Page 183 - 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. 183
the establishment of the conservatory of the glasbena matica in ljubljana ...
Picture 1: Teaching staff of the Glasbena Matica music school and the State Conservatory
in 1932 (National and University Library, Music Collection, Glasbena Matica archives,
http://www.dlib.si/?URN=URN:NBN:SI:DOC-SO91QWOY, 3).
up from other sources.30 The state gradually took over a larger share of the
Conservatory‘s funding. It was renamed the State Conservatory in 1926,
following nationalisation, and beginning in the 1926/27 academic year was
funded entirely by the state.
That the initial financial situation of the Conservatory was anything
but favourable is also evident from the fact that in its first years of operation
the management could only afford to regularise a few of its full-time teach-
ing positions. Hubad was appointed director and was allowed to choose
his own closest collaborators. Two other professorial appointees besides
Hubad (who taught singing) were Janko Ravnik (piano) and Josip Vedral
(violin and chamber music). Over the following years Jan Šlais (violin), Julij
Betetto (singing), Dana Kobler (piano) and Karel Jeraj (violin) joined the
full-time staff of the Conservatory. Karel Jeraj – like Julij Betetto – had an
impressive international career behind him, including a period as concert-
master of the State Opera Orchestra in Vienna, where in 1900 he played un-
der the direction of Gustav Mahler.
As well as Hubad (middle of the front row, seated), the photograph
shows the most important Slovene musicians of the interwar period, in-
cluding Janko Ravnik, considered the father of Slovene piano teaching
30 Budkovič, Razvoj glasbenega šolstva na Slovenskem II, 24–25.
181
Picture 1: Teaching staff of the Glasbena Matica music school and the State Conservatory
in 1932 (National and University Library, Music Collection, Glasbena Matica archives,
http://www.dlib.si/?URN=URN:NBN:SI:DOC-SO91QWOY, 3).
up from other sources.30 The state gradually took over a larger share of the
Conservatory‘s funding. It was renamed the State Conservatory in 1926,
following nationalisation, and beginning in the 1926/27 academic year was
funded entirely by the state.
That the initial financial situation of the Conservatory was anything
but favourable is also evident from the fact that in its first years of operation
the management could only afford to regularise a few of its full-time teach-
ing positions. Hubad was appointed director and was allowed to choose
his own closest collaborators. Two other professorial appointees besides
Hubad (who taught singing) were Janko Ravnik (piano) and Josip Vedral
(violin and chamber music). Over the following years Jan Šlais (violin), Julij
Betetto (singing), Dana Kobler (piano) and Karel Jeraj (violin) joined the
full-time staff of the Conservatory. Karel Jeraj – like Julij Betetto – had an
impressive international career behind him, including a period as concert-
master of the State Opera Orchestra in Vienna, where in 1900 he played un-
der the direction of Gustav Mahler.
As well as Hubad (middle of the front row, seated), the photograph
shows the most important Slovene musicians of the interwar period, in-
cluding Janko Ravnik, considered the father of Slovene piano teaching
30 Budkovič, Razvoj glasbenega šolstva na Slovenskem II, 24–25.
181
