The times in which composer Risto Savin lived and worked were a vital period in the development od Slovenian music. Explicitly, in our country the end od the 19th and the start od 20th century was the time od emerging and increasing docus on specific qualities i.e. identifying features of the Slovenian people as a nation. This can be noticed in literature, fine arts and music with Savin being one of the most prominent represantatives.
The family of Risto Savin or Friderik Širca, as he was born, originally comes from Notranjska region; his ancestors settled in Žalec in 1816. Friderik, who vas born in 1859, grew up in a numerous family, which apart form his parents comprised two sisters and three brothers. While none of them displayed any particulary talent for music, Friderik was alerady composing as young man.
An imortant milestone for Savin´s perception of music arrived in 1886 when he was stationed in Sarajevo. It was then that he decided to adopta more ambitious attitude towards music and began to increasingly preform in public, either as singer od assompanist on the piano. Another significant outcome of his stay in Bosnia and Herzegovina was his coming in touch with the Slavic folk music of the southern Balkans.
In the years and decades that followed, Savin went on to write dozens of musical works, which encreasingly reflect his individual artistic expression rooted in teh European noe-romanticism. While it was he who first introduced the particular style (augmented with certain characteristics of Slavic music) in oru country, Savin is generally regarded as one of the most prominent representatives of Slovenian modernism at the end of 19th and the first decades ov the 20th century.
His most distinctive compositions were written for the choir, orchestra, chamber orchestra and the piano, however he also wrote several piesec for hte stage, notaby the play Tea Doll and two operas; Vida the Fair and Matija Gubec.