Page 272 - 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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glasbene migracije: stičišče evropske glasbene raznolikosti
he worked in, although he did not manage to reach higher artistic levels. In
terms of style, Matějovsky’s pieces remain in the domain of his predeces-
sors’ works, which belong to a late variety of the early 20th century roman-
ticism typical of all South Slavic countries, the main style features of which
include the use of folk music, form of collection and rhapsody, and harmo-
nization in four-voice phrase.54
The composing practice which can partly be characterized as contin-
uous, includes the production of music for stage. The first Czech composer
who wrote so called, pieces with singing was František Matĕjovský. He com-
posed music for Aiša, the first piece with singing on a topic from Bosniaks’
life, which was premiered in the National Theatre in Sarajevo in 1923. Ma-
jer, Moor and Rožďalovský also composed music for theater while working
there as conductors of National Theaters ensembles.55
Compared to vocal and stage music, the production of which was
prompted by the needs of theatres and singing societies, instrumental piec-
es were composed more rarely. Still, there is an exception. Part of Sarajevo
concert repertoire included pieces by Julius Fučik, a fruitful Czech compos-
er whose world reputation is based on the popularity of his marches Floren-
tiner op. 214 and Einzug der Gladiatoren op. 68. Einzug der Gladiatoren was
composed among several dozens of works while Fučik was working as a
Kapellmeister of the 86th infantry regiment of the Austro-Hungarian army
in Sarajevo. Some of his composition’s titles point to the Bosnian origin
of the composer’s inspiration, such as: Bosnische Patroille op. 60 for piano
(1899), Sarajewo – Bosniaken op. 66 for piano (1899), Serenade Sarajewo op.
53, marsch for four-hands composed in Sarajevo, or Bosnischer Streifzug op.
238 for piano (1910) and Herzegowina op. 235 marsch for piano (1908) com-
posed in Budapest.56
Besides very important composing activity of Czech musicians, who
were the first composers in Bosnia, their work on collecting and study-
54 See Zdravko Verunica, “Franjo Maćojevski–“Bosanski Mokranjac”,” Muzika, I/1
(1997): 15–27 and Zijo Kučukalić, “Franjo Maćejovski,” Zvuk, 64 (1965): 463–467.
55 The list of works premiered in the National Theatre in Sarajevo, see in: Tamara
Sarajlić-Slavnić, “Repertoar praizvedbi i premijernih predstava drame (1921–
1996),” Narodno pozorište u Sarajevu: izložba 75 godina rada Narodnog pozorišta,
100 godina zgrade sa osvrtom na teatarski život Sarajeva prije osnivanja Pozorišta:
teatrografska studija Repertoar Pozorišta (1921–1996). Prilozi o razvoju Drame, Opere
i Baleta i teatarskom životu, ed. Tamara Sarajlić-Slavnić (Sarajevo: Muzej književne
i pozorišne umjetnosti BiH, 1998), 45–134.
56 The list of Fučik’s works see at: Musikverlag RUNDEL GmbH. “Julius Fučik,”
accessed on July 20, 2016. http://www.juliusfucik.de/werke.html.
270
he worked in, although he did not manage to reach higher artistic levels. In
terms of style, Matějovsky’s pieces remain in the domain of his predeces-
sors’ works, which belong to a late variety of the early 20th century roman-
ticism typical of all South Slavic countries, the main style features of which
include the use of folk music, form of collection and rhapsody, and harmo-
nization in four-voice phrase.54
The composing practice which can partly be characterized as contin-
uous, includes the production of music for stage. The first Czech composer
who wrote so called, pieces with singing was František Matĕjovský. He com-
posed music for Aiša, the first piece with singing on a topic from Bosniaks’
life, which was premiered in the National Theatre in Sarajevo in 1923. Ma-
jer, Moor and Rožďalovský also composed music for theater while working
there as conductors of National Theaters ensembles.55
Compared to vocal and stage music, the production of which was
prompted by the needs of theatres and singing societies, instrumental piec-
es were composed more rarely. Still, there is an exception. Part of Sarajevo
concert repertoire included pieces by Julius Fučik, a fruitful Czech compos-
er whose world reputation is based on the popularity of his marches Floren-
tiner op. 214 and Einzug der Gladiatoren op. 68. Einzug der Gladiatoren was
composed among several dozens of works while Fučik was working as a
Kapellmeister of the 86th infantry regiment of the Austro-Hungarian army
in Sarajevo. Some of his composition’s titles point to the Bosnian origin
of the composer’s inspiration, such as: Bosnische Patroille op. 60 for piano
(1899), Sarajewo – Bosniaken op. 66 for piano (1899), Serenade Sarajewo op.
53, marsch for four-hands composed in Sarajevo, or Bosnischer Streifzug op.
238 for piano (1910) and Herzegowina op. 235 marsch for piano (1908) com-
posed in Budapest.56
Besides very important composing activity of Czech musicians, who
were the first composers in Bosnia, their work on collecting and study-
54 See Zdravko Verunica, “Franjo Maćojevski–“Bosanski Mokranjac”,” Muzika, I/1
(1997): 15–27 and Zijo Kučukalić, “Franjo Maćejovski,” Zvuk, 64 (1965): 463–467.
55 The list of works premiered in the National Theatre in Sarajevo, see in: Tamara
Sarajlić-Slavnić, “Repertoar praizvedbi i premijernih predstava drame (1921–
1996),” Narodno pozorište u Sarajevu: izložba 75 godina rada Narodnog pozorišta,
100 godina zgrade sa osvrtom na teatarski život Sarajeva prije osnivanja Pozorišta:
teatrografska studija Repertoar Pozorišta (1921–1996). Prilozi o razvoju Drame, Opere
i Baleta i teatarskom životu, ed. Tamara Sarajlić-Slavnić (Sarajevo: Muzej književne
i pozorišne umjetnosti BiH, 1998), 45–134.
56 The list of Fučik’s works see at: Musikverlag RUNDEL GmbH. “Julius Fučik,”
accessed on July 20, 2016. http://www.juliusfucik.de/werke.html.
270
