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THE MOST IMPORTANT AUTHORS OF CLARINET ETUDES AND INSTRUCTIVE LITERATURE
Pátek, Matěj ; HLAVÁČ, Jiří (advisor) ; VENYŠ, Irvin (referee)
In my bachelor’s thesis, I introduce and subsequently compare six important publications of clarinet instructive literature and their authors, and focus on general problems of practising and performing clarinet etudes.
The first chapter answers the question what is an etude, and contemplates the meaning and means of etude practice. Second chapter briefly introduces selected authors (Cavallini, Jeanjean, Stark, Jettel, Zítek and Žebera), discusses their background and one particular work by each of them. Third chapter offers a comparison of the six selected works based on different aspects of clarinet performance and instructional purposes.
The selection of authors and pieces – a subjective basis of this thesis to some extent – finds objectivity through analysis and comparative method. The output of the thesis is mainly didactic and informative.
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Interpretation analysis of sonata Es Dur op.120 No. 2 by Johannes Brahms
Tseliapniou, Kiryl ; HLAVÁČ, Jiří (advisor) ; VENYŠ, Irvin (referee)
This work is an analytical view of the clarinet sonata E flat major of one of the most important German composers in the Romantic period, I. Brahms. German composer Johannes Brahms has created his own and distinctive creative style over time. He is the last one of the foremost German music in the 19th century. The aim of this work is to understand the principle of communication of the holistic analysis of this work and also the understanding of the work done for correct interpretation in the historical context. This sonata, along with the first Brahms sonata, is one of Brahms's favorite works and is repertoire for many performers. This work focuses on the brief history of this sonata, the author's biography of Brahms, the influence of the analysis on the interpretation of the composition and the complete analysis of the sonata.
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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 interpretation of the fundamental clarinet concertos of the 2Oth century in their aesthetic uniqueness and mutability
Venyš, Irvin ; Hlaváč, Jiří (advisor) ; Mareš, Vlastimil (referee) ; Střelcová, Stanislava (referee)
The interpretation of the fundamental clarinet concertos of the 2Oth century in their aesthetic uniqueness and mutability? is dealing with the four most important concertos of the 20 century era: Carl Nielsen ? Concerto for clarinet and orchestra Op. 57 (1928), Aaron Copland - Concerto for clarinet, string orchestra with harp and piano (1948) Jean Francaix ? Concerto for clarinet and orchestra (1967), Jorge Calandrelli ? Concerto for jazz clarinet and orchestra (1986). The thesis deals not only with the genesis of the compositions itself, but mainly the technically most problematic passages of the concertos, from the practical interpretation point of view. It also contains the list of mistakes in the full score and the clarinet part of the compositions.
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Carl Nielsen - Clarinet concerto from the soloist´s perspective
Venyš, Irvin ; Hlaváč, Jiří (advisor) ; Mareš, Vlastimil (referee)
My master´s thesis ?Carl Nielsen ? Concerto for clarinet from the soloist´s perspective? is dealing with interpretation problems, that can appear while studiing the Concerto for clarinet and orchestra Op. 57 written by Carl Nielsen. I have studied this technically as well as musically demanding composition for more than two years. Regarding the time I have spent studiing this work practically and theoretically, I had the oportunity to detect and solve it´s difficulties, practically verifiing my results on the stage. In the second chapter Origins of the concert, I refer, not only to the circumstances of the genesis of the work, but also the musical influences of the composer.
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