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Petr Kotík Ve Víru Hudební Avantgardy Šedesátých Let Petr Kotik in the Mindst of Musical Avant-Garde of the Nineteen Sixties

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Petr Kotík Ve Víru Hudební Avantgardy Šedesátých Let Petr Kotik in the Mindst of Musical Avant-Garde of the Nineteen Sixties UNIVERZITA PALACKÉHO V OLOMOUCI Filozofická fakulta Katedra muzikologie Petr Kotík ve víru hudební avantgardy šedesátých let Petr Kotik in the Mindst of Musical Avant-garde of the Nineteen Sixties Bakalářská práce Autor práce: Eva Balcárková Vedoucí práce: Doc. PhDr. Lenka Křupková, PhD. Olomouc 2015 Prohlašuji, že jsem bakalářskou práci na téma Petr Kotík ve víru hudební avantgardy šedesátých let vypracovala samostatně a uvedla jsem všechny použité zdroje a literaturu. V Olomouci dne ………………………………. Podpis …………..……………………. Děkuji především panu Petru Kotíkovi za ochotu a čas, které mi věnoval během našich konzultací. Dále bych ráda vzdala dík všem organizacím a osobám, které mi poskytly cenné materiály a v neposlední řadě děkuji paní Doc. PhDr. Lence Křupkové, PhD., za vedení práce. Obsah Úvod ........................................................................................................................................................ 6 Koncepce práce a dosavadní stav bádání ............................................................................................ 6 Charakteristika kulturního prostředí, ve kterém Petr Kotík vyrůstal ...................................................... 8 Počátky vlastní tvorby ........................................................................................................................... 10 Studia na pražské konzervatoři ......................................................................................................... 10 Spolupráce s Vladimírem Šrámkem a vlivy ze zahraničí .................................................................... 10 Soubor Musica viva pragensis ............................................................................................................... 13 Založení souboru a první koncerty .................................................................................................... 13 Profesionalizace ................................................................................................................................. 14 Návštěva festivalu Varšavský podzim ................................................................................................ 15 Studia na Akademii ve Vídni .................................................................................................................. 17 První setkání s Johnem Cagem .............................................................................................................. 20 Vystoupení ve Vídni ........................................................................................................................... 20 Cage v Praze ...................................................................................................................................... 20 Zásluha paní Pavly Kotíkové .......................................................................................................... 20 Vystoupení souboru Musica viva pragensis s Johnem Cagem a Davidem Tudorem .................... 21 Varšavský podzim 1964 ......................................................................................................................... 23 Dvě vystoupení souboru Musica viva pragensis ve Varšavě a postupný rozchod se souborem ...... 23 Jiné ideály ...................................................................................................................................... 25 Soutěže .................................................................................................................................................. 26 Utrecht .............................................................................................................................................. 26 Birmingham ....................................................................................................................................... 26 Zrod nového ansámblu .......................................................................................................................... 28 Jednotlivé koncerty, program a zaměření QUaXu ............................................................................ 29 Zlomový rok 1969 .................................................................................................................................. 32 Smolenické semináře ........................................................................................................................ 32 Závěr studií a vojenské služby ........................................................................................................... 33 Problémy ........................................................................................................................................... 33 Počátky v USA ........................................................................................................................................ 35 S.E.M. Ensemble ................................................................................................................................ 35 Menší analytický apendix ...................................................................................................................... 38 Závěr ...................................................................................................................................................... 47 Shrnutí ................................................................................................................................................... 49 Zusammenfassung ............................................................................................................................. 49 Summary ........................................................................................................................................... 50 Soupis použitých zdrojů ......................................................................................................................... 51 Přílohy .................................................................................................................................................... 56 Notové přílohy ................................................................................................................................... 56 Fotografické přílohy .......................................................................................................................... 67 Soupis dochovaných skladeb a jejich vybraná uvedení ..................................................................... 72 Další přílohy ....................................................................................................................................... 76 Anotace ................................................................................................................................................. 79 Úvod Období šedesátých let je v tvorbě Petra Kotíka prvním a zárovep velmi důležitým obdobím vlastní tvůrčí práce. Jednotícím prvkem je studium, prolínající se celou dekádou. V předkládané bakalářské práci si kladu za cíl co nejpřesněji popsat a na příkladech uvést postupný vývoj hudebního myšlení Petra Kotíka v rozmezí této dekády, přičemž centrem mého zájmu budou nejenom jeho interpretační schopnosti, ale především jeho činnost organizátorská a skladatelská. Koncepce práce a dosavadní stav bádání Aby práce tvořila ucelený výsek ze života této osobnosti, budu se zabývat taktéž v krátkosti rodinným prostředím, ve kterém Petr Kotík vyrůstal, i když tato část spadá do let čtyřicátých a padesátých. Jak naznačuje název textu, hlavním těžištěm práce bude odkrývání vlivů „hudebních vírů“, kterými se Petr Kotík proplétal v pomyslném evropském hudebním moři. Na téma Nové hudby v Čechách již bylo napsáno několik studií, z nichž jedna je bohužel prakticky nedostupná — mám na mysli diplomovou práci Markéty Lajnerové s názvem Počátky Nové hudby v Čechách: Musica viva Pragensis a její kmenoví autoři, kterou autorka obhájila v roce 2000 na půdě Filozofické fakulty Karlovy univerzity v Praze. Popravdě přiznávám, že jsem tento text v rukou neměla. Při zpracovávání úvodní části zaměřené na vznik a první roky souboru Musica viva pragensis tedy vycházím především z dostupných pramenů ve formě novinových článků (hlavně z časopisu Hudební rozhledy) a z osobních vzpomínek Petra Kotíka. Zajímavým materiálem se stal přepis diskuse konané v rámci Ostravských dnů roku 2007, ve které pod moderátorským dohledem Viktora Pantůčka vzpomínali na Začátky Nové hudby v Praze (jak se jmenuje vydaná brožura) Peter Kolman, Rudolf Komorous, Marek Kopelent, Petr Kotík a Ladislav Kupkovič. (Pantůček, 2008, [1]) Ve zkratce se souborem Musica viva pragensis (potažmo i Petrem Kotíkem) zabývá studie Vladimíra Lébla O současném stavu nových skladebných směrů u nás otištěná ve sborníku Nové cesty hudby. (Lébl, 1964, [2]). Velmi kvalitním zdrojem informací pro zpracování prvních kontaktů Petra Kotíka s tvorbou Johna Cage, kterými se pro jejich důležitost zabývám podrobněji v samostatné kapitole, se mi stala brožura vydaná k 50. výročí vystoupení skupiny Merce Cunninghama (Merce Cunningham Dance Company) v České republice. (Klézlová, Paláčková, Konczyna, 2014, [3]) Nutno ještě zmínit publikaci Jana Rybáře Osobnosti Nové hudby v Praze na přelomu padesátých a šedesátých let 20. století, (Rybář, 2011, [4]) jelikož je to v podstatě jediná vydaná kniha o této problematice, nepočítám-li monografie o jednotlivých skladatelích (Zbypku Vostřákovi, Janu Klusákovi a Marku Kopelentovi). Publikace se zabývá krátce počátky Nové hudby v Praze, kde se zmipuje i o Petru
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