The content of the biography of Tale Ognenovski in
these
WEB pages is similar to that of his biography, published in the book on
December 2000 and entitled "Tale Ognenovski Virtuoso of the Clarinet
and
Composer", and written by the same author, Stevan Ognenovski.
Publishing house is MATICA MAKEDONSKA (Editor in chief
and Director Rade SILJAN; Editor Dejan PAVLESKI; Cover Stevan
OGNENOVSKI
M.Sc.; Design editor Niko P. TOZI), Skopje, Republic of Macedonia;
ISBN
9989-48-312-4 ; 406 pages (format A4).
The book is published in both Macedonian and English.
This book you may order it now and you can receive buying info at:
Publishing house "MATICA MAKEDONSKA"
Bulevar Sveti Kliment Ohridski 23
1000 Skopje, Republic of Macedonia
The content of the book are: the biography of Tale Ognenovski and music notation of compositions of Macedonian Folk Dances, Jazz and Classical Music (all composed by Tale Ognenovski):
XIII MAKEDONSKI
NARODNI
ORA
MACEDONIAN
FOLK DANCES
1. POLJANSKO ORO
(kompozitor
Tale Ognenovski)
POLJANSKO ORO (composer Tale
Ognenovski)
2. TALEVO SVADBARSKO ORO
(kompozitor
Tale Ognenovski)
TALEVO SVADBARSKOORO (composer Tale
Ognenovski)
3. PAJDU[KO SVADBARSKO
ORO
(kompozitor
Tale Ognenovski)
PAJDUSHKO SVADBARSKO ORO (composer
Tale Ognenovski)
4. TALEVO GENIMALSKO ORO
(kompozitor
Tale Ognenovski)
TALEVO GENIMALSKOORO (composer Tale
Ognenovski)
5. LAV^ANSKO ZA RAMO ORO
(kompozitor
Tale Ognenovski)
LAVCHANSKO ZA RAMO (composer Tale
Ognenovski)
6. BITOLSKO ORO
(kompozitor
Tale Ognenovski)
BITOLSKOORO (composer Tale
Ognenovski)
7. TALEVO BADNIKOVO ORO
(kompozitor
Tale Ognenovski)
TALEVO BADNIKOVO ORO (composer Tale
Ognenovski)
8. BAIRSKO ORO
(kompozitor
Tale Ognenovski)
BAIRSKO ORO (composer Tale
Ognenovski)
9. TALEVO KASAPSKO ORO
(kompozitor
Tale Ognenovski)
TALEVO KASAPSKO ORO (composer Tale
Ognenovski)
10. STARSKO ZA RAMO ORO
(kompozitor
Tale Ognenovski)
STARSKO ZA RAMOORO
(composer
Tale Ognenovski)
11. BISTRI^KO ORO
(kompozitor
Tale Ognenovski)
BISTRICHKO ORO (composer
Tale Ognenovski)
12. SKUDRINSKO ORO
(kompozitor
Tale Ognenovski)
SKUDRINSKO ORO (composer
Tale Ognenovski)
13. TRNOVSKO ORO
(kompozitor
Tale Ognenovski)
TRNOVSKO ORO (composer
Tale Ognenovski)
14. BUKOVSKO SVADBARSKO
ORO
(kompozitor Tale Ognenovski)
BUKOVSKO SVADBARSKO ORO
(composer Tale Ognenovski)
15. DIHOVSKO ORO
(kompozitor
Tale Ognenovski)
DIHOVSKO ORO (composer
Tale Ognenovski)
16. CAPARSKO ORO
(kompozitor
Tale Ognenovski)
CAPARSKO ORO (composer
Tale Ognenovski)
17. PRESPANSKO ORO ,
(kompozitor
Tale Ognenovski)
PRESPANSKO ORO ,
(composer
Tale Ognenovski)
18. BRUSNI^KO
POTPELISTERSKO
ORO (kompozitor Tale Ognenovski)
BRUSNICHKO
POTPELISTERSKO
ORO (composer Tale Ognenovski)
19. SKOPSKO @ENSKO ORO
(kompozitor
Tale Ognenovski)
SKOPSKO ZHENSKO ORO
(composer
Tale Ognenovski)
20. BITOLSKO SVADBARSKO
ORO
(kompozitor Tale Ognenovski)
BITOLSKO SVADBARSKO ORO
(composer Tale Ognenovski)
21. BRUSNI^KO MLADINSKO
ORO
(kompozitor Tale Ognenovski)
BRUSNICHKO MLADINSKO ORO
(composer Tale Ognenovski)
22. BOGOMILSKO ORO
(kompozitor
Tale Ognenovski)
BOGOMILSKO ORO (composer
Tale Ognenovski)
23. SKOPSKO MA[KO ORO
(kompozitor
Tale Ognenovski)
SKOPSKO MASHKO ORO
(composer
Tale Ognenovski)
24. NEVENINO ORO
(kompozitor
Tale Ognenovski)
NEVENINO ORO (composer
Tale Ognenovski)
25. BITOLSKO ZA RAMO ORO
(kompozitor
Tale Ognenovski)
BITOLSKO ZA RAMO ORO
(composer
Tale Ognenovski)
26. POTPELISTERSKI
RASADNIK
ORO (kompozitor Tale Ognenovski)
POTPELISTERSKI RASADNIK
ORO (composer Tale Ognenovski)
27. [ARSKO ORO
(kompozitor
Tale Ognenovski)
SHARSKO ORO (composer
Tale Ognenovski)
28. TALEVO BITOLSKO ORO
(kompozitor
Tale Ognenovski)
TALEVO BITOLSKO ORO
(composer
Tale Ognenovski)
29. BITOLSKO BUKOVSKO
ORO
(kompozitor Tale Ognenovski)
BITOLSKO BUKOVSKO ORO
(composer Tale Ognenovski)
30. BITOLSKO LAV^ANSKO
ORO
(kompozitor Tale Ognenovski)
BITOLSKO LAVCHANSKO ORO
(composer Tale Ognenovski)
31. BABUNSKO TALEVO ORO
(kompozitor
Tale Ognenovski)
BABUNSKO TALEVO ORO
(composer
Tale Ognenovski)
32. TALEVO PRILEPSKO ORO
(kompozitor
Tale Ognenovski)
TALEVO PRILEPSKO ORO
(composer
Tale Ognenovski)
33. ZETOVSKO ORO
(kompozitor
Tale Ognenovski)
ZETOVSKO ORO (composer
Tale Ognenovski)
34. GERMIJANSKO ORO
(kompozitor
Tale Ognenovski)
GERMIJANSKO ORO
(composer
Tale Ognenovski)
35. BRUSNI^KO PADINSKO
ORO
(kompozitor Tale Ognenovski)
BRUSNICHKO PADINSKO ORO
(composer Tale Ognenovski)
36. ZLETOVSKO ORO
(kompozitor
Tale Ognenovski)
ZLETOVSKO ORO (composer
Tale Ognenovski)
37. BEROVSKO @ENSKO ORO
(kompozitor
Tale Ognenovski)
BEROVSKO ZHENSKO ORO
(composer
Tale Ognenovski)
38. BITOLSKO MA[KO ORO
(kompozitor
Tale Ognenovski)
BITOLSKO MASHKO ORO
(composer
Tale Ognenovski)
39. NEGOTINSKO @ENSKO
ORO
(kompozitor Tale Ognenovski)
NEGOTINSKO ZHENSKO ORO
(composer Tale Ognenovski)
40. GEVGELISKO @ENSKO
ORO
(kompozitor Tale Ognenovski)
GEVGELISKO ZHENSKO ORO
(composer Tale Ognenovski)
41. DEL^EVSKO @ENSKO ORO
(kompozitor
Tale Ognenovski)
DELCHEVSKO ZHENSKO ORO
(composer Tale Ognenovski)
42. NEGOTINSKO MA[KO ORO
(kompozitor
Tale Ognenovski)
NEGOTINSKO MASHKO ORO
(composer Tale Ognenovski)
43. BRUSNI^KO MA[KO ORO
(kompozitor
Tale Ognenovski)
BRUSNICHKO MASHKO ORO
(composer Tale Ognenovski)
44. VELE[KO VESELO ORO
(kompozitor
Tale Ognenovski)
VELESHKO VESELO ORO
(composer
Tale Ognenovski)
45. STEV^EVO BRUSNI^KO
ORO
(kompozitor Tale Ognenovski)
STEVCHEVO BRUSNICHKO ORO
(composer Tale Ognenovski)
46. GRADSKO VESELO ORO
(kompozitor
Tale Ognenovski)
GRADSKO VESELO ORO
(composer
Tale Ognenovski)
47. SKOPSKO DRA^EVSKO
ORO
(kompozitor Tale Ognenovski)
SKOPSKO DRACHEVSKO ORO
(composer Tale Ognenovski)
48. PAUNOVO ORO
(kompozitor
Tale Ognenovski)
PAUNOVO ORO (composer
Tale Ognenovski)
49. KUMANOVSKO ORO
(kompozitor
Tale Ognenovski)
KUMANOVSKO ORO (composer
Tale Ognenovski)
50. BO@IKOVO ORO
(kompozitor
Tale Ognenovski)
BOZHIKOVO ORO (composer
Tale Ognenovski)
51. KRSTORSKO MA[KO ORO
(kompozitor
Tale Ognenovski)
KRSTORSKO MASHKO ORO
(composer
Tale Ognenovski)
52. IL^OVO ORO
(kompozitor
Tale Ognenovski)
ILCHOVO ORO (composer
Tale Ognenovski)
53. @IVKINO ORO
(kompozitor
Tale Ognenovski)
ZHIVKINO ORO (composer
Tale Ognenovski)
54. GALI^KO ORO
(kompozitor
Tale Ognenovski)
GALICHKO ORO (composer
Tale Ognenovski)
55. PIPERKOVO ORO
(kompozitor
Tale Ognenovski)
PIPERKOVO ORO (composer
Tale Ognenovski)
56. SKOPSKI VESEL ^O^EK
ORO
(kompozitor Tale Ognenovski)
SKOPSKI VESEL CHOCHEK
ORO (composer Tale Ognenovski)
57. FANINO ORO
(kompozitor
Tale Ognenovski)
FANINO ORO (composer
Tale
Ognenovski)
58. MICINO ORO
(kompozitor
Tale Ognenovski)
MICINO ORO (composer
Tale
Ognenovski)
59. DIM^EVO ORO
(kompozitor
Tale Ognenovski)
DIMCHEVO ORO (composer
Tale Ognenovski)
60. PALANE^KO VESELO ORO
(kompozitor
Tale Ognenovski)
PALANECHKO VESELO ORO
(composer Tale Ognenovski)
61. DEVEROVO ORO
(kompozitor
Tale Ognenovski)
DEVEROVO ORO (composer
Tale Ognenovski)
62. PELISTERSKO ORO
(kompozitor
Tale Ognenovski)
PELISTERSKO ORO
(composer
Tale Ognenovski)
63. KUMOVO ORO ^O^EK
(kompozitor
Tale Ognenovski)
KUMOVO ORO CHOCHEK
(composer
Tale Ognenovski)
64. \AVATSKO
POTPELISTERSKO
ORO (kompozitor Tale Ognenovski)
GJAVATSKO POTPELISTERSKO
ORO (composer Tale Ognenovski)
65. PELAGONISKO ORO
(kompozitor
Tale Ognenovski)
PELAGONISKO, ORO
(composer
Tale Ognenovski)
66. BRUSNI^KO ORO
(kompozitor
Tale Ognenovski)
BRUSNICHKO ORO (composer
Tale Ognenovski)
67. BA^KO ORO
(kompozitor
Tale Ognenovski)
BACHKO ORO (composer
Tale
Ognenovski)
XIV KLASI^NA
MUZIKA
CLASSICAL
MUSIC
Tale Ognenovski Koncert
za
Klarinet Br. 1 (kompozitor Tale Ognenovski),
Za klarinet vo A
Tale Ognenovski Clarinet Concerto No.1 (composer
Tale
Ognenovski)
For clarinet in A
XV XEZ MUZIKA
JAZZ
Tale Ognenovski Xez
kompozicija
Br. 1 (kompozitor Tale Ognenovski)
Tale Ognenovski Jazz composition No. 1 (composer Tale
Ognenovski)
In this book, he has composed some very creative and technically demanding pieces, for which the clarinet soloist requires extremes in range, tonal control, technique and dynamism. These clarinet compositions will open the door for much more widespread use of the clarinet in many more creative and brilliant compositions in the future.
INTRODUCTION
Tale Ognenovski is one of the greatest
instrumentalists
and composers in the world of music. He made the connection between
Oriental
and Western Music.
He has composed and arranged 150 Macedonian folk dances, one classical
concert "Tale Ognenovski Clarinet Concerto No.1" and a number of jazz
compositions.
Some of his compositions have been recorded on 11 LPs, 11 cassettes, 10
gramophone records, and one videotape (RTB, Jugoton, RTS, and MRT).
Tale
Ognenovski's numerous musical works belong to different genres;
together,
his folk dances and classical and jazz compositions established the
clarinet
as an instrument capable of the highest range of expression in solo
music.
Ognenovski's compositions are extremely skilful and he exploits the
sounds of different sounding registers of the instrument very
effectively.
He is one of the greatest exponents of composers of clarinet music and
is the finest exponent of players of the clarinet. His performances are
superb, and the sound he produces reveals just how beautifully the
clarinet
can be played.
Tale Ognenovski's Macedonian folk dances have been performed in
Switzerland
(Mechanlizenz), France (Sacem), Sweden (Gema), Finland (Teosto), Great
Britain, Denmark, Austria and others.
He has appeared with the Macedonian Ensemble of Folk Dances and Songs
'Tanec' on the world's most prestigious concert stages during highly
successful
tours throughout North America and Europe. The group became a major
attraction
in every major city during the tours.
Legendary artist Tale Ognenovski performed as clarinet and pipe soloist
in Folk Dances in the world-famous Carnegie Hall, a symbol of artistic
excellence, on January 27, 1956. There, he bewitched the audience with
his performances as clarinet and pipe virtuoso soloist.
"There are some winning songs, too, and some remarkable music on both
orthodox and unorthodox instruments - a raucous and unforgettable pipe
(virtuoso pipe ("kavalche") and the clarinet soloist was Tale
Ognenovski
- a remark made by Stevan Ognenovski)... Froom an article written by
John
Martin and published in The New York Times, January 28, 1956, under the
title: "Ballet: Yugoslav Folk Art 'Tanec' Dancers Appear at Carnegie
Hall
in Display of Tremendous Skill"
During an 84-day tour throughout the United States of America and
Canada,
Ensemble 'Tanec' travelled 10,000 kilometres and performed 66 concerts
in 53 different towns. These concerts were heralded as great cultural
events
by the American press. This particular tour is one of the longest and
the
most triumphant tours in the history of world music. Ensemble 'Tanec'
twice
repeated this great success, first with their tour of Germany from
August
15 until October 27, 1956 during which they performed 72 concerts and
second,
with their tour of France from September 20 until November 25, 1959
during
which they performed 83 concerts. There were two further concerts in
Dortmund,
Germany on September 18 and 19, 1959.
Raymond Guillier, director of his own company ("Les grands spectacles internationaux Les productions Raymond Guillier") and manager of Ensemble 'Tanec's 1959 tour of France, commented that no other Ensemble in the world could perform Macedonian folklore as well as 'Tanec', because every Macedonian girl and boy from the Ensemble gave their whole heart to the Dance, and a prime example of this was the clarinetist Tale Ognenovski. This was a particularly notable comment, since Raymond Guillier had organized many concerts in Paris and elsewhere in France for some of the best Ensembles in the world.
In December 1952, Tale Ognenovski played a solo clarinet accompaniment with the outstanding pianist Nino Cipushev. They performed the classical concert "Concert Polka for Clarinet" by Miler Bela in the "Police House" in Skopje with great success. Miler's concert consists of complicated parts that demand great virtuosity, and many cadenzas that are difficult to perform. Tale Ognenovski performed this concert magnificently, and in doing so became the first clarinet soloist to perform a classical concert for the clarinet in the Republic of Macedonia. This was a memorable event in the history of music of the country.
Tale Ognenovski performed as clarinet soloist in concerts broadcast on Macedonian Television: firstly, Mozart's 'Clarinet Concerto in A Major K.622' and Wagner's 'Adagio for Clarinet' (1987) with the excellent pianist Tanja Shopova playing the piano accompaniment and secondly, Cavallini's concert 'Fiori Rossiniani' (1970) with the legendary pianist Professor Ladislav Palfi playing piano accompaniment. In all of these, Tale Ognenovski demonstrated brilliance, technique and beautiful tone.
He learned to play many different instruments: besides the clarinet and pipe ("kavalche"), he played the saxophone, the horn ("zurla"), the oboe, the small bagpipe ("gajdarka"), the fagot and the drum ("tapan") with great dexterity. He was the greatest clarinetist of all time, demonstrating unique skill, a wealth of invention, amazing improvisational virtuosity and outstanding musical competence in all areas of music.
As a virtuoso clarinet soloist in the film "Ritam i zvuk" (Rhythm and Sound), 1955, he performed various Macedonian folk dances such as "Zhensko Chamche", "Beranche" and others with Ensemble 'Tanec'. The producers of this film were "Vardar Film". In the film, the Macedonian folk dance "Zhensko Chamche" begins with some highly technical solo improvisations by Tale Ognenovski that don't exist in the original version of the folk dance.
The International Folklore Committee organised the International Folklore Conference, held in Istanbul, Turkey, in 1977. Under the heading "Folklore on the Radio" magnetic tapes of two Macedonian folk dances were presented: "Kasapsko oro" (folk music, arranger Tale Ognenovski) and "Kumovo oro cocek" (composer Tale Ognenovski) performed by Tale Ognenovski, clarinet soloist, accompanied by the "Chalgii" Orchestra of Radio Television Skopje. These attracted great interest among the delegates of the IFC around the world.
Tale Ognenovski received numerous awards and honours, all amongst the most prestigious in the world of performing arts. The most significant awards were:
1.) First Award Clarinet as the best clarinetist at the First Macedonian Festival of Folk Dances and Songs, Skopje, October 6-10, 1948, ahead of musicians from 453 folk dance groups. "The First Award Clarinet was received by Tale Ognenovski from Bitola..." appeared under the title "Awards received by choirs, folk dance and song groups, solo singers and players who participated at the first Republic of Macedonia Festival of Folk Dances and Songs", published in the newspaper "Nova Makedonija" on October 13, 1948.
2.) First Award at the Yugoslav (Former Yugoslavia) Folk Music Festival in Opatija, Croatia, September 9-12, 1951, together with 11 other members of the folk dance group from the Bitola village of Nidzopole, ahead of 85 folk dance groups from Serbia, Bosnia and Herzegovina, Montenegro, Slovenia, Macedonia and Croatia. In the cultural newspaper "Kulturni radnik" Number 10-11, published in October 1951 in Zagreb, Croatia, Dr. Vinko Zganec wrote, under the title "Yugoslav Musical folklore at the Festival in Opatija", "the clarinet (the virtuoso clarinet soloist was Tale Ognenovski - remark made by the Stevan Ognenovski) and the large drum provided a most effective combination for the folk dance from Kozjak, as did the clarinet with the small drum for the folk dance "Teshkoto" from Nizhopole. The Yugoslav Folk Music Festival in Opatija had been specially arranged for the members of the Conference of the International Folk Music Council. "...We were privileged to see and hear for ourselves the beauty and variety of Yugoslav folk art at the wonderful Festival which had been especially arranged for the members of the Conference...there were moments during the Festival performances when we could recognize the magic of song and dance...an astonishing pageant of costume and custom, of ritual and social dance, of songs and instrument playing by 700 performers..." These comments appeared under the headings: "EDITORIAL" and "SOME IMPRESSIONS OF THE YUGOSLAV CONFERENCE AND FESTIVAL", published in the Journal of the International Folk Music Council, Vol. IV, pages 1-2, London, March, 1952.
3.) "Estradna nagrada Jugoslavije" ("Yugoslavian Stage Award"), the greatest award in former Yugoslavia for musical stage artists, from the Association of Stage Artists of Yugoslavia, (signed by the composer Miljenko Prohaska), Zagreb, Croatia, October 31, 1978.
4.) "Pochesna Estradna Nagrada na Makedonija" ("Macedonian Stage Award with Honours"), the greatest award in the Republic of Macedonia for musical stage artists, from the Association of Stage Artists of Macedonia, (signed by Bozhidar Noev), Skopje, Republic of Macedonia, May 27, 1996.
5.) "Blagodarnica" (This is an honorary award) for life long work from the folk radio "Radio Ros", (signed by the director Aleksandar Dimitrov), December 7, 2000.
Tale Ognenovski's recordings for Radio Television Belgrade, Jugoton and Macedonian Radio Television are unique compositions based on Macedonian folk music but in places influenced by oriental, jazz and classical music. His pieces have a highly complex pattern of rhythm and attractive melody that is incomparable with any other kind of music known today. Tale Ognenovski's contributions to world music are enormous. His remarkable music of consistently high quality is unique.
On February 25, 1999, the Tale Ognenovski Web site http://www.taleognenovski.com.mk/index.html was listed on Anne Bell's Clarinet Website Index on the Internet under http://www.sneezy.org/anne_bell/ABCClar.htm, together with another 20 world famous clarinetists. The actual address is http://www.anne_bell.sneezy.org/ABCClar.htm.
My thanks to my dear father Tale Ognenovski, to my lovely wife Margarita and to my dear sons Nikola and Kliment for their support and understanding during my writing this biography.
Stevan Ognenovski, M. Sc.
ACKNOWLEDGEMENTS
The author of this book wishes to express his sincere gratitude to: My dear friends Mrs. Susan Prefontaine from Buffalo, New York, USA and Mr. Dimce (Jim) Cvetkovski from Buffalo, New York, USA for the copies of the North American newspapers and the Journal of the International Folk Music Council, and for the information about the Wesleyan Cinema Archives; My dear friend Mr. Georges Andres from Bourges, France for the copies of the French newspapers: "Le Berry republicain" and "La nouvelle republique du Centre"; My dear friends Mrs Suzana Jolevska and Mr Zoran Jolevski, M. Sc. from Skopje, Republic of Macedonia and their friend Mr. Zhivko Velkov from Geneva, Switzerland for the copies of the Swiss newspaper Tribune de Geneve; My dear friend Mrs. Radmila Vishinska, folk dancer in Ensemble 'Tanec' for the photograph of all the members of the Ensemble taken in the Metro-Goldwyn-Mayer film studio, Hollywood on March 12, 1956 and for the photograph from Paris; My dear friend Mr. Stanko Livrinski, folk dancer in Ensemble 'Tanec', for the names of the towns included in its tour of France in 1959; My dear friend Roska Badeva, daughter of the legendary singer Nikola Badev, for the two photographs of Nikola Badev with Tale Ognenovski, and for the poster commemorating the 25th anniversary celebrations concert of Radio Television Skopje, 1969; Mr. Marko Kolovski, musicologist and editor of music programmes for Macedonian Radio Television, for his technical support for this book; "Kinoteka na Makedonija" for the prints from the Vardar film "Ritam i zvuk" (Rhythm and Sound) and for the special showing of this film for the author of this book and for Tale Ognenovski on May 31, 1999; Ensemble 'Tanec' for the timetable of their 1956 North American tour; Wesleyan Cinema Archives for their information as to who owns copies of the Omnibus programme, including that broadcast on January 22, 1956, when the Ensemble performed on American CBS (Columbia Broadcasting System) television. These may be viewed free of charge only at Wesleyan Cinema Archives or at the Library of Congress in Washington, D.C.
Stevan Ognenovski, the author of the biography part of this monograph, expresses his sincere gratitude, firstly, to his dear friend Mrs. Susan Prefontaine for her English corrections of the text of this book until page 130, secondly, to his friend Mr. Christopher Bridge, for his proofreading the final English text and, finally, to Prof. Olga Smilevska for proofreading the Macedonian text.
The Ministry of Culture for the Republic of Macedonia makes the publishing of this book possible by their financial support. I am grateful to the Minister of Culture for the Republic of Macedonia for his decision to finance this monograph. My thanks to: "Macedonian Business Systems"; "EuroComputer Systems"and "Vardar osiguruvanje"for their financial support. My thanks also to the publisher "Matica Makedonska" for publishing this monograph in both Macedonian and English.
Stevan Ognenovski, M. Sc.
Skopje, December 12, 2000
XVII. SAMPLES FROM THE REVIEWER OF THIS MONOGRAPH
...This monograph consists of 12 important chapters.
Every
chapter in its own represents a looking glass of the artist's profile.
In the first chapter the author, using selected material, has included
biographical data and individual articles about Tale Ognenovski's
performances,
as well as significant statements about his contribution towards the
common
proclamation of our cultural values with Ensemble 'Tanec' on their
mammoth
tours in the United States of America, Canada and Germany in 1956,
followed
by the tours in France and Switzerland in 1959.
Perhaps the most significant of his performances with
Ensemble 'Tanec' was the one in the famous Carnegie Hall in America.
After
these particular appearances that introduced Tale Ognenovski with
Ensemble
'Tanec' to the world, in the next chapter the author succeeds in
presenting
the most significant journalist and professional comments about this
folk
genius of the clarinet. These articles record the numerous award and
honours
that he received for his artistic works. The author Stevan Ognenovski
M.Sc.
includes the music notation of Tale Ognenovski's own dance
compositions,
in addition to the "Tale Ognenovski Clarinet Concerto No. 1" and the
"Tale
Ognenovski Jazz composition No. 1". With all these artist's profile has
become richer... This monograph contains valuable material for
researcher
in the area of folklore to use to study successfully this phenomenon
called
Tale Ognenovski.
Kiril Todevski, Ethnomusicologist
This book can be distinguished from others by the
way
research has been extraordinarily complete and scrupulously conducted.
An enormous number of richly illustrated moments in his life and the
creative
style of Tale Ognenovski make it possible for everyone to see the
extraordinary
values and dimensions of this artistic person, as one of the most
important
maestros in the world and a uniquely creative musician.
Following the life history and the art of this great
musician, Stevan Ognenovski M.Sc. presents the rich variety of events
during
these times and creative works of the maestro.
Before our very eyes appear numerous persons and
manifestations
as components of one treasured part of Macedonian spirit and cultural
history.
These things contribute additionally towards the value of this book...
Dushko Dimitrovski, Ethnomusicologist
XVIII. ABOUT THE AUTHOR
T H E A U T H O R
Stevan Ognenovski M. Sc.
Born in 1948 in the village of Brusnik near Bitola,
Republic
of Macedonia.
He received a B.Sc. degree in electrical
engineering-electronics
and M.Sc. degree in computer science from The Faculty of Electrical
Engineering
from the University of Zagreb, Croatia.
He has written two articles about the artistic works
of his father Tale Ognenovski, the first appearing in the newspaper
"Nova
Makedonija" on November 10, 1997, and the second appearing in the
newsmagazine
"Denes" on October 29, 1998.
He published the biography of Tale Ognenovski on the
Internet on September 18, 1998.
Write to Me: steveogn@mt.net.mk
