STÁTNÍ TAJEMNÍK U ŘÍŠSKÉHO PROTEKTORA V ČECHÁCH A NA MORAVĚ, PRAHA, inv. 1776, sig. 109-5/4 Page 61 · 61 of 117
STATE SECRETARY FOR THE RUSSIAN PROTECTOR IN THINGS AND IN MORAVA, PRAGUE, inv. 1776, sig. 109-5/4
English Translation
To play alone in the orchestra, but also to form some specially assigned pupils." The founding assembly of the association, which initially consisted of members of the Bohemian nobility, met only in 1810 as a result of the war events. He retained his name "Society for the Promotion of Sound Art in Bohemia" until his dissolution by the Czech government in the autumn of 1918, and for 107 years he was the supervisor of the "Conservatory of Music in Prague", which he created. On April 24, 1811, the Prague Conservatory opened its doors. Prague enjoys the fame of hosting not only the oldest German university and the oldest technology, but also the oldest Germany conservatory. In spite of all the efforts, they had not found their own classrooms, so they had to be taught in the teachers' apartments. Only a year later they could use their own rooms in the Dominican monastery of St. Aegidius, where the second floor had been set up with considerable costs. A concert hall was later added. In these rooms they remained until 1864. According to the internal structure shown by the conservatory in the first decades, we would today call it an orchestra school with boarding school. Each member of the association had to pay the costs of studying and maintaining a pupil and remarkablely, the principle of free teaching over 70 years was recorded. As late as 1868, an address to the president of the association pointed out: "that, by introducing school fees, little virtuosos could emerge, but that many dilettantes could arise, as students who had more money than talent would report themselves." Taking into account this danger, the state subsidy was also increased and contributions were disbursed from various sides, in particular from the "Bohemian Savings Bank", a German money institute in Prague, which was also the builder of the Rudolfinum. The first director, Friedr. Dionys Weber, from Egerlande, had initiated the opening of the school with great expertise and thoroughness. According to his plan, a precise, rather small number of pupils was admitted for each instrument, a total of 39 pupils, but the teaching was much more intensive than is possible in today's conservatories. Only every three years a new recording of pupils took place and the duration of the study was six years for all instruments. All the usual orchestral instruments were taught, as well as teaching on music theory, hearing, choral singing, chamber music and orchestral playing. Four years later, a singing school was set up and six male and six female pupils were accepted. Weber, the versatile musician and skillful organizer, also directed the orchestra exercises and the orchestra soon became a private and public con- Das Rudolfinum / Als deutsches Kunsthaus baut von der Böhmischen Sparkasse The school opened its doors in a thorough and precise manner. According to its plan, a precise, rather small number of pupils was admitted for each instrument, a total of 39 pupils, but the teaching was much more intensive than is possible in today's conservatories. Only every three years a new recording of pupils took place and the duration of the study was six years for all instruments. All the usual orchestral instruments were taught, as well as teaching on music theory, hearing, choral singing, chamber music and orchestral playing. Four years later, a school for singers was set up and six male and six female pupils were accepted. Weberber, the versatile musician and skilful organizer, also led the orchestral exercises and the orchestra soon became private and public con-