Ludmila Frajt was a Yugoslav and Serbian composer. She wrote choral, orchestral and chamber works, music for films and radio-dramas, electro-acoustic works, as well as music for children. She has won numerous awards for her music for children.
Biography
Ludmila Frajt was born in Belgrade, Yugoslavia into a family of musicians. Her father Jovan Frajt, born in 1882 in Plzen, settled in Serbia in 1903. He worked as a violinist, organist, conductor, composer and music publisher. He founded a publishing house Edition Frajt in Belgrade. After his death in 1938, his son Stevan Frajt, also a musician, continued to run this family business. Ludmila Frajt received her first music lessonsat home; then she attended the Belgrade Music School, where one of her teachers was Josip Slavenski. In 1938 she enrolled to study composition at the newly founded Belgrade Music Academy, with Miloje Milojević. Her studies were interrupted by the World War II. After the country was liberated, she resumed her study. However, her professor Milojević died in 1946, and therefore she graduated with Josip Slavenski as the first female graduate in composition.. Aside from their professional relationship, Frajt and Slavenski also developed a close personal friendship, with Slavenski and his wife Milana Ilić serving as witnesses at Ludmila Frajt's wedding to Mile Franović. Unfortunately, Franović was killed at the Syrmian Front, only three years after they got married. After this tragedy, the young widow never remarried. From 1946 to 1952, Ludmila Frajt was Head of the Music Department at Avala Film; from 1952 to 1958 she was a Deputy Music Editor at Radio Belgrade; and then, from 1958 until retirement, she was the Secretary of the Music Committee of Yugoslav Radio-Television in Belgrade. Aside from composing, she was also involved with ethnographic research, and she avidly collected archaic folk instruments. She died in Belgrade, aged 80.
Personal style
Initially, Frajt's style revolved around a combination of impressionistic sound world, inspired by French composers, and her desire to study and utilise the deepest layers of folklore. This desire was identified and cultivated during her studies with Milojević and Slavenski. After World War II, instead of succumbing to the official demand to write music in accordance with the doctrine of Socialist Realism, Frajt turned to studying Serbian folklore. However, her compositions from this period are not based on quotations of folk music. In 1960s and 1970s Frajt studied and assimilated the latest compositional techniques of the European musical avant-garde – in particular, aleatorics, the idea of 'open-work' and various multimedia experiments. She mixed and merged these with her already established interest in folklore, rituals and antiquity. Her tendency to employ unusual, quasi-archaic instruments and naturalistic sound effects is notable; some of her works are scored for instruments such as folk pipes, silver spoons and children's toys. Ludmila Frajt is a pioneer of female writing in the domain of Serbian music. Her discourse is characterised by its chamber qualities, lyricism and subtlety, which can be seen both in the choice of genres and performing forces, and in her compositional procedures. Furthermore, she was fascinated with a female voice, and she often wrote 'female' vocal genres such as lullaby and threnody. She died of natural causes in Belgrade.
