Page 290 - 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. 290
glasbene migracije: stičišče evropske glasbene raznolikosti
mention various Czech-Slovene support societies, Czech musicians were
coming to Slovenia at the turn of the century largely owing to the network
of informal (friendly, professional, etc.) contacts between the Czech and
Slovene contemporaries of that time. How this network of “confidential
men” was being woven is most accurately described by Josip Vošnjak.8 By
emphasizing Czech-Slovene reciprocity in the past and present, these types
of events among kinsmen ignited solidarity and a sense of connectedness.
These conceptual links soon brought concrete results and, particularly after
the permanent constitutional order came into effect in the Habsburg Mon-
archy, which allowed more social liberties, further intensified migrations
from the Czech to the Slovene lands.
Reasons for coming to the Slovene lands
Czech musicians as well as other Czech migrants mainly brought ideas and
knowledge to the Slovene lands from the economically and culturally more
developed Czech lands of the 19th century. In most cases they were warm-
ly welcomed by the inhabitants of the Slovene lands, and assimilated easi-
ly thanks to the established conceptual and other connections in their new
environment. They wrote letters to their compatriots, informing them of
the situation in their new environment and arousing their interest in the
Slovene lands. By emphasized Czech-Slovene reciprocity in the past, they
inspired solidarity and a sense of interconnectedness among them.
Among culture professionals, including numerous Czech actors, film
directors and other artists (painters such as Pavel Künl and Karel Klíč)9,
particularly Czech musicians massively came in the Slovene lands and usu-
ally accepted any kind of employment related to their musical activities.
Naturally they preferred to work for institutions that offered them regular
engagements and thus a permanent income. The only such institutions that
existed here in the early sixties were, besides a number of church institu-
tions, the Ljubljana Philharmonic Society and the Estates Theatre (later the
German Provincial Theatre) in Ljubljana.
In the sphere of music, certainly one of the most important reasons
for the increased number of Czech musicians arriving in the Slovene lands
was that there were too many of them in their homeland. Owing to the
enormous number of Czech musicians working abroad, the Prague Con-
servatory deservedly earned the title of “Conservatory of Europe” already
8 Josip Vošnjak, Spomini (Ljubljana: Slovenska matica, 1982).
9 Melik, “Češko-slovenski odnosi,” 121.
288
mention various Czech-Slovene support societies, Czech musicians were
coming to Slovenia at the turn of the century largely owing to the network
of informal (friendly, professional, etc.) contacts between the Czech and
Slovene contemporaries of that time. How this network of “confidential
men” was being woven is most accurately described by Josip Vošnjak.8 By
emphasizing Czech-Slovene reciprocity in the past and present, these types
of events among kinsmen ignited solidarity and a sense of connectedness.
These conceptual links soon brought concrete results and, particularly after
the permanent constitutional order came into effect in the Habsburg Mon-
archy, which allowed more social liberties, further intensified migrations
from the Czech to the Slovene lands.
Reasons for coming to the Slovene lands
Czech musicians as well as other Czech migrants mainly brought ideas and
knowledge to the Slovene lands from the economically and culturally more
developed Czech lands of the 19th century. In most cases they were warm-
ly welcomed by the inhabitants of the Slovene lands, and assimilated easi-
ly thanks to the established conceptual and other connections in their new
environment. They wrote letters to their compatriots, informing them of
the situation in their new environment and arousing their interest in the
Slovene lands. By emphasized Czech-Slovene reciprocity in the past, they
inspired solidarity and a sense of interconnectedness among them.
Among culture professionals, including numerous Czech actors, film
directors and other artists (painters such as Pavel Künl and Karel Klíč)9,
particularly Czech musicians massively came in the Slovene lands and usu-
ally accepted any kind of employment related to their musical activities.
Naturally they preferred to work for institutions that offered them regular
engagements and thus a permanent income. The only such institutions that
existed here in the early sixties were, besides a number of church institu-
tions, the Ljubljana Philharmonic Society and the Estates Theatre (later the
German Provincial Theatre) in Ljubljana.
In the sphere of music, certainly one of the most important reasons
for the increased number of Czech musicians arriving in the Slovene lands
was that there were too many of them in their homeland. Owing to the
enormous number of Czech musicians working abroad, the Prague Con-
servatory deservedly earned the title of “Conservatory of Europe” already
8 Josip Vošnjak, Spomini (Ljubljana: Slovenska matica, 1982).
9 Melik, “Češko-slovenski odnosi,” 121.
288
