page_title: Tale Ognenovski
section_title: U.S. tour
hierarchical_section_title: Tale Ognenovski / Tour of North America / U.S. tour
caption_attribution_description: Tale Ognenovski with his "Rampone &amp; Cazzani" clarinet performing for his uncle Petar Hristov from North City, Illinois, USA in February 1956, during a North America tour. On January 27, 1956, Tale Ognenovski performed at Carnegie Hall in New York City as a clarinet and reed pipe (recorder) soloist of Macedonian National Ensemble for Folk Dances and Songs "Tanec".
context_page_description: Tale Ognenovski was a Macedonian multi-instrumentalist who played clarinet, recorder, tin whistle, bagpipe, zurna, and drums. He composed or arranged 300 instrumental compositions: Macedonian folk dances, jazz compositions, and classical concerts.
  On January 27, 1956, he performed at Carnegie Hall in New York City as a clarinet and reed pipe soloist of the Macedonian State Ensemble of Folk Dances and Songs.
  For this Carnegie Hall concert The New York Times music critic John Martin, wrote two articles: "Ballet: Yugoslav Folk Art; 'Tanec' Dancers Appear at Carnegie Hall in Display of Tremendous Skill" ", published on January 28, 1956, and "The Dance: Folk Art; Group From Yugoslavia In Impressive Debut Learning vs. Magic No Macedonian Monopoly The Week's Events", published on February 5, 1956. Dance Observer commented, "The capacity audience at Carnegie Hall on January 27 for the single New York performance of Tanec, the Yugoslav National Folk Ballet, enjoyed a fascinating cross-section of over 2000 years of human history and culture. Tanec is a Macedonian group."
context_section_description: The strong reception of Ensemble "Tanec" performance at Carnegie Hall by public and by music critic, generating intense interest for, the three months-long tour to each two-hour performance in cities from San Francisco to New York. A further sixty four successful concerts followed in other US cities and one concert in Toronto, Ontario, Canada. Performances of Ensemble "Tanec" everywhere, on tour across the North America, were greeted with enthusiasm by spectators.
  Makedonija reviewer Naum Nachevski comments: "All the concerts have had record audiences. In many towns, including Pittsburgh, they are sold out at least one week before...For America, this art form is quite new - totally original - never before viewed on the mainland... The American public has expressed this through their frenetic applause."
  Three concerts in Chicago were performed in Civic Opera House on February 4 on February 5, 1956. Its opera house has 3,563-seats, making it the second-largest opera auditorium in North America after the Metropolitan Opera House in New York.
  The Chicago Daily Tribune reviewer, Claudia Cassidy, noted: "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 an unfair trade for the four little swans in Swan Lake.
  "The arrival of Tanec in Chicago had been awaited by more than 10,000 people who had bought their tickets a few weeks earlier. …Several million people got to know about our folk dances from reports and photographs, from a very successful debut on American television and from reviews in the newspapers about the concert in New York...Chupurlika was greeted with stormy applause and received several encores." wrote Gjorgi Iliev from Chicago in an article entitled "Letter from America", appearing in the newspaper Nova Makedonij, Republic of Macedonia on February 19, 1956."
  The concert in Philadelphia was performed in the 2,897-seats Academy of Music on February 7, 1956.  Opened in 1857, the Academy of Music is the oldest grand opera house in the United States to still be used for its original purpose.
  The Philadelphia Inquirer music critic Samuel Singer commented, "'Tanec' means 'dance', but 'dance' in a larger form than customary. 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..."
  DAR Constitution Hall (3,702 seats) is a concert hall in Washington, D.C. It was built in 1929.
  Paul Hume, the Washington Post and Times music critic observed, "A Sopska Poskocica is devised to show the girls how handsome and wonderful and brilliant and exciting and sensational their man friends are. 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...If you see "Tanec" which simply means 'Dance' advertised again, you won't want to miss it." 
  Massey Hall (2,752-seats) is a performing arts theatre in Toronto, Ontario, Canada.
  John Kraglund, a music critic for The Globe and Mail wrote: "The first impression, however, must be one of rhythmic precision...Nor was the performance without spectacle...in the case of one dance, Sopska Poskocica, it was no more than a show-off dance. As such it was highly effective".
  Ensemble Tanec played in larger auditoriums, including, Kiel Auditorium, St. Louis, Missouri on February 26, 1956, and Denver Arena Auditorium, Colorado, on March 4, 1956. Kiel Auditorium (originally named the Municipal Auditorium) with seating capacity of 9,300 played host to a variety of rock concerts including concerts by Elvis Presley on March 29, 1957  and September 10, 1970. From the 1950s until the 1970s, the Kiel Auditorium was behind only Madison Square Garden as North America's most famous wrestling arena.
  Denver A
caption: Tale Ognenovski with his "Rampone & Cazzani" clarinet performing for his uncle Petar Hristov from North City, Illinois, USA in February 1956, during a North America tour
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