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UNIVERZITA PALACKÉHO V OLOMOUCI Pedagogická Fakulta

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UNIVERZITA PALACKÉHO V OLOMOUCI Pedagogická Fakulta UNIVERZITA PALACKÉHO V OLOMOUCI Pedagogická fakulta Katedra hudební výchovy Mgr. Michael Korbička ANTONÍN TUČAPSKÝ skladatel a dirigent DISERTAČNÍ PRÁCE Školitel: Doc. PaedDr. Pavel Režný, Ph.D. OLOMOUC 2011 Prohlašuji, že jsem disertační práci vypracoval samostatně a použil jen uvedených pramenů a literatury. V Olomouci 26. dubna 2011 Mgr. Michael Korbička Velké poděkování patří Prof. Antonínu Tučapskému za jeho osobní přístup při zpracování této disertační práce, za připomínky a za veškeré poskytnuté podklady. Poděkování patří také vedoucímu práce Doc. Pavlu Režnému za jeho pomoc v době doktorského studia na PdF UP Olomouc. OBSAH Úvod ................................................................................................................... 7 1. Životní osudy a umělecká činnost Antonína Tučapského........................... 10 1.1. Dětství (1928 - 1935) ......................................................................................... 11 1.2. Školní léta (1935 - 1943) .................................................................................... 12 1.3. Studijní léta (1943-1951) ................................................................................... 17 1.4. Pedagogická a sbormistrovská činnost (1951 - 1973) .......................................... 19 1.4.1. Vyšší hudební škola Kroměříž (1951, 1954) .................................................................. 19 1.4.2. Slovenské národní divadlo (1953) ................................................................................. 20 1.4.3. Pedagogická škola Nový Jičín (1955-1959) .................................................................... 20 1.4.4. Dětský sbor Československého rozhlasu v Ostravě (1959-1961) .................................. 20 1.4.5. Pedagogický institut v Ostravě (1959 - 1973) ................................................................ 21 1.5. Slavná éra v čele Pěveckého sdružení moravských učitelů (1964-1973) ............... 24 1.5.1. Antonín Tučapský a PSMU ............................................................................................ 24 1.5.2. Přínos Tučapského pro sbor .......................................................................................... 25 1.5.3. Statistika produkcí s PSMU ............................................................................................ 26 1.5.4. Tvorba věnovaná PSMU ................................................................................................ 27 1.6. Velké změny (1968 - 1975) ................................................................................ 28 1.6.1. Beryl Musgrave.............................................................................................................. 28 1.6.2. Změna oboru (1973 - 1975)........................................................................................... 30 1.6.3. Velká Británie ................................................................................................................ 31 1.6.4. Začátky .......................................................................................................................... 31 1.7. Trinity College of Music – TCM (1975 - 1996)...................................................... 32 1.7.1. Výuka teoretických předmětů ....................................................................................... 32 1.7.2. Výuka kompozice .......................................................................................................... 33 1.7.3. Žáci ................................................................................................................................ 33 1.7.4. Dirigentská činnost ........................................................................................................ 33 1.7.5. Vzpomínky ..................................................................................................................... 34 1.8. Návrat Tučapského tvorby na česká koncertní pódia, čestný doktorát ............... 35 1.8.1. Vyškov 1988 .................................................................................................................. 35 1.8.2. Opava 1990 ................................................................................................................... 36 1.8.3. Europa Cantat 1990 ....................................................................................................... 36 1.8.4. Ostrava 1991 ................................................................................................................. 36 1.8.5. Vyškov 1992 .................................................................................................................. 37 1.8.6. Čestný doktorát (1996) ................................................................................................. 41 1.8.7. 41. ročník Festivalu sborového umění v Jihlavě (1998) ................................................. 48 1.8.8. Oslava sedmdesátin (1998) ........................................................................................... 48 1.8.9. Premiéry skladeb Antonína Tučapského v ČR v letech 1993 - 2008 .............................. 50 1.8.10. Oslava pětasedmdesátin (2003) .................................................................................... 51 1.8.11. Festival Antonína Tučapského ve Vyškově (2005) ........................................................ 52 1.8.12. Pocta tvůrcům (2008) .................................................................................................... 52 1.8.13. Zahraniční ohlasy na tvorbu Antonína Tučapského ...................................................... 53 1.9. Antonín Tučapský očima sbormistrů .................................................................. 55 1.10. Kompoziční činnost ........................................................................................... 61 1.10.1. První kompoziční pokusy a záznamy o díle ................................................................... 61 1.10.2. Tvorba do roku 1975 ..................................................................................................... 61 1.10.3. Tvorba vzniklá ve Velké Británii ..................................................................................... 62 1.10.4. Skladebné techniky využité v tvorbě ............................................................................. 62 1.10.5. Vokální tvorba ............................................................................................................... 64 1.10.6. Duchovní tvorba ............................................................................................................ 65 2. Skladatelské dílo .......................................................................................... 66 2.1. Úpravy textu děl jiných autorů .......................................................................... 67 2.2. Úpravy děl jiných autorů ................................................................................... 67 2.3. Sborová tvorba ................................................................................................. 69 2.4. Vokální skladby................................................................................................ 101 2.5. Lidové písně a úpravy....................................................................................... 107 2.6. Instrumentální tvorba ...................................................................................... 120 2.7. Vysvětlivky ke 2. kapitole ................................................................................. 144 3. Charakteristika vybraných děl Antonína Tučapského ............................. 145 3.1. Pět sborů ......................................................................................................... 145 3.2. Love and Sarrow - Láska a žal III........................................................................ 149 3.3. Five little pieces ............................................................................................... 150 Závěr .............................................................................................................. 153 Seznam pramenů ............................................................................................ 156 Seznam příloh ................................................................................................ 163 Přílohy „ …ano, to „moravské“ je stále ve mně, to v sobě nosím a chráním jako vzácný dar a cenný vklad, tím se stále duchovně posiluji. Ať komponuji cokoliv, třeba instrumentální skladby nebo sonáty, komorní nebo orchestrální hudbu, tento český či moravský element je v mé hudbě evidentní a stále přítomný. ijak se tomu nebráním, naopak i to je charakteristický znak mého hudebního vyjadřování, můj hudební rukopis. Moje kořeny jsou zde, na Moravě a to se pozná z hudby, kterou píši, z tónů, které znějí… “ Úvod Pokud se pokoušíme sledovat linii informací týkající se osobnosti skladatele a dirigenta Antonína Tučapského, nalezneme pouze několik prací, které se spíše zaměřují na dílčí části jeho životních osudů a vybraných částí jeho skladatelského díla. Každá monografická práce o dirigentech či skladatelích má určité části společné: chronologicky zpracovaný životopis, komentář k stěžejním autorovým dílům, informace o koncertech a o důležitých nastudování jeho děl významnými umělci. Ani tato disertační práce netvoří výjimku. Klade si za cíl zpracovat životní osudy významného dirigenta a skladatele Antonína Tučapského, rodáka z Opatovic na Vyškovsku. Pokouší se
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