Page 60 - 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. 60
AN ADAMIÈ (1912–1995)
Bojan Adamiè’s Music During World War II
Summary
The Adamiè’s creativeness works during the Second World War isn’t neither great neither
that significant in the whole composer’s bibliography (his works) that we can compared
by his the whole important meaning in Slovenian music during the second half of the 20th
century. By some Adamiè’s kept works among his round 30 compositions from that time
(1943/45) we can confirm, that some of his works as are: songs, choirs and marches (= the
“partisans /short/ songs”) they are the great then usefulness i.e. utility music from that
times. The singing which then B. Adamiè put it in the mouth and in the notes of
instrumental parts of the military bands i.e. wind bands. By the author’s words this was
some new: as to contents and formal which were immediately after the end of the (Second
World) War. It meant decided (rival) results in Trieste (1945); the part of these statements
is costing today but they are the Bojan Adamiè’s works are “alive” always and they are
usually presented on the desks of our military bands; not only in this solemn year. As
together Adamiè’s songs (Pesem talcev, Zdravo, tovariš!) which are came out from the
War years in the top of the Slovenian vocal-instrumental miniatures of that time and space
and the choir Èe zapojemo veselo. It is the same repertory of Bojan Adamiè’s creativeness
which Bojan Adamiè’s Music During World War II would stay permanent written in
Slovene music history and in actually music of our time and space. Although in these cases
have been for Adamiè’s creativeness (music) firstlings in it we can’t find what kind
fundamental (compositing) embarrassments. For all that Adamiè was not behind he has
never “compositional school”. He was the musician of course whom the performance
potence continullay extended, even it reached and too reached by the creativeness. If it
was in these his (compositions) firstlings – which were so and so usefulness – (as an IPZ,
Godba, SNG and ROF “Krièaè” by singers and instrumental players-soloists) we are
looking for the Adamiè’s artistic potence, we can find. But there are something which are
following from this Adamiè’s what the best “serious” i.e. “classical” music: this was then
strongly sounded entertaining (by the melodious, rhythmical, harmonic and formal
sights), that we don’t write can trace the origin (to Bojan Adamiè that significant) later
modes and refrains. There are many creativeness (musical) and special compositional
piece added. They are ensued from the Adamiè’s between the World War Two (music)
works (1943/45). It had itself significant and (end)final meaning in towards and
multilateral (after War) “the master” Bojan Adamiè’s activities and in works: in
conducting which was start by Godba GŠ NOV and POS, in piano (and accordion) music
pieces and improvisations, in (the preference) music, the pieces for wood-wind and wind
instruments and for percussion (or military band which was later stopped in the big band),
in vocal (which came from between the World War Two songs and choruses) which was
enormous spread in the entertainment music, songs and chansons and not finally: by
opinion. Although has been to B. Adamiè very favorite music instrument the organ it was
by its (elementary) design to change in orchestra of various casts: entertainment-, wind-,
symphonic-, …
60
Bojan Adamiè’s Music During World War II
Summary
The Adamiè’s creativeness works during the Second World War isn’t neither great neither
that significant in the whole composer’s bibliography (his works) that we can compared
by his the whole important meaning in Slovenian music during the second half of the 20th
century. By some Adamiè’s kept works among his round 30 compositions from that time
(1943/45) we can confirm, that some of his works as are: songs, choirs and marches (= the
“partisans /short/ songs”) they are the great then usefulness i.e. utility music from that
times. The singing which then B. Adamiè put it in the mouth and in the notes of
instrumental parts of the military bands i.e. wind bands. By the author’s words this was
some new: as to contents and formal which were immediately after the end of the (Second
World) War. It meant decided (rival) results in Trieste (1945); the part of these statements
is costing today but they are the Bojan Adamiè’s works are “alive” always and they are
usually presented on the desks of our military bands; not only in this solemn year. As
together Adamiè’s songs (Pesem talcev, Zdravo, tovariš!) which are came out from the
War years in the top of the Slovenian vocal-instrumental miniatures of that time and space
and the choir Èe zapojemo veselo. It is the same repertory of Bojan Adamiè’s creativeness
which Bojan Adamiè’s Music During World War II would stay permanent written in
Slovene music history and in actually music of our time and space. Although in these cases
have been for Adamiè’s creativeness (music) firstlings in it we can’t find what kind
fundamental (compositing) embarrassments. For all that Adamiè was not behind he has
never “compositional school”. He was the musician of course whom the performance
potence continullay extended, even it reached and too reached by the creativeness. If it
was in these his (compositions) firstlings – which were so and so usefulness – (as an IPZ,
Godba, SNG and ROF “Krièaè” by singers and instrumental players-soloists) we are
looking for the Adamiè’s artistic potence, we can find. But there are something which are
following from this Adamiè’s what the best “serious” i.e. “classical” music: this was then
strongly sounded entertaining (by the melodious, rhythmical, harmonic and formal
sights), that we don’t write can trace the origin (to Bojan Adamiè that significant) later
modes and refrains. There are many creativeness (musical) and special compositional
piece added. They are ensued from the Adamiè’s between the World War Two (music)
works (1943/45). It had itself significant and (end)final meaning in towards and
multilateral (after War) “the master” Bojan Adamiè’s activities and in works: in
conducting which was start by Godba GŠ NOV and POS, in piano (and accordion) music
pieces and improvisations, in (the preference) music, the pieces for wood-wind and wind
instruments and for percussion (or military band which was later stopped in the big band),
in vocal (which came from between the World War Two songs and choruses) which was
enormous spread in the entertainment music, songs and chansons and not finally: by
opinion. Although has been to B. Adamiè very favorite music instrument the organ it was
by its (elementary) design to change in orchestra of various casts: entertainment-, wind-,
symphonic-, …
60
