Tragom jedne zaboravljene glazbene prošlosti: crtice o ulozi Hrvatica u glazbenom životu Sarajeva (1878-1918)

Autor: Lana Šehović Paćuka
Rok vydání: 2020
Předmět:
Zdroj: Arti Musices, Vol 51, Iss 2, Pp 319-337 (2020)
Arti musices : hrvatski muzikološki zbornik
Volume 51
Issue 2
ISSN: 0587-5455
1878-1918
1848-9303
DOI: 10.21857/mjrl3u7le9
Popis: Uloga žena u glazbenom životu austrougarskog Sarajeva (1878-1918) bila je značajna u kontekstima njegova etabliranja i razvoja u skladu sa zapadnoeuropskim glazbenim tekovinama. Djelatnost žena evidentna je u amaterskim, ali i u profesionalnim segmentima glazbenog života, počevši od salonskih druženja, nastupa pri pjevačkim društvima i ansamblima, pa do koncertnog podija koji je bio rezerviran za profesionalne umjetnice, kao i u sferama glazbene pedagogije i povremeno skladateljske prakse. Analiza dostupnih arhivskih izvora i novinskih članaka koji su objavljeni u službenim glasilima pokazala je da je većina protagonistica glazbenog života glavnoga grada BiH dolazila iz susjedne Hrvatske. Stoga se tekst fokusira na rasvjetljavanje identiteta hrvatskih doseljenica, na načine njihove infiltracije u glazbeni život, s naglaskom na stvaranje i izgradnju veza između Hrvatskoga glazbenog zavoda i lokalnih sudionika glazbenih prilika. Također, tekst će težiti i odgovoru na pitanje u kojim su se to sferama glazbenog djelovanja Hrvatice nametnule kao glavne protagonistice i nositeljice zapadnoeuropskih glazbenih strujanja.
The position and role of Croatian women in the musical life of Austro-Hungarian Sarajevo (1878-1918) is an unexplored topic in the research discourses of Bosnian and Herzegovinian musicology. However, their significance was multifold, and as such it marked the pages of the musical past of Bosnia and Herzegovina. Indeed, the beginning of Austro- Hungarian administration in BiH, upon the decision of the 25th Congress of Berlin, implied an encounter with a new socio-political and musico-cultural reality. The sett ling of foreigners from various party of the Empire as a qualified labor force was reflected in a change in both the demographic structure and the socio-cultural circumstances that were shaped in line with the European trends of the time. The settlers brought with them a new lifestyle and cultural habits, and Croatian men and women played a significant role in their implementation. Upon sett ling in Sarajevo with their families, Croatian women became involved in musical life. Their first eff orts proceeded on the wings of amateur activity, in the form of performances at choral societies’ concerts and parties, lounge evenings, and sporadic composing activity. Participants in this forms of musical life mostly included women originating from affluent middle-class families (Truhelka, Hörman, Mrazović), who were respected in the society of the time, while their amateur engagement directly affected the spread and implementation of »new« musical achievements in everyday socio-cultural life in Sarajevo. However, besides their amateur activity, Croatian women exerted an equally impressive effect in the area of professional musical activity and, sporadically, on the concert stage. In this respect, it is important to point out the significant ties with the Croatian Music Institute, which became an essential link in the development of professional musical activity in BiH. Indeed, in their attempts to solve their existential problems, former Institute students tried to find an opportunity in the Sarajevo labor market; thus, sources have noted names such as Valerija Mayerhoffer, Marija Sam, Marija-Mara Mađarević, who transferred their knowledge of music to Bosnian and Herzegovinian children. The positive results of their eff orts became visible fairly soon, or more accurately from the moment when children born in Sarajevo and BiH began to opt for musical advancement and involvement in music. In this context, influences by Croatian women and the Croatian Music Institute were intertwined, because it turned out that this institution was the first choice of the children born in BiH for music education abroad. Still, the mutual bonds between Croatian women, the Croatian Music Institute and local musical conditions reached their climax after some of the prominent participants in Sarajevo musical life, such as the violinist Blanda Höller, found their place among the employees of this renowned institution. In this way, it turned out that the mutual cooperation had favorable outcomes, which left a permanent stamp on the development of musical life Sarajevo in line with contemporary European trends in the late 19th and early 20th century.
Databáze: OpenAIRE
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