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The Magic flute with a focus on Papageno
Mazár, Matúš ; JANÁL, Roman (advisor) ; BÁRTA, Martin (referee)
Abstract:
The purpose of this bachelor ́s thesis is to describe the opera The Magic Flute by
Wolfgang Amadeus Mozart with an emphasis on the role of Papageno, its
development and attributes. As an introduction into the theme of the work, we will
acquaint ourselves with the opera as a musical form and ist historical development.
Then i will focus on the composer Wolfgang Amadeus Mozart and his other important
works. Finally, i will focus on my own view of this role, drawing inspiration from my
own experience interpreting it.
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W. A. Mozart - Piano concerto in d minor
Pawlowská, Marie ; KAHÁNEK, Ivo (advisor) ; MALÝ, František (referee)
The aim of this thesis is to analyse the 1st movement of the Piano concerto in d minor written by Wolfgang Amadeus Mozart and – concerning this analysis – to find out what the main elements of this music are. Therefore, the purpose of this thesis is not only to analyse the composition, but also to discover basic information about it to help interprets play the concerto in the right way.
After the opening part, that concerns with Mozart’s works in general and the extraordinariness of the concerto in d minor, there is a vast analysis of the individual musical elements, which contains generalization of the previously described musical speech concerning each particular musical element.
The final part stems from the finding of the analysis and describes how to apply them into the interpretation. The author also uses four recordings to analyse and compare them to stress the previously declared statements. In conclusion the author generalizes all the achieved pieces of knowledge, theoretical as well as practical, to enable their utilization in practice.
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FUNCTION AND APPEARANCE OF DOUBLE BASS IN THE LIFETIME OF W. A. MOZART
Hudec, Pavel ; HUDEC, Jiří (advisor) ; ŽALUD, Radomír (referee)
The double bass is among all the other string instruments a very rare one, as to it’s
original development, which differs from the other string instruments. It does not have a
unified number of strings and tuning, as one of the last instruments being currently used. I
would like to put an emphasis on the fact, that the name of W. A. Mozart is figuring only as
an orientation in time, as a kind of brackets to defy the period, which I am describing. It is
also a symbolism; Mozart’s name is very closely related to the city of Vienna, which has in
his time witnessed successes of double bass as a solo as well as a chamber instrument.
In my work I would like to concentrate mainly on this period, and on the periods being
closely related to it and show the different ways and purposes, how this instrument was
being used. For a more authentic look into this age I also translate some crucial
documents, which have not been translated to the Czech language yet. The main aim of
this work is to give a general view about three main countries, where the musical life was
being formed, that is to say in France, Italy, and the German speaking countries.
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The Marriage of Figaro, focusing on the role of the Countess
Viskotová, Edita ; PŘÍVRATSKÁ, Jiřina (advisor) ; HAJÓSSYOVÁ, Magdaléna (referee)
This diploma thesis deals with the theme of Mozart's opera The Marriage of Figaro, focusing on the role of the Countess and her contextualisation into the work of W. A. Mozart. The fundamental objective of this thesis is to analyze Mozart's work in the broader context of the composer's life story, the plot of the opera and interpretative concept of the role of Countess by three selected protagonists. A secondary aim of the thesis highlights the importance of Mozart's operas in music history. The introductory part covers the life of Mozart, followed by an overview and analysis of the formation of his operas. The main part is the analysis of The Marriage of Figaro and the Countess role in various concepts. Conclusion of the thesis confirms the hypothesis of Mozart importance for the neo-classical opera.
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Working on the character of Tamoni in The Magic Flute
Bragagnolo, Michal ; HAJÓSSYOVÁ, Magdaléna (advisor) ; KUSNJER, Ivan (referee)
This bachelor thesis titled " Workong on the character of Tamino in The Magic Flute" is intended to familiarize the reader with the author´s work on the role - play in the staging of the opera The Magic Flute. It also shows the reader how such preparation of the singer should ideally look like.
The author focuses on W.A. Mozart and also on circumstances that influenced his work, especially on the influence of Freemasonry. The thesis reveals the symbolism of Freemansonry, its elements used in the opera The Magic Flute and connects them primarily with the character of Tamino.
The author also describes the whole process of rehearsing - singing staging, stage rehearsing and rigours of this creative process.
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W.A.Mozart - Don Giovanni - Zerlina
Perná, Barbora ; HAJÓSSYOVÁ, Magdaléna (advisor) ; MÁROVÁ, Libuše (referee)
This bachelor´s thesis specializes on Wolfgang Amadeus Mozart, his opera Don Giovanni and especially the part of Zerlina. I would like to introdukce closely the autor himself and also this musical piece which is - in my opinion - considered " the opera of all operas". I would like to offer different points of view at performing the part of Zerlina. This part is so complex that offers sereval different options of interpretative approach and every one of them may be right. The aim of this thesis is tho show that this part does not be percepted just as a naive peasant girl, but i tis a art of unusual beauty and worthy of being written about.
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DON GIOVANNI History of art, its creation and interpretation of the opera in the 20th century
Lieberzeit, Michal ; OTAVA, Martin (advisor) ; NEKVASIL, Miloslav (referee)
The master thesis "Don Giovanni - history, its origin and interpretation in the 20th century" is dealing with an entire development of the opera and it reflects staging approaches of the 20th century. The thesis offers a brief analysis of the opera and the literary work it is based on. Furthermore it summarizes information about the origin of the work and its creators. Finally in the supplement there are cast lists of the productions of National Theatre Prague, photographs and pictures of the production in various opera houses worldwide.
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The Original Version of Mozart's Concert for Clarinet
Liebigová, Veronika ; MAREŠ, Vlastimil (advisor) ; HLAVÁČ, Jiří (referee)
The bachelor thesis is focused on Mozart´s concert for clarinet (K. 622) and related events, such as its genesis and first showing.
The thesis describes the life of the first interpreter, Anton Stadler. I tried to put his curriculum vitae together from fragmentary notes in various publications and encyclopedias. To this chapter, I added a text concerned on the author W.A. Mozart and his putative friendship with Anton Stadler. Further, I focused on the original version of the concert, written for another instrument that has not been preserved till today. Nowadays, the interpretation of the concert often differs because of another register of today´s instruments. Showing examples of clarinet part in the chapter on original version of the concert I tried to specify situations, where the original instrument may be used. The main sources of the research introduced in my bachelor thesis were documents written in English, German and also some Czech publications. My aim was to sum up elder data and enrich them by new insights gained during my studies of these publications and records. I also dedicated one chapter to important Czech and foreign clarinettists who were involved in the interpretation of the concert. In conclusion, I analyzed two different interpretations of the Mozart´s concert by Sharon Kam and Charles Neidich.
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Mozart´s songs from the perspective of the interpreter
Pavlovič, Lenka ; DOLEŽAL, Vladimír (advisor) ; PŘÍVRATSKÁ, Jiřina (referee)
The following theoretical work titled MOZART'S SONGS FROM THE PERSPECTIVE OF THE INTERPRETER has been written on the grounds of the personal experience of the author with the interpretation of Mozart's work. It discusses the history of the origin of nine selected songs, which have been analysed from the vocal-interpretive standpoint and from the standpoint of tectonic structure and musical form. Primarily, the analysis is an expert treatise of the vocal technique field enriched by the components of the historically informed interpretation.
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