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Klarinetistka Sabine Meyer

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Klarinetistka Sabine Meyer JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra dechových nástrojů Hra na klarinet Klarinetistka Sabine Meyer Bakalářská práce Autor práce: Jiří Tolar DiS. Vedoucí práce: doc. MgA. Milan Polák Oponent práce: doc. MgA. Vít Spilka Brno 2015 Bibliografický záznam TOLAR, Jiří. Klarinetistka Sabine Meyer [Clarinetist Sabine Meyer]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra dechových nástrojů, 2015. 21 s. Vedoucí bakalářské práce doc. MgA. Milan Polák. Anotace Tato práce pojednává o klarinetistce Sabine Meyer. V práci je životopis Sabine Meyer, rozbor její interpretace a diskografie. Annotation This thesis deals with clarinetist Sabine Meyer. Thesis includes biography of Sabine Meyer, analysis of her interpretation and list of recordings. Klíčová slova Meyer, klarinet, nahrávka, interpretace, koncert, Stamic Keywords Meyer, clarinet, recording, interpretation, concert, Stamitz Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně dne 10. května 2015 Jiří Tolar Obsah Úvod ......................................................................................................................................... 1 1. Životopis ............................................................................................................................... 2 2. Trio di Clarone ...................................................................................................................... 7 3. Bläserensemble Sabine Meyer ........................................................................................... 11 4. Interpretační přínos ........................................................................................................... 14 4. 1. Interpretační rozbor Koncertu pro klarinet Nr. 10 B dur Karla Stamice .................... 16 Závěr ...................................................................................................................................... 20 Použité informační zdroje ...................................................................................................... 21 Příloha: Diskografie ................................................................................................................... I Úvod Klarinetistku Sabine Meyer jsem si oblíbil již na počátku svého studia na konzervatoři. Díky její technické dokonalosti hry spojené s osobitou interpretací je dodnes jednou z nejznámějších sólistek na světě. V této práci chci kompletně shrnout život Sabine Meyer, komorní soubory, jichž je členkou, popsat její zásadní interpretační přínos, podrobně rozebrat interpretaci koncertu B dur od Karla Stamice a vytvořit seznam diskografie. 1 1. Životopis Sabine Meyer se narodila 30. března 1959 v německém Crailsheimu. Již v raném věku začala hrát na klarinet, jejím prvním učitelem byl její otec Karl Meyer. Byl to všestranný hudebník; působil jako varhaník v kostele sv. Marie a také vyučoval hře na klarinet a klavír. Později si se svou ženou Ellou otevřel obchod s hudebninami a ten se zanedlouho stal významným v širokém okolí. Karl Meyer také založil kapelu, kde hrál na elektrické varhany, klarinet a saxofon. Hrály se zde převážně skladby Glenna Millera a Benny Goodmana. Z nahrávek, které měl k dispozici, Meyer podle sluchu po nocích sám přepisoval aranže. Ovšem malá Sabine a její starší bratr Wolfgang znali svého otce hlavně jako učitele klavíru. První hudební nástroj, na který se Sabine učila hrát, byl akordeon. V šesti letech začala od svého otce dostávat první lekce klavíru. Ačkoliv její bratr začal vedle klavíru hrát na klarinet, Sabine dostala do rukou po vzoru svého strýce, houslisty v berlínské Staatskapelle, housle. Ke klarinetu se Sabine dostala v osmi letech a hned se do něho zamilovala; hra na klarinet jí přišla stejně přirozená jako zpěv. Nicméně housle a klavír pro ni nadále zůstaly důležitými nástroji, bylo to otcovým přáním. Později to její učitel Hans Deinzer velmi ocenil, neboť tato průprava jí vytvořila výborné základy prstové techniky. Otec brzy začal oba sourozence přihlašovat na hudební soutěže. Ne proto, že by jeho hlavním cílem bylo vidět je na stupních vítězů, ale proto, aby on i oni sami měli porovnání s ostatními mladými hráči. Navíc se při častém vystupování naučili rychle pracovat s trémou tak, aby nekazila jejich výkony. Sabine v letech 1969 a 1971 získala první ceny v celostátních soutěžích. Také byla v roce 1969 přijata jako vůbec nejmladší do Bundesjugendorchester1; možná se tak stalo s ohledem na členství jejího staršího bratra. Ten byl považován za zázračné dítě od chvíle, kdy v patnácti letech uvedl s velkou přesvědčivostí Stravinského Tři kusy pro klarinet sólo. 1 Národní mládežnický orchestr – koncertoval nejen v evropě, ale i v Americe. 2 Ve třinácti letech Sabine složila příjímací zkoušky na Stuttgart Musikhochschule, byla přijata jako junior student. Jejím profesorem ve hře na klarinet byl Otto Hermann, jenž zastával též post prvního klarinetisty v Stuttgart Opera Orchestra. Sabine nebyla u svého profesora příliš spokojená, neustále pracovali na etudách, na hodinách je hráli dokola znovu a znovu, dokud nebyly bez jediné chyby. Jeho přístup k žákům byl velice tvrdý a jeho metodika výuky neoplývala velkými výsledky. Skrze svého bratra Wolfganga poznala Hanse Deinzera2, u něhož studoval na Hochschule v Hannoveru. Jeho styl učení se Sabině velice líbil, také jí věnoval kovovou ligaturu3, které sám vyráběl. Tu ji posléze na hodině ve Stuttgartu prof. Hermann vyhodil s tím, že tohle na klarinet nepatří. V roce 1974 Sabine sólově provedla Koncert pro klarinet A dur od W. A. Mozarta a těšila se velkého uznání. O dva roky později byla přijata ke studiu na Hannover Hochschule k profesoru Hansi Deinzerovi. Během studií začala Sabine spolupracovat s klavíristkou Liese Klahn a také se v Hannoveru seznámila se svým životním partnerem Reinerem Wehlem4. S Liese Klahn si vytvořila pestrý repertoár (Alban Berg, Čtyři miniatury / Bohuslav Martinů, Sonatina / Johanes Brahms, Sonáta pro klarinet a klavír op. 120 No. 2 / Robert Schumann, Fantazijní kusy / Claude Debussy, První rapsodie); obě umělkyně ke spolupráci přizvaly houslistku Susanne Rabenschlag, kterou později nahradil Erich Höbarth. Vzniklo tak trio, v jehož repertoáru se nacházely významné skladby (Béla Bartók, Kontrasty / Darius Milhaud, Suita / Alban Berg, Komorní koncert pro housle klarinet a klavír). Sabine spolu s Liese založily také malý festival na zámku v Gartow. Později jejich spolupráce vlivem začínajícího Sabinina mezinárodního koncertování postupně utichla. Výborné kritiky na přelomu sedmdesátých a osmdesátých let zajistily Sabine Meyer start sólové kariéry. Dokázala hudební veřejnosti, že i klarinet je 2 Hans Deinzer (* 14. 1. 1934, Norimberk) studoval na konzervatoři v Norimberku, poté u Rudolfa Galla v Mnichově, 4 roky jako klarinetista v Norimberském symfonickém orchestru, 11 let v Hamburku v Symfonickém orchestru NDR, 30 let jako profesor v Hannoveru na Hochschule, nejznámější studenti: Sabine Meyer, Wolfgang Meyer, Reiner Wehle, Martin Fröst, Andrew Marriner, Nicholas Cox, Antonio Salguero, Michele Zukovsky, premieroval skladby Pierra Bouleze a Henriho Pousseura. 3 Svěrka držící plátek na hubičce. V Německu se většinou místo kovové či kožené ligatury používá provázek, kterým se plátek přivazuje. 4 Životopis viz kapitola 2. Tri di Clarone. 3 plnohodnotný sólový nástroj, ne jen součást orchestru či komorního souboru. Jejího talentu si všiml Michael Hocks, zprostředkoval jí smlouvu s hudební agenturou, kterou řídil Hans Ulrich Schmid. Jednadvacetileté Sabine tímto začala kariéra sólistky na mezinárodním poli. Nicméně díky relativně malému sólovému repertoáru pro klarinet jí Michael Hocks doporučil, aby si zajistila budoucnost místem v orchestru. Zajímavostí je, že Sabine Meyer ve skutečnosti neměla podepsanou žádnou písemnou smlouvu s touto agenturou. Její zakladatel Hans Ulrich Schmid stavěl obchod na důvěře, čestném slovu a pevném stisku ruky. Sabinin přítel Reiner Wehle vyhrál v roce 1980 konkurz do špičkového orchestru bavorského rozhlasu, v září toho roku nastoupil. O rok později se Sabine naskytla možnost hrát po boku svého přítele, tu využila a v roce 1981 nastoupila na post druhého klarinetu. V těchto letech se zároveň uvolnil post sóloklarinetisty Berlínské filharmonie, nejprestižnějšího orchestru v Německu. Na první konkurz v listopadu 1980 Sabine nebyla pozvána. Důvod byl zřejmý, celý orchestr tvořili pouze muži, toto téma bylo v médiích horlivě diskutováno. Reiner Wehle a Wolfgang Meyer sice postoupili do finálního kola konkurzu, ale nakonec post sólo klarinetisty zůstal neobsazen. Na další konkurz v lednu 1981 již byla Sabine pozvána. Po konkurzu jí rada orchestru nabídla spolupráci na několik koncertů. Stala se tak druhou ženou v historii, která hrála v Berlínské filharmonii. Tehdejší šéfdirigent Herbert von Karajan5 nebyl na konkurzu přítomen, ale později ho její hra na klarinet velmi zaujala. Její specifický zvuk přesně zapadal do Karajanových představ, ale totéž nemohli říci ostatní klarinetisté v orchestru. Jindy neosobní Krajan si k mladé Sabine vytvořil neobvykle přátelský vztah a velmi za ní orodoval. V prosinci 1981 se konal v pořadí již třetí konkurz na post sóloklarinetisty, Sabine Meyer jej opět vyhrála, ale rada orchestru jí nenabídla smlouvu, což Karajana velmi rozezlilo. Ve skutečnosti nešlo o to, že by Sabine nevyhovovala požadavkům členů orchestru, ale o demonstrování toho, že si Karajan ze svého postu šéfdirigenta nemůže dovolit všechno; šéfdirigent
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