Page 122 - 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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glasbena kritika – nekoč in danes | music criticism – yesterday and today
Lviv as Dr. B. L. or C-dur. After Lvovský came to Vienna, the editor of
the music section, Gustav Kühle, reviewed Lvovský’s compositions68 and
performances,69 and eventually agreed on standard editorial cooperation.
According to the journal Dalibor, Lvovský was to take over the editorship
from May 1895,70 which is also confirmed by the front page of Österreichis-
che Musik- und Theaterzeitung of May 1895 (VII, no. 13–14): the publisher
Gustav Kühle informed the subscribers that “Today [15 May 1895] I have en-
gaged Mr B. Lvovský [...] as editor.”71 In October 1895 Lvovský became the
owner of the journal.72 This is confirmed by his letter written in Czech ad-
dressed to the management of the National Theatre in Prague.73 He sent
a sample issue, characterised himself as a “Czech musician” and recom-
mended himself directly as the recipient of the news that the theatre would
like to publish in his periodical.
Lvovský ran the journal until Volume XI (1898/1899, from issue no.
9, published on 20 June 1900, Anna Cador is listed as the publisher), after
which he was only a contributor. The reason for this was obviously a change
of his priorities – Lvovský was mainly occupied with composing and writ-
ing librettos. During Lvovský’s tenure, the journal (or rather the content
of its issues) was frequently and regularly advertised in many periodicals
in what is now Poland, Bohemia, Moravia, Austria, Germany and Croatia.
Lvovský had a number of interesting collaborators. For example, he
was sent messages from Prague by Victor Joss (1869–), Emil Dominante
and Richard Grünfeld (1871–1932). Smetana was dealt with, among others,
by Josef Srb-Debrnov (1836–1904), an outstanding expert on the maestro’s
works. Contributions were also sent by the Czech composer Josef Bohuslav
Foerster (1893–1903 Hamburg, 1903–1918 Vienna). Messages from Chicago,
where tens of thousands of Czechs lived, were sent to Lvovský by the lo-
cal violinist and publicist Josef Alois Vilím (1861–1938), a graduate of the
Prague Conservatory. The Czech/Slavic music scene in Vienna was covered
68 G. K. [Gustav Kühle], “Vereinskonzerte,” (1 November 1890), 5; G. K. [Gustav Küh-
le], “Vereinskonzerte,” (15 November 1890), 7.
69 Anon., “Saal Ehrbar,” 8.
70 Anon., “Osobní,” Dalibor 17, no. 21 (20 April 1895): 160; Anon., “Oesterreichische
Musik- und Theaterzeitung,” Dalibor 17, no. 27 (8 June 1895): 208.
71 “Mit heutigem Tage [15 May 1895] habe ich Herrn B. Lvovský […] als Redacteur enga-
girt.”
72 Anon., “Vídeň,” Dalibor 17, no. 38 (12 October 1895): 299; [front page], ÖMTZ 8, no.
2 (15 October 1895): 1 (as “Herausgeber und Chef-Redacteur”).
73 National Archives of the Czech Republic, National Theatre Archive collection, call
number D 218/253, ÖMTZ headed paper, Vienna 16 June 1895.
122
Lviv as Dr. B. L. or C-dur. After Lvovský came to Vienna, the editor of
the music section, Gustav Kühle, reviewed Lvovský’s compositions68 and
performances,69 and eventually agreed on standard editorial cooperation.
According to the journal Dalibor, Lvovský was to take over the editorship
from May 1895,70 which is also confirmed by the front page of Österreichis-
che Musik- und Theaterzeitung of May 1895 (VII, no. 13–14): the publisher
Gustav Kühle informed the subscribers that “Today [15 May 1895] I have en-
gaged Mr B. Lvovský [...] as editor.”71 In October 1895 Lvovský became the
owner of the journal.72 This is confirmed by his letter written in Czech ad-
dressed to the management of the National Theatre in Prague.73 He sent
a sample issue, characterised himself as a “Czech musician” and recom-
mended himself directly as the recipient of the news that the theatre would
like to publish in his periodical.
Lvovský ran the journal until Volume XI (1898/1899, from issue no.
9, published on 20 June 1900, Anna Cador is listed as the publisher), after
which he was only a contributor. The reason for this was obviously a change
of his priorities – Lvovský was mainly occupied with composing and writ-
ing librettos. During Lvovský’s tenure, the journal (or rather the content
of its issues) was frequently and regularly advertised in many periodicals
in what is now Poland, Bohemia, Moravia, Austria, Germany and Croatia.
Lvovský had a number of interesting collaborators. For example, he
was sent messages from Prague by Victor Joss (1869–), Emil Dominante
and Richard Grünfeld (1871–1932). Smetana was dealt with, among others,
by Josef Srb-Debrnov (1836–1904), an outstanding expert on the maestro’s
works. Contributions were also sent by the Czech composer Josef Bohuslav
Foerster (1893–1903 Hamburg, 1903–1918 Vienna). Messages from Chicago,
where tens of thousands of Czechs lived, were sent to Lvovský by the lo-
cal violinist and publicist Josef Alois Vilím (1861–1938), a graduate of the
Prague Conservatory. The Czech/Slavic music scene in Vienna was covered
68 G. K. [Gustav Kühle], “Vereinskonzerte,” (1 November 1890), 5; G. K. [Gustav Küh-
le], “Vereinskonzerte,” (15 November 1890), 7.
69 Anon., “Saal Ehrbar,” 8.
70 Anon., “Osobní,” Dalibor 17, no. 21 (20 April 1895): 160; Anon., “Oesterreichische
Musik- und Theaterzeitung,” Dalibor 17, no. 27 (8 June 1895): 208.
71 “Mit heutigem Tage [15 May 1895] habe ich Herrn B. Lvovský […] als Redacteur enga-
girt.”
72 Anon., “Vídeň,” Dalibor 17, no. 38 (12 October 1895): 299; [front page], ÖMTZ 8, no.
2 (15 October 1895): 1 (as “Herausgeber und Chef-Redacteur”).
73 National Archives of the Czech Republic, National Theatre Archive collection, call
number D 218/253, ÖMTZ headed paper, Vienna 16 June 1895.
122
