Concerto abbreviatoby Petar Bergamo (1966)

Abstract

The paper addresses compositional and aesthetic features of Concerto  abbreviato for solo clarinet (1966) by Petar Bergamo. The historical context as well as the explicit musical poetics by the composer is complemented with the reception history of the piece. The formal analysis is given in a form of pragmatic (phenomenological) comments regarding the musical structure of the piece. The results of the analysis, pointing to a series of frictions between
the avant-garde music and traditionalism, are considered a valuable example of musique informelle from the “post-avant-garde” period.