| Abstract | Orguljska se glazba u Hrvatskoj razvija od 16. st. no, ona je isključivo vezana za liturgiju
prvenstveno radi instrumentalnog fundusa kojeg su činili manji instrumenti suženih tehničkih i
zvučnih mogućnosti. U južnom dijelu na Jadranskoj obali nailazimo na instrumente talijanske
orguljske škole dok se u sjevernom dijelu hrvatske grade instrumenti pretežno slovenskih i
pokojeg domaćeg graditelja. Prvi veliki instrument koncertnog tipa bile su Fuchtove orgulje
postavljene u zagrebačkoj katedrali 1934. god. no, radi tehničkih problema bile su ubrzo
otklonjene a nadbiskup Juraj Haulik dao je sagraditi nove velebne orgulje tvrtke Walcker koje
su bile postavljene 1855. god. Prvi veliki skladatelj i orguljaš u zagrebačkoj katedrali bio je
Franjo Dugan st. Stvaralaštvo Franje Dugana st. postaje osnovna platforma i odrednica
djelovanja njegovih nasljednika, orguljaša zagrebačke katedrale Franje Lučića, Duganova
učenika i Anđelka Klobučara, Lučićeva učenika. Dugan svoje znanje stječe studirajući glazbu
u Berlinu te svoje iskustvo prenosi u domaći prostor usmjeravajući djelatnost mnogih hrvatskih
skladatelja prema ondašnjim Europskim trendovima. Među Duganovim učenicima posebno se
ističe Franjo Lučić koji preuzima kompozicijske postupke svojeg učitelja ali ide i korak dalje
prateći modernističke težnje koje se razvijaju tridesetih godina 19. st. Na krilima modernizma
i novih obzora razvija se i Anđelko Klobučar, student kompozicije kod Mile Cipra i orgulja kod
Franje Lučića koji je svoje glazbene studije nastavio u Salzburgu i Parizu te osvježen novim
idejama obogaćuje svoj izraz temeljen na Lučićevim postavkama.
Analizom odabranih djela iz njihova opusa cilj nam je otkriti promjene, postanak i
prestanak kao i razvoj nekih novih pojava koje mijenjaju dosadašnja pravila i tijek razvoja u
kontekstu stvaralačkog rada trojice istaknutih skladatelja i orguljaša. U tom smislu, po
načelima elementarne, funkcionalne i strukturalne analize skladbi, osobit je naglasak stavljen
na sljedeće komponente glazbenih oblika: a) sadržajne (ritam, melodika, harmonija, slog,
dinamika, agogika, boja); b) proporcije (odnosi među cjelinama na mikro i makro razini); c)
odnos prema razgradnji forme i nagnuću prema fragmentalnosti (tretiranje i oblikovanje
fragmenata u odnosu na cjelinu); d) orguljska registracija. Analizom i komparacijom orguljskih
partitura iskristalizirale su se osnovne karakteristike, tj. sličnosti i razlike u skladateljskoj
gestici, i u obilježjima razvoja svakog pojedinog skladatelja s ciljem pronalaženja i specifikacije
njihovih međusobnih utjecaja. S jedne je strane moguće uočiti određene podudarnosti koje se
prenose sa s učitelja na učenika. Tako Lučić od Dugana preuzima polifoni izraz dok u isto
vrijeme sam traži nove načine izraza počevši obilato koristiti i homofonijsku strukturu. Orgulje
počinje više koristiti kao orkestar čime na poseban način obogaćuje kolorit svojih skladbi.
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Klobučar se u tom koloritnom pristupu nadovezuje na Lučića ali se njegov skladateljski izraz
mijenja uvodeći u svoj izraz avangardne postupke koji skreću prema slobodnijem odnosu prema
tonalitetnosti, disonanci, metru i melodici. Gledano kronološki, njihovi se orguljski opusi na
poseban način nadovezuju jedan na drugoga. Štoviše, tvore neprekinut tijek razvoja orguljske
glazbe kroz period veći od stotinu godina. Konačno, utvrđen je i utjecaj europskih strujanja na
razvoj orguljskih skladbi trojice istaknutih hrvatskih skladatelja i orguljaša.
Walckerove orgulje zagrebačke katedrale ishodišna su točka hrvatske orguljske
produkcije i reprodukcije. Riječ je o najvažnijem i najljepšem instrumentu u Hrvatskoj koji je
okupljao glazbenike ne samo orguljaše već i mnogobrojne skladatelje koji su inspirirani
njihovim zvučnim bojama posvetili dio svojeg opusa orguljaškoj glazbi. Da u zagrebačkoj
katedrali nije postavljen tako kvalitetan instrument orguljaška bi se scena u Hrvatskoj razvijala
na potpuno drugačiji način, vjerojatno bi bila kudikamo skromnija i po broju novonastalih djela.
Orguljama zagrebačke katedrali i dalekovidnosti nadbiskupa Juraja Haulika na ovom iskoraku
nikada nećemo moći dovoljno zahvaliti. |
| Abstract (english) | The origin of the organ instrument can be related to the location of Alexandria in present
Egypt, where the first documents, connected to the prototype of today's organ instrument, were
found. In contemporary organology there is a unique standpoint on the precise time of the
emergence of the organ, as well as on the name of the creator. Therefore, it is considered that
in Alexandria in 246 B.C. creator and mathematician Ctesibius constructed a machine he called
pipe organ (hydraulis) – an auletic instrument which used water to push air toward the pipes,
in order for them to produce sound. The development of the organ instrument and its popularity
can be tracked during the entire Antique period, but also onwards during the Middle Ages in
which around the 10th century, the organ became and instrument that found its place in churches;
at first in large monasteries and cathedrals and later on in smaller churches. By taking over the
dominant role in liturgies, all of a sudden the organ became a factor and co-creator of liturgy.
Hence, the Catholic church at the Council of Milan in 1287 permitted that the organ officially
be introduced into the liturgy and recommended its usage. With the entry of the organ
instrument into the church, its popularity was increasing irreversibly, and the peak of its creative
momentum appeared in the Baroque period. By looking at the development of the organ
instrument in Europe, it can be concluded that three great organ schools existed: thus, one can
differentiate between the French, the German and the Italian organ schools.
Due to archival materials such as legal documents, visitation records or commissions,
information on the oldest recorded organs in Croatia is available. The first record relating to the
organ instrument in Croatia is connected to the memorial of organ player Nikola in St. Mark's
Church in Zagreb in 1359. In Dubrovnik, the organ instrument is mentioned in 1384, in Zadar
in 1392, in Split in 1412, in the Zagreb Cathedral in 1412 and the Krk Cathedral in 1500. The
first data on the builder of the organ in Croatia refers to master Nikola Faller. The oldest
preserved organ instrument in Croatia is in Lepoglava, built in 1649 by Johann Georg Freundt
(cca. 1590-1667) from Klosterneuburg near Vienna. The name of the first professional organ
builder Antonius Weiner (1706 - 1747) from Varaždin, appeared in the 18th century, whose
preserved organ instrument today stands in the Franciscan church in Samobor (1722). During
that period in the northern parts of Croatia there are organ instruments built by Ivan Juraj Eisl
(cca. 1708 - 1780), a builder from Ljubljana in Marija Gorica (1759) and the exceptionally
beautiful organ of the Austrian builder Antonius Römer (1724 –1779) in Trški Vrh.
Organ music in Croatia has been developing since the 16th century, but it was solely
associated with liturgy, primarily because of the collection of smaller instruments of limited
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technical and audible features. Instruments of the Italian organ school were found in the
southern part of Croatia, on the Adriatic coast, while in the northern part of Croatia, instruments
were predominantly constructed by Slovenian and only a few local pipe organ builders. The
first large concert-type instrument was the pipe organ of the Hungarian builder Franjo Fucht
(1779-1852) erected in the Zagreb Cathedral in 1834, but due to technical problems, the
instrument was soon removed. Archbishop Juraj Haulik (1837-1869) commissioned a new
grand instrument from the German builder Erberhard Friedrich Walcker (1794-1872) and it was
erected in 1855. The first great composer and organ player of the Zagreb Cathedral was Franjo
Dugan senior (1874-1948). The opus of Franjo Dugan senior became the fundamental platform
and the determinant of activities of his successors, organ players of the Zagreb Cathedral -
Franjo Lučić (1889-1972), Dugan's student and Anđelko Klobučar (1931-2016), Lučić's
student. Dugan acquired his knowledge studying music in Berlin and passed on his experience
to the domestic milieu, directing the activities of many Croatian composers toward the European
trends of that time. Franjo Lučić held a prominent place among Dugan's students and took over
the compositional practice of his teacher, but also went a step further, following modern
tendencies that were developing during the 1930s. The creative personality of Anđelko
Klobučar, who studied composition with Milo Cipra and the organ with Franjo Lučić, emerged
on the wave of Modernism and new horizons. He continued his music studies in Salzburg and
Paris and, being enriched with new ideas, refined his expression based on Lučić's practice.
Through an analysis of selected works of Franjo Dugan Sr., Franjo Lučić and Anđelko
Klobučar, our goal was to discover changes, the emergence and the termination, as well as the
development of new trends, that changed former rules in the context of Croatian organ music
and, on the basis of an analytical approach and comparative methods, collate the developmental
principles of their composing. In that sense, after principles of elementary, functional and
structural analysis of works, special emphasis has been placed on the following components of
music forms: a) formative elements (rhythm, melody, harmony, polyphony, dynamics, agogics,
timbre); b) proportions (the relations between wholes on micro and macro levels); c) the relation
toward the breakdown of form and the inclination toward fragmentarity (treating and shaping
fragments in relation to the whole); d) organ registration. The analysis and comparison of organ
scores crystallised the basic characteristics i.e. similarities and differences in the composer's
gestures, but also in the features of evolvement for every composer separately, with a goal to
find and specify their mutual influences.
x
On one side it was possible to recognise certain analogies that were transferred from the
teacher to the student. Thus, Lučić took the polyphonic expression from Dugan, while
simultaneously sought new manners of expression and commenced to abundantly use the
homophonic structure. Lučić began to use the organ more as an orchestra, and accordingly in a
specific manner enriched the timbre of his compositions. Klobučar built on this rich tone
approach of Lučić, but his expression was different since into his works, he introduced
avantgarde processes that turned toward a more liberal relation to tonality, dissonance, metre
and melody. Chronologically, their organ opuses follow one another in a special manner.
Furthermore, they created an uninterrupted flow in the development of organ music over a
period of more than one hundred years. Finally, an influence of European flows on the
development of organ compositions of the three prominent Croatian composers and organ
players has also been established.
Walcker's pipe organ of the Zagreb Cathedral is the starting point of Croatian organ
production and reproduction. It is the most significant and most beautiful instrument in Croatia
that has been assembling musicians, not only organ players, but also numerous composers who,
inspired by its sonorous timbre, dedicated a part of their opus precisely to organ works. The
development of the organ in Croatia would have taken an entirely different direction, had the
Zagreb Cathedral not been in possession of such a top-quality instrument and probably the opus
would have been significantly more modest in the number of newly composed works. We shall
never be able to sufficiently express our appreciation for this step forward, and for the
farsightedness of Archbishop Juraj Haulik and the organ instrument of the Zagreb Cathedral. |
