Issues and Types of Josip Andreis\u27s Texts on Music Published to 1945

Abstract

U razdoblju od 1928. do 1945. godine Josip Andreis je objavio 157 različitih tekstova u dnevnom tisku, periodici i zbornicima. Zbog raznih okolnosti, pa i onih političkih, oko 2/3 tih tekstova dosad je bilo nepoznato muzikološkoj javnosti. Među njima najbrojnije su glazbene kritike, slijede članci i studije, pa recenzije, i samo jedan intervju (s Jakovom Gotovcem). U svojim onodobnim radovima davao je pouzdane informacije o glazbi, s osnovnim ciljem populariziranja glazbe i glazbenika u krugovima šire čitalačke publike, te je uvijek nastojao djelovati poticajno. U glazbenoj je kritici, uz jasno izražene simpatije za nacionalni smjer, te uz kritičke opaske, tražio i isticao ono dobro, podupirući hrvatska skladateljska i izvođačka traganja, nastojanja i postignuća. Većina ostalih članaka je historiografskog tipa, ali Andreis piše i o temama s područja glazbene estetike, o suvremenim skladateljima i glazbenom stvaralaštvu, te izdavaštvu. Neki njegovi onodobni radovi mogu se držati nukleusom kasnije napisanih analitičkih studija, te poticajem istraživanjima i razvoju hrvatske muzikologije.In the period from 1928 to 1945, the Croatian musicologist Josip Andreis published 157 various texts in dailies, periodicals and collections of articles. Due to various circumstances - also including the political - about two thirds of the texts have been unfamiliar so far to the musicological public. The major part of them belongs to music criticism, which are followed by articles and studies, reviews and just one interview (with the composer Jakov Gotovac). Trying to be promotive in those works, Andreis displayed reliable information on music aimed at the popularization of music and musicians among a wide reading public. Along with the distinctly expressed inclination toward the national orientation in music and with critical remarks, Andreis searched for and emphasized in his music criticism all that was good, and always supported Croatian composers’ and performers’ endeavours and achievements. Most other texts were historiographical, but Andreis also wrote about issues from the field of music aesthetics, about the composers and the compositions of the time, and about the publishing trade. Some of the works of the period might be treated as the cores of his later analytical studies as well as encouragement to further musicological research and development of Croatian musicology