Page 418 - 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
Khom’s performance with the Philharmonic Society in two consecu-
tive July concerts in 1855 was of special significance, as it was the first time
that J. S. Bach was on the program of the society, probably due in large part
to Khom’s efforts.39 On July 13, 1855, the Meditation for violin, piano, and
fisharmonica was performed by guest musicians, London pianist Arabella
Goddard40 and Viennese violinist Ludwig Strauss,41 with the help of Khom,
who was probably also the author of the arrangement in which he included
his favourite instrument.42
In addition, in October 1850, Khom took over the position of organist
in the church of the Knights Hospitaller in Križanke. In doing so, he joined
forces with the director of the Philharmonic Orchestra, Leitermayer, with
whom they had already collaborated in Klagenfurt, as mentioned.43
anist in his day who, in addition to numerous concert tours, taught in Stockholm,
Moscow, and Vienna, and was a friend of Brahms, among others. He later published
his memoirs. Cf. Anton Door, “Persönliche Erinnerungen an Brahms,” Die Musik 2,
no. 3 (1902–1903): 216–21. The reporter of the concert wrote that “the divine melodies
of the immortal master came to full expression,” even though “it cannot be denied that
the choice of the instruments mentioned was not the happiest for the arrangement”
(“die göttlichen Melodien des unsterblichen Meisters zu voller Geltung brachte, wenn
schon wir nicht läugnen können, daß die Wahl der obenbenannten Instrumente für
das Arrangement nicht die glücklichste war”). C., “Lokales,” Laibacher Zeitung, no.
145 (27 June 1855): 631, http://www.dlib.si/?URN=URN:NBN:SI:doc-XTSAID6O.
39 Železnik, Koncertni sporedi, 288.
40 Arabella Goddard (1836–1922) was an English pianist. She performed on many stag-
es in Europe as well as in America, Australia, and India. She taught at the Royal Col-
lege of Music in London. Frank Howes, “Goddard, Arabella,” Grove Music Online,
2001, https://doi.org/10.1093/gmo/9781561592630.article.11330.
41 Ludwig Strauß (1835–1899) was a violinist. In addition to concert tours in Austria,
Germany and Italy, he later worked primarily on British stages. Alexander Rausch,
“Strauß (Straus), Ludwig,” Oesterreichisches Musiklexikon online, May 15, 2006,
https://www.musiklexikon.ac.at/ml/musik_S/Strauss_Ludwig.xml.
42 As can be seen from the program for the next concert, which the two guest artists
prepared a few days later, on July 17, Bach’s piece impressed the audience so much at
the first performance that they had to include it in the program for the next concert
as well. Železnik, Koncertni sporedi, 288.
43 Khom played on the new organ by Andrej Malahovski, leaving the musical arrange-
ment of the solemn masses (solenne Messe) to Leitermeyer, whose effect was vivid-
ly described by the then editor of the Laibacher Zeitung, Vinko Fereri Klun: “How
powerfully the harmonious sounds lifted the spirit, which drowned prayerfully in these
sounds and rose in silent adoration on the wings of sound to the throne of the Most
High. [...] Für Freunde der Kirchenmusik. Das Bedürfniß einer entsprechenden Kir
chenmusik, die man jetzt doch fast in allen Provinzstädten findet, trat auch hier im
mer lebendiger hervor, und wir fühlten uns auf das angenehmste berührt, als wir sa
hen, daß ein höchst erfreulicher Anfang hierzu in der D. R. O. Kirche gemacht wurde.
Der als sehr tüchtiger Musiklehrer bekannte, und sehr geschätzte Herr Alfred Khom,
416
Khom’s performance with the Philharmonic Society in two consecu-
tive July concerts in 1855 was of special significance, as it was the first time
that J. S. Bach was on the program of the society, probably due in large part
to Khom’s efforts.39 On July 13, 1855, the Meditation for violin, piano, and
fisharmonica was performed by guest musicians, London pianist Arabella
Goddard40 and Viennese violinist Ludwig Strauss,41 with the help of Khom,
who was probably also the author of the arrangement in which he included
his favourite instrument.42
In addition, in October 1850, Khom took over the position of organist
in the church of the Knights Hospitaller in Križanke. In doing so, he joined
forces with the director of the Philharmonic Orchestra, Leitermayer, with
whom they had already collaborated in Klagenfurt, as mentioned.43
anist in his day who, in addition to numerous concert tours, taught in Stockholm,
Moscow, and Vienna, and was a friend of Brahms, among others. He later published
his memoirs. Cf. Anton Door, “Persönliche Erinnerungen an Brahms,” Die Musik 2,
no. 3 (1902–1903): 216–21. The reporter of the concert wrote that “the divine melodies
of the immortal master came to full expression,” even though “it cannot be denied that
the choice of the instruments mentioned was not the happiest for the arrangement”
(“die göttlichen Melodien des unsterblichen Meisters zu voller Geltung brachte, wenn
schon wir nicht läugnen können, daß die Wahl der obenbenannten Instrumente für
das Arrangement nicht die glücklichste war”). C., “Lokales,” Laibacher Zeitung, no.
145 (27 June 1855): 631, http://www.dlib.si/?URN=URN:NBN:SI:doc-XTSAID6O.
39 Železnik, Koncertni sporedi, 288.
40 Arabella Goddard (1836–1922) was an English pianist. She performed on many stag-
es in Europe as well as in America, Australia, and India. She taught at the Royal Col-
lege of Music in London. Frank Howes, “Goddard, Arabella,” Grove Music Online,
2001, https://doi.org/10.1093/gmo/9781561592630.article.11330.
41 Ludwig Strauß (1835–1899) was a violinist. In addition to concert tours in Austria,
Germany and Italy, he later worked primarily on British stages. Alexander Rausch,
“Strauß (Straus), Ludwig,” Oesterreichisches Musiklexikon online, May 15, 2006,
https://www.musiklexikon.ac.at/ml/musik_S/Strauss_Ludwig.xml.
42 As can be seen from the program for the next concert, which the two guest artists
prepared a few days later, on July 17, Bach’s piece impressed the audience so much at
the first performance that they had to include it in the program for the next concert
as well. Železnik, Koncertni sporedi, 288.
43 Khom played on the new organ by Andrej Malahovski, leaving the musical arrange-
ment of the solemn masses (solenne Messe) to Leitermeyer, whose effect was vivid-
ly described by the then editor of the Laibacher Zeitung, Vinko Fereri Klun: “How
powerfully the harmonious sounds lifted the spirit, which drowned prayerfully in these
sounds and rose in silent adoration on the wings of sound to the throne of the Most
High. [...] Für Freunde der Kirchenmusik. Das Bedürfniß einer entsprechenden Kir
chenmusik, die man jetzt doch fast in allen Provinzstädten findet, trat auch hier im
mer lebendiger hervor, und wir fühlten uns auf das angenehmste berührt, als wir sa
hen, daß ein höchst erfreulicher Anfang hierzu in der D. R. O. Kirche gemacht wurde.
Der als sehr tüchtiger Musiklehrer bekannte, und sehr geschätzte Herr Alfred Khom,
416
