Page 392 - 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
ical and managerial experience; and he also served as the first president of
the Serbian Society of Musicians.27
The second professor, Ciril Ličar (1894–1957) was of Slovenian ethnici-
ty. He studied piano at the school of Glasbena matica in Ljubljana, and then
continued at the Prague Conservatory. From 1921–1925 he taught at the sec-
ondary school of the music academy in Zagreb, and in 1925 he moved to
Belgrade. He taught at the music school “Mokranjac” and in 1937 became a
professor at the newly established Academy.
Ljubica Maržinec began her study of piano with Ciril Ličar in Bel-
grade, and then continued at the Master School of the Prague Conserva-
tory with professor Karel Hoffmeister, while Jelica Krstić (Popović) began
her piano study at the Belgrade Music School and continued her studies
at the École Normale de Musique in Paris, with professor Isidor Philipp
(1863–1958). Another student of Prof. Philipp in Paris was Milka Đaja, who
graduated piano in Vienna, and then continued her studies in Paris. Isidor
Philipp was a French pianist of Jewish Hungarian descent. He was a stu-
dent of one Georges Mathias, himself the best student of Frédéric Chopin.
As most of Chopin’s students were amateurs, or died early, Mathias was the
only one who could pass on his pedagogical legacy. Isidor Philipp carried
on Chopin’s philosophy of teaching; his students commented that he insist-
ed on suppleness, firmness, rhythmic exactitude and articulation. Thus Jel-
ica Krstić and Milka Đaja brought Chopen’s refined Parisian piano school
to Belgrade and passed on this tradition to their students.
Stanica Botorić, married Mihailović, was the daughter of Svetozar Bot-
orić (1857–1916), a famous Serbian hotelier who perished in a labour camp
near Vienna during the Great War. Her mother Slavka sent all of her three
children to be educated abroad: the youngest daughter Stanica graduated
piano at the École normale supérieure in Paris in the class of Alfred Cortot
and received the highest diploma “Licence de concert”. Upon return to Bel-
grade she taught at the Music Academy since its inception in 1937, until she
was dismissed from her post by Emil Hajek and the new communist offi-
cials in 1945. Years later she confessed:
I asked why I was being fired; they told me ‘You belong to a bour-
geois family and you are undesirable to teach students’. The govern-
27 Biographies of all professors of the Belgrade Music Academy and their teachers (ex-
cept where noted otherwise) are adapted from: Manojlović, Muzička akademija u
Beogradu, 51–72; Various authors, Muzička enciklopedija [Music Encyclopedia] (Za-
greb: Jugoslavenski leksikografski zavod, 1971).
390
ical and managerial experience; and he also served as the first president of
the Serbian Society of Musicians.27
The second professor, Ciril Ličar (1894–1957) was of Slovenian ethnici-
ty. He studied piano at the school of Glasbena matica in Ljubljana, and then
continued at the Prague Conservatory. From 1921–1925 he taught at the sec-
ondary school of the music academy in Zagreb, and in 1925 he moved to
Belgrade. He taught at the music school “Mokranjac” and in 1937 became a
professor at the newly established Academy.
Ljubica Maržinec began her study of piano with Ciril Ličar in Bel-
grade, and then continued at the Master School of the Prague Conserva-
tory with professor Karel Hoffmeister, while Jelica Krstić (Popović) began
her piano study at the Belgrade Music School and continued her studies
at the École Normale de Musique in Paris, with professor Isidor Philipp
(1863–1958). Another student of Prof. Philipp in Paris was Milka Đaja, who
graduated piano in Vienna, and then continued her studies in Paris. Isidor
Philipp was a French pianist of Jewish Hungarian descent. He was a stu-
dent of one Georges Mathias, himself the best student of Frédéric Chopin.
As most of Chopin’s students were amateurs, or died early, Mathias was the
only one who could pass on his pedagogical legacy. Isidor Philipp carried
on Chopin’s philosophy of teaching; his students commented that he insist-
ed on suppleness, firmness, rhythmic exactitude and articulation. Thus Jel-
ica Krstić and Milka Đaja brought Chopen’s refined Parisian piano school
to Belgrade and passed on this tradition to their students.
Stanica Botorić, married Mihailović, was the daughter of Svetozar Bot-
orić (1857–1916), a famous Serbian hotelier who perished in a labour camp
near Vienna during the Great War. Her mother Slavka sent all of her three
children to be educated abroad: the youngest daughter Stanica graduated
piano at the École normale supérieure in Paris in the class of Alfred Cortot
and received the highest diploma “Licence de concert”. Upon return to Bel-
grade she taught at the Music Academy since its inception in 1937, until she
was dismissed from her post by Emil Hajek and the new communist offi-
cials in 1945. Years later she confessed:
I asked why I was being fired; they told me ‘You belong to a bour-
geois family and you are undesirable to teach students’. The govern-
27 Biographies of all professors of the Belgrade Music Academy and their teachers (ex-
cept where noted otherwise) are adapted from: Manojlović, Muzička akademija u
Beogradu, 51–72; Various authors, Muzička enciklopedija [Music Encyclopedia] (Za-
greb: Jugoslavenski leksikografski zavod, 1971).
390
