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  1. 3 Musicologica Slovaca

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  1. 3 Bárdiová M.

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1

KLAVÍR V ŽIVOTE A TVORBE VILIAMA FIGUŠA-BYSTRÉHO

100%
Bárdiová M.
Musicologica Slovaca
|
2015
|
vol. 6 (32)
|
issue 2
266 - 291
EN
The piano had an important status in the life and music of Viliam Figuš-Bystrý (1875–1937). The instrument accompanied him all through his life, and almost every day he played for enjoyment and for purposes of study and composition. In the places where he held professional positions, besides performing as choirmaster and conductor he also accompanied singers and instrumentalists. He also played as a member of the chamber groupings which he himself formed and for which he adapted works principally from the repertoire of European classicism and romanticism. In the conformation of his work there are also compositions for piano – dances, compositions for children and youth, and the Sonata in the Doric Scale, op. 103. His repertoire and his own compositions complement our findings on the technical and expressive maturity of Figuš as a performer, and also as a composer who took the compositional resources of late romanticism and expressionism as his starting-point, but relocated them in the style of musical symbolism and the Secession. Figuš’s piano work, extant programmes of events, and his personal diary round off the hitherto-received picture of the composer and of the musical taste and production of his time.
2

PIESNE JÁNA MÓRYHO (1892 – 1978) NA THÁKUROVE BÁSNE

100%
Bárdiová M.
Musicologica Slovaca
|
2011
|
vol. 2 (28)
|
issue 2
230 – 250
EN
The award of the Nobel Prize for Literature in 1913 to the Bengali writer, philosopher and teacher Rabindranath Tagore (1861 – 1941) for the collection Gitanjali created considerable interest in his work in Europe and America. One of the first writers who set his poems to music was the Czech composer J. B. Foerster; others included Leoš Janáček and Alexander Zemlinsky, of the Slovak composers Alexander Albrecht and the others. In 1923 Ján Móry (1892 – 1978) composed Tagore Album, op. 12, a cycle of 14 songs for vocals and piano, which was issued in printed form by the Ries & Erler publishing house in Berlin. This cycle enriched the work inspired by Tagore’s poetry in Czecho-Slovak and European musical culture.
3

HUDOBNÁ MUZEOLÓGIA Z POHĽADU MUZIKOLOGICKÉHO DIELA JOZEFA KRESÁNKA

100%
Bárdiová M.
Musicologica Slovaca
|
2013
|
vol. 4 (30)
|
issue 2
224 - 234
EN
Musical museum-keeping plays have an indispensable role in preserving the musical cultural heritage, which is a part of the spiritual potential of society. This notwithstanding, its theoretical generalisation – musical museology – is seeking out still currently only its place in the systematics of museology and musicology. Valuable suggestions towards the formation of the musical museology may be found in the musicological work by Jozef Kresánek. Particularly, he signals the importance of the existence and activity of music-historical institutes and the monuments which they preserve, treat and present in Hudobná historiografia (Music historiography) (1981) and Úvod do systematiky hudobnej vedy (Introduction to systematic musicology) (1980). He also mentioned the need for a formulation of the methodology and theory of this work and indicated circles of issues concerning the basic functions of museums – selection, storage of treasures, presentation and communication.
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