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Serbian composer and academic From Wikipedia, the free encyclopedia
Petar Konjović (Serbian Cyrillic: Петар Коњовић, pronounced [pɛ̂tar kɔ̂ːɲɔʋit͡ɕ], 5 May 1883 – 1 October 1970) was a Serbian composer and academic.[1]
Petar Konjović | |
|---|---|
 Engraving of Petar Konjovic by Tomislav Krizman | |
| Born | 5 May 1883 |
| Died | 1 October 1970 (aged 87) Belgrade, Yugoslavia |
| Alma mater | Prague Conservatorium |
| Occupation(s) | composer, pedagogue, and music writer |
Petar Konjović was born in Čurug,[2] where his father worked as a teacher. He was educated in Novi Sad and Sombor. As a student at the Pedagogical School (Preparandija) in Sombor, he joined a choir and was encouraged to pursue music by the choir director Dragutin Blažek.[3] He finished his education at the Prague Conservatorium in 1906. In 1907, he travelled to Belgrade, following an invitation from Stevan Mokranjac to teach composition at the Belgrade Music Academy. In 1920, he toured Europe as a pianist. He was an active adherent of the idea of Yugoslavia.[4] He was manager of numerous cultural institutions: head of the Serbian National Theater in Novi Sad, director of the Zagreb Opera, and head of the Croatian National Theater in Osijek.[5] He was also a Rector of the Music Academy in Belgrade, and a founder of the SANU Musicology Institute. His contemporaries were Petar Krstić, Isidor Bajić, Miloje Milojević, Stevan Hristić, Stanislav Binički, Božidar Joksimović, Kosta Manojlović, Vladimir Đorđević (brother of folklorist Tihomir Đorđević), and others.
Konjović is the most significant representative of the nationalism of the Serbian modernism in music. His most famous works are his operas. The period between two world wars was defined by Konjović who introduced several genres into Serbian music.[6]
Being nationally determined, Petar Konjović’s musical language is founded on and belongs to the period of late romanticism. However, it includes elements of impressionism and expressionism which was characteristic for many composers of 1920s and 1930s (Rachmaninoff, Prokofiev, Sibelius). Likewise, his musical directions towards folklore expressionism also included him in the group of musicians close to Leosh Janachek, Bella Bartok, Igor Stravinsky which belong to the early “Russian” period.[7]
In his operas, he focused on setting texts that were related to historical events and individuals, and his vocal writings was strongly influenced by the natural inflection of his native language. Folk elements are also very much in evidence in his scores, which are distinguished by exceptionally colorful orchestrations.[8]
His Czech experience encouraged his natural inclination toward folk sources and he began developing melodies, like Janáček, out of the inflection of speech. Konjovic's mature style strives for direct communication with broad audience while incorporating a sophistical harmonic vocabulary. His work includes over one hundred folk songs arrangements and twenty original choral pieces.[9]
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