Tento malebn\u00fd n\u00e1zev nese n\u00e1stroj moudr\u00fd, laskav\u00fd, u\u0161lechtil\u00fd, ve zvuku altov\u011b m\u011bkk\u00fd, rozv\u00e1\u017en\u00fd, n\u011bkdy rozpustil\u00fd, i kdy\u017e hr\u00e1\u010dsky ne zrovna pohodln\u00fd. N\u00e1stroj d\u0159\u00edve opom\u00edjen\u00fd, nezasv\u011bcen\u00fdm \u010dasto nezn\u00e1m\u00fd. Aha, prost\u011b velk\u00e9 housle!<\/p>\n\n\n\n
Jm\u00e9no viola d\u00e1vno pat\u0159ilo \u0161irok\u00e9mu spektru smy\u010dcov\u00fdch n\u00e1stroj\u016f. Z fiduly (tak\u00e9 fiddle, fidicula, vihuela, mezi 9. – 16. stol.) se vyvinula viola da gamba dr\u017een\u00e1 mezi koleny (15. stol.) a z jej\u00ed diskantov\u00e9 odr\u016fdy se vlo\u017een\u00edm pod bradu stala viola da braccio <\/em>(za\u010d. 16. stol.). Violy obs\u00e1hly cel\u00fd rozsah hlas\u016f od kontrabasov\u00e9, basov\u00e9 p\u0159es tenorovou, altovou po diskantovou. Jinou barvu t\u00f3nu m\u011bla pak viola d\u00b4amore, viola pomposa, viola bastarda\u2026 <\/em>Nic nov\u00e9ho takov\u00e1 viola, pr\u00e1v\u011b naopak.<\/p>\n\n\n\n Pokra\u010duj\u00edc\u00ed v\u00fdvoj t\u00e9to pram\u00e1ti dal vzniknout p\u0159ibli\u017en\u011b v rozp\u011bt\u00ed 100 let dne\u0161n\u00edm modern\u00edm smy\u010dcov\u00fdm n\u00e1stroj\u016fm. Za\u010d\u00e1tkem 16.stolet\u00ed violoncellu, v polovin\u011b 16.stol. housl\u00edm, koncem 16. stol. kontrabasu (n\u011bkter\u00e9 modely si ponechaly dodnes p\u016fvodn\u00ed gambov\u00fd tvar) a na p\u0159elomu 16. a 17. stolet\u00ed nov\u00e9 viole, <\/strong><\/em>kter\u00e1 sv\u00fdm altov\u00fdm rozsahem vypl\u0148ovala mezeru mezi sopr\u00e1nov\u00fdmi houslemi a tenorov\u00fdm violoncellem \u2013 a stala se tak nepostradateln\u00fdm n\u00e1strojem barokn\u00edho orchestru. Snad jen t\u00edm, \u017ee pro ni chyb\u011bly skladby \u010di samotn\u00e9 zvu\u010dn\u00e9 n\u00e1stroje nebo vzrostl\u00ed hudebn\u00edci, ochotni a schopni obsluhovat ne pr\u00e1v\u011b pohodln\u00fd n\u00e1stroj, z\u016fst\u00e1vala viola v pozad\u00ed sv\u00fdch popul\u00e1rn\u011bj\u0161\u00edch koleg\u016f. Dnes j\u00ed v\u0161ak pat\u0159\u00ed bohat\u00e1 p\u016fvodn\u00ed literatura vydatn\u011b ko\u0161at\u011bn\u00e1 houslov\u00fdmi i violoncellov\u00fdmi transkripcemi; o popularitu se staraj\u00ed s\u00f3list\u00e9 zvu\u010dn\u00fdch jmen, nemluv\u011b o komorn\u00edch hr\u00e1\u010d\u00edch, kte\u0159\u00ed nal\u00e9zaj\u00ed n\u00e1ro\u010dn\u00e9 uplatn\u011bn\u00ed ve stovk\u00e1ch soubor\u016f k\u0159i\u017euj\u00edc\u00edch sv\u011btovou hudebn\u00ed sc\u00e9nu. Viola si ale patrn\u011b st\u00e1le zachov\u00e1v\u00e1 respekt u mlad\u00fdch hudebn\u00edk\u016f, hlavn\u011b houslist\u016f, snad d\u00edky sv\u00e9 velikosti, v\u00e1ze, \u010di o kvintu ni\u017e\u0161\u00edmu lad\u011bn\u00ed nebo altov\u00e9 notaci. Velk\u00e9 housle? Ne, je to viola, poj\u010fme si na ni zahr\u00e1t\u2026<\/p>\n\n\n\n Brn\u011bnsk\u00e1 konzervato\u0159 m\u00e1 ve v\u00fduce hry na violu dlouholetou tradici. Od jej\u00edho zalo\u017een\u00ed Leo\u0161em Jan\u00e1\u010dkem v roce 1919 se zde vyu\u010dovala oblig\u00e1tn\u00ed viola. Tato praxe byla p\u0159evzata z konzervato\u0159e v Praze, kter\u00e1 v t\u00e9 dob\u011b m\u011bla za sebou ji\u017e v\u00edce ne\u017e stoletou historii. Ani na t\u00e9 se v\u0161ak viola zprvu nevyu\u010dovala. Od jej\u00edho zalo\u017een\u00ed v roce 1811 hr\u00e1li na violu pouze z\u00e1jemci z absolvent\u016f t\u0159\u00edd houslov\u00fdch, mezi kter\u00e9 pat\u0159ili nap\u0159. Oskar Nedbal, Ji\u0159\u00ed Herold, Rudolf Reissig, Otakar M\u00e1cha, Karel Moravec, Old\u0159ich V\u00e1vra, Ladislav \u010cern\u00fd. Tito um\u011blci p\u0159isp\u011bli svou koncertn\u00ed i autorskou \u010dinnost\u00ed k tomu, \u017ee v roce 1907 byly pro houslisty zavedeny hodiny oblig\u00e1tn\u00ed violy, jejich\u017e c\u00edlem bylo hlavn\u011b sezn\u00e1mit \u017e\u00e1ky s notov\u00fdm z\u00e1pisem v altov\u00e9m kl\u00ed\u010di a v\u011bt\u0161\u00edm, o kvintu n\u00ed\u017e lad\u011bn\u00fdm a h\u016f\u0159e ovladateln\u00fdm n\u00e1strojem.<\/p>\n\n\n\n Samostatn\u00e1 violov\u00e1 odd\u011blen\u00ed vznikla na v\u0161ech konzervato\u0159\u00edch a\u017e ve \u0161koln\u00edm roce 1947\/48. Krom\u011b toho z\u016fstala zachov\u00e1na povinn\u00e1 v\u00fduka (oblig\u00e1tn\u00ed) violy pro houslisty 3. ro\u010dn\u00edk\u016f. Dnes je toto studium nepovinn\u00e9.<\/p>\n\n\n\n Prvn\u00edm vedouc\u00edm smy\u010dcov\u00e9ho odd\u011blen\u00ed na nov\u011b zalo\u017een\u00e9 brn\u011bnsk\u00e9 konzervato\u0159i (1919) bylRudolf Reissig, <\/strong>kter\u00fd byl v prvn\u00edch dvou desetilet\u00edch \u00fast\u0159edn\u00ed postavou \u010desk\u00e9ho hudebn\u00edho \u017eivota v Brn\u011b jako \u0159editel a sbormistr Besedy brn\u011bnsk\u00e9, vynikaj\u00edc\u00ed hr\u00e1\u010d na housle, violu a zejm\u00e9na na violu d\u00b4amore \u2013 inspiroval Leo\u0161e Jan\u00e1\u010dka k pou\u017eit\u00ed tohoto n\u00e1stroje v ope\u0159e K\u00e1\u0165a Kabanov\u00e1 <\/em>a ve smy\u010dcov\u00e9m kvartetu Listy d\u016fv\u011brn\u00e9 <\/em>(vzhledem ke zvukov\u00e9 k\u0159ehkosti damurky<\/em>se tato s\u00f3la za\u010dala hr\u00e1t na norm\u00e1ln\u00ed \u010dty\u0159strunnou violu). Na brn\u011bnsk\u00e9 konzervato\u0159i u\u010dil Reissig jen rok, ale po sv\u00e9m odchodu do Prahy vychoval \u0159adu houslist\u016f a violist\u016f, nap\u0159. Anton\u00edna Hyksu \u010di Josefa Ko\u010fouska. Po Reissigovi nastoupil v roce 1920 na konzervato\u0159 \u017e\u00e1k Otakara \u0160ev\u010d\u00edka Old\u0159ich V\u00e1vra, <\/strong>kter\u00fd zde vyu\u010doval do r. 1939. Z jeho \u017e\u00e1k\u016f jmenujme violisty Jana Hrdli\u010dku, Jana Matou\u0161ka, Jaroslava Gottharda a p\u0159edev\u0161\u00edm Richarda Kozderku. <\/strong>Ten pak proslul jako s\u00f3lista, \u010dlen Moravsk\u00e9ho kvarteta a dlouholet\u00fd prvn\u00ed violista Symfonick\u00e9ho orchestru brn\u011bnsk\u00e9ho rozhlasu a pot\u00e9 St\u00e1tn\u00ed filharmonie. Na konzervato\u0159i u\u010dil v letech 1941-1948 a 1952-1955 a stal se tak v roce 1947 prvn\u00edm vyu\u010duj\u00edc\u00edm v nov\u011b zalo\u017een\u00e9 violov\u00e9 t\u0159\u00edd\u011b \u2013 a tak\u00e9 prvn\u00ed ob\u011bt\u00ed komunistick\u00fdch \u010distek v roce 1948 \u2013 na konzervato\u0159 se mohl vr\u00e1tit a\u017e v roce 1952. K jeho \u017e\u00e1k\u016fm pat\u0159\u00ed Ji\u0159\u00ed Bene\u0161, Jaroslav Kroupa, Ji\u0159\u00ed Kratochv\u00edl, Josef P\u0159ib\u00e1\u0148 \u010di Ferdinand Ru\u0161\u00e1k.<\/p>\n\n\n\n Kozderkov\u00fdm n\u00e1stupcem na konzervato\u0159i v Brn\u011b se stal Anton\u00edn Hyksa, <\/strong>kter\u00fd soub\u011b\u017en\u011b za\u010dal vyu\u010dovat i na nov\u011b vznikl\u00e9 Jan\u00e1\u010dkov\u011b akademii m\u00fazick\u00fdch um\u011bn\u00ed. Studoval (soukrom\u011b) hru na housle u Josefa Berana, Jind\u0159icha Felda, Karla Hoffmanna, Jaroslava Kociana a violu u Rudolfa Reissiga. Byl s\u00f3listou, ne\u00fanavn\u00fdm interpretem hojn\u011b vznikaj\u00edc\u00edch violov\u00fdch novinek, a komorn\u00edm hr\u00e1\u010dem (Moravsk\u00e9 kvarteto, Heroldovo kvarteto). Na konzervato\u0159i m\u011bl jednoho a prvn\u00edho absolventa (Milo\u0161 Hol\u00fd), na JAMU u n\u011bj vystudovala \u0159ada violist\u016f, nap\u0159. Ji\u0159\u00ed Kratochv\u00edl, Ji\u0159\u00ed Bene\u0161, Alois Mor\u00e1\u0148, Milan Teleck\u00fd, Jind\u0159ich Hovorka, Ferdinand Ru\u0161\u00e1k, Jan Albrecht, Josef P\u0159ib\u00e1\u0148 a.j. kte\u0159\u00ed se v\u00fdzna\u010dn\u011b uplatnili v proslul\u00fdch souborech (Jan\u00e1\u010dkovo, Moravsk\u00e9 a Slovensk\u00e9 kvarteto, Brn\u011bnsk\u00fd rozhlasov\u00fd orchestr lidov\u00fdch n\u00e1stroj\u016f, Filharmonie Brno) nebo pedagogicky na konzervato\u0159\u00edch a na JAMU.<\/p>\n\n\n\n Po Anton\u00ednu Hyksovi p\u0159ich\u00e1z\u00ed na brn\u011bnskou konzervato\u0159 v roce 1950 Jan Plichta, <\/strong>violista, dirigent a skladatel. Studoval u \u0160t\u011bp\u00e1na Such\u00e9ho, Otakara \u0160ev\u010d\u00edka a Otakara Jeremi\u00e1\u0161e. B\u011bhem patn\u00e1cti let vychoval \u0159adu violist\u016f, nejv\u00fdrazn\u011bj\u0161\u00edm absolventem je Ji\u0159\u00ed Bene\u0161, dlouholet\u00fd violista Moravsk\u00e9ho kvarteta a dramaturg Filharmonie Brno.<\/p>\n\n\n\n V letech 1965-1968 vyu\u010doval na konzervato\u0159i extern\u011b Ji\u0159\u00ed Kratochv\u00edl, <\/strong>jinak pedagog JAMU. Studoval u Josefa Jedli\u010dky housle a u Richarda Kozderky violu. Jako s\u00f3lista premi\u00e9roval impozantn\u00ed \u0159adu nov\u00fdch skladeb, jako violista Jan\u00e1\u010dkova kvarteta koncertoval na v\u0161ech kontinentech. K jeho \u017e\u00e1k\u016fm na konzervato\u0159i pat\u0159\u00ed Karel Proch\u00e1zka, Petr Pil\u00e1t, Jan \u0160ejnoha a.j. Na JAMU op\u011bt Karel Proch\u00e1zka a Petr Pil\u00e1t, Jan Ulrich, Pavel V\u00edtek, Jan Ju\u0159\u00edk, Milan Hobza, Jan Jub\u00e1nek, Emil Machain, Miroslav Kov\u00e1\u0159, Jan \u0158ezn\u00ed\u010dek, Karel Plocek, Zuzana Bou\u0159ov\u00e1, Pavel Ciprys aj.<\/p>\n\n\n\n V letech 1965-1983 vyu\u010doval na konzervato\u0159i hru na violu Jaroslav Kroupa, <\/strong>jinak vedouc\u00ed skupiny viol v orchestru opery Jan\u00e1\u010dkova divadla. K jeho absolvent\u016fm pat\u0159\u00ed Emil Machain st., Milan Hobza, Felix Kucha\u0159, Ladislav B\u011blu\u0161a, Zbyn\u011bk Volf aj.<\/p>\n\n\n\n V roce 1973 p\u0159ich\u00e1z\u00ed na brn\u011bnskou konzervato\u0159 Alois Mor\u00e1\u0148 <\/strong>s novou metodikou. Na JAMU u Anton\u00edna Hyksy absolvoval v roce 1957, kr\u00e1tce p\u016fsobil v Moravsk\u00e9 filharmonii a orchestru Jan\u00e1\u010dkovy opery; v zahrani\u010d\u00ed pak jako violista komorn\u00edch soubor\u016f a \u010dlen orchestru Teatra Massima v Palermu, kde rovn\u011b\u017e vyu\u010doval na konzervato\u0159i. K jeho absolvent\u016fm pat\u0159\u00ed Ladislav Kysel\u00e1k, Jan Svoboda, Petr Petr\u016f, Milo\u0161 \u0160merda, Miroslav Kov\u00e1\u0159, Emil Machain, Jan Jub\u00e1nek, Zuzana Bou\u0159ov\u00e1, Eduard Van\u011bk, Karel Plocek, Milo\u0161 V\u00e1vra, Alexander Besa, Pavel Ciprys a mnoho dal\u0161\u00edch.<\/p>\n\n\n\n V roli pedagog\u016f se b\u011bhem let na konzervato\u0159i v r\u016fzn\u00fdch \u010dasov\u00fdch intervalech vyst\u0159\u00eddali pov\u011bt\u0161inou \u010dlenov\u00e9 violov\u00e9 skupiny Filharmonie Brno. Za v\u0161echny p\u0159ipome\u0148me Ferdinanda Ru\u0161\u00e1ka, Karla Proch\u00e1zku, Petra Pil\u00e1ta, Ji\u0159\u00edho Bene\u0161e, Josefa P\u0159ib\u00e1n\u011b, Karla Plocka.<\/p>\n\n\n\n V sou\u010dasnosti se v\u00fduce hry na violu v\u011bnuj\u00ed aktivn\u00ed violist\u00e9 z \u0159ad absolvent\u016f konzervato\u0159e a JAMU v Brn\u011b, \u010dlenov\u00e9 a spolupracovn\u00edci v\u00fdznamn\u00fdch soubor\u016f a orchestr\u016f Jan \u0158ezn\u00ed\u010dek, Miroslav Kov\u00e1\u0159 a Emil Machain.<\/p>\n\n\n\n Od roku 1947 do sou\u010dasnosti absolvovalo violov\u00e9 t\u0159\u00eddy brn\u011bnsk\u00e9 konzervato\u0159e v\u00edce ne\u017e sto violist\u016f a violistek, kte\u0159\u00ed sv\u016fj \u017eivot zcela v\u011bnovali hudb\u011b jako pedagogov\u00e9 na v\u0161ech stupn\u00edch hudebn\u00edch \u0161kol nebo v\u00fdkonn\u00ed hr\u00e1\u010di \u2013 jako s\u00f3list\u00e9, \u010dlenov\u00e9 v\u00fdzna\u010dn\u00fdch komorn\u00edch soubor\u016f nebo \u0161pi\u010dkov\u00fdch orchestr\u016f vystupovali a vystupuj\u00ed v koncertn\u00edch s\u00edn\u00edch p\u011bti sv\u011btad\u00edl\u016f.<\/p>\n\n\n\n Poj\u010fte tak\u00e9 hr\u00e1t na violu\u2026<\/p>\n","protected":false},"excerpt":{"rendered":" Tento malebn\u00fd n\u00e1zev nese n\u00e1stroj moudr\u00fd, laskav\u00fd, u\u0161lechtil\u00fd, ve zvuku altov\u011b m\u011bkk\u00fd, rozv\u00e1\u017en\u00fd, n\u011bkdy rozpustil\u00fd, i kdy\u017e hr\u00e1\u010dsky ne zrovna pohodln\u00fd. N\u00e1stroj d\u0159\u00edve opom\u00edjen\u00fd, nezasv\u011bcen\u00fdm \u010dasto nezn\u00e1m\u00fd. Aha, prost\u011b velk\u00e9 housle! Jm\u00e9no viola d\u00e1vno pat\u0159ilo \u0161irok\u00e9mu spektru smy\u010dcov\u00fdch n\u00e1stroj\u016f. Z fiduly (tak\u00e9 fiddle, fidicula, vihuela, mezi 9. – 16. stol.) se vyvinula viola da gamba dr\u017een\u00e1 mezi koleny (15. stol.) a z jej\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-1525","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/konzervatorbrno.eu\/index.php?rest_route=\/wp\/v2\/pages\/1525","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/konzervatorbrno.eu\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/konzervatorbrno.eu\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/konzervatorbrno.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/konzervatorbrno.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1525"}],"version-history":[{"count":0,"href":"https:\/\/konzervatorbrno.eu\/index.php?rest_route=\/wp\/v2\/pages\/1525\/revisions"}],"wp:attachment":[{"href":"https:\/\/konzervatorbrno.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1525"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}