{"id":3128,"date":"2026-02-23T10:20:45","date_gmt":"2026-02-23T09:20:45","guid":{"rendered":"https:\/\/www.terezajadudova.com\/?p=3128"},"modified":"2026-02-23T10:27:52","modified_gmt":"2026-02-23T09:27:52","slug":"analyza-klavirnej-skladby-calypso-op-29-c-2-od-karola-szymanowskeho","status":"publish","type":"post","link":"https:\/\/www.terezajadudova.com\/sk\/analyza-klavirnej-skladby-calypso-op-29-c-2-od-karola-szymanowskeho\/","title":{"rendered":"Anal\u00fdza klav\u00edrnej skladby \u201cCalypso\u201d op. 29 \u010d.2 od Karola Szymanowsk\u00e9ho"},"content":{"rendered":"<section class=\"section\" id=\"section_549296260\">\n\t\t<div class=\"section-bg fill\" >\n\t\t\t\t\t\t\t\t\t\n\t\t\t\n\n\t\t<\/div>\n\n\t\t\n\n\t\t<div class=\"section-content relative\">\n\t\t\t\n\n<div class=\"row\"  id=\"row-1407946698\">\n\n\n\t<div id=\"col-215140764\" class=\"col small-12 large-12\"  >\n\t\t\t\t<div class=\"col-inner\"  >\n\t\t\t\n\t\t\t\n\n<h4><strong>Anal\u00fdza klav\u00edrnej skladby Calypso op.29 \u010d.2 od Karola Szymanowsk\u00e9ho<\/strong><\/h4>\n<p><em>Semin\u00e1rna pr\u00e1ca \u2013 Estetick\u00e1 anal\u00fdza<\/em><\/p>\n<p><strong>Predstavenie skladate\u013ea Karola Szymanowsk\u00e9ho<\/strong><\/p>\n<p>\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Karol Szymanowski (1882-1937) bol skladate\u013eom 20. storo\u010dia, ktor\u00e9ho hudba absorbovala a reflektovala mnoh\u00e9 hudobn\u00e9 trendy bez vyslovenej pr\u00edslu\u0161nosti k ur\u010ditej hudobnej \u0161kole. Jeho hudbu mo\u017eno rozdeli\u0165 do pribli\u017ene troch obdob\u00ed.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Vo svojom ranom obdob\u00ed tvorby evokoval klav\u00edrnu hudbu Fryderyka Chopina a chromaticizmus nemeck\u00e9ho neskor\u00e9ho romantizmu (Richard Strauss).<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 V jeho strednom obdob\u00ed objavil diela franc\u00fazskych impresionistov a moderny, \u010do sp\u00f4sobilo ve\u013ek\u00fd posun vo vyu\u017e\u00edvan\u00ed harm\u00f3nie a text\u00fary. Z\u00e1rove\u0148 do svojej tvorby prij\u00edma orient\u00e1lne (arabsk\u00e9) prvky.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nakoniec, vo svojom neskorom obdob\u00ed presk\u00famal prvky po\u013eskej \u013eudovej hudby sp\u00f4sobom, ktor\u00fd je v mnohom podobn\u00fd kompozi\u010dn\u00e9mu jazyku B\u00e9ly Bart\u00f3ka \u010di Leo\u0161a Jan\u00e1\u010dka.<\/p>\n<p>\u00a0<\/p>\n<p><strong>Opus M\u00e9topes<\/strong><\/p>\n<p>\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 M\u00e9topes, Op. 29, je dielo pre s\u00f3lov\u00fd klav\u00edr od po\u013esk\u00e9ho skladate\u013ea Karola Szymanowsk\u00e9ho, dokon\u010den\u00e9 v roku 1915. Je to cyklus troch miniat\u00farnych t\u00f3nov\u00fdch b\u00e1sn\u00ed in\u0161pirovan\u00fdch gr\u00e9ckou mytol\u00f3giou. Zara\u010fujeme ho do skladate\u013eovho stredn\u00e9ho obdobia tvorby.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ka\u017ed\u00e1 z troch skladieb predstavuje \u017eensk\u00fa postavu, ktor\u00fa stretol Odysseus po\u010das svojej cesty domov. Jednotliv\u00e9 \u010dasti s\u00fa:<\/p>\n<p>\u010c.1: \u201dOstrov S\u00edr\u00e9n&#8221;<\/p>\n<p>\u010c.2: \u201dKalypso\u201d<\/p>\n<p>\u010c.3: \u201cNausika\u00e1\u201d<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Diela mohli by\u0165 in\u0161pirovan\u00e9 metopami z chr\u00e1mu v Selinunte, ktor\u00fd nav\u0161t\u00edvil po\u010das svojho pobytu na Sic\u00edlii.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u010eal\u0161ie skladate\u013eove opusy z tohto obdobia, ktor\u00e9 sa zaoberaj\u00fa gr\u00e9ckou mytol\u00f3giou s\u00fa Masques Op.34 (s\u00f3lov\u00fd klav\u00edr) a Mythes Op.30 (husle a klav\u00edr).<\/p>\n<p>\u00a0<\/p>\n<p><strong>Pojmy<\/strong><\/p>\n<p>\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>Metopa<\/em> (z gr\u00e9ckeho metop\u00e9, \u010delo, fas\u00e1da) je v gr\u00e9ckej architekt\u00fare ozdobn\u00fd prvok v d\u00f3rickom stavebnom r\u00e1de. Medzi architr\u00e1vom alebo klad\u00edm a r\u00edmsou prech\u00e1dza vlys, kde sa striedaj\u00fa vyst\u00fapaj\u00face triglyfy a zapusten\u00e9 metopy, \u010dasto s bohatou plastickou v\u00fdzdobou. Najzn\u00e1mej\u0161ie s\u00fa metopy z Parthen\u00f3nu na at\u00e9nskej Akropoli, zobrazuj\u00face s\u00faboj kentaurov s lapitmi.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <em>Kalypso<\/em>\u00a0alebo\u00a0<em>Kalyps\u00f3<\/em>\u00a0(starogr.\u00a0\u039a\u03b1\u03bb\u03c5\u03c8\u03ce\u00a0\u2013 Kalyps\u00f3,\u00a0lat.\u00a0Calypso) je v\u00a0gr\u00e9ckej mytol\u00f3gii\u00a0dc\u00e9ra\u00a0Titana\u00a0Atlasa, nymfa \u017eij\u00faca na ostrove\u00a0\u00d3gygia.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Kalypso je najzn\u00e1mej\u0161ia z role, ktor\u00fa jej dal\u00a0Hom\u00e9r\u00a0vo svojom b\u00e1snickom diele\u00a0Odysea.\u00a0Odyseus\u00a0hrdina z\u00a0tr\u00f3jskej vojny\u00a0pri n\u00e1vrate domov dlh\u00e9 roky aj s pri\u010dinen\u00edm bohov bl\u00fadil a toto jeho dlh\u00e9 putovanie sa stalo nesk\u00f4r pr\u00edslove\u010dn\u00fdm. Ke\u010f raz odpo\u010d\u00edval na ostrove\u00a0Thrinakia\u00a0jeho druhovia zabili nieko\u013eko kusov dobytka, ktor\u00e9 patrili bohu slnka\u00a0H\u00e9liovi\u00a0za\u010do boli pri n\u00e1slednej plavbe potrestan\u00ed hroznou b\u00farkou, ktor\u00e1 ich lo\u010f zni\u010dila. Odyseus sa jedin\u00fd zachr\u00e1nil na \u00falomku sto\u017eiara a dopl\u00e1val na ostrov nymfy Kalypsy.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Jej ostrov \u00d3gygia le\u017eal pre\u00a0Gr\u00e9kov\u00a0v nezn\u00e1mych kon\u010din\u00e1ch a\u00a0ithack\u00fd\u00a0kr\u00e1\u013e Odyseus bol prv\u00fd \u010dlovek, ktor\u00fd sa na\u0148 dostal. Kalyps\u00f3 ho prijala priate\u013esky a po bli\u017e\u0161om zozn\u00e1men\u00ed sa do neho zamilovala. Odyesa potom zv\u00e1dzala svojou bo\u017eskou kr\u00e1sou, s\u013eubovala mu nesmrte\u013enos\u0165, obklopila ho nev\u0161ednou n\u00e1dherou a darmi. Odyseus aj napriek tomu v\u0161etk\u00e9mu t\u00fa\u017eil po n\u00e1vrate domov, v \u010dom mu Kalyps\u00f3 br\u00e1nila. Cel\u00fdch sedem rokov musel v\u0161ak na ostrove \u00d3gygia Odyseus str\u00e1vi\u0165, k\u00fdm sa nad n\u00edm bohovia z\u013eutovali a don\u00fatili Kalypso ho prepusti\u0165.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pod\u013ea starovek\u00e9ho gr\u00e9ckeho b\u00e1snika\u00a0Hesioda, porodila Kalypso Odyseovi dve deti, synov Nausinusa a Nausitusa.<\/p>\n<p>\u00a0<\/p>\n<p><strong>Anal\u00fdza &#8211; v\u0161eobecn\u00e9 pozorovanie<\/strong><\/p>\n<p>\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Jedn\u00fdm z impresionistick\u00fdch aspektov Metop je vyu\u017eitie aton\u00e1lnej harm\u00f3nie. Impresionistick\u00ed skladatelia sa vyh\u00fdbali tradi\u010dn\u00fdm t\u00f3nov\u00fdm konceptom (ako je neskororomantick\u00fd chromaticizmus) a \u010dasto sa s\u00fastredili na hudbu okolo jedn\u00e9ho t\u00f3nu alebo intervalu, ktor\u00e9 boli ustanoven\u00e9 pomocou ped\u00e1lov\u00fdch t\u00f3nov \u010di ostin\u00e1t.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u010eal\u0161\u00edm pr\u00edkladom Szymanowsk\u00e9ho priklonenia sa k impresionistick\u00fdm technik\u00e1m je jeho pou\u017eitie bitonality, najm\u00e4 v kadenci\u00e1ch alebo improvizovan\u00fdch \u010dastiach. T\u00e1to technika, v ktorej prideluje \u010dierne kl\u00e1vesy jednej ruke a biele druhej, bola \u010dasto pou\u017e\u00edvan\u00e1 aj Claudeom Debussym.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Zachoval si v\u0161ak aj mnoho neskororomantick\u00fdch (nemeck\u00fdch) charakterist\u00edk svojich ran\u00fdch diel a sp\u00e1jal ich s impresionistick\u00fdmi technikami.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pr\u00edkladom Szymanowsk\u00e9ho kombinovania impresionistick\u00fdch a romantick\u00fdch techn\u00edk je jeho pou\u017eitie vrstven\u00fdch zvukov. V t\u00fdchto dielach pou\u017e\u00edval tri notov\u00e9 osnovy na vymedzenie vrstiev zvuku, rovnako ako to \u010dasto robili Debussy a Ravel. Pri tomto procese Szymanowski vytv\u00e1ra statick\u00e9 bloky zvuku \u2013 ped\u00e1lov\u00e9 body alebo ostin\u00e1ta, ktor\u00e9 s\u00fa statick\u00e9ho charakteru. Tento vertik\u00e1lny, koloristick\u00fd pr\u00edstup k vrstven\u00fdm zvukom je priamo \u00fazko spojen\u00fd s franc\u00fazskymi impresionistami.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Av\u0161ak na mnoh\u00fdch miestach Szymanowski tieto vrstvy vyu\u017e\u00edva na vytvorenie komplexnej polyf\u00f3nie, kde ka\u017ed\u00fd hlas m\u00e1 svoju vlastn\u00fa mel\u00f3dick\u00fa \u00falohu, sp\u00e1jaj\u00fac statick\u00e9 hlasy s horizont\u00e1lne riaden\u00fdm melodick\u00fdm materi\u00e1lom.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Szymanowski kombinuje franc\u00fazske a nemeck\u00e9 predstavy vrstvenej zvukovosti. V z\u00e1klade vytvor\u00ed t\u00f3nov\u00e9 centrum prostredn\u00edctvom tremola, pri\u010dom hlasy nad n\u00edm s\u00fa melodicky riaden\u00e9. Namiesto toho, aby vn\u00fatorn\u00e9 hlasy zaujali statick\u00e9 sprievodn\u00e9 \u00falohy, je ka\u017ed\u00fd hlas samostatne melodicky v\u00fdznamn\u00fd, \u010di vytv\u00e1ra pohyb alebo harmonick\u00fd posun.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u010eal\u0161\u00edm aspektom t\u00fdchto skladieb, ktor\u00fd je bli\u017e\u0161ie k nemeck\u00fdm kompozi\u010dn\u00fdm modelom ako k franc\u00fazskym, je motivick\u00e1 vypracovanos\u0165 a cyklick\u00fd tvar. In\u00fdmi slovami technika, v ktorej sa kr\u00e1tky motivick\u00fd segment opakovane objavuje po\u010das skladby vo viacer\u00fdch permut\u00e1ci\u00e1ch.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Toto sp\u00e1janie franc\u00fazskych a nemeck\u00fdch techn\u00edk nazna\u010duje, \u017ee Szymanowski, na rozdiel od impresionistov, nechcel odmietnu\u0165 nemeck\u00fa hudbu. Namiesto toho zl\u00fa\u010dil tieto odli\u0161n\u00e9 hudobn\u00e9 pr\u00edstupy so svojimi vlastn\u00fdmi ideami, aby vytvoril nie\u010do jedine\u010dn\u00e9.<\/p>\n<p>\u00a0<\/p>\n<p><strong>Anal\u00fdza &#8211; konkr\u00e9tne pozorovanie<\/strong><\/p>\n<p>\u00a0<\/p>\n<p>Formu celej skladby m\u00f4\u017eeme ozna\u010di\u0165 ako ABA.<\/p>\n<p>V prvom takte je ped\u00e1lov\u00fd t\u00f3n na D kontre a D ve\u013ek\u00e9, ktor\u00fdmi Szymanowski hne\u010f v \u00favode ustanovuje t\u00f3nov\u00e9 centrum. Nasledovn\u00fdm behom, ktor\u00fd sa sklad\u00e1 z troch samostatn\u00fdch blokov okolo t\u00f3nov cis, d, es plus ich kvinty, \u010falej centralizuje t\u00f3n D. S trit\u00f3nov\u00fdm pr\u00edrazom sa n\u00e1m objav\u00ed prv\u00fdkr\u00e1t tremolo, a pod n\u00edm chromatick\u00fd postup. Nazveme to mot\u00edv A.<\/p>\n<p>V druhom takte sa ped\u00e1lov\u00fd bod pos\u00fava na kvintu D-A, a zopakuje sa tremolov\u00fd a chromatick\u00fd mot\u00edv o okt\u00e1vu ni\u017e\u0161ie.\u00a0<\/p>\n<p>Nasleduje zostupn\u00fd biton\u00e1lny postup (prav\u00e1 ruka na \u010diernych kl\u00e1vesoch, \u013eav\u00e1 na bielych) a\u017e do konca 11.taktu. Nazveme to mot\u00edv B. Sklad\u00e1 sa takmer v\u00fdlu\u010dne z kvartsextakordov. Uzaviera sa na d molovom kvartsextakorde, \u010di\u017ee op\u00e4\u0165 evokuje D ako centrum.<\/p>\n<p>Nov\u00fd mot\u00edv prich\u00e1dza v 12.takte. Nazveme ho mot\u00edv C. V base m\u00e1me spojen\u00e9 oba ped\u00e1lov\u00e9 body, D kontru ako pr\u00edraz a u\u017e spomenut\u00fa kvintu D-A. Nad nimi sa nach\u00e1dza protipohyb dvoch harm\u00f3ni\u00ed (gis dur s pridanou sextou a dvoch \u010dist\u00fdch kv\u00e1rt nad sebou, samozrejme v obratoch). V sopr\u00e1ne je melodick\u00fd zostup v tritonovo ambite (h-eis).<\/p>\n<p>V \u010fal\u0161om (13.) takte sa zopakuj\u00fa tieto elemetny (bez pr\u00edrazu kontry D, a sopr\u00e1n vyst\u00fapi ozdobn\u00fdm sp\u00f4sobom ku gis2), a z\u00e1rove\u0148 sa vracia beh (mot\u00edv A) z prv\u00e9ho taktu, modifikovan\u00fd na bloky okolo des, d, des.<\/p>\n<p>V 14.takte a polovici 15.taktu je tremolo a chromatick\u00fd postup, druh\u00fdkr\u00e1t zopakovan\u00fd o okt\u00e1vu ni\u017e\u0161ie.<\/p>\n<p>V 15.-24.taktoch sa vracia u\u017e zn\u00e1my zostupn\u00fd biton\u00e1lny postup (mot\u00edv B), s odli\u0161n\u00fdm z\u00e1verom.<\/p>\n<p>Takty 25 a 26 zrkadlia 12 a 13 (mot\u00edv C), tentoraz je sopr\u00e1nov\u00e1 l\u00ednia zd\u00f4raznen\u00e1 postupom v okt\u00e1vach a chvost t\u00e9my kon\u010d\u00ed na es durovom septakorde v obrate (t.27).<\/p>\n<p>Nasleduje nov\u00e1 trojtaktov\u00e1 oblas\u0165 (28-30), kde Szymanowski okrem centra D prid\u00e1va aj Des a Es, a to kontrapunktick\u00fdmi vsuvkami do melodickej l\u00ednie. V 30.takte prid\u00e1va do \u013eavej ruky beh na b durovom septakorde smerom nadol ku kontra As. Nazveme to mot\u00edv D.<\/p>\n<p>Takty 31 a 32 prin\u00e1\u0161aj\u00fa nov\u00fd mot\u00edv, ktor\u00fd bude v plnej miere rozvinut\u00fd a\u017e nesk\u00f4r. Nazveme ho mot\u00edv E. Malosekundov\u00e9 v\u00fdmeny v strednom hlase umoc\u0148uj\u00fa Odyseovu nerozhodnos\u0165. Melodick\u00fd postup pripom\u00ednaj\u00fa mot\u00edv C. Centralizuj\u00fa sa na t\u00f3ny h-b.<\/p>\n<p>Takty 33 a\u017e 35 opakuj\u00fa mot\u00edv D, \u013eav\u00e1 ruka je zhusten\u00e1 viacer\u00fdmi behmi, ktor\u00e9 smeruj\u00fa do prv\u00e9ho dynamick\u00e9ho vrcholu v skladbe na t\u00f3ne b (t.36), ktor\u00fd sa vz\u00e1p\u00e4t\u00ed men\u00ed na t\u00f3n ges.<\/p>\n<p>Potia\u013eto m\u00f4\u017eme v\u00fdvoj pova\u017eova\u0165 ako diel A.<\/p>\n<p>\u00a0<\/p>\n<p>Nasleduje B diel &#8211; Sostenuto. Tak ako sa aj v tomto dieli objavia elementy z dielu A, tak isto aj pri repr\u00edze dielu A sa objavia elementy z dielu B.<\/p>\n<p>V taktoch 37 a\u017e 40 sa objavuje nov\u00e9 ton\u00e1lne centrum na t\u00f3ne As, ktor\u00fd je v trit\u00f3novom vz\u0165ahu k p\u00f4vodn\u00e9mu D, ktor\u00e9 sa pripomenie s pr\u00edzvukom v taktoch 38 a 40 ako basov\u00fd t\u00f3n. V sopr\u00e1ne pokra\u010duje skladate\u013e vo vzdychoch b-ges z predch\u00e1dzaj\u00faceho taktu. V strednom hlase je neust\u00e1ly pohyb. Nazveme to mot\u00edv F.<\/p>\n<p>V takte 41 sa vr\u00e1ti mot\u00edv C z dielu A, tentoraz akoby oba takty skombinovan\u00e9 do jedn\u00e9ho. V takte 42 sa vracaj\u00fa tremol\u00e1 nad kvintou D-A v base, v sopr\u00e1ne je beh podobn\u00fd prechodom z mot\u00edvu F.<\/p>\n<p>Takty 43-45 predstavuj\u00fa n\u00e1vrat mot\u00edvu D s mal\u00fdmi zmenami.<\/p>\n<p>Mot\u00edv F sa vracia v taktoch 46 a 47 v koncentrovanom tvare, op\u00e4\u0165 zd\u00f4razn\u0148uje vz\u0165ah as-d; b-ges vo vonkaj\u0161\u00edch hlasoch.<\/p>\n<p>V taktoch 48 a 49 sa u\u017e nach\u00e1dza plne vyvinut\u00fd tvar mot\u00edvu E, pri\u010dom na konci fr\u00e1zy sa nach\u00e1dza v strednom hlase po\u017ei\u010dan\u00fd \u00fatvar z mot\u00edvu D. T\u00e1to dvojbunka sa zopakuje skoro doslovne o kvintu ni\u017e\u0161ie.<\/p>\n<p>Nasleduj\u00fa tri takty (52-54), ktor\u00e9 v z\u00e1sade neprin\u00e1\u0161aj\u00fa ni\u010d nov\u00e9, ale tvoria nie\u010do samostatn\u00e9, ke\u010f\u017ee prin\u00e1\u0161aj\u00fa jednotliv\u00e9 elementy z in\u00fdch mot\u00edvov. Kvinta v base sa pos\u00fava na E-H, a z\u00e1vere\u010dn\u00e9 tremolo tejto pas\u00e1\u017ee zase centralizuje t\u00f3n A (ktor\u00fdm sa skladba bude kon\u010di\u0165). Nazveme to mot\u00edv G.<\/p>\n<p>\u00a0<\/p>\n<p>Nasleduje repr\u00edza dielu A.<\/p>\n<p>Takty 55 a 56 predstavuj\u00fa mot\u00edv C, posunut\u00fd o kvartu ni\u017e\u0161ie, u\u017e okolo kvinty A-E.<\/p>\n<p>Nasleduje pos\u00favanie v protipohybe a\u017e ku kr\u00e1tkemu lok\u00e1lnemu vrcholu, ktor\u00fd vyu\u017e\u00edva tremolo a chromatiku z mot\u00edvu A. Tieto takty 57 a 58 s\u00fa rozvinut\u00e9 a roz\u0161\u00edren\u00e9 v taktoch 59 a 60.<\/p>\n<p>Tento vrchol pokra\u010duje do \u010fal\u0161ieho taktu 61, kde plynulo prech\u00e1dza do mot\u00edvu B, a\u017e do konca taktu 67.<\/p>\n<p>Najv\u00e4\u010d\u0161\u00ed vrchol skladby je v taktoch 68 a\u017e 72, dynamicky sa fortissimo dr\u017e\u00ed na dlh\u0161om \u00faseku piatich taktov iba na tomto mieste. T\u00e1to pas\u00e1\u017e je postaven\u00e1 na zna\u010dne modifikovanom mot\u00edve C, vo svojej p\u00f4vodnej transpoz\u00edcie nad kvintou D-A, ktor\u00e1 sa ale v druhej polovici presunie na kvintu\u00a0G-D.<\/p>\n<p>Takt 73 prin\u00e1\u0161a beh postaven\u00fd na behoch mot\u00edvu A hne\u010f na za\u010diatku repr\u00edzy A dielu.<\/p>\n<p>Takt 74 prin\u00e1\u0161a n\u00e1vrat mot\u00edvu F z dielu B, s As v base.<\/p>\n<p>Takt 75 kop\u00edruje s malou okt\u00e1vovou zmenou a s D v base takt 73.<\/p>\n<p>Takt 76 zd\u00f4raz\u0148uje trit\u00f3nov\u00fd vz\u0165ah as-d, a je pokra\u010dovan\u00edm taktu 74, dokon\u010dieva mot\u00edv F a z\u00e1rove\u0148 prech\u00e1dza do \u010fal\u0161ej pas\u00e1\u017ee.<\/p>\n<p>Vrchol teda pokra\u010duje v taktoch 73 a\u017e 76, akur\u00e1t u\u017e nie je tvoren\u00fd silnou dynamikou, ale kr\u00e1ten\u00edm mot\u00edvov takt po takte.<\/p>\n<p>Takty 77-78 op\u00e4\u0165 prin\u00e1\u0161aj\u00fa dvojtaktov\u00fa formulku mot\u00edvu E, ktor\u00fd je vz\u00e1p\u00e4t\u00ed \u010fal\u0161\u00edch taktov 79-80 posunut\u00fd o ve\u013ek\u00fa sekundu nadol.<\/p>\n<p>V taktoch 81-83 sa opakuje mot\u00edv G, tentoraz na kvinte A-E, so zd\u00f4raznen\u00edm t\u00f3nu A, v z\u00e1vere tremolom prezr\u00e1dzaj\u00fa aj centrum okolo t\u00f3nu D.<\/p>\n<p>T\u00f3n D, resp. kvinta D-A sa vracia ako k\u00f3da zlo\u017een\u00e1 z mot\u00edvu C od taktu 84.<\/p>\n<p>Posledn\u00e9 dva takty prin\u00e1\u0161aj\u00fa koncetrovan\u00e9 akordy, ktor\u00e9 u\u017e\u00a0postupne zazneli v celej skladbe, niektor\u00e9 v\u0161ak nie ako samostatn\u00fd blok akordu, ale napr. rozlo\u017een\u00fd beh. Posledn\u00fd akord je postaven\u00fd na A dure s pridanou sextou, zd\u00f4raznen\u00fd s najhlb\u0161\u00edm t\u00f3nom skladby i klav\u00edra, subkontrou A.<\/p>\n<p>\u00a0<\/p>\n<p><em>Pozn.: Publikovan\u00e9 bez obrazovej pr\u00edlohy.<\/em><\/p>\n\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\n\t\n\n<\/div>\n\n\t\t<\/div>\n\n\t\t\n<style>\n#section_549296260 {\n  padding-top: 30px;\n  padding-bottom: 30px;\n}\n<\/style>\n\t<\/section>","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-3128","post","type-post","status-publish","format-standard","hentry","category-hudba"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Anal\u00fdza klav\u00edrnej skladby \u201cCalypso\u201d op. 29 \u010d.2 od 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