Page 292 - 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. 292
glasbene migracije: stičišče evropske glasbene raznolikosti
ture, and their endeavours in the area of musical craftsmanship are also not
negligible. For example, the Czech organ master Andrej Ferdinand Mala-
hovski made more than 35 different instruments in his workshop in Ljublja-
na for numerous churches in the Slovene lands.11 Special mention should
also be made of their compositional endeavours. Some of their composi-
tions, such as the symphonies of František Josef Benedikt Dusík, represent-
ed an initial contribution to the tradition of individual music genres in the
Slovene lands.12 With their dedicated work, they maintained a high level
of performance during important events, such as the second of three con-
gresses of the Holy Alliance at the beginning of 1821 in Ljubljana (and af-
terwards), which transformed the capital city of Carniola into the centre
of European politics for a good four months. The Czech bandmaster and
composer Gašpar Mašek had the central role in the area of music. The mer-
it therefore goes especially to them for raising the quality of philharmonic
concerts, as well as the organisational work and stagings of certain operas
at the Estates Theatre (for example, Rossini’s Otello, staged in 1820, was pre-
miered in Vienna and Prague a year earlier than in Ljubljana, and a year af-
terwards in Berlin, Paris and London)13. Such concerts and opera produc-
tions allowed Ljubljana’s audiences to become acquainted with some of the
most recent compositions, including Beethoven’s symphonies, already in
the first decades of the 19th century.14 Although not all the teaching achieve-
ments of Czech musicians in the first half of the 19th century in the Slovene
lands can be considered equally important, they nevertheless greatly con-
tributed to the education of Slovene youth in the areas of composition, mu-
sical performance and teaching. The majority of them worked at the music
school of the Philharmonic Society in Ljubljana. Precisely 200 years ago the
first public music school in the Slovene lands began to operate at a Ljublja-
na elementary school under the leadership of a Czech, Franc Sokol. Worth
mentioning is also their contribution in individual local environments,
11 Stanko Premrl, “Nekoliko statistike o orglah v ljubljanski škofiji,” Cerkveni glasbenik,
3 (1918): 30.
12 Matjaž Barbo, František Josef Benedikt Dusík (Ljubljana: Znanstvena založba Filo-
zofske fakultete Univerze v Ljubljani, 2009), 79.
13 Jože Sivec, Opera na ljubljanskih odrih od klasicizma do 20. stoletja. Izbrana poglavja
(Ljubljana: ZRC SAZU, 2010), 64.
14 Gašpar Mašek was one of the first performers of Beethoven's symphonies in the
Slovene lands. Primož Kuret, Ljubljanska filharmonična družba 1794‒1919. Kronika
ljubljanskega glasbenega življenja v stoletju meščanov in revolucij (Ljubljana: Založba
Nova revija, 2006), 491.
290
ture, and their endeavours in the area of musical craftsmanship are also not
negligible. For example, the Czech organ master Andrej Ferdinand Mala-
hovski made more than 35 different instruments in his workshop in Ljublja-
na for numerous churches in the Slovene lands.11 Special mention should
also be made of their compositional endeavours. Some of their composi-
tions, such as the symphonies of František Josef Benedikt Dusík, represent-
ed an initial contribution to the tradition of individual music genres in the
Slovene lands.12 With their dedicated work, they maintained a high level
of performance during important events, such as the second of three con-
gresses of the Holy Alliance at the beginning of 1821 in Ljubljana (and af-
terwards), which transformed the capital city of Carniola into the centre
of European politics for a good four months. The Czech bandmaster and
composer Gašpar Mašek had the central role in the area of music. The mer-
it therefore goes especially to them for raising the quality of philharmonic
concerts, as well as the organisational work and stagings of certain operas
at the Estates Theatre (for example, Rossini’s Otello, staged in 1820, was pre-
miered in Vienna and Prague a year earlier than in Ljubljana, and a year af-
terwards in Berlin, Paris and London)13. Such concerts and opera produc-
tions allowed Ljubljana’s audiences to become acquainted with some of the
most recent compositions, including Beethoven’s symphonies, already in
the first decades of the 19th century.14 Although not all the teaching achieve-
ments of Czech musicians in the first half of the 19th century in the Slovene
lands can be considered equally important, they nevertheless greatly con-
tributed to the education of Slovene youth in the areas of composition, mu-
sical performance and teaching. The majority of them worked at the music
school of the Philharmonic Society in Ljubljana. Precisely 200 years ago the
first public music school in the Slovene lands began to operate at a Ljublja-
na elementary school under the leadership of a Czech, Franc Sokol. Worth
mentioning is also their contribution in individual local environments,
11 Stanko Premrl, “Nekoliko statistike o orglah v ljubljanski škofiji,” Cerkveni glasbenik,
3 (1918): 30.
12 Matjaž Barbo, František Josef Benedikt Dusík (Ljubljana: Znanstvena založba Filo-
zofske fakultete Univerze v Ljubljani, 2009), 79.
13 Jože Sivec, Opera na ljubljanskih odrih od klasicizma do 20. stoletja. Izbrana poglavja
(Ljubljana: ZRC SAZU, 2010), 64.
14 Gašpar Mašek was one of the first performers of Beethoven's symphonies in the
Slovene lands. Primož Kuret, Ljubljanska filharmonična družba 1794‒1919. Kronika
ljubljanskega glasbenega življenja v stoletju meščanov in revolucij (Ljubljana: Založba
Nova revija, 2006), 491.
290
