Page 280 - 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. 280
konservator iji: profesionalizacija in specializacija glasbenega dela
Slovenia, the enthusiasm and energy of the young Jan Šlais was a true bless-
ing. Very soon, he became
an invaluable violin teacher, meticulous and precise, yet broad-
-minded, and his students could not praise his lessons and his
method enough.39
Only six years after Šlais became a teacher at the conservatory, Slavko Os-
terc wrote that Šlais “drilled” Karlo Rupel to “a respectful level of violin per-
formance,” and that he “envied the success” of his pupils with their string
quartet.40
Šlais taught the first generation of Slovenian violinists, who moved
on to become teachers at the Ljubljana Conservatory and the Academy of
Music in Ljubljana and concertmasters of the Slovenian Philharmonic Or-
chestra, the RTV Slovenia Symphony Orchestra (previously the Ljubljana
Radio and Television Symphony Orchestra), and the Slovenian National
Theatre Opera and Ballet Orchestra. They were also members of the most
prominent chamber ensembles, regularly performed as virtuosos with the
symphonic orchestras, and were among the first violinists to make radio re-
cordings of Slovenian compositions for the violin.
Jan Šlais and his pupils founded the Ljubljana Quartet (Ljubljanski
kvartet), which would remain active with various line-ups for the next fifty
years. After the first concert performance by the newly founded quartet,41
the eminent Czech composer, Alois Hába (1893–1973), foretold a promising
career for the ensemble:
The young musicians amazed with their smooth playing and virtu-
oso performance, which was musically and expressively deep and
dynamically finely differentiated. If they continue working togeth-
er, they can become a world-class chamber ensemble […]42
39 Orig. “G. Jan Šlais je istotako neprecenljiv vijolinski pedagog, vesten in natančen, a
vendar širokopotezen in njegovi učenci njegovega pouka njegove metode ne morejo
prehvaliti. Dasi temeljite šole, so zelo lepi nastopi njegovih učencev.” See Anon., “Glas-
beni vestnik. III. Javna produkcija gojencev konservatorija GM,” Slovenski narod,
June 28th, 1924, 3.
40 Slavko Osterc, “IV. Konservatorijska produkcija,” Jutro, June 27th, 1928, 3; Slavko Os-
terc, “II. Javna produkcija konzervatoristov,” Jutro, April 21st, 1928, 3.
41 The first members of the String Quartet were Leon Pfeifer, Fran Stanič, Vinko Šušter-
šič, and Oton Bajde.
42 Orig. “Mladi glasbeniki so presenetili s svojo izglajeno soigro in virtuoznim izvajan-
jem, ki je bilo muzikalno ter izrazno poglobljeno, dinamično pa fino diferencirano. Če
278
Slovenia, the enthusiasm and energy of the young Jan Šlais was a true bless-
ing. Very soon, he became
an invaluable violin teacher, meticulous and precise, yet broad-
-minded, and his students could not praise his lessons and his
method enough.39
Only six years after Šlais became a teacher at the conservatory, Slavko Os-
terc wrote that Šlais “drilled” Karlo Rupel to “a respectful level of violin per-
formance,” and that he “envied the success” of his pupils with their string
quartet.40
Šlais taught the first generation of Slovenian violinists, who moved
on to become teachers at the Ljubljana Conservatory and the Academy of
Music in Ljubljana and concertmasters of the Slovenian Philharmonic Or-
chestra, the RTV Slovenia Symphony Orchestra (previously the Ljubljana
Radio and Television Symphony Orchestra), and the Slovenian National
Theatre Opera and Ballet Orchestra. They were also members of the most
prominent chamber ensembles, regularly performed as virtuosos with the
symphonic orchestras, and were among the first violinists to make radio re-
cordings of Slovenian compositions for the violin.
Jan Šlais and his pupils founded the Ljubljana Quartet (Ljubljanski
kvartet), which would remain active with various line-ups for the next fifty
years. After the first concert performance by the newly founded quartet,41
the eminent Czech composer, Alois Hába (1893–1973), foretold a promising
career for the ensemble:
The young musicians amazed with their smooth playing and virtu-
oso performance, which was musically and expressively deep and
dynamically finely differentiated. If they continue working togeth-
er, they can become a world-class chamber ensemble […]42
39 Orig. “G. Jan Šlais je istotako neprecenljiv vijolinski pedagog, vesten in natančen, a
vendar širokopotezen in njegovi učenci njegovega pouka njegove metode ne morejo
prehvaliti. Dasi temeljite šole, so zelo lepi nastopi njegovih učencev.” See Anon., “Glas-
beni vestnik. III. Javna produkcija gojencev konservatorija GM,” Slovenski narod,
June 28th, 1924, 3.
40 Slavko Osterc, “IV. Konservatorijska produkcija,” Jutro, June 27th, 1928, 3; Slavko Os-
terc, “II. Javna produkcija konzervatoristov,” Jutro, April 21st, 1928, 3.
41 The first members of the String Quartet were Leon Pfeifer, Fran Stanič, Vinko Šušter-
šič, and Oton Bajde.
42 Orig. “Mladi glasbeniki so presenetili s svojo izglajeno soigro in virtuoznim izvajan-
jem, ki je bilo muzikalno ter izrazno poglobljeno, dinamično pa fino diferencirano. Če
278
