The article examines Baroque references in three Trajkovic?s compositions:
Arion, Le nuove musiche per Chitarra ed Archi op. 8 (1979), Le retour des
z?phyres ou ?Zefiro torna? op. 25 (2001) and solo song Renoveau from the
cycle Cinq po?mes de St?phane Mallarm? op. 29, in its version for voice,
flute and piano (2003), all these compositions being unified by the idea of
modernity and novelty, metaphorically contained also in the idea of renewal
of nature, which connects music of the moderns from the beginning of the 17th
century and Trajkovic?s search for new paths in music, opposite to ?gothic?
tangles of the Avant-garde. Complex and multi-layered, the references to the
Baroque era in Trajkovic?s works reflect fundamentally generic, arche-textual
relations. Compositions Arion and Zefiro torna are set upon explicit
references to Italian origins of the Baroque epoch, in theoretical, as well
as in the creative domain (to Caccini?s collection of madrigals - Le nuove
musiche, 1601, and Monteverdi?s madrigal Zefiro torna, 1614, after Petrarch?s
sonnet). Zefiro torna, with a primarily French title and subtitles of the
?scenes? given after antique mythological sources, indicates, again, a
twofold generic relation: to the Italian madrigal tradition (including
another Monteverdi?s madrigal with the same title composed after Rinuccini?s
sonnet, from 1632) and the French tradition of opera/ballet, additionally
mediated by references to the opuses of Debussy and Ravel. Multiple literary
and musical trans-historical relations can be observed in the solo song
Renouveau. However, from these compositions, implicit generic relations, far
more than explicit para-textual references, with the whole corpus of themes,
forms, texts, discourses as well as crucial poetic concepts of the 17th
century music can be inferred.