• 3/2022: Recorder in History of Music

    3/2022: Recorder in History of Music

    Cover: Marko Vrzgula © Intersections (A Grey Intersection), 1995


    ČIERNA, Alena: Preface
    In: Slovenská hudba, Vol. 48, 2022, No. 3, pp. 197–198


    RUTTKAY, Juraj: Musical Schooling as “Conducted” by Jozef Klocháň
    In: Slovenská hudba, Vol. 48, 2022, No. 3, pp. 199–213

    DOI: 10.4149/SH_2022_3_1

    Jozef Klocháň belonged to the generation of the founders of a modern music education system in Slovakia. Being a pupil of Viliam Fedor, the author of the first Methodology of Music Education (Metodika hudobnej výchovy, 1954) in the former Czechoslovakia, he developed an activity-based character of musical schooling. He focused on the children’s choral singing and media (radio) as the means supporting the development of the musicality of children and youth. Later his interest in promotion and popularization of music and singing resulted in the organizing the national singing competition Slovakia’s Nightingale (Slávik Slovenska). In the study we outline the variability of Jozef Klocháň’s activities regarding the school and after-school music education. Using Klocháň’s example we sketch an image of music education and cultivation of children and youth in the 1960s and 1970s in Slovakia.

    Jozef Klocháň; music education system; methodology of music

    SÁČKOVÁ, Katrin: A Position of the Recorder as a Concert Instrument
    In: Slovenská hudba, Vol. 48, 2022, No. 3, pp. 214–271

    DOI: 10.4149/SH_2022_3_2

    The study briefly presents the terminological issues concerning the recorder, then the development of its construction from the Middle Ages to the Baroque period and, last but not least, the history of this instrument. The main focus of the study is the position of the recorder as a concert instrument in Italy, England and Germany. Concertante works with recorder are in the centre of attention, namelya solo concerto, a concerto for multiple solo instruments, a chamber concerto and a concerto grosso. In these mentioned types of concertos, we encounter different types of recorders. In Italy, the alto and soprano recorders dominated. Only in one case do we find both a tenor and a bass recorder, namely in Alessandro Marcello’s chamber concerto. In England, the so-called sixth flute and fifth flute (soprano recorders) were widely used, less so the alto and sopranino recorders. On the other hand, in Germany the alto recorder kept its primary position, the other types of recorders are not found here. The only exception is the use of the bass recorder as part of the instrument group in the concerto grosso by the composer Johann David Heinichen.
    The recorder together with other instruments – whether solo or accompanying – creates both traditional and unique combinations in concertante pieces. The pairing of recorders or the combination of recorders with oboes and bassoons, or with violins, was quite popular. But we also find unprecedented and strange combinations of recorders with transverse flutes, clarinets, trumpets, French horns, mandolins, theorbos or chalumeaux, as well as the accompaniment of several recorders. The most used accompaniment to the solo recorder was various combinations of string instruments, exceptionally with the addition of a wind instrument in the orchestra.

    recorder; Baroque; solo concerto; concerto for multiple solo instruments; chamber concerto; concerto grosso


    VESELÝ, Ondrej: Slovak Guitar Music in Europe
    In: Slovenská hudba, Vol. 48, 2022, No. 3, pp. 272–276

    DOI: 10.4149/SH_2022_3_3


    BARDIOVÁ, Marianna: Béla Bartók: Slovenské spevy. Iva Bittová. Mucha Quartett. Transcription for voice and string quartet Vladimír Godár. Compact disc
    In: Slovenská hudba, Vol. 48, 2022, No. 3, pp. 277–279

    [The contribution is available only in Slovak language in the printed version of the revue.]