Book "Tale Ognenovski Virtuoso of the Clarinet and Composer" written by Stevan Ognenovski, Mag.Scient.

Tale Ognenovski's biographer is his son Stevan Ognenovski, Mag.Scient.
(
http://www.taleognenovski.com.mk/cvstevano.html and http://www.facebook.com/StevanOgnenovski.MagisterWriterInstrumentalist/info

who wrote the book entitled: Tale Ognenovski Virtuoso of the Clarinet and Composer / Тале Огненовски виртуоз на кларинет и композитор (2000). Publishing house is Matica Makedonska, Skopje, Republic of Macedonia. The book is published in both Macedonian and English. The content of the book are: the biography of Tale Ognenovski and music notation of compositions of 67 Macedonian Folk Dances, "Tale Ognenovski Clarinet Concerto No.1" and "Tale Ognenovski Jazz composition No. 1" (all composed by Tale Ognenovski).
Editor in chief and Director Rade SILJAN; Editor Dejan PAVLESKI; Cover Stevan OGNENOVSKI Mag.Scient.; Design editor Niko P. TOZI; ISBN 9989-48-312-4 ; 406 pages (format A4).


Library of Congress information at

http://lccn.loc.gov/2003457521 and World catalog at
http://www.worldcat.org/oclc/56368816&referer=brief_results

This book you may order it now and you can receive buying info at:
Publishing house "MATICA MAKEDONSKA"
Bulevar Sveti Kliment Ohridski 23
1000 Skopje, Republic of Macedonia

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The Ministry of Culture for the Republic of Macedonia makes the publishing of this book possible by their financial support.
CIP Cataloguing in Publication of National and University Library "St. Kliment Ohridski" - Skopje, Republic of Macedonia: 78.071.1/.2 (497.7) (092) 788.6.089.6
ISBN 9989-48-312-4

Tale Ognenovski Virtuoso of the Clarinet and Composer / Тале Огненовски виртуоз на кларинет и композитор

Tale Ognenovski's biographer is his son Stevan Ognenovski, Mag.Scient. who wrote the book entitled: Tale Ognenovski Virtuoso of the Clarinet and Composer / Тале Огненовски виртуоз на кларинет и композитор (2000). Publishing house is Matica Makedonska, Skopje, Republic of Macedonia. The book is published in both Macedonian and English. The content of the book are: the biography of Tale Ognenovski and music notation of compositions of 67 Macedonian Folk Dances, "Tale Ognenovski Clarinet Concerto No.1" and "Tale Ognenovski Jazz composition No. 1" (all composed by Tale Ognenovski).
Editor in chief and Director Rade SILJAN; Editor Dejan PAVLESKI; Cover Stevan OGNENOVSKI Mag.Scient.; Design editor Niko P. TOZI; ISBN 9989-48-312-4 ; 406 pages (format A4).

SAMPLES FROM REWIEVERS OF THIS MONOGRAPH
"...This monograph consists of 12 important chapter in this own way represents a looking glass of the artist's profile. In the first chapter the author, using selected materials, has included biographical data and individual articles about Tale Ognenovski's performances, as well as significant statements about his contribution towards the common proclamation of our cultural values with Ensemble "Tanec" on their mammoth tours in the United States of America, Canada and Germany in 1956, followed by the tours in France and Switzerland in 1959. Perhaps the most significant of his performances with Ensemble "Tanec" was the one in the famous Carnegie Hall in America. After these particular appearances that introduced Tale Ognenovski with Ensemble 'Tanec' to the world, in the next chapter the author succeeds in presenting the most significant journalist and professional comments about the folk genius of the clarinet. These articles record the numerous awards and honours that he received for his artistic works. The author Stevan Ognenovski includes the music notationof the Tale Ognenovski's own dance compositions, in addition to the "Tale Ognenovski Clarinet Concerto for Clarinet and the "Tale Ognenovski Jazz Composition No. 1". With all these the artist's profile has become richer... This monograph contains valuable material for researcher in this area of folklore to use to study successfully this phenomenon called Tale Ognenovski" - Kiril Todevski, ethnomusicologist.
"This book can be distinguished from others by the way research has been extraordinarity complete and scrupulously conducted. An enormous number of richly illustrated moments in his life and the creative style of Tale Ognenovski make it possible for everyone to see the extraordinary values and dimensions of this artistic person as one of the most important instrumental maestros in the world and a uniquely creative musician. Following the life history and the art of this great musician, Stevan Ognenovski Mag.Scient. presents the rich variety of events during these times and the creative works of the maestro. Before our very eyes appear numerous persons and manifestations as components of one treasured part of Macedonian spirit and cultural history. These things contribute additionally towards the value of this book..." - Dushko Dimitrovski, ethnomusicologist.

Library of Congress information at
http://lccn.loc.gov/2003457521 and World catalog at
http://www.worldcat.org/oclc/56368816&referer=brief_results


Parts of the book entitled: "Tale Ognenovski, Genius Virtuosoof the Clarinet and Composer / Тале Огненовски виртуоз на кларинет и композитор"

Stevan Ognenovski Mag. Scient. 

Monograph of Tale Ognenovski
Virtuoso of the Clarinet and Composer of Macedonian folk dances, jazz and classical music.

BIOGRAPHY AND MUSIC NOTATION OF COMPOSITIONS
OF MACEDONIAN FOLK DANCES, JAZZ AND CLASSICAL MUSIC. 
 

INTRODUCTION

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 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.

Ognenovski’s compositions are extremely skilful and he exploits the sounds of different sounding registers of the instrument very effectively. 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 and Austria. 
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 the author)... 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 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. These concerts were heralded as great cultural events by the American press. 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. Bela’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 country’s history of music.

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. He was the greatest clarinetist of all time, demonstrating unique skill, a wealth of invention, amazing improvisational virtuosity and outstanding musical competence in all areas of music.

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 author) 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 Nidzopole. 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.) “Pocheshna 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. 

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.

On February 25, 1999, the Tale Ognenovski Web site
http://www.taleognenovski.com.mk/index.html was listed on Anne Bell’s Clarinet Website Index on the Internet under http://www.sneezy.org/anne_bell/ABCClar.htm, together with another 20 world famous clarinetists. The actual address is http://www.anne_bell.sneezy.org/ABCClar.htm.

My thanks to my dear father Tale Ognenovski, to my lovely wife Margarita and to my dear sons Nikola and Kliment for their support and understanding during my writing this biography. 

Stevan Ognenovski, Mag. Scient.

ACKNOWLEDGEMENTS

The author of this book wishes to express his sincere gratitude to: My dear friends Mrs. Susan Prefontaine from Buffalo, New York, USA and Mr. Dimce (Jim) Cvetkovski from Buffalo, New York, USA for the copies of the North American newspapers and the Journal of the International Folk Music Council, and for the information about the Wesleyan Cinema Archives; My dear friend Mr. Georges Andres from Bourges, France for the copies of the French newspapers: “Le Berry republicain” and “La nouvelle republique du Centre”; My dear friends Mrs Suzana Jolevska and Mr
Ph.D. Zoran Jolevski (He is a Macedonian diplomat and the ambassador of the Republic of Macedonia to the United States of America) from Skopje, Republic of Macedonia and their friend Mr. Zhivko Velkov from Geneva, Switzerland for the copies of the Swiss newspaper Tribune de Geneve; My dear friend Mrs. Radmila Vishinska, folk dancer in Ensemble ‘Tanec’ for the photograph of all the members of the Ensemble taken in the Metro-Goldwyn-Mayer film studio, Hollywood on March 12, 1956 and for the photograph from Paris;
My dear friend Mr. Stanko Livrinski, folk dancer in Ensemble ‘Tanec’, for the names of the towns included in its tour of France in 1959; My dear friend Roska Badeva, daughter of the legendary singer Nikola Badev, for the two photographs of Nikola Badev with Tale Ognenovski, and for the poster commemorating the 25th anniversary celebrations concert of Radio Television Skopje, 1969; “Kinoteka na Makedonija” for the prints from the Vardar film “Ritam i zvuk” (Rhythm and Sound) and for the special showing of this film for the author of this book on May 31, 1999; Ensemble ‘Tanec’ for the timetable of their 1956 North American tour; Wesleyan Cinema Archives for their information as to who owns copies of the Omnibus programme, including that broadcast on January 22, 1956, when the Ensemble performed on American television. These may be viewed free of charge only at Wesleyan Cinema Archives or at the Library of Congress in Washington, D.C.

Stevan Ognenovski, the author of the biography part of this monograph, expresses his sincere gratitude, firstly, to his dear friend Mrs. Susan Prefontaine for her English corrections of the text of this book until page 130, secondly, to his friend Mr. Christopher Bridge, for his proofreading the final English text and, finally, to Prof. Olga Smilevski for proofreading the Macedonian text.

The Ministry of Culture for the Republic of Macedonia makes the publishing of this book possible by their full financial support. I am grateful to the Minister of Culture for the Republic of Macedonia for his decision to finance this Monograph. My thanks also to the publisher “Matica Makedonska” for publishing this monograph in both Macedonian and English.

Stevan Ognenovski, Mag. Scient. 

Skopje, December 12, 2000

Photos of Tale Ognenovski at the wedding of his son Stevan Ognenovski and Margarita Ognenovska, November 13, 1977.

I. TALE OGNENOVSKI’S BRILLIANT CAREER AS A MUSICIAN 
AND COMPOSER 
This is the story of one of the most extraordinary figures in the history of world music. 
Tale Ognenovski is one of the world’s most innovative and renowned professional instrumentalists, and is the greatest clarinetist of all time. His compositions of various kinds of music made him a musical phenomenon. On January 27, 1956, Tale Ognenovski, Macedonian clarinetist and composer, appeared with the Macedonian Ensemble ‘Tanec’ at Carnegie Hall in New York City. He toured throughout North America and Europe, and amazed audiences with his brilliant musical ability.
Tale Ognenovski’s remarkable international career has enabled him to make a significant contribution to the world of music with his own style and unique abilities. With the clarinet and pipe (“kavalche”), he demonstrated inimitable technique, a wealth of invention and outstanding musical competence. 

1. Musical genius Tale Ognenovski 

Tale Ognenovski was born in the village of Brusnik near Bitola in the Republic of Macedonia on April 27, 1922. 
His music styles include Macedonian folk dances, classical music and jazz.
He plays the following instruments: clarinet, pipe (“kavalche”), saxophone, horn (“zurla”), oboe, small bagpipe (“gajdarka”), fagot and drum (“tapan”). 
He is bandleader of the Tale Ognenovski Orchestra. 
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 his tours around the world, Tale Ognenovski performed in a multitude of concerts. In the United States (65 concerts, from January 22, 1956 till April 12, 1956), Canada (Toronto Massey Hall, February 13, 1956), Germany (74 concerts, from August 15, 1956 till October 27, 1956 and September 17 and 18, 1959 in Dortmund), France (83 concerts, from September 20 till November 25, 1959), Switzerland (Berne, July 7 and 8, Geneva, July 9 and 10, 1959), Bulgaria (November and December, 1955), Romania, (9 concerts, December, 1957 and January 1958), Albania (9 concerts, October, 1957), Bosnia and Herzegovina, Monte Negro, Slovenia, Serbia and Croatia. The public and audiences greeted ‘Tanec’ wherever they performed with great warmth, and showed their appreciation with huge applause. Tale Ognenovski and all other members of the Ensemble became international ambassadors of music. 

During his career, Tale Ognenovski composed and arranged 150 Macedonian folk dances. They were recorded at the studio of Macedonian Radio Television. 138 are solo pieces on the clarinet and 12 are solo pieces on the pipe (“kavalche”). The majority of them are his own compositions. 

Most of these folk dances that were recorded on gramophone records or cassettes were performed by his own Tale Ognenovski Orchestra, with others performed by various orchestras of Macedonian Radio Television, the Galevski-Nanchevski Orchestra, the Kocho Petrovski Orchestra and the Pece Atanasovski Orchestra. With his own Tale Ognenovski Orchestra, he recorded 17 gramophone records with famous singers (Gramophone producers: RTB, Jugoton, Beograd Disk, and Diskos). As a performer with other orchestras, he recorded more than 30 gramophone records with famous singers.
Several Macedonian folk dances that he composed, including “Bitolsko svadbarsko oro”, “Bitolsko oro”, “Pelistersko oro” and “Resensko oro” were performed in many countries. 

2. Tale Ognenovski’s unique talent and musical genius.
Tale Ognenovski inherited his great talent and musical genius from his great-grandfather Ognen and grandfather Riste, both of whom were excellent players on the pipe (“kavalche”), and from his father Jovan who was an excellent player on the bagpipe (“gajda”). At every celebration in his village of Brusnik, his father Jovan invited to his home the clarinetist Sterjo, accompanied by two other musicians who played the violin and drum, or the clarinetist Lambo, together with two other musicians who played the violin and drum (Lambo’s son Tode played the drum). On these occasions Tale’s father Jovan played the bagpipe. When little Tale was six years old he began to accompany them playing the “daire” (some kind of little drum).
It was during these moments that Tale began to love playing musical instruments. He began to play on the pipe (“kavalche”) at the age of 7 (1929) when he also made his first musical composition. These particularly happy times in Tale’s life were broken suddenly, in 1933, when his father Jovan died. By the time Tale was 15 (1937) he was an excellent player on the pipe. During one celebration in Brusnik he asked the clarinetist Vasil Talevski to lend him his clarinet. Tale began to play the clarinet for the first time, and all the villagers who were present, including Vasil Talevski, Mile Karangelevski and the priest Spase were amazed at how well he played. 

It was then that one of the most successful careers in the world of music began. Tale’s grandmother Mara and mother Vanka provided some money to buy Tale his first clarinet, and the priest Spase helped them to order it from Celje, Slovenia. Tale began to play the clarinet at many celebrations and concerts in villages and the town of Bitola with many other musicians. His youngest brother Aleksandar (Cane) was also very talented musically. He was a great singer of Macedonian folk songs and also an excellent drummer. 
Tale Ognenovski’s family: his father Jovan, mother Vanka, grandmother Mara and youngest brother Cane when Tale was 4 years old.

From 1946 till 1951 he played in the Cultural-Educational Societies of “Svetlost” and “Stiv Naumov” in Bitola, and folk dance groups from the villages of Brusnik, Dihovo, Nidzepole, Rotino and Lavci. Always a lover of classical music, Tale Ognenovski was prepared to study alone to learn to play classical music on the clarinet. He performed many times in radio broadcasts on Radio Bitola. He received the First Award as the best clarinetist at the first regional Bitola Festival of Folk Dances and Songs, held on October 9-11, 1947. From November 1, 1948 till December 30, 1948, he was a member of the Folk Orchestra of Radio Skopje on the invitation of Mr. Vasil Hadzimanov and Mr. Nikolaj Galevski. This was after he had received the First Award Clarinet as the best clarinetist at the first Macedonia Festival of Folk Dances and Songs, held in Skopje in 1948. He played many times with the Radio Skopje studio folk orchestra, and many of these performances were broadcast. 

From 1949 to 1951, at the invitation of Mr. Angel Saldziev, Assistant Director in the Ministry of Science and Culture in Republic of Macedonia, Tale Ognenovski toured the Republic of Macedonia accompanied by folk dance groups from the villages of Brusnik, Dihovo, Nidzepole and Lavci, and the “Chalgii” orchestras of Radio Bitola and Radio Skopje. Mr. Angel Saldziev was the manager of these tours, which were at the time significant musical events in Macedonia.

Tale Ognenovski won First Award at the Yugoslav (Former Yugoslavia) Folk Music Festival in Opatija, Croatia, September 9-12, 1951, together with another 11 members of the Folk Dance Ensemble from the Bitola village of Nidzepole. This was out of 85 folk dance groups from Serbia, Bosnia and Herzegovina, Montenegro, Slovenia, Macedonia and Croatia. From 1951 till 1954, Tale Ognenovski worked as a member of the “Police Wind Orchestra”. 

3. In 1952, Tale Ognenovski became the first clarinet soloist in the history of the Republic of Macedonia to perform a classical concert for the clarinet.

In December 1952, Tale Ognenovski as clarinet soloist, together with the superb pianist Nino Cipushev as accompaniment, performed the classical concert “Concert Polka for Clarinet” by Miler Bela in the “Police House” in Skopje with outstanding success. This classical concert by Miler Bela consists of complicated parts with many cadenzas demanding great skill and expertise from a clarinet soloist. With his superb performance, Tale Ognenovski became the first clarinet soloist in the history of the Republic of Macedonia to perform a classical concert for the clarinet. This was a notable event in the history of Macedonian music.

He staged further classical performances throughout his career. On May 24, 1953 he played clarinet soloist in the classical concert “Concert Polka for Clarinet” by Miler Bela with Gligor Smokvarski’s arrangement for the “Public Police Wind Orchestra”, comprising about 30 musicians and conducted by Micho Kostovski. The concert was performed in the Radio Skopje building, and broadcast directly to the nation via Radio Skopje.
Periodically, from 1949 till 1960, he played solo clarinet with the Small Radio Skopje Orchestra conducted by Nikola Galevski on an honorary basis. These concerts were also broadcast nationally by Radio Skopje. From November 15, 1951 till 1954, he worked with the “Public Police Wind Orchestra”. From 1954 till 1956, he worked with the “Public Town Skopje Orchestra,” and from 1956 till 1960 with the Macedonian State Ensemble of Folk Dances and Songs ‘Tanec’. 

4. Tale Ognenovski as a virtuoso clarinet soloist performed Macedonian folk dances with Ensemble ‘Tanec’ in the film “Rhythm and Sound,” 1955.

In Vardar Film’s 1955 production of “Ritam I zyuk (Rythym and Sound), Tale Ognenovski as a virtuoso clarinet soloist performed the Macedonian folk dances “Zhensko Chamche” and “Beranche” with Ensemble ‘Tanec’. In the film, “Zhensko Chamche” begins with some technically very complicated, solo improvisations by Tale Ognenovski that do not appear in the original version of the folk dance.

By the end of 1955, Tale Ognenovski worked with the “Police Wind Orchestra”. There followed a request by Emanuel Chuchkov, the director of Ensemble ‘Tanec’, to the manager and conductor of the “Police Wind Orchestra”, Micho Kostovski, for Tale Ognenovski to be a guest soloist of the Ensemble. Their first tour was to Bulgaria (November and December, 1955), followed soon after by a tour throughout the United States of America and Canada (66 concerts, between January 22, 1956 and April 12, 1956). During the period July 1, 1956 and September 1, 1960, while employed by Ensemble ‘Tanec’, he toured Germany (74 concerts, from August 15, 1956 until October 27, 1956 and September 18 and 19, 1959 in Dortmund), Albania (9 concerts, October, 1957), Romania (9 concerts, December, 1957 and January 1958.), Switzerland (Berne, July 7 and 8 and Geneva, July 9 and 10, 1959), France (83 concerts, from September 20 until November 25, 1959). He also toured with the Ensemble throughout the former Yugoslavia, in Bosnia and Herzegovina, Monte Negro, Slovenia, Serbia and Croatia; everywhere they performed, Ensemble ‘Tanec’ and Tale Ognenovski earned rapturous applause.

From 1960 to 1967, Tale Ognenovski worked with “Radio Television Skopje”.
During the years 1962 to 1965, Tale Ognenovski took part in a review programme by Radio Skopje entitled “A Competition of the Towns”. He also performed as a musician for Radio Skopje, was a leading instrumentalist with the folk orchestra, and coordinator of auditions and the selection of singers from all the towns in the Republic of Macedonia. 

As a member of the folk orchestra, he played Macedonian folk dances as a clarinet soloist at the First Festival of Yugoslavian (Former Yugoslavia) Folk Music that was broadcast on radio in Skopje, Macedonia (April 14-16, 1967). As a clarinet soloist with Radio Television Skopje’s Folk Music Orchestra, he played other Macedonian folk dances that were broadcast on television by “Television Zagreb”, Zagreb, Croatia. (1966) 
During the 1960s Tale Ognenovski played as clarinet soloist in many Macedonian folk dances and songs in numerous theatrical performances at the Macedonian National Theatre.

5. In 1966, Tale Ognenovski became Head of the “Folk Music Orchestra” of “Radio
Television Skopje”

In 1967 Tale Ognenovski retired, but he continued to play on an honorary basis in the “Chalgii” Orchestra on “Radio Television Skopje” until 1972.

He performed his own compositions of Macedonian folk dances as clarinet and pipe soloist at a special concert marking the 25th anniversary of the founding of Radio Television Skopje, performed in the Universal Hall in Skopje on December 19, 1969. At this concert, Tale Ognenovski demonstrated his rich talent by performing with all three, different folk music orchestras of Radio Television Skopje, namely the Folk Music Orchestra, the “Chalgii” Orchestra and the Authentic Folk Instruments Orchestra. The audience that jammed the Universal Hall to capacity gave enthusiastic applause. The concert was a great success, with many other famous singers and instrumentalists taking part.
During the 1960’s, Tale Ognenovski performed at many concerts in the Former Yugoslavia with the orchestra of the legendary Kocho Petrovski. The orchestra included among its members Dr. Aleksandar Vasevski and Slobodan Nikolovski.
As clarinet soloist, Tale Ognenovski performed his own compositions of Macedonian folk dances on the television programme “Yugoslavia, Good Day” broadcast on “Television Zagreb” in Croatia, February 27, 1975. 

He appeared as a special guest clarinet soloist at the concert marking the 30th anniversary of the founding of the Cultural Artistical Society “Ilinden” in Bitola, held in the “House of Culture”, Bitola in December, 1985. His performances on the clarinet of many of their own, brilliantly composed Macedonian folk dances accompanied by “Ilinden” itself, earned him rapturous applause from the audience.
He appeared as a special guest clarinet soloist at the concert marking the anniversary of the founding of “Radio Television Belgrade” held in the “House of the Syndicate” in Belgrade, Yugoslavia, 1969. He played as clarinet soloist two Macedonian folk dances, both of which he composed: Bitolsko svadbarsko oro, and Brusnichko oro. He had as accompaniment the Folk Music Orchestra of “Radio Television Belgrade” conducted by the famous violinist Miodrag - Rade Jasharevic. Tale Ognenovski received great applause for his virtuoso playing on the clarinet. This concert was broadcast live on “Radio Belgrade”.

Some of the crowning events of Tale Ognenovski’s professional career were his performances as soloist on concerts broadcast on television by Macedonian Television. These include Mozart’s ‘Clarinet Concerto in A Major K.622’ and Wagner’s ‘Adagio for Clarinet’, performed in 1987 and accompanied by the excellent pianist Tanja Shopova, and Cavallini’s concert ‘Fiori Rossiniani’ performed in 1970 and accompanied by the legendary pianist Professor Ladislav Palfi. He demonstrated brilliant technique and beautiful tone on each occasion.

National Macedonian Radio broadcast numerous folk music programmes in which were included Macedonian folk dances composed and/or arranged him, and in which he was virtuoso clarinetist and pipe soloist. Three Macedonian folk dances were included in the programme “Sunday folk hit”, broadcast on May 2, 1999. These were “Pelistersko oro”, “Poljansko oro” and “Kumovo oro - chochek”, all his own compositions. Also included in the programme was a biography of Tale Ognenovski edited by Orce Gelevski.

Many musicians from Macedonian Radio Television worked together with Tale Ognenovski with the recording of numerous folk dances and songs. These included Nikolaj Galevski, Angel Nanchevski, Kocho Petrovski, Ivan Terziev, Blagoja Deskovski, Aleksandar Piperkov, Ljupcho Pandilov, Stevo Teodosievski, Todor Petrovski-Tosho, Aleksandar Sarievski, Naser, Suljo, Dimitar Najdenov Taki, Hustref Said, Tosho Gjorgjevic, Metodija Zafirovski-Smolski, Hilmi Baki, Raim Baki, Apostol Gelevski, Pece Atanasovski, Dimitar Bugarski, Dragi Simonovski, Dimitar Krstevski, Risto Vasilevski, Vasil Ivanovski-Javasho, Pero Jarchev, Muarem Sakipov, Mamet, Dragi Anchevski, Angele Dimovski, Tihomir Veskovski, Mahmud Muzafer, Nikola Cvetkovski, Mile Kolarovski, Todor Pavlovski , Ljupcho Ilievski, Petar Lukic, Todor Trajchevski, Petar Petrov, Liljana Avtovska, Borche Polizovski, Slobodan Serafimovski, Vlado Dimitrovski, Mendo Dear, Kosta Smilevski, Mladen (Mladjo), Vesel Chun, Medo Chun, Moamed Chun, Amet Eminov, Akim Memedov, Mefail Sakipov, Moamer, Tome Chrchev, Redzep Pampurovski, Moarem Sali, Slobodan Nikolovski, Kurto and Dimitar Krcovski. 

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. 

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. 

Tale Ognenovski was a member of the Composers’ Association of Yugoslavia (Former Yugoslavia) from 1963 till 1990. 
41 of Tale Ognenovski’s compositions had been recorded on 20 gramophone records up until May 28, 1973 (source: a letter dated May 28, 1973 from the Composers’ Association of Yugoslavia (Former Yugoslavia)). Tale Ognenovski had composed 128 pieces of musical up until March 29, 1988 (source: a letter dated March 29, 1988 from the Composers’ Association of Yugoslavia (Former Yugoslavia)). 

He has played on the clarinet in many concerts performing with the following Orchestras and Ensembles: the cultural-educational societies in Bitola of “Svetlost”, “Stiv Naumov”, “Ilinden”; folk dance groups from the villages of Brusnik, Dihovo, Nidzopole, Rotino and Lavci; the Radio Bitola orchestras; the Macedonian State Ensemble of Folk dances and Songs “Tanec”; cultural art societies: “Vlado Tasevski” and “Kocho Racin”; the academic culture and art society “Mirche Acev; other Ensembles of folk dances and songs including “Orce Nikolov”, “Goce Delchev”, “Dom na gradezhnici Skopje”, “Hor na invalidi Skopje” and “Dom na borci i invalidi Skopje”; the Macedonia Radio and Television folk music orchestras: the Folk Music Orchestra, the “Chalgii” Orchestra and the Authentic Folk Instruments Orchestra; the Orchestra of the legendary Stevo Teodosievski and the Ljupcho Pandilov Orchestra.

He made his recording debut as a composer with the Galevski-Nanchevski Orchestra in 1963, with three Macedonian folk dances all composed by him, and in which he played solo clarinet: “Bitolsko svadbarsko oro”, “Bitolsko oro” and “Pelistersko oro”. The record (EP 14700) was produced by “RADIO TELEVIZIJA BEOGRAD” (Radio Television Belgrade, Belgrade, Yugoslavia). 

6. In 1965, Tale Ognenovski established his own “Tale Ognenovski Orchestra”

The year 1965 saw Tale Ognenovski establish his own “Tale Ognenovski Orchestra” in Skopje, and “RADIO TELEVIZIJA BEOGRAD” produce the record EP 14711. On this record, he gives solo clarinet performances of his four compositions, Prespansko oro, Kumovo oro, Deverovo oro and Dihovsko oro, accompanied by the “Tale Ognenovski Orchestra”.

The members of Tale Ognenovski Orchestra were: Blagoja Deskoski, Slavcho Gjurchilov, Dragi Bogatinov, Mile Serafimovski, Kiril Zivkovski, Borche Polizovski, Sime Fonchev, Mile Serafimov, Hilmi Baki, Raim Baki, Muarem Sali, Redzep Pampurovski, Pande Kominovski, Ilija Stavrevski, Mladen Stojanovic, Dimitar Bugarski, Pancho Musev, Akim Memedov, Rushan, Mefail Sakipov, Hustref Said, Mile Brzanov, Aristid Filaktov, Moamed Chun and Vlado Dimitrovski. 

“The gramophone record epy-3914, which was recorded with your Ensemble...” 
In 1967 a letter, reference ‘My/Mlj’, was sent by Jugoton, producers of gramophone records in Zagreb, Croatia to Tale Ognenovski. In this is written: 
“Dear Mr. Ognenovski. The gramophone record epy-3914, which was recorded with your Ensemble and with the singer Anka Gieva, is produced and already delivered to the market. We are sending you two records, one for you and one for Mrs. Anka Gieva. We wish you further great success in the future and send you our regards.”

“Resensko oro” performed by Tale Ognenovski as solo clarinetist is recorded on the LP “YUGOSLAVIAN FOLK DANCES” 
The Macedonian folk dance “Resensko oro” is available on the Jugoton LP “YUGOSLAVIAN FOLK DANCES” (“PLESOVI NARODA JUGOSLAVIJE”), reference number LPYV-S-806. “The tracks on this record contain instrumental, musical folk-dance accompaniments arranged for the public... The aksak rhythm appears in the musical accompaniment of the Macedonian “Resensko oro” (A-4, composed and performed by Tale Ognenovski as solo clarinettist, accompanied by his Tale Ognenovski Folk Ensemble), in a three-beat rhythm, with the extended first unit...” wrote Dr Jerko Bezic on back cover of this record.

7. The 35th anniversary of the founding of “Radio Television Skopje” 
“...Tale Ognenovski who has demonstrated his rich talent by performing with all three different folk music orchestras...” - LP ULS-578 

In 1979, Jugoton produced the LP reference number ULS-578 (P 1979) presenting recordings of Tale Ognenovski performing for Radio Television Skopje. The LP contains 15 Macedonian folk dances and songs, one of which is the Macedonian folk dance “Veleshko zhensko oro”, composed and performed by the virtuoso clarinet soloist Tale Ognenovski. 
Some text is written on the back cover of this LP in both Macedonian and English language. A part of this text reads:

THE SKOPJE RADIO AND TELEVISION FOLK MUSIC ORCHESTRAS
THE FOLK MUSIC ORCHESTRA

...The basic form in which it presents both songs and dances is the so-called level of improvisation which being both inspiring and inventive is relatively close to the common folk way of playing music, which in conditions of live folklore helps the song not to become petrified. This orchestra also fosters differing styles and arrangements. Besides Nikola Galevski, a number of talented instrumentalists have contributed greatly to the qualitative growth of this ensemble. We should certainly mention the names of Angel Nanchevski, Pero Jarchev, Kocho Petrovski, Ljupcho Pandilov, Ivan Terziev, Stevo Teodosiievski, Tale Ognenovski and Blagoja Deskoski - who is in charge of this orchestra - and others. 

THE “CHALGII” ORCHESTRA

...Firmly principled in its style, and adaptable to the “chalgija” sound of as many of our folklore regions as possible, the orchestra has always selected as its members the best instrumentalists from all three different “chalgija” schools, that is, from the Skopje, Veles and Bitola schools. Its rich repertoire ranges from this and last century’s old-town songs and dances to those with patriotic motives created during the Liberation war. As “chalgija” is also characteristic of the folklore of other nationalities and ethnic groups who live in Macedonia, the orchestra has produced many Turkish, Albanian, Vlach and Gypsy songs and dances working together with a number of top singers and groups that cultivate this style. However, the orchestra’s instrumentalists themselves have often successfully managed to blend their own group singing into this orchestra. To mention a few: Ordan Hristov, Emin Memedov, Bekir Hadzi Kune, Jashar, Aki Memedov-Chun, Taki Najdenov, Koce Pandilov and Tale Ognenovski who has given a true expression of his rich talent performing with all three different folk music orchestras
.


THE AUTHENTIC FOLK INSTRUMENTS ORCHESTRA 

…Unique in its sound and very skilful in its ability to create styles and regional sound combinations, this ensemble is a truly spirited performer of our centuries-long authentic music treasure. Working together with many eminent singers and talented individuals from this area who have accurately interpreted our country songs, it has created a large repertoire. The manager of the orchestra is Pece Atanasovski, a well-known master on the bagpipe even outside of Yugoslavia. Among the other well-known instrumentalists, we should mention Todor Boshov, Mile Kolarov, Tale Ognenovski, Nikola Cvetkovski, Meophail Sakipov, and Angele Dimovski. 

With their numerous performances and tours both in Yugoslavia and abroad, the Radio Skopje folk music orchestras have played a great part in the presentation of Macedonian folk music, and its beauty, to the world. 

Tale Ognenovski’s wife Nevena Ognenovska, who had supported his great music career, died in 1972. He dedicated two of his compositions to her, and gave her name Nevena to the Macedonian folk dance “Nevenino oro” (composed by Tale Ognenovski, and available on the LP and cassette “Tale Ognenovski, clarinetist, plays dances”, with the respective reference numbers LPY-61143 and CAY 321, and produced by Jugoton in 1975; also, the record “Macedonian folk dances played on clarinet by Tale Ognenovski accompanied by his Ensemble”, reference number EPY-3851, and produced by Jugoton in 1967, and “Nevenino Lavchansko oro”, composed by Tale Ognenovski and recorded on magnetic tape by Macedonian Radio Television in 1983.
8. “TALE IS UNIQUE. During the past couple of decades he has continuously demonstrated his skill at original and superb interpretation displaying the passion of one that is in love, and the style of a virtuoso” - a comment by Gjoko Georgiev on LP 1439 RTB, produced in 1979.

The LP record “Macedonian folk dances played by Tale Ognenovski” (“Makedonski igraorni ora sviri Tale Ognenovski”) reference number LP 1439 STEREO was produced by Radio Television Belgrade in Belgrade in 1979. On the back cover of this record Gjoko Georgiev, the well-known editor of music for Radio Television Skopje, wrote this article entitled “TALE IS UNIQUE” in Macedonian:

“This record allows you to hear the unique, famous, music personality, the solo clarinetist Tale Ognenovski. When hearing the music, you will feel exhilarating folklore all around you, of the sunny, sad and bright legend of the south being transferred into music. These days Tale is a recognised poet and interpreter of Macedonian folk dances and songs. He will live on in the Macedonian folk dances contained on this record. During the last couple of decades he has continuously demonstrated his skill at original and superb interpretation, displaying the passion of one that is in love, and the style of a virtuoso. But he has taken this further, by managing to combine both classical and folk music in the same performance, while keeping their particular styles separate. He demonstrated this while performing Ernesto Cavallini’s Concert “FIORI ROSSINIANI”, Weber’s Concert in ef-mol and Mozart’s Concert in A Major accompanied by Ladislav Palfi on the piano and broadcast on Radio Television Skopje. He has performed many times in public and played jazz styles based on music by Yugoslav composers, Benny Goodman, Artie Shaw...

In this particular area of music, we learn that Tale Ognenovski first began to play the clarinet in Brusnik near Bitola; he then drifted through the Pelagonia plane, crossed over the Vardar and toured throughout Macedonia, thence throughout America, Canada and many European countries. As he grew so he enlightened audiences and became wealthy, never again to possess the hands of a poor village boy from mountains of Pelister. This record is only a little small example of Tale’s work, but enough to make you aware of his strength and talent” 

9. This Macedonian clarinetist is an extraordinary musician” - Ilustrovana Politika

“…Radio Television Belgrade issued a LP of Macedonian folk music, on which are performances by the extraordinary clarinetist Tale Ognenovski. His music repertoire is folk dances, jazz (besides others he includes works by Benny Goodman and Artie Shaw), concerts from Weber, Mozart and Cavallini...This is Tale Ognenovski who began to play the clarinet in the village of Brusnik near Bitola, who with this wooden instrument toured the world and received well-deserved applause wherever he performed. The names of the folk dances which Tale Ognenovski plays will not be given; this is unnecessary because this is a particularly good record that proves that this Macedonian clarinetist is an extraordinary musician”, from the magazine “Ilustrovana Politika”, under the title, “New records - Macedonian folk dances”, published in Belgrade, Yugoslavia, 1979, 
(This commentary is a message to the reader on the release of the record RTB LP 1439 STEREO).

It is a phenomenon that Tale Ognenovski has the right amount of “ambazhura” and vibrato for every type of music. 
“... It is not widely known both in Yugoslavia and around the world, that the renowned virtuoso clarinetist Tale Ognenovski is a concert clarinetist. Indeed, it is not widely known that Tale Ognenovski can play other styles of music such as jazz, improvising in the style of Benny Goodman and Artie Shaw, or dance music. It is a phenomenon that Tale Ognenovski has the right amount of “ambazhura” and vibrato for every type of music. He maintains a perfectly level tone for classical music when it is required. It is particularly amazing that he can change the shade and the vibrato in a single moment. The standard is that one timbre and one kind of vibrato exclude all others.” From an article by Professor Ladislav Palfi, the famous pianist, in a letter dated May 23, 1973. 

10. Tale Ognenovski’s triumphant success at the International Folklore Conference in Istanbul, Turkey, 1977. 

At the International Folklore Conference organized by the International Folklore Committee in Istanbul, Turkey, 1977, on the subject of “Folklore on the Radio” was Dushko Dimitrovski, Editor of the Folk Music Department for “Radio Television Skopje” from the Republic of Macedonia. He was there as a representative of Yugoslav Radio Television (Former Yugoslavia). He used records produced from magnetic tapes to present folklore material in his presentation entitled “ ‘Chalgii’ music in Macedonia”. 

This folklore material was prepared in Skopje by ethnomusicologists Dushko Dimitrovski, Kiril Todevski and Metodija Simonovski. From the magnetic tape material were presented the recordings of two Macedonian folk dances: “Kasapsko oro”, arranged by Tale Ognenovski, and “Kumovo oro cocek”, composed by Tale Ognenovski and performed by him as clarinet soloist accompanied by the “Chalgii” orchestra of Radio Television Skopje. This created great interest not only amongst the delegates of the Conference but also around the world. The Department of Folk 
Music from “Belgium Radio” sent a letter to “Radio Television Skopje” asking them to send them this folk material so that it could be especially broadcast on “Belgium Radio”. Source: An article entitled, “One item of music material presented in Istanbul creates great interest in the world about “Chalgii” music”, from the magazine “Ekran”, published on December 2, 1977 and the TV programme “Black and White production”, by the journalist Irena Spirovska, broadcast on “Radio Television Skopje”. 

These two Macedonian folk dances, “Kumovo oro cocek,” composed by, and solo clarinetist Tale Ognenovski and “Kasapsko oro,” arranged by, and solo clarinetist Tale Ognenovski are available on the Jugoton LP record and cassette “Tale Ognenovski plays dances on the clarinet”, reference numbers LPY-61143 and CAY 321 respectively, produced by Jugoton, Zagreb, Croatia, 1975. 
“Kumovo oro cocek”, composed by, and solo clarinetist Tale Ognenovski, is available on the LP “Macedonian folk dances, Tale Ognenovski on the clarinet with his Ensemble”, reference number EPY-34461, produced by Jugoton, Zagreb, Croatia, 1972.
“Kasapsko oro”, arranged by, and solo clarinetist Tale Ognenovski, is available on the LP “Macedonian folk dances played by Ensemble “Chalgija”, conducted by Tale Ognenovski”, reference number EPY-34489, produced by Jugoton, 1972. 
“Kasapsko oro”, arranged by, and solo clarinetist Tale Ognenovski and accompanied by the “Chalgii” orchestra from “Macedonian Radio Television” is available on the cassette “Anthology on Macedonian folk music - Maestro players”, reference number MP 21176, produced by the music and cassette department of Macedonian Radio Television”, Skopje, Republic of Macedonia, 1994.

11. On August 8 and 9, 1992, Tale Ognenovski played on the clarinet his own compositions of Macedonian folk dances at celebrations marking the 600th anniversary of the founding of the village of Brusnik. 

Mr. Kiro Gligorov, President of the Republic of Macedonia and Mr. Petar, Metropolitan of the Macedonian Orthodox Church were present at celebrations marking the 600th anniversary of the establishment of the village of Brusnik, near Bitola, on August 8 and 9, 1992.
Tale Ognenovski played on the clarinet his own compositions of Macedonian folk dances accompanied by the Culture and Arts Society “Ilinden” from Bitola. Tale Ognenovski amazed all those present at the celebration with his marvellous solo performance on the clarinet. 
The celebration was recorded and shown on “Macedonian Radio Television” in the programme “Among the villages - 600 years of Brusnik”, 1992. The Macedonia Radio Television journalist Suzana Trajkovska commented about the programme, “Tale Ognenovski is a virtuoso of the clarinet...”

12. “Maestro Tale Ognenovski plays classical music brilliantly (this is the opinion of experts of classical music) on the clarinet - Mozart, Weber...etc. He plays everything; it doesn’t matter how difficult or complicated it is.” - Violeta Hadzi Skerleva, Ekran 

“Maestro Tale Ognenovski plays classical music brilliantly (this is the opinion of experts of classical music) on the clarinet - Mozart, Weber...etc. He plays everything; it doesn’t matter how difficult or complicated it is. In the records it says of his debut, first with the pianist Nino Cipushev, and later with the famous pianist Ladislav Palfi, that the way Tale Ognenovski plays the most complicated classic music is on a par with that of the most famous clarinetists in the world. Experts of classical music have said that Tale Ognenovski’s skill with the clarinet is nowhere near that of the most famous classical music clarinetist in the world. On the contrary.” Journalist Violeta Hadzi Skerleva wrote this in her article “ Skopje. First Clarinetist of ’94 Tale Ognenovski, a portrait” published in the magazine “Ekran”, Skopje, Republic of Macedonia, October 20, 1994. 

13. Tale Ognenovski is a synonym for a completely different style of music. 

“Each different musician who develops his or her own style of music becomes a synonym for that music; for example, Kocho Petrovski, Stevo Teodosievski, Ljupcho Pandilov, Angel Nanchevski, Aleksandar Sarievski, Tale Ognenovski, Pece Atanasovski, Ivan Terziev, Blagoja Deskoski, Petar Lukic, Zoran Jovanovic, Petar Kargov, Ilija Pejovski-Bas and others”, from the article “Macedonian Radio Television in Words and Pictures”, published by Macedonian Radio Television in 1994 in commemoration of the 50th anniversary of their founding. 

The 50th anniversary of the founding of “Macedonian Radio Television” 
“Kasapsko oro”, the folk dance arranged by Tale Ognenovski, and with him playing solo clarinet accompanied by the “Chalgii” Orchestra from “Macedonian Radio Television”, was released in 1994 on the cassette, “Anthology of Macedonian folk music - Maestro players”, reference number MP 21176, to mark the 50th anniversary of the founding of Macedonian Radio Television. It was produced by the Music and Cassette Department of Macedonian Radio Television; the editor was Mate Grujovski and the chief editor, Jane Kodjabashija.

The 50th anniversary of the “Musical Copyright Society of the Republic of Macedonia” 
Tale Ognenovski’s 150 compositions have been protected by the Musical Copyright Society of the Republic of Macedonia (“ZAMP”), the director of which is Mr. Zoran Vaskovski. Tale Ognenovski was invited by the society to a concert of the Orchestras of “Macedonian Radio Television” marking its 50th anniversary, on December 3, 1997. The Folk Music Orchestra, the “Chalgii” Orchestra and the Authentic Folk Instruments Orchestra all performed.

At the concert, which was shown on Macedonian Television on January 6, 1998, the legendary singer Jonche Hristovski said: “Respected guests. I have the honour to greet genius maestro of the clarinet Tale Ognenovski who is present with us today”. Tale Ognenovski received great applause from the audience, and offered his thanks to them and to Jonche Hristovski. The audience were given a brochure, written by Kiril Todevski of Skopje on December 3, 1997. In the document, that gave an account of the history of the Folk Music Orchestras of “Macedonian Radio Television”, reference was made to the best creative instrumentalists; these were Nikolaj Galevski, Tale Ognenovski, Pece Atanasovski, Kocho Petrovski, Angel Nanchevski, Ivan Terziev, Ljupco Pandilovski, Mile Kolarovski, Nikola Cvetkovski, Hilmi Baki, Blagoja Deskovski, Todor Trajchevski, Mefail Sakipov, Angele Dimovski, Hustref Said, Raim Baki and others. 

14. Tale Ognenovski made his debut at the Skopje Summer Festival on June 29, 1998. 

Before the debut the director of the Skopje Summer Festival and journalist, Liljana Stoilkovska said: “Respected guests. I have the honour to present to you the great virtuoso on the clarinet, Tale Ognenovski who, 50 years ago, at the first Macedonian Republic festival of Folk Dances and Songs received First Award as the best clarinetist. I wish you good health in the future, and many more years playing the clarinet”. Tale Ognenovski offered his thanks for these good wishes on his 50th anniversary. He played as virtuoso clarinet soloist, two Macedonian folk dances, his arrangement ‘Kasapsko oro’ and his composition ‘Brusnichko oro’. He received great applause from the audience.

Tale Ognenovski is a member of the “Association of Stage Artists of Macedonia”. The president of the Association is Mr. Vojo Stojanoski. 

This Balkan Folklore was so rich. 
“…When I left for America in 1979, I realised that this Balkan folklore was so rich. I always find Macedonian music most interesting. I have rare gramophone records by Kiril Manchevski, Pece Atanasovski and Tale Ognenovski that I have collected every time I’ve been here...” commented Miroslav Tadic in an interview for the magazine EKRAN entitled “Interview with Miroslav Tadic”. It was published on October 22, 1998, and the journalist was Ljubomir Grbevski.

In their January 1997 issue, the editors of GUITAR PLAYER magazine voted Miroslav Tadic one of the top thirty, most radical and individual guitarists in the world. 

15. The 50th anniversary of the founding of Ensemble ‘Tanec’.

The Ensemble of Macedonian folk dances and songs ‘Tanec’ performed its anniversary concert at the Macedonian National Theatre on December 11, 1999. Present as special guests were Tale Ognenovski and other former members of the Ensemble. Its director, Mr. Boshko Trenevski, said that all its former and current members were praised for their very successful foreign tours and for their affirmation of Macedonian Culture. The concert’s patron was the Ministry of Culture of the Republic of Macedonia. Present at this concert were Mr. Ljubco Georgievski, Prime Minister of the Republic of Macedonia, his Grace the Archbishop of Ohrid, the Macedonia G.G. Stefan, Government Ministers of the Republic of Macedonia and representatives of foreign Embassies.

Tale Ognenovski is undoubtedly one of the greatest composers the world has ever seen. With his compositions of Macedonian folk dances, classical, and jazz music, he made the connection between the two ‘unconnectables’ - oriental and western music. He is a genius of the clarinet. He has amazed audiences with his virtuoso solo clarinet performances not only of various Macedonian folk dances, such as Brusnichko oro, Poljansko oro, Kasapsko oro, Zhensko krsteno oro, Adana oro, Nevenino oro and Bukovsko svadbarsko oro, but also of classical music by Mozart, Cavallini, Wagner and Weber. 
He combines beautiful tone with brilliant, unique technique. He has made many studio recordings for Macedonian Radio Television both as a virtuoso clarinetist and pipe soloist playing folk, jazz and classical music, and a countless number of radio and television broadcasts. His recordings for Radio Television Belgrade, Jugoton and Macedonian Radio Television are unique compositions based on Macedonian folk music but occasionally with some influence of oriental, jazz and classical music. His pieces contain highly complex, rhythmic patterns and attractive melodies that are incomparable with any other kind of music known today. 

He is clarinet virtuoso in folk, jazz and classical music. Everyone who has listened to his performances of unique Macedonian folk dances, and classical and jazz music, has concluded that he is one of the most innovative and important figures in the history of music in the world. He has appeared in many televised concerts broadcast in Europe and North America and has, as an international Ambassador of music, created new musical horizons for the clarinet. 

He is musically innovative and has revolutionized the sounds of folk, jazz and classical music. He is a remarkable improviser who possesses great harmonic knowledge and total technical command of rhythm variation, making anything possible. He created his own, solo-improvisations called “manjinja” (cadenzas), which were fresh, radical, and totally distinctive. They were related to the original version, but had not destroyed it. 

Tale Ognenovski lives in Skopje in the Republic of Macedonia. He has been playing the clarinet professionally for the past 62 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 talent as a performer of folk, jazz and classical music has been recognised on audio samples on his Internet Web site,
http://www.taleognenovski.com.mk/ 

Tale Ognenovski became a surprise sensation with his performances as a clarinet and pipe virtuoso soloist at the concert with Ensemble ‘Tanec’ at world-famous Carnegie Hall on January 27, 1956.

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.

II. ENSEMBLE ‘TANEC’ IN NORTH AMERICA

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, “Crnogorka, 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, who start their tour of America 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 (virtuoso 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 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 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 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’.

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.

‘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. 

13. 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.

14. TOUR OF MACEDONIAN NATIONAL FOLK BALLET ‘TANEC’ IN 
THE 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 dancers 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.

15. “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.

16. “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 it’s 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 Hall 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 after a few days. 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. 

17. “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. 

18. “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. 

19. “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. 

20. “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 own universal characteristics. It also – and everyone agrees to this – has its roots in antiquity, a fact that everyone agrees on. 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 and 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) that 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 indicate embroidery. And each had its zestful or romantic musical accompaniment, sometimes played on archaic instruments, but again on contemporary ones...ancient heritages were revealed, to a remarkable degree, in dance and in music.

To make the point, in “Sopska Poskocica” (the clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski), 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. 

21. Concerts at the Chicago Civic Opera House, February 4 and 5, 1956 
“Yugoslav Ballet a Colorful Addition to International Dance...group of 37 dancers, singers and musicians, called Tanec, which is the Macedonian word for dance is a kaleidoscope 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 fair 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. 

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
“The 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 usual. Besides dance alone, it conveys drama, ritual, tradition, songs, even military maneuvers...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, wonderful, brilliant, 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)… was no more than a show-off dance. As such it was highly effective... musicians are an active 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 meet 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 continues 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 are counted among seven amateur arts. Everyone who ever practised them was either a native or an amateur. One of the greatest pieces of evidence 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 with many variations...

But I 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 Yugoslavians, and the dancing portrays 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 the 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 Angeles 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 the 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 auditorium... 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 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 Goldeberg, 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 Goldeberg, 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 from Yugoslav 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 published in the newspaper “Nova Makedonija” on May 11, 1956. 

III. ENSEMBLE ‘TANEC’ IN GERMANY

1. Tale Ognenovski, clarinet and pipe virtuoso soloist with Ensemble ‘Tanec’ toured Germany in 1956

Tale Ognenovski, clarinet and pipe virtuoso with Ensemble ‘Tanec’, toured Germany from August 15 until October 27, 1956. The Ensemble performed 72 amazingly successful concerts in many towns, including Stuttgart, Frankfurt, Bonn, Gottingen, Munich and Wiesbaden, and every performance was a sell-out. As part of their tour of France in 1959, they performed two concerts in Dortmund, Germany on September 18 and 19, 1959, playing to an audience of 7000 on each occasion.

Tale Ognenovski performed as a virtuoso clarinet and pipe (“kavalche”) soloist 
The majority of the programme of Ensemble Tanec’s German tour comprised of Macedonian folk dances and songs with the rest made up of Serbian and Croatian dances and songs and one Albanian dance. Tale Ognenovski played as virtuoso clarinet and pipe (“kavalche”) soloist for most of the programme, in particular in the Macedonian folk dances ‘A Bride’s Dance (Nevestinsko Oro)’, ‘Chupurlika’, ‘Shopska Podripnuvachka’, ‘Kopachka’, ‘The Shepherds’ Dance (Ovcharsko Oro), ‘Soborski Igri’, in Macedonian songs, Serbian folk dances and songs and ‘SHOTE’, an Albanian folk dance. Tale Ognenovski was a virtuoso clarinet soloist in ‘Shopska petorka’ but also an arranger of the music because he added his own improvisations in some areas of the dance. This is the case with other dances that Tale Ognenovski performed as virtuoso clarinet and pipe soloist.

2. “I’ll never forget...the man with the pipe (the virtuoso pipe soloist wasTale Ognenovski – remark made by Stevan Ognenovski)...” – the Hildesheim presse, Germany

“The folklore Ensemble ‘Tanec’ has performed in Germany during the past few weeks. They are receiving an enthusiastic welcome everywhere. For example, the ‘Hildesheim presse’ published an article entitled “Tanec, the magic word from the Balkans”. This contained amongst other comments, “Macedonia, Dalmatia, Croatia and other parts of Yugoslavia are living as one with these dances, songs and music, and all of it is as natural and live as if it were being danced in the middle of the village in the country of these young men and women. This National Ballet, the top Ensemble in the country, have shown us only excellence, politeness and complete perfection. I’ll never forget the difficult Macedonian dance from Macedonian shepherds, the Croatian dance, the bagpipers and the man with the pipe (the ‘man with the pipe’ is Tale Ognenovski, since he played folk dances on both the clarinet and the pipe (‘kavalche’) - remark made by Stevan Ognenovski), the small singer and the drum. But here we don’t discuss details. In reality they each put on wonderful separate performances. Every dance and song has great impact and is rewarded with extraordinary amounts of applause. ‘Tanec’ in Yugoslavia means dance, and at the same time it is a magical word from Yugoslavia.” This article entitled ‘Great success of Tanec in Germany’ appeared in the newspaper ‘Nova Makedonija’ on October 21, 1956. 

3. “Success of Tanec in West Germany” - Nova Makedonija

“Bonn, October 2.
Yesterday evening, during their three-month cross-country tour of West Germany, the Ensemble of Folk Dances and Songs ‘Tanec’ performed a successful concert in Bonn Town Theatre. Even though Ensemble Tanec is the third Ensemble to perform in this theatre in the last 18 months, every seat was full. Present in the audience were the Mayor of Bonn, many prominent politicians, diplomats and domestic and foreign journalists. The Ensemble performed songs and dances from Macedonia, Serbia and Bosnia and Herzegovina. The audience heartily welcomed the performers, asking for the entire programme to be performed again. Bonn’s newspapers are full of numerous compliments as to the artistic quality of the concert. During this tour the Ensemble has visited almost all the larger towns in West Germany and also many tourist towns.” This article, entitled “Success of Tanec in West Germany” appeared in the newspaper ‘Nova Makedonija’ on October 30, 1956. 

4. “The folklore experts were interested in our particular folk dances… perhaps the following can stand out as the most successful: “SHOPSKA” (Shopska podripnuvachka – the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski), “SHOTE” (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski)...” - Nova Makedonija

“On the 29th of this month, Ensemble Tanec returned from their tour of West Germany, where they performed 72 concerts in places and towns. All the concerts were sell-outs.... Jonche Hristovski, a member of Ensemble Tanec said, “We had 17 to18 rounds of applause and we went back on stage. We had particularly great success in the larger cities such as Stuttgart, Frankfurt, Gottingen and Munich. For instance, in Frankfurt the audience wouldn’t leave us after the show ended and they asked for the entire programme to be repeated. The folklore experts were interested in our folk dances, in the rhythm of the folk dances and songs, the richness of the folk costumes and especially our authentic folk instruments. Our shows received a warm welcome from the public. Audiences were amazed by the choreography and the different styles of folk dance, and their individual rhythm flow. Perhaps the following can stand out as the most successful: “SHOPSKA “ (‘Shopska podripnuvachka’ - In this Macedonian folk dance the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski), “SHOTE” (In this Albanian folk dance the virtuoso clarinet solo was played by Tale Ognenovski - remark made by Stevan Ognenovski), “VRLIKA” and “SOBORSKI IGRI” (In these Macedonian folk dances, the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski)...” 
Olga Pesic, a member of the Ensemble, has commented: “During the entire tour, Ensemble Tanec has had the warmest welcome everywhere... Compliments, and also some photographs from the performances, have appeared in the newspapers of every town where we have staged a concert. In every town, tickets for the concert were completely sold out before the day of the performance, especially so in Munich, where the tickets were sold out 15 days before.
Perhaps our biggest success was at the concert performed in
Bayreuth, the famous musical centre of West Germany...” The above words appeared in an article entitled “After the return of “Tanec” from their German tour - The biggest success until now,” in the newspaper ‘Nova Makedonija’ on October 31, 1956. 

5. “About 7000 people at each of the two concerts in Dortmund” - K. Gavrish, Nova Makedonija

“...Ensemble ‘Tanec’ performed two concerts in Dortmund. At the beginning of these concerts about 7000 people were present...” These words appeared in an article written by K. Gavrish and entitled, “Following the return from their French tour, TANEC wins over the audience” and published in the newspaper ‘Nova Makedonija’, Skopje, Republic of Macedonia on December 6, 1959. 

IV. ENSEMBLE ‘TANEC’ IN FRANCE

1. Tale Ognenovski was clarinet and pipe virtuoso soloist with Ensemble ‘Tanec’ during their tour of France

Tale Ognenovski was clarinet and pipe virtuoso with Ensemble “Tanec” during their tour of France from September 20 until November 25, 1959. They performed 83 concerts in 58 towns and cities in France including Paris, Le Havre, Nantes, Poitiers, Clermont-Ferrand, Lille, Cherbourg, Toulon, Toulouse, Rennes, Bourges, Chaumont, Solon de Provence, Laval, Brest, Lorient, St. Nazaire, Angers, Tours, Limoges, Pont a Mouson, Bourgen Brest, Belfor, St Entienne, St Brieuc, St Malo, Vendome, Gien, Orleans, Niort, La Rochelle, Marmonde, Mont de Marson, Dax, Tarbes, Agen, Albi, Pau, Carcassonne, St Gaudens, Beziers, Parpignon, Arcachon, Nimes, Grenoble, Lyon, Villeurbone and Gueret.ere. They performed with amazing success to full houses everywhere. The Ensemble twice had performances broadcast on television, on September 21 and 22, 1959: 20 million people would have seen them on the most popular programme on French Television. Radio Paris recorded a 45-minute programme of Macedonian folk dances and songs. The Manager of Ensemble ‘Tanec’s tour of France was Mr Raymond Guillier, also Director of his own company ‘Les grands spectacles internationaux Les productions Raymond Guillier’ of 129 Boulevard Massena, Paris. He specialised in managing international shows in Paris. 

Tale Ognenovski performed as a virtuoso clarinet and pipe (“kavalche”) soloist 
The majority of the programme of Ensemble Tanec’s French tour comprised of Macedonian folk dances and songs with the rest made up of Serbian and Croatian dances and songs and one Albanian dance. Tale Ognenovski played as virtuoso clarinet and pipe (“kavalche”) soloist for most of the programme, in particular in the Macedonian folk dances ‘A Bride’s Dance (Nevestinsko Oro)’, ‘Chupurlika’, ‘Shopska Petorka’, ‘Kopachka’, ‘The Shepherds’ Dance (Ovcharsko Oro), ‘Drachevka’, ‘Chifte Chamche’and ‘Soborski Igri’, in Macedonian songs, Serbian folk dances and songs and ‘SHOTE’, an Albanian folk dance. Tale Ognenovski was a virtuoso clarinet soloist in ‘Shopska petorka’ but also an arranger of the music because he added his own improvisations in some areas of the dance. This is the case with other dances that Tale Ognenovski performed as virtuoso clarinet and pipe soloist. Tanec included, as part of their tour of France, two performances in Dortmund, Germany, on September 18 and 19, 1959. About 7000 people were present at each concert. 

Some of Ensemble ‘Tanec’s concert repertoire, including Macedonian folk dances and songs, was recorded during the tour on LP record. The virtuoso clarinet and pipe soloist on this excellent LP record, recorded in France in 1959, was Tale Ognenovski.

2. “What ‘Tanec’ is playing in the spirit of Macedonia, believe me no other Ensemble in the world can perform... Your girls and boys put their whole heart into the dance. I’ll tell you why I think this is so. I know that the clarinetist Tale...” - Raymond Guillier, Vecher

“Everyone who went to the concerts by Ensemble ‘Tanec’ in Paris and other towns and cities in France during the tour in 1959 of a little over two months was fascinated. Yes, audiences opened wide their hearts and didn’t think anything of their hands while applauding your folk dancers. What ‘Tanec’ is playing in the spirit of Macedonia, believe me no other Ensemble in the world can perform. All great professional Ensembles in the world possess something special. Your girls and boys put their whole heart into the dance. I’ll tell you why I think this is so. I know that the clarinetist Tale (Tale Ognenovski - remark made by Stevan Ognenovski) after every concert played clarinet solos and amused us well into the early hours. This hasn’t been the case with any other member from any other Ensembles. I want to present Tanec every year to the people of my country...” said Raymond Guillier (Director of his own company, ‘Les grands spectacles internationaux Les productions Raymond Guillier, 129 Boulevard Massena - Paris” - remark made by Stevan Ognenovski) Manager of international exhibitions in Paris, France. The above appeared in an article entitled ‘Your dance fascinates me….’, written by M. Georgievski, and published in the newspaper ‘Vecher’, Skopje, Republic of Macedonia on September 14, 1964. 

Macedonian Folklore is the best in the world 
Raymond Guillier commented that no other Ensemble in the world could perform Macedonian folklore as well as ‘Tanec’, because the Macedonian girls and boys from the Ensemble put their whole heart and soul into the dances, and a good example of this was the clarinetist Tale Ognenovski. This was a very important comment because Mr. Raymond Guillier had organized many concerts in Paris and France for all the best Ensembles in the world. 

3. “Brilliant first performance of the National Ballet of Macedonia... Everyone in the audience applauded as if they were four people ... “It must be understood that you have to be professional and have extraordinary soul and inspiration to play ‘Drachevka’ (the virtuoso pipe soloist was Tale Ognenovski - remark made by Stevan Ognenovski), ‘Berovka’ (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski)...”

“Everyone in the audience applauded as if they were four people, and the Macedonian National Ballet left a great impression in Bourges…Two dances in particular were appreciated last night on the stage of the Grand Palais, the Dance of the sabre and the dance of the village fair (two separate photos are shown, the top one being ‘Dance of the sabre’ and the bottom being ‘the Dance of village fair).’ (On the right side of the bottom photograph can be seen virtuoso clarinet soloist Tale Ognenovski - remark made by Stevan Ognenovski).
But the Macedonian dances, once they began, developed from a dead slow pace and quickened, becoming a festival of colours, a storm of costumes and a sports test allied to the art of folklore. 
It must be understood that you have to be professional and have extraordinary soul and inspiration for playing ‘Drachevka’ (In this Macedonian folk dance, the virtuoso pipe soloist was Tale Ognenovski - remark made by Stevan Ognenovski), ‘Berovka’ (In this Macedonian folk dance, the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) and the exciting Serbian folk dance (the virtuoso pipe soloist was Tale Ognenovski - remark made by Stevan Ognenovski).

The audience much liked the dance ‘Roussalies’ as well as the dance ‘Tchifte Tchamtche’, and lastly ‘Chote’ (‘Shote’), a dance of love that is lively and colourful...Tanec is the name of this group who have won over the audience. The quality and talent of this group is admirable...This is the first time that they have performed in France... At the end of their concert, the members of Ensemble ‘Tanec’ remained on stage and were applauded by the Bourges audiences for
for more than a quarter of an hour.” The above comes from an article, entitled “Hier soir au GRAND-PALAIS BRILLANTE “PREMIERE” des Ballets de Macedoine” (“Yesterday evening in GRAND-PALAIS Brilliant first performance of National Ballet of Macedonia.”), that appeared in the newspaper ‘Le Berry Republicain’ in Bourges, France, on September 24, 1959. 

4. “The first performance of the National Ballet of Macedonia achieved tremendous success” - La nouvelle republique du Centre

“The first performance of the National Ballet of Macedonia was a tremendous success. Everyone in the hall applauded with enthusiasm, here in the ‘Grand Palais’ in Bourges at the first performance in France of the National Ballet of Macedonia… The first performance in Bourges was a spectacle...The members of the National Ballet of Macedonia arrived four days ago in Paris and have been shown on television...” This is from an arcticle entitled “Hier soir a Bourges, La “premiere” nationale des Ballets de Macedoine a remporte un enorme succes” (Yesterday evening in Bourges, The first national Ballet of Macedonia achieved tremendous success.”). It was published in the newspaper “La nouvelle republique du Centre”, Bourges, France on, September 24, 1959. 

5. “”TANEC” wins over the public... “ - K. Gavrish, Nova Makedonija

“The tour in France was very hard-going, with us having to travel and do a concert in a different town almost every day. But, everywhere, the Ensemble has confirmed its good reputation and been heartily accepted by the considerate and generous French public,” said Trajko Prokopiev, the director of Ensemble ‘Tanec’. Le Havre, Nantes, Clermont-Ferrand, Lille, Cherbourg, Toulon are just some of the towns in France where ‘Tanec’ has demonstrated its art with great success. In Salon de Provence, the Ensemble received an honorary medal of the town. The Ensemble has had two performances broadcast on the most popular programmes on French television that are usually watched by 20 million people. Radio Paris recorded a 45-minute programme of Macedonian folk dances and songs.

My impression is that the French public understands and can sense our folklore; we have succeeded in satisfying them. We cannot but forget that the French public is a public with great demands. Since our debut on television they have recognized us and approached us on the streets, in the shops and in the restaurants where we have gone,” commented Dojchin Matevski.

For Verica Shijakovic, the most pleasant memory has always been the great success in the ‘Hall of the sports’ in Shomon. The enthusiastic audience consisted mostly of young people who greeted the performers warmly.
“Which performance has been the most successful? “Shopska petorka”, (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) “Drachevka” (the virtuoso pipe soloist was Tale Ognenovski - remark made by Stevan Ognenovski), “Sedenka” (the virtuoso pipe soloist was Tale Ognenovski - remark made by Stevan Ognenovski), Serbian (the virtuoso clarinet and pipe soloist was Tale Ognenovski - remark made by Stevan Ognenovski) and Croatian dances…” said Cvetko Micevski. “...Every evening after the concerts, hundreds of boys and girls came under the stage to get our autographs...at every concert, audiences asked for encores of some of the acts, and some people have congratulated us and told us that we are real Ambassadors of our country,” said Dushko Georgievski.”
The French audiences were enraptured not only by the dances but also by the extraordinary richness of the costumes. The thirty members of the Ensemble had with them some 400 costumes. The performance was two and a half hours long with just one 15-minute break halfway through. There were no breaks between each separate act, so the stage was always full of dance. The critics in the French Press were full of compliments about Tanec’s tour. It’s enough just to quote ‘Le Berry Republicain’…“Everyone in the audience applauded as if they were four people, and the Macedonian National Ballet left a great impression in Bourges.”

But the Macedonian dances, once they began, developed from a dead slow pace and quickened, becoming a festival of colours, a storm of costumes and a sports test allied to the art of folklore. It must be understood that you have to be professional and have extraordinary soul and inspiration for playing ‘Drachevka’ (In this Macedonian folk dance, the virtuoso pipe soloist was Tale Ognenovski - remark made by Stevan Ognenovski), ‘Berovka’ (In this Macedonian folk dance, the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski)...”TANEC” conquests the public...The newspaper ‘Le Nouvelle Republique’ commented, “The first performance of the National Ballet of Macedonia was a tremendous success... Everyone in the hall applauded enthusiastically...” This came from an article entitled ‘TANEC wins over the audience,’ written by K. Gavrish, and appearing in the newspaper ‘Nova Makedonija’, Skopje, Republic of Macedonia on December 6, 1959. 

Members of Ensemble ‘Tanec’ on tour in France and Switzerland
A number of new members took part in the tours of Switzerland and France who had not participated in the North American and German tours of 1956. These were: Dancers: Dimitar Aleksov, Gligor Vasilev, Lenche Sedeu, Stojkova Natka and Radmila Trifunac; Musicians: Kocho Petrovski (harmonica), Gjorgji Dimchevski (* violin), Ljupcho Pandilov (violin), Dragan Simonovski (flute), Smilevski Konstantin (flute), Todor Petrovski (guitar) and Panche Samardziski (bass violin). The director of Ensemble ‘Tanec’ was the composer Trajko Prokopiev.

* Gjorgji Dimchevski was on the German tour, 1956

Members of Ensemble ‘Tanec’ on other tours during the period 1955-1960
‘Tanec’ Tours in Macedonia, Bosnia and Herzegovina, Montenegro, Slovenia, Serbia and Croatia included the folk-dancers Drakulovski Tofe, Tomov Gorgji, Stojkova Ljubica, Naumova Milka and Antova Todorka, and the musician Todor Pavlovski. 

V. ENSEMBLE ‘TANEC’ IN SWITZERAND

1. Tale Ognenovski performed as virtuoso clarinet and pipe soloist with Ensemble ‘Tanec’ during their tour of Switzerland during the period July 7-10, 1959

The concerts were performed in Berne on July 7 and 8, 1959 and in Geneva on July 9 and 10, 1959 with tremendous success.

2. Tale Ognenovski made his debut on a special programme broadcast on Swiss Television. He performed his personally composed Macedonian folk dances ‘Bitolsko oro’ and ‘Brusnichko oro’ with great success.
Tale Ognenovski made his debut on a special programme broadcast on Swiss Television. Playing as virtouoso clarinet soloist, he performed his personally composed Macedonian folk dances ‘Bitolsko oro’ and ‘Brusnichko oro’ with great success.

On their return from the triumphant tour of the U.S.A. 
“In the illuminated gardens of Port Gitana, on July 9 and 10 at 8.00 pm, a spectacle selected for ‘Gitan’. This evening, on their return from the triumphant tour of the U.S.A., and for the first time in Geneva, the Yugoslavian National Folk Ballet Tanec. Two hours of sumptuous spectacle, 40 dancers and instrumentalists, 400 prestigious national costumes, lighting effects…” This announcement appeared in the ‘Tribune de Geneva’, Geneva, Switzerland, under the title: ‘Dans les jardins illumines de Port Gitana Bellevue, BALLETS NATIONAUX FOLKLORIQUES YOUGOSLAVES: TANETZ, deux heures d’un somptueux spectacle” (“In the illuminated gardens of Port Gitana Bellevue, National Yugoslav Folklore Ballet Tanec, two hours of sumptuous spectacle”). The announcement was published on June 8, 1959.

3. “Nothing here that resembled classical dances of our Western World...a spectacle in the open in Port Gitana Bellevue, Geneva…” - Ed. Mt. Tribune de Geneve

“...We were presented with remarkable spectacles performed by the Yugoslavian National Folk Ballet ‘Tanec’ from Macedonia... It was a rare opportunity to have a show in the open-air in Geneva. For this occasion, Gitan installed lighting effects that vied with ingenuity... Nothing here that resembled classical dances of our Western World... They have the rhythm of the dances of their country in their blood.... We preferred to give a general impression of this spectacle, which accentuated the originality and the qualities of this ensemble.” The above appeared in an article written by Ed. Mt.and entitled, ‘A Port-Gitana les ballets nationaux yougoslaves’, (‘In Port-Gitana, National Yugoslav Folklore Ballet’). It appeared in the ‘Tribune de Geneve’, Geneva on July 11, 1959. 

VI. TALE OGNENOVSKI HAS PERFORMED CLASSICAL MUSIC SINCE 1952

1. On May 24, 1953, Tale Ognenovski as clarinet soloist performed the classical concert 
‘Concert Polka for Clarinet’ by Miler Bela, with accompaniment by the ‘Police Wind 
Orchestra.’ This concert was performed in the Radio Skopje building and was broadcast live to the nation via Radio Skopje. 

From November 15, 1951 till 1954, Tale Ognenovski worked with the ‘Police Wind Orchestra.’ From 1954 till 1956, he worked with the ‘Skopje Public Town Orchestra’. The repertoire for both of these Orchestras consisted of classical music. Tale Ognenovski passed the auditions to join these Orchestras with flying colours. In 1951, and just a day before the audition, the archivist Mitko gave him the music score from a composition including the opera ‘Carmen’ by Georges Bizet, the opera ‘The Troubadour’ by Guiseppe Verdi and ‘Makedonka’ by Ilija Todorovski. 

The Director and Conductor Ilija Todorovski was surprised at Tale Ognenovski’s extremely impressive degree skill in interpreting classical music. He introduced him to the pianist Nino Cipushev, who today lives in Switzerland, and together they prepared the concert ‘Concert Polka for Clarinet’ by Miler Bela with the rhythms Allegro, Andante and Tempo di polka. In December 1952, Tale Ognenovski as clarinet soloist and with Cipushev as piano accompaniment, performed the same concert in the ‘Police House’ in Skopje with great success. 
It was with this magnificent performance that Tale Ognenovski became the first clarinet soloist who had ever performed a classical concert for the clarinet in the Republic of Macedonia. This was an exceptional event in the history of the country’s music.

Present at this concert were the composer Gligor Smokvarski, Professor Ilija Nikolovski, the composer, professor and pianist Ladislav Palfi, Ilija Todorovski, Micho Kostovski, Stefan Gajdov, the composer and Director of the School of Music in Skopje, all members of the ‘Police Wind Orchestra’ and other citizens. Following this very successful concert Tale Ognenovski asked Gligor Smokvarski to make arrangements for the ‘Public Police Orchestra’ to play the concert. 

On May 24, 1953 the classical concert ‘Concert Polka for Clarinet’ by Miler Bela, with Gligor Smokvarski’s arrangement for the ‘Police Wind Orchestra’ (comprising about 30 musicians), conducted by Micho Kostovski and with Tale Ognenovski as a clarinet soloist, was performed in the Radio Skopje building and broadcast live to the nation via Radio Skopje. 
This classical concert contains some very difficult parts with many cadenzas, which are very difficult for a clarinet soloist to perform and require great skill. Tale Ognenovski performed magnificently in this concert. In the audience were Stefan Gajdov the composer, Ladislav Palfi the composer, professor and pianist, other composers and other citizens. The concert was a great success and the audience warmly applauded the fascinating playing of Tale Ognenovski on clarinet and all members of the Orchestra. After the concert, Professor Ladislav Palfi personally congratulated Tale Ognenovski and expressed his hope that they two could work together. 
(The source of the above is a letter from Professor Ladislav Palfi dated May 23, 1973, and a letter from Sime Pavlovski and Jordan Canevski, dated May, 1998). 

The members of this Wind orchestra were the famous musician and composer Djakonovski Dragan-Shpato, Sime Pavlovski, Jordan Canevski, Petkovski Vasko, Chkatrovski Kire, Zafirovski Metodija, Nikolovski Pero, Anton Dzaja, Asanovic Sherlo, Savo, Chedo, Pavle, Zhivko, Stanko, Domazetovski Nikola, Asanovic Miki, Ristovski Vlasto, Andrej Beljan, Dimitrovski Vlado, Kiro Stoev, Grashic, Simonovski Dzodza, Krapovski Paskal, Nikolovski Tome, Manevski Dimitar and other musicians. 

This same concert, with the ‘Police Wind Orchestra’ conducted by Micho Kostovski and Tale Ognenovski playing solo on clarinet, was performed also in the ‘Police House’, the ‘State Hospital’, the restaurant ‘Kermes’ in Skopje and in other towns in Macedonia such as Resen and Ohrid and, everywhere, these tremendously successful events were significant ones in the musical life of Macedonia during the years 1952-1955. The programme of these concerts in addition included some parts of classical works. These included Bizet’s ‘Carmen’, ‘The Troubadour’, ‘Aida’, ‘Rigoletto’, Verdi’s ‘Nabucco’ and ‘La Traviata’, ‘Oberon’ by Carl Maria von Weber, Tchaikovsky’s ‘1812 Overture’, Puccini’s ‘Tosca’ and Rossini’s ‘The Barber of Seville’. 
Miler Bela’s ‘Concert Polka for Clarinet’, with the ‘Army Orchestra’ conducted by Vaso Chelebic, and Tale Ognenovski as clarinet soloist, was performed in the ‘Army House’ in Skopje in 1953 with great success.

2. “It is a phenomenon that Tale Ognenovski for every type of music has the right amount of ‘ambazhura’ and vibrato, especially for classic music where some circumstances require a totally level tone. It is particularly phenomenal that in a second he can change both the colour and the vibrato.” – Professor Ladislav Palfi

The standard is that one timbre and one kind of vibrato exclude another colour and another kind... It isn’t widely known, in Yugoslavia and around the world in general, that the virtuoso clarinetist Tale Ognenovski is a concert clarinetist. It isn’t widely known that he can play other types of music such as jazz, jazz improvisations in the style of Benny Goodman, or Artie Shaw, or dance music.

I know personally that during the years 1952 and 1953, Tale Ognenovski made his debuts on public radio broadcasts on ‘Radio Skopje’, with concerts of classical music, playing clarinet solo accompanied by the Orchestra conducted by Mico Kostovski and accompanied by the excellent pianist Nino Cipushev... These days, in the magnetic archives of ‘Radio Television Skopje’, can be found a record demonstrating a successful technical and tonal interpretation of the difficult concert ‘FIORI ROSSINIANI’ by Ernesto Cavallini that Tale Ognenovski, playing solo clarinet, and with my accompaniment on the piano, recorded and which was broadcast on many occasions by ‘Radio Skopje’. The same record has been used for pre-recorded and live television broadcasts of the ‘Tale Ognenovski Show’. 
We have performed amongst others a concert by Weber in ef-mol, and a concert by Mozart in A Major which is particularly style-sensitive.” This was written by the composer and pianist, Professor Ladislav Palfi in a letter dated May 23, 1973. 
3. The television programme ‘One clarinet - one life’ was shown on ‘Radio Television Skopje’ on May 19, 1970. The programme included part of the Concert ‘FIORI ROSSINIANI’ by Ernesto Cavallini, with Tale Ognenovski performing as clarinet soloist, with piano accompaniment by Professor Ladislav Palfi, the composer and legendary classical music and jazz pianist 

The title of this TV programme was ‘One clarinet - one life’. In the show Tale Ognenovski played as solo clarinetist, a few Macedonian folk dances with the clarinet and with the pipe (‘kavalche’) with the accompaniment of the ‘Folk Orchestra’ (‘Naroden Orkestar’), the ‘Folk Instrumental Orchestra’ (‘Orkestarot od narodni instrumenti’) and the ‘Chalgii Orchestra’ (‘Orkestarot Chalgii’). In the programme, the conductor Gjoko Georgiev commented, “Tale Ognenovski succeeded in finding his position in Macedonian folk music in a really effective way with irreproachable technique and with unique originality. The Producer of this programme was Blagoja Andreev. Samples of the music performed by Tale Ognenovski in this programme, including the Concert “FIORI ROSSINIANI” by Ernesto Cavallini, performed by Tale Ognenovski as clarinet soloist with Professor Ladislav Palfi as piano accompaniment, and the Macedonian folk dances ‘Brusnichko oro’ (composer and clarinet soloist Tale Ognenovski), ‘Brusnichko oro’ (composer and pipe soloist Tale Ognenovski), ‘Nevenino oro’ (composer and clarinet soloist Tale Ognenovski), ‘Stevchevo oro’ (composer and pipe soloist Tale Ognenovski), can all be heard on his Web site at the Internet address
http://www.taleognenovski.com.mk/ 

On May 15, 1979, Tale Ognenovski as clarinet soloist, with Professor Ladislav Palfi as piano accompaniment, performed Mozart’s Clarinet Concerto in A Major, K. 622 in the ‘Pensioners’ House’ in Skopje. Melodies from Benny Goodman, Artie Shaw and George Gershwin were also performed. The Concerto by itself was performed in the Hall at the ‘Josip Broz Tito’ Secondary School in Skopje. 

Tale Ognenovski performed Mozart’s Clarinet Concerto with the String Orchestra of the Musical Ballet School ‘Ilija Nikolovsli-Luj’...
“In 1980, Kiril Spirovski was conducting the orchestra of the Musical ballet school ‘Ilija Nikolovsli-Luj’. During the year, he planned to include as part of his repertoire Mozart’s Clarinet Concerto in A Major. It was interesting when he told us the clarinet soloist would be the maestro Tale Ognenovski. We were pleasantly surprised because of the fact that a virtuoso maestro of folklore music would be able to play such a well-known concert of classical music. It had been performed many times before at our school. A great number of scholars from our school, students from the Faculty of Musical Art and Professors from both institutions were treated to a wonderful, triumphant performance by the maestro Tale Ognenovski accompanied by the String Orchestra of the Musical Ballet School ‘Ilija Nikolovsli-Luj’. Members of the Orchestra included Tomislav Dimov, Jasenka Tomic, Zoran Makevski, Lasko Atanasov, Orce Gelevski, Marjan Pandilovski, Metodija Kavalakovski, Zharko Matovic, Milan Zavkov and Blagoja Morotov.” Orce Gelevski, editor of the folk music department in Radio Skopje, wrote this in a letter in May, 1998.

In 1985, Tale Ognenovski as solo clarinetist, accompanied by Professor Ladislav Palfi on piano, performed Carl Maria von Weber’s ‘Concert Opus 73’ in the town of Valandovo.

4. In the television programme ‘One clarinet - one life - Tale Ognenovski’, broadcast on July 18, 1987, music from Mozart’s ‘Concerto in A Major for Clarinet and Orchestra, K. 622’, and from Wagner’s ‘Adagio for Clarinet’ was performed by Tale Ognenovski, solo clarinet with accompaniment on the piano by the excellent pianist Tanja Shopova. The programme was broadcast on ‘Radio Television Skopje.’

This television programme was called ‘One clarinet - one life - Tale Ognenovski’. Tale Ognenovski performed solo many Macedonian folk dances on the clarinet and pipe (‘kavalche’) accompanied by the ‘Folk Orchestra’ (‘Naroden Orkestar’), ‘The Folk Instruments Orchestra’ (‘Orkestarot od narodni instrumenti’) and ‘The Chalgii Orchestra’ (‘Orkestarot Chalgii’). The programme editors were Mile Brzanov and Ljube Cvetanovski, and the producer was Kiril Todevski. Dancers from the Ensemble of Folk Dances and Songs ‘Goce Delchev’ performed dances. Samples of the music performed by Tale Ognenovski in the programme can be heard on his Web site at the Internet address
http://www.taleognenovski.com.mk/ 
Included is music from Mozart’s ‘Concerto in A Major for Clarinet and Orchestra K. 622”, and Wagner’s ‘Adagio for Clarinet’ performed by Tale Ognenovski as solo clarinetist with accompaniment on the piano by the excellent pianist Tanja Shopova, and the Macedonian folk dances ‘Bukovsko svadbarsko oro’ (composer and clarinet soloist Tale Ognenovski), ‘Brusnichko oro’ (composer Tale Ognenovski), ‘Stevchevo oro’ (composer Tale Ognenovski) and ‘Kasapsko oro’ (folk - arranger Tale Ognenovski). 

He performed Mozart’s ‘Clarinet Concerto in A Major K.622’, Cavallini’s ‘Fiori Rossiniani’, Wagner’s ‘Adagio for Clarinet’ and Weber’s ‘Clarinet Concerto Op. 73’ with delicate precision of tone, technical brilliance and with great musical and instrumental quality. He was a delight to listen to. The sound he produced was a revelation in just how beautifully the clarinet could be played. In all of these performances, he demonstrated brilliant technique and beautiful tone.

5. “One clarinet, one life; Half a century of magic with the clarinet; The clarinet as a life, These are only some of the titles of articles in the newspapers that have been written for the clarinet virtuoso Tale Ognenovski who plays Macedonian folk dances as superbly as he does classical music by Mozart, Wagner, Cavallini...” from the Television programme ‘Sunday afternoon’, ‘Macedonian Radio Television’

In a programme with the title ‘Sunday afternoon’ shown on ‘Macedonian Radio Television’ on February 28, 1993, the journalist said about Tale Ognenovski, “One clarinet, one life; Half a century of magic with the clarinet; The clarinet as a life; These are only some of the titles of articles in the newspapers that have been written for the clarinet virtuoso Tale Ognenovski who plays Macedonian folk dances as superbly as he does classical music by Mozart, Wagner, Cavallini...”Besides some Macedonian folk dances, the following pieces of music were included on the programme: Mozart’s ‘Concert in A Major for Clarinet and Orchestra K. 622’ and Wagner’s ‘Adagio for Clarinet’, both performed by Tale Ognenovski as clarinet soloist accompanied on the piano by the excellent pianist Tanja Shopova, and Cavallini’s Concert ‘Fiori Rossiniani’, performed by Tale Ognenovski as clarinet soloist accompanied on the piano by the famous pianist and composer Professor Ladislav Palfi.

6. “Everything that has a connection with the clarinet and this man is far from ordinary. Perhaps it is a miracle, this dexterity; perhaps he is a genius, or something more than that....” - Elizabeta Matic on the television programme ‘Good morning, good day’, Macedonian Radio Television.

In the programme with the title ‘Good morning, good day’ shown on ‘Macedonian Radio Television’ on December 5, 1993, the journalist Brane Stefanovski said of Tale Ognenovski, “The living legend of the Macedonian clarinet. Tale Ognenovski can easily be recognized from older records of ‘Macedonian Radio Television’. Tale Ognenovski’s music is amazing, with his melodious, clean quality of tone and interpretations for which he has received recognition from world-famous experts of the clarinet and of Macedonian music. The journalist Elizabeta Matic commented, “Everything that has a connection with the clarinet and this man is far from ordinary. Perhaps it is a miracle, this dexterity; perhaps he is a genius, or something more. 
Perhaps the reason for this is genetic disposition in his family where his father played the bagpipe (‘gajdadjija’), but the fact that his grandfather and great-grandfather had played some folk instrument, suggests that talent has developed over the generations to raise the little pipe (‘kavalche’) player to the highest level reserved for the best. His music is always based on the strict rules of Macedonian folklore... 

Tale Ognenovski is an Ambassador in the presentation of the valuable things that Macedonia possesses: Macedonian complex rhythms...The best clarinetist which this country has ever had. The man from whom his followers can learn a great deal...” 
In this interview, Tale Ognenovski said that Macedonian folklore was the best folklore in the World, and that the inspiration he received when composing music he got from Macedonian Folk Music. 

7. Tale Ognenovski translated whatever came into his head directly into the clarinet. 

On June 16, 1998, an interview with Tale Ognenovski was recorded for the television programme ‘Good Day, Macedonia’ on Macedonian Television. During the interview, the journalist Tatjana Stojchevska Manchevska asked Tale Ognenovski to play some jazz music. He performed some jazz music that he composed right there and then without any prior planning. He demonstrated his amazing musical talent as a clarinet and pipe player and composer performing jazz music on this programme. The music performed by him on the programme can be heard on his Web site at the Internet address
http://www.taleognenovski.com.mk/ 

8. The television programme ‘Good Day, Macedonia’ was dedicated to Tale Ognenovski on the 50th anniversary of the founding of the FOLK MUSIC ORCHESTRA of Macedonian Radio Television. An interview with Tale Ognenovski

“This year sees the 50th anniversary of the founding of the ‘Folk Music Orchestra’ of Macedonian Radio Television. The most famous clarinetist Tale Ognenovski has for a long time performed in this Orchestra,” said Simona Ugrinovska, Manager of the programme ‘Good Day Macedonia’. She added that the interview with Tale Ognenovski had been done by her colleague Tatjana Stojchevska Manchevska. In the programme, first shown on July 1, 1998, then repeated on July 4, 1998, the journalist Tatjana Stojchevska Manchevska said: “Fifty years ago, at the first Macedonian Republic festival of Folk Dances and Songs held during the period October 6-10, 1948, Tale Ognenovski received the First Award as the best clarinetist. 

If you listen to the music of Tale Ognenovski, this magnificent, unique, talented virtuoso of the clarinet and composer of Macedonian folk dances, you will imagine an exciting folklore story and sense unparalleled technique in the musical expression of this folk genius. With his maestro, solo improvisations Tale Ognenovski made performances of Ensemble ‘Tanec’ the most successful they could be. The most significant debut in his rich career was in the famous Carnegie Hall on January 27, 1956. 
“The artist must adopt the artistic rules perfectly, to be able to break them afterwards.” This comment by Michelangelo described the talent that Tale Ognenovski possessed...In a perfect way he interpreted Mozart, Wagner and Cavallini, and jazz improvisations in the style of Benny Goodman and Artie Shaw. 
Tale Ognenovski has composed 150 Macedonian folk dances...” 

In this television programme, Tale Ognenovski said, “I received the First Award for Clarinet as the best clarinetist at the First Republic Macedonia Festival of Folk Dances and Songs in Skopje in 1948. Then Mr. Vasil Hadzimanov and Mr. Nikolaj Galevski from Radio Skopje invited me to become a member of the Folk Orchestra in Radio Skopje. I joined the Folk Orchestra of Radio Skopje for two months, from November 1,1948, till December 30, 1948. Later, in 1960, I joined the Folk Orchestra of Radio Skopje again. I become head of the Folk Orchestra of Radio Skopje in 1966 for one year, and then in 1967, I retired. Later I was invited by Music Production of Radio Television Skopje to perform as additional music force with the ‘Chalgii’ Orchestra. With that Orchestra I had great success at the International Folklore Conference in Istanbul, Turkey, where Mr.Dushko Dimitrovski presented some folklore material (recorded on magnetic tapes) that included the Macedonian folk dances, my arrangement ‘Kasapsko oro’ and my composition ‘Kumovo oro chochek’. I performed these on solo clarinet. This folk music created great interest among the participants at the Conference, and later the folk material was presented in a special programme on Belgian Radio. In France with Ensemble ‘Tanec’ we performed concerts in 58 towns in 1959. We had remarkable success. Mr. Raymond Guillier, Manager of the Tour and Director of his own company (“Les grands spectacles internationaux - Les productions Raymond Guiller”) from Paris said that he was fascinated by my clarinet playing and told me that my contribution towards the tremendous success of Ensemble ‘Tanec’ was considerable. In an interview with the newspaper ‘Vecher’, he said that he wanted to present the Ensemble in France every year. He said that everything that ‘Tanec’ played in the spirit of Macedonia he didn’t believe any other Ensemble in the world could perform, and the reason for that was that the girls and boys from ‘Tanec’ invested their whole heart in the dance, and that an example of that was my playing on the clarinet...” 

“I made my classical music debut in December 1952, playing as clarinet soloist the concert ‘Concert Polka for Clarinet’, accompanied by the pianist Nino Cipushev. On May 24, 1953, this concert accompanied by the ‘Police Wind Orchestra’ (the arrangement for the Orchestra was made by Gligor Smokvarski) was broadcast nationally via Radio Skopje. We performed this and other concerts when we toured Macedonia. Later, for Radio Skopje, I recorded the concert ‘Fiori Rossiniani’ by Ernesto Cavallini, with piano accompaniment by Professor Ladislav Palfi. Later, in 1970, this concert was shown in my television programme ‘ONE CLARINET, ONE LIFE’. With piano accompaniment by Professor Ladislav Palfi, I performed concertos by Mozart, Weber, and others, and I recorded for Radio Skopje the concertos by Mozart and Wagner, with Tanja Shopova...”, said Tale Ognenovski. 

Question: “Can you play some jazz music on this programme?” 
Tale Ognenovski: “With pleasure.” 

Jazz improvisations composed by Tale Ognenovski and performed by him as clarinet soloist on this programme can be listened to on his Web site at the Internet address

http://www.taleognenovski.com.mk/ 


VII. PRESS NOTICES: TALE OGNENOVSKI - RELATED ARTICLES IN THE PRESS

October 6-10, 1948 
’The First Award Clarinet received by Tale Ognenovski from Bitola…’ appeared in the article with the title ‘Received Awards for choirs, folk dances and songs 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. 

1965
‘The name of Tale Ognenovski, clarinetist of the Radio Skopje Folk Music Orchestra, is recognizable to folk music admirers. I can’t imagine a programme of folk dances and songs on Radio Television Skopje without Tale Ognenovski’s performing on the clarinet’, appeared in the article with the title ‘All life dedicated to music’ written by Gj. Mehandziski for the newspaper ‘Nova Makedonija’ in 1965.

April 1, 1967 
‘Tale Ognenovski is a member of the ‘Folk Orchestra of Radio Television Skopje’ which will make its debut between April 14 and 16 at the First Festival of Yugoslavian (Former Yugoslavia) Folk Music to be broadcast on the Radio in Skopje’. This appeared in the newspaper ‘Vecher’ on April 1, 1967. 

1968 
“Twenty years ago at the ‘Republic festival of Folk music’ held in Skopje, the clarinetist Tale Ognenovski received First Award as the best clarinetist in the Republic of Macedonia...Tale Ognenovski has recorded 100 folk dances for Radio Skopje of which 20 are with the ‘Chalgii’ Orchestra and 12 are with the ‘Authentic Folk Instruments Orchestra’, where he played solo on the pipe (‘kavalche’). Other folk dances were recorded with the ‘Folk Music Orchestra’ from Radio and Television Skopje. The majority of these folk dances are his own compositions and others are his arrangements of folk dances...Tale Ognenovski as a famous clarinetist who has created his own style of interpreting folk dances and is now the best clarinetist in S.R. Macedonia. He is also an excellent soloist on the pipe (‘kavalche’). As an especially distinguished clarinetist, he presents folk music in an extraordinarily beautiful way both nationally and internationally”, said Vasil Hadzimanov, the researcher of Macedonian folk music, in an article entitled ‘Anniversary of a Life dedicated to music - Tale Ognenovski, 20 years as a professional clarinetist’, written by Gj. Mehandziski and published in the newspaper ‘Nova Makedonija’ in 1968. 

October, 1968 
‘Tale Ognenovski first began to play the clarinet in the village of Brusnik near Bitola then drifting through the Pelaginia plain, he crossed the River Vardar and toured Macedonia and all Yugoslavia, until he arrived in America, Canada, France, Germany... and he returned here to stay in Radio Skopje. He participated in many music programmes on Radio Television Skopje and become wealthy, a great maestro of the clarinet and even unique...’ This appeared in an article entitled ‘Hot tones’, written by Gjoko Georgiev and published in the magazine ‘Makedonija’ in October, 1968. 

1968 
“On March 25, 1968, Radio Skopje will broadcast a special programme about the 20th anniversary of the famous clarinetist Tale Ognenovski. In this programme the famous musician, the leader of a few folk music orchestras, and who is now retired (he retired as Head of ‘The Folk Music Orchestra’), will perform a double role as a soloist both in folk and classical music’. This appeared in an article entitled ‘Twenty years with the clarinet’, published in the newspaper ‘Vecher’, Skopje, Republic of Macedonia in 1968. 

1970 
“On March 30, 1970, the producer Blagoja Andreev will record a television show of Tale Ognenovski performing folk music as soloist on the clarinet and the pipe (‘kavalche’). He will also perform classical music. Guests on this television show will be ‘The Folk Music Orchestra’, ‘The Chalgii Orchestra’, ‘The Authentic Folk Instruments Orchestra’ and Ladislav Palfi on the piano.” This appeared in an article entitled ‘Tale Show’ in the newspaper ‘Vecher’ in 1970. 

1970 
“Tale Ognenovski, long-time clarinet soloist and Manager of ‘The Folk Music Orchestra’, received an invitation from Music Production of Radio Television Skopje to perform as additional music force with the ‘Chalgii’ Orchestra...” This appeared in an article entitled ‘Tale as additional music force’ published in the newspaper ‘Vecher’, Skopje, Republic of Macedonia, in 1970. 

May 19, 1970 
“Tonight at 7.20pm, Television Skopje will broadcast a music programme ‘One clarinet - One Life’. The subject of this programme is the famous clarinet soloist Tale Ognenovski...in this evening’s programme, Ognenovski will be introduced to the viewers and will perform a few folk dances and the Concert ‘Fiori Rossiniani’ by Ernesto Cavallini as clarinet soloist with accompaniment on the piano by Professor Ladislav Palfi.” This appeared in an article entitled ‘One clarinet - One Life’, a music programme from Television Skopje dedicated to the famous clarinetist Tale Ognenovski’, published in the newspaper ‘Vecher’, Skopje, Republic of Macedonia on May 19, 1970. 

June 23, 1973 
“A long time ago, Tale Ognenovski was called a “virtuoso of the clarinet”...He was always invited as a guest to participate in tours by ‘Tanec’, ‘Mirche Acev’, ‘Orce Nikolov’, ‘Vlado Tasevski’, ‘Kocho Racin’ and others...In 1969 he surprised everybody with his concert of classical music. With accompaniment on the piano by Ladislav Palfi, Tale Ognenovski performed a concert for the clarinet (this was the concert ‘Fiori Rossiniani’ - remark made by Stevan Ognenovski) by the Italian composer Ernesto Cavallini. This was yet more evidence of his virtuosity.” This appeared in an article entitled ‘Tale and his clarinet’, and was published in the magazine ‘Ekran’, Skopje, Republic of Macedonia on June 23, 1973. 

1973 
“It is not widely known either in Yugoslavia (Former Yugoslavia) or in the world that the renowned virtuoso clarinetist Tale Ognenovski is a concert clarinetist. It is not widely known what Tale Ognenovski can play in other music styles: jazz, jazz improvisations in the style of Benny Goodman and Artie Shaw or dance music. It is a phenomenon that Tale Ognenovski has the right amount of ‘ambazhura’ and vibrato for every style of music. For classical music, he has perfectly level tone. It is particularly phenomenal that he can change the colour and vibrato in a moment. The standard is that one timbre and one kind of vibrato exclude other colour and other type... 
On his repertoire are Weber’s concert in ef-mol, Mozart’s concert A Major...” said Professor Ladislav Palfi, our famous pianist...” This appeared in an article written by B. Mirchevski, entitled ‘Tale Ognenovski - fifty years of magic with the clarinet, the life of one clarinet’ and published in the magazine ‘Studentski zbor’, Skopje, Republic of Macedonia in 1973.

May 27, 1977 
“I composed numerous folk dances. These folk dances are present in almost every home. These folk dances are recorded on gramophone records and locked away in many places both here and even in foreign countries,” said Tale Ognenovski. This appeared in an article entitled ‘Four decades with the clarinet’ and published in the magazine ‘Ekran’, Skopje, Republic of Macedonia on May 27, 1977. 

1979 
“Our famous artist, the virtuoso clarinetist Tale Ognenovski, says: “I began to play the clarinet and to compose dances and melodies when I was fifteen. At the First Republic of Macedonia Festival of Folk Dances and Songs in 1948 in Skopje, I received First Award as the best clarinetist, and since then I have performed continually on music stages as a professional musician in this country and abroad.... I have performed in more than one thousand concerts. This September I will record a new LP for Radio Television Belgrade with 12 folk dances.” This appeared in an article written by Kosta Popovski, entitled ‘The people in the focus – Record’ and published in the newspaper ‘Nova Makedonija’, Skopje, Republic of Macedonia in 1979. 

1979 
“At the top of the list of our performers, players of separate folk instruments, is the clarinetist Tale Ognenovski... Ognenovski has played folk instruments since he was seven... Ognenovski received First Award at the Republic folklore festival in 1948 in Skopje ... He made his first debuts performing and recording for Radio Skopje, then toured many countries with our Folk Dances Ensembles... Most of the folk dances that he recorded are his own compositions... In an artist’s portrait of the clarinetist Tale Ognenovski, he is engaged in playing classical music. It is known that in 1952 and 1953 he performed classical music in public concerts organized by Radio Skopje... Later he recorded a classical concert for the clarinet for Radio Skopje... With this was the proof that Tale Ognenovski was a absolute maestro on clarinet...” This appeared in an article written by Vancho Mehandziski, entitled ‘The clarinet as a life’ and published in the newspaper ‘Nova Makedonija’, Skopje, Republic of Macedonia in 1979. 

1987
“Television Skopje recorded a half-hour television programme with the title ‘One clarinet, one life’... At the First Republic of Macedonia Festival of Folk Dances and Songs in 1948 in Skopje Tale Ognenovski received First Award as the best clarinetist... His music repertoire includes many folk dances and jazz interpretations, and concerts from Weber, Mozart, and Cavallini...Tale Ognenovski toured the world with this wooden instrument and everywhere he received deserved applause from the lovers of music.” 

“...These days, I recorded one television programme for Television Skopje where I am playing folk dances: ‘Bukovsko svadbarsko oro’ - (composer Tale Ognenovski), ‘Brusnichko oro’ - (composer Tale Ognenovski), ‘Stevchevo oro’ - (composer Tale Ognenovski), ‘Kasapsko oro’ - (folk - arranger Tale Ognenovski), ‘Beranche’ (folk - arranger Tale Ognenovski). I will play on the pipe (‘kavalche’) together with the accompaniment of the ‘Authentic Folk Instruments Orchestra’. I will also play classical music: Mozart’s Clarinet Concerto and Wagner’s Adagio,” said Tale Ognenovski’. This appeared in an article written by V. Markoska, entitled ‘Tale Ognenovski-virtuoso on the clarinet’ and published in the newspaper ‘Vecher’, Skopje, Republic of Macedonia on July 17, 1987. 

July 18, 1987
“One clarinet, one life – a portrait of Tale Ognenovski, Television Skopje, first programme 18.00 - 18.30.” This appeared in the newspaper ‘Nova Makedonija’, Skopje, Republic of Macedonia on July 18, 1987. 

February 26, 1988 
“Tale Ognenovski, clarinet virtuoso,” a television programme with the title: ‘Playing this way’ with folk dances performed by a few extraordinary folk instrumentalists…” from an article that appeared in the newspaper ‘Nova Makedonija’, Skopje, Republic of Macedonia on February 26, 1988. 

May 24, 1996 
“The Macedonian Association of Stage Artists has awarded Tale Ognenovski, Vaska Ilieva, Aleksandar Sarievski, Jonche Hristovski and Pece Atanasovski with the ‘Award for Life Artist Work’. This title appeared in the newspaper ‘Vecher’, Skopje, Republic of Macedonia on May 24, 1996. 

May 15, 1997 
“April 27 was the 75th birthday of Tale Ognenovski (his mother was Vanka and his father was Jonche)... 60 years of playing the clarinet and 50 years after receiving First Award as the best clarinetist at the Bitola festival of Folk Dances and Songs (1947)... At the First Republic Macedonia Festival of Folk Dances and Songs in 1948 in Skopje, Tale Ognenovski received First Award as the best clarinetist... He worked for two months for Radio Skopje in 1948 (on the personal invitation of Nikolaj Galevski and Vasil Hadzimanov from Radio Skopje - Remark made by Stevan Ognenovski). He recorded and played programmes on Radio Bitola with his Folk Orchestra and the ‘Chalgii’ Orchestra. 

From 1951 till 1954 he worked with the ‘Public Police Orchestra’, from 1954 till 1956 with the ‘Public Town of Skopje Orchestra’ and from 1956 till 1960 with Ensemble ‘Tanec’. From 1960 till 1967 he worked with the famous Folk Orchestra of Radio Television Skopje led by Nikolaj Galevski. In 1966 he became head of the ‘Folk Music Orchestra’ and, although he retired in 1967, he continued to play on an honorary basis with the ‘Chalgii’ Orchestra on ‘Radio Television Skopje’ for a long time...Both before and since then, he has made real departures into playing classical music by Mozart, Weber, Miler and various Macedonian authors...as well as his 150 or more compositions and dances released on 9 single gramophone records, 4 cassettes, and 4 LP’s. With some famous singers accompanying his Orchestra, he has given us quite an imposing number...” This article appeared under the title ‘Tale Ognenovski and his anniversaries (1)’, and was published in the magazine ‘Ekran’ on May 15, 1997. 

May 22, 1997 
“... The prodigy however is called Tale Ognenovski... Absolute mastery and unlimited imagination and musical invention, for him, are only ‘potka’, a condition, a starter, a tonal ‘organon’, for his creative assomplishment.... Has Ognenovski’s ingenuity in advance not done something that, with the power of empirical palpability and outright proof, will convince us that Macedonia - with the power of both worlds of melodies being borne and present in her galaxy of sounds - is the one predetermined to play the role of a tonal catalyst for the future universal connection and natural mixing and circulation of the creative idea of East - West - East? After Ognenovski, “Anastasia” has already made an effective start down that road…” Wrote Dusko Dimitrovski for Tale Ognenovski in the book “For Our Music...”, title: “Tale Ognenovski and his anniversaries (2) “ Newsmagazine “Ekran”, May 22, 1997 

November 10, 1997 
“...It is a phenomenon that for every style of music, Tale Ognenovski has the right amount of ‘ambazhura’ and vibrato. For classical music, when it is required, a perfectly level tone...”, wrote Professor Ladislav Palfi on May 23, 1973. 
“Tale Ognenovski is the author of the book ‘Macedonian folk dances’ (‘Makedonski ora’) published by the Cultural Educational Association in Skopje, 1989. In the introduction to this book Kiril Todevski, ethno musician, and editor at the Department for Folk Music in Radio Skopje wrote, “...Year by year his skills as a real virtuoso and artist have developed, this man who created his own style for interpreting folk dances (‘ora’), the special characteristics of which are his inventive improvisations called ‘maninja’. At the same time as producing these, Tale Ognenovski became a composer of his own folk dances...” 
“...In his solo performance, he played together in parallel Cavallini’s concert ‘Fiori Rossiniani’, Weber’s concert in ef-mol, and Mozart’s concert for the Clarinet in A Major K. 622 with Professor Ladislav Palfi as piano accompaniment in a broadcast on Radio Television Skopje. He has made many performances in public and played jazz music by Yugoslav composers, also jazz in the style of Benny Goodman, Artie Shaw... 
We discovered Tale Ognenovski in this area of music, the clarinetist who first began to play in Brusnik near Bitola, then, drifting through the Pelagonia plane, crossed the River Vardar, toured throughout Macedonia and eventually toured throughout America, Canada and many European countries. As he grew up he developed his skill and became wealthy and, in a unique way...” written by Gjoko Georgiev...” This appeared in an article written by Stevan Ognenovski, M. Sc. under the title ‘Tale Ognenovski deserves the ‘11 Oktomvri’ award’. It was published in the newspaper ‘Nova Makedonija’, Skopje, Republic of Macedonia on November 10, 1997. 

June 29, 1998 
“Twenty folk artists from the Macedonian Association of Stage Artists, including Vaska Ilieva, Jonche Hristovski, Blaga Petreska and Tale Ognenovski, will perform the traditional summer concert, tonight, June 29, at 8:30 p.m. at the Stone Bridge.” 
This article appeared in the newspaper ‘Vecher’ under the title ‘Macedonian Stage Artists will perform tonight in the Skopje Summer’. It was published on June 29, 1998. 

October 29, 1998 
“...Tale Ognenovski is the author of the first collection of musical notations of Macedonian folk dances, ‘Macedonian folk dances’ (‘Makedonski ora’), published by the Cultural Educational Association from Skopje in 1989. 
He has appeared with the Macedonian Ensemble of Folk Dances and Songs ‘Tanec’ on the world’s most prestigious concert stages in North America and Europe with fantastic success; these successes have been documented in articles in world-famous newspapers, including The New York Times, The New York Daily News, Boston Traveler, Chicago Daily News, Washington News, Saint Louis Globe, The Milwaukee Journal - USA, Hildesheim press - Germany, Le Berry Republicain, La Nouvelle Republique du Centre - France...On January 22, 1956, with Ensemble ‘Tanec’, he performed on the American television program ‘Omnibus’. On January 27, 1956, they performed in the world-famous concert hall Carnegie Hall with great success. In his book ‘For our music’, Dushko Dimitrovski wrote ‘But, aside all else, the prodigy is called Tale Ognenovski... we will be greatly surprised and enraptured to find that Ognenovski is (probably) the FIRST, and (surely) THE FARTHEST REACHING contemporary who made the connection between the two ‘NON-CONNECTING’ worlds - the Orient and the West – in melodies and words… Tale Ognenovski’s biography was published on the Internet on September 18, 1998...” This appeared in an article written by Stevan Ognenovski, M. Sc. entitled ‘Tale Ognenovski deserves the ‘11 October’ award. It was published in the magazine ‘Denes’, Skopje, Republic of Macedonia on October 29, 1998.

VIII. TALE OGNENOVSKI RECEIVED NUMEROUS AWARDS AND HONOURS, ALL AMONG THE MOST PRESTIGIOUS IN THE PERFORMING ARTS:

Awards: 

1. Tale Ognenovski is a winner of the First Regional Bitola Festival of Folk Dances and Songs, 1947 

Tale Ognenovski received the First Award as the best clarinetist at the First Regional Bitola Festival of Folk Dances and Songs, October 9-11, 1947. At this festival participated folk dance groups from the towns of Bitola, Skopje, Prilep, Tetovo, Gevgelija, Debar, Ohrid, Kichevo, Gostivar, Kavadarci, Makedonski Brod, Demir Hisar, Struga, Resen and Krushevo.

“Macedonia is the country with the most folk dances, so many in number that there is no other country in Europe equal to Macedonia,” said Olga Skovran from Belgrade, Manager for folklore in the Ministry of Culture in the Republic of Serbia (Former Yugoslavia). This came from an article entitled ‘We must keep our folk songs, dances and folk costumes’, written by Lazo Karovski and appearing in the newspaper ‘Nova Makedonija’, Skopje, Republic of Macedonia on October 11, 1947 
2. Tale Ognenovski’s First Award for Clarinet as a top clarinetist at the First Republic of Macedonia Festival of Folk Dances and Songs, 1948 

“The First Award for Clarinet was received by Tale Ognenovski from Bitola.” This comment appeared in the newspaper ‘Nova Makedonija’ published on October 13, 1948. The report was entitled ‘Awards for folk dances and songs, solo singers and players who participated at the First Republic of Macedonia Festival of Folk Dances and Songs’.

One of the highpoints of Tale Ognenovski’s successes was his participation in a competition during the ‘Republic of Macedonia Festival of Folk Dances and Songs’ during the period 6-10 October, 1948. 453 Folk dances and songs groups competed in the festival in Skopje, Republic of Macedonia. He was a winner, and received his First Award as the best clarinetist from Angel Saldziev, Assistant Director from the Ministry of Science and Culture in the Republic of Macedonia. The President of the commission was Zhivko Firfov, and a member of the commission was Vasil Hadzimanov. 

At this folk festival Tale Ognenovski participated in playing as clarinet soloist with every folk group from the Bitola region – from the villages of Brusnik (its members were Pande Metlovski, Vasko Stankovski, Rade Talevski, Sotir Ilkovski, Tome Grozdanovski, Cane Grozdanovski, Jonche Talevski, Mile Josifovski, Milica Talevska, Vera Tasevska, Vasilka Karangelevska, Danica Drskovska, Vasa Altanovska, Kristina Palashovska, Cena Veleva, Fana Dushovska, Ljube Karangelevska and Dragica Apchevska), Lavci, Dihovo and Rotino and from the town of Bitola. In addition, Tale Ognenovski was the artistic instructor and coordinator of all the folk groups from the Bitola region. The Bitola Towns Union of cultural educated societies won the First Award for the best cultural region in the Republic of Macedonia… 

3. Tale Ognenovski’s First Award at the Yugoslav (Former Yugoslavia) Folk Music Festival in Opatija, Croatia, 1951. 

85 Folk groups performed at the Yugoslav (Former Yugoslavia) Folk Music Festival in Opatija, Croatia, that took place during the period September 9 to 13, 1951. They came from Serbia (September 9th, represented by 15 villages), Bosnia and Herzegovina (September 10th, represented by 15 villages), Montenegro (September 11th, represented by 8 villages), Slovenia (September 11th, represented by 5 villages), Macedonia (September 12th, represented by 23 villages) and Croatia (September 13th, represented by 19 villages). 

“Teshkoto (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) from Nidzopole (Bitola) means ‘heavy’, and indicates the heavy rhythm which is typical of very ancient dances...” This appeared in the ‘International Folk Music Journal’ under the title ‘Extracts from PROGRAMME NOTES ON THE DANCES AND SONGS performed at the Yugoslav Folk Music Festival’, with the subtitle ‘MACEDONIA - represented by 23 villages’, published by The International Folk Music Council, London, in March, 1952, Volume IV, pages 60-64.

At the Yugoslav (Former Yugoslaviia) Folk Music Festival in Opatija, the Folk Dance group from the Bitola village of Nidzopole from Cultural - Educational society “Jonche Georgievski” from the Bitola village of Dihovo in which Tale Ognenovski was playing as a clarinet soloist, created a sensation and received First Award as the best Folk Dance group at the festival. Tale Ognenovski, with his masterly playing solo clarinet, deserved the award together with other members of the group. This was a great success because in this Festival participated 85 different folk dance groups from Macedonia, Croatia, Serbia, Slovenia, Montenegro and Bosnia and Herzegovina. The musical part of the group had only two members: Tale Ognenovski played solo clarinet with the accompaniment of drummer Lambe Petrovski. 

This is a musical sensation, to receive the First Award with orchestra consisting of only two members. The clarinetist Ognenovski and drummer Petrovski performed closely together.

The dancers and singers were Vera Cholakovska, Cveta Petrovska, Sakjime Alimovska, Nada, Marika, Menan, Sefer, Mirko, Vangel, and Dimche Talevski. 

There was a full house at the concert hall in the Kvarner hotel in Opatija, and the audience was fascinated by the music and the three dances performed by the Ensemble: ‘Za ramo Teshkoto’, ‘Beranche’ and ‘Vlashko za ramo’ (these folk dances involved singing by all ten members of the Ensemble). Tale Ognenovski was arranger of these folk dances and made them more effective with his solo improvisations.

3.1. “The clarinet (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) was as effective an accompaniment to the large drum in the folk dance from Kozjak as it was to the small drum in the folk dance ‘Teshkoto’ from Nidzopole. They provided a very effective combination” - Dr. Vinko Zganec in ‘Kulturni radnik’

Iin the cultural newsmagazine ‘Kulturni radnik’ Number 10-11, published in October 1951 in Zagreb, Croatia, Dr Vinko Zganec wrote “The clarinet (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) was as effective an accompaniment to the large drum in the folk dance from Kozjak as it was to the small drum in the folk dance ‘Teshkoto’ from Nidzopole. They provided a very effective combination.” This appeared in an article entitled ‘Yugoslav Musical folklore at the Festival in Opatija’. 

The audience greets the debut of the group from Nidzopole with great applause... Delegates at the Conference of the International Folk Music Council in Opatia from September 8-14, 1951, were present at this concert. Many of the world’s reporters took photos of the members of the group regarding their excellent debut and their receiving First Award at this festival (Source: a letter from Mr. Mile Petrovski, Bitola, Republic of Macedonia, May 15, 1965, and an informal interview with Mrs. Vera Cholakovska Petrovska and Mr. Mile Petrovski made by Stevan Ognenovski on May 3, 1998). 

3.2. No other nation in Europe has so rich folklore

”The riches of your folklore have a strong influence on me. Your folklore is something really unusual. No other nation in Europe has such rich folklore.” This comment was by Mrs. Nataplesh, the Honorary Secretary of the International Folk Music Council (whose headquarters are in London, England), who was present on the Conference of the International Folk Music Council in Opatia during the period September 8-14, 1951. This came from an article entitled ‘Great interest for our folklore in Opatija.’ It was published in the newspaper ‘Nova Makedonija’, Skopje, Republic of Macedonia, on September 14, 1951.) 

3.3. The Yugoslav (Former Yugoslavian) Folk Music Festival in Opatija had been specially arranged for the members of the Conference of the International Folk Music Council

“The Council has been fortunate in the national setting of its conferences, which each year has given a distinctive character to the proceedings. At the 1951 conference, held at Opatija from September 8th to 14th, we had the stimulus of exchanging views with and learning from our Yugoslav colleagues who have had the inestimable advantage of studying their folk music tradition whilst it is still in full flower; and we were privileged to see and hear for ourselves the beauty and variety of Yugoslav folk art in the wonderful Festival which had been especially arranged for the members of the Conference. 

This contact with the living material gave point and added significance to the theoretic discussions, for it showed that we were concerned with a form of artistic expression that is not merely an adornment but a condition of life. Indeed, there were moments during the Festival performances when we could recognize the magic of dance and song and believe in their power to drive away evil spirits, to induce fertility and to promote healing...” This appeared in an article entitled ‘Editorial’, and was published in the Journal of the International Folk Music Council, Vol. IV, page 1, in March, 1952.

3.4. “Astonishing pageant of costume and custom, ritual and social dance, song and instrumental playing by 700 performers in Opatija” - Marie Slocombe, Journal of the International Folk Music Council

“It was natural that on this occasion expositions of Yugoslav folklore and music should form the backbone of the Conference, and these received the most wonderful illustrations in the nightly Festival which took place in the magnificent ballroom of a nearby hotel. Every evening, for three hours or more, we witnessed an astonishing pageant of costume and custom, ritual and social dance, song and instrumental playing by 700 performers brought together from every part of the country. This was a world whose riches most of us had barely guessed at and, in this highly concentrated presentation, it was an overwhelming and unforgettable experience...” This came from an article entitled ‘Some impressions of the Yugoslav Conference and Festival’, written by Marie Slocombe and published in the Journal of the International Folk Music Council, Vol. IV, page 2, in March, 1952.

4. Honours: 
1. “Diploma for a highly qualified musician” from the Association of musicians of folk and entertaining music from Macedonia (signed by the composer Stefan Gajdov), on September 3, 1961, in Skopje.
2. “Spomen plaketa” from the Parliament of the town of Skopje (signed by Blagoj Popov), in Skopje on January 20, 1969
3. “Spomenica” from the Macedonian State Ensemble of Folk dances and Songs ‘Tanec’ (signed by Toma Leov), in Skopje on January 31, 1969.
4. “Blagodarnica” from the Cultural Artists Association ‘Kocho Racin’(signed by Blazhe Sekulovski), in Skopje on June 3, 1971.
5. “Spomen plaketa” from the Cultural House ‘Kocho Racin’ (signed by Petar Bogatinovski and Stanimir Andreevski), in Skopje on November 27, 1974.
6. “Priznanie” from the Cultural Education Union of Skopje (signed by Dr. Tome Sazdov), in Skopje on December 5, 1975.
7. “Diploma” from the Association of Stage Artists of Macedonia (signed by Boris Nizamovski), in Skopje in 1977.
8. “Estradna nagrada Jugoslavije” (“Yugoslavian Stage Award”) from the Association of Stage Artists of Yugoslavia (Former Yugoslavia) signed by the composer Miljenko Prohaska, in Zagreb, Croatia on October 31, 1978.
9. “Blagodarnica” from the Institute of Folklore “Marko Cepenkov”, in Skopje on October 2, 1980.
10. On July 4th, 1983, (in former Yugoslavia) for his musical works, from “Sojuz na borci na Jugoslavija”.
11. “Pofalnica” from “Dom na VVI I borci od NOV-Skopje” and the Committee of the “Borec” Choir on the 10th anniversary of its founding (signed by Branko Ichokjaev and Ljubica Ivanovska), in Skopje in 1984.
12. “Estradna nagrada na Makedonija” (“Macedonian Stage Award”) from the Association of Stage Artists of Macedonia, in Skopje on May 15, 1985. This was also awarded to other legendary Macedonian artists such as Vaska Ilieva (singer), Aleksandar Sarievski (singer), Jonche Hristovski (singer), Angel Nanchevski (accordion), Kocho Petrovski (accordion) and Pece Atanasovski (bagpipe –“gajda”)
13. “Blagodarnica” from the Committee for the celebration on the 600th anniversary of the founding of the village of Brusnik (signed by Cane Skerlevski), in Brusnik, Bitola on August 8-9, 1992.
14. “Pocheshna Estradna Nagrada na Makedonija” (“Macedonian Stage Award (Honorary)”) from the Association of Stage Artists of Macedonia, (signed by Bozhidar Noev), in Skopje on May 27, 1996. *
This is an honorary award, which was introduced. Various legendary Macedonian artists have received the award: Tale Ognenovski (clarinet), Vaska Ilieva (singer), Aleksandar Sarievski (singer), Jonche Hristovski (singer) and Pece Atanasovski (bagpipe –“gajda”). All these awards were presented in the ‘Continental’ Hotel, Skopje, on May 27, 1996. At this celebration, Tale Ognenovski played Macedonian folk dances on the clarinet. He received frenetic applause from the audience who were amazed by his virtuoso technique on the instrument. 
15. "Blagodarnica" (This is an honorary award) for life work from the folk radio "Radio Ros", (signed by the director Aleksandar Dimitrov), in Skopje on December 7, 2000. This was also awarded to other legendary Macedonian artists such as Vaska Ilieva (singer) and Aleksandar Sarievski (singer). All these awards, which was being introduced for the first time, were presented in the 'Universal Hall' on the Folk Festival "Ros 2000" . 

IX. TALE OGNENOVSKI IS UNDOUBTEDLY ONE OF THE GREATEST COMPOSERS OF MUSIC IN THE WORLD

1. The book “Macedonian folk dances” by Tale Ognenovski, 1989 

Tale Ognenovski is author of the book “Macedonian folk dances” (“Makedonski ora”) published by the Cultural Educational Association, Skopje, in 1989. The person responsible for its publication was Mirko Stefanovski, the secretary of the Cultural Educational Association from Skopje. The editor was Jelica Todorchevska, and it was reviewed by Dr. Trpko Bicevski, Dimche Nikolevski and Dushko Dimitrovski. Financial support for its publication was provided by the Republic’s Cultural Society, the Republic’s Scientific Society, the Autonomous Interest Society of Skopje and ‘Makedonija Tabak’.

In the introduction to this book Kiril Todevski, ethnomusicologist and editor of the Folk Music Department in Radio Skopje wrote, “Besides his affirming Macedonian folk dances with magnetic tapes and gramophone records, Tale Ognenovski has written this book of Macedonian folk dances, the first such book in Macedonia. He has for a long time been associated with the traditional expression of the Folk style and an endless desire to develop the smallest element of folk music into a complex instrumental content...
Tale Ognenovski has performed as much music on the Radio as he has in concert halls in our country, and in many European and non-European countries. 
He began to play from the earliest age with the pipe (‘kavalche’) in his village of Brusnik near Bitola, and he received recognition from the music profession at the First Republic Festival for Macedonian folk dances and songs in Skopje, 1948, where he won First Award for the clarinet as the best clarinetist. It was at this time, following the Festival and his first great award, that Ognenovski decided on a personal objective of developing a creative traditional style in the area of instrumental music. 

Year by year he developed into a real virtuoso and artist. He created his own style of interpreting folk dances (‘ora’). His particular characteristic involved his own creative improvisations called ‘maninja’. 
At the same time as he was performing music like this, he started composing his own folk dances. As a composer, he kept the traditional folk expression. 
Many years of performing with the orchestras of Radio Television Skopje, with Ensemble ‘Tanec’ and with other folk ensembles helped him create ‘Ognenovski’s style’ when producing his own Macedonian folk dances. These are easily recognizable by their exuberant melody and rich rhythms in correlation with the traditional style. 
In this area, he is equally well recognized as a performer of ‘chalgiski ora’, folk dances where the melody is always the first objective. He is a composer of folk dances in the ‘new town’ tradition, which he interprets with the Folk Music Orchestra and where the melody is created in the context of a logical harmony. This book containing Macedonian folk dances as well as gramophone records represents an important piece of literature for current and future-generation instrumentalists. This book will remind us of one uniquely talented artist, Tale Ognenovski.
In his review of the book, Dr. Trpko Bicevski, ethnomusicologist and senior research fellow at the ‘Marko Cepenkov’ Institute for Folklore, Skopje, wrote amongst other things, “...We have pleasure in recommending for publication this book ‘Macedonian folk dances’ (‘Makedonski ora’), a manuscript by this former ambassador of ours in this kind of Macedonian Music Culture all over the world.” 

2. “The impossible becomes possible: two, ‘usually non-complimentary’ parallel-existing worlds of sounds – Europe – The Orient – are, in Tale Ognenovski’s music, naturally brought closer together, understand each other and merge...” - Dushko Dimitrovski, book ‘For Our Music’ 

Tale Ognenovski made the connection between Oriental and Western Music 
“For creative generations performing our contemporary Music, it is very fortunate that we already have three (International) National Outstanding Persons in this field of music whose brilliant creations they can surely rely on to inspire them with authentic, dynamic power and direct them towards creating the same. These Giants of Music are Jovan Kukuzel (John Koukouzeles), Pece Atanasovski and Tale Ognenovski... 

The prodigy, however, is called Tale Ognenovski… Both Jesus Christ’s: “I came not to do away with the Bible, but to fulfil and continue it”, and Michalangelo’s: “The Artist must adopt strict, artistic rules at first, to be able to break them afterwards”… could well apply to Ognenovski. Absolutely masterly and limitless imagination and music inventiveness are only ‘potka’, a condition, a starter, tonal ‘organon’, for his creative accomplishments.... As a virtuoso playing ‘Chalgija’ music (in his child-hood, as a shepherd, he played the pipe (‘kavalche’); later, as an educated musician he played Cavallini, Weber and Mozart. Tale Ognenovski, at the same time, navigates himself effectively all around the world of classical music. 

As if the ingenious knowledge of the ‘chalgija’ universe, but also with the live primordial in the rustic sound, together with the vivid, creative touch of the mysteries of European classical music idea, had predetermined the outstanding talent of Ognenovski to make one, perhaps unconscious, but in musical and historical terms, more than far-reaching creative step forward. In other words if without telling in advance, we approach carefully and analytically the ‘chalgija’ opus created by the Maestro, we will discover with surprise and great delight that Ognenovski is (probably) the FIRST, and (surely) THE FARTHEST REACHING contemporary who first made the connection between the two “UNCONNECTABLE” worlds – the Orient and the West - with words and melodies. Tale Ognenovski does not find it problematic to start with a motif, a theme, and then to navigate through all the labryinths of the archaic and old church styles, so that at in a certain section of his improvisation… to decide on a strict, “very Western-style” tonality and to bring all that to the starting-point by perfectly structuring and observing the style. The impossible becomes possible: two, “usually non-complimentary” parallel-existing worlds of sounds - Europe - The Orient – are in Tale Ognenovski’s music naturally brought closer together, understand each other and merge. 
Has Ognenovski’s ingenuity in advance not done something that with the power of empirical palpability and outright proof, will convince us that Macedonia - with the power of both worlds of melodies being borne and present in her galaxy of sounds - is the one predetermined to play the role of a tonal catalyst for the future universal connection and natural mixing and circulation of the creative idea of East - West - East? After Ognenovski, “Anastasia” has already made an effective start down that road”, wrote Dushko Dimitrovski in his book “For Our Music” (“Za Nasha Muzika”) ISBN 9989-600-01-5, published by BID “Misirkov”, 1994), 

3. “Musical Genius Tale Ognenovski is on an equal level musically with other World Musical Legends” – ‘Nova Zora’

“Here began the creation of the great heritage of Macedonian Culture which Tale Ognenovski has left. This great heritage put the musical genius Tale Ognenovski on an equal level musically with other world musical legends. Somebody said that Tale Ognenovski was better than Mozart...Tale Ognenovski is the first and the longest surviving person who has managed to connect the two ‘unconnectable’ Music Worlds of the Orient and the West...” This appeared in an article entitled “The Great ‘Chalgii’ opus of the Maestro Tale Ognenovski”. It was published in the magazine ‘Nova Zora’ in Bitola, Republic of Macedonia, in November, 1994. 

4. The end result of Tale Ognenovski’s clarinet works is an expression of his own amazing virtuosity

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.

Tale Ognenovski is one of the greatest exponents of writers of clarinet music. He spent the years 1947 to 1952 studying classical music independently, and become a virtuoso clarinet soloist. He performed works by Mozart, Cavallini, Wagner and Weber.

With his ‘Jazz composition No. 1’, Tale Ognenovski introduced a new form of jazz – ‘Tale Ognenovski Jazz’. He recorded this jazz composition on June 16, 1998 for the televised programme ‘Good Morning Macedonia’. These Jazz improvisations, composed and performed on this programme by Tale Ognenovski as clarinet soloist can be listened to on his Web site at the Internet address

http://www.taleognenovski.com.mk/ 

He demonstrates remarkable technique together with a quite unique sound and the ability to come up with wonderfully harmonious phrases. In his compositions, every note makes sense. He is a master of improvisations, of creating new melodies that have an impact on many parts of the structure of his compositions of Macedonian folk dances. 

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.
In this book, he has composed some very creative and technically demanding pieces, for which the clarinet soloist requires extremes in range, tonal control, technique and dynamism. These clarinet compositions will open the door for much more widespread use of the clarinet in many more creative and brilliant compositions in the future. 

X. SOME COMMENTS ABOUT TALE OGNENOVSKI’S BRILLIANT CAREER AS A MUSICIAN AND COMPOSER

Tale Ognenovski received the First Award.
“Tale Ognenovski was born in the village of Brusnik, Bitola. The first time I met this clarinetist was when he was a participant at the great October festival in Skopje in 1948. Out of the numerous groups and individuals participants at this festival, one of the most remarkable and eminent instrumentalists was Tale Ognenovski. He won First Award. Since then he has performed with extraordinary success as a folk artist on numerous shows both nationally and internationally.” These words are from a letter dated May 13, 1965, written by Zhivko Firfov, ethnomusicologist, composer, and president of the award commission at the First Republic of Macedonia Festival of Folk Dances and Songs, Skopje, October 6-10, 1948.

Tale Ognenovski has created his own style in folk music 
“As the best clarinetist at the Festival in Skopje on October 11, 1948, Tale Ognenovski was awarded First Award for the clarinet. Zhivko Firfov was president of the award commission, and Angelko Saldziev gave him a clarinet as the award donated by the Ministry of Education and Culture of the Republic of Macedonia. Tale Ognenovski has performed many of his own compositions of folk dances about Macedonian folklore on Radio Skopje. He has recorded gramophone records of folk dances with him playing as soloist. His folk dances have been recorded on tapes and broadcast over the radio by all the radio stations in Yugoslavia (the former Yugoslavia). This remarkable clarinetist created his own style of folk music and is now the best clarinetist in the Republic of Macedonia. He is an excellent player on the pipe and has recorded folk dances as pipe soloist.” The ethnomusicologist Vasil Hadzimanov wrote these words in a letter dated May 1965.

... I presented the first prize for the clarinet 
At the Republic’s Festival of the Cultural Artistic Society and individuals, on October 11, 1948, I presented the first prize for the clarinet to Tale Ognenovski as the best clarinettist. This award was donated by the Ministry of Science and Culture of People, Republic of Macedonia...” Angel Saldziev wrote these words in his letter dated May 28, 1973.

... He was given top awards...
“With his clarinet, Tale Ognenovski has helped us by working with cultural and educational organizations, particularly with dancing groups from the Bitola area. He toured the People’s Republic of Macedonia with our dancing groups and performed at the festival organized in our Republic, throughout the whole of Yugoslavia (the former Yugoslavia) and in Opatija, Kragujevac and other towns... He was given top awards...” These words were written in a letter dated May 18,1965, by Remzi Mefail Nasufi from Bitola, who was a member of the organizing committee for the preparation of folklore groups from the Bitola area for the regional festival in Bitola, 1947, and for the Republic of Macedonia Folklore Festival in Skopje, 1948.

... an active helper in the preparation of folklore groups...
“Tale Ognenovski was an active helper in the preparation of folklore groups of young players from Brusnik, Dihovo, Nidzopole, Rotino and other places. In recognition of his contribution towards the preparations and the performances at the Festivals (in areas and towns) he received top awards. At the Republic’s Festival in 1948, he received the First Award as the best clarinetist because he was the best player of folk dances on the clarinet...” Krste Thokovski, a member of the organizing committee for the preparation of folklore groups from the Bitola area in respect of the regional festival in Bitola, 1947, and for the Republic of Macedonia Folklore Festival in Skopje, 1948, wrote this in a letter dated May 18, 1965. 

“I have known Tale Ognenovski since 1947 when he performed at the Festival in Bitola. I performed as a folk dancer. Since then, he has participated in arts activities with the Cultural - Educational Society ‘Svetlost’ and other societies in Bitola...” written by Ilija Alushevski in a letter dated June 7, 1965.

Tale has played for more groups, and he prepared them for the Festival...
“With the founding of the first cultural artistic groups in Bitola and the surrounding area, Tale Ognenovski joined in their activities as a clarinet player. He gave invaluable help in the preparation of the groups in their participation at the Festival organized by the Ministry of Education and Culture of the People’s Republic of Macedonia. Later, in 1948, with the founding of 11 cultural artistic groups in Bitola and the surrounding area, Tale played for other groups and prepared them for the Festival on October 11... In recognition of his and other volunteers’ participation at the festival in Skopje, the region of Bitola received the top award. Tale Ognenovski received the top award for the clarinet as the best clarinet player at the Festival...” These words were written in a letter dated April 20, 1983, by Pande Vojdanovski, a member of the organizing committee for the preparation of folklore groups from the Bitola area for the regional festival in Bitola, 1947, and for the Republic of Macedonia Folklore Festival in Skopje, 1948.

...At the International Festival in Opatija...the top award...Some of the merit for this award belongs to Tale Ognenovski...
“Tale Ognenovski contributed a lot towards the educational development of the young people from the villages of Dihovo and Nidzopole, particularly with their music and singing. The Cultural -Educational Society from the village of Dihovo has participated in all Festivals in Bitola and Skopje, presenting a particularly distinguished folk dance group, some soloist singing and choirs with accompaniment by the clarinetist Tale Ognenovski and the accordionist Ordan Plashev. Our Society has received the top prize many times. The clarinetist Tale Ognenovski was personally awarded with the top prize on many occasions.

Tale Ognenovski toured our entire Republic, visiting the towns of Skopje, Kumanovo, Kriva Palanka, Delchevo, Pehchevo, Carevo selo, Strumica, Kavadarci, and many others. The greatest success was in Kragujevac where, although it had been planned that two concerts would be performed, in fact five were actually performed. Tale Ognenovski was a particularly distinguished soloist.
The folk dance group from our society in Nidzopole took part in the International Festival in Opatija and won first prize. Some of the merit for this award belongs to Tale Ognenovski...” Mile Petrovski, the artistic manager of the Cultural - Educational Society “Jonche Georgievski” from the village of Dihovo, wrote these words in a letter dated May 15, 1965.

His performances of folk songs and dances created in me a deep feeling...
“I have known Tale Ognenovski since 1947, when he performed as clarinet soloist at the Festival in Bitola. His performances of folk songs and dances created in me a deep feeling for literal interpretations of folk melodies... As a participant he won an award for his artistic performances...He has composed folk dances that are recorded on gramophone records...”
Ilija Nikolovski, Director of the Musical school in Skopje, wrote these words in a letter dated October 16, 1965.

Tale Ognenovski...a clarinetist of the highest level, the clarinetist who has no other equal in the Balkans or anywhere else...
“With his great skill and rich knowledge of all the secrets about creating folklore music, Tale Ognenovski helped us a great deal to make the programme the richest it could be. He showed us a way to develop our work. He is great patriot, who has helped all amateur societies without any financial compensation. Our opinion is that Tale Ognenovski is a clarinetist of the highest level, the clarinetist who has no other equal in the Balkans and anywhere else...” these words appeared in the letter no. 62 dated April 6, 1973, from the Ensemble of folk dances and songs “Goce Delchev”.

... a special honour for Tale Ognenovski for his interpretations and creative compositions in folk music...
“Tale Ognenovski worked as a clarinetist with the Ensemble of Folk Dances and Songs ‘Tanec’ from July 1, 1956 till September 1, 1960. After this, he was often invited as a top-class musician to participate from time to time in various performances of Ensemble ‘Tanec’, and always maintained his ability to interpret quality...
He has had a particular influence on and made a significant contribution to the musical life in Macedonia, particularly with his creative additions to Macedonian folklore tunes and his own fascinating compositions. This was appreciated at the meeting of the Artistic Council of Ensemble ‘Tanec’, Skopje, on May 9, 1973, when he was given a special honour for his interpretations and creative compositions of folk music...” These words appeared in letter no. 03-22/2 dated May 10, 1973 from the Ensemble of Folk Dances and Songs ‘Tanec’.

...his professional help with the music was valuable and of high quality...
“Tale Ognenovski, clarinetist from Skopje, has for many years worked with our Cultural Art Society on an amateur basis, and his professional help with the music was valuable and of as high a quality as his participation in numerous concerts both nationally and internationally and his professional education of young clarinetists.” This appeared in the letter no. 61-700 from the Cultural Art Society “Orce Nikolov”, dated April 9, 1973.

...he educated young musicians...
“Tale Ognenovski was, for a long time, an instrumentalist of the clarinet with the Folk Orchestra of the Cultural Art Society ‘Vlado Tasevski’. With great self-sacrifice, he worked a great deal to bring on our Society. With his many years of experience he educated young musicians, who are now working in our Society and in other cultural and art institutions in Skopje and in the Republic...” From a letter from the Cultural Art Society ‘Vlado Tasevski’ dated April 25, 1973.

... Tale Ognenovski deserved many honours as a composer, as a folk artist, as an interpreter of folk music...
“Tale Ognenovski gave me two recorded tapes with his compositions of folk music with the request that I review them for their quality. When I had finished listening to them, I realised that he had a good style of interpretation on the clarinet... Tale Ognenovski deserved many honours as a composer, as a folk artist, as an interpreter of folk music...” wrote Aleksandar Linin, manager of the folk music department at the Institute of Folklore in Skopje, in a letter dated April 10, 1973.

Tale Ognenovski helped manage Radio Skopje’s review programme...
“During the period 1962 to 1965, Tale Ognenovski helped manage Radio Skopje’s review programme, the “Competition of the towns”, as a musician of Radio Skopje, as a leading instrumentalist of the Folk Orchestra and as assistant manager of the auditions and selection of unknown singers from all the towns of our Republic. He got a very positive message from the reactions he received about these activities. He received many compliments...Tale Ognenovski has appeared as a remarkable clarinet soloist. He contributed to this programme and to the Music productions of Radio Skopje with many of his own dance compositions, which are a particular musical treasure...” written by Blagoj Stefanovski, Head of Programme Performances on Radio Skopje and former editor and manager of the review programme ‘Competition of the towns’ of Radio Skopje, in a letter dated April 3, 1973.

Tale Ognenovski...got listeners excited and up on their feet in many countries and continents...
“With enormous hard work and the strength of his talent, Tale Ognenovski developed the highest level of ability in interpreting Macedonian rhythms. Besides his masterly improvisations of folk music, he learned musical notation. On many occasions Tale Ognenovski, when presenting our source of musical richness, got listeners excited and up on their feet in many countries and continents. With his performances he proved that Macedonian folklore was the richest.” The composer Blagoja Ivanovski wrote these words in a letter dated May 23, 1977.

Tale Ognenovski is recognized...as a composer of Macedonian folk dances...
“Tale Ognenovski is recognized as an artist from the Union of Composers in Yugoslavia (the former Yugoslavia) and as a composer of Macedonian folk dances with a prize collection of his own compositions. Some of these composition are recorded on gramophone records...” These words appeared in a letter from ‘OOZT Koncertna Direkcija – Skopje’, dated May 30, 1977.

... instrumental melodies performed by Tale Ognenovski undoubtedly present an object for special research work...
“His performances came from the school of natural folklore where one can cherish a wealth of everlasting musical tradition, as symbolised by the old and the new. The records of many dances and instrumental melodies performed by Tale Ognenovski undoubtedly present an object for special research work, because the clarinetist Tale Ognenovski is a name that represents extraordinary originality and creative interpretation.” This appeared in a letter no.03-466/2 dated June 17, 1977, from the Institute of Folklore ‘Marko Cepenkov’, Skopje, Republic of Macedonia.

His original talent he ennobled and expertise to an amazing level... 
“Tale Ognenovski has performed on the pipe (‘kavalche’) and the clarinet for 50 years. His natural talent is impressive and he has developed such an amazing level of expertise that to generations of folk clarinetists both in our country and around the world his musicianship is a sign of quality...It is evident that Ognenovski has an extraordinary reputation for developing our artistic amateurism and for his endless presentation of our folklore to the world. The numerous records of his performances are valuable, unique and everlasting artistic treasures of our culture, for the benefit of Yugoslavian (the former Yugoslavia) radio and televised programmes and for millions of Yugoslavians in this country and around the world. 
With Tale Ognenovski’s interpretations, the dance (‘oroto’) lives its own, totally natural life with a genuine air of style, brilliant creativity, highly gracious in all registers and colourful. This champion virtuoso made his performances sound unique and really magnificent...” contained in a letter from Radio Television Skopje, no. 03-948/1, dated May 30, 1977.

Tale Ognenovski is known with his originality and virtuosity...
“The famous, well-known artist Tale Ognenovski has for four decades unceasingly and unselfishly worked at maintaining the rich origin of traditional music in his creations. He is famous both nationally and internationally for his originality and superb skill in his interpretations of Macedonian folklore...” This comes from a letter from the Association of Stage Artists of Macedonia”, dated May 30, 1978.

“Tale Ognenovski worked with the Folk Orchestras of Culture and Art societies in Skopje without any financial remuneration, and left behind him many educated young artists, enthusiasts in folk music...” This comes from a letter from the Cultural Educational Association of Macedonia, no. 0301-19/1, dated January 15, 1988.

…exciting the public with his solo performances...left the sign of a unique clarinetist...
“As an extraordinary and very popular clarinetist Tale Ognenovski performed for several decades on numerous occasions both nationally and internationally, everywhere exciting the public with his solo performances. He has recorded many gramophone records depicting Macedonian folklore... Many well-known musicologists and musical critics have commented about his interpretations of the origins of Macedonian folklore, and have always declared his great skill, his wonderful talent and his creative musicianship. 
During the past decades Tale Ognenovski has left the sign of a unique clarinetist in his interpretations of Macedonian folklore. He has made a particularly special contribution in protecting and giving proof of the creation of Macedonian musical folklore...” These words are from the Association of Folklorists of Macedonia, in their letter no. 25, dated May 24, 1982.

“He was an active musician in all amateur ensembles, and he worked on a professional basis with the Folk Orchestra of Radio Skopje. He has taught numerous musicians, enthusiasts in folk music...” These words are from the Cultural-educational community of Macedonia, in their letter No. 0301-19/1, dated January 15, 1988.

... contributing by his methods of teaching…the young enthusiasts...
“In the House of the Culture Tale Ognenovski was a reproduction artist, preserving our folklore and contributing by his teaching methods, transferring his enormous experience to the young enthusiasts.” This comes from a letter from the House of the Culture ‘Kocho Racin’ dated February 22, 1990.

...his book ‘Makedonski ora’ (‘Macedonian dances’) which will forever be a guide for young musicians...
“Tale Ognenovski was professional manager of the Folk Orchestra in the Cultural Art Society ‘Mirche Acev’. His expertise and desire to work contributed to our Folk Orchestra being on a level comparable with other professional orchestras. His tuition led to several members of Folk Orchestra becoming good musicians who then continued to work in the same Cultural Art Society as well as in other culture and art institutions in the town and around the country. Another of his contributions in the area of folk music is his book ‘Makedonski ora’ (‘Macedonian dances’) which will forever be a guide for young musicians” These words are from the Cultural Art Society ‘Mirche Acev’, appearing in their letter no. 1015/18-2, dated February 20, 1990.

...always ready for conversation and for companionship, Tale was always popular and always the centre of attention in our society...
“Tale Ognenovski, the soloist and instrumentalist participated in numerous concerts around our country always on a voluntary basis, without any financial remuneration. His vast knowledge and experience as an instructor, musical manager and teacher he transferred to the young, talented enthusiasts in our society. Friendly and sincere, always ready for conversation and for companionship, Tale was always popular and always the centre of attention in our society. And nowadays, even though he is not actively involved with our society, he lives in our Ensemble through his folk dances in his book ‘Makedonski ora’ (‘Macedonian dances’).” These words are from the Cultural Art Society ‘Kocho Racin’, appearing in their letter no. 10-12, dated February 21, 1990

...develop in their the most valuable of settings...
“His real understanding of style, brilliant inventiveness, remarkable ability to accommodate every register and shade and fantastic skill made his performances sound unique and really magnificent... In the areas of artistic imagination and powerful, creative improvisation, Ognenovski developed his rare talent. It is evident that Ognenovski is an amiable representative of our contemporary, important, folk-artist school, who with incredible enthusiasm, love and creative work develop in their the most valuable of settings...”These words are from Radio Television Skopje, and appear in their letter no. 03-2179, dated February 21, 1990.

...in Europe and America, giving all he could in a top quality performance of folk music...
“Tale Ognenovski was often invited as a guest to perform with Ensemble Tanec in Europe and America, giving all he could in a top quality performance of folk music...Tale Ognenovski has recorded many folk dances with Radio Skopje and also on gramophone records where, besides original folk dances, he has recorded his own folk dance compositions in the Macedonian style...” These words are from Ensemble of Folk Dances and Songs ‘Tanec’, appearing in their letter no. 03-166, dated February 21, 1990.

“The musicianship of Tale Ognenovski, not only here but in all parts of the world, is recorded in a world anthology of folklore. This is his true award for proclaiming the legend of Macedonian folk music worldwide. His highly skilful improvisations, variations, and ‘maninja’ (cadenzas) characterized his personality. A great amount of production and reproduction of music with thousands of concerts, performances and gramophone records, and a book published with his own dance compositions...Tale Ognenovski lives the legend of Macedonian folklore...” These words are from the ‘Center for Culture and Information’, Bitola, appearing in their letter no. 03-68/1, dated May 27, 1998. 

...Everywhere, audiences gave Ensemble ‘Tanec’ and Tale Ognenovski ecstatic applause...
“At the end of 1955, Tale Ognenovski was employed by the ‘Public Police Orchestra’. Professor Asparuh HadziNikolov, the director of Ensemble ‘Tanec’, asked Micho Kostovski, the manager and conductor of the Orchestra if Tale Ognenovski could be a guest soloist of the Ensemble ‘Tanec’. First he was on tour in Bulgaria, and soon afterwards on tour in the United States and Canada (for three months in early 1956). Between 1956 and 1960, as a employee of the Ensemble, he went on tour in Switzerland, France (for three months), Germany (for three months), Albania, Romania and throughout the republics of the former Yugoslavia: Bosnia and Herzegovina, Monte Negro, Slovenia, Serbia and Croatia. Everywhere, audiences gave Ensemble ‘Tanec’ and Tale Ognenovski ecstatic applause...” These words are from the Ensemble of Folk Dances and Songs ‘Tanec’, appearing in their letter no.03-241/1, dated May 26, 1998.

... rare talent for improvisations and creative composing whilst performing...
“In many of Tale Ognenovski’s instrumental performances there is a remarkable sense of shaped musical phrase, rich shades, a tame and gracious tone, an extraordinary memory of sound and rare talent for improvisations and creative composing whilst performing. His brilliant-to-perform technical dances and instrumental melodies are likely to contain a heterogeneous array of Macedonian folklore rhythms. All of these things made this folk artist a virtuoso of his instrument...” These words are from the Institute of Folklore ‘Marko Cepenkov’, Skopje, Republic of Macedonia, appearing in their letter no. 04-339, dated May 8, 1998.

The name of Mr. Tale Ognenovski is now on the Internet...
“Mr. Tale Ognenovski did much to popularise not only Macedonian songs and dances but also Vloch folk songs and dances from Nidzopole, Bitola, at big and important Festivals not only in Macedonia, but also around the world. His highly skilful performances will remain as everlasting, valuable records in Macedonian Radio Television and become a part of the culture of the Vloch and also around the world. The name of Mr. Tale Ognenovski is now on the Internet and, by this channel, the world’s media will be able to gain access to and knowledge about our style of song and dance...” These words are from the ‘Union of Culture of Vloch from Macedonia’, appearing in their letter dated May 12, 1999.

He started playing classical works in December 1952 when, accompanied by the excellent pianist Nino Cipushev... 
“The famous and renowned artist, Tale Ognenovski, has for the past six decades unceasingly and generously worked at maintaining the rich origin of traditional music in his creations. He is famous both nationally and internationally for his originality and superb skill in interpretations of Macedonian folklore. He started playing classical works in December 1952 when, accompanied by the excellent pianist Nino Cipushev, he performed the concert ‘Concert Polka for Clarinet’ in the ‘Police House’...Tale Ognenovski has composed and arranged 150 Macedonian folk dances which have been recorded by Macedonian Radio Television...Visitors to his Web site from around the world can hear audio samples of ten musical works from folk, classical and jazz music in which Tale Ognenovski performs as clarinet and pipe soloist...His Web site
http://www.taleognenovski.com.mk/ is listed on the most popular Internet search engines...” these words are from the Association of Stage Artists of Macedonia, appearing in their letter no. 66, dated May 19, 1999.

...affirmation of Macedonian Art...
“The contribution of Mr. Tale Ognenovski from the Bitola village of Brusnik towards the development and affirmation of Macedonian Art, is great. His 60-year musical career included an important and productive period as an artistic producer and reproducer. His real merit is based on his affirmation of Macedonian original folk music, which he has performed in almost every continent in the world...” These words are from the ‘Committee for Community Activities on the Council of the Commune of Bitola’, appearing in their letter no. 14-340, dated May 20, 1999.

...almost irreplaceable quality, the creative artistic presence of Tale Ognenovski has been demonstrated on Radio and Television programmes since 1948...
“Extraordinarily important, extremely rare, and with an almost irreplaceable quality, the creative artistic presence of Tale Ognenovski has been demonstrated on Radio and Television programmes since 1948: a vast number of magnetic records by the Musical Production department of Macedonian Television; more gramophone records; tireless work and a great contribution to the artistic profile of programmes of the Ensemble of Folk Dances and Songs ‘Tanec’; working with many amateur culture and arts societies...On his numerous audio records and with every performance, Tale Ognenovski and his clarinet are a valuable, unique and permanent artistic treasure of our culture, because Tale and his performances shine with all the brilliance of our abundant folklore origins...Without disturbing the deep continuity of tradition, Tale Ognenovski has created a marker and a style in our musical folk era. It is from him that the secrets of how to preserve creative perfection in reproductions of folk music has been, is and will be learned by numerous folk instrumentalists. For this reason we can speak in some sense of a ‘Ognenovski folk clarinet school’...Tale Ognenovski is an extraordinary artist on the national and international map of art and culture...” These words are from Macedonian Radio Television, appearing in their letter no.08-1978/2, dated May 19, 1999.

XI. BIOGRAPHY OF TALE OGNENOVSKI IS PUBLISHED ON THE INTERNET
The content of the biography of Tale Ognenovski in this book is similar to that of his biography published on the Internet at the address
http://www.taleognenovski.com.mk/ on September 18, 1998, and written by the same author, Stevan Ognenovski.
Tale Ognenovski’s Site http://www.taleognenovski.com.mk/ is listed in the Open Directory Project (March, 1999) and hosted at http://dmoz.org/. This is one of the largest, human-edited directories on the web. Netscape Communications Corporation (‘Netscape’) owns the copyright to the compilation of the different contributions, and makes the Open Directory available to many companies under the license agreement term and conditions. 
Tale Ognenovski’s Site is listed in all Sites that use Open Directory data - including Netscape, Alta Vista, Lycos, HotBot, America On Line Search, The MP3meta Guide, Dictionary.com, YourPortal.com, MyGO, Winscone, EuroSeek, ToggleBot, Searchalot, Search Viking, Scopie, Proyecto Celestes, Premier Stores, PointClickSurf, Palmreach, Freefill.com, FlamingoLingo, ExpertsAvenue Information Highway, Densitron, Collect-Online, Business Nation, Better Brain, Bangkok.Com, ActionSearch, NetFinder USA, GlobeCrawler, DOGPILE, DAZZO, Bomis.com, CityFind.net, Borland Community, GoCrawl Directory, go2NET, Scour, Clickmusic, PlanetOut, Alta Vista UK, Alta Vista Sverige, Surfer, and others. 

Tale Ognenovski’s Site is also listed on Microsoft MSN, EuroFerret, Yahoo, Macedonian Telecommunications, Excite, Yeaah Planet Network, WWW Riot, NationalDirectory, Jayde Online, FindLink.com, Google, Canada, Snap, Northern Light, LookSmart, 800go, Anzwers, WhatUseek, Starting-Point, SavvySearch, Ask Jeeves, MetaCrawler, Kingston Internet, Web-Search.Com, Metasearch, Waypages, Direct Hit, MakNet, Infind, FAST Search, TheYellowPage, and others.

On February 25, 1999, the Tale Ognenovski Web site
http://www.taleognenovski.com.mk/index.html was listed on Anne Bell’s Clarinet Web site Index at the Internet address http://www.sneezy.org/anne_bell/ABCClar.htm together with another 20 world-famous clarinetists. The actual address is http://www.anne_bell/sneezy.org/ABCClar.htm.
The Tale Ognenovski Web site http://www.taleognenovski.com.mk/index.html won the ‘KING OF THE WEB’ award from the Organization ‘Searchking’ on February 25, 1999. 

Feedback on this biography has been received from visitors to the Tale Ognenovski Web site. The authors have agreed to their being published. At the end of the index page of the Web site and at the Internet address
http://www.taleognenovski.com.mk/feedback.html are their messages:

Subject: Tale Ognenovski 
Stevan... I listen the tapes of your father. They are very old, but the music is still so beautiful. I would be very interested in the classical recordings... thank you so much for your web site, January 18, 1999... HAPPY BIRTHDAY TO TALE OGNENOVSKI, THE WORLD’S GREATEST CLARINETIST! YOUR FRIEND, SUSAN PREFONTAINE, Buffalo, New York, USA, April 21, 1999. E-mail sprefont@acsu.buffalo.edu

Dear Tale and Stevan. 
My name is Dimce Cvetkovski. I was born on November 7, 1957 (in the village of Arvati near Krani in Prespa). I came to the United States on February 20, 1970. I was 12 years old. But I still remember everything, even though I have not been back to Macedonia since I came to the United States. My father has been back a few times but I haven’t. Maybe one of these days when things are not so busy. Both of my parents Cvetko and Sofija are still alive and have just retired. I have a sister Stefka who is 5 years younger than me. I am 41 years old and have been married for 17 years. My wife’s name is Gerrie (Geraldine) who is American. I also have 3 sons Steven (14 years old), Jeffrey (12 years old and Scott (9 years old)... 
In March 1, 1993, I opened my own KARATE STUDIO WESTERN NEW YORK KARATE CENTER. This is my own business...I have listened to Tale’s music since I was a little boy in Macedonia. I remember I was very young when I first heard BRUSNICHKO ORO and TALEVO SVADBARSKO ORO. In 1983, my father went to Macedonia for a visit. He brought to me 2 records (8 Macedonian folk dances - ORA). One record has POLJANSKO ORO, NEVENINO ORO etc...The other record has BUKOVSKO SVADBARSKO ORO, RESENSKO ORO, PRILEPSKO etc...In 1986 I went to Canada for a visit and I bought a cassette that has 12 Macedonian folk dances - ORA (CHALGIITE NA TALE OGNENOVSKI, KUKUSHKO ORO, RISTEVO ORO...). 
Today I have about 60 Macedonian folk dances - ORA from Tale Ognenovski. His music must live forever. Tale’s music touches my HEART and SOUL. Sometimes when I listen to his music there are tears from my eyes running down my face. 
Nobody in the world can play the clarinet like Tale. I have listened to a lot of clarinet music from many countries but nobody comes close to Tale. He is simply the BEST. When I was a little boy in Macedonia, I also played the pipe (“kavalche”) with my grandfather Mitre. My grandfather was a shepherd and I used to help him on the farm. But I have always loved clarinet music. I am 41 year old. Two years ago, I bought a clarinet. I listen by ear and try to play. I do not know how to read music. Maybe one day I will try to take lessons. My middle son Jeffrey takes lessons and plays the clarinet and the saxophone in school. He is in sixth grade. He is very, very good. He is the best in his school on the clarinet and the saxophone. My oldest Steven always listens to Tale’s music. He loves it. I hope someday I can play like Tale, even a little bit. I hope someday I get to meet you and your father Tale. It would be a great honor to shake the hand of the best clarinetist in the world. Maestro Tale is the best. I hope he lives a long, long, long time...All I want is his music to live forever. People need to listen and hear this great clarinetist. With Great greetings With Great Happiness. (January 24, 1999)... 

HAPPY BIRTHDAY TO THE BEST CLARINETIST IN THE WORLD! (April 10, 1999)...

As I drive in my car to and from my business and other places throughout the day, I spend 11/2 hours each day listening to Tale’s music. Tale is my hero. His music is incredible. His approach to every note is so unique. His improvisations and solos are out of this world, and no one can even come close. It is true that when listening to Tale, his music takes you to different worlds and different dimensions. I feel very special and lucky to have friends like you, and being touched so deeply by Tale’s music (December 21, 1999)...
Jim (Dimce) Cvetkovski, Buffalo, New York, USA

Subject: Congratulations/Makedonski Ora 
Dear Mr. Ognenovski, 
Thank you for establishing this wonderful web page as a tribute to your father, Tale. I must tell you that Tale has always been one of my heroes and my role model in clarinet playing. 
I am a Croatian-American living in Cleveland, Ohio, USA. I began playing the clarinet with Macedonian friends from our local Macedonian colony in 1972 and have continued since then. Early on I was given some 45 rpm recordings of your father - I was immediately inspired and electrified! Many Macedonian musicians have become popular since those days, but your father sets the standard for originality and good taste. I was surprised to find out that your father had published the book, Makedonski Ora. How can I get a copy? I would very much like to get one. I am particularly excited about the collection of scores (notes) that your father published because I have begun to work with a chalgija ensemble of violin, dzhumbush, ut and tarabuka in New York and Boston and want to teach them some of your father’s tunes. 
Please send my congratulations to your father! I look forward to hearing from you soon. 
All the best. Vlado Mahovlich, Cleveland, Ohio, USA, February 5, 1999.
E-mail mahovlich@stratos.net 

Subject: Tale Ognenovski 
Dear Stevan. I would like to very briefly congratulate you on the web page dedicated to your father Tale. I too believe him to be one of the great geniuses of World Music, and his playing has given me great pleasure since I first discovered it some fifteen years ago. With best wishes to you and your family Kim Burton, United Kingdom
February 20, 1999. E-mail Kburton487@aol.com

Subject: Available recordings? 
I wonder if there are any available recordings of your Father? Perhaps some 
of his records have been re-issued on CDs. I am very interested in buying 
any such recordings. Thank you. Ian Price, USA, February 22, 1999.
E-mail Ian.Price@transamerica.com

Subject: Fabulous Web Page!!! 
Stevan: What a fabulous web page!!!! My name is Larry Weiner, I made my first trip to Makedonia in 1966 (when I was 23) and have been back there 3 times since then. I never met your father but have many, many of his recordings and love his music... There is much I could (and probably will) say about my interests in your father’s music, but, unfortunately, I’ll have to continue this at a later time. Many thanks for a wonderful web page and the tribute to your dad; he’s a great musician. Larry Weiner US EPA and “Old World Music & Dance”, USA, February 22, 1999. E-mail weiner.larry@epa.gov

Subject: Tale Ognenovski
Congratulations on a wonderful and informative piece on your father. I am very moved and appreciate your detailed information. I first met Tale in Los Angeles 1956, when Tanec was on tour, and in particular I was impressed with his clarinet music. He will remember me, because I became the first Amerikanka (Croatian descent) who became a dancer with Tanec in 1957... Please give my dear and sincere regards to Tale... Elsie Ivancich Dunin (Professor Emerita, University of California at Los Angeles), USA, February 22, 1999. E-mail LCDunin@aol.com

Subject: Tale 
Hello Stevce! I congratulate you on the web page dedicated to your father. I can only say, that it is wonderful and excellent. I am a clarinetist and I play here in Australia, where I live. My descendants are from Bitola. I want Stevce to greet Tale a lot from me. I wish him good health. He really is the best clarinetist of all time in Macedonia and in the World. 
With great greetings, Toni Becvinovski, Australia, March 18, 1999. 
E-mail tbecvin@space.net.au

Subject: Tale Ognenovski 
Hello, I was very interested by your web site about your father. Do you know where I can find his recordings? Also, as I play professionally Balkan music (among others), I am greatly interested by his book “Makedonski Ora”. Is it still available, and if not, is it possible to obtain a photocopy? Best wishes Georges Andres, Bourges, France, April 20, 1999. E-mail hemisp@wanadoo.fr

Subject: Greetings from Holland
Hello Stefane, My compliments for this very nice homepage about the Macedonian 
folk music culture and your famous father Tale Ognenovski... Greetings from Dick Saarloos, Holland, April 20, 1999. E-mail Dick.Saarloos@digital.com 

Subject: Our Music
Hello Steve! I am Ilija Petkovski from Holland and I accidentally found the web site of 
your father. I like this web site especially. I adore the music of this web site because I play it myself. I want very much to buy all cassettes from your father from MRT, but I don’t know how: Do you have some idea? Many greetings from Holland Ilija Petkovski, Holland, Jun 14, 1999. E-mail ipetkov@telekabel.nl

Subject: Tale Ognenovski 
Dear Stefche, ... I met the music of Tale, when I was a child of 10. My heart flickered when I listened to his music; my soul was travelling in other time and space then, and even now, right up to the present day. He is one of the best musicians in the universe. People can be taught music at schools, and they can read books, but that divine secret is known to the souls of only very sensitive men. That great, deeply rich, exceptional soul is Tale Ognenovski. I bow down to him... Zlatko Origjanski “Anastasia”, Skopje, Republic of Macedonia, Jul 16, 1999. 
E-mail origano@mol.com.mk

Subject: Tale Ognenovski 
Dear Mr. Ognenovski, 
I saw your Web page on the Internet and decided to write. My Grandparents were born in Macedonia and came to the United States in 1916 and 1921. I am very interested in my Macedonian heritage. I have a large collection of Macedonian costumes (Nosii), books, and sound recordings (Audio tapes, Video tapes, 45RPM, 33RPM and 78RPM records). I am proud to have several of your recordings in my collection! I was surprised to read that you were born in the village Brusnik, Bitolsko. Many of my friends’ families originate from Brusnik. Brusnik and the villages around it gave birth to many good musicians. The town where I was born and raised (Granite City, Illinois USA) is a very historical place for Macedonian history. Granite City is one of the earliest Macedonian settlements in North and South America. In 1907 there were about eight thousand Immigrants from Macedonia living in Granite City. Most of these Immigrants were Men that came here “Na Pechalba”. When the Balkan and other Wars started, these new Immigrants realized that they would not be able to return to their homeland and decided to make America their new home. Many of the first Immigrants to Granite City were from Bitolsko. 
On September 21, 1914 a group of Bitolchani from Brusnik, Dihovo, Capari and other villages started a music group. These Immigrants wanted to keep their music alive in their new homeland. The new band was called “Orient Band”. I have an old photograph of this band. Only photographs and memories are left from this early time here but I was glad to see that the traditional Macedonian music from the Bitola area lives on through you. Thank you from preserving this rich heritage of ours! 
Since I was a small child this place (Bitolsko), has been dear to me. I hope that one day soon you will visit Granite City and bring back the beautiful music that is a part of my beautiful heritage and is now lost in Granite City. I will now close this letter with my best wishes to you for a long life, much happiness and many years of playing music. 
All the best, Marvin Moehle, Granite City, Illinois, USA, August 15, 1999.
E-mail smurdesh@hotmail.com

XII. TALE OGNENOVSKI’S DISCOGRAPHY

Tale Ognenovski, Genius Virtuoso of the Clarinet has composed and arranged 150 Macedonian folk dances: 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, Galichko oro...With his compositions, he made the connection between Oriental and Western World Music. 
He recorded his 71 Folk Dances on 11 LPs, 11 cassettes, 10 gramophone records, and one videotape with the gramophone producers: RTB, JUGOTON, BEOGRAD DISK, DISKOS, RTS and MRT. Most of them are recorded with his own Tale Ognenovski Orchestra and others with Orchestras of Macedonian Radio Television, the Galevski-Nanchevski Orchestra, the Kocho Petrovski Orchestra and the Pece Atanasovski Orchestra. 
With his own Tale Ognenovski Orchestra, he recorded 17 gramophone records with famous singers. As a member of other Orchestras, he recorded more than 30 gramophone records with famous singers. 
LP record LP1439 STEREO RTB and Cassette NK10280 RTB, Production of gramophone records Radio Television Belgrade ((Produkcija gramofonskih plocha Radio-televizije Beograd), Belgrade, Yugoslavia, 1979. 
“Makedonski igraorni ora sviri Tale Ognenovski” 
Pridruzhuvaat: Orkestar-CHALGII i Narodniot radio orkestar na Radio Televizija Skopje 
Macedonian folk dances with Tale Ognenovski playing solo clarinet in association with: THE ‘CHALGII’ ORCHESTRA and THE SKOPJE RADIO AND TELEVISION FOLK MUSIC ORCHESTRA 
Side A
1. STAROTO ORO (composer T. Ognenovski) 
2. ZHENSKO KICHEVSKO ORO (composer T. Ognenovski)
3. CAPARSKO ORO (composer T. Ognenovski)
4. OROTO PILETO MI PEE (folk - arranger T. Ognenovski)
5. KAVADARSKO ORO (folk-arranger T. Ognenovski)
6. SKOPSKI CHOCHEK (composer T. Ognenovski)
Side B 
1. PAJDUSHKATA (composer T. Ognenovski)
2. STARSKO ZA RAMO (composer T. Ognenovski)
3. TALEVO SVADBARSKO ORO (composer T. Ognenovski)
4. BRUSNICHKO ORO (composer T. Ognenovski)
5. OROTO ADANA (folk-arranger T. Ognenovski)
6. PIPERKOVO ORO (composer T. Ognenovski)

LP record LPY-61143 JUGOTON and Cassette CAY 321, JUGOTON , Production of gramophone records in Zagreb (“Poduzeche za izradu gramofonskih plocha Zagreb”), Zagreb, Croatia, 1975 
“TALE OGNENOVSKI klarinet svira ora” 
Narodni ansambl i ansambl “Chalgija” 
Vodstvo: TALE OGNENOVSKI 

Tale Ognenovski, clarinet, plays Macedonian Folk Dances with 
THE FOLK MUSIC ORCHESTRA and THE ‘CHALGIJA’ ORCHESTRA 
Conductor: Tale Ognenovski 
Side A
1. BUKOVSKO SVADBARSKO ORO (composer T. Ognenovski)
2. NEVENINO ORO (composer T. Ognenovski)
3. CHAMIKO ORO (composer T. Ognenovski)
4. EGEJSKO ORO (composer T. Ognenovski)
5. KASAPSKO ORO (folk-arranger T. Ognenovski)
6. KUMOVO ORO - CHOCHEK (composer T. Ognenovski)

Side B 
1. PRILEPSKO SVADBARSKO ORO (composer T. Ognenovski)
2. VLASHKO ORO (folk-arranger T. Ognenovski)
3. RESENSKO ORO (composer T. Ognenovski)
4. PATRUNO SVADBENO ORO (composer T. Ognenovski)
5. POLJANSKO ORO (composer T. Ognenovski)
6. MOMINSKO ORO (composer T. Ognenovski)

LP record LP1495 stereo RTB and Cassette NK 10387, Production of gramophone records Radio Television Belgrade (“Produkcija gramofonskih plocha Radio-televizije Beograd”), 1979 
“STARO KUKUSHKO ORO” 
MAKEDONSKI NARODNI ORA SO CHALGIITE NA TALE OGNENOVSKI 
MACEDONIAN FOLK DANCES WITH TALE OGNENOVSKI’S ‘CHALGII’ ORCHESTRA 
Macedonian folk dances with Tale Ognenovski playing solo clarinet in association with: THE TALE OGNENOVSKI ‘CHALGII’ ORCHESTRA 
Side A
1. OROTO-STARO KUKUSHKO (folk-arranger T. Ognenovski)
2. SHAPKAREVO KASAPSKO ORO (folk-arranger T. Ognenovski)
3. SECHENA KRSHLAMA (folk-arranger T. Ognenovski)
4. RISTEVO ORO (folk-arranger T. Ognenovski)
5. HARMAN KJOJLISKO ORO (folk-arranger T. Ognenovski)
6. PAZJANSKO ORO (folk-arranger T. Ognenovski)

Side B 
1. NUNKOVA KRSHLAMA (folk-arranger T. Ognenovski)
2. ZAHARIEVO ORO (folk-arranger T. Ognenovski)
3. LAGADINSKO RUSALISKO ORO (folk-arranger T. Ognenovski)
4. HARMAN KJOJSKA KRSHLAMA (folk-arranger T. Ognenovski)
5. AJVATOVSKO ORO (folk-arranger T. Ognenovski)

Cassette MP 21037 STEREO, RTS MUSIC AND CASSETTE PRODUCTION OF RADIO TELEVISION SKOPJE (“RADIO TELEVIZIJA SKOPJE”) 
TALE OGNENOVSKI SO ORKESTAROT CHALGII NA RADIO TELEVIZIJA SKOPJE, 1989 

Macedonian folk dances with Tale Ognenovski playing solo clarinet in association with THE SKOPJE RADIO AND TELEVIZION ‘CHALGII’ ORCHESTRA. 

Side A
1. OHRIDSKO ORO (composer T. Ognenovski)
2. DEMIRHISARSKO ZHENSKO ORO (composer T. Ognenovski)
3. BITOLSKO ZA RAMO (composer T. Ognenovski)
4. SKOPSKI VESEL CHOCHEK (composer T. Ognenovski)
5. SKOPSKO ZHENSKO ORO (composer T. Ognenovski)
6. GERMIJANSKO ORO (composer T. Ognenovski)

Side B
1. ORO “POZIV DOJDE” (composer T. Ognenovski)
2. PRESPANSKO ORO (composer T. Ognenovski)
3. SKUDRINSKO ORO (composer T. Ognenovski)
4. VELESHKO ZHENSKO ORO (composer T. Ognenovski)
5. BRUSNICHKO MLADINSKO ORO (composer T. Ognenovski)
6. TALEVO BRUSNICHKO ORO (composer T. Ognenovski)

Gramophone record EP 14700 RTB, Production of gramophone records Radio Television Belgrade (“Produkcija gramofonskih plocha Radio-televizije Beograd”), Belgrade, Yugoslavia, 1963. 
MAKEDONSKA ORA 
NARODNI ORKESTAR GALEVSKI-NANCHEVSKI 
MACEDONIAN DANCES
FOLK ORCHESTRA GALEVSKI-NANCHEVSKI
Tale Ognenovski made his recording debut as composer of Macedonian folk dances with the Galevski-Nanchevski Orchestra in 1963, with three Macedonian folk dances: “Bitolsko svadbarsko oro” (composer Tale Ognenovski), “Bitolsko oro” (composer Tale Ognenovski), and “Pelistersko oro” (composer Tale Ognenovski). The virtuoso clarinet soloist was Tale Ognenovski. This first record EP 14700 RTB was recorded by the Production of Gramophone Records Department of Radio Television Belgrade.
Macedonian folk dances with Tale Ognenovski playing solo clarinet in association with the GALEVSKI-NANCHEVSKI FOLK ORCHESTRA 
Side A
1. PELISTERSKO ORO (composer T. Ognenovski)
Side B
2. BITOLSKO SVADBARSKO ORO (composer T. Ognenovski)
3. BITOLSKO ORO (composer T. Ognenovski)

Gramophone record EP 14702 RTB Production of gramophone records Radio Television Belgrade (“Produkcija gramofonskih plocha Radio-televizije Beograd”), Belgrade, Yugoslavia, 1964. 
MAKEDONSKA ORA 
NARODNI ORKESTAR GALEVSKI-NANCHEVSKI 
MACEDONIAN DANCES
FOLK ORCHESTRA GALEVSKI-NANCHEVSKI
The Macedonian folk dance ‘Bukovsko oro’, with Tale Ognenovski playing solo clarinet in association with Metidija Zafirovski-Smolski on ‘tarabuka’. 

Side B
1. BUKOVSKO ORO (composer T. Ognenovski)

Gramophone record EP 14703 RTB Production of gramophone records Radio Television Belgrade (“Produkcija gramofonskih plocha Radio-televizije Beograd”), Belgrade, Yugoslavia, 1964. 
MAKEDONSKA ORA 
ANSAMBL KOCHA PETROVSKOG 
MACEDONIAN DANCES
ENSEMBLE KOCHO PETROVSKI
Macedonian folk dances with Tale Ognenovski playing solo clarinet in association with the KOCHA PETROVSKOG FOLK ORCHESTRA 

Side B
1. BRUSNICHKO ORO (composer T. Ognenovski)
2. TALEVO SVADBARSKO ORO (composer T. Ognenovski)

Gramophone record EP 14704 RTB Production of gramophone records Radio Television Belgrade (“Produkcija gramofonskih plocha Radio-televizije Beograd”), Production of gramophone records Radio Television Belgrade, Belgrade, Yugoslavia, 1964. 
MAKEDONSKA ORA 
ORKESTAR CHALGIJA RADIO TELEVIZIJA SKOPJE 
Macedonian folk dances with Tale Ognenovski playing solo clarinet in association with THE SKOPJE RADIO AND TELEVISION ‘CHALGII’ ORCHESTRA 

Side A
1. ADANA ORO (folk - arranger T. Ognenovski)
2. ZHENSKO KRSTENO ORO (composer T. Ognenovski)
Tale Ognenovski plays solo on the pipe (‘kavalche’) the Macedonian folk dance ‘Dolnensko zaramo oro’ together with the legendary soloist Pece Atansovski on the bagpipe (‘gajda’) on the same gramophone record EP 14704 RTB. 

Side B
1. DOLNENSKO ZARAMO ORO (composers Pece Atanasovski and Tale Ognenovski)

Gramophone record EP 14711 RTB Production of gramophone records Radio Television Belgrade (“Produkcija gramofonskih plocha Radio-televizije Beograd”), Belgrade, Yugoslavia, 1965. 
TALE OGNENOVSKI KLARINET SO CHALGIITE 
TALE OGNENOVSKI, clarinet, with his ‘CHALGII’ Ensemble
Macedonian folk dances with Tale Ognenovski playing solo clarinet in association with his own TALE OGNENOVSKI Ensemble 
Side A
1. PRESPANSKO ORO (composer T. Ognenovski)
2. KUMOVO ORO (composer T. Ognenovski)
Side B
3. DEVEROVO ORO (composer T. Ognenovski)
4. DIHOVSKO ORO (composer T. Ognenovski)

Gramophone record EP 14716 RTB Production of gramophone records Radio Television Belgrade (“Produkcija gramofonskih plocha Radio-televizije Beograd”), Belgrade, Yugoslavia, 1965. 
NARODNI ORA 
TALE OGNENOVSKI SO CHALGIITE 
FOLK DANCES
TALE OGNENOVSKI WITH ‘CHALGII’ Ensemble
Folk dances with Tale Ognenovski playing solo clarinet in association with his own TALE OGNENOVSKI ‘CHALGII’ ORCHESTRA 
Side A
1. KALAMATIJANA (folk-arranger T. Ognenovski)
2. LAMCHE (STARSKO ORO) (folk-arranger T. Ognenovski)
Side B
3. OHRIDSKO ZA RAKA (composer T. Ognenovski)
4. DEMIRHISARSKO ZHENSKO ORO (composer T. Ognenovski)

Gramophone record EP 14758 RTB Production of gramophone records Radio Television Belgrade (“Produkcija gramofonskih plocha Radio-televizije Beograd”), Belgrade, Yugoslavia, 1977. 
TALE OGNENOVSKI 
Macedonian wedding folk dances played by the popular clarinet and pipe soloist Tale Ognenovski in association with his own TALE OGNENOVSKI ‘CHALGII’ ORCHESTRA 
Side A
1. KAVADARSKO SVADBARSKO ORO (composer T. Ognenovski, clarinet soloist Tale Ognenovski)
2. STEVCHEVO ORO (composer T. Ognenovski, pipe soloist Tale Ognenovski)
Side B
3. ZHENSKO VELESHKO ORO (composer T. Ognenovski, clarinet soloist Tale 
Ognenovski) 
4. GORNO SELSKO ORO (composer T. Ognenovski, clarinet soloist Tale Ognenovski)

Gramophone record EPY-34461 JUGOTON Production of gramophone records Zagreb (“Poduzeche za izradu gramofonskih plocha Zagreb”), Zagreb, Croatia, 1972. 
“Makedonska ora svira TALE OGNENOVSKI klarinet sa svojim ansamblom” 
Aranzher: Tale Ognenovski 
Macedonian Folk Dances with Tale Ognenovski playing solo clarinet accompanied by his orchestra. 
Arranger: Tale Ognenovski 
Side A
1. EGEJSKO ORO (composer T. Ognenovski) 
2. MOMINSKO ORO (composer T. Ognenovski)
Side B
3. KUMOVO ORO-CHOCHEK (composer T. Ognenovski)
4. PRILEPSKO SVADBARSKO ORO (composer T. Ognenovski)

Gramophone record EPY-34489 JUGOTON Production of gramophone records Zagreb (“Poduzeche za izradu gramofonskih plocha Zagreb”), Zagreb, Croatia, 1972. 
”Makedonska ora svira ANSAMBL CHALGIJA pod vodstvom TALE OGNENOVSKIM 
Solo klarinet: Tale Ognenovski 
Macedonian Folk Dances played by the ‘CHALGIJA’ ORCHESTRA, conducted by Tale Ognenovski 
Solo clarinet: Tale Ognenovski 
Arranger: Tale Ognenovski 
Side A
1. KASAPSKO ORO (folk-arranger T. Ognenovski)
2. PATRUNA SVADBENO ORO (composer T. Ognenovski)
Side B
1. CHAMIKO ORO (composer T. Ognenovski)
4. VLASHKO ORO (folk-arranger T. Ognenovski)

LP record LPYV-S-806 and Cassette CAY-12 JUGOTON Production of gramophone records Zagreb (“Poduzeche za izradu gramofonskih plocha Zagreb”), Zagreb, Croatia, 1971. 
PLESOVI NARODA JUGOSLAVIJE 
YUGOSLAVIAN FOLK DANCES 

Strana A 
4. Resensko oro, makedonsko oro (kompozitor T. Ognenovski) 
Narodni ansambl Tale Ognenovski 
Klarinet solo: Tale Ognenovski 
Folk Ensemble Tale Ognenovski 
Clarinet soloist Tale Ognenovski 
Side A
4. RESENSKO ORO (composer T. Ognenovski) 

LP record LPY-V 780 and cassette CAY-157 JUGOTON Production of gramophone records Zagreb (“Poduzeche za izradu gramofonskih plocha Zagreb”), Zagreb, Croatia, 1969. 
BITOLA, BABAM BITOLA 
Makedonske narodne pjesme i kola 
Macedonian folk songs and dances

Side B
7. BUKOVSKO SVADBARSKO ORO (composer T. Ognenovski) 

Narodni ansambl Tale Ognenovski 
Solo klarinet: Tale Ognenovski 
Tale Ognenovski plays solo clarinet in the Macedonian folk dance BUKOVSKO SVADBARSKO ORO in association with his own TALE OGNENOVSKI Orchestra 

LP record LPY-61049 and cassette CAY-177 JUGOTON Production of gramophone records Zagreb (“Poduzeche za izradu gramofonskih plocha Zagreb”), Zagreb, Croatia, 1975. 
“SKOPJE, SKOPJE” 
Makedonske narodne pjesme i ora 
Prate: Ansambl narodnih instrumenata P. Atanasovski, Ansambli K. Petrovski, M. Grujovski, T. Ognenovski, Trio kavali: Kolarevski-Cvetkovski-Atanasovski, Ansambl ‘CHALGIJA’ I ‘Tanec’ 
Macedonian folk songs and dances 
performed by: The P.Atanavski Ensemble for folk instruments, the Ensemble of K. Petrovski, M. Grujovski and T. Ognenovski, the ‘Trio kavali’: Kolarevski-Cvetkovski-Atanasovski, and the ‘CHALGIJA’ and ‘Tanec’ Ensembles 
Tale Ognenovski is the arranger of the Macedonian song ‘More devojchence malechko’ sung by Aleksandar Sarev 

Side B
6. MORE DEVOJCHENCE MALECHKO 
(folk-song arranger: T. Ognenovski) 
Ensemble Tale Ognenovski

Cassette MP 21176 STEREO, MUSIC AND CASSETTE PRODUCTION OF MAKEDONSKA RADIO TELEVIZIJA, 1994. 
ANTOLOGIJA NA MAKEDONSKATA NARODNA MUZIKA 
Svirachi - majstori 
MACEDONIAN RADIO TELEVIZION 
ANTHOLOGY OF MACEDONIAN FOLK MUSIC 
Players - maestros 

The Macedonian folk dance ‘KASAPSKO ORO’ with Tale Ognenovski playing solo clarinet in association with THE MACEDONIAN RADIO TELEVISION ‘CHALGII’ ORCHESTRA 
This cassette is produced by ‘Music and cassette production of Macedonian Radio Television’ (‘Muzichka i kasetna produkcija na MAKEDONSKATA RADIO TELEVIZIJA’), 1994 to mark the 50th anniversary of the founding of ‘Macedonian Radio Television’. 

Side A
1. KASAPSKO ORO (folk-arranger T. Ognenovski)

VIDEO TAPE MP31087 VHS PAL COLOUR, MAKEDONSKA RADIO TELEVIZIJA 
MUZICHKI SPOMENAR 
Tale Ognenovski appears on video tape VHS MP 31087, produced in 1994 to mark the 50th anniversary of the founding of ‘Macedonian Radio Television’. 
On the tape, Tale Ognenovski plays clarinet soloist the Macedonian Folk Dance ‘Nevestinsko oro’ accompanied by the clarinetist Apostol Gelevski (Gelevski plays the first part (2 minutes, 20 seconds) of this folk dance as clarinet soloist, and Ognenovski plays the second part (2 minutes, 27 seconds) as clarinet soloist. They are accompanied by THE MACEDONIAN RADIO TELEVISION ‘CHALGII’ ORCHESTRA.

11. NEVESTINSKO ORO (folk-arranger T. Ognenovski)

LP record LPY61294 and Cassette CAY-381, JUGOTON Production of gramophone records Zagreb (Poduzeche za izradu gramofonskih plocha Zagreb), Zagreb, Croatia, 1977. 
“Makedonskao oro KASAPSKO ORO svira ANSAMBL CHALGIJA pod vodstvom TALE OGNENOVSKIM 
Solo klarinet: Tale Ognenovski 
Macedonian Folk Dance KASAPSKO ORO played by the ‘CHALGIJA’ ORCHESTRA conducted by Tale Ognenovski 
Solo clarinet: Tale Ognenovski 
Arranger: Tale Ognenovski 
Side A
KASAPSKO ORO (folk-arranger T. Ognenovski)

LP records LP 1210 and LP 1211 STEREO and Cassettes NK 10018 and NK 10027 STEREO RTB Production of gramophone records Radio Television Belgrade (Produkcija gramofonskih plocha Radio-televizije Beograd), Beograd, Jugoslavija, 1972. 
Macedonian folk dance ADANA ORO with Tale Ognenovski playing as clarinet soloist in association with THE SKOPJE RADIO AND TELEVIZION ‘CHALGII’ ORCHESTRA 
Side B
ADANA ORO (composer T. Ognenovski)

LP record LP1394 STEREO RTB Production of gramophone records Radio Television Belgrade (Produkcija gramofonskih plocha Radio-televizije Beograd), Belgrade, Yugoslavia, 1978. 
“MAKEDONSKI NARODNI ORA” 
MACEDONIAN FOLK DANCES 
Tale Ognenovski plays solo clarinet in two folk dances on this record as a member of the ‘Pece Atanasovski Orchestra’: 
Side A
5. JENI JOL (Turkish; folk-arranger T. Ognenovski)
6. KJUPURLIKA (folk-arranger T. Ognenovski)

LP record LPY-50985 and Cassette CAY-249 JUGOTON Production of gramophone records Zagreb (Poduzeche za izradu gramofonskih plocha Zagreb), Zagreb, Croatia, 1972. 
“MAKEDONSKA NARODNA ORA” 
MACEDONIAN FOLK DANCES 
Tale Ognenovski plays solo clarinet in two folk dances on this record as a member of the ‘Pece Atanasovski Ensemble of authentic folk instruments’: 
Side A
4. MASHKOTO ORO (folk-arranger T. Ognenovski)
Side B
1. BERANCHE (BAJRACHE) (folk-arranger T. Ognenovski)

Songs with famous singers accompanying Tale Ognenovski’s Orchestra and other Orchestras 
With his own TALE OGNENOVSKI ORCHESTRA he has recorded the following gramophone records with famous singers: EBK-0136 BEOGRAD DISK (singer Pepi Baftirovski), EPY-4364 JUGOTON (singer Enver Hamid), EPY-3923 JUGOTON (singers Risto Pulevski and Pande Kominovski), EPY-34462 JUGOTON (singer Dushka Tomich), EBK-0137 BEOGRAD DISK (singers Spasija Chamova-Nikolovska and Mile Trpevski), EBK-0135 BEOGRAD DISK (singers Jovanka Ivanovska and Mile Todorovski), EPY-3914 JUGOTON (singer Anka Gieva), EPY-3919 JUGOTON (Izet Cirkovich), EPY-3920 JUGOTON (singer Jovan Brmbevski), EDK-5194 DISKOS (singers Cveta and Petar Pavlovski), EPY-3850 JUGOTON (singers Cveta and Petar Pavlovski), EPY-3921 JUGOTON (singers Cveta and Petar Pavlovski), EPY-3849 JUGOTON (singer Aleksandar Sarev), EPY-3915 JUGOTON (singer Aleksandar Sarev), EPY-3851 JUGOTON, EPY-3671 JUGOTON, EPY-3672 JUGOTON, EPY-5915 JUGOTON (singer Aleksandar Sarev), LPY-61049 JUGOTON (singer Aleksandar Sarev), CAY-177 JUGOTON (singer Aleksandar Sarev) and
EPY-3922 JUGOTON (singer Resinka Taseva).

JUGOTON - Production of gramophone records Zagreb (“Poduzeche za izradu gramofonskih plocha Zagreb”), Zagreb, Croatia.
BEOGRAD DISK - Production of gramophone records and music films Belgrade (“Produkcija gramofonskih plocha i muzichkih filmova Beograd”), Belgrade, Yugoslavia.
DISKOS - Production of gramophone records (“Preduzeche za proizvodnju gramofonskih plocha, Aleksandrovac-Zhupa”), Aleksandrovac-Zhupa, Yugoslavia.

As a member of the Galevski-Nancevski Orchestra, the Kocho Petrovski Orchestra, the Small Radio Skopje Orchestra and the ‘Chalgii’ Orchestra of Radio Skopje, he recorded many records with famous singers, including Vaska Ilieva, Aleksandar Sarievski, Nikola Badev, Jonche Hristovski, Violeta Tomovska, Kiril Manchevski, the Chvrchevi duo, Vidanka Gjorgjievska, the Mavrovski sisters, Mirvet Belovska and the Pavlovski duo. Some of these gramophone records are from RTB (PRODUKCIJA GRAMOFONSKIH PLOCHA RADIO TELEVIZIJE BEOGRAD): EP 172, EP 173, EP 174,EP12703, EP12706, EP12707, EP12708, EP 12733, EP12740, EP12741, EP12743, EP 12744, EP 12745, EP 12751, EP12753, EP 12760, EP 12761, EP 12762,EP 12763, EP12764, EP 12780, EP 12781, EP 12786, EP 12787, EP 12788, EP 12795, EP 12796, EP12732, EP12723, EP12764, EP12753, EP12773, EP12758, EP12747, EP12775, EP12737, EP12985, EP12953, ... 
Others are from JUGOTON: SY-1121, SY-1133, SY-1124... 

In 1998, Macedonian Radio Television released the cassette MP 21255. On this cassette Tale Ognenovski performs as clarinet accompaniment on five songs with various orchestras of Macedonian Radio Television. The singer is the legendary Vanja Lazarova Dimitrovska.

Tale Ognenovski recorded numerous records with many famous singers on magnetic tapes with "Macedonian Radio Television", performing with the Orchestras of Macedonian Radio Television or performing concerts with the Orchestras of Kocho Petrovski, Stevo Teodosievski, Nasko Dzorlev, Ljupcho Pandilov, Galevski-Nanchevski, Angel Nanchevski, Pece Atanasovski, the Orchestra of "Dom na VVI i borci od NOV-Skopje" conducted by Petar Bozhinovski and the Orchestra "Vesela druzhina". 

These include:
Vaska Ilieva, Aleksandar Sarievski, the duo of Vaska Ilieva and Aleksandar Sarievski, Jonche Hristovski, the duo of Violeta Tomovska and Kiril Manchevski, Nikola Badev, Violeta Tomovska, Kiril Manchevski, the duo of Violeta Tomovska and Kiril Manchevski, Anka Gieva, Pepi Baftirovski, Silvana Armenulic, Enver Hamid, the duo of Risto Pulevski and Pande Kominovski, Dushka Tomic, Spasija Chamova Nikolovska, Mile Trpevski, Jovanka Ivanovska, Mile Todorovski, Izet Cirkovic, Resinka Taseva, Jovan Brmbevski, the duo of Cveta and Petar Pavlovski, Aleksandar Sarev, Mirvet Belovska, Dobri Stavrevski, Kostadinka Palazova, Petranka Kostadinova, the duo of Kuculova and Andreevski, Blaga Petrevska, Gani Grubi, Esma Redzepova Teodosievska, Usnija Redzepova, Cvetanka Laskova, Bobi Avtovski, Blagoja Karadjule, Dragica Mavrovska, Dafina Mavrovska, Blaga Karadjule Videc, Dragica Nikolova, Vidanka Gjorgjievska, Marika Krsteva, Borche Angelkovski, Blaga Badnikova, Nadica Makelarska, the duo of Danailova and Makelarska, the Vodenki group, the Bapchorki group, Atina Apostolova, Trpe Cherepovski, the duo of Hristovski and Cherepovski, the trio of Jonche Hristovski, Trpe Cherepovski and Dojchin Matevski, the quartet of Jonche Hristovski, Trpe Cherepovski Doncho Eftimovski and Dojchin Matevski, the duo of Tomovska and Manchevski, the duo of Dragica and Dafina Mavrovski, Muharem Serbezovski, Aco Simonovski, the duo of Sarievski and Ilieva, Olga Sichan, the duo of Slavka and Tome Chrchevi, Tomislav Manic, Vanja Lazarova, Divna Lazareva, Todor Delibashev, Todorka Delibasheva, Vasilka Trifunova, Rada Simonovska, Liljana Spasovska Stoilkovska, Gjoko Donevski, Gogo Zafirovski, Milka Kushevska, Dushanka Isjanovska, Vera Isjanovska, Kosta Dimitrov, Shukri Dear, the Kosturchanki group, Velko Trpchevski, Ajri Demirovski, Zaharinka Milosavleva, Petar Georgievski, Sonja Shentevska, Elena Chamova, Branko Ichochaev, Ljubica Mutevic, Mile Ristevski, Stefko Miloshevski, Ilinka Angelova, Vancho Uzunov, Shefket Naim, Osman Shaban Shen, Magbule Gashi, Ali Abdula, Musa Halim, Perihan Tuna, Zora Kasapova, Mice Dimitrov, Nikolina Kuzmanovska, Vasilka Trifunova, Fana Vasileva, Janko Uzunov, Borche Krstevski, Krume Spasovski, Atanas Gruica, the trio of Atanas, Marija and Lenche Gruica, Mitko Naumov, Mita Guda, Pencho Naskov, Fana Chomova Lozan, M. Zilkovska, Persa Nikolova, Elena Dimitrievska, Pero Naskov, Mirko Mitrevski, Marica Silkovska, Sinan Sali, Metush Redzep, Fatima, Naser, Nedzmija Skender, Ramiza, Mizaket, Rajna Spasovska, Jovan Ivanovski, Dragan Tanevski, Pavlina Apostolova, Jovan Ilievski, Marika Stavrevska, Dushko Lekovski, Risto, Marika Gjorgjievska, Vancho Arsovski, Sonja Shentevska, Rade Mladenovic, Divna, Persa, Todorka, Trajanka Mitrevska, Gjoko Donchev, the duo of Selimova and Zhelchevski and others.

Soon in the USA will be released the first CD of Tale Ognenovski
Sponsor of this Audio CD is Mr. Dimce Cvetkovski from Buffalo, New York, USA, dear friend of Tale and Stevan Ognenovski. This CD includes 3 Jazz compositions ("Tale Ognenovski Jazz Composition No. 1, 5 and 8", all composed by Tale Ognenovski), 6 Macedonian folk dances ("Brusnichko oro", "Nevenino oro", "Bukovsko svadbarsko oro", "Talevo kasapsko oro", "Stevchevo oro" and "Sharsko oro", all composed by Tale Ognenovski) and "Tale Ognenovski Concert for Clarinet No. 1" (composed by Tale Ognenovski). On this CD Tale Ognenovski is soloist on the clarinet, reed pipe ("kavalche"), small bagpipe ("gajdarka") and zourla ("zurla"). Accompaning him are members of the Orchestra: his son Stevan Ognenovski (drum and reed pipe) and grandsons Nikola Ognenovski (reed pipe) and Kliment Ognenovski (reed pipe).

Photos of Mr. Dimce Cvetkovski from Buffalo, New York, USA with his clarinet and reed pipe ("kavalche"), with Tale Ognenovski's book "Makedonski ora" (Macedonian folk dances) and with Tale Ognenovski's records and cassettes. 

MUSIC NOTATION OF COMPOSITIONS OF MACEDONIAN FOLK DANCES, JAZZ AND CLASSICAL MUSIC 

CONTENT

INTRODUCTION

ACKNOWLEDGEMENTS

I. TALE OGNENOVSKI’S BRILLIANT CAREER AS A MUSICIAN 
AND COMPOSER 

1. Musical Genius Tale Ognenovski 
2. Tale Ognenovski’s unique talent and musical genius
3. In 1952, Tale Ognenovski became the first clarinet soloist in the history of the Republic of Macedonia to perform a classical concert for the clarinet 
4. Tale Ognenovski as a virtuoso clarinet soloist performed Macedonian folk dances with Ensemble Tanec in the film “Rhythm and Sound,” 1955
5. In, 1966 Tale Ognenovski became Head of the ‘Folk Music Orchestra’ of “Radio Television Skopje”
6. In 1965,Tale Ognenovski established his own “Tale Ognenovski Orchestra”
7. The 35th anniversary of the founding of “Radio Television Skopje” ”...Tale Ognenovski who has demonstrated his rich talent by performing with all three different folk music orchestras...” - LP ULS-578
8. “TALE IS UNIQUE. During the past couple of decades he has continuously demonstrated his skill at original and superb interpretation, displaying the passion of one that is in love and the style of a Virtuoso” Gjoko Georgiev, text on LP 1439 RTB, 1979 
9. “This Macedonian clarinetist is an extraordinary musician” – Ilustrovana Politika
10. Tale Ognenovski’s triumphant success at the International Folklore Conference in Istanbul, Turkey, 1977 
11. On August 8 and 9, 1992, Tale Ognenovski played on the clarinet his own compositions of Macedonian folk dances at celebrations marking the 600th anniversary of the founding of the village of Brusnik 
12. “Maestro Tale Ognenovski plays classical music brilliantly (this is the opinion of experts of classical music) on the clarinet - Mozart, Weber...etc. He plays everything, it doesn’t matter how difficult or complicated it is.” Violeta Hadzi Skerleva, Ekran 
13. Tale Ognenovski is a synonym for a completely different style of music 
14. Tale Ognenovski made his debut at the Skopje Summer Festival on June 29, 1998. 
15. The 50th anniversary of the founding of Ensemble Tanec

II. ENSEMBLE “TANEC” IN NORTH AMERICA

1. Tanec’s triumphant arrival in New York City on January 20, 1956 
2. ‘Tanec’ triumphant appearance on American television
3. “Appear at Carnegie Hall... remarkable music... - a raucous and unforgettable pipe... (the virtuoso pipe and clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski).” John Martin, The New York Times
4. Tale Ognenovski added his own improvisations..The unique Sopska Poskocica earned an encore...
5. Tale Ognenovski’s solo playing on the clarinet and pipe (‘kavalche’) created frenetic applause in the sold-out concert halls 
6. Concert in Masset Hall, Toronto, Canada, on February 13, 1956 
7. Tale Ognenovski is the number one clarinetist
8. Macedonia is the Centre of the Folk Universe 
9. The Metro Goldwyn Mayer Company prepared a special banquet for Ensemble Tanec
10. A photograph of Tale Ognenovski and members of Ensemble ‘Tanec’ in The Metro Goldwyn Mayer Studio in Hollywood
11. An advertisement about ‘TANEC’ performances in the Brooklyn Academy of Music, New York, April 11 and 12, 1956 
12. Photos of Tale Ognenovski’s uncle Petar Hristov and his family at Saint-Louis, Missouri and Tale 
Ognenovski’s friend Jandre Kunovski and his family at Gary, Indiana, and Chicago, after the concert 
of Ensemble “Tanec” on February 5, 1956
13. One of the longest and the most triumphant tours in the history of world music 
14. The names of the towns and concert halls in the TOUR OF THE MACEDONIAN NATIONAL FOLK BALLET ‘TANEC’ IN THE UNITED STATES AND CANADA
15. “Ballet: Yugoslav Folk Art ‘Tanec’ Dancers Appear at Carnegie Hall in Display of Tremendous
Skill” - John Martin, New York Times 
16. “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, 
Nova Makedonija
17. “The first performance at Carnegie Hall in New York is regarded as a really sensational success.” - 
Naum Nachevski, Nova Makedonija 
18. “Venerable Carnegie Hall fairly vibrated as the audience blistered its palms in appreciation.” - Robert
Coleman, the New York Daily Mirror
19. “The freshest, gayest, most expert dance affair ...Transcontinental tour at Carnegie Hall.”- William
Hawkins, the New York World Telegram
20. “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
21. Concerts at the Chicago Civic Opera House, February 4 and 5, 1956 “Yugoslav Ballet a Colorful
Addition to International Dance...group of 37 dancers, singers and musicians, called Tanec, which is the
Macedonian word for dance is a kaleidoscope of the Balkans.” - Claudia Cassidy, Chicago Daily 
Tribune
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
23. Concert at the Constitution Hall, Washington, D.C., February 9, 1956 
“Sopska Poskocica (the virtuoso clarinet soloist was Tale Ognenovski - remark by Stevan Ognenovski) is unique and demanded a repetition “ - Paul Hume, The Washington Post and Times Herald 
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) was no more than a show-off dance. As such it was highly effective... musicians are an active part... “ - John Kraglund, The Globe and Mail
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 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
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 auditorium... 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 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 Goldeberg, the Los Angeles Times
27. “A vigorous display of dancing as the U.S. has ever seen” - Life magazine

III. ENSEMBLE “TANEC” IN GERMANY

1. Tale Ognenovski, clarinet and pipe virtuoso soloist with Ensemble ‘Tanec’ toured Germany in 1956
2. “I’ll never forget...the man with the pipe (the virtuoso pipe soloist was Tale Ognenovski - remark made by Stevan Ognenovski)...” - Hildesheim presse, Germany, rewritten in "Nova Makedonija" with the title “Great Success of Tanec in West Germany”, October 21, 1956
3. “Success of Tanec in West Germany” - Nova Makedonija
4. “The folkore experts were interested in our particular folk dances… perhaps the following can stand out as the most successful: “SHOPSKA “ (“Shopska podripnuvachka” – the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski), “SHOTE” (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski)...” - Nova Makedonija
5. “About 7000 people on each of the two concerts in Dortmund” - K. Gavrish, Nova Makedonija

IV. ENSEMBLE “TANEC” IN FRANCE

1. Tale Ognenovski was clarinet and pipe virtuoso soloist with Ensemble ‘Tanec’ during their tour of France
2 “What ‘Tanec’ is playing in the spirit of Macedonia, believe me no other Ensemble in the world can perform... Your girls and boys put their whole heart into the dance. I’ll tell you why I think this is so. I know the clarinetist Tale...” - Raymond Guillier, Vecher
3. “Brilliant first performance of the National Ballet of Macedonia... Everyone in the audience applauded as if they were four people ... “It must be understood that you have to be a professional and have extraordinary soul and inspiration to play ‘Drachevka’ (the virtuoso pipe soloist was Tale Ognenovski - remark made by Stevan Ognenovski), ‘Berovka’ (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski)...” - Le Berry republicain
4. “The first performance of the National ballet of Macedonia was a tremendous success” - La nouvelle 
republique du Centre
5. “TANEC” wins over the public... “ - K. Gavrish, Nova Makedonija

V. ENSEMBLE “TANEC” IN SWITZERLAND

1. Tale Ognenovski performed as virtuoso clarinet and pipe soloist with Ensemble ‘Tanec’ during their tour of Switzerland during the period July 7-10, 1959
2. Tale Ognenovski made his debut on a special programme broadcast on Swiss Television. He performed his personally composed Macedonian folk dances ‘Bitolsko oro’ and ‘Brusnichko oro’ with great success.
3. Nothing here that resembled classical dances of our Western World...A spectacle in the open in Port Gitana Bellevue, Geneva” - Ed. Mt., Tribune de Geneve

VI. TALE OGNENOVSKI HAS PERFORMED CLASSICAL MUSIC SINCE 1952

1. On May 24,1953, Tale Ognenovski as clarinet soloist performed the classical concert “Concert Polka for Clarinet” by Miler Bela, with accompaniment by the ‘Police Wind Orchestra’. This concert was performed in the Radio Skopje building and was broadcast live to the nation by Radio Skopje.
2. “It is a phenomenon that Tale Ognenovski for every type of music has the right amount of “ambazhura” and vibrato, especially for classic music where some circumstances require a perfectly level tone. 
It is particularly phenomenonal that in a second he can change both the colour and the vibrato.” – Professor Ladislav Palfi
3. The television programme “One clarinet - one life” was shown on Radio Television Skopje on May 19, 1970. The programme included part of the Concert “FIORI ROSSINIANI” by Ernesto Cavallini, with Tale Ognenovski performing as clarinet soloist with piano accompaniment by Professor Ladislav Palfi, the legendary composer and classical music and jazz pianist 
4. In the television programme “One clarinet - one life - Tale Ognenovski”, broadcast on July 18, 1987, music from Mozart’s “CONCERTO in A Major for Clarinet and Orchestra K. 622” and Wagner’s “Adagio for Clarinet” was performed by Tale Ognenovski, solo clarinet, with accompaniment on the piano by the excellent pianist Tanja Shopova . The programme was broadcast on “Radio Television Skopje”
5. “One clarinet, one life; The life dedicated to the clarinet; Half a century of magic with clarinet; The clarinet as a life... These are only some of the titles of articles in the Newspapers that have been written for the clarinet virtuoso Tale Ognenovski who plays Macedonian folk dances as superbly as he does classical music by Mozart, Wagner, Cavallini...” – from the television programme ‘Sundays afternoon’, Macedonian Radio Television
6. “Everything that has a connection with the clarinet and this man is far from ordinary. Perhaps it is a miracle, this dexterity. Perhaps he is a genius or something more than that....” - Elizabeta Matic, in the television programme “Good morning, good day”, Macedonian Radio Television
7. Tale Ognenovski translated whatever came into his head directly into the clarinet. 
8. The television programme ‘Good Day, Macedonia’ was dedicated to Tale Ognenovski on the 50th anniversary of the founding of the FOLK MUSIC ORCHESTRA of Macedonian Radio Television. An Interview with Tale Ognenovski

VII. PRESS NOTICES: TALE OGNENOVSKI - RELATED ARTICLES IN THE NEWSPAPERS

VIII. TALE OGNENOVSKI RECEIVED NUMEROUS AWARDS AND HONOURS, ALL 
AMONG THE PRESTIGIOUS IN THE PERFORMING ARTS:

1. Tale Ognenovski is a winner of the First Regional Bitola Festival of Folk Dances and Songs, 1947 
2. Tale Ognenovski’s First Award for Clarinet as a best clarinetist at the First Republic of Macedonian Festival of Folk Dances and Songs, 1948 
3. Tale Ognenovski’s First Award at the Yugoslav (Former Yugoslavia) Folk Music Festival in Opatija, Croatia, 1951. 
3.1. “The clarinet (the virtuoso clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski) was as effective an accompaniment to the large drum in the folk dance from Kozjak as it was to the small drum in the folk dance ‘Teshkoto’ from Nishopole. They provided very effective combinations” - Dr. Vinko Zganec, “Kulturni radnik”
3.2. No other nation in Europe has such rich folklore
3.3. The Yugoslav (Former Yugoslavia) Folk Music Festival in Opatija had been specially arranged for the members of the Conference of the International Folk Music Council...” - Dushko Dimitrovski, book “For Our Music”
3.4. “Astonishing pageant of costume and custom, ritual and social dance, song and instrumental playing by 700 performers in Opatija” - Marie Slocombe, Journal of the International Folk Music Council
4. Honours

IX. TALE OGNENOVSKI IS UNDOUBTEDLY ONE OF THE GREATEST COMPOSERS
IN THE WORLD OF MUSIC

1. The book “Macedonian folk dances” by Tale Ognenovski, 1989 
2. “The impossible becomes possible: two, ‘usually non-complimentary’ parallel-existing worlds of sounds – Europe – the Orient – are in…” - Dushko Dimitrovski, book “For Our Music” 
3. “Musical Genius Tale Ognenovski is on an equal level musically with other World Musical Legends” - “Nova Zora”
4. The end result of Tale Ognenovski’s clarinet works is an expression of his own amazing virtuosity

X. SOME COMMENTS ABOUT TALE OGNENOVSKI’S BRILLIANT CAREER AS A MUSICIAN AND COMPOSER

XI. BIOGRAPHY OF TALE OGNENOVSKI IS PUBLISHED ON THE INTERNET

XII. TALE OGNENOVSKI’S DISCOGRAPHY

XIII MAKEDONSKI NARODNI ORA
Macedonian Folk Dances
1. POLJANSKO ORO (kompozitor Tale Ognenovski) 
POLJANSKO ORO (composer Tale Ognenovski)

2. TALEVO SVADBARSKO ORO (kompozitor Tale Ognenovski) 
TALEVO SVADBARSKO ORO (composer Tale Ognenovski)

3. PAJDUSHKO SVADBARSKO ORO (kompozitor Tale Ognenovski) 
PAJDUSHKO SVADBARSKO ORO (composer Tale Ognenovski)

4. TALEVO GENIMALSKO ORO (kompozitor Tale Ognenovski) 
TALEVO GENIMALSKO ORO (composer Tale Ognenovski)

5. LAVCHANSKO ZA RAMO ORO (kompozitor Tale Ognenovski) 
LAVCHANSKO ZA RAMO (composer Tale Ognenovski)

6. BITOLSKO ORO (kompozitor Tale Ognenovski) 
BITOLSKO ORO (composer Tale Ognenovski)

7. TALEVO BADNIKOVO ORO (kompozitor Tale Ognenovski) 
TALEVO BADNIKOVO ORO (composer Tale Ognenovski)

8. BAIRSKO ORO (kompozitor Tale Ognenovski) 
BAIRSKO ORO (composer Tale Ognenovski)

9. TALEVO KASAPSKO ORO (kompozitor Tale Ognenovski) 
TALEVO KASAPSKO ORO (composer Tale Ognenovski)

10. BACHKO ORO (kompozitor Tale Ognenovski) 
BACHKO ORO (composer Tale Ognenovski)

11. STARSKO ZA RAMO ORO (kompozitor Tale Ognenovski) 
STARSKO ZA RAMO ORO (composer Tale Ognenovski)

12. BISTRICHKO ORO (kompozitor Tale Ognenovski) 
BISTRICHKO ORO (composer Tale Ognenovski)

13. SKUDRINSKO ORO (kompozitor Tale Ognenovski) 
SKUDRINSKO ORO (composer Tale Ognenovski)

14. TRNOVSKO ORO (kompozitor Tale Ognenovski) 
TRNOVSKO ORO (composer Tale Ognenovski)

15. BUKOVSKO SVADBARSKO ORO (kompozitor Tale Ognenovski) 
BUKOVSKO SVADBARSKO ORO (composer Tale Ognenovski)

16. DIHOVSKO ORO (kompozitor Tale Ognenovski) 
DIHOVSKO ORO (composer Tale Ognenovski)

17. CAPARSKO ORO (kompozitor Tale Ognenovski)
CAPARSKO ORO (composer Tale Ognenovski)

18. PRESPANSKO ORO, (kompozitor Tale Ognenovski)
PRESPANSKO ORO, (composer Tale Ognenovski)

19. BRUSNICHKO POTPELISTERSKO ORO (kompozitor Tale gnenovski) 
BRUSNICHKO POTPELISTERSKO ORO (composer Tale Ognenovski)

20. SKOPSKO ZHENSKO ORO (kompozitor Tale Ognenovski) 
SKOPSKO ZHENSKO ORO (composer Tale Ognenovski)

21. BITOLSKO SVADBARSKO ORO (kompozitor Tale Ognenovski) 
BITOLSKO SVADBARSKO ORO (composer Tale Ognenovski)

22. BRUSNICHKO MLADINSKO ORO (kompozitor Tale Ognenovski) 
BRUSNICHKO MLADINSKO ORO (composer Tale Ognenovski)

23. BOGOMILSKO ORO (kompozitor Tale Ognenovski) 
BOGOMILSKO ORO (composer Tale Ognenovski)

24. SKOPSKO MASHKO ORO (kompozitor Tale Ognenovski) 
SKOPSKO MASHKO ORO (composer Tale Ognenovski)

25. NEVENINO ORO (kompozitor Tale Ognenovski) 
NEVENINO ORO (composer Tale Ognenovski)

26. BITOLSKO ZA RAMO ORO (kompozitor Tale Ognenovski) 
BITOLSKO ZA RAMO ORO (composer Tale Ognenovski)

27. POTPELISTERSKI RASADNIK ORO (kompozitor Tale Ognenovski) 
POTPELISTERSKI RASADNIK ORO (composer Tale Ognenovski)

28. SHARSKO ORO (kompozitor Tale Ognenovski) 
SHARSKO ORO (composer Tale Ognenovski)

29. TALEVO BITOLSKO ORO (kompozitor Tale Ognenovski) 
TALEVO BITOLSKO ORO (composer Tale Ognenovski)

30. BITOLSKO BUKOVSKO ORO (kompozitor Tale Ognenovski) 
BITOLSKO BUKOVSKO ORO (composer Tale Ognenovski)

31. BITOLSKO LAVCHANSKO ORO (kompozitor Tale Ognenovski) 
BITOLSKO LAVCHANSKO ORO (composer Tale Ognenovski)

32. BABUNSKO TALEVO ORO (kompozitor Tale Ognenovski) 
BABUNSKO TALEVO ORO (composer Tale Ognenovski)

33. TALEVO PRILEPSKO ORO (kompozitor Tale Ognenovski) 
TALEVO PRILEPSKO ORO (composer Tale Ognenovski)

34. ZETOVSKO ORO (kompozitor Tale Ognenovski) 
ZETOVSKO ORO (composer Tale Ognenovski)

35. GERMIJANSKO ORO (kompozitor Tale Ognenovski) 
GERMIJANSKO ORO (composer Tale Ognenovski)

36. BRUSNICHKO PADINSKO ORO (kompozitor Tale Ognenovski) 
BRUSNICHKO PADINSKO ORO (composer Tale Ognenovski)

37. ZLETOVSKO ORO (kompozitor Tale Ognenovski) 
ZLETOVSKO ORO (composer Tale Ognenovski)

38. BEROVSKO ZHENSKO ORO (kompozitor Tale Ognenovski) 
BEROVSKO ZHENSKO ORO (composer Tale Ognenovski)

39. BITOLSKO MASHKO ORO (kompozitor Tale Ognenovski) 
BITOLSKO MASHKO ORO (composer Tale Ognenovski)

40. NEGOTINSKO ZHENSKO ORO (kompozitor Tale Ognenovski) 
NEGOTINSKO ZHENSKO ORO (composer Tale Ognenovski)

41. GEVGELISKO ZHENSKO ORO (kompozitor Tale Ognenovski) 
GEVGELISKO ZHENSKO ORO (composer Tale Ognenovski)

42. DELCHEVSKO ZHENSKO ORO (kompozitor Tale Ognenovski) 
DELCHEVSKO ZHENSKO ORO (composer Tale Ognenovski)

43. NEGOTINSKO MASHKO ORO (kompozitor Tale Ognenovski) 
NEGOTINSKO MASHKO ORO (composer Tale Ognenovski)

44. BRUSNICHKO MASHKO ORO (kompozitor Tale Ognenovski) 
BRUSNICHKO MASHKO ORO (composer Tale Ognenovski)

45. VELE
SHKO VESELO ORO (kompozitor Tale Ognenovski) 
VELESHKO VESELO ORO (composer Tale Ognenovski)

46. STEV
CHEVO BRUSNICHKO ORO (kompozitor Tale Ognenovski) 
STEVCHEVO BRUSNICHKO ORO (composer Tale Ognenovski)

47. GRADSKO VESELO ORO (kompozitor Tale Ognenovski) 
GRADSKO VESELO ORO (composer Tale Ognenovski)

48. SKOPSKO DRACHEVSKO ORO (kompozitor Tale Ognenovski) 
SKOPSKO DRACHEVSKO ORO (composer Tale Ognenovski)

49. PAUNOVO ORO (kompozitor Tale Ognenovski) 
PAUNOVO ORO (composer Tale Ognenovski)

50. KUMANOVSKO ORO (kompozitor Tale Ognenovski) 
KUMANOVSKO ORO (composer Tale Ognenovski)

51. BOZHIKOVO ORO (kompozitor Tale Ognenovski) 
BOZHIKOVO ORO (composer Tale Ognenovski)

52. KRSTORSKO MASHKO ORO (kompozitor Tale Ognenovski) 
KRSTORSKO MASHKO ORO (composer Tale Ognenovski)

53. ILCHOVO ORO (kompozitor Tale Ognenovski) 
ILCHOVO ORO (composer Tale Ognenovski)

54. ZHIVKINO ORO (kompozitor Tale Ognenovski) 
ZHIVKINO ORO (composer Tale Ognenovski)

55. GALICHKO ORO (kompozitor Tale Ognenovski) 
GALICHKO ORO (composer Tale Ognenovski)

56. PIPERKOVO ORO (kompozitor Tale Ognenovski) 
PIPERKOVO ORO (composer Tale Ognenovski)

57. SKOPSKI VESEL CHOCHEK ORO (kompozitor Tale Ognenovski) 
SKOPSKI VESEL CHOCHEK ORO (composer Tale Ognenovski)

58. FANINO ORO (kompozitor Tale Ognenovski) 
FANINO ORO (composer Tale Ognenovski)

59. MICINO ORO (kompozitor Tale Ognenovski) 
MICINO ORO (composer Tale Ognenovski)

60. DIMCHEVO ORO (kompozitor Tale Ognenovski) 
DIMCHEVO ORO (composer Tale Ognenovski)

61. PALANECHKO VESELO ORO (kompozitor Tale Ognenovski) 
PALANECHKO VESELO ORO (composer Tale Ognenovski)

62. DEVEROVO ORO (kompozitor Tale Ognenovski) 
DEVEROVO ORO (composer Tale Ognenovski)

63. PELISTERSKO ORO (kompozitor Tale Ognenovski) 
PELISTERSKO ORO (composer Tale Ognenovski)

64. KUMOVO ORO CHOCHEK (kompozitor Tale Ognenovski) 
KUMOVO ORO CHOCHEK (composer Tale Ognenovski)

65. GJAVATSKO POTPELISTERSKO ORO (kompozitor Tale Ognenovski) 
GJAVATSKO POTPELISTERSKO ORO (composer Tale Ognenovski)

66. PELAGONISKO ORO (kompozitor Tale Ognenovski) 
PELAGONISKO, ORO (composer Tale Ognenovski)

67. BRUSNICHKO ORO (kompozitor Tale Ognenovski) 
BRUSNICHKO ORO (composer Tale Ognenovski)

XIV KLASICHNA MUZIKA
CLASSICAL MUSIC

Tale Ognenovski Koncert za Klarinet Br. 1 (kompozitor Tale Ognenovski),
Tale Ognenovski Clarinet Concerto No.1 (composer Tale Ognenovski)

XV JAZZ

Tale Ognenovski Jazz composition No. 1 (composer Tale Ognenovski)

XVI. BIBLIOGRAPHY

Martin, John: “Ballet: Yugoslav Folk Art ‘Tanec’ Dancers Appear at Carnegie Hall in Display of Tremendous Skill,” The New York Times, New York, January 28, 1956. 

“Awards received by choirs, folk dances and songs groups, solo singers and players who participated at the First Republic Macedonia Festival of Folk Dances and Songs,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, October 13, 1948.

Zganec, Vinko Dr: “Yugoslav Musical folklore at the Festival in Opatija,” “Kulturni radnik,” Year IV, No. 10-11, Zagreb, Croatia, October-November, 1951.

“EDITORIAL,” Journal of the International Folk Music Council, Vol. IV, page 1, London, March, 1952.

Slocombe, Marie: “SOME IMPRESSIONS OF THE YUGOSLAV CONFERENCE AND FESTIVAL”, Journal of the International Folk Music Council, Vol. IV, page 2, London, March, 1952.

“Extracts from PROGRAMME NOTES ON THE DANCES AND SONGS performed at the Yugoslav Folk Music Festival,” Journal of the International Folk Music Council, Vol. IV, pp. 60-64, London, March, 1952.

“New records, Macedonian folk dances,” Newsmagazine “Ilustrovana Politika”, Belgrade, Yugoslavia, 1979.

“One piece of music material performed in Istanbul created great interest in the world for ‘Chalgii’ music”,) Newsmagazine “Ekran,” December 2,1977.

Hadzi Skerleva, Violeta: “First clarinet ’94 Tale Ognenovski, portrait,” Newsmagazine “Ekran,” Skopje, Republic of Macedonia, October 20, 1994"

Grbevski, Ljubomir: “Interview Miroslav Tadic,” Newsmagazine EKRAN, Skopje, Republic of Macedonia, October 22, 1998.

“Crnogorka, Anyone? Yugoslav Dancing Troupe Shows How It Is Done,” The New York Times, New York, January 21, 1956.
“Choreographic Vigor from Macedonia,” The New York Times, New York, January 22, 1956.

Nachevski, Naum: “TANEC collects applause in America,” Newspaper “Nova Makedonija” Skopje, Republic of Macedonia, February 18, 1956.

Nachevski, Naum: “Letter from America, The unforgettable days,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia”, February 18, 1956. 

D. Stojanova, D.: “After returning to the country,” Newspaper “Nova Makedonija”, April 27, 1956.)

“Tanec with success has finished its American tour,” Newspaper “Nova Makedonija”, April 14, 1956.

“Success of Macedonian Folk Ensemble Tanec,” Newspaper “Nova Makedonija”, April 24, 1956.

Terry, Walter: “The Dance: Yugoslav Folk Ballet,” New York Herald Tribune, New York, January 22, 1956.

Pucak, Stjepan: “First days in America,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, February 7, 1956. 

Nachevski, Naum: “TANEC had amazed The New York Public,” Newspaper “Nova Makedonija”, January 31, 1956.

Terry, Walter: “Yugoslav Folk Ballet”, New York Herald Tribune, New York, January 28, 1956. 

Cassidy, Claudia: “On the Aisle Yugoslav Ballet a Colorful Addition to International Dance,” Chicago Daily Tribune, Chicago, February 6, 1956. 

Iliev, Gjorgi: “Letter from America,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, February 19, 1956. 

Singer, Samuel: “Yugoslav Ballet Visits Academy,” The Philadelphia Inquirer, Philadelphia, February 8, 1956.

Hume, Paul: “Yugoslav Dancers Shoot the Works,” The Washington Post and Times Herald, Washington D.C., February 10, 1956. 

Kraglund, John: “Music in Toronto,” The Globe and Mail, Toronto, Canada, February 14, 1956. 

Hagan, R. H: “Yugoslav Ballet Proves Folk Dancing ‘Tricky’,” San Francisco Chronicle, San Francisco, March 8, 1956.

Goldeberg, Albert: “Yugoslav Folk Ballet Opens Engagement,” Los Angeles Times, Los Angeles, March 13, 1956.

“Dance Bouncing Brigands Yugoslav come to U.S.,” Life, Vol. 40, No. 15, pp. 173-174, Chicago, April 9, 1956. 

“The Newspapers in the United States for Tanec,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, May 11, 1956.
“Great success of Tanec in Germany,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, October 21, 1956. 

“Success of Tanec in West Germany,”,Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, October 30, 1956. 

“After the return of “Tanec” from Germany tour - The biggest success”, Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, October 31, 1956. 

“Tanec left on a three-month tour. The Ensemble will perform 83 concerts in France and two in West Germany,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, September 17, 1959

Gavrish, K.: “TANEC wins over the public “, Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, December 6, 1959.

Georgievski, M.: “Your dance fascinates me,” Newspaper “Vecher”, Skopje, Republic of Macedonia, September 14, 1964. 

“Hier soir au GRAND-PALAIS BRILLANTE “PREMIERE” des Ballets de Macedoine,” (“Yesterday evening in the GRAND-PALAIS Brilliant first performance of the national Ballet of Macedonia.”) “Le Berry republicain”, Bourges, France, September 24, 1959. 

“Hier soir a Bourges La “premiere” nationale des Ballets de Macedoine a remporte un enorme succes” (Yesterday evening in Bourges The first national ballet of Macedonia received tremendous success.”), “La nouvelle republique du Centre”, Bourges, France, September 24, 1959. 

Mt., Ed.: “A Port-Gitana les ballets nationaux yougoslaves,” (“In Port-Gitana, National Yugoslav Folklore Ballet”), Tribune de Geneve, Geneva, July 11, 1959. 

Karovski, Lazo: “We must keep our folk songs, dances and folk costumes,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, October 11, 1947.

Mehandziski, Gj.: “All life consecrated to music,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, 1965.

Mehandziski, Gj.: “Life consecrated to music - Tale Ognenovski, 20 years as a professional clarinetist,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, 1968.

Georgiev, Gjoko: “Hot tones”, Newsmagazine “Makedonija”, Skopje, Republic of Macedonia, October 1968.

“Twenty years with the clarinet,” Newspaper “Vecher”, Skopje, Republic of Macedonia, 1968. 

“Tale Show,” Newspaper “Vecher”, Skopje, Republic of Macedonia, 1970. 

“Tale as additional music force,” Newspaper “Vecher”, Skopje, Republic of Macedonia, 1970. 

“One clarinet - One Life,” Newspaper “Vecher”, Skopje, Republic of Macedonia, May 19, 1970. 

“Tale and his clarinet,”Newsmagazine “Ekran”, Skopje, Republic of Macedonia, June 23, 1973. 

Mirchevski, B: “Tale Ognenovski - fifty years of magic with the clarinet,” Newspaper “Studentski zbor”, Skopje, Republic of Macedonia, 1973.

“Four decades with the clarinet,” Newspaper “Vecher”, Skopje, Republic of Macedonia, May 27, 1977.

Popovski, Kosta: “The people in the focus - Record,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, 1979. 

Mehandziski, Vancho: “The clarinet as a life,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, 1979. 

Markoska, V.: “Tale Ognenovski - virtuoso on the clarinet,” Newspaper “Vecher”, July 17, Skopje, Republic of Macedonia, 1987.

“One clarinet, one life – a portrait of Tale Ognenovski, Television Skopje, first programme 18.00 - 18.30,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, July 18, 1987. 

“Virtuoso on the clarinet Tale Ognenovski. The television programme had a few extraordinary folk instrumentalists,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, February 26, 1988. 

“Macedonian Association of Stage Artists awarded Tale Ognenovski, Vaska Ilieva, Aleksandar Sarievski, Jonche Hristovski and Pece Atanasovski with the “Award for Life Artist Work,” Newspaper “Vecher, Skopje, Republic of Macedonia, May 24, 1996. 

“Tale Ognenovski and his anniversaries (1),” Newsmagazine “Ekran”, Skopje, Republic of Macedonia, May 15, 1997.

“Tale Ognenovski and his anniversaries (2),” Newsmagazine “Ekran”, Skopje, Republic of Macedonia, May 22, 1997.

Ognenovski, Stevan Mag. Scient.: “Tale Ognenovski deserve the award “11 Oktomvri”, Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, November 10, 1997.

Macedonian Stage on the SKOPJE SUMMER,” Newspaper “Vecher”, Skopje, Republic of Macedonia, June 29, 1998 god.

Ognenovski, Stevan Mag. Scient.: “Tale Ognenovski deserves the award “11 Oktomvri”, Newsmagazine “Denes”, Skopje, Republic of Macedonia, October 29, 1998.)

“Great interest in our folklore in Opatija,” Newspaper “Nova Makedonija”, Skopje, Republic of Macedonia, September 14, 1951.

“One piece of music material performed in Istanbul created great interest in the world for ‘Chalgii’ music,” Newsmagazine “Ekran”, Skopje, Republic of Macedonia, December 2,1977.

Ognenovski, Tale, “Macedonian folk dances,” Cultural Educational Association from Skopje, Skopje, Republic of Macedonia, 1989.

Dimitrovski, Dushko : “For Our Music” (ISBN 9989-600-01-5), BID “Misirkov”, Skopje, Republic of Macedonia, 1994. 
“Great ‘Chalgii’ opus of the Maestro Tale Ognenovski,” Newsmagazine “Nova Zora”, Bitola, Republic of Macedonia, November 1994. 

“Macedonian Radio Television with Word and Picture,” Macedonian Radio Television, 1994.

XVII. SAMPLES FROM REWIEVERS OF THIS MONOGRAPH

"...This monograph consists of 12 important chapter in this own way represents a looking glass of the artist's profile. In the first chapter the author, using selected materials, has included biographical data and individual articles about Tale Ognenovski's performances, as well as significant statements about his contribution towards the common proclamation of our cultural values with Ensemble "Tanec" on their mammoth tours in the United States of America, Canada and Germany in 1956, followed by the tours in France and Switzerland in 1959. Perhaps the most significant of his performances with Ensemble "Tanec" was the one in the famous Carnegie Hall in America. After these particular appearances that introduced Tale Ognenovski with Ensemble 'Tanec' to the world, in the next chapter the author succeeds in presenting the most significant journalist and professional comments about the folk genius of the clarinet. These articles record the numerous awards and honours that he received for his artistic works. The author Stevan Ognenovski includes the music notationof the Tale Ognenovski's own dance compositions, in addition to the "Tale Ognenovski Clarinet Concerto for Clarinet and the "Tale Ognenovski Jazz Composition No. 1". With all these the artist's profile has become richer... This monograph contains valuable material for researcher in this area of folklore to use to study successfully this phenomenon called Tale Ognenovski" - Kiril Todevski, ethnomusicologist.

"This book can be distinguished from others by the way research has been extraordinarity complete and scrupulously conducted. An enormous number of richly illustrated moments in his life and the creative style of Tale Ognenovski make it possible for everyone to see the extraordinary values and dimensions of this artistic person as one of the most important instrumental maestros in the world and a uniquely creative musician. Following the life history and the art of this great musician, Stevan Ognenovski Mag.Scient. presents the rich variety of events during these times and the creative works of the maestro. Before our very eyes appear numerous persons and manifestations as components of one treasured part of Macedonian spirit and cultural history. These things contribute additionally towards the value of this book..." - Dushko Dimitrovski, ethnomusicologist

XVIII ABOUT THE AUTHOR
T H E A U T H O R
STEVAN OGNENOVSKI Mag.Scient
Born in 1948 in the village of Brusnik near Bitola, Republic of Macedonia.
He received a Diplom-Ingenieur (Dipl.-Ing.) degree in electrical engineering-electronics and Mag.Scient. degree in computer science from The Faculty of Electrical Engineering from the University of Zagreb, Croatia.
He has written two titles about the artistic works of his father Tale Ognenovski, the first appearing in the newspaper “Nova Makedonija” on November 10, 1997, and the second appearing in the newsmagazine “Denes” on October 29, 1998.
He published the biography of Tale Ognenovski on the Internet on September 18, 1998 at Web site:

http://www.taleognenovski.com.mk/ 


Write to Me:

steveogn@yahoo.com

The musical notations of the Macedonian folk dances (composer, Tale Ognenovski), were made by Metodija Avtovski, Ljiljana Avtovska, Pane Panajotov, Blagoja Deskoski, Ljupcho Pandilov, Kosta Smilevski, Doncho Petrovski, Dragan Gjakonovski-Shpato, Hilmi Baki, Raim Baki, and Tale Ognenovski

The musical notations of the classical concert “Tale Ognenovski’s clarinet concert No.1" (composer, Tale Ognenovski) and of the “Tale Ognenovski’s Jazz composition No.1" (composer, Tale Ognenovski) were written by Tale Ognenovski.

The harmony symbols of the Macedonian folk dances (composer, Tale Ognenovski) were written by Blagoja Deskoski.

The notographer of the Macedonian folk dances (composer, Tale Ognenovski) is Vasko Petkovski 

The notographer of the classical concert “Tale Ognenovski’s clarinet concert No.1" (composer, Tale Ognenovski) and of the “Tale Ognenovski’s Jazz composition No.1" (composer, Tale Ognenovski) is Marko Kolovski.

The Macedonian-English and English-Macedonian translation were made by Stevan Ognenovski.

Macedonian language proof read by Olga Smilevska 
English language proof read: Mrs. Susan Prefontaine (pages 4-133) and Mr. Christopher Bridge (final proof read of all text)

Computer preparation: Stevan Ognenovski and PRINT POINT

COPIES: 1.000

The Ministry of Culture for the Republic of Macedonia makes the publishing of this book possible by their financial support. 

CIP Cataloguing in Publication of National and University Library "St. Kliment Ohridski" - Skopje, Republic of Macedonia: 78.071.1/.2 (497.7) (092) 788.6.089.6

ISBN 9989-48-312-4

Promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” / "Тале Огненовски виртуоз на кларинет и композитор" was at the National Institution Centre for Culture “Gligor Prlichev” – Ohrid, Republic of Macedonia on July 9, 2001. Writer of the book is Tale Ognenovski’s son Stevan Ognenovski, Mag.Scient . The promotion of the book was organized by the Balkan Festival of Folk Songs and Dances under the auspices of the National Institution Center of Culture "Grigor Prlicev", Ohrid, Republic of Macedonia.

On the promotion of the book were present: Dragana Boceska, Mag. Scient., Director of National Institution Centre for Culture “Gligor Prlichev” – Ohrid, Boshko Treneski, general manager of the Macedonian National Ensemble for Folk Dances and Songs "Tanec", Rade Siljan, Director and Editor in chief of publishing house “Matica Makedonska”,  Suzana Jolevska (she is wife of  Zoran Jolevski , Ph.D. a Macedonian diplomat and the ambassador of the Republic of Macedonia to the United States of America and he served as Secretary General of the late Macedonian president Boris Trajkovski from 2000–2004), Kiril Todevski, ethnomusicologist, editor of the Folk Music Department in Macedonian Radio Television and reviewer of the book entitled: Tale Ognenovski Virtuoso of the Clarinet and Composer / Тале Огненовски виртуоз на кларинет и композитор, Tale Ognenovski, clarinetist and composer,  Stevan Ognenovski, Mag.Scient., Margarita Ognenovska, Dipl.-Oec. (she is wife of Stevan Ognenovski, Mag.Scient.), Nikola Ognenovski (he is son of Stevan Ognenovski, Mag.Scient.), Kliment Ognenovsli (he is son of Stevan Ognenovski, Mag.Scient.)

Information for the  promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer / Тале Огненовски виртуоз на кларинет и композитор”, was published in newspapers: “Nova Makedonija” (Article entitled: “The 40th Balkan Festival of Folk Songs and Dances, July 2 2001), “Vecher” (Article entitled: “Balkan gathering 600 dancers”, July 5, 2001) and the “Utrinski Vesnik” (Article entitled: “Started Balkan Festival of folk Songs and Dances, July 7, 2001).

On the beginning of the promotion, the author of the book Stevan Ognenovski, Mag.Scient.  read the letter from Mr. Boris Trajkovski, President of the Republic of Macedonia and the letter of Mr. Ljubcho Georgievski, Prime Minister of the Republic of Macedonia.


In the letter Mr. Boris Trajkovski, President of Macedonia addressed to Mr. Tale Ognenovski, clarinetist and composer writes: "Dear Mr. Ognenovski,
Extraordinary feelings, undoubtedly evokes monographic work of your great musical opus, rarely inventive and gifted instrumentalist and composer. Numerous tours and awards in our country and in the world talking about your virtuosity in unsurpassed merger of oriental and western music. Priceless is your merit for promotion of Macedonian traditional and folk music around the world. But at the same time it should be noted and pedagogical activity with young enthusiasts - your followers. Your music and solo performances, left a mark of unsurpassed clarinetist who his perpetual inspiration finds in the  most valuable that has this country – Macedonian folklore. I think that words cannot express what is experienced in the moments of your interpretations. But I still believe in the value of this monographic work that will remain a permanent mark for one glowing personality for future generations.

Boris Trajkovski, President of the Republic of Macedonia

Skopje, July 9, 2001"

Почитуван господине Огненовски,

Несекојдневно е чуството кое несомнено го буди монографското дело на Вашиот огромен музички опус, како ретко инвентивен и надарен инструменталист и композитор. Многубројните гостувања и награди кај нас и во светот говорат за Вашата виртуозност во ненадминливиот спој на ориенталната и западната музика. Непроценлива е Вашата заслуга за афирмација на македонската изворна и народна музика ширум светот. Но, истовремено треба да се истакне и педагошката активност со младите ентузијасти – Вашите следбеници.
Вашата музика, солистичките настапи, оставија белег на ненадминлив кларинетист кој својата непресушна инспирација ја наоѓа во највредното што го има ова поднебје – македонскиот фолклор.

Мислам дека со зборови не може да се искаже се она што се доживува во миговите на Вашите интерпретации. Но, сепак верувам во вредноста на ова монографско дело кое ќе остане како траен белег за едно блескаво име на идните генерации.

Борис Трајковски, Претседател на Република Македонија

Скопје, 9 јули 2001 година


In the letter Mr. Ljubcho Georgievski, Prime Minister of the Republic of Macedonia addressed to Mr. Tale Ognenovski, clarinetist and composer and to Mr. Stevan Ognenovski, Mag.Scient.  writes: "Dear Tale Ognenovski and Stevan Ognenovski,
Invitation to attend at the promotion of the book "Tale Ognenovski Virtuoso of the Clarinet and Composer", causes me great honour and pleasure. I am glad that the promotion of the book is at the same time of maintaining the Balkan Folklore Festival and will enriches the content of this event. Of course it is important that you have managed to book issued in Macedonian and English. Congratulating you on the success and wishing you further success, expressing my regret that due to commitments I am not able to attend the promotion of your book.

I wish that the promotion to relive the true moments that deserves the book.

Sincerely,

Ljubcho Georgievski, Prime Minister of the Republic of Macedonia

Skopje, July 9, 2001"  

“Почитувани Тале Огненовски и Стеван Огненовски,

Поканата да присуствувам на промоцијата на книгата “Тале Огненовски виртуоз на кларинет и композитор”, ми причини посебна чест и задоволство.

Ме радува што промоцијата на книгата е во исто време со одржувањето на Балканскиот фолклорен фестивал што ја збогатува содржината и на оваа Манифестација.

Секако значајно е и тоа што сте успеале книгата да ја издадете на македонски и англиски јазик.

Честитајќи Ви за успехот и посакувајќи Ви натамошни успеси, го изразувам моето жалење, што поради обврските не сум во можност да присуствувам на промоцијата на Вашата книга.

Посакувам промоцијата да ги доживее вистинските моменти што ги заслужува книгата.

Со почит,

Љубчо Георгиевски, Претседател на Владата на Република Македонија

Скопје, 9 јули 2001 година”

At the promotion of the book, Kiril Todevski, ethnomusicologist, editor of the Folk Music Department in Macedonian Radio Television and reviewer of the book said:

"...This monograph consists of 12 important chapter in this own way represents a looking glass of the artist's profile. In the first chapter the author, using selected materials, has included biographical data and individual articles about Tale Ognenovski's performances, as well as significant statements about his contribution towards the common proclamation of our cultural values with Ensemble "Tanec" on their mammoth tours in the United States of America, Canada and Germany in 1956, followed by the tours in France and Switzerland in 1959. Perhaps the most significant of his performances with Ensemble "Tanec" was the one in the famous Carnegie Hall in America. After these particular appearances that introduced Tale Ognenovski with Ensemble 'Tanec' to the world, in the next chapter the author succeeds in presenting the most significant journalist and professional comments about the folk genius of the clarinet. These articles record the numerous awards and honours that he received for his artistic works. The author Stevan Ognenovski includes the music notationof the Tale Ognenovski's own dance compositions, in addition to the "Tale Ognenovski Clarinet Concerto for Clarinet and the "Tale Ognenovski Jazz Composition No. 1". With all these the artist's profile has become richer... This monograph contains valuable material for researcher in this area of folklore to use to study successfully this phenomenon called Tale Ognenovski"

Tale Ognenovski, Clarinetist and Composer speaks at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” ” / "Тале Огненовски виртуоз на кларинет и композитор" written by Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001. From left to right: Dragana Boceska, Mag. Scient., Director of National Institution Centre for Culture “Gligor Prlichev” – Ohrid, Stevan Ognenovski, Mag.Scient., writer of the book, Tale Ognenovski, clarinetist and composer and Kiril Todevski, ethnomusicologist, editor of the Folk Music Department in Macedonian Radio Television and reviewer of the book.




Tale Ognenovski, Clarinetist and Composer speaks at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” ” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001. From left to right: Stevan Ognenovski, Mag.Scient., writer of the book and Tale Ognenovski, clarinetist and composer.


Tale Ognenovski, Clarinetist and Composer performs at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” ” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag. Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001. From left to right: Dragana Boceska, Mag. Scient., Director of National Institution Centre for Culture “Gligor Prlichev” – Ohrid and Tale Ognenovski, clarinetist and composer.


Tale Ognenovski, Clarinetist and Composer performs with Stevan Ognenovski, Mag. Scient. at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” ” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag. Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001.



Tale Ognenovski, Clarinetist and Composer received great applause from the audience for his playing at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” ” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag. Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001. From right to left: Ivan Chorbev, Ph.D. (standing), Katerina Chorbeva, Dipl.-Med. (standing)… Kliment Ognenovski, Margarita Ognenovska, Dipl.-Oec. (she is wife of Stevan Ognenovski, Mag.Scient.), Boshko Treneski, general manager of the Macedonian National Ensemble for Folk Dances and Songs "Tanec"…



Tale Ognenovski, Clarinetist and Composer performs with Stevan Ognenovski, Mag. Scient. at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” ” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag. Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001. From left to right: Dragana Boceska, Mag. Scient., Director of National Institution Centre for Culture “Gligor Prlichev” – Ohrid, Tale Ognenovski, clarinetist and composer and his son Stevan Ognenovski, Mag. Scient.


Tale Ognenovski, Clarinetist and Composer performs at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001.

Tale Ognenovski, Clarinetist and Composer performs at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001.



Suzana Jolevska, (she is wife of  Zoran Jolevski , Ph.D. a Macedonian diplomat and the ambassador of the Republic of Macedonia to the United States of America and he served as Secretary General of the late Macedonian president Boris Trajkovski from 2000–2004), Rade Siljan, Director and Editor in chief of publishing house “Matica Makedonska”, Boshko Trenevski, general manager of the Macedonian National Ensemble for Folk Dances and Songs "Tanec", Margarita Ognenovska, Dipl.-Oec. (she is wife of Stevan Ognenovski, Mag.Scient.), Nada Andreeva and  Kliment  Ognenovski at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” ” / "Тале Огненовски виртуоз на кларинет и композитор" written by Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001.


Tale Ognenovski, Clarinetist and Composer at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001. From left to right: Suzana Jolevska, (she is wife of  Zoran Jolevski , Ph.D. a Macedonian diplomat and the ambassador of the Republic of Macedonia to the United States of America and he served as Secretary General of the late Macedonian president Boris Trajkovski from 2000–2004), Rade Siljan, Director and Editor in chief of publishing house “Matica Makedonska”, Nada Andreeva, Tale Ognenovski, Clarinetist and Composer, Boshko Trenevski, general manager of the Macedonian National Ensemble for Folk Dances and Songs "Tanec" and Dragana Boceska, Mag. Scient., Director of National Institution Centre for Culture “Gligor Prlichev” – Ohrid.

Tale Ognenovski, Clarinetist and Composer at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001. From left to right: Suzana Jolevska (she is wife of  Zoran Jolevski , Ph.D. a Macedonian diplomat and the ambassador of the Republic of Macedonia to the United States of America and he served as Secretary General of the late Macedonian president Boris Trajkovski from 2000–2004), Rade Siljan, Director and Editor in chief of publishing house “Matica Makedonska”, Nada Andreeva (standing), Kliment Ognenovski (he is grandson of Tale Ognenovski), Tale Ognenovski, Clarinetist and Composer, Dragana Boceska, Mag. Scient., Director of National Institution Centre for Culture “Gligor Prlichev” – Ohrid, Stevan Ognenovski, Mag.Scient. and Boshko Trenevski, general manager of the Macedonian National Ensemble for Folk Dances and Songs "Tanec".


Tale Ognenovski, Clarinetist and Composer with his reed pipe at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001.  With this reed pipe (“kavalche”) Tale Ognenovski performed with Macedonian National Ensemble for Folk Dances and Songs "Tanec” in  the United States (65 concerts, from January 22, 1956 till April 12, 1956 including the concert in Carnegie Hall,  New York City on January 27, 1956.), Canada (Toronto Massey Hall,February 13, 1956, Germany (74 concerts, from August 15, 1956 till October 27, 1956 and September 17 and 18, 1959 in Dortmund) , France (83 concerts, from September 20 till November 25, 1959), Switzerland (Berne, July 7 and 8, Geneva, July 9 and 10, 1959. From left to right: Dragana Boceska, Mag. Scient., Director of National Institution Centre for Culture “Gligor Prlichev” – Ohrid,  Tale Ognenovski, Clarinetist and Composer Katerina Chorbeva, Dipl.-Med. and Kiril Todevski, ethnomusicologist, editor of the Folk Music Department in Macedonian Radio Television and reviewer of the book.


Tale Ognenovski, Clarinetist and Composer with his reed pipe at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001.  With this reed pipe (“kavalche”) Tale Ognenovski performed with Macedonian National Ensemble for Folk Dances and Songs "Tanec” in  the United States (65 concerts, from January 22, 1956 till April 12, 1956 including the concert in Carnegie Hall,  New York City on January 27, 1956.), Canada (Toronto Massey Hall,February 13, 1956, Germany (74 concerts, from August 15, 1956 till October 27, 1956 and September 17 and 18, 1959 in Dortmund) , France (83 concerts, from September 20 till November 25, 1959), Switzerland (Berne, July 7 and 8, Geneva, July 9 and 10, 1959. From left to right: Dragana Boceska, Mag. Scient., Director of National Institution Centre for Culture “Gligor Prlichev” – Ohrid,  Tale Ognenovski, Clarinetist and Composer,  Stevan Ognenovski, Mag.Scient., Katerina Chorbeva, Dipl.-Med. and Kiril Todevski, ethnomusicologist, editor of the Folk Music Department in Macedonian Radio Television and reviewer of the book.


Tale Ognenovski, Clarinetist and Composer with his son Stevan Ognenovski, Mag.Scient. at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001. From left to right: Dragana Boceska, Mag. Scient., Director of National Institution Centre for Culture “Gligor Prlichev” – Ohrid,  Tale Ognenovski, Clarinetist and Composer,  Stevan Ognenovski, Mag.Scient. and Kiril Todevski, ethnomusicologist, editor of the Folk Music Department in Macedonian Radio Television and reviewer of the book.


Tale Ognenovski, Clarinetist and Composer performs at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” ” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001.







































































































































































































































































































































































































































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Stevan Ognenovski, Mag.Scient. with his wife Margarita Ognenovska, Dipl.-Oec., Playa De Las AmericasTenerifeSpain, May, 2007.


Stevan Ognenovski, Mag.Scient. with his wife Margarita Ognenovska, Dipl.-Oec., Playa De Las Americas, Tenerife, Spain, May, 2007.





Stevan Ognenovski, Mag.Scient. with his wife Margarita Ognenovska, Dipl.-Oec., Playa De Las Americas, Tenerife, Spain, May, 2007.

Margarita Ognenovska, Dipl.-Oec., Mount Teide (3,718-metre),Tenerife, Spain, May, 2007.



Stevan Ognenovski, Mag.Scient., . Mount Teide (3,718-metre), Tenerife, Spain, May, 2007.

Margarita Ognenovska, Dipl.-Oec., Playa De Las Americas, Tenerife, Spain, May, 2007.

Margarita Ognenovska, Dipl.-Oec., Loro Parque zoo, Tenerife, Spain, May, 2007.

Stevan Ognenovski, Mag.Scient., Playa De Las Americas, Tenerife, Spain, May, 2007.









Important Webpages:

Google+ Page With Eight YouTube Music Videos

https://plus.google.com/106334760000961341887
Facebook Page - Biography http://www.facebook.com/TaleOgnenovskiClarinetist/info
Facebook Page With Eight YouTube Music Videos http://www.facebook.com/TaleOgnenovskiClarinetist/app_182222305144028
Google+ Page - Biography https://plus.google.com/106334760000961341887/about

The Orchard Artist Info

http://www.theorchard.com/artist/38104/bio


Wikipedia http://en.wikipedia.org/wiki/Tale_Ognenovski
AllAboutJazz.com http://musicians.allaboutjazz.com/musician.php?id=1699#.Ur2Xg_RDuHM

BARNES&NOBLE - Book: "Tale Ognenovski"  by Lambert M. Surhone,  Mariam T. Tennoe (Editor), Susan F. Henssonow (Editor)

http://www.barnesandnoble.com/w/tale-ognenovski-lambert-m-surhone/1103724547
YouTube Music Videos http://www.youtube.com/user/steveogn

CD: “Jazz,  Macedonian Folk Danced and Classical Music” Tour of North America and Carnegie Hall Concert Brilliant Career
CD: “MOZART and OGNENOVSKI Clarinet Concertos” The Film "Rhythm and Sound”, 1955 Tour of Germany
CD: “Macedonian Clarinet Jazz Composed By Tale Ognenovski” Songs with famous singers Tour of France
First Award at the Yugoslav Folk Music Festival in Opatija, Croatia, 1951.
Sounds - Europe - The Orient Tour of Switzerland
First Award at the First Republic of Macedonia Festival of Folk Dances and Songs, 1948
International Folklore Conference in Istanbul, Turkey,  1977 Discography
All About Jazz Jazz News: Macedonian Clarinet Jazz Composed by Tale Ognenovski - CD to Celebrate the 85th Anniversary of His Birthday, April 27, 2007

Mi2N - Music Industry News Network: "Macedonian Clarinetist Tale Ognenovski - Jazz Musician Of The Day: April 27, 2010 At AllAboutJazz.com" (Posted: 04-27-2010)
Classical Music since 1952

Mi2N - Music Industry News Network: "Clarinetist Tale Ognenovski - Jazz Musician Of The Day: April 27, 2009 At AllAboutJazz.com" (Posted: 06-25-2009)

Tale on age 4

Top40-Charts.com: “Tale Ognenovski, Internationally Renowned Jazz And Classical Clarinetist Released CD Album Entitled: Mozart And Ognenovski Clarinet Concertos To Celebrate The 250th Anniversary Of Mozart's Birthday”  Metro Goldwyn Mayer studio Feedback
Mi2N - Music Industry News Network: " Clarinetist Tale Ognenovski Will Celebrate The 90th Anniversary Of His Birthday, April 27, 2012 With New CD Album: "Pelistersko Oro", Which Will Be Released On October 1, 2012" (Posted: 04-22-2012)
Email   steveogn@yahoo.com
CV of Stevan Ognenovski, Mag.Scient., Magister Scientiarum (Magister of Science in Computer Science), author of the Web site of Tale Ognenovski, Musical Genius, Clarinetist and Composer

Awards and Honours

JAZZ NEWS - Nestor Publishers:  Tale Ognenovski Will Celebrate The 90th Anniversary Of His Birthday, April 27, 2012 With New CD

600th anniversary of the founding of the village of Brusnik Press releases
Composer and Clarinetist Tale Ognenovski was honoured with Certificate for National Pension by Prime Minister of Republic of Macedonia Nikola Gruevski, March 3, 2012 Extraordinary clarinetist 11 Oktomvri Award

Mi2N - Music Industry News Network:

"Composer And Clarinetist Tale Ognenovski Was Honoured With Certificate For National Pension By Prime Minister Of Republic Of Macedonia Nikola Gruevski" (Posted: 03-07-2012)

Stevan Ognenovski, Mag.Scient. is writer of the book entitled "Tale Ognenovski Virtuoso of the Clarinet and Composer /  Тале Огненовски виртуоз на кларинет и композитор "

Tale Ognenovski, Clarinetist and Composer is author of the book “Macedonian folk dances” published by the Cultural Educational Association, Skopje, Republic of Macedonia in 1989.

Biography at All  About Jazz

"Tale Ognenovski, Titan Of The Clarinet And Composer Of Clarinet Music, Dies" - Mi2N - Music Industry News Network (June 28, 2012) Tale Ognenovski - Wikipedia

http://en.wikipedia.org/wiki/Tale_Ognenovski
Clarinet - Wikipedia


Facebook Page of Stevan Ognenovski - Biography http://www.facebook.com/StevanOgnenovski.MagisterWriterInstrumentalist/info
Facebook Page of Stevan Ognenovski - Photos http://www.facebook.com/StevanOgnenovski.MagisterWriterInstrumentalist
Google+ Page of Stevan Ognenovski - Biography https://plus.google.com/u/0/115061030901910683351/about
Google+ Page of Stevan Ognenovski - Music Videos https://plus.google.com/u/0/115061030901910683351/posts
Biography of Stevan Ognenovski http://www.taleognenovski.com.mk/cvstevano.html
YouTube Music Videos http://www.youtube.com/user/steveogn
Email of Stevan Ognenovski steveogn@yahoo.com


Photo of Tale Ognenovski, Clarinetist and Composer with Josip Broz Tito, President of Yugoslavia, Skopje, Republic of Macedonia, June 3, 1957.

Photo of Tale Ognenovski, Clarinetist and Composer with Boris Trajkovski, President of the Republic of Macedonia, Macedonian Parliament, Skopje, Republic of Macedonia, October 11, 2003.

The New York Times articles for Tale Ognenovski performances as virtuoso clarinet and reed pipe soloist with Macedonian National Ensemble for Folk Dances and Songs "Tanec" in Carnegie Hall, New York City on January 27, 1956.

Life magazine article for Tale Ognenovski performances as virtuoso clarinet and reed pipe soloist with Macedonian National Ensemble for Folk Dances and Songs "Tanec" on 66th concert tour of United States of America and Canada from January 22, 1956 till April 12, 1956.

Tale Ognenovski, Clarinetist and Composer performed on CBS  (Columbia Broadcasting System) with Macedonian National Ensemble for Folk Dances and Songs "Tanec"  on  TV Programme "OMNIBUS" on January 22, 1956.

Tale Ognenovski, Clarinetist and Composer in Metro Goldwyn Mayer studio in Hollywood, Los Angeles, California with members of Macedonian National Ensemble for Folk Dances and Songs "Tanec"  and with June Allyson, one of the screen’s most important stars in the U.S., March 14, 1956.

“Musical Genius Tale Ognenovski is on an equal level musically with other World  Musical Legends” –  ‘Nova Zora’

Photos of Tale Ognenovski, Clarinetist and Composer in Brusnik, Bitola, Baba Mountain, Pelister National Park, Republic of Macedonia.

Photos of Tale Ognenovski, Clarinetist and Composer in Vodno Mountain,  Skopje, Republic of Macedonia

Photos of Tale Ognenovski, Clarinetist and Composer with his family

Tale Ognenovski, Clarinetist and Composer  received "Blagodarnica"(Gratitude ). This is an honorary award for life long work from the folk radio "Radio Ros", in Skopje, Republic of Macedonia, on December 7, 2000.

"Tale Ognenovski, Titan Of The Clarinet And Composer Of Clarinet Music, Dies" - This website article was published on Mi2N - Music Industry News Network (June 28, 2012) http://www.mi2n.com/press.php3?press_nb=155399

Tale Ognenovski is the number four in the list of notable deaths in 2012, as recorded by Wikipedia (http://boingboing.net/2013/01/02/notable-deaths-in-2012-as-rec.html)

Information designer Jess Bachman created Wikipedia Remembers 2012 (http://visual.ly/wikipedia-remembers-2012?view=true), an interactive feature about the top 100 public figures who died in 2012 as ranked by the number of words in their Wikipedia entries.

Web site JJA News insights and updates from the Jazz Journalists Association published article entitled: “Deaths in 2012”, compiled by W. Royal Stokes and Ken Franckling, Nov 27th, 2012 about the top jazz musicians who died in 2012 including Tale Ognenovski. http://news.jazzjournalists.org/2012/11/deaths-in-2012/

Tale Ognenovski, Clarinetist and Composer with his son Stevan Ognenovski, Mag.Scient. and his daughter in law Margarita Ognenovska, Dipl.-Oec. (from left to right). Photo published in the magazine “Tea Moderna”, Skopje, Republic of Macedonia. Article written by Rumena Ravanovska-Tulbevska, entitled: "World Jazz Musician of the Day Tale Ognenovski", July 29, 2009.

Tale Ognenovski (Macedonian: Тале Огненовски) (Born: April 27, 1922, village Brusnik, Bitola, Republic of Macedonia - Died: June 19, 2012, Skopje Republic of Macedonia; Nationality: Macedonian) was a Macedonian multi-instrumentalist: clarinet, reed pipe (‘kavalche’ - recorder), tin whistle, small bagpipe, zourla (zurla) and drum, composer, bandleader and music producer. On April 27, 1922, a musical genius Tale Ognenovski was born in village Brusnik, Bitola, Republic of Macedonia. Tale Ognenovski was the son of Jovan (1893–1933) and Vanka (1893–1972) Ognenovski.  His grandfather was Riste (father of Jovan), his grandmother was Marija (Mara) and his great grandfather was Ognen (Macedonian: Огнен – English: Fire).
Tale Ognenovski  
began to play on the reed pipe (“kavalche”) at the age of 7 (1929) when he made his first musical composition. He created his own distinctive style and he composed different musical forms, including 150 Macedonian folk dances, 12 jazz instrumental compositions and classical concert for clarinet entitled “Tale Ognenovski Concert for Clarinet No. 1”. Tale Ognenovski Concert for Clarinet No. 1 is the most beautiful and the most difficult Clarinet Concerto of all time. 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.In 2000 Tale Ognenovski formed a Quartet with his son Stevan Ognenovski, Mag.Scient. (a drummer) and grandsons Nikola Ognenovski (a reed piper) and Kliment Ognenovski (a reed piper). He performed and recorded with them on three CD albums: "Jazz, Macedonian Folk Dances and Classical Music" 2001, Catalog: IR04542; Record label: Independent Records, US; Tracks: Tale Ognenovski Jazz Composition No. 1, 5 and 8; Brusnichko oro; Nevenino oro; Bukovsko svadbarsko oro; Talevo kasapsko oro; Stevchevo oro; Sharsko oro and Tale Ognenovski Concert for Clarinet No. 1. (all composed by Tale Ognenovski and arranged by Tale Ognenovski). Performers: Soloist - Tale Ognenovski, clarinet, reed pipe ("kavalche"), small bagpipe ("gajdarka") and zourla ("zurla"). Accompanying him are members of his Orchestra: his son Stevan Ognenovski (drum ("tapan") - all tracks and reed pipe - tracks 1, 8 and 9) and grandsons Nikola Ognenovski (reed pipe - tracks 1, 8 and 9) and Kliment Ognenovski (reed pipe - tracks 1, 8 and 9). Stevan Ognenovski and his two sons Kliment Ognenovski and Nikola Ognenovski played on reed pipe the  parts of tracks: "Tale Ognenovski Jazz Composition No. 1", "Stevchevo oro" and "Sharsko oro".
"Mozart and Ognenovski Clarinet Concertos" 2006, Catalog: IR37223; Record label: Independent Records, US; Tracks: Clarinet Concerto in A Major, K.622: Allegro (composed by Wolfgang Amadeus Mozart and arranged by Tale Ognenovski); Clarinet Concerto in A Major, K.622: Adagio (composed by Wolfgang Amadeus Mozart and arranged by Tale Ognenovski); Clarinet Concerto in A Major, K.622: Rondo - Allegro (composed by Wolfgang Amadeus Mozart and arranged by Tale Ognenovski) and Tale Ognenovski Concert for Clarinet No. 1 (composed by Tale Ognenovski and arranged by Tale Ognenovski ). Performers: Soloist - Tale Ognenovski, Clarinet (Track 1,2,3,4), Reed Pipe (Track 4), Small Bagpipe (Track 4), Zourla (Track 4) and Stevan Ognenovski, Drum (Track 1,2,4).
"Macedonian Clarinet Jazz Composed By Tale Ognenovski" 2008, Catalog: IR38824; Record label: Independent Records, US; Tracks: Tale Ognenovski Jazz Composition No 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 (all composed by Tale Ognenovski and arranged by Tale Ognenovski). Performers: Soloist - Tale Ognenovski (clarinet, reed pipe (recorder), tin whistle, small bagpipe, zourla, drum); Stevan Ognenovski (reed pipe, drum); Kliment Ognenovski (reed pipe); Nikola Ognenovski (reed pipe).  Stevan Ognenovski and his two sons Kliment Ognenovski and Nikola Ognenovski played on reed pipe the  parts of tracks: Tale Ognenovski Jazz Composition No. 1, 2, 3, 4, 6 and 7.
Tale Ognenovski is one of the greatest composers of instrumental music for clarinet of all times. Ognenovski's clarinet works consists the realm of his magical creations which established the clarinet as an instrument capable of the highest range of expression in solo music. His pieces contain highly complex, rhythmic patterns and attractive melodies that are incomparable with any other kind of music known today. He is musically innovative and has revolutionized the sounds of folk, jazz and classical music. He is a remarkable improviser who possesses great harmonic knowledge and total technical command of rhythm variation, making anything possible. He created his own, solo-improvisations called “manjinja” (cadenzas), which were fresh, radical, and totally distinctive. His composition range, his virtuosity, and his originality with a clarinet have made him a brilliant cult hero, a genius in the musical world.
Tale Ognenovski
is the greatest clarinetist of all time and one of the most innovative composers of instrumental music. He is known across the globe for his virtuoso performances. With his clarinet he led a generations of music fans around the world. Mr. Ognenovski impressed and amazed clarinetists of all schools.  Ognenovski's success with the audience was phenomenal. Amazing technique, electrifying temperament, variety of phrasing, spectacular clarinet solos are both interesting and fascinating for people to listen to and to admire. 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.
Tale Ognenovski was a Musical Genius and Titan of the Clarinet
whose extraordinary personality and skill has opened up new possibilities for the clarinet that no one could have predicted.  Mr. Ognenovski took his music around the world and his music and spirit will live on forever.

On January 27, 1956, he performed at Carnegie Hall, New York City as clarinet and reed pipe (kavalche - recorder) soloist of Macedonian National Ensemble for Folk Dances and Songs "Tanec".
The New York Times for Tale Ognenovski performances as virtuoso clarinet and reed pipe (‘kavalche’) soloist with Macedonian National Ensemble for Folk Dances and Songs  "Tanec" in Carnegie Hall, New York City on January 27, 1956 wrote, "Display of Tremendous Skill … joy and delight … folk arts, comes from Macedonia … brilliantly spectacular and wonderfully unfamiliar dances … great individuality … wide variety … incredible phrases … the dances are ravishing, and their range is truly astonishing … remarkable music on both orthodox and unorthodox instruments … a raucous and  unforgettable pipe … wonderful art but also a superb show … Surely one performance in New York is not enough … “ - Article entitled "
Ballet: Yugoslav Folk Art; 'Tanec'  Dancers Appear at Carnegie Hall in Display of Tremendous Skill", written by music  critic John Martin, The New York Times, January 28, 1956, p.11, and, “spectacle … stunning show that any set of spectators would find hard to resist … thousand different shades of dynamics … rapidity … conscious virtuosity … the broken circles of the kolo of the Macedonian mountains … curious musical instruments that accompany many of  the dances … a dateless reed pipe …” - Article entitled "THE DANCE: FOLK ART; Group From Yugoslavia In Impressive Debut Learning vs. Magic No Macedonian Monopoly The Week's Events", written by music critic John Martin, The New York Times, February 5, 1956, p. 114.

These musical terms written in these articles are the most brilliant musical expressions written for performance by an instrumental soloist (with orchestra) in Carnegie Hall in New York published in The New York Times from 1891 until now.

Carnegie Hall in New York City, United States, built by philanthropist Andrew Carnegie in 1891, is one of the most prestigious venues in the world for both classical music and popular music.
The New York Times is an American daily newspaper, founded and continuously published in New York City since September 18, 1851. It has won 112 Pulitzer Prizes, more than any other news organization. The paper's print version remains the largest local metropolitan newspaper in the United States.
John Martin (June 2, 1893 - May 19, 1985), dance critic of The New York Times from 1927 to 1962, was a key figure in the development of modern dance in the United States and the most influential writer on dance of his day. His appointment at The New York Times demonstrated the importance of dance in America and hastened the development of dance criticism in the United States as an independent, specialized skill.

Тale Ognenovski played as virtuoso and clarinet and reed pipe (‘kavalche’) soloist with Macedonian National Ensemble for Folk Dances and Songs "Tanec" in Carnegie Hall, New York , on January 27, 1956 for most parts of the programme, including the Macedonian folk dances ‘Bride’s Dance’ (‘Nevestinsko Oro’), ‘Chupurlika’, ‘Shopska Podripnuvachka’ ('Sopska Poskocica'), ‘Kopachka’, ‘Shepherd’s Dance (‘Ovcharsko Oro’), ‘Soborski Igri’, Macedonian songs, Serbian folk dances and songs and ‘Shote’, an Albanian folk dance. 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 folk dances where Tale Ognenovski has performed as virtuoso clarinet and reed pipe soloist.

Tale Ognenovski
brought folk dances from Republic of Macedonia, Serbia and Albania to Carnegie Hall, New York City with Macedonian National Ensemble for Folk Dances and Songs "Tanec" on January 27, 1956 and for this concert  in the articles published in the American newspapers: The New York Times, The New York Herald Tribune and The New York World-Telegram on January 28, 1956 is written: “ 'Tanec'  Dancers Appear at Carnegie Hall in Display of Tremendous Skill” …  
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.” … “Transcontinental tour at Carnegie Hall … 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.”  The concert of Ensemble ‘Tanec’ at Carnegie Hall is one of the most significant events in world music history.

Tale Ognenovski played as clarinet and reed pipe (“kavalche”) soloist of Macedonian National Ensemble for Folk Dances and Songs "Tanec" 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 65 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://lccn.loc.gov/88705799 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,)... The segment entitled The Yugoslav national folk ballet is shown periodically throughout the episode.; LC control no. 88705799.

With Ford Foundation funding, “Omnibus” introduced the best in dance, music, drama, opera, history, science and art and was the most successful cultural magazine series in the history of U.S. commercial television. The series won more than 65 awards, including seven Emmy Awards and two Peabody Awards. The series is held at The Library of Congress and Global ImageWorks, among other archives.

Allmusic's reviewer, Craig Harris, noted: "The only professional folklore ensemble in Macedonia, the Tanec Ensemble are dedicated to the preservation of traditional Macedonian music, dance, and costuming. Founded by the government of the People's Republic of Macedonia in 1949, the group has shared their musical heritage with audiences around the world for more than half a century, performing an estimated 3,500 concerts in 31 countries'... The ensemble reached their peak during the late '50s, when influential clarinet and pipes player Tale Ognenovski was a member..." - Article entitled "Biography of Ensemble Tanec".

Tours with Macedonian National Ensemble for Folk Dances and Songs ‘Tanec’

During his tours around the world, Tale Ognenovski performed with the Macedonian National Ensemble for Folk Dances and Songs ‘Tanec’ in a multitude of concerts. By the end of October, 1955, Tale Ognenovski worked with the “Macedonian Police Music Wind Orchestra” of the Ministry of Internal Affairs of the People's Republic of Macedonia. There followed a request by Emanuel Chuchkov, the director of Macedonian National Ensemble for Folk Dances and Songs "Tanec”, to the manager and conductor of the “Macedonian Police Wind Orchestra”, Micho Kostovski, for Tale Ognenovski to be a guest soloist of the Ensemble “Tanec”.Their first tour was to Bulgaria (November and December, 1955), followed soon after by a tour throughout the United States of America and Canada (66 concerts, between January 22, 1956 and April 12, 1956). During the period July 1, 1956 and September 1, 1960, while employed by Ensemble ‘Tanec’, he toured Germany (74 concerts, from August 15, 1956 until October 27, 1956 and September 18 and 19, 1959 in Dortmund), Albania (9 concerts, October, 1957), Romania (9 concerts, December, 1957 and January 1958.), Switzerland (Berne, July 7 and 8 and Geneva, July 9 and 10, 1959), France (83 concerts, from September 20 until November 25, 1959). He also toured with the Ensemble throughout the former Yugoslavia, in Bosnia and Herzegovina, Monte Negro, Slovenia, Serbia and Croatia; everywhere they performed, Ensemble ‘Tanec’ and Tale Ognenovski earned rapturous applause.The public and audiences greeted Macedonian National Ensemble for Folk Dances and Songs ‘Tanec’ wherever they performed with great warmth, and showed their appreciation with huge applause. Tale Ognenovski and all other members of the Ensemble became international ambassadors of music.

Awards and Honours
The many awards and honours received by Tale Ognenovski include: First Award as the best clarinetist at the first Macedonia Festival of Folk Dances and Songs, held in Skopje, Republic of Macedonia on October 11, 1948; First Award at the Yugoslav (Former Yugoslavia) Folk Music Festival in Opatija, Croatia, September 9–12, 1951, together with another 11 members of the Folk Dance Ensemble from the Bitola village of Nizopole, Republic of Macedonia - The Yugoslav (Former Yugoslavian) Folk Music Festival in Opatija had been specially arranged for the members of the Conference of the International Folk Music Council. IFMC - The International Folk Music Council was established in 1947 in London, UK. ; At the International Folklore Conference organized by the International Folklore Committee in Istanbul, Turkey, 1977, on the subject of "Folklore on the Radio" were presented the recordings from Macedonian Radio Television as a representative of Yugoslav Radio Television (Former Yugoslavia) including the Macedonian folk dances: "Kasapsko oro", arranged by Tale Ognenovski, and "Kumovo oro chochek", composed by Tale Ognenovski and performed by him as clarinet soloist accompanied by the "Chalgii" orchestra of Macedonian Radio Television, which created great interest not only amongst the delegates of the Conference but also around the world;   “Estradna nagrada Jugoslavije” (“Yugoslavian Stage Award”), the greatest award in former Yugoslavia for musical stage artists, from the Association of Stage Artists of Yugoslavia, (Former Yugoslavia) signed by the composer Miljenko Prohaska, in Zagreb, Croatia on October 31,1978; Winner of "11 October" Award, the highest and the most prestigious national award in Republic of Macedonia, October 11, 2003 - Tale Ognenovski won major honors on October 11, 2003 in the Parliament of Republic of Macedonia, when prof. dr. sc. Trajan Gocevski , the President of the commission  of the "October 11" award, presented the award.; All About Jazz celebrated April 27, 2009, the birthday of Tale Ognenovski with All About Jazz recognition: Jazz Musician of the Day: Tale Ognenovskihttp://news.allaboutjazz.com/news.php?id=34707#.Ur2g-fRDuHM with announcement published at his website; Certificate for National Pension received from Nikola Gruevski Prime Minister of Republic of Macedonia in the Museum of the Macedonian Struggle, Skopje, Republic of Macedonia on March 3, 2012.

Тale Ognenovski played as virtuoso and clarinet and reed pipe (‘kavalche’) soloist with Macedonian National Ensemble for Folk Dances and Songs "Tanec" in Carnegie Hall, New York , on January 27, 1956 for most parts of the programme, including the Macedonian folk dances ‘Bride’s Dance’ (‘Nevestinsko Oro’), ‘Chupurlika’, ‘Shopska Podripnuvachka’ ('Sopska Poskocica'), ‘Kopachka’, ‘Shepherd’s Dance (‘Ovcharsko Oro’), ‘Soborski Igri’, Macedonian songs, Serbian folk dances and songs and ‘Shote’, an Albanian folk dance. 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 folk dances where Tale Ognenovski has performed as virtuoso clarinet and reed pipe soloist. Following every concert of ‘Tanec’s’ North American tour, critics in almost every newspaper commented about the Macedonian folk dance ‘Sopska Poskocica’: “… To make the point, in “Sopska Poskocica”, five young men took over the stage and indulged in show-off tactics to attract the girl... 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.” – Article: ‘Yugoslav Folk Ballet,’ written by Walter Terry, the New York Herald Tribune, January 28, 1956. ; “... Until half-past eight, Carnegie Hall was full to capacity, without any of it’s 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” (“Sopska Poskocica”) was even repeated, and to repeat a performance on the American stage is a really rare and exclusive event…” – Article: “The First Days in America (‘Првите денови во Америка’), written by Stjepan Pucak, former Tanjug correspondent and Croatian journalist , Nova Makedonija (‘Нова Македонија’), Skopje Republic of Macedonia, February 7, 1956.; “...IF IT EVER COMES to an all out global brawl, I want the Yugoslavs on my side. That is, if 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,” which apparently just means they are showing off to the girls. I would keep them any day as a fair trade for the four little swans in “Swan Lake.”...” – Article: “On the Aisle - Yugoslav Ballet a Colorful Addition to International Dance.”, written by Claudia Cassidy, Chicago Daily Tribune, Chicago, February 6, 1956. ; “... A Sopska Poskocica  is devised to show the girls how handsome, wonderful, brilliant, 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.” – Article: “Yugoslav Dancers Shoot the Works”, written by Paul Hume, The Washington Post and Times Herald, February 10, 1956.; “… The first impression, however, must be one of rhythmic precision... Nor was the performance without spectacle... Sopska Poskocica  it was no more than a show-off dance. As such it was highly effective…” – Article: “Music in Toronto”, written by John Kraglund, The Globe and Mail, February 14, 1956.; “… But I know they started many a knee jogging to complicated Macedonian rhythms … The Yugoslav troupe provided a magnificent demonstration of that Balkan urge for expressing one’s self in subtly rhythmic and violently evocative body movements… 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...” – Article: “Yugoslav Ballet Proves Folk Dancing ‘Tricky’ “, written by R. H. Hagan, the San Francisco Chronicle, San Francisco, March 8, 1956. ; “… For authentic folk dancing, wild and free and yet subject to its own intricate disciplines, this group would be hard to beat…  the “Sopska Poskocica” in which the young men display their athletic prowess for the girls...It all makes quite a spectacle and is well worth seeing.” – Article:  “Yugoslav Folk Ballet Opens Engagement”, written by Albert Goldberg, the Los Angeles Times, March 13, 1956.; “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. … Together they make as vigorous a display of dancing as the U.S. has ever seen…” – Article: “Dance Bouncing Brigands from Yugoslav come to U.S., Life magazine, USA, Vol. 40, No. 15, pp. 173-174, April 9, 1956. 
Sо brilliants commentaries written by the most prominent music critics and published in the newspapers and magazines in North America are not written for performances of any ensemble or artist in any musical genre who had performed on tour in North America until now.
In these articles published in major newspapers
in North America can be read for the great contribution of Tale Ognenovski as virtuoso clarinet and reed pipe (“kavalche”) soloist for the tremendous success of the Macedonian National Ensemble for Folk Dances and Songs "Tanec" in North America Tour.

Tale Ognenovski is the number one clarinetist. 
Musical genius Tale Ognenovski performed in the world-famous Carnegie Hall as clarinet and reed pipe virtuoso soloist. His phenomenal success in Macedonian National Ensemble for Folk Dances and Songs ‘Tanec’s’ 66-concert tour of the United States and Canada in 1956 launched a new era in his highly successful, 75-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.

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’. 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.

Poster announcement for Macedonian National Ensemble for Folk Dances and Songs "Tanec" performances in Carnegie Hall, New York City, January 27, 1956. Tale Ognenovski played as virtuoso clarinet and reed pipe (‘kavalche’) soloist with Macedonian National Ensemble for Folk Dances and Songs "Tanec" in Carnegie Hall, New York City on January 27, 1956 for most parts of the programme.









Tale Ognenovski, Clarinetist and Composer with members of Macedonian National Ensemble for Folk Dances and Songs "Tanec"  and with June Allyson, one of the screen’s most important stars in the U.S. in the main Metro Goldwyn Mayer studio in Hollywood, Los Angeles, California, March 14, 1956.

Tale Ognenovski, Clarinetist and Composer on the poster announcement for Macedonian National Ensemble for Folk Dances and Songs "Tanec"  performances in Brooklyn Academy of Music , New York City, April 11 and 12, 1956.

Tale Ognenovski was employed as a musician in:  the Macedonian Police Wind Orchestra of the Ministry of Internal Affairs of the People's Republic of Macedonia, from November 15, 1951 to October 30, 1954 and the City of Skopje Music Wind Orchestra, from October 30, 1954 to July 1, 1956.
The repertoire for both of these Orchestras consisted classical works. These included Bizet's "Carmen", "The Troubadour", "Aida", "Rigoletto", Verdi's "Nabucco" and "La traviata", "Oberon" by Carl Maria von Weber, Tchaikovsky's "1812 Overture", Puccini's "Tosca" and Rossini's "The Barber of Seville". In December 1952, Tale Ognenovski as clarinet soloist, together with the pianist Nino Cipushev as accompaniment, performed the classical concert "Concert Polka for Clarinet" by Miler Bela in the "Police House" of the Ministry of Internal Affairs of the People's Republic of Macedonia in Skopje. On May 24, 1953, he played clarinet soloist in the same concert with accompaniment of  “Macedonian Police Music Wind Orchestra". The concert was performed in the Radio Skopje building, and broadcast directly to the nation via Radio Skopje. Bela’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 country’s history of music.

Member of the Macedonian Radio Television
Tale Ognenovski was regularly employed in Radio Television Skopje (now Macedonian Radio and Television), from November 1, 1948 to January 1, 1949 and from January 1, 1961 to October 1, 1967. In 1966, Tale Ognenovski became Head of the "Folk Music Orchestra" of "Radio Television Skopje". On the basis of cooperation agreements with Macedonian Radio Television, Tale Ognenovski  was recording music with all orchestras (the "Folk Music Orchestra", the "Chalgii Orchestra”, the “Authentic Folk Instruments Orchestra” and the “Tancov Orchestra”) in the periods from January 1, 1952 to October 30, 1955 and from October 1, 1967 to December 30, 1979.“

Concerts and TV Appearances

Tale Ognenovski performed his own compositions of Macedonian folk dances as clarinet and reed pipe soloist at a special concert marking the 25th anniversary of the founding of
Macedonian Radio Television, performed in the Universal Hall in Skopje on December 19, 1969.  At this concert, Tale Ognenovski demonstrated his rich talent by performing with all three, different folk music orchestras of “Macedonian Radio Television”, namely the Folk Music Orchestra, the “Chalgii” Orchestra and the Authentic Folk Instruments Orchestra.  The audience that jammed the Universal Hall to capacity gave enthusiastic applause. The concert was a great success, with many other famous singers and instrumentalists taking part. As clarinet soloist, Tale Ognenovski performed his own compositions of Macedonian folk dances on the television programme “Yugoslavia, Good Day” broadcast on “Television Zagreb” (now Croatian Radio television) in Croatia, February 27, 1975.  He appeared as a special guest clarinet soloist at the concert marking the anniversary of the founding of “Radio Television Belgrade” (now Radio Television of Serbia) held in the “House of the Syndicate” in Belgrade, Yugoslavia, 1989.  He played as clarinet soloist two Macedonian folk dances, both of which he composed: Bitolsko svadbarsko oro, and Brusnichko oro.  He had as accompaniment the Folk Music Orchestra of “Radio Television Belgrade”.  Tale Ognenovski received great applause for his virtuoso playing on the clarinet. This concert was broadcast live on “Radio Belgrade”. Tale Ognenovski  as clarinet and reed pipe (kavalche - recorder) soloist of Macedonian National Ensemble for Folk Dances and Songs "Tanec" played 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 65 concerts in many towns throughout the United States. Tale Ognenovski made his debut on a special programme broadcast on Swiss Television.   Playing as virtuoso clarinet soloist, he performed his personally composed Macedonian folk dances ‘Bitolsko oro’ and ‘Brusnichko oro’ with great success, July 7-10, 1959. Tale Ognenovski had performances broadcast on French television, on September 21 and 22, 1959: 20 million people would have seen him with Macedonian National Ensemble for Folk Dances and Songs "Tanec" on the most popular programme on French Television. Radio Paris recorded a 45-minute programme of Macedonian folk dances and songs.

Tale Ognenovski has composed and arranged 150 Macedonian folk dances including: Nevenino Oro, Brusnichko Oro, Bukovsko Svadbarsko Oro, Pelagonisko Oro, Sharsko Oro, Skudrinsko Oro, Trnovsko Oro, Caparsko Oro, Chamiko Oro, Zhensko Krsteno Oro, Adana Oro, Talevo Kasapsko Oro, Stevchevo Oro, Talevo Brusnichko Oro, Ohridsko Za Raka,  Pelistersko Oro, Bitolsko Oro, Bitolsko Svadbarsko Oro, Talevo Svadbarsko Oro, Piperkovo Oro, Zhensko Kichevsko Oro, Staroto Oro, Starsko Za Ramo, Kumovo Oro Chochek, Kavadarsko Svadbarsko Oro, Demirhisarsko Zhensko Oro, Gorno Selsko Oro, Zhensko Veleshko Oro, Prilepsko Svadbarsko Oro, Resensko Oro, Poljansko Oro, Kasapsko Oro, Patruno Svadbeno Oro, Mominsko Oro, Egejsko Oro, Ohridsko oro, Bukovsko Oro, Dihovsko Oro, Prespansko Oro, Deverovo Oro, Veleshko Zhensko Oro, Skopski Vesel Chochek, Skopsko Zhensko Oro and Germijansko Oro.

In the period 1948 - 1987 in the studio of Macedonian Radio Television, Republic of Macedonia, Tale Ognenovski recorded 150 Macedonian folk dances (almost all composed by Tale Ognenovski)
; the Concert for Clarinet and Piano “Fiori Rossiniani” (composer Ernesto Cavallini),1970; the concert “Clarinet Concerto in A Major, K.622” (composer Wolfgang Amadeus Mozart), 1987; “Adagio for Clarinet” (composer Richard Wagner), 1987 on magnetic tapes (on audio tape recorders).
50 Folk Dances (his compositions with his arrangements) and 28 Folk Dances (with his  arrangements) have been recorded on 11 LPs, 11 cassettes and 10 gramophone records. Labels: PGP RTB (Radio Television Belgrade, now Radio Television of Serbia), Serbia; Jugoton, Zagreb, Croatia; Macedonian Radio Television, Republic of Macedonia.
In 2000 Tale Ognenovski formed a quartet with his son Stevan Ognenovski, Mag.Scient. (a drummer) and grandsons Nikola Ognenovski (a reed piper) and Kliment Ognenovski (a reed piper). He performed and recorded with them on three CD albums:

* "Jazz, Macedonian Folk Dances and Classical Music" 2001, Catalog: IR04542; Record label: Independent Records, US; Tracks: Tale Ognenovski Jazz Composition No. 1, 5 and 8; Brusnichko oro; Nevenino oro; Bukovsko svadbarsko oro; Talevo kasapsko oro; Stevchevo oro; Sharsko oro and
Tale Ognenovski Concert for Clarinet No. 1. (all composed by Tale Ognenovski and arranged by Tale Ognenovski).
Performers:
Soloist - Tale Ognenovski, clarinet, reed pipe ("kavalche"), small bagpipe ("gajdarka") and zourla ("zurla"). Accompanying him are members of his Orchestra: his son Stevan Ognenovski (drum ("tapan") - all tracks and reed pipe - tracks 1, 8 and 9) and grandsons Nikola Ognenovski (reed pipe - tracks 1, 8 and 9) and Kliment Ognenovski (reed pipe - tracks 1, 8 and 9). Stevan Ognenovski and his two sons Kliment Ognenovski and Nikola Ognenovski played on reed pipe the  parts of tracks: "Tale Ognenovski Jazz Composition No. 1", "Stevchevo oro" and "Sharsko oro".
His compositions of Macedonian folk dances is a display of imaginative power, a colourful, almost romantic emotion, and sensitive feeling. 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. This Audio CD is the best instrumental album of all time.
Tale Ognenovski at YouTube  http://www.youtube.com/user/steveogn
Tale Ognenovski Clarinet Solo - Brusnichko Oro Macedonian Folk Dance    http://www.youtube.com/watch?v=rfM97pOp23M
Tale Ognenovski Clarinet Solo - Bukovsko Svadbarsko Oro Macedonian Folk Dance     http://www.youtube.com/watch?v=uZvuHuLswaI

Tale Ognenovski Jazz Composition No. 1 - Macedonian Jazz Clarinet Solo    http://www.youtube.com/watch?v=B5v68GMLaCs

Tale Ognenovski Concert for Clarinet No. 1  - Macedonian Classical Clarinet Solo    http://www.youtube.com/watch?v=6hJqfSv3Jnc


Amazon.com Audio CD Customer Reviews:

http://www.amazon.com/exec/obidos/tg/detail/-/B0000Y8HXS/qid=1068816978/sr=8-4/ref=sr_8_4/104-9748987-8087112?v=glance&s=music&n=507846
World-class Jazz Compositions & Traditional Macedonian Folk, April 24, 2004 “If the traditional music of the Balkans appeals to you and you like improvisational jazz ... this CD will blow you away. Music of the Balkans and Central Europe has been hidden too long ... The region has been a fertile soil for exciting, astonishing, experimental music which in modern times combines with traditional music that is creative, original and altogether very satisfying. Tale Ognenovski has over 45 years of experience creating music on the clarinet, the main instrument on which he demonstrates technical expertise and artistry. His musical innovations and improvisations shine on this magnificent CD proving great music has no borders or politics. The traditional Macedonian folk tunes and melodies, "Brusnichko Oro", "Nevenino Oro, "Bukovsko svadbarski oro", and "Talevo kasapsko oro" are my favorites because the minor scale and unusual rhythms allow for highly fluid and lyrical melodic interpretation. Tale Ognenovski is a master of interpretative clarinet sounds and inventor of exotic musical phrases. Great examples are, Tracks 1, 2 and 3 "Tale Ognenonvski Jazz Compositions No. 1, No. 5, & No. 8", all of which combine Macedonian music with Benny Goodman type jazz improvisational techniques. The labyrinthine musical phrases that flow from the the undisputed "King of Macedonian Clarinet" are magnificent, extravagant. He explores sound and music with twists and curves that leave the listener breathless. It is world-class music at its finest. He can play fast, exciting, speeding clarinet music or music that is spiritual meditative and soulful. Overall, this CD demonstrates that the mysterious music from the Balkans belongs on the world-stage ... for everyone to hear and enjoy.”, By Erika Borsos, Gulf Coast of FL, USA.


Reviewer Neil Horner of the MusicWeb International comments
, "He is undoubtedly an exceptional artist and the predominant image created in my mind is of Benny Goodman playing the superb Contrasts he commissioned Bartók to write for him, but with a folk rather than a classical emphasis… Also, despite the CD promising jazz, folk and classical, it really all comes under the umbrella of his conception of how the elements interlink, with some but not major differences of emphasis…This disc is likely to appeal to world music aficionados who enjoy the Balkan/Levantine soundworld and perhaps also those who care to hear the source musics of their classical favourites, the aforementioned Bartók but also, here, perhaps people like Skalkottas." November 3, 2003.
(http://www.musicweb-international.com/classrev/2003/Nov03/Ognenovski.htm)

CD Album available at Amazon.com
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* "Mozart and Ognenovski Clarinet Concertos" 2006, Catalog: IR37223; Record label: Independent Records, US; Tracks: Clarinet Concerto in A Major, K.622: Allegro (composed by Wolfgang Amadeus Mozart and arranged by Tale Ognenovski); Clarinet Concerto in A Major, K.622: Adagio (composed by Wolfgang Amadeus Mozart and arranged by Tale Ognenovski); Clarinet Concerto in A Major, K.622: Rondo - Allegro (composed by Wolfgang Amadeus Mozart and arranged by Tale Ognenovski) and Tale Ognenovski Concert for Clarinet No. 1 (composed by Tale Ognenovski and arranged by Tale Ognenovski ).
Performers: Soloist - Tale Ognenovski, Clarinet (Track 1,2,3,4), Reed Pipe (Track 4), Small Bagpipe (Track 4), Zourla (Track 4) and Stevan Ognenovski, Drum (Track 1,2,4).

Tale Ognenovski arranged the Mozart's Clarinet Concerto in A Major K.622 for two clarinets. The clarinet in standard performance is always accompanied by the Orchestra. In CD Album entitled: “MOZART and  OGNENOVSKI Clarinet Concertos” the clarinet is accompanied by drum performed by his son Stevan Ognenovski or by drum and second clarinet (performed by Tale Ognenovski). Tale Ognenovski released this CD to celebrate the 250th anniversary of the birth of Austrian composer Wolfgang Amadeus Mozart. Amazon.com release date: January 24, 2006. Ognenovski's performance is the most beautiful and the fastest performance of Mozart's clarinet concerto of all time. In this sensational recording the clarinet is accompanied by second clarinet (performed and arranged by Tale Ognenovski). Tale Ognenovski performed the Concerto on a standard-range A clarinet (Buffet Crampon). Clarinet solo parts of this recording are performed according to Breitkopf & Härtel edition (Publisher’s no.: Nr. 2300). Perhaps this is unique recording where every notes of measure numbers III/311-313 from the Third movement: Rondo: Allegro are played by Tale Ognenovski exactly as they are written in Breitkopf & Härtel edition. (Time: 09:29 – 09:34 in this recording).
Tale Ognenovski at YouTube  http://www.youtube.com/user/steveogn
Tale Ognenovski plays Mozart Clarinet Concerto in A Major, K.622: Allegro    http://www.youtube.com/watch?v=9390xDUuPuU
Mozart Clarinet Concerto in A Major K.622 Rondo Allegro Performed by Tale Ognenovski http://www.youtube.com/watch?v=gbUqKvpmPfU

Tale Ognenovski Concert for Clarinet No. 1  - Macedonian Classical Clarinet Solo    http://www.youtube.com/watch?v=6hJqfSv3Jnc

Classical Music - Amazon.com Audio CD Customer Reviews:

http://www.amazon.com/MOZART-OGNENOVSKI-Clarinet-Concertos-Ognenovski/dp/B000ENV2BE/ref=sr_1_1?ie=UTF8&s=music&qid=1303097678&sr=1-1

Mozart Born Anew! Outstanding Musical Interpretation ..., April 13, 2006 “This reviewer is familiar with the three B's of classical music: Bach, Beethoven, and Brahms and can distinguish their styles, one can *now* add a fourth "B" which stands for "Balkan" as played by Tale Ognenovski ... Mr. Ognenovski plays Mozart with his own inimitable personal style making the classical music take on mysterious and exotic characteristics and overtones. His virtuosity possesses special qualities related to the Balkan clarinet that would make even Mozart blush with pleasure. Strict classical music is not my overall favorite because the patterns of sound are too prescribed, quite similar sounding as played by most musicians. Not so with Ognenovski whose elegant virtuosity sets him apart, the distinct Balkan flavor and improvisations are extraordinairy and appealing to those who love a more free form fluid style. Music played on the Macedonian clarinet has a long and distinguished history and when it marries classical music: the outcome is superb.
Ognenovski explodes with passion as he performs his own "Tale Ognenovski Concerto for Clarinet No. 1" ... The labyrinthine musical pathways he creates are enormously pleasing to the listener. The pentatonic scale and odd metered rhythms of Macedonia awaken the listener to new vistas of musical excitement and enjoyment. Anyone who loves jazz improvisation and the sounds of the clarinet will immediately recognize the superior creativity, breath control and complete mastery of this instrument as played by Mr. Ognenovski. It is no surprise that his music has been played on the radio and Mr. Ognenovski has appeared on the television in Macedonia during various occasions for the past 50 years. The music of the Balkans has stayed hidden too long, it deserves wider playing and world wide recognition. Perhaps on his third CD, Mr. Ognenovski will explore the realm of traditional music of Macedonia and share it with the world. His superior talent and expressive lyrical style leaves many possibilities for the future ... we who love clarinet music can only hope for another CD by this grand master.”, By Erika Borsos, Gulf Coast of FL, USA.


Exquisite, you must buy it,
April 14, 2011
“After hearing this great artist, I was absolutely dumbfounded. Why, oh, why have I not heard this songbird before. His delicate and nuanced Mozart was so inspiring that I fell into a reverie--- it was a moment of bliss... No other clarinetist can touch him. After having bought the cd, you will not be able to listen to anything else!!… And bravo Mr. Ognenovski, for inspiring the world of clarinetists… it is imperitive that every clarinetist buy and listen to this recording. Phenominal....
Your minion,

Michele Zukovsky
1st clarinet Los Angeles Philharmonic”

A New Standard has Been Set, April 14, 2011
“Based on the recommendation of the wonderful clarinetist, Michele Z. I have to tell you that this is now my most favorite recording of the Mozart Concerto. I can only hope all clarinetists near and far will learn from this unique interpretation. Bravo Mr.Ognenovski, you've set a new standard.”, By Julia M. Heinen, Professor of Clarinet, California State University, Northridge, United States.

Amazing,
 April 14, 2011
“Words cannot express my joy. I first heard this last year. It brought a whole new level of awareness to Mozart for me. Highly recommended!”, By AZRobert1.

An amazing performance. Not to be missed. Pure Joy!,
 April 15, 2011
“I must concur with my esteemed colleagues M. Zukovsky and H. Heinen. After wrestling with this masterpiece throughout my professional career as a principal orchestral clarinetist, I feel this interpretation, with all its nuanced phrasing, carefully placed dynamic innuendo and unmatched intonation is like a revelation. I can truly say that I have never heard a Mozart like this one. I doubt I ever will again. Any reader of this review should simply listen to the samples on this site to understand the depth of my new reverence for Mr. Ognenovski. I'll never be able to play the Mozart like this... try though I may. There are indeed great artists in this world that have been overlooked. One asks oneself why. Perhaps we should ask the artists themselves. I would also, by the way, suggest this recording to some of my percussion colleagues as a reference for sensitive and delicate rhythmic structure. Truly a once in a lifetime recording. I will forever be indebted to this astonishing clarinetist.”, By H. Golden, Bavaria, Germany.

Unique Genius, April 16, 2011
“I must concur with my colleague, Michele Z., for her astute observations regarding Mr. Ognenovski's artistry. His subtle phrasing and amazing tone leave one breathless. Words cannot adequately describe the impression his recordings make. One must experience them to believe it. I can still hardly believe it myself.”, By David Gilman, orchestral & solo clarinetist, Lake Forest, CA, USA.

These are the most brilliant Reviews published at Amazon.com about the performance of Mozart's Clarinet Concerto in A, K.622 for any artist who performed this concert.




CD Album available at Amazon.com
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MOZART AND OGNENOVSKI is the best clarinet concertos in the world
“After listening to the CD: "MOZART and OGNENOVSKI Clarinet Concertos" for few days, I have come to a conclusion that this is the best  clarinet concertos  in the world. Whether it's classical, jazz, Macedonian, Greek, Middle Eastern, Serbian, Bulgarian or others, no one can play the clarinet with such perfection, clean tone, variations, curves and improvisation ( without losing the original piece or composition), like musical Genius Maestro Tale Ognenovski can. Many clarinetists only play one type or style of music Tale can play any style with perfection. "MOZART and OGNENOVSKI Clarinet Concertos" CD will go down in history as one of the best clarinet concertos ever recorded”, written by Jim (Dimce) Cvetkovski, Buffalo, New York, USA, March 26, 2006; E-mail:  shihandc@yahoo.com

* "Macedonian Clarinet Jazz Composed By Tale Ognenovski" 2008, Catalog: IR38824; Record label: Independent Records, US; Tracks: Tale Ognenovski Jazz Composition No 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 and 12 (all composed by Tale Ognenovski and arranged by Tale Ognenovski).
Performers: Soloist - Tale Ognenovski (clarinet, reed pipe (recorder), tin whistle, small bagpipe, zourla, drum); Stevan Ognenovski (reed pipe, drum); Kliment Ognenovski (reed pipe); Nikola Ognenovski (reed pipe).  Stevan Ognenovski and his two sons Kliment Ognenovski and Nikola Ognenovski played on reed pipe the  parts of tracks: Tale Ognenovski Jazz Composition No. 1, 2, 3, 4, 6 and 7.

Tale Ognenovski and his Quartet offering a sensational clarinet jazz music. Macedonian Clarinet Jazz Composed By Tale Ognenovski will became something of a phenomenon. Variety of phrasing, spectacular clarinet solos are both interesting and fascinating for people to listen to and to admire. Each piece on this album is rhythmically complex. The exploration of Macedonian music traditions with a jazz sensibility is remarkable. The sound is quite simply phenomenal. Ognenovski's music is timeless. Tale Ognenovski was obviously way ahead of his time, and it is a classic that will be around forever. This CD Album is one of the Best Jazz Instrumental Albums of all time.

Tale Ognenovski at YouTube  http://www.youtube.com/user/steveogn

Tale Ognenovski Jazz Composition No. 1 - Macedonian Jazz Clarinet Solo    http://www.youtube.com/watch?v=B5v68GMLaCs
Tale Ognenovski Jazz Composition No. 6 - Macedonian Jazz Clarinet Solo    http://www.youtube.com/watch?v=eJkibqVfE5I

Tale Ognenovski Jazz Composition No. 7 - Macedonian Jazz Clarinet Solo   http://www.youtube.com/watch?v=eK4wLnpPlNw 

Amazon.com Audio CD Customer Reviews:

http://www.amazon.com/Macedonian-Clarinet-Jazz-Composed-Ognenovski/dp/B001GNFYXS/ref=sr_1_3?ie=UTF8&qid=1303097678&sr=1-3

Original, Artistic, Creative, Enjoyable,
 October 9, 2008
“I am a fan of the clarinet and was absolutely blown away by the beautiful music on this CD. I have all the CDs produced by this fabulous clarinet player from Macedonia who is often called a "genius" which in my opinion is no exaggeration and this one is my favorite. Jazz music has a freedom of expression like few other musical styles. Tale Ognenovski uses the most intricate Western playing techniques and combines them with exotic Balkan stylizations creating a pure and genuine new dimensional sound. The listener's spirit soars, dances and flies with pleasure and anticipation gliding on every note and musical phrase. Besides the astonishing clarinet playing, Tale Ogenenovski is also a master player of the reed pipe, small bagpipe, zourla and drums which add more flavor and spice to the original, creative, and artistic clarinet music on this CD. His son Stevan Ogenenovski accompanies the master clarinet player on the reed pipes and drum. While his grandsons Kliment and Nikola add their accompaniment on the reed pipes. Overall, this is a an outstanding CD that is rich with Balkan flavor and has great depth. It is filled with sensational and spectacular music.
Tale Ognenovski Jazz Composition # 1: starts out with Benny Goodman style playing with cheerful musical phrasing. The tones gradually transition into an exciting exhilarating array of Balkan music which melts into Western stylizations. The sounds are delightful as the clarinet explores new paths that are rich and very satisfying. The creativity is extravagant and the music is beautiful. This piece showcase the originality and amazing artistry of the musician.
Tale Ognenovski Jazz Composition # 2: begins with a Middle Eastern/Balkan flavor that expands in scope and range incorporating Western style jazz mofifs despite its Balkan foundation. The results are astonishingly fresh, genuinely harmonious, and totally satisfying.
Tale Ognenovski Jazz Composition # 3: has a very lyrical and flowing melody with catchy musical phrases and tremendous innovations. It shows that Tale Ognenovski is a genuinely talented and original artist of the highest order.
Tale Ognenovski Jazz Composition # 4: is played with high energy, the drums create a clip clop style like the hooves of horses, and the clarinet shouts with joy and happiness. The free style clarinet improvisation expresses emotions with intensity and honesty. The entire piece is a joyful celebration of life, where the soul is set free.
Tale Ognenovski Jazz Composition # 5: starts with a twittering clarinet that calls the listener to engage in a personal journey of discovery. There are interesting interludes where reed pipes carry out a merry melody, followed by a zourla solo and then again the clarinet awakens and reenergizes the entire composition with mesmerizing solos.
For over 50 years Tale Ognenovski has entertained audiences from around the world, with live performances in the United States, Canada, Europe and in his own home country, Macedonia. In January of 1956, he toured with the Ensemble "Tanec" of Macedonia for 84 days straight and even played in Carnegie Hall. This CD once again proves that this master clarinet player of Macedonia is a world class musician who will continue to impress clarinet music lovers everywhere.”, By Erika Borsos, Gulf Coast of FL, USA.

CD Album available at Amazon.com
In CD Format
http://www.amazon.com/Macedonian-Clarinet-Jazz-Composed-Ognenovski/dp/B001GNFYXS/ref=sr_1_3?ie=UTF8&qid=1303097678&sr=1-3
In MP3 Format
http://www.amazon.com/gp/product/B003KZCVUE/ref=sr_1_album_1_rd?ie=UTF8&child=B003KZCWCG&qid=1378369759&sr=1-1 

Three CD Albums available at: CD Baby, Amazon.com, CD Universe, iTunes, The Orchard…

Macedonian Clarinet Jazz Composed by Tale Ognenovski CD Baby Amazon.com CD Universe iTunes The Orchard
MOZART and OGNENOVSKI Clarinet Concertos CD Baby Amazon.com CD Universe iTunes The Orchard
Jazz, Macedonian Folk Dances and Classical Music CD Baby Amazon.com CD Universe iTunes The Orchard

The three CD albums from Independent Records are produced by Tale Ognenovski and Stevan Ognenovski.

Amazon.com MP3 Downloads of Albums of Tale Ognenovski:

MP3 Albums:




MP3 Album MP3 Album MP3 Album
The Tale Ognenovski Quartet in May, 2001 during the CD Albums: "Jazz, Macedonian Folk Dances and Classical Music" and “Macedonian Clarinet Jazz Composed by Tale Ognenovski” sessions. From left to right: Stevan Ognenovski, Mag.Scient., Nikola Ognenovski, Tale Ognenovski Clarinetist and Composer (standing) and Kliment Ognenovski  in “Promuzika TRA-LA-LA Studio”, Skopje, Republic of Macedonia.

Tale Ognenovski, Clarinetist and Composer with his son Stevan Ognenovski, Mag.Scient., his daughter in law Margarita Ognenovska, Dipl.-Oec. and his grandsons Nikola Ognenovski (standing) and Kliment Ognenovski (from left to right) during the CD Albums: "Jazz, Macedonian Folk Dances and Classical Music" and “Macedonian Clarinet Jazz Composed by Tale Ognenovski” sessions in “Promuzika TRA-LA-LA Studio”, Skopje, Republic of Macedonia, May, 2001.

Influences of music composed by Tale Ognenovski to the instrumentalists around the world.
Music composed by Tale Ognenovski is performing by instrumentalists and bands, including: Vlatko Stefanovski, Damir Imeri, Ensemble "Tanec" (Pelistersko Oro); Ljubisa Pavkovic (Pelistersko Oro); Aritmija (Piperkovo Oro); AKUD "Sonja Marinković" (Pelistersko Oro); Dragianni, Damjan Pejcinoski, Muris Varajic (Pelistersko Oro); Muris Varajic & Dragianni (Piperkovo Oro),  Dragan Grujic (Brusnicko oro) and Andrej Zupan (Pelistersko Oro and Piperkovo Oro).  Ognenovski is an influence on musicians including Zoran Madzirov, Pachora and New York bands interpreting Balkan music.

Bill Shoemaker
, JazzTimes music critic has written: “…Recalling the spree sparked a lively discussion about clarinetist Tale Ognenovski, which segued to the proliferation of New York bands interpreting Balkan music (interestingly, Shepik is the linchpin of the movement, leading his own group, The Commuters, and playing with both Matt Darriau’s Paradox Trio and with Black and Speed, in Pachora).”" – Article entitled: “Parallel Worlds” (http://jazztimes.com/articles/21105-dave-douglas-parallel-worlds
Jazzclub Unterfahrt observes, "The music playing of the clarinetist Tale Ognenovski is something other than Michael Brecker's style.", Munich, Germany, March 23, 2004. (http://www.unterfahrt.de/ufaarchiv.php?mo=3&yr=2004)

Pelistersko Oro” composed by Tale Ognenovski, one of the basis of of the “Concert for Piano and Orchestra” which is composed by the musician Damir Imeri - “Traditional Macedonian songs: "Koljo, don't sell your land" („Не си го продавај Kољо чифликот“), "Stojan started playing"  („Засвирел Стојан“) and Tale Ognenovski’s composition “Pelistersko Oro” is the basis of the “Concert for Piano and Orchestra” which is composed by the musician Damir Imeri and in the concert halls in the world will be performed by the piano virtuoso Simon Trpcevski. Premiere concert will be performed in January 2012 in Norway, and then in Seattle, Beijing, Gvang Zhu, Poznan and Zagreb…”, Article entitled “Damir Imer cooperates with famous pianist Simon Trpceski and composed for him Concert inspired by Macedonian Folklore.” - By Andrijana Andova, October 17, 2011, Dnevnik, Republic of Macedonia. http://www.dnevnik.mk/default.asp?ItemID=9A69BCB612B1534CB3AEA77BF448B63D

Tale Ognenovski , Clarinetist and Composer  was a member of the Composers’ Association of Yugoslavia (Former Yugoslavia) from 1963 till 1991. Tale Ognenovski’s 150 compositions have been protected by the Musical Copyright Society of the Republic of Macedonia ZAMP - Macédoine (Здружението за заштита на авторски музички права-ЗАМП) since 1963. ZAMP – Macédoine is the member of CISAC, the International Confederation of Societies of Authors and Composers.

Tale Ognenovski's biographer is his son Stevan Ognenovski, Mаg.Scient. who wrote the book entitled: "Tale Ognenovski Virtuoso of the Clarinet and Composer / Тале Огненовски виртуоз на кларинет и композитор" (2000). Publishing house is Matica Makedonska, Skopje, Republic of Macedonia. The book is published in both Macedonian and English. The content of the book are: the biography of Tale Ognenovski and music notation of compositions of 67 Macedonian Folk Dances, "Tale Ognenovski Clarinet Concerto No.1" and "Tale Ognenovski Jazz composition No. 1" (all composed by Tale Ognenovski).
Editor in chief and Director Rade SILJAN; Editor Dejan PAVLESKI; Cover Stevan OGNENOVSKI Mag.Scient.; Design editor Niko P. TOZI; ISBN 9989-48-312-4 ; 406 pages (format A4).

Copies of this book are deposited in the Library of Congress (LC control no. 2003457521). Library of Congress information of the book at http://lccn.loc.gov/2003457521 The Library of Congress is the research library that officially serves the United States Congress, but which is the de facto national library of the United States. It is the oldest federal cultural institution in the United States. Cole argues that it is now the largest and most international library in the world. The collections of the Library of Congress include more than 32 million cataloged books and other print materials in 470 languages.

Reviews of the Book:
"Tale Ognenovski Virtuoso of the Clarinet and Composer / Тале Огненовски виртуоз на кларинет и композитор"
"...This monograph consists of 12 important chapter in this own way represents a looking glass of the artist's profile. In the first chapter the author, using selected materials, has included biographical data and individual articles about Tale Ognenovski's performances, as well as significant statements about his contribution towards the common proclamation of our cultural values with Macedonian National Ensemble for Folk Dances and Songs "Tanec" on their mammoth tours in the United States of America, Canada and Germany in 1956, followed by the tours in France and Switzerland in 1959. Perhaps the most significant of his performances with Ensemble "Tanec" was the one in the famous Carnegie Hall in America. After these particular appearances that introduced Tale Ognenovski with Ensemble 'Tanec' to the world, in the next chapter the author succeeds in presenting the most significant journalist and professional comments about the folk genius of the clarinet. These articles record the numerous awards and honours that he received for his artistic works. The author Stevan Ognenovski includes the music notationof the Tale Ognenovski's own dance compositions, in addition to the "Tale Ognenovski Clarinet Concerto for Clarinet and the "Tale Ognenovski Jazz Composition No. 1". With all these the artist's profile has become richer... This monograph contains valuable material for researcher in this area of folklore to use to study successfully this phenomenon called Tale Ognenovski" - Kiril Todevski, ethnomusicologist.

"This book can be distinguished from others by the way research has been extraordinarity complete and scrupulously conducted. An enormous number of richly illustrated moments in his life and the creative style of Tale Ognenovski make it possible for everyone to see the extraordinary values and dimensions of this artistic person as one of the most important instrumental maestros in the world and a uniquely creative musician. Following the life history and the art of this great musician, Stevan Ognenovski Mag.Scient. presents the rich variety of events during these times and the creative works of the maestro. Before our very eyes appear numerous persons and manifestations as components of one treasured part of Macedonian spirit and cultural history. These things contribute additionally towards the value of this book..." - Dushko Dimitrovski, ethnomusicologist.

Promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” / "Тале Огненовски виртуоз на кларинет и композитор" was at the National Institution Centre for Culture “Gligor Prlichev” – Ohrid, Republic of Macedonia on July 9, 2001. Writer of the book is Tale Ognenovski’s son Stevan Ognenovski, Mag.Scient . The promotion of the book was organized by the Balkan Festival of Folk Songs and Dances under the auspices of the National Institution Center of Culture "Grigor Prlicev", Ohrid, Republic of Macedonia.
On the promotion of the book were present: Dragana Boceska, Mag. Scient., Director of National Institution Centre for Culture “Gligor Prlichev” – Ohrid, Boshko Treneski, general manager of the Macedonian National Ensemble for Folk Dances and Songs "Tanec", Rade Siljan, Director and Editor in chief of publishing house “Matica Makedonska”,  Suzana Jolevska (she is wife of  Zoran Jolevski , Ph.D.a Macedonian diplomat and the ambassador of the Republic of Macedonia to the United States of America and he served as Secretary General of the late Macedonian president Boris Trajkovski from 2000–2004), Kiril Todevski, ethnomusicologist, editor of the Folk Music Department in Macedonian Radio Television and reviewer of the book entitled: Tale Ognenovski Virtuoso of the Clarinet and Composer / Тале Огненовски виртуоз на кларинет и композитор, Tale Ognenovski, clarinetist and composer,  Stevan Ognenovski,Mag.Scient., Margarita Ognenovska, Dipl.-Oec. (she is wife of Stevan Ognenovski, Mag.Scient.), Nikola Ognenovski (he is son of Stevan Ognenovski, Mag.Scient.), Kliment Ognenovski (he is son of Stevan Ognenovski, Mag.Scient.) …
Tale Ognenovski, Clarinetist and Composer speaks at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” ” / "Тале Огненовски виртуоз на кларинет и композитор" written by Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001. From left to right: Dragana Boceska, Mag. Scient., Director of National Institution Centre for Culture “Gligor Prlichev” – Ohrid, Stevan Ognenovski, Mag.Scient., writer of the book, Tale Ognenovski, clarinetist and composer and Kiril Todevski, ethnomusicologist, editor of the Folk Music Department in Macedonian Radio Television and reviewer of the book.


Tale Ognenovski, Clarinetist and Composer performs with Stevan Ognenovski, Mag. Scient. at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” ” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag. Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001.



Tale Ognenovski, Clarinetist and Composer at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” / "Тале Огненовски виртуоз на кларинет и композитор" written by his son Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001. From left to right: Suzana Jolevska (she is wife of  Zoran Jolevski , Ph.D. a Macedonian diplomat and the ambassador of the Republic of Macedonia to the United States of America and he served as Secretary General of the late Macedonian president Boris Trajkovski from 2000–2004), Rade Siljan, Director and Editor in chief of publishing house “Matica Makedonska”, Nada Andreeva (standing), Kliment Ognenovski (he is grandson of Tale Ognenovski), Tale Ognenovski, Clarinetist and Composer, Dragana Boceska, Mag. Scient., Director of National Institution Centre for Culture “Gligor Prlichev” – Ohrid, Stevan Ognenovski, Mag.Scient. and Boshko Trenevski, general manager of the Macedonian National Ensemble for Folk Dances and Songs "Tanec".

Suzana Jolevska, (she is wife of  Zoran Jolevski , Ph.D. a Macedonian diplomat and the ambassador of the Republic of Macedonia to the United States of America and he served as Secretary General of the late Macedonian president Boris Trajkovski from 2000–2004), Rade Siljan, Director and Editor in chief of publishing house “Matica Makedonska”, Boshko Trenevski, general manager of the Macedonian National Ensemble for Folk Dances and Songs "Tanec", Margarita Ognenovska, Dipl.-Oec. (she is wife of Stevan Ognenovski, Mag.Scient.), Nada Andreeva and  Kliment  Ognenovski at the promotion of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer” ” / "Тале Огненовски виртуоз на кларинет и композитор" written by Stevan Ognenovski, Mag.Scient. in the Cultural Centre "Grigor Prlicev", Ohrid, Republic of Macedonia on July 9, 2001.

In his book, For Our Music (За Наша Музика) Dushko Dimitrovski writes: The prodigy, however, is called Tale Ognenovski… Both Jesus Christ’s: “I came not to do away with the Bible, but to fulfil and continue it”, and Michalangelo’s: “The Artist must adopt strict, artistic rules at first, to be able to break them afterwards”… could well apply to Ognenovski. Absolutely masterly and limitless imagination and music inventiveness are only ‘potka’, a condition, a starter, tonal ‘organon’, for his creative accomplishments.... As a virtuoso playing ‘Chalgija’ music (in his child-hood, as a shepherd, he played the reed pipe (‘kavalche’); later, as an educated musician he played Cavallini, Weber and Mozart. Tale Ognenovski, at the same time, navigates himself effectively all around the world of classical music. As if the ingenious knowledge of the ‘chalgija’ universe, but also with the live primordial in the rustic sound, together with the vivid, creative touch of the mysteries of European classical music idea, had predetermined the outstanding talent of Ognenovski to make one, perhaps unconscious, but in musical and historical terms, more than far-reaching creative step forward. In other words if without telling in advance, we approach carefully and analytically the ‘chalgija’ opus created by the Maestro, we will discover with surprise and great delight that Ognenovski is (probably) the FIRST, and (surely) THE FARTHEST REACHING contemporary who first made the connection between the two “UNCONNECTABLE” worlds – the Orient and the West - with words and melodies. Tale Ognenovski does not find it problematic to start with a motif, a theme, and then to navigate through all the labyrinths of the archaic and old church styles, so that at in a certain section of his improvisation… to decide on a strict, “very Western-style” tonality and to bring all that to the starting-point by perfectly structuring and observing the style. The impossible becomes possible: two, “usually non-complimentary” parallel-existing worlds of sounds - Europe - The Orient – are in Tale Ognenovski’s music naturally brought closer together, understand each other and merge. Has Ognenovski’s ingenuity in advance not done something that with the power of empirical palpability and outright proof, will convince us that Macedonia - with the power of both worlds of melodies being borne and present in her galaxy of sounds - is the one predetermined to play the role of a tonal catalyst for the future universal connection and natural mixing and circulation of the creative idea of East - West - East?...”, Dimitrovski, Dushko, За Наша Музика - For Our Music, pp 114-116. Skopje, Republic of Macedonia: ISBN 9989-600-01-5, published by BID "Misirkov", 1994.

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