Page 142 - 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. 142
konservator iji: profesionalizacija in specializacija glasbenega dela
The collaborative efforts of many professors would result in the coagu-
lation of a significant Romanian school, whose students would in their turn
become renowned musicians. Here are some examples.
Constantin Brăiloiu was invited in 1922 by Ion Nonna Otescu to teach
at the History of Music and Aesthetics Department. He had graduated in
Bucharest and continued to improve his musical skills in Switzerland and
France. His exceptional contribution in the field of ethnomusicology is
well-known. He founded the Folklore Archives of the Romanian Compos-
ers’ Society in 1928 and later established (with Eugène Pittard) and led (be-
tween 1944 and 1958) Les Archives internationales de musique populaire in
Geneva.
Composer Mihail Jora was one of the notable musicians to teach at the
Harmony, Counterpoint and Composition Department between the two
wars, becoming, in 1941, Rector of the Conservatory. Jora also worked with
important cultural institutions such as the Romanian Radio, the Bucharest
Philharmonic, or the Romanian Composers’ Society. Member of the Ro-
manian Academy, he authoritatively influenced the generation of Romani-
an composers in the middle of the 20th century. His own aesthetic vision
went hand in hand with the exigencies of the Conservatory: high profes-
sional standards, modern thinking, morality.
Next to her contemporaries from the first half of the 20th century,
Florica Musicescu was a prolific piano teacher. Having first enrolled at the
Bucharest Conservatory, she continued her studies at the Leipzig Conser
vatory and took piano classes in Paris. Upon her return in Romania, she
is hired, on the recommendation of George Enescu, as a substitute teach-
er at the Piano Department of the Bucharest Academy of Music and Dra-
matic Art. From 1924, when she was transferred to a permanent position
and was appointed Chair of the Piano Department, she was an authorita-
tive pedagogue who formed a constellation of Romanian pianists: Dinu Li-
patti, Maria Fotino, Lorry Wallfisch, Corneliu Gheorghiu, Mîndru Katz,
Albert Guttman.
Dinu Lipatti was perhaps the most illustrious product of Romanian
interwar pedagogy. Enrolled at the Royal Academy of Music from Octo-
ber 1928, he studied piano with Florica Musicescu, harmony and composi-
tion with Mihail Jora. Clearly an outstanding performer even as a student,
he later improved his skills abroad. His composition teacher in Paris, Na-
dia Boulanger, recalled that
140
The collaborative efforts of many professors would result in the coagu-
lation of a significant Romanian school, whose students would in their turn
become renowned musicians. Here are some examples.
Constantin Brăiloiu was invited in 1922 by Ion Nonna Otescu to teach
at the History of Music and Aesthetics Department. He had graduated in
Bucharest and continued to improve his musical skills in Switzerland and
France. His exceptional contribution in the field of ethnomusicology is
well-known. He founded the Folklore Archives of the Romanian Compos-
ers’ Society in 1928 and later established (with Eugène Pittard) and led (be-
tween 1944 and 1958) Les Archives internationales de musique populaire in
Geneva.
Composer Mihail Jora was one of the notable musicians to teach at the
Harmony, Counterpoint and Composition Department between the two
wars, becoming, in 1941, Rector of the Conservatory. Jora also worked with
important cultural institutions such as the Romanian Radio, the Bucharest
Philharmonic, or the Romanian Composers’ Society. Member of the Ro-
manian Academy, he authoritatively influenced the generation of Romani-
an composers in the middle of the 20th century. His own aesthetic vision
went hand in hand with the exigencies of the Conservatory: high profes-
sional standards, modern thinking, morality.
Next to her contemporaries from the first half of the 20th century,
Florica Musicescu was a prolific piano teacher. Having first enrolled at the
Bucharest Conservatory, she continued her studies at the Leipzig Conser
vatory and took piano classes in Paris. Upon her return in Romania, she
is hired, on the recommendation of George Enescu, as a substitute teach-
er at the Piano Department of the Bucharest Academy of Music and Dra-
matic Art. From 1924, when she was transferred to a permanent position
and was appointed Chair of the Piano Department, she was an authorita-
tive pedagogue who formed a constellation of Romanian pianists: Dinu Li-
patti, Maria Fotino, Lorry Wallfisch, Corneliu Gheorghiu, Mîndru Katz,
Albert Guttman.
Dinu Lipatti was perhaps the most illustrious product of Romanian
interwar pedagogy. Enrolled at the Royal Academy of Music from Octo-
ber 1928, he studied piano with Florica Musicescu, harmony and composi-
tion with Mihail Jora. Clearly an outstanding performer even as a student,
he later improved his skills abroad. His composition teacher in Paris, Na-
dia Boulanger, recalled that
140
