Page 415 - 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. 415
alfred khom, a diligent choirmaster, skilful composer and experienced musician ...
spired by the love for his homeland and its people – similar to what can be
said about the musical works of Khom. In addition, they were later con-
nected with Khom by family, because Khom married in Graz Goldenstein’s
daughter in 1873 in his second marriage.22
Goldenstein was only initially choirmaster of the male choir, soon af-
ter he was “provisionally” (provisorisch)23 replaced by Heinrich Hilscher,
organist at the Franciscan Church of the St. Mary of the Annunciation. The
first regular director of the male choir was Khom, who led the choir from
1849 to 1853.24 Undoubtedly, the choir experienced its first heyday under
Khom, who, with his rich Viennese and Klagenfurt experience, was an ex-
cellent choice for the society.
Khom came to Ljubljana in 1849,25 although different information can
be found in the literature.26 In the Illyrisches Blatt, a supplement of the Lai
bacher Zeitung, an advertisement appeared on March 10, 1849, announcing
the arrival of Khom in Ljubljana on April 1 of the same year. From that date
he was to teach piano, basso continuo, harmony, and composition/instru-
mentation. Significantly, Khom emphasized his qualifications in the adver-
tisement: the system by which the teacher would teach was based on the Vi-
enna Conservatory, which he himself had attended. Besides he will offer a
higher level of vocal art.27
22 Steska, “Kurz zum Thurn und Goldenstein, Franc.”
23 Keesbacher, Die philharmonische Gesellschaft, 93.
24 In 1851 he was “briefly” (vorübergehend) replaced by “k. K. Kameral-Konzipist”
Franc Kubiczek. Ibid., 124.
25 Ibid.
26 Steska, for example, writes dryly, “From l. 1848–1851 he was choir director of the lju
blj. Philharmonic” (Steska, “Iz slovenske glasbene prošlosti,” 179). One could also
misunderstand the information in Kuret’s study of the Philharmonic Society’s ac-
tivities, where Khom is mentioned only in connection with a later event, when Ned-
věd left his position as a teacher at the Philharmonic Society’s school. The arrival of
Khom to Ljubljana is connected in Kuret’s study to year 1860, when he had actual-
ly already said goodbye to Ljubljana: “The changes in the educational system prompt
ed Nedvěd to become a music teacher at a public music school in 1860. He gave up
his position as a teacher in the Philharmonic Society and remained only its music di
rector. Therefore, the society hired two new teachers. Alfred Khom came as a sing
ing teacher and Karl Zappe as a violin teacher, otherwise the orchestra director of the
Estates Theater.” Primož Kuret, Slovenska filharmonija = Academia philharmonico
rum, 1701–2001 (Ljubljana: Slovenska filharmonija, 2001), 36.
27 “Anzeige. Der ergebenst Unterzeichnete macht dem geehrten Publicum hiedurch be
kannt, daß er vom 1. April d. J. angefangen, seinen Wohnsitz in hiesiger Stadt nehmen
und Unterricht im Fortepianospiel, Generalbaß, Harmonielehre und Composition-
Instrumentirung, nach dem System des Wiener Conservatoriums, aus dem derselbe
413
spired by the love for his homeland and its people – similar to what can be
said about the musical works of Khom. In addition, they were later con-
nected with Khom by family, because Khom married in Graz Goldenstein’s
daughter in 1873 in his second marriage.22
Goldenstein was only initially choirmaster of the male choir, soon af-
ter he was “provisionally” (provisorisch)23 replaced by Heinrich Hilscher,
organist at the Franciscan Church of the St. Mary of the Annunciation. The
first regular director of the male choir was Khom, who led the choir from
1849 to 1853.24 Undoubtedly, the choir experienced its first heyday under
Khom, who, with his rich Viennese and Klagenfurt experience, was an ex-
cellent choice for the society.
Khom came to Ljubljana in 1849,25 although different information can
be found in the literature.26 In the Illyrisches Blatt, a supplement of the Lai
bacher Zeitung, an advertisement appeared on March 10, 1849, announcing
the arrival of Khom in Ljubljana on April 1 of the same year. From that date
he was to teach piano, basso continuo, harmony, and composition/instru-
mentation. Significantly, Khom emphasized his qualifications in the adver-
tisement: the system by which the teacher would teach was based on the Vi-
enna Conservatory, which he himself had attended. Besides he will offer a
higher level of vocal art.27
22 Steska, “Kurz zum Thurn und Goldenstein, Franc.”
23 Keesbacher, Die philharmonische Gesellschaft, 93.
24 In 1851 he was “briefly” (vorübergehend) replaced by “k. K. Kameral-Konzipist”
Franc Kubiczek. Ibid., 124.
25 Ibid.
26 Steska, for example, writes dryly, “From l. 1848–1851 he was choir director of the lju
blj. Philharmonic” (Steska, “Iz slovenske glasbene prošlosti,” 179). One could also
misunderstand the information in Kuret’s study of the Philharmonic Society’s ac-
tivities, where Khom is mentioned only in connection with a later event, when Ned-
věd left his position as a teacher at the Philharmonic Society’s school. The arrival of
Khom to Ljubljana is connected in Kuret’s study to year 1860, when he had actual-
ly already said goodbye to Ljubljana: “The changes in the educational system prompt
ed Nedvěd to become a music teacher at a public music school in 1860. He gave up
his position as a teacher in the Philharmonic Society and remained only its music di
rector. Therefore, the society hired two new teachers. Alfred Khom came as a sing
ing teacher and Karl Zappe as a violin teacher, otherwise the orchestra director of the
Estates Theater.” Primož Kuret, Slovenska filharmonija = Academia philharmonico
rum, 1701–2001 (Ljubljana: Slovenska filharmonija, 2001), 36.
27 “Anzeige. Der ergebenst Unterzeichnete macht dem geehrten Publicum hiedurch be
kannt, daß er vom 1. April d. J. angefangen, seinen Wohnsitz in hiesiger Stadt nehmen
und Unterricht im Fortepianospiel, Generalbaß, Harmonielehre und Composition-
Instrumentirung, nach dem System des Wiener Conservatoriums, aus dem derselbe
413
