Page 375 - Weiss, Jernej, ur. 2020. Konservatoriji: profesionalizacija in specializacija glasbenega dela ▪︎ The conservatories: professionalisation and specialisation of musical activity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 4
P. 375
socio-political discourses of the development of music education ...
ard Heeger9, performed a number of other activities of both artistic and
pedagogical nature besides private lessons, and thus acted as choirmas-
ters, performing artists and composers. Although burdened by a num-
ber of different activities required by music market, they represented the
preparation and basis for the emergence of first music schools and cours-
es that contributed to the spread of musical professionalism in the cultur-
al life of Sarajevo and BiH.
Initiatives for opening first well-conceived and specialized music
schools and courses emerged only after twenty years of Austro-Hungari-
an administration in BiH and they corresponded to the expansion of pro-
gress in all the other cultural and social spheres. As expected, only set-
tlers were the initiators of the first attempts in this direction, since the
local element had only began to express a serious interest and join the new
trends. The story about the first attempt to open a private music school in
Sarajevo is related to the name of a composer and conductor from Buda-
pest – Adalbert Laszky, who visited the capital a few times with the aim to
give concerts.10 During one of his visits, more accurately in 1898, Laszky
addressed the Joint Ministry of Finance and its main minister Benjamin
Kállay with the desire to get the permission to open a music conservatory,
as he believed it was necessary for the development of musical life in BiH
capital. Laszky believed that Sarajevo did not have enough professionals
who could deliver the proper music training, and one of the major aims
of a systematically organized music institution was the creation of young
musical staff that could eventually allow the formation of a permanent or-
chestra, which would in turn become a participant in all significant musi-
cal events.11 However, the ideas of the implementation of a socially useful
9 Eduard Heeger was a long-time 2nd choirmaster of “Männergesangverein,” own-
er of a renowned Sarajevo-based piano showroom and participant in all significant
musical events. His reputation is supported by the fact that in 1893, in Communi-
ty Centre, he was the accompanist to the world famous violinist Fritz Kreisler. Be-
sides Eduard Heeger, the following figures tried to distinguish themselves as private
music teachers for a shorter or longer period of time: Marija Sam, Mara Mađare-
vić (singer and pianist), Naša Přibyl (singer), Sidonija Satnić, Hermina Kohn, Ana
Paul (piano teacher), and Franjo Maleczek, publicly well-known as the bandmaster
of “Sarajevo Lounge Music,” owner of a piano showroom and private tutor of vio-
lin, mandolin and guitar. Anon., “Werbung,” Bosnischer Bote, IV (1900): 84; Anon.,
“Hauptsdtadt Sarajevo – Musik-Instrumentenhändler,” Bosnischer Bote, XIII (1909):
354; Paćuka, “Muzički život u Sarajevu u periodu Austro-Ugarske uprave,” 101.
10 Risto Besarović, “Počeci muzičkog školstva u Sarajevu,” Glasnik Arhiva i Društva
arhivskih radnika Bosne i Hercegovine 9–10 (1970–1971): 327.
11 Ibid., 328.
373
ard Heeger9, performed a number of other activities of both artistic and
pedagogical nature besides private lessons, and thus acted as choirmas-
ters, performing artists and composers. Although burdened by a num-
ber of different activities required by music market, they represented the
preparation and basis for the emergence of first music schools and cours-
es that contributed to the spread of musical professionalism in the cultur-
al life of Sarajevo and BiH.
Initiatives for opening first well-conceived and specialized music
schools and courses emerged only after twenty years of Austro-Hungari-
an administration in BiH and they corresponded to the expansion of pro-
gress in all the other cultural and social spheres. As expected, only set-
tlers were the initiators of the first attempts in this direction, since the
local element had only began to express a serious interest and join the new
trends. The story about the first attempt to open a private music school in
Sarajevo is related to the name of a composer and conductor from Buda-
pest – Adalbert Laszky, who visited the capital a few times with the aim to
give concerts.10 During one of his visits, more accurately in 1898, Laszky
addressed the Joint Ministry of Finance and its main minister Benjamin
Kállay with the desire to get the permission to open a music conservatory,
as he believed it was necessary for the development of musical life in BiH
capital. Laszky believed that Sarajevo did not have enough professionals
who could deliver the proper music training, and one of the major aims
of a systematically organized music institution was the creation of young
musical staff that could eventually allow the formation of a permanent or-
chestra, which would in turn become a participant in all significant musi-
cal events.11 However, the ideas of the implementation of a socially useful
9 Eduard Heeger was a long-time 2nd choirmaster of “Männergesangverein,” own-
er of a renowned Sarajevo-based piano showroom and participant in all significant
musical events. His reputation is supported by the fact that in 1893, in Communi-
ty Centre, he was the accompanist to the world famous violinist Fritz Kreisler. Be-
sides Eduard Heeger, the following figures tried to distinguish themselves as private
music teachers for a shorter or longer period of time: Marija Sam, Mara Mađare-
vić (singer and pianist), Naša Přibyl (singer), Sidonija Satnić, Hermina Kohn, Ana
Paul (piano teacher), and Franjo Maleczek, publicly well-known as the bandmaster
of “Sarajevo Lounge Music,” owner of a piano showroom and private tutor of vio-
lin, mandolin and guitar. Anon., “Werbung,” Bosnischer Bote, IV (1900): 84; Anon.,
“Hauptsdtadt Sarajevo – Musik-Instrumentenhändler,” Bosnischer Bote, XIII (1909):
354; Paćuka, “Muzički život u Sarajevu u periodu Austro-Ugarske uprave,” 101.
10 Risto Besarović, “Počeci muzičkog školstva u Sarajevu,” Glasnik Arhiva i Društva
arhivskih radnika Bosne i Hercegovine 9–10 (1970–1971): 327.
11 Ibid., 328.
373
