{"id":95335,"date":"2026-05-24T05:36:09","date_gmt":"2026-05-24T05:36:09","guid":{"rendered":"https:\/\/www.europesays.com\/cz\/95335\/"},"modified":"2026-05-24T05:36:09","modified_gmt":"2026-05-24T05:36:09","slug":"odpoved-hloupemu-kritikovi-pianista-se-vymezil-na-prazskem-jaru","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/cz\/95335\/","title":{"rendered":"\u201eOdpov\u011b\u010f hloup\u00e9mu kritikovi.\u201c Pianista se vymezil na Pra\u017esk\u00e9m jaru"},"content":{"rendered":"

Fred Hersch je jemn\u00fd, tich\u00fd \u010dlov\u011bk. O\u00a0to bylo p\u0159ekvapiv\u011bj\u0161\u00ed, kdy\u017e americk\u00fd jazzov\u00fd pianista tento t\u00fdden na festivalu Pra\u017esk\u00e9 jaro uvedl p\u0159\u00eddavek sv\u00e9ho koncertu zv\u00fd\u0161en\u00fdm hlasem. \u201eN\u011bjak\u00fd idiotsk\u00fd kritik v\u00a0New York Times sestavil seznam t\u0159iceti nejv\u00fdznamn\u011bj\u0161\u00edch \u017eij\u00edc\u00edch skladatel\u016f. A\u00a0mo\u017en\u00e1 proto\u017ee je mu dvacet, tak tam nedal Billyho Joela,\u201c zm\u00ednil zn\u00e1m\u00e9ho zp\u011bv\u00e1ka a\u00a0klav\u00edristu, jeho\u017e absenci na seznamu u\u017e zkritizovali<\/a> pianista Brad Mehldau nebo hudebn\u00ed youtuber Rick Beato<\/a>. <\/p>\n

\u201eBilly Joel je jedn\u00edm z\u00a0nejv\u011bt\u0161\u00edch \u017eij\u00edc\u00edch skladatel\u016f, te\u010dka. Tak\u017ee jako odpov\u011b\u010f na tuhle nespravedlnost v\u00e1m zahraju mou obl\u00edbenou p\u00edse\u0148 od Billyho Joela,\u201c dodal Fred Hersch, na\u010de\u017e s\u00e1m od klav\u00edru spustil coververzi songu And So It Goes vypr\u00e1v\u011bj\u00edc\u00edho o\u00a0vztahu odsouzen\u00e9m k\u00a0nezdaru.<\/p>\n

Sedmdes\u00e1tilet\u00fd jazzov\u00fd pianista a\u00a0skladatel z\u00a0americk\u00e9ho m\u011bsta Cincinnati, kter\u00fd byl nominov\u00e1n na 17\u00a0cen Grammy, vystoupil tento \u010dtvrtek v\u00a0s\u00e1le DOX+ s\u00a0triem. Fred Hersch uvedl n\u011bkolik vlastn\u00edch i\u00a0p\u0159evzat\u00fdch kompozic, hr\u00e1l jazzov\u00e9 standardy i\u00a0free, navrch p\u0159idal brazilsk\u00fd song. \u010c\u00e1st reperto\u00e1ru se p\u0159ekr\u00fdvala s\u00a0jeho lo\u0148skou nahr\u00e1vkou The Surrounding Green, u\u017e t\u0159et\u00ed pro mnichovsk\u00e9 vydavatelstv\u00ed ECM.<\/p>\n

Pro \u010cechy to byla po sedmi letech p\u0159\u00edle\u017eitost za\u017e\u00edt mu\u017ee, kter\u00fd tu podle v\u0161ech progn\u00f3z d\u00e1vno b\u00fdt nem\u011bl. Ve sv\u00e9 autobiografii Good Things Happen Slowly z\u00a0roku 2017\u00a0Fred Hersch popisuje, jak osazenstvo newyorsk\u00fdch gay bar\u016f 80.\u00a0let minul\u00e9ho stolet\u00ed s\u00a0panikou sledovalo \u0161\u00ed\u0159en\u00ed epidemie AIDS, zprvu dlouho neidentifikovan\u00e9. <\/p>\n

\u201eP\u0159i\u0161li jste do baru na Fire Islandu a\u00a0chl\u00e1pek, kter\u00fd byl posledn\u011b sexy, namakan\u00fd, energick\u00fd, se z\u00e1\u0159\u00edc\u00edma o\u010dima, se tu najednou pl\u00ed\u017eil jako p\u0159\u00edzrak, \u0161ed\u00e1 k\u016f\u017ee mu visela na kostech, o\u010di m\u011bl matn\u00e9 a\u00a0obli\u010dej pot\u0159\u00edsn\u011bn\u00fd fialov\u00fdmi skvrnami,\u201c popisuje pianista, jak tehdy v\u00a0novin\u00e1ch denn\u011b \u010detl o\u00a0\u00famrt\u00edch t\u0159icetilet\u00fdch a\u00a0\u010dty\u0159icetilet\u00fdch mu\u017e\u016f. \u201eU v\u0161ech byly jako p\u0159\u00ed\u010dina \u00famrt\u00ed uvedeny z\u00e1pal plic nebo infarkt, co\u017e u\u00a0mu\u017e\u016f v\u00a0tomto v\u011bku v\u016fbec nen\u00ed b\u011b\u017en\u00e9,\u201c vzpom\u00edn\u00e1 Hersch na dobu, ne\u017e l\u00e9ka\u0159i identifikovali, \u017ee nemoc zp\u016fsobuje virus HIV.<\/p>\n

Foto: Jan Kantor, Pra\u017esk\u00e9 jaro<\/p>\n

V roce 1984, pr\u00e1v\u011b kdy\u017e se chystal nato\u010dit prvn\u00ed album pod vlastn\u00edm jm\u00e9nem, s\u00e1m poc\u00edtil p\u0159\u00edznaky. \u201eZni\u010dehonic jsem hrozn\u011b zesl\u00e1bl. Bylo to, jako kdy\u017e na v\u00e1s leze ch\u0159ipka, ale nikdy naplno nepropukne,\u201c popisuje, jak za\u010dal m\u00edt po\u0159\u00e1d \u017e\u00edze\u0148, motala se mu hlava z\u00a0prudk\u00fdch pohyb\u016f, ztr\u00e1cel v\u00e1hu, na tv\u00e1\u0159i se mu objevily pup\u00ednky. Nakonec si u\u00a0doktora vyslechl stejnou diagn\u00f3zu jako jeho tehdej\u0161\u00ed p\u0159\u00edtel: HIV. \u201ePoci\u0165oval jsem slo\u017eitou sm\u011bs emoc\u00ed a\u00a0nutk\u00e1n\u00ed, od velmi temn\u00fdch po ryze pozitivn\u00ed,\u201c l\u00ed\u010d\u00ed pianista, jak se rozhodl v\u0161echnu zb\u00fdvaj\u00edc\u00ed s\u00edlu obtisknout do sv\u00e9 prvn\u00ed desky. Od t\u00e9 doby ka\u017edou to\u010d\u00ed s\u00a0v\u011bdom\u00edm, \u017ee m\u016f\u017ee b\u00fdt posledn\u00ed. <\/p>\n

\u201eProto\u017ee jsem se diagn\u00f3zu dozv\u011bd\u011bl zhruba ve stejn\u00e9 dob\u011b, kdy jsem nato\u010dil prvn\u00ed album pod sv\u00fdm jm\u00e9nem, moje nemoc a\u00a0m\u00e1 hudba jsou v\u00a0m\u00e9 hlav\u011b neodd\u011bliteln\u011b spojen\u00e9,\u201c vysv\u011btluje mu\u017e, jen\u017e koleg\u016fm zesnul\u00fdm v\u00a0d\u016fsledku AIDS mimo jin\u00e9 v\u011bnoval dv\u011b skladby na desce Forward Motion z\u00a0roku 1991.\u00a0Tento \u010dtvrtek z\u00a0n\u00ed na Pra\u017esk\u00e9m jaru hraje tituln\u00ed kompozici. M\u00e1 pro n\u011bj osobn\u00ed v\u00fdznam, ve stejn\u00e9 dob\u011b ud\u011blal coming out. \u201eDo t\u00e9 doby jsem byl takov\u00fd hudebn\u011b upjat\u011bj\u0161\u00ed. A\u017e na Forward Motion jsem se poprv\u00e9 za\u010dal c\u00edtit jist\u011bji,\u201c p\u0159ipou\u0161t\u00ed v\u00a0knize.<\/p>\n

Hersch v\u00a0n\u00ed vysv\u011btluje, jak mu v\u00a080.\u00a0letech zachr\u00e1nily \u017eivot rychl\u00e1 l\u00e9\u010dba a\u00a0mix 33\u00a0pr\u00e1\u0161k\u016f, kter\u00e9 bere dodnes. P\u0159esto n\u011bkolikr\u00e1t m\u00e1lem zem\u0159el. Koncem roku 2007\u00a0musel po konzultaci s\u00a0l\u00e9ka\u0159em pr\u00e1\u0161ky vysadit, virus se mu za kr\u00e1tk\u00fd \u010das roz\u0161\u00ed\u0159il po cel\u00e9m t\u011ble a\u00a0napadl nervov\u00fd syst\u00e9m. Pianista p\u0159estal b\u00fdt schopn\u00fd s\u00e1m j\u00edst nebo se um\u00fdt a\u00a0propadal paranoidn\u00edm p\u0159edstav\u00e1m. \u201eCel\u00e9 dny jsem le\u017eel schoulen\u00fd v\u00a0jak\u00e9msi zatemn\u011bn\u00ed mysli. Byl jsem t\u0159eba p\u0159esv\u011bd\u010den\u00fd, \u017ee dok\u00e1\u017eu zastavit \u010das. B\u011bhal jsem po dom\u011b nah\u00fd, v\u00a0jednu chv\u00edli jsem m\u011bl chu\u0165 sp\u00e1chat sebevra\u017edu, ve druh\u00e9 jsem zni\u010dehonic smazal v\u0161echny e-maily. Pak m\u011b d\u011bsila no\u010dn\u00ed m\u016fra, \u017ee si p\u0159ijdou pro moje piano,\u201c ilustruje stavy \u0161\u00edlenstv\u00ed.<\/p>\n

Kdy\u017e se z\u00a0n\u011bj kone\u010dn\u011b dostal, v\u00a0l\u00e9t\u011b 2008\u00a0chytl v\u00e1\u017en\u00fd z\u00e1pal plic, kter\u00fd vy\u00fastil v\u00a0septick\u00fd \u0161ok. Fred Hersch skon\u010dil na dva m\u011bs\u00edce v\u00a0k\u00f3matu. Po probuzen\u00ed se u\u010dil znovu mluvit, ps\u00e1t i\u00a0hr\u00e1t. \u201eTahle zku\u0161enost byla v\u00a0m\u00e9m \u017eivot\u011b hrani\u010dn\u00ed. Od t\u00e9 doby se c\u00edt\u00edm trochu jin\u00fd. A\u00a0tak\u00e9 o\u00a0hodn\u011b vd\u011b\u010dn\u011bj\u0161\u00ed za to, \u017ee \u017eiju,\u201c uzav\u00edr\u00e1 v\u00a0pam\u011btech epizodu, v\u00a0jej\u00edm\u017e d\u016fsledku se pr\u00fd hudebn\u011b definitivn\u011b uvolnil. \u201eU\u017e mi tolik nez\u00e1le\u017e\u00ed na n\u00e1zoru druh\u00fdch. Mysl\u00edm, \u017ee jsem za\u010dal hr\u00e1t hloub\u011bji. A\u0165 u\u017e je to zp\u016fsoben\u00e9 v\u011bkem, zku\u0161enostmi, zralost\u00ed, nebo prost\u011b zost\u0159en\u00fdm vn\u00edm\u00e1n\u00edm toho, co je v\u00a0\u017eivot\u011b nejd\u016fle\u017eit\u011bj\u0161\u00ed, proto\u017ee pr\u00e1v\u011b to jsem si p\u0159i tomhle setk\u00e1n\u00ed se smrt\u00ed uv\u011bdomil,\u201c p\u00ed\u0161e Hersch.<\/p>\n

Um\u011blec s\u00a0\u0161edou bradkou a\u00a0br\u00fdlemi, oble\u010den\u00fd v\u00a0ko\u0161ili s\u00a0kv\u011btinov\u00fdm vzorem, na Pra\u017esk\u00e9m jaru cel\u00fd ve\u010der sed\u00ed za klav\u00edrn\u00edm k\u0159\u00eddlem Yamaha. Kdy\u017e dohraje skladbu, v\u017edy se oto\u010d\u00ed k\u00a0div\u00e1k\u016fm, s\u00a0rukama na kolenou se lehce uklon\u00ed, p\u0159edstav\u00ed dal\u0161\u00ed p\u00edse\u0148 a\u00a0u\u017e se zase soust\u0159ed\u00ed na kontakt s\u00a0muzikanty, kontrabasistou Felixem Moseholmem a\u00a0buben\u00edkem Jochenem Rueckertem.<\/p>\n

P\u0159esto\u017ee jde o\u00a0jinou rytmiku, ne\u017e jak\u00e1 \u00fa\u010dinkuje na lo\u0148sk\u00e9 desce, vz\u00e1jemn\u00e1 souhra jisk\u0159\u00ed od \u00favodn\u00ed skladby, coververze Everybody\u2019s Song od dnes ji\u017e ne\u017eij\u00edc\u00edho lond\u00fdnsk\u00e9ho trumpetisty Kennyho Wheelera.<\/p>\n

N\u00e1sleduje trojice kompozic z\u00a0posledn\u00edho alba: Poetick\u00e1 balada se silnou melodi\u00ed a\u00a0spoustou prostoru mezi notami Plainsong, postbopov\u00e9 Law Years od avantgardisty Ornetta Colemana, v\u00a0nich\u017e rytmika swinguje, a\u00a0Herschova kompozice s\u00a0radostn\u00fdm vyzn\u011bn\u00edm Anticipation. Ve v\u0161ech muzikanti svobodomysln\u011b rozv\u00edjej\u00ed spont\u00e1nn\u00ed n\u00e1pady. \u201eJazz je intimn\u00ed um\u011bn\u00ed. Vyjad\u0159ujete sebe sama a\u00a0z\u00e1rove\u0148 reagujete na to, jak se vyjad\u0159uj\u00ed va\u0161i spoluhr\u00e1\u010di,\u201c shrnuje v\u00a0autobiografii pianista, pro n\u011bj\u017e pr\u00fd bylo sv\u00e9ho \u010dasu zjeven\u00edm si uv\u011bdomit, \u017ee v\u00a0jazzu m\u016f\u017ee uplatnit svou odli\u0161nost.<\/p>\n

Od d\u011btstv\u00ed m\u011bl pocit, \u017ee nezapad\u00e1. V\u00a0dosp\u00edv\u00e1n\u00ed se br\u00fdlat\u00fd introvert k\u0159ehk\u00e9 konstituce zaj\u00edmal o\u00a0\u0159eck\u00e9 m\u00fdty nebo renesan\u010dn\u00ed um\u011bn\u00ed, za co\u017e se mu vrstevn\u00edci posm\u00edvali. K\u00a0n\u00edzk\u00e9mu sebev\u011bdom\u00ed p\u0159isp\u011bly absence mu\u017esk\u00fdch vzor\u016f, mal\u00e9 ambice i\u00a0uv\u011bdom\u011bn\u00ed, \u017ee ho p\u0159itahuj\u00ed mu\u017ei, co\u017e nejprve pop\u00edral, pozd\u011bji tajil, a\u00a0kdy\u017e si to na vysok\u00e9 \u0161kole poprv\u00e9 p\u0159ipustil, za\u017eil zn\u00e1siln\u011bn\u00ed. \u201eNejsem vysok\u00fd. V\u00a0ml\u00e1d\u00ed jsem b\u00fdval dost rozlo\u017eit\u00fd, \u0161patn\u011b vid\u00edm, prakticky cel\u00fd \u017eivot nos\u00edm br\u00fdle. Ale kdy\u017e sednu ke klav\u00edru, \u017e\u00e1dn\u00fd z\u00a0t\u011bchto fyzick\u00fdch nedostatk\u016f najednou nen\u00ed rozhoduj\u00edc\u00ed. U\u00a0klav\u00edru jde jenom o\u00a0hudbu. A\u00a0kdy\u017e ji hraju, najednou dovedu b\u00fdt zaj\u00edmav\u00fd,\u201c popisuje jednu z\u00a0motivac\u00ed, pro\u010d za\u010dal koncertovat.<\/p>\n

<\/a><\/p>\n

Zaj\u00edmav\u00fd byl samoz\u0159ejm\u011b tak\u00e9 p\u0159i \u010dtvrte\u010dn\u00edm vystoupen\u00ed. Chv\u00edlemi poslucha\u010d ch\u00e1pal, pro\u010d b\u00fdval Hersch pro sv\u016fj lyricismus p\u0159irovn\u00e1v\u00e1n k\u00a0Billu Evansovi a\u00a0pro preciznost, \u010distotu t\u00f3nu \u010di pr\u00e1ci s\u00a0levou rukou pozd\u011bji Bradu Mehldauovi. P\u0159esto zn\u00ed osobit\u011b. Skv\u011ble nap\u0159\u00edklad ve 3\/4\u00a0rytmu hraje coververzi skladby Palha\u00e7o od brazilsk\u00e9ho kytaristy a\u00a0pianisty Egberta Gismontiho. O\u00a0hudbu z\u00a0t\u011bchto kon\u010din se Hersch zaj\u00edm\u00e1 cel\u00fd \u017eivot, v\u00a070.\u00a0letech se ji u\u010dil v\u00a0brazilsk\u00e9m jazzklubu na Manhattanu. \u201eOd t\u00e9 doby prakticky na ka\u017ed\u00fd koncert za\u0159azuji alespo\u0148 jednu brazilskou skladbu. Gismonti je jedn\u00edm z\u00a0nejv\u011bt\u0161\u00edch \u017eij\u00edc\u00edch velik\u00e1n\u016f,\u201c zmi\u0148uje v\u00a0knize.<\/p>\n

Ze sv\u00fdch vzor\u016f v\u00a0Praze p\u0159ipom\u00edn\u00e1 tak\u00e9 Thelonia Monka. \u201ePo\u0159\u00e1d v\u00a0jeho hudb\u011b objevuji n\u011bco nov\u00e9ho. R\u00e1d zahraju baladu a\u00a0po n\u00ed n\u011bco od Monka,\u201c uvedl v\u00a0autobiografii. P\u0159esn\u011b to ud\u011blal na Pra\u017esk\u00e9m jaru, kde po standardu Moonlight in Vermont za\u0159azuje Monkovo energick\u00e9 We See. <\/p>\n

V tu chv\u00edli u\u017e se devades\u00e1timinutov\u00fd koncert ch\u00fdl\u00ed ke konci. Zb\u00fdv\u00e1 \u010das na posledn\u00ed skladbu s\u00a0triem. \u201eSv\u011bt je v\u00a0trosk\u00e1ch. V\u0161ude chaos. \u017dijeme v\u00a0opravdu zvl\u00e1\u0161tn\u00ed dob\u011b. V\u00a0Americe ka\u017ed\u00fd den p\u0159in\u00e1\u0161\u00ed nov\u00e9 utrpen\u00ed. Ale pr\u00e1v\u011b proto nesm\u00edme p\u0159estat v\u011b\u0159it, \u017ee bude l\u00e9pe. Zahraji v\u00e1m tedy tu nejoptimisti\u010dt\u011bj\u0161\u00ed p\u00edse\u0148, kterou zn\u00e1m,\u201c oznamuje pianista, na\u010de\u017e spust\u00ed klasiku Somewhere od Leonarda Bernsteina. Od n\u011bkoho s\u00a0Herschov\u00fdm osudem je to dvojn\u00e1sob povzbuzuj\u00edc\u00ed.<\/p>\n

Koncert: Fred Hersch<\/p>\n

Po\u0159adatel: Pra\u017esk\u00e9 jaro<\/p>\n

21.\u00a0kv\u011btna 2026, DOX+, Praha<\/p>\n","protected":false},"excerpt":{"rendered":"Fred Hersch je jemn\u00fd, tich\u00fd \u010dlov\u011bk. O\u00a0to bylo p\u0159ekvapiv\u011bj\u0161\u00ed, kdy\u017e americk\u00fd jazzov\u00fd pianista tento t\u00fdden na festivalu Pra\u017esk\u00e9…\n","protected":false},"author":2,"featured_media":95336,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_share_on_mastodon":"0"},"categories":[14],"tags":[9277,79,17057,28801,84,2630,8524,80],"class_list":["post-95335","post","type-post","status-publish","format-standard","has-post-thumbnail","category-zabava","tag-dox","tag-entertainment","tag-festival-prazske-jaro","tag-fred-hersch","tag-hudba","tag-hudebni-recenze","tag-jazz","tag-zabava"],"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@cz\/116627936725106848","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/95335","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/comments?post=95335"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/95335\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media\/95336"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media?parent=95335"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/categories?post=95335"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/tags?post=95335"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}