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Bohuslav Maritnů¡¦s Oboe Concerto, H. 353 is one of the most important oboe works in the twentieth century. This Concerto is composed in 1995, in Maritnů¡¦s later life period. There are numerous mistakes and controversies over the final published version. This has resulted various interpretation of the same piece by many performers throughout the decades. The main topic of this research concerns with the differences of the published editions and six recordings. This thesis is consisted of introduction, conclusion, and other three main chapters. The introduction includes research motivation, purpose, literature review and components definition. The first chapter is the introduction of Maritnů¡¦s life and music. Also, the important features of Oboe Concerto, H. 353 are briefly described in this chapter. The second chapter detailed described and the analyzed the Oboe Concerto, H. 353. The essential materials used in this piece are analyzed and organized in table charts. Nevertheless, for giving the instructions for practicing this piece, the play-skills and teaching-materials are suggested along with the difficult parts of the whole composition. Chapter three is the most important part of this thesis. This chapter mainly focuses on the comparison between scores and sound recordings, and discusses the accuracy of these versions. The scores including the piano version and the orchestra versions and those are expounded in the section one. Furthermore, according to the literatures, the correctness of musical notes and articulation are arranged in this section. I also mark the mistakes of each movement of Oboe Concerto, H. 353 in appendix for readers¡¦ references. Section two in chapter three is the comparison of different sound recordings of this piece. The six important and accomplished oboists¡¦ recordings are discussed in order to let readers realize these great oboists¡¦ music style and their characteristics. These most influential performers are Jiři Tancibudeck, Ingo Goritzki, Heinz Holliger, Lajos Lencsés, Thomas Indermühle, and Alex Klein. The last part is the conclusion of this thesis which concluded and analyzed the whole thesis.

Bc. Kateřina Řeháková Searching for staging tradition of Bohuslav Martinů's opera Julietta on Czech stages Abstract The master's thesis depicts all productions of Bohuslav Martinů's opera Julietta on Czech stages since the world premiere in Prague in 1938 till the last one, performed in Brno in 2009. It describes staging techniques and their transformations and shows how the productions make use of other productions' methods or how they are original. The pivotal production was the very first from 1938 produced by conductor Václav Talich, stage director Jindřich Honzl and set designer František Muzika who - in harmony - created a performance, which was considered perfect by the composer himself. Jindřich Honzl came up with the crucial staging dilemma which impacted next directors as well: to stage Julietta rather as a dream or more as a realistic story? The directors who were able to find a balance were more successful.

The first opera by Bohuslav Martinů (from the total of 16) named Voják a tanečnice (The Soldier and the Dancer), H. 162 was created in the initial years of Martinů's stay in Paris (1926-1927), when the effort to reflect different contemporary music trends and influences can be traced in his compositions. Voják a tanečnice is an original example of absorbing such influences on the background of the three-act comic opera. Together with the librettist, Jan Löwenbach, they tried to create a "new opera buffa", which was however not understood by the contemporary reviewers. The opera was first performed in Brno in 1928. The frequency of the first performances of Martinů's stage works in the National Theatre in Brno indicates that the first performance of his first opera was not a coincidence but a part of targeted dramaturgy at the Brno stage. The opera follows both the tradition of an opera and tendencies in art of the 1920's, e. g. playing with humour in music, the epic theatre inspirations or using ancient theme. Powered by TCPDF (www.tcpdf.org)

Bohuslav Martinů's "Concerto for Oboe and Small Orchestra" is one of the most frequently played pieces in the oboe repertoire. For this reason, it is often played with the piano reduction instead of the orchestra in oboe recitals. However, the existing piano reductions include many errors and discrepancies from the orchestral score, misrepresent the orchestration, sometimes fail to make the oboe entries clear, and tend to be unplayable for pianists. Moreover, the scores were published after the composer's death without him supervising the final editing. I have prepared a new, playable piano reduction to represent the orchestration more faithfully and help pianists work with their soloists more easily. Based on the work of Martin Katz, a prominent collaborative-pianist, I establish four principles for creating a new piano reduction. After scrutiny of the deficiencies of existing piano reductions, I suggest solutions for making the passages in question practical and bringing out the leading voices clearly so that the soloist can join in as easily as playing with an orchestra. To aid in reflecting the orchestral texture that Martinů created, I include abbreviated instrument names in many passages to help pianists to understand how to create balance. I have changed some passages completely to make the sound closer to the orchestral texture. All changes and suggestions are based on the orchestral score and its layout. This simplified and practical piano reduction should help pianists have more enjoyable and more successful collaborations with their soloists.

A number of renown poets and writers were born in the Czech Vysocina area and continued to return there throughout their lives. This thesis aims to compare the works of four Czech poets which feature reflections of the Vysocina region. In his collection of poems "Greetings to the sun", Jan Zahradnicek focuses on the sun as it shines upon the region and assists local inhabitants in their work. In his lyrical prose "I shall return there..." Frantisek Halas reveals incredible nature scenery as he introduces seasonal changes in the region. In Bohuslav Reynek's collection of works named "The sawing of loneliness" the region becomes the setting of the poet's conversation with God. In his collection of works titled "Springs opening" Miloslav Bures portrayed the annual tradition which every year renewed man's relationship with life giving nature.