FLORJANC Ivan

FLORJANC Ivan (born 1950) Ivan Florajnc graduated of the Theological Faculty of the University of Ljubljana (1981) and of the Papal Institute for Church Music in Rome (Gregorian chant /1981/, church music /1983/, composition /1987/; he received his Master degree in composition and music theory /1989/). Since 1993 he has been giving lectures as a professor at the Papal Institute for Church Music in Rome on composition to under-graduate and post-graduate students, and since the year 2000 as a full professor. Since 1998 he has been lecturing at the Music Academy of the University of Ljubljana; and since the year 2000 he has been an assistant professor of harmony, counterpoint, vocal and organ composition, and music literature. He has been also an assistant professor - external advisor to the Institute for Musicology of the Scientific Research Centre of SASA (since 1999). Apart from his composing, he gives lectures at symposiums, and publishes monographs and scientific articles (e.g. SICRIS, No. rechercher 15469). 

- Personal Portrait

The path of Ivan Florjanc into the world of music, as well as his past and present interests, are based on his study and creative attention to composition, and to humanistic and musicological researches. In his music research he is a representative of the hermeneutic trend; his attention is directed to theoretical-historical, philosophical, and composition starting points,  and the meaning of the composition. For him, music is the world of sounds arranged by man in the past and present. Music is an eloquent mirror image of the human spirit and his whole person, and only then that of a certain stylistic-historical  formulation - first that of a man and only then that of music. This is the idea behind the structural language of Ivan Florjanc’s composition, well-considered regarding its contents and structure, and distinctly polyphonically contrived. In his style he embraces the tradition of Western Europe - the artificial and folk tradition - refined by his personal stylistic and technical musical ideas. 

-His 15 most important compositions

Apart from his numerous choral and instrumental compositions, the following compositions of his opus (over one hundred pieces) deserve special attention: 

1. Poligrami No. 1, string quartet, 1987; 

2. Modalna maša, mixed choir and symphony orchestra, 1988; 

3. Abraham et Isaac, oratorio for soloists, choir and orchestra, 1989; 

4. Koralna maša, youth and mixed choir  and organ, 1989; 

5. Cantata No. 1, soloists, children choir, double mixed choir and orchestra, 1992; 

6. Haec nos quaesumus — Postcommunio Missae pro Papa Silvestro II, motet for 8-voice mixed choir, 1999;

7. Ricercare MM, for flute, oboe, and clarinet, 2000; 

8. Philopatridus redivivus, variations for piano of the choral “Nu pujte, pujte vsi ljudje” by Primož Trubar, 2001; 

9. O odurmós tes Anatolés I (2001) in II (2004), za flavto solo; 

10. Alleluia, invokacija za sopran, trobento in orgle, 2002.

11. Kyrie Charantanorum, 2005

12. Očà naš, 2014, (Rateški rokopis), 

13. Z lepimi pozdravi… Metamorfoze za simfonični orkester, 2016, 

14. Meditacija in fuga za godalni kvartet, 2017,

15. Simfonična slika, Preludij – fuga – postludij na temo Uroša Kreka, 2021.

[Corrected: 21.VII.2021]