Page 13 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 9, zvezek 18 / Year 9, Issue 18, 2013
P. 13
ja Koter, BOJAN ADAMIÈ: THE CORRELATION BETWEEN HIS CREATIVE AND ...
film music, and last but not least, performing in concerts they organized themselves,
“which could be very interesting for wider audiences, as evident from our experience so
far”.30 He also mentioned the financial side of the programme in his vision. The orchestra
was practically on the verge of bankruptcy but with such enthusiastic engagement, the
ensemble could improve its financial situation. In 1949 Adamiè complained to the
management that the poor terms offered to PORL employees often meant that they went to
work for the Slovenian Philharmonic Orchestra31. In the meantime jazz remained a
controversial issue, and at the beginning of the ‘50s, a special federal committee was
appointed to investigate the suitability of jazz in socialist society. After extensive
discussion, a presentation of the arguments for and against, and after it seemed that jazz
would finally be banned, the committee found in its favour. Adamiè even fought for its
“survival” by pleading with Josip Broz Tito and other influential political figures, such as
Moša Pijade.32
The exchange of views in political circles on the corrosive influence of jazz was harsh,
but the era of opposition was slowly coming to an end, followed by the post-1955 period,
which was more benevolent as regards jazz and popular music. In 1955 the Ljubljana Jazz
Ensemble came into existence, made up of musicians from the Ljubljana Dance Orchestra.
The newly established ensemble, led by Urban Koder, played jazz of an older style. A few
years later, the Mojmir Sepe Ansemble was founded, which was the first to play the latest
jazz (at the time cool jazz, westcoats jazz, etc.). After the establishment of the first
Yugoslav jazz festival in Bled (1960), jazz spread throughout Slovenia, gaining an
increasing number of fans.33 Throughout, Adamiè’s Radio Ljubljana Dance Orchestra
was still playing the most important role in the popularization of jazz and despite the
chronic problems they faced, the ensemble survived, due in no small part to Adamiè, the
determined and knowledgeable master, capable not only of surmounting all hurdles but
also winning recognition in Europe. The ensemble made the greatest progress in the
second half of the ‘50s, when they were offered more opportunities to publically perform
in Slovenia and other parts of Yugoslavia. They were invited to almost all the important
festivals and first-rate events in this area and the success they enjoyed in their homeland
brought invitations for guest appearances abroad. In the second half of the ‘50s the
ensemble performed in Poland, Hungary and in the Soviet Union - their performances
caused a sensation. In Hungary, for example, they managed to fill venues with more than
ten thousand spectators.34 There are many anecdotes, as well as more grounded stories
about the relationships between the members of the ensemble; however, throughout his
leadership, Adamiè struggled devotedly for the existence and progress of the orchestra,
and for the acknowledgement of all its respective members. In keeping with a bad
Slovenian habit, it was a series of misunderstandings, or intrigues that brought his
involvement with the orchestra to an end. Adamiè decided to give up full-time leadership
30 NUK, Music collection, B. Adamiè legacy, Naèrt o programih in ciljih PORL-a [Plan of the programme
and objectives of PORL], typescript, around 1949.
31 NUK, Music collection, B. Adamiè legacy, letter to the management of Ljubljana Radio, October 12th,
1949.
32 NUK, Music collection, B. Adamiè legacy, autobiographic note: »O jazzu in njegovi vlogi v Jugoslaviji«
[About jazz and its role in Yugoslavia].
33 Compare with Peter Amalietti, Zgodbe o jazzu, Ljubljana: DZS, 1986, p. 7.
34 Accessible at http://www.bojan-adamic.si/biografija#koncerti, November 15th, 2012.
13
film music, and last but not least, performing in concerts they organized themselves,
“which could be very interesting for wider audiences, as evident from our experience so
far”.30 He also mentioned the financial side of the programme in his vision. The orchestra
was practically on the verge of bankruptcy but with such enthusiastic engagement, the
ensemble could improve its financial situation. In 1949 Adamiè complained to the
management that the poor terms offered to PORL employees often meant that they went to
work for the Slovenian Philharmonic Orchestra31. In the meantime jazz remained a
controversial issue, and at the beginning of the ‘50s, a special federal committee was
appointed to investigate the suitability of jazz in socialist society. After extensive
discussion, a presentation of the arguments for and against, and after it seemed that jazz
would finally be banned, the committee found in its favour. Adamiè even fought for its
“survival” by pleading with Josip Broz Tito and other influential political figures, such as
Moša Pijade.32
The exchange of views in political circles on the corrosive influence of jazz was harsh,
but the era of opposition was slowly coming to an end, followed by the post-1955 period,
which was more benevolent as regards jazz and popular music. In 1955 the Ljubljana Jazz
Ensemble came into existence, made up of musicians from the Ljubljana Dance Orchestra.
The newly established ensemble, led by Urban Koder, played jazz of an older style. A few
years later, the Mojmir Sepe Ansemble was founded, which was the first to play the latest
jazz (at the time cool jazz, westcoats jazz, etc.). After the establishment of the first
Yugoslav jazz festival in Bled (1960), jazz spread throughout Slovenia, gaining an
increasing number of fans.33 Throughout, Adamiè’s Radio Ljubljana Dance Orchestra
was still playing the most important role in the popularization of jazz and despite the
chronic problems they faced, the ensemble survived, due in no small part to Adamiè, the
determined and knowledgeable master, capable not only of surmounting all hurdles but
also winning recognition in Europe. The ensemble made the greatest progress in the
second half of the ‘50s, when they were offered more opportunities to publically perform
in Slovenia and other parts of Yugoslavia. They were invited to almost all the important
festivals and first-rate events in this area and the success they enjoyed in their homeland
brought invitations for guest appearances abroad. In the second half of the ‘50s the
ensemble performed in Poland, Hungary and in the Soviet Union - their performances
caused a sensation. In Hungary, for example, they managed to fill venues with more than
ten thousand spectators.34 There are many anecdotes, as well as more grounded stories
about the relationships between the members of the ensemble; however, throughout his
leadership, Adamiè struggled devotedly for the existence and progress of the orchestra,
and for the acknowledgement of all its respective members. In keeping with a bad
Slovenian habit, it was a series of misunderstandings, or intrigues that brought his
involvement with the orchestra to an end. Adamiè decided to give up full-time leadership
30 NUK, Music collection, B. Adamiè legacy, Naèrt o programih in ciljih PORL-a [Plan of the programme
and objectives of PORL], typescript, around 1949.
31 NUK, Music collection, B. Adamiè legacy, letter to the management of Ljubljana Radio, October 12th,
1949.
32 NUK, Music collection, B. Adamiè legacy, autobiographic note: »O jazzu in njegovi vlogi v Jugoslaviji«
[About jazz and its role in Yugoslavia].
33 Compare with Peter Amalietti, Zgodbe o jazzu, Ljubljana: DZS, 1986, p. 7.
34 Accessible at http://www.bojan-adamic.si/biografija#koncerti, November 15th, 2012.
13
