Page 17 - 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. 17
ja Koter, BOJAN ADAMIÈ: THE CORRELATION BETWEEN HIS CREATIVE AND ...
Slovene National Theatre Maribor, National Theatre Sterija, National Theatre in Zagreb,
and many others.42
One of Adamiè’s most popular incidental compositions for puppet theatre was ogica
marogica (‘Little Speckled Ball’, text by Jani Malik), performed by the Puppet Theatre in
Ljubljana. Its popularity could be compared only to that of the children’s’ radio show
Zvezdica zaspanka (‘Little Sleepy Star’) by Frane Milèinski Je ek.
In the beginning of the 60’s, when Adamiè had terminated his regular cooperation with
PORL, he devoted his attention to composing and working with the military brass band in
Belgrade. Their intense collaboration lasted for four years (1962-1966). This type of
project was nothing new for Adamiè, as he was hugely experienced in composing and
brass band conducting. He had also been working tirelessly since the end of the war in the
brass band genre, promoting the activity of such bands. It was characteristic of him to
strive incessantly to develop professional and amateur playing cultures. As a conductor,
he frequently appeared at public manifestations and other cultural events of an amateur
nature. He was always willing to engage with people and easy to approach. As regards
performing, his works for brass ensembles are quite exacting, but so much the more
convincing and profound for it. His compositions for brass ensembles transcended the
boundaries of the Slovenian milieu and represented an essential addition to other such
works of Slovenian authors. Typical of his work is a diversity of style or intertwinement of
the elements of classic, pop, and jazz music. The profundity of his works also contributed
fundamentally to a rise in the artistic standards of Slovenian ensembles; a number of them
have even reached worldwide standards. His compositions have also attracted the
attention of renowned performers from Europe and the United States. Adamiè enjoyed a
number of successes in Belgrade. He was a visiting conductor of the orchestra and mixed
choir of the Yugoslav National Army’s Art Ensemble, composer and arranger of works for
military, brass and other orchestras; he composed film music and was a member and
vice-president of the Yugoslav Composer’s Association managing committee, a member
of jury panels, and composer and arranger at the Subotica youth festival. In addition, he
recorded a number of compositions for local radio with the ensembles he led in Belgrade.43
Despite visits all over Yugoslavia, especially during the 60’s, and his engagements
abroad, Adamiè did not abandon the Ljubljana scene - on the contrary, he was active there
in many spheres. Officially he was still employed as the conductor of PORL, and by
August of 1980 he had become a director of the musical production department. He finally
retired in the middle of 1981.44 Among other things, he expressed his devotion to his
native country in his original compositions and arrangements that, to a large extent,
convey the spirit of Slovenian folklore, notable in their melodic and rhythmic
characteristics and especially in their colourful instrumentation. Works by Bojan Adamiè
were published by every important publisher in former Yugoslavia and his compositions
were recorded in major radio and television houses.45 Since 1991 his works for brass
orchestra have been published exclusively by the Hartman publishing house in the
collection titled Bojan Adamiè and his Work. Bojan Adamiè was also active as a pianist.
42 NUK, Music collection, B. Adamiè legacy, folder: Pogodbe [Contracts ].
43 Vladimir Mustajbašiæ researched Adamiè’s work in Belgrade. His study is published in the present
publication.
44 The documents are kept in the family archive by his daughter, Alenka Adamiè.
45 NUK, Music collection, B. Adamiè legacy, folder: Pogodbe [Contracts].
17
Slovene National Theatre Maribor, National Theatre Sterija, National Theatre in Zagreb,
and many others.42
One of Adamiè’s most popular incidental compositions for puppet theatre was ogica
marogica (‘Little Speckled Ball’, text by Jani Malik), performed by the Puppet Theatre in
Ljubljana. Its popularity could be compared only to that of the children’s’ radio show
Zvezdica zaspanka (‘Little Sleepy Star’) by Frane Milèinski Je ek.
In the beginning of the 60’s, when Adamiè had terminated his regular cooperation with
PORL, he devoted his attention to composing and working with the military brass band in
Belgrade. Their intense collaboration lasted for four years (1962-1966). This type of
project was nothing new for Adamiè, as he was hugely experienced in composing and
brass band conducting. He had also been working tirelessly since the end of the war in the
brass band genre, promoting the activity of such bands. It was characteristic of him to
strive incessantly to develop professional and amateur playing cultures. As a conductor,
he frequently appeared at public manifestations and other cultural events of an amateur
nature. He was always willing to engage with people and easy to approach. As regards
performing, his works for brass ensembles are quite exacting, but so much the more
convincing and profound for it. His compositions for brass ensembles transcended the
boundaries of the Slovenian milieu and represented an essential addition to other such
works of Slovenian authors. Typical of his work is a diversity of style or intertwinement of
the elements of classic, pop, and jazz music. The profundity of his works also contributed
fundamentally to a rise in the artistic standards of Slovenian ensembles; a number of them
have even reached worldwide standards. His compositions have also attracted the
attention of renowned performers from Europe and the United States. Adamiè enjoyed a
number of successes in Belgrade. He was a visiting conductor of the orchestra and mixed
choir of the Yugoslav National Army’s Art Ensemble, composer and arranger of works for
military, brass and other orchestras; he composed film music and was a member and
vice-president of the Yugoslav Composer’s Association managing committee, a member
of jury panels, and composer and arranger at the Subotica youth festival. In addition, he
recorded a number of compositions for local radio with the ensembles he led in Belgrade.43
Despite visits all over Yugoslavia, especially during the 60’s, and his engagements
abroad, Adamiè did not abandon the Ljubljana scene - on the contrary, he was active there
in many spheres. Officially he was still employed as the conductor of PORL, and by
August of 1980 he had become a director of the musical production department. He finally
retired in the middle of 1981.44 Among other things, he expressed his devotion to his
native country in his original compositions and arrangements that, to a large extent,
convey the spirit of Slovenian folklore, notable in their melodic and rhythmic
characteristics and especially in their colourful instrumentation. Works by Bojan Adamiè
were published by every important publisher in former Yugoslavia and his compositions
were recorded in major radio and television houses.45 Since 1991 his works for brass
orchestra have been published exclusively by the Hartman publishing house in the
collection titled Bojan Adamiè and his Work. Bojan Adamiè was also active as a pianist.
42 NUK, Music collection, B. Adamiè legacy, folder: Pogodbe [Contracts ].
43 Vladimir Mustajbašiæ researched Adamiè’s work in Belgrade. His study is published in the present
publication.
44 The documents are kept in the family archive by his daughter, Alenka Adamiè.
45 NUK, Music collection, B. Adamiè legacy, folder: Pogodbe [Contracts].
17
