{"id":7891,"date":"2026-03-12T18:41:00","date_gmt":"2026-03-12T17:41:00","guid":{"rendered":"https:\/\/www.matyasnovak.eu\/?post_type=aktuality&p=7891"},"modified":"2026-04-22T18:43:21","modified_gmt":"2026-04-22T16:43:21","slug":"skutecny-zazitek-s-matyasem-novakem-plzenska-zastavka-projektu-smetana-reborn","status":"publish","type":"aktuality","link":"https:\/\/www.matyasnovak.eu\/en\/aktuality\/skutecny-zazitek-s-matyasem-novakem-plzenska-zastavka-projektu-smetana-reborn\/","title":{"rendered":"Skute\u010dn\u00fd z\u00e1\u017eitek s\u00a0Maty\u00e1\u0161em Nov\u00e1kem. Plze\u0148sk\u00e1 zast\u00e1vka projektu Smetana Reborn"},"content":{"rendered":"

\u201eSpole\u010dn\u00fdm jmenovatelem hudebn\u00edho p\u0159ednesu Maty\u00e1\u0161e Nov\u00e1ka byla nezvykl\u00e1 bohatost t\u00e9mbr\u016f vyluzovan\u00fdch z k\u0159\u00eddla Steinway.\u201c<\/p>\n\n\n\n

\u201eV z\u00e1v\u011bru polkov\u00e9 \u010d\u00e1sti Vltavy se postupn\u011b osamostatnilo n\u011bkolik proud\u016f hudby a iluze v\u011bt\u0161\u00edho po\u010dtu klav\u00edrist\u016f, ne\u017e se ve skute\u010dnosti na p\u00f3diu nach\u00e1zelo, byla kompletn\u00ed.\u201c<\/p>\n\n\n\n

\u201eB\u011bhem T\u00e1boru a Blan\u00edku \u0161el klav\u00edrista \u201aa\u017e na d\u0159e\u0148\u2018, zcela se v\u017eil do zloby a odhodl\u00e1n\u00ed husit\u016f, klav\u00edr \u0159in\u010del a struny m\u011bly nam\u00e1le!\u201c<\/p>\n\n\n\n

V r\u00e1mci festivalu Smetanovsk\u00e9 dny se 9. b\u0159ezna plze\u0148sk\u00e9mu publiku naskytla v\u00fdjime\u010dn\u00e1 p\u0159\u00edle\u017eitost zaslechnout cyklus symfonick\u00fdch b\u00e1sn\u00ed M\u00e1<\/em> vlast<\/em> od Bed\u0159icha Smetany v \u00faprav\u011b pro s\u00f3lov\u00fd klav\u00edr. Tohoto \u00fakolu se zhostil Maty\u00e1\u0161 Nov\u00e1k ve sv\u00e9m projektu Smetana<\/em> Reborn<\/em>.<\/strong><\/p>\n\n\n\n

Dokladem o rarit\u011b takov\u00e9ho po\u010dinu je fakt, \u017ee \u2013 navzdory monument\u00e1ln\u00ed popularit\u011b p\u016fvodn\u00edho d\u00edla \u2013 nebyla tato transkripce pro s\u00f3lov\u00fd klav\u00edr z pera Jind\u0159icha K\u00e0ana z Albest\u016f nikdy nahran\u00e1 (a tedy snad ani zahran\u00e1) ve sv\u00e9 \u00faplnosti. A pr\u00e1v\u011b tohoto \u00fakolu se zhostil Maty\u00e1\u0161<\/strong> Nov\u00e1k<\/strong> ve sv\u00e9m projektu Smetana<\/em> Reborn<\/em>, kde kombinuje interpreta\u010dn\u00ed um a badatelskou \u010dinnost. (Dal\u0161\u00ed zaj\u00edmavosti a informace v rozhovoru ZDE<\/a>.)<\/p>\n\n\n\n

Transkripce Jind\u0159icha K\u00e0ana je unik\u00e1tn\u00ed mj. svou hudebnost\u00ed a v\u011brnost\u00ed origin\u00e1lu. Sta\u010d\u00ed jeden pohled do not a je jasn\u00e9, \u017ee autorovi \u0161lo o maxim\u00e1ln\u00ed zachov\u00e1n\u00ed symfonick\u00e9ho vyzn\u011bn\u00ed p\u016fvodn\u00edho d\u00edla; virtuozita je zde ve slu\u017eb\u00e1ch obsahu. Detailn\u011b rozepisuje hlasy, \u010dasto i do t\u0159\u00ed osnov, a perfekcionisticky p\u0159id\u00e1v\u00e1 anotace o p\u016fvodn\u00edm n\u00e1strojov\u00e9m obsazen\u00ed ke ka\u017ed\u00e9mu motivu \u010di t\u00e9matu, a to v r\u00e1mci ka\u017ed\u00e9ho hlasu zvl\u00e1\u0161\u0165. V\u00fdsledkem je neskute\u010dn\u011b komplexn\u00ed transkripce \u010d\u00edtaj\u00edc\u00ed kolem sto pades\u00e1ti stran. U\u017e jen \u201ezahr\u00e1t v\u0161echny noty\u201c zd\u00e1 se m\u00edsty fyzicky nemo\u017en\u00e9, jako kdyby skladba po\u010d\u00edtala s jednou rukou nav\u00edc! Vm\u011bstnat pak do interpretace je\u0161t\u011b odst\u00edny n\u00e1stroj\u016f, ovl\u00e1dat nez\u00e1visle na sob\u011b klidn\u011b t\u0159i proudy hudby a v technicky tak\u0159ka nep\u0159ekonateln\u00fdch m\u00edstech neztr\u00e1cet p\u0159ehled o celku, to je pak dokladem mistrovstv\u00ed. O to obdivuhodn\u011bj\u0161\u00ed je fakt, \u017ee Maty\u00e1\u0161 Nov\u00e1k zm\u00edn\u011bn\u00e9 atributy splnil, a nav\u00edc cel\u00fd cyklus zahr\u00e1l bez jedin\u00e9ho nahl\u00e9dnut\u00ed do not. <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Spole\u010dn\u00fdm jmenovatelem hudebn\u00edho p\u0159ednesu byla t\u00e9\u017e nezvykl\u00e1 bohatost t\u00e9mbr\u016f vyluzovan\u00fdch z k\u0159\u00eddla Steinway \u2013 pravideln\u00fd poslucha\u010d koncert\u016f v S\u00e1le Anton\u00edna Dvo\u0159\u00e1ka d\u00e1 jist\u011b za pravdu. Klav\u00edrista byl schopn\u00fd rozezp\u00edvat jak\u00fdkoliv rejst\u0159\u00edk mnoha zp\u016fsoby, a nav\u00edc radik\u00e1ln\u011b odli\u0161it \u00fahoz ka\u017ed\u00e9ho prstu izolovan\u011b. Fr\u00e1zov\u00e1n\u00ed bylo t\u00e9\u017e mimo\u0159\u00e1dn\u00e9 \u2013 na n\u011bkolika m\u00edstech prakticky oddirigoval vlastn\u00ed s\u00f3lo \u2013 a ve spojen\u00ed s promy\u0161lenou pedalizac\u00ed dok\u00e1zala fin\u00e1ln\u00ed interpretace dost\u00e1t p\u0159edsevzet\u00ed zvukov\u011b pojmout celou orchestr\u00e1ln\u00ed paletu. <\/p>\n\n\n\n

Prvn\u00ed symfonick\u00e1 b\u00e1se\u0148 z cyklu \u2013 Vy\u0161ehrad<\/em> \u2013 vrcholila v \u010d\u00e1sti Poco largamente<\/em>, kdy se sign\u00e1ln\u00ed kvarta trubek a lesn\u00edch roh\u016f postupn\u011b transformovala na nal\u00e9hav\u00fd triolov\u00fd motiv posiluj\u00edc\u00ed heroick\u00e9 t\u00e9ma. Lev\u00e1 ruka zde pracovala p\u0159es\u010das, a to kv\u016fli lomen\u00fdm akord\u016fm rozp\u00ednaj\u00edc\u00edm se p\u0159es t\u0159i okt\u00e1vy. Klav\u00edrista si ani v jednom p\u0159\u00edpad\u011b neulevil zjednodu\u0161en\u00fdm z\u00e1pisem (ossia<\/em>), co\u017e je obdivuhodn\u00e9, by\u0165 konkr\u00e9tn\u011b v tomto m\u00edst\u011b by takov\u00e9 rozhodnut\u00ed mohlo pozitivn\u011b ovlivnit plynulost fr\u00e1ze. Po t\u00e9to p\u0159ehl\u00eddce s\u00edly p\u0159i\u0161la repr\u00edza vedlej\u0161\u00edho t\u00e9matu, barevn\u011b \u00fapln\u011b jin\u00e1: jemn\u00e1 a kultivovan\u00e1, jako kdybychom se p\u0159enesli ze s\u00e1lu do ob\u00fdvac\u00edho pokoje \u2013 tak intimn\u011b t\u00f3n p\u016fsobil. Dal\u0161\u00edm z p\u0159\u00edklad\u016f inven\u010dn\u00ed pr\u00e1ce s t\u00e9mbrem bylo z\u00e1v\u011bre\u010dn\u00e9 tremolov\u00e9 Allargando<\/em>, kde z\u010d\u00e1sti nepedalizovan\u00e9 t\u00f3ny (\u00e0 la pizzicato) zap\u016fsobily nezvykle sv\u011b\u017ee. P\u0159i interpretaci hlavn\u00edho t\u00e9matu harf klav\u00edrista navazoval jednotliv\u00e9 akordy p\u0159esn\u011b v inflexn\u00edm bodu hlasitosti, \u010d\u00edm\u017e dos\u00e1hl organick\u00e9 soudr\u017enosti dan\u00e9ho \u00faryvku.<\/p>\n\n\n\n

V druh\u00e9 symfonick\u00e9 b\u00e1sni Vltav\u011b<\/em> muselo b\u00fdt mnoho \u00fasil\u00ed v\u011bnov\u00e1no, dle p\u0159edpisu Jind\u0159icha K\u00e0ana, doprovodn\u00fdm figurac\u00edm, kter\u00e9 dotv\u00e1\u0159ely zvukomalbu \u017eenouc\u00ed se vody. V z\u00e1v\u011bru polkov\u00e9 \u010d\u00e1sti se postupn\u011b osamostatnilo n\u011bkolik proud\u016f hudby a iluze v\u011bt\u0161\u00edho po\u010dtu klav\u00edrist\u016f, ne\u017e se ve skute\u010dnosti na p\u00f3diu nach\u00e1zelo, byla kompletn\u00ed. N\u00e1sledovala oblast no\u010dn\u00ed Vltavy, kde se zpoza subtiln\u011b zn\u011bj\u00edc\u00edch, ale z\u00e1rove\u0148 pekeln\u011b komplexn\u00edch figurac\u00ed probubl\u00e1vala na povrch n\u011b\u017en\u00e1 poh\u00e1dkov\u00e1 melodie. Kdy\u017e pak hudba vypr\u00e1v\u011bla o tom, jak \u0159eka z\u00e1pas\u00ed se Svatoj\u00e1nsk\u00fdmi proudy, zd\u00e1lo se, jako kdyby i samotn\u00fd klav\u00edrista byl v d\u011bji p\u0159\u00edtomen: v mocn\u00fdch unisonech sebou zm\u00edtal a chytal se tu a tam n\u011bjak\u00e9ho kusu pevniny \u2013 dynamicky prominentn\u00edch t\u00f3n\u016f.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Na po\u010d\u00e1te\u010dn\u00edm v\u00fdseku symfonick\u00e9 b\u00e1sn\u011b \u0160\u00e1rka<\/em> lze demonstrovat rozd\u00edly instrumentace symfonick\u00e9 a klav\u00edrn\u00ed. Ta klav\u00edrn\u00ed vyzn\u011bla v samotn\u00e9m \u00favodu pon\u011bkud vla\u017en\u011b v porovn\u00e1n\u00ed se symfonickou verz\u00ed, kde l\u00edt\u00fd zvuk smy\u010dc\u016f jako kdyby m\u011bl probodnout proradn\u00e9ho Ctirada je\u0161t\u011b p\u0159ed samotnou anab\u00e1z\u00ed. Z\u00e1hy se v\u0161ak Maty\u00e1\u0161i Nov\u00e1kovi poda\u0159ilo \u201eza\u017eehnout plamen\u201c a odli\u0161nou charakteristiku t\u00f3nu oproti p\u016fvodn\u00edmu obsazen\u00ed kompenzovat, a to \u017eiv\u011bj\u0161\u00edm fr\u00e1zov\u00e1n\u00edm a tempem: protit\u00e9ma tak ji\u017e m\u011blo dostate\u010dn\u00fd tah a energii. Klav\u00edrn\u00ed transkripce naopak m\u011bla navrch hned v n\u00e1sleduj\u00edc\u00ed pochodov\u00e9 \u010d\u00e1sti, kde klav\u00edrista odkryl pozoruhodn\u00fd, rytmicky komplement\u00e1rn\u00ed protihlas. To\u0165 komparativn\u00ed anal\u00fdza. Milostn\u00fd dialog Moderato con calore<\/em> byl pastvou pro u\u0161i; n\u011b\u017en\u00e9 t\u00f3ny postupn\u011b nab\u00edraly na v\u00e1\u0161nivosti a\u017e do d\u00edl\u010d\u00edho vrcholu. V odd\u00edlu Moderato<\/em> pak byla znovu pos\u00edlena \u201eiluze druh\u00e9ho klav\u00edristy\u201c d\u00edky bezchybn\u00e9 diferenciaci v\u00edcehlas\u00e9 faktury. Podobn\u011b zaujala tak\u00e9 tremolov\u00e1 rekapitulace hlavn\u00edho t\u00e9matu \u2013 tentokr\u00e1t p\u0159eklopen\u00e1 z v\u00e1\u0161niv\u00e9 polohy v lyricky rozechv\u011blou. Toto chvilkov\u00e9 bilancov\u00e1n\u00ed \u0160\u00e1rky n\u00e1siln\u011b utnul urag\u00e1n fortissimov\u00fdch akord\u016f a okt\u00e1v, kter\u00fd se s neochv\u011bjnou intenzitou a stoupaj\u00edc\u00ed kadenc\u00ed valil na poslucha\u010de; slovy Smetany: \u201eHr\u016fza v\u0161eobecn\u00e9ho vra\u017ed\u011bn\u00ed, vzteklost nasycen\u00e9 pomsty \u0160\u00e1rky \u2013 to\u0165 konec skladby.\u201c<\/em><\/p>\n\n\n\n

\u010cesk\u00e9 luhy a h\u00e1je <\/em>zdaj\u00ed se v prvn\u00edch taktech symfonick\u00e9 b\u00e1sn\u011b pon\u011bkud nehostinn\u00e9; jedn\u00e1 se snad o skicu na\u0161ich nejvy\u0161\u0161\u00edch vrchol\u016f v mlh\u00e1ch a mra\u010dnech, kter\u00e9 je t\u0159eba p\u0159ekonat pro dosa\u017een\u00ed p\u0159\u00edv\u011btiv\u00e9ho vnitrozem\u00ed. Snad v\u00edce ne\u017e v jin\u00fdch skladb\u00e1ch z cyklu zde skv\u011ble vynikla p\u0159ednost klav\u00edru, toti\u017e krystalicky p\u0159esn\u00e1 artikulace t\u00f3n\u016f oproti p\u016fvodn\u00edmu smy\u010dcov\u00e9mu obsazen\u00ed dan\u00fdch part\u016f. Stalo se tak hlavn\u011b ve fugov\u00e9 \u010d\u00e1sti (Allegro poco vivo, ma non troppo<\/em>) ale i v p\u0159edch\u00e1zej\u00edc\u00ed hymnicko-pastor\u00e1ln\u00ed \u010d\u00e1sti. Jednotliv\u00e9 t\u00f3ny melodie zn\u011bly naprosto pr\u016fzra\u010dn\u011b, ka\u017ed\u00fd jako jeden z tis\u00edc\u016f odraz\u016f v byst\u0159in\u011b.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Symfonick\u00e9 b\u00e1sn\u011b T\u00e1bor<\/em> a Blan\u00edk<\/em> zazn\u011bly jako monolit, v souladu s p\u0159\u00e1n\u00edm Bed\u0159icha Smetany. Krom\u011b ji\u017e zm\u00edn\u011bn\u00fdch kvalit klav\u00edristov\u00fdch tu nav\u00edc vynikla schopnost narace, kdy se jednotliv\u00e9 fr\u00e1ze a d\u00edly da\u0159ilo strukturovat do vzru\u0161uj\u00edc\u00ed hudebn\u00ed pr\u00f3zy. V obou skladb\u00e1ch nebyla nouze o rozv\u00e1\u0161n\u011bn\u00e1, monument\u00e1ln\u00ed a agresivn\u00ed m\u00edsta. Maty\u00e1\u0161 Nov\u00e1k v t\u011bchto momentech \u0161el \u201ea\u017e na d\u0159e\u0148\u201c, zcela se v\u017eil do zloby a odhodl\u00e1n\u00ed husit\u016f, klav\u00edr \u0159in\u010del a struny m\u011bly nam\u00e1le. Pol\u00e1rn\u00edm opakem takov\u00fdch n\u00e1siln\u00fdch \u010d\u00e1st\u00ed byla idyla obsa\u017een\u00e1 v Blan\u00edku: \u201eKresba polohy Blan\u00edku, mal\u00fd pastucha si hul\u00e1k\u00e1 a hraje a ozv\u011bna mu odpov\u00edd\u00e1,\u201c <\/em>je Smetan\u016fv popis\u2026 <\/em>Dovol\u00edm si uv\u00e9st, \u017ee v pozn\u00e1mk\u00e1ch k interpretaci Maty\u00e1\u0161e Nov\u00e1ka jsem se k popisu Mistra nev\u011bda p\u0159ibl\u00ed\u017eil: \u201eVln\u00edc\u00ed se v\u011bt\u0159\u00edk, pohr\u00e1vaj\u00edc\u00ed si s trsy trav a kv\u011btin na louce.\u201c Konec Blan\u00edku byl tak\u0159ka i koncem Steinwaye, nebo\u0165 klav\u00edrista z n\u011bho loudil tak monument\u00e1ln\u00ed a kondenzovan\u00fd zvuk a\u017e se zd\u00e1lo, \u017ee struny mus\u00ed prasknout. Nepraskly. Potlesk neutuchal ani p\u0159i p\u00e1t\u00e9m klan\u011bn\u00ed. P\u0159\u00eddavek se v\u0161ak nekonal, snad aby nedo\u0161lo k roz\u0159ed\u011bn\u00ed naprosto unik\u00e1tn\u00edho z\u00e1\u017eitku, kter\u00fd n\u00e1m Maty\u00e1\u0161 Nov\u00e1k zprost\u0159edkoval, a mj. se chyst\u00e1 zprost\u0159edkovat i v Carnegie Hall. P\u0159ejeme, a\u0165 se koncert vyda\u0159\u00ed minim\u00e1ln\u011b tak dob\u0159e jako v Plzni.<\/p>\n\n\n\n

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