FEIM IBRAHIMI – The missionary of modern music in Albania

(On the occasion of the 85th anniversary of the Birth)
A few days ago, the prominent Albanian composer Feim Ibrahimi, would have been 85 years old. On this anniversary the thought naturally goes to focus on the achievements that the famous composer  gave to the culture of the country and especially the trajectory he gave to our music, which experienced a its rapid development within the contours of the politics of the time.

In this perspective, the history of our relatively new Music confirms that:
“Feim Ibrahimi was the missionary of modern music in Albania.”[1]

From the beginning of his creative journey he shook the small musical world of the time with 2 Piano Concertos. Meanwhile, he gave impetus and stimulated the imagination and the wish for new contemporary knowledge to composers of different generations. This used to  happened  several times. With the concerto for oboe, with the suite for solo flute, with the Poem “Tan Shqipnia asht betue”, with the Trio called “Vikamë”, the Symphony for string orchestra, with the Ballet “Gjergj Elez Alia”, with the tragic Symphony or with many miniature romances. After 90 ‘he was the first to apply electro acoustic music and again set a standard milestone with “De profondus”.

I think he has been and will remain for a long time the best example even for the young composers of our music.
If we try to reflect the historical diagram of our musical genres we will notice that his name lies in the most prominent and accomplished examples of the genre. Let us mention: Concerts, Ballet, Symphony and Chamber Music, Small and large vocal genres, etc.
Coexistence with time did not prevent him from becoming a guide to the technical processes of our music to revolutionize it, to bring it closer to the most advanced techniques of the century. Thus he pursued neoclassicism in piano concertos, pursued serialism in the flute solo suite, to find his way with later works up to the tragic Symphony, a work of the most significant achievements of his style of maturity. It was not a simple journey, it was full of obstacles, elaborate forms not to be denigrated by the ignorance that surrounded it or by the vigilant ideology itself, but it was a glorious journey that is designed with a vision for the future which it will consider long as an example of its own point of arrival.
On this anniversary, I think that remembering his figure and work  honors the culture as a whole and to the History of our Albanian Music itself.

Nestor Kraja

[1] According to the analysis of the conductor and composer Rafet Rudi

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