Notes towards the Formation of Slovene Chamber Music: Dilemmas of an Emerging Genre
AbstractSlovene chamber music today has both accomplished its own integrity and gained an equal footing with other participants in musical strivings within Europe and beyond. It is able to present genuine achievements in practically every field of chamber music, whether featuring traditional, string or wind instruments, or soloists, or more modern mixed arrangements, or even compositions for percussion. This is not saying that all dilemmas in Slovene chamber music have been eliminated; but the existing dilemmas no longer have to do with catching up or with establishing basics, but are rather those characteristic of a composer living in a contemporary world: he is concerned on the one hand with his own creative potential and aesthetic decisions, and on the other with the sociologically and culturally conditioned possibilities for the reception of his output – and ultimately with existential questions. What appears self-evident today has been reached through yesterday's hard struggle. Slovene efforts in the field of chamber music were checked three times in the last hundred years, before they have become a self-evident part of the national musical culture. The pursuit of this growth in the spheres of reproduction and production has been the object of the paper: the increasing antibiosis and disengagement from the German cultural sphere in the years preceding World War I, the gradual integration into European currents in the period between the two wars and the recent developments running parallel to contemporary movements since World War II.
Copyright (c) 1981 Andrej Rijavec
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