Konjović is the most significant representative of the nationalism of the Serbian modernism in music. His most famous works are his operas. The period between two world wars was defined by Konjović who introduced several genres into Serbian music.[6]
Being nationally determined, Petar Konjović’s musical language is founded on and belongs to the period of late romanticism. However, it includes elements of impressionism and expressionism which was characteristic for many composers of 1920s and 1930s (Rachmaninoff, Prokofiev, Sibelius). Likewise, his musical directions towards folklore expressionism also included him in the group of musicians close to Leosh Janachek, Bella Bartok, Igor Stravinsky which belong to the early “Russian” period.[7]
In his operas, he focused on setting texts that were related to historical events and individuals, and his vocal writings was strongly influenced by the natural inflection of his native language. Folk elements are also very much in evidence in his scores, which are distinguished by exceptionally colorful orchestrations.[8]
His Czech experience encouraged his natural inclination toward folk sources and he began developing melodies, like Janáček, out of the inflection of speech. Konjovic's mature style strives for direct communication with broad audience while incorporating a sophistical harmonic vocabulary. His work includes over one hundred folk songs arrangements and twenty original choral pieces.[9]
Operas
Vilin veo (The vila’s veil) also known as Ženidba Miloša Obilića (The Marriage of Miloš Obilić) 1917.
Knez od Zete (The Prince of Zeta), a realist drama based on the play Maxim Crnojević by the Serbian poet Laza Kostić (1841–1910) itself based on a folk poem The Marriage of Maxim Crnojević. Opera first performed in Belgrade, 1929, conducted by Lovro von Matačić.[10] The musical representation of this opera is coloured by Montenegrin songs.[8]
Seljaci (Peasants) 1951, comic opera. Both Koštana and Seljaci operas are set in Serbian villages and replete with national songs and dances.[8]
Otadžbina (Fatherland) 1960, opera in oratorio style. This opera was his last opera not performed until 1983 at Belgrade. The story was set in the fourteen century at the time of the 1389 battle of Kosovo during which a mother (Majka Jugovića) lost nine sons and husband.[8]
^Aviel Roshwald, Richard Stites: European Culture in the Great War: The Arts, Entertainment and Propaganda, 1914-1918, Cambridge University Press, Feb 14, 2002 p. 197
^Djurić, Dubravka; Miško Šuvaković (2003), Impossible histories: historical avant-gardes, neo-avant-gardes, and post-avant-gardes in Yugoslavia, 1918–1991, Cambridge, Massachusetts: MIT Press, p. 439
^Randel, Don Michael (2005), The Harvard Dictionary of Music, Cambridge, Massachusetts: Harvard University Press, p. 771
