Abstract
With his (First) Violin Concerto, written in the time of his studies in Paris between 1924 and 1927, Lucijan Marija Skerjanc arrived at the brink of European Modernism, although he later quickly abandoned this path. An analysis of the concerto reveals that it is written not in a free improvisatory vein, but rather in the form of variations on a folk theme of South Slavonic origin. The analysis reveals various stylistic strands (the opulent orchestral sound of Stravinsky, Bartok-like folklorism, machine music, Neo-Baroque). Rather than being understood in an eclectic sense, these strands should be viewed as an active search for the new by this composer.
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