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Josip Štolcer-Slavenski (Serbian Cyrillic: Јосип Штолцер-Славенски; 11 May 1896 – 30 November 1955 ) was a Croatian composer and professor at the Music Academy in Belgrade. British musicologist Jim Samson described Štolcer-Slavenski as "undoubtedly one of a very small handful of truly major composers from South East Europe in the first half of the twentieth century".
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Josip Štolcer-Slavenski (Serbian Cyrillic: Јосип Штолцер-Славенски; 11 May 1896 – 30 November 1955 ) was a Croatian composer and professor at the Music Academy in Belgrade. British musicologist Jim Samson described Štolcer-Slavenski as "undoubtedly one of a very small handful of truly major composers from South East Europe in the first half of the twentieth century".
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Life and career Josip Štolcer was born in Čakovec in 1896. His father gave him his first instruction in music, then in 1913 he entered the Budapest Conservatory where his teachers included Zoltán Kodály, Albert Siklós, and Béla Bartók. His studies were interrupted in 1916 by army service and at the end of the war he returned to his father's bakery business in Čakovec. In 1921 he went to study in Novák's masterclasses at the Prague Conservatory. While in Prague, he joined the International Society for Contemporary Music. Having completed his studies in 1923 he returned to Croatia and taught for a year at the music school of the Zagreb Music Academy. At that time, he started to sign his last name as Štolcer-Slavenski, which was both a reflection of his enthusiasm for the Yugoslav idea, and a rejection of his German-sounding last name. In 1924 he moved to Belgrade, where he stayed for the rest of his life (except for a period in 1925–6 spent in Paris); he taught first at the Stanković School of Music, then at the music school of the Belgrade Academy (1937–45), becoming in 1945 professor of composition at the latter. Slavenski first attracted attention…
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Work Initially Slavenski developed as an autodidact. The rich folk music of his native region, Međimurje in north-western Croatia, left a decisive impact on him, and his youthful fascination with the sounds of church bells and the intricate combinations of their upper partials greatly contributed towards the formation of his harmonic idiom. His early compositions, dating from the time of his Budapest studies, show a blend of spontaneity with a strong desire for experiment. Polytonality and bold dissonances occurred in his piano pieces as early as 1913, at a time when many southern Slav composers were still treating material borrowed from folk tradition in a predominantly Romantic way. Such interests brought him close to the music of Kodály and Bartók, and his academic studies deepened the mastery of counterpoint, which remained a vital ingredient of his style. He continued to experiment with new ideas throughout the 1920s: the Sonata for violin and organ contains sonorities which foreshadow electronic music, and the Piano Sonata uses aleatory technique. Slavenski's interest in folk music broadened in the late 1920s to encompass that of the whole of the Balkans, and the culminating result of this was his Balkanophonia. He was equally attracted by the…
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Sabrana djela [Collected works], ed. N. Devčić (Zagreb and Belgrade, 1983–) [S] Orch: Notturno, op.1, 1916, rev. 1920; Chaos from inc. Heliophonia, 1918–32 [S]; Balkanophonia, op.10, 1927 [S]; Vn Conc., 1927; Religiophonia (Simfonija orijenta), solo vv, chorus, orch, 1934; Muzika za orkestar, 1936 [S]; 4 balkanske igre [4 Balkan Dances], 1938 [S]; Muzika, chbr orch, 1938; Simfonijski epos, 1944–6; Pf Conc., 1951, inc. Chbr: Sonata religiosa, op.7, vn, org, 1919–25; Str Qt no.1, op.3, 1923 [S]; Slavenska sonata, op.5, vn, pf, 1924 [S]; Južnoslavenska pjesma i ples [South Slavonic Song and Dance], vn, pf, 1925 [S]; Sa sela [From the Country], op.6, fl, cl, vn, va, db, 1925 [S]; Str Qt no.2 ‘Lyric’, op.11, 1928 [S]; Str Trio, 1930; Wind Qnt, 1930 [S]; Str Qt no.3, 1936 [S]; Music for 4 trautoniums and timp, 1937; Str Qt no.4, c1949 [arr. of 4 balkanske igre, 1938] Pf: Sa Balkana, 1910–17 [S]; Iz Jugoslavije, 1916–23 [S]; Jugoslavenska svita, op.2, 1921 [S]; Sonata, op.4, 1924 [S]; Plesovi i pjesme sa Balkana [Dances and Songs from the Balkans], 2 vols., 1927 [S] Vocal: Pesme moje majke [Songs of my Mother], A, str qt, 1916–44 [S]; Voda zvira iz kamena [Water Springs from the Stone],…
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Biography at the Music Information Centre of Serbia's website Free scores by Josip Slavenski at the International Music Score Library Project (IMSLP) Facsimile of the 53EDO piece preface by J. Slavenski. E. Sedak, Josip Štolcer Slavenski Archived 2014-04-07 at the Wayback Machine Josip Štolcer-Slavenski Legacy, Belgrade D. Špiric-Beard, Border – Bridge – Crossroads Archived 2014-01-05 at the Wayback Machine M. Živković, Josip Slavenski i njegovo doba Virtualna izložba by ArhivPRO