Janez Matičič
Janez Matičič was born in Ljubljana on June 3, 1926. As a six year-old he began to leran violin, later on also piano. When he was fourteen, he wrote his first composition, and has dedicated himself to composing ever since. After intermediate music education he continued his studies at the Ljubljana Academy of Music: composition with L. M. Škerjanc, conducting with D. Švara, and piano with Anton Trost. After graduating in 1950/51, he taught harmony, counterpoint, and musical form sat the Intermediate Music School, as well as piano at the Academy of Music. In 1959 he left for Paris with the intention of perfecting his technique. His compositional tutor was famous Nadja Boulanger (1959/61). From 1962 to 1975 he was active in the field of electro-acoustic music within the Groupe de Recherches Musicales under Pierre Schaeffer. From 1948 he taught music analysis in the Department of Musicology of the University of Ljubljana. After 1987 he returned to Paris, teaching piano at various caonservatoires. Since 2001 he has been member of the Slovenian Academy of Sciences and Arts.
As a composer, Janez Matičič has asserted himself in different genres: symphonic and chamber. Among his notable compositions mention should be made of works for piano (four sonatas, two suites, twenty concertant etudes, three etudes for the left hand, Palpitations, Intermittences, Resonances, Toccata-Fantasy, Miniature Variations and Gemini for two pianos), and of chamber works (Poeme Lyrique, Synthesis and Four Lullabies for violin, piano and string quartet, Memory for saxophone quartet, Replique for alto saxophone and piano, Canto Rapsodico for clarinet and piano, Prologue for Ten Wind Instruments and Geode for piano and percussions). His main orchestral works are: two symphonies (1954 and 1999), Trans suite for string orchestra, two concertos for piano and orchestra, Violin Concert, and Violoncello Concerto. He has written electro-acoustic music as well (Oscillations, Three Visions, Forms, Fusions, and Cosmophonia for piano and magnetic tape).
Janez Matičič has won numerous awards. In 1962, his Sonata No. 1 brought him the Prince Rainier de Monaco award, Radio Belgrade gave him an award for his Resonances for piano in 1966, whereas in 1969, in Paris, he won the Prix du Merite Culturel et Artistique for his Syntheses for violin and piano. The Concerto for violin and Orchestra led tothe Prešeren Foundation Prize, and this year he was bestowed upon with a Prešeren prize for his life's work.
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Pavle Merkù
Pavle Merku (born July 12, 1927, Trieste) took a degree in Slavic philology (Ljubljana, 1950) and obtained a doctorat in literary studies (Rome, 1960). He lernt violin with his father and Cesare Barison, and studied composition with Ivan Grbec and Vito Levi, who were both pupils of Antonio Smareglia. He taught literary subject at Slovene schools in Ljubljana and Trieste (1950-1965), worked as a music adviser and critic (1953-1965), was in charge of music programme, and contributed to cultural programmes of RAI's regional branch for Friuli-Jiulian March in Trieste (1965-1987).
Pavle Merku has composed chamber and symphonic music, focusing on vocal music, without or with instrumental accompaniment. He has written cantatas for solo and/or chorus and instrumental ensemble or orchestra; then, an opera ‘The Dragon-Fly’ performed in Trieste’s G. Verdi Theatre (1976) and at the Slovenian National Opera and Ballet Theatre in Maribor (1985-1986). From his pen many choral works have flowed in which he has made use of Greek, Latin, German, Slovene, Italian, Friulian texts, as well as of the Sardinian dialect; for choral and vocal solo music with instrumental accompaniment he has arranged Slovene and Italian folk songs, concentrating on works for children’s choir.
His works has been performed throughout the world. In 1971, he received the Prešeren Foundation Award for his violin concerto. The Slovenian Academy of Sciences and Arts elected his corresponding member in 1985. In 2001, he was given the first Štrekelj Prize ‘for outstanding achievements in the field of collecting and preserving the Slovene folk heritage in words and song’. The then president of the Republic of Slovenia, Milan Kučan, decorated him with the Silver Honorary Decoration of Freedom of the Republic pf Slovenia (2002). At that time, he was appointed member of the ‘Deputazione di storia Patria’ for Friuli-Julian March. Last year, the Society of Slovene Composers awarded him the Kozina Prize for exceptional achievements in a compositionally rounded-off life’s work.
Pavle Merku began composing in a neoromantic idiom, though later on opened up to new influences. Primarily, he modelled himself on Dmitri Shostakovich’s later output, toying with the musical language of the Viennese School; hence, he has proclaimed himself an neoexpressionist. Ethnomusicological research, carried out in Slovene and Italian milieux since 1965, has enriched his expressive range.
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