Page 412 - 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. 412
glasbene migracije: stičišče evropske glasbene raznolikosti
wards the Serbian traditional musical heritage through his own music, to
respond creatively not only to the typical national features of the Serbian
folk music tradition, but also to the wider Orthodox Christian tradition.
With that aim he used not only elements of different Orthodox chants –
Serbian with some typical melodic formulae and the ways in which they are
varied, Greek with the Ison notes, Russian with reminiscences of the lin-
ear polyphony of strochnoe singing – but he has also managed to produce
the characteristic effects of Serbian folk singing, specifically that of singing
“in seconds”. 20
Example 2: Nativity, movement V, bar 5.
Water and Wine for orchestra is the first movement of the cycle-to-be
Fresques (Frescos), which will use the modes of the Octoechos; this particu-
lar work is based on the 1st mode. Damnianovitch also plans to adapt this
work into the first movements of another two compositions: Quatuor byz-
antin (Byzantine Quartet) and an eight-movement symphony with the ti-
tle Octoechos (Osmoglas). The different facets of a serene melody carrying
typical features of the 1st mode of the Octoechos are displayed in Water and
Wine, a work of a mystical atmosphere and flowing sound images.
For those acquainted with the opus of the Serbian composer Ljubica
Marić (1909–2003), Damnianovitch’s idea of such a cycle is reminiscent of
Marić’s conception of Musica Octoicha, started in 1958 and left unfinished,
and considered to be one of the most outstanding works in Serbian art mu-
sic. The first piece, Octoicha 1 for orchestra (1959), was based on the chants
of the 1st mode of the Serbian Octoechos, the second one, Vizantijski kon-
20 Perković, ibid., 61.
410
wards the Serbian traditional musical heritage through his own music, to
respond creatively not only to the typical national features of the Serbian
folk music tradition, but also to the wider Orthodox Christian tradition.
With that aim he used not only elements of different Orthodox chants –
Serbian with some typical melodic formulae and the ways in which they are
varied, Greek with the Ison notes, Russian with reminiscences of the lin-
ear polyphony of strochnoe singing – but he has also managed to produce
the characteristic effects of Serbian folk singing, specifically that of singing
“in seconds”. 20
Example 2: Nativity, movement V, bar 5.
Water and Wine for orchestra is the first movement of the cycle-to-be
Fresques (Frescos), which will use the modes of the Octoechos; this particu-
lar work is based on the 1st mode. Damnianovitch also plans to adapt this
work into the first movements of another two compositions: Quatuor byz-
antin (Byzantine Quartet) and an eight-movement symphony with the ti-
tle Octoechos (Osmoglas). The different facets of a serene melody carrying
typical features of the 1st mode of the Octoechos are displayed in Water and
Wine, a work of a mystical atmosphere and flowing sound images.
For those acquainted with the opus of the Serbian composer Ljubica
Marić (1909–2003), Damnianovitch’s idea of such a cycle is reminiscent of
Marić’s conception of Musica Octoicha, started in 1958 and left unfinished,
and considered to be one of the most outstanding works in Serbian art mu-
sic. The first piece, Octoicha 1 for orchestra (1959), was based on the chants
of the 1st mode of the Serbian Octoechos, the second one, Vizantijski kon-
20 Perković, ibid., 61.
410
