In: Musicologica Slovaca , vol. 6, no. 2
Marianna Bárdiová
Detaily:
Rok, strany: 2015, 266 - 291
Kľúčové slová:
Viliam Figuš-Bystrý, piano, music events, composition for piano, symbolism, Secession
Typ článku: 1 Štúdie
O článku:
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.
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.
Ako citovať:
ISO 690:
Bárdiová, M. 2015. Klavír v živote a tvorbe Viliama Figuša-Bystrého. In Musicologica Slovaca , vol. 6, no.2, pp. 266-291. 1338-2594.
APA:
Bárdiová, M. (2015). Klavír v živote a tvorbe Viliama Figuša-Bystrého. Musicologica Slovaca , 6(2), 266-291. 1338-2594.