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ISSN: 0580-373X    frecuency : 4   format : Electrónica

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Volume 48 Number 2 Year 2012

19 articles in this issue 

Suzana Ograjenšek

Savin’s surviving correspondence serves as a source for the composer’s general biography as well as his music activities. At a rough estimate it comprises around 3000 documents; those devoted to music, including drafts, number over 550. This material, in ... see more

Pags. 19 - 52  

Peter Zimmermann

The artistic creativity of Risto Savin as composer does not fit well with the prosaic profession of his alter ego Friedrich Schirza (1859–1948): he joined the Austro-Hungarian army in 1878 and left in 1918 as Major-General. Sources in the Vienna War Archi... see more

Pags. 53 - 77  

Aleš Nagode

The article presents a new view on the material linked to Risto Savin’s songs for voice and piano. It draws attention to several songs that have thus far been unaccounted for and uses a range of facts to correct the established chronology of Savin’s songs... see more

Pags. 79 - 89  

Peter Zimmermann

Most of the fifteen Lieder by Risto Savin which survive in his legacy are based on German poetry, while three of them are based on translations of foreign poetry into German. The article leaves it to the reader to decide whether the composer had a lucky h... see more

Pags. 91 - 132  

Niall O'Loughlin

As an Austro-Hungarian soldier, Risto Savin gradually achieved Slovene musical identity, first by working in a Germanic style for songs, piano and chamber music and afterwards by setting Slovene poetry by Anton Aškerc (1895) and writing his first short mu... see more

Pags. 133 - 140  

Borut Smrekar

Opera was the key genre of Savin’s composing work. In Poslednja straža (“The Last Watch”), Lepa Vida (“Fair Vida”), Gosposvetski sen (“Gospa Sveta’s Dream”) and Matija Gubec, he used the late-Romantic principles of building a music drama. Savin’s opus rep... see more

Pags. 141 - 164  

Henrik Neubauer

The paper discusses Risto Savin’s works which have a connection to dance and ballet. The works considered include those which were purposefully intended for a ballet performance (the ballets Plesna Legendica (“Tanzlegendchen”, “Dance Legend”) and Cajna pu... see more

Pags. 165 - 185  

Matjaž Barbo

Orchestral works represent a distinctly minor part of Savin’s compositional output and are written around the chronological edges of his creative span, at the beginning of his activity as a composer and later towards the end of his life. Nevertheless a st... see more

Pags. 187 - 194  

Maruša Zupancic

Risto Savin wrote ten instrumental chamber works: a string quartet, two piano trios, a cello sonata, and six violin pieces, of which two are arrangements of his own orchestral works. The paper places Savin’s instrumental chamber opus in the context of the... see more

Pags. 195 - 216  

Jernej Weiss

Risto Savin’s piano compositions are not central to his composing creativity – his most prominent works were devoted to stage and voice – but his output of pieces for piano is certainly not small. Savin wrote music for piano throughout the entire span of ... see more

Pags. 217 - 227  

Tjaša Ribizel

The article discusses pieces for male and mixed choirs by the composer Risto Savin. They are based either on poems by renowned Slovene poets like Anton Aškerc and Oton Župancic, or on folk motives (both verbal and musical). The compositions are quite simi... see more

Pags. 229 - 238  

Špela Lah

The article presents an analytical profile of Savin’s works for children’s and youth choirs and outlines their main compositional characteristics.

Pags. 239 - 249