Page 174 - 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. 174
glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
tive in Zagreb, where his most famous work was the Parish Church of Our
Lady of Lourdes (Župna crkva Majke Božje Lurdske) (1934–1943). There is
not a big concert hall in the Glasbena matica building, like the one of the
Croatian Music Institute in Zagreb, but it is nevertheless a house full of mu-
sic, also because the Academy of Music is subtenant of the Matica.
All the three buildings are today in the very centre of Zagreb and Lju-
bljana, respectively. The “Kolo” building was built on a spacious square, The
Republic of Croatia Square 5 (Trg Republike Hrvatske) (today considered
as one of the most beautiful squares in Zagreb). The facade of the Glasbe-
na matica building looks on two streets: Vegova and Gosposka. The Vego-
va street is very attractive because of the busts of the composers along it,
and the reliefs of musicians on the facade of the Matica building. Unlike
the “Kolo” and the Matica building, the Croatian Music Institute build-
ing is situated in a series of houses, at Gundulićeva street 6, and there is not
enough space around it, hence its impression on passers-by is not so strong.
There were different ways how music societies used their buildings to
financially support their work: renting for dances (the CMI), keeping a mu-
sic store (the Glasbena matica) or even a restaurant (the “Kolo”). And what
do these buildings look like today? The Croatian Music Institute building is
under reconstruction, thanks to the financial support of the European Un-
ion. The “Kolo” building has been the Academy of Dramatic Arts for the
last 70 years, and the names of the composers on its facade are the only wit-
nesses that it was built to be a home of music. And the building of Glasbe-
na matica is in its full beauty and vitality.
Conclusion
All the three societies played a major role not only in the musical life of
their milieu, but also in the general culture and urban areas of Zagreb and
Ljubljana. In reciprocal collaboration among themselves and in coopera-
tion with other music societies, especially on the field of organizing con-
certs in both cities, they made a net not only in the common state (until the
end of Yugoslavia in 1991), but also in the broader cultural region. In some
way, they all donated buildings to their respective cities.
Every one of these societies suffered strong blows of fate: the “Kolo”
was brutally abolished and never revived, the Glasbena matica patiently
waited and now shines in its full splendour, and the Croatian Music Insti-
tute is on the verge of its existence because of the earthquake in 2020, but
hopefully it will recover by the big 200th jubilee in 2027. Finally, it should be
172
tive in Zagreb, where his most famous work was the Parish Church of Our
Lady of Lourdes (Župna crkva Majke Božje Lurdske) (1934–1943). There is
not a big concert hall in the Glasbena matica building, like the one of the
Croatian Music Institute in Zagreb, but it is nevertheless a house full of mu-
sic, also because the Academy of Music is subtenant of the Matica.
All the three buildings are today in the very centre of Zagreb and Lju-
bljana, respectively. The “Kolo” building was built on a spacious square, The
Republic of Croatia Square 5 (Trg Republike Hrvatske) (today considered
as one of the most beautiful squares in Zagreb). The facade of the Glasbe-
na matica building looks on two streets: Vegova and Gosposka. The Vego-
va street is very attractive because of the busts of the composers along it,
and the reliefs of musicians on the facade of the Matica building. Unlike
the “Kolo” and the Matica building, the Croatian Music Institute build-
ing is situated in a series of houses, at Gundulićeva street 6, and there is not
enough space around it, hence its impression on passers-by is not so strong.
There were different ways how music societies used their buildings to
financially support their work: renting for dances (the CMI), keeping a mu-
sic store (the Glasbena matica) or even a restaurant (the “Kolo”). And what
do these buildings look like today? The Croatian Music Institute building is
under reconstruction, thanks to the financial support of the European Un-
ion. The “Kolo” building has been the Academy of Dramatic Arts for the
last 70 years, and the names of the composers on its facade are the only wit-
nesses that it was built to be a home of music. And the building of Glasbe-
na matica is in its full beauty and vitality.
Conclusion
All the three societies played a major role not only in the musical life of
their milieu, but also in the general culture and urban areas of Zagreb and
Ljubljana. In reciprocal collaboration among themselves and in coopera-
tion with other music societies, especially on the field of organizing con-
certs in both cities, they made a net not only in the common state (until the
end of Yugoslavia in 1991), but also in the broader cultural region. In some
way, they all donated buildings to their respective cities.
Every one of these societies suffered strong blows of fate: the “Kolo”
was brutally abolished and never revived, the Glasbena matica patiently
waited and now shines in its full splendour, and the Croatian Music Insti-
tute is on the verge of its existence because of the earthquake in 2020, but
hopefully it will recover by the big 200th jubilee in 2027. Finally, it should be
172
