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\langfe2052 \langfenp2052 Alfred Schnittke - Koncert \uc1 \u269 ?. 4 pro housle a
orchestr}{\b1 \fs32 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
\langfe2052 \langfenp2052 \par }\pard \plain \qj \li0 \ri0 \lisb0 \sa157 \lisa50
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{\b1 \fs32 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
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\langfenp2052 {\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029
\langnp1029 \langfe2052 \langfenp2052 Alfred Garrijevi\uc1 \u269 ? Schnittke se
narodil 24. listopadu 1934 v Engels, hlavn\uc1 \u237 ?m m\uc1 \u283 ?st\uc1 \u283 ?
Autonomn\uc1 \u237 ? sov\uc1 \u283 ?tsk\uc1 \u233 ? socialistick\uc1 \u233 ?
republiky Povol\uc1 \u382 ?sk\uc1 \u253 ?ch N\uc1 \u283 ?mc\uc1 \u367 ?. Narodil se
do n\uc1 \u283 ?meck\uc1 \u233 ? rodiny, v n\uc1 \u283 ?meck\uc1 \u233 ?
komunit\uc1 \u283 ? ve m\uc1 \u283 ?st\uc1 \u283 ? n\uc1 \u283 ?meck\uc1 \u233 ?ho
jm\uc1 \u233 ?na, ale nikoliv v N\uc1 \u283 ?mecku. Jeho otec byl novin\uc1
\u225 ?\uc1 \u345 ? a ruskon\uc1 \u283 ?meck\uc1 \u253 ? p\uc1 \u345 ?ekladatel a
jeho matka pracovala v m\uc1 \u237 ?stn\uc1 \u237 ?ch n\uc1 \u283 ?meck\uc1 \u253 ?
ch novin\uc1 \u225 ?ch Neues Leben a jako u\uc1 \u269 ?itelka n\uc1 \u283 ?m\uc1
\u269 ?iny. V roce 1946 se p\uc1 \u345 ?est\uc1 \u283 ?hovali do V\uc1 \u237 ?
dn\uc1 \u283 ?, aby tam otec mohl pracovat pro rusky psan\uc1 \u233 ? noviny. Zde
za\uc1 \u269 ?\uc1 \u237 ?n\uc1 \u225 ? Schnittkeho hudebn\uc1 \u237 ? vzd\uc1
\u283 ?l\uc1 \u225 ?n\uc1 \u237 ? - klav\uc1 \u237 ?r. Da\uc1 \u345 ?ilo se mu tak
dob\uc1 \u345 ?e, \uc1 \u382 ?e se po dvou letech vrac\uc1 \u237 ? do Sov\uc1 \u283
?tsk\uc1 \u233 ?ho svazu aby studoval na Moskevsk\uc1 \u233 ? \uc1 \u345 ?\uc1
\u237 ?jnov\uc1 \u233 ? \uc1 \u353 ?kole hudby. Poprv\uc1 \u233 ? experimentuje se
skladbou a v roce 1953 vstupuje na Moskevskou konzervato\uc1 \u345 ? do t\uc1 \u345
?\uc1 \u237 ?dy Evgeny Golubeva. Z\uc1 \u225 ?rove\uc1 \u328 ? se sezn\uc1 \u225 ?
mil s Philipem Gershkovichem, \uc1 \u382 ?\uc1 \u225 ?kem Bergov\uc1 \u253 ?m a
Webernov\uc1 \u253 ?m, kter\uc1 \u253 ? ovlivnil i \uc1 \u345 ?adu dal\uc1
\u353 ?\uc1 \u237 ?ch rusk\uc1 \u253 ?ch skladatel\uc1 \u367 ?. Mezi nimi byli i
ti, stejn\uc1 \u283 ? jako pozd\uc1 \u283 ?ji Schnittke, v sov\uc1 \u283 ?
tsk\uc1 \u233 ?m svazu nepopul\uc1 \u225 ?rn\uc1 \u237 ? - Andrej Volkonsky, Edison
Denisov, Sofia Gubaidulina, Valentin Silvestrov a dal\uc1 \u353 ?\uc1 \u237 ?.
Konzervato\uc1 \u345 ? absolvoval roku 1958, ale z\uc1 \u367 ?stal jako student
je\uc1 \u353 ?t\uc1 \u283 ? do roku 1961, kdy vstoupil do Svazu sov\uc1 \u283 ?
tsk\uc1 \u253 ?ch skladatel\uc1 \u367 ?. Ani pak \uc1 \u353 ?kolu neopustil, ale
z\uc1 \u367 ?stal a vyu\uc1 \u269 ?oval skladbu, orchestraci a kontrapunkt a\uc1
\u382 ? do roku 1972. V roce 1962 nav\uc1 \u353 ?t\uc1 \u237 ?vil Sov\uc1 \u283 ?
tsk\uc1 \u253 ? svaz Luigi Nono. Setk\uc1 \u225 ?n\uc1 \u237 ? se z\uc1 \u225 ?
padoevropskou hudebn\uc1 \u237 ? avantgardou ve Schnittkem rozdm\uc1 \u253 ?chalo
z\uc1 \u225 ?pal pro serialismus, kter\uc1 \u253 ?m se nadchl na n\uc1 \u283 ?kolik
dal\uc1 \u353 ?\uc1 \u237 ?ch let. Toto nasm\uc1 \u283 ?rov\uc1 \u225 ?n\uc1
\u237 ? m\uc1 \u283 ?lo za neblah\uc1 \u253 ? n\uc1 \u225 ?sledek rozkmot\uc1 \u345
?en\uc1 \u237 ? se se svazem skladatel\uc1 \u367 ?. Ofici\uc1 \u225 ?ln\uc1 \u283 ?
p\uc1 \u345 ?estal \uc1 \u8220 ?b\uc1 \u253 ?t\uc1 \u8221 ? skladatelem.
Nesm\uc1 \u283 ?l nikde provozovat sv\uc1 \u233 ? skladby, nesm\uc1 \u283 ?l
vycestovat, aby se neinspiroval z\uc1 \u225 ?padn\uc1 \u237 ?mi vlivy a \uc1
\u382 ?ivil se proto n\uc1 \u225 ?sleduj\uc1 \u237 ?c\uc1 \u237 ? dv\uc1 \u283 ?
desetilet\uc1 \u237 ? skl\uc1 \u225 ?d\uc1 \u225 ?n\uc1 \u237 ?m filmov\uc1 \u233 ?
hudby - samoz\uc1 \u345 ?ejm\uc1 \u283 ? neseri\uc1 \u225 ?ln\uc1 \u237 ?. Mezi
roky 1962-1980 napsal
hudbu k v\uc1 \u237 ?ce ne\uc1 \u382 ? 60 film\uc1 \u367 ?m. Je mo\uc1 \u382 ?
n\uc1 \u233 ?, \uc1 \u382 ?e pr\uc1 \u225 ?v\uc1 \u283 ? ve Schnittkeho
filmov\uc1 \u233 ? hudb\uc1 \u283 ? se rod\uc1 \u237 ? jeho pozd\uc1 \u283 ?
j\uc1 \u353 ?\uc1 \u237 ? polystylismus, ve filmem vy\uc1 \u382 ?adovan\uc1 \u233 ?
m st\uc1 \u345 ?\uc1 \u237 ?d\uc1 \u225 ?n\uc1 \u237 ? n\uc1 \u225 ?lad a prost\uc1
\u345 ?ed\uc1 \u237 ?. V jeho hudb\uc1 \u283 ? v\uc1 \u353 ?ak najdeme mnohem v\uc1
\u237 ?ce vliv\uc1 \u367 ?. Inspiroval se u velik\uc1 \u225 ?n\uc1 \u367 ? v\uc1
\u353 ?ech hudebn\uc1 \u237 ?ch epoch - Bach, Mozart, Beethoven, Mahler,
Bart\uc1 \u243 ?k, Berg \uc1 \u269 ?i \uc1 \u352 ?ostakovi\uc1 \u269 ?. Ve\uc1
\u353 ?ker\uc1 \u253 ? vliv v\uc1 \u353 ?ak p\uc1 \u345 ?etvo\uc1 \u345 ?il do
sv\uc1 \u233 ?ho, sebou pojmenovan\uc1 \u233 ?ho, polystylismu. Zm\uc1 \u283 ?nu v
postaven\uc1 \u237 ? Schnittkeho a dal\uc1 \u353 ?\uc1 \u237 ?ch re\uc1 \u382 ?imem
kritizovan\uc1 \u253 ?ch skladatel\uc1 \u367 ? p\uc1 \u345 ?inesly a\uc1 \u382 ?
reformy Michaila Gorba\uc1 \u269 ?ova v polovin\uc1 \u283 ? osmdes\uc1 \u225 ?t\uc1
\u253 ?ch let. Schnittke se kone\uc1 \u269 ?n\uc1 \u283 ? mohl t\uc1 \u283 ?\uc1
\u353 ?it ve\uc1 \u345 ?ejn\uc1 \u233 ?mu prov\uc1 \u225 ?d\uc1 \u283 ?n\uc1
\u237 ? sv\uc1 \u253 ?ch d\uc1 \u283 ?l na dom\uc1 \u225 ?c\uc1 \u237 ? p\uc1 \u367
?d\uc1 \u283 ?. P\uc1 \u345 ?edt\uc1 \u237 ?m byla jeho d\uc1 \u237 ?la hr\uc1
\u225 ?na jen na z\uc1 \u225 ?pad\uc1 \u283 ?, d\uc1 \u237 ?ky p\uc1 \u345 ?\uc1
\u225 ?telstv\uc1 \u237 ? um\uc1 \u283 ?lc\uc1 \u367 ? mimo \uc1 \u269 ?ernou
listinu, kte\uc1 \u345 ?\uc1 \u237 ? mohli cestovat a vyv\uc1 \u225 ?\uc1 \u382 ?
eli tak jeho tvorbu mimo sov\uc1 \u283 ?tsk\uc1 \u253 ? svaz. Nejd\uc1 \u367 ?
le\uc1 \u382 ?it\uc1 \u283 ?j\uc1 \u353 ?\uc1 \u237 ?m z nich byl houslista Gidon
Kremer, kter\uc1 \u233 ?mu Schnittke v\uc1 \u283 ?noval n\uc1 \u283 ?kolik
sv\uc1 \u253 ?ch skladeb. Po uvoln\uc1 \u283 ?n\uc1 \u237 ? re\uc1 \u382 ?imu po
roce 1985 v\uc1 \u353 ?ak p\uc1 \u345 ?ich\uc1 \u225 ?z\uc1 \u237 ? zdravotn\uc1
\u237 ? komplikace. Prvn\uc1 \u237 ? mozkov\uc1 \u225 ? mrtvice Schnittkeho
postihla p\uc1 \u345 ?\uc1 \u237 ?mo v roce 1985, tak\uc1 \u382 ?e hned nemohl
vyu\uc1 \u382 ?\uc1 \u237 ?t nov\uc1 \u283 ? nabyt\uc1 \u233 ? pr\uc1 \u225 ?vo
cestovat. Kone\uc1 \u269 ?n\uc1 \u283 ? se mu dost\uc1 \u225 ?v\uc1 \u225 ? uzn\uc1
\u225 ?n\uc1 \u237 ? tak dlouho odep\uc1 \u237 ?ran\uc1 \u233 ?. I snad d\uc1 \u237
?ky tomu se v roce 1990 i p\uc1 \u345 ?es nedobr\uc1 \u253 ? zdravotn\uc1 \u237 ?
stav st\uc1 \u283 ?huje do Hamburku a p\uc1 \u345 ?ij\uc1 \u237 ?m\uc1 \u225 ? post
na tamn\uc1 \u237 ? konzervato\uc1 \u345 ?i. Ale o rok pozd\uc1 \u283 ?ji prich\uc1
\u225 ?z\uc1 \u237 ? druh\uc1 \u225 ? mrtvice a roku 1994 t\uc1 \u345 ?et\uc1 \u237
?. Po p\uc1 \u225 ?t\uc1 \u233 ? mrtvici roku 1998 um\uc1 \u237 ?r\uc1 \u225 ?.}
{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
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\langfenp2052 {\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029
\langnp1029 \langfe2052 \langfenp2052 Koncert \uc1 \u269 ?. 4 pro housle a
orchestr je dokon\uc1 \u269 ?en a vyd\uc1 \u225 ?n roku 1984. Je to d\uc1 \u237 ?lo
psan\uc1 \u233 ? na objedn\uc1 \u225 ?vku pro 34. ro\uc1 \u269 ?n\uc1 \u237 ?k
Berlinsk\uc1 \u233 ?ho festivalu. Premi\uc1 \u233 ?ra zazn\uc1 \u283 ?la 11.
z\uc1 \u225 ?\uc1 \u345 ?\uc1 \u237 ? 1984 v Z\uc1 \u225 ?padn\uc1 \u237 ?m
Berl\uc1 \u237 ?n\uc1 \u283 ?. S\uc1 \u243 ?lo hr\uc1 \u225 ?l Gidon Kremer a
Berl\uc1 \u237 ?nskou filharmonii dirigoval Chritoph von Dohn\uc1 \u225 ?nyi. Je to
jedno z posledn\uc1 \u237 ?ch d\uc1 \u283 ?l napsan\uc1 \u253 ?ch p\uc1 \u345 ?ed
nemoc\uc1 \u237 ?, ve vrcholn\uc1 \u233 ?m obdob\uc1 \u237 ? skladatelovy tvorby.
St\uc1 \u345 ?et protiklad\uc1 \u367 ?, nepravideln\uc1 \u225 ? pulzace, v\uc1
\u253 ?znamov\uc1 \u225 ? v\uc1 \u237 ?cezna\uc1 \u269 ?nost - tak by se dala
charakterizovat Schnittkeho tvorba v t\uc1 \u233 ?to dob\uc1 \u283 ?. Jak s\uc1
\u225 ?m \uc1 \u345 ?\uc1 \u237 ?k\uc1 \u225 ?: \uc1 \u8220 ?Mus\uc1 \u237 ?m
vych\uc1 \u225 ?zet z p\uc1 \u345 ?edpokladu, \uc1 \u382 ?e duchovn\uc1 \u237 ?
sv\uc1 \u283 ?t je od sv\uc1 \u233 ?ho z\uc1 \u225 ?kladu uspo\uc1 \u345 ?\uc1
\u225 ?dan\uc1 \u253 ?, strukturovan\uc1 \u253 ?, \uc1 \u382 ?e v\uc1 \u353 ?e, co
ve sv\uc1 \u283 ?t\uc1 \u283 ? p\uc1 \u367 ?sob\uc1 \u237 ? disharmonii, co je
monstr\uc1 \u243 ?zn\uc1 \u237 ?, nevysv\uc1 \u283 ?tliteln\uc1 \u233 ?,
stra\uc1 \u353 ?n\uc1 \u233 ?... to je ned\uc1 \u237 ?lnou sou\uc1 \u269 ?\uc1
\u225 ?st\uc1 \u237 ? t\uc1 \u233 ?ho\uc1 \u382 ? \uc1 \u345 ?\uc1 \u225 ?
du.\uc1 \u8221 ? }{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029
\langnp1029 \langfe2052 \langfenp2052 \par }\pard \plain \qj \fi420 \li0 \ri0
\lisb0 \sa157 \lisa50 \nowidctlpar \aspalpha \aspnum \adjustright \lin0 \rin0
\itap0 \fs21 \kerning2 \dbch \af2 \hich \af4 \loch \af4 \lang1033 \langnp1033
\langfe2052 \langfenp2052 {\i1 \fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4
\lang1029 \langnp1029 \langfe2052 \langfenp2052 Andante, Vivo, Adagio, Lento}{\fs22
\kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052
\langfenp2052 jsou tempov\uc1 \u225 ? ozna\uc1 \u269 ?en\uc1 \u237 ? \uc1 \u269 ?
ty\uc1 \u345 ? \uc1 \u269 ?\uc1 \u225 ?st\uc1 \u237 ? Schnittkeho koncertu \uc1
\u269 ?. 4, v\uc1 \u283 ?novan\uc1 \u233 ?ho Gidonu Kremerovi. Hlavn\uc1 \u237 ?
melodick\uc1 \u253 ? materi\uc1 \u225 ?l je odvozen z monogram\uc1 \u367 ? Gidona
Kremera, Alfreda Schnitkkeho a v posledn\uc1 \u237 ? v\uc1 \u283 ?t\uc1 \u283 ?
t\uc1 \u233 ?\uc1 \u382 ? jmen sp\uc1 \u345 ?\uc1 \u237 ?zn\uc1 \u283 ?n\uc1
\u253 ?ch skladatelsk\uc1 \u253 ?ch du\uc1 \u353 ?\uc1 \u237 ? Edisona Denisova,
Sofie Gubaiduliny a Arvo P\uc1 \u228 ?rta. Spor protiklad\uc1 \u367 ?
zastupuj\uc1 \u237 ? na jedn\uc1 \u233 ? stran\uc1 \u283 ? dv\uc1 \u283 ? t\uc1
\u233 ?mata ton\uc1 \u225 ?ln\uc1 \u283 ? klasick\uc1 \u225 ? a stylov\uc1 \u283 ?
a\uc1 \u382 ? romantick\uc1 \u225 ?, na stran\uc1 \u283 ? druh\uc1 \u233 ? plochy
aton\uc1 \u225 ?ln\uc1 \u237 ?, chromaticky disharmonick\uc1 \u233 ? s velk\uc1
\u253 ?m vyu\uc1 \u382 ?it\uc1 \u237 ?m interval\uc1 \u367 ? mal\uc1 \u253 ?ch
sekund a velk\uc1 \u253 ?ch septim a plochy clusterov\uc1 \u233 ?. N\uc1 \u283 ?
kolikr\uc1 \u225 ?t se t\uc1 \u233 ?\uc1 \u382 ? objevuje p\uc1 \u345 ?\uc1 \u237 ?
sn\uc1 \u225 ? dodekafonick\uc1 \u225 ? \uc1 \u345 ?ada. Orchestr je po\uc1 \u382 ?
adov\uc1 \u225 ?n velk\uc1 \u253 ?, d\uc1 \u345 ?eva po t\uc1 \u345 ?ech se
saxofonem nav\uc1 \u237 ?c, \uc1 \u382 ?est\uc1 \u283 ? po \uc1 \u269 ?ty\uc1 \u345
?ech (vyjma tuby), harfa, celesta, cemballo, preparovan\uc1 \u253 ? klav\uc1
\u237 ?r a \uc1 \u345 ?ada bic\uc1 \u237 ?ch (nutno 6 hr\uc1 \u225 ?\uc1
\u269 ?\uc1 \u367 ?). O po\uc1 \u269 ?tu smy\uc1 \u269 ?c\uc1 \u367 ? nen\uc1 \u237
? zm\uc1 \u237 ?nka, jen ve t\uc1 \u345 ?et\uc1 \u237 ? v\uc1 \u283 ?t\uc1 \u283 ?
nalezneme solo 12. hr\uc1 \u225 ?\uc1 \u269 ?e sekundu, \uc1 \u269 ?i 11
samostatn\uc1 \u253 ?ch hlas\uc1 \u367 ? primu, tedy pravd\uc1 \u283 ?podobn\uc1
\u283 ? +-14-12-10-8-6. V partitu\uc1 \u345 ?e je ud\uc1 \u225 ?v\uc1 \u225 ?na
celkov\uc1 \u225 ? durata okolo 25 minut, ale zm\uc1 \u237 ?n\uc1 \u283 ?n\uc1
\u225 ? premi\uc1 \u233 ?ra i jin\uc1 \u233 ? nahr\uc1 \u225 ?vky se pohybuj\uc1
\u237 ? mezi 33 a 36 minutami. }{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4
\lang1029 \langnp1029 \langfe2052 \langfenp2052 \par }\pard \plain \qj \fi420
\li0 \ri0 \lisb0 \sa157 \lisa50 \nowidctlpar \aspalpha \aspnum \adjustright
\lin0 \rin0 \itap0 \fs21 \kerning2 \dbch \af2 \hich \af4 \loch \af4 \lang1033
\langnp1033 \langfe2052 \langfenp2052 {\fs22 \kerning2 \dbch \af2 \hich \af4
\loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 Prvn\uc1 \u237 ? v\uc1
\u283 ?ta - }{\i1 \fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029
\langnp1029 \langfe2052 \langfenp2052 Andante}{\fs22 \kerning2 \dbch \af2 \hich
\af4 \loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 - je z cel\uc1
\u233 ?ho koncertu nejkrat\uc1 \u353 ?\uc1 \u237 ? a je jakousi expozic\uc1
\u237 ?, ukazuje jestli ne o \uc1 \u269 ?em, tak alespo\uc1 \u328 ? jak k n\uc1
\u225 ?m bude skladatel promlouvat. Hned na za\uc1 \u269 ?\uc1 \u225 ?tku
zahraj\uc1 \u237 ? orchestr\uc1 \u225 ?ln\uc1 \u237 ? zvony a preparovan\uc1
\u253 ? klav\uc1 \u237 ?r dv\uc1 \u283 ? skupiny not, z nich\uc1 \u382 ?
druh\uc1 \u225 ? (G,D,E,E) je monogramem jm\uc1 \u233 ?na Gidon Kremer (GiDon
krEmEr). N\uc1 \u225 ?sleduje t\uc1 \u345 ?\uc1 \u237 ?dob\uc1 \u233 ? durov\uc1
\u233 ? t\uc1 \u233 ?ma dechov\uc1 \u253 ?ch n\uc1 \u225 ?stroj\uc1 \u367 ? (klar.,
fag., horny) s koment\uc1 \u225 ?\uc1 \u345 ?em smy\uc1 \u269 ?cov\uc1 \u253 ?ch
pizzicat, kter\uc1 \u233 ? n\uc1 \u225 ?m evokuje barokn\uc1 \u237 ? sarabandu.
Toto t\uc1 \u233 ?ma se v pr\uc1 \u367 ?b\uc1 \u283 ?hu koncertu navrac\uc1 \u237 ?
a je takov\uc1 \u253 ?m }{\i1 \fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4
\lang1029 \langnp1029 \langfe2052 \langfenp2052 fatum banalis}{\fs22 \kerning2
\dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 -
oby\uc1 \u269 ?ejn\uc1 \u253 ? osud. Melodick\uc1 \u225 ? \uc1 \u269 ?\uc1 \u225 ?
st je naru\uc1 \u353 ?ena houslistou, kter\uc1 \u253 ? p\uc1 \u345 ?ich\uc1 \u225 ?
z\uc1 \u237 ? za doprovodu tutti clusteru a jeho disonantn\uc1 \u237 ? s\uc1
\u243 ?lo \uc1 \u8220 ?melodii\uc1 \u8221 ? st\uc1 \u345 ?\uc1 \u237 ?dav\uc1 \u283
? doprovod\uc1 \u237 ? cluster smy\uc1 \u269 ?cov\uc1 \u253 ?, \uc1 \u382 ?
es\uc1 \u357 ?ov\uc1 \u253 ? a d\uc1 \u345 ?ev\uc1 \u283 ?n\uc1 \u253 ? ne\uc1
\u250 ?pln\uc1 \u253 ? a\uc1 \u382 ? zmen\uc1 \u353
?en\uc1 \u253 ? akord ve smy\uc1 \u269 ?c\uc1 \u237 ?ch p\uc1 \u345 ?
edznamen\uc1 \u225 ? n\uc1 \u225 ?vrat monogram\uc1 \u367 ?. Tentokr\uc1 \u225 ?t v
pod\uc1 \u225 ?n\uc1 \u237 ? housl\uc1 \u237 ? a roz\uc1 \u353 ?\uc1 \u237 ?\uc1
\u345 ?en\uc1 \u233 ? o monogram skladatel\uc1 \u367 ?v - A,F,E,D,Es,C,H,E (AlFrED
SCHnittkE). Posledn\uc1 \u237 ? dv\uc1 \u283 ? noty H a E jsou podlo\uc1 \u382 ?eny
durov\uc1 \u253 ?mi kvintakordy, tak\uc1 \u382 ?e se d\uc1 \u225 ? mluvit o
dominantn\uc1 \u237 ?m rozvodu. Tento spoj je takov\uc1 \u253 ?m ton\uc1 \u225 ?
ln\uc1 \u283 ? harmonick\uc1 \u253 ?m vrcholem v\uc1 \u283 ?ty. N\uc1 \u225 ?
sleduje op\uc1 \u283 ?t chromatick\uc1 \u225 ? \uc1 \u269 ?\uc1 \u225 ?st. Housle
nejprve ti\uc1 \u353 ?e trylkuj\uc1 \u237 ? za aton\uc1 \u225 ?ln\uc1 \u237 ?ho
doprovodu cemballa a dech\uc1 \u367 ? a pak se rozho\uc1 \u345 ?\uc1 \u269 ?\uc1
\u237 ? v n\uc1 \u283 ?kolika taktech pln\uc1 \u253 ?ch disonance a chromatiky.
Pomlka p\uc1 \u345 ?ed dal\uc1 \u353 ?\uc1 \u237 ?m vstupem d\uc1 \u345 ?ev\uc1
\u283 ?n\uc1 \u233 ?ho }{\i1 \fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4
\lang1029 \langnp1029 \langfe2052 \langfenp2052 fatum banalis}{\fs22 \kerning2
\dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 je
dramatick\uc1 \u253 ?m vrcholem prvn\uc1 \u237 ? \uc1 \u269 ?\uc1 \u225 ?sti
koncertu. Podruh\uc1 \u233 ? zazn\uc1 \u237 ? sarabandov\uc1 \u233 ? t\uc1 \u233 ?
ma v mollov\uc1 \u233 ? t\uc1 \u243 ?nin\uc1 \u283 ? a m\uc1 \u237 ?sto smy\uc1
\u269 ?c\uc1 \u367 ? p\uc1 \u345 ?izn\uc1 \u225 ?v\uc1 \u225 ? preparovan\uc1 \u253
? klav\uc1 \u237 ?r. Stejn\uc1 \u283 ? jako poprv\uc1 \u233 ? je v\uc1 \u353 ?ak
naru\uc1 \u353 ?eno disonanc\uc1 \u237 ? ve d\uc1 \u345 ?evech a skrze partituru se
\uc1 \u8220 ?propadneme\uc1 \u8221 ? d\uc1 \u345 ?evy a \uc1 \u382 ?esti k tymp\uc1
\u225 ?n\uc1 \u367 ?m a zvon\uc1 \u367 ?m. Na cest\uc1 \u283 ? n\uc1 \u225 ?m
saxofon pod\uc1 \u225 ? jednu dodekafonn\uc1 \u237 ? \uc1 \u345 ?adu. Housle
p\uc1 \u345 ?evezmou od zvon\uc1 \u367 ? a naposled v t\uc1 \u233 ?to v\uc1 \u283 ?
t\uc1 \u283 ? zazn\uc1 \u237 ? monogramy jmen Gidon Kremer a Alfred Schnittke. }
{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
\langfe2052 \langfenp2052 \par }\pard \plain \qj \fi420 \li0 \ri0 \lisb0 \sa157
\lisa50 \nowidctlpar \aspalpha \aspnum \adjustright \lin0 \rin0 \itap0 \fs21
\kerning2 \dbch \af2 \hich \af4 \loch \af4 \lang1033 \langnp1033 \langfe2052
\langfenp2052 {\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029
\langnp1029 \langfe2052 \langfenp2052 Druh\uc1 \u225 ? v\uc1 \u283 ?ta - }{\i1
\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
\langfe2052 \langfenp2052 Vivo}{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4
\lang1029 \langnp1029 \langfe2052 \langfenp2052 - se materi\uc1 \u225 ?lu p\uc1
\u345 ?edveden\uc1 \u233 ?mu v prvn\uc1 \u237 ? v\uc1 \u283 ?t\uc1 \u283 ?
vyh\uc1 \u253 ?b\uc1 \u225 ?. Je ve form\uc1 \u283 ? podobn\uc1 \u233 ?
passacaglie. Krom\uc1 \u283 ? \uc1 \u250 ?vodn\uc1 \u237 ?ch t\uc1 \u345 ?\uc1
\u237 ? a posledn\uc1 \u237 ?ch \uc1 \u269 ?ty\uc1 \u345 ? takt\uc1 \u367 ? se
v\uc1 \u353 ?e orientuje po 24 taktech, kter\uc1 \u233 ? ud\uc1 \u225 ?v\uc1
\u225 ? po celou dobu beze zm\uc1 \u283 ?ny preparovan\uc1 \u253 ? klav\uc1 \u237 ?
r 12 souzvuky na ka\uc1 \u382 ?d\uc1 \u253 ? lich\uc1 \u253 ? takt. V ka\uc1
\u382 ?d\uc1 \u233 ?m z nich je nota G, kter\uc1 \u225 ? zn\uc1 \u237 ? po celou
dobu trv\uc1 \u225 ?n\uc1 \u237 ? v\uc1 \u283 ?ty. T\uc1 \u243 ?ny t\uc1 \u283 ?
chto \uc1 \u8220 ?akord\uc1 \u367 ?\uc1 \u8221 ? nejprve housle nad klav\uc1
\u237 ?rem rozkl\uc1 \u225 ?daj\uc1 \u237 ? v rychl\uc1 \u233 ?m \uc1 \u353 ?
estn\uc1 \u225 ?ctinov\uc1 \u233 ?m \uc1 \u8220 ?t\uc1 \u233 ?matu\uc1 \u8221 ?. Na
vrcholech rozklad\uc1 \u367 ? m\uc1 \u367 ?\uc1 \u382 ?eme nal\uc1 \u233 ?zt
t\uc1 \u243 ?ny tvo\uc1 \u345 ?\uc1 \u237 ?c\uc1 \u237 ? z\uc1 \u225 ?klad
jednotliv\uc1 \u253 ?ch variac\uc1 \u237 ?. Jednotliv\uc1 \u233 ? melodick\uc1
\u233 ? linky v\uc1 \u382 ?dy v n\uc1 \u225 ?sleduj\uc1 \u237 ?c\uc1 \u237 ?
variaci p\uc1 \u345 ?evezme n\uc1 \u283 ?kter\uc1 \u253 ? n\uc1 \u225 ?stroj v
orchestru. \uc1 \u352 ?estn\uc1 \u225 ?ctinov\uc1 \u253 ? motor, kter\uc1 \u253 ?m
housle v\uc1 \u283 ?tu rozjedou, se neust\uc1 \u225 ?le p\uc1 \u345 ?el\uc1 \u233 ?
v\uc1 \u225 ? z m\uc1 \u237 ?sta na m\uc1 \u237 ?sto, ale a\uc1 \u382 ? do vrcholu
skladby nikdy neustrne. Po \uc1 \u269 ?ty\uc1 \u345 ?ech variac\uc1 \u237 ?ch
housle opakuj\uc1 \u237 ? t\uc1 \u233 ?ma, ov\uc1 \u353 ?em zrychlen\uc1 \u233 ? na
dv\uc1 \u283 ? t\uc1 \u345 ?etiny p\uc1 \u367 ?vodn\uc1 \u237 ? d\uc1 \u233 ?lky.
Klav\uc1 \u237 ?r z\uc1 \u367 ?st\uc1 \u225 ?v\uc1 \u225 ? ve sv\uc1 \u233 ?m 24
taktov\uc1 \u233 ?m cyklu, ale housle i orchestr p\uc1 \u345 ?e\uc1 \u345 ?
ad\uc1 \u237 ? na 16 taktov\uc1 \u253 ?. S ka\uc1 \u382 ?dou dal\uc1 \u353 ?\uc1
\u237 ? variac\uc1 \u237 ? houstne faktura. Po t\uc1 \u345 ?ech variac\uc1 \u237 ?
ch 16 taktov\uc1 \u253 ?ch se op\uc1 \u283 ?t p\uc1 \u345 ?e\uc1 \u345 ?azuje. \uc1
\u268 ?ty\uc1 \u345 ?i variace osmitaktov\uc1 \u233 ?. Na taktu, kde se sejdou
v\uc1 \u353 ?ichni s klav\uc1 \u237 ?rem op\uc1 \u283 ?t zazn\uc1 \u237 ? t\uc1
\u233 ?ma, tentokr\uc1 \u225 ?t zhu\uc1 \u353 ?t\uc1 \u283 ?n\uc1 \u233 ? do
\uc1 \u353 ?esti takt\uc1 \u367 ?. Doprovod trochu polevuje. Jedna variace \uc1
\u353 ?estitaktov\uc1 \u225 ?, t\uc1 \u345 ?i \uc1 \u269 ?ty\uc1 \u345 ?
taktov\uc1 \u233 ?. Dvakr\uc1 \u225 ?t \uc1 \u353 ?est a t\uc1 \u345 ?ikr\uc1 \u225
?t \uc1 \u269 ?ty\uc1 \u345 ?i d\uc1 \u225 ?v\uc1 \u225 ? dohromady jedno 24
takt\uc1 \u237 ? klav\uc1 \u237 ?ru. V posledn\uc1 \u237 ?m \uc1 \u269 ?ty\uc1
\u345 ?takt\uc1 \u237 ? poprv\uc1 \u233 ? od za\uc1 \u269 ?\uc1 \u225 ?tku v\uc1
\u283 ?ty nikdo nehraje \uc1 \u353 ?estn\uc1 \u225 ?ctniny, jen housle dramaticky
p\uc1 \u345 ?ejdou do triol. V\uc1 \u353 ?ichni se op\uc1 \u283 ?t potk\uc1 \u225 ?
vaj\uc1 \u237 ? na taktov\uc1 \u233 ? \uc1 \u269 ?\uc1 \u225 ?\uc1 \u345 ?e a p\uc1
\u345 ?ich\uc1 \u225 ?z\uc1 \u237 ? dal\uc1 \u353 ?\uc1 \u237 ? grada\uc1 \u269 ?
n\uc1 \u237 ? prost\uc1 \u345 ?edky. Housle opakuj\uc1 \u237 ? 12 not
postupn\uc1 \u283 ? rozost\uc1 \u345 ?en\uc1 \u253 ?ch pauzami, dechov\uc1 \u233 ?
n\uc1 \u225 ?stroje por\uc1 \u367 ?znu hraj\uc1 \u237 ? jednotliv\uc1 \u225 ?
varia\uc1 \u269 ?n\uc1 \u237 ? t\uc1 \u233 ?mata, bic\uc1 \u237 ? melodick\uc1
\u233 ? se spolu s cemballem zacykluj\uc1 \u237 ? ka\uc1 \u382 ?d\uc1 \u253 ? v
jinak dlouh\uc1 \u233 ?m cyklu (2,3,4,6,8,12,16,24) - v\uc1 \u353 ?e d\uc1 \u283 ?
litel\uc1 \u233 ? \uc1 \u269 ?\uc1 \u237 ?sla 24. Krom\uc1 \u283 ? 16, orchestr\uc1
\u225 ?ln\uc1 \u237 ? zvony se zacykl\uc1 \u237 ? na 16 taktech a to tak, \uc1
\u382 ?e se pak s ostatn\uc1 \u237 ?mi sejdou na p\uc1 \u345 ?elomu dvou 24
taktov\uc1 \u253 ?ch \uc1 \u269 ?\uc1 \u225 ?st\uc1 \u237 ?. Smy\uc1 \u269 ?ce
ml\uc1 \u269 ?\uc1 \u237 ?. Na vrcholu housl\uc1 \u237 ?m p\uc1 \u345 ?est\uc1
\u225 ?v\uc1 \u225 ? p\uc1 \u345 ?esn\uc1 \u225 ? notace. }{\i1 \fs22 \kerning2
\dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052
Poco a poco senza suoni - cadenza visuale}{\fs22 \kerning2 \dbch \af2 \hich \af4
\loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 . Dechy b\uc1 \u283 ?hem
24 takt\uc1 \u367 ? zeslab\uc1 \u237 ? a odejdou. Dal\uc1 \u353 ?\uc1 \u237 ?ch 24
takt\uc1 \u367 ? doprov\uc1 \u225 ?z\uc1 \u237 ? vizu\uc1 \u225 ?ln\uc1 \u237 ?
kadenci asyrytmick\uc1 \u233 ? G v r\uc1 \u367 ?zn\uc1 \u253 ?ch okt\uc1 \u225 ?
v\uc1 \u225 ?ch tutti smy\uc1 \u269 ?c\uc1 \u367 ?. Zacyklen\uc1 \u233 ? n\uc1
\u225 ?stroje p\uc1 \u345 ?est\uc1 \u225 ?vaj\uc1 \u237 ? hr\uc1 \u225 ?t a smy\uc1
\u269 ?ce zeslaben\uc1 \u237 ?m odhal\uc1 \u237 ? navr\uc1 \u225 ?tiv\uc1
\u353 ?\uc1 \u237 ? se zvuk s\uc1 \u243 ?listy na not\uc1 \u283 ? G. Posledn\uc1
\u237 ?ch 24 takt\uc1 \u367 ? hraj\uc1 \u237 ? housle s preparovan\uc1 \u253 ?m
klav\uc1 \u237 ?rem a \uc1 \u269 ?ty\uc1 \u345 ?i takty houslov\uc1 \u233 ? dohry a
p\uc1 \u345 ?\uc1 \u237 ?prava na t\uc1 \u345 ?et\uc1 \u237 ? v\uc1 \u283 ?tu notou
D.}{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
\langfe2052 \langfenp2052 \par }\pard \plain \qj \fi420 \li0 \ri0 \lisb0 \sa157
\lisa50 \nowidctlpar \aspalpha \aspnum \adjustright \lin0 \rin0 \itap0 \fs21
\kerning2 \dbch \af2 \hich \af4 \loch \af4 \lang1033 \langnp1033 \langfe2052
\langfenp2052 {\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029
\langnp1029 \langfe2052 \langfenp2052 T\uc1 \u345 ?et\uc1 \u237 ? v\uc1 \u283 ?
ta, }{\i1 \fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
\langfe2052 \langfenp2052 Adagio}{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch
\f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 , p\uc1 \u345 ?in\uc1
\u225 ?\uc1 \u353 ?\uc1 \u237 ? nov\uc1 \u233 ? t\uc1 \u233 ?ma ve stylu ton\uc1
\u225 ?ln\uc1 \u237 ?m a\uc1 \u382 ? romantick\uc1 \u233 ?m. S\uc1 \u225 ?m autor o
n\uc1 \u283 ?m hovo\uc1 \u345 ?\uc1 \u237 ? jako o klamn\uc1 \u233 ?m spasen\uc1
\u237 ? (illusory, }{\i1 \fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4
\lang1029 \langnp1029 \langfe2052 \langfenp2052 false salvation}{\fs22 \kerning2
\dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 ).
St\uc1 \u345 ?\uc1 \u237 ?daj\uc1 \u237 ? ho plochy chromatickodisonantn\uc1
\u237 ?, \uc1 \u250 ?ryvky dodekafonn\uc1 \u237 ?, }{\i1 \fs22 \kerning2 \dbch \af2
\hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 fatum banalis}
{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
\langfe2052 \langfenp2052 , p\uc1 \u345 ?ipom\uc1 \u237 ?nka druh\uc1 \u233 ? v\uc1
\u283 ?ty. }{\i1 \fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029
\langnp1029 \langfe2052 \langfenp2052 False salvation}{\fs22 \kerning2 \dbch
\af2 \hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052
\langfenp2052 se vrac\uc1 \u237 ? ve v\uc1 \u283 ?t\uc1 \u283 ? t\uc1 \u345 ?
ikr\uc1 \u225 ?t. P\uc1 \u345 ?i prvn\uc1 \u237 ?m n\uc1 \u225 ?vratu je
podlo\uc1 \u382 ?eno houpav\uc1 \u253 ?m doprovodem klav\uc1 \u237 ?ru a s\uc1
\u243 ?lem, kter\uc1 \u233 ? m\uc1 \u283 ?n\uc1 \u237 ? jeho n\uc1 \u225 ?ladu na
hororovou grotesku, p\uc1 \u345 ?i druh\uc1 \u233 ?m je t\uc1 \u233 ?ma prov\uc1
\u225 ?d\uc1 \u283 ?no hromadnou \uc1 \u8220 ?strettou\uc1 \u8221 ? 11 hlasy
prvn\uc1 \u237 ?ch housl\uc1 \u237 ?. Ka\uc1 \u382 ?d\uc1 \u253 ? dal\uc1
\u353 ?\uc1 \u237 ? n\uc1 \u225 ?stup je o jednu \uc1 \u353 ?estn\uc1 \u225 ?ctinu
pozd\uc1 \u283 ?ji a o p\uc1 \u367 ?lt\uc1 \u243 ?n n\uc1 \u237 ?\uc1 \u382 ?e. S
prvn\uc1 \u237 ?m hlasem v p\uc1 \u367 ?vodn\uc1 \u237 ? t\uc1 \u243 ?nin\uc1 \u283
? D dur hraje flexaton a altov\uc1 \u253 ? saxofon. V\uc1 \u253 ?sledn\uc1 \u253 ?
efekt je je\uc1 \u353 ?t\uc1 \u283 ? stra\uc1 \u353 ?ideln\uc1 \u283 ?j\uc1
\u353 ?\uc1 \u237 ? ne\uc1 \u382 ? p\uc1 \u345 ?edchoz\uc1 \u237 ? n\uc1 \u225 ?
vrat, a\uc1 \u382 ? p\uc1 \u345 ?izra\uc1 \u269 ?n\uc1 \u283 ? hr\uc1 \u367 ?zn\uc1
\u253 ?. Naposledy se vrac\uc1 \u237 ? v z\uc1 \u225 ?v\uc1 \u283 ?ru v\uc1 \u283 ?
ty, kde se po taktu st\uc1 \u345 ?\uc1 \u237 ?d\uc1 \u225 ? v sole violoncella se
s\uc1 \u243 ?listovou disonanc\uc1 \u237 ?. }{\fs22 \kerning2 \dbch \af2 \hich \af4
\loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 \par }\pard \plain \qj
\fi420 \li0 \ri0 \lisb0 \sa157 \lisa50 \nowidctlpar \aspalpha \aspnum
\adjustright \lin0 \rin0 \itap0 \fs21 \kerning2 \dbch \af2 \hich \af4 \loch \af4
\lang1033 \langnp1033 \langfe2052 \langfenp2052 {\i1 \fs22 \kerning2 \dbch \af2
\hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 Lento}
{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
\langfe2052 \langfenp2052 , posledn\uc1 \u237 ? v\uc1 \u283 ?ta nep\uc1 \u345 ?
in\uc1 \u225 ?\uc1 \u353 ?\uc1 \u237 ? v z\uc1 \u225 ?sad\uc1 \u283 ? nic
nov\uc1 \u233 ?ho. Najdeme v n\uc1 \u237 ? disonance, dodekafonii, }{\i1 \fs22
\kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052
\langfenp2052 fatum banalis}{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4
\lang1029 \langnp1029 \langfe2052 \langfenp2052 , }{\i1 \fs22 \kerning2 \dbch
\af2 \hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 false
salvation}{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
\langfe2052 \langfenp2052 , materi\uc1 \u225 ?l z druh\uc1 \u233 ? v\uc1 \u283 ?ty
a monogramy, ve kter\uc1 \u253 ?ch se objevuje jedin\uc1 \u233 ? nov\uc1 \u233 ? -
monogramy dal\uc1 \u353 ?\uc1 \u237 ?ch jmen Edison Denisov, Sofia Gubaidulina a
Arvo P}{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
\langfe2052 \langfenp2052 \uc1 \u228 ?}{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch
\f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 rt. Nov\uc1 \u233 ? jsou v
t\uc1 \u233 ?to \uc1 \u269 ?\uc1 \u225 ?sti kombinace p\uc1 \u345 ?edchoz\uc1 \u237
?ch materi\uc1 \u225 ?l\uc1 \u367 ?. Spojen\uc1 \u237 ? }{\i1 \fs22 \kerning2 \dbch
\af2 \hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 fatum
banalis }{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
\langfe2052 \langfenp2052 + }{\i1 \fs22 \kerning2 \dbch \af2 \hich \af4 \loch
\f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 false salvation}{\fs22
\kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052
\langfenp2052 + p\uc1 \u345 ?ipom\uc1 \u237 ?nka }{\i1 \fs22 \kerning2 \dbch
\af2 \hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 Viva}
{\fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029 \langnp1029
\langfe2052 \langfenp2052 + monogramy + to v\uc1 \u353 ?e v t\uc1 \u243 ?
nin\uc1 \u225 ?ch postaven\uc1 \u253 ?ch proti sob\uc1 \u283 ? p\uc1 \u345 ?ed
druhou }{\i1 \fs22 \kerning2 \dbch \af2 \hich \af4 \loch \f4 \lang1029
\langnp1029 \langfe2052 \langfenp2052 cadenzou visuale}{\fs22 \kerning2 \dbch
\af2 \hich \af4 \loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 a
vrcholem cel\uc1 \u233 ?ho fin\uc1 \u225 ?le a pravd\uc1 \u283 ?podobn\uc1 \u283 ?
i cel\uc1 \u233 ?ho koncertu v n\uc1 \u225 ?s spolu se z\uc1 \u225 ?v\uc1 \u283 ?
re\uc1 \u269 ?nou zklidn\uc1 \u283 ?nou plochou monogram\uc1 \u367 ? \uc1 \u250 ?
sp\uc1 \u283 ?\uc1 \u353 ?n\uc1 \u283 ? p\uc1 \u345 ?esv\uc1 \u283 ?d\uc1 \u269 ?
uje o pravdivosti Schnittkeho tvrzen\uc1 \u237 ?, \uc1 \u382 ?e \uc1
\u8220 ?....v\uc1 \u353 ?e, co ve sv\uc1 \u283 ?t\uc1 \u283 ? p\uc1 \u367 ?
sob\uc1 \u237 ? disharmonii, co je monstr\uc1 \u243 ?zn\uc1 \u237 ?, nevysv\uc1
\u283 ?tliteln\uc1 \u233 ?, stra\uc1 \u353 ?n\uc1 \u233 ?... to je ned\uc1 \u237 ?
lnou sou\uc1 \u269 ?\uc1 \u225 ?st\uc1 \u237 ? t\uc1 \u233 ?ho\uc1 \u382 ? \uc1
\u345 ?\uc1 \u225 ?du.\uc1 \u8221 ?}{\i1 \fs22 \kerning2 \dbch \af2 \hich \af4
\loch \f4 \lang1029 \langnp1029 \langfe2052 \langfenp2052 \par }}