Page 290 - 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
(1831–1907). Then she furthered her studies with Václav Huml in Zagreb
and with Arnold Rosé (1863–1946) in Vienna. Later, she made her name
mostly as a chamber musician with the Brandl Trio and the Maribor Trio
(Brandl–Klasinc–Bajde).70
Another of Huml’s private pupils and a violin teacher during the same
period was Ivan Karlo Sancin (1893–1974). From 1919, he was a violinist of
the Opera Orchestra, and a violin teacher at the Ljubljana Conservatory
(Music School) until 1922. One year later, he moved to Celje, where he was a
violin teacher and a headmaster of the Music Society School until 1941. Be-
tween 1941 and 1945, he moved to Ljubljana to become a member of the Op-
era Orchestra and a teacher at the Music Society School. After the war he
returned to Trieste and was active in various positions.71 Apart from Karlo
Rupel and Rok Klopčič, he was also a teacher of the child prodigy Miran Vi-
her (1919–2002) in Celje. Viher later furthered his studies with three Prague
violinists: Otakar Ševčík, Václav Huml, and Váša Příhoda, and he studied
composition with Franjo Dugan. Due to political reasons, he left his home-
land and became acclaimed as concertmaster of the Bavarian Philharmon-
ic Orchestra in Munich in the early 1950s. In 1956, he emigrated to the Unit-
ed States, where he was a member of the Buffalo Philharmonic Orchestra,
then the Princeton Chamber Orchestra, and finally the Opera Theater of
Saint Louis. He also taught at Webster University and privately.72
It is worth mentioning another Trieste-based violinist, Fran Gulič
(Franco Gulli, Sr.; 1901–1973), whose father was a police inspector from
70 Anon., “Mlada skladateljica,” Slovenski ilustrirani tednik, May 5th, 1911, 3–4; Anon.,
“99 let Nade Jevđenjević Vorkapič,” Večer, July 18th, 1998, 14; Anon., “Violinska vir-
tuozinja Fanika Brandl,” Slovenec 54, no. 273 (November 28th, 1926), 3, http://www.
dlib.si/?URN=URN:NBN:SI:doc-WRCRJR9F; Anon., “Sto let ugledne violinistke,”
Dnevnik, July 17th, 1999, 111; Manica Špendal, “Sto let violinistke Nade Jevdjenje-
vić Brandl,” Večer, July 17th, 1999, 18; Mira Mracsek, “Nada Jevdjenjević-Brandlova
– petinosemdesetletnica,” Večer, July 20th, 1984, 6.
71 Martin Jevnikar, “Sancin, Karlo Ivan,” in Primorski slovenski biografski leksikon, vol.
13, ed. Martin Jevnikar (Gorizia: Goriška Mohorjeva družba, 1987), 186–187; Jože
Koren, “Glasbenik prof. Karlo Sancin – osemdesetletnik,” Primorski dnevnik, No-
vember 4th, 1973, 5; Jože Koren, “Umrl je glasbenik prof. Karlo Sancin,” Primorski
dnevnik, January 5th, 1975, 2.
72 Patricia Rice, “Personal Notes by Composers on Their Works,” St. Louis Post Dis-
patch, January 17th, 1984, 30; James Wierzbicki, “In Viher’s ‘Fantasy’, the whole is
less than the sum of the parts,” St. Louis Globe-Democrat, 1984; Newspapers articles
from the legacy of Marjan Lipovšek (SI– Lng) without complete data (John Philips,
“Local Composers, Foghorns at Powell Hall”; Richard Freed, “Miran Viher: Concer-
to for Violin and Orchestra”; Gayle R. McIntoch, “Miran Viher,” Orchestra News and
Notes 51).
288
(1831–1907). Then she furthered her studies with Václav Huml in Zagreb
and with Arnold Rosé (1863–1946) in Vienna. Later, she made her name
mostly as a chamber musician with the Brandl Trio and the Maribor Trio
(Brandl–Klasinc–Bajde).70
Another of Huml’s private pupils and a violin teacher during the same
period was Ivan Karlo Sancin (1893–1974). From 1919, he was a violinist of
the Opera Orchestra, and a violin teacher at the Ljubljana Conservatory
(Music School) until 1922. One year later, he moved to Celje, where he was a
violin teacher and a headmaster of the Music Society School until 1941. Be-
tween 1941 and 1945, he moved to Ljubljana to become a member of the Op-
era Orchestra and a teacher at the Music Society School. After the war he
returned to Trieste and was active in various positions.71 Apart from Karlo
Rupel and Rok Klopčič, he was also a teacher of the child prodigy Miran Vi-
her (1919–2002) in Celje. Viher later furthered his studies with three Prague
violinists: Otakar Ševčík, Václav Huml, and Váša Příhoda, and he studied
composition with Franjo Dugan. Due to political reasons, he left his home-
land and became acclaimed as concertmaster of the Bavarian Philharmon-
ic Orchestra in Munich in the early 1950s. In 1956, he emigrated to the Unit-
ed States, where he was a member of the Buffalo Philharmonic Orchestra,
then the Princeton Chamber Orchestra, and finally the Opera Theater of
Saint Louis. He also taught at Webster University and privately.72
It is worth mentioning another Trieste-based violinist, Fran Gulič
(Franco Gulli, Sr.; 1901–1973), whose father was a police inspector from
70 Anon., “Mlada skladateljica,” Slovenski ilustrirani tednik, May 5th, 1911, 3–4; Anon.,
“99 let Nade Jevđenjević Vorkapič,” Večer, July 18th, 1998, 14; Anon., “Violinska vir-
tuozinja Fanika Brandl,” Slovenec 54, no. 273 (November 28th, 1926), 3, http://www.
dlib.si/?URN=URN:NBN:SI:doc-WRCRJR9F; Anon., “Sto let ugledne violinistke,”
Dnevnik, July 17th, 1999, 111; Manica Špendal, “Sto let violinistke Nade Jevdjenje-
vić Brandl,” Večer, July 17th, 1999, 18; Mira Mracsek, “Nada Jevdjenjević-Brandlova
– petinosemdesetletnica,” Večer, July 20th, 1984, 6.
71 Martin Jevnikar, “Sancin, Karlo Ivan,” in Primorski slovenski biografski leksikon, vol.
13, ed. Martin Jevnikar (Gorizia: Goriška Mohorjeva družba, 1987), 186–187; Jože
Koren, “Glasbenik prof. Karlo Sancin – osemdesetletnik,” Primorski dnevnik, No-
vember 4th, 1973, 5; Jože Koren, “Umrl je glasbenik prof. Karlo Sancin,” Primorski
dnevnik, January 5th, 1975, 2.
72 Patricia Rice, “Personal Notes by Composers on Their Works,” St. Louis Post Dis-
patch, January 17th, 1984, 30; James Wierzbicki, “In Viher’s ‘Fantasy’, the whole is
less than the sum of the parts,” St. Louis Globe-Democrat, 1984; Newspapers articles
from the legacy of Marjan Lipovšek (SI– Lng) without complete data (John Philips,
“Local Composers, Foghorns at Powell Hall”; Richard Freed, “Miran Viher: Concer-
to for Violin and Orchestra”; Gayle R. McIntoch, “Miran Viher,” Orchestra News and
Notes 51).
288
