Page 490 - 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. 490
glasbena društva v dolgem 19. stoletju: med ljubiteljsko in profesionalno kulturo
ment of Slovenia’s musical culture. They predominantly came from Austri-
an territory and the Czech lands. Initially, they promoted sacred music in
churches and monasteries as composers, scribes, regentes chori, organists,
singers, and instrumentalists. At the beginning of the nineteenth century,
however, they became increasingly important in secular musical endeav-
ours. During the “long nineteenth century,” most immigrant musicians
were active in Ljubljana. With their work they made a decisive contribution
to the continued existence of cultural institutions such as the Philharmonic
Society (Philharmonische Gesellschaft), the Ljubljana Music Cathedral, the
Estates Theatre (Ständisches Theater), later Provincial Theatre (Landschaft
liches Theater), and the infantry regiments, working as music teachers in
various institutions or entirely privately. Towards the end of the nineteenth
century, various music societies were founded throughout Slovenian terri-
tory. Here, too, these musicians from abroad took up leading roles: at the
German societies in Maribor (Marburger philharmonischer Verein), Celje
(Cillier Musikverein), and Ptuj (Pettauer Musikverein); at the Slovenian Lju-
bljana Reading Society (Ljubljanska narodna čitalnica) and the Music Soci-
ety (Glasbena matica) in Ljubljana; and several smaller music associations.
At the beginning of the twentieth century, they also shaped concert life at
the Slovenian Music Society’s branches in Novo Mesto, Trieste, Celje, and
Kranj, as well as that of the Pan-Slavic oriented (and later more Sloveni-
an-oriented) Trieste National Hall (Narodni dom v Trstu). For more than a
century, immigrant musicians brought contemporary repertoire to the Slo-
venian lands and composed numerous works there. They played a leading
role in the development of virtuoso instrumental playing as well as cham-
ber, choral and symphonic music. By introducing curricula and writing
music manuals and songbooks, they also brought many important changes
to the music education. They trained the first important generation of Slo-
venian musicians, individuals who carried their tradition forwarded and
transmitted a legacy from which we can still benefit today.
Keywords: 19th Century Music, Music Migration, Music Societies, Immi-
grant Musicians, Austria-Hungary
488
ment of Slovenia’s musical culture. They predominantly came from Austri-
an territory and the Czech lands. Initially, they promoted sacred music in
churches and monasteries as composers, scribes, regentes chori, organists,
singers, and instrumentalists. At the beginning of the nineteenth century,
however, they became increasingly important in secular musical endeav-
ours. During the “long nineteenth century,” most immigrant musicians
were active in Ljubljana. With their work they made a decisive contribution
to the continued existence of cultural institutions such as the Philharmonic
Society (Philharmonische Gesellschaft), the Ljubljana Music Cathedral, the
Estates Theatre (Ständisches Theater), later Provincial Theatre (Landschaft
liches Theater), and the infantry regiments, working as music teachers in
various institutions or entirely privately. Towards the end of the nineteenth
century, various music societies were founded throughout Slovenian terri-
tory. Here, too, these musicians from abroad took up leading roles: at the
German societies in Maribor (Marburger philharmonischer Verein), Celje
(Cillier Musikverein), and Ptuj (Pettauer Musikverein); at the Slovenian Lju-
bljana Reading Society (Ljubljanska narodna čitalnica) and the Music Soci-
ety (Glasbena matica) in Ljubljana; and several smaller music associations.
At the beginning of the twentieth century, they also shaped concert life at
the Slovenian Music Society’s branches in Novo Mesto, Trieste, Celje, and
Kranj, as well as that of the Pan-Slavic oriented (and later more Sloveni-
an-oriented) Trieste National Hall (Narodni dom v Trstu). For more than a
century, immigrant musicians brought contemporary repertoire to the Slo-
venian lands and composed numerous works there. They played a leading
role in the development of virtuoso instrumental playing as well as cham-
ber, choral and symphonic music. By introducing curricula and writing
music manuals and songbooks, they also brought many important changes
to the music education. They trained the first important generation of Slo-
venian musicians, individuals who carried their tradition forwarded and
transmitted a legacy from which we can still benefit today.
Keywords: 19th Century Music, Music Migration, Music Societies, Immi-
grant Musicians, Austria-Hungary
488
