Page 229 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
P. 229
davor in jenko between slovenian and ser bian music
ka,14 presenting as well, in its final section, a representative selection of Jen-
ko’s printed scores, music-manuscripts and documents from the Archives
of SASA Institute of Musicology.15
During the course of this slightly extended introduction, which is,
however, closely connected with Davorin Jenko as the main character of
this “music-migration story”, one could guess the answer to the question
that was implicitly posed at the beginning of this article. Although the cen-
tral topics of my research in musicology are mainly related to the issues
of modernity and problems of modernism in the period between the two
world wars, it happened almost coincidentally that Davorin Jenko, due to
favorable circumstances!, has actively and vividly figured as an important
topic of my research in more than the two last years. From the very begin-
ning of my engagement as a co-screenwriter for the TV film, during con-
ference preparations in 2014, and, finally, serving as the main editor of the
forthcoming book, many questions concerning the former interpretations
of Jenko’s work gradually arose and have been crystallised.
The Two Main Questions: “Davorin Jenko
– Musical (Im)Migrant?”; “Concerning Jenko’s Case:
Is it Possible to Move away from Discourses
that Essentialise Ethnicity?”
From a myriad of questions that undoubtedly deserve to be answered or to
be re-evaluated in the spirit of fresh discoveries and the new methodolog-
ical procedures and contemporary perspectives applied in the field of hu-
manities in last decades, for the central topic of this paper, two crucial,
quite challenging issues arise. For the purpose of re-examining the position
14 Ivana Vesić, “Davorin Jenko (1835–1914). Fragmenti iz života poznatog kompozito-
ra,” Ilustrovana politika, November 25, 2014, 26–27. [Cir.]; Katarina Tomašević, “Da-
vorin Jenko (1835–1914): naš ‘znameniti stranac’. Sećanje na kompozitora srpske hi-
mne Bože, pravde, povodom stogodišnjice smrti,” Politika, November 22, 2014, 9.
[Cir.]
15 1. [Davorin Jenko] Slovenske narodne pesmi. Chants nationaux slovènes pour piano
par Davorin Jenko, op. II. Archives of the SASA Institute of Musicology, AN 309; 2.
Zujte strune [Strune, milo se glasite – Sweet Strings] (lyrics: France Prešeren)], tran-
script, AN 1616; 3. Uvertira Kosovo. Za glasovir složio Davorin Jenko [Ouverture –
Kosovo pour piano par Davorin Jenko], An 295; 4. Uvertira Milan. Za glasovir složio
Davorin Jenko. [Ouverture Milan pour piano par Davorin Jenko], An 295a; 5. Seos-
ka lola [The Village Bachelor], AN 306; 6. Pesme iz komada Đido. Za glasovir složio
Davorin Jenko [Songs from the play Đido. Piano version], AN 930; 7. Davorin Jenko’s
Will [29. I 1902], AN 307.
227
ka,14 presenting as well, in its final section, a representative selection of Jen-
ko’s printed scores, music-manuscripts and documents from the Archives
of SASA Institute of Musicology.15
During the course of this slightly extended introduction, which is,
however, closely connected with Davorin Jenko as the main character of
this “music-migration story”, one could guess the answer to the question
that was implicitly posed at the beginning of this article. Although the cen-
tral topics of my research in musicology are mainly related to the issues
of modernity and problems of modernism in the period between the two
world wars, it happened almost coincidentally that Davorin Jenko, due to
favorable circumstances!, has actively and vividly figured as an important
topic of my research in more than the two last years. From the very begin-
ning of my engagement as a co-screenwriter for the TV film, during con-
ference preparations in 2014, and, finally, serving as the main editor of the
forthcoming book, many questions concerning the former interpretations
of Jenko’s work gradually arose and have been crystallised.
The Two Main Questions: “Davorin Jenko
– Musical (Im)Migrant?”; “Concerning Jenko’s Case:
Is it Possible to Move away from Discourses
that Essentialise Ethnicity?”
From a myriad of questions that undoubtedly deserve to be answered or to
be re-evaluated in the spirit of fresh discoveries and the new methodolog-
ical procedures and contemporary perspectives applied in the field of hu-
manities in last decades, for the central topic of this paper, two crucial,
quite challenging issues arise. For the purpose of re-examining the position
14 Ivana Vesić, “Davorin Jenko (1835–1914). Fragmenti iz života poznatog kompozito-
ra,” Ilustrovana politika, November 25, 2014, 26–27. [Cir.]; Katarina Tomašević, “Da-
vorin Jenko (1835–1914): naš ‘znameniti stranac’. Sećanje na kompozitora srpske hi-
mne Bože, pravde, povodom stogodišnjice smrti,” Politika, November 22, 2014, 9.
[Cir.]
15 1. [Davorin Jenko] Slovenske narodne pesmi. Chants nationaux slovènes pour piano
par Davorin Jenko, op. II. Archives of the SASA Institute of Musicology, AN 309; 2.
Zujte strune [Strune, milo se glasite – Sweet Strings] (lyrics: France Prešeren)], tran-
script, AN 1616; 3. Uvertira Kosovo. Za glasovir složio Davorin Jenko [Ouverture –
Kosovo pour piano par Davorin Jenko], An 295; 4. Uvertira Milan. Za glasovir složio
Davorin Jenko. [Ouverture Milan pour piano par Davorin Jenko], An 295a; 5. Seos-
ka lola [The Village Bachelor], AN 306; 6. Pesme iz komada Đido. Za glasovir složio
Davorin Jenko [Songs from the play Đido. Piano version], AN 930; 7. Davorin Jenko’s
Will [29. I 1902], AN 307.
227
