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Manos Chatzidakis Gioconda’S Smile Masarykova Univerzita Filozofická fakulta Ústav hudební vědy Bc. Sofia Mavrogenidou Magisterská práce Manos Chatzidakis Gioconda’s smile «Η μουσική χρειάζεται 3 πράγματα. Τέχνη, τεχνική και βιώματα. Χωρίς αυτά δε γίνεται να γράψεις μουσική». Vedoucí práce prof. PhDr. Miloš Štědroň, CSc Brno 2020 2 Prohlášení Prohlašuji, že jsem tuto práci vypracovala samostatně na základě uvedených pramenů a literatury. Sofia Mavrogenidou 3 Poděkování V prvé řadě bych chtěla poděkovat mému školiteli a garantovi, profesorovi a skladateli prof. PhDr. Miloši Stědroňovi, CSc., který mě po celou dobu mých studií odborně vedl, poskytoval cenné rady a pomoc. Taktéž prof. PhDr. Luboši Spurnému, Ph.D za pedagogické a odborné vedení. Oběma profesorům děkuji za podporu po celou dobu mého studia. Dále bych chtěla poděkovat svým řeckým kolegům , kteří ochotně poskytli cenné informace a hudební materiály, které jsem pro práci potřebovala: Christos Papageorgiou – skladatel , klavírista a hudební producent – za poskytnutí hudebního materiálu a informací ohledně filmové hudby M.Chatzidakise, Dimitris Lekkas – matematik,skladatel a muzikolog , dr.Anastasia Georgaki – profesorka na Aténské filosofické fakultě, oddělení hudební vědy , Miltos Logiadis – skladatel a dirigent, dále hudebníkům a spolupracovníkům M. Chatzidakise za poskytnutí jejich osobních zkušeností vedle Chatzidakise, a to : Maria Farantouri – zpěvačka, Dimitra Agathouka – spisovatelka,Theodor Antoniou – skladatel a dirigent, Spiros Merkouris – právník a bratr Meliny Merkouri, Michalis Tranoudakis – skladatel a profesor. Dále děkuji i všem mým kolegům, kteří během mého studia přispěli radou, kritikou komentářem či informací. Sofia Mavrogenidou 4 Obsah Úvod 5 M. Chatzidakis 6 Oskar 8 Další aktivity 8 Amerika 9 Návrat do Řecka 9 Politický aspect ν díle M. Chatzidakise 11 M. Chatzidakis o sobě 12 Zivotní krédo 13 Tvorba M. Chatzidakise 14 Reflections 18 M. Chatzidakis-básník 20 M. Chatzidakis a film 23 Never on Sunday 23 Děti z Pirea 24 Holywood 32 Amerika Amerika 33 M. Theodorakis a M. Chatzidakis 36 Gioconda’s smile 40 M. Chatzidakis – hudební vlivy a inspirace v jeho díle 46 Humanitní, sociální a politický aspect v díle M. Ch. 48 Pojetí Giocondy jako kulturního bohatsví moderního Recka 50 Řecká hudba a exteritorialita 51 M.Chatzidakis a A. Logothetis 53 M. Chatzidakis – N. Skalkottas 56 Nikos Skalkottas 57 Anestis Logothetis 59 Analytické poznámky k Logothetisovým partiturám 63 Odyssee 65 Iannis Xenakis 68 Analytické poznámky k Chatzidakiové skladbě Gioconda’s Smile 73 Alex Ross 94 Přílohy 97 Bibliografie 130 Závěr 134 Dodatek 135 5 Úvod Předložená diplomová práce se zabývá osobností a dílem jednoho z nejhranějších řeckých skladatelů Manose Chatzidakise. V této souvislosti jsem chtěla věnovat pozornost jeho životu, umělecké, politické a sociální aktivitě, která měla vliv na jeho tvorbu a která není v české muzikologické literatuře známá. Cílem bylo - v první části - náčrt života a díla skladatele v poválečné době Řecka a jeho vztah k řeckým skladatelům hudební avantgardy té doby, kteří žili a tvořili v zahraničí, jakými byli I.Xenakis A.Logothetis, a v druhé části analytický rozbor jeho dila Giconda’s smile. Cílem této analýzy je poukázat na jemné zacházení s orchestrací a vkusné kombinování nástrojů, které jsou pro Chatzidakise charakteristické, jako například čembalo, mandoliny, kytara, harfa a jiné, spolu s řeckým lidovým nástrojem buzuki. To právě dodává tomuto dílu unikátní styl, na jedné straně barvy klasické evropské hudby a na druhé straně použití řecké lidové hudby, což je tak charakteristické pro Chatzidakisovu tvorbu. Nástin skladatelova historického pozadí může sloužit k pochopení jeho tvorby a mentality použití hudebních nástrojů a barev v tomto jeho díle. Dále jsem chtěla zdůraznit důležitou a neodělitelnou složku v jeho díle, a to jeho politický a sociální postoj vůči veřejnému dění, v němž se promítá od počátku jeho umělcké activity, a to nejen jako hudebního skladatele ale i jako básníka a spisovatele. Důležitou složkou v jeho tvorbě je píseň, o které se zmiňuji a která hrála velkou roli v jeho životě. Poukazuji také na jeho celoživotní boj proti nespravedlnosti, utlačování a nazizmu a jeho neustálý boj pro svobodu, a to proto, že je úzce spojen s jeho tvorbou. 6 Manos Chatzidakis Umělec, hudebník, skladatel, spisovatel, humanista Poznámky k profilu Xanthi 23. října 1925 - Atény, 15. června 1994 Byl to přední řecký skladatel a básník a první skladatel, který spojil svým dílem ( teoretickým i hedebním), hudební slovo s lidovou hudební tradicí. Mnoho z jeho stovek děl je nyní uznáváno za klasiku. Jeho hudební výchova začíná ve věku čtyř let , kdy dostává lekce klavíru od arménské klavíristky Altunian. Zároveň se učí hrát i na housle a akordeon. Kromě těchto lekcí se učí v podstatě sám jako samouk, reagoval tak na disciplinované a systematické studium, které se později snažil nahradit bohatým poslechovým zážitkem vážné hudby, především díky obrovské sbírce nahrávek a desek (tehdy dlouhohrajicich ). Chatzidakis se definitivně usadil v Aténách se svou matkou, v roce 1932, a to po rozvodu svých rodičů. Pro zozšíření svých hudebních znalostí sleduje hodiny hudební teorie v období od roku 1940 až do roku 1943, kdy začíná studovat filosofii na Aténské filosofické fakultě, kterou však nikdy nedokončí. Během posledního období okupace se aktivně podílel v Národním odporu v řadách EPONU, kde se také setkal se skladatelem Mikisem Theodorakisem, se kterým ho poté pojilo celoživotní přátelství. 7 Svou skladatelskou činnost započal v roce 1944, ve věku 19 let, kdy začal psát hudbu pro divadlo, které miloval až do své smrti. Během tohoto období Chatzidakis objevuje rebetiko (druh řeckých písní) a stává se prvním, kdo ho studoval do hloubky a pochopil jeho hodnotu. 31. ledna 1949 ve věku 23 let dává v uměleckém divadle pověstnou přednášku o rebetické písni. Píše hudbu pro divadlo, hudbu k filmům, orchestrální hudbu a písně. Stává se velice populárním a slavným, spolupracuje s mnoha význmanými řeckými a světovými hudebníky a osobnostmi, se kterými ho pojilo velké přátelství a vzájemná úcta. Mezi nimi byli – herečka a později ministryně kultury - Melina Merkouri (1920 -1994) , skladatelé - Mikis Theodorakis (1925), Iannis Xenakis (1922 – 2001), Anestis Logothetis (1921 – 1994), Thodor Antoniou (1935 – 2018), Nicola Piovani (1946), Astor Piazzolla (1921 – 1992), básníci – Nikos Gatsos ( 1911 – 1992), Odysseus Elitis ( 1911 – 1996), George Seferis (1900 – 1971), Aggelos Sikelianos ( 1884 – 1951), herec a zakladatel divadla Karolos Koun ( 1908 – 1987) , zpěvačka – Nana Mouschouri (1934), režisér Jules Dassin ( 1911 – 2008), (manžel Meliny Merkouri), Nikos Koundouros ( 1926 – 2017) , Elia Kazan ( 1909 – 2003) , a spousta dalších. Jeho hlavním příspěvkem k poválečnému období bylo hudební smíření se emigranta s metropolitním helénismem, ale také originální spojení druhů od utlačované rebetické písni až k avantgardě založené na autentičnosti. Jeho upřímnost, laskavost a štědrost byly příslovečné. Naopak jeho nezávislost, tvrdohlavost a pomstychtivost ho učinily nepředvídatelným a osobně i profesionálně ho to stálo hodně. Jeho roztržka s Melinou během junty byla známá. Nikdy se nepřenesl přes svůj buržoazní původ. Tiše přijal sociální útlak své homosexuality tím, že ji nasměroval do melancholie estetické izolace, kterou dnes uznáváme jako Chadzidakisovu citlivost.1 1 Ηλίας Χρυσοχοΐδης (Ilias Chrissochoidis), Πώς ο Χατζιδάκις πανικόβαλε το Χόλιγουντ, Το Βήμα, 6 Απριλίου 2014 8 Oskar V roce 1961 získal Manos Chatzidakis cenu Filmové Akademie - Oskara za nejlepší originální píseň, a to pro píseň Děti z Pirea (Τα παιδιά του Πειραιά), kterou napsal pro film Never on Sunday v režii Julese Dassina a kde hlavní roli hrála řecká herečka Melina Merkouri.Toto ocenění mu dalo celosvětovou publicitu, které se však Chadzidakis snažil vyhnout za každou cenu, protože soudil, že mu brání v tom, aby si formoval vztah s posluchači sám a jak on by chtěl. Sám o tom prohlásil: „Pro mne není Oskar korunovací mé kariéry, ale můj skutečný začátek.“ Píseň Děti z Pirea přinesla Řecku druhého Oskara , a to 15 let po získání Oskara herečky Katiny Paxinou za výkon ve filmu Komu zvoní hrana (Για ποιον χτυπάει η καμπάνα). ( Dne 2. března 1944 se v čínském divadle Grauman v Los Angeles konal 16. Ročník ceny Filmové Akademie. Katina Paxinou získala cenu Akademie za nejlepší herečku za roli v americkém filmu Komu zvoní hrana což byla filmová metafora Hemingwayova stejnojmenného románu.) Další aktivity V roce 1962 Chadzidakis financuje kompoziční soutěž soudobé hudby „Manos Chadzidakis“ na Technologickém institutu Doxiadis v Aténách , první cena byla udělena společně Iannisi Xenakisovi a Anestisovi Logothetisovi. V roce 1964 založil a řídil Aténský experimentální orchestr (1964-1966). V krátké době svého působení tento orchestr předvedl 20 koncertů s premiérami patnácti děl řeckých autorů. Současně zahájil spolupráci s Mauricem Bejartem (1927 – 2007). Jeho dílo Ptáci (Όρνιθες) jsou provedeny jeho baletem v Bruselu. 9 Amerika V roce 1966 navštívil Manos Chadzidakis New York v USA, aby na Broadwayi nahrál s Julesem Dassinem divadelní adaptaci filmu Never on Sunday s názvem Illya Darling s Melinou Merkouri v hlavní roli. Během svého pobytu v Americe přichází do styku s popovou a rockovou hudební scénou, což mělo za výsledek natočení písňového cyklu Reflections ve spolupráci se skupinou New York Rock and Roll Ensemble, a zároveň natáčí symfonický cyklus Gioconda’s smile ve své dnes již známé orchestrální podobě. Další významné dílo tohoto
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