Page 189 - 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
P. 189
music in the k ar lovac pr ess in the nineteenth century
ity purpose. Such costume dances [krabuljni plesovi] were announced in
the hall of the inn “K gradu Zagrebu” [To the city of Zagreb] which in the
1860s, accompanied by the music of the “ famous Slunj regiment,” ensured
good service, food and drink. For charitable purposes, for example, on 1
February 1887, the Great Firemen’s Dance with a raffle was organized, the
revenue of which went to the injured firefighters and their families.71
In this group we can also add Abel Lukšić’s initiative “Za Lisinskov
spomenik” [For Lisinski’s monument] from 10 November 1861, in which he
collected (in cooperation with the editorial office of the newspaper Pozor
and the Zagreb Music Institute) and reported in detail on the donations re-
ceived for the monument to the composer Vatroslav Lisinski (1819–1854).72
The initiative was guided by the saying “many a little makes a mickle [zrno
po zrno - pogača]”. In the explanation, he nostalgically recalls the impor-
tance of Lisinski as the composer of the first Croatian operas Ljubav i zlo-
ba and Porin, and his unfortunate fate, that is, his premature death. Lukšić
writes:
The duty of honesty commands every true patriot to place a monument
on the grave of the singer of those beautiful songs, which will forev-
er make it known that the motherland loves and respects its best sons,
because it would be a shame for us if the resting place of this virtuoso
would only be covered for even longer by a rot wooden cross and a sod.73
After the donations were collected in November 1862, the Music Insti-
tute undertook tasks related to the realization of the initiative and among
the offers for the creation of the monument, they chose that of Franjo Solar,
a merchant-ironworker.74 However, we also learn about further steps relat-
ed to the monument: installation was delayed due to the delivery of mate-
rials (underlay marble from the Samobor region), and the installation was
71 Anon., “Sjajni vatrogasilački ples sa tombolom,” Sloga 2, no. 5 (30 January 1887): 3.
72 Anon., “Poziv [‘Za Lisinskog spomenik’],” Glasonoša 1, no. 7 (10 November 1861): 4.
73 “Dužnost poštenja nalaže svakomu pravomu domoljubu, da postavi pjevaču onih
krasnih pjesamah na grob spomenik, koji na sve vieke obznanit imade, kako domovi-
na svoje najbolje sinove ljubi i štuje, jer sramota bi bila za nas, da bi još duglje počiva-
lište ovoga vrličine samo truli drveni križ i busen pokrivao.” Ibid.
74 Anon., “U posljednjoj sjednici glasbenog,” Glasonoša 2, no. 90 (8 November 1862):
2. On the installation of the monument, see: Franjo Ks. Kuhač, Vatroslav Lisinski
i njegova doba. Prilog za poviest hrvatskoga preporoda [Vatroslav Lisinski and his
Time. Contribution to History of the Croatian Revival], 2nd ed. (Zagreb: Matica hr-
vatska, 1904), 133–6. On the repurpose of the monument to Franjo Krežma in 1893
cf. Anon., “Obnovljen spomenik Franji Krežmi na Mirogoju,” HaGeZe 16, no. 2
(2012): 1.
189
ity purpose. Such costume dances [krabuljni plesovi] were announced in
the hall of the inn “K gradu Zagrebu” [To the city of Zagreb] which in the
1860s, accompanied by the music of the “ famous Slunj regiment,” ensured
good service, food and drink. For charitable purposes, for example, on 1
February 1887, the Great Firemen’s Dance with a raffle was organized, the
revenue of which went to the injured firefighters and their families.71
In this group we can also add Abel Lukšić’s initiative “Za Lisinskov
spomenik” [For Lisinski’s monument] from 10 November 1861, in which he
collected (in cooperation with the editorial office of the newspaper Pozor
and the Zagreb Music Institute) and reported in detail on the donations re-
ceived for the monument to the composer Vatroslav Lisinski (1819–1854).72
The initiative was guided by the saying “many a little makes a mickle [zrno
po zrno - pogača]”. In the explanation, he nostalgically recalls the impor-
tance of Lisinski as the composer of the first Croatian operas Ljubav i zlo-
ba and Porin, and his unfortunate fate, that is, his premature death. Lukšić
writes:
The duty of honesty commands every true patriot to place a monument
on the grave of the singer of those beautiful songs, which will forev-
er make it known that the motherland loves and respects its best sons,
because it would be a shame for us if the resting place of this virtuoso
would only be covered for even longer by a rot wooden cross and a sod.73
After the donations were collected in November 1862, the Music Insti-
tute undertook tasks related to the realization of the initiative and among
the offers for the creation of the monument, they chose that of Franjo Solar,
a merchant-ironworker.74 However, we also learn about further steps relat-
ed to the monument: installation was delayed due to the delivery of mate-
rials (underlay marble from the Samobor region), and the installation was
71 Anon., “Sjajni vatrogasilački ples sa tombolom,” Sloga 2, no. 5 (30 January 1887): 3.
72 Anon., “Poziv [‘Za Lisinskog spomenik’],” Glasonoša 1, no. 7 (10 November 1861): 4.
73 “Dužnost poštenja nalaže svakomu pravomu domoljubu, da postavi pjevaču onih
krasnih pjesamah na grob spomenik, koji na sve vieke obznanit imade, kako domovi-
na svoje najbolje sinove ljubi i štuje, jer sramota bi bila za nas, da bi još duglje počiva-
lište ovoga vrličine samo truli drveni križ i busen pokrivao.” Ibid.
74 Anon., “U posljednjoj sjednici glasbenog,” Glasonoša 2, no. 90 (8 November 1862):
2. On the installation of the monument, see: Franjo Ks. Kuhač, Vatroslav Lisinski
i njegova doba. Prilog za poviest hrvatskoga preporoda [Vatroslav Lisinski and his
Time. Contribution to History of the Croatian Revival], 2nd ed. (Zagreb: Matica hr-
vatska, 1904), 133–6. On the repurpose of the monument to Franjo Krežma in 1893
cf. Anon., “Obnovljen spomenik Franji Krežmi na Mirogoju,” HaGeZe 16, no. 2
(2012): 1.
189
