Page 271 - 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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the musical migration: czech musicians in sarajevo
assistant of bassoon, Radomír Melmuka48, piano teacher, Jiři Ševčik49, bas-
soon teacher and Čestmir Dušek50, conductor.
Composers and Melographers
Until the 1950s, Bosnian composing was occasional practice by local and
foreign composers, with results of poor and uneven quality. Historical data
confirm the creative dimension of Czech musicians’ activity, since they
composed in various areas of stage, vocal, vocal-instrumental and instru-
mental music. Some of them are: Julius Fučik51, František Matějovský, Bo-
gomir Kačerovský52, Josip Majer, Karel Moor and Josef Rožďalovský.
During the Austro-Hungarian period, composing of choral pieces was
prompted by the establishment of a great number of singing societies. Choir
leaders were trying to enrich the singing societies’ nationally-tinged reper-
toire with their own compositions. Based on his own melographic record-
ings, Kačerovský composed choral compositions, which he collected and
published in Sarajevo. His collection U kolo! – Bosanske narodne pjesme in-
cludes 84 tunes adapted for the solo piano, which ranks this piece among
the largest collections of the kind in Bosnia and a broader region.53
František Matějovský can be singled out as a significant composer
whose about 130 composition opus includes numerous adaptations of folk
tunes, individually or in cycles. By his professional and technical character-
istics, Matějovský by far surpasses the average of the environment and time
48 From 1970 to 1973, Radomír Melmuka (Prague, 1938) worked as a piano teacher at
High school in Tuzla and piano teacher at Academy of Music in Sarajevo.
49 Jiři Ševčik (Prague, 1941) worked as a soloist of Symphony orchestra of Sarajevo
Broadcasting Organization, bassoon teacher at High school of music in Sarajevo,
and a lecturer in bassoon course at Academy of music in Sarajevo.
50 Čestmir Dušek (Tuzla, 1930–2016), a descendant of Czech immigrants, was educated
at the Academy of Music in Belgrade. He worked as a conductor, choir leader, music
pedagogue and composer.
51 From 1897 to 1900, Julius Fučik worked as a military Kapellmeister of the 86th
infantry regiment in Sarajevo, choir leader of the Männergesangverein singing
society, and conductor at immigrant amateurs’ associations in Sarajevo.
52 Bogomir Kačerovský (Litomyšl, 1873–Zagreb, 1945) was educated at the Croatian
Music Institute in Zagreb. From 1898 to 1917 he worked in Sarajevo as a music
teacher, solo cellist, conductor and composer.
53 See Zdravko Verunica, “Bogomir Kačerovsky (1872–1945) i njegovo mjesto u razvoju
muzičkog stvaralaštva u Bosni i Hercegovini,” Zbornik radova Muzičke akademije u
Sarajevu, 2, ed. Željka Stijačić (Sarajevo: Muzička akademija u Sarajevu, 1991), 15–27
and Milorad Milić, “Sarajevski period Bogomira Kačerovskog,” Muzika, II/2 (1998):
19–41.
269
assistant of bassoon, Radomír Melmuka48, piano teacher, Jiři Ševčik49, bas-
soon teacher and Čestmir Dušek50, conductor.
Composers and Melographers
Until the 1950s, Bosnian composing was occasional practice by local and
foreign composers, with results of poor and uneven quality. Historical data
confirm the creative dimension of Czech musicians’ activity, since they
composed in various areas of stage, vocal, vocal-instrumental and instru-
mental music. Some of them are: Julius Fučik51, František Matějovský, Bo-
gomir Kačerovský52, Josip Majer, Karel Moor and Josef Rožďalovský.
During the Austro-Hungarian period, composing of choral pieces was
prompted by the establishment of a great number of singing societies. Choir
leaders were trying to enrich the singing societies’ nationally-tinged reper-
toire with their own compositions. Based on his own melographic record-
ings, Kačerovský composed choral compositions, which he collected and
published in Sarajevo. His collection U kolo! – Bosanske narodne pjesme in-
cludes 84 tunes adapted for the solo piano, which ranks this piece among
the largest collections of the kind in Bosnia and a broader region.53
František Matějovský can be singled out as a significant composer
whose about 130 composition opus includes numerous adaptations of folk
tunes, individually or in cycles. By his professional and technical character-
istics, Matějovský by far surpasses the average of the environment and time
48 From 1970 to 1973, Radomír Melmuka (Prague, 1938) worked as a piano teacher at
High school in Tuzla and piano teacher at Academy of Music in Sarajevo.
49 Jiři Ševčik (Prague, 1941) worked as a soloist of Symphony orchestra of Sarajevo
Broadcasting Organization, bassoon teacher at High school of music in Sarajevo,
and a lecturer in bassoon course at Academy of music in Sarajevo.
50 Čestmir Dušek (Tuzla, 1930–2016), a descendant of Czech immigrants, was educated
at the Academy of Music in Belgrade. He worked as a conductor, choir leader, music
pedagogue and composer.
51 From 1897 to 1900, Julius Fučik worked as a military Kapellmeister of the 86th
infantry regiment in Sarajevo, choir leader of the Männergesangverein singing
society, and conductor at immigrant amateurs’ associations in Sarajevo.
52 Bogomir Kačerovský (Litomyšl, 1873–Zagreb, 1945) was educated at the Croatian
Music Institute in Zagreb. From 1898 to 1917 he worked in Sarajevo as a music
teacher, solo cellist, conductor and composer.
53 See Zdravko Verunica, “Bogomir Kačerovsky (1872–1945) i njegovo mjesto u razvoju
muzičkog stvaralaštva u Bosni i Hercegovini,” Zbornik radova Muzičke akademije u
Sarajevu, 2, ed. Željka Stijačić (Sarajevo: Muzička akademija u Sarajevu, 1991), 15–27
and Milorad Milić, “Sarajevski period Bogomira Kačerovskog,” Muzika, II/2 (1998):
19–41.
269
