In my master's thesis I will focus on the harpsichord. This instrument is usually classified as a baroque instrument, but in Bohemia the harpsichord experienced its greatest prosperity in Classicism. I will focus on the characteristics of the instrument and differences between the harpsichord and the piano. I will also try to characterize the classical work for harpsichord, the form of a classical solo concerto and the specifics of the interpretation of compositions on harpsichord and piano. Than I will examine the work for harpsichord by Jan Křtitel Vaňhal, put the composition in the context of the author's concert work and determine the diferences between the concerto for harpsichord and the piano concerto in Classicism in Bohemia. Finally, I will comment on the new complete score of Jan Křtitel Vaňhal's Harpsichord Concerto in C major, which I will compare with his Piano Concerto in A major. I also want to create a theoretical basis for the attached new completation of full score of Concerto in C major by J. K. Vaňhal. KEYWORDS Harpsichord, Fortepiano, Jan Křtitel Vaňhal, solo concert, classical period

Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane's compositions for vibraphone consistently expand the technical and musical potential of the instrument. Performance of Deane's vibraphone works requires a performer to utilize grips and specific performance techniques that are departures from standard performance practices. Many of the performance techniques needed to successfully execute these pieces are not routinely found in either percussion pedagogy courses or performance ensemble situations. As a result, most percussionists are not familiar with these techniques and will require additional assistance, instruction, or demonstrations. The impetus of this document is to present explanations and solutions for performance areas that require extended performance techniques, to offer recommendations on the creation, choosing, and manipulating of special implements, and to propose varied choices related to artistic interpretation of three of Deane's vibraphone pieces: Mourning Dove Sonnet (1983), The Apocryphal Still Life (1996), and Dis Qui Etude (2004).