Sadržaj: Rancid, Lunachicks, Warzone, Millencolin, Kyuss, Good Riddance, Propagandhi, Cornerstone, Strife, 25 Ta Life, Joykiller, Zbogom Brus Li, Novembar, Six Pack, recenzije koncerata i izdanja... Jedna stana je malo zgužvana. Na drugoj strani ima tragova lepljive trake. Na par mesta ima tragova hemijske olovke. štampan, format A4 52 stranice

urednik : stana ribnikar, muzika str. od 161 do 200, dim. 27 x 20 cm naslovna strana : rossini revija je osnovana u novembru 1932 godine u beogradu clanci, portreti i studije (ne samo u ovom broju) kornrlije stankovic stevan mokranjac wagner josip slavenski stevan hristic anton lajovic petar konjovic matej hubad vatroslav lisinski franjo dugan fran lhotka stanislav straznicki dora pejacevic veceslav rendla oskar smodek josip mandic itd za ZVUK su pisali jovan bandur milan bajsanski petar bingulac dragutin colic antun dobronic branko dragutinovic zinaida grickat zlatko grgosevic emil hajek ljudevit kis ljubica maric pavao markovac bogdan milankovic darius milhaud miloje milojevic predrag milosevic bogdan momirovic viktor novak jurij ofrosimov slavko osterc boris papandopulo svetolik pascan dragan plamenac mirko polic ljerko spiller bozidar sirola rikard svarc marko tajcevic jovan zorko itd

urednik : stana ribnikar, muzika str. od 281 do 328, dim. 27 x 20 cm, broj za juni-juli naslovna strana : anton lajovic revija je osnovana u novembru 1932 godine u beogradu clanci, portreti i studije (ne samo u ovom broju) kornrlije stankovic stevan mokranjac wagner josip slavenski stevan hristic anton lajovic petar konjovic matej hubad vatroslav lisinski franjo dugan fran lhotka stanislav straznicki dora pejacevic veceslav rendla oskar smodek josip mandic itd za ZVUK su pisali jovan bandur milan bajsanski petar bingulac dragutin colic antun dobronic branko dragutinovic zinaida grickat zlatko grgosevic emil hajek ljudevit kis ljubica maric pavao markovac bogdan milankovic darius milhaud miloje milojevic predrag milosevic bogdan momirovic viktor novak jurij ofrosimov slavko osterc boris papandopulo svetolik pascan dragan plamenac mirko polic ljerko spiller bozidar sirola rikard svarc marko tajcevic jovan zorko itd

urednik : stana ribnikar, muzika str. 40, dim. 27 x 20 cm naslovna strana : charles gounod revija je osnovana u novembru 1932 godine u beogradu clanci, portreti i studije (ne samo u ovom broju) kornrlije stankovic stevan mokranjac wagner josip slavenski stevan hristic anton lajovic petar konjovic matej hubad vatroslav lisinski franjo dugan fran lhotka stanislav straznicki dora pejacevic veceslav rendla oskar smodek josip mandic itd za ZVUK su pisali jovan bandur milan bajsanski petar bingulac dragutin colic antun dobronic branko dragutinovic zinaida grickat zlatko grgosevic emil hajek ljudevit kis ljubica maric pavao markovac bogdan milankovic darius milhaud miloje milojevic predrag milosevic bogdan momirovic viktor novak jurij ofrosimov slavko osterc boris papandopulo svetolik pascan dragan plamenac mirko polic ljerko spiller bozidar sirola rikard svarc marko tajcevic jovan zorko itd

urednik : stana ribnikar, muzika str. od 201 do 243, dim. 27 x 20 cm naslovna strana : vatroslav lisinski revija je osnovana u novembru 1932 godine u beogradu clanci, portreti i studije (ne samo u ovom broju) kornrlije stankovic stevan mokranjac wagner josip slavenski stevan hristic anton lajovic petar konjovic matej hubad vatroslav lisinski franjo dugan fran lhotka stanislav straznicki dora pejacevic veceslav rendla oskar smodek josip mandic itd za ZVUK su pisali jovan bandur milan bajsanski petar bingulac dragutin colic antun dobronic branko dragutinovic zinaida grickat zlatko grgosevic emil hajek ljudevit kis ljubica maric pavao markovac bogdan milankovic darius milhaud miloje milojevic predrag milosevic bogdan momirovic viktor novak jurij ofrosimov slavko osterc boris papandopulo svetolik pascan dragan plamenac mirko polic ljerko spiller bozidar sirola rikard svarc marko tajcevic jovan zorko itd Ватрослав Лисински (хрв. Vatroslav Lisinski; Загреб, 8. јул 1819 — Загреб, 31. мај 1854) је био хрватски композитор, најзначајнији музички стваралац у периоду илиризма. Рођен је као Игнац Фукс (Ignac Fuchs), у Загребу, у коме је завршио и философију и права. На компоновање га је наговорио аматер певач Алберто Штрига, присталица илирског препорода, који је основао `Прво илирско пјевачко друштво`. Лисински је постао диригент друшвеног хора и оркестра. У то време мења своје породично име у Ватрослав Лисински. Од 1842. до 1847. ствара више хорски и соло песама, неколико клавирских композиција и прву хрватску оперу „Љубав и злоба“. Лета 1847. са петорицом певача организује турнеју по Србији и Војводини изводећи хрватске и српске композиције. У јесен 1847. одлази у Праг, у Чешкој на музичке студије. По повратку у Загреб 1851, довршава оперу „Порин“. Живео је мукотрпно до смрти 1854. ----------------------------- ---------------------------- Vatroslav Lisinski (Zagreb, 8 July 1819 – Zagreb, 31 May 1854) was a Croatian composer. Lisinski was born Ignaz Fuchs to a German Jewish family. He would later change his name to Vatroslav Lisinski. For a time he worked as a clerk at the Tabula Banalis in Zagreb. Lisinski composed the first Croatian opera, Ljubav i zloba (`Love and Malice`, 1846), which he wrote at the urging of Alberto Ognjen Štriga, and Porin (1851) as well as numerous works for orchestra, choir and soloists. He was also one of the founders of the Illyrism, a movement that advocated the importance of Croatian cultural heritage, as a reaction to Magyarisation during the Austro-Hungarian rule. Lisinski died in Zagreb on 31 May 1854 and was buried at the Mirogoj Cemetery.

urednik : stana ribnikar, muzika str. od 165 do 203, dim. 27 x 20 cm naslovna strana : vincenzo bellini revija je osnovana u novembru 1932 godine u beogradu clanci, portreti i studije (ne samo u ovom broju) kornrlije stankovic stevan mokranjac wagner josip slavenski stevan hristic anton lajovic petar konjovic matej hubad vatroslav lisinski franjo dugan fran lhotka stanislav straznicki dora pejacevic veceslav rendla oskar smodek josip mandic itd za ZVUK su pisali jovan bandur milan bajsanski petar bingulac dragutin colic antun dobronic branko dragutinovic zinaida grickat zlatko grgosevic emil hajek ljudevit kis ljubica maric pavao markovac bogdan milankovic darius milhaud miloje milojevic predrag milosevic bogdan momirovic viktor novak jurij ofrosimov slavko osterc boris papandopulo svetolik pascan dragan plamenac mirko polic ljerko spiller bozidar sirola rikard svarc marko tajcevic jovan zorko itd ------------------------ ------------------------------ Vincenzo Salvatore Carmelo Francesco Bellini (3 November 1801, Catania, Sicily – 23 September 1835, Paris) was an Italian opera composer, who was known for his long-flowing melodic lines for which he was named `the Swan of Catania`. Many years later, in 1898, Giuseppe Verdi `praised the broad curves of Bellini`s melody: `there are extremely long melodies as no-one else had ever made before` ` A very large amount of what is known about Bellini`s life and his activities comes from surviving letters—except for a short period—which were written over his lifetime to his friend Francesco Florimo, whom he had met as a fellow student in Naples and with whom he maintained a lifelong friendship. Other sources of information come from correspondence saved by other friends and business acquaintances. Bellini was the quintessential composer of the Italian bel canto era of the early 19th century and his work has been summed up by the London critic Tim Ashley as: ...also hugely influential, as much admired by other composers as he was by the public. Verdi raved about his `long, long, long melodies.....` Wagner, who rarely liked anyone but himself, was spellbound by Bellini`s almost uncanny ability to match music with text and psychology. Liszt and Chopin professed themselves fans. Of the 19th-century giants, only Berlioz demurred. Those musicologists who consider Bellini to be merely a melancholic tunesmith are now in the minority. In considering which of his operas can be seen to be his greatest successes over the almost two hundred years since his death, Il pirata laid much of the groundwork in 1827, achieving very early recognition in comparison to Donizetti`s having written thirty operas before his major 1830 triumph with Anna Bolena. Both I Capuleti ed i Montecchi at La Fenice in 1830 and La sonnambula in Milan in 1831 reached new triumphal heights, although initially Norma, given at La Scala in 1831 did not fare as well until later performances elsewhere. `The genuine triumph` of I puritani in January 1835 in Paris capped a significant career. Certainly, Capuleti, La sonnambula, Norma, and I puritani are regularly performed today. After his initial success in Naples, most of the rest of his short life was spent outside of both Sicily and Naples, those years being followed with his living and composing in Milan and Northern Italy, and—after a visit to London—then came his final masterpiece in Paris, ``I puritani. Only nine months later, Bellini died in Puteaux, France at the age of 33.

urednik : stana ribnikar, muzika str. od 385 do 424, dim. 27 x 20 cm naslovna strana : karol szymanowski revija je osnovana u novembru 1932 godine u beogradu clanci, portreti i studije (ne samo u ovom broju) kornrlije stankovic stevan mokranjac wagner josip slavenski stevan hristic anton lajovic petar konjovic matej hubad vatroslav lisinski franjo dugan fran lhotka stanislav straznicki dora pejacevic veceslav rendla oskar smodek josip mandic itd za ZVUK su pisali jovan bandur milan bajsanski petar bingulac dragutin colic antun dobronic branko dragutinovic zinaida grickat zlatko grgosevic emil hajek ljudevit kis ljubica maric pavao markovac bogdan milankovic darius milhaud miloje milojevic predrag milosevic bogdan momirovic viktor novak jurij ofrosimov slavko osterc boris papandopulo svetolik pascan dragan plamenac mirko polic ljerko spiller bozidar sirola rikard svarc marko tajcevic jovan zorko itd Karol Maciej Szymanowski (Polish pronunciation: [ˌkarɔl ˌmat͡ɕɛj ʂɨmaˈnɔfskʲi]; 6 October 1882 – 28 March 1937) was a Polish composer and pianist, the most celebrated Polish composer of the early 20th century. His oeuvre has been divided into three periods.[citation needed] The first shows the influence of the late Romantic German school as well as the early works of Alexander Scriabin, as exemplified by his Étude Op. 4 No. 3 and his first two symphonies. Later, he developed an impressionistic and partially atonal style, present in such works as the Third Symphony and his Violin Concerto No. 1. His third period was influenced by the folk music of the Polish Górale region, as in the ballet Harnasie, the Fourth Symphony, and his sets of Mazurkas for piano. He was awarded the highest national honors, including the Officer`s Cross of the Order of Polonia Restituta, the Order of Merit of the Republic of Poland and other, including foreign, distinctions. Szymanowski was born into the wealthy land-owning Polish gentry Korwin-Szymanowscy family in Tymoszówka, then in Kiev Governorate of the Russian Empire, now in Cherkasy Oblast, Ukraine. He studied music privately with his father before enrolling at the Gustav Neuhaus Elisavetgrad School of Music in 1892. From 1901 he attended the State Conservatory in Warsaw, of which he was later director from 1926 until retiring in 1930. Musical opportunities in Russian-occupied Poland being quite limited at the time, he travelled widely throughout Europe, North Africa, the Middle East, and the United States. His travels, especially those to the Mediterranean area, provided much inspiration to the composer and esthete. The fruits of his trips included not only musical works, but also poetry and his novel on Greek love, Efebos, parts of which were subsequently lost in a fire in 1939. The central chapter was translated by him into Russian and given as a gift in 1919 to Boris Kochno, who was his love interest at the time. Szymanowski, who declared himself gay at about that time, also wrote a number of love poems in French, dedicated to a 15-year-old boy. Among these are Ganymède, Baedecker, N`importe, and Vagabond. Szymanowski said about his own novel, `In it I expressed much, perhaps all that I have to say on this matter, which is for me very important and very beautiful.` It remains available in a German translation as Das Gastmahl. Ein Kapitel aus dem verlorenen Roman Ephebos.[2][3] Szymanowski maintained a long correspondence with the pianist Jan Smeterlin, who was a significant champion of his piano works. Their correspondence was published by Allegro Press in 1969.[3][4] Szymanowski settled in Warsaw in 1919 after the Bolshevik Revolution. In 1926 he accepted the position of Director of the Warsaw Conservatory with little administrative experience. He became seriously ill in 1928 and lost his post for a time being. He was diagnosed with an acute form of tuberculosis, and in 1929 traveled to Davos, Switzerland, for medical treatment. Szymanowski resumed his position at the Conservatory in 1930, but the school was closed two years later by a ministerial decision. He moved to Villa Atma in Zakopane where he composed fervently. In 1936 Szymanowski received more treatment at a sanatorium in Grasse, which was no longer effective. He died at a sanatorium in Lausanne, Switzerland, on 28 March 1937. His body was brought back to Poland by his sister Stanisława, and laid to rest at Skałka in Kraków, the `national Panthéon` for the most distinguished Poles. Szymanowski was influenced by the music of Richard Wagner, Richard Strauss, Max Reger, Alexander Scriabin and the impressionism of Claude Debussy, and Maurice Ravel. He also drew much influence from his countryman Frédéric Chopin and from Polish folk music. Like Chopin he wrote a number of mazurkas for piano. He was specifically influenced by the folk music of the Polish Highlanders (Gorals), which he discovered in Zakopane in the southern Tatra highlands, even writing in an article entitled `About Goral Music` : `My discovery of the essential beauty of Goral (Polish Highlander) music, dance and architecture is a very personal one; much of this beauty I have absorbed into my innermost soul` (p. 97). According to Jim Samson (1977, p. 200), it is `played on two fiddles and a string bass,` and, `has uniquely `exotic` characteristics, highly dissonant and with fascinating heterophonic effects.` Carefully digesting all these elements, eventually Szymanowski developed a highly individual rhapsodic style and a harmonic world of his own. Among Szymanowski`s better known orchestral works are four symphonies (including No. 3, Song of the Night with choir and vocal soloists, and No. 4, Symphonie Concertante, with piano concertante) and two violin concertos. His stage works include the ballets Harnasie and Mandragora and the operas Hagith and Król Roger (`King Roger`). He wrote much piano music, including the four Études, Op. 4 (of which No. 3 was once his single most popular piece), many mazurkas and Métopes. Other works include the Three Myths for violin and piano, Nocturne and Tarantella, two string quartets, a sonata for violin and piano, a number of orchestral songs (some to texts by Hafiz and James Joyce) and his Stabat Mater. According to Samson (p. 131), `Szymanowski adopted no thorough-going alternatives to tonal organization [...] the harmonic tensions and relaxations and the melodic phraseology have clear origins in tonal procedure, but [...] an underpinning tonal framework has been almost or completely dissolved away.`