Page 370 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 370
musica et artes
Anarg von Wildenfels, M. Johann Agricola and the Tyrolean Anabaptist
Georg Grünwald.
Slovenian cultural and literary history has not so far given much attention to
the hymnal Ene duhovne peisni as one of the main stumbling blocks in the re-
lationships between Trubar and Klombner. Although Klombner (most prob-
ably due to Trubar’s reproaches and Klombner’s odiousness towards him)
was not considered leniently, it seems reasonable to establish that the Klomb-
ner-Juričič hymnal is, at least at the level of concept and structure, a cogent
and balanced hymnal. It is a real kaleidoscope of Protestant church song –
from the representative Luther songs to others less famous, and it even in-
cludes some of those authors who were, due to their radical views, persecuted
without mercy by the mainstream of the Lutheranism (Anabaptists).
Matjaž Barbo
Musical Life in Ljubljana in the Time of the Foundation
of the Academia Philharmonicorum
When we discuss the music of Baroque Ljubljana, we encounter a series of
fundamental methodological problems faced by all those who are dealing
with music for which there is no solid, or only insufficient, material sourc-
es. Notwithstanding the numerous testimonies of the rich musical life in Lju-
bljana, especially at the end of the 17th and first half of the 18th centuries, there
is practically no surviving concrete musical works whose analysis would of-
fer insight into the musical creativity of composers in the then capital of the
Habsburg Land of Carniola. Hence, at the outset of our discussion of music
in Baroque Ljubljana we cannot avoid a question about the broader musico-
logical definition of musical space, as it is needed to establish the basic meth-
odological framework for its understanding. In this sense, the principle of
“understanding musical understanding” should be held as the methodolog-
ical guide that reveals the complex network of various referential links that
form the meaning of a musical work and places music into a broader aesthet-
ic, cultural, or social context.
For the basis of our discussion we will utilize a number of concrete records
of a wide range of musical performances, church celebrations, school or thea-
tre performances, etc. Numerous printed synopses of different types of plays,
preserved librettos, descriptions of compositions and their titles, extant mu-
sical textbooks and the school system itself can all reveal rich composition-
al creativity and chart the stylistic tradition by which it was determined. In
addition, the sources unveil a picture of some central principles of reproduc-
tion and a measurement of their quality as well as present different perfor-
368
Anarg von Wildenfels, M. Johann Agricola and the Tyrolean Anabaptist
Georg Grünwald.
Slovenian cultural and literary history has not so far given much attention to
the hymnal Ene duhovne peisni as one of the main stumbling blocks in the re-
lationships between Trubar and Klombner. Although Klombner (most prob-
ably due to Trubar’s reproaches and Klombner’s odiousness towards him)
was not considered leniently, it seems reasonable to establish that the Klomb-
ner-Juričič hymnal is, at least at the level of concept and structure, a cogent
and balanced hymnal. It is a real kaleidoscope of Protestant church song –
from the representative Luther songs to others less famous, and it even in-
cludes some of those authors who were, due to their radical views, persecuted
without mercy by the mainstream of the Lutheranism (Anabaptists).
Matjaž Barbo
Musical Life in Ljubljana in the Time of the Foundation
of the Academia Philharmonicorum
When we discuss the music of Baroque Ljubljana, we encounter a series of
fundamental methodological problems faced by all those who are dealing
with music for which there is no solid, or only insufficient, material sourc-
es. Notwithstanding the numerous testimonies of the rich musical life in Lju-
bljana, especially at the end of the 17th and first half of the 18th centuries, there
is practically no surviving concrete musical works whose analysis would of-
fer insight into the musical creativity of composers in the then capital of the
Habsburg Land of Carniola. Hence, at the outset of our discussion of music
in Baroque Ljubljana we cannot avoid a question about the broader musico-
logical definition of musical space, as it is needed to establish the basic meth-
odological framework for its understanding. In this sense, the principle of
“understanding musical understanding” should be held as the methodolog-
ical guide that reveals the complex network of various referential links that
form the meaning of a musical work and places music into a broader aesthet-
ic, cultural, or social context.
For the basis of our discussion we will utilize a number of concrete records
of a wide range of musical performances, church celebrations, school or thea-
tre performances, etc. Numerous printed synopses of different types of plays,
preserved librettos, descriptions of compositions and their titles, extant mu-
sical textbooks and the school system itself can all reveal rich composition-
al creativity and chart the stylistic tradition by which it was determined. In
addition, the sources unveil a picture of some central principles of reproduc-
tion and a measurement of their quality as well as present different perfor-
368
