Page 72 - 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. 72
AN ADAMIÈ (1912–1995)

Bojan Adamiè’s Music During World War II

Summary
Bojan Adamiè started creating music for wind orchestras during World War II, when he
was wounded and sent to the liberated territory in Bela krajina. During hospital treatment,
he was selected as bandmaster of the partisan band on the suggestion of his musical
acquaintance Milos Ziherl, the brother of the more famous party ideologist Boris Ziherl.
The National Liberation Army and Partisan Detachments Wind Band was formed on the
initiative of the propaganda department. Adamiè began enthusiastically in his new role
despite the difficulties the orchestra faced – a lack of instruments and (primarily music
paper) materials. Most of the program for the newly established orchestra was contributed
by Bojan Adamiè and his bandmaster, Captain Drago Lorbek. The members of the
Headquarters Musical Band were mostly those disabled by war, who otherwise had no
proper musical skills; however, Adamiè’s original approaches trained them into solid
musicians. Since 1991, the works of Adamiè for wind orchestras have been published
exclusively by the Hartman publishing firm from Maribor (collection: Bojan Adamiè and
his opus). A typical line-up is as follows: a piccolo, 2 flutes, an oboe, an es clarinet, 3
clarinets, a bass clarinet, a bassoon, an alto saxophone, a tenor saxophone, a baritone
saxophone, 2 flugelhorns, 2, cornets, a tenor, a baritone, 4 horns, 3 trumpets, 3 trombones,
2 tuba and percussion. In large scores, (Snow White, Requiem) Adamiè uses variants such
as the alto flute, alto clarinet, soprano saxophone and percussion, which is used more
often. All his life, Adamiè chose fresh and unique approaches; he used new means of
expression (machine gun, fire siren, police whistle, bottle, car horn, sandpaper,
typewriter) in his own compositions and wrote music scores which ranged, as he says,
“from a frying pan and laurel to a symphonic Orchestra.”28

28 Prevod Boris Pirš.

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