Page 148 - Weiss, Jernej, ur. 2020. Konservatoriji: profesionalizacija in specializacija glasbenega dela ▪︎ The conservatories: professionalisation and specialisation of musical activity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 4
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konservator iji: profesionalizacija in specializacija glasbenega dela
Table 1: The dynamics of the establishment of conservatoires in Europe.
1771 Stockholm 1849 Luxemburg
1795 Paris 1850 Berlin
1807 Milan 1854 Lviv
1811 Prague 1856 Dresden
1814 1862
1821 Florence 1866 St. Petersburg
1821 Vienna 1867 Moscow
1822 Warsaw 1872 Munich
1826 London 1882 Weimar
1827 Hague 1884 Helsinki
1830 Liége 1892
1832 Madrid 1899 Amsterdam
1835 Brussels 1908 Oslo
1836 Geneva 1913
1840 Lisbon 1916 Belgrade
1843 Budapest 1919 Hamburg
1846 Leipzig 1919
1847 Munich 1919 Kiev
Barselona Zagreb
1848 1919 Bratislava
Dublin Ljubljana
Riga
Tallinn
Naujalis understood very well that Lithuania needed a conservatoire,
therefore, thinking about the future, he made up his mind to develop a cur-
riculum for a conservatoire instead of a music school. Not all the teachers
supported his idea; some of them found it to be too early. Teacher of theory
courses Juozas Žilevičius wrote:
it seems to me that our current music school is a secondary music
school, just called a conservatoire in the curriculum. It would
hardly be possible to call a school with such a curriculum a
Lithuanian conservatoire [...]. Needless to say the music school is
making a progress. In a dozen of years, of course, it will grow into a
conservatoire.1
Žilevičius proved to be right. The school had just several classes, it was
short of teachers for a number of instruments, and it had no choir, orchestra,
or library. That was noted by composer and choir conductor Stasys Šimkus
(1887‒1943) who had studied music in Warsaw, St. Petersburg, Leipzig, and
Berlin. He dreamed of setting up a conservatoire in Vilnius, yet he had to
1 Juozas Žilevičius, “Valstybinė muzikos mokykla Kaune” [A State Music School in
Kaunas], Muzikos almanachas (1924): 99–101.
146
Table 1: The dynamics of the establishment of conservatoires in Europe.
1771 Stockholm 1849 Luxemburg
1795 Paris 1850 Berlin
1807 Milan 1854 Lviv
1811 Prague 1856 Dresden
1814 1862
1821 Florence 1866 St. Petersburg
1821 Vienna 1867 Moscow
1822 Warsaw 1872 Munich
1826 London 1882 Weimar
1827 Hague 1884 Helsinki
1830 Liége 1892
1832 Madrid 1899 Amsterdam
1835 Brussels 1908 Oslo
1836 Geneva 1913
1840 Lisbon 1916 Belgrade
1843 Budapest 1919 Hamburg
1846 Leipzig 1919
1847 Munich 1919 Kiev
Barselona Zagreb
1848 1919 Bratislava
Dublin Ljubljana
Riga
Tallinn
Naujalis understood very well that Lithuania needed a conservatoire,
therefore, thinking about the future, he made up his mind to develop a cur-
riculum for a conservatoire instead of a music school. Not all the teachers
supported his idea; some of them found it to be too early. Teacher of theory
courses Juozas Žilevičius wrote:
it seems to me that our current music school is a secondary music
school, just called a conservatoire in the curriculum. It would
hardly be possible to call a school with such a curriculum a
Lithuanian conservatoire [...]. Needless to say the music school is
making a progress. In a dozen of years, of course, it will grow into a
conservatoire.1
Žilevičius proved to be right. The school had just several classes, it was
short of teachers for a number of instruments, and it had no choir, orchestra,
or library. That was noted by composer and choir conductor Stasys Šimkus
(1887‒1943) who had studied music in Warsaw, St. Petersburg, Leipzig, and
Berlin. He dreamed of setting up a conservatoire in Vilnius, yet he had to
1 Juozas Žilevičius, “Valstybinė muzikos mokykla Kaune” [A State Music School in
Kaunas], Muzikos almanachas (1924): 99–101.
146
