The purpose of the article is an analysis of the theoretical aspects of the subjective right doctrine. Starting from the idea that the subjective right is something different from the positivist ...norm, the legal thinking was permanently concerned about giving a definition to it, about determining its features and legal nature, elements that differentiate it from the positive right, as well as establishing the principles of its exercise. In the following article we tried to highlight the fact that the exercise of a right by its holder contrary to the principles of exercise, as well as the fulfillment of the obligations assumed by him gives rise to a phenomenon called abuse of right.
A group of keyboard instruments from the holdings of the Varaždin City Museum consists of 12 objects: ten pianos – the square piano built between 1790 and 1810, five historic pianos from the first ...half of the 19th century, four pianos from the second half of the 19th century – as well as two positive organs from the 17th century. They were built by the prominent instrument makers such as Rudolf Rapoldt, Johann Jakesch, Michael Rosenberg, Wilhelm Lange, Carl Schmidt, Carl Kutschera, Josef Kaspar Fritz, Johann Promberger younger, and brothers Carl and Johann Schweighofer. Most of the instruments originate from Vienna, which confirms its cultural influence on Varaždin; Styria and Bratislava follow. The number and variety of the keyboard instruments kept in the Varaždin City Museum is evidence of a favorable economical situation of their past owners that allowed them to purchase these keyboard instruments from reputable international workshops, their adequate music education, as well as intensive music life in „the little Vienna“ (as contemporaries used to call Varaždin). Instruments collecting in the City Museum of Varaždin is a testimony to a developed awareness of their significance and an effort to saving them as many of them as possible. Being stored in the museums saved many of them – important parts of the cultural heritage – from disappearing. Furthermore, for some of them indispensable restoration was provided. Rudolf Rapoldt’s positive organ and Michael Rosenberger’s historic piano were restored, while Johann Jakesch’s square piano and historic piano by an unknown builder, earlier owned by the Ban of Croatia Josip Jelačić, are in the process of being restored.
The forty five years of continuous tradition of the Varaždin Baroque Evenings music and performance festival is an expression of the desire of its founders to support and promote music to the ...audiences in Varaždin, its immediate surroundings and the north of Croatia, as well as in Europe and the world. Musical performances and the accompanying programmes introduced the audience to the history of Varaždin, its musical, architectural and artistic heritage, as well as the beauty of its nature and tourist destinations. When the festival, with its beautiful performance spaces, countless associates and an excellent reputation, started growing out of its local framework and gaining international recognition, it started to contribute to the promotion of art not only in the north of Croatia, but also on a wider European level as well. This was achieved by using the urban locations and the magnificent architectural heritage of the region as concert venues. Even more importantly, the artwork on the posters, invitations and records published by the festival also featured the cultural heritage of the region, which was the subject of research of the many participants of conferences and symposiums that were part of the festival’s accompanying programme. Also part of the accompanying programme were the numerous exhibitions which, just like the performances that took place in the castles of Hrvatsko zagorje, testified to the organizers’ attitude towards the preservation and renovation of national heritage sites. More recently, in addition to promoting the arts in Croatia, the festival has also been promoting the heritage of partner countries. This dedication to the promotion of artistic heritage is an expression of the sensibilities of those who have been the moving force behind the Varaždin Baroque Evenings in the past forty five years.
Articolul reprezintă o pledoarie pentru revenirea la raţionalitate în drept prin abordarea aspectului fundamental, aspectului material al raţionalităţii în drept, acea raţionalitate care permite ...identificarea unor criterii de evaluare a legitimităţii dreptului și a raportului dintre drept și lege. În acest context, este realizată o retrospectivă istorică a evoluţiei conceptului raţionalităţii în drept, care demonstrează necesitatea continuării acestui demers teoretic până când nu va deveni realitate în condiţiile în care ne propunem depășirea rupturii dintre cadrul teoretic și cel aplicativ și ieșirea din criză a dreptului. De asemenea, este justificată necesitatea vitală de revenire la raţionalitate în drept, inclusiv prin argumente de natură practică, dar și știinţifică. Totodată, studiul reprezintă un apel, o chemare de revenire la raţionalitate și responsabilitate în cunoașterea și aplicarea dreptului și de continuare a eforturilor în vederea realizării acestui dezidera
In 1917 Krešimir Filić returns to war-torn Varaždin from Prague, where he graduated from University. It was in Varaždin that he engaged in intensive activity within the “Tomislav” Academic Society. ...He would remain active in Varaždin as a professor, geographer, historian, social activist, scientific researcher, writer, enlightening intellectual, museologist, musician and organizer of music events and musical education until his very old age. He was extremely active in the organizations he was a member of. When it was necessary he carried out reforms of the organizations, helped them improve or founded new ones. Many of them flourish even today, such as Pučko otvoreno učilište /Open University/, City Museum, “Ravna Gora” Mountaineering Association, Music School, Varaždin Baroque Evenings. Some of the institutions did not survive, mainly due to a lack of support from the political regime (such as the theatre orchestra, “Vatroslav Jagić” Choral Society, Music Lovers’ Society). He left behind the idea of a music collection of the City Museum, which was not realized. In a 1968 issue of “Vjesnik” he published an article focusing on the achievements in this field, describing the current situation and suggesting future activities. Between 20th and 21st century, following in his footsteps, several restored instruments (Rudolf Rapoldt’s positive organ and Michael Rosenberger’s Hammerklavier), were included in the Museum’s collection and used to be played on at public concerts held at the Varaždin Baroque Evenings. Expert opinions on the other musical instruments of the Museum stock have been provided, and documents have been collected enabling a future restoration. Filić’s idea can be realized by taking further action to have these musical instruments restored, as well as by creating a collection of other exhibits (sheet music, written sources, musical iconography, electronic media contents) thus not only paying him homage, but creating new conditions for further research and creativity in the field of music, science, education, as well as tourism.
Collection of musical instruments in the Museum of Slavonia in Osijek is the biggest and most diverse collection of its kind in the eastern Croatia. A section of keyboard instruments in the ...collection consists of 15 objects: nine different types of pianos, positive organ, physharmonica and four harmoniums. The square piano (Tafelklavier), the oldest instrument in the section, was built in Pest in 1815 by the carpenter Sebestyén Antal Vogel. It is chronologically followed by the three historical pianos (fortepiano, Hammerklavier or Hammerflügel), built in Vienna in the first half of the 19th century. These are characterized by the Austrian type of piano action (Ger. Prellmechanik). They were built by Ernst Wacke and Georg Gerstenberger, two lesser known builders, and Conrad Graf – one of the most prominent Viennese piano makers of the time. His historical piano, built in 1838 or 1839, is stored in the collection. Two grand pianos, made in the second half of the 19th century, and one made at the turn of the 19th to 20th centuries, also originate from Vienna. Leopold Schnabel’s piano was built around 1860; Gottfried Cramer’s and Wilhelm Mayer’s piano was built in 1878 or shortly thereafter (both with the Austrian type of piano action); and the Lauberger & Gloss’ piano (with the English type of piano action) was built around 1900. Two upright pianos are also kept in the collection. One built in the Caspar Lorenz & J. Stary workshop in Vienna around 1890, and the other built in the Petrof factory in Hradec Králové in the Czech Republic at the end of the 19th century.
Along with different types of pianos, the collection stores the positive organ – small, one-manual pipe organ – of an unknown maker and provenance, probably built between 1850 and 1860. It was brought to the museum from the Fabing inn, whose owner may have been the innkeeper Antun Fabing. He shared his last name with the most productive organ builders family in eastern Croatia in the second half of the 19th century. The physharmonica was built in Vienna around 1840 by Jacob Deutschmann, an imperial and royal court organ maker. The collection also features four harmoniums dating from between 1880 and 1960. The most significant is the oldest one, built in Vienna around 1880 in the workshop of Teofil Kotykiewicz, who was also an imperial and royal court builder. Two harmoniums were made in the early 20th century: one in the Wilcox & White factory in Connecticut, USA and the other in Joseph Lenarčič’s factory in Vrhnika, Slovenia. The most recent is the Theosten Helgesson’s harmonium, produced in Herrljunga, Sweden around 1960.
The number and variety of the keyboard instruments kept in the Museum of Slavonia is proof of a favourable economic situation of their past owners, which allowed them to purchase these instruments from reputable international workshops. It is also an evidence of their adequate music education, as well as intensive music life in Osijek. Besides in Osijek, the intsruments were played in Zagreb, Zelčin, Vinkovci, Vođinci, and Sombor. The process of instrument collection by the Museum of Slavonia is a testimony of a developed awareness of their significance and an effort to save as many of them as possible. The instruments are stored in the museum storerooms on the no. 6 Trg Svetog Trojstva and the no. 2 Josip Bösendorfer Street. The piano built by Gottfried Cramer and Wilhelm Mayer is the only keyboard instrument exhibited in the temporary permanent exhibition. The positive organ is the only instrument that is currently in the process of being restored. Hopefully, some of the other instruments in the collection will follow this example. This primarily refers to Graf’s piano, Vogel’s square piano and Deutschmann’s physharmonica. Considering their age, a small number of similarly preserved instruments in Croatia, and the fact that they represent achievements of exquisite makers, they are significant not only for regional and national, but also for international cultural heritage.
Zbirka muzičkih instrumenata iz fundusa Muzeja za umjetnost i obrt jedina je cjelovita zbirka ovog tipa u zagrebačkim muzejima, ujedno i najznačajnija takva zbirka u Hrvatskoj. Unutar nje nalazi se ...nevelika, ali raznovrsna skupina instrumenata s tipkama: klavikord, tri stolna klavira, prenosivi putni klavir, fortepiano, pozitiv, fisharmonika, harmonij, uspravni klavir, dva pijanina te pet klavira. Zbog nedostatka prostora dio instrumenata smješten je u depou namještaja. Rad donosi njihov opis kao i pokušaj smještanja u povijesni i društveni kontekst budući da su osobe koje su posjedovale te instrumente većinom pripadale građanstvu, a neke od njih zaslućile su istaknuto mjesto u kulturnom i umjetničkom životu Zagreba i Hrvatske. Materijalno u povoljnim prilikama, redovito su njegovale kućnu glazbu, a zahvaljujući dostatnoj glazbenoj naobrazbi i same su muzicirale.
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Važan dio rimokatoličke kulture svakako je i glazbena baština koja je blago neprocjenjive vrijednosti, čiji su neizostavni segment orgulje. Koncil u Milanu 1287. godine definirao je orgulje kao ...elitno glazbalo kršćanskoga zapada te ih je dopustio kao jedino glazbalo u liturgiji. Ulaskom u sakralni prostor orgulje postaju instrument koji se najčešće i najpreciznije spominje, prikazuje i javlja u dokumentaciji. U radu je opisan povijesni razvoj i tipologija orguljskoga fonda na području Hrvatskog zagorja od polovice XVII. stoljeća pa sve do danas.
Provider: - Institution: - Data provided by Europeana Collections- Paginarea: 298-326- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 ...Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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