Verfügbarkeit: Pulski glazbeni život u razdoblju fašističke diktature

Pulski glazbeni život u razdoblju fašističke diktature: 1926. - 1943.

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Bibliographische Detailangaben
1. Verfasser:	Duraković, Lada (VerfasserIn)
Format:	Buch
Sprache:	Croatian
Veröffentlicht:	Zagreb Hrvatsko Muzikološko Društvo 2003
Schriftenreihe:	Serija Muzikološke studije 8
Schlagworte:	Geschichte 1900-2000 Geschichte 1926-1943 Musik Fascism and music > Croatia > Pula Music > Croatia > Pula > 20th century > History and criticism Faschismus Musikleben Besetzung Pula
Online-Zugang:	Inhaltsverzeichnis Abstract
Beschreibung:	233 S.
ISBN:	9536090228

Internformat

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Datensatz im Suchindex

_version_	1804130220885671936
adam_text	SADRŽAJ Predgovor ..................................................................................................................................7 1. HISTORIOGRAFSKI PREGLED - IZVORI, LITERATURA, METODE ................... 9 2. NEKE ZNAČAJKE POLITIČKIH I KULTURNIH PRILIKA U ISTRI DO 1926. GODINE .................................................................................................................. 15 3. RAZDOBLJE INSTITUCIONALIZACIJE REŽIMA (1926.-1929.)............................. 27 3.1. Politička, gospodarska i kulturološka kretanja od 1926. do 1929. godine ....... 27 3.2. Glazbeno-scenska i koncertná djelatnost domaćih i gostujućih glazbenika ... 32 3.3. Fašistički sindikati glazbenika ............................................................................... 44 3.4. Glazba u fašističkim potpornim društvima ......................................................... 48 3.5. Glazbeno školstvo .................................................................................................... 55 4. RAZDOBLJE MASOVNOG PRISTANKA, »CONSENSO DI MASSE« (1930.-1940.) ...................................................................................................................... 63 4.1. Politička, gospodarska i kulturološka kretanja od 1930. do 1940. godine ....... 63 4.2. Glazbene aktivnosti Puljana ................................................................................... 66 4.2.1. Domaći glazbenici ........................................................................................ 66 4.2.2. Circolo Amici della musica - Društvo prijatelja glazbe ............................... 72 4.2.3. Antonio Smareglia: posmrtne inicijative ................................................... 80 4.2.4. Glazba u fašističkim sindikatima ............................................................... 88 4.3. Glazbeno-scenska djelatnost .................................................................................. 90 4.3.1. Toti dal Monte u Puli ................................................................................... 117 4.4. Glazba u fašističkim potpornim društvima ......................................................... 117 4.4.1. Gruppi universitari fascisti - Fašističke studentske grupe і Associazione Smaregliana - Udruga Smaregliana (1934.).......................... 117 4.4.2. Glazbena djelatnost ostalih potpornih društava ...................................... 128 4.5. Glazbeno školstvo .................................................................................................... 134 4.5.1. Glazbeno obrazovanje u srednjim školama te izvaninstitucionalno glazbeno obrazovanje .................................................................................. 134 4.5.2. Škola »Rossini« ............................................................................................. 138 5. GODINE RASKOLA ( 1940.-1943.)................................................................................ 145 5.1. Politička, gospodarska i kulturna kretanja od 1940. do 1943. godine .............. 145 5.2. Glazbene aktivnosti Puljana ................................................................................... 148 5.2.1. Domaći glazbenici ........................................................................................ 148 5.2.2. Circolo Amici della musica - Društvo prijatelja glazbe ............................... 151 5.3. Glazbeno-scenska djelatnost .................................................................................. 153 5.4. Glazba u fašističkim potpornim društvima ......................................................... 160 5.5. Glazbeno školstvo .................................................................................................... 167 6. ZAKLJUČCI ...................................................................................................................... 171 7. IZVORI, LITERATURA, RJEČNIK, KRATICE .......................................................... 177 I. IZVORI ..................................................................................................................... 177 II. LITERATURA ......................................................................................................... 177 III. RJEČNIK .................................................................................................................. 179 IV. KRATICE ................................................................................................................. 180 8. PRILOZI ......................................................................................................................... 181 8.1. Pregled opernih i operetnih izvedbi .................................................................... 182 8.2. Ilustracije .................................................................................................................. 196 9. SAŽETAK - RIASSUNTO: La vita musicale di Pula/Pola nel periodo della dittatura fascista (1926-1943)........................................................................................ 207 10. SAŽETAK - SUMMARY: Music Life in Pula/Pola During the Period of the Fascist Dictatorship (1926-1943)................................................................................... 209 11. KAZALO IMENA - INDEX NOMINORUM .............................................................. 213 SAŽETAK - RIASSUNTO - SUMMARY 207 9. SAŽETAK - RIASSUNTO LA VITA MUSICALE DI PULA/POLA NEL PERIODO DELLA DITTATURA FASCISTA (1926-1943) Esiste un opinione generale, alla quale si richiamano spesso gli operatori culturali dell Istria, che Pola durante il dominio italiano nell epoca tra le due guerre mondiali sia stata un centro che basava in parte la sua immagine urbana anche su una tradizione musicale coltivata con cura. Questa opinione a dire il vero non è sbagliata, però non è mai stata verificata. Le testimonianze musicali che risalgono al periodo tra le due guerre non sono mai state valorizzate scientificamente. Nel campo musicologico finora non si sono registrati tentativi di elaborazione sistematica di alcun segmento della vita musicale di Pola, sia che si trattasse di autori croati che di quelli italiani. Non esiste una fonte scritta che ci possa avvicinare a questa nostra preziosa tradizione. È stato questo il motivo per cui ho voluto intraprendere una ricerca nella quale ho tentato di capire in che modo, in quale misura e con quali mezzi, gli eventi politici, le istituzioni e singoli, abbiano influenzato l arte musicale del periodo tra le due guerre. L ingerenza della politica nella vita musicale di Pola, nel periodo tra le due guerre mondiali, era più che evidente. Non si tentava nemmeno di dissimulare l influenza della politica sull arte, anzi, la si ostentava con orgoglio. Molti musicisti polesi si sono schierati apertamente dalla parte del regime fascista, alcuni credendo nei programmi politici di Mussolini e per un autentico senso di disciplina, altri per puro carrierismo. Questa però non era una peculiarità dei Polesi e del mondo musicale polese. A quei tempi, і fascisti sponsorizzavano in tutte le regioni italiane la messa in scena delle opere di artisti »idonei«, dando loro la possibilità di guadagnare, e questi a loro volta contraccambiavano attribuendo loro tutti і meriti del miglioramento culturale della patria, e dedicando loro le proprie opere artistiche ed і concerti. A Pola in quel periodo non si poteva neanche immaginare l attività di un orchestra stabile professionale, perché in città viveva un numero molto esiguo di musicisti, cantanti e strumentisti accademici, in particolar modo di suonatori a fiato. La maggioranza degli strumentisti polesi era autodidatta, oppure aveva acquisito una cultura musicale frequentando lezioni private. Per alcuni di loro, la musica rappresentava una fonte aggiuntiva di guadagno, mentre per altri, era l unico mezzo di sostentamento per le proprie famiglie. Le prove non venivano pagate, і dirigenti non avevano alcuna autorità, e spesso non avevano sufficiente sapere e costanza. 208 PULSKI GLAZBENI ŽIVOT U RAZDOBLJU FAŠISTIČKE DIKTATURE (1926.-1943.) Il pubblico polese, alquanto esigente, abituato alle valide rappresentazioni di numerosi artisti ospiti ed all ascolto di programmi musicali alla radio di un certo livello, era incline a sottovalutare l opera dei musicisti locali. Nonostante l indigenza e le condizioni sfavorevoli, al teatro polese »Ciscutti«, nel periodo dopo la prima guerra mondiale si tenevano regolarmente rappresentazioni scenico-musicali. I programmi erano realizzati in collaborazione con le case operistiche e con le compagnie di operette dei maggiori centri d Italia, e specialmente con quelle provenienti della regione Giuliana. A giudicare dall attività del sindacato polese dei musicisti, che ingaggiava i propri membri per le singole rappresentazioni teatrali, è certo che nell esecuzione delle operette, partecipavano pure musicisti locali — diletanti. Al tempo dell istituzione del fascismo negli anni venti, gli impresari e і musicisti professionisti organizzavano le rappresentazioni di opere, operette e concerti. L influenza della turbolenta situazione politica nel campo musicale a Pola aveva minore impatto nell attività teatrale. Negli articoli giornalistici che commentavano le opere e le operette, venivano sempre messe in evidenza le personalità fasciste cittadine, che con la loro presenza »onoravano« і singoli avvenimenti scenico-musicali, eppure nella scelta dei programmi, la politica non aveva grande ingerenza. Alla fine degli anni venti, il lavoro degli impresari viene assunto sempre più aggressivamente dai sindicati e dalle società finanziarie, mentre nel periodo di »consenso di inasse« (1930.-1940.), gli avvenimenti musicali passano completamente nelle mani dei politici. Negli anni bellici (1940.-1943.) tutta l attività musicale a Pola è indirizzata a sollevare il morale dei membri delle forze armate. Vari erano і motivi per і quali il potere desiderava tenere nelle proprie mani le redini della cultura musicale; disporre di tutti і mezzi finanziari che le corporazioni e altri enti competenti destinavano per l esecuzione di concerti, tenere sotto controllo і lavoratori e il loro tempo libero, e nel medesimo tempo eseguire l ordine di Mussolini di riconquistare il primato musicale nel mondo, in quanto la musica era una ragione in più per dimostrare la superiorità degli Italiani in tutti і settori della vita. All epoca della dittatura fascista in Istria è avvenuta una vasta riorganizzazione della vita musicale. Tutti і suoi segmenti erano sotto il controllo politico, ma nonostante gli sforzi dell oligarchia al potere, non si può dire che il regime fascista sia riuscito a »scoprire« alcuna musica propria con connotazioni tecnico — compositive specifiche, come vi era riuscito, per esempio, nell architettura. La penetrazione della politica negli eventi musicali a Pola però, non ha avuto solo esiti negativi. Gli impresari avrebbero avuto difficoltà ad attirare in una povera città di provincia artisti di rango mondiale quali Beniamino Gigli, Nino Piccaluga, Toti Dal Monte, Lina Bruna Rasa, Giovanni Inghilleri, Antonino Votto, il quartetto d archi »Léner«, se non si fosse fatta sentire la voce del dettato politico, stimolata dal volere e dagli ordini dello stesso Duce. SAŽETAK - RIASSUNTO - SUMMARY 209 Inoltre, mentre nelle altre regioni già prima dell instaurazione delle dittatura si conduceva una campagna mediale per difendere la musica nazionale italiana dalla musica »meno valida« о »scadente« delle popolazioni nemiche, nell Istria »remota« non era necessaria una massiccia propaganda antistraniera nel campo musicale. Infatti, fino all improvvisa popolarità della musica leggera e del jazz all inizio degli anni quaranta, nessun pericolo minacciava la snazionalizzazione dei gusti delle masse, le quali ancor sempre preferivano і destini infelici delle dive operistiche nelle partiture degli »idonei« Verdi e Puccini. Dalla caduta del fascismo sono passati più di cinquant anni, nei quali Pola non è riuscita a conquistare il suo posto nei centri musicali internazionali di un certo livello. L imprevedibile e inconstante Euterpe, dopo gli espliciti legami col fascismo, ha ordito una rete di occulti rapporti con altri poteri e regimi. Ma, mentre altri centri di tradizioni musicali più poveri sono riusciti ad assicurare valori duraturi ai propri amanti dell arte musicale, la vita musicale polese ancor sempre è costituita da un forte amaterismo, e і vani sforzi fatti tra le due guerre per dar vita ad un complesso locale professionista, sono solo un doloroso ricordo nell attuale realità musicale. 10. SAŽETAK - SUMMARY MUSIC LIFE IN PULA/POLA DURING THE PERIOD OF THE FASCIST DICTATORSHIP (1926-1943) There is a commonly held opinion — often mentioned and used by Istrian culturologists — that the city of Pula (in Italian: Pola) during the Italian adminis¬ tration, between the two World Wars in the 20th century, was a center which based part of its urban identity on a carefully cultivated music tradition. Although this assertion is essentially true, it has not been verified up to now by any scholarly investigation. Even the very data, covering music in Istria between the two World Wars, have not been verified and evaluated as yet. In the field of musicology not a single endeavour exists of systematic elaboration of any segment of musical life in Pula, either by a Croatian or an Italian scholar. Not a single written source exists which would make this valuable tradition accessible to us. This was the first motivation which prompted me to undertake this research, in which I have tried to get an¬ swers to questions about how, to which extent, and by which means political events, institutions and individuals influenced the art of music in Pula in the period under consideration. Relations between music and politics in Pula in the period between the two World Wars became very eccentric, and the external political influence on art was not concealed but, to the contrary, proudly emphasized. Many of Pula s musicians openly backed the Fascist regime; some of them because of their belief in the pro- 210 PULSKI GLAZBENI ŽIVOT U RAZDOBLJU FAŠISTIČKE DIKTATURE (1926.-1943.) gramme of Mussolini s politics and out of an authentic feeling for discipline, oth¬ ers because of pure careerism. However, this was in no way specific to the inhabit¬ ants of Pula or local music life: Fascists in all the Italian provinces during that time used financially to support performances of »acceptable« artists, enabling them lucrative arrangements; in return, such artists ascribed to those Fascist supporters all merit for the cultural benefit of the State and dedicated to them their art works or concerts. It would be difficult to speak of professional music and theatrical en¬ sembles in Pula at that period because very few musicians, both singers and in¬ strumentalists (especially wind players), were academically trained. Most of the Pula musicians were autodidacts or were musically trained through private les¬ sons. For some of them music making was only a second source of revenue, others were covering living costs for themselves and their families by performing music. Rehearsals were not paid, and conductors often exercised no authority, not even showing enough knowledge and persistence. The fastidious Pula audiences, used to solid performances offered by guest artists and listening to top radio programmes, often displayed inclination towards depreciation of domestic musicians and their achievements. In the period after World War I, in spite of poverty and unfavourable condi¬ tions, music was regularly staged in the Pula »Ciscutti« theater. Programmes were realized in collaboration with Opera houses and operetta companies from other larger Italian centers, mostly from the region of Giulia. Records of the activities of the Pula trade union of musicians — which represented its members in single theater performances — show that a certain number of local amateur musicians was en¬ gaged in the »Ciscutti« performances, especially in operettas. During the institutionalization of Fascism in the 1920s, the influence of politi¬ cal perrurbances in the field of music in Pula was least to be felt in theatrical activi¬ ties. It is true that in newspaper articles, announcements and reports on opera and operetta performances strong accent was always given to Fascist city leaders, who »lent importance« to single events, but politics never interfered to any greater ex¬ tent in the repertory choice. In this period operatic and operetta stage and concert performances were mostly organized by impresarios and music professionals, and it was only at the end of the 1920s that their job started to be taken over more agressively by trade unions and supporting societies, while during the age of the so-called »mass agreement« (1930-40) music events gradually became totally con¬ trolled by politics. During the war years (1940-43) complete music activities in Pula were directed towards »raising the morale« of the armed forces. The reasons for which the political power wanted to control the functioning of musical culture were manifold. It had at its disposal all financial means — gath¬ ered by corporations and other social structures for the organization of all kinds of music performances; it controlled workers and their leisure time; and, at the same time, it was fulfilling Mussolini s instruction for reconquering world musical pri¬ macy for Italy. Namely, music was treated as yet another argument for the superi¬ ority of the Italians in all areas of life. SAŽETAK - RIASSUNTO - SUMMARY 211 During the Fascist era a broad reorganization of musical life was carried out in Istria, in which all its segments came under political control. In spite of all efforts effectuated by the ruling oligarchy, it is not possible to trace any specific music, »invented« by the Fascist regime, with its own recognizable compositional or tech¬ nical connotations, as was the case with — let s say — architecture. To follow and support Fascism surely positively influenced one s position in society and the in¬ come of some musicians, although not correspondingly the level of their artistic output and performing skills. However, it would not be fair to claim that the influ¬ ence of politics in musical life of Pula did not display some positive features. The tenors Beniamino Gigli and Nino Piccaluga, the sopranos Toti Dal Monte and Lina Bruna Rasa, the baritones Giovanni Inghilleri and Carlo Galeffi, the conductors Antonino Votto and Edoardo Vitale, and the »Léner« string quartet were only some of the artists of world reputation, whom it would be very difficult if not impossible to bring to Pula by impresarios were there no political will to do so, inspired by the desires and instructions of the Duce himself. On the other hand, the activities of local musicians were much more the result of the political dictates and the need for survival by impoverished Pula instrumentalists and singers than an inner drive for displaying higher artistic achievements. In addition to this, while in other regions — from the very beginning of the Fascist dictatorship, and even prior to that — politics was conducted in the media for defending Italian national music from the »less worthy« or »worthless« music made by people from hostile countries, in »remote« Istria there was no need for rude anti-foreign rhetorics in music. The reasons lay in the fact that in Istria — up to the sudden popularity of entertainment and jazz music at the beginning of the 1940s — there was no danger for de-italianizing popular taste, because the major¬ ity of the urban population still preferred to listen to operatic divas with gloomy destinies from »fitting« works by Verdi and Puccini. Today we are more than half a century away from the breakdown of Fascism, and Pula has still not succeeded in establishing itself as an important music center. After the all too obvious affair with Fascism, unpredictable and inconsistent Euterpe has been, in the meantime, interwoven within a network of various other political powers and regimes. But, while other centers with less tradition have somehow succeeded in offering their music lovers values of greater intensity, music life in Pula is still based on strong amaterism. Moreover, the unsuccessful endeavours in forming a professional local music ensemble in the period between the two World Wars only remind us of today s musical reality, and vice versa.
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geographic	Pula (DE-588)4103444-2 gnd
geographic_facet	Pula
id	DE-604.BV017401625
illustrated	Not Illustrated
indexdate	2024-07-09T19:17:35Z
institution	BVB
isbn	9536090228
language	Croatian
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-010485878
oclc_num	180192409
open_access_boolean
owner	DE-12
owner_facet	DE-12
physical	233 S.
publishDate	2003
publishDateSearch	2003
publishDateSort	2003
publisher	Hrvatsko Muzikološko Društvo
record_format	marc
series	Serija Muzikološke studije
series2	Serija Muzikološke studije
spelling	Duraković, Lada Verfasser aut Pulski glazbeni život u razdoblju fašističke diktature 1926. - 1943. Lada Duraković Zagreb Hrvatsko Muzikološko Društvo 2003 233 S. txt rdacontent n rdamedia nc rdacarrier Serija Muzikološke studije 8 Geschichte 1900-2000 Geschichte 1926-1943 gnd rswk-swf Musik Fascism and music Croatia Pula Music Croatia Pula 20th century History and criticism Faschismus (DE-588)4016494-9 gnd rswk-swf Musikleben (DE-588)4075128-4 gnd rswk-swf Besetzung (DE-588)4006020-2 gnd rswk-swf Pula (DE-588)4103444-2 gnd rswk-swf Pula (DE-588)4103444-2 g Besetzung (DE-588)4006020-2 s Faschismus (DE-588)4016494-9 s Musikleben (DE-588)4075128-4 s Geschichte 1926-1943 z DE-604 Serija Muzikološke studije 8 (DE-604)BV010589845 8 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=010485878&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=010485878&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract
spellingShingle	Duraković, Lada Pulski glazbeni život u razdoblju fašističke diktature 1926. - 1943. Serija Muzikološke studije Musik Fascism and music Croatia Pula Music Croatia Pula 20th century History and criticism Faschismus (DE-588)4016494-9 gnd Musikleben (DE-588)4075128-4 gnd Besetzung (DE-588)4006020-2 gnd
subject_GND	(DE-588)4016494-9 (DE-588)4075128-4 (DE-588)4006020-2 (DE-588)4103444-2
title	Pulski glazbeni život u razdoblju fašističke diktature 1926. - 1943.
title_auth	Pulski glazbeni život u razdoblju fašističke diktature 1926. - 1943.
title_exact_search	Pulski glazbeni život u razdoblju fašističke diktature 1926. - 1943.
title_full	Pulski glazbeni život u razdoblju fašističke diktature 1926. - 1943. Lada Duraković
title_fullStr	Pulski glazbeni život u razdoblju fašističke diktature 1926. - 1943. Lada Duraković
title_full_unstemmed	Pulski glazbeni život u razdoblju fašističke diktature 1926. - 1943. Lada Duraković
title_short	Pulski glazbeni život u razdoblju fašističke diktature
title_sort	pulski glazbeni zivot u razdoblju fasisticke diktature 1926 1943
title_sub	1926. - 1943.
topic	Musik Fascism and music Croatia Pula Music Croatia Pula 20th century History and criticism Faschismus (DE-588)4016494-9 gnd Musikleben (DE-588)4075128-4 gnd Besetzung (DE-588)4006020-2 gnd
topic_facet	Musik Fascism and music Croatia Pula Music Croatia Pula 20th century History and criticism Faschismus Musikleben Besetzung Pula
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=010485878&sequence=000003&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=010485878&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA
volume_link	(DE-604)BV010589845
work_keys_str_mv	AT durakoviclada pulskiglazbenizivoturazdobljufasistickediktature19261943

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