Page 267 - 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. 267
the musical migration: czech musicians in sarajevo
František Matĕjovský31, Josef Rožďalovský, Jaroslav Plecitý32 and Josip Ma-
jer.33
In the late 19th century, so called reading rooms and singing societies
were cores of local population cultural life, while the activity of ensembles
within these societies were the main form of local population’s music cul-
ture. Choirs, or more rarely instrumental ensembles, operated exclusive-
ly on an amateur basis; however, the need to enrich their repertoire with
classical music pieces imposed the need to employ professional conduc-
tors. Contrary to the engagement in military bands and professional mu-
sic institutions, professional musicians within these societies forged strong-
er bonds with local population. The significance of their work is proved by
their number and the scope of work they were doing; besides conducting,
Czech musicians within amateur music societies also worked as music ped-
agogues, instrument players, composers, arrangers, and organizers. Profes-
sional musicians manage to make the local population familiar with a pre-
viously unknown music practice.
From 1878 to 1941, a great number of conductors and choir leaders
worked in Bosnia and Herzegovina, but one name stands apart. In the
course of his four-decade long career, František Matějovský led a great
number of choirs, and he can therefore be classified as one of the most ac-
tive choir leaders. In Sarajevo, he led choirs of Serbian singing society Slo-
ga (Srpsko pjevačko društvo Sloga), choir of the Croatian cultural society
Napredak (Hrvatsko kulturno društvo Napredak), choir of the Serbian ed-
ucational-cultural society Prosvjeta (Srpsko prosvjetno-kulturno društvo
Prosvjeta), choir of the Muslim cultural-educational society Gajret (Mus-
limasnko kulturno društvo Gajret), singing society Jukić (Pjevačko društ-
vo Jukić), Orthodox church choir in Sarajevo, and school choirs of high
schools he worked for. He received two awards for his work in this area; he
31 František Matějovský (Nehanice, 1871–Sarajevo, 1938) was educated at the Prague
Conservatoire. He came to Bosnia and Herzegovina in 1900. From 1900 to 1905 he
worked in Banja Luka as a choir leader, music teacher and regens chori in bishop’s
cathedral. He lived in Sarajevo since 1905, working as a choir leader, music teacher,
theatre conductor, accompanist and composer. His daughter Mirjana Matějovský
(1902–1928) attended Zagreb Conservatoire.
32 Jaroslav Plecitý (Kladno, 1901–Banja Luka, 1961) was educated at Prague Conserva-
toire. In Banja Luka, he worked as a theatre conductor, choir leader, composer, and a
music pedagogue.
33 The list of the conductors of the National Theater Orchestra according to Lešić, Sa-
rajevsko pozorište između dva rata, 1, 2 and printed yearbooks of the National The-
atre in Sarajevo published by the state printing house (Državna štamparija u Saraje-
vu, see References).
265
František Matĕjovský31, Josef Rožďalovský, Jaroslav Plecitý32 and Josip Ma-
jer.33
In the late 19th century, so called reading rooms and singing societies
were cores of local population cultural life, while the activity of ensembles
within these societies were the main form of local population’s music cul-
ture. Choirs, or more rarely instrumental ensembles, operated exclusive-
ly on an amateur basis; however, the need to enrich their repertoire with
classical music pieces imposed the need to employ professional conduc-
tors. Contrary to the engagement in military bands and professional mu-
sic institutions, professional musicians within these societies forged strong-
er bonds with local population. The significance of their work is proved by
their number and the scope of work they were doing; besides conducting,
Czech musicians within amateur music societies also worked as music ped-
agogues, instrument players, composers, arrangers, and organizers. Profes-
sional musicians manage to make the local population familiar with a pre-
viously unknown music practice.
From 1878 to 1941, a great number of conductors and choir leaders
worked in Bosnia and Herzegovina, but one name stands apart. In the
course of his four-decade long career, František Matějovský led a great
number of choirs, and he can therefore be classified as one of the most ac-
tive choir leaders. In Sarajevo, he led choirs of Serbian singing society Slo-
ga (Srpsko pjevačko društvo Sloga), choir of the Croatian cultural society
Napredak (Hrvatsko kulturno društvo Napredak), choir of the Serbian ed-
ucational-cultural society Prosvjeta (Srpsko prosvjetno-kulturno društvo
Prosvjeta), choir of the Muslim cultural-educational society Gajret (Mus-
limasnko kulturno društvo Gajret), singing society Jukić (Pjevačko društ-
vo Jukić), Orthodox church choir in Sarajevo, and school choirs of high
schools he worked for. He received two awards for his work in this area; he
31 František Matějovský (Nehanice, 1871–Sarajevo, 1938) was educated at the Prague
Conservatoire. He came to Bosnia and Herzegovina in 1900. From 1900 to 1905 he
worked in Banja Luka as a choir leader, music teacher and regens chori in bishop’s
cathedral. He lived in Sarajevo since 1905, working as a choir leader, music teacher,
theatre conductor, accompanist and composer. His daughter Mirjana Matějovský
(1902–1928) attended Zagreb Conservatoire.
32 Jaroslav Plecitý (Kladno, 1901–Banja Luka, 1961) was educated at Prague Conserva-
toire. In Banja Luka, he worked as a theatre conductor, choir leader, composer, and a
music pedagogue.
33 The list of the conductors of the National Theater Orchestra according to Lešić, Sa-
rajevsko pozorište između dva rata, 1, 2 and printed yearbooks of the National The-
atre in Sarajevo published by the state printing house (Državna štamparija u Saraje-
vu, see References).
265
