Erika Druzovič Vídeos
profesor de música, cantante de ópera, realizador
- Eslovenia
Última actualización
2024-05-13
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Film opisuje velika povijesna zbivanja iz perspektive dječaka. Njegovo pričanje, šturo i jednostavno, otkriva svu apsurdnost i laži svijeta “izvan obitelji”. Priča je o revoluciji koja se dogodila 1945., zajedno s nacionalnim oslobođenjem. S Nacionalnom revolucijom dogodila se i ona manja – revolucija unutar obitelji. Film govori što ostaje od jedne obitelji u koju uđe revolucija i što ostaje od revolucije koja uđe u jednu obitelj. Film je ekranizacija popularnog istoimenog romana Bore Ćosića objavljenog 1969., za koji je iste godine osvojio NIN-ovu nagradu za roman godine, a otvoreno je kritički nastrojen prema režimu, kombinirajući umjetničku i ideološku slobodu sa specifičnim smislom za humor. Prikazan je na Pulskom filmskom festivalu gdje osvaja Zlatnu arenu za najbolju scenografiju te je poslije toga, 1971. godine zabranjen. Opisuje se kao film modernog duha, radikalnog tematsko-idejnog pristupa, koji kao osnovnu metodu komunikacije s publikom nameće pomaknut način filmskog gledanja na stvarnost, grotesknost, šok, anarhiju, vizualnu i jezičnu originalnost. Redatelj: Bahrudin Bato Čengić Glumci: Dragan Nikolić, Danilo Bata Stojković, Branka Petrić, Milena Dravić, Milivoje Tomić, Davor Korić, Erika Družović, Mija Aleksić
Slavko Osterc Hink Druzovič Emerik Beran Savi Lajovic Václav Talich Karel Boleslav Jirák Jaroslav Křička Hába Bravničar 1895 1913 1914 1919 1921 1922 1925 1927 1941
Slovenia RTV SO / Samo Hubad 00:00 Tempo di Marcia 02:45 Tranquillo 07:19 Vivace 08:43 Religioso 13:59 Presto Slavko Osterc +••.••(...)) was a Slovenian Composer. Around 1913, while in Maribor, Osterc received the basics of music education from pedagogue Hink Druzovič and composer Emerik Beran. The latter in particular devoted a lot of time to Osterc's musical path and encouraged him to compose independently. Under their leadership, Osterc made rapid progress. He soon trained as a violinist. Shortly after graduating high school, he was appointed a temporary teacher in Sevnica ob Savi, where he worked only for a short time, as he was already drafted into the army on 1 November 1914. He was also sent to the Italian front, where he was wounded. He was demobilized in November 1919. During the war, Osterc seems to have lost five years. When he returned in 1919, he continued his study even more deeply, this time of harmony, counterpoint, and compositional sentence as a whole. In the same year, Osterc was placed as a teacher at the primary school in Krčevina (Maribor), and from there he was transferred to Studence (then a suburb, now part of Maribor). During those times he was influenced by composers like Ivan Ašič, Risto Savin, and probably also Anton Lajovic. He wrote a symphonic poem in 1921 and was received positively. 1922 was followed by his first symphony in C which was reported by all Slovene, both German and some Yugoslav newspapers, and critics described it as the first Slovene symphony. In June 29, 1925, he was granted leave in the school teaching year 1925/26 with full official remuneration for the purpose of studying music abroad, in Prague, although he wouldn't have enough money to live on while staying there. He was helped by Maribor notary Ivan Ašič, a man passionate about music. At first Osterc did not want to go to Prague, but to Vienna, but - probably due to external circumstances, but also on the advice of Anton Lajovec, who mediated with conductor Václav Talich, he finally enrolled at Prague Conservatory. He was taught composition technique and instrumentation by Karel Boleslav Jirák, theory/harmony/counterpoint by Jaroslav Křička, conducting by Otakar Ostrlič, aesthetics and its problems by Václav Štěpan. He enjoyed the support of important musicians - Jirák, Hába, Talich and others who were impressed by his talent. This helped his compositions on their way to concert stages and radio. He also studied quarter tone with Alois Haba. Years later Osterc was offered a place at the Ljubljana Conservatory by Anton Lajovic and the director of the conservatory, Matej Hubad. They believed that Osterc would be a useful learning force for the conservatory, as there were not so many quality collaborators, and the conservatory in Ljubljana needed them. Lajovic probably looked at Osterc as a person who could become important for the development of Slovenian music. In 1927, Osterc would be back in Ljubljana, where he worked as a professional music teacher at the State Conservatory. Upon entering the conservatory, the management entrusted Osterc with teaching various subjects, harmony, counterpoint, composition, instrumentation and aesthetics. He continued to maintain contacts with composers he met in Prague, especially with Aloz Hába, the central figure of the Prague school. As soon as he could, he invited them to Ljubljana and took care of the execution of their works in Slovenia. Towards the end of the 1930s, he continued to compose intensively. Fourteen years of Osterc's work in Ljubljana is the most important period of his life. During this time, he entered Slovenian music as one of its leading personalitie. At the end of his studies and after, Osterc adopts the principles of atonal expressionism. Thus, the year 1927 is developmentally critical for him. His students included Matija Bravničar, Primož Ramovš, and Pavel Šivic. Please support this channel (http•••)
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- cronología: Cantantes líricos (Europa). Intérpretes (Europa).
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