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Mart Kuldkepp has translated into Estonian an Old Icelandic alliterative poem of 83 verses “The Song of the Sun” (c.13th century) by anonymous author. The translation is complete with comments, revealing the origin and context of the poem.
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Since its foundation in 1828, the Varaždin Music School has interrupted and resumed its operation fi ve times, always changing its organizational structure from the civil society to local government institutions, and from entrepreneurial collaboration of private music teachers to the state school. In the last period of its operation starting in 1936, the School has been the only music institution in the city which has preserved its continuity until today. Such continuity was interrupted in all the other music institutions, like amateur societies, professional orchestras and music and stage groups. Those especially meritorious for preserving the continuity of the School are: Marij a Šanjek, Krešimir Filić, Anka Stöhr, Otilij a Petrony-Kaderžavek, Josip Vrhovski and Marij an Zuber. Segments of work which this continuity was based on can be presented in ten points: 1. Mass engagement of the youngest pupils 2. Theoretic and practical teaching 3. Classical and folk ensembles 4. High quality group music making 5. Supporting development of talented students 6. Ensuring high quality, recruitment and professional training of 7. Upgrading of school activities by introducing innovative facilities 8. Upgrading of material and space conditions and school equipment 9. Cooperation with other schools, amateur societies and professional musicians 10. Participation in public cultural life of the community Today, the school has 645 students from the city of Varaždin, the Varaždin county and several other counties of Northern Croatia, by which its mission of the central music and educational institution of this part of Croatia and the source of professional workers in the area of music professionalism, amateur music and education who develop their careers in Croatia and abroad has been successfully fulfi lled. Always aware that continuity results from development, the School shall try to realize its future goals, these in particular being the establishment of the central school library, renewal of the music and stage groups closed in 1963, and its upgrading into an institution of higher education, set in the 1971 Development Plans. In addition, all other plans resulting from creative processes of the School are also to be pursued.
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This paper analyses the results of research conducted on the music life in Varaždin from 1827 to 1842. By using citations of K. Filić, published in his book "Glazbeni život Varaždina" (“The Music Life in Varaždin") in 1968, on pages 140 through 174, he presents his own facts and indicates multiple options of quoting methods used for the "Protokoll Muzičkog društva" /”Music Society Protocol”/. According to Krešimir Filić, the Protocols comprised at least 130 pages. Location of where the Protocols have been kept since Filić time has remained unknown. The analysis of newly discovered archive sources from the holdings of the Varaždin National Archives and the Varaždin City Government, add to recognitions on the fi rst decades of the Varaždin Music Society operation as well as to the tasks of the music school teachers. In the stated period, discussions were conducted on the members of the Society Board and the music "gang". The author presents everyday life examples and argues on lives of the music teachers, joined by Ivan Padovec in mid 1837, a er his return to Varaždin.
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The famous mezzo-soprano Ruža Pospiš-Baldani (25 July 1942, Varaždinske Toplice), is the national diva and one of the greatest vocal artists of our time. Following education in Varaždin (with Professor Ankica Opolski) and at the Music Academy in Zagreb (Professor Marij a Borčić), she swi ly reached tops of her grand career in the country and abroad. She remained continuously connected to her home institution, the Croatian National Theatre in Zagreb. For seven years she was the lead of the New York Metropolitan Opera, a standing guest to the Vienna National Opera and the Bavarian National Opera in Munich. She performed at the Scala in Milan, the Royal Opera and the Teatro de la Zarzuela in Madrid, Teatro Colón in Buenos Aires, Gran Teatro Liceo in Barcelona, and, in several occasions at the Salzburg Festival. Throughout the years she established a long-term relationship with conductors like Lovro pl. Matačić, Herbert von Karajan and Karl Ri ter. She performed with Zubin Mehta, Leonard Bernstein, Wolfgang Sawallis , Karlos Kleiber and many others. Her partners were Placido Domingo, Luciano Pavaro i, José Carreras, Richard Tucker, Nicolai Gedda, Nikolaj Gjaurov, Montserrat Caballé, Renata Tebaldi, Leontyne Price and other grand performers of the opera and concert scene. Her beautiful voice, extraordinary musicality, grand scenic performance and top professionalism she has presented a wide repertory of opera characters, of whom the best known are Gluck’s Orpheus, Verdi’s Amneris and Azucena, Bizet’s Carmen, Saint-Saëns’ Dalila, Wagner’s characters of Frick, Erd and Brangän, Gotovac’s Mila Gojsalića, etc. At the stage she interpreted the mezzo-soprano parts in numerous works of Verdi, Bach, Brahms, Haydn, Mahler, etc. She received awards for her successful work, of which the most famous are the life-award "Vladimir Nazor", the award of Hrvatsko glumište (Croatian Theatre Stage) and the award "Ivan Lukačić" of the Varaždin Baroque Evenings.
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When in 1828, the Varaždin Society of Music Lovers founded their Music School, their aim was to provide education of professional musicians for music bands that enabled continuous theatre operation. Primary documentation on the development of public, urban and civil education, as well as the comprehensive secondary documentation (including notes, newspaper cu ings, programmes) has been well preserved and analysed. They are an important source of items fi ing into the general image of Varaždin music culture. As an important musical centre, and during some time also political, with its churches, palaces and wealthy city houses, the city had always been an a ractive place of work for numerous musicians, reaching peaks of music education. For this occasion our wish was to emphasize the value of Varaždin Music School and its rich tradition, however not by simply collecting the already known materials, but by off ering sources and information for future synthesis. The submi ed papers are of various nature, and so are the persons they have been devoted to. This famous nursery of musical talents has again been acknowledged, but excellent musicians from other areas have not been neglected either. Virtuous music making and comprehensiveness of music and general culture is a common feature of all of those musicians, regardless of the generation they belong to - the singers Nada Pu ar-Gold, Vlatka Oršanić and Tomislav Mužek, and the harpsichordist Višnja Mažuran. Also presented are the ones who have le us but whose music activity had established strong links with Varaždin, e.g. Josip Vrhovski i Marij an Zuber. Some of the selected artists have presented themselves alone, in an interview, and off ered their views of certain music and life issues and the period they were developing in, issues relating to interpretation and performances, but also to views on the contemporary artists and music in general. These interviews and reviews represent work of the musicologists and soon to be graduate students of musicology, of whom some are connected to Varaždin. Thus, this confi rmation of importance and quality of Varaždin Music School does not only record its success but provides initiative and inspiration of its present students and teachers.
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Angèle Merici a fondé son Institut pour le bien de l'Eglise entière, en l'an 1535., à Brescia, en Italie Septentrionelle. Au commencement, ses fi lles spirituelles ont assumé le devoir de la catéchèse, et depuis l'an 1612, en France, des écoles leur ont été confi ées. L'Ordre a traversé toute l'Europe avant de s'installer à Varazdin en l'an 1703. Aussitôt arrivées, les religieuses ont ouvert deux classes. Depuis quand la reine Marie-Thérèse a élevé l'école primaire au rang de l'école supérieure, en l'an 1777, la musique y prenait une place notable parmis les autres matières. Dans l'avenir on ouvrit le jardin d'enfants, le gymnase, l'école normale. Pendant 242 ans, jusqu'à la nationnalisation des écoles par les communistes, en 1945, dans l'école primaire, et surtout dans celle supérieure pour des jeunes fi lles la musique accompagnait la vie des élèves durant toute l'année scolaire: on chantait et on jouait pour les diff érentes occasions, aux diff érents instruments: piano-forte, citres, violines, orgues. Même, quelques rois, Joseph II, François Ier avec la reine Marie-Louise, puis avec la reine Caroline Auguste, ont entendu la musique et vu des spectacles des élèves; ils en étaient ravis. Outre un grand nombre de religieuses, des musiciens baroques de Varaždin ont été professeurs en des écoles des Ursulines et ont composé leurs oeuvres pour les besoins de l'école et de l'église, qu'on fait encore de nos jours pendant des "Soirées de musique de Varazdin". L'école a donné aussi quelques musiciennes renommées.
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This article announces the publication of Andrij a Štampar’s diary, to mark the 120th anniversary of his birth and the 50th anniversary of his death. In the diary Štampar recorded his worldwide travels between 1931 and 1938 when, as an expert of the League of Nations Health Organization, he took part in internationally signifi cant public health projects. The diary, hitherto kept in the Personal Archival Fund of Andrij a Štampar in the Croatian State Archives in Zagreb, would thus for the fi rst time become accessible to a wider public.
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The Croatian climate in the 19th century in the church as well as economic and more than anything else in political, scientifi c, cultural and artistic ways was marked by two powerful personalities, Dr. Josip Juraj Strossmayer and Dr. Franjo Rački. The literature of the results of the friendship and other collaborations between the Croatian great fi gure, canon, scientist and politician Rački and the bishop, politician and patron Strossmayer is copious. Their relationship was revealed mainly through the correspondence which was partially published by the academic and university professor F. Šišić from 1928 to 1934. These are major sources of Croatian history as well as the rest of Europe with appraisals by numerous famous personalities and lesser known people. Amongst them, very openly, there is friendly and subjectively information about Senj’s Bishop Vjenceslav Šoić and Ivan Črnčić the director of St. Jerome’s Institute in Rome, canon, historiographer and Slavist. With surprise and satisfaction we discovered that both of the great fi gures, the one in Zagreb and the one in Đakovo were also ‘ordinary’ people.
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At the very beginning of his paper titled "Is Jazz Popular Music?" Simon Frith claims that it is very easy to give an answer to that question. He simply and clearly says "Yes! End of discussion". However, the fact that there has been no consensus concerning that question for a long time, neither among theorists nor among musicians and audiences, indicates that the answer to that question isn’t that simple and emphasizes the complexity of jazz as a cultural and musical phenomenon created at the beginning of the 20th century. Considering, in a way, the paradoxical nature of jazz and its specific historical development, the fact that "popular music studies" and "jazz studies" are completely different scientific disciplines seems symptomatic. Although in its beginnings, in the 1920s and 1930s, in one of its variants, jazz indubitably had the character of popular music, some theorists believe that this side of it has been completely neglected unfairly. Jazz music maintains a minority status in popular music research. On the other hand, jazz is often defined as "American classical music" rather than as massmediated popular music, and should as such be treated as serious high art. The advocates of this position believe that jazz music isn’t neglected within "popular music studies", but that it doesn’t even belong there. Whether we view the history of jazz music in an evolutionary way, as a genre progressing from folk form to commercial entertainment to an art, or as an ever-changing dialectic relationship between the mainstream and the avant-garde, jazz still remains problematic to define.
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