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Two years ago, in 2017, the Museum of Arts and Crafts in Zagreb accepted a large donation from the ballet artist Jelko Yuresha (9 May 1937, Zagreb, Croatia) and included it into its collective holdings. This paper analyses the most significant part (by the artefact type) of this heterogeneous donation -- ballet costumes. The costumes have never been professionally and scientifically examined, and now they are analysed in light of the ballets for which they were created and of their costume designers' oeuvres. An important part of the paper is also the (re)valorisation of the significance and musealisation of the whole donation. The paper opens with an introduction in which information on the life and work of Jelko Yuresha and his wife and artistic partner Belinda Wright (18 January 1929, Southport, England -- 1 April 2007, Zurich, Switzerland) is presented; this is followed by a section on the structure and significance of the donation, where, along with basic facts about the donation, a critical revalorisation of its musealisation in the Museum of Arts and Crafts and a brief review of the musealisation of theatrical art in Croatia is given. The part of the work that directly deals with the ballet costumes from the Yuresha donation is introduced by a section on the specificities of ballet and dance costumes, which also revalorises and revises some of the ingrained postulates on this type of theatrical costume. The introductory chapters on the donor's life and the specificities of ballet and dance costumes are a pretext for the interpretation and valorisation of the costumes. Ballet costumes from the Jelko Yuresha donation are analysed in the largest, separate section, i.e. costumes from the following ballets are analysed: The Sleeping Beauty, The Nutcracker, Swan Lake, Giselle, Romeo and Juliet and Variations for Four. The costumes from the collection that have been chosen for analysis are those on which canons of ballet costume design can be pointed out well, but also those that represent deflection, novelties and certain specificities in the context of the ballets they were created for. Costumes are valorised and interpreted within the framework of the time when they were made, and the oeuvres of the costume designers who created them. [ABSTRACT FROM AUTHOR]

The Korčula Town Museum houses a fortepiano, a historic wing-shaped piano with hammers of great significance. It was produced in Nannette Streicher's workshop in Vienna in 1819 under number 1319. Angelo Boschi (1790-1854) bought it in 1839 for his son Ivan (Giovanni; 1821-1902), who used it to perform a diverse musical repertoire in the salon of the family palace in Korčula. This is evidenced by the Collection of Music Materials in the Korčula Town Museum, which, for the most part, consists of music owned by Ivan Boschi. The Collection includes, among others, numerous piano exercises, sonatas, opera excerpts, dance and chamber music, as well as Boschi's own compositions. It confirms that Boschi was conversant with current music trends, his role in the development of musical life of Korčula, and his desire to introduce and bring closer the culture and practice present on the other side of the Adriatic. Nannette Streicher's fortepiano is notable not only for being one of the few preserved fortepianos from the first quarter of the 19th century in Croatia, but one of the few that have been restored (which was done in 2019). For now, it is the only known Nannette Streicher instrument in Croatia. It can be considered as one of the most valuable fortepianos made at the end of the 18th and the first third of the 19th century that are kept in the holdings of Croatian museums, alongside fortepianos made by Anton Walter (Cultural History Museum of Dubrovnik Museums, c. 1790), Michael Rosenberger (Varaždin City Museum, c. 1810), and Conrad Graf (Castle Trakošćan, 1835; Museum of Slavonia in Osijek, 1838 or 1839). This paper presents the first systematic analysis of the instrument in musicological and cultural contexts. [ABSTRACT FROM AUTHOR]

Vatroslav Lisinski Concert Hall has been the centre of music and cultural life in Zagreb and Croatia for more than 45 years. It was the first concert venue in the country after the building of the Croatian Music Institute, which opened in 1876. Alongside the existing editions and relevant papers about the Lisinski Hall, this article presents a historical overview of the concert venues in Zagreb in comparison with the development of musical life in former Yugoslavia and other countries. Building on the existing literature, periodical articles and especially archival sources, the article also chronologically traces the process of the building's construction, from the initial concept and the selection of the location through the Conceptual Design Competition for the Croatia heritage foundation in 1957, to the choosing of the hall's name and the two-day gala opening on December 29 and 30, 1973. Finally, a contemporary perspective on the Lisinski Hall is presented and its significance for the musical and cultural life in Zagreb and Croatia addressed. [ABSTRACT FROM AUTHOR]

The Radosavljević/Golubić palace is located in the centre of Slavonski Brod. It's current owners are Mile and Ankica Golubić. In my paper I describe the importance of those families in the social and cultural life of Slavonski Brod. A historical piano made by the Viennese pianoforte maker Joseph Wopaterni in the second half of the 19th century, an instrument which is situated in the house of Golubić family, is among the rare, perhaps even unique examples of Wopaterni's instrument making skills on Croatia's territory. Studying the accessible literature led me to recognize the importance of Joseph Wopaterni in the context of the long and rich tradition of pianoforte makers in Vienna. Based on an expert assessment and overview of the piano it is confirmed that the instrument is in poor state and in need of complete restoration. [ABSTRACT FROM AUTHOR]

The comprehensiveness of written materials on choral music, which had resulted from numerous authorial pens during the 20th century and onwards up until the present, and especially the heterogeneous nature and the dispersion of a number of sources dealing with such and similar subjects, concentrated our attention on the investigation of scientific, expert and other papers on Croatian choir music creativity, published in the first musicological periodical Arti musices between 1969 and 2009. The subject is published texts in which the mentioned theme, in an explicit or implicit manner as well as from various aspects, has been considered: by approaching a vocal (choral) opus of a particular Croatian musician of ancient and/or recent times, and also by analytic descriptions of a lesser, or even a single part of a certain musician's specific music opus. In some of the papers the list of compositions (including compositions written for vocal/choral ensembles) was added to, mostly according to the genre. In the 40 years/volumes of the Arti musices journal, with the total of 63 issues, 47 articles were published that touched significantly on the mentioned theme; among them there were 38 original scientific papers on various -- direct or indirect -- questions concerning choral music and 9 other papers (new insights, data on the history of Croatian music, a report, review paper and conference paper). Within the first, numerous group of original scholarly works more relevant for musicological science, there is a certain number of papers in which the choral music theme was treated directly (16 articles), on the one hand, and/or the mentioned theme was elaborated indirectly (22 articles), on the other. However, even in the latter works, many very important data (historiographic, analytic, factualist) on choral music can be found; not only data dealing with music that was the work of Croatian composers, but also music scores composed by foreign musicians, who created their musical oeuvre on Croatian soil, making a great contribution through their manifold music activities to the development of Croatian music culture in general. [ABSTRACT FROM AUTHOR]

The basic aim of the paper is both to offer - through critical »reading« of the popular music cultural product in Zagreb between the two world wars - a review of the diversified usable characteristics of particular musical products that circulated on the then-market of symbolic assets, as well as to single out - in the context of accessible testimonies and data on the social and cultural status of music and its participants during that period - the possible functional dispositions which that product, specifically anchored in time and place, used to have. Creating a theoretical basis by drawing on various, primarily cultural and critical comprehensions of popular music, as well as from other broader context components of the functioning of culture, the paper offers a »polygonal« approach to the popular music phenomenon against the background of textual reading off of its articulations and meanings through (not necessarily) musicologically mediated media and analytical procedures. From comprehension of the very phenomenon of the popular and the popularity of music in the period under consideration, through the interpretation of popular music's functional nesting in the sociocultural context, the paper offers indications of certain basic implications of that way of studying music. The work also touches upon an attempt at the conceptual encompassing of music, not only as note and sound structures mediated by media, but also as a broader cultural product that is exposed to diverse usages and different aims, purposes and functions; of which the popular-fictional feature is certainly a significant one. [ABSTRACT FROM AUTHOR]

This paper presents some of the hitherto rather little-known examples of liturgical polyphony, the so-called »simple poliphony« - from the Croatian regions. The research presented here follows on from the first systematic examination of these sources by Rudolf Flotzinger: »Mittelalterliche Mehrstimmigkeit in Dalmatien und Slowenien«, Revista de musicología, vol. XVI, Nr. 3, Madrid, 1993, pp. 29-49. Occurrences of the »simple polyphony« in the Croatian liturgical practice are to be found in the liturgical manuscripts from the period between the late 13th and the 19th centuries. Among about one hundred - mostly two-part - liturgical chants, a predominant number are those for the mass ordinary. The author focuses on her own insights into some of the earliest examples of simple polyphony from Dalmatia: a two-part troped Sanctus from the Cartulary of the Benedictine monastery of St Mary in Zadar (late 13th century) and a group of two-part Benedicamus domino chants, now kept in the Dominican monastery in Stari Grad on the island of Hvar, and compares them with the chants from similar Italian sources. Other examples discussed here are: a two-part chant Tota pulchra es from the manuscript by the friar Frane Divnić from Zadar (17th century) and a Requiem from the codex now kept in the Benedictine monstery at Cres (18th century). In addition, the paper contains a brief discussion of the sociological context of these sources. A preliminary conclusion may be reached that the monastic communities in Croatia, in particulary those of the Franciscans, Dominicans and Benedictines, were the main bodies responsible for the long survival of this medieval phenomenon in the Croatian regions. [ABSTRACT FROM AUTHOR]

Proceeding from the fact that the organ of the Split Cathedral was sold in 1901 to the Order of the Sisters of St Clare in Split, the author presents in this paper four previous assumptions about the builder of that organ. In the continuation of the paper, he provides a completely new slant on the technical data concerning the organ in St Clare's Church in Split. The data are the result of careful study, measurement and comparison and enable a reliable approach to the solving of two important issues: when the organ was built and who built it. By careful reading of papers to date and, above all, by detailed analysis of the instrument itself, the author proves the assumption that this organ is the work of the distinguished organ builder, Petar Nakić from Šibenik, and that it was built at the mid-18th century. [ABSTRACT FROM AUTHOR]

The bibliography of Josip Andreis's texts of music since 1945 encompasses scientific and expert musicological papers, articles, reviews, critical reviews, treatises, studies and other texts (overviews, sketches and announcements) published in journals, collections of papers and in dailies and semi-monthly periodicals between 1928 (when the author's first musicjournalistic work was published) and 1945. Relating to the earlier sources of published bibliographical materials on Andreis's works of the kind (Bibliografija rasprava i članaka… JLZ-a [The Bibliography of Studies and Articles… of the »Miroslav Krleža« Lexicographic Institute], Spomenica preminulim akademicima [Memorial Book to the Deceased Academicians], Bibliografija radova Josipa Andreisa [Bibliography of Josip Andreis's Works] in the journal Arti musices, Muzička enciklopedija [Music Encyclopaedia]) the list in this Bibliography (with a total of 157 bibliographical items) is supplemented by 115 articles, and also the sources from the author's son legacy (122 units) are enlarged for 35 bibliographic items on the works published in Croatian press as follows: for 11 articles published between 1928 and 1940, and for 24 articles published during the period of Nezavisna Država Hrvatska [The Independent State of Croatia]. The bibliography is made chronologically and descriptively with data description based on direct insight into the material, which caused additional corrections. In addition, titles of journals, papers, collections of works etc. of the same annual are presented in alphabetical order, and within the same item in chronological order. [ABSTRACT FROM AUTHOR]

This paper presents some of the hitherto rather little-known examples of liturgical polyphony, the so-called ßsimple poliphonyÇ Ñ from the Croatian regions. The research presented here follows on from the first systematic examination of these sources by Rudolf Flotzinger: ßMittelalterliche Mehrstimmigkeit in Dalmatien und SlowenienÇ, Revista de musicolog.a, vol. XVI, Nr. 3, Madrid, 1993, pp. 29-49. Occurrences of the ßsimple polyphonyÇ in the Croatian liturgical practice are to be found in the liturgical manuscripts from the period between the late 13th and the 19th centuries.Among about one hundred Ñ mostly two-part Ñ liturgical chants, a predominant number are those for the mass ordinary. The author focuses on her own insights into some of the earliest examples of simple polyphony from Dalmatia: a two-part troped Sanctus from the Cartulary of the Benedictine monastery of St Mary in Zadar (late 13th century) and a group of two-part Benedicamus domino chants, now kept in the Dominican monastery in Stari Grad on the island of Hvar, and compares them with the chants from similar Italian sources. Other examples discussed here are: a two-part chant Tota pulchra es from the manuscript by the friar Frane Divniæ from Zadar (17th century) and a Requiem from the codex now kept in the Benedictine monstery at Cres (18th century). In addition, the paper contains a brief discussion of the sociological context of these sources. A preliminaryconclusion may be reached that the monastic communities in Croatia, in particulary those of the Franciscans, Dominicans and Benedictines, were the main bodies responsible for the long survival of this medieval phenomenon in the Croatian regions. [ABSTRACT FROM AUTHOR]

The basic aim of the paper is both to offer — through critical »reading« of the popular music cultural product in Zagreb between the two world wars — a review of the diversified usable characteristics of particular musical products that circulated on the then-market of symbolic assets, as well as to single out — in the context of accessible testimonies and data on the social and cultural status of music and its participants during that period — the possible functional dispositions which that product, specifically anchored in time and place, used to have. Creating a theoretical basis by drawing on various, primarily cultural and critical comprehensions of popular music, as well as from other broader context components of the functioning of culture, the paper offers a »polygonal« approach to the popular music phenomenon against the background of textual reading off of its articulations and meanings through (not necessarily) musicologically mediated media and analytical procedures. From comprehension of the very phenomenon of the popular and the popularity of music in the period under consideration, through the interpretation of popular music's functional nesting in the sociocultural context, the paper offers indications of certain basic implications of that way of studying music. The work also touches upon an attempt at the conceptual encompassing of music, not only as note and sound structures mediated by media, but also as a broader cultural product that is exposed to diverse usages and different aims, purposes and functions; of which the popular-fictional feature is certainly a significant one. [ABSTRACT FROM AUTHOR]

The collection of musical instruments from the holdings of the Museum of Arts and Crafts is the only complete collection of this type in the museums of Zagreb, and also the most important such collection in Croatia. Within that collection is a modest but diverse group of keyboard instruments: a clavichord, three square pianos, a portable travel piano, fortepiano, positive, physharmonica, harmonium, an upright piano, two pianonos, and five pianos. Because of the lack of space, some instruments are located in the furniture depot. The instruments date from the second half of the 18th century until the turn from the 19th to the 20th century. Most of them originate from Austria, largely Vienna, thus confirming its musical influence on Zagreb. The paper gives a description of these instruments and attempts to find their place in the historical and social context since their owners mostly belonged to the citizenry, some of them having earned a prominent place in the cultural and artistic life of Zagreb and Croatia. Economically well-situated, they regularly cherished home music-making and, thanks to their music education, were able to play themselves. Some of the exhibited instruments are in poor condition. They would reach their full value and beauty only if they were restored and well tuned, so their repair is necessary. At least one part of the instruments, especially those that are well preserved, should be made playable because that is their primary and undeniable function. [ABSTRACT FROM AUTHOR]

The work of Tihomil Vidošić (Boljun, Istria, 1 July 1902 - Zagreb, 24 January 1973) can be completely understood only by viewing all aspects of his activity: he was a composer, conductor, educator, and arranger. An autodidact at first, he took lessons from Ivan Matetić-Ronjgov (1880-1960) and started composition and conductor studies at the Music Academy in Zagreb in 1923, although he did not finally complete his courses until 1961. In the meantime, he finished organ studies (1929) and took a job as a military bandmaster, which brought him to Tuzla (Bosnia-Hercegovina) in 1930 and then to Mostar three years later. He was mobilised in 1941 and came back to Zagreb, where he was director of the military Music School (1942-1945). After the war, he worked as a teacher of harmony, solfeggio and as conductor at the new school of music (Gradska glazbena škola, later Glazbena škola Pavla Markovca in Zagreb) until his death in 1973. Throughout all that time, he composed and developed his compositional style, very often dedicating his works to the ensembles he was conducting and, later, to his pupils, who gladly played his music that suited them technically and stylistically. A major part of his legacy was found in 2004, almost by accident. The author of this text sorted and catalogued the material (the basis of her graduation thesis) as a precondition for later studies of Vidošić's work. Alojzije Seder, who bought the legacy, donated it to the Croatian Institute of Music (Hrvatski glazbeni zavod) in Zagreb, where it was archived under Inventory Number 38. The legacy consists of: books (mostly on music), printed music material, hand-written music material and various types of documents (letters, annotations, lists [of works], and 4 versions of the composer's autobiographies). The books and documents were catalogued using a standard word processor program (Microsoft Word) while RISM standards (ISIS software) were used for all the music material. The most interesting and most valuable parts of the legacy are Vidošić's manuscripts that are unique examples - such as the long sought after score of Vidošić's most popular work, the comic opera Stari mladić / An Old Lad - but this is definitely not the complete legacy that was in the possession of either Vidošić or his widow Štefica. It was partly destroyed (mostly by damp) and partly sold before it came into the possession of Alojzije Seder. That is why it is difficult to draw a relevant conclusion (about the composer's treatment of his own work, for example). One can find Vidošić's original scores, arrangements (including many folk songs and dance arrangements), and transcriptions of other composers' works. Amongst Vidošić's original compositions, some are well-preserved and in complete form, but there are many piano scores (without instrumentation/orchestration) and sketches bearing the annotation «finished». The aim of this paper has been to systematize the material found in the legacy of Tihomil Vidošić and to show at least a part of his interests, which might encourage further studies and performance of the works of this almost forgotten Croatian composer. [ABSTRACT FROM AUTHOR]

The Ivan Gerersdorfer Collection of Mechanical Musical Automata is a national cultural item of extreme importance and is a very worthwhile asset in the European context as well. In terms of cultural history, the collection encompasses the century of the development of the mechanisation, automation, recording and reproduction of music (1814-1914), which was, in fact, the century in which the sound of mechanical music flourished, was perfected from an engineering point of view, and was taken to a higher level of acceptability. The collection digitalisation project covered systematic investigation of the collection and the documentation, the computer processing of all the objects, the digitalisation of the content of Ivan Gerersdorfer's bibliography, and design for the concept, data and function of Internet pages. This paper, in addition to providing a review of the history and content of the collection and an account of the digitalisation project, also conveys the results of new research. The unique collection of media for the music programmes of the automata, which documents the history of the recording and reproduction of sound from the 1880s to the 1920s, has been systematically researched, computer processed, described in metadata and thus prepared for conversion to digital audio files. The collection also contains files of works from the traditional music of Croatia or from the pens of Croatian composers. The appendices contain a Gerersdorfer bibliography, a catalogue of the works from the musical repertoire of the Gerersdorfer Collection and a catalogue of Gerersdorfer's discography. The digitalisation of the collection of mechanical musical automata is a contribution to the design of projects for the digital preservation of the Croatian sound heritage which, because of the absence of any national strategy, are but few and sporadic. Mechanical music, because of the technical problems related to the maintenance of the automata, is a highly endangered segment of sound heritage, which only digitalisation can both preserve for posterity and communicate to the public. [ABSTRACT FROM AUTHOR]

According to data from secondary sources, Mozart's operas Don Giovanni and Die Zauberflöte were staged with considerable success in Zagreb during the 1830s, but the only Zagreb newspaper Agramer politische Zeitung devoted very little space to musical-scenic works performances at that time. It was not until the 1870s that most of Zagreb newspapers gave announcements and reviews on performances of Mozart's operas; Don Giovanni was staged in 1875 and in 1898 and Die Zaubeflöte in 1899. So these two Mozart's operas were the only ones that had been systematically staged in Zagreb in all three theatres (in so-called Amad. Theater, Stanković Theatre and in today's theatre building) in the German and/or the Croatian language during the 19th century. The characteristics of performances and casts are given in this paper and, on the basis of the newspaper reviews, changes in the journalists' and the audience's reactions in the reception of those works are monitored. [ABSTRACT FROM AUTHOR]

In the world of European music, Ćiril Metod Hrazdira is primarily known and recognized for his conducting of the successful first performance of Leoš Janáček's opera Jenufa in Brno in 1904. There is less awareness that he was a versatile and talented musician whose multiple music activities brought credit in varying degrees, but without exception, to all the environments in which he worked, firstly in his homeland and, later, outside of it. He had already started his music career and established a respected name for himself in his Czech homeland, in Moravia, and then, from 1909 almost till his death, he continued to work in other parts of the Austro-Hungarian Empire, in fact, mostly in Split. The exceptions were brief, largely one-season intervals, firstly a single sojourn in his homeland (1910-1911), then later in Ljubljana (1912-1913) and in Šibenik (1925). Past comprehensions about Hrazdira are disproportionate to the volume and quality of his contribution to the music events of his time, particularly in Croatia and not exclusively in Split. Hrazdira's overall role and the significance of his work as performer, composer, organizer, animator and pedagogue, at first in his homeland and then outside its borders, could not be seen comprehensively and thus could not be evaluated in the right way, neither in the context of the music circumstances in the places in which he lived and worked, nor within the overall framework of the music culture of modern times. Hrazdira's life and work at home are known through S. Obenrauchová's research, but his biography concerning the period he spent outside of his homeland remained fragmentary and incomplete, while his composing work was known only fragmentarily and sporadically, so that that extensive work remained to be done. It is hoped that the research results given in this paper will make a contribution to making up for that shortfall. Hrazdira was a committed and active participant in music events wherever he lived. However, his work was most influential in Split, since that is where he spent the greatest part of his life and career outside Moravia. Opera and symphony conductor in Ljubljana, then mostly operetta conductor in Zagreb, Hrazdira left the most profound impression during his fifteen years in Split (1909-1910, 1911-1912, 1914-1926), also as a performer. Skilful, musical and full of temperament, he accompanied and collaborated with soloists and took part in chamber ensembles, but he was the most present and effective as conductor, choral conductor and pedagogue. Wishing to offer varied music events to the inhabitants of Split, at first as conductor of the Cathedral music and of Narodna glazba [The Band of the People], then as the initiator and the chief of the Split Philharmonic Orchestra and choral conductor of the leading city musical society »Zvonimir«, Hrazdira persistently endeavored and succeeded in consolidating the city's music forces and qualifying them for performance of more demanding symphonic, chamber and concertante music, more extensive vocal-instrumental works and, finally, music-stage works. He performed recognized works from European music heritage, from the classics to modernity and, in particular, Slavic music, including works by Croatian composers of that time, and he taught instrument-playing as well as theoretical musical disciplines, and composing and instrumentation »toward modern music«. He made sure that listeners were well-informed. Along with his numerous commitments, he continued composing. Remaining a follower of the (Czech) late-Romantic national orientation, he composed almost a third of his entire opus outside his homeland. That opus is made up predominantly of secular music; besides the opera Poklad and two other extensive orchestral compositions, its major part consists of choral works of varying extent, with or without instrumental accompaniment. With the knowledge and skill of a professional and with the enthusiasm of a music lover, Hrazdira also left traces with his entire music work outside of his homeland, in particular in the Split milieu of the first decades of the 20th century. His composing, performing, pedagogical and animating activities made a profound contribution to the promotion of local music culture and laid the bases of its professionalization in all its segments. [ABSTRACT FROM AUTHOR]

Only a few people, even in the immediate ranks of the profession of musicology, recognise the doyen of Croatian musicology and lexicography and long-term dedicated university professor, Josip Andreis, as a composer. That is not at all unusual because he talked very rarely about his composer experiences and attempts. And when that happened in his mature and later years, it was clear that he treated those results as the less important part of his opus. Out of respect for this attitude on his part towards his compositions, this contribution is not aimed at their evaluation; rather it should be treated as an attempt to draw attention to an interesting episode in Andreis's biography, that is, to an unusual and insufficiently known episode along his way to the world of music and his gradual professional orientation to musicology. According to his own words he was attracted to and preoccupied with music back in the time of his high-school education in Split. Inspired by curiosity and music talent, he had already obtained at the time - in addition to the information on music works and composers - a considerable music-theoretical education, which encouraged him to make an attempt at composing. On graduation from high school, he chose the study of Romance languages at the Zagreb Faculty of Arts and Letters but he did not neglect music - quite the contrary. During his first student years, he had already presented himself to the public as a music writer and composer. Apart from texts on music, to the best of our knowledge he then also published his compositions for the first time. Andreis's composition Molitva na Božić [Christmas Prayer] was published on the pages of the Zagreb journal Luč at the beginning of 1929. If that demanding through-composed composition (to his own text?) represents the realisation of his composer's aspirations of that time, it is obvious that Andreis wanted to follow the modern stream of stressed expressiveness and of daring usage of dissonance, but without breaking the connections with the basic experiences and tradition of previous composers. It is interesting and indicative that he almost simultaneously published the piano miniature Ples lutke [The Doll's Dance] from his cycle Otroška suita [The Children's Suite] as the music appendix to the Slovenian journal Nova muzika in Ljubljana, which promoted new composing tendencies. In this composition he also forms the music development in the way he did in Molitva na Božič - although simpler in every respect - by the arch's clear form and by the balancing on the way from consonance to dissonance and back. In the 1930s, when he graduated from university and started his high-school teacher career, Andreis engaged himself increasingly in preparing material and in writing the book on music history. Deepening his knowledge of music he undoubtedly raised standards, and formed more rigorous judgements on his composition, but he still did not give up composing. Namely, in March 1941, the Split newspaper Novo doba announced the premiere of Andreis's Sonatine for the piano, performed by the Split pianist Estela Ivič. In the music review published after the concert, the music critic of the paper, Ambro Novak, encouraged the author and wrote that he formed music of »complex tonal structure […] following the principles of both the classical form and the modern spirit and technique«, drawing also on folk elements. That evaluation allows the assumption that Andreis then began to follow the way of neoclassicism, that is, of its variant (with an overtone of /domestic/ folklore), which characterized the earlier phase of musical expression of the then already respectable domestic composers among Andreis's age contemporaries, such as Božidar Kunc, Boris Papandopulo or Milo Cipra. However, the score of Sonatine is not available, and there is no trace of other Andreis's compositions in the available sources. Consequently, it is not possible to suppose what Andreis's contribution to Croatian music would have been if by any chance he had continued to compose. But it is certain that (not only) Croatian music science and lexicography would be unimaginable without Josip Andreis. [ABSTRACT FROM AUTHOR]