Verfügbarkeit: Glazba i glazbenici

Glazba i glazbenici: na području bivše Dubrovačke Republike za vrijeme austrijske uprave (1814.-1918.)

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Bibliographische Detailangaben
1. Verfasser:	Demović, Miho 1934-2023 (VerfasserIn)
Format:	Buch
Sprache:	Croatian
Veröffentlicht:	Dubrovnik Udruga "Stara dubrovačka glazba" 2016
Schlagworte:	Geschichte 1814-1918 Musikleben Dubrovnik
Online-Zugang:	Inhaltsverzeichnis Abstract
Beschreibung:	Englische Zusammenfassung
Beschreibung:	646 Seiten Illustrationen, Notenbeispiele
ISBN:	9789535788911

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Datensatz im Suchindex

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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...................................................45 642 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......................................................131 644 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?........................226 646 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.
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spelling	Demović, Miho 1934-2023 Verfasser (DE-588)11036094X aut Glazba i glazbenici na području bivše Dubrovačke Republike za vrijeme austrijske uprave (1814.-1918.) Miho Demović Dubrovnik Udruga "Stara dubrovačka glazba" 2016 646 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Englische Zusammenfassung Geschichte 1814-1918 gnd rswk-swf Musikleben (DE-588)4075128-4 gnd rswk-swf Dubrovnik (DE-588)4013176-2 gnd rswk-swf Dubrovnik (DE-588)4013176-2 g Musikleben (DE-588)4075128-4 s Geschichte 1814-1918 z DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf 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 Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf 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 Abstract
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

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