Page 284 - 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
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konservator iji: profesionalizacija in specializacija glasbenega dela
I do not know your teacher, but I can assure you that you can count
violin professors from around the world that teach like your master
on the fingers of one hand.53
Huml followed the Ševčík violin teaching system and sent some of his
best students to the master as well. In addition to Ljubljana and Zagreb,
Ševčík’s violin teaching system also reached Belgrade, where resided an-
other promoter of Ševčík’s violin method and alumnus of the Prague Con-
servatory: Karel Holub (1893–1974). He was active in Belgrade between 1919
and 1937 as the concertmaster of the Opera Orchestra and co-founder of
both the Philharmonic Orchestra and the Czech Trio. From 1923, he was
a professor at the Ljubljana Conservatory, where he trained many success-
ful violinists.54 Thus it can be seen that three Czechs, all of whom promot-
ed Ševčík (Šlais, Huml, and Holub) characterized the development of vio-
lin playing in three regional capitals: Ljubljana, Zagreb, and Belgrade. They
trained new generations of violinists that later continued with their violin
tradition.
Šlais’s violin legacy in Slovenia
The majority of Slovenian violinists today are “violin descendants” of Jan
Šlais, who crucially influenced the development of violin playing in Slovenia
over the past hundred years. Šlais’s first significant pupil was Karlo Rupel,
who became the most recognized Slovenian soloist of his time and gave
concerts around the world. He was also a member of the Rupel–Leskovic–
Lipovšek Piano Trio and founded several chamber ensembles, including
the Slovenian Soloists (Slovenski solisti). From 1933 he taught at the Ljublja-
na Conservatory, and from 1939 at the Academy of Music in Ljubljana.55
53 Ljerko Spiller, “Sjećanja na mog nezaboravnog učitelja profesora Václava Humla,” in
Memorial Václava Humla, ed. Zlatko Stahuljak (Zagreb: Hrvatski glazbeni zavod,
1973).
54 Bohumir Štědroň, “Holub, Karel,” in Česko slovenský hudební slovník osob a institucí,
vol. 1, ed. Gracián Černušák, Bohumír Štědroň, and Zdenko Nováček (Prague:
Státní hudební vydavatelství, 1963), 460.
55 Rafael Ajlec, “Rupel, Karlo,” in Slovenski biografski leksikon, vol. 3, ed. Alfonz
Gspan (Ljubljana: Slovenska akademija znanosti in umernosti, 1960–1971), 165–
166; Dragotin Cvetko, “Rupel, Karlo,” in Muzička enkciklopedija, vol. 3, ed. Kreši-
mir Kovačević (Zagreb: Jugoslavenski leksikografski zavod, 1977), 246; Pavel Šivic,
“Umrl Karlo Rupel,” Delo, September 18th, 1968, 5; Rafael Ajlec, “Ob smrti violin-
ist Karla Rupla,” Radio Show (Radio Slovenia, Program 1); Personal folder of Karlo
Rupel (SI–Lng); Rok Klopčič, “Karlo Rupel,” Koncertni listi Slovenske filharmonije 1
(1970–1971), 8–10.
282
I do not know your teacher, but I can assure you that you can count
violin professors from around the world that teach like your master
on the fingers of one hand.53
Huml followed the Ševčík violin teaching system and sent some of his
best students to the master as well. In addition to Ljubljana and Zagreb,
Ševčík’s violin teaching system also reached Belgrade, where resided an-
other promoter of Ševčík’s violin method and alumnus of the Prague Con-
servatory: Karel Holub (1893–1974). He was active in Belgrade between 1919
and 1937 as the concertmaster of the Opera Orchestra and co-founder of
both the Philharmonic Orchestra and the Czech Trio. From 1923, he was
a professor at the Ljubljana Conservatory, where he trained many success-
ful violinists.54 Thus it can be seen that three Czechs, all of whom promot-
ed Ševčík (Šlais, Huml, and Holub) characterized the development of vio-
lin playing in three regional capitals: Ljubljana, Zagreb, and Belgrade. They
trained new generations of violinists that later continued with their violin
tradition.
Šlais’s violin legacy in Slovenia
The majority of Slovenian violinists today are “violin descendants” of Jan
Šlais, who crucially influenced the development of violin playing in Slovenia
over the past hundred years. Šlais’s first significant pupil was Karlo Rupel,
who became the most recognized Slovenian soloist of his time and gave
concerts around the world. He was also a member of the Rupel–Leskovic–
Lipovšek Piano Trio and founded several chamber ensembles, including
the Slovenian Soloists (Slovenski solisti). From 1933 he taught at the Ljublja-
na Conservatory, and from 1939 at the Academy of Music in Ljubljana.55
53 Ljerko Spiller, “Sjećanja na mog nezaboravnog učitelja profesora Václava Humla,” in
Memorial Václava Humla, ed. Zlatko Stahuljak (Zagreb: Hrvatski glazbeni zavod,
1973).
54 Bohumir Štědroň, “Holub, Karel,” in Česko slovenský hudební slovník osob a institucí,
vol. 1, ed. Gracián Černušák, Bohumír Štědroň, and Zdenko Nováček (Prague:
Státní hudební vydavatelství, 1963), 460.
55 Rafael Ajlec, “Rupel, Karlo,” in Slovenski biografski leksikon, vol. 3, ed. Alfonz
Gspan (Ljubljana: Slovenska akademija znanosti in umernosti, 1960–1971), 165–
166; Dragotin Cvetko, “Rupel, Karlo,” in Muzička enkciklopedija, vol. 3, ed. Kreši-
mir Kovačević (Zagreb: Jugoslavenski leksikografski zavod, 1977), 246; Pavel Šivic,
“Umrl Karlo Rupel,” Delo, September 18th, 1968, 5; Rafael Ajlec, “Ob smrti violin-
ist Karla Rupla,” Radio Show (Radio Slovenia, Program 1); Personal folder of Karlo
Rupel (SI–Lng); Rok Klopčič, “Karlo Rupel,” Koncertni listi Slovenske filharmonije 1
(1970–1971), 8–10.
282
