{"id":7455,"date":"2024-05-31T18:08:00","date_gmt":"2024-05-31T16:08:00","guid":{"rendered":"https:\/\/www.matyasnovak.eu\/?post_type=aktuality&p=7455"},"modified":"2024-11-23T18:33:24","modified_gmt":"2024-11-23T17:33:24","slug":"bartokuv-koncert-pro-orchestr-jako-bezvadne-rozuzleni-sezony-filharmonie-hradec-kralove","status":"publish","type":"aktuality","link":"http:\/\/www.matyasnovak.eu\/en\/aktuality\/bartokuv-koncert-pro-orchestr-jako-bezvadne-rozuzleni-sezony-filharmonie-hradec-kralove\/","title":{"rendered":"Bart\u00f3k\u016fv Koncert pro orchestr jako bezvadn\u00e9 rozuzlen\u00ed sez\u00f3ny Filharmonie Hradec Kr\u00e1lov\u00e9"},"content":{"rendered":"

Stalo se ji\u017e pravidlem, \u017ee dramaturgick\u00fd pl\u00e1n ka\u017ed\u00e9ho koncertu obou symfonick\u00fdch cykl\u016f Filharmonie Hradec Kr\u00e1lov\u00e9 obsahuje i jist\u00fd mimohudebn\u00ed koncept, vyj\u00e1d\u0159en\u00fd vystihuj\u00edc\u00edm motem. Nejinak tomu bylo na z\u00e1v\u011bre\u010dn\u00e9m koncert\u011b 46. sez\u00f3ny tohoto t\u011blesa 30. kv\u011btna pod taktovkou jeho \u0161\u00e9fdirigenta Kaspara Zehndera, tentokr\u00e1t s motem \u201eKoncert pro orchestr\u201c, kter\u00e9 by bylo mo\u017en\u00e9 doplnit podtitulem \u201eCesta na jihov\u00fdchod\u201c.<\/strong><\/p>\n\n\n\n

\u201eJestli je pro n\u011bjakou skladbu zapot\u0159eb\u00ed, aby se orchestr doslova \u201aodv\u00e1zal\u2018, pro Rumunskou rapsodii \u010d.1 to plat\u00ed bezezbytku.\u201c<\/em><\/strong><\/p>\n\n\n\n

\u201eS\u00f3list\u016fv v\u00fdkon p\u0159esv\u011bd\u010dil, jak relativn\u00ed je ust\u00e1len\u00e9 tvrzen\u00ed, \u017ee druh\u00fd Liszt\u016fv klav\u00edrn\u00ed koncert je m\u00e9n\u011b virtu\u00f3zn\u00ed ne\u017e jeho prvn\u00ed.\u201c<\/em><\/strong><\/p>\n\n\n\n

\u201ePodstatn\u00fd byl v tomto p\u0159\u00edpad\u011b dokonale sehran\u00fd celek a jeho vz\u00e1jemn\u00e1 komunikace s dirigentem Kasparem Zehnderem.\u201c<\/em><\/strong><\/p>\n\n\n\n

Zazn\u011bla toti\u017e d\u00edla Franze Liszta, B\u00e9ly Bart\u00f3ka a George Enesca, tedy geograficky sp\u0159\u00edzn\u011bn\u00fdch autor\u016f, inspirovan\u00fdch krom\u011b jin\u00e9ho lidovou hudbou tohoto kulturn\u011b zaj\u00edmav\u00e9ho regionu. O\u010dek\u00e1vanou polo\u017ekou koncertu bylo vystoupen\u00ed klav\u00edristy Maty\u00e1\u0161e Nov\u00e1ka, v jeho\u017e vynikaj\u00edc\u00edm pod\u00e1n\u00ed zazn\u011bl Klav\u00edrn\u00ed koncert \u010d. 2 Franze Liszta. Efektn\u00ed \u00favod ve\u010dera zajistila Rumunsk\u00e1 rapsodie \u010d. 1 George Enesca a jeho z\u00e1v\u011br doslova strhuj\u00edc\u00ed interpretace Bart\u00f3kova Koncertu pro orchestr, kter\u00fd ji\u017e sv\u00fdm titulem p\u0159edstavoval ide\u00e1ln\u00ed zakon\u010den\u00ed aktu\u00e1ln\u00ed bohat\u00e9 koncertn\u00ed sez\u00f3ny.<\/p>\n\n\n\n

Ale popo\u0159ad\u011b. Nejen zaujet\u00ed pro lidovou hudbu, geografick\u00e1 bl\u00edzkost p\u016fvodu, ale dokonce stejn\u00fd rok narozen\u00ed 1881 spojuje George Enesca a B\u00e9lu Bart\u00f3ka, jejich\u017e d\u00edla spolu s Druh\u00fdm klav\u00edrn\u00edm koncertem Franze Liszta zazn\u011bla na z\u00e1v\u011bre\u010dn\u00e9m koncertu 46. koncertn\u00ed sez\u00f3ny Filharmonie Hradec Kr\u00e1lov\u00e9. Zat\u00edmco B\u00e9la Bart\u00f3k se pevn\u011b zapsal do pov\u011bdom\u00ed cel\u00e9 kulturn\u00ed ve\u0159ejnosti, George Enescu takov\u00e9 \u0161t\u011bst\u00ed nem\u011bl. P\u0159\u00edkladem budi\u017e obs\u00e1hl\u00e1 publikace Alexe Rosse Zb\u00fdv\u00e1 jen hluk (orig. The Rest Is Noise, 2007), \u0161iroce reflektuj\u00edc\u00ed hudbu 20. stolet\u00ed, ve kter\u00e9 bychom mezi v\u00edce ne\u017e tis\u00edci polo\u017ekami jmenn\u00e9ho rejst\u0159\u00edku hledali jm\u00e9no Enescu marn\u011b. George Enescu (1881\u20131955) dnes p\u0159esto reprezentuje rumunskou hudebn\u00ed tvorbu jako jej\u00ed nejzn\u00e1m\u011bj\u0161\u00ed p\u0159edstavitel. Jeho hudebn\u00ed kari\u00e9ra byla doslova z\u00e1vratn\u00e1. Jako sedmilet\u00fd byl p\u0159ijat zcela mimo\u0159\u00e1dn\u011b na v\u00edde\u0148skou konzervato\u0159, kterou absolvoval ve dvan\u00e1cti letech, ve studiu pak pokra\u010doval v Pa\u0159\u00ed\u017ei u Julesa Masseneta a Gabriela Faur\u00e9ho. Sv\u011btovou sl\u00e1vu za\u017eil i jako houslov\u00fd virtuos a pedagog (krom\u011b jin\u00fdch byl u\u010ditelem Yehudy Menuhina), jako klav\u00edrista udivoval fenomen\u00e1ln\u00ed pam\u011bt\u00ed. Podobn\u011b jako B\u00e9la Bart\u00f3k, kter\u00e9ho p\u0159e\u017eil o deset let, se siln\u011b inspiroval ve sv\u00e9 tvorb\u011b lidovou hudbou sv\u00e9ho rodn\u00e9ho kraje, a to mnohem p\u0159\u00edmo\u010da\u0159ej\u0161\u00edm zp\u016fsobem ne\u017e Bart\u00f3k, Leo\u0161 Jan\u00e1\u010dek \u010di dal\u0161\u00ed jeho vrstevn\u00edk Zolt\u00e1n Kod\u00e1ly. Enescu ve sv\u00fdch kompozic\u00edch setrval na p\u016fdorysu romantick\u00e9 hudby, i kdy\u017e nap\u0159. jeho Orchestr\u00e1ln\u00ed suita \u010d. 3 \u201eVesnick\u00e1\u201c z roku 1938 je d\u016fkazem jeho v\u00fdvoje sm\u011brem k modern\u011bj\u0161\u00edmu vyjad\u0159ov\u00e1n\u00ed. P\u0159esto z\u016fstala Enescova ran\u00e1 Rumunsk\u00e1 rapsodie \u010d. 1, op. 11 z roku 1901 (prem. 1903) jeho nejzn\u00e1m\u011bj\u0161\u00edm a nejhran\u011bj\u0161\u00edm d\u00edlem, zkomponovan\u00fdm v jeho necel\u00fdch dvaceti letech. Pod stejn\u00fdm opusem vznikly ov\u0161em Rapsodie dv\u011b, mnohem \u010dast\u011bji se v\u0161ak uv\u00e1d\u00ed pouze prvn\u00ed z nich, kter\u00e1 na rozd\u00edl od z\u00e1dum\u010div\u00e9 a obsahov\u011b hlub\u0161\u00ed druh\u00e9 p\u0159in\u00e1\u0161\u00ed \u017eiveln\u011b tane\u010dn\u00ed hudbu, zpracov\u00e1vaj\u00edc\u00ed lidov\u00e9 p\u00edsn\u011b a melodie, \u010derpaj\u00edc\u00ed z bohat\u00e9ho odkazu tradi\u010dn\u00ed hudby geograficky i kulturn\u011b pestr\u00e9ho regionu Rumunska (resp. Transylv\u00e1nie) a \u010d\u00edtaj\u00edc\u00ed v\u00edce ne\u017e deset rozd\u00edln\u00fdch kulturn\u011b historick\u00fdch oblast\u00ed. Enescu vyu\u017e\u00edv\u00e1 ve sv\u00e9 kompozici typick\u00e9 znaky t\u00e9to hudbu, v\u010detn\u011b prom\u011bnliv\u00e9 dur-mollov\u00e9 tonality s absenc\u00ed tradi\u010dn\u00edch modulac\u00ed a p\u0159\u00edzna\u010dn\u00fdch lidov\u00fdch rytm\u016f s basov\u00fdmi p\u0159izn\u00e1vkami. P\u0159edev\u0161\u00edm star\u0161\u00ed poslucha\u010di ur\u010dit\u011b zaregistrovali v Enescov\u011b Rapsodii citaci zn\u00e1m\u00e9 melodie Ciocarlia (Sk\u0159ivan) rumunsk\u00e9ho romsk\u00e9ho skladatele Anghelu\u0219e Dinicua, kterou u n\u00e1s kdysi zpopularizoval hr\u00e1\u010d na panovu fl\u00e9tnu Gheorghe Zamfir. Jestli je pro n\u011bjakou skladbu zapot\u0159eb\u00ed, aby se orchestr doslova \u201eodv\u00e1zal\u201c, pro Rumunskou rapsodii \u010d. 1 to plat\u00ed bezezbytku. To tak\u00e9 hrade\u010dt\u00ed filharmonici pod veden\u00edm sv\u00e9ho \u0161\u00e9fdirigenta Kaspara Zehndera pochopili a pln\u011b vyu\u017eili. Po \u00favodn\u00ed expozici s\u00f3lov\u00e9ho klarinetu s pastor\u00e1ln\u011b zabarven\u00fdm echem hobojov\u00e9ho dua, evokuj\u00edc\u00edho jakousi \u201ekarpatskou lidovou idylu\u201c, nastoup\u00ed durov\u00e9 t\u00e9ma v terci\u00edch, p\u0159ekvapiv\u011b p\u0159ipom\u00ednaj\u00edc\u00ed \u010deskou lidovou hudbu. Postupn\u011b nar\u016fst\u00e1 energie jednotliv\u00fdch lidov\u00fdch tanc\u016f, sm\u011b\u0159uj\u00edc\u00ed do v\u00edru lidov\u00e9 veselice a\u017e k divok\u00e9mu z\u00e1v\u011bru. \u00dasm\u011bv na tv\u00e1\u0159\u00edch publika, ale i hr\u00e1\u010d\u016f hovo\u0159il za v\u0161e. I kdy\u017e v divok\u00e9m tempu rumunsk\u00fdch tanc\u016f do sebe ne v\u0161e zapadlo rytmicky \u00fapln\u011b p\u0159esn\u011b, vlastn\u011b i to do t\u00e9to hudby sv\u00fdm zp\u016fsobem pat\u0159\u00ed.<\/p>\n\n\n\n

Mysl\u00edm, \u017ee nebudu p\u0159eh\u00e1n\u011bt s konstatov\u00e1n\u00edm, \u017ee klav\u00edrista Maty\u00e1\u0161 Nov\u00e1k se ve sv\u00e9m rodn\u00e9m m\u011bst\u011b stal doslova \u201emil\u00e1\u010dkem publika\u201c. Zn\u00ed to mo\u017en\u00e1 trochu ban\u00e1ln\u011b, ale je to prost\u011b pravda. Vztah je ov\u0161em oboustrann\u00fd a hradeck\u00e9 publikum m\u00e1 to privilegium, vyslechnout si ob\u010das p\u0159i vhodn\u00fdch p\u0159\u00edle\u017eitostech i jeho mimo\u0159\u00e1dn\u00e9 recit\u00e1ly. K \u0161ir\u0161\u00ed popularit\u011b Maty\u00e1\u0161e Nov\u00e1ka p\u0159isp\u00edv\u00e1 krom\u011b sympatick\u00e9ho zjevu i schopnost vtipn\u00e9 komunikace, pro kterou je zv\u00e1n i do r\u016fzn\u00fdch popul\u00e1rn\u00edch televizn\u00edch po\u0159ad\u016f, ve kter\u00fdch dok\u00e1\u017ee bavit poslucha\u010de sv\u00fdmi nev\u0161edn\u00edmi kon\u00ed\u010dky, p\u0159i\u010dem\u017e ov\u0161em nikdy nep\u0159ekro\u010d\u00ed vysoko nastavenou la\u0165ku sv\u00e9 kultivovanosti a noblesy. To koresponduje i s jeho p\u0159\u00e1telsk\u00fdm vztahem s podporovatelem Franti\u0161kem Kinsk\u00fdm, s n\u00edm\u017e po\u0159\u00e1d\u00e1 zaj\u00edmav\u00e9 komponovan\u00e9 po\u0159ady v p\u016fsobiv\u00e9m prost\u0159ed\u00ed na\u0161ich z\u00e1mk\u016f. V\u00fd\u010det jeho sout\u011b\u017en\u00edch i koncertn\u00edch \u00fasp\u011bch\u016f by zna\u010dn\u011b p\u0159ekro\u010dil rozsah tohoto p\u0159\u00edsp\u011bvku, proto z\u00e1jemce odkazuji na jeho webov\u00e9 str\u00e1nky. \u0160irok\u00fd reperto\u00e1r, kter\u00fd na nich Maty\u00e1\u0161 Nov\u00e1k uv\u00e1d\u00ed, obsahuje i dvaat\u0159icet polo\u017eek z d\u00edla Franze Liszta (1811\u20131886), mezi nimi\u017e je i jeho Druh\u00fd klav\u00edrn\u00ed koncert A dur, S 125, jen\u017e zazn\u011bl na tomto koncert\u011b hradeck\u00fdch filharmonik\u016f. Prvn\u00ed verze tohoto d\u00edla vznikla v roce 1839, ov\u0161em v n\u00e1sleduj\u00edc\u00edch letech Liszt p\u0159istoupil k jeho n\u011bkolika reviz\u00edm, p\u0159i\u010dem\u017e ta definitivn\u00ed byla dokon\u010dena a\u017e v roce 1861. B\u011bhem v\u00edce ne\u017e dvaceti let pro\u0161lo pochopiteln\u011b Lisztovo hudebn\u00ed my\u0161len\u00ed pom\u011brn\u011b z\u00e1sadn\u00edm v\u00fdvojem, b\u011bhem kter\u00e9ho se stal v mnoha ohledech nov\u00e1torem a pr\u016fkopn\u00edkem jak v oblasti hudebn\u00ed formy, tak i harmonie a tektoniky hudebn\u00edch d\u011bl. Tomu odpov\u00edd\u00e1 i definitivn\u00ed verze jeho Druh\u00e9ho klav\u00edrn\u00edho koncertu, jeho\u017e form\u00e1ln\u00ed originalita m\u016f\u017ee poslucha\u010de p\u0159i prvn\u00edm poslechu pon\u011bkud zasko\u010dit. Rukopis tohoto d\u00edla obsahuje podtitul Concerto symphonique, co\u017e odpov\u00edd\u00e1 i zpracov\u00e1n\u00ed tohoto jednolit\u00e9ho kompaktn\u00edho celku, jeho\u017e \u0161est \u010d\u00e1st\u00ed je charakterizov\u00e1no pouze tempov\u00fdm ozna\u010den\u00edm. Pro Liszta typick\u00e1 tematick\u00e1 transformace p\u0159ech\u00e1zej\u00edc\u00ed do ne\u010dekan\u00fdch variac\u00ed, sekvenc\u00ed a t\u00f3ninov\u00fdch prom\u011bn d\u00e1v\u00e1 s\u00f3listovi p\u0159\u00edle\u017eitost uplatnit na plo\u0161e zhruba dvaceti minut \u0161irokou paletu v\u00fdrazov\u00fdch prost\u0159edk\u016f, co\u017e Maty\u00e1\u0161 Nov\u00e1k vyu\u017eil dokonale. Po zti\u0161en\u00fdch, zaj\u00edmav\u011b modulovan\u00fdch akordech kompletn\u00ed d\u0159ev\u011bn\u00e9 harmonie \u00favodn\u00edho Adagio sostenuto nastupuje klav\u00edr p\u016fsobiv\u00fdmi akordov\u00fdmi rozklady v cel\u00e9m n\u00e1strojov\u00e9m rozsahu. Citliv\u00fd s\u00f3list\u016fv \u00fahoz s citem pro dynamick\u00e9 val\u00e9ry vt\u00e1hl poslucha\u010de do typicky lisztovsk\u00e9 atmosf\u00e9ry, osciluj\u00edc\u00ed mezi dramati\u010dnost\u00ed a poeti\u010dnost\u00ed. Tento kontrast vynikl v p\u0159echodu z energick\u00e9ho Allegro agitato do kontrastn\u00edho lyrick\u00e9ho t\u00e9matu s\u00f3lov\u00e9ho violoncella, doprov\u00e1zen\u00e9 m\u011bkk\u00fdm \u00fahozem Maty\u00e1\u0161e Nov\u00e1ka, v\u0161e moduluj\u00edc\u00ed st\u0159\u00eddav\u011b mezi Des dur a b moll. Deklarovan\u00e1 t\u00f3nina d\u00edla, tedy A dur, se vrac\u00ed v p\u0159edposledn\u00ed \u010d\u00e1sti Marziale un poco meno allegro, kde s\u00f3lista v neot\u0159el\u00e9 kombinaci s doprovodem t\u0159\u00ed pozoun\u016f a tuby uplatnil svou nekompromisn\u00ed a strhuj\u00edc\u00ed techniku, vrchol\u00edc\u00ed v heroick\u00e9m z\u00e1v\u011bru (Allegro animato), potvrzuj\u00edc\u00ed pozitivn\u00ed v\u00fdchoz\u00ed t\u00f3ninu. S\u00f3list\u016fv v\u00fdkon p\u0159esv\u011bd\u010dil, jak relativn\u00ed je ust\u00e1len\u00e9 tvrzen\u00ed, \u017ee druh\u00fd Liszt\u016fv klav\u00edrn\u00ed koncert je m\u00e9n\u011b virtu\u00f3zn\u00ed ne\u017e jeho prvn\u00ed, co\u017e vysv\u011btlil s\u00e1m Maty\u00e1\u0161 Nov\u00e1k na tradi\u010dn\u00ed neform\u00e1ln\u00ed besed\u011b s Luk\u00e1\u0161em Hurn\u00edkem p\u0159ed samotn\u00fdm koncertem. Svou neomylnou technickou bravurou, citem pro detail a elegantn\u00edm vystupov\u00e1n\u00edm si op\u011bt z\u00edskal hradeck\u00e9 publikum, jeho\u017e aplaus odm\u011bnil P\u00edsn\u00ed l\u00e1sky Josefa Suka.<\/p>\n\n\n\n

Pro z\u00e1v\u011br nejen tohoto koncertu, ale cel\u00e9 abonentn\u00ed sez\u00f3ny 2023\/2024 Filharmonie Hradec Kr\u00e1lov\u00e9 nemohl jej\u00ed dramaturg Marek Hrubeck\u00fd vybrat l\u00e9pe. Koncert pro orchestr, BB 123 B\u00e9ly Bart\u00f3ka (1881\u20131945) pat\u0159\u00ed k ikonick\u00fdm d\u00edl\u016fm hudby 20. stolet\u00ed, jeho\u017e n\u00e1ro\u010dn\u00e1 partitura klade na cel\u00fd orchestr mimo\u0159\u00e1dn\u00e9 n\u00e1roky a prov\u011b\u0159\u00ed nejen virtuozitu hr\u00e1\u010d\u016f jednotliv\u00fdch n\u00e1strojov\u00fdch skupin, ale p\u0159edev\u0161\u00edm schopnost souhry cel\u00e9ho ans\u00e1mblu. P\u0159es tyto interpreta\u010dn\u00ed n\u00e1roky pat\u0159\u00ed Koncert pro orchestr v kontextu Bart\u00f3kovy tvorby k d\u00edl\u016fm poslucha\u010dsky p\u0159\u00edstupn\u011bj\u0161\u00edm, p\u0159esto\u017ee, nebo mo\u017en\u00e1 pr\u00e1v\u011b proto, \u017ee vznikl v roce 1943, tedy ji\u017e v dob\u011b v\u00e1\u017en\u00e9ho onemocn\u011bn\u00ed na sklonku Bart\u00f3kova \u017eivota v americk\u00e9m exilu na objedn\u00e1vku Sergeje Kusevick\u00e9ho. Ostatn\u011b p\u0159\u00edklad\u016f, kdy nejv\u011bt\u0161\u00ed hudebn\u00ed tv\u016frci vytvo\u0159ili sv\u00e1 vrcholn\u00e1 d\u00edla v podobn\u011b t\u00ed\u017eiv\u00e9 \u017eivotn\u00ed situaci je mnoho. D\u00edlo samotn\u00e9 kombinuje na p\u016fdorysu klasick\u00fdch form\u00e1ln\u00edch norem z\u00e1padn\u00ed hudebn\u00ed \u0159e\u010d 20. stolet\u00ed s prvky v\u00fdchodoevropsk\u00e9 lidov\u00e9 hudby, co\u017e je ostatn\u011b p\u0159\u00edzna\u010dn\u00e9 pro celou Bart\u00f3kovu tvorbu. P\u0159ipome\u0148me, \u017ee Bart\u00f3kova rodn\u00e1 obec se nach\u00e1z\u00ed v n\u00e1rodnostn\u011b sm\u00ed\u0161en\u00e9 oblasti Ban\u00e1tu a dnes je sou\u010d\u00e1st Rumunska. Jak zn\u00e1mo, Bart\u00f3k\u016fv z\u00e1jem o folkl\u00f3r tohoto regionu nespo\u010d\u00edval jen v n\u011bjak\u00e9 vn\u011bj\u0161\u00ed inspiraci, ale byl p\u0159edm\u011btem jeho doslova v\u011bdeck\u00e9ho zkoum\u00e1n\u00ed.<\/p>\n\n\n\n

V samotn\u00e9m n\u00e1zvu Koncert pro orchestr je skryta jist\u00e1 m\u00edra provokace, z\u00e1m\u011brn\u011b zneji\u0161\u0165uj\u00edc\u00ed pou\u010den\u011bj\u0161\u00edho poslucha\u010de svou absenc\u00ed s\u00f3lov\u00e9ho n\u00e1stroje. S\u00f3listy se zde toti\u017e st\u00e1vaj\u00ed samotn\u00ed hr\u00e1\u010di orchestru, respektive jeho jednotliv\u00e9 n\u00e1strojov\u00e9 skupiny, a to na srovnateln\u00e9 technick\u00e9 \u00farovni, na jakou jsme zvykl\u00ed u instrument\u00e1ln\u00edch koncert\u016f. P\u011btid\u00edln\u00e9 Bart\u00f3kovo d\u00edlo poskytuje takov\u00fdch p\u0159\u00edle\u017eitost\u00ed mnoho a hr\u00e1\u010di hradeck\u00e9 filharmonie je nejen vyu\u017eili, ale publikum i strhli sv\u00fdm v\u00fdkonem.<\/p>\n\n\n\n

K vytvo\u0159en\u00ed p\u016fsobiv\u00e9 atmosf\u00e9ry zhruba desetiminutov\u00e9 Introdukce sta\u010dilo Bart\u00f3kovi jednoduch\u00e9 t\u00e9ma vzestupn\u00fdch \u010dist\u00fdch kvart, vyst\u0159\u00eddan\u00e9 charakteristickou rytmickou figurou druh\u00e9ho ur\u010duj\u00edc\u00edho t\u00e9matu ve slo\u017eit\u011b prov\u00e1zan\u00e9m vztahu s doprovodn\u00fdmi hlasy. St\u0159edn\u00ed lyrick\u00e1 \u010d\u00e1st s v\u00fdrazn\u00fdm vyu\u017eit\u00edm \u017ees\u0165ov\u00fdch n\u00e1stroj\u016f zaujala pr\u016fzra\u010dn\u00fdm fanf\u00e1rov\u00fdm leskem t\u00e9to skv\u011bvle sehran\u00e9 sekce hradeck\u00e9 filharmonie. Virtu\u00f3zn\u00ed p\u0159\u00edle\u017eitost pak krom\u011b \u017ees\u0165\u016f dostaly i dvojice d\u0159ev\u011bn\u00fdch n\u00e1stroj\u016f ve vtipn\u00e9 druh\u00e9 v\u011bt\u011b koncertu Presentando le coppie (P\u0159edstaven\u00ed p\u00e1r\u016f), kdy n\u00e1ro\u010dn\u00e1 souhra postupn\u00fdch dvojic n\u00e1stroj\u016f \u2013 fagot\u016f, hoboj\u016f, klarinet\u016f, fl\u00e9ten a trubek v r\u016fzn\u00fdch paraleln\u00edch intervalech tvo\u0159\u00ed jak\u00e9si minip\u0159\u00edb\u011bhy nejen hudebn\u00ed, ale i lidsk\u00e9. N\u00e1sleduj\u00edc\u00ed Elegie pokra\u010duje v rozvoji hlavn\u00edho \u201ekvartov\u00e9ho\u201c t\u00e9matu \u00favodn\u00ed v\u011bty. Kombinuje a\u017e snov\u00e9 pas\u00e1\u017ee s dramatick\u00fdmi \u010d\u00e1stmi, v\u0161e \u201ekolorovan\u00e9\u201c rytmicky n\u00e1ro\u010dn\u00fdmi ornamenty d\u0159ev\u011bn\u00fdch n\u00e1stroj\u016f, p\u0159edev\u0161\u00edm fl\u00e9ten, op\u011bt bez jak\u00e9hokoliv zav\u00e1h\u00e1n\u00ed hr\u00e1\u010d\u016f. N\u00e1sleduj\u00edc\u00ed Intermezzo interrotto (P\u0159eru\u0161en\u00e9 intermezzo) vedlo k \u010dast\u00fdm diskus\u00edm, zda pouze cituje, \u010di p\u0159\u00edmo paroduje Leh\u00e1ra a \u0160ostakovi\u010de \u2013 v\u011bc z\u016fst\u00e1v\u00e1 bez odpov\u011bdi. Nicm\u00e9n\u011b pr\u00e1v\u011b tento odd\u00edl spolu se z\u00e1v\u011bre\u010dn\u00fdm Finale dokonale prov\u011b\u0159il \u00farove\u0148 orchestru, pota\u017emo i pr\u00e1ci dirigenta v nastudov\u00e1n\u00ed interpreta\u010dn\u011b vrcholn\u011b n\u00e1ro\u010dn\u00e9ho d\u00edla. \u010cetn\u00e9 zm\u011bny metra a v\u00fdrazov\u00fdch n\u00e1lad Intermezza p\u0159ejdou do strhuj\u00edc\u00edho tempa lidov\u011b zabarven\u00e9ho tane\u010dn\u00edho reje z\u00e1v\u011bre\u010dn\u00e9ho Finale, energi\u00ed nabit\u00e9ho ronda s mistrovsky zpracovan\u00fdm fugatem. Z\u00e1v\u011bre\u010dn\u00fd sign\u00e1l mollov\u00e9 tercie p\u0159ekvapiv\u011b kon\u010d\u00ed celou v\u011btu krati\u010dk\u00fdm, p\u0159esto optimistick\u00fdm F dur.<\/p>\n\n\n\n

V\u00fdkon orchestru byl opravdu strhuj\u00edc\u00ed. Nen\u00ed zde prostor pro detailn\u011bj\u0161\u00ed rozbor jednotliv\u00fdch n\u00e1strojov\u00fdch skupin, ale ani to vlastn\u011b nen\u00ed podstatn\u00e9. Podstatn\u00fd byl v tomto p\u0159\u00edpad\u011b dokonale sehran\u00fd celek, jeho vz\u00e1jemn\u00e1 komunikace s dirigentem Kasparem Zehnderem, v\u010detn\u011b emocion\u00e1ln\u00edho propojen\u00ed s publikem. To\u0165 v\u00fdsledek jist\u011b n\u00e1ro\u010dn\u00e9 a zodpov\u011bdn\u00e9 p\u0159\u00edpravy, ji\u017e v\u0161ak Filharmonie Hradec Kr\u00e1lov\u00e9 dokazovala po celou 46. sez\u00f3nu.<\/p>\n\n\n\n

Foto: Zden\u011bk Fabi\u00e1nek<\/p>\n\n\n\n

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