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Julia Fischer - a personality and profil of the artist
Chrastilová, Dominika ; ŠTRAUS, Ivan (advisor) ; MATOUŠEK, Bohuslav (referee)
Julia Fischer is today recognised as one of the world's leading interprets.
At her young age she has already performed at all the famous concert halls over the world. She has collaborated with many renowned conductors and excellent musicians.
In addition to her busy concert schedule Fischer's other prioritized occupations became teaching as well as professional solo piano and playing with a string quartet.
Next to her professionaly successful life she manages to be a wife and a mother of two children.
I would like to concentrate in my thesis on the period of her studies but also to all the important additional aspects of her musical career.
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Arcangelo Coreli Oprara Quinta
Kuncl Štillerová, Martina ; ŠTRAUS, Ivan (advisor) ; ČEPICKÝ, Leoš (referee)
Diploma thesis is focused on the personality of the Arcangello Corelli and his contribution on the field of musical forms and violin. Work is divided into three chapters. In the first chapter I describe Arcangelo Corelli ´s life in a historical context.In the second chapter I focus on musical forms whose development contributed Corelli and I also give a concentration on individual works. The third chapter is devoted to the field of issue of the ornamentation of 17th and 18th century as well as Corelli´s fifth opus, which is an indispensable source of knowledge to period - style ornamentation.
I hope this work will serve as a source of information not only about extraordinary composer, but also contribute to clarify the issue of ornamentation of 17th 18th century which is still an area somewhat elusive for many musicians.
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Kroft quartet
Marek, Jakub ; ČEPICKÝ, Leoš (advisor) ; ŠTRAUS, Ivan (referee)
This bachelor's work is dealing with the Kroft Quartet, an ensemble that
was active in the years 1974/1994 and that managed to creatively connect the
orchestral duties of its members as orchestral players of the Czech Philharmonic
Orchestra with their activities as members of a chamber music ensemble. Part of
this work is a general information concerning the Kroft Quartet, biographies of its
members, concert activities, with special regard to my grandfather Jan Marek,
the viola player of the ensemble, and interesting details regarding the artists'
membership in the Union of Concert Artists.
Last but not least the survey of repertoire, an analysis of the Quartet's most
favourite quartets, and a list of the concert programmes.
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Ivan Galamian's Pedagogical Legacy
Snyder, Ian John ; ŠTRAUS, Ivan (advisor) ; ČEPICKÝ, Leoš (referee)
Ivan Galamian's formidable reputation as a violin teacher is internationally recognized. Many of the world's outstanding violinists studied with him at the Curtis Institute in Philadelphia or The Juilliard School in New York City, and their fame perpetuates his. At the same time, very little is known about Galamian's early years, his exact methods on the violin, his nature as a teacher, and the general question of how he accomplished such outstanding results with his students. This lack of awareness is the case in the United States, where many of his students are aging or deceased. Members of the youngest generation of violinists tend to have only a vague awareness of his writings and perhaps familiarity with his scale method - even if they are close to Galamian in the "family tree" of violinists. This lack of awareness appears to be even more the case in Europe, whose music schools and orchestras are less likely to contain Galamian students (though they certainly do).
The goal, then, of this thesis is to shed much-needed light on the extraordinary life, thoughts, and teaching of Galamian. The reader should come away with an increased awareness of an important life in the history of the instrument, greater awareness of key technical points on the instrument, and an understanding of what made Galamian - and could make any aspiring teacher - great. There is also an attempt to provide balanced criticism of Galamian's method so that the reader may see what did not work in his teaching and so that our awareness of Galamian is not simply as a mythic figure but as a fully three-dimensional participant in the history of the violin.
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