Chamber Music 8
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|198KH8||credit||4||2 exercise hours (45 min) of instruction per week, 79 to 99 hours of self-study||English, Czech||summer|
Name of lecturer(s)
Jan BARTOŠ, Václav BERNÁŠEK, Kvitoslava BILINSKÁ, Petra BLAŽKOVÁ ŽĎÁRSKÁ, Ana BRATELJEVIČ, Leoš ČEPICKÝ, Pavel ČERNÝ, Mikael ERICSSON, Ivo KAHÁNEK, Martin KASÍK, Ivan KLÁNSKÝ, Lukáš KLÁNSKÝ, Monika KNOBLOCHOVÁ, Pablo Alejandro KORNFELD, Štěpán KOUTNÍK, Boris KRAJNÝ, Pavel KUDELÁSEK, František MALÝ, Lubomír MALÝ, Bohuslav MATOUŠEK, Giedre MRÁZKOVÁ, Ozren MUTAK, Jiří NOVOTNÝ, Jiří PANOCHA, Jindřich PAZDERA, Martin PETRÁK, Miroslav PETRÁŠ, Štěpán RAK, Petr SAIDL, Tomáš STRAŠIL, Pavel SVOBODA, Ivan ŠTRAUS, Jana ŠVADLENKOVÁ, Jaroslav TŮMA, Karel UNTERMŰLLER, Helena WEISER, Milan ZELENKA, Radomír ŽALUD
Learning outcomes of the course unit
The student performs music at a high professional level (technically and interpretatively masterful expression), expresses his/her own artistic concepts at the level of a developed musical personality.
Develops, presents and implements artistic programs that are coherent and appropriate for different contexts.
Possesses the ability to listen, collaborate, express opinions constructively, and prioritises the common interest over the assertion of one's own opinion.
Has a high level of appropriate presentation and communication skills in all aspects of their practice and activities.
Mode of study
Prerequisites and co-requisites
In Chamber Music 8, students create chamber ensembles of varying composition or continue to play in ensembles created in previous studies, with a preference for piano trio, string quartet, wind quintet, or brass ensemble, though other combinations of instruments are possible. The goal of the course is to produce chamber music of high artistic quality and expressive maturity. The focus remains on developing a common musical, articulatory, and rhythmic sense, intonation, interplay, communication, a balanced ensemble sound, and the creation of a common musical concept of the piece.
The following skills are reinforced through the rehearsal of selected repertoire:
- Unified artistic expression in the interpretation of a work
- Types of communication when playing in a chamber ensemble
- Structuring chamber ensemble rehearsals
- Principles of public presentation of artistic performance as a chamber musician
- Effective strategies for conducting chamber ensemble rehearsals
- Critical aural analysis of accessible recordings of the piece being studied as performed by other performers.
Recommended or required reading
The students continue to get acquainted with other chamber works by Viennese classical composers (J. Haydn, W. A. Mozart, L. van Beethoven), Czech composers (B. Smetana, A. Dvořák, L. Janáček, B. Martinů, V. Novák, V. Sommer), world-famous composers (F. Schubert, J. Brahms, M. Ravel, B. Bartók, D. Shostakovich, etc.), prominent representatives of Baroque music (J. S. Bach, G. F. Händel, G. P. Telemann) and contemporary works, always depending on the individual composition of the ensemble and the availability of arrangements of works by these authors, e.g. for brass ensembles. Attention is also paid to the repertoire required for various chamber music competitions at national and international levels.
Individual creative initiative of the student is assumed in the choice of repertoire. Due to the variety of chamber ensembles assembled, the possibilities of choosing pieces to perform are considerable. Therefore, the following list is only an example of the literature options for the major types of chamber ensembles:
SMETANA, Bedrich. Trio in G minor, Op.15
Bärenreiter, ISMN 9790260102910
DVOŘÁK, Antonín. String Quartet No. 12 in F major, Op. 96
Bärenreiter, ISMN 9790260103023
LIGETI, György. Sechs Bagatellen
For brass ensemble:
FILAS, Juraj. No Comment for brass quintet
Editions BIM Switzerland 1996, ENS 72
Assessment methods and criteria
Credit examination is awarded on the basis of active participation in professional exercises, rehearsal and performance of a cyclic composition or smaller one-movement works in the range of 20 minutes. Compulsory attendance - at least 80%.
Schedule for winter semester 2022/2023:
The schedule has not yet been prepared
Schedule for summer semester 2022/2023:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Piano (Mg) from 2022/23 (required subject)
- Harpsichord (Mg) from 2022/23 (required subject)
- Organ (Mg) from 2022/23 (required subject)
- Violin (Mg) - from 2022/23 (required subject)
- Viola (Mg) - from 2022/23 (required subject)
- Cello (Mg) - from 2022/23 (required subject)
- Double Bass (Mg) - from 2022/23 (required subject)
- Harp (Mg) - from 2022/23 (required subject)
- Guitar (Mg) - from 2022/23 (required subject)
- Bassoon (Mg) from 2022/23 (required subject)
- Flute (Mg) from 2022/23 (required subject)
- Oboe (Mg) from 2022/23 (required subject)
- Clarinet (Mg) from 2022/23 (required subject)
- French Horn (Mg) from 2022/23 (required subject)
- Trombone (Mg) from 2022/23 (required subject)
- Trumpet (Mg) from 2022/23 (required subject)
- Tuba (Mg) from 2022/23 (required subject)