarding the activities on the scene, identifying dramatic persons with people around them and seeking the very life of the people inside the theatre. For the audience, the theatre represented a direct transposition of real life, of life itself divested of all illusions. (Tomaševi 1990: 69)

Responding to spectators’ taste, Šlezinger composed music for many plays by domestic authors and therefore became the creator of the favourite and dominant stage genre in Serbia in the 19th century: a play with music similar to the Singspiel and operetta.⁴ One of the projects of that time, Czar Dušan’s Wedding (1840), with numerous songs and dances by Šlezinger, was described in the press as a work constructed […] on the form of Italian operas, so historically it represented the first attempt at operatic composition in Serbia (Djuri -Klajn 1956: 114). However, six more decades would pass before the suitable creative, performative, technical and receptive conditions necessary for the emergence of the Serbian opera existed. The main preparatory stages took place by way of the play with music, or Singspiel.

With the establishment of national theatres in Novi Sad and Belgrade, better opportunities for the development of music for the stage appeared amongst the Serbs. The absence of professionalism, due to a long period without educational music facilities and trained staff, was partially solved by hiring foreign, usually Czech, musicians and by giving training to singer-actors. In addition to the existing military orchestra, an opera orchestra was established in Belgrade.⁵ These ensembles often worked together, and occasionally cooperated with the First Belgrade Singing Society, which was the main seed-bed of Serbian musical culture in the second half of the 19th century. In spite of more difficult conditions for musical activities, there was also an improvement in the level of performance in Novi Sad.⁶ This theatre had particular importance because the Serbian Athens continually paid visits to numerous places inhabited by Serbs on Habsburg territory, thus undertaking a unique cultural mission. Moreover, the theatre, with its performances in Belgrade in 1867/68, gave a direct incentive for the establishment of the theatre in the capital of the Principality.⁷

Davorin Jenko.

The repertoire of Novi Sad at first influenced Belgrade, but more favourable conditions in the Serbian capital and the continuous activity of the bandmaster and composer Davorin Jenko brought the Belgrade Theatre to the forefront with a greater number of premieres and a richer programme. Both institutions followed the tradition of older theatres by performing plays interspersed with music. This most favoured and frequented theatrical genre was addressed by almost all composers of that time, even those whose art was not primarily directed towards the theatre. Davorin Jenko was particularly dedicated to the genre, writing innumerable plays with music.⁸

A major expansion of the music sections of Serbian theatres enabled the performance of operettas, beginning with Jenko’s Sorceress in Belgrade (1882) and continuing with works by Offenbach, Suppé, Sullivan and Millöcker. At the same time, one-act plays started being performed, and opera appeared on the Belgrade stage in 1884 (Jovanka’s wedding guests by Victor Masseé); while in 1903 the first Serbian opera was performed (At Dawn by Stanislav Bini ki). The premieres of several works given at the Belgrade and partly the Novi Sad theatres pointed towards a future repertoire based on different traditions including Italian, French, Slavonic, German and Serbian operas.⁹ Considering the way the national theatres were organised, however, opera was constantly struggling to survive. Representatives from drama section considered that vaudevilles and operettas had taken over enough audience from more serious literature and that there was no room for opera in the national theatre (Mosusova 1995: 9).

This situation, together with the lack of a high-quality operatic ensemble, led composers to prefer genres which foregrounded musical performance. Moreover, the few Serbian operas that had been created by 1914 could not find their way on to the national theatrical stages.¹⁰ Within that context, the short-lived, private opera on the Boulevard (1909–1911) of the singer Žarko Savi was of great importance. Due to this institution, the Belgrade audience could see the works of Sre ko Albini’s Barun Trenk (1909), Mother (1910) by Jovan Urban and Prince Ivo of Semberija by Isidor Baji (1911), in addition to many foreign works.¹¹ Due to the enthusiasm of Stanislav Bini ki at the National Theatre, there were many operatic projects in 1913/14, such as Il trovatore, Djamileh and Tosca, Der Freischütz, Verther and Mignon. This sudden take-off was interrupted by World War I, and the work was not continued until the season of 1919/20.

The music section in the first decade after the war was soon promoted due to the emigration of Russian artists, who contributed to the Belgrade scene not only with their professionalism in operatic production but also by helping establish the ballet.¹² In the third phase of the development of Serbian music theatre, which took place in the context of the new Yugoslav state between the two wars, theatrical culture in Belgrade became the equal of national theatres in Ljubljana and Zagreb, whose music sections had a more long-standing and more evolved tradition. However, the cultural policy of the newly-established state was unfavourable to the activities of the Novi Sad theatre, so in spite of the positive effects of Russian singers, operatic activity was terminated in this theatre at the end of the third decade. At the same time, Belgrade acquired a significant number of opera conductors, a good choir and orchestra and vocal soloists of considerable potential.¹³

At the beginning of the inter-war period, the Belgrade Opera established something of a standard repertoire dominated by Italian works. But the repertoire was continually enriched by new operas. During the first seasons, works like Der fliegende Holländer, Lohengrin and Boris Godunov were performed. Then the repertoire was expanded with Slavonic works (Jen fa, Tsar Saltan, Rusalka, Prince Igor, Queen of Spades), German classics (Die Zauberflöte, Fidelio), Grand opera (Turandot, Thais, Les Huguenots), and less well-known operas (Salomé, Der Rosenkavalier, Katerina Izmaylova, Khovanshchina), all of which prepared the ground for the reception of works with a more modern musical-dramatic character. At first, national stage works (Miloš’s Wedding by Konjovi in 1923, Dusk by Hristi in 1925, Oppressor by Krsti in 1927, Prince of Zeta by Konjovi in 1929, Koštana by Konjovi in 1931) were performed at a measured pace. During the 1930s, however, Serbian works were neglected, so a substantial number remained unperformed and forgotten.¹⁴ The national orientation at the time was represented rather by Croatian operas. They did not enrich existing domestic repertoire stylistically and aesthetically, but their prominence on the Yugoslav stage strikingly documented the policy of constructing a Yugoslav national identity: a policy that found very fertile ground in the multi-ethnic cultural context of Belgrade.

Stevan Hristi (1815–1958).

A Yugoslav orientation was strongly associated with ballet production, which, thanks to Russian choreographers, led to the establishment of a national ballet, whose musical, choreographic and scenic aspects could be truly marked with epithets of Yugoslav and/or Balkan cultural particularity. These folk-inspired forms created by Serbian and Croatian composers had a much better reception than domestic opera.¹⁵ The entire world of ballet between the two wars in Belgrade, though without any previous tradition, impressed many with its quality and its contemporary repertoire, even when viewed within a wider European context. Rich choreographic and dancing experiences, starting from the classical stage of Saint Petersburg and continuing up to the influence of Djagiljev’s troupe and other contemporary choreographers, played