Page 393 - 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. 393
socio-political discourses of the development of music education ...
ment took all our properties. We became a doomed family, people
were afraid to visit us …28
After her husband Petar was killed in 1950, Stanica Mihailović left Yugosla-
via for France, in search of employment; she was separated from her young
son Ljubomir for 18 months, until he was finally granted a passport by the
Yugoslav authorities.29
As a pianist and piano teacher, Jelena Nenadović merged two schools,
Czech and French, because she studied initially at the Master School of the
Prague Conservatory with Ljubica Maržinec’s professor Karel Hoffmeister,
and then she won a two-year stipend of the French government to study
with Lazare-Lévy at the Paris Conservatory. On the other hand, Danica
Stanisavljević studied first at the Music Academy in Vienna, and then in
Paris, at the École normale. The influence of French pianists such as Alfred
Cortot and Lazare-Lévy was also brought to Belgrade by pianists Olga Mi-
hailović Milošević and Vera Veljkov Medaković respectively, who would
join the department during the first decade after World War II.
Alisa Bešević was a Russian pianist from St Petersburg who stud-
ied piano in Rome, at the Academy of St. Cecilia. In Rome, she met Serbi-
an painter Nikola Bešević and married him. They returned to Belgrade in
1924; he took up work at the Art School in Belgrade, while she taught at the
Music School (“Mokranjac”) from 1927 to 1937, when she transferred to the
Secondary School of the Music Academy.
Svetislav Stančić (1895–1970), whose students were three professors ap-
pointed at the Belgrade academy after the end of World War II (Melita Lork-
ović, Stanka Vrinjanin Hiršl and Mirjana Vukdragović) was a Croatian pi-
anist, composer and teacher of Serbian descent, who became the founder of
the acclaimed Zagreb piano school. He studied piano privately with Hein-
rich Barth – the last pupil of Franz Liszt – and Conrad Ansorge in Berlin,
and composition with Feruccio Busoni at the Meister school of the Berlin
Academy of Arts. Upon his return to Zagreb he was a full professor of pi-
ano at the Music Academy in Zagreb and Head of the piano department
(1927–8, 1935–41 and 1945–67) with a break between 1941 and 1945 when, as
an ethnic Serb in the Independent State of Croatia [NDH] he was not al-
28 Mirjana Sretenović, “Tragična sudbina porodice Botorić” [The Tragic Destiny of
the Botorić Family], Politika, February 28, 2018, http://www.politika.rs/sr/cla-
nak/399218/Kultura/Tragicna-sudbina-porodice-Botoric.
29 Ibid.
391
ment took all our properties. We became a doomed family, people
were afraid to visit us …28
After her husband Petar was killed in 1950, Stanica Mihailović left Yugosla-
via for France, in search of employment; she was separated from her young
son Ljubomir for 18 months, until he was finally granted a passport by the
Yugoslav authorities.29
As a pianist and piano teacher, Jelena Nenadović merged two schools,
Czech and French, because she studied initially at the Master School of the
Prague Conservatory with Ljubica Maržinec’s professor Karel Hoffmeister,
and then she won a two-year stipend of the French government to study
with Lazare-Lévy at the Paris Conservatory. On the other hand, Danica
Stanisavljević studied first at the Music Academy in Vienna, and then in
Paris, at the École normale. The influence of French pianists such as Alfred
Cortot and Lazare-Lévy was also brought to Belgrade by pianists Olga Mi-
hailović Milošević and Vera Veljkov Medaković respectively, who would
join the department during the first decade after World War II.
Alisa Bešević was a Russian pianist from St Petersburg who stud-
ied piano in Rome, at the Academy of St. Cecilia. In Rome, she met Serbi-
an painter Nikola Bešević and married him. They returned to Belgrade in
1924; he took up work at the Art School in Belgrade, while she taught at the
Music School (“Mokranjac”) from 1927 to 1937, when she transferred to the
Secondary School of the Music Academy.
Svetislav Stančić (1895–1970), whose students were three professors ap-
pointed at the Belgrade academy after the end of World War II (Melita Lork-
ović, Stanka Vrinjanin Hiršl and Mirjana Vukdragović) was a Croatian pi-
anist, composer and teacher of Serbian descent, who became the founder of
the acclaimed Zagreb piano school. He studied piano privately with Hein-
rich Barth – the last pupil of Franz Liszt – and Conrad Ansorge in Berlin,
and composition with Feruccio Busoni at the Meister school of the Berlin
Academy of Arts. Upon his return to Zagreb he was a full professor of pi-
ano at the Music Academy in Zagreb and Head of the piano department
(1927–8, 1935–41 and 1945–67) with a break between 1941 and 1945 when, as
an ethnic Serb in the Independent State of Croatia [NDH] he was not al-
28 Mirjana Sretenović, “Tragična sudbina porodice Botorić” [The Tragic Destiny of
the Botorić Family], Politika, February 28, 2018, http://www.politika.rs/sr/cla-
nak/399218/Kultura/Tragicna-sudbina-porodice-Botoric.
29 Ibid.
391
