{"id":7857,"date":"2025-12-02T18:11:00","date_gmt":"2025-12-02T17:11:00","guid":{"rendered":"https:\/\/www.matyasnovak.eu\/?post_type=aktuality&p=7857"},"modified":"2026-04-22T18:17:11","modified_gmt":"2026-04-22T16:17:11","slug":"matyas-novak-u-sv-vavrince-prokazal-nejen-pianisticky-ale-i-kompozicni-um","status":"publish","type":"aktuality","link":"https:\/\/www.matyasnovak.eu\/en\/aktuality\/matyas-novak-u-sv-vavrince-prokazal-nejen-pianisticky-ale-i-kompozicni-um\/","title":{"rendered":"Maty\u00e1\u0161 Nov\u00e1k u\u00a0sv. Vav\u0159ince prok\u00e1zal nejen pianistick\u00fd, ale i\u00a0kompozi\u010dn\u00ed um"},"content":{"rendered":"

\u201eV\u00a0lisztovsky pojat\u00e9 Fantazii na operu Rusalka nab\u00eddl Maty\u00e1\u0161 Nov\u00e1k nejen n\u00e1dhern\u00e9 Dvo\u0159\u00e1kovy melodie, ale tak\u00e9 spoustu neot\u0159el\u00fdch kompozi\u010dn\u00edch n\u00e1pad\u016f.\u201c<\/em><\/p>\n\n\n\n

\u201eJan\u00e1\u010dkova Son\u00e1ta 1. X. 1905 byla pln\u00e1 emoc\u00ed, \u010dasto zna\u010dn\u011b vypjat\u00fdch.\u201c<\/em><\/p>\n\n\n\n

\u201eSuitu mignonne Rudolfa Frimla za\u0159adil Maty\u00e1\u0161 Nov\u00e1k do sv\u00e9ho programu na p\u0159\u00e1n\u00ed po\u0159adatele festivalu V\u011b\u010dn\u00e1 nad\u011bje.\u201c<\/em><\/p>\n\n\n\n

Ve \u010dtvrtek 27. listopadu nab\u00eddl festival V\u011b\u010dn\u00e1 nad\u011bje v\u00a0malostransk\u00e9m kostele sv. Vav\u0159ince sv\u00e9mu publiku recit\u00e1l sedmadvacetilet\u00e9ho Maty\u00e1\u0161e Nov\u00e1ka, jednoho z\u00a0na\u0161ich nejzaj\u00edmav\u011bj\u0161\u00edch mlad\u00fdch pianist\u016f. Maty\u00e1\u0161, aktu\u00e1ln\u011b doktorand na HAMU, vystoupil na mnoha v\u00fdznamn\u00fdch sv\u011btov\u00fdch koncertn\u00edch p\u00f3di\u00edch a\u00a0hr\u00e1l s\u00a0\u0159adou na\u0161ich i\u00a0zahrani\u010dn\u00edch orchestr\u016f. U\u017e jako devaten\u00e1ctilet\u00fd debutoval v\u00a0proslul\u00e9 newyorsk\u00e9 Carnegie Hall a\u00a0znovu se do t\u00e9to koncertn\u00ed s\u00edn\u011b vr\u00e1t\u00ed v\u00a0dubnu p\u0159\u00ed\u0161t\u00edho roku, kdy v\u00a0r\u00e1mci projektu Smetana Reborn provede skladatelovu Mou vlast v\u00a0klav\u00edrn\u00ed transkripci Jind\u0159icha K\u00e0ana z\u00a0Albest\u016f. Do prvn\u00ed \u010d\u00e1sti sv\u00e9ho \u010dtvrte\u010dn\u00edho recit\u00e1lu vybral um\u011blec skladby \u017eidovsk\u00fdch autor\u016f, po p\u0159est\u00e1vce pak uvedl d\u00edla, v\u00a0jejich\u017e pozad\u00ed stoj\u00ed \u2013 v\u00a0nejr\u016fzn\u011bj\u0161\u00edch podob\u00e1ch \u2013 lidsk\u00e1 \u010di spole\u010densk\u00e1 trag\u00e9die.<\/strong><\/p>\n\n\n\n

V\u00a0\u00favodu sv\u00e9ho vystoupen\u00ed zahr\u00e1l\u00a0Maty\u00e1\u0161<\/strong>\u00a0Nov\u00e1k<\/strong>\u00a0P\u00edsn\u011b beze slov, op. 38<\/em>\u00a0Felixe Mendelssohna-Bartholdyho<\/strong>. V\u0161ech \u0161est skladeb tohoto cyklu m\u00e1 v\u00fdrazn\u011b p\u00eds\u0148ov\u00fd charakter, s\u00a0elegantn\u011b vykreslenou melodickou linkou a\u00a0s\u00a0hybn\u00fdm doprovodem. Jedinou v\u00fdjimkou je pon\u011bkud staticky p\u016fsob\u00edc\u00ed \u010dtvrt\u00e9 \u010d\u00edslo, je\u017e m\u00e1 homofonn\u00ed akordickou sazbu. Pianista hr\u00e1l tento cyklus s\u00a0viditeln\u00fdm nadhledem, prav\u00e1 ruka mu hezky zp\u00edvala, doprovod plynul lehce a\u00a0hladce. Zvl\u00e1\u0161\u0165 efektn\u00ed bylo v\u00a0jeho pod\u00e1n\u00ed virtu\u00f3zn\u00ed t\u0159et\u00ed \u010d\u00edslo\u00a0Presto e molto vivace.<\/em>\u00a0V\u00a0z\u00e1v\u011bre\u010dn\u00e9m \u010d\u00edsle, kter\u00e9 nese n\u00e1zev\u00a0Duetto<\/em>\u00a0a\u00a0je pojat\u00e9 jako rozhovor prav\u00e9 a\u00a0lev\u00e9 ruky, jsem ocenil plasticitu veden\u00ed hlas\u016f.<\/p>\n\n\n\n

T\u0159i preludia<\/em>\u00a0George Gershwina<\/strong>\u00a0p\u0159inesla hudbu jazzov\u00e9ho ra\u017een\u00ed. Do prvn\u00edho preludia se Maty\u00e1\u0161 vrhl s\u00a0ohromn\u00fdm nasazen\u00edm a\u00a0hr\u00e1l ho s\u00a0takovou vervou, \u017ee se ve zvuku dostal za hranici toho, co ut\u00e1hne svatovav\u0159ineck\u00e1 akustika. Druh\u00e9 preludium je ve sv\u00e9 podstat\u011b blues. Jeho st\u0159edn\u00ed \u010d\u00e1st s\u00a0le\u017e\u00e9rn\u011b plynouc\u00ed melodi\u00ed v\u00a0lev\u00e9 ruce p\u0159\u00edmo sv\u00e1d\u011bla k\u00a0leno\u0161en\u00ed. A\u00a0ve t\u0159et\u00edm preludiu, je\u017e s\u00e1m Gershwin nazval \u201e\u0161pan\u011blsk\u00e9\u201c, jsme mohli naplno ocenit Maty\u00e1\u0161\u016fv cit pro pevn\u011b tepaj\u00edc\u00ed rytmus i\u00a0skv\u011blou pianistovu techniku.\u00a0<\/p>\n\n\n\n

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Cyklus\u00a0Suite mignonne\u00a0<\/em>(Mal\u00e1 suita), op. 35<\/em>\u00a0Rudolfa Frimla<\/strong>\u00a0za\u0159adil Maty\u00e1\u0161 do sv\u00e9ho programu na p\u0159\u00e1n\u00ed po\u0159adatele festivalu. Frimlovo jm\u00e9no m\u00e1me spojen\u00e9 sp\u00ed\u0161 s\u00a0leh\u010d\u00ed m\u00fazou a\u00a0ani jeho Mal\u00e1 suita (vydan\u00e1 v\u00a0roce 1908) nen\u00ed nijak zvl\u00e1\u0161\u0165 hlubokomysln\u00e1. Jej\u00edch \u0161est v\u011bt nese romantizuj\u00edc\u00ed n\u00e1zvy:\u00a01.\u00a0Samota, 2. Rann\u00ed p\u00edse\u0148, 3. Romantick\u00fd val\u010d\u00edk, 4. Drobn\u00fd p\u0159\u00edb\u011bh, 5. \u010cesk\u00fd tanec\u00a0<\/em>a\u00a06. Chv\u00edle sn\u011bn\u00ed.<\/em>\u00a0Skladbi\u010dky jsou v\u00edcem\u00e9n\u011b salonn\u00edho charakteru, tu a\u00a0tam s\u00a0lehk\u00fdm\u00a0francouzsk\u00fdm n\u00e1dechem. V\u00fdjimkou je\u00a0\u010cesk\u00fd<\/em>\u00a0tanec<\/em>, jen\u017e je volnou stylizac\u00ed polky. Od interpreta ani od poslucha\u010de toho tyto skladby mnoho nevy\u017eaduj\u00ed a\u00a0v\u0161echny bez v\u00fdjimky se p\u0159\u00edjemn\u011b poslouchaj\u00ed. Pro Maty\u00e1\u0161e jsou tyto nen\u00e1ro\u010dn\u00e9 drobnosti \u201eoddechov\u00fdmi kousky\u201c. Nastudoval je poctiv\u011b a\u00a0nen\u00ed vylou\u010den\u00e9, \u017ee tuhle kuriozitu v\u00a0budoucnosti uplatn\u00ed na n\u011bkter\u00e9m ze sv\u00fdch koncertn\u00edch vystoupen\u00ed.<\/p>\n\n\n\n

Nejzaj\u00edmav\u011bj\u0161\u00edm \u010d\u00edslem prvn\u00ed poloviny ve\u010dera byl cyklus rusk\u00e9ho skladatele\u00a0Alfreda Schnittkeho<\/strong>\u00a0nazvan\u00fd\u00a0P\u011bt preludi\u00ed a\u00a0fuga.<\/em>\u00a0Schnittke jej vytvo\u0159il ve sv\u00fdch dvaceti letech, v\u00a0dob\u011b studi\u00ed na Moskevsk\u00e9 konzervato\u0159i. Prvn\u00ed preludium m\u00e1 sice tak\u00e9 salonn\u00ed r\u00e1z, ale je mnohem rafinovan\u011bj\u0161\u00ed ne\u017e nen\u00e1ro\u010dn\u00e9 kousky Frimlovy. Maty\u00e1\u0161 to ur\u010dit\u011b vn\u00edmal stejn\u011b, proto\u017ee ho hr\u00e1l s\u00a0viditeln\u011b v\u011bt\u0161\u00edm zaujet\u00edm ne\u017e Frimla. Zp\u011bvn\u00e9 krajn\u00ed \u010d\u00e1sti druh\u00e9ho preludia jsou po harmonick\u00e9 str\u00e1nce pom\u011brn\u011b konzervativn\u00ed, ve st\u0159edn\u00ed \u010d\u00e1sti v\u0161ak u\u017e Schnittke odv\u00e1\u017en\u011b vstoupil do 20. stolet\u00ed. A\u00a0Maty\u00e1\u0161 si tu s\u00a0barevn\u00fdmi harmoniemi opravdu vyhr\u00e1l. T\u0159et\u00ed \u010d\u00edslo je z\u00a0cel\u00e9ho cyklu nejdivo\u010dej\u0161\u00ed a\u00a0klav\u00edrista jeho\u00a0technick\u00e1 i\u00a0rytmick\u00e1 \u00faskal\u00ed p\u0159ekon\u00e1val v\u00edc ne\u017e obdivuhodn\u011b. Ve skrjabinovsky rozpl\u00fdvav\u00e9m \u010dtvrt\u00e9m preludiu pianista kr\u00e1sn\u011b pracoval s\u00a0jemn\u00fdmi barevn\u00fdmi odst\u00edny. Rachmaninovovsky hutn\u00e9 a\u00a0temn\u00e9 p\u00e1t\u00e9 preludium m\u00e1 zaj\u00edmav\u011b pojat\u00fd st\u0159edn\u00ed d\u00edl. V\u00a0jeho drobnokresb\u011b tu\u0161\u00edme Prokofjeva, ale z\u00e1rove\u0148 n\u00e1s p\u0159ekvap\u00ed (a rozesm\u011bj\u00ed) aluze na Lisztovu II. uherskou rapsodii. Maty\u00e1\u0161 tu ony dva (\u010di vlastn\u011b t\u0159i) kontrastn\u00ed sv\u011bty odli\u0161il naprosto p\u0159esv\u011bd\u010div\u011b. Z\u00e1v\u011bre\u010dnou fugu vystav\u011bl klav\u00edrista s\u00a0jistotou a\u00a0suverenitou \u2013 jej\u00ed architektura byla dokonale p\u0159ehledn\u00e1 a\u00a0bezpe\u010dn\u011b gradovan\u00e1.<\/p>\n\n\n\n

Druhou polovinu ve\u010dera otev\u0159el um\u011blec\u00a0Mozartovou\u00a0<\/strong>Son\u00e1tou a\u00a0moll, KV 310.<\/em>\u00a0V\u00a0prvn\u00ed v\u011bt\u011b zna\u010dn\u011b \u0161et\u0159il tichou dynamikou, tak\u017ee jako celek vyzn\u011bla hodn\u011b dramaticky, mo\u017en\u00e1 a\u017e beethovenovsky. Ve druh\u00e9 v\u011bt\u011b otev\u0159el pianista p\u0159ed poslucha\u010di zcela jin\u00fd sv\u011bt \u2013 n\u011b\u017en\u011b rozezp\u00edvan\u00fd, tich\u00fd a\u00a0vl\u00eddn\u00fd. Fin\u00e1ln\u00ed v\u011btu hr\u00e1l v\u00a0\u017eiv\u00e9m tempu a\u00a0udr\u017eel v\u00a0n\u00ed po celou dobu pot\u0159ebn\u00fd \u201etah\u201c. Velice hezky mu ve zvuku vy\u0161la zp\u011bvn\u00e1 durov\u00e1 terciov\u00e1 epizoda uprost\u0159ed v\u011bty.<\/p>\n\n\n\n

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Jan\u00e1\u010dkovu<\/strong>\u00a0Son\u00e1tu 1. X. 1905,<\/em>\u00a0je\u017e n\u00e1sledovala po Mozartovi, p\u0159ednesl Maty\u00e1\u0161 skute\u010dn\u011b \u201ejan\u00e1\u010dkovsky\u201c. Hudba byla pln\u00e1 emoc\u00ed, \u010dasto zna\u010dn\u011b vypjat\u00fdch. Jej\u00ed tok byl bohat\u011b plasticky propracovan\u00fd, a\u00a0to jak v\u00a0agogice, tak v\u00a0dynamice. Zna\u010dnou roli hr\u00e1la v\u00a0Maty\u00e1\u0161ov\u011b Jan\u00e1\u010dkovi pedalizace \u2013 byla v\u00edc ne\u017e hojn\u00e1, ale po celou skladbu naprosto funk\u010dn\u00ed.<\/p>\n\n\n\n

Sv\u016fj recit\u00e1l uzav\u0159el Maty\u00e1\u0161 vlastn\u00ed klav\u00edrn\u00ed\u00a0Fantazi\u00ed na Dvo\u0159\u00e1kovu operu \u201aRusalka\u2018.<\/em>\u00a0V\u00a0lisztovsky pojat\u00e9 skladb\u011b nab\u00eddl nejen n\u00e1dhern\u00e9 Dvo\u0159\u00e1kovy melodie, ale tak\u00e9 spoustu neot\u0159el\u00fdch kompozi\u010dn\u00edch n\u00e1pad\u016f. Prok\u00e1zal tak\u00e9 sv\u016fj neoby\u010dejn\u00fd cit pro kantil\u00e9nu (dojemn\u00e1 \u00e1rie Vodn\u00edka) a\u00a0p\u0159edev\u0161\u00edm p\u0159edvedl svou techniku, kter\u00e1 je opravdu osl\u0148uj\u00edc\u00ed.\u00a0<\/p>\n\n\n\n

Nad\u0161en\u00ed poslucha\u010di by si b\u00fdvali r\u00e1di vytleskali p\u0159\u00eddavek, ale po\u0159adatel pro n\u011b p\u0159ipravil m\u00edsto p\u0159\u00eddavku p\u0159ekvapiv\u00fd bonus: \u201eaftertalk\u201c s\u00a0um\u011blcem. Role moder\u00e1tora se ujal\u00a0Petr<\/strong>\u00a0Kadlec<\/strong>. Maty\u00e1\u0161 p\u016fsobil po cel\u00fd rozhovor uvoln\u011bn\u011b a\u00a0sympaticky a\u00a0dozv\u011bd\u011bli jsme se od n\u011bho spoustu zaj\u00edmav\u00fdch v\u011bc\u00ed \u2013 mimo jin\u00e9 tak\u00e9 to, \u017ee pr\u00e1v\u011b vydal u\u00a0americk\u00e9 spole\u010dnosti Nu Ave Art nov\u00e9 CD, nazvan\u00e9\u00a0Czech Dream<\/em>\u00a0(\u010cesk\u00fd sen), je\u017e nato\u010dil vloni v\u00a0New Yorku. Jsou na n\u011bm \u010dty\u0159i skladby: virtu\u00f3zn\u00ed Maty\u00e1\u0161ova klav\u00edrn\u00ed \u00faprava Smetanovy\u00a0<\/strong>Vltavy<\/em>\u00a0a\u00a0t\u0159i Maty\u00e1\u0161ovy vlastn\u00ed\u00a0Fantazie:\u00a0<\/em>na\u00a0Prodanou nev\u011bstu,\u00a0<\/em>na\u00a0Rusalku\u00a0<\/em>a na\u00a0<\/em>\u010desk\u00e9 a\u00a0moravsk\u00e9 lidov\u00e9 p\u00edsn\u011b.<\/p>\n\n\n\n

M\u011bl jsem mo\u017enost si Maty\u00e1\u0161ovo nov\u00e9 CD hned druh\u00fd den p\u0159ehr\u00e1t. Maty\u00e1\u0161 m\u00e1 skute\u010dn\u011b \u00fa\u017easnou lisztovskou techniku. P\u0159i poslechu jsem m\u011bl mnohokr\u00e1t dojem, \u017ee si p\u0159izval ku pomoci je\u0161t\u011b dal\u0161\u00ed dv\u011b ruce nav\u00edc (nebo aspo\u0148 jednu). A\u00a0jako skladatel m\u00e1 obdivuhodnou invenci: se zn\u00e1m\u00fdmi melodiemi \u2013 a\u0165 u\u017e \u201ev\u00e1\u017enohudebn\u00edmi\u201c nebo lidov\u00fdmi \u2013 pracuje n\u00e1padit\u011b a\u00a0s vtipem. Tohle Maty\u00e1\u0161ovou CD ur\u010dit\u011b nadchne jak \u201esv\u00e1te\u010dn\u00ed\u201c milovn\u00edky hudby, tak i\u00a0nejvyb\u00edrav\u011bj\u0161\u00ed fajn\u0161mekry.\u00a0<\/p>\n\n\n\n

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foto: David Peltan<\/p>\n\n\n\n

Zdroj: https:\/\/www.klasikaplus.cz\/matyas-novak-u-sv-vavrince-prokazal-nejen-pianisticky-ale-i-kompozicni-um\/<\/a><\/a><\/p>\n\n\n\n

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