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Bach celo suites and baroque dance
Holubcová, Petra ; Veis, Daniel (advisor) ; Veis, Daniel (advisor) ; Hošek, Jiří (referee) ; Petráš, Miroslav (referee)
My dissertation is focused on Bach's suites for cello and their connection to baroque dances. It starts with Bach's biography, especially his stay in Koethen, and then it shortly covers they key problems of non-existing originals questionable copies. The dissertation itself is focused on baroque dances. I included the history, its probable form, description of individual dances and in the closing I compared its dance style to the music stylization (which are cello suites). This part of my work is based on practical experience - my meeting with docent Helena Kazarova. I have compared the results of our discussion to observations of an American cellist Tim Janof and English dancer Anne Mannsbridge. This dissertation also roughly covers questions of authentic performance of baroque music.
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World's cello artistic personalities of the 20th century
Soukup, Petr ; Veis, Daniel (advisor) ; Veis, Daniel (advisor) ; Petráš, Miroslav (referee) ; Hošek, Jiří (referee)
Snad každý violoncellista si při zmínce o největších interpretech svého nástroje 20. století vybaví jméno Pablo Casals či Mstislav Rostropovič. Zná ale také jméno Leonard Rose nebo Emanuel Feuermann? Povědomí o těchto i jiných hráčích bohužel není příliš široké, i když i oni bezesporu patří mezi hvězdy violoncellového nebe. Zčásti za to může nedostačující literatura. Měrkova kniha Violoncello, v současnosti jediná svého druhu u nás, se sice o těchto osobnostech zmiňuje, ale v mnoha případech se omezuje pouze na pár vět, neboť je přece jen více zaměřena na literaturu nástroje. Proto jsem se rozhodl, a to je vlastně i cílem práce, zpracovat širší pohled na životní osudy a profesní dráhu největších světových mistrů violoncella uvedeného období.
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The person of violoncellist Hanuš Wihan, history and culture of his time
Matyášová, Helena ; Petráš, Miroslav (advisor) ; Petráš, Miroslav (advisor) ; Bernášek, Václav (referee) ; Hošek, Jiří (referee)
Hanuš Wihan, a concert artist, teacher, and Czech chamber music promoter, the founder of the Czech Quartett and an important representative of the Czech culture of the end of 19th and beginning of 20th centuries is considered to be one of the most outstanding personalities among the worldwide known cellists. The thesis is to remind us of his great personality and work while reflecting the contemporary cultural and historical context of those times. It presents Wihan´s life from his early childhood and years of study, his fifteen year long contract abroad, his exuberant solo and chamber concert career in Bohemia as well as abroad and his teaching practice as a professor of violoncello a and chamber play at Prague Conservatoire. The thesis focuses on Wihan´s work with the Czech Qartett and is partly also dedicated to the relationship between H. Wihan and A. Dvořák and other contemporary artists. Finally the thesis covers the period of Wihan´s stay in Brandýs nad Orlicí.
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Violoncello Sonatas by Bohuslav Martinů with a special focus on Sonata No. 3
Virglerová, Zuzana ; Petráš, Miroslav (advisor) ; Veis, Daniel (referee) ; Hošek, Jiří (referee)
My bachelor's thesis deals with three sonatas for violoncello and piano by Bohuslav Martinů, a distinguished Czech composer. In the first part, which gives his brief biografy, I mention crucial moments in his life.Knowledge of these facts is essential for understandingof Martinů's musical expression. The second part describes the circumstances and the time when the sonatas were composed. Included in this part are eminent cellists to whom the sonatas were dedicaded. The third part of my thesis gives an analysis and score extracts of Sonata No. 3 for violoncello and piano.
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Flat-and-lugged axes from the view of metallographer
Hošek, Jiří
Two Hallstatt flat-and-lugged axes (dated to Ha C2 – Ha D1-2) discovered in NW Bohemia have been recently examined by the author. First axe, from Březno u Milešova, was made of piled iron (locally steel) but its cutting edge was treated by carburization and quenching. The second axe, from Nakléřovský průsmyk, apparently reveals the case of steel cutting-edge welding onto an iron axe body. The steeled cutting edge and its tempering evidence advanced tool-making techniques. Both the examined axes belong to the less numerous group of high quality forgings. Nevertheless, regarding all the up to date examined flat-and-lugged axes, hardening of these tools might have been a common practice at the time.
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