Einige musikalische Ereignisse im Zagreb der sechziger und siebziger Jahre des 19. Jahrhunderts in ihrer Abhängigkeit von den politischen Verhältnissen

Certain Events in the Zagreb Music World of the 1860s and 70s as Dependent on the Political Situation. The article discusses the interaction between music as part of Zagreb public life and the political climate from the 1860s, i.e. at the end of Bach's Absolutism and the return to a constitutional system under the Austrian monarchy, until 1883 when Count Dragutin Khuen-Héderváry was named as Governor of the Tripartite Kingdom, which inaugurated a new political and cultural period of Zagreb life. In the first years after Absolutism, during the reign of Governor Josip Šokčević (1860-1867) somewhat greater freedoms were allowed. Rousing songs could often be heard on the streets, dating back to the period of the Illyrian Revival, and at dances the circle dance was preferred to the waltz. But after the first few years of euphoria, rousing songs soon lost their popularity. In the years immediately after the establishment of the dual Austro-Hungarian Empire (1867), and the Croatian and Hungarian Pact of 1868, when the hungarification of Croatia was at its peak, there was a sudden outburts of demonstrations at the foot of the Josip Jelačić statue which had meanwhile become the symbol in Croatia of resistance against the associated Austro-Hungarian enemy and the personification of elective national independence. These were coupled with other demonstrations at the Grave of the July Victims which, though forbidden because of the implications of national emancipation, both culturally and politically, soon became an expression of the discontent with the current political situation. In this context the rousing songs of the early nineteenth century acquired an almost revolutionary role. After 1873, when Ivan Mažuranić (1873-1880) became governor, and liberalization was on the rise once more, the markedly national demonstrations fell into the background once more. We can follow a parallel situation at the concerts organized by "Kole", the Croatian Singing Society. In the periods of greater political pressures on national culture, domestic pieces became the focal point of concert programs, and pieces with German lyrics were avoided.