Page 159 - 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
P. 159
from courses to a conservatoir e ...
No. Cities Number of teachers Number of teachers Number of teachers Total
in Kaunas in Klaipėda in Vilnius
10. Moscow 6 1 3 10
11. Paris 2 1 14
12. Potsdam ‒ 1 ‒1
13. Prague ‒ 15 ‒ 15
14. Regensburg 1 ‒ 12
15. Riga 1 1 ‒2
16. Rome 1 ‒ ‒1
17. St. Petersburg 8 4 4 16
18. Tallinn 1 ‒ ‒1
19. Vienna 1 ‒ ‒1
20. Vilnius ‒ ‒ 11
(1920‒1939)
21. Warsaw 6 2 8 16
Total 36 41 24 101
As can be seen from the table, the training of professional Lithuani-
an musicians was most strongly affected by the Russian, German, Polish,
Czech, and Hungarian schools. Czechs and Hungarians concentrated in
Klaipėda where they trained high-level wind instrumentalists and some
string instrument performers. The German as well as the Polish and Rus-
sian schools were referred to both in Klaipėda and Kaunas, as Naujalis had
studied in Warsaw and Regensburg, Šimkus in Warsaw, St. Petersburg,
Leipzig, and Berlin, and Bendorius, in Warsaw and Leipzig. Most teach-
ers in Vilnius had studied in Poland. Sometimes the impact was not direct:
it came through other schools. Thus, e. g., Gruodis, who opened a division
of composition in Kaunas, relied on the curricula developed for Riga Con-
servatoire by Jāzeps Vītols, former graduate and professor of St. Petersburg
State Conservatoire, and based on the Russian experience. St. Petersburg
Conservatoire had quite a few teachers from Italy, Germany, and France,
therefore, it would be difficult now to evaluate the constribution of one or
another school. However, it is an obvious fact that all those teachers con-
tributed to the development of the system of music education in Lithuania
and provided it with diversity and attractiveness. Only after the establish-
ment of the Soviet regime in Lithuania the diversity was eliminated: every-
body had to follow the curricula sent from Moscow and to carry out the
accompanying instructions. However, the Lithuanian Conservatoire re-
mained Lithuanian even in the most complex periods and managed to pre-
serve the experience gained from the foreign countries.
157
No. Cities Number of teachers Number of teachers Number of teachers Total
in Kaunas in Klaipėda in Vilnius
10. Moscow 6 1 3 10
11. Paris 2 1 14
12. Potsdam ‒ 1 ‒1
13. Prague ‒ 15 ‒ 15
14. Regensburg 1 ‒ 12
15. Riga 1 1 ‒2
16. Rome 1 ‒ ‒1
17. St. Petersburg 8 4 4 16
18. Tallinn 1 ‒ ‒1
19. Vienna 1 ‒ ‒1
20. Vilnius ‒ ‒ 11
(1920‒1939)
21. Warsaw 6 2 8 16
Total 36 41 24 101
As can be seen from the table, the training of professional Lithuani-
an musicians was most strongly affected by the Russian, German, Polish,
Czech, and Hungarian schools. Czechs and Hungarians concentrated in
Klaipėda where they trained high-level wind instrumentalists and some
string instrument performers. The German as well as the Polish and Rus-
sian schools were referred to both in Klaipėda and Kaunas, as Naujalis had
studied in Warsaw and Regensburg, Šimkus in Warsaw, St. Petersburg,
Leipzig, and Berlin, and Bendorius, in Warsaw and Leipzig. Most teach-
ers in Vilnius had studied in Poland. Sometimes the impact was not direct:
it came through other schools. Thus, e. g., Gruodis, who opened a division
of composition in Kaunas, relied on the curricula developed for Riga Con-
servatoire by Jāzeps Vītols, former graduate and professor of St. Petersburg
State Conservatoire, and based on the Russian experience. St. Petersburg
Conservatoire had quite a few teachers from Italy, Germany, and France,
therefore, it would be difficult now to evaluate the constribution of one or
another school. However, it is an obvious fact that all those teachers con-
tributed to the development of the system of music education in Lithuania
and provided it with diversity and attractiveness. Only after the establish-
ment of the Soviet regime in Lithuania the diversity was eliminated: every-
body had to follow the curricula sent from Moscow and to carry out the
accompanying instructions. However, the Lithuanian Conservatoire re-
mained Lithuanian even in the most complex periods and managed to pre-
serve the experience gained from the foreign countries.
157
