N. CIGOJ KRSTULOVIC • ZGODOVINA, SPOMIN, DEDIŠČINA
Recenzije • Reviews
Nataša Cigoj Krstulovic
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Zgodovina, spomin, dediščina: Ljubljanska Glasbena matica do konca druge svetovne vojne
Nataša Cigoj Krstulovic. Zgodovina, spomin, dediščina: Ljubljanska Glasbena matica do konca druge svetovne vojne. Ljubljana: Založba ZRC, ZRC SAZU, 2015. 342 str. 25 €. ISBN: 9789612548056.
Ob izidu nove znanstvene monografije o delovanju Glasbene matice v Ljubljani do leta 1945 bi se lahko površni opazovalec slovenske glasbenozgodovinske literature vprašal: čemu še eno znanstveno delo na to temo? Osrednje nacionalno slovensko opredeljeno glasbeno društvo je bilo do danes deležno vrste opazovanj. Mnoga so se dotaknila le določenih segmentov njenega razvejanega delovanja, druga so se posvetila le zamejenim, največkrat za njeno zgodovinsko vlogo najbolj značilnim obdobjem. Že pri Dragotinu Cvetku predstavlja opazovanje delovanja Glasbene matice precejšen del 19. stoletju posvečenega tretjega zvezka Zgodovine glasbene umetnosti na Slovenskem (Ljubljana, 1960). Kasneje se je ključnih let njenega delovanja dotaknil Primož Kuret v Glasbeni Ljubljani (Ljubljana, 1985) in 100 let Slovenske filharmonije (Ljubljana, 2008). Vsaj dve ključni področji društvenega delovanja sta zaposlovali Cveta Budkoviča. Delovanje šole Glasbene matice je osrednja tema njegove monografije v dveh zvezkih Razvoj glasbenega šolstva na Slovenskem (Ljubljana, 1992 in 1995), v Sto let pevskega zbora Glasbene matice (Ljubljana, 1992) pa se je posvetil predstavitvi delovanja pevskega zbora, ki je bilo za starejše zgodovinopisje še vedno osrednji prispevek društva k slovenski glasbeni kulturi. Med publikacijami, ki so pomembno osvetlile delovanje drugih, morda nekoliko zanemarjenih področij delovanja Glasbene matice, velja omeniti vsaj Bibliografijo založbe Glasbene matice v Ljubljani Zorana Krstulovica (Ljubljana, 1996). Ob navedenih delih je izšla še kopica znanstvenih člankov, prispevkov na konferencah in univerzitetnih nalog, ki je zaradi prostora ne moremo podrobneje prikazati, a je pomembno zaznamovala naše vedenje in razumevanje društvenega delovanja.
Kaj nam torej nova monografija prinaša novega? Najprej izstopa iz dosedanje produkcije po svoji celovitosti in uravnoteženosti. V večini dosedanjih znanstvenih opazovanj je bila pozornost usmerjena le na eno od društvenih dejavnosti (zbor, šola, založba itn.). Nataša Cigoj Krstulovic pa je uspela v svoji monografiji prikazati delovanje vseh,
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tudi do sedaj nekoliko zanemarjenih področij društvenega delovanja (npr. Koncertna poslovalnica ali Folklorni inštitut). Vzporedni razvoj vseh dejavnosti je znala preplesti v izredno posrečeno, zaradi neizvedljivosti in ne nespretnosti le mestoma nacefrano nit. Pripoved je členjena v smiselno razmejena obdobja, znotraj katerih pred nami v doslej nepoznani celovitosti zaživi delovanje društva, soodvisnost in včasih tudi protislovnost njegovih raznolikih dejavnosti, pa tudi njihova vpetost v sodobno slovensko kulturno in politično življenje.
Druga novost je bistveno širši nabor arhivskih virov, na katerih temelji avtoričina predstavitev zgodovinskega dogajanja. Večina dosedanjih opazovalcev se je srečevala s pomembnimi omejitvami pri dostopu do različnega gradiva, povezanega z delovanjem Glasbene matice. Šele po dokončanih procesih denacionalizacije in ponovni vzpostavitvi polnega delovanja društva v zadnjih letih je bilo mogoče zopet zbrati in ustrezno urediti gradivo, ki je bilo več desetletij razpršeno po javnih in zasebnih zbirkah ter skladiščih. Monografija zato odpravlja marsikatero zmoto, ki je zaradi desetletja trajajočega prepisovanja iz enega v drugo avtoritativno znanstveno besedilo zaživela lastno življenje in obveljala kot dejstvo.
Zadnja in ne najmanj pomembna novost pa je senzibilnost, s katero se avtorica loteva opazovanja obdobja, v katerem se je razplamtel vihar nacionalnih in ideoloških nasprotij. Pri tem se večinoma spretno izogiba čerem zgodovinskega moraliziranja in postavljanja eksplicitnih ali - morda še bolj nevarnih - implicitnih sodb o tem, kdo ima prav, ali kdo so »naši« in kdo so »drugi«. Razmah slovenskega glasbenega nacionalizma opazuje kot del širšega zgodovinskega dogajanja, brez do sedaj običajnega navijaštva. Zanima jo predvsem njegov prispevek k oblikovanju slovenske kulturne krajine 20. stoletja, ki pa jo razume kot sintezo prizadevanj in dosežkov vseh deležnikov, ki so jo sooblikovali. S tem se umešča med prva slovenska glasbenozgodovinska dela, ki so se vsaj poskušala oddaljiti od predmodernističnega razumevanja pojma nacije in dogme o vrojenosti nacionalne pripadnosti. Podobno - a morda v nekoliko manjši meri - velja za ideološko pogojene konflikte Glasbene matice s komunistično oblastjo. Tu morda skozi njeno pisanje v nekoliko večji meri presevajo uporabljeni viri - predvsem spominski zapisi V. Ravnikarja - v katerih se zrcali groza ob razpadanju še zadnjih ostankov evropske kulturne stvarnosti.
Vsekakor je Nataša Cigoj Krstulovic predstavila monografijo, ki bo ključen in neizbežen pripomoček vsakomur, ki se bo ukvarjal z zgodovino glasbenega življenja na Slovenskem ob koncu 19. in v prvi polovici 20. stoletja. V njej bo našel celovit, zanesljiv in predvsem v idejnih izhodiščih sodoben pregled vedenja o delovanju osrednje glasbene ustanove na Slovenskem v tem obdobju.
Aleš Nagode,
Filozofska fakulteta, Univerza v Ljubljani
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N. CIGOJ KRSTULOVIC • ZGODOVINA, SPOMIN, DEDIŠČINA
Nataša Cigoj Krstulovic
History, Remembrance, Heritage:
The Glasbena matica Ljubljana Music Society up to the End of the Second World War
Nataša Cigoj Krstulovic. Zgodovina, spomin, dediščina: Ljubljanska Glasbena matica do konca druge svetovne vojne. 342 pp. (Ljubljana, Založba ZRC, ZRC SAZU, 2015. € 25. ISBN 978-961-254-805-6.)
At the publication of a new scientific monograph on the activities of the Glasbena matica music society in Ljubljana up to 1945, an inattentive observer of Slovenian musical-historical literature might wonder: why another scientific work on this topic? The central national, Slovenian-declared music society has to this day been the subject of numerous observations. Many of them have touched on specific segments of its diverse activities, while others have focused solely on narrower periods that are most characteristic of its historical role. Dragotin Cvetko's observations of the Glasbena matica's activities already comprise a considerable part of the third volume of his History of Music in Slovenia (Ljubljana, 1960), dedicated to the 19th century. Later on, Primož Kuret focused on the key years of its activities in Musical Ljubljana (Ljubljana, 1985) and in 100 Years of the Slovenian Philharmonic (Ljubljana, 2008). Cveto Budkovič occupied himself with at least two key areas of the society's activities. The work of the Glasbena matica's music school is the central theme of his monograph in two volumes, entitled the Development of Musical Education in Slovenia (Ljubljana, 1992 and 1995), whereas in One Hundred Years of the Glasbena matica Choir (Ljubljana, 1992) he chronicles the activities of its choir, which, for older historiography, still represents the society's principal contribution to Slovenian music culture. Among the publications that highlighted the activities of other, perhaps slightly neglected areas of the society's activities, mention should at least be made of the Bibliography of the Glasbena matica publishing house in Ljubljana by Zoran Krstulovic (Ljubljana, 1996). Also published alongside the mentioned works were a multitude of scientific papers, contributions at conferences and university theses which, owing to lack of space, cannot be presented in more detail despite having significantly contributed to our knowledge and understanding of the society's activities.
So does the new monograph bring anything new? First of all, it stands out from the previous products by its wholeness and balance. In the majority of previous scientific
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observations, attention was focused on a single segment of the society's activities (choir, school, publishing house, etc.). This time, Nataša Cigoj Krstulovic has portrayed in her monograph the functioning of all the society's areas of activity, including those that had been somewhat neglected in the past (e.g., the Concert Management or the Folklore Institute). She has managed to interweave the parallel development of all activities into an extremely auspicious thread that is frayed in very few places, primarily due to impracticability and not awkwardness. The text is divided into meaningfully separated periods, within the scope of which the society's activities, co-dependence and sometimes even the contradictoriness of its various activities, as well as their inclusion in modern Slovenian cultural and political life, all come alive before us in a previously unknown wholeness.
The second novelty is a considerably broader selection of archival sources on which the author's presentation of historical events is based. In the past, most observers met with major restrictions when accessing various materials related to the activities of the Glasbena matica music society. Only after the completion of property restitution procedures and the re-establishment of the society's full operation in past years has it been possible to repeatedly collect and arrange its materials, which had been dispersed for several decades among public and private collections and storages. The monograph has thus eliminated many an error which, owing to decades-long rewriting from one authoritative scientific text to another, had lived a life of its own and was accepted as a fact.
The last and not least important novelty is the sensitivity with which the author takes when observing the periods that saw a surging storm of national and ideological conflicts. For the most part she adeptly avoids the hazards of historical moralizing and making explicit or - perhaps even more dangerous - implicit judgments about who is right or who is "for us" and who is "against us". She looks on the flourishing of Slovenian musical nationalism as part of broader historical happenings, without the previously customary rooting. She is primarily interested in its contribution to the shaping of the Slovenian cultural landscape of the 20th century, which she perceives as a synthesis of endeavours and achievements of all stakeholders who co-shaped it. This ranks the monograph among the first Slovenian musical-historical works that have at least attempted to distance themselves from the pre-modernist understanding of the concept of nation and the dogma of the innateness of national allegiance. The same applies - but perhaps to a slightly smaller extent - for the ideologically conditioned conflicts of the Glasbena matica music society with the communist authorities. Here, the sources used might shine more brightly through her writing - particularly the reminiscences of V. Ravnikar -, reflecting horror at the disintegration of the last remains of European cultural reality.
Nataša Cigoj Krstulovic has by all means presented us with a monograph that will serve as a crucial and indispensable tool to all those engaged in the history of musical life in Slovenia at the end of the 19 th and first half of the 20 centuries. It will provide comprehensive, reliable and contemporary insight - particularly in its conceptual baselines - into the activities of the central music institution in Slovenia in this period.
Aleš Nagode,
Faculty of Arts, University of Ljubljana Translated by Suzana Stančič
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