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Masarykova univerzita Filozofická fakulta Ústav hudební vědy Hudební věda J. V. Stich-Punto: historie a současnost jeho díla a odkazu pro budoucí generace Bakalářská diplomová práce Drahoš Kopečný Vedoucí práce: prof. PhDr. Lubomír Spurný, Ph.D. Brno 2019 Prohlašuji, že jsem bakalářskou práci vypracoval samostatně s využitím uvedených pramenů a literatury. Podpis: Poděkování Na tomto místě bych rád poděkoval vedoucímu této práce prof. PhDr. Lubomíru Spurnému, Ph.D., za odborné vedení. Dále patří poděkování autora práce paní ředitelce Mgr. Yvettě Zemanové a profesorům Pražské konzervatoře za poskytnutí studijních materiálů a také děkuji PhDr. Janě Mančálové za ochotnou spolupráci při vyhledávání souvislostí v dějinách Žehušic a v životě a díle J. V. Sticha. V neposlední řadě chci též poděkovat Mgr. Janě Svobodové a paní kurátorce Petře Michalové z Městského muzea a knihovny v Čáslavi. Obsah Úvod ........................................................................................................................................................ 7 1. Osobnost Jana Václava Sticha-Punta ............................................................................................... 8 1.1. Stich-Punto skladatelem .......................................................................................................... 8 1.2. Punto – virtuos a jeho technika hry ........................................................................................ 9 1.3. Vliv Sticha-Punta na Mozarta a Beethovena ......................................................................... 10 2. Žehušice ......................................................................................................................................... 13 2.1. Hrabata Thunové z Hohensteinu a žehušické panství v průběhu staletí .............................. 13 2.2. Období podpory hudebního umění na zámku v Žehušicích .................................................. 15 2.3. Památky a pozoruhodnosti Žehušic ...................................................................................... 15 2.4. Slavnosti lesního rohu v Žehušicích ....................................................................................... 17 3. Metodika Jana Václava Sticha ....................................................................................................... 20 4. Dílo Jana Václava Sticha-Punta ...................................................................................................... 23 4.1. J. V. Stich-Punto a ohlasy jeho tvorby v následujících dobách .............................................. 23 4.2. Osobnosti v úloze popularizátorů díla Puntova .................................................................... 24 4.3. Jan Václav Stich a jeho vokální práce .................................................................................... 27 5. Charakteristika vybraných kompozic Jana Václava Sticha-Punta .................................................. 30 5.1. J. V. Stich-Punto, Hymne à la Liberté en trio avec grand orchestre ...................................... 30 5.2. J. V. Stich-Punto, Koncert č. 5 F dur pro lesní roh a orchestr ................................................. 32 5.2.1. Formální rozbor Koncertu č. 5 F dur pro lesní roh a orchestr ........................................ 34 5.2.1.1. Allegro moderato................................................................................................... 34 5.2.1.2. Adagio .................................................................................................................... 34 5.2.1.3. Rondeau ................................................................................................................. 35 6. Závěr .............................................................................................................................................. 36 7. Resumé .......................................................................................................................................... 37 8. Seznam literatury .......................................................................................................................... 38 9. PŘÍLOHY ......................................................................................................................................... 41 Motto Kdo vzpomene Giovanniho Punta? Kdo vzpomene si muzikanta, jenž tu kdysi žil, jak rohem naši zemi proslavil a revoluci první pozdravil? Kdo zná dnes jeho slavnou píseň, již lid si sblížil a revoluci první proslavil? V mramor šedý jméno jeho zlatem vytesáno, života činů je zbytkem všeho, co v paměť vepsáno. Kdo vzpomene a poznat míní, jak nevolník se proti moci postavil, jak on /a mnozí neznámí jiní/ dávno činem života cíl oslavil! (Bohumil Pospíšil) 6 Úvod Ke zpracování práce na téma J. V. Stich-Punto: historie a současnost jeho díla a odkazu pro budoucí generace, mě vedly okolnosti nejen studijní, ale i osobní. Hudební skladatel a virtuos J. V. Stich – Giovanni Punto mi je jako pedagogovi na lesní roh velice blízký. Se svými žáky v hudební škole nacvičujeme komorní díla J. V. Sticha (dueta, tria), studujeme a uvádíme i jeho koncerty (např. č. 5, 6, 7). Vše podtrhuje skutečnost, že často účin kuji se souborem Corni Boemi při koncertech na zámku v Žehušicích. Od října do konce ledna se zúčastňujeme i loveckých parforsních honů a dalších loveckých slavností konaných na žehušickém panství. Velký podíl repertoáru tvoří vždy díla J. V. Sticha. Jako motto jsem si vybral báseň bývalého učitele a ředitele základní školy v Žehušicích Bohumila Pospíšila (1914–1996), který se věnoval významným osobnostem čáslavského regionu. Svými verši vyjádřil hlubokou úctu k nejslavnějšímu žehušickému rodákovi. Báseň zhudebnila pro smíšený sbor s doprovodem tria lesních rohů Jitka Snížková (1924–1989), klavíristka, cembalistka, hudební skladatelka a muzikoložka. 7 1. Osobnost Jana Václava Sticha-Punta Část práce nazvaná Osobnost Jana Václava Sticha-Punta je rozdělena do tří tematických celků. První oddíl se vztahuje k rozboru skladatelské činnosti Sticha-Punta, analýzou zahraničních a českých titulů. Následující oddíl popisuje Punta jako virtuosa, dále rozbor hry na nástroj a používání nové techniky za jeho doby. V poslední části se budeme zabývat vlivem Sticha-Punta na Mozarta a Beethovena. 1.1. Stich-Punto skladatelem V úvodu této části práce musím uvést, že Stich-Punto (28. 9. 1746 – 16. 2. 1803) byl zejména výkonným umělcem. Jako skladatel se uplatňoval méně. Během svého života nebyl pravděpodobně honorován za komponování ani vyhledáván jako skladatel. Za možnou výjimku by se dalo označit složení Hymne à la Liberté en trio avec grand orchestre, který byl jeho prvním vokálním dílem. Punto byl doporučen a osloven, aby složil hymnus ke slavnosti Rozumu, konané ve francouzském Rouenu v revoluční době roku 1793. Získal-li za tuto skladbu finanční honorář, nelze objektivně prokázat.1 Zejména v počátcích skládal Punto hudbu pro svou potřebu, aby mohl nechat vyniknout své hráčské umění při koncertech nebo psal skladby z přátelství ke svým kolegům-hudebníkům. Například J. L. Dusíkovi věnoval šest sonát pro violoncello.2 O složení koncertu se dovídáme v knize Jana Branbergera, kde se píše: „Koncert pro lesní roh, cyklickou skladbu o třech až čtyřech částech, před Puntem snad ještě nikdo nenapsal. […] Učitelé Puntovi, hlavně Hampl a Houdek, tehdejší nejlepší cornisté světa, pomýšleli na koncerty pro svůj nástroj, ale nebyli skladebně tak schopní, aby vytvořili umělé dílo vybroušené tradiční formy. Punto se sice neučil doposud nikde skladbě, ale jeho hudební nadání mu umožnilo, že se na koncert odvážil. “3 První vzdělání v kompozici získal Stich-Punto od Sacchiniho v Benátkách. V důsledku nových zjištění svůj první koncert pro lesní roh přepracoval, změnil jeho formu a doplnil jej. Podrobnosti o okolnostech vzniku dalších Puntem napsaných koncertů neznáme. Někdy se lze setkat v literatuře se zmínkou, že se Punto snažil skládat, ale čím byl ovlivněn a jaký byl jeho postup komponování, není známo. Bohumír Štědoň ve svém článku mimo jiné uvádí, že J. V. Stich vydával skladby jiných mistrů za své.4 Na obhajobu Sticha musím uvést, že v jeho době docházelo velmi často k takzvanému parodování, kdy skladatel opětovně použil starší skladby nebo jejich části v nových skladbách. Stich-Punto tak mohl parodovat svá vlastní či cizí díla. Parodování mělo nejméně dvě výhody. Pomáhalo skladatelům zvládnout nesmírně vysoké nároky na počet skladeb, které museli komponovat po celý rok, a také tím mohli vrátit do hudebního provozu zdařilou hudbu, pro jejíž uplatnění by v její původní podobě nebyla příležitost. Johann Sebastian Bach také často parodoval cizí díla, ale vypůjčený materiál doplnil svými nápady a vznikaly skladby velmi uznávané. Parodování se dopouštěl i český skladatel Jakub Jan Ryba (1765 – 1815). Z důvodů výše uvedených se domnívám, že označení Punta za uměleckého podvodníka je příliš kritické. 1KAPSA, Václav. Die Musik in Geschichte und Gegenwart. Bd. 13. Kassel: Bärenreiter, 2005, s. 1050. 2SOJKA, Alois. Žehušice a Jan Václav Stich: pocta nejslavnějšímu rodákovi. Praha: TOGGA, 2003, s. 34. 3BRANBERGER, Jan. Jan Václav Stich – občan Punto. Žehušice: Městské knihy, 2012, s. 51. 4ŠTĚDROŇ, Bohumír. K 150. výročí úmrtí Jana Václava Sticha-Punta. In: Hudební rozhledy., Praha, 1953, roč. 1953, č. 6, s. 156–157. 8 Mínění o kvalitě Stichových skladeb se různí, např. Theodor von Frimmel uvádí5, že Stich byl tzv. nižší skladatel, avšak jako hornista má neobyčejné zásluhy o rozvoj techniky hry na lesní
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    Heroic Horn BEST LOVED classical horn music Heroic Horn Best loved classical horn music 1 Robert SCHUMANN (1810–1856) 8 Richard WAGNER (1813–1883) Konzertstück, Op. 86 – I. Lebhaft 7:18 Tannhäuser – Overture (excerpt) 4:25 Robert Bonnevie, Mark Robbins, Slovak Philharmonic • Michael Halász David C. Knapp, Scott Wilson, horn (8.550136) Seattle Symphony Orchestra • Gerard Schwarz 9 Wolfgang Amadeus MOZART (8.572770) Horn Quintet in E flat major, K. 407 – 6:14 2 Franz Joseph HAYDN (1732–1809) I. Allegro Symphony No. 31 in D major 5:03 Jen Keveházi, horn • Kodály Quartet ‘Horn Signal’, Hob.I:31 – I. Allegro (8.550437) American Horn Quartet 10 Johannes BRAHMS (1833–1897) Sinfonia Varsovia • Dariusz Wi niewski Trio for Violin, Horn and Piano 6:58 (8.557747) in E flat major, Op. 40 – II. Scherzo: 3 Leopold MOZART (1719–1787) Allegro – Molto meno allegro – Allegro Sinfonia da Caccia for 4 Horns and Strings 5:28 Jen Keveházi, horn • Ildikó Hegyi, violin ‘Jagd Symphonie’ – I. Vivace Jen Jandó, piano Bed ich Tylšar, Zden k Tylšar, (8.550441) Zden k Divoký, Jind ich Petráš, horn 11 Pyotr Il’yich TCHAIKOVSKY Capella Istropolitana • František Vajnar Symphony No. 5 – II. Andante cantabile, 5:29 (8.550393) con alcuna licenza (excerpt) 4 Joseph FIALA (1748–1816) Polish National Radio Symphony Orchestra Concerto for 2 Horns in E flat major – 4:19 Antoni Wit III. Rondo andante (8.550716) Bed ich Tylšar, Zden k Tylšar, horn 12 Ludwig van BEETHOVEN (1770–1827) Capella Istropolitana • František Vajnar Horn Sonata in F major, Op. 17 – 4:49 (8.550459) III.
  • DETERMINING the AUTHENTICITY of the CONCERTO for TWO HORNS, Woo. 19, ATTRIBUTED to FERDINAND RIES

    DETERMINING the AUTHENTICITY of the CONCERTO for TWO HORNS, Woo. 19, ATTRIBUTED to FERDINAND RIES

    DETERMINING THE AUTHENTICITY OF THE CONCERTO FOR TWO HORNS, WoO. 19, ATTRIBUTED TO FERDINAND RIES Amy D. Laursen, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 APPROVED: William Scharnberg, Major Professor Kris Chesky, Related Field Professor Brian Bowman, Committee Member Benjamin Brand, Director of Graduate Studies, College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School Laursen, Amy D. Determining the Authenticity of the Concerto for Two Horns, WoO. 19, Attributed to Ferdinand Ries. Doctor of Musical Arts (Performance), December 2015, 100 pp., 1 table, 27 figures, 57 musical examples, references, 108 titles. Ferdinand Ries is credited as the composer of the Concerto for Two Horns, WoO. 19 preserved in the Berlin State Library. Dated 1811, ostensibly Ries wrote it in the same year as his Horn Sonata, Op. 34, yet the writing for the horns in the Concerto is significantly more demanding. Furthermore, Ries added to the mystery by not claiming the Concerto in his personal catalog of works or mentioning it in any surviving correspondence. The purpose of this dissertation is to study the authorship of the Concerto for Two Horns and offer possible explanations for the variance in horn writing. Biographical information of Ries is given followed by a stylistic analysis of Ries’s known works. A stylistic analysis of the Concerto for Two Horns, WoO. 19 is offered, including a handwriting comparison between the Concerto for Two Horns and Ries’s Horn Sonata. Finally, possible explanations are proposed that rationalize the variance in horn writing between the Concerto for Two Horns, WoO.

  • Natural Horn Performance in the 19Th Century

    Syracuse University SURFACE Syracuse University Honors Program Capstone Syracuse University Honors Program Capstone Projects Projects Spring 5-1-2009 Natural Horn Performance in the 19th Century Paula Kinev Follow this and additional works at: https://surface.syr.edu/honors_capstone Part of the Music Performance Commons Recommended Citation Kinev, Paula, "Natural Horn Performance in the 19th Century" (2009). Syracuse University Honors Program Capstone Projects. 438. https://surface.syr.edu/honors_capstone/438 This Honors Capstone Project is brought to you for free and open access by the Syracuse University Honors Program Capstone Projects at SURFACE. It has been accepted for inclusion in Syracuse University Honors Program Capstone Projects by an authorized administrator of SURFACE. For more information, please contact [email protected]. 1 The natural horn was an instrument with a distinct sound that garnered much popular appeal in the 18 th and 19 th century. The natural horn was a valve-less brass instrument that was quite popular during the 18 th century. The natural horn evoked a very particular aesthetic: light, nimble, virtuosic, “natural”, voice-like. Then the new invention of valves was applied to brass instruments in the early 19 th century. Because of the highly pleasing sound produced by the natural horn the application of valves to the instrument met a fair amount of resistance. So the natural horn continued to be used well after the invention of the valve horn. My thesis is that this happened due to the influence of tradition, performers, and a particular naturalist aesthetic that persisted from the classical period into the romantic.