Glazba i glazbenici: na području bivše Dubrovačke Republike za vrijeme austrijske uprave (1814.-1918.)
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| Beteilige Person: | |
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| Format: | Buch |
| Sprache: | Kroatisch |
| Veröffentlicht: |
Dubrovnik
Udruga "Stara dubrovačka glazba"
2016
|
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029004656&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029004656&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | Englische Zusammenfassung |
| Umfang: | 646 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9789535788911 |
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Datensatz im Suchindex
| _version_ | 1819276211806797824 |
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| adam_text | SADRZAJ
PREDGOVOR........................................................................5
I. UVOD..........................................................................7
II. IZVORI......................................................................13
II/1 Slojevitost povijesnih izvora.........................................13
II/2 Dubrovacki glazbeni arhivi............................................13
II/3 Glazbeni arhiv Samostana Male brace...................................14
II/4 Glazbeni arhiv dubrovacke katedrale...................................18
II/5 Glazbeni arhiv Biskupskog sjemenista..................................19
II/6 Historijski arhiv.....................................................20
II/7 Nestali i zabaceni arhivi.............................................20
II/8 Ostavstine muzikologa.................................................21
II/9 Literarni izvori.................................................. 22
III. SUDBINA ZATECENIH GLAZBENIH INSTITUCIJA ...................................23
III/1 Glazbeni zivot neposredno prije francuske okupacije..................23
III/2 Glazbene institucije u Dubrovniku pocetkom XVIII. stoljeca...........23
III/4 Utrnuce Knezeve kapele...............................................25
III/5 Utrnuce Gradske glazbe...............................................26
III/6 Utrnuce Simfonijskog orkestra........................................26
III/7 Utrnuce Gradanskog kazalista.........................................27
III/8 Utrnuce Glazbene skole...............................................30
III/9 Raspustanje Katedralne kapele........................................31
III/10 Sudbina folklornih i drugih udruga..................................31
III/11 Sudbina Crkvenih bratovstina...................................... 32
IV. PONOVNO OZIVLJAVANJE GLAZBENOG ZIVOTA......................................35
IV/1 Izgradnja novog (vojvodskog) kazalista................................35
IV/2 Francuzi zauvijek gube Dalmaciju......................................36
V. GLAZBA ZA VRIJEME AUSTRIJSKE UPRAVE........................................37
V/l Dalmacija ponovno pod austrijskom upravom..............................37
V/2 Kulturna politika austrijske vlade.....................................38
V/3 Problem javnog kazalista...............................................39
V/4 Dubrovacko „Guceticevo“ kazaliste......................................39
V/5 (Cetvrto) dubrovacko „Bondino“ kazaliste...............................40
V/6 Sokolsko kazaliste.....................................................42
VI. DUBROVACKE STARE KAFANE.....................................................43
VI/1 Kafana „Zvicera“......................................................43
VI/2 Kafana „Birimisa“.....................................................43
VI/3 Gradska kafana........................................................44
VII. DUBROVACKE STARE DVORANE...................................................45
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Miho Demovic: Glazba i glazbenici
VII/1 Drustvene dvorane.......................................................45
VII/2 Dvorana „Casina“ na Pilama..............................................46
VII/3 Dvorana palace Mate Pucica..............................................46
VII/4 Dvorana u dvorcu obitelji Sorkocevic u Komolcu..........................47
VII/5 Dvorana Hrvatske radnicke zadruge.......................................47
VII/6 Dvorana Hrvatskog sokola (Sokolana).....................................48
VII/7 Dvorana (starog) Biskupskog sjemenista..................................48
VII/8 Dvorana Katolickog drustva „Boskovic“...................................50
VII/9 Dvorana Hrvatske zenske zadruge.........................................51
VII/10 Dvorana oficirskog doma................................................51
VII/11 Ostale dvorane.........................................................52
VIII. DUBROVACKE POZORNICE NA OTVORENOM..............................................53
VIII/1 Tradicija odrzavanja priredbi na otvorenom ............................53
VIII/2 Pozornica na vrtnoj terasi ispred kafane na Pilama.....................53
VIII/3 Pozornica u parku „Gradac“.............................................55
VIII/4 Pozornica u vrtnoj terasi hotela „Imperial“............................55
IX. KAZALlSNO - GLAZBENA DJELATNOST ...............................................61
IX/1 Nosioci glazbeno - kazalisnog zivota za austrijske uprave................61
IX/2 Izvedbe dubrovackih gimnazijalaca........................................61
IX/3 Dacko teatralno drustvo..................................................64
IX/4 Dubrovacki kazalisni diletanti...........................................65
IX/5 Kazalisni odbor..........................................................66
IX/6 Gostovanja talijanskih opernih druzina...................................67
IX/7 Kazalisna druzina za Hrvatsko primorje...................................68
IX/8 Gostovanja domacih kazalisnih druzina....................................70
IX/9 Gostovanje osjeckog kazalista............................................72
IX/10 Gostovanja kafanskih kapela.............................................72
IX/11 Akademije Ilirske citaonice.............................................72
X. AUSTRIJSKA VOJNA GLAZBA..........................................................75
X/l Prapovijest vojnih glazbi.................................................75
X/2 Vojna glazbala u antici...................................................75
X/3 Srednjovjekovni vojni sviraci.............................................75
X/4 Europski vojni orkestri u XIX. stoljecu...................................76
X/5 Vojni glazbenici za vrijeme francuske uprave..............................77
X/6 Vojne glazbene postrojbe austrijske carevine..............................77
X/7 Vojne muzike i zborni stozeri austrijske vojske...........................80
X/8 Vojne kapele austrijske vojske u Hrvatskoj................................80
X/9 Teskoce pri istrazivanju proslosti austrijske vojne glazbe u Dubrovniku ...80
X/10 Prve vijesti o austrijskim vojnim glazbenicima u Dubrovniku..............82
X/ll Nove kasarne.............................................................83
X/12 Vojna glazba, garnizonski orkestar u domobranska glazba..................84
X/13 Domobranska glazba ......................................................86
X/14 Ogledni nastupi u godini 1912............................................86
X/l5 Glazbeni repertoire.................................................... 88
X/16 Zlatno doba austrijske vojne glazbe u Dubrovniku.........................89
X/l7 Izvedene skladbe.........................................................91
X/18 Crkveno pjevanje uz pratnju vojnog orkestra..............................92
SADRZAJ
6
X/19 Izvrsnost austrijskih vojnih glazbi u Dubrovniku.......................94
X/20 Glazbeni oblik izvedenih skladbi.......................................95
X/21 Vojni kapelnici........................................................96
X/22 Doprinos austrijskih vojnih glazbenika razvoju glazbenog zivota u Dubrovniku ..97
XI. PONOVNI USTROJ GRADANSKE GLAZBE.................................................99
XI/1 Dubrovnik bez gradske glazbe...........................................99
XI/2 Gradanska glazba za vrijeme austrijske uprave..........................99
XI/3 Glazba Dubrovacke radnicke zadruge....................................100
XI/4 Dubrovacka gradanska muzika...........................................101
XI/5 Autonomastvo u Dalmaciji i glazba.....................................102
XI/6 Glazbeno drustvo „Circolo filarmónico Raguseo“........................103
XI/7 Hrvatska opcinska glazba..............................................103
XI/8 Glazba Hrvatskog pjevackog drustva Gundulic...........................104
XI/9 Kako je nastala Gunduliceva limeña glazba.............................107
XI/10 Prvi nastup „Gunduliceve“ glazbe.........................................108
XI/11 Fanfara i plesna skola Hrvatskog sokola..................................110
XI/12 Tamburaski orkestar drustva Gundulic ....................................110
XI/13 Priredbe u Katolickom drustvu „Boskovic..................................111
XI/14 Limene glazbe na sirem dubrovackom podrucju..............................114
1. Cavtat................................................................114
2. Korcula...............................................................116
3. Vela Luka.............................................................117
XI/15 Mandolinski klub.........................................................117
XI/16. Zvona, topovi, maskuli i trombuni.......................................117
1. Zvona.................................................................118
2. Topovi................................................................119
3. Maskuo................................................................119
4. Trombun...............................................................120
XII. SALONSKII SKOLSKI ORKESTRI.....................................................121
XII/1 Visestoljetna tradicija salonskih orkestara u Dubrovniku.................121
XII/2 Muziciranja amaterskih skupina...........................................122
XII/3 Salonski orkestar u kuci Pera Budmani....................................122
XII/4 Gudacki kvartet u kuci dubrovackog lijecnika Jere Puljezovica (Pugliesi).123
XII/5 Gudacki kvartet Ilirske citaonice........................................123
XII/5 Gudacki kvartet Drustva Boskovic.........................................124
XII/6 Amaterski orkestar dubrovackih srednjoskolaca............................124
XII/7 Kafanski orkestar u kafani Birimisa......................................125
XIII. GOSTOVANJA SVJETSKIH VIRTUOZA.................................................127
XIII/1 Gostovanja stranih glazbenika u starom Dubrovniku.......................127
XIII/2 Gostovanja glasovitih violinista........................................127
XIII/3 Gostovanje Franje Krezme................................................128
XIII/4 Gostovanje Frantiseka Ondriceka.........................................129
XIII/5 Gostovanje profesora violine pariskog konzervatorija Kneisela...........130
XIII/6 Gostovanje violiniste Jaroslava Kociana.................................130
XIII/7 Gostovanja glasovitih pjevaca...........................................130
1. Tenor Franjo Mazzoleni................................................131
2. Mladi tenor Pini......................................................131
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Miho Demovic: Glazba i glazbenici
3. Ruska operna pjevacica I. Labounska..................................131
4. Gostovanje ruskih opernih pjevaca.....................................131
5. Gostovanja pjevacica..................................................132
XIII/8 Gostovanja pjevackih zborova............................................132
XIII/9 Gostovanja orguljasa i pijanista........................................134
XIII/10 Gostovanja limenih glazbi..............................................134
XIII/11 Gostovanja vojnog orkestra.............................................135
XIV. CRKVENA GLAZBA ZA VRIJEME AUSTRIJSKE UPRAVE....................................137
XIV/1 Dokinuce Dubrovacke metropolije..........................................137
XIV/2 Utrnuce Katedralne kapele................................................138
XIV/3 Unaprjedenje vjerskog zivota za biskupovanja Tome Jedrelinica...........140
XIV/4 Osnutak muskog pjevackog zbora u DK.....................................140
XIV/5 Crkveni pjevaci izuzetne ljepote glasa..................................142
XIV/6 Vojni orkestar nastupa u DK.............................................143
XIV/7 Zborovode katedrale koncem XIX. stoljeca................................144
XIV/8 Zbor pitomaca Biskupskog sjemenista......................................144
XIV/9 Profesori glazbe dubrovackih skola kapelnici DK.........................146
XIV/10 Pjevacko drustvo „Gundulic“.............................................146
XV. PREDCECILIJANSKO TRADICIJSKO PJEVANJE DUBROVACKE KATEDRALE......................147
XV/1 Cecilijanska reforma crkvene glazbe.......................................147
XV/2 Prvo cecilijansko drustvo.................................................147
XV/3 Cecilijanska reforma gregorijanskog korala ..............................148
XV/4 Cecilijanski pokret u Hrvatskoj..........................................148
XV/5 Prvi hrvatski glazbeni casopis...........................................149
XV/6 Negativni ucinci cecilijanskog pokreta....................................150
XV/7 Cecilijanski pokret u Dubrovniku..........................................150
XV/8 Dubrovacki cecilijanci i tradicijsko pjevanje u Dubrovniku...............152
XV/9 Dijecezanska komisija za crkvenu glazbu..................................152
XV/10 Izvori predcecilijanskog pjevanja u DK..................................153
XV/11 Pjevacki prirucnici......................................................154
1. Canto sacro di Zara Grgura Zarbarinija...............................154
2. Pjevacki prirucnik katedrale iz konca XVII. stoljeca.................155
3. Kantual dubrovacke katedrale iz godine 1774.......................... 155
4. Pjevacki prirucnik iz druge polovine XIX. stoljeca Paska Naraccia....156
5. Orguljaski prirucnik kanonika Angela Colomba.........................156
6. Pjevacki prirucnik crkve svetog Vlaha iz godine 1771.................157
7. Pjevacki prirucnik crkve “Domino”.....................................157
8. Kajdanke Antuna Gjivanovica iz pocetka XX. stoljeca..................158
XV/12 Zasebni zapisi predcecilijanskih napjeva.................................158
XV/13 Umjetnicka vrijednost sadrzane grade..................................158
XV/14 Lamentacije..............................................................159
XV/15 Ustrojstvo oblika lamentacije............................................161
XV/16 Rasclamba oglednih primjera..............................................161
1. Incipit lamentatio Jeremiae prophetae.................................161
2. Incipit oratio Jeremiae prophetae.....................................163
3. Ex tractatu sancti Augustini episcopi super psalmos..................164
4. Lectio epistole beati Pauli apostoli ad Corinthios...................164
SADRZAJ
6^
XV/17 Recitativi Bozicnog casolova............................................164
XV/18 Recitativi na hrvatskome jeziku.........................................165
XVI. ZBORSKA GLAZBA................................................................167
XVI/1 Zborsko pjevanje........................................................167
XVI/2 Hrvatski pjevacki zbor „Gundulic“.......................................168
XVI/3 Zborsko pjevanje u priredbama drustva „Boskovic“.......................169
XVI/5 Zborsko pjevanje pitomaca Biskupskog sjemenista.........................171
XVI/5 Nastupi sjemenisnog pjevackog zbora u katedrali........................172
XVII. GLAZBENO SKOLSTVO............................................................173
XVII/1 Visestoljetna tradicija dubrovackog glazbenog skolstva.................173
XXII/2 Glazbena pouka u austrijskim srednjim skolama..........................173
XVII/3 Nastavnicki plan glazbene pouke........................................175
XVII/4 Skolske priredbe dubrovackih srednjoskolaca............................176
XVII/5 Glazbena pouka gradanskih glazbenih drustava...........................177
XVII/6 Privatni ucitelji glazbe...............................................178
XVlI/7 Plesna pouka...........................................................178
XVIII. SKLADATELJI.................................................................181
XVIII/1 Antun Sorkocevic......................................................181
XVIII/2 Tomaso Resti..........................................................191
XVIII/3 Biskup i skladatelj Sebastijan Frankovic..............................194
XVIII/4 Josip (Giuseppe) Zabolio .............................................196
XVIII/5 Juraj Murat (Giorgio) Murrati)........................................196
XVIII/6 Prva zena skladatelj Jelena Pucic - Sorkocevic.......................197
XVIII/7 Juraj (Giorgio) Kraglich (1784. - 1850.)............................. 199
XVIII/8 Mato Zupanovic........................................................200
XVIII/9 Karlo Kosta (Costa)...................................................202
XVIII/10 Pijerko Bunic (Bona) Lukovic.........................................202
XVIII/10 Angelo Frezza........................................................205
XVIII/11 Francesco Boriani.................................................. 205
XVIII/11 Svecenici skladatelji Vincenco Klisevic i Marin Santoro..............206
XVIII/12 Vjekoslav Bizzaro (1837. - 1835.)....................................208
XVIII/13 Jakov Vukicevic......................................................209
XVIII/14 Pavao Matijevic .....................................................209
XVIII/15 Frano Lederer........................................................216
XVIII/16 Vjekoslav Raha.......................................................216
XVIII/17 Ivan Cizek...........................................................217
XVIII/18 Skladatelji koji su djelovali izvan Dubrovnika.......................217
1. Viktor Radelj.........................................................217
2. Blagoje Bersa.........................................................219
3. Vladimir Bersa........................................................220
4. Mitrovic Ando.........................................................222
XVIII/16 Poskupac o skladateljima.............................................222
XIX. ORGULJE.....................................................................223
XIX/1 Orgulje u katedrali.....................................................223
XIX/2 Orgulje Vicenza Montecucchija...........................................223
XIX/3 Prve dvomanualne orgulje u Hrvatskoj....................................224
XIX/4 Prospekt orgulja DK djelo je Vincenca Klisevica?........................226
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Miho Demovic: Glazba i glazbenici
XIX/5 Orgulje trscanskog orguljara Karla Hessa............................228
XIX/6 Orgulje Tita Tonolija............................................229
XIX/7 Je li Tonoli koristio svirale prethodnih orgulja?...................229
XIX/8 Orgulje DK najvece u Dalmaciji......................................230
XIX/9 Sud glazbenih strucnjaka XX. stoljeca o vrsnoci Tonolijevih orgulja.232
XIX/10 Ocuvane orgulje crkve sestara Klarisa..............................232
XIX/11 Ostale orgulje Tita Tonolija....................................232
XIX/13 Orgulje Tita Tonolija u crkvi dubrovackog Kolegija.................233
XIX/14 Orgulje u Crkvi Male brace.........................................233
XIX/15 Ostale orgulje tvrtke Rieger....................................234
XIX/16 Orgulje Gaja Letica u svecenickom koru Crkve Male brace.........234
XIX/17 Orgulje u crkvi svetog Dominika.................................235
XIX/18 Poskupac o dubrovackim starim orguljama.........................235
XX. ORGULJASI..............................................................237
XX/1 Prvi poznati orguljasi DK od konca XIV. do pocetka XIX. stoljeca..237
XX/2 Orguljasi Marin Santoro i Tomaso Resti............................237
XX/3 Orguljas Jakov Vukicevió..........................................239
XX/4 Orguljasi u redovnickim crkvama...................................239
XXL GLAZBENI FOLKLOR........................................................241
XXI/1 Vrednovanje narodne glazbe.......................................241
XXI/2 Posljednja dubrovacka bojna smotra...............................243
XXI/3 Sudbina folklornih priredaba.....................................246
XXI/4 Zateceno stanje glazbenog folklora nakon raspada Austro-ugarske Monarhije 247
XXI/5 Zapisivaci narodnih popijevaka i plesova.........................248
XXI/6 Glazbeni oblici sacuvane dubrovacke folklorne grade..............251
XXI/7 Popis sacuvanih plesova..........................................252
XXI/8 Ogledni opis poznatijih plesova..................................253
XXI/9 Likovna uprizorenja plesova......................................260
XXI/10 Narodne popijevke...............................................263
XXI/11 Narodni instrumenti.............................................267
XXI/12 Crkveni pucki napjevi...........................................271
XXI/13 Vrsnoca folklornog muziciranja..................................275
XXII ZAKLJUCAK.............................................................279
XXIII POPIS SKLADBI.........................................................281
XXIV SADR2AJI PJEVACKIH PRIRUCNIKA........................................291
XXV DOKUMENTI UZ POJEDINE BILJESKE.......................................297
XXVI LITERATURA............................................................315
KRATICE ....................................................................326
SUMMARY.....................................................................327
OPASKE UZ OGLEDNE SKLADBE...................................................335
OGLEDNE SKLADBE.............................................................349
POPIS SLIKA.................................................................639
SADRZAJ ....................................................................641
Bayerische
Staatsbibliothek
München
SUMMARY
In twenty-one chapters and several appendices, the author describes Dubrovnik music history
in the period of Austrian rule over the city, lasting from 1814 to 1918, preceded by French occu-
pation and the abolition of the Republic of Ragusa in 1808. The chapters have the following titles:
1. Introduction, 2. Sources, 3. Destiny of Existing Music Institutions after the Abolition of the
Republic of Ragusa, 4. Revival of Musical Life, 5. Music during Austrian Rule, 6. Old Dubrovnik
Cafés, 7. Old Dubrovnik Concert Halls, 8. Open Stages in Dubrovnik, 9. Austrian Military Music,
10. Re-establishment of Public Ensembles, 11. Salon and School Orchestras, 12. Guest Performan-
ces of World-renowned Artists, 13. Sacred Music in the Period of Austrian Rule, 14. Pre-Caecilian
Sacred Songs in Dubrovnik Cathedral, 15. Choral Music, 16. Musical Education, 17. Composers,
18. Organs, 19. Organists, 20. Folk Music, 21. List of Remaining Compositions Written by Du-
brovnik Composers.
In addition to the chapters, the author includes transcriptions of the original texts of several
official documents, accompanied by notes; a calligraphic transcription of exemplary compositions
by Dubrovnik composers, whose manuscripts have been preserved with side-notes; a list of paint-
ings; a list of names; a summary; and a table of contents. The author’s new scholarly work on the
music history of the old city of Dubrovnik is in fact a continuation of the three previously published
titles Glazba i glazbenici u Dubrovackoj Republici od pocetka XI. do polovine XVII. stoljeca Music
and Musicians in the Republic of Ragusa from the Beginning of the 11th Century to the Middle of
the 17th Century (I), Zagreb, 1981; Glazba i glazbenici u Dubrovackoj Republici od polovine XVII.
do prvog desetljeca XIX. stoljeca Music and Musicians in the Republic of Ragusa from the Middle
of the 17th Century to the First Decade of the 19th Century (II), Zagreb, 1989; and Povijest crkvene
glazbe dubrovacke katedrale History of Sacred Music of Dubrovnik Cathedral , Zagreb, 2013.
These scholarly works describe Dubrovnik’s vibrant musical life (especially in comparison to oth-
er Croatian cities and towns) in the period lasting from the beginning of the tenth century to the
beginning of the nineteenth century, when emperor Napoleon Bonaparte (1769-1821) abolished
the Republic of Ragusa. Such a high level of culture could have been nurtured because Dubrovnik,
as well as its surrounding area, formed a city-state with a developed economy, strong maritime
ties with other countries, effective public administration, a good healthcare system, as well as a
developed net of religious, educational and cultural institutions. Among them, music institutions
held a special place, some having been established as early as in the thirteenth century, and served
as an exterior reflection of the Republic’s high status. In 1806, when the Republic of Ragusa was
occupied by the French army, Dubrovnik had court, i.e. Rector’s Music, a symphonic orchestra,
a Cathedral instrumental chapel, a public theatre, a conservatory, as well as several musical en-
sembles. Various musicians gave public concerts, and marked important Church and civic events,
328
Miho Demovic: Glazba I glazbenici
such as the carnival or the Republic’s central public holiday - saint Blaise’s, who was the Republic’s
saint patron and remains the patron of the city of Dubrovnik. Chamber music was also highly
regarded, especially in the numerous halls of palaces and castles that Dubrovnik nobility had
built outside the city walls, with most of them situated in the Rijeka Dubrovacka ria, the harbour
of Gruz, and Lapad Bay. The palaces are situated relatively close one to another, while simultane-
ously keeping them fairly secluded, and can be considered pearls of Dubrovnik Renaissance and
Baroque architecture. The Republic’s musicians were state-paid, while many citizens had musical
training as well. Throughout the centuries, foreign musicians also performed in Dubrovnik. In
the earlier centuries of the Republic, most foreign musicians and singers came from the courts of
the neighbouring respective Bosnian and Herzegovinian rulers. However, some troops were from
other European countries as well, and their number increased since the late seventeenth century,
when many Italian thespian troops performed in Dubrovnik. A good testimonial of the level at
which Dubrovnik’s musical life was developed is the partly-preserved opera of local composers
such as Luka Sorkocevic (1734-1789), Antun Sorkocevic (1775-1821), Jelena Pucic Sorkocevic
(1786-1865), Marin Santor (1754-1823), Tomaso Resti (circa 1772-1830), Josip Zaboli (c. 1795-
1850), Juraj Kraljic (c. 1784-1850), and other musicians that were active in the period around the
beginning of the French occupation. Their opuses can be compared to those of the composers that
lived in the greatest European music centres of the time. However, Dubrovnik’s musical life was
destroyed violently and abruptly; in the same vein as the Republic of Ragusa. Unfortunately, that
was only a part of the wrongdoings that Dubrovnik suffered during the French occupation that
lasted from 1806 to 1814. The loss of statehood was followed by a war, characterised by numerous
robberies, which the Montenegrins and the Russians fought against the French and the English
in Dubrovnik area, all of them trying to take control over the territory of the abolished Republic.
The cruel war greatly impoverished the inhabitants of Dubrovnik, whose army and citizens did
not even participate in the conflict. In fact, the French stole all of the public money from the state
and the Church treasuries situated in the centre of the Old Town and used up all of the food and
water supplies. The Russians robbed palaces and castles near Dubrovnik, while the Montenegrins
seized livestock and other mobile belongings from inhabitants of neighbouring villages. The local
population was molested and pressed to reveal the locations of their family’s and Church’s gold. In
the meantime, many suffered violent deaths on their doorsteps after their homes had been robbed
and burnt in front of them. The war damages to mobile and immobile property outside the city
walls amounted to 8,817,524 Dubrovnik ducats, which was an extremely large sum for such a
small state. The greed of foreign rulers and armies greatly impoverished the city. Dubrovnik was
almost smashed from the face of the Earth.
It was in such conditions that the Austrian army took over the territory of the former Republic
of Ragusa in 1814. The dispossessed senators still hoped that the Habsburg Austria would re-es-
tablish the Republic, which, however, did not suit the powerful Monarchy, neither in strategic, nor
in economic terms. The disheartened aristocracy, seeing that it would not be able to re-establish
their independent state, decided not to get married and have children anymore, so that their pos-
teriors would not become slaves to foreign rulers. More and more citizens started to defy the new
government, which led to police surveillance of almost all important citizens, as the authorities
feared revolution and uprising aimed at the re-establishment of the independent city-state. With
SUMMARY
329
time, noble circles lost their power. Their mobile material and cultural goods (books, paintings,
furniture, and gold jewellery) became prey of European collectors, so that today many of these ob-
jects are kept in European museums and private collections. Many citizens of Dubrovnik that did
not move to the New World remained in the area of the former Republic of Ragusa and commit-
ted themselves to restoring Dubrovnik’s economy and culture, which, nevertheless, never reached
the level at which it had been prior to the French occupation. It was an especially demanding
task to renew the musical life, as the new Austrian authorities followed the French example of
banning public gatherings, such as the celebration of the festivity of Saint Blaise, the patron saint
of the abolished Republic. Many traditional customs, celebrations, music and dance choreogra-
phies were lost, as well as plays combining theatre, dance and mythology, featuring the monstrous
creatures of Bembej, Turica, Vila and Coroj, which had been painted in aquarelle by Dubrovnik
printer Frano Martecchini (1806-1900). Old Dubrovnik sword-and-banner dances suffered the
same fate, as well as numerous forms of local folk music. Even the 1000-year-old traditional pro-
cession with the Saint Blaise’s and other saints’ relics was banned. The ban lasted until 1832, when,
on the behalf of Antun Giurici, Dubrovnik bishop from 1830 until 1842, the Court in Vienna al-
lowed the religious manifestation to take place. However, measures of precaution were taken to
secure that the celebration would not bring about nationalist sentiments.
Dubrovnik’s musical life was difficult to keep alive during the first fifty years of Austrian rule
not only due to the numerous bans on traditional social events and to the difficult political situa-
tion in the monarchy, but also due to a lack of theatres and halls where plays and concerts could be
performed. The old theatre, built at the place of an old ship construction site (Orsan), was trans-
formed into a bakery by the French army, while the new theatre, adapted in the assembly building
of the former Dubrovnik Senate in 1812 by general August Marmont (1774-1852), was lost in fire
in 1817. All the other halls were destroyed as well, including the Dubrovnik College’s hall, which
had been turned into a military hospital by the French. Therefore, halls that could serve as a centre
of the artistic and social life had to be either restored or newly built. The new authorities had no
such interest, so wealthier citizens took the matter in their own hands. The first among them was
Vladislav Gucetic, who adapted the ground and the first floor of his palace in the centre of the Old
Town into a small theatre in 1830. The theatre was used until 1864, when Luka Bunic (Bonda) of
Dubrovnik built a new modern theatre at the site of the former Council building, which is still
used today. In the meantime, several cafés opened, and from that time on, the city’s inhabitants
could have coffee and other refreshments while reading newspapers or spending time in delight-
ful conversations with their friends and acquaintances. Furthermore, cafés hosted concerts and
dances in their halls, offering the guests cultural pleasures as well. The oldest café was Svizzera,
bearing the name from the fact that its bartenders were from Switzerland. It was situated in the
ground floor of a palace belonging to Gozza (Gucetic) noble family. The building is situated across
the street from the sacristy of Dubrovnik Cathedral. It can be entered from the three surround-
ing squares (Rector’s Palace square, Puljiska Placa and Gunduliceva Poljana). The second café in
Dubrovnik was built near the western entrance to the Old Town by Niko Birimisa, who had previ-
ously worked at the Svizzera. When the new theatre was opened in Dubrovnik, a third café house
was opened as well. It was named Gradska kavana (‘City cafe) and it could be entered from the
theatre, so that its visitors could have coffee and other beverages in the breaks or after plays. The
330
Miho Demovic: Glazba i glazbenici
café was very smart, and it could be entered only in jacket and tie. Apart from the three cafés that
have just been mentioned, there were other cafés as well, such as the Mignon or the Kafana pri
Caru Austrijskom (Austrian Emperors Café’), which were mostly frequented by the lower classes.
Cafés were not the only newly-built buildings. Old devastated halls were renovated, and some
were built from scratch. The first to be renovated were the halls in Miho Durdevic’s Renaissance
palace near the western entrance into the Old Town, across the street from the Birmisa Café. The
hall hosted an Illyrian reading room and a casino. Other halls include the hall in Mate Pucic’s
Renaissance palace, and several halls in palaces situated along the Rijeka Dubrovacka rivieraa,
in Gruz harbour and Lapad bay. New halls were built in the diocesan seminary, in the Croatian
Workers’ Union building, in Boskovic Catholic Society’s headquarters and in the Hrvatski Sokol
Athletic Society’s building, which was transformed into a small theatre with three small and one
big loggia by the end of the nineteenth century.
With the new conditions being more favourable, Dubrovnik’s cultural life was slowly renewed.
Its primary promoters in the period from 1814 to 1918 were the Austrian army’s military bands.
The city of Dubrovnik attracted many of the most renowned military musicians due to its mild
climate and astonishing beauty. In fact, during Austrian rule, Dubrovnik always hosted at least
one professional military chapel. However, there are no remaining documents testifying to the
presence of military chapels in Dubrovnik during the first fifty years of Austrian rule. But it is
a fact that military musicians had their first performance in Dubrovnik on 6 April 1814 at the
main square, after it had been publicly announced that Napoleon Bonaparte did not rule over the
city anymore. The second documented performance was in 1845, during the English diplomat A.
Poton’s stay in Dubrovnik. He attended a military chapel’s concert in Svizzera Café. Poton highly
regarded the musicians’ skills, especially their performance of the Viennese waltz, which was so
good that, according to the diplomat, even the non-talented could easily dance to it. When the
newspapers started to be printed in Dubrovnik, they regularly featured articles on the military
chapels’ performances, concert programmes, and critical reviews. According to the local papers,
Dubrovnik’s military music ensemble became a garrison orchestra after Dubrovnik was appointed
headquarters of the sixteenth division of the Austrian Army. The army’s military chapels in Du-
brovnik took over the role that the state-paid musicians had had in the Republic of Ragusa. In
fact, during military patrols in the city streets, they played marches and patriotic songs, just as
the Rector’s chapel used to in the Republican period. The military bands would play in the front
of the commander-in-chief’s house, the city hall or the diocesan palace; ensembles gave concerts
in the open spaces in the borough of Pile, in front of the Birmisa and the City Café, situated near
Saint Blaise’s Church, as well as in the garden of the Imperial Hotel in Pile and Petak Hotel in
Gruz. During winter, military bands mostly performed in the city theatre and in the Hrvatski
Sokol (‘Croatian Falcon’) Society hall. They also took part in liturgy in Dubrovnik Cathedral and
in Saint Dominic’s Church when requiems for dead soldiers were held. Military bands played
at various events and celebrations, as well as scientific and educational panels organised by the
Boskovic Catholic Society. The chapels also marked important national events such as the em-
peror Franz Joseph Is silver weeding anniversary and the liberation of Banja Luka and Trebinje
from the Turks. They performed in front of the Emperor during his 1874 visit to Dubrovnik. The
repertoires that the military chapels performed were almost identical to those in Vienna, Prague
SUMMARY
331
and other cities that had such chapels. That was not surprising due to the fact that Dubrovnik cha-
pel often performed compositions from the anthology prepared for publishing by the Viennese
bandmaster Karel Komzâk I (1823-1893), published by the Ministry of Army, and sent to every
military chapel in Austria-Hungary.
Musicians playing in military bands often privately tutored Dubrovnik youth, especially in
brass instruments. Military bandmaster Josip Grossman prepared many young people for playing
in an orchestra during 1878, and then re-established a public orchestra in Dubrovnik, which had
its debut concert on 3 February 1879. The golden age of Austrian military music in Dubrovnik
were the first two decades of the twentieth century, when a garrison military orchestra was active
in the city. The orchestra also played on string instruments, and performed symphonic music, as
described in bandmaster Hugo Riedel’s critique. In 1913, their repertoire consisted of symphonies
composed by L. V. Beethoven, J. Haydn, E. Grieg, and W. A. Mozart. Austrian military musicians,
especially during the last three decades of the Austrian rule over Dubrovnik, played some of the
most beautiful European compositions from the eighteenth and the nineteenth centuries. Their
music accompanied most social gatherings in Dubrovnik. Bandmasters established as many as
three public orchestras in Dubrovnik, and a few more in the city’s surroundings (in the towns of
Cavtat, Janjina, Trpanj, Korcula, Blato and Vela Luka).
It was not an easy task to establish a public orchestra in Dubrovnik. Its citizens were well aware
that a city without a public orchestra was similar to a nobleman without a jacket. The orchestra
that was dismissed after only one year of activity was unsuccessfully tried to be re-established in
1843. The same task was not achieved either in 1847 or in 1848 and neither a decade later, in 1857
and 1858. It was only in 1878 that bandmaster J. Grossman successfully established a city orches-
tra. During a course of five months, he schooled several Dubrovnik young men to play different
brass instruments, and established the first public orchestra after the abolition of the Republic
of Ragusa. It was sponsored by the local Croatian Workers’ Cooperative. At the end of the nine-
teenth century, civil societies such as the local Illyrian reading room, Gundulic Croatian Singing
Society, Boskovic Catholic Educational Society, Hrvatski Sokol (Croatian Falcon) Athletic Society,
a tamburitza society, and a mandolin society were established. At their meetings, music played
a very important part, so the societies themselves established string quartets (such as Boskovic
Catholic Society and Matica ilirska) or tamburitza choirs and brass ensembles. Croatian Singing
Society established the Gundulic choir, and Hrvatski Sokol established the Fanfara choir. More-
over, Dubrovnik’s citizens established several string salon quartets in their own homes, among
them Professor Pero Budmani (1835-1914) and doctor Jeronim Puljizevic. Professors of music in
Dubrovnik grammar school and in the local teacher training college usually taught string instru-
ments to their students and led school orchestras. Therefore, little by little, military musicians
inspired many citizens to play music and to establish smaller ensembles that played at social gath-
erings. It can be argued that, after a hundred years of Austrian rule, Dubrovnik revived its musical
life and live music could be enjoyed in the city squares, streets, and terraces, as well as in the the-
atre and other halls, just as in the times of the old Republic. The citizens of Dubrovnik had always
had a special taste for music and that was certainly one of the reasons for which many internation-
ally renowned musicians and organists performed in Dubrovnik during the nineteenth century.
332
Miho Demovic: Glazba I glazbenici
Among the virtuosi that performed in Dubrovnik, one should mention the Berlin Philhar-
monic Orchestras concertmaster Franjo Krezma (1862-1881, distinguished Croatian violinist),
the famous Czech violinists Frantisek Ondficek (1859-1922) and Jaroslav Kocian (1883-1950)
and the organist Roberto Remondi who played the instrument in Dubrovnik for two years, after
the Tonoli company of Brescia, Italy, built a master-piece organ in the cathedral, as well as several
smaller organs in other churches. The most important choral event in the period of Austrian rule
over the city Dubrovnik happened in 1893, when a monument to Ivan Gundulic (1538-1689),
one of the most important poets of old Dubrovnik, was publicly unveiled. The most important
Croatian choirs of the time, such as Kolo, Merkur, Sloga, Zvonimir, Sloboda, Zastava and Vila
performed in the city on that occasion.
Thanks to the school regulations issued by the Ministry of Theology of Cisleithania, i.e. Aus-
trian part of the monarchy, which Dubrovnik was part of, Music was introduced as a subject into
Dubrovnik schools. Brass instruments and organ were taught at the teachers’ training college. The
students’ skills were eventually at that high a level that a school orchestra was established, and it
accompanied school masses and promotions. Later, after the completion of university studies, stu-
dents would usually return to their hometown and many established chamber orchestras, which
performed at salon parties. After the collapse of the Austro-Hungarian Empire, a philharmonic
orchestra was established in Dubrovnik and it remained active until the beginning of the Second
World War. After the war, the orchestra became a symphonic orchestra. Music came to be taught
privately as well, by professors working at Dubrovnik’s secondary schools and by military band-
masters. At the end of Austrian rule, independent private music teachers appeared in Dubrovnik.
They established several private music schools in the new Kingdom of Serbs, Croats and Slovenes.
The schools were nationalised into a unique state music school in 1939.
The quality of musical education was especially good at the local diocesan seminary, where
students were taught by Dubrovnik’s composers such as Pavao Matijevic, Frano Lederer and
Vjekoslav Raha. The seminary had an a cappella choir and a tamburitza choir, which performed
at school celebrations, but also in the cathedral, performing polyphonic Renaissance and Baroque
music. Music was taught by the Gundulic Musical Society, where the future singers studied musi-
cal notes, solfeggio tones etc., in order to be able to sing in the society’s oratory choir, and at the
theological colleges in Franciscan and Dominican convents.
Good musical education, Austrian army’s musical chapels, city and communal brass bands,
the Fanfara choir, the Hrvatski Sokol Society’s choir, the Dubrovnik cathedral’s male choir, the
Gundulic choir, local composers, as well as many professional violinists’, organists’, singers’ and
opera societies guest performances all testify to the fact that Dubrovnik’s musical life was very
vibrant during the last thirty years of Austrian rule over the city. Some local composers that lived
at the beginning of the Austrian rule can be considered Republican musicians, while those who
lived at the end of the government are a product of the new nation’s system of musical education.
Both groups left us with a significant body of compositions, which, unfortunately, has not been
preserved in its entirety. However, the remaining compositions show the significance that these
authors had in the period’s cultural context. The majority of manuscripts is kept in Dubrovnik
Minorities’ convent’s sound archive and in the sound archive of Dubrovnik cathedral. It has not
been systematised, nor preserved in its entirety due to the fact that much of it went missing in the
SUMMARY
333
nineteenth and twentieth century wars on the one part and due to negligence on the other part.
A list of compositions, which, nonetheless, is not a finite one, can be found in the last part of this
work. Although maintained only in fragments, the body of work is astonishing not only in terms
of quantity, but also in terms of its artistic complexity. Almost all of the compositions have high
artistic value, are very difficult to perform and very pleasant to the ear. The opera is composed of
different types of music forms, ranging from vocal a cappella miniatures to oratorios and sympho-
nies. They are still waiting to be researched, prepared for publishing and performed.
Many folk, sacred and secular songs survived the period of Austrian rule. The sacred songs
analysed in this work can be found in the chapter titled Pre-Caecilian Sacred Songs in Dubrovnik
Cathedral, in which the preserved old monodic songs are analysed, while the secular songs can be
found under the title Folk Music. One should mention that many Romanesque tombstones feature
old dances that were not longer performed during Austrian rule. Some of these dances were very
complex, such as Undo and podkolo, characteristic of the region of Konavle, and moreska, a dance
accompanied by banners and swords, characteristic of the island of Korcula. They were danced
accompanied by folk music played on local instruments such as Ijerica, a very loud string instru-
ment from Dubrovnik area, or mjesnica and svirila, the latter being also known as svrdaonica.
Some musicians were real virtuosi on the instruments.
In brief, the musical life of Dubrovnik and its surrounding area, which was completely de-
stroyed by the French during the siege, was little by little renewed during the period of Austrian
rule, reaching a new high in the first decade of the twentieth century. It was achieved by the hard
work of local musicians and bandmasters of Dubrovnik military bands. After the end of the Aus-
trian reign, military musicians had to leave the city, but their work has not been forgotten and it
continued to live in the music institutions to these days.
|
| any_adam_object | 1 |
| author | Demović, Miho 1934-2023 |
| author_GND | (DE-588)11036094X |
| author_facet | Demović, Miho 1934-2023 |
| author_role | aut |
| author_sort | Demović, Miho 1934-2023 |
| author_variant | m d md |
| building | Verbundindex |
| bvnumber | BV043590225 |
| ctrlnum | (OCoLC)953819179 (DE-599)BVBBV043590225 |
| era | Geschichte 1814-1918 gnd |
| era_facet | Geschichte 1814-1918 |
| format | Book |
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| geographic | Dubrovnik (DE-588)4013176-2 gnd |
| geographic_facet | Dubrovnik |
| id | DE-604.BV043590225 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T17:40:31Z |
| institution | BVB |
| isbn | 9789535788911 |
| language | Croatian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029004656 |
| oclc_num | 953819179 |
| open_access_boolean | |
| owner | DE-12 |
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| physical | 646 Seiten Illustrationen, Notenbeispiele |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Udruga "Stara dubrovačka glazba" |
| record_format | marc |
| spellingShingle | Demović, Miho 1934-2023 Glazba i glazbenici na području bivše Dubrovačke Republike za vrijeme austrijske uprave (1814.-1918.) Musikleben (DE-588)4075128-4 gnd |
| subject_GND | (DE-588)4075128-4 (DE-588)4013176-2 |
| title | Glazba i glazbenici na području bivše Dubrovačke Republike za vrijeme austrijske uprave (1814.-1918.) |
| title_auth | Glazba i glazbenici na području bivše Dubrovačke Republike za vrijeme austrijske uprave (1814.-1918.) |
| title_exact_search | Glazba i glazbenici na području bivše Dubrovačke Republike za vrijeme austrijske uprave (1814.-1918.) |
| title_full | Glazba i glazbenici na području bivše Dubrovačke Republike za vrijeme austrijske uprave (1814.-1918.) Miho Demović |
| title_fullStr | Glazba i glazbenici na području bivše Dubrovačke Republike za vrijeme austrijske uprave (1814.-1918.) Miho Demović |
| title_full_unstemmed | Glazba i glazbenici na području bivše Dubrovačke Republike za vrijeme austrijske uprave (1814.-1918.) Miho Demović |
| title_short | Glazba i glazbenici |
| title_sort | glazba i glazbenici na podrucju bivse dubrovacke republike za vrijeme austrijske uprave 1814 1918 |
| title_sub | na području bivše Dubrovačke Republike za vrijeme austrijske uprave (1814.-1918.) |
| topic | Musikleben (DE-588)4075128-4 gnd |
| topic_facet | Musikleben Dubrovnik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029004656&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029004656&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT demovicmiho glazbaiglazbenicinapodrucjubivsedubrovackerepublikezavrijemeaustrijskeuprave18141918 |