Page 115 - Weiss, Jernej, ur./ed. 2024. Glasbena kritika – nekoč in danes ▪︎ Music Criticism – Yesterday and Today. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 7
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e. b. lvovský or who was the harshest viennese cr itic of antonín dvoř ák’s music
closed the Lviv chapter of his collaboration with the periodical. What re-
mains open for further research in the Lviv period? Verification of the re-
port that he was a double bass teacher at the Conservatory.
Vienna (1890–)
Lvovský, Vienna and activities: this is primarily a musical and journalistic
activity, the role of performer (piano, double bass), composing, the role of
teacher and perhaps also an organisational role: one of the obituaries states
that he also “[...] contributed to the International Theatre and Music Exhi-
bition held in Vienna in 1892 [...].”51 This statement is perhaps related to the
fact that Lvovský reported extensively and frequently on the exhibition in
his reports for Dalibor. Lvovský is not mentioned in connection with the
exhibition by Theophil Antonicek either.52
In Vienna, Lvovský was actively involved in the life of the Vien-
nese-Czech (Slavic) enclave, in cooperation with the “Utraquists” and in the
life of the German scene. Franz Simandl was probably also the one who in-
troduced Lvovský to both musical scenes.
Franz Simandl (1840–1912)
This Viennese Czech was a renowned virtuoso, a teacher at the Conserva-
tory (1870–1910), from 1869 he was for many years the 1st double bass player
of the orchestra of the Imperial and Royal Court Opera (also chairman of
the orchestra/Orchestervorstand), he was also in the Wiener Philharmoni-
ker (1869–1904), in the Wiener Hofmusikkapelle, and he was very active in
the Slovanská beseda society.53
Lvovský could have studied in Vienna with Simandl hypothetically al-
ready during his time in Lviv (Lvovský sent messages to Dalibor quite spo-
radically in 1888–1890), and theoretically even earlier. He must have known
Simandl well before 1890 (Lvovský’s feuilleton about Simandl in Dalibor,
see footnote no. 50). Thanks to Jan Kment we have the following quotation:
51 Anon., “Různé zprávy,” Dalibor 32, no. 41 (3 September 1910): 311.
52 Theophil Antonicek, Die internationale Ausstellung für Musik- und Theaterwesen
Wien 1892 (Wien: Th. Antonicek, 2013).
53 Christian Fastl, “Simandl Franz,” in Österreichisches Biographisches Lexikon 1850–
1950, vol. 12 (Wien: Verlag der Österreichischen Akademie der Wissenschaften
2005), 274; Christian Fastl, “Simandl Franz,” in Österreichisches Musiklexikon, vol. 5
(Schwechat – Zyklus), ed. Rudolf Flotzinger (Wien: Verlag der Österreichischen Aka-
demie der Wissenschaften 2006), 2219.
115
closed the Lviv chapter of his collaboration with the periodical. What re-
mains open for further research in the Lviv period? Verification of the re-
port that he was a double bass teacher at the Conservatory.
Vienna (1890–)
Lvovský, Vienna and activities: this is primarily a musical and journalistic
activity, the role of performer (piano, double bass), composing, the role of
teacher and perhaps also an organisational role: one of the obituaries states
that he also “[...] contributed to the International Theatre and Music Exhi-
bition held in Vienna in 1892 [...].”51 This statement is perhaps related to the
fact that Lvovský reported extensively and frequently on the exhibition in
his reports for Dalibor. Lvovský is not mentioned in connection with the
exhibition by Theophil Antonicek either.52
In Vienna, Lvovský was actively involved in the life of the Vien-
nese-Czech (Slavic) enclave, in cooperation with the “Utraquists” and in the
life of the German scene. Franz Simandl was probably also the one who in-
troduced Lvovský to both musical scenes.
Franz Simandl (1840–1912)
This Viennese Czech was a renowned virtuoso, a teacher at the Conserva-
tory (1870–1910), from 1869 he was for many years the 1st double bass player
of the orchestra of the Imperial and Royal Court Opera (also chairman of
the orchestra/Orchestervorstand), he was also in the Wiener Philharmoni-
ker (1869–1904), in the Wiener Hofmusikkapelle, and he was very active in
the Slovanská beseda society.53
Lvovský could have studied in Vienna with Simandl hypothetically al-
ready during his time in Lviv (Lvovský sent messages to Dalibor quite spo-
radically in 1888–1890), and theoretically even earlier. He must have known
Simandl well before 1890 (Lvovský’s feuilleton about Simandl in Dalibor,
see footnote no. 50). Thanks to Jan Kment we have the following quotation:
51 Anon., “Různé zprávy,” Dalibor 32, no. 41 (3 September 1910): 311.
52 Theophil Antonicek, Die internationale Ausstellung für Musik- und Theaterwesen
Wien 1892 (Wien: Th. Antonicek, 2013).
53 Christian Fastl, “Simandl Franz,” in Österreichisches Biographisches Lexikon 1850–
1950, vol. 12 (Wien: Verlag der Österreichischen Akademie der Wissenschaften
2005), 274; Christian Fastl, “Simandl Franz,” in Österreichisches Musiklexikon, vol. 5
(Schwechat – Zyklus), ed. Rudolf Flotzinger (Wien: Verlag der Österreichischen Aka-
demie der Wissenschaften 2006), 2219.
115
