Page 404 - 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. 404
glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
feast of St John the Baptist and published in 1590 in the fourth book of his
Opus musicum. Incidentally, as Marko Motnik shows, Gallus’s model was
the basis for many other compositions.16 The parody mass Elisabeth Zacha
riae performed in the concert is one of the earliest compositions by Gallus,
as already pointed out by Paul Pisk in his Gallus research, who defended his
dissertation entitled Das Parodieverfahren in den Messen des Jacobus Gallus
in 1917 as a student of Guido Adler in Vienna. At the turn of the 20th centu-
ry, Pisk’s research, along with that of Mantuani, certainly contributed the
most to a more comprehensive understanding of Gallus’s work.
Concert with motets and moralia by Gallus,
organised by Glasbena matica
If the ecclesiastical celebration was held in the actual year of the anniversa-
ry of Gallus’s death, i. e. 1891, the “civil” celebration organised by Glasbena
matica was postponed to the following year. A year after the release of Gal-
lus’s motet Ecce quomodo moritur iustus in the Cerkveni glasbenik journal
and seven years before the release of the first part of the Bezecný-Mantuani
edition of Gallus’s motets, to which Mantuani also contributed the introdu-
ction and which was published as part of the famous Adler collection Den
kmäler der Tonkunst in Österreich, the Glasbena matica choir, conducted
by Hubad, performed a solo concert of compositions by Gallus. On 9 June
1892, the Slovenian public was first made aware of the importance of Gal-
lus’s work when three of his motets and three secular madrigals (moralia)
were performed. In addition to Gallus’s most famous motet, Ecce quomodo
moritur iustus, the motets Laus et perennis gloria and Ave Maria were per-
formed, as well as three moralia: Diversos diversa iuvant, Multum deliro and
Musica noster amor. The choir had to repeat the last one due to the enthusi-
asm of the audience. As the choir of Glasbena matica was not yet complete,
substitutes from the school choir were used. The concert also featured a few
piano pieces by the Czech pianist Karel Hoffmeister, who has already been
mentioned several times.
In 1890, the Board of Glasbena matica turned to the first Slovenian
Gallusologist, Josip Mantuani, who was then a doctoral student in art his-
tory and archaeology at the University of Vienna after studying law and
philosophy and musical studies with Joseph Böhm and Anton Bruckner,
16 Marko Motnik, “The reception of the motet Elisabeth Zachariae by Jacobus Han-
dl-Gallus in the sixteenth and seventeenth centuries,” De musica disserenda 11, no.
1/2 (2015): 87–106, http://www.dlib.si/?URN=URN:NBN:SI:DOC-2R4MU2OI.
402
feast of St John the Baptist and published in 1590 in the fourth book of his
Opus musicum. Incidentally, as Marko Motnik shows, Gallus’s model was
the basis for many other compositions.16 The parody mass Elisabeth Zacha
riae performed in the concert is one of the earliest compositions by Gallus,
as already pointed out by Paul Pisk in his Gallus research, who defended his
dissertation entitled Das Parodieverfahren in den Messen des Jacobus Gallus
in 1917 as a student of Guido Adler in Vienna. At the turn of the 20th centu-
ry, Pisk’s research, along with that of Mantuani, certainly contributed the
most to a more comprehensive understanding of Gallus’s work.
Concert with motets and moralia by Gallus,
organised by Glasbena matica
If the ecclesiastical celebration was held in the actual year of the anniversa-
ry of Gallus’s death, i. e. 1891, the “civil” celebration organised by Glasbena
matica was postponed to the following year. A year after the release of Gal-
lus’s motet Ecce quomodo moritur iustus in the Cerkveni glasbenik journal
and seven years before the release of the first part of the Bezecný-Mantuani
edition of Gallus’s motets, to which Mantuani also contributed the introdu-
ction and which was published as part of the famous Adler collection Den
kmäler der Tonkunst in Österreich, the Glasbena matica choir, conducted
by Hubad, performed a solo concert of compositions by Gallus. On 9 June
1892, the Slovenian public was first made aware of the importance of Gal-
lus’s work when three of his motets and three secular madrigals (moralia)
were performed. In addition to Gallus’s most famous motet, Ecce quomodo
moritur iustus, the motets Laus et perennis gloria and Ave Maria were per-
formed, as well as three moralia: Diversos diversa iuvant, Multum deliro and
Musica noster amor. The choir had to repeat the last one due to the enthusi-
asm of the audience. As the choir of Glasbena matica was not yet complete,
substitutes from the school choir were used. The concert also featured a few
piano pieces by the Czech pianist Karel Hoffmeister, who has already been
mentioned several times.
In 1890, the Board of Glasbena matica turned to the first Slovenian
Gallusologist, Josip Mantuani, who was then a doctoral student in art his-
tory and archaeology at the University of Vienna after studying law and
philosophy and musical studies with Joseph Böhm and Anton Bruckner,
16 Marko Motnik, “The reception of the motet Elisabeth Zachariae by Jacobus Han-
dl-Gallus in the sixteenth and seventeenth centuries,” De musica disserenda 11, no.
1/2 (2015): 87–106, http://www.dlib.si/?URN=URN:NBN:SI:DOC-2R4MU2OI.
402
