Page 414 - 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 the 1846/47 season, when Khom was the conductor at the Klagenfurt
theatre,17 Josef Leitermeyer led the orchestra. The changing political situa-
tion and the abolition of social life also encouraged Leitermeyer to look for
other employment, and he chose Ljubljana as a new destination. In Ljublja-
na, Leitermeyer took over violin teaching in the Philharmonic Society dur-
ing the years 1848–1854.18 It is therefore quite possible that it was Leitermey-
er who led Khom to his decision to come to Ljubljana.
During the revolutionary upheavals of 1848, which, according to P.
Radics, “also influenced the philharmonic society and, in a broader sense,
the entire development of musical life in our countries,”19 the activities of the
male choir became more and more visible. The initiative of the choir, which
was becoming increasingly popular with the public, was taken up by the
management of the society. A search was launched for a suitable choir di-
rector, initially within the society’s own ranks. According to Keesbacher,20
on December 16, 1848, it was agreed that Franz Kurz zum Thurn und Gold-
enstein (1807–1878),21 a prominent member of the Philharmonic Society for
many years, should take over the direction of the men’s choir. Goldenstein
was a versatile artist who was primarily active as a painter. In addition to
numerous church frescoes, landscape paintings, which he sketched on his
travels through Carniola, stand out among his works. His works were in-
17 Antesberger, Klagenfurter Musikleben, 102.
18 Maruša Zupančič, “V iskanju lastne identitete: češki violinisti kot glavni tvorci vio-
linizma na Slovenskem,” De musica disserenda 4, no. 2 (2008): 109, http://www.dlib.
si/?URN=URN:NBN:SI:doc-4MZFRJNI.
19 “Und so kam das Jahr 1848, das auch auf die philharmonische Gesellschaft und
im weiterem Bezuge auf die Entwicklung des Musiklebens in unserem Lande nicht
ohne Wirkung blieb.“ Peter Radics, Frau Musica in Krain: Kulturgeschichtli
che Skizze (Laibach: I. v. Kleinmayr & F. Bamberg, 1877), 41, http://www.dlib.
si/?URN=URN:NBN:SI:DOC-3T8I1VCM.
20 Friedrich Keesbacher, Die philharmonische Gesellschaft in Laibach seit dem Jahre ih
rer Gründung 1702 bis zu ihrer letzten Umgestaltung 1862. Eine geschichtliche Skizze
(Ljubljana: Kleinmayr und Bamberg [Separat-Abdruck aus den ‘Blättern aus Krain’],
1862), 93, http://www.dlib.si/?URN=URN:NBN:SI:doc-RE4KNLTL.
21 Franz Kurz zum Thurn und Goldenstein (1807–1878) was already interested in
painting during his Salzburg apprenticeship, but also in singing and playing the vi-
olin. From Salzburg he came to Cologne and Graz, where he gave up the business
and enrolled at the painting academy in 1831. From Graz he came to Ljubljana as a
drawing and painting teacher at the Jakob Mahr trade school and founded his own
drawing school, which soon had many students. Viktor Steska, “Kurz zum Thurn
und Goldenstein, Franc, vitez (1807–1878),” Slovenska biografija (Ljubljana: Sloven-
ska akademija znanosti in umetnosti, Znanstvenoraziskovalni center SAZU, 2013),
http://www.slovenska-biografija.si/oseba/sbi312751/#slovenski-biografski-leksikon.
412
In the 1846/47 season, when Khom was the conductor at the Klagenfurt
theatre,17 Josef Leitermeyer led the orchestra. The changing political situa-
tion and the abolition of social life also encouraged Leitermeyer to look for
other employment, and he chose Ljubljana as a new destination. In Ljublja-
na, Leitermeyer took over violin teaching in the Philharmonic Society dur-
ing the years 1848–1854.18 It is therefore quite possible that it was Leitermey-
er who led Khom to his decision to come to Ljubljana.
During the revolutionary upheavals of 1848, which, according to P.
Radics, “also influenced the philharmonic society and, in a broader sense,
the entire development of musical life in our countries,”19 the activities of the
male choir became more and more visible. The initiative of the choir, which
was becoming increasingly popular with the public, was taken up by the
management of the society. A search was launched for a suitable choir di-
rector, initially within the society’s own ranks. According to Keesbacher,20
on December 16, 1848, it was agreed that Franz Kurz zum Thurn und Gold-
enstein (1807–1878),21 a prominent member of the Philharmonic Society for
many years, should take over the direction of the men’s choir. Goldenstein
was a versatile artist who was primarily active as a painter. In addition to
numerous church frescoes, landscape paintings, which he sketched on his
travels through Carniola, stand out among his works. His works were in-
17 Antesberger, Klagenfurter Musikleben, 102.
18 Maruša Zupančič, “V iskanju lastne identitete: češki violinisti kot glavni tvorci vio-
linizma na Slovenskem,” De musica disserenda 4, no. 2 (2008): 109, http://www.dlib.
si/?URN=URN:NBN:SI:doc-4MZFRJNI.
19 “Und so kam das Jahr 1848, das auch auf die philharmonische Gesellschaft und
im weiterem Bezuge auf die Entwicklung des Musiklebens in unserem Lande nicht
ohne Wirkung blieb.“ Peter Radics, Frau Musica in Krain: Kulturgeschichtli
che Skizze (Laibach: I. v. Kleinmayr & F. Bamberg, 1877), 41, http://www.dlib.
si/?URN=URN:NBN:SI:DOC-3T8I1VCM.
20 Friedrich Keesbacher, Die philharmonische Gesellschaft in Laibach seit dem Jahre ih
rer Gründung 1702 bis zu ihrer letzten Umgestaltung 1862. Eine geschichtliche Skizze
(Ljubljana: Kleinmayr und Bamberg [Separat-Abdruck aus den ‘Blättern aus Krain’],
1862), 93, http://www.dlib.si/?URN=URN:NBN:SI:doc-RE4KNLTL.
21 Franz Kurz zum Thurn und Goldenstein (1807–1878) was already interested in
painting during his Salzburg apprenticeship, but also in singing and playing the vi-
olin. From Salzburg he came to Cologne and Graz, where he gave up the business
and enrolled at the painting academy in 1831. From Graz he came to Ljubljana as a
drawing and painting teacher at the Jakob Mahr trade school and founded his own
drawing school, which soon had many students. Viktor Steska, “Kurz zum Thurn
und Goldenstein, Franc, vitez (1807–1878),” Slovenska biografija (Ljubljana: Sloven-
ska akademija znanosti in umetnosti, Znanstvenoraziskovalni center SAZU, 2013),
http://www.slovenska-biografija.si/oseba/sbi312751/#slovenski-biografski-leksikon.
412
