Page 361 - Weiss, Jernej, ur. 2018. Nova glasba v “novi” Evropi med obema svetovnima vojnama ?? New Music in the “New” Europe Between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 2
P. 361
summaries
Nada Bezić
“Intimate musical evenings” or How the Croatian Music
Institute in Zagreb opened the door to modernity
Intimne muzičke večeri [intimate musical evenings] is the title of a cycle of
concerts that left their mark on the musical life of Zagreb between the wars.
To this day, the cycle‘s combination of high-quality performers and pro-
grammes, a selection of works reflecting contemporary creative tendencies
in music, and remarkably informative programme notes has not been sur-
passed. The concerts were organised by the Croatian Music Institute (Hr-
vatski glazbeni zavod) in its own concert hall, but their main promoter and
organiser was the institute‘s then secretary Artur Schneider, an art histo-
rian and at the same time a fine music critic. Between September 1922 and
June 1926 the cycle included a total of 90 concerts – 32 of them in the 1923/24
season alone, which is an incredible number even by today‘s standards.
Schneider‘s concerts consistently gave space to Croatian composers and the
premiere performances of their works, but even more important in the in-
ternational context is the fact that it was possible to hear, in Zagreb, works
by Milhaud and Poulenc within just a few years of their completion. A con-
cert in 1924 included compositions by Casella, Malipiero, Santoliquido and
Castelnuovo-Tedesco, alongside works by Schoenberg, Bartók and others.
Schneider obtained the scores from publishers (such as Chester of London)
or with the help of cultural institutions in Zagreb, particularly the Institut
Français.
Also notable is the fact that Artur Schneider forged ties with the Internati-
onal Society for Contemporary Music (ISCM) and in 1925 became its secre-
tary for Yugoslavia. The ISCM‘s Yugoslav branch was, in fact, based in Za-
greb (until 1930).
Keywords: Croatian Music Institute, Zagreb; Artur Schneider, concerts,
contemporary music
Katarina Bogunović Hočevar, Ana Vončina
The first decade of Radio Ljubljana – the media,
the institution and its ideology in the light of music
In order to understand the early years of Radio Ljubljana, it is necessary to
shed some light on the context of the beginnings of wireless telegraphy and
telephony in Europe and the then Kingdom of Yugoslavia, where a network
of more or less interconnected radio stations began to form. Radio Ljublja-
na did not only represent a new development at the technological level in its
359
Nada Bezić
“Intimate musical evenings” or How the Croatian Music
Institute in Zagreb opened the door to modernity
Intimne muzičke večeri [intimate musical evenings] is the title of a cycle of
concerts that left their mark on the musical life of Zagreb between the wars.
To this day, the cycle‘s combination of high-quality performers and pro-
grammes, a selection of works reflecting contemporary creative tendencies
in music, and remarkably informative programme notes has not been sur-
passed. The concerts were organised by the Croatian Music Institute (Hr-
vatski glazbeni zavod) in its own concert hall, but their main promoter and
organiser was the institute‘s then secretary Artur Schneider, an art histo-
rian and at the same time a fine music critic. Between September 1922 and
June 1926 the cycle included a total of 90 concerts – 32 of them in the 1923/24
season alone, which is an incredible number even by today‘s standards.
Schneider‘s concerts consistently gave space to Croatian composers and the
premiere performances of their works, but even more important in the in-
ternational context is the fact that it was possible to hear, in Zagreb, works
by Milhaud and Poulenc within just a few years of their completion. A con-
cert in 1924 included compositions by Casella, Malipiero, Santoliquido and
Castelnuovo-Tedesco, alongside works by Schoenberg, Bartók and others.
Schneider obtained the scores from publishers (such as Chester of London)
or with the help of cultural institutions in Zagreb, particularly the Institut
Français.
Also notable is the fact that Artur Schneider forged ties with the Internati-
onal Society for Contemporary Music (ISCM) and in 1925 became its secre-
tary for Yugoslavia. The ISCM‘s Yugoslav branch was, in fact, based in Za-
greb (until 1930).
Keywords: Croatian Music Institute, Zagreb; Artur Schneider, concerts,
contemporary music
Katarina Bogunović Hočevar, Ana Vončina
The first decade of Radio Ljubljana – the media,
the institution and its ideology in the light of music
In order to understand the early years of Radio Ljubljana, it is necessary to
shed some light on the context of the beginnings of wireless telegraphy and
telephony in Europe and the then Kingdom of Yugoslavia, where a network
of more or less interconnected radio stations began to form. Radio Ljublja-
na did not only represent a new development at the technological level in its
359
