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Aria Pro Omni Festo Domenica Fischiettiho Uložená V ODH MZM

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Aria Pro Omni Festo Domenica Fischiettiho Uložená V ODH MZM Masarykova univerzita Filozofická fakulta Ústav hudební vědy Teorie a provozovací praxe staré hudby Zuzana Badárová Aria pro omni festo Domenica Fischiettiho uložená v ODH MZM Bakalárska diplomová práca prof. PhDr. Jana Perutková, Ph.D. Brno 2021 Prehlasujem, že som bakalársku diplomovú prácu vypracovala samostatne s použitím uvedených prameňov a literatúry. V Brne ................................................... Zuzana Badárová Rada by som na tomto mieste venovala svoju veľkú vďaku vedúcej tejto bakalárskej diplomovej práce prof. PhDr. Jane Perutkovej, Ph.D. za jej stálu pomoc a vedenie, podnetné rady a cenné pripomienky a v neposlednom rade za jej neskonalú ochotu a trpezlivosť. Veľké poďakovanie takisto patrí MgA. Marekovi Čermákovi za jeho nápomocnú ruku pri edičnej činnosti a takisto Mgr. Zuzane Lukšovej, Ph.D. za jej asistenciu pri preklade latinského textu árie. Obsah Úvod ...................................................................................................................................... 5 1 Stav bádania ................................................................................................................... 7 2 Životopis skladateľa ...................................................................................................... 16 3 Popis prameňa .............................................................................................................. 20 3.1 Uloženie a pôvod ................................................................................................... 20 3.2 Fyzický popis prameňa a jednotlivých partov ......................................................... 21 3.3 Doslovný prepis titulného listu ............................................................................... 23 3.4 Filigrán .................................................................................................................. 23 3.5 Pisárske skúšky ...................................................................................................... 24 3.6 Notové incipity ...................................................................................................... 26 4 Analytická časť ............................................................................................................. 27 5 Edičná a revízna správa ................................................................................................. 33 6 Edícia Aria pro omni festo ............................................................................................ 38 Záver ................................................................................................................................... 65 Zhrnutie ............................................................................................................................... 66 Summary ............................................................................................................................. 66 Zoznam použitých prameňov a literatúry.............................................................................. 67 Zoznam tabuliek .................................................................................................................. 72 Zoznam obrázkov ................................................................................................................ 72 Úvod Bakalárska diplomová práca sa zaoberá osobnosťou Domenica Fischiettiho a jeho dielom Aria pro omni festo s textovým incipitom Jam cantus parate cor praeparate, ktorej opis je uložený v Oddělení dějin hudby Moravského zemského muzea v Brne (ďalej len ODH MZM) pod signatúrou A 5769.1 Hudobnina pochádza zo zbierky kostola sv. Prokopa v Žďáre nad Sázavou a jej vznik sa časovo zaradzuje medzi roky 1758 a 1781. Ústredným cieľom práce je vytvorenie kriticko-praktickej edície diela, ale takisto monografickej state k skladateľovi na základe vypracovaného stavu bádania. Domenico Fischietti bol už počas svojho života vážený a úspešný hudobný skladateľ, pričom dodnes je známy primárne za jeho zásluhy v oblasti opery buffy. Ako neapolský komponista si svoje meno vybudoval už za pôsobenia v Taliansku, kde v spolupráci s Carlom Goldonim vznikli jeho najslávnejšie opery. Vďaka nim sa preslávil aj vo vzdialenejších európskych mestách, vrátane Prahy, ktorá sa od roku 1762 stala jeho následným dôležitým pôsobiskom. Fischietti tu skladal nové operné diela pre Divadlo v Kotcích, okrem iného však udržiaval kontakty aj s rytierskym rádom križovníkov s červenou hviezdou pri kostole sv. Františka z Assisi v Prahe, pre ktorý komponoval jednotlivé duchovné diela. Je možné predpokladať, že opis árie, ktorý je predmetom bakalárskej práce, vznikol a rozšíril sa po území českých zemí práve v tomto období. Aj napriek týmto skutočnostiam je autor a jeho dielo v súčasnosti pomerne neznáme, a to obzvlášť v sfére jeho duchovnej tvorby, ktorá však svojou kvalitou nezaostáva za tvorbou opernou. Predkladaná práca by z tohto dôvodu bola rada prínosom k oživeniu Fischiettiho mena a podnetom k uvádzaniu jeho diel. Práca je delená do šiestich základných kapitol. Stať zaoberajúcu sa osobnosťou skladateľa otvára podrobne vypracovaný stav bádania čerpajúci z dobovej aj súčasnej literatúry. Súčasťou sú aj zmienky z českých publikácií, ktoré však nie sú dostatočne početné. Druhá kapitola Životopis skladateľa sa okrem predstavenia počiatkov hudobnej dráhy autora podrobnejšie zaoberá jeho pôsobením v Taliansku, Prahe, Drážďanoch, či Salzburgu a poukazuje na problematiky pozostávajúce z nepresností dostupnej literatúry, predovšetkým čo sa týka stanovenia roku narodenia a úmrtia autora. Daná stať je vypracovaná zo zdrojov obsiahnutých v predošlej časti práce, predovšetkým ide o príspevok Domenico Fischietti als 1 FISCHIETTI, Domenico. Aria pro omni festo. MZM Cz-Bm, sign A 5769. 5 Buffokomponist in Dresden od Richarda Engländera, ktorý ako jeden z mála ponúka obsiahlu monografickú stať k Fischiettimu spolu so stručným rozborom jeho diela.2 Následná kapitola Popis prameňa sa zaoberá samotnou hudobninou a vo svojich podkapitolách ponúka všetky náležiace údaje ako uloženie a pôvod prameňa, jeho fyzický popis vrátane jednotlivých partov, doslovný prepis titulného listu, zmienku k filigránu, uskutočnené pisárske skúšky a notové incipity celého obsadenia. Štvrtá kapitola v poradí sa venuje konkrétnej árii, uvádza transkripciu textu spolu s jeho prekladom do slovenského jazyka. Ďalej ponúka analytické sondy vrátane poukázania na vzťah hudby a slova, či na konkrétne príklady práce s hudobno-rétorickými figúrami, ktoré demonštruje na vybranej obrazovej prílohe. Vychádza pritom primárne z dobových traktátov, konkrétne Das Neu-eröffnete Orchestre od Johanna Matthesona,3 či Ideen zu einer Ästhetik der Tonkunst od Christiana Schubarta,4 Posledné dve kapitoly pozostávajú z edičnej a revíznej správy, ktorá predstavuje problematiku prepisu hudobniny a zaznamenáva všetky vykonané edičné zásahy. Prácu zakončuje zhotovená partitúra Fischiettiho diela Aria pro omni festo. 2 ENGLÄNDER, Richard. Domenico Fischietti als Buffokomponist in Dresden. Zeitschrift für Musikwissenschaft. Bd. 2. Leipzig: Breitkopf & Härtel, 1919, s. 321–422. 3 MATTHESON, Johann. Das Neu-Eröffnete Orchestre. 4. Nachdruckder Ausgabe Hamburg 1713. Hildesheim: Georg Olms Verlag, 2015. 4 SCHUBART, Christian. Ideen zu einer Ästhetik der Tonkunst. Wien, 1906. 6 1 Stav bádania Domenica Fischiettiho je možné pokladať za významného operného skladateľa prevažne komických opier päťdesiatych a šesťdesiatych rokov 18. storočia. Aj napriek tomu je jeho meno v súčasnosti značne neznáme a doposiaľ nevzniklo veľké množstvo štúdií, ktoré by sa zaoberali primárne jeho osobnosťou, pôsobením a dielom. To, že Domenico Fischietti zohrával významnú rolu v hudobnej produkcii už počas svojho života dokazujú dobové diela, ktoré o ňom pojednávajú a ktoré sú do dnes zachované. Medzi ne patrí práca od J. B. de la Borde – Essai sur la musique ancienne et moderne, v ktorej autor predstavuje skladateľa v rámci krátkeho hesla, avšak zaujíma k nemu kritický postoj a vyčíta mu jeho nemoderný štýl kompozície, ktorý na danú dobu považuje za príliš jednoduchý.5 Ďalej to je dielo The present state of music in Germany, the Netherlands, and United provinces od Charlesa Burneyho, v ktorom ho autor uvádza v krátkej zmienke ako kapelmeister v Salzburgu.6 Z publikácií 19. storočia je potrebné spomenúť dielo Memorie dei compositori di musica del regno di Napoli od Carla Antonia de Rosa, ktorý mu už v roku 1840 venuje heslo s krátkym vylíčením jeho života a výberom z jeho diel.7 Autor uvádza ako rok jeho narodenia 1725 a poznamenáva, že rok úmrtia nie je známy. Táto informácia chýba aj v neskorších publikáciách, niektoré však ponúkajú možné hypotézy ohľadom posledných rokov života skladateľa. Ďalšia zmienka je obsiahnutá v diele La Scuola musicale di Napoli e i suoi conservatorii od Francesca Florima. Ten uvádza Fischiettiho pod znením Fischetti ako autora opier uvádzaných na scénach neapolských divadiel, ktoré sú vlastne hlavným pojednaním state. Konkrétne ide o operu z roku 1749 L’Abatte Collarone na libreto Pietra Trinchera,8 ktorá bola uvedená v teatro della Pace a ďalej o komickú operu Le Chiaise cantarine, ku ktorej uvádza poznámku, že v skutočnosti ide o úpravu vyššie spomenutého diela do podoby pasticcia, vzniknutého na základe kompilácie árií od ďalších autorov ako Nicola Logroscino a Giacomo 5 BORDE, Jean-Benjamin de la. Essai Sur La Musique Ancienne Et Moderne. Tome troisième. Paris: Ph.-D. Pierres, 1780, s. 187. 6 BURNEY, Charles. The present state of music in Germany,
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