Music tracks: “Brusnichko Oro” and “Bukovsko Svadbarsko Oro” are from 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. “
Music tracks: “Mozart Clarinet Concerto in A Major, K.622: Allegro and “Tale Ognenovski Concert for Clarinet No. 1” are from CD Album entitled: “MOZART and OGNENOVSKI Clarinet Concertos” Label: Independent records, USA. (Catalog: IR37223, January 24, 2006). “MOZART and OGNENOVSKI Clarinet Concertos” to celebrate the 250th anniversary of the birth of Austrian composer Wolfgang Amadeus Mozart 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.”
Music tracks: “Tale Ognenovski Jazz Composition No. 1, No. 6 and No. 7” are from CD Album 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 Albums are available at: Amazon.com, CD Baby, iTunes, The Orchard, CD Universe, MySpace Music…
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. 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 pieces on three CD Albums are rhythmically complex. 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).
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 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. On May 24, 1953, he played clarinet soloist in the classical concert “Concert Polka for Clarinet” by Miler Bela with “Public Police Wind Orchestra”, comprising about 30 musicians and conducted by Micho Kostovski. The concert was performed in the Macedonian Radio building, and broadcast directly to the nation via Macedonian Radio.
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'. 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 Macedonian Radio.
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.
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.
From 1956 till 1960 he worked with the Macedonian State Ensemble of Folk Dances and Songs ‘Tanec’. 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). 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 as a member and head of the ‘Folk Music Orchestra’ of “Macedonian Radio Television”. He continued to play on an honorary basis in the “Chalgii” Orchestra on “Macedonian Radio Television” until 1979.
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 “ 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 Macedonian Radio Television. This created great interest not only amongst the delegates of the Conference but also around the world.
Tale Ognenovski performed as clarinet and reed pipe soloist with Macedonian Ensemble Tanec. 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. Ensemble ˜Tanec’s North American tour was sponsored by International Artists in association with Charles E. Green and Lee V. Eastman. ˜Tanec’s American tour began with their debut on one of the most popular television programmes in the United States, the Ford Foundation TV Programme “OMNIBUS”, on January 22, 1956. (Producer, Robert Saudek). 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.
The Carnegie Hall concert on January 27, 1956 was performed on the 200th anniversary of the birth of Wolfgang Amadeus Mozart. Musical genius Wolfgang Amadeus Mozart was born on January 27, 1756. Two hundred years later, on January 27, 1956, another genius of music, Tale Ognenovski, performed as a clarinet and reed pipe soloist folk dances in the world-famous Carnegie Hall. Together, he and the other members of the Ensemble ‘Tanec’ appeared at Carnegie Hall in a display of tremendous skill, which was a sheer joy to watch. Tanec’s sixty-six performances in North America attracted much attention in the 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:
“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.
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.
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. Radio Ros Award", December 7, 2000.
7. 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.