Page 233 - 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
P. 233
davor in jenko between slovenian and ser bian music
music-teacher, Francesco Sinico (1810–1865) in the Serbian Orthodox Saint
Spyridon Church, where Sinico was leading the choir and conducting dur-
ing services.23 This was the place where Jenko was initially introduced to
Orthodox chant.
There is no doubt that Jenko’s personal insight into the traditional,
both folklore and church music heritage of South Slavs, had been gradu-
ally enlarged and enriched during his otherwise dynamic and fruitful Vi-
enna years (1859–1962). I will focus on just a few of the many notable facts.
For instance, it is quite obvious that Jenko, becoming Davorin in Vienna
(i.e. changing his common European name Martin into the purely Slavon-
ic Davorin), was in personal contact with Kornelije Stanković (1831–1865),
the first distinguished representative of early Romanticism among Serbian
musicians. According to Cvetko’s hypotheses,24 it is not excluded that both
of them studied under the same professor, Simon Sechter (1788–1867).25 On
the other hand, knowing how passionately Jenko joined the Vienna circle of
the Pan-Slavic oriented youth, it is hard to believe that he was not acquaint-
ed with the first distinguished results of Kornelije’s work of collecting Ser-
bian folk songs and the church tradition of Sremski Karlovci, as the major-
ity of these collections had been published before, or during, Jenko’s stay
in the Austrian capital.26 One other fact that connects Jenko and Korneli-
je exposes clearly their close ties with leading representatives of the Rus-
sian Empire in Austria: both of them devoted one of their printed opuses
to Viktor Petrovich Balabin (1811–1864), the Russian ambassador to Aus-
23 Sinico took many positions in Trieste: besides working in the gymnasium and as
regens chori of Saint Spyridon Church, he was a music-director of the Philharmonic-
dramatic Society (Societá filarmonico-drammatico), the town’s leading singing-
teacher and the organist at the Protestant and main Catholic church (Santa Maria
Maggiore). See Cvetko, Davorin Jenko i njegovo doba, 15.
24 Ibid., 16.
25 For details of S. Sechter’s biography see: Sechter, Simon (1788–1867) in Österreichisches
Biographisches Lexikon. 1815–1950, Bd. 12, Lfg. 55 (Wien: Ősterreichische Akademie
der Wissenschaften, 2001), 79–80. Or – online edition, accessed September 25, 2016:
http://www.biographien.ac.at/oebl/oebl_s/Sechter_Simon_1788_1867.xml, p. 78–79.
26 The first collection of Serbian National Songs [Srbske narodne pesme] Kornelije
Stanković was published in Vienna, in 1859. The second collection appeared in 1862,
the third, in 1863. His first Liturgy was performed in Vienna, in 1851, at the patri-
archal home of Josif Rajačić. Stanković’s second Liturgy had its premiere in 1852,
in the Vienna Greek church; later on, this Liturgy was dedicated by the compos-
er to the Pančevo Serbian Church Singing Society. Three collections of Serbian Or-
thodox chant (Pravoslavno crkveno pojanje u srbskoga naroda) Kornelije were also
published in Vienna, in 1862 (Liturgy), 1863 and 1864. See e.g. Đurić-Klajn, Istori-
jski razvoj muzičke kulture u Srbiji, 57.
231
music-teacher, Francesco Sinico (1810–1865) in the Serbian Orthodox Saint
Spyridon Church, where Sinico was leading the choir and conducting dur-
ing services.23 This was the place where Jenko was initially introduced to
Orthodox chant.
There is no doubt that Jenko’s personal insight into the traditional,
both folklore and church music heritage of South Slavs, had been gradu-
ally enlarged and enriched during his otherwise dynamic and fruitful Vi-
enna years (1859–1962). I will focus on just a few of the many notable facts.
For instance, it is quite obvious that Jenko, becoming Davorin in Vienna
(i.e. changing his common European name Martin into the purely Slavon-
ic Davorin), was in personal contact with Kornelije Stanković (1831–1865),
the first distinguished representative of early Romanticism among Serbian
musicians. According to Cvetko’s hypotheses,24 it is not excluded that both
of them studied under the same professor, Simon Sechter (1788–1867).25 On
the other hand, knowing how passionately Jenko joined the Vienna circle of
the Pan-Slavic oriented youth, it is hard to believe that he was not acquaint-
ed with the first distinguished results of Kornelije’s work of collecting Ser-
bian folk songs and the church tradition of Sremski Karlovci, as the major-
ity of these collections had been published before, or during, Jenko’s stay
in the Austrian capital.26 One other fact that connects Jenko and Korneli-
je exposes clearly their close ties with leading representatives of the Rus-
sian Empire in Austria: both of them devoted one of their printed opuses
to Viktor Petrovich Balabin (1811–1864), the Russian ambassador to Aus-
23 Sinico took many positions in Trieste: besides working in the gymnasium and as
regens chori of Saint Spyridon Church, he was a music-director of the Philharmonic-
dramatic Society (Societá filarmonico-drammatico), the town’s leading singing-
teacher and the organist at the Protestant and main Catholic church (Santa Maria
Maggiore). See Cvetko, Davorin Jenko i njegovo doba, 15.
24 Ibid., 16.
25 For details of S. Sechter’s biography see: Sechter, Simon (1788–1867) in Österreichisches
Biographisches Lexikon. 1815–1950, Bd. 12, Lfg. 55 (Wien: Ősterreichische Akademie
der Wissenschaften, 2001), 79–80. Or – online edition, accessed September 25, 2016:
http://www.biographien.ac.at/oebl/oebl_s/Sechter_Simon_1788_1867.xml, p. 78–79.
26 The first collection of Serbian National Songs [Srbske narodne pesme] Kornelije
Stanković was published in Vienna, in 1859. The second collection appeared in 1862,
the third, in 1863. His first Liturgy was performed in Vienna, in 1851, at the patri-
archal home of Josif Rajačić. Stanković’s second Liturgy had its premiere in 1852,
in the Vienna Greek church; later on, this Liturgy was dedicated by the compos-
er to the Pančevo Serbian Church Singing Society. Three collections of Serbian Or-
thodox chant (Pravoslavno crkveno pojanje u srbskoga naroda) Kornelije were also
published in Vienna, in 1862 (Liturgy), 1863 and 1864. See e.g. Đurić-Klajn, Istori-
jski razvoj muzičke kulture u Srbiji, 57.
231
