Page 352 - 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. 352
glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
ich raised the level of musical life in Ljubljana to a high level with the con-
certs of the Slovenian Philharmonic Orchestra during his three seasons in
the city. The work of a quality symphony orchestra and a conductor who
was open to new music also led to a sharp increase in orchestral compo-
sitions in Slovenia.53 The orchestra was later taken over again by Czechs,
the military bandmaster Petr Teplý and opera conductor Cyril Metoděj
Hrazdira (1868–1926). During its short existence, the orchestra also per-
formed at 27 Music Society concerts.54
The Contribution of the Immigrant Musicians in Theatre
and Opera Production
In the nineteenth century, musical theatre in the Slovene lands was more or
less in the hands of foreign artists. Singers, instrumentalists and conduc-
tors involved in theatrical performances formed one of the largest groups of
immigrant musicians in Ljubljana.55 A number of Kapellmeisters from Bo-
hemia56 and other foreign musicians from various crown lands of the Aus-
trian Empire were active at the Estates Theatre (Ständisches Theater; found-
ed in 1765)57 and led the orchestra there. With the reorganization of the
state in 1861, the Provincial Parliament took over the management of the
Estates Theatre, which was renamed the Provincial Theatre (Landschaftli
ches Theater) and whose repertoire and performance policy remained un-
changed. Gustav Mahler (1860–1911) began his conducting career as Kapell-
meister in Ljubljana, where he performed demanding operas and operettas
with an ambitious choral ensemble,58 and as a pianist took part in the con-
53 Ibid., 413.
54 Krstulović, Zgodovina, spomin, dediščina, 121.
55 Based on the data collected so far, we have been able to document more than 230 im-
migrant musicians who participated in theatrical performances during the long nine-
teenth century. The number is certainly much higher. From the collected data we
can see that most of the musicians were born in the Czech lands and Austrian cities.
Among the individual birthplaces, Prague and Vienna stand out. A smaller number
of musicians were born in German States of the nineteenth century, and a few indi-
viduals in cities such as Timişoara, Vatra Dornei, Lviv, Rodatychi, London and Kalin-
ingrad. Most of the theatre musicians studied in Prague and then in Vienna.
56 Weiss, Češki glasbeniki, 362.
57 For more about Estates Theatre see: Jože Sivec, Opera v Stanovskem gledališču v Lju
bljani od leta 1790 do 1861 (Ljubljana: Slovenska matica v Ljubljani, 1971).
58 Weiss, Češki glasbeniki, 363–4.
350
ich raised the level of musical life in Ljubljana to a high level with the con-
certs of the Slovenian Philharmonic Orchestra during his three seasons in
the city. The work of a quality symphony orchestra and a conductor who
was open to new music also led to a sharp increase in orchestral compo-
sitions in Slovenia.53 The orchestra was later taken over again by Czechs,
the military bandmaster Petr Teplý and opera conductor Cyril Metoděj
Hrazdira (1868–1926). During its short existence, the orchestra also per-
formed at 27 Music Society concerts.54
The Contribution of the Immigrant Musicians in Theatre
and Opera Production
In the nineteenth century, musical theatre in the Slovene lands was more or
less in the hands of foreign artists. Singers, instrumentalists and conduc-
tors involved in theatrical performances formed one of the largest groups of
immigrant musicians in Ljubljana.55 A number of Kapellmeisters from Bo-
hemia56 and other foreign musicians from various crown lands of the Aus-
trian Empire were active at the Estates Theatre (Ständisches Theater; found-
ed in 1765)57 and led the orchestra there. With the reorganization of the
state in 1861, the Provincial Parliament took over the management of the
Estates Theatre, which was renamed the Provincial Theatre (Landschaftli
ches Theater) and whose repertoire and performance policy remained un-
changed. Gustav Mahler (1860–1911) began his conducting career as Kapell-
meister in Ljubljana, where he performed demanding operas and operettas
with an ambitious choral ensemble,58 and as a pianist took part in the con-
53 Ibid., 413.
54 Krstulović, Zgodovina, spomin, dediščina, 121.
55 Based on the data collected so far, we have been able to document more than 230 im-
migrant musicians who participated in theatrical performances during the long nine-
teenth century. The number is certainly much higher. From the collected data we
can see that most of the musicians were born in the Czech lands and Austrian cities.
Among the individual birthplaces, Prague and Vienna stand out. A smaller number
of musicians were born in German States of the nineteenth century, and a few indi-
viduals in cities such as Timişoara, Vatra Dornei, Lviv, Rodatychi, London and Kalin-
ingrad. Most of the theatre musicians studied in Prague and then in Vienna.
56 Weiss, Češki glasbeniki, 362.
57 For more about Estates Theatre see: Jože Sivec, Opera v Stanovskem gledališču v Lju
bljani od leta 1790 do 1861 (Ljubljana: Slovenska matica v Ljubljani, 1971).
58 Weiss, Češki glasbeniki, 363–4.
350
