Page 220 - 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
Although the Serbian academic society ZORA (SRPSKA ZORA) was
established in 1863, I found that the first performance of its tamburitza sec-
tion was on 13 March 1906 (the society also had a choir): it was then – proba-
bly for the first time – that the tamburitza players performed at a concert of
the Slovanský zpěvácký spolek society.
A similar form of cooperation also took place with the Slovanská bese-
da society. At the peak of its activities, it performed, for example, at the
South-Slavic academic evening organized on 8 June 1907 by the societies
Slovenija, Danica, Sava, Zvonimir, Jadran, Zora and Balkan).
Another academic society, in this case Croatian-Catholic, was HR-
VATSKA. So far, I have found only one mention of the existence of the Cro-
atian tamburitza association in Osijek:
“In 1888 tamburitza music was played in Vienna, and during the
World Exposition and the time after it tamburitza ensembles spread
throughout Austria, especially in Burgenland. This is how the Bur-
genland Croatians came into contact with tambura – indirectly
through their students in Vienna and Zagreb. The Croatians had
two tamburitza ensembles in Vienna at that time: ‘Hrvatska’ and
‘Prosvjeta’”.3
The history of the tamburitza section of the ZVEZDA/ZVEZDE society
is not yet sufficiently known; I have found only one mention of this society,
in the annual report Slovanská beseda for 1909. It states that the tamburitza
players of the Zvezda/Zvezde society performed under the leadership of
Stanko Pirnat at Slovanská beseda or, more precisely, at its Jihoslovanský
klub (South-Slavic Club).
This concludes the part devoted to South-Slavic and pan-Slavic societies
in Vienna. The Czech-Viennese composer Konstantin Alois Jahoda-Křtin-
ský mentioned above maintained contact with the South-Slavic musicians
in Vienna, both thanks to his membership in Slovanská beseda and Slovan-
ský spolek, but also thanks to his collaboration with purely South-Slavic so-
cieties.
A truly “Czech branch” of the Viennese tamburitza scene was formed
shortly before 1900, but it is connected with the name Robert Volánek (junior)
and the tamburitza section (established by him) of the TOVAČOVSKÝ sing-
ers’ society. Given the high level of interpretation and the duration of its
3 Accessed on March 1, 2016, http://hrvatskenovine.at/clanak/15-10-2010/tamburaski-
orkestar-ivan-vukovic-i-s-primjerom-panonske-impresije.
218
Although the Serbian academic society ZORA (SRPSKA ZORA) was
established in 1863, I found that the first performance of its tamburitza sec-
tion was on 13 March 1906 (the society also had a choir): it was then – proba-
bly for the first time – that the tamburitza players performed at a concert of
the Slovanský zpěvácký spolek society.
A similar form of cooperation also took place with the Slovanská bese-
da society. At the peak of its activities, it performed, for example, at the
South-Slavic academic evening organized on 8 June 1907 by the societies
Slovenija, Danica, Sava, Zvonimir, Jadran, Zora and Balkan).
Another academic society, in this case Croatian-Catholic, was HR-
VATSKA. So far, I have found only one mention of the existence of the Cro-
atian tamburitza association in Osijek:
“In 1888 tamburitza music was played in Vienna, and during the
World Exposition and the time after it tamburitza ensembles spread
throughout Austria, especially in Burgenland. This is how the Bur-
genland Croatians came into contact with tambura – indirectly
through their students in Vienna and Zagreb. The Croatians had
two tamburitza ensembles in Vienna at that time: ‘Hrvatska’ and
‘Prosvjeta’”.3
The history of the tamburitza section of the ZVEZDA/ZVEZDE society
is not yet sufficiently known; I have found only one mention of this society,
in the annual report Slovanská beseda for 1909. It states that the tamburitza
players of the Zvezda/Zvezde society performed under the leadership of
Stanko Pirnat at Slovanská beseda or, more precisely, at its Jihoslovanský
klub (South-Slavic Club).
This concludes the part devoted to South-Slavic and pan-Slavic societies
in Vienna. The Czech-Viennese composer Konstantin Alois Jahoda-Křtin-
ský mentioned above maintained contact with the South-Slavic musicians
in Vienna, both thanks to his membership in Slovanská beseda and Slovan-
ský spolek, but also thanks to his collaboration with purely South-Slavic so-
cieties.
A truly “Czech branch” of the Viennese tamburitza scene was formed
shortly before 1900, but it is connected with the name Robert Volánek (junior)
and the tamburitza section (established by him) of the TOVAČOVSKÝ sing-
ers’ society. Given the high level of interpretation and the duration of its
3 Accessed on March 1, 2016, http://hrvatskenovine.at/clanak/15-10-2010/tamburaski-
orkestar-ivan-vukovic-i-s-primjerom-panonske-impresije.
218
