TRADITION UND POSTMODERNE Zum 10. Todestag von Stjepan Šulek (1914-1986)

Stjepan Šulek spada u najsvestranije umjetnike u povijesti hrvatske glazbe. Bio je skladatelj, violinist, dirigent i glazbeni pedagog. Svojim prvim djelima javlja se neposredno poslije Drugog svjetskog rata. U kontinuitetu hrvatske glazbene povijesti Šulek stoji između neoklasicista razdoblja između dva rata, s jedne strane, i generacije mlađih skladatelja koji su kod njega učili kompoziciju i koji su aktivni i danas, s druge strane. Šulekov opus je vrlo opsežan, a pretežno instrumentalna djela svrstavaju ga u red vodećih hrvatskih simfoničara. U traganju za vlastitim glazbenim izrazom Šulek je ostao potpuno "imun" na avangardna traganja za novim zvukom, a niti u narodnom melosu nije pronašao zadovoljavajuće poticaje za svoj stvaralački čin. Njegova stilska orijentacija je svojevrsna sinteza barokne polifonije, klasične forme i romantičke izražajnosti. Šulek u glazbi vidi najdublji smisao kada ona slušatelju pruža osjećaj smirenja, kada u njemu budi težnju za lijepim, kada ga čini boljim i sretnijim. Svaka umjetnički vrijedna glazba, po njemu, nosi u sebi humani element te je upravo humanizirati čovjeka ključni stvaralački problem. Šulekov glazbeni izraz temeljen u tradiciji i koncepcija postmoderne imaju dodirnih točaka, stoga je potrebno povući paralelu i ukazati na sličnosti, ali i na razlike.Stjepan Šulek is one of the most versatile artists in the history of Croatian music. He was a composer, violinist, conductor and music teacher. His first works appeared immediately after the Second World War. In the continuity of Croatian music history Šulek stands between the neoclassicists from the period between the two wars on the one hand, and the generation of younger composers whom he taught composition and who are still active today, on the other hand. Šulek\u27s work is extensive, and his mostly instrumental pieces have helped include him in an array of leading Croatian symphonicists. In the quest for his own musical expression, Šulek remained completely "immune" to the avantgarde search for new sound. Neither could he find satisfactory inspiration for his creativity in folk music. His orientation in style was a synthesis of sorts of baroque poli phony, classical form and romantic expressiveness. Šulek sees in music its deepest meaning when it provides a sense of calm for the listener, when it awakens in one the aspiration for beauty, when it makes one a better and happier person. All artistically valued music, according to Šulek, carries within it a human element, thus the humanization of people is the true creative challenge. Šulek\u27s musical expression based on tradition and the concept of post-modernism have their points of contact, and it is therefore necessary to indicate the similarities, but also the differences.Stjepan Šulek gehOrt zu den universalsten KOnstlern der kroatischen Musikgeschichte. Er war Komponist, Violinist, Dirigent und Musikpadagoge. Seine Erstlingswerke stammen aus der Zeit unmittelbar nach dem Zweiten Weltkrieg. In der Geschichte der kroatischen Musik steht Šulek zwischen dem Neoklassizismus der Zwischenkriegszeit und der Generation jOngerer Komponisten, die vormais seine SchOler waren und heute noch tatig sind. Šuieks Opus ist autšerst umfangreich, seine vorwiegend instrumentalen Werke machen ihn zu einem der fQhrenden kroatischen Symphoniker. Bei seiner Suche nach eigener musikalischer Expression blieb Šulek vollig "immun" gegen avantgardistische Experimente mit neuen Tčnen, aber auch im volkstomlichen Melos fand er keine befriedigenden Anregungen fur seine schopferische Tatigkeit. Seine stilistische Orientierung ist eine Art Synthese barocker Polyphonie, klassischer Formen und romantischer Expressivitat. Der tiefste Sinn der Musik liegt fur Šulek darin, dem Menschen das GefQhl des Friedens zu vermittein, in ihm den Drang zum Schčnen zu wecken, ihn besser und glOcklicher zu machen. Alle kOnstlerisch wertvolle Musik tragt in sich ein humanes Element, und gerade die Humanisierung des Menschen ist das SchlOsselproblem kOnstlerischer Sehčpfunq, Šuleks in der Tradition wurzelnder musikalischer Ausdruck und die Konzeption der Postmoderne weisen BerOhrungspunkte auf. Es ist daher notwendig, ParalIeien zu ziehen und auf Ahnlichkeiten, ebenso aber auch auf Unterschiede hinzuweisen