Glasbeni opus Antonia Vivaldija za kljunasto flavto : magistrska naloga

Majcen, Eva (avtor), Brezavšček, Maruša (mentor)

Antonio Lucio Vivaldi, poznan tudi po vzdevku Il Prete Rosso ("Rdeči duhovnik"), je bil italijanski skladatelj, violinist in duhovnik ter mojster baročnega inštrumentalnega koncerta. Večino življenja je preživel in deloval v rodnem kraju Benetke, ki so v tistem času predstavljale mesto glasbe. Omeniti velja Cerkev svetega Marka z najbogatejšo glasbeno tradicijo in številne operne hiše, ki so nastale v tistem obdobju. V Benetkah je delovala tudi Ospedale della Pietà, ki je skrbela za neozdravljivo bolne, revne in ostarele ljudi, tam pa je bil zaposlen tudi Vivaldi, ki je za sirotišnico napisal številne skladbe, med njimi tudi za kljunasto flavto. Pisal je inštrumentalna dela, s poudarkom na koncertih. Večinoma je pisal za godala, Opus 10 pa je edina zbirka, ki ni napisana za violino in je prva zbirka šestih koncertov za flavto. Za kljunasto flavto je Vivaldi napisal okrog štirideset del, od tega dvanajst koncertov za kljunasto flavto solo, godala in basso continuo, žal pa se je ohranilo le pet koncertov, dva za altovsko kljunasto flavto in trije za sopranino ali pa za sopransko kljunasto flavto. Za kljunasto flavto je Vivaldi napisal tudi tri sonate, uporabljal pa jo je tudi v komornih delih in koncertih za več solo inštrumentov, godala in basso continuo ter v vokalnih delih, kot so opera, serenada in vokalna sakralna glasba. Omeniti je treba tudi izraze za flavte, ki jih je Vivaldi uporabljal v svojih delih, in teorije glede flaute grosso in flautina. Pomembno vlogo pri glasbenih delih predstavlja tudi skladateljev izbor tonalitete in s tem izraženih affektov, čemur poglavje v svojem delu Das neu-eröffnete Orchestre posveča Johann Mattheson. Poleg Matthesona so tonalitete opisovali tudi drugi skladatelji, kot sta Charpentier in Schubart. Vivaldiju je v sodobnem času pozornost namenjal tudi violinist dr. J. Lupiáñez, ki je v Dresdenskem arhivu našel zanimiv Pisendlov katalog, v katerem je odkril njegove zapise okraskov pri Vivaldijevih skladbah. Kot je zapisal J. J. Quantz, sta bila za dober učinek italijanske glasbe ključnega pomena izvedba in okraševanje. Občasno so okraske zapisali skladatelji, v glavnem pa so jih izvajalci dodajali po občutku in po potrebi.

• Jezik: Slovenski jezik
• Ključne besede: kljunasta flavta, glasbeni opusi, italijanski skladatelji, Benetke, tonalitete in affekti, ornamentacija, magistrske naloge
• Vrsta gradiva: Magistrsko delo/naloga
• Tipologija: 2.09 - Magistrsko delo
• Organizacija: AG - Akademija za glasbo
• Kraj izida: Ljubljana
• Založnik: E. Majcen
• Leto izida: 2025
• Št. strani: 32 str.
• PID: 20.500.12556/RUL-170934
• UDK: 780.8:780.642.1Vivaldi A.
• COBISS.SI-ID: 243310083
• Datum objave v RUL: 22.07.2025

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: Antonio Vivaldi's musical opus for recorder

Izvleček

Antonio Lucio Vivaldi, also known by the nickname Il Prete Rosso ("The Red Priest"), was an Italian composer, violinist, and priest, and a master of the Baroque instrumental concerto. Most of his life he lived and worked in his hometown of Venice, which at that time was a city of music. It is worth mentioning the Church of St. Mark with the richest musical tradition and numerous opera houses that were built during that period. In Venice, Ospedale della Pietà also operated, which cared for the incurably ill, the poor, and the elderly, and Vivaldi was employed there, writing numerous compositions for the orphanage, including for the recorder. He wrote instrumental pieces, with a focus on concertos. He mostly wrote for strings, but Opus 10 is the only collection that is not written for violin and is the first collection of six concertos for flute. Vivaldi has written about forty works for the recorder, including twelve concertos for solo recorder, strings, and basso continuo, but unfortunately, only five concertos have been preserved, two for alto recorder and three for soprano or sopranino recorder. Vivaldi has also written three sonatas for the recorder, and he used it in chamber works and concertos for multiple solo instruments, strings, and basso continuo, as well as in vocal works such as opera, serenade, and vocal sacred music. It's also worth mentioning the terms for flutes that Vivaldi used in his works and the theories regarding the flauto grosso and flautino. The composer's choice of tonality and the emotions it expresses also plays an important role in musical works, as Johann Mattheson discusses in his work Das neu-eröffnete Orchestre. In addition to Mattheson, other composers such as Charpentier and Schubart also described tonalities. In modern times, Vivaldi has also been the focus of attention for violinist Dr. J. Lupiáñez, who found an interesting Pisendel catalog in the Dresden archive, in which he discovered his ornamentation notes for Vivaldi's compositions. As J. J. Quantz wrote, the performance and ornamentation were crucial for the good effect of Italian music. Occasionally, the decorations were written by the composers, but mostly they were added by the performers according to their feelings and needs.

• Ključne besede: recorder, Venice, Italian composers, tonalities and affects, ornamentation, master's theses