Musical Genius of the Clarinet and Pipe, Tale  Ognenovski has performed as Virtuoso Soloist Folk Dances in Carnegie Hall and on cross-country tour in United States and Canada

1. ‘Tanec’s triumphant arrival in New York City on January 20, 1956.

Ensemble ‘Tanec’ was the first dance company from Yugoslavia (the former Yugoslavia) to perform in America. The Ensemble arrived in New York City on January 20, 1956. The following day, on January 21, The New York Times newspaper ran an article entitled, "Cernogorka, Anyone? Yugoslav Dancing Troupe Shows How It Is Done". It commented, "...Members of the Yugoslav National Folk Ballet dancing on board the liner Israel yesterday, after they arrived here... The forty-member group, which has attracted much attention in Europe, will give a recital in Carnegie Hall on Friday evening...The company will perform folk dances from Macedonia, Croatia, Herzegovina, Albania and Serbia in native costume."
Ensemble ‘Tanec’s North American tour was sponsored by International Artists in association with Charles E. Green and Lee V. Eastman.

‘Tanec’s sixty-six performances in North America attracted much attention in the North American press. 

CHOREOGRAPHIC VIGOR FROM MACEDONIA
"Members of the Yugoslav National Folk Ballet, which starts an American tour with a single performance of native dances and music at Carnegie Hall on Friday" from an article, "Choreographic Vigor from Macedonia" that appeared in The New York Times, January 22, 1956.

2. ‘Tanec’s triumphant appearance on American television

‘Tanec’s American tour began with their debut on one of the most popular television programmes in the United States, the Ford Foundation TV Programme "OMNIBUS", on January 22, 1956. This programme was seen by millions of Americans. This TV debut of ‘Tanec’ on CBS (Columbia Broadcasting System) Television Network, one of the largest radio and television broadcasting companies in the United States, created great interest in all 66 concerts in many towns throughout the United States.

A copy of this programme may be viewed free of charge on a videocassette at the Library of Congress in Washington, D.C.

On the LIBRARY OF CONGRESS’ Internet Web site, http://catalog.loc.gov with Keyword = Ansambl za narodni igri i pesni Tanec is written:

Main Title: Omnibus. IV, vol. 15 / TV-Radio Workshop of the Ford Foundation; Producer, Robert Saudek.

Published/Created: United States: CBS Television Network, 1956-01-22

Contents: The Yugoslav national folk ballet / directed by Elliot Silverstein; with the Tanec dance troupe from Macedonia
                 (20 min,)...

3. "Appear at Carnegie Hall... remarkable music... - a raucous and unforgettable pipe (virtuossoo pipe and clarinet
      soloist was Tale Ognenovski - remark made by Stevan Ognenovski)" From an article by John Martin,
      The New York Times

"There are some winning songs, too, and some remarkable music on both orthodox and unorthodox instruments - a raucous and unforgettable pipe (virtuoso pipe ("kavalche") and the clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski)." From an article entitled, "Ballet: Yugoslav Folk Art ‘Tanec’ Dancers Appear at Carnegie Hall in Display of Tremendous Skill", written by John Martin and published in The New York Times, January 28, 1956.

The Carnegie Hall concert on January 27, 1956 was performed on the 200th anniversary of the birth of Wolfgang Amadeus Mozart

Musical genius Wolfgang Amadeus Mozart was born on January 27, 1756. Two hundred years later, on January 27, 1956, another genius of music, Tale Ognenovski, performed as a clarinet soloist performing pipe folk dances in the world-famous Carnegie Hall. Together, he and the other members of the Ensemble ‘Tanec’ appeared at Carnegie Hall in a display of tremendous skill, which was a sheer joy to watch.

Carnegie Hall first opened its doors in 1891. The music hall opened officially on May 5,1891, with a five-day Music Festival during which the composer Peter Ilyich Tchaikovsky conducted several of his works. Carnegie Hall is the most prestigious concert hall in the United States of America. Many of the world’s best-known musicians, orchestras and their conductors have performed concerts in Carnegie Hall. These include Louis Armstrong, Ella Fitzgerald, Benny Goodman, Bob Dylan, Joan Baez, Frank Sinatra, Liza Minnelli, Elton John, David Bowie, Stevie Wonder, Sviatoslav Richter, Edith Piaf, Tina Turner, Sergej Rachmanianoff, Artur Rubinstein, Vladimir Horowitz, Mstislav Rostopovich, Enrico Caruso, Placido Domingo, Maria Callas, Luciano Pavarotti, Gustav Mahler, The Beatles and Herbert von Karajan. .

Wonderful folk music, rich in temperament and wonderful rhythm...Carnegie Hall’s concert evening would remain unforgettable

"Pittsburgh, February.
The Macedonian Ensemble for folk dances and songs ‘Tanec’ has already been performing in America for several weeks... All the concerts have had record audiences. In many towns, including Pittsburgh, they are sold out at least one week before... The American public has shown a great deal of interest in this tour, which has allowed everyone to see the great richness and beauty of Yugoslavian folk art. For America, this art form is quite new - totally original - never before viewed on the mainland. The public is quite taken with this art; its influence is so direct and human. The American public have expressed this through their frenetic applause.

Just one day before the most important debut in New York, at Carnegie Hall, on January 27, I had the opportunity to meet the members of the Ensemble. We went together to view the headquarters of the United Nations in New York where, through the microphone of the Radio Diffusion Service of the United Nations, we sent greetings to the public. Recently the Ensemble returned from a town about 50 kilometres away. The members of the Ensemble were tired, and they were all feeling somewhat nervous. The next day, they would be making their most important debut - on the stage of Carnegie Hall, where it is an honour to perform, where only the great artists from America and the world are invited...

The following day, immediately after the performance in Carnegie Hall, the press wrote numerous compliments. Almost all articles in the newspapers were written in superlatives. Every impression of the concert was that this concert evening would remain unforgettable.

There were many reasons for this but, primarily, it was the wonderful folk music with a full range of temperament and miraculous rhythm, voluminous colour and sonority, perfect coordination between the dancers and the musicians, and wonderful choreography with recognizable folk costumes. All these enraptured the New York public. William Hawkins has written in the New York World Telegram, "The Hall nearly exploded as a result of the applause from the audience...This is the freshest, gayest, most expert dance event that has appeared over the horizon in years..." John Martin commented in the New York Times, " In number after number they do quick and quite incredible phases... But all the dances are delightful, and the range and quality of the group are truly astonishing..." This article, written by Naum Nachevski, appeared in the newspaper "Nova Makedonija", Skopje, Republic of Macedonia, on February 18, 1956, under the title, "TANEC receive applause in America".

"Pittsburgh, February
...From conversations with the Artistic Director of Ensemble "Tanec", Professor Asparuh Hadzi Nikolov, I have discovered that wherever the Ensemble performed they received stormy applause - It is rare in the papers for a talented group to pass without any negative remarks. He told me, "Not only have we not received any negative comment, almost all of the articles that have appeared have been in superlatives"... These days will remain unforgettable for our compatriots. Many of them have travelled a hundred kilometres to see ‘Tanec’. For instance many Macedonians, emigrants from Gary, Indiana, came to the concert in Chicago. Furthermore, members of ‘Tanec’ will forever remember these get-togethers. All of them are recounting stories with great enthusiasm about numerous meetings including one with the members of our Embassy in Washington..." from an article entitled ‘ Letter from America; The unforgettable days,’ written by Naum Nachevski, and published in the newspaper "Nova Makedonija", Skopje, Republic of Macedonia" on February 18, 1956.

4. Tale Ognenovski added his own improvisations...the unique Sopska Poskocica earned an encore...

Following every concert of ‘Tanec’s’ North American tour, critics in almost every newspaper commented about the Macedonian folk dance ‘Sopska Poskocica’, "...in the case of one dance, Sopska Poskocica, it was nothing more than a demonstration in dancing. As such it was highly effective...A dance like Sopska Poskocica is produced to demonstrate...The speed at which it is danced, and the tremendous energy and precision of the six men who dance it, makes it unique…It earned an encore..." Tale Ognenovski was a virtuoso clarinet soloist in ‘Sopska Poskocica’ (‘Shopska Podripnuvachka’) but he also helped arrange the music for he added his own improvisations to some parts of the dance. This has also been the case with others dances where Tale Ognenovski has performed as virtuoso clarinet and pipe soloist.

Tale Ognenovski performed as a virtuoso clarinet and pipe ("kavalche") soloist
The majority of Ensemble ‘Tanec’s programme comprised Macedonian folk dances and songs, while the remainder being Serbian and Croatian dances and songs, and one Albanian dance. Tale Ognenovski played as virtuoso and clarinet and pipe (‘kavalche’) soloist for most parts of the programme, including the Macedonian folk dances ‘Bride’s Dance’ (‘Nevestinsko Oro’), ‘Chupurlika’, ‘Shopska Podripnuvachka’, ‘Kopachka’, ‘Shepherd’s Dance (‘Ovcharsko Oro’), ‘Soborski Igri’, other Macedonian songs, Serbian folk dances and songs and ‘Shote’, an Albanian folk dance.

5. Tale Ognenovski’s solo playing on the clarinet and pipe (‘kavalche’) created frenetic applause in the sold-out
     concert halls

"The Professional Ensemble ‘Tanec’ has toured the United States and Canada. Their performances, and especially those of the clarinetist Tale Ognenovski have amazed the public. Tale Ognenovski’s solo playing on the clarinet and pipe (‘kavalche’) generated great public enthusiasm and attracted frenetic applause in the sold-out concert halls. This is the opinion of our fellow countrymen in the United States and Canada who have had the privilege to be present at the concerts performed by the professional Ensemble ‘Tanec’...Many of our emigrants have been asking for gramophone records of Tale Ognenovski..." These comments appeared in a letter no. 07-328, dated May 18, 1973, from ‘the Association of Emigrants from Macedonia’, (‘Matica na iselenici od Makedonija’), Skopje, Republic of Macedonia, and signed by Trajan Baftirovski, the Secretary of the Association.

Congratulations Tale, we will forever remember the whole Ensemble...
Ensemble ‘Tanec’ performed in one of North America’s most beautiful  opera houses, the Civic Opera House, (the Lyric Opera) in Chicago on February 5, 1956. The Opera House was built in 1929.
Present at the concert were Tale Ognenovski’s uncle, Petar Hristov, and his family from Saint-Louis, Missouri and Tale Ognenovski’s friend, Jandre Kunovski, and his family from Gary, Indiana. After the fascinating concert, a photograph was taken of Tale Ognenovski and Jandre Kunovski together with his family in front of the Opera House. On the back of this photograph Jandre Kunovski wrote, ‘5 February 1956, Chicago, Remembering our meeting Tale in Chicago. Congratulations Tale, we will forever remember the whole Ensemble’.

Tale Ognenovski’s recording debut as a clarinet and pipe soloist accompanying the Orchestra of Ensemble ‘Tanec’ in the United States
Some parts of Ensemble ‘Tanec’s repertoire were recorded on LP record during their tour of the United States. This excellent LP includes a selection of eight folk dances and songs. This was Tale Ognenovski’s recording debut as a clarinet and pipe soloist.

6. Concert in Massey Hall, Toronto, Canada, on February 13, 1956.

Before the start of Ensemble ‘Tanec’s’ concert in Massey Hall, Toronto, Canada an February 13, 1956, the Artistic Director of the Hall told professor Asparuh Hadzi Nikolov, the Artistic Director of the Ensemble, that it was a tradition that every performer at Massey Hall played the Canadian National Anthem at the beginning of every concert. Professor Hadzi Nikolov replied that it would not be possible for the Ensemble to play the Canadian National Anthem right then, but that if they had been given a score for the Anthem the previous day, then it would have been played.
Tale Ognenovski overheard this conversation and announced that the National Anthem would be played immediately from the score. He was given the score and, as he had a ‘B’ clarinet, he began to play one tone with transposition above, with other members of the Ensemble, Ivan Terziev (flute), Nikola Galevski (violin), Aleksandar Sarievski (harmonica), Todor Pavlovski Totka (guitar) and Reshat Muharemof (drum) accompanying him without transposition, which is an easier way to play. It was a highly successful rendition of the National Anthem and the concert was as spectacular as the other concerts in the United States. Only the greatest instrumentalists in the world could play a composition like the Canadian National Anthem without any preparation in advance and with transposition one tone above.

7. Tale Ognenovski is the number one clarinetist

Musical genius Tale Ognenovski performed in the world-famous Carnegie Hall as clarinet and pipe virtuoso soloist. His phenomenal success in Ensemble ‘Tanec’s’ 66-concert tour of the United States and Canada in 1956 launched a new era in his highly successful, 60-year career. The zenith of his career was his historic performance with Ensemble ‘Tanec’ at the concert in Carnegie Hall on January 27, 1956.

This concert by Tale Ognenovski and the Ensemble is one of the most celebrated events in the history of Carnegie Hall, and it marked the acceptance by the American public of Macedonian, Serbian, Croatian and Albanian Folk Dances and Songs. Ecstatic applause followed Ensemble ‘Tanec’s successes throughout North America. At the end of concerts, the audiences surrounded the members of Ensemble "Tanec", congratulated them for their display of tremendous skill, and asked for their autographs. Many of them told Tale Ognenovski that he was the number one clarinetist.

8. Macedonia is the Centre of the Folk Universe

‘Tanec’s triumphant appearance on American television, in the Ford Foundation ‘Omnibus’ programme on January 22, 1956 in New York City opened America’s doors to a wealth of Macedonian musical talent. What followed would be called a Musical Sensation. ‘Tanec’s performances at Carnegie Hall and at other famous concert halls were displays of tremendous skill, the likes of which North America had never seen before. Tale Ognenovski and other members of the Ensemble arrived as foreign ambassadors, but they received the warmest welcome and the most enthusiastic reception possible in North America. In their commentaries, the North American press gave such magnificent descriptions of the Ensemble’s performances that it could be concluded that Macedonia was the ‘centre of the folk universe’.

Since it first opened in 1894, Massey Hall, with its capacity of 2700 seats, has been famous in Canada, the U.S. and Europe for its outstanding acoustics. Massey Hall’s first hundred years reads like a Who’s Who of the 20th century: Enrico Caruso, Winston Churchill, Booker T. Washington, Arturo Toscanini, George Gershwin, Duke Ellington, Louis Armstrong, Ella Fitzgerald, Bob Dylan, Harry Belafonte, Keith Richards, Maria Callas, Luciano Pavarotti...

9. The Metro Goldwyn Mayer Company prepared a special banquet for Ensemble Tanec

During the three-month tour across the USA (from January 22 to April 12,1956), concerts were performed in many cities, including Los Angeles, Chicago and San Francisco. After three fascinating concerts in the Philharmonic Auditorium, Los Angeles, California on March 12, 13 and 14, 1956, a group of Hollywood artists invited all members of Ensemble ‘Tanec’ to visit the Metro Goldwyn Mayer studio in Hollywood. In the main MGM studio, Tale Ognenovski and other members of the Ensemble were photographed together with June Allyson, one of the most famous stars of the screen in the U.S. The Metro Goldwyn Mayer Company prepared a special banquet for the members of Ensemble ‘Tanec’.

10. Carnegie Hall was our greatest triumph
"Roska Dilevska, one of the members of ‘Tanec’, said: "Carnegie Hall was our greatest success. Everywhere we have received frenetic applause for our triumphs. After the concerts, the audience surrounded us...Almost everywhere they asked for our autographs. Amongst those strange admirers and lovers of the art, there have been both well-known and lesser-known actors, singers, painters, our emigrants, students, schoolboys...During our visit to Hollywood at the invitation of the Metro Goldwyn Mayer company, we had the rare opportunity to walk through wide streets of cowboy film set-ups, and see model castles, miniature models of boats and many other well-known things from films which have fascinated us with their grandiosity; and there are still many hundreds more wonders to see. We have seen other film studios, and Metro Goldwyn Mayer prepared a special party for us..." from an article entitled "After returning to the country", written by D. Stojanova, and published in the newspaper "Nova Makedonija" on April 27, 1956.

11. ‘TANEC’s performances at the Brooklyn Academy of Music, New York, April 11 and 12, 1956
After the tremendous success in Carnegie Hall, even though only one performance in New York was planned for in the contract with the American tour managers, Ensemble ‘Tanec’ made two additional two performances in the city, at the Brooklyn Academy of Music on April 11 and 12, 1956.
The Brooklyn Academy of Music has been the hub of performing arts activities in Brooklyn since it opened for business in 1861. The Opera House has a 2000-seat auditorium with excellent acoustics.

12. One of the longest and the most triumphant tours in the history of world music

During an 84-day journey throughout the United States and Canada Ensemble ‘Tanec’ travelled ten thousand kilometres and performed 66 concerts in 53 different towns. They were described as a Great Cultural Event by the American press, with articles appearing in The New York Times, The New York Daily Mirror, The New York Herald Tribune, The New York World Telegram, The New York Daily News, Boston Traveler, Boston Globe, Chicago Daily News, Chicago Daily Tribune, Saint Louis Globe Democrat, San Francisco Chronicle, Los Angeles Times, San Diego Union, The Milwaukee Journal, Washington News, Baltimore Sun,  The Christian Science Monitor, Denver Rocky Mountain News, Life, The Philadelphia Inquirer, The Globe and Mail, The Washington Post and the Times Herald.
This tour is one of the longest and the most triumphant of tours in the history of world music. Ensemble ‘Tanec’ twice repeated this giant success, first with their 72-concert tour of Germany from August 15 until October 27, 1956, and secondly with their 83-concert tour of France from September 20 until November 25, 1959. They played two concerts in Dortmund, Germany on September 18 and 19, 1959.

Members of ‘Tanec’ who participated in the concerts in the United States and Canada from January 22 until April 12, 1956, were the following: Doncheva Todorka, Vishinova Radmila, Krstic Dushica, Stojanova Zora, Arsova Desanka, Peshic Olga, Shijakovic Vera, Markova Lenche, Stojanova Radica, Videc Blaga, Ilieva Vaska, Kolarova Ljubica, Dilevska Roska, Petrushevski Dragan, Sarievski Aleksandar, Matevski Dojchin, Dobeski Krsto, Kolarovski Atanas, Livrinski Stanko, Mihajlovski Mihajlo, Cherepovski Trpe, Eftimovski Doncho, Vishinski Stanimir, Micevski Cvetko, Todevski Spase, Georgievski Stevo, Atanasovski Pece, Etemov Kemal, Georgievski Dushko, Velevski Blazhe, Pavlovski Todor, Jusufov Muharem Reshat, Terziev Ivan, Galevski Nikolaj, Hristovski Jonche, Ognenovski Tale and Tasevski Slave.
The Artistic Director was Prof. Asparuh Hadzi-Nikolov, and the Regisseur, Dimce Najdeski.
 

13. TOUR OF MACEDONIAN NATIONAL FOLK BALLET "TANEC" IN UNITED STATES AND
CANADA
 
DATE CITY THEATRE
January 22, 1956 New York City Ford Foundation TV Program,

"OMNIBUS"
January 23, 1956 Harrisburg, Pennsylvania The Forum
January 24, 1956 White Plains, New York Westchester Country Center
January 25, 1956 Schenectady, New York Erie Theater
January 26, 1956 Perth Amboy, New Jersey Majestic Theater
January 27, 1956 New York City Carnegie Hall
January 28, 1956 Newark, New Jersey Mosque Theater
January 29, 1956 Worcester, Massachusetts Municipal Memorial Auditorium
January 30, 1956 Providence, Rhode Island War Memory Auditorium
January 31, 1956 Boston, Massachusetts Symphony Hall
February 1, 1956 Springfield, Massachusetts Auditorium
February 2, 1956 Hartford, Connecticut Bushnell Memorial Hall
February 4, 1956 Chicago, Illinois Chicago Civic Opera House
February 5, 1956 Chicago, Illinois Chicago Civic Opera House
February 7, 1956 Philadelphia, Pennsylvania Academy of Music
February 8, 1956 Norfolk, Pennsylvania Center Theater
February 9, 1956 Washington, D.C. Constitution Hall
February 10, 1956 Baltimore, Maryland Lyric Theater
February 11, 1956 Richmond, Virginia Mosque Theater
February 12, 1956 Pittsburgh, Pennsylvania Syria Mosque Theater
February 13, 1956 Toronto, Canada Massey Hall
February 14, 1956 Rochester, New York Auditorium
February 16, 1956 Youngstown, Ohio Stambaugh Auditorium
February 17, 1956 Akron, Ohio Armory
February 18, 1956 Detroit, Michigan Masonic Auditorium
February 19, 1956 Cleveland, Ohio Music Hall
February 20, 1956 Indianapolis, Indiana Murat Theater
February 21, 1956 Toledo, Ohio State Theater
February 22, 1956 Cincinnati, Ohio Taft Auditorium
February 23, 1956 Louisville, Kentucky Kentucky Auditorium
February 24, 1956 Evansville, Indiana Indiana Coliseum
February 26, 1956 St. Louis, Missouri Municipal Auditorium
February 28, 1956 St. Joseph, Missouri City Auditorium
February 29, 1956 Kansas City, Missouri Music Hall
March 1, 1956 Omaha, Nebraska Music Hall
March 3, 1956 Colorado Springs, Colorado City Auditorium
March 4, 1956 Denver, Colorado Auditorium Arena
March 7, 1956 San Francisco, California Opera House
March 8, 1956 Sacramento, California Memorial Auditorium
March 9, 1956 San Francisco, California Opera House
March 10, 1956 Oakland, California High School Auditorium
March 11, 1956 Fresno, California Memorial Auditorium
March 12, 1956 Los Angeles, California Philharmonic Auditorium
March 13, 1956 Los Angeles, California Philharmonic Auditorium
March 14, 1956 Los Angeles, California Philharmonic Auditorium
March 15, 1956 Pasadena, California Civic Auditorium
March 17, 1956 San Pedro, California S.P.High School Auditorium
March 18, 1956 San Pedro, California S.P.High School Auditorium
March 19, 1956 San Diego, California Russ Auditorium
March 20, 1956 San Diego, California Russ Auditorium
March 22, 1956 Phoenix, Arizona North Phoenix High School
March 23, 1956 Phoenix, Arizona North Phoenix High School
March 24, 1956 Tucson, Arizona University
March 26, 1956 El Paso, Texas Liberty Hall
March 28, 1956 Houston, Texas City Auditorium
March 29, 1956 Houston, Texas City Auditorium
April 1, 1956 New Orleans, Louisiana Civic Theatre
April 2, 1956 New Orleans, Louisiana Civic Theatre
April 3, 1956 New Orleans, Louisiana Civic Theatre
April 5, 1956 Atlanta, Georgia Tower Theatre
April 6, 1956 Atlanta, Georgia Tower Theatre
April 7, 1956 Atlanta, Georgia Tower Theatre
April 9, 1956 Princeton, New Jersey McCarter Theatre
April 10, 1956 Princeton, New Jersey McCarter Theatre
April 11, 1956 New York City Brooklyn Academy of Music
April 12, 1956 New York City Brooklyn Academy of Music

"Macedonian folklore group ‘Tanec’ last night gave the last performance of their three-month North American tour at New York’s Brooklyn Academy of Music. The group had arrived in New York by boat on January 20, and will leave New York by plane on April 21. During their very successful tour in America, Ensemble ‘Tanec’ visited the most important cultural and industrial centres: New York City, Chicago, Detroit, San Francisco, Los Angeles, Saint Louis, Philadelphia, and Boston, and one concert was performed in Toronto, Canada. During the 84-day journey Ensemble ‘Tanec’ travelled ten thousand kilometres and gave 70 concerts. The American press described them as a Great Cultural Event. Everywhere in America ‘Tanec’ had a warm welcome. Numerous celebrated public dinners and banquets were held by our emigrants’ societies and American musical associations in honour of the Ensemble." From an article entitled "Tanec with success has finished their American tour", published in the newspaper "Nova Makedonija" on April 14, 1956.

A Significant Cultural Event in America...In New York ‘Tanec’ performed three very successfully concerts and made their television debut...
"The performances by Ensemble ‘Tanec’ throughout the United States were reviewed as a Significant Cultural Event in  America. In New York they had performed three very successful concerts and made a television debut… The public was amazed during the performances of ‘Tanec’..." wrote The Boston Globe; "The concert created stormy applause from 2000 spectators..." wrote the Saint Louis Globe Demokrat; "The concert was magnificent..." wrote the San Francisco Chronicle; "...The greatest success was SHOPSKA POSKOCHICA (the clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski)..." wrote the Washington News from Washington, D.C.; "...The concert was not only magnificent art but a Great Event," wrote the Union from San Diego, California. " ...The Auditorium Arena concert of Ensemble ‘Tanec’ is the most extraordinary event of the year...the most excellent are "Soborskite igri" (the clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski)" wrote the Denver Rocky Mountain News." The above all appeared in an article in the newspaper "Nova Makedonija",published on April 24, 1956 and entitled "Success of Macedonian Folk Ensemble ‘Tanec’."

… a single New York performance on Friday evening at Carnegie Hall
"The company of forty-two dancers and musicians will give a single New York performance on Friday evening at Carnegie Hall. At that time, we will see - most of us for the first time - the archaic, historical and contemporary folk dances of the Yugoslav regions of Macedonia, Croatia and Serbia…The musical instruments to be used in the ‘Tanec’ performance range from the most conventional of their instruments, the accordion, to the reed pipe…" from an article written by Walter Terry, entitled "The Dance: Yugoslav Folk Ballet", and published in the New York Herald Tribune, New York, on January 22, 1956.

14. "Ballet: Yugoslav Folk Art ‘Tanec’ Dancers Appear at Carnegie Hall in Display of Tremendous Skill" - John
        Martin, the New York Times

"The Yugoslav National Folk Ballet ‘Tanec’, which has been touring Europe with great success, made the reason quite clear last night in a performance at Carnegie Hall that was a joy and delight...This particular group, part of a national movement toward the revival of the folk arts, comes from Macedonia, but its dances and songs come also from Serbia, Croatia and Dalmatia...Among them are the endless vivacity and the tremendous skill of a thoroughly ingratiating company and some brilliantly spectacular and wonderfully unfamiliar dances. To be sure, they possess all the qualities common to folk dancing, but they have great individuality and a wide variety besides...These sturdy, spirited and forthright men can dance not only as fast as you please, but also as slowly, which is harder and can be much more exciting. In number after number they do rapid and fairly incredible phrases with inexhaustible vigor...But all the dances are ravishing, and their range is truly astonishing. There are some winning songs, too, and some remarkable music on both orthodox and unorthodox instruments - a raucous and unforgettable pipe (virtuoso pipe ("kavalche") and the clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski), a charming lyric bagpipe, drums large and small, played with two kinds of sticks at the same time or else by the fingers alone...The evening is not only wonderful art but also a superb show. Surely one performance in New York is not enough. The house was completely sold out, and others no doubt would follow the same pattern," from an article written by John Martin entitled "Ballet: Yugoslav Folk Art ‘Tanec’ Dancers Appear at Carnegie Hall in Display of Tremendous Skill," and published in The New York Times, New York, on January 28, 1956.

15. "Carnegie Hall was shaking from stormy applause... "Shopska podripnuvachka" (The virtuoso clarinet soloist
         was Tale Ognenovski – remark made by Stevan Ognenovski) was even repeated, and to repeat a
         performance on the American stage is a really rare and exclusive event." - Stjepan Pucak in Nova
         Makedonija

"...In the meantime, on Sunday, January 22, ‘Tanec’ had already performed on one of the most well-known television programs, a program which was seen by millions of Americans.... Carnegie Hall is the greatest and the most representative Hall  in New York and is situated in the center of the town. Here are performed the greatest and the most famous musical-artistic works, and on the stage of Carnegie Hall appear the most renowned artists in the world... Until half-past eight, Carnegie Hall was full to capacity, without any of its near enough 3000 seats available... To choose which were the most successful of the program’s seventeen folk dances, when all were greeted with stormy applause, is really very difficult and risky... ‘Shopska podripnuvachka’ (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) was even repeated, and to repeat a performance on the American stage is a really rare and exclusive event... When the curtain came down at the end of the show after "Soborskite igri" (the clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski), the Haalll of Carnegie Hall was shaking from stormy applause, and didn’t become quiet for some minutes. The New York Times that evening wrote that the evening was a joy and a delight, the New York Daily News that the event was a "main full hit", and The New York Daily Mirror that it was a charming program for dances and music; similar reviews had been written in many other newspapers... "The New York Times wrote that one concert in New York was surely not enough. The press had recalled the fact that all tickets for that event were sold out a few days before the concert. The paper said that other performances would no doubt follow the same pattern, but now it was unclear whether the Tour Managers would stage another show in New York. If another was staged, then the Daily Mirror recommended readers to go to that event to see and hear ‘Tanec’", wrote Stjepan Pucak in his article entitled "First days in America", published in the newspaper "Nova Makedonija" on February 7, 1956.

16. "The first performance at Carnegie Hall in New York is regarded as a really sensational success." - Naum
         Nachevski, Nova Makedonija

"Tanec’s’ first concert in the 3000-seat Carnegie Hall, in New York, finally took place on January 27. In fact, Tanec performed on New York television. It was a sell-out, and vast numbers of people had to accept only a televised ‘meeting’ with  ‘Tanec’. The first performance in New York was regarded as a really sensational success. The program included skilful items for the audience, but they were performed with such wit and richness of feeling that it was impossible for the audience not to call out in pleasure. On many occasions the audience interrupted some of the folk dance performances with applause; these dances in particular left great impressions of the folklore, the richness of folk costumes and the unusual rhythm of Macedonian folk music. ‘Tanec’ not only received a warm welcome from the New York public, but also from the New York press who the following day were full of the most beautiful compliments: The New York Times wrote: "Surely one performance in New York is not enough...It was a joy and delight to see the endless vivacity and the perfect harmonic of this group and some brilliantly spectacular and wonderfully unfamiliar dances...But all the dances are ravishing, and their range is truly astonishing."
"The New York Daily Mirror wrote that the concert was a charming program for music and dances and invited its readers to go to the next concert to assure themselves, should ‘Tanec’ come again to New York. The newspaper added that in New York that season, there had been some interesting concerts from the East and West but none of them had been so successful and been so well-received by the public as Yugoslav Folk Ballet ‘Tanec’. Carnegie Hall was shaking from stormy applause, wrote the newspaper, and the spectators were relentless in their applause...
The New York Herald Tribune wrote that ‘Tanec’ was a lively, handsome and magnificently skilled company...
"The New York Daily News wrote that the concert provided many pleasures and the Ensemble showed dignity, exuberance and talent. The stories in these newspapers were written by the most eminent critics Walter Terry, John Martin, Charles Mackhary and Robert Coleman." This article entitled ‘TANEC’ had amazed The New York Public" was written by Naum Nachevski, and appeared in the newspaper ‘Nova Makedonija’ on January 31, 1956.

17. "Venerable Carnegie Hall fairly vibrated as the audience blistered its palms in appreciation." - Robert
         Coleman, the New York Daily Mirror

"These perfect artists performed many marvelous dances, and the astonished audience greeted them with long applause. The program was filled with folk dances and songs. In the past we have had some interesting concerts from the East and West but none of them had been as successful and been so well-received by the public as the Yugoslav Folk Ballet ‘Tanec’. Venerable Carnegie Hall fairly vibrated as the audience blistered its palms in appreciation..." wrote Robert Coleman in the New York Daily Mirror on January 28, 1956.

18. "The freshest, gayest, most expert dance affair ...Transcontinental tour at Carnegie Hall."- William Hawkins,
         the New York World Telegram

"Last night this Yugoslav National Folk Ballet preluded a transcontinental tour at Carnegie Hall... This is the freshest, gayest, most expert dance affair that has come over the horizon in years. We have been afforded many novelties from the Orient and the Occident but none of them won a more enthusiastic reception than the Yugoslav National Folk Ballet." From an article written by William Hawkins, and that appeared in the New York World Telegram on January 28, 1956.

19. "Tanec, a Macedonian group, is a lively, handsome and magnificently skilled company… accompanied
         sometimes by a shepherd’s pipe (Tale Ognenovski - remark made by Stevan Ognenovski) which surely
         pierced the air of classical Greece… An audience which jammed Carnegie to capacity cheered and applauded
         the folk dancing with as much enthusiasm as if it had been witnessing classical, theatrical ballet at its most
         glittering." - Walter Terry, the New York Herald Tribune

"Dancing, certain opinions to the contrary, has its universal characteristics. It also – and every one agrees to this – has its roots in antiquity. And, finally, dancing on the folk level is basically more fun to do than to watch (although this can be exhilarating on occasion). These three dance truths were much in evidence last evening at Carnegie Hall when the Yugoslav National Folk Ballet (the Tanec division of four such national troupes) made its New York debut… But there were also many examples of the strange, the exotic. The ancient past was reborn in the company’s several circle dances, probably the oldest dance pattern known to man. And these antique measures, accompanied sometimes by a shepherd’s pipe (pipe soloist was Tale Ognenovski - remark made by Stevan Ognenovski) which surely pierced the air of classical Greece… Tanec, a Macedonian group of some forty dancers and musicians, gave generously of their rich folk heritage. There were songs and dances not only from their own region but also from Serbia, Croatia, Albania, Dalmatia and from heritages almost lost in antiquity... Tanec is a lively, handsome and magnificently skilled company...Each was strikingly costumed, particularly the women’s dresses with their bright and intricate embroidery, and each had its zestful or romantic musical accompaniment, sometimes played on archaic instruments, again on contemporary ones...ancient heritages were revealed, to a remarkable degree, in dance and in music.
In "Sopska Poskocica," (the clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) to make the point, five young men took over the stage and indulged in show-off tactics to attract the girl.... Every where in this program, however, there was something to be admired…the regional treasure of peoples with proud and ancient heritages, were revealed, to a remarkable degree, in dance and in music…An audience which jammed Carnegie to capacity (the house had been sold out by last Monday) cheered and applauded the folk dancing with as much enthusiasm as if it had been witnessing classical, theatrical ballet at its most glittering." The above is from an article entitled ‘Yugoslav Folk Ballet,’ written by Walter Terry, and that appeared in the New York Herald Tribune on January 28, 1956.

Concert at the Symphony Hall, Boston, January 30, 1956
An impressive evening
"Everyone present this evening can be satisfied even with the most demanding taste of the public, because the group of Yugoslav dancers, singers and musicians performed one really impressive evening...Rhythm and complicated steps were masterly performed and excited the public... The performers were awarded with long enthusiastic applause " – from an article in the Boston Traveler, Boston, Massachusetts, February 1, 1956.

Concerts at the Chicago Civic Opera House, Chicago, February 4 and 5, 1956
‘fill up the Civic Hall with enthusiasm’
"The Yugoslav National Folk Ballet consists of young dancers, singers and musicians who filled up the Civic Hall with enthusiasm with their dances and songs..." – from an article that appeared in the Chicago Daily News, Chicago on February 6, 1956.

The three concerts in Chicago were performed in the 3000-seat Civic Opera House on February 4 at 8:30 pm and on February 5, 1956 at 2:30 pm. and at 8:30 pm.

20.  Concerts at the Chicago Civic Opera House, February 4 and 5, 1956
      "Yugoslav Ballet a Colorful Addition to International Dance...Called Tanec, which is the Macedonian word for
        dance, this group of 37 dancers, singers and musicians is akaleidoscope of the Balkans..." – Claudia Cassidy,
        the Chicago Daily Tribune

"...The Yugoslav National Folk Ballet, which spent the week-end in the Civic Opera house, is a fair sample...Called Tanec, which is the Macedonian word for dance, this group of 37 dancers, singers and musicians is a kaleidoscope of the Balkans,..When five of them dance the "Sopska Poskocica," (the clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) which apparently just means they are showing off to the girls. I would keep them any day as a unfair trade for the four little swans in "Swan Lake." They are brilliant, gay, and worth seeing...But of all the singers, dancers, and musicians who range from fiddle and guitar to ancient drum and shepherd’s pipe (the pipe and clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski), none is unworthy. They have ritual, festival, epic, and what they call "borrowed" dances, and to choose one or two is not to decry the others..." From an article written by Claudia Cassidy and entitled "On the Aisle - Yugoslav Ballet a Colorful Addition to International Dance." It appeared in the Chicago Daily Tribune, Chicago on February 6, 1956.

21.  Concerts at the Chicago Civic Opera House, Chicago, February 4 and 5, 1956
       Every folk dance performed was in complete coordination with the orchestra

"The arrival of Tanec in Chicago had been awaited by more than 10,000 people who had bought their tickets a few weeks earlier. This was Tanec’s first time in America. There were only three concerts in Chicago. Several million people got to know about our folk dances from reports and photographs, from a very successful debut on American television and from reviews in the newspapers about the concert in New York (Carnegie Hall)... CHUPURLIKA (the clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) was greeted with stormy applause and received several encores. Every folk dance performed was in complete coordination with the orchestra and made the whole concert dynamic, live, interesting..." wrote Gjorgi Iliev from Chicago in an article entitled "Letter from America", appearing in the newspaper "Nova Makedonija" on February 19, 1956.
 

22.  Concert at the Academy of Music, Philadelphia, February 7, 1956
       "Clarinet (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski)...provided
        most of the accompaniments in various combinations." - Samuel Singer, The Philadelphia Inquirer

"America has been called the "melting pot," but a European version of a dance melting pot visited the Academy of music last night, one of a virtual parade of exotic dance troupes to play here this season. This was "Tanec," the Yugoslavian National Folk Ballet. "Tanec" means "dance," but "dance" in a larger form than customery. Besides dance alone, it conveys drama, ritual, tradition, songs, even military maneuvers...there was a remarkable precision in both dancing and playing...Clarinet, (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) bass fiddle, violin, drums, guitar and flute provided most of the accompaniments in various combinations...This is the first visit of Tanec to America, but undoubtedly not its last." From an article written by Samuel Singer entitled "Yugoslav Ballet Visits Academy". It appeared in The Philadelphia Inquirer on February 8, 1956.

23.  Concert at the Constitution Hall, Washington, D.C., February 9, 1956
      "Sopska Poskocica (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski)
        is unique and demanded a repetition" - Paul Hume, The Washington Post and Times Herald

"Anyone watching the Yugoslav National Folk Ballet last night in Constitution Hall could have guessed without any difficulty the major emotions and situations involved in the dancing. Courting, fast and slow, deeds of heroism, dances deriving from nature, the changing seasons and the life cycle all are present in the dances of most people. So they were last night...A Sopska Poskocica (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) is devised to show the girls how handsome and wonderful and brilliant and exciting and sensational their man friends are. It does. The rate at which it is danced, and the tremendous energy and precision of six men who dance it, is unique and demanded a repetition...If you see "Tanec" which simply means "Dance" advertised again, you won’t want to miss it." This is from an article written by Paul Hume and entitled "Yugoslav Dancers Shoot the Works". It appeared in The Washington Post and Times Herald on February 10, 1956.

24.  Concert at the Massey Hall, Toronto, February 13, 1956
      "Spectacle in Massey Hall... Nor was the performance without spectacle...the music, whether for singing or
       dancing, had the same spontaneous folk quality and an exotic character... Sopska Poskocica (the virtuoso
        clarinet soloist was Tale Ognenovski – remark made by Stevan Ognenovski) it was no more than a show-off
       dance. As such it was highly effective... musicians may take anactive part... " - John Kraglund, The Globe and
        Mail

"The single appearance here, sponsored by International Artists in association with Charles E. Green and Lee V. Eastman, brought a capacity audience to Massey Hall... Last night Torontonians had an opportunity to access Tanec, the Yugoslav National Folk Ballet, first artistic export from there (from Former Yugoslavia - remark made by Stevan Ognenovski), currently on a whirlwind tour of Canada and the United States. As the evening progressed the house grew increasingly enthusiastic, and not without good cause. Tanec is not a ballet company in the usual sense. In the first place it confines itself to dance in the folk idiom. More than that, it includes singers and musicians as well: and singing may be part of the dance, just as musicians may take an active part...Last night’s program included songs and dances from Macedonia, Serbia, Croatia and Dalmacia.
The first impression, however, must be one of rhythmic precision... Nor was the performance without spectacle... This was often a fitting part of the interpretation in a larger dance scheme, but in the case of one dance, Sopska Poskocica (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) it was no more than a show-off dance. As such it was highly effective with its leaps and other strenuous choreography... The music, whether for singing or dancing, had the same spontaneous folk quality and an exotic character that could largely be attributed to archaic instruments. On the whole, it was joyful or plaintively romantic: nearly always charming in its simplicity. Tanec has had a warm welcome here, and it must assure considerable interest in other artistic exports that may come this way from Yugoslavia (Former Yugoslavia - remark made by Stevan Ognenovski)." From an article written by John Kraglund, entitled "Music in Toronto"and appearing in The Globe and Mail on February 14, 1956.

25.  Concerts at the Opera House, San Francisco, March 7 and 9, 1956
      "The music itself - including several indigenous instruments - is worth the price of the show, and never more so
       than in a number titled simply "Macedonian Tune," which in its intricate rhythms and plaintive melody should
       at least make Dave Brubeck send out an emergency call for Darius Milhaud..." - R. H. Hagan, the San
       Francisco Chronicle

"Folk dancing and folk singing have counted among the seven amateur arts. Everyone who ever practiced them was either a native or an amateur. One of the greatest evidences that times have changed in this regard was the first local appearance of "Tanec," the Yugoslav National Folk Ballet last night in the Opera House. "Tanec" (the world actually means "dance" in Yugoslavian) is actually a highly trained group of professional folk dancers and musicians who have taken the folk songs and dances of Macedonia, Bosnia, Serbia and all the six republica of Yugoslavia (Former Yugoslavia - remark made by Stevan Ognenovski) and made a very colorful and musically exciting show out of them... But I do know they started many a knee jogging to complicated Macedonian rhythms (something like seven and one half to the bar) and many an eye dancing to the Kodachromatic colors of wonderfully vivid costumes which looked as if they were not heirlooms at all, but designed by a Balkan Hattle Carnegie who happened to have a summer villa on the Dalmatian coast...The Yugoslav troupe provided a magnificent demonstration of that Balkan urge for expressing one’s self in subtly rhythmic and violently evocative body movements. The music itself - including several indigenous instruments - is worth the price of the show, and never more so than in a number titled simply "Macedonian Tune," which in its intricate rhythms and plaintive melody should at least make Dave Brubeck send out an emergency call for Darius Milhaud..." From an article written by R. H. Hagan, entitled "Yugoslav Ballet Proves Folk Dancing ‘Tricky’" and appearing in the San Francisco Chronicle, San Francisco on March 8, 1956.

"The music covers an equal range and employs unusual instruments"
"High leapers - Members of the Yugoslav National Folk Ballet will do acrobatic feats during their programs in the Philharmonic Auditorium tomorrow, Tuesday and Wednesday evenings. The troupe consists of 40 Yugoslavian dancing denotes drama, ritual, poetry, song and music. All these facets will be presented with authenticity by the Yugoslav National Folk Ballet troupe of 40 dancers, singers and musicians appearing on Monday, Tuesday and Wednesday at 8:30 p.m. in Philharmonic Auditorium, and on Thursday at 8:30 p.m. in the Pasadena Civic Auditorium. Balkan Dances. The company’s repertoire is a cross-section of the Balkans, with dances from Croatia, Serbia, Herzegovina, Albania, Macedonia and Dalmatia, representing regions that have sharp differences in style and dance forms. The music covers an equal range and employs unusual instruments..." from an article entitled "Yugoslavia Dance Unit to Appear", published in the Los Angeles Times, Los Angeles, on March 10, 1956.

"THIS SPECTACLE IS MAGNIFICENT YOU MUST SEE IT"
"THIS SPECTACLE IS MAGNIFICENT YOU MUST SEE IT", MELODY MAKER, London - these words were printed in the Los Angellees Times on March 10, 1956 in a poster announcement from the "MARY BRAN" company advertising Ensemble Tanec performances in the PHILHARMONIC AUDITORIUM in Los Angeles. The announcement also included the comments: "JOY and DELIGHT * SPECTACULAR * WINNING SONGS * TREMENDOUS SKILL * STUNNING * WONDERFUL ART * REMARKABLE MUSIC * ASTONISHING * Superb Show, First Time in America, The YUGOSLAV NATIONAL FOLK BALLET, 40 DANCERS, SINGERS, MUSICIANS on the STAGE. Only Three Unique Performances PHILHARMONIC AUDITORIUM Tomorrow and Tuesday, March 13 and Wednesday March 14, 8:30 p.m. Also Pasadena Civic Auditorium, Thursday, March 15, 8:20 P.M., Los Angeles Times, March 11, 1956." These words appeared in an advertisement in the Los Angeles Times, Los Angeles on March 10, 1956.

"Balkan Dances Offered Tonight"
"A variety of dances and songs of Balkan countries will be offered by the Yugoslav National Folk Ballet at Philharmonic Auditorium tonight, tomorrow night and Wednesday night. The numbers delineate heroic war games, sword dances, horsemen, outlaws and shepherds," announced the Los Angeles Times on March 11, 1956.

26.  Concerts at the Philharmonic Auditorium, Los Angeles, March 12, 13 and 14, 1956
       "The Yugoslav National Folk Ballet - known at home as Tanec - excited a large audience... this group would
        be hard to beat... They are accompanied by a group of musicians consisting of a violinist, guitar and accordion
        players, a flutist, a clarinetist (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan
        Ognenovski) and a double bass, though drums of different types are frequently involved, as well as a
        shepherd’s reed pipe (the virtuoso pipe soloist was Tale Ognenovski - remark made by Stevan Ognenovski)
        and an instrument called the Zourla"- Albert Goldberg, the Los Angeles Times

"The Yugoslav National Folk Ballet - known at home as Tanec - excited a large audience, seemingly principally composed of fellow countrymen, in the Philharmonic Auditorium last night. The engagement continues through tonight and Wednesday. For authentic folk dancing, wild and free and yet subject to its own intricate disciplines, this group would be hard to beat. It numbers over 30 dancers, singers and musicians and they do the dances of Macedonia, Croatia, Serbia, Herzegovina and Albania in native costumes with superb vitality and style.
Strange Instruments.
They are accompanied by a group of musicians consisting of a violinist, guitar and accordion players, a flutist, a clarinetist (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) and double bass, though drums of different types are frequently involved, as well as a shepherd’s reed pipe (virtuoso pipe soloist was Tale Ognenovski - remark made by Stevan Ognenovski) and an instrument called the Zourla, which gives out a harrowing sound like an overgrown oboe. The music is mostly of a distinctly Oriental cast, with insistent repetitions of melodies based on minor scales...Perhaps the most exciting of the dances are those of the men, such as the "Rusalija," a warriors’ dance with flashing sabers, the "Sopska Poskocica" (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) in which the young men display their athletic prowess for the girls...It all makes quite a spectacle and is well worth seeing." This comes from an article written by Albert Goldberg, entitled "Yugoslav Folk Ballet Opens Engagement" and published in the Los Angeles Times on March 13, 1956.

27. "As vigorous a display of dancing as the U.S. has ever seen" – Life magazine

"A hundred years ago on the rugged roads of Macedonia, bands of brigands used to plunder the caravans of rich merchants and, like Robin Hood, pass on some of their spoils to the poor... this spring, the Yugoslav National Folk Ballet is making a first, and highly successful tour of the U.S. The skilful troupe of 40 dancers and musicians was founded to perpetuate their country’s culture. All the dances are derived from the wedding rites, harem ceremonials...Together they make as vigorous a display of dancing as the U.S. has ever seen." These words appeared in an article in Life magazine, USA, entitled "Dance, Bouncing Brigands, Yugoslavs come to U.S." on April 9, 1956.

YESTERDAY, TIME WASN’T MONEY
"...I can’t remember ever seeing anything better of this style" wrote the Baltimore Sun; "...Applause from the public says more than these 500 words. YESTERDAY TIME WASN’T MONEY," ran The Milwaukee Journal. "Here is a question of great art, and we must say that we are lucky to see this art," ran The Christian Science Monitor on March 30, 1956. The above appeared in an article entitled "The Newspapers in United States on Tanec" and was published in the newspaper "Nova Makedonija" on May 11, 1956.

This is the story of one of the most extraordinary figures in the history of world music.
Tale Ognenovski is one of the greatest instrumentalists and composers in the world of music. He made the connection between Oriental and Western Music. He is the greatest clarinetist, reed piper, zourlist and small bagpiper of all time, demonstrating unique skill, a wealth of invention, amazing improvisational virtuosity and outstanding musical competence in all areas of music.
He has composed and arranged 150 Macedonian folk dances, one classical concert "Tale Ognenovski Clarinet Concerto No.1" and a number of jazz compositions. Some of his compositions have been recorded on 11 LPs, 11 cassettes, 10 gramophone records, and one videotape (RTB, Jugoton, RTS, and MRT) . Tale Ognenovski’s numerous musical works belong to different genres; together, his folk dances and classical and jazz compositions established the clarinet as an instrument capable of the highest range of expression in solo music.
Tale Ognenovski, genius virtuoso of the clarinet has, in his life-time, composed and arranged 150 Macedonian folk dances, including Brusnichko oro, Poljansko oro, Stevchevo oro, Kasapsko oro, Nevenino oro, Kumovo oro chochek, Resensko oro, Talevo svadbarsko oro,  Bukovsko svadbarsko oro, Drachevsko oro, Zajachko oro, Pelistersko oro, Caparsko oro, Bitolsko svadbarsko oro, Oreovsko oro, Nevenino lavchansko oro, Sharsko kozarsko oro, Veleshko zhensko oro, Zhensko krsteno oro, Adana oro, Bitolsko oro, Pelagonisko oro, Mominsko oro, Ohridsko oro,  Beranche oro, Mashkoto oro, Nevestinsko oro, Kavadarsko oro, Skopski chochek, Zhensko kichevsko oro, Egejsko oro, Prilepsko svadbarsko oro, Deverovo oro, Ristevo oro, Prespansko oro,  Berovsko zhensko oro, Negotinsko mashko oro, Gevgelisko zhensko oro, Delchevsko zhensko oro, Kumanovsko oro and Galichko oro. The majority of them are his own compositions.

Like his other clarinet works, the end result of Tale Ognenovski’s Clarinet Concerto No.1 is an expression of his own amazing virtuosity. Every register of the clarinet finds eloquent expression in this concert. With this classical concert this creative musical genius continues to extend the river of great beauty that is classical music. He possesses complete perfection and wisdom.
Tale Ognenovski’s Clarinet classical composition is far more than a demonstration of the clarinet’s tonal qualities, as well as what is technically possible with a clarinet - these he had already explored and favoured in his compositions of Macedonian folk dances. It is also a display of imaginative power, a colourful, almost romantic emotion, and sensitive feeling. This concert includes some very creative and technically demanding solos, and the clarinet soloist needs extremes in his range, tonal control, technique and dynamism.

Tale Ognenovski composed numerous musical works from different genres: folk dances, classical and jazz music, which established the clarinet as an instrument capable of the highest range of expression in solo music. His music demands a virtuoso of the clarinet, and exploits among other things the deeper sounds of different sounding registers of the instrument very effectively.

He spent the years 1947 to 1952 studying classical music independently, and become a virtuoso clarinet soloist. He performed works by Mozart, Cavallini, Wagner, Weber and more.

As a composer, Tale Ognenovski was particularly innovative. He composed his music by treating rhythms differently and dividing them into more flexible units. He made many studio recordings for Macedonian Radio Television as a virtuoso clarinet and pipe soloist (folk, jazz, and classical music), and countless radio and television broadcasts.

He is one of the greatest exponents of composers of clarinet music and is the finest exponent of players of the clarinet. His performances are superb, and the sound he produces reveals just how beautifully the clarinet can be played.
Tale Ognenovski’s Macedonian folk dances have been performed in Switzerland (Mechanlizenz), France (Sacem), Sweden (Gema), Finland (Teosto), Great Britain, Denmark, Austria and others.

He has appeared with the Macedonian Ensemble of Folk Dances and Songs ‘Tanec’ on the world’s most prestigious concert stages during highly successful tours throughout North America and Europe. The group became a major attraction in every major city during the tours. Legendary artist Tale Ognenovski performed as clarinet and pipe soloist in Folk Dances in the world-famous Carnegie Hall, a symbol of artistic excellence, on January 27, 1956. There, he bewitched the audience with his performances as clarinet and pipe virtuoso soloist.

"There are some winning songs, too, and some remarkable music on both orthodox and unorthodox instruments - a raucous and unforgettable pipe (virtuoso pipe ("kavalche") and the clarinet soloist was Tale Ognenovski – a remark made by Stevan Ognenovski)... From an article written by John Martin and published in The New York Times, January 28, 1956, under the title: "Ballet: Yugoslav Folk Art ‘Tanec’ Dancers Appear at Carnegie Hall in Display of Tremendous Skill"

During his career, he appeared with the Macedonian State Ensemble of Folk Dances and Songs ‘Tanec’ on some of the world’s most prestigious concert stages. These include appearances in New York City (Carnegie Hall, January 27, 1956 and the Brooklyn Academy of Music, April 11 and 12, 1956), Boston (Symphony Hall, January 1, 1956), Chicago (Chicago Civic Opera House, February 4 and 5, 1956), Philadelphia (Academy of Music, February 7, 1956), Washington, D.C. (Constitution Hall, February 9, 1956), Baltimore (Lyric Theater, February 10, 1956), Pittsburgh (Syria Mosque Theater, February 12, 1956), Detroit (Masonic Auditorium, February 18, 1956), Indianapolis (Murat Theater, February 20, 1956), Saint Louis (Municipal Auditorium, February 26, 1956), Kansas City (Music Hall, February 29, 1956), Colorado Springs (City Auditorium, March 3, 1956), Denver (Auditorium Arena, March 4, 1956), San Francisco (Opera House, March 7 and 9, 1956), Los Angeles (Philharmonic Auditorium, March 12, 13 and 14, 1956), Houston (City Auditorium, March 28 and 29, 1956), New Orleans (Civic Theatre, April 1, 2 and 3, 1956), Atlanta (Tower Theatre, April 5, 6 and 7, 1956), Toronto (Massey Hall, February 13, 1956), Bonn (Town Theater, October 29, 1956), Munich, Stuttgart, Frankfurt, Paris, (September 20-22, 1959) Le Havre, Nantes, Lille, Geneva (July 9 and 10, 1959.), Berne (July 7 and 8, 1959.)...

During an 84-day tour throughout the United States of America and Canada , Ensemble ‘Tanec’ travelled 10,000 kilometres  and performed 66 concerts in 53 different towns. They were described as a Great Cultural Event by the American press, with articles appearing in The New York Times, The New York Daily Mirror, The New York Herald Tribune, The New York World Telegram, The New York Daily News, Boston Traveler, Boston Globe, Chicago Daily News, Chicago Daily Tribune, Saint Louis Globe Democrat, San Francisco Chronicle, Los Angeles Times, San Diego Union, The Milwaukee Journal, Washington News, Baltimore Sun,  The Christian Science Monitor, Denver Rocky Mountain News, Life, The Philadelphia Inquirer, The Globe and Mail, The Washington Post and the Times Herald. This particular tour is one of the longest and the most triumphant tours in the history of world music. Ensemble ‘Tanec’ twice repeated this great success, first with their tour of Germany from August 15 until October 27, 1956 during which they performed 72 concerts and second, with their tour of France from September 20 until November 25, 1959 during which they performed 83 concerts. There were two further concerts in Dortmund, Germany on September 18 and 19, 1959.

Raymond Guillier, director of his own company ("Les grands spectacles internationaux Les productions Raymond Guillier") and manager of Ensemble ‘Tanec’s 1959 tour of France, commented that no other Ensemble in the world could perform Macedonian folklore as well as ‘Tanec’, because every Macedonian girl and boy from the Ensemble gave their whole heart to the Dance, and a prime example of this was the clarinetist Tale Ognenovski. This was a particularly notable comment, since Raymond Guillier had organized many concerts in Paris and elsewhere in France for some of the best Ensembles in the world.

In December 1952, Tale Ognenovski played a solo clarinet accompaniment with the outstanding pianist Nino Cipushev. They performed the classical concert "Concert Polka for Clarinet" by Miler Bela in the "Police House" in Skopje with great success. Miler’s concert consists of complicated parts that demand great virtuosity, and many cadenzas that are difficult to perform. Tale Ognenovski performed this concert magnificently, and in doing so became the first clarinet soloist to perform a classical concert for the clarinet in the Republic of Macedonia. This was a memorable event in the history of music of the country.

Tale Ognenovski performed as clarinet soloist in concerts broadcast on Macedonian Television: firstly, Mozart’s ‘Clarinet Concerto in A Major K.622’ and Wagner’s ‘Adagio for Clarinet’ (1987) with the excellent pianist Tanja Shopova playing the piano accompaniment and secondly, Cavallini’s concert ‘Fiori Rossiniani’ (1970) with the legendary pianist Professor Ladislav Palfi playing piano accompaniment. In all of these, Tale Ognenovski demonstrated brilliance, technique and beautiful tone.

He learned to play many different instruments: besides the clarinet and pipe ("kavalche") , he played the saxophone , the horn ("zurla") , the oboe, the small bagpipe ("gajdarka") , the fagot and the drum ("tapan") with great dexterity.


 

As a virtuoso clarinet soloist in the film "Ritam i zvuk" (Rhythm and Sound) , 1955, he performed various Macedonian folk dances such as "Zhensko Chamche", "Beranche" and others with Ensemble ‘Tanec’. The producers of this film were "Vardar Film". In the film, the Macedonian folk dance "Zhensko Chamche" begins with some highly technical solo improvisations by Tale Ognenovski that don’t exist in the original version of the folk dance.
 
 

The International Folklore Committee organised the International Folklore Conference, held in Istanbul , Turkey, in 1977. Under the heading "Folklore on the Radio" magnetic tapes of two Macedonian folk dances were presented: "Kasapsko oro" (folk music, arranger Tale Ognenovski) and "Kumovo oro cocek" (composer Tale Ognenovski) performed by Tale Ognenovski, clarinet soloist, accompanied by the "Chalgii" Orchestra of Radio Television Skopje. These attracted great interest among the delegates of the IFC around the world.

Tale Ognenovski received numerous awards and honours , all amongst the most prestigious in the world of performing arts. The most significant awards were:

1.) First Award Clarinet as the best clarinetist at the First Macedonian Festival of Folk Dances and Songs, Skopje, October 6-10, 1948, ahead of musicians from 453 folk dance groups. "The First Award Clarinet was received by Tale Ognenovski from Bitola…" appeared under the title "Awards received by choirs, folk dance and song groups, solo singers and players who participated at the first Republic of Macedonia Festival of Folk Dances and Songs", published in the newspaper "Nova Makedonija" on October 13, 1948.

2.) First Award at the Yugoslav (Former Yugoslavia) Folk Music Festival in Opatija , Croatia, September 9-12, 1951, together with 11 other members of the folk dance group from the Bitola village of Nidzopole, ahead of 85 folk dance groups from Serbia, Bosnia and Herzegovina, Montenegro, Slovenia, Macedonia and Croatia. In the cultural newspaper "Kulturni radnik" Number 10-11, published in October 1951 in Zagreb, Croatia, Dr. Vinko Zganec wrote, under the title "Yugoslav Musical folklore at the Festival in Opatija", "the clarinet (the virtuoso clarinet soloist was Tale Ognenovski - remark made by the Stevan Ognenovski) and the large drum provided a most effective combination for the folk dance from Kozjak, as did the clarinet with the small drum for the folk dance "Teshkoto" from Nizhopole. The Yugoslav Folk Music Festival in Opatija had been specially arranged for the members of the Conference of the International Folk Music Council. "...We were privileged to see and hear for ourselves the beauty and variety of Yugoslav folk art at the wonderful Festival which had been especially arranged for the members of the Conference...there were moments during the Festival performances when we could recognize the magic of song and dance...an astonishing pageant of costume and custom, of ritual and social dance, of songs and instrument playing by 700 performers..." These comments appeared under the headings: "EDITORIAL" and "SOME IMPRESSIONS OF THE YUGOSLAV CONFERENCE AND FESTIVAL", published in the Journal of the International Folk Music Council, Vol. IV, pages 1-2, London, March, 1952.

3.) "Estradna nagrada Jugoslavije" ("Yugoslavian Stage Award"), the greatest award in former Yugoslavia for musical stage artists, from the Association of Stage Artists of Yugoslavia, (signed by the composer Miljenko Prohaska), Zagreb, Croatia, October 31, 1978.

4.) "Pochesna Estradna Nagrada na Makedonija" ("Macedonian Stage Award with Honours"), the greatest award in the Republic of Macedonia for musical stage artists, from the Association of Stage Artists of Macedonia, (signed by Bozhidar Noev), Skopje, Republic of Macedonia, May 27, 1996.

5. ) "Blagodarnica" (This is an honorary award) for life long work from the folk radio "Radio Ros" , (signed by the director Aleksandar Dimitrov), December 7, 2000.

6.) Tale Ognenovski received a Prestigious Lifetime Achievement Honors at Annual “10 Folk Biseri”  (“The Ten Folk Pearls”) Awards, sponsored by Macedonian Radio Television. He was on stage in Skopje, February 19, 2002, to personally receive his Lifetime Achievement Award   in front of the more than 700 spectators at the Macedonian National Theatre. This event was broadcast live to the millions spectators in Republic of Macedonia, Europe and Australia by Macedonian Television. The journalist, Eli Tanaskova said: “Tale Ognenovski is a great instrumentalist and composer for clarinet. He made the connection between Oriental and Western Music with extraordinary technique and wealth of invention. This year is the 80th anniversary of his birthday,  73th  anniversary of his playing on the reed pipe, 65th anniversary of his playing on the clarinet and 46th anniversary of his performances at world-famous Carnegie Hall in New York on January 27, 1956. The journalist, Boris Chorevski said: “Tale Ognenovski has composed 150 Macedonian folk dances.  His son Stevan and his grandsons Nikola and Kliment began playing his music, accompanying him as members of his Orchestra. In this “10 Folk Biseri” Awards Ceremony, Tale Ognenovski said: “Thank you very much to you respectable audience and to Macedonian Radio Television for this Prestigious Lifetime Achievement Honors at Annual “10 Folk Biseri” Awards. These days the journalists from many Macedonian newspapers has been written “Tale Ognenovski is the greatest clarinetist of all time in the World, demonstrating unique skill, a wealth of invention, amazing improvisational virtuosity, and outstanding musical competence in many areas of music…” . Special thanks to my son Stevan who wrote my biography in the book : “Tale Ognenovski virtuoso of the clarinet and composer” and he is author of my Web site. My Audio CD album entitled, "Jazz, Macedonian Folk Dances and Classical Music" is the best album for all time for instrumental music.My album has been released in USA. I wish you good health to all of you.” Tale Ognenovski earned rapturous applause from the audience. 

7. Tale Ognenovski won top honors as the winner of 11 Oktomvri award, the highest and the most prestigious national award in
   Republic of Macedonia.
  October 11 awards for special and eminent achievements in the areas of science, culture, art and journalism were handed at the Macedonian Parliament on Saturday, October 11th., 2003. Institute of Macedonian language "Krste Misirkov" from Skopje and Professor Dr. Ljupco Ajdinski, teacher of the handicapped, are the winners of the award in the area of science and education.
The winners of October 11 award for 2003 in the area of culture and art are Tale Ognenovski, the clarinet virtuoso, and Zoica Purovska-Velevska, prima ballerina from Skopje. Present at this ceremony on October 11, 2003 at Macedonian Parliament were Mr. Boris Trajkovski, President of the Republic of Macedonia, Mr. Branko Crvenkovski, Prime Minister of the Republic of Macedonia, Mr. Nikola Popovski, President of the Parliament of Republic of Macedonia , Mr. Kiro Gligorov, the First  President of Republic of Macedonia, Mrs. Radmila Shekerinska, Deputy to the President of the Government of the Republic of Macedonia, Ms. Liljana Popovska, Vice president of the Parliament of Republic of Macedonia, Members of the Parliament of Republic of Macedonia including Ms. Ganka Samoilova – Cvetanovska and Mr. Tito Petkovski…
The informations for Winners of 11 Oktomvri Awards were published at: Macedonian Radio (September 26, 2003), MIA (Macedonian Information Agency, September 26, 2003), http://vesti.mt.net.mk, newspapers: “Nova Makedonija”, “Vecher”, “Dnevnik”, “Utrinski Vesnik” and”Vest” (October 11 and 13, 2003), magazine “Makedonsko Sonce” (October 10, 2003), Macedonian Television, A1 Television, Sitel Television, Telma Television, Kanal 5 Television (October 11, 2003)…Read more...

Tale Ognenovski’s recordings for Radio Television Belgrade, Jugoton and Macedonian Radio Television are unique compositions based on Macedonian folk music but in places influenced by oriental, jazz and classical music. His pieces have a highly complex pattern of rhythm and attractive melody that is incomparable with any other kind of music known today. Tale Ognenovski’s contributions to world music are enormous. His remarkable music of consistently high quality is unique.

Tale Ognenovski is the finest exponent of clarinet playing. His performances are perfect and the sound he produces is a revelation in just how beautifully the clarinet can be played; from the lowest bass notes to pitches in his upper range, he maintains their timbre and purity. No one else can compare with his playing Macedonian folk dances, jazz and classical music on the clarinet. His delicate tonal precision, his ringing warmth, his musical and instrumental intonation and his technically demanding solos are a delight to listen to.

Tale Ognenovski lives in Skopje in the Republic of Macedonia. He has been playing the clarinet professionally for the past 67 years, from 1937 through to the present day. His clarinet is a ‘Buffet-Crampon’; he uses Vandoren 5RV and 5RV Lyre Clarinet Mouthpieces and Vandoren Clarinet Reeds.

Tale Ognenovski has opened up new possibilities for the clarinet that no one could have predicted.

His virtuoso and complex compositions are both interesting and fascinating for people to listen to and to admire. He has made solo performances and recorded pieces with many orchestras. He has been featured in many televised concerts broadcast in Europe and United States. His unique style with the clarinet has earned him an international reputation. His genius is ably demonstrated through his musical interpretations, compositions and band leadership. His compositions and clarinet interpretations are some of the most spectacular in the world of music.

His legend will live forever. His music has become a large part of the lives of many people. His music has moved their souls and touched their hearts. Music, which will forever be played and forever be loved, has brought tears to their eyes and smiles to their faces.

His composition range, his virtuosity, and his originality with a clarinet have made him a brilliant cult hero, a genius in the musical world. He is a genius, a brilliant musician and a giant of music.

ABOUT THE AUTHOR

                                  T H E  A U T H O R
                               Stevan Ognenovski M. Sc.

Born in 1948 in the village of Brusnik near Bitola, Republic of Macedonia.
He received a B.Sc. degree in electronics engineering (Graduate Engineer, Dipl. Ing. degree in electronics engineering) and M.Sc. degree in computer science, both from The Faculty of Electrical Engineering and Computing from the University of Zagreb, Croatia. He has written articles about the artistic works of his father Tale Ognenovski in the newspapers: "Nova Makedonija" (on November 10, 1997), Vecher (on October 7, 2002) and Utrinski Vesnik (on October 7, 2002),  in the newsmagazines: "Denes" (on October 29, 1998 and on October 10, 2002), Makedonsko Sonce (on November 15, 2002) and Makedonsko Delo (on November 22, 2002) ) and in the  web sites:  Mi2n - Music Industry News Network,   JazzReview.com ,   All About Jazz. He published the biography of Tale Ognenovski on the Internet on September 18, 1998. He is author of the  book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer.” Publishing house is MATICA MAKEDONSKA. The book is published in both Macedonian and English.

I am very proud to bring information about Tale Ognenovski to the Internet.

If you have any feedback for Tale Ognenovski please Email me at  steveogn@mt.net.mk and I will be glad to forward the mail.

                   Thank you for visiting the  Tale Ognenovski Web site.

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