Naslov
Božidar Kunc as Composer in the Mirror of the Reviews and Criticism of his own Time

Autori
Palić-Jelavić, Rozina

Vrsta, podvrsta i kategorija rada
Poglavlja u knjigama, znanstveni

Knjiga
4th International Symposium "Music in Society" : Collection of Papers : Sarajevo, October 28-30, 2004

Urednik/ci
Karača, Tamara ; Kazić, Senad

Izdavač
Musicological Society of the FBiH ; Academy of Music in Sarajevo

Grad
Sarajevo

Godina
2005

Raspon stranica
97-105

ISBN
9958-9591-7-8

Ključne riječi
Božidar Kunc, music criticism, Croatian music, 20th century

Sažetak
At his concerts, in addition to works from the world literature, composer and pianist Božidar Kunc also performed compositions of Croatian authors, including his own piano works, and the music reviews of the time were mostly concerned with this part of his oeuvre. From the informations which the writer of this paper has collected from a study of writings about the composer, particularly from the musical periodicals of the time and of more recent times (including some 220 articles in the newspapers and in the professional periodical press), it has been possible to establish that most of the accounts were oriented towards the artist`s interpretative work, and only to minor extent to any comprehension of Kunc`s character as composer. And while certain commendations and praise of Kunc`s creative work did come from abroad (concerning the "Concerto for violin and Orchestra in G minor op. 8" of 1927, which was performed by Zlatko Baloković and the Berlin Philharmonic in 1928, and which was given the prize of the "Yougoslav Circle" in New York), in Croatia his music was received with less enthusiasm, and the general impression tended to indicate with increasing clarity that in the years to come the reception of Kunc the pianist was much better than that of Kunc the composer. The knowledge that a considerable amount of resistance was produced by Kunc and his art in the music reviewing of the time, and even later, also shows that the composer had a relatively unclear position, being something of alone figure in Croatian music, which continued (less and less frequently it is true, because interest in the composer gradually waned) to enable this kind of polarisation. It showed quite clearly that Kunc`s creative work, marked by a different (Impressionist) origin, precisely because it was almost completely out of key with the formative mood, that is, was far from any materialization of the ideology of Croation musical nationalism, stirred up resistance (particularly in the case of Markovac) to the musical lexis of post-Impressionism and post- Romanticism.

Izvorni jezik
Engleski

Znanstvena područja
Znanost o umjetnosti

POVEZANOST RADA