Aida Islam

Pianism  in Macedonia

         During the past several years, Macedonian pianism has reached the zenith of its 50-year development. The beginnings of this segment of performance art notes a limited amount of achievements by a small number of pianists. Nowadays, however, the world-wide affirmed names of pianists are the pride of Macedonian pianism.
         Macedonian interpretation has not been the subject of detailed research within local musicological studies. Therefore, the basic mission of creating this text was the presentation of the evolution of pianism in Macedonia, from the very beginning of its professional development until today.

         The beginning of professional pianism

         If we take a historical point of view, research concerning the evolution of pianism in Macedonia leads us to the period between World War I and World War II.
         The main feature of performance art in Macedonia regards the fact that this region, until the 195Os, lacked a music education system, as well as any kind of organized professional ensembles. Between the wars, studying piano was merely a part of the life-style of aristocratic families. Nevertheless, the beginning of organized music life and professional study of the piano, in terms of the European tradition, dates in the 195Os.
        The first period of development of Macedonian piano interpretation art notes the process of formation of basic musical institutions. After the creation of the first professional educational institution on December 1, 1944, - “Music academy, middle art school and teaching school” (MBUC 1995: 5) - we encounter the name of Nada Organdzhieva, the first official pedagogue of the subject piano.
        During that time, the chamber-orchestral scene was still under the early processes of formation. Besides Nada Organdzhieva, these times of restricted music life note the work of several other pianists. Most of them concentrate on teaching, whereas those who decided to perform were generally chamber-music oriented. The most prominent are: Kalipso Nalcha, Natalija Koneva and Sergej Mihajlov. Special importance in the development of piano pedagogy has been ascribed to Stefan Gajdov, accompanist, teacher of piano and theory courses.
        The next generation of pianists completed their studies abroad, mostly at the Music Academy in Zagreb. The main representatives of this generation are: Snezhana Organdzhieva, Snezhana Muratovska and Lili Kopachkova. However, the young pianists departed Skopje shortly after their contribution to pianism. (Muzika 1997: 14).

        This period is marked by the active life and work of an exceptionally talented pianist - Ladislav Palfi. His extraordinarily fruitful artistic-performing activities as a soloist and chamber performer have a fundamental significance within the chronology of Macedonian pianism. In Skopje, 1947, he performed as a soloist and accompanist.  He performed a number of classical works directly on radio programs, and realized many concerts in France, Greece, Bulgaria, Switzerland etc.

         In 1948, the Elementary Music School was formed. New piano teachers were employed: Cveta Linin, Alissa Scheiber, Mira Olenina, and later Elena Andonova.
        The piano department in the Secondary Music School gained a new professional dimension in 1954, after the employment of Lepsha Piperkovska, a representative of the first generation of pianists to earn their university degree out of Macedonia. Her complete dedication to pedagogy has affected the development of pianism profoundly.
       The plan to create music professionals when there was a significant shortage of musicians continued with greater intensity. After the formation of the Faculty of Music in 1966, a prominent musician was employed in this institution - Branko Cvetkovic, professor of piano and methodology of piano teaching.
 

       The 1960s

       The beginning of the 1960s is a period noted by an upheaval in Macedonian cultural life - theatre, painting, literature etc.
       Nevertheless, the earthquake that devastated Skopje in 1963, deeply affected and redirected all aspects of life in the city. Meetings of solidarity were organized in the city rising from the rubble, where famous pianists performed: Svjatoslav Richter, Alexandar Ugrinski, Heinrich Schering, Zubin Mehta with the Los Angeles Philharmonic Orchestra.
       The Ohrid Summer Festival organized seminars featuring eminent pedagogue-artists such as Jeanne Blancard and Aldo Cicolini. This created the opportunity to communicate with top professional in the fields of pedagogy and music.
       The significance of the 1960s arises from the emergence of a group of pianists, whose work still affects the development of pianism. These are eminent musicians who have introduced new ideas, new interest in repertoires, as well as new methods in piano teaching. The most important artists are Jasminka Chakar, Liljana Ivanova and Milica Shperovic. In the course of their long pianist career, they have realized many performances (solo and chamber) in many European music centers. After the formation of the Faculty of Music, these pianists became a part of the faculty.
 
 

Jasminka Chakar	Milica Shperovich

 

       The 1970s and 1980s

       The natural disaster that occurred in the 1960s led to a prolonged halt of music and artistic events. However, the following years exhibit a notable rise of chamber and solo music performances. Besides the increase of performances of the Macedonian pianists at home, the number of performances in European cities also increased.  The enlarged emergence of such promising talents is the result of their education attained at distinguished art centers such as Paris, Ljubljana, Zagreb and Sofia, but also at the Faculty of Music in Skopje.
       Part of these young talented musicians devoted their entire life and potential to pedagogy, thus forming highly professional young individuals. The rest affirmed themselves as pedagogues and active solo performing pianists: Stela Slejanska, Valeri Stefanovski, Evushka Elezovic, Pavlina Srebrova, Gordana Bachoska, Snezhana Chadikovska-Anastasova, Todor Svetiev, Rita Popovic.
 
 
 

Stela Slejanska	Valerij Stefanovski	Todor Svetiev

        Another artist that deserves to be mentioned is Dimitrije Buzarovski, who has been noted for his work as a composer, pianist, and accompanist, as well as an interpreter of his own compositions.
        The impression of the recollection of their artistic achievements is the great number of performances, especially within the first period of their career as musicians. Their abundant artistic accomplishments of these pianists can be deemed a result of the following components: 1) the general artistic atmosphere that stimulated concert expression; 2) financial support; 3) the active functioning of concerts.
       During that time, Macedonia was still a part of the Yugoslav Federation. This enabled Macedonian artists to participate in the most eminent Yugoslavian festivals, manifestations, or performances in the renowned concert halls in the country.
        Apart from presenting standard classical repertoire, these performance artists promoted Macedonian work abroad.
       This generation of artists, as part of the faculty at the Secondary Music School (named MBUC “Ilija Nikolovski - Luj in 1977), or the Faculty of Music, achieved great pedagogic results.
 

       The late 1980s and the beginning of the third millennium

        Even though the number of young graduates in piano increased during this period, most of them oriented their professional development towards pedagogic activities. In comparison to the representatives of the previous generation, who succeeded in realizing a great number of music appearances throughout Macedonia and abroad, the number of such performances among the current generation of artists has significantly declined. This shift could be the result of the idle conduct towards performance art in general, or the economic situation of the country that is currently in the period of transition.
        Hence the pianists’ orientation towards educational institutions, mostly MBUC, where they achieve notable pedagogical results. Several such artists have refreshed the Macedonian performance scene with their solo or chamber performances throughout the country. Some of the most active pianists are Katerina Kostadinovska and Nadezhda Pozharickaja.
       In 1991, two important pedagogues from Moscow joined the faculty of MBUC “Ilija Nikolovski-Luj” and the Faculty of Music: Boris Romanov and Ljudmila Romanova. Their names are often associated with the emergence of young talented pianists with high achievements.
      The long-lasting contact with eminent pedagogues from several European countries, established years ago by educational institutions (MBUC and FMU), in a way encourage the young and talented students to leave the country. The basic reasons for such an occurrence are the ambition to receive better education, as well as the new perspectives of studying in countries with higher music development. Nevertheless, the pianists’ frequent performances in Macedonia refresh the national music scene. Because of their high achievements, they are the pride of the Macedonian music audience.
      Nonetheless, among the names of the pianists who have completed their academic education in Macedonia and continue to act within the country, the name of Simon Trpcheski must be noted. This young artist, compared to the top pianists in the world by the world critics, has triumphed in the most eminent world centers with his confident and superior performance.

        With the pianism of Simon Trpcheski, Macedonian music performance has reached the zenith of its 50-year development.
 
 
 

Literature:
- Karakash, Branko. 1970. Muzichkite tvorci vo Makedonija. Skopje: Makedonska kniga
- Monografija na MBUC "Ilija Nikolovski - Luj" - Skopje (1945-1995). 1995. Skopje: NIP "Nova Makedonija"
- "Muzika". god. 1(Oktomvri - Dekemvri) 1997 ."50 godini ispolnitelska umetnost vo Republika  Makedonija". Skopje: MKRP