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Choral Societies and National Mobilization in the Serbian (Inter)National Network

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Choral Societies and National Mobilization in the Serbian (Inter)National Network CHAPTER 13 Choral Societies and National Mobilization in the Serbian (Inter)national Network Tatjana Marković Choral societies in nineteenth-century Europe served as socio-cultural, politi- cal, and artistic centers, and in the case of Serbia, their activities were of key significance in the network constructed between the diaspora and the home- land. Serbian choral societies are indispensable for understanding Serbian national mobilization in the nineteenth century. This paper examines the activities of the numerous societies and their network, which extended from the United States to the Ottoman Empire. The nationalist idea was embodied in the vernacular language and presented first of all through folk and also patri- otic songs, cherished by national as well as foreign (mainly Czech) composers. Serbian national identity was established outside the state territory due to activity in the diaspora and emigration from the Austrian (and later Austro- Hungarian) Empire, forming a kind of double identity as a result of the dif- ferent historical, political, social, and cultural backgrounds of the Habsburg Monarchy and the Ottoman Empire. The border between the two empires divided the Serbian people, so that their culture developed in two very dif- ferent contexts. The shifting military border between the two empires passed through Serbia (the Banatian military frontier) and Croatia (the Slavonian military frontier). Invaded by the Ottoman Empire in 1521, Belgrade was later occupied three times by Austria (in 1688, 1717, and 1789), and each time recap- tured by the Ottomans. In Vojvodina, the province of the Monarchy, music institutions such as the Musikvereine, municipal orchestras, national theatres, music schools, and conservatories provided a musical life based on European models. On the other hand, life in the Ottoman provinces was marked in the first place by the struggle for liberation, and only during the rare intervals of * This research was conducted within the postdoctoral project Opera and the idea of self- representation in Southeast Europe supported by the Austrian FWF (Fonds zur Förderung der wissenschaftlichen Forschung; Elise-Richter project V143-G18) at the Institute of Musicology, University of Graz (2010–2012) and at the Department of Musicology, Institute for Art History and Musicology, Austrian Academy of Sciences (since 2012). © Tatjana Marković, 2015 | doi 10.1163/9789004300859_015 Tatjana Marković - 9789004300859 This is an open access chapter distributed under the terms of the CC BY-NC-NDDownloaded 4.0 license. from Brill.com10/01/2021 10:49:23PM via free access 226 Marković peace, or after achieving independence in 1878, could a similar cultural life be established or revived. The two kinds of national identities have been defined theoretically in vari- ous ways. One of these assumes differences between so-called Western and Eastern embodiments of national identity based on different ways of under- standing national memory. It is emphasized that national identity in the Western sense implies “a ‘political nation’ . referring exclusively to the popu- lation living within an area defined by borders,” while in the East a common language and culture play the main role.1 Although this distinction is appli- cable in some cases, a strict division of Europe into East and West is not fully accurate since, for instance, German national identity is historically closer to the ‘Eastern’ identity due to its lack of unified territory. It seems that newer colonial and postcolonial theories of national identity might be more appro- priate, with the concept of hybrid identity, assuming diversity in one unique geographical space along with the lack of such a unique space within the influ- ential diaspora.2 Narratives of identity are expressed through various media, one of which is certainly the opera, reflecting contemporary national self- representation, often based in the nineteenth century on a mythologizing of national history. Serbian national mobilization will thus be considered in the context of intense cross-border transactions between the diaspora and the homeland.3 Two perspectives on the process of building national cultural identity through diaspora can be distinguished: on one hand, the communication between the diaspora and the homeland directed from outside cultural centres to the national territorial centre, and on the other, the circulations and interactions within the diaspora itself, the Serbian network based outside the home coun- try proper.4 Singing Bridges between Diaspora and Homeland Serbs were disseminated over a large part of Europe, where they spoke a variety of languages but were unable to communicate with people speaking 1 See Bischof and Pelinka, eds. (1997), 26. The authors clearly follow the theory of two kinds of national identity developed by Anthony Smith (1993). 2 See Bhabha (1994). 3 See Faist (2010), 15. 4 See Siu (2012), 147. Tatjana Marković - 9789004300859 Downloaded from Brill.com10/01/2021 10:49:23PM via free access Choral Societies And National Mobilization in serbian network 227 the vernacular language in Serbia proper;5 so language reform (starting with Dositej Obradović [1742–1811], Sava Mrkalj [1783–1835] and the pre-romanticists and culminating with Vuk Stefanović Karadžić [1787–1864] in Vienna) was especially important in the context of Serbian culture.6 It was in fact intellec- tuals, mainly from Vienna and southern Hungary, who made the biggest con- tribution to Serbian national culture by establishing the national (vernacular) language,7 which constituted a national identity in spite of an often explicit lack of support in their own country. Establishing a national culture in the diaspora was characteristic not only of the Serbian community but also for other Slavic peoples living in the Habsburg Monarchy. “Many cultures live in diasporas; many cities, even in early modern and nineteenth-century Europe, are receptacles for the influx of many different cultures.”8 As in other areas, the first professional Serbian musician was educated in Vienna: Kornelije Stanković (1831–65), from the Serbian community in Buda, was a private student of Simon Sechter, a professor at the University of Vienna. Following the program of Vuk Karadžić, his collaborators, and the circle of Slavic students around him in Vienna, as well as the recommendation of the Serbian Patriarch Josif Rajačić and Professor Sechter, in Sremski Karlovci Stanković sys- tematically transcribed the Serbian Orthodox chant (1855–57), which had been transmitted orally for centuries, and later also Serbian folk melodies (1861–63). Thanks to the support of Prince Mihailo Obrenović (1823–68), he published his collections in Vienna and promoted the Serbian Orthodox chant, which 5 Serbian citizens lived in “new two-storey buildings, were travelling in coaches, led discus- sions . in Latin, spoke the Russian redaction of Church Slavonic language, and on their way to Vienna, Pest, Leipzig and Krakow communicated in German”; Popović (1985), 8. This and all subsequent translations from Serbian are by the author. 6 Karadžić started with a systematic notation of Serbian epic poems, lyric folk songs, and other literary forms. After he published his first collections of Serbian folk poems in Vienna in 1814, reviews by Jakob Grimm (1785–1863) and Jernej Kopitar (1780–1844) in the Wiener Allgemeine Literaturzeitung and the Litterarisches Conversationsblatt encouraged him to further activity and, on their recommendations, six additional folk melodies were included for the first time in his second collection of folk poems (1815). Serbian folk poetry and other literary forms aroused great interest from Goethe, Mickiewicz, and the Grimm Brothers, as well as compos- ers such as Brahms, Dvořák, Čajkovskij, Huber, Rubinstein, Reger, and Janáček. See Marković (2006). 7 Karadžić’s Srpski rječnik (1818), a Serbian-German-Latin dictionary containing 26,270 words, presented an adapted version of Serbian grammar for his model of literary language based on the Neo-Shtokavian dialect of epics, and also a new writing system. This had extensive consequences not only for constituting Serbian Romantic literature, but also for the founda- tion of music terminology in the Serbian language. 8 Leerssen (2006), 176. Tatjana Marković - 9789004300859 Downloaded from Brill.com10/01/2021 10:49:23PM via free access 228 Marković was arranged for choir for the first time, at two concerts given at the Wiener Musikverein (in 1855 and 1861). Choral Music as a Dominant Genre in Nineteenth-Century Serbian Music Collecting the Serbian musical heritage, including folk songs and melodies, and their four-part arrangements for voice and piano, or a male choral ensem- ble, were the first steps in constituting a Serbian national culture. The primary means in this process was choral singing. There were a variety of reasons why this was so. Some were political. For example, cultural societies (whether choral, literary, or gymnastic) and church services were the only forms that allowed Serbs to gather in public spaces. Through patriotic poetry it was possible to express ideas about liberation that were otherwise prohibited. Choral societies also provided an important means to establish bourgeois culture inside Serbia, since they were the most accessi- ble form of cultural and musical life for numerous amateurs in Serbian society, and membership did not require a professional musical education. The choral singing of songs in the vernacular facilitated networking among Serbs
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