Anton Lajovic as Regular Critic of "Novi akordi" (New Chords)
AbstractAnton Lajovic ranks among those Slovene musical artists who at the turn of the century - when in musical art, in the broader world and in this country new trends were comping up - felt genuinely responsible for the music of their time and of the time ahead. The present contribution gives a detailed account of his role as a regular critics for the magazine "Novi akordi" in the years 1910-1912 (from the ninth to the eleventh annual volume). The publications are namely most characteristic of his publicising and critical work from the beginnings (1907) until World War I, which period is taken to be the concluded developmental phase in the life of this extraordinary creative and thinking man in the field of music. In fair and well-argued musical reviews, in articulate views and ideas he envisaged the precondition for boosting Slovene musical work (training of professional musicians and of public for achieving a higher level). He felt himself capable - through his demeanour as a personality and his knowledge of music - of impressing fresh guide-lines on the musical developments on his native soil. The basic idea of his work as reviewer was to build upon the reading-room tradition further on through more modern musical views and through an overall transformation of the thinking about music. He was tackling the problems seriously, resolutely, even with a kind of a-priori approach admitting of almost no objections. With a clear idea of the situation in Slovene music and of its perspectives he was in a well-considered way shaping the reviewing standards. He was persistent in expressing them and in stressing them on every occasion: in this way he exterted a significant influence on slow, yet characteristical shifts in Slovene music. His pen was sharp, his judgements rigorous and relentless, often spiced with pungent shafts. Tirelessly he persisted all along until the then current party antagonisms had become already strongly infilterated in the ranks of musicians. A. Lajovic's critical contribution to "Novi akordi" contributed towards purification and fresh winds in the conception of musical art - at least with that generation of younger musicians who were known already to him himself as "thinking seriously". An analytic cross-section of his appraisals sheds light on Lajovic's ideas and views in music and these are in the present contribution dealt with in considerable detail.
Copyright (c) 1996 Simona Moličnik Šivic
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