Page 234 - 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. 234
glasbene migracije: stičišče evropske glasbene raznolikosti
tria (e.g. Kornelije – his second collection of Serbian National Songs [Srb-
ske narodne pesme], and Jenko – his op. 3, Fr. Prešernove pesmi [Prešeren’s
Songs]). Those circumstances indicate that Jenko’s views and expectations
at that time might have gravitated towards one of the Pan–Slavic streams
whose goal was the unification of all Slavic nations under the leadership of
Russia.27
Leaving this delicate political issues aside, we can only presume that
during his Vienna years Jenko could not even have imagined the possibil-
ity of not being welcomed when he found himself finally back in Ljubljana
in 1862; working with and composing for the Vienna Slovene Singing So-
ciety (founded in 1859), Jenko put all his music knowledge, enthusiasm and
potential into imagining and creating a picture for the new, “genuine” Slo-
venian music identity. Ironically, for the author of the first Slovenian an-
them Forward! – Naprej!, and also for “the most popular Slovene musician
among Slovenes at that time”,28 there was no working position in the future
Slovenian capital. His departure from his native land was basically moti-
vated by economic reasons and personal disappointment, and this is why, in
1862, he decided to accept the modest but warm invitation from the small,
distant, eastern town of Pančevo, on the very border of Austro-Hungary
and the, still not fully liberated from Ottoman rule, Principality of Serbia.
In less than three years of his work with the Pančevo Serbian Church
Singing Society, permanently acting in the spirit of his, now fully matured,
Pan-Slavic ambitions, Davorin Jenko achieved notable results.29 By contin-
uing to collaborate with the Slovenian guild in Vienna and by also estab-
lishing cooperation with the singing society Kolo in Zagreb,30 he succeed-
ed to gather a rich library of scores that would become a role model and a
valuable source for the repertoires of other Slavic, not only Serbian, sing-
ing societies.
It was to his merit that Liturgy by Kornelije Stanković had its premiere
among Serbs in Pančevo, in 1863, at Easter.31 Moreover, participating reg-
ularly with the choir in services in the Church of Assumption, Jenko was
actually preparing himself for the next phase of his career, when he was
to lead the First Belgrade Singing Society choir in the main, patriarchal
27 See Cvetko, Davorin Jenko i njegovo doba, 22.
28 Ibid., 42.
29 More about Jenko’s work in Pančevo see: Mihovil Tomandl, Spomenica srpskog
crkvenog pevačkog društva (Pančevo: Napredak, 1930) [Cir.], 112–129.
30 Ibid., 112.
31 Ibid., 127.
232
tria (e.g. Kornelije – his second collection of Serbian National Songs [Srb-
ske narodne pesme], and Jenko – his op. 3, Fr. Prešernove pesmi [Prešeren’s
Songs]). Those circumstances indicate that Jenko’s views and expectations
at that time might have gravitated towards one of the Pan–Slavic streams
whose goal was the unification of all Slavic nations under the leadership of
Russia.27
Leaving this delicate political issues aside, we can only presume that
during his Vienna years Jenko could not even have imagined the possibil-
ity of not being welcomed when he found himself finally back in Ljubljana
in 1862; working with and composing for the Vienna Slovene Singing So-
ciety (founded in 1859), Jenko put all his music knowledge, enthusiasm and
potential into imagining and creating a picture for the new, “genuine” Slo-
venian music identity. Ironically, for the author of the first Slovenian an-
them Forward! – Naprej!, and also for “the most popular Slovene musician
among Slovenes at that time”,28 there was no working position in the future
Slovenian capital. His departure from his native land was basically moti-
vated by economic reasons and personal disappointment, and this is why, in
1862, he decided to accept the modest but warm invitation from the small,
distant, eastern town of Pančevo, on the very border of Austro-Hungary
and the, still not fully liberated from Ottoman rule, Principality of Serbia.
In less than three years of his work with the Pančevo Serbian Church
Singing Society, permanently acting in the spirit of his, now fully matured,
Pan-Slavic ambitions, Davorin Jenko achieved notable results.29 By contin-
uing to collaborate with the Slovenian guild in Vienna and by also estab-
lishing cooperation with the singing society Kolo in Zagreb,30 he succeed-
ed to gather a rich library of scores that would become a role model and a
valuable source for the repertoires of other Slavic, not only Serbian, sing-
ing societies.
It was to his merit that Liturgy by Kornelije Stanković had its premiere
among Serbs in Pančevo, in 1863, at Easter.31 Moreover, participating reg-
ularly with the choir in services in the Church of Assumption, Jenko was
actually preparing himself for the next phase of his career, when he was
to lead the First Belgrade Singing Society choir in the main, patriarchal
27 See Cvetko, Davorin Jenko i njegovo doba, 22.
28 Ibid., 42.
29 More about Jenko’s work in Pančevo see: Mihovil Tomandl, Spomenica srpskog
crkvenog pevačkog društva (Pančevo: Napredak, 1930) [Cir.], 112–129.
30 Ibid., 112.
31 Ibid., 127.
232
