by Ilir Kodhima
Albania is a country in southeastern Europe located on the western part of the Balkan Peninsula. Due to its strategic geographic location, Albania has often been part of great wars and tragic historical events; this has adversely affected artistic growth and development.
Classical music in Albania was introduced via wind orchestras. Much evidence for this can be seen in photographs from the city of Shkodra dating to 1878. The ensemble was first directed by the Italian conductor, Maestro Giovanni Canale. Three years later, the group was directed by the well-known Albanian Palok Kurti.
In the early 1900’s, wind orchestras were very popular throughout the country, becoming part of political and cultural events. The first city closely associated with wind orchestras was Shkodra. Almost every neighborhood or school in the city had its own wind orchestra made up almost exclusively of amateurs and students. One of the most popular wind orchestras was in the city of Skopje. The ensemble was supported by many nationalists, including Hasan Prishtina, Kolë Bojaxhi (St. Mother Teresa’s father), and others. This ensemble played a very important role in the inspiration and entertainment of the citizens during the fight for liberation from the Ottoman Empire.
Wind orchestras from two other cities played a similar role in this era:
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| Freedom Wind Orchestra of Korçë |
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| Afërdita Wind Orchestra of Elbasan |
During the 1900s, many Albanians immigrated to the United States. Although they lived in a foreign country, they established the “VATRA” association, still in existence. This association established the “VATRA Wind Orchestra” to financially support the reconstruction of houses destroyed during the various Balkan wars.
Of the many musicians who were part of wind orchestras in Albania, only a few of them graduated from music conservatories in Italy or other western or eastern European countries. Later, many of these musicians, such as Çesk Zadeja, Prenk Jakova, and others, became famous in Albania, contributing to the consolidation of cultural institutions in addition to enriching the Albanian musical repertoire.
Thoma Nasi, a notable artist who studied violin in Albania and Greece then subsequently graduated with a degree in flute from Boston Conservatory in the United States, created and conducted the first Albanian Symphonic Orchestra on April 6, 1924. Following the difficult period of Balkan and world wars, this orchestra returned in 1950, and after 3 years became part of the National Opera and Ballet. Horn players who were part of this orchestra included Osman Banushi, Muharrem Gurra, and Kristo Kote. These artists were also quite active in other musical fields like arranging, composing, and conducting.
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| High Institute of Arts, Tirana |
The current University of Arts, located in Tirana, was established in 1966. The first horn professors were Kristofor Qorri and Dhimitraq Gjergji. Both studied at the Military Conservatory “Vitta Needleho” in the former Czechoslovakia from 1958-1960. After graduation, they returned as the players and professors in various orchestras and music schools in cities across Albania. They were, thus, a crucial part of orchestral development and of the artistic growth of many young horn players. Local orchestras appeared across all of Albania, improving rapidly and bringing music to a much higher artistic level.
The change from a totalitarian communist system to a democratic one in Albania initially adversely affected all that had taken decades to build. Even still, many music schools lack representative professors, musical instruments, or even a library, making it very difficult to generate interest in orchestral instruments in the younger generation. An obstacle during this period has been the closure of many city orchestras, causing deep financial and artistic losses.
Since 2004, with the evolution of technology and internet access, we have had the opportunity to enrich our study methods and literature. In the past, students and professors used to copy pieces or even method books entirely by hand due to the lack of copy machines. Method books were very old and often limited in their approach in adapting to different levels of student progress. Finding an instrument or even a mouthpiece was very difficult if not impossible. Many music schools have totally closed their brass-wind departments, creating an alarming situation which will require long-term policy for reconstruction, both of infrastructure and of all necessary supporting materials and conditions.
Lately, thanks to various cultural organizations, and in particular to the Albanian Brass Festival (www.iabf.al), many horn players from around the world have shared their expertise and talent with a whole new generation, helping them improve quickly. Some of our guests have included Brent Shires, USA; Arkady Shilkloper, Russia; Gergely Sugar, Hungary; and Luca Benucci, Italy, among others.
To me, it seems that many European countries (and other nations around the world) have started to feel similar difficulties; and consequently, long-term policies must be implemented immediately for the improvement of situations that threaten the musical arts around the world.
Ilir Kodhima is the Artistic Director of the International Albanian Brass Festival, and he is professor of horn at the University of Arts in Tirana, Albania, as well as at the University Faculty of Arts in Pristina, Kosovo.
