Page 232 - 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
nomena connected to the issues of migration can be various and multi–fac-
eted. In order to demonstrate the distinctiveness of Jenko’s example, I will
recall, in more detail, several milestones in his life-path which qualified
him for discourses on migration, particularly when we discuss the ques-
tion of his role in spreading Pan-Slavic ideology through music and mu-
sic practice.
If we try to fix the first moments that connect Davorin Jenko with
Pan-Slavic ideas and their movement, research would lead us to the years
of 1850–1853, when he attended gymnasium in Ljubljana. Even then, young
Jenko – still Martin at that time – felt the repression and animosity of the
conservative school teacher Anton Globočnik (Globozhnik, 1825–1912),
who was strongly against these “progressive” views and actions that Jen-
ko shared with the group of his like-minded fellows.19 Although knowing
from his records – as Cvetko reported20 – that Jenko was not too interest-
ed in school courses in general, it was obvious that the main reasons for his
departure to Trieste were rooted in the political sphere.
Living and studying for four years (from 1854–1858) in Trieste, the larg-
est and most important Austrian coastal city inhabited, along with Ital-
ians, by several tens of thousands of Slavs, mostly Slovenians, Russians,
Serbs, Croats and Czechs,21 and, at the same time a city of very rich and
vivid cultural and musical life, Davorin Jenko started there to accumulate
his “transcultural capital” – to introduce into our narrative this important
term, first developed by Ulrike Hanna Meinhof and Anna Triandafyllidou,
in 2006.22 The fact that he got his first serious music lessons in Trieste was,
however, of the greatest importance for the future musician. However, what
was, perhaps, even more significant for the following stages in Jenko’s pro-
fessional path, was his acquaintance with the activities of his gymnasium
and 1914”. Doctoral dissertation (Summary). Musicological Annual, 45/1 (2009):
131–132]; Idem, “‘Slovenian music history’ or ‘History of music in Slovenia’. With
respect to the role of Czech musicians on musical culture in Slovenia in the 19th and the
beginning of the 20th century,” Musicological Annual, 45/1 (2009): 75–88; Idem, “The
Contribution of Czech Musicians to Nineteenth- and Early Twentieth-Century Musical
Life in Slovenia,” Musicologica Austriaca, 28 (2010): 75–88.
19 See Dragotin Cvetko, Davorin Jenko i njegovo doba, 7–8.
20 Ibid., 6–7.
21 About the Slavs and, particularly, Serbs in Trieste see: Dejan Medaković and Đorđe
Milošević, Serbs in the History of Trieste (Beograd: Jugoslovenska revija, 1987).
22 See Ulrike Hanna Meinhof and Anna Triandafyllidou, “Transcultural Europe. Cul-
tural Policy in a Changing Europe,” in Transcultural Europe. Cultural Policy in a
Changing Europe, eds. Ulrike Hanna Meinhof and Anna Triandafyllidou (New
York: Palgrave Macmillan, 2006): 3–24.
230
nomena connected to the issues of migration can be various and multi–fac-
eted. In order to demonstrate the distinctiveness of Jenko’s example, I will
recall, in more detail, several milestones in his life-path which qualified
him for discourses on migration, particularly when we discuss the ques-
tion of his role in spreading Pan-Slavic ideology through music and mu-
sic practice.
If we try to fix the first moments that connect Davorin Jenko with
Pan-Slavic ideas and their movement, research would lead us to the years
of 1850–1853, when he attended gymnasium in Ljubljana. Even then, young
Jenko – still Martin at that time – felt the repression and animosity of the
conservative school teacher Anton Globočnik (Globozhnik, 1825–1912),
who was strongly against these “progressive” views and actions that Jen-
ko shared with the group of his like-minded fellows.19 Although knowing
from his records – as Cvetko reported20 – that Jenko was not too interest-
ed in school courses in general, it was obvious that the main reasons for his
departure to Trieste were rooted in the political sphere.
Living and studying for four years (from 1854–1858) in Trieste, the larg-
est and most important Austrian coastal city inhabited, along with Ital-
ians, by several tens of thousands of Slavs, mostly Slovenians, Russians,
Serbs, Croats and Czechs,21 and, at the same time a city of very rich and
vivid cultural and musical life, Davorin Jenko started there to accumulate
his “transcultural capital” – to introduce into our narrative this important
term, first developed by Ulrike Hanna Meinhof and Anna Triandafyllidou,
in 2006.22 The fact that he got his first serious music lessons in Trieste was,
however, of the greatest importance for the future musician. However, what
was, perhaps, even more significant for the following stages in Jenko’s pro-
fessional path, was his acquaintance with the activities of his gymnasium
and 1914”. Doctoral dissertation (Summary). Musicological Annual, 45/1 (2009):
131–132]; Idem, “‘Slovenian music history’ or ‘History of music in Slovenia’. With
respect to the role of Czech musicians on musical culture in Slovenia in the 19th and the
beginning of the 20th century,” Musicological Annual, 45/1 (2009): 75–88; Idem, “The
Contribution of Czech Musicians to Nineteenth- and Early Twentieth-Century Musical
Life in Slovenia,” Musicologica Austriaca, 28 (2010): 75–88.
19 See Dragotin Cvetko, Davorin Jenko i njegovo doba, 7–8.
20 Ibid., 6–7.
21 About the Slavs and, particularly, Serbs in Trieste see: Dejan Medaković and Đorđe
Milošević, Serbs in the History of Trieste (Beograd: Jugoslovenska revija, 1987).
22 See Ulrike Hanna Meinhof and Anna Triandafyllidou, “Transcultural Europe. Cul-
tural Policy in a Changing Europe,” in Transcultural Europe. Cultural Policy in a
Changing Europe, eds. Ulrike Hanna Meinhof and Anna Triandafyllidou (New
York: Palgrave Macmillan, 2006): 3–24.
230
