Nineteenth-century concert life in Laibach (Ljubljana), capital of the Habsburg Carniola, was shaped and led by the local Philharmonic Society. Until the establishment of the Musical Society in 1872, it was the only musical institution in Carniola. Even after the establishment of the Musical Society, the Philharmonics remained the principal and representative leader of concert life. In the mid-nineteenth century, the main European centers had their own operatic and concert civil orchestras, however, Laibach did not have a concert symphony orchestra. In order to lead and perform regular symphonic concerts, the Philharmonic Society had to hire musicians from the military chapel, which also collaborated with the Opera and, at the end of the nineteenth century, participated in the concerts of the Music Society. The history of the Philharmonics exhibits not only a rich tradition but also illustrates the program endeavors of the artistic leaders, the musical trends of the time and social circumstances, which sometimes encouraged and at other times hindered its work. The first preserved program notes indicate that at that time (1816) challenging symphonic works were already played and in this regard Beethoven’s role was evident. In 1808 the Society already attempted to elect Beethoven as an honorary member of the society, but this happened only in 1819. A year before the local premiere of his Symphony No. 6, and for this opportunity, the composer sent a manuscript with his own corrections. Until then his Symphonies Nos. 1, 2, 7 and probably 4 were already performed there. The program notes of the Society indicate that Beethoven’s works were played at least (but usually more than) once in a season. In the second half of the nineteenth century, the appeal and the interest in the composer’s creative output grew even stronger, alongside the appreciation of the memory of the composer. It is also significant to note that his chamber works became regularly performed in the chamber concerts of the Philharmonics. Even though from the very beginning the composer’s overtures had a stable and regular place within the repertoire, the first full performance of his Symphony No. 9 took place only in 1902 (the first three movements were already performed a decade earlier).
