Tale Ognenovski, internationally renowned jazz, folk dance and classical clarinetist and composer was born in the village of Brusnik near Bitola in the Republic of Macedonia on April 27, 1922. In autumn 2007, Tale Ognenovski, will release new CD Album entitled: “Macedonian Clarinet Jazz Composed By Tale Ognenovski" to celebrate the 85th anniversary of his birthday. Label: Independent Records, USA.
Tale Ognenovski is known across the globe for his virtuosic performances. New CD Album feature the Ognenovski performing with his current quartet: Tale Ognenovski on clarinet, reed pipe, zourla, small bagpipe and drum, his son Stevan Ognenovski on reed pipe and drum, his grandsons: Nikola Ognenovski on reed pipe and Kliment Ognenovski on reed pipe. 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. Tale Ognenovski has opened up new possibilities for the clarinet that no one could have predicted. CD Album will be available this autumn, 2007 through digital partners of The Orchard, the world's leading digital distributor of music.
Tale Ognenovski is one of the greatest instrumentalists and composers in the world of music. He made the connection between Oriental and Western Music. He has composed and arranged 150 Macedonian folk dances, one classical concert “Tale Ognenovski Concert for Clarinet No. 1", and 12 jazz compositions. Some of his compositions have been recorded on 11 LPs, 11 cassettes, 10 gramophone records, 3 CD Albums and one videotape (Radio Television Belgrade, Serbia; Jugoton Zagreb, Croatia; Macedonian Radio Television and Independent Records, USA). Tale Ognenovski has had, and continues to have, astonishing success.
“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 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" from an CD Review written by Erika Borsos, entitled “World-class Jazz Compositions & Traditional Macedonian Folk" and appearing in the Web site www.amazon.com on April 24, 2004.
Audio CD (September 5, 2001) entitled: “Jazz, Macedonian Folk Dances and Classical Music" available on iTunes, Amazon.com.
He arranged the Mozart's clarinet concerto 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 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. Mozart's clarinet concerto is certainly one of the most beautiful works to emerge from the Classical era. 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.
“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... 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..." from an CD Review written by Erika Borsos, entitled “Mozart Born Anew! Outstanding Musical Interpretation..." and appearing at amazon.com on April 13, 2006.
Musical genius Wolfgang Amadeus Mozart was born on January 27, 1756 in Salzburg, Austria. 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 Macedonian Ensemble 'Tanec' appeared at Carnegie Hall in a display of tremendous skill, which was a sheer joy to watch. There, he bewitched the audience with his performances Tale Ognenovski released CD Album Entitled: “Mozart And Ognenovski Clarinet Concertos" To Celebrate The 250th Anniversary Of Mozart's Birthday.
Audio CD (January 24, 2006) entitled: “MOZART and OGNENOVSKI Clarinet Concertos" available on iTunes, Amazon.com.
Tale Ognenovski's numerous musical works belong to different genres; together, his folk dances and classical and jazz compositions established the clarinet as an instrument capable of highest range of expression in solo music. 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. Ognenovski's compositions are extremely skilful and he exploits the sounds of different sounding registers of the instrument very effectively. He is one of the greatest exponents of composers of clarinet music and is the finest exponent of players of the clarinet. His performances are superb, and the sound he produces reveals just how beautifully the clarinet can be played. Tale Ognenovski's Macedonian folk dances have been performed in Switzerland (Mechanlizenz), France (Sacem), Sweden (Gema), Finland (Teosto), Great Britain, Denmark, Austria, U.S.A. (iTunes) and others.
At 34 Tale Ognenovski has arrived as an internationally acclaimed virtuoso.
He has appeared with the Macedonian Ensemble of Folk Dances and Songs 'Tanec' on the world's most prestigious concert stages during highly successful tours throughout North America and Europe. The group became a major in every major city during the tours. 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 successful cultural magazine series in the history of U.S. commercial television, the Ford Foundation TV Program “OMNIBUS" (on CBS Television Network), on January 22, 1956. This program was seen by millions of Americans. During an 84-day tour throughout the United States of America and Canada, Tale Ognenovski with Ensemble 'Tanec' traveled 10,000 kilometers and performed 66 concerts in 53 different towns. These concerts were heralded as great cultural events 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 particular tour is one of the longest and the most triumphant tours in the history of world music. Ensemble 'Tanec' twice repeated this great success, first with their tour of Germany from August 15 until October 27, 1956 during which they performed 72 concerts and second, with their tour of France from September 20 until November 25, 1959 during which they performed 83 concerts. There were two further concerts in Dortmund, Germany on September 18 and 19, 1959.
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.
“The single appearance here, sponsored by International Artists in association with Charles E. Green and Lee V. Eastman, brought a capacity audience to Massey Hll... Last night Torontonians had an opportunity to access 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... 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.
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 Macedonian folk dances where Tale Ognenovski has performed as virtuoso clarinet and reed pipe soloist.
Tale Ognenovski was clarinet and reed pipe virtuoso soloist with Ensemble “Tanec" during their tour of France from September 20 until November 25, 1959. They performed 83 concerts in 58 towns and cities in France. 20 million people would have seen them on the most popular programme on French Television. Radio Paris recorded a 45-minute programme of Macedonian folk dances and songs. In Salon de Provence, the Ensemble received an honorary medal of the town.
Raymond Guillier, director of his own company ("Les grands spectacles internationaux Les productions Raymond Guillier") and manager of Ensemble 'Tanec's 1959 tour of France, commented: “No other Ensemble in the world could perform Macedonian folklore as well as 'Tanec', because every Macedonian girl and boy from the Ensemble gave their whole heart to the Dance, and a prime example of this was the clarinetist Tale Ognenovski...Everyone who went to the concerts by Ensemble 'Tanec' in Paris and other towns and cities in France during the tour in 1959 of a little over two months was fascinated. Yes, audiences opened wide their hearts and didn't think anything of their hands while applauding your folk dancers...", written by M. Georgievski, and published in the newspaper 'Vecer', Skopje, Republic of Macedonia on September 14, 1964.
Tale Ognenovski performed as virtuoso clarinet and reed pipe soloist with Ensemble 'Tanec' during their tour of Switzerland during the period July 7-10, 1959. The concerts were performed in Berne on July 7 and 8, 1959 and in Geneva on July 9 and 10, 1959 with tremendous success. 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.
The brilliant musician Tale Ognenovski performed in a multitude of concerts in the United States (65 concerts, from January 22, 1956 till April 12, 1956), Canada (Toronto Massey Hall, February 13, 1956), Germany (74 concerts, from August 15, 1956 till October 27, 1956 and September 17 and 18, 1959 in Dortmund), France (83 concerts, from September 20 till November 25, 1959), Switzerland (Berne, July 7 and 8, Geneva, July 9 and 10, 1959), Bulgaria (November and December, 1955), Romania, (9 concerts, December, 1957 and January 1958), Albania (9 concerts, October, 1957), Bosnia and Herzegovina, Montenegro, Slovenia, Serbia and Croatia.
Tale Ognenovski began to play on the reed pipe ("kavalche") at the age of 7 (1929) when he also made his first musical composition. At 15 he began to play the clarinet (1937). From November 15, 1951 till 1954, Tale Ognenovski worked with the 'Police Wind Orchestra.' From 1954 till 1956, he worked with the 'Skopje Public Town Orchestra'. The repertoire for both of these Orchestras consisted some parts of classical works. These included Bizet's 'Carmen', 'The Troubadour', 'Aida', 'Rigoletto', Verdi's 'Nabucco' and 'La Traviata', 'Oberon' by Carl Maria von Weber, Tchaikovsky's '1812 Overture', Puccini's 'Tosca' and Rossini's 'The Barber of Seville'.
In December 1952, Tale Ognenovski as clarinet soloist, together with the superb pianist Nino Cipushev as accompaniment, performed the classical concert “Concert Polka for Clarinet" by Miler Bela in the “Police House" in Skopje with outstanding success. This classical concert by Miler Bela consists of complicated parts with many cadenzas demanding great skill and expertise from a clarinet soloist. With his superb performance, Tale Ognenovski became the first clarinet soloist in the history of the Republic of Macedonia to perform a classical concert for the clarinet. This was a notable event in the history of Macedonian music.
On May 24, 1953, the same concert, with Gligor Smokvarski's arrangement for the 'Police Wind Orchestra' (comprising about 30 musicians), conducted by Micho Kostovski and with Tale Ognenovski as a clarinet soloist, was performed in the Radio Skopje building and broadcast live to the nation via Radio Skopje.
In Vardar Film's 1955 production of “Ritam i zyuk (Rythym and Sound), Tale Ognenovski as a virtuoso clarinet soloist performed the Macedonian folk dances “Zhensko Chamche" and “Beranche" with Ensemble 'Tanec'. In the film, “Zhensko Chamche" begins with some technically very complicated, solo improvisations by Tale Ognenovski that do not appear in the original version of the folk dance.
He worked from 1956 till 1960 with the Macedonian State Ensemble of Folk Dances and Songs 'Tanec'. From 1960 to 1967, Tale Ognenovski worked with Macedonian Radio Television.
In 1966, Tale Ognenovski became Head of the “Folk Music Orchestra" of Macedonian Radio Television.
In 1967 Tale Ognenovski retired, but he continued to play on an honorary basis in the “Chalgii" Orchestra on Macedonian Radio Television until 1979.
The year 1965 saw Tale Ognenovski establish his own “Tale Ognenovski Orchestra" in Skopje, and “RADIO TELEVIZIJA BEOGRAD" produce the record EP 14711. On this record, he gives solo clarinet performances of his four compositions, Prespansko oro, Kumovo oro, Deverovo oro and Dihovsko oro, accompanied by the “Tale Ognenovski Orchestra". With his own Tale Ognenovski Orchestra, he recorded 17 gramophone records with famous singers (Gramophone producers: Radio Television Belgrade; Beograd Disk, and Diskos, Serbia and Jugoton Zagreb, Croatia). As a performer with other orchestras, he recorded more than 30 gramophone records with famous singers.
He has played on the clarinet in many concerts performing with the following Orchestras and Ensembles: the cultural-educational societies in Bitola of “Svetlost", “Stiv Naumov", “Ilinden"; folk dance groups from the villages of Brusnik, Dihovo, Nizhopole, Rotino and Lavci; the Radio Bitola orchestras; the Macedonian State Ensemble of Folk dances and Songs “Tanec"; cultural art societies: “Vlado Tasevski" and “Kocho Racin"; the academic culture and art society “Mirche Acev; other Ensembles of folk dances and songs including “Orce Nikolov", “Goce Delchev", “Dom na gradezhnici Skopje", “Hor na invalidi Skopje" and “Dom na borci i invalidi Skopje"; the Macedonia Radio and Television music orchestras: the Folk Music Orchestra, the “Chalgii" Orchestra, the Authentic Folk Instruments Orchestra and the “Tancov" Orchestra; the Orchestras of Koco Petrovski, Pece Atanasovski, Stevo Teodosievski and Ljupcho Pandilov.
He made his recording debut as a composer with the Galevski-Nanchevski Orchestra in 1963, with three Macedonian folk dances all composed by him, and in which he played solo clarinet: “Bitolsko svadbarsko oro", “Bitolsko oro" and “Pelistersko oro". The record (EP 14700) was produced by “RADIO TELEVIZIJA BEOGRAD" (Radio Television Belgrade, Belgrade, Yugoslavia).
At the International Folklore Conference organized by the International Folklore Committee in Istanbul, Turkey, 1977, on the subject of “Folklore on the Radio" was Dushko Dimitrovski, Editor of the Folk Music Department for Macedonian Radio Television from the Republic of Macedonia. He was there as a representative of Yugoslav Radio Television (Former Yugoslavia). He used records produced from magnetic tapes to present folklore material in his presentation entitled “ 'Chalgii' music in Macedonia". This folklore material was prepared in Skopje by ethnomusicologists Dushko Dimitrovski, Kiril Todevski and Metodija Simonovski. From the magnetic tape material were presented the recordings of two Macedonian folk dances: “Kasapsko oro", arranged by Tale Ognenovski, and “Kumovo oro chochek", composed by Tale Ognenovski and performed by him as clarinet soloist accompanied by the “Chalgii" orchestra of Radio Television Skopje. This created great interest not only amongst the delegates of the Conference but also around the world.
Some of the crowning events of Tale Ognenovski's professional career were his performances as soloist on concerts broadcast on television by Macedonian Television. These include Mozart's 'Clarinet Concerto in A Major K.622' and Wagner's 'Adagio for Clarinet', performed in 1987 and accompanied by the excellent pianist Tanja Shopova, and Cavallini's concert 'Fiori Rossiniani' performed in 1970 and accompanied by the legendary pianist Professor Ladislav Palfi. He demonstrated brilliant technique and beautiful tone on each occasion. National Macedonian Radio broadcast numerous folk music programmes in which were included Macedonian folk dances composed and/or arranged him, and in which he was virtuoso clarinetist and reed pipe soloist.
During his career, Tale Ognenovski composed and arranged 150 Macedonian folk dances. They were recorded at the studio of Macedonian Radio Television with Folk Music Orchestra, the “Chalgii" Orchestra and the Authentic Folk Instruments Orchestra. 138 are solo pieces on the clarinet and 12 are solo pieces on the reed pipe ("kavalche"). During 1967, he recorded as accompaniment on the clarinet many records on magnetic tapes with the “Tancov" Orchestra of Macedonian Radio Television. During the 1960s Tale Ognenovski played as clarinet soloist in many Macedonian folk dances and songs in numerous theatrical performances at the Macedonian National Theatre.
Tale Ognenovski was a member of the Composers' Association of Yugoslavia (Former Yugoslavia) from 1963 till 1990.
Awards:
First Award Clarinet as the best clarinetist at the first Macedonia Festival of Folk Dances and Songs, held in Skopje, Republic of Macedonia on October 11, 1948 Tale Ognenovski won First Award at the Yugoslav (Former Yugoslavia) Folk Music Festival in Opatija, Croatia, September 9-12, 1951, together with another 11 members of the Folk Dance Ensemble from the Bitola village of Nizhopole. This was out of 85 folk dance groups from Serbia, Bosnia and Herzegovina, Montenegro, Slovenia, Macedonia and Croatia. 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.
“Estradna nagrada Jugoslavije" ("Yugoslavian Stage Award"), the greatest award in former Yugoslavia for musical stage artists, from the Association of Stage Artists of Yugoslavia, Zagreb, Croatia, October 31, 1978.
“Pochesna Estradna Nagrada na Makedonija" ("Macedonian Stage Award with Honours"), the greatest award in the Republic of Macedonia for musical stage artists, from the Association of Stage Artists of Macedonia, Skopje, Republic of Macedonia, May 27, 1996. Tale Ognenovski received a Prestigious Lifetime Achievement Honors at Annual “10 Folk Biseri" ("The Ten Folk Pearls") Awards, sponsored by Macedonian Radio Television. He was on stage in Skopje, February 19, 2002, to personally receive his Lifetime Achievement Award in front of the more than 700 spectators at the Macedonian National Theatre. This event was broadcast live to the millions spectators in Republic of Macedonia, Europe and Australia by Macedonian Television. Tale Ognenovski won top honors on October 11, 2003 at Macedonian Parliament as the Winner of 11 Oktomvri Award, the highest and the most prestigious national award in Republic of Macedonia.
“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 Michaelangelo'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... 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 “, wrote Dushko Dimitrovski in his book “For Our Music" ("Za Nasha Muzika") ISBN 9989-600-01-5, published by BID “Misirkov", 1994, Skopje, Republic of Macedonia,
His son Stevan Ognenovski (M.Sc. degree in computer science from The Faculty of Electrical Engineering and Computing from the University of Zagreb, Croatia), is author of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer." Publishing house is MATICA MAKEDONSKA, 2000, Skopje, Republic of Macedonia, ISBN 9989-48-312-4; 406 pages (format A4). The book reviewers: Dushko Dimitrovski, ethnomusicologist and Kiril Todevski, ethnomusicologist. The book is published in both Macedonian and English.
Tale Ognenovski is known across the globe for his virtuosic performances. New CD Album feature the Ognenovski performing with his current quartet: Tale Ognenovski on clarinet, reed pipe, zourla, small bagpipe and drum, his son Stevan Ognenovski on reed pipe and drum, his grandsons: Nikola Ognenovski on reed pipe and Kliment Ognenovski on reed pipe. 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. Tale Ognenovski has opened up new possibilities for the clarinet that no one could have predicted. CD Album will be available this autumn, 2007 through digital partners of The Orchard, the world's leading digital distributor of music.
Tale Ognenovski is one of the greatest instrumentalists and composers in the world of music. He made the connection between Oriental and Western Music. He has composed and arranged 150 Macedonian folk dances, one classical concert “Tale Ognenovski Concert for Clarinet No. 1", and 12 jazz compositions. Some of his compositions have been recorded on 11 LPs, 11 cassettes, 10 gramophone records, 3 CD Albums and one videotape (Radio Television Belgrade, Serbia; Jugoton Zagreb, Croatia; Macedonian Radio Television and Independent Records, USA). Tale Ognenovski has had, and continues to have, astonishing success.
“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 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" from an CD Review written by Erika Borsos, entitled “World-class Jazz Compositions & Traditional Macedonian Folk" and appearing in the Web site www.amazon.com on April 24, 2004.
Audio CD (September 5, 2001) entitled: “Jazz, Macedonian Folk Dances and Classical Music" available on iTunes, Amazon.com.
He arranged the Mozart's clarinet concerto 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 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. Mozart's clarinet concerto is certainly one of the most beautiful works to emerge from the Classical era. 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.
“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... 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..." from an CD Review written by Erika Borsos, entitled “Mozart Born Anew! Outstanding Musical Interpretation..." and appearing at amazon.com on April 13, 2006.
Musical genius Wolfgang Amadeus Mozart was born on January 27, 1756 in Salzburg, Austria. 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 Macedonian Ensemble 'Tanec' appeared at Carnegie Hall in a display of tremendous skill, which was a sheer joy to watch. There, he bewitched the audience with his performances Tale Ognenovski released CD Album Entitled: “Mozart And Ognenovski Clarinet Concertos" To Celebrate The 250th Anniversary Of Mozart's Birthday.
Audio CD (January 24, 2006) entitled: “MOZART and OGNENOVSKI Clarinet Concertos" available on iTunes, Amazon.com.
Tale Ognenovski's numerous musical works belong to different genres; together, his folk dances and classical and jazz compositions established the clarinet as an instrument capable of highest range of expression in solo music. 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. Ognenovski's compositions are extremely skilful and he exploits the sounds of different sounding registers of the instrument very effectively. He is one of the greatest exponents of composers of clarinet music and is the finest exponent of players of the clarinet. His performances are superb, and the sound he produces reveals just how beautifully the clarinet can be played. Tale Ognenovski's Macedonian folk dances have been performed in Switzerland (Mechanlizenz), France (Sacem), Sweden (Gema), Finland (Teosto), Great Britain, Denmark, Austria, U.S.A. (iTunes) and others.
At 34 Tale Ognenovski has arrived as an internationally acclaimed virtuoso.
He has appeared with the Macedonian Ensemble of Folk Dances and Songs 'Tanec' on the world's most prestigious concert stages during highly successful tours throughout North America and Europe. The group became a major in every major city during the tours. 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 successful cultural magazine series in the history of U.S. commercial television, the Ford Foundation TV Program “OMNIBUS" (on CBS Television Network), on January 22, 1956. This program was seen by millions of Americans. During an 84-day tour throughout the United States of America and Canada, Tale Ognenovski with Ensemble 'Tanec' traveled 10,000 kilometers and performed 66 concerts in 53 different towns. These concerts were heralded as great cultural events 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 particular tour is one of the longest and the most triumphant tours in the history of world music. Ensemble 'Tanec' twice repeated this great success, first with their tour of Germany from August 15 until October 27, 1956 during which they performed 72 concerts and second, with their tour of France from September 20 until November 25, 1959 during which they performed 83 concerts. There were two further concerts in Dortmund, Germany on September 18 and 19, 1959.
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.
“The single appearance here, sponsored by International Artists in association with Charles E. Green and Lee V. Eastman, brought a capacity audience to Massey Hll... Last night Torontonians had an opportunity to access 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... 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.
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 Macedonian folk dances where Tale Ognenovski has performed as virtuoso clarinet and reed pipe soloist.
Tale Ognenovski was clarinet and reed pipe virtuoso soloist with Ensemble “Tanec" during their tour of France from September 20 until November 25, 1959. They performed 83 concerts in 58 towns and cities in France. 20 million people would have seen them on the most popular programme on French Television. Radio Paris recorded a 45-minute programme of Macedonian folk dances and songs. In Salon de Provence, the Ensemble received an honorary medal of the town.
Raymond Guillier, director of his own company ("Les grands spectacles internationaux Les productions Raymond Guillier") and manager of Ensemble 'Tanec's 1959 tour of France, commented: “No other Ensemble in the world could perform Macedonian folklore as well as 'Tanec', because every Macedonian girl and boy from the Ensemble gave their whole heart to the Dance, and a prime example of this was the clarinetist Tale Ognenovski...Everyone who went to the concerts by Ensemble 'Tanec' in Paris and other towns and cities in France during the tour in 1959 of a little over two months was fascinated. Yes, audiences opened wide their hearts and didn't think anything of their hands while applauding your folk dancers...", written by M. Georgievski, and published in the newspaper 'Vecer', Skopje, Republic of Macedonia on September 14, 1964.
Tale Ognenovski performed as virtuoso clarinet and reed pipe soloist with Ensemble 'Tanec' during their tour of Switzerland during the period July 7-10, 1959. The concerts were performed in Berne on July 7 and 8, 1959 and in Geneva on July 9 and 10, 1959 with tremendous success. 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.
The brilliant musician Tale Ognenovski performed in a multitude of concerts in the United States (65 concerts, from January 22, 1956 till April 12, 1956), Canada (Toronto Massey Hall, February 13, 1956), Germany (74 concerts, from August 15, 1956 till October 27, 1956 and September 17 and 18, 1959 in Dortmund), France (83 concerts, from September 20 till November 25, 1959), Switzerland (Berne, July 7 and 8, Geneva, July 9 and 10, 1959), Bulgaria (November and December, 1955), Romania, (9 concerts, December, 1957 and January 1958), Albania (9 concerts, October, 1957), Bosnia and Herzegovina, Montenegro, Slovenia, Serbia and Croatia.
Tale Ognenovski began to play on the reed pipe ("kavalche") at the age of 7 (1929) when he also made his first musical composition. At 15 he began to play the clarinet (1937). From November 15, 1951 till 1954, Tale Ognenovski worked with the 'Police Wind Orchestra.' From 1954 till 1956, he worked with the 'Skopje Public Town Orchestra'. The repertoire for both of these Orchestras consisted some parts of classical works. These included Bizet's 'Carmen', 'The Troubadour', 'Aida', 'Rigoletto', Verdi's 'Nabucco' and 'La Traviata', 'Oberon' by Carl Maria von Weber, Tchaikovsky's '1812 Overture', Puccini's 'Tosca' and Rossini's 'The Barber of Seville'.
In December 1952, Tale Ognenovski as clarinet soloist, together with the superb pianist Nino Cipushev as accompaniment, performed the classical concert “Concert Polka for Clarinet" by Miler Bela in the “Police House" in Skopje with outstanding success. This classical concert by Miler Bela consists of complicated parts with many cadenzas demanding great skill and expertise from a clarinet soloist. With his superb performance, Tale Ognenovski became the first clarinet soloist in the history of the Republic of Macedonia to perform a classical concert for the clarinet. This was a notable event in the history of Macedonian music.
On May 24, 1953, the same concert, with Gligor Smokvarski's arrangement for the 'Police Wind Orchestra' (comprising about 30 musicians), conducted by Micho Kostovski and with Tale Ognenovski as a clarinet soloist, was performed in the Radio Skopje building and broadcast live to the nation via Radio Skopje.
In Vardar Film's 1955 production of “Ritam i zyuk (Rythym and Sound), Tale Ognenovski as a virtuoso clarinet soloist performed the Macedonian folk dances “Zhensko Chamche" and “Beranche" with Ensemble 'Tanec'. In the film, “Zhensko Chamche" begins with some technically very complicated, solo improvisations by Tale Ognenovski that do not appear in the original version of the folk dance.
He worked from 1956 till 1960 with the Macedonian State Ensemble of Folk Dances and Songs 'Tanec'. From 1960 to 1967, Tale Ognenovski worked with Macedonian Radio Television.
In 1966, Tale Ognenovski became Head of the “Folk Music Orchestra" of Macedonian Radio Television.
In 1967 Tale Ognenovski retired, but he continued to play on an honorary basis in the “Chalgii" Orchestra on Macedonian Radio Television until 1979.
The year 1965 saw Tale Ognenovski establish his own “Tale Ognenovski Orchestra" in Skopje, and “RADIO TELEVIZIJA BEOGRAD" produce the record EP 14711. On this record, he gives solo clarinet performances of his four compositions, Prespansko oro, Kumovo oro, Deverovo oro and Dihovsko oro, accompanied by the “Tale Ognenovski Orchestra". With his own Tale Ognenovski Orchestra, he recorded 17 gramophone records with famous singers (Gramophone producers: Radio Television Belgrade; Beograd Disk, and Diskos, Serbia and Jugoton Zagreb, Croatia). As a performer with other orchestras, he recorded more than 30 gramophone records with famous singers.
He has played on the clarinet in many concerts performing with the following Orchestras and Ensembles: the cultural-educational societies in Bitola of “Svetlost", “Stiv Naumov", “Ilinden"; folk dance groups from the villages of Brusnik, Dihovo, Nizhopole, Rotino and Lavci; the Radio Bitola orchestras; the Macedonian State Ensemble of Folk dances and Songs “Tanec"; cultural art societies: “Vlado Tasevski" and “Kocho Racin"; the academic culture and art society “Mirche Acev; other Ensembles of folk dances and songs including “Orce Nikolov", “Goce Delchev", “Dom na gradezhnici Skopje", “Hor na invalidi Skopje" and “Dom na borci i invalidi Skopje"; the Macedonia Radio and Television music orchestras: the Folk Music Orchestra, the “Chalgii" Orchestra, the Authentic Folk Instruments Orchestra and the “Tancov" Orchestra; the Orchestras of Koco Petrovski, Pece Atanasovski, Stevo Teodosievski and Ljupcho Pandilov.
He made his recording debut as a composer with the Galevski-Nanchevski Orchestra in 1963, with three Macedonian folk dances all composed by him, and in which he played solo clarinet: “Bitolsko svadbarsko oro", “Bitolsko oro" and “Pelistersko oro". The record (EP 14700) was produced by “RADIO TELEVIZIJA BEOGRAD" (Radio Television Belgrade, Belgrade, Yugoslavia).
At the International Folklore Conference organized by the International Folklore Committee in Istanbul, Turkey, 1977, on the subject of “Folklore on the Radio" was Dushko Dimitrovski, Editor of the Folk Music Department for Macedonian Radio Television from the Republic of Macedonia. He was there as a representative of Yugoslav Radio Television (Former Yugoslavia). He used records produced from magnetic tapes to present folklore material in his presentation entitled “ 'Chalgii' music in Macedonia". This folklore material was prepared in Skopje by ethnomusicologists Dushko Dimitrovski, Kiril Todevski and Metodija Simonovski. From the magnetic tape material were presented the recordings of two Macedonian folk dances: “Kasapsko oro", arranged by Tale Ognenovski, and “Kumovo oro chochek", composed by Tale Ognenovski and performed by him as clarinet soloist accompanied by the “Chalgii" orchestra of Radio Television Skopje. This created great interest not only amongst the delegates of the Conference but also around the world.
Some of the crowning events of Tale Ognenovski's professional career were his performances as soloist on concerts broadcast on television by Macedonian Television. These include Mozart's 'Clarinet Concerto in A Major K.622' and Wagner's 'Adagio for Clarinet', performed in 1987 and accompanied by the excellent pianist Tanja Shopova, and Cavallini's concert 'Fiori Rossiniani' performed in 1970 and accompanied by the legendary pianist Professor Ladislav Palfi. He demonstrated brilliant technique and beautiful tone on each occasion. National Macedonian Radio broadcast numerous folk music programmes in which were included Macedonian folk dances composed and/or arranged him, and in which he was virtuoso clarinetist and reed pipe soloist.
During his career, Tale Ognenovski composed and arranged 150 Macedonian folk dances. They were recorded at the studio of Macedonian Radio Television with Folk Music Orchestra, the “Chalgii" Orchestra and the Authentic Folk Instruments Orchestra. 138 are solo pieces on the clarinet and 12 are solo pieces on the reed pipe ("kavalche"). During 1967, he recorded as accompaniment on the clarinet many records on magnetic tapes with the “Tancov" Orchestra of Macedonian Radio Television. During the 1960s Tale Ognenovski played as clarinet soloist in many Macedonian folk dances and songs in numerous theatrical performances at the Macedonian National Theatre.
Tale Ognenovski was a member of the Composers' Association of Yugoslavia (Former Yugoslavia) from 1963 till 1990.
Awards:
First Award Clarinet as the best clarinetist at the first Macedonia Festival of Folk Dances and Songs, held in Skopje, Republic of Macedonia on October 11, 1948 Tale Ognenovski won First Award at the Yugoslav (Former Yugoslavia) Folk Music Festival in Opatija, Croatia, September 9-12, 1951, together with another 11 members of the Folk Dance Ensemble from the Bitola village of Nizhopole. This was out of 85 folk dance groups from Serbia, Bosnia and Herzegovina, Montenegro, Slovenia, Macedonia and Croatia. 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.
“Estradna nagrada Jugoslavije" ("Yugoslavian Stage Award"), the greatest award in former Yugoslavia for musical stage artists, from the Association of Stage Artists of Yugoslavia, Zagreb, Croatia, October 31, 1978.
“Pochesna Estradna Nagrada na Makedonija" ("Macedonian Stage Award with Honours"), the greatest award in the Republic of Macedonia for musical stage artists, from the Association of Stage Artists of Macedonia, Skopje, Republic of Macedonia, May 27, 1996. Tale Ognenovski received a Prestigious Lifetime Achievement Honors at Annual “10 Folk Biseri" ("The Ten Folk Pearls") Awards, sponsored by Macedonian Radio Television. He was on stage in Skopje, February 19, 2002, to personally receive his Lifetime Achievement Award in front of the more than 700 spectators at the Macedonian National Theatre. This event was broadcast live to the millions spectators in Republic of Macedonia, Europe and Australia by Macedonian Television. Tale Ognenovski won top honors on October 11, 2003 at Macedonian Parliament as the Winner of 11 Oktomvri Award, the highest and the most prestigious national award in Republic of Macedonia.
“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 Michaelangelo'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... 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 “, wrote Dushko Dimitrovski in his book “For Our Music" ("Za Nasha Muzika") ISBN 9989-600-01-5, published by BID “Misirkov", 1994, Skopje, Republic of Macedonia,
His son Stevan Ognenovski (M.Sc. degree in computer science from The Faculty of Electrical Engineering and Computing from the University of Zagreb, Croatia), is author of the book entitled: “Tale Ognenovski Virtuoso of the Clarinet and Composer." Publishing house is MATICA MAKEDONSKA, 2000, Skopje, Republic of Macedonia, ISBN 9989-48-312-4; 406 pages (format A4). The book reviewers: Dushko Dimitrovski, ethnomusicologist and Kiril Todevski, ethnomusicologist. The book is published in both Macedonian and English.
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