{"id":1401,"date":"2026-05-27T21:49:06","date_gmt":"2026-05-27T20:49:06","guid":{"rendered":"https:\/\/festivalbaroko.cz\/2026\/?page_id=1401"},"modified":"2026-05-28T17:02:28","modified_gmt":"2026-05-28T16:02:28","slug":"antonin-rejcha","status":"publish","type":"page","link":"https:\/\/festivalbaroko.cz\/2026\/antonin-rejcha\/","title":{"rendered":"Anton\u00edn Rejcha"},"content":{"rendered":"\n

\u010dtvrtek 4. 6. 2026 \/ 17:00 \/ Vlastiv\u011bdn\u00e9 muzeum v Olomouci, p\u0159edn\u00e1\u0161kov\u00fd s\u00e1l<\/h3>\n\n\n\n

U\u010debnice kompozice Anton\u00edna Rejchy<\/strong><\/h2>\n\n\n\n

P\u0159edstaven\u00ed jednoho z nejv\u00fdznamn\u011bj\u0161\u00edch pramen\u016f hudebn\u00edch kompozi\u010dn\u00edch nauk prvn\u00ed poloviny 19. stolet\u00ed.  P\u0159edn\u00e1\u0161\u00ed doc. PhDr. Roman Dykast, CSc. z odd\u011blen\u00ed muzikologie \u00dastavu d\u011bjin um\u011bn\u00ed AV \u010cR.  P\u0159ipravila Hudebn\u00ed sekce.<\/p>\n\n\n\n

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\u010dtvrtek 4. 6. 2026 \/ 19:00 \/ Vlastiv\u011bdn\u00e9 muzeum v Olomouci, S\u00e1l V\u00e1clava III.<\/h3>\n\n\n\n

Anton\u00edn Rejcha: Pojedn\u00e1n\u00ed o kontrapunktu I.<\/strong><\/strong><\/h2>\n\n\n\n

V\u00fdb\u011br komorn\u00edch p\u0159\u00edkladov\u00fdch kompozic z u\u010debnice kontrapunktu, vydan\u00e9 v Pa\u0159\u00ed\u017ei v roce 1824.<\/p>\n\n\n\n

\u00da\u010dinkuje Musica Florea:<\/strong>
Magdalena Mal\u00e1, Simona Tydlit\u00e1tov\u00e1 \u2013 housle
L\u00fddie Cillerov\u00e1 \u2013 viola
Marek \u0160tryncl \u2013 violoncello, um\u011bleck\u00fd vedouc\u00ed<\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

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Um\u011bleck\u00fd vedouc\u00ed souboru Musica Florea <\/em>Marek \u0160tryncl
(AI podobenka ve stylu z roku 1815)<\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Program:<\/strong><\/h2>\n\n\n\n

Fugy I.
<\/strong>R 527, Introdukce – Adagio, Fuga \u2013 Allegro non troppo. Fr\u00e1zovan\u00e1 fuga (Es dur)
R 487, Allegro. Dvojit\u00e1 fuga, vok\u00e1ln\u00ed (Es dur)
R 269, Dvojit\u00fd kontrapunkt v okt\u00e1v\u011b (c moll)
R 490, Allegro moderato. Dvojit\u00e1 fuga v duodecim\u011b (Es dur)
R 218, Kontrapunkt v duodecim\u011b (C dur)<\/p>\n\n\n\n

K\u00e1nony \u2013 v\u00fdb\u011br<\/strong>
R 373, Dvojit\u00fd k\u00e1non (F dur)
R 375, \u0158e\u0161en\u00ed h\u00e1dankov\u00e9ho k\u00e1nonu \u010d. 374 (C dur)
R 358, Andante. T\u0159\u00edhlas\u00fd k\u00e1non v okt\u00e1v\u011b (E dur),
R 359, Poco Andante. T\u0159\u00edhlas\u00fd k\u00e1non ve vrchn\u00ed kvart\u011b a vrchn\u00ed septim\u011b (A dur)
R 353, Allegretto. Dvojhlas\u00fd k\u00e1non s p\u0159ipojen\u00fdmi doprovodn\u00fdmi hlasy, p\u0159eru\u0161en\u00fd epizodou (d moll)
R 512, Allegro. Vok\u00e1ln\u00ed fuga v protipohybu (v inverzi) (F dur)
R 299, Lento maestoso. Smute\u010dn\u00ed pochod v kontrapunktu v duodecim\u011b (d moll)<\/p>\n\n\n\n

Fugy Rejchov\u00fdch \u017e\u00e1k\u016f
<\/strong>M. Turina (?-?), R 497, Allegro. Vok\u00e1ln\u00ed fuga se t\u0159emi subjekty, (d moll)
Daniel Jelensperger (1799\u20131831), R 486, Allegro moderato. Dvojit\u00e1 fuga, vok\u00e1ln\u00ed, (C dur)
Tom\u00e1\u0161 Hanzl\u00edk (*1972), Andante. Fuga d moll
Auguste Barbereau (1799\u20131879), R 496, Allegro. Vok\u00e1ln\u00ed fuga se t\u0159emi subjekty (d moll)<\/p>\n\n\n\n

Fugy II.<\/strong>
R 465, Allegro non troppo. \u010cty\u0159hlas\u00e1 fuga (C dur)
R 462, Andante. T\u0159\u00edhlas\u00e1 fuga, vok\u00e1ln\u00ed (f moll)
R 466, Allegro. Fuga v n\u00ed\u017e je v sopr\u00e1nu pouze comes (F dur)
R 471, Allegro. Fuga v lydick\u00e9m modu (F)
R 492, Allegro vivace. Instrument\u00e1ln\u00ed fuga v duodecim\u011b (C dur)
R 500, Allegretto. Instrument\u00e1ln\u00ed fuga se t\u0159emi subjekty (C dur)
R 510, Allegro. Instrument\u00e1ln\u00ed fuga v augmentaci (A dur)
R 059, Chor\u00e1l (cantus firmus) ve frygick\u00e9 t\u00f3nin\u011b (fis)
R 511, Allegro. Instrument\u00e1ln\u00ed fuga v diminuci (A dur)
R 464,  Alla breve. \u010cty\u0159hlas\u00e1 jednoduch\u00e1 fuga, vok\u00e1ln\u00ed (D dur)<\/p>\n\n\n\n

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Anton\u00edn Rejcha na dobov\u00e9 podobence<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\u010cesk\u00fd skladatel a pedagog Anton\u00edn Rejcha<\/strong> (1770\u20131836) napsal t\u0159i st\u011b\u017eejn\u00ed teoretick\u00e9 pr\u00e1ce, kter\u00e9 z\u00e1sadn\u011b ovlivnily v\u00fduku kompozice v 19. stolet\u00ed: Pojedn\u00e1n\u00ed o melodii<\/strong> (Trait\u00e9 de m\u00e9lodie<\/em>, 1814), U\u010debnice hudebn\u00ed kompozice \/ Pojedn\u00e1n\u00ed o praktick\u00e9 harmonii<\/strong> (Cours de composition musicale \/ Trait\u00e9 complet et raisonn\u00e9 d\u00b4harmonie<\/em>, 1818) a Pojedn\u00e1n\u00ed o pokro\u010dil\u00e9 hudebn\u00ed kompozici<\/strong> (Trait\u00e9 de haute composition musicale<\/em>, 1824\u20131826). Ve sv\u00e9 dob\u011b \u0161lo o zjeven\u00ed. Rejcha jako prvn\u00ed tvrdil, \u017ee harmonie a melodie jsou dv\u011b rovnocenn\u00e9 strany hudby. P\u0159ed n\u00edm se u\u010debnice soust\u0159edily pouze na harmonii. M\u00edsto such\u00fdch pou\u010dek vykl\u00e1dal teorii t\u00e9m\u011b\u0159 v\u00fdhradn\u011b na konkr\u00e9tn\u00edch uk\u00e1zk\u00e1ch a preferoval diskusi p\u0159ed jednostrann\u00fdm pou\u010dov\u00e1n\u00edm. Ve sv\u00fdch spisech p\u0159edj\u00edmal v\u00fdvoj modern\u00ed hudby. Vyb\u00edzel nap\u0159\u00edklad k n\u00e1vratu ke star\u00fdm c\u00edrkevn\u00edm t\u00f3nin\u00e1m, prosazoval polyrytmii a experimentoval s netradi\u010dn\u00edmi harmonick\u00fdmi postupy. <\/p>\n\n\n\n

Jako profesor na pa\u0159\u00ed\u017esk\u00e9 konzervato\u0159i vychoval celou generaci velik\u00e1n\u016f. Mezi jeho \u017e\u00e1ky pat\u0159ili Hector Berlioz, Franz Liszt, Charles Gounod, C\u00e9sar Franck a z\u00e1klady od n\u011bj z\u00edskal i Bed\u0159ich Smetana. \u010cesk\u00e9 p\u0159eklady Rejchov\u00fdch u\u010debnic vydal Roman Dykast v nakladatelstv\u00ed Togga. \u010c\u00edslov\u00e1n\u00ed skladeb p\u0159ej\u00edm\u00e1me z tohoto vyd\u00e1n\u00ed.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Trait\u00e9 de haute composition musicale <\/em>vy\u0161la<\/em> ve dvou svazc\u00edch v Pa\u0159\u00ed\u017ei v letech 1824\u20131826, \u010desky pod n\u00e1zvem<\/em> Pojedn\u00e1n\u00ed o kontrapunktu<\/strong> v roce 2016. Tato p\u0159elomov\u00e1 hudebn\u011b-teoretick\u00e1 pr\u00e1ce a u\u010debnice  p\u0159edstavuje inovativn\u00ed pojet\u00ed kontrapunktu a fugy. Rejcha v t\u00e9to monument\u00e1ln\u00ed pr\u00e1ci shrnul sv\u00e9 celo\u017eivotn\u00ed pedagogick\u00e9 zku\u0161enosti z pa\u0159\u00ed\u017esk\u00e9 konzervato\u0159e a obohatil tradi\u010dn\u00ed pravidla o vlastn\u00ed progresivn\u00ed my\u0161lenky. Mezi hlavn\u00ed p\u0159\u00ednosy spisu pat\u0159\u00ed modern\u00ed pedagogick\u00fd p\u0159\u00edstup. Odklon od pouh\u00e9ho mechanick\u00e9ho napodobov\u00e1n\u00ed star\u00fdch mistr\u016f. Rejcha u\u010d\u00ed studenty p\u0159istupovat ke kontrapunktu tv\u016fr\u010d\u00edm a logick\u00fdm zp\u016fsobem. Detailn\u011b se zab\u00fdv\u00e1 strukturou hlas\u016f, k\u00e1nonem, fugou, dvojit\u00fdmi a v\u00edcen\u00e1sobn\u00fdmi kontrapunkty a z\u00e1konitostmi harmonick\u00e9ho veden\u00ed hlas\u016f. K n\u011bmeck\u00e9mu vyd\u00e1n\u00ed pozd\u011bji p\u0159ipojil sv\u00e9 p\u0159\u00ednosn\u00e9 pozn\u00e1mky tak\u00e9 zn\u00e1m\u00fd hudebn\u00edk \u010desk\u00e9ho p\u016fvodu Carl Czerny. A\u017e na n\u011bkolik m\u00e1lo v\u00fdjimek jsou v\u0161echny p\u0159\u00edkladov\u00e9 kompozice v Pojedn\u00e1n\u00ed o kontrapunktu Rejchov\u00fdmi d\u00edly. Podstatnou \u010d\u00e1st t\u011bch komorn\u00edch maxim\u00e1ln\u011b \u010dty\u0159hlas\u00fdch skladeb p\u0159in\u00e1\u0161\u00ed dne\u0161n\u00ed program. V budoucnu bychom na n\u011bj cht\u011bli nav\u00e1zat koncert skladeb orchestr\u00e1ln\u00edch a vok\u00e1ln\u011b instrument\u00e1ln\u00edch, kter\u00e9 po\u010d\u00edtaj\u00ed \u010dasto s velk\u00fdm provozovac\u00edm apar\u00e1tem a nezvykl\u00fdmi n\u00e1strojov\u00fdmi kombinacemi, co\u017e op\u011bt dokazuje Rejchovo experiment\u00e1ln\u00ed uva\u017eov\u00e1n\u00ed o hudb\u011b v n\u00e1vaznosti na staletou tradici polyfonie.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u010dtvrtek 4. 6. 2026 \/ 17:00 \/ Vlastiv\u011bdn\u00e9 muzeum v Olomouci, p\u0159edn\u00e1\u0161kov\u00fd s\u00e1l U\u010debnice kompozice Anton\u00edna Rejchy P\u0159edstaven\u00ed jednoho z nejv\u00fdznamn\u011bj\u0161\u00edch pramen\u016f hudebn\u00edch kompozi\u010dn\u00edch nauk prvn\u00ed…<\/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-1401","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/pages\/1401","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=1401"}],"version-history":[{"count":15,"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/pages\/1401\/revisions"}],"predecessor-version":[{"id":1454,"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/pages\/1401\/revisions\/1454"}],"wp:attachment":[{"href":"https:\/\/festivalbaroko.cz\/2026\/wp-json\/wp\/v2\/media?parent=1401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}