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J. Haydn - Works for French Horn
Dekoj, Viktor ; DIVOKÝ, Zdeněk (advisor) ; BABORÁK, Radek (referee)
This thesis focuses on musical pieces writen by J. Haydn which feature horn as a solo or prominent instrument. That includes solo concerts, double concerto, chamber and orchestral music.
Authors biography focuses on orchestras which he worked with and on abilities of players which he wrote his music for.
The work lists solo pieces, chamber pieces and orchestral pieces that feature the horn.
This thesis concludes with analysis of horn concerto Hob. VIId:3.
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Clarinet´s Concertant Pieces by Viktor Kalabis
Černohouzová, Jana ; HLAVÁČ, Jiří (advisor) ; MAREŠ, Vlastimil (referee)
My Bachelor Thesis "Clarinet´s Concertant Pieces by Viktor Kalabis" is aimed on life and work of Viktor Kalabis. The first part of my Bachelor Thesis deals with composer´s career and life reflecting into his work. In the second part I write about evolving of his compositional technique and about factors that affected it. Subsequently I mention pieces for clarinet that I divide into two groups. The first of them contains pieces without opus number; these were not determined by the composer to be performed. With more details I write about pieces with opus number that extend contemporary clarinet repertoire. Mainly I deal with interpretation issue of his work for clarinet. In particular analysis of these pieces I wanted to point on progress of his compositional technique and also on Kalabis? characteristic methods that stay still the same.
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Concerts for One Piano and Strings by J. S. Bach
Raková, Iva ; MALÝ, František (advisor) ; KLÁNSKÝ, Ivan (referee)
This bachelor thesis deals with concertos for one piano and strings by Johann Sebastian Bach. Because of the fact that these works are rather neglected literature in our country, this thesis describes genesis of these concertos which were composed for the Leipzig music society Collegium Musicum, whose artistic director Bach was. This work further analyses their origin, since all of them are transcriptions of other concertos for a melodic instrument (some of the patterns got lost but several of them are performed as violin concertos). The thesis marginally deals also with interpretation of Bach`s works on a modern piano with regards to piano concertos. Last but not least, it approaches Bach as a composer, performer and pedagogue.
Although Bach`s concertos for one piano and strings are mere fragment of his works for keyboard instruments and are transcriptions of other concerts, they lose nothing from their artistic qualities and definitely do not stand behind other Bach`s piano compositions.
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Bohuslav Martinů - Cello Sonata Nr. 1
Vokáč, Ivan ; PETRÁŠ, Miroslav (advisor) ; KAŇKA, Michal (referee)
Bohuslav Martinu's Cello Sonata No. 1 has recently became part of the traditional repertoire of cellist, and because the author of this thesis was deeply impressed by the piece, he decided to study the composition not only a practically but also theoretically (harmonic, formal, historical and analytical), work is divided into four chapters. The first one is devoted to the composer's biography, the second one summarizes and puts all the Martinu sonatas for this instrument into context. Next chapter is a detailed formal analysis of this work and the last is devoted to the interpretatiion analysis of records of three renowned artists.
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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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Mauro Giuliani : Guitar Concertos
Zelinka, Aleš ; RAK, Štěpán (advisor) ; ZELENKA, Milan (referee)
In my thesis, I would like to emphasise to general consciousness relatively few played (but well known) guitar concertos of the guitar virtuoso and composer, living at the end of 18th century and the beginning of 19th, Mauro Giuliani. I would like to perform it in such a manner, that in the first part, I will set his musical personality into a context of his time and shortly describe his musical career and whereabouts, especially in a relation with many signifiant personalities from his surrounding, with who he has collaborated with, or got inspiration from, so that it influenced his work.
In the next part, I would cite all the major fields of his work and evaluate them from today?s perspective as a performer. Technical requirements of his compositions are very individual and therefore the author is very valuable for a wide range of guitarists. Many of Giuliani?s compositions are very few known, so I would like to especially pick these up to attention, that I consider they don?t deserve to be quite forgotten or overlooked.
Then, in the following chapter, I will analyse the 3 existing guitar concertos. That should be the core of my thesis. Especially, I would like to focus on 3rd concerto F-major op.70, originally written for the terz guitar.
At the end, I will make an emphasis on the meaning of his concertos in the way, that I sum up the conclusions from the previous chapter. From the perspective of classical guitar literature are these concertos very valuable, because in comparison with some other instruments, we have a very few of them in general. Especially from this period of time and this quality.
Aleš Zelinka
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