Page 124 - 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
as pieces for various voices and instruments composed by Franz Schubert
(Litanei auf das Fest Allerseelen), Robert Schumann (Der Rose Pilgerfahrt),
Franz Liszt (Seligpreisungen from the Christus oratory), Ferenc Erkel (Isten,
áldd meg a magyart), Johannes Brahms (Wiegenlied), Max Bruch (Frithjof,
op. 23), Niels Wilhelm Gade (Psyche) were played in the concerts of the as-
sociation. Within the Silvester celebrations, one-act operettas written by,
for example, Jacques Offenbach and Franz von Suppé were performed too.
In 1888, the association and Schubert-Bund from Vienna organized a con-
cert consisting of Schubert’s works; the income from the concert was used
for supporting activities of the Red Cross. As in the case of the Pressburg-
er Liedertafel, from the beginning of the 20th this association was also led
by Eugen Kossow.
The raise of the labour movement brought another type of multi-pur-
pose associations of an international character, not excluding music prac-
tice. Upon the example of Vienna and Budapest, there was Vorwärts, a
worker’s education association associating workers from Germany, Hunga-
ry, and Slovakia including a choral section, founded in Bratislava in 1869. In
1893, members of the choral section founded the choral association Liedes-
freiheit. The original men’s choir grew to a combined one; a children’s choir
existed there for a longer time too.
The Pressburger Gesangvereines Typographenbund/Pozsonyi dalkör
as a separate choral association of the eponymous educational institution,
consisting only of male singers, which was relatively active from 1872.16 Its
first choirmaster became the Realschule professor Johann Wawra and the
repertoire consist of wide range of choral works (acapella, with piano ac-
companiment, duos to quintets) by the German (Carl Attenhofer, Carl
Beines, Joseph Scheu) and Hungarian composers (Franz Doppler, Pál Gaál,
Ernő Lányi). There were also instrumental arrangements of the well-known
operas, (e.g. Potpourri based on motifs from I Capuleti e i Montecchi by
Vincenzo Bellini, for pianoforte 4) hands as well as virtuosic pieces (Sym
phonie concertante No. 1 by Jean Delphin Alard), not to mention various
traditional folk songs. At the tenth anniversary of founding the association,
they organized a grandiose consecration of the flag of the association with
the nine invited associations participating thereon including the local ones
as well as the associations from Brno, Budapest, Vienna, and Hainburg.
16 Emanuel Muntág, “Bratislavský robotnícky spevácky spolok Typografia,” in Robot
nícke spevokoly a robotnícka kultúra na Slovensku (Hudobné tradície Bratislavy a ich
tvorcovia, vol. 10), ed. Katarína Horváthová (Bratislava: Mestský dom kultúry a os-
vety, 1983), 57.
122
as pieces for various voices and instruments composed by Franz Schubert
(Litanei auf das Fest Allerseelen), Robert Schumann (Der Rose Pilgerfahrt),
Franz Liszt (Seligpreisungen from the Christus oratory), Ferenc Erkel (Isten,
áldd meg a magyart), Johannes Brahms (Wiegenlied), Max Bruch (Frithjof,
op. 23), Niels Wilhelm Gade (Psyche) were played in the concerts of the as-
sociation. Within the Silvester celebrations, one-act operettas written by,
for example, Jacques Offenbach and Franz von Suppé were performed too.
In 1888, the association and Schubert-Bund from Vienna organized a con-
cert consisting of Schubert’s works; the income from the concert was used
for supporting activities of the Red Cross. As in the case of the Pressburg-
er Liedertafel, from the beginning of the 20th this association was also led
by Eugen Kossow.
The raise of the labour movement brought another type of multi-pur-
pose associations of an international character, not excluding music prac-
tice. Upon the example of Vienna and Budapest, there was Vorwärts, a
worker’s education association associating workers from Germany, Hunga-
ry, and Slovakia including a choral section, founded in Bratislava in 1869. In
1893, members of the choral section founded the choral association Liedes-
freiheit. The original men’s choir grew to a combined one; a children’s choir
existed there for a longer time too.
The Pressburger Gesangvereines Typographenbund/Pozsonyi dalkör
as a separate choral association of the eponymous educational institution,
consisting only of male singers, which was relatively active from 1872.16 Its
first choirmaster became the Realschule professor Johann Wawra and the
repertoire consist of wide range of choral works (acapella, with piano ac-
companiment, duos to quintets) by the German (Carl Attenhofer, Carl
Beines, Joseph Scheu) and Hungarian composers (Franz Doppler, Pál Gaál,
Ernő Lányi). There were also instrumental arrangements of the well-known
operas, (e.g. Potpourri based on motifs from I Capuleti e i Montecchi by
Vincenzo Bellini, for pianoforte 4) hands as well as virtuosic pieces (Sym
phonie concertante No. 1 by Jean Delphin Alard), not to mention various
traditional folk songs. At the tenth anniversary of founding the association,
they organized a grandiose consecration of the flag of the association with
the nine invited associations participating thereon including the local ones
as well as the associations from Brno, Budapest, Vienna, and Hainburg.
16 Emanuel Muntág, “Bratislavský robotnícky spevácky spolok Typografia,” in Robot
nícke spevokoly a robotnícka kultúra na Slovensku (Hudobné tradície Bratislavy a ich
tvorcovia, vol. 10), ed. Katarína Horváthová (Bratislava: Mestský dom kultúry a os-
vety, 1983), 57.
122
