Page 89 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana: Jakob Jež (1928-) Tokovi sodobne zborovske glasbe, leto 14, zvezek 29 / Year 14, Issue 29, 2018
P. 89
Gregor Pompe, ZBOROVSKA USTVARJALNOST LOJZETA LEBIÈA
Literatura
Barbo, Matja , Ogrin, Matija in Senegaènik, Brane. »Glasba, zveneèa metafizika.
Pogovor s skladateljem Lojzetom Lebièem«. Tretji dan 24/1 (1995): 18–21.
Forstneriè Hajnšek, Melita. »Doma svetovljan, v tujini Slovenec«. Veèer. V soboto, 11.
december 2010: 12–15.
Kert, Jo ko. »Portreti glasbenikov naše doline«. Koroški fu inar 27/2 (1977): 41–43.
Lebiè, Lojze. Od blizu in daleè. Prevalje: Kulturno društvo Mohorjan, 2000.
Lebiè, Lojze. Od blizu in daleè II. Prevalje: Kulturno društvo Mohorjan, 2014.
Lebiè, Lojze. »Zbor v revoluciji«. Naši zbori, 18/2–3 (1966): 18–19.
Loparnik, Borut. »Lojze Lebiè, Fauvel 1986. Prilozi razumijevanju«. Zvuk 4 (1989):
59–68.
O’Loughlin, Niall. »Glasba in besede v delih Lojzeta Lebièa«. V: Lojze Lebiè, Od blizu
in daleè II, 228–245. Prevalje: Kulturno društvo Mohorjan, 2014.
Pompe, Gregor. Zveneèa metafizika. Kompozicijski opus akademika Lojzeta Lebièa.
Ljubljana: Znanstvena zalo ba Filozofske fakultete 2014.
Wathey, Andrew. »Fauvel, Roman de«. V: Grove Music Online. Oxford University
Press, http://www.oxfordmusiconline.com.nukweb.nuk.uni-lj.si/subscriber/article/
grove/music/09372, dostopano 13. marca 2014.
Summary
The body of works of academician Lojze Lebiè is fairly balanced regarding different
genres–he has devoted equal amount of time to symphonic, chamber, solo instrumental,
vocal and instrumental (lied, cantata) and choral compositions. Such balance is not typical
for a twentieth-century composer: as we know, the genre specialisation started already in
the 19th century. That is why there were constant attempts to link Lebiè’s work with one
specific genre, whereas the choral composition seemed to be most plausible regarding
Lebiè’s work as a choral conductor. But Lebiè eschews such genre narrowing and claims
that he is predominantly a composer of instrumental music.
The article analyses Lebiè’s choral works that were written in different periods of his
career. The goal is to reveal gradual changes in his attitude toward choral music. We can
discern that over time Lebiè has dropped the clear genre designations and clear
delimitations between women’s, men’s and youth choirs and that his attitude towards folk
music and its adaptation has changed. However, the most important is the development of
his individual style that stands between theatre, instrumental music, choral composition
and ritual. These are the works that evade clear genre categorization (Spomin, Fauvel 86,
Hvalnica svetu, Ajdna) and represent Lebiè’s greatest artistic achievement.
89
Literatura
Barbo, Matja , Ogrin, Matija in Senegaènik, Brane. »Glasba, zveneèa metafizika.
Pogovor s skladateljem Lojzetom Lebièem«. Tretji dan 24/1 (1995): 18–21.
Forstneriè Hajnšek, Melita. »Doma svetovljan, v tujini Slovenec«. Veèer. V soboto, 11.
december 2010: 12–15.
Kert, Jo ko. »Portreti glasbenikov naše doline«. Koroški fu inar 27/2 (1977): 41–43.
Lebiè, Lojze. Od blizu in daleè. Prevalje: Kulturno društvo Mohorjan, 2000.
Lebiè, Lojze. Od blizu in daleè II. Prevalje: Kulturno društvo Mohorjan, 2014.
Lebiè, Lojze. »Zbor v revoluciji«. Naši zbori, 18/2–3 (1966): 18–19.
Loparnik, Borut. »Lojze Lebiè, Fauvel 1986. Prilozi razumijevanju«. Zvuk 4 (1989):
59–68.
O’Loughlin, Niall. »Glasba in besede v delih Lojzeta Lebièa«. V: Lojze Lebiè, Od blizu
in daleè II, 228–245. Prevalje: Kulturno društvo Mohorjan, 2014.
Pompe, Gregor. Zveneèa metafizika. Kompozicijski opus akademika Lojzeta Lebièa.
Ljubljana: Znanstvena zalo ba Filozofske fakultete 2014.
Wathey, Andrew. »Fauvel, Roman de«. V: Grove Music Online. Oxford University
Press, http://www.oxfordmusiconline.com.nukweb.nuk.uni-lj.si/subscriber/article/
grove/music/09372, dostopano 13. marca 2014.
Summary
The body of works of academician Lojze Lebiè is fairly balanced regarding different
genres–he has devoted equal amount of time to symphonic, chamber, solo instrumental,
vocal and instrumental (lied, cantata) and choral compositions. Such balance is not typical
for a twentieth-century composer: as we know, the genre specialisation started already in
the 19th century. That is why there were constant attempts to link Lebiè’s work with one
specific genre, whereas the choral composition seemed to be most plausible regarding
Lebiè’s work as a choral conductor. But Lebiè eschews such genre narrowing and claims
that he is predominantly a composer of instrumental music.
The article analyses Lebiè’s choral works that were written in different periods of his
career. The goal is to reveal gradual changes in his attitude toward choral music. We can
discern that over time Lebiè has dropped the clear genre designations and clear
delimitations between women’s, men’s and youth choirs and that his attitude towards folk
music and its adaptation has changed. However, the most important is the development of
his individual style that stands between theatre, instrumental music, choral composition
and ritual. These are the works that evade clear genre categorization (Spomin, Fauvel 86,
Hvalnica svetu, Ajdna) and represent Lebiè’s greatest artistic achievement.
89
