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Famous Azerbaijani conductor Niyazi Takizade, who performed the first representations of Ahmed Adnan Saygun's many works in the early 1970s, tells western journalists:” Believe me, there is no composer like A. Adnan Saygun in many European countries”.A. Adnan Saygun trained in Paris and became one of the first composers of the young Turkish Republic. For the Republic of Turkey, Mustafa Kemal Ataturk has developed the idea "20th Century Classical Turkish Music", and brought A. Adnan Saygun to the head of the commission. The Divertissemente, which he wrote for the Great Symphony Orchestra, was performed for the first time in Paris and Warsaw, thus experiencing many firsts for the Turkish Classical Music World, with A. Adnan Saygun. In 1934, Saygun composed the first Turkish opera Özsoy on the order of Mustafa Kemal Atatürk. For the first time, Turkish motifs were enriched with new harmonies in Özsoy opera. Trips to different places of work with Belo Bartok- one of the important composers and ethnographers of the 20th century, has made enormous contributions to Turkish music. His friendship with Bartok has a positive impact on Saygun's work. Saygun's three major works on cello literature are “Sonata for Cello and piano” (op.12), “partita for Solo Cello” (op.31) and “Cello Concerto “(op.74), it has a very special sense of rhythm and ethnic Turkish motifs. His works have often been printed in Germany and America. Studies on Saygun's cello works are not common. Therefore, this study was carried out in order to be a source for those interested.

The aim of this thesis is to provide basic orientation in the context of Bach's Piano Partitas, their content and composing strategies Bach's music encompasses in general. In the opening of the thesis, there is a brief summary of the composers's biography aimed on the moments that are connected to the creation of the partita. Hence, the work is described in detail, each part is commented on and demonstrated in short extracts of music. The author of the thesis then explores, comments and compares various interpretations and recordings made by great piano and harpsichord female personas such as Martha Argerich, Tatiana Nikolayeva and Zuzana Ruzickova. A very important chapter of this work is the one that deals with historical musical instruments (clavichord, harpsichord, organ) as opposed to usage of a modern piano and the specifics of interpreting baroque music on a keayboard instrument such as melodic ornaments, dynamics, articulation and so on. The author also refers to her personal practical experience with this piece of music and discusses it from the interpretational and pedagogical point of view. KEYWORDS Bach, Partita no. 2, interpretion, polyphony, suita, piano, harpsichord, Argerich, Nikolayeva, Ruzickova

Обращаясь к многочастным инструментальным циклам Мечислава Вайнберга, авторы статьи обнаруживают в них современное претворение принципов драматургии, сложившихся в периоды Барокко, классицизма и романтизма. Второе открытие феномена М. Вайнберга на рубеже XX–XXI столетий как творческой фигуры мирового масштаба подтверждает актуальность заявленной темы исследования. Ее новизна состоит в тезисе о предвосхищении Вайнбергом в 1950–1960-е гг. тенденции к взаимодействию принципов инструментальной драматургии в рамках жанра concerto grosso, развернувшейся в музыке отечественных и зарубежных композиторов в последние десятилетия. В статье сочетаются компаративный, лингвистический и герменевтический подходы, позволяющие предложить толкование семантики предклассических жанров в современной музыкальной драматургии. Методика исследования состоит в выявлении субциклов – группировок из нескольких частей по синтагматической и парадигматической осям в многочастных циклах. Ориентиром служат программные названия частей. Композитор опирается на обобщенную программность, сочетая в словесном тексте сочинения старинные и современные жанры, а также конструктивные технические приемы работы с музыкальным материалом. Авторы последовательно рассматривают несколько опусов, предназначенных для солирующих инструментов (фортепиано, скрипки) и для исполнения камерным оркестром. Анализ Десятой симфонии М. Вайнберга демонстрирует взаимодействие принципов концертирования, объединяющих жанры барочного concerto grosso, немецкой духовной кантаты, современной драматической симфонии., Turning to the multi-part instrumental cycles of Mieczyslaw Weinberg, the authors of the article find in them a modern implementation of the dramaturgy principles that developed during the periods of Baroque, classicism and romanticism. The second discovery of the M. Weinberg phenomena at the turn of the XX–XXI centuries as a creative figure on a global scale confirms the relevance of the stated research topic. Its novelty consists in the thesis about Weinberg's anticipation in the 1950s and 1960s of the trend towards the interaction of the instrumental dramaturgy principles in the concerto grosso genre, which has developed in the music of domestic and foreign composers in recent decades. The article combines comparative, linguistic and hermeneutical approaches that allow the authors to offer an interpretation of the semantics of pre-classical genres in modern musical dramaturgy. The research method consists in identifying subcycles – groups of several parts along the syntagmatic and paradigmatic axes in multi-part cycles. The program names of the parts serve as a reference point. The composer relies on generalized program, combining old and modern genres in the verbal text of the composition, as well as constructive techniques terms for working with musical material. The authors consider several opuses intended for solo instruments (piano, violin), and for performance by a chamber orchestra. The analysis оf the 10 symphony by M. Weinberg demonstrates the interaction of the principles of concertation that combine the genres of the Baroque concerto grosso, the German spiritual cantata, and the modern dramatic Symphony.

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Este trabajo de grado se presenta como requisito parcial para optar al título de Magíster en Interpretación y pedagogía instrumental con énfasis en piano del Conservatorio de Música de la Universidad Nacional de Colombia, el cual tiene como eje central el análisis histórico e interpretativo de la Partita N°2 en Do menor del compositor alemán Johann Sebastián Bach, escrita en el año 1726, como parte importante de su repertorio para teclado. De esta manera, es importante resaltar que a lo largo de los años, la obra de Bach, se ha constituido como referente académico, artístico e intelectual dentro de los conservatorios de música alrededor del mundo, debido a la complejidad técnica y a la profundidad de su pensamiento musical. Así pues, en el programa de piano del Conservatorio de Música de la Universidad Nacional de Colombia, los estudiantes a lo largo de su carrera, se ven enfrentados al estudio y aprendizaje de diferentes obras para teclado del autor, con diversos niveles de dificultad, por lo tanto, en este contexto radica la importancia de este trabajo, que pretende ofrecer al estudiante una herramienta para el aprendizaje y conocimiento de esta Partita en específico, y tal vez, de otras obras para teclado del mismo compositor. Maestría

The dances that form the partitas which Bach has written for solo violin, although they have taken their names from the movement-based (actional) dances of the era, they carry qualities of a highly original masterpiece that require an outstanding technical level, thanks to Bach's extraordinary compositional style. For today’s violinists to understand the tradition of performance that has been transmitted from past to present, and the world of sound that Bach brought to life in his own mind, -or at least intending to do so-, undoubtedly goes through putting forth the characteristics related to these works. This study examines the dance form in Baroque music based on the composer's BWV 1002 Partita in B minor and explains the characteristics of the form that the composer has put out, within the appropriate scope of his era. In this way, a guide for commentators as well as a unique resource will be brought into the Turkish literature. Bach’ın solo keman için yazdığı partitaları oluşturan danslar, isimlerini her ne kadar dönemin harekete dayalı (eylemsel) danslarından almış olsalar da, Bach’ın olağandışı bestecilik stili sayesinde üstün bir teknik seviye gerektiren; son derece özgün bir forma dönüşmüş birer başyapıt niteliği taşımaktadırlar. Günümüz kemancılarının, geçmişten bugüne aktarılan performans geleneğini ve Bach’ın zihninde canlandırmış olduğu ses dünyasını anlaması -ya da en azından buna niyetlenmesi-, kuşkusuz bu yapıtlara ilişkin karakteristik özelliklerin ortaya konulmasından geçmektedir. Bu çalışma, Barok müziğinde dans formunu, bestecinin BWV 1002 numaralı Si minör Partita örneğinden hareketle incelemekte ve formun, bestecinin elinden çıkan karakteristiklerini döneme özgü kapsamıyla açıklamaktadır. Bu sayede, hem yorumculara yönelik bir rehber, hem de Türkçe literatüre eşi olmayan bir kaynak kazandırılmış olunacaktır.

Diplomsko delo je sestavljeno iz teoretičnega in praktičnega dela, diplomskega nastopa. V teoretičnem delu diplomske naloge sem predstavila Johanna Sebastiana Bacha, Claude Debussyja in Primoža Ramovša. Predstavitev zajema njihovo življenjsko pot, ustvarjanje, njihova dela, ter dela, ki so nam najbolj poznana. Vsak od teh skladateljev je v svojem opusu napisal tudi dela za flavto, katera sem izbrala ter jih podrobneje analizirala. To so Partita za solo flavto (Johann Sebastian Bach), Syrinx (Claude Debussy) in Ekspanzija (Primož Ramovš). Izbrana dela bom v drugem, praktičnem delu diplomske naloge tudi zaigrala. The present diploma work consists of the theoretical part and the practical part - a flute recital. In the first part of my diploma work I present the composers Johann Sebastian Bach, Claude Debussy and Primož Ramovš. The presentation comprises their life and creative work, as well as their compositions and some works that we are most familiar with. Each of these composers also included compositions for flute in their opus, therefore I chose three different pieces of music to analyse into more detail. These are Partita for solo flute by Johann Sebastian Bach, Syrinx by Claude Debussy and Ekspanzija by Primož Ramovš. In the second part - the recital - I will perform the three compositions.

Diplomsko delo je sestavljeno iz teoretičnega in praktičnega dela. V teoretičnem delu so v pisni obliki predstavljeni: Johann Sebastian Bach, Henryk Wieniawski in Lucijan Marija Škerjanc. Raziskana in obdelana je njihova življenjska pot in glasbeno ustvarjanje. Tri popolnoma različne skladatelje, vsak iz drugega ustvarjalnega obdobja, v diplomski nalogi združuje violina, ki je vodilna nit celotnega diplomskega dela, vendar ne v smislu delovanja instrumenta, temveč v smislu izbora treh del za violino, ki so poglobljeno raziskana in analizirana v oblikoslovnem, ritmičnem, harmonskem in interpretacijskem vidiku. V diplomskem delu so uporabljene naslednje metode: metoda analize in sinteze, deskriptivna metoda, zgodovinska metoda, komparativna metoda ter metoda generalizacije in specializacije. Praktični del - koncertni nastop: J. S. Bach: Partita št. 3, E-dur (Preludio in Gavotte et Rondeau) H. Wieniawski: Koncert za violino št. 2, op. 22 (I. stavek, Allegro moderato) L. M. Škerjanc: Lirična bagatela The paper consists of a theoretical part and practical performance. The theoretical part presents three composers: Johann Sebastian Bach, Henryk Wieniawski, and Lucijan Marija Škerjanc. It concentrates on their way of life and musical creativity. Three completely different composers, each from a different period, are joined together through the leading thread of the paper – the violin however, not in the context of the functioning of the instrument but in terms of selection of three works for the violin, which are studied and analyzed in depth in morphological, rhythmic, harmonic, and interpretative aspect. In the paper, the following methods are used: analysis and synthesis, descriptive method, historical method, comparative method and the method of generalization and specialization. Practical performance: J. S. Bach: Partita No. 3, E major (Preludio and Gavotte et Rondeau) H. Wieniawski: Violin Concerto No. 2, op. 22 (part I, Allegro moderato) L. M. Škerjanc: Lyrical Bagatelle

The master's recital in piano customarily includes works from the Baroque, Classic, Romantic, and Twentieth Century Periods, The recital presented has conformed to these requirements with works by Bach , Beethoven, Chopin, and Debussy. The partita, sonata, and nocturne represent musical forms which reached their ultimate development in the works of Bach , Beethoven, and Chopin, respectively, during the periods in which they were composed. So great was the genius of these composers that their names will always be intimately associated with these musical forms. whereas the preceding forms were climaxed by the compositions of Bach, Beethoven, and Chopin, Debussy originated Impressionism in music. The evolution of the partita, sonata, nocturne, and Impressionism comprises a significant and interesting milestone in musical history. The following discussion describes the historical development of these forms with particular emphasis on the specific contribution through which the composer brought everlasting greatness to the form.