• 3/2011: Beethoven, Rigler, Sixta

    3/2011: Beethoven, Rigler, Sixta


    ČIERNA, Alena: Preface
    In: Slovenská hudba, Vol. 37, 2011, No. 3, p. 215

    Hommage à Miloslav Blahynka

    MISTRÍK, Miloš: Miloslav Blahynka and His Stage
    In: Slovenská hudba, Vol. 37, 2011, No. 3, pp. 217 – 220


    PEČMAN, Rudolf: Beethoven, Ehlers, Prešpurk and opera Simson
    In: Slovenská hudba, Vol. 37, 2011, No. 3, pp. 221 – 223

    ČEPEC, Andrej: Franz Paul Rigler and His Music for Keyboard Instruments
    In: Slovenská hudba, Vol. 37, 2011, No. 3, pp. 224 – 262

    By his compositional work Franz Paul Rigler contributed to the shape of music and genesis of Classicistic musical language of the 2nd half of the 18th century in Slovakia. In his compositions elements of stylistic tendencies of early and high Classicism mingle, as well as innovative and traditional compositional procedures. His piano style refers first of all to his affinity with Viennese and Austrian composers. Piano pieces, namely rondos and sonatas point to performing and compositional mastery which earned him a remarkable response of the society of the time. Representative music genres are characterized by individual approach to the form, fully accommodated to technical possibilities of keyboard instruments. By the usage of fermatas F. P. Rigler left a certain amount of freedom to the performers of his pieces. Piano rondos are based on Couperin rondo, characteristic by its combination with compositional principles of variation. Rigler’s sonata form is based on Scarlattian sonata with its binary form concept, with the first section as exposition and the second one as development with recapitulation (directly related to the beginning of development). Rigler’s compositional legacy may be considered highly contributive to the crystallization of the music culture of the whole Europe.


    CHALUPKA, Ľubomír: Rationality in Jozef Sixta’s Music
    In: Slovenská hudba, Vol. 37, 2011, No. 3, pp. 263 – 274

    An important place among the composers entering the Slovak music life in the 1960s was occupied by Jozef Sixta (1940–2007), a musician who found his creative ideal relatively quickly after finishing his academy studies. Similarly to other analytical composers Sixta characterized himself as a rational sort of a musician, resigning from talkativeness and uncontrolled expression, because a sense of balance, symmetry and logic of arrangement are the qualities that occupied his interest. String Quartet No. 1 (1965) is the first piece whose compositional characteristics genetically predestine a series of Sixta’s next compositions. An analysis of a score and its audio recording enables us to reconstruct the fundamental attributes of his work, struggling to achieve the integrity among the disciplined shapes represented by interval skeletons, character of lines developed canonically and special sound qualities secured mainly by asynchronous sounding of similarly constructed parts. The recognizability of a lucid three-section tectonics results also from the inventive usage of contrasts on particular elementary levels of the instrumental four-part structure.


    GÁLOVÁ, Jana: Music Broadcast in The Slovak Radio in The Time of World War II
    In: Slovenská hudba, Vol. 37, 2011, No. 3, pp. 275 – 310

    The period 1939–1945 is an autonomous era in the history of the Slovak Radio. The Slovak Radio originated from the Bratislava subsidiary of the Czechoslovak Radio which became independent, what resulted in the establishment of the Slovak Radio, Ltd. with the state as a majority owner. Thus its primary ideological background changed. The government itself realized the power of a broadcasting medium and under its pressure music broadcast was also developing. Problems concerning the personnel and organization following the origin of the independent Slovak Radio were soon eliminated by unrelenting endeavour of Alexander Moyzes, who step by step supplemented the staff of the symphonic orchestra by engaging the Bratislava Conservatory graduates, and reorganized the music department. He employed professional musicians to occupy particular leading posts of new specialized sections of the music department, thus securing the high quality of concert programmes and broadcasts of the music department. Under the baton of František Babušek and Krešemir Baranovič the orchestra developed into a supreme orchestral ensemble. As soon as in 1942 the public concerts started to be broadcast live and enriched the Bratislava music life. Slovak Radio was making progress in numerous aspects. In 1941 new recording technical equipment was bought facilitating the work of programme production. Since then Slovak autonomous creation was not dependent only on live concert performance and gradually the music archive of the Slovak Radio was being built. The quality of the music broadcast of the Slovak Radio is proved by programmes with music and spoken word in the form of annotations to symphonic concerts written for the radio by Ernest Zavarsky. Some of them were addressed to more educated listener, connoisseur of art or music critic, as Zavarsky expressed his ideas using an expert language incomprehensible to a music dilettante. Zavarsky’s annotations to autonomous Slovak compositions were based on his study of scores, as no recordings or ready-made analyses existed. These radio programmes worked as a springboard to his study Contemporary Slovak Music written in 1947.

    The results of programme analyses confirm the obvious effort to promote and cultivate Slovak music. The Slovak Radio staff focused on symphonic and chamber creation, not leaving behind entertaining or folk music. Despite complicated economical and social-political conditions the period of the WWII is paradoxically the period of development and upraising of Slovak music culture. Slovak Radio succeeded not only in maintaining the quality of broadcast of the former Czecho-Slovak Radio, but also in improving and upgrading it. It may be stated that the musicologically informed comments by Ernest Zavarsky on the music production in the time of the WWII reached the highest level and gave an account of the state of Slovak musicology.