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Andrej Čepec

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Music historian and theorist focused on piano music in Central Europe in the 18th and 19th centuries. He is also involved in music pedagogy and fine arts, occasionally engaged in graphic design (computer graphics), fine Arts (watercolor, ceramics, drawing), gold-printing (by old books printing techniques), and piano performances as also viticulture. Currently works occasionally as an independent researcher and performer.
Mgr. art. Andrej Čepec, PhD. (*1983) graduated in the theory of musical art at the Music and Dance Faculty of Academy of Performing Arts in Bratislava (Departement of Music Theory; 2009). He continued his doctoral studies in music history at the Comenius University in Bratislava (2015).
In his studies he is focused on the European music history and theory with a interest of the piano music in the 18th and 19th Century. Include in his research interest are compositional logic, musical theoretical and pedagogical writings, also various activities of musicians and lovers of this art. Is concentrated on sources from the point of view of critical, musico-stylistic, musico-analytical and sociocultural aspects - also on the work of Franz Paul Rigler (1747 – 1796) and Johann Nepomuk Batka (1795 – 1874).

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Papers by Andrej Čepec

Hudobník Johann Nepomuk Batka (1795 - 1874) // Musician Johann Nepomuk Batka (1795 - 1874)

Hudobný život, 2018

Medzi zaujímavé javy dejín hudby 19. storočia patrí migrácia hudobníkov v stredoeurópskom priesto... more Medzi zaujímavé javy dejín hudby 19. storočia patrí migrácia hudobníkov v stredoeurópskom priestore. Tento fenomén možno pokladať za jeden z prínosných faktorov formovania kultúry aj mimo hudobných centier habsburskej monarchie. Pôsobenie významných hudobníkov (Kleinheinz, Marschner, Schubert) nesúviselo iba s pedagogickými aktivitami v službách uhorskej aristokracie. Do obdobia ich pôsobenia na území dnešného Slovenska spadá aj časť ich kompozičného odkazu a ďalšie aktivity. Naproti tomu, pôsobenie domácich hudobníkov mimo územia Uhorska (Hummel, Joachim, Liszt, Schantroch) prispelo k šíreniu dobrého mena krajiny v zahraničí. Medzi hudobníkov, ktorí sa v 19. storočí usadili na Slovensku, patrí aj Johann Nepomuk Batka (1795 – 1874) pochádzajúci zo Sliezska – otec známeho bratislavského archivára a milovníka umenia rovnakého mena.

Klavírna tvorba prvej polovice 19. storočia na Slovensku a dielo Johanna Nepomuka Batku (1795 - 1874) // Piano Music in the First Half of the 19th Century in Slovakia and the Works of Johann Nepomuk Batka (1795 - 1874)

Dissertation thesis // Univerzita Komenského v Bratislave, Filozofická Fakulta, Katedra hudobnej vedy, 2015

Die Dissertation präsentiert das Klavierschaffen von Johann Nepomuk Batka (1795 – 1874) im Kontex... more Die Dissertation präsentiert das Klavierschaffen von Johann Nepomuk Batka (1795 – 1874) im Kontext der Entwicklung der Musikkultur in der Slowakei im 19. Jahrhundert. Sein Beitrag als Musikpädagoge, Interpret und Komponist ist aufgrund neuer Erkenntnisse aus der Forschung erläutert. Bezüglich der heutigen Slowakei kann man seine Konzerttätigkeit in den Städten Bratislava und Dunajska Streda nachweisen. Sein musikerzieherisches Wirken ist mit mehreren mitteleuropäischen Städte verknüpft. Die Zahl seiner schuler war mehr als 50, besonders zu erwähnen sind Alexander und Ida Neumann- Sessi, Janette Boutibonne und Ferdinand Kitzinger. Im Laufe seines Lebens besaß Batka mehrere Tasten- und Streichinstrumente, unter anderen mindestens 2 Klaviere und 3 Physharmoniken, wovon die Archivierung einer Konzertphysharmonik belegt ist. Sein kompositorisches Schaffen besteht aus 31 Werken für Pianoforte, Physharmonik und Orgel, jedoch nur bei 14 davon läßt sich die Archivierung beweisen. Durch die Nutzung der Verbunkosmusik-Elemente trug er zur Prägung der musikalischen Form Rondo und Sonate bei.

Schlüsselwörter: Johann Nepomuk Batka, Klavierschaffen, Verbunkomusik, musikalische Formen, Klavier, Orgel, Physharmonika

Klavírna hudba v prvej polovici 19. storočia na Slovensku // Piano Music in the First Half of the 19th Century in Slovakia

Slovenská hudba, 2016

The contribution offers the survey of the piano music development in the first half of the 19th c... more The contribution offers the survey of the piano music development in the first half of the 19th century in the territory of the present Slovakia. The piano music is scrutinised from the aspects of development of the European history of music, namely in the Central-European region. We briefly outline the period music trends and components influencing the piano music creation in Slovakia. The development of musical instruments is considered in the context of the expansion of instrument builders’ production and boom of piano composition. We demonstrate the interest in piano playing through the presentation of the educational system and usage of piano playing instruction books. The period repertory is presented from the point of view of development tendencies, as well as of composers’, performers’ and teachers’ activities. We survey the piano work of the time with regard to the compositions’ functions and intentions, musical styles, genres and forms of art music. The subject is interpreted in accordance with the formation of piano music and musical thinking in the context of cultural and social events in the multinational state of the Habsburg monarchy (Austrian Empire after 1804) and Kingdom of Hungary.

Rondový a variačný princíp v Klavírnej sonáte Hob. XVI:50 Josepha Haydna // Rondo and Variational Principle in Joseph Haydn’s Piano Sonata Hob. XVI:50

Slovenská hudba, 2010

Joseph Haydn’s (1732 – 1809) piano sonatas capture not only a development of technical possibilit... more Joseph Haydn’s (1732 – 1809) piano sonatas capture not only a development of technical possibilities of various kinds of keyboard instruments of the second half of the 18th century (clavichord, harpsichord, hammerklavier), or an individual piano style, but they reflect also a development and crystallization of sonata form of the high Classicism. Following the short characteristics of Haydn’s Piano Sonata C Major (Hob. XVI:50) the submitted contribution focuses on the application of the monothematic principle in the first movement of the sonata, as well as on its inspirational sources – influence of the compositions by Carl Philipp Emanuel Bach. It points to some compositional elements which the sonata has in common with pieces from the earlier period of Joseph Haydn’s work (divertimenti, rondos, etc.) also in the context of period reflection of the composer’s creation.
Several studies originated in the past dealing with Joseph Haydn’s piano compositions, however, the usage of variational principle and improvisation in piano sonatas of the 18th century have not been reflected sufficiently yet and the mutual relations between rondo and sonata form were only indicated in them. In this context it is important to accentuate the significance of mutual comparison of piano works of not only the exponents of the period (D. Scarlatti, G. Chr. Wagenseil, W. A. Mozart etc.) but of as many as possible 18th century composers. Due to this comparison we can have a more precise image about the development and crystallization of musical types and genres of the said period, or we can elucidate some compositional methods, which – through the prism of the 19th century – have often been evaluated as atypical.

Franz Paul Rigler a jeho tvorba pre klávesové nástroje // Franz Paul Rigler and His Music for Keyboard Instruments

Slovenská hudba, 2011

By his compositional work Franz Paul Rigler contributed to the shape of music and genesis of Clas... more 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.

K životnému jubileu Ľuby Ballovej // Life Jubilee of Ľuba Ballová (Biographical sketch and personal bibliography)

Musicologica Slovaca, 2015

Minulý rok sme si v novembri pripomenuli osemdesiatročné jubileum muzikologičky PhDr. Ľuby Ballov... more Minulý rok sme si v novembri pripomenuli osemdesiatročné jubileum muzikologičky PhDr. Ľuby Ballovej, CSc. Okrúhle životné výročia sú vždy vhodnou príležitosťou priblížiť si doterajšiu tvorivú prácu jubilantov a zhodnotiť ich prínos. Takmer polstoročie činorodého pôsobenia Ľuby Ballovej v hudobnom živote významne prispelo k hlbšiemu poznaniu hudobnej minulosti Slovenska a jej zviditeľňovaniu doma i v zahraničí. Množstvo publikovaných prác, realizovaných výstav, rozhlasových relácií, prednesených prednášok a referátov na domácej a zahraničnej pôde dokumentuje šírku profesijných záujmov a rozmanitosť spracúvaných tém, ktorým sa venovala.

Ludmilla Giżycka-Zamoyska a jej hudobná tvorba // Ludmilla Giżycka-Zamoyska and Her Musical Work

Musicologica Slovaca, 2013

The paper presents the compositional legacy of Countess Ludmilla Giżycka-Zamoyska (1829 – 1889) i... more The paper presents the compositional legacy of Countess Ludmilla Giżycka-Zamoyska (1829 – 1889) in the light of an evaluation of primary and secondary sources. It includes the most complete register hitherto of this composer’s work. In terms of genre there are songs, compositions for piano, choral works, and chamber music. 38 works survive, part of which has the character of collections: this involves mainly song and piano work. The source material comprises autographs, copies and prints. An unusual feature of the manuscripts is that some of the composer’s works survive only in the form of autographs by F. Liszt and J. v. Herbeck. Ludmilla Giżycka-Zamoyska’s works often took their final form following consultations with such prominent personalities as F. Liszt, G. Nottebohm, C. Schumann, S. Heinze, J. v. Herbeck, C. F. Kahnt and others. This author’s compositional activity is an indication of the high level of musical cultivation in aristocratic families of the second half of the 19th century in central Europe. The works capture the formation of the contemporary repertoire of concerts in aristocratic salons.

Klavírne školy v zbierke hudobnín rodiny grófov Zamoyski z Brestovian // Piano Schools in the Music Collection of the Comital Family of Zamoyski from Brestovany

Musicologica Slovaca, 2014

The paper provides a view of the manner of cultivation of piano playing in noble families active ... more The paper provides a view of the manner of cultivation of piano playing in noble families active on the territory of Slovakia in the 19th century. The level of piano teaching in the comital family of Zamoyski from Brestovany is depicted based on the finding of piano playing textbooks, collections of etudes and instructive compositions. The notation material presented indicates a predilection for the piano in the family throughout the entire 19th century. In this music collection there are nine works of an instructive orientation by composers whose works were widely diffused in Central Europe from the 1840s to the 1890s. The finding of pedagogically orientated works of piano literature indicates a high level of performance among the members of the family, where the piano played an indispensable part in the domestic cultivation of music, or in the private productions of the aristocracy.

Klavírne umenie a hudobné vzdelávanie žien na prelome 18. a 19. storočia // Piano Art and the Music Education of Women in Slovakia at the Turn of the 19th Century

Musicologica Slovaca, 2019

This paper elucidates the music education of women on the territory of Slovakia in the late 18th ... more This paper elucidates the music education of women on the territory of Slovakia in the late 18th and early 19th centuries, in the context of the development of piano art. The musical activity of women is traced, and the measure of their interest in piano art is estimated, using period testimonies and reflections on women’s artistic activities in writings of the time. A number of aspects of the professional activity of women are outlined, with a primary focus on teaching piano playing. The paper presents manuscripts of music textbooks from the first decades of the 19th century, whose authorship, ownership, or possible elaboration we ascribe to women.

Keywords: piano art; keyboard instruments; music education; music textbooks; music salon; composition for piano

Z nových poznatkov k rukopisnej učebnici “Anleitung zum Klavierschlagen” Michala Godru // From new findings on the manuscript textbook “Anleitung zum Klavierschlagen” by Michal Godra

Musicologica Slovaca, 2015

The manuscript textbook “Anleitung zum Klavierschlagen” by Michal Godra is a type of the textbook... more The manuscript textbook “Anleitung zum Klavierschlagen” by Michal Godra is a type of the textbook for elementary instruction in piano playing in the first half of the 19th century in Slovakia. It is divided into a theoretical and a practical part. The theme of this paper is presented in terms of the development of piano playing and the methodology of instrument playing, the musical genre characterisation of the compositions included in the practical part of the textbook, and the degree of influence by Franz Paul Rigler’s theoretical works. Michal Godra’s piano school is an important source of knowledge of the development of musical education and piano composition in the given period in Slovakia.

Keywords: piano teaching, piano school, theory, methodology of instrumental playing, Michal Godra, Franz Paul Rigler

Učebnica elementárnej náuky o hudbe Melanie Diettmannovej v kontexte dobovej výučby hudby // The Handbook of Elementary Teaching on Music by Melanie Diettmann in the Context of Contemporary Music Education

Musicologica Slovaca, 2017

“Elementar Unterricht” (Fundamentals of Teaching), a manuscript textbook of music by Melanie Diet... more “Elementar Unterricht” (Fundamentals of Teaching), a manuscript textbook of music by Melanie Diettmann, is a type of handbook which preserves the method of teaching the elements of music used on the territory of Slovakia during the first half of the 19th century. This textbook is documentary proof of an increased interest in acquiring music education on the part of educated town-dwellers, having regard to the upbringing of girls and young ladies. The paper presents the textbook in the context of music teaching in Slovakia in the 19th century, and also in the context of the creation of didactic works. Reflected in it is the influence of music textbooks by B. Asioli and F. P. Rigler, among others, which could serve as models for the elaboration of the manuscript examined here.

Keywords: music education, music textbooks, elementary doctrine of music, music- theoretical literature of the 18th and 19th centuries, Melanie Diettmann, Bratislava

Učebnice hudby Johanny Rothovej v kontexte tvorby didaktických diel // Johanna Roth’s Music Textbooks in the Context of the Creationof Didactic Works

Musicologica Slovaca, 2017

Manuscript textbooks from the first half of the 19th century are, in our judgment, predominantly ... more Manuscript textbooks from the first half of the 19th century are, in our judgment, predominantly non-original works deriving from specific printed models, of whose reception they are documentary evidence. In a number of instances there is also an adaptation of the printed models’ texts. We ascribe to Johanna Roth the authorship of the manuscript Primæ, Lineæ, Musicæ Instrumentalis (Fundamentals of Instrumental Music), focusing on piano playing and dating from 1816. In our paper we present a comparison of this textbook with Johann Samuel Beyer’s textbook on singing (Anweisung zur Singe Kunst, 1703). Detailed attention is devoted to the musico-genre characterisation of the works in the textbook’s practical section. To Johanna Roth we ascribe a possible authorship of a textbook of basic doctrine on music and the thorough-bass (Musikalische Frag-Stückh; Haupt-Regel des rechten General-Basses). This work is derived from a work by Daniel Speer (Grund-richtiger Kurtz – Leicht – und Nöthiger jetzt Wohl-vermehrter Unterricht der Musicalischen Kunst, 1697). We present the theme in the context of the development of music education and the diffusion of musico-theoretical writing during the first half of the 19th century in Slovakia.

Keywords: music education, musico-theoretical literature, piano schools, elementary doctrine of music, doctrine of the thorough-bass, Johanna Roth, Kežmarok, Spišská Belá

Hudobník Johann Nepomuk Batka (1795 - 1874) // Musician Johann Nepomuk Batka (1795 - 1874)

Hudobný život, 2018

Medzi zaujímavé javy dejín hudby 19. storočia patrí migrácia hudobníkov v stredoeurópskom priesto... more Medzi zaujímavé javy dejín hudby 19. storočia patrí migrácia hudobníkov v stredoeurópskom priestore. Tento fenomén možno pokladať za jeden z prínosných faktorov formovania kultúry aj mimo hudobných centier habsburskej monarchie. Pôsobenie významných hudobníkov (Kleinheinz, Marschner, Schubert) nesúviselo iba s pedagogickými aktivitami v službách uhorskej aristokracie. Do obdobia ich pôsobenia na území dnešného Slovenska spadá aj časť ich kompozičného odkazu a ďalšie aktivity. Naproti tomu, pôsobenie domácich hudobníkov mimo územia Uhorska (Hummel, Joachim, Liszt, Schantroch) prispelo k šíreniu dobrého mena krajiny v zahraničí. Medzi hudobníkov, ktorí sa v 19. storočí usadili na Slovensku, patrí aj Johann Nepomuk Batka (1795 – 1874) pochádzajúci zo Sliezska – otec známeho bratislavského archivára a milovníka umenia rovnakého mena.

Klavírna tvorba prvej polovice 19. storočia na Slovensku a dielo Johanna Nepomuka Batku (1795 - 1874) // Piano Music in the First Half of the 19th Century in Slovakia and the Works of Johann Nepomuk Batka (1795 - 1874)

Dissertation thesis // Univerzita Komenského v Bratislave, Filozofická Fakulta, Katedra hudobnej vedy, 2015

Die Dissertation präsentiert das Klavierschaffen von Johann Nepomuk Batka (1795 – 1874) im Kontex... more Die Dissertation präsentiert das Klavierschaffen von Johann Nepomuk Batka (1795 – 1874) im Kontext der Entwicklung der Musikkultur in der Slowakei im 19. Jahrhundert. Sein Beitrag als Musikpädagoge, Interpret und Komponist ist aufgrund neuer Erkenntnisse aus der Forschung erläutert. Bezüglich der heutigen Slowakei kann man seine Konzerttätigkeit in den Städten Bratislava und Dunajska Streda nachweisen. Sein musikerzieherisches Wirken ist mit mehreren mitteleuropäischen Städte verknüpft. Die Zahl seiner schuler war mehr als 50, besonders zu erwähnen sind Alexander und Ida Neumann- Sessi, Janette Boutibonne und Ferdinand Kitzinger. Im Laufe seines Lebens besaß Batka mehrere Tasten- und Streichinstrumente, unter anderen mindestens 2 Klaviere und 3 Physharmoniken, wovon die Archivierung einer Konzertphysharmonik belegt ist. Sein kompositorisches Schaffen besteht aus 31 Werken für Pianoforte, Physharmonik und Orgel, jedoch nur bei 14 davon läßt sich die Archivierung beweisen. Durch die Nutzung der Verbunkosmusik-Elemente trug er zur Prägung der musikalischen Form Rondo und Sonate bei.

Schlüsselwörter: Johann Nepomuk Batka, Klavierschaffen, Verbunkomusik, musikalische Formen, Klavier, Orgel, Physharmonika

Klavírna hudba v prvej polovici 19. storočia na Slovensku // Piano Music in the First Half of the 19th Century in Slovakia

Slovenská hudba, 2016

The contribution offers the survey of the piano music development in the first half of the 19th c... more The contribution offers the survey of the piano music development in the first half of the 19th century in the territory of the present Slovakia. The piano music is scrutinised from the aspects of development of the European history of music, namely in the Central-European region. We briefly outline the period music trends and components influencing the piano music creation in Slovakia. The development of musical instruments is considered in the context of the expansion of instrument builders’ production and boom of piano composition. We demonstrate the interest in piano playing through the presentation of the educational system and usage of piano playing instruction books. The period repertory is presented from the point of view of development tendencies, as well as of composers’, performers’ and teachers’ activities. We survey the piano work of the time with regard to the compositions’ functions and intentions, musical styles, genres and forms of art music. The subject is interpreted in accordance with the formation of piano music and musical thinking in the context of cultural and social events in the multinational state of the Habsburg monarchy (Austrian Empire after 1804) and Kingdom of Hungary.

Rondový a variačný princíp v Klavírnej sonáte Hob. XVI:50 Josepha Haydna // Rondo and Variational Principle in Joseph Haydn’s Piano Sonata Hob. XVI:50

Slovenská hudba, 2010

Joseph Haydn’s (1732 – 1809) piano sonatas capture not only a development of technical possibilit... more Joseph Haydn’s (1732 – 1809) piano sonatas capture not only a development of technical possibilities of various kinds of keyboard instruments of the second half of the 18th century (clavichord, harpsichord, hammerklavier), or an individual piano style, but they reflect also a development and crystallization of sonata form of the high Classicism. Following the short characteristics of Haydn’s Piano Sonata C Major (Hob. XVI:50) the submitted contribution focuses on the application of the monothematic principle in the first movement of the sonata, as well as on its inspirational sources – influence of the compositions by Carl Philipp Emanuel Bach. It points to some compositional elements which the sonata has in common with pieces from the earlier period of Joseph Haydn’s work (divertimenti, rondos, etc.) also in the context of period reflection of the composer’s creation.
Several studies originated in the past dealing with Joseph Haydn’s piano compositions, however, the usage of variational principle and improvisation in piano sonatas of the 18th century have not been reflected sufficiently yet and the mutual relations between rondo and sonata form were only indicated in them. In this context it is important to accentuate the significance of mutual comparison of piano works of not only the exponents of the period (D. Scarlatti, G. Chr. Wagenseil, W. A. Mozart etc.) but of as many as possible 18th century composers. Due to this comparison we can have a more precise image about the development and crystallization of musical types and genres of the said period, or we can elucidate some compositional methods, which – through the prism of the 19th century – have often been evaluated as atypical.

Franz Paul Rigler a jeho tvorba pre klávesové nástroje // Franz Paul Rigler and His Music for Keyboard Instruments

Slovenská hudba, 2011

By his compositional work Franz Paul Rigler contributed to the shape of music and genesis of Clas... more 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.

K životnému jubileu Ľuby Ballovej // Life Jubilee of Ľuba Ballová (Biographical sketch and personal bibliography)

Musicologica Slovaca, 2015

Minulý rok sme si v novembri pripomenuli osemdesiatročné jubileum muzikologičky PhDr. Ľuby Ballov... more Minulý rok sme si v novembri pripomenuli osemdesiatročné jubileum muzikologičky PhDr. Ľuby Ballovej, CSc. Okrúhle životné výročia sú vždy vhodnou príležitosťou priblížiť si doterajšiu tvorivú prácu jubilantov a zhodnotiť ich prínos. Takmer polstoročie činorodého pôsobenia Ľuby Ballovej v hudobnom živote významne prispelo k hlbšiemu poznaniu hudobnej minulosti Slovenska a jej zviditeľňovaniu doma i v zahraničí. Množstvo publikovaných prác, realizovaných výstav, rozhlasových relácií, prednesených prednášok a referátov na domácej a zahraničnej pôde dokumentuje šírku profesijných záujmov a rozmanitosť spracúvaných tém, ktorým sa venovala.

Ludmilla Giżycka-Zamoyska a jej hudobná tvorba // Ludmilla Giżycka-Zamoyska and Her Musical Work

Musicologica Slovaca, 2013

The paper presents the compositional legacy of Countess Ludmilla Giżycka-Zamoyska (1829 – 1889) i... more The paper presents the compositional legacy of Countess Ludmilla Giżycka-Zamoyska (1829 – 1889) in the light of an evaluation of primary and secondary sources. It includes the most complete register hitherto of this composer’s work. In terms of genre there are songs, compositions for piano, choral works, and chamber music. 38 works survive, part of which has the character of collections: this involves mainly song and piano work. The source material comprises autographs, copies and prints. An unusual feature of the manuscripts is that some of the composer’s works survive only in the form of autographs by F. Liszt and J. v. Herbeck. Ludmilla Giżycka-Zamoyska’s works often took their final form following consultations with such prominent personalities as F. Liszt, G. Nottebohm, C. Schumann, S. Heinze, J. v. Herbeck, C. F. Kahnt and others. This author’s compositional activity is an indication of the high level of musical cultivation in aristocratic families of the second half of the 19th century in central Europe. The works capture the formation of the contemporary repertoire of concerts in aristocratic salons.

Klavírne školy v zbierke hudobnín rodiny grófov Zamoyski z Brestovian // Piano Schools in the Music Collection of the Comital Family of Zamoyski from Brestovany

Musicologica Slovaca, 2014

The paper provides a view of the manner of cultivation of piano playing in noble families active ... more The paper provides a view of the manner of cultivation of piano playing in noble families active on the territory of Slovakia in the 19th century. The level of piano teaching in the comital family of Zamoyski from Brestovany is depicted based on the finding of piano playing textbooks, collections of etudes and instructive compositions. The notation material presented indicates a predilection for the piano in the family throughout the entire 19th century. In this music collection there are nine works of an instructive orientation by composers whose works were widely diffused in Central Europe from the 1840s to the 1890s. The finding of pedagogically orientated works of piano literature indicates a high level of performance among the members of the family, where the piano played an indispensable part in the domestic cultivation of music, or in the private productions of the aristocracy.

Klavírne umenie a hudobné vzdelávanie žien na prelome 18. a 19. storočia // Piano Art and the Music Education of Women in Slovakia at the Turn of the 19th Century

Musicologica Slovaca, 2019

This paper elucidates the music education of women on the territory of Slovakia in the late 18th ... more This paper elucidates the music education of women on the territory of Slovakia in the late 18th and early 19th centuries, in the context of the development of piano art. The musical activity of women is traced, and the measure of their interest in piano art is estimated, using period testimonies and reflections on women’s artistic activities in writings of the time. A number of aspects of the professional activity of women are outlined, with a primary focus on teaching piano playing. The paper presents manuscripts of music textbooks from the first decades of the 19th century, whose authorship, ownership, or possible elaboration we ascribe to women.

Keywords: piano art; keyboard instruments; music education; music textbooks; music salon; composition for piano

Z nových poznatkov k rukopisnej učebnici “Anleitung zum Klavierschlagen” Michala Godru // From new findings on the manuscript textbook “Anleitung zum Klavierschlagen” by Michal Godra

Musicologica Slovaca, 2015

The manuscript textbook “Anleitung zum Klavierschlagen” by Michal Godra is a type of the textbook... more The manuscript textbook “Anleitung zum Klavierschlagen” by Michal Godra is a type of the textbook for elementary instruction in piano playing in the first half of the 19th century in Slovakia. It is divided into a theoretical and a practical part. The theme of this paper is presented in terms of the development of piano playing and the methodology of instrument playing, the musical genre characterisation of the compositions included in the practical part of the textbook, and the degree of influence by Franz Paul Rigler’s theoretical works. Michal Godra’s piano school is an important source of knowledge of the development of musical education and piano composition in the given period in Slovakia.

Keywords: piano teaching, piano school, theory, methodology of instrumental playing, Michal Godra, Franz Paul Rigler

Učebnica elementárnej náuky o hudbe Melanie Diettmannovej v kontexte dobovej výučby hudby // The Handbook of Elementary Teaching on Music by Melanie Diettmann in the Context of Contemporary Music Education

Musicologica Slovaca, 2017

“Elementar Unterricht” (Fundamentals of Teaching), a manuscript textbook of music by Melanie Diet... more “Elementar Unterricht” (Fundamentals of Teaching), a manuscript textbook of music by Melanie Diettmann, is a type of handbook which preserves the method of teaching the elements of music used on the territory of Slovakia during the first half of the 19th century. This textbook is documentary proof of an increased interest in acquiring music education on the part of educated town-dwellers, having regard to the upbringing of girls and young ladies. The paper presents the textbook in the context of music teaching in Slovakia in the 19th century, and also in the context of the creation of didactic works. Reflected in it is the influence of music textbooks by B. Asioli and F. P. Rigler, among others, which could serve as models for the elaboration of the manuscript examined here.

Keywords: music education, music textbooks, elementary doctrine of music, music- theoretical literature of the 18th and 19th centuries, Melanie Diettmann, Bratislava

Učebnice hudby Johanny Rothovej v kontexte tvorby didaktických diel // Johanna Roth’s Music Textbooks in the Context of the Creationof Didactic Works

Musicologica Slovaca, 2017

Manuscript textbooks from the first half of the 19th century are, in our judgment, predominantly ... more Manuscript textbooks from the first half of the 19th century are, in our judgment, predominantly non-original works deriving from specific printed models, of whose reception they are documentary evidence. In a number of instances there is also an adaptation of the printed models’ texts. We ascribe to Johanna Roth the authorship of the manuscript Primæ, Lineæ, Musicæ Instrumentalis (Fundamentals of Instrumental Music), focusing on piano playing and dating from 1816. In our paper we present a comparison of this textbook with Johann Samuel Beyer’s textbook on singing (Anweisung zur Singe Kunst, 1703). Detailed attention is devoted to the musico-genre characterisation of the works in the textbook’s practical section. To Johanna Roth we ascribe a possible authorship of a textbook of basic doctrine on music and the thorough-bass (Musikalische Frag-Stückh; Haupt-Regel des rechten General-Basses). This work is derived from a work by Daniel Speer (Grund-richtiger Kurtz – Leicht – und Nöthiger jetzt Wohl-vermehrter Unterricht der Musicalischen Kunst, 1697). We present the theme in the context of the development of music education and the diffusion of musico-theoretical writing during the first half of the 19th century in Slovakia.

Keywords: music education, musico-theoretical literature, piano schools, elementary doctrine of music, doctrine of the thorough-bass, Johanna Roth, Kežmarok, Spišská Belá