Page 426 - 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. 426
konservator iji: profesionalizacija in specializacija glasbenega dela
Both music schools met conditions to became conservatories long be-
fore they were officially proclaimed them: two or even three levels, basic
school documents and rule books, highly qualified teachers (mainly edu-
cated abroad), published textbooks written by teachers and enough space
for teaching (in their own buildings). Ladislav Šaban in his text on HGZ
music school from 1968 mentioned that the school was in fact already func-
tioning like conservatory twenty years before the official proclamation, in
1896. This research has shown that he was right in this regard.
At the time when Matica conservatory in Ljubljana was established, it had
almost 1,000 pupils, while the HGZ conservatory had only some 500, which
is remarkable, since Ljubljana was only half the size of Zagreb. Both music
societies tried very hard to bring their music schools to the level of conserv-
atories, and yet once they achieved it they gave control to the state only few
years after (in Zagreb in 1920, in Ljubljana in 1926).
Keywords: conservatory, Croatian Music Institute, Glasbena Matica, Vje-
koslav Klaić
Tina Bohak Adam
Julij Betetto and his role in the administrative
and pedagogical structure of the Ljubljana Conservatory
An important turning point in the history of the Slovenian music educa-
tional system happened in 1919, when the Conservatory of Glasbena mati-
ca was founded. This was the first institution, whose primary intention was
education of professional musicians in the whole vertical. The first head
was Matej Hubad. One of the essential individuals, who established the first
statute, was the Hubad’s pupil, bass Julij Betetto, who had been working, at
that time, as an eminent soloist at the Vienna State Opera. In 1922 he re-
turned in the homeland and became a member of The Ljubljana Opera. On
invitation from the committee of Glasbena matica, Betetto started to teach
at the conservatory in February 1925 as a part-time colleague. He had been
teaching there until 1930, when he went to the Bavarian State Opera and
stayed there for two seasons. In 1932 he went home and concentrated main-
ly on teaching while resuming his artistic career by working as a permanent
guest in the Ljubljana Opera. In 1933, Betetto took up the post of the head
of the State Conservatory, after the retirement of Matej Hubad. He started
with the reorganization of institution. Among the other thing, he found-
ed the conservatory advisory committee and reorganized the pedagogical
department in 1934. As eminent singing teacher, he set the new milestone
424
Both music schools met conditions to became conservatories long be-
fore they were officially proclaimed them: two or even three levels, basic
school documents and rule books, highly qualified teachers (mainly edu-
cated abroad), published textbooks written by teachers and enough space
for teaching (in their own buildings). Ladislav Šaban in his text on HGZ
music school from 1968 mentioned that the school was in fact already func-
tioning like conservatory twenty years before the official proclamation, in
1896. This research has shown that he was right in this regard.
At the time when Matica conservatory in Ljubljana was established, it had
almost 1,000 pupils, while the HGZ conservatory had only some 500, which
is remarkable, since Ljubljana was only half the size of Zagreb. Both music
societies tried very hard to bring their music schools to the level of conserv-
atories, and yet once they achieved it they gave control to the state only few
years after (in Zagreb in 1920, in Ljubljana in 1926).
Keywords: conservatory, Croatian Music Institute, Glasbena Matica, Vje-
koslav Klaić
Tina Bohak Adam
Julij Betetto and his role in the administrative
and pedagogical structure of the Ljubljana Conservatory
An important turning point in the history of the Slovenian music educa-
tional system happened in 1919, when the Conservatory of Glasbena mati-
ca was founded. This was the first institution, whose primary intention was
education of professional musicians in the whole vertical. The first head
was Matej Hubad. One of the essential individuals, who established the first
statute, was the Hubad’s pupil, bass Julij Betetto, who had been working, at
that time, as an eminent soloist at the Vienna State Opera. In 1922 he re-
turned in the homeland and became a member of The Ljubljana Opera. On
invitation from the committee of Glasbena matica, Betetto started to teach
at the conservatory in February 1925 as a part-time colleague. He had been
teaching there until 1930, when he went to the Bavarian State Opera and
stayed there for two seasons. In 1932 he went home and concentrated main-
ly on teaching while resuming his artistic career by working as a permanent
guest in the Ljubljana Opera. In 1933, Betetto took up the post of the head
of the State Conservatory, after the retirement of Matej Hubad. He started
with the reorganization of institution. Among the other thing, he found-
ed the conservatory advisory committee and reorganized the pedagogical
department in 1934. As eminent singing teacher, he set the new milestone
424
