Josif Marinković's Lieder
AbstractJosif Marinković appeared on the Serbian music scene in the 80th years of the last century and continued to compose intensively for more than fifty years. He remained a consistent romantic though in this period important changes were taking place in the development of Serbian and Yugoslav music. It is therefore comprehensible that throughout his life he felt a special affinity towards the solo-song with piano accompaniment which is a typical form of romanticism. Having acquired a technical knowledge corresponding to the European standards of that time he succeeded to raise the Serbian solo-song to a higher level than anyone before him. In this way he gave the Serbian lied a new quality which we can perceive in the form of his songs, in their technical structure, in the tendency to intensify the expression and in the psychological interpretation of the text. Marinković was the first composer whose most important achievements are not based on the application of the folk-song in artistic music. His activity as a composer is important within the process of the formation of a national musical language and so many particularly successful results were achieved in his solo-songs. Marinković's solo-songs can be devided into two kinds: songs with original musical ideas composed on the basis of artistic poetry and songs in a national idiom also composed on verses from artistic poetry. A considerably greater part of his solo-songs belong to the first kind and among them there are also the most successful examples. He paid special attention to a correct accentuation and declamation of the text in this works. The piano accompaniment is an essential part of the entire musical-poetic expression which is in this way intensified. The solo-songs belonging to the second kind are less developed formally than those of the first kind, yet they left a distinctive trace in Serbian music. A considerable retardation is noticeable if we compare the solo-songs by Marinković with the European development of the lied in that period. This retardation which is characteristic for Serbian music in general can be explained on the grounds of a specific political, economic and cultural situation in Serbia. Nevertheless it remains an important fact that Marinković was the first Serbian composer to cultivate the solo-song throughout his life. The works he created in this form represent the highest achievements of Serbian lied in the period of romanticism.
Copyright (c) 1967 Zijo Kučukalić
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors are confirming that they are the authors of the submitting article, which will be published (print and online) in journal Musicological Annual by Znanstvena založba Filozofske fakultete Univerze v Ljubljani (University of Ljubljana, Faculty of Arts, Aškerčeva 2, 1000 Ljubljana, Slovenia). Author’s name will be evident in the article in journal. All decisions regarding layout and distribution of the work are in hands of the publisher.
- Authors guarantee that the work is their own original creation and does not infringe any statutory or common-law copyright or any proprietary right of any third party. In case of claims by third parties, authors commit their self to defend the interests of the publisher, and shall cover any potential costs.
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-ShareAlike 4.0 International License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.