Ivo Petrić

13. septembra se je poslovil eden od nestorjev slovenske glasbe, skladatelj Ivo Petrić. V Slovenski filharmoniji se ga spominjamo predvsem kot umetniškega vodje, ki je med letoma 1979 in 1995 vizionarsko usmerjal delovanje, umetniško pot in rast našega orkestra. Bil je glasbenik v najširšem pomenu te besede – instrumentalist, dirigent, skladatelj, snovalec sporedov in ciklov, organizator. Njegov obsežen skladateljski opus zajema skoraj izključno instrumentalno glasbo – simfonično, komorno in solistično. Za svoj izjemen prispevek k slovenski umetnosti je leta 2016 prejel Prešernovo nagrado za življenjsko delo. V utemeljitvi je Matjaž Barbo zapisal: »Ustvarjalni opus Iva Petrića upravičeno velja za enega najbolj prepoznavnih in najvplivnejših v sodobni slovenski glasbi. Ustvaril je obsežen in raznolik kompozicijski opus, v katerem zasledimo vse, od orkestralnih do komornih in solističnih del. Povsem neznačilno za slovenskega skladatelja mu je skoraj povsem tuja ostajala vokalna ustvarjalnost, vendarle pa prav ta samosvojost in nezavezanost vokalu morda na drugi strani v jedru razkrivata temeljne poteze njegove skladateljske poetike.
Njegova glasba je nasprotno, kolikor je mogoče čisti izraz glasbene igre same, zavezana zgolj ‚absolutnemu‘ jeziku tonov, zvokov, motivov, zvočnih barv in kombinacij. Vrhunski intelektualni nivo ter prefinjen in odgovoren umetniški občutek, ki sta opredelila njegova ustvarjalna, poustvarjalna in nenazadnje tudi organizacijska prizadevanja, označujeta

Iva Petrića kot osebnost, ki je morda sploh najvidneje zaznamovala sodobno slovensko glasbo in z njo slovensko kulturo.« Ivo Petrić (1931) je na Akademiji za glasbo v Ljubljani
študiral oboo, dirigiranje in kompozicijo. V Klubu komponistov in skupini Pro musica viva je bil že na začetku svoje umetniške poti zaslužen za odpiranje slovenskega glasbenega prostora proti modernizmu. Ansambel Slavko Osterc, ki se je specializiral za izvedbo najnovejših del slovenskih in tujih skladateljev, je pod njegovim vodstvom (1962 do 1982) postal eden najpomembnejših ambasadorjev sodobne slovenske glasbe doma in v tujini. V treh desetletjih vodenja Edicij Društva slovenskih skladateljev je dvignil raven in mednarodno prepoznavnost te založbe.

Ivo Petrić je živel za glasbo, kar je tudi sam povedal: »Glasba mi je bila življenje. Z njo živim že vseskozi in sploh si ne morem predstavljati, da se z njo ne bi ukvarjal. Vodil sem ansamble, bil organizator, umetniški vodja Slovenske filharmonije, strokovno sem deloval na društvu skladateljev, bil vabljen v razne žirije. Če imaš potrebo nekaj početi, to počneš. To je enostavno potreba.«

Glasba Iva Petrića je živa in bo živela naprej.
In Ivo Petrić z njo. Dragi Ivo, hvala ti za vse.

Vedno boš v naših srcih,
tvoji Filharmoniki

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Slovo Iva Petrića odmeva tudi v tujini

Ivo Petrić was unique. He made such a contribution to music in Slovenia in his long and fruitful life that it is difficult to know where to start. Beginning as an orchestral oboist, he soon moved into the field of composition, including studies with Lucijan Marija Škerjanc, but always acknowledging the influence of Slavko Osterc. His conducting studies with Danilo Švara helped him to perform new music including conducting the landmark performances of his then avant-garde Croquis sonores as well as Enneafonia by Primož Ramovš at the Warsaw Autumn Festival in 1963. In order to have an ensemble capable of performing these works and similar music, he assembled selected players into a flexible group called the Slavko Osterc Ensemble (Ansambel Slavko Osterc) which he conducted with distinction for many years. It is a tribute to his organising and conducting abilities that the number of advanced pieces championed by this group is huge. Equally significantly, he and several of his like-minded composer colleagues grouped themselves together as Pro musica viva. Not content with this, as Secretary of Društvo slovenskih skladateljev he organised the publication of large numbers of works from all the composers then working in Slovenia. It is hardly an exaggeration to say that he transformed Edicije DSS into the wonderful organisation that it is today. What is so gratifying is that his compositions took their natural place in these publications. This was also supplemented by numerous recordings of excellent quality. His promotional abilities were legendary: he communicated extensively with composers, performers and publishers both at home and abroad, in a way that promoted the interests of all the composers represented by Edicije DSS and certainly not just himself. For musicologists he was equally generous, giving of his time and energies without hesitation. For his work as artistic director of the Slovenian Philharmonic, he carefully arranged for selected Slovene works to be played alongside the well known classics that the audiences principally came to hear. In his later years he often visited Scotland, driving by car all the way from Slovenia and reaching the island of Skye and the far-flung islands of the Western Isles. His Scottish inspired pieces included MacPhadraig’s Scottish Diaries for piano. On asking him who MacPhadraig was, he smiled and admitted it was himself. His legacy is wonderful and something in which Slovenia can take pride. With over 200 compositions he was a prolific composer. His early tonal works owed a little to Prokofiev and Hindemith, his avant-garde or modernist works showed an adventurous and imaginative spirit, and the later works composed for his friends or in reflective mode returned in a modified way to his earlier music. He wore his genius lightly and modestly, but genius it was.

Niall O’Loughlin
St Albans, UK
14 September 2018

Slovenska filharmonija
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