Viktorija Kolarovska - Gmirja

Four Macedonian Composers - Stojkov, Avramovski, Nikoleski, Toshevski

          In Macedonian music culture, the period of the 1960s and the early 1970s is one of important events concerning different segments of culture:

- art performance: active functioning of the music institutions formed after World War II (opera, ballet, philharmonic orchestra, different ensembles), with a great number of premieres, continuing growth and enriched repertoire;
- music education: the formation of the first and until today the only academic  music institution - the Faculty of Music (FMU) in Skopje (1966);

- organization of music life: the formation of the most significant music-theatre manifestation in Macedonia - the international festival “Ohrid Summer Festival” (1960);

- music composition: continuation of the activities of the so called “first” (oldest) generation of Macedonian composers who at this stage enter the period of their later works; a flourishing of productivity among the “second” generation - those who embedded professionalism within their opus; the emergence of the works of the new generation of composers: Stojan Stojkov, Risto Avramovski, Dimche Nikoleski, Stojche Toshevski.

            Their opus, as part of the Macedonian national compositional school, and their dominant stylistic characteristics, are the main subject of this paper.

            The works of the composers of this generation have a lot in common:

- their early education: their professional involvement with music began with their education at the Secondary Music School in Skopje (only Dimche Nikoleski studied in Bitola), whereas their compositional genius was detected and promoted by Vlastimir Nikolovski (1925-2001) - one of the founders of the national composition school, promoter of the folklore stream in Macedonian music, first dean and founder of the Department of Composition at the Faculty of Music. During that period, Nikolovski, aside from working as a professor of theory at the Secondary Music School in Skopje, on his own will, worked with students making their first steps in composition, thus discovering and directing future composers.

- Belgrade and the Belgrade Music Academy: these composers received their next impulse of their artistic and personal formation in Belgrade, in the 1960s. There, they studied composition at the Music Academy with the eminent professors and composers Milenko Zhivkovic (Stojkov, Toshevski), Enriko Josif (Stojkov, Toshevski, Avramovski) and Vasilie Mokranjac (Nikoleski). The environment flowing with old European music tradition offered great music impressions. The general intellectual atmosphere in the capital of the former Yugoslav Federation (lectures, intellectual debates, open discussions after performances, concerts, exhibitions) provided an excellent environment for their further development as young artists - composers.

            We have selected the following music influences that have made an impression on the creativity of these composers:

- the existing tradition of compositional music in Macedonia: the 1960s marked the existence of a Macedonian composition school with specific national features. The previous generations of composers already formed a tradition of re-creating of Macedonian music folklore - a non-European notion, much like the old orthodox chant based on the Byzantine monodic tradition, and not on the European tonal-harmonic system. Accepting the European model of composing resulted in the introduction of the adequate genres (opera, ballet, symphony, concert, oratorio, sonata, quartet and other genres). On the other hand, Macedonian music notes the introduction of neoclassicism - one of the leading trends in the 20th century (promoted by Tomislav Zografski 1934-2000), as well as the emergence of more radical stylistic developments connected to the European “avant-garde” (promoted by Toma Proshev (1931 - 1996) and his foundation of the ensemble “St.Sophia”).

- lasting active communication with contemporary music trends (exchange of concerts, visiting different festivals, specifically the Zagreb Music Biennale for the introduction to “music present”.

            Summing up the above-mentioned facts, we notice the following currents of influence, as well as the stylistic preferences of this generation.

a) Macedonian composition school:
- the folklore style;
- neoclassical tendencies;
- more radical “avant-garde” styles;

b) influence of European practice:
- tradition;
- contemporary music trends (avant-garde, experiment).

           Thus, these composers faced several challenges: are they to continue the “national” tradition in composition, in which way will they withhold the “pulse” of the modern age, which styles should they accept, which genres should they employ, etc. The solution to these problems exhibits the individualistic traits and preferences of each composer, their personal approach and individual “persona”.

            Folklore, as a dominant stylistic feature, has enormous influence on this generation of composers, as well. Stojche Toshevski still remembers the words of his professor Enriko Josif: “You, Macedonians, have your song, you should sing.” With these words, apart from the defined esthetic value of the folklore direction, one can notice a technical-compositional aspect: to pay attention to melody, or generally - to the linear concept as the basic notion of the composer, a definition of national identity.

              Thus, it is natural that the folklore style initially appears in vocal music, often because of the lyrics - traditional or written in the traditional manner by professional poets. Hence the large number of compositions for choir in the early period of the composers’ works (choirs have a traditionally important role in Macedonian music).  A particularly interesting example of non-standard style is Stojkov’s “Selska suita” (1973). In general, vocal genres are dominant in Stojkov’s opus. This piece signifies a type of transition between an adaptation and an original composition: the composer takes the original folklore two-part singing with the typical relation drone - melodic voice, and creates the third (lower) voice. Thus the composer himself becomes the “third singer,” stylizing the melodic line and building a refined multi-functional polyphony (Kolarovski 2001: 26-27). This genre presents the rustic, "open" manner of singing, at the same time stressing the stylization and aesthetization of the folklore tradition. Through this example one notices the undefined communication with folklore, which eventually transits into a sort of “model composing.” The same principle is present in the piece by the same composer “Pechalbarska” (1984), where the material ceases to be cited, rather the folklore style and polyphony are completely transformed.
 The same type of “model composing” is evident in Dimche Nikolovski’s work “Four Associations upon a Folk Theme” for voice and string orchestra (1988) where the folk song becomes a “cause” for the composer’s interpretation, taken from different aspects, eventually leading to the deep transformation of the borrowed material.
               The principle of recreating is evident in Risto Avramovski’s monumental work “Ethographophony” (1992) for tenor, reader, female choir and instruments. Actually, the entire piece (named “music drama” by the author) recreates not only the sound of folklore, but also the entire ritual comprised of elements such as dances and chants. The development of the composition employs dramatization, as well as specific percussion instruments designed especially for the performance. The folk songs similarly become “themes” for the composer’s interpretation and development.
               Another way of communicating with the folklore tradition is creating a different context for the folklore material. This method is related to the citing method - citation of material or, generally, “citation of style” - when the composer writes in the spirit of folklore. An example of citation of material is Stojche Toshevski’s “Madrigals” (1972) for soloists, choir, and orchestra. It is based on folklore material processed through imitation polyphony (in the style of Bach). Thus the composition attains an obvious neoclassical (or neobaroque) sound with the stylization of baroque techniques and idioms. Stojkov’s two compositions “Sumerski zapisi” (1998) and “Five Music Vignettes” (1999) exemplify the method of citation of style. The composer creates a context through the opposition of the different stylistic attitudes as basic concept in the dramatization of the cycle. The last movement of both pieces presents a merger between baroque and folklore polyphony (a sort of “Macedonian Bachianna”), thus becoming an esthetic and ethic symbol, as well as a symbol of eternal values.

               The method of creating the context also surfaces in the instrumental music of these composers. Thus, “citation of style” is evident in Risto Avramovski’s composition for chamber orchestra “Psychophony” (1972), a piece that reflects the contemporary music “trend” by employing sonoristics. This piece alludes to the folklore sound by playing an alto flute that echoes a motif in the last part of the piece (Proshev 1986:253). Its theatrical significance lies in the symbolization of permanent spiritual values. Citation of material, on the other hand, is used by Stojche Toshevski in his symphonic piece “Das Musikalische Opfer” (1998), a piece abundant with intonations from popular folk songs. They have been chosen by their similarity in terms of sense and intonation, so the melodic segments naturally unite and progress into original material. The same method (citation of material) is used by Risto Avramovski in his latest, 8th symphony “ Zima (Isusova)” (1997/98) - the conclusion to his ambitious project “Four Seasons” (a symphonic cycle with biblical themes). In the second movement he introduces an auto-citation of the above-mentioned “Ethnographophony,” employing several semantically important songs (“Bozikna pesna” and “Ima majka mila sina”).
 The methods of citation and stylistic allusion are leading methods in 20th century music, especially in its second half, and they do not only affect folklore material. In the opus of this generation, the use of allusion-symbols is typical for Stojche Toshevski’s works in the 199Os (“Gospodi pomiluj”, “Dies Irae”, “Lasciate mi morire” for soloist and chamber orchestra, and “Das Musikalische Opfer” for symphonic orchestra). These compositions include non-musical symbols (the titles), but music citations as well, which create the additional semantic “layers.”

               During the previous outlook on types and ways of communication with folklore, we raised questions about techniques (recreation of folklore polyphony, citing), and other stylistic orientations, such as neoclassicism - one of the “megastyles” of the 20th century that influenced Macedonian music greatly. In the opus of the representatives of this generation, neoclassicism in its most complete form - as a recreation of style - is above all evident in instrumental pieces (even though we have only mentioned Toshevski’s vocal-instrumental “Madrigals”), taking the form of “neobaroque” (such as Stojkov’s “Baroque Trio” and “Baroque Suite”). Nevertheless, some of the compositions are written in older genres, which doesn’t suggest an obligatory recreation of style or playing with styles, i.e. they don’t bear the most significant feature of neoclassicism. Such are, for instant, Risto Avramovski’s “Microsuite - homage of J. S. Bach” for violoncello (1969) and “Canon” for harp, piano, harpsichord, percussion and string orchestra (1974). They all contain allusions and additional semantic signs (for instance the titles “Aria” and “Allemande”), but they are not neoclassical in style. Similarly, the wide approval of classical formal schemes and types of material that enables competent development does not suggest obligatory employment of “citation of style” and playing with styles. There is quite a number of such sonatas for different instruments (Nikoleski, Avramovski, Stojkov, Toshevski), as well as string quartets, such as Nikoleski’s Quartet (1969) which embodies the traditional formal schemes within the last movements (sonata and rondo form), whereas the type and intonation content of the material point to an orientation towards Bartok’s style - one of the most important sources of influence and experience in Macedonian music. Interesting examples of use of the variation form are Stojkov’s “Variations” for piano (1964) and “Variations” for flute, violin, viola, violoncello and piano by Nikoleski (1968). Created within a short time span, these cycles are characterized by a similar theatrical movement towards the fughetta, i.e. the fugue as the finale of the cycle.

                The last aspects of our research cover the more radical “avant-garde” methods, as a reflection of the latest European trends and commotion within the opus of this generation. The time of their education - the 1960s - was a period of intense recognition of new techniques and methods by composers from the former Yugoslav republics, organization of festivals of contemporary music (such as the Zagreb Biennale), active contacts with other cultures and acceptance of new experiences. Among these four composers, in the 1960s and 1970s, Risto Avramovski stands out with his particularly experimental works. He is among the first to employ sonoristic methods, timbre-texture ways of forming themes, as well as the use of “new technology” - at that time the use of electronic instruments and tape. His work in the Macedonian Radio, where he was particularly active in writing music for radio programs, played an important role for his development as a composer. We should also mention the short but nevertheless important piece by Stojche Toshevski “12 Prayers of Penelope” for seven sopranos and five instruments (1963). Created by the young artist, this composition is one of the rare examples of the use of dodecaphonic techniques combined with the determination of development of the material. In the 1980s, particularly the 1990s, these techniques (above all sonoristics and the use of electronic instruments) often appeared in Stojan Stojkov’s work, as the way towards synthesis of different stylistic elements and “styles” (the vocal-instrumental pieces “Majka sebidna”, “Ogledalo“, the symphonic piece “Voznesenie”). On the other hand, in Avramovski’s work from the same period, we note a retreat towards traditional forms, instrumentarium, types and development of material ? all within the realms of monumental cyclic forms. A similar tendency, (but in the smaller music forms), is evident in Stojche Toshevski’s opus, who announces his “new simplicity” (song-like structures, clear melodic outlines, third verticals and their layers that sound tonal). At the same time, folklore remains a general stylistic dominant among all of these composers.

                   Summing up, we can recognize the following stylistic orientations of this generation of Macedonian composers:
- folklore and the old orthodox chant tradition as an intonation source and as a stylistic model (techniques: re-creation of intonation and creation of context through citation of material or style);
- neoclassicism (above-mentioned techniques);
- individual styles (Bartok, Macedonian composers);
- contemporary European stylistic techniques (sonoristics, dodecaphony and the related methods: timbre-texture themes, clusters, integration of vertical and horizontal axis);
- a movement towards stylistic synthesis in the 199Os (a common process for global and European culture), resulting in “open association” (Grigorjeva 1989:11), increased semantics of music language and techniques.
 With the realization of these stylistic orientations and the related techniques, this generation of composers, according to the words of the researcher “... relates to the results of their predecessors, generally accepting their esthetic postulates” (Ortakov 1982:91). With their opus they continue to enrich Macedonian music culture, maintain tradition, accept contemporary experience, thus creating new tradition.

                 Bibliography:
1. Grigorjeva, Galina. 1989. Stilevye problemy russkoj sovetskoj muzyki vtoroj poloviny XX veka (50 - 80 gody). Moskva: «Sovetskij kompozitor»
2. Kolarovski, Goce. 2001. “The Polyphony in Stojan Stojkov’s Chorus Creation” In: Macedonian Music, No.2, Special edition, Skopje: Association of the Composers of Macedonia, pp. 23-28
3. Ortakov, Dragoslav. 1982. Muzichkata umetnost vo Makedonija. Skopje: “Makedonska revija”
4. Proshev, Toma. 1986. Sovremena makedonska muzika. Pula: “Istarska naklada".