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Vladimír Sommer: Concerto for Cello and Orchestra (1979)
Škodová, Judita ; PETRÁŠ, Miroslav (advisor) ; STRAŠIL, Tomáš (referee)
Vladimír Sommer belongs to the most interesting and significant personalities among Czech composers of the 20th century, his work has not been performed very frequently, though. His Concerto for Cello and Orchestra is a piece almost not known by Czech cellists, which was the greatest motivation to dedicate this thesis to this composition. The first part of the dissertation brings the composer?s biography, a brief characteristic of his work (including a more detailed view on his most important pieces) and a complete list of his compositions. The key part of the thesis is introduced by the history of creation and performing of the piece also being compared with other Sommer?s compositions and presented in the context of his work in general. Then there comes the analysis of each of the three movements of the Concerto and a conclusion of the analysis. The next part presents author?s subjective view on the interpretation of the recording the thesis is based on. In conclusion, there is described the benefit of the work on the dissertation to the author, same as the benefit it would hopefuly bring to other readers.
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Antonin Dvorak - violin concerto a moll, op. 53
Středová, Iva ; ČEPICKÝ, Leoš (advisor) ; KOTMEL, Bohumil (referee)
The first part of this bachelor´s thesis is dedicated to the life and work of Antonín Dvořák, the legend of Romanticism. The paper describes his activities since the early village musicianship through the work in Prozatimní divadlo to the composition of his supreme pieces. The text also mentions his title ?doctor honoris causa?, which he was given by the University of Cambridge. Except for the three years of him directing the New York Conservatory, he acted as the artistic director of the Prague Conservatory. Antonín Dvořák is now worshiped as one of the gratest composers of his time.
The second part of the thesis presents the proceedure of composing of the Violin concert A minor, op. 53, which today undoubtedly forms a main part of the essential repertory of this kind of composition. Dvořák´s concert is surely one of the most convincing pieces in the concert area. The text then focuses on the analysis of the piece and the comparison of the concert records produced by three international interprets.
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Piano Concerto in G major Maurice Ravel's
Vlasáková, Hana ; KLÁNSKÝ, Ivan (advisor) ; KRAJNÝ, Boris (referee)
Abstract
This thesis deals with Maurice Ravel's Concerto for piano and Orchestra in G major. At first, it makes readers acquainted with important matters in author?s life and then it presents a genesis of the work and its first reception. Overview of the main inspiration sources, which are reflected in Concerto in G major follows. On basis of the analysis of harmony, musical form, piano stylization and comments of the first interpreter of the work, Marguerite Long, are formulated conclusions, important for acquirement of appropriate viewpoints for the proper interpretation. These attitudes are confronted with top performances of this composition, first by Marguerite Long and than by renowned pianists from different countries (Leonard Bernstein, Boris Krajný and Hélène Grimaud). Supplement of this thesis is a CD, which documents a few examples of the basque music, which was one of the main inspiration sources of the Concerto in G major and contents recordings of this piece of all above-mentioned pianists.
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Beethoven´s Violin Concerto and its Interpretation
Štajnochrová, Adéla ; MATOUŠEK, Bohuslav (advisor) ; Willi, Barbara Maria (referee)
This thesis focuses on the Violin Concerto composed by L. v Beethoven, its interpretation and the changes in attitude towards the composition within the two centuries of its existence. The paper is divided in four chapters. First of all it provides information based on primary sources about the development and changes in the violin technique and interpretation. After that an insight into the fate of the concerto after its premiere occurs, followed by an account of its performers. The following chapters compare first the different editions of the concerto and later on its numerous recordings. A live recording of the concerto performed by the author accompanied by Musica Florea with the conducter Marek Štryncl makes part the thesis.
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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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Bohuslav Martinů: Second Concerto for Violin and Orchestra H.293
Rumler, Daniel ; TOMÁŠEK, Jiří (advisor) ; Štajnochrová, Adéla (referee)
My paper called Bohuslav Martinů: Second Violin Concerto, original name Concerto pour violon, is divided into five chapters of different lenght and content. The paper firstly provides general information on how the concert was composed, its rendition, recordings and portrayal of the author?s thoughts. This is followed by an in-depth analysis focusing on the formal side of the composition. It was not my aim here to analyse note after note, but to comment on the basic tectonic features and point out the most interesting parts of the score. In these chapters I also pay due attention to the harmonic side, which is a significant component of Martinů?s musical expression. To conclude, I provide some practical information regarding the solo part and its study.
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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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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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