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Michelangelo Rossi a Jeho Tvorba Pro Klávesové Nástroje

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Michelangelo Rossi a Jeho Tvorba Pro Klávesové Nástroje JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra varhanní a historické interpretace Historická interpretace – Hra na cembalo a historické klávesové nástroje Michelangelo Rossi a jeho tvorba pro klávesové nástroje Bakalářská práce Autor práce: Jiří Havrlant, DiS. Vedoucí práce: PhDr. Pavel Sýkora, Ph.D. Konzultant práce: prof. Barbara Maria Willi, Ph.D. Oponent práce: prof. PhDr. Miloš Štědroň, Ph.D. Brno 2018 Bibliografický záznam HAVRLANT, Jiří. Michelangelo Rossi a jeho tvorba pro klávesové nástroje (Michelangelo Rossi and His Pieces for Keyboard Instrument). Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra varhanní a historické interpretace, 2018. 36 s. Vedoucí diplomové práce: PhDr. Pavel Sýkora, Ph.D. Anotace Bakalářská práce Michelangelo Rossi a jeho dílo pro klávesové nástroje pojednává o problematice zdrojů skladeb pro klávesové nástroje Michelangela Rossiho a vliv na percepci autora v oblasti hudební interpretace a hudební vědy. Dále zhodnocuje vliv různých verzí a opisů skladeb na interpretaci Rossiho díla a uvádí je do kontextu s jeho současníky. V oblasti interpretace je v práci kladen důraz na historicky poučený přístup. Práce obsahuje i stručný životopis autora. Annotation Bachelor thesis Michelangelo Rossi and his works for keyboard instruments deals with problematic of sources of the keyboard works by Michelangelo Rossi and the influence on perception of the author in the fields of musicology and music interpretation. The thesis compares various sources and their impact on the interpretation point of view confronting it with Rossi’s contemporaries. In questions of interpretation is accentuated the historically informed approach. The short biography of the composer is also included in the thesis. Klíčová slova Michelangelo Rossi, cembalo, varhany, toccata, historicky poučená interpretace, stará hudba, hudba baroka, italská hudba Keywords Michelangelo Rossi, harpsichord, organ, toccata, historically informed performance, early music, Baroque music, Italian music Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 11. 5. 2018 Jiří Havrlant OBSAH: ÚVOD………………………………………………………………………………………………………………….1 STAV BÁDÁNÍ………………………………………………………………………………………………………2 1. ŽIVOTOPIS MICHELANGELA ROSSIHO……………………………………………………………..8 1. 1. Ve službách Maurizia di Savoia…………………………………………………………………..8 1. 2. Ve službách rodu Barberini………………………………………………………………………10 1. 3. Poslední léta…………………………………………………………………………………………….13 2. TOCCATE E CORRENTI…………………………………………………………………………………..15 2.1. Úvod……………………………………………………………………………………………...15 2.2. Zdroje.…..……………………………………………………………………………………… 16 2.3. Porovnání edic a manuskriptů Rossiho klávesové tvorby.……………….18 2. 3. 1. Bologna/ Caifabri versus Bologna/Ricarii.……………………………18 2. 3. 2. Anglické manuskripty………………………………………………………….21 2. 3. 3. Moderní edice a skladby nezahrnuté v původních tiscích.……26 3. Stylová analýza a problematika interpretace………………………………28 ZÁVĚR………………………………………………………………………………………………………………..33 POUŽITÉ INFORMAČNÍ ZDROJE…………………………………………………………………………..34 Úvod Cílem této práce je popis pramenů a stylistický rozbor skladeb pro klávesové nástroje italského skladatele Michelangela Rossiho se zaměřením na jeho stěžejní sbírku Toccate e correnti. Rossi dlouhou dobu ležel ve stínu svého současníka Girolama Frescobaldiho. Důvodem byly chybné informace o působení Rossiho a době vzniku jeho děl. V tomto důsledku došlo k nekritickému pohledu na Rossiho tvorbu, jako na neprogresivní a pouhý odraz geniality velkého mistra Frescobaldiho. Avšak díky muzikologickému bádání Alexandra Silbigera a dalším hudebním vědcům mladší generace došlo k přehodnocení mnoha faktů a k hlubšímu studiu tohoto autora v současné době. Na poli interpretačním však Rossi zažívá renesanci až v posledních letech. Zmíněné omyly a spekulace, stejně jako další vývoj bádání o Michelangelu Rossim jsou popsány v kapitole o stavu bádání. Hlavní oblast práce – klávesová tvorba Michelangela Rossiho – popisuje a srovnává prameny a vymezuje hlavní stylistické znaky autorovy tvorby a jeho originalitu v konfrontaci se současníky, hlavně pak Girolamem Frescobaldim. Přináší navíc také poznatky a podněty k interpretaci Rossiho klávesového díla. Rossiho tvorba se bez pochyby řadí k hudebním klenotům své doby. Modálně tonální oscilace, střídání rychlých pasáží a klidných částí, jednoduchých imitačních polyfonických a homofonních částí s velmi odvážnými harmonickými proměnami a výrazově exaltované chromatické oddíly, například dobře známý závěr Toccaty settimy je často považován za nejodvážnější užití chromatiky v raném baroku. Všechny tyto charakteristiky jsou na jedné straně typickým odrazem éry manýrismu a přelomu stylů na začátku 17. století. Na druhé straně jejich zpracovaní a individuální formy vymaňují Rossiho skladby z dobového stereotypu. 1 Stav bádání Nejstarší informace pochází z doby, kdy Rossi ještě žil. Nejdříve jsou to krátké zmínky v De praestantia musicae veteris Giovanniho Battisty Doniho: „Kdo hrál na varhany lépe než náš Frescobaldi z Ferrary? Kdo hrál na na psaltérium nebo harfu lépe než Horatius z Neapole? Kdo hrál na čtyřstrunnou lyru [housle] lépe než Michael Angelus Rossius?“ 1 A dále u Pietra della Valle v eseji Della musica dell’età nostra: „ Avšak, [pokud posoudíme] některé z nejlepších moderních [hudebníků], kteří k subtilnostem kontrapunktu dokážou přidat tisíce půvabů jako trylky, smykových efekty, synkopy, tremola, triky si piano a forte a další podobné galantnosti, málo používané v době minulé, které v dnešní době provádí Kasperger na theorbu, Orazio na harfu, Michel’Angelo na housle a další, pokud se jim někdo podobá, Vaše Veličenstvo mi nemůže vyvrátit, že tito [hudebníci] se nejen dorovnali, nýbrž zcela překonali v těchto věcech hráče minulých dob.“ 2 V Itinerarium extantium3 předkládá Athanasius Kircher rozsáhlý a velmi pochvalný popis hudebních produkcí Michelangela Rossiho a jeho spoluhráčů Lelia Colisty a Salvatora Mazzelly: „Je tomu nedávno, co jsem byl pozván do společnosti tří nesrovnatelných hudebníků, u kterých bych se nemýlil, kdybych je popsal jako Orfey naší doby. Zamýšleje ukázat výjimečné představení svých dovedností více než obvykle, požádali mne, abych byl v tajnosti jediným svědkem jejich neslýchané znalosti a dovednosti v provádění hudby. A tak, když vše bylo připraveno k představení a bylo připraveno i místo a čas, začali symfonii, která byla hrána 1Vlastní překlad. Originál: „Quis enim umquam peritius physaulum tractavit, quam Ferrariensis Frescobaldus noster? Quis Psalterium, sive Harpam, Guam Horatius Neapolitanus? Quis Pandurium tetrachordum, Guam Michel Angelus Rossius?“ DONI, Giovanni Battista. De praestantia musicae veteris. Firenze: Massa, 1647. s. 117. 2 Vlastní překlad. Originál: „Però alcuni de‘ più eccellenti moderni, che alle sottigliezze de contrappunti hanno saputo aggiunger ne’loro suoni mille grazie di trilli, de strascihi [recte: straschii], di sincope, di tremoli, di finte di piano, e di forte, e di simili altre galanterìe da quelli dell’età passata poco practicate, come hanno fatto nella presente il Kasberger nella Tiorba, Orazio nell’Arpa, Michel’Angelo nel Violino ed altri se ve ne sono di pari grido, Vostra Signoria non mi potrà negace che non solo non abbiano agguagliato, ma anche superauto in queste parti i Sonatori de’tempi passati.“ DELLA VALLE, Pietro. Della musica dell’età nostra che non è punto inferiore, anzi è migliore di cella dell’età passata. 1640, ed. A. F. Gorri, G. B. Passeri in: Lyra Barberina amphichordos, ii: De'trattati di musica di Gio. Batista Doni (Firenze: 1763). 3 SOLERTI, Angelo. Le origini del melodramma: Testomonianze dei conteporanei. Torino: Frateli Boca, 1903. s. 159. 2 na dvoje menší housle a s nástrojem zvaným theorba, s takovým souzvukem harmonií a s dosud neprozkoumanými rozdíly neobvyklých intervalů, kterým jsem se sice už zabýval[…], přesto si nevzpomínám, že bych kdy slyšel něco takového. Jak dokázali smísit diatonickou harmonii s chromatickou, a pak tyto s enharmonickými modulacemi: je stěží možné vyjádřit, jak silné emoce toto neobvyklé mísení stylů vzbudilo v [mé] mysli.“ 4 Dále je Rossi zmiňován v korespondenci královny Kristiny Švédské.5 Ve slovníkové literatuře se jméno Michelangela Rossiho poprvé objevuje v Musikalisches Lexicon oder musikalische Bibliothek Johanna Gottfrieda Walthera. V hesle je uvedeno i jeho dílo pro klávesové nástroje (Toccate e Corrente d’intavolatura d’Organo e di Cimbalo).6 V dalším významném hudebním slovníku 18. století 7 se poprvé dovídáme o dalších dílech, a sice o fragmentu madrigalu Per bellezza che al suo vanto in duo, zde pod názvem Terzetto: Per bellezza che al suo vanto in duo, dále o jeho opeře Erminia sul Giordano. Je uveden i rok vydání – 1627 – a barvitě popsáno účinkování samotného Rossiho v opeře v roli Apollóna. Tento fakt se objevuje i v pozdějších lexicích. Ve Fétisově slovníku8 se poprvé objevují podrobnější Rossiho biografické údaje, avšak nepřesné. Například je zde 4 Vlastní překlad. Originál: „ACCIDIT non ita pridem, ut ad academicum trium incomparabilium Musicorum (quos si aevi nosti Orpheos dicam, minimè à verò abludam) esercitium privatos inter parientes institutum vocarer, hi ut facultatis, quam profiebantur, specimen quoddam solito excellentius darent, me solum arcae & vix auditae sonandi rationis & peritiae sonscium testem esse volverunt. Omnibus itaque ad specimen exhibendum concinnè apparatis, locoque & tempore opportunè constituto, symphoniam, quae duobus chelybus minoribus,
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