Page 19 - 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. 19
ja Koter, BOJAN ADAMIÈ: THE CORRELATION BETWEEN HIS CREATIVE AND ...
to a much more comprehensive orchestral composition for brass orchestra that he wrote in
1993 for the Slovenian Police Orchestra. The composition was described as a musical for
an adult audience that was also appropriate for children. In his later years he also wrote a
composition for brass orchestra, vocal soloist and ballet dancers entitled Requiem, after
the poem by Frane Milèinski Je ek Requiem za klovna (‘Requiem for a Clown’). In his
grand manner in Requiem Adamiè intertwined the elements of marches, folk songs, blues,
etc, and with the colourful orchestration he managed to effectively accentuate the layers of
substance.51
Bojan Adamiè composed chansons under the influence of the prominent Slovenian
creator of the genre, Frane Milèinski Je ek, who had won recognition before World War II
and become even more renowned in the post-war period. Adamiè especially appreciated
him as a lyricist and performer. Throughout his long career Adamiè created a number of
chansons, songs, and couplets for radio and TV plays that were performed by stage actors;
however, he could not devote himself to the genre until he retired and joined forces with
the singer Meri Avsenak. As a composer, he was attracted exclusively to lyrics by
Slovenian poets, as well as revolutionary, protest and folk songs. Such choice of lyrics
indicates once more that he was not guided entirely by the European tradition, but rather
by the exceptional creativity and individuality that he demonstrated in all spheres, thus
preserving and continuing the tradition of the legendary Je ek as well. Adamiè’s
engagement in chanson passed the level of occasional performing because he devised,
alongside Meri Avsenak, the idea of the festival of Yugoslav chanson Rogaška, which in
1984 found a home in Rogaška Slatina. In order to drum up interest in the Festival, he
organized competitions throughout Yugoslavia, meeting with a more than satisfactory
response.52 His endeavours proved successful, and the so-called Slovenian chanson still
has many fans today.
Photo 4: Bojan’s »Julka« – Alfa Romeo (family archive).
51 Compare scores Bojan Adamiè/Frane Milèinski Je ek, Requiem, Ljubljana: Zveza slovenskih godb, 2012.
52 NUK, Music collection, B. Adamiè heritage, compare the typescript with material titled “O šansonu”
[About chanson] (around 1991) and the note “Nekaj misli o prvem Festivalu jugoslovanskega šansona v
Rogaški Slatini leta 1984” [Some thoughts about the first Festival of Yugoslav chanson in Rogaška
Slatina in 1984] (around 1989).
19
to a much more comprehensive orchestral composition for brass orchestra that he wrote in
1993 for the Slovenian Police Orchestra. The composition was described as a musical for
an adult audience that was also appropriate for children. In his later years he also wrote a
composition for brass orchestra, vocal soloist and ballet dancers entitled Requiem, after
the poem by Frane Milèinski Je ek Requiem za klovna (‘Requiem for a Clown’). In his
grand manner in Requiem Adamiè intertwined the elements of marches, folk songs, blues,
etc, and with the colourful orchestration he managed to effectively accentuate the layers of
substance.51
Bojan Adamiè composed chansons under the influence of the prominent Slovenian
creator of the genre, Frane Milèinski Je ek, who had won recognition before World War II
and become even more renowned in the post-war period. Adamiè especially appreciated
him as a lyricist and performer. Throughout his long career Adamiè created a number of
chansons, songs, and couplets for radio and TV plays that were performed by stage actors;
however, he could not devote himself to the genre until he retired and joined forces with
the singer Meri Avsenak. As a composer, he was attracted exclusively to lyrics by
Slovenian poets, as well as revolutionary, protest and folk songs. Such choice of lyrics
indicates once more that he was not guided entirely by the European tradition, but rather
by the exceptional creativity and individuality that he demonstrated in all spheres, thus
preserving and continuing the tradition of the legendary Je ek as well. Adamiè’s
engagement in chanson passed the level of occasional performing because he devised,
alongside Meri Avsenak, the idea of the festival of Yugoslav chanson Rogaška, which in
1984 found a home in Rogaška Slatina. In order to drum up interest in the Festival, he
organized competitions throughout Yugoslavia, meeting with a more than satisfactory
response.52 His endeavours proved successful, and the so-called Slovenian chanson still
has many fans today.
Photo 4: Bojan’s »Julka« – Alfa Romeo (family archive).
51 Compare scores Bojan Adamiè/Frane Milèinski Je ek, Requiem, Ljubljana: Zveza slovenskih godb, 2012.
52 NUK, Music collection, B. Adamiè heritage, compare the typescript with material titled “O šansonu”
[About chanson] (around 1991) and the note “Nekaj misli o prvem Festivalu jugoslovanskega šansona v
Rogaški Slatini leta 1984” [Some thoughts about the first Festival of Yugoslav chanson in Rogaška
Slatina in 1984] (around 1989).
19
