Page 152 - 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. 152
glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
participation in social events affected the diversity and richness of the mu-
sic repertoire.23
The program orientation of “Männergesangverein” adjusted to the per-
forming abilities of its members, most of whom were professors, doctors,
lawyers, military officers, bankers, merchants and employees of the Provin-
cial Government.24 The members’ musical amateurism suited the program
orientation and spirit of Liedertafelstil, which would mark the work of the
society for many years.25 Simple choral compositions, the requirements of
which could be satisfied by singing abilities of the members of “Männerge-
sangverein,” were the most frequent repertoire choice over the first years of
the society’s activity. These were works by the presently less known or com-
pletely forgotten composers such as: Freidrich August Bungert, Robert Fis-
chhof, Christian August Sinding, Eicken, Robert Volkmann, Bernhard Joa-
chim Hagen, who were the backbone of Liedertafelstil.26
In general, the society adjusted the style and manner of its work and
the selection of program to choral societies from other parts of the Em-
pire – primarily those from Austria and Germany, and maintained friend-
ly relations with them. Thus, the annual reports of “Männergesangverein”
reveal that in 1900 the society was in constant interactions with societies
M.G.V. “Liedertafel” Berlin, M.G.V. “Liedertafel” Dresden, “Grazer Män-
ner-Gesang-Verein,” and “Wiener Männer-Gesang-Verein.” The successful
cooperation between these societies implied the exchange of sheet music,
constant correspondence and the organization of visits – which was signif-
icant for the musical life of Sarajevo.27
Vienna choral societies’ visits to Sarajevo:
an occasion for redefining the work and concert programs
of the local choral societies?
Except for the activity of choral societies, the concert segment of Saraje-
vo musical life in the period of Austro-Hungarian occupation largely de-
23 Širola, Pregled povijesti hrvatske muzike, 219.
24 Archives of Bosnia and Herzegovina, ZMF, 1900, “Jahresbericht über die Thätigkeit
des Vereines im XIII. Bestandesjahre,” no. 2898/1900.
25 Tünde Polomik, “Počeci umetničkog pevanja u Bosni i Hercegovini,” in Zbornik ra
dova Muzičke akademije u Sarajevu I, ed. Verunica Zdravko (Sarajevo: Muzička ak-
ademija u Sarajevu, 1989), 23.
26 Paćuka, “Muzički život u Sarajevu u periodu Austro-Ugarske uprave (1878–1918),”
102.
27 “Jahresbericht über die Thätigkeit des Vereines im XIII. Bestandesjahre.”
150
participation in social events affected the diversity and richness of the mu-
sic repertoire.23
The program orientation of “Männergesangverein” adjusted to the per-
forming abilities of its members, most of whom were professors, doctors,
lawyers, military officers, bankers, merchants and employees of the Provin-
cial Government.24 The members’ musical amateurism suited the program
orientation and spirit of Liedertafelstil, which would mark the work of the
society for many years.25 Simple choral compositions, the requirements of
which could be satisfied by singing abilities of the members of “Männerge-
sangverein,” were the most frequent repertoire choice over the first years of
the society’s activity. These were works by the presently less known or com-
pletely forgotten composers such as: Freidrich August Bungert, Robert Fis-
chhof, Christian August Sinding, Eicken, Robert Volkmann, Bernhard Joa-
chim Hagen, who were the backbone of Liedertafelstil.26
In general, the society adjusted the style and manner of its work and
the selection of program to choral societies from other parts of the Em-
pire – primarily those from Austria and Germany, and maintained friend-
ly relations with them. Thus, the annual reports of “Männergesangverein”
reveal that in 1900 the society was in constant interactions with societies
M.G.V. “Liedertafel” Berlin, M.G.V. “Liedertafel” Dresden, “Grazer Män-
ner-Gesang-Verein,” and “Wiener Männer-Gesang-Verein.” The successful
cooperation between these societies implied the exchange of sheet music,
constant correspondence and the organization of visits – which was signif-
icant for the musical life of Sarajevo.27
Vienna choral societies’ visits to Sarajevo:
an occasion for redefining the work and concert programs
of the local choral societies?
Except for the activity of choral societies, the concert segment of Saraje-
vo musical life in the period of Austro-Hungarian occupation largely de-
23 Širola, Pregled povijesti hrvatske muzike, 219.
24 Archives of Bosnia and Herzegovina, ZMF, 1900, “Jahresbericht über die Thätigkeit
des Vereines im XIII. Bestandesjahre,” no. 2898/1900.
25 Tünde Polomik, “Počeci umetničkog pevanja u Bosni i Hercegovini,” in Zbornik ra
dova Muzičke akademije u Sarajevu I, ed. Verunica Zdravko (Sarajevo: Muzička ak-
ademija u Sarajevu, 1989), 23.
26 Paćuka, “Muzički život u Sarajevu u periodu Austro-Ugarske uprave (1878–1918),”
102.
27 “Jahresbericht über die Thätigkeit des Vereines im XIII. Bestandesjahre.”
150
