Page 372 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 372
musica et artes
decades after the year 1701. The review was made in Leges, which is formed by
founding document and then in the founder’s source J. B. Höffer, in the me-
morial book Theatrum memoriae nobils ac almae Societatis unitorum and in
the source of Academy members such as J. G. Gošelj (Goschl), J. J. Hočevar
(Gottscheer). Hypothesis was fully confirmed by the study.
It turned out that the terminus Phil - Harmonicorum with its constant
graphic record of contactless hyphen is forming a semantic whole with seal
(symbolum) and the Academy character of St. Caeciliae. All these facts may
explain the content of which the Ljubljana Philharmonic was established dif-
ferent from any other role models (Bologna, Verona, Rome). So, within the
semantic name Academia Phil - Harmonicorum Labaci exists terminus Phil -
Harmonicorum by its purpose. Although the contactless dash itself is broken
down (by the Arestotelian – scholastic key in the genus and differentia), forms
within the whole name of the Ljubljana Philharmonic those articles which
are accurately determined in the semantic field of names (in the role of specif-
ic difference). Therefore, it is this message of semantic carrier core.
Jernej Weiss
Between a Provincial Operetta and a National Opera:
Foerster’s Gorenjski slavček
Particularly at the end of the 19th century, the ever-rising Slovenian national
consciousness saw its great opportunity in theatre and opera, which became
the center of a national movement with which the young bourgeoisie identi-
fied itself. Gorenjski slavček, an operetta by Anton Foerster, one of the lead-
ing Czech composers in Slovenia, was staged for the first time in Ljubljana in
1872 by the Dramatical Society and, after being adapted for the operatic stage
in 1896, soon became the most popular and most frequently performed Slove-
nian stage-music composition. This warm reception led the Slovenian bour-
geoisie of that time to come up with the idea that Gorenjski slavček could fill
in the gap of the first Slovenian national opera. This myth of the first Slove-
nian national opera was later more or less uncritically adopted by the majori-
ty of music history literature.
Nevertheless, it seems that the composer’s real intention was to write a stage
music composition that would be appealing to and easily understood by the
ordinary public, an opera that would first of all respond to the topical social
issues of the times. Using the simple rural theme of a libretto by Lujiza Pes-
jakova and Emanuel Züngl, which portrays the infinite beauty of the Goren-
jska countryside seasoned with a romantic patriotic plot between Minka,
Franjo and a Frenchman, Chansonette, the composer above all managed to
370
decades after the year 1701. The review was made in Leges, which is formed by
founding document and then in the founder’s source J. B. Höffer, in the me-
morial book Theatrum memoriae nobils ac almae Societatis unitorum and in
the source of Academy members such as J. G. Gošelj (Goschl), J. J. Hočevar
(Gottscheer). Hypothesis was fully confirmed by the study.
It turned out that the terminus Phil - Harmonicorum with its constant
graphic record of contactless hyphen is forming a semantic whole with seal
(symbolum) and the Academy character of St. Caeciliae. All these facts may
explain the content of which the Ljubljana Philharmonic was established dif-
ferent from any other role models (Bologna, Verona, Rome). So, within the
semantic name Academia Phil - Harmonicorum Labaci exists terminus Phil -
Harmonicorum by its purpose. Although the contactless dash itself is broken
down (by the Arestotelian – scholastic key in the genus and differentia), forms
within the whole name of the Ljubljana Philharmonic those articles which
are accurately determined in the semantic field of names (in the role of specif-
ic difference). Therefore, it is this message of semantic carrier core.
Jernej Weiss
Between a Provincial Operetta and a National Opera:
Foerster’s Gorenjski slavček
Particularly at the end of the 19th century, the ever-rising Slovenian national
consciousness saw its great opportunity in theatre and opera, which became
the center of a national movement with which the young bourgeoisie identi-
fied itself. Gorenjski slavček, an operetta by Anton Foerster, one of the lead-
ing Czech composers in Slovenia, was staged for the first time in Ljubljana in
1872 by the Dramatical Society and, after being adapted for the operatic stage
in 1896, soon became the most popular and most frequently performed Slove-
nian stage-music composition. This warm reception led the Slovenian bour-
geoisie of that time to come up with the idea that Gorenjski slavček could fill
in the gap of the first Slovenian national opera. This myth of the first Slove-
nian national opera was later more or less uncritically adopted by the majori-
ty of music history literature.
Nevertheless, it seems that the composer’s real intention was to write a stage
music composition that would be appealing to and easily understood by the
ordinary public, an opera that would first of all respond to the topical social
issues of the times. Using the simple rural theme of a libretto by Lujiza Pes-
jakova and Emanuel Züngl, which portrays the infinite beauty of the Goren-
jska countryside seasoned with a romantic patriotic plot between Minka,
Franjo and a Frenchman, Chansonette, the composer above all managed to
370
