Page 350 - 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. 350
glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
cians were also mostly from Bohemia and Moravia. Teachers (often Czechs)
and pupils of the Slovenian music school in Trieste also participated in the
concert activities of the National Hall (Narodni dom) in that city.46
It was not until 1888 that the Music Society in Ljubljana gave its first
major concert with soloists, choir, and orchestra, in which Czech musicians
also took part. In 1891, a choir was established as an independent part of the
society, and then became a permanent performing group. The concerts giv-
en by the Slovenian Music Society before the First World War were less var-
ied and less numerous in terms of repertoire than those of the Philharmon-
ic Society. On average, the Music Society held two of its own concerts per
concert season with a vocal repertoire and a vocal-instrumental repertoire
with both men’s and women’s choirs. In addition to concerts with a mixed
programme and a predominantly vocal or vocal-instrumental repertoire,
the Music Society also held musical evenings with a smaller number of per-
formers and predominantly instrumental performances, as well as social
singing evenings.47 Between 1888 and 1918 it gave 300 concerts, over 200 of
which involved musicians from abroad, mainly Czechs, as soloists, conduc-
tors, or composers.48
Since there was no civic orchestra in Ljubljana that could perform
at concerts and opera performances, the Music Society, like the Philhar-
(Fran Topič; 1881–1937) from Lysá nad Labem. See: Cigoj Krstulović, Zgodovina,
spomin, dediščina, 132–4; Zupančič, “The influx of Bohemian violinists,” 273–4.
46 In the period before the First World War, Slovenian cultural activities in Trieste
reached their peak with the opening of the National Hall in 1904, which sparked
further development primarily among Slovenian cultural associations. Based on the
Edinost newspaper and the preserved concert programs, more than 300 concerts
that took place in the National Hall between 1904 and 1920 have been reconstruct-
ed. Numerous Slovenian societies and guest musicians, mainly Czechs, performed at
the National Hall. The military band of the 97th Infantry Regiment and the military
band of the 4th Bosnian Infantry Regiment were at the centre of Slovenian concert
life at the National Hall in Trieste. Among the foreign musicians, the Czechs Petr
Teplý and František Topič, as well as the occasional bandmaster Franz Zitta (1880–
1946) from Čečelice, contributed to Slovenian concert life in Trieste. All three were
active in Maribor after the war. Almost all Slovenian associations in Trieste also per-
formed compositions by Czech musicians from Ljubljana. Anton Foerster and An-
ton Nedvěd were the most prominent of these, and to a lesser extent Josef Michl, Jo-
sef Procházka, and Anton Jakl (1873–1948). I would like to thank Sara Zupančič for
her sacrificial work, reconstruction of the concerts in the organization of the Nation-
al Hall in Trieste within the research project.
47 Cigoj Krstulović, “Ljubljanska Glasbena matica,” 33, 35–6.
48 This data is based on the list and analysis of the concerts of the Music Society (Glas
bena matica).
348
cians were also mostly from Bohemia and Moravia. Teachers (often Czechs)
and pupils of the Slovenian music school in Trieste also participated in the
concert activities of the National Hall (Narodni dom) in that city.46
It was not until 1888 that the Music Society in Ljubljana gave its first
major concert with soloists, choir, and orchestra, in which Czech musicians
also took part. In 1891, a choir was established as an independent part of the
society, and then became a permanent performing group. The concerts giv-
en by the Slovenian Music Society before the First World War were less var-
ied and less numerous in terms of repertoire than those of the Philharmon-
ic Society. On average, the Music Society held two of its own concerts per
concert season with a vocal repertoire and a vocal-instrumental repertoire
with both men’s and women’s choirs. In addition to concerts with a mixed
programme and a predominantly vocal or vocal-instrumental repertoire,
the Music Society also held musical evenings with a smaller number of per-
formers and predominantly instrumental performances, as well as social
singing evenings.47 Between 1888 and 1918 it gave 300 concerts, over 200 of
which involved musicians from abroad, mainly Czechs, as soloists, conduc-
tors, or composers.48
Since there was no civic orchestra in Ljubljana that could perform
at concerts and opera performances, the Music Society, like the Philhar-
(Fran Topič; 1881–1937) from Lysá nad Labem. See: Cigoj Krstulović, Zgodovina,
spomin, dediščina, 132–4; Zupančič, “The influx of Bohemian violinists,” 273–4.
46 In the period before the First World War, Slovenian cultural activities in Trieste
reached their peak with the opening of the National Hall in 1904, which sparked
further development primarily among Slovenian cultural associations. Based on the
Edinost newspaper and the preserved concert programs, more than 300 concerts
that took place in the National Hall between 1904 and 1920 have been reconstruct-
ed. Numerous Slovenian societies and guest musicians, mainly Czechs, performed at
the National Hall. The military band of the 97th Infantry Regiment and the military
band of the 4th Bosnian Infantry Regiment were at the centre of Slovenian concert
life at the National Hall in Trieste. Among the foreign musicians, the Czechs Petr
Teplý and František Topič, as well as the occasional bandmaster Franz Zitta (1880–
1946) from Čečelice, contributed to Slovenian concert life in Trieste. All three were
active in Maribor after the war. Almost all Slovenian associations in Trieste also per-
formed compositions by Czech musicians from Ljubljana. Anton Foerster and An-
ton Nedvěd were the most prominent of these, and to a lesser extent Josef Michl, Jo-
sef Procházka, and Anton Jakl (1873–1948). I would like to thank Sara Zupančič for
her sacrificial work, reconstruction of the concerts in the organization of the Nation-
al Hall in Trieste within the research project.
47 Cigoj Krstulović, “Ljubljanska Glasbena matica,” 33, 35–6.
48 This data is based on the list and analysis of the concerts of the Music Society (Glas
bena matica).
348
