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Serbian Music

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Author Topic: Serbian Music  (Read 850 times)
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« on: September 19, 2012, 02:57:48 am »

Dragutin Čolič:  Preludijum, Fuga, i Postludijum
Symphony Orchestra of the Radio and Television, Beograd/Mladen Jagušt

…from RTB LP 2521

Milan Ristič:  Five Pieces for Chamber Orchestra (1970)
Symphony Orchestra of the Radio and Television, Beograd/Mladen Jagušt

I. Assai moderato  II. Allegretto  III. Andante   IV. Moderato  IV. Allegro non troppo

Milan Ristič:  Symphony No. 8 (1974)

Symphony Orchestra of the Radio and Television, Beograd/Mladen Jagušt

I. Allegro molto   II. Lento   III. Moderato

… both from RTB LP 2517
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« Reply #1 on: March 01, 2013, 12:44:15 pm »

  Petar Stojanovic (1877-1957) : Concerto for Violin and Orchestra No. 5 Op. 78 (1944)

  Branko Pajevic, vn / Samo Hubad   / Slovenian Philharmonic Symphony Orchestra
  Serbian Radio (Радио Трећи програм) broadcast 25.January.2013

  Plus, one more work

  Serenade for String Orchestra and Flute Solo in G Major,  Op. 112 (1950)
  Franc Graseli, Flute / Belgrade Chamber Orchestra / Radivoje Spasić
  Recorded same broadcast of Violin concerto. 

  Many thanks again, Holgar ;)
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« Reply #2 on: June 20, 2013, 09:38:58 pm »

Aleksandar Obradović:  Symphony No. 2 (1964)

1.  Allegro molto vivo
2.  Largo ma non troppo
3.  Scherzo (Vivo)

Radio Television Belgrade Symphony Orchestra/Mladen Jagušt

… from RTB LP Set 3130061

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« Reply #3 on: June 25, 2013, 01:34:12 pm »

Aleksandar Obradović:  Symphony No. 3 “Microsymphony”  (1967)
For Symphony Orchestra with Magnetic Tape

1.  Solitude (Largo)
2.  Ritual/Reminiscence
3.  Adagio – Allegro risoluto

Radio Television Ljubljana Symphony Orchestra/Samo Hubad

… from RTB LP Set 3130061

Aleksandar Obradović:  Symphony No. 5 “Intima”  (1974)

Obsession I (Largo) – Occurrences (Allegro vivo) – Obsession II (Largo) – Reflection of reality (Allegro moderato, poco scherzoso) – Resignation (Largo)

Radio Television Belgrade Symphony Orchestra/Mladen Jagušt

… from RTB LP Set 3130061   … I was unable to locate a CD version of these…
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« Reply #4 on: July 18, 2013, 10:47:36 pm »

As promised, here are recordings of mostly rare Serbian music broadcast last week by Radio Beograd 2. To the best of my knowledge, none of these recordings has been issued on CD and only very few on LP. I would be very interested by any information about the missing dates!

Dragutin Čolić (1907-1987)

Concerto for violoncello and orchestra (1981) - 3 parts
Françoise Jakovčić (violoncello)
Belgrade Radio-Television Symphony Orchestra / Vančo Čavdarski

Symphony in G (1968) - 3 parts
Belgrade Philharmonic Orchestra / Živojin Zdravković

Ljubinka Hadži-Jovančić (1944)
Concerto for piano and orchestra (1978)
Zorica Dimitrijević (piano)
Belgrade Radio-Television Symphony Orchestra / Radivoje Spasić

Miroslav Štatkić (1951)
Jazz Sonata for clarinet and piano (nc)
Nikica Srdić (clarinet), Branka Parlić (piano)

Microstructures I and II (nc)
Miroslav Štatkić (vibraphone)
Chamber Orchestra of the Voivodinian Philharmony / Miodrag Janoski

Vitomir Trifunović (1916-2007)
Concerto for violin and orchestra (1976)
Allegro moderato - Adagio - Allegro
Belgrade Radio-Television Symphony Orchestra / Mladen Jagušt

Third Symphony (1986) - 3 parts
Belgrade Radio-Television Symphony Orchestra / Vančo Čavdarski

Syntheses 4 (nc)
Belgrade Philharmonic Orchestra / Živojin Zdravković

Božidar Trudić (1911-1989)
Lyrical scenes (nc) - 4 parts
Belgrade Radio-Television Symphony Orchestra / Vančo Čavdarski

Symphony in one movement (Second Symphony, 1957)
Slovenian Philharmonic Orchestra / Anton Nanut
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« Reply #5 on: March 22, 2014, 09:01:22 pm »

Music of Aleksandar Obradović

From the collection of Karl Miller

Symphony No. 4 in 2 Movements(1972)
Belgrade PO/Sivojin Zdravkovic

Symphonic Epitaph for Reciter, Chorus, and Orchestra
Performers and venue unknown

The Green Knight for voice and Strings(1990)
(performers announced in intro track-- you can transcribe them!)

Wind of Flame for Baritone and Orchestra(1955)

Wikipedia Bio:
Aleksandar Obradović

Aleksandar Obradović (Serbian: Александар Обрадовић) (22 August 1927 in Bled, Kingdom of Serbs, Croats and Slovenes – 2001 in Belgrade, Serbia, FR Yugoslavia) was a Serbian 20th-century composer and professor at the Faculty of Music in Belgrade. He was a Chancellor of the University of Arts in Belgrade (1979–1983).

He was a composer, music writer, and pedagogue, active primarily in the Republic of Serbia. He composed significant chamber and concertante works, but his most considerable contribution to Serbian music belongs to the genre of symphonic music. His oeuvre consists of over two hundred works. Apart from music, Obradović expressed his creativity through visual arts and writing. His paintings, conceived predominantly in watercolor technique were displayed at one individual and several group exhibitions, the former entitled Color, Sound, Word (Kolarac University, Belgrade, November 27, 1997). The book of his selected poetry Somewhere inside me was published the same year (1997).


Aleksandar Obradović was born in 1927 in Bled, Slovenia. Following the completion of composition studies at the Music Academy in Belgrade with Professor Mihovil Logar, he continued his education with L. Berkeley in London and with V. Ussachevsky in the United States, where he turned to the examination of electronic music. He began teaching at the music school “Stanković” during the academic year 1953-54, followed by a position at the Belgrade Music Academy where he taught theory disciplines, orchestration, and composition. Obradović was President of the Composers Association of Yugoslavia from 1962-66, President of the Belgrade University of Arts from 1979-83, and Chair of the Department of Composition and Orchestration at the School of Music in Belgrade. As a music writer and critic he published articles in Politika, Borba, and Literary magazine (Književne novine), and periodicals Pro musica and The Sound (Zvuk). Obradović authored the textbook An Introduction to orchestration (Uvod u orkestraciju) (University of Arts, Belgrade, 1978), published in two editions and translated into the Italian language. He is also a recipient of the October Award for his composition The Symphonic epitaph (1959) and the July 7th Work Life Legacy Award (Sedmojulska nagrada) in 1980.

Symphonic music occupies the most important place in the oeuvre of Aleksandar Obradović, considered one of the most significant Serbian symphonicists during the second half of the 20th century. Obradović composed eight symphonies, Prelude and fugue for string orchestra (1954), Ascesis for large string orchestra and celesta, suite Through the universe, and Epitaph H for symphonic orchestra and tape. Among his notable orchestral works are also: Concerto for clarinet and strings, Concertino for piano and strings, Symphonic scherzo in D, Scherzo-Overture, and the Komitaji dance (Komitska igra). He composed music for ballet the Spring reveille; two cantatas, A Symphonic epitaph (in two versions, for string and wind orchestra, each with choir and soloists) and Sutjeska; a solemn, commemorative spectacle The Student days Šumarica (Đačko doba Šumarica); and several song cycles (The Wind of Flame (Plameni vjetar) for voice and orchestra being the most extensive among them, and Stradun, the three musical pastels after poetic impressions entitled The Green Knight (Zeleni vitez) by Miroslav Belović). Obradović’s body of works also includes chamber pieces (Quintet for flute, clarinet, violin, viola, and cello, Intermezzo for string quartet, and Scherzo for string quintet), piano pieces (Little variations and Sonatina), choral works (Little choral suite, Marika, and An Ohrid impression (Ohridska impresija)), and music for film and radio-dramas. An important place in his work belongs to the editing and instrumentation of the Cantata to Dositej Obradović by Josif Marinković and the Heroic oratorio by Vojislav Vučković. Obradović’s Electronic toccata and fugue from 1967 is one of the first works of Serbian music realized in electronic medium.
Musical Language

The musical language and creative poetics of Aleksandar Obradović could be interpreted as dominantly modernist, whereas the composer covers the stylistic realm from neoclassicism (The First symphony) to neo-expressionism (Microsymphony). One of the main features of Obradović’s craft is his sense for clear and perspicuous form and structural architectonics, grounded in traditional formal schemes. These forms, replete with harmonies based on expanded tonality and chromaticism, nonetheless imply certain clearly discernible tonal anchors. The complex counterpoint evident in many of Obradović’s works often impels polytonality, with apparent clusters, elements of twelve-tone technique, Aleatory, and parallel motions of convoluted chord structures. Obradović’s music is also characterized by rich and multifarious orchestral sound and utilization of electronic medium. The composer’s tendency toward broadening and enhancing traditional forms is evident in his Second symphony (1964) and Epitaph H (1965) that feature the twelve-tone technique, or in the Microsymphony (The Third symphony, 1967) enriched by the use of electronic medium.

Epitaph H is conceived as a symphonic inscription on an imaginary tomb in the wake of a vast catastrophe of mankind. As a unique motto for this composition Obradović chose verses from Lucretius’ epic poem On the Nature of Things. The contrast between the twelve-tone row, varied intricate rhythms, and polytonality on one side, and a recording of Beethoven’s Symphony no. 9 that “symbolizes a compassionate humanistic message from the past” on the other, serves as an unequivocal admonition to mankind.

Obradović’s Concerto for Piano and Orchestra (1999) also offers a similar programmatic background. The bold musical means that fringe on atonality, especially in the tempestuous first and third movements, reinforce ideological references from the concerto’s subtitle Pro libertate. In the opening part, marked by tempo and character Allegro risoluto e con colera, prominent are complex clusters, which, according to the composer represent “a reverberation of tumultuous micro-polyphony.” In context of the 1999 NATO bombing of Serbia during which this work was contrived, noteworthy seems the inspiration for the concerto’s slow second movement Obradović found in a melody from Mokranjac’s Octoechos. The melody’s modal structure insofar effectuated tonal and modal centricity of this movement and the quasi-improvisatory treatment of the adopted melody-theme. The ultimate revelation of the composer’s pursuit of freedom emerges in the final movement, in the theme delivered by trumpets, in which Obradović in Morse code conveys the word libertas–freedom.

In Ascesis, composed on occasion of the 70th anniversary of the Belgrade Philharmonic, Obradović, as indicated by the work’s title, utilizes minimalist compositional techniques. The entire composition unfolds rendering reduced musical material—that is—until the appearance of a lilting theme in the violin, only eight measures before the work’s end. The employment of such sharp contrasts underscores yet another characteristic of Obradović’s musical language and could be interpreted in the context of his continual search for new expressive solutions.

The last work of Aleksandar Obradović, Passacaglia for strings (2001) also reveals a certain aspect in use of contrasts. Composed after the tune Crni goro (from the Mokranjac’s song-wreath), the Passacaglia is based on a combination of a simple folk tune and complex counterpoint, mixtures, and copious orchestration. Given the fact that the folk-originated themes were not the focus of Obradović’s attention and affinities, this work, completed only several months before the composer’s death represents a somewhat unexpected shift in his oeuvre.

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All download links I have posted are for works, that, to  my knowledge, have never been commercially released in digital form.  Should you find I've been in error, please notify myself or an Administrator.  Please IM me if I've made any errors that require attention, as I may not read replies.
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« Reply #6 on: July 28, 2014, 06:16:29 pm »

Miroslav Statkic

Orion, Ballet in Two Acts

I'm not sure the orchestra mentioned on the bottom of the sleeve is the one performing in this recording.

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« Reply #7 on: August 08, 2014, 08:32:31 am »

Nikola Petin - Symphony Nş 4,_Nikola_-_Symphony_No_4_'Vox_Populi'.wav

Philharmonie Zagreb,
Milan Horvath, conducting

Date of this radio recording unknown.
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