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Interpretative analysis of various recordings of the 8th symphony of Antonín Dvořák, op. 88
Šalšová, Kristina ; SVÁROVSKÝ, Leoš (advisor) ; FARKAČ, Hynek (referee)
The Eighth Symphony written by Antonín Dvořák with the often referenced subtitle “English” and opus number 88, is one of the core pieces not only of the Czech symphonic repertoire. In this work I deal with the comparison of five different recordings of this work. Recordings are chosen to represent not only the individual epochs of the 20th century, but also the contemporary aesthetics of this symphony. I compare the recordings of Rafael Kubelík, Karel Ančerl, Libor Pešek, Vladimír Válek and Jiří Bělohlávek. For these conductors, at the time of recording, this piece was one of the basic works in their repertoire. We cannot apply the same thing to all orchestras; some of them played the song for the first time. For each recording, its sound properties are assessed, taking into account the time options. Recording teams have achieved remarkable recordings even in earlier times on which, of course, their great share also had great conductors, who we follow in the interpretation of the main Czech symphonic works until today. Then there are dynamic, tempo or agogic differences, including the scope of work and musical logic. By repeated listening, I was getting more and more detail and finding that one and the same symphony could be interpreted quite differently without having to designate one of the interpretations as the most successful. It is also necessary to point out that not the same musical means will be appreciated by the listener at a live concert or studio recording. An interesting category is so-called live recordings from concerts.
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Conductor - Partner
Mimrová, Jana ; KOUTNÍK, Tomáš (advisor) ; FARKAČ, Hynek (referee)
The conductor’s cooperation with the soloist is an essential and indispensable part of the conductor's profession, not only in the domain of conducting the opera but also in the area of conducting the symphony orchestra. The second part is dedicated to this work, with a specific analysis of the work from the concert, in which the author touched his own experience of working with soloists.
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Opera The Tempest by Zdeněk Fibich
Šedivý, Marek ; FARKAČ, Hynek (advisor) ; PAŘÍK, Ivan (referee)
The diploma thesis deals with opera The Tempest, Op. 40 by Zdeněk Fibich. Its task is to clarify the genesis of the work, its place in the context of the opera works written by this composer, mapping productions of the Tempest in Czech Republic and Slovakia, supplemented by a pictorial attachment from some historical productions. The main focus of the thesis is the dramatic analysis of the opera, which describes the basic differences between libretto (written by Vrchlický) and the William Shakespeare's original. The thesis also deals with the basic characteristic of characters and contains a list of Leitmotifs with examples. In the end of the thesis you will find a music and dramatic analysis of three particular places of the opera Tempest.
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ORCHESTRAL WORKS OF WOJCIECH KILAR FOCUSING ON ORAWA
Erlebachová, Marie ; FARKAČ, Hynek (advisor) ; BOGUNIA, Stanislav (referee)
This thesis is focused on the orchestral works of the Polish music composer Wojciech Kilar and mainly on his composition which is called Orawa. The first part of the thesis is devoted to the personality of the author and his creative period. The second part deals with all the purely orchestral compositions of Wojciech Kilar, with the works Choralvorspiel, Générique, Kościelec 1909, Krzesany, Mała uwertura, Przygrywka i kolęda, Ricordanza per archi, Riff 62, Springfield Sonnet, III. Symphony "September Symphony" and Uwertura uroczysta. The last and the main part of the thesis deals with the composition called Orawa. There is not only the inspiration and the circumstances under which the piece was composed but also analysis of form, harmony and the dynamic form. There are also enclosed graphs showing the texture, form, harmony and higher-order rhythm of the composition.
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Italian comic opera of the 18.century
Galanis, Georgios ; FARKAČ, Hynek (advisor) ; SPURNÝ, Vojtěch (referee)
The theme of the bachelor thesis, is actually a sherical view on the 18th century Italian comic opera, which developed in Naples, Venice, Rome and other Italian cities simultaneously. It contains biographies of the most important composers and libretists of this genre and a clear view of its development throughout the century. The Italian opera buffa is one of the most essential and interesting topics in the history of music, therefore making itself quite attractive for me to discover.
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Conductors - composers
Šindelářová Shuklina, Valentina ; Farkač, Hynek (advisor) ; Koutník, Tomáš (referee) ; Baxa, Norbert (referee)
In my dissertation " Conductors - composers" I was trying to make a transparent and particular list of life of famous conductors who composed music, and famous composers who became also conductors and analyse some of their works. I was interested in the tempoval and historical conditions sharoing thein personality´s reasons why they were spending their time to both areas beány like a conductors and composers. For each conductor, I tried to summarize his contribution to the conductors post, his influence on the developoment of the music scene in the countries where he worked, and benefit that he brings to institution and orchestras he was working with. I analised thein composing styles and techniks they used and the history of performing of these works. The contemporary Czech conductors, that I prezent here, I took a short interview about how they perceive themselves, and how they feel about combination of these two professions.
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The Conductor as a Promotor
Krausová, Andrea ; Koutník, Tomáš (advisor) ; Farkač, Hynek (referee)
Thesis defines the different categories of music suitable for promotion, dealing with the various factors that may affect the choice of repertoire. Furthermore, concerns the problems of audience and its reguirements for the marketing of music. In conclusion, the author suggests other possible methods of promoting music and the role of conductor in this area.
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Symphonic pieces by Zdeněk Fibich
Židek, Tomáš ; Farkač, Hynek (advisor) ; Farkač, Hynek (advisor) ; Svárovský, Leoš (referee)
The work ?Symphonic pieces by Zdeněk Fibich? dissertates both analytically and synthetically a very remarkable and nowadays almost forgotten chapter of czech romantic orchestral compositions. Besides formal and contentual analyses of particular pieces and context of their origin, it deals also with aspects and possibilities of their dramaturgical applicability in contemporary era.
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Regularities of orchestral play and and their significance for the conductor in the process of studying a piece
Vrabec, Ondřej ; Bělohlávek, Jiří (advisor) ; Bělohlávek, Jiří (advisor) ; Farkač, Hynek (referee)
Every game has its rules. A person with a healthily developed social instinct learns to respect them already since an early age. Have you crushed another person's mud pie, have you had your eyes open during the game of hide-and-seek, haven't you paid a forfeit while playing spin the bottle? Out goes you! Game rules are one of the few real examples of equality among people. In principle, while disregarding individual abilities, everyone has the same starting conditions on the starting line. Neither is the orchestral play spared the necessity of rules. They are numerous, highly sophisticated and moreover, they are individually tinged and vary from one ensemble to another. As human society has not managed, in the thousands of years of its existence, to establish rules for observing rules (and it could not have been managed), thus rules are being broken in the relationship of the conductor and the orchestra. What is more, many conductors do not have an idea about their existence. However, looking for rules and understanding them is a necessary precondition for achieving any artistic aim in a quick and effective way. Unfortunately they are not taught at schools, nor dealt with in books. In accord with my previous bachelor work I claim that the door to fully comprehend the rules will be opened mostly to the conductors, who learnt to know the orchestra from the inside and gained an irreplaceable experience of an orchestral player. The others must obtain necessary knowledge in the painful manner of trial and error virtually in the course of full operation of the orchestra, if they are motivated to look for them at all (in the best of cases). This study attempts to analyze some of the key rules of orchestral play in association with particular conductor approaches (introduced anonymously), so that it can hold the mirror of self - reflexion up to the conducting profession. The mirror is small with its format A4, but it is highly transparent and thus it brings a picture (to me at least), which is not distorted in any way, the picture of different prerequisites for the profession of a conductor and an orchestral player...
The work is divided into three major thematic spheres. The first one is concerned with the laws of creating orchestral colours. It illuminates the significance of sound timbre as an indicator of correctness of play technique practices and coordination of a group of homogeneous instruments in time micro - intervals. It deals with the specific ability of some instruments to thicken orchestral sound, including solution proposals. It ponders on the question of an effective use of vibrato as a means of expression in the relation to the timbre quality of sound. It describes techniques of blending instrumental timbres convincingly. It also touches marginally upon the influence of the seating of an orchestra on the resulting sound performance and principles of sound behaviour in an acoustic space.
The second chapter is dedicated to intonation. It emphasizes that a convincing result of intonation cannot be separated from tone timbre. It analyzes in much detail the problematics of fluctuation of orchestral intonation, the clash of tempered and natural tuning, combined intonation of instrumental sections, the influence of seating of an orchestra on the intonational orientation of players, balancing and tuning of consonances and other laws.
The last chapter concerns psychology of the play. It deals with mutual relations of the conductor and orchestra and it seeks ways in which the conductor can assist the players during the play from the psychological point of view.
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