Page 131 - 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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matej hubad in the context of the musical life of slavic societies in vienna
1895.19 The programme also contains other Slovene repertoire (A. Hajdrih’s
Sirota was performed for the first time) and other Slovene personalities:
the pianist Anton Förster and Josip Čerin, who, as a conductor, introduced
a mixed tamburitza choir composed of Slavic singing society members to
the public at that time!20
The highlight of Hubad’s activities in the period 1891–1896 was un-
doubtedly the concert trip of the Glasbena Matica choir to Vienna (March
1896). It was a thank-you to Vienna for helping Ljubljana, which had been
damaged by an earthquake.21 The Slovene choir gave two concerts (on 23
March and 25 March with Dvořák’s The Spectre’s Bride at Musikverein).22
Motivation, programme and all others aspects have been described, so the
following paragraphs are only minor additions from the perspective of
Slavic Vienna.23
1) The Slavic singing society reacted to the earthquake by sending
to Slovenia the proceeds of the Šafařík Festival (held on 18 May
1895, on the 100th anniversary of his birth, organised by several lo-
cal Slavic societies, with the proceeds amounting to 318 Fl).24 Slav-
ic societies in Vienna supported the Glasbena Matica event. The
Slavic Singing Society welcomed Dvořák on his arrival in Vienna
and decorated his conductor’s desk with a wreath with the nation-
al ribbon.25
2) While the Slavic Singing Society moved its event to 13 May 1896,26
the leading Czech-Viennese choir Lumír held its own event on
19 “Concert programme,” Zpěvácký spolek slovanský (A543-2); Anon., “Vídeň. Slovan-
ský koncert,” Dalibor 17, no. 47–48 (21 December 1895): 374.
20 Josip Čerin (1867–1951). From 1886, he studied music and musicology in Vienna. In
1894–1896, he was organist at the St. Augustine Church and also conducted Slavic
choirs in Vienna. In 1896, he left to work at Ljubljana’s Glasbena Matica.
21 Anon., “(Zasláno.) GLASBENA MATICA V LUBLANI,” Dalibor 17, no. 35 (14 Sep-
tember 1895): 275.
22 Milan Kuna and Ludmila Bradová, eds., Antonín Dvořák. Korespondence a doku
menty: kritické vydání, sv. 4. Korespondence odeslaná 1896–1904 (Praha: Editio Su-
praphon, 1995), 20–3. A mention of the preparation in Vienna in Antonín Dvořák’s
letter of 13 March 1896 to Jindřich Geisler.
23 Weiss, Čeští hudebníci, 184–7; Budkovič, “Matej Hubad,” 48–59.
24 Anon., “K jubileu Zpěváckého spolku slovanského ve Vídni (dokončení),” Dalibor
24, no. 20 (10 May 1902): 164.
25 Anon., “Mistr Antonín Dvořák,” Věstník. Časopis spolků česko-slovanských ve
Vídni 14, March 28, 1896, 3.
26 Among other things, the choir piece Ljubica by the Slovene composer Anton Förster
was performed. The choir piece was given by the author to the Slavic Singing Society.
129
1895.19 The programme also contains other Slovene repertoire (A. Hajdrih’s
Sirota was performed for the first time) and other Slovene personalities:
the pianist Anton Förster and Josip Čerin, who, as a conductor, introduced
a mixed tamburitza choir composed of Slavic singing society members to
the public at that time!20
The highlight of Hubad’s activities in the period 1891–1896 was un-
doubtedly the concert trip of the Glasbena Matica choir to Vienna (March
1896). It was a thank-you to Vienna for helping Ljubljana, which had been
damaged by an earthquake.21 The Slovene choir gave two concerts (on 23
March and 25 March with Dvořák’s The Spectre’s Bride at Musikverein).22
Motivation, programme and all others aspects have been described, so the
following paragraphs are only minor additions from the perspective of
Slavic Vienna.23
1) The Slavic singing society reacted to the earthquake by sending
to Slovenia the proceeds of the Šafařík Festival (held on 18 May
1895, on the 100th anniversary of his birth, organised by several lo-
cal Slavic societies, with the proceeds amounting to 318 Fl).24 Slav-
ic societies in Vienna supported the Glasbena Matica event. The
Slavic Singing Society welcomed Dvořák on his arrival in Vienna
and decorated his conductor’s desk with a wreath with the nation-
al ribbon.25
2) While the Slavic Singing Society moved its event to 13 May 1896,26
the leading Czech-Viennese choir Lumír held its own event on
19 “Concert programme,” Zpěvácký spolek slovanský (A543-2); Anon., “Vídeň. Slovan-
ský koncert,” Dalibor 17, no. 47–48 (21 December 1895): 374.
20 Josip Čerin (1867–1951). From 1886, he studied music and musicology in Vienna. In
1894–1896, he was organist at the St. Augustine Church and also conducted Slavic
choirs in Vienna. In 1896, he left to work at Ljubljana’s Glasbena Matica.
21 Anon., “(Zasláno.) GLASBENA MATICA V LUBLANI,” Dalibor 17, no. 35 (14 Sep-
tember 1895): 275.
22 Milan Kuna and Ludmila Bradová, eds., Antonín Dvořák. Korespondence a doku
menty: kritické vydání, sv. 4. Korespondence odeslaná 1896–1904 (Praha: Editio Su-
praphon, 1995), 20–3. A mention of the preparation in Vienna in Antonín Dvořák’s
letter of 13 March 1896 to Jindřich Geisler.
23 Weiss, Čeští hudebníci, 184–7; Budkovič, “Matej Hubad,” 48–59.
24 Anon., “K jubileu Zpěváckého spolku slovanského ve Vídni (dokončení),” Dalibor
24, no. 20 (10 May 1902): 164.
25 Anon., “Mistr Antonín Dvořák,” Věstník. Časopis spolků česko-slovanských ve
Vídni 14, March 28, 1896, 3.
26 Among other things, the choir piece Ljubica by the Slovene composer Anton Förster
was performed. The choir piece was given by the author to the Slavic Singing Society.
129
