Page 440 - 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. 440
glasbene migracije: stičišče evropske glasbene raznolikosti
the first soloists-guest performers in Europe. Lolli embodies the idea of the
Musical migrans. His youth was in the North of Italy. He studied, appar-
ently, in the case of Giuseppe Tartini. Then, in the year 1758, on the recom-
mendation of Padre Martini, he was soloist of the famous Stuttgart chapel,
where he worked together with Jomelli, Noverre, and Nardini. In the 1760s
he began his career with travelers, a virtuoso on the countries of Europe.
In the middle of the 1770’s, he came to St. Petersburg, where, with some in-
terruptions, for 8 years worked, and a big role in the development of the
Russian violin school played. After 1784 Lolli back in Italy, together with
Paisiello’s musical life in the Kingdom of Naples (1799), Neapolitan Repub-
lic. The return of the Bourbons, the cross on his career. Lolli was forced
to move to Sicily, where he lived in poverty the last years of his life. This is
just the basic outline of the events in connection with this Extraordinary
personality, which was called by Eduard Hanslick as “the precursor and a
model for Paganini and the spiritual father of all the violinist-virtuoso”.
Keywords: violin, Italian virtuoso, Russian music, theatre, concert, soloist
Fatima Hadžić
The musical migration: Czech musicians in Sarajevo
After occupation and annexation of Bosnia and Herzegovina by the Aus-
tro-Hungarian Empire, a development of Bosnian musical culture had turn
in the direction on the West-European music traditions. The main role in
this process was played by foreign musicians, especially the Czech musi-
cians. Professional Czech musicians were coming to Bosnia in order to get
a job in professional cultural institutions. Their engagement resulted from
the lack of local professionals in the area of musical culture. In Sarajevo, the
administrative, political, economic and cultural center of Bosnia and Her-
zegovina, where institutionalization of musical life gave its first results, they
were involved as conductors, music pedagogues, instrumentalists, compos-
ers and organizers. Although only a few of them remained in Sarajevo till
the end of their working life, Czech musicians left a visible trace in devel-
oping the musical culture of the West-European type. In Austro-Hungar-
ian period (1878–1918) they were present as Kapellmeisters of the military
bands stationed in Sarajevo, the first music teachers, conductors of the do-
mestic choirs of the national singing societies and composers. In the peri-
od between two world wars (1918–1941), Czech musicians acted within the
newly formed musical institutions as Kapellmeisters of the military orches-
tras of Yugoslav army, conductors at the National Theater Orchestra and
438
the first soloists-guest performers in Europe. Lolli embodies the idea of the
Musical migrans. His youth was in the North of Italy. He studied, appar-
ently, in the case of Giuseppe Tartini. Then, in the year 1758, on the recom-
mendation of Padre Martini, he was soloist of the famous Stuttgart chapel,
where he worked together with Jomelli, Noverre, and Nardini. In the 1760s
he began his career with travelers, a virtuoso on the countries of Europe.
In the middle of the 1770’s, he came to St. Petersburg, where, with some in-
terruptions, for 8 years worked, and a big role in the development of the
Russian violin school played. After 1784 Lolli back in Italy, together with
Paisiello’s musical life in the Kingdom of Naples (1799), Neapolitan Repub-
lic. The return of the Bourbons, the cross on his career. Lolli was forced
to move to Sicily, where he lived in poverty the last years of his life. This is
just the basic outline of the events in connection with this Extraordinary
personality, which was called by Eduard Hanslick as “the precursor and a
model for Paganini and the spiritual father of all the violinist-virtuoso”.
Keywords: violin, Italian virtuoso, Russian music, theatre, concert, soloist
Fatima Hadžić
The musical migration: Czech musicians in Sarajevo
After occupation and annexation of Bosnia and Herzegovina by the Aus-
tro-Hungarian Empire, a development of Bosnian musical culture had turn
in the direction on the West-European music traditions. The main role in
this process was played by foreign musicians, especially the Czech musi-
cians. Professional Czech musicians were coming to Bosnia in order to get
a job in professional cultural institutions. Their engagement resulted from
the lack of local professionals in the area of musical culture. In Sarajevo, the
administrative, political, economic and cultural center of Bosnia and Her-
zegovina, where institutionalization of musical life gave its first results, they
were involved as conductors, music pedagogues, instrumentalists, compos-
ers and organizers. Although only a few of them remained in Sarajevo till
the end of their working life, Czech musicians left a visible trace in devel-
oping the musical culture of the West-European type. In Austro-Hungar-
ian period (1878–1918) they were present as Kapellmeisters of the military
bands stationed in Sarajevo, the first music teachers, conductors of the do-
mestic choirs of the national singing societies and composers. In the peri-
od between two world wars (1918–1941), Czech musicians acted within the
newly formed musical institutions as Kapellmeisters of the military orches-
tras of Yugoslav army, conductors at the National Theater Orchestra and
438
