Petar Perunović

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Petar Perunović Perun

Petar Perunović (* 1880 Drenovstica, Pjesivci, Nahije der Banjani region in Montenegro, † June 10, 1952 ) was the first Guslar to become known to a wider world audience. When Guslar was in the service of the Serbian Army in World War I, who accompanied the withdrawal of the Serbs via Albania to Corfu to the Salonika Front, he became a local celebrity among the Entente soldiers. Therefore he traveled to the USA during the war to recruit emigrants in 1916 and played on another occasion in America with his Gusle in front of Nikola Tesla and Mihajlo Pupin . As Guslar he traveled to Alaska himself and was also the first Guslar whose recitals were recorded on record.

Life

Perunović was a voluntary participant in all wars of his time: he fought in the Balkan Wars as well as in the First World War. His gusle accompanied him everywhere. In 1914 a grenade struck during one of his song performances, killing five of his comrades. A splinter beheaded his gusle's head. He also sang during the retreat on the Prokletija and through Albania to Corfu where he before Prince Regent I. Alexander occurred.

Perunović traveled all his life. After crossing Serbia and Montenegro, he met in Sremski Karlovci, Sarajevo, Prague and Sofia in 1910 and in Zagreb in 1911. In 1912 he sang in front of 60,000 people on the Pan-Slavic movement Sokol at the Slet sports event in Prague. In 1916, he traveled to the United States of America as an envoy for the Serbian government to recruit war volunteers. After the Kingdom of Serbs, Croats and Slovenes was founded, he sang in Kosovo and Dalmatia as well as in Macedonia. From 1924 to 1934 he again toured the United States, visiting Tesla and Pupin, recording records and even reaching Alaska.

Petar was a welcome person on ceremonial occasions of state representation. During the inauguration of the foundations of St. Sava Cathedral on May 1st. In 1939 he concluded the solemn ceremony with a lecture on Saint Sava in front of 40,000 believers, the heir to the throne of Yugoslavia and the highest ecclesiastical dignitaries of Serbia, Bulgaria and Russia.

He wrote down his memories in the memoir Spomenica . A manuscript Gusle i guslari ( Eng : The Gusle and the Guslaren) was burned during the bombing of Belgrade on April 6, 1941.

At the end of the war, Perun received the rank of captain, first class and was honored with numerous awards, including the order of the Karađorđe star .

style

Although Perunović came from the heartland of epic singing, his repertoire consisted mainly of new texts he composed on current events, which, however, hardly survived him. As a primary school teacher, he also had a basic musical education that influenced his singing style. His style was thus modernized and characterized by adaptations of modern western expressions, without, however, departing from the tradition of oral poetry within the South Slavic heroic song tradition .

Web links

  • Audio file with an excerpt from the epic Ustanak na Dahije (Recorded by Marsh Laboratories, Chicago 1920s) with the modernized vocal style Perunovics [1] taken from Ethnomusicology OnLine [2]

Individual evidence

  1. Novosti, May 3, 2013 Guslar koji je pevao Pupinu i Tesli
  2. Andrej Fajgelj 2008: Phraséologie et idéologie comparées dans l'art de l'épopée: Homère, chansons de geste, gouslé . Doctorat de l'Úniversité Paul Valéry - Montpellier III. Pp. 67–68 (PDF)
  3. Andrej Fajgelj 2008: Phraséologie et idéologie comparées dans l'art de l'épopée: Homère, chansons de geste, gouslé . Doctorat de l'Úniversité Paul Valéry - Montpellier III. P. 67 (PDF)
  4. Andrej Fajgelj 2008: Phraséologie et idéologie comparées dans l'art de l'épopée: Homère, chansons de geste, gouslé . Doctorat de l'Úniversité Paul Valéry - Montpellier III. P. 67 (PDF)
  5. Glasnik - Official Gazette List Srpske Pravoslavne Crkve. 1939, numbers 10 and 11, May 17, 1939: 245–257 Here p. 257
  6. Andrej Fajgelj 2008: Phraséologie et idéologie comparées dans l'art de l'épopée: Homère, chansons de geste, gouslé . Doctorat de l'Úniversité Paul Valéry - Montpellier III. P. 67 (PDF)