Page 120 - Weiss, Jernej, ur./ed. 2023. Glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo ▪︎ Music societies in the long 19th century: Between amateur and professional culture. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 6
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glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
by Kumlik seven times in total.7 The Schubert’s Mass No. 6, Rossini’s Stabat
Mater, and Felix Mendelssohn-Bartholdy’s Psalm No. 42 were performed
by Kumlik too. The most important artistic events included performances
of the Beethoven’s Symphonies No. 3, No. 5, and No. 7. Kumlik had also pre-
miered several Slovak pieces including Ján Levoslav Bella’s compositions.8
For unknown reasons, in the years 1837–1843, Karl Frajman von
Kochlow (1800–1885) replaced Kumlik in the function of the Kapellmeister.
Unlike his predecessor, Kochlow preferred secular music, especially operas
and their instrumental arrangements. This can also be seen in the reper-
toire, which consisted of works by well-known opera composers such as
Vincenzo Bellini, Gaetano Donizetti, Gioacchino Rossini, etc. At that time,
his own compositions Der Liebe Sehnsucht and Der Liebe Klag for voice and
orchestra were performed too. After almost six years, Kumlik returned and
was awarded the Medal of Honor for Arts and Sciences for his meritorious
activities.
Karl Mayrberger and Josef Thiard-Laforest, the other two Kapell-
meisters of the association, tended toward neo-Romanticism and this style
orientation of theirs was also expressed in their association repertoire. With
regard to the concert repertoire, Karl Mayrberger (1869–1881) followed the
Kumlik’s heritage by performing compositions of Mozart, Haydn, Bee-
thoven, and Mendelssohn-Bartholdy in particular. However, Mayrberger
also enriched the concert programme of new works of Franz Schubert, Max
Bruch, Robert Volkmann, Richard Wagner, as well as works of the old mas-
ters such as Orlande de Lassus, Johann Sebastian Bach or Michael Praeto-
rius. Thanks to Mayrberger, Franz Schubert’s masses found their place in
the liturgical repertoire of the association. Undoubtedly, integration of the
Franz Liszt’s masses in the repertoire of the Cathedral belongs to the Karl
Mayrberger’s greatest artistic contributions. The Liszt’s Missa solemnis was
played by Mayrberger five times in total, out of which two times with Liszt
personally present. The Liszt’s Missa coronationalis was performed more
frequently since its duration was more suitable for liturgical purposes.
Another Kapellmeister Josef Thiard-Laforest (1881–1897) preferred
three music style areas: Viennese classicism, neo-Romanticism, and ancient
music. The important music events performed by him became the Ludwig
van Beethoven’s Symphony No. 9 and the Legend of St. Elizabeth oratory
7 Sylvia Urdová, “Hudba počas slávností sv. Cecílie Cirkevného hudobného spolku v
Bratislave a Ján Batka,” Bratislava: (Ročenka Mestského múzea), no. 29 (2017): 66.
8 Vladimír Godár, “Cirkevno-hudobný spolok,” Slovo 36, no. 24 (2004): 20.
118
by Kumlik seven times in total.7 The Schubert’s Mass No. 6, Rossini’s Stabat
Mater, and Felix Mendelssohn-Bartholdy’s Psalm No. 42 were performed
by Kumlik too. The most important artistic events included performances
of the Beethoven’s Symphonies No. 3, No. 5, and No. 7. Kumlik had also pre-
miered several Slovak pieces including Ján Levoslav Bella’s compositions.8
For unknown reasons, in the years 1837–1843, Karl Frajman von
Kochlow (1800–1885) replaced Kumlik in the function of the Kapellmeister.
Unlike his predecessor, Kochlow preferred secular music, especially operas
and their instrumental arrangements. This can also be seen in the reper-
toire, which consisted of works by well-known opera composers such as
Vincenzo Bellini, Gaetano Donizetti, Gioacchino Rossini, etc. At that time,
his own compositions Der Liebe Sehnsucht and Der Liebe Klag for voice and
orchestra were performed too. After almost six years, Kumlik returned and
was awarded the Medal of Honor for Arts and Sciences for his meritorious
activities.
Karl Mayrberger and Josef Thiard-Laforest, the other two Kapell-
meisters of the association, tended toward neo-Romanticism and this style
orientation of theirs was also expressed in their association repertoire. With
regard to the concert repertoire, Karl Mayrberger (1869–1881) followed the
Kumlik’s heritage by performing compositions of Mozart, Haydn, Bee-
thoven, and Mendelssohn-Bartholdy in particular. However, Mayrberger
also enriched the concert programme of new works of Franz Schubert, Max
Bruch, Robert Volkmann, Richard Wagner, as well as works of the old mas-
ters such as Orlande de Lassus, Johann Sebastian Bach or Michael Praeto-
rius. Thanks to Mayrberger, Franz Schubert’s masses found their place in
the liturgical repertoire of the association. Undoubtedly, integration of the
Franz Liszt’s masses in the repertoire of the Cathedral belongs to the Karl
Mayrberger’s greatest artistic contributions. The Liszt’s Missa solemnis was
played by Mayrberger five times in total, out of which two times with Liszt
personally present. The Liszt’s Missa coronationalis was performed more
frequently since its duration was more suitable for liturgical purposes.
Another Kapellmeister Josef Thiard-Laforest (1881–1897) preferred
three music style areas: Viennese classicism, neo-Romanticism, and ancient
music. The important music events performed by him became the Ludwig
van Beethoven’s Symphony No. 9 and the Legend of St. Elizabeth oratory
7 Sylvia Urdová, “Hudba počas slávností sv. Cecílie Cirkevného hudobného spolku v
Bratislave a Ján Batka,” Bratislava: (Ročenka Mestského múzea), no. 29 (2017): 66.
8 Vladimír Godár, “Cirkevno-hudobný spolok,” Slovo 36, no. 24 (2004): 20.
118
