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Masarykova Univerzita Filozofická Fakulta Masarykova univerzita Filozofická fakulta Ústav hudební vědy Hudební věda Jana Kulczycká Fantazie op. 12 J. V. H. Voříška a její zařazení do dobového kontextu Bakalářská diplomová práce Vedoucí práce: PhDr. Jana Perutková, Ph.D. 2012 Prohlašuji, že jsem diplomovou práci vypracovala samostatně s využitím uvedených pramenů a literatury. …………………………………………….. Ráda bych touto cestou poděkovala vedoucí své bakalářské práce, PhDr. Janě Perutkové, Ph.D. za pomoc, cenné rady a čas, který mi věnovala. Obsah Úvod ........................................................................................................................................... 5 1. Životopis J. V. H. Voříška (11. 5. 1791 Vamberk – 19. 11. 1825 Vídeň) ....................... 6 1.1 Skladatelský odkaz ................................................................................................. 11 1.2 Voříšek jako interpret ............................................................................................ 17 2. Fantazie ............................................................................................................................ 21 3. Fantazie op. 12 J. V. H. Voříška a její zařazení do dobového kontextu .................... 28 3.1 Analýza Voříškovy fantazie ................................................................................... 30 3.2 Wolfgang Amadeus Mozart: Fantazie K 475 ........................................................ 36 3.3 Johann Nepomuk Hummel: Fantazie op. 18 .......................................................... 38 3.4 Ludwig van Beethoven: Fantazie op. 77 ................................................................ 40 3.5 Franz Schubert: Fantazie, op. 15 (D 760) .............................................................. 42 3.6 Shrnutí analytických poznatků ............................................................................... 44 Závěr ........................................................................................................................................ 45 Résumé .................................................................................................................................... 46 Summary ................................................................................................................................. 46 Seznam pramenů a použité literatury .................................................................................. 47 Úvod Ačkoli byl ţivot a dílo Jana Václava Huga Voříška v posledních letech podroben bliţ- šímu průzkumu, stále zůstává ještě mnoho skutečností, kterými se zatím nikdo podrobněji nezabýval. Za ne zcela probádanou a doceněnou povaţuji právě Voříškovu Fantazii, op. 12. Literatura toto klavírní dílo téměř nezmiňuje, a i mezi klavíristy je takřka neznámé. Tato bakalářská práce má za úkol Voříškovu Fantazii přiblíţit a porovnat ji s fanta- ziemi vzniklými ve stejném časovém období. Podstatou práce bude zkoumání, do jaké míry je Voříškova fantazie inovativní, nakolik odpovídá normám daného období, v čem se liší od fantazií jiných autorů. Práce je strukturována do třech kapitol; v první bude stručně pojednán Voříškův ţivo- topis. Povaţuji to zde za důleţité z hlediska bliţšího pochopení následného výběru porovná- vaných skladeb. Autory děl slouţících mi ke komparaci Voříšek znal, ať uţ osobně či nepří- mo - skrze jejich kompoziční tvorbu, a velmi si jich váţil. V rámci první kapitoly bude Voří- šek přiblíţen jako interpret a bude rovněţ poukázáno na jeho výjimečné hráčské schopnosti. Součástí kapitoly bude dále stav bádání. Ve druhé kapitole se budu zabývat historií a vývojem hudební formy fantazie. Budu hledat původ a pokusím se vytyčit hlavní rysy fantazie v době od renesance aţ po romantické období se zvláštním zaměřením na 2. polovinu 18. století. Ve třetí kapitole bude provedena analýza a porovnání Voříškovy Fantazie op. 12 s fantaziemi W. A. Mozarta, L. van Beethovena, J. N. Hummela a F. Schuberta. 5 1. Životopis J. V. H. Voříška (11. 5. 1791 Vamberk – 19. 11. 1825 Vídeň) Jan Václav Hugo Voříšek (Worzischek) je jedním z nejvýznamnějších skladatelů čes- kého původu raně romantické éry. Jako mnoho jiných českých skladatelů 18. a 19. století vy- růstal v hudebně zaloţené rodině: jeho otec Václav František Voříšek byl venkovský kantor, amatérský varhaník a houslista.1 Venkovští učitelé a faráři bývali tehdy v malých obcích často jedinými nositeli kulturního dění. Matka se za svobodna jmenovala Rozálie Matyášová. Z osmi dětí, které spolu měli, se dospělého věku doţily jen čtyři z nich.2 Rodinný původ Vo- říškových je moţno vysledovat aţ do poloviny 17. století z místní farní matriky. Otázkou ro- dových vztahů Jana Václava Huga Voříška se blíţe zabýval především Antonín Vlček.3 Vo- říškův starší bratr Josef František, který se stal později knězem, příleţitostně komponoval a i obě sestry Eleonora a Anna Voršila byly hudebně vzdělané. Hudební nadání zdědil i Jan Vác- lav. Údajně při biřmování získal další jméno Hugo, pod nímţ je znám v uměleckém světě.4 První znalosti o hudbě získal od svého otce, který ho učil hře na klavír, varhany a zpí- vat. Na housle se učil hrát tajně u vamberského pomocného učitele. Otec si totiţ nepřál, aby se hrou na tento nástroj zabýval. Ani ne o rok později byl překvapen svým synem, který hrál první housle jednoho z kvartetů Ignaze Pleyela. O tom, ţe jiţ jako dítě vynikal ve hře na var- hanách, svědčí fakt, ţe ve věku sedmi let zastupoval v Golčově Jeníkově svého příbuzného varhaníka Suchánka v době jeho nemoci, po dobu asi šesti měsíců. Mezi sedmým a desátým rokem svého ţivota během prázdnin koncertoval po Čechách jako zázračné dítě, cesty podni- kal pěšky se svým otcem. Mladý virtuos hrál v různých českých městech na klavír a také na varhany.5 Voříškův otec si přál, aby jeho syn vystudoval práva a svůj hudební talent a hráčské schopnosti vyuţil k tomu, aby se stal známý ve vysoké společnosti. V chlapeckém věku tedy Jan odešel do Prahy, kde navštěvoval na Malé Straně v Karmelitské ulici obecnou školu a později ve stejné budově absolvoval i gymnázium. Zpočátku byl v Praze podporován hraběn- kou Rosinou Kolowratovou-Libštejnskou, která jej znala z Rychnova nad Kněţnou.6 Ta však 1 Zuckerová, Olga: J. H. Voříšek. Thematic catalogue. Praha 2003. 2 Potomci Václava Františka Voříška (13. 5. 1749 – 30. 1. 1815) a Rozálie Matyášové (16. 3. 1753 – 21. 10. 1807): Josef Augustin (15. 8. 1779 – 30. 8. 1779), Anna Marie (29. 9. 1780 – 21. 6. 1781), Václav Josef Haštal (26. 3. 1782 – 16. 7. 1783), Josef František (3. 4. 1784 – 3. 7. 1845), Eleonora (cca 1. 8. 1786 – 2. 3. 1843), An- na Marie (5. 8. 1788 – 10. 11. 1795), Jan Václav (Hugo) – (11. 5. 1791 – 19. 11. 1825), Anna Voršila (27. 1. 1794 - ?). 3 Vlček, Antonín: K otázce rodových vztahů Jana Václava Huga Voříška a k osudům bratří Voříšků ve východ- ních Čechách. In: Hudební věda, roč. 28, č. 3, 1991, s. 231 – 241. 4 Tamtéţ. 5 Zuckerová, Olga: J. H. Voříšek. Thematic catalogue. Praha 2003. Helfert, Vladimír: O české hudbě. Praha 1957. 6 Kolowratová-Libštejská, Rosina (? – 1803) tehdejší drţitelka rychnovského a vamberského panství. 6 roku 1803 zemřela a Voříšek zůstal odkázán především sám na sebe. Pobyt v Praze byl pro jeho umělecký vývoj velmi významný. Poprvé měl moţnost soustavně studovat hudbu prak- ticky i teoreticky.7 Od roku 1804 Voříšek studoval u jednoho z největších přívrţenců mozartovského kul- tu – Václava Jana Tomáška, který pro něj byl jako skladatel velkou inspirací. Jako jeden z prvních Tomášek komponoval charakteristické kusy pro klavír inspirované antickými lite- rárními formami nebo spíše dobovými představami o nich – rapsodie, eklogy, dithyramby. Svými Rapsodiemi, op. 1 Voříšek zjevně následoval Tomáškův příklad, také mu tento opus dedikoval. Kromě harmonie a částečně kontrapunktu ho Tomášek pravděpodobně učil i hře na klavír.8 Voříšek se stal na jeho doporučení učitelem hry na klavír v rodině Lobkoviců (vyučo- val v Lobkovickém paláci pod Petřínem). K otázce vlivu Tomáška na Voříška existují rozdíl- né názory. Zvláště ve starších příspěvcích z poloviny 20. století byl Tomáškově výuce připi- sován velký význam; k tomuto úsudku se přiklání Vladimír Helfert i Bohumír Štědroň.9 V Helfertově příspěvku se například dočteme: „Jeho učitelem byl V. J. Tomášek a tato okolnost měla pro další jeho vývoj rozhodující význam… Bylo pro něho štěstím, že v Tomáškovi našel mistra, jenž dovedl neukázněnost jeho mladické geniality regulovat přísnou komposiční ško- lou, aniž přitom potlačoval to nové a výbojné, jež takový duch přináší… Jakým směrem se neslo studium u Tomáška, je vidět z toho, že pod jeho vedením studoval Voříšek díla J. S. Ba- cha“.10 Novější výzkum však s touto hypotézou polemizuje: „The importance of Voříšek's studies with Tomášek is sometimes overestimated. It seems that for Voříšek's development, Tomášek's theoretical teaching was probably not substantial enough. Aloys Fuchs, Voříšek's closest and author of his first biofraphy, quoted him later as saying that he did not go further than with seventh chords with Tomášek“.11 Olga Zuckerová dále uvádí, ţe v Praze věnoval Voříšek svůj čas samostudiu (nikoli tedy pod Tomáškovým dozorem) Bachova díla Das Wo- hltemperierte Clavier. V průběhu svého ţivota se k tomuto dílu vracel jako k jednomu z nejobdivovanějších. Během školních prázdnin pokračoval ve svém studiu hudby doma u svého otce. 7 Kučera, Tomáš: Voříšek, Jan Václav Hugo. In: [online] 2010. [cit. 6. 12. 2010]. Dostupné z http://www.ceskyhudebnislovnik.cz/slovnik/index.php?option=com_mdictionary&action=record_detail&id=825 4 8 Zuckerová,
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