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The bassoonist of the Czech Philharmonic Orchestra
Hlavatý, Petr ; Herman, František (advisor) ; Seidl, Jiří (referee) ; Hlaváč, Jiří (referee)
My chief aim of the bachelor thesis is a brief history of the Czech Philharmonic Orchestra with the connection with National Theatre in Prague and overview bassoonist of the Czech Philharmonic Orchestra until its genesis (as the date emergence of the Czech Philharmonic Orchestra is assumed January 4th , 1896) till the present. In the next part there are overview the most important personality included short biography and their most important recording or some other theoretical and practical treatise. The last part is overview all solo bassoon concerts with the Czech Philharmonic Orchestra since 1930. As the main source of information was used various publication about the Czech Philharmonic, information from archives the Czech Philharmonic Orchestra and National Theatre in Prague, dictionary of music and firsthand information of the Czech Philharmonic.
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Francis Poulenc - chamber compositions for bassoon
Skalický, Radovan ; Seidl, Jiří (advisor) ; Herman, František (referee) ; Hlaváč, Jiří (referee)
Francis Poulenc became famous as a member of a group of composers which was founded in the beginning of the 20th century in Paris and is known as a Group ?Les Six?. With Poulenc also Darius Milhaud, Arthur Honegger, Georges Auric, Louis Durey and Germaine Tailleferre take part in it. Their music doesn?t have much more common, though they are usually assigned to a stream of musical neoclassicism. Great inspiration for the group was a person of Eric Satie; their speaker was then Jean Cocteau, whose manifesto The cock and Harlequin says a lot about philosophical ideas of the group.
Francis Poulenc was born on 7th of January 1899 in Paris and lived there for a most of his life. He studied by Ricardo Viñes (piano) and Charles Koechlin (composition). He was a famous pianist at first (in Duo with baritone Piérre Bernac or soprano Denis Duval), then he became reputable also as a brilliant composer. He died of a heart attack on 30th of January 1963.
By Poulenc we would find works from every music forms and genres. Mostly he wrote songs and piano music. Famous are also his operas (e. g. Les Mamelles de Tirésias or Dialogues des Carmélites), then concertos (e. g. Concert for piano and orchestra or Concert Champêtre for harpsichord) and also his religious music (Litanies à la vierge Noire or Stabat Mater). But among listeners his chamber music is loved the most, critics value its balance and beautiful melodies.
In three of his chamber pieces there is written a bassoon part: In Sonate for clarinet and bassoon (1922), in Trio for oboe, bassoon and piano (1926) and in Sextuor for flute, oboe, clarinet, bassoon, French horn and piano (1939). Each of these pieces has its own specificity and bassoon is there used different way. Sonate for clarinet and bassoon is based on the part of clarinet. Bassoon plays there only figurations and leaps as an accompanist. In Trio piano plays the main role and couple of oboe and bassoon second it. Though they are not only the accompanists, but they play also much of the piece themes. The last piece, Sextuor, is then well balanced chamber composition, in which all instruments are equally used.
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METHODICS AS THE PRIMARY FACTOR OF MUSICAL
Makarovič, Jozef ; Seidl, Jiří (advisor) ; Herman, František (referee)
This thesis discusses development of a student of music. It analyses
development as a result of student?s predispositions and capabilities. In addition,it points to the negative factors which inhibit musical development and provides practical solutions and recommendations. It elaborates on pedagogical approach of a teacher who has a primary contribution to utilizing student?s potential in
music.
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Issues of education of young bassoon players on basic school of arts
Svoboda, Lukáš ; Herman, František (advisor) ; Seidl, Jiří (referee)
This diploma thesis will firstly describe general characteristics of bassoon and dispositions for playing this instrument (e.g. body control and holding of instrument). Issues of breathing and work with embouchure, thus discussed but rarely explained problems, will follow. We will also touch anatomy a little bit. We will continue with questions of start and creation of sound then. After description of bassoon double reed and its adjustment for individual pupils we will finally get to the most important part of the thesis work during lesson. Finally two often solved problems will be added tune and practice of difficult tirades. Thesis is concluded by list of sheet music I am using currently.
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Bassoon teachers in eighteenth and nineteenth century
Horáková, Lucie ; Seidl, Jiří (advisor) ; Hlaváč, Jiří (referee)
This work is about main bassoon teachers of 18. and 19. century their lives and works. My choice of personalities has two criteria. First is country, where they had been working most of theirs lives. In this work i decided to choose France, Germany and of course Czech countries. Exactly said in France and Czech countries I have limited myself only to Paris and Prague Conservatory. Second criterion was that all mentioned teachers are authors of tutors or other educational matherial (there are some exceptions, but there are also added reasons, why were they chosen here). Big part of this work include comparing
bassoon methods described in tutors from eighteenth and nineteenth century.
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