Page 101 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 8, zvezek 17 / Year 8, Issue 17, 2012
P. 101
rej Misson, ZBORI ZVONIMIRJA CIGLIÈA (1921–2006)
CHORAL WORKS OF ZVONIMIR CIGLIÈ (1921-2006)
Summary
Zvonimir Cigliè (1921-2006), a notable Slovenian musician, composer,
teacher, music theorist, publisher and critic, will be remembered as a composer of
mostly orchestral and instrumental music; nevertheless, he also wrote some works
for choirs. He studied composition with the composer Lucijan Marija Škerjanc
and from 1958 to 1959 with the French composer Henry Barraud. Among
Slovenian composers, he was influenced mostly by Jacobus Handl (Gallus), Marij
Kogoj and Slavko Osterc. Cigliè’s composing style is very personal, combining
the romantic tradition with 20th century elements, such as impressionistic and
expressionistic. The form of his choral works is rather simple, customized for
specific choirs and singers. Considering the fact he had great knowledge of vocal
music, he did not write much for choirs, merely nine a cappella compositions. He
wrote for youth and female choirs, one piece for male choir, but nothing for mixed
choirs. His choral works may be divided into two groups: 1) compositions for
female or youth choirs set to the collection of children poetry by Tone Pavèek
(1928-2011) Maèek na dopustu (“Cat on Vacations”, originally entitled Intervju
[“Interview”], 1957), such as Lari-fari (“Airy-Fairy”, 1957), Bav-Bav
(“Bogeyman”, 1957), Uèenjak (“Scholar”, 1972-73) and Po svatbi (“After
Wedding”, 1975); 2) all other compositions – Naša pesem (“Our Song”, 1947),
Sreèku Kosovelu (“To Sreèko Kosovel”, 1962), Samoglasniki (“Vowels”, 1967),
Jelki (“To Jelka”, 1969). All of his choral works are briefly presented in the
article. Some examples taken from his works illustrate typical features of his
choral style. Cigliè’s choral music is tonal, yet with complex, very rich,
chromatic, expressionistic harmony. His melodies do not contain complex
rhythms or intervals, but they do form complex harmonies. His music may also
include some impressionistic elements. The texture of his music is varied, and
polyphony plays an important role. His choral works are very powerful, both from
expressive and artistic point of view. Despite their scarce number and infrequent
occurrences on concert programs, these works not only bear considerable musical
importance but are also key representatives of his post-romantic and tragic art.
101
CHORAL WORKS OF ZVONIMIR CIGLIÈ (1921-2006)
Summary
Zvonimir Cigliè (1921-2006), a notable Slovenian musician, composer,
teacher, music theorist, publisher and critic, will be remembered as a composer of
mostly orchestral and instrumental music; nevertheless, he also wrote some works
for choirs. He studied composition with the composer Lucijan Marija Škerjanc
and from 1958 to 1959 with the French composer Henry Barraud. Among
Slovenian composers, he was influenced mostly by Jacobus Handl (Gallus), Marij
Kogoj and Slavko Osterc. Cigliè’s composing style is very personal, combining
the romantic tradition with 20th century elements, such as impressionistic and
expressionistic. The form of his choral works is rather simple, customized for
specific choirs and singers. Considering the fact he had great knowledge of vocal
music, he did not write much for choirs, merely nine a cappella compositions. He
wrote for youth and female choirs, one piece for male choir, but nothing for mixed
choirs. His choral works may be divided into two groups: 1) compositions for
female or youth choirs set to the collection of children poetry by Tone Pavèek
(1928-2011) Maèek na dopustu (“Cat on Vacations”, originally entitled Intervju
[“Interview”], 1957), such as Lari-fari (“Airy-Fairy”, 1957), Bav-Bav
(“Bogeyman”, 1957), Uèenjak (“Scholar”, 1972-73) and Po svatbi (“After
Wedding”, 1975); 2) all other compositions – Naša pesem (“Our Song”, 1947),
Sreèku Kosovelu (“To Sreèko Kosovel”, 1962), Samoglasniki (“Vowels”, 1967),
Jelki (“To Jelka”, 1969). All of his choral works are briefly presented in the
article. Some examples taken from his works illustrate typical features of his
choral style. Cigliè’s choral music is tonal, yet with complex, very rich,
chromatic, expressionistic harmony. His melodies do not contain complex
rhythms or intervals, but they do form complex harmonies. His music may also
include some impressionistic elements. The texture of his music is varied, and
polyphony plays an important role. His choral works are very powerful, both from
expressive and artistic point of view. Despite their scarce number and infrequent
occurrences on concert programs, these works not only bear considerable musical
importance but are also key representatives of his post-romantic and tragic art.
101
