93 KB791 KB89 KB196520252007Loparnik, Borutštevilka:2letnik:43str. 115-138ISSN:0580-373XCOBISSID:36307042URN:URN:NBN:SI:doc-E23JQVM1slFilozofska fakulteta, Oddelek za muzikologijoMuzikološki zbornik20.st.glasbamusicneoklasicizemOsterc, Slavko, 1895-1941Ramovš, Primož, 1921-1999Ramovš, Primož: Miniature za klavirSloveniaSlovenijaMiniature za klavir Primoža Ramovša| Primož Ramovš's Miniatures for piano|Primož Ramovš (1921-1999) wrote his piano Miniature (Miniatures) during the autumn of 1945. After finishing his studies with Slavko Osterc in Ljubljana (1941) and taking advanced courses with Alfredo Casella in Rome (1941-1943), these pieces were his second major works. He conceived them as variations on the chorale that introduced the final movement of his Second Symphony (1943-1944). At first, he wanted to name them variations without a theme. Throughout the ten parts, the introductory musical thought unfolds in the formof two contrasting themes, both included either successively or singly; in the original melodic diction they appear augmented only in the middle section of the final part. Thus the piece is not, in fact, a set of variations without a theme, but rather has a "concealed" theme. Due to (possibly various) external circumstances the composer eventually entitled them, perhaps not the most conveniently: Miniature (Miniatures). They were published in 1955 but were not performed as a whole until the autumn of 1963, and even then only were only performed within the context of a broadcast programme. The cycle represents the beginnings of Ramovš's autonomous artistic path. Various idioms of "common" neoclassicism from the period betweenthe wars are intertwined with other modernist principles introduced by Osterc, along with the older compositional repertoire that Ramovš was familiar with from concerts and his piano studies. Both bear witness to the features of neoclassicism in Slovenia before 1945, but above all reveal a composer with distinctive innovative courage and an "improvisational" imagination, liberal in design and oriented towards extreme regions of (piano) sonoritiesPrimož Ramovš (1921-1999) je klavirske Miniature napisal jeseni 1945. Po končanem študiju pri Slavku Ostercu v Ljubljani (1941) ter izpopolnjevanju pri Alfredu Caselli v Rimu (1941-1943) so bile njegovo drugo obsežno poštudijsko delo. Zasnoval jih je kot variacije na koral, s katerim je bil uvedel sklepni stavek Druge simfonije (1943-1944). Sprva jih je želel imenovati variacije brez teme. V desetih odstavkih nastopa izhodiščna misel razdeljena v dve ne zelo kontrastni temi, ki sta vsakokrat obravnavani bodisi zaporedoma bodisi le ena; v prvotni melodični dikciji se avgmentirani oglasita le v srednjem delu zadnjega odstavka. Delo potemtakem niso variacije brez teme, temveč z utajeno temo, zaradi (morda različnih) zunanjih okoliščin pa jih je avtor slednjič in ne najbolj primerno imenoval Miniature. Bile so natisnjene 1955. leta, kot celota pa prvič javno izvedene šele jeseni 1963 in samó v radijskem programu. Ciklus kaže skladatelja na začetku samostojne poti. V njem so prepleteni idiomi splošnega neoklasicizma med obema vojnama, enako druga modernistična načela, ki jih je pri Slovencih uvajal Osterc, z ostanki starejšega kompozicijskega repertorija, ki ga je bil Ramovš spoznaval na koncertih in med pianističnim študijem. Oboje govori o potezah neoklasicizma na Slovenskem do 1945. leta, predvsem pa razkriva ustvarjalca z izrazitim novatorskim pogumom ter improvizacijsko domišljijo, širokopoteznega v zasnovah in usmerjenega k skrajnim območjem (klavirske) zvočnostiTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaUniverza v Ljubljani, Filozofska fakulteta