Mit - Index

Mit - UVK_Sinfo_2008_10_št.14 - Index

DID yOu ReCeIVe a MuSICal
eDuCatION?
I did study the piano, but it's not the kind of musical education
to brag about. Basically, I taught myself most things. Well, my
father was an amateur pianist, even though he was a banker,
and it was his wish for me to become a pianist − a great pianist,
like Dubravka TomšiË Srebotnjak (smiles) − or a doctor. His wish
was never fulfilled, but it was he who introduced me to piano, to
music, from a young age: we went to the Opera, to music school.
Interesting, how the obligatory piano never caught my attention:
in those strange years during and after the war I stopped playing
the piano completely. And then one day, all of a sudden, I just sat
at the piano and played for days. My mother even brought me
food to the piano (smiles).
WeRe yOu IN lOVe? eMOtIONS CaN gIVe
bIRth tO CReatIVIty.
I was in love with music (laughter)! Well, I did fall in love here and
there, but nothing serious. It truly was a love for music, actually
a love for jazz, as it was in those days after the war, when we
expressed our aesthetic and world view through jazz.
WaS thIS WheN jazz WaS PROhIbIteD?
WheRe DID yOu get the ReCORDS?
True, this kind of music had to be hidden. It was actually
unofficially undesired. The records used to come over the
border; older colleagues had them and we used to listen to
radio stations at night. There were no tape-recorders yet, so we
used to write down jazz themes from memory and teach each
other harmonies. Bojan AdamiË was mainly responsible for jazz
winning recognition; he belonged to the circles with the actual
power to decide. And he was very open to us young ones, very
supportive.
thIS gOOD FellOWShIP, helP aND
DIStRIbutION OF kNOWleDge IS
RaRely SeeN theSe DayS, DeSPIte the
eaSIeR MethODS OF eDuCatION tODay.
Why?
Obviously, because of the new system, the competitiveness
enforced today, which is not good. This is what the new era has
brought. We used to share knowledge and experiences a lot; some
older colleagues, like the late guitarist Mitja Butara who died very
young and was a great theorist, taught me a great deal.
yOu haVe beeN FOllOWINg the Path
OF MuSIC all yOuR lIFe: yOu WeRe the
DIReCtOR OF the ‘zalOŽba kaSet IN
PlOšË’ PublIShINg hOuSe, yOu WeRe
aND aRe a SuCCeSSFul COMPOSeR. IS
the MuSIC We lISteN tO tODay gOOD?
Well, there was a long period in my life when I wasn’t active as
a composer,
33
P E o P L E
although I stayed in touch with music all the time as a director.
Even in my retirement years I used to own a music store with
Mojmir Sepe, so I was in tune with notes and words. Today’s
music can not be generalized − it is so diverse and the quantity is
enormous! I can not stop to wonder how all these people manage
to live on music. Quantity really doesn’t necessarily mean quality,
but something good can always be found among them. There
are some great composers in the Big Band today, and also Rok
Golob and Patrik Greblo are excellent. I find it strange that these
people are almost nowhere to be heard, even though they are
similar to my generation, which made the transition from jazz to
popular music. There are also some pretty good vocalists, but
interestingly, there are fewer and fewer men among them.
hOW DO yOu ReaCt WheN yOu heaR a
baD SONg ON the RaDIO, IN a CaFé OR
at aN eVeNt, WIth PlagIaRISeD MuSIC,
a baD aRRaNgeMeNt aND baNal
lyRICS that DON’t eXPReSS aNythINg?
DOeS It huRt yOu?
If I hear a song like that in a café, I don’t agree with it, but it
doesn’t hurt me. It does hurt me to hear this kind of song on
radio stations or even on national television. This shouldn’t be
happening! Although it is true that music editors must have
it hard these days, because of the quantity of music and the
aggressiveness of over-exposed groups and individuals in the
media. But music editors should maintain their integrity and say
loud and clear that some songs and performers just don’t belong
there! Not everybody can be good, not everybody can make it
to the BBC. But in Slovenia, everybody with a little persistence
and some help from his mom and dad, who buy a studio and
musicians for him, can “make” music.
but MuSIC haS ItS CultuRal MISSION.
WheRe IS the SOlutION?
The solution lies in the knowledgeability of music editors and
their personal integrity − one shouldn’t be afraid to be resented
by others (laughter). Music is a cultural image of the nation. Music
programs on the radio are full of some kind of talk; years have
passed since the national television had a music editor − Urban
Koder and Dušan Hren were the last musicians who worked
there. I think this is a disgrace and an undervaluation of music!
At the same time, music is much exploited, and its professional
value, quality and cultural mission are not recognized. Although
it’s true that too much music today is made without a hint of
musicality and that lyrics are beyond criticism. But this is my
personal opinion.
yOu aRe StIll COMPOSINg FOR elDa
VIleR aND aNa DeŽMaN; FOuR yeaRS
agO yOu haD a gReat CONCeRt.
hOW DO yOu CReate MuSIC −
SPONtaNeOuSly?
Not as spontaneously as I used to in the old days, I don’t have
that much music “stashed” in my head (laughter). But I do sit
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