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Viola D'amore W Xvii I Xviii Wieku, Część I

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Viola D'amore W Xvii I Xviii Wieku, Część I Katarzyna Litwiniuk Absolwentka Uniwersytetu Muzycznego Fryderyka Chopina oraz Akademii Muzycznej im. Grażyny i Kiejstuta Bacewiczów w Łodzi VIOLA D’AMORE W XVII I XVIII WIEKU, CZĘŚĆ I Wprowadzenie Viola d’amore to instrument z grupy chordofonów smyczkowych, który powstał w XVII wieku. Szczyt popularności tego instrumentu przypada na wiek XVIII. Pod koniec XVIII wieku i na początku XIX wieku viola d’amore popadła w zapomnienie, by ponownie zaistnieć w XX wieku (m.in. w twórczości Paula Hindemitha, Leoša Janáčka czy Henri-Gustave’a Casadessusa). Rozwój ruchu wykonawstwa historycznego pozwolił na ukazanie całego piękna violi d’amore w bogatym repertuarze muzyki siedemnastowiecz- International Viola nej i osiemnastowiecznej. W obecnych czasach viola d’amore znów zyskuje na popularności. d’amore Society1 newsletter Istnieje wielu miłośników tego instrumentu. Część z nich zrzeszona jest w . Towarzystwo to dwa razy w roku publikuje , pełniący funkcję czaso- pismapoświęconego violi d’amore. Począwszy od 1982 roku International Viola d’amore Society organizuje co dwa lata kongresy o tematyce związanej z tym instrumen- tem, odbywające się w krajach, z których pochodzą członkowie zrzeszenia Najbliższy kongres odbędzie się między 13 a 19 czerwca 2016 roku w Europejskim Centrum Muzyki Krzysztofa Pendereckiego w Lusławicach. W ciągu ostatnich dziesięcioleci pojawiło się kilka ważnych publikacji dotyczących violi d’amore. Należy wśród nich wymienić dwa kompendia bibliograficzne autorstwa Heinza Bercka (Lipsk 1986, drugie wydanie 1994) oraz Michaela i Dorothei Jappe (Winterthur 1997). The Viola d’amore Do bardziej znaczących historyczno-krytycznych opracowań na temat violi d’amore należą: Contribution to the history and literature of the viola d’amore: A translation and expansion Harry’ego Danksa (West Midlands 1976, drugie wydanie 1979) oraz of Werner Eginhard Köhler’s „Beiträge zur Geschichte und Literatur der Viola d’Amore” Myrona Die Viola d’amore Rosenbluma (New York University 1976). Najważniejszą i najobszerniejszą dysertacją dotyczącą tej problematyki jest Heinza Bercka (2008). Praca ta, bogato ilustrowana zdjęciami licznych viol d’amore, zawiera najważniejsze informacje pochodzące Viola d’amore z większości znanych źródeł poświęconych temu instrumentowi. Jedyną publikacją na ten temat w języku polskim jest (Warszawa 2010) Błażeja Teodora Sroczyńskiego, który jako wykonawca i pedagog bez wątpienia przyczynił się do popularyzacji violi d’amore w Polsce. Cennym źródłem informacji dotyczących historii violi d’amore, problemów . wykonawczych czy dostępnej literatury2 przedmiotu3 są blogi muzyków4 grających na tym instrumencie:1 International Thomasa Viola d’amore Georgiego Society , Leona Kinga i Maura Righiniego Hidden World of the Viola d’Amore 2 Quall Publications [online], www.violadamoresociety.org [dostęp: 12.04.2015]. 3 T. Georgi, Amore e simpatia: alla scoperta della [online], viola d’amore http://www.violadamore.com/ [dostęp: 10.04.2015]. 4 L. King, [online], http://quallpublications.co.uk/ [dostęp: 10.04.2015]. M. Righini, [online], http://violadamore-blog.blogspot.com/ [dostęp: 10.04.2015]. 59 W niniejszym artykule przedstawiono historię instrumentu i możliwe hipotezy dotyczące rodowodu violi d’amore, a także czasu i miejsca jej powstania. W kolejnym artykule, który ukaże się w następnym numerze „Notesu Muzycznego”, autorka przybliży budowę violi d’amore i sposoby jej strojenia. Poruszone zostaną również zagadnienia dotyczące literatury w XVII i XVIII wieku. przeznaczonej na ten instrument oraz notacji utworów skomponowanych na violę d’amore Geneza violi d’amore Pochodzenie instrumentu, zwanego w języku francuskim „viole d’amour”, niemieckim „Liebesgeige” i polskim „altówką miłosną” lub „amorką”, nie jest jednoznaczne. Violi d’amore nie można bezwzględnie przypisać ani do rodziny skrzypiec, ani do rodziny viol da gamba, 5 choć samo słowo viola może świadczyć o pokrewieństwie z obiema tymi rodzinami. Błażej Sroczyński wskazuje, że instrument ten zapożyczył nazwę od rodziny viol, do której jednak nie przynależy. Wyjaśniając termin viola, przywołuje za Markiem Pincherle’em łacińskie słowo „vítulari”, które oznacza „skakać jak cielę” (na znak radości). Podążając za tym tropem, można by sądzić, że viola d’amore była instrumentem kojarzonym z radością. Należy jednak zaznaczyć, że domniemana pierwotna nazwa „vítulari” zmieniała na przestrzeni wieków swoje brzmienie (łacińskie „vidula”, „viguella”, „fidula”, „viella”, franc. „vielle”), jednak aż do XV wieku wskazywała na instrumenty smyczkowe, które dopiero później zwano violami. Viola d’amore posiada cechy budowy charakterystyczne dla violi da gamba, natomiast 6 technika gry i trzymanie instrumentu bliższe jest skrzypcom Początkowo violą d’amore . nazywano skrzypce lub rodzaj małej violi da gamba (sopranową violę da gamba), które7 nie posiadały strun rezonansowych, a zamiast strun jelitowych miały struny metalowe Syntagma musicum, Violn de bracio Praetorius stwierdza, Pierwsza wzmianka na temat użycia strun metalowych pochodzi z traktatu Michaela Praetoriusa . wydanego w 1619 roku. W rozdziale 8 że instrument, na który założone zostają struny mosiężne i stalowe brzmi ciszej i przyjemniej Opisując ten instrument, nie używa jednak jeszcze określenia „viola d’amore”. Nazwa ta po raz pierwszy pojawia się dopiero w 1649 r., w liście hamburskiego muzyka Johanna Rittera. 9. Ritter pisze m.in. o tym, że w swojej kolekcji posiada jedną violę o pięciu strunach z możliwością przestrajania, zwaną violą d’amore Rozpowszechniony w XVIII w. model violi d’amore, który można określić jako standardowy model5 jej barokowejViola d’amoreodmiany, to typ instrumentu wielkości altówki, o budowie korpusu Contributions to the history and literature of the viola d’amore: a translation and expansion of6 Werner B.T. Sroczyński, Eginhard Köhler’s „Beiträge, Warszawa zur Geschichte 2010, s. und 15. Literatur der Viola d’amore” , M. Rosenblum,Viola d’amore Dictionary of music 7 Syntagma musicum II, De Organographia , New York 1976 s. 4. 8 T. Karp, , hasło w: tegoż, , Evanstone 1997, s. 420. M. Praetorius, ,Wolfenbüttel 1619, s. 48 [online], http://petrucci. 9mus.auth.gr/imglnks/usimg/8/8e/IMSLP68476-PMLP138176-PraetoriusSyntagmaMusicumB2.pdf I musicisti italiani e la viola d’amore nella prima metà del Settecento [dostęp: 10.04.2015]. V. Montanucci, , Milano 2002, s. 7 [online], http://www.tesionline.it/_pdf/7996/7996p.pdf [dostęp: 11.04.2015]. 60 . 10 charakterystycznej dla violi da gamba, ze strunami rezonansowymi biegnącymi pod gryfem Pierwszą wzmianką dotyczącą użycia strun rezonansowych było zgłoszenie patentowe Petera Edneya i George’a Gilla, dokonane w Londynie w marcu 1608 roku. Dotyczyło ono 11. zastosowania metalowych strun rezonansowych w violach da gamba, skrzypcach i lutniach w celu poprawienia brzmienia dźwięku, co, według Edneya i Gilla, nie było wcześniej znane oraz Francis Bacon Najprawdopodobniej początkowo korzystano z takich strun w różnych rodzajach instrumentów 12 13 z rodziny viol da gamba (piszą o tym m.in. Michael Praetorius ), jednak w przedmowie do Musick’s Recreation on the Viol, Lyra-way 14 w drugiej połowie XVII w. zaczęto wycofywać się z tego pomysłu, o czym donosi John Playford . Być może stało się tak z powodu Cogitata physico-mathematica 15. Instrument pojawienia się nowego instrumentu ze strunami rezonansowymi – barytonu, o którym po raz pierwszy wspomina Marin Mersenne w (1644) ten powstał z połączenia lyra viol z basową violą da gamba i bandorą. Baryton, zwany też violą di bardone lub bordone, wyposażony był w sześć jelitowych strun melodycznych zamocowanych tak jak na violi da gamba oraz w dziewięć metalowych strun rezonansowych, biegnących z tyłu pod dodatkowym gryfem, równolegle do strun melodycznych. Struny rezonansowe można było pobudzać, szarpiąc je lewym kciukiem, równocześnie grając na strunach melodycznych. Instrument ten posiadał charakterystyczne cechy lyra viol, a więc możliwość gry w wielu różnych strojach oraz łatwość wykonywania akordów ze względu na dosyć płaski podstawek. Ilustracja 1. Baryton, Joachim Tielke, Hamburg 1686, Victoria and Albert Museum, Londyn Viola d’amore The New Grove Dictionary of Music and Musicians, red. Stanley Sadie, 10 11 M.Por. Rosenblum, Cornerless Strad, yes?, hasło w: New York 2001, s. 698. , [online], http://www.maestronet.com/forum/index.php?/topic/330701- 12cornerless-strad-yes/page-4 F. Bacon, Sylva Sylvarum or [dostęp: Natural 26.04.2015]. History, 13 M. Praetorius, dz. cyt. s. 47. London 1670, s. 62, akapit 280 [online], https://archive.org/ Musick’s Recreation14stream/sylvasylvarumorn00baco#page/n131/mode/2up/ on the Viol, Lyra-way [dostęp:16.04.2015].The Viola d’amore, 15 „Of this sort of Violls, I Barytonhave seen many, Thebut TimeNew Grove and Disuse Dictionary... has set them aside”. John Playford, , London 1661. Cyt. za: Harry Danks, West Midlands 1979, s. 13. J.A. Sadie, T.M. Pamplin, , hasło w: , t. 2, s. 828. 61 Nie wiadomo, kiedy dokładnie dodano do violi d’amore struny rezonansowe, ale prawdo- podobnie dokonało się to później niż w przypadku violi da gamba. W przeciwieństwie do viol da gamba, w violi d’amore pomysł zastosowania strun rezonansowych nie ograniczył się jednak tylko do eksperymentów, ale przyjął się na stałe i stał się jedną z głównych cech bu- dowy tego instrumentu. Najstarszym przykładem takiego właśnie16 modelu jest instrument posiadający sześć strun melodycznych i sześć strun rezonansowych , datowany17 na 1697 rok, pochodzący z warsztatu salzburskiego lutnika Johannesa Schorna (1658–1718) . W
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