Page 164 - 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. 164
konservator iji: profesionalizacija in specializacija glasbenega dela
(1896–1963) (who had taught at the Kaunas School of Music since 1928 and
became director of the Conservatory in 1937), wrote in 1919:
For some, it may seem that we [...] lack more vocational schools
such as technical, agricultural, or midwives’ schools, etc. In fact, it’s
just the opposite. [...] In addition to the purely specialized vocation-
al schools, meeting the material needs of life, there is also a great
need for many institutions of spiritual culture, such as music, arts,
drama and other schools. This need is felt even by small enslaved
nations, so what can be said about free nations or those that have
restored political freedom, among which we can count ourselves.
After proclaiming the independence of Lithuania, we will need var-
ious national concerts, parties, anniversaries, festivities which,
without music and singing, would be like a boring recitation, a stiff
body without spirit or soul. The School of Music will prepare for this
purpose the appropriate musical and artistic forces, whose absence
has been felt so far.8
In addition to the pragmatic approach, Banaitis saw the development
of music education at the national level as an important social aspect. For
example, he wanted Lithuanian talents to remain in their country because
talented students did not always have financial opportunities. It was also
important for him that organists, established in the provinces, raise their
own musical culture and the general level of ecclesiastic music. Moreover,
the future music institutions would accelerate the collection and transcrip-
tion of authentic popular music, threatened with disappearance and obliv-
ion. Because, according to the composer,
It would be desirable that should be explained the peculiarities of
our folk music, of aesthetic, theoretical advantages and value of
Lithuanian popular melodies, and their relationship with the mu-
sical features of neighboring nations.9
One of the main priorities of the time was the creation of the National
Opera Theatre (founded in 1922), which housed opera and drama troupes.
The need for soloists and opera musicians was pressing, since the first Lith-
uanian opera (Birutė by Mikas Petrauskas) had been created as early as
8 Ona Narbutienė, Kazimieras Viktoras Banaitis (Vilnius: Baltos lankos, 1996), 128–
129.
9 Narbutienė, Kazimieras Viktoras Banaitis, 134.
162
(1896–1963) (who had taught at the Kaunas School of Music since 1928 and
became director of the Conservatory in 1937), wrote in 1919:
For some, it may seem that we [...] lack more vocational schools
such as technical, agricultural, or midwives’ schools, etc. In fact, it’s
just the opposite. [...] In addition to the purely specialized vocation-
al schools, meeting the material needs of life, there is also a great
need for many institutions of spiritual culture, such as music, arts,
drama and other schools. This need is felt even by small enslaved
nations, so what can be said about free nations or those that have
restored political freedom, among which we can count ourselves.
After proclaiming the independence of Lithuania, we will need var-
ious national concerts, parties, anniversaries, festivities which,
without music and singing, would be like a boring recitation, a stiff
body without spirit or soul. The School of Music will prepare for this
purpose the appropriate musical and artistic forces, whose absence
has been felt so far.8
In addition to the pragmatic approach, Banaitis saw the development
of music education at the national level as an important social aspect. For
example, he wanted Lithuanian talents to remain in their country because
talented students did not always have financial opportunities. It was also
important for him that organists, established in the provinces, raise their
own musical culture and the general level of ecclesiastic music. Moreover,
the future music institutions would accelerate the collection and transcrip-
tion of authentic popular music, threatened with disappearance and obliv-
ion. Because, according to the composer,
It would be desirable that should be explained the peculiarities of
our folk music, of aesthetic, theoretical advantages and value of
Lithuanian popular melodies, and their relationship with the mu-
sical features of neighboring nations.9
One of the main priorities of the time was the creation of the National
Opera Theatre (founded in 1922), which housed opera and drama troupes.
The need for soloists and opera musicians was pressing, since the first Lith-
uanian opera (Birutė by Mikas Petrauskas) had been created as early as
8 Ona Narbutienė, Kazimieras Viktoras Banaitis (Vilnius: Baltos lankos, 1996), 128–
129.
9 Narbutienė, Kazimieras Viktoras Banaitis, 134.
162
