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

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 (accordion), Todor Pavlovski Totka (guitar) and Reshad Muharedov (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, Muharedov Reshad, 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.


Tour of North America, Carnegie Hall concert, New York City.

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.

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.

Advertisement for Macedonian National Ensemble for Folk Dances and Songs "Tanec" performances in Carnegie Hall, New York City, January 27, 1956. It appeared in the newspaper “The New York Times” on January 25, 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.

Article entitled: “CHOREOGRAPHIC VIGOR FROM MACEDONIA” for Macedonian National Ensemble for Folk Dances and Songs "Tanec" performance in Carnegie Hall, New York City on January 27, 1956. It appeared in the newspaper “The New York Times”, written by music  critic John Martin on January 22, 1956, p. 97.


The popularity of the Macedonian National Ensemble for Folk Dances and Songs "Tanec's" music in Europe brought with it increasing press attention in North America before and during the tour of North America. The major newspapers  published articles:  

YUGOSLAV BALLET TO APPEAR IN U. S.; National Folk Unit, Planning 15-Week Tour, Will Make Debut Here in January    The New York Times

"The Yugoslav National Folk Ballet will begin a fifteen-week tour of the United States in January, under the auspices of Consolidated Concerts Corporation and the International Music Institute. This will be the first large-scale dance company from a former Iron Curtain country..."
 
By The New York Times,  November 15, 1955.

Preview of this article from the New York Times can be read at website

http://select.nytimes.com/gst/abstract.html?res=F50A14FE3C55107A93C7A8178AD95F418585F9&scp=13&sq=Tanec&st=p

Article entitled: “CHOREOGRAPHIC VIGOR FROM MACEDONIA” for Macedonian National Ensemble for Folk Dances and Songs "Tanec" performance in Carnegie Hall, New York City on January 27, 1956. It appeared in the newspaper “The New York Times”, written by music  critic John Martin  on January 22, 1956, page 97.
Macedonian National Ensemble for Folk Dances and Songs "Tanec" was the first dance company from Yugoslavia (the former Yugoslavia) to perform in America. The Ensemble arrived in New York City on January 21, 1956. The following day, on January 22, The New York Times newspaper ran an article entitled, “THE DANCE: DIRECTION; CHOREOGRAPHIC VIGOR FROM MACEDONIA”. 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.” By John Martin  January 22, 1956.

Preview of this article from the New York Times can be read at website

http://select.nytimes.com/gst/abstract.html?res=F30611F6395A137A93C0AB178AD85F428585F9&scp=26&sq=John+Martin&st=p

Great Variety of Dance in Yugoslav Folk Ballet     Daily Boston Globe
"The word, Tanec, means Dance in Macedonian, all kinds of dance. And the repertory of Tanec, the Yugoslav National Folk Ballet, in the United States and Canada as the first artistic import from the newYugoslavia, Illustrates that meaning in its broadest sense... " - By Daily Boston Globe - Boston, Mass., January 22, 1956.

Abstract (Document Summary) of this article from the Boston Globe can be read at website

http://pqasb.pqarchiver.com/boston/access/2063993832.html?FMT=ABS&FMTS=ABS:AI&type=historic&date=Jan+22%2C+1956&author=&pub=Daily+Boston+Globe+%281928-1960%29&edition=&startpage=C74&desc=Great+Variety+of+Dance+in+Yugoslav+Folk+Ballet

Yugoslav Ballet Booked Here     The Washington Post and Times Herald
"The Yugoslav National Folk Ballet will be presented for one night only at Constitution Hall on Thursday, Feb. 9. This company of Balkan singers, musicians and folk dancers has been on tour in Europe and currently is preparing for its New York bow... " - By The Washington Post and Times Herald  - Washington, D.C., January 22, 1956.

Preview of this article from the Washington Post and Times Herald can be read at website

http://pqasb.pqarchiver.com/washingtonpost_historical/access/121247858.html?FMT=ABS&FMTS=ABS:AI&type=historic&date=Jan+22%2C+1956&author=&desc=Yugoslav+Ballet+Booked+Here

Ensemble ‘Tanec’s North American tour was sponsored by International Artists in association with Charles E. Green and Lee V. Eastman.

Advertisement for Macedonian National Ensemble for Folk Dances and Songs "Tanec" performances in in Carnegie Hall, New York City, January 27, 1956. It appeared in the newspaper “The New York Times” on January 22, 1956

Advertisement for Macedonian National Ensemble for Folk Dances and Songs "Tanec"  performances in Carnegie Hall, New York City, January 27, 1956, published in the newspaper “The New York Times”.  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 .


Comments from the American newspapers about the Macedonian National Ensemble for Folk Dances and Songs "Tanec"  performance in Carnegie Hall on January 27, 1956 published in the newspaper "Chicago Daily Tribune, February 3, 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.





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:

Ballet: Yugoslav Folk Art; 'Tanec' Dancers Appear at Carnegie Hall in Display of Tremendous Skill     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.” - By John MartinThe New York Times, , January 28, 1956.

Preview of this article from the New York Times can be read at website

http://select.nytimes.com/gst/abstract.html?res=F40D15FB3F5B157B93CAAB178AD85F428585F9&scp=74&sq=John+Martin&st=p

THE DANCE: FOLK ART; Group From Yugoslavia In Impressive Debut Learning vs. Magic No Macedonian Monopoly The Week's Events     The New York Times
"Everybody knows, of course, that folk dancing is entirely for participation, and has no value at all as spectacle; everybody knows it, that is, until something like the Yugoslav National Folk Ballet, "Tanec", comes along and puts on a stunning show that any set of spectators would find hard to resist... The social and sociological roots are there, to be sure, but what is actually offered is the theatrical flower. There is an amazing variety to the dances that comprised this particular program. To indicate, that they are dances of war, of courtship, of harvest, of sheep-herding, is to lapse into platitudes, for a variety exists in far closer terms than any such standards backgrounds imply. It is again, the flower that we see; not the roots. And this flowering is in terms of movement that compasses a thousand different shades of dynamics, of elevation, of rapidity, of aplomb, of spatial range, of conscious virtuosity, of total strangeness and exoticism of texture. The ethnologist will care enormously that there are here relics of Grecian antiquity, Turkish influences from the hated occupation, full-circled kolos from the plains of Croatia in contrast to the broken circles of the kolo of the Macedonian mountains. There is equal interest in the curious musical instruments that accompany many of the dances... a dateless reed pipe (virtuoso reed pipe (“kavalche”) and the clarinet soloist was Tale Ognenovski - remark made by Stevan Ognenovski).", February 5, 1956 - By John Martin, The New York Times, February 5, 1956. 

Preview of this article from the New York Times can be read at website

http://select.nytimes.com/gst/abstract.html?res=FA0C17F83A55177B93C7A91789D85F428585F9&scp=2&sq=Tanec&st=p

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.

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.









"Venerable Carnegie Hall fairly vibrated as the audience blistered its palms in appreciation..." - By Robert Coleman,  New York Daily Mirror, January 28, 1956

"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..." - By William HawkinsNew York World Telegram, January 28, 1956  

Yugoslav Folk Ballet      New York Herald Tribune
"And these antique measures, accompanied sometimes by a shepherd's pipe … Tanec, a Macedonian group of some forty dancers and musicians, gave generously of their rich folk heritage... 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." ..." - By Walter TerryNew York Herald Tribune., January 28, 1956

Macedonian National Ensemble for Folk Dances and Songs "Tanec"  was the first dance company from Yugoslavia (the former Yugoslavia) to perform in America. Ensemble ‘Tanec’s North American tour (January 22, 1956 – April 12, 1956) 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.

REVIEWS OF Yugoslav National Folk Ballet Carnegie Hall January 27, 1956      Dance Observer
"The capacity audience at Carnegie Hall on January 27 for the single New York performance of Tanec, the Yugoslav National Folk Ballet, enjoyed a fascinating cross-section of over 2000 years of human history and culture. Tanec is a Macedonian group,..." - Dance observer: Volumes 23-24, April, 1956. 

On the Aisle - Yugoslav Ballet a Colorful Addition to International Dance      Chicago Daily Tribune
"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 unfair 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, , February 6, 1956.

Abstract (Document Summary) of this article from the Chicago Daily Tribune can be read at website

http://pqasb.pqarchiver.com/chicagotribune/access/514711972.html?FMT=ABS&FMTS=ABS:AI&type=historic&date=Feb+6%2C+1956&author=CLAUDIA+CASSIDY&pub=Chicago+Daily+Tribune+%281923-1963%29&edition=&startpage=B7&desc=On+the+Aisle

Yugoslav Ballet Visits Academy       The Philadelphia Inquirer 
""Tanec" means "dance", but "dance" in a larger form than customary. Besides dance alone, it conveys drama, ritual, tradition, songs, even military maneuvers...there was a remarkable precision in both dancing and playing...Clarinet, bass fiddle, violin, drums, guitar and flute provided most of the accompaniments in various combinations..." - By   Samuel SingerThe Philadelphia Inquirer,  , February 8, 1956.


Comments from the American newspapers about the Macedonian National Ensemble for Folk Dances and Songs "Tanec"  performance in Carnegie Hall on January 27, 1956 published in the newspaper "Chicago Daily Tribune", February 3, 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.


 

Advertisement for Macedonian National Ensemble for Folk Dances and Songs "Tanec" performances in DAR Constitution Hall, Washington, D.C. (capacity 3,702 seats), February 9, 1956, published in the newspaper “ The Washington Post and Times Herald” - Washington, D.C.



Advertisement for Macedonian National Ensemble for Folk Dances and Songs "Tanec"  performances in Philadelphia, February 7, 1956. It appeared in the newspaper “The Philadelphia Inquirer”. 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.

NEW YORK CRITICS RAVED! SO WILL YOU!

"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.” - New York World Telegram

FIRST TIME IN AMERICA

CHARLES E, GREEN & LEE V. EASTMAN

present YUGOSLAV NATIONAL BALLET (TANEC)

DANCERS * SINGERS * MUSICIANS

COMPANY OF 40

"Freshest, gayest, most expert dance affair that has come over the horizon in years" - New York World Telegram

"Carnegie Hall vibrated as the audience blistered its palms in appreciation" - New York Daily Mirror

"Tremendous skill ... a joy and delight." - New York Times

" Lively, handsome, magnificently skilled." -  New York Herald Tribune

ONE NIGHT ONLY, TUESDAY, FEB, 7, at 8:30

ACADEMY OF MUSIC







“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 Macedonian 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.





Yugoslav Dancers Shoot the Works      The Washington Post and Times Herald
 "A Sopska Poskocica is devised to show the girls how handsome and wonderful and brilliant and exciting and sensational their man friends are. 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... " - By Paul Hume,The Washington Post and Times Herald - Washington, D.C., , February 10, 1956.

Preview of this article from the Washington Post and Times Herald can be read at website

http://pqasb.pqarchiver.com/washingtonpost_historical/access/121253922.html?FMT=ABS&FMTS=ABS:AI&type=historic&date=Feb+10%2C+1956&author=By+Paul+Hume&desc=Yugoslav+Dancers+Shoot+the+Works

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 (accordion), Todor Pavlovski Totka (guitar) and Reshad Muharedov (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.

Music in Toronto      The Globe and Mail
"The first impression, however, must be one of rhythmic precision... Nor was the performance without spectacle... in the case of one dance, Sopska Poskocica it was no more than a show-off dance. As such it was highly effective ... " - By John Kraglund, The Globe and Mail (Toronto, Canada), , February 14, 1956.

Yugoslav National Folk Ballet
'A Breath of Mountain Air'               Christian Science Monitor

"FRESH AS A BREATH of mountain air comes Tanec, the Yugoslav National Folk Ballet, now on its first American tour. Tanec means dance--including drama, song, and music--and that's what the company of some 40 members (who are interchangeably dancers, singers, and musicians) does... " - By Margaret Lloyd Dance Critic of Christian Science Monitor - Boston, Mass., , March 2, 1956.

Abstract (Document Summary) of this article from the Christian Science Monitor can be read at website
http://pqasb.pqarchiver.com/csmonitor_historic/access/273381722.html?FMT=ABS&FMTS=ABS:AI&type=historic&date=Mar+2%2C+1956&author=&pub=Christian+Science+Monitor++%281908-Current+file%29&edition=&startpage=9&desc=Yugoslav+National+Folk+Ballet

The Boston Globe Feature Vacation Section
EUROPEAN FESTIVALS Every Country Has Its Own Folk Art     Daily Boston Globe
"Many an American who has never crossed the Atlantic is getting his first taste of European folk art this season, thanks to the celebrated Yugoslav National Fol Ballet, now on a Winter-Spring tour of principal... " - By Daily Boston Globe - Boston, Mass., , March 4, 1956. 

Abstract (Document Summary) of this article from the Daily Boston Globe can be read at website
http://pqasb.pqarchiver.com/boston/access/2070321332.html?FMT=ABS&FMTS=ABS:AI&type=historic&date=Mar+4%2C+1956&author=&pub=Daily+Boston+Globe+%281928-1960%29&edition=&startpage=C69&desc=The+Boston+Globe+Feature+Vacation+Section

Yugoslav Ballet Proves Folk Dancing ‘Tricky’      San Francisco Chronicle
"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..." - By R. H. Hagan, San Francisco Chronicle, March 8, 1956.  


Yugoslav Folk Ballet Opens Engagement     Los Angeles Times
"The Yugoslav National Folk Ballet -- known at home as Tanec--excited a large audience... 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 … They are accompanied by a group of musicians consisting of a violinist, guitar and accordion players, a flutist, a clarinetist and double bass, though drums of different types are frequently involved, as well as a shepherd's reed pipe..." - By Albert Goldberg, Los Angeles Times, , March 13, 1956.

Abstract (Document Summary) of this article from the Los Angeles Times can be read at website
http://pqasb.pqarchiver.com/latimes/access/429243141.html?FMT=ABS&FMTS=ABS:AI&type=historic&date=Mar+13%2C+1956&author=ALBERT+GOLDBERG&pub=Los+Angeles+Times+%281923-Current+File%29&edition=&startpage=B7&desc=Yugoslav+Folk+Ballet+Opens+Engagement

Life magazine was a weekly news magazine with a strong emphasis on photojournalism. Grace Kelly was an American actress. She was featured on the cover of Life magazine on April 9, 1956, Vol. 40, No. 15. In this issue of the Life magazine on pages 173-174,  editorial board of the magazine published an article titled, “DANCE, BOUNCING BRIGANDS, Yugoslavs come to U.S.”, about performances of 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.

All content (including images) of this Life magazine article can be read at website

http://books.google.mk/books?id=Qk8EAAAAMBAJ&pg=PA173&lpg=PA173&dq=bouncing+brigands&source=bl&ots=9S1IqRy_Uv&sig=VER6KlcMqDok6KqlFgHbwiGwtGY&hl=en&ei=WBePTcGHG8qhOsmbgKEC&sa=X&oi=book_result&ct=result&sqi=2&redir_esc=y#v=onepage&q=bouncing%20brigands&f=false

LIFE photo archive is hosted by Google which includes a searchable database of photographs from the LIFE photo archive, stretching from the 1750s to today, now available for the first time through the joint work of LIFE and Google.

 DANCE BOUNCING BRIGANDS Yugoslavs come to U.S.    LIFE Magazine

Tale Ognenovski played as virtuoso clarinet and reed pipe (‘kavalche’) soloist with Macedonian National Ensemble for Folk Dances and Songs"Tanec" on concert tour of United States of America and Canada from January 22, 1956 till April 12, 1956.

The Life Magazine wrote: "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... the Yugoslav National Folk Ballet which this spring is making a first, and highly successful, tour of the U.S. The skilful troupe of 40 dancers and musicians was founded by Tito to perpetuate his country’s culture. …Together they make as vigorous a display of dancing as the U.S. has ever seen..." – Article entitled “DANCE, BOUNCING BRIGANDS, Yugoslavs come to U.S.”, published in the Life Magazine, April 9, 1956, Vol. 40, No. 15, pp. 173-174

THE DANCE: REVIEW; SOLOIST WITH DANCE GROUP     The New York Times
On May 20, 1956, summing up the performances of soloists and dance groups including Ensemble "Tanec", The New York Times's music critic John Martin identifies last season as unpredictable, strong, international and creative innovation. He writes, "Looking over one's shoulder at the season just closed, as is conventional practice at this time of year, one is impressed most of all by its general obstreperousness. It was fecund, unpredictable, energetie, international, creative,..." - By John Martin, The New York Times,
May 20, 1956, Section Arts & Leisure, Page 122.

Preview of this article from the New York Times can be read at website

http://select.nytimes.com/gst/abstract.html?res=FA0A1FFF3D58137A93C2AB178ED85F428585F9

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.


Concerts of North America tour include Harrisburg, Pennsylvania - The Forum (capacity 1,763 seats - http://en.wikipedia.org/wiki/Harrisburg,_Pennsylvania) January 23, 1956; New York City - Carnegie Hall (capacity 2,760 seats - http://en.wikipedia.org/wiki/Carnegie_Hall); Symphony Hall, Boston (capacity 2,625 seats - http://en.wikipedia.org/wiki/Symphony_Hall,_Boston), January 1, 1956; Civic Opera House (Chicago) (capacity 3,563 seats - http://en.wikipedia.org/wiki/Civic_Opera_House_(Chicago)), February 4 and 5, 1956; Academy of Music (Philadelphia) (capacity 2,897seats), February 7, 1956; DAR Constitution Hall Washington, D.C. (capacity 3,702 seats - http://en.wikipedia.org/wiki/DAR_Constitution_Hall), February 9, 1956; Lyric Opera House Baltimore (http://en.wikipedia.org/wiki/Lyric_Opera_House), February 10, 1956; Syria Mosque Theater Pittsburgh (capacity 3,700 seats http://en.wikipedia.org/wiki/Syria_Mosque), February 12, 1956; Massey Hall Toronto, Canada (capacity 2,752 seats - http://en.wikipedia.org/wiki/Massey_Hall), February 13, 1956; Detroit Masonic Temple (capacity 4,404 seats - http://en.wikipedia.org/wiki/Detroit_Masonic_Temple), February 18, 1956; Murat Centre Indianapolis (capacity 1,800-seats http://en.wikipedia.org/wiki/Murat_Shrine), February 20, 1956; Kiel Auditorium, St. Louis (Municipal Auditorium with the capacity 9,300 - http://en.wikipedia.org/wiki/Kiel_Auditorium), February 26, 1956; Municipal Auditorium (Kansas City - Music Hall, capacity 2,400), February 29, 1956; Colorado Springs City Auditorium (http://en.wikipedia.org/wiki/Colorado_Springs_City_Auditorium), March 3, 1956; Denver Arena Auditorium (capacity 6,841 seats - http://en.wikipedia.org/wiki/Denver_Arena_Auditorium), March 4, 1956; War Memorial Opera House San Francisco (capacity 3,146 seats), March 7 and 9, 1956; Hazard's Pavilion Los Angeles (Los Angeles Philharmonic Auditorium with capacity 2,700 seats - http://en.wikipedia.org/wiki/Philharmonic_Auditorium_(Los_Angeles,_California)), March 12, 13 and 14, 1956; Pasadena Conference Center Civic Auditorium Pasadena (capacity 3,029 seats - http://en.wikipedia.org/wiki/Pasadena_Conference_Center), March 15, 1956; Russ Auditorium San Diego (capacity 2500 seats - http://www.sandiegohistory.org/journal/82spring/momentous.htm), March 19–20, 1956; City Auditorium Houston (http://scottymoore.net/houstonAud.html), March 28 and 29, 1956; Civic Theatre New Orleans , April 1, 2 and 3, 1956; Tower Theatre Atlanta  (http://cinematreasures.org/theaters/4784), April 5, 6 and 7, 1956 and Brooklyn Academy of Music New York City (capacity 2,109 seats - http://en.wikipedia.org/wiki/Brooklyn_Academy_of_Music), April 11 and 12, 1956.

Macedonian Ensemble "Tanec" played in larger auditoriums including: Kiel Auditorium - St. Louis, Missouri on February 26, 1956 and Denver Arena Auditorium, Colorado on March 4, 1956. Kiel Auditorium (Originally named the Municipal Auditorium) with seating capacity of 9,300 played host to a variety of rock concerts including concerts of Elvis Presley on March 29, 1957. and September 10, 1970. 
From the 1950s until the 1970s, the Kiel Auditorium was behind only Madison Square Garden as North America's most famous wrestling arena.
Denver Arena Auditorium is a pure sporting venue with seating capacity of 6,841. On December 26, 1968, the rock group Led Zeppelin played their first concert in the United States.

 Macedonian Ensemble "Tanec" caught the attention of some of the North America's top music critics including: John Martin (http://en.wikipedia.org/wiki/John_Martin_%28dance_critic%29 and http://www.nytimes.com/1985/05/21/nyregion/john-martin-is-dead-at-91-times-dance-critic-35-years.html - The New York Times), Robert Coleman (New York Daily Mirror), William Hawkins (New York World-Telegram), Walter Terry (New York Herald Tribune) , Claudia Cassidy (http://en.wikipedia.org/wiki/Claudia_Cassidy - Chicago Daily Tribune), Samuel Singer (Philadelphia Inquirer), Paul Hume (http://en.wikipedia.org/wiki/Paul_Hume - The Washington Post and Times), John Kraglund (http://www.thecanadianencyclopedia.com/articles/emc/john-kraglund- The Globe and Mail), R. H. Hagan (San Francisco Chronicle), Albert Goldberg (http://articles.latimes.com/1990-02-06/news/mn-228_1_music-critic - Los Angeles Times) and Margaret Lloyd (http://www.answers.com/topic/margaret-lloyd - Christian Science Monitor) 

Designed by architect William Burnet Tuthill and built by philanthropist Andrew Carnegie in 1891, it is one of the most prestigious venues in the world for both classical music and popular music. Carnegie Hall (http://en.wikipedia.org/wiki/Carnegie_Hall) has its own artistic programming, development, and marketing departments, and presents about 250 performances each season. It is also rented out to performing groups. Carnegie Hall's main auditorium seats 2,804 on five levels. It was named for violinist Isaac Stern in 1997.
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 Peter Ilyich Tchaikovsky, Louis Armstrong, Ella Fitzgerald, Benny Goodman, Bob Dylan, Joan Baez, Frank Sinatra, Liza Minnelli, Macedonian Ensemble ‘Tanec’, 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, Herbert von Karajan, The Beatles, Isaac Stern, Arturo Toscanini Duke Ellington, Billie Holiday, the Dave Brubeck Quartet, Judy Garland, Harry Belafonte, Nina Simone, Shirley Bassey, James Gang, Stevie Ray Vaughan, Sissieretta Jones, Count Basie and Bill Haley.

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


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
Macedonian National Ensemble for Folk Dances and Songs "Tanec" to visit the Metro Goldwyn Mayer studio in Hollywood.  In the main MGM studio, Tale Ognenovski and other members of the Macedonian National Ensemble for Folk Dances and Songs "Tanec"  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’. Members of Macedonian National Ensemble for Folk Dances and Songs "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, Muharedov Reshad, Terziev Ivan, Galevski Nikolaj, Hristovski Jonche, Ognenovski Tale and Tasevski Slave. The Artistic Director was Prof. Asparuh Hadzi-Nikolov, and the Regisseur, Dimce Najdeski.

Tale Ognenovski, Clarinetist and Composer with his friend Jandre Kunovski (from Gary, Indiana, US) and his family in Chicago are photographed after the concert at the entrance in the Chicago Civic Opera House on February 5, 1956. Tale Ognenovski played as virtuoso clarinet and reed pipe (‘kavalche’) soloist with Macedonian National Ensemble for Folk Dances and Songs "Tanec" in Chicago Civic Opera House, Chicago on February 4 and 5, 1956 for most parts of the programme






Tale Ognenovski, Clarinetist and Composer with his friend Jandre Kunovski (from Gary, Indiana, US) are photographed after the concert at the entrance in the Chicago Civic Opera House on February 5, 1956. Tale Ognenovski played as virtuoso clarinet and reed pipe (‘kavalche’) soloist with Macedonian National Ensemble for Folk Dances and Songs "Tanec" in Chicago Civic Opera House, Chicago on February 4 and 5, 1956 for most parts of the programme
 
Tale Ognenovski, Clarinetist and Composer with his uncle Petar Hristov (from North City (also known as "Coello"), Illinois, US) and the wife of his uncle Petar Hristov, February 1956, during a North American tour of the Macedonian National Ensemble for Folk Dances and Songs "Tanec"



Tale Ognenovski, Clarinetist and Composer with his uncle Petar (from North City (also known as "Coello"), Illinois, US) and the wife of his uncle Petar Hristov, February 1956, during a North American tour of the Macedonian National Ensemble for Folk Dances and Songs "Tanec"

Anita McCormack (the daughter of Petar Hristov), Tale Ognenovski, Clarinetist and Composer the wife of Petar Hristov and  his uncle Petar Hristov (from North City (also known as "Coello"), Illinois, US), February 1956,  during a North American tour of the Macedonian National Ensemble for Folk Dances and Songs "Tanec"

Ed McCormack, Tale Ognenovski, Clarinetist and Composer and  his uncle Petar Hristov (from North City (also known as "Coello"), Illinois, US), February 1956, during a North American tour of the Macedonian National Ensemble for Folk Dances and Songs "Tanec"



Tale Ognenovski, Clarinetist and Composer with his uncle Petar Hristov (from North City (also known as "Coello"), Illinois, US) and the wife of his uncle Petar Hristov, February 1956, during a North American tour of the Macedonian National Ensemble for Folk Dances and Songs "Tanec"

Tale Ognenovski with his clarinet. North City (also known as "Coello"), Illinois, US, February 1956, during a North American tour of the Macedonian National Ensemble for Folk Dances and Songs "Tanec".

Tale Ognenovski, Clarinetist and Composer with his reed pipe ('kavalche') in 2006,  Vodno Mountain, Skopje, Republic of Macedonia.  With this reed pipe (“kavalche”) Tale Ognenovski performed with  Macedonian National Ensemble for Folk Dances and Songs "Tanec" in Carnegie Hall, New York City on January 27, 1956.




Tale Ognenovski with his clarinet in 1955. With this clarinet from Italian firm Rampone&Cazzani Tale Ognenovski performed with Macedonian National Ensemble for Folk Dances and Songs "Tanec" in Carnegie Hall, New York City on January 27, 1956.


Tale Ognenovski, Clarinetist and Composer in North City (also known as "Coello"), Illinois, US, February 1956, during a North American tour of the Macedonian National Ensemble for Folk Dances and Songs "Tanec".


Tale Ognenovski, Clarinetist and Composer with his clarinet. Gary, Indiana, US. February 1956, during a North American tour of the Macedonian National Ensemble for Folk Dances and Songs "Tanec".

Tale Ognenovski, Clarinetist and Composer with his uncle Petar Hristov (from North City (also known as "Coello"), Illinois, US) and his friend Jandre Kunovski (from Gary, Indiana, US), February, 1956, during a North American tour of the Macedonian National Ensemble for Folk Dances and Songs "Tanec"


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, Clarinetist and Composer with members of the Macedonian National Ensemble for Folk Dances and Songs "Tanec"  at the end of their North American tour at the airport in New York City, April 21, 1956.

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.




































































































































































































































































































































































































































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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
In CD Format
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
In MP3 Format
http://www.amazon.com/gp/product/B000S5AJWQ/ref=mu_dm_alb_dp


* "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
In CD Format
http://www.amazon.com/MOZART-OGNENOVSKI-Clarinet-Concertos-Ognenovski/dp/B000ENV2BE/ref=sr_1_1?ie=UTF8&s=music&qid=1303097678&sr=1-1
In MP3 Format
http://www.amazon.com/Mozart-And-Ognenovski-Clarinet-Concertos/dp/B000R00MS8/ref=sr_shvl_album_1?ie=UTF8&qid=1300603562&sr=301-1

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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