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SPANISH PIANO LITERATURE AND ITS CONTRIBUTION TO THE EUROPEAN CULTURAL HERITAGE
Valčová, Lucie ; KLÁNSKÝ, Ivan (advisor) ; MALÝ, František (referee)
The main idea of this diploma thesis is to provide a brief historical overview of the main Spanish composers for keyboard instruments from the 16th to 20th century, their influence on the major European composers and their relation to Spanish national dances, songs and guitar techniques. The thesis consists of four chapters. The first chapter contains the historical overview and is split into three subchapters according to the period: 16th to 18th century, 1st half of 19th century and 2nd half of 19th century to 1st half of 20th century. The second chapter comprises the selection of European composers and examples of their works encompassing apparent influence of Spanish music. The third chapter deals with guitar techniques, based on which the Spanish piano works are built. And finally, the fourth chapter of this thesis provides a summary of basic Spanish dances and songs including examples of note scores.
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Piano Concerto in G major Maurice Ravel's
Vlasáková, Hana ; KLÁNSKÝ, Ivan (advisor) ; KRAJNÝ, Boris (referee)
Abstract
This thesis deals with Maurice Ravel's Concerto for piano and Orchestra in G major. At first, it makes readers acquainted with important matters in author?s life and then it presents a genesis of the work and its first reception. Overview of the main inspiration sources, which are reflected in Concerto in G major follows. On basis of the analysis of harmony, musical form, piano stylization and comments of the first interpreter of the work, Marguerite Long, are formulated conclusions, important for acquirement of appropriate viewpoints for the proper interpretation. These attitudes are confronted with top performances of this composition, first by Marguerite Long and than by renowned pianists from different countries (Leonard Bernstein, Boris Krajný and Hélène Grimaud). Supplement of this thesis is a CD, which documents a few examples of the basque music, which was one of the main inspiration sources of the Concerto in G major and contents recordings of this piece of all above-mentioned pianists.
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Sergei Prokofiev (piano Compositions)
Ožana, Petr ; KASÍK, Martin (advisor) ; VLASÁKOVÁ, Alena (referee)
The base of this work is analysis of Prokofiev´s piano compositions. It isn´t a scientific work. It´s rather analysis of form, melody and harmony in context with his others piano works. At chapter about surroundings dislocation generation of piano concertos I am based on the author´s testation a with him I try to find his ideas right in this work. Also I introduce the poem wich is inspired by the conceptus of this work, was written by poet Balmont. At the last chapter I tout about a view on Prokofiev like friend pianist, colleague, composer by the eyes his contemporaries both his students and teachers, colleagues, pianist, friends but aswell his enemy. TZhe greatest personalities like Neuhaus, Rostropovich, Oistrach remember him. Life´s facts I touch very too little with regard to quantity indeed more far specialist literature.
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A. N. SCRIABIN: PIANO ETUDES
Erlebachová, Marie ; MALÝ, František (advisor) ; LEICHNER, Emil (referee)
This thesis focuses on the personality of Alexander Nikolayevich Scriabin and his piano etudes, which are a source of technical skills for the study of the artist's other works. The main scope of work is to include all aspects that can assist the artist or piano lecturer in their study, ie. Etudes inclusion in the context of the composer's life and his entire piano works, profiling etudes by technical demands on performers, individual characteristics etudes and last but not least, formal analysis and interpretation of the author's etudes. Finally, work is a summary of general features that are common to all etudes and an outline of the author's musical development, which in the course of writing etudes passed.
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Sergei Prokofiev´s seventh piano Sonata
Tichá, Pavla ; KRAJNÝ, Boris (advisor) ; Bartoš, Jan (referee)
Piano work is one of the main pillars of composer work of Sergei Prokofiev. There is reflected his close relationship to the piano as an instrument with broad expressive and technical possibilities, with a great tradition, and his rich experience of the artist, who had understanding in great detail the problems of piano playing and its expressive and technical possibilities. All that is connecting with a distinctive musical style and genuine compositional inventiveness. Prokofiev´a work includes a whole range of genres areas: ballet, opera, symphony, and above all - a large area of piano music. Prokofiev compositional style is manifested by five basic lines: innovative, classical, lyrical, toccata, grotesque. All go through his whole work, but their share is changing in different periods and different songs. Development and transformation of his style during his life were affected by artistic and social factors, the important role played his decision to stay abroad for a longer time and then to return to Russia again. One of the top of Prokofiev´a piano works, Seventh Piano Sonata, reflects all these facts. There are manifested all his style lines. It is a work of extraordinary conceptually rich. The key to its convincing interpretation is understanding of its score and the author´s intent in light of all the above. The aim of this thesis is to show all these influences and context and to highlight their importance for a deeper understanding of the work.
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Prepared Piano
Žigmundová, Adriana ; MALÝ, František (advisor) ; TOPERCZER, Peter (referee)
The object of this work is not only the prepared piano itself. The main content became an adjustment of the modern piano in the context of the time when this unusual instrument was invented. The most important benefit is the sound characteristics of the modified strings inside the piano. A prepared piano is one of several results, to liberate music from the shackles of conventionality. The aim of this thesis is a description of prepared piano as an instrument. An essential part is the development of the piano from prehistoric times to the present and insight into the evolution of music in the 20th century. Attention is also paid to inventor of prepared piano - John Cage. Chapter, named after one of the biggest american composers of the 20th century, is trying to explain the composer´s compositional technique and his progressive thinking and to adequately and comprehensively encompass the idea of the prepared piano. In the end, this work is the intention to map the literature that was written for prepared piano.
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Personality of Leopold Godowsky with focus on his Compositional Works for Piano. Analysis of selected Parts of Java Suite
Šupák, Michal ; KAHÁNEK, Ivo (advisor) ; MALÝ, František (referee)
Leopold Godowsky, a remarkable personality of ?golden age of pianism? in XIX century has his place in history mainly as a piano virtuoso and an innovator of piano technique and physiological aspects of piano interpretation. In fact, he was a composer too and his compositions are quietly marginalized. In his works he exploited all his findings and experiences, he acquired as a piano interpreter and pedagogue. The aim of this thesis is to describe the personality of Leopold Godowsky and his contribution to piano music history with special focus on his compositions for the piano. The thesis include an analysis of four parts of his Javan Suite which is helping author to define Godowsky's compositional style and technique.
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Piano Work of C. Debussy with Focus on the Cycle Estampes - harmonical Analysis, Comparison of the Records
Suchánková, Eva ; KRAJNÝ, Boris (advisor) ; KAHÁNEK, Ivo (referee)
The topic of this bachelor?s thesis is a deeper analysis of the interpretation of the piano cycle Estampes by Claude Debussy. Three different approaches of analysis for achieving this aim were chosen. First, the reader is introduced into the historical circumstances of the formation of the cycle and all the sources of author?s inspiration. Second, a harmonical analysis of the whole cycle as the main focus of this thesis is presented. This was achieved by capturing of the unique features of every composition and by pointing out the most important musical ideas and thematic material characteristic to the musical impressionism used by the composer. Thirdly, three famous pianists of the 20. century with their different interpretations of Estampes are introduced: W. Gieseking, E. Gilels and S. Richter. These interpretations are mutually compared as well as with the sheet of the original music. Such a complex view of these piano pieces may enable a deeper insight into their complexity and may also serve to a convincing interpretation and better understanding of Estampes.
This bachelor?s thesis is divided into the introduction part, four main chapters with several subchapters and the conclusion. Four attachments are added to the thesis.
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Frédéric Chopin´s Ballades with Emphasis on Ballade A flat Major Op. 47
Trauškeová, Anna ; MALÝ, František (advisor) ; KAHÁNEK, Ivo (referee)
This thesis deals with some of the most famous and most played Chopin´s compositions - his four ballads, while the second part of this work focuses primarily on the ballad in A flat major, Op. 47. The author devotes to Chopin's ballads in this work particularly in terms of the content of which she looks for possible inspiration in Adam Mickiewicz?s works. She mentions first the interdependence of literary and musical components of the ballads in a broader historical context, which is written in the first chapter of this work - Ballad of historical aspect. She cites development this form from its beginnings to the contemporary type that we know today. In the second chapter - Chopin ballades in terms of content - there are presented particular examples of a literary subject matter directly by the individual Chopin ballads. In the third chapter the author deals with a detailed analysis of the ballad in A flat major, and in terms of content, formal and harmonic. Last, the fourth chapter is devoted to thinking about this interpretation of important Chopin's work.
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