sarrafa Choral |

ba. Choralbearbeitung, англ. tsarin mawaƙa, saitin chorale, франц. abun da ke ciki sur choral, итал. bayani dalla-dalla na chorale, abun da ke ciki akan choral

Aiki na kayan aiki, murya ko murya wanda a cikinsa waƙar canonized na Ikilisiyar Kirista ta Yamma (duba waƙar Gregorian, waƙar Furotesta, Choral) tana karɓar ƙira mai yawan sauti.

Kalmar X. game da ita." Yawancin lokaci ana amfani da abubuwan haɗin polygonal akan choral cantus firmus (misali, antiphon, waƙa, amsawa). Wani lokaci a karkashin X. game da. an haɗa duk kiɗan. op., wata hanya ko wata da aka haɗa da chorale, gami da waɗanda ake amfani da ita azaman kayan tushe kawai. A wannan yanayin, aiki da gaske ya zama sarrafawa, kuma kalmar tana ɗaukar ma'ana mai fa'ida. A cikin sa. lakabin kiɗan kiɗa. X. game da." galibi ana amfani da su a ma'ana ta kusa don komawa zuwa nau'ikan sarrafa chorale daban-daban. Iyakar X. game da. fadi sosai. Manyan nau'ikan prof. kiɗa na tsakiyar zamanai da kuma Renaissance. A farkon nau'ikan polyphonic (parallel organum, foburdon) ana yin chorale cikakke. Kasancewar ƙaramar murya, wacce sauran sautunan suka kwafi, ita ce tushen abin da aka tsara a zahiri. Tare da haɓakawa na polyphonic. 'yancin kai na muryoyin, ƙungiyar chorale ta lalace: sautin da ke tattare da shi yana kara tsayi kuma suna daidaitawa (a cikin gabobin melismatic ana kiyaye su har sai an yi sauti da yawa na kayan ado na muryoyin da ba a yarda da su ba), chorale ya rasa amincinsa (jinkirin gabatarwa saboda Ƙarfafa rhythmic yana tilasta shi iyakance shi zuwa juzu'i - a wasu lokuta bai wuce sautunan farko 4-5 ba). An haɓaka wannan aikin a farkon misalan motet (ƙarni na 13), inda cantus firmus sau da yawa kuma guntu ne na waƙar Gregorian (duba misali a ƙasa). A lokaci guda, an yi amfani da chorale ko'ina azaman tushen ostinato don polyphonic. nau'i dabam (duba Polyphony, shafi na 351).

Gregorian song. Hallelujah Vidimus Stellam.

Motet. Makarantar Paris (karni na 13). Wani guntun chorale yana faruwa a tenor.

Mataki na gaba a cikin tarihin X. o. - tsawo zuwa chorale na ka'idar isorhythm (duba Motet), wanda aka yi amfani dashi tun karni na 14. Siffofin X. o. honed da masters na da yawa-buri. talakawa. Babban hanyoyin yin amfani da chorale (wasu daga cikinsu za a iya haɗa su a cikin op ɗaya): kowane ɓangaren ya ƙunshi sassa 1-2 na waƙar chorale, wanda aka raba zuwa jimlolin da aka rabu ta hanyar dakatarwa (dukan taro, don haka, yana wakiltar zagayowar bambancin); kowane bangare yana ƙunshe da guntun chorale, wanda aka tarwatsa cikin taro; chorale - akasin al'adar gabatarwa a tenor (2) - motsi daga murya zuwa murya (abin da ake kira migrating cantus firmus); Ana yin chorale ne a kaikaice, ba a kowane bangare ba. A lokaci guda kuma, chorale ba ya canzawa; A cikin aikin sarrafa shi, an ƙaddara manyan 4. siffofin jigogi. canje-canje - karuwa, raguwa, wurare dabam dabam, motsi. A cikin misalan da suka gabata, ƙungiyar chorale, wanda aka ba da labari daidai ko kuma bambanta (cikowar tsalle-tsalle, kayan ado, shirye-shiryen raye-raye daban-daban), an bambanta su da ingantattun matakan da ba su da alaƙa da jigo.

G. Duka. Waƙar "Aures ad nostras deitatis". Mataki na farko shi ne waƙar mawaƙa na monophonic, na 1nd stanza tsari ne na murya uku (waƙar waƙa iri-iri a cikin soprano).

Tare da haɓakar kwaikwayo, rufe duk muryoyin, siffofin da ke kan cantus firmus suna ba da dama ga sababbin, kuma chorale ya kasance kawai tushen jigo. kayan samarwa. (cf. misalin da ke ƙasa da misalin a shafi na 48).

Yaren "Pange linga"

Dabaru da nau'ikan sarrafa chorale, waɗanda aka haɓaka a zamanin tsauraran salon, an haɓaka su cikin kiɗan cocin Furotesta, tare da yin amfani da kwaikwayi. an sake farfado da siffofin akan cantus firmus. Mafi mahimmanci nau'o'in - cantata, "sha'awar", wasan kwaikwayo na ruhaniya, motet - yawanci ana danganta su da chorale (wannan yana nunawa a cikin kalmomi: Choralkonzert, misali "Gelobet seist du, Jesu Kristi" na I. Schein; Choralmotette, alal misali. "Komm, heiliger Geist" A. von Brook; Choralkantate). Banda Yin amfani da cantus firmus a cikin cantatas na JS Bach yana bambanta da bambancinsa. Ana ba da Chorale sau da yawa a cikin manufa 4 mai sauƙi. jituwa. Ƙwaƙwalwar waƙa da murya ko kayan aiki ke yi ana ɗora kan mawaƙa mai tsawo. abun da ke ciki (misali BWV 80, No 1; BWV 97, No 1), wok. ko instr. Duet (BWV 6, No 3), aria (BWV 31, No 8) har ma da mai karantawa (BWV 5, No 4); wani lokaci suna tayar da layukan choral kuma a madadin layukan da ba na choral ba (BWV 94, No 5). Bugu da kari, chorale na iya zama jigo. tushen dukkan sassa, kuma a irin wannan yanayi cantata ya juya zuwa wani nau'in bambance-bambancen sake zagayowar (misali, BWV 4; a ƙarshe, ana yin waƙar chorale a cikin babban nau'i a cikin sassan mawaƙa da ƙungiyar mawaƙa).

Tarihi X. game da. don kayan aikin madannai (musamman ga gabobin jiki) yana farawa a cikin ƙarni na 15, lokacin da abin da ake kira. madadin ka'idar aiki (lat. alternatim - a madadin). Ayoyin waƙar, waɗanda ƙungiyar mawaƙa (vers) suka yi, waɗanda a baya aka canza su da jimlolin solo (misali, a cikin antiphon), sun fara canzawa tare da org. sarrafa (versett), musamman a cikin Mass da Magnificat. Don haka, Kyrie eleison (a cikin Krom, bisa ga al'ada, kowane ɓangaren 3 na Kyrie - Christe - Kyrie an maimaita sau uku) ana iya yin shi:

Josquin Despres. Makka "Pange lingua". Farkon "Kyrie eleison", "Christe eleison" da "Kyrie" na biyu. Abubuwan jigo na kwaikwayo jimloli daban-daban na chorale.

Kyrie (organ) - Kyrie (mawaƙa) - Kyrie (organ) - Christe (mawaƙa) - Christe (organ) - Christe (mawaƙa) - Kyrie (organ) Sat org. aka buga. fassarar Gregorian Magnificats da sassan Mass (an tara tare, daga baya sun zama sanannun Orgelmesse - org. mass): "Magnificat en la tabulature des orgues", wanda P. Attenyan ya buga (1531), "Intavolatura coi Recercari Canzoni Himni" Magnificat…” da “Intavolatura d'organo cio Misse Himni Magnificat. Libro secondo” na G. Cavazzoni (1543), “Messe d’intavolatura d’organo” na C. Merulo (1568), “Obras de musica” na A. Cabeson (1578), “Fiori musicali” na G. Frescobaldi ( 1635) da sauransu.

"Sanctus" daga tarin gabobin "Cimctipotens" na wani marubucin da ba a san shi ba, wanda P. Attenyan ya buga a cikin "Tabulatura pour le ieu Dorgucs" (1531). Ana yin Cantus firmus a tenor, sannan a cikin soprano.

Waƙar liturgical (cf. cantus firmus daga misalin sama).

Org. karbuwa na Protestant chorale na 17th-18th ƙarni. shagaltar da gwaninta na zamanin da ya gabata; an gabatar da su a cikin tsari mai mahimmanci na fasaha. da bayyana. nasarorin kidan zamaninsa. Daga cikin marubutan X. o. - mahaliccin manyan abubuwan haɗin gwiwa JP Sweelinck, wanda ya ja hankalin zuwa ga hadadden polyphonic. hade da D. Buxtehude, richly canza launin waƙar choral G. Böhm, ta yin amfani da kusan kowane nau'i na aiki da JG Walter, rayayye aiki a fagen choral bambance-bambancen S. Scheidt, J. Pachelbel da sauransu (choral improvisation shi ne aikin kowane. organist coci) . JS Bach ya shawo kan al'adar. jimlar magana ta X. o. (farin ciki, baƙin ciki, zaman lafiya) da kuma wadatar da shi da duk wani inuwa mai isa ga tunanin ɗan adam. Hange da romantic ado. miniatures, ya baiwa kowane yanki da keɓaɓɓen mutumtaka na musamman kuma ya ƙaru sosai da bayyana muryoyin wajibai.

Siffar abun da ke ciki X. o. (banda wasu 'yan iri, alal misali, fugue akan jigon chorale) shine "yanayi mai nau'i biyu", wato, ƙari na ingantattun yadudduka masu zaman kansu - waƙar chorale da abin da ke kewaye da shi (ainihin sarrafawa). ). Siffar gaba ɗaya da nau'in X. o. ya dogara da tsarin su da yanayin mu'amala. Musanya. Properties na Furotesta choral karin waƙa ne in mun gwada da barga: ba su da ƙarfi, tare da bayyananne caesuras, da rauni subordination na phrases. Siffar (dangane da adadin jimlolin da ma'aunin su) yana kwafin tsarin rubutun, wanda galibi shine quatrain tare da ƙari na adadin layukan sabani. Tashi haka. sextines, bakwai, da sauransu a cikin waƙar sun dace da ginin farko kamar lokaci da ƙari ko žasa da ci gaban polyphrased (wani lokaci samar da mashaya tare, misali BWV 38, No 6). Abubuwan ramawa suna yin waɗannan nau'ikan da ke da alaƙa da kashi biyu, kashi uku, amma rashin dogaro ga murabba'i yana bambanta su da na gargajiya. Kewayon ingantattun dabaru da hanyoyin magana da ake amfani da su a cikin kiɗa. masana'anta da ke kewaye da chorale suna da fadi sosai; shi ch. arr. kuma yana ƙayyade gaba ɗaya bayyanar Op. (cf. daban-daban shirye-shirye na chorale daya). Rarraba ya dogara ne akan X. o. ana sanya hanyar sarrafawa (waƙar chorale ta bambanta ko ta kasance ba ta canzawa, ba kome don rarrabawa). Akwai manyan nau'ikan X. o. guda 4:

1) shirye-shirye na ɗakunan ajiya (a cikin wallafe-wallafen ƙungiya, mafi ƙanƙanta, misali, Bach's "Allein Gott in der Hoh sei Ehr", BWV 715).

2) Gyaran murya. sito. Sautunan da ke rakiyar galibi suna da alaƙa da mawaƙa (duba misali a shafi na 51, a sama), ƙasa da ƙasa ba su da zaman kansu ("Der Tag, der ist so freudenreich", BWV 605). Suna nuna kyama ga mawaƙa da juna ("Da Jesus an dem Kreuze stund", BWV 621), galibi suna yin kwaikwayo ("Wir Christenleut", BWV 612), lokaci-lokaci canon (" Canonical Variations on a Christmas Song ", BWV 769 ).

3) Fugue (fughetta, ricercar) a matsayin nau'i na X. o .:

a) akan jigon waƙar waƙa, inda jigon shine kalmar buɗewarsa (“Fuga super: Jesus Christus, unser Heiland”, BWV 689) ko – a cikin abin da ake kira. strophic fugue – duk jimlolin chorale bi da bi, samar da jerin bayyanuwa (“Aus tiefer Not schrei'ich zu dir”, BWV 686, duba misali a Art. Fugue, shafi na 989);

b) zuwa chorale, inda fugue mai zaman kansa mai zaman kansa ya zama abin rakiyar ta ("Fantasia sopra: Jesu meine Freude", BWV 713).

4) Canon - wani nau'i ne inda ake yin chorale a canonically ("Gott, durch deine Güte", BWV 600), wani lokaci tare da kwaikwayo ("Erschienen ist der herrliche Tag", BWV 629) ko canonical. rakiyar (duba misali a shafi na 51, a ƙasa). Bambance-bambance. ana iya haɗa nau'ikan shirye-shirye a cikin bambance-bambancen choral (duba Bach's org. partitas).

Gabaɗaya yanayin juyin halittar X. o. shine ƙarfafa 'yancin kai na muryoyin da ke adawa da ƙungiyar chorale. Matsakaicin mawaƙa da rakiya sun kai matakin, wanda “matsakaici na siffofi” ya taso - rashin daidaituwa tsakanin iyakokin chorale da rakiya (“Nun freut euch, lieben Christen g'mein”, BWV 734). Hakanan ana bayyana ikon sarrafa sarrafa kansa a cikin haɗuwa da chorale tare da wasu, wani lokacin nesa da shi, nau'ikan nau'ikan - aria, recitative, fantasy (wanda ya ƙunshi ɓangarori da yawa waɗanda suka bambanta cikin yanayi da hanyar sarrafawa, alal misali, “Ich ruf). zu dir, Herr Jesu Kristi” na V. Lübeck), har ma da rawa (misali, a cikin partita “Auf meinen lieben Gott” na Buxtehude, inda bambancin na 2 shi ne sarabande, na 3 kuma shi ne chime, na 4 kuma shi ne. a gige).

JS Baci. Shirye-shiryen gabobin Choral “Ach Gott und Herr”, BWV 693. Rakiya gaba ɗaya ta dogara ne akan kayan chorale. An yi koyi da yawa (a cikin raguwa biyu da ninki huɗu) na farko da na biyu (hasken madubi na 1st)

JS Baci. “A dulci Jubilo”, BWV 608, daga Littafin gabobin. Canon biyu.

Daga Ser. Karni na 18 saboda dalilai na tsarin tarihi da kyan gani X. o. ya kusan bace daga yin aiki. Daga cikin 'yan misalan marigayi shine Choral Mass, org. fantasy and fugue on chorales by F. Liszt, org. preludes na I. Brahms, choral cantatas, org. mawaƙan mawaƙa da gabatarwa na M. Reger. Wani lokaci X. o. ya zama wani abu na salo, sa'an nan kuma an sake fasalin fasalin nau'in ba tare da amfani da waƙa na gaske ba (misali, E. Krenek's toccata da chaconne).

References: Livanova T., Tarihin kiɗa na Yammacin Turai har zuwa 1789, M.-L., 1940; Skrebkov SS, Binciken Polyphonic, M.-L., 1940; Sposobin IV, Siffar Kiɗa, M.-L., 1947; Protopopov Vl., Tarihin polyphony a cikin mafi mahimmancin abubuwan da ya faru. Alamar Yammacin Turai na ƙarni na XVIII-XIX, M., 1965; Lukyanova N., A kan ka'ida ɗaya na tsarawa a cikin shirye-shiryen waƙoƙi daga cantatas na JS Bach, a cikin: Matsalolin Kiɗa, vol. 2, M., 1975; Druskin M., Sha'awar da jama'a na JS Bach, L., 1976; Evdokimova Yu., Tsarin jigogi a cikin al'ummar Palastinu, a cikin: Binciken ka'idoji kan tarihin kiɗa, M., 1978; Simakova N., Melody "L'homme hannu" da kuma refraction a cikin talakawa na Renaissance, ibid.; Etinger M., Farkon jituwa na gargajiya, M., 1979; Schweitzer A, JJ Bach. Le musicien-poite, P.-Lpz., 1905, ya faɗaɗa Jamusanci. ed. ƙarƙashin taken: JS Bach, Lpz., 1908 (Fassarar Rashanci - Schweitzer A., ​​Johann Sebastian Bach, M., 1965); Terry CS, Bach: cantatas da oratorios, v. 1-2, L., 1925; Dietrich P., JS Bach's Orgelchoral und seine geschichtlichen Wurzeln, “Bach-Jahrbuch”, Jahrg. 26, 1929; Kittler G., Geschichte des protestantischen Orgelchorals, Bckermünde, 1931; Klotz H., Lber mutu Orgelkunst der Gotik, der Renaissance und des Barock, Kassel, 1934, 1975; Frotscher G., Geschichte des Orgelspiels und der Orgelkomposition, Bd 1-2, B., 1935-36, 1959; Schrade L., Jigon a cikin taro na karni na 15, "MQ", 1942, v. 28, No 3, 4; Lowinsky EE, Turanci sashen kiɗa na Renaissance, ibid., 1953, v. 39, No 3, 4; Fischer K. von, Zur Entstehungsgeschichte der Orgelchoralvariation, a cikin Festschrift Fr. Blume, Kassel (Ua), 1963; Krummacher F., Die Choralbearbeitung in der protestantischen Figuralmusik zwischen Praetorius und Bach, Kassel, 1978.

TS Kyuregyan