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Hudební umění jako realizovaná pravdivost. Podíl Aloise Háby na stavbě a propagaci čtvrttónového klavíru

100%
Reittererova V.
Hudební věda (Musicology)
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2008
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vol. 45
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issue 1-2
125-178
EN
Based on sources, this article sums up the pioneering period of assertion of micro interval music, and Alois Haba's direct participation in the activities of the music avant-garde between the two World Wars. The article covers the period 1923-1946, and is extended by a brief supplement dealing with the post-war fate of Haba's experiment. The article is based mainly on material from Alois Haba's estate, deposited in the National Museum-Czech Music Museum, Prague, in which survives copious correspondence and other material, documenting this particular segment of the history of Czech modern music. Research focused on Haba's co-operation with the August Foerster piano-making firm from Loebau, in Saxony, who had a filial in Georgswalde (today's Jirikov), in Northern Bohemia, and, according to Haba's design, built several quarter-tone keyboard instruments. Supported by and in co-operation with this firm, Haba launched a number of promotional quartertone music concerts, where he was joined, in the role of pianist, by the composer Erwin Schulhoff.
2

KOMPOZIČNÉ PARALELY V KOMORNEJ TVORBE S KLAVÍROM VLADIMÍRA GODÁRA

100%
Ferková E.
Musicologica Slovaca
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2015
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vol. 6 (32)
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issue 2
292 – 306
XX
This study maps the basic features of Godar’s compositional language, particularly in four works: Ricercar for several versions of chamber instrumentation, where the piano has an important sound-painting and harmonic position, Sequence for violin and piano, Talisman for violin, cello and piano, and Sonata in Memory of Viktor Shklovsky for cello and piano, where the piano is both an accompanying and a solo instrument. In these works one can find common denominators: expressive motivic work, movement in tonal, modal, chromatic or atonal space, preference for one interval – for example the minor second (semi-tone) or minor third in combination with triton, rich use of triadic chords from triads through seventh chords to harmonic clusters, and work with contrast in a variety of layers and parameters of musical structure. Apart from the common features, each of the compositions has also its distinctive individual features.
3

KLAVÍRNE ÚPRAVY SLOVENSKÝCH ĽUDOVÝCH PIESNÍ V TLAČENÝCH EDÍCIÁCH 19. STOROČIA

88%
Urbancová H.
Musicologica Slovaca
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2018
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vol. 9 (35)
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issue 1
28 – 102
EN
There were four published editions of piano arrangements of Slovak folk songs by domestic (Slovak) composers (M. Sucháň 1830; V. Füredy 1837; M. Francisci 1892, 1893; A. Piťo – J. N. Polášek 1905, 1906) in the period from the 1830s to the early years of the 20th century. The aim was to define typologically the song repertoire which composers’ worked on (models and their selection), to elucidate the editions of arrangements of Slovak folk songs for piano (publishers, authors, compositional processing), and to identify the sociocultural period associations of these editions, from the ethnomusicologist’s point of view. A hypothesis was tested, regarding to what extent the printed editions of piano arrangements of Slovak folk songs influenced the codification of a certain core repertoire in Slovakia and contributed thus towards forming the national identity of Slovaks.
4

KLAVÍR V ŽIVOTE A TVORBE VILIAMA FIGUŠA-BYSTRÉHO

75%
Bárdiová M.
Musicologica Slovaca
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2015
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vol. 6 (32)
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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.
5

UČEBNICE HUDBY JOHANNY ROTHOVEJ V KONTEXTE TVORBY DIDAKTICKÝCH DIEL

75%
Čepec A.
Musicologica Slovaca
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2017
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vol. 8 (34)
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issue 2
231 – 263
EN
Manuscript textbooks from the first half of the 19th century are, in our judgment, predominantly non-original works deriving from specific printed models, of whose reception they are documentary evidence. In a number of instances there is also an adaptation of the printed models’ texts. We ascribe to Johanna Roth the authorship of the manuscript Základy nástrojovej hudby (Fundamentals of Instrumental Music), focusing on piano playing (Primæ, Lineæ, Musicæ Instrumenalis) and dating from 1816. In our paper we present a comparison of this textbook with Johann Samuel Beyer’s textbook on singing (Anweisung zur Singe Kunst, 1703). Detailed attention is devoted to the music genre characterisation of the works in the textbook’s practical section. To Johanna Roth we ascribe a possible authorship of a textbook of basic doctrine on music and the thoroughbass (Musikalische Frag-Stückh; Haupt-Regel des rechten General-Basses). This work is derived from a work by Daniel Speer (Grund-richtiger Kurtz – Leicht – und Nöthiger jetzt Wohl- vermehrter Unterricht der Musicalischen Kunst, 1697). We present the theme in the context of the development of music education and the diffusion of music-theoretical writing during the first half of the 19th century in Slovakia.
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