RESEARCH AND TRADITION

Article received on 23 October 2013

Article accepted on 30 November 2013
UDC

‘‘SHORT LEXICON’’ OF DEDICATIONS IN THE

HANDWRITTEN LEGACY OF JOSIP SLAVENSKI (1896––1955)
IN THE LIBRARY OF THE FACULTY OF MUSIC
IN BELGRADE

Milica Gajiü
University of Arts in Belgrade
Faculty of Music, Library

Abstract: The paper presents some aspects of the handwritten legacy of Josip Slavenski,
stored in the Library of the Faculty of Music in Belgrade –– dedications that the composer
wrote by his own hand are collected in one place. These are mainly dedications to musi-
calperformers –– soloists and ensembles. They reveal many biographical details from the
author’’s life –– from performances of his works to friendly and professional contacts. Per-
ceiving Josip Slavenski’’s oeuvre from this aspect calls to mind many associations with the
general artistic climate of the age he was living and working in.
Key words: Josip Slavenski, dedications, handwritten legacy, Library of the Faculty of
Music in Belgrade

Studying the voluminous handwritten legacy of Josip Slavenski, an ex-

tremely important composer even on an international scale, largely contributes
to the accurate perception of the various developmental stages in his creative
path. The thematic list of this legacy, which today is stored in the Library of the
Faculty of Music in Belgrade, was done about thirty years ago, in two ways:

* Author contact information: milgaj2002@yahoo.com

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1. Chronological list –– which was published as the second volume of the

book ““Josip ŠŠtolcer Slavenski”” by musicologist Eva Sedak1

2. Genre list –– made by a group of enthusiasts, who were putting the legacy
of Josip Slavenski in order before it was moved out of the apartment in
33 Sveti Sava Street.2
It contains about forty pages of text with detailed descriptions of each of
the composer’’s works, sketches, variants, copies and the author’’s most impor-
tant handwritten notes. In essence, it refers to about 180 compositions –– from
beginner efforts and the oldest sketches to original and autonomous pieces
which made Josip Slavenski a creator of international influence and importance.
At the same time, these are the works which undoubtedly secure permanent
artistic value and greatness. Besides, these handwritten notes offer an plenitude
of indisputable evidence that Josip Slavenski was sometimes absorbed, even
obsessed, with tremendous, all-consuming preoccupations about the world, hu-
mankind, the universe, and with various cultures and civilizations.
Following his handwritten dedications3 in autographs, chronologically cre-
ates, in our opinion, not only an easy-to-follow catalogue of the works included
but also a different perspective of his creativity. This knowledge greatly en-
riches the pool of data on the diversity and stratification of Josip Slavenski’’s
personal, professional, and even conceptual contacts, as well as the fullness of
this artist’’slifestyle. For he was so well-informed and had such breadth of vi-
sion, regarding both day to day events and the eternal, unsolvable mysteries of
humankind, that many today might envy him.
Firstly, the most frequent are dedications to musical performers –– solo-
ists and ensembles. The majority of these dedications on the pieces by Josip
Slavenski reveal certain details from his professional and private life –– from
performances of his works to various friendly and professional contacts, but
also artistic and moral convictions. Apart from personal and intimate reasons,

1 Eva Sedak, Josip ŠŠtolcer Slavenski –– skladatelj prijelaza [Josip ŠŠtolcer Slavenski –– the
Composer of Transition] (I, II), Muziþki informativni centar i Muzikološški zavod, Zagreb,
1984.
2
Cf. the text by Professor Mirjana ŽŽivkoviü about the history and work on this legacy:
““Zaostavšština Josipa Slavenskog u Biblioteci Fakulteta muziþke umetnosti u Beogradu””
[““Legacy of Josip Slavenski in the Library of the Faculty of Music in Belgrade””], Banja
Luka, 2013 (in print).
3 Dedication, from Latin dedicare –– consecrate, proclaim, affirm, set apart, meaning the act

of bestowing something to someone, regardless of whether the gift will be requited. It is

mostly used for things, manuscripts of compositions in this case, which the author made
personally, including the inscription of dedication.

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the composer’’s dedications are often related to commissions and competitions,

but also to the author’’s personal gratitude after the successful performances
of certain works. Josip Slavenski’’s sincerity, and often even exalted enthusi-
asm, spontaneously inspired him to dedicate his musical works, as a token of
gratitude, mostly to the outstanding performing capabilities of particular solo-
ists and diverse ensembles. Thus we find the names such as the violinist Zlatko
Balokoviü, the conductor Matej Hubad, the choirs Hlahol from Prague, Mla-
dost, Balkan, Lisinski, Tomislav, Obiliü……
Let us peruse the legacy and briefly elaborate each of the works that had a
purpose other than purely artistic.
The first, and the oldest surviving, composition by Josip Slavenski was
written exactly one hundred years ago, in 1913. It is the piece Uspomena iz
Varažždina [Souvenir (de Varažždin)] for piano solo. Written before the au-
thor’’s departure to study music in Budapest, this waltz-type miniature by a
sixteen-year old composer-to-be bears the following double dedication:
““Sveþano mojemu uþitelju glasovira v. n. g. Dragutinu Simonu4 kr. Kot. Sudac
u Varažždinu. Mojem milom dobroþinitelju Ante Stohru5 za uspomenu na
componista 1913, IX, 3”” [““Solemnly to my piano teacher, the esteemed Mr
Dragutin Simon, RoyalCounty Judge in Varažždin. To my dear benefactor Ante
Stohr, in memory of the componist, 1913, IX, 3””]. The rear page of the piece
reads: ““Les adieux et le retour Dolores””. The work is supplemented with the
author’’s letter to Ante ŠŠter from Budapest, asking him to modify bars 9––20 of
the composition so that ““ne bi bila sliþna K. Leharu”” [““it would not resemble
K. Lehar””]. It seems that he was the first to realize that such a composition
was the fruit of initial, self-taught attempts, in which we find spontaneous and
intuitive harmonies.
Igraj kolo [Go to a Round Dance] for piano, from 1914/1915. The auto-
graph of this composition is dedicated to Vinko ŽŽganec, with whom the com-
poser was a close and life-long friend –– in his own words, ““moj Meÿimurac””
[““my man from Meÿimurje””].6 The title page reads: ““Improvizacija na jugoslov-

4 Dragutin Simon was a judge in Varažždin and a thoroughly educated man. He was also a
good musician and choirmaster.
5
Ante ŠŠter, or Stöhr (1847––1923) from Varažždin was a respected and distinguished music
teacher, composer, pianist, violinist and music educator, who also established a private music
school in Varažždin. He noticed young Josip ŠŠtolcer and gave him his first professional musi-
cal education. He helped him to apply at the Musical School of the Croatian Musical Institu-
tion, but ŠŠtolcer’’s works received negative reviews on that occasion. What Josip Slavenski
owed to him was not only the first professional lessons and advice, but also important and
unreserved support in his earliest creative efforts.
6 Vinko ŽŽganec (1890––1976), although a trained lawyer with a long career in the law, he

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enske popevke i igre”” [““Improvisation on Yugoslav songs and dances””]. A list of

three compositions is added: FROM MEĈIMURJE –– copied in Belgrade 1925.
Serenada [Serenade] for string quartet, 1914. This piece was also dedicated
to his first music teacher in Varažždin: ““Mojemu najmilijem prijatelju vg. A.
Stohru ŠŠtolcer Meÿimurec 1896.”” [““To my dearest friend, the esteemed Mr A.
Stohr, ŠŠtolcer of Meÿimurje 1896””.
ŠŠto bo tebe ljubþek trošštal, four-part mixed choir, 1915. This work is dedi-
cated to the Glasbena matica Music Society from Ljubljana.7 Besides, we can
also notice the dedication to the Croatian Choral Society Kolo.8 Moreover,
Slavenski dedicated to Kolo an entire choral cycle titled Pesme moje majke [My
Mother’’s Songs], containing ““5 zborova na meÿimurske narodne pjesme za koje
mi je inspiracije ili tekst dala moja majka Julija Novak”” [““5 choral pieces on
folk poems from Meÿimurje, for which the inspiration or verses were provided
by my mother Julija Novak””].
Voda zvira iz kamena, four-part mixed choir, 1916. This was the first sig-
nature work of the young composer which became popular and famous, even a
classic. Initially, it was dedicated to the renowned choral society Hlahol from

became a well-known and distinguished ethnomusicologist, melographer and composer. He

started collecting and arranging folk tunes from Meÿimurje as early as secondary school,
and later he expanded his melographic activity geographically. His research of Glagolitic
chant is also important. ŽŽganec was among the first in these parts of the world who con-
ducted scholarly research and analysis of folk tune structure using contemporary scholarly
and scientific methods. The domains and subjects of his research were diverse: from the
tonal and modal structure of folk music, to folklore elements in the Catholic and Orthodox
liturgical chant, to decasyllabic folk versification.
7 The Glasbena matica Music Society from Ljubljana was established in 1872, at the initia-

tive of Vojtech Valenta, and soon they started to publish their own musical editions. Almost
all Slovenian composers collaborated with the Society; hence it has played an important role
in the development of Slovenian music. In 1882, they established their Music School, which
in 1919 became the Conservatory. As early as in 1891 they formed a choir which, with Matej
Hubad as the choirmaster, achieved a great performance quality, forcefully inspiring the de-
velopment of domestic creativity in choral music.
8
It was established in 1862 in Zagreb, under the slogan Tko pjeva –– zlo ne misli [He who
sings, thinks no evil], and its main goal was to nurture Croatian music. However, it was not
before 1912 that their amateur orchestra was founded. As other similar ensembles of the
kind, they had several crises in their history –– they were cancelled, re-established, joined
with other ensembles…… Apart from important domestic and foreign choral pieces, they also
performed larger vocal-instrumental works. They cultivated their publishing activity, and
they also initiated the foundation of the Croatian Choral Union. As an important fact, it
should be mentioned that Kolo bought up Vatroslav Lisinski’’s manuscripts.

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Prague.9 The choir gave the premiere performance in Prague, on 22nd May
1922.10
Sa Balkana [From the Balkan], suite for piano solo, 1917. The autograph
contains dedications to two notable pianists of his time: Alexander Borovsky11
–– the 1st and the 3rd movements; and Nikolai Orlov12 –– the 2nd and the 4th move-
ments.
Fuga [Fugue] in the form of a symphonic poem, for large orchestra, 1917
(see Ex. 1). There are two identical copies of this work in Josip Slavenski’’s
legacy, bearing different dates and places of origin: Ploieúti 1917 and ýakovec
1920. This work for a big post-Romantic symphonic orchestra is dedicated to
his teacher of musical forms and counterpoint, Victor von Herzfeld,13 in the
second year of his studies at the Budapest Conservatory. It was one of the rare
works that the author later repudiated. He personally wrote this: ““Ova Fuga
je jedan eksperiment u duhu evropske muzike te zabranjujem ovo delo za
izvoÿenje javno: iz tih razloga ne priznajem ovo delo za izvoÿenje javno. Josip
Slavenski 1939.”” [““This Fugue is an experiment in the spirit of European music
and so I forbid this work to be publicly performed: for these reasons, I do not
acknowledge this work for public performances. Josip Slavenski 1939””].
Nokturno [Nocturne] for orchestra, 1917 (see Ex. 2). The dedication on this
work reads: ““A Monsieur Dr. Hugo pl. Michalovich””. This is Hugo Mihaloviü,
a well-known pianist at the time, who whole-heartedly helped Slavenski in his
admission to the Budapest Conservatory. Besides, the title page of the compo-

9 The famed and popular Hlahol choir, a choral society from Prague, first appeared in public
on 4th January 1861, as a male choir, but in time they became a mixed ensemble. The pro-
grammes and interpretations always depended on the current choirmaster. At the time when
Josip Slavenski wrote Voda zvira, it was Jaromír Herle, who achieved outstanding profes-
sional and artistic results with the choir, won international prizes and held great international
tours. They visited Yugoslavia in 1932.
10 Cf. Milica Gajiü, ““Prašške godine Josipa Slavenskog (1920––1923)”” [““The Prague Period

of Josip Slavenski (1920––1923)””], Meÿimurje, ýakovec, 1985, 7, 109––115.

11 Alexander Borovsky (1889––1968) was a Russian pianist who studied piano at the Petro-

grad Conservatory. He emigrated in 1920 and gave concerts all over Europe, North and
South America. From 1941 he lived in the USA, and in 1956 he became a professor at the
Boston University. His repertoire was broad and diverse, and he left behind a great number
of recordings, particularly of Bach’’s works.
12 Nikolai Andreyevich Orlov (1892––1964), Russian pianist. He studied piano and compos-

ing at the Moscow Conservatory, where he later worked as a professor. From 1922, he lived
in Paris and gave concerts all over the world. He spent his last years in Scotland.
13 Victor von Herzfeld (1856––1920), a violinist and composer, studied music in Vienna.

After spending time in Berlin, from 1886 he worked in Budapest, as a professor at the Con-
servatory and the second violinist in the Hubay-Popper Quartet.

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sition’’s autograph bears an author’’s note: ““Simfonijska muzika je veüe objav-

ljenje negoli svaka religija i filozofija. Betoven ŠŠtolcer.”” [““Symphonic music
is a greater revelation than any religion or philosophy. Beethoven ŠŠtolcer””].
Although Nokturno is an early symphonic piece, it shows to a great extent the
composer’’s preoccupations and talent, which fully developed later, and it is
considered to be one of the pinnacles of Josip Slavenski’’s first creative period.
Besides, the great success of this piece performed by the Zagreb Philharmonics
in 1920 brought enough financial means for him to fulfil his great desire –– to go
and study music at the Prague Conservatory.
Tri tiþice, improvisations on Yugoslav folk songs, for mezzo-soprano and
piano, 1918. The author’’s copy is marked ““Zagreb, 5. III 1924””, and the title
page bears a dedication to Maja Strozzi,14 soprano, and Bela Peþiü, her husband
and accompanist.
Radniþka pesma [Workers’’ Song], for mixed choir, 1918. Dedicated to Er-
nest Krajanski,15 a friend from Varažždin who was a lawyer, but also a musi-
cian working as the choirmaster of the Tomislav Choral Society from Varažždin.
Krajanski was a life-long driving force and support to Josip Slavenski, hispro-
nounced thirst for knowledge and determination to persist with his education.
As a broadly educated man with a sound knowledge of music, he was thrilled
by the compositions shown to him by the young composer at the time.

14 Maja Strozzi-Peþiü (1892––1962), coloratura soprano, occupies a place of honour among

the artists from this part of the world. Apart from engagements in the Graz and Zagreb opera
houses, she also had a concert career as an excellent interpreter of songs. She performed
songs by Yugoslav authors on her many tours, thus greatly contributing to the development
and recognition of Yugoslav vocal music in the country and abroad. Her husband, Bela Peþiü
(1878––1938), was a graduated pharmacist, but in time he developed into a competent ac-
companist. Their concerts in Zagreb –– famous Matinées and Musical Soirées –– mostly fea-
tured the works of Slavonic composers. As a point of interest, Igor Stravinsky dedicated four
of his works to Maja Strozzi.
15 Dr Ernest Krajanski (1885––1941), a lawyer, was an excellent musician who, besides grad-

uating from a law school in Vienna, also studied music with Josef Max. A singer and violin-
ist, but also the choirmaster of the Tomislav Choral Society in Varažždin. His harmonisations
of folk songs have survived, and he published texts about music in the local newspaper and
the journal of the St. Cecilia Academy. He was murdered in the concentration camp in Stara
Gradišška in 1941. Concert programmes of the Tomislav Society ““pokazuju, kako je njegov
dirigent E. Krajanski finim ukusom odabirao djela starih majstora i modernih našših domaüih
skladatelja koji su drušštvu posveüivali svoje skladbe za pravo prvih izvedbi”” [““show that
their conductor, E. Krajanski, has tastefully chosen the works of old masters and our modern
composers who have dedicated their compositions to the Society, giving the first perfor-
mances””]. Kreššimir Filiü, Glazbeni žživot Varažždina: Muziþka šškola Varažždin[Music Life in
Varažždin: Music School in Varažždin], 1972, 472––474.

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Jugoslovenska svita [Yugoslav Suite], the third suite for piano solo, was
finished in Prague on 15th May 1921. It is dedicated to Slovenian pianist Ciril
Liþar,16 who premiered the work in Zagreb, on 9th May 1922. He was a close
friend and collaborator of Slavenski’’s. Like Slavenski and Tkalþiü, he moved to
Belgrade to work at the Music School, in response to an invitation from Jovan
Zorko, the principal. He was a very interesting musical artist and teacher, as
well as an ambitious and active participant in the restoration of the music life
in Belgrade.
Ljubica ljubezna/Ružžica rumena, four-part mixed choir from 1921, the
fourth work in the choral cycle Pesme moje majke. Originally it was dedicated
to the Tomislav Choir from Varažždin,17 and then to the Lisinski Choir from Za-
greb.18
De si bila ružžica rumena, eight-part mixed choir, 1921. It also belongs to
Pesme moje majke, as the third song in the cycle. It is dedicated to the Kolo
Choral Society from Zagreb,19 who gave the premiere performance in Zagreb in
1923, with Oskar Smodek as the choirmaster.
Sastali se þapljanski Tatari, for mixed or male choir, 1922, dedicated to the
Obiliü Choral Society from Belgrade.
Romarska popevka, for three-part female choir, is dedicated to the Lisinski
Choral Society from Zagreb. The manuscript of this composition contains nota-
tion for non-tempered singing and a note with the polyrhythms of indigenous
peoples.

16 Ciril Liþar (1894––1957), Slovenian pianist, studied piano in Ljubljana and at the Prague
Conservatory (1912––1917) with Professor Hofmeister. First, he was a piano teacher in Za-
greb, at the Secondary School of the Music Academy, between 1921 and 1925. After moving
to Belgrade, he first worked in the Music School and then, from 1937, at the newly founded
Music Academy. After graduation, he frequently toured as a refined and reliable accompa-
nist to renowned artists, including Zlatko Balokoviü, Jaroslav Kocian, Jan Kubelik, Jure
Tkalþiü, Josip Rijavec. Liþar’’s most important activity, which he also personally favoured,
was chamber music –– first he had a trio in Zagreb, with V. Huml and J. Tkalþiü. Later, in
Belgrade, in 1925, he became a member of the Belgrade Quartet, with the violinists Marija
Mihajloviü and Jovan Zorko and the violoncellist Jure Tkalþiü. He also worked with the pia-
nist Milica Moþ from Novi Sad.
17
The Tomislav Choral Society from Varažždin, cf. Footnote 15.
18 Lisinski was a Croatian choral society established in 1910 in Zagreb, which soon devel-

oped into the best choir in Croatia, with a rich and diverse vocal and vocal-instrumental
repertoire. They gave a host of concerts not only in Zagreb, but in cities all over the country
and abroad. They achieved their highest artistic results in between the two world wars, when
they contributed significantly to the development of Yugoslav choral music.
19 Cf. Footnote 8.

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Iz Jugoslavije [From Yugoslavia], piano suite, 1923. It is dedicated to Dr

Ivan N. Novak, benefactor and patron of the arts from Varažždin.20
Gudaþki kvartet br. 1 [String Quartet No. 1], Op. 3, 1923, is in fact his grad-
uation work at the Prague Conservatory, under the mentorship of Josef Suk. The
note in Cyrillic script can be found in the variant B of the Quartet, and reads: ““U
Pragu dne 1. maja 1923. izveden 26. juna 1923. Ovo delo je posveüeno Kvartetu
op. 133 L. v. Betovena, preciznije veliþanstvenoj Betovenovoj Fugi op. 133.””
[““In Prague, 1st May 1923, performed on 26th June 1923. This work is dedi-
cated to the Quartet Op. 133 by L. V. Beethoven, more precisely to Beethoven’’s
magnificent Fugue Op. 133””]. In this way, the author symbolically expressed
his admiration for the unparalleled master of string quartet. This quartet was
Slavenski’’sfirst work that earned him international recognition and paved the
way for his international career. First, with the foregoing performance of the
work, which ended his music studies in Prague, in June 1923 at the Prague
Conservatory; in October of the same year, when Zagrebaþki kvartet [The Za-
greb Quartet] performed the piece in Zagreb; and most importantly, when the
same ensemble played the composition at a gala concert at the Donaueschingen
Festival the following year. And in the jury, who accepted its performance at the
event, were Busoni, Schönberg, Schreker……
Sonata for piano, Op. 4, 1924. Slavenski dedicated his Sonata for piano
to the pianist Svetislav Stanþiü,21 who also gave the first performance on 25th
February 1927 in Zagreb. The legacy contains the sketches of this work, done
in pencil, 22 pages altogether. There are harmonisations of given melodies on
one of the pages, and two songs for two-part male choir on another –– harmoni-
sations of songs Uzo deda svog unuka and Jošš ni jedan zagorec. Besides, the
cover page of the Preludium from the Sonata exists, bearing the dedication to
Božžidar Kunc,22 a student of Svetislav Stanþiü who lived and worked in New

20 Kreššimir Filiü, op. cit.

21 Svetislav Stanþiü (1895––1970), a versatile piano teacher and pianist, was educated in Za-
greb and took private lessons in piano and composing in Berlin. He was the first concert pia-
nist in Croatia, and then a professor and the head of the piano department at the Music
Academy in Zagreb for a long time, until 1965. He developed into the most distinguished
Yugoslav artist and piano educator, and he was mentor to a number of generations of stu-
dents, having an individual educational approach to each of them. He received numerous
prizes and awards, and he was a full member of the Yugoslav Academy of Sciences and Arts
and a corresponding member of the Serbian Academy of Sciences and Arts.
22 Božžidar Kunc (1903––1964), a composer and pianist, graduated in Zagreb, studying piano

with Svetislav Stanþiü and composing with Blagoje Bersa. He gave concerts promoting do-
mestic literature for piano, and he ran the Opera Studio at the Music Academy in Zagreb.
Since 1951 he lived and worked in the USA.

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York City. It is interesting that he, like Josip Slavenski, dedicated his Concert
for Violin and Orchestra (1954) to the famous violinist Zlatko Balokoviü.
Slavenska sonata [Slavonic Sonata], Op. 5, for violin and piano, 1924. It is
dedicated to the distinguished violinist Zlatko Balokoviü.23 This gesture ““možže
se smatrati mladenaþkom ambicioznoššüu, kao pogled mišša na slona ili žželja žžabe
da postigne veliþinu vola iz basne. Na to svatko ima pravo i to nitko nikome
ne treba zamjeravati…… U odnosu izmeÿu Balokoviüa i ŠŠtolcera oþito nije bilo
dvojbe: ŠŠtolcerovu posvetu Balokoviü je prihvatio, ali ne samo kao gestu dobro-
hotne podršške mladom i perspektivnom talentu. On je sa svoje strane pokazao
nesumnjivo priznanje veü visokoj kompozitorovoj zrelosti þovjeka koji je tek
na pragu svoje umjetniþke karijere.”” [““can be considered a youthful ambition,
like a mouse’’s gaze upon an elephant, or the proverbial frog’’s desire to attain
the size of the ox. Everybody is entitled to that and it should be held against no
one…… The relationship between Balokoviü and ŠŠtolcer obviously left no room
for doubt: Balokoviü accepted ŠŠtolcer’’s dedication, but not only in a gesture of
benevolent support to the young and promising talent. For his part, he showed
an unmistakable respect for the creative maturity of a composer who was still
on the verge of his artistic career””].24 Although a relatively early work, written
at the same time as Sonata for piano, Sonata religiosa for violin and piano and
the First String Quartet, the power of its musical expression is overwhelm-
ing. It is a one-movement work of complex and multi-layered form –– ““Big in
Small””, as people said. Although this composition was also dedicated to Zlatko
Balokoviü, the Zagreb premiere was performed by Francis Aranyi, a member of
the Zagreb Quartet.
Nikad [Never], four-part mixed choir, 1924, after the verses of Zvonko
Milkoviü. It is dedicated to the Zora Choral Society from Karlovac25, and today

23 Zlatko Balokoviü (1895––1965), a world-renowned violinist, also called ‘‘a violin genius’’.
A student of the notable Czech teacher Vaclav Huml in Zagreb, he took master classes with
Otakar ŠŠevþík in Vienna. After that, he developed an international concert career, appearing
in concert halls in cities all over the world. He settled in New York City and developed a rich
social and artistic life. As a friend of Nikola Tesla, he played at his funeral in 1943 –– first,
Schubert’’s Ave Maria, and then a folk song Tamo daleko. All the while, besides his artistic
engagements, he was a selfless humanitarian, especially during the world wars. He partici-
pated in charity concerts for the benefit of the International Red Cross, and later he was the
chairman of the Society of Friends of the New Yugoslavia in the USA. Cf. Vladimir Kapun,
““Zlatko Balokoviü prvi put u Meÿimurju””[““Zlatko Balokoviü for the First Time in
Meÿimurje””], Meÿimurje, ýakovec, 1986, 147––160.
24 Cf. Vladimir Kapun, op. cit., 156––157.
25 Zora was the first Croatian choral society, established in 1858 in Karlovac. It played an

important role in the history, culture and art of the region. Apart from concerts and entertain-

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all that exists is a lithograph of this work published by the Society.The work is a
variation on Mladost, more precisely a section of four songs which, both in po-
etry and music, deal with the subject of love. The verses were written by the poet
Zvonko Milkoviü, the composer’’s friend from Varažždin, and this work, in a way,
demonstrates the close and affectionate cooperation of the two young friends.
Iz Srbije [From Serbia], suite for piano, 1925. The handwritten dedication
reads: ““Za Danicu Dimiü prepisao sam autor u znak dubokog pošštovanja, u
Parizu dne 29. 5. 1926.”” [““For Danica Dimiü, copied by the author personally,
as a sign of deep respect, in Paris, on 29th May 1926””]. The recipient was the
pianist Danica Dimiü, almost forgotten today.
Jugoslovenska pesma i igra [Yugoslav Song and Dance], for violin and
piano, 1925. One autograph of this work is dedicated to the violinist Mr. Jovan
Zorko,26 the principal of the Music School in Belgrade, which today is the
Mokranjac Music School. At his invitation and intervention, Josip Slavenski
moved to Belgrade, as well as some other young educated musicians, because it
was Zorko’’s ambition to gather the most distinguished colleagues in his school.
This was yet another occasion where Slavenski entrusted one and the same work
to different performing ensembles. Thus, this composition was also rewritten
for violoncello, the autograph bearing the date 5th March 1942. The current ver-
sion was dedicated to Marija Ĉermanoviü, the author’’s marriage witness, and
her husband, great friends of Josip Slavenski and his wife Milana. Slavenski
composed or rearranged some of his trios in order to be performed at chamber
music sessions, which they frequently organized at home.
Sa sela [From the Country], quintet for flute, clarinet, violin, viola and double
bass, Op. 6, 1925. The dedication reads: ““Dedie a Mahomet fondateur d L Islam
en temoignage de profonde admiration”” [““Dedicated to Muhammad, founder of
Islam, as a testimony of profound admiration””]. We could not find out what the
reasons were for such a dedication on the cover page of this composition.
Mladost [Youth], symphonic picture for orchestra, 1925, is a work dedi-
cated to Matej Hubad (see Ex. 3).27 The back page of the work bears the follow-

ment, this society organized amateur theatre shows. It was most active after the First World
War, achieving its highest artistic results at that time.
26
Jovan Zorko (1881––1942), a violinist and music teacher. He studied violin in Moscow.
First he taught music in the seminary, the normal school and secondary schools in Belgrade,
and from 1922 to 1942 he was the teacher of violin and chamber music at the Music School.
Besides, he was the choirmaster of several choral societies. He was a member of chamber
ensembles, the most notable of which was the Belgrade Quartet. He also was a music critic,
the author of many compositions and of the textbook ŠŠkola za violinu [Violin School].
27 Matej Hubad (1866––1937), Slovenian singing teacher and choirmaster, studied at the Vi-

enna Conservatory. He was a teacher at the School of Glasbena matica, and later a teacher

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ing note by the author: ““Veliki uþitelj slovenaþkih muziþara Matej Hubad bio
je jedan od najboljih interpretatora moje vokalne muzike. Po njegovoj žželji sam
instrumentirao te moje horske kompozicije iz mladosti. Ali tokom instrumen-
tacije usled harmonskog i melodijskog produbljenja meÿuvremeno su nastale
nove simfonijske slike te sa blagodarnoššüu sam posvetio to delo Matej Hubadu
kompozitoru i organizatoru slovenaþkog muziþkog žživota. Josip ŠŠ. Slavenski,
Beograd 11. maja 1925. god.”” [““The great teacher of Slovenian musicians, Matej
Hubad, was one of the best interpreters of my vocal music. By his wish, I in-
strumented these choral compositions I had written in my youth. But during the
instrumentation, due to harmonic and melodic intensification, new symphonic
pictures emerged in the meantime, and so I have gratefully dedicated this work
to Matej Hubad, composer and organizer of musical events in Slovenia. Josip ŠŠ.
Slavenski, Belgrade, 11th May 1925””]. Later, Slavenski rearranged this compo-
sition for a much smaller orchestra of string instruments, as the accompaniment,
and its task is much more modest –– to play an instrumental introduction to every
song and to support the choir while singing, but so that the choir nevertheless
retains the main role. It is likely that this arrangement was made for a school
performance. Once again, it confirms that Josip Slavenski wrote versions of his
compositions for diverse ensembles, because he carried several versions of their
sound in his inner being.
Ftiþek veli da se žženil bude, for four-part female choir with piano accom-
paniment, 1925. It is dedicated to the Prvo beogradsko pevaþko drušštvo [First
Belgrade Choral Society] from Belgrade.
Pesme i igre sa Balkana [Songs and Dances from the Balkan], suite for
piano, 1927. The work is dedicated to Milana Iliü, who would later become the
composer’’s wife Milana Slavenski. This composition later became the famous
orchestral composition Balkanofonija [Balkanophonia].
Koncert za violinu i orkestar [Concert for Violin and Orchestra], 1927. It is
not known if this work was originally unfinished. The title page bears another
dedication to the violinist Zlatko Balokoviü.28

of singing and the principal of its Conservatory. From 1923 to 1927 he was the intendant of
the National Theatre. As a choirmaster, he attained a high artistic standard with the choir of
this institution and influenced the development of the art of choral performance in every
way –– interpretative and creative.
28 Zlatko Balokoviü maintained contact with the Jugoslovenska kulturna matica [Yugoslav

Cultural Society] in New York City, whose member was also Aleksandar Savin, and they
also collaborated in the Jugoslovensko prosvetno kolo [Yugoslav Educational Circle]. Cf.
Sanja Grujiü-Vlajniü, ““Neki interesantni momenti iz prepiske Josipa Slavenskog”” [““Some
interesting details from Josip Slavenski’’s correspondence””], Meÿimurje, ýakovec, 1988,
111––129.

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Slepaþka, for four-part mixed or male choir, 1927. The author’’s copy,
dated 12th June 1932, is dedicated to Kosta P. Manojloviü. Among other things,
Manojloviü wrote a newspaper review of the sevdalinka song Oj slavuju moj
during the filming of the movie Fantom Durmitora [Phantom of Durmitor], for
which Slavenski wrote the soundtrack. Besides, they were lifelong friends. And
when Manojloviü became the first Vice-Chancellor of the newly founded Music
Academy in Belgrade, Slavenski supported his endeavour to acquire quarter-
tone harmoniums.
Kolo [Round Dance], for two-part female choir and string quintet or string
orchestra, 1927 (see Ex. 4). The back page of the work reads: ““Narodna svita
za violinu i klavir”” [““Folklore Suite for Violin and Piano””] (see below), and
the piece is dedicated to the Music School in Belgrade. Besides, there is also a
separate handwritten violin part, with a dedication to Zlatko Balokoviü on the
cover page, and the list of movements which in Kolo differs from that in Naro-
dna svita. Although Balokoviü performed Slavenski’’s compositions on many
occasions on his world tours, it seems that he never played Narodna svita, prob-
ably because of its modest technical demands.
The Second String Quartet (Lyrical Quartet), Op. 11, 1928. Dedicated to
the Zika String Quartet from Prague, who gave the premiere performance at the
Frankfurt Radio on 18th April 1929.
Narodna svita [Folklore Suite], for violin and piano, 1932 (cf. Kolo), see
Ex. 5. A copy of the violin part survives, with a dedication to Zlatko Balokoviü,
who was active in the Yugoslav Cultural Society in New York City. It is based
on the soundtrack for the film Fantom Durmitora [Phantom of Durmitor] and
““predstavlja kaleidoskopsko nizanje sedam stavova folklorne graÿe po principu
smene ‘‘igranja’’ i ‘‘pevanja’’. Izdvojen od ostalih filmskih numera, u jednom au-
tografu nosi posvetu naššem þuvenom violinisti Zlatku Balokoviüu”” [““presents a
kaleidoscopic sequence of seven movements based on folklore, with ‘‘dance’’ and
‘‘song’’ taking turns. The material was chosen from among the movie numbers,
and the autograph is dedicated to our famous violinist Zlatko Balokoviü””].29
Nevesto tanka, two folk songs for male choir, 1933. Dedicated to the Gusla
Male Choir from Sofia.
ýije je ono devojþe, for three-part male choir, 1933. Also dedicated to the
Gusla Male Choir from Sofia.
Simfonija Orijenta [Symphony of the Orient], for soloists, choir and orchestra,
1926––1934. (Ex oriente lux.), see Ex. 6. Slavenski called music a super-religion,

29 Mirjana ŽŽivkoviü, ““O filmskoj muzici Josipa Slavenskog”” [““On Film Music of Josip
Slavenski””], Zvuk, Sarajevo, 1982, 4, 41. Also see ex. 5 in Appendix, a fragment of Slaven-
ski's letter to Balokoviü.

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and besides, this composition bears the author’’s dedication to the magnificent
Missa Solemnis, written by the composer he held in the highest esteem of all
–– Ludwig van Beethoven. It ““predstavlja plod centralnih preokupacija Slavensk-
ove stvaralaþke maššte koja ga je zaþela jošš u ranoj mladosti da bi ga ostvarila u
zrelim godinama”” [““represents the result of the main preoccupations of Slaven-
ski’’s creative imagination, which first appeared in his early youth, only to bear
fruit in his mature years””].30 On the back page he wrote: ““ýesto izvoÿenje ove
moje simfonijske kantate opasno je za monopoliste držžavnih nagrada i položžaja
svih režžima”” [““The frequent performance of this symphonic cantata of mine is
dangerous for the regular receivers of state prizes and positions in all regimes””].
Oj, kuli, stage music for the play and to the verses of Louis Aragon, for
mixed and speaking choir, piano, flute and narrator, 1937. Dedicated to the
Abrašševiü Choral Society from Belgrade,31 and performed on 10th November
1937 in the Abrašševiü Workers’’ Chamber. Directed by Pavle Stefanoviü, the
stage design by Lujo Daviþo. The Abrašševiü Choir had about 80 members at the
time and was led by Pavle Stefanoviü. In the autumn of 1937 he engaged the
composer Josip Slavenski, the choreographer Lujo Daviþo and the pianist Stana
Ĉuriü Klajn, together with two anonymous musicians, to perform this ambitious
stage-music work, after a social poem by Louis Aragon whose subject was the
exploitation of the dockyard labourers in China.32
In this summarized presentation of the chronology of Josip Slavenski’’s
works bearing attributed dedications, we also summarized, in a certain way, his
creative preoccupations, professional tributes, but also ambitious constructions
and obsessive philosophical views. Although very clear and explicit, they never
divulge to the full extent the most intimate and subtle relations that were inter-
actively established between the author and the person or thing that merited a
gift from our great composer.
Translated by Goran Kapetanoviü

30 Mirjana ŽŽivkoviü, op. cit.

31 Abrašševiü Workers’’ Choral Society was established in 1905 in Belgrade, and their entire
activity influenced the development of the political and class consciousness of the workers.
Besides following workers’’ manifestations and demonstrations, with obligatory participa-
tion in celebrations on every 1st May, Abrašševiü unambiguously expressed their political
views at spectacles, theatre shows and concerts.
32 Cf. Milica Gajiü, ““Revolucionarni duh J. Slavenskog”” [““Revolutionary spirit of J. Slaven-

ski””], Meÿimurje, ýakovec, 1989, 139––140.

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APPENDICES

Ex. 1 - Fugue in the form of symphonic poem for large orchestra (1917), title page,
dedicated to Victor von Herzfeld

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Ex. 2 - Nokturno for orchestra, op. 1 - title page, dedicated to Hugo Mihailoviü

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Ex. 3 - Mladost, symphonic picture for orchestra (1927), dedicated to Matej Hubad

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