Page 218 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
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glasbene migracije: stičišče evropske glasbene raznolikosti
4. Form of existence: a separate, purely tamburitza society, or a spe-
cial section of the academic, literary, entertainment or another so-
ciety.
5. Two groups according to whether they only performed at their na-
tional events or whether they also performed (or otherwise coop-
erated) at the events of other Slavic nations.
The complete beginning of the tamburitza scene in Vienna can be
found in the activity of Mijo Majer mentioned above. During his univer-
sity studies he was a member of the ZVONIMIR society. He had his own
male choir as well as a tamburitza ensemble. His activity was not confined to
the accompaniment of the society’s events, but he also often performed as a
guest at events organized by other Slavic societies in Vienna, for example, at
the events of Slovanská beseda and Slovanský zpěvácký spolek in 1885. The
members of these two pan-Slavic societies (over time Czech members pre-
vailed) were also the Zvonimir tamburitza players.
Historically significant was the participation of Zvonimir tamburitza
players in the trip organized by Slavic societies from Vienna on 14–15 Au-
gust 1887 to the Moravian town of Kroměříž and to the pilgrimage place of
Hostýn. It was probably the first and maybe the only performance in the
Czech (or, more precisely, Moravian) territory.
On 8 November 1889 the tamburitza players enriched the programme
of the celebration of the 60th birthday of the choirmaster and composer
Konstantin Jahoda-Křtinský. He devoted to the Zvonimir tamburitza play-
ers his songs “Marcia” and “Potpourri ze slovanských národních písní”;
Zvonimir also performed other compositions by Jahoda.
The history of the societies SLOVANSKÁ BESEDA and SLOVANSKÝ
ZPĚVÁCKÝ SPOLEK is mainly known in connection with singing, thea-
tre, educational activities, language training, etc., and both societies were
among the oldest (Slovanská beseda still exists). The female partners of the
members of Slovanská beseda also longed for artistic activities and turned to
Zvonimir’s conductor Dobroslav Brlić. He complied with their wishes, and
founded and led a “tamburitza ensemble of twelve cute and beautiful, large-
ly Czech girls”.2 The “ensemble of beseda female tamburitza players” first
performed at the multi-day celebration of a quarter century of activity of
Slovanská beseda, namely on 31 May 1890. The ensemble gradually became
2 Matija Murko, Paměti [Memoirs] (Praha: F. Borový 1949), 122.
216
4. Form of existence: a separate, purely tamburitza society, or a spe-
cial section of the academic, literary, entertainment or another so-
ciety.
5. Two groups according to whether they only performed at their na-
tional events or whether they also performed (or otherwise coop-
erated) at the events of other Slavic nations.
The complete beginning of the tamburitza scene in Vienna can be
found in the activity of Mijo Majer mentioned above. During his univer-
sity studies he was a member of the ZVONIMIR society. He had his own
male choir as well as a tamburitza ensemble. His activity was not confined to
the accompaniment of the society’s events, but he also often performed as a
guest at events organized by other Slavic societies in Vienna, for example, at
the events of Slovanská beseda and Slovanský zpěvácký spolek in 1885. The
members of these two pan-Slavic societies (over time Czech members pre-
vailed) were also the Zvonimir tamburitza players.
Historically significant was the participation of Zvonimir tamburitza
players in the trip organized by Slavic societies from Vienna on 14–15 Au-
gust 1887 to the Moravian town of Kroměříž and to the pilgrimage place of
Hostýn. It was probably the first and maybe the only performance in the
Czech (or, more precisely, Moravian) territory.
On 8 November 1889 the tamburitza players enriched the programme
of the celebration of the 60th birthday of the choirmaster and composer
Konstantin Jahoda-Křtinský. He devoted to the Zvonimir tamburitza play-
ers his songs “Marcia” and “Potpourri ze slovanských národních písní”;
Zvonimir also performed other compositions by Jahoda.
The history of the societies SLOVANSKÁ BESEDA and SLOVANSKÝ
ZPĚVÁCKÝ SPOLEK is mainly known in connection with singing, thea-
tre, educational activities, language training, etc., and both societies were
among the oldest (Slovanská beseda still exists). The female partners of the
members of Slovanská beseda also longed for artistic activities and turned to
Zvonimir’s conductor Dobroslav Brlić. He complied with their wishes, and
founded and led a “tamburitza ensemble of twelve cute and beautiful, large-
ly Czech girls”.2 The “ensemble of beseda female tamburitza players” first
performed at the multi-day celebration of a quarter century of activity of
Slovanská beseda, namely on 31 May 1890. The ensemble gradually became
2 Matija Murko, Paměti [Memoirs] (Praha: F. Borový 1949), 122.
216
