Page 405 - 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. 405
a serbian composer in france: national identity and cosmopolitanism ...
overall conditions for creative work in Serbia were not really unfavoura-
ble, and that the decisive moments for his leaving the country were his “at-
avistic drive to leave” and “to live somewhere else”.4 It goes without saying
that one of the great advantages of Paris over Belgrade was the possibili-
ty to hear so much more new music, as well as art music of all ages, in first
class performances.
When Damnianovitch left Belgrade in 1978 (at the age of 20), the presi-
dent of Yugoslavia, Josip Broz Tito, was still alive, musical as well as cultural
life in general were dynamic, although the economic situation was quite bad,
so that ever new loans were requested from foreign banks and funds. There
were many discussions in private on the fate of the country after Tito’s death,
which was to happen very soon (1980), but even the most radical pessimists
could not foresee what a catastrophic turn events would soon occur: after the
troubled 1980s, which witnessed the rise of inter-ethnic tensions, there came
the tragic 1990s, bringing violence and wars and, consequently, the breakup
of Yugoslavia. Being away during all that time did not mean, of course, that
Damnianovitch was spared the anxieties and worries of the period.
In the eyes of Alexandre Damnianovitch, arriving in Paris in 1978, the
richness of the musical life was no doubt fascinating, but he must also have
quickly realised that he was but one among the multitude of young ambi-
tious composers coming from all over the world who aimed to achieve a re-
markable career. Pierre Boulez was one of the key-figures in French musical
life, not only respected, but also influential, with excellent political rela-
tionships that enabled him to decide on many important issues, being also
widely criticised for his arbitrariness and partiality. Damnianovitch, how-
ever, showed no interest in electronic music and, after a year in the class of
Max Deutsch at the Ecole Normale in Paris (1978–79), he began to study ac-
cording to a regular program at the National Conservatory (Conservatoire
National Supérieur de Musique), where his professors were Michel Philip-
pot and Serge Nigg. The conditions for studying at the Conservatory were
the best possible and especially helpful were the opportunities to hear and
record his own works.
After he had finished his studies in 1983, Damnianovitch stayed in
France and started a typical career as a composer, conductor and artistic
director.5 He was director of several conservatories in towns in Brittany and
4 Ibid..
5 Most important dates in Damnianovitch’s career: 1983: conductor of the choir of
the Opera in Rennes; 1989: laureate of the international competition “André Jolivet”
with Harpes éoliennes [Aeolian Harps] for seven instruments; 1988–1989: guest con-
403
overall conditions for creative work in Serbia were not really unfavoura-
ble, and that the decisive moments for his leaving the country were his “at-
avistic drive to leave” and “to live somewhere else”.4 It goes without saying
that one of the great advantages of Paris over Belgrade was the possibili-
ty to hear so much more new music, as well as art music of all ages, in first
class performances.
When Damnianovitch left Belgrade in 1978 (at the age of 20), the presi-
dent of Yugoslavia, Josip Broz Tito, was still alive, musical as well as cultural
life in general were dynamic, although the economic situation was quite bad,
so that ever new loans were requested from foreign banks and funds. There
were many discussions in private on the fate of the country after Tito’s death,
which was to happen very soon (1980), but even the most radical pessimists
could not foresee what a catastrophic turn events would soon occur: after the
troubled 1980s, which witnessed the rise of inter-ethnic tensions, there came
the tragic 1990s, bringing violence and wars and, consequently, the breakup
of Yugoslavia. Being away during all that time did not mean, of course, that
Damnianovitch was spared the anxieties and worries of the period.
In the eyes of Alexandre Damnianovitch, arriving in Paris in 1978, the
richness of the musical life was no doubt fascinating, but he must also have
quickly realised that he was but one among the multitude of young ambi-
tious composers coming from all over the world who aimed to achieve a re-
markable career. Pierre Boulez was one of the key-figures in French musical
life, not only respected, but also influential, with excellent political rela-
tionships that enabled him to decide on many important issues, being also
widely criticised for his arbitrariness and partiality. Damnianovitch, how-
ever, showed no interest in electronic music and, after a year in the class of
Max Deutsch at the Ecole Normale in Paris (1978–79), he began to study ac-
cording to a regular program at the National Conservatory (Conservatoire
National Supérieur de Musique), where his professors were Michel Philip-
pot and Serge Nigg. The conditions for studying at the Conservatory were
the best possible and especially helpful were the opportunities to hear and
record his own works.
After he had finished his studies in 1983, Damnianovitch stayed in
France and started a typical career as a composer, conductor and artistic
director.5 He was director of several conservatories in towns in Brittany and
4 Ibid..
5 Most important dates in Damnianovitch’s career: 1983: conductor of the choir of
the Opera in Rennes; 1989: laureate of the international competition “André Jolivet”
with Harpes éoliennes [Aeolian Harps] for seven instruments; 1988–1989: guest con-
403
