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Tale Ognenovski

About Me

Tale Ognenovski was born in the village of Brusnik near Bitola in the Republic of Macedonia on April 27, 1922. Tale Ognenovski 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. Tale Ognenovski is known across the globe for his virtuosic performances. Last CD entitled: Macedonian Clarinet Jazz Composed By Tale Ognenovski will became something of a phenomenon. This 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. 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. 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. 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, Republic of Macedonia and Independent Records, USA).

Childhood and early years
Tale Ognenovski inherited his great talent from his great-grandfather Ognen and grandfather Riste, both of whom were excellent players on the reed pipe (”kavalche”), and from his father Jovan who was an excellent player on the bagpipe (”gajda”). He began to play on the reed pipe at the age of 7 (1929) when he also made his first musical composition. By the time Tale was 15 (1937) he began to play the clarinet at many celebrations and concerts in villages and the town of Bitola with many other musicians.

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

First Award Clarinet, 1948
He had received the First Award Clarinet as the best clarinetist at the first Macedonia Festival of Folk Dances and Songs, held in Skopje on October 11, 1948. He played many times with the Radio Skopje Studio Folk Orchestra, and many of these performances were broadcast.
From 1949 to 1951, at the invitation of Mr. Angel Saldziev, Assistant Director in the Ministry of Science and Culture in Republic of Macedonia, Tale Ognenovski toured the Republic of Macedonia accompanied by folk dance groups from the villages of Brusnik, Dihovo, Nizhopole and Lavci, and the “Chalgii” orchestras of Radio Bitola and Radio Skopje. Mr. Angel Saldziev was the manager of these tours, which were at the time significant musical events in Macedonia.

First Award at the Yugoslav (Former Yugoslavia) Folk Music Festival in Opatija, 1951
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 (IFMC - The International Folk Music Council' was established in 1947 in London, UK).

Classical concert “Concert Polka for Clarinet” by Miler Bela, 1952
From 1951 till 1954, Tale Ognenovski worked as a member of the “Police Wind Orchestra”. 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” in Skopje. This classical concert by Miler Bela consists of complicated parts with many cadenzas demanding great skill and expertise from a clarinet soloist. He staged further classical performances throughout his career. On May 24, 1953, he played clarinet soloist in the classical concert “Concert Polka for Clarinet” by Miler Bela with Gligor Smokvarski’s arrangement for the “Public Police Wind Orchestra”, comprising about 30 musicians and conducted by Micho Kostovski. The concert was performed in the Radio Skopje building, and broadcast directly to the nation via Radio Skopje. Periodically, from 1949 till 1960, he played solo clarinet with the Small Radio Skopje Orchestra conducted by Nikola Galevski on an honorary basis. These concerts were also broadcast nationally by Radio Skopje. From November 15, 1951 till 1954, he worked with the “Public Police Wind Orchestra”. From 1954 till 1956, he worked with the “Public Town Skopje Orchestra”. 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'.

Macedonian State Ensemble of Folk Dances and Songs “Tanec”
From 1956 till 1960 he worked with the Macedonian State Ensemble of Folk Dances and Songs “Tanec”. In Vardar Film’s 1955 production of “Ritam I zyuk (Rythym and Sound), Tale Ognenovski as a clarinet soloist performed the Macedonian folk dances “Zhensko Chamche” and “Beranche” with Ensemble “Tanec”. In the film, “Zhensko Chamche” begins with some technically very complicated, solo improvisations by Tale Ognenovski that do not appear in the original version of the folk dance. By the end of 1955, Tale Ognenovski worked with the “Police Wind Orchestra”. There followed a request by Emanuel Chuchkov, the director of Ensemble ˜Tanec”, to the manager and conductor of the “Police Wind Orchestra”, Micho Kostovski, for Tale Ognenovski to be a guest soloist of the Ensemble.

Tours
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) and France (83 concerts, from September 20 until November 25, 1959). He also toured with the Ensemble throughout the former Yugoslavia, in Bosnia and Herzegovina, Montenegro, Slovenia, Serbia and Croatia, From 1960 to 1967, Tale Ognenovski worked with “Radio Television Skopje”. During the years 1962 to 1965, Tale Ognenovski took part in a review programme by Radio Skopje entitled “A Competition of the Towns”. He also performed as a musician for Radio Skopje, was a leading instrumentalist with the folk orchestra, and coordinator of auditions and the selection of singers from all the towns in the Republic of Macedonia.

Festivals and concerts
As a member of the folk orchestra, he played Macedonian folk dances as a clarinet soloist at the First Festival of Yugoslavian (Former Yugoslavia) Folk Music that was broadcast on radio in Skopje, Macedonia (April 14-16, 1967). As a clarinet soloist with Radio Television Skopje’s Folk Music Orchestra, he played Macedonian folk dances that were broadcast on television by “Television Zagreb”, Zagreb, Croatia. (1966). During the 1960s Tale Ognenovski played as clarinet soloist in many Macedonian folk dances and songs in numerous theatrical performances at the Macedonian National Theatre. In 1966, Tale Ognenovski became Head of the “Folk Music Orchestra” of “Radio Television Skopje”. During 1967, he recorded as accompaniment on the clarinet many records on magnetic tapes with the “Tancov” Orchestra of Radio Television Skopje. In 1967 Tale Ognenovski retired, but he continued to play on an honorary basis in the “Chalgii” Orchestra on “Radio Television Skopje” until 1979. He performed his own compositions of Macedonian folk dances as clarinet and pipe soloist at a special concert marking the 25th anniversary of the founding of Radio Television Skopje, performed in the Universal Hall in Skopje on December 19, 1969. At this concert, Tale Ognenovski performed with all three, different folk music orchestras of Radio Television Skopje, namely the Folk Music Orchestra, the “Chalgii” Orchestra and the Authentic Folk Instruments Orchestra. During the 1960’s, Tale Ognenovski performed at many concerts in the Former Yugoslavia with the orchestra of Kocho Petrovski. As clarinet soloist, Tale Ognenovski performed his own compositions of Macedonian folk dances on the television programme “Yugoslavia, Good Day” broadcast on “Television Zagreb” in Croatia, February 27, 1975. He appeared as a special guest clarinet soloist at the concert marking the 30th anniversary of the founding of the Cultural Artistical Society “Ilinden” in Bitola, held in the “House of Culture”, Bitola in December, 1985, He appeared as a special guest clarinet soloist at the concert marking the 60TH anniversary of the founding of “Radio Belgrade” held in the “House of the Syndicate” in Belgrade, Yugoslavia, in 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” conducted by the famous violinist Rade Jasharevic. Tale Ognenovski received great applause for his virtuoso playing on the clarinet. This concert was broadcast live on “Radio Belgrade”.

Mozart’s Clarinet Concerto in A Major K.622
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 pianist Tanja Shopova, and Cavallini’s concert “Fiori Rossiniani” performed in 1970 and accompanied by the famous pianist Professor Ladislav Palfi. Tale Ognenovski composed and arranged 150 Macedonian folk dances, including Brusnichko oro, Poljansko oro, Stevchevo oro, Nevenino oro, Kumovo oro chochek, Resensko oro, Talevo svadbarsko oro, Bukovsko svadbarsko oro, Pelistersko oro, Caparsko oro, Bitolsko svadbarsko oro, Oreovsko oro, Nevenino lavchansko oro, Sharsko oro, Bitolsko oro, Mominsko oro, Ohridsko oro and Talevo kasapsko oro.

Concerts performing with Orchestras and Ensembles
He made many studio recordings for Macedonian Radio Television as a virtuoso clarinet and reed pipe soloist (folk, jazz, and classical music), and countless radio and television broadcasts. 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 folk music orchestras: the Folk Music Orchestra, the “Chalgii” Orchestra and the Authentic Folk Instruments Orchestra; the Orchestra of Angel Nacevski, Stevo Teodosievski, Pece Atanasovski and the Ljupcho Pandilov Orchestra.

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

Tour of North America and Carnegie Hall concert
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, “Cernogorka, Anyone? Yugoslav Dancing Troupe Shows How It Is Done”.
Ensemble ˜Tanec’s North American tour was sponsored by International Artists in association with Charles E. Green and Lee V. Eastman.

TV debut of ˜Tanec” on CBS
˜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, created great interest in all 66 concerts in many towns throughout the United States.

First time in America, Carnegie Hall was sold out
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 Macedonian Ensemble 'Tanec' appeared at Carnegie Hall in a display of tremendous skill, which was a sheer joy to watch.

North American press
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:
Tanec’s sixty-six performances in North America attracted much attention in the North American press:

“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.” From an article entitled “Choreographic Vigor from Macedonia”, The New York Times, January 22, 1956.

“There are some winning songs, too, and some remarkable music on both orthodox and unorthodox instruments - a raucous and unforgettable pipe… “ From an article entitled, “Ballet: Yugoslav Folk Art ‘Tanec’ Dancers Appear at Carnegie Hall in Display of Tremendous Skill”, written by John Martin, The New York Times, January 28, 1956.

“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...” From an article written by Robert Coleman, The 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.” From an article written by William Hawkins, New York World Telegram, January 28, 1956.

“Tanec, a Macedonian group of some forty dancers and musicians, gave generously of their rich folk heritage.... In “Sopska Poskocica,” to make the point, 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.” From an article entitled ‘Yugoslav Folk Ballet,’ written by Walter Terry, The New York Herald Tribune, 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 a unfair trade for the four little swans in “Swan Lake…” From an article written by Claudia Cassidy and entitled “On the Aisle - Yugoslav Ballet a Colorful Addition to International Dance.”, Chicago Daily Tribune, Chicago, February 6, 1956.

“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 customery. 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...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”, The Philadelphia Inquirer, 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... “ From an article written by Paul Hume and entitled “Yugoslav Dancers Shoot the Works”, The Washington Post and Times Herald, 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.... Tanec has had a warm welcome here, and it must assure considerable interest in other artistic exports that may come this way from Yugoslavia.” From an article written by John Kraglund, entitled “Music in Toronto”, The Globe and Mail, 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...” From an article written by R. H. Hagan, entitled “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…” From an article written by Albert Goldberg, entitled “Yugoslav Folk Ballet Opens Engagement”, 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. 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.” From an article in Life magazine, USA, entitled “Dance, Bouncing Brigands, Yugoslavs come to U.S.”, April 9, 1956.

Metro Goldwyn Mayer studio in Hollywood
After three 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”.

Time Table for North America tour
TOUR OF MACEDONIAN NATIONAL FOLK BALLET “TANEC” IN 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 Hal;
February 1, 1956 Springfield, Massachusetts Auditorium;
February 2, 1956 Hartford, Connecticut Bushnell Memorial Hal;
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 Hal;
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.

During an 84-day tour throughout the United States of America and Canada , Ensemble ‘Tanec’ travelled 10,000 kilometres and performed 66 concerts in 53 different towns. 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 particular tour is one of the longest and the most triumphant tours in the history of world music.

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

Tour of France
Tale Ognenovski was clarinet and reed pipe 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 including Paris, Le Havre, Nantes, Poitiers, Clermont-Ferrand, Lille, Cherbourg, Toulon, Toulouse, Rennes, Bourges (September 24, 1959), Chaumont, Solon de Provence, Laval, Brest, Lorient, St. Nazaire, Angers, Tours, Limoges, Pont a Mouson, Bourgen Brest, Belfor, St Entienne, St Brieuc, St Malo, Vendome, Gien, Orleans, Niort, La Rochelle, Marmonde, Mont de Marson, Dax, Tarbes, Agen, Albi, Pau, Carcassonne, St Gaudens, Beziers, Perpignan, Arcachon, Nimes, Grenoble, Lyon, Villeurbone and Gueret. They performed with success to full houses everywhere. The Ensemble twice had performances broadcast on television, on September 21 and 22, 1959. 20 million people would have seen them on the most popular programme on French Television. Radio Paris recorded a 45-minute programme of Macedonian folk dances and songs. The Manager of Ensemble 'Tanec's tour of France was Mr Raymond Guillier, also Director of his own company 'Les grands spectacles internationaux Les productions Raymond Guillier', Paris. He specialized in managing international shows in Paris.

France press
“Everyone in the audience applauded as if they were four people, and the Macedonian National Ballet left a great impression in Bourges...Two dances in particular were appreciated last night on the stage of the Grand Palais, the Dance of the sabre and the Dance of the village fair. But the Macedonian dances, once they began, developed from a dead slow pace and quickened, becoming a festival of colours, a storm of costumes and a sports test allied to the art of folklore. It must be understood that you have to be a professional and have extraordinary soul and inspiration to play 'Drachevka', 'Berovka' and the exciting Serbian folk dance. The audience much liked the dance 'Roussalies' as well as the dance 'Tchifte Tchamtche', and lastly 'Chote', a dance of love that is lively and colourful...Tanec is the name of this group who have won over the audience. The quality and talent of this group is admirable...This is the first time that they have performed in France... At the end of their concert, the members of Ensemble 'Tanec' remained on stage and were applauded by the Bourges audiences for more than qoute of an hour.” The above comes from an article, entitled “Hier soir au GRAND-PALAIS BRILLANTE “PREMIERE” des Ballets de Macedoine” (”Yesterday evening in GRAND- PALAIS Brilliant first performance of National Ballet of Macedonia.”), that appeared in the newspaper 'Le Berry Republicain' in Bourges, France, on September 24, 1959.

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

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

Tour of Switzerland
Tale Ognenovski performed as 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 success. Tale Ognenovski made his debut on a special programme broadcast on Swiss Television. Playing as clarinet soloist, he performed his personally composed Macedonian folk dances 'Bitolsko oro' and 'Brusnichko oro'.

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

Discography
He made his recording debut as a composer with the Galevski-Nanchevski Orchestra in 1963, with the first record EP 14700 produced by “RADIO TELEVIZIJA BEOGRAD” (Radio Television Belgrade, Belgrade, Serbia). In 1965, Tale Ognenovski established his own “Tale Ognenovski Orchestra”, and “RADIO TELEVIZIJA BEOGRAD” produced the record EP 14711, He made his recording debut for Jugoton Zagreb, Croatia with the record EPY- 3851 (1967). Macedonian Radio Television produced the cassette MP 2137 (1989).

Jazz, Macedonian Folk Dances and Classical Music
CD album entitled” Jazz, Macedonian Folk Dances and Classical Music”. Label: Independent records, USA. (Catalog: IR04542, 2001) includes: 3 Jazz compositions, 6 Macedonian Folk dances and Classical Music, all composed by Tale Ognenovski. Tale Ognenovski is soloist on clarinet, reed pipe, small bagpipe and zourla. 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. 6 Macedonian folk dances (all composed by Tale Ognenovski) with unusual rhythms allow for highly fluid and lyrical melodic interpretation. The exploration of Macedonian music traditions with a jazz sensibility is remarkable on the three jazz compositions. The sound is quite simply phenomenal. This CD Album is one of the Best Instrumental Albums of all time.

Amazon.com Customer CD Review
Reviewer: Erika Borsos
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. “
CD Album is available at: CD Baby,
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MOZART and OGNENOVSKI Clarinet Concertos to celebrate the 250th anniversary of the birth of Austrian composer Wolfgang Amadeus Mozart
Audio CD entitled entitled: “MOZART and OGNENOVSKI Clarinet Concertos” Label: Independent records, USA. (Catalog: IR37223, January 24, 2006). CD album includes: Clarinet Concerto in A Major, K.622: Allegro, Adagio and Rondo - Allegro all composed by Wolfgang Amadeus Mozart and arranged by Tale Ognenovski and Tale Ognenovski Concert for Clarinet No. 1 composed and arranged by Tale Ognenovski. 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 released this CD to celebrate the 250th anniversary of the birth of Austrian composer Wolfgang Amadeus Mozart (January 27, 1756;January 27, 2006). 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.

Amazon.com Customer CD Review
Mozart Born Anew! Outstanding Musical Interpretation..., April 13, 2006
Reviewer: Erika Borsos
“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.”
CD Album is available at: CD Baby,
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Macedonian Clarinet Jazz Composed By Tale Ognenovski
Audio CD entitled entitled: “Macedonian Clarinet Jazz Composed By Tale Ognenovski” Label: Independent records, USA. (Catalog: IR 38824, September 2, 2008). Tale Ognenovski composed and arranged all 12 tracks: Tale Ognenovski Jazz Composition No. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12. This 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. This CD Album is one of the Best Jazz Instrumental Albums of all time.

Amazon.com Customer CD Review
Original, Artistic, Creative, Enjoyable, October 9, 2008
Reviewer: Erika Borsos
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 Ognenovski 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 Ognenovski 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.
CD Album is available at: CD Baby,
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Connection between Oriental and Western Music
Tale Ognenovski’s contribution to connection between Oriental and Western Music is described in the book “For Our Music” (”Za Nasha Muzika”) ISBN 9989-600-01-5, published by BID “Misirkov”, 1994, Skopje, Republic of Macedonia, and written by Dushko Dimitrovski: “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 “.

Book
Ognenovski Stevan, M.Sc.: Tale Ognenovski Virtuoso of the Clarinet and Composer (2000). Publishing house is Matica Makedonska, Skopje, Republic of Macedonia;I SBN 9989-48-312-4; 406 pages (format A4). The book is published in both Macedonian and English.

1. On October 11, 1948 Tale Ognenovski received his First Award as the best clarinetist of 'First Republic of Macedonia Festival of Folk Dances and Songs' (11 October, 1948). 453 Folk dances and songs groups competed in the festival in Skopje, Republic of Macedonia.
2. 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 (IFMC - The International Folk Music Council' was established in 1947 in London, UK).
3. “Estradna nagrada Jugoslavije” (”Yugoslavian Stage Award”), the greatest award in former Yugoslavia for musical stage artists, from the Association of Stage Artists of Yugoslavia, Zagreb, Croatia, October 31, 1978.
4. “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.
5. “Lifetime Achievement Award - “10 Folk Biseri” (”The Ten Folk Pearls”), sponsored by Macedonian Radio Television, February 19, 2002.
6. “11 October Award”. 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.
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