Obligatory Harpsichord 1

Subject guarantor:

Giedre MRÁZKOVÁ

Name of lecturer(s):

Giedre MRÁZKOVÁ

Learning outcomes of the course unit:

Mastery of basic Harpsichord technique and performance techniques typical for styles and forms from 1580 to 1760.

Mode of study:

contact instruction

Prerequisites and co-requisites:

Mastery of two to three compositions of various styles according to individual agreement.

Recommended optional programme components:

none

Course contents:

Brief curriculum: Basic fingerstrokes and hand and arm management. Articulation potential and results. Register. Fingering and working with harpsichord sound. Largely in relation to literature performance.

Course syllabus: The harpsichord and organ have been in their principle and function in history partially linked or closely related. An organ player cannot today avoid not knowing how to play a solo on the harpsichord or accompany a singer or instrumentalist.

In principle the harpsichord creates tones works with sound differently. Also the literature for harpsichord has some specifics. Performance on the harpsichord by nature uses a bit different selection of performance tools particularly in working with time and in a more relaxed technical style (various use of arpeggio, ornamenation, fingerstroke, etc.). An organist should go through the basic performance styles to which belong:

- Virginal literature of England at the turn of the 16th to 17th centuries.

- Italian or Norther German polyphony of the 17th or 18th centuries

- French harpsichord music (Prelud non mesure, suites) 17th and 18th centuries.

- The Italian Tocatta of the 17th century

- Virtuoso sonatas (D. Scarlatti)

- Czech Pre-Classic music

The selection and compostion of selected literature is determined by the intentions and interest of the performer.

Recommended or required reading:

Literature:

AHLGRIMM, Isolde, Manuale der Orgel- und Cembalotechnik, L. Doblinger 1982 Wien

BACH, Carl Philippe Emanuel, Úvaha o správném způsobu hry na klavír, Paido Brno 2002 HARICH-SCHNEIDER, Eta, Die Kunst des Cembalo Spiels, Bärenreiter

RŮŽIČKOVÁ, Zuzana, Interpretační praxe ?, skriptum AMU, SPN

SCHOTT, Howard, Cembalo spielen, Artemis Verlag, München/Zürich 1983, anglický original Faber-Faber, London 1971

Slovenská hudba. Revue pre hudobnú kultúru. Antologia renesancia a barok, roč.XX, rok 1994, číslo 3-4

A broad selection of general performance chapters from the literature in the course „Baroque Music Performance I-IV“.

Planned learning activities and teaching methods:

exercises

Assessment methods and criteria:

individual instruction

Course web page:

Note:

none

Further information:

Course may be repeated

Schedule for winter semester 2012/2013:

The schedule has not yet been prepared

Schedule for summer semester 2012/2013:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Obor Varhany (Bc) (optional subject)