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Krysztof Penderecki and Clarinet in his Works
Steiner, Lucie ; VENYŠ, Irvin (advisor) ; HLAVÁČ, Jiří (referee)
The topic of this diploma thesis is Krzysztof Penderecki and usage of clarinet in his work.
In the beginning of my thesis I describe the context of the second world war in Poland with musical directions after the end of war and its influences to musical environment in order to introduce the situation and conditions. Afterwards I introduce the life and the work of composer and conductor Krzysztof Penderecki. In this thesis I focus mainly on the clarinet pieces of the composer. Considering the lack of specialized publications I choose method of music analyse of the pieces, including websites materials. At the end of thesis I intoroduce remarkable world clarinet performers who interpreted or recorded various pieces of Penderecki.
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The production technology of clarinet reeds and possible modifications
Žitný, Radek ; HLAVÁČ, Jiří (advisor) ; MAREŠ, Vlastimil (referee)
In my thesis I describe the known technologies of clarinet and saxophone reed making. These range from purely hand-made fabrication (as in the case of the production of oboe and bassoon reeds) to technologies with an extensive use of machine work, which allows for refined and accelerated production. I also describe what precedes the manufacturing of a reed itself, that is growing and harvesting of cane wood of which the reeds are made. Clarinet and saxophone reeds are the subject of much speculation in terms of durability, usage, warm-up, storage and especially their possible customization to the needs of each individual player. That is why in the second part of this thesis I focus on possible personilised modifications of reeds. To conclude I quote and comment on the most comprehensive records of reed adjustments available in the existing specialist literature. The aim of my research is to provide clarinetists and saxophonists with a manual where I present facts and methods of reed adjustment they may put in practice themselves, and therefore avoid having to rely on „selecting the best of the mediocre reeds available in the music shop". The thesis includes an illustrated appendix of sketches, adjustments, reeds and their packaging, cases and tools.
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Compositions for Singing with Accompaniment of Chamber Formations with the Clarinet
Tauchmanová, Hana ; HLAVÁČ, Jiří (advisor) ; MAREŠ, Vlastimil (referee)
This thesis deals with using general methodical principles while teaching to play the clarinet and to sing particular compositions – the song cycle by Louis Spohr “Sechs deustsche Lieder fur eine Singstimme, Klarinette und Klavier op. 103“ and the song by Franz Schubert “Der Hirt auf dem Felsen D (965)“.
The work is divided into five chapters. The first chapter briefly mentions the historical background of birth of the compositions with a special regard to the changes in the musical life in the 19th century and the personal lives of both composers.
The second chapter, Personality of the performer, observes important aspects which no performer should ever forget about while studying a chamber piece of work, such as mental preparation, the issue of memory, but also the right choice of repertoire with respect to the characteristics of the soprano voice, for which both compositions were written. Other aspects include posture on the stage, breath support, intonation, sound consistence and making use of all the aspects while performing the song by F. Schubert as well as the song cycle by L. Spohr.
Other two chapters are dedicated to both compositions, the third being focused on L. Spohr´s “Sechs deustsche Lieder fur eine Singstimme, Klarinette und Klavier op. 103“ and the fourth focusing on Franz Schubert´s “Der Hirt auf dem Felsen D (965)“. The circumstan-ces of birth of both compositions are described, loose translation of the texts is provided as well as performer´s experience with the particular songs.
The last (fifth) chapter, Historical faithfulness of interpretation, is a short contemplation over the fact to what extent a performer is able to depict the original idea of the author by means of contemporary technical possibilities.
The thesis describes personal opinions, experience, feelings and problems which its writer encountered while studying the clarinet and singing parts of the compositions.
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Inspiration of comtemporary pieces
Kestřánková, Věra ; MAREŠ, Vlastimil (advisor) ; HLAVÁČ, Jiří (referee)
Contemporary music for clarinet is today often part of a clarinettists repertoire and contemporary compositions are normally included in compulsory repertoire of world competitions. For every player is necessary to know about contemporary music and have an informations about modern techniques which offer clarinet sound. This thesis deals with contemporary efects in theoretical and practical point of view. In the same time explores influence of contemporary music over the young clarinet players and describes their succes in create these techniques. This work also follow up three solo pieces for clarinet: Jörg Widmann - Fantasie, Slavomír Hořínka - Ruáh, Tiberiu Oláh - Sonata. There is a theoretical and practical preview about these compositions and also their influence on audience. One chapter is devoted to personality of clarinettist Karel Dohnal, pathfinder for contemporary clarinet music.
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Concertos for clarinet by Jan Vaclav Stamic and Karel Stamic
Lukáš, Radim ; HLAVÁČ, Jiří (advisor) ; MAREŠ, Vlastimil (referee)
This thesis focuses on the clarinet concertos by Jan Vaclav Stamitz and Karl Stamitz. My thesis is divided into two chapters and their subchapters. The first chapter focuses on the significance of Jan Vaclav Stamitz as a composer, his life and the period clarinet. The last subchapter is about his only Clarinet Concerto. The second chapter focuses on his son Karl and his concerts which I consider to be the major works of the clarinet literature.
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Development of clarinet´s family
Durníková, Nela ; HLAVÁČ, Jiří (advisor) ; MAREŠ, Vlastimil (referee)
The topic of this Bachelor's thesis is the Development of clarinet´s family.
The work describes in detail the entire clarinet family. From predecessors clarinets, as was Chalumeau through sopranino, soprano, medium and deep clarinet. Part of this work are also quarter-tone clarinet, various production materials and shapes clarinet
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Sonata for clarinet and piano by Viktor Kalabis
Černohouzová, Jana ; HLAVÁČ, Jiří (advisor) ; MAREŠ, Vlastimil (referee)
My thesis "Sonata for clarinet and piano by Viktor Kalabis" is focused on one of concertantes pieces for clarinet and piano by Viktor Kalabis . The first part of the thesis deals with the life experience of the composer; the second part comprises an attempt to reflect the interpreter's perspective and expound interpretation issues. The author's experience with performing the sonata is described. The most difficult sections are explained and interpretation and practice options offered. The author's recording (2014 - J. Černohouzová, D. Wiesner) is compared with two other recordings (1970 - J. Štengl, Z. Zichová, 2013 - J.Hlaváč, I. Kahánek). The approaches of the interpreters and their performance style is analysed. The composer-interpreter relationship is discussed.
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THE MOST IMPORTANT WORKS FROM SLOVAK COMPOSERS FOR CLARINET
Kamencay, Jozef ; HLAVÁČ, Jiří (advisor) ; MAREŠ, Vlastimil (referee)
The aim of my thesis is an introduction to the world of Slovak composers, clarifying the problematics of the period in which they composed and listing the most played and most important works by Slovak composers composed for clarinet. As an example, I analysed the Small Slovak Rhapsody by Juraj Filas. This work contains many elements typical for Slovak modernism.
In the next section I focus on the Slovak Clarinet school, its development and the most important representatives in the educational and interperatational sphere.
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Functioning of Music Interpretation Courses with Focus on International Summer Clarinet Workshop Domažlice and Internation Master Classes Ostrava
Čermáková, Kateřina ; ŠTILEC, Jiří (advisor) ; BĚLOR, Roman (referee)
Bachelor thesis Functioning of Music Interpretation Courses with Focus on International Summer Clarinet Workshop Domažlice and International Master Classes Ostrava especially concentrates on practical side of two above-mentioned interpretation and master courses. Since hungarian virtuoso Franz Liszt laid their principles, they became an important part in developement of every young music interpreter. This thesis aims to show on particular examples how are such courses started and what is required for their fluent course. Both courses have their specific approaches and goals. From the organizational point of view, easier way was chosen by Ludmila Peterková in courses in Domažlice. She invites only one foreign lecturer and focuses on young musicians. In contrast, Igor Františák, a lead organizer of Ostrava courses, has a difficult task ahead of him every year. He needs to raise funds to pay several lecturers from abroad. On the other hand, such courses draw larger attention of both older and professional musicians.
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