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  1. 2 Musicologica Slovaca

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  1. 1 2023

  2. 1 2015

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  1. 1 Lengová J.

  2. 1 Venglař P.

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1

KLAVÍR JAKO KOMENTÁTOR SVÉ DOBY A SPOLEČNÍK OPERY

100%
Venglař P.
Musicologica Slovaca
|
2023
|
vol. 14 (40)
|
issue 2
167 - 196
EN
The study investigates piano music in the Czech lands between 1860 and 1910, focusing on its role and the types of pieces performed. The text is divided into two parts. The first part examines the functions of the piano (for example, the omnipresence of piano music and anecdotes associated with it), and the phenomenon of salon music. It also emphasizes the piano’s essential role as an indispensable aid for composers. A table is included between the two parts, providing information on the different functions and presentations of the piano. The second part discusses various genres of piano compositions (for example, salon pieces, virtuoso pieces, and arrangements of existing compositions). The study also provides details about instructional literature (for example, piano textbooks, simple character pieces, etudes).
2

TANEČNÝ ŽÁNER A KLAVÍRNA HUDBA NA SLOVENSKU V DRUHEJ POLOVICI 19. STOROČIA

72%
Lengová J.
Musicologica Slovaca
|
2015
|
vol. 6 (32)
|
issue 2
176 – 192
EN
The dance phenomenon was one of the sources of inspiration for piano composers active in Slovakia in the second half of the 19th century. The dance forms were composed with both utilitarian and aesthetic function, or there could be a fluent transition between those two poles. The dance genre was associated with salon music and with the employment of technical virtuosity. Among the favourite dances in society, the quadrille, mazurka, czardas, waltz and polka were particularly loved. The so-called Slovak quadrille was a speciality composed especially in the 1850s – 1870s, using Slovak folk songs. The dance genre evoked a response from such composers as Jozef Rizner, Ján Egry, Emil Kovárcz, Leopold Dušinský, Maximilián Hudec, Ján Levoslav Bella, Štefan Fajnor, Ignác Boldiš, and many others. The paper examines the range of representation of individual dance forms and their musical style characterisation, as well as the relationship between functionality and autonomy in this work.
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