Obligatory Harpsichord 1
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 104OCE1 | Z | 1 | 1T | Czech | winter |
Subject guarantor
Petra BLAŽKOVÁ ŽĎÁRSKÁ, Giedre MRÁZKOVÁ
Name of lecturer(s)
Petra BLAŽKOVÁ ŽĎÁRSKÁ, Monika KNOBLOCHOVÁ, 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.
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“.
Assessment methods and criteria
individual instruction
Note
none
Further information
Course may be repeated
Schedule for winter semester 2018/2019:
The schedule has not yet been prepared
Schedule for summer semester 2018/2019:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Organ (Bc) (optional subject)