Milo Cipra
Encyclopedia
Milo Cipra was a Croatia
n composer, member of the Croatian Academy of Sciences and Arts
(since 1976), dean of the Zagreb Music Academy (1961–1971).
Croatia
Croatia , officially the Republic of Croatia , is a unitary democratic parliamentary republic in Europe at the crossroads of the Mitteleuropa, the Balkans, and the Mediterranean. Its capital and largest city is Zagreb. The country is divided into 20 counties and the city of Zagreb. Croatia covers ...
n composer, member of the Croatian Academy of Sciences and Arts
Croatian Academy of Sciences and Arts
The Croatian Academy of Sciences and Arts is the national academy of Croatia. It was founded in 1866 as the Yugoslav Academy of Sciences and Arts , and was known by that name for most of its existence.- History :...
(since 1976), dean of the Zagreb Music Academy (1961–1971).
Major works
- Sonatina u D-molu, with pianoPianoThe piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal...
, 1930 - Slavenska rapsodija za orkestar, 1931
- Sonata za violinu i klavir, 1944
- I. simfonija, 1948
- II. simfonija, 1952
- Kantata o čovjeku, 1958
- Sunčev put, 1959
- Musica sine nomine, 1963
- Aubade, 1965
- Leda, 1965
- Triptihon dalmatinskih gradova, 1969–1976
- Meditation sur Re, 1975
- Trio za obou, klarinet i fagot, 1978
External links
- The New Grove Dictionary of Music and MusiciansGrove Dictionary of Music and MusiciansThe New Grove Dictionary of Music and Musicians is an encyclopedic dictionary of music and musicians. Along with the German-language Musik in Geschichte und Gegenwart, it is the largest single reference work on Western music. The dictionary has gone through several editions since the 19th century...
- Signs... Fragments... Some Observations on the Music of Milo Cipra (1906-1985), by Dalibor Davidovič , International Review of the Aesthetics and Sociology of Music (2001) 1, 93-132