Page 115 - Weiss, Jernej, ur./ed. 2025. Glasbena interpretacija: med umetniškim in znanstvenim┊Music Interpretation: Between the Artistic and the Scientific. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 8

vittorio radeglia and his serenade aux etoiles ...
In his early days, Vittorio studied composition, but the data are incon-
clusive in this regard. Undoubtedly, he received the foundations of his mu-
12
sical education in his native Constantinople. Croatian handbooks men-
tion only his studies from 1876 at the Paris Conservatory (Conservatoire de
Paris), the oldest modern structured music educational institution in Eu-
14
13
rope, in the class of Théodore Dubois in harmony and Ernest Guiraud,
probably in composition and instrumentation. In his short biography in
the American sheet music edition, Radeglia himself mentions his studies
in Milan as well as the educational episode in Paris. Some local newspapers
(such as Narod and Deutsche Musik-Zeitung) also mention his Italian edu-
15
cation at the Milan Conservatory under Stefano Ronchetti-Monteviti, well
known as the teacher of Giacomo Puccini and Ivan Zajc. Since Ronchet-
ti-Monteviti retired due to his illness in 1881, at that point (or even earli-
er) Radeglia moved to Paris and rounded off his studies there with prizes
16
in harmony (1884) and fugue (1885). Although he composed a number of
17
works already during his studies, Radeglia began his public and profes-
sional composing career in Italy, where his first operas were performed
of Spanish fever like many young people throughout Europe) and Milko/Mirko Eu-
gene Fernando (14 July 1909 – 14 June 1998). Finally, Lydia Dora Joanna (13 May
1898) apparently left Constantinople, perhaps after marrying Ugone Monachi. It is
easily possible that she was the one who donated her father’s legacy to the Academy,
about which, unfortunately, more detailed documentation has not (yet) been found.
12 This is also indicated in the review of the opera Colomba. Cf. Otto Eisenschitz, “Co-
lomba,” Deutsche Kunst- & Musik-Zeitung 14, no. 33 (1887): 280, https://anno.onb.
ac.at/cgi-content/anno-plus?aid=dmz&datum=1887&page=284.
13 Clément François Théodore Dubois (1837–1924), French Romantic composer, taught
harmony (1871–1891) and composition (1891–1896) at the Conservatoire, where he
succeeded Ambroise Thomas as director, continuing his traditional methods and
curriculum.
14 Ernest Guiraud (1837–1892), like Dubois, was a student at the Paris Conservatoire.
From 1876 he taught harmony and orchestration at that institution and from 1880 he
also taught composition, but was less successful as an opera composer.
15 Stefano Ronchetti-Monteviti (1814–1882) was a professor of counterpoint from 1850,
and from 1878 director of the Milan Conservatory. If in 1878 he had to leave teaching
when he was appointed headmaster, it is possible that Radeglia went to Paris even
earlier.
16 Again, Schmidl is precise: “Studiò la musica in patria, indi per 5 anni al R. conser-
vatorio di Milano sotto il Rochetti-Monteviti; in fine al Conservatorio di Parigi con
Dubois e Guirod.” Schmidl, “Vittorio Radeglia,” 332.
17 A series of compositions in the Department for History of Croatian Music can be
found in a cover on which it is written: “Oeuvres écrites quand j'étais au Conserva-
toire de Paris. Années 1881–1885” [Works written when I was at the Paris Conserva-
tory. In the years 1881–1885].

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