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Slovenská hudba, Vol. 36, No 3, p. 234-245
|Title: Recepcia klavírnej tvorby Roberta Schumanna na Slovensku v 19. a na začiatku 20. storočia – k 200. výročiu narodenia skladateľa|
|Author: Alena Kručayová|
|Abstract: Several outstanding foreign as well as domestic artistic personalities were helpful in the promotion and recognition of Schumann’s piano work on the territory of Slovakia in the 19th and at the beginning of the 20th century. The basis of the Schumann tradition was laid by his wife Clara when she performed the pieces of her husband at several performances in Bratislava in 1856 shortly before his death. In the dissemination of Schumann’s piano works in this city an important role was played by the concerts of Hans von Bülow, Euge` ne d’Albert, Moriz Rosenthal, Emil von Sauer, Leopold Godowsky, Alfred Grünfeld, Ernst von Dohnányi, Béla Bartók, Wilhelm Kempf and Elly Ney. By their artistic activities the mentioned performers determined the development of pianism in Europe, they formed the tastes of the audience in repertory. Therefore it is important that through their performance the Bratislava audience was offered an opportunity to acquaint itself more closely also with the work of this composer. Beside concert stages Schumann’s piano works sounded also in the frame of events organized by of Bratislava music societies or singing associations, where they where performed publicly by domestic pianists M. Loisingerová, Líza Révfyová and Mária Stegerová. Also Bratislava native pianist and piano teacher Carl Förster incorporated them into the repertory of his concerts. In the realm of repertory a close connectivity of the concert life with the teaching of piano playing was revealed in the inclusion of R. Schumann’s piano pieces into the teaching process since the beginning of the 20th century. The preserved syllabi and concert programmes of two most significant music institutions – Municipal Music School (1906) and especially Music and Dramatic Academy for Slovakia in Bratislava (1919) – comprise a great portion of Schumann’s piano music, performed also by the teachers of the school.
A similar situation was in Košice, the second most important music and cultural centre on the territory of Slovakia in the monitored period. Music life in the city was positively influenced by the performances of outstanding pianists (Rudolf Wilmers, Sofia Menterová, Rudolf Götzy, Emil von Sauer, Ernst von Dohnányi), who mediated the knowledge of the works by R. Schumann to the audience. Košice music life possessed a peculiar character, as a great number of domestic amateur and professional pianists participated in the concert events of the city, who sporadically introduced also Schumann’s pieces into their repertory. It is remarkable, that demanding concertante works (Piano Concerto A Minor, 1886, or Andante and Variations B Flat Major for two pianos op. 46, 1880) were performed also by pupils of the Municipal Music School of the city.
The popularization of Schumann’s piano pieces and their use in piano play teaching in other Slovak cities in the 19th and at the beginning of the 20th century is evidenced by the preserved music literature found in the music collections of various institutions and private individuals. The mentioned knowledge may be regarded also as one of the proofs that the situation in the perception of Schumann’s piano music on our territory in the observed period was comparable to the development in other European countries.
|Year: 2010, Volume: 36, Issue: 3||Page From: 234, Page To: 245|