{"id":1383,"date":"2026-05-21T00:24:22","date_gmt":"2026-05-20T23:24:22","guid":{"rendered":"https:\/\/festivalbaroko.cz\/2026\/?page_id=1383"},"modified":"2026-05-28T20:11:16","modified_gmt":"2026-05-28T19:11:16","slug":"triove-sonaty-ceskych-skladatelu","status":"publish","type":"page","link":"https:\/\/festivalbaroko.cz\/2026\/triove-sonaty-ceskych-skladatelu\/","title":{"rendered":"Triov\u00e9 son\u00e1ty \u010desk\u00fdch skladatel\u016f"},"content":{"rendered":"\n<h3 class=\"wp-block-heading datum\">sobota 6. 6. 2026 \/ 19:00 \/ Vlastiv\u011bdn\u00e9 muzeum v&nbsp;Olomouci, S\u00e1l V\u00e1clava III.<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/festivalbaroko.cz\/2026\/wp-content\/uploads\/2026\/05\/SlaviQ-Fotka-1024x683.jpg\" alt=\"\" class=\"wp-image-1392\" srcset=\"https:\/\/festivalbaroko.cz\/2026\/wp-content\/uploads\/2026\/05\/SlaviQ-Fotka-1024x683.jpg 1024w, https:\/\/festivalbaroko.cz\/2026\/wp-content\/uploads\/2026\/05\/SlaviQ-Fotka-300x200.jpg 300w, https:\/\/festivalbaroko.cz\/2026\/wp-content\/uploads\/2026\/05\/SlaviQ-Fotka-768x512.jpg 768w, https:\/\/festivalbaroko.cz\/2026\/wp-content\/uploads\/2026\/05\/SlaviQ-Fotka-1536x1024.jpg 1536w, https:\/\/festivalbaroko.cz\/2026\/wp-content\/uploads\/2026\/05\/SlaviQ-Fotka-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Daniel Podrou\u017eek, Martin Dost\u00e1l \u2013 historick\u00e9 housle<br>Mariana T\u016fmov\u00e1 \u2013 historick\u00e9 violoncello<br>Daria Savvateeva \u2013 cembalo<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Program<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Franti\u0161ek Xaver Richter (1709\u20131789): <em>Sonata III pro 2 housle a violoncello s gener\u00e1lbasem hran\u00fdm na cembalo<\/em><\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Larghetto<\/li>\n\n\n\n<li>Fugato<\/li>\n\n\n\n<li>Grazioso<\/li>\n\n\n\n<li>Trio<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Johann Georg Orschler (1698? \u20131770): <em>Trio sonata in F<\/em><\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Senza indicazione di tempo<\/li>\n\n\n\n<li>Allegro<\/li>\n\n\n\n<li>Andante e sempre piano<\/li>\n\n\n\n<li>Allegro<\/li>\n\n\n\n<li>Menuet \u2013 Trio<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Franti\u0161ek Ign\u00e1c Anton\u00edn T\u016fma (1704\u20131774): <em>Sonata a moll pro 2 housle a basso continuo<\/em><\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Vivace<\/li>\n\n\n\n<li>Largo<\/li>\n\n\n\n<li>Allegro<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Wenceslas Schobert (1733\u20131767): <em>Sonataen quatuor pro cembalo za doprovodu 2 housl\u00ed a basu ad libitum<\/em><\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Andante<\/li>\n\n\n\n<li>Minuetto. Trio<\/li>\n\n\n\n<li>Allegro<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Tom\u00e1\u0161 Hanzl\u00edk (*1972): <em>Sonata prima e tre<\/em><\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Introduzione \u2013 Allegro<\/li>\n\n\n\n<li>Aria \u2013 Adagio<\/li>\n\n\n\n<li>Thema con variazioni \u2013 Allegretto<\/li>\n\n\n\n<li>Rondino \u2013 Allegro<\/li>\n<\/ul>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Triov\u00e9 son\u00e1ty jako hudebn\u00ed \u017e\u00e1nr<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Triov\u00e1 son\u00e1ta je \u017e\u00e1nr typick\u00fd pro obdob\u00ed baroka. Tento term\u00edn ozna\u010duje komorn\u00ed skladbu psanou pro 2 melodick\u00e9 vrchn\u00ed hlasy a basso continuo \u2013 spodn\u00ed hlas obvykle reprezentovan\u00fd dv\u011bma n\u00e1stroji, nej\u010dast\u011bji violoncellem a cembalem. A\u010dkoli jsou triov\u00e9 son\u00e1ty spojen\u00e9 p\u0159edev\u0161\u00edm s It\u00e1li\u00ed a skladateli vrcholn\u00e9ho baroka jako Corelli, Tartini nebo Vivaldi, tento \u017e\u00e1nr se brzy roz\u0161\u00ed\u0159il i za hranice It\u00e1lie, a to do \u010cesk\u00fdch zem\u00ed, jejich\u017e skladatel\u00e9 nejednou nasm\u011brovali nov\u00e9 v\u00fdvojov\u00e9 hudebn\u00ed tendence dan\u00e9 doby. D\u016fkazem toho je program dne\u0161n\u00edho koncertu slo\u017een\u00fd ze jmen skladatel\u016f narozen\u00fdch anebo p\u016fsob\u00edc\u00edch v \u010cesk\u00fdch zem\u00edch b\u011bhem prvn\u00ed poloviny 18. stolet\u00ed.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Franti\u0161ek Xaver Richter <\/strong>(1709\u20131789)<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">P\u0159esto\u017ee dnes je Franti\u0161ek Xaver Richter zn\u00e1m p\u0159edev\u0161\u00edm v \u0159ad\u00e1ch odborn\u00e9ho publika, za sv\u00e9ho \u017eivota bylo jeho jm\u00e9no zn\u00e1mo po cel\u00e9 hudebn\u00ed Evrop\u011b. Rod\u00e1k z ji\u017en\u00ed Moravy, pravd\u011bpodobn\u011b z Hole\u0161ova, byl v\u0161estrann\u00fdm hudebn\u00edkem \u2013 obs\u00e1hl jak vrcholn\u00e9 um\u011bn\u00ed kompozice, tak hru na housle a zp\u011bv. P\u0159esto\u017ee nen\u00ed zn\u00e1mo, kde se vzd\u011bl\u00e1val po absolutoriu jezuitsk\u00e9ho gymn\u00e1zia v Uhersk\u00e9m Hradi\u0161ti, v\u00edme, \u017ee v roce 1737 z\u00edskal m\u00edsto \u0159editele hudby v benediktinsk\u00e9m kl\u00e1\u0161te\u0159e v Ettalu a \u00fazem\u00ed dne\u0161n\u00edho N\u011bmecka se tak stalo pro Richtera domovem. Jeho jm\u00e9no je spojeno tak\u00e9 s Mannheimem, kde v t\u00e9 dob\u011b tvo\u0159ili p\u0159edn\u00ed skladatel\u00e9 dan\u00e9 doby, a jeho\u017e presti\u017e mu otev\u0159ela dve\u0159e do Anglie, Holandska a Francie. \u017divot do\u017eil ve \u0160trasburku, kde p\u016fsobil jako dirigent chr\u00e1mov\u00e9 hudby v biskupsk\u00e9 katedr\u00e1le a pod\u00edlel se na m\u011bstsk\u00e9m hudebn\u00edm d\u011bn\u00ed. Franti\u0161ek Xaver Richter je pova\u017eov\u00e1n za jednoho ze zakladatel\u016f smy\u010dcov\u00e9ho kvartetu, coby cyklick\u00e9 struktury, v n\u00ed\u017e jsou \u010dty\u0159i n\u00e1stroje rovnocenn\u00e9 a virtu\u00f3zn\u011b veden\u00e9. Jeho tvorba, by\u0165 veskrze st\u00e1le barokn\u011b kontrapunktn\u00ed, se tak \u0159ad\u00ed do \u0161irok\u00e9 p\u0159ed\u011blov\u00e9 linie mezi dozn\u00edvaj\u00edc\u00edm barokem a nov\u011b nastupuj\u00edc\u00edm klasicistn\u00edm um\u011bn\u00edm.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">O p\u0159ibl\u00ed\u017een\u00ed ke galantn\u00edmu stylu \u010di ke klasicismu jako takov\u00e9mu napov\u00eddaj\u00ed u\u017e samotn\u00e9 n\u00e1zvy jednotliv\u00fdch v\u011bt dne\u0161n\u00edho koncertu. Larghetto, kter\u00e9 vznik\u00e1 p\u0159id\u00e1n\u00edm italsk\u00e9 zdrobn\u011bl\u00e9 p\u0159\u00edpony-etto ke slovu largo (\u201e\u0161irok\u00fd\u201c), up\u0159es\u0148uje charakter hudby a do jist\u00e9 m\u00edry stabilizuje jej\u00ed tempo ve smyslu \u201etrochu rychleji ne\u017e largo.\u201c Fugato je pot\u00e9 odkazem na fugu, na jej\u00ed\u017e principech za\u010d\u00edn\u00e1, ale v pr\u016fb\u011bhu skladby ji opou\u0161t\u00ed a p\u0159ech\u00e1z\u00ed do voln\u011bj\u0161\u00edho, homofonn\u00edho stylu. Grazioso je p\u0159\u00edmo spjato s n\u00e1stupem galantn\u00edho stylu, kdy skladatel na hudebn\u00edky klade po\u017eadavek lehk\u00e9ho, elegantn\u00edho tvo\u0159en\u00ed t\u00f3nu opro\u0161t\u011bn\u00e9ho o barokn\u00ed patos.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Johann Gregor Orschler <\/strong>(1698\u20131777)<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Johann Georg Orschler se narodil v polsk\u00e9 Vratislavi, kde tak\u00e9 z\u00edskal prvn\u00ed hudebn\u00ed vzd\u011bl\u00e1n\u00ed, kter\u00e9 n\u00e1sledn\u011b roz\u0161\u00ed\u0159il ve V\u00eddni d\u00edky financ\u00edm hudbymilovn\u00e9ho kn\u00ed\u017eete ze \u017derot\u00edna. Krom\u011b studia h\u0159e na housle se v\u011bnoval tak\u00e9 kompozici u Johanna Josepha Fuxe. Z Polska vedla Orschlerova cesta do Prahy a Olomouce, kde p\u016fsobil jako houslista arcid\u011bkana, n\u00e1sledn\u011b do Hole\u0161ova a \u017eivot do\u017eil coby \u010dlen v\u00edde\u0148sk\u00e9 dvorn\u00ed kapely.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">P\u0159esto\u017ee se od Orschlera nedochovalo rozs\u00e1hl\u00e9 d\u00edlo, kompozice, kter\u00e9 dnes m\u016f\u017eeme sly\u0161et vykazuj\u00ed mimo\u0159\u00e1dn\u00e9 n\u00e1roky na interprety a jedn\u00e1 se o ambici\u00f3zn\u00ed a progresivn\u00ed d\u00edla, kter\u00e1 v sob\u011b nesou jasnou stopu Fuxovy \u0161koly kontrapunktu, kterou ostatn\u011b m\u016f\u017eeme vid\u011bt tak\u00e9 v d\u00edle Franti\u0161ka Ign\u00e1ce T\u016fmy. Orschler v\u0161ak nez\u016fstal jen u instrument\u00e1ln\u00ed hudby \u2013 zkomponoval i n\u011bkolik oratori\u00ed prov\u00e1d\u011bn\u00fdch v Brn\u011b a Olomouci, a spole\u010dn\u011b s Ferdinandem Seidlem zkomponoval n\u011bkolik opern\u00edch \u00e1ri\u00edch, kter\u00e9 byly n\u00e1sledn\u011b dohromady uvedeny v Hole\u0161ov\u011b jako\u017eto opera Partenope.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Franti\u0161ek Ign\u00e1c T\u016fma <\/strong>(1704\u20131774)<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Franti\u0161ek Ign\u00e1c je dal\u0161\u00edm z p\u0159edstavitel\u016f hudebn\u00edk\u016f s \u010desk\u00fdmi ko\u0159eny, kter\u00fdm se poda\u0159ilo proslavit p\u0159edev\u0161\u00edm v n\u011bmecky mluv\u00edc\u00edch zem\u00edch. T\u016fmovy kroky vedly z Kostelce nad Orlic\u00ed do V\u00eddn\u011b, kde z\u00edskal vzd\u011bl\u00e1n\u00ed v oboru klasick\u00e9ho kontrapunktu u habsbursk\u00e9ho dvorn\u00edho skladatele Johanna Josepha Fuxe. N\u00e1sledn\u011b z\u00edskal m\u00edsto kapeln\u00edka na dvo\u0159e kr\u00e1lovny Al\u017eb\u011bty Krist\u00fdny, vdovy po Karlu VI. a matky Marie Terezie. Zde komponoval i vyu\u010doval, av\u0161ak po smrti sv\u00e9 patronky se rozhodl slo\u017eit \u0159\u00e1dov\u00fd slib, opustil svou man\u017eelku a \u017eivot do\u017eil coby \u010dlen kl\u00e1\u0161tera v Gerasu.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">T\u016fma ve sv\u00e9 tvorb\u011b pom\u011brn\u011b p\u0159\u00edsn\u011b t\u00edhne ke star\u00e9mu barokn\u00edmu \u0159emeslu. Na druhou stranu v\u0161ak tak\u00e9 otev\u00edr\u00e1 v\u00fdrazov\u00e9 mo\u017enosti vych\u00e1zej\u00edc\u00ed z galantn\u00edho stylu a ran\u00e9ho klasicismu. Jeho stylov\u00e9 rozp\u011bt\u00ed tak sah\u00e1 od palestrinovsk\u00e9 polyfonie, p\u0159es vrcholn\u00fd barokn\u00ed kontrapunkt k modern\u00edm son\u00e1t\u00e1m a symfoni\u00edm, \u010d\u00edm\u017e potvrzuje v\u0161estrannost sv\u00e9ho kompozi\u010dn\u00edho um\u011bn\u00ed.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>V\u00e1clav Schobert <\/strong>(1733\u20131767)<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">O V\u00e1clavu Schobertovi toho nen\u00ed mnoho zn\u00e1mo. A\u017e ned\u00e1vn\u00e1 studie z roku 2024 proveden\u00e1 Moravskou zemskou knihovnou v Brn\u011b a Francouzskou n\u00e1rodn\u00ed knihovnou v Pa\u0159\u00ed\u017ei propojila jm\u00e9no V\u00e1clava Michaela Schoberta s jeho d\u00edlem, kter\u00e9 bylo chybn\u011b p\u0159ipisov\u00e1no jm\u00e9nu Johann Schobert a je dochov\u00e1no pr\u00e1v\u011b v pa\u0159\u00ed\u017esk\u00e9 knihovn\u011b. V\u00e1clav Schobert, cembalista p\u016fvodem z Kou\u0159imi, byl pro svou tvorbu obdivov\u00e1n samotn\u00fdm Mozartem. P\u016fsobil u Louise Fran\u00e7oise I., prince z Conti, na jeho\u017e dvo\u0159e zkomponoval \u0159adu son\u00e1t pro cembalo s doprovodem i jako\u017eto pro s\u00f3lov\u00fd n\u00e1stroj. V roce 1765 m\u011bla v Pa\u0159\u00ed\u017ei premi\u00e9ru jeho opera <em>Le Garde-Chasse et le Braconnie <\/em>(Myslivec a pytl\u00e1k) zkomponovan\u00e1 ve stylu op\u00e9ra-comique, kter\u00e1 se v\u0161ak nedo\u010dkala p\u0159\u00edzniv\u00fdch ohlas\u016f a Schobert se tak d\u00e1le v\u011bnoval v\u00fdhradn\u011b instrument\u00e1ln\u00ed tvorb\u011b.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Tom\u00e1\u0161 Hanzl\u00edk <\/strong>(1972)<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Tom\u00e1\u0161 Hanzl\u00edk vybo\u010duje z \u0159ady skladatel\u016f, jejich\u017e d\u00edla zazn\u00ed v pr\u016fb\u011bhu dne\u0161n\u00edho koncertu, nejen rokem sv\u00e9ho narozen\u00ed, ale i kompozi\u010dn\u00edm stylem. Jeho hudebn\u00ed jazyk je mo\u017eno popsat jako neobarokn\u00ed minimalismus, kter\u00fd spo\u010d\u00edv\u00e1 v propojov\u00e1n\u00ed historick\u00fdch forem se strukturami soudob\u00e9 avantgardy. Mimo kompozice je v\u00e1\u0161niv\u00fdm sb\u011bratelem um\u011bn\u00ed se z\u00e1jmem p\u0159edev\u0161\u00edm o d\u00edla dnes \u010dasto zapomenut\u00fdch nebo opom\u00edjen\u00fdch \u010desk\u00fdch mal\u00ed\u0159\u016f, kte\u0159\u00ed v\u0161ak svou technikou leckdy p\u0159ed\u010d\u00ed proslaven\u011bj\u0161\u00ed kolegy. Ob\u011b formy um\u011bn\u00ed kombinuje v divadeln\u00ed praxi se zam\u011b\u0159en\u00edm na operu a muzik\u00e1l. Skladatel, re\u017eis\u00e9r a v\u00fdtvarn\u00edk Tom\u00e1\u0161 Hanzl\u00edk je impres\u00e1riem souboru Ensemble Damian a zakladatelem festivalu Baroko, v r\u00e1mci n\u011bho\u017e si klade za c\u00edl uv\u00e1d\u011bt d\u00edla \u010desk\u00fdch autor\u016f obdob\u00ed baroka a klasicismu, \u010dasto v obnoven\u00fdch sv\u011btov\u00fdch premi\u00e9r\u00e1ch, a z\u00e1rove\u0148 tento festival koncipuje jako platformu pro mlad\u00e9 um\u011blce se z\u00e1jmem o bohatou tradici \u010desk\u00e9ho hudebn\u00edho a hudebn\u011b-dramatick\u00e9ho um\u011bn\u00ed.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>\u2014Marek \u0158ih\u00e1k, Martin Dost\u00e1l<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>sobota 6. 6. 2026 \/ 19:00 \/ Vlastiv\u011bdn\u00e9 muzeum v&nbsp;Olomouci, S\u00e1l V\u00e1clava III. Daniel Podrou\u017eek, Martin Dost\u00e1l \u2013 historick\u00e9 housleMariana T\u016fmov\u00e1 \u2013 historick\u00e9 violoncelloDaria Savvateeva&hellip;<\/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-1383","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/pages\/1383","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=1383"}],"version-history":[{"count":11,"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/pages\/1383\/revisions"}],"predecessor-version":[{"id":1456,"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/pages\/1383\/revisions\/1456"}],"wp:attachment":[{"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/media?parent=1383"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}