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, Symphony No. 9 in D Minor and opera Fidelio are often mentioned as internally related opuses. They represent Beethoven’s masterpieces which enjoyed a privileged position in music programs throughout the nineteenth century and whose reception achieved a

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one occasion. Although our focus will be on Fidelio and Symphony No. 3, one cannot fail to pinpoint the total and irreversible triumph of the first ever performance of Beethoven’s Symphony No. 9 in four consecutive concerts from July 3 to 6, 1942

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Kelemen, László. “VilágDivat.” Fidelio (January 2005). Kürti, László. The Remote Borderland: Transylvania in the Hungarian Imagination (Albany: State University of New York Press), 2001

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Piano and Violin Feb. 4, 1818 Symphony No. 2, movs. 1–4 Feb. 13, 1818 Overture to Egmont March 6, 1818 Symphony No. 1, movs. 1–4 Apr. 3, 1818 Variations and Rondo for Piano May 25, 1818 Overture to Egmont Sep. 4, 1818 Overture to Fidelio (arr. for

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Beethoven’s symphonies, especially the Ninth Symphony, the second to the composer’s only opera Fidelio , and the third is focused on the reception of Beethoven by music writers and other composers. The 100th anniversary of the composer’s death is

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Milanković text, these were very short articles. Nevertheless, the topic of the issue was highlighted by the cover page with Beethoven’s picture (see Plate 5 ). 58 Plate 5 Cover page of the journal Pregled on April 3, 1927 5 FIDELIO IN SARAJEVO Ljubljana

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music (pp. 53‒60), then to his symphonies and orchestral works (pp. 60‒70). It is important to mention, that the vocal works are excluded from the genre-based overview; even Fidelio and the Missa solemnis are mentioned only in the biographical

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music history: Haydn’s Missa in tempore belli , the patriotic solemnity of his “Gott erhalte Franz den Kaiser,” the idea of the rescue opera and the Fidelio, Beethoven’s “Battle symphony” for the military triumph of General Wellington, and several other

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, some of the first performances were memorable events, such as the premiere of Fidelio i n 1898, mostly due to the performance of Milka Trnina, at that time an already famous Croatian soprano. 22 As the Croatian Music Institute also enjoyed a high

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Beethovenian works, among which several symphonies (Symphony No. 6, in Timișoara, on March 20, 1841; the first movement from Symphony No. 2 in Sibiu, on December 17, 1843; Symphony No. 3, in Cluj, on March 11, 1844) 3 and his Fidelio (in Timișoara, on June

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