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Harpsichord compositions for two players until first half of 18th century
Krupková, Marie ; KNOBLOCHOVÁ, Monika (advisor) ; MRÁZKOVÁ, Giedre (referee)
This thesis focuses on harpsichord repertoire for two players – four hand pieces both on one and two instruments without accompaniment of the other instruments. Thesis includes pieces from 16th century to first half of 18th century.
The first chapter deals with the general development of keyboard music forms from Renaissance to Baroque era. It includes only those forms, which appears in repertoire for two players.
In the second chapter describes forms, musical style and its development in individual countries in Europe during Renaissance and Baroque.
The third chapter gives an analysis of concrete pieces for two players and describes its style and forms.
Last chapter is the list of four hand pieces until first half of 18th century.
Keywords: two harpsichords, four hands, two players, Renaissance, Baroque
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Contemporary Czech Music for Harpsichord
Knoblochová, Monika ; Mrázková, Giedre (advisor) ; Růžičková, Zuzana (referee) ; Willi, Barbara Maria (referee)
Czech contemporary music for harpsichord is extraordinary both in importance and in the number of pieces that have been composed in the past eighty years. But professional literature, surprisingly, has not concerned itself with this subject. (See the chapter ?Critical Evaluation of Literature?.) Because of the size of the topic, apart from summarizing the repertoire of works from the first half of the twentieth century I have devoted myself mainly to a detailed discussion of the five most important Czech composers for harpsichord: Jan Novák, Viktor Kalabis, Marek Kopelent, Jiří Teml, and Jiří Gemrot. The chapters devoted to these individual composers contain a biographical section, analysis of their compositional means, and a complete catalogue of their works for harpsichord giving circumstances of origin, performance instructions, and a brief summary including dedication, recordings, publication, deposition of the autograph, and first performance. A dominant position among the composers chosen is held by Jiří Teml, and a complete recording of Teml?s music for harpsichord on two compact discs serves as the practical part of this dissertation. Besides the above-mentioned information provided for all five chosen composers, the chapter on Teml includes a detailed analysis of his compositional means and procedures. The dissertation also makes use of authentic recollections and commentary by the chosen composers or members of their families, which I consider to be an important contribution to the subject being treated.
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