Page 483 - 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. 483
summaries
nist, composer and conductor, then provided a firm foundation, including
many of his own works. By the early 1880s unfortunately the artistic stand-
ing of the Philharmonic and its financial security had reached a very low
level, because of the conflicting interests of the amateurs and professionals
and the outdated administration. However, with greatly improved conduc-
tors and financial security, the talents of Hubert Parry, Alexander Macken-
zie, Charles Villiers Stanford and many others, most notably Edward Elgar,
could blossom in the Philharmonic’s performances. The move to the out-
standing new Queen’s Hall in central London in 1894 helped to transform
the Philharmonic Society’s reputation and status. Despite its constant artis-
tic and financial difficulties the Philharmonic Society of London was thus
able to assist the Renaissance of British composers, becoming in 1913 the
Royal Philharmonic Society.
Keywords: Philharmonic Society of London, Cipriani Potter, Lord Burgh-
ersh, William Sterndale Bennett, Hubert Parry, Charles Villiers Stanford
Danutė Petrauskaitė
The significance of Lithuanian societies for the
development of national musical culture and statehood
The 19th century in Lithuania lasted from the third partition of the Com-
monwealth of the Two Nations until the First World War. During this pe-
riod, a modern Lithuanian nation was formed, which paved the way for
the restoration of an independent state through different forms of a cul-
tural movement. Cultural societies played a major role in the process, cre-
ating conditions for the activity of the first Lithuanian performers and
composers.
The first music societies in Lithuania were started by foreigners, because at
that time there were almost no professional Lithuanian musicians, while
with their advent, Lithuanian activities – the press, the formation of secular
choirs, and the establishment of public organisations – were banned. Lithu-
anian cultural societies formed secretly, and only after the ban on the press
in Latin characters had been lifted, did mass formation of societies begin.
The societies that brought together music lovers cared most about foster-
ing Lithuanianness, while the organisations uniting professional musicians
sought a deeper understanding of art, protection of cultural heritage, and
systematic music education.
Cultural societies, including musical ones, were formed in all areas inhabit-
ed by large numbers of Lithuanians: in Germany, Russia, and the USA. Al-
481
nist, composer and conductor, then provided a firm foundation, including
many of his own works. By the early 1880s unfortunately the artistic stand-
ing of the Philharmonic and its financial security had reached a very low
level, because of the conflicting interests of the amateurs and professionals
and the outdated administration. However, with greatly improved conduc-
tors and financial security, the talents of Hubert Parry, Alexander Macken-
zie, Charles Villiers Stanford and many others, most notably Edward Elgar,
could blossom in the Philharmonic’s performances. The move to the out-
standing new Queen’s Hall in central London in 1894 helped to transform
the Philharmonic Society’s reputation and status. Despite its constant artis-
tic and financial difficulties the Philharmonic Society of London was thus
able to assist the Renaissance of British composers, becoming in 1913 the
Royal Philharmonic Society.
Keywords: Philharmonic Society of London, Cipriani Potter, Lord Burgh-
ersh, William Sterndale Bennett, Hubert Parry, Charles Villiers Stanford
Danutė Petrauskaitė
The significance of Lithuanian societies for the
development of national musical culture and statehood
The 19th century in Lithuania lasted from the third partition of the Com-
monwealth of the Two Nations until the First World War. During this pe-
riod, a modern Lithuanian nation was formed, which paved the way for
the restoration of an independent state through different forms of a cul-
tural movement. Cultural societies played a major role in the process, cre-
ating conditions for the activity of the first Lithuanian performers and
composers.
The first music societies in Lithuania were started by foreigners, because at
that time there were almost no professional Lithuanian musicians, while
with their advent, Lithuanian activities – the press, the formation of secular
choirs, and the establishment of public organisations – were banned. Lithu-
anian cultural societies formed secretly, and only after the ban on the press
in Latin characters had been lifted, did mass formation of societies begin.
The societies that brought together music lovers cared most about foster-
ing Lithuanianness, while the organisations uniting professional musicians
sought a deeper understanding of art, protection of cultural heritage, and
systematic music education.
Cultural societies, including musical ones, were formed in all areas inhabit-
ed by large numbers of Lithuanians: in Germany, Russia, and the USA. Al-
481
