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Comparative analysis of Bach's Second Partita and Eugene Ysaye's Sixth Sonata
No full textU ovom diplomskom provedena je analiza te potom učinjena usporedba dviju skladbi: Druga partita Johanna Sebastiana Bacha sa Šestom sonatom Eugenea Ysayea. Metode korištene pri pisanju navedenog rada u literaturi poznate su pod nazivom metoda analize i komparacije. Sadržajno, diplomski rad podijeljen je u tri dijela kroz koje čitatelji imaju priliku upoznati se s općim kontekstom tematike, a nastavkom čitanja se ista specificira te osobnim zaključkom rad privede kraju. U prvom dijelu iznošena je biografija skladatelja čije su skladbe bile izabrane za temu dotičnog rada. Nakon biografija prezentirat ću širi kontekst u kojima se skladbe nalaze. U drugom slijedi analiza svake skladbe zasebno. Naposljetku, u trećem dijelu iznijet ću sličnosti i razlike između dvije uspoređenih kompozicija.In this thesis an analysis was conducted and a comparison made between two compositions: Johann Sebastian Bach's Second Partita and Eugene Ysaye's Sixth Sonata. The methods used in the writing of this thesis are known in the literature as the methods of analysis and comparison. In terms of content, this thesis has three parts through which readers have the opportunity to familiarize themselves with the general context of the topic, and by continuing to read, it is specified and the work is brought to an end with a personal conclusion. In the first part, the biography of the composer whose compositions were chosen as the subject of this thesis are presented as well as the the broader context of the compositions. In the second part, each composition is analyzed separately. Finally, in the third part, the similarities and differences between the two compared compositions are presented and discussed
Koncert Gudačkog komornog orkestra Muzičke akademije (Gudački komorni orkestar i solistica Tonka Philips (viola), 9. 3. 2023.)
No full textTreći dio snimke koncerta održanog na Muzičkoj akademiji u Koncertnoj dvorani "Blagoje Bersa" 9. 3. 2023. Izvođači: Gudački komorni orkestar Muzičke akademije Sveučilišta u Zagrebu, solistica Tonka Philips (viola). Umjetničko vodstvo: red. prof. art. Anđelko Krpan. Program: 1. Georg Friedrich Händel: Concerto grosso u d-molu, op. 6, br. 10 (Ouverture / Allegro – Lentement – Allegro – Allegro – Allegro moderato); 2. Johann Georg Benda: Grave za violu i gudače; 3. Milko Kelemen: Koncertantne improvizacije (Allegretto – Andante sostenuto / Allegro giusto – Moderato assai – Comodo – Allegro scherzando – Molto vivace, quasi presto); 4. Dmitrij Šostakovič: Simfonija za gudače u As-duru, 118a (Andante – Allegretto furioso – Adagio – Allegretto)
The role of the conductor in studio recording
No full textUvodna anegdota na neki način sublimira gotovo cijelu problematiku teme ovog diplomskog rada. Od izbora repertoara, izvođača i prostora u kojem se snima, tehnologije snimanja, vremenskih ograničenja, pripreme dirigenta, izvođača i tehničara, do same filozofije, razloga te načina snimanja glazbenog djela. Cijeli proces je razrađen prvenstveno iz perspektive orkestralnog dirigenta kroz tri faze nastajanja snimke: priprema, snimanje i post-produkcija.In a way, almost the entire subject of this thesis is sublimated in the introductory anecdote. From the choice of repertoire, performers, and venues in which to record, recording technology, time constraints, and the preparation of conductors, performers, and technicians, to the very philosophy, reasons, and methods of recording a piece of music. The entire process is elaborated primarily from the perspective of the orchestral conductor through three phases of recording: preparation, recording and post-production
Ela Radman Mršić, violončelo : drugi dio diplomskog ispita
No full textDrugi dio snimke drugog dijela diplomskog ispita Ele Radman Mršić (violončelo), studentice Muzičke akademije Sveučilišta u Zagrebu.
Ispit je održan na Muzičkoj akademiji u dvorani Huml 27. 6. 2023.
Klavirska pratnja: Nadia Varga Modrić, v. umj. sur.
Mentor: prof. art. Krešimir Lazar
Program: 1. Gaspar Cassadó: Ples zelenog đavla ; 2. Vlado Sunko: Ispovid šesta ; 3. Sergej Rahmaninov: Sonata za violončelo i klavir u g-molu, op. 19 (Lento-Allegro moderato – Allegro scherzando – Andante – Allegro mosso
The role of Lucia di Lammermoor - technical and dramatic challenges
No full textOvaj diplomski rad bavi se operom Gaetana Donizettija “Lucia di Lammermoor”. Najprije je prikazan životopis Gaetana Donizettija s fokusom na njegovo operno stvaralašto i nastanak priče o Luciji di Lammermoor - od romana Sira Walterja Scotta do libreta Salvadora Cammarana i Donizettijeve verzije ove priče u operi. Za tim je napisan kratak sažetak sadržaja opere i dublja analiza svake arije i ansambla u kojem se pojavi uloga Lucije sa naglašenimi tehničkimi i glumačkimi izazovi. Avtorica rad završava sa osobnim iskustvom učenja role Lucije di Lammernmoor, pjevanjem njezinih arija na sceni i inspiracijom koju traži kroz snimke povijesno značajnih i aktualnih pjevačica.This master researches the opera "Lucia di Lammermoor" by Gaetano Donizetti. First, Gaetano Donizetti's biography is presented with a focus on his opera work and the origin of the story of Lucia di Lammermoor - from Sir Walter Scott's novel to Salvador Cammarano's libretto and Donizetti's version of this story in the opera. Following is a short summary of the opera's content and then a deeper analysis of each aria and ensemble in which the role of Lucia appears with emphasis on technical and acting challenges. The author ends the work with the personal experience of learning the role of Lucia di Lammernmoor, singing the arias on stage and the inspiration that she seeks through recordings of historical and current important singers
Achieving sound on the piano in correlation with the stylistic characteristics of music
No full textIzvedba skladbi koje pripadaju bogatoj klavirskoj literaturi zahtjeva poznavanje šire glazbene literature, stilskih odrednica, povijesnog konteksta, jasnu glazbenu predodžbu i spretnost sviračkog aparata. Izvedba predstavlja sintezu tih aspekata, a u procesu pripreme najviše vremena posvećuje se osposobljavanju sviračkog aparata u svrsi realizacije glazbene predodžbe. Ovaj rad nada se prikazati neke temeljne aspekte tog procesa i krajnje realizacije u kontekstu raznih glazbenih epoha.Performance of compositions belonging to the rich piano literature requires a deep understanding of the broader musical repertoire, stylistic conventions, historical context, a clear musical conception, and technical proficiency. Performing represents a synthesis of these aspects, with the preparation process requiring dedicating a significant amount of time to the preparation of the performer's playing mechanism in order to realize the musical conception. This paper aims to illustrate some fundamental aspects of this process and its ultimate realization in the context of various musical epochs
Analysis of Sonata No. 26 in E flat major, Op. 81a by Ludwig van Beethoven
No full textLudwig van Beethoven, bez sumnje, spada među najutjecajnije skladatelje svih vremena. Unatoč skromnom početku i teškoj bolesti koja je rezultirala gubitkom sluha, analiza njegove sonate opus 81a „Les Adieux“ pokazuje njegovu umjetničku izražajnost. Ova iznimna sonata nastala u razdoblju od 1809. do 1810. godine smatra se jednim od najzahtjevnijih djela u Beethovenovom opusu. Posvećena nadvojvodi Rudolfu, čiji je prisilni odlazak iz Beča uslijed Napoleonovog napada bio duboko emotivan trenutak za Beethovena, "Les Adieux" je nastala kao posljedica njihovog bliskog prijateljstva. Ova izuzetno emocionalna sonata jasno svjedoči o zrelosti skladatelja, kao i njegovoj inovativnosti. S tri stavka nazvana redom "Lebewohl", "Abwesenheit" i "Wiedersehen", sonata nas uvodi u dubinu izraza. Formalna analiza otkriva da su prvi i treći stavak primjeri klasičnog sonatnog oblika, obuhvaćajući ekspoziciju, provedbu i reprizu. No, daljnja tehnička analiza osvjetljava kompleksnost ovog djela. Iako na prvi pogled izgleda jednostavno, sonata zapravo sadrži mnoštvo dijelova koji otkrivaju razrađene skladateljske tehničke vještine. Beethovenova karakteristična brza promjena dinamike postaje očigledna u interpretativnoj analizi. Ove nagle fluktuacije doprinose razotkrivanju dubokih karakteristika same skladbe te nam omogućuju dublji uvid u njezin karakter.Ludwig van Beethoven is without a doubt on of the most influential compositors of all time. Despite his humble beginnings and serious disease which caused his deafness, the analysis of sonata op81.a "Les adieux" shows his artistic expressiveness. This extraordinary sonata was created in years 1809 and 1810. And it's considered as one of the most difficult pieces in his opus. Dedicated to archduke Rudolph, whose forced departure from Vienna due to Napoleon's attack was deeply emotional for Beethoven, "Les adieux" was inspired by their close friendship. This exquisetly emotional sonata, shows us the matureness of the compositor and his innovation.. With three movements named respectively "Lebewohl", "Abwesenheit" and "Wiedersehen", the sonata introduces us to the depth of expression. Formal analysis reveals that the first and third movements are classic examples of sonata form, comprising exposition, execution and reprise. However, further technical analysis sheds light on the complexity of this work. Although it looks simple at first glance, the sonata actually contains many parts that reveal the composer's elaborate technical skills. Beethoven's characteristic rapid change of dynamics become apparent in the interpretive analysis. These sudden fluctuations contribute to revealing the deep characteristics of the composition itself and allow us a deeper insight into its character
Barbara Vlainić, viola : diplomski ispit
No full textPrvi i drugi dio diplomskog ispita Barbare Vlainić (viola), studentice Muzičke akademije Sveučilišta u Zagrebu.
Prvi dio ispita održan je na Muzičkoj akademiji u dvorani Lhotka 14. 6. 2023.
Program: 1. Miroslav Miletić: Sonata za violu i klavir (Andante – Presto); 2. Karl Stamitz: Koncert za violu i orkestar, op. 1 (Allegro); 3. William Walton: Koncert za violu i orkestar.
Drugi dio ispita održan je na Muzičkoj akademiji u dvorani Stančić 29. 6. 2023.
Program: 1. Franz Schubert: Arpeggione sonata D 821; 2. Astor Piazzolla: Le Grand Tango; 3. Paul Hindemith: Solo sonata za violu op. 25, br. 1.
Klavirska pratnja: Domagoj Gušćić, v. umj. sur. Mentor: izv. prof. art. Aleksandar Milošev
The Genesis of Brahms Concerto for Violin and Orchestra in D major, Op. 77
No full textCilj ovoga rada jest prikazati nastanak i suradnju Johanessa Brahmsa i Josepha Joachima prilikom skladanja Koncerta za violinu i orkestar u D-duru, op.77. Na početku rada se izlažu biografski podaci skladatelja i solista te se spominju njihova umjetnička ostvarenja. Glavni dio rada obuhvaća proces nastanka koncerta u vidu suradnje i komunikacije između skladatelja i
solista, a ističe se i problematika notnog zapisa i izvedbenih mogućnosti. U radu se ističu i korekcije koje su nastajale prije i nakon praizvedbe koncerta koje su rezultirale konačnom verzijom koncerta koja se koristi i danas.The aim of this work is to show the process of creating and collaoration of Johannes Brahms and Joseph Joachim during the process of composing Violin Concerto in D major, op.77. At the beginning of the work, the biographical information of the composer and the soloist is presented and their artistic achievements. The main part of the work includes the process of the
creation of the concert in the form of cooperation and communication between the composer and the soloist. Main part also includes the issue of notation and performance possibilities. The work highlights the corrections that were made before and after the premiere of the concert which resulted in the final version of the concert that is still used today