Page 293 - 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. 293
bankers, medical doctors, teachers, priests, musicians, all czechs, kind gentlefolk ...”
where they worked primarily as choirmasters, organists, organ masters and
music teachers, many of them helping to raise the local music culture.
Czech musicians in the second half of the 19th century
in Slovenia
In the second half of the 19th century, similarly to the first, the function-
ing of certain leading musical institutions in the Slovene lands would have
been extremely difficult, if not impossible, without Czech musicians. Com-
pared to their Slovenian contemporaries, the main difference was that the
majority of Czech musicians were well-educated in music, having had the
opportunity to acquire the best higher musical education at one of the two
leading Czech institutions of higher musical education: the Prague Con-
servatory or the Organ School in Brno.
For the Czechs, a musical education encompassing several areas al-
lowed them a sufficient level of compositional autonomy even while adapt-
ing their compositional and technical solutions, to a larger or smaller de-
gree, to the then prevailing utilitarian-oriented concept of music culture
in the Slovene lands. As a result, they were not able to contribute as much
in the field of music composition as they probably could have in a creative-
ly more stimulating Czech environment. In spite of this, individuals such
as Anton Foerster (uncle of Josef Bohuslav Foerster, who was better known
in the Czech lands), Emerik Beran, a Czech living in Maribor who signif-
icantly contributed to the field of chamber music, Karel Hoffmeister, lat-
er of the State Conservatory in Prague, Josip Procházka, piano professor at
the previously mentioned institution, and many others whose piano com-
positions, choirs and solo songs essentially co-shaped the image of concert
events, as well as the music supplements of certain leading Slovenian music
journals in the 19th and early 20th centuries (particularly Cerkveni glasbenik
/ Church Musician and Novi akordi / New Chords). Upon issuing the first
edition of Novi akordi in 1901, its editor Gojmir Krek half-jokingly com-
mented that especially in recent times one can observe “the strange appari-
tion of Czech-Slovene musicians.”15
Despite the national connotation, Czech musicians cooperated with
practically all music institutions in the Slovene lands in the 19th and early
20th centuries. Without musicians such as, e.g., Anton Nedvěd, or the pre-
viously mentioned Jan Lego and Henrik Korel, one can hardly imagine the
15 Gojmir Krek, Novi akordi, 2 (1902): 3.
291
where they worked primarily as choirmasters, organists, organ masters and
music teachers, many of them helping to raise the local music culture.
Czech musicians in the second half of the 19th century
in Slovenia
In the second half of the 19th century, similarly to the first, the function-
ing of certain leading musical institutions in the Slovene lands would have
been extremely difficult, if not impossible, without Czech musicians. Com-
pared to their Slovenian contemporaries, the main difference was that the
majority of Czech musicians were well-educated in music, having had the
opportunity to acquire the best higher musical education at one of the two
leading Czech institutions of higher musical education: the Prague Con-
servatory or the Organ School in Brno.
For the Czechs, a musical education encompassing several areas al-
lowed them a sufficient level of compositional autonomy even while adapt-
ing their compositional and technical solutions, to a larger or smaller de-
gree, to the then prevailing utilitarian-oriented concept of music culture
in the Slovene lands. As a result, they were not able to contribute as much
in the field of music composition as they probably could have in a creative-
ly more stimulating Czech environment. In spite of this, individuals such
as Anton Foerster (uncle of Josef Bohuslav Foerster, who was better known
in the Czech lands), Emerik Beran, a Czech living in Maribor who signif-
icantly contributed to the field of chamber music, Karel Hoffmeister, lat-
er of the State Conservatory in Prague, Josip Procházka, piano professor at
the previously mentioned institution, and many others whose piano com-
positions, choirs and solo songs essentially co-shaped the image of concert
events, as well as the music supplements of certain leading Slovenian music
journals in the 19th and early 20th centuries (particularly Cerkveni glasbenik
/ Church Musician and Novi akordi / New Chords). Upon issuing the first
edition of Novi akordi in 1901, its editor Gojmir Krek half-jokingly com-
mented that especially in recent times one can observe “the strange appari-
tion of Czech-Slovene musicians.”15
Despite the national connotation, Czech musicians cooperated with
practically all music institutions in the Slovene lands in the 19th and early
20th centuries. Without musicians such as, e.g., Anton Nedvěd, or the pre-
viously mentioned Jan Lego and Henrik Korel, one can hardly imagine the
15 Gojmir Krek, Novi akordi, 2 (1902): 3.
291
