JOSIP STOLCER SLAVENSKI SABRANA DJELA/ COLLECTED WORKS Krititko-prakti¢no izdanje / Critical-Practical Edition Urednik / General Editor STANKO HORVAT Svezak 3 / Volume 3 KOMPOZICIJE ZA VIOLINU I KLAVIR I COMPOSITIONS FOR VIOLIN AND PIANO I SLAVENSKA SONATA SLAVONIC SONATA Priredio / Editor VLASTIMIR PERICIC Uvod / Introduction \VLASTIMIR PERICIC DRUSTVO SKLADATELIA HRVATSKE — ZAGREB / COMPOSERS’ SOCIETY OF CROATIA — ZAGREB UDRUZENIE KOMPOZITORA SRBUJE ~ BEOGRAD / COMPOSERS’ SOCIETY OF SERBIA ~ BEOGRAD 1986Josip STOLCER SLAVENSKI JOSIP STOLCER SLAVENSKI rodio se 11, svibnje 1896. u Cakoveu kao najstarie dijete v obitelji pekara Josipa Stolers, ‘odenog ui Zlateru, kamo se njegov pradjed dotelio iz Frankfurta na Majni, @ of majke Julie ro6ene Novak, Od oca, seoskog citraSa i ,jshitrioca" nasijedio je irazit glazbeniek: dar, a od Imajke, .2ivog muzikalnog arhiva” kako piée J. Beri, duboky vezU § medimurskim i hrvetskim puékim melosom, Gradansku Sskolu i ispit za pekarskog kalfu zavrsio je u rodnom gradu, 3 prvi glazbeni nauk stjege 1912-13. u Varetginu kod A. St&hra # D. Simone, Nakon neuspjela pokulsje upita u Muziéku &kolu Hrvatskoge glazbenog zavods cdlazi na dajnje ékolovenje u Budimpeitu (191316). Tamo mu je uz V. Herzfeldanastavnik 1 Z. Kodsly, kojl upravo u to vrijeme zajedno #8. Bartékom 2epotinje intenzivna istrativanjs glazbenog folklore, fto (de koko posredno) ostavijatraga i u nacinu kojim Slavenski pac nje umjetniéki oblikovati svoju iskoneku vezanost uz necionelni slazbeni idiom. Nakon dvogodiénjeg vojevanja na rumunjskim i ‘maderskim frontama (191618), te nekon prvih skladstelekih Lspiehe (praizvedbs NOCTURNA ze ork. 10.5.1920. u Zagre bu) JS, Slevenski se 16, studenog iste godine upisuje na Konzer- Vator u Pragu, gdje tri godine kasnij sjeée diplom iz kompo: Zicije kao uéenik V. Noveka iJ. Suka, Sledeéi znaésini uspjeh otiviuje PRVIM GUDACKIM KVARTETOM na prvim izved bbame u Pragu i Zsgrebu, t2 na Danima suvremene komome ‘muzike u Donaueschingenu 1824. Godine 1923/24 predsje na Sredinjoj skoli Kraljevske muzicke akademije u Zagrebu, 2 od 109.1924, djeluje kao nastavnik na Muzi¢ko) skoli u Beograd (danasnje skola Mokranjac"). Od jesoni 1925, do. proljeéa ‘duce godine nelezi se na studijskom boravku u Parizu i potoi- sje ugovors idavatkom kuéom ,.8. Schott's Sohne" u Mainzu, koja od 1926. do 1932. tke 12 instrumentalnih opusa i 21 borsku skladbu. Po povratku u Beograd prouzima uz dots danju jo i sluzbu uéiteja vjedtina na Drago} muskoj gimnazil Godine 1990, ozekonjule prezime ,,Slavenski", koje ve6 0d ‘remens stucia u Pragu sve Eafe nalazimo u skiopu tkladstlje dtu Bre sei rasponi njegove vezanosti onalni glezbeni idiom, a glazba Sto take nattaje iznena- ‘duje i domovinu i svijet (BALKANOFONWA, Beograd 1928, Berlin 1929; DRUG! GUDACK! KVARTET, Frenkfurt 1929; RELIGIOFONIJA, Beograd 1934; MUZIKA 38, Baden-Baden 1936; MUZIKA 38, Venecije 1998; itd). Od osnutke Muzigke skedemije u Beogradu 1937. Slavenski deluje prvo kao nasav nik na njezino} Stecnjoj Skoli (danaénja Skola J. Slavenski), otom od 1945. keo izvenredni, a tir godine kasnije kao re ‘ovni profesor kompozicie, Uno je 30.studerogs 1955. u Beogradu, JOSIP STOLCER SLAVENSKI was born in Cekovee on 11 May 1890 as the first child of Josip Stoker, a local baker born in Zlatar (where his great grandfather hod moved from Frankfurt am Main), and Julia Stoleer nee Novak, From his father, the village cittorn player and ‘improviser’, Slovenski inherited a distinct gift for music, and from his mother {living ‘musical archives a5 J. Bale described her) he inherited @ deep feeling for the Megimurje, and generally Croatian, folk music He completed his elementary and junior secondary education in Cakovec, where he also became 9 baker's apprentice and took an exam to become a skilled baker. His frst musical education took place with A. Stahr and D. Simon in Varaidin in 1912-1913. Having failed in his attempt to enrol in the School of Music of the Crostian Music Institute in Zagreb, Slaventki eft for Budapest to continue his musical education there (1913-1916). His teacher there, in addition to V. Herz: feld, was Z. Kodily, who was just about that time beginning his intensive study of folk music with B, Barték. This must have, a least indieetly, helped to form Slavenskis own artistic ties with the national musical idiom. After twa years of fighting fn the Roumanian and Hungarian fronts (1916-1918) and his first success 26 3 composor (NOCTURNE for orchettra, first Performed in Zagreb on 10 May 1920), 8, Slavenski enrolled 15 student at the Prague Conservatory on 16 November 1920, He studied composition with V. Novak and J. Suk end three years later obtained his diplom in composition. His next major ‘musical success came with the FIRST STRING QUARTET, first performed in Prague and Zagreb and then at the Donau ‘eschingen Festival of Contemporary Chamber Music in 1924. In the 1923/24 academic year he taught at the Rovel Music ‘Acavemy Secondary School in Zagreb and then moved to Belgrade, where he besen to teach at the Musie School (now Mokranjac” Music School) on 10 September 1924. From the ‘autumn of 1925 to the spring ofthe following year, Slaventki was i Paris and it was during thet time thet he signed 2 contract, with B. Schott’s Sohne music publishers in Mainz, under whose imprint 12 of Slavensk's instrumental works and 21. choral compositions appeared between 1926 and 1932. Upon his return to Belgrade, he also began to teach music atthe Second Grammar School, in sdcition to his regular work at the Music School. In 1930, he legally changed his name to Slavenski — ‘the name which he had uted with incressing frequency since his Progue days to sign his works. When he moved to Belgrade, the range of his soquaintance with folk music from different Parts of Yugoslavia greatly expanded, and his own musie written {at that time won recognition and acclaim in the country and abroad (BALKANOFONWA, Belgrade 1928, Berlin 1929;Stotinu | sedamdesetak Sto ulin sto kratih skladbi svjedodi © pomsknutoj pozicii Josipa Stoleere Slavenskog u glezbenom brostoru u kojem je djelovao | gdje se nastoja0 ponafati u ska {du 42 Sjetskim glazbenim vromenom:; svjedodi 0 oscbrost i ‘o:bitosti neting kojime je predvidan novi razvoj glazbe, 0 nje- ‘g0vU prijediagu za buduénost, suvée radikslnom a da bi bio dovolino praktiéen, te my dsje biljeg vizionara auteadera ‘Nega poviest hrvatske i jugoslavenske glazbe parti kao , fe ‘nomen Slavenski", | to polazeéi prvenstvena od posebnosti njegovin skladateliskih postupsks, a manje od reainogiskustva 0 samo) glazbi, djelom i zato jor je zbog nesredenostisklodatejeve ostavdtine, nedostatka suvremenih idanja | 2bo9 isorpljenosti Postojecih ,Schottovin” naklada put do nje do denas bio nedo: voline prohodan. Istradivackoizdavatki projekt ,Sabrana dela 15. Slavenskog” pokrenut je s namjerom da te zapreke ukleni te de polazeéi od rukopisnih ivore, usporedenih + dosadafnjim edicljama, krtiékireviire opus ovog skladatlja i ponudi ga av nosti u obliku najprimerenijem zahtevime Sto ih postavlia su \wremena izvodilatka praksa Eva Seok SECOND STRING QUARTET, Frankfurt 1929; RELIGIO. FONUA, Belgrade 1934; MUZIKA 36, Baden-Baden 1936; MUZIKA 38, Venice 1938, et.) With the establishment of the ‘Academy of Music in Belgrade in 1937, Slovenski worked firs {teacher in its secondary school (now the , 4. Slavenski” School), and then, in 1945, he was appointed an associate professor, and four yests later full professor, af composition, He die in Belgrade on 30 Novernber 1955, ‘hundred and seventy long and short compositions are atest ‘mony of Josip Stolcer Slavenski's productivity and the freedom with which he moved in his own musical space, working in sccordance with the mausicl times in which he lived, yet remsi- sing himself, seeking and predicting new ways for music. His proposals for the future, too radical to be practicable, marked him os a visionary outside. In the history of the Croatian and ‘Yugoslav music he is remembered 2s the ,Slavenski phenome non", primarily of course because of his characteristic compo: sing procedures and les so on the bass of an experience of his music, which ~ owing to the unordered state of hie unpublished ‘manuscripts, lack of modern editions and tarity of the earier Schott editions — remains tar from easly accessible, The re search and publishing project entitled ,,The Collected Works ‘of JS. Slavenski" is intended to remove these obstacles to his ‘music and, stating from original manuscripts compared with ealier editions, to revise in a critical light the work of this composer and to offer it to the public in the form best suited {0 meet the requirements of the modern performing practice. Eva Sedak Translated by Viadimir virSLAVENSKA SONATA Po svernu tuceti, SLAVENSKA SONATA je nastala poéetkom 1824, godine, u vreme kad je kompozitor delovao kao nastavik 1 Zagrebu. Prvi put su je ave (prema podstku Koji navodi dr Keesimir Kovatevié u knjizi HRVATSKI KOMPOZITORI | NJIHOVA DJELA) 16, februrara iste godine u Zagrebu viol: nista Francis Aranyi i pljanste Wilhelm Grosz. Stampana je 1826. godine kod ,,Schotta”, kao op. 5, w redakcili J. Kilps, 48 porvetom éuvenom violonsti Zlatku Balokoviéu. Geneza tonate ponetto je nejasna, isko u kompoaitorovo) zaostavitini postoje dva potpune autografa i treéi nepotpun, ok je etvrti, koji nam je poznat u foto-kopill, posluzio za _Schottovo" izdonie. utograf (bez datuma) ssdr2i prih Sto odgovare ekspozieli | povetku rezvoinos dela 1 dok $0 prin 70 taktova (kompleks glavne teme) manje-vide slaku sa Stampanom verzijom (apstrahujuéi manje razlike koje ‘8 uglavnom tiéu Klavirske fakrurel, dail je tok bitno razliit: fna mestu sporedne tame nalazi se sasvim drugaéija muzicke ‘misao u dorskom c-moly, 2 ni fragment rezvojnog dele ne od ‘govara tampano} ver Drugi, potpuni, takode mastilom pisani autograt (parttura i njoj edgovarajuta violinska deonica) datiran je 10. II 1924. On se znatno razlikuje od pomenutog nepotpunog sutograta U odseku sporedne teme (medutim, to jo wvek nije ona spo: edna tema iz ftampanog izdanj!), a manjin rezlike ima | u razvojnom delu. U odnotu ne Stampanu verzju razvojai deo 'u ovom autogratis mnogo je krati i (sem pojedinih odlomaka) Uumnogome drugaéiji, a noma ni violinske kadence. Tek reprizni ‘odsek odgovare Stampano} veri (tu se sad pojaliuje sporecra ‘wma u bemolu, onakva kskva je u detinitivnom obliku dela. Citave kompozicie u ovom vidu obuhvate 276 taktova, naspram ‘389 u Stampanom izdanjul Logiéno je pretpostaviti da nepotpuni autograt predstavlia prvobitni neert dela, « potpuni — Kompletnu prvw verziu, ‘nu koja je, vrovatno, bls i2vedena 16. 11 1924. godine. Istim ijubigestim mastlom kao ova dva primerks partture pi- sana je na posebnom listu violinska kadenca, Koja, medutim, ‘nama gotovo ides zajednigkog sa kadencom iz Stampanog iadania (Eak sei ne oslanja na motivski materjal tema), 8 nije fi jatno na kojem bi se mestu uklopia u partiury. Treti autograf pisan je olovkom i vituelno dsje utisak skice (klaviska je deonies notirana samo mestimiéno ili pomocy tkraGenice, paginacija | numaracija taktove su nesredene) — ali se u svim bitnim ertama poklapa s2 Stampanom verzijom dela. Kako su naslov kompozilje | Ime autora napisant éirii- com, namete se pomisao de go treba datrsti u vrome kad j SLAVENSKA SONATA (Slavonic Sonata) It seams that the SLAVENSKA SONATA (SLAVONIC SO: NATA} wat crested esrly in 1924, a atime when the composer was a teacher in Zogreb. It was first performed the same yea, fon Februrary 15 by violinist Francie Aranyi and pianist Wilhelm Grosz, (according to Dr. Kresimir Kovaéevit’s book HRVATSKI KOMPOZITORI | NJIHOVA DIELA /CROATIAN COMPO: SERS AND THEIR WORKS/). It was published by Schott in 1926 as op. § (editor J. Kil with a dedication to the famous violinist latko Balokovi ‘The genesis of the Sonata is not quite clear, although there ‘are three autograph copies, two complete and one incomplete in the composers estate. The fourth was accesible to us thanks to Schott’s kind petmistion, in photocopy of the manuscript from which they made their edition. ‘An incomplete manuscript in ink (undted) consists ofthe frst, 125 bars, coinciding with the exposition and the besianing of the evelopment. While the first 70 bars {complex of the first, theme} coincide more or less with the printed version (with ‘minor differences in the piano part, the further flow is basial ly diffarent: in place of the secondary theme there isa comple. tely different musical idea in Dorian C minor, while not even 8 fragment of the evelopment coincides with the printed ver ‘Another complete sutograph copy, also in ink (the score and constituent violin part) is dated February 10, 1924, It differs contiderably fram the previously mentioned incomplete auto- ‘raph copy in the Secondary theme section (not yet, however, the secondary theme from the printed version!), and leser differonces are to be found in the development. The develop- ‘ment is much shorter here than in the printed version (except in some fragments), different in many ways, and there is no violin cadenza. Only the recapitulation section coincides with ‘that of the printed version (the secondary theme in B minor ‘appears herein the sime form atin the final piece). The whole ‘composition in this version includes 276 bers, a opposed to the '389 bars in the printed version. ‘One may legitimately assume that the incomplete autograph copy represents fist sketch of the work, and the complete — first version, probably performed on February 15, 1924. ‘The violin cadenza, written in the seme purple ink as the above ‘wo copies of the score, on a separate piece of paper, hss almost rothing in common with the cadenza of the printed version (i does not even rely on the motif msterial of the themes!) not at all clear whe The third autograph copy is in pencil and looks like 2 rough draft (the piano partis noted only sporedically or with abbre: viations, the paging and measure rumbering are disorderly, but it coincides in al its basic features with the printed version Of the work. Since the ttle of the work and the name of the author are in the Cyrillic alphabet, one may assume that itSlavenski vee bio (u jesen 1924) pretzo v Beograd; medutin, ra zavietku, uP o2naky Finis, so ati datum: 10, M1 1924 i ista ~ zagrebacka — aresa(ltinicom): Sv. Dub, Strma 12 — kao i na gore opisanom potpunom autogratul Ipsk, dubina raz Vike w odnosu na taj autograt i neuporedivo veée zrelost kako w ‘Obradi pojedinosti tako iu ¢itavom resonju forme (tek ovde je sporedne tema data istovetno u ekspozicil i reprii, re2voini ‘deo je razraden do snazne kulminacije, 8 Kadenca je organski Uugadens u njogov tok) ne dovvoljxaiu misoo © peralelnom rnasteleniu dveju verzija: olovkom pisani autograt bee surmnje Je katja verzjs, 2 ostae bez odgovors pitanje:ze8to joj je autor dopisao datum zavrSetka prvobitne verze. Idavacka kus ,Sehott” susretiivo nom je stavils na raepe laganje foto-kopiju éetvrtog autograte, koji je u njanom pe- ‘edu. Ta je, prirodno, identigan sa Stampanim i2denjem, U jugosiovenskoj liteaturi onog doba SLAVENSKA SONATA ~zauzima sasvim posebno mesto, Plage 2antu violinske sonate Lali su do 1924, pored ostalih, Petar Stojsnovié, Franjo Dugon, Dora Pejagevié (8a DRUGA SONATA, iz 1917. godine, nosi Isti naslov kao deo Slavenskog!|, Miloje Milojevi. No dok se 18 dpla kroéu jot u stilskim okvirime pozne romentike, even tualno (kod Milojevéa) sa prizvukom impresioniama, SONATA, Slavenskog ukszuje na potpuno nove puteve u jugoslovenskoj ‘muzii, kako po novom, lignom i dubioko dedivljenom autoro: vom prilasku nacionainom i2razu taka i po emelost: upotrebie nih iraeainih sredstova. U meladisko| #2 liniji w ,cistom’ vidu tkazuje primamo modalna ravan_muziékog ‘mislienia Slavenskog; medutim, vertikala je 2gusnuta bimodslnim i poi ‘modalnim (odnosno politonalnim) superpozicijama akordskih kkompleksa, a disonanca kao tamostaina zvuéna vrednost lav! prave orgie u kulminacionom platou razvojnog dela (raktovi 150161), ade Slavenski — kao jedan od prvih medu evropskim ‘autorima! — primenjuje klatere Jednostavaéna struktura SLAVENSKE SONATE nije tip ppoznoromantidarske, lisatovske jednostavaénosti pad kojom se kere latentna cikliGnost, veé je to firoko postavien sonata’ ‘Oblik s8 obrnutom reprizom. (Kao st je gore receno, do te, ko: iko jednostavne toliko logiéne, simatriéne koncepcie Slevenski je doao tek u kasnijoj veri dela) lako bi se moglo uzeti da sporedna tama, s obzirom na svoj karakter, veli u l2vetnom smislu | funkcju poleganog stavka ~ njen doslovii, samo 28 ppolustepen nite transponovani powrataku reprizi ne do2velisva da je i u formalnom smistu shvatimo na taj natin, Isto vedi 2a odsek u taktu 3/8 pred kraj razvojnog dela, kojem bi se tako~ e «amo vo uslovao mogle pripistuloge scherza u okviru ck ligne forme — tim manje sto je ,,oresecen"” koncertantnom ki encom violine. Radi se zapravo 0 koncepaili conatne forme piénoj 28 Slavenskog: 0 izvesniom ,montaénom' principu, pri Gomu je tezi&te na raspredanju | abruptnom suprotsaviianju coitro Kontrastirajiucih tomatskin idea, a ne na nilhovor raz janju i sukobliavanju smistu klasi¢arsko-romantigarske s0- ‘ould be dated t0 the time Slavenski had slready moved to Belgrade (in the autumn of 1924); at the end, however, the mark Finis, is followed by the same date, 10) I 1924 and the same Zagreb adéress (in the Latin alphabet): Se. Duh, Suma 12 ~ 2s 00 the above-mentioned complete autogranh copy! Noverthaless, its considerable deviation from that auto: raph copy, along with its incomparably greater maturity in both treatment of deta and complete tolution of the form (here the secondary theme is given in exactly the same form in the exposition and in the recspitulation, the development 's elaborated to a powerful climax, while the cadenza has bees voanically incorporated into it) do not eortoborate the conjec: ture of & peraliel genesis for these two versions: the autosrap ‘copy in pencil is undoubtedly a later version, while the issuc fof why the author add the date when he finished the original version is left unanswered, The fourth autograph copy, now owned by Schott Edition, was kindly placed at our disposal in a photocopy. Naturally itis identical with the printed edition SLAVENSKA SONATA (SLAVONIC SONATA occupies a Special place in the Yugoslav music of that time. Until 1924 contributions to the gente of the violin sonate were provide by the following composers, among others: Petar Stojanovié, Franjo Dugan, Dora Pejaéovié (whose second sonata of 1817 hhas the same title as that of Slavenskill, and Miloje Milojevié. While these works still move within the range of late Romanti- ism, with, perhaps (in the case of Milojeviél a shade of Im: pressionism — Slavenskis sonata points to entirely new circ: tions in Yugoslav music, both with its new personal and deeply felt approach to @ national expression and with its daring usage fof expressive means. The melodie line in its lucia" form primarily expresses # model level in Slavenski’s musical thought; Wile, the vertical element is dense with bimodal and polymo- dal, oF actualy polytonsl superpositions of the chord com: plexes. The dissonance as the independent sound value orgi tically celebrates on the culminating plsteau of the deve lopment (bars 150-161), where Slavenski ~ 8s one of the fir European composers — uses clusters, SLAVENSKA SONATA (SLAVONIC SONATA), an one- movement structure is not of the type of post-romantic Lise tian one-moverent work concealing @ cyclic form. It Is @ broadly laid out sonats form with 2 reverse recapitulation, {As aforesaid, Slavenski came up with this simple and logical, symmetric conception in the later version ofthe work.) Although the secondary theme might be seen in character as a function (of the slow movement — it is literally only a comeback trans- Poted @ somitone lower in the recepitualtion, which also does ‘ot allow for such an assumption inthe formal sense. The same holds true for the 3/8 measure section towards the end of the ‘development to which the role of a Scherzo in a cyclic form ould only be attributed conditionally — especially since itis interrupted by the concertante cadenza of the violin, Here we have @ concept of sonata form typical to Slavenski: a certain principle of editing focuted on the brosdening and abrupt ‘oppotition of shorply contrasting thematic idest, and not their ‘development and contlic in the sense of the ciloctics of thenatn dijalektike (premda ima | takvih momenate, npr. superpo: ici elemenata eporedne teme u klaviru i glavne teme u violin’ Ut. 130-197, u bimodslnam odnosu eisgis dorsi, it pets ppanje” motivike sporedne teme u glavnu w deonici Klavira, 162-172). Intonativno-lestvigna osnova, duboko ukorenjena U folklornim slojevima kompazitorovog zavieeia, zajednichi je imental koji povezuje suprotnosti u eeliou, 2 sonatnl dina rizam je ostvaren (ili, ako se hoée, nadoknaden) visokim emo. ‘ivnim nabolem tematskin mist harmonskom tenejom. Viastiie Perigié classical romantic sonata (although there are such moments {3 well, e.g. superpasition of elements of the secondary theme jn the piano and the main theme in the violin in bars 130— 137, in the bimodal relationship E sharp-G sharp Dorian, oF «8 “blending” of the motifs of the secondary theme with the main theme in the piano part, bars 162-172). The common ‘denominator linking these opposites into a whole is the seal intonative base, deeply rooted in the folklore of the compar ser's native land; the sonata dynamics is resized (or, a8 it were, ‘compensated for) by 2 highly emotional impact of thematic thought and harmonic tension Viestimie Pergié Transiated by Vera MilankoviePosveéeno Zlatku Balokovicu / Dedicated to Zlatko Bolokovié SLAVENSKA SONATA /SLAVONIC SONATA Josip Slavenski Pesante Allegro agitato energico 44) Tnime original se auteur © 1986 by DSH — UKS. DSH-UKS JSs 3DSH-UKS JSS 3DSH—UKS uss 3b: = So Loe DSH-UKS JSS 32 DSH—UKS uss 3 1 2DSH—UKS uss 3Stave lamentoso 24H sardine s)auig = — | 1) rime origina: ge vauieur DSH-UKS JSS 3= DSH—UKS JSS 3Allegro agitato +1 8a : HL DSH-UKS uss 3DSH-UKS uss 3ao foo eee. aipbtelat hike ytatseaa late beet iat ciate! it ded . 5 Sifts nen srped giosha J git ald tip DSH—UKS JSS 32 DSH-UKS 48S 3DSH—-UKS JSS 3‘a —— Demonico (Presto) re [Proce a pace aim, He tei poco a poco dim, DSH-UKS J8s 3poco a fpocftaim. DSH-UKS J8s 3a + oe vith ee ee ee St DSH—UKS JSS 3DSH-UKS JSS 3Te F pocoa poco agitate ate 2. DSH—UKS JSS 3DSH-UKS USS 3DSH-UKS JSS 3DSH—UKS JSs 32 Grave lamentoso DSH-UKS JSS 3DSH-UKS JSS 334 Allegro agitato energico DSH-UKS JSs 3DSH-UKS JSs 3Sospirando DSH-UKS J8S3 0 voll} } | BELESKA REDAKTORA Osnova za ov izdanje bilo je ,.Sehottove” indanje iz 1926, godine (1 foto-kopija autograta koji je 20 to izdanie postutio) Semo u neznatnom broju slutsjeva, gde je redaktor imo raz toga za sumnju ca se u njima potkrala greske, wréeno je uporede ‘je 42 autogratima iz autorove zaostavstne (bliti podsci o niims nalaze se u uvodnim napomenama uz ovu svesku) NAPOMENE UZ NOTNI TEKST rtiture T.36: dodatasnizilca pred es? u desnojrucl klavrs T. 37: u violinskoj deoniel brisene oznaks loco sul G (ok se u posebno} deonici violine na istom mestu nalazi ozmaka foco su) 1). laostauijajuéi obe oznake, redaktor prepusta violinist izbor prstoreda, T. 98: dodata sniziliea pred B, u levoj ruc Klavira T. 42: ees! u levojruciklaies igpravlieno w b,zaglasno harmon: skojsituaeil i autografu T. 146: autorova oznake Sauvage Belkaniques korigovana u Sauvage, balkanique. 150: izostavjena je autorova oznaks u deonic’ klavira Sauve 96 extasie des Boikaniques, s obzirom na jezigku nekorektnost ina prisustvo sasvim sliéne oznake u t, 146. ‘. 162: u éeonicivioline dodete oznaka 22 forte 1. 197; postednja nota u Jvoj ruck klvira ( Stamganom i2- danju b?)spravijene u de, u skigdu sa analognim prethocnim i sedesim taktovima, kao | 8 autografom ‘T. 256 i 258: izostavljena je jeziSki nakorektna ozneke double ‘epeolets, a radi veée jasnoée dodati su znaci za fladolet |i. od dvohvata, T. 262: oznake Agitato sauvage ckimonique presilizovane je U Agivato (sauvage, démoniaque). T. 283: u klaviru dodats oznake 2 forte, T. 291-302: dodat je lniski sistem sa peuzame zo violinsku deonicu, koji je u Stampanom izdanju izostavlien radi uftede prostora T. 303-304; najvita nota w desno} ruci klavire (u Stampenom izdenju dis‘) ispravjena u eis", jer so ofigledna raci 0 oktav . 313: oanaka ff pretvorens u fff, obzirom ne dugotraini prethodni crescendo, EDITORIAL NOTE ‘The basis for this dition isthe Schott edition of 1926 end the Photocopy of the sutograph copy trom which the edition was ‘made. In only 2 few cases, where the editor had reasons for su Pecting a possible mistake, a comparison with the autograph ‘copy from the authors estate was made (more detailed informs tion on them can be found in the introductory natices for this volume) NOTES TO THE music Sore ‘ar 36: an accidental flat is added to the e” in the right hand piano part Bar 37; in the violin part the “loco sul G” is erased (wile in @ separate violin part, “loco sul D stands in the same spot, Omitting both of these notations the editor leaves the fingering 1 the violinist. ‘ar 38; 6 flat is added to the BB in the left hand of the pisno part ‘Bar 42; the flat in the left hand of the piano part has been ‘changed to B natural, which isin accordance with the harmonic situation in the manuscript Bor 146; the author’s notation "Sauvage Balkaniques” has been corrected to "Sauvage, balkanique”. ‘Bar 180: the author's notation “Sauvage extasie des Balkani- ques” is omitted in the piano part because of its imprecision linguisticelly and because it is already pretent in 2 similer ‘notation in ber 146. Bar 162: @ Forte notation has been added to the violin part. Bar 197; the last note in the left hand section of the piano port ‘the note b" flat inthe printed version has been corrected to ¢” flat in accordance with the analogous preceding and following bars, es wll ab with the autograph copy. ‘Bars 266 and 258: the linguistically incorrect notation “double flogeolets” has been omitted and, for the sake of clarity, the harmonies notations are placed below the double stops. 80° 262; the notation Agitato sauvage démonique has been redrafted into Agitato (sauvage, démoniague). Bor 263: a Forte notation has been added to the piano part Bars 281-302: an extra staff with rests hat been added to the violin part, omitted in the printed version for lack of space. Bars 303-904: the highest note in the right hand section ‘of the piano part, d”" sharp has been corrected to e” sharp because an octave is obviously in question. Bar 313; the ff notation has been changed into an fff notation because ofa preceding tong crescendoT. 323: dodate snisllice pred det-des! u desnoj ruci Klevi T. 326-392: artikulacija u deonici viline uskladena se analog ‘im mestom u ekspozicji Posebna violinska deonica Pored gore navedenih ispravki u t. 37, 146, 162, 256, 258, 262 1 328~392, koje se odnose kako na partituru tako i na posebnu violinsku deonicu, udinjene su jo8 i ove T. 75-76: oxnaka 20 2 takia pauze razdvojena je u jedan takt peuze | polovinsku pauzu u iduéem taktu, ¢ obzirom ne ubele Zen nastup Klavira ‘T. 193; 4.1 5, Sesnaestina (fis") su vezane lukom, saglasno pr. ‘tut | sledaeim dvama tektovima, 7. 256 1 258: dodate su zvezdice koje upuéuju na — takode osato — objatnjenje nagina ivodenja dvostrukihflaZoleta pri dou strane, ‘T. 201-302: oznaka ze 12 taktova pauze pretvorena jeu 9 + 3 takta pauze, s obzirom da se u meduvremenu menja vate tokta i23/4u2/4, Viastimie Prigie Bar 328: Hats have been added in front of the octave dd" in ‘the right hand section of the piano part, Bors 328-392: articulation in the violin part has been coordina ted with an analogous situation in the exposition, Separate Violin Part ‘Aside from these corrections in bors 37, 146, 162, 286, 258, 262 and 328-332 referring to both the score and to the violin bert, some other corrections have buen made, such 28 ar 75-76: two bar pauses have been divided, one bar with pause and the other with a half-tone pause, in view of the ap- pearance ofthe piano as written in, Bar 133: the fourth ang fith # sharp semiquaver have been connected with @ slur in accordance with the seare and the ext two Bars, Bars 256 and 258: additional asterisks refer to an additional ‘explanation of the way the double harmonics on the bottom of the pape is to be interpreted, ‘ars 291-202: the marking of the twelve bers of rests hat been changed into 9 + 3 bers of rests since, in the meantime, ‘the time signature has changed from 3/4 to 2/4, Viastimir Peviig Trauslated by Vera MilankovieUradnittvo/ Editorial Board Stanko Horvat (lave urecinik /General Editor) Petar Bingulac, Viadimir Cri, Rastistav Kambeskovie, Viestimir Pritis, Zlatko Pibernik, Eva Sedok, Mirjana Zivkouié Likouna oprems/Design and Layout Marcel Badié “Tehnieki urednik/Production Editor Vladimir Cvifa Notogratiia/Engraved by Nikolae Bordevié Prijevod/ Translation Vera Milonkovi, Viadinir vir Lektori / Language Advisers Giga Graéan, Olvora Misi, Elon Bursae ledavati/Publishers Drattvo skiadatela Hrvatske Zagreb Udrutere kompozitora Srbije — Beograd Composers’ Society of Croatia ~ Zagreb Composers‘ Society of Serbie ~ Beograd 2a indavade/ Executive Editor Ziatko Pibernik ‘Tiskera/rinted by ‘Sveutilifa naklode Liber, Zagreb Naklade/First Edition 1.000 © Drustvo skiadatelja Hrvatske (OSH) ~ 1986, Berislavigeva 9, YU ~ 41000 Zegreb Udruzenje kompozttore Srbije (UKS) ~ 1986. Miaka 12-14, YU — 11000 Beograd Realizacju ovog izdanja omoguella Republitke samoupravne interesna zojednica u oblati kulture SR Hrvatske i Republigke 2ajedaica kulture SR Srbij. ‘This publication has been made possible by 2 grant from the Self-Management Community of Interest for Culture of the Socialist Republic of Croatia and from the Republican Com: ‘munity for Culture of the Socialist Republic of SerbiaViolino SLAVENSKA SONATA/SLAVONIC SONATA Allegro agitato energico Josip Slavenski tg os Pr ot Pesante 4) Thame original de auteur © 1986 by DSH — UKS DSH—UKS JSS 3aViolino Pao poco e poco ritera Grave lamentoso S con _sordino sul Allegro agitato hfe DSH-UKS JSS 32batkanique Vivo, possibile allegra | Th. St ee are DSH—UKS JSS 3aViolino pomeee ee I eae 2 2 poco a poco agitat oreo & = Tempe ad libitum 4) mi 4) Exécution: DSH-UKS JSS 30 ow z 4Violino fF Agitato (sauvage, démontaque) DSH—UKS JSS 3a6 Violino tk Grave lamentose— [a oe ee sence soragy @ 2 Allegrojegliato energicg, > DSH—UKS JSS 3aViolino 7 DSH-UKS JSS 32