{"id":2250,"date":"2025-11-01T14:06:13","date_gmt":"2025-11-01T12:06:13","guid":{"rendered":"https:\/\/cs-embe.ro\/klejda-tare-the-albanian-composers-after-ww-ii-and-the-influence-of-folk-in-their-first-rhapsodies-and-concerts-for-piano-and-orchestra\/"},"modified":"2025-12-06T22:41:59","modified_gmt":"2025-12-06T20:41:59","slug":"nr-8-1-2025-01","status":"publish","type":"page","link":"https:\/\/cs-embe.ro\/en\/nr-8-1-2025-01\/","title":{"rendered":"Klejda TARE – The Albanian composers after WW II and the influence of folk in their first rhapsodies and concerts for piano and orchestra"},"content":{"rendered":"\n[et_pb_section fb_built=”1″ _builder_version=”4.21.0″ _module_preset=”default” background_enable_color=”off” background_image=”http:\/\/cs-embe.ro\/wp-content\/uploads\/2023\/03\/paper.jpg” custom_padding=”||0px||false|false” animation_style=”fade” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.27.4″ _module_preset=”default” custom_padding=”||80px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”2_3″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]

Klejda TARE:<\/strong> The Albanian composers after WW II and the influence of folk in their first rhapsodies and concerts for piano and orchestra<\/p>[\/et_pb_text][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]

DOI: 10.63702\/csembe.2025.1.8.01<\/strong><\/p>[\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]

Keywords:<\/strong> Albanian concert music; piano and orchestra concertos; post-war music, folk traditions; socialist realism; rhapsodies; musical institutions; 20th-century compositions;<\/span><\/p>[\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]

Abstract:<\/strong><\/p>\n

In the decades following World War II, Albanian concert music entered its first major phase of institutional and artistic consolidation. This period witnessed the emergence of a professional repertoire for piano and orchestra, including rhapsodies and concertos composed by \u00c7esk Zadeja, Tonin Harapi, Pjet\u00ebr Gaci, Nikolla Zoraqi, Vangjo Nova, and Kozma Lara. Their works were strongly based on Albanian folk traditions, while also integrating European and Soviet compositional techniques into a new stylistic language, which constitutes an alloy between traditional European concert music and folk music. Institutional development was essential: the Jordan Misja Artistic Lyceum was founded in 1946, the State Philharmonic in 1950, and the Opera and Ballet Theatre between 1953 and 1956. In 1962, the State Conservatory of Tirana opened, providing advanced training and creating the necessary framework for professional performance. During the immediate postwar years, vocal and choral music predominated, largely due to ideological and structural conditions. Instrumental music developed more slowly, moving first through smaller forms before expanding into concert-scale works. By the late 1960s, important milestones were achieved: the rhapsodies for piano and orchestra of Harapi, Gaci, and Zoraqi (1967), Zadeja\u2019s Piano and Orchestra Concerto No. 1 (1968), Harapi\u2019s Piano and Orchestra Concerto No. 1 (1969), and Nova\u2019s Piano and Orchestra Concert-Fantasy (1969). Within Socialist Realism, these compositions combined Albanian folk idioms with Western classical forms, while preserving accessibility, an optimistic spirit, and a national character. This repertoire enriched Albania\u2019s cultural life, established lasting models, and laid a foundation for future generations of composers and pianists. The earliest works initially reflect the tendency of folkloric quotations (Harapi, Gaci, etc.), later, we distinguish the tendency of the essentialization of folklore in concert music works (Zadeja).<\/span><\/p>[\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]

References:
<\/strong><\/p>\n

1. \u00c7efa, S., & Kalemi, S. (1978). History of Albanian Music, Analysis of Works, Vol. II, p. 84, Tirana: School Book Publishing House.
<\/span>2. Harapi, T. (1967\/1968). Rhapsody for piano and orchestra, Tirana: Conservatory.
<\/span>3. Kalemi, S. (1972). Reviews and critiques of Albanian concert works. Drita, p. 3\u20135.
<\/span>4. Ko\u00e7i, A. (1972). Critical commentary on Zoraqi\u2019s Rhapsody. Rilindja, p. 10.
<\/span>5. Shupo, S. (1967). Albanian Musical Folklore, Encyclopedic Publication, Tiran\u00eb: 1997, fq. 297
<\/span>6. Tartari, A. (1975). Performance notes on Tonin Harapi\u2019s Piano Concerto No. 1. Tirana, RTSH Archives.
<\/span>7. Zadeja, \u00c7. (1968). Piano Concerto No. 1 [Score]. Tirana: Conservatory of Arts<\/span><\/p>[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.27.4″ _module_preset=”default” background_color=”#FFFFFF” custom_padding=”16px|16px|16px|16px|false|false” border_radii=”on|8px|8px|8px|8px” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_button button_url=”https:\/\/cs-embe.ro\/wp-content\/uploads\/2025\/12\/CSEMBE-2025-1.pdf” button_text=”Articol PDF” _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_button][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]

Published:
<\/strong>01.11.2025<\/strong><\/p>[\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”||8px||false|false” custom_padding=”||||false|false” global_colors_info=”{}” theme_builder_area=”post_content”]

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This work is licensed under a Creative Commons Attribution 4.0 International License.<\/span><\/a><\/p>[\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]

This work is licensed under a CC BY Creative Commons Attribution 4.0 International License<\/a><\/span>, which permits any use, reproduction, distribution, self-archiving and citation of the work as long as the authors are credited. The complete bibliographical data of Symbolon<\/em> Journal must also be indicated, which you can find in the How to cite<\/em> section on this page. If possible, please also place a link leading to the original publication. Copyright of articles belongs to the authors.<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"

Klejda TARE: The Albanian composers after WW II and the influence of folk in their first rhapsodies and concerts for piano and orchestraDOI: 10.63702\/csembe.2025.1.8.01Keywords: Albanian concert music; piano and orchestra concertos; post-war music, folk traditions; socialist realism; rhapsodies; musical institutions; 20th-century compositions;Abstract: In the decades following World War II, Albanian concert music entered its first […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-2250","page","type-page","status-publish","hentry"],"yoast_head":"\nKlejda TARE - The Albanian composers after WW II and the influence of folk in their first rhapsodies and concerts for piano and orchestra | Cercet\u0103ri \u0219i studii<\/title>\n<meta name=\"description\" content=\"N\u00eb dekadat pas Luft\u00ebs s\u00eb Dyt\u00eb Bot\u00ebrore, muzika koncertale shqiptare hyri n\u00eb faz\u00ebn e saj t\u00eb par\u00eb t\u00eb konsolidimit institucional dhe artistik...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cs-embe.ro\/en\/nr-8-1-2025-01\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Klejda TARE - The Albanian composers after WW II and the influence of folk in their first rhapsodies and concerts for piano and orchestra | Cercet\u0103ri \u0219i studii\" \/>\n<meta property=\"og:description\" content=\"N\u00eb dekadat pas Luft\u00ebs s\u00eb Dyt\u00eb Bot\u00ebrore, muzika koncertale shqiptare hyri n\u00eb faz\u00ebn e saj t\u00eb par\u00eb t\u00eb konsolidimit institucional dhe artistik...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cs-embe.ro\/en\/nr-8-1-2025-01\/\" \/>\n<meta property=\"og:site_name\" content=\"Cercet\u0103ri \u0219i studii\" \/>\n<meta property=\"article:modified_time\" content=\"2025-12-06T20:41:59+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/cs-embe.ro\/wp-content\/uploads\/2023\/03\/logo-acb-negru-3-limbi_var1-1.png\" \/>\n\t<meta property=\"og:image:width\" content=\"340\" \/>\n\t<meta property=\"og:image:height\" content=\"183\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/cs-embe.ro\/en\/nr-8-1-2025-01\/\",\"url\":\"https:\/\/cs-embe.ro\/en\/nr-8-1-2025-01\/\",\"name\":\"Klejda TARE - The Albanian composers after WW II and the influence of folk in their first rhapsodies and concerts for piano and orchestra | Cercet\u0103ri \u0219i studii\",\"isPartOf\":{\"@id\":\"https:\/\/cs-embe.ro\/#website\"},\"datePublished\":\"2025-11-01T12:06:13+00:00\",\"dateModified\":\"2025-12-06T20:41:59+00:00\",\"description\":\"N\u00eb dekadat pas Luft\u00ebs s\u00eb Dyt\u00eb Bot\u00ebrore, muzika koncertale shqiptare hyri n\u00eb faz\u00ebn e saj t\u00eb par\u00eb t\u00eb konsolidimit institucional dhe artistik...\",\"breadcrumb\":{\"@id\":\"https:\/\/cs-embe.ro\/en\/nr-8-1-2025-01\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/cs-embe.ro\/en\/nr-8-1-2025-01\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/cs-embe.ro\/en\/nr-8-1-2025-01\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/cs-embe.ro\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Klejda TARE – The Albanian composers after WW II and the influence of folk in their first rhapsodies and concerts for piano and orchestra\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/cs-embe.ro\/#website\",\"url\":\"https:\/\/cs-embe.ro\/\",\"name\":\"Cercet\u0103ri \u0219i studii. 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