Page 360 - 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
in Celje with his wife Minna and his son Willi Mayer. Mayer’s incredible
circus skills gave rise to the legend in Celje that he must once have been
part of a circus.103 Of his musical skills, a newspaper reported that at one of
his performances in 1883 Mayer performed Mendelssohn’s Violin Concer-
to “with deep understanding and true feeling and mastered the technical dif
ficulties.”104 He was said to play the instrument in a gypsy-like manner (Zi
geunerart), but as a conductor he was not very successful.105
However, the situation with the quality of the orchestra gradually im-
proved. The City Office and the District Court began to fill the positions of
auxiliary members with professional musicians. In this way, the orchestra
was supplied with capable forces. The number of capable non-profession-
al musicians also increased steadily. The treasury of the association was
strengthened by a grant from the city council.106 With the completion of
the Municipal Theatre in 1885, the German associations wanted to take ad-
vantage of the new achievement and decided to perform the opera Das Na
chlager von Granada by Conradin Kreutzer with guest soloists.107 Choir re-
hearsals began in the spring of 1887 and took place in the large hall of the
courtyard building of Josef Zangger’s house. The first performance of the
opera took place on 4 August 1887, and was sold out despite the midsummer
heat.108 Kapellmeister Mayer conducted the opera, which did not pass with-
out difficulties. At the very beginning of the overture, the strings and wind
instruments separated by exactly twelve measures. Miraculously, however,
they found each other again, and in general the performance went well.109
This was the last major musical event under Mayer’s direction.
After Mayer’s resignation, the orchestra was taken over by Nottek, the
former director of the spa orchestra in Laško. Heinrich Weidt (1824–1901),110
103 The legend began when Mayer, as a trumpeter from Säkkingen, rode at the head of a
carnival procession and with uncanny skill caught figs and napkins flying out of the
windows. See: Zangger, Künstlergäste, 21.
104 Anon., “Mitglieder-Concert des Cillier Musikvereines,” Deutsche Wacht, December
30, 1883, 7.
105 Zangger, Künstlergäste, 22.
106 Ibid., 23.
107 The guest soloists were Gabrielle Lichtenegg, Baptist Hofmann, and Josef Hawelka.
See: Anon., “Theater, Kunst, Literatur,” Deutsche Wacht, July 28, 1887, 6.
108 Zangger, Künstlergäste, 27–9; Anon., “Theater. Kunst. Literatur,” Deutsche Wacht,
August 4, 1887, 6; Anon., “Theater. Kunst. Literatur. Das Nachtlager im Granada,”
Deutsche Wacht, August 7, 1887, 6.
109 Zangger, Künstlergäste, 29.
110 Heinrich Wilhelm Weidt was born in Coburg. He received his music education
from Heinrich Panofka and Jan Křtitl Pišek. In 1845/46 he was a music teacher in
358
in Celje with his wife Minna and his son Willi Mayer. Mayer’s incredible
circus skills gave rise to the legend in Celje that he must once have been
part of a circus.103 Of his musical skills, a newspaper reported that at one of
his performances in 1883 Mayer performed Mendelssohn’s Violin Concer-
to “with deep understanding and true feeling and mastered the technical dif
ficulties.”104 He was said to play the instrument in a gypsy-like manner (Zi
geunerart), but as a conductor he was not very successful.105
However, the situation with the quality of the orchestra gradually im-
proved. The City Office and the District Court began to fill the positions of
auxiliary members with professional musicians. In this way, the orchestra
was supplied with capable forces. The number of capable non-profession-
al musicians also increased steadily. The treasury of the association was
strengthened by a grant from the city council.106 With the completion of
the Municipal Theatre in 1885, the German associations wanted to take ad-
vantage of the new achievement and decided to perform the opera Das Na
chlager von Granada by Conradin Kreutzer with guest soloists.107 Choir re-
hearsals began in the spring of 1887 and took place in the large hall of the
courtyard building of Josef Zangger’s house. The first performance of the
opera took place on 4 August 1887, and was sold out despite the midsummer
heat.108 Kapellmeister Mayer conducted the opera, which did not pass with-
out difficulties. At the very beginning of the overture, the strings and wind
instruments separated by exactly twelve measures. Miraculously, however,
they found each other again, and in general the performance went well.109
This was the last major musical event under Mayer’s direction.
After Mayer’s resignation, the orchestra was taken over by Nottek, the
former director of the spa orchestra in Laško. Heinrich Weidt (1824–1901),110
103 The legend began when Mayer, as a trumpeter from Säkkingen, rode at the head of a
carnival procession and with uncanny skill caught figs and napkins flying out of the
windows. See: Zangger, Künstlergäste, 21.
104 Anon., “Mitglieder-Concert des Cillier Musikvereines,” Deutsche Wacht, December
30, 1883, 7.
105 Zangger, Künstlergäste, 22.
106 Ibid., 23.
107 The guest soloists were Gabrielle Lichtenegg, Baptist Hofmann, and Josef Hawelka.
See: Anon., “Theater, Kunst, Literatur,” Deutsche Wacht, July 28, 1887, 6.
108 Zangger, Künstlergäste, 27–9; Anon., “Theater. Kunst. Literatur,” Deutsche Wacht,
August 4, 1887, 6; Anon., “Theater. Kunst. Literatur. Das Nachtlager im Granada,”
Deutsche Wacht, August 7, 1887, 6.
109 Zangger, Künstlergäste, 29.
110 Heinrich Wilhelm Weidt was born in Coburg. He received his music education
from Heinrich Panofka and Jan Křtitl Pišek. In 1845/46 he was a music teacher in
358
