Page 452 - 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. 452
glasbene migracije: stičišče evropske glasbene raznolikosti
Vienna, joining there the broad circle of Slavic “progressive” youth, gath-
ered around the then real ideas of unifying all Slavic peoples. Resonating
artistically with these modern concepts very early on, Jenko continued his
ideological and musical mission in the, Austro-Hungary bordering town
of Pančevo, as a choir-master of the Serbian Church Choral Society (1862–
1865), and in the Serbian capital Belgrade, which became his second home
for many successful decades. Working there with the then leading choir
of the Belgrade Singing Society (1865–1877), as well as becoming the central
music figure of the Belgrade National Theatre (1871–1902), Jenko firmly es-
tablished his position in Serbia as “our Slovene”, or “our stranger”. In spite
of the fact that he was awarded the highest state awards and became one
of the first members of Serbian Royal Academy (1888) among musicians,
his ethnic and artistic identities were challenged many times. His strug-
gle for the versatile Slavic repertoire, which would include music by prom-
inent Czech, Croat, Slovene, Polish and Serbian composers, never stopped,
becoming respected in all Austro-Hungarian territories inhabited by Slav-
ic peoples and, at the turn of the century, his Pan-Slavic mission joined the
political and ideological stream of Yugoslavism. Leaving Belgrade in 1910,
Jenko died in Ljubljana, in his native “country”, in 1914.
Belonging both to the histories of Slovene and of Serbian music, Davorin
Jenko also belongs to the history of ideas on which the idea of the modern
Europe of the 20th century was created. One of the goals of this essay is to
show how important and fruitful Jenko’s role was in spreading Slavic music
repertoire from leading centres (Vienna, Prague, Ljubljana and Belgrade)
to the distant peripheries, in the turbulent times of the construction of na-
tional identities across Europe.
Keywords: musical migrations, Davorin Jenko, Pan-Slavism, First Belgrade
Singing Society
Katarina Trček Marušič
Musical migrations in 17th and 18th century Slovenian lands
Since the earliest times Slovenia has been very much a transit territory
crossed by numerous transitional routes, a factor that is also reflected in
this overview of musical migrations. This covers those travellers includ-
ed in the database of musical migrants who spent time on the territory of
present-day Slovenia in the seventeenth and eighteenth centuries. The da-
tabase includes all travellers with a connection to music, irrespective of the
duration of their stay in the Slovene lands (permanent or temporary mi-
450
Vienna, joining there the broad circle of Slavic “progressive” youth, gath-
ered around the then real ideas of unifying all Slavic peoples. Resonating
artistically with these modern concepts very early on, Jenko continued his
ideological and musical mission in the, Austro-Hungary bordering town
of Pančevo, as a choir-master of the Serbian Church Choral Society (1862–
1865), and in the Serbian capital Belgrade, which became his second home
for many successful decades. Working there with the then leading choir
of the Belgrade Singing Society (1865–1877), as well as becoming the central
music figure of the Belgrade National Theatre (1871–1902), Jenko firmly es-
tablished his position in Serbia as “our Slovene”, or “our stranger”. In spite
of the fact that he was awarded the highest state awards and became one
of the first members of Serbian Royal Academy (1888) among musicians,
his ethnic and artistic identities were challenged many times. His strug-
gle for the versatile Slavic repertoire, which would include music by prom-
inent Czech, Croat, Slovene, Polish and Serbian composers, never stopped,
becoming respected in all Austro-Hungarian territories inhabited by Slav-
ic peoples and, at the turn of the century, his Pan-Slavic mission joined the
political and ideological stream of Yugoslavism. Leaving Belgrade in 1910,
Jenko died in Ljubljana, in his native “country”, in 1914.
Belonging both to the histories of Slovene and of Serbian music, Davorin
Jenko also belongs to the history of ideas on which the idea of the modern
Europe of the 20th century was created. One of the goals of this essay is to
show how important and fruitful Jenko’s role was in spreading Slavic music
repertoire from leading centres (Vienna, Prague, Ljubljana and Belgrade)
to the distant peripheries, in the turbulent times of the construction of na-
tional identities across Europe.
Keywords: musical migrations, Davorin Jenko, Pan-Slavism, First Belgrade
Singing Society
Katarina Trček Marušič
Musical migrations in 17th and 18th century Slovenian lands
Since the earliest times Slovenia has been very much a transit territory
crossed by numerous transitional routes, a factor that is also reflected in
this overview of musical migrations. This covers those travellers includ-
ed in the database of musical migrants who spent time on the territory of
present-day Slovenia in the seventeenth and eighteenth centuries. The da-
tabase includes all travellers with a connection to music, irrespective of the
duration of their stay in the Slovene lands (permanent or temporary mi-
450
