Page 67 - 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. 67
gor Pompe, »NAJBR VEDNO PIŠEM ISTO SKLADBO...«
“I MAY ALWAYS BE WRITING THE SAME PIECE”. ON
PIANO WORKS OF ZVONIMIR CIGLIÈ
Summary
Piano works present an important part of Zvonimir Cigliè’s rather small
oeuvre. He supposedly wrote around fifty compositions for piano, but a great part
was lost or destroyed. In his list, the composer names fourteen pieces, yet only
twelve are available. All these are his early works, written between his thirteenth
and twenty-fourth years. Nevertheless, Cigliè’s piano works share various
features with his mature works as well as numerous musical ideas which he would
later incorporate into his most successful compositions. In this way, two piano
pieces are standing out: Nokturno (“Nocturnal”) and Bakhanal: Nokturno was
orchestrated two years later, while Bakhanal became the basis for a more
extensive choreographic poem, Obre je plesalk (“Dancers’ Shore”). Cigliè’s
piano works open a world of numerous dichotomies: on the one hand, they are
formed as typical periodic, three-part compositions with a sense of free
improvisation; on the other hand, the composer follows various traditional
music-making procedures, which he frequently mixes with elements of new music
(periodic form vs. harmony in seconds and sevenths). Indeed, such paradoxes are
the base and essence of Cigliè’s compositional thought.
67
“I MAY ALWAYS BE WRITING THE SAME PIECE”. ON
PIANO WORKS OF ZVONIMIR CIGLIÈ
Summary
Piano works present an important part of Zvonimir Cigliè’s rather small
oeuvre. He supposedly wrote around fifty compositions for piano, but a great part
was lost or destroyed. In his list, the composer names fourteen pieces, yet only
twelve are available. All these are his early works, written between his thirteenth
and twenty-fourth years. Nevertheless, Cigliè’s piano works share various
features with his mature works as well as numerous musical ideas which he would
later incorporate into his most successful compositions. In this way, two piano
pieces are standing out: Nokturno (“Nocturnal”) and Bakhanal: Nokturno was
orchestrated two years later, while Bakhanal became the basis for a more
extensive choreographic poem, Obre je plesalk (“Dancers’ Shore”). Cigliè’s
piano works open a world of numerous dichotomies: on the one hand, they are
formed as typical periodic, three-part compositions with a sense of free
improvisation; on the other hand, the composer follows various traditional
music-making procedures, which he frequently mixes with elements of new music
(periodic form vs. harmony in seconds and sevenths). Indeed, such paradoxes are
the base and essence of Cigliè’s compositional thought.
67
