Osterc and Hába
AbstractIn the literature dealing with the composer's life and work Slavko Osterc stands our as one of the composers who exerted a strong influence on the development of Slovene music. In spite of the undoubtedly deserved place which he occupies - along with Marij Kogoj - as the first composer of the "moderna" (modern period) on our ground, it is questionable whether he had earned his epithet avant-gardist in the same degree both with his writing about what was "the new" and about the propagating of it as the realization of "the new" in his compositions. For his compositional technique, when compared with that of his teacher at the Prague Conservatory, Alois Hába, appears to be "non-systemic" -which is to suggest that the so-called Hába's school with its systematic elaboration of compositional solutions did not affect him. The influence of this school is to be traced mostly in the composer's verbal propagating of "the new", and here it should be pointed out that Osterc was not even in his writing consistent in his defining of this, at that time, prime criterion in the evaluation of music. While writing a great deal bout the "new", Osterc in fact did not complete his writing; likewise in composition he did not perform something "new", for his musical idiom is based on the principle of deforming the old. In this connection there remains also an open question whether Osterc's music had an effect of being "modern" because he simply dared to argue for and knew how to write dissonant texture or because he had truly (according to this own words) managed to shape the musical idiom that is not based on tonal hierarchy and on thematic work.
Copyright (c) 1995 Leon Stefanija
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