Page 132 - 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
P. 132
glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
the day of the first concert (23 March)27 and only took part in the
second concert (25 March).
3) The Czech-Viennese press described the preparation in detail and
advertised the concerts. A set of reports can also be found, but
their contents differ for various reasons so they need critical veri-
fication. They reported on the holding of various welcome parties
for the guests,28 as well as on the organisation of a gala evening on
arrival and after the second concert.
4) Glasbena Matica’s concerts were of immense significance for the
Slavic music scene. The Slavic societies in Vienna realised the
need for improved internal communication and close coopera-
tion. That was the only way to achieve a decent performance of the
most demanding works. However, potential unification encoun-
tered problems. For example, we can read in the press that the
guarantee of a good interpretation is not quantity but profession-
alization.29 The Slavic Singing Society considered itself superior to
other societies and feared merging with purely Czech societies. –
Cooperation among choirs was rare before 1895 (it will be men-
tioned in connection with the Slavic Singing Society’s concert of
7 May 1897). When the Pěvecká župa vídeňská (Vienna Singing
Union) was established in 1907, the Slavic Singing Society did not
join it!30
The performers included the Slovene opera singer Franziska/Fanchette/Franja/
Fandetta Verhuncová/Verhune/Verhunc/Verhunck (1875–1944), with the aria “Vir-
gin Mary, stand by me” from Dvořák’s cantata The Spectre’s Bride.
27 Anon., “Ze spolku Lumír,” Věstník. Časopis spolků česko-slovanských ve Vídni 14,
March 28, 1896, 2.
28 Anon., “Večer na počest bratří Slovinců,” Věstník. Časopis spolků česko-slovanských
ve Vídni 14, April 4, 1896, 2.
29 Anon., “Vídeň. Sjednocení zpěváckých spolků,” Dalibor 18, no. 20–21 (18 April
1896): 157. This is a report taken from X, “Sjednocení zpěváckých spolků,” Věstník.
Časopis spolků česko-slovanských ve Vídni 14, April 11, 1896, 2. This text was appar-
ently responded to by a member of the Lumír singing society in Vienna Alois Stej-
skal: A. St., “Ku sjednocení zpěváckých spolků vídeňských. Několik poznámek ku
článku v č. 15,” Věstník. Časopis spolků česko-slovanských ve Vídni 14, April 18, 1896,
2–3.
30 It should be clarified why one can sometimes come across the information that the
Slavic Singing Society was a member of the Ústřední jednota zpěváckých spolků
českoslovanských (Central Union of Czech-Slavic Singing Societies), later known
as Pěvecká obec československá (Czechoslovak Singing Society). The president Leon
Bouchal registered the society “to his detriment” in 1896 and paid the deposit for
130
the day of the first concert (23 March)27 and only took part in the
second concert (25 March).
3) The Czech-Viennese press described the preparation in detail and
advertised the concerts. A set of reports can also be found, but
their contents differ for various reasons so they need critical veri-
fication. They reported on the holding of various welcome parties
for the guests,28 as well as on the organisation of a gala evening on
arrival and after the second concert.
4) Glasbena Matica’s concerts were of immense significance for the
Slavic music scene. The Slavic societies in Vienna realised the
need for improved internal communication and close coopera-
tion. That was the only way to achieve a decent performance of the
most demanding works. However, potential unification encoun-
tered problems. For example, we can read in the press that the
guarantee of a good interpretation is not quantity but profession-
alization.29 The Slavic Singing Society considered itself superior to
other societies and feared merging with purely Czech societies. –
Cooperation among choirs was rare before 1895 (it will be men-
tioned in connection with the Slavic Singing Society’s concert of
7 May 1897). When the Pěvecká župa vídeňská (Vienna Singing
Union) was established in 1907, the Slavic Singing Society did not
join it!30
The performers included the Slovene opera singer Franziska/Fanchette/Franja/
Fandetta Verhuncová/Verhune/Verhunc/Verhunck (1875–1944), with the aria “Vir-
gin Mary, stand by me” from Dvořák’s cantata The Spectre’s Bride.
27 Anon., “Ze spolku Lumír,” Věstník. Časopis spolků česko-slovanských ve Vídni 14,
March 28, 1896, 2.
28 Anon., “Večer na počest bratří Slovinců,” Věstník. Časopis spolků česko-slovanských
ve Vídni 14, April 4, 1896, 2.
29 Anon., “Vídeň. Sjednocení zpěváckých spolků,” Dalibor 18, no. 20–21 (18 April
1896): 157. This is a report taken from X, “Sjednocení zpěváckých spolků,” Věstník.
Časopis spolků česko-slovanských ve Vídni 14, April 11, 1896, 2. This text was appar-
ently responded to by a member of the Lumír singing society in Vienna Alois Stej-
skal: A. St., “Ku sjednocení zpěváckých spolků vídeňských. Několik poznámek ku
článku v č. 15,” Věstník. Časopis spolků česko-slovanských ve Vídni 14, April 18, 1896,
2–3.
30 It should be clarified why one can sometimes come across the information that the
Slavic Singing Society was a member of the Ústřední jednota zpěváckých spolků
českoslovanských (Central Union of Czech-Slavic Singing Societies), later known
as Pěvecká obec československá (Czechoslovak Singing Society). The president Leon
Bouchal registered the society “to his detriment” in 1896 and paid the deposit for
130
