Page 402 - 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. 402
glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
der the direction of Matej Hubad. The latter came to Ljubljana in the same
year and became the choir conductor and artistic director of Glasbena mat-
ica, and it was Hubad who set the wider framework of Glasbena matica’s
creative activity. As a kind of spiritus agens of activities of Glasbena matica
at the time, he also edited the society’s publications and taught theory, cho-
ral and solo singing at the society’s music school. Both the founding of the
choir and the arrival of Hubad in Ljubljana coincided with the 300th anni-
versary of Gallus’s death.
Both Glasbena matica and the Cecilian Society in Ljubljana were in-
volved in the preparation and performance of two key events of the jubilee
that were significant for the revival of Gallus’s legacy at the end of the 19th
century, i. e. the performance of Gallus’s festive mass Elisabeth Zachariae
in the Ljubljana Cathedral in July 1891 and the famous concert of Gallus’s
works in the Redutna dvorana hall a year later. The most important link be-
tween the two societies was another Czech musician working in Slovenia,
Anton Foerster, the composer of the first Slovenian national opera Goren
jski slavček. It is less well known that, as Mantuani writes, it was Foerster
who is said to have “poisoned” him with Gallus,11 when he sang the motet
Ecce quomodo moritur iustus under Foerster’s direction in the IV Gram-
mar School. In the year of the 300th anniversary of Gallus’s death, Mantu-
ani appeared for the first time in Cerkveni glasbenik journal and reported
on the three-year search for Gallus’s footprints. During this time, Mantu-
ani searched not only the archives in Vienna, Bohemia and Moravia, but
also numerous archives, especially across the German lands. He focused
mainly on the Protestant cities of northern Europe, where Gallus’s music
was very popular in the 17th century. In his extensive report, he then listed
in detail what he had found on this journey and where.12 Thus, according to
Edo Škulj, one of the greatest experts on Gallus’s life and work, Mantuani’s
contribution still forms the basis for all subsequent Gallusologists, as he al-
ready published the main part of his previous research findings on Gallus
in his paper in Cerkveni glasbenik.13
11 Josip Mantuani, “Jakob Gallus,” Cerkveni glasbenik 14, no. 7 (1891): 49, http://www.
dlib.si/?URN=URN:NBN:SI:doc-4PFNLGOK.
12 Ibid. Josip Mantuani, “Jakob Gallus,” Cerkveni glasbenik 14, no. 8–9 (1891): 57–65,
http://www.dlib.si/?URN=URN:NBN:SI:doc-M3PQMRYE.
13 Edo Škulj, Clare vir. Ob 450-letnici rojstva Iacobusa Gallusa (Ljubljana: Družina and
Znanstvenoraziskovalni center SAZU, 2000), 440.
400
der the direction of Matej Hubad. The latter came to Ljubljana in the same
year and became the choir conductor and artistic director of Glasbena mat-
ica, and it was Hubad who set the wider framework of Glasbena matica’s
creative activity. As a kind of spiritus agens of activities of Glasbena matica
at the time, he also edited the society’s publications and taught theory, cho-
ral and solo singing at the society’s music school. Both the founding of the
choir and the arrival of Hubad in Ljubljana coincided with the 300th anni-
versary of Gallus’s death.
Both Glasbena matica and the Cecilian Society in Ljubljana were in-
volved in the preparation and performance of two key events of the jubilee
that were significant for the revival of Gallus’s legacy at the end of the 19th
century, i. e. the performance of Gallus’s festive mass Elisabeth Zachariae
in the Ljubljana Cathedral in July 1891 and the famous concert of Gallus’s
works in the Redutna dvorana hall a year later. The most important link be-
tween the two societies was another Czech musician working in Slovenia,
Anton Foerster, the composer of the first Slovenian national opera Goren
jski slavček. It is less well known that, as Mantuani writes, it was Foerster
who is said to have “poisoned” him with Gallus,11 when he sang the motet
Ecce quomodo moritur iustus under Foerster’s direction in the IV Gram-
mar School. In the year of the 300th anniversary of Gallus’s death, Mantu-
ani appeared for the first time in Cerkveni glasbenik journal and reported
on the three-year search for Gallus’s footprints. During this time, Mantu-
ani searched not only the archives in Vienna, Bohemia and Moravia, but
also numerous archives, especially across the German lands. He focused
mainly on the Protestant cities of northern Europe, where Gallus’s music
was very popular in the 17th century. In his extensive report, he then listed
in detail what he had found on this journey and where.12 Thus, according to
Edo Škulj, one of the greatest experts on Gallus’s life and work, Mantuani’s
contribution still forms the basis for all subsequent Gallusologists, as he al-
ready published the main part of his previous research findings on Gallus
in his paper in Cerkveni glasbenik.13
11 Josip Mantuani, “Jakob Gallus,” Cerkveni glasbenik 14, no. 7 (1891): 49, http://www.
dlib.si/?URN=URN:NBN:SI:doc-4PFNLGOK.
12 Ibid. Josip Mantuani, “Jakob Gallus,” Cerkveni glasbenik 14, no. 8–9 (1891): 57–65,
http://www.dlib.si/?URN=URN:NBN:SI:doc-M3PQMRYE.
13 Edo Škulj, Clare vir. Ob 450-letnici rojstva Iacobusa Gallusa (Ljubljana: Družina and
Znanstvenoraziskovalni center SAZU, 2000), 440.
400
