{"id":1375,"date":"2026-05-18T23:21:49","date_gmt":"2026-05-18T22:21:49","guid":{"rendered":"https:\/\/festivalbaroko.cz\/2026\/?page_id=1375"},"modified":"2026-05-28T17:01:40","modified_gmt":"2026-05-28T16:01:40","slug":"duchovni-hudba-zapadoceskych-skladatelu","status":"publish","type":"page","link":"https:\/\/festivalbaroko.cz\/2026\/duchovni-hudba-zapadoceskych-skladatelu\/","title":{"rendered":"Duchovn\u00ed hudba z\u00e1pado\u010desk\u00fdch skladatel\u016f"},"content":{"rendered":"\n

pond\u011bl\u00ed 1. 6. 2026 \/ 19:00 \/ Kostel Panny Marie Sn\u011b\u017en\u00e9 v Olomouci<\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Program: Gunther Jacob, Mauritius Vogt, Josef Anton\u00edn Pl\u00e1nick\u00fd, Jan Josef Ign\u00e1c Brentner, Anton\u00edn Reichenauer<\/p>\n\n\n\n

Gunther Jacob (1685\u20131734):<\/strong> Dixit Dominus (sbor, orchestr, lesn\u00ed rohy)
Mauritius Vogt<\/strong> (1669<\/strong>\u20131730): <\/strong>Perfida mundi pax (Veronika Voj\u00ed\u0159ov\u00e1)
M. Vogt:<\/strong> Vertumnus: Vanitas Vernalis \u2013 Fuga puerilis (Tereza Zimkov\u00e1)
M. Vogt:<\/strong> Vertumnus: Vanitas Aestatis \u2013 Fuga adolescens (Lucie Netu\u0161ilov\u00e1 Karafi\u00e1tov\u00e1)
M. Vogt:<\/strong> Vertumnus: Vanitas Autumni \u2013 Fuga virilis (Jakub Kub\u00edn)
M. Vogt:<\/strong> Vertumnus: Vanitas Hiemis \u2013 Fuga frigida (Ji\u0159\u00ed Miroslav Proch\u00e1zka)
Jan Josef Ign\u00e1c Brentner (1689\u20131742):<\/strong> Concerto da camera, Brk 100
M. Vogt:<\/strong> Vertumnus: Vanitas, et Minueta defunctae Nobilitatis \u2013 Fuga nullius effugii (s\u00f3la, tutti, orchestr colla parte orchestr)<\/p>\n\n\n\n

\u2014 p\u0159est\u00e1vka \u2014<\/p>\n\n\n\n

M. Vogt:<\/strong> Litaniae lauretanae ex G (sbor, orchestr, lesn\u00ed rohy)
Josef Anton\u00edn Pl\u00e1nick\u00fd (1691\u20131732):<\/strong> Opella Undecima: De sacratissima Eucharistia (Tereza Zimkov\u00e1)
J. A. Pl\u00e1nick\u00fd:<\/strong> Opella Decima: De Virgine et Martyre (Lucie Netu\u0161ilov\u00e1 Karafi\u00e1tov\u00e1)
J. A. Pl\u00e1nick\u00fd:<\/strong> Opella Quarta: De tempore (Ji\u0159\u00ed Miroslav Proch\u00e1zka)
J. J. I. Brentner:<\/strong> Hoste devicto (Veronika Voj\u00ed\u0159ov\u00e1)
Anton\u00edn Reichenauer (1694\u20131730):<\/strong> Triosonata in D
G. Jacob: <\/strong>Te Deum (sbor, orchestr, lesn\u00ed rohy)<\/p>\n\n\n\n

\n\n\n\n

Silentium! Ensemble \u2013 <\/strong>um\u011bleck\u00e1 vedouc\u00ed Tereza V\u00e1lkov\u00e1<\/h3>\n\n\n\n

Sopr\u00e1ny: Veronika Voj\u00ed\u0159ov\u00e1, Tereza Zimkov\u00e1, Kamila Zbo\u0159ilov\u00e1, Tereza V\u00e1lkov\u00e1
Alty: Lucie Netu\u0161ilov\u00e1 Karafi\u00e1tov\u00e1, Ji\u0159\u00ed Kukal, Veronika Voj\u00ed\u0159ov\u00e1
Tenory: Jakub Kub\u00edn, Tom\u00e1\u0161 Ko\u010dan
Basy: Ji\u0159\u00ed Miroslav Proch\u00e1zka, Martin Vacula<\/p>\n\n\n\n

web: https:\/\/silentiumensemble.cz\/<\/a><\/p>\n\n\n\n

\n\n\n\n

Societas literatorum <\/strong>\u2013 um\u011bleck\u00fd vedouc\u00ed Maty\u00e1\u0161 Berdych<\/h3>\n\n\n\n

Housle: Daniel Podrou\u017eek, Viktor Tomek, Tereza \u0160m\u00eddov\u00e1, Simona Tydlit\u00e1tov\u00e1, Jon\u00e1\u0161 Kolom\u00fd
Violoncello: Michal Raitmajer
Kontrabas: Maty\u00e1\u0161 Berdych
Theorba: Barbora Hulcov\u00e1
Varhany\/cembalo: Ji\u0159\u00ed Havrlant
Lesn\u00ed rohy: Ji\u0159\u00ed Tarant\u00edk, Petr \u0160\u00e1lek<\/p>\n\n\n\n

web: https:\/\/societasliteratorum.eu\/<\/a><\/p>\n\n\n\n

Societas literatorum je z\u00e1pado\u010desk\u00fd soubor specializuj\u00edc\u00ed se na historicky pou\u010denou interpretaci star\u00e9 hudby a propagaci z\u00e1pado\u010desk\u00e9 hudebn\u00ed tradice i tamn\u00edch skladatel\u016f. Jedn\u00edm z nejzaj\u00edmav\u011bj\u0161\u00edch hudebn\u00edch region\u016f z\u00e1padn\u00edch \u010cech je Man\u011bt\u00ednsko.<\/p>\n\n\n\n

Na man\u011bt\u00ednsk\u00e9m z\u00e1mku \u017eila v prvn\u00ed polovin\u011b 18. stolet\u00ed ambici\u00f3zn\u00ed vdova, hrab\u011bnka Marie Gabriela La\u017eansk\u00e1, kter\u00e1 po ni\u010div\u00e9m po\u017e\u00e1ru nechala z\u00e1meckou rezidenci skvostn\u011b obnovit. Sama byla hudebnic\u00ed \u2013 zp\u011bva\u010dkou a cembalistkou. Pr\u00e1v\u011b pro ni napsal roku 1718 plask\u00fd skladatel a polyhistor P. Mauritius Vogt<\/strong> sb\u00edrku jednat\u0159iceti fug, respektive \u00e1ri\u00ed pro s\u00f3lov\u00fd hlas s doprovodem cembala. Vogt byl cisterci\u00e1ck\u00fdm mnichem v nedalek\u00e9m opatstv\u00ed Plasy. Ob\u010dansk\u00fdm jm\u00e9nem se jmenoval Johann Georg, po vstupu do \u0159\u00e1du v\u0161ak p\u0159ijal jm\u00e9no Mauritius \u2013 Mo\u0159ic. Stejn\u011b jako jeho otec, byl i on zem\u011bm\u011b\u0159i\u010dem, z\u00e1rove\u0148 v\u0161ak tak\u00e9 kartografem, historikem, geologem a hudebn\u00edkem. Obecn\u011b je zn\u00e1m p\u0159edev\u0161\u00edm svou mapou Kr\u00e1lovstv\u00ed \u010desk\u00e9ho \u010di vedutami \u010desk\u00fdch m\u011bst. Napsal rovn\u011b\u017e knihu o geologii \u010cech a Moravy a \u0159adu dal\u0161\u00edch odborn\u00fdch prac\u00ed. Nen\u00ed vylou\u010deno, \u017ee jako geodet spolupracoval i se samotn\u00fdm Janem Bla\u017eejem Santinim-Aichelem, nebo\u0165 byli sou\u010dasn\u00edky a Santini tehdy pracoval na v\u011bhlasn\u00e9 p\u0159estavb\u011b plask\u00e9ho opatstv\u00ed zalo\u017een\u00e9ho na dubov\u00fdch pilotech. Tak\u00e9 n\u011bkter\u00e9 Vogtovy fugy ze zm\u00edn\u011bn\u00e9 sb\u00edrky nesou p\u0159\u00edzviska jako fuga \u201earchitektonick\u00e1\u201c, \u201emarnost star\u00fdch monument\u016f\u201c nebo fuga \u201epyrotechnick\u00e1\u201c. Do Man\u011bt\u00edna p\u0159i\u0161el Vogt kolem roku 1711 na pozv\u00e1n\u00ed hrab\u011bnky La\u017eansk\u00e9 jako hudebn\u00edk. Jeho \u00fakolem bylo pe\u010dovat o hudbu na z\u00e1mku i v m\u00edstn\u00edm kostele, pro kter\u00fd hrab\u011bnka po\u0159\u00eddila nov\u00e9 varhany. Vogt v\u0161ak nebyl pouh\u00fdm lok\u00e1ln\u00edm kantorem, n\u00fdbr\u017e renesan\u010dn\u00ed osobnost\u00ed mnoha profes\u00ed. Jako v\u011bhlasn\u00fd hudebn\u00edk sepsal ve sv\u00e9 dob\u011b z\u00e1sadn\u00ed hudebn\u00ed trakt\u00e1t Conclave thesauri magnae artis musicae, z n\u011bho\u017e b\u011bhem dne\u0161n\u00edho koncertu zazn\u00ed studijn\u00ed \u00e1rie Perfida mundi pax. Byl tak\u00e9 autorem rozs\u00e1hl\u00e9 \u0159ady vok\u00e1ln\u011b-instrument\u00e1ln\u00edch chr\u00e1mov\u00fdch d\u011bl, z nich\u017e se do dne\u0161n\u00edch dn\u016f dochovala pouze jedin\u00e1 skladba: loret\u00e1nsk\u00e9 litanie in G se dv\u011bma lesn\u00edmi rohy, kter\u00e9 rovn\u011b\u017e zazn\u00ed na dne\u0161n\u00edm koncert\u011b. Tato skladba je dolo\u017eena v invent\u00e1\u0159i cisterci\u00e1ck\u00e9ho opatstv\u00ed v Oseku, samotn\u00fd notov\u00fd pramen v\u0161ak poch\u00e1z\u00ed z archivu na Morav\u011b. Z dal\u0161\u00edch fragment\u00e1rn\u00edch pramen\u016f v\u00edme, \u017ee Vogt napsal tak\u00e9 skladby jako Tormentamini<\/em> pro jeden\u00e1ct hlas\u016f \u010di t\u0159i m\u0161e, nic z toho se v\u0161ak nedochovalo.<\/p>\n\n\n\n

Vogtovo p\u016fsoben\u00ed na man\u011bt\u00ednsk\u00e9m z\u00e1mku je mimo\u0159\u00e1dn\u011b zaj\u00edmav\u00e9 i v \u0161ir\u0161\u00edm kontextu z\u00e1pado\u010desk\u00e9 a \u010desk\u00e9 hudby, p\u0159edev\u0161\u00edm d\u00edky jeho osobn\u00ed zn\u00e1mosti a spolupr\u00e1ci s dal\u0161\u00edmi v\u00fdznamn\u00fdmi skladateli poch\u00e1zej\u00edc\u00edmi ze z\u00e1padn\u00edch \u010cech. Pr\u00e1v\u011b v Man\u011bt\u00edn\u011b se toti\u017e ve stejn\u00e9 dob\u011b setkal s Josefem Anton\u00ednem Pl\u00e1nick\u00fdm<\/strong>, zdej\u0161\u00edm rod\u00e1kem, kter\u00fd byl na z\u00e1mek roku 1715 povol\u00e1n jako vychovatel. O Pl\u00e1nick\u00e9ho hudebn\u00edm p\u016fsoben\u00ed v \u010cech\u00e1ch m\u00e1me jen omezen\u00e9 mno\u017estv\u00ed informac\u00ed, av\u0161ak jeho dochovan\u00e9 d\u00edlo Opella Ecclesiastica<\/em> vzniklo pravd\u011bpodobn\u011b pr\u00e1v\u011b v Man\u011bt\u00edn\u011b. Tito dva v\u00fdznamn\u00ed skladatel\u00e9 zde nav\u00edc pob\u00fdvali spolu s t\u0159et\u00edm mu\u017eem \u2013 benediktinsk\u00fdm mnichem P. Guntherem Jacobem<\/strong>, kter\u00e9ho hrab\u011bnka pozvala jako dal\u0161\u00edho vychovatele. Jacob, ob\u010dansk\u00fdm jm\u00e9nem V\u00e1clav Jan Anton\u00edn, poch\u00e1zel ze z\u00e1pado\u010desk\u00e9 Krajkov\u00e9 (n\u011bmecky Gossengr\u00fcn) na Sokolovsku a pozd\u011bji vstoupil do benediktinsk\u00e9ho kl\u00e1\u0161tera u sv. Mikul\u00e1\u0161e na Starom\u011bstsk\u00e9m n\u00e1m\u011bst\u00ed v Praze. Roku 1724 v\u011bnoval hrab\u011bn\u010din\u011b bratrovi, hrab\u011bti Franti\u0161ku Josefu \u010cern\u00ednovi, sb\u00edrku m\u0161\u00ed Acratismus pro honore Dei<\/em>. V roce 1720 oba vychovatel\u00e9, Pl\u00e1nick\u00fd i Jacob, kr\u00e1tce po sob\u011b opustili hrab\u011bn\u010diny slu\u017eby. Pl\u00e1nick\u00fd se n\u00e1sledn\u011b vydal na cestu po \u010cech\u00e1ch, Morav\u011b a Rakousku, a\u017e nakonec vstoupil do slu\u017eeb freisinsk\u00e9ho biskupstv\u00ed v Bavorsku, kde vznikla v\u011bt\u0161ina jeho zn\u00e1m\u00e9ho d\u00edla, p\u0159esto\u017ee se \u017e\u00e1dn\u00e1 z t\u011bchto skladeb dodnes nedochovala. Pl\u00e1nick\u00fd byl \u00fadajn\u011b tak\u00e9 autorem hudby k pra\u017esk\u00e9mu Navalis \u010di velkolep\u00e9 ope\u0159e o zalo\u017een\u00ed freisinsk\u00e9 diec\u00e9ze, napsan\u00e9 u p\u0159\u00edle\u017eitosti jej\u00edho tis\u00edcilet\u00e9ho jubilea.<\/p>\n\n\n\n

Man\u011bt\u00ednsk\u00fd z\u00e1mek byl ve sv\u00e9 dob\u011b skute\u010dn\u00fdm fenom\u00e9nem. P\u0159\u00edtomnost t\u0159\u00ed v\u00fdznamn\u00fdch \u010desk\u00fdch skladatel\u016f na jednom m\u00edst\u011b toti\u017e pov\u00fd\u0161ila Man\u011bt\u00edn na mimo\u0159\u00e1dn\u011b v\u00fdznamn\u00e9 hudebn\u00ed centrum. O \u00fasp\u011bchu t\u011bchto t\u0159\u00ed osobnost\u00ed sv\u011bd\u010d\u00ed i skute\u010dnost, \u017ee dva synov\u00e9 hrab\u011bnky La\u017eansk\u00e9 \u00fa\u010dinkovali roku 1723 v monument\u00e1ln\u00edm melodramatu Jana Dismase Zelenky Sub olea pacis et palma virtutis<\/em>, uveden\u00e9m v Praze p\u0159i korunovaci Karla VI. \u010desk\u00fdm kr\u00e1lem.<\/p>\n\n\n\n

Program dne\u0161n\u00edho koncertu je sestaven p\u0159edev\u0161\u00edm z d\u011bl t\u011bchto t\u0159\u00ed man\u011bt\u00ednsk\u00fdch skladatel\u016f. St\u0159edobodem programu je prakticky nezn\u00e1m\u00e1 hudba Mauritia Vogta, kterou po obdob\u00ed baroka v \u010desk\u00fdch zem\u00edch systematicky propagovali pouze gambista Petr Wagner a Ensemble In\u00e9gal s Adamem Viktorou, jen\u017e provedl v\u0161echny dochovan\u00e9 Vogtovy skladby. Od t\u00e9 doby se Vogtov\u011b tvorb\u011b nikdo soustavn\u011b nev\u011bnoval. Nyn\u00ed na tuto tradici navazuje z\u00e1pado\u010desk\u00fd soubor Societas literatorum, jeho\u017e po\u010d\u00e1tky byly p\u0159ed mnoha lety spojeny pr\u00e1v\u011b s Man\u011bt\u00ednem a hudbou J. A. Pl\u00e1nick\u00e9ho. B\u011bhem koncertu zazn\u00ed Vogtova studijn\u00ed \u00e1rie Perfida mundi pax<\/em> z d\u00edla Conclave thesauri <\/em>pro sopr\u00e1n, housle a continuo, d\u00e1le v\u00fdb\u011br p\u011bti fug ze sb\u00edrky Vertumnus Vanitatis<\/em>, zejm\u00e9na \u010dty\u0159i po sob\u011b jdouc\u00ed \u00e1rie s ozna\u010den\u00edm fuga jarn\u00ed, letn\u00ed, podzimn\u00ed a zimn\u00ed, interpretovan\u00e9 \u010dty\u0159mi r\u016fzn\u00fdmi zp\u011bv\u00e1ky. Prvn\u00ed polovinu koncertu zakon\u010d\u00ed \u00faprava \u0161estn\u00e1ct\u00e9 Vogtovy \u201efugy\u201c Vanitas, et Minueta defunctae Nobilitatis \u2013 Fuga nullius effugii,<\/em> kter\u00e1 je ve skute\u010dnosti homofonn\u00ed p\u00edsn\u00ed s repeticemi, strukturou velmi p\u0159ipom\u00ednaj\u00edc\u00ed nap\u0159\u00edklad kancion\u00e1lov\u00e9 p\u00edsn\u011b Adama Michny z Otradovic.<\/p>\n\n\n\n

Obnovenou premi\u00e9rou koncertu bude jedin\u00e1 dochovan\u00e1 Vogtova chr\u00e1mov\u00e1 skladba: Litaniae lauretanae ex G<\/em> se dv\u011bma lesn\u00edmi rohy. D\u00edlo je rozd\u011bleno do osmi \u010d\u00e1st\u00ed: Kyrie<\/em> s fanf\u00e1rov\u00fdm charakterem v partech lesn\u00edch roh\u016f, Mater Christi<\/em> se st\u0159\u00eddaj\u00edc\u00edmi se instrument\u00e1ln\u00edmi vstupy lesn\u00edch roh\u016f a housl\u00ed, Virgo prudentissima<\/em>, kde se jednotliv\u00e9 hlasy v \u00faseku \u201eOra pro nobis\u201c jemn\u011b prol\u00ednaj\u00ed za doprovodu housl\u00ed a continua, \u010di Speculum justitiae<\/em>, v n\u011bm\u017e lesn\u00ed rohy p\u0159ipom\u00ednaj\u00ed loveck\u00e9 sign\u00e1ly. N\u00e1sleduje Vas spirituale<\/em> s hrav\u00fdm st\u0159\u00edd\u00e1n\u00edm melodick\u00fdch motiv\u016f mezi lesn\u00edmi rohy, s\u00f3lov\u00fdmi hlasy a houslemi, d\u00e1le Janua coeli, Regina Angelorum<\/em> a z\u00e1v\u011bre\u010dn\u00e9 z\u00e1va\u017en\u00e9 Agnus Dei<\/em>.<\/p>\n\n\n\n

Pou\u017eit\u00ed lesn\u00edch roh\u016f ve skladb\u00e1ch cisterci\u00e1ck\u00e9ho autora nen\u00ed v \u010desk\u00e9m prost\u0159ed\u00ed n\u00e1hodn\u00e9. Nap\u0159\u00edklad kl\u00e1\u0161ter v Oseku p\u011bstoval v\u011bhlasnou hornovou \u0161kolu a zdej\u0161\u00ed oseck\u00e1 \u0161kola se v 18. stolet\u00ed z\u00e1sadn\u00edm zp\u016fsobem pod\u00edlela na zdokonalen\u00ed techniky hry na lesn\u00ed roh v Evrop\u011b. Sv\u00e9 \u017e\u00e1ky do \u010cech pos\u00edlal dokonce i W. A. Mozart. Cisterci\u00e1ck\u00e9 kl\u00e1\u0161tery, podobn\u011b jako dal\u0161\u00ed \u0159eholn\u00ed centra, vytv\u00e1\u0159ely rozs\u00e1hlou s\u00ed\u0165, v n\u00ed\u017e si auto\u0159i chr\u00e1mov\u00e9 hudby sv\u00e9 skladby navz\u00e1jem zas\u00edlali a opisovali. Proto je \u0159ada Vogtov\u00fdch skladeb dolo\u017eena tak\u00e9 v oseck\u00e9m invent\u00e1\u0159i. Lesn\u00ed rohy pak u n\u011bkter\u00fdch skladeb nach\u00e1z\u00edme pod ozna\u010den\u00edm Lituis<\/em>. Lituus byl p\u016fvodn\u011b staro\u0159\u00edmsk\u00fd zahnut\u00fd dechov\u00fd n\u00e1stroj podobn\u00fd nap\u0159. kravsk\u00e9mu rohu. Pozd\u011bji se v obdob\u00ed renesance a baroka tento pojem pou\u017e\u00edval pro r\u016fzn\u00e9 zahnut\u00e9 dechov\u00e9 n\u00e1stroje, nap\u0159\u00edklad krumhorn \u010di cink. V 18. stolet\u00ed je v\u0161ak dolo\u017eeno \u2013 a n\u011bmeck\u00fd p\u0159\u00edpisek v oseck\u00e9m invent\u00e1\u0159i to potvrzuje \u2013, \u017ee v\u00fdraz lituus ozna\u010doval pr\u00e1v\u011b lesn\u00ed roh. Jako vhodn\u00fd dopln\u011bk k Vogtov\u00fdm litani\u00edm byly do programu za\u0159azeny tak\u00e9 chr\u00e1mov\u00e9 skladby jeho hudebn\u00edho a \u0159eholn\u00edho kolegy Gunthera Jacoba: rozs\u00e1hl\u00e1 d\u00edla Dixit Dominus<\/em> a Te Deum<\/em> s podobn\u00fdm obsazen\u00edm se dv\u011bma lesn\u00edmi rohy. Zat\u00edmco Vogt\u016fv styl p\u016fsob\u00ed pom\u011brn\u011b konzervativn\u011b a nese znaky teprve z\u00e1rodku vrcholn\u00e9ho baroka, hudba Gunthera Jacoba, sou\u010dasn\u00edka J. S. Bacha narozen\u00e9ho ve stejn\u00e9m roce, ji\u017e vykazuje vysp\u011bl\u00fd vrcholn\u011b barokn\u00ed styl s m\u00edstn\u00edmi n\u00e1znaky francouzsk\u00fdch vliv\u016f.<\/p>\n\n\n\n

Vedle zm\u00edn\u011bn\u00fdch chr\u00e1mov\u00fdch skladeb pro sbor a orchestr zazn\u00ed na koncert\u011b tak\u00e9 t\u0159i moteta ze sb\u00edrky Opella Ecclesiastica<\/em> J. A. Pl\u00e1nick\u00e9ho, kter\u00e1 ve sv\u00e9 dob\u011b p\u0159edstavovala prototyp katolick\u00e9ho moteta. Jednotliv\u00e1 moteta\/kant\u00e1ty jsou ur\u010deny pro r\u016fzn\u00e9 liturgick\u00e9 p\u0159\u00edle\u017eitosti, jazykov\u011b v\u0161ak usiluj\u00ed o univerz\u00e1ln\u00ed charakter. Jejich strukturu obvykle tvo\u0159\u00ed recitativ n\u00e1sledovan\u00fd \u00e1ri\u00ed da capo, n\u011bkter\u00e9 pak za\u010d\u00ednaj\u00ed kr\u00e1tkou symfoni\u00ed. Pl\u00e1nick\u00fd v n\u011bkter\u00fdch kant\u00e1t\u00e1ch pou\u017eil netradi\u010dn\u00ed instrumentaci, nap\u0159\u00edklad s\u00f3lov\u00fd hoboj, dv\u011b violy nebo dva fagoty, \u010d\u00edm\u017e skladb\u00e1m dodal nestandardn\u00ed zvukov\u00fd charakter. Program dopl\u0148uje moteto Hoste devicto<\/em> z\u00e1pado\u010desk\u00e9ho skladatele J. J. I. Brentnera<\/strong> z Dob\u0159an u Plzn\u011b, kter\u00fd v\u011bt\u0161inu \u017eivota p\u016fsobil v Praze u sv. Franti\u0161ka z Assisi a sv. Mikul\u00e1\u0161e na Mal\u00e9 Stran\u011b. Sou\u010d\u00e1st\u00ed koncertu budou rovn\u011b\u017e dv\u011b \u010dist\u011b instrument\u00e1ln\u00ed skladby: Concerto da camera<\/em> J. J. I. Brentnera a Triosonata in D <\/em>Anton\u00edna Reichenauera<\/strong>, poch\u00e1zej\u00edc\u00edho z B\u00edliny na pomez\u00ed z\u00e1padn\u00edch a severn\u00edch \u010cech.<\/p>\n\n\n\n

Maty\u00e1\u0161 Berdych<\/em><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

pond\u011bl\u00ed 1. 6. 2026 \/ 19:00 \/ Kostel Panny Marie Sn\u011b\u017en\u00e9 v Olomouci Program: Gunther Jacob, Mauritius Vogt, Josef Anton\u00edn Pl\u00e1nick\u00fd, Jan Josef Ign\u00e1c Brentner,…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1375","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/pages\/1375","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/comments?post=1375"}],"version-history":[{"count":8,"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/pages\/1375\/revisions"}],"predecessor-version":[{"id":1439,"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/pages\/1375\/revisions\/1439"}],"wp:attachment":[{"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/media?parent=1375"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}