225
DOI: 10.4312/mz.59.1-2.225-277
UDK 785(497.4 Ljubljana)"1802/1937"
Between Acts: Instrumental Music in Ljubljana’s 
Estates Theatre (1802–1837) 1
Maruša Zupančič
Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti, 
Ljubljana
ABSTRACT
Music served a variety of purposes at the Estates Theatre in Ljubljana. As well as being the 
main component of opera and theatre productions, it also served as entertainment for the 
audience during intermissions and enriched evening events. The present study focuses on 
the importance of the interaction between instrumental music and theatrical and operatic 
performances from 1802 to 1837.
Keywords: Estates Theatre in Ljubljana, musical interludes, concerts, instrumental music, 
guest musicians
IZVLEČEK
V Stanovskem gledališču v Ljubljani je glasba služila različnim namenom. Ni bila le osrednji 
del opernih in gledaliških predstav, temveč je tudi zabavala občinstvo med odmori in popestrila 
druge večerne dogodke. Ta prispevek se osredotoča na pomen in interakcijo instrumentalne 
glasbe z gledališkimi in opernimi predstavami od leta 1802 do leta 1837.
Ključne besede: Stanovsko gledališče v Ljubljani, glasbeni interludiji, koncerti, inštrumen -
talna glasba, gostujoči glasbeniki
* This article was written within the research programme Researches in the History of Music in 
Slovenia (P6–0004), funded by the Slovenian Research and Innovation Agency (ARIS).
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At the beginning of the nineteenth century, the Estates Theatre in Ljubljana 
became the city’s most important central cultural institution, reflecting and 
shaping the prevailing musical tastes of the population. Instrumental music 
played a key role in this cultural landscape, as it was not limited to opera, but 
also enriched theatrical performances, either during intermissions or as an in -
dependent segment in theatrical performances.
The present study is based on theatre programmes ( Theaterzettel) preserved 
in the National Museum of Slovenia in Ljubljana.
1
 These archival documents, 
which were an important medium of communication with the audience, not 
only contain a detailed record of the repertoire and other valuable basic infor -
mation about performances, but also reflect the spirit of the times. With invi -
tations to bourgeois balls, advertisements for dance and music lessons, sales of 
sheet music in the theatre office or from vendors in their homes, and references 
to the presence of military bands in Ljubljana, these sources reveal a rich musi -
cal landscape and provide valuable insights into the socio-cultural norms and 
evolving musical trends of the time. Although the collection of Theaterzettel 
has not been preserved without gaps, it is an important source for the study of 
musical life in Ljubljana during the period in question.
The paper focuses on the period between 1802 and 1837 and is a valuable 
addition to the Philharmonic Society’s concert programmes. It focuses on un -
derstanding the role of instrumental music and its interaction with theatrical 
and operatic performances, reflecting the artistic and cultural vitality of this 
period in Ljubljana.
The Historical Context of Musical Interludes during Intermissions in 
Theatres
The practice of playing music during intermissions of theatrical performances 
developed during the Renaissance, when audiences at courts and municipal 
theatres were often entertained with short musical pieces. In the Elizabethan 
theatre, music played a central role in the staging of plays, especially in the 
works of William Shakespeare and his contemporaries. Music enhanced the 
atmosphere and captivated the audience at the beginning of plays and during 
their performance, as well as entertaining the audience during intermissions. 
In the public theatres of the time, incidental music was often played by official 
town musicians ( waits),
2
 who, from 1576 onwards, were allowed to perform in 
1 Comedien-Zettel Sammlung, National Museum of Slovenia in Ljubljana (hereafter referred to as 
NMS), shelf-mark III 13085. I would like to thank my colleague Marko Motnik for bringing this 
source to my attention.
2 W. J. Lawrence, “Music in the Elizabethan Theatre,” The Musical Quarterly 6, no. 2 (1920): 
192–205; R. Thurston Dart, “Morley’s Consort Lessons of 1599,” Proceedings of the Royal Music 
Association 74 (1947–1948): 1–9; David Mann, “Reinstating Shakespeare’s Instrumental Music,” 
Early Theatre 15, no. 2 (2012): 67–91.
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theatrical productions, including comedies, interludes, tragedies and others.
3
 
During the Italian Renaissance, the inclusion of elaborate musical and theatri -
cal interludes ( intermedi) fundamentally changed the role of music in theatre 
and enriched the artistic tapestry of the era.
4
 In 1589, the most costly and spec -
tacular intermedi ever devised were performed for the wedding of Grand Duke 
Ferdinando de’ Medici and Christine of Lorraine.
5
 The cycle of festivities for 
Ferdinando’s wedding included the performance of a comedy, La Pellegrina, 
with accompanying intermedi performed between the acts.
6
 The six intermedi 
were a visually and aurally rich affair, involving at least 25 instrumentalists, 60 
singers and 27 dancers.
7
 Several composers and librettists were involved in the 
production of the intermedi.
8
As public opera emerged and flourished, musical interludes became a rea -
sonably permanent form of entertainment. Already in the early days of opera, 
3 “This daye the hole company of the waytes of this Cittie did come here unto this courte and Craved 
that they might have leve to playe commodies and upon Interlutes & souch other places [sic] and 
tragedies which shall seme to them mete which Peticion by the hole concent of this courte is 
graunted to them so farre as they do not play in the tyme of devine service and Sermonnes.” See 
Teresa Ann Murray, “Thomas Morley and the Business of Music in Elizabethan England” (PhD 
diss., University of Birmingham, 2010), 40.
4 Intermedi were first performed at the court of Ferrara in the late fifteenth century between the 
acts of the ancient comedies of Titus Maccius Plautus and Terence as well as their humanist 
successors. As these plays were divided into five acts, four intermedi were needed; later intermedi 
were added before and after the play to increase the number to six, but this was by no means the 
rule. As the stage remained open for the entire duration of the play after the curtain went up, the 
insertion of intermedi was a means of emphasizing the division of the play into acts. In some cases, 
only instrumental music was used, which was played out of view of the audience ( intermedio non 
apparente or ‘invisible’). Far more popular, however, was the staged or ‘visible’ type ( intermedio 
apparente), performed by costumed singers, actors and dancers who portrayed a pastoral or 
mythological story through pantomime and rhythmic movement. In the sixteenth century, 
attempts were made to thematically standardise the intermedi for a performance or to connect 
them to the play in some way. Despite the erudite and complex literary themes, the attraction 
of intermedi remained the entertainment of the spectators. Court intermedi those produced for 
a specific occasion such as a wedding were the most elaborate and costly of all. They combined 
the ‘wonders’ of stage effects with mythological allegories designed to flatter the patrons in the 
audience. For more, see David Nutter, “Intermedio [intromessa, introdutto, tramessa, tramezzo, 
intermezzo] (It.; Fr. intermède),” in Grove Music Online, accessed November 7, 2023, https://doi-
org.nukweb.nuk.uni-lj.si/10.1093/gmo/9781561592630.article.13831 .
5 Nutter, “Intermedio.”
6 The complete subservience of the comedy to the intermedi is evident from the fact that they 
were performed twice with Girolamo Bargagli’s comedy La Pellegrina and twice more with two 
different comedies, performed by the acting troupe of the Comici Gelosi. For more, see Nutter, 
“Intermedio”.
7 Jennifer Nevile, “Cavalieri’s Theatrical Ballo ‘O che nuovo miracolo’: A Reconstruction,” Dance 
Chronicle 21 (1998): 353–358.
8 Giovanni de’ Bardi, Ottavio Rinuccini and Laura Guidiccioni Lucchesini wrote the texts; 
most of the music was composed by Cristofano Malvezzi and Luca Marenzio, with individual 
contributions by Jacopo Peri, Antonio Archilei, Giovanni de’ Bardi, Giulio Caccini and the 
recently appointed ducal superintendent of music, Emilio de’ Cavalieri. For more, see ibid.
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impresarios recognised the need for intermissions between acts to facilitate 
scenic transitions, to give the performers a brief rest, and to allow the audi -
ence moments to socialise, refresh and retire. These intermissions were a great 
opportunity to entertain the audience with additional musical performances, 
which were a standard feature of the theatre.
During the Baroque and Classical periods of opera, the musical repertoire 
performed during intermissions included instrumental and vocal music, ballet 
performances, and comic scenes and farces, which provided a humorous con -
trast to the serious themes of the main opera. Orchestras played instrumental 
pieces and accompanied the performances of virtuosi, while singers performed 
solo arias, duets or other vocal pieces separately from the main opera to show 
off their skills and shine individually. An intermezzo, a short and typically 
comic operatic piece, was usually performed during the intermissions of the 
opera.
9
 Giovanni Battista Pergolesi’s intermezzo La serva padrona, written for 
the opera seria Il prigioniero superbo, is a remarkable example of how the inter -
mezzo gained prominence as an independent form.
10
 This work contributed to 
the evolving landscape from which opera buffa emerged.
Traditions and practices of performances during intermissions varied be -
tween different cities, such as Venice, London, Naples, and Vienna. While 
some opera composers wrote special music for the intermissions, others left it 
to the discretion of the impresario or the musicians themselves.
In the Baroque period, when public concerts were not widespread, theatres 
also played a central role in presenting virtuosi and introducing new compositions 
during intermissions. In Venice, the oratorio productions of the Ospedale della 
Pietà adopted the custom of performing virtuoso instrumental pieces towards the 
end of the seventeenth century.
11
 Antonio Vivaldi, who had been a violin and viola 
teacher as well as the maestro de concerti at the institution since 1703, soon popu -
larised this practice at the Teatro San Angelo. His main task at the Ospedale della 
Pietà was to provide a first-rate musical education and to compose pieces that 
9 For more about the intermezzo, see Charles E. Troy and Pero Weiss, “Intermezzo (ii),” in Grove 
Music Online, accessed September 25, 2023, https://doi-org.nukweb.nuk.uni-lj.si/10.1093/
gmo/9781561592630.article.13834 ; Jeffrey Pulver, “The Intermezzi of the Opera,” Proceedings of 
the Musical Association 43 (1916–1917): 139–163.
10 La serva padrona was originally composed as an intermezzo for Giovanni Battista Pergolesi’s less 
successful opera seria Il prigioniero superbo. While the opera fell into oblivion and saw few revivals, 
La serva padrona was a success in its own right and was celebrated throughout Europe in the years 
following its premiere. Its enormous popularity helped make the intermezzo an operatic genre 
in its own right, and similar pieces gained recognition beyond their original role as intermission 
pieces. For more, see Helmut Hucke and Dale E. Monson, “Pergolesi, Giovanni Battista,” in 
Grove Music Online, accessed October 7, 2023, https://doi-org.nukweb.nuk.uni-lj.si/10.1093/
gmo/9781561592630.article.21325 .
11 Eleonor Selfridge-Field, A New Chronology of Venetian Opera and Related Genres, 1660–1760 
(Stanford: Stanford University Press, 2007), 51.
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highlighted the abilities of his violin students.
12
 As part of this mission, Vivaldi 
began to renew the genre of the violin concerto, creating over a hundred concertos 
for the institution’s young musicians. The Ospedale’s musical performances, held 
on weekends and holidays, soon became the cultural and social meeting place of 
the Venetian aristocracy. They attracted visitors from all over Europe and became 
a must-see event on the Venice itinerary of the popular Grand Tour.
13
 In 1711, 
Vivaldi’s violin concertos were collected and published by Amsterdam publisher 
Estienne Roger under the title L’estro armonico (Harmonic Inspiration). Vivaldi 
capitalised on the popularity of his violin concertos by performing them himself 
at opera performances at the Teatro San Angelo in Venice, where he occasionally 
served as an impresario between 1713 and 1734. Violin performances by the im -
presario at opera performances were a special attraction in the competitive world 
of Venetian opera houses, adding a unique personal touch to Vivaldi’s operas and 
attracting the attention of the audience.
14
 In 1715, the German traveller Johann 
Friedrich Armand von Uffenbach reported in a diary entry: 
[…] towards the end [of the opera at S. Angelo] Vivaldi played an accompagnement 
solo, admirably, before he added a fantasia [solo cadence] at the end that quite startled 
me, for such a thing has never been played before, nor can it be played, for he came to the 
bridge with his fingers [of his left hand] only a straw wide, so that the bow had no room, 
and that all 4 strings with fugues and a speed that is unbelievable, he surprised everyone 
with it, only that I should say that it charmed me I cannot do because it was not so pleasant 
to hear as it was artfully played.
15
12 The Ospedale della Pietà and the other three institutions ( Incurabili, Derelitti and Mendicanti) began 
as hospitals for foundlings, where, under the auspices of the government, orphans of both sexes were 
housed, clothed and fed, and taught to read, write and pray. While the boys received an education 
that prepared them for various trades (woodworking, shipbuilding, printing), the girls were trained in 
the arts of sewing, embroidery and needlework, or in music, depending on their abilities. Originally 
intended as part of the girls’ moral and religious education, musical activities gained increasing attention 
and funding in the first half of the eighteenth century. Singing lessons were supplemented by a growing 
number of instruments. The music masters had various duties: the maestro del coro was responsible for 
the singers and the maestro de concerti for the instrumentalists, and they were both obliged to provide 
new music for teaching and performance. Besides the violin, which was taught at the institution from 
1703 onwards, the Ospedale della Pietà also offered lessons in other instruments, such as the oboe, the 
clarinet, the cello, the recorder, the lute, the harpsichord, the corno di caccia and the timpani. See Ellen 
Rosand, “Vivaldi’s Stage,” The Journal of Musicology 18, no. 1 (2001): 11–14.
13 The Grand T our was a tradition of educational travel undertaken by young members of the European 
aristocracy and wealthy bourgeoisie in the seventeenth, eighteenth and early nineteenth centuries. 
Participants visited major European cities and cultural centres to deepen their understanding of 
art, culture, history and social customs. These trips represented the culmination of their education 
and preparation for adulthood. Often, the trip began in England, continued through France and 
Switzerland, and ended in Italy, focusing on cities known for their rich cultural heritage, such as 
Rome, Florence and Venice. After visiting Italy, some participants extended their trip to Germany, 
the Netherlands and other European countries.
14 Rosand, “Vivaldi’s Stage,” 8–10.
15 “[…] gegen das ende [of the opera at S. Angelo] spielte der vivaldi ein accompagnement solo, 
admirabel, voran er zu letzt eine phantasie anhing die mich recht erschrecket, denn dergleichen 
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Performing music during intermissions in operas and oratorios was a 
trend that extended beyond Venice and appeared independently in vari -
ous European theatres. In London, the violin virtuoso Francesco Maria 
Veracini delighted audiences at the Queen’s Theatre as early as 1714 with 
his virtuoso interludes. In 1735, George Frideric Handel began to include 
organ concertos in the performances of his oratorios. By presenting himself 
as both a composer and a performer, he could offer an attraction to rival the 
Italian castrati of the competing Opera of the Nobility. These concertos, 
which were often either performed during the intermissions of the orato -
rios or incorporated into them,
16
 formed the basis for Handel’s Organ Con-
certos, Op. 4, published by John Walsh in 1738. Handel also wrote twelve 
Concerti Grossi, Op. 6, specifically for performance during intermissions 
during the 1739/40 season at London’s Lincoln’s Inn Fields Theatre.
17
 Ve-
racini added to this series of intermission performances by performing one 
of his own violin concertos during the intermission of Handel’s opera Acis 
and Galatea in 1741. Between 23 September and 8 November of the fol -
lowing year, Veracini gave 21 performances of concertos between the acts 
of dramatic presentations at Drury Lane Theatre.
18
 Around the middle of 
the century, Vivaldi’s compositions were probably the preferred choice to 
entertain English theatre audiences between acts. However, this tradition 
did not escape criticism. As one writer noted, the audience was swept away 
by a jig by Vivaldi or a concerto by Giardini at the end of each act, and 
would thus lose their emotional attachment to the play and start the next 
ohnmoglich so jemahls ist gespielt worden noch kann gespiehlet werden, denn er kahm mit den 
Fingern nur einen strohhalm breit an den steg dass der bogen keinen platz hatte, und das auf allen 
4 saiten mit Fugen und einer geschwindigkeit die unglaublich ist, er suprenierte damit jedermann, 
allein dass ich sagen soll dass es mich charmirt das kan ich nicht tun weil es nicht so angenehm zu 
horen, als es kunstlich gemacht war.” Quoted in Eberhard Preussner, Die musikalischen Reisen des 
Herrn von Uffenbach: Aus einem Reisetagebuch des Johann Friedrich A. von Uffenbach aus Frankfurt a. 
M. 1712–1716 (Kassel and Basel: Bärenreiter, 1949), 67.
16 The four concertos Op. 4 (HWV 290–293) were written to be played during the intermissions 
of the performances of Handel’s oratorios Esther, Deborah and Athalia in March and April 
1735 at John Rich’s newly opened theatre in Covent Garden. The other two concertos (HWV 
289 and 294) served the same purpose in February and March of the following year for 
the performances of Alexander’s Feast, Handel’s setting of John Dryden’s ode, at the same 
venue. See William D. Gudger, “Handel and the Organ Concerto: What we Know 250 Years 
Later,” in Handel: Tercentenary Collection, eds. Stanley Sadie and Anthony Hicks (London: 
Macmillan, 1987), 271–278; Donald Burrows, “Handel as a concerto composer,” in The 
Cambridge Companion to Handel, ed. Donald Burrows (Cambridge: Cambridge University 
Press, 1997), 193–207. 
17 Silas Wollston, “Handel’s Compositional Process in the Creation of the Grand Concertos, Op. 
6,” in New Perspectives on Handel’s Music: Essays in Honour of Donald Burrows, ed. David Vickers 
(Woodbridge: The Boydell Press, 2022), 106, 128.
18 John Walter Hill, “Francesco Maria Veracini,” in Grove Music Online, accessed September 25, 
2023, https://doi-org.nukweb.nuk.uni-lj.si/10.1093/gmo/9781561592630.article.29178 ; Mary 
Gray White, “The Life of Francesco Maria Veracini,” Music & Letters 52, no. 1 (1972): 32. 
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act detached and indifferent again, as if they were at the very beginning of 
the performance.
19
During the Late Classical period, particularly in prominent opera houses, 
the tradition of performing music during intermissions saw a slight decline. 
The practice was, however, revived in the Romantic period, coinciding with 
the growing reputation of the “virtuoso” as a public icon, and was especially 
prevalent in cities with a strong virtuoso culture. In the late eighteenth and 
early nineteenth centuries, when opera was an important part of the Parisian 
cultural landscape, violin virtuosi in particular frequently performed during 
the intermissions of opera performances. In 1790, during the post-Revolution 
period, the famous violin virtuoso Giovanni Battista Viotti (1755–1824) be -
gan presenting performances of his concertos in his own Théâtre de Monsieur 
(Feydeau). After Viotti’s retirement from the concert stage, his pupil Pierre 
Rode (1774–1830) premiered and popularised his teacher’s concertos during 
opera intermissions between 1791 and 1792. A similar practice of performing 
music during opera intermissions was also adopted in other Parisian theatres, 
where orchestral works (e.g., overtures, popular movements of symphonies), 
ballet music or dance sequences were performed alongside vocal pieces and 
virtuoso instrumental works.
20
However, the soloists who appeared during the opera intermissions did 
not always receive the attention they deserved. The ethos of the audience was 
still in its infancy: they were often late for the theatre, they talked incessantly 
during performances, and some even spat at other members of the audience 
from the higher balconies or threw rubbish at them.
21
 Such behaviour was not 
unique to Paris, as similar or worse conditions prevailed in many European 
theatres of the time. During the intermissions of operas, the situation was 
often even worse than during the opera performances and concerts, as the 
audience could be much louder and more restless than usual. One Paris news -
paper, for example, reported that the audience paid not the slightest attention 
to Rode’s pleasing solos, instead praising Baillot’s violin playing. The critic also 
19 William Cook wrote in his work The Elements of Dramatic Criticism : “[…] in our theatres, on the 
contrary, the audience, at the end of every act, carried away by a jig of Vivaldi’s, or a concerto of 
Giardini’s, lose every warm impression relative to the piece, and begin again cool and unconcerned, 
as at the commencement of the representation.” William Cook, The Elements of Dramatic Criticism 
(London: G. Kearsly, 1775), 97–98; Quoted in Annabele Goodman, “Reception History of 
Antonio Vivaldi,” Sydney Undergraduate Journal of Musicology 7 (2017): 13.
20 At the Théâtre de la Cité, for example, on May 16, 1797, violinist Demeuase played Viotti’s 
Violin Concerto in D minor, No. 17 “between the performances of two plays”; on July 12, 1797, 
violinists Girard and Cordebas played a symphony concertante by Viotti “between two plays”; and 
on 25 February 1799, violinist Demeuse played a concerto by Viotti in the “second entr’acte”. See 
Warwick Lister, Amico: The Life of Giovanni Battista Viotti (New York: Oxford University Press, 
2009), 166.
21 James H. Johnson, Listening in Paris: A Cultural History (Berkeley and Los Angeles: University of 
California Press 1995), 170.
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noted sarcastically that for the audience, the main difference between a chorus 
and a solo was how loudly they could speak.
22
As the Romantic era unfolded, virtuosi increasingly favoured solo con -
cert performances over performances during theatre intermissions. None -
theless, intermissions often still showcased instrumental pieces or entr’actes 
(Zwischenakt-Musik), along with dances, pantomimes and popular vocal pieces 
unrelated to the opera’s content. In the 1810s, Niccolò Paganini played be -
tween intermissions at the Teatro Sant’Agostino in Genoa, an arrangement 
that suited him very well, as he received a fixed fee or a share of the pro -
ceeds without taking any financial risk. When Louis Spohr was in Naples in 
1817, he received three hundred ducats for two such “intermezzo concerts”.
23
 
Franz Liszt, the celebrated piano virtuoso, leveraged large opera intermission 
audiences in the 1840s for greater exposure and acclaim. Later, however, in 
his role as Kapellmeister at the Court Theatre in Weimar, he grew to despise 
this practice, eventually expressing his disapproval in his 1855 essay “Keine 
Zwischenaktmusik”. He considered it a “prostitution of the orchestra” and a 
degradation of the audience, who wanted to talk with their friends during 
intermissions without paying attention to music.
24
Towards the end of the nineteenth century, the practice of separate musical 
performances during theatre intermissions began to decline and it had disap -
peared altogether by the beginning of the twentieth century. This change was 
influenced by a number of factors: operas and plays became longer, solo recit -
als and concert culture grew, audiences became more absorbed in the main 
opera and had less patience with intermissions, and it was economically and 
logistically easier to concentrate exclusively on the main opera without the 
added complexity of scheduling artists and rehearsals for intermission perfor -
mances. Consequently, intermissions became genuine breaks with their own 
social function free of additional musical distractions, both for the audience 
and the performers.
The Estates Theatre and Musical Life in Ljubljana until the 1830s
The centres of cultural socialising and the development of musical art in Carni -
ola were, at least until the end of the eighteenth century, the closed circles of the 
nobility and the Church. Until 1765, when the first theatre building was erected 
in Ljubljana, opera was usually performed in various private and public halls, as 
22 Johnson, Listening in Paris, 170.
23 Geraldine I. C. Courcy, Paganini, The Genoese , vol. 1 (University of Oklahoma Press, 1957), 143.
24 Franz Liszt, “Zwischenaktsmusik,” Berliner Musikzeitung Echo 5 (December 9, 1855): 385–392; 
Franz Liszt, “Keine Zwischenaktmusik!,” in Gesammelte Schriften, vol. 3, ed. and transl. Lina 
Ramann (Leipzig: Breitkopf & Härtel, 1881), 136–150; Joanne Cormac, “Liszt as Kapellmeister: 
The Development of the Symphonic Poems on the Weimar Stage” (PhD diss., University of 
Birmingham, 2012), 76–77.
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well as in the gardens and atriums of the nobility for invited guests, and even in 
the Estates Riding Hall. However, the number and frequency of various comedy, 
theatre and opera travelling groups in Ljubljana reinforced the need for a real 
theatre house. When the Imperial couple, Maria Theresa and Francis Stephen, 
visited Ljubljana, the provincial Estates immediately decided to rebuild the old 
Estates Riding Hall or Stables into the Estates Theatre, which stood on the site 
of today’s Slovenian Philharmonic Hall. As it turned out, the Emperor’s death 
prevented the planned visit, but the theatre remained and became the centre of 
cultural and social activity in the city until it was destroyed by fire in 1887.
25
The Estates Theatre had a relatively large auditorium seating 650 to 700 
spectators, a well-equipped stage and side rooms, but the capacity of the theatre 
was far below that of other contemporary European theatres in cities comparable 
with, or even smaller than, the Carniolan capital in terms of population and de -
mography.
26
 The Ljubljana Opera Theatre was in a worse financial situation than 
most theatres of the Austrian monarchy, as its permanent audience consisted of 
only a thin layer of the population from the ranks of the nobility, intellectuals, 
foreign officials and the military. Due to the often unstable political and eco -
nomic situation, the quality of the performances varied greatly, while the limited 
economic power of Ljubljana’s population meant that even high-quality opera 
productions were sometimes not fully attended. Consequently, no theatre com -
pany could survive in Ljubljana for long, as impresarios suffered significant losses 
from year to year and their financial ruin became quite common from the end 
of the eighteenth century. In addition to the poor material conditions and the 
limited financial contribution from sponsors and donations, the new opera house 
was also hampered by the fact that it had no singers or actors of its own, but 
was dependent on visiting German and Italian opera troupes. The Italian opera 
troupes in Ljubljana presented exclusively works from the Italian opera tradi -
tion, mainly recent novelties, while the opera repertoire of the German troupes 
offered a more varied selection of German, French and Italian operas, plays and 
Singspiele. Towards the end of the eighteenth century, the position of the Italian 
touring theatre gave way to the increasingly influential German theatre troupes. 
Eventually, German comedians visiting Ljubljana began to include musical gen -
res in their repertoire, as opera had become very popular with Ljubljana audi -
ences. Italian and German opera troupes thus introduced Ljubljana audiences to 
the operas of the most important librettists and composers of the time.
27
25 Vlado Kotnik, Operno občinstvo v Ljubljani: Vzpon in padec neke urbane socializacije 1660–2010 
(Koper: Univerzitetna založba Annales, 2012), 69–70.
26 The seating capacity was 250 in the stalls, 150 in the boxes and about 250 in the gallery. The 
auditorium only filled to capacity on very important occasions, as it did not offer complete 
comfort. In the winter, performances lasting several hours took place in a partly empty auditorium. 
See Kotnik, Operno občinstvo v Ljubljani, 76.
27 Jože Sivec, Opera v Stanovskem gledališču v Ljubljani od leta 1790 do 1861 (Ljubljana: Slovenska 
matica v Ljubljani, 1971), 7, 174–176; Kotnik, Operno občinstvo v Ljubljani, 96, 101.
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Towards the end of the eighteenth century, musical life in Ljubljana began 
to open up beyond public theatres, churches and the barely accessible residenc -
es of the high nobility. In the late 1780s and early 1790s, music academies were 
held in the Redoutensaal,
28
 which was administered by the Estate’s Theatre 
Directorate, and in the Casino Club (Casino-Gesellschaft). The Casino Club 
was located on the first floor of the theatre building and served as a meet -
ing place for the aristocracy and the wealthy bourgeoisie.
29
 However, access to 
the casino was reserved for its members (the city’s elite), who met at certain 
times for board games, conversation and entertainment, whereas tickets to the 
academies were on sale to the public in the Redoutensaal for anyone who could 
afford them. When performances were held in the theatre, the casino tenant 
had the exclusive right to serve food and drinks to visitors.
In a small provincial town like Ljubljana, there were relatively few musi -
cians at the end of the eighteenth century, so those who were available par -
ticipated in the aforementioned music academies as well as in theatre perfor -
mances.
30
 They were local dilettantes and professional musicians,
31
 as well as 
foreign professional musicians who resided in the city for varying lengths of 
time. The latter included travelling virtuosi who stopped for a week or two as 
part of a musical tour and military orchestras stationed in the city for weeks 
or months,
32
 as well as orchestra directors and Kapellmeisters of various Ger -
man and Italian opera troupes who stayed in the city for one or more seasons. 
28 The Redoutensaal was built in 1786 in the premises of Laibacher Redoute by the Regional Estates. 
It was mainly used for carnival balls and concerts. On other occasions, festivities were also held 
in the building of the Estates Theatre, which also hosted theatre and opera performances and 
concerts. See Ivan Vrhovec, “Iz domače zgodovine: Zabave v stari Ljubljani,” Ljubljanski zvon 6, 
no. 1 (1886): 32–33; Marko Motnik and Lidija Podlesnik Tomášiková, “ Laibacher Deutscher after 
the Congress of Laibach,” Muzikološki zbornik 57, no. 2 (2021): 24.
29 For more about the Casino Club, see Ivan Lah, “Ob stoletnici ljubljanske kazine,” Kronika 
slovenskih mest 3 (1936): 3, 182–183; Ivan Vrhovnik, “Vodnik in Prešeren – člana Kazine,” 
Ljubljanski zvon 32 (1912): 3, 167; Henrich Costa, Reiseerinnerungen aus Krain (Ljubljana: Eger, 
1848), 34; Heinrich Costa, “Das Casino in Laibach seit 1782,” Mittheilungen des historischen 
Vereines für Krain 19 (1864): 12, 97–99.
30 For more about musical life in Ljubljana during the period, see Maruša Zupančič, 
“Institutionalization of Modern Bourgeois Musical Culture in Carniola and Lower Styria in the 
19th century,” forthcoming.
31 The local professional musicians included former town and provincial musicians, as well as some 
others who worked as private teachers in noble houses, in the music chapel of the Ljubljana 
Cathedral and in the band of the Sniper Corps ( Scharfschützencorps), which had its own band 
consisting of eight musicians (Hauptboistenbande), while the musical dilettantes also included the 
band of the Civic Hunter Division ( Bürgerliche Jäger-Division). See Zupančič, “Institutionalization 
of Modern Bourgeois Musical Culture.”
32 Before Maria Theresa’s reign, there was no regular army. Under Maria Theresa, a standing army 
and conscription were introduced in 1771. Each regiment was given its own band ( Musikcorps) 
consisting of 18 musicians. Another type of military band played Turkish music (“Feldmusik” or 
“Turkisch Musik”), which was very popular in Ljubljana. See Josip Čerin, “Zgodovinski razvoj 
vojaških oz. turških godb,” Pevec 7, nos. 5–6 (1927): 19; Dragotin Cvetko, Zgodovina glasbene 
umetnosti na Slovenskem, vol. 2 (Ljubljana: Državna založba Slovenije, 1959), 15–16.
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Local musicians, both professional and amateur, were probably part of the 
orchestra that performed at various musical events, including opera perfor -
mances by Italian and German opera troupes. The latter usually travelled 
only with singers, an orchestral director and a Kapellmeister, but employed 
local musicians to provide orchestral accompaniment for opera performances 
at the Estates Theatre.
33
 As was customary in the smaller regional theatres 
of the Monarchy, singers were also required to perform in plays and musi -
cal comedies, while actors were required to perform in operas, usually in the 
chorus. Only the best vocal soloists, who were still the exception in Ljubljana 
at that time, had the privilege of performing exclusively in operatic roles.
34
 
The performance level of the local orchestral musicians must have been de -
cent, for we read that at the music academy “our musicians” performed in the 
orchestra, which was “excellent and the applause unanimous.”
35
 Something 
similar was reported on another occasion when an opera was performed by 
an “excellent orchestra”.
36
The musical offer in the city was extended to a limited circle of people with 
the founding of the Philharmonic Society, which was inaugurated in 1794 by 
four amateur musicians from Ljubljana. By the turn of the century, the rep -
ertoire included symphonic, vocal-instrumental and instrumental solo music 
with orchestral accompaniment, as well as piano, chamber and vocal music. 
The academies were reserved only for members, who numbered 134 in 1805. 
At the beginning of the nineteenth century, the performances in the music 
academies of the Philharmonic Society were supplemented by musical pieces 
played during the intermissions of opera performances to entertain the audi -
ence, as well as by solo concerts of mixed repertoire held in the theatre. The 
pieces performed during theatre intermissions consisted mainly of vocal music, 
33 Around 1787, the Estates Theatre in Ljubljana made it obligatory for visiting theatre troupes 
to have seven soloists, a Kapellmeister and an orchestral director in their company. The troupes 
did not bring instrumentalists with them, as they were provided with an orchestra in Ljubljana. 
However, even the Estates Theatre in Ljubljana did not have its own professional orchestra, 
but only a small number of its own instrumentalists, who were supported by dilettantes and 
woodwind players from the military bands and later, from 1794, also by dilettantes from the 
Philharmonic Society. Particularly problematic was the lack of woodwind players, whom the 
theatre entrepreneurs had to hire expensively from elsewhere in the absence of military bands. 
See Cvetko, Zgodovina glasbene umetnosti na Slovenskem, 25; Sivec, Opera v Stanovskem gledališču v 
Ljubljani od leta 1790 do 1861, 175.
34 Marko Motnik, “Glasbeni utrip Ljubljane v tridesetih letih 19. stoletja,” forthcoming.
35 “[…] Unsere Tonkünstler verkündigten für denselben im hiesigen Redoutensaale eine grosse 
Akademie zum besten des Armeninstituts, und eines ohne sein Verschulden verunglückten 
rechtschaffenen Mannes. […] Das Orchester war auserlesen, und der Beyfall unzwetheilt […].” 
See [anon.], “Inländische Nachrichten,” Laibacher Zeitung 12 (1789): 3.
36 In 1790, Georg Wilhelm’s opera troupe (“Wilhelmische Sänger- und Schauspieler Gesellschaft”) 
performed, inter alia, the opera L’arbore di Diana, which was given with an excellent orchestra 
(“bey einem vortreflichen Orchester gegeben”) in the Estates Theatre. See [anon.], “Inländische 
Nachrichten,” Laibacher Zeitung 25 (1790): 1.
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arias from popular operas, instrumental music and dance music such as Ger -
man dances ( Deutsche).
37
Unlike the Philharmonic Society, which limited its academies to its mem -
bers only and applied special rules for women,
38
 anyone who bought a ticket 
had access to the performances at the Estates Theatre. The first-floor boxes 
were the property of the high nobility, while the second-floor boxes were re -
served for the middle nobility and senior officials. The ground floor was most -
ly occupied by the lower nobility, the military and the wealthier bourgeoisie, 
while the third-floor gallery, where a ticket cost seven kreutzers at the end of 
the eighteenth century, was intended for a wider audience. In the eighteenth 
century, women of lower social status were only allowed access to churches for 
public events and were not allowed to attend secular events such as theatre, 
music and opera performances on their own. This was, however, permitted for 
noble women, who were usually accompanied by their friends and children and 
attended theatrical performances from their lodges.
39
The beginning of the nineteenth century brought a period of political and 
economic turmoil to Carniola. During the protracted wars with France, Aus -
tria lost large amounts of territory, especially between 1809 and 1813, when 
the French established the Illyrian provinces. The Napoleonic wars led to the 
financial collapse of the Austrian Empire, which hit the less developed and pe -
ripheral provinces, such as Carniola, the hardest. Inflation had a profound effect 
on the economic situation, pushing many nobles and bourgeoisie to the brink of 
subsistence, while the impoverishment of the lower classes became increasingly 
evident. Many prominent figures left Ljubljana and the traditional power of the 
Estates declined. Funding for theatres and opera houses was cut, mainly due to 
reduced income from the Theatre Fund and from balls. During this crisis, the 
Theatre Directorate relied mainly on donations from lodge owners and art lov -
ers, as it could not expect support from the Viennese court treasury.
40
37 Narodni muzej Slovenije [hereafter NMS], Comedien-Zettel, Sig. II 13085, 1801/1802, 
1802/1802, 1803/1804.
38 In the Philharmonic Society, special rules applied to women. Only female musical dilettantes 
(“Musikdilettantinnen”) were allowed to join the society, and they automatically became honorary 
members and therefore did not have to pay a membership fee. They were, however, obliged to 
participate actively in the academies, and could not become members of the Society purely as 
listeners. In order not to exclude female audiences completely, the Philharmonic Society organised 
an academy every three months to which members could bring a female or male guest. It was 
not until 1849 that anyone could become a member of the Philharmonic Society, regardless of 
their status or gender. See NUK, Ljubljana, “Statuten der musikalischen Gesellschaft zu Laibach” 
(Ljubljana: Johann Friedrich Eger, 1796), [ff. 7–8]; NUK, Ljubljana, “Statuten und Instructionen 
der philharmonischen Gesellschaft in Laibach” (Ljubljana: Ignaz Alois Kleinmayer, 1849), 1; 
Cvetko, Zgodovina glasbene umetnosti na Slovenskem, 84.
39 Kotnik, Operno občinstvo v Ljubljani, 89.
40 Sivec, Opera v Stanovskem gledališču v Ljubljani od leta 1790 do 1861, 61–62; Kotnik, Operno 
občinstvo v Ljubljani, 119.
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These were not rosy years for the Philharmonic Society either. During 
the time of the Illyrian Provinces, it ceased its activities in protest against the 
French occupation and maintained a cultural silence. Only one concert pro -
gramme (from 1811) has been preserved from this period, but it is likely that 
similar concerts were organised, as the cultural silence was not observed by all 
of the Society’s members, especially the professional musicians. Thus, musical 
life again retreated into more private circles outside the official organisation 
of the Philharmonic Society. The Philharmonic Society resumed its activities 
in 1816, and the number of musical dilettantes increased considerably. Dilet -
tantes as well as professional and military musicians followed the performance 
and repertoire trends of the principal music centres in their choice of reper -
toire, which included orchestral, chamber, vocal and virtuoso music. In addi -
tion to academies, theatrical performances and other public events, musical 
evenings in the private salons of Ljubljana’s elite flourished, especially from the 
1820s onward. The Ljubljana elite were usually members of the Philharmonic 
Society and the Casino Club, and were regular visitors to the Estates Theatre.
41
The number of performances at the Estates Theatre increased significantly 
after 1820. Between 1820 and 1835, the works of Gioachino Rossini took 
centre stage. Rossini’s arrival on the opera stage of Ljubljana coincided with 
the historic Congress of the Holy Alliance in Ljubljana (Congress of Lai -
bach). For four months, Ljubljana became a vibrant centre of European high 
politics and diplomacy. The city was flooded with social events: bourgeois and 
aristocratic dances, bourgeois balls, theatrical and opera performances, military 
bands, concerts and academies of the Philharmonic Society, fireworks displays, 
military parades and other events. During these months, the Estates Theatre 
was renovated in honour of the arrival of distinguished royal guests, when the 
city was bathed in the splendour of gala receptions and magnificent theatrical 
and operatic performances.
42
During the Congress, Caspar Maschek led Italian and German opera 
troupes and even organised special musical evenings in honour of one of Aus -
tria’s most prominent politicians, Prince Metternich. The Estates Theatre was 
filled with Rossini’s music during this period. While The Barber of Seville was 
already known to Ljubljana audiences, the other Rossini operas performed in 
Ljubljana were new. Maschek took advantage of Rossini’s popularity and later 
incorporated motifs from Rossini arias into his German Dances, which were 
performed during the Congress.
43
 Joseph Benesch, a violin virtuoso and com -
poser who had been delighting audiences in Ljubljana at the time, also profited 
41 Zupančič, “Institutionalization of Modern Bourgeois Musical Culture.”
42 Kotnik, Operno občinstvo v Ljubljani, 120–121.
43 The Deutscher was a dance form that came into existence behind the scenes of the Congress of 
Laibach and remained the most popular dance of the bourgeois circles for a decade. See more 
Motnik and Podlesnik, “ Laibacher Deutscher after the Congress of Laibach,” 5–64.
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from Rossini’s popularity. He later composed a series of virtuoso violin varia -
tions on popular Rossini opera themes, as was common among virtuosi at that 
time. After the Congress, Benesch and Maschek occasionally took charge of 
theatrical performances, with their respective roles as orchestral director and 
Kapellmeister complementing each other.
44
 The orchestra for the performances 
was composed mainly of music lovers and members of the Philharmonic Soci -
ety, but occasionally members of the military bands stationed in the city at the 
time also played. The repertoire, both in the smaller provincial theatres and in 
the larger theatres, was increasingly geared toward pleasing audiences, who were 
constantly demanding something new. As a result, the diversity of the opera 
repertoire in European theatres suffered from time to time.
45
Opera became increasingly commercialised, while the production was free 
of strict rules and gave singers the freedom to improvise. In the Estates Thea -
tre, singers could embellish the basic melodies as they saw fit. It was com -
mon to adapt operas by omitting a particular piece or incorporating pieces 
from other operas, for instance, while longer operas were often shortened or 
adapted due to financial and logistical constraints. Although the theatre man -
agement introduced rules to prevent such arbitrary changes, they were not 
always successful.
46
 Especially popular with Ljubljana audiences were da capo 
arias, bravura arias, lively barcarolles, dramatic cavatinas, rhythmic cabalettas, 
drinking songs, melodious ritornelli and ornamented coloraturas. During the 
intermissions of the theatrical performances and concerts in the theatre, the 
audience enjoyed the performances of a variety of artists, from local and mili -
tary orchestras to dancers, declaimers and singers, as well as local and visiting 
virtuosos. Although many musical events in the first half of the nineteenth 
century were “semi-public” and limited to closed social circles, opera and its 
accompanying events became a widely accepted cultural practice accessible to 
various segments of the population.
Instrumental Performances at the Estates Theatre until 1837
Music played a range of roles at the Estates Theatre in Ljubljana: it was the 
central element of operatic or theatrical performances, it complemented theat -
rical performances in the first or second part of the event (musical academies, 
musical quodlibets, etc.), it provided entertainment during intermissions and 
it was the central element in independent events, such as benefit concerts. 
Most of these music segments presented a diverse repertoire. In addition to 
44 Maruša Zupančič, “Joseph Benesch: A Forgotten Bohemian Violinist and an Imitator of Niccolò 
Paganini Within the Central European Violinistic Tradition,” De musica disserenda 18, no. 1–2 
(2022): 35.
45 Kotnik, Operno občinstvo v Ljubljani, 130.
46 Sivec, Opera v Stanovskem gledališču v Ljubljani od leta 1790 do 1861, 183, 185–186, 188.
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the variety of entertainments, organisers also looked for other ways to attract 
the attention of the audience. Special attention was paid to breathtaking stage 
and costume design. During chivalrous performances, which were very popu -
lar, trumpets and timpani were used to announce tournaments and live horses 
were placed on the stage.
47
Announcements of musical events in Theaterzettel usually included infor -
mation about the background of the performers, sometimes including their 
ages, previous achievements, affiliations, honorary memberships in musical 
societies, final destination and other pertinent details. While some guest art -
ists addressed the audience directly, most announcements were written in the 
third person. Announcements of interludes, on the other hand, were more 
restrained. Standard phrases were generally used, indicating that the artists 
would showcase their talents and that new compositions would be performed 
during intermissions.
48
 Occasionally, interlude announcements also mentioned 
the serving of refreshments during intermissions and advertised the sale of 
piano reduction scores (for two or four hands) or other instrumental scores for 
the orchestral pieces ( Deutsche, overtures, etc.) on the intermission programme, 
which could be purchased either at the theatre box office or directly from the 
impresarios or composers at their residences.
49
The press rarely reported on these musical theatre events. The exception 
was the occasional announcement of famous foreign soloists performing in a 
concert or music academy in the theatre, or a report when a famous virtuoso 
performed in both the theatre and the Philharmonic Society.
50
The musicians appearing in the theatre were diverse and came from the 
world of theatre: soloists (both singers and instrumentalists), choir singers, Ka -
pellmeisters and permanent members of the theatre orchestra. The orchestra 
also included musicians from the Philharmonic Society, dilettantes and oc -
casionally military bands. In addition to their primary duties for the army, 
military bands occupied an important place in the cultural life of the city, con -
tributing both to the concerts of the Philharmonic Society and theatre perfor -
mances, where they enriched operas, plays and musical intermissions. Particu -
47 Cvetko, Zgodovina glasbene umetnosti na Slovenskem, 218–219.
48 “Zwischen den Akten werden Herr Sandorini und Herr Moritz sich in Variationen bestens zu 
empfehlen suchen”; “Zwischen den ersten und zweyten Akt, werden die für dieses Jahr bestimmten 
neuen Redout-Menuetts und Deutschen produzirt werden.” NMS, Comedien-Zettel Sammlung 
(December 9, 1802; January 8, 1803).
49 “[…] Benannte Redouten-Deutsche: ‘Der Frohsinn, mein Ziel ’, sind im Clavier-Auszuge à 45 kr. 
An der Kasse, oder in der Wohnung der Unternehmerin [Amalie Maschek] in der Gradischka-
Vorstadt Nro. 4 zu habben.”; “[…] Die ouverture ist im Klavier-Auszuge für 2 Hände um 36 kr., 
für 4 Hände um 54 kr., an der Kasse zu haben.” NMS, Comedien-Zettel Sammlung (January 8, 
1834; October 14, 1833).
50 [Anon.], “Theater,” Illyrisches Blatt (October 24, 1829): 172; [anon.], “Merk, der berühmte 
Violoncell-Virtuos in Laibach,” Laibacher Zeitung (September 13, 1832): 4.
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larly in operas and plays with military themes, specialised ensembles such as 
the Field Music ( Feldmusik), the Turkish Musik Band ( Türkische Musikbande) 
and the Wind Ensemble ( Harmonie) played marches and battle music. Such 
musical contributions not only created an appropriate atmosphere, but also en -
hanced dramatic moments and lent authenticity to the performances. Military 
bands also performed in musical quodlibets and delighted audiences during 
theatrical intermissions with overtures, Deutsche and other crowd-pleasers. Oc -
casionally, individual band members showcased their skills as wind and brass 
soloists during intermissions.
Instrumental Interludes between Acts of Theatrical Performances
Particularly captivating for the theatre audience were short musical and non-
musical interludes during intermissions between the main theatrical acts. 
These interludes were performed mainly during the intermissions of various 
plays and, to a much lesser extent, during operas and operettas.
51
 They ranged 
from short dance sequences and declamations to vocal
52
 and instrumental 
performances. Their abundance depended on the duration of the main per -
formance: in order to fill the evenings, shorter works usually had several in -
terludes, while longer works often had only a single interlude. The interludes 
usually diverged in style and content from the main performance, but it was 
often precisely these interludes, especially the virtuoso performances, that at -
tracted large audiences and filled the theatre.
The instrumental performances presented a repertoire of orchestral com -
positions and virtuoso solo pieces, with the former comprising mainly popular 
dance music, including minuets, landler, waltzes and gallops. Among them, 
Deutsche stood out as particularly popular. This dance enjoyed great popular -
ity until the early 1830s in venues such as the Redoutensaal and the Ljubljana 
Shooting Range ( Laibacher Schießstätte).
53
 Theaterzettel indicate that Deutsche 
were a regular feature of intermissions at the Estates Theatre beginning in 1803, 
and that they were performed most frequently from late 1814 to early 1828. 
However, their presence on the theatrical stage began to wane after 1836. The 
compositions for these popular dances performed on stage were contributed by 
51 Music was performed during intermissions of different types of theatrical performances: 
military dramas ( Militärisches Schauspiel), heroic dramas ( Heroisches Schauspiel), romantic dramas 
(Romantisches Schauspiel), lyric operas ( Lyrische Oper), comic operas ( Kommische Oper), comic 
operettas ( Kommische Operette), romantic-comic magic plays ( Romantisch-komisch Zauberspiel), 
knight plays ( Ritterschauspiel), comic plays ( Komisches Lustspiel), etc.
52 The vocal interludes, often accompanied by an orchestra or piano and occasionally by a chorus or 
even guitar and glass harmonica, frequently included famous operatic excerpts such as arias, duets, 
tercets and quartets, the content of which was unrelated to the main performance. The performers 
of these vocal items were local and guest singers. 
53 For more about Deutsche see article by Tomášiková and Motnik, “ Laibacher Deutscher after the 
Congress of Laibach,” 5–64.
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both amateur and professional composers, including members of Ljubljana’s 
nobility, prominent bourgeoisie and even foreign contributors. Notable local 
composers included Leopold Ferdinand Schwerdt, Caspar Maschek, Georg 
Micheuz, Leopold Ledenig and Louis Lazarini.
During intermissions, the orchestra occasionally presented a mixture of 
potpourris, overtures and symphonies. As a rule, overtures and symphonies 
were played either before the main performance or during the intermissions. 
Given the large theatre audiences, intermissions provided an excellent plat -
form for composers to introduce their new compositions. In 1822, for exam -
ple, Schwerdt used the occasion to present his new Symphony in D major,
54
 
although symphonies were otherwise rarely played during the intermissions. 
It was customary for symphonies not to be played in their entirety: individual 
movements could begin before the plays and then continue during the inter -
missions. This practice corresponded to that of Philharmonic Society concerts, 
where individual symphony movements were played between other pieces. Nor 
was it unusual for the overture of one opera to precede the overture of another 
(main) opera performance; for example, Rossini’s Elizabeth, Queen of Eng-
land was introduced with the overture of his new composition William Tell.
55
 
Sometimes orchestral pieces were composed specifically for a particular occa -
sion and purpose; for example, Maschek composed the Festive Overture (Fest-
Ouverture) in 1832 before the prologue of the comedy Das Leben ein Traum.
56
A highlight of intermissions of theatrical performances in Ljubljana were 
virtuoso performances of both local and travelling musicians as well as mem -
bers of military bands. The travelling musicians, who stopped in Ljubljana on 
their way between Vienna and Italy, mostly came from Vienna, but some were 
from Rome, Trieste and the Tyrol. They typically played original variations and 
variations on popular opera themes, as well as polonaises, concertos and pot -
pourris. The most frequently represented instruments were the clarinet and the 
violin, followed by the French horn, the cor anglais, the basset horn, the cello, the 
Jew’s harp and the guitar. At the beginning of the century, soloists on the thea -
tre stage included local musicians from the Ljubljana Cathedral, such as Paolo 
54 “Vor Anfang des Stückes und in den Zwischenakten deßelben, wird eine ganz neue Symphonie, 
von der Composition des Herrn Schwerdt gemacht werden.”; “Vor dem Stücke und während 
den Zwischenakten desselben, wird eine neue Symhonie in D. von der Composition des Herrn 
Schwerdt gemacht werden.” See NMS, Comedien-Zettel Sammlung (12 December 1822, 1 
January 1823).
55 “Die Oper [Elisabeth, köningin von England] beginnt mit der neuen Ouverture von Rossini’s 
Wilhelm Tell […].” See NMS, Comedien-Zettel Sammlung (February 4, 1830).
56 “Vor Beginnen des Prologs wird eine grosse Fest-Ouverture, vom Herrn Maschek, für diesen 
Zweck eigens neu koomponirt, und vor dem Stücke, die Ouverture aus dem Ballete, ‘Teodosia’, 
Musik von J. R. Grafen von Gallenberg, unter der gütigen Mitwirkung mehrerer P. T. Herren 
Dilettanten, vom neu engagirten Orchester-Personale, executirt werden.” See NMS, Comedien-
Zettel Sammlung (September 2, 1832).
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Sandrini (1782–1813),
57
 Joseph Moritz
58
 and Leopold Ferdinand Schwerdt 
(1773–1854).
59
 During intermissions, the latter presented himself as a composer 
and cellist. Later, orchestral directors or other members of the theatre orchestra 
often performed during intermissions. Among them were Wenceslaus Wenzel 
(1784–1835),
60
 Stephan Dunst (1790–1838),
61
 Joseph Leitermeyer (1808–?),
62
 
57 Sandrini was born in Gorizia in 1782. He was a virtuoso oboist who also played the cor anglais, 
the flute and the guitar. From 1800, he worked as a first oboist at the Ljubljana Cathedral. In 
1804, he joined the Estates Theatre in Prague, where he worked as a guitar teacher and in 1809, 
he became a member of the court orchestra in Dresden, where he died on 15 November 1813.
58 Joseph Moritz was employed as a horn player at the Ljubljana Cathedral from 1800 to 1810. 
59 Schwerdt was born in Waitzendorf, Austria, in 1773. He was a composer, music teacher, cellist and 
conductor. He probably came to Ljubljana after 1800. In 1806 and 1807, he toured with travelling 
theatre troupes as a cellist, singer and actor. In 1807, he became a singer in the Ljubljana cathedral 
chapel and a teacher at the cathedral music school. From 1812 to 1820, he was the Kapellmeister 
at St Jacob’s Church in Ljubljana, where a music school was founded in 1812. In 1826, he was 
in Ljubljana, earning his living by teaching and selling his own compositions. In 1848, he played 
in the chapel of the Ljubljana National Guard and later in the Franciscan Church. See Zoran 
Krstulović, “Schwerdt, Leopold Ferdinand,” in Grove Music Online, accessed October 10, 2023, 
https://doi-org.nukweb.nuk.uni-lj.si/10.1093/gmo/9781561592630.article.2274330 .
60 Wenzel (Wenzel Wenzel) was born in Police, Bohemia. Between 1817 and 1818, he served as 
an orchestral director at the Estates Theatre in Ljubljana, after which he worked as a teacher in 
Kočevje. He later settled in Rijeka, where he became one of the leading musicians, remaining 
there until his death in 1835. See Maruša Zupančič, “Impact of Foreign-Born Musicians on 
Ljubljana’s Musical Life until 1860,” in Music, Arts and Politics: Revolutions and Restorations in 
Europe and Croatia, 1815–1860, ed. Stanislav Tuksar (Zagreb: Hrvatsko muzikološko društvo, 
2019), 11.
61 Born in Vienna on December 21, 1790, Dunst was a singer and violinist. He married the singer 
Clara Zölner around 1812. The couple had joint engagements in Cluj (1815), Hermanstadt, 
Ljubljana (1819) and elsewhere. Before coming to Ljubljana, he gave solo performances as a 
violinist at the Estates Theatre in Brno in 1818. Around 1820/21, Dunst performed under the 
direction of Hensler in Bratislava and Baden near Vienna. Between 1821 and 1823, he was first 
tenor at the Estates Theatre in Graz. He then worked as a concert organiser, teacher, music director 
and singer in Trier, where he died on 11 February 1838. See “Complete Works of Carl Maria von 
Weber,” Carl-Maria-von-Weber-Gesamtausgabe, Digital Edition, https://weber-gesamtausgabe.
de/en/Index ; [anon.,] “Theater in Brün,” Wiener Theater-Zeitung 85 (Bäuerles Theaterzeitung) , 
( July 16, 1818): 340.
62 Leitermeyer was born on 12 March 1808 in Vienna (Hernals), where he received his musical 
education and worked in various theatre orchestras. In the early 1830s, he was an orchestral 
director and soloist of the Estates Theatre, as well as a private singing and violin teacher in 
Ljubljana. Towards the end of the opera season, he moved to Celje in May 1832, working as a 
music teacher and orchestral director in the Lavant Music Society ( Lavanter Musikverein). In 
1838, he left Celje and later served as an orchestral director at the Estates Theatre in Klagenfurt. 
In 1847, he returned to Ljubljana and worked as an orchestral director at the Estates Theatre 
and, from 1848, as a violin teacher at the Philharmonic Society. See Maruša Zupančič, “The Role 
and Contribution of Immigrant Musicians to the Music Societies in the Slovene Lands until 
the Dissolution of Austria-Hungary,” in Glasbena društva v dolgem 19. stoletju: med ljubiteljsko in 
profesionalno kulturo, ed. Jernej Weiss (Koper: Založba Univerze na Primorskem, 2023), 340–341, 
354–355.
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Joseph Stummer (1813–1866)
63
 and Carl Till (1812–1876).
64
Figure 1: Performance by Paul Sandrini and Joseph Moritz during an intermission in 
1802.
65
 
63 Stummer was born in Prossnitz, Moravia, in 1813. His violin and music training is unknown. In 
the 1830s, he was orchestral director at the Estates Theatre in Ljubljana. In 1839, he became a 
member of the Salzburg Theatre Orchestra. In 1841, he became a violin teacher and orchestral 
director of the newly founded Dom-Musik-Verein and Mozarteum Salzburg, where he worked 
until his retirement in 1864. He performed as a concert soloist and chamber musician. He died in 
Salzburg in 1866. Christian Fastl, “Stummer, Joseph,” in Oesterreichisches Musiklexikon online, ed. 
Rudolf Flotzinger, accessed October 11, 2023, https://dx.doi.org/10.1553/0x000fd20f .
64 Till came to Ljubljana from Vienna in 1833. He was an orchestral director at the Estates Theatre 
and occasionally served as its Kapellmeister, as well as working as a private teacher. He performed 
at the concerts of the Philharmonic Society and Estates Theatre. He later served as an orchestral 
director of the Estates Theatre in Graz, where he died in 1876. See Zupančič, “Impact of Foreign-
Born Musicians on Ljubljana’s Musical Life until 1860,” 16.
65 NMS, Comedien-Zettel Sammlung (December 9, 1802).
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Figure 2: Performance by Ferdinand Schwerdt during two plays in 1806.
66
 
66 NMS, Comedien-Zettel Sammlung (November 19, 1806).
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Figure 3: Performance by Joseph Leitermeyer during an intermission in 1831.
67
 
67 NMS, Comedien-Zettel Sammlung (October 6, 1831).
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Instrumental Music as Separate Part of Theatrical Performances
From 1819, plays and operas were enriched by independent musical events 
with a varied repertoire, either in the first or in the second part. Thus, a play or 
opera could be performed in the first part and a musical segment in the second 
part, with various titles such as musical academy, musical declamatory even -
ing, vocal-instrumental academy, vocal-instrumental concert, musical quodli -
bet, etc. These events all had a varied repertoire that was very similar to the 
programmes of the music academies or concerts of the Philharmonic Society. 
With a few exceptions, however, they were not independent musical evenings, 
as in the case of the Philharmonic Society, and were open to the public.
The musicians who performed on the theatre stage ranged from local or -
chestral directors and members of the theatre orchestra to travelling musicians 
who stopped in Ljubljana on their way between Vienna and Italy. However, it 
was not necessarily the same soloists who performed during the intermissions. 
Most of the soloists on these evenings came from Vienna, but some were from 
Tortona, Trieste and the Tyrol. Although mainly violinists, there were also ap -
pearances by a flutist, an oboist, a cellist, a horn player and performers on lesser 
known instruments such as the glass harmonica. Among the more exotic per -
formers was Franz Mathes from Vienna, who presented himself on a bowed 
zither (Streich-zither), an instrument he had invented himself.
68
Among the soloists were foreign musicians such as Franz Zierer, Anton 
Ferlendis, Stanisław Serwaczyński (1790–1859),
69
 Joseph Merk (1795–1852)
70
 
and Joseph Treichlinger (1807–1866).
71
 A rare newspaper account of musi -
68 NMS, Comedien-Zettel Sammlung (October 16, 1835).
69 Serwaczyński was born in Lublin in 1790 and received his first violin lessons from his father, 
who was a music director at the Lublin Cathedral. He then continued his studies in Vienna 
with Louis Spohr. From 1814 to 1820, he was a violinist and conductor at the J. N. Kamiński 
Theatre in Lviv, giving concerts in various cities. From 1822 to 1829, he was a first violinist at the 
theatre in Warsaw, where he performed with Chopin. From 1832 to 1833, he was an orchestral 
director at the Theatre in der Josefstadt, after which he moved to Pest, where he was orchestral 
director and conductor of the theatre there. In the late 1830s, he embarked on musical tours. 
In addition to Joseph Joachim, he taught Henryk Wieniawski and several others. Serwaczyński 
composed variations on opera arias, fantasies, polonaises and rondos for violin, as well as music for 
comic operas. Władysław Bieńkowski, “Serwaczyński, Stanisław,” in Österreichisches Biographisches 
Lexikon 1815–1850, Online edition, accessed October 12, 2023, https://www.biographien.ac.at/
oebl/oebl_S/Serwaczynski_Stanislaw_1790_1859.xml . 
70 Merk was born in Vienna and received his first cello lessons from Philippe Schindlocker. In 
1816, he was appointed first cellist at the Grand Opera in Vienna. Three years later, he joined the 
court orchestra, and in 1821 he was appointed cello professor at the Vienna Conservatory, where 
he remained until 1848. In 1834, the Emperor appointed him as a chamber virtuoso. He also 
undertook a concert tour from Prague, Dresden, Leipzig and Hamburg to London. He played in 
chamber ensembles and composed. See Wilhelm Joseph von Wasielewski and Isobella S. Stigand, 
The Violoncello and its History (London: Novello, Ewer and Co., 1894), 143–144.
71 Treichlinger (also József Treichlinger) was born in Vienna in 1807. From 1828, he performed 
regularly as a solo violinist in Vienna and was a violinist in the orchestra of the Imperial Court 
Opera. In 1844, he took over the publishing house of Vince Grimm in Pest, becoming the last 
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cal theatre events highlighted Stanislaus Serwaczynski’s performance, both at 
the theatre musical academy and on the stage of the Philharmonic Society. 
The report praised his masterful cantus firmus and the clarity and beauty with 
which he executed passages.
72
 There was also the improvising violinist Angelo 
Casirola,
73
 who, according to the programme, would imitate various wind and 
string instruments, play a few sonatas on one string, and bow with the same 
hand with which he held the violin. He was most likely also the first violinist in 
Ljubljana to play a work by Paganini.
74
 Soloists typically endeavoured to capti -
vate the audience with innovative or unique feats; for instance, the programme 
noted that Anton Ferlendis would “have the honour to distinguish himself 
through surprising skill.”
 75
While most of the performers were male, there were two local female in -
strumentalists: pianist Anne Herzum (1820–1861)
76
 and glass harmonica 
player Renate Maschek (1791–1870).
77
 Locally, the Estates Theatre’s orches -
tral director, Joseph Benesch (1795–1873),
78
 and Carl Till were notable stand -
owner of the Kunst- und Industrie-Comptoir founded in 1801. He published mainly dance music 
for average taste and occasionally piano reductions of operas. He died after 1866. See Zupančič, 
“Joseph Benesch: A Forgotten Bohemian Violinist,” 46–47; Ilona Mona, “Treichlinger, József,” in 
Grove Music Online, accessed October 10, 2023, https://doi-org.nukweb.nuk.uni-lj.si/10.1093/
gmo/9781561592630.article.28303 .
72 [Anon.], “Kunst-Nachricht,” Illyrisches-Blatt 2 ( January 8, 1831): 3.
73 Casirola was a violinist from Tortona, Italy. He performed at the royal court as well as in theatres 
in Italy, France and Vienna. In 1824, he caused a sensation by performing the most difficult pieces 
with a fixed bow on the G-string, which is considered his own invention. 
74 “Angelo Casirola aus Tortona, Meister auf der Violine, der die Ehre hatte, am königlichen Hofe, 
und in den Theatern von Frankreich und Italien sich öfters mit ungetheilten Beyfall hören zu 
lassen, wünscht auf seiner Durchreise nach Wien, hier einen Beweis seiner Kunst zu liefern, 
und seine Erfindung auch hier bekannt zu machen, nemlich: Nur mit einer Hand Bogen und 
Violine zu dirigiren; er ladet daher zur heutigen musikalischen Akademie ein verehrungswürdiges 
Publikum ganz gehorsamst ein.” See NMS, Comedien-Zettel Sammlung (May 11, 1819).
75 “Potpouri, für die Oboe, vorgetragen von Hrn. Ferlendis, in welchem er durch überraschende 
Fertigkeit sich auszuzeichnen die Ehre haben wird.” See NMS, Comedien-Zettel Sammlung 
(October 26, 1829).
76 Anne Nanette Herzum was born in Ljubljana in 1820. Her father was a teacher of singing, the 
violin, the piano and wind instruments. She was a talented pianist who appeared at a concert in 
the Estates Theatre in 1829 and at Philharmonic Society concerts between 1830 and 1841. She 
died in 1861 in Ljubljana.
77 R. Maschek (also Maria Renata Anna Nepomucena Maschek) was born in Prague on September 
12, 1791, a daughter of the musician Vinzenz Maschek. She was a sister of Caspar Maschek and 
an artist on the glass harmonica. In 1821, she performed in a Philharmonic Society concert and 
she appeared in Prague in 1824. In 1833, she was again in Ljubljana and played at a concert in the 
Estates Theatre. She died in Prague on 11 January 1870.
78 Joseph Benesch was a violinist and composer from Batelov, Bohemia. He received his early musical 
training from family members and local teachers. In 1814, he travelled to Vienna to expand his 
violin skills, and he performed there in private ensembles. Benesch took a musical journey to 
Italy in 1819, which significantly influenced his development as a violinist and composer. He 
later settled in Ljubljana, where he opened a private violin school in 1822 and married the 
pianist Friederika Proch the same year. He served as an orchestral director and teacher at the 
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outs. Some of these soloists also graced the Philharmonic Society’s stage, often 
presenting the same or varied repertoire around the same timeframe.
The repertoire was varied and included orchestral works such as overtures 
and symphonies, virtuoso works such as variations, polonaises and concertos, 
and popular opera arias, duets and quartets. Declamations were also added to 
enliven the programme. As was common at the time, the virtuosi often also 
composed the works they performed themselves.
Particularly popular in the theatre were musical quodlibets, a light-hearted 
mixture of familiar songs and melodies designed to enliven and entertain dur -
ing more formal or structured theatrical plays. On the stage of the Estates 
Theatre, quodlibets included choruses, arias, duets, orchestral pieces, solo 
instrumental pieces, declamations, ballets and other musical pieces, also per -
formed by military bands. The repertoire of the quodlibet was not so strict, and 
in many cases the composers of the pieces were not mentioned. If they were, 
their music often served as the basis for unrelated texts. Theatre Kapellmeis -
ters often adapted original compositions of which audiences had grown tired. 
As mentioned earlier, this was still a time of freedom, when Kapellmeisters and 
other musicians were at liberty to adapt operas or other works.
79
Philharmonic Society in Ljubljana and had a brief meeting with Niccolò Paganini in Trieste in 
1824. After the closure of the music school in Ljubljana in 1828, he returned to Vienna and had 
success as a member and later as an orchestral director of the Vienna Court Chapel and Court 
Theatre, where he played alongside the elite Viennese violinists. He died in Vienna. See Zupančič, 
“Joseph Benesch: A Forgotten Bohemian Violinist,” 11–76.
79 Cvetko, Zgodovina glasbene umetnosti na Slovenskem, 271–272.
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Figure 4: Performance by the virtuoso Serafino Papi in 1804.
80
 
80 NMS, Comedien-Zettel Sammlung (February 3, 1804).
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Figure 5: Performance by the virtuoso Stanislaus Serwaczynski in 1831.
81
 
81 NMS, Comedien-Zettel Sammlung ( January 5, 1831).
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Figure 6: Musical Quodlibet.
82
 
82 NMS, Comedien-Zettel Sammlung (September 18, 1820).
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Figure 7: Vocal and Instrumental Concert in 1833.
83
 
Conclusion
The tradition of musical interludes during theatrical intermissions, which origi -
nated in the Renaissance and continued into the Romantic period, underscores the 
constant evolution of music and theatre in response to social tastes and changes. 
The Estates Theatre in Ljubljana became the hub of the city’s musical develop -
ment, seamlessly bridging the gap between the refined tastes of the elite and the 
preferences of the general public. The theatre introduced European opera and mu -
sic trends, even as it struggled with major challenges. The democratisation of mu -
sical culture in Ljubljana, which marked a significant shift from private to public 
musical events, was clearly driven by the Estates Theatre in the nineteenth century. 
The wide range of events, from grand operas and theatrical performances to varied 
instrumental performances, testifies to the adaptability of the theatre and its musi -
cians in the midst of a changing musical landscape. Ultimately, the Estates Theatre 
was a cornerstone of Ljubljana’s vibrant musical heritage, masterfully combining a 
variety of musical influences and trends to enhance the city’s rich cultural offerings.
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Appendix
List of Instrumental Performances in the Estates Theatre from 1802 to 1837
This list is the result of a thorough review of around 3,000 theatre programmes 
(Theaterzettel) spanning from 1801 to 1837.
84
 For clarity and usefulness, the 
original format and language of the list has been retained. Only the sections 
related to musical content have been extracted from the Theaterzettel, and de -
tails from the broader theatre programme have been omitted.
Date Program
09-12-1802 Zwischen den Akten werden Herr Sandorini und Herr Moritz sich in 
Variationen bestens zu empfehlen suchen.
08-01-1803 Zwischen den ersten und zweyten Akt, werden die für dieses Jahr 
bestimmten neuen Redout-Menuetts und Deutschen produzirt 
werden.
03-02-1804 Mit gnädigster Bewilligung Wird heute Freytag den 3. Febr. 1804. 
der hier durchreisende Virtuose auf dem Waldhorn Serafino Papi 
aus Rom gebürtig, die Ehre haben sich durch seine Kunst bestens 
zu empfehlen, mit Zwölf Variationen, Thema, und Koda von Katti, 
Italienischen Kapellmeister. 
Dann giebt hiesige ständische Schauspieler Gesellschaft das allgemein 
beliebte Stück: Der verwandelte Rittmeister. Ein Lustspiel in 1 Act. 
Diesem folgt zum Beschluß von dem Künstler ein Quintett von Fiala 
Kapellm.
Hohe! Gnädige Theater-Gönner! Unterstützer der Künste, und 
Wissenschaften. Da ich auf meiner Reise durch Deutschland so 
glücklich war, in dem k. k. Wiener Hoftheater mich auf dreymahligs 
Wiederholung hören lassen zu dürfen, und Se. kaiserl. Majestät 
Gnade, so wie einer hohen Nobleß, und des Publikums Beyfall 
eingeärndtet habe, so kann ich nicht umhin, der meiner Rückreise 
nach Rom auch hier mich bestens zu empfehlen. ergebenster. Serafino 
Papi, Virtuose.
31-01-1805 Eine große Sinfonie für das ganze Orchester von der beliebten Farce 
die glückliche Maske, von Herrn Kapellmeister Portogallo […]
In den Zwischen Akten werden verschiedene Variazionen auf dem 
englisch Horn, und Waldhorn, von Herrn Paul Sandrini, und Jos. 
Moritz gespielt werden. 
84 I would like to thank Ana Sodja for her help in collecting and transcribing the interludes 
(instrumental and vocal) and other musical events, which will be available in the database 
“Digitalna panorama glasbene dediščine 19. stoletja na Slovenskem (MUSIQUM)”.
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21-01-1806 (N. B.) Zur Unterhaltung des verehrungswürdigen Publikums wird die 
Kapelle vom 84ten Regiment unter der Direktion des Herrn Aubry 
eine grosse Ouvertüre von Bion mit stark besetzten Orchester, in den 
Zwischenakten aufführen.
La Musique du 84. Regiment, sous la Direction de Monsieur Aubry 
executera l‘ouverture de Bion, a grande orchestre.
19-11-1806 Nach dem ersten Stück wird Hr. Schwerdt, Compositeur und Meister 
der Tonkunst, sich auf dem Violonzello mit einem Pot–Pourri von 
Romberg hören lassen.
10-01-1807 NB. Während den Zwischenakten werden, statt der Symphonie, die 
Redout-Deutsche gespielt werden.
15-12-1814 Durch die gefällige Mitwirkung der Herrn Dilletanten wird vor 
Anfang des Stücks eine große Ouverture aus der Oper Joseph und 
seine Brüder von Mehul, gemacht werden.
01-01-1815 Zu mehrerer Verherlichung dieses Tages wird die große Ouverture aus 
der Oper Clemenza di Tito gemacht werden.
10-01-1815 Zwischen den Akten werden die diesjährigen Redout-Deutsche 
probirt.
31-12-1815 Zwischen den Akten werden neue deutsche Tänze componirt von 
Herrn Schwerd produzirt werden.
15-11-1817 Zwischen beyden Stücken wird Herr Musikdirector Wenzel die Ehre 
haben Variationen auf der Violin, mit Begleitung des Orchesters, zu 
geben.
21-12-1817 Heute wird das Letztemahl vor den Feyertagen gespielt; künstigen 
Freytag als den 26ten Dezember wird, Johann von Calais gegeben, 
wobey während den Zwischenakten neue Deutsche, die während der 
Anwesenheit Sr. Maj. unsers allergnädigsten Monarchen in Gräz von 
Herrn Martin Schuller komponirt wurden, vorgetragen werden.
26-12-1817 Vor Anfang und zwischen den Akten werden die von Herrn 
Martin Schuller bey Anwesenheit Sr. Majestät unsers allergnädisten 
Monarchen in Grätz komponirten neuen Deutschen vorgetragen 
werden.
28-12-1817 Zwischen den Akten werden die von einem Herrn Dilletanten 
und dem Herrn Capellmeister des hiesigen löbl. k. k. Regiments 
componirten neuen Redoute-Deutschen vor[g]etragen werden.
30-12-1817 Die Ouverture ist aus der beliebten Oper Joseph und seine Brüder.
21-02-1818 Vor dem 1ten Stück wird eine neue Ouverture aus der Oper: Der 
stürmische Abend, von della Maria; dann vor dem 2ten Stück eine 
neue Ouverture aus der Oper: Der deutsche Grenadier, von Umlauf, 
vorgetragen werden.
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21-04-1818 Joseph Vallentin, Zögling des Prager Blinden-Instituts ein Jüngling 
von 20 Jahren, wird in den Zwischen-Akten die Ehre haben auf seiner 
Durchreise nach Triest, folgende Stücke zu geben:
1tens Ein Clarinett Conzert von Stamnitz.
2tens Ein Clarinett Adagio von Mozart.
3tens Ein Clarinett Solo von Kunze.
Zum Schlusse folgt ein Rondo von Stamnitz.
Da sich dieser blinde Jüngling auf seiner Durchreise in Grätz mit 
Beyfall produzirte, so schmeichelt sich derselbe eines zahlreichen 
Besuches.
24-05-1818 In den zwischen Akten, so wie vor dem Anfange wird turkische Musik 
die verehrten Gäste unterhalten, auch sind Erfrischungen eben wie im 
Theater zu haben.
10-10-1818 Auch wird die Symphonie mit dem Paukenschlag von Herrn Joseph 
Hayden, gemacht werden.
21-12-1818 In den Zwischenackten werden ganz neue Redout-Deutsche 
produzirt.
02-01-1819 In den Zwischenackten werden ganz neue Redout-Deutsche 
produzirt.
07-01-1819 In den Zwischenackten werden abermalen ganz neue Redout-
Deutsche produzirt.
09-01-1819 In den Zwischenackten werden abermalen ganz neue Redout-
Deutsche produzirt.
21-02-1819 In den Zwischenakten wird Hr. Fortunat Gaurig, zur 
Faschingsbelustigung auf zwey Maultrommeln, mit Begleitung einer 
Violin, verschiedene Musikstücke produzieren.
27-02-1819 Zwischen den ersten und zweyten Akt, wird Stephan Dunst eine 
Polonaise auf der Violin von Herrn Mayseder, zu spielen die Ehre 
haben.
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11-05-1819 Angelo Casirola aus Tortona, Meister auf der Violine, der die Ehre 
hatte, am königlichen Hofe, und in den Theatern von Frankreich und 
Italien sich öfters mit ungetheilten Beyfall hören zu lassen, wünscht 
auf seiner Durchreise nach Wien, hier einen Beweis seiner Kunst zu 
liefern, und seine Erfindung auch hier bekannt zu machen, nemlich: 
Nur mit einer Hand Bogen und Violine zu dirigiren; er ladet daher zur 
heutigen musikalischen Akademie ein verehrungswürdiges Publikum 
ganz gehorsamst ein.
Hier folgen die Musikstücke:
Obgenannter Künstler wird mehrere Musikstücke mit Begleitung 
des vollen Orchesters ausführen, wird verschiedene sowohl Blas- als 
Saiteninstrumente nachahmen, und wird auch andere Sonaten auf 
einer Saite spielen.
Erste Abtheilung.
Symphonie mit vollem Orchester.
Thema mit Variationen vom besagten Casirola.
Andante mit Allegro und Variationen, von ebendemselben, wobey er 
mehrere Instrumente nachahmen wird, eigene Composition.
Addagio und Allegro auf einer Saite, und Finale. 
Zweite Abtheilung. 
Symphonie mit vollem Orchester.
Thema mit Variationen von dem berühmten Meister Hrn. Coccia.
Variationen vom Hrn. Paganini, vorgetragen von demselben Casirola. 
Sonate mit einer Hand, pizzicato.
Eine Sonate auf einer Violine.
Den Beschluß macht eine andere Sonate, wobey Bogen und Violine 
mit einer Hand geleitet wird.
18-12-1819 In den Zwischenakten werden ganz neue Redout-Deutsche, von der 
Composition eines hiesigen Musikfreundes produzirt.
02-01-1820 In den Zwischenakten werden ganz neue Redout-Deutsche produzirt.
02-03-1820 Hr. Schwerdt wird in den zwischen Akten ein Violoncell Conzert zu 
spielen die Ehre haben.
17-09-1820 Der Schlachtgesang der schweren Reiter, mit Begleitung von 4 
Waldhörnen, ist von Hrn. Carl Maria Weber. In den Zwischenakten 
wird die Harmonie des löbl. k. k. Dragoner-Regiments Riesch, so wie 
die Schlachten-Musik, der vorkommenden Märsche, und Chöre, zu 
begleiten und vorzutragen die Güte haben.
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18-09-1820 Heute Montag den 18. Sept. wird im landständischen Schauspielhause 
Hr. Joh. Schneider Musik-Director des löbl. k. k. Aloys Fürst 
Lichtenstein Infanterie Regiments, zu geben die Ehre haben, ein 
Musikalisches Quodlibet.
Erste Abtheilung.
Grosse Overtur mit turkischer Musik betittelt: Die Zwerg-Höhle von 
Lichtenstein.
Nr. 1. Fantasie für die Flöte mit Accompagment des Orchesters, von 
Johann Schneider componirt und vorgetragen.
Nr. 2. Große Aria aus Tancredi, gesungen von Mad. Maschek, 
begleitet mit Obligater Flöte v. J. Schneider.
Nr. 3. Pod-Pourri für die Flöte, mit Begleitung des Orchesters, v. C. 
Kaller, vorgetragen v. J. Schneider.
Nr. 4. Große Aria aus der Oper Aschenbrödl, gesungen v. Hrn 
Wiseneder.
Zum Schluß.
Nr. 5. Ein grosser Triumpf-Marsch, gespielt von sämmtlicher 
türkischen Musik des k. k. löbl. Inf. Regts. Aloys Fürst Lichtenstein. 
Componirt von J. Schneider.
25-09-1820 Ein grosses musikalisches Quodlibet.
Erste Abtheilung.
Grosse Overtur, von Carl Maria von Weber.
Nr. 1. Harmonie-Solo auf einer Klapp-Trompete, vorgetragen von 
einem Hrn. Houboisten der Kapelle.
Nr. 2. Grosse Arie mit Chor, aus der Oper Tancredi, gesungen von 
Mad. Maschek.
Nr. 3. Grosser Triumph-Marsch, mit Begleitung von mehreren Klapp-
Trompeten.
Nr. 4. Grosse neue hier nie gehörte Aria, aus der Oper Othello, der 
Mohr von Venedig: Gesungen von Hr. Wiseneder.
Nr. 5. Ganz neue Variationen mit ganzer Harmonie, und Serbon.
Nr. 6. Grosse Schluß-Simphonie mit ganzer Kapelle.
Die hier anwesende Harmonie, und Kapelle des löbl. k. k. Infanterie 
Regiments Albert Gyulai, wird obenangezeigte Musikstücke 
vorzutragen die Güte haben.
06-12-1821 N. B. Während der Schlacht wird eine kriegerische Symphonie und 
Einzugs-Marsch gemacht werden.
06-01-1822 Zwischen den 1. und 2. Akte werden die, für den Fasching 1822 
im Redouten Saale zu produzirenden deutschen Tänze aus der 
Rossinischen Oper: Cenerentola, componirt von Herrn Carl Maschek, 
gemacht werden.
07-01-1822 Zwischen den 2ten und 3ten Akte werden die, für die Theater-Bälle 
bestimmten Deutschen-Tänze von der Composition des Herrn 
Leopold Schwerdt, produziret werden.
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12-12-1822 Vor Anfang des Stückes und in den Zwischenakten deßelben, wird 
eine ganz neue Symphonie, von der Composition des Herrn Schwerdt 
gemacht werden.
01-01-1823 Vor dem Stücke und während den Zwischenakten desselben, wird 
eine neue Symphonie in D. von der Composition des Herrn Schwerdt 
gemacht werden.
09-01-1823 Zwischen den Akten werden die für diesen Fasching zu den Theater-
Bällen von Herrn Schwerdt neu komponirten deutschen Tänze, 
gemacht werden.
01-01-1824 In den Zwischenakten werden die für dieses Jahr von Herrn Baron 
von Lazarini neu componirten Redeuten-Deutsche und Ländler 
vorgetragen.
05-01-1824 Während den Zwischenakten werden aus besonderer Gefälligkeit 
für die Unterzeichnete zu der heutigen Vorstellung eigends gewählte 
Musikstücke mit gütiger Beihülfe einiger resp. Herren Mitglieder der 
hiesigen philharmonischen Gesellschaft vorgetragen.
06-01-1824 Zwischen dem ersten und zweiten Acte werden die neuen Wiener 
Redouten-Trompeten-Deutsche von Herrn Mahr – zwischen dem 
zweiten und dritten Acte die neuen Grätzer Redouten-Deutsche, und 
zwischen dem dritten und vierten Act die neuen Redouten-Walzer 
von Herrn [Franz Eduard] Hysel, Orchester-Director in Grätz, 
ausgeführt.
09-03-1824 Laibach Einladung. Mit hoher Bewilligung wird heute Dienstag 
den 9. März 1824 in dem hiesigen landständischen Schauspielhause 
aufgeführt, unter der Direktion des Ferdinand Rosenau zum 
Vortheile des Michael Mayer: Eine musikalisch-declamatorische 
Abendunterhaltung in zwei Abtheilungen.
Erste Abtheilung.
1.) Ouverture aus der Oper: „Johann von Paris“ von Boildieu.
2.) Die Körperbildung. Gedicht von Castelly, vorgetragen von 
Demoiselle Münch.
3.) Variationen über ein Thema von Caraffa (O cara Memoria), 
gesungen von Demoiselle Louise Grasa.
4.) Die Declamation. Gedicht von Lange, vorgetragen von Dem. 
Münch.
5.) Erste große Polonaise für die Violin mit Begleitung des ganzen 
Orchesters, componirt und vorgetragen von Herrn Joseph Benesch, 
Orchester-Director des hiesigen ständischen Theaters.
11-01-1825 Zur Unterhaltung in den Zwischenakten werden folgende 
Conzertstücke gespielt: Nach dem ersten Akt, Variationen auf der 
Guitarre von Giuliani. Nach dem zweyten Akt, ein Conzert auf der 
Clarinette.
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13-01-1825 Un einem hochverehrten Publikum einen vergnügten Abend zu 
verschaffen, werden während den Zwischenakten, die diesjährigen neu 
Componirten Redouten–Deutschen Produzirt werden. Erste Parthie, 
ist von Herrn Baron v. Lazarini. Zweyte Parthie, von Herrn Ledenek.
15-01-1825 Während den Zwischenakten wird die zweyte Parthie der Redout-
Deutschen des Herrn Baron v. Lazarini, und die neu componirten 
Redout-Deutschen des Herrn Micheuz, produzirt werden.
01-02-1825 Um die Zwischenakte angenehm zu verkürzen, werden neue gefällige 
Musikstücke ausgeführt werden.
24-10-1825 Heute Montag den 24. October 1825 wird in dem landständischen 
Schauspielhause Herr Franz Zierer, erster Flötist des k. k. 
Hofoperntheaters nächts dem Kärntnerthor in Wien, und 
Ehrenmitglied mehrerer philharmonischer Gesellschaften, von seiner 
Reise aus Italien zuruckkehrend, die Ehre haben, sich in folgenden 
Piecen auf der Flöte hören zu lassen.
1. Ouverture aus der hier noch nie gehörten Oper: die Zauberharfe 
von Kuhalu. 
2. Flöten-Concert von Berbiguier.
3. Arie aus Zelmira von Rossini, vorgetragen von Dlle. Louise Krasa.
4. Variationen für die Violine, komponirt und vorgetragen von Herrn 
Benesch.
5. Duett aus der Oper, die Vestalinn, vorgetragen von den Herren 
Tröls und Essinger.
6. Bravour-Variationen auf der Flöte von Drouet.
Das Orchester wird heute durch die gütige Mitwirkung mehrerer P . T. 
Herren Mitglieder der hiesigen löbl. philharmonischen Gesellschaft 
bedeutend verstärkt werden.
06-01-1826 Während den Zwischen-Akten werden die Laibacher Schießstatt 
Deutschen für den Karneval 1826. werden produzirt.
06-12-1827 Zwischen den Akten werden Deutsche und Walzer vorgetragen, für 
die Laibacher bürg. Schießstätte componirt, und den P . T. Herren 
Schützen gewidmet von L. F. Schwerdt. Diese Tänze sind auf der St. 
Peters-Vorstadt Nro. 21 im 1ten Stock für alle beliebige Instrumente 
zu haben.
03-01-1828 Heute werden die vom Herrn Leopold Ledenig verfaßten diesjährigen 
neuen Redout-Deutschen, und zwar vor dem Anfange des Stückes alle 
sechs ohne Unterbrehung vom gut besetzten Orchester vorgetragen, in 
den Zwischenacten aber abgetheilt wiederholt werden.
08-01-1828 Vor Anfang des Stückes und in den Zwischenakten werden ganz 
neue Redout-Deutsche von einem Ungenannten durch ein zahlreich 
besetztes Orchester executirt werden.
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28-10-1828 In den Zwischen-Akten wird ein Pot-pourri, für die Klarinette, von 
Joseph Küffner komponirt, von Hrn. W. Wrany, Hautboisten im löbl. 
k. k. Inf.-Regim. Prinz Hohenlohe, vorgetragen.
18-01-1829 Nach dem ersten Akte wird Hr. Franz Schalk, Professor auf dem 
Baßet-Horn, und Kammervirtuos I. M. der Durchl. Frau Erzherzogin 
Maria Louise, Herzogin von Parma, die Ehre haben Variationen über 
ein Thema von Rossini, von seiner Composition, vorzutragen.
19-01-1829 […] Zweite Abtheilung:
Arrangirt von Herrn Franz Schalk, Professor auf dem Baßet-Horn, 
und Kammer-Virtuos I. M. der Durchl. Frau Erzherzogin Maria 
Louise, Herzogin von Parma; 
1stens. Pot-pourri, komponirt für das Baßet-Horn, vorgetragen von 
Hn. F. Schalk.
2tens. Arie mit obligaten Baßet-Horn, vorgetragen von Dlle. Therese 
Holzer und Hn. F. Schalk.
3tens. Phantasie, für das Baßet-Horn, mit Guitare-Begleitung, 
vorgetragen von Therese Holzer
4tens. Polonaise, für das Baßet-Horn, komponirt und vorgetragen von 
Hn. F. Schalk.
5tens. Arie des Figaro, aus der Oper: der Barbier von Sevilla, von 
Rossini.
11-04-1829 Großes Concert für das Pianoforte, von J. Humel, mit Begleitung des 
ganzen Orchesters, vorgetragen von Dlle. Herzum.
03-10-1829 Die in der zweiten Abtheilung vorkommende Dekoration ist von Hrn. 
Langus neu verfertig. Costüm neu. Die Ouverture vor Anfang des 
Schauspiels ist von Hrn. Kaspar Maschek.
Die neue Ouverture zwischen der ersten und zweiten Abtheilung ist 
aus Wilhelm Tell, von Hrn. Kapellmeister Weber. 
13-10-1829 […] Darauf:
wird Herr Wirdinger, der bereits in mehreren bedeutenden Städten 
sich mit allgemeinem Beifalle produzirte, auf der Mundharmonika, 
oder sogenannten doppelten Maultrommel, 6 Stücke mit Guitarre-
Begleitung (gespielt von Herrn Laukas), in 2 Abtheilungen 
vorzutragen, die Ehre haben:
Erste Abtheilung.
1. Eccosaise mit Glockentönen.
2. Den beliebten Waterloo-Deutschen.
3. Husaren-Schlachtmarsch.
[Diesem folgt: Der arme Poet. Schauspiele in 1 Akte, von Kotzebue].
Zum Beschluß:
Zweite Abtheilung.
1. Tyroler-Ländler mit Variationen.
2. Menuette mit Trompetentönen.
3. Neuer Jagdmarsch.
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26-10-1829 Eine Vocal-und Instrumental-Akademie des Herrn Anton Ferlendis, 
Professor der Oboe und englischen Horns, auch Mitglied des Theater-
Orchesters la Grande in Triest.
Vorkommende Stücke:
Erste Abtheilung.
1. Große Ouverture.
2. Adagio e Polacca, für das englische Horn, vorgetragen von Herrn 
Ferlendis.
3. Aria, aus der Oper: der Barbier von Sevilla, (Ah se ver) eingelegt 
von Mad. Fodor, vorgetragen von Dlle. Henkel d. j.
Zweite Abtheilung.
1. Große Ouverture.
2. Potpouri, für die Oboe, vorgetragen von Hrn. Ferlendis, in welchem 
er durch überraschende Fertigkeit sich auszuzeichnen die Ehre haben 
wird.
3. Declamation Recipé, einen braven Mann zu bekommen, von Franz 
Told, gesprochen von Dlle. Herrmann.
4. Declamation Recipé, ein braves Weib zu bekommen, von Castelli, 
gesprochen von Herrn Köppl.
5. Rondeau, für das englische Horn, aus der Oper: Cenerentola 
(Non piu mesto), von Rossini, arrangirt und vorgetragen von Herrn 
Ferlendis.
26-11-1829 NB. Zwischen dem ersten und zweiten Aufzuge wird das Orchester 
die Ehre haben, eine neue Ouverture, von Herrn Scutta, vorzutragen.
09-12-1829 Vor dem Anfange des ersten Aktes große Schlacht- und Sieges-
Ouverture, von Beethoven; zwischen dem ersten und zweiten Akte 
Ouverture, vom Hrn. C. Maschek. Das große Schlacht-Tableau, 
welches sich bis auf die außerste Spitze des Gebirges formirt, wird 
mit griechischem Feuer beleuchtet. Die Schlacht bestehet in Bajonet-
Gefechten, und wird mit anpassender Musik begleitet.
04-02-1830 Die Oper beginnt mit der neuen Ouverture von Rossini‘s, Wilhelm 
Tell. Das Orchester ist verstärkt.
15-03-1830 Zwischen den Akten werden statt den gewöhnlichen Ouverturen, die 
beliebten Alpengesänge vorgetragen.
17-03-1830 Vorkommende Gesangstücke welche von Dlle. Henkel d. j., Mad. 
Görgl, und Hrn. Schremmel, vorgetragen werden.
Nro. 1) Romanze aus der Oper: Das Pilgerhaus, gesungen von Hrn. 
Schremmel, im 1. Akte.
Nro. 2) Das Lob der Kleinen, Gedicht von Castelli, deklamirt von 
Dlle. Diemar, im 2. Akte, während dem Conzert.
Nro. 3) Arie, aus der Oper: Barbier von Sevilla, gesungen von Mad. 
Görgl, im Conzert.
Nro. 4) Eine große Arie, gesungen von Dlle. Henkel d. j.
Nro. 5) Violin-Variationen, von Mayseder, vorgetragen von Hrn. 
Adolf.
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23-03-1830 Im Concerte vorkommende Gesangstücke und Declamation.
Nro. 1) Das Lob der Kleinen, Gedicht v. Castelli, declamirt v. Dlle. 
Diemar, im 2. Akte, während dem Concert.
Nro. 2) Arie, aus der Oper: Barbier v. Sevilla, gesungen v. Mad. Görgl, 
im Concert.
Nro. 3) Violin-Variationen, v. Mayseder, vorgetragen v. Hrn. Adolf.
22-07-1830 Die vor Anfange und während des Stückes vorkommenden türkischen 
Musikstücke, als: Märsche, Schlachtmusiken, Ouverturen, werden von 
der Capelle des löbl. k. k. Infanterie-Regiments Prinz Hohenlohe-
Langenburg, vorgetragen werden.
25-07-1830 Die vor Anfange und während des Stückes vorkommenden türkischen 
Musikstücke, als: Zigeunermarsch, Schlachtmusiken, Ouverturen, 
werden von der Capelle des löbl. k. k. Infanterie-Regiments Prinz 
Hohenlohe-Langenburg, vorgetragen werden.
07-12-1830 Zwischen dem 1ten und 2ten Akte wird der grosse Krönungs-Marsch 
zur Feier der Krönung des durchlauchtigsten Kronprinzen und 
Erzherzog Ferdinand, zum Könige von Ungarn, komponirt v. Adolph 
Müller, ausgeführt.
05-01-1831 (Gepachtet von den Gebr. Glöggl) unter der Leitung des Franz 
Glöggl, Mittwoch den 5. Jänner 1831: wird auf allgemeines Verlangen 
Herr Stanislaus Serwaczynski, Virtuose auf der Violine, Ehrenmitglied 
der philharmonischen Gesellschaft zu Laibach, der apolinischen 
Societät zu Venedig etc. etc., vor seiner Abreise, unter Mitwirkung 
der P . T. Dilettanten, ein Vocal- u. Instrumental-Concert zu geben die 
Ehre haben.
Zum Vortrage kommende Stücke:
1) Grosse Ouverture.
2) Cavatine, von Rossini, gesungen von Herrn Heurt.
3) Polonaise, für die Violine, von Mayseder, vorgetragen von Herrn 
Stanislaus Serwaczynski.
4) Duetto, für Tenor u. Baß, gesungen von Herren Heurt u. 
Bartholemy.
5) Brillantes Variationes, über einen Trauer-Walzer, für die Violine, 
mit Begleitung des Orchesters, von Pechatschek. Vorgetragen von 
Herrn St. Serwaczynski.
09-01-1831 Die am Schlusse des 1ten Aktes vorkommende mechanische Nasen-
Harmonika wird von sieben Automaten ausgeführt.
15-01-1831 Zwischen dem 1sten und 2ten wie auch zwischen dem 3ten und 
4ten Akte, wird eine Parthie neuer, für das Jahr 1831 von einem P . T. 
Dilettanten komponirter Redouten-Deutschen, vorgetragen werden.
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06-10-1831 Zwischen dem ersten und zweiten Akte wird Hr. Leitermeyer, 
Schauspiel-Orchesterdirector, Variationen für die Violine, von Krall; 
dann zwischen dem zweiten und dritten Akte werden die Herren 
Schnaidtinger, Conti, Weinpolter, und Glöggl, Vokal-Quartetten, von 
Oberl. Schlier, mit Begleitung von 4 Hörnern, und vom Kapellmeister 
des ständ. Theaters in Pesth, Hrn. Urbany, vorzutragen die Ehre 
haben.
24-10-1831 Zwischen dem dritten und vierten Akte wird das Orchester-Personale 
die Ehre haben, ein neues Potrpourri vorzutragen, unter dem Titel: 
„der musikalische Wettstreit“, von Fried. Maurer, hies. Orchester-
Mitgliede.
03-12-1831 Herr Leitermeier, Orchester-Director des hies. Ständ. Theaters, wird 
die Ehre haben, zwischen dem ersten und zweiten Akte Variationen 
für die Violin, von. F. Knoll, vorzutragen; zwischen dem vierten und 
fünften Akte werden neue Walzer unter dem Titel: „Frohsinn in 
Laibach“, komponirt von Obenbenannten, aufgeführt.
04-12-1831 Zwischen dem ersten und zweiten Akte, werden die Herren 
Schnaidtinger, Conti, Weinpolter und Glöggl die Ehre haben, 
Vocalquartetten mit und ohne Fortepianobegleitung, vorzutragen.
15-12-1831 Zwischen dem ersten und zweiten Akte, werden die 
Orchestermitglieder Herr Maurer, Variationen auf dem Maschinhorne, 
und Herr Wendlik, eine Polonaise, von Bärmann, auf dem Clarinette, 
vorzutragen die Ehre haben.
18-12-1831 Zwischen der Operette und der Posse, werden die Orchestermitglieder, 
Herr Maurer, Variationen auf dem Maschinhorne und Herr Wendlik, 
eine Polonaise von Bärmann, auf dem Clarinette, vorzutragen die Ehre 
haben.
03-01-1832 1) Neue Walzer, für das ganze Orchester, verfaßt vom Herrn A. E. 
Wurzbach.
2) Ballade. Gruppe aus dem Tartarus, von Schiller, in Musik gesetzt 
von Franz Schubert, gesungen vom Herrn Conti.
3) Neue Variationen, für das Clarinett, von Bärman, vorgetragen vom 
Hrn. Wendlik.
08-01-1832 Zwischen dem Lustspiele und der Operette wird das bekannte 
beliebte Quodlibet: „musikalische Frohsinn“, von Ferd. Maurer, vom 
sämmtlichen Orchester-Personale vorgetragen werden.
19-01-1832 Zwischen dem ersten und zweiten Akte des Schauspiels, werden 
neue, für den Carneval 1832, von Johann Strauß komponirte Wiener-
Walzer unter dem Titel: „Heiter auch in ernster Zeit“, und zwischen 
dem Schauspiele und der Posse, ebenfalls von Strauß: „Das Leben 
ein Tanz, der Tanz ein Leben“, vom ganzen Orchester-Personale 
ausgeführt werden.
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01-03-1832 Zwischen dem ersten und zweiten Stücke, werden neue Walzer, 
aus Rossinischen Opern, von Giuseppo Lego arrangirt, vom 
Orchesterpersonale vorgetragen werden.
27-03-1832 Zwischen der Oper: die Zauberflöte und der Schlacht bei Paris, wird 
das beliebte musikalische Ragou, von J. Strauß, ausgeführt. 
10-04-1832 Dienstag den 10. April 1832: zum Vortheile des Joseph Leitermeyer; 
zum ersten Male: Der grüne Domino. Lustspiel in einem Akte, von 
Körner […]
Hierauf folgt:
Adagio und Polonaise, concertantes für Clarinet, von Dulernoi, 
vorgetragen von Herrn Wendlick, Mitglied des hiesigen Orchesters.
Zum Beschluß, zum zweiten Male: L‘inganno Felice […]
Zwischen dem 1. und 2. Akte der Oper wird der ergebenst 
Unterzeichnete Brillant-Variationen, für die Violin, von Pechatschek, 
vorzutragen die Ehre haben.
02-09-1832 Vor Beginnen des Prologs wird eine grosse Fest-Ouverture, vom 
Herrn Maschek, für diesen Zweck eigens neu komponirt, und vor 
dem Stücke, die Ouverture aus dem Ballete, „Teodosia“, Musik von 
J. R. Grafen von Gallenberg, unter der gütigen Mitwirkung mehrerer 
P . T. Herren Dilettanten, vom neu engagirten Orchester-Personale, 
executirt werden.
13-09-1832 Heute Donnerstag den 13. September 1832, wird im hiesigen 
ständischen Theater unter der Leitung des E. Neufeld und H. 
Börnstein; Herr Joseph Merk, k. k. Hof- und Kammer-Violoncellist, 
Solo-Spieler des k. k. Hofoperntheaters nächst dem Kärnthnerhore, 
Professor am Conservatorium zu Wien, u. s. w. auf seiner Durchreise 
nach Italien, die Ehre haben, ein CONCERT, zu geben.
Vorkommende Stücke:
1) Ouverture, aus „IL PIRATA,“ von Bellini.
2) Variationen, für das Violoncell, komponirt und vorgetragen von 
Hrn. Merk.
3) Arie, gesungen von Hrn. Bartholemy.
4) Divertimento, für das Violoncell, komponirt und vorgetragen von 
Hrn. Merk.
13-10-1832 Zwischen dem ersten und Zweiten Akte folgt: Grosse Polonaise aus 
A-dur, für die Violine, mit Begleitung des Orchesters, von Mayseder, 
vorgetragen vom Hrn. Stummer.
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15-11-1832 Vier Gerichte zum Souper. Musikalisches Pot-Pourri, in einer 
Abtheilung.
1) Ouverture, aus der Oper: Elisabeth, von Rossini.
2) Duett, aus der Oper: Die Vestalin, von Spontini, gesungen von den 
Herren Pollak und Bartholemy.
3) Aria, aus der Oper: Der Barbier von Sevilla, von Rossini, gesungen 
von Herrn Kugler.
4) Duett aus derselben Oper, gesungen von den Herren Pollak und 
Kugler.
23-11-1832 Ein musikalisches Pot-Pourri.
Enthaltend:
1) Ouverture, aus Don Juan, von Mozart.
2) Arie, aus La gazza ladra, von Rossini, gesungen vom Herrn 
Bartholemy.
3) Schlummerlied, aus der Oper: Die Stumme von Portici, gesungen 
vom Herrn Kugler.
Zum Beschluß:
4) Grosse Scene und Duett, aus der Oper: Tancred, (im Costüme).
28-11-1832 Heute Mittwoch den 28. November 1832, wird im hiesigen 
ständischen Theater unter der Leitung des E. Neufeld und H. 
Börnstein; 
Herr Joseph Treichlinger, Tonkünstler aus Wien, Orchester-Director 
und Solo-Spieler des k. k. priv. Theaters an der Wien u. f. w., auf 
seiner Durchreise nach Italien, die Ehre haben, ein grosses Vocal-u. 
Instrumental-Concert zu geben.
Vorkommende Stücke:
1) Ouverture, aus „Die Mädchen von Siklos“, von Franz Roser.
2) Concertino, für die Violine, bestehend aus einem Allegro maestoso, 
Adagio cantabile und Rondo brillant, componirt und vorgetragen vom 
Concertgeber.
3) Vocal-Quartett, „Ständschen“, von Eisenhofer, gesungen von den 
Herren Kugler, Mick, Bartholemy und Conradi.
4) Terzett, für Clarinett, Oboe und Horn, von Mozart, mit Begleitung 
des ganzen Orchesters, vorgetragen vom Herrn Wendlick.
5) Vocal-Quartett, „Tochter des Himmels“, von Seipelt, gesungen von 
den Herren Kugler, Mick, Bartholemy und Conradi.
6) Grand Pot-Pourri, für die Violine, über die beliebsten Thema’s der 
Oper: „Die Stumme von Portici“, componirt und vorgetragen vom 
Concertgeber.
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01-12-1832 Heute Samstag den 1. Dezember 1832, wird im hiesigen ständischen 
Theater unter der Leitung des E. Neufeld und H. Börnstein; Herr 
Joseph Treichlinger, Orchester-Director und Solo-Spieler des k. k. 
priv. Theaters an der Wien u. s. w., vor seiner Abresie, sein zweites 
und letztes grosses Vocal-u. Instrumental-Concert zu geben, die Ehre 
haben.
Vorkommende Stücke:
1) Ouverture, aus Tancred, von Rossini.
2) Rondo brillant, für die Violine, mit Glöckenbegleitung, componirt 
von Nicolò Paganini, vorgetragen vom Concertgeber.
3) Duett, aus der Oper: Die Italienerin in Algier, von Rossini, 
gesungen von Mad. Conradi und Hrn. Bartholemy.
4) Grosse Variationen über ein beliebtes Thema, für das Maschin-
Horn, vorgetragen vom Hrn. Maurer.
5) Grosses Duett, aus der Oper: Othello, von Rossini, gesungen von 
den Herren Pollak und Kugler.
6) Grand Pot-pourri, für die Violine, über die beliebtesten Thema’s 
der Opern: Zampa, Straniera, u. s. w., componirt und vorgetragen vom 
Concertgeber.
02-12-1832 Der lustige Tonwanderer, oder: Musikalische Freunden in Laibach. 
Grosses quadlibetartiges Tongemählde, mit Benützung der 
beliebtesten Motive, componirt vom Hrn. Wendlick, ausgeführt vom 
dem ganzen Orchester.
14-12-1832 Zwischen dem 1ten und 2 ten Akte wird das beliebte Quodlibet: Der 
lustige Tonwanderer, oder: Musikalische Freunden in Laibach, Pot-
Pourri aus beliebten Motiven zusammengestellt vom Hrn. Wendlick, 
mit versträrktem Orchester ausgeführt.
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27-02-1833 Heute Mittwoch den 27. Februar 1833, wird im hiesigen ständischen 
Theater unter der Leitung des E. Neufeld und H. Börnstein; eine 
grosse musikalisch-deklamatorische Abendunterhaltung, gegeben, 
wobei Renata Maschek, Tonkünstlerin, auf der grossen Glas-
Harmonika, die Ehre haben wird, sich zum zweiten Male hören zu 
lassen.
Zum Vortrage kommende Stücke:
1) Divertimento, für die grosse Glas-Harmonika, vorgetragen 
von Renata Maschek, mit Begleitung der Guitare, Violoncell und 
Clarinett.
2) Concert, für die Violin, in E-mol, von Rode, vorgetragen vom 
Herrn Joseph Stummer.
3) Recept, bei jetziger Zeit eine gute Frau zu bekommen, scherzhaftes 
Gedicht, von Castelli, deklamirt von Hrn. Conradi.
4) Arie, aus der Oper. „Der Freischutz“, von Carl Maria von Weber, 
vorgetragen von Dlle. Podleski.
5) Recept, bei jetziger Zeit einem guten Mann zu bekommen, 
scherzhaftes Gedicht, von Saphir, deklamirt von Dlle. Gläser.
6) Des Königs Otto von Griechenland Abschied von der Heimath. In 
Musik gesetzt von J. E. Schlier, vorgetragen von denen Herren Pollak, 
Bartholemy, Conradi u. Würth, mit Begleitung der Harmonika.
7) Rondoletto pour l’ Harmonica sur un thème favori par Henri Herz, 
vorgetragen von Renata Maschek.
8) Der Brand von Mariazell, grosses Tongemählde, in Musik gesetzt 
von Carl Czerny.
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11-03-1833 Heute Montag den 11. März 1833, wird im h. st. Theater unter der 
Leitung des E. Neufeld u. H. Börnstein; zum Vortheile der Sängerin 
Henriette Elise Podleski, ein grosses Vocal-und Instrumental-Concert, 
in zwei Abtheilung gegeben.
Erste Abtheilung:
1) Grosse Ouverture, von C. Maschek, k. k. Musiklehrer.
2) Grosse Arie, von Rossini, gesungen von H. E. Podleski.
3) Na! ein einsylbiger Roman, deklam. von Dlle. Gläser.
4) Grosse Variation aus E-dur, 47. Werk von Mayseder, vorgetragen 
vom Hrn. Stummer, Orchester-Direktor.
5) Duett, aus der Oper: Armida, von Rossini, „Ach vor der Liebe“, 
gesungen von H. E. Podleski und Hrn. Kugler.
Zweite Abtheilung:
1) Musikalische Leiden u. Freuden, – Quodlibet-Ouverture, vom Hrn. 
Wendlik, Mitglied des hies. Orchesters.
2) Grosse Arie, aus der Oper: Johann von Paris, von Boieldieu, 
gesungen vom Hrn. Bartholemy.
3) Der Marzischnee, lokales Gedicht, von Heinrich Börnstein, 
deklamirt von Mad. Börnstein.
4) Polonaise, für das Maschinhorn, von Lindpaintner, vorgetragen vom 
Hrn. Maurer, Mitglied des hies. Orchesters.
5) Grosses Quartett, von Rossini, gesungen von den Damen: Podleski 
u. Börnstein, u. von den Herren Kugler u. Bartholemy.
16-03-1833 Zwischen dem 2. und 3. Akte, Variationen für die Maschin-Tromba, 
über das beliebte Thema: „Wenn eine Mädchen gefällt,“ aus Zampa, 
vorgetragen von Ferd. Maurer. Zwischen dem 1. und 2. Akte, 
Clarinett-Concert, vorgetragen von Wendlik.
23-03-1833 Zwischen dem 1. und 2. Akte wird Kugler die Ehre haben, den 
Abschied (La Partenza, Musik von J. Rossini), vorzutragen. 
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24-03-1833 Dramatisches Abschieds-Feuerwerk, bestehend aus:
Vier Haupt-Fronten und vier Zwischenstücken, für diesen Abend 
arrangirt. Signal-Raketen.
Fest-Ouverture, (zur Eröffnung des dießjährigen Winterkurses 
komponirt) von Kaspar Maschek, k. k. Musiklehrer.
Erste Fronte.
Schauspiel. Wilhelm Tell. Schauspiel von Schiller. (Dritter Akt.)
Zwischenstück Tourbillons.
Variationen, über ein beliebtes Thema, von Mayseder, vorgetragen vom 
Herrn Orchester-Direktor Stummer.
Zweite Fronte.
Lustspiel. Das war ich!
Original-Lustspiel in einem Aufzuge, von Hutt.
Zwischenstück: Leuchtkugeln. Musikalischer Wettstreit. Quodlibet, 
komponirt von Ferdinand Maurer, Mitglied des hies. Orchesters.
Dritte Fronte.
Parodie. Die Wäscherin und der Aschenmann. 
Herr Börnstein wird die Ehre haben, Aschenlieder in krainischer 
Sprache vorzutragen.
Zwischenstück: Schwärmen.
Musikalischer Frohsinn. Quodlibet von Ferdinand Maurer, Mitglied 
des hiesigen Orchesters.
Vierte Fronte.
Oper. Marie, oder: Verborgene Liebe. Oper, von Castelli, Musik von 
Herold. (Dritter Akt.)
Herr Kugler, wird die Ehre haben, die Romanze des I. Aktes: „Ich 
ziehe fort,“ vorzutragen.
14-09-1833 Zwischen dem ersten und zweiten Akte:
Das Bewußtseyn, komponirt von H. Lachner, Kapellmeister am k. k. 
Hoftheater nächst dem Kärnthnerthore, gesungen vom Herrn Hölzel.
Zum Schlusse:
Variationen für die Violine, über einen österreichischen Tanz, 
komponirt und vorgetragen vom Herrn Carl Till, Orchester-Director 
und Solospieler der h. st. Bühne.
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07-10-1833 Musikalische Abendunterhaltung der Gebrüder Joseph (12) Dominik 
(14) Christian (18 Jahre) Perathoner, aus Tyrol.
1) Ouverture, aus der Oper: Die Italienerin in Algier.
2) Variationen, für die Violine, von Jansa.
3) Die Blumen der Lust, von Lanner.
Dann folgt: Die Braut. Lustspiel in Alexandrinern, von Theodor 
Körner.
4) Adagio, auf der G Saite, von Paganini.
5) Tausend-Saperments-Walzer, von Strauß.
Hierauf: Die Gunst der Kleinen, oder Hintertreppe. Lustspiel in 
einem Akte, nach dem Französischen, von R.
Zum Schluße:
6) Variationen, von Pechatschek.
7) Freundschafts-Walzer, komponirt von dem 12 jährigen Joseph 
Perathoner.
14-10-1833 Vor dem Anfange des Stückes wird die Ouverture aus der Oper: La 
Violette (das Veilchen), von Caraffa, zum ersten Male aufgeführt. Die 
Ouverture ist im Klavier-Auszuge für 2 Hände um 36 kr., für 4 Hände 
um 54 kr., and der Kasse zu haben.
15-10-1833 Ouverture aus der Oper: Le Dieu et la Bayadere, von Auber. Die 
Ouverture ist im Klavier-Auszuge für 2 Hände um 48 kr. An der 
Kasse zu haben.
29-10-1833 1) Ouverture aus der Oper: Le Dieu et la Bayadere, von Auber.
2) Der Schutzgeist, Gedicht von Baron Sydov, gesprochen vom Hrn. 
Rosenschön.
3) Arie aus der Oper: Die diebische Elster (Di piacer mi palea il Cor), 
gesungen von Dlle. Perechon. 
4) Der vierblättrige Klee, Gedicht in oberösterreichischer Mundart, 
von Castelli, im Costüme, gesprochen vom Hrn. Gläser.
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07-11-1833 […] Zum Schlusse der ersten Abtheilung: Pas de deux, getanzt von 
Dlle. Klein und Hrn. Julius.
1) Komische Arie, gesungen von Dlle. Elsner.
2) Komische Arie, gesungen von Hrn. Baumann.
3) Traum-Arie, gesungen von Hrn. Gläser.
4) Arie aus der Schweizer-Familie, gesungen von Dlle. Perechon.
5) Duett aus Aschenbrodel, gesungen von Mad. Ney und Dlle. 
Perechon.
6. Romanze, gesungen von Dlle. Sedlak.
7) Variationen für die Violine, von Mayseder, vorgetragen von Hrn. 
Carl Till, Orchesterdirector und Solospieler d. st. Theaters.
8) Arie und Chor aus der Braut, gesungen vom Hrn. Hüttel und dem 
sämmtlichen Personale.
9) Duett aus der Parodie: Nagerl u. Handschuh, gesungen von Dlle. 
Elsner u. Hrn. Gläser.
10) Aschenlied, gesungen vom Hrn. Gläser.
11) Schlußgesang, gesungen vom Hrn. Baumann.
10-11-1833 Die Musik vor und zwischen den Akten wird wegen Proben zur Oper: 
Der Zweikampf, von der Blech-Harmonie des ersten Landwehr-
Bataillons vom k. k. Infantrie-Regiment Graf Lilienberg Nr. 18 
exequirt.
08-01-1834 In den Zwischen Akten wird die erste Parthie von den heurigen 
Redouten-Deutschen unter dem Titel: „Der Frohsinn, mein Ziel“, von 
Johann Strauß, aufgeführt.
Benannte Redouten-Deutsche: „Der Frohsinn, mein Ziel“, sind im 
Clavier-Auszuge à 45 kr. an der Kasse, oder in der Wohnung der 
Unternehmerin in der Gradischka-Vorstadt Nro. 4, zu haben.
12-01-1834 In den Zwischenankten wird die zweite Parthie von den heurigen 
Redouten-Deutschen, von Baron Louis von Lazarini, aufgeführt.
27-02-1834 Zwischen der ersten und zweiten Abtheilung werden Walzer, vom 
Herrn Hölzl komponirt, vom ganzen Orchester vorgetragen.
02-09-1834 Nach dem Prologe und in den Zwischenakten wird das Orchester, 
verstärkt durch die gefällige Mitwirkung der P . T. Herren Dilettanten, 
folgende Piecen vorgetragen:
1) Ouverture zur Oper: „Das Veilchen“, von Caraffa.
2) Der Frohsinn mein Ziel, Walzer, von J. Strauß.
3) Ouverture zur Oper: „Der Liebestrank“, von Auber.
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18-09-1834 Heute Donnerstag den 18. September 1834, wird im hies. st. Theater, 
unter der Leitung der Amalie Maschek, zum Vortheile der durch 
Feuer verunglückten Bewohner von Wiener-Neustadt, ausgeführt:
Eine große musikalisch-deklamatorische Abendunterhaltung.
Vorkommende Piecen:
1) Ouverture, aus der Oper: „die Hochzeit des Figaro“, von Mozart.
2) Arie, von Rossini, gesungen von Mad. Ney.
3) Gedicht, gesprochen von Dlle. Reger.
4) Variationen, für die Violine, komponirt u. vorgetr. vom Hrn. Till, 
Orchester-Director des hies. Theaters.
5) Tenor-Arie, von Mehul, vorgetragen vom Hrn. Schremmel.
6) Tag und Nacht. Gedicht in niederöster. Mundart, von J. F. Castelli, 
im Costüm, vorgetr. vom Hrn. Wallner.
7) Concert, für das Horn, komponirt von Lindpaintner, vorgetr. vom 
Hrn. Kittrey, Orchester-Mitglied der h. Bühne.
8) Duett, für Tenor und Baß, von Mercadante, gesungen von den 
Herren Schremmel und Heller.
15-01-1835 Vor Anfang des Stückes wird das Orchester die neuen Walzer von 
Johann Strauß, unter dem Titel: Elisabethen-Walzer, ausführen.
26-09-1835 Unter der Direktion des A. F. Zwoneczek, Heute Samstag den 26. 
September 1835, Dlle. Hanal, und Dlle Fürst, engagirte Mitglieder 
hies. Bühne werden die Ehre haben, in nachstehenden Gesang-Piecen, 
sich der Huld und Wohlgewogenheit zu empfehlen.
Erste Abtheilung.
Ouverture aus der Oper: Barbier de Sevillla. 
Arie der Rosine, vorgetragen von Dlle. Hanal.
Nacher: Die Helden. Lustspiel in 1 Akte.
Zweite Abtheilung.
Ouverture aus Fra Diavolo.
Dieser folgt:
Große Arie aus der Oper: Marie, gesungen von Dlle Hanal.
Dritte Abtheilung.
Ouverture aus der Oper: Tancred.
Nachher:
Duett zwischen Amenaiden und Tancred,
vorgetragen von Dlle. Fürst, und Mad. Ney.
Zum Beschluß:
Großes Tableau: Der Schiffbruch.
Arrangirt vom Herrn Seeligmann, Regisseur. Mit griechischer 
Beleuchtung.
29-09-1835 Vor Anfang des Stückes wird Herr Till, Orchester-Direktor, 
Variationen eigener Composition auf der Violine mit Begleitung des 
ganzen Orchesters vorzutragen die Ehre haben.
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10-10-1835 […] Zum Beschluß:
Ouverture aus der Oper: weiße Frau. 
Nach selber: Die Romance des Georg, 
vorgetragen vom Tenoristen Herrn Stolte.
Dieser folgt:
Das Duett zwischen Georg und Anna, gesungen von
Dlle. Hanal und Herrn Stolte.
16-10-1835 Unter der Direktion des A. F. Zwoneczek.
Heute Freitag den 16. Oktober 1835, wird Franz Mathes Herr 
aus Wien, dem Se. Majestät, und der allerhöchste Hof, über 
seine Kunstfertigkeit auf der gewöhnlichen, und auf der von ihm 
erfundenen Streichzither die allerhöchste Zufriedenheit zu ertheilen 
geruhten, und der in mehreren Städten des In- und Auslandes mit 
ausgezeichnetem Beifall beehrt wurde: dann die Herren Franz und 
Johann Kittel und Joseph Pacher, mit folgenden Tonstücken zu 
produziren die Ehre haben:
Erste Abtheilung.
1. Variationen und Rondo in G-dur für die Zither, mit Begleitung der 
Violin und Guittarre.
2. Fantasie mit Polonaise auf der von ihm erfundenen Streichzither 
mit obiger Begleitung.
3. Das Glöckchen, Vokal-Quartett von Adolph Müller, Kapellmeister 
des k. k. priv. Theaters an der Wien.
4. Originäle Zither-Ländler mit obiger Begleitung.
Zweite Abtheilung.
1. Das Heimaths–Lied, Vokal-Quartett von Schwarzböck.
2. Solo-Ungar auf der Streichzither mit obiger Begleitung.
3. Komisches Terzett, der Schulmeister.
Zum Beschluß: Großes Potpourie unter dem Titel: musikalische 
Zimmerreise für 2 Zithern, Violin, Guittarre und Piano-Posthorn, 
arrangirt vom Herrn Mathes.
17-11-1835 Zwischen dem ersten und zweiten Akte werden neue Deutsche, vom 
Kapellmeister Müller, vorgetragen.
24-11-1835 Das Musikcorps des löbl. k. k. Infanterie-Regiments Fürst 
Hohenlohe-Langenburg, wird aus Gefälligkeit der Benefiziantin, in 
den Zwischenakten statt den gewöhnlichen Orchester, mitwirken. 
14-01-1836 In den Zwischenakten werden neue Redout-Deutsche vom 
sämmtlichen Orchester-Personale aufgeführt werden.
05-01-1837 In den Zwischenakten werden die neusten Walzer (Eisenbahnwalzer) 
von Strauß vorgetragen.
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POVZETEK
Med dejanji: instrumentalna glasba v ljubljanskem Stanovskem 
gledališču (1802–1837)
Glasba se je do konca 18. stoletja v Ljubljani izvajala v cerkvah, plemiških rezidencah, me -
ščanskih salonih in v gledališču. Od leta 1765 je bilo osrednje javno glasbeno prizorišče 
Stanovsko gledališče, ki je sodelovalo s potujočimi italijanskimi in nemškimi gledališkimi 
skupinami. Proti koncu 18. stoletja se je glasbeno življenje začelo odpirati izven teh tradici -
onalnih prizorišč. Konec osemdesetih in v začetku devetdesetih let 18. stoletja so se glasbene 
akademije izvajale v redutni dvorani ( Redoutensaal), s katerim je upravljala stanovska gledališka 
direkcija, in v kazini ( Casino-Gesellschaft), ki je bila zbirališče aristokracije in premožnega 
meščanstva. Na teh akademijah so sodelovali domači izvajalci, gostujoči virtuozi in vojaške 
godbe. Leta 1794 je bila ustanovljena Filharmonična družba, vendar so bile njene glasbene 
akademije »poljavnega« značaja in dostopne le njenim članom. V začetku 19. stoletja so na -
stope Filharmonične družbe in glasbeno dogajanje mesta popestrili še javni glasbeni nastopi 
v Stanovskem gledališču, kjer je imela glasba večplastno vlogo. Poleg opernih in gledaliških 
predstav se je izvajala med odmori predstav in s t. i. interludiji ( Zwischenakt-Musik) skrbela 
za zabavo občinstva, z glasbenimi večeri pa dopolnjevala gledališke predstave. Interludiji so 
obsegali vse od kratkih plesnih sekvenc in deklamacij do vokalnih in instrumentalnih nasto -
pov. Izvajali so se zlasti med odmori gledaliških iger, redkeje pa med operami in operetami. 
Med izvedbami interludijev so izstopali virtuozni nastopi domačih glasbenikov, občasno 
pa člani vojaških godb. Na sporedu so bile variacije na priljubljene operne teme ter polone -
ze, koncerti in potpuriji. Priljubljena inštrumenta sta bila zlasti klarinet in violina, sledili so 
francoski, angleški in basetni rog, violončelo, drumlica in kitara. Na začetku stoletja so kot 
solisti med odmori nastopali Paolo Sandrini, Joseph Moritz in Ferdinand Schwerdt. Pozneje 
so se v vlogi solistov pojavljali zlasti orkestrski direktorji in drugi člani gledališkega orkestra, 
kot so Wenzel Wenzel, Stephan Dunst, Joseph Leitermeyer, Joseph Stummer in Carl Till. 
Med izvajanimi skladbami med odmori so bile tudi orkestralne skladbe. Pogosto izvajana je 
bila plesna glasba – menueti, ländlerji, valčki in galopi, zlasti priljubljen je bil Deutscher. Na 
repertoraju so bili tudi potpuriji, uverture in simfonije.
Od leta 1819 so organizatorji gledališke predstave in opere dopolnjevali z različnimi 
glasbenimi prireditvami, kot so glasbene akademije, vokalno-instrumentalni koncerti ter 
glasbeni kvodlibeti. Mnogi izmed nastopajočih so se v mestu ustavili na poti med Italijo in 
Dunajem. To so bili virtuozi na različnih inštrumentih, kot so violina, flavta, oboa, violončelo 
in rog. Med prepoznavnimi imeni so bili Stanislaus Serwaczyinski, Joseph Merk in Joseph 
Treichlinger. Omeniti velja tudi dve solistki: ljubljansko pianistko Anne Herzum in praško 
glasbenico Renate Maschek, ki se je ljubljanskemu občinstvu predstavila s stekleno harmo -
niko. Repertoar teh glasbenih večerov je obsegal virtuozna glasbena dela, kot so variacije, 
poloneze in koncerti. Priljubljene so bile tudi operne arije, dueti in kvarteti. Poseben pečat 
so večerom dodali še glasbeni kvodlibeti – živahne mešanice znanih pesmi in melodij, ki so 
gledališkim predstavam dodali zabaven element.
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ABOUT THE AUTHOR
MARUŠA ZUPANČIČ (marusa.zupancic@zrc-sazu.si ) graduated in musicology from the 
University of Ljubljana in 2007 and became a Junior Researcher at the Institute of Musi -
cology ZRC SAZU the same year. In 2012, she received her PhD with a dissertation on 
the development of violin playing in the Slovene Lands. In addition, she studied at Masa -
ryk University in Brno (2006/2007) and Charles University in Prague (2008/2009), where 
she also completed an internship at the Institute of the Academy of Sciences of the Czech 
Republic. Between 2010 and 2011, she undertook research and study visits to Boston and 
New York in the United States and to Leuven in Belgium. Since 2015, she has worked as 
a Research Associate at the Institute of Musicology ZRC SAZU. In 2017, she completed 
a month-long research stay in Zagreb at the Croatian Academy of Sciences and Arts and 
the Croatian Music Institute. Maruša Zupančič has participated in several national and 
international (HERA) research projects, taking a leadership role in two of them. Her rese -
arch focuses on musical migration, musical networking, violin virtuosos, bourgeois musical 
culture and imported music trends of the nineteenth century, using the latest computational 
methods in digital humanities.
O AVTORJU
MARUŠA ZUPANČIČ (marusa.zupancic@zrc-sazu.si ) je diplomirala iz muzikologije 
na Univerzi v Ljubljani (2007) in istega leta postala mlada raziskovalka na Muzikološkem 
inštitutu ZRC SAZU. Leta 2012 je doktorirala z disertacijo o razvoju violinske igre na 
Slovenskem. Študirala je na Masarykovi univerzi v Brnu (2006/2007) in Karlovi univerzi v 
Pragi (2008/2009), kjer je opravila tudi prakso na Inštitutu Akademije znanosti Češke repu -
blike. Med letoma 2010 in 2011 je bila na raziskovalnem in študijskem obisku v Bostonu in 
New Y orku v Združenih državah Amerike ter v Leuvnu v Belgiji. Od leta 2015 je zaposlena 
kot znanstvena sodelavka na Muzikološkem inštitutu. Leta 2017 je opravila enomesečno 
raziskovalno bivanje v Zagrebu na Hrvaški akademiji znanosti in umetnosti ter Hrvaškem 
glasbenem inštitutu. Sodelovala je v več nacionalnih in mednarodnih raziskovalnih projek -
tih (HERA), pri dveh projektih je bila vodja. Njene raziskave se osredotočajo na glasbene 
migracije, glasbeno mreženje, violinske virtuoze, meščansko glasbeno kulturo in uvožene 
glasbene trende 19. stoletja. Pri svojih raziskavah uporablja najnovejše računalniške metode 
digitalne humanistike.
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