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 »  Home  »  Music  »  Livio Marijan & Ivica Dundovic of Zadar Croatia won gold medal at the European Folklore Festival in Bulgaria
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 »  Home  »  Culture And Arts  »  Livio Marijan & Ivica Dundovic of Zadar Croatia won gold medal at the European Folklore Festival in Bulgaria
Livio Marijan & Ivica Dundovic of Zadar Croatia won gold medal at the European Folklore Festival in Bulgaria
By Prof.Dr. Darko Zubrinic | Published  07/23/2012 | Music , Croatian Language , Education , Culture And Arts | Unrated
Recipients of a special diploma "Revelation of the Festival"

Ivica Dundović and Livio Marijan from the city of Zadar, Croatia, winners of gold medal and "Revelation of the Festival"





 
Ivica Dundović and Livio Marijan on the photo are winners of a prestitigious European Folklore Festival organized from 10th to 20th July 2012 in Bargas in Bulgaria, under the auspices of UNESCO. Besides the gold medal they also won the black orpheus, a prize of the public, the recommendation for the World Folklore Festival, and a special diploma "Revelation of the Festival". They were singing old, almost forgotton Croatian songs from Dalmatia, including traditional Glagolitic chants from the town of Kali on the island of Ugljan.



Pjevači Livio Marijan (Veli Iž) i Ivica Dundović (Radovin) iz Zadra (Dalmacija, Hrvatska) nastupili su na EUROPEAN FOLKLORE CHAMPIONSHIP u Burgasu, BUgarskam u srpnju 2012. s izvornim otočkim i kotarskim napjevima sjeverne Dalmacije te dva glagoljaška napjeva (Zadar) te osvojili ZLATNU MEDALJU, ZLATNI ORFEJ, NAGRADU PUBLIKE i DIPLOMU: OTKRIĆE FESTIVALA. Napjevi ojkanja su na UNESCOVOJ listi svjetske nematerijalne kulturne baštine. Ovo je dio njihova nastupa.

Livio Marijan (Veli Iž) and Ivica Dundović (Radovin) won the Gold Medal Award, Gold Orpheus Award, Diploma Discovery of the Concert at the EUROPEAN CHAMPIONSHIP OF FOLKLORE in Burgas, Bulgaria, where they perfomed traditional two-part chants of the Zadar Region (North Dalmatia) Croatia - ojkanje and other forms of ancient vocal singing, and also Glagolitic Liturgical Chants. The ojkanje singing is on UNESCO's list of World Heritage. This is an excerpt from their performance.




 
ZADARSKI PJEVAČI OSVOJILI ZLATNU MEDALJU I ZLATNI ORFEJ NA EUROPSKOM PRVENSTVU FOLKLORA U BURGASU

Livio Marijan i Ivica Dundović, kao pjevači starih izvornih napjeva sjeverne Dalmacije, osvojili su zlatnu medalju na Europskom prvenstvu folklora koji se u srpnju mjesecu (10.-20.) ove godine održao pod pokroviteljstvo UNESCO-a u Burgasu, Bugarskoj. Osvojili su  još i zlatni Orfej, nagradu publike, preporuku za Svjetski festival folklora i posebnu diplomu "Otkriće festivala".

Pjevajući stare izvorne dvoglasne napjeve iz Kotara i s otoka, koji pomalu izumiru a prepoznati su kao svjetska nematerijalna kulturna baština od UNESCO-a prošle godine, među brojnim folklornim ansamblima iz cijele Europe, prepoznati su od stručnog žirija i organizatora kao rijetki i kvalitetni izvođači starog izvornog folklora. Izvodili su u duetu četiri napjeva ojkanja ili "orcanja" iz svojih rodnih mjesta, "Da ga nismo skoro zapivali" i "Porasla je čenica bilica" iz Velog Iža, te "Što ću tužan" i "Marko sadi vitu jelu" iz Radovina, te tako predstavili orcanje otočkog i kotarskog tipa sa zadarskog područja.

Pjevali su i stare dvoglasne napjeve "Gorko cvili sužanj Vladimire"  iz Kačićeve pjesmarice "Razgovor ugodni naroda slovinskoga" kako se pjevalo širem sjeverne Dalmacije, zatim jedan napjev poznat kao stari "kanat" na otocima Rabu i Pagu ("Pozdrav'te mi Velebita goru"), napjev "Ej da mi je cimentati more" na starom murterskom dvoglasju, te "Velebite visoka planino" u napjevu "na bas". Na kraju su dodali i dva glagoljaška napjeva: "Slava Otcu" na starom glagoljaškom napjevu sjeverne Dalmacije i "Gospodi, pomiluj" iz stare kaljske glagoljaške mise. Bugarsku javnost kao i stručne žirije osobito su se dojmili glagoljaški napjevi jer Bugarska u svojoj kulturnoj povijesti ima sačuvano nešto od glagoljaške baštine, čije vrednovanje je danas u Bugarskoj vrlo aktuelno. Na višednevnom festivalu je sudjelovalo pedesetak folklornih skupina iz cijele Europe, a nastupi su se odvijali na ljetnoj pozornici u gradu Burgasu, poznatom bugarskom ljetovalištu.

Snimci su izravno preneseni na svjetski World Folk Television  kao i na Euro Folk TV putem interneta. Livio Marijan (Veli Iž) je etnolog i već se godinama stručno bavi starim oblicima pjevanja i etnografijom sjeverne Dalmacije, osobito očuvanjem naše bogate glagoljaške tradicije, te i sam radi s folklornim skupinama i sudjeluje u pjevanju izvornog folklora. Radi u Nadbiskupskom ordinarijatu u Zadru. Ivica Dundović (Radovin) je časnik Hrvatske vojske i vjeroučitelj u župi Radovin, godinama vodi KUD Radovin i KUD Privlaku te sam sudjeluje u pjevanju i nastupima ovih skupina. Odjeveni u stare izvorne nošnje zadarskoga kraja, pjevači Marijan i Dundović predstavili su europskoj i svjetskoj javnosti najstarije oblike izvornog starog pjevanja sjeverne Dalmacije, kako dinarske (kotarske) tako i jadranske (otočke) tradicije, koji su svojim podrijetlom vrlo stari i svojom izvornošću prepoznati kao svjetska nematerijalna kulturna baština, te se nalaze na UNESCO-vom popisu zaštićenih kulturnih dobara. Nažalost, ovi oblici pjevanja pomalo nestaju u živoj praksi.

Publika, mediji i stručni žiri Europskog prvenstva folklora prepoznali su izvornost i vrijednost ovog stila pjevanja te s osobitim oduševljenjem i priznanjem nagradili zadarski folklorni duet s najviše priznanja i nagrada, kvalitetu izvedbe i trud na očuvanju ovih kulturno-povijesnih glazbenih vrijednosti hrvatske kulture. Na osobit način promociju, nastupom zadarskog pučkog dueta, zadarski je kraj kao i čitava Hrvatska prezentirana Europi i svijetu u svojim izvornim kulturnim vrijednostima. Odlazak na prvenstvo potpomogli su Zadarska županija, veleposlanstvo Republike Hrvatske u Sofiji, Ministarstvo kulture RH kao i Galerija "Laudato Corde" iz Zadra. 

Livio Marijan
kontakt: 095 5474 555
e-mail: livio.marijan@net.hr


 
Program

PUČKI PIVAČI ZADARSKE ŽUPANIJE Zadar, Croatia

Livio Marijan, Ivica Dundović

1. Što ću tužan kad sam svakom dužan
(What I am to do, when I am in debt with everyone)
ojkanje in dinaric (inland) form, from the village of Radovin

2. Marko sadi vitu jelu, oj!
(Marko plants a high fir tree, oj!)
two-part syllabic polyphony
with 'oj' ending in dinaric (inland) style, village of Radovin

3. Da ga nismo skoro zapivali
(We haven't chanted one in a long time)
ojkanje in mediterranean (island) style, Island of Iz

4. Porasla je šenica bilica
White wheat has grown
two-part polyphony with "oj" ending in Mediterranean (island) style, Island of Iž

5. "Gorko cvili sužanj Vladimire"
(The captive Vladimir weeps bitterly)
kantanje; epic song about a Slavic king named Radoslav

6. Pozdrav'te mi Velebita goru
(Salute the Velebit mountain for me)
kantanje from the Island of Pag

7. Velebite, visoka planino
(Velebit, oh high mountain)
kantanje in "bas" form, dinaric style village of Radovin

Bis. Croatian Glagolitic chants: "Slava Otcu", old Croatian Glagolitic chant from the north of Dalmatia, and "Gospodi, pomiluj" from the old Kali Glagolitic Mass (Kali is a town on the island of Ugljan near the city of Zadar)




Croatian Glagolitic Chant

The Glagolitic script in its square version rooted itself strongly and flourished for centuries on the Croatian coast (Istria, Kvarner coast and islands, Dalmatia with its many islands). Here it was in liturgical and secular use until be beginning of the 20th century.

The Croats along the Adriatic coast had the unique privilege of using Old Church Slavonic in the celebrating the Roman Rite, while all other nations could use only Latin until up to the 1960's Second Vatican Council reform. This is a unique phenomena and it is known as the Glagolitic liturgy. It created a specific liturgical, sacral, artistic and literary culture, and also a specific form of liturgical chant known as Glagolitic chant, which in contrast to Gregorian or Byzantine, has a very strong folk music influence. Sometimes it can be barely distinguished from the folk chants of Istria or Dalmatia.

So the Croats along the Adriatic, on one hand, shared the same liturgical language (Slavonic) with the orthodox Serbs, Bulgarians, Russians, but not the same rite. On the other hand they shared the same rite with the rest of Catholic Europe - the Roman Rite - but not the same liturgical language (Latin). The Glagolitic chant is still in use in many small coastal and island parishes in Croatia. In Dalmatia it was the Glagolitic chant that gave birth to the famous Dalmatian male `klapa' singing.

While Glagoliza disappeared in other Slavic nations already in the Middle Ages, in coastal Croatia it flourished and was in full use in the Mass and Church services, in Missals and Breviaries, in official civil documents, prose and poetry, stone carvings, etc. up until the 20th century. Its centers were mainly Rijeka, Krk, Senj and Zadar, but it was in use in the entire coastal region. It represents a fundamental and original element in Croatian culture.

While church chanting in Old Church Slavonic among the Orthodox Slavs (Bulgarians, Macedonians, Serbs, Russians, etc.) is known as 'byzantine' chant, and belongs to the Byzantine Rite, chanting in Old Church Slavonic among the Croats is known as Glagolitic chant and belongs to the Roman Rite. Among the Czechs it is preserved only in some compositions of the Mass in Old Church Slavonic known as Glagolitic Mass.

Livio Marijan

Source www.croatianhistory.net
 

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