DOI: 10.4149/SH_2022_1_1

The study summarizes the research results and current knowledge concerning the selected biographical data of the important 19^th-century Pressburg (Prešporok, today Bratislava) guitarist and composer J. K. Mertz. It elaborates in depth the selected domains of research – the genealogy and family background, the portrait and the full name of the composer. The processing of these matters on the basis of accessible sources and specialized literature worldwide documents the current extent and condition of the specialized research of Mertz’s personality at international level. The text defines these domains on several levels depending on the possibilities given by the accessibility and persuasiveness of the information and evidence. We can find here credible information confirmed by direct proofs, considerations evaluated on the basis of historical and territorial contexts, and hypotheses offering several feasible answers. Regarding the solution of the cardinal question – the whole name of the composer –, which has been the object of long-lasting polemics in professional circles, the author offers his own proposal.

Keywords
J. K. Mertz; genealogy; biographical data; composer’s name

DOI: 10.4149/SH_2022_1_2

The presented text is the second part of the monographic study Ján Zimmer – Context and Development of the Composer’s Work. Its goal is to offer a comprehensive view on the compositional work and life of this Slovak composer. The second part incorporates the continuation of Zimmer’s memoirs recounting his teaching, participation in compositional courses in Salzburg and most of all the beginnings of the socialist regime and the affair joined with the premiere of his piece Concerto Grosso, Op. 7. The second part brings also the survey of Ján Zimmer’s first creative period during which he was led by his teacher Eugen Suchoň.

Keywords
Ján Zimmer; Slovak composer; memoirs

DOI: 10.4149/SH_2022_1_3

Hauptwerk software in conjunction with a console is used for performance and recording of organ music with the help of organ samples. It has several predecessors: telharmonium, electronic organ Hammond organ, Moog synthesizer, digital organ, sampler and sample player. The software provides a simple and well arranged user interface. It includes general functions for customizing the user interface, many options for sound setting, individual adjustment of samples and recording functions. It is used mainly by private users for practice and occasional concerts. To a lesser extent it is employed in schools, mainly for teaching organ music performance. It has the least use in churches, where it is utilized during services as an alternative to the pipe organ. We also see its importance in the preservation and active usage of the sounds of numerous rare historical organs.

Keywords
software; Hauptwerk; pipe organ; virtual organ

DOI: 10.4149/SH_2022_1_4

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

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