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GÉZA ZICHY A PREŠPOROK

100%
Ladič B.
Slovenské divadlo (Slovak Theatre)
|
2021
|
vol. 69
|
issue 1
99 – 109
EN
The study is dedicated to count Géz Zichy, leading figure of Hungarian cultural life, the first professional left-handed pianist in history, composer, conductor, and also poet and writer, long-time director of the Budapest Conservatory and stage manager of the Royal Opera in Budapest. As a pianist, he achieved worldwide acclaim, as a composer he contributed to the development of Hungarian opera and to the shaping of the peculiar Hungarian idiom in national music, although towards the end of his life, this development line was understood as anachronistic due to its romantic style points of departure. Although his work as a performer significantly surpassed the Hungarian context, he remained connected to Pressburg all his life - a city in which he spent part of his youth and studies and later worked in various areas of cultural and social life. The presented study is conceived as a starting point to further research (study of his correspondence, literary estates, etc.), which will contribute to deepening the knowledge about the cultural life of Pressburg in the period under review.
2

MESTSKÉ DIVADLO V PREŠPORKU V KONTEXTE VÝVOJA MESTSKÝCH DIVADIEL V STREDNEJ EURÓPE V DRUHEJ POLOVICI 19. STOROČIA

100%
Laslavíková J.
Historický časopis (Historical Journal)
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2019
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vol. 67
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issue 2
241 - 263
EN
The study considers the origin of the City theatre in Pressburg at the end of the 19th century in relation to the cultural history of the city. The circumstances of the building of a new theatre by the well-known pair of architects Ferdinand Fellner jun. and Hermann Gottfried Helmer demonstrate the political and social situation in the city, which wanted to maintain a German character, while also satisfying the demand for Hungarian theatre from Hungarian members of elite urban societies. Thus, the building of the new theatre was closely connected with an effort to renew the cultural memory of the city and present its rich past using new media of cultural transfer, but it was also an instrument for the promotion of political interests.
3

ZA HRANICAMI FILANTROPIE. PRVÉ ROKY PREŠPORSKEJ SPORITEĽNE (1842 – 1849)

100%
Gaučík Š.
Historický časopis (Historical Journal)
|
2021
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vol. 69
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issue 3
439 – 464
EN
This study deals with the circumstances of establishment of the Pressburger Sparkassa as well as its business activities and business ambitions in the period 1842–1849. It was precisely in the Hungarian context that in the first half of the 19th century their „hybrid“ forms were created. These institutions were on the borders of profit and philanthropy and their social mission also expanded gradually. Under the particular Hungarian conditions, the savings – banks grew rapidly into more or less dominant bank depositories led by the most influential and wealthiest businessmen, however, they observed in their titles the word: “savings – bank” for a long time. The Pressburger Sparkassa became a pioneer in spreading the business principle in Hungarian banking. This financial institution was initiated in the city’s society by generally recognized personalities, merchants and aristocrats, representatives of the local mainly German and to a lesser extent Hungarian elite in 1841. In fact, it acted as a depository bank from the beginning on. Foreign impulses played an important role as well as domestic initiatives, the promotion of the ideas of savings and banking, and last but not least, the business experience of Pressburg traders.
4

KLAVÍRNA KULTÚRA V BRATISLAVE V ROKOCH 1770 – 1830 (I)

88%
Szórádová E.
Musicologica Slovaca
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2015
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vol. 6 (32)
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issue 2
151 - 175
EN
The paper presents a picture of piano culture in Bratislava in the second half of the 18th century and especially after 1770. This period saw the hammer piano to make a remarkable advance and even win dominance in European musical culture. The research is based on the sources primarily of Bratislava provenance, which document piano culture among various social layers (aristocratic, bourgeois, church and school milieux) and resulting from the work of influential figures who contributed to its development (composers, teachers, organisers, patrons, musical dilettantes, instrument-builders). Given the broad scope of the question, a selected approach is taken in this study, focusing especially on the circumstances and conditions in which piano culture evolved in Bratislava: opportunities for the cultivation of piano playing, reports on keyboard instruments in the press, concerts and events, manufacture of instruments. A particular attention is devoted to Johann Nepomuk Erdődy and his role in piano culture. The findings and presentation of sources are confronted with the picture of Viennese piano culture, which, mediated by the activities of a variety of social layers, contributed in a specific manner to the profile of piano culture in Bratislava.
5

KLAVÍRNA KULTÚRA V BRATISLAVE V ROKOCH 1770 – 1830 (II)

88%
Szórádová E.
Musicologica Slovaca
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2016
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vol. 7 (33)
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issue 2
165 – 221
EN
This paper addresses the issues of music education in Bratislava (Pressburg, Prešporok), with reference to piano playing, in the final quarter of the 18th century. The studied period is more narrowly limited to the years 1777 – 1796, when the Normal School in Bratislava had among its staff the musician, pianist, singer, composer, theoretician and teacher Franz Paul Rigler (1747 or 1748 – 1796), an individual of all-round capability, with a reputation going beyond his local sphere. Analysing the personal, cultural, institutional and creative contexts of his life, the paper seeks answers to questions regarding Rigler’s origin, education and personal connections, and clarifies the contribution he made to shape the profile of musical culture. Presented research results are derived from processing part of the extensive source material in the Departamentum scholarum nationalium fund deposited in the Hungarian State Archive (Magyar Országos Levéltár) in Budapest. The primary aim of this study is to clarify the issues of piano education in Bratislava in the given period, its cultural, social, institutional and creative background, and the circumstances of how the music class in the Normal School functioned.
6

POLITICKÉ SPOLKY V PREŠPORKU V OBDOBÍ RAKÚSKOUHORSKA

88%
Májeková J. M.
Historický časopis (Historical Journal)
|
2023
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vol. 71
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issue 1
31–58
EN
The formation and activity of associations in Austria-Hungary was a result of the modernization and creation of civil society. The present study deals with political associations or clubs in Pressburg during the age of Dualism. The aim of the study is to find out how the structure of local politics was formed in terms of membership in the political club, and what strategies were used by the local political elites in Pressburg to gain greater social prestige. My goal is also to characterize the political behaviour of the representatives and to analyse the contemporary discourse in the local press. My aim is to find out how the activities of the Pressburg political elites were perceived in the German-language newspapers. Based on my findings, it can be said that support for the Liberal Party prevailed among the voters in Pressburg during Dualism, even after the constitutional crisis of 1905, when the party lost its government position in Hungary. The strategies by which the representatives of political associations strengthened their position were charity, personal ties, candidate lists, agitation, corruption, and criticism of rival candidates in the press. The newspapers pointed out incompetence, the absence of members of the municipal committee at general meetings, as well as the postponement of important decisions. This criticism of local political practice is evidence of gradual democratization, which could be followed by the first Czechoslovak Republic after 1918.
7

SYSTEM OF SOCIAL CARE IN THE 19TH CENTURY BRATISLAVA AND ITS MODERNIZATION AROUND 1900

75%
Dudeková G.
Historický časopis (Historical Journal)
|
2015
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vol. 63
|
issue 5
847 – 876
EN
The study describes the main principles and stages of modernization in the long 19th century in the Kingdom of Hungary on both the state and local levels using the example of Pressburg / Bratislava. Since the reforms of Joseph II directed towards centralization of care for the poor in the Kingdom of Hungary were not implemented, care for poor and socially dependent people in the towns of Hungary was mainly the responsibility of municipal, church and charitable institutions. Until the fall of the Habsburg Monarchy, the Kingdom of Hungary devoted little attention to care for the poor, and state social policy had only weak effects. In comparison with other towns in Hungary, Pressburg / Bratislava had a mature network of communal and church institutions for social care, which were incorporated into an emerging system of communal social policy around 1900.
8

KAPELA IMRICHA ESTERHÁZYHO V ROKOCH 1725 – 1745

75%
Kačic L.
Musicologica Slovaca
|
2014
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vol. 5 (31)
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issue 2
189 - 254
EN
Hitherto Archbishop-primate Emericus Esterházy (1663–1745) has been known only as a patron of fine art and architecture (G. R. Donner, A. Galli Bibiena and others). However, Esterházy had also an outstanding court music ensemble during the period 1725–1745, in which a number of musicians of European significance were active. These included composers (Joseph Umstatt, Johann Matthias Schenauer, Leopold Carl, Johann Peter Behr, Francesco Durante, Johann Otto Rossetter) and many outstanding performers (Giacomo Calandro, Domenico Tasselli, Filippo Antonelli, Angelo Cavallari). Apart from the ensemble’s composition, this study also addresses the social status of the musicians and the ensemble’s collaboration with other musicians not only from Bratislava (St. Martin’s Cathedral), but particularly with the Imperial Court Ensemble and other Viennese musicians and instrument-makers (A. Posch, M. M. Fichtl, M. Leichamschneider etc.), as well as with local Bratislava organ-builders (T. Pantoček, V. Janeček). Primate Esterházy’s ensemble belongs to the most celebrated period in the musical history not only of Bratislava but of Central Europe as a whole.
9

MUSIC AND MUSICIANS AT THE PRESSBURG CORONATION OF MARIA THERESIA (1741)

75%
Dunlop A. J.
Musicologica Slovaca
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2012
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vol. 3 (29)
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issue 1
5 - 44
EN
This study deals with the music performed and musicians present during Maria Teresia’s prolonged stay in Pressburg in 1741 in conjunction with her coronation as King of Hungary. The role that music and ceremony played during this pivotal junction in the history of the Habsburg monarchy are considered within the context of the War of the Austrian Succession and are contrasted with other coronations which took place in Pressburg, Prague and Frankfurt (predominantly in the 18th century). This article employs a diverse range of the manuscript and printed sources found in the Viennese Haus-, Hof- und Staatsarchiv that provide an insight into matters of imperial court policy, ceremony and finance. Detailed descriptions of coronation ceremonies, with a particular focus on the number and placement of musicians, are provided and practicalities such as travel and accommodation are touched upon. The royal party’s activities – in particular church services and celebrations involving music – in the Viennese “suburb” are also outlined in detail in the form of a calendar of events. In addition, numerous transcriptions of documents pertaining to music and ceremony are provided.
10

MESTSKÉ DIVADLO V PREŠPORKU NA SKLONKU 19. STOROČIA A JEHO RIADITELIA EMANUEL RAUL A IGNÁCZ KRECSÁNYI

75%
Laslavíková J.
Musicologica Slovaca
|
2016
|
vol. 7 (33)
|
issue 1
19 – 51
EN
The City Theatre in Pressburg began operation in a newly-erected building (now the historical building of the Slovak National Theatre) in 1886. The building belonged to the city, which rented it under a theatrical contract to the German and Hungarian theatre directors and their companies. The individuals in question were the German director Emanuel Raul (1843–1916) and the Hungarian director Ignácz Krecsányi (1844–1923), who were active in the City Theatre at the close of the 19th century. The city, as owner of the building, decided on the hiring of the theatre and influenced its everyday operation with stipulations. Selection of the repertoire was the responsibility of the director, who compiled a daily plan of performance based on requirements laid down in the contract, as well as the preferences of the regular audience. This was comprised of German-speaking inhabitants, a fact which is reflected clearly in the theatre’s attendance.
11

“DONE! THE SPLENDID WORK, THE NEW ORNAMENT OF OUR BEAUTIFUL, ANCIENT CORONATION CITY IS COMPLETED!”1 IDENTITY CONSTRUCTION OF THE URBAN ELITE ILLUSTRATED ON THE EXAMPLE OF THE MUNICIPAL THEATRE IN PRESSBURG

75%
Laslavíková J.
Historický časopis (Historical Journal)
|
2020
|
vol. 68
|
issue 6
947 – 975
EN
Discussions about the need to build a new Municipal Theatre started in the municipal council of Pressburg in 1879 and lasted for years. They were marked by an ambiguous attitude of the municipal representatives to the modernization of the city. The final decision was reached only in 1884, prompted by a decree of the ministerial president and minister of the interior, Kálmán Tisza, who called on Pressburg to build a home for the national (Hungarian) muse. The designs were made by renowned architects of theatre projects in Central Europe, Ferdinand Fellner jr. and Hermann Helmer, which reveals the long-standing cultural ties between Pressburg and Vienna, and the ambitions of the inhabitants of Pressburg to assert the status of their (former coronation) city in Hungary. The key figure behind the theatre project was Anton Sendlein, the chief engineer of Pressburg, whose testimony in the form of an extensive documentation of the construction of the Municipal Theatre provides scope for reflections on the events and on the main players behind them.
12

NEPOTIZMUS A KARIÉRA KRÁĽOVSKÉHO ÚRADNÍKA V 17. STOROČÍ (MICHAL PARTINGER – RADCA A POKLADNÍK UHORSKEJ KOMORY Z POHĽADU GENEALÓGIE)

75%
Federmayer F.
Historický časopis (Historical Journal)
|
2021
|
vol. 69
|
issue 1
49 – 82
EN
This study presents the life, career, and family connections of a senior official of the Royal Hungarian Chamber, Michal Partinger (†1686), a native of Pressburg (now Bratislava, Slovakia), which was then the capital of the Kingdom of Hungary. The primary aim of this study is to discuss nepotism at royal offices in the Kingdom of Hungary during the early modern period. It highlights the importance of genealogical and archontological research in its analysis of this phenomenon.
13

UDALOSTI FRANCÚZSKO-RAKÚSKEJ VOJNY ROKU 1809 VO VZŤAHU K PREŠPORKU ZAZNAMENANÉ V KRONIKE MILOSRDNÝCH BRATOV

75%
Čapo M.
Vojenská história
|
2023
|
vol. 27
|
issue 4
89 - 100
EN
In addition to the limited number of personal sources, the chronicles of some Pressburg monasteries provide valuable evidence of the events of the Franco-Austrian War of 1809 in relation to Pressburg. One of them is the Historia Domus of the Monastery of the Brothers of Mercy deposited in the State Archive in Bratislava. In his paper, the author presents an annotated Slovak translation and transcription of the part of Historie Domus describing the events related to the war of 1809. In order to preserve authenticity, the transcription of the German text, written by a cursive, has been kept in its original form without interference, including contemporary grammar and errors. Abbreviated words are extended in square brackets. In addition to the more or less known facts concerning the siege and subsequent occupation of Pressburg, there is interesting information related to the Order of the Brothers of Mercy, expanding the knowledge about the impact of the Franco-Austrian War of 1809 on life in Pressburg.
14

GENEALÓGIA PREŠPORSKÉHO RODU ROSSPEIDTNER

75%
Federmayer F.
Mesto a dejiny
|
2015
|
vol. 4
|
issue 1
15 – 29
EN
Lineage of masons, stonecutters and architects belonged also to important part of urban community and townspeople elite. The author of this study presents new genealogic and heraldic information about stone-architectural lineage of Rosspeidtner (Rosspeudner). This lineage belonged to prominent representatives of early baroque architecture in Hungarian capital city in 17th century and in the beginning of 18th century. Genus of Rosspedtner was of a protestant nature, which came to Hungary probably from the Lower Austria after the year 1625 and was present there for three generations till the year 1713. The founder of Hungarian part of this lineage was Wolfgang Rosspeidtner († 1659), who settled in Pressburg in its suburb (Vydrica). In year 1630 he was admitted as townsman and a member of brickwork-architectural guild. He became an active member, long time guild leader and he gained lots of important contracts from the town, Pressburger’s townsmen and its nobility, most of all from the nobility of Palffy. For his architectural activity he has received the aristocratic status for him and his successors. Also his sons and grandson Juraj Rosspeidtner († 1713), who has become a very important member of this genus, were active as masons and architects. He also worked for the city, most of all for Palffy, from whom he has received several contracts for reconstruction of feudal residences in the city as well as in the countryside. Juraj Rosspeidtner died on the peak of his career due to plague. The last known member of Hungarian part of this genus, his daughter Johanna Zuzana has married to aristocratic family Geramb. The author of this study introduces also heraldic monuments, which reminds this lineage, burghers and aristocratic heraldry of Rosspeidtner.
15

RABÍN CHATAM SOFER (1762 – 1839)

63%
Salner P.
Slovenský národopis (Slovak Ethnology)
|
2012
|
vol. 60
|
issue 2
117 – 132
EN
Chatam Sofer, whose original name was Moše Schreiber (1762 – 1839), was a striking though in many ways controversial personality, whose opinions influence a significant part of the Jewish community to this day. This article attempts to elucidate at least some aspects of his activity and his period. However, the political and social conditions of that time, and indeed the relationships within the Jewish community, are too complex to be presented comprehensively within the space of a single article. Sofer was born in Frankfurt-on-Main and held positions in several Jewish communities in Central Europe. In 1806 he was chosen for the prestigious post of chief rabbi of the Bratislava community (and simultaneously principal of its famous yeshiva). He retained both functions until his death. His profound piety and religious education were reflected in his personal life and also expressed in his highly regarded commentaries on the Torah and Talmud. While teaching at the Bratislava yeshiva he educated hundreds of rabbis who spread his opinions throughout the Jewish world, ensuring that his influence was not limited to his contemporaries but also reached future generations. Not less interesting is Sofer’s own biography and his psychological reactions (not always comprehensible from a present-day standpoint) to events in his personal life. It is paradoxical that, although throughout his life he affirmed isolationism, struggle against secular education, and opposition to every change in traditional forms in Slovakia, Sofer’s name resonates as a symbol of tolerance and co-operation between the majority society and the Jewish community. The reconstruction of the old cemetery where he is buried contributed to this. The work was done according to halacha rules under the supervision of orthodox believers, and the Slovak authorities and builders respected this in full measure.
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