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Vývoj Sólových Klavírních Koncertů Keitha Jarretta

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Vývoj Sólových Klavírních Koncertů Keitha Jarretta UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA KATEDRA MUZIKOLOGIE BAKALÁ ŘSKÁ PRÁCE VÝVOJ SÓLOVÝCH KLAVÍRNÍCH KONCERT Ů KEITHA JARRETTA DEVELOPMENT OF KEITH JARRETT‘S SOLO PIANO CONCERTS Ji ří Posp ěch Vedoucí práce: Mgr. Jan P řibil Olomouc 2012 1 Prohlašuji, že jsem tuto práci vypracoval samostatn ě s použitím literatury a pramen ů, které uvádím v přiloženém seznamu. V Olomouci dne 20. dubna 2012 2 Děkuji vedoucímu práce Mgr. Janu P řibilovi za cenné rady a připomínky. 3 OBSAH: 1. Úvod str. 5 2. Stav bádání str. 7 3. Život a tvorba Keitha Jarretta str. 11 4. Základní charakteristika improvizace Keitha Jarretta str. 18 5. Analýza vybraných skladeb str. 24 6. Záv ěr str. 40 7. Resumé 7.1. Resumé str . 43 7.2. Summary str . 44 7.3. Zussammenfassung str . 45 8. Seznam použité literatury, pramen ů a dalších zdroj ů 8.1. Knihy str. 46 8.2. Encyklopedie a slovníky str. 46 8.3. Časopisy str. 46 8.4. Notové materiály str. 47 8.5. Audio str. 47 8.6. Video str. 47 8.7. Internet str . 48 9. Příloha – CD str. 49 4 1. Úvod Na hudbu Keitha Jarretta nenarazíte z ni čeho nic. A čkoliv je to um ělec sv ětové velikosti, není o n ěm zdaleka tak velké všeobecné pov ědomí. Proto i já jsem se ke své první desce od n ěj dostal p řes doporu čení. Desku Whisper not , kde Jarrett hraje se svým Standards triem, jsem za čal poslouchat ve svých čtrnácti letech. Jazz byl pro m ě neznámý, a nějakou dobu mi trvalo, než jsem zjistil, kdo na desce vůbec hraje. V příštích m ěsících a letech jsem si sehnal další Jarrettovy nahrávky. Sólová deska z Kolína nad Rýnem mě, stejn ě jako statisíce lidí po celém sv ětě hned vtáhla a slyšel jsem ji nes četn ěkrát. Jarrettovu hudbu jsem poslouchal n ěkolik let, b ěhem kterých jsem postupn ě nabýval znalosti z hudební teorie. Postupem času se tím měnil postoj k poslouchanému materiálu a spousta v ěcí se zdála být čiteln ější. Na druhou stranu jsem si o to lépe uv ědomoval složitost procesu, který se p ři podobném zp ůsobu hraní d ěje. To vše m ě fascinovalo a spole čně s hudebním zážitkem přitahovalo. K soustavn ějšímu studiu jsem se nikdy p ředtím neodhodlal; proto jsem využil možnost pono řit se hloub ěji do této problematiky v rámci vytvá ření bakalá řské práce. Vytvo řit pak úhel pohledu bylo základním prvkem, který se v procesu tvorby této práce velice m ěnil. Moje p ředstavy o ur čitých prvcích v Jarrettov ě h ře byli zkreslené a zjednodušené. Vývoj klavírní tvorby, a ť už jenom sólové je vysoce nad limit bakalá řské práce a proto hned v úvodu musím specifikovat zp ůsob zpracování tématu. Hudby v sólové produkci Keitha Jarretta je pod hlavi čkou ECM vydáno desítky hodin. Desítky hodin evolu čního procesu, který se s každým koncertem vyvíjí. Termín koncert v rámci této práce využívám ve smyslu živého vystoupení a ne ve smyslu hudební formy. Účelem zde není vytvo ření kompletního vý čtu všech nahraných koncert ů a následné estetické verbalizování Jarrettovy hry, ale nalézání konkrétních rys ů, které se p ři jeho improvizaci vyskytují četn ěji. Tyto rysy jsem si definoval jako improviza ční šablony. 5 Šablonu pak musíme chápat jako základní stavební prvek improvizace, který sám o sob ě má potenciál generovat hudební materiál. V práci bude popsán vývoj a zp ůsob hry Keitha Jarretta všeobecnými znaky, ale d ůležit ějším faktorem bude p ředstavit tento vývoj na podklad ě improviza čních šablon, nebo vzorc ů. Termín, který jsem hledal, znamená i pro Keitha Jarretta jistou limitovanost, ve které se pohybuje a trochu popírá jeho absolutní svobodu ve h ře. Důležitým aspektem práce bude také popsat jeho p řístup k tvorb ě písn ě. Termín píse ň v rámci této práce využívám ve smyslu formovém, jedná se nej čast ěji o drobnou skladbu jazzového charakteru. 1 To znamená stav ění melodické struktury pomocí krátkých motiv ů, tedy jak u Jarretta píse ň vzniká a jak s ní pracuje. Na n ěkolika ukázkách z různých období u Keitha Jarretta představím pr ůběh improvizace spole čně s typy improviza čních šablon. Cílem práce pak bude koncentrovat popis vývoje t ěchto prvk ů. 1 V tomto typu skladby nemusí být zastoupena vokální složka. 6 2. Stav bádání Keith Jarrett u nás poprvé koncertoval v roce 1967. Vystoupil na Mezinárodním jazzovém festivale v Praze s kvartetem Charlese Lloyda při turné po Evrop ě. V následujících dvou dekádách není u nás o Jarrettovi p říliš slyšet kv ůli politické situaci. Po „sametové revoluci“ je nejspíš těžké splnit podmínky pro jeho vystoupení s ohledem na nástroje, vybavení, prostory a finance. Proto je v československé historii už jenom jeden další záznam o jeho koncertu a to se svým Standards triem v Paláci kultury v Praze, dne 30. listopadu 1990. 2 Dalším důvodem toho, že o Jarrettovi se tak málo píše je jeho uzav řenost a nechu ť komunikovat s noviná ři. Jeho nep říliš v řelý vztah s médii je pak často doložen i jeho zp ětnou reakcí na kritiky o n ěm vydané. V roce 1990 se ve své studii s názvem O aktuálnosti Keitha Jarretta zmínil o Jarrettovi Lubomír Dor ůžka v časopise Melodie . 3 Tento časopis se p řevážn ě v ěnoval populární a jazzové hudb ě a to už od roku 1963. Nejpo četn ější zastoupení reflexí Jarrettovy tvorby pak nalezneme v časopise Harmonie . Periodikum, jež se utvá řelo až v dob ě porevolu ční, má široký záb ěr a p řináší všechny d ůležité aktuality a pohledy na hudební scénu domácí i sv ětovou a to nejen v oblasti jazzové a populární hudby. Auto ři, kte ří psali o Jarrettovi, jsou Vít Roubí ček, Pavel Klusák, Vladimír Strakoš, Petra Mi čkalová nebo Michal Nejtek. Můžeme zde nalézt recenze desek jako u zmi ňovaného Víta Roubí čka na Šostakovi čova preludia a fugy op. 87, 4 ale i celistvý portrét osobnosti, který nabídl Pavel Klusák. 5 Velice p řínosným je pak překlad jeho eseje pro New York Times (ze dne 16. 8. 1992), která je manifestem za obrození hudebního sv ěta a hudebního myšlení a platí 2 Klusák, Pavel. Víc než jen jazz, víc než jen klavír: Portrét Keitha Jarretta . Harmonie, 1994, č. 2., str. 23. 3 Dor ůžka, Lubomír. O aktuálnosti Keitha Jarretta . Melodie, 1990, č. 28., str. 306 – 307. 4 Roubí ček, Vít: 24 preludií a fug op. 87. Harmonie, 1997, č. 5., str. 24 – 25. 5 Klusák, Pavel. Víc než jen jazz, víc než jen klavír: Portrét Keitha Jarretta . Harmonie, 1994, č. 2., str. 23 – 25. 7 dodnes. 6 Michal Nejtek se v časopise Harmonie pouští ješt ě hloub ěji a na malém prostoru se snaží podtrhnout základní rysy Jarretovy klavírní hry a porovnat tedy aktuální koncert La Scala (1997) s jeho nejslavn ějším sólovým po činem The Köln Concert (1975). Analyticky rozebral jednotlivé složky hudebního projevu a p řidal i útržky harmonického rozboru s notovými ukázkami. 7 I v časopise His Voice se vyskytuje tvorba r ůzného zam ěř ení. Jedním sm ěrem je potom hudba jazzového okruhu, kde se jméno Keitha Jarretta op ět objevuje. Je to hlavn ě v podob ě recenzí na vydané nahrávky z živých sólových koncert ů. Takto reagoval Jan Faix na hudbu z koncert ů vydaných pod názvem Testament v roce 2010, 8 nebo Vladimír Kou řil na video záznam z DVD Tokyo Solo z roku 2006. 9 Periodika, která nejsou p římo zam ěř ená na hudební scénu, ale snaží se objektivn ě reflektovat sou časnost ve všech možných oblastech, existují na poli české publicistiky a jedním z nich je časopis Respekt . Rubrika s hudební tematikou není nijak vyhran ěná a často dává prostor r ůznorodým oblastem hudby. Proto se v této části můžeme do číst i o Jarretovi. Zajímavý je nap říklad rozhovor s Keithem Jarretem z Víde ňské opery, který zde p řeložil a zve řejnil Petr Dor ůžka v roce 1992, 10 ale také článek: Keith Jarrett vstal z mrtvých 11 Jaroslava Pamšika, nebo článek Pavla Klusáka. Na poli české hudební knižní tvorby se ucelen ě o Keithu Jarrettovi nedo čteme. Najdeme pouze krátké zmínky, nebo poznámky. Ucelen ější text m ůžeme pak nalézt v rámci encyklopedií, či knih, které mapují p řehledov ě ur čitý žánr, nebo styl. V této oblasti je to především třísvazková Encyklopedie jazzu a moderní populární 6 Jarrett, Keith. Kategorií spousty, ale kde je hudba? . Harmonie, 1996, č. 4., str. 14 – 15. 7 Nejtek, Michal. Poznámky ke stylu Keitha Jarretta . Harmonie, 1997, č. 5., str. 24 – 25. 8 Faix, Jan. Keith Jarrett: Testament . His Voice, 2010, č. 13., str. 51. 9 Kou řil, Vladimír. Keith Jarrett: Tokyo solo . His Voice, 2006, č. 6., str. 48. 10 Jarrett, Keith. Toužím se nechat spálit (p řeložil Petr Dor ůžka). Reflex, 1992, č. 3., str. 34 – 36. 11 Pamšik, Jaroslav. Keith Jarrett vstal z mrtvých . Respekt, 2005, č. 16., str. 22. 8 hudby . 12 V části jmenné zam ěř ené na sv ětovou scénu, která je rozd ělena do dvou knih, nalezneme odstavec v ěnovaný osob ě Keitha Jarretta i se stru čným vhledem do estetiky jeho klavírní hry. Autorem hesla je Lubomír Dor ůžka, který je také autorem knihy Panoráma jazzových prom ěn. 13 V knize se zabývá domácí i sv ětovou jazzovou scénou posledních dvaceti let. Díky hluboké orientaci Lubomíra Dor ůžky v této sfé ře je Jarrett krátce a jasn ě specifikován s důrazem na sólovou tvorbu, jako inspirátor a vzor. Ve sv ětovém m ěř ítku se Jarrettovi dostává větší mediální pozornosti, která ale není tak vysoká jak by se možná o čekávalo.
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