Vinko Matković: Ivan Matetić Ronjgov

(inauguracija biste 1987. godine)

Matetić Ronjgov, Ivan

Ivan Matetić Ronjgov, skladatelj, melograf, glazbeni pedagog (Ronjgi kraj Viškova, 10. IV. 1880 – Lovran, 27. VI. 1960). Želeći istaknuti povezanost s krajem iz kojeg je iznikao, dodao si je pridjevak Ronjgov. Završio je učiteljsku školu u Kopru gdje je stekao i prva znanja o glazbi. Nakon završene učiteljske škole od 1899. do 1904. djeluje kao učitelj u Žminju (1899 – 1900), Barbanu (1900 – 1901), Kanfanaru i Sv. Petru u Šumi (1901 – 1902), Gologorici (1902  – 1903), Pićnu (1903 – 1904) i Klani (1904), a zatim od 1905. do 1919. u Opatiji. U većini mjesta gdje je učiteljevao, okupljao je odrasle u pjevačke zborove i tamburaške orkestre, djelovao kao orguljaš te podučavao školsku djecu sviranju violine i pjevanju. Družio se s narodnjacima te svojim djelovanjem smetao Talijanima i talijanašima, šarenjakima kako ih je sam zvao. Stoga je i bio često premještan u Istri. Pred kraj Prvoga svjetskoga rata kratko je vrijeme studirao glazbu u Beču, a nakon okupacije Istre odlazi u Zagreb gdje je od 1919. do 1921. studirao kompoziciju na Muzičkoj akademiji u Zagrebu u klasi Franje Dugana starijeg. Potom je bio gimnazijski profesor u Sušaku (1921 – 1925) gdje je 1923. osnovao prvu privatnu glazbenu školu koja djeluje do njegova odlaska u Zagreb 1925. godine. U Zagrebu je do 1939. bio tajnik Muzičke akademije u Zagrebu, a od 1925. do 1935. je obnašao i dužnost knjižničara. Poslije umirovljenja (1939) odlazi u Beograd gdje kod kćeri Ivke provodi umirovljeničke i ratne dane. Po završetku rata 1945. vraća se u Zagreb gdje na Muzičkoj akademiji predaje glazbeni folklor. Godine 1947. nastanjuje se u Rijeci gdje do 1951. predaje teoriju glazbe, solfeggio i harmoniju. Nakon toga se potpuno posvetio skladateljskom radu i skupljanju narodnih pjesama. Melografijom se počeo baviti već tijekom učiteljevanja u Istri. Punih 25 godina pokušavao je riješiti problem bilježenja i harmoniziranja osebujnih narodnih napjeva s malom tercom, sniženim šestim stupnjem i frigijskim finalnim  tonom, obilježjima koja se ne daju uklopiti u obrise tradicionalnoga dura i mola i koji se ne mogu zabilježiti standardnim notnim pismom jer izmiču temperiranoj ugodbi europske glazbe. Nadovezujući se na ranija nastojanja M. B. Rašana, riješio je problematiku latentne harmonije istarskih napjeva, a u svojim je kompozicijama dao primjer kako istarska glazba može biti temelj umjetničkog glazbenog stvaralaštva. Stvorio je teoretski sustav koji se temelji na melodijskim i harmonijskim elementima tonskoga niza i koji je nazvao istarskom ljestvicom. Rezultate svojih proučavanja narodne glazbe Istre, Hrvatskoga primorja i sjevernojadranskih otoka objavio je u raspravama O istarskoj ljestvici (1925), O bilježenju istarskih starinskih popjevki (1925) i Još o bilježenju istarskih popijevki (1926) te u predgovoru Čakavsko-primorske pjevanke (1939). Njegovom je  zaslugom narodna glazba Istre, Hrvatskog primorja i sjevernojadranskih otoka našla svoje mjesto u tonskom sustavu umjetničke glazbe. U svome se nevelikom opusu gotovo u potpunosti ograničio na vokalno, odnosno vokalno-instrumentalno stvaralaštvo. Glavninu opusa sačinjavaju zborske a cappella skladbe. Vokalno-instrumentalnom dijelu opusa pripadaju solo popijevke, dvopjevi te scenska glazba za igrokaze. Među instrumentalnim skladbama nalazimo klavirske minijature, jednu minijaturu za harfu te obradbe za tamburaški orkestar. Nakon postavljanja teorije o istarskoj ljestvici, Ronjgov je počeo 20-ih godina 20. stoljeća obrađivati narodne pjesme. Izuzev pojedinih, kasnije nastalih prigodnih radova, samo su rani radovi skladani isključivo u okviru dursko-molskog tonalitetnog sustava.Od 1963. godine riječka glazbena škola nosi Matetićevo ime, a njegovim je imenom 1962. godine nazvana i glazbena škola u Puli.

Minuciozna obrada s detaljima fizionomije lica i odjeće otkriva sklonost kipara prema realnoj interpretaciji fizičkog izgleda. Studioznim pristupom, mekim oblikovanjem i jasnoćom forme svake pojedinosti odjeće i fizionomije – kosa začešljana od lica, istaknuti podočnjaci, bore, oblik usana, prikazao je sredovječnog muškarca nevesele prirode. Sklonost prema pojedinačnom odredila je individualizaciju portretiranog, dok je uravnotežen odnos umnosti i fizičkog izgleda postignut sigurnim i ujednačenim plastičnim oblikovanjem.

Vinko Matković, akademski kipar (Sušak, 31. III. 1911 – Trsat, 23. I. 1973). Na Umjetničkoj akademiji u Zagrebu diplomirao je kiparstvo 1935. u klasi Frana Kršinića i Rudolfa Valdeca. Bogat Matkovićev kiparski opus čini portretna i velik broj spomeničke plastike (Rijeka, Saršoni, Rab, Draga, Čavle, Klana, Grižani, Tribalj, Drivenik…) od koje je najpoznatiji Spomenik oslobođenja na Delti u Rijeci otkriven 1955. godine.

Ivan Matetić Ronjgov

Sculptor Vinko Matković, inauguration of the bust: 1987

Ivan Matetić Ronjgov was a composer, melographer, music pedagogue (Ronjgi near Viškovo, April 10, 1880 – Lovran, June 27, 1960). Wanting to emphasize the connection with the region from which he emerged even more, he added the nickname Ronjgov to his name. He graduated from teaching school in Koper, where he acquired his first knowledge of music. After completing the school, from 1899 to 1904 he worked as a teacher in Žminj (1899–1900), Barban (1900–01), Kanfanar and Sv. Petar u Šumi (1901–02), Gologorica (1902–03), Pićan (1903–04) and Klana (1904), and then from 1905 to 1919 in Opatija. In most of the places where he taught, he brought adults together in choirs and tambourine orchestras, acted as an organist and taught school children to play the violin and sing. He frequented members of the People’s Party and provoked the Italians and members of the Autonomist Party, the šarenjaki (colourful ones) as he called them with his actions. For this reason, he was often transferred in Istria. Towards the end of World War I, he studied music for a short time in Vienna, and following the occupation of Istria, went to Zagreb, where he studied composition at the Academy of Music from 1919 to 1921 under Franjo Dugan Senior. Subsequently, he was a high school teacher in Sušak (1921–25), where, in 1923, he founded the first private music school, which operated until his departure to Zagreb in 1925, where he was the secretary of the Music Academy in Zagreb until 1939, and from 1925 to 1935 he also performed the duties of a librarian. After retirement (1939), he went to Belgrade, where he spent his retirement and wartime days with his daughter Ivka. After the end of the war in 1945, he returned to Zagreb, where he taught musical folklore at the Academy of Music. In 1947, he settled in Rijeka, where he taught music theory, solfeggio and harmony until 1951. He then devoted himself completely to composing and collecting folk songs. He had already begun melography while teaching in Istria. For a full 25 years, he tried to solve the problem of recording and harmonizing distinctive folk songs with a minor third, a lowered sixth degree and a Phrygian final tone, features that do not fit into the outlines of the traditional major and minor and which cannot be recorded in standard notation, because they escape the tempered tunes of European music. Building on the earlier efforts of M. B. Rašan, he solved the problem of latent harmony in Istrian chants, and in his compositions he gave an example of how Istrian music could be the basis of artistic musical creation. He created a theoretical system based on the melodic and harmonic elements of the tonal sequence, which he called the Istrian scale. He published the results of his studies of Istrian folk music as well as that from the Croatian coast and the northern Adriatic islands in the treatises O istarskoj ljestvici (1925), O bilježenju istarskih starinskih popjevki (1925) and Još o bilježenju istarskih popijevki (1926), as well as in the preface to the Čakavsko-primorske pjevanke (1939). Thanks to him, the folk music of Istria, the Croatian coast and the northern Adriatic islands has found its place in the tonal system of artistic music. In his small oeuvre, he almost completely limited himself to vocal or vocal-instrumental creativity. Much of his body of work consists of choral a cappella compositions. The vocal-instrumental part of his oeuvre includes solo songs, duets and stage music for plays. Among the instrumental compositions, we find piano miniatures, one harp miniature, and arrangements for tambura (traditional stringed instrument) orchestra. After establishing the theory of the Istrian scale, Ronjgov began covering folk songs in the 1920s. Apart from certain later commemorative works, only the early works were composed exclusively within the major-minor tonality system.  The music school in Rijeka has been named after Matetić since 1963, and in 1962, the music school in Pula was also named after him.

The meticulous processing with the details of the physiognomy of the face and clothing reveal the sculptor’s tendency towards a realistic interpretation of the physical appearance. With a studious approach, soft shaping, clarity of the form of every detail of clothing and physiognomy: hair brushed away from the face, prominent dark circles, wrinkles, the shape of the lips, he has portrayed a middle-aged man of a grumpy nature. The tendency towards the individual determined the individualization of the portrait, the balanced relationship between intelligence and physical appearance was achieved through safe, uniform plastic shaping.

Vinko Matković was an academic sculptor (Sušak, March 31, 1911 – Trsat, January 23, 1973). At the Academy of Arts in Zagreb, he graduated in sculpture in 1935 under Fran Kršinić and Rudolf Valdec. Matković’s rich sculptural oeuvre consists of portraits and a large number of monumental sculptures (Rijeka, Saršoni, Rab, Draga, Čavle, Klana, Grižane, Tribalj, Drivenik…) of which the most famous is the Monument of Liberation on the Delta in Rijeka, discovered in 1955.