Page 264 - 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. 264
glasbene migracije: stičišče evropske glasbene raznolikosti
The professional musical institutions are mostly established in Sara-
jevo, so the largest number of professional musicians worked in Sarajevo.
Their activity can be viewed compared to general circumstances in the cul-
tural life, time and kind of activity they were involved in, as conductors or
instrumentalists in amateur or professional ensembles, musical educators,
composers or melographers.
Military band Kapellmeisters
The first professional musicians of Czech origin in Bosnia were military
musicians within military bands of Austro-Hungarian troops stationed
throughout the Austro-Hungarian Monarchy. Although concerts by the
Austro-Hungarian army military bands were intended for a narrow cir-
cle of listeners, military personnel and Austro-Hungarian public servants,
it was owing to the military Kapellmeisters that the bands fairly frequent-
ly performed for broader public. The fact that military bands’ concerts in
Sarajevo included premier performances of significant pieces of the Euro-
pean music literature confirms their special merits in the development of
concert life in the Austro-Hungarian period. With military music, Sarajevo
acquired its first symphony orchestra, as well as the first educated instru-
ment players, which were frequently the first or only music teachers, con-
ductors and composers.13
Military bands of the Austro-Hungarian army were internation-
al, as well as their repertoire, reflecting the national diversity of the Aus-
tro-Hungarian monarchy as a whole.14 During the Austro-Hungarian pei-
rod there were fiftheen military bands in Sarajevo15 conducted by seventeen
13 See Tünde Polomik, “Uloga vojnih orkestara u razvoju bosansko-hercegovačke
muzičke kulture u razdoblju austrougarske uprave,” Zvuk, 5 (1990): 49–61.
14 See Manfred Heidler, “‘Pod dvoglavim orlom’. Nacionalni identiteti u vojnoj muzi-
ci austro-ugarske monarhije,” Zbornik radova “Muzika u društvu,” 9. Međunarod-
ni simpozij, Sarajevo, 23–26. 10. 2014, ed. Fatima Hadžić (Sarajevo: Muzikološko
društvo FBiH, Muzička akademija Univerziteta u Sarajevu, 2016), 61–78.
15 List of military Kapellmeisters in Sarajevo according to Polomik, “Uloga vojnih ork-
estara u razvoju bosansko-hercegovačke muzičke kulture u razdoblju austrougarske
uprave,” 59 and Paćuka, Muzički život u Sarajevu u periodu austro-ugarske uprave
(1878–1918), 172. Biographical information (date and place of birth) according to
the list of members of retired military Kapellmeisters in: Anzenberger-Ramminger,
“České země a Penzijní spolek vojenských kapelníků,” Vojenská hudba v kultuře a
historii českých zemí, ed. Jitka Bajgarová (Praha: Etnologický ústav Akademie věd
České republiky, v. v. i., 2007), 249–262 and Anzenberger, “Militärkapellmeister der
österreichisch-ungarischen Monarchie (bis 1918),” accessed on March 1, 2016. http://
www.anzenberger.info/militaer.html.
262
The professional musical institutions are mostly established in Sara-
jevo, so the largest number of professional musicians worked in Sarajevo.
Their activity can be viewed compared to general circumstances in the cul-
tural life, time and kind of activity they were involved in, as conductors or
instrumentalists in amateur or professional ensembles, musical educators,
composers or melographers.
Military band Kapellmeisters
The first professional musicians of Czech origin in Bosnia were military
musicians within military bands of Austro-Hungarian troops stationed
throughout the Austro-Hungarian Monarchy. Although concerts by the
Austro-Hungarian army military bands were intended for a narrow cir-
cle of listeners, military personnel and Austro-Hungarian public servants,
it was owing to the military Kapellmeisters that the bands fairly frequent-
ly performed for broader public. The fact that military bands’ concerts in
Sarajevo included premier performances of significant pieces of the Euro-
pean music literature confirms their special merits in the development of
concert life in the Austro-Hungarian period. With military music, Sarajevo
acquired its first symphony orchestra, as well as the first educated instru-
ment players, which were frequently the first or only music teachers, con-
ductors and composers.13
Military bands of the Austro-Hungarian army were internation-
al, as well as their repertoire, reflecting the national diversity of the Aus-
tro-Hungarian monarchy as a whole.14 During the Austro-Hungarian pei-
rod there were fiftheen military bands in Sarajevo15 conducted by seventeen
13 See Tünde Polomik, “Uloga vojnih orkestara u razvoju bosansko-hercegovačke
muzičke kulture u razdoblju austrougarske uprave,” Zvuk, 5 (1990): 49–61.
14 See Manfred Heidler, “‘Pod dvoglavim orlom’. Nacionalni identiteti u vojnoj muzi-
ci austro-ugarske monarhije,” Zbornik radova “Muzika u društvu,” 9. Međunarod-
ni simpozij, Sarajevo, 23–26. 10. 2014, ed. Fatima Hadžić (Sarajevo: Muzikološko
društvo FBiH, Muzička akademija Univerziteta u Sarajevu, 2016), 61–78.
15 List of military Kapellmeisters in Sarajevo according to Polomik, “Uloga vojnih ork-
estara u razvoju bosansko-hercegovačke muzičke kulture u razdoblju austrougarske
uprave,” 59 and Paćuka, Muzički život u Sarajevu u periodu austro-ugarske uprave
(1878–1918), 172. Biographical information (date and place of birth) according to
the list of members of retired military Kapellmeisters in: Anzenberger-Ramminger,
“České země a Penzijní spolek vojenských kapelníků,” Vojenská hudba v kultuře a
historii českých zemí, ed. Jitka Bajgarová (Praha: Etnologický ústav Akademie věd
České republiky, v. v. i., 2007), 249–262 and Anzenberger, “Militärkapellmeister der
österreichisch-ungarischen Monarchie (bis 1918),” accessed on March 1, 2016. http://
www.anzenberger.info/militaer.html.
262
