Vedecké časopisy a ročenky vydávané na pôde SAV

Zoznam článkov

Musicologica Slovaca


Volume 6, 2015, No. 2

Content:


 

1 Štúdie:

 
  Klavírna kultúra v Bratislave v rokoch 1770 – 1830 (I)
Eva Szórádová

Bratislava/Pressburg, piano culture, keyboard instruments, fortepiano, Johann Nepomuk Erdődy

Te paper presents a picture of piano culture in Bratislava in the second half of the 18th century and especially aſter 1770, the period which saw the hammer piano make a remarkable advance and even win dominance in European musical culture. Te research is based on sources primarily of Bratislava provenance, which document piano culture among various social layers (aristrocratic, bourgeois, church and school milieux) and resulting from the work of influential figures who contributed to its development (composers, teachers, organisers, patrons, musical dilettantes, instrument-builders). Given the broad scope of the question, a selected approach is taken in this study, focusing especially on the circumstances and conditions in which piano culture evolved in Bratislava: opportunities for the cultivation of piano playing, reports on keyboard instruments in the press, concerts and events, manufacture of instruments. Particular attention is devoted to Johann Nepomuk Erdődy and his role in piano culture. Te findings and presentation of sources are confronted with the picture of Viennese piano culture, which, mediated by the activities of a variety of social layers, contributed in a specific manner to the profile of piano culture in Bratislava.

Musicologica Slovaca . Volume 6, 2015, No. 2: 151-175.

 
  Tanečný žáner a klavírna hudba na Slovensku v druhej polovici 19. storočia
Jana Lengová

Slovakia, 19th century, piano, quadrille, mazurka, csardas, waltz, polka, functionality, aesthetic autonomy

Te dance phenomenon was one of the sources of inspiration for piano composers active in the second half of the 19th century in Slovakia. Dance forms were composed with both a utilitarian and an aesthetic function, or there could be a fluent transition between those two poles. Te dance genre was associated with salon music and with the employment of technical virtuosity. Among the favourite dances in society, the quadrille, mazurka, csardas, waltz and polka were particularly loved. A speciality was the so-called Slovak quadrilles composed especially in the 1850s – 1870s, using Slovak folk songs. Te 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. Te paper examines the range of representation of individual dance forms and their musical style characterisation, as well as the relationship between functionality and their musical style characterisation, as well as the relationship between functionality and autonomy in this work.

Musicologica Slovaca . Volume 6, 2015, No. 2: 176-192.

 
  Z nových poznatkov k rukopisnej učebnici "Anleitung zum Klavierschlagen" Michala Godru
Andrej Čepec

piano teaching, piano school, theory, methodology of instrumental playing, Michal Godra, Franz Paul Rigler

Te manuscript textbook Anleitung zum Klavierschlagen by Michal Godra is a type of the textbook for elementary instruction in piano playing in the first half of the 19th century in Slovakia. It is divided into a theoretical and a practical part. Te theme of this paper is presented in terms of the development of piano playing and the methodology of instrument playing, the musical genre characterisation of the compositions included in the practical part of the textbook, and the degree of influence by Franz Paul Rigler’s theoretical works. M. Godra’s piano school is an important source of knowledge of the development of musical education and piano composition in the given period in Slovakia.

Musicologica Slovaca . Volume 6, 2015, No. 2: 193-214.

 
  Organový pozitív v Sáse a význam komplexného organologického výskumu
Štefan Nagy, Andrej Štafura, Naďa Beronská

organ, Sása, Kiszely, organ metal, scaling, intonation, tuning, frequency analysis of sound

Te paper contains new information about the positive organ in the village of Sása (district of Revúca). Te following facts were determined by analysis: the identity of the organ-builder Michal Kiszely; an approximate dating of the instrument’s construction to the 1820s; and the instrument’s precise disposition. Examination of the scaling of all registers showed a resultant scale proportion of 5:8, and also a secondary raising of the cut-up in all registers. From material research of the wooden registers it was found that resonance wood was not used; the resonant Norway spruce was used for a small part of pipes. Tis material will enable us to date the instrument’s construction with the help of dendrochronology. Te metal registers from the organ’s metallic part are composed of an alloy in the proportion of 65% tin and 35% lead. Apart from degradation by woodworm, the original intonation also has suffered damage, as shown by analysis of the frequency spectrum of sound in all registers. Te pitch needs to be retuned in the wooden as well as in the metal registers. Our summary organological findings concerning this instrument can be used in further application outputs.

Musicologica Slovaca . Volume 6, 2015, No. 2: 215-249.

 
  Duchovné piesne v Manuale musico-liturgicum (Editio latino-slavica 1853) Františka Žaškovského
Peter Ruščin

Manuale musico-liturgicum, František Žaškovský, Andrej Žaškovský, ritual, litrugical song, hymn, organ accompaniment to hymn-singing

Te liturgical handbook Manuale musico-liturgicum (Editio latino-slavica) by František Žaškovský (Eger 1853) is the second published Latin-Slovak ritual, aſter the Cantionale Rituale of 1681 by the Piarist Father Mikuláš Hausenka. Te handbook contains liturgical chants and songs for the most important Holy Days and church ceremonies and is designed for organists and singers in the choirs of parish churches. It also includes 31 hymns to Slovak texts, of which 9 have organ accompaniment and two are adaptations for four voices. Te editor, together with his brother Andrej Žaškovský, adopted and modified some hymns from older Slovak hymnals. Apart from that, they also created some texts and tunes of their own. Te Slovak Catholic hymns with organ accompaniment had been published for the first time in 1847 (Martin Eliáš). As compared to M. Eliáš, the Žaškovský brothers worked out their organ accompaniment to the hymns in a more modern manner, using organ interludes in the mode of figurative passages between the lines or musical phrases. Tey attempted to resolve these interludes variably, in an attempt to avoid triviality and mannerism. Teir ideal was rather a classical moderation and sense of proportion, and in this they stand somewhere between the classical school and the new sound ideal of another generation of organists in the second half of the 19th century.

Musicologica Slovaca . Volume 6, 2015, No. 2: 250-265.

 
  Klavír v živote a tvorbe Viliama Figuša-Bystrého
Marianna Bárdiová

Viliam Figuš-Bystrý, piano, music events, composition for piano, symbolism, Secession

Te piano had an important status in the life and music of Viliam Figuš-Bystrý (1875–1937). Te 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.

Musicologica Slovaca . Volume 6, 2015, No. 2: 266-291.

 
  Kompozičné paralely v komornej tvorbe s klavírom Vladimíra Godára
Eva Ferková

Vladimír Godár, chamber works, piano, structural analysis

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 tritone, 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 its distinctive individual features also.

Musicologica Slovaca . Volume 6, 2015, No. 2: 292-306.

 
  Básne zo zbierky Nox et solitudo Ivana Kraska v piesňovej lyrike troch slovenských hudobných tvorcov
Michal Ščepán

Ivan Krasko, songs, analysis, Mikuláš Schneider-Trnavský, Eugen Suchoň, Tadeáš Salva

Ivan Krasko (1876 – 1958), own name Ján Botto, is regarded as the leading figure of literary modernism in Slovakia. His poems have been set to music by several Slovak composers, with most of these adapted poems being taken from Krasko’s best-known collection, Nox et solitudo (1909). Tis work was drawn upon by composers from different 20th century generations, ranging from the older generation of composers, through the adherents of musical modernism, to the representatives of New Music. Te aim of the paper is to present Krasko’s poetry in works for vocals and piano by Mikuláš Schneider-Trnavský (1881 – 1958), Eugen Suchoň (1908 – 1993) and Tadeáš Salva (1937 – 1995), highlighting the genesis of the works studied, their status in the context of these composers’ work, and their artistic significance, using semantic-structural analysis.

Musicologica Slovaca . Volume 6, 2015, No. 2: 307-320.

 
 

Recenzie:

 
  Petr Daněk: Historické tisky vokální polyfonie, rané monodie, hudební teorie a instrumentální hudby v českých zemích do roku 1630. Se soupisem tisků z let 1488 – 1628, uložených v Čechách
Ladislav Kačic


Musicologica Slovaca . Volume 6, 2015, No. 2: 321-322.

 
  Toncrová, Marta – Smutná, Silva (ed.): Lidové písně z Podhorácka I. Náměšťsko a Velkobítešsko
Miriam Timková


Musicologica Slovaca . Volume 6, 2015, No. 2: 323-325.

 
 

Správa:

 
  Musica mediaeva liturgica II. Medzinárodná muzikologická konferencia, Ružomberok, 3. – 4. júna 2015
Eva Veselovská


Musicologica Slovaca . Volume 6, 2015, No. 2