Page 386 - Weiss, Jernej, ur./ed. 2021. Opereta med obema svetovnima vojnama ▪︎ Operetta between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 5
P. 386
opereta med obema svetovnima vojnama
Ex. 4: Gobec, Radovan. Planinska roža. (Ljubljana: Društvo slovenskih skladateljev, 2019),
Edicije DSS (Score, Ed. DSS 651, pp. 21–22, instrumental parts omitted).
ried on in the spoken actions, the large proportion of the plot being carried
on in spoken dialogue. The songs effectively incorporate the solo singers
and the chorus while ensuring the continuity of the plot.
Unlike many other operettas, there is only a limited number of dance
sections, one in each of the three acts. In Act 1, the Balet Planinski cvet
(Ballet of the Mountain Bloom) follows directly after the long instrumen-
tal coda of the previous Turistovska, a fast 3/4 waltz accompanying a solo
tourist singing in praise of the hills in six simple eight-bar verses with a jol-
ly eight-bar refrain from the chorus. The waltz moves in lively fashion with
the chorus singing of dreams and sleep, while a contrasting section is slow-
er (počasneje). In Act 2 a short section (Vivace 2/2) acts as prelude and bal-
let. In Act 3 the penultimate number (11a) is both duo for Kalan and Katja
(koračnice – in march tempo 4/4) and a short dance acting as a prelude to
the finale. The dance sections are clearly modest in their length and com-
pletely integrated into the musical and dramatic scheme.
Many of the work’s features make it much closer to those of tradition-
al opera. The use of the distinctive motto theme, extended both by repeti-
tion and by variation, moves in the direction of the later musical theatre
works. The reduction in the length of the dance sections and their integra-
384
Ex. 4: Gobec, Radovan. Planinska roža. (Ljubljana: Društvo slovenskih skladateljev, 2019),
Edicije DSS (Score, Ed. DSS 651, pp. 21–22, instrumental parts omitted).
ried on in the spoken actions, the large proportion of the plot being carried
on in spoken dialogue. The songs effectively incorporate the solo singers
and the chorus while ensuring the continuity of the plot.
Unlike many other operettas, there is only a limited number of dance
sections, one in each of the three acts. In Act 1, the Balet Planinski cvet
(Ballet of the Mountain Bloom) follows directly after the long instrumen-
tal coda of the previous Turistovska, a fast 3/4 waltz accompanying a solo
tourist singing in praise of the hills in six simple eight-bar verses with a jol-
ly eight-bar refrain from the chorus. The waltz moves in lively fashion with
the chorus singing of dreams and sleep, while a contrasting section is slow-
er (počasneje). In Act 2 a short section (Vivace 2/2) acts as prelude and bal-
let. In Act 3 the penultimate number (11a) is both duo for Kalan and Katja
(koračnice – in march tempo 4/4) and a short dance acting as a prelude to
the finale. The dance sections are clearly modest in their length and com-
pletely integrated into the musical and dramatic scheme.
Many of the work’s features make it much closer to those of tradition-
al opera. The use of the distinctive motto theme, extended both by repeti-
tion and by variation, moves in the direction of the later musical theatre
works. The reduction in the length of the dance sections and their integra-
384
