| Abstract | Mnogi muzikolozi, teoretičari i orguljaši do sada su proučavali i objavljivali djela za orgulje solo jednog od najkompleksnijih i najplodnijih skladatelja hrvatske suvremene orguljaške glazbe, Anđelka Klobučara (1931.). Međutim, njegove skladbe namijenjene orguljama i ansamblima ili orguljama u kombinaciji s drugim instrumentima ostale su neistražene. Nakon analize Muzike za orgulje i orkestar u završnom radu nastalom tijekom akademske godine 2011./2012., bilo je potrebno uzeti veći uzorak djela kako bi se došlo do zaključaka o Klobučarevom tretmanu orgulja kao dijelu izvođačkog aparata. Navedenoj skladbi blizak je Concertino za orgulje, gudače i timpane, čija se analiza prva iznosi u radu. Kvintet. Tri stavka za gudački kvartet i orgulje donosi orgulje u kombinaciji s manjim ansamblom, dok Koncert za orgulje i timpane omogućava uvid u tretman orgulja u kombinaciji sa samo jednim instrumentom. Klobučarev tretman instrumenata istražuje se formalnom i deskriptivnom analizom, pomoću čijih će se zaključaka ustanoviti i je li se i koliko skladateljev izričaj mijenjao s godinama. Klobučar se ponovno pokazao kao skladatelj formalne preglednosti, koji si s vremena na vrijeme dopušta slobodu pri gradnji oblika i vrsta, narušavajući ponekad pravila te stremeći nekim novim i sebi svojstvenim. U ovim djelima Klobučar je pokazao umijeće „starih“ i „novih“ tehnika, ostajući dosljedan svom glazbenom jeziku. Uočljiva je i važnost ritma i melodije, akorada klasterskog tipa, neopterećenost tonalitetom, tj. atonalitetnost, motivički rad, česta upotreba disonanci, naročito tritonusa (povećane kvarte i smanjene kvinte) te intervala sekunde i septime. U pojedinim stavcima uočljiva je skladateljeva sklonost većim elementima oblika pomoću kojih gradi tematske cjeline, dok je u nekim stavcima okrenut fragmentiranosti. Radu je priložen i recentni popis njegovih djela koji uključuje simfonijsku, koncertnu, vokalnu, vokalno-instrumentalnu, komornu te filmsku glazbu. |
| Abstract (english) | Many musicologists, music theorists and organ players have studied and published works for organ solo by one of the most complex and most prolific composers of Croatian contemporary organ music, Anđelko Klobučar (1931). However, his compositions for organ and ensembles, or for organ in combination with other instruments have been unreaserched. After analysing his work Music for organ and orchestra in my bachelor’s thesis (written during the academic year 2011/2012), it was necessary to take into consideration a bigger sample of Klobučar’s works in order make conclusions about his treatment of the organ as a part of the orchestra or ensemble. The above mentioned composition is similar to Concertino for organ, strings and timpani, which is the first composition to be analysed in this thesis. Quintet. Three movements for string quartet and organ brings a combination of the organ with a smaller ensemble, while The Concerto for organ and timpani allows insight into the treatment of the organ combined with only one instrument. Klobučar’s treatment of instruments is studied using formal and descriptive analysis, whose conclusions help us to bring to light just how much the artist’s expression changed over the years (or if it has changed at all). Klobučar again reveals himself as a composer who is using clear formal patterns. However, he occasionally allows himself freedom in the treatment of forms and genres, breaking the rules in order to create his own unique ones. In these works, Klobučar shows his mastery of ‘old’ and ‘new’ techniques, while still being loyal to his own musical language. There are also examples of his specific tendencies towards rhythm and melody, cluster chords, unconcern for tonality i.e. atonality motivic development, common use of dissonances, especially tritones (augmented fourth and/or diminished fifth) and other dissonant intervals (such as seconds and sevenths). In some movements, it is obvious that the composer has a tendency towards larger formal elements which he uses to build thematic wholes, while in some movements he is keener on fragmenting the thematic material. A recent list of his works, including symphonic works, concertos, vocal, chamber and film music is attached in the appendix. |
