Page 295 - 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. 295
bankers, medical doctors, teachers, priests, musicians, all czechs, kind gentlefolk ...”
programme and establish the necessary conditions for the music education
process.
Finally, Czech musicians made important contributions in the area of
musical journalism as well. Foerster, Karel Hoffmeister, Josip Michl and
others published numerous music articles and critiques in Slovenian dai-
ly newspapers and journals, and also issued music textbooks that primarily
served as teaching aids in their educational work. It should be noted, how-
ever, that the music journalism activities of Czech musicians in the Slovene
lands were – compared to other areas of their work – the least productive,
which can probably be attributed, among other things, to their slight diffi-
culties with written expression in a foreign language. However, with their
contributions (let us recall only Foerster’s Theoretical-practical singing and
piano schools, or Theory of harmony and basso continuo) they managed to
set guidelines for the further development of musical journalism in the Slo-
vene lands.
Role of Czech musicians in Slovenian music culture
in the 19th and early 20th centuries
It is therefore largely owing to Czech musicians that certain attempts were
made in the 19th and early 20th centuries towards professionalizing musi-
cal life in the Slovene lands, as they contributed in various fields to the es-
tablishment and functioning of the leading music institutions of that time.
Considering the extremely important role of Czech musicians, one can
observe in the period discussed, from the aspect of later national accounts
of Slovenian music history, a highly interesting paradox. The first Slove-
nian “national” opera, Gorenjski slavček (The Nightingale of Gorenjska),
was written by Czech composer Anton Foerster, its premiere was conduct-
ed by Czech conductor Hilarion Beníšek, its review after the performance
was written by Czech critic Karel Hoffmeister and, to top it off, the opera
was staged in the “Czech” theatre. Namely, the architects of the Ljubljana
Opera – Hráský and Hruby – were of Czech origin. What is more, Czech
friends from the Carniolan savings bank financed the greater part of the
new building’s construction. Following the fire that destroyed the old the-
atre in the beginning of 1887, Ljubljana received a new theatre building in
the autumn of 1892, which became the home of both the Slovenian and the
German Provincial Theatres.
293
programme and establish the necessary conditions for the music education
process.
Finally, Czech musicians made important contributions in the area of
musical journalism as well. Foerster, Karel Hoffmeister, Josip Michl and
others published numerous music articles and critiques in Slovenian dai-
ly newspapers and journals, and also issued music textbooks that primarily
served as teaching aids in their educational work. It should be noted, how-
ever, that the music journalism activities of Czech musicians in the Slovene
lands were – compared to other areas of their work – the least productive,
which can probably be attributed, among other things, to their slight diffi-
culties with written expression in a foreign language. However, with their
contributions (let us recall only Foerster’s Theoretical-practical singing and
piano schools, or Theory of harmony and basso continuo) they managed to
set guidelines for the further development of musical journalism in the Slo-
vene lands.
Role of Czech musicians in Slovenian music culture
in the 19th and early 20th centuries
It is therefore largely owing to Czech musicians that certain attempts were
made in the 19th and early 20th centuries towards professionalizing musi-
cal life in the Slovene lands, as they contributed in various fields to the es-
tablishment and functioning of the leading music institutions of that time.
Considering the extremely important role of Czech musicians, one can
observe in the period discussed, from the aspect of later national accounts
of Slovenian music history, a highly interesting paradox. The first Slove-
nian “national” opera, Gorenjski slavček (The Nightingale of Gorenjska),
was written by Czech composer Anton Foerster, its premiere was conduct-
ed by Czech conductor Hilarion Beníšek, its review after the performance
was written by Czech critic Karel Hoffmeister and, to top it off, the opera
was staged in the “Czech” theatre. Namely, the architects of the Ljubljana
Opera – Hráský and Hruby – were of Czech origin. What is more, Czech
friends from the Carniolan savings bank financed the greater part of the
new building’s construction. Following the fire that destroyed the old the-
atre in the beginning of 1887, Ljubljana received a new theatre building in
the autumn of 1892, which became the home of both the Slovenian and the
German Provincial Theatres.
293
