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Diplomová Práce JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Diplomová práce Brno 2017 Andrej Farkaš JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra Jazzové interpretace Hra na klavír Oscar Peterson „The Trio“ Diplomová práce Autor práce: Andrej Farkaš Vedoucí práce: MgA. Jan Dalecký Oponent práce: MgA. Jan Přibil Brno 2017 Bibliografický záznam FARKAŠ, Andrej. Oscar Peterson „The Trio“. Brno: Janáčkova akademie múzických umení v Brne, Hudobná fakulta, Katedra jazzové interpretace, 2017. 25 s. Vedoucí diplomovej práce odb.as. MgA. Jan Dalecký. Touto cestou vyslovujem poďakovanie pánovi MgA. Janovi Daleckému za pomoc, odborné vedenie, cenné rady a pripomienky pri vypracovaní mojej bakalárskej diplomovej práce. V Brne dňa 14.5.2017 Anotácia V tejto bakalárskej práci som sa zameral na osobitý štýl Oscara Petersona, jeho riešenie spôsobu fungovania a komunikácie sólového klavíra zo sólovú gitarou. Priblížiť sa k spôsobu, systému, ktorý Oscar Peterson využíval pri svojej hre s Joe Passom. Uviesť príklady, rámcovo sa priblížiť k vyriešeniu problému hrania dvoch harmonických nástrojov súčasne. Kľúčové slová: umelecké cesty, vedenie hlasov, sprievod, dva harmonické nástroje, súzvuk Annotation In this thesis I focused on the distinctive style of Oscar Peterson, his solutions are working and communication of solo piano and solo guitar. Getting closer to the ways of that Oscar Peterson used in their play with Joe Pass. Give an example closer to solving the problem of playing two harmonic Instruments at the same time. Key words: artistic tours, voice management, comping, two harmonic instruments, echoes OBSAH: 1. Úvod 2. Život Oscara Petersona 2.1 Norman Granz 3. Cesta k vzniku Oscar Peterson – „The Trio“ 3.1 „The Trio“ 4. Osobitý štýl Oscara Petersona 4.1 Oscar Peterson, a jeho úloha v zoskupení 4.2 Joe Pass, život, umelecké cesty a jeho úloha v zoskupení 4.3 Niels – Henning Orsted Pedersen 5. Súhra dvoch harmonických nástrojov 5.2 Riešenie, príklady harmonickej práce dvoch harmonických nástrojov Joe Passa a Oscara Petersona 6. Záver Resumé Slovník Zoznam bibliografických zdrojov Prílohy 1. ÚVOD Keďže Oscar Peterson patrí k mojím najväčším vzorom, v mojej diplomovej práci sa zaoberám jeho životom, cestami, vplyvmi, ktoré ho ovplyvnili, umeleckým pôsobením, spôsobom hrania, problematikou interpretovania spôsobu hrania jeho osobitého štýlu, životom umelcov, s ktorými sa podieal na tomto nezvyčajnom zoskupení klavíra, gitary a kontrabasu, súvislosťami, ktoré nadväzovali na konečné zoskupenie Petersonového Tria. Cez umelecké postavenie Oscara Petersona a Joe Passa v Oscar Peterson – The Trio, po rámcové riešenie súhry klavíra a gitary a harmonickej a melodickej práce dvoch harmonických nástrojov týchto gigantov. 2. Život Oscara Petersona Oscar Peterson bol kanadským jazzovým klaviristom, považovaným za jedného z najlepších klaviristov všetkých čias. Jeho otec pracoval ako vrátnik na kanadskej tichomorskej železnici. Vyrastal v Montreale, Quebec, kde sa aj narodil. Tu bol obklopený jazzovou kultúrou, ktorá prekvitala na začiatku 20. storočia. Keď mal malý Peterson 5 rokov už ovládal hru na trúbke a klavíri. Neskôr, v siedmich rokoch mu tuberkulóza zabraňovala v pokračovaní hry na trúbku, takže svoju pozornosť začal venovať len klavíru. Jeho otec Daniel Peterson bol jedným z jeho prvých učiteov. Jeho sestra Daisy Peterson vyučovala mladého Oscara taktiež klavír, zo zameraním na vážnu hudbu. Vďaka precíznemu precvičovaniu vážnej hudby, poctivej práce a náročnej praxe rozvinul svoju virtuozitu. Peterson študoval tiež u Istvána Thomána, pedagóga a klaviristu maďarského pôvodu, ktorý bol žiakom samotného Franza Liszta. Jeho štúdium u Istvána Thomána bolo predovšetkým založené na klasickom klavíri. Počas štúdia ho zaujal tradičný jazz a s Istvánom Thománom naštudoval niekoko skladieb štýlu ragtime a hlavne štýl boogie-woogie. V deviatich rokoch hral Oscar s takým nadhadom a kontrolou, že zaujal profesionálnych hudobníkov. Oscar mnohé roky praktizoval hru na klavirí 4 až 6 hodín denne, až neskôr cvičil už len hodinu, max. dve. V roku 1940, sa prihlásil na národnú hudobnú súťaž organizovanú kanadskou rozhlasovou spoločnosťou. Túto súťaž vyhral, odišiel zo školy a stal sa profesionálnym klaviristom. Pracoval na týždennej rozhlasovej relácii a hrával v hudobných sálach a v hoteloch. Keď bol Oscar teen-ager tak počul nahrávku Arta Tatuma „Tiger Rag“. Bol s toho natoko zastrašený že nehral na klavíri pár týždňov. Bol šokovaný ako môže Tatum hrať toko tónov, v takej rýchlosti a presnosti. Po pár týždňoch sa Peterson vrátil a našiel to, čo hadal. Hral na všetky spôsoby, ktoré dovtedy používali najväčší pianisti tej doby. Vďaka Tatumovej estetike Peterson prišiel k ceste, ktorá čerpá s vážnej hudby, najmä s klavírnych koncertov Sergeja Rachmaninova. Rachmaninovské vedenie harmónie u neho zanechali značný vplyv. Rachmaninové citácie zaznievajú v mnohých nahrávkach Petersona. Počas 60. a 70 rokov nahral početné množstvá trio nahrávok, ktoré sú plné vplyvov Sergeja Rachmaninova a absorbovanie vplyvov rôznych žánrov jazzu, populárnej a klasickej hudby. Zatia čo bol Peterson celosvetovo uznávaný ako skvelý jazzový klavirista, v rodnej Kanade bol považovaný za významného verejného predstavitea. Jeho veká osobnosť je podložená v uznaniach a oceneniach ktoré získal posledných 20 rokov svojho života.Roku 1972 bol vyhlásený za úradníka kanadského rádu a roku 1984 bol povýšený spoločnosťou Companion. V rokoch 1991 až 1994 bol Peterson kancelárom Yorkskej univerzity v Toronte. Medzi rokmi 1991 – 1994 roku 1993 Oscar Peterson utrpel mozgovú príhodu. Svoju kariéru prerušil. Predtým ako začal znovu svoju kariéru v koncertných a nahrávacích kruhoch absolvoval 1 rok fyzickej terapie. Klavirista Benny Green, ktorý nahral v roku 1997 duo album „Oscar and Benny“ povedal v Los Angeles Times o svojom učiteovi: „Oscar mi povedal, že prvá vec, ktorú robí, keď sadne za klavír je, že zisťuje do akej miery sú klapky na danom nástroji stlačené pred tým ako kladivko zasiahne strunu. „Hovorí - a znie to tak jednoducho - že keď skončí zo zisťovaním, potom má úplnú kontrolu nad klavírom. Pre ostatných z nás je to samozrejme oveľa viac krokov“1. Po jeho smrti provincia Ontário ponúkla štipendium vo výške 4. miliónov amerických dolárov pre Jazz Performance na univerzite v Yorku. Provincia Ontário tiež udelila štipendium vo výške 1 milión dolárov pre znevýhodnených študentov taktiež z Yorku. 2.1 Norman Granz Vekým krokom v Petersonovej kariére bol kontakt s labelom Normana Granza. Objavenie Petersona Normanom Granzom vzniklo neobvyklým spôsobom. Jedného večera Norman Granz išiel taxíkom na letisko v Montreale, rádio v taxíku akurát prehrávalo živé vysielanie Petersona v miestnom nočnom klube. Keď to Granz počul, nariadil vodičovi, aby ho odviezol toho klubu, aby sa mohol s Oscarom stretnúť. Následne v roku 1949 predstavil Norman Granz predstavil Oscara Petersona zo skupinou Normana Granza ktorá si hovorila „Jazz at the Philharmonic“, (v skratke JATP), pretože vôbec prvý koncert tohto druhu, organizovaný Granzem prebehol v sále Philharmonic Auditorium v Los Angeles dňa 2.7. 1944. Bola to séria koncertov, pokračujúcich na rôznych miestach USA a nakoniec aj sveta. Oscar Peterson vtedy po prvý krát vystúpil v Spojených štátoch 18.9.1949 v newyorkskej Carnegie Hall pod firmou Normana Granza - JATP a taktiež hral v triu, ktorého členovia boli kontrabasista Ray Brown (dlhé roky jeho nerozlúčitený druh) a bubeník Buddy Rich. S tohto koncertu v Carnegie Hall boli zachytené na albe a vydané boli tri skladby: I Only Have Eyes for You, Fine and Dandy a Carnegie Blues. Týmto sa zrodil trvalý vzťah medzi Normanom Granzom a Oscarom Petersonom. Granz zostal manažérom Petersona počas väčšiny Petersonovej kariéry. Peterson uznával a chválil Granza, že sa postavil za neho a ďalších čiernych jazzových muzikantov 50. 1 Dostupné na http://www.washingtonpost.com/wp- dyn/content/article/2007/12/24/AR2007122401288_3.html a 60. rokov 20. storočia. Počas svojej kariéry si vytvoril povesť technicky brilantného, harmonicky vyspelého a melodicky vynaliezavého jazzového klaviristu. Stal sa klaviristom, ktorý pravidelne pôsobil v kanadskom rozhlase počas 40. rokov 20. storočia. Jeho meno už vtedy bolo uznané aj v Spojených štátoch. Prostredníctvom Normana Granza mohol Oscar Peterson umelecky pôsobiť z hlavými jazzovými gigantmi tej doby. Príloha č.1 - Norman Granz 3. Cesta k vzniku Oscar Peterson – „The Trio“ Peterson mal potrebu definovať jazzové trio tak, že žiadal od side manov tú najvyššiu úroveň. Trio s Rayom Brownom a Herbom Ellisom bolo poda jeho slov „najviac stimulujúcim“2 projektom pre verejné vystúpenia. Na začiatku 50. rokov 20. storočia začal spolupracovať s Charlie Smithom a Rayom Brownom ako Oscar Peterson Trio. Za nedlhý čas bol bubeník Smith nahradený gitaristom Irvingom Ashbym ktorý sa predtým podielal na Nat „King“ 2 JENKINS, W. 1999. Ray Brown Father Time. In Jazz Times, roč. 29, 1999, č. 3. ISSN 0272-572-X, s. 34-37. Cole Trio. Neskôr nahradil Asbyho gitarista Barney Kessel. Toto zoskupenie spolu pôsobilo jeden rok. Po Kesselovi sa naspať vrátil bubeník Herb Ellis. H. Ellis bol ideálnym korešpondentom, ktorý vyhovoval Oscarovi Petersonovi po všetkých stránkach. Po skúsenosti s Oscarom Petersonom H. Ellis povedal: „Bol to pravdepodobne vrchol mojej kariéry, práca s týmito borcami“.3 Bol nepochybne unesený Oscarovou hrou a vôbec jeho osobnosťou. „Oscar je duševný obor, keď mi dal veci na hranie, povedal som mu: Oscar, ja toto hrať nemôžem. On povedal: „Áno, môžeš, viem, koľko môžeš
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  • Airwaves (1980-06)
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  • LP Inventory
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