Page 249 - 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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from “baggage culture” to universally accepted cultural commitment ...
irritating was the insight that the crucial segments of the society and the
pillars of state order remained underdeveloped despite the huge propagan-
da relying upon the so-called civilization element. Thus, until the end of
occupation, Sarajevo and B&H did not have their own state parliament,
university or any institution of a higher rank.11 Besides, the propagated con-
temporary spirit showed signs of weakness in its first contacts attempting
to express national freedoms, which is why censure and strict control were
a usual occurrence in all spheres of public activity. In a word, state invest-
ments into infrastructure and the “concern” of the Austro-Hungarian ap-
paratus for B&H welfare were experienced as an imposed element, while
the idea of the city’s transformation was in sharp opposition with the local
population’s desires. On top of that, the changes also included exploitation,
since the development of communications resulted in a more efficient use
of B&H’s natural resources.
The First Impulses of the Western European Musical Life
The described conditions could apply to the developments in the musical
life as well, since it evolved as a result of the general changes in sociopolit-
ical conditions. The Western European music culture was mainly trans-
ferred by immigrants: soldiers, doctors, merchants, teachers, etc. who be-
gan to organize the first musical parties and performances for their own
needs in their parlors after the model of other centers in the Monarchy. The
first hosts of parlor socializing included rich and reputable Austro-Hun-
garian officials, such as Baron Appel, Feodor Nikolić, Hugo Kutschera, etc.,
as well as soldiers and officers, who also organized the first concert events
in the Militar Casino [Vojni kasino] and the Sarajevo City Hall [Vijećnica
grada Sarajeva].12 Upon the construction of the first concert halls such as
the Community Center [Društveni dom] and city pavilions, musical events
spread beyond parlors, and thus a prerequisite was created for more fre-
quent visits by foreign artists, who presented both all-evening recitals and
projections of opera and operetta pieces. The concert segment of the musi-
cal life of Sarajevo grew daily, with foreigners as the main players in profes-
sional musical activities.13
11 Okey, Taming Balkan Nationalism, 222.
12 The first concert of Western-European type in Sarajevo was organized in Milita-
ry Casino on December 11 1881. Anonym., Sarajevski list, Koncert u kasini – Mali
vjesnik, December 14, 1881, 2.
13 Paćuka, Muzički život u Sarajevu u periodu Austro-Ugarske uprave (1878–1918), 69–
70.
247
irritating was the insight that the crucial segments of the society and the
pillars of state order remained underdeveloped despite the huge propagan-
da relying upon the so-called civilization element. Thus, until the end of
occupation, Sarajevo and B&H did not have their own state parliament,
university or any institution of a higher rank.11 Besides, the propagated con-
temporary spirit showed signs of weakness in its first contacts attempting
to express national freedoms, which is why censure and strict control were
a usual occurrence in all spheres of public activity. In a word, state invest-
ments into infrastructure and the “concern” of the Austro-Hungarian ap-
paratus for B&H welfare were experienced as an imposed element, while
the idea of the city’s transformation was in sharp opposition with the local
population’s desires. On top of that, the changes also included exploitation,
since the development of communications resulted in a more efficient use
of B&H’s natural resources.
The First Impulses of the Western European Musical Life
The described conditions could apply to the developments in the musical
life as well, since it evolved as a result of the general changes in sociopolit-
ical conditions. The Western European music culture was mainly trans-
ferred by immigrants: soldiers, doctors, merchants, teachers, etc. who be-
gan to organize the first musical parties and performances for their own
needs in their parlors after the model of other centers in the Monarchy. The
first hosts of parlor socializing included rich and reputable Austro-Hun-
garian officials, such as Baron Appel, Feodor Nikolić, Hugo Kutschera, etc.,
as well as soldiers and officers, who also organized the first concert events
in the Militar Casino [Vojni kasino] and the Sarajevo City Hall [Vijećnica
grada Sarajeva].12 Upon the construction of the first concert halls such as
the Community Center [Društveni dom] and city pavilions, musical events
spread beyond parlors, and thus a prerequisite was created for more fre-
quent visits by foreign artists, who presented both all-evening recitals and
projections of opera and operetta pieces. The concert segment of the musi-
cal life of Sarajevo grew daily, with foreigners as the main players in profes-
sional musical activities.13
11 Okey, Taming Balkan Nationalism, 222.
12 The first concert of Western-European type in Sarajevo was organized in Milita-
ry Casino on December 11 1881. Anonym., Sarajevski list, Koncert u kasini – Mali
vjesnik, December 14, 1881, 2.
13 Paćuka, Muzički život u Sarajevu u periodu Austro-Ugarske uprave (1878–1918), 69–
70.
247
