{"id":5033,"date":"2026-02-27T05:24:01","date_gmt":"2026-02-27T05:24:01","guid":{"rendered":"https:\/\/www.markus-schall.de\/?p=5033"},"modified":"2026-05-21T08:06:57","modified_gmt":"2026-05-21T08:06:57","slug":"johann-sebastian-bach-order-postoj-a-zaklad-nasi-hudby","status":"publish","type":"post","link":"https:\/\/www.markus-schall.de\/cs\/2026\/02\/johann-sebastian-bach-order-postoj-a-zaklad-nasi-hudby\/","title":{"rendered":"Johann Sebastian Bach - \u0159\u00e1d, postoj a z\u00e1klad na\u0161\u00ed hudby"},"content":{"rendered":"<p>Jako d\u00edt\u011b a teenager jsem vyr\u016fstal v rodin\u011b hudebn\u00edk\u016f. Oba moji rodi\u010de jsou u\u010ditel\u00e9 hudby. Moje maminka hraje na fl\u00e9tnu a tat\u00ednek na klav\u00edr. Hudba u n\u00e1s doma nebyla dekorativn\u00edm pozad\u00edm, ale p\u0159irozenou sou\u010d\u00e1st\u00ed ka\u017edodenn\u00edho \u017eivota. Cvi\u010dili jsme, u\u010dili se, diskutovali a n\u011bkdy i z\u00e1pasili. Noty byly polo\u017een\u00e9 na klav\u00edru, ne ve sk\u0159\u00edni.<\/p>\n<p>S\u00e1m jsem hr\u00e1l na klav\u00edr a pozd\u011bji tak\u00e9 na saxofon. A jako mnoho lid\u00ed, kte\u0159\u00ed projdou klasickou v\u00fdukou, jsem v ur\u010dit\u00e9m okam\u017eiku skon\u010dil u Johanna Sebastiana Bacha - konkr\u00e9tn\u011b u prvn\u00edho preludia z Dob\u0159e temperovan\u00e9ho klav\u00edru. St\u00e1le ji um\u00edm zahr\u00e1t. Mo\u017en\u00e1 ne bezchybn\u011b, to bych musel znovu cvi\u010dit. Ale struktura t\u00e9to skladby mi z\u016fstala dodnes. Ten klidn\u00fd sled lomen\u00fdch akord\u016f, jasn\u00e1 harmonie, samoz\u0159ejm\u00fd \u0159\u00e1d - u\u017e jako \u017e\u00e1k c\u00edt\u00edte, \u017ee se tu d\u011bje n\u011bco d\u016fle\u017eit\u00e9ho. Tento portr\u00e9t je v\u011bnov\u00e1n m\u00e9 matce k jej\u00edm 70. narozenin\u00e1m, kter\u00e1 mi tehdy umo\u017enila br\u00e1t hodiny klav\u00edru.<!--more--><\/p>\n<hr \/>\n\n\t\t\t<div class=\"display-post-types\">\n\n\t\t\t\t\t\t\t<style type=\"text\/css\">\n\t\t\t#dpt-wrapper-909 { --dpt-text-align: left;--dpt-image-crop: center;--dpt-border-radius: 5px;--dpt-h-gutter: 10px;--dpt-v-gutter: 9px; }\t\t\t<\/style>\n\t\t\t<style type=\"text\/css\">#dpt-wrapper-909 { --dpt-title-font-style:normal;--dpt-title-font-weight:600;--dpt-title-line-height:1.5;--dpt-title-text-decoration:none;--dpt-title-text-transform:none;--dpt-excerpt-font-style:normal;--dpt-excerpt-font-weight:400;--dpt-excerpt-line-height:1.5;--dpt-excerpt-text-decoration:none;--dpt-excerpt-text-transform:none;--dpt-meta1-font-style:normal;--dpt-meta1-font-weight:400;--dpt-meta1-line-height:1.9;--dpt-meta1-text-decoration:none;--dpt-meta1-text-transform:none;--dpt-meta2-font-style:normal;--dpt-meta2-font-weight:400;--dpt-meta2-line-height:1.9;--dpt-meta2-text-decoration:none;--dpt-meta2-text-transform:none; }<\/style><div class=\"dpt-main-header\">\n\t\t\t\t\t\t<div class=\"dpt-main-title\">\n\t\t\t\t\t\t\t<span class=\"dpt-main-title-text\">Soci\u00e1ln\u00ed ot\u00e1zky sou\u010dasnosti<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t<\/div>\t\t\t\n\t\t\t\t<div id=\"dpt-wrapper-909\" class=\"dpt-wrapper dpt-mag1 land1 dpt-cropped dpt-flex-wrap\" >\n\n\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"ist t\u00f6ten w\u00fcrdelos? eine n\u00fcchterne frage zu mord, terror und krieg\" data-id=\"4550\"  data-category=\"allgemein gesellschaft gesundheit\" data-post_tag=\"denkmodelle erfahrungen europa geopolitik gesundheit krisen meinungsfreiheit sicherheitspolitik\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2026\/01\/je-zabijeni-bez-dustojnosti-strizlivou-otazkou-o-vrazdeni-teroru-a-valce\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Je zab\u00edjen\u00ed ned\u016fstojn\u00e9? St\u0159\u00edzliv\u00e1 ot\u00e1zka o vra\u017ed\u011b, teroru a v\u00e1lce<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Je zab\u00edjen\u00ed ned\u016fstojn\u00e9?\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/toeten-wuerdelos-Titel.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/toeten-wuerdelos-Titel.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/toeten-wuerdelos-Titel-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/toeten-wuerdelos-Titel-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/toeten-wuerdelos-Titel-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2026\/01\/je-zabijeni-bez-dustojnosti-strizlivou-otazkou-o-vrazdeni-teroru-a-valce\/\" rel=\"bookmark\">Je zab\u00edjen\u00ed ned\u016fstojn\u00e9? St\u0159\u00edzliv\u00e1 ot\u00e1zka o vra\u017ed\u011b, teroru a v\u00e1lce<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"k\u00fcnstliche intelligenz: welche jobs in gefahr sind, und wie wir uns jetzt wappnen k\u00f6nnen\" data-id=\"2940\"  data-category=\"allgemein b\u00fccher gesellschaft ki-systeme\" data-post_tag=\"buch k\u00fcnstliche intelligenz llama llm mistral mlx ollama ratgeber sprachmodell\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2025\/09\/umela-inteligence-ktera-pracovni-mista-jsou-ohrozena-a-jak-se-muzeme-vyzbrojit\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Um\u011bl\u00e1 inteligence: kter\u00e1 pracovn\u00ed m\u00edsta jsou ohro\u017eena a jak se m\u016f\u017eeme vyzbrojit hned te\u010f<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Kter\u00e1 pracovn\u00ed m\u00edsta budou v budoucnu zru\u0161ena um\u011blou inteligenc\u00ed?\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/welche-jobs-fallen-durch-ki-weg.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/welche-jobs-fallen-durch-ki-weg.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/welche-jobs-fallen-durch-ki-weg-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/welche-jobs-fallen-durch-ki-weg-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/welche-jobs-fallen-durch-ki-weg-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2025\/09\/umela-inteligence-ktera-pracovni-mista-jsou-ohrozena-a-jak-se-muzeme-vyzbrojit\/\" rel=\"bookmark\">Um\u011bl\u00e1 inteligence: kter\u00e1 pracovn\u00ed m\u00edsta jsou ohro\u017eena a jak se m\u016f\u017eeme vyzbrojit hned te\u010f<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"digitales geld verstehen: bitcoin, stablecoins und cbdcs einfach erkl\u00e4rt\" data-id=\"4211\"  data-category=\"allgemein gesellschaft\" data-post_tag=\"datenschutz digitales eigentum eu-gesetze europa geopolitik spieltheorie\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2026\/01\/porozumeni-digitalnim-penezum-bitcoin-stablecoins-a-cbdcs-vysvetleno-jednoduse\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Porozum\u011bn\u00ed digit\u00e1ln\u00edm pen\u011bz\u016fm: Bitcoin, stablecoiny a CBDC vysv\u011btleny jednodu\u0161e<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"558\" class=\"attachment-full size-full\" alt=\"CBDC, kryptom\u011bny a stablecoiny\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/cbcd-kryptos-coins-tokens.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/cbcd-kryptos-coins-tokens.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/cbcd-kryptos-coins-tokens-300x163.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/cbcd-kryptos-coins-tokens-768x419.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/cbcd-kryptos-coins-tokens-18x10.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2026\/01\/porozumeni-digitalnim-penezum-bitcoin-stablecoins-a-cbdcs-vysvetleno-jednoduse\/\" rel=\"bookmark\">Porozum\u011bn\u00ed digit\u00e1ln\u00edm pen\u011bz\u016fm: Bitcoin, stablecoiny a CBDC vysv\u011btleny jednodu\u0161e<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"warum abstand kein r\u00fcckzug ist &#8211; und wie ein freeze-out orientierung schafft\" data-id=\"4435\"  data-category=\"allgemein b\u00fccher gesellschaft gesundheit tipps &amp; anleitungen\" data-post_tag=\"buch denkmodelle erfahrungen gesundheit krisen lernen pers\u00f6nlichkeitsentwicklung ratgeber\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2026\/01\/proc-vzdalenost-neni-ustup-a-jak-zmrazeni-vytvari-orientaci\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Pro\u010d vzd\u00e1lenost nen\u00ed \u00fastup - a jak zmrazen\u00ed vytv\u00e1\u0159\u00ed orientaci<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Freezeout - Vzd\u00e1lenost v krizov\u00fdch situac\u00edch\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Freezeout-Titel.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Freezeout-Titel.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Freezeout-Titel-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Freezeout-Titel-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Freezeout-Titel-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2026\/01\/proc-vzdalenost-neni-ustup-a-jak-zmrazeni-vytvari-orientaci\/\" rel=\"bookmark\">Pro\u010d vzd\u00e1lenost nen\u00ed \u00fastup - a jak zmrazen\u00ed vytv\u00e1\u0159\u00ed orientaci<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\n<hr \/>\n<h2>Nejnov\u011bj\u0161\u00ed zpr\u00e1vy o Johannu Sebastianu Bachovi<\/h2>\n<p><strong>21.05.2026<\/strong>Nov\u00fd dokument\u00e1rn\u00ed film MDR o Johannu Sebastianu Bachovi sleduje nejen \u017eivot sv\u011btozn\u00e1m\u00e9ho skladatele jako p\u0159\u00edb\u011bh hudebn\u00edho \u00fasp\u011bchu, ale ukazuje tak\u00e9 \u010dlov\u011bka, kter\u00fd se skr\u00fdv\u00e1 za touto historickou ikonou. Dokument prov\u00e1z\u00ed Bacha od Eisenachu p\u0159es Arnstadt, M\u00fchlhausen, V\u00fdmar a K\u00f6then a\u017e do Lipska a osv\u011btluje jeho cestu varhan\u00edka, mu\u017ee od rodiny, kantora kostela svat\u00e9ho Tom\u00e1\u0161e a nekompromisn\u00edho um\u011blce.<\/p>\n<div class=\"lyte-wrapper\" style=\"width:640px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_5BfrfyZcTOE\"><div id=\"lyte_5BfrfyZcTOE\" data-src=\"https:\/\/www.markus-schall.de\/wp-content\/plugins\/wp-youtube-lyte\/lyteCache.php?origThumbUrl=%2F%2Fi.ytimg.com%2Fvi%2F5BfrfyZcTOE%2Fhqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/5BfrfyZcTOE\" rel=\"nofollow noopener\" target=\"_blank\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.markus-schall.de\/wp-content\/plugins\/wp-youtube-lyte\/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2F5BfrfyZcTOE%2F0.jpg\" alt=\"Miniatura videa na YouTube\" width=\"640\" height=\"340\" \/><br \/>Pod\u00edvejte se na toto video na YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:640px;margin:5px;\"><\/div><br \/>\nJohann Sebastian Bach: G\u00e9nius, v\u00edra a protiv\u00edtr | <a href=\"https:\/\/www.youtube.com\/@MDRDOK\" target=\"_blank\" rel=\"nofollow noopener\">MDR DOK<\/a><\/p>\n<p>Obzvl\u00e1\u0161t\u011b zaj\u00edmav\u00e9 je, jak jasn\u011b dokument zd\u016fraz\u0148uje i obt\u00ed\u017en\u00e9 str\u00e1nky jeho \u017eivota: osobn\u00ed ztr\u00e1ty, konflikty s \u00fa\u0159ady, finan\u010dn\u00ed pot\u00ed\u017ee a neust\u00e1l\u00fd boj o um\u011bleckou svobodu v r\u00e1mci rigidn\u00edch spole\u010densk\u00fdch struktur. Pr\u00e1v\u011b v t\u00e9to oblasti nap\u011bt\u00ed v\u0161ak vznikla hudba, kter\u00e1 je dodnes pova\u017eov\u00e1na za nad\u010dasovou. D\u00edla jako Braniborsk\u00e9 koncerty, Matou\u0161ovy pa\u0161ije, V\u00e1no\u010dn\u00ed oratorium a Goldbergovy variace dodnes charakterizuj\u00ed klasickou hudbu po cel\u00e9m sv\u011bt\u011b. Dokument p\u0159in\u00e1\u0161\u00ed nejen p\u0159ehled Bachova d\u00edla, ale tak\u00e9 p\u016fsobiv\u00fd obraz jeho charakteru, v\u00edry a mimo\u0159\u00e1dn\u00e9 um\u011bleck\u00e9 \u00farovn\u011b.<\/p>\n<hr \/>\n<h2>V\u00edce ne\u017e \u201eklasick\u00e1 hudba\u201c<\/h2>\n<p>Mnoho lid\u00ed si Bacha zpo\u010d\u00e1tku spojuje s obrazem z jin\u00e9ho sv\u011bta: paruka, sv\u011btlo sv\u00ed\u010dek, kostel. Spojuj\u00ed si ho s takzvanou klasickou hudbou, a t\u00edm ho ment\u00e1ln\u011b odsouvaj\u00ed do minulosti.<\/p>\n<p>Ale \u010d\u00edm pozorn\u011bji poslouch\u00e1te, t\u00edm je to jasn\u011bj\u0161\u00ed: Bach nen\u00ed muzejn\u00ed expon\u00e1t. Je to z\u00e1klad. V\u011bt\u0161ina z\u00e1padn\u00ed hudby - od romantismu po filmovou hudbu, od jazzu po pop music - vych\u00e1z\u00ed z harmonick\u00e9ho syst\u00e9mu, kter\u00fd na\u0161el svou jasnou podobu v baroku. Bach tento syst\u00e9m nevymyslel, ale vtiskl mu d\u016fslednost, d\u00edky n\u00ed\u017e se stal stabiln\u00edm. Vztahy mezi t\u00f3nikou, dominantou a subdominantou, hra s nap\u011bt\u00edm a rozli\u0161en\u00edm - to v\u0161e je n\u00e1m dnes tak d\u016fv\u011brn\u011b zn\u00e1m\u00e9, \u017ee to jen st\u011b\u017e\u00ed v\u011bdom\u011b rozpozn\u00e1v\u00e1me. A p\u0159esto poslouch\u00e1me sluchem, kter\u00fd je touto tradic\u00ed charakterizov\u00e1n.<\/p>\n<h3>Objedn\u00e1vka, kter\u00e1 nese<\/h3>\n<p>Ka\u017ed\u00fd, kdo hraje nebo poslouch\u00e1 prvn\u00ed preludium C dur, rychle pochop\u00ed, \u017ee zde nen\u00ed nic n\u00e1hodn\u00e9ho. Harmonie na sebe navazuj\u00ed v klidn\u00e9 logice. Ka\u017ed\u00fd akord vede k dal\u0161\u00edmu, ka\u017ed\u00fd obrat m\u00e1 sv\u016fj \u00fa\u010del. Skladba p\u016fsob\u00ed jednodu\u0161e - a proto p\u0159esv\u011bd\u010div\u011b.<\/p>\n<p>Tato zku\u0161enost je pro Bacha typick\u00e1. Jeho hudba je strukturovan\u00e1, ale ne rigidn\u00ed. Je promy\u0161len\u00e1, ale ne such\u00e1. \u017dije z vnit\u0159n\u00edho \u0159\u00e1du, kter\u00fd nen\u00ed omezuj\u00edc\u00ed, ale podp\u016frn\u00fd.<\/p>\n<p>Mo\u017en\u00e1 pr\u00e1v\u011b v tom spo\u010d\u00edv\u00e1 jeho modernost. V dob\u011b, kdy mnoho v\u011bc\u00ed rychle vznik\u00e1 a stejn\u011b rychle zanik\u00e1, se Bach jev\u00ed jako alternativa. Jeho d\u00edla se nevyv\u00edjej\u00ed rychle. Vy\u017eaduj\u00ed pozornost - a odm\u011b\u0148uj\u00ed ji hloubkou.<\/p>\n<h3>Tich\u00e9 m\u011b\u0159\u00edtko<\/h3>\n<p>Bach nebyl skladatel, kter\u00fd by se inscenoval. Byl varhan\u00edkem, kantorem, u\u010ditelem a rodinn\u00fdm p\u0159\u00edslu\u0161n\u00edkem. Pracoval v r\u00e1mci jasn\u00fdch povinnost\u00ed a t\u00fdden co t\u00fdden psal novou hudbu. \u017d\u00e1dn\u00e9 titulky, \u017e\u00e1dn\u00e1 velk\u00e1 sc\u00e9na v modern\u00edm slova smyslu. A p\u0159esto vytvo\u0159il n\u011bco, co p\u0159etrvalo stalet\u00ed.<\/p>\n<p>Tajemstv\u00ed mo\u017en\u00e1 nespo\u010d\u00edv\u00e1 ve velkolep\u00fdch gestech, ale v d\u016fslednosti. V ochot\u011b d\u016fkladn\u011b zvl\u00e1dnout vlastn\u00ed \u0159emeslo. V rozhodnut\u00ed up\u0159ednostnit kvalitu p\u0159ed pohodl\u00edm.<\/p>\n<p>Kdy\u017e si dnes vzpomenu na prvn\u00ed preludium, kter\u00e9 jsem hr\u00e1l jako \u017e\u00e1k, vid\u00edm v n\u011bm v\u00edc ne\u017e jen cvi\u010den\u00ed prst\u016f. Vn\u00edm\u00e1m ho jako p\u0159\u00edklad toho, jak struktura umo\u017e\u0148uje svobodu. \u017de discipl\u00edna nen\u00ed klec, ale r\u00e1mec. \u017de hloubka neza\u010d\u00edn\u00e1 hlasit\u011b, ale \u010dasto velmi ti\u0161e.<\/p>\n<h3>Pro\u010d m\u00e1 tento portr\u00e9t smysl i dnes<\/h3>\n<p>Tento portr\u00e9t tedy nen\u00ed pouh\u00fdm v\u00fd\u010dtem jeho \u017eivota a d\u00edla. Chce uk\u00e1zat, pro\u010d m\u00e1 Johann Sebastian Bach i dnes co \u0159\u00edci. Pro\u010d jeho hudba nez\u016fst\u00e1v\u00e1 v minulosti, ale st\u00e1le ovliv\u0148uje na\u0161i sou\u010dasnost.<\/p>\n<p>Ti, kdo se s n\u00edm setkaj\u00ed, nenaraz\u00ed na vzd\u00e1len\u00fd pomn\u00edk, ale na \u010dlov\u011bka s temperamentem, humorem, konflikty a pozoruhodn\u011b jasn\u00fdm postojem. A mo\u017en\u00e1 si uv\u011bdom\u00ed, \u017ee velikost nespo\u010d\u00edv\u00e1 v ok\u00e1zalosti, ale v um\u00edrn\u011bnosti.<\/p>\n<p>Bach stav\u011bl t\u00f3n po t\u00f3nu, d\u00edlo po d\u00edle. A proto\u017ee stav\u011bl d\u016fkladn\u011b, tato stavba st\u00e1le stoj\u00ed. S t\u00edmto v\u011bdom\u00edm nyn\u00ed za\u010d\u00edn\u00e1me na\u0161i cestu jeho \u017eivotem - od rodiny hudebn\u00edk\u016f v Eisenachu a\u017e po hudebn\u00ed z\u00e1klad, kter\u00fd dodnes podporuje n\u00e1\u0161 sv\u011bt.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-5067\" src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Cembalo.jpg\" alt=\"Johann Sebastian Bach na cembalo\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Cembalo.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Cembalo-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Cembalo-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Cembalo-18x12.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<h2>Rodina pln\u00e1 hudby - p\u016fvod a prvn\u00ed vlivy<\/h2>\n<p>Pokud chcete pochopit, pro\u010d se Johann Sebastian Bach stal t\u00edm, \u010d\u00edm se stal, mus\u00edte se vr\u00e1tit na za\u010d\u00e1tek - do mal\u00e9ho m\u011bste\u010dka ve st\u0159edn\u00edm N\u011bmecku v 17. stolet\u00ed. Do Eisenachu. Do sv\u011bta bez elekt\u0159iny, bez koncertn\u00edch s\u00e1l\u016f v modern\u00edm slova smyslu, bez zvukov\u00fdch nahr\u00e1vek.<\/p>\n<p>Ale s hudbou. Ne jako volno\u010dasovou aktivitu, ale jako povol\u00e1n\u00ed. Jako povinnost a sou\u010d\u00e1st ve\u0159ejn\u00e9ho po\u0159\u00e1dku.<\/p>\n<p>Bach se narodil 31. b\u0159ezna 1685. A nepoch\u00e1zel z rodiny um\u011blc\u016f v modern\u00edm slova smyslu. P\u0159i\u0161el do hudebn\u00edho cechu.<\/p>\n<h3>Jm\u00e9no \u201eBach\u201c jako pracovn\u00ed n\u00e1zev<\/h3>\n<p>Ve st\u0159edn\u00edm N\u011bmecku bylo jm\u00e9no Bach spojov\u00e1no s hudbou po cel\u00e9 generace. V\u0161ude se objevovalo u varhan\u00edk\u016f, dvorn\u00edch hudebn\u00edk\u016f, m\u011bstsk\u00fdch truba\u010d\u016f. Pokud jste tehdy v Durynsku nebo Sasku zaslechli \u201eBach\u201c, v\u011bd\u011bli jste, \u017ee jde o hudebn\u00edky.<\/p>\n<p>Jeho otec Johann Ambrosius Bach byl m\u011bstsk\u00fdm truba\u010dem v Eisenachu. To znamen\u00e1, \u017ee byl ofici\u00e1ln\u00edm m\u011bstsk\u00fdm hudebn\u00edkem. Nebyl to um\u011blec na voln\u00e9 noze, ale sou\u010d\u00e1st pevn\u00e9ho syst\u00e9mu.<\/p>\n<p>Rodina byla organizov\u00e1na jako \u0159emesln\u00e1 firma. Hudba se p\u0159ed\u00e1vala jako \u0159emeslo. U\u010dili jste se n\u00e1stroje, reperto\u00e1r, notov\u00fd z\u00e1pis. U\u010dilo se discipl\u00edn\u011b. Pro mlad\u00e9ho Johanna Sebastiana nebyla hudba objevem. Bylo to prost\u0159ed\u00ed.<\/p>\n<h3>Hudba jako ka\u017edodenn\u00ed \u017eivot, ne jako v\u00fdjimka<\/h3>\n<p>P\u0159edstavte si dom\u00e1cnost, kter\u00e1 pravideln\u011b zkou\u0161\u00ed. Kde n\u00e1stroje nejsou dekorac\u00ed, ale n\u00e1strojem. Kde noty le\u017e\u00ed na stole jako dnes technick\u00e9 v\u00fdkresy nebo slo\u017eky. Takto vyr\u016fstal Bach.<\/p>\n<p>Jeho otec hr\u00e1l na housle. Vedl soubory. \u00da\u010dastnil se bohoslu\u017eeb, oslav a ofici\u00e1ln\u00edch akc\u00ed. Hudba byla slu\u017ebou m\u011bstu - a z\u00e1rove\u0148 n\u00e1bo\u017eenskou povinnost\u00ed. To na n\u011bm zanechalo stopy.<\/p>\n<p>Pokud od \u00fatl\u00e9ho v\u011bku za\u017e\u00edv\u00e1te, \u017ee zvuk znamen\u00e1 zodpov\u011bdnost, pak si k um\u011bn\u00ed vytvo\u0159\u00edte jin\u00fd vztah. Pak nejde jen o vyj\u00e1d\u0159en\u00ed. Je to o spolehlivosti.<\/p>\n<h3>Brzk\u00e1 ztr\u00e1ta - bod zlomu<\/h3>\n<p>Toto d\u011btstv\u00ed v\u0161ak nebylo bezstarostn\u00e9. Kdy\u017e bylo Bachovi deset let, zem\u0159ela mu matka a kr\u00e1tce nato i otec. B\u011bhem n\u011bkolika m\u011bs\u00edc\u016f p\u0159i\u0161el o oba rodi\u010de. M\u016f\u017eeme spekulovat o tom, co to s d\u00edt\u011btem ud\u011bl\u00e1. Jedno je jist\u00e9: nut\u00ed je to brzy dosp\u011bt.<\/p>\n<p>P\u0159est\u011bhoval se ke sv\u00e9mu star\u0161\u00edmu bratrovi Johannu Christophovi do Ohrdrufu. Ten byl varhan\u00edkem - tak\u00e9 hudebn\u00edkem. Rodov\u00e1 linie pokra\u010dovala d\u00e1l.<br \/>\nAtmosf\u00e9ra se v\u0161ak zm\u011bnila. Rodinn\u00fd d\u016fm se stal m\u00edstem vzd\u011bl\u00e1v\u00e1n\u00ed.<\/p>\n<h3>\u0160kolen\u00ed v duchu \u0159emesln\u00e9 zru\u010dnosti<\/h3>\n<p>V Ohrdrufu se Bachovi dostalo systematick\u00e9ho hudebn\u00edho vzd\u011bl\u00e1n\u00ed. A v t\u00e9 dob\u011b vzd\u011bl\u00e1n\u00ed neznamenalo inspiraci, ale pr\u00e1ci. U\u010dil se:<\/p>\n<ul>\n<li>Hra na varhany<\/li>\n<li>Slo\u017een\u00ed<\/li>\n<li>Z\u00e1pis<\/li>\n<li>P\u00e9\u010de o n\u00e1stroje<\/li>\n<li>hudebn\u00ed teorie<\/li>\n<\/ul>\n<p>Zn\u00e1m\u00e1 je historka, \u017ee tajn\u011b opisoval noty sv\u00e9ho bratra - p\u0159i tlumen\u00e9m sv\u011btle sv\u00ed\u010dek. Zda je ka\u017ed\u00fd detail historicky p\u0159esn\u00fd, je t\u00e9m\u011b\u0159 nepodstatn\u00e9. D\u016fle\u017eit\u00fd je obraz, kter\u00fd se za n\u00edm skr\u00fdv\u00e1.<\/p>\n<p>Cht\u011bl to pochopit. Ne povrchn\u011b, ale hluboko uvnit\u0159.<\/p>\n<p>Kop\u00edrov\u00e1n\u00ed nebylo jen kop\u00edrov\u00e1n\u00ed. Byla to anal\u00fdza. Pokud kop\u00edrujete notu po not\u011b, ch\u00e1pete struktury. Rozpozn\u00e1te vzory. Objevuje souvislosti. Tato ran\u00e1 d\u016fkladnost se stala charakteristick\u00fdm rysem.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-5079\" src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Wartburg-Eisenach.jpg\" alt=\"Eisenach a hrad Wartburg\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Wartburg-Eisenach.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Wartburg-Eisenach-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Wartburg-Eisenach-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Wartburg-Eisenach-18x12.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<h3>\u017divotn\u00ed prost\u0159ed\u00ed: \u0159\u00e1d a v\u00edra<\/h3>\n<p>Nesm\u00edme zapom\u00ednat: 17. stolet\u00ed se vyzna\u010dovalo n\u00e1bo\u017eenstv\u00edm. Ka\u017edodenn\u00ed \u017eivot se \u0159\u00eddil c\u00edrkevn\u00edmi sv\u00e1tky, modlitbami a k\u00e1z\u00e1n\u00edmi.<br \/>\nHudba nebyla neutr\u00e1ln\u00edm prostorem. Byla sou\u010d\u00e1st\u00ed v\u00edry.<\/p>\n<p>Bach vyr\u016fstal v luter\u00e1nsk\u00e9m prost\u0159ed\u00ed. P\u0159esv\u011bd\u010den\u00ed Martina Luthera, \u017ee hudba m\u00e1 zvl\u00e1\u0161tn\u00ed bl\u00edzkost k Bohu, bylo hluboce zako\u0159en\u011bn\u00e9. Hudba byla hl\u00e1s\u00e1n\u00edm. Nebyla dekorativn\u00edm dopl\u0148kem, ale teologickou v\u00fdpov\u011bd\u00ed.<\/p>\n<p>To pozd\u011bji vysv\u011btluje hloubku jeho duchovn\u00edch d\u011bl. Nejsou dekorativn\u00ed. Jsou promy\u0161len\u00e1 - textov\u011b, hudebn\u011b, struktur\u00e1ln\u011b.<\/p>\n<h3>\u010casn\u00e1 nez\u00e1vislost<\/h3>\n<p>V patn\u00e1cti letech Bach opustil Ohrdruf a ode\u0161el do L\u00fcneburgu. Tam zp\u00edval v kosteln\u00edm sboru a pokra\u010doval ve vzd\u011bl\u00e1v\u00e1n\u00ed. To sv\u011bd\u010d\u00ed o tom, \u017ee se v ran\u00e9m v\u011bku pohyboval samostatn\u011b. Vyhled\u00e1val p\u0159\u00edle\u017eitosti. Orientoval se sm\u011brem vzh\u016fru.<\/p>\n<p>Ji\u017e jako teenager se st\u00fdkal s v\u00fdznamn\u00fdmi varhan\u00edky a hudebn\u00edky sv\u00e9 doby. Naslouchal, pozoroval a u\u010dil se. Nebyl z\u00e1zra\u010dn\u00fdm d\u00edt\u011btem ve smyslu Mozarta, kter\u00fd jako d\u00edt\u011b vystupoval na ve\u0159ejnosti. Bach byl sp\u00ed\u0161e tich\u00fdm pracovn\u00edkem v pozad\u00ed.<\/p>\n<p>Ale postavil. A stav\u011bl d\u016fkladn\u011b.<\/p>\n<h3>Je vytvo\u0159ena postava<\/h3>\n<p>Pokud se pod\u00edv\u00e1te na tyto prvn\u00ed roky, m\u016f\u017eete rozpoznat t\u0159i ur\u010duj\u00edc\u00ed prvky:<\/p>\n<ul>\n<li>Zaprv\u00e9, hudba jako \u0159emeslo.<\/li>\n<li>Za druh\u00e9, discipl\u00edna prost\u0159ednictv\u00edm rodinn\u00e9 tradice.<\/li>\n<li>Za t\u0159et\u00ed: Dosp\u011blost d\u00edky brzk\u00e9 ztr\u00e1t\u011b.<\/li>\n<\/ul>\n<p>To nejsou romantick\u00e9 ingredience pro \u017eivotopis um\u011blce. Jsou to seri\u00f3zn\u00ed z\u00e1klady. Mo\u017en\u00e1 pr\u00e1v\u011b to je kl\u00ed\u010dem k jeho pozd\u011bj\u0161\u00edmu postoji. Ka\u017ed\u00fd, kdo brzy za\u017eije zodpov\u011bdnost, kdo od mali\u010dka zn\u00e1 \u0159\u00e1d, si vytvo\u0159\u00ed jin\u00fd vztah k povinnostem a kvalit\u011b.<\/p>\n<p>Bach se nemusel u\u010dit, \u017ee pr\u00e1ce je jeho sou\u010d\u00e1st\u00ed. Nev\u011bd\u011bl nic jin\u00e9ho.<\/p>\n<h3>Co si z toho m\u016f\u017eete odn\u00e9st<\/h3>\n<p>N\u011bkdy m\u00e1me tendenci vn\u00edmat velk\u00e9 osobnosti jako izolovan\u00e9 g\u00e9nie. Jako by se jejich schopnosti vyvinuly z ni\u010deho. U Bacha je v\u0161ak jasn\u011b vid\u011bt, \u017ee z\u00e1klad p\u0159edch\u00e1z\u00ed velikosti.<\/p>\n<p>Nebyl to z\u00e1blesk na obloze. Byl to v\u00fdsledek dlouh\u00e9 \u0159ady. A pr\u00e1v\u011b proto je to tak zaj\u00edmav\u00e9. Ukazuje toti\u017e, \u017ee l\u00e1tka m\u00e1lokdy vznik\u00e1 spont\u00e1nn\u011b. Vyr\u016fst\u00e1 z tradice, z discipl\u00edny, z p\u0159ed\u00e1v\u00e1n\u00ed.<\/p>\n<p>V dob\u011b, kdy se mnoho v\u011bc\u00ed rychle objevuje a stejn\u011b rychle miz\u00ed, je tento obraz t\u00e9m\u011b\u0159 uklid\u0148uj\u00edc\u00ed. Bach neza\u010dal se sl\u00e1vou. Za\u010dal prac\u00ed.<\/p>\n<p>V dal\u0161\u00ed kapitole se dozv\u00edte, jak se z tohoto mlad\u00e9ho, d\u016fkladn\u00e9ho hudebn\u00edka stal mu\u017e, kter\u00fd se nejen u\u010dil, ale byl i kontroverzn\u00ed - a pro\u010d pr\u00e1v\u011b toto t\u0159en\u00ed bylo d\u016fle\u017eit\u00e9.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-5068\" src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Lehrjahre.jpg\" alt=\"U\u010dednictv\u00ed Johanna Sebastiana Bacha\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Lehrjahre.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Lehrjahre-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Lehrjahre-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Lehrjahre-18x12.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<h2>U\u010d\u0148ovsk\u00e1 l\u00e9ta - discipl\u00edna, zv\u011bdavost a po\u010d\u00e1te\u010dn\u00ed t\u0159enice<\/h2>\n<p>Kdy\u017e se pod\u00edv\u00e1me na Johanna Sebastiana Bacha jako na hotov\u00e9ho skladatele, snadno z\u00edsk\u00e1me dojem, \u017ee m\u011bl od sam\u00e9ho po\u010d\u00e1tku uzav\u0159en\u00fd vesm\u00edr - jako by u\u017e od po\u010d\u00e1tku v\u011bd\u011bl, kam povede jeho cesta. Ale i pro n\u011bj v\u0161e za\u010dalo l\u00e9ty u\u010den\u00ed.<\/p>\n<ul>\n<li>S prax\u00ed.<\/li>\n<li>S poslechem.<\/li>\n<li>S kop\u00edrov\u00e1n\u00edm.<\/li>\n<li>A s konflikty.<\/li>\n<\/ul>\n<p>Proto\u017ee samotn\u00fd talent nesta\u010d\u00ed. Teprve p\u0159i jedn\u00e1n\u00ed s ostatn\u00edmi - a s odporem - se zdokonaluje charakter.<\/p>\n<h3>U\u010den\u00ed kop\u00edrov\u00e1n\u00edm<\/h3>\n<p>Pokud chcete analyzovat hudbu, kliknete dnes na soubor. V Bachov\u011b dob\u011b to bylo jinak. Pokud jste j\u00ed cht\u011bli porozum\u011bt, museli jste si ji zkop\u00edrovat.<\/p>\n<p>Bach ru\u010dn\u011b kop\u00edroval d\u00edla v\u00fdznamn\u00fdch skladatel\u016f. Byl ovlivn\u011bn zejm\u00e9na severon\u011bmeck\u00fdmi varhan\u00e1\u0159i, jako byl Dieterich Buxtehude. Kop\u00edrov\u00e1n\u00ed nebylo jen mechanickou \u010dinnost\u00ed. Byla to zpomalen\u00e1 anal\u00fdza. Ka\u017ed\u00fd, kdo notu po not\u011b p\u0159episuje fugu, pozn\u00e1, jak se t\u00e9ma rozv\u00edj\u00ed. Kde se zintenziv\u0148uje. Kde se rozpl\u00fdv\u00e1.<\/p>\n<p>Bach se neu\u010dil strukturu povrchn\u011b, ale zevnit\u0159. Necht\u011bl jen um\u011bt hr\u00e1t. Cht\u011bl tomu porozum\u011bt.<\/p>\n<p>A toto porozum\u011bn\u00ed nebylo samo\u00fa\u010deln\u00e9. Byla to p\u0159\u00edprava.<\/p>\n<h3>Slavn\u00fd pochod na L\u00fcbeck<\/h3>\n<p>V roce 1705 u\u010dinil mlad\u00fd varhan\u00edk rozhodnut\u00ed, kter\u00e9 o n\u011bm mnoh\u00e9 prozrazuje: \u0161el p\u011b\u0161ky z Arnstadtu do L\u00fcbecku - p\u0159es 400 kilometr\u016f -, aby si poslechl Buxtehudeho.<\/p>\n<p>Nejednalo se o vzd\u011bl\u00e1vac\u00ed v\u00fdlet v turistick\u00e9m smyslu. Byla to investice do na\u0161eho vlastn\u00edho rozvoje. \u010cty\u0159t\u00fddenn\u00ed nep\u0159\u00edtomnost byla povolena. Z\u016fstal \u010dty\u0159i m\u011bs\u00edce. Je v tom vid\u011bt mladick\u00e9 nad\u0161en\u00ed. Ale tak\u00e9 n\u011bco jin\u00e9ho: d\u016fslednost v u\u010den\u00ed. Pokud ho n\u011bco zaj\u00edmalo, cht\u011bl tomu p\u0159ij\u00edt na kloub.<\/p>\n<p>V Arnstadtu se musel ospravedlnit. Nepovolen\u00e9 roz\u0161\u00ed\u0159en\u00ed se nesetkalo s velk\u00fdm nad\u0161en\u00edm. Bach v\u0161ak sly\u0161el, co sly\u0161et cht\u011bl. A pou\u010dil se.<\/p>\n<h3>Prvn\u00ed konflikty v Arnstadtu<\/h3>\n<p>Bach byl varhan\u00edkem v Arnstadtu, co\u017e bylo presti\u017en\u00ed, ale nikoli bezkonfliktn\u00ed m\u00edsto. Hodn\u011b improvizoval. Dovedn\u011b aran\u017eoval chor\u00e1ly. N\u011bkdy tak obratn\u011b, \u017ee sbor m\u011bl pot\u00ed\u017ee zp\u00edvat spolu s n\u00edm.<\/p>\n<p>C\u00edrkevn\u00ed rada byla podr\u00e1\u017ed\u011bn\u00e1. Vy\u010d\u00edtali mu, \u017ee jeho hudba je p\u0159\u00edli\u0161 slo\u017eit\u00e1. To je pozoruhodn\u00e9.<\/p>\n<p>Brzy se uk\u00e1zalo, \u017ee Bach se prim\u00e1rn\u011b nept\u00e1, zda je n\u011bco snadn\u00e9 konzumovat. Ptal se, zda je to hudebn\u011b soudr\u017en\u00e9.<br \/>\nKvalita m\u00e1 p\u0159ednost p\u0159ed pohodl\u00edm.<\/p>\n<h3>\u201eZippelfagottist\u201c<\/h3>\n<p>Je tu tak\u00e9 epizoda z jeho u\u010d\u0148ovsk\u00fdch let, kter\u00e1 n\u00e1s trochu rozesm\u011bje. Fagotista jm\u00e9nem Johann Heinrich Geyersbach se c\u00edtil Bachem ura\u017een. Bach ho pr\u00fd ozna\u010dil za \u201eZippelfagottisten\u201c - co\u017e znamen\u00e1 \u201eneschopn\u00e9ho fagotistu\u201c.<\/p>\n<p>Z\u00e1le\u017eitost se vyhrotila. Do\u0161lo k fyzick\u00e9 poty\u010dce v podob\u011b rva\u010dky. Co n\u00e1m to \u0159\u00edk\u00e1?<\/p>\n<ul>\n<li>Zaprv\u00e9, Bach nebyl nesv\u011btsk\u00fd teoretik.<\/li>\n<li>Za druh\u00e9, m\u011bl temperament.<\/li>\n<li>Zat\u0159et\u00ed, kladl vysok\u00e9 n\u00e1roky - i na ostatn\u00ed.<\/li>\n<\/ul>\n<p>Mo\u017en\u00e1 byl jeho t\u00f3n n\u011bkdy ostr\u00fd. Ale hudbu bral v\u00e1\u017en\u011b.<\/p>\n<h3>Mezi adaptac\u00ed a nez\u00e1vislost\u00ed<\/h3>\n<p>V ml\u00e1d\u00ed \u010dasto stoj\u00edte p\u0159ed ot\u00e1zkou: M\u00e1m se p\u0159izp\u016fsobit - nebo z\u016fstat v\u011brn\u00fd sv\u00e9 linii?<\/p>\n<p>Bach se brzy rozhodl pro druhou mo\u017enost. Z\u00e1sadn\u011b nebyl provokat\u00e9rem. Ale pokud byl p\u0159esv\u011bd\u010den, \u017ee je n\u011bco hudebn\u011b spr\u00e1vn\u00e9, pak to h\u00e1jil.<\/p>\n<p>To vedlo k nap\u011bt\u00ed. Ale tak\u00e9 to formovalo jeho styl. Pokud jste v\u017edy jen potvrzeni, d\u00e1le se nevyv\u00edj\u00edte. T\u0159en\u00ed zost\u0159uje.<\/p>\n<h3>Discipl\u00edna jako z\u00e1klad<\/h3>\n<p>Krom\u011b t\u011bchto konflikt\u016f nelze opomenout jednu v\u011bc: Bach pracoval ne\u00fanavn\u011b. Studoval ciz\u00ed d\u00edla. Experimentoval s formami. Zdokonaloval svou techniku. Tato f\u00e1ze polo\u017eila z\u00e1klady jeho pozd\u011bj\u0161\u00edho um\u011bn\u00ed.<\/p>\n<p>Je l\u00e1kav\u00e9 pova\u017eovat velk\u00e9 um\u011bn\u00ed za n\u00e1hlou inspiraci. V Bachov\u011b p\u0159\u00edpad\u011b v\u0161ak jasn\u011b vid\u00edme, \u017ee jeho mistrovstv\u00ed bylo v\u00fdsledkem p\u00edle.<\/p>\n<p>Nen\u00ed to nijak velkolep\u00e9. Ne okouzluj\u00edc\u00ed. Ale udr\u017eiteln\u00fd.<\/p>\n<h3>Budov\u00e1n\u00ed charakteru prost\u0159ednictv\u00edm odporu<\/h3>\n<p>P\u0159i pohledu zp\u011bt se tyto ran\u00e9 spory zdaj\u00ed b\u00fdt t\u00e9m\u011b\u0159 nezbytn\u00e9.<\/p>\n<ul>\n<li>Dlouh\u00e1 cesta do L\u00fcbecku.<\/li>\n<li>Probl\u00e9my s c\u00edrkevn\u00ed radou.<\/li>\n<li>H\u00e1dka s fagotistou.<\/li>\n<\/ul>\n<p>\u017d\u00e1dn\u00fd z t\u011bchto p\u0159\u00edb\u011bh\u016f nen\u00ed hrdinsk\u00fd. Ukazuj\u00ed v\u0161ak mlad\u00e9ho mu\u017ee, kter\u00fd byl p\u0159ipraven h\u00e1jit sv\u00e9 ch\u00e1p\u00e1n\u00ed kvality.<br \/>\nJe\u0161t\u011b nen\u00ed dokonal\u00fd. Je\u0161t\u011b ne sv\u011btov\u011b proslul\u00fd. Ale ji\u017e s jasnou vnit\u0159n\u00ed lini\u00ed.<\/p>\n<h3>Mlad\u00fd hudebn\u00edk s vlastn\u00edm stylem<\/h3>\n<p>B\u011bhem t\u011bchto u\u010dednick\u00fdch let se tak\u00e9 za\u010dal formovat jeho hudebn\u00ed jazyk. Spojil vlivy severn\u00edho N\u011bmecka s italskou \u010distotou a francouzskou eleganc\u00ed. Pozd\u011bji z toho vyvinul sv\u016fj vlastn\u00ed syst\u00e9m - ale zde, v t\u00e9to f\u00e1zi, se sb\u00edraly stavebn\u00ed kameny.<\/p>\n<p>Je to jako u architekta, kter\u00fd nejprve studuje ciz\u00ed stavby, ne\u017e za\u010dne pl\u00e1novat vlastn\u00ed. Bach se u\u010dil od jin\u00fdch - ale nekop\u00edroval je trvale. Integroval. P\u0159etv\u00e1\u0159el. A pr\u00e1v\u011b v tom spo\u010d\u00edv\u00e1 velikost: ne v napodobov\u00e1n\u00ed, ale v dal\u0161\u00edm rozvoji.<\/p>\n<p>U\u010d\u0148ovsk\u00e1 l\u00e9ta n\u00e1m ukazuj\u00ed z\u00e1sadn\u00ed v\u011bc: postoj se nevyv\u00edj\u00ed pouze ve sl\u00e1v\u011b. Vznik\u00e1 v ka\u017edodenn\u00edm \u017eivot\u011b. V rozhodnut\u00edch. V konfliktech. Ve zp\u016fsobu, jak\u00fdm se vyrovn\u00e1v\u00e1te s kritikou.<\/p>\n<p>Bach se mohl vydat snaz\u0161\u00ed cestou. Mohl komponovat jednodu\u0161eji. Mohl m\u00e9n\u011b diskutovat. Ale neud\u011blal to. Z\u016fstal zv\u011bdav\u00fd. Z\u016fstal n\u00e1ro\u010dn\u00fd. A z\u016fstal v\u011brn\u00fd s\u00e1m sob\u011b.<\/p>\n<p>V p\u0159\u00ed\u0161t\u00ed kapitole se dozv\u00edme, jak se z tohoto mlad\u00e9ho, pr\u016fbojn\u00e9ho varhan\u00edka stal mu\u017e, kter\u00fd p\u0159evzal odpov\u011bdnost ve ve\u0159ejn\u00e9 sf\u00e9\u0159e - a jak moc ho funkce m\u011bstsk\u00e9ho p\u00ed\u0161\u0165al\u00e1\u0159e formovala, a to i po skon\u010den\u00ed jeho d\u011btstv\u00ed.<\/p>\n<h3>Kr\u00e1tk\u00fd pohled do sv\u011bta historick\u00e9ho Bacha - Sarah's Music na stop\u011b mistra<\/h3>\n<p>Dokument DW \u201ePo stop\u00e1ch Johanna Sebastiana Bacha\u201c nab\u00edz\u00ed v\u0159el\u00e9 a bezprost\u0159edn\u00ed sezn\u00e1men\u00ed s Bachov\u00fdm \u017eivotem v Lipsku. Moder\u00e1torka Sarah Willisov\u00e1 nav\u0161t\u00edv\u00ed nejen kl\u00ed\u010dov\u00e1 m\u00edsta, jako je kostel svat\u00e9ho Tom\u00e1\u0161e, ale setk\u00e1 se tak\u00e9 se sirem Johnem Eliotem Gardinerem, jedn\u00edm z nejv\u00fdznamn\u011bj\u0161\u00edch bachovsk\u00fdch interpret\u016f na\u0161\u00ed doby.<\/p>\n<div class=\"lyte-wrapper\" style=\"width:640px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_ZdlnGdu546E\"><div id=\"lyte_ZdlnGdu546E\" data-src=\"https:\/\/www.markus-schall.de\/wp-content\/plugins\/wp-youtube-lyte\/lyteCache.php?origThumbUrl=%2F%2Fi.ytimg.com%2Fvi%2FZdlnGdu546E%2Fhqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/ZdlnGdu546E\" rel=\"nofollow noopener\" target=\"_blank\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.markus-schall.de\/wp-content\/plugins\/wp-youtube-lyte\/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FZdlnGdu546E%2F0.jpg\" alt=\"Miniatura videa na YouTube\" width=\"640\" height=\"340\" \/><br \/>Pod\u00edvejte se na toto video na YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:640px;margin:5px;\"><\/div><br \/>\nPo stop\u00e1ch Johanna Sebastiana Bacha | <a href=\"https:\/\/www.youtube.com\/@dwdeutsch\" target=\"_blank\" rel=\"nofollow noopener\">Sarah's Music<\/a><\/p>\n<p>Video kombinuje historick\u00e9 n\u00e1stroje, m\u00edstnosti a osobn\u00ed dojmy, aby vytvo\u0159ilo \u017eiv\u00fd celkov\u00fd obraz, kter\u00fd \u010din\u00ed Bachovu p\u0159\u00edtomnost hmatatelnou dodnes. Pro \u010dten\u00e1\u0159e je tento dokument harmonick\u00fdm dopl\u0148kem \u010dl\u00e1nku: N\u00e1zorn\u011b ukazuje, jak \u00fazce jsou hudba, m\u00edsto a osobnost v Bachov\u011b d\u00edle propojeny - a jak moc jeho d\u00edlo vyza\u0159uje i do na\u0161\u00ed doby.<\/p>\n<h2>M\u011bstsk\u00fd truba\u010d - hudba jako \u0159emeslo, povinnost a ve\u0159ejn\u00e1 slu\u017eba<\/h2>\n<p>Kdy\u017e si dnes p\u0159edstav\u00edme hudebn\u00edky, \u010dasto vid\u00edme s\u00f3listy na p\u00f3diu, kapely ve studiu nebo um\u011blce na turn\u00e9. Hudba se n\u00e1m jev\u00ed jako projev osobn\u00ed kreativity - svobodn\u00fd, individu\u00e1ln\u00ed, n\u011bkdy a\u017e rebelsk\u00fd.<\/p>\n<p>V dob\u011b Johanna Sebastiana Bacha to bylo jinak. Hudba byla sou\u010d\u00e1st\u00ed ve\u0159ejn\u00e9ho po\u0159\u00e1dku. A abychom to pochopili, stoj\u00ed za to pod\u00edvat se bl\u00ed\u017ee na \u00fa\u0159ad, kter\u00fd charakterizoval u\u017e jeho otce - a t\u00edm nep\u0159\u00edmo i jeho: \u00fa\u0159ad m\u011bstsk\u00e9ho truba\u010de.<\/p>\n<h3>Povol\u00e1n\u00ed s cechovn\u00edmi pravidly<\/h3>\n<p>M\u011bstsk\u00fd dud\u00e1k nebyl pouli\u010dn\u00ed hudebn\u00edk ani improvizuj\u00edc\u00ed minstrel. Byl to ofici\u00e1ln\u011b zam\u011bstnan\u00fd m\u011bstsk\u00fd hudebn\u00edk - v\u00e1zan\u00fd jasn\u00fdm syst\u00e9mem povinnost\u00ed.<\/p>\n<p>M\u011bst\u0161t\u00ed dud\u00e1ci pat\u0159ili do cechu. Proch\u00e1zeli regulovan\u00fdm v\u00fdcvikem, museli skl\u00e1dat zkou\u0161ky a museli ovl\u00e1dat \u0161irokou \u0161k\u00e1lu n\u00e1stroj\u016f. Zvl\u00e1\u0161t\u011b d\u016fle\u017eit\u00e9 byly dechov\u00e9 n\u00e1stroje, jako jsou kornety, trombony, \u0161almaje a trubky. Jejich \u00fakoly byly rozmanit\u00e9:<\/p>\n<ul>\n<li>Hudba p\u0159i bohoslu\u017eb\u00e1ch<\/li>\n<li>Doprovod na svatb\u00e1ch a poh\u0159bech<\/li>\n<li>Vystoupen\u00ed na zased\u00e1n\u00edch rady<\/li>\n<li>Slavnostn\u00ed hudba na obecn\u00edch oslav\u00e1ch<\/li>\n<li>Fouk\u00e1n\u00ed v\u011b\u017ee v ur\u010ditou denn\u00ed dobu<\/li>\n<\/ul>\n<p>Hudba nebyla c\u00edlem sama o sob\u011b. Byla to slu\u017eba. A byla viditeln\u00e1 - nebo sp\u00ed\u0161e: sly\u0161iteln\u00e1 - ve ve\u0159ejn\u00e9m prostoru.<\/p>\n<h3>Hudba jako sou\u010d\u00e1st identity m\u011bsta<\/h3>\n<p>Nem\u011bli byste ji pova\u017eovat za p\u0159\u00edle\u017eitostnou hudbu v pozad\u00ed. Kdy\u017e m\u011bst\u0161t\u00ed truba\u010di hr\u00e1li z kosteln\u00ed v\u011b\u017ee, dod\u00e1valo to cel\u00e9mu dni strukturu. Kdy\u017e hr\u00e1li na zased\u00e1n\u00edch m\u011bstsk\u00e9 rady, reprezentovali d\u016fstojnost m\u011bsta. Hudba byla sou\u010d\u00e1st\u00ed identity obce.<\/p>\n<p>To tak\u00e9 znamen\u00e1, \u017ee m\u011bstsk\u00fd p\u00edsa\u0159 byl pod dohledem. Kvalita nebyla soukromou z\u00e1le\u017eitost\u00ed. M\u011bla dopad na pov\u011bst m\u011bsta. Ka\u017ed\u00fd, kdo zde pracoval nedbale, ne\u0161kodil jen s\u00e1m sob\u011b.<\/p>\n<p>Tento postoj - \u017ee hudba nese odpov\u011bdnost - byl mlad\u00e9mu Bachovi zn\u00e1m ji\u017e od \u00fatl\u00e9ho v\u011bku.<\/p>\n<h3>\u0158emesln\u00e1 zru\u010dnost p\u0159ed inspirac\u00ed<\/h3>\n<p>V takov\u00e9m prost\u0159ed\u00ed nevyr\u016fst\u00e1te s my\u0161lenkou, \u017ee hudba jsou jen emoce. Nau\u010d\u00edte se, \u017ee vy\u017eaduje dovednosti. P\u0159\u00edprava. Dochvilnost. Spolehlivost. M\u011bstsk\u00fd dud\u00e1k musel b\u00fdt flexibiln\u00ed. N\u011bkdy byla vy\u017eadov\u00e1na duchovn\u00ed hudba, jindy sv\u011btsk\u00e1 tane\u010dn\u00ed hudba. Hr\u00e1li p\u0159i slavnostn\u00edch p\u0159\u00edle\u017eitostech i spole\u010densk\u00fdch setk\u00e1n\u00edch.<\/p>\n<p>Tato v\u0161estrannost charakterizovala i Bachovu pozd\u011bj\u0161\u00ed tvorbu. Byl schopen sakr\u00e1ln\u00ed hloubky i dvorsk\u00e9 elegance. Byl schopen p\u0159\u00edsnosti i lehkosti. To v\u0161e nep\u0159i\u0161lo z ni\u010deho nic. Vych\u00e1z\u00ed to z \u0159emesln\u00e9 tradice.<\/p>\n<h3>Neviditeln\u00e1 \u0161kola povinnosti<\/h3>\n<p>I kdy\u017e se Bach s\u00e1m pozd\u011bji nestal m\u011bstsk\u00fdm p\u00ed\u0161\u0165al\u00e1\u0159em, tento model mu z\u016fstal bl\u00edzk\u00fd. Jeho otec mu uk\u00e1zal, co znamen\u00e1 spolehliv\u011b dod\u00e1vat. Nejen tehdy, kdy\u017e m\u00faza pol\u00edb\u00ed, ale i tehdy, kdy\u017e se to prost\u011b o\u010dek\u00e1v\u00e1.<\/p>\n<p>Tato ran\u00e1 zku\u0161enost mo\u017en\u00e1 vysv\u011btluje, pro\u010d Bach v pozd\u011bj\u0161\u00edch letech dos\u00e1hl t\u00e9m\u011b\u0159 neuv\u011b\u0159iteln\u00e9 produktivity. Nap\u0159\u00edklad v Lipsku napsal b\u011bhem kr\u00e1tk\u00e9 doby n\u011bkolik let kompletn\u00ed kant\u00e1ty - ka\u017ed\u00fd t\u00fdden nov\u00e9 d\u00edlo.<\/p>\n<p>To nen\u00ed rozmar. Je to pracovn\u00ed mor\u00e1lka.<\/p>\n<h3>Mezi um\u011bn\u00edm a slu\u017ebou<\/h3>\n<p>Dnes m\u00e1me tendenci odd\u011blovat um\u011bn\u00ed od povinnosti. V 17. a 18. stolet\u00ed to v\u0161ak bylo st\u011b\u017e\u00ed mo\u017en\u00e9. Hudebn\u00edk byl sou\u010d\u00e1st\u00ed n\u011bjak\u00e9 struktury - c\u00edrkevn\u00ed nebo dvorsk\u00e9. Jeho \u00fakolem bylo dod\u00e1vat hudbu v r\u00e1mci tohoto \u0159\u00e1du. Bach tento r\u00e1mec akceptoval. Ale vyu\u017e\u00edval ho. Plnil sv\u00e9 povinnosti - a napl\u0148oval je obsahem. To je z\u00e1sadn\u00ed bod: nebyl rebelem proti syst\u00e9mu. Ale ani se nenechal strhnout k pr\u016fm\u011brnosti.<\/p>\n<p>V t\u00e9to star\u00e9 pracovn\u00ed n\u00e1plni je jist\u00e1 kr\u00e1sa. M\u011bstsk\u00fd truba\u010d r\u00e1no vstal, p\u0159ipravil se, p\u0159i\u0161el v\u010das, zahr\u00e1l sv\u00e9 party a p\u0159isp\u011bl k \u00fasp\u011bchu ve\u0159ejn\u00e9 akce. Bez jak\u00e9hokoli povyku. Bez sebepropagace. To byla \u010destn\u00e1 pr\u00e1ce.<\/p>\n<p>A pr\u00e1v\u011b tento postoj charakterizuje Bach\u016fv \u017eivot. I kdy\u017e se pozd\u011bji stal jedn\u00edm z nejv\u011bt\u0161\u00edch skladatel\u016f v d\u011bjin\u00e1ch hudby, z\u016fstal v srdci \u0159emesln\u00edkem. Stav\u011bl d\u00edla. Stav\u011bl fugy. Navrhoval hudebn\u00ed architektury. Ne z je\u0161itnosti, ale z p\u0159esv\u011bd\u010den\u00ed.<\/p>\n<p>Snad pr\u00e1v\u011b tato kombinace \u0159emesln\u00e9 zru\u010dnosti a hloubky \u010din\u00ed Bacha tak nad\u010dasov\u00fdm. Ukazuje, \u017ee velk\u00e9 um\u011bn\u00ed nen\u00ed v rozporu s povinnost\u00ed. Naopak: \u010dasto vznik\u00e1 pr\u00e1v\u011b d\u016fsledn\u00fdm pln\u011bn\u00edm \u00fakol\u016f.<\/p>\n<p>Discipl\u00edna nen\u00ed nep\u0159\u00edtelem kreativity. Je jej\u00edm z\u00e1kladem. Kdy\u017e poslouch\u00e1te Bacha, nesly\u0161\u00edte jen zvuk. Sly\u0161\u00edte strukturu, \u0159\u00e1d, p\u00e9\u010di. A mo\u017en\u00e1 tak\u00e9 c\u00edt\u00edte n\u011bco ze star\u00e9ho sv\u011bta, v n\u011bm\u017e byla hudba st\u00e1le p\u0159irozenou sou\u010d\u00e1st\u00ed ve\u0159ejn\u00e9ho \u017eivota - nesen\u00e1 lidmi, kte\u0159\u00ed brali svou profesi v\u00e1\u017en\u011b.<\/p>\n<p>V dal\u0161\u00ed kapitole se setk\u00e1v\u00e1me s Bachem jako dosp\u011bl\u00fdm hudebn\u00edkem na nov\u00fdch stanic\u00edch - ve V\u00fdmaru a K\u00f6thenu - a za\u017e\u00edv\u00e1me, jak jeho talent st\u00e1le v\u00edce nar\u00e1\u017e\u00ed na odpor, proto\u017ee se st\u00e1v\u00e1 v\u011bt\u0161\u00edm ne\u017e r\u00e1mec, v n\u011bm\u017e se pohybuje.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-5069\" src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Arnstadt.jpg\" alt=\"Johann Sebastian Bach v Arnstadtu\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Arnstadt.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Arnstadt-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Arnstadt-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Arnstadt-18x12.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<h2>Arnstadt, V\u00fdmar, K\u00f6then - talent se potk\u00e1v\u00e1 s tvrdohlavost\u00ed<\/h2>\n<p>Z mlad\u00e9ho temperamentn\u00edho varhan\u00edka se nyn\u00ed st\u00e1v\u00e1 dosp\u011bl\u00fd hudebn\u00edk s rostouc\u00ed reputac\u00ed. S rostouc\u00edmi schopnostmi v\u0161ak roste i nap\u011bt\u00ed mezi jeho n\u00e1roky a okol\u00edm.<\/p>\n<p>Zast\u00e1vky v Arnstadtu, V\u00fdmaru a K\u00f6thenu nejsou pouhou zm\u011bnou m\u00edsta. Znamenaj\u00ed v\u00fdvojov\u00e9 kroky - hudebn\u00ed i charakterov\u00e9.<br \/>\nTo ukazuje, \u017ee samotn\u00fd talent nesta\u010d\u00ed. Pokud mysl\u00edte v\u00edc, ne\u017e je v\u00e1\u0161 k\u00e1dr, nevyhnuteln\u011b naraz\u00edte na sv\u00e9 limity.<\/p>\n<h3>Arnstadt - Za\u010d\u00e1tek s t\u0159en\u00edm<\/h3>\n<p>V Arnstadtu byl Bach je\u0161t\u011b velmi mlad\u00fd. Byl jmenov\u00e1n varhan\u00edkem v Nov\u00e9m kostele, co\u017e bylo pro dvacetilet\u00e9ho \u010dlov\u011bka velmi odpov\u011bdn\u00e9 m\u00edsto. Hr\u00e1l virtu\u00f3zn\u011b. Hojn\u011b improvizoval. Experimentoval s formami.<\/p>\n<p>Ne v\u0161ichni v\u0161ak byli nad\u0161eni. Vy\u010d\u00edtali mu, \u017ee jeho doprovody jsou p\u0159\u00edli\u0161 propracovan\u00e9, extravagantn\u00ed, nevhodn\u00e9 pro shrom\u00e1\u017ed\u011bn\u00ed. Chor\u00e1ly byly \u201ematouc\u00ed\u201c. Shrom\u00e1\u017ed\u011bn\u00ed s nimi nemohlo po\u0159\u00e1dn\u011b zp\u00edvat.<\/p>\n<p>Zde se projevuje n\u011bco, co bude pokra\u010dovat po cel\u00fd jeho \u017eivot: Bach se zbrkle nepod\u0159izoval o\u010dek\u00e1v\u00e1n\u00edm, kdy\u017e byl p\u0159esv\u011bd\u010den, \u017ee d\u011bl\u00e1 hudebn\u011b spr\u00e1vnou v\u011bc. Nebyl provokat\u00e9r. Nebyl v\u0161ak ani skladatelem laskavost\u00ed.<\/p>\n<h3>V\u00fdmar - vzestup a konflikt<\/h3>\n<p>Ve V\u00fdmaru se Bach stal dvorn\u00edm varhan\u00edkem a pozd\u011bji koncertn\u00edm mistrem. Tato pozice p\u0159in\u00e1\u0161ela presti\u017e - a odpov\u011bdnost. Zde se d\u00e1le rozv\u00edjelo jeho varhann\u00ed um\u011bn\u00ed. V t\u00e9to dob\u011b vzniklo mnoho v\u00fdznamn\u00fdch varhann\u00edch d\u011bl. Zde se zdokonalila technick\u00e1 brilance, kterou dnes obdivujeme.<\/p>\n<p>Ale ani tady se v\u011bci neobe\u0161ly bez konflikt\u016f. Kdy\u017e se v roce 1717 naskytla p\u0159\u00edle\u017eitost p\u0159est\u011bhovat se jako kapeln\u00edk do K\u00f6thenu, Bach cht\u011bl odej\u00edt. Byl to pro n\u011bj kari\u00e9rn\u00ed posun - v\u011bt\u0161\u00ed tv\u016fr\u010d\u00ed svoboda, lep\u0161\u00ed vyhl\u00eddky. V\u00fdmarsk\u00fd v\u00e9voda to vid\u011bl jinak.<\/p>\n<h3>V\u011bzen\u00ed pro rozhodnut\u00ed<\/h3>\n<p>Bach trval na jeho propu\u0161t\u011bn\u00ed. V\u00e9voda reagoval citliv\u011b. V\u00fdsledek: Bach byl na n\u011bkolik t\u00fddn\u016f uv\u011bzn\u011bn - ofici\u00e1ln\u011b za \u201etvrdohlav\u00e9 sv\u011bdectv\u00ed o sv\u00e9m propu\u0161t\u011bn\u00ed\u201c.<\/p>\n<p>Tuto epizodu je snadn\u00e9 p\u0159ehl\u00e9dnout. Ale je pozoruhodn\u00e1. Hudebn\u00edk, kter\u00fd jde do v\u011bzen\u00ed za profesion\u00e1ln\u00ed rozhodnut\u00ed - to zn\u00ed dramaticky, ale je to p\u0159edev\u0161\u00edm zn\u00e1mka d\u016fslednosti.<\/p>\n<p>Mohl se vzd\u00e1t. Ale neud\u011blal to. Ne ze vzdoru. Ale z \u010dist\u00e9ho sv\u011bdom\u00ed. V\u011bd\u011bl, co chce.<\/p>\n<h3>K\u00f6then - Svoboda bez c\u00edrkevn\u00edho n\u00e1tlaku<\/h3>\n<p>V K\u00f6thenu, na dvo\u0159e hudbymilovn\u00e9ho kn\u00ed\u017eete Leopolda, na\u0161el Bach nov\u00e9 prost\u0159ed\u00ed. Dv\u016fr byl ovlivn\u011bn reformovanou c\u00edrkv\u00ed, tak\u017ee c\u00edrkevn\u00ed hudba zde hr\u00e1la men\u0161\u00ed roli. To znamenalo, \u017ee se Bach mohl v\u00edce v\u011bnovat sv\u011btsk\u00e9 instrument\u00e1ln\u00ed hudb\u011b. Zde mimo jin\u00e9 komponoval:<\/p>\n<ul>\n<li>Braniborsk\u00e9 koncerty<\/li>\n<li>Houslov\u00e9 son\u00e1ty<\/li>\n<li>Violoncellov\u00e9 suity<\/li>\n<li>Prvn\u00ed kniha Dob\u0159e temperovan\u00e9ho klav\u00edru<\/li>\n<\/ul>\n<p>Tato d\u00edla ukazuj\u00ed jinou str\u00e1nku Bacha: ne prim\u00e1rn\u011b teologick\u00e9 vyj\u00e1d\u0159en\u00ed, ale \u010distou hudebn\u00ed stavbu a eleganci. Zvl\u00e1\u0161t\u011b z\u0159eteln\u011b se zde rozv\u00edj\u00ed jeho architektonick\u00e9 my\u0161len\u00ed.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-5077\" src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Koethen.jpg\" alt=\"Johann Sebastian Bach v K\u00f6thenu\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Koethen.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Koethen-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Koethen-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Koethen-18x12.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<h3>Talent za dobr\u00fdch podm\u00ednek<\/h3>\n<p>K\u00f6thensk\u00fd kn\u00ed\u017ee byl s\u00e1m hudebn\u011b vzd\u011blan\u00fd. Oce\u0148oval Bacha. Dal mu prostor. A je vid\u011bt, \u017ee kdy\u017e se spoj\u00ed okol\u00ed a aspirace, d\u011bj\u00ed se velk\u00e9 v\u011bci.<\/p>\n<p>Ani zde v\u0161ak Bach nez\u016fstal bezstarostn\u00fdm um\u011blcem. V roce 1719 odjel na prohl\u00eddku nov\u00fdch varhan. N\u00e1stroje zkoumal kriticky. Nebyl mu\u017eem povrchn\u00edho souhlasu. Kvalita pro n\u011bj nebyla ot\u00e1zkou zdvo\u0159ilosti.<\/p>\n<h3>Osobn\u00ed r\u00e1ny osudu<\/h3>\n<p>Tato etapa se v\u0161ak nevyzna\u010dovala pouze jeho kari\u00e9rou. V roce 1720, kdy Bach cestoval s kn\u00ed\u017eetem, ne\u010dekan\u011b zem\u0159ela jeho prvn\u00ed \u017eena Marie Barbara. Vr\u00e1til se - a ona u\u017e byla poh\u0159bena.<\/p>\n<p>Tato epizoda se v kronice objevuje nen\u00e1padn\u011b, t\u00e9m\u011b\u0159 v\u011bcn\u011b. Ale m\u016f\u017eete si domyslet, co znamenala: n\u011bkolik mal\u00fdch d\u011bt\u00ed, odpov\u011bdnost, ztr\u00e1ta. I to bylo sou\u010d\u00e1st\u00ed jeho cesty.<\/p>\n<p>Pozd\u011bji se o\u017eenil s Annou Magdalenou, zp\u011bva\u010dkou. Spole\u010dn\u011b vedli velk\u00fd, \u017eiv\u00fd d\u016fm pln\u00fd d\u011bt\u00ed, \u017e\u00e1k\u016f a hudby. Bach nebyl osam\u011bl\u00fd u\u010denec. Byl to rodinn\u00fd typ.<\/p>\n<h3>Rostouc\u00ed mistrovstv\u00ed<\/h3>\n<p>V K\u00f6thenu z\u00edsk\u00e1v\u00e1 jeho hudba novou jasnost. Sly\u0161\u00edte sebejistotu. Ne sebev\u011bdom\u00ed k\u0159iklouna, ale sebev\u011bdom\u00ed suver\u00e9na. Ovl\u00e1d\u00e1 formy. Hraje si se strukturami. Rozv\u00edj\u00ed t\u00e9mata s p\u0159esnost\u00ed, kter\u00e1 zap\u016fsob\u00ed.<\/p>\n<p>Nevypad\u00e1 to napjat\u011b. P\u016fsob\u00ed p\u0159irozen\u011b. Ale za touto samoz\u0159ejmost\u00ed se skr\u00fdvaj\u00ed roky u\u010den\u00ed a t\u0159en\u00ed.<\/p>\n<p>V\u00fdjime\u010dnost t\u00e9to f\u00e1ze spo\u010d\u00edv\u00e1 v kombinaci schopnost\u00ed a charakteru. Bach s rostouc\u00edm \u00fasp\u011bchem nezm\u011bkne. Z\u016fst\u00e1v\u00e1 n\u00e1ro\u010dn\u00fd. Z\u016fst\u00e1v\u00e1 kritick\u00fd - dokonce i k sob\u011b sam\u00e9mu. Opou\u0161t\u00ed zaji\u0161t\u011bnou pozici, pokud mu nesta\u010d\u00ed. P\u0159ij\u00edm\u00e1 konflikty. Hled\u00e1 lep\u0161\u00ed podm\u00ednky - ne pohodl\u00ed.<\/p>\n<p>Jedn\u00e1 se o formu postoje, kter\u00fd je tich\u00fd, ale jasn\u00fd.<\/p>\n<h3>P\u0159\u00edprava na Lipsko<\/h3>\n<p>F\u00e1ze K\u00f6then kon\u010d\u00ed v roce 1723. Bach se uch\u00e1z\u00ed o m\u00edsto Thomaskantora v Lipsku. Zaj\u00edmav\u00e9 je, \u017ee nebyl vybr\u00e1n jako prvn\u00ed. N\u011bkolik kandid\u00e1t\u016f se odvolalo nebo jim byla d\u00e1na p\u0159ednost. Bach v\u0161ak m\u00edsto z\u00edskal.<\/p>\n<p>Dalo by se \u0159\u00edci, \u017ee l\u00e9ta u\u010den\u00ed a cestov\u00e1n\u00ed jsou nyn\u00ed u konce. Zral\u00fd hudebn\u00edk vstupuje do f\u00e1ze sv\u00e9 nejv\u011bt\u0161\u00ed pr\u00e1ce.<br \/>\nLipsko v\u0161ak nebude o\u00e1zou klidu. Kone\u010dn\u011b se uk\u00e1\u017ee, jakou m\u00e1 tento mu\u017e p\u00e1te\u0159.<\/p>\n<p>V dal\u0161\u00ed kapitole s n\u00edm vstoup\u00edme do kostela svat\u00e9ho Tom\u00e1\u0161e v Lipsku - a za\u017eijeme skladatele na vrcholu sv\u00fdch povinnost\u00ed, ale tak\u00e9 uprost\u0159ed nov\u00fdch konflikt\u016f.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-5070\" src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Muehlhausen.jpg\" alt=\"Potok v M\u00fchlhausenu\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Muehlhausen.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Muehlhausen-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Muehlhausen-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Muehlhausen-18x12.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<h2>Lipsko - odpov\u011bdnost, odpor a velikost<\/h2>\n<p>Kdy\u017e Johann Sebastian Bach v roce 1723 nastoupil na m\u00edsto Thomaskantora v Lipsku, za\u010dalo nejd\u016fle\u017eit\u011bj\u0161\u00ed a z\u00e1rove\u0148 nejn\u00e1ro\u010dn\u011bj\u0161\u00ed obdob\u00ed jeho \u017eivota. Lipsko nebylo mal\u00e9 reziden\u010dn\u00ed m\u011bsto jako K\u00f6then. Bylo to v\u00fdznamn\u00e9 obchodn\u00ed a univerzitn\u00ed m\u011bsto. Od hudby se zde o\u010dek\u00e1valo, \u017ee bude nejen fungovat, ale tak\u00e9 reprezentovat.<\/p>\n<p>A tady m\u011bl Bach uk\u00e1zat, co v n\u011bm je.<\/p>\n<h3>Kancel\u00e1\u0159 s hmotnost\u00ed<\/h3>\n<p>Thomaskantor nebyl jen varhan\u00edk. Byl zodpov\u011bdn\u00fd za:<\/p>\n<ul>\n<li>hudba v n\u011bkolika hlavn\u00edch kostelech<\/li>\n<li>vzd\u011bl\u00e1v\u00e1n\u00ed student\u016f Thomanerovy \u0161koly<\/li>\n<li>organizace zkou\u0161ek<\/li>\n<li>v\u00fdb\u011br a kompozice kant\u00e1t<\/li>\n<li>hudebn\u00ed organizace sv\u00e1tk\u016f<\/li>\n<\/ul>\n<p>T\u00fdden co t\u00fdden se musela vytv\u00e1\u0159et nov\u00e1 hudba. Ne\u0161lo o p\u0159\u00edle\u017eitostn\u00e9 komponov\u00e1n\u00ed z inspirace. Byla to strukturovan\u00e1 pr\u00e1ce pod \u010dasov\u00fdm tlakem. To si mus\u00edte uv\u011bdomit: V prvn\u00edch letech sv\u00e9ho p\u016fsoben\u00ed v Lipsku psal Bach t\u00e9m\u011b\u0159 ka\u017edou ned\u011bli novou kant\u00e1tu. Za p\u0159ekvapiv\u011b kr\u00e1tkou dobu vznikla celoro\u010dn\u00ed duchovn\u00ed d\u00edla.<\/p>\n<p>Nejedn\u00e1 se o romantick\u00fd p\u0159\u00edb\u011bh um\u011blce. Tohle je discipl\u00edna.<\/p>\n<h3>Reklamace spl\u0148uje administrativn\u00ed po\u017eadavky<\/h3>\n<p>Lipsko v\u0161ak nep\u0159ineslo jen um\u011bleck\u00fd rozvoj. P\u0159ineslo tak\u00e9 administrativu. M\u011bstsk\u00e1 rada byla Bachov\u00fdm zam\u011bstnavatelem. A ten nebyl v\u017edy nad\u0161en\u00fd ze sv\u00fdch vysok\u00fdch n\u00e1rok\u016f.<\/p>\n<p>Bach si opakovan\u011b st\u011b\u017eoval na nedostate\u010dn\u011b vy\u0161kolen\u00e9 \u017e\u00e1ky a nedostate\u010dnou hudebn\u00ed kvalitu. Po\u017eadoval lep\u0161\u00ed podm\u00ednky, kvalitn\u011bj\u0161\u00ed n\u00e1stroje a v\u011bt\u0161\u00ed podporu. To vyvol\u00e1valo nap\u011bt\u00ed.<\/p>\n<p>Nebyl to \u017e\u00e1dn\u00fd tich\u00fd trpitel. Ale nebyl ani politick\u00fd intrik\u00e1n. Argumentoval v\u011bcn\u011b - a z\u016fstal vytrval\u00fd.<\/p>\n<h3>Mezi povinnost\u00ed a viz\u00ed<\/h3>\n<p>Lipsko od n\u011bj po\u017eadovalo p\u0159edev\u0161\u00edm chr\u00e1movou hudbu. A Bach bral tento \u00fakol v\u00e1\u017en\u011b. Nez\u016fstalo v\u0161ak jen u funk\u010dn\u00edch doprovod\u016f. Vytvo\u0159il d\u00edla nesm\u00edrn\u00e9 hloubky.<\/p>\n<ul>\n<li>Svatoj\u00e1nsk\u00e9 pa\u0161ije.<\/li>\n<li>Matou\u0161ovy pa\u0161ije.<\/li>\n<li>\u010cetn\u00e9 kant\u00e1ty teologick\u00e9 a hudebn\u00ed slo\u017eitosti.<\/li>\n<\/ul>\n<p>Tady je to jasn\u00e9: splnil svou povinnost - a prom\u011bnil ji v um\u011bn\u00ed. Nepsal povrchn\u011b, jen aby splnil po\u017eadavky. Psal s vnit\u0159n\u00edm p\u0159esv\u011bd\u010den\u00edm.<\/p>\n<h3>Ka\u017edodenn\u00ed odpov\u011bdnost<\/h3>\n<p>Bach nebyl jen lipsk\u00fdm skladatelem. Byl tak\u00e9 u\u010ditelem. Vyu\u010doval latinu, hudebn\u00ed teorii a zp\u011bv. Vedl zkou\u0161ky, opravoval noty a organizoval p\u0159edstaven\u00ed. Z\u00e1rove\u0148 se jeho rodina st\u00e1le rozr\u016fstala. Dovedete si p\u0159edstavit, jak vypadal jeho ka\u017edodenn\u00ed \u017eivot:<\/p>\n<ul>\n<li>Vst\u00e1vejte brzy.<\/li>\n<li>Vzorky.<\/li>\n<li>Lekce.<\/li>\n<li>Slo\u017een\u00ed.<\/li>\n<li>Jedn\u00e1n\u00ed s Radou.<\/li>\n<li>Rodinn\u00fd \u017eivot.<\/li>\n<\/ul>\n<p>\u017d\u00e1dn\u00fd \u00fastup do tich\u00e9ho studia. \u017d\u00e1dn\u00e1 romantick\u00e1 um\u011bleck\u00e1 existence. A p\u0159esto pr\u00e1v\u011b v tomto soust\u0159ed\u011bn\u00ed vznikla jeho nejlep\u0161\u00ed hudba.<\/p>\n<hr \/>\n\n\t\t\t<div class=\"display-post-types\">\n\n\t\t\t\t\t\t\t<style type=\"text\/css\">\n\t\t\t#dpt-wrapper-910 { --dpt-text-align: left;--dpt-image-crop: center;--dpt-border-radius: 5px;--dpt-h-gutter: 10px;--dpt-v-gutter: 10px; }\t\t\t<\/style>\n\t\t\t<style type=\"text\/css\">#dpt-wrapper-910 { --dpt-title-font-style:normal;--dpt-title-font-weight:600;--dpt-title-line-height:1.5;--dpt-title-text-decoration:none;--dpt-title-text-transform:none;--dpt-excerpt-font-style:normal;--dpt-excerpt-font-weight:400;--dpt-excerpt-line-height:1.5;--dpt-excerpt-text-decoration:none;--dpt-excerpt-text-transform:none;--dpt-meta1-font-style:normal;--dpt-meta1-font-weight:400;--dpt-meta1-line-height:1.9;--dpt-meta1-text-decoration:none;--dpt-meta1-text-transform:none;--dpt-meta2-font-style:normal;--dpt-meta2-font-weight:400;--dpt-meta2-line-height:1.9;--dpt-meta2-text-decoration:none;--dpt-meta2-text-transform:none; }<\/style><div class=\"dpt-main-header\">\n\t\t\t\t\t\t<div class=\"dpt-main-title\">\n\t\t\t\t\t\t\t<span class=\"dpt-main-title-text\">Aktu\u00e1ln\u00ed \u010dl\u00e1nky o N\u011bmecku<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t<\/div>\t\t\t\n\t\t\t\t<div id=\"dpt-wrapper-910\" class=\"dpt-wrapper dpt-list2 land1 dpt-cropped dpt-flex-wrap\" >\n\n\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"dauerkrise als normalzustand: wie narrative unsere wahrnehmung verzerren\" data-id=\"3840\"  data-category=\"allgemein b\u00fccher gesellschaft\" data-post_tag=\"buch deutschland energiepolitik erfahrungen europa krisen meinungsfreiheit pers\u00f6nlichkeitsentwicklung\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2025\/12\/permanentni-krize-jako-normalni-stav-jak-narativy-zkresluji-nase-vnimani\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Permanentn\u00ed krize jako norm\u00e1ln\u00ed stav: Jak narativy zkresluj\u00ed na\u0161e vn\u00edm\u00e1n\u00ed<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Permanentn\u00ed krize, vypr\u00e1v\u011bn\u00ed\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/dauerkrise-narrative.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/dauerkrise-narrative.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/dauerkrise-narrative-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/dauerkrise-narrative-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/dauerkrise-narrative-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2025\/12\/permanentni-krize-jako-normalni-stav-jak-narativy-zkresluji-nase-vnimani\/\" rel=\"bookmark\">Permanentn\u00ed krize jako norm\u00e1ln\u00ed stav: Jak narativy zkresluj\u00ed na\u0161e vn\u00edm\u00e1n\u00ed<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"was bedeutet der spannungsfall in deutschland &#8211; und welche folgen h\u00e4tte er konkret?\" data-id=\"2997\"  data-category=\"allgemein b\u00fccher gesellschaft tipps &amp; anleitungen\" data-post_tag=\"buch deutschland geopolitik gesundheit krisen pers\u00f6nlichkeitsentwicklung ratgeber sicherheitspolitik\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2025\/10\/co-znamena-pokles-napeti-v-nemecku-a-jake-konkretni-dusledky-by-to-melo\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Co znamen\u00e1 pokles nap\u011bt\u00ed v N\u011bmecku - a jak\u00e9 by to m\u011blo konkr\u00e9tn\u00ed d\u016fsledky?<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Nap\u00ednac\u00ed sk\u0159\u00ed\u0148 - N\u011bmecko-2025\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Spannungsfall-Deutschland-2025.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Spannungsfall-Deutschland-2025.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Spannungsfall-Deutschland-2025-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Spannungsfall-Deutschland-2025-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Spannungsfall-Deutschland-2025-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2025\/10\/co-znamena-pokles-napeti-v-nemecku-a-jake-konkretni-dusledky-by-to-melo\/\" rel=\"bookmark\">Co znamen\u00e1 pokles nap\u011bt\u00ed v N\u011bmecku - a jak\u00e9 by to m\u011blo konkr\u00e9tn\u00ed d\u016fsledky?<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"klimaschutz mit tunnelblick &#8211; elektromobilit\u00e4t, lobbyarbeit und die verdr\u00e4ngten kosten\" data-id=\"4729\"  data-category=\"allgemein gesellschaft\" data-post_tag=\"deutschland energiepolitik erfahrungen eu-gesetze europa\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2026\/02\/ochrana-klimatu-s-tunelovym-videnim-lobbovani-za-elektromobilitu-a-skryte-naklady\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Ochrana klimatu s tunelov\u00fdm vid\u011bn\u00edm - elektromobilita, lobbing a potla\u010den\u00e9 n\u00e1klady<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Elektromobilita bez ideologie\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Elektromobilitaet-ohne-Ideologie.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Elektromobilitaet-ohne-Ideologie.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Elektromobilitaet-ohne-Ideologie-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Elektromobilitaet-ohne-Ideologie-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Elektromobilitaet-ohne-Ideologie-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2026\/02\/ochrana-klimatu-s-tunelovym-videnim-lobbovani-za-elektromobilitu-a-skryte-naklady\/\" rel=\"bookmark\">Ochrana klimatu s tunelov\u00fdm vid\u011bn\u00edm - elektromobilita, lobbing a potla\u010den\u00e9 n\u00e1klady<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"wie die pandemie \u00d6konomen in bezug auf inflation, wachstum und wirtschaftliche erholung eines besseren belehrte\" data-id=\"5882\"  data-category=\"allgemein gesellschaft\" data-post_tag=\"denkmodelle deutschland energiepolitik europa geopolitik krisen\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2026\/05\/jak-pandemie-ukazala-ze-se-ekonomove-mylili-v-otazce-rustu-inflace-a-hospodarskeho-oziveni\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Jak pandemie uk\u00e1zala, \u017ee se ekonomov\u00e9 m\u00fdlili v ot\u00e1zce inflace, r\u016fstu a hospod\u00e1\u0159sk\u00e9ho o\u017eiven\u00ed<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"682\" class=\"attachment-full size-full\" alt=\"P\u0159edpoklady ekonom\u016f b\u011bhem pandemie\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Pandemie-Oekonomen.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Pandemie-Oekonomen.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Pandemie-Oekonomen-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Pandemie-Oekonomen-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Pandemie-Oekonomen-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2026\/05\/jak-pandemie-ukazala-ze-se-ekonomove-mylili-v-otazce-rustu-inflace-a-hospodarskeho-oziveni\/\" rel=\"bookmark\">Jak pandemie uk\u00e1zala, \u017ee se ekonomov\u00e9 m\u00fdlili v ot\u00e1zce inflace, r\u016fstu a hospod\u00e1\u0159sk\u00e9ho o\u017eiven\u00ed<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\n<hr \/>\n<h3>Odpor k pr\u016fm\u011brnosti<\/h3>\n<p>Bach se opakovan\u011b dostal do konfliktu s m\u011bstskou radou. St\u011b\u017eoval si na kvalitu \u017e\u00e1k\u016f. Po\u017eadoval spolehliv\u00e9 hudebn\u00edky. Kritizoval organiza\u010dn\u00ed nedostatky. N\u011bkomu mohl b\u00fdt nep\u0159\u00edjemn\u00fd.<\/p>\n<p>Ale m\u016f\u017eete to vid\u011bt i jinak: Cht\u011bl, aby hudba byla spr\u00e1vn\u00e1. Ne p\u0159ibli\u017en\u011b. Ne dostate\u010dn\u011b. Ale spr\u00e1vn\u011b.<\/p>\n<p>Mohl se s t\u00edm sm\u00ed\u0159it. Mohl sn\u00ed\u017eit sv\u00e9 n\u00e1roky. Ale neud\u011blal to.<\/p>\n<h3>Velikost bez p\u00f3zy<\/h3>\n<p>Je pozoruhodn\u00e9, \u017ee Bach navzdory tomuto nap\u011bt\u00ed nepromluvil. Psal st\u00ed\u017enosti - ano. Ale s\u00e1m se nepostavil na jevi\u0161t\u011b. Jeho reakc\u00ed na odpor nebylo ve\u0159ejn\u00e9 pobou\u0159en\u00ed, ale lep\u0161\u00ed pr\u00e1ce.<\/p>\n<p>Matou\u0161ovy pa\u0161ije nejsou vyz\u00fdvav\u00fdm prohl\u00e1\u0161en\u00edm. Je to d\u00edlo takov\u00e9ho vnit\u0159n\u00edho \u0159\u00e1du a hloubky, \u017ee se vedle n\u011bj jak\u00e1koli diskuse zd\u00e1 b\u00fdt mal\u00e1. Ukazuje velikost, kter\u00e1 nek\u0159i\u010d\u00ed.<\/p>\n<p>V Lipsku dos\u00e1hlo jeho um\u011bn\u00ed st\u011b\u017e\u00ed p\u0159ekonateln\u00e9 zralosti. Jeho fugy jsou slo\u017eit\u00e9, ale jasn\u00e9. Jeho sborov\u00e1 tvorba je hutn\u00e1, ale pr\u016fzra\u010dn\u00e1. Jeho harmonie nesou stejnou m\u011brou text i emoce. Hudebn\u011b p\u0159em\u00fd\u0161l\u00ed jako architekt.<\/p>\n<ul>\n<li>Ka\u017ed\u00fd hlas m\u00e1 svou funkci.<\/li>\n<li>Ka\u017ed\u00e1 mise m\u00e1 smysl.<\/li>\n<li>Nic nen\u00ed n\u00e1hodn\u00e9.<\/li>\n<li>A p\u0159esto se zd\u00e1 b\u00fdt \u017eiv\u00e1.<\/li>\n<\/ul>\n<p>To je paradox jeho um\u011bn\u00ed: nejvy\u0161\u0161\u00ed \u0159\u00e1d - a z\u00e1rove\u0148 exprese.<\/p>\n<h3>Mezi uzn\u00e1n\u00edm a nepochopen\u00edm<\/h3>\n<p>Zaj\u00edmav\u00e9 je, \u017ee Bach byl za sv\u00e9ho \u017eivota zn\u00e1m\u00fd p\u0159edev\u0161\u00edm jako varhann\u00ed virtuos a hudebn\u00ed v\u011bdec. Jako skladatel nebyl takovou hv\u011bzdou, jakou ho zn\u00e1me dnes. N\u011bkte\u0159\u00ed pova\u017eovali jeho hudbu za p\u0159\u00edli\u0161 slo\u017eitou. Vkus t\u00e9 doby se pomalu ub\u00edral sm\u011brem ke galantn\u00edm, leh\u010d\u00edm styl\u016fm.<\/p>\n<p>Bach se dr\u017eel sv\u00e9 linie. Nep\u0159izp\u016fsoboval se m\u00f3dn\u00edm trend\u016fm. Mo\u017en\u00e1 si byl v\u011bdom toho, \u017ee hloubka nen\u00ed v\u017edy okam\u017eit\u011b rozpoznateln\u00e1.<\/p>\n<h3>Postoj v ka\u017edodenn\u00edm \u017eivot\u011b<\/h3>\n<p>Lipsko je f\u00e1z\u00ed, v n\u00ed\u017e se kone\u010dn\u011b odhaluje jeho charakter. Nikoliv v\u0161ak ve velkolep\u00e9 ud\u00e1losti. Ne ve v\u011bzen\u00ed jako ve V\u00fdmaru.<\/p>\n<p>Ale ve vytrvalosti. T\u00fdden co t\u00fdden. Obhajoba na\u0161eho n\u00e1roku. Zaji\u0161t\u011bn\u00ed rodiny. Formov\u00e1n\u00ed \u017e\u00e1k\u016f.<\/p>\n<p>To je tich\u00e1 velikost. A mo\u017en\u00e1 pr\u00e1v\u011b tato neok\u00e1zal\u00e1 forma postoje je dnes op\u011bt p\u016fsobiv\u00e1. Ne hlasit\u00fd sign\u00e1l, ale neust\u00e1l\u00e1 pr\u00e1ce.<\/p>\n<p>Kdy\u017e Bach p\u016fsobil v Lipsku, nebyl u\u017e mlad\u00fdm, temperamentn\u00edm varhan\u00edkem. Dosp\u011bl. Jeho konflikty byly objektivn\u011bj\u0161\u00ed. Jeho hudba byla hlub\u0161\u00ed. Jeho rozhodnut\u00ed byla promy\u0161len\u011bj\u0161\u00ed. Jedno v\u0161ak z\u016fstalo stejn\u00e9: hledal kvalitu. A z\u016fstal v\u011brn\u00fd s\u00e1m sob\u011b.<\/p>\n<p>V dal\u0161\u00ed kapitole se setk\u00e1v\u00e1me se str\u00e1nkou, kter\u00e1 je v t\u00e9to v\u00e1\u017enosti snadno p\u0159ehl\u00e9dnuteln\u00e1 - s humorem, lehkost\u00ed a drobn\u00fdmi rozmarn\u00fdmi epizodami, kter\u00e9 odhaluj\u00ed \u010dlov\u011bka stoj\u00edc\u00edho za d\u00edlem.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-5071\" src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Leipzig.jpg\" alt=\"Johann Sebastian Bach v Lipsku\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Leipzig.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Leipzig-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Leipzig-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Leipzig-18x12.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<h2>Humor, k\u00e1va a mal\u00e9 skand\u00e1ly - mu\u017e za parukou<\/h2>\n<p>Pokud zn\u00e1te Johanna Sebastiana Bacha jen z u\u010debnic, snadno si p\u0159edstav\u00edte v\u00e1\u017en\u00e9ho kantora s p\u0159\u00edsnou tv\u00e1\u0159\u00ed. Mu\u017ee stoj\u00edc\u00edho mezi notov\u00fdmi stojany a lavicemi, zabran\u00e9ho do fug a chor\u00e1l\u016f, t\u00e9m\u011b\u0159 odtr\u017een\u00e9ho od ka\u017edodenn\u00edho \u017eivota. Tato p\u0159edstava nen\u00ed \u0161patn\u00e1 - ale je ne\u00fapln\u00e1. Za parukou se toti\u017e neskr\u00fdval u\u010denec bez humoru, ale \u017eiv\u00fd, \u010dil\u00fd, d\u016fkladn\u011b odu\u0161evn\u011bl\u00fd \u010dlov\u011bk. Bach nebyl sal\u00f3nn\u00ed bavi\u010d, ale velmi dob\u0159e ch\u00e1pal, jak m\u016f\u017ee hudba rozesm\u00e1t.<\/p>\n<p>Obzvl\u00e1\u0161t\u011b p\u011bkn\u00fdm p\u0159\u00edkladem je takzvan\u00e1 \u201eK\u00e1vov\u00e1 kant\u00e1ta\u201c. V dob\u011b, kdy byla k\u00e1va nov\u00fdm m\u00f3dn\u00edm n\u00e1pojem a n\u011bkdy se na ni pohl\u00ed\u017eelo mor\u00e1ln\u011b kriticky, napsal Bach sv\u011btskou kant\u00e1tu, v n\u00ed\u017e mlad\u00e1 \u017eena v\u00e1\u0161niv\u011b obhajuje svou oblibu k\u00e1vy, zat\u00edmco jej\u00ed otec se j\u00ed to sna\u017e\u00ed rozmluvit.<\/p>\n<p>Hudba je lehk\u00e1, hrav\u00e1, t\u00e9m\u011b\u0159 \u017eertovn\u00e1. Je c\u00edtit, \u017ee n\u011bkdo zde dok\u00e1\u017ee do zvuku p\u0159ev\u00e9st nejen teologickou hloubku, ale i spole\u010densk\u00fd post\u0159eh. Bach nekomentuje aktu\u00e1ln\u00ed d\u011bn\u00ed se zdvi\u017een\u00fdm ukazov\u00e1\u010dkem, ale s hudebn\u00ed ironi\u00ed.<\/p>\n<p>Humor v Bachovi je z\u0159\u00eddkakdy hlasit\u00fd. Je zakotven ve struktu\u0159e. Pokud pozorn\u011b naslouch\u00e1te, probleskuje. Najdeme ho v p\u0159ekvapiv\u00fdch slovn\u00edch spojen\u00edch, v tane\u010dn\u00edch rytmech, v hudebn\u00edch dialoz\u00edch mezi hlasy. Jeho hudba m\u016f\u017ee b\u00fdt v\u00e1\u017en\u00e1, dokonce tr\u00fdzniv\u00e1 - nap\u0159\u00edklad v Pa\u0161ij\u00edch -, ale nikdy nen\u00ed strnul\u00e1. D\u00fdch\u00e1. A tam, kde je \u017eivot, je i jemn\u00fd smysl pro \u010dlov\u011bka.<\/p>\n<h3>Temperament a discipl\u00edna z\u00e1rove\u0148<\/h3>\n<p>Sou\u010d\u00e1st\u00ed tohoto obrazu je i jeho temperament. Slavn\u00e1 h\u00e1dka se \u201eZippelfagottistou\u201c nebyla ojedin\u011bl\u00fdm p\u0159e\u0161lapem, ale projevem \u010dlov\u011bka, kter\u00fd m\u011bl jasn\u00e9 n\u00e1zory a ne v\u017edy je vyjad\u0159oval diplomaticky. Bach um\u011bl b\u00fdt p\u0159\u00edm\u00fd. N\u011bkdy mo\u017en\u00e1 a\u017e p\u0159\u00edli\u0161 p\u0159\u00edm\u00fd. Ale \u010dlov\u011bk si uv\u011bdom\u00ed: ne\u017eil v tlumen\u00e9 zdr\u017eenlivosti, ale s vnit\u0159n\u00ed anga\u017eovanost\u00ed. Hudba pro n\u011bj nebyla dekorativn\u00ed z\u00e1le\u017eitost\u00ed, ale n\u011b\u010d\u00edm, co je t\u0159eba br\u00e1t v\u00e1\u017en\u011b - a kv\u016fli \u010demu je t\u0159eba se roz\u010dilovat.<\/p>\n<p>Z\u00e1rove\u0148 jeho d\u016fm v Lipsku nebyl klidn\u00fdm \u00fato\u010di\u0161t\u011bm pro u\u010dence. Bylo to \u017eiv\u00e9 m\u00edsto. Pob\u00edhaly tu d\u011bti, \u017e\u00e1ci p\u0159ich\u00e1zeli a odch\u00e1zeli, zkou\u0161elo se, u\u010dilo a diskutovalo. Jeho druh\u00e1 man\u017eelka Anna Magdalena Bachov\u00e1 byla sama hudebn\u011b vzd\u011blan\u00e1 a podporovala ho nejen organiza\u010dn\u011b, ale i um\u011blecky. Dovedete si p\u0159edstavit, \u017ee hudba byla v t\u00e9to dom\u00e1cnosti nejen povinnost\u00ed, ale i spole\u010dn\u00fdm pro\u017eitkem. V takov\u00e9m prost\u0159ed\u00ed vznik\u00e1 sp\u00ed\u0161e pohybliv\u00fd ne\u017e strnul\u00fd sv\u011bt.<\/p>\n<p>Existuj\u00ed zpr\u00e1vy, \u017ee Bach byl p\u0159i zkou\u0161en\u00ed jin\u00fdch varhan\u00edk\u016f p\u0159\u00edsn\u00fd, ale spravedliv\u00fd. Nevyh\u00fdbal se jasn\u00e9mu pojmenov\u00e1n\u00ed nedostatk\u016f. Z\u00e1rove\u0148 v\u0161ak byl vst\u0159\u00edcn\u00fd k nadan\u00fdm \u017e\u00e1k\u016fm a energicky podporoval ty talentovan\u00e9. P\u0159\u00edsnost a p\u00e9\u010de se vz\u00e1jemn\u011b nevylu\u010dovaly. U n\u011bj pat\u0159ily k sob\u011b.<\/p>\n<h3>Lidskost v jeho skladb\u00e1ch<\/h3>\n<p>I ve v\u00e1\u017en\u00fdch d\u00edlech lze rozpoznat stopy lidskosti. V n\u011bkter\u00fdch kant\u00e1t\u00e1ch se objevuj\u00ed t\u00e9m\u011b\u0159 tane\u010dn\u00ed pas\u00e1\u017ee, v nich\u017e vyza\u0159uje radost ze \u017eivota. V instrument\u00e1ln\u00edch d\u00edlech se objevuj\u00ed momenty, v nich\u017e se t\u00e9mata objevuj\u00ed t\u00e9m\u011b\u0159 jako mal\u00e9 postavi\u010dky, kter\u00e9 spolu hovo\u0159\u00ed, \u0161k\u00e1dl\u00ed se, doh\u00e1n\u011bj\u00ed se a zase se pou\u0161t\u011bj\u00ed. Nen\u00ed to chladn\u00e1 aritmetika, ale \u017eiv\u00e1 komunikace.<\/p>\n<p>Snad pr\u00e1v\u011b tato kombinace v\u00e1\u017enosti a humoru, discipl\u00edny a \u017eivosti \u010din\u00ed Bacha tak lidsk\u00fdm. Nebyl to \u017e\u00e1dn\u00fd uchv\u00e1cen\u00fd g\u00e9nius, kter\u00fd by se vzn\u00e1\u0161el jen ve vy\u0161\u0161\u00edch sf\u00e9r\u00e1ch. Byl to \u010dlov\u011bk s rodinou, s povinnostmi, s nep\u0159\u00edjemnostmi i drobn\u00fdmi radostmi. Um\u011bl se h\u00e1dat, sm\u00e1t, pracovat, pochybovat - a to v\u0161e se prom\u00edtalo do jeho hudby.<\/p>\n<p>Kdy\u017e se pozorn\u011b zaposlouch\u00e1te, zjist\u00edte, \u017ee za \u0159\u00e1dem jeho d\u011bl nestoj\u00ed chladn\u00fd design\u00e9r, ale v\u0159el\u00fd \u010dlov\u011bk. Jeho hudba je strukturovan\u00e1, ale ne rigidn\u00ed. Je p\u0159esn\u00e1, ale ne bezcitn\u00e1. A ukazuje, \u017ee opravdov\u00e1 velikost neznamen\u00e1 potla\u010dit lidsk\u00fd prvek, ale naopak ho zformovat do podoby, kter\u00e1 p\u0159etrv\u00e1.<\/p>\n<p>V p\u0159\u00ed\u0161t\u00ed kapitole se bl\u00ed\u017ee pod\u00edv\u00e1me na to, jak se v tom v\u0161em utv\u00e1\u0159el jasn\u00fd postoj - v konfliktu, v humoru, v ka\u017edodenn\u00edm \u017eivot\u011b. Bach toti\u017e nebyl d\u016fsledn\u00fd pouze hudebn\u011b. Byl d\u016fsledn\u00fd i v \u017eivot\u011b.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-5073\" src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Kaffee.jpg\" alt=\"Bachova kant\u00e1ta ke k\u00e1v\u011b\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Kaffee.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Kaffee-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Kaffee-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Kaffee-18x12.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<h2>Postoj - v\u011bzen\u00ed, konflikty a z\u00e1sady<\/h2>\n<p>Kdy\u017e dnes mluv\u00edme o \u201epostoji\u201c, \u010dasto m\u00e1me na mysli velk\u00e1 gesta, ve\u0159ejn\u00e1 prohl\u00e1\u0161en\u00ed nebo odv\u00e1\u017en\u00e1 vystoupen\u00ed tv\u00e1\u0159\u00ed v tv\u00e1\u0159 opozici. U Johanna Sebastiana Bacha vypadala vyrovnanost jinak. Nebyla ok\u00e1zal\u00e1, ani dramaticky inscenovan\u00e1 - ale klidn\u00e1, d\u016fsledn\u00e1 a vytvo\u0159en\u00e1 tak, aby vydr\u017eela. Pr\u00e1v\u011b proto je tak pozoruhodn\u00e1.<\/p>\n<p>Bach nebyl politick\u00fd rebel. Nehledal jevi\u0161t\u011b pro svou osobn\u00ed je\u0161itnost. P\u0159esto je v jeho \u017eivot\u011b n\u011bkolik moment\u016f, kdy je z\u0159ejm\u00e9, \u017ee se nehodlal vzep\u0159\u00edt sv\u00e9mu p\u0159esv\u011bd\u010den\u00ed. Jeho nezlomnost se neprojevovala v hlasit\u00fdch prohl\u00e1\u0161en\u00edch, ale v jeho vytrvalosti.<\/p>\n<h3>Tvrdohlav\u00e9 sv\u011bdectv\u00ed o jeho propu\u0161t\u011bn\u00ed<\/h3>\n<p>Zvl\u00e1\u0161t\u011b p\u016fsobiv\u00fd je p\u0159\u00edklad jeho p\u016fsoben\u00ed ve V\u00fdmaru. Kdy\u017e se v roce 1717 naskytla mo\u017enost p\u0159est\u011bhovat se do K\u00f6thenu, rozhodl se Bach, \u017ee tento krok bude m\u00edt smysl pro jeho profesn\u00ed rozvoj. Cht\u011bl v\u011bt\u0161\u00ed um\u011bleckou svobodu, lep\u0161\u00ed podm\u00ednky a nov\u00e9 perspektivy. Jeho zam\u011bstnavatel, v\u00fdmarsk\u00fd v\u00e9voda, v\u0161ak nebyl nijak pot\u011b\u0161en. M\u00edsto hladk\u00e9ho propu\u0161t\u011bn\u00ed byl zat\u010den. Bach byl n\u011bkolik t\u00fddn\u016f zadr\u017eov\u00e1n, ofici\u00e1ln\u011b za to, \u017ee \u201etvrdo\u0161\u00edjn\u011b protestoval proti sv\u00e9mu propu\u0161t\u011bn\u00ed\u201c.<\/p>\n<p>Mus\u00edte si to p\u0159edstavit: Hudebn\u00edk, kter\u00fd jde do v\u011bzen\u00ed kv\u016fli profesn\u00edmu rozhodnut\u00ed. Mohl to vzd\u00e1t. Mohl po\u010dkat, sm\u00ed\u0159it se nebo se dohodnout. Ale on se dr\u017eel sv\u00e9ho rozhodnut\u00ed. Ne vzdorovit\u011b, ne hlasit\u011b, ale rozhodn\u011b.<br \/>\nTato epizoda neukazuje touhu po revoluci, ale vnit\u0159n\u00ed jasnost. Bach v\u011bd\u011bl, kam chce j\u00edt. A byl p\u0159ipraven zaplatit cenu.<\/p>\n<h3>Konflikty s m\u011bstskou radou v Lipsku<\/h3>\n<p>S t\u00edmto postojem se znovu setk\u00e1v\u00e1me i v Lipsku, i kdy\u017e v m\u00e9n\u011b dramatick\u00e9 podob\u011b. Tam byl pod\u0159\u00edzen m\u011bstsk\u00e9 rad\u011b, musel plnit administrativn\u00ed po\u017eadavky a pracovat s omezen\u00fdmi zdroji. Opakovan\u011b si st\u011b\u017eoval na kvalitu \u017e\u00e1k\u016f nebo na nedostate\u010dnou podporu. Jeho dopisy rad\u011b byly v\u011bcn\u00e9, ale jasn\u00e9. Necht\u011bl d\u011blat kompromisy, pokud \u0161lo o hudebn\u00ed kvalitu.<\/p>\n<p>Nezaj\u00edmala ho osobn\u00ed p\u00fdcha. \u0160lo mu o pr\u00e1ci. O hudbu samotnou. Ka\u017ed\u00fd, kdo se pod\u00edv\u00e1 na jeho kant\u00e1ty nebo pa\u0161ije, pozn\u00e1, \u017ee to nejsou polovi\u010dat\u00e1 \u0159e\u0161en\u00ed. Jsou propracovan\u00e9 do posledn\u00edho detailu. Interpretace textu, veden\u00ed hlas\u016f, harmonie - v\u0161e je promy\u0161len\u00e9. Postoj zde znamen\u00e1: neut\u00e1p\u011bt se v pr\u016fm\u011brnosti, i kdy\u017e tomu okolnosti nasv\u011bd\u010duj\u00ed.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-5094 size-large\" src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Gefaengnis.jpg\" alt=\"Johann Sebastian Bach\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Gefaengnis.jpg 1536w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Gefaengnis-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Gefaengnis-1024x683.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Gefaengnis-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Gefaengnis-18x12.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<h3>Setk\u00e1n\u00ed s prusk\u00fdm kr\u00e1lem Fridrichem II.<\/h3>\n<p>Dal\u0161\u00edm projevem t\u00e9to vnit\u0159n\u00ed s\u00edly je setk\u00e1n\u00ed s prusk\u00fdm kr\u00e1lem Fridrichem II. v roce 1747. Kr\u00e1l, kter\u00fd se s\u00e1m zaj\u00edmal o hudbu, p\u0159edlo\u017eil Bachovi n\u00e1ro\u010dn\u00e9 t\u00e9ma a po\u017e\u00e1dal ho, aby na n\u011bj improvizoval fugu. Bach tak u\u010dinil - sebev\u011bdom\u011b, soust\u0159ed\u011bn\u011b, bez zav\u00e1h\u00e1n\u00ed. Z tohoto t\u00e9matu pozd\u011bji vytvo\u0159il \u201eHudebn\u00ed ob\u011b\u0165\u201c, slo\u017eit\u00e9 d\u00edlo pln\u00e9 k\u00e1non\u016f a slo\u017eit\u00fdch konstrukc\u00ed.<\/p>\n<p>To, co je zde vid\u011bt, nen\u00ed pod\u0159\u00edzenost moci. Je to vyrovnanost. Bach se s kr\u00e1lem nesetk\u00e1v\u00e1 s \u00factou, ale s kompetenc\u00ed. Jeho odpov\u011b\u010f je hudebn\u00ed - a to na nejvy\u0161\u0161\u00ed \u00farovni. To je mo\u017en\u00e1 nejelegantn\u011bj\u0161\u00ed forma vyrovnanosti: ne odpor prost\u0159ednictv\u00edm hlasitosti, ale sebepotvrzen\u00ed prost\u0159ednictv\u00edm kvality.<\/p>\n<p>Z\u016fstal d\u016fsledn\u00fd i v ka\u017edodenn\u00edm \u017eivot\u011b. Vedl velk\u00fd d\u016fm, staral se o mnoho d\u011bt\u00ed, u\u010dil, skl\u00e1dal a organizoval. Navzdory osobn\u00edm ztr\u00e1t\u00e1m - nap\u0159\u00edklad p\u0159ed\u010dasn\u00e9 smrti sv\u00e9 prvn\u00ed \u017eeny - se neodch\u00fdlil od sv\u00e9 cesty. Pokra\u010doval v pr\u00e1ci nikoli z lhostejnosti, ale z pocitu povinnosti.<\/p>\n<p>Tato forma d\u016fslednosti se dnes zd\u00e1 b\u00fdt t\u00e9m\u011b\u0159 neobvykl\u00e1. Jsme zvykl\u00ed na to, \u017ee lid\u00e9 tv\u00e1\u0159\u00ed v tv\u00e1\u0159 opozici m\u011bn\u00ed sm\u011br nebo se znovu objevuj\u00ed. Bach to ned\u011blal. Ano, pokra\u010doval ve v\u00fdvoji. Ale neopustil sv\u00e9 z\u00e1klady. Jeho hudba to jasn\u011b ukazuje. Zat\u00edmco vkus jeho doby se st\u00e1le v\u00edce obracel k leh\u010d\u00edmu, \u201egalantn\u00edmu\u201c stylu, Bach z\u016fstal v\u011brn\u00fd sv\u00e9mu kontrapunktick\u00e9mu my\u0161len\u00ed. Nepsal m\u00f3dn\u011b. Psal podstatn\u011b.<\/p>\n<h3>Mo\u017en\u00e1 si byl v\u011bdom toho, \u017ee m\u00f3da miz\u00ed, ale struktura z\u016fst\u00e1v\u00e1.<\/h3>\n<p>Pro Bacha tedy postoj neznamen\u00e1 strnulost. Znamen\u00e1 v\u011brnost vnit\u0159n\u00edmu standardu. Norm\u011b, kter\u00e1 nen\u00ed zalo\u017eena na potlesku, ale na soudr\u017enosti. Ti, kdo takto \u017eij\u00ed, nejsou v\u017edy pohodln\u00ed - ani pro druh\u00e9, ani pro sebe. Z\u016fst\u00e1v\u00e1 v\u0161ak jasn\u00fd.<\/p>\n<p>Ve sv\u011bt\u011b, kter\u00fd \u010dasto vy\u017eaduje rychl\u00e9 efekty, se tento p\u0159\u00edstup zd\u00e1 b\u00fdt t\u00e9m\u011b\u0159 starom\u00f3dn\u00ed. A p\u0159esto je v n\u011bm n\u011bco nad\u010dasov\u00e9ho. Ukazuje, \u017ee poctivost nemus\u00ed b\u00fdt k\u0159iklav\u00e1. \u017de nemus\u00edte v\u00e9st ka\u017ed\u00fd spor na ve\u0159ejnosti, abyste si st\u00e1li pevn\u011b za sv\u00fdm. Bach nebyl hrdinou v dramatick\u00e9m smyslu. Byl to z\u00e1sadov\u00fd mu\u017e. A pr\u00e1v\u011b v tom spo\u010d\u00edv\u00e1 jeho tich\u00e1 velikost.<\/p>\n<p>V dal\u0161\u00ed kapitole se v\u011bnujeme j\u00e1dru jeho d\u00edla: architektu\u0159e jeho d\u011bl - a ot\u00e1zce, pro\u010d je jeho hudba dodnes pova\u017eov\u00e1na za z\u00e1klad.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-5075\" src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Wohltemperiertes-Klavier.jpg\" alt=\"Dob\u0159e temperovan\u00fd klav\u00edr J. S. Bacha\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Wohltemperiertes-Klavier.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Wohltemperiertes-Klavier-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Wohltemperiertes-Klavier-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Wohltemperiertes-Klavier-18x12.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<h2>Architektura zvuku - Pro\u010d je Bachovo d\u00edlo aktu\u00e1ln\u00ed i dnes<\/h2>\n<p>Kdy\u017e p\u0159istupujete k d\u00edlu Johanna Sebastiana Bacha, zpo\u010d\u00e1tku se setk\u00e1v\u00e1te s naprost\u00fdm mno\u017estv\u00edm. Kant\u00e1ty, pa\u0161ije, varhann\u00ed skladby, koncerty, suity, fugy, m\u0161e - jako by n\u011bkdo nejen slo\u017eil, ale tak\u00e9 postavil celou hudebn\u00ed stavbu.<br \/>\nA tento obraz to vystihuje asi nejl\u00e9pe: Bach byl architektem zvuku.<\/p>\n<p>Jeho hudba nen\u00ed n\u00e1hodn\u00e1. Zd\u00e1 se, \u017ee je konstruovan\u00e1.<\/p>\n<h3>\u0158\u00e1d jako princip<\/h3>\n<p>\u00dast\u0159edn\u00edm rysem jeho d\u011bl je struktura. Je to patrn\u00e9 zejm\u00e9na v Dob\u0159e temperovan\u00e9m klav\u00edru. Toto d\u00edlo systematicky proch\u00e1z\u00ed v\u0161emi t\u00f3ninami - ka\u017ed\u00e1 z nich m\u00e1 preludium a fugu.<\/p>\n<p>Nebyl to voln\u00fd z\u00e1pisn\u00edk. Byl to promy\u0161len\u00fd syst\u00e9m. Bach cht\u011bl uk\u00e1zat, \u017ee nov\u011b vyvinut\u00fd \u201edob\u0159e temperovan\u00fd\u201c syst\u00e9m lad\u011bn\u00ed umo\u017e\u0148uje komponovat ve v\u0161ech t\u00f3nin\u00e1ch. A p\u0159edvedl to - kompletn\u011b.<\/p>\n<p>To prozrazuje n\u011bco z\u00e1sadn\u00edho: myslel v souvislostech, ne v jednotliv\u00fdch d\u00edlech. Necht\u011bl jen napsat kr\u00e1sn\u00e9 d\u00edlo, cht\u011bl vizualizovat \u0159\u00e1d. \u0158\u00e1d pro n\u011bj nen\u00ed c\u00edlem s\u00e1m o sob\u011b. Je to p\u0159edev\u0161\u00edm r\u00e1mec, kter\u00fd umo\u017e\u0148uje svobodu.<\/p>\n<h3>Um\u011bn\u00ed fugy<\/h3>\n<p>Obzvl\u00e1\u0161t\u011b p\u016fsobiv\u00e9 je jeho mistrovstv\u00ed v kontrapunktu - um\u011bn\u00ed v\u00e9st n\u011bkolik nez\u00e1visl\u00fdch hlas\u016f sou\u010dasn\u011b tak, aby harmonicky spolupracovaly.<\/p>\n<p>Fuga obvykle za\u010d\u00edn\u00e1 t\u00e9matem, kter\u00e9 uv\u00e1d\u00ed jeden hlas. Po n\u011bm n\u00e1sleduje druh\u00fd hlas, pak t\u0159et\u00ed, n\u011bkdy \u010dtvrt\u00fd. T\u00e9ma se zrcadl\u00ed, zkracuje, roz\u0161i\u0159uje a obrac\u00ed. Putuje skladbou, m\u011bn\u00ed se, z\u016fst\u00e1v\u00e1 rozpoznateln\u00e9. Zn\u00ed to technicky - a je to tak.<\/p>\n<p>Bachova technika v\u0161ak nikdy nep\u016fsob\u00ed mechanicky. Je \u017eiv\u00e1. Nesly\u0161\u00edte aritmetiku, ale pohyb. Je \u00fa\u017easn\u00e9, \u017ee \u010d\u00edm je struktura slo\u017eit\u011bj\u0161\u00ed, t\u00edm se zd\u00e1 b\u00fdt jasn\u011bj\u0161\u00ed. Nic se nerozmaz\u00e1v\u00e1. Ka\u017ed\u00fd hlas m\u00e1 sv\u00e9 m\u00edsto. Je to jako dob\u0159e postaven\u00e1 katedr\u00e1la: vid\u00edte celek - a p\u0159esto ka\u017ed\u00fd detail p\u0159isp\u00edv\u00e1 ke stabilit\u011b.<\/p>\n<h3>Hloubka v\u00e1\u0161n\u00ed<\/h3>\n<p>Vedle instrument\u00e1ln\u00ed architektury jsou to velk\u00e1 duchovn\u00ed d\u00edla, p\u0159edev\u0161\u00edm pa\u0161ije svat\u00e9ho Jana a pa\u0161ije svat\u00e9ho Matou\u0161e. Bach zde spojuje strukturu s emocemi.<\/p>\n<p>Pa\u0161ijov\u00e9 p\u0159\u00edb\u011bhy nejsou jen hudebn\u00edm doprovodem biblick\u00fdch text\u016f. Jsou to dramatick\u00e1 vypr\u00e1v\u011bn\u00ed ve zvuku. Chor\u00e1ly komentuj\u00ed ud\u00e1losti, \u00e1rie je reflektuj\u00ed, recitativy posouvaj\u00ed d\u011bj kup\u0159edu. A op\u011bt m\u016f\u017eete vn\u00edmat tento vnit\u0159n\u00ed \u0159\u00e1d. I v nejemotivn\u011bj\u0161\u00edch momentech z\u016fst\u00e1v\u00e1 hudebn\u00ed stavba jasn\u00e1.<\/p>\n<p>Nejedn\u00e1 se o z\u00e1plavu pocit\u016f bez sm\u011bru. Je to prostoupen\u00fd pocit.<\/p>\n<h3>Mezin\u00e1rodn\u00ed pohled na Bacha - dokument DW \u201eP\u00e1t\u00fd evangelista\u201c<\/h3>\n<p>Anglicky mluven\u00e1 produkce DW \u201eBach: P\u00e1t\u00fd evangelista\u201c na kan\u00e1lu <a href=\"https:\/\/www.youtube.com\/@DWClassicalMusic\" target=\"_blank\" rel=\"nofollow noopener\">DW Klasick\u00e1 hudba<\/a> otev\u00edr\u00e1 fascinuj\u00edc\u00ed p\u0159\u00edstup k Johannu Sebastianu Bachovi, kter\u00fd dalece p\u0159esahuje n\u011bmecky mluv\u00edc\u00ed bachovskou tradici. Dokument osv\u011btluje teologickou a hudebn\u00ed hloubku jeho d\u00edla a zasazuje je do kontextu lipsk\u00e9ho Bachova festivalu. Hudebn\u00edci, sbormist\u0159i a muzikologov\u00e9 vykresluj\u00ed p\u016fsobiv\u00fd obraz toho, jak siln\u011b jsou Bachovy skladby charakterizov\u00e1ny biblick\u00fdm my\u0161len\u00edm a pro\u010d je v mezin\u00e1rodn\u00edm diskurzu \u010dasto ozna\u010dov\u00e1n jako \u201ep\u00e1t\u00fd evangelista\u201c.<\/p>\n<div class=\"lyte-wrapper\" style=\"width:640px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_J7Q5pHfAHaE\"><div id=\"lyte_J7Q5pHfAHaE\" data-src=\"https:\/\/www.markus-schall.de\/wp-content\/plugins\/wp-youtube-lyte\/lyteCache.php?origThumbUrl=%2F%2Fi.ytimg.com%2Fvi%2FJ7Q5pHfAHaE%2Fhqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/J7Q5pHfAHaE\" rel=\"nofollow noopener\" target=\"_blank\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.markus-schall.de\/wp-content\/plugins\/wp-youtube-lyte\/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FJ7Q5pHfAHaE%2F0.jpg\" alt=\"Miniatura videa na YouTube\" width=\"640\" height=\"340\" \/><br \/>Pod\u00edvejte se na toto video na YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:640px;margin:5px;\"><\/div><br \/>\nJohann Sebastian Bach: P\u00e1t\u00fd evangelista | Hudebn\u00ed dokument (Bachfest Leipzig 2013)<\/p>\n<p>Zvl\u00e1\u0161t\u011b cenn\u00e9 je, \u017ee toto video je k dispozici v angli\u010dtin\u011b - a vytv\u00e1\u0159\u00ed tak most k celosv\u011btov\u00e9mu publiku, kter\u00e9 Bacha vn\u00edm\u00e1 nejen jako skladatele, ale i jako duchovn\u00edho velvyslance.<\/p>\n<h3>Braniborsk\u00e9 koncerty - virtuozita s m\u00edrou<\/h3>\n<p>Braniborsk\u00e9 koncerty odhaluj\u00ed jinou str\u00e1nku: radost ze hry a virtuozitu. Ka\u017ed\u00fd koncert je jinak orchestrov\u00e1n. Bach experimentuje s kombinacemi, pou\u017e\u00edv\u00e1 neobvykl\u00e9 s\u00f3lov\u00e9 n\u00e1stroje a nech\u00e1v\u00e1 hlasy v\u00e9st vz\u00e1jemn\u00fd dialog. A p\u0159esto nikdy neztr\u00e1c\u00ed nadhled.<\/p>\n<p>Nejedn\u00e1 se o \u017e\u00e1dn\u00fd trik. V\u0161e je zasazeno do jasn\u00e9 struktury. Uv\u011bdom\u00edte si, \u017ee zde p\u00ed\u0161e n\u011bkdo, kdo nevn\u00edm\u00e1 orchestr jako masu, ale jako souhru nez\u00e1visl\u00fdch postav.<\/p>\n<h3>Hudba jako forma my\u0161len\u00ed<\/h3>\n<p>Kl\u00ed\u010d k pochopen\u00ed Bacha mo\u017en\u00e1 spo\u010d\u00edv\u00e1 v tom, \u017ee jeho hudba je tak\u00e9 formou my\u0161len\u00ed. Skl\u00e1d\u00e1 nejen s citem, ale i s logikou. T\u00e9mata se logicky rozv\u00edjej\u00ed. Nap\u011bt\u00ed se stup\u0148uje a \u0159e\u0161\u00ed. Motivy se vracej\u00ed, prom\u011b\u0148uj\u00ed a propojuj\u00ed.<\/p>\n<p>P\u0159ipom\u00edn\u00e1 to matematickou jasnost - a p\u0159esto nen\u00ed nikdy such\u00e1. Jako by se my\u0161len\u00ed st\u00e1valo sly\u0161iteln\u00fdm. To tak\u00e9 vysv\u011btluje, pro\u010d jeho d\u00edla dodnes hraj\u00ed \u00fast\u0159edn\u00ed roli v hudebn\u00edm vzd\u011bl\u00e1v\u00e1n\u00ed. Ti, kdo studuj\u00ed Bacha, se neu\u010d\u00ed jen skladby. U\u010d\u00ed se i souvislosti.<\/p>\n<h3>Rovnov\u00e1ha mezi svobodou a pravidly<\/h3>\n<p>Jedn\u00edm z nedorozum\u011bn\u00ed je vn\u00edm\u00e1n\u00ed Bachovy hudby jako p\u0159\u00edsn\u00e9 a sv\u00e1zan\u00e9 pravidly. Ano, \u0159\u00edd\u00ed se pravidly. Ale v r\u00e1mci t\u011bchto pravidel se rozv\u00edj\u00ed obrovsk\u00e1 svoboda. Zejm\u00e9na kontrapunkt ukazuje, jak kreativn\u011b lze zach\u00e1zet s pevn\u00fdmi formami. T\u00e9ma lze zrcadlit, zv\u011bt\u0161ovat, zmen\u0161ovat nebo rytmicky m\u011bnit - a st\u00e1le z\u016fst\u00e1v\u00e1 rozpoznateln\u00e9.<\/p>\n<p>Tato rovnov\u00e1ha mezi vl\u00e1dou a svobodou je mo\u017en\u00e1 rozhoduj\u00edc\u00edm faktorem. Bach ukazuje: K\u00e1ze\u0148 neomezuje. Umo\u017e\u0148uje tvorbu.<\/p>\n<p>B\u011bhem Bachova \u017eivota se za\u010dal m\u011bnit hudebn\u00ed vkus. Oblibu z\u00edsk\u00e1valy leh\u010d\u00ed a chytlav\u011bj\u0161\u00ed styly. Jeho slo\u017eitou polyfonii n\u011bkte\u0159\u00ed pova\u017eovali za starom\u00f3dn\u00ed.<\/p>\n<p>Bach v\u0161ak z\u016fstal v\u011brn\u00fd sv\u00e9 linii. Nepsal, aby vyhov\u011bl trend\u016fm. Psal, aby vyj\u00e1d\u0159il hudebn\u00ed pravdu - tak, jak ji ch\u00e1pal. To mo\u017en\u00e1 kr\u00e1tkodob\u011b p\u0159itahovalo m\u00e9n\u011b pozornosti. Ale jeho d\u00edlo d\u00edky tomu m\u011blo dlouhou \u017eivotnost. To, co je zalo\u017eeno na podstat\u011b, p\u0159e\u017eije m\u00f3du.<\/p>\n<h3>Uzav\u0159en\u00e1 budova<\/h3>\n<p>Pokud se na jeho d\u00edlo pod\u00edv\u00e1te jako na celek, z\u00edsk\u00e1te dojem uzav\u0159en\u00e9ho kosmu. Jednotliv\u00e1 d\u00edla stoj\u00ed sama o sob\u011b, ale pat\u0159\u00ed k sob\u011b. \u0158\u00edd\u00ed se vnit\u0159n\u00ed logikou. M\u016f\u017eete si poslechnout preludium a u\u017e c\u00edt\u00edte rukopis. Pozn\u00e1te, jak\u00fdm zp\u016fsobem se rozv\u00edjej\u00ed t\u00e9mata a jak se vyv\u00edj\u00ed harmonie.<\/p>\n<p>Bach nebyl sb\u011bratelem jednotliv\u00fdch my\u0161lenek. Byl mistrem budov\u00e1n\u00ed syst\u00e9mu. A tento syst\u00e9m funguje dodnes.<\/p>\n<h3>Pro\u010d jeho hudba z\u016fst\u00e1v\u00e1<\/h3>\n<p>Bach\u016fv trval\u00fd \u00fa\u010dinek mo\u017en\u00e1 spo\u010d\u00edv\u00e1 v tom, \u017ee jeho d\u00edla funguj\u00ed na n\u011bkolika \u00farovn\u00edch.<\/p>\n<ul>\n<li>Jsou emocion\u00e1ln\u011b p\u0159\u00edstupn\u00e9.<\/li>\n<li>Jsou intelektu\u00e1ln\u011b prodchnut\u00e9.<\/li>\n<li>Jsou technicky mistrovsky zvl\u00e1dnut\u00e9.<\/li>\n<li>Jsou struktur\u00e1ln\u011b stabiln\u00ed.<\/li>\n<li>Sta\u010d\u00ed jen poslouchat a m\u016f\u017eete si je u\u017e\u00edt.<\/li>\n<li>Ti, kdo analyzuj\u00ed, objevuj\u00ed hloubku.<\/li>\n<\/ul>\n<p>A to je p\u0159esn\u011b to, co d\u011bl\u00e1 velk\u00e9 um\u011bn\u00ed velk\u00fdm: Nevy\u010derp\u00e1 se na prvn\u00ed poslech. V dal\u0161\u00ed kapitole se pod\u00edv\u00e1me do sou\u010dasnosti a zamysl\u00edme se nad t\u00edm, pro\u010d Bachovy harmonick\u00e9 a struktur\u00e1ln\u00ed principy dodnes \u017eij\u00ed v jazzu, filmov\u00e9 hudb\u011b a pop music - \u010dasto nepozorovan\u011b, ale \u00fa\u010dinn\u011b.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-5074\" src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Was-bleibt.jpg\" alt=\"Od Bacha k pop music\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Was-bleibt.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Was-bleibt-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Was-bleibt-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Was-bleibt-18x12.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<h2>Od Bacha k pop music - neviditeln\u00fd z\u00e1klad<\/h2>\n<p>Spojovat Johanna Sebastiana Bacha s modern\u00ed popovou hudbou se m\u016f\u017ee zd\u00e1t na prvn\u00ed pohled odv\u00e1\u017en\u00e9. Mezi barokn\u00ed fugou a rozhlasovou p\u00edsn\u00ed jsou stalet\u00ed, technick\u00e9 revoluce a kulturn\u00ed p\u0159evraty. A p\u0159ece je zde linie, kterou lze sledovat s p\u0159ekvapivou jasnost\u00ed. Tato linie neproch\u00e1z\u00ed n\u00e1stroji ani barvami t\u00f3n\u016f. Proch\u00e1z\u00ed strukturou.<\/p>\n<p>Bach vypracoval hudebn\u00ed principy \u0159\u00e1du zp\u016fsobem, kter\u00fd je dodnes charakteristick\u00fd pro n\u00e1\u0161 sluch - \u010dasto ani\u017e bychom si to uv\u011bdomovali.<\/p>\n<h3>Jazyk harmonie<\/h3>\n<p>Velk\u00e1 \u010d\u00e1st z\u00e1padn\u00ed hudby je zalo\u017eena na funk\u010dn\u00ed harmonii. Zjednodu\u0161en\u011b \u0159e\u010deno, ur\u010dit\u00e9 akordy jsou mezi sebou v pevn\u00fdch vztaz\u00edch. T\u00f3nika funguje jako domov. Dominanty vytv\u00e1\u0159ej\u00ed nap\u011bt\u00ed. Subdominanta vede d\u00e1l.<\/p>\n<p>Tento princip nap\u011bt\u00ed a \u0159e\u0161en\u00ed nen\u00ed n\u00e1hodn\u00fd. Je to v\u00fdsledek dlouh\u00e9ho v\u00fdvoje, kter\u00fd dosp\u011bl v obdob\u00ed baroka.<br \/>\nBach tyto harmonick\u00e9 vztahy nevymyslel - ale pochopil je a pou\u017eil je v nes\u010detn\u00fdch d\u00edlech tak d\u016fsledn\u011b, \u017ee se staly z\u00e1kladem.<\/p>\n<p>Pokud dnes popov\u00e1 p\u00edse\u0148 pracuje se \u010dty\u0159mi akordy, pohybuje se p\u0159esn\u011b v tomto syst\u00e9mu. I kdy\u017e je styl jin\u00fd, i kdy\u017e p\u0159ibyly bic\u00ed a elektrick\u00e1 kytara - vnit\u0159n\u00ed logika z\u016fst\u00e1v\u00e1 srovnateln\u00e1.<\/p>\n<ul>\n<li>Vznik\u00e1 nap\u011bt\u00ed.<\/li>\n<li>Kon\u00e1 se.<\/li>\n<li>Rozpou\u0161t\u00ed se.<\/li>\n<\/ul>\n<p>To je princip, kter\u00fd na\u0161e ucho o\u010dek\u00e1v\u00e1.<\/p>\n<h3>\u010cty\u0159i akordy - jeden syst\u00e9m<\/h3>\n<p>Mnoho \u00fasp\u011b\u0161n\u00fdch popov\u00fdch p\u00edsn\u00ed je zalo\u017eeno na jednoduch\u00fdch akordov\u00fdch postupech. \u010casto se opakuj\u00ed stejn\u00e9 harmonick\u00e9 vzory. N\u011bkdy skute\u010dn\u011b sta\u010d\u00ed \u010dty\u0159i akordy, aby emocion\u00e1ln\u011b oslovily miliony lid\u00ed.<\/p>\n<p>Pro\u010d to funguje?<\/p>\n<p>Na\u0161e ucho je toti\u017e socializov\u00e1no v syst\u00e9mu, kter\u00fd pr\u00e1v\u011b tyto vztahy vn\u00edm\u00e1 jako harmonick\u00e9. Tento syst\u00e9m se upevnil v 17. a 18. stolet\u00ed - a Bach byl jedn\u00edm z jeho nejv\u011bt\u0161\u00edch mistr\u016f.<\/p>\n<p>Popov\u00e1 p\u00edse\u0148 samoz\u0159ejm\u011b zn\u00ed jinak ne\u017e kant\u00e1ta. Ale kdy\u017e harmonii zredukujete, pozn\u00e1te, \u017ee je mezi nimi vztah. Z\u00e1klad z\u016fstal stejn\u00fd. Povrch se zm\u011bnil.<\/p>\n<h3>Kontrapunkt v pozad\u00ed<\/h3>\n<p>Bach zanechal svou stopu tak\u00e9 v oblasti polyfonie. Kontrapunkt - simult\u00e1nn\u00ed proveden\u00ed n\u011bkolika nez\u00e1visl\u00fdch hlas\u016f - nen\u00ed jen barokn\u00ed specialitou.<\/p>\n<p>Nap\u0159\u00edklad v jazzu je v\u011bdom\u00e9 veden\u00ed jednotliv\u00fdch hlas\u016f v akordu \u00fast\u0159edn\u00edm tv\u016fr\u010d\u00edm n\u00e1strojem. Dob\u0159\u00ed aran\u017e\u00e9\u0159i p\u0159em\u00fd\u0161lej\u00ed nejen v blokov\u00fdch akordech, ale tak\u00e9 v pohybliv\u00fdch link\u00e1ch.<\/p>\n<p>I ve filmov\u00e9 hudb\u011b se objevuj\u00ed postupy p\u0159ipom\u00ednaj\u00edc\u00ed barokn\u00ed veden\u00ed hlasu: t\u00e9mata jsou uv\u00e1d\u011bna, variov\u00e1na, vrstvena a propl\u00e9t\u00e1na. Princip je star\u00fd. Kontext je nov\u00fd.<\/p>\n<div class=\"lyte-wrapper\" style=\"width:640px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_7wN7GsxNDfs\"><div id=\"lyte_7wN7GsxNDfs\" data-src=\"https:\/\/www.markus-schall.de\/wp-content\/plugins\/wp-youtube-lyte\/lyteCache.php?origThumbUrl=%2F%2Fi.ytimg.com%2Fvi%2F7wN7GsxNDfs%2Fhqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/7wN7GsxNDfs\" rel=\"nofollow noopener\" target=\"_blank\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.markus-schall.de\/wp-content\/plugins\/wp-youtube-lyte\/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2F7wN7GsxNDfs%2F0.jpg\" alt=\"Miniatura videa na YouTube\" width=\"640\" height=\"340\" \/><br \/>Pod\u00edvejte se na toto video na YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:640px;margin:5px;\"><\/div><br \/>\nJ. S. Bach: Koncert pro dvoje housle d moll | <a href=\"https:\/\/www.youtube.com\/@hrSinfonieorchester\" target=\"_blank\" rel=\"nofollow noopener\">hr symfonick\u00fd orchestr<\/a><\/p>\n<h3>Hudba jako p\u0159edloha<\/h3>\n<p>Dal\u0161\u00edm aspektem je forma. Bach pracoval s jasn\u00fdmi strukturami. Expozice, rozv\u00edjen\u00ed, rekapitulace - i kdy\u017e tyto pojmy byly pozd\u011bji systematizov\u00e1ny, v jeho d\u00edlech ji\u017e nach\u00e1z\u00edme v\u00fdrazn\u00e9 pov\u011bdom\u00ed o form\u011b.<\/p>\n<p>Modern\u00ed hudba - a\u0165 u\u017e popov\u00e1 nebo filmov\u00e1 - tak\u00e9 pracuje s jasn\u00fdmi form\u00e1ln\u00edmi prvky: Sloka, refr\u00e9n, most. Stup\u0148ov\u00e1n\u00ed nap\u011bt\u00ed, vyvrcholen\u00ed, uvoln\u011bn\u00ed. V\u017edy jde o dramaturgii. A dramaturgie se \u0159\u00edd\u00ed z\u00e1kony.<\/p>\n<p>Bach tyto z\u00e1kony ch\u00e1pal intuitivn\u011b a z\u00e1rove\u0148 analyticky. Jeho d\u00edla nejsou pouh\u00fdmi \u0159et\u011bzci my\u0161lenek, ale sp\u00ed\u0161e prokomponovan\u00fdmi oblouky.<\/p>\n<h3>Pro\u010d na\u0161e ucho sly\u0161\u00ed tak, jak sly\u0161\u00ed<\/h3>\n<p>Hudba nen\u00ed jen vkus. Je to zvyk. Ur\u010dit\u00fd zp\u016fsob poslechu se ust\u00e1lil v pr\u016fb\u011bhu generac\u00ed. Smysl pro harmonii, o\u010dek\u00e1v\u00e1n\u00ed rozuzlen\u00ed, cit pro nap\u011bt\u00ed - to v\u0161e se formovalo kulturn\u011b.<\/p>\n<p>Bach stoj\u00ed na m\u00edst\u011b, kde je tento kulturn\u00ed vliv obzvl\u00e1\u0161t\u011b z\u0159eteln\u00fd. Organizuje, systematizuje a demonstruje.<br \/>\nSv\u00fdm zp\u016fsobem pomohl formovat n\u00e1\u0161 sluch.<\/p>\n<p>Pokud se n\u00e1m dnes zd\u00e1 ur\u010dit\u00fd akordick\u00fd postup \u201espr\u00e1vn\u00fd\u201c, je to tak\u00e9 proto, \u017ee jsme sou\u010d\u00e1st\u00ed tradice, kter\u00e1 j\u00edm byla formov\u00e1na.<\/p>\n<h3>Z kostela do studia<\/h3>\n<p>Bylo by ov\u0161em p\u0159ehnan\u00e9 tvrdit, \u017ee ka\u017ed\u00fd popov\u00fd skladatel v\u011bdom\u011b studuje Bacha, ne\u017e nap\u00ed\u0161e p\u00edse\u0148. Ale mnoho hudebn\u00edk\u016f - i v modern\u00edch \u017e\u00e1nrech - hr\u00e1lo nebo analyzovalo Bacha jako sou\u010d\u00e1st sv\u00e9ho vzd\u011bl\u00e1n\u00ed.<\/p>\n<p>Studenti klav\u00edru \u010dasto za\u010d\u00ednaj\u00ed jeho preludii. Studenti hudby cvi\u010d\u00ed fugy, aby pochopili veden\u00ed hlasu. Dokonce i producenti elektronick\u00e9 hudby pou\u017e\u00edvaj\u00ed harmonick\u00e9 modely zalo\u017een\u00e9 na tomto z\u00e1kladu.<\/p>\n<p>Kostel 18. stolet\u00ed a nahr\u00e1vac\u00ed studio 21. stolet\u00ed jsou od sebe vzd\u00e1len\u00e9. Hudebn\u00ed gramatika je v\u0161ak p\u0159\u00edbuzn\u00e1.<\/p>\n<h3>Konzistence p\u0159i zm\u011bn\u00e1ch<\/h3>\n<p>M\u011bn\u00ed se barvy zvuku, n\u00e1stroje a v\u00fdrobn\u00ed postupy. Co z\u016fst\u00e1v\u00e1, jsou struktury. To je mo\u017en\u00e1 Bachova skute\u010dn\u00e1 modernost: nevytvo\u0159il m\u00f3dn\u00ed fenom\u00e9n, ale udr\u017eiteln\u00fd syst\u00e9m. Syst\u00e9m, kter\u00fd je dostate\u010dn\u011b flexibiln\u00ed, aby se p\u0159izp\u016fsobil nov\u00fdm styl\u016fm. Syst\u00e9m, kter\u00fd nezastar\u00e1v\u00e1, proto\u017ee nen\u00ed zalo\u017een na povrchu.<\/p>\n<p>Je l\u00e1kav\u00e9 stav\u011bt Bacha na piedestal a pova\u017eovat ho za nedosa\u017eiteln\u00fd monument. To by v\u0161ak znamenalo odsunout ho do minulosti.<\/p>\n<p>Jin\u00fd obraz je v\u00fdsti\u017en\u011bj\u0161\u00ed: nen\u00ed to pomn\u00edk. Je to z\u00e1klad. Kdy\u017e je d\u016fm dokon\u010den, nevid\u00edte z\u00e1klady. Ale bez z\u00e1klad\u016f nestoj\u00ed. Takto p\u016fsob\u00ed Bach v na\u0161ich hudebn\u00edch d\u011bjin\u00e1ch.<\/p>\n<ul>\n<li>P\u0159esto.<\/li>\n<li>P\u0159en\u00e1\u0161en\u00ed.<\/li>\n<li>Nepostradateln\u00fd.<\/li>\n<\/ul>\n<p>V dal\u0161\u00ed kapitole se v\u011bnujeme posledn\u00edm let\u016fm jeho \u017eivota - obdob\u00ed mezi fyzick\u00fdm \u00fapadkem, nezlomnou du\u0161evn\u00ed jasnost\u00ed a podivnou skute\u010dnost\u00ed, \u017ee jeho d\u00edlo bylo po jeho smrti zpo\u010d\u00e1tku zapomenuto.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-5076\" src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Kunst-der-Fuge.jpg\" alt=\"Um\u011bn\u00ed fugy podle J. S. Bacha\" width=\"1024\" height=\"683\" srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Kunst-der-Fuge.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Kunst-der-Fuge-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Kunst-der-Fuge-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Kunst-der-Fuge-18x12.jpg 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<h2>Pozdn\u00ed l\u00e9ta, tich\u00e1 velikost a podivn\u00fd \u010das zapomn\u011bn\u00ed<\/h2>\n<p>Kdy\u017e se dnes pod\u00edv\u00e1me na Johanna Sebastiana Bacha, vid\u00edme jednoho z nejv\u011bt\u0161\u00edch skladatel\u016f v d\u011bjin\u00e1ch hudby. Jeho d\u00edla se hraj\u00ed, analyzuj\u00ed a obdivuj\u00ed po cel\u00e9m sv\u011bt\u011b. Zd\u00e1 se b\u00fdt samoz\u0159ejm\u00e9, \u017ee jeho jm\u00e9no pat\u0159\u00ed k z\u00e1klad\u016fm evropsk\u00e9 kultury.<\/p>\n<p>Nebylo tomu tak ale v\u017edy. Posledn\u00ed l\u00e9ta jeho \u017eivota se vyzna\u010dovala fyzickou slabost\u00ed - a jeho sl\u00e1va byla zpo\u010d\u00e1tku p\u0159ekvapiv\u011b tlumen\u00e1.<\/p>\n<h3>Pozdn\u00ed Bach - zam\u011b\u0159en\u00ed na to podstatn\u00e9<\/h3>\n<p>V posledn\u00edch letech sv\u00e9 tvorby se Bach op\u011bt zam\u011b\u0159il p\u0159edev\u0161\u00edm na \u010distou hudebn\u00ed formu. D\u00edla jako \u201eUm\u011bn\u00ed fugy\u201c nebo \u201eHudebn\u00ed ob\u011b\u0165\u201c vykazuj\u00ed t\u00e9m\u011b\u0159 abstraktn\u00ed jasnost. Zde je kladen men\u0161\u00ed d\u016fraz na vn\u011bj\u0161\u00ed efekt ne\u017e na vnit\u0159n\u00ed dokonalost.<\/p>\n<p>Nap\u0159\u00edklad \u201eUm\u011bn\u00ed fugy\u201c nen\u00ed d\u00edlem pro konkr\u00e9tn\u00ed p\u0159\u00edle\u017eitost. Je to t\u00e9m\u011b\u0159 hudebn\u00ed odkaz - systematick\u00e9 rozv\u00edjen\u00ed t\u00e9matu ve st\u00e1le nov\u00fdch kontrapunktick\u00fdch variac\u00edch. Je to jako ohl\u00e9dnut\u00ed za v\u0161\u00edm, co ho zam\u011bstn\u00e1valo:<\/p>\n<p>Struktura, polyfonie, \u0159\u00e1d.<\/p>\n<p>St\u00e1rnouc\u00edho mu\u017ee zde nesly\u0161\u00edte zpomalovat. Sly\u0161\u00edte soust\u0159ed\u011bn\u00ed. Mo\u017en\u00e1 dokonce soust\u0159ed\u011bn\u00ed.<\/p>\n<h3>Fyzick\u00e9 limity<\/h3>\n<p>Ale fyzicky to bylo st\u00e1le t\u011b\u017e\u0161\u00ed. Bach st\u00e1le \u010dast\u011bji trp\u011bl probl\u00e9my se zrakem. Koncem 40. let 17. stolet\u00ed se jeho zrak v\u00fdrazn\u011b zhor\u0161il. N\u011bkolik operac\u00ed - podle tehdej\u0161\u00edch l\u00e9ka\u0159sk\u00fdch standard\u016f - nep\u0159ineslo trval\u00e9 zlep\u0161en\u00ed.<\/p>\n<p>Z velk\u00e9 \u010d\u00e1sti oslepl. P\u0159esto pokra\u010doval v pr\u00e1ci. Diktoval skladby. Revidoval sv\u00e1 star\u0161\u00ed d\u00edla. I v omezen\u00fdch podm\u00ednk\u00e1ch byl st\u00e1le tv\u016fr\u010d\u00edm zp\u016fsobem aktivn\u00ed.<\/p>\n<p>To op\u011bt ukazuje na klidn\u00fd postoj, kter\u00fd se t\u00e1hne cel\u00fdm jeho \u017eivotem: \u017e\u00e1dn\u00e9 dramatick\u00e9 lamentov\u00e1n\u00ed, \u017e\u00e1dn\u00e9 ve\u0159ejn\u00e9 inscenov\u00e1n\u00ed utrpen\u00ed, ale pokra\u010dov\u00e1n\u00ed v pr\u00e1ci v r\u00e1mci mo\u017enost\u00ed.<\/p>\n<h3>Smrt - bez velk\u00fdch okolk\u016f<\/h3>\n<p>Johann Sebastian Bach zem\u0159el 28. \u010dervence 1750 v Lipsku.<br \/>\nHistoricky toto datum \u010dasto ozna\u010duje konec barokn\u00ed \u00e9ry. Pro jeho sou\u010dasn\u00edky v\u0161ak jeho smrt nebyla nijak p\u0159evratnou ud\u00e1lost\u00ed. Byl respektov\u00e1n - zejm\u00e9na jako varhan\u00edk a hudebn\u00ed v\u011bdec. Nebyl v\u0161ak pova\u017eov\u00e1n za nesporn\u00e9 centrum hudebn\u00edho sv\u011bta. Vkus se zm\u011bnil. \u017d\u00e1dan\u00e9 byly leh\u010d\u00ed, galantn\u011bj\u0161\u00ed styly.<\/p>\n<p>Jeho slo\u017eit\u00e1 polyfonie se n\u011bkter\u00fdm zd\u00e1la starom\u00f3dn\u00ed. A tak se stalo n\u011bco p\u0159ekvapiv\u00e9ho: jeho d\u00edlo \u010d\u00e1ste\u010dn\u011b zmizelo z aktivn\u00edho reperto\u00e1ru.<\/p>\n<h3>Zapomenut\u00fd - ale ne ztracen\u00fd<\/h3>\n<p>To v\u0161ak neznamen\u00e1, \u017ee by byl Bach zcela ignorov\u00e1n. Jeho synov\u00e9 - nap\u0159\u00edklad Carl Philipp Emanuel Bach - byli \u00fasp\u011b\u0161n\u00fdmi skladateli. P\u0159edstavovali v\u0161ak jin\u00fd styl, modern\u011bj\u0161\u00ed, citliv\u011bj\u0161\u00ed, m\u00e9n\u011b kontrapunkticky hutn\u00fd.<\/p>\n<p>Hudebn\u00ed duch se zm\u011bnil. Bachova d\u00edla byla nad\u00e1le studov\u00e1na - zejm\u00e9na odborn\u00edky. Nebyla v\u0161ak v centru ve\u0159ejn\u00e9ho koncertn\u00edho \u017eivota.<\/p>\n<p>Je to t\u00e9m\u011b\u0159 paradoxn\u00ed: mistr budovatel hudebn\u00edch z\u00e1klad\u016f s\u00e1m ustoupil do pozad\u00ed.<\/p>\n<hr \/>\n\n\t\t\t<div class=\"display-post-types\">\n\n\t\t\t\t\t\t\t<style type=\"text\/css\">\n\t\t\t#dpt-wrapper-911 { --dpt-text-align: left;--dpt-image-crop: center;--dpt-border-radius: 5px;--dpt-h-gutter: 10px;--dpt-v-gutter: 10px; }\t\t\t<\/style>\n\t\t\t<style type=\"text\/css\">#dpt-wrapper-911 { --dpt-title-font-style:normal;--dpt-title-font-weight:600;--dpt-title-line-height:1.5;--dpt-title-text-decoration:none;--dpt-title-text-transform:none;--dpt-excerpt-font-style:normal;--dpt-excerpt-font-weight:400;--dpt-excerpt-line-height:1.5;--dpt-excerpt-text-decoration:none;--dpt-excerpt-text-transform:none;--dpt-meta1-font-style:normal;--dpt-meta1-font-weight:400;--dpt-meta1-line-height:1.9;--dpt-meta1-text-decoration:none;--dpt-meta1-text-transform:none;--dpt-meta2-font-style:normal;--dpt-meta2-font-weight:400;--dpt-meta2-line-height:1.9;--dpt-meta2-text-decoration:none;--dpt-meta2-text-transform:none; }<\/style><div class=\"dpt-main-header\">\n\t\t\t\t\t\t<div class=\"dpt-main-title\">\n\t\t\t\t\t\t\t<span class=\"dpt-main-title-text\">Portr\u00e9ty lid\u00ed s postojem<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t<\/div>\t\t\t\n\t\t\t\t<div id=\"dpt-wrapper-911\" class=\"dpt-wrapper dpt-mag1 land1 dpt-cropped dpt-flex-wrap\" >\n\n\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"helge schneider: haltung, humor und die freiheit, sich nicht erkl\u00e4ren zu m\u00fcssen\" data-id=\"4756\"  data-category=\"allgemein gesellschaft kunst &amp; kultur\" data-post_tag=\"deutschland erfahrungen meinungsfreiheit musik portrait\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2026\/02\/helge-schneider-postoj-humor-a-svoboda-nemuset-vysvetlovat-sam-sebe\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Helge Schneider: P\u0159\u00edstup, humor a svoboda nemuset se vysv\u011btlovat<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Helge Schneider Portr\u00e9t\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Helge-Schneider.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Helge-Schneider.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Helge-Schneider-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Helge-Schneider-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Helge-Schneider-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2026\/02\/helge-schneider-postoj-humor-a-svoboda-nemuset-vysvetlovat-sam-sebe\/\" rel=\"bookmark\">Helge Schneider: P\u0159\u00edstup, humor a svoboda nemuset se vysv\u011btlovat<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"jeffrey sachs warnt deutschland: warum europas sicherheit neu gedacht werden muss\" data-id=\"4079\"  data-category=\"allgemein gesellschaft\" data-post_tag=\"deutschland energiepolitik eu-gesetze europa geopolitik krisen meinungsfreiheit portrait sicherheitspolitik\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2025\/12\/jeffrey-sachs-varuje-nemecko-proc-je-treba-prehodnotit-bezpecnost-evropy\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Jeffrey Sachs varuje N\u011bmecko: Pro\u010d je t\u0159eba p\u0159ehodnotit bezpe\u010dnost Evropy<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Jeffrey Sachs p\u00ed\u0161e otev\u0159en\u00fd dopis kancl\u00e9\u0159i Merzovi\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/jeffrey-sachs-bundeskanzler-eu.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/jeffrey-sachs-bundeskanzler-eu.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/jeffrey-sachs-bundeskanzler-eu-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/jeffrey-sachs-bundeskanzler-eu-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/jeffrey-sachs-bundeskanzler-eu-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2025\/12\/jeffrey-sachs-varuje-nemecko-proc-je-treba-prehodnotit-bezpecnost-evropy\/\" rel=\"bookmark\">Jeffrey Sachs varuje N\u011bmecko: Pro\u010d je t\u0159eba p\u0159ehodnotit bezpe\u010dnost Evropy<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"wer ist eigentlich j. d. vance? ein portrait zu herkunft, karriere, widerspr\u00fcchen und zukunft\" data-id=\"5395\"  data-category=\"allgemein gesellschaft\" data-post_tag=\"energiepolitik erfahrungen europa geopolitik krisen meinungsfreiheit portrait sicherheitspolitik\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2026\/03\/kdo-je-j-d-vance-portret-jeho-puvodu-kariery-rozporu-a-budoucnosti\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Kdo je vlastn\u011b J. D. Vance? Portr\u00e9t jeho p\u016fvodu, kari\u00e9ry, rozpor\u016f a budoucnosti<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Kdo je J. D. Vance?\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/JD-Vance-Portrait.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/JD-Vance-Portrait.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/JD-Vance-Portrait-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/JD-Vance-Portrait-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/JD-Vance-Portrait-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2026\/03\/kdo-je-j-d-vance-portret-jeho-puvodu-kariery-rozporu-a-budoucnosti\/\" rel=\"bookmark\">Kdo je vlastn\u011b J. D. Vance? Portr\u00e9t jeho p\u016fvodu, kari\u00e9ry, rozpor\u016f a budoucnosti<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"wie tiere zeit wahrnehmen &#8211; und was das f\u00fcr die zukunft der ki bedeutet\" data-id=\"4918\"  data-category=\"allgemein gesellschaft ki-systeme\" data-post_tag=\"denkmodelle erfahrungen k\u00fcnstliche intelligenz llm portrait prozesse sprachmodell\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2026\/02\/jak-zvirata-vnimaji-cas-a-co-to-znamena-pro-budoucnost-ki\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Jak zv\u00ed\u0159ata vn\u00edmaj\u00ed \u010das - a co to znamen\u00e1 pro budoucnost um\u011bl\u00e9 inteligence<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Zv\u00ed\u0159ata, um\u011bl\u00e1 inteligence a vn\u00edm\u00e1n\u00ed \u010dasu\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Tiere-KI-Zeitwahrnehmung.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Tiere-KI-Zeitwahrnehmung.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Tiere-KI-Zeitwahrnehmung-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Tiere-KI-Zeitwahrnehmung-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Tiere-KI-Zeitwahrnehmung-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2026\/02\/jak-zvirata-vnimaji-cas-a-co-to-znamena-pro-budoucnost-ki\/\" rel=\"bookmark\">Jak zv\u00ed\u0159ata vn\u00edmaj\u00ed \u010das - a co to znamen\u00e1 pro budoucnost um\u011bl\u00e9 inteligence<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\n<hr \/>\n<h2>Znovuobjeven\u00ed<\/h2>\n<p>Teprve v 19. stolet\u00ed se situace z\u00e1sadn\u011b zm\u011bnila. Mlad\u00fd skladatel Felix Mendelssohn Bartholdy provedl v roce 1829 v Berl\u00edn\u011b znovu Matou\u0161ovy pa\u0161ije - d\u00edlo, kter\u00e9 ji\u017e dlouho na ve\u0159ejnosti nezazn\u011blo.<\/p>\n<p>Toto p\u0159edstaven\u00ed bylo zlomov\u00e9. Najednou byla znovu rozpozn\u00e1na velikost, hloubka a architektonick\u00e9 mistrovstv\u00ed t\u00e9to hudby. Romantismus objevil v baroku nejen historii, ale i duchovn\u00ed podstatu.<\/p>\n<p>Od t\u00e9 chv\u00edle za\u010dalo skute\u010dn\u00e9 triumf\u00e1ln\u00ed ta\u017een\u00ed Bacha hudebn\u00edmi d\u011bjinami. To, co bylo za jeho \u017eivota pova\u017eov\u00e1no za sofistikovan\u00e9 nebo starom\u00f3dn\u00ed, bylo nyn\u00ed uzn\u00e1v\u00e1no jako nad\u010dasov\u00e9.<\/p>\n<h3>L\u00e1tka n\u011bkdy vy\u017eaduje \u010das<\/h3>\n<p>Tato f\u00e1ze zapom\u00edn\u00e1n\u00ed a znovuobjevov\u00e1n\u00ed n\u00e1m \u0159\u00edk\u00e1 n\u011bco z\u00e1sadn\u00edho. Velk\u00e1 d\u00edla se v\u017edy neujmou okam\u017eit\u011b. N\u011bkdy to vy\u017eaduje \u010das. N\u011bkdy se mus\u00ed zm\u011bnit sou\u010dasn\u00fd vkus, aby byla znovu docen\u011bna hloubka.<\/p>\n<p>Bach nepsal pro kr\u00e1tkodobou m\u00f3du. Psal jazykem, kter\u00fd byl navr\u017een tak, aby vydr\u017eel. To, \u017ee tento jazyk ob\u010das zmizel z pop\u0159ed\u00ed, nic nem\u011bn\u00ed na jeho stabilit\u011b. Naopak: zd\u016fraz\u0148uje, \u017ee podstata nen\u00ed z\u00e1visl\u00e1 na potlesku.<\/p>\n<h3>D\u011bdictv\u00ed za hranicemi sl\u00e1vy<\/h3>\n<p>Na konci sv\u00e9ho \u017eivota nebyl Bach slavnou hv\u011bzdou. Byl uzn\u00e1van\u00fdm, ale nikoli revolu\u010dn\u011b proslul\u00fdm kantorem.<br \/>\nJeho skute\u010dn\u00fd odkaz se projevil a\u017e po jeho smrti.<\/p>\n<p>To se zd\u00e1 b\u00fdt t\u00e9m\u011b\u0159 uklid\u0148uj\u00edc\u00ed. Ukazuje to, \u017ee dopad nemus\u00ed b\u00fdt v\u017edy spojen s okam\u017eit\u00fdm uzn\u00e1n\u00edm. \u017de pr\u00e1ce, kter\u00e1 je odvedena s p\u0159esv\u011bd\u010den\u00edm, si m\u016f\u017ee naj\u00edt sv\u016fj \u010das - i kdy\u017e se zpo\u010d\u00e1tku zd\u00e1 nen\u00e1padn\u00e1.<\/p>\n<p>Bach zem\u0159el, ani\u017e by v\u011bd\u011bl, jak\u00e1 hodnost mu bude pozd\u011bji p\u0159isouzena. Ale mo\u017en\u00e1 to pro n\u011bj nebylo rozhoduj\u00edc\u00ed.<br \/>\nUd\u011blal to, co pova\u017eoval za spr\u00e1vn\u00e9. A z\u00e1klady byly na sv\u00e9m m\u00edst\u011b. V z\u00e1v\u011bre\u010dn\u00e9 kapitole se nyn\u00ed ohl\u00e9dneme do sou\u010dasnosti a zept\u00e1me se, co se z tohoto \u017eivota m\u016f\u017eeme nau\u010dit dnes - mimo ve\u0161kerou hudebn\u00ed teorii.<\/p>\n<h3>Monument\u00e1ln\u00ed M\u0161e h moll v Elbphilharmonii - koncert pln\u00fd vnit\u0159n\u00ed expanzivity<\/h3>\n<p>\u017div\u00fd koncert z <a href=\"https:\/\/www.elbphilharmonie.de\/\" target=\"_blank\" rel=\"noopener\">Hambursk\u00e1 Elbphilharmonie<\/a> uv\u00e1d\u00ed M\u0161i h moll Johanna Sebastiana Bacha v p\u016fsobiv\u00e9 interpretaci Thomase Hengelbrocka a souboru Balthasar Neumann Ensemble. Popis videa zd\u016fraz\u0148uje zejm\u00e9na to, jak tato hudba vyjad\u0159uje \u00fast\u0159edn\u00ed lidsk\u00e1 nap\u011bt\u00ed: osam\u011blost a \u00fat\u011bchu, zoufalstv\u00ed a d\u016fv\u011bru, radost a tich\u00e9 povznesen\u00ed. Akustick\u00e1 \u010distota Elbphilharmonie tento \u00fa\u010dinek znateln\u011b umoc\u0148uje a \u010din\u00ed z t\u00e9to m\u0161e t\u00e9m\u011b\u0159 fyzick\u00fd z\u00e1\u017eitek.<\/p>\n<div class=\"lyte-wrapper\" style=\"width:640px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_kvExf77nRs4\"><div id=\"lyte_kvExf77nRs4\" data-src=\"https:\/\/www.markus-schall.de\/wp-content\/plugins\/wp-youtube-lyte\/lyteCache.php?origThumbUrl=%2F%2Fi.ytimg.com%2Fvi%2FkvExf77nRs4%2Fhqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/kvExf77nRs4\" rel=\"nofollow noopener\" target=\"_blank\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.markus-schall.de\/wp-content\/plugins\/wp-youtube-lyte\/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FkvExf77nRs4%2F0.jpg\" alt=\"Miniatura videa na YouTube\" width=\"640\" height=\"340\" \/><br \/>Pod\u00edvejte se na toto video na YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:640px;margin:5px;\"><\/div><br \/>\n<a href=\"https:\/\/www.youtube.com\/@ElbphilharmonieHamburg\" target=\"_blank\" rel=\"nofollow noopener\">Elbphilharmonie LIVE<\/a> | Bachova m\u0161e h moll | Thomas Hengelbrock &amp; Balthasar Neumann Choir and Ensemble<\/p>\n<p>Pe\u010dliv\u011b sestaven\u00fd ans\u00e1mbl s\u00f3list\u016f a sbor Balthasara Neumanna dod\u00e1v\u00e1 d\u00edlu mimo\u0159\u00e1dnou pr\u016fzra\u010dnost. Pro \u010dten\u00e1\u0159e je tento videoz\u00e1znam dokonal\u00fdm zavr\u0161en\u00edm \u010dl\u00e1nku - ukazuje Bacha nejen jako skladatele, ale i jako \u010dlov\u011bka, jeho\u017e hudba m\u00e1 hlubok\u00fd dopad na existenci\u00e1ln\u00ed ot\u00e1zky \u017eivota.<\/p>\n<h2>Co se m\u016f\u017eeme od Bacha nau\u010dit dnes - a pro\u010d z\u016fst\u00e1v\u00e1 i nad\u00e1le<\/h2>\n<p>Na konci t\u00e9to cesty - z Eisenachu do Arnstadtu, V\u00fdmaru, K\u00f6thenu a Lipska - v\u00e1m z\u016fstane v\u00edc ne\u017e jen p\u016fsobiv\u00fd katalog. Z\u016fstane v\u00e1m obraz \u010dlov\u011bka, kter\u00fd nebyl hlasit\u00fd, ale jasn\u00fd. Ne velkolep\u00fd, ale d\u016fsledn\u00fd. Ne m\u00f3dn\u00ed, ale trval\u00fd.<\/p>\n<p>Johann Sebastian Bach nebyl revolucion\u00e1\u0159em v politick\u00e9m smyslu. Nepsal \u017e\u00e1dn\u00e9 manifesty, nezanechal \u017e\u00e1dn\u00e9 teorie o spole\u010dnosti nebo pokroku. P\u0159esto byl p\u0159\u00edkladem n\u011b\u010deho, co je d\u016fle\u017eit\u00e9 pro ka\u017edou dobu: Postoj prost\u0159ednictv\u00edm kvality.<\/p>\n<h3>Discipl\u00edna nen\u00ed opakem svobody<\/h3>\n<p>Dnes \u017eijeme v kultu\u0159e, kter\u00e1 si vysoce cen\u00ed spont\u00e1nnosti. Kreativita by m\u011bla b\u00fdt svobodn\u00e1, nev\u00e1zan\u00e1, co nejv\u00edce nefiltrovan\u00e1. Pravidla jsou rychle vn\u00edm\u00e1na jako omezen\u00ed.<\/p>\n<p>Bach p\u0159edkl\u00e1d\u00e1 jin\u00fd obraz. Jeho hudba je p\u0159\u00edsn\u011b konstruovan\u00e1 - a pr\u00e1v\u011b proto voln\u00e1. Jeho fugy se \u0159\u00edd\u00ed jasn\u00fdmi pravidly - a p\u0159esto rozv\u00edjej\u00ed \u00fa\u017easnou \u017eivost. Jeho d\u00edla jsou promy\u0161len\u00e1 - a p\u0159esto bezprost\u0159edn\u011b doj\u00edmaj\u00ed.<\/p>\n<p>To je mo\u017en\u00e1 jedna z nejd\u016fle\u017eit\u011bj\u0161\u00edch lekc\u00ed: Struktura nen\u00ed klec. Je to r\u00e1mec. Ti, kdo ovl\u00e1daj\u00ed sv\u00e9 \u0159emeslo, z\u00edsk\u00e1vaj\u00ed svobodu. Pokud si osvoj\u00edte discipl\u00ednu, z\u00edsk\u00e1te man\u00e9vrovac\u00ed prostor. To plat\u00ed v hudb\u011b i v \u017eivot\u011b.<\/p>\n<h3>Kvalita p\u0159ed pohodl\u00edm<\/h3>\n<p>V mnoha okam\u017eic\u00edch sv\u00e9ho \u017eivota si Bach mohl situaci usnadnit. Mohl komponovat jednodu\u0161eji. Mohl sn\u00ed\u017eit sv\u00e9 n\u00e1roky, aby se vyhnul konflikt\u016fm. Mohl n\u00e1sledovat m\u00f3dn\u00ed trendy.<\/p>\n<p>Neud\u011blal to. Ne ze vzdoru, ale z vnit\u0159n\u00edho \u00fasudku. Z\u0159ejm\u011b v\u011bd\u011bl, \u017ee p\u0159izp\u016fsobov\u00e1n\u00edm se kr\u00e1tkodob\u00fdm o\u010dek\u00e1v\u00e1n\u00edm podstatu nez\u00edsk\u00e1te.<\/p>\n<p>V dob\u011b, kdy se mnoho v\u011bc\u00ed rychle vyrob\u00ed a stejn\u011b rychle se na n\u011b zapomene, se tento p\u0159\u00edstup zd\u00e1 b\u00fdt t\u00e9m\u011b\u0159 neobvykl\u00fd. Ale pr\u00e1v\u011b proto je tak cenn\u00fd.<\/p>\n<ul>\n<li>Kvalita vy\u017eaduje \u010das.<\/li>\n<li>Hloubka vy\u017eaduje trp\u011blivost.<\/li>\n<li>D\u016fslednost vy\u017eaduje p\u0159esv\u011bd\u010den\u00ed.<\/li>\n<\/ul>\n<h3>Samoz\u0159ejm\u00e1 odpov\u011bdnost<\/h3>\n<p>Bach byl otcem dvaceti d\u011bt\u00ed. Byl u\u010ditelem, organiz\u00e1torem a zam\u011bstnancem. Jeho ka\u017edodenn\u00ed \u017eivot nebyl romantick\u00fd, ale vyzna\u010doval se odpov\u011bdnost\u00ed. Nerozli\u0161oval mezi um\u011bn\u00edm a povinnost\u00ed. \u017dil oboj\u00edm z\u00e1rove\u0148.<\/p>\n<p>Mo\u017en\u00e1 je to i poselstv\u00ed pro dne\u0161n\u00ed dobu: velk\u00e9 \u00fasp\u011bchy se ned\u011bj\u00ed ve vzduchopr\u00e1zdnu. Vznikaj\u00ed v ka\u017edodenn\u00edm \u017eivot\u011b, ve vytrvalosti, v tom, \u017ee \u010dlov\u011bk bere sv\u00e9 \u00fakoly v\u00e1\u017en\u011b. Postoj se neprojevuje jen za v\u00fdjime\u010dn\u00fdch okolnost\u00ed. Projevuje se v ka\u017edodenn\u00edm jedn\u00e1n\u00ed.<\/p>\n<h3>Humor a lidskost<\/h3>\n<p>P\u0159i v\u0161\u00ed sv\u00e9 discipl\u00edn\u011b z\u016fstal Bach \u010dlov\u011bkem. K\u00e1vov\u00e1 kant\u00e1ta, drobn\u00e9 spory, \u017eivost jeho domu - to v\u0161e n\u00e1m p\u0159ipom\u00edn\u00e1, \u017ee v\u00e1\u017enost neznamen\u00e1 upjatost.<\/p>\n<p>Struktura nevylu\u010duje teplo. Z\u00e1sady nevylu\u010duj\u00ed humor. Naopak: ti, kdo jsou vnit\u0159n\u011b stabiln\u00ed, se mohou tak\u00e9 usm\u00edvat.<\/p>\n<h3>Podstata v pr\u016fb\u011bhu \u010dasu<\/h3>\n<p>Snad nejp\u016fsobiv\u011bj\u0161\u00ed na Bachovi je nejen slo\u017eitost jeho d\u011bl, ale i jejich d\u00e9lka trv\u00e1n\u00ed. Po jeho smrti se na n\u011bj na n\u011bjakou dobu zapomn\u011blo. Zm\u011bnil se vkus. M\u00f3da p\u0159ich\u00e1zela a odch\u00e1zela. Ale jeho d\u00edlo z\u016fstalo.<\/p>\n<p>To je siln\u00fd obraz: Co je dob\u0159e postaven\u00e9, p\u0159e\u017eije i zm\u011bny. Ne proto, \u017ee je to hlasit\u00e9, ale proto, \u017ee je to siln\u00e9. V dob\u011b, kter\u00e1 \u010dasto usiluje o rychl\u00fd dopad, n\u00e1m Bach p\u0159ipom\u00edn\u00e1, \u017ee skute\u010dn\u00fd dopad n\u011bkdy za\u010d\u00edn\u00e1 ti\u0161e - a trv\u00e1 dlouho.<\/p>\n<h3>Tich\u00e9 m\u011b\u0159\u00edtko<\/h3>\n<p>Existuj\u00ed osobnosti, kter\u00e9 zaujmou dramatem. A jsou osobnosti, kter\u00e9 zaujmou d\u016fslednost\u00ed. Bach pat\u0159\u00ed do druh\u00e9 skupiny. Nebojoval o pozornost. Pracoval. Budoval. Vytvo\u0159il struktury, kter\u00e9 obstoj\u00ed, i kdy\u017e se duch doby oto\u010d\u00ed.<\/p>\n<p>Mo\u017en\u00e1 pr\u00e1v\u011b v tom je hlub\u0161\u00ed smysl jeho \u017eivota: ukazuje, \u017ee velikost nespo\u010d\u00edv\u00e1 v ok\u00e1zalosti, ale v m\u00ed\u0159e. Vnit\u0159n\u00ed m\u011b\u0159\u00edtko, podle kter\u00e9ho se \u010dlov\u011bk orientuje - bez ohledu na potlesk.<\/p>\n<p>Kdy\u017e dnes poslouch\u00e1te Bachovo d\u00edlo - a\u0165 u\u017e je to fuga, kant\u00e1ta nebo prost\u00e9 preludium - neposlouch\u00e1te jen hudbu. Sly\u0161\u00edte v\u00fdsledek discipl\u00edny, p\u0159esv\u011bd\u010den\u00ed, odpov\u011bdnosti a jemn\u00e9ho smyslu pro lidskost.<\/p>\n<p>Sly\u0161\u00edte mu\u017ee, kter\u00fd sv\u016fj \u00fakol bere v\u00e1\u017en\u011b. A mo\u017en\u00e1 je to ta nejlep\u0161\u00ed my\u0161lenka na z\u00e1v\u011br: nemus\u00edte b\u00fdt slavn\u00ed, abyste byli d\u016fle\u017eit\u00ed. Nemus\u00edte b\u00fdt hlasit\u00ed, abyste byli sly\u0161et. Nemus\u00edte b\u00fdt m\u00f3dn\u00ed, abyste z\u016fstali modern\u00ed.<\/p>\n<p>Bach nebyl hrdinou v jasn\u00e9m sv\u011btle. Byl to mistr stavitel v pozad\u00ed. A proto\u017ee stav\u011bl d\u016fkladn\u011b, jeho d\u00edlo st\u00e1le stoj\u00ed - jako z\u00e1klad, jako m\u011b\u0159\u00edtko, jako v\u00fdzva k pozorn\u011bj\u0161\u00edmu naslouch\u00e1n\u00ed.<\/p>\n<p>To je mo\u017en\u00e1 ten nejv\u011bt\u0161\u00ed dar, kter\u00fd n\u00e1m tento \u017eivot zanechal.<\/p>\n<hr \/>\n\n\t\t\t<div class=\"display-post-types\">\n\n\t\t\t\t\t\t\t<style type=\"text\/css\">\n\t\t\t#dpt-wrapper-912 { --dpt-text-align: left;--dpt-image-crop: center;--dpt-border-radius: 5px;--dpt-h-gutter: 10px;--dpt-v-gutter: 9px; }\t\t\t<\/style>\n\t\t\t<style type=\"text\/css\">#dpt-wrapper-912 { --dpt-title-font-style:normal;--dpt-title-font-weight:600;--dpt-title-line-height:1.5;--dpt-title-text-decoration:none;--dpt-title-text-transform:none;--dpt-excerpt-font-style:normal;--dpt-excerpt-font-weight:400;--dpt-excerpt-line-height:1.5;--dpt-excerpt-text-decoration:none;--dpt-excerpt-text-transform:none;--dpt-meta1-font-style:normal;--dpt-meta1-font-weight:400;--dpt-meta1-line-height:1.9;--dpt-meta1-text-decoration:none;--dpt-meta1-text-transform:none;--dpt-meta2-font-style:normal;--dpt-meta2-font-weight:400;--dpt-meta2-line-height:1.9;--dpt-meta2-text-decoration:none;--dpt-meta2-text-transform:none; }<\/style><div class=\"dpt-main-header\">\n\t\t\t\t\t\t<div class=\"dpt-main-title\">\n\t\t\t\t\t\t\t<span class=\"dpt-main-title-text\">Aktu\u00e1ln\u00ed \u010dl\u00e1nky o um\u011bn\u00ed a kultu\u0159e<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t<\/div>\t\t\t\n\t\t\t\t<div id=\"dpt-wrapper-912\" class=\"dpt-wrapper dpt-mag1 land1 dpt-cropped dpt-flex-wrap\" >\n\n\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"jan-josef liefers: ein portr\u00e4t \u00fcber haltung, herkunft und k\u00fcnstlerische freiheit\" data-id=\"3854\"  data-category=\"allgemein gesellschaft kunst &amp; kultur\" data-post_tag=\"deutschland erfahrungen krisen lernen meinungsfreiheit musik pers\u00f6nlichkeitsentwicklung portrait\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2025\/12\/jan-josef-liefers-portret-postoje-puvodu-a-umelecke-svobody\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Jan-Josef Liefers: Portr\u00e9t postoje, p\u016fvodu a um\u011bleck\u00e9 svobody<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Jan-Josef Liefers\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/jan-josef-liefers-silhouette.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/jan-josef-liefers-silhouette.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/jan-josef-liefers-silhouette-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/jan-josef-liefers-silhouette-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/jan-josef-liefers-silhouette-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2025\/12\/jan-josef-liefers-portret-postoje-puvodu-a-umelecke-svobody\/\" rel=\"bookmark\">Jan-Josef Liefers: Portr\u00e9t postoje, p\u016fvodu a um\u011bleck\u00e9 svobody<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"wenn pflicht wieder pflicht wird. eine art essay von herrn von l&#8217;oreot.\" data-id=\"3010\"  data-category=\"allgemein gesellschaft kunst &amp; kultur stories &amp; humor\" data-post_tag=\"deutschland erfahrungen geopolitik krisen pers\u00f6nlichkeitsentwicklung sicherheitspolitik\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2025\/10\/kdyz-se-povinnost-opet-stava-povinnosti-druh-eseje-pana-von-loreota\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Kdy\u017e se povinnost op\u011bt stane povinnost\u00ed. Jak\u00e1si esej pana von L'oreota.<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Ne\u010dekan\u00fd telefon\u00e1t\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/loreot-pflicht-anruf.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/loreot-pflicht-anruf.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/loreot-pflicht-anruf-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/loreot-pflicht-anruf-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/loreot-pflicht-anruf-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2025\/10\/kdyz-se-povinnost-opet-stava-povinnosti-druh-eseje-pana-von-loreota\/\" rel=\"bookmark\">Kdy\u017e se povinnost op\u011bt stane povinnost\u00ed. Jak\u00e1si esej pana von L'oreota.<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"johann sebastian bach &#8211; ordnung, haltung und das fundament unserer musik\" data-id=\"5033\"  data-category=\"allgemein gesellschaft kunst &amp; kultur\" data-post_tag=\"deutschland musik portrait\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2026\/02\/johann-sebastian-bach-order-postoj-a-zaklad-nasi-hudby\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Johann Sebastian Bach - \u0159\u00e1d, postoj a z\u00e1klad na\u0161\u00ed hudby<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Johann Sebastian Bach Portr\u00e9t\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Portrait.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Portrait.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Portrait-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Portrait-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Johann-Sebastian-Bach-Portrait-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2026\/02\/johann-sebastian-bach-order-postoj-a-zaklad-nasi-hudby\/\" rel=\"bookmark\">Johann Sebastian Bach - \u0159\u00e1d, postoj a z\u00e1klad na\u0161\u00ed hudby<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"wie war syrien vor dem krieg? wer regiert heute? was bedeutet das f\u00fcr gefl\u00fcchtete in deutschland?\" data-id=\"4628\"  data-category=\"allgemein gesellschaft kunst &amp; kultur\" data-post_tag=\"deutschland europa geopolitik krisen meinungsfreiheit sicherheitspolitik\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2026\/01\/jak-vypadala-syrie-pred-valkou-kdo-dnes-vladne-co-to-znamena-pro-uprchliky-v-nemecku\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Jak\u00e1 byla S\u00fdrie p\u0159ed v\u00e1lkou? Kdo vl\u00e1dne dnes? Co to znamen\u00e1 pro uprchl\u00edky v N\u011bmecku?<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"S\u00fdrie a Dama\u0161ek\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Syrien-Damaskus.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/Syrien-Damaskus.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Syrien-Damaskus-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Syrien-Damaskus-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/Syrien-Damaskus-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2026\/01\/jak-vypadala-syrie-pred-valkou-kdo-dnes-vladne-co-to-znamena-pro-uprchliky-v-nemecku\/\" rel=\"bookmark\">Jak\u00e1 byla S\u00fdrie p\u0159ed v\u00e1lkou? Kdo vl\u00e1dne dnes? Co to znamen\u00e1 pro uprchl\u00edky v N\u011bmecku?<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\n<hr \/>\n<h2>\u010casto kladen\u00e9 ot\u00e1zky<\/h2>\n<ol>\n<li><strong>Byl Johann Sebastian Bach skute\u010dn\u011b g\u00e9nius - nebo \u201ejen\u201c mimo\u0159\u00e1dn\u011b pracovit\u00fd \u0159emesln\u00edk?<\/strong><br \/>\nBach byl oboj\u00ed. Jeho d\u00edlo vykazuje mimo\u0159\u00e1dn\u00fd talent, zejm\u00e9na v oblasti kontrapunktu a harmonick\u00e9 struktury. Z\u00e1rove\u0148 by jeho mistrovstv\u00ed nebylo mysliteln\u00e9 bez jeho p\u00edle a discipl\u00edny. Ne\u00fanavn\u011b studoval, kop\u00edroval, analyzoval a rozv\u00edjel. Genialita u Bacha neznamen\u00e1 spont\u00e1nn\u00ed inspiraci, ale kombinaci talentu, vzd\u011bl\u00e1n\u00ed a desetilet\u00ed pr\u00e1ce. Jeho velikost spo\u010d\u00edv\u00e1 pr\u00e1v\u011b v tom, \u017ee inspirace a \u0159emesln\u00e1 zru\u010dnost funguj\u00ed neodd\u011bliteln\u011b spole\u010dn\u011b.<\/li>\n<li><strong>Pro\u010d je Bach pova\u017eov\u00e1n za tak d\u016fle\u017eit\u00e9ho pro d\u011bjiny hudby?<\/strong><br \/>\nBach systematicky pronikal do hudebn\u00edch organiza\u010dn\u00edch princip\u016f sv\u00e9 doby a dovedl je k vrcholu. Jeho d\u00edla se vyzna\u010duj\u00ed jasnost\u00ed a \u00faplnost\u00ed, kter\u00e1 slou\u017eila jako m\u011b\u0159\u00edtko pro pozd\u011bj\u0161\u00ed generace. Zejm\u00e9na jeho fugy, pa\u0161ije a \u201eDob\u0159e temperovan\u00fd klav\u00edr\u201c se staly z\u00e1kladem hudebn\u00edho vzd\u011bl\u00e1n\u00ed. Nevymyslel nov\u00fd \u017e\u00e1nr, ale p\u0159etvo\u0159il st\u00e1vaj\u00edc\u00ed do podoby, kter\u00e1 je \u017eivotaschopn\u00e1 dodnes. Proto je pova\u017eov\u00e1n za z\u00e1klad z\u00e1padn\u00ed hudebn\u00ed tradice.<\/li>\n<li><strong>Nen\u00ed Bachova hudba pro \u010dlov\u011bka bez hudebn\u00edho vzd\u011bl\u00e1n\u00ed p\u0159\u00edli\u0161 slo\u017eit\u00e1?<\/strong><br \/>\nV\u016fbec ne. Bachovu hudbu m\u016f\u017eete poslouchat na r\u016fzn\u00fdch \u00farovn\u00edch. Ti, kte\u0159\u00ed jsou obezn\u00e1meni s teori\u00ed, objev\u00ed slo\u017eit\u00e9 struktury. Kdo prost\u011b jen poslouch\u00e1, m\u016f\u017ee se nechat un\u00e1\u0161et zvukem, n\u00e1ladou a v\u00fdrazem. D\u00edla jako violoncellov\u00e9 suity nebo mnoh\u00e1 preludia jsou p\u0159\u00edstupn\u00e1 okam\u017eit\u011b. Bachova hudba vy\u017eaduje pozornost, ale \u017e\u00e1dn\u00e9 akademick\u00e9 vzd\u011bl\u00e1n\u00ed. Odhaluje se v pr\u016fb\u011bhu \u010dasu - a odm\u011b\u0148uje trp\u011blivost.<\/li>\n<li><strong>Co je to vlastn\u011b joint?<\/strong><br \/>\nFuga je polyfonn\u00ed kompozi\u010dn\u00ed forma, v n\u00ed\u017e se t\u00e9ma objevuje postupn\u011b v r\u016fzn\u00fdch hlasech a je d\u00e1le rozv\u00edjeno. T\u00e9ma se zrcadl\u00ed, zkracuje, prodlu\u017euje nebo rytmicky obm\u011b\u0148uje. V\u00fdsledkem je hust\u00e1 s\u00ed\u0165 hlas\u016f, kter\u00e1 v\u0161ak z\u016fst\u00e1v\u00e1 struktur\u00e1ln\u011b p\u0159ehledn\u00e1. Bach tuto formu nevynalezl, ale zdokonalil ji do t\u00e9 m\u00edry, \u017ee je dodnes pova\u017eov\u00e1na za vzorovou.<\/li>\n<li><strong>Pro\u010d nebyl Bach za sv\u00e9ho \u017eivota tak slavn\u00fd jako dnes?<\/strong><br \/>\nBach byl za sv\u00e9ho \u017eivota velmi uzn\u00e1van\u00fd, zejm\u00e9na jako varhan\u00edk a hudebn\u00ed v\u011bdec. Hudebn\u00ed vkus se v\u0161ak m\u011bnil. Oblibu z\u00edsk\u00e1valy leh\u010d\u00ed, galantn\u011bj\u0161\u00ed styly. Jeho slo\u017eitou polyfonii n\u011bkte\u0159\u00ed pova\u017eovali za starom\u00f3dn\u00ed. Teprve v 19. stolet\u00ed byla znovu uzn\u00e1na nad\u010dasov\u00e1 velikost jeho d\u00edla. Jeho sl\u00e1va tedy vzrostla a\u017e posmrtn\u011b - co\u017e sv\u011bd\u010d\u00ed o tom, \u017ee podstata nen\u00ed v\u017edy rozpozn\u00e1na okam\u017eit\u011b.<\/li>\n<li><strong>\u010c\u00edm se Bach li\u0161\u00ed od Mozarta nebo Beethovena?<\/strong><br \/>\nZ hlediska stylu pat\u0159\u00ed Bach na konec barokn\u00edho obdob\u00ed, zat\u00edmco Mozart a Beethoven do obdob\u00ed v\u00edde\u0148sk\u00e9ho klasicismu. Bachovo my\u0161len\u00ed je v\u00edce kontrapunktick\u00e9, tj. polyfonn\u011b propleten\u00e9. Mozart a Beethoven pracuj\u00ed v\u00fdrazn\u011bji s tematick\u00fdm rozvojem v r\u00e1mci jasn\u00fdch form\u00e1ln\u00edch \u00fasek\u016f. Bach byl tak\u00e9 t\u011bsn\u011bji za\u010dlen\u011bn do c\u00edrkevn\u00edch struktur, zat\u00edmco nap\u0159\u00edklad Beethoven p\u016fsobil jako samostatn\u00fd um\u011blec. Nicm\u00e9n\u011b i Mozart a Beethoven stav\u011bli na z\u00e1kladech, kter\u00e9 pom\u00e1hal utv\u00e1\u0159et Bach.<\/li>\n<li><strong>M\u011bl Bach skute\u010dn\u011b vliv na popul\u00e1rn\u00ed hudbu?<\/strong><br \/>\nNe p\u0159\u00edmo ve smyslu osobn\u00edho vlivu, ale struktur\u00e1ln\u011b. Funk\u010dn\u00ed harmonie, na n\u00ed\u017e je zalo\u017eena velk\u00e1 \u010d\u00e1st z\u00e1padn\u00ed hudby, byla systematicky rozv\u00edjena v baroku. Bach tento syst\u00e9m mistrn\u011b aplikoval a upevnil. Kdy\u017e dne\u0161n\u00ed skladby pracuj\u00ed s principy nap\u011bt\u00ed a rozli\u0161en\u00ed, \u010derpaj\u00ed pr\u00e1v\u011b z t\u011bchto harmonick\u00fdch vztah\u016f. Z\u00e1klad je tedy p\u0159\u00edbuzn\u00fd, i kdy\u017e na povrchu zn\u00ed jinak.<\/li>\n<li><strong>Byl Bach obzvl\u00e1\u0161\u0165 v\u011b\u0159\u00edc\u00ed \u010dlov\u011bk?<\/strong><br \/>\nBach \u017eil a tvo\u0159il v luter\u00e1nsk\u00e9m prost\u0159ed\u00ed a jeho duchovn\u00ed d\u00edla vykazuj\u00ed hlubok\u00fd teologick\u00fd pr\u016fnik. Jeho hudba pro n\u011bj nebyla jen estetick\u00fdm vyj\u00e1d\u0159en\u00edm, ale tak\u00e9 slu\u017ebou v\u00ed\u0159e. T\u011b\u017eko \u0159\u00edci, zda by se dal ozna\u010dit za zvl\u00e1\u0161t\u011b zbo\u017en\u00e9ho v modern\u00edm slova smyslu. Jist\u00e9 v\u0161ak je, \u017ee sv\u016fj c\u00edrkevn\u00ed \u00fakol bral v\u00e1\u017en\u011b a spojoval um\u011bleckou dokonalost s n\u00e1bo\u017eensk\u00fdm p\u0159esv\u011bd\u010den\u00edm.<\/li>\n<li><strong>Jak m\u016f\u017ee b\u00fdt Bach tak neuv\u011b\u0159iteln\u011b produktivn\u00ed?<\/strong><br \/>\nJedn\u00edm z d\u016fle\u017eit\u00fdch faktor\u016f bylo jeho profesion\u00e1ln\u00ed nasazen\u00ed. Jako kantor u svat\u00e9ho Tom\u00e1\u0161e musel pravideln\u011b dod\u00e1vat nov\u00e1 d\u00edla. Tato vn\u011bj\u0161\u00ed struktura ho nutila k discipl\u00edn\u011b. K tomu se p\u0159id\u00e1valy jeho obrovsk\u00e9 technick\u00e9 dovednosti a pracovn\u00ed rutina. Myslel hudebn\u011b v syst\u00e9mech, a proto dok\u00e1zal pracovat efektivn\u011b. Jeho produktivita nebyla hektick\u00e1, ale organizovan\u00e1.<\/li>\n<li><strong>Je pravda, \u017ee byl Bach ve v\u011bzen\u00ed?<\/strong><br \/>\nAno, kdy\u017e cht\u011bl v roce 1717 odstoupit ze sv\u00e9 funkce ve V\u00fdmaru, v\u00e9voda ho nejprve odm\u00edtl propustit. Bach na tom trval - a byl na n\u011bkolik t\u00fddn\u016f uv\u011bzn\u011bn. Tato epizoda ukazuje jeho d\u016fslednost. Pro sv\u00e9 profesion\u00e1ln\u00ed rozhodnut\u00ed byl ochoten p\u0159ijmout i osobn\u00ed nev\u00fdhody.<\/li>\n<li><strong>Pro\u010d byl Bach po sv\u00e9 smrti \u010d\u00e1ste\u010dn\u011b zapomenut?<\/strong><br \/>\nHudebn\u00ed vkus se m\u011bnil. Takzvan\u00fd \u201egalantn\u00ed styl\u201c byl jednodu\u0161\u0161\u00ed a chytlav\u011bj\u0161\u00ed ne\u017e slo\u017eit\u00e1 polyfonie barokn\u00edho obdob\u00ed. Bachova d\u00edla byla mnoh\u00fdmi pova\u017eov\u00e1na za p\u0159\u00edli\u0161 n\u00e1ro\u010dn\u00e1. Teprve v 19. stolet\u00ed, zejm\u00e9na s o\u017eiven\u00edm Matou\u0161ov\u00fdch pa\u0161ij\u00ed Felixe Mendelssohna Bartholdyho, se jeho d\u00edlo vr\u00e1tilo do centra pozornosti.<\/li>\n<li><strong>Co je to \u201eDob\u0159e temperovan\u00fd klav\u00edr\u201c a pro\u010d je tak d\u016fle\u017eit\u00fd?<\/strong><br \/>\nJedn\u00e1 se o sb\u00edrku preludi\u00ed a fug ve v\u0161ech durov\u00fdch a mollov\u00fdch t\u00f3nin\u00e1ch. Bach tak demonstroval mo\u017enosti dob\u0159e temperovan\u00e9ho lad\u011bn\u00ed, kter\u00e9 umo\u017e\u0148ovalo hru ve v\u0161ech t\u00f3nin\u00e1ch. Z\u00e1rove\u0148 vytvo\u0159il pedagogick\u00e9 a um\u011bleck\u00e9 d\u00edlo, kter\u00e9 je dodnes z\u00e1kladem klav\u00edrn\u00ed v\u00fduky.<\/li>\n<li><strong>Byl Bach sp\u00ed\u0161e p\u0159\u00edsn\u00fd, nebo humorn\u00fd?<\/strong><br \/>\nOboj\u00ed. M\u011bl vysok\u00e9 n\u00e1roky a dok\u00e1zal b\u00fdt velmi p\u0159\u00edmo\u010dar\u00fd, pokud \u0161lo o kvalitu. Z\u00e1rove\u0148 se v d\u00edlech, jako je Kaffeekantate nebo n\u011bkter\u00e9 instrument\u00e1ln\u00ed skladby, projevuje hrav\u00e1, t\u00e9m\u011b\u0159 jazykov\u00e1 str\u00e1nka. Nebyl to u\u010denec bez humoru, ale \u010dlov\u011bk s temperamentem a smyslem pro ironii.<\/li>\n<li><strong>Pro\u010d se jeho d\u00edla zdaj\u00ed b\u00fdt tak nad\u010dasov\u00e1?<\/strong><br \/>\nProto\u017ee jsou zalo\u017eeny na struktu\u0159e a obsahu, nikoli na m\u00f3d\u011b. Jeho hudba je precizn\u011b propracovan\u00e1 a emocion\u00e1ln\u011b pronikav\u00e1. Nevy\u010derp\u00e1v\u00e1 se na prvn\u00ed dojem, ale p\u0159i opakovan\u00e9m poslechu se rozv\u00edj\u00ed do hloubky. Tato kombinace jasnosti a komplexnosti j\u00ed d\u00e1v\u00e1 dlouhou \u017eivotnost.<\/li>\n<li><strong>Lze Bacha znovu objevit i dnes?<\/strong><br \/>\nRozhodn\u011b. Ka\u017ed\u00e1 generace sly\u0161\u00ed Bacha jinak. Historick\u00e1 interpreta\u010dn\u00ed praxe, modern\u00ed interpretace, nov\u00e1 instrumentace - to v\u0161e otev\u00edr\u00e1 nov\u00e9 perspektivy. J\u00e1dro p\u0159itom z\u016fst\u00e1v\u00e1 stabiln\u00ed. Pr\u00e1v\u011b tato sm\u011bs d\u016fslednosti a otev\u0159enosti ho \u010din\u00ed \u017eiv\u00fdm.<\/li>\n<li><strong>Co se m\u016f\u017eeme od Bacha osobn\u011b nau\u010dit?<\/strong><br \/>\nDiscipl\u00edna jako z\u00e1klad svobody. Kvalita p\u0159ed kr\u00e1tkodob\u00fdm uzn\u00e1n\u00edm. Zodpov\u011bdnost v ka\u017edodenn\u00edm \u017eivot\u011b. A uv\u011bdom\u011bn\u00ed si, \u017ee podstata vy\u017eaduje \u010das. Bach ukazuje, \u017ee nemus\u00edte b\u00fdt hlasit\u00ed, abyste m\u011bli trval\u00fd \u00fa\u010dinek. Postoj vych\u00e1z\u00ed z vytrvalosti.<\/li>\n<li><strong>Byl Bach sp\u00ed\u0161e samot\u00e1\u0159, nebo sou\u010d\u00e1st s\u00edt\u011b?<\/strong><br \/>\nByl siln\u011b zapojen do rodinn\u00fdch a profesn\u00edch struktur. Bachova rodina byla hudebn\u011b \u010dinn\u00e1 po cel\u00e9 generace. Vedl tak\u00e9 dialog s dal\u0161\u00edmi skladateli sv\u00e9 doby. Nebyl izolovan\u00fdm g\u00e9niem, ale sou\u010d\u00e1st\u00ed tradice - kterou pov\u00fd\u0161il na novou \u00farove\u0148.<\/li>\n<li><strong>Pro\u010d m\u00e1 i dnes smysl intenzivn\u011b studovat Bacha?<\/strong><br \/>\nProto\u017ee jeho hudba je v\u00edc ne\u017e historick\u00e1 kultura. Je to cvi\u010di\u0161t\u011b pro pozornost, pro pochopen\u00ed struktury a pro trp\u011blivost. Ukazuje, jak mohou \u0159\u00e1d a vitalita fungovat spole\u010dn\u011b. Ka\u017ed\u00fd, kdo se Bachem zab\u00fdv\u00e1, objevuje nejen kus hudebn\u00ed historie, ale tak\u00e9 vzor hloubky a d\u016fslednosti - n\u011bco, co je cenn\u00e9 v ka\u017ed\u00e9 dob\u011b.<\/li>\n<\/ol>\n<hr \/>\n\n\t\t\t<div class=\"display-post-types\">\n\n\t\t\t\t\t\t\t<style type=\"text\/css\">\n\t\t\t#dpt-wrapper-913 { --dpt-text-align: left;--dpt-image-crop: center;--dpt-border-radius: 5px;--dpt-h-gutter: 10px;--dpt-v-gutter: 9px; }\t\t\t<\/style>\n\t\t\t<style type=\"text\/css\">#dpt-wrapper-913 { --dpt-title-font-style:normal;--dpt-title-font-weight:600;--dpt-title-line-height:1.5;--dpt-title-text-decoration:none;--dpt-title-text-transform:none;--dpt-excerpt-font-style:normal;--dpt-excerpt-font-weight:400;--dpt-excerpt-line-height:1.5;--dpt-excerpt-text-decoration:none;--dpt-excerpt-text-transform:none;--dpt-meta1-font-style:normal;--dpt-meta1-font-weight:400;--dpt-meta1-line-height:1.9;--dpt-meta1-text-decoration:none;--dpt-meta1-text-transform:none;--dpt-meta2-font-style:normal;--dpt-meta2-font-weight:400;--dpt-meta2-line-height:1.9;--dpt-meta2-text-decoration:none;--dpt-meta2-text-transform:none; }<\/style><div class=\"dpt-main-header\">\n\t\t\t\t\t\t<div class=\"dpt-main-title\">\n\t\t\t\t\t\t\t<span class=\"dpt-main-title-text\">Aktu\u00e1ln\u00ed \u010dl\u00e1nky o um\u011bl\u00e9 inteligenci<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t<\/div>\t\t\t\n\t\t\t\t<div id=\"dpt-wrapper-913\" class=\"dpt-wrapper dpt-mag1 land1 dpt-cropped dpt-flex-wrap\" >\n\n\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"ki-studio 2025: welche hardware wirklich lohnt &#8211; vom mac studio bis zur rtx 3090\" data-id=\"3704\"  data-category=\"apple macos featured hardware ki-systeme\" data-post_tag=\"apple digitales eigentum k\u00fcnstliche intelligenz llm mlx neo4j sprachmodell\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2025\/11\/ki-studio-2025-ktery-hardware-se-opravdu-vyplati-z-mac-studia-na-rtx-3090\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">AI Studio 2025: Kter\u00fd hardware se opravdu vyplat\u00ed - od Mac Studia po RTX 3090<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Hardware 2025 pro studio AI\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/KI-Studio-Hardware-2025.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/KI-Studio-Hardware-2025.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/KI-Studio-Hardware-2025-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/KI-Studio-Hardware-2025-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/KI-Studio-Hardware-2025-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2025\/11\/ki-studio-2025-ktery-hardware-se-opravdu-vyplati-z-mac-studia-na-rtx-3090\/\" rel=\"bookmark\">AI Studio 2025: Kter\u00fd hardware se opravdu vyplat\u00ed - od Mac Studia po RTX 3090<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"unsterblichkeit durch technik: wie weit forschung und ki wirklich sind\" data-id=\"3624\"  data-category=\"allgemein gesellschaft ki-systeme\" data-post_tag=\"denkmodelle k\u00fcnstliche intelligenz lernen llm prozesse sprachmodell\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2025\/11\/nesmrtelnost-prostrednictvim-technologie-jak-daleko-vyzkum-a-ki-jsou-skutecne\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Nesmrtelnost d\u00edky technologi\u00edm: jak daleko se v\u00fdzkum a um\u011bl\u00e1 inteligence skute\u010dn\u011b dostaly<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Digit\u00e1ln\u00ed nesmrtelnost\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/digitale-unsterblichkeit.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/digitale-unsterblichkeit.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/digitale-unsterblichkeit-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/digitale-unsterblichkeit-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/digitale-unsterblichkeit-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2025\/11\/nesmrtelnost-prostrednictvim-technologie-jak-daleko-vyzkum-a-ki-jsou-skutecne\/\" rel=\"bookmark\">Nesmrtelnost d\u00edky technologi\u00edm: jak daleko se v\u00fdzkum a um\u011bl\u00e1 inteligence skute\u010dn\u011b dostaly<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"cloud-ki als oberlehrer: warum die zukunft des arbeitens bei lokaler ki liegt\" data-id=\"3887\"  data-category=\"apple macos hardware ki-systeme\" data-post_tag=\"datenschutz digitales eigentum k\u00fcnstliche intelligenz llama llm meinungsfreiheit mistral mlx neo4j ollama sprachmodell\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2025\/12\/cloud-ki-jako-spickovy-ucitel-proc-je-budoucnost-prace-s-mistnimi-ki\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Cloudov\u00e1 um\u011bl\u00e1 inteligence jako \u0159editel: pro\u010d je budoucnost pr\u00e1ce v lok\u00e1ln\u00ed um\u011bl\u00e9 inteligenci<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Cloudov\u00e1 um\u011bl\u00e1 inteligence se st\u00e1v\u00e1 hlavn\u00edm u\u010ditelem\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/cloud-ki-oberlehrer.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/cloud-ki-oberlehrer.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/cloud-ki-oberlehrer-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/cloud-ki-oberlehrer-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/cloud-ki-oberlehrer-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2025\/12\/cloud-ki-jako-spickovy-ucitel-proc-je-budoucnost-prace-s-mistnimi-ki\/\" rel=\"bookmark\">Cloudov\u00e1 um\u011bl\u00e1 inteligence jako \u0159editel: pro\u010d je budoucnost pr\u00e1ce v lok\u00e1ln\u00ed um\u011bl\u00e9 inteligenci<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"dpt-entry has-thumbnail\" data-title=\"k\u00fcnstliche intelligenz: welche jobs in gefahr sind, und wie wir uns jetzt wappnen k\u00f6nnen\" data-id=\"2940\"  data-category=\"allgemein b\u00fccher gesellschaft ki-systeme\" data-post_tag=\"buch k\u00fcnstliche intelligenz llama llm mistral mlx ollama ratgeber sprachmodell\">\n\t\t\t\t\t\t\t<div class=\"dpt-entry-wrapper\"><div class=\"dpt-featured-content\"><div class=\"dpt-permalink\"><a href=\"https:\/\/www.markus-schall.de\/cs\/2025\/09\/umela-inteligence-ktera-pracovni-mista-jsou-ohrozena-a-jak-se-muzeme-vyzbrojit\/\" class=\"dpt-permalink\"><span class=\"screen-reader-text\">Um\u011bl\u00e1 inteligence: kter\u00e1 pracovn\u00ed m\u00edsta jsou ohro\u017eena a jak se m\u016f\u017eeme vyzbrojit hned te\u010f<\/span><\/a><\/div><div class=\"dpt-thumbnail\"><div class=\"dpt-thumbnail-inner\"><img width=\"1024\" height=\"683\" class=\"attachment-full size-full\" alt=\"Kter\u00e1 pracovn\u00ed m\u00edsta budou v budoucnu zru\u0161ena um\u011blou inteligenc\u00ed?\" context=\"dpt\" data-dpt-src=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/welche-jobs-fallen-durch-ki-weg.jpg\" data-dpt-sizes=\"(max-width: 1024px) 100vw, 1024px\" data-dpt-srcset=\"https:\/\/www.markus-schall.de\/wp-content\/uploads\/welche-jobs-fallen-durch-ki-weg.jpg 1024w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/welche-jobs-fallen-durch-ki-weg-300x200.jpg 300w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/welche-jobs-fallen-durch-ki-weg-768x512.jpg 768w, https:\/\/www.markus-schall.de\/wp-content\/uploads\/welche-jobs-fallen-durch-ki-weg-18x12.jpg 18w\" \/><\/div><span class=\"dpt-thumbnail-aspect-ratio\" style=\"padding-top: 75%\"><\/span><\/div><\/div><div class=\"sub-entry\"><h3 class=\"dpt-title\"><a class=\"dpt-title-link\" href=\"https:\/\/www.markus-schall.de\/cs\/2025\/09\/umela-inteligence-ktera-pracovni-mista-jsou-ohrozena-a-jak-se-muzeme-vyzbrojit\/\" rel=\"bookmark\">Um\u011bl\u00e1 inteligence: kter\u00e1 pracovn\u00ed m\u00edsta jsou ohro\u017eena a jak se m\u016f\u017eeme vyzbrojit hned te\u010f<\/a><\/h3><\/div><\/div>\n\t\t\t\t\t\t<\/div><!-- .dpt-entry -->\n\t\t\t\t\t\t\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\n<hr \/>","protected":false},"excerpt":{"rendered":"<p>Als Kind und Jugendlicher bin ich in einer Musikerfamilie aufgewachsen. Beide Eltern sind Musiklehrer. Meine Mutter spielt Querfl\u00f6te, mein Vater Klavier. Musik war bei uns zu Hause kein dekorativer Hintergrund, sondern selbstverst\u00e4ndlicher Bestandteil des Alltags. Es wurde ge\u00fcbt, unterrichtet, diskutiert, manchmal auch gerungen. Noten lagen aufgeschlagen auf dem Fl\u00fcgel, nicht im Schrank. Ich selbst habe &#8230; <a title=\"Um\u011bl\u00e1 inteligence: kter\u00e1 pracovn\u00ed m\u00edsta jsou ohro\u017eena a jak se m\u016f\u017eeme vyzbrojit hned te\u010f\" class=\"read-more\" href=\"https:\/\/www.markus-schall.de\/cs\/2025\/09\/umela-inteligence-ktera-pracovni-mista-jsou-ohrozena-a-jak-se-muzeme-vyzbrojit\/\" aria-label=\"\u010c\u00edst v\u00edce o Um\u011bl\u00e1 inteligence: Kter\u00e1 pracovn\u00ed m\u00edsta jsou ohro\u017eena a jak se m\u016f\u017eeme vyzbrojit hned te\u010f\">\u010c\u00edst d\u00e1l<\/a><\/p>","protected":false},"author":1,"featured_media":5066,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"iawp_total_views":812,"footnotes":""},"categories":[1,466,472],"tags":[480,483,477],"class_list":["post-5033","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-allgemein","category-gesellschaft","category-kunst-kultur","tag-deutschland","tag-musik","tag-portrait"],"_links":{"self":[{"href":"https:\/\/www.markus-schall.de\/cs\/wp-json\/wp\/v2\/posts\/5033","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.markus-schall.de\/cs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.markus-schall.de\/cs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.markus-schall.de\/cs\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.markus-schall.de\/cs\/wp-json\/wp\/v2\/comments?post=5033"}],"version-history":[{"count":23,"href":"https:\/\/www.markus-schall.de\/cs\/wp-json\/wp\/v2\/posts\/5033\/revisions"}],"predecessor-version":[{"id":6140,"href":"https:\/\/www.markus-schall.de\/cs\/wp-json\/wp\/v2\/posts\/5033\/revisions\/6140"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.markus-schall.de\/cs\/wp-json\/wp\/v2\/media\/5066"}],"wp:attachment":[{"href":"https:\/\/www.markus-schall.de\/cs\/wp-json\/wp\/v2\/media?parent=5033"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.markus-schall.de\/cs\/wp-json\/wp\/v2\/categories?post=5033"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.markus-schall.de\/cs\/wp-json\/wp\/v2\/tags?post=5033"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}