Page 156 - 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
The concert program comprised a total of ten choral compositions38 which
were sung in two parts, with soloist pieces in between. The concert, which
ultimately featured 90 singers, began with the choral composition Pozdrav,
composed by the choirmaster of “Gesangverein Österreichischer Eisenbah-
nbeamter,” Max pl. Weinzierl particularly for the visit to Bosnia and Her-
zegovina.39 The press reported that it was a “lively composition, full of ex
pression, and the singers sang their greeting so thunderously and with such
beautiful utterance of each syllable that they captivated us right away.”40 It
turned out that the choirmaster’s composition was an excellent overture
into the remaining part of the concert program, which delighted the au-
dience and elicited a series of praises for the performance: “hats off to such
singing, singers and the choirmaster! Only Vienna singers can sing so well!”41
The third day of the visit, 14 June 1892, passed in socializing at Ilidža
and a joint lunch attended by the most important public servants and ad-
visers. The presence of the renowned personalities from social and political
life such as the president of the supreme court, government advisor or the
city mayor42 was the proof that the visit of Vienna singers was not only an-
other event on the musical map of the city. The visit had a multiple value,
since the management system in associations such as “Gesangverein Ös-
terreichischer Eisenbahnbeamter” was recognized as an appropriate model
for socio-cultural and artistic activity in public. Furthermoore, strengthen-
ing of ties with both the local settlers’ community and the domicile pop-
ulation of Bosnia and Herzegovina, who were only too eager to attend the
party at Ilidža, which was visited by over 4000 people on the day of the con-
cert, was a certain route for expanding pro-European influences on the lo-
cal soil. The image of concord and respect was supplemented by the perfor-
mance of Sarajevo “Sloga,” who sang compositions by Serbian composers
Jovan Paču and Stevan Mokranjac.43
38 The entire program of the concert: “A. M. Storcha ‘Ribarska molitva’ accompa-
nied by the piano with solo tenor Mr. H. Hass; R. Schumann ‘Ritornell’; V. Schrad-
er ‘Salem Marijo’; M. pl. Weinzierl ‘Veselo svraćanje’; Solo: A. Tomschik (tenor), H.
Schütz (baritone); F. Schubert ‘Gondolier’; E. S. Engelsberg ‘Sestra cvijeća i zvijez-
da’; Nessler ‘Dan se oprostio’; F. Debios ‘Jung Werner’; M. Weinzierl ‘Proljećne čari’.
Anon., “Bečki pjevači u Sarajevu,” Sarajevski list, no. 72 (15 June 1892): 1.
39 Ibid.
40 Ibid.
41 Ibid.
42 Anon., “Bečki pjevači u Sarajevu,” Sarajevski list, no. 73 (17 June 1892): 1.
43 Ibid.
154
The concert program comprised a total of ten choral compositions38 which
were sung in two parts, with soloist pieces in between. The concert, which
ultimately featured 90 singers, began with the choral composition Pozdrav,
composed by the choirmaster of “Gesangverein Österreichischer Eisenbah-
nbeamter,” Max pl. Weinzierl particularly for the visit to Bosnia and Her-
zegovina.39 The press reported that it was a “lively composition, full of ex
pression, and the singers sang their greeting so thunderously and with such
beautiful utterance of each syllable that they captivated us right away.”40 It
turned out that the choirmaster’s composition was an excellent overture
into the remaining part of the concert program, which delighted the au-
dience and elicited a series of praises for the performance: “hats off to such
singing, singers and the choirmaster! Only Vienna singers can sing so well!”41
The third day of the visit, 14 June 1892, passed in socializing at Ilidža
and a joint lunch attended by the most important public servants and ad-
visers. The presence of the renowned personalities from social and political
life such as the president of the supreme court, government advisor or the
city mayor42 was the proof that the visit of Vienna singers was not only an-
other event on the musical map of the city. The visit had a multiple value,
since the management system in associations such as “Gesangverein Ös-
terreichischer Eisenbahnbeamter” was recognized as an appropriate model
for socio-cultural and artistic activity in public. Furthermoore, strengthen-
ing of ties with both the local settlers’ community and the domicile pop-
ulation of Bosnia and Herzegovina, who were only too eager to attend the
party at Ilidža, which was visited by over 4000 people on the day of the con-
cert, was a certain route for expanding pro-European influences on the lo-
cal soil. The image of concord and respect was supplemented by the perfor-
mance of Sarajevo “Sloga,” who sang compositions by Serbian composers
Jovan Paču and Stevan Mokranjac.43
38 The entire program of the concert: “A. M. Storcha ‘Ribarska molitva’ accompa-
nied by the piano with solo tenor Mr. H. Hass; R. Schumann ‘Ritornell’; V. Schrad-
er ‘Salem Marijo’; M. pl. Weinzierl ‘Veselo svraćanje’; Solo: A. Tomschik (tenor), H.
Schütz (baritone); F. Schubert ‘Gondolier’; E. S. Engelsberg ‘Sestra cvijeća i zvijez-
da’; Nessler ‘Dan se oprostio’; F. Debios ‘Jung Werner’; M. Weinzierl ‘Proljećne čari’.
Anon., “Bečki pjevači u Sarajevu,” Sarajevski list, no. 72 (15 June 1892): 1.
39 Ibid.
40 Ibid.
41 Ibid.
42 Anon., “Bečki pjevači u Sarajevu,” Sarajevski list, no. 73 (17 June 1892): 1.
43 Ibid.
154
