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The 51th Anniversary of Tale Ognenovski's Carnegie Hall Concert, January 27, 1956

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Internationally renowned jazz and classical clarinetist and composer Tale Ognenovski performed as clarinet and reed pipe soloist Folk Dances in the world-famous Carnegie Hall, a symbol of artistic excellence on January 27, 1956. He has appeared with Macedonian Ensemble of Folk Dances and Songs “Tanec".

Ensemble 'Tanec's North American tour was sponsored by International Artists in association with Charles E. Green and Lee V. Eastman. '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 (on CBS Television Network).

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 virtuoso clarinet and reed pipe soloist 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.

Parts of the articles in the newspapers which are related for performances of Tale Ognenovski as virtuoso clarinet and reed pipe soloist with Ensemble Tanec:


“...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...some remarkable music on both orthodox and unorthodox instruments - a raucous and unforgettable pipe.," written by John Martin, The New York Times, January 28, 1956, Title: “Ballet: Yugoslav Folk Art '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," written by Walter Terry, title: 'Yugoslav Folk Ballet', New York Herald Tribune, January 28, 1956.

“...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.

“...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.

“ ...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 unfair trade for the four little swans in “Swan Lake." They are brilliant, gay, and worth seeing...," written by Claudia Cassidy, title: “On the Aisle Yugoslav Ballet a Colorful Addition to International Dance", and published in the newspaper Chicago Daily Tribune, on February 6, 1956.

“...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... “ written by Samuel Singer entitled “Yugoslav Ballet Visits Academy". It appeared in The Philadelphia Inquirer on February 8, 1956.

“...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. A Sopska Poskocica is devised to show the girls how handsome and wonderful and brilliant and 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... “ written by Paul Hume and entitled “Yugoslav Dancers Shoot the Works". It appeared in The Washington Post and Times Herald on February 10, 1956.



“... This was often a fitting part of the interpretation in a larger dance scheme, but in the case of one dance, Sopska Poskocica 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..." written by John Kraglund, entitled “Music in Toronto"and appearing in The Globe and Mail on February 14, 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..." written by R. H. Hagan, title “Yugoslav Ballet Proves Folk Dancing 'Tricky' “, 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. 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." written by Albert Goldberg, title “Yugoslav Folk Ballet Opens Engagement", Los Angeles Times, March 13, 1956.

“...Together they make as vigorous a display of dancing as the U.S. has never seen." Title: “Dance Bouncing Brigands, Yugoslav come to U.S.", Life, USA, April 9, 1956.



During an 84-day tour throughout the United States of America and Canada , Ensemble 'Tanec' travelled 10,000 kilometers 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.

More about Tale Ognenovski's North America Tour and Carnegie Hall concert can be found at his website http://www.taleognenovski.com.mk/usa1956.html

Latest CD Release


CD Album Entitled: “Mozart And Ognenovski Clarinet Concertos" to celebrate the 250th Anniversary of Mozart's Birthday. This recording is sensational. Tale Ognenovski arranged parts of the Mozart's clarinet concerto for two clarinets. The clarinet in standard performance is always accompanied by the Orchestra. In this recording the clarinet is accompanied by drum performed by his son Stevan Ognenovski or by drum and second clarinet (performed by Tale Ognenovski). Tale Ognenovski gives a splendid account of Mozart's most beautiful concerto. The full, wonderful sound of the modern A clarinet is rich and Ognenovski's playing is superb, with good tempo and intonation throughout. His sound is full and expressive, his phrasing is lyrical, his articulations clear, and his tone is beautiful. Tale Ognenovski's performance is the most beautiful and the fastest performance of Mozart's clarinet concerto of all time. Tale Ognenovski Concert for Clarinet No. 1 is the most beautiful and the most difficult Clarinet Concerto of all time. Variety of phrasing, spectacular clarinet solos are both interesting and fascinating for people to listen to and to admire. Tale Ognenovski has opened up new possibilities for the clarinet that no one could have predicted. He is the greatest clarinetist, reed piper, zourlist and small bagpiper of all time, demonstrating unique skill, a wealth of invention, amazing improvisational virtuosity and outstanding musical competence in all areas of music. He is one of the greatest composers in the world of music.

Audio CD (January 24, 2006) entitled: “MOZART and OGNENOVSKI Clarinet Concertos" Label: Independent Records, Catalog: IR37223. Producers: Tale Ognenovski and Stevan Ognenovski Track listing:

1. Clarinet Concerto in A Major, K.622: Allegro (Composed by Wolfgang Amadeus Mozart, Arranged by Tale Ognenovski)

2. Clarinet Concerto in A Major, K.622: Adagio (Composed by Wolfgang Amadeus Mozart, Arranged by Tale Ognenovski)

3. Clarinet Concerto in A Major, K.622: Rondo - Allegro (Composed by Wolfgang Amadeus Mozart, Arranged by Tale Ognenovski)

4. Tale Ognenovski Concert for Clarinet No. 1 (Composed by Tale Ognenovski, Arranged by Tale Ognenovski)

Performed by 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)

Audio CD (January 24, 2006) entitled: “MOZART and OGNENOVSKI Clarinet Concertos" available on iTunes, Amazon.com...

CD Album entitled: “Jazz, Macedonian Folk Dances and Classical Music". Label: Independent Records, Catalog: IR04542. Producers: Tale Ognenovski and Stevan Ognenovski. Track listing: 1. Tale Ognenovski Jazz Composition No. 1 2. Tale Ognenovski Jazz Composition No. 5 3. Tale Ognenovski Jazz Composition No. 8 4. Brusnichko Oro 5. Nevenino Oro 6. Bukovsko Svadbarsko Oro 7. Talevo Kasapsko Oro 8. Stevchevo Oro 9. Sharsko Oro 10. Tale Ognenovski Concert for Clarinet No. 1

CD Album includes 3 Jazz compositions, 6 Macedonian Folk dances and Classical Music, all composed and arranged by Tale Ognenovski.

Audio CD (September 5, 2001) entitled: “Jazz, Macedonian Folk Dances and Classical Music" available on iTunes, Amazon.com...

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