Page 173 - 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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similarities and differences: comparison of the ljubljana glasbena matica ...
sonic circles. The first two patrons were Ignjat Gyulay (1763–1831) and Mak-
similijan Vrhovac (1752–1827). Gyulay was a member of the Hungarian no-
bility and a military leader. At the time of the establishment of the Croatian
Music Institute, he was the ban of Croatia (royal governor). Vrhovac, the
bishop of Zagreb, was one of the most prominent persons in Croatia at the
beginning of the nineteenth century. He was also the ban’s deputy and a
benefactor, and a member of a masonic lodge as well.
In the second half of the century, the middle-class societies were al-
ready so strong that patrons were not so necessary, so in the history of the
Croatian Music Institute they ceased around 1890. The patron of the Cro-
atian Singing Society “Kolo” at the beginning of its activities was also a
Croatian ban, Josip Šokčević. The Glazbena matica Ljubljana didn’t have
patrons.
Buildings
The Croatian Music Institute building was finished in 1876 by well-known
Zagreb architects Janko Grahor and Franjo Klein. In it the first concert hall
in Zagreb was situated. It was also home of the Institute’s music school, lat-
er the Academy of Music, until 2015, when the Academy moved to its own,
brand-new building. The building of the Croatian Singing Society “Kolo”
was finished in 1885. It is more modest then the CMI building, and was
constructed by less known Croatian architect Matija Antolec. It had a con-
cert hall for the concerts organised by the “Kolo”. After the abolition of
the “Kolo” in 1948, in 1952 the government gave the “Kolo” building to the
Academy of Dramatic Art. The names of the nineteenth century compos-
ers were written on the facade of the building, probably in 1920ies. They
show us how strong the connections between Croatian and Slovenian mu-
sic societies and culture in general have been, at that time in the same state.
The name of Vatroslav Lisinski (1819–1854), the composer of the first Croa-
tian opera, and the name of Ivan Zajc (1832–1914), the most important Cro-
atian composer at the end of the 19th century, hold a central position. There
are also names of Slovenian composers Davorin Jenko (1835–1914), Benja-
min Ipavec (1829–1908) and Franjo Serafin Vilhar Kalski (1852–1928). The
name of the latter composer is mistakenly written as Vilhah. The Glasbena
matica bought a building in 1893. Two years later a big earthquake damaged
the building, and the Croatian Music Institute also contributed to its ren-
ovation. It was repaired in the next year, but an important renovation was
made later by the famous Slovenian architect Jože Plečnik. He was also ac-
171
sonic circles. The first two patrons were Ignjat Gyulay (1763–1831) and Mak-
similijan Vrhovac (1752–1827). Gyulay was a member of the Hungarian no-
bility and a military leader. At the time of the establishment of the Croatian
Music Institute, he was the ban of Croatia (royal governor). Vrhovac, the
bishop of Zagreb, was one of the most prominent persons in Croatia at the
beginning of the nineteenth century. He was also the ban’s deputy and a
benefactor, and a member of a masonic lodge as well.
In the second half of the century, the middle-class societies were al-
ready so strong that patrons were not so necessary, so in the history of the
Croatian Music Institute they ceased around 1890. The patron of the Cro-
atian Singing Society “Kolo” at the beginning of its activities was also a
Croatian ban, Josip Šokčević. The Glazbena matica Ljubljana didn’t have
patrons.
Buildings
The Croatian Music Institute building was finished in 1876 by well-known
Zagreb architects Janko Grahor and Franjo Klein. In it the first concert hall
in Zagreb was situated. It was also home of the Institute’s music school, lat-
er the Academy of Music, until 2015, when the Academy moved to its own,
brand-new building. The building of the Croatian Singing Society “Kolo”
was finished in 1885. It is more modest then the CMI building, and was
constructed by less known Croatian architect Matija Antolec. It had a con-
cert hall for the concerts organised by the “Kolo”. After the abolition of
the “Kolo” in 1948, in 1952 the government gave the “Kolo” building to the
Academy of Dramatic Art. The names of the nineteenth century compos-
ers were written on the facade of the building, probably in 1920ies. They
show us how strong the connections between Croatian and Slovenian mu-
sic societies and culture in general have been, at that time in the same state.
The name of Vatroslav Lisinski (1819–1854), the composer of the first Croa-
tian opera, and the name of Ivan Zajc (1832–1914), the most important Cro-
atian composer at the end of the 19th century, hold a central position. There
are also names of Slovenian composers Davorin Jenko (1835–1914), Benja-
min Ipavec (1829–1908) and Franjo Serafin Vilhar Kalski (1852–1928). The
name of the latter composer is mistakenly written as Vilhah. The Glasbena
matica bought a building in 1893. Two years later a big earthquake damaged
the building, and the Croatian Music Institute also contributed to its ren-
ovation. It was repaired in the next year, but an important renovation was
made later by the famous Slovenian architect Jože Plečnik. He was also ac-
171
