Djorde S. Kostic - Dunavom Od Bezdana Do Beograda

7/23/2019 Djorde S. Kostic - Dunavom Od Bezdana Do Beograda

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INSTITUTE FOR BALKAN STUDIESOF THE SERBIAN ACADEMY OF SCIENCES AND ARTS

SPECIAL EDITIONS 118

Belgrade2012

DOWN THE DANUBEFROM BEZDAN TO BELGRADE

Editorore S. Kosti


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2012

118


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, 35/IV

e-mail: [email protected]

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500

ISBN 978-86-7179-075-8

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:- ( 177006)


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(1895 - 1939) 7ore S. Kosti

On the Decks of the White Fleet. Guidebooks for TravellersPrepared by the Danube Steamship Society (1895-1939)

: (1925 - 1939) 35

Sanja Lazarevi Radak

A Different Balkans Belgrade as the Capital of Entertainmentin British Travelogues (1925-1939)

- ( XVIII XIX ) 53

Jelena TodoroviThe Danube a Space Shaped by Concepts (Impressionsand Perceptions of Nature in the 18thand 19thCenturyTravelogues and Tpography)

71

Vladimir MihajloviAbout the Gibraltar on the Danube

- :

83Aleksandra uri-Milovanovi

Evangelical Christians on the Danube:the Decelopment of Baptism in Novi Sad

/ C o n t e n s


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6

XVIII .- - 99

Katarina TomaeviA Musical Voyage down the Danube in the First Halfof the Eighteenth Century from Petrovaradin to Sremski Karlovci

123

Radmila ZotoviSocial Functions and Age of Persons WhoseNames are Found on Tombstones

- - 137Desanka Kosti - Branko Miljanovi - Jelena Luji

The Diversity of Fish Species in the Danube from Bezdan to Belgrade

153

Marija Maksin - Saa MilijiTourist Attractions of the Danube from Bezdan to Belgrade

I 179

Ivana KuncThe International Legal Framework of Navigationon the Danube at the Turn of the Last Century

203

Verka JovanoviMarsiglis Cartography of the Danube from Bezdan to Belgrade

- 217

Jelena MrgiThe Danube a Sketch for a Cartographic Portrait of the River

/ Literatura 261

287


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S u m m a r y

ore S. Kosti

On the Decks of the White Fleet.Guidebooks for Travellers Prepared by the Danube Steamship Society

(1895-1939)

According to their structure, the guidebooks prepared by the DanubeSteamship Society can be divided in two groups. The first comprises book-

lets published between 1895 and 1918, i.e. until the end of the First WorldWar and the dissolution of the Austro-Hungarian monarchy, and the secondcontains guidebooks prepared by the Society for Voyages along the Danube,published between the two world wars.

In comparison to those published in the second period, guidebooks printedbefore 1918 are smaller in format and content. However, regardless of the timewhen they were used and read, they all contain a handful of advertisements,from those promoting hotels, transport companies and different enterprises,to ads for wine, mineral waters, etc.

Similar to the guidebooks issued by various publishing houses throughoutEurope, editors of the Danube Steamship Society endeavoured to make theirbooklets, from the first issue in 1895 onwards, graphically and visually attrac-tive. In order to achieve this, the Society engaged different artists and laterphotographers.

Texts and notes about more important events that changed the appearanceof the Danube riverside and even the entire South-East Europe, contained inthe guidebooks of the Danube Steamship Society are an excellent example of

the way how contemporaries fashioned the picture of the past and frequentlythe present it was adapted, conformed or clouded, depending on the currentpolitical interests and aspirations.

In the guidebooks of the Danube Steamship Society the cultural-historicheritage of the Danube riverine region was represented on several levels: pre-historic heritage and the remains of old cultures after the arrival of the Ro-mans in South-East Europe; the period of Roman rule and foundation of theLimes, the borderline between the Empire and the barbarian tribes; mediaevaland Ottoman heritage; cultural-historic heritage of the eighteenth century;

cultural-historic heritage of the nineteenth century and the first decades ofthe twentieth.

ore S. Kosti


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On the Decks of the White Fleet

These levels of cultural-historic heritage were represented as small partsof descriptions, always interrelated and always a part of a longer text about aplace or an area, its past and present.

The descriptions of human settlements along the Danube, from Bezdan to

Belgrade, short and condensed, reflected only the interest of the guidebookeditors in this specific part of the river course. It was less important than theupper course, from the top or Ulm, from where the ships started, to Budapest.As if the river was still not only a natural but also a political border betweentwo irreconcilable worlds and two different cultures.

Soups and bouillons, fresh fish from the Danube, boiled meat, differentroasts pork and veal cutlets and filets, chicken prepared in various ways,different vegetables and salads, stewed fruit and pastries, coffee, chocolate andtea, plum brandy, rum and cognac, also champagne, wine, beer and soda-wa-

ter, This is only one segment of the food and drinks on the ship menus. It wasnecessary to provide travellers with full comfort and amusement when theywere on the cruise and without indulgence in food and beverages it was notpossible.

A similar picture is present in the descriptions of the cultural-historic heri-tage. Roman heritage along the Danube and the Limeswas the first in all theguidebooks. Names of places in Latin, details about archaelogical findings ofan old culture, all of that was more important for the editors in the late nine-teenth and early twentieth century than the present moment, or the descrip-tion of what a certain place could offer to the passenger on the ship.

The picture of the riverside in the middle course of the Danube from Bez-dan to Belgrade, from 1895 to 1918, was a reflection of a big empires interestsand the picture was conformed to them. In the guidebooks from between thetwo world wars this picture was not substantially changed, except in certaindetails which did not influence its transformation. In this period, the guide-books became more voluminous, books of almost three hundred pages, withmore extensive introductory texts which discussed geography, history, cultur-

al-historic heritage, flora and fauna of the region, but without any significantchanges in comparison to the guidebooks published in the preceding period.


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S u m m a r y


A Different Balkans Belgrade as the Capital of Entertainment in British

Travelogues (1925-1939)

In the last several years, one could find in the papers and on the Internettitles such as: Foreigners are Rushing to Belgrade for Entertainment. Peopleare interested in this city for reasons and qualities not usually considered

alluring by tourists such as good climate or cultural monuments. Discoursesabout Belgrade point out national cuisine, cheap alcoholic drinks, goodnight entertainment and the absence of aesthetics in architecture and othermaterial cultural characteristics. Although this internal discourse may soundparadoxical, texts written by travellers from different parts of Europe revealthat the capital of Serbia has been represented from the inside and fromoutside as attractive, exciting, touristically desirable. However, it has notacquired this status only recently. Impressions of this city from the first half

of the twentieth century show that it is a renewed discourse after the impetusit received in the inter-war period. This is also the reason for our selectingimpressions of Belgrade from the 1920s and 1930s when the city was firstrelated to tourism as we know it today. To be interested in a place offeringgood entertainment discloses the exoticism of the traveller and his or herdesire to abandon the known and the habitual. Although represented astouristically attractive parts of Europe, Belgrade, Serbia and the Balkans arepresented as a margin full of unusual and different features related to non-European regions. Its character is, to the same degree, Oriental, retaining

the flair of Near Eastern and associating to geographically and culturallydistant parts of the world.

Entertainment spreads from possible indulgence in unlimited quantitiesof tasty food, accessible to different social layers owing to low prices thatattract travellers from all parts of Europe. This is accompanied by the samekinds of pleasure found in a strong drink, aromatic coffee or a programmein a murky cabaret. What the traveller calls the spirit of Belgrade lies instrong and unusual tastes. However, the changes in everyday life andnew ways of spending leisure time introduced in the 1930s did not change

travellers impressions of the radical difference of Belgrade entertainment incomparison with the one they knew before.



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A Different Balkans

The opening of cabarets, frequent visits to the theatre and the opera, couldnot change that kind of entertainment. As a rule, it induced associations tosomething different, exotic and Oriental, helping the traveller to make mirrorimages of Europe.

Such impressions can be found in travelogues from the 1920s written byHarold Spender and Dudley Heathcote, as well as in those from the 1930s byDavid Footman and Lovet Edwards.

Within the referential framework of the Balkans, Belgrade was the placewhere one could indulge ones instincts, even take part in wars and revolutionsand get immersed in disorder. The Balkan entertainment offered reflectionand identification with the Other and turned into a kind of amusement andenjoyment through liberation from the restraints of ones own culture. So, theBalkans became a place of imaginary enjoyment in the prohibited if the

essence of European culture meant strict control of impulses, then the Balkanswould be the place where one could give vent to those impulses. And thereforeit was not only the place of cultural and symbolic otherness, but the space wherethe traveller could find possible change of the accorded reality. In the contextof the Balkans, Belgrade has remained the space of a consciousness outsidethe usual and everyday European experience. Liberation from the habitualenabled travellers to experience emotions such as hatred, love, to feel euphoria,to refute normality and surrender to the unknown. Those were the reasonsfor representing Serbia in travelogues from the early twentieth century as theplace where someone goes to experience through wars and insurrections, thelong-dreamt-about adventure (Malcolm Burr). This amusement had differentform in times of peace, it was placed under a different kind of control, but stillaccessible to those who wanted to experience an inversion of cultural reality.

The origin of this kind of representation lies in the Orientalization,dominant in the British travelogues about the Balkans from the early nineteenthcentury. One of the key stereotypes for placing Balkans in the Orient andonly afterwards on the symbolic map of the world was related to hedonism.

Therefore, the Balkans is the place for amusement although free from theOttoman rule it was still related to the Orientalistic picture of the world. Inconformity with this, the Balkans was forced to live with the Ottoman legacy it was there to define it. The stereotypes that enabled travellers to constructthe Orient were projected onto the Balkans, the place of pilgrimage for manytravellers between the two world wars. The Orientalization begun in the latenineteenth century was reflected onto the twentieth century in modifiedforms, particularly in the 1920s and 1930s with the appearance of some of thelasting images of this region.


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. XVIII , XIX , , (Bardion 1985: 8496; Zucker 1961: 119130). XVIII (Barell1972). ! . , . . . . , .

,

(Lowenthal 1985). ,

6. ,

-


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. . , .

, .

, . , (Beattie 1844: 156; Eliott 1838: 91). , , , .

, , . . , . , , . .

, XVIII . 1789. .

( 7) . - . . . , .

.


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: - ( 177006) .

. , . .

,

XIX . , . , :

(...) , . , (Eliott 1838: 91) .

7. , 1789.

-


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S u m m a r y

Jelena Todorovi

The Danube a Space Shaped by Concepts(Impressions and Perceptions of Nature in the 18thand 19thCentury

Travelogues and Topography)

The aim of this text is to give an answer to the question: what was thefunction of landscapes in the eighteenth and nineteenth century travelogues

on the Danube?As the longest navigable river of Europe, the one that connects a number of

cultures, ethniae, peoples, mores and climates, the Danube was an inexhaustibletopic for travellers and engravers in the eighteenth and nineteenth centuries.The voyage down the Danube always promised an exciting and diversifiedjourney, e.g. from Vienna to the Black Sea. Travellers had an opportunity tosee and learn about exceptional geographic, cultural, ethnic and confessionaldiversity in a relatively small space where two empires were located, theAustrian and the Ottoman.

The structure of the travelogues treated in this text the works by AdolfKunike, William Beattie, Georg Hering, Michael Joseph Quin, CharlesBoileau Elliott, and topographers such as Mancini and Luigi FerdinandoMarsigli reveals the basic interests of their authors: from a pure topographicrepresentation to life styles, clothes, food and drink, political intrigues, artisticmonuments, archaelogical finds and classical antiquity, local anecdotesAlthough significant, the picture of the Danube contained in each of the textsis only one possible description.

Another, much more reduced but still stratified picture, can be found inexceptional visual representations of the Danube from that period. The maintopics of those illustrations are the Danube as a natural and civilizationalphenomenon and the presence of man in it and along its banks.

Owing to that, a journey on the Danube promised every observer a doublesensation: recognition of the habitual cultural model and visual idiom and, onthe other hand, savouring the different, wild and exotic. The first sensationwas offered by visits to Vienna, Pest, Buda, monasteries such as Melk

The other aspect of the Danube experience was related to an element of

Oriental and picturesque, equally provided by the cultural and natural specificfeatures of the Danube or visits to Turkey or Romania.

Jelena Todorovi


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Another Danube can be found in the works of topographers andcartographers of that period. Although their purpose was primarily of militaryimportance, these works reveal an omnipresent genre element which enlivensthe dry topographic representation. Even when a single representation should

contain all items of military and strategic information, these images were notonly descriptions. With the introduction of landscape and genre elements,essentially more decorative than descriptive, those representations surpassedtopography and became personalized images of the place, as we shall see inthe example of Mancinis fortress.

Wanting to reconcile both sensations and fuse them into a verbal and visualrepresentation of the Danube, illustrators of the travelogues and topographersblended in their works the concepts of ownership, utopia and a glorification ofthe picturesque that leitmotif of the romantic perception of nature.

When different travelogues from the nineteenth century are compared, onenotices a tendency to reconcile descriptions with utopian representations. Thesame tendency is easily observed both in the visual and narrative portrayals ofthe Danube. Although one would be prone to ask how utopian representationsof the countryside can function in a travelogue, it is necessary to point out thatlandscape has always been a picture or a representation of edited nature.The very selection of a particular place makes objectivity impossible. Besides,landscapes of that time were simultaneously natura naturans and naturanaturata nature as it is and nature as it should be. On the other hand, theglorification of a certain terrain through a utopian representation of naturepromised the reader of the text an attractive sensation and invitation to embarkon a voyage along the Danube.

In order to understand better the different layers offered in representationsof the Danube in the given travelogues, this text treats them in the followingconceptual wholes:

- the Danube a reflection of Arcady reality and utopia in the ninteenthcentury;

- delightful horror the Danube as the space of myth and memory;- the Danube as a liminal space.

e Danube - a Space Shaped by Concepts


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71/294

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1950. , ( 1989; 2003: 1315; 2003: 6869).

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.


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. (Gaston Bachelard) , , (Balar2005: 204).

. , , , , ; (Primorac i Ule 2006: 2930, 35).

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Heidegger), (Umwelt), (Heidegger 1985: 11528).


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, , , ,, , (Uskokovi 2005).

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, , . , a (Tilley 1994: 1415). , , . , , , . , , (Novakovi 2003: 189).

, ( 2003; 2003). , , , . , , , . (Gross-Hoffinger 1846;Elliot 1839; Wolff 1847; sterreich 1850; Ansted 1862; Spencer 1866; Guide1896; Schweiger-Lerchenfeld 1896), (Britannica 1901,1911; Cyclopaedia 1860), (Murray 1857; Meyer 1892; Meyer1898) , (The Saturday Magazine) (Das Pfennig

Magazin fr Belehrung und Unterhaltung; Die Woche: moderne illustrierteZeitschrift) XIX . , , .

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IV . ( ), 1241. ( 2006; 2003: 910).

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(Eugen von Savoyen) 5. ( 2003: 1113).

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(...) [] , ( 2002[1894]: 44).

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. , , , (Matthew Johnson), , . , , , ; ( 2008: 199200). , (Michael Shanks) (Christopher Tille) :

, , , . (Shanks & Tilley, . 2008: 200);

(Bjrnar Olsen) : . (Olsen 2002: 204).

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. , , (Olsen 2002: 20102).

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( 2008; Dietler 2005; Morris 1994;Shanks 1996). , . , , (Edward Said) ,

, , (Said 2008).

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. , ,

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3. , 1896.


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(Balar 2005: 204).

: - ( oj 177006) .

.


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S u m m a r y

Vladimir Mihajlovi

About the Gibraltar on the Danube

When one speaks among the Serbs about the Fortress of Petrovaradin, amonument of unquestionable cultural and historic importance, its name isgenerally qualified as the Gibraltar on the Danube. The text is dedicated tothis metaphor, its relation to the place and to the significance of the Fortress

of Petrovaradin.The building of the Fortress began in 1692 and it continued, in two

phases, until 1780. Parallel to the process or immediately after the buildinghad been completed, this border fortification (which was not located on theborder itself) gradually found its place at the symbolic border of the world.The aforementioned metaphor played an important role in the transfer ofmeaning. The essence of the metaphor is reflected in the movement from theknown to the unknown and in the relationship between things or phenomenain order that they could be understood better. With regard to space, theuse of the metaphor helps us to translate it into our own framework, thusdomesticating the space and making it our own. Space is, here, understoodin its phenomenological scope and its physical, social, historic, temporaland metaphysical dimensions. The basic elements of this socially producedspace are places that transform the space into centres of meaning and the firststep in the production of such places is their nomination. With regard to thenaming, one cannot precisely determine today either the exact moment whenthe metaphor about the Gibraltar on the Danube was coined or its author.

In any case, this epithet accompanied Petrovaradin and its fortress in manytravelogues, encyclopedias, handbooks and other written works from thenineteenth century and particular significance for this text are the accounts ofthe past of this place that can be found in those works. Although temporally andthematically quite different, all the episodes from the history of Petrovaradinhave one common denominator they all clearly refer to the border. Therefore,the building of the Petrovaradin Fortress implies that the erection of a borderfortification was accompanied by the formation of a symbolic border. By thebuilding of the Gibraltar on the Danube (in phenomenological sense), the

border usually appearing only as a line on a map could be transformed intothe borderline of the worlds or the bulwark of Christianity, and therefore

About the Gibraltar on the Danube


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Gibraltar was an appropriate metaphor. Simply, with its symbolic capital(sensuBourdieu) the mention of the Gibraltar in the context of the Fortressof Petrovaradin should produce clear associations with the unconquerablefortification in the borderline of our world.

After the First World War and the disappearance of the Habsburg state fromthe global map, Petrovaradin and its fortress were no longer (Austro)Hungarianin the political sense. These changes in the political map of Europe andthe world effected changes in our metaphor: both in form and in meaning.Petrovaradin remained Gibraltar, but the Gibraltar never became Serbianor Yugoslav. A seemingly neutral form was found it became Danubian.By the disappearance of borderlines, the Danubian/Hungarian Gibraltarlost its assumed role of a border guard. Thus, the meaning of our metaphorchanged it lost the meaning it used to transfer and remained let us use

a Bachelards term petrifiedin its new form, in which it is still uncriticallycommunicated.

Vladimir V. Mihajlovi


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-

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, . XX , . , , (Evangeliumsbote), (Friedensbote) (Tuferbote). : , , , .

, , . XIX , , (Parker 1998: 195-212). , ,

, ,


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(McLeod 1990). XVII , XIX , .

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II, . II1781. , . . XIX , , . , , , . , , , , . , - .

, , , . , . , 1875. , 1950. .

-


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(. Evangelical movement, . Evangelikale) ,

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2010: 96). , , , . , .

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, (Lehotski 1997). , .

, 1925. , . . , ,

, (Donaulndermission)


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( 2004: 18). , - . 1927. ,

. , .

, , (Evangeliumsbote) 1923-1926, (Friedensbote) (Tuferbote) 1930-1942, - .

. , , . - , , . , , , , (Lehotski 2009: 10). 1923, , , . , , , , , , (Hopper 1997:27). , 1935. , , .

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. , ,

-


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93

.

(Allgemeine Mission-Komitee der deutschen Baptisten

gemeinden in Sd Ost-Europa) . , 538 , , , (Hopper 1997: 86).

, . , ,

. , 1944. . 1945-1948. , , 1948. (2003: 167). , , . , , , . , , (2011).

, 1943. , . ,

, :

. 1905. , . , , . . , .

. (Lehotski 1997: 9)


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, , , , ( 2004:19).

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, , , .

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.

-


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: - ( 177006) .

, , . , , , .

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, ,

.*


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S u m m a r y

Aleksandra uri-Milovanovi

Evangelical Christians on the Danube: the Decelopment of Baptismin Novi Sad

The Evangelical movement (Evangelikale, in German) grew out of thechurch reformation tradition and comprised Protestant and Neoprotestantcommunities throughout the world. The etymology of the word stems from

the Greek , meaning good tidings and referring to the salvationin Jesus Christ and the spreading of that information to others. In the earlynineteenth century, evangelical theology began to emphasize the return to thebeginnings and the essence of Christianity. Baptists, as Evangelical Christians,appeared in the Netherlands and England in the seventeenth century, underthe influence of Anabaptism and Pietism. Although it began in WesternEurope, Baptism spread and developed in the nineteenth century in Centraland SouthEast Europe. Its centre was in the German speaking area.

The text also treats the role of Johann Gerhard Oncken, a Baptist preacher,as an important personality in the spreading of Baptism. After his return fromEngland, Oncken founded in Hamburg the first Baptist church in that partof Europe. After Baptist communities had been founded in Central Europe,primarily in Germany, the first Baptist community was founded in NoviSad owing to the missionary activities among the Germans in the AustroHungarian Empire. Germans from the Empire came into contact with JohannGerhard Oncken and the Baptists and many of them accepted the creed andbegan to preach it.

The text presents the history of the first Baptist community in Novi Sad,founded in 1892 as a missionary station of the church from Budapest, andalso treats the role of Heinrich Meyer, a preacher, who performed the firstbaptisms in the Danube and evangelized the neighbouring places. The firstBaptists from Novi Sad, the Hungarian couple Franz and Maria Tabory, werebaptized in Bucharest in 1862. Since Baptists were a supranational religiouscommunity, they soon attracted other ethnic communities, particularly theSlovaks, Hungarians, Romanians and Serbs. Julius Peter, a preacher baptized byMeyer in Vienna, was installed in 1891 and began to organize an independent

group of believers from Novi Sad. Shortly before his visit to Vienna, Petercompleted his theological education at the Baptist Seminary in Hamburg,

Aleksandra uri-Milovanovi


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together with a number of preachers from all parts of Europe. After his arrivalin Novi Sad, the local Baptist church became independent from the one inBudapest. Missionary work was most frequently done among the Germanpopulation, but, when necessary, sermons were translated into Hungarian,

Slovakian or Serbian.Like other Neoprotestant creeds, Baptism spread quickly in ethnicallyand confessionally heterogeneous environments, particularly among theHungarian and German Protestants. Believers from the neighbouring German

villages came to Novi Sad to be baptized in the Danube; in the early twentiethcentury, Slovaks also joined these group ceremonies. The building of thefirst prayer house in Novi Sad began in 1927, when the community invitedthe preacher Robert Schlosser from Poland to help the believers. After thebuilding had been completed, worship services were held in the German and

Serbian languages on Thursdays and Sundays. In order to spread informationon its activities in the Danubian countries in the interwar period, theGerman Baptist mission published journals Evangeliumsbote, Friedensboteand Tuferbotewith relevant reports.

The reports were frequently in the form of missionary diaries written byvarious preachers. Until the end of the Second World War, the pious reportedon baptisms in the rivers, canals and lakes, on the spreading of good tidingsand the foundation of new communities. Baptisms in the Danube attractedmuch attention, particularly if performed in the winter when ice had to bebroken in a specific spot. Such public baptisms were rare during the war, andthe only record from 1943 refers to the baptism in the Danube when manywatched from the banks or the boats.

The river was not only the place where different cultures met and intertwined,it did not only perform symbolic interconnecting, it was an important spatialelement in the baptism of new believers. The Danube linked the Baptists inthe countries from the Danubian region either as meeting place for the piousfrom different communities while the preachers travelled along the navigable

routes and arrived in their boats to the missionary centres on the Danube.

Evangelical Christians on the Danube: the Decelopment of Baptism in Novi Sad


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, ,


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. XVIII , , . , .

: , , . . : ,, , , , , , , ,.

1986. Danubius, - (Claudio Magris), , , , (Magris 1986).

, ,


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, , , , 2007. (Magris 2007). a

, , , , (Mitrovi 2006).

:

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: (Donaueschingen), (Schwarzwald) (Brigach) , 1921. ; , , (Haydn), (Mozart), (Beethoven), (Schubert) (Schoenberg), ;

, , ,


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(Ferenc Liszt) (BlaBartk).

. , , - , , , , . , , , , .

: .

, , , , . XX , , XIX , . , , XVIII . , , ,

. XVIII , 1718. 1739. , , , , . , , , , - .

, ,

XVIII


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. Singidunuma Alba-eGreca-e, Griechisch Weissenburga, je XVI XVIII , 1717. ,

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, Paradenplatz,

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, , ( 1996: 71).

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Cvekan 1985: 231). , , , , . ,

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, , (Jesuit Missions 2012; Baroque military music 2012).

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XVIII (Tomevi 1990).

2. . : XIX

( : . Mandi: Vojvoanske orgulje. Novi Sad 2005)

, , , , , , , .

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XVIII


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, . , : ,

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( 2010). , , 17. 1732. (S. Jean Franois Rgis).

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, , , , . , ( 2010: 17). , , XVII XVIII , , . , 5. 1717.

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Maria Maggiore Madonna dellaNeve,

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1716. (Vicchi 2011: 124). : , ,

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. 1730. , novoizabrani papa Klement XII (...) na dan Snenegospe podelio potpun oprost svim hodoasnicima, uz obine uslove (CrkvaSnene Gospe 2012). , XVIII , , , (Predragovi 1939: 19; 1996: 7576).

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XVIII : , (Jankulov 1961), , , , , , , . ,

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terrae incognitae.,

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XVIII ( 1986; 1990; 1997; 1997),

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, 16991755), (1734) (1736) ( 1980; 1986).


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, 1863. .

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( : . : . . , . 2. , , 2007)


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, , , , , XVIII

( 1986; 1997: 194197).

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: 1763. 200 (2005: 205). , , -

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( : . Mandi: Vojvoanske orgulje. Novi Sad 2005)

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: , ( 177004) .

XVIII


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S u m m a r y

Katarina Tomaevi

A Musical Voyage down the Danubein the First Half of the Eighteenth Century from Petrovaradin to Sremski Karlovci

The main attention in this text is focused on musical life in Petrovaradinand Sremski Karlovci in the first decades of the eighteenth century when these

towns belonged to the Habsburg Empire. Crucial changes that took place inthe organization of cultural life in that region are observed as transformationsin musical practice and a special emphasis is placed on origins of the Baroquestylistic elements. Also, the text treats the specific position of music in theArchbishopric of Karlovci from the time when a new cultural matrix wasintroduced after the Ukrainian model.

Historians of music and ethnomusicologists would be the first to confirmthat an integral picture of intellectual heritage from this geographicallyspacious, but historically, ethnically, confessionally and culturally very diverse

area could not be complete without the musical aspects. The scholarship hasrecorded that the Danube had a key role in the long processes of fashioning,spreading and intermingling of very different musical cultures, such asGermanic, Hungarian, Slavic, Ottoman, Jewish and Greek, which togetherdirectly participated in the shaping of multicultural identity of modern Europe.Numerous folk song have been composed about the river itself, along its entirecourse, and one old saying humorously comments that in Hungary there aremore songs about the Danube than the fish in the river.

A constant inspiration to anonymous as well as eminent musicians whohave lived along its banks, the Danube has been the central link between thekey musical centres in this part of the world.

Despite the enormous body of literature on artistic music that originatedin the regions around the Danube from the Middle Ages to the present day,the Danube itself is, in a way, still awaiting its integral musical history. It isalso hoping for an ambitious, contemporary recorder of musical travelexperiences who would be ready to embark on this exciting adventure andmake a musical topography of the region where this river flows through ten

countries. The traveller should pay special attention to those areas whose richand diverse musical heritage is unjustifiably little known in the world andEurope.

Katarina Tomaevi


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Alongside the major reforms carried out efficiently and consistently by theHabsburg authorities in the entire conquered territory, there was an initiativeto reshape the cultural idiom of the Serbian ethnia in the Archbishopric.This new cultural idiom a hybrid produced by the linking of conceptual

and artistic patterns of the Ukrainian and Austrian Baroque, brought alongimportant novelties not only in Serbian liturgical singing but also in newforms and characteristics of popular musical thinking.

The oldest preserved church in this area stands in the old part ofPetrovaradin, just below the fortress. The church is located within the complexof the Franciscan monastery of St. George the protector of knights andsoldiers. It is one of the oldest cultural monuments on the present day banksof the Danube in Vojvodina.

It can be reliably said that the population of Petrovaradin listened to the

music played on the organ in that church. This organ can be rightly consideredthe first knowninstrument of that kind in present day Vojvodina.The importance of the Danube as the main communication route in the

early eighteenth century between Vienna the capital of the Empire and thecities situated in the southeast territories cannot be overestimated: togetherwith the population who were primarily German colonists and who broughtalong their folk instruments, traditional arias and dances, the river alsobrought educated musicians who would, then, order from Vienna sheet music,structurally complex instruments such as the organ, found orchestras or join

the existing ones, learn and gradually adopt or adapt to their own musicalexperience, the arias of domicile inhabitants. Regardless of their OrthodoxChristian faith, regardless of the specific status of their town in the Empire,the Serbs in Sremski Karlovci could not, even if they wished, stay immune tothe natural processes of interpenetration of the coexisting musical cultures.

Th mosaic of information on musical life in Sremski Karlovci the meetingspot and place of a lively dialogue of eastern and western musical cultures ofthe Baroque can be supplemented by the fact that in the very centre of theArchbishopric, not long after the arrival of the largest wave of German families

in 1739 and their settlement in the vicinity of the Peace Chapel (Schwabendorf),the building of an Orthodox and a Catholic church was initiated. The Catholicchurch was finished in 1768. Like in the neighbouring Petrovaradin or in thebroad area of the Danubian part of the Empire north of Belgrade, an organhad been commissioned for the Trinity church in Sremski Karlovci before thebuilding was completed. A record from 1763 states that the price was 200forints. Although the maker and the origin of the instrument are not known,the organ from Sremski Karlovci keeps its specific place in the history of thetown and present day Vojvodina, because it is the oldest preserved Baroqueinstrument still in use.

A Musical Voyage down the Danube in the First Half of the Eighteenth Century


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