Zur Dämmerung

Am Institut 10 Musiktheater
Zur Erlangung des akademischen Grades eines Master of Arts
Im Rahmen des Studiums Musiktheater vorgelegt von:
Ana Kovačević
Matrikelnummer: 1373154
Künstlerische Masterarbeit:
Die Anfänge der Oper in Serbien -Die erste Serbische Oper
„Zur Dämmerung“
Betreuung: Univ. Prof. Dr. phil. M. A. Andreas Dorschel
Univ. Prof. Mag. art. Joanna Borowska-Isser
Juni 2015, Graz
1
At Institute 10 Music Theater/ Opera
To Obtain the Academic Degree Master of Arts
In the Course of the Study-Music Theater/ Opera Presented by:
Ana Kovačević
Student Number: 1373154
Master of Arts Work:
Beginnings of Opera in Serbia -The First Serbian Opera „At
Dawn“
Advisers: Univ. Prof. Dr. phil. M. A. Andreas Dorschel
Uni. Prof. Mag. of Arts Joanna Borowska – Isser
Jun 2015, Graz
2
ABSTRACT
Im Mittelpunkt dieser Arbeit steht die erste serbische Oper “At Dawn (Na uranka), komponiert
von Stanislav Binicki (1874-1942) im Jahr 1903, welche in der Tradition des Versimo mit
nationalen Elementen geschrieben wurde. Um diese Arbeit besser verstehen zu können ist es
notwendig einen kurzen Einblick in die historischen und sozialen Ereignisse Sebiens zu geben.
Der Wert dieser Oper liegt nicht nur in ihrem künstlerischen Ausdruck, sondern auch in der
Entwicklung der serbischen Musik. Von der Mitte des 19. bis zum Beginn des 20. Jahrunderts
konnte die (frühe) Oper in Serbien nicht dieselben wertvollen Traditionen, wie sie schon lange in
Westeuropa und Russland existiert haben, teilen. Damit verbunden waren sowohl die
unzureichenden Bedingungen für Aufführungen und Infrastruktur als auch der Mangel an
professionellen Musikern. Aufgrund dieser Tatsachen hat diese Oper des Pioniers Binickis einen
großen Einfluss in der Geschichte der serbischen Musik. Mit diesem Werk waren nun die
Grundsteine für viele zukünftige Generationen serbischer Komponisten gesetzt.
ABSTRACT
The focus of this work is the first Serbian opera At Dawn (Na uranku), composed by Stanislav
Biniĉki (1874-1942) in 1903 and written in verismo tradition with national elements. For better
understanding of this work and in order to create a valid context, it is necessary to give a preview
of Serbian historical and social circumstances.
The value of this opera is not only in its artistic expression but also in how it helped the music of
Serbia evolve. Early opera in Serbia , from the middle of the nineteenth to the early twentieth
century, did not have the same wealth of tradition from which to draw as had existed in the rich
operatic tradition in Western Europe and Russia. In addition to that, conditions for performance
and infrastructure were not satisfactory and there was a lack of professional musicians, both
singers and instrumentalists. Therefore, Biniĉki’s pionir attempt has a great value in history of
Serbian music, as it became the foundation on which many future generations of composers
built.
3
Table of Contents
Chapter
Page
Introduction ...................................................................................................................................5
Preview of Serbian history and formation of Serbian civil society ..........................................5
Education ............................................................................................................................6
Formation of Serbian civil society ....................................................................................8
Plays with singing ..........................................................................................................................9
Stanislav Binički “At Dawn” ......................................................................................................11
Overview and synopsis ........................................................................................................12
Characteristics of the Opera ...............................................................................................14
Behind the hill ......................................................................................................................17
Conclusion ....................................................................................................................................24
Bibliography…………………………………………………………………………………
4
25
INTRODUCTION
Music in the end of the nineteenth and the beginning of the twentieth century is characterized by
various stylistic developments. Late Romantic composers were creating some of their best
pieces, while simultaneously new tendencies could be seen in the works of impressionists and
expressionists. Composers like Verdi, Strauss, Puccini and also representatives of national
schools – Tchaikovsky, Mussorgsky, Korsakov, Dvorak were reaching their peak. At the same
time the world was introduced to the works of Debussy, Ravel, and Schoenberg, Berg, Webern…
Fin de siècle itself represented the ending of one era and birth of a new one, with high hopes for
a new beginning, highly supporting emotionalism, irrationalism, subjectivism which were the
perfect frame for procreation of symbolism and modernism in art.
Under these circumstances, the creation of the first Serbian opera in 1903 looks like an
anachronism. Therefore it is necessary to give a brief preview of Serbian historical and social
occasions as the most important preconditions for the development of a certain culture. Historical
and social context, inseparable from the economic occasions, are the authentic frame of cultural
progress or regress.
PREVIEW OF SERBIAN HISTORY AND FORMATION OF SERBIAN CIVIL SOCIETY
The Balkan has always been the area where the power of “the East” and “the West” collided.
The fact that Belgrade, today’s capital of the Republic of Serbia, was besieged more than 140
times and was razed to the ground 40 times during those conflicts serves to illustrate that claim.1
Serbian people belong to the Slavic ethnic group. South Slavs (Serbians, Croatians,
Macedonians, Slovenians, Bosnians, Montenegrins, Bulgarians) were nomad tribes until the 6 th
Century, when they finally settled near the Balkan peninsula.
The beginnings of Serbia as a country were in the 7th century, it became a Kingdom in the 9th
century. The adoption of Christianity in 12th century ushered in a new era: the dynasty of
Nemanjić which was strongly influenced by the church. During that time almost every King of
Serbia was proclaimed a saint after his death. In the 14th century Serbia received the status of an
1
Aleksandar Diklid- Belgrade, eternal city, Skordisk, Belgrade, 2013 , page 135
5
Empire, but in the 15th century2 it became a slave of the Ottoman Empire until the second half of
the 19th century3.
After finally gaining its independence, Serbia began the 20th century with a bloody military
putsch in 1903 4, bringing the new dynasty of KaraĊorĊević to the throne. In 1912 and 1913
Serbia took part in two Balkan wars, right after that in The Great War and then in the The Second
World War. Less than 50 years after that, the Yugoslavian civil war (1991-1995) erupted,
followed by the 1999 NATO bombing of Serbia.
During the period from The Second World War until the Yugoslavian civil war, the country was
run as a socialist regime, with a Communist ruling party. The regime brought with it a specific
atmosphere of single-mindedness, mediocrity and a lack of artistic freedom and originality
(among all the other things).
Education
Although education was possible in the monasteries, the first Serbian schools were founded in
the 18th century in today's Vojvodina, the northern part of the country which despite its Serbian
majority was at the time part of the Austro-Hungarian Empire. In 1808 The Big School was
opened in Belgrade as well as The Liceum in Kragujevac in 1838 (later transferred to Belgrade).
In 1905 it finally received the status of University.
The first Serbian music school was founded in Belgrade in 1899, followed by the University of
music in 1937. Before, musicians had been receiving their education in Munich, Vienna,
Budapest and Prague. All these facts indicate that classical music in Serbia, especially opera, is
quite young in comparison to the history and tradition of Eastern Europe.
Because of the slavery and frequent wars fought on Serbian ground, musical tradition was orally
transmitted throughout the centuries. A great number of songs was collected by Vuk Stefanović
Karadţić (1787-1864) in the 19th century and some of them were published in Vienna in modern
notation for the first time. They were collected in a book of six songs by Vuk Stefanović
Karadţić with notation by Polish musician Frantisek Mirecki. He was a reformer of the Serbian
language, a collector of folk songs, and an initiator of the development of modern Serbian
2
1459.with surrender of Smederevo
1867.Ottoman troops left Serbia, 1878. in Berlin congress Serbia won international recognition
4
This event was known as May Coup
3
6
literature and art. He published Serbian Folk Poems, Serbian Folk Stories, Serbian Folk
Proverbs and later Serbian Dictionary.
In the middle ages, before the Ottoman invasion, Serbian nobility had been founding monasteries
as a legacy to their people and a demonstration of power. Therefore, an authentic architectonic
style was developed, the so-called Morava style5 (picture 1). On the inside, these monasteries
was decorated with frescoes as Serbian fresco paintings (picture 2) were taking an important
place in the European middle ages history of art.6
During the Ottoman Empires rule over the Balkan, the monasteries were the only place where
tradition and national identity was kept. Church music, based on the Byzantine chant, could be
found in written form.
Picture 1. Monastery of Manasija, also known as Resava, near the town Despotovac, south east
Serbia, 15th Century, Morava style
5
Declared a national style by Gabriel Millet (1867-1953, Byzantinist archaeologist and art historian)
Jovan Deretić- Cultural History of Serbs, Belgrade 2005.
6
7
Picture 2. White Angel , detail of the Myrrhbearers on Christ's Grave, Monastery of MIleševa,
13th Century
Formation of Serbian civil society
Although resistance against the Turks lasted almost throughout the centuries, first significant
results happened in 1804. (First Serbian Uprising). In the eighteenth century the Turks allowed
the organization of a dukedom government in Serbia. Consequently, four Dahis (Aganlija, Ali
Kucuk, Yusuf Mulla, Mehmed Aga Foĉić) divided the Belgrade Pashaluk into four parts and
imposed a reign of terror. When the Turkish border tax became too high, the Serbs secretly began
preparing to revolt. After learning of their intentions, the Dahis organized the execution of
prominent Serbs, a time in history that became known as the “Slaughter of the Knezes.” The
Serbian leader KaraĊorĊe Petrović escaped the slaughter, and along with leaders from Sumadija,
organized the first Serbian uprising in Orasac in 1804. The uprising began with the burning of
Turkish buildings in Sumadija and the expulsion of the Turks from several villages. This
rebellion against the Dahis turned into a rebellion against the Turkish government and into a
national revolution. The first Serbian Uprising abolished the feudal relations and returned the
land to the farmers.
In 1815 the second Serbian Uprising began, under the leadership of Miloš Obrenović. As a result
of the rebellion, Serbia was granted autonomy within the Ottoman Empire.
8
In 1867 the last Ottoman troops left Serbia; it became an independent state, and Obrenović
received the title of Prince of Serbia. In 1878, at the Berlin congress, Serbia won international
recognition.
After these events, the people of Serbia finally got the opportunity to build their civil society.
Economic and trade connections with Western Europe became stronger while Belgrade’s middle
class simultaneously strengthened its position and reputation, and began to build their culture
reflecting that of the West. Unfortunately, economic circumstances could not provide a higher
level of education and speaking in terms of musical education, even receiving basic knowledge
was a great challenge. In spite of all these difficulties, a number of enthusiasts was working on
the development of a cultural life in Serbia by founding singing societies, amateur orchestras and
theaters. Also Prince Miloš was putting a lot of effort into founding the first Serbian professional
Orchestra (1831).
The first theater was founded in Kragujevac in 1834 and the first Serbian singing society was
founded in 1838. For a long time, these types of societies were the only form of musical practice
in Serbia. After centuries of lethargy caused by the foreign invasion, Serbia was faced
with the educational and staffing difficulties of establishing a number of instrumental groups,
therefore the vocal art of music had precedence over the instrumental.
PLAYS WITH SINGING
The Serbian audience had a special interest in theater. An increasing number of theater groups
showed that this art form was becoming more and more popular. In the beginning, pieces of
foreign authors were often performed. Joakim Vuji7 translated and adapted these pieces for the
Serbian actors and audience. These plays were quite often performed with musical numbers, with
characters expressing their emotions through songs, duets, larger ensembles or choral pieces. As
the number of musical pieces grew, it became easy to separate plays with singing from standard
theater plays as a form per se. Among the authors of these musical parts there were Josif
Slezenger, Nikola Đurković, Kornelije Stanković, Davorin Jenko, Stanislav Biniĉki, Josif
Marinković. They mostly composed two and three part songs with simple instrumentation which
only served to accompany the vocal melody. There were patriotic themes as well as themes from
everyday life, the range and technical demands adjusted for amateur singers.
7
Joakim Vujić (1772-1847), Serbian writer and interpreter, founder of the Serbian Theater
9
Over time, the creation of plays with singing turned into the first attempts of creating an opera.
Although the Belgrade Opera was founded much later (in 1920) as a department of the National
Theater of Belgrade8 , the Belgrade audience was familiar with opera repertoire. It was possible
to experience the works of Rossini, Mozart, Donizetti, but often in shortened versions, with
spoken text instead of recitatives.9
At the same time, some of the composers were occupied with creating choral music or solo
songs, also based on folk songs. Stevan Stojanović Mokranjac (1856-1914) and Josif Marinković
(1851-1931) are considered the founding fathers of national Romanticism in Serbia.
Picture 3. Old Belgrade with National Theater in the center and National Museum on the left
side
8
Even today , the Belgrade Opera works only as a department of the National Theater. An Opera building still does
not exist.
9
Tatjana Marković- Musical scenic pieces; Plays with singing, Opera (in “History of Serbian Music”, group of
authors) page 447
10
STANISLAV BINIČKI „AT DAWN“
These occurrences finally led to the first Serbian Opera called „At Dawn“ by Stanislav Biniĉki. It
is an opera in one act, composed to the libretto of one of the most significant Serbian drama
writers Branislav Nušić. The Overture was first performed in 1903 but the Opera premiere was
on the 24th of April 1904 in the Belgrad National Theater with the composer himself
conducting.10 The opera was performed six times before the First World War. Jovan Dimitrijević
points out that even though the production was not technically difficult, it presented a great
challenge. Due to "untrained singers, it was not successful and therefore, rarely performed”.
Before this piece, two more operas had been written (The Wedding of Miloš Obilić by Boţidar
11
Joksimović and Pithia by Vaclav Vedral, both from 1902), but they were never performed and in
the Serbian history of music, they are considered of no significant value12.
Stanislav
Binički
(1872-1942)
was
a
Serbian composer, conductor, and pedagogue. From the
perspective of a modern musicologist, Biniĉki was a
representative of the National Schools, which gives a
more complex musical form to folk music with
characteristics of oriental pathos and sensuality associated
with urban folk melody.
He received his first musical education in Niš and
Belgrade (he played the violin and the flute), afterwards
he
studied
singing
and
composing
with
Josef
Rheinberger13 in Munich, Germany. After returning to
Belgrade, he founded the first big symphonic orchestra
called the Belgrade Military Orchestra. In 1899 he co- Picture 4: Portrait of Stanislav Binički
founded the first music school in Serbia “Mokranjac” and
10
Vlastimir Periĉić- Music makers in Serbia, Prosveta Belgrade , 1969. page 59,60
Jovan Dimitrijević- Beginings of Belgrade Opera, Vreme, 12. II 1930.
12
Vlastimir Periĉić- Music makers inn Serbia, Prosveta Belgrade , 1969. page 59,60
13
Josef Gabriel Rheinberger (17 March 1839, in Vaduz – 25 November
an organist and composer
11
11
1901,
in Munich)
was
he lead a number of other orchestras and choirs. For those in Serbia who were ready and willing
to accept something new, he gave symphonic concerts featuring works by the old masters. He
joined the Serbian Army following the outbreak of World War I. In 1920 he became the director of
the newly founded Belgrade Opera.14
His work is mainly based on folk melodies (often with traces of Belgrade), a sentimental and
sevdalinka understanding of folklore, which is why he enjoyed great popularity. He wrote music
for several theatrical works, including Lilly and Spruce, Ekvinocio, Around the World, Tašana;
the most prominent was At Dawn, which served as the libretto for the opera of the same name.
His other significant works include From my Homeland, the melodramas The Death of Pericles,
and The Last Guest as well as military marches (the most popular is the March on River Drina).
The choral works that stand out are the cycles Peasant Girls and Tetovke, and The Songs from
South Serbia and Mijatovo, spiritual compositions Liturgy and Requiem, and solo songs:
Bracelet, If I Had Your Eyes, Under the Linden Tree. He also composed solo songs to the verses
of Jovan Jovanović Zmaj, Aleksa Šantić, Jovan Ilić and others which, considering artistic poetry,
emphasizes the individuality of Biniĉki.
Branislav Nušić (1864-1938) was the most profilic and diverse writer: a novelist, a playwright,
a satirist, an essayist. He also worked as a journalist and a civil servant. He was the most
succesful comedy writer and At Dawn was his pioneer attemp at not only writing a tragic play,
but also an opera libretto. Biniki admired his sense of humor and critical attitude towards social
problems.
Overview and Synopsis
Cast: Stanka (young girl), soprano, Rade (young man), tenor Andja (Rade’s mother), mezzo
soprano, Aga Redţep (Turkish military officer), bass Mujezin, (Muslim Priest), tenor
Orchestration: 2 flutes, 2 clarinets, violins, violas, violoncellos, double basses, mixed choir
Synopsis: The opera begins with a short, but suggestive, orchestral introduction that represents
the suffering of the Serbian population under the Turkish oppression. At dawn, young women
and men begin their habitual duties, which for a moment interrupt the Mujezins chant. Stanka is
waiting for her fiancé, Rade, to arrive at their meeting place and sings about her love for him and
14
Stana Đurić Klajn – Ten years from death of Stanislav Binički, Knjiţevne novine, 1952.
12
her longing for freedom. Rade arrives and in each others arms they forgot about all the suffering
that surrounds them. Rade asks his mother, Andja, to bless his marriage to Stanka. Turkish aga
Redţep observes the gathering from the side. Rade and his mother leave the scene to meet a
messenger who is delivering important news.
Stanka dreams about her future and happiness, but is interrupted by Redţep’s sudden arrival.
Redţep is also in love with Stanka and wants her for himself. Stanka finally breaks away from
Redţep and flees toward the village. In his aria (monolog), Redţep sings about his love for
Stanka and threatens to retaliate.
As the day of the wedding arrives, young women and men dance and sing to celebrate the happy
couple. The women decorate Stanka with flowers, wishing her happiness. Redţep arrives at the
wedding and, in front of all guests, humiliates Stanka and Rade. He proclaims that Rade is the
son of the whole village, because he is illegitimate. Confused and humiliated, Rade confronts his
mother and demands an explanation. Andja, singing about courage and living under harsh
circumstances, finally admits that Redţep is telling the truth. Rade becomes furious and kills his
mother. In the background, Mujezin’s chant begins again.
At Dawn is only one of the pieces from the beginning of the twentieth century which tells of the
Serbian slavery under the Ottoman Empire. For centuries, Serbs lived without basic human
rights, under harsh living conditions, dealing with constant fear. For those reasons, authors are
especially interested in events and stories concerning this period and especially the period before
the First Serbian Uprising , when national conscience and the will to freedom finally prevailed.
Another opera, written in 1910, Duke Ivo from Semberija by Isidor Bajić has a similar theme.
Many literary works dealt with this subject as well, including theater pieces, such as Black
George, and Conquest of Belgrade from the Turks (1812, Pest) by Istvan Balog.
13
Characteristics of the Opera
Some Serbian musicologists interpreted Biniĉki’s operatic debut as a work composed in the spirit
of the romantic opera tradition with influences of verismo, but in a national context. 15
Veristic opera strongly influenced musical life in Italy in the late ninetheen century. Librettos
were based on everyday life situations, which usually occurred in the middle of primitive, folk,
and sometimes in high societal circles. The audience is subjected to a bloody drama of
heightened passions, which results in a murder. As a reaction to Wagner’s musical drama, the
characters are ordinary people, people who are intensively living their feelings of love, hate,
jealousy and passion which lead them to revenge and murders; Wagnerian gods and myths
disappear. All the composers of verismo feature “a lush and a new harmony, which is masterfully
placed at the service of dramatic expression, as one of the most descriptive elements of the
mental state and affective tension of veristic opera.”16
Although At dawn has all the characteristics of verismo style, it stays dramatically unconvincing.
Characters are simple and one dimensional, the events are predictable and the message does not
go further than that everyone will pay for their sins.
Stanka is a patriarchally raised young women, in love for the first time. She sees in Rade
everything good in the world and she devotes to him her eternal love (aria and duet). Therefore,
she refuses Redţep’s interest in her and also does not believe that Rade is an illegitimate son.
We see her in this same manner until the end of the opera, without any development or changes.
Her vocal line is always melodic and lyrical, in order to represent the purity and naivety of her
soul.
Rade lives with his mother, AnĊa, not knowing anything about his father. He loves Stanka and
wants to marry her to give her security and the best life he can afford. His mother gives her
blessing to this marriage. We see Rade as a strong, hardworking, protective man, who dreams
about freedom and a better life. Afterwards, his character changes and we see a man who is
possessed by rage and hatred. That occurs when he learns that he is illegitimate (in musical
terms, we can see that in his vocal line which becomes interrupted with frequent pauses). In the
15
Marija Masnikosa, Opera Na uranku Stanislava Biniĉkog, sinteza elemenata dvaju operskih stilova, in: Stanislav
Biniĉki, zbornik radova, ed. Vlastimir Periĉić (Beograd: Fakultet muziĉke umetnosti u Beogradu, 1991), page 86.
16
Rikard Švarc, Veristic opera, Zvuk, no. 11-12 (1934), page 163
14
context of this time and place, being illegitimate is a great shame which creates lot of prejudices
and distrust in society. Rade allows his feelings to become stronger than his common sense, he
was probably thinking about his ruined dreams and his life spent in a lie. In this affection and
desperation, he kills his mother.
Redžep is a military officer who always finds a way to get what he wants. There is also a high
possibility that murder, rape and other ways of violence are not foreign to him. He wants Stanka
for himself, but it is not possible to imagine that marriage or decent life is something that he
offers. When Stanka refuses him, he wants to take his revenge. He decides to humiliate her
fiance in front of the whole village. He uses the tactic divide et impera and just stays aside and
watches what will happen next. Knowing how big this insult is, he can expect in which direction
the events will develop. His first aria is melodic and lyrical, typical for positive opera characters,
but in the second part his vocal line becomes highly declamatory, pungent, contains harsh
dissonance. Therefore we can see him like a man whose pride is hurt and who wants revenge
and the humiliation of a happy couple, after women he loves refuses him.
After Rade kills his mother, his relationship with Stanka has no future anymore.
The character of AnĊa is the least developed both musically and dramatically. Until the end we
can not even presume to know what is true about Rade’s father. Was she promiscuous, a
prostitute or maybe Redţep himself is his father (why otherwise would he know the truth).
Nevertheless the moment when AnĊa corroborates the accusation, Yes it’s my fault, is the
culmination of the whole opera and is followed with the Tristan chord in the orchestra.
The one-act conception of the opera At Dawn consists of closed and through composed
sections.17 The relationship between the music and drama is almost linear, “Dramatically static
17
Closed section (scene) features formal structure. There are certain repetitions of the text and the music. The
sections have symmetry, and the beginning and theend can easily be defined. Unlike closed sections, throughcomposed sections do not have repetition or symmetry; every new text brings new music. In these sections, the
beginning and the end are not defined, page
15
positions in the presented actions are closed scenes, while the more intense events are designed
as broad through-composed passages.”18
The overture is written in a slow Lento tempo with motifs from Serbian folklore. Mujezin’s chant
”allāhu ʾakbar, allāhu ʾakbar“- Allah is great, (a Muslim call for prayer) follows the overture (it
shows up one more time in the end). By confronting these two motifs at the beginning, the author
shows the Serbian-Ottoman dichotomy, which is a crucial frame for all events that occur in the
opera.
Example 1. Mujezin’s chant
Among the closed scenes we can find arias, ensembles, choruses and genre scenes.
There are two traditionally designed arias in the opera. The aria of Stanka Behind the Hill and the
aria of Redţep If you only knew lovely Stano. For the purpose of this dissertation, my focus will
be on Stanka’s aria.
18
Marija Masnikosa, Opera Na uranku Stanislava Biniĉkog, sinteza elemenata dvaju operskih stilova, in: Stanislav
Biniĉki, zbornik radova, ed. Vlastimir Periĉić (Beograd: Fakultet muziĉke umetnosti u Beogradu, 1991), page
97
16
Behind the hill depicts a young, naive girl, in love for the first time, waiting for a meeting at
dawn with her beloved one. The meaning of the text is explicit.
Tamo, tamo za tom gorom,
gde plodove štiti Bog
I gde ranom zorom, uz šuštanje bistrih vrela
zvone zvona,
Tamo imam dragog svog.
Ah, slatka su ona usta, poljubac je tako blag,
A kosa mu meka, gusta,
na nedrima toke dvije,
pod tokama srce bije, divno srce alem drag.
Tamo za tom gorom
Tamo, gde no slatki ĉujem poj,
Gde me sreta radost samo,
Gde lepše sunce grije,
Tamo mi je nebo moje, ţivot moj.
There, behind the hills, where God saves all the
fruits,
And where in th dawn, with sounds of streams,
bells are ringing,
There my beloved is.
Ah, that lips so sweet, and kisses so soft,
And his hair so black and strong.
In his chest, beautuful heart beats.
Oj, Rade, radovanje,
oj, ţeljo moja pusta
I srca mog kucanje
I šapat mojih usta, pominju tebe samo.
I snovi moji blagi i pogled, koji bludi,
Ĉekaju tebe, dragi.
O, doĊi na moje grudi,
Prepune njeţi, ţudi.
DoĊi mi dragi, doĊi...
Oh, Rade, my hapinnes,
My desire,
Beating of my heart,
Whispering of my lips,
My dreams and my sight,
Waiting just for you.
Come to my arms,
Full of desire,
Come my darling, come...
Behind the hills,
There, where lovely birds are singing,
Where I met only joy,
Where sun shines brighter,
There my sky is, all my life.
The Aria consists of two parts (AB).
The first part (A) is composed like a two part song, with slightely altered and repeated parts (// :
a b : //). It is idillyc and lyrical with a dominant presence of Slavic folklore ( part of the melody
is a Serbian folklore theme) and characteristics of oriental folklore. Harmonically it is very
simple: C-major, a-minor. Section b shows the characteristics of oriental folklore to a greater
extent than the previous one: the melodic phrases are now shorter, with the alterations of the
fourth and sixth scale degree. (Example 2.) In the end of section b a lidian d-minor-major
appears, which contributes even more to a folklore colorit.
17
Example 2.
18
Characteristics of Serbian folk melody are the frequent use of augmented seconds, the Gipsy and
Balkan scale and widely deployed melismas. Endings on the second degree of a scale are
harmonized with the dominant harmony. That is the typical treatment of the folklor style.
(example 3)
Example 3.
Section B is thematically different. It consists of a three part form, with a shortened reprise ABa.
The orchestra is dependent and mainly just doubles vocal line.
The aria continues with a love duet between Stanka and Rade. This is a typical ensemble of
agreement. (Besides that, we can also find an ensemble of disagreement in the opera – the quartet
19
of Stanka, Rade, Redţep and AnĊa). In the ensemble of agreement, the characters have the same
musical language with the same emotional state represented by the homophonic style.
The duet starts with Stanke, followed by Rade. The lyrical melody of this duet “Reconciles the
musical language of sevdalinka and traditional opera bel canto”.19 The orchestra primarily
doubles the vocal parts. Celebrating the love, the duet ends in parallel sixths, as typical
traditional operas of nineteenth century did. The effects of lightness and darkness (joy is
represented with major, and sorrow with minor) can also be found here as well as in Stanka’s
aria. The origins of this manner can be found in the Baroque period, when the convention
applied to the musical representation of certain emotions.
The duet begins in d-minor (where Stanka speaks about waiting for her beloved with great
desire) and finishes in F-major (where they are promising eternal love to each other).
19
Marija Masnikosa, Opera Na uranku Stanislava Biniĉkog, sinteza elemenata dvaju operskih stilova, in: Stanislav
Biniĉki, zbornik radova, ed. Vlastimir Periĉić (Beograd: Fakultet muziĉke umetnosti u Beogradu, 1991).
20
Example 4. The end of Stanka’s and Rade’s love duet
Among the closed scenes, important is a genre scene The Choir of Peasants. "Examined as a part
of the opera, it is a delay in the events, and as such serves as a dramatic and psychological rest." 20
After that point, the opera is through composed until the end. Specifically, the orchestra in arias,
ensembles, and choirs mostly doubles the rich melodic vocal lines in closed sections, while in the
through-composed sections it serves as an interpreter of dramatic situations. The harmony in the
closed sections is simple; in the through-composed sections it is bolder and in some places
almost expressionistic.
In the through composed parts “the melody is fragmented and declamatory, similar to the
musical language of realist Russian operas. Tonality that in arioso recitatives is dominant, in this
case serves as psychological effects and loses its primary role.” 21 This musical-dramatic
20
Marija Masnikosa, same work, page 95
Ibid., page 100
21
21
synthesis is a new quality of this opera and it can especially be seen in the character of Redţep ,
who is the most developed figure throughout the opera.
The choir is also treated in the manner of the National schools. It consists mostly of folk motifs
and simplified harmonies. Parallel thirds and sixths in neighbor voices and dialog between the
voices are often present.
The genre scene The Choir of Peasant is a through composed section. It begins with an
instrumental introduction, followed by a chorus (A), then a tenor solo (B) with the choir singing
sustained chords and the choir (A) again in the end. Section B is interesting due to the tenor solo
having the oriental line in sevdalinka manner.
The entire opera is rich with a sentimental tone, and the presence of folk elements in the melody
is national in characteristics. Analyzing the relationship between the text and the music in this
opera, Tatjana Marković indicates that the themes of folk songs or folklore used in the work have
the meaning of patriotism and its opposite, subjugation to the orient. These themes are clearly
defined in the narrative on the semantic level, but not quite as precisely on the musical level.
This is due to the fact that Serbian folk melodies are often based on Balkan and Gypsy minor or
those scales that contain augmented seconds. At the same time, this is one of the clearest
associations to oriental music22.
The aforementioned folk motifs can also be interpreted as leitmotivs. Most of the melodies are
dance-like and are related to the appearance of Serbian characters. The harmonic language of
these sections can be divided into two categories. The harmonic language is profound when the
motifs are in the style of vocal tradition, while the harmonic language is simplified with dancelike melodies. All segments related to the wedding of Rade and Stanka contain at least one of the
folk motifs. The weaving of these motifs throughout the opera represents thematic reminiscence.
These motifs, “Typically Serbian in melody and rhythm contrast the oriental motifs and 'the
curse motif', representing polarity in the presentation of the Serbian and Turkish population in
this opera, frequently recurring trough the opera.”23
Besides folk motifs we can also find a “curse motif”. It appears for the first time in the quartet,
then in Redţep’s aria and duet with Stanka, as well as in the end when AnĊa reveals her dark
22
Tatjana Marković Music scenic works-Plays with singing, Opera, Istorija srpske muzike, ed. Mirjana Veselinović
Hofman , Zavod za udţbenike Beograd,2007, page 448
23
Marija Masnikosa, same work, page 102
22
secret. The „Curse motif“ represents a thematic connection between the parts, but also an
insinuation of a tragic ending and Redţep’s malicious thoughts.
Picture 5: A poster for the third production of the opera At Dawn, on April 15, 1904
23
CONCLUSION
After the premiere of the Biniĉki’s opera, opinions were divided – from praise to criticism The
audience, however, welcomed his work and the major songs became quickly popular. This was
an affirmation to author that he was moving in the right direction in establishing a path for the
further development of the artistic field of Serbian musical culture.
Although At Dawn has no bigger value in world opera history, for history of Serbian opera it
represents the beginning of this genre and its ground stone. Nevertheless, opera as a genre among
the Serbian composers never became really popular, because in most of the cases it stayed
unperformed and unknown to a wider audience. Therefore, most of the composers were
concentrating their work on miniature forms.
Among the other opera works, we can mention The dusk (1925)- Stevan Hristić, Koštana (1931)Petar Konjović, Simonida (1956, 1958, 1968)- Stanojlo Rajiĉić, Antiogina (1958)- Svetomir
Nastasijević. In the second part of 20th century it was popular so called television opera. This
operas were composed special for television recording and broadcasting and they were mostly
composed on a librettos inspired by famous dramatic works, for example White Nights from
Stanojlo Rajiĉić on drama of F. Dostojevski or Diary of a mad man (Nikolai Gogol) from a
same composer.
In the beginning of 21st century we can find a few interesting opera pieces written from a
Serbian authors after a longer time. Most of them are written by a woman. Electronic Dream
Opera (2001) from Jasna ĐorĊević, Narzis and Echo (2002) from Aleksandara ĐorĊević, Zora
D (2003) from Isidora Ţebeljan, Aleksandra Vrebalov, Mileva (2011).
24
BIBLIOGRAPHY:

Deretić, Jovan - Cultural History of Serbs, Belgrade 2005

Diklić, Aleksandar - Belgrade, eternal city, Skordisk, Belgrade, 2013

Dimitrijević, Jovan - Beginings of Belgrade Opera, Vreme, 12. II 1930

Ćorović, Vladimir- History of Serbia, Bigz, Belgrade 1989.
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Đurić Klajn, Stana – Ten years from death of Stanislav Binički, Knjiţevne novine,
1952
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Group of Authors - History of Serbian Music, Zavod za udţbenike, Belgrade 2007
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Höweler, Casper- X-Y-Z der Muziek (translation in Serbian, edition: Budućnost, Matica
srpska, Novi Sad, 1998)

Masnikosa, Marija, Opera Na uranku Stanislava Biničkog, sinteza elemenata dvaju
operskih stilova, in: Stanislav Biniĉki, zbornik radova, ed. Vlastimir Periĉić ,Beograd:
Fakultet muziĉke umetnosti u Beogradu, 1991)

Periĉić, Vlastimir - Music makers in Serbia, Prosveta Belgrade , 1969.

Švarc, Rikard Veristic opera, Zvuk, no. 11-12 (1934)
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