Page 92 - 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. 92
konservator iji: profesionalizacija in specializacija glasbenega dela
(1840–1901), whose choral work The Crucifixion of 1887 is still regularly per-
formed today. His position was only temporary while preparations for the
transformation of the National Training School for Music into the profes-
sionally established Royal College of Music in 1883, at first under the dy-
namic direction of George Grove (of dictionary fame). Despite his reputa-
tion in musical circles, George Grove was not a professional musician, but
as Director of the Royal College, however, he was outstanding, as reported
by David Wright:
The other explanation for the College’s success was its good for-
tune in having Grove as its first director. Not only did he have a
clear vision for the College, he could also sell its role (he even made
the idea of a conservatoire seem a worthy proposition to sceptical
industrialists).6
Wright also pointed to the general improvements:
The rise of the conservatoires as centres of advanced musical train-
ing also formed part of the wider development of higher education
in Britain. The realization that Britain could sustain its imperi-
al role only by modernizing itself had a profound effect on socie-
ty. Fundamental to this process of modernization was recognition
of the need to put teaching of technical and professional skills onto
a new and more systematic footing and to ensure that these skills
were being taught and assessed properly.7
One of the most important aspects of this new development was the
cultivation of a firm foundation of British music, training the composers
who would be able to challenge the dominance of the Germans. The ques-
tion must now be asked: did the institutions have the right people in post to
undertake the task. To begin to answer this question we must examine the
achievements, the compositions and the reputations of the important peo-
ple who would attempt to carry out this task.
Association 130, no. 2 (2005): 236–282. Wright chronicled the difficulties that Sulli-
van faced, but also gave a clear indication that he was not closely enough involved in
his task to ensure the successful establishment of the new institution.
6 Wright, “The South Kensington Music Schools and the Development of the British
Conservatoire,” 255.
7 Ibid., 257.
90
(1840–1901), whose choral work The Crucifixion of 1887 is still regularly per-
formed today. His position was only temporary while preparations for the
transformation of the National Training School for Music into the profes-
sionally established Royal College of Music in 1883, at first under the dy-
namic direction of George Grove (of dictionary fame). Despite his reputa-
tion in musical circles, George Grove was not a professional musician, but
as Director of the Royal College, however, he was outstanding, as reported
by David Wright:
The other explanation for the College’s success was its good for-
tune in having Grove as its first director. Not only did he have a
clear vision for the College, he could also sell its role (he even made
the idea of a conservatoire seem a worthy proposition to sceptical
industrialists).6
Wright also pointed to the general improvements:
The rise of the conservatoires as centres of advanced musical train-
ing also formed part of the wider development of higher education
in Britain. The realization that Britain could sustain its imperi-
al role only by modernizing itself had a profound effect on socie-
ty. Fundamental to this process of modernization was recognition
of the need to put teaching of technical and professional skills onto
a new and more systematic footing and to ensure that these skills
were being taught and assessed properly.7
One of the most important aspects of this new development was the
cultivation of a firm foundation of British music, training the composers
who would be able to challenge the dominance of the Germans. The ques-
tion must now be asked: did the institutions have the right people in post to
undertake the task. To begin to answer this question we must examine the
achievements, the compositions and the reputations of the important peo-
ple who would attempt to carry out this task.
Association 130, no. 2 (2005): 236–282. Wright chronicled the difficulties that Sulli-
van faced, but also gave a clear indication that he was not closely enough involved in
his task to ensure the successful establishment of the new institution.
6 Wright, “The South Kensington Music Schools and the Development of the British
Conservatoire,” 255.
7 Ibid., 257.
90
