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Komparace Interpretačních Pojetí Variací Na Rokokové Téma Op. 33 Petra Iljiče Čajkovského

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Komparace Interpretačních Pojetí Variací Na Rokokové Téma Op. 33 Petra Iljiče Čajkovského JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra strunných nástrojů Hra na violoncello Komparace interpretačních pojetí Variací na rokokové téma op. 33 Petra Iljiče Čajkovského Bakalářská práce Autor práce: Diana Kadysheva Vedoucí práce: prof. Jozef Podhoranský Oponent práce: MgA. Miroslav Zicha Brno 2019 Bibliografický záznam KADYSHEVA, Diana. Komparace interpretačních pojetí Variací na rokokové téma op.33 Petra Iljiče Čajkovského [Comparison of interpretative styles of Variations on a Rococo Theme by Pyotr Ilyich Tchaikovsky]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra strunných nástrojů, 2019. Vedoucí diplomové práce prof. Jozef Podhoranský Anotace Ve své bakalářské práci Komparace interpretačních pojetí Variací na rokokové téma, op.33 Petra Iljiče Čajkovského se věnuji analýze mistrovských interpretací Variací na rokokové téma op.33 Petra Iljiče Čajkovského. Použity jsou nahrávky těchto violoncellistů: Yakov Slobodkin, Daniil Šafran, János Starker. Annotation Bachelor thesis Comparison of interpretative styles of Variations on a Rococo Theme by Pyotr Ilyich Tchaikovsky deals with analysis of interpretations of Variations on a Rococo Theme by Pyotr Ilyich Tchaikovsky. Audio records of the following musicians are used – Yakov Slobodkin, Daniil Shafran, János Starker Klíčová slova Cello, Variace na rokokové téma, Petr Iljič Čajkovskij, analýza, Yakov Slobodkin, Daniil Šafran, János Starker Keywords Violoncello, Variations on a Rococo Theme, Pyotr Ilyich Tchaikovsky, analysis, comparison, Yakov Slobodkin, Daniil Shafran, János Starker Prohlášení Prohlašuji, že jsem předkládanou práci zpracovala samostatně a použila jen uvedené prameny a literaturu. V Brně, dne 12. května 2019 Diana Kadysheva Obsah Úvod ............................................................................................................................. 5 1. Petr Iljič Čajkovskij a Variace na rokokové téma ............................................. 6 1.1. Stručný životopis P. I. Čajkovského .............................................................. 6 1.2. Historie vzniku skladby .................................................................................. 7 1.3. Rozbor skladby ................................................................................................ 8 1.3.1. Moderato quasi Andante – Téma: Moderato semplice ......................... 8 1.3.2. Variace I - Tempo della Thema ............................................................... 9 1.3.3. Variace II - Tempo della Thema ........................................................... 10 1.3.4. Variace III - Andante sostenuto ............................................................ 10 1.3.5. Variace IV - Andante grazioso .............................................................. 11 1.3.6. Variace V - Allegro moderato ................................................................ 11 1.3.7. Variace VI - Andante .............................................................................. 12 1.3.8. Variace VII - Allegro vivo e Coda ......................................................... 13 2. Stručné životopisy interpretů ............................................................................. 14 2.1. Jakov Slobodkin ............................................................................................ 14 2.2. Daniil Šafran .................................................................................................. 15 2.3. János Starker ................................................................................................. 16 3. Komparace ............................................................................................................ 18 3.1. Moderato quasi Andante – Téma: Moderato semplice .............................. 18 3.2. Variace I - Tempo della Thema .................................................................... 19 3.3. Variace II - Tempo della Thema .................................................................. 19 3.4. Variace III - Andante sostenuto ................................................................... 20 3.5. Variace IV - Andante grazioso ..................................................................... 22 3.6. Variace V - Allegro moderato ...................................................................... 23 3.7. Variace VI Andante ....................................................................................... 24 3. 8. Variace VII Allegro vivo e Coda ................................................................. 25 Závěr.......................................................................................................................... 25 Použité informační zdroje ....................................................................................... 28 Seznam použitých symbolů a zkratek: ................................................................... 29 Úvod Variace na rokokové téma patří mezi nejdůležitější skladby violoncellového repertoáru. Všichni známí violoncellisté je v určité fázi své kariéry hráli, případně stále hrají. Také se velmi často objevují jako povinný program na nejrůznějších mezinárodních hudebních soutěžích, jako je například soutěž Petra Iljiče Čajkovského v Rusku. Díky jejich velké oblibě u violoncellistů minulosti i současnosti a výborné dostupnosti zvukových nosičů je dnes k dispozici mimořádné množství krásných nahrávek, které mohu ve své práci podrobně zanalyzovat a popřemýšlet nad jejich interpretačním přínosem. Konkrétně tuto skladbu jsem si pak vybrala z toho důvodu, že se mi celkově velice líbí tvorba Petra Iljiče Čajkovského a Variace na rokokové téma jsou jednou z jeho nejznámějších instrumentálních skladeb. Mám v plánu jí nastudovat a věřím, že poslech jejích mistrovských interpretací mi umožní lépe pochopit její charakter a harmonickou strukturu. Cílem práce je, jak už jsem předtím uvedla, podrobná analýza notového materiálu a dostupných zvukových nahrávek jednotlivých interpretací. Pro účel práce jsem si vybrala tři významné hudebníky, jejichž verze budu podrobněji rozebírat. Jedná se o tyto interprety: Yakov Slobodkin, Daniil Shafran a Janos Starker. Také bych do své práce chtěla zahrnout stručný životopis každého jednotlivého violoncellisty. Hlavní obsah práce je rozdělen do tří kapitol. V první se věnuji historii vzniku Variací a jejich stručnému hudebnímu rozboru – k tomu použiji zapůjčený notový materiál. Ve druhé kapitole se objevují krátké životopisy interpretů, ve třetí pak konečně samotná komparace jednotlivých interpretačních pojetí. Třetí kapitola je nejdůležitější část celé práce. 5 1. Petr Iljič Čajkovskij a Variace na rokokové téma 1.1. Stručný životopis P. I. Čajkovského Petr Iljič Čajkovskij se narodil 7. května 1840 ve Votkinsku. Jeho otec Iljia Petrovič byl vyučeným inženýrem v Petrohradě a následně pracoval jako vedoucí Kamsko- Votkinské fabriky. Oba rodiče se amatérsky věnovali hudbě – otec hrál na flétnu, matka zpívala a občas hrála na klavír. Mladý Petr Iljič měl tak již od útlého věku přístup k základům hudebního vzdělání, což bylo umocněno soukromými lekcemi klavírní hry, jež několik let dostával. Díky domácímu orchestrionu se seznamuje s hudbou Mozarta, Rossiniho, Belliniho, Donizettiho. V roce 1852 nastupuje na právnickou školu v Petrohradě a během studia se dál aktivně zajímá o hudební život – navštěvuje koncerty, operní představení atd. Také se věnuje klavíru a dokonce zpívá ve sboru. Po ukončení studia (1859) pracuje Čajkovskij na Ministerstvu spravedlnosti, roku 1861 cestuje po Evropě a později nastupuje na Petrohradskou konzervatoř, kde studuje kompozici u Antona Rubinsteina. Od roku 1863 se věnuje již výhradně hudbě. Vystupuje jako korepetitor, dává soukromé klavírní lekce a hudební teorii. Později (1866) získává místo na moskevské konzervatoři a učí hudební teorii a skladbu. Také píše hudební kritiky a komponuje své první symfonie, opery, komorní hudbu aj. Z tohoto období pochází také Variace na rokokové téma. Z konzervatoře odchází v roce 1878 a dále se věnuje především kompozici. Cestuje po Evropě (Švýcarsko, Itálie, Francie, Německo), což si může dovolit díky finanční podpoře ze strany mecenášky Naděždy von Meck. Koncem 80. let vystupuje jako dirigent v Rusku i v zahraničí. Seznamuje s mnoha významnými evropskými hudebníky, jako například Edvard Grieg, Richard Strauss, Gustav Mahler, Antonín Dvořák aj. 6 V roce 1891 odjíždí do Ameriky a diriguje své vlastní skladby v New Yorku, Baltimoru aj. V New Yorku dokonce řídí premiérový koncert při příležitosti slavnostního otevření Carnegie Hall. Čajkovskij umírá roku 1893 v Petrohradě devět dní po premiéře své šesté symfonie. 1.2. Historie vzniku skladby Dne 25. března 1875 se v novinách Ruské vědomosti objevil článek ohledně violoncellového repertoáru, který prý “není adekvátně doplňován novými skladbami”1. Autorem tohoto článku byl sám Petr Iljič Čajkovskij, který o rok později v prosinci 1876 začíná komponovat Variace na rokokové téma pro violoncello a orchestr. Čajkovskij byl velkým milovníkem hudby 18. století – inspirace stylem rokoko. Onou inspirací je však spíše radostná nálada a elegance tohoto stylu, než přehnaná pompéznost a bohatá ornamentace. Samotné téma je pak poměrně jednoduché a má typicky ruský hudební nádech. Variace jsou věnovány osobnímu příteli Petra Iljiče Čajkovského, významnému violoncellistovi a pedagogovi Wilhelmu Fitzenhagenovi, jenž Čajkovskému radil ohledně nástrojové techniky. Fitzenhagen upravil skladbu podle sebe – změnil celkový počet variací a jejich pořadí. Také
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