Page 388 - 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. 388
glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
received their musical education in Prague, also in Vienna, and to a less-
er extent in Graz, Leipzig, Weimar, and Berlin. Musicians usually did not
migrate directly from their hometowns, but they arrived from other cities
after having been employed there for a while. Most were in their mid- to late
twenties when they arrived, while a handful came immediately after finish-
ing their studies at the conservatories.
Several musicians settled and became fully integrated into their new
cultural environment, in some cases even for several decades. Singers, in-
strumentalists, and conductors involved in theatrical performances formed
one of the largest groups of immigrant musicians. It is therefore not sur-
prising that most of the 130 female immigrant musicians were singers, while
only a few were violinists, pianists, or even composers.
In the nineteenth century there was also strong regional mobility and
lively musical exchanges between Graz and Ljubljana, and from the 1870s
also between Graz, Ljubljana and the Lower Styrian towns of Maribor, Cel-
je and Ptuj. Such activities were reflected in the exchange of musicians be-
tween musical societies and associations, concert tours and guest appear-
ances, and the exchange of scores, as watermarks attest.
In conclusion, immigrant musicians undoubtedly shaped musical life
in the Slovene lands during the long nineteenth century. With their work
they contributed decisively to the continuity of cultural institutions, such
as the Philharmonic Society, the Ljubljana Cathedral music chapel, in var-
ious theatres, especially the Estates Theatre and later the Provincial Thea-
tre, the infantry regiments, as music teachers in various institutions or en-
tirely privately. Towards the end of the nineteenth century, various music
societies were founded throughout Slovenian territory, and here too im-
migrants took up leading roles. For more than a century, immigrant mu-
sicians brought contemporary repertoire to Slovenia and composed more
than 1,000 works here. They played a leading role in the development of
virtuoso instrumental playing as well as chamber, choral, and symphonic
music, and participated in more than 2,250 concerts. By introducing cur-
ricula and writing music manuals and songbooks, they also brought many
important changes to music education. In effect, they raised the first gen-
eration of professional Slovenian musicians, who further contributed to the
consolidation of Slovenia’s national musical identity.
386
received their musical education in Prague, also in Vienna, and to a less-
er extent in Graz, Leipzig, Weimar, and Berlin. Musicians usually did not
migrate directly from their hometowns, but they arrived from other cities
after having been employed there for a while. Most were in their mid- to late
twenties when they arrived, while a handful came immediately after finish-
ing their studies at the conservatories.
Several musicians settled and became fully integrated into their new
cultural environment, in some cases even for several decades. Singers, in-
strumentalists, and conductors involved in theatrical performances formed
one of the largest groups of immigrant musicians. It is therefore not sur-
prising that most of the 130 female immigrant musicians were singers, while
only a few were violinists, pianists, or even composers.
In the nineteenth century there was also strong regional mobility and
lively musical exchanges between Graz and Ljubljana, and from the 1870s
also between Graz, Ljubljana and the Lower Styrian towns of Maribor, Cel-
je and Ptuj. Such activities were reflected in the exchange of musicians be-
tween musical societies and associations, concert tours and guest appear-
ances, and the exchange of scores, as watermarks attest.
In conclusion, immigrant musicians undoubtedly shaped musical life
in the Slovene lands during the long nineteenth century. With their work
they contributed decisively to the continuity of cultural institutions, such
as the Philharmonic Society, the Ljubljana Cathedral music chapel, in var-
ious theatres, especially the Estates Theatre and later the Provincial Thea-
tre, the infantry regiments, as music teachers in various institutions or en-
tirely privately. Towards the end of the nineteenth century, various music
societies were founded throughout Slovenian territory, and here too im-
migrants took up leading roles. For more than a century, immigrant mu-
sicians brought contemporary repertoire to Slovenia and composed more
than 1,000 works here. They played a leading role in the development of
virtuoso instrumental playing as well as chamber, choral, and symphonic
music, and participated in more than 2,250 concerts. By introducing cur-
ricula and writing music manuals and songbooks, they also brought many
important changes to music education. In effect, they raised the first gen-
eration of professional Slovenian musicians, who further contributed to the
consolidation of Slovenia’s national musical identity.
386
